li'll llll 'll'il l.l' Jll i I, I '1 wb 'li'V I il I i t'l i' ' I'^Vll I ii !'•' ' "i ll n ' 1 1 l!l 1!' -ij ri!i''^H(^ 'vi,w:r'i 11 V ■i,,',,'''V!'i,¥ 111! \.ir'ii'l'fi- ilV'l|'!f'|' !' I'm/- I, i! 1 1 i. i' ! iii'li'i, 'Mil VI 1 l',ii 11,.' 1 Ml n W I il }\: f i iht It thM^ It! it ytl , ill VI li 'l . ,>iu!„!Lli:iu,j I 111 ' ' '1 BOtGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg W. Sage 1891 .Ji....^.^.^.j:.J....7.... ., f /../../ of.,. 351 3-1 MUSIC Cornell University Library ML 100.D28 3 1924 022 228 385 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022228385 STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS COVERING THE ENTIRE PERIOD OF MUSICAL HISTORY FROM THE EARLIEST TIMES TO THE SEASON OF 1908-09 BY L. J. deBEKKER NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS CopyniGHT, 1908 By Fbedebick A. Stokes Company November, 1908 vim UNIVERSIlnC BBESa, CAVBBJDQX, US.JU PREFACE To STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS This book Is intended to be a record of fact and not of opinion. It is a reference book to which one may turn for adequate informa- tion on any matter connected with music or musicians. It is com- prehensive, containing a wider variety and, it is believed, a greater number of topics than any other musical reference work. It in- cludes, for example, definitions of musical terms simply expressed ; biographies of all musicians worthy of remembrance; explana- tions of the theory of music, without technicahties ; the stories of all the important operas, beside all the matters usually included in musical encyclopsedias. Because of the fact that English- speaking people hear opera in every tongue but their own, the author has made a point of narrating as fully as possible stories of all operas which are generally sung or which are likely to become popular. In this respect the work has unusual value for the layman. Since special stress is laid on achievement, com- plete lists of the works of the great composers are given. Even in the notes about obscure musicians the titles of some works are included. A list of books for further reading is given at the fend of every Important article. American and English musicians, so often neglected In works of this kind, are given their due proportion of space. Respect for the old masters of established reputation has not Interfered with just treatment of the younger generation of French and Italians. For the first time In an English reference work special vi PREFACE articles are devoted to great national schools such as the Madrid and St. Petersburg Conservatories. In many matters the author has been compelled to compare, weigh, and analyze all opinions entitled to respect. Wherever he regards a fact as definitely settled he states it without dis- cussion, but where it is impossible to reconcile divergent views he has presented both sides of the question. He has treated every subject in the light of the latest research, presenting mate- rial about many subjects not heretofore treated in an encyclo- paedia of music. It is hoped, therefore, that the work is thor- oughly up to date for all purposes. In order to include hundreds of new subjects while giving ade- quate treatment to the usual topics, it has been necessary to adopt some method of condensation. Abbreviations have been employed and such useless verbiage as " the time and place of his death are a matter of dispute " has been eliminated. In biographical accounts the name of the person is invariably followed by an active verb leading into that person's achievements. If the dates or other facts are unknown, they are omitted without comment. This book was written to meet the necessities of students and lovers of music, but it is hoped that professional musicians may find it helpful by reason of its simplicity, compactness, and thorough system of cross-referencing. Although no work of this kind can be wholly free from error, it is hoped that the efforts that have been made to insure accuracy of statement have been successful. The publishers will welcome the cooperation of all who detect errors, and will be most grateful for corrections or addenda that will make this encyclopaedia more accurate and complete. The Publishees. STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS TABLE OF ABBREVIATIONS ^ft.— Alto. A ug, — August. b. — Bom. Bar. — Baritone. Bro. — Brother. Bros. — Brothers. Co. — Company. Con. — Contralto. a. — Died. D.D. — Doctor of Divinity. Dec. — December. Dr. — Doctor of Music. Eng. — England or English. Feb. — February. Fr. — French. Ger. — German. Gr. — Greek. Heb. — Hebrew. Hon. — Honourable. It. — Italian. Jr. — Junior. L. — Latin. LL.D. — Doctor of Laws. m. — Married. M. — Monsieur. Mez. — ^ Mezzo. Mile. — Mad emoiselle. Mme. — Madame. No. — Number. Nov. — November. Oct, — October. Op. — Opus. Ph.D. — Doctor of Philosophy. Port. — Portuguese. Prof. ■ — Professor. Rev. — Reverend. Russ. — Russian. Sp. — Spanish. Ten. — Tenor. Treb. — Treble. Jan. — January. The customary abbreviations are employed for the names of all American States. In the notation of pitch here employed c' is " Middle C" ; c the octave below; C the octave below that; c" the octave above « Middle C," etc. ENCYCLOPAEDIA OP MUSIC AND MUSICIANS A became the sixth tone of the nat- ural key of C upon the adoption of the modern SCALE in the 16th century and, in International or French PITCH, a' is produced by 435 vibra- tions per second at the temperature of 59° Fahrenheit. A is likewise the name of the major key having three sharps and of the minor key relative to C. One string is tuned to A in all instruments of the viol family; one clarinet is set in A; hence all instru- ments in the orchestra are attuned to A, usually sounded by the oboe. Aaron first introduced Gregorian chant into Grermany. A Scotch monk, he became abbot of St. Martin's, Co- logne; d. 1052. Aaron or Aron (Fietro) was first to abandon Latin for the vernacular in writing on counterpoint and musi- cal history; established a music school in Rome under the patronage of Leo X, 1516. His works are listed in "Musik Literatur," Becker, Leipsic, 1836. B. in Florence; canon of Rimini; d. 1533. Abaco (Baron) composed for 'cello, on which he was a noted amateur per- former. B. at Verona; one composi- tion is dated 1748. Abaco (Evaristo Delice dall') com- posed many concertos and sonatas for strings, published in Amsterdam; served Max Emanuel, Elector of Ba- varia, as violinist and concertmeister. B. at Verona, 1662; d. in Munich, July 12, 1742. Abacus. Diagram showing notes on the keyboard; Et Falmulae, ma- chinery for 'striking keys of the an- cient polyplectrum; Harmonicas, the disposition of an instrument's keyboard and pedals. A Ballata. It. In ballad style. Abat-voix. Fr. A voice reflector or sounding board. A Battula. It. " With the beat." Indicates a return to strict time. Abbacchiota. /*. With melan- choly expression. , Abbd.-Cornaglia (Fietro) composed operas and church music. B. Ales- sandria, Piedmont, 1851; d. 1894. Abbadare. It. To take care. Abbadia (ITatale) composed masses, motets, a vesper service, and operas. B. Genoa, Mar. 11, 1792. Abbadia (Luigia) sang mez. rSles with such success that Donizetti wrote "Maria Padilla " expressly for her; taught in Milan. B. Genoa, 1821, daughter of Natale. Abbandonarsi. It. With aban- donment. Abbandone, Abbandono, con. It. With self-abandonment; despondingly. Abbandonevolxnente. It. With fury, violently. Abassamento. It. Lowering; Di Voce^ of the voice; Di Hano, of the hand in downward beat. Abbatinl (Antonio llaria) served as chapelmaster at St. John Lateran and other Roman churches; assisted Kircher in his "MUSURGIA"; com- ABBE !S posed the opera " Del Male in Bene "; published four books of Psalms, three of masses, etc., but declined proposi- tion of Urban VIII to supersede Pales- trina by rewriting the hymnal. B. Tiforno, 1607; d. 1677. Abbe (Joseph Barnabe de St. Sevin.) published eight works of sonatas and trios for violin; played violin at the Comedie frangaise and Opera from 1739 to 1762. B. Agen, France, June 11, 1727, son of Philippe; d. near Charenton, 1787. Abb6 (Philippe and Pierre de St. Sevin) were famous 'cellists at the Op6ra, Paris, 18th century, having been music masters previously at the parish church, Agen. Exquisite play- ing of Pierre is said to have caused the abandonment of the viol da gamba for the 'cello as an orchestral instrument. Abbelire. /*. To overload a mel- ody with ornament. Abbelitura. It. Embellishment. Abellimeuti. It. Agremens, florid ornaments indicated by a sign. Abbey (John) built organs of im- proved construction for many French churches; left business to his sons, E. and J. Abbey. B. in England, Dec. 22, 1785; d. Versailles, Feb. 19, 1859. Abbott (Bessie) made her debut at the Opfira, Paris, 1902. B. in America ; sop. Metropolitan Opera, New York, 1908. Abbott (Emma) sang leading rdles in her own opera company throughout United States; declined to sing "Trav- iata " on moral grounds. B. Chicago, 1850; d. 1888. Abbreviamenti. It. ABBREVI- ATIONS. Abbreviations are employed in music for terms of expression, as dim. for diminuendo, f. for forte; as arbi- trary signs, such as two dots on either side of an oblique line' for repetition of a group of notes; or as numerals, which serve as shorthand symbols for various chords in figured bass. A-B-C-IDIBEIT. ffer. Exercises in which names of notes replace words. Abd el Kadir (Ben Isa) wrote on the history and theory of music, and collected Arabian songs, 14th century. ABELA Abegg Variations were written by Schumann in compliment to Meta Abegg, on a theme formed of notes contained in her last name. Abeille (Johann Christian Iiud- wig) composed "Amor und Psyche," "Peter und Annchen," an Ash Wednes- day Hymn, songs, harpsichord con- certos and*' trios; was successively concertmeister, organist, and music director to the Duke of WUrtemberg during 50 years. B. Bayreuth, Feb. 20, 1761; d. 1832. Abel. Thomas Augustine Arne's oratorio, performed in London, 1775, proved a failure, although containing a beautiful " Hymn of Eve." Abel (Clamor Heinrich) published dance music for strings, " Erstlinge Musikalischer Blumen," reprinted as "Drei Opera Musica"; musician to Elector of Hanover. B. in Westphalia about 1650. Abel (Earl Priedrich) first made Haydn's symphonies known in Eng- land through concerts he directed with John Christian Bach; wrote sym- phonies, sonatas, etc., once highly pop- ular; the last of great viol da gamba performers. He studied under Johann Sebastian Bach at the Thomas School, Leipsic; played 10 years in the Dres- den court orchestra; made London debut, April 5, 1759, In programme of his own works; became court musi- cian to Queen Charlotte. B. CSthen, Germany, 1725; d. in London, June 22, 1789. Leopold August composed six violin concertos; conducted and played violin at several German courts. B. Cothen, Germany, 1720, brother of KARL FRIEDRICH. Abel (Louis) wrote an excellent violin method.; conducted the Munich court orchestra. B. in Thuringia, 1835 ; d. Munich, Aug. 13, 1895; Abela (Karl Oottlob) promoted the study of song in German public schools; published collections of part songs; became cantor of St. Mary's, Halle, 1825. B. Boma, Germany, April 29, 1823; d. Halle, 1841. Abela (Don Placido) composed church music and played the organ. B. Syracuse, 1814; prior of Monte Cassino; d. July 6, 1876. ▲BELIi i Abell (aTohn) won fame aa a contra ten. and lute player ; published " A Collection of Songs in Several Lan- guages," dedicated to William III, of England, and " A Collection of Songs in English." Educated in the Chapel Royal, favourite of Charles II and James II; dismissed as a Papist after the Revolution of 1688, he wandered through Europe, supporting himself by his art; returned to London in Queen Anne's reign, gaining honours on the lyric stage. B. in England about 1660. Abencerages. Cherubini's three- act opera to French book by Jouy, was first performed at the Opera, Paris, before Napoleon, April 6, 1813. It deals with the destruction of that celebrated princely family by order of the sovereign of Granada. Abendglocke. Qer: Curfew. Abendlied. Oer. Evening song. Abendmusik. Oer. Evening music. Abendstancben. Oer. Serenade. A Bene Placito. It. At pleasure. Abenhamet e Zoraide. Giuseppe Niecolini's opera to Italian text, deal- ing with the destruction of the Aben- cerages, was first presented at Milan, 1805. Abenbeim (Josepb) directed Stutt- gart royal orchestra, 1854 to 1888; composed for voice, piano, and orches- tra. B. Worms, 1804. Abert (Jobann Josef) composed many German operas, including " Anna von Landskron," " Koenig Enzio," "Astorga," "Ekkehard," "Die Almahaden"; a symphony in C minor, etc.; became chapelmaster at Stutt- gart, 1867. B. Koehowitz, Sept. 21, 1832. Abgeben. Oer. To retire. Abgesang. Oer. Refrain. Abgestessen. Oer. Staccata, detached. Ablasen. Oer. To sound a trumpet call. Abkiirzen. Oer. To shorten. Abkurzung. Oer. Abridgment. Abnehmend. Oer. Diminishing. Abos (Geronimo) taught Aprile and other famous singers; composed seven masses and other church music, and the operas "La Pupilla e'l Tutore," ABT " La Serva Padrona," " Ifigenia in Aulide," " Artaserae," " Adriano," "Tito Manlio," " Creso," etc. B. Malta, about 1708; d. Naples, 1786. Abraham's Opfer. Peter Joseph von Lindpaintner's or£|,torio, first sung at Stuttgart, 1821, won its conjposer a gold medal from Queen Victoria. Abram (Jobn) composed " Jerusa- lem," a cantata; "Widow of Nain," an oratorio, etc. ; officiated as organist in many English churches. B. Mar- gate, Aug. 7, 1840. Abraiiis(Theodosia, Harriet, and Eliza) sang in concerts and opera in London from 1775 to 1790. The eldest, Harriet, who composed many popular songs, made her Drury Lane debut in an opera by her teacher. Dr. Ame, when only 15. B. 1760. AbrS.n7i (Kornel) founded the first music journal in Hungarian, 1866; promoted and taught in National Music Academy, Pesth. B. 1822. Abrege. Fr. Abridgment. Abreger. Fr. To shorten; TRACKER. Abruptio. It. Sudden pause ; breaking off. Absatz. Oer, Cadence. Abscbieds (Farewell) Sym- phonie. Composed by Haydn, 1772, was successful in obtaining leave of absence for his musicians, which had been refused by Prince Eaterhazy. One by one the instruments are si- lenced, and at the first performance, each musician, on reaching the end of his part, extinguished his lamp, and silently left the concert room. Abscbnitt. Oer. Section. Absetzen. Oer. Striking two keys in succession with the same finger. Absolute. Music is so called which does not pretend to descriptive or illustrative qualities, as distinguished from "PROGRAMME" music, or opera. Abstammen. Oer. To be derived from. Abstufung. Oer. Shading. Abt (Alfred) conducted at German theatres and opera houses. B. Bruns- wick, 1855, son of Franz; d. GJeneva, April 29, 1888. Abt (Franz) -composed " When the ABTONEIT ^ Swallows Homeward Fly," and more than 3000 other songs ; achieved great success as chorus conductor; visited the United States in 1872, the guest of singing societies, conducted jointly with Gilmore. Educated at the Thomas School, Leipsie; made chapel- master in 1885 by the Duke of Bruns- wick; pensioned, 1881. B. Eilenburg, Dee. 22, 1819; d. Wiesbaden, Mar. 31, 1885. Abtonen. Oer. Off key. Abu Hassan. C. M. von Weber's comic operetta to Gterman text by Hiemer, was first presented at Munich, June 4, 1811; later in French, Italian, and English versions. The story, taken from the " Arabian Nights," re- lates how Abu Hassan and Fatima, his wife, feign death to extort money from Haroun al Raschid and Zobeide. Abyn^don (Henry) remembered as the friend of Sir Thomas More, who wrote his epitaph; was organist and cantor of Wells Cathedral from Nov. 24, 1447, until his death, Sept. 1, 1497. Abwechselnd. Ger. Alternating, as from one organ manual to another. Abweichungf. Ger. Variant. Abzug. Qer. To lift bow or finger, or slide with the finger: Academie de Musique exercised a profound influence upon French music from its establishment, 1669, by let- ters patent from Louis XIV, its pur- pose being " to present in public opera and drama with music, and in French verse." Abb€ Perrin, Robert Cambert, and the Marquis de Sourden were the founders. From the days of LuUy, Rameau, and Gluck, the institution has fostered the growth of lyric drama. It always received a, subsidy from the government. The various SUBSIDIZED THEATRES of Paris, etc., are described in their modem aspect under that title. AcadSmie Spirituelle. Fr. Con- cert of sacred music. Academy of Ancient Kusic organ- ized in London, 1710, by amateurs and professionals for practice and study and the establishment 6f a library, was disbanded in 1792. While under direction of Dr. Pepusch the choirs of ACCELERANDO St. Paul's and the Chapel Royal sang at its concerts. Academy of DEusic means, property speaking, an organization of music teachers and performers, such as the ROYAL ACADEMY, instituted in London, 1824. Academy of Husic (Brooklyn) completed in 1908 at a cost of $1,200,- 000, raised by popular subscription, replaces the older building destroyed by fire where the Thomas concerts, operas, etc., had been given. It in- cludes a large and well-appointed stage with all modern accessories for opera and drama, a symphony hall, and a smaller auditorium for chamber concerts. Academy of Kusic (New York) was built for operatic and concert pur- poses, which it admirably fulfilled until superseded by the Metropolitan Opera House. The first structure, opened in 1854, burned in 1866, but was rebuilt 1867. Academy of Vocal liCusic merged into the King's Concerts of Ancient Music after 1731, was formed in Lon- don by Dr. Pepusch, Gates, King, Green, Gaillard, and Wesley, and gave subscription concerts. Bononcini, Geminiani, and other distinguished musicians were members, although Handel does not appear to have been. A or Alia Capella. It. " In church style," sung without accompaniment; also used for ALLA BREVE. A Capriccio. It. At the perform- er's fancy. Acathistus. Or. Hymn to the Virgin sung in the Greek Church dur- ing Lent. Accademia. It. Academies for the cultivation of the arts and sciences which had their birth in the Italian renaissance were of great service in diffusing knowledige. The earliest devoted exclusively to music were founded in Bologna, 1482, and in Milan, 1484. Accarezzevole. /*. Flatteringly. Accarezzevolmente. It. Caress- ingly. Accelerando or Accelerato. It. Increase the speed. ACCEITT t Accent is the regularly recurring special stress by which rhythm is de- fined. Normally the primary accent is given the first note to the right of the bar. In common time there is a secondary or sub-accent to the third beat, while in compound time lighter accents are given the first of each group of notes. These normal, gram- matical, or metrical accents may be reversed, producing what is called SYNCOPATION, a device to which Beethoven often resorted. Stress for poetic or rhetorical effect is given by expression signs or by the words sfor- zando or tenuto, or by binding an un- accented to an accented chord. Accentor. Leader of a chorus. Accentuare. It. To accent. Accentuation. Emphasizing cer- tain notes. Accentus Ecclesiasticus. L. The system by which singers chanting church music governed the inflexions of their voices on reaching commas, semicolons, colons, periods, question marks, etc., in unnoted service books. There were seven of these accents : im- mutabilis, medius, gravis, acutus, moderatus, interrogativus, and finalis, each having its proper inflexion, though usage differed in various places. Accessisten. Ger, Volunteer choir singers. Accessory Movements. Organ parts not directly connected with pipes. Acclaccatura. It. Short appogi- atura; ornament obtained by striking the note next below that carrying the melody, instantly releasing it, and sustaining only the melodic note. Accidentals are the sharps, flats, and naturals employed to raise, lower, or restore a tone independently of the signature, or sharps and flats grouped after the clef to indicate the key. Accolade. Pr. Brace connecting several staves of a score. Accommodare. It. Attuning one instrument to accord with another. Aocompagnamento. It. Accom- paniment. Accompagnement. Fr. Accom- paniment. ACIS Accompaniment. Part or parts added to the principal or solo passage to enrich or sustain it, or to a con- certed piece. Those styled "ad libi- tum " may be wholly omitted at dis- cretion. Those called "obbligato" must be performed. Accompanist. One who plays ac- companiments. Accoppiato. It. Coupled. Accord. Fr. The notes to which an instrument is tuned; a chord. Accord a I'Ouvert. Fr. Open strings. Accord de Sixte Ajout€e. Fr. Chord of the Added Sixth, Accordamento. It. In tune. Accordanza. It. In tune. Accordando. It. Tuning. Accordare. It. To tune. Accordato. It. Tuned. Accordatura. It. Accord. Accorder. Fr. To tune. Accordeur. Fr. Tuner. Accordion. A fine reed musical instrument invented by Damian of Vienna, 1829, consisting of a bellows vyith metal tongues operated by but- tons played with either hand, and lat- terly capable of the chromatic scale. The principle has been applied to the concertina and harmonium. Accordo. /*. Accord; harmony. Aocordolr. Fr. Tuning key. Accresciuto. It. Augmented. Acetabulum. L. Instrument of I)ercussion anciently made of earthen- ware and struck with a rod. Achromatic. Opposed to chromatic. Achtelnote. Ger. Quaver. Achtelpause. Ger. Quaver rest. A Chula. Port. Dance resembling the fandango. Ach Gott Tom Himmel. Luther's hymn, a paraphrase on Psalm xi, pub- lished in 1524, retains great popular- ity in Germany, where it is still sung to the melody as given in the Erfurdt Enchiridion. Mozart makes use of that chorale in the finale to the second act of his " Magic Piute." Acis and Galatea. Handel's pas- toral opera or masque, to text by Gay with lyrics by Dryden, Pope, and Hughes, was probably composed at Cannons in 1720, and first performed A CINQUE 6 ACT there the following year. In 1788 ments as the flute give overtones in the Mozart rescored the work for Van ratios of 1, 2, 3, and 4. The overtones Swieten. of a closed pipe are in the ratio 1, 3, A Cinque. Fr. In five parts. 5, 7, and this ratio governs in. the case Acoustics is the science which deals of clarinets, which are closed at one with sound and the laws which govern end by the mouthpiece. The complete it. When a tuning fork is struck the series of overtones are given by brass vibrations of its prongs may be seen instruments, and the tones are further and felt. Corresponding vibrations or modified in quality by the form of the sound waves are set up in the air, by tube, the bell, etc. Computation of the which they are communicated to the number of vibrations required for a ear, which in turn conveys the sensa- given tone has been made simple and tion of sound to the brain. If the fork certain by the toothed wheel and the be struck violently the AMPLITUDE siren, and it has been established that, of VIBRATION and consequently the to the average human ear, appreoia- intensity of the sound will be greater tion of pitch begins with vibrations of than if struck gently, but until the from eight to 32 per second, and ends vibrating prongs have returned to rest with 40,000 vibrations per second, the sound waves set in motion will be The octave of any tone may be obtained periodic and of uniform length. If the by doubling the number of vibrations fork indicate a' of French or Interna- by which it is produced. Other pro- tional pitch, these sound waves will be portions need not be given here be- propagated at the rate of 435 per cause, with this exception, in equal second. The essential of sound. By TEMPERAMENT (whereby the oc- which we have come to mean musical tave is divided into twelve nearly equal tone as distinguished from mere noise, semitones) there are no true intervals, is regularity of vibration, and whether In theory the intensity of sound dimin- the sound wave is set in motion by ishes with the inverse square of the an elastic string as when open A is distance from its source, but this loss sounded on the violin; by a reed, as of the volume of tone is counter- when A is intoned on the oboe; by an acted by the use of sounding boards enclosed column of air, as in the case and resonators. Volume of tone in of an organ pipe; a given number of musical instruments is often magni- vibrations per second will always pro- fied in the same manner. A violin duce a tone of the same pitch. The string in vibration sounds faint in quality of a given tone sounded by itself, but the vibrations are com- various instrimients or voices shows municated to the belly of the instru- wonderful variety, however, due the ment by the bridge, and to the back by fact that, in addition to the principal the sounding board, and the tone is tone sounded, which alone is audible thus made louder. Sound waves travel under ordinary circumstances, higher in air at the rate of 1090 feet per second and softer tones appropriately called at 32 P. and between one and two feet " overtones " or " upper partials " are faster per second with every additional almost invariably produced, blending degree of warmth. They traverse with the principal tone and modifying water at the rate of 1435 feet per its quality. Thus when an open string second, iron at the rate of 5030 is set in vibration it produces a prin- feet per second. They may be re- cipal tone, high or low, in proportion fleeted as light waves are, producing to its length, size, and tension, but the the phenomena of echoes and whisper- string divides itself into several vi- ing galleries. brating segments, separated by nodes Act. Natural division in the drama or spots of minimum vibration, and was effected by the Greek chorus, but these segments vibrating twice, four, in the time of Horace the Act had or six times as rapidly as the entire come to be one of five divisions of a string, produce the harmonics called play, each more or less complete, and overtones. Such open pipe instru- with its own climax. Wagner favoured ACTE ' a three-act division in opera, the num- ber generally adhered to in German and Italian operas. There are usually five acts to French classic operas. In- stances of oner and two-act operas are to be found, however, in every national school. Acte de Cadence. Fr, Chords in- troducing a cadence. Action. MecJianism affecting strings, pipes, or stops of an instru- ment, and operated by the keyboard. Actinophone. An instrument pro- ducing sound from actinic rays. Act Husic. Cantatas composed for special occasions at Oxford by pro- fessors of music, to words by profes- sors of poetry. Acton (T. B.) composed vocal music and taught. B. Manchester, 1863. Act Tune. Light music played be- tween acts in the theatre. Acuite. jPV. Acuteness. Acuta. It. Sharp. Acuta. L. Shrill pitched organ stop. Acuta. Accent employed in Greek notation. Acuta? Claves. L. Tones between a and A. Acuteness. Tones having a larger number of vibrations are called acute as distinguished from those having less, which are called grave. Adagietto. It. Slightly faster than adagio; a diminutive adagio. Ada,gio. It. Very slow; gives name to movements of symphonies, etq.; Assai or Di IVEolto, extremely slow; Cautabile, in singing style; £atetit!p, with pathos; Fesante, weightily; Sostenuto, in a sustained manner. Adam (Adolphe Charles) com- posed the POSTILION OF LONG- JUMEAU, the NTJKEMBURG DOLL, and other comip operas highly success- ful in their day, taught composition at the Conservatoire, collaborated with his teacher Boieldieu in his DAME BLANCHE, lost a fortune in attempt- ing to establish a Theatre National, composed delightful ballet music, but failed in grand opera. Born in Paris, July 24, 1803, son of LOUIS, a piano tjeacher at the Conservatoire, he was r ADA3C only permitted to take lessons on promising his father never to write for the stage. He studied organ with Benoist, counterpoint with Bier and Reicha; but so far was he from keep- ing his early promise that he engaged as triangle player at the Gymnase in order to master the technique of the stage. It was at Boieldieu's suggestion that he devoted himself to comic opera. " Pierre et Catherine," his operetta, was produced at the Op6ra Comique, 1829, and the next year, "Danilowa." Other works speedily followed, includ- ing "Le Chalet," "Le Brasseur de Preston," " Le Roi d'Yvetot," " Cagli- ostro," "Richard en Palestine," and the ballets " Faust," " La jolie flUe de Gand," and " Giselle." Adam's failure as manager may have been due the Revolution of 1848, which broke out less than a year after his opening. Five years of his life were manfully given to paying debts incurred in this disaster, and during this period he wrote reviews and stories for the news- papers. He became a member of the Institute in 1844, was made professor at the Conservatoire, 1849, died May 3, 1856. Adam (Louis) taught Kalkbren- ner, the Harolds, Le Moine, Chalieu, his own son "Charles Adolphe, while professor iat the Paris Conserva- toire, wrote " Mgthode de Doigt€ " and "Mgthode Nouvelle pour le Piano " ; was a distinguished pianist, though self taught. B. Muttershols, Alsace, Dec. 3, 1758; d. Paris, April 11, 1848. Adam(de Eulda) composed motets, and in 1490 wrote a tract published in " Scriptores eccles. de Mus. Sacr." (Gerbert von Hornan), wherein he praises Guilielmus Dujay as the first to compose in formal style. B. 1450; Franoonian monk. Adam (de la Hale) wrote " Le jeu de la feuillfe," performed at Arras, Prance, 1262, and " Le jeu de Robin et Marion," performed at Naples, 1285, now regarded as the earliest types of comic opera. The last named .work, revived at Arras in June, 1896, at the f gtes in honour of his memory, has been lately published with a modem aceom- ADAlffBEBOEB paniment for the songs. In 1872 Adam's entire works were republished by Coussemaker, including a number of chansons of which he had written both words and music. Destined for the church, Adam was drawn away for a time by a pretty girl named Marie, but in 1263 he took the habit in Douai, where he doubtless remained until 1282, when he accompanied the French army sent against Naples. B. Arras, 1230; d. Naples, 1288. Adamberger (Valentin) sang ten. and acquired fame as a vocal teacher, and was the friend and adviser of Mo- zart, who wrote the r5le of Belmonte for him. B. Munich, July 6, 1743; d. Vienna, Aug. 24, 1804. Adami da Bolsena (Andrea) wrote a history of the Papal chapel, " Osser- vazloni per ben regolare il Coro dei Cantori della Cappella Pontiflcia." B. Bolsena, Italy, Oct., 1663; d. Rome, July 22, 1742. Adamowski (Joseph) plays 'cello in quartet organized by his brother Timothge. B. Warsaw; joined Boston Symphony Orchestra; m. Antoinette Szumowska; add. Boston. TimothSe organized the Adamowski String Quar- tet in Boston, 1888, came to America as solo violinist to Clara Louise Kel- logg, 1879, later toured ^ith own com- pany, played with Boston Symphony Orchestra, teaches New England Con- servatory, and composes. B. Warsaw, March 24, 1858; add. Boston. Adams (Thomas) composed church music; organist Carlisle Chapel, Lam- beth. B. London, Sept. 5, 1785; d. Sept. 15, 1858. Adcock (Tames) published "The Rudiments of Singing" and many glees; master of Choristers, King's College, Cambjidge. B. Eton, Eng., July 29, 1778; d. April 30, I860. Addison (John) composed music to " The Sleeping Beauty " and other light operas; played 'cello and double- bass; taught singing. B. Eng., 1766; d. Jan. 30, 1844. Additato. /*. With fingering added. Additional Accompaniments have been written for much of the music of the older masters because they 8 ABKIEN often here resorted to figured basa, and to keep pace with changes in the orchestra. Additional Keys are those em- ployed to enlarge an instrument's original compass. Addolorato. /*. Sadly. A Demi Jeu. Fr. Half the instru- ment's capacity in volume. A Deux Hains. Fr. For two hands. A Deux Temps. Fr. Common time. Adiaphonon, invented in 1820 by Schuster, of Vienna, is a piano with metal bars instead of strings, which remain permanently in tune. Adirato. /*. Angrily. Adjunct Notes. AUXILIARIES. Adler (Guide) became professor of music, University of Vienna, 1898, succeeding Hanslick; edited Fro- berger anew, 1903; editor-in-chief " Denkmaler der tonkunst in Oster- reich " since 1894. B. Eibenshiitz, Moravia, Nov. 1, 1855; add. Vienna. Adlgasser (Anton Cajetan) was attached to Salzburg Cathedral, cele- brated as organist and contrapuntist. B. Inzell, Bavaria, April 3, 1728; d. Dec. 21, 1777. Ad Iiibitum. L. At pleasure. Adlung (Jacob) wrote valuable books on the organ, which instrument he played and taught. B. Binders- leben, Erfurt, Jan. 14, 1699; d. July 5, 1762. Adolfatl (Andrea) composed much church music and many operas, " La Clemenza di Tito," " L'Artaserse," etc., and conducted in Venice and Genoa. B. Venice, 1711. Adornamento. /*. Adornment or grace. Ad Placitum. L. Free part added to strict canon. Adrien or Andrien (Iffartin Jo- seph"l'aing") sang bass at the Paris Op6ra from 1785 to 1804, and com- posed "Hymn a la Viotoire," etc., chorusmaster at the Op6ra and teacher. B. Liege, May 26, 1767; d. Nov. 19, 1824. His brother published collec- tion of songs in Paris about 1802, and Ferdinand, a second brother, com- posed songs and, from 1798 to 1800, was choirmaster at the Op6ra, A BTTE 9 A Due. /*. Indicates on a score where two parts for voices or instru- ments are on one stave they sound in unison. A division is indicated by the term DIVISI; Corde, for two strings; Stromenti, two instriunents; Voci, two voices. A Dur. Qer. A major. Aelsters (Georges Jacques) wrote much church music, including "Mis- erere," still used; directed at St. Mar- tin's, Ghent, fifty years. B. Ghent, 1770; d. April 11, 1849. Aengstlich. Qer. Timidly. Aeolian Harp first described in Kircher's Musurgia; is an instrument acted on by the wind, hence named for Aeolus, the wind god, possibly in- vented by Kircher. Six or more strings are attached to a shallow wooden box to give resonance, passed over bridges and tuned in unison, and these, set in vibration by air currents passing over them, give the tones of an open string with its harmonics or over- tones, shifting with the pressure, and of wonderfully sweet, pure quality. Aeolian SCode was fifth in the series of MODES of the GREGORIAN system. Aeolian Organ is one equipped with the mechanical device for auto- matic playing on the principle of the PIANOLA, in which the performer largely controls expression and tempo and stops. The keys are operated through the action of a bellows at- tachment and by means of rolls of paper with perforations for the notes. Aeolina or liffouth. Organ or mouth harmonica, invented by Messrs. Wheat- stone, 1829, consists of metal plates enclosing free reeds ; a favourite musi- cal toy with children in all countries. Aeolodion or Aeolodicon, invented probably by Eschenbach of Hamburg, is an instrument of the harmonium family in which the tone is produced from steel springs. First known about 1800, it has been variously modified as Aeolomelodicon and Choraleon, but though useful for accompanying the voice, has become obsolete. Aerts (Egidius) played and taught flute at the Brussels Conservatory; composed for orchestra and flute. B. AFBICAINE teoom, near Antwerp, Mar. 1, 1822; d. Brussels, June 9, 1853. Aequlsonae Voces. L. Tones and their octaves or super octaves. Aevia. An abbreviation by elision of consonants of Alleluia much used in ancient church music. AfCabile. It. Affable. Affannato. /*. Distressingly. Affannosamente. Restlessness. Affannoso. /*. Sadly. Affetto, con. /*. With affection. Affettuoso. /*. With feeling. Affinity. Relative connection, as between keys of aflinity. Affllard, 1' (Michel) wrote a valu- able work on sight singing, and sang ten. at the court of Louis XIV for a quarter of a century beginning 1683. Afflizione. It. With afiOiction. AfCrettando. It. Hurrying with excitement. A Fofa. Port. Portuguese dance like the FANDANGO. Afranio (Canon) invented the bas- soon, according to best authorities. B. Pavia, Canon of Ferrara, 16th century. Africain«. Giacomo Meyerbeer's opera in five acts to text by E. Scribe is one of the latest of that master's works, not having been completed until the year of his death, although begun 1838, and was first performed April 28, 1865, at the Acad€mie, Paris. ITie pro- tagonist of the work, which is pseudo- historic, is Vasco da Gama, the Portu- guese navigator. The curtain rises on the royal council chamber in Lisbcm. Donna Inez, who loves Vasco, has been called by her father. Admiral Diego, to hear that her hand had been promised Don Pedro, a counsellor of the king's ; and when she has been told that Vasco has perished at sea, she" hurries away, with Anna, her maid, just as the council assembles. Vasco imexpectedly appears before the council, describes the wreck at the Cape of Storms, which he alone survived, and begs for a ship in which to continue his explorations. Selika and Nelusko, slaves he has pur- chased in Africa, are produced as evi- dence of unknown countries ; but they refuse to answer questions; Vasco quarrels with the Grand Inquisitore, AFBICAINE 10 AONESI and is thrown into the prison of the Inquisition, his slaves with him. Se- lika, a queen in her own country, is loved by Nelusko, who tries to kill Vasco but is prevented by Selika. She then tells the explorer, how her island home can be reached. As Vasco ex- presses his gratitude, Pon Pedro and Inez enter with his pardon. Diego is commissioned to make the exploration Vasco has planned, and the promise of Inez to become his wife was the condi- tion of Vasco's pardon. Inez suspects that Vasco loves Selika, and to prove her suspicion unfounded he presents Selika to her. Nelusko undertakes to serve Don Pedro as pilot, and thus in the third act most of the characters are assembled in the cabin of a ship. Don Alvar warns Pedro that Nelusko is planning treachery, but the warning is not regarded. A typhoon arises. Ne- lusko turns the vessel toward his na- tive coast, but just then a strange vessel is sighted. Vasco, who has hurried after the fleet commanded by Pedro, knowing the danger of the spot, comes aboard to warn his enemy of his peril, hoping to save Inez. Pedro orders his unfortunate rival to be tied to a mast and shot. Selika threatens unless Vasco's life is spared to kill Inez, but she is overpowered. Just then the tempest breaks,, and before they have recovered from the panid it occasions the vessel is overrun by sav- ages. They recognize their queen in Selika, and are restrained with diflS- culty from murdering the entire crew. The coronation of Selika takes place in the fourth act. The Brahmins demand the lives of the strangers, but to save Vasco, Selika swears he is her hus- band, a statement which Nelusko, who loves her more than he hates Vasco, confirms. Vasco vows eternal fidelity to her, but hearing the voice of Inez, whom he believed dead, betrays his love for the queen's rival. ■ In the last act Selika has determined to put Inez to death,, but relents on learning how she loves Vasco, and directs Nelusko to put Inez and Vasco aboard a ship and send them home. . Unable to survive the absence of the man she adores, Selika watches the ship sail away from beneath the shade of the deadly Hanzanilla tree, and as Nelusko comes to her she dies, and her faithful ser- vant dies with her. The original caste was: Selika, Marie Saxe, sop.;^ Inez, Marie Batte, sop. ; Anna, con.; Vasco, Naudin, ten.; Nelusko, Faure, bass; Don Pedro, Belval, bass; Don Diego, bass; Don Alvar, bass; High Priest, Obin, bass; Grand Inquisitore, bass. The principal musical numbers are: Act I : " Del Tago sponde addio," Inez; "Tu che la terra adora," and "Ribelle, insolente," chorus; Act. II: "In grembo a me" (slumber song), Selika; "Tranquillo e gia," Vasco; " Figlia dei Ke," Nelusko; finals, sex- tet; Act III: "Adamastor, re dell' onde profondo," Nelusko; Act IV:. "O Paradiso," Vasco; "Dove son," Vasco and Selika; Act V: "Da qui io vedo il mar," " O tempio sontuoso," " O douce extase," Selika. Af zelius (Arvid August) collected valuable material regarding Swedish national music, edited " Svenska Folk- visor " with Geijer, and wrote his- torical notes to " Afsked af Svenska Folksharpan." B. Enkoping, May- 6, 1785; d. Sept. 25, 1871. Agazzari (Agostino)' wrote on mu- sical reforms demanded by Coimcil of Trent; composed masses and madri- gals; chapelmaster Sienna Cathedral. B. Dec. 2, 1578, Sienna; d. April 10, 1640. f. Agevole. It. With agility. Agevolezza. It. Lightly.. » Aggraver la Fugue. Fr. Aug- menting the fugue. , Agilita, con. It. With agility. Agilite. Fr. Perform with light- ness and freedom. ' Agilmeate. /*. In lively style. Agitato. It. KestlesB, agitated. Agitazione, con. It. With agita- tion. Agnesi QLouiB Ferdinand Leo- pold) composed the opera " Harold le Norman "_ and, on its failure, distin- guished himself as bass singer in opera and oratorio. B. at Erpent, Namur, July 17, 1833 (real name Agniez) ; d. London, Feb. 2, 1875. Agnesi (Haria Theresa) composed five operas, several cantatas, and much AGITTTS DEI 11 AHLE piano music. B. Milan, 1724, sister of Maria Gaetana; d. 1780. Agnus Dei. L. " Lamb of God," is part of the music of the MASS. Agostini (Xiudovico) wrote music and words of madrigals and other vocal works; chapelmaster to the Duke of Este. B. Ferrara, 1534 ; d. Sept. 20, 1590. Agoge. Or. Term applied to writ- ing melody by the Greeks, and relat- ing to the succession and pitch of the tones; Khythmica, succession of tones in melody as to rhythm and accent. Agostini (Paolo) composed church music, directed at the Vatican Chapel ; played organ at many Boman churches. B. Valerano, 1593; d. Rome, Sept. 1629. Agostini (Fietro Simone) com- posed operas, cantatas, and oratorios; chapelmaster to the Duke of Parma. B. Rome, 1650. Agranxonte (Emilio) taught vocal music, lectured, composed a " Stabat Mater." B. Puerto Principe, Cuba, Nov. 28, 1844; educated in Europe; add. since 1868, New York. Agrell (iTohann •Toachim) com- posed concertos and sonatas; court musician at Cassel and conductor at Nuremberg. B. Loth, Sweden, Feb. 1, 1701; d. Nuremberg, Jan. 19, 1765. A Grand Choeur. Fr. For grand chorus. A Orand Orchestre. Fr. For grand orchestra. Agremens. Fr. Grace notes, trills, turns, and other embellishments indi- cated by small notes or signs. Agricola (Alexander) composed church music, much of which is still in manuscript; symphonist to King Philip of Spain. B. Belgium, 1446; d. Valladolid, 1506. Agricola (George Ludwig) com- posed " Musikalische Nebenstimden"; chapelmaster at Gotha. B. Grossen- Furra, Thuringia, Oct. 25, 1643; d. Gotha, Feb. 20, 1676. Agricola (Johann) composed three collections of motets, taught in Erfurt Gymnasium. B. Nuremburg, 1570. Agricola (Johann Friedrlch) com- posed for Frederic the Great of Prussia, whose music he arranged; studied under Sebastian Bach; wrote on musical science and aesthetics. B. Jan. 4, 1720, Dobitz, Saxony; d. Ber- lin, Dec. 1, 1774. Agricola (lEartin) wrote impor- tant books on musical science and concerning the conflict between tne old and modem systems of notation; sang and taught in Madgeburg's first Protestant school. B. 1500, Sorau, Lower Silesia; d. June 10, 1556, Madgeburg. Agricola (Wolfgang Christoph) composed motets and masses and " Fasciculus Musicalis," 17th century. Agthe (Carl Christian) composed six operas, songs, and sonatas ; played organ. B. Hettstadt, 1762 ; d. Ballen- stedt, Nov. 27, 1797. Agthe (W. J. Albrecht) taught music in Berlin and other cities, num- bering Kullak among his pij|)ils. B. Ballenstedt, April 14, 1790; son of Carl Christian; d. Berlin, Oct. 8, 1873. Aguado (Dionisio) wrote an excel- lent method for gilitar and much music for that instrument, on which he was a virtuoso. B. Madrid, April 8, 1784; pupil of Garcia; d. Deo. 20, 1849, Madrid. Aguilera de Heredia (Sebastian) composed Magnificats for from four to eight voices still sung in Spanish churches; directed music at Sara- gossa Cathedral. Spanish monk, 17th century. Agujari (Lucrezia), called "La Bastardina " or " Bastardella," pos- sessed the extraordinaiy range of three octaves from middle C, sangf in opera with great success, winning high praise from Mozart, and at the Pan- theon concerts, receiving $500 for two songs when in her prime, " the highest price for the highest tones " of her generation. B. Ferrara, 1743, studied under Abbe Lambertini; debut, Flor- ence, 1764; married Colla, the com- poser, 1780; d. May 18, 1783, Parma. Able (Johann Rudolph) 'composed church music, the hymn "Liebster JesU wir sind hier" still popular in Thu- ringian Protestant churches; wrote a successful book on singing. B. Miihl- AHLSTBOEM 12 AIDA hausen, Dec. 24, 1625; d. July 8, 1673. Johann Georg composed hymns and was poet laureate to Emperor Leo- pold I. B. 1650; son of JOHANN RUDOLPH; d. Dec. 2, 1706. Ahlstroem (Olof) edited collection of Swedish folk music, composed and played organ. B. Aug. 14, 1756, Sweden; d. Aug. 11, 1835. Ahna, de (Heinrich Karl Her- mann) led the Berlin royal orchestra, taught in the Hochshule and played second violin in Joachim quartet. B. June 22, 1835, Vienna; d. Nov. 1, 1892, Berlin. Ahna, de (Eleanora) sang mez. sop. rSles at Berlin opera. B. Jan. 8, 1838; d. May 10, 1865. Aiblinger (Johann Caspar) failed with his only opera, " Rodrigo e Chimene," but composed church music still popular with Catholics of south- em G^many; conducted Munich opera, 1823; collected ancient classic music, now in Munich Bibliothek. B. Feb. 23, 1779, Wasserburg, Bavaria; d. May 6, 1867. Aichinger (Gregor) composed church music in the Venetian style. B. 1565; entered the Church, studied in Rome; d. Jan. 21, 1628. Aida. Giuseppe Verdi's four-act opera to words by Antonio Ghislanzoni was composed at the request of the Khedive of Egypt and first performed during the festivities attending the opening of the Suez Canal at the Cairo Opera House, Dec. 24, 1871, and the following year at Milan. The scene is laid in Memphis and Thebes in the time of the Pharaohs. Ramfls, High Priest of lais, tells Radames, the Egyptian general, that the Ethiopians have again broken into revolt, at which the soldier rejoices, for he hopes to lead the army to victory and thus claim as reward Aida, an Ethiopian captive who has become the companion of Amneris, daughter of Egypt's king. A messenger announces that the Ethio- pians are led by their king Amonasro, Ramfis declares that Isis has chosen Radames to defend the country, and the young general is taken to the temple to receive the consecrated arms «nd invoke the goddess' blessing. In the next act Amneris, by pretending that Radames has been killed in battle, forces Aida to confess her love, but as she threatens vengeance, the army is heard returning in triumph. As the victors are welcomed, Aida recognizes among the captives Amonasro, her father, and Ethiopia's king. Amon- asro warns her not to betray his rank, and, despite the clamour for their death, Radames obtains Pharaoh's promise that all the prisoners shall live, though Amonasro is to remain in captivity with Aida. Pharaolj, an- nounces that he will reward Radames by giving him Amneris. In the third act, Amonasro, having discovered the mutual love of Radames and Aida, forces her to learn from Radames the plan of his next campaign. When he has done this, Amonasro discovers himself, and urges Radames to have recourse to flight, the only outcome of the dilemma into which he has been drawn. Radames agrees, but Amneris, who has been praying for the love of Radames in a nearby temple, sur- prises them, and, although Amonasro and Aida escape, Radames remains captive to the High Priest. In the final act Radames has been condemned as a traitor, to be burned alive, but Amneris offers to save him if he will renounce Aida. He refuses, and the scene changes so as to represent not only the hall of judgment, but the vault beneath the altar in which Radames is to be immured. Aida has managed to hide herself in a recess of the vault, and together she and Radames bid farewell to life. In the temple above, the priests are chanting, priest- esses are dancing the sacred rites, and Amneris, who had repented of her jealousy and tried to save Radames when it was too late, utters a prayer for his eternal happiness. The best known musical numbers are: Act I: "Ah Celeste Aida," Radames, ten.; "Retorna vincitor" and "Nvmii,pieta," Aida, sop.; Act II: "Alia pompa," Amneris, con., and Aida; "Questa assisa," Amonasro, bar. ; " Gloria sill' Egitto," tutti; Act III: "O cieli az- aurri," Aida; "Rivedro le foreste," Amonasro; " Fuggiam gli ardori." AiaXT 13 ALBBBT Aida; Act IV: "Chi ti aalva," Am- neria, " Ohimfe morir mi sento," Amne- ris ; " O terra addio," Eadames and Aida. Aigu. Fr. Shrill, acute. Aimon (Famphile Leopold. Fran- Spis) composed " Michel et Christine," performed with great success in 1821, six other operas, much chamber music; conducted Marseilles theatre orchestra at 17. B. L'Isle, near Avignon Oct. 4, 1779; d. Feb. 2, 1866, Paris. Air. Melody or tune. Ais. Qer. A sharp. A'Kempis (Nicholas) composed three books of symphonies and played organ at Ste. Gudule's church, Brus- sels, 16^8. Akeroyde (Samuel) composed many popular English songs, 17th century. Akkord. Ger. Chord. A la. Fr. In the manner of. Al, AH', Alia. It. In the manner of. Ala (Oiovanni Battista) played organ in Milan churches and com- posed operas and sacred music. B. Monza, 1580; d. 1612. AJabiev (Alexander Nicolavich) composed " The Nightingale," nearly 100 songs, vaudevilles. B. Aug. 30, 1802, Moscow; d. 1852. Alard (Delphin) wrote an excel- lent " Violin School " ; succeeded Bail- lot as professor of violin at the Paris Conservatoire, 1843; was among the foremost virtuosi of his day. B. Bay- onne, Mar. 8, 1815; d. Paris, Feb. 22, 1888. Alamoth. Heb. Biblical music term occurring in Fsalm IxvHi, and of unknown meaning. Alarum, All 'Arm. It. A call to arms. Albani (lUatbias) made violins modelled on those of Stainer, whose pupil he was. B. Botzen, 1621; d. Botzen, 1673. Ilathlas made violins, the best of which nearly equal those of the Amatis, with whom he studied after a long apprenticeship with MATHIAS, his father. B. Botzen; d. RiHne. Albani (Marie Ii. C. E. Lajeu- nesse) sang sop. in opera and oratorio with very great success, her rfiles varying, from Lucia to Isolde. B. Nov. 1, 1850, Chambly, near Montreal, sang in Cathedral, Albany, N. Y., studied with Duprez, Paris, Lamperti, Milan; debut in " Sonnambula " at Messina, 1870, under name Albani, suggested by Lamberti; m. Ernest Gye, 1878; add. London. Albeniz (Isaac) wrote " The Magic Opal," comic opera, 1893, "Enrico Clifford " and " Pepita Jimenez," per- fumed at Barcelona, 1894 and 1895; played piano. B. May 29, 1861, Com- prodon, Spain. Albeniz (Pedro) conducted music at Cathedrals of San Sebastian and Logrono; wrote church music and book of solfeggi. B. Biscay, 1755; entered the Church; d. 1821. Albeniz (Pedrq) wrote piano method in use at Madrid Conserva- toire, 70 piano - compositions, and songs; secretary to the Queen of Spain, 1847. B. Logrono, April 14, 1795 ; d. Madrid, April 12, 1855. Albergati (Count Firro Capacelli) composed operas, church and instru- mental music, while in service of Em- peror Leopold I. B, Bologna, 1663; d. 1735. Albert (Heinrich), " Father of the Oerman Lied," was poet, oirganist, and composer, and aided in establishing Glerman opera, although his " ComS- dien Musik," as well as the " Daphne," composed by his uncle, H. Schtttz, re- garded as the earliest Oerman operas, are both lost. First trained in music by Schatz, he became a pupil of Sto- b^us in later life. "G-ott des Himmels und der Erden" is one of the many hymns still sung tos which he wrote both words and music, and his secular songs, published under royal and im- perial patronage, were widely- 14 ALDBICH ner's " Lohengrin." B. Roaenau, Co- burg, Aug. 26, 1819; m. Feb. 10, 1840; d. Deo. 14, 1861. Albert, d' (Charles Louis Na- poleon) composed dance music, was ballet master at Covent Garden, and taught dancing. B. Feb. 25, 1809 ; son of a French cavalry captain; d. Lon- don, May 26, 1886. Euggue Francis Charles composed " Der Rubin," 1893; "Ghiamonda," 1895; "Gemot," 1897; "Die Abreise," 1898; a sym- phony, cantatas, overtures, piano con- certos, and chamber music; in earlier life was regarded as one of the greatest of pianists. Son of CHARLES LOUIS NAPOLEON, b. Glasgow, April 10, 1864; young d' Albert studied first with his father, then with Pauer, Stainer, Prout, and Sullivan, complet- ing his technical training under Liszt. In 1892 he married Teresa Carreno, but they were divorced in 1895, the year in which d'Albert accepted the post of chapelmaster at Weimar. D'Albert has since married Hermine Fink, the singer. " Tragabaldas," or " The Borrowed Husband," produced at Hamburg, Dec. 3, 1907, his comic opera, was a flat failure. " Tiefland," or " The Lowland," a serious work of the realistic school, was a dis- tinct success in Berlin later in the season, and was repeated in Dresden, etc. In the summer of 1908 d'Albert began an Indian opera to be called " Izeyl." Albertazzi (Emma) sang con. at Madrid, Paris, Milan, and London. B. May 1, 1814; maiden name Howson; m. at 17 ; d. Sept. 25, 1847. Albert! Bass. An accompaniment of broken chords or arpeggios so called from its reputed inventor, DOMEN- ICO ALBERTI. Albert! (Domenico) played piano, sang; employed the bass formula named for him; pupil of Lotti. B. Venice, 1707; d. Formio, 1740. Albion! (SCarietta) Rossini's only pupil, became the greatest con. singer of the last century. B. Cesena, Ro- magna, Mar. 10, 1823; debut at La Scala, Milan, 1843; m. Count A. Pepoli, 1854, afterwards residing in Earis; d. June 23, 1894. Albrechtsberger (Johann Georg) taught Beethoven, Hummel, Weigl, Eybler, Mosel, and Seyfried; court organist and director at St. Stephen's, Vienna; composed and wrote on the- ory. B. Feb. 3, 1736, Klosterneu- berg, near Vienna; d. Vienna, Maj-. 7, 1809. Albumblatt. Ger. Album piece. Alceste. Ghristoph Willibald Gluck's three-act opera to book by Calzabigi was first performed Dec. 16, 1767, at Vienna. The "Epltre D6di- catoire," in which Gluck explains his convictions regarding operatic form, is contained in this work, which may be said to mark the beginning of the rev- olution against degenerateltalian form. The work was given in Paris in 1776, and was revived in that city in 1861, Mme. Pauline Viardot singing the leading rSle. Alchymist. Ludwig Spohr's opera to text by Pfeififer, founded on a Span- ish tale by Washington Irving, was first performed at Cassel in honour of the Elector's birthday, July 28, 1830. Alcock (John) composed for vocal, harpsichord, and church music; or- ganist and chorusmaster, Litchfield Cathedral. B.April 11, 1715,London; d. Litchfield, 1806. John com.posed songs and anthems; church organist. B. 1740; son of JOHN; d. Mar. 30, 1791. Alcock (John) composed songs and anthems; church organist. B. 1740; son of JOHN; d. Mar. 30, 1791. Alday (Paul) wrote popular violin music, on which instrument he was an expert performer; founded music school in Dublin. B. 1764, pupil of Viotti; d. Dublin, 1835. An elder brother, b. 1763, wrote a useful method for violin, played both mandolin and violin, and established a music busi- ness in Lyons. Their father, b. in Perpignan, 1737, was a mandolin player of note. Aldrich (Henry) composed church music and collected large musical li- brary bequeathed to Christ Church, Oxford, of which he was Dean. B. 1647; d. Jan. 19, 1710. Aldrich (Bichard) wrote music reviews for the New York Times, pre- pared volume on Schumann and edited ALSKOVASrillNI IS ALLA MENTE series of musical biographies, eon- F. von Schober; first performed at' tributed to magazines. B. Providence, Weimar, June 24, 1854; was com- R. I., July 31, 1863; graduated from pleted Feb. 27, 1822. The overture Harvard; studied under J. K. Paine; has been plEtyed as the prelude to critic Providence Journal; associate "Rosamunde." critic New York Tribune; collabora- Alford (Jolin) published his trans- tor with H. E. Krehbiel in "History lation of Le Roy's work on the lute, of the Philharmonic Society"; add. London, 1568. New York City. Algarottl (Count Francesco) Aldrovandini (Giuseppe Antonio wrote a work pointing out defects in Vincenzo) composed 11 operas and opera and describing an ideal theatre "Armonia Sacra"; member Bologna (1775) prophetic of Bayreuth. B. Philharmonic Academy and chapel- Venice, Dee. 11, 1712; d. Pisa, May 3, master to Duke of Mantua. B. Bo- 1764. logna, 1673. Allan! (Francesco) wrote three Alembert, d' (Jean Le Bond) books of duets for 'cellos, taught and wrote on acoustics and musical topics, played 'cello. B. Piacenza, 1820. B. Paris, Nov. 16, 1717; d. Paris, All Baba. Luigi Cherubini's opera, 1783. first produced July 22, 1833, at the Alessandro(Koman.o) called "della Grand Opfira, Paris; was built up Viola " because of his skill on that in part from his "Faniska" and instrument; composed madrigals, "Achille" with a new overture to li- songs. B. Rome about 1530. bretto adapted from his " Koukourgi." Alexander Balus. George Frederick Aliprandi (Bernardo) composed Handel's oratorio to words by Dr. operas; directed Munich court or- Morell was first performed at Covent chestra. B. Tuscany about 1710. Garden, London, Mar. 9, 1748. An Bernardo composed for and played autograph note on the work states 'cello. Son of BERNARDO, that it was begun June 1, 1747, fully Aliquot Tones. Overtones or scored to the end of the second part, harttionics. June 24, and completed July 4 of the A Livre Ouvert. Fr. At sight, same year. It was the composer's Alkan (Charles Henry Valentin thirteenth oratorio, and the next after Ifforbange) played and composed " Judas Maccabaeus." etudes and caprices for piano and Alexander (Johann or Joseph) taught. B. Paris, Nov. 30, 1813; d. Wrote "Anweisung fur das Violoncell," Mar. 29, 1888. a method for the instrument on which Alia Breve. It. Quick common he was a virtuoso. B. 1770, Duisburg; time, also called A CAPELLA from d. 1822. having been employed in ancient Alexander's Feast. George Fred- church music, crick Handel's setting of Dryden's AUacci (Leone) published " Drama- poem was completed Jan. 12, 1736, turgia " in Rome, 1666, which contains added to by Newburgh Hamilton, and names of all Italian operas to that first performed Feb. 19, 1736, at Co- date. B. Chios, 1586; custodian Vat- vent ' Garden, London. Mozart re- ican Library; d. Jan. 19, 1669. scftred the work. Alia Caccla. /*. Hunting style. Alfieri (Pietro) taught Gregorian Alia Camera. It. Like chamber music at the English College, Rome; music. wrote on plain song and polyphony; Alia Capella. It. A CAPELLA. collected polyphonic music of the great Alia Diritta. It. With direct masters. B. Rome, June 29, 1801 ; en- intervals. tered the Church (Camaldulian) ; d. AUaEanacca. It. Like a polonaise. Jime 12, 1863. Alia DCarcia. It. March style. Al Fine. It. " To the end." Alia Mente. It. Obsolete har- Alfouso und Estrella. Franz monic system of thirds and fifths, Schubert's three-act opera to book by based on plain song. ALLA MILITAIBE 16 ALTENBTTBa Alia Illilitaire. It. Military style. Alia Uodema. It. In modern manner. AH' Antico. /*. "In ancient style." Alia Susse. It. Russian style. AUargando. It. Increased volume and dignity with decrease in time. Alia Scozzese. It. Scotch style. Alia Siciliaua. It. Sicilian style. AUaZoppa. It. SYNCOPATED. AUegranti (Maddelena) sang sop. in opera and oratorio from debut, Venice, 1771 to 1799. Allegramente. /*. Gaily. Allegrettino. It. Slower than allegretto. Allegretto. It. Slower than al- legro but faster than andante. AUegrl (Gregorio) composed a fa- mous Miserere for the Sistine Chapel, where he was a singer. B. 1580, Rome; entered the Church;- d. Feb. 18, 1652. Allegro. It. "Cheerful." Quick tempo between andante and presto, generally modified by other musical terms. Alleluia. L. Latin form of Hebrew Hallelujah, which means " Praise ye the Lord." AUemande. Fr. Slow dance in common time popular in France from the reign of Louis XIX to that of Napoleon; movement in early suites and sonatas; the Deutscher Tanz in triple time; a German folk dance in 2-4 time. Allen (Henry Bobinson) com- posed " The Maid of Athens " and other popular ballads ; sang bass opera rSles with success. B. Cork, 1809; d. ISTov. 27, 1876. Allentamento. It. Slowing down. AUentato. It. Retarding. Al Loco. It. Cancels direction to play an octave higher or lower. Allison (Richard) composed a ver- sion of Psalms for four voices with accompaniment (1592), part songs, taught music in London during Eliza- beth's reign. Allison (Robert) sang in Chapel Royal, Eng., for twenty years, giv- ing way to Humphrey Bache, Feb. 8, 1609. AUonger I'Archet. Fr. Length- ening the bow stroke. All 'Ottava. It. Indicates music to be performed an octave higher or lower than written. All 'TJnisono. It. In unison. Almahide. The first opera to be sung in England wholly in Italian (Jan., 1710), anonynious, but in Bon- oncini's style; was performed the year of Handel's arrival in London, at the Haymarket. Almeurader (Karl) improved and played bassoon, for which he also com- posed. B. Oct. 3, 1786, Ronsdorf, near Dusseldorf ; d. Sept. 14, 1843. Alpenborn or Alphorn. used by Swiss and other mountaineers; is constructed of wood and bark and gives only the open tube's tones and harmonics. Alphabet. The letters used ^ in music as they occur in the natural scale are C, D, E, F, G, A, B. The oldest harps and shepherd pipes are believed to have had seven tones, to which the Greeks gave the names of letters, A being the lowest. Greek no- tation became highly complicated with the development of the MODES and Pope Gregory the Great changed church notation, again employing the first seven letters, indicating the lower octave by capitals, and the upper by small letters.' Notes were gradually added to the lower A, and when the modern SCALE was adopted in the 16th century, the lowest tone had be- come C instead of A. In addition, Germans use H for B natural, B for B flat. Al Bigore di Tempo. /*. In strict time. Al Segno. It. To the sign. Alsager (Thomas Kassa) pro- moted chamber music, etc. B. Chesh- ire, 1779; d. London, Nov. 15, 1846. Alt. Ger. Alto, high. Notes in alt begin with g above the treble stafif; those an octave higher are in altissimo. Alta. /*. High, higher. Altenburg (Johann Casper) be- came famous as trumpeter; d. 1761. Johann Ernst wrote a book on the trumpet, on which he was a celebrated ALTENBUBQ 17 AUBBOGETTI performer. B. 1736, Weissenfels, son of Johann Casper; d. May 4, 1801, Bitterfeld. Altenburg (SEichael) composed and arranged church music. B. May 27, 1584, Alach, near Erfurt; pastor at Erfurt; d. Feb. 12, 1640. Alterata. L. Scales containing notes other than those in church modes. Alteratio. L. In obsolete nota- tion, doubling length of a note. Alterato. It. Altered or augmented. Altere. Fr. Altered. Alternaxaente. It. Alternating. Alternative. It. A trio; a pas- sage which may be played two ways. Altgeige. Ger. The VIOLA. Altieramente. It. Proudly. Altisono. It. High sounding. Altissimo. It. Highest. Altista. It. Alto singer. AltSs (Ernest Eugene) conducted at Paris Opfira, 1879-1887; played violin in Conservatoire orchestra; composed. B. Mar. 28, 1830, Paris; d. July, 1899. Joseph. Henri won celeb- , rity as flautist. B. Rouen, 1826, brother of ERNEST EUGENE; d. Paris, 1895. Althom. Tenor of the SAXHORN. Altnikol (Johann Christoph) played organ and composed, studied with Sebastian Bach, whose daughter Elizabeth J. F. he married. B. Berna ; d. Naumberg, July, 1759. Alto. /*. The highest male voice or counter tenor, extended to include the falsetto tenor register, sung by aiti naturali or castrati. The term is less properly applied to low voices of boys and CONTRALTO voices of women. Alto Basso. It. Obsolete Venetian stringed instrument. Alto Viola. It. The VIOLA. Altra Volta. It. Obsolete syno- nym for encore. Alvary (3Cax) achieved fame as singer of Wagnerian ten. rSles. B. Diisseldorf, May 3, 1858; son of An- dreas Achenbach; d. Nov. 7, 1898, Thuringia. Alwood (Bichard) composed church music, 16th century. Alzamento di Kano. It. Up beat of the hand in conducting. Alzando. It. Raising, elevating. Amabile. It. Lovely. Amabilita, con. It. Gently, tenderly. Amarevole. It. Sad. Amarezza, con. It. With sadness. Amarissimamente. It. Very bitterly. Amarissimo. It. In mournful style. Amateur. Fr. One who devotes himself to art for the love of it, not for pay. Amati. Celebrated Cremonese fam- ily of violin makers, of patrician origin, whose instruments are among the best in the world to-day, and who may be said to have fixed the form of that instrument. Andrea made vio- lins, tenors, and 'cellos, probably studied with GASPAR DA SALO or MAGGINI. B. 1520; d. 1611. Nicole, his younger brother, made basses from 1568 to 1635. Antonio, son of An- drea, improved on his father's work, 1550^1638; and Oeronimo, his brother, developed instruments of su- perior qualityand larger pattern, 1551- 1635. Nicolo, son of Geronimo, with- out altering the Amati model, improved the qualities of his instruments, and was the teacher of ANDREA GUAR- NIERI and ANTONIO STRADIVARI. He made tenors and 'cellos, and a larger type of violins now called "Grand Amatis." B. Sept. 3, 1596; d. Aug. 12, 1684. Oeronlino, son of Nicolo, was the last and least im- portant of the family. B. 1649; d. 1740. Amber Witch. W. V. Wallace's four-act romantic opera to text by H. F. Chorley, was first produced in London, Feb. 28, 1861. Ambira. African cylindrical drum with wood or iron vibrating tongues. Ambitus. L. The compass of a church tone. Ambo. Platform from which the choir sang in ancient Greek churches. Ambrogetti (Giuseppe) sang buffo rdles at Paris and London operas from 1807 to 1821, and is said to have be- come a monk. AHBBOS 18 AITABATHBEI Ambros (August Wilhelm) wrote a histoiy of music regarded as the mo^t authoritative in German, nu- merous essays, composed, lectured at Prague University. B. Nov. 17, 1816, Mauth, Bohemia; d.. Vienna, June 28, 1876. Ambrose, St. (Ambrosius) became bishop of Milan and established the form of plain song for use in his ca- thedral called Ambrosian. B. Treves, 333; d. Milan, April 4, 397. Ajnbrosian Chant was promul- gated at the cathedral of Milan by St. Ambrose, 384, and is characterized as highly impressive in the " Confessions of St. Augustine," but finally became merged in the vast collection of GRE- GORIAN plain song, by which only it can be judged. It has been believed, though unproven, that St. Ambrose used only the four " authentic " Greek modes, which are included as the first, third, fifth, and seventh of those ap- proved by ST.. GREGORY THE GREAT. Besides the chant, St. Am- brose included in the services a number of hymns, among them "Eterna Christi munera," and "Veni Redemptor Gen- tium," and eight others which he wrote himself, thus deserving to be called "The Father of Christian Hymnology." Ambrosian Hymn. The Te Deum is so called because its authorship has generally been attributed to St. Ambrose. Ambubajae. L. Strolling Syrian minstrels. Ambulant. Fr. Strolling musician. Ame. Fr. Sound post. Amen. Seb. " So be it." American Organ or DCelodeon. A free reed instrument in which the air is drawn in by suction instead of forced out by pumping, as in the har- monium. Owing to a difference in the reeds, the tone is softer than in the harmonium, but more uniform. The instruments are often provided with two manuals, pedals, and the stops, named like those of the organ, dia- pason, principal, hautboy, gamba, flute, and may be. governed by an auto- matic swell, and the vox humana, which gives a tremulous quality. Mason & Hamlin, of Boston, perfected the instrument about 1860, althougff its principle was discovered in Paris in 1835. A ]y[ezza Aria. It. Partaking of the nature of both aria and recita- tive. Amicis, de (Anna Lucia) sang sop. in opera, 1763, London, to 1789; Johann Christian Bach composed for her. B. 1740, Naples. Amicis, de (Domenico) sang with Anna Lucia de Amicis in 176^ in London. Amilie. W. M. Rooke's three-act romantic opera to book by J. T. Haine^^ was produced at Covent Garden, Lon- don, Dec. 2, 1837. Ammon (Blasius) composed church music. B. the Tyrol; chorister to Archduke Ferdinand of Austria;, studied in Venice; became a monk; 16th century. Amner (John) published hymns for voices and viols ; organist at Ely Cathedral until his death, 1641. Amner (Ralph) sang bass in the Chapel Royal, Eng.; d. Mar. 3, 1664. A Moll. Oer. A minor. Amore, con. It. Lovingly, tenderly. A ]U[oresco. /*. Moorish style,' Amorevole. It. Affectionately, Aiaorevoli(Angelo)sang in opera, Dresden and London. B. Venice, Sept. 16, 1716; d. Dresden, Nov. 15, 1798. Amoroso. It. Lovingly. Amor-Schall. Obsolete horn in- vented by Koelbel, 1760. Amplitude of Vibration. Dis- tance between either end of the jour- ney of a vibrating particle and its point of rest. Ampollosamente. It. Pompous, bombastic. AmpoUoso. /*. Inflated style. Ampoule. Fr. Bombastic. Amusement. Fr. Light compo- sition. Anabasis. Or, Succession of as- cending tones. Anabathmi. Or. Antiphons in the Greek Church for the Psalms called Graduals in the Roman, and Songs of Degrees in the Anglican. ANAXAIIFSIS 19 ANDB^ Anakampsis. Gr. Succession of descending tones. Anakara. Gr. Ancient form of kettle drum. Anakarista. Or. Drummer. Anacker (August Ferdinand) founded the Singakademie, Freiberg; sang, taught music, composed. B. Freiberg, Oct. 17, 1790; d. Aug. 21, 1854. Anacreon. Luigi Cherubini's two< act opera-ballet to text by Mendouze was first performed at the Paris Op^ra, Oct. 4, 1803. The overture is still played. Anacreontic Society, composed of aristocratic London amateurs, gave vocal concerts in the latter part of the 18th century. Analysis published with a concert programme is meant to enable ama- teurs to follow the music understand- ingly. The delightful analyses written by Philip Hale for the Boston Sym- phony Orchestra are examples which will be familiar to many, but the prac- tice has now spread to Chicago, Cin- cinnati, Pittsburg, Philadelphia, New York, — in fact wherever symphony concerts are regularly performed. Professor Thompson, of the Univer- sity of Edinburgh, was first to write programme analyses in English, 1841. Analyses of particular works in pam- phlet form are common everywhere. Wagner wrote one on the Ninth Sym- phony, Liszt on " Tannhauser " and " Lohengrin." Anapest. Metrical foot composed of two short syllables and one long syllable. Anche. Pr. Reeds used in mouth- pieces of woodwind instruments. Ancia. It. Keeds. Ancient Concerts conducted under the auspices of the English court, from 177ff to June 7, 1848, were valuable as a means of diffusing musical knowl- edge, and brought together the best soloists and orchestras and choruses obtainable in London. Twelve con- certs were given annually, to which a thirteenth was added in support of a musical charity. The library accumu- lated by the society has become the property of the Royal College of Music. Andacht, mit. Oer. With devotion. And&chtig. Ger. Devotionally. Andamento. It. Fugue subject in two contrasted parts; episode. Andante. It. Indicates time slower than allegretto but faster than larghetto; slow movement in sym- phony, sonata, or an independent piece. Andantino. It. Properly indi- cates time slower than andante, but has come to mean somewhat faster. Andare. It. To move; Diritto, directly; In Tempo, in time. Ander (Aloys) sang ten. in opera, favourite of Meyerbeer. B. Oct. 13, 1817, at Liebititz, Bohemia; d. War- tenberg, Dec. 11, 1864. Andersen (Karl Joachim) com- posed for flute and orchestra, con- ducted palace orchestra, Copenhagen, a foimder of the Berlin Philharmonic Society. B. April 29, 1847, Copen- hagen; add. Copenhagen. ' Anderson (Lucy) first woman pianist to play at London Philhar- monic concerts, taught Queen Victoiria and her children.' B. Bath, Dec, 1790; daughter of John Philpot; m. George F. Anderson, 1820; d. Dec. 24, 1878. Andre (Johann) composed thirty operatic works, songs; directed music at Doebblin Theatre, Berlin; estab- lished publishing house at Offenbach; founded musical family bearing his name. B. Offenbach, Mar. 28, 1741; d. June 18, 1784. Johann Anton published complete thematic catalogue of Mozart's works; wrote on theory and the violin; taught and composed; improved the business of his father JOHANN, by alliance with Senefelder, who invented lithography. B. Offen- bach, Oct. 6, 1775; d. April 6, 1842. Johann August published " Univer- sal Lexikon der Tonkunst " of Schlade- bach and Bernsdorf. B. Mar. 2, 1817 ; son of JOHANN ANTON; d. Oct. 29, 1887. Johann Baptist became chapel- master to Duke of Bernburg. B. Mar. 7, 1823; son of JOHANN ANTON; d. Dec. 9, 1882. Julius wrote " A Prac tical Organ School," etc. B. June 4j 1808; son of JOHANN ANTON; d. April 17, 1880. Karl August opened Frankfort branch of the house of ANDB^ CHENIEB SO AXriKUCCIA Andre, added piano factory called "Alcyone." B. Paris, 1781; d. Aug. "Mozarthaus," puMished "Pianoforte- 19, 1804. making, its History, etc.," 1855. B. Anelantemente. It. Ardently. June 15, 1806; son of JOHANN Anelanza. /*. Short of breath. ANTON; d. Feb. 15, 1887. AnemoGhord. Improved ^olian Andre Chenier. Umberto Gior- harp invented by Jacob Schnell, Paris, dano's four-act opera was first per- 1789. formed in 1896 at La Seala, Milan. Anemometer. Wind gauge; It is based on incidents in the life of An«rio (relice) composed for Sis- Marie Andre Chenier, a French poet tine Chapel. B. Home, about 1560; born at Constantinople, 1762, and d. 1630. Oiovanni Francesco com- guillotined July 25, 1794, three days posed sacred music in all forms. B. before the close of the Terror. After Rome, about 1567, brother of FELICE; serving in the army and diplomatic d. 1620. corps, Chenier had thrown himself Auesis. Or. Prom high to low with enthusiasm into the French Rev- pitch ; lowering pitch of strings, olution, but finally alarmed by its Anet (Baptiste) published violin excesses, he attacked Eflbespierre, who sonatas, studied with Corelli, became ordered his imprisonment. The ac- virtuoso violinist. B. Paris ; d. Lune- tion opens in the year 1789 in the ville, 1755. Chateau of Count de Coigny. The Anfangsritomell. 0er. Prelude, next three acts take place in Paris, Anfangsgriinde. Oer. Elemen- and the opera closes as Chenier passes tary principles. through the courtyard of the prison Anfossi (Pasquale) composed 46 of St. Lazare on his way to the scaf- operas; directed music at St. John's fold, a.ccompanied by Madeleine de Lateran, Rome. B. Naples, 1736; d. Coigny, who has elected to die with Feb. 1797. him. In the revival at the Manhat- Angelica. Ger. Vox Angelica, tan Opera House, New York, 1908, Angelique. Fr. Vox Angelica. M. Bassi sang the name part, and Anglaise. Fr. English; the Eng- Mme. Eva Tetrazzini-Campanini that lish country dance, of Madeleine. Anglico. It. English; the Bng- Andreoll (Giuseppe) played double lish country dance, bass in La Scala and taught in Milan Anglebert, d' (Jean Henri) he- Conservatory. B. Milan, July 7, 1757 } came chamber musician to Louis XIV, d. Dec. 20, 1832. published " Pieces de Clavecin," Paris, Andreoll (Evangellsta) played 16S9. organ and taught at Mirandola, Italy. Angore. It. Anguish. B. 1810; d. June 16, 1875. auglielm.o Angosciamento. /*. Sorrowfully, played piano with notable success. B. Angoscio8issimam«nte. It. With Mirandola, April 22, 1835; son of extreme anguish. EVANGELISTA; d. Nice, Mar. 13, Anhang. Ger. Coda. 1860. Carlo taught piano at Milan Anima, con. It. With animation. Conservatory, and played in concert Animato. It. Spiritedly, with success. B. Mirandola, Jan. 8, Animosamente. /*. Energetically. 1840; son of EVANGELISTA; add. Animuccla (Giovanni) " Father of Milan. the Oratorio"; friend of St. Filippo Andrevi (Francesco) wrote on Neri; composed the " Laudi " of which theory, composed church music, di- oratorio was the development, to be rected in Barcelona, Valencia, Seville, sung at the Oratorio of St. Filippo; and Bordeaux. B. Nov. 16, 1786, preceded Palestrina as music director Lerida, Catalonia; d. Barcelona, Nov. of the Vatican. B. Florence, about 23, 1853. 1500; d. Rome, 1571. Paolo composed Androt (Albert Auguste) com- madrigals; directed music at the posed a Requiem, etc., won prix de Lateran, 1550-52. Brother of GIO- Rome at Paris Conservatoire with VANNI; d. Rome, 1563. AXtKLANd 21 ANTIPHON Anklang. Oer. Harmony, accord, the Psalms, other portions of the Anklingen. Oer. In tune. Scripture, or the Liturgy, set to music Anlage. Oer. ' Sketch or outline, for solo voice or voices, with or withr Anlaufen. Oer. To swell. out organ or instrumental accompanir Anleltung. Oer. Preface or ment. Permission to sing hymns in instruction. church was issued by Elizabeth, early Anmutlr. Oer. Sweetness, grace, in her reign, and the anthem is a Anonner. Fr. To stumble or strictly English development of ecole- blunder. siastical music, although the Wechsel- Anna Amalia (Duchess of Saxe- gesang of the Germans, the Autifona Weimar) composed music for Goethe's of the Italians, and the Antienne of " Erwin und Elmire " and encouraged the French resemble it, having corn- music at her court. B. Brunswick, mon origin in the MOTET. Full an- Oet. 24, 1739 ; d. April 10, 1807. thems are sung wholly by chorus, with Anna Amalia (Princess of Prus- or without organ accompaniment, sia) composed and played clavier. Verse anthems begin with solo pas- sharing musical taste of her brother sage or verse. Solo anthems are sung FREDERICK THE GREAT. B. Nov. by solo voice, but with chorus at the 9, 1723; d. Berlin, Mar. 30, 1787. conclusion, even though only for the Anna Bolena. Gaetano Donizetti's " Amen." Full and verse anthema opera, to book by Romani, was first have passages for solo voices, but begin performed at Milan, Dec. 26, 1830, and bmA end with chorus. Instrumental later in other European cities. anthems are those accompanied bj^ Annibale (Padovano) composed other instruments than organ. Nearly church music and madrigals, became every English composer and many> of organist of St. Mark's, Venice, and other nationalities have tried this, chapelmaster to Archduke Carl of form of composition which is, there- Austria. B. Padua, 1527; d. about fore, rich in variety and in treat- 1604. ment, and reflects with peculiar truth Annibali (Domenico) sang so- the taste of each succeeding gen- pranist rSles in opera under Handel, eration — even that of the Common- Londbn, 1736-37. wealth period, when the anth^n was Ansatz. Oer. Attack ; embouchure, reduced to the simplest form of psalm Anschlag. Oer. "Touch," aa of singing, keyed instruments. Anthema. €fr. Music with dancing. Anschwellen. Oer. Swell. Anthologium. Or. Antiphonaiy Ansingen. Oer. Greeting in song, or antiphons with musical settimg. Ansprechen. Oer. Singing or Anthropoglossa. Or. Vox intoning. _ Humana. Amstimmen. Cter. Sounding or Anticipation introduces notes or speaking. • parts of chords before the chord Itself Anstimmung. Oer. Sound or is sounded, intonation. Antico. H. Ancient. Answer. Repetition of a theme Antienne. Fr. Antiphon;-. anthem, proposed by another voice or instru- Antifona. /*. Antiphon; anthem, ment. Antigone. Felix Mendelssohn's Antecedent. Fugal theme for imi- music to Sophocles' tragedy, consisting tation or answer. of an introduction and seven numberai ' Antegnatl (Costanzo) composed was first performed at. Potsdam, Oct. church music. B. 1557, of Brescian 28, 1841. family famous as oigan builders in Antinorl (Iiuig^) sang ten. at Lon- 15th and 16th centuries. don operas 1725-26. B. miogna, about Anthems are required to be sung by 1697. the ritual of the Anglican Church at Antiphon. (Tr. Origfnally soonds morning and evening prayer by the in octaves, was applied to the practice choir, and' consist ol s^ectioas tvcon which grew up in the chorck of An- ANTIFHONAL 23 ABBOS tioeh, 2d century, of having the Psalms upon." An ornamental note, eithe; sung in alternate verses by distinct short or long, which takes its tim( choirs of men, and of women and chil- from the principal note, in the on< dren. The term also applies to short case too brief to be accented, in th( scriptural sentences sung before and other played louder than the principa] after the Psalms or Canticles and ap- note. The same rules apply to double propriate to the church season ; to col- appoggiatura. lectiofls of Versicles and Responses; Aprile (Oiuseppe) sang con. at to anthems, on the theory that the the principal European opera houses; English word was corrupted from the taught Cimarosa and others; wrote Latin antiphona. a system of solfeggi still used, and Antiphonal. L. A collection of composed songs. B. Apulia, Oct. 29, antiphonals; ItCissarum, to be sung 1738; d. 1814. at Mass (now called Graduale or Oan- tatorium) ; Besponsoriale, to be sung at Hours or Breviary offices. Antiquis, d' (Giovanni) edited A Prima Vista. /*. At first sight. A Funta d'Arco. It. With the bow's point. Apthorp (W. Foster) wrote " Hec- Vilanelle alia Napolitana," Venice, tor Berlioz," "Opera and Opera 1574,_ to which he contributed Singers"; criticism; taught theory, Crescendo. B. Boston, Oct. 24, 1848; Harvard, studied with J. K. Paine and B. J. At pleasure as to Lang; add. Boston. A Quatre IiCains. hands. A Quatre Seuls. soloists. A Quatre Voix. voices. A Quattro Hani. Pr. For four Fr. For four Pr. For four It. For four /*. For four /*. For four madrigals. Anwachsend. Oer. A Fiacere. It. time. Aperto. It. Use damper pedal. Apfelregal. Gen An obsolete organ stop. Aplomb. Pr. Steadily. A Foco. It. More; Flu Lento, slowly; Fiu Hosso, rapidly. Apollo-Lyra. An improved hands. PSALMMELODICON. A Quattro Soli. Apollonicon. An automatic organ soloists, with 1900 pipes and 45 stops, some of A Quattro Voci, which imitated orchestral instru- voices, mentsj on which six performers could Arabesque. In Arabic style; a play in the ordinary way. It was graceful composition in rondo fashion, invented by John Henry VSller, of Araja (Francesco) composed "Proc- Hesse Darmstadt, and set up in Lon- ris and Cephalus " for Empress Eliza- don by Plight and Robson, 1817, and beth, 1755, the first opera sung in the employed for concert purposes until Russian language; chapelmaster at 1840. St. Petersburg, 1734^1759. B. Naples, Apotome. ffr. Major semitone. 1700; d. 1770. Appassionata. It. With passion Aranaz (Fedro) composed church or feeling. _ music, conducted at Cuenca Cathe- Appassionata. Beethoven's superb dral. B. Soria, Spain; d. Cuenca, sonata. Op. 57, was so named by the 1825. publisher, Cranz, or at any rate not Arbeau (Thoinot) nom de plume by Beethoven himself. _ of Jehan Tabourot, a French priest Appenato. It. With suffering or who wrote a dialogue on dancing re- Z^'^^i- printed in Paris, 1888, which contains Appllcatur. Oer. Fingering. many tunes with appropriate words; Appoggfiando. It. leaning on; drawn out. Appoggiato. It. Notes which sus- pend resolution. 16th century. Arbitrio. It. Will, pleasure. Arb6s (E. Fernandez) taught vio- lin at the Royal Conservatory, Ma- Appogglatura. It. "To lean drid; studied with Joachim; con- ABCADELT 23 ABIOSTI ducted Berlin Philharmonic Society; composed " En Centro de la Tierra," comic opera played Madrid, Dec. 22, 1895. B. Madrid, Dec. 25, 1865; add. Madrid. Af cadelt (Jacob) composed madri- gals and church music; taught singing at St. Peter's, Rome; chapelmaster to Cardinal Lorraine. B. Netherlands, 1514; d. Paris. Arcato. It. Play with bow. Arched Viall. Variety of hurdy- gurdy. Archer (Frederick) composed " King Witlaf a Drinking- Horn " and other cantatas ; wrote " The Organ," " The College Organist '* ; conducted Pittsburg Orchestra, 1895-98, Boston Oratorio Society, 1887; organist Ply- mouth Church, Brooklyn, etc. B. June 16, 1^38, Oxford, Eng., studied Lon- don, Leipsic; d. Pittsburg, 1901. Archet. Fr. The bow. Archicembalo. Cembalo having enharmonic scale, long obsolete. Archlute. Large double-necked lute or theorbo, having eight single or double strings on keyboard and eight open diapason strings, used for lowest part of accompaniment; 17th century; Arco. /*. The bow. Arditezza, con. It. Boldly. Arditl(Iiuig^) composed "II Bacio,'' a vocal waltz, conducted opera at New York Academy of Music, London Co- vent Garden, etc.; also composed operas " I Briganti," " II Corsaro," ^'La Spia." B. Crescentino, Pied- mont, July 16, 1822; studied violin Milan Conservatory; d. Brighton, Eng., May 1, 1903. Ardito. It. Bold, energetic. Aretinian Syllables. Ut, Re, Mi, Fa, Sol, La, by which Guido Aretino or d'Arezzo designated the hexachord tones. Arens (Franz Xavier) conducted "People's Symphony Concerts," New York ; played organ, taught, and com- posed. B. Germany, Oct. 28, 1856; studied with his father and Rhein- berger; add. New York. Arensky (Antony Stephanovich) composed "A Dream on the Volga," "Raphael," "Nal and Damayanti," symphonies, songs; wrote on theory, ranked with " Young Russian " school. B. Novgorod, July 31, 1861 ; add. St. Petersburg. Arghool. Crude form of clarinet still popular in Egpyt. Argus (Henri) teught solfeggio in Paris Conservatoire. B. 1749; d. 1798. Joseph composed vocal and instrumental music published in London. Argyll Rooms were famous as the scene of the best London concerts from about 1800 to 1829. They were located first on Argyll, and then on Regent Street. Aria. It, Air or melody, now ap- plied to the elaborate solo passages for voice in opera or oratorio. Arias are of many kinds : D'Abilita, for dis- play of skill ; Buffa, humorous ; Can- tabile, flowing gracefully; Concer- tante, in concert form; Si Bravura, ornate and difficult; Fugata, in fugal style; Farlante, suitable for decla- mation; Portamento, with long swell- ing notes ; Senza Accompag^amento, with no accompaniment; Tedesca, with obligatory accompaniment. Ariane et Barbe Bleue. Paul Dukas' opera to text by Maeterlinck was first performed at the Paris Op^ra Comlque, 1907, and the follow- ing year with equal success at the Vienna Folks Opera. Ariane is the sixth wife of Bluebeard, to whom he entrusted seven keys, but with the prohibition that she should not open the seventh door. Naturally she finds the golden key to that door most alluring. Critics were of the opinion that Dukas had studied the methods of Wagner, Debussy and Strauss to ad- vantage, and highly praised the conse- quent close relationship of text and score, especially when Ariane opens the doors in succession, and the flash of the gems they contain is accompanied by brilliantly effective orchestration. Arietta. It. Diminutive of aria. Arioso. It. To be sung in aria style; combining the free declamation of recitative with the smoothness of aria. Ariosti (Atillio) composed fourteen operas and " Muzio Scaevola " jointly with Handel and Bononcini, oratorios ABmm LA CLEF 24 ABNOLD and cantatas; conducted opera; played viol da gamba; dispensed from holy orders to devote himself to music. B. 1660; eclipsed by Handel; retired 1728. Armer la Clef. Fr. Adding the signature to the clef. Armes (Philip) composed "Heze- kiah," " St. John the Evangelist," and " St. Barnabas " ; organist Durham Cathedral; professor of music, Dur- ham University. B. Norwich, Aug. 15, 1836; add. Durham, Eng. Armide. Christoph Willibald Gluck's opera to the text written by Philip Quinault for Lulli nearly 'a century earlier, was first performed at the Acad€mie Royale, Sept. 23, 1777, and was regarded by the composer as his greatest work. The book is founded on an episode in Tasso's " Jerusalem Delivered," and the scene is accordingly laid in Damascus, 1099. Armida, queen and enchantress, has the Crusaders at her feet with the ex- ception of Kinaldo, a valiant knight temporarily in disgrace with his leader, Godfrey of Bouillon, because of another's misdeed. Warned to avoid Armida'a snares by his friend Arte- midor, Kinaldo, finding himself in a lovely spot, is lulled to sleep by ex- quisite music, and thus falls into the power of Armida, who wishes to kill him, but instead falls in love with him. Rinaldo is not insensible to her charms, but Godfrey has sent two knights to bring him back to camp. Despite Armida's witchcraft, the war- riors succeed in reaching Einaldo, and he determines to return with them. Vainly Armida urges him to stay, and when he leaves,, in her despair, she converts her beautiful domain into a desert. Armingaud (Jules) wrote for violin and established string quartet which developed into the " Soci€t€ Classique"; played violin in Paris Op&a. B. Bayonne, May 3, 1820; d. Feb. 27, 1900. Armourer of Nantes. Michael William Balfe's opera to text by J. V. Bridgeman, based on Hugo's "Miiry Tudor," was. first performed at Covent Garden, London, Feb. 12, 1863. Armoneggiare. It. To harmonize. Armenia. It. Harmony. Armonica. It. Glasses attuned to the diatonic scale on which tones are produced by friction ; " the musical glasses " of Ben. Franklin, Pickeridge, and M. Delaval ; the accordeon. Arne (Michael) composed " The Fairy Tale," " The Belle's Stratagem," and other operas, songs, and con- ducted. B. 1740, son of DK. ARNE; d. Jan. 14, 1786. Arne (Dr. Thomas Augustine) first introduced female voices in ora- torio choirs; chiefiy known in these days for his setting of Shakespeare's songs and his charming ballads, but was one of England's most prolific dramatic composers. His music to the Dalton adaptation of Milton's " Co- mus " won instant recognition, Drury Lane, 1738; he reset Congreve's "Judgment of Paris"; composed the music to " Alfred," including the fa- mous song "Rule Brittania"; reset Metastasio's "Artaserse," having translated the libretto into English; composed " Love in a Village " (ballad opera), "Judith," an oratorio, etc. He was the author of " The Contest of Beauty and Virtue," "The Guardian Outwitted," and "Phoebe at Court," as well as the composer. Arne was largely self-taught in music, his' father having intended him for the law, en- tering him at a solicitor's after a course at Eton. He undertook the instruction of his sister, afterwards the celebrated actress, MrSi Clbber. This enabled her to sing in " Amelie," Lampe's opera, 1732, and it was at her suggestion that Arne wrote new music for Addison's "Rosamond," m which she sang the principal rSle. B. Mar. 12,. 1710, London; d. Mar. 5, 1778. Arnold (Johann Gottfried) com- posed for and played 'cello. B. Feb. 15, 1773, Niedernhall, Wttrtemberg; d. July 26, 1806. Arnold (Dr. Sam.uel) composed 43 operas and dramatic pieces between 1765 and 1802; organist and composer to Chapel R(^al> Eng.; conducted latter concerts of Academy of Ancient Music. B. Aug. 10, 1740j London; d. Oct. 22, 1802. ABNOLD 35 ASANTCHEWSKT Arnold (Bichard) organized string quaxtet; eoncertmeister New York Philharmonic Society and the Thomas Orchestra. B. Eulenbcrg, Jan. 10, 1845; pupil Felicien David; add. Brooklyn. ArnoldsoiL (Sigrid) sang sop. at Paris Op€ra Comique, in Russia, and New York. B. Stockholm, 1865; studied with Maurice Strakosch ; debut Moscow, 1886; add. Paris. Arnould (Madeleine Sophie) cre- ated the name part in Gluck's " Iphi- gfinie " ; was celebrated wit. B. Feb. 14, 1744, Paris; d. 1803. Arpa. /*. The harp. Arpa Soppia. It. Double harp. Arpanella. It. A little harp. Arpege. Fr. Arpeggio. Arpeggiando. It. Arpeggio playing. Arpeggiare. It. To break a chord. Arpeggiatura. It. Series of arpeggios. Arpeggio. It. " In harp style " ; broken chord, that is, a chord of which the notes are struck successively, not sounded together. Arpeggione. Obsolete six-stringed instrument resembling both guitar and 'cello, played with a bow. Arpicordo. It. Harpsichord. Arrangement. The adaptation of a composition for performance by other instruments or voices than originally intended. Arranger. Fr. To arrange. Arriaga y Balzola (Juan Crisos- tomo Jacobo Antonio) composed three string quartets, a symphony, an overture. B. Bilboa, Spain, Jan. 27, 1806; studied at Paris Conservatoire; d. Feb., 1825. Arrigoni (Carlo) published " Can- tate da Camera," in London, 1732; lutenist. B. Florence; engaged with Porpora in opposition to Handel's operas in London; d. Tuscany about 1743. Arsis. Or. "To lift." Upward movement of the voice in song, or the hand in beating time, opposed to THESIS. Artaria & Co. publish music in Vienna, where the house was founded, 1750, by Cesare, Domenico, and Gio- vanni Artaria, brothers, who sprang from Blevio, Lalce Como. Their sons set up the first music printing press known in Vienna, 1776. Works of Haydn, Mozart, Beethoven, etc., bear the Artaria imprint. C. August and Dominik Artaria are the present heads of the house. Artaxerses. Dr. Thomas Augustine Arne's three-act opera to his own translation of Metastasio's " Arta- serse " was first produced Feb. 2, 1762, at Covent Garden, London. It was a favourite for many years and was re- vived in Dublin, 1877. Arteaga (Stefano) wrote an his- torical work on Italian opera; member Society of Jesus. B. Madrid, 1750; d. Oct. 30, 1799. Art. Oer. Kind, species, quality. Art of Fugue. Sebastian Bach's book (Die Kunst der Fuge), teaches by examples, giving 14 fugues; com- pleted 1749, the year of his death. Arthur (Alfred) composed three operas, etc., directed Cleveland School of Music, and conducted Vocal Society. B. Oct. 8, 1844, near Pittsburg; studied Boston; add. Cleveland, Ohio. Articulation. Distinct pronuncia- tion in song; production of correct tone by proper adjustment of lips or fingers to an instrument. Artot (Alexandre Joseph Mon- tag^ney) composed for and played violin. B. Jan. 25, 1815, Brussels, son of MAURICE; d. July 20, 1845. ArtSt (marguerite Josephine Desiree) sang first mez. sop. and then sop. rSles in opera, 1858-87; taught in Berlin; pupil of Viardot-Garcia; m. Padilla y Ramos, bar. B. Paris, July 21, 1835 ; add. Paris. Artdt (Maurice) played horn; family name Montagney, assumed that of Artat, afterwards borne by all the family; m. daughter of Adam Ries. B. 1772; d. 1829. Artusi (Giovanni Maria) com- posed; combated musical reforms of his day; canon of San Salvatore, Venice; d. Aug. 18, 1613. As. Ger. A flat. Asantohewsky, von (Michael) ac- cumulated large musical library; composed; directed St. Petersburg ASCAULOS 26 ATHALIA Conservatory, 1870-79. B. Moscow, 1838; d. Moscow, Jan. 24, 1881. Ascaulos. Gr. Bagpipe. Aschenbrenner (Christian Hein- rich) composed chamber music; chapelmaster to Dulie of Merseburg. B. Dec. 29, 1654, Alstettin; d. Jena, Dec. 13, 1732. Ascher (Joseph) composed salon pieces; court pianist to Empress Eu- genie. B. Groningen, Holland, June 4, 1829 ; d. June 20, 1869, London. As Dur. Oer. A flat major. Ashantee Trumpet. Horn made of an elephant's tusk. Ashdown (Edwin) publishes music, London; succeeded Wessel & Co. Ashe (Andrew) played flute; con- ducted Bath, Eng., concerts, 1810-22. B. Lisburn, Ireland, 1759; m. Miss Comer, singer; d. Dublin, 1838. Ashley (John) directed "Lent oratorios," Covent Garden, London; played bassoon. D. Mar. 2, 1805. Gen- eral Charles played violin. B. 1770, son of JOHN;, d. Aug. 21, 1818. Charles Jane, with help of his brother " the General," continued his father's oratorio concerts; became secretary. Royal Society of Musicians ; charter member the Glee Club, 1793, and Philharmonic Society; owner of Tivoli Gardens. B. 1773; d. Aug. 29, 1843. John James taught singing; played Covent Garden organ. B. 1772, son of JOHN; d. Jan. 5, 1815. Ashley, of Bath (John) composed popular songs; played bassoon and sang at Bath for fifty years. D. 1830. Ashton (Algernon B. L.) taugLo piano at Royal College of Music, Lon- don ; composed " English Dances." B. Durham, Dec. 9, 1859; add. London. Ashwell (Thomas) composed masses and songs, Eng., 16th century. Asioli (Bonifacio) wrote valuable books on theory; composed masses and a concerto when under age of eight; composed for theatre, orchestra, etc. ; censor at Milan Conservatory. B. Corregio, Aug. 30, 1769; d. May 18, 1832. As DIoU. Ger. A flat minor. Aspirare. It. To breathe audibly. Aspiration. Fr. Dash above a note, shortening its duration; obso- lete grace note. Asprezza. It. Harshness. AspuU (George) composed and played piano. B. Manchester, June, 1813; d. Aug. 19, 1832. Assai. /*. " Very," as allegro assai, very fast. Assemblage. Fr. Rapid passages; double tonguing. Assez. Fr. Enough; rather. Assmayer (Ignaz) composed iif- teen masses, the oratorios " Das Ge- lubde," "Saul und David," "Saul's Tod " ; directed Vienna " Tonkttnstler- Societat." B. Salzburg, Feb. 11, 1790; d. Aug. 31, 1862, Vienna. Association Artistique was founded in Angers, France, for per- formance of orchestral music, 1875, and had given its 500th concert in 1902, at which time Count Louis de Romain, one of its founders, was president. Assoluto. /*. Absolute. Assonance. Concord, agreeing in tone. Aston (Hugh) composed church music and for virginal, Eng.; 16th century. Name also written Ashton, Austen, Aystoun. Astorga, d' (Baron Emanuele) composed celebrated " Stabat Mater," the opera " Dafni." B. Naples, Dec. 11, 1681, son of Marqxiis Capeee da Rof- frano; d. Aug. 21, 1736, Bohemia. A Suo Comodo. At one's leisure. Atabal. Moorish drum. A Table Sec. Fr. Sung unaccom- panied. A Tempo. It. In time. A Tre. It. In three parts. Attacca. It. Begin at once. Attacco. It. A fugue theme for imitation. Attack. Firmness and precision in beginning a passage constitute "good attack." Attaque, Chef d'. Fr. Leader of the orchestra. Athalia. George Frederick Handel's oratorio, to words by Humphreys, was completed June 7, 1733, first per- formed at Oxford, July 10 of that year, revived, London, 1845. It was composed after " Deborah," and ia therefore Handel's third oratorio. ATHALIE 27 Athalie. Felix Mendelssohn's music, consisting of an overture, march, and six vocal numbers, to the Racine tragedy; was first performed completely in Berlin, Dec. 1, 1845. Atkius (Ivor Algernon) played organ Worcester Cathedral, conducted "Three Choir Festivals," 1899 and 1902. B. Cardiff, Wales, Nov. 29, 1869; add. Worcester, Eng. Attaignant (Pierre) published music in Paris, 16th century, printed from movable type invented by Pierre Hautin. Attaque du lyioulin. Alfred Bru- neau's three-act opera to book by Louis Gallet, founded on the tale in Zola's " Soirges de Meudon," was first performed Nov. 23, 1893, at the Opfira Comique, Paris. Attendant Keys. Relative keys. Atterbury (LufEman) composed popular glees and the oratorio " Go- liah"; musician to George III. D. Westminster, Eng., June 11, 1796. Atto. It. Act. Attore or Attrice. It. Actor or actress ; principal singers in opera. Attwood (Thomas) composed; played organ St. Paul's Cathedral, London; treasurer Philharmonic So- ciety, 1813; taught Royal Academy of Music. B. London, Nov. 23, 1765; d. Mar. 24, 1838. Aubade. Fr. Open air morning concert. Auber (Daniel Frangois Esprit) composed "La MUETTE DE POR- TICI," which ranks with the greatest of French grand operas ; the delightful opgra comique "FRA DIAVOLO," in. all more than forty operas between 1811 and 1869; directed the Paris Conservatoire,- but was so timid that he never conducted, nor even attended the performance of his own works. Bom at Caen, Jan. 29, 1782, of a Nor- man family domiciled in Paris; he displayed a genius for music in child- hood, composing songs when only eleven. Sent to London by his father to qualify for a business career, he was compelled to return in 1804 by the prospect of war. 'Cello concertos, which he wrote for his friend Lamarre shortly afterwards, introduced him aa AUBEKT a promising composer, and when, in 1811, Cherubini heard a performance of " Julie," an opera which he com- posed for an amateur organization, he volunteered to teach him the techni- calities of his profession. " Le sfijour militaire," his first opera publicly per- formed, 1813, proved a complete fail- ure, and it was not until six years later that he mustered courage to try again. "Le Testament" likewise failed, but in 1820 he struck the keynote of success with " La bergfire Chatelaine," and formed an alliance with Scribe, the author of the books of all his other operas. Then followed in succession: " Emma," " Leicester," " La neige," " VeudOme en Espagne," with Hfirold; " Les trois genres," with Boieldieu; " Le concert a la cour," " Leocadie," " Le Macon," " Le Timide," " Fiorilla," " La muette de Portici," " La flancfe," " Fra Diavolo," " Le Dieu et la Baya- dere," " La marquise de Brinvilliers " (with eight other composers; "Le philtre," "Le serment," "Gustave III," known also as " BALLO IN MAS- CHERA," "Lestoeq," " Le cheval de bronze," "Action," "Les chaperons blanos," " L'ambassatrice," " Le do- mino noir," " Le lac des fSes," " Za- netta," "Les DIAMANTS DE LA COURONNE," known in English as " The Crown Diamonds," " Carlo Bros- chi," "Le due d'Orlonne," "La part du diable," " La Sir6ne," " La barcarolle," "Haydfe," "L'enfant prodigue," "Zer- line," " Marco Spada," " Jenny Bell," "MANON LESCAUT," "Magenta," " La Circassienne," " La fiancfie due roi des Garbes," " Le premier jour de bonheur," " La rgve d'amour." " La Muette" (Masaniello), with its stir- ring pictures of revolt, is said to have provoked the Brussels riots which be- gan with its performance in that city, Aug. 25, 1830. In 1829 Auber was elected to the Academic, and he was honoured by Louis Philippe and Na- poleon III. His death, which may have been hastened by the disorders of the Commune, occurred May 13, 1871. See Ad. Kohut's memoir, 1895. Aubert (Jacques) composed the opera "La Reine des P6ris," much chamber music, played violin at Paris AtTBEBT 28 AVEBY Op6ra and concerts spirituel ; d. Belle- ville near Paris, May 19, 1753. Aubert (Louis) succeeded his father at the Opera, 1755, retired 1771. B. Paris, May 15, 1720 son of JACQUES. Aubert (Pierre frangois Olivier) published instruction books and music for 'cello; played 'cello at Op6ra Comique, Paris, 25 years. B. Amiens, 1763. Audace, con. It. With audacity. Audran (Edmoud) composed many successful light operas, " Les noces d'Olivette," "La Mascotte," "Miss Helyett," " La Poupee " ; church music and songs, played organ. B. April 11, 1842, Lyons; d. Paris, Aug. 16, 1901. Auer (Leopold) succeeded Wieni- awski as professor of violin at St. Petersburg Conservatory; violinist to the Czar, etc.; founded noted string quartet with Davidov. B. Veszbrem, Hungary, June 7, 1845; pupil of Joa- chim; add. St. Petersburg. Aufgewecht, Qer. Sprightly, brisk. Aufhalten. Ger. Retard, suspend. Aufbaltung. Cter. Suspension. Auflage. Ger. Edition. Aufliisung. Ger. Resolving a discord. Aufldsungzeicben. Qer. Signs of natural, sharp, or flat used in restor- ing notes affected by accidentals, or altering a key signature. Aufschlag. Oer. Unaccented beat. Aufstrich. Q-er. With up bow. Auftakt. Ger. The up beat. Augarten, where Mozart gave a series of early morning concerts; where Beethoven and Bridgetower played the " Kreutzer Sonata " from manuscript, is a public garden in a Viennese suburb, opened to the popu- laoe by Emperor Joseph II, 1775. Con- certs are no longer given there. Augener & Co. publish music in London, having a catalogue of 6000 volumes ; and " The Monthly Musical Record." The business was founded 1853. Augmentation introduces a fugal or canon theme in notes twice the length in which it was originally proposed. Augmented Interval. Raised a semitone above its normal value. Auletes. Gr. Player on the aulos or flute. Aulaeum. L. A theatre's curtain. Auguez (Kuma) sang bar. and taught singing, Paris Conservatoire. B. Saleux, Somme, 1847 ; d. Paris, Jan. 27, 1903. Aulin (Tor) conducted Stockholm Philharmonic Society; founded Aulin string quartet. B. Stockholm, 1866; add. Stockholm. Aulos. Gr. The flute, chief in im- portance of Greek wind instruments, but probably generic term for reed in- struments as well. Ausdruck. Oer. Expression. Ausfiihrung. Ger. Performance of a composition; its development by the composer. Aushaltung. Ger. Duration of a tone. Ausbaltungszeichen. Ger. Pause. Ausweichung. Ger. Modulation. Authentic. Church MODES having all sounds within an octave of the final, and upon which others called PLA6AL were constructed. Authentic Part. The portion of a scale between a note and its domi- nant; that between the dominant and superior tonic being called plagal. Autos-Sacramentales. 8p. Early dramatic form akin to English mys- teries and moralities, but with music and dancing added. Auxcousteaux, d' (Arthur) com- posed church music ; became master of the Ste. Chapelle, Paris. B. Beauvais, Picardy; d. 1656. Auxiliary Notes. Grace notes not essential to a harmony. Auxiliary Scales. Those of at- tendant or relative keys. Ave Maria. L. "Hail Mary." The subject of many exquisite compo- sitions for use in the Roman Catholic Church. Ave Maris Stella. L. "Hail, Star of the Sea." Latin hymn. Avena. L. An oaten or reed pipe. Avery (Master) composed church music, Eng., 16th century. AVEBT 39 BACH Avery (Jolin.) built organs in many English churches; d. 1808. Avisoh (Charles) wrote on musical expression and composed 50 concertos. B. Newcastle on Tyne, 1710; d. May 9, 1770. A Vista. /*. At sight. Avoglio (Signora) sang sop. r61es under Handel's direction on his visit to Ireland, 1741. Aylward (Dr. Theodore) composed music for " Cymbeline," " Midsummer Night's Dream"; taught at Gresham College; played organ. B. 1730; d. London, Feb. 27, 1801. Ayrton (Dr. Edmund) composed two complete morning and evening services for Anglican Church. B. Ripon, 1734; d. May 22, 1808. Wil- liam edited musical publications; wrote criticisms; directed music at the King's Theatre, London. B. Lon- don, Feb. 24, 1777, son of DR. ED- MUND; d. Mar. 8, 1858. Ayton (Fanny) sang in opera and concert, 1827-32. B. Macclesfield, Eng., 1806. Azione Sacra. It. Sacred dramas, oratorios, passions. Azor. Heft. Obscure musical term in the Psalms. Azor and Zemira. English version of Spohr's opera " Zemire und Azor." Azzopardi (Francesco) published works on theory; chapelmaster at Malta ; French translation of his " II Musico Prattico " appeared in Paris, 1786. B is the seventh tone of the natural scale of C, called H in Germany, where B signifies B flat. B is likewise the name of the major scale having five sharps and of the minor key relative to D major. B was the first tone to be chromatically altered, as in the Hexa- chordal system there would otherwise have been three consecutive whole degrees followed by the interval of an augmented fourth in the third hexa- chord. The flattened B was then indi- cated by the round " Rotundum " B or B molle or B^mol, and the natural B by the square " Quadratum " or "Quadrum" or "Durum" B or B6- earr0. During the evolution which re- sulted in the modern scale the round B and square B came to be used as signs of accidentals before other notes, and thus gave form to these signs as used to-day. B flat is the key wherein most of the clarinets in military band, one clarinet in orchestra, and a large number of the brasses are set. Baarpyp. "Bear-pipe," Dutch organ stop. Baas or Base Dance. Slow dance resembling minuet. Baban (Gracian) composed, di- rected music Valencia Cathedral, 1657- 75. Babbini (ISatteo) sang ten. at the courts of Frederick the Great and Catherine II of Russia. B. Bologna, Feb. 19, 1754; d. Sept. 22, 1816. Babell (William) composed for harpsichord, etc. ; pupil of his father, a bassoon player, and of Dr. Pepusch. B. Eng., 1690; d. Canonbury, Sept. 23, 1723. Baccalaureus Musicae. L. Bach- elor of Music. Bacchanalian Songs. Those sung in worship of Bacchus, hence drinking songs. Bacchia. Kamschatkan dance. Bacciolo. Guitar of Tuscany. Baccusi (Ippolito) composed church music, and was among the first to introduce instrumental parts for support of voice in church pieces; di- rected music at Mantua and Verona Cathedrals. D. Verona, 1609. Bach was the name of a gr«at Thu- ringian family of musicians which began, so far as music is concerned, with Hans Bach, born at Wechmar about 1561 ; had its most illustrious representative in Johann Sebaslian Bach, and became extinct on the death of his grandson, Friedrich Ernst Wil- helm Bach, Berlin, 1845. A genea- logical table prepared by Johann Se- bastian and supplemented by his son, Carl Philip Emanuel, sets forth the names of 53 men. Musicians of the Bach family so completely monopo- lized their art in Arnstadt, Erfurt, and Eisenach that Erfurt town musi- cians were called Bachs. Veit, as- sumed to have been the son of HANS, immigrated to Hungary to escape reli- BACH 30 BACH gious persecution, but later returned hann Christian, succeeded him as direc- to Wechmar, where he plied the trades tor. These brief references bring us to of miller and baker, and in leisure the fifth generation of the Bach family, moments played the eythringen, which reckoned from Hans of Wechmar, the may have been a kind of zither. B. generation in which the genius of the about 1550; d. Mar. 8, 1619. Hans race culminates in JOHANN SEBAS- waa the first to become a professional TIAN. Reserving Johann Sebastian musician, but combined the gentle art for a special article, others fifth in de- with carpet weaving. B. about 1-580, scent from Hans in this period were: son of VEIT; d. Dec. 26, 1626. Jo- Joliann Bernhard composed four hannes became town musician and orchestral suites, preludes, and clavier church organist at Erfurt. B. Nov. 26, music, organist at Erfurt, at Mag- 1604, son of HANS; d. 1673. Hein- deburg succeeded Johann Christoph rich, served as organist at Arnstadt as organist at Eisenach. B. Nov. for more than 50 years beginning 23, 1676; son of JOHANN AEGID- 1641. B. Wechmar, Sept. 16, 1615; lUS; d. June 11, 1749. Joliann son of HANS; d. July 10, 1692. Christopli succeeded his father, JO- Christoph became town musician to HANN AEGIDIUS, at Erfurt. B. Arnstadt and court musician to Count Aug. 15, 1685; d. 1717. Johanu Schwarzburg. B. Wechmar, April 19, Christopli became organist at Ohr- 1613; son of HANS; d. Sept. 14, druf; pupil of Pachelbel of Erfurt, 1661. GeoTg Christoph composed, and brother of Johann Sebastian, to taught school and sang at Themar and whom he taught clavier. B. June 15, Schweinfurt. B. Sept. 6, 1642, Erfurt; 1671; son of Johann Ambrosius; d. son of CHRISTOPH; d. April 24, 1721. Johann Ificolaus composed 1679. Johann Christoph and Johann many suites, the comic opera " Der Ambrosius, twin sons of CHRIS- Jenaische Wein und Bier Rufer"; TOPH, were so much alike as to be manufactured pianos but met with hardly distinguishable, even by their great opposition because of his intro- wives. Both played violin. Johann duction of equal temperament; organ- Christoph became court musician to ist to town and University of Jena; Count Schwarzburg at Arnstadt. Two composed the cantata for douWe chorus of his sons were musicians. B. Erfurt, and orchestra, " Es erhub sich ein Feb. 22, 1645; d. Aug. 25, 1693. Jo- Streit," the motet " Ich lasse dich hann Ambrosius joined the Erfurt nicht," well known under the English " Raths-Musikanten " in 1667. He title " I wrestle and pray," and once became the father of JOHANN SE- attributed to Johann Sebastian. B. BASTIAN, and died Eisenach, 1695. 1669; son of Johann Christoph of Johann Christoph played organ in Eisenach; d. 1753. Johann Ludwig Eisenach churches, where he finally composed 17 church cantatas (Johann became court organist. B. Arnstadt, Sebastian transcribed 12 of them), a son of Heinrich, Dec. 8, 1642; d. Mar. suite in G, chapelmaster at Meiningen. 31, 1703. Johann Michael composed B. Steinbach, 1677; son of Jakob Bach 72 fugued and figured chorale pre- and probably descended from Veit; d. ludes, organist at Gehren, near Arn- 1741. Of the generation succeeding stadt. He was the father of Maria Johann Sebastian were: Johann Er- Barbara, 1684-1720, who was the first nest composed sacred music and a wife of her cousin, Johann Sebastian, clavier fantasia and fugue ; graduated B. Aug. 9, 1648, Arnstadt, son of in law Leipsic University; studied HEINRICH; d. May, 1694. Johann music under Johann Sebastian; Christian directed the musical society chapelmaster at Weimar, 1756. B. at Erfurt in succession to his father, Eisenach, Sept. 1, 1722; son of JO- JOHANN of Erfurt. B. Aug. 2, 1640; HANN BERNHARD. Wilhelm d. 1682. Johann Aegidius became or- Friedeman, "the Halle Bach," com- ganist of St. Michael's Church, Erfurt, posed 23 church cantatas and 17 sets and on the death of his brother, Jo- of instrumental pieces, regarded as BACH 31 BACH one of the greatest organists and the- orists of his time, ruined himself in dissipation and died in want. Eldest son of JOHANN SEBASTIAN, who educated him, he studied at the Thomassehule and won honours in mathematics at Leipsic University. Organist at Dresden, and in 1747 at the Liebfrauenkirche, Halle, he was without regular employment from 1764, when he resigned, to his death, Berlin, 1784. Johann Christoph Friedrich, " the Buckeburg Bach," composed operas, oratorios, and pas- sion music; chapelmaster to Count Schaumberg at BUckeburg. B. Leip- sic, June 25, 1732; ninth son of JOHANN SEBASTIAN; d. Jan. 26, 1795. Carl Philip Emanuel, greatest of the sons of Johann Sebastian, is dis- cussed in a special article. Johann Christian, "the Milanese or English Bach," composed the opera " Catone," performed in Milan, 1758; conducted Mrs. Cornely's subscription concerts in London with Abel from 1765 to 1775, when they established their own series, lasting until 1782; taught music to English Royal family; com- posed the operas " Temistocle," " Adri- an© in Siria," " Lucio Silla," "La Clemenza di Scipione," and much piano music. B. Leipsic, 1735; 11th son of JOHANN SEBASTIAN; studied in Berlin with his brother C. P. Emanuel ; visited Naples, Milan ; organist Milan Cathedral, 1760-62; d. London, Jan. 1, 1782. Johann Gottfried Bernhard became organist to the Marienkirche, Miilhausen, 1735, and the following year of the Sanger- hausen Jacobikirche. B. May 11, 17 15 ; son of JOHANN SEBASTIAN ; d. while studying law at Jena, May 27, 1739. Wilhelm Friedrich Ernst composed " Huldigungs cantata " in honour of the accession of Frederick William II of Prussia, who made him cembalist to the Queen, taught the royal children two generations, as- sisted with his wife and two daughters at dedication of monument at the Thomassehule, Leipsic, in honour of Johann Sebastian; B. Buckeburg, May 27, 1759; son of JOHANN CHRISTIAN FRIEDRICH, and last of the descendants of the Johann Se- bastian Bachs bearing the name; d. Berlin, Dec. 25, 1845. Bach (Johann Sebastian) com- posed the Passions according to St. Matthew and St. John, which have caused most works along these lines to be forgotten; organ music in every form which has never been excelled; brought the art of fugue to its highest "perfection; established the much de- bated system of equal temperament with his " Well Tempered Clavier," " Das Wohltemperirte Clavier," which enforced its value by presenting pre- ludes and fugues in every key; revo- lutionized the technique of keyboard instruments by first bringing into equal play the little finger and thumb ; threw his influence in favour of the harmonic system as opposed to the church modes; invented the viola pomposa and the Lauten-clavicymba- liun; taught with distinguished suc- cess, and composed chamber music in all varieties. Born at Eisenach in Mar., 1685, baptized Mar. 23, the son of Johann Ambrosius Bach and Eliza- beth, born Lammerhit; he received violin lessons from his father, but, being left an orphan at the age of ten, went to live with his elder brother, Johann Christoph, organist at Ohr- druf. His brother taught him clavier, but forbade him to touch a manuscript collection of Buxtehude, Frohberger, and others, and when the lad managed to copy it by moonlight after six months' labour, so great was his desire for an insight into the best music of his day, t(X)k it from him. He had attended the local lyoeum, but at 15 he was admitted a free scholar at St. Michael's Liineberg, because of his lovely soprano voice. There he studied organ with B5hm and made excursions to hear Reinken at Hamburg and to Celle, where the French composers were in fashion. At 18 he joined the band of Prince Johann Ernst at Wei- mar, and a few months later became organist of the new church at Am- stadt. He walked to Lubeck to hear Buxtehude play the organ, and re- mained until the church authorities re- called him to Amstadt. 1707 found BACH 33 BACH him organist of St. Blasiua Church, Mfilhausen, and Oct. 17 of that year he married his cousin Maria Barbara. Of their seven children only a daughter, Wilhelm Friedemann, and Carl Philip Emanuel survived infancy. In 1708 he became organist to the court of Weimar; in 1714 concertmeister, and then he undertook a series of concert tours. One of these took him to Dresden in 1717 where Marchand, a famous French organist, accepted his challenge to a contest in music, but fled before the appointed time, leaving Bach in possession. The same year he was made chapelmaster to Prince Leopold of Anhalt-Cothen at 400 thalers per annum, and, while holding this ofSce, produced a quantity of chamber music. Between 1718-20 Bach accompanied the Prince to Carls- bad. During this absence from home his wife died. Bach then applied for the position of organist at the Jacobskirche, Hamburg, but an un- known musician offered 4000 marks for the oflSce — and got it. In 1721 he married Anna Magdalene Willken, daughter of the Weissenfels court trumpeter. Thirteen children were born of the marriage, of whom only Jo- hann Christoph Friedrich and Johann Christian survived him. The period of Bach's greatest activity began with 1723, when he became cantor at the Thomasschule and organist and music director at the Thomaskirche and Nicolaikirche, Leipsic, where he re- mained in service 27 years. His duties left him ample time for composition. His Passions and the famous High Mass in B minor were written for the Leipsic churches. He was recognized as one of the leading men of the com- munity and mingled on pleasant terms with the best society. In 1736 he was made honorary chapelmaster to the Elector of Saxony, and in 1747 visited Frederick the Great at Berlin, where his son, C. P. Emanuel, was court cembalist. The king made him test all the pianos and organs, and gave him a theme to work out which, on his re- turn home, Bach developed and dedi- cated to Frederick as " Musikalisehes Opfer." Hard work in copying re- sulted in the failure of Baeh's eyes. Two operations failed to restore his vision, but suddenly, July 18, 1750, sight was restored him. Ten days later he died. " Vor deinen Thron tret' ich hiemit," a choral, was completed shortly before his death. Bach's pu- pils included Altnikol, Ludwig Krebs, Johann Caspar Yogler, Agricola, and Marpurg. Despite their admiration, full recognition of Bach's merit aa a composer was deferred until Mendels- sohn, Schumann, and Chopin blazoned it to the world. His works include Church Cantatas. Ach Gott, vom Himmel sieh darein; Ach Gott, wie manches Herzeleid; Ach Herr, mich armen Sunder; Ach, ich sehe, jetzt da ich zur Hochzeit gehe; Ach, lieben Christen, seid getrost; Ach wie fluch- tig, ach wie nichtig; Allein zu dir, Herr Jesu Christ; AUes nur nach Gottes Willen; Also hat Gott die Welt geliebt; Am Abend aber desselbigen Sabbaths; Aergre dich, o Seele, nicht; . Auf Christi Himmelfahrt allein; Aus der der Tiefe rufe ich, Herr zu dir; Aus tiefer Noth schrei ich zu dir; Barmherziges Herze der ewigen Liebe; Bereitet die Wege, bereitet die Bahn; Bisher habt ihr nichts gebeten in meinem Namen; Bleib' bei uns, denn es will Abend werden; Brich dem Hun- grigen dein Brod; Bringet dem Herrn Ehre seines Namena; Christ lag in Todesbanden; Christ unser Herr zum Jordan kam; Christen, atzet diesen Tag; Christum wir sollen loben schon; Christus der ist mein Leben ; Das ist ie_ gewisslich wahr; Das neugebor'ne Kindelein; Dazu ist erschienen der Sohn Gottes; Dem Gerechten musa das Licht; Denn du wirst meine Seele nicht in der HSlle lassen; Der Friede sei mit dir; Der Herr denket an uns; Der Herr ist mein getreuer Hirt ; Der Himmel lacht, die Erde jubiliret; Die Elenden sollen essen; Die Himmel erzahlen die Ehre Gfottes; Du Friede- f first, Herr Jesu Christ; Du Hirte Israel, hSre; Du soUst Gott, deinen Herrn, lieben; Du wahrer Gott und Davids Sohn; Ein' feste Burg ist unaer Gott; Ein Herz, das seinen Jesum lebend weiss; Aeltere Bearbei- tung der Kantatej Ein ungefarbt BACH 33 BACH Gemiithe; Erforsche mich, Gott, und erfahre mein Herz; Erfreut euch, ihr Herzen; Erfreute Zeit im neuen Bunde; Erhalt' uns, Herr, bei deinem Wort; Brhohtea Fleisch und Blut; Er rufet seinen Schafen mit Namen; Erschallet, ihr Lieder; Erwunachtea Freudenlicht ; Es erhub sich ein Streit; Es ist das Heil uns kommen her; Es ist dir gesagt, Mensoh, was gut ist; Es ist ein trotzig und ver- zagt Bing; Es ist euch gut, dass ich hingehe; Es ist niohta Gesundes an meinem Leibe; Es reifet euch ein schrecklich Ende; Es wartet alles auf dich; Falsche Welt, dir trau' ich nicht; Preue dich, erloste Schaar; Geist und Seele wird verwirret; Ge- lobet sei der Herr, mein Gott ; Gelobet seist du, Jesu Christ; Gleieh wie der Regen und Sehnee; Gloria in excelsis Deo; Gott der Herr ist Sonn' und Schild; Gott fahret auf mit Jauchzen; Gott ist mein Konig; Gott ist unsre Zuzersieht; Gott, man lobt dich in der Stille ; Gott soil allein mein Herze haben; Gott, wie dein Name, so ist aueh dein Ruhm; Gottes Zeit ist die allerbeste Zeit; Gottlob; nun geht das Jahr zu Ende; Halt' im Gedacht- nis Jeaum Christ; Herr Christ, der ein'ge Gbttessohn; Herr, deine Augen sehen nach dem Glauben; Herr, gehe nicht in's Gtericht; Herr Gott, Be- herrscher aller Dinge; Herr Gott, dich loben alle wir; Herr Gott, dich loben wir; Herr Jesu Christ, du hochstes Gut; Herr Jesu Christ, wahr'r Mensch und Gott; Herr, wie du willst, so Schick's mit mir; Herz und Mund und That und Leben; HimmelskSnig, sei willkommen; Hochsterwninschtes Freu- denfest; Ich armer Mensch, ich Sun- denknecht; Ich bin ein guter Hirt; Ich bin vergnugt mit meinem Glucke; Ich elender Mensch, wer wird mich erlSsen; Ich freue mich in dir; Ich geh' und suche mit Verlangen; Ich glaube, lieber Herr ; Ich hab' in Gottes Herz und Sinn; Ich habe genug; Ich habe meine Zuversicht; Ich hatte viel Bekilmmernis; Ich lasae dich nicht, du segnest mich denn; Ich liebe den Hochsten von ganzem Gemiithe; Ich ruf zu dir, Herr Jesu Chriat; Ich steh' mit einem Fusa im Grabe; Ich weias, dass mein ErlQser lebt ; Ich will den Kreuzstab gerne tragen; Ihr, die ihr euch von Christo nennt; Ihr Menschen, riihmet Gottes Liebe; Ihr Pforten zu Zion; Ihr werdet weinen und heulen; In alien meinen Thaten; Jauchzet Gott in alien Landen; Jesu, der du meine Seele; Jeau, nun sei gepreiset; Jesus nahm zu aich die Zwolfe; Jesus schlaft, was soil ich hoffen? Komm, du siiase Todesstunde; Leichtgesinnte Plattergeister ; Lieb- ster Gott, wann werd' ich aterben? Liebster Immanuel, Herzog der From- men; Liebster Jesu, mein Verlangen; Lobe den Herren, den machtigen Konig der Ehren; Lobe den Herrn, meine Seele; Lobet Gott in seinen Eeiehen; Mache dich, mein Geist, bereit; Man singet mit Freuden vom Sieg; Mein Gott, wie lang', ach lange; Mein liebster Jesus ist verloren; Meine Seel' erhebt den Herren! Mein Seele rQhmt und preist; Meine Seufzer, meine Thranen; Meinen' Jeaum laas' ich nicht; Mit Fried' und Freud' ich fahr' dahin; Mit Gnaden bekrijne der Himmel die Zeiten; Nach dir, Herr, verlanget mich ; Nimm von uns, Herr, du treuer Gott; Nimm, waa dein ist; Nun danket alle Gott; Nun ist das Heil und die Kraft; Nun komm, der Heiden Heiland; Nur Jedem das Seine; O ewiges Feuer, o Uraprung der Liebe; O Ewigkeit, du Donner- wort; heil'ges Geist- und Wasser- bad; O Jesu Christ, mein's Lebens Licht; Preise, Jerusalem, den Herrn; Schau, lieber Gott, wie meine Feind'; Schauet doch und sehet, ob irgend ein Schmerz sei; Schlage doch, ge- wiinsehte Stunde; Sehmucke dich, o liebe Seele; Schwingt freudig euch empor; Sehet, welch' eine Liebe; Sehet, wir gehn hinauf gen Jerusa- lem ; Sei Lob und Ehr dem hSchsten Gut; Selig ist der Mann; Sie werden aus Saba Alle kommen; Sie werden euch in den Bann thun; Siehe, ich will viel Fischer auasenden; Siehe zu, dasa deine GottesfuTcht; Singet dem Herrn ein neues Lied (Lobe, Zion, deinen Gott) ; So du mit deinem Munde; Sttsser Trost, mein Jesus kommt; Thue Rechnung! Donner- wort; Trauer-Ode auf das Ableben BACH 34 BACH der Gemahlin Augusts des Starken; sprenget, zertrummert die Gruft. Der Tritt auf die Glaubensbalin ; Uns ist zufrieden gestellte Aeolus. Motets, ein Kind geboren; Unser Mund sei Der Geist hilft unsrer Schwachheit vol! Lachena; Vergnugte Euh', be- auf; Piirchte dioh nicht, ieh bin bei liebte Seelenlust; Wachet auf, ruft dir; Ieh lasse dich nieht, du segnest uns die Stimme; Wachet, betet, seid mich denn; Jesu, meine Freude; bereit allezeit; Wahrlich, ieh sage Komm, Jesu, komm; Lobet den Herrn, euch; War' Gott nieht mit uns diese alle Heiden; Sei Lob und Preis mit Zeit; Warum betrubst du dich, mein Ehren; Singet dem Herrn ein neues Herz; Was frag" ieh nach der Welt; Lied. Oratorios. Easter Oratorio; Was Gott thut, das ist wohlgethan; Christmas Oratorio. Masses. Grand Was mein Gott will, das g'scheh' all- Mass in B minor; Mass in P major; zeit; Was soil ieh aus dir machen, Mass in A major; Mass in G minor; Ephraim? Was willst du dich be- Mass in G major; Magnificat in D triiben; Weinen, Klagen, Sorgen, major; 5 Sanetus in C major, D Zagen; Wer da glaubet und getauft major, D minor, G major, D major, wird; Wer Dank opfert, der preiset Passion Music. St. John Pas- mioh; Wer mich liebet, der wird sion; St. Matthew Passion; St. mein Wort halten; Wer nur den Matthew Passion; St. Luke Passion lieben Gott lasst walten; Wer sich (from the Bach MSS., composer not selbst erhShet, der soil emiedriget ascertained ) . Songs and Arias. werden; Wer weiss, wie nahe mir Sacred Songs and Arias from the mein Ende ; Widerstehe doch der " Schemelli's Gesangbuch " and the Sunde ; Wie schon leuchtet der Mor- " Notenbuch '' of Anna Magdalena genstern; Wir danken dir, Gott, wir Bach; Chorales for mixed Voices, danken dir; Wir miissen durch viel Overtures (Suites). C major, B Triibsal; Wo gehest du hin; Wo minor, D major, D major. Concertos. Gott der. Herr nicht bei uns halt; F major, F major, G major, G major, Wo soil ieh fliehen hin; Wohl dem, B flat major; Concertos for one der sich auf seinen Gott. Secular Piano: D minor, E major, T> major. Cantatas. Amore traditore; Ange- A major, F minor, G minor, F major, nehmes Wiederau. Dramma per mu- A minor, D major; Concertos for two sica; Auf, schmetternde Tone. Drama Pianos: C minor, C major, C minor; zum Namenstage Augusts III ; Gesch- Concertos for three Pianos ; D minor, winde, ihr wirbelnden Winde. Der C major; Concertos for four Pianos: Streit zwischen Phoebus und Pan; A minor; Concertos for Violin: A Hochsterwunschtes Freudenfest; Ieh minor, E major, D minor. Symphony bin in mir vergniit. Von der Ver- Movements in D major. Chamber gnugsamkeit; Lasst uns sorgen, lasst Music. For Violin Solo: Sonata in uns wachen. Die Wahl des Herkules; G minor; Sonata in B minor; So- Mer hahn en neue Oberkeet; Mit nata in A minor; Sonata in D minor; Gnaden bekrone der Himmel die Zei- Sonata in C major; Sonata in E ten; angenehme Melodei; O holder major. For Pianoforte and Violin: Tag, erwiinschte Zeit; Non so che sia Suite in A major; Sonata in B minor; Dolore; Preiae dein Gliick ; Schleicht, Sonata in A major; Sonata in B spielende Wellen. Drama auf das major; Sonata in C minor; Sonata Geburtsfest Augusts III; Schweigt, in F minor; Sonata in G major; stille, plaudert nieht. Kaffee-Kantate ; Sonata in E minor ; Fugue in D Schwingt freudig euch empor. Die minor. For Pianoforte and Flute: Freude reget sich; Tonet, ihr Pauken! Sonata in B minor; Sonata in E flat Erschallet, Trompeten. Dramma per major; Sonata in A major; Sonata musica; Vereinigte Zwietraeht der in C major; Sonata in E minor; wechselnden Saiten. Dramma zu einer Sonata in E major. For Violoncello Universitatsfeier ; Was mir behagt, ist Solo: Suite in G major; Suite in nur die muntre Jagd; Weiehet nur, D minor; Suite in C major; Suite betrubte Schatten; Zerreisset, zer- in E flat major; Suite in C minor; BACH 35 BACH Suite in D major. For Pianoforte Clavier, vol. II.; 3 Toccatas, Fugue and Viola da gamba or 'Cello: So- in A minor, Fantasia and Fugue in nata in 6 major; Sonata in D major; A minor, Chromatic Fantasia and Sonata in G minor; Sonata in C Fugue in D minor, 2 Fantasias, Pre- major for two Violins and Pianoforte; lude and Fugue in E flat, 2 Preludes Sonata in G major for Flute, Violin and Fughettas, 2 Fugues in C, 3 and Pianoforte ; Sonata from " Mu- Fugues in C minor, E minor, D minor ; sikalisches Opfer " for Flute, Violin Suites in A minor and in E flat, Over- and Pianoforte. Organ Works. Pre- ture (Suite) in F, Sonata in D, Fan- ludes and Fugues in C major, C minor, tasia and Fugue in D, Toccatas in C major, A minor, E minor, B minor, E minor and G, Toccata and Fugue, A major, G major, E flat, D major. Prelude and Fugue in E flat, A minor, D minor, F minor, G minor; Fan- A minor. Prelude and Fughetta in F, tasias and Fugues in G minor, C G; 6 Preludes, Prelude in C, Prelude minor, A minor; Toccatas and Fugues (Fantasia) in A minor, Aria variata in F major, E major, D minor, C in A minor; Prelude (Fantasia) in major, D minor; Preludes and Fugues C minor. Fantasia in G minor. — in G major, E minor, A minor, C Fantasia on a Rondo in C minor, major, C minor; Eight short Pre- Fugues in C min. A., C, A min., D ludes and Fugues in C major, D min., A. Fugues on a theme of Al- minor, E minor, F majqr, G major, binoni in A a B min. Capriccios in G minor, A minor and B flat major; E. 3 Minuets in G; Sonata in D Prelude in C major; Prelude in G min.. Suite in E. Adagio in G. So- major; Prelude in A minor; Fugues nata in A min. 2 Fugues in B flat. in C minor, C minor, G major, 6 16 Concertos according Concertos by major, G minor, B minor ; Ganzona in Benedetto Marcello, G Ph. Telemann, D minor; Allabreve in D major; A. Vivaldi. See: Spitta's J. S. Bach, Fantasias in C major, C minor, G 2 vols., 1873-80, Leipsic; trans. Eng- major, G major, B minor; Pastorale lish, Clara Bell ajid J. A. Fuller Mait- in F major; Trio in D minor; Con- land, London, 1884; " Euber Bach's certo in G major; Concerto in A Leben, Kunst und Kunstwerke," Hil- minor; Concerto in C major; Con- genfelt; trans. English, Samuel Wes- certo movement in C major; Passa- ley, 1820; "Life," Miss Shuttleworth; caglia in C minor; Sonatas I., in E and the annual publications of the flat major, II., in C minor. III., in Bach Gesellschaft. D minor, IV., in E minor, V., in C Bach (Carl Philip Emanuel) com- major, VI., in G major; "Orgel- posed symphonies, sonatas, instru- bfichlein," 46 short Prel. to Chorales; mental pieces, etc., with such grace Variations on Chorale : " Christ der and skill that he was for a time deemed du bist der helle Tag"; Variations the superior of his illustrious father, on Chorale: "O Gott, du frommer JOHAKN SEBASTIAN; wrote "Ver- Gott " ; Variations on Chorale : " Sei such uber die wahre Art das Clavier gegrOsset Jesu gutig! "; Variations zu spielen," setting forth the prin- in Canon Form on : " Vom Himmel ciples of Johann Sebastian, describing hoch da komm ich her " ; Chorale the ornaments employed. This book Preludes on melody-texts by A — J; may be said to have directed the de- Chorale Preludes on melody-texts by velopment of modern piano playing. K— W ; Piano (" Clavier "). Pre- B. Mar. 8, 1714, Weimar, called the ludes. Inventions, Cappriccio, Suites ; " Berlin " or " Hamburg " Bach ; edu- Six English Suites; Klavier-Uebung. cated at Thomassehule ; studied law Six Partitas ; Klavier-Uebung. Ital- at Leipsic and Frankfort universities ; ian Concerto. The " Partita " or entered service of Frederick of Prus- Prench Overture, four Duets, Aria sia, 1738, with whom he remained with 30 Variations ( " Goldberger until 1767, when called to Hamburg in Variations " ) ; The Well Tempered succession to Telemann. Composed Clavier, vol. I.; The Well Tempered oratorios "Die Israeliten in der BACH CHOIB, 36 Wuste," " Die Auferstehung und Him- melfahrt Jesu," 22 Passions, 210 solo pieces. D. 1788. Bach Choir was organized in Lon- don, 1875, for the performance of the High Mass in B minor. Otto Gold- schmidt. Sir C. Villiers Stanford, and Dr. H. Walford Davies have been the conductors, and much excellent classic music has been revealed to English ears by it. Bach Festivals. See MORAVIAN CHOIRS. Bach Gesellschaft was formed by- Schumann, Hauptmann, Otto Jahn, C. F. Becker, aided by Breitkopf & Hartel, and approved by Spohr, Liszt, etc., to publish all authentic works of Johann Sebastian Bach. This excel- lent purpose was accomplished after 46 annual publications. The " Neue Bach Gesellschaft " was then formed to publish the complete issue in piano score. Bach Society was formed in Lon- don, Oct. 27, 1849, to collect the com- positions of J. S. Bach, or books or MS. bearing on his life and work. The collection passed into the custody of the Royal Academy of Music when the society disbanded. Mar. 21, 1870. Bache (Francis Edward) composed unpublished operas " Rubezahl " and " Which is Which," an overture and piano music. B. Birmingham, Eng., Sept. 14, 1833; d. Aug. 24, 1858. Bache (Walter) gave concerts at which important works of Liszt were first heard in London; taught piano. Royal Academy of Music. B. Birming- ham, Eng., June 19, 1842; younger brother, FRANCIS EDWARD, d. Lon- don, Mar. 26, 1888. See " Brother Musicians,'' memoir by their sister Constance Bache, London, 1901. Bachmann (Sixtus) composed masses; boyish rival of Mozart as or- ganist. B. July 18, 1754, Ketter- hausen, Bavaria ; entered the Church ; d. near Vienna, 1818. Bachofen (Johann Caspar) com- posed hymns and taught in Zurich; directed " Chorherrn Gresellschaft." B. Zurich, 1697; d. 1755. Back. Lower part of the sounding box of string instruments, connected BAGPIPES in viols to the sounding board or belly by a sound post set beneath the bridge. Its construction and material vitally affect the quality of the tone produced. Back Choir Organ. Permits the player to sit with his back to the instrument; RUCHPOSITIV. Backer-G-rondahl (Agathe TJr- sula) composed songs and played piano; pupil of Kjerulf, Kullak, and Balow; m. O. A. Grondahl, Christi- ana, 1775. B.- Holmestrand, Norway, Dec. 1, 1847; add. Christiana. Backfall. Harpsichord or lute agremens. Bacon (Richard IVlackenzie) founded the Norwich (Eng.) Trien- nial Musical Festival, 1824; wrote music criticism ; edited " Quarterly Musical Magazine and Review," Eng- land's first music periodical, and the Norwich Mercury. B. Norwich, May 1, 1776; d. Nov. 27, 1844. Badiali (Cesare) composed songs, sang bass with distinction in opera at Milan, Vienna, etc. Debut, Trieste, 1827; d. Imola, Nov. 17, 1865. Badinage. Fr. Playfulness. Bagatelle. Fr. " A trifle," sketch. Bagge (Selmar) wrote music criti- cism and composed; taught composi- tion, Vienna Conservatory. B. June 30, 1823 ; son of the rector of the Co- burg gymnase; d. July 17, 1896, Basle. Bagpipes were played by the an- cient Greeks ; were the martial instru- ments of Roman armies; during the middle ages were common in every part of Europe for religious as well as secular music, but have gradually dis- appeared with the advance of musical culture in most civilized countries. The characteristics of all bagpipes, whether in remote Asia, where the in- strument doubtless originated and is still played, in Calabria or Scotland, are the windchest or bag, the chaunter or melody pipe, and the drones or fixed pipes. In all cases the pipes are fitted with reeds. The compass and scale of bagpipes differ with the country of their origin. The modern Irish bag- pipe, which is the most perfect and elaborate now in use, has seven finger BAGrTJETTE 37 BALEE holes, a thumb hole, and eight keys with a chromatic scale from d ' to d " ' on the chaunter, and four drones. The scale of the Highland bagpipe is neither diatonic nor equal tempered, but rather akin to certain oriental modes. Baguette. Fr. Drumstick. Bai (Tammaso) composed a " Mis- erere " ranked with those of Pales- trina and AUegri ; chapelmaster of the Vatican. B. Crevalcuore, near Bo- logna; d. Dec. 22, 1714. Baildon (Joseph.) won a Catch Club prize, 1763, with his glee " When Gay Bacchus Fills My Breast " ; pub- lished collections of songs; sang in Eng. Chapel Boyal. B. about 1727; d. May 7, 1774. Baillot (Pierre Marie Frangois de Sales) composed extensively for vio- lin; compiled and edited " Methode de Violon" with Rod& and Kreutzer; ranked with the greatest of French violinists and was the last exponent of the classic style taught in Paris before the Paganini furore; wrote "Art du Violon," 1834. B. Oct. 1, 1771, Passy, near Paris; d. Sept. 15, 1842. Baini (Giuseppe) wrote " Memorie Storico Critiche " (Rome, 1828) , which is at once a biography of Falestrina and a review of his compositions, and other works on music; composed a ten-part " Miserere," still sung in the Pontifical Chapel, Rome, of which he was master. B. Rome, Oct. 21, 177S; entered the Church; d. May 21, 1844. Baisser. Fr. To lower. Baker (George) played violin, organ; composed. B. Exeter, Eng., 1773; d. Feb. 19, 1847. Baker (Theodore, Ph.D.) wrote " Dictionary of Musicians," " Diction- ary of Music," etc.; acted as literary adviser and edited for Schirmer & Co.; add. New York City. Balafo. An African XYLOPHONE. Balalaika. Crude two-stringed guitar used by Russian peasants. Balakirev (llily Alexeivich) or- ganized what is called the New Rus- sian School; founded the Free School of Music in St. Petersburg, 1862, aided by Lomakin and Von Stassov; com- posed the symphonic poem " Tamara," overtures, a symphony; published col- lection of folk songs. B. Nijny- Novgorod, Dec. 31, 1836; chapel- master to the Czar, 1867; add. St. Petersburg. Balancement. Fr. Tremolo. Balatka (Hans) composed can- tatas; founded Milwaukee Musikve- rein, 1860; conducted Chicago Phil- harmonic Society. B. HofTnungsthal, Moravia, 1827; d. Chicago, 1899. Balbi (Lodovico) composed church music; directed in Venice and Padua; Venetian monk, 16th century. Baldassarri (Benedetto) created ten. rSle of Timante in Handel's opera " Floridante." Baldenecker (Nicolaus) founded amateur concerts with Schelble, from which the Frankfort Caecilien-Verein was developed. B. Mayence, 1782; first violin Frankfort Theatre, 1803-51. Baldi sang counter ten. in operas of Handel and Bononcini, 1725-28. Balelli sang bass in Italian opera, 1785-88. Balf e (IVIichael William) composed " BOHEMIAN GIRL," and in all 31 operas, several of which were success- ful in France and Germany. Born in Dublin, May 15, 1808, son of a dancing master, he composed a polacca for band at seven, gave a violin concert at nine, and wrote a popular ballad; became pupil of Charles Edward Horn in Lon- don, 1825; played violin and some- times led the Ihrury Lane orchestra; went to Italy under the patronage of Count Mazzara, 1825. " La Peruse," a ballet written during this period, was favourably received. Then he visited Rossini in Paris, who promised him an appointment as baritone at the Italian Opera, and after lessons from Bor- dogni, he made a successful debut there in 1827 as Figaro in the " Barber of Seville." " I Rivali di se stessi," his first opera was written in 20 days during an engagement at Palermo, 1829-30. There too he married Lina Rosa, a Hungarian singer. " The Siege of Rochelle," first of his English operas, met with success at Drury Lane, 1835, then came " The Maid of Artois," con- taining " The Light of Other. Days," immortalized by Malibran. He sang, BALFE 38 composed, made a fiasco as manager of the Lyceum Theatre, and then went to Paris, where he produced two works at the Op6ra Comique. In 1843 he re- turned to England and produced " Bo- hemian Girl," which still holds its place in popular affection with Ger- man, French, and Italian, as well as with English audiences, and which, ex- panded to five acts, was performed at the Opera Gomique, Paris, 1869. Balfe died Oct. 20, 1870, at his country place, Rowney Abbey. Others of his operas are : " Geraldine," " Castle of Aymon," " The Maid of Honor," " Pit- tore e Duca" ("Moro"), "Satanella," " Bianca," " The Puritan's Daughter," " The Armourer of Nantes," " Blanche de Nevers," " The Knight of the Leop- ard " (II Talismano), "The Sleeping Queen," and the cantata " Mazeppa," etc. Balfe (Victoire) sang in Italian opera; debut, 1857; m. Sir John Crampton and later Due de Frias; daughter of MICHAEL WILLIAM. Balgetreter. Oer. Organ blower. Balgzug. Ger. Bellows stop. Balken. Ger. Bass bar. Ballabile. It. Dance music. Ballad meant originally a dance song (/*. ballata), but was early ap- plied to the narrative verses, some- times of interminable length, sung by the Anglo-Saxon " Sceop " or bard, who was generally the author of both words and music. Much of the earliest ballad verse is still extant for the in- spection of the curious, but the musi- cal settings have been lost. The sub- ject might be romantic, historical, reli- gious, sentimental, or satirical, and the numerous collections of ballads throw valuable light on the history of the times in which they were written. Henry VIII found a royal diversion in ballad making, but ballads and their makers had fallen into dis- repute in Elizabeth's reign, and at present the term is applied to street songs. Ballade. An indefinite term as ap- plied to instrumental music, although Chopin's preserve the rhythm of 6-4 or 6-8 time. Ballad Opera. English opera of BALLO IN MASCHEBA which "THE BEGGAR'S OPERA "^ was a type. The dialogue is spoken throughout, and the songs are set to ballad tunes. Ballard (Robert) obtained a grant from Henri II of France which en- abled his family to monopolize music printing in that kingdom for two centuries ending 1766. Ballerina. It. Ballet dancer. Ballata. It. A song tune which may be danced. Ballatetta. /*. A little ballata. Ballet. Fr. Originally a dance song with vocal harmonies, the ballet de- veloped along the lines of the masque, including songs, dances, and a connect- ing spoken dialogue; but in modern terms ballet means either one of two things — a pantomimic play, telling a complete story by dancing and gesticu- lation to elaborate musical accompani- ment, such as Bayer's "Die Puppenfee" or Delibes' " Coppflia," or the dancing divertissement associated vdth grand opera. The court ballets at which Louis XIV played guitar, sang, and danced belonged to the earlier or masque type. Ballets exclusively of dancing began with the foundation of the Acad&nie Royal de Musique, at which the courtiers were permitted to take part " without derogation of their nobility." The dramatic ballet is said to have been invented by the Duchess of Maine, and her chapelmas- ter, Mouret, composed several for the Academic in which the dancing was assigned ladies of title. From the time of Lafontaine, first of professional bal- lerinas, the ballet has continued to be an indispensable feature in opera at the French capital, although it is usually slighted, if not utterly neg- lected, in English-speaking countries, and is not regarded as indispensable elsewhere. Ballo in ISCaschera. Daniel Fran- cois Esprit Auber's opera in five acts, to book by Scribe, was first produced at the Aeadgmie, Paris, Feb. 27, 1833, and is preferred in Germany to Verdi's opera of the same name, which it in- spired. The French version is gener- ally called "Gustavo III," the English, " Gustavus III." In the year 1792 BALLO IN MASCHERA 39 BASTBA Gustavus 111, King of Sweden, forms a mutual attachment for the wife of his confidant, AnkarstrSm, who has dis- covered a plot against the king's life, of which he vainly warns him. Kaul- bart, the minister, desires to banish a witch, Arvedson, who is said to com- pound love philtres, but, unwilling to commit an act of injustice, Gustavus visits the witch in disguise. Malwina, Ankarstrom's wife, is seeking a potion to release her from her infatuation for Gustavus, and he hears the witch tell her to gather an herb which grows over the graves of criminals, at mid- night. When she leaves the witch is required to tell the king's fortune, and warns him he will be slain by the man who next offers him his hand. Just then Ankarstrom enters, seeking the king, and they shake hands. The lovers meet in the third act, but An- karstrom, who has been watching over the king's safety, appears in time to prevent the conspirators from attack- ing him, gives the king his cloak, and promises to return the veiled lady to her home. The conspirators attack AnkarstrSm, his wife loses her veil, he recognizes her, then turns from her and promises to join the conspiracy. AnkaratrSm's house is the meeting place of the conspirators. Malwina is chosen to draw the lots which shall decide who is to kill Gustavus, and that duty devolves upon her husband. Oswald, the king's page, brings an in- vitation to a masked ball, and there it is determined Gustavus shall die. The last act represents the ball-room. The king has resolved to abandon his pursuit of Malwina, and has appointed Ankarstrom Governor of Finland. An anonymous note warns Gustavus not to appear at the ball, but he disregards the warning. Oscar tells AnkarstrSm how to recognize the king, and, as Malwina tries to warn Gustavus and he is "handing her Ankarstrom's com- mission, Ankarstrom shoots him. The king pardons his murderer before dy- ing. Giuseppe Verdi's four-act opera, to book adapted by Somma, was com- pleted in 1854 for the San Carlo, Naples, but was declined for political reasons, it being considered unwise to portray the assassination of a king. Verdi thereupon changed the scene from Europe to America, substituting for the king " Count Richard, Gbvemor of Boston." The counsellor Ankar- strom becomes the secretary " Hene " ; Malwina, " Amelia " ; the Swedish witch a negro, " Ulrica " ; and the chief conspirators become " Samuel " and " Tom." The scene in the witch's den has been somewhat expanded, but in other respects the plots are identi- cal. There being no objection to the assassination of a Governor of Boston, the opera was presented at Home, Feb. 17, 1859, and it has recently been revived and included in the repertoire of the Metropolitan Opera House, New York. The principal musical numbers in Verdi's opera are : Act I : "La rivedra nell' estasi," Richard; " Di speranze e glorie plena," Rene ; " Volta la terrea," Oscar; the witch-music "Re del abisso," " Di' tu se fedele," Richard; Act II: "Ma dall arido," Amelia; "M'«ni, M'ami," Richard and Amelia ; " Odi tu come," trio ; Act III : " Morro, ma prima in grazia," Amelia ; " O dolcezzo perdute," Rene ; " Saper vorreste," Oscar. Ballonzare. /*. Wild, reckless dancing. Baltazarini (Baltagerini) intro- duced Italian dances into Paris from which opera and ballet were devel- oped; played violin; became intend- ant of music to Catherine de Medici, 1577, who changed his name to Beaujoyeulx. Baltzar (Thomas) first great vio- linist to visit England ; became leader of the King's band, 1661. B. Lubeck, 1630; d. London, July 27, 1663. Banchieri (Adriano) foimded the Accademia Florida of Bologna, 1623; wrote rules for playing accompani- ment from figured bass, and other books on theory; composed church music and played organ. B. Bologna, about 1567; abbot of Mt. Oliveto; d. 1634, Bologna. Band. Instrumental musicians grouped for performance, as a mili- tary band, brass band, string band, or other sections of the ORCHESTRA. Banda. It. Military band. BANDEBALI 40 EABBEK OE BAGDAD Banderali (Davidde) created buffo ten. rSlea; taught singing in Milan and Paris conservatories. B. Lodi, Jan. 12, 1789; d. June 13, 1849, Paris. Bandini (Uberto) won Turin musi- cal prize with overture " Eleonora " ; composed symphony, " II Baccanale," for orchestra. B. Kietti, Umbria, Mar. 28, 1860. Bandola or Bandolon. It. Variety of lute played with plectrum. Bandore. English variation of Greek Pandoura invented by John Rose, of London, 1561, having twelve steel strings. Bandrowski, Ritter von (Alex) sang ten. at Cologne, St. Petersburg, New York. B. Galioia, April 22, 1860. Banestre (Gilbert) composed; Master of Children of the Chapel Royal, Eng., succeeding Henry Abing- don, 16th century. Banister (Henry Charles) wrote " Musical Art and Study," 1888, " The Harmonizing of Melodies," 1897; com- posed and lectured. B. London, June 13, 1831; d. Nov. 20, 1897. Banister (John) was first to estab- lish concerts at a profit in London; advertised in the London Gazette, Dee. 30, 1672; composed; became King's violinist. B. London, 1630; d. Oct. 3, 1679. John played first violin at first performance of Italian operas in Eng- lish form; musician to Charles II, James II, William and Mary, and Anne. B. London; son of JOHN; d. 1735. Banjo. Popular American instru- ment of the guitar type which may have developed from the banja or bania brought over from Africa by slaves; consists of a hoop over which parchment is stretched, as a sounding board, to which is attached a handle or keyboard. There are generally five strings. Banks (Benjamin) made violins in London, 1750-95. Benjamin, Jr., James, and H. Banks, his three sons, also made violins. Banti (Brigitta Giorgi) possessed soprano of great purity and range; sang with great success in opera, 1778- 1802, though never a good musician, having been originally a street singer. B. Crema, Lombardy, 1759; m. Zac- caria Banti, the dancer; d. Bologna, Feb. 18, 1806. Bantock (Granville) conducted or- chestral concerts, New Brighton, Eng., 1897-1901, bringing out works by Mac- kenzie, Parry, Stanford, Corder, Ger- man, Elgar, Cowen, thus aiding in the development of British music; com- posed the operas " Caedmar," " The Pearl of Iran," 1896; " The Fire Wor- shippers," dramatic cantata, 1892; " Christus," festival symphony, 1901. B. London, Aug. 7, 1868; won Macfarren scholarship, Royal Acad- emy of Music; toured the world, 1894-95, as conductor of a George Ed- wardes production; principal Bir- mingham and Midland Institute School of Music, 1901; conductor Wolverhampton Festival Choral So- ciety, 1902. Baptie (David) wrote "Handbook of Musical Biography," 1883, com- posed glees; edited hymn books. B. Edinburgh, Nov. 30, 1822. Baptiste. Professional name of BAPTISTS ANET. Baptistin (Jean) composed three operas, 15 ballets, cantatas; played 'cello at Paris Op6ra. B. Florence, 1690; real name Johann Baptist Struck; d. 1755. Bar divides the time of a composi- tion into measures or bars ; is a verti- cal line across the stave; when doubled, indicates close of a strain which, if dotted, is to be repeated. Bars determine the position of accent and were used for that purpose be- fore the adoption of modern musical notation. Barbaja (Domenioo) managed La Scala and San Carlos operas in Italy and " KSmthnerthor " and "Auf der Wien " theatres in Vienna. Began life as a waiter; gave employment to greatest singers of his time ; first pro- duced many operas of Bellini, Doni- zetti, and Rossini. B. Milan, 1778; d. Oct. 16, 1841. Barbaro. It. Barbarous. Barber of Bagdad. Peter Cor- nelius' two-act comic opera to his own libretto was produced at Weimar by Liszt, Dec. 16, 1858, where its failure BABBEB OF SEVILLE 41 BAUD caused Liszt's retirement. Years after Cornelius' death it was revived in Grerman and English with complete success. The story deals with the famous barber of the Arabian Nights, and his interference with the love affairs of Nurredin and Margiana. Barber of Seville. The delightful " Figaro " comedies of Beaumarchais have been the inspiration of many- composers. Paisiello's opera was pro- duced at St. Petersburg with complete success in 1780, and, although Ros- sini obtained his permission to treat the same subject, it was revived when Rossini's opera was presented at Paris, and the rival works became the subject of heated controversy ; with the result, however, that Rossini's alone has sur- vived. Rossini's opera, in two acts, was written to a libretto by Sterbini, and was first performed at Rome, Feb. 5, 1816. Doctor Bartolo wishes to marry his charming ward, Rosina, who loves and is loved by Count Almaviva, whom she knows as Lindoro. Figaro the Barber interests himself in the affairs of the lovers; suggests that the Count obtain entrance to Bartolo's house in the guise of a soldier with a billet for lodgings; tells Rosina of Almaviva's love for her, and carries a note to him from her. Bartolo's sus- picions are aroused by Rosina's inky finger, and when the pretended soldier appears, he sends Rosina from the room, and declares he has a license against billets. While he looks for the license Almaviva makes love to Rosina, and Bartolo, on discovering this, makes such a row that the guards enter and Almaviva is obliged to retire. The second act reveals Almaviva once more in Bartolo's house, this time disguised as a singing master, come to replace Basilio, who is ill. In the love scene which follows Rosina is permitted to interpolate songs at discretion, as Rossini's music has been lost. Un- fortunately the real Basilio presents himself, but Figaro bribes him to silence, and an elopement is planned for that night. Bartolo has obtained a note of Rosina's to Almaviva ; sends for a notary to hasten his own wed- ding with her, and then tries to make her believe that Lindoro and Figaro have conspired to betray her to Count Almaviva. Rosina hears with delight that Lindoro and Almaviva are one and the same, the notary is bribed, and Bartolo is tricked into signing what he believes is a contract of marriage between himself and his ward, but Which is really the marriage contract of Rosina and Almaviva. His rage is allayed when Almaviva presents him with Rosina's dowry. The original cast consisted of Figaro, Zamboni, bar.; Almaviva, Garcia, ten.; Bar- tolo, Botticelli, bass; Basilio, Vitta- relli, bass; Rosina, Giogi Righetti, sop.; Berta, Signorina Rossi, sop. The principal musical numbers are: Act I : " Ecco ridente il cielo " ( ser- enade ) , Almaviva ; " Largo al f acto- txun," Figaro; "Una voce poco fa," Rosina; " Calumny aria," Basilio; "E il maestro io faccio," Rosina and Fi- garo; Act II: "Ma vedi il mio des- tino," Bartolo; " Sempre gridi " (Aria di Sorbetto), Berta; " Zitti, zitti," terzetto. Subsequent adventures of Figaro are the theme of Mozart's "MARRIAGE OF FIGARO." Barbers of Bassora. John Hul- lah's two-act comic opera, to words by Madison Morton, was produced Nov. 11, 1837, in London. Barbi (Alice) sang mez. sop. in concert; debut Milan, 1882; wrote poems. B. Bologna, 1860, retired 1886. Barbieri (Francisco Asenjo) com- posed 75 operettas, etc. B. Madrid, Aug. 3, 1823; d. Feb. 19, 1894. Barbireau (Mattre Jacques) com- posed church music; taught boys in the Antwerp Cathedral, 1448, to his death, Aug. 8, 1491. Barbiton. The seven-stringed lyre of Anacreon; obsolete variety of violin. Barcarole. Fr. " Boat song." Melodies of Venetian gondoliers, or their imitations. Barcrofte (Thomas) composed church music; played organ Ely Ca- thedral, 1579; d. 1610. Bards. Celtic minstrel poets held in high esteem, whose memory is per- petuated in the EISTEDDFODS. BAKDELLA 42 Bardella (Antonio Naldi) prob- ably invented the theorbo, which he played at the court of Tuscany, 16th century. Bardi, Count Vernio (Giovanni) composed early form of opera per- formed in his home by Corsi, Peri, Rinuccini, V. Galilei, and others of his friends; was attached to court of Pope Clement VIII, 16th century. Bardone. Obsolete instrument of viol family or baryton. Bar em. Ger. Organ stop of eight feet, or 16 feet closed flute pipes. Bargaglia (Scipione) first em- ployed word " Concerto " ( Dr. Bur- ney), composed and wrote on theory, Naples, 16th century. Bargiel (Woldemar) composed symphony in C, overtures " Prome- theus," "Zu Einem Trauerspiel," "Me- dea"; numerous, works for piano, orchestra, chorus. B. Berlin, Oct. 3, 1828, half brother of Clara Wieck Schumann; pupil Schumann and Mendelssohn; taught in Berlin Hoch- schule ftir Musik and headed "Meister- schule fur musikalsche Composition " ; connected with Academy of Fine Arts ; add. Berlin. Barginet or Bergeret. Shepherd song. Baribasso It. Deep bass. Bariolage. Fr. Medley; ca- denzas. Baritenor. Low tenor. Baritone. Male voice between bass and tenor, and partaking qualities of both, extreme range being G to g'. Mozart was first to compose important music for this voice, although its earlier recognition is proved by the special baritone clef (F placed on the stave's third line), now obsolete, but used by Purcell and Handel. The term is also applied the Saxhorn in B flat or C, and to other instruments of intermediate range. Baritono. It. Baritone. Barker (Charles Spackman) in- vented the pneumatic organ lever, elec- tric organ, and built organs under firm name of Barker & Verschnelder. B. Bath, Eng., Oct. 10, 1806; went to Paris, 1837; returned to England, BABOIT 1870; d. Maidstone, Eng., Nov. 26, 1879. Barmann (Heinrich Joseph) played and composed for clarinet, friend of Meyerbeer, Weber, and Mendelssohn. B. Potsdam, Feb. 14, 1784; d. June 11, 1847, Munich. Karl played bassoon in Berlin royal band. B. Potsdam; brother of HEINRICH JOSEPH; d. 1842. Karl played clarinet; wrote a "Clarinet School." B. 1820, Mu- nich; son of HEINRICH JOSEPH; d. May 24, 1885. Karl taught music in Munich and Boston, Mass., 1881. B. July 9, 1839 ; son of KARL; pupil of Liszt, Lachner; add. Boston. Barley CWilliam) succeeded to music printing business conferred by Queen Elizabeth's patent upon Thomas Morley. Publications are dated Lon- don, 1596 to 1609. Barnard (Charlotte Aling^on) wrote the " Claribel " ballads. B. Dec. 23, 1830; m. C. C. Barnard, 1854; d. Jan. 30, 1869, Dover, Eng. Barnard (Bev. John) published the first English collection of cathedral music, 1641 ; canon St. Paul's Cathedral. Barnby (Sir Joseph) composed 246 hymns; the oratorio "Rebekah"; conducted Royal Academy of Music concerts; was organist and choir- master at 12; knighted Aug. 5, 1892. B. York, Aug. 12, 1838; d. London, Jan. 28, 1896. Barnett (John) composed about 4,000 songs; "The Mountain Sylph," " Fair Rosamund," and " Farinelli," operas, the first of which achieved great popularity; taught and wrote on musical subjects. B. Bedford, Eng., July 15, -1802; second cousin of Meyerbeer; d. April 16, 1890. Barnett (John Francis) composed the cantata " The Ancient Mariner " ; overture to "The Winter's Tale," " The Raising of Lazarus," symphony in A minor, " Pastoral Suite " ; son of Joseph Alfred Barnett and nephew of JOHN; won Queen's Scholarship in Royal Academy of Music; played violin. B. London, Oct. 16, 1837; d. April 29, 1898. Baron (Ernst Theophilus) wrote on the history and theory of music; composed; theorbist to Frederick the BARONESS, THE 43 BABTLEKAN Great. B. Breslau, Feb. 17, 1696; d. Berlin, April 12, 1760. Baroness, The. Professional name of a German opera singer of Bonon- cini's time. Barre (Antonio) published music in Milan, 1555-88; composed; sang at St. Peter's, Rome. Barrg. Fr. "Bar." Placing the finger over all the strings of a lute or guitar, which raises the pitch like a CAPOTASTO. Barre (Ijeonard) composed motets and madrigals; advised Council of Trent on church music; sang in Papal Chapel, Rome, 1537-52. Barrel Organ. The common street organ which has spread to all parts of the world dates from the beginning of the 18th century, and is the sim- plest form of the many mechanical devices for automatically producing music, requiring only the turning of a handle. The barrel is furnished with a series of pegs which open the valves as it revolves, admitting cur- rents of air to a set of pipes. The same movement that turns the barrel pumps the bellows. The compass is generally about two octaves and a half. The barrel may be made to shift in position, in which case more than one tune can be played. Larger forms of barrel organ were once employed in churches, but have given way to melo- deons. The principle may be studied in miniature in the music box, where the teeth of a steel comb are set in vibration by a barrel. It has been applied to such elaborate instruments as the " APOLLONICON," and to organs for private houses ranging in cost from $500 to.$8,000, which imitate orchestral effect. When provided with manuals these elaborate instruments are called "Barrel and Finger Organs." Street pianos are also operated by the barrel mechanism. Barret (Apollon IHCarie Rose) wrote " Complete Method for the Oboe," on which he was a distin- guished soloist. B. France, 1804; d. Mar. 8, 1879. Barrett (John) composed songs, act music, etc.; played organ. B. England, about 1674; d. about 1735. Barrett (Thomas) made violins in London, 1710-30. Barrett (William Alexander) wrote music criticism for London "Morning Post," 1869-91; a life of Balfe, " English Church Composers," etc.; edited with Sir John Stainer " Dictionary of Musical Terms." B. Hackney, Oct. 15, 1834; vicar-choral St. Paul's, London, 1876; d. Oct. 17, 1891. Barrington, The Hon. (Daines) wrote description of Mozart in 1764 (vol. XI "Philosophical Transactions, 1780). B. London, 1727; d. 1800. Barroco. It. Whimsical, eccentric. Barry (Charles Alnslie) composed; wrote programme analyses; edited " Monthly Musical Record," London, 1875-79. B. London, June 10, 1830. Barsanti (S'rancesco) published "A Collection of Old Scots Tunes," Edinburgh, 1742; composed; played flute and oboe. B. Lucca, 1690; went to England with Germiuiani. Bartei (Girolamo) composed; chapelmaster Volterra Cathedral ; general of Augustinian monks, Rome; published eight voice masses, 1608. Barth (Earl Heinrich) taught piano in the Hochschule, Berlin, 1871 ; highly esteemed as concert pianist. B. Pillau, Prussia, July 12, 1847. Barth (Blchard) directed Ham- burg Singakademie and Philharmonic concerts. B. June 5, 1850, Grosswanz- leben. Saxony; violin pupil of Joa- chim; add. Hamburg. Barthel (Johann Christian) played organ to court of Altenburg, 1804, until his death, June 10, 1831. BarthSlemon (Erangois Hippo- lyte) composed music for " Orpheus," at Garrick's request, "A Peep Behind the Scene," and other burlettas; m. Mary Young, a singer; made success- ful tours as concert violinist. B. Bor- deaux, July 27, 1741; d. July 20, 1808. Bartholomew (William) adapted most of Mendelssohn's vocal pieces to English, and translated libretti. B. London, 1793; d. Aug. 18, 1867. Bartleman (James) sang bass- bar, with distinction at London eon- certs. B. Westminster, Sept. 19, 1769; d. April 15. 1821. BARTLBTT 44 Bartlett (John) composed " A Book of Ayres," 1606, Eng. Bartolini (Vincenzio) sang sop. in London, 1782, Cassel, 1792. Baryton. Obsolete instrument of the viol family for which Haydn com- posed 175 pieces; had six or seven strings like viola da gamba, and from seven to 44 sympathetic metal strings. Bas-dessus. Fr. Mez. sop. or sec- ond treb. Basevi (Abramo) wrote on theory ; edited musical periodicals; composed operas ; helped found " Societa del Quartetto." B. Leghorn, Dec. 29, 1818; d. Florence, Nov., 1885. Basill (Domenico Andrea) com- posed 24 clavier etudes; chapelmaster at Loretto. D. 1775. Erancesco com- posed operas, symphonies; chapel- master at St. Peter's, Rome. B. Feb., 1766, son of DOMENICO ANDREA; d. Mar. 25, 1850. Bass. The lowest male voice, ranging from F ', the lowest tone of the rare contra basso voice to the bari- tone register. The Basso Cantante is distinguished from the Basso Pro- fundo by its flexibility rather than any difference in range. The Basso Buffo is a bass comedian. Bass. The tones below middle C in the musical system as distinguished from those above, which are called treble; the grave as opposed to the acute. Bassa Ottava. li. The lower octave. Bass Bar. Strip of wood glued to the belly of a viol under the bass foot of the bridge to distribute the vibrations. Bass Clarinet. Is generally set in B flat, but also in A and in C. The instrument is an octave lower than the CLARINET. Bass Clef. The F clef, so called from having been modified from that letter. Bass Drum. The largest DRUM in the modern orchestra; serves to define rhythm, but is not tuned. Bass Flute. An obsolete bass in- strument sometimes made like the ordinary FLUTE, but 32 inches long, sometimes doubled so that it resembled a bassoon. The name has been given an eight-foot organ stop. BASSOOig' Bassgeige. Oer. Bass viol. Bass Horn. Deep B flat HORN, doubled like a basson which suc- ceeded the serpent but has given way to the ophicleide. Bass Lute. THEORBO. Bass Tuba. The lowest of the Sax- horns; the euphonium. Bassani (Giovanni Battista) com- posed six operas and 31 vocal and in- strumental works and three oratorios; directed music at Bologna and Fer- rara Cathedrals; played violin. B. Padua, 1657; d. Ferrara, 1717. Basse Danse. Stately dance for" two people in triple time popular in France, 15th and 16th centuries. Basset Horn. The tenor clarinet, set in F, usually made curved for con- venience in handling. Bassevi (Giacobbe) became man- ager of Drury Lane, London; played 'cello during Garrick's management (professional name Cervetto) ; ac- cumulated fortune equivalent to $100,000. B. Italy, 1682; d. London, Jan. 14, 1783. James played violin solos at the Haymarket, London, when 11, and in concert and orchestra until the death of his father GIACOBBE, when he retired. B. London, 1749; d. Feb. 5, 1837. Bassi (Luigi) sang women's parts in opera at 13; developed as baritone and created the name part in " Don Giovanni," which Mozart wrote for him ; became manager Dresden Italian opera, 1815. B. Pesaro, 1766; d. Dresden, 1825. Basslron (Philippe), composed masses published by Petrucci, 1505. B. Netherlands. Basso Continuo. /*. Figured bass for piano or organ or THOROUGH BASS. Basso da Camera. It. Small double-bass for solos. Basso Ostinato. It. GROUND BASS. Basso Biplendo. It. Bass of chorus parts. Basson Russe. Bass horn. Bassoon. The bass of the OBOE, ranging from B ' flat to b ' flat. The instrument is doubled on itself, and its resemblance to a bundle of sticks BASTABBELLA 45 is said to have caused Afranio, Canon of Ferrara (the probable inventor) to have named it " fagotto," 1540. Ad- ditional mechanism has raised the compass of modern instruments to f ". First introduced in orchestra about 1671, the bassoon has steadily grown in favour with composers, and Mozart wrote a concerto for it with full or- chestral accompaniment. Bastardella. Nickname of the singer AGUJARI. Bastien et Bastienne. Mozart's operetta written in his 12th year, to words by Schachtner, was performed 1768 in the Messmers' garden-house in Vienna. Baston (Josquin) composed motets and chansons, Flanders, 16th century. Bates (Toab) founded and first conducted London's " Ancient Con- certs," 1776. B. Mar. 19, 1740; m. Sarah Harrop, singer, 1780; d. June 8, 1799. Bates (William) composed the comic opera " The Jovial Crew," " Songs sung at Marylebon Gardens," etc., England, 18th century. Bateson (Thomas) first to gradu- ate in music from Trinity College, Dublin; composed madrigals; played organ Chester and Dublin Cathedrals. D. 1631. Bathe (William) invented a " harp of new device," which he presented to Elizabeth; published his "Brief In- troduction to the True art of Mu- sicke," 1584, the first of its kind in English, " A Brief Introduction to the Skill of Song," London, 1600. B. Ire- land, grandson of Chief Baron and- son of Judge Bathe ; entered Society of Jesus; published "Janua Lingua- rum," Salamanca, 1611; d. Madrid, June 17, 1614. Batiste (Antoine Eduard) wrote "Petit Solffege Harmonique"; wrote out accompaniments for figured basses of solfeggi by Cherubini and others; played and composed for organ, and taught at the Paris Conservatoire. He was the son of Batiste, the com- edian, and uncle of L6o Delibes. B. Paris, Mar. 28, 1820 ; d. Nov. 9, 1876. Baton (Charles) composed; wrote on and played vielle or hurdy-gurdy. BAtJLDtXlN Called " le jeune." An elder brother, Henri, played musette. Paris, 18th century. Baton. Fr. "Stick." Originally a long baton was used in conducting, which was rapped against the floor. This gave way to the small conductor's wand. A conductor's manner is called his " baton," and the term is also ap- plied to a rest of two or more measures. Battaille (Charles Amable) wrote on the voice and taught singing in Paris Conservatoire. B. Nantes, Sept. 30, 1822; d. Paris, May, 1872. Battement. Fr. Ornament em- ployed in singing. Batten (Adrian) composed the full anthem " Deliver us, O Lord," services, etc., played organ Winchester and St. Paul's Cathedrals, 17th century. Battere. It. Down beat. Batterie. Fr. Roll of drum ; group of percussion instruments. Battery. Harpsichord agremen, which indicated a chord was to be played twice. Battimento. It. Battement. Battishill (Jonathan) composed songs, glees, anthems, and dramatic music, and played organ in London churches. B. London, May, 1738; m. Miss Davies, a singer, 1763; d. Dec. 10, 1801. Battle of Prague. Kotzwara's programme piece descriptive of the contest between the Austrians and Prussians, 1757, became immensely popular and foreshadowed other com- positions of like character. Battle Symphony. English name of Beethoven's " Wellingtons Sieg, Oder die Schlacht bei Vittoria." Batton (Desire Alexandre) com- posed operas, the failure of which was largely due bad librettos ; collaborated with Auber, HSrold, and Carafa in " La Marquise de Brinvilliers " ; became inspector of branch schools in the Paris Conservatoire, 1842. B. Paris, Jan. 2, 1797 ; d. Oct. 15, 1855. Battuta. /*. Strict time. Bauernleyer. Qer. Hurdy-gurdy. Bauerpfeife. Qer. Eight-foot or- gan stop. Baulduin (Noel) directed music at BATTlffGABTS!]!]' 46 BEACH Notre Dame, Antwerp, 1513-18; com- posed motets, etc. B. Netherlands; d. 1529. Baumgarten (C. F.) composed operas and pantomimes, including "Robin Hood," 1786, and "Blue Beard," 1792, while leader of the English opera at Covent Garden, Lon- don, 1780-1794. Baxoncillo. 8p. Organ stop like open diapason. Bayaderes. Dancing girls, in East- ern temples. Bayer (Joseph) composed the bal- lets "Die Puppenfee," "Die Braut von Korea," " Sonne und Erde," " Die Welt in Bild und Tanz " ; the operettas "Der Schoene Kaspar," "Meister Men- elaus," etc.; became ballet director Vienna Court Opera, 1882. B. 1851; add. Vienna. Bayles. 8p. Gipsy dance songs. Baylor (Eugene) composed " The Margrave Galop " in Richmond, Va., March, 1864, while major in the Con- federate ai'my, and other popular pieces. The " Margrave Galop " was long a favorite in the Southern states after the close of the Civil War. B. Virginia; add. Winchester, Va. Bayly (Rev. Anselm) wrote " A Practical Treatise on Singing and Playing," 1771; "The Alliance of Musick, Poetry, and Oratory," 1789; sub-dean of Eng. Chapel Royal, 1764. B. Gloucestershire, 1719; d. 1794. Bayreuth became the centre of the Wagner cult from 1872 when Richard Wagner took up his residence there and began his plans for the " Festspiel- haus," the corner stone of which was laid May 22, 1872, with elaborate cere- monies, including a performance of Beethoven's Choral Symphony. Wag- ner societies in all parts of the world raised the money for the new theatre, which was designed by Gottfried Sem- per with suggestions from Wagner, and opened in Aug., 1876, with per- formances of two cycles of the " Ring des Nibelungen," causing a loss of nearly $40,000. "Parsifal" was per- formed there first in July and Aug., 1882, and was restricted to that theatre until Dec. 24, 1903, when it was produced at the Metropolitan Opera House, New York, under man- agement of Heinrich Conried, Alfred Hertz conducting. An excellent Eng- lish production by Henry W. Savage followed. Bayreuth has continued to be the home of Frau Cosima Wagner, and of Siegfried Wagner, who bitterly opposed the American productions of the " Bunenwehfestspiel " or stage festival dedicatory play, as Wagner termed " Parsifal." However, the music had been made known in con- cert form before the New York episode. Since the beginning Bayreuth has been the principal training school of Wag- nerian singers and conductors. B Cancellatum. L. B flat can- celled by a line drawn through it an- ciently used as natural, and from which our accidentals are derived. B Dur. Ger. B flat major. B Durum. L. B natural. Bazin (Prangois Emanuel Jo- seph) composed " Le Trompette de M. le Prince," " Le Malheur d'gtre jolie," "La Nuit de la Saint-Syl- vestre," " Madelon," "Maitre Pathe- lin," " Le Voyage en Chine," operas performed at the Op6ra Comique, Paris; taught in Paris Conservatoire. B. Marseilles, Sept. 4, 1816; d. Paris, July 2, 1878. ■ Bazzini (Antonio) composed " Ronde des Lutins " and other works for violin, which he played; directed Milan Conservatory, 1882. B. Mar. 11, 1818, Brescia; d. Milan, Feb. 10, 1897. Beach (Amy Maroy Cheney) com- posed Gaelic Symphony; played 1896, Boston Symphony Orchestra; con- certo for piano, which she played with Boston Symphony Orchestra, 1900; Mass, E flat, for mixed voices, soli, chorus, and orchestra, 1892; "The Minstrel and the King," male chorus and orchestra, 1902; "Festival Ju- bilate," mixed voices and orchestra, for the Chicago Exposition, 1893; played piano in orchestral concerts and recital. Studied with Ernst Pe- rabo, Carl Baermann, and Junius W. Hill; debut Boston Music Hall, Oct. 24, 1883; ra. H. H. A. Beach, 1885. B. Henniker, N. H., Sept. 5, 1867; add. Boston. BEALE 4? SECKEBr Beale (tTohu) taught piano, Royal Academy of Music, London. B. Lon- don, 1796. Beale (William) composed " Come let us join the roundelay" and other madrigals and glees; organist in Cam- bridge and London. B. Landrake, Eng., Jan. 1, 1784; d. London, May 3, 1854. Bearbeitet. Ger. Adapted. Beard (Jolin) sang ten. under Han- del at Covent Garden, London; m. Lady Henrietta Herbert, daughter of Earl Waldegrave, 1739; retired until her death, 1743; sang at Drury Lane and Covent Garden; m. Charlotte Rich, whose father owned Covent Gar- den, 1759; succeeded to management of that house, 1761. B. England, 1717; d. Hampton, Feb. 5, 1791. Bearings. Notes first established in tuning, on which to base the rest of the compass. Beat. Shake or grace note ; motion by which conductors indicate accent or rhythm; part of measure so indi- cated; throb produced when tones dif- fering in pitch are produced together. Beatrice di Tenda. Vineenzo Bel- lini's opera to libretto by F. Romano, was first performed in Venice, 1833. Beatrice et Benedict. Hector Ber- lioz's two-act opera founded on " Much Ado About Nothing," for which he also wrote the libretto, was first per- formed Aug. 9, 1862, at the opening of the Baden Theatre under Liszt and successfully revived by Mottl. Beaulieu (llarie Desire) wrote on musical history; composed the operas " Anacrgon " and " Philadelphie " ; founded the Philharmonic Society at Niort, which was the pioneer of its kind in France and grew into the " Association musicale de I'Ouest." B. Paris, April 11, 1791 (family name Martin) ; d. Niort, Dec, 1863. Beaumavielle sang bar. in Cam- bert's first French opera "Pomone," 1671. D. 1688. Beauty Stone. Sir Arthur Sulli- van's musical play in three acts to text by Comyns Carr and A. W. Pinero, was first performed May 28, 1898, at the Savoy Theatre, London. Bebisation. Obsolete solmiza- tion commended by Daniel Hitzler, 1630. Bebung. Oer. Clavichord tremolo; tremolo organ stop. Bee. Fr. " Beak " or mouthpiece. Becarre. Fr. Natural. Becco. It. Mouthpiece. Becco Folacco. It. Large bagpipe. Becher (Alfred Julius) composed songs, chamber music; wrote music criticism. B. Manchester, April 27, 1803; studied Heidelberg, GSttingen, Berlin; edited the "Radikale," Vi- enna; tried by court-martial and shot, Nov. 23, 1848. Bechstein (Priedrich. Wilhelm Carl) founded the Berlin piano busi- ness bearing his name, headed in 1908 by Edwin Bechstein, with branches in Paris, London, St. Petersburg. B. June 1, 1826, Gotha; d. Mar. 6, 1900. Beck (Eranz) composed 24 sym- phonies, a " Stabat Mater " ; directed concerts in Bordeaux and taught. B. Mannheim, 1731; d. Bordeaux, Dec. 31, 1809. Beck (Johann Nepomuk) sang principal bar. opera rSles at Vienna, 1853-88. B. Pesth, May 5, 1828; d. Vienna, Sept., 1893. Beck (Joseph.) sang bar. in opera at Frankfort, 1880. B. June 11, 1850; son of JOHANN NEPOMUK; add. Frankfort. Becken. Q-er. Cymbal. Becker (Albert Ernst Anton) com- posed Mass B flat minor, opera " Lore- ley," symphony in G minor, songs, chamber music; directed Berlin Dom- chor; B. Quedlinburg, June 13, 1834; d. Berlin, Jan. 10, 1899. Becker (Carl Ferdinand) vrrote on music; taught organ at Leipsic Con- servatory and bequeathed valuable music collection to Leipsic. B. July 17, 1804; d. Leipsic, Oct. 26, 1877. Becker (Constantin Julius) wrote " Mannergesang-Schule," 1845 ; com- posed opera " Die Belagerung von Bel- grad," Leipsic, 1848, a symphony; as- sisted Schumann in editing " Neue Zeitschrift fiir Musik." B. Freiberg, Feb. 3, 1811 ; d. OberlSssnitz, Feb. 26, 1859. Becker (Dietrich) published " Mu- sikalische Frtlhlingsfructe," 1668; S£]CK£ja 48 BEETHOVEN ■composer and violinist to the Senate of Hamburg, 17th century. Becker (Hugo) played 'cello in solo and in the " Frankfort Quartet " ; taught in Frankfort Conservatory. B. Strasburg, Feb. 13, 1864, son of JEAN; add. Frankfort. Becker (Jacob) founded piano busi- ness in St. Petersburg, 1841. B. Ba- varian Palatinate. Paul Peterson suc- ceeded him, 1871. Becker (Jean) played violin with distinction ; founded the " Florentine Quartet"; led London Philharmonic concerts. B. Mannheim, May 11, 1833; d. Mannheim, Oct. 10, 1884. Beckwith. (John Charles) played organ Norwich Cathedral, succeeding his father, JOHN CHRISTMAS. B. 1778; d. Oct. 11, 1819. Beckwith (John Christmas) com- posed chants, anthems; played organ Norwich Cathedral. B. Norwich, Dec. 25, 1750; d. June 3, 1809. Bedos de Celles (Dom Frangois) wrote " L'Art du facteur d'orgues," Paris, 1766. B. Caux, France; entered Benedictine Order, Toulouse, 1726; d. St. Maur, Nov. 25, 1779. Beer (Jacob Meyer) was the origi- nal name of Giacomo MEYERBEER. Beer (Joseph) played, composed for, and improved the clarinet by adding a fifth key. B. May 18, 1774, Grunwald, Bohemia; d. Potsdam, 1811. Beethoven, van (Ludwig) com- posed nine great symphonies, the last with chorus, the opera " FIDELIO," unsurpassed sonatas for piano, and established himself for all time as the world's greatest master of absolute music. He composed, in fact, in every form known to his time, often ex- panding, sometimes modifying, always improving, never inventing. Neither formalist nor revolutionist, but over- riding rules only when they seemed to fetter his genius, assuming no pose of mysticism, stooping to such pro- gramme music as a battle piece, elevat- ing that form to the highest pinnacle in the Pastoral Symphony; revising, correcting, rewriting his music with infinite patience; striving always for higher inspiration and clarity of ex- pression, he stood aloof from his con- temporaries, and he stands alone to- day — a sun in the musical firmament wherein other composers are the stars, the planets, the comets, if you will, — or merely the satellites. He was bap- tized at Bonn, Dee. 17, 1770, from which it may be inferred that he was born on the previous day. The Bee- thovens were not noble, but followed the Dutch custom of indicating their place of origin by the prefix " van." This appears to have been an obscure village near Louvain, whence they mi- grated to Antwerp in 1680. Ludwig van Beethoven went from there to Bonn as musician and tenor singer to the Elector of Cologne. His son Johann sang bass, and became elec- toral chapelmaster in Mar., 1773. On Nov. 12, 1767, Johann married Maria Magdalena Leym, bom Keverich, wid- owed daughter of the chief cook at Ehrenbreitstein, from which' union were born seven children, the subject of this sketch being second, and the eldest to survive infancy. Since 1889 No. 515 Bonngasse, where Ludwig was born, has been reserved as a memorial, having been purchased by an associa- tion of which the late Dr. Joachim was president. The elder Ludwig sur- vived until Dec. 24, 1773, when his grandson, who distinctly remembered him in after life, was three years old. Young Ludwig began to study both clavier and violin when four years of age. To these studies his father added the three Rs, and until he was 13 he picked up a little Latin at a public school. At eight he played in public, and the following year, having nothing more to learn from his father, took lessons from Pfeiffer, a musician at- tached to the Bonn opera, and studied organ virith Van den Eeden. At the age of 10 he composed variations, which were published in 1783. Neefe, who succeeded to the post of court organist and likewise taught Beethoven, pre- dicted that he would become a second Mozart, and left him in charge of the organ when not yet 12 years old Beethoven could then play nearly all of Bach's Well Tempered Clavier, and read well at sight. At 12 the child became cembalist to the orchestra, BEETHOVEN 49 BEETHOVEN which required that he should con- duct the opera band. In this position be became acquainted with operas by Gluck, Paisiello, Salieri, and Sarti. Three sonatas for solo, piano, and the song " Schilderung eines Madchens," published in 1783, appear to have been composed at this time. For his work in the theatre the lad received no salary, but soon he was appointed as- sistant organist to Keefe, and as such received 150 florins. On the death of Elector Max Friedrich, his successor. Max Franz, made a revision of his household, reducing the allowance to Neefe, but without increasing that of Beethoven. The song " An einem Saugling " and a rondo for piano were published in 1784, and in 1785 he pub- lished the song " Wenn jemand eine Reise thut," three quartets for piano and strings, and received violin lessons from Franz Ries. Beethoven's first visit to Vienna, made in 1787, afforded opportunity for a few lessons from Mozart, who is said to have remarked on hearing him play : " Pay attention to him; he will make a noise in the world some day or other." He seems likewise to have attracted the atten- tion of Haydn, who wrote to Artaria, " I should like to know who this Lud- wig is," but may have had in mind some other Ludwig. His sojourn in Vienna was abruptly terminated by the illness of his mother, who died July 17. A piano prelude in F minor and a trio in E flat are dated 1787, and in that year he formed the acquaintance of the widowed Frau von Breuning, with whose family he main- tained a lifelong friendship, and of the young Count Waldstein, to whom he afterwards dedicated one of his greatest sonatas. Frau von Breuning engaged Beethoven to give lessons to her little girl and the youngest of her three sons, and soon made him one of the family. His acquaintance with the Countess Hatzfeld dates from the same period. In 1788 Beethoven, while retaining his post of assistant organist to the electoral court at Bonn, played viola in the opera, which had been re- modelled by the Elector, included an orchestra of 31, led by Reicha, with an extended repertoire and a goodly array of singers. Mozart's operas were given frequently. In this year Beethoven was recognized as the head of his family. His father had lost his voice, and had become a drunkard, and, while the Elector did not strike him off his pay roll, he directed part of his salary be paid the son. In 1790 Haydn, who was on his way to London, accom- panied by Salomon, was the guest of the Elector on Christmas Day. It is probable that the two masters, one in his zenith, the other yet unknown, met on this occasion, and it is certain that two years later, when Haydn was returning from London, and again stopped at Bonn, Beethoven showed him a cantata which he praised highly. Two cantatas, one of the death of Emperor Joseph, the song " Der freie Mann," two piano preludes, the " Venni Amore " ji^ariations, the " Ritter bal- let" (possibly arranged by Count Waldstein ) , an octet and a rondino for strings, a trio for strings, 14 varia- tions in E flat for piano, violin, and 'cello, 12 variations for violin and piano, some songs, and an allegro and minuet for two flutes were composed in these years. By this time, although his compositions were fewer than those of other great composers at the same age, the Elector seems to have become impressed with Beethoven's genius, for he arranged to send him to Vienna to study with Haydn, pay- ing his salary for two years. Bee- thoven arrived in Vienna in Nov., 1792, with a matter of 25 ducats, or about $62, in his pockets, and was cordially received by Haydn, who is reported to have said that he meant to set him to work on great operas in anticipation of his own retirement. He lodged in the garret of a printing office outside the city walls, and paid about 25 cents an hour for his lessons from the most celebrated composer of the day. Fux's " Gradus ad Parnas- sum " was the text book used. The relations between master and pupil soon ceased to be cordial, and, al- though there was no open disagree- ment, Beethoven obtained instruction from Schenck in secret, and in 1794, BEETHOVEN 50 BEETHOVEH when Haydn again went to England, studied counterpoint with Albrechts- berger and violin with Schuppanzigh. Beethoven never acknowledged any obligation to Haydn, and as it was the rule of that master to keep still when he couldn't speak well of people, his opinion of his pupil is doubtful. Al- breehtsberger, however, did not hesi- tate to warn his other pupils to let Beethoven alone because he was " in- capable of learning, and would never amount to anything." In 1792 Bee- thoven's father died, but the Elector continued, at Beethoven's request, to pay his salary to his brothers in Bonn until Mar., 1794, continuing Beetho- ven's own allowance as well. A few months later the French Republican army seized Bonn, and Beethoven was thereafter to regard Vienna as his home. Despite bad manners, slovenly habits, and a total disregard for con- ventions, Beethoven made warm friends among the nobility, and Prince and Princess Karl Lichnowsky, who had already presented him with a quartet ol strings, now made him an allow- ance of 600 guldens per annum, be- sides keeping a room at his disposal in their house. He quarrelled with his friends and patrons on the slightest provocation, often without any at all, though he sometimes made profuse apologies when realizing himself in the wrong. An amusing instance of his arrogance was displayed when he learned that Prince Lichnowsky had ordered his servant to answer Bee- thoven's bell before his ovni. Beetho- ven thereupon promptly engaged a servant for his exclusive use. It may be that the Viennese regarded his in- dependence as a, joke, it may be that his remarkable powers of improvising were weighed against his faults. At any rate, he was not merely tolerated, but cultivated — by women as well as men. His industry in composition was prodigious. He ordinarily arose about five o'clock and worked until noon, when dinner was served, but he some- times forgot to eat. He often took long walks in the afternoon, especially if living in one of the many villages in the environs of Vienna, as was his rule in summer; spending his even- ing in society or at the theatre. Dur- ing his walks he always carried a note book in which to jot down musical ideas as they occurred to him, and he usually kept several compositions in hand at a time, working at each in turn, as he felt disposed. He hated to be interrupted, and often sang the melodies he was writing in a voice far from pleasant, strumming at his piano, stamping, or roaring aloud. Some- times he spent days in rewriting. His note books show 18 attempts at one aria in " Fidelio" (O Hoflfnung). Tlie irregularity of his habits and his need of solitude when composing may have had something to do with the frequency with which he changed his lodging, often at great expense and incon- venience. In 1895 the list of -composi- tions written in Vienna included some trios, the first three piano sonatas, which he dedicated to Haydn; 12 Va- riations on " Se vuol ballare," 13 on " Es war einmal," eight for four hands on Count Waldstein's theme, nine for solo piano on " Quant' e piil bello," a trio for oboes, corno inglese, and piano, and a violin rondo in G, the B flat concerto for piano and orchestra, the songs " Adelaide," " Opferlied," and "Seufzer eines Ungeliebten"; 12 min- uets, 12 Deutsche Tanze for orchestra, and the canon " Im Arme der Liebe." Heretofore Beethoven had only played in private houses in Vienna. Mar. 29, 1795, he appeared at the annual actors' fund benefit at the Burg Theatre, play- ing his own concerto in C major; two days later playing a concerto of Mozart's at the benefit given his widow, and on Dec. 18, a concerto of his own at a concert given by Haydn. Jan. 10, 1796, he played with Haydn again, and then visited Nuremberg, and perhaps Prague, and finally Berlin, where the king gave him a box of gold coin. He was in Prague during February, and composed " Ah perfldo " for Mme. Duschek, but November found him back in Vienna, where he composed a farewell song for the troops leaving for the Napoleonic wars, and later gave a concert with the Rombergs. Three piano sonatas (Op. 2), 12 varia- BEETHOVEN 51 BEETHOVEN tions on a minuet " a la Vigano,'' and six minuets for piano were published in 1796; while many more important works were under way. In 1798 Bee- thoven met Bernadotte, then French ambassador at Vienna, from whom it is said he first received the idea of the Eroica symphony. His amusing en- counter with Steibelt, the pianist, occurred at this time. Beethoven had composed a trio for piano, clarinet, and 'cello which was played at the house of Count Fries. Steibelt had assumed a haughty manner, and when they met again a week later, Steibelt produced a new quintet, and extem- porized on the finale of Beethoven's trio; whereupon Beethoven took the 'cello part of Steibelt's composition, turned it upside down, and played a theme and variations which drove Stei- belt out of the house. His encounter with Woefl, which happened on his return from two successful concerts in Prague, had a more agreeable end- ing. The two men played together at Coimt Wetzlar's home, and became good friends, although Beethoven did not return the compliment Woefi after- wards paid him in dedicating a group of sonatas to him. The first concert which Beethoven undertook for his own benefit in Vienna took place April 2, 1800, at which his Symphony No. 1, which had been completed the previous year, and his Septet were produced, and at which he played a piano con- certo of his own. April 18 he appeared with Punto, the horn player, at a con- cert given by the latter. They played Beethoven's horn and piano sonata, which won an encore despite the Burg Theatre's rules to the contrary. In this year Beethoven began his practice of spending the summer in the country, going to Unter-Dobing, a village two miles from Vienna. On his return to town he accepted Czerny as a pupil. Some idea of Beethoven's business methods may be had from the state- ment that about this time he sold his Septet, Symphony in C, Piano con- certo in B flat, and B flat sonata to Hofl'meister of Leipsic for 20 ducats, or about $50 each, himself reducing the concerto to half price on the ground that it was by no means one of his best. Mar. 28, 1801, his bal- let, " Prometheus," was produced at the Burg Theatre, where it had a run of 16 nights. Its popularity resulted in the publication of a piano score, and the following year it had a second run of 13 nights. With money in his pocket Beethoven exchanged the lodg- ings he had maintained for the past two years at No. 241 " im tiefen Graben" to the more salubrious Sailer- statte, whence he could overlook the ramparts; and in the summer he went to Hetzendorf, where he worked at "The Mount of Olives," his ora- torio to words by Huber. Beethoven, at this time entering upon his most prolific and useful period as a com- poser, began to have. premonitions of the deafness which was soon to over- take him, and of the liver complaint, both the result of a severe malady of early manhood, which combined to ren- der him melancholy and more irascible than ever in later life. His constitu- tion was naturally rugged. Although but five feet five inches high, he was stockily built, with broad shoulders and powerful muscles. His hair, which became perfectly white toward the close of his life, was black and abun- dant; his complexion ruddy, and he wore neither beard nor moustache, al- though he had to shave up to his eyes. His teeth were white and sound; his eyes dark, almost black, were very ex- pressive, redeeming a face which may have been ugly, but was not without nobility. His fingers were short, blunt, covered with hair, but very strong. The violin sonatas in A minor and F, the grand sonatas for piano in A flat and D, and the twin sonatas he entitled " Quasi Fantasia," the second of which has become known as "The Moonlight" from a refer- ence to moonlight in a, review by Rellstab, were all composed at a time when he realized his deafness was pro- gressive and incurable, and in which he wrote: "Every day I come nearer to the aim which I feel, though I cannot describe it, and on which alone your Beethoven can exist. No more rest for him! " April 5, 1803, "The BEETHOVEU 52 Mount of Olives " was performed at the Theatre an der Wien, and the Symphony in D had its first hearing, while Beethoven himself played his piano concerto in C minor. The lovely and much misunderstood " Kreutzer " sonata was composed for a concert at the Augarten, May 17, and performed by Beethoven and Bridgetower, the Mulatto violinist. During the summer Beethoven was at work upon " Fidelio," having promised to write an opera for Schikaneder of the Theatre an der Wien, and upon the " Eroica." This great symphony, which was to have been called " Napoleon Bonaparte," was completed and ready for trans- mission to Paris when the news came that Napoleon had made himself em- peror. Beethoven, who loved to mingle with the nobility, but was always a radical at heart, tore off the title page in a rage, and afterwards gave it the title which may be translated " Heroic symphony to celebrate the memory of a great man." His revulsion of feel- ing toward Napoleon may have had something to do with his subsequent choice of " Rule Britannia " and " God Save the King " as themes for varia- tions. In 1805 Beethoven met Cheru- bini, then visiting Vienna, and struck up a warm friendship with him. He esteemed Cherubini above all ' living composers, and Handel best of those who had passed away. The opera " Fidelio " was complete on his return that year from his customary summer sojourn in the country. Beethoven now took lodgings in the Theatre an der Wien, where the work was performed with what is now known as the " Ijeo- nore Overture No. 2," Nov. 20. The French were then in possession of Vienna, which had a depressing effect on the populace. Beethoven had been disgusted with the rehearsals, and, after the third performance, the work was withdrawn. Beethoven consented to cut it down from three acts to two, eliminating three numbers, and it was again presented, and with better suc- cess, Mar. 29, 1806, until Beethoven and Baron Braun, intendant of the theatre, quarrelled, and the composer >vithdrew his work. What is now BEETHOVEN known as the " Leonore Overture No. 3 " was played at the second , series of performances. In March, 1807, Beethoven received a large sum of money from a benefit concert of his own works. The extraordinary pro- gramme included his first four sym- phonies, the fourth recently completed. The sonata in F minor. Op. 57, which the Hamburg publisher Cranz has called " Appassionata," the Triple con- certo, and the 32 Variations for piano appeared that year; and in 1808 the publications included the " Coriolan " overture, three string quartets. Op. 59, while the C minor and Pastoral sym- phonies, and the Choral Fantasia were made .known at a concert, Dec. 22, at the Theatre an der Wien. Jerome Bonaparte, king of Westphalia, at this time offered Beethoven a salary equal to about $1,500 if he would become chapelmaster at Cassel. The offer was declined, but it caused Archduke Ru- dolph and Princes Lobkowitz and Kin- sky to guarantee Beethoven an annu- ity of about $2,000. Its actual value speedily declined with the value of paper currency, and finally brought him into litigation with the Kinsky estate, although the suit was compro- mised before trial. The second siege of Vienna, a sojourn at Baden, where he was somewhat benefited by the baths; his engagement to harmonize national melodies for Thompson, the Edin- burgh publisher ; his financial troubles, caused by the depreciation of the cur- rency in which his annuity was paid; Wellington's defeat of the French at Vittoria, which inspired "The Battle Symphony," were external episodes of the next five years, during which Beethoven composed the " Egmont " overture, " King Stephen," " The Ruins of Athens," the Seventh and Eighth symphonies, and many works of smaller proportions. " The Battle Symphony," celebrating Wellington's victory, pro- gramme music suggested by Maelzel, was performed at a great concert, Dec. 8, 1813, in aid of soldiers wounded at Hanau, which was likewise the occa- sion of the Seventh Symphony's first performance, and the programme was repeated four days later. The Eighth BEETHOVEN 53 BEETHOVEN Symphony was first played in Jan., 1814", but was not as well received as the Seventh, " because it is so much better," said the composer. The death of Prince Lichnowsky, Beethoven's earliest patron and continuous friend, and his quarrel with Maelzel, whom he sued for taking an unauthorized copy of " The Battle Symphony " to England, and a successful revival of " Fidelio," were events of 1814; and during the Congress of Vienna Beetho- ven gave two gigantic concerts which were attended by all the notables (at one he had an audience of 6,000), met the Empress of Russia, to whom he dedicated a polonaise, Op. 89, and the piano arrangement of his Seventh Sym- phony in acknowledgment of her pres- ent of 200 ducats, or about $500. In 1815 Caspar Beethoven died, leaving his nine year old son to the composer's care. Beethoven had long assisted this brother and his family, and had be- come involved in a quarrel with his devoted friend Stephen Breuning be- cause of Caspar. But he detested his brother's widow, and only, obtained possession of his nephew after bitter litigation with her. The lad Carl, toward whom Beethoven was always kind and indulgent, proved a trouble- some and expensive care. There was compensation that year in the fact of his then receiving his first public honour — the freedom of the city of Vienna. In 1818 Beethoven began his grand Mass, meant for the installation of his patron Archduke Rudolph as Archbishop of Olmutz, although it was not completed until after that event. He was also busy with sonatas and the great Ninth Symphony, and he seems to have searched eagerly for an opera libretto, without being able to find one that suited him. In 1824 Carl Beethoven, who had failed in his examinations at the University and at the Polytechnic as well, attempted sui- cide, and in consequence was arrested and ordered to leave Vienna. Finally he enlisted in the array, but in 1826 he joined his uncle at the home of Jo- hann, another of Beethoven's brothers, who had a small estate at Gneixendorf, a village near Krems. As the result of another quarrel, due the grasping nature of Johann, Beethoven deter- mined to return with Carl to Vienna, but caught cold in making the journey, and had to take to his bed on reaching Vienna. The cold resulted in an in- flammation of the lungs, and to this dropsy succeeded. Beethoven was near- ing his end. He had completed sketches for a Tenth Symphony, a requiem, and music for " Faust," and felt that his best work was yet to come. Tappings failed to relieve him, however; he be- came emaciated and weak. March 24, 1827, the sacraments were adminis- tered, and on Monday, March 26, he died during a violent thunderstorm. There were most elaborate ceremonies at the funeral three days later, which was attended by a multitude of people of every class, and the remains of the illustrious composer were interred in the Wahringer Cemetery. A complete list of Beethoven's works according to the Breitkopf and JIartel catalogue is here annexed. For further study of his life see: Beethoven's Letters, " Ludwig van Beethovens Leben," A. W. Thayer, Berlin, 1866-72-79; " Neue Beethoveniana," Theodor Frimmel, Vi- enna, 1888-90; " Biographie," Schind- ler, Munster, 1840; " Biographische Notizen," Wegeler and Ries, Coblenz, 1838; " Beethoven et ses Trois Styles," W. von Lenz, St. Petersburg, 1852; " Beethoven," Richard Wagner, Leip- sic, 1870 ; " Beethoven and his Nine Symphonies," Sir George Grove, 1898; " Ludwig van Beethoven," W. J. Wa- sielewski, Leipsic, 1895. Orchestral Works. First Symphony, Op. 21 in C; Second Symphony, Op. 36 in D; Third Symphony, Op. 55 in E flat; Fourth Symphony, Op. 60 in B flat; Fifth Sym- phony, Op. 67 in C minor; Sixth Symphony, Op. 68 in F ; Seventh Sym- phony, Op. 92 in A; Eighth Sym- phony, Op. 93 in F; Ninth Symphony, Op. 125 in D minor. Miscellaneous orchestral works: Wellington's Vic- tory or the Battle of Vittoria. Op. 91 ; The Creatures of Prometheus, Ballet, Op. 43; Music to Goethe's Tragedy "Egmont," Op. 84; Allegretto in B flat; March from "Tarpeja," in C; Military March, in D; Twelve Min- BEBTHOVEU 54 uets, Twelve German Dances, Twelve Contra-Dances. Overtures: to Corio- lan. Op. 62 in C minor; to Leonore (Fidelio). No. 1. Op. 138 in C; to Leonore (Fidelio). No. 2. Op. 72 in C; to Leonore (Fidelio). No. 3. Op. 72 in C; Op. 115 in C; to King Stephen, Op. 117 in E flat; Op. 124 in C; to Prometheus. Op. 43 in C; to Fidelio (Leonore). Op. 72 in E; to Egmont. Op. 84 in F minor; to the Ruins of Athens. Op. 113 in Gr. For Violin and Orchestra: Concerto, Op. 61 in D; Romance, Op. 40 in G; Romance, Op. 50 in F. Chamber IVEusic. Septet for Violin, Viola, Horn, Clarinet, Bas- soon, 'Cello, and Double. Bass. Op. 40 in E flat; Sextet for 2 Violins, Viola, 'Cello, and 2 Horns obligato. Op. 81b in E flat; Quintet for 2 Violins, 2 Violas, and 'Cello. Op. 29 in C; Fugue for 2 Violins, 2 Violas, and 'Cello. Op. 137 in D; Quintet for 2 Violins, 2 Violas, and 'Cello. Op. 4 in E flat. Prom the Octet Op. 103; Quintet for 2 Violins, 2 Violas, and 'Cello. Op. 104 in C minor. From the Trio Op. 1, No. 3. String quartets : Op. 18, No. 1 in F; Op. 18, No. 2 in G; Op. 18, No. 3 in D; Op. 18, No. 4 in C minor; Op. 18, No. 5 in A; Op. 18, No. 6 in B flat; Op. 59, No. 1 in F ; Op. 59, No. 2 in E minor; Op. 59, No. 3 in C; Op. 74 in E flat; Op. 95 in F minor; Op. 127 in E flat; Op. 130 in B flat; Op. 131 in C sharp minor; Op. 132 in A minor; Op. 135 in F; Grand Fugue. Op. 133 in B flat. Trios for Violin, Viola, and 'Cello: Op. 1 in E flat; Op. 9, No. 1 in G; Op. 9, No. 2 in D; Op. 9, No. 3 in O minor; Serenade. Op. 8 in D. Wind Instruments: Octet for 2 Hautboys, 2 Clarinets, 2 Horns, and 2 Bassoons. Op. 103 in E flat; Rondino for 2 Hautboys, 2 Clarinets, 2 Horns, and 2 Bassoons in E flat; Sextet for Clar- inet, 2 Horns, and 2 Bassoons. Op. 1 in E flat; Serenade for Flute, Violin, and Viola. Op. 25 in D; Trio for 2 Hautboys and English Horn. Op. 87 in C; 3 Duets for Clarinet and Bas- soon in C, F, B. Piano and Orchestra : First Concerto. Op. 15 in C; Second Concerto. Op. 19 in B flat ; Third Con- certo. Op. 37 in C minor; Fourth BEETHOVEN Concerto. Op. 58 in G; Fifth Con- certo. Op. 73 in E flat; Concerto for Piano, Violin, and 'Cello. Op. 56 in C. Cadences to the Piano. Concertos; Fantasia with Chorus. Op. 80 in C minor; Rondo in B flat. Principal Part of the Piano. Concerto arranged from the Violin Concerto Op. 61. Piano quintet and quartet: Quintet for Piano, Hautboy, Clarinet, Horn, and Bassoon. Op. 16 in E flat; 3 Quartets for Piano, Violin, Viola, and 'Cello. No. 1 in E flat; No. 2 in D; No. 3 in C ; Quartet for Piano, Violin, Viola, and 'Cello, from the Quintet Op. 16 in E flat. Trios for Piano, Violin, and 'Cello : Trio. Op. 1, No. 1 in E flat; Trio. Op. 1, No. 2 in G; Trio. Op. 1, No. 3 in C minor; Trio. Op. '70, No. 1 in D; Trio. Op. 70, No. 2 in E flat; Trio. Op. 97 in B flat; Trio in B flat in 1 part; Trio in E flat; Variations. Op. 121a in G; 14 Variations. Op. 44 in E flat; Trio for Piano, Clarinet or Violin, and 'Cello. Op. 11 in B flat; Trio for Piano, Violin, and 'Cello from the Symphony Op. 36 in D; Trio for Piano, Clarinet or Violin, and 'Cello. Op. 38 in E flat from the Septet Op. 20. For Piano and Violin: Sonata. Op. 12, No. 1 in D; Sonata. Op. 12, No. 2 in A; Sonata. Op. 12, No. 3 in E flat; Sonata. Op. 23 in A minor; Sonata. Op. 24 ip F; Sonata. Op. 30, No. 1 in A; Sonata. Op. 30, No. 2 in C ■ minor; Sonata. Op. 30, No. 3 in G; Sonata. Op. 47 in A; Sonata. Op. 96 in G; Rondo in G; 12 Variations (Se vuol ballare) in F. For Piano and 'Cello: Sonata. Op. 5, No. 1 in F; Sonata. Op. 5, No. 2 in G minor; Sonata. Op. 69 in A; Sonata. Op. 102, No. 1 in C; Sonata. Op. 102, No. 2 in D; 12 Variations (Judas Macea- bsEus) in G; 12 Variations (A girl or a beloved wife) . Op. 66 in F; 7 Vari- ations (Men who feel the power of Love) in E flat. For Piano and Wind Instruments: Sonata. Op. 17 with Horn, in P; 6 varied Themes. Op. 105, for Piano solo or with Flute or Violin; 10 varied Themes. Op. 107, for Piano solo or with Flute or Violin. Piano Duets: Sonata. Op. 6 in D; 3 Marches. Op. 45 in C, E flat, D; BEETHOVEN 55 BEETHOVEN Variations (Waldstein) inC; 6 Vari- ations (Song with variations) in D. The Piano Sonatas: Op. 2, No. 1 in F minor; Op. 2, No. 2 in A; Op. 2, No. 3 in C; Op. 7 in E flat; Op. 10, No. 1 in G minor; Op. 10, No. 2 in F; Op. 10, No. 3 in D; Op. 13 in C minor (pathetic); Op. 14, No. 1 in E; Op. 14, No. 2 in G; Op. 22 in B flat; Op. 26 in A flat; Op. 27, No. 1 in E flat (quasi fantasia) ; Op. 27, No. 2 in C sharp minor (quasi fantasia) ; Op. 28 in B; Op. 31, No. 1 in G; Op. 31, No. 2 in D minor; Op. 31, No. 3 in B flat; Op. 49, No. 1 in G minor; Op. 49, No. 2 in G; Op. 53 in C; Op. 54 in F; Op. 57 in F minor; Op. 78 in F sharp; Op. 79 in G; Op. 81a in E flat; Op. 90 in E minor; Op. 101 in A; Op. 106 in B flat (Hammer-Piano) ; Op. 109 in E; Op. 110 in A flat; Op. Ill in minor; in E flat; in F minor; Sonata in D; Sonata in C (easy) ; 2 easy Sonatas. No. 1 in G, No. 2 in F. Piano Variations (Original Theme) : Op. 34 in F; (with Fugue) Op. 35 in E flat; Op. 76 in D; Op. 120 in C; (March of Dressier) in C minor; (Quanto 6 bello) in A; (Nel cor piil non ml sento) in G; (Menuet a la Vigano) inC; (Russian Dance) in A; ( Une fievre brtllante ) in C ; (La stessa, la stessissima) in B flat; (Kind, willst du ruhig sehlafen ) in F ; ( Tandeln und Scherzen) in F; (Es war einmal) in A; (easy) in G; (Swiss Song) in F; (Vieni amore) in D; (God save the King) in C; (Rule Britannia) in D; in C minor; (Ich hab' ein kleines Huttchen nur) in B flat. Minor Pieces for Piano: 7 Bagatelles. Op. 33; 2 Preludes. Op. 39; Rondo. Op. 51, No. 1 in C; Rondo. Op. 51, No. 2 in G; Fantasia. Op. 77 in G minor; Polonaise. Op. 89 in C; 11 New Baga- telles. Op. 119; 6 Bagatelles. Op. 126; Rondo a Capriccio. Op. 129 in G; Andante in F; Minuet in E flat; 6 Minuets; Prelude in F minor; Rondo in A; 6 Rustic Dances; 7 Rus- tic Dances. Vocal Music. Church Music: Missa solemnis. Op. 123 in D; Missa. Op. 86 in C; Christ at the Mount of Olives; Oratorio. Op. 85. Dramatic Works : Fidelio (Leonora), Opera. Op. 72; The Ruins of Athens. Piece for a festival. Op. 113; March and Chorus from the Ruins of Athena, etc. Op. 114; King Stephen. Op. 117; Final Song from the patriotic opera " The Triumphal Arches " : Es ist voll- braoht; Final Song from the opera "The Good News." Germania, wie stehst du, etc. Cantatas: The Glori- ous Moment. Cantata. Op. 136; A calm Sea and a happy Voyage. Op. 1 12. Songs with Orchestra: Scene and Aria: Ah! Perfido, for Soprano. Op. 65; Terzetto. Tremate, empj, tremate, for Soprano, Tenor, and Bass. Op. 116; Ofl'ertory for 1 Voice with Chorus. Op. 121b; Federal Song for 2 Soli and three-part Chorus with accompaniment of 2 Clarinets, 2 Horns, and 2 Bas- soons. Op. 122; Elegiac Song for 4 Voices with accompaniment of 2 Vio- lins, Viola, and 'Cello. Op. 118. Songs with Piano: To Hope. Op. 32; Ade- laide. Op. 46; Six Songs by Gellert. Op. 48: Praying, Charity, On Death, Worship of God in Nature, Almighti- ness and Providence of God, Peniten- tial Hymn; Eight Songs and Airs. Op. 52: Urian's Voyage round the Globe, Fire coloured, The little Song about tranquillity. May Song, Molly's Farewell, the songs " Ohne Liebe lebe, wer da kann," Marmot, The little flower of " Wunderhold " ; Six Songs. Op. 75: Mignon, Fresh Love, Fresh Life, From Goethe's Faust, Gretel's Admonition, To the Love far away, The Contented Man ; Four Ariettas and one Duet. Op. 82 : Hope, Iiove's Com- plaint, L'alnante impaziente (Silent question ) , L'amante impaziente ( Love's impatience ) , Duet, Enjoyment of Life ; Three Songs by Goethe. Op. 83 : De- light of Melancholy, Love-Longing, With a painted Riband; The Happi- ness of Friendship (Happiness of Life) . Op. 88; To Hope. Op. 94; To the Love far away (Liederkreis). Op. 98; The Trustworthy Man. Op. 99 ; Mer- kenstein. Op. 100; The Kiss. Op. 128; Description of a Girl; To a Baby; Farewell Song to Vienna's Ciia- zens ; War Song of the Austrians ; The Independent Man; Offertory; Quail Call; Als die Geliebte sich trennen wollte (Feelings at Lydia's infidelity) ; Song from a distant Friend; The BEETHOVEN 56 BEETHOVEN Young Man Abroad; The Lover; Love- Longing; The Silent Night; The War- rior's Farewell; Der Bardengeist (the minstrel's ghost) ; Call from Moun- tain; To the Svreetheart; The same (former tune) ; So or So; The Secret; Resignation; Evening Song under the Starry Sky; Kemembrance; I Love You; Love's Longing by Goethe (in 4 different times) ; La partenza (Fare- well ) ; In questa tomba oscura ; Sighs of Refused Lover who is Enamoured; The Loud Complaint; Song of the Monks: Rasch tritt der Tod, etc., for 3 male Voices without accompani- ment; Canons. Songs with Piano, Violin, and 'Cello: 25 Scotch Songs. Op. 108; Irish Songs; English, Scotch, Irish, and Italian Songs; 12 Scotch Songs ; 25 Irish Songs ; 20 Irish Songs ; 26 Welsh Songs. Supplementary Vo- cal Music: Cantata on the Death of the Emperor Joseph II. For Solo, Chorus, and Orchestra; Cantata on the Accession of the Emperor Leo- pold II. For Solo, Chorus, and Or- chestra ; Chorus to the Festival Piece : Die Weihe des Hauses. For Solo, Chorus, and Orchestra ; Chorus on the Allied Princes. For four Voices and Orchestra; Offertory. For three Solo Voices, Chorus, and small Orchestra; Two Arias for a Bass Voice with Or- chestral Accompaniment; Two Ariaa to Ignaz Umlauf 's Opera " Die schBne Schusterin " ; Aria, " Primo amore pi- acer del ciel," for Soprano with Or- chestral Accompaniment; Music to Friedrich Duncker's Drama: Leonora Prohaska, No. 1, Warriors' Chorus; No. 2, Romance; No. 3, Melodrame; No. 4, Funeral March ; Farewell Song. For three male Voices; Lobkowitz-Can- tata for three Voices with Piano Ac- companiment; I, who did flit to and fro. Song for one Voice with Piano Accompaniment ; Merkenstein. For one Voice with Piano Accompaniment; The Song of the Nightingale. For one Voice with Piano Accompaniment; Song (for Frau von Weissenthurn). For one Voice with Piano Accompani- ment; Song from Metastasio's " Olim- piade." For one Voice with Piano Ac- companiment; To Minna. Song for one Voice with Piano Accompaniment; O, think of me! Song for one Voice with Piano Accompaniment; Drinking- Song (to sing at parting). For one Voice with Piano Accompaniment; Lament for one Voice with Piano Ac- companiment; Elegy on the Death of a Poodle. For one Voice with Piano Accompaniment; Five Canons: I praise Thee only. Friendship, Trust and Hope! To-day be mindful of Baden, Life is for Gladness. Supple- mentary Instrumental Music: Music to a Knight-Ballet: No. 1, March; No. 2, German Song; No. 3, Hunting Song; No. 4, Romance; No. 5, Military Song; No. 6, Drinking- Song; No. 7, German Dance; No. 8, Coda; Two Marches for Military Bands. Composed for the Carousal on the Glorious Birthday of Her I. & R. Majesty Maria Ludoviea in the I. & R. Castle-Garden at Laxen- burg; March (Tattoo) for Military Bands; Polonaise for Military Bands; Ecossaise for Military Bands; Six Rustic Dances for 2 Violins and Baas; March for 2 Clarinets, 2 Horns, and 2 Bassoons ; Three Equale for 4 Trom- bones; Trio for Piano, Flute, and Bassoon; Sonatina for Mandolin; Adagio for Mandolin; Two Bagatelles for Piano; Piano. Piece in A minor; Allegretto in C minor for Piano; Cheerful. Melancholic. Two small Piano. Pieces; Piano. Piece in B flat major; Six Ecoasaises for Piano; Waltz in E flat major for Piano; Waltz in D major for Piano; Eeoa- saise in E flat major for Piano; Ecos- saise in G major for Piano ; AUemande in A major for Piano; Six German Dances for Piano and Violin; Two- part Fugue for Organ; Concerto in E flat for Piano.; Concerto in D major (first Movement) for Piano, with Orchestra. The music here classed as " Supplemental," and which is lack- ing in opus numbers, together with eleven " Wiener Tanze " discovered at the Thomasschule, Leipsic, 1907, com- pletes the list of the master's authen- tic works. Dr. Hugo Riemann is authority for the statement that these " Wiener Tanze " were composed in 1819 for a society of seven musicians (they are 7-part waltzes), and are the works referred to by Schindler, BEFFARA 57 which that biographer was unable to trace. Beffara (Louis Frangois) collected valuable data relating to Paris opera, destroyed in the Commune, Paris, 1871; Commissaire of Police. B. No- nancourt, Aug. 23, 1751; d. Feb. 2, 1838. Beggar's Opera. Contained 69 ballad tunes scored by Dr. Pepusch, who composed the overture. The witty text was written by John Gay, and the first performance took place at Lin- coln's Inn Fields Theatre, London, Jan. 29, 1727, followed by what was the phenomenal run in those days of 62 repetitions for the first season. The profits were nearly $20,000 for John Rich, the manager, and nearly $3,500 for the author, who according to custom had the receipts for four "author's nights." Gay is said to have received the idea of " A Newgate Pastoral" from Swift. He satirized the court, the opera, and the poli- ticians of the time, and the wonderful popularity of the work resulted in the production of other BALLAD OPERAS. The ballad tunes were of English, Scotch, or Irish origin. Begleiten. Oer. To accompany. Begleitete Fuge. Ger. Free part fugue. Begleitung. Ger. Accompaniment. Begnis, de (Giuseppe) sang buffo rales in opera, 1813-24. B. Lugo, Italy, 1793; m. Signora Ronzi; d. Aug. 1849. Signora Bonzi sang buffo rSles with much success until eclipsed by Pasta; debut, Paris, 1819; m. GIUSEPPE; d. Florence, 1853. Begrez (Pierre Ignace) sang ten. in opera, 1815-22, and taught singing. B. Namur, France, Dec. 23, 1783; d. Dec, 1863. Beklemmt or Beklommen. Ger. " Heavy at heart." Belaiev (Mitrophane Petrovich) founded Leipsic publishing house, which has brought out 2,000 works by composers of "New Russian" school; established "Russian Symphony Con- certs " for native composers in St. Petersburg. B. St. Petersburg, Feb. 10, 1836; d. Jan. 10, 1904. Belckte (Friedrich August) com- BELL posed for and played trombone in the Gewandhaus and Royal Berlin orches- tras. B. Luckna, Saxony, May 27, 1795; d. Dec. 10, 1874. Belebt. Ger. Animated. Beliczay, von (Julius) composed an " Ave Maria," two symphonies, songs, and chamber music. B. Aug. 10, 1835, Komorn, Hungary. Belisario. Gaetano Donizetti's three-act opera, for which he also wrote the book, was first performed at Venice, Feb. 17, 1836, and later in Paris and London. Bell. The mouth of a tubular in- strimient, gives increased power be- cause it permits of setting a larger volume of air in vibration, and modi- fies the tone produced. The curved mouth of brass instruments gives the even overtones which would otherwise be wanting in a closed pipe. Bell. In the modem orchestra bells have been superseded by metal tubes which are more easily tuned, may be placed in a frame like a, xylophone, and are much more convenient than the old glockenspiel, which was played with keys. The effect of a chime of bells is thus obtained in " Parsifal," " Tosca," as well as in " Magic Flute," where bells were first employed in opera. Bells were used in the worship of Osiris; formed ornaments to the vestments of the Jewish high priests, and seem to have been common to all nations for purposes of signalling and of worship. In many instances the precious metals entered into the com- position of bells, but experiment has proved that the best alloy, neither too brittle nor too dull in tone, is 76.5 parts of copper to 23.5 parts of tin. Bells may be sharpened by shaving the inside of the rim, or fiattened by par- ing the rim itself. A chime in perfect tune is, however, the very rare ex- ception. Change ringing is practised where there are more than three bells. Six changes may be rung on three bells, 24 changes on four bells, and so the niunber increases until with 12 bells 479,001,600 changes are possible. The largest known bell, that cast in Moscow, 1733, now broken, measures BELL 6AMBA 58 BELLINI 21 feetj 6 inches in diameter at the mouth and weighs 193 tons. Bell Gamba. Eight-foot organ stop with bell mouth. Bellaigue (Camllle) wrote ^ " Un sificle de musique francaise," " ^fitudes musicales et nouvelle silhouettes de musiciens," etc.; won first prize for piano, Paris Conservatoire, 1878; con- tributed reviews to many period- icals. B. Paris, May 24, 18S8; add. Paris. Bellamy (Kichard) composed " Te Deum" for full orchestra and an- thems; sang bass in Eng. Chapel Royal. D. Sept. 11, 1813. Bellamy (Thomas Ludford) sang bass at Covent Garden and Drury Lane, and at concerts of " Ancient Music," London; managed theatres; published collection of glees and other songs. B. Westminster, 1770; son of RICHARD ; d. London, Jan. 3, 1843. Belle Helgne. Jacques Oflfenbach's three-act opera bouffe, to words by Meilhac and Halgvy, was first per- formed Dee. 17, 1864, at the Paris Theatre des Vari6t6s. The English version is called " Helen, or Taken from the Greek." Bellermann (Coustantin) com- posed operas and oratorios; wrote on music and played lute. B. Erfurt, Thuringia, 1696. Bellermann (Tohann Frledricli) wrote authoritatively on Greek music and theory. B. Erfurt, Mar. 8, 1795 ; d. Feb. 4, 1874. Bellermann (J. Gottfried Hein- rich) composed music for three Greek plays and much vocal music; wrote on theory; taught. University of Ber- lin. B. Mar. 10, 1832; son of JO- B.AKN FRIEDRICH; d. Potsdam, April 10, 1903. Belletti (Giovanni) sang bar. with Jenny Lind; debut, Stockholm, 1837; toured United States with Jenny Lind under Bamum management. B. 1813, Sarzana, Italy; retired, 1862. Bell'haver (Vincenzo) composed toccata for organ and madrigals; or- ganist St. Mark's Cathedral, Venice, 16th century. Belli (Domenico) composed ; taught church music, 1610-13, in Florence. Belli (Girolamo) composed sacred music and madrigals. B. Argenta, near Ferrara; first publication, 1583- last, 1610. ' Belli (Giulio) composed madrigals and ehiireh music; directed music in Imola Cathedral, 1582 ; entered Fran- ciscan Order, 1590. B. about 1560, Longiano. Bellini (Vincenzo) composed "La SONNAMBULA," " NORMA," and " 1 Puritani," operas remarkable for the beauty of their melody, and which still hold their place in repertoire. Son of an organist in Catania, Sicily, who gave him his first instruction in music. Bellini's talent was manifest at an early age, and a Sicilian nobleman volunteered to defray the expense of educating him at the Naples Conserva- tory, then directed by Zingarelli. His first work, "Adelson e Salvina," was produced in 1825, and gained him a commission from Barbaja, impresario of the San Carlos, La Scala, and other opera houses. " Bianca e Fernando " was the result, and it was so well re- ceived in Naples that Barbaja commis- sioned him to write a new opera for the celebrated tenor, Rubini, for perform- ance in Milan. The ornate music of Rossini then ruled in opera, and the simplicity of the airs in " II Pirata " were admirably sung by Rubini, and, after the performance at Milan, 1827, spread the young composer's fame through other European music centres. " La Straniera," his next work, given at Milan in 1829, likewise met with a cordial reception, but did not prove popular elsewhere. " Zaira," produced 1829, in Parma, was unsuccessful. "I Capuletti ed i Montecchi," produced at La Fenice in Venice, 1830, was cor- dially received. Mme. Pasta was the Romeo, a r6le' later selected by Jo- hanna Wagner for her debut in Lon- don. " La Sonnambula," Bellini's greatest work, was produced at La Scala in 1831, and speedily became as popular in England as in Italy. " Norma," second only to " Sonnam- bula," followed in less than a year. Bellini visited London in 1833, and then went to Paris, where he was en- gaged, on the advice of Rossini, to BELIilIAir 59 BEITBA write an opera for the Theatre Italien. In 1835 " I Puritan! " was performed. After its production Bellini again visited England, but was attacked by dysentery, and died at the early age of 34, Sept. 24, 1835. Rossini, whose interest in the young composer was most fatherly, had advised him to give especial attention to orchestration and dramatic effect, recognizing weaknesses which are now generally apparent. His flow of melody was rich enough, however, to atone for many deficien- cies, and the arias sung by Tamburini, Alboni, Patti, Grisi, Lilli, Lehmann, Rubini, Mario, and other great singers are still the delight of the few who are capable of interpreting them. Bellman (Carl IBIicliael) wrote the words and often the music for " Fred- mans Epistolar " and " Sanger," which include humorous descriptions of Stockholm people. B. Feb. 4, 1740; d. Stockholm, Feb. 11, 1795. Belloc (Teresa Giorgi) sang sop. rdles in opera; debut at La Scala, Milan, 1804, retiring 1828. B. St. Benigno, Cavanese, 1784; d. May 13, 1855. Bellows, by which currents of air are supplied the stops of an organ, were originally of the primitive type still to be seen in an old-fashioned kitchen. Organs in the 4th century were so equipped. As additional pipes were added the bellows was enlarged, and two were employed to provide con- tinuous pressure. In 1762 Gumming invented a bellows combining the feeder with a reservoir which main- tained a fairly even pressure. In large modern organs the bellows is usually replaced by a rotary fan or metal air pump, operated by hydraulic or electric power, or by gas engine. Bellville, de (Anna Caroline) com- posed 180 pieces of " drawing room music " ; played piano, pupil of Czerny; m. A. J. OURY. B. Landshut, Bavaria, Jan. 24, 1808; d. Munich, July 22, 1880. Belly. Sound board over which an instrument's strings are stretched. Belshazzar. George Frederick Handel's oratorio to text by Jennens was first produced at the King's Theatre, London, Mar. 27, 1745, under the title " Belteshazzar." Dates on the autograph copy show it was begun Aug. 23, 1744, and completed Sept. 10 of that year. Bemberg (Herman) composed the opera " Elaine," produced at Covent Garden, 1892, and New York, 1894; " La Mort de Jeanne d'Arc," cantata for solo, soprano chorus, and orches- tra ; " Le Baiser de Suzon," comic opera in one act, Paris Opfira Comique, 1888. B. Buenos Ayres, Mar. 29, 1861 ; pupil of Dubois and Massenet at Paris Conservatoire; add. Paris. Bemetzrieder wrote useful " Legons de clavecin," Paris, 1771, and other musical works. B. Alsace, 1743; d. London, 1817. Bemol. Fr. Flat. Ben. It. " Well," as sostenuto, well sustained. Benda (Hans Georg) founded a well known family of musicians; was an itinerant musician and weaver, finally settled in Alt-Benatky, Bo- hemia. Franz published music for vio- lin and became conoertmeister to Fred- erick the Great; founded a violin school. B. Alt-Benatky, Nov. 25, 1709 ; son of HANS GEORG. Johann played in Berlin royal band, became court mu- sician. B. 1713; son of HANS GEORG; d. Berlin, 1752. Georg wrote "Ari- adne auf Naxos," considered to be the first melodrama, "Medea," a second melodrama, composed "Romeo und Julie," 1778, and other operettas, masses, cantatas, symphonies; played clavier and oboe ; chapelmaster to the Duke of Gotha. B. June 30, 1722 ; son of HANS GEORG; d. Kostritz, Thu- ringia, Nov. 6, 1795. Joseph became concertmeister to Friedrich Wilhelm II of Prussia. B. Mar. 7, 1724; son of HANS GEORG; d. 1804. Anna Franziska was prominent as a singer ; m. Hattasch, a Gotha musician. B. 1726; daughter of HANS GEORG; d. Gotha, 1780. The most distinguished of the third generation was Friedrich Wilhelm Heinrloh who composed the operas " Das Blumenmadchen," " Orpheus," " L'Isola disabitata," can- tatas, oratorios, and chamber music; played violin in Perlin court band. B. BENSELEB 60 BENEVOLI July 15, 1745; son of FRANZ; d. Pots- dam, July 19, 1814. Carl Herman Heinrich. wrote for, played violin, and taught that instrument to Wilhelm III. He is said to have nearly equalled his father FRANZ as a performer. B. 1748. Maria Caroline, second daugh- ter of Franz, m. Chapelmaster Wolf. Juliane, fourth daughter of Franz, m. Chapelmaster Reichardt. Friedrich Ludwi^ composed " Der Barbier von Sevilla," 1779, and other comic operas, cantatas, an oratorio and violin mu- sic; became director of concerts at Konigsburg; m. Felicita Agnesia Rietz, the singer. B. Gotha, 1746; son of GEORG; d. Mar. 27, 1792. Ernst Friedrioh. helped found Berlin ama- teur concerts. B. Berlin, 1747 ; son of JOSEPH; d. 1785. Bendeler (Johann Philipp) vfiote on theory; cantor at Quedlinburg. B. about 1660, Riethnordhausen, near Erfurt; d. 1708. Bendl (Karel) composed the operas " Lejla," " Bretislav a Jitka," " Stary zenich," " Indicka Princezna," " Cer- nohorci," " Carovny Kvet," "Gina," "Karel Skreta," " Dite Tabora," " Matki Mila," choruses, a Mass in D minor for male voices, chamber music, conducted concerts of the Prague choral society HIahol. B. Prague, April 16, 1838; d. Sept. 20, 1897. Bendler or Bendeler (Salomon) sang bass in opera; noted for pov?er of his voice. B. Quedlingburg, 1683; son of JOHANN PHILIPP BENDE- LER; d. 1724. Benedetti sang in the Italian opera, London, 1720. Benedicite. Canticle which may be chanted instead of the Te Deum in the morning service of the Anglican Church. Benedict (Sir Julius) composed the operas " The Brides of Venice," " The Crusaders," the oratorio " St. Cecilia," the cantata " Richard Coeur de Lion " ; conducted English music festivals of the first importance; toured the United States with Jenny Lind, di- recting the concerts ; exercised as great an influence on English musical de- velopment as any foreigner settled there since Handel's time. A native of Stuttgart, he studied with J. C. L. Abeille, then with Hummel and von Weber, and through Weber's influence was appointed conductor at the Vienna Kamthnerthor Theatre, 1823-25. Then Barbaja appointed him leader of the San Carlos orchestra, Naples, where his first opera, " Giacinta ed Ernesto," was produced in 1829. The following year he wrote " I Portoghesi in Goa " for the Stuttgart opera. 1834 found him in Paris, whence, at the sugges- tion of Malibran, he went to England, and there directed the Opera Bufla at the Lyceum Theatre, London. "Un Anno ed un Giorno," first produced at Naples, proved a success in London, and the English operas already noted followed, and were produced at Drury Lane, where Benedict then conducted. Returning to England from the Amer- ican tour he conducted at the princi- pal theatres, the Norwich Festival, 1845-78, the Liverpool Philharmonic concerts, 1876-80, the Monday Popu- lar concerts, and gave an annual con- cert of his own during forty years. Other compositions include the can- Uta "Undine," "The Lily of Kil- larney" (on the subject of "Colleen Bawn"), "The Bride of Song," an operetta, " St Peter," an oratorio, a symphony, and songs. In 1871 he was knighted, and received many foreign orders on his 70th birthday. B. Nov. 27,1804; d. London, June 5, 1885. Benedictus. A portion of the MASS following the Sanctus; a can- ticle in the morning service, of the Anglican Church which may be sung instead of the Jubilate. Benelli (Antonio Pelegrino) sang ten. in opera 32 years, retiring 1822, wrote a vocal " Method " and solfeggi, and composed church music. B. Forli, Sept. 5, 1771 ; d. BSmichen, Hartz, Aug. 16, 1830. Bene Flacito. /*. At pleasure. B Quadro. /*. "Square B"; natural. Benevoli (Orazio) composed church music, including a mass for 12 choirs of 48 voices ; chapelmaster at the Vat- ican, Rome. B. Rome, 1602; reputed son of Albert, Duke of Lorraine; d. June 17, 1672. BENINCORI 61 BENOIX Benincori (Angelo Maria) com- posed the successful opera " Nitteti " ; completed Isouard's unfinished opera " Aladin " ; composed string quartets modelled on those of Haydn, whom he knew and greatly admired. B. Brescia, Mar. 28, 1779; d. Paris, 1822. Benini (Signora) sang leading r61es in comic opera with her husband in Naples, 1784, London, 1787. Bennet (John) composed many of the best madrigals in English, hymns, and an anthem for the coronation of James I, for five voices and instru- ments. His first book of madrigals " to Foure Voyces " was printed by William Barley, 1599. Bennet (Saunders) composed songs, glees; organist at Woodstock, Eng. ; d. May 25, 1809. Bennett (Alfred William) com- posed a service and anthems; collabo- rated with William Marshall in collec- tion of chants ; organist to University of Oxford. B. 1805; son of THOMAS j d. Sept. 12, 1830. Bennett (George John) composed Serenade for orchestra, " Jugend- traume " ; Easter hymn for soli chorus and orchestra; Cymbeline overture ; Orchestral suite in D minor ; Festival Te Deum for soli 'chorus and orchestra; Mass in F flat minor for soli chorus and orchestra; conducted Lincoln Music Festivals; founded Lincoln Musical Society and Lincoln Orchestral Society; organist Lincoln Cathedral. B. May 5, 1863, Andover, Eng.; won Balfe scholarship, Royal Academy of Music; studied in Berlin and Munich; add. Lincoln, Eng. Bennett (Joseph) wrote music crit- icisms London " Daily Telegraph " ; li- bretto for Sullivan's " Golden Legend " and other standard English works; analyses of the London Philharmonic and Monday and Saturday Popular concerts; in early life was precentor at Weigh House Chapel and organist Westminster Chapel. B. Berkeley, Gloucestershire, Eng., Nov. 29, 1831; add. London. Bennett (Thomas) published "An Introduction to the Art of Singing," " Sacred Melodies," " Cathedral Se- lections " ; organist Chichester Ca- thedral. B. Fonthin, 1784; d. Mar. 21, 1848. Bennett (William) composed organ and piano music, anthems and songs; organist St. Andrew's Church, Ply- mouth, Eng. B. 1767, near Teign- mouth; pupil of Johann Christian Bach, d. 1830. Bennett (Sir William Sterndale) composed the oratorio " Woman of Sa- maria " ; music to the " Ajax " of Sophocles; a symphony in G minor; the fantasie-overture " Paradise and the Peri " ; many anthems, songs, and piano music; founded the Bach So- ciety, London, 1849; conducted Lon- don Philharmonic concerts, 1856-66; became principal Royal Acadamy of Music and professor of music Univer- sity of Cambridge. A son of Robert Bennett, organist at Sheffield, and grandson of John Bennett, who was his first teacher, he later received instruc- tion at the Royal Academy of Music, and played his piano concerto in D minor at an Academy concert. Mar. 30, 1833, when 17. His " Naiades " over- ture three years later caused him to be sent to Leipsio by the Broadwoods. There he was under the influence of Mendelssohn and Schumann and played at the Gewandhaus. By 1841 he was established in London as a pianist. In 1844 he married Mary Anne Wood, daughter of an English naval captain. In 1871 Bennett was knighted, and two years later a public testimonial was given him, and a scholarship was founded in his honour at the Royal Academy. B. Sheffield, April 13, 1816; d. London, Feb. 1, 1875. Benoist (Frangois) composed the operas " Lgonore et F6lix," " L' Appa- rition," ballets, organ pieces; won prlx de Rome with "Oenone," 1815; taught organ in Paris Conservatoire. B. Sept. 10, 1794; d. April, 1878. Benoit (Camille) composed " Clfio- patre"; the symbolic poem "Merlin"; suite for the " Noces Corinthiennes " ; wrote " Musiciens, pofites et philo- sophes " ; " Souvenirs " ; studied with Cesar Franck; appointed conserva- teur du Louvre, 1895; add. Paris. Benoit (Pierre Leopold Leonard) founded the Flemish School of Music, BEWUCCI 62 BENVENUTO 1861, imder auspices of the city of Antwerp and of the Belgian national government; composed the oratorio " Lucifer," and " Le Roi des Aulnes," an opera accepted by the Paris Theatre Lyrique, but not performed ; " Chil- dren's Cantata," etc. He studied at the Brussels Conservatory; vi^on first prize with " Le Meurtre d'Abel," 1857 ; composed the successful opera " Le Vil- lage dans les Montagues " ; conducted for a time at the Bouffes Parisiens; returned to Antwerp and, after pro- ducing four religious works, " Cantate de Noel," "Messe Solennelle," " Te Deum," and " Requiem," began the propaganda for a new Flemish school in music which eventually exerted a most favourable influence, but pre- vented his own larger compositions from becoming known, as he consist- ently scored Flemish texts. His com- positions include, besides those already mentioned : " Het dorp in't gebergte," "Ita," and "Pompeja," operas; " De Schelde," oratorio ; " Drama Christi," " La Lys," cantatas ; " De Maaiers," choral symphony; "Charlotte Corday" and " Willem de Zwijger," music for Flemish plays ; " Reubens-cantata," " Antwerpen," " Joncfrou Kathelijne," alto scena; "Hucbald," cantata; "Tri- omfmarsch," for opening of the Brus- sels Exposition ; " De Rhyn," grand cantata. His essays in support of the Flemish movement were numerous. B. Harlebeke, West Flanders, Aug. 17, 1834; d. Mar. 8, 1901, Antwerp. Benucci sang bass buffo, 1783-88. Benvenuto Cellini. Hector Ber- lioz's opera in three acts, to book by Wailly and Barbier, was first per- formed at the Academic, Paris, Sept. 3, 1838, where it failed, but has since assumed an important place in modern repertoire. The action is laid in Rome, 1532, when Clement VII was Pope. Benvenuto Cellini loves Teresa, daugh- ter of the papal treasurer Balducci, but has a rival in Fieramosca, the papal sculptor, who is favoured by Balducci. Cellini and Teresa plan an elopement, at which the Capuchin Ascanio, Cellini's pupil, is to assist; but their plans are overheard by Fie- ramosca. Just then Balducci returns, and Teresa tells him there is a thief hidden in the house, in order to ex- plain why she is up so late. Balducci finds Fieramosca's hiding place. Cel- lini escapes while Balducci, the ser- vants, and the neighbours are beating the supposed thief, who finally jumps through the window. The second act discloses Cellini with his pupils and friends in a tavern, where he is unable to pay the score until Ascanio brings him a purse from the Pope, to be given him on condition that he immediately finish his statue of Perseus. Dis- pleased at the size of the purse, Cel- lini and his friends resolve to imper- sonate the treasurer Balducci at the theatre and bring him into ridicule. Fieramosca, who has again managed to overhear the conversation, plans with Pompeo to adopt costumes similar to those Cellini and Ascanio are to wear at the rendezvous with Teresa, hoping to forestall Cellini. The scene which follows shows the theatre. King Midas is being enacted. Balducci, who is in the audience with Teresa, is enraged at the likeness King Midas bears him, and raises a disturbance, in the course of which both Cellini and Fieramosca, disgfuised alike as monks, approach Teresa. A fight ensues, Cellini staba Pompeo, Teresa and Ascanio manage to break through the crowd and escape to Cellini's studio, but Cellini himself ia in danger of being maltreated by a mob. Just then cannon are fired, an- nouncing the carnival is over; the lights are suddenly extinguished, and Cellini rushes out under cover of the darkness. In the third act, Teresa and Ascanio are in Cellini's studio, greatly distressed. Cellini enters, explains his escape, but as he and Teresa are about to leave for Florence, Balducci and Fieramosca appear to claim Teresa as the latter's promised bride. Cardinal Salviati comes in to see the statue of Perseus, and when he hears of Cellini's escapade, threatens to have him pun- ished, and to have some one else com- plete the statue. Cellini, surrounded by his workmen, and armed with a hammer, is ready to demolish the Per- seus, which he declares he can complete in an hour. Unwilling to lose the BEBBIGXJIBB 63 BERLIN masterpiece, the Cardinal promises if he will do so he shall be pardoned and receive Teresa as his bride. Work in- stantly begins. Running short of metal, Cellini sacrifices his creations in gold and silver. At last the mould is broken, the statue of Perseus is revealed in all its glory, and in the enthusiasm it creates Fieramosca is the first to embrace his erstwhile rival, whose genius he appreciates better than the rest. Berbiguier (Benoit Tranquille) composed many works for fiute, on which he was a performer of great skill; studied at Paris Conservatoire. B. Caderousee, Vaucluse, Dec. 21, 1782; d. Jan. 20, Pont le Voy6. Berceuse. Fr. Cradle song. Berchem (Jachet) composed three books of capriccios and madrigals, a mass, etc.; organist to Duke of Fer- rara in 1555 ; probably b. in Flanders. Berenstadt (Gaetan) sang bass in opera, 1717 to 1723. Berg (Adam) published music in Munich under patronage of Dukes of Bavaria from 1540 to 1599. Berg (George) composed prize glee " On softest beds at leisure laid " ; many works for voice and instrument ; organist St. Mary-at-Hill, London, 1771; pupil of Dr. Pepusch. B. Germany. Berg (Johann) founded music printing house in Nuremberg about 1531; was succeeded by Ulrich Neu- ber and Gerlach. B. Ghent; d. 1563, Nuremberg. Bergamasca or Bergomask. A lively country dance of Bergamo in triple time. Berger (Ludwig) composed 27 etudes for piano, on which he was a distinguished performer; taught Men- delssohn, Henselt, Fanny Hensel, Tau- bert; pupil of Clementi. B. Berlin, April 18, 1777; d. Berlin, Feb. 16, 1839. Berger (Wllhelm) composed sym- phony in B flat; "Euphorion," a choral piece ; " Meine GSttin " for male choir and orchestra, and chamber music; taught piano; pupil of Kiel at Berlin Hochsehule. B. Boston, Mass., Aug. 9, 1861; add. Berlin. Berggreen (Andreas Peter) com- posed the opera " Billidet og Busten," national songs, played organ Trinity Church, Copenhagen; did much to popularize music in Denmark; wrote on musical topics. B. Copenhagen, Mar. 2, 1801; d. Nov. 9, 1880. Bergmauu (Carl) conducted Bos- ton Handel and Haydn Society, 1852- 54; New York Arion, and from 1855 to 1876, New York Philharmonic So- ciety; was among the first to per- form music of Liszt and Wagner in America; joined Germania Orchestra as 'cellist, 1850, and became its leader. B. Ebersbach, Saxony, 1821; d. Aug. 16, 1876. Bergonzi (Carlo) made violins in imitation of Antonio Stradivari, whose pupil he was. His instruments are dated 1716 to 1755. Work of his son Michael Angelo is not highly valued. Beringer (Oscar) founded a piano school in London, 1873-97; taught in Royal Academy of Music; com- posed Andante and Allegro for piano and orchestra, etc. ; played piano in , concerts and recitals. B. Furt- wangen, Baden, July 14, 1844; add. London. Beriot, de (Charles August) founded the Franco-Belgian school of violin playing; composed seven con- certos and other music for his instru- ment ; wrote " Ecole transcendentale de Violon" and "Grand Methode"; taught Vieuxtemps; first appeared in concert at nine. B. Louvain, Belgiimi, Feb. 20, 1802; studied with Viotti and Baillot at Paris; m. MARIA MALIBRAN, 1836; declined violin professorship at Paris Conservatoire, but accepted similar post at Brussels, 1843; retired because of failing eye- sight, 1852; d. Louvain, April 8, 1870. Berlin owed its importance in music as in everything to the genius of Frederick the Great. Besides the two principal schools discussed in the arti- cles following this, it was the seat of the Royal Academy of Fine Arts, a section of which was devoted to music, and possessed splendid opera houses liberally subsidized by the German Emperor and King of Prussia, who BEBLIIT 64 BERLIN was conspicuously active in their man- agement. There were numerous other institutions of which the SING— AKADEMIE was the most notable, and there were a number of choral and orchestral concerts throughout the season. Konigliclien Akademis- chen Hochschiile fiir Musik was founded in connection with the KSnig- liehen Akademie der Kunste, and as its name implies, is an academical high school for music, teaching the art and its practice in all branches. For many years the late Dr. Joseph Joachim presided over its violin and orchestral departments, and was the director and president of the board. Dr. Max Bruch was closely associated with Dr. Joachim as the head of the faculty in composition and theory, Prof. Ernest Rudorff was head of the piano and organ departments, and Prof. Adolph Schulze of the vocal de- partment. Other members of the fac- ulty in 1908 were : Prof. Benno Hartel, theory and composition; Prof. Franz Schulz, organ; Paul Juon and Prof. Leopold C. Wolf, theory, composition and pa/rtitur playing; Prof. Robert Kahn, theory and ensemble playing; Heinrich van Eyken, theory; Richard Rossler, theory; Leo Schrattenholz, theory and composition; Dr. Karl Krebs, history of music; Prof. Gustav Rossberg, military music; Musik- direktor Theodor Grawert, military music; Prof. Felix Schmidt, Prof. Max Stange, Paul Knupfer, Prof. Elise Breiderhoff, Emilie Herzog, Helene Jordan, Meta Lippold, vocal; Prof. Elise Bartels, declamation; Marie Gagliardi, Italian; Richard Rossler, chorus singing; Ernest. Braunsweig, dramatic action; Jacob Katzenstein, M.D., physiology of the voice and hygiene of song; Prof. Emmanuel Wirth, Prof. Cark Halir, Prof. An- dreas Moser, Prof. Karl Markees, Gabriele Wietrowetz, Karl Klingler and Gustav Exner, violin; Prof. Robert Hausmann, Leo Schrattenholz, 'cello; Wilhelm Posse, harp; Maxi- milian Skibicki, douhlebass; Emil Prill, flute; Georg Eberhardt, oboe, oboe d'amore, English Iwrn; Prof. Oscar Schubert, clarinet; Arnold Friihauf, bassoon; Hugo Rudel, hon^ Carl HShne, trumpet; Paul Weschke, trombone; Prof. Heinrich Earth, pia/no; Prof. Johannes Schulze, piano and ensemble ploAjing; Ernest voa Dohnanzi, Prof. Karl Heymann, Prof. Ludwig Hirschberg, Curt BOrner, Charles Bunte, Walter Holdenhauer, Adelgunde Hanne, Marie Bender, piaaio. Singakademie was founded by Carl Friedrich Christian FASCH, cembalist to Frederick the Great, and after his death, a teacher in Berlin. At first an organization of Fasch's pupils devoted to the study of his own sacred music, regular meetings were held on Thursday evenings of each week in the season from May 24, 1791. Rooms were set apart for the singers in the Royal Academy of Fine Arts, and in 1801 the public was first admitted on the occasion of an Easter concert. For a time the pro- ceeds were devoted to charity, but in 1827 the organization built its own home, and the funds received there- after were devoted to the propaganda of oratorio and other sacred music. Mendelssohn directed the Matthew Passion of Bach in 1829. Faseh had been succeeded by his pupil Carl Fried- rich Zelter. Carl Friedrich Rungen- hagen was director from 1832 to 1851, then August Grell, who held office until 1879, and was followed by Mar- tin BLUMNER. Stern'sclies Konser- vatorium der Musik was founded in 1850, having quarters in the "Philhar- monie." In 1907-08 there were 1177 pupils and a teaching staff of 108, headed by Prof. Gustav Hollaender. The teachers of finishing classes were: Singing, Eugen Brieger, Marg. Brieger- Palm, Dr. Paul Bruns-Molar, Blanche Corelli, Lydia Hollm, Sergei Kliban- sky, Karl' Meyer, Prof. Selma Nicklass- Kempner, Henry B. Pasmore, Nicolaus Rothmuhl, Adolf Schulze, Wladislaw Seidemann; Piano, Georg Bertram, Theodor Bohlmann, Severin Eisen- berger, Gunther Freudenberg, Bruno Gortatowski, Bruno Hinze-Reinhold, Ernst Hoffzimmer, Emma Koch, Prof. Martin Krause, Prof. James Kwast, Frieda Kwast Hodapp, Dr. Paul Lut- zenko. Prof. G. A. Papendick, Gustav BERLIOZ 65 BEKLIOZ Pohl, Prof. Philipp Ruefer, Theodor SohSnberger, Prof. Alfred Sormann, August Spanuth, Prof. E. E. Taubert, T. W. Otto Voas, Michael von Zadora ; Violin, Prof. Gustav Hollaender, Theodore Spiering, Alfred Wittenberg, Willy Nicking, Walter Kampelmann, Max Griinberg, William Kritch, FrSu- lein Clara Schwartz; Viola, Walter Rampelmann ; 'Cello, Joseph Malkin, Eugen Sandow, Erich Hollaender; Duohlebass, Herr K^mmling; Organ, Bernhard Irgang; Harmonium, Carl Kaempf; ffarp, Franz Poenitz; Hwrp chromatic, Cantelon; Flute, Otto Roessler; Oboe, F. Bundfuss; Clari- net, Carl Rausch; Bassoon, Herr Koehler; Horn, Adolf Littmann; Trumpet, Herr Koenigaberg; Con- ducting, Prof. Arno Kleffel; Composi- tion, Score playing, Instrumentation, Wilhelm Klatte, Prof. Arno Klef- fel, Prof. Philipp Ruefer, Prof. E. E. Taubert, Leo Portnofif, Arthur Win- ner; Harmony, Counterpoint, Canan and Fugue, Wilhelm Klatte, Arthur Willner; Theory, Harmony in Eng- lish, William Kritch ; Theory, Har- mony in Russian, Leo Portnoff; Nico- laus Rothmuhl, Leader of the opera- school; Dramatic School, Prof. Leo Friedrich; Arthur Wilhner, Director of administration. Berlioz (Hector) developed the re- sources of the orchestra so largely as to deserve the title " Father of modem orchestration"; was first to employ large masses of musicians and singers in the production of big tonal effects; prepared the way for the so-called " Music of the Future " by elaborating and exemplifying in his own operas the theories of his favourite master, Gluck, regarding the relation of music and the drama; composed the operas "BENVENUTO CELLINI," "La DAMNATION DE FAUST," the sym- phony " Harold en Italic," which have finally ranked him with the greatest of French composers, but failed to secure recognition in France during his life, save as a writer of music criti- cism and " feuilletons." The son of a country physician of La C6te St. Andrg, Grenoble, Berlioz was sent to the Paris medical school to qualify himself for his father's profession. As a boy he had studied Catel's " Har- mony," had learned to play the flageo- let somewhat badly, the guitar toler- ably well, and had found delight in Gluck's " Orfeo," but was unable to obtain a systematic musical training. He detested medicine, loved music, and neglected his work for the library of the Paris Conservatoire. Determined to devote his life to music, his parents were equally determined he should commit no such folly, and they cut off his allowance. But in 1823 he was a student at the Conservatoire, and there he worked during seven years, always in poverty, rarely on good terms with his teachers, except Lesueur, support- ing himself by such expedients as sing- ing in a theatre chorus, and acquiring a large and larger contempt of the prevailing style in music, of which the director of ttie Conservatoire, Cheru- bini, was the leader. Before entering the Conservatoire he had received les- sons of Lesueur which enabled him to compose a mass for St. Roch's Church, and in his years of study he composed a " Fantasia on Shakespeare's Tem- pest," " Les Francs-juges," and " Wav- erly" overtures, and "Eight Scenes from Faust." In 1830, to his great surprise, he secured the prix de Rome with the cantata "La Mort de Sar- danapale." In Italy he sighed for Paris, and after an 18 months' sojourn, the ministry permitted him to return home. "La Captive," a song, a re- vision of his " Symphony Fantastique " and sketches of the "Corsair" and " King Lear " overtures were worked out in Italy, but brought neither fame nor money on his return. In 1833 he married the Irish actress Henrietta Smithson, who had been playing Shake- spearian rSles at the OdSon, and, fail- ing to earn a livelihood in music, took to journalism. "Harold in Italie," " Symphonie Fun6bre et Triomphale," "Romeo et Juliette," his requiem on the death of Napoleon, and "Benve- nuto Cellini," his opera, were all pro- duced during this period of hack work, from which he was released _ bj the princely benevolence of Paganini, who gave him 20,000 francs. Then the gov- BEKMUDO 66 eminent paid him 4,000 francs for his "Eequiem," and 10,000 francs for his " Symphonie Fimfebre et Triomphale," in 1840. He was thus able to tour Germany, a project which his wife bitterly opposed, and which brought about their separation, but proved a complete artistic success, for Schu- mann and Liszt had already made some of his works known, and his genius was acknowledged from St. Petersburg to Ixmdon while still un- known to Parisians. Home again in 1843, Paris had nothing better to offer him than a conductor's post. Visits to Vienna, to St. Petersburg, to London increased his reputation abroad, and at the Paris Exposition of 1855 he was commissioned to write an opening " Te Deum " and " L'lmpfi- riale " cantata for its close. These brought him the Legion of Honor. Membership in the Acad^mie and the librarianship at the Conservatoire soon followed. On the death of his first wife Berlioz had married a singer. Mile. Martin Reeio. Her death oc- curred in 1862, leaving him quite alone in the world, for his son, who had occasioned him much anxiety, was then in the navy. The following year " Les Troyens," an opera which he regarded as his masterpiece, proved a flat fail- ure. Berlioz composed no more. He made a tour of Russia in 1867, but his health had failed, and he died in Paris, Mar. 8, 1879. Those who wish to understand Berlioz more fully will do well to read his delightful " Soirees de I'orchestra," his letters, and hia " Memoires," which have been trans- lated into English. "X travers Chants" is among his most notable critical works. Important compositions be- sides those named are : " Le Camaval Romain," overture ; " L'Enfance du Christ," oratorio; "Rob Roy," over- ture. See biography, Adolphe Julien, 1888. Bermudo (Juan) wrote "Libro de la declaracion de instrumentos," pub- lished at Ossuna, 1555; Spanish monk; b. near Astoga, 1510. Bernabei (Gloseffo Antonio) com- posed 16 operas, masses, etc. ; chapel- master at Munich in succession to his BEBTINI father, GIUSEPPE ERCOLE. B, 1659, Rome; d. Mar. 9, 1732. Bernabei (Giuseppe Ercole) com- posed two operas and church music; chapelmaster to Elector of Bavaria. B. Caprarola, about 1620; d. Munich about 1688. Bernacclii (Antonio) sang soprano in opera " Clearte," London, 1717, and with continued success until 1730, when he founded a school in Italy, becoming the teacher of Raff, Guar- ducci, Mancini, Amadori, and others; composed vocal music. B. Bologna, 1690; d. Mar. 1756. Bernard (fimile) composed the can- tata " Guillaume le Conqufirant," vio- lin concerto for Sarasate, suites, etc., and other works for organ, piano, and orchestra. B. Marseilles, Aug. 6, 1845; d. Sept. 11, 1902, Paris. Bernasconi (Andrea) composed 21 operas and much church music; taught in Munich where he became chapel- master. B. Verona, 1712; d. Munich, 1784. Bernasconi (Antonia) sang sop. rSles in opera; debut, Vienna, 1764, in "Alceste," written for her by Gluck; created rSle of Aspasia in Mozart's "Mithridate"; stepdaughter of AN- DREA; retired 1783. Berner (Friedrich Wilhelm) wrote on music; composed, taught; played piano and clarinet at Breslau while von Weber was chapelmaster. B. Bres- lau, May 16, 1780; son of organist of the Elizabeth Church; d. lifiiy 6, 1827. Bernhard (Christoph.) composed church music, sang ten. ; chapelmaster at Dresden. B. Dantsic, 1627; d. Nov. 14, 1692. Bernsdorf (Eduard) edited "Uni- versal Lexicon der Tonkunst " ; wrote music criticism; composed. B. Des- sau, Mar. 25, 1825. Berselli (IKEatteo) sang ten. in opera, London, 1720-21. Bertin (Louise Angelique) com- posed "La Esmeralda," to book by Victor Hugo, " Le Loup Garou," and " Faust " ; sang con. ; played piano. B. Roche, near Bi6rre, Feb. 15, 1805; d. April 26, 1877. Bertini (Benoit Auguste) played BEBTINI 67 BESSEL piano, studied with Clementi and 1907, because of grief at the death of trained his young brother HENRI; his wife Fanny Moran Olden in the b. London, 1780. Their father, like- Hook of Holland disaster, wise a musician, was a native of Tours, Bertrand (Jean Gustave) wrote France. B. 1750. critical and archeological works on Bertini (Giuseppe) wrote "Storieo- music. B. Vaugurard, Dec. 24, 1834; critieo degli scrittori di musica " ; add. Paris. directed music at the Capella Pala- Berwald (Franz) composed the tina, Palermo; b._ 1756. opera " Estrella de Soria"; sym- Bertini (Henri) played piano on phonies, chamber music; directed the concert tour of Holland and Germany conservatory at Stockholm. B. July at 12; composed etudes, 50 of which 23, 1796; nephew of JOHANN were republished a few years ago. B. FRIEDRICH; d. April 30, 1868. London, Oct. 28, 1798; d. Meylan, Oct. Berwald (Johann Friedrich) com- 1, 1876. posed symphonies; famous as child Bertinotti (Teresa) sang with sue- musician throughout northern Europe ; cess in opera; debut at Naples when became chapelmaster to the king of 12 years of age; m. Felice Radicati, Sweden. B. Stockholm, Dec. 4, 1787; violinist, who composed " Zaira " for d. June 28, 1861. her; retired 1823, and taught at Bo- Bes. Qer. B double flat, logna. B. Savigliano, Piedmont, 1776; Besaiten. Ger. To string an d. Bologna, Feb. 12, 1854. instrument. Bertolli (Erancesca) sang con. Besekirsby (Vasil Vasilievich) roles in London with Handel, 1729-37. played violin and taught. B. Moscow, Berton (Pierre Slontan) became 1836; pupil of Leonard, leader of the Op6ra orchestra, Paris, Besler (Samuel) composed church during the quarrels of the Gluckists music, became rector of gymnasium of and Piccinists, whom he is said to have Breslau. B. Brieg, Silesia, Dec, 1574; finally reconciled. B. 1727; d. 1780. d. July 19, 1625. Henri IVEontan composed " Montano Besozzi (Alessandro) published et Stephanie," romantic opera pro- sonatas for violin and flute; played duced with great success in Paris, oboe; eldest of a remarkable family 1798; " Ponce de Leon," " Le Delire," of musicians. B. Parma, 1700; d. "Aline," "Ninon chez Mme. de Se- Turin, 1775. Antonio, succeeded his vigne," and other operas; taught brother ALESSANDRO at Parma, harmony at the Conservatoire, 1795; and later removed to Dresden; was a conducted Paris Italian opera, 1807. famous oboe player. Carlo became B. Paris, Sept. 17, 1767; son of celebrated as oboe player in Dresden PIERRE MONTAN; d. April 22, royal band. Son of ANTONIO. Hier- 1844. Frangois composed operas and onimo was associated with his brother taught in Conservatoire. B. 1784; ALESSANDRO as bassoon player, son of HENRI MONTAN and the Gaetano played oboe at the opera and singer. Mile. MAILLARD; d. Paris, at the Neapolitan and French courts. 1832. B. Parma, youngest brother of AL- Bertoni (Ferdinando Giuseppe) LESSANDRO. Hieronimo played composed 33 operas and oratorios; oboe at the Paris Concerts Spirituel, conducted music at St. Mark's, Venice, having been a pupil of his father, B. Salo, near Venice, Aug. 15, 1725; GAETANO; d. 1785. Henri became d. near Brescia, Dec. 1, 1813. flautist at the Op6ra Comique, son of Bertram (Theodore) sang bass HIERONIMO. Louis DSsirge won the Wagnerian rSles with distinguished prix de Rome at the Paris Conserva- success, his "Wotan" winning high toire, 1837; b. Versailles, April 3, praise from Cosima Wagner; sang in 1814; son of HENRI; d. Nov. 11, many American cities during early 1879. manhood; pupil of his father. B.Feb. Bessel (Vassily Vassilievicli) 12, 1869, Stuttgart; killed himself, founded the music publishing house BESSE]y[S 68 BILLINGTOir of Bessel & Co., St. Petersburg, 1869; Biber, von (Heinrich. Johann b. St. Petersburg, 1843. Franz) composed for violin, which he Bessems (Antoine) composed for played so well that in 1681 Emperor voice and violin, and taught., B. Ant- Leopold ennobled him. B. Warten- werp, April 6, 1809; d. Oct. 19, 1868. bergen, Bohemia, Aug. 12, 1644; d. Besson (Gustave Auguste) May 3, 1704. greatly improved the construction of Bibl (Andreas) composed organ the cornet, and improved and manu- preludes and fugues; became organist factured other instruments as well, at St. Stephen's Cathedral, Vienna. B. Paris, 1820; d. 1875. B. Vienna, April 8, 1797; d. 1878. Best (William Thomas) wrote Bibl (Rudolph) composed and played " The Modern School for Organ," " The organ St. Stephen's Cathedral, Vienna; Art of Organ Playing " ; composed chapelmaster to the Emperor. B. Jan. church music and played organ in 6, 1832; add. Vienna. Liverpool churches. B. Carlisle, Eng., Bichord. Double strings to a note. Aug. 13, 1826; d. Liverpool, May 10, Bicinium. Lat. Obsolete term for 1897. two-part song. Bestimmt. Oer. With decision. Bickh.am (George, Jr.) engraved Betz (Franz) sang Wagnerian bar. and published music in " The Musical reles. B. Mar. 19, 1835, Mayence; d. Entertainer," London, 1736-39. Berlin, Aug. 11, 1900. Bierey (Gottlob Benedict) com- Bevin (Elway) composed church posed 40 operas of which those in music. Probably born in Wales, and comic vein were most successful, in- believed to have been organist at eluding " Wladimir," " Das Bluraen- Bristol Cathedral, 1589. madchen"; chapelmaster at Breslau Bevington (Henry) founded the in succession to von Weber. B. Dres- London organ building firm now known den, July 25, 1772; d. May 5, 1840. as Bevington & Sons, about 1800, hav- Bifara. Lat. Tremolo organ stop, ing learned the trade with Ohrmann Bigot (Marie) played piano in con- & Nutt. Henry and Martin, his sons, certs; taught Mendelssohn; knew were the heads of the firm in 1908. Haydn, Salieri, Beethoven, Cherubini, Bexfield (William Bicliard) com- Lamarre, and Baillot. B. Kiene at posed the oratorio "Israel Restored"; Colmar, Alsace, Mar. 3, 1786; m. Mr. organist of St. Helen's, London; de- Bigot, Count Rasoumowsky's libra- gree of Dr. Cambridge, 1849. B. Nor- rian; d. Paris, Sept. 16, 1820. wich, April 27, 1824; d. London, Oct. Bilhon, de (Jean) composed church 28, 1853. music, which was published between Beyer (Ferdinand) made a great 1534 and 1544 in Leyden and Paris, number of easy arrangements and Billington (Mrs. Elizabeth) oom- transcriptions for Schott & Co., of posed two sets of piano sonatas before Mayence. B. Querfort, 1803; d. May she was 11; became the greatest 14, 1863. singer of her day to the neglect of Bianca. Michael William Balfe's further creative work. Daughter of opera in four aets, to words by Pal- Carl Weichsel, an oboist at the King's grave Simpson, was first performed Dec. Theatre, London, her mother being a 6, 1860, at Covent Garden, London. popular singer. Miss Weichsel and her Bianchi (Francesco) composed 20 brother appeared at their mother's operas and oratorios, including " Cas- benefit at the Haymarket, in 1774, tore e Polluce," " Inez de Castro," when she was probably six years " Antigone," " Merope," " Alzira " ; old. Her debut as a singer took m. Miss Jackson, well known as singer place at Oxford, at 14, and in 1783 under the name Bianchi-Lacy; cem- she m. James Billington, a doublebass balist at Paris Italian Opera; 2d player. Operas were composed for organist at St. Mark's, Venice. B. her by Bianchi, Paisiello, Paer, and Cremona, 1752; killed himself, Lon- Himmel, and she was received enthu- don, Nov. 27, 1810. siastically in Naples and Venice as BILIilNGTOlT 69 BISCHOFF well as London. Billington d. 1794, and 1799 she m. M. Felissent. Her voice ranged from a to a " '- Sir Joshua Reynolds painted her portrait as St. Cecilia, and Cosway painted her miniature. D. Venice, 1818. Billington (Thomas) composed, played harp and piano. B. Exeter, 1754; brother-in-law of ELIZABETH; d. Tunis, 1832. BimmoUe. It. B flat; the nat- ural sign. Bina. An East Indian stringed in- strument of the guitar family, the scale consisting of a series of small intervals between a note and its octave in the bass staff. Binary Form. A movement founded on two themes or principal subjects. Binary Measure. Common time. Bincliols (Egidius) composed church music and secular songs of which 27 have been preserved; chap- lain to Duke Philip of Burgundy. B. Binche near Mons ; hence " Gilles de Binch"; d. Lille, 1460. Bind. The curved line or tie which unites two notes of the same degree denoting that they are to be sounded as one note. The same sign connecting notes of different degrees becomes the slur or legato sign. Binde. Ger. Bind. Bindung. Oer. Syncopation or suspension, which may be effected by using the bind. Bini (Pasqualino) played violin even better than Tartini, whose pupil he was; composed for that instru- ment. B. Pesaro, 1720; became leader of the court band at Stuttgart, 1754. Bioni (Antonio) composed " Cli- m6ne," "Undine," "Endimione," and in all 26 operas; composer to the Elec- tor of Mayence. B. Venice, 1698. Birch. (Charlotte Ann) sang sop. in concert and opera, pupil of Sir George Smart. B. 1815; d. London, Jan. 26, 1901. Birch (Eliza Ann) sang sop. ; pupil of Sir George Smart ; sister of CHAR- LOTTE ANN. B. 1830; d. Mar. 26, 1857. Birchall (Kobert) established mu- sic publishing house in London; man- aged the " Ancient Concerts " ; d. 1819. Business was continued by Birchall, Lonsdale & Mills. Bird (Arthur) composed symphony in A, three orchestral suites, comic opera " Baphne " ; ballet, " Rilbe- zahl"; serenade for wind instruments which won the Paderewski prize in New York, 1901. B. Cambridge, Mass., July 23, 1856; settled in Berlin, 1881. Bird (Henry Richard) played or- gan, gave concerts, taught, became ac- companist at London Popular Concerts, 1891. B. Nov. 14, 1842; son of George Bird, organist at Walthamstow church, Eng. ; became organist at St. John's, Walthamstow, at the age of eight ; later of many London churches ; add. London. Birmingham Festival, at which many important works have had their first English performance, was founded in 1768 in aid of the General Hospital of Birmingham; has since grown into a triennial festival with a total profit to that institution of more than $500,000; with profit to England in the stimulation of musical art too great for monetary calculation. Capel Bond, of Coventry, conducted the first festival, which was exclusively de- voted to Handel. Others to hold this post have been Dr. Crotch, Samuel Wesley, T. Greatorex, W. Knyvett, Mendelssohn, Mosoheles, Costa, and Dr. Richter. Since 1855 the local chorus has been supplied by the Birmingham Amateur Harmonic Association. Bis. L. " Twice," written over a group of notes indicates that they are to be repeated, being thus equivalent to dots of repetition; also used in France for " encore." Bischero. It. Peg or pin to fasten an instrument's strings. Bischoff (Dr. Ludwig Friedrich Christian) wrote for " Kolnische Zei- tung " and edited musical reviews ; founded and promoted musical soci- eties; aided in maintaining the festi- vals at Cologne and other musical centres. B. Dessau, Nov. 27, 1794; d. 1867. BISCBOMA 70 BIZET BiscToma. It. Semiquaver. Biscrome. Fr. Semiquaver. Bisdiapason. Double octave. Bishop (Ann) sang sop. in concerts in all parts of the world ; daughter of Riviere, a London singing master; m. Sir Henry Bishop, 1831 ; eloped with Bochsa, the harpist, 1839, who d. 1855 , in Australia while on concert tour; m. Schulz; finally settled in New York. B. London, 1814; d. New York, Mar. 18, 1884. Bishop (Sir Henry Rowley) com- posed the opera " Clari," 1823, which contains " Home, Sweet Home " ; " The Fortunate Isles " in celebration of Queen Victoria's wedding; "Maid Marian " and many other operas ; pop- ular songs ; wrote musical number for " A Midsummer Night's Dream " ; con- ducted at Covent Garden and London Philharmonic concerts. B. London, Nov. 18, 1786; pupil of Bianchi; m. first Miss Lyon, the singer; then ANN BISHOP (Riviere) ; knighted 1842; professor at Oxford, 1848; con- ductor "Ancient Concerts," 1842; d. April 30, 1855. Bishop (James C.) founded the English organ building house now known as Bishop & Son, about 1800. Bishop (John) composed, played organ Winchester Cathedral. B. Eng., 1665; d. Winchester, Dec. 19, 1737. Bishop (John) edited, wrote, and translated many works on theory and history of music; organist of St. Paul's, Cheltenham, Eng., at 14. B. Cheltenham, July 31, 1817; d. Feb. 3, 1890. Bispham (David Scull) sang bar. r61es in opera and concert with dis- tinguished success, debut in "Basoche" Royal English Opera House, Nov. 3, 1891; he sang such rSles as "Kurne- wal," "Wolfram," "Telramund," " Wotan," " Alberich," " Beckmesser," "Pizarro," "Escamillo," " Falstaff," etc., at Covent Garden, London, and the Metropolitan Opera House, New York; was an accomplished actor, equally admirable in serious or comic roles. B. Philadelphia, Jan. 5, 1857; sang in oratorio and church choirs; became pupil of Vannuncini and Lam- perti, Milan, 1886-89 ; and of Herman Vezin, London, in elocution. Add. New York. Bissex. 12-stringed guitar invented by Vanhecke, 1770. Bis Unca. L. Semiquaver. Bit. Tube supplementing the crook of some brass instruments for tuning purposes. Bitter (Karl Hermann) wrote im- portant biographies of the Bachs, other books; contributed to magazines; founded the Schleswig-Holstein Fes- tival, 1875; B. Feb. 27, 1813; d. Ber- lin, Sept. 12, 1885. Bizzarro or Bizzarramente. It. Fantastically, drolly. Bizet (Georges Alexandre Cesar Leopold) composed " CARMEN," pro- duced Mar. 3, 1875, at the Op6ra Comique, Paris, which has grown steadily in popularity and suffices to rank him with the greatest of French composers; a suite to Daudet's "L'Ar- Igsienne," and several books of songs. B. Paris, Oct. 28, 1838; from 1848 to 1857 Bizet studied at the Paris Con- servatoire, harmony with Zimmer- mann, and composition with Halfivy, in his last year dividing the operetta prize with Lecocq with " Docteur Miracle," gaining the prix de Rome in 1857. The opera " Don Procopio," an overture, two symphonic move- ments and the comic opera " La guzla de I'Emir" were composed in Rome. Returning to Paris he composed "Vasco di Gama," 1863; "Les Pe- cheurs de Perles," 1863; "La jolie fille de Perth," 1867; "DJAMILBH," 1872 ; and collaborated in the operetta " Malbrough s'en va-t-en guerre," 1867, none of which attained success during the composer's life. In 1869 he mar- ried Genevieve Halfivy, daughter of his old master in composition, and he com- pleted his father-in-law's opera " No6." An overture to Sardou's "Patrie" first won recognition, but the real worth of the man failed of appreciation until after his death, for he only sur- vived the production of " Carmen " by three months. The orchestral suites " Roma," " Jeux d'enfants," and some of the works already named have come into vogue since Bizet's death, June 3, 1875, Bougival, near Paris. Bizet was BLACK 71 BLABAmBEBa especially happy in his treatment of oriental_ themes, and there has been a long line of Carmens, beginning with Mme. Galli-Marie, who created the rSle, including Minnie Hauck, Marie Roze, Trebelli, Patti, Lucca, and De Lussan, and culminating in Calv6, whose sensuous interpretation of the gypsy r6le is not likely to be ■surpassed. Black (Andrew) sang bar. in con- cert; taught singing, 1893, at Royal College of Music, Manchester, Eng. B. Glasgow, Jan. 15, 1859; pupil of Randegger, Welch, and Scarlatti; debut July 30, 1887, Crystal Palace, London; add. Manchester, Eng. Blaes (Arnold Joseph) played clarinet and taught in the Brussels Conservatory. B. Brussels, Dec. 1, 1814; d. Brussels, Jan. 11, 1892. ' Blaes (KCme. Elisa) sang in con- cert. B.Antwerp (Meerti), 1820; m. ARNOLD JOSEPH, taught in Brussels. violin, directed music at the Vari6t€s, Paris, 1818-29; wrote music criti- cism, biographies. B. Bordeaux, Feb. 7, 1778 ; d. Paris, Dec. 18, 1858. Blanche. Fr. Minim. Blanche de Nevers. Michael William Balfe's five-act opera to words by John Brougham, founded on " The Duke's Motto," was first performed Nov. 21, 1863, at Covent Garden, London. Blanche Pointee. Fr. Dotted minim. Blancs (Edward) composed, with nine other musicians, "The Whole Booke of Psalmes," etc., published in London, 1592, by Thomas Este. Bland (John) published and sold music in London, 1779-96; succeeded by Lewis, Houston and Hyde. Bland & Weller. Published music in London, 1790-1819; succeeded by Weller & Co. Bland (ISCaria Theresa) sang with Drury Lane company, London, 40 Blagrove (Henry Gamble) played years, from 1786. B.1769 (Romanzini violin and led London orchestras ; gave chamber concerts; taught Duke of Cambridge. B. Nottingham, Eng., 1811; d. London, Dec. 15, 1872. Blainville (Charles H.) composed, wrote on music, played 'cello. B. 1711, near Tours; d. Paris, 1769. Blake (Bev. Dr. Edward) com- posed the anthem " I have set God always before me," and for viola and violin. B. Salisbury, Eng., 1708; d. June 11, 1765. Blaketka (3Carie Zieopoldine) com- posed " Die Raueber und die Saenger," favourably received at the Klarthner- thor Theatre, Vienna, 1830; a concerto for piano and orchestra; piano pupil of Czemy, Kalkbrenner, Moscheles, and Sechter. B. Nov. 15, 1811, Baden, Austria; d. Boulogne, Jan. 12, 1887. Blamont, de (Frangois Collin) composed a " Te Deum," motets ; many operas ; the «antata " Circe " ; chapel- master to the king of France, who en- nobled him. B. Versailles, 1690, son of a member of the royal band. Blanc (Adolphe) composed operas ; pupil of Hal^vy. B. June 24, 1828, Manosque, France. Blanchard (Henri Louis) played of Italian Jewish parents; d. Jan. 15, 1838. Charles sang ten. in opera. Son of MARIA THERESA. James sang bass at Drury Lane and Olympic theatres, London. B. 1798; son of MARIA THERESA; d. July 17, 1861. Blangini (Giuseppe Marco Maria Felice) collaborated in " La Marquise de Brinvilliers " and composed many operas; sang ten.; numbered among his pupils "three queens, 12 princesses, 25 countesses, etc."; chapelmaster to the king of Bavaria. B. Turin, Nov. 18, 1781; d. Dec. 18, 1841. Blankenburg or Blanckenburgh, van (Gerbrandt or Gideon) wrote " Elementa Musica " and historical books ; composed " De verdubbelde har- mony," which might be played forward or backward. B. Gouda, 1654; played organ there and at The Hague; d. about 1739. Blaramberg (Paul Ivanovioh) composed the opera "Mary of Bur- gundy," "The Mummers," 1881; "The Roussalka Maiden,'' 1887; "Tushino," 1891 ; a symphonic poem, choral pieces, music to the play "Voyevoda." B. Orenburg, Sept. 26, 1841; add. St. Petersburg. BLASBALG '72 Blasbal^. Qer. Organ bellows. Blaslustrument. Ger. Wind instruments. Blasmusik. Qer. Music for wind instruments. Blatt. Ger. Reed or vibrating tongue. Blauvelt (Lillian Evans) sang sop. in opera and concert; operatic debut in Brussels in "Mireille," Sept. 12, 1891 ; Covent Garden in "Faust," June 2, 1903. B. Brooklyn, New York, Mar. 16, 1873, played violin in Steinway Hall, New York, at eight, pupil N. Y. Conservatory of Music, 1885-89; m. Royal Smith, the organist; studied in Paris, made Russian tour, subse- quently toured America; divorced, went to Italy, 1898, for study, sang in Verdi's "RBquiem" in Rome and for Queen Margherita; sang in Munich and London; m. William F. Pendle- ton; sang before Queen Victoria, 1899; at the Handel festival, 1900, toured America, 1901 ; add. New York. Blauwaert (Emil) created the rSle of " Gumemanz " at Bayreuth ; sang bass, cantate with distinction from 1865 to 1890. B.St.Nikolaas, Belgium, June 13, 1845; d. Brussels, Feb. 2, 1891. Blaze (Frangois Henri iTosepli) wrote two volumes " De I'opera en France," 1820; translated libretti; composed and collected " Chants de Provence," etc. ; signed himself "Castil- Blaze." B. Cavaillon, France, Dec. 1, 1784; son of an excellent amateur musician; d. Dec. 11, 1857. Blaze de Bury (Baron Henri) wrote a life of Rossini, " Meyerbeer and his times," libretto of " La jeu- nesse de Goethe " for which Meyerbeer composed the music. Son of CASTIL- BLAZE whom he excelled as a writer, though not in knowledge of music ; en- nobled while in the French diplomatic service. B. Avignon, May, 1813; d. Mar. 15, 1888. Blechinstrumente. Ger. Brass instruments. Bleuer (Ludwig) conducted De- troit Philharmonic Club, 1894; played violin, led Berlin Philharmonic Orches- tra. B. Budapest, 1863; d. Berlin, 1897. Blewitt (Jonas) wrote "A com- plete treatise on the organ, with ex- BliUHENBEBG planatory voluntaries," composed the operas " Corsair," " The Magician," "The Island of Saints," "Rory O'More" ballads; played organ; con- ducted in London and Dublin. D. Sept. 4, 1853. Blind Tom was the stage name of Tom WIGGINS. Blitbeman (William) composed for organ, virginal, and voice, sang in Eng. Chapel Royal, 16th century. Blockx (Jan) composed numerous Flemish songs; cantatas; the ballet " Milenka," operas including " Thiel Uylenspiegel," 1900 ; " La Fiancee de la Mer," 1902; " Kapel," 1903; and the cantata " Die Soheldezang," per- formed in the open air, Antwerp, Au- gust, 1903; the comic opera "Maltre Martin"; succeeded Benolt, 1902, as director of the Antwerp Conservatory. B. Antwerp, Jan. 25, 1851; add.' Antwerp. Bloomfleld-Ze'lsler (Eannie) played piano with marked success at the leading orchestral concerts in Europe and America, and in recital; debut at ten; pupil of Ziehn, of Carl Wolfsohn of Chicago, and of Lesohe- tizky in Vienna. B. Bielitz, Austria; m. Sigismund Zeisler, Chicago, 1885; add. Chicago. Blow (John) composed "Masque for the Entertainment of the King" (Charles II), anthems for the corona- tion of James II; taught Henry Pur- cell ; Master of the Children ( of whom he had been one), Eng. Chapel Royal; and succeeded Purcell in 1695 as or- ganist at Westminster Abbey. B. 1648, North Collingham, Eng.; d. London, 1708. Blueth.ner (Julius Ferdinand) founded the piano house bearing his name in Leipsic, Nov. 7, 1853. B. Mar. 11, 1824, Falkenhain, near Merseburg, Germany. Blumenberg (IVIarc A.) edited the "New York Musical Courier" from its establishment, 1880; was presi- dent the Blumenberg Press Corpora- tion; recognized as an authority on acoustics and musical instruments. Educated at Loyola College, Balti- more, he became music critic on the Baltimore "American," but later joined BLTTMENTHAL 73 BOEEELMAN the staflF of the New York "Sun." B. May 21, 1851, Baltimore, Md.; add. New York City. Blumenthal (Jacob) composed " The Message " and other songs ; pianist to Queen Victoria, 1848 ; pupil of Herz at the Paris Conservatoire. B. Hamburg, Oct. 4, 1829. Blumner (Dr. ISXartin) composed the oratorios " Abraham," 1860 ; " Der Fall Jerusalems," 1881 ; the cantata " Columbus," 1853, a Te Deum, etc. ; directed Berlin Singakademie ; pupil of S. W. Dehn. B. Nov. 21, 1827, Mecklenburg; d. Nov. 6, 1901, Berlin. B Moll. Ger. Flat or B flat minor. Bob. Term employed in bell ring- ing to indicate certain peals. Bocal. Fr. Mouthpiece. Bocca. It. Mouth. Boccabadati (Luigia) sang opera buffa, debut Venice, 1823 to 1845. B. Parma; d. Turin, Oct. 12, 1850. Boccberini (liuig^) composed 467 works for instruments, his chamber music being somewhat in the style of Haydn, with whom he is assumed to have been acquainted ; a Stabat Mater, a Mass, the opera " Clementina," two oratorios; played 'cello; enjoyed the patronage of Charles IV of Spain while Prince of Asturias; became composer to Friedrich Wilhelm II of Prussia; was aided by Lucien Bona- parte during his service as ambassador to Madrid, but, despite great talent and a wonderful facility in composi- tion, died in want. B. Lucca, Feb. 19, 1743; d. Madrid, May 28, 1805. See biography by D. A. Cerft, 1864; by Schletternd, Leipsio, and " Notice sur la vie et ouvrages," etc., L. Picquot, Paris, 1851. Boccblno. It. Mouthpiece. Bochsa (Bobert Nicholas Charles) composed the opera " Tra- jan " before he was 16, and eight other operas; became harpist to Napoleon and later to Louis XVIII ; fled to Lon- don to escape imprisonment for forgery in France; gave concerts with Sir George Smart; taught with great suc- cess; eloped with wife of Sir Henry Bishop. B. Montmgdy, Aug. 9, 1789; d. Sydney, Australia, Jan. 6, 1856. Booklet, -roil (Carl Maria) played violin and piano, and first brought the piano pieces of his friend Schubert to public notice. B. Prague, 1801; d. July 15, 1881. Bockpfeife. Ger. " Bagpipe. Bockshoru (Samuel) composed church music once widely sung ; chapel- master to the Duke of Wflrtem- berg. B. 1629, Pressburg; d. Nov. 12, 1665. Bockstriller. Ger. " Goat-bleat," faulty vocalization. Bode (Johann Joachim Chris- toph) composed; played oboe and bassoon; editor, printer, and trans- lator. B. Jan. 16, 1730, Brunswick; d. Dec. 13, 1793, Weimar. Boden. Oer. BODY. Bodenschatz (Erhard) made valu- able collections of church music; com- posed a "Magnificat" ; wrote on theory. B. Lichtenberg, Germany, 1570 ; pastor at Gross-Osterhausen, 1608; d. 1638. Body. The sound Idox of a stringed instrument; the main part of a wind instrument, minus mouthpiece, crooks, etc. Boehm (Elizabeth) created rSle of Donna Elvira in Berlin, 1790. B. Riga, 1756; m. the tenor Cartellieri, then Boehm the actor; d. Berlin, 1797. Boehm (Heinrich) composed 35 operas and operettas in Bohemian. B. Blasria, Bohemia, 1836. Boehm (Joseph) taught violin in Vienna 50 years, numbering among his pupils Joachim, Ernst, L. Straus; pupil of his father and of Rode. B. Pesth, Mar. 4, 1795; d. Vienna, Mar. 28, 1876. Boehm. (Theobald) improved the flute, on which he was a famous player; devised new system of finger- ing; composed many works for flute. B. Munich, April 9, 1794; d. Nov. 25, 1881. Boehner (Johann Ludwig) com- posed and became famous as organist and improvisator ; by his eccentricities aflforded material for Hoffmann's " Ca- pelhneister Kreisler." B. Tottelstedt, Gotha, Jan. 8, 1787; d. Mar. 28, 1860. Boekelman (Bernardus) com- posed; founded New York Trio Club; taught and played piano. B. Utrecht, Holland, 1838; add. New York City. BOEIiLMANN 74 BOHEME Boellmann (Leon) composed sym- phony in J? ; " Suite Gothique " for organ; played organ at St. Vincent de Paul's, Paris. B. Ensisheim, Alsace, Sept. 25, 1862; d. Paris, Oct. 11, 1897. Boely (Alexandre Pierre Fran- cois) composed chamber music; pupil of the Paris Conservatoire. B. Ver- sailles, April 9, 1785; d. Paris, Dec. 27, 1858. Boesendorfer (Ludwig) succeeded to the piano factory established in Vienna by his father, Ignaz, 1828, and enlarged the compass of his instru- ments and greatly improved them. B. Vienna, April, 1835. Boesset (Pierre Guedron Antoine) composed 24 court ballets; chapel- master to Louis XIII. B. Dec, 1585, Sieur de Villedieu; d. 1643. Jean Baptiste succeeded to his father's office. B. 1612; son of PIERRE GUfiDRON" ANTOINE; d. 1685. Claude Jean Baptiste composed court ballets and the duets " Fruits d'Au- tomne " ; succeeded his father, 1667 ; son of JEAN BAPTISTE. Bohgme. Giacomo Puccini's four- act opera to libretto by Giuseppe Giacosa and Luigi lUica, founded on Henri Murger's " La Vie Bohfeme," was first produced in Turin, Feb. 1, 1896, and has since been played throughout Europe and America. The action is laid in Paris about 1830. The curtain rises on the garret where Marcel and Rudolphe are painting and writing. It is cold, and Rudolphe burns the manuscript of a tragedy that they may warm themselves, a task in which the philosopher Colline soon joins them. The musician Schaunard comes with food and wine, and while they are making merry, Bernard the landlord enters, demanding his rent. They fuddle him with wine, chaff him about his amours, and then push him out of doors. Rudolphe must complete a manuscript, but the other young men are bound for a lark. They leave him, promising to return for him later. Mimi, a pretty young neighbour, comes to ask for a light, and as she is leaving a gust of wind blows out the candle, and she drops her key. They grope for the lost key in the dark. Rudolphe finds it, but places it in his pocket, then takes Mimi's hand, tells her of his work, and she replies by narrating her own little history. Rudolphe's companions call to him from the street, he opens a window to answer, and the moonlight reveals to his friends below Mimi standing beside him. In the second act students and their friends are making merry in front of the Cafe Momus in honour of. Christmas eve. Rudolphe introduces Mimi to his friends Colline, Marcel, and Schaunard and they order re- freshments. Parpignol the toy dealer enters with his wares, and is sur- rounded by the children, whose mothers finally lead them away. Mu- sette, formerly the sweetheart of Mar- cel, but who has cast him off, comes in, richly clad, and accompanied by her new lover, Alcindor, to whom she talks at the top of her voice to attract Marcel's attention. Sending Alcindor away on an errand, she joins Marcel and his friends, and as the waiter comes up demanding his money, tells him to add the amount to Alcindor's account. Just as Alcindor receives this unexpected bill the group of friends march away, following a pro- cession of soldiers. In the third act Rudolphe confesses to Marcel that he means to leave Mimi, though he still loves her, because she is dying of con- sumption, and he lacks the means to provide for her comfort. Mimi, who has been seeking counsel of Marcel, overhears this; a fit of coughing re- veals her presence, and as Marcel rushes into the inn, where he hears Musette flirting with some one, Ru- dolphe and Mimi say farewell. In the fourth act we return to the garret. Marcel and Rudolphe are unable to work for thinking of Musette and Mimi. Colline and Schaunard again join their friends. They are soon foU lowed by Mimi, who realizes that she is dying, but cannot resist the tempta^ tion to see Rudolphe again. She is cold. Rudolphe tries to warm her hands bj^ chafing them. Musette, over- come with grief, gives Marcel her jewels to pawn in order to buy food. BOHEmiAN GIKL 75 BOHEMIAN QTJABTET and wine, and Colline, taking Schau- nard with him, goes forth to pawn his coat in order to provide further com- forts. Mimi, who has pretended to be asleep, now talks to Rudolphe about their happiness in the past. The others return bringing food, wine, and fuel, but it is too late. Mimi falls asleep, then dies, and the curtain falls. The principal musical numbers are: Act 1 : "Mi chiamano Mimi," Ru- dolphe, ten., and Mimi, sop. ; " O soave fanciulla," Rudolphe; Act II: waltz song. Musette, sop. ; Act. Ill : " Addio, senza rancore," Mimi and Rudolphe; Act. IV : " Sono audati ? Fingeos di dormire," Mimi and Rudolphe. Bohemian Girl. Michael William Balfe's three-act opera to book by Bunn, adapted from Fanny Ellser's ballet " The Gipsy," was produced at Drury Lane Theatre, London, Nov. 27, 1843, and speedily became one of the most popular operas in English. As " La Bohfimienne," with alterations and additions, the work was favour- ably received at the Theatre Lyrique, Paris, and there are likewise Italian and Grerman versions. Thaddeus, a noble Polish exile, joins a band of gipsies and saves the life of Arline, the little daughter of Count Arnheim, Governor of Presburg. Refusing to drink the Emperor's health, Thaddeus is in danger of arrest. Devilshoof, the gipsy captain, interferes, saves Thad- deus, but is himself arrested. Later he escapes, taking Arline with him, and the gipsy band disappears. The band returns 12 years later. Arnheim still mourns his daughter, whom he has given up as dead, but consoles himself in the society of his nephew, Florestein, who falls into the hands of the gipsies. Arline and Thaddeus love each other, but Arline has a rival in the queen of the gipsies, who resolves to rid herself of the girl. She gives Arline a medallion stolen from Flore- stein, which that young rake recog- nizes when he meets her at a fair, and vainly tries to make love to her. He causes Arline's arrest, but when she is brought before Arnheim, the Count notes a scar upon her arm, and soon learns that she is his daughter. De- spite the alteration of her fortunes, Arline loves Thaddeus, who manages to enter the house with Devilshoof's aid, but his presence is revealed by the vengeful gipsy queen, and Thad- deus is ordered to leave the house. Arline tells her father how she loves him, and when Thaddeus proclaims his noble birth and deeds in battle, Arn- heim yields. At the instigation of the gipsy queen, one of the band fires at Thaddeus, but Devilshoof deflects his aim, and the bullet kills the gipsy queen. The musical numbers are: Act I : "A Soldier's Life," Arnheim, bar. ; " 'T is sad to leave your Father- land," Thaddeus, ten. ; " In the Gip- sies' Life you may Read," Devilshoof, buflfo and chorus; and the finale, " Thou Who in Might supreme " ; Act II : " Silence, Silence, the Lady Moon," chorus ; " I dreamt I dwelt in Marble Halls," Arline, sop.; "The Secret of her Birth," Arline and Thad- deus; Act III: "From the Hills and Valleys," quartet ; " The Heart bowed down," Arnheim ; " Praised be the Will of Heaven," chorus ; Act IV : " When other Lips and other Hearts," and "When the Fair Land of Poland," Thaddeus. Bohemian String Quartet founded in 1891 by Karel Hoffmann, first violin; Josef Suk, second violin; Oskar Nedbal, viola; Otto Berger, 'cellist; took its name from the fact that all the players had been edu- cated in the excellent conservatory at Prague, Bohemia; and in aims and possibly in virtuosity corresponded with the American Kneisel Quartet. Hoffmann, who studied seven years at the Prague conservatory, was born Dec. 12, 1872. Suk composed an over- ture to " The Winter's Tale," a string quartet in A minor, etc., studied com- position under Dvoffik at Prague as well as violin. B. Jan. 4, 1874; m. daughter of Dvofak. Nedbal com- posed a sonata for violin and piano; conducted Czech orchestras in Prague and London ; studied composition with DvofSk. B. Tavor, Mar. 25, 1874. Berger was compelled to retire by ill health, 1897 (b. 1873), and his place was taken by Hanus Wihan, a 'cellist BOHLMAWIX 76 who had been a member of Ludwlg IPs quartet at Munich, and had supervised the studies of the members of the quartet in chamber music while di- rector at the Prague conservatory. B. Politz, June, 1855. Boblmann (Theodore H. E.) com- posed; taught piano, 1890, Cincinnati Conservatory of Music; became pro- fessor of piano. Stern Conservatory, Berlin; returned to Cincinnati, 1908; pupil of Stade, Barth, Klindworth, Tiersoh, d' Albert, and Moszkowski; debut, Berlin, 1885. B. Osterwieck am Harz, June 23, 1865. Bohui (Carl) composed songs; played piano; pupil of Lbsehhom, Reissman, and Geyer. B. Berlin, Sept. 11, 1844. Boh.ni (Georg), composed church music, played organ at Hamburg and Luneberg. B. Goldbach near Gotha, 1661. Bohrer (Caspar) played trumpet and doublebass. B. Mannheim, 1744; d. Munich, Nov. 14, 1809. His sons, Anton and Max, played violin and 'cello, joined royal orchestra in Berlin, 1823. Anton went to Paris, became concertmeister at Hanover, 1834. B. 1783; d. 1852. Max became concert- meister at Stuttgart. B. 1785 ; d. Feb. 28, 1867. The brothers married two sisters of Ferdinand David and Mme. Dulcken. Sophie was talented pian- ist. B. 1829; daughter of Anton; d. St. Petersburg, 1849. Boieldieu (Adrien liouis Victor) composed a mass and comic opera, per- formed at the Boieldieu centennary, Eouen, 1875, and some comic operas successfully presented at the Opfira Comique. B. Nov. 3, 1815; son of FRANCOIS ADRIEN and Phillis. Boieldieu (Frangois Adrien) com- posed " La DAME BLANCHE," which ranks with the most popular if not as the most popular of French comic operas, the " Calife de Bagdad," and other works which have been crowded out of modern repertoire. His father was secretary to the Archbishop of Rouen and his mother a milliner, but during the Revolution the elder Boiel- dieu obtained a divorce, remarried, and the boy took up his residence with his BOIELDIEU music master, Broche, organist of the cathedral, who was a drunkard, and abused him so that the lad ran away to Paris. His family brought him back, and Broche continued to give him the only instruction he received until he had won his first operatic success. " La fllle coupable," an opera for which his father wrote the libretto, made some reputation for the young man when performed at Eouen, 1793, and encouraged him to go to Paris again. Two years later " Rosalie et Myrza " was performed at Rouen with indifferent success, and at this time he gladly sold songs to Cochet, the Paris publisher, at 12 francs each. " Deus lettres," his first opera, performed in Paris, 1796, was followed by the " Fa- mine Suisse," which ran for a month at the Theatre Feydeau. " Zoraime et Zulnare," " La dot de Suzette," " Beni- owski," and a number of instrumental pieces brought the composer sufficient reputation to win him a professorship of piano at the Conservatoire in 1800, and in that year his first great success, the " Calife de Bagdad," was per- formed. A period of study under Cherubini followed, and then came the once popular " Ma tante Aurore." Boieldieu had married the dancer Clo- tilde Mafleuroy in 1802, and, according to the gossip of the time, was most unhappy in his domestic relations. This may account for his acceptance of the post of conductor at the St. Petersburg Opera when his career in Paris seemed most promising. During eight years spent in the service of the Russian Emperor he composed only a few unimportant comic operas and vaudevilles. In 1811 he returned to Paris, produced "Jean de Paris" in 1812, which is rated with his best work, collaborated vrith other composers and taught composition at the Conserva- toire, he produced nothing of note. "La Dame Blanche " was the culminating point in his career. His next work, "Les deux nuits," was a failure, and the remainder of his life, brighteiied it is true by his marriage with the singer Phillis, 1827, was saddened by financial difficulties, although a pen- sion which he had lost by the expulsion BOZSBErrBE 77 BONAWITZ has been the more successful. "Ne- rone " and " Orestiade " are still un- known, but axe assiuned to embody the composer's best work. Besides his poems, novels, libretti, and essays, Boito translated the text of works by Beethoven, Wagner, and Schumann. He became inspector general of tech- nical instruction at the Conservatory, 1892; Commander of the Crown of Italy; and Chevalier of the Legion of Honor; add. Milan. Bolero. Sp. Lively dance in triple time, accompanied by singing and castanets. Bolla(Signorina)sang opera buffa, 1794r-1802, in London and Paris. Bologna was the seat of the first Italian school of music, founded by Pope Nicholas V, 1482 ; later, of many academies for the promotion of the arts and sciences, including music; and of an important Philharmonic So- ciety, and of recent years has become a musical centre second only to Milan itself. Bolt (Jolin) played the virginals at Elizabeth's court; was persecuted be- cause of his religion ; became organist at St. Monica's, Louvain, 1594, and en- tered the Church. B. 1564; d. Lou- vain, Aug. 3, 1640. Bombarde. Fr. Reed organ stop generally in the pedal register. Bombardon. The bass tuba or Sax- horn; lowest of brass valved instru- ments, usually set in F or E flat and ranging from F ' or E ' flat to e ' or d ' flat. Bombardons set a fifth lower, in C or B flat, are properly styled contra- bass. The name Bombardon, Bom- bard, Bass-Pommer or Brummer was originally given deep-pitched instru- ments of the clarinet, oboe, or bassoon types, then transferred to a bass reed organ stop. Bombyx. GV. Flute or reed instrument. Bomtempo (Toao Domingos) com- posed church music, an opera, and wrote "Methode de Piano," London, 1816; taught Portuguese royal fam- ily; Knight of the Order of Christ. B. Lisbon, 1775; d. Aug. 13, 1842. Bonawitz (John H.) conducted New York "Popular Symphony Con- of Charles X was eventually restored by Louis Philippe. B. Dec. 16, 1775, Kouen; d. Jarcy, near Paris, Oct. 8, 1834. Boisdeffre, de (Bene) composed symphony in A; " Messe SolenneUe " ; piano music, won the Chartier prize for chamber music, 1883. B. Vesoul, France, April 3, 1838; add. Paris. Boito (Arrigo) composed the operas " MEPISTOFELE," " Nerone," " Hero e Leandro," and wrote the libretti for Ponchielli's "Gioconda," Verdi's " Otello " and " Falstaff "; aided in the musical reforms which made possible the works of the "modern Italian school"; distinguished himself as poet, essayist, novelist. Son of an Italian painter and the Polish countess, Josephine Radolinski, his studies were directed first by Camillo Boito, his elder brother, and he became a pupil at the Milan Conservatory at the age of 14. He learned to write in Italian and French, and displayed so thorough an acquaintance with the classics as to attract the attention of Victor Hugo, who wrote him a complimentary note. "II 4 di Giungno," a cantata, was com- posed for the closing competition of the Milan Conservatory, and the can- tata " Le Sorelle d'ltalia," composed in collaboration with Franco Faccio to Boito's poem, was rewarded by an allowance from the Government to en- able the two composers to study two years in Paris. " Faust " had been suggested to him as a suitable theme for opera, by his brother Camillo, and during his sojourn in Paris and an incidental visit to Germany, Boito was at work on his " Mefistofele." This opera was produced at Milan, Mar. 5, 1868. Gounod's " Faust " had already been heard, and the controversy over the respective merits of these operas developed into a riot, several duels fol- lowed, and the police were obliged to order the withdrawal of " Mefistofele." A revision of " Mefistofele," presented at Bologna in 1875, has since been per- formed in many parts of the world. " Ero e Leandro " was not to Boito's satisfaction, and he authorized the two musical settings by Bottesini and by Mancinelli, of which the' latter BONCl 78 eerts," 1872-73 ; composed two operas, produced in Philadelphia. B. Dec. 4, 1839, Durkheim on the Rhine; has resided since 1876 in London and Vienna. ' Bonci (Alessandro) sang ten. in opera with great success in Italy, and in 1906 was engaged by Hammerstein as leading ten. at the Manhattan Opera House, New York, to offset the drawing powers of Caruso. There was, in fact, no occasion for rivalry be- tween the two artists, Bonci being gifted with a voice of less powerful quality but of even greater sweetness. He continued to be the chief support of the Manhattan Opera House for two years, but had signed with the Metropolitan for the season of 1908-9. He was made knight of the Crown of Italy, 1902. Bond (Hugh) composed church music, taught; lay vicar Exeter Ca- thedral. D. 1792. Bones- commonly heard at so-called '' minstrel " shows, referred to aa rus- tic instruments of music in " A Mid- summer Night's Dream," were used by English country folk in the middle ages, and sometimes called " knicky- knackers." Bonnet (Jean Baptiste) composed and played organ. B. Montauban, 1763. Bonno or Bono (Giuseppe) com- posed oratorios, cantatas, hymns, masses; chapelmaster at Vienna. B. Vienna, 1710; d. April 15, 1788. Bonn's Bridge differed from other violin bridges in having one foot under each string supported. Bononcini or Buononcini (Gio- vanni Maria) wrote " Musico Prat- tico " ; composed five operas ; masses, sonatas, cantatas; church and court musician at Modena. B. about 1640; d. Nov. 19, 1678. Giovanni Battista led the London opposition to Handel on behalf of the Marlboroughs and others opposed to the Hanoverians, who supported Handel. He was ac- cused in 1731 of plagiarizing a madri- gal by Lotti; retired to Paris, where he played 'cello before Louis XV in one of his own motets, and then to Venice, as composer to the opera. BOBD Educated by his father GIOVANNI MAEIA and by Colonna, Bononcini lived in Vienna and in Rome, where his operas " Tullo Ostilio " and " Serse " were performed ; in Berlin, and in 1720 was called to London with Ariosto by Handel, Where he produced the operas " Astarto," " Crispo," " Er- minia," " Farnace," "Calfunia," " Astyanax," and " Griselda," all of which have been forgotten. His down- fall began with the joint composition of " Muzio Scevola," the part composed by Handel being deemed the best. B. Modena, 1672, his last important com- mission was to compose music for the Peace of Aix-la-Chapelle, Oct. 7, 1748, Vienna. Marc Antonio composed the popular opera " Camilla " ; chapel- master to the Duke of Modena. B. 1714; brother of GIOVANNI BAT- TISTA; d. July 8, 1721. Bonporti (Francesco Antonio) composed " Le triomphe de la grande Alliance"; Imperial counsellor; b. at Trient about 1660. Bontempi (Giovanni Andrea An- gelini) composed the operas " Dafne," "Paride," "Jupiter and lo"; wrote three books on theory; sang soprano, St. Mark's, Venice; chapelmaster co- adjutor to Schiitz, Dresden. B. Peru- gia, about 1630; d. June 1, 1705. Bon temps de la mesure. Fr. Accented part of a measure. Boom, van (Jan) composed sym- phonies; played piano; taught in Academy and Music School of Stock- holm. B. Utrecht, Oct. 15, 1807 ; son of a flute player of the same name; d. April, 1872. Hermann, brother of Jan, pupil of his father, became noted flautist. B. Feb. 9, 1809; d. Amster- dam, Jan. 6, 1883. Boorn, van den (Eduard) played piano; wrote criticism. B. Liege, 1831; d. 1898. Boosey & Co. manufacture brass and wood wind instruments and pub- lish music in London. The house was founded by Thomas Boosey, 1816. Boott (Francis) composed under the pen name " Telford " ; pupil of Pic- chianti, Florence. B. Boston, June 21, 1813; lived in Cambridge, Mass. Bord (Antoine) manufactured BOBBES 79 BOSTOIT pianos; invented the capotaatro bar. B. Toulouse, 1814; d. Paris, 1888. Bordes (Charles) founded the " As- sociation des Chanteurs de Saint- Gervais," having for its object the study of antique church music, while organist of the Paris church of that name; composed; founded the "Schola Cantorum"in Paris, 1894. B.Vouvray- Bur-Loire, May 12, 1863 ; pupil of Cfisar Franek; add. Paris. Bordogni (Giulio Marco) sang ten. in opera; taught at Paris Conserva- toire. B. near Bergamo, 1788; d. Paris, July 31, 1856. Bordone. It. BOURDON. Borghi (Adelaide) sang mez. sop. under the name Borghi-Mamo; debut at Bologna, 1846 to 1860. B. Bologna, 1829; add. Florence. Erminia sang sop. in the Bologna revival of Boito's Mefistofele, 1875; daughter of Adelaide. Borgbi (Iiuigi) composed and played violin in London, 1774-84. Borjon (C. E. de Scellery) wrote for and played musette. B. 1633; d. Paris, May 4, 1691. Borodin (Alexander Forphyrie- vich.) composed both words and music of 12 songs, the opera " Prince Igor," " In the Steppes of Central Asia," symphonic poem, two symphonies, and two movements of a third symphony. Son of a Prince of Imeretia, Borodin first graduated in medicine and taught diemistry in the St. Petersburg Acad- emy of Medicine. He joined Balakirev in the " New Russian movement " in 1862, began his first symphony in that year, and thenceforth devoted himself to music as eagerly as to science. His opera, left unfinished, was completed by Rimsky-Korsakov. B. St. Petersburg, Nov. 12, 1834; d. Feb. 28, 1887. See biography by A. Habets, London, 1895. Borosinl (Francesco) sang ten. at the Prague opera and in London under Handel, when he was accompanied by his wife, Leonora, born d'Ambreville, who sang con. B. Bologna, about 1695. Bortniansky (Dimitri Stepano- vich) composed the operas "Cre- onte " and " Quinto Fabio " ; chapel- master to Empress Catherine of Rus- sia; composed 35 sacred concertos for her. B. Gloukoflf, Ukraine, 1752; d. Oct. 9, 1825. Berwick (Leonard) played piano with Joachim quartet and gave joint recitals with Plunket Greene; pupil of Clara Schumann. B. Walthamstow, Essex, Eng., Feb. 26, 1868; add. London. Boschi (Giuseppe) became the most famous of 18th century bassos; ap- peared in London with Handel. B. Viterbo; m. the contralto Francesca Vanini. ' Bosio (Angiolina) sang mez. sop. in_ opera with great success in the principal cities of Europe and America, debut, Milan, 1846. B. Turin, Aug. 22, 1830; toured America, 1848; d. St. Petersburg, April 15, 1859. BoBsi (llarco Enrico) composed " II Paradiso Perduto," based on Mil- ton's poem, performed Dec. 6, 1903, at Augsburg; cantatas, masses, instru- mental works of all forms; the sym- phonic poem " II Cieco " ; " Cantico dei Cantici," etc.; played organ Como Cathedral; taught Naples Conserva- tory; became director Liceo Musicale, Bologna, 1902. B. Salo, near Brescia, April 25, 1861; studied at Milan; add. Bologna. Boston SymplLony Orchestra, while not the first of symphonic pro- portions in America in point of age, was long first as regarded excellence, and really the first in America which could be called permanent, since its history from 1881 had been continuous, and the changes in personnel so grad- ual as to be imfelt in the concert room. The munificence of Col. Henry L. Hig- ginson, a wealthy gentleman of Boston, made this splendid organization pos- sible; for during the long period of years until it became self-supporting, he paid the diflFerenee between its dis- bursements and receipts, often amount- ing to many thousands of dollars, out of his own fortune. Concerts were given at first in the old Music Hall which had been erected mainly for the use of the HARVARD MUSICAL ASSOCIATION, but of late years the orchestra has enjoyed a home of its SOSTOIT 80 BOSTON own called " Symphony Hall," which contains a large auditorium with ad- mirable acoustic qualities, the library, dressing rooms, offices, and all that is needful for the complete conven- ience of audience and performers. Very early in its history the orchestra gave concerts in other cities than Boston, and in 1908 from four to 16 concerts annually were given in New York, Brooklyn, Philadelphia, Baltimore, Washington, in addition to the regu- lar home series, and a supplementary Boston course of " popular " concerts. The first conductor was Georg HEN- SCHEL. From 1884 to 1889 the con- ductor was Wilhelm GERICKE. Arthur NIKISCH held the baton for the next four years, until 1893, during which the ensemble of the orchestra reached its highest point of perfection. Mr. Nikisch established the reputation of the strings as the finest in the world, and managed to obtain perfect attack without wholly obliterating the indi- viduality of the musicians. On the ex- piration of his contract, Mr. Nikisch returned to Europe, and the next con- ductor was Emil PAUR, who served until 1898. Mr. Gericke again became conductor, retiring in 1905. His suc- cessor was Dr. Karl MUCK, who was temporarily released from his duties at the Berlin Opera House in order that he might go to America. The first concertmeister was Bernard LISTER- MANN. Frapz KNEISEL, who had been concertmeister for 14 years, with- drew from the orchestra in the last year of Mr. Gtericke's second adminis- tration in order to devote himself ex- clusively to chamber music, the mem- bers of his quartet following his ex- ample. Willy HESS was then engaged as concertmeister. Members of the or- chestra were retained under contract by the year at salaries which enabled them to devote their whole time to the rehearsals and concerts of the orches- tra. The annual series of Boston Sym- phony orchestra concerts are a feature in the musical life, not only of Boston, but of the chief cities of the Atlantic seaboard. Dr. Muck was compelled to resume his duties in Berlin at the close of the season of 1907-8, and August Max FIEDLER, of Hamburg, was engaged as his successor. Han- del and Haydn Society, organized Mar. 30, 1815, was the oldest musi- cal society in America with the ex- ception of that at Stoughton, Mass., which dated back to Nov. 7, 1786. Gottlieb Graupner, Thomas Smith Webb, and Asa Peabody issued the call which resulted in the formation of the Handel and Haydn Society, and the original officers were Thomas Webb Smith, president; Amasa Win- chester, vice-president; Matthew S. Parker, secretary; Nathaniel S. Tucker, treasurer. The only musical society in Boston at the time was the Philharmonic Society, devoted wholly to orchestral music; the Mas- sachusetts Musical Society, formed in 1807, having disbanded. Hymn tunes were sung at first, but " The Crea- tion " and " Messiah " were put in re- hearsal, and excerpts from these ora- torios were the chief attraction at the first concert given Christmas night in Stone Chapel. The audience numbered 1,000. There were less than a dozen pieces in the orchestra, the chorus number about 100, but an organ helped swell the sound, and the good people of Boston were delighted. The following year the society was chartered, and in 1818 was strong enough to present the " Messiah " in full. The number of concerts varied with the years from one to 23. The enterprise of the man- agement made known many important works for the first time at these con- certs, and the best singers were habitu- ally engaged for solo parts. The So- ciety took part in the Peace Jubilees in Boston and New York, 1869 ajid 1872, and for a time triennial festi- vals were given. Charles E. Horn was the first director. Carl ZERRAHN served in that capacity, 1854-98, suc- ceeding Carl BERGMANN. After Mr. Zerrahn, the directors in order of appointment were: H. Reinhold, L. Herman, Emil MOLLENHAUER. Apollo Club gave private subscrip- tion concerts devoted to works for male chorus. Organized July, 1871, incorporated two years later, the di- rector from 1871 to 1902 was B. J, BOTE TJTSm BOCK 81 BOW Lang, who was then succeeded by Emil atoire, 1871; Chevalier of the Legion MoUenhauer. Choral Art Society of Honor. B. Paris, 1815; son of consisted of 45 professional singers MAKIE JULIE. directed by Wallace Goodrich, and de- Boulanger (Mme. Iffarie Julie) voted to early church music, madrigals sang soubrette rOles Opgra Comique, and glees. The organization was Paris; debut 1811; retired 1845. B. formed in 1901 and was supported by 1786; d. 1850. subscriptions. Cecilia was intended to Boulou. African harp, present mixed choral works at the con- Bourdon. Fr. Drone bass like certs of the HAKVAKD MUSICAL that of hurdy-gurdy or bagpipe; a ASSOCIATION. Organized 1874, its 16-ft. tone organ stop, found on both separate existence under direction of manual and pedal. B. J. Lang dated from 1876. Boston Bourgalt-Decoudray (Louis Al- ia also the seat of the NEW ENG- bert) composed operas; collected and LAND CONSERVATORY OF MUSIC, wrote on Greek and Oriental music; Bote und Bock established music won Prix de Rome, 1862, having publishing house in Berlin, 1838, to studied under Ambroise Thomas; which Hugo Bock succeeded in 1871. founded choral society in Paris, 1869. Botel (Heinricli) sang ten.. Ham- B. Nantes, Feb. 2, 1840; add. Paris, burg. B. Hamburg, 1858. Bourgeois (Louis) taught music Bott (Jean Joseph.) composed two in Geneva during Calvin's rule, and operas, played violin; chapelmaster at probably edited the Genevan Psalter; Cassel. B. Cassel, Mar. 9, 1826; d. proposed a solfeggio system in his New York, April 30, 1895. " Le Droiet chemin de music," Geneva, Bottesini (Giovanni) composed 1850. operas, "Christophe Colombe," pro- Bourgeois (Louis Thomas) com- duced at Havana, 1847 ; " Ero e posed 16 operas, many cantatas ; Leandro," Turin, 1879; "Ali Baba," counter-tenor at Paris Grand Opera, London, 1871; the oratorio "Garden 1708. B. Fontaine l'fiv6que, Oct. 24, of Olivet " for the Norwich Festival of 1676; d. Paris, 1750. 1887 ; known as the greatest of all Bourges (Jean Uaurice) composed double-bass soloists ; conducted Italian the opera " Sultana," Paris Op6ra opera at Paris, Palermo, Barcelona, Comique, 1846; wrote music criticism, and Cairo. B. Crema, Lombardy, Dec. B. Bordeaux, Dec. 2, 1812; d. 1881. 24, 1822; d. Parma, July 7, 1889. Bourges, de (Clementine) com- Bottomley (Joseph) played violin posed vocal music ; died of grief Sept. concerto in public at seven, became 30, 1561, her husband having been church organist ; wrote on music and killed in battle, composed. B. Halifax, Eng., 1786. BourrSe. Fr. Dance in common Bouch£ FermSe. Fr. " With time popular with peasants of Brit- closed mouth." Humming. tany, originated either in Auvergne Boucher (Alexander Jean) played or Biscay; gave name to suite violin with remarkable skill, though movement. given to trickery; debut before the Bousquet (Gteorges) composed the French court at six; m. harpist and opera "Tabarin," masses; conducted; toured Europe. B. Paris, April 11, wrote criticism. B. Perpignan, Mar. 1778; d. Dec. 29, 1861. 12, 1818; won prix de Rome, 1838; Boufle. Fr. Buffoon. d. 1854. Bouhy (Jacques) sang bar. Paris Bow is the instrument employed to and London ; director New York Con- set in vibration the strings of the servatory, 1885-89; composed songs viols, so called from the resemblance it and taught in Paris. B. 1848, Pep- bore the weapon of that name. The inster, Belgium; add. Paris. modern bow, devised by Frangois Boiilanler (Henri AlexandrS Tourte, 1745-1835, consists of a wand Ernst) composed operas; won Prix of Brazil lancewood, or snakewood, deRome 1835; taught Paris Conserv- to which a slight outward curve is 6 BOW HAND 83 BKAHMS given by the application of heat. It is about 29 inches long. At one end is the head, to which a strand of about 120 horse hairs is affixed, and at the opposite end is the nut to which the other end of the strand is secured in such a manner that it can be tightened or loosened with a screw. When ready for use the wand or bow stick now curves slightly toward the hair instead of arching away from it. Such a bow as that described is used in playing the violin and viola. Bows for the 'cello and double-bass are shorter and heavier in construction. Bow Hand. Usually the right hand. Bowing regulates the quality and intensity of sound on all viol instru- ments except as to pitch, which is altered by stopping the strings on the flnger-board, usually with the left hand. The importance of correct bow- ing, which can hardly be overestimated, is discussed in Tartini's " Art of Bow- ing," and in Baillot's " Art du Vio- lin." Up bow, down bow, staccato or saltato bow, are now usually indicated by signs in NOTATION, and the uni- form bowing which should be in evi- dence at orchestral concerts is designed to bring about the best results of which the instruments are capable as to tone and phrasing. Passages for viols where the strings are to be plucked guitar fashion instead of bowed are marked Pizzicato, and when the bow is to be resumed Arco, "bow." It sometimes happens that passages are to be tapped with the bowstick, and these are marked Sul or Col Legno. Bowman (Edward Morris) played organ and conducted Temple Choir, Brooklyn; Calvary Baptist Church, New York, 1906-8; helped found American College of Musicians ; pupil of Bridge, Maofarren, Turpin, Guil- mant; taught Vassar College, 1891-95; conducted Newark Harmonic Society and Cecilian Choir. B. Barnard, Vt., July 18, 1848; add. New York. Bowman (Henry) composed vocal music published at Oxford, 1678. Boyau. Fr. Catgut strings. Boyce (Dr. William) composed music for Dryden's " Secular Masque," symphonies, vocal and instrimiental music and "Cathedral Music," London, 1760-78; played organ in English churches and conducted. B. London, Feb. 7, 1710; d. Feb. 7, 1779. B. Quadratum or Quadrum. h. " Square B." B natural. B. Quarre. Fr. B natural. Brabangonne composed by the singer Francois van Campenhout, to a poem by the actor Jenneval, and first sung during the Belgian Revolution of 1830, has since become the national air. Brace couples two or more staves of music; leather slides for tighten- ing or loosening a drum-head. Bradbury (William Batohelder) manufactured pianos; taught, con- ducted; edited music publication. B. York, Me., 1816; d. Montclair, N. J., 1868. Brade (William) composed dance music published in Hamburg, Antwerp, Berlin, and Liibeek; chapelmaster at German courts, 1594^1622. B. Eng. Braham (John) sang ten. r61es in Italy and England, having range of three octaves; often composed music for his own rSles; built St. James Theatre, London; made unsuccessful American tour, 1840. B. London, 1774; d. Feb. 17, 1856. Brahms (Johannes) gave new life to the symphonic form which had been evolved by Haydn, enlarged by Beetho- ven, and of which he was the last great master; composed songs of exquisite loveliness, chamber music which is the delight of musicians as well as their audiences, and for solo piano, on which he was a virtuoso in early life, but with so little regard for mere display as to justify his neglect by the average concert pianist. Conscious of his ig- norance of dramatic technique, Brahms never attempted opera. To him Bach and Beethoven were the world's great- est tone poets, and while called revo- lutionary, he adhered through life to classic forms as exemplified in their works. His taste was sufficiently cath- olic to permit of his knowing and ad- miring Wagner's scores. But from the controversy first aroused when Schu- mann hailed him as Beethoven's sue- BBAHlVrS 83 BRAHUS cesser; when Liszt was ready to rec- ognize in him an apostle of the music of the future; when Europe was di-- vided between romanticists and clas- sicists, each eager to welcome him to their camp; he maintained the even tenor of his way, content to work as best he might, and with little regard for the opinion of his contemporaries. Thus his life was singularly unevent- ful. Johann Jacob Brahms, 1806-72, destined by his father to succeed him in business as an innkeeper, ran away from home to devote himself to music, and was finally permitted to have his way. Eventually he became double- bass player in the Hamburg Theatre, married Johanna Henrika Christiane Nissen, and became the father of three children, of whom the composer Jo- hannes was the second. Doubtless young Johannes received his first in- struction in music from his father; then he became a pupil of O. Cossel, who recommended him to his own master, Marxsen, when he reached the age of 10. At 15 he made his first public appearance in concert, and at 16 gave a concert himself, at which he played Beethoven's " Waldstein " son- ata. In 1853 he toured northern Ger- many in company with Eemenyi the violinist. Introduced to Dr. Joachim by Remenyi, and by him to Schumann and Liszt, he was favourably received by both. Schiunann not only printed an enthusiastic appreciation of Brahms in the " Neue Zeitschrift fur Musik," but wrote a letter in his behalf to Dr. Hartel, the publisher. Ignoring the war of words which Schumann aroused, Brahms became court director of music to the Prince of Lippe-Detmold, 1854, where he remained four years. In 1859 he played his own D minor con- certo, Op. 15, at a Gewandhaus concert, where it was immediately condemned as a departure from classic models and its lack of display passages, although it was well received afterwards when played by Clara Schumann. In 1862 Brahms settled in Vienna, where he accepted the post of conductor at the Singakademie, but relinquished it at the end of a year. His only other official appointment was that of con- ductor to the Gesellschaft der Musik- freunde, which he held from 1872 to 1875. Occasional concert tours with Dr. Joachim, visits to the German watering places in company with Mme. Schumann, were the only interruptions to an orderly and methodical life which ended peacefully, due indirectly to a severe chill with which he was attacked at Mme. Schumann's funeral. B. Hamburg, May 7, 1833 ; d. Vienna, April 3, 1897. In the catalogue of Brahms' works will be found: Sym- phony No. 1, C minor; Symphony No. 2, in D; Symphony No. 3, in F; Symphony No. 4, in E minor; Sonatas for Piano in C, Op. 1; in E minor. Op. 5; Concertos for piano with orchestra: in D, Op. 15; in B minor. Op. 83; Sonatas for 'cello and piano in E minor. Op. 38; in F, Op. 99; Trios for Piano and Strings: in B, Op. 8; in E flat, Op. 40 (viola or 'cello may be replaced by horn) ; in C, Op. 87; in C minor. Op. 101; in A minor (viola may be replaced by clari- net). Op. 114; quartets for strings, C minor and A minor. Op. 51; in C minor. No. 3, Op. 60 (Piano) ; in B minor. Op. 67 ; Quintets for Strings in F, Op. 88; in G, Op. Ill; in D (for clarinet or viola), Op. 115; Sonatas for Violin and Piano in A, Op. 100; in D minor. Op. 108 ; For Solo Piano : 28 Variations on a theme of Paganini, Op. 35 ; Two Rhapsodies, Op. 79 ; For Orchestra: Serenade in D, Op. 11; Serenade in A, Op. 16 ; Academic Fes- tival Overture, Op. 80; Variations on a theme of Haydn's, Op. 56 a; For chorus, etc.: "Rinaldo," cantata to text by Goethe, tenor solo, male chorus and orchestra. Op. 50; "Rhapsodie," from Goethe's "Harzreise," alto solo, male chorus, and orchestra,- Op. 53; "Schichsalslied," chorus and orchestra. Op. 54; "Triumphlied," chorus and or- chestra. Op. 55 ; " Gesang der Parzen," chorus and orchestra, Op. 89; " Fest und Gedenke spruche," eight part chorus a capella. Op. 109; 11 part Choral- Vorspiele for organ. Op. 122 ( posth. ) ; " Ave Maria," female voices, orchestra and organ, Op. 12 ; " Funeral Hymn " for chorus and wind, Op. 13; Seven Marienlieder for mixed choir. Op. 22; bba]u:billa 84 BREITKOPr & HABTEL Two Motets for five voices a capella. Op. 29; German Bequiem, soli chorus and orchestra, Op. 45 (to the memory of his mother) ; numerous groups of songs, including volkslieder and volks- kinderlieder. See biography by Dr. Herman Deiters, trans. Rosa New- march, 1898; "Recollections of Jo- hannes Brahms " by Albert Dietrich and J. V. Widmann, trans. Dora E. Heoht, 1899, etc. Brambilla (Karietta) sang con.; debut London, 1827 ; taught and wrote on singing; pupil Milan Conservatory. B. Milan about 1807 ; d. Nov. 6, 1875. Four sisters were singers, of whom Teresa created the rOle of G-ilda in " Rigoletto." Brandes (Emma) played piano in concert, retiring on her marriage with Prof. Engelmann of Utrecht. B. Jan. 20, 1854, Schwerin; debut at Schwerin, 1866. Erandl (Johann) composed the opera "Hermann"; monodrama " Hero " ; chamber music. B. Rohr, near Ratisbon, Nov. 14, 1760; d. Carls- ruhe. May 26, 1837. Brandt (Slarianixe) sang both sop. and mez. sop. rSles; debut at Gratz, 1867; New York, 1886-90; retired to Vienna and taught. B. Vienna, Sept. 12, 1842, real name Marie Bischof; add. Vienna. Branle or Bransle. Fr. Ancient round dance in common time, known in England as the " Brawl." Brassart or Brasart (Tolianiies) composed, sang in papal choir; priest in Liege, 15th century. Brass Band. Small military band adapted for cavalry. Brassin (Iionis) played and taught piano in Berlin, Brussels, St. Peters- burg; composed operettas.^ B. Aix-la- Chapelle, June 24, 1840; d. May 17, 1884. Leopold played piano in concert at five; pupil of his brother LOUIS. B. Strasburg, 1843 ; d. 1890, Constanti- nople. Gerhard played violin, taught ; brother of LOUIS. B. 1844; add. St. Petersburg and Constantinople. Bratsche. Ger. Viola. Brava or Bravo. /*. " Bravely done." Cried in applause. " Bravi " is the plural. Bravura. It. Dash, bravery; Aria di, one calculated to test the singer's courage by its difficulty. Break marks the alteration in higher voice registers from chest tones or voce di petto, to head tones or voce di testa, but in well cultivated voices is not noticeable. Breast. In obsolete English, the voice. Breit. Ger. Broadly. Breitkopf & Eartel published a complete edition of Beethoven, of Bach, and other great masters, and so much music in all that their catalogue fills 1200 pages. The house had its beginning in Leipsic, 1719, when Bern- hardt Christoph. Breitkopf, who came of a mining family in the Hartz, set up a printing press from which he issued a Hebrew Bible, and other works. He died Mar. 26, 1777, aged 83, but had previously turned the business over to his son, Johann Gottlob Immanuel, who, in 1750, introduced movable type for printing music, and revolutionized the trade. The publication of an opera in full score, composed by Princess Amalia of Saxony, 1756, established the reputation of the house as music publishers, and editions of the works of C. P. E. Bach, Graun, Hiller, and Leopold Mozart confirmed it. B. 1719 ; d. 1794. Bernhard Theodor, his eld- est son, had established himself in St. Petersburg, and his second son and successor, Christoph Gottlob, after carrying on the business for a year, turned it over to G. C. HARTEL, the firm becoming Breitkopf & Hartel, 1795. B. 1750; d. 1800, last of the Breit- kopf family. Gottfried Christoph Hartel not only enlarged the music publishing business, but added a piano factory. Besides the usual processes in use in his time, Hartel employed pewter plates for engraving music, and lithography, aided by the inventor Sennefelder. B. Schneeburg, 1763; d. July 25, 1827. For the next 12 years his nephew Elorenz Hartel conducted the business, giving way to Hermann and Baymund, sons of GOTTFRIED CHRISTOPH. Their catalogue num- bered more than 14,000 works by 1874. HERMANN died 1875, aged 72, and in "BKEULA 85 BBIBE 1880, Raymund retired, leaving the business in the hands of Wilhelm Volkmann, b. 1837, and Dr. Georg Oscar ImmaxLuel von Hase, b. Sept. 15, 1846; grandsons of GOTTFRIED CHRISTOPH. Dr. Ludwig F. Volk- mann, who replaced WILHELM, 1904, and Dr. von Hase were the heads of the house in 1908. Brema (Marie) sang mez. sop. and later higher rSIes in opera; debut in London as Lola in " Cavalleria Rusti- oana," 1891, the Briinnhildes, 1902. B. Liverpool, Eng., Feb. 28, 1856, of American mother and German father, their name being Fehrman ; m. Arthur Braun, 1874. Bremner (Robert) wrote "The Rudiments of Music," 1756 ; published music in Edinburgh and London. D. 1789, when his stock and plates were purchased by John Preston. Brendel (Dr. Karl Tranz) became proprietor of Schumann's " Neue Zeit- sehrift fiir Musik " in 1840, through which he supported the art theories of Schumann, Wagner, and Liszt; lec- tured, wrote criticism; edited other musical publications. B. Nov. 26, 1811; d. Nov. 25, 1868. Brenet (Micliel) wrote on musical history, biography, and criticism. B. Lunfiville, April 12, 1858; add. Paris. Brenner, Bitter von (Ludwig) composed symphonic poems, masses, conducted Berlin Symphony Orchestra, 1897. B. Leipsic, 1833; pupil con- servatory; d. 1902. Brent (Charlotte) sang sop. Debut at Drury Lane in " Eliza," the opera of her teacher, Dr. Arne; m. Thomas Pinto, violinist ; retired 1784. B.Lon- don; d. April 10, 1802. Breuning, von (Hel6ne) gave Beethoven the only refining home in- fluence he ever knew; was the mother of the Stephen Breuning who was Beethoven's closest friend through life, despite their quarrels; of Eleonore Brigitta, one of Beethoven's earliest pupils, and the wife of his biographer Wegeler, and of Lorenz and Christoph, the former likewise Beethoven's pupil, and both his friends. Daughter of thd Hofrath von Kerich, she married Em- manuel Joseph von Breuning, who was in the service of the Electoral court of Bonn. He was killed in a fire, 1777, when his wife was 28. A woman of refinement, common sense, and of ir- reproachable character, she devoted herself to her young family, to which Beethoven became music master in his l8th year. Breval (Iiucienne) sang sop. at Paris Opera, Covent Garden, New York, 1900; debut, Paris, 1892; created " Brunnhilde " in French. B. France about 1870; add. Paris. Breve. It. A note twice the length of a semibreve, formerly the unit of mensuration, but now becoming obso- lete, as its duration exceeds that of the longest measure now used. In mediaeval church music it was really what its name signifies, " short," for it was half the length of the Longa, then used as the unit of measure. The direction Alia Breve now means that a piece must be played twice as fast as if simply marked common time. Breville, de (Pierre Onfroy) com- posed overtures to "Princesse Maleine" and " Les Sept Princesses"; helped complete the " Ghiselle " of Cfisar Franck, whose pupil he was. B. Bar- le-Duc, 1861 ; add. Paris. Brewer (Alfred Herbert) com- posed " Dedication Ode," Worcester Festival, 1902; " Emmaus," Gloucester Festival, 1901; conducted Gloucester Music Festival, 1898-1901; organist Gloucester Cathedral. B. Gloucester, Eng., June 21, 1865; add. Gloucester. Brewer (John Hyatt) composed church music, cantatas, and male cho- ruses; played organ Lafayette Ave. Pres. Church, Brooklyn; conducted Brooklyn Apollo Club in succession to Dudley Buck, whose pupil he was. B. Brooklyn, 1856; add. Brooklyn. Brewer (Thomas) composed rounds and glees, and for viol, on which he played. B. London, 1611. Briard (fitienne) engraved music at Avignon, 1530, and probably was first to discard ligatures and to use round for square notes, although these inventions have also been claimed for Granjon. Bride of the Song. Jules Bene- BBISES 86 BBITISH CONCERTS diet's one-act operetta to book by Henry Farnie was produced Deo. 3, 1864, at Covent Garden, London. Brides of Venice. Jules Benedict's two-act grand opera was produced April 22, 1844, at Covent Garden, London. Bridge transfers the vibrations of the strings to the resonance box, and is of the utmost importance in instru- ments of the viol family, since its material, shape, and location affect the tone. The bridge raises the strings above the belly so they may be acted on by the bow, and likewise determines the upper end of the vibrating portion of the strings. The wooden bridge of the viols assumed its present form in the time of the Amatis. The bridge of instruments of the guitar, lute, and piano families merely determines the length of the vibrating portion of the strings, thus fixing their pitch. Bridge (Sir John Frederick) com- posed the services and anthems for Queen Victoria's Jubilee and the coro- nation of King Edward VII, the " Bal- lad of Camperdown" and "The Mag of England," to words by Kipling; the oratorio " Mount Moriah " for the de- gree Doctor of Music; the overture " Morte d' Arthur " ; organ sonata in D, hymns ; wrote " Samuel Pepys, Lover of Musique," primers on theory; knighted by Victoria, 1897; organist Westminster Abbey, etc. B. Oldbury, near Birmingham, Eng., Dee. 5, 1844; add. London. Dr. Joseph Cox revived the Chester Musical Festivals, 1879; founded and conducted Chester Mu- sical Society; composed oratorio " Daniel," for his doctor's degree, Sym- phony in F, " Resurgam," 1897 ; " Re- quiem Mass," 1900; organist Chester Cathedral. B. Rochester, Aug. 16, 1853; younger brother SIR JOHKr FREDERICK; add. Chester. Bridge or Bridges (Richard) built organs in England, 18th century. Bridgetower (George A. P.) played the " Kreutzer " sonata with Beethoven at an Augarten concert, vio- linist at the Haydn-Salomon concerts in London. B. Biala, Poland, 1779, mulatto; d. England, about 1850. Briegel (Wolfgang Karl) com- posed church music; chapelmaster to Duke of Saxe-Gotha and Landgrave of Darmstadt. B. Nuremberg, May 21, 1626; d. Darmstadt, Nov. 19, 1712. Brighenti or Brighetti (Mme. Maria) created Rosina in Rossini's "Barber of Seville," Rome, 1816; de- but Bologna, 1814; retired 1836; wrote memoirs of Rossini. B. Bologna, 1792. Brillante. It. Brilliant. Brillenbasse. Ger. " Spectacle bass." Drum music. Brind (Biichard) played organ from 1707 to 1717, St. Paul's Cathe- dral, London. Brindisi. It. Drinking song. Brinsmead (John) founded Lon- don piano house, 1836; Chevalier of the Legion of Honor, 1878. B. Oct. 13, 1814. The business passed into the hands of a company, 1900, in which his sons John and Edgar were di- rectors. Edgar wrote a "History of the Pianoforte," republished, 1879. Brio, con. It. Spiritedly, force- fully. Brioso. If. Joyfully, forcibly. Brisg. Fr. "Broken"; of chords or arpeggios. Brisk. Lively or vivace. Bristol Madrigal Society was founded in 1837 in consequence of in- terest aroused by Prof. Edward Tay- lor's lecture on madrigals, and gave excellent subscription concerts under the direction of J. D. Corfe, organist of Bristol Cathedral to 1864; since then under direction of Daniel Rootham. Bristol Music Festivals were founded 1873 and were held triennially until 1888 and yearly thereafter. Im- portant choral works always including the Messiah were sung at each festival, under the direction of Alfred Stone, 1873-76; D. W. Rootham, 1879-96; and George Riseley, 1902. Bristow (G. JP.) composed, con- ducted Harmonic Society and Mendels- sohn Union and played organ in New York churches. B. Brooklyn, Dec. 19, 1825 ; son of W. R., violinist and con- ductor; d. New York, Dec. 13, 1898. British Concerts were given in 1823 on the close of the VOCAL CON- CERTS, for the encouragement of Brit- BRITISH OBCHESTBAL 87 BBOOXLYIT ish. composers, but failed through lack of support. British Orchestral Society gave concerts in London 187 2-7 S under George Mount. Brito, de (Est^ban) composed and directed music in Badajos and Malaga Cathedrals; Portugal, 17th century. Britten (Thomas) became famous as the " Musical Small Coal Man," because of the concerts given over his London shop by a club which included Handel, Dr. Pepusch, John Banister, and others, 1678-1714; was an author- ity on old books, occult sciences, and despite his humble trade, the intimate of many noblemen of the time. Broadwood & Sons manufacture pianos in London. The business was founded in 1728 by Burkard Tschudi or Shudi, a Swiss harpsichord maker, whose daughter m. John Broadwood, who became sole proprietor, 1782, afterwards taking his sons James Shudi and Thomas into the firm. His son James, his grandson Henry Fowler, and his great grandson Henry John Tschudi Broadwood, the latter patentee of the " Earless " grand, have all been connected with the firm. Brockway (Howard A.) composed symphony in D, ballad and scherzo for orchestra; played piano and taught in New York. B. Brooklyn, Nov. 22, 1870; pupil of Barth and Boise ; add. New York. Brod (Henri) improved and played oboe in Paris; studied and taught in Conservatoire. B. Paris, Aug. 4, 1801 ; d. April 6, 1839. Brode (ICax) conducted symphony concerts; played violin and taught in Kbnigsberg; pupil Leipsic Conserva- tory and Berlin Hochschule. B. Ber- lin, Feb. 25, 1850. Brbderies. Fr. Ornaments. Broderip (William) composed the anthem " God is our Hope and Strength"; organist Wells Cathedral. B. 1683; d. 1726. John composed church music; organist Wells Cathe- dral. Believed to have been the son of WILLIAM. Bobert composed for voice and harpsichord. Probably son of WILLIAM; d. Bristol, May 14, 1808. Broderip & Wilkinson published music in London, 1798-1811, when Thomas Preston purchased the firm's assets. Brodsky (Adolph) played violin; conducted in Manchester in succession to Sir Charles Halle, became principal of the Royal College of Music there, 1895; pupil of Hellmesberger and Vienna Conservatory; conducted at Kiev, 1879-81; concertmeister Dam- rosch Symphony Orchestra, New York, 1890-94. B. Taganrog, Russia, Mar. 21, 1851; add. Manchester, Eng. Broekhoven, van (John A.) com- posed the overture "Columbia" ; taught theory Cincinnati College of Music. B. Holland, 1852; add. New York. Broken Cadence. Interrupted CADENCE. Broken Chords. ARPEGGIOS. Broken Music. Obsolete English for music of stringed instruments in- capable of sustained tone. Bronsart von Schellendorf(Hans) composed " Frtthlings-Pantasie " for orchestra ; the opera " Corsair " from Byron's poem; General-Intendant at Weimar, 1887; Privy Councillor, 1895; pupil of KuUak and Liszt; m. Ingeborg STARCK, 1862; B. Ber- lin, Feb. 11, 1830; add. Weimar. Brontium. L. Thunder machine used in the classic theatre. Brooklyn was in former years the scene of many of the triumphs of Theo- dore Thomas, who gave an important series of symphony concerts at the ACADEMY OF MUSIC. In 1908 the Philharmonic Society which Mr. Thomas had founded was content to aid in the support of the Boston Sym- phony concerts. The majority of musical events were controlled by the department of music of the Brooklyn Institute. The principal musical or- ganization, made up of Gferman sing- ing societies, notably the Brooklyn Arion and the Brooklyn Sanger- bund, was the TTnited Singers of Brooklyn. The chief musical institu- tion and the only one in this borough of Greater New York not conducted for profit was the Master School of Mu- sic, founded by Mrs. William H. Packer and directed by Mme. Aurelia Jaeger. BBOS 88 The Allied Arts Association, organ- ized by Eugene V. Brewster, possessed a musical section, which gave under Mr. Brewster's management and the musi- cal direction of Carl Fique creditable performances of " The Magic Flute " in 1906, "Martha" in 1907, and " Faust " in 1908. The singers were chosen from the membership of the association, amateur and professional, and the performances which were in English possessed considerable educa- tional value. The Idusical Art So- ciety, James H. Downs, conductor, de- voted its attention to a capella music. The Apollo Club, founded, and for 25 years conducted by Dudley BUCK, was a male chorus devoted to part songs in English. The conductor in 1908 was John Hyatt BEEWER. Bros (Juan) composed masses; conducted. B. Tortosa, Spain, 1776; d. Oviedo, Mar. 12, 1852. Broschi (Carlo) became the most celebrated of sopranists as FARI- NELLI. Brossard, de (Sebastien) wrote the first French dictionary of music, Paris, 1703; composed; directed music at Meaux Cathedral, where he was a priest. B Botundum. L. " Round B " or B flat. Brounofl (Platen) composed "In the Russian Village " ( Suite for Piano ) ; "In the Flower Garden" (Suite for Piano) ; " Love Songs "; " The Dew of Morn" (18 songs); "Nocturne" (for Piano); "Romance" (for Violin and Piano); "Songs of Freedom" (21 Songs); "Zion" (Oriental Suite for Piano in four parts) ; gave lecture recitals on " Russia and her Music " and for the Board of Education; con- ducted Russian choral and musical societies, People's Chorus, Socialist Choral Union; pupil of Anton Rubin- stein and Rimsky-Korsakoflf, St. Peters- burg Conservatory. In 1891 his can- tata " The Angel " was performed at the Russian Court under Rubinstein. B. Elizabethgrad, Russia, 1869; add. New York. Brown (James BufE) wrote " Bio- graphical Dictionary of Musicians," 1886; "British Musical Biography" BRTJCKNEB with S. S. Stratton, 1897; librarian to Clerkenwell, Eng., Public Library. Browne (Dr. Lennox) wrote on voice; throat specialist. B. London, 1841; add. London. Brownsniith(John Iieman) played organ in English churches and at con- certs. B. London, 1809; d. Sept. 14, 1866. Bruch, de (Arnold) composed vocal music; chapelmaster to Emperor Fer- dinand I while King of Rome. B. Bruges, 1840. Bruch (Max) composed the opera " Loreley," the " Frithjof-Scenen " for male choir and orchestra, symphonies. Bruch's first work to be performed was his operetta, " Scherz, List und Rache," Cologne, 1858. He directed the Coblenz Concert-Institution in 1865-67, then becoming chapelmaster to Prince Schwarzburg-Sondershausen. From 1870 to 1878 he gave himself exclusively to composition, residing in Berlin and Bonn. For two years he directed the Stern Singing Society, Berlin; from 1880 to 1883 the Liver- pool Philharmonic Society, during which period he married Emma Tuczek, the singer. From 1883 to 1890 he directed the Orchesterverein at Breslau, and in 1892 joined the staff of the Berlin Hochschule. Of a long list of compositions embracing more than 80 opus numbers the fol- lowing are among the best known: " Kol Nidrei," 'cello and orchestra. Op. 47; violin concerto in G, "Odys- seus " for soli choir and orchestra. Op. 41 ; " Das Feuerkreuz," contain- ing a beautiful "Ave Maria," soli chorus and orchestra. Op. 52 ; " Her- mione," four-act opera. Op. 40; " Moses," an oratorio. Op. 67. B. Cologne, Jan. 6, 1828; add. Berlin. Briickler (Hugo) composed songs and taught. B. Dresden, Feb. 18, 1845; d. Oct. 4, 1871. Bruckner (Anton) composed eight symphonies and three movements of a ninth, masses, strongly influenced in style by his admiration for Wagner; played organ, in recital and at the Vienna Hofkapelle; taught in the Vienna Conservatory and lectured in the University. B. Ansfelden, Upper BRUHNS Austria, Sept. 24, 1824; d. Vienna, Oct. 11, 1896. Bruhus (ITikolaus) composed organ pieces, 13 cantatas; ranked as organ- ist second only to his teacher Buxte- hude. B. Schwabstadt, Schleswis. 1665; d. 1697. Briill (Ignaz) composed "Das goldene Kreuz," "Die Bettler von Samarlcand," " Bianca," " Gringoire," and other operas, the ballet " Cham- pagnermarchen," the overture "Mac- beth," etc.; played piano and taught. B. Prossnitz, Moravia, Nov. 7, 1846. Brumel (Antoine) composed 15 masses, etc., published 1503-39; prob- ably native of Flanders. Brummeisen. Ger. JEW'S HARP. Bruneau (Alfred) composed the operas "Kfirim," 1887; "La Rgve," 1891; "L'Attaque du Moulin," 1893; "Messidor," 1897; "L'Ouragan," 1901; "L'Enfant Roi," 1903; those dat- ing from 1893 to libretti by Zola; a " Requiem " and many songs, an overture heroique, the symphonies "Lgda," "La Belle aux Bois dor- mant," and "Penth6sil6e"; wrote criticism; became conductor at the Paris OpSra Comique, 1903. 'Cello pupil of Franchomme, he won first prize at the Conservatoire at 15; studied composition with Massenet; played in the Pasdeloup orchestra; received Legion of Honor, 1895. B. Mar. 2, 1857, Paris; add. Paris. Brunelli (Andrea) composed and wrote on music; Florence, 17th cen- tury. Brunette. Fr. Simple French love-songs. Bruni (Antoine Barthelemy) com- posed operas and for violin; wrote methods for violin and viola; con- ducted Paris Opfira Comique. B. Corni, Piedmont, Feb. 2, 1759; d. Paris, 1823. Brunnetti (Graetano) composed chamber music in the style of his friend Boccherini; pupil of his father Antonio Brunnetti, who directed music at Pisa Cathedral. B. Pisa, 1753; d. Madrid, 1808. Bruscamente. /*. Strongly ac- cented ; coarsely. Brussels Conservatory teaches 89 BUCK music and declamation, gives concerts, and possesses an excellent museum; founded Feb. 13, 1832, directed by F. J. FETIS until his death, 1871, afterwards by Francois Auguste GER- VAERT. The institution is endowed, has an excellent teaching staff and a large library. Bryceson (Henry) founded in 1796 the London organ building house now known as Bryceson Bros. & Morten. Bryne (Albertus) composed a morning and evening service for the Anglican church; played organ at Westminster Abbey. B. Eng. about 1621; d. London about 1669. Buca. It. Sound-hole. Buccinator. Muscle in the cheeks development of which is important to players on wind instruments. Buccolica. It. Rustic. Bucina or Buccina. L. Curved horn employed by ancient Romans for civil and military purposes. Bucolique. Fr. Rustic. Buck (Dudley) composed "The Golden Legend," prize oratorio of the Cincinnati Music Festival, 1880; "The Centennial Meditation of Co- lumbia" for the Philadelphia Expo- sition of 1876; the opera " Serapis " to his own libretto ; the Mormon comic opera " Deseret " ; church music and for male chorus; played organ and taught; wrote " A Dictionary of Musi- cal Terms," "The Influence of the Organ in History." B. Hartford, Conn., Mar. 10, 1839; piano pupil of W. J. Babcock, Hartford; substi- tute organist at St. John's Church, Hartford; studied at Leipsic under Hauptmann, Richter, Plaidy, and Moscheles; at Dresden with Rietz; organist North Congregational Church, Hartford, 1862; at St. James Church, Chicago, 1867-71; lost manuscripts and library in Chicago fire; organist St. Paul's Church and Music Hall, Boston; assistant conductor to Theo- dore Thomas, 1875; founded Brooklyn Apollo Club and became organist Holy Trinity, Brooklyn, 1877 ; retired 1903 ; since then resided in Dresden, Munich, and Brooklyn. Well-known works in addition to those mentioned are : " The Light of Asia " to Sir Edwin Arnold's BUCK 90 poem; "The Legend of Don Mimio," "The 46th Psalm," "The Nun of Nidaros," "King Olaf's Christmas," " Chorus of Spirits and Hours," " Paul Revere's Hide," "The Triumph of David," " A Midnight Service for New Year's Eve," "The Coming of the King," "The Story of the Cross," " Good Friday Service " ; " Christ the Victor " for Easter and Ascension Day; a symphony in E flat, the sym- phonic overture "Marmion," two string quartets, and other chamber music and many songs. Dudley Buck, Jr., his son, taught music in New York. Buck (Br. Zechariab.) composed church music, played and taught organ. B. Sept. 10, 1798, Norwich, Eng.; d. Aug. 5, 1879. Buenos Ayres, one of the most cosmopolitan of South American cities, possessed in 1908 a splendid opera house at which regular per- formances of serious opera were given by artists gathered from the chief music centres of Europe, and other theatres, at which opera comique and lighter forms of music might be en- joyed. With the exception of Rio Janeiro no other South American city has been so lavish in its expenditures for the support of music. Buffa and Buffo. It. Feminine and masculine forms of " comic," as basso buffo, opera buffa. Buffare. It. To play the clown. Buffet. Fr. An organ case. Buflone. It. Comic singer. BufConescamente. It. Humorously or in comic style. Bugle. Hunting or military horn of copper or brass, smaller than the trumpet, set in C, B flat and E flat, improved by the addition of keys and valves, was formerly an important solo instrument in military bands, but is generally replaced now by cornets. Buhl (Joseph. David) became fa- mous in Paris as trumpeter and teacher; Chevalier of the Legion of Honor, 1814. B. Amboise, 1781. Bull (Dr. John) became professor of music at Gresham College, 1596, on recommendation of Queen Eliza- ■ beth, where he was permitted to lec- ture in English, as he did not speak BTJLOW, VON Latin; played organ at the Chapel Royal; became organist at Antwerp Cathedral, 1617; composed for voice, organ, and virginal; one of the many to whom the authorship of " God Save the King " or " Heil dir im Sieger- kranz " has been ascribed ; was equally celebrated for his skill as organist and as contrapuntist. B. Somersetshire, Eng., about 1562; d. Antwerp, Mar. 12, 1628. Bull (Ole Borneman) rivalled the celebrity of Paganini as violinist; toured Europe and America with im- mense success, but like the earlier master was not above resorting to trickery to obtain effects. Spohr said his tone was bad because he used thin strings, and that his performance of four-part passages was made possible by an almost flat bridge. However that may have been he possessed great magnetism as well as extraordinary technique. He was generous with the vast sums he earned, as shown in his attempts to found a Norwegian colony in America, and to establish an acad- emy of music in Christiania, and he was deeply loved by his countrymen. B. Bergen, Norway, Feb. 5, 1810, largely self-taught; a Paganini con- cert which he attended in Paris, 1831, proved, as he used to declare, the turn- ing point of his life. After many hard- ships he made his debut in Paris, April 18, 1832, and then began his series of world tours which continued to within the year of his death, which occurred at his country home in Norway, Aug. 17, 1880. Bull's published composi- tions include " Variations di bravura," " La Preghiera d'una madre," and "Notturno." See biography by his sec- ond wife, Sara C. Bull, Boston, 1886. BuUard (Frederick F.) composed, taught, wrote criticism; pupil of Rheinberger, Munich. B. Boston, Mass., Sept. 21, 1864; add. Boston. Billow, von (Hans Guide) com- posed music to " Julius Caesar " and "Nirwana," "Ballade for Orchestra"; "Vier Charakterstiicke fiir Orchester"; became one of the foremost pianists and conductors of his generation; wrote vigorously in support of the theories of Liszt and Wagner. Pupil BtriTGEIlT 91 BrRTON of Friedrich Wieok, Hesse, Haupt- mann, Plaidy, and Eberwein, and finally of Liszt at Weimar; he had studied law at Leipsic, but Liszt's per- formance of " Lohengrin " in 1850 at Weimar decided his career. After a time spent with Wagner at Zurich, he conducted, then made a concert tour as pianist; taught in Berlin. In 1857 he married Cosima, daughter of Liszt, and in 1864 became conduc- tor of the Munich opera, and three years later, director of the Conserva- tory. From 1869 to 1878 he gave con- certs in various European and Ameri- can cities; chapelmaster at Hanover, 1878, and at Meiningen, 1880-85. Frau Cosima having become the wife of Richard Wagner, in 1882 von Billow m. Marie Schlanzer, who edited his letters (Eng. trans., Constance Bache, 1896). B. Dresden, Jan. 8, 1830; d. Cairo, Feb. 12, 1894. Bungert (August) composed the operatic tetralogy " Die Homerische Welt," based on the Wagnerian theo- ries of music-drama; the orchestral works " Tasso," " Hohes Lied der Liebe," " Auf der Wartburg," and the comic opera " Die Studenten von Sala- manka," etc. B. Mulheim, Mar. 14, 1846; pupil of Cologne Conservatory. Bunn (Alfred) adapted libretti; managed Drury Lane theatre, London; brought out Balfe and Wallace operas in English. B. April 8, 1796; d. Dec. 20, 1860, Boulogne. Bunning (Herbert) composed " Princess Osra," Covent Garden, July 14, 1902; overtures, scena; directed music London Lyric Theatre, 1892. B. May 2, 1863; add. London. Bunting (Edward) made valuable collections of Irish music; wrote on Irish musical history. B. 1773, Ar- magh; d. Dublin, Dec. 21, 1843. Buonaccordo. /*. Toy spinet. Buonamente. /*. Truly, justly. Buonamici (Giuseppe) composed, played piano, edited piano music; taught and directed Cherubini Society, Florence. B. Florence, Feb. 12, 1846; add. Florence. Buona Nota. /*. Accented note. Buononcini. Less favored spelling of BONONCINI. Burden. .Refrain of a song; drone of bagpipe; dance tunes which were sung. Burde-Ney (Jenny) sang sop. in opera and concert, debut OlmUtz, 1847 ; daughter of a singer who claimed rela- tionship with Marechal Ney. B. Gratz, Dec. 21, 1826; d. May 17, 1886. Burgmiiller (Norbert) composed two symphonies, an overture, etc. B. Feb., 1810, Dusseldorf, son of one of the founders of the Lower Rhine fes- tivals; d. May 7, 1836, Aix-la- Chapelle. Jobann Friedrich, com- posed for piano. B. Regensburg, 1806; brother of NORBERT; d. Beaulieu, France, Feb. 13, 1874. Burgstaller (Alois) sang Wag- nerian ten. rSles at Bayreuth and Metropolitan Opera House, New York. B. Sept. 27, 1871, Holzkirchen, Ger- many; pupil of Bellurth and Eniese; add. New York. Burla. It. Joke. Burlando. It. Jokingly. Burlesca. It. Jocularly. Burletta. It. Farce with songs; burlesque. Burmeister (Bicbard) composed symphonic fantasy, piano concerto; taught piano, Peabody Institute, Bal- timore; directed Scharwenka Conser- vatory, New York; pupil of Liszt. B. Hamburg, Dec. 7, 1860; add. New York. Burmester (Willy) played violin; pupil of Joachim. B. Hamburg, Mar. 16, 1869. Burney (Dr. Charles) wrote a " General History of Music," " A Plan for a Music School," "The Life and Let- ters of Metastasio," " Musical Tour " ; composed chamber music, played or- gan. B. Shrewsbury, Eng., April 12, 1726; d. London, April 12, 1814. Burrowes ( John Preckelton) wrote " Thorough Bass Primer " and " Piano Primer"; composed and arranged piano music. B. April 23, 1787, Lon- don; d. Mar. 31, 1852. Burton (Avery) composed masses, etc., in England, 16th century. Burton (John) became famous harpsichord player. B. England, 1730; d. 1785. Burton (Robert, Sr.) directed chorus for the Leeds and Bradford BTJSBY 92 festivals. B. Dewsbury, Eng., Sept. 1, 1820; d. Herrogate, Aug. 2, 1892. Busby (Thomas) composed music for a version of Kotzbue's " Joanna," secular oratorio " Britannia " ; wrote " A History of Music." B Loudon, 1755 ; d. May 28, 1838. Busnois (Anthoine) composed church music and songs, eminent con- trapuntist in the service of Charles the Bold of Burgundy. B. Pieardy, 15th century. Busoni (Ferruccio Benevenuto) composed an orchestral suite, string quartets, violin concerto in D, Op. 35; " Concertstucke " for piano and or- chestra, Op. 31; a "ballet scene," " Symphonisches Tongedicht " ; played piano, ranking with the best inter- preters of Bach; taught in Helsing- fors, Moscow Conservatoire, Boston, Mass.; pupil of his mother Anna Weiss, pianist, and his father Ferdi- nando, a clarinetist; later of Schmidt and Mayer. B. near Florence, April 1, 1866; add. Berlin. Bussone. It. Obsolete instrument of bassoon type. Busuan. 16 ft. reed organ stop. Butler (Thomas Hamly) composed music for "The Widow of Delphi"; taught in Edinburgh. B. London, 1762; d. 1823. Butt (Clara) sang con. with great success in concert; debut 1892 with the Bach Choir, at the Norwich Fes- tivals in Elgar's "Sea Pictures," Cliffe'a "Triumph of Alcestis," and Bedford's " Eomeo and Juliette," all of which were written for her ; studied with Daniel Rootham of Bristol; won scholarship at Eoyal College of Music, 1889; later, pupil of Bouhy and Mme. Gerster in Paris; toured America, 1899. B. Southwick, Eng., Feb. 1, 1873 ; m. the bar. E. Kennerley Eum- ford, June 26, 1900; add London. Button. Leather disk on wire of organ tracker; knob on base of viol; accordion-keys. Button & Whittaker succeeded to music publishing business of the Thompsons, 1804, retiring 1830. Buttstedt (Tohann Heiurich) wrote a defence of solmisation; com- posed masses, harpsichord music. B. April 25, 1666, Bindersleben Eufurt; d. Dec. 1, 1727. Buxtehude (Dietrich) composed free organ music, made Liibeck famous for its music, and ranked as the great- est organist of his age; established the " Abendmusiken " in the Marien- kirche of Liibeck which Johann Se- bastian Bach walked 50 miles to hear; taught with great success, numbering among his pupils Nicholas Bruhns. B. Helsingor, Denmark, 1637; son of an organist; d. May 9, 1707. Buxus. Boxwood flute. Byfield (iTohii.) built organs in Eng- land with his son John, founded the organ building houses of Byfleld, Jor- dan & Bridge, and HARRIS & BY- FIELD. D. 1774. Byrd (William) composed masses, collection of motets, music for the vir- ginals, and madrigals; was so highly esteemed that he obtained from Queen Elizabeth a patent granting him with Thomas Tallis a monopoly of music printing. He remained in the service of the court, known to be a Roman Catholic at a time when persons of that faith were being prosecuted, and he, his wife and servant were indicted from absenting themselves from Prot- estant worship, but not tried. B. about 1542, probably at Lincoln; d. about July 4, 1623, at his estate of Stondon, Essex. Byssynge Songes. Cradle songs or lullabies. Byzantine Scales were four in number with an equal number of PLA- GALS; used in the ancient Greek Church. C is the keynote of the natural scale, so called because it is the only one which can be written without sharps or flats. Middle C, so named because of its position in NOTATION, as well as on the keyboard of the piano, is the result of 522 vibrations in French or International pitch, and occupies the first line below the G or treble staff. In the staveless designa- tion of notes adopted in this book and by most modern authorities. Middle C is indicated by c', that is lower case c CABALETTA 93 CADENZ with an accent. The upper octaves are marked by an additional accent for each octave, thus treble C becomes c", its octave c'", etc. In descending from Middle C we find first the 4 foot, sec- ond or small octave, indicated by c, then the 8 foot, first or great octave, indicated by C; then the 16 foot or contra-oetave indicated by 'C, etc. The modern scale of C corresponds to the ancient Ionian Mode and is iden- tical with the Xlllth of the Ecclesi- astical Modes. C likewise gives name to the alto or tenor CLEF, and to the minor key relative to E flat major. As a time indication C stands for four beats to the measure, and when a line is drawn through it, for ALLA BREVE. Cabaletta. 8p. Rondo melody in triple time to which accompaniments were written; short final movement of an air. Cabel or Cabu (Karie) sang sop. in opera, debut 1850 at Paris Opfira Comique to 1878; b. Dreulette, m. Cabu, her singing master. B. Ligge, Jan. 31, 1827; d. May 23, 1885. Eduard sang in opera at Paris. Cabezon or Cabegon, de (Felix Antonio) played organ and harpsi- chord with skill, though blind from birth. B. Madrid, Mar. 30, 1510; d. Mar., 1566. Cabinet d'Orgue. Fr. Organ case. Cabinet Pianoforte. Upright piano. Cabiscola. Precentor. Caccia. It. Hunting, as como caccia, hunting horn. Caccinl (Julio Bomano) sang and played lute in the service of Grand Duke of Tuscany; composed "Le Nuove Musiche," madrigals and canons for single voice ; " Combattimento d'Apolline col Serpente " ; and aided Peri in setting Rinuccini's pastoral play "Dafne," 1593; thus assisting in the foundation of modern opera and the reformation of music of his day. B. 1558, Rome. Cachuca. 8p. Dance in 3-4 time resembling bolero. Cacophony. Gr! Discord. Cadeac (Pierre) composed masses, motets; master of choristers at Auch, 16th century. Cadence is employed in music to bring a strain of melody or harmonic phrase to its rhetorical conclusion. A Perfect Cadence is one which first de- fines the key, sounding the dominant chord, then passes to the tonic chord, the only ending satisfying to the ear. A close or stop less satisfactory to the ear is produced when the tonic chord is followed by the dominant, and this is the most frequent form of the Im- perfect Cadence. Where the chord of the dominant seems about to lead up to the tonic chord, but substitutes other harmony instead, as that of the submediant, an Interrupted Cadence results. The effect of the perfect cadence may be compared to that of a period; of an imperfect cadence to that of a dash; of an interrupted cadence to that of the comma. When the tonic chord is preceded by the major or minor chord of the subdomi- nant the cadence is called Plagal. A cadence in two simple chords is a Simple Cadence; but when suspen- sions or other devices are introduced, becomes Compound. Bearing in mind these simple definitions, it will only be necessary to add that a Mixed Ca- dence is one in which both dominant and subdominant harmony are intro- duced immediately before the tonic chord, and that a Medial Cadence is merely an Inverted Cadence. The ca- dences of mediaeval music were called " clausulae," and were subdivided into many classes, as Clausula Vera or true cadence; Clausula Plagalis or plagal cadence; Clausula Media, Ficta, Subsidaria; or medial, false, or sub- sidiary cadence, etc. Clausula Vera was identical with the modern per- fect cadence. In early English " fall " was synonymous with cadence; and it likewise means a running shake or trill, either in vocal or instrumental music, as a means of returning to a first subject, or of conclusion. Cadence Imparfaite. Fr. Imper- fect cadence. Cadence Perlee. Fr. Brilliant cadence. Cadence Bompue. Fr. Inter- rupted cadence. Cadenz. Ger. Cadence. CADENZA 94 CALIFORNIA Cadenza. It. Originally an orna- to his death. May 18, 1798, when the mental passage introduced by a singer business was carried on for a time by his toward the close of an aria, the cadenza brother, W. H., and his son, Thomas, Jr. spread to instrumental performers who Cain (Henri) wrote libretti for sometimes improvised at great length, Massenet. B. Paris, 1859. and became so much the fashion that Ca Ira. Sung by the Parisians on Mozart, Beethoven, and Mendelssohn their march to Versailles, Oct. 5, 1789, all wrote out cadenzas for composi- was composed as a contre danse and tions meant for solo instruments. published as " Carillon National " by Caecilian Society gave subsorip- Becour or Becourt, drummer at the tion concerts in London, at which Paris Op6ra. The words, based on a oratorios were performed from 1785 to saying of Benjamin Franklin's, are 1861. The conductors were : Mr. Vin- said to have been suggested by General cent, Thomas Walker, his son Joseph Lafayette to Ladre, a street singer. Walker, and James Shoubridge. Caisse. Fr. Drum. Caesar (Dr. Julius) composed Caisse Claire. Fr. Snare-drum, catches; English amateur, 17th century. Caisse Grosse. Fr. Bass drum. Cafaro (Fasquale) composed a Caisse Boulante. Fr. Tenor drum. " Stabat Mater," cantatas and ora- Calah (Jolin) composed church torios ; chapelmaster and director of music, etc. ; played organ Peterborough the Conservatory at Naples; also Cathedral. B. 1758; d. Aug. 5, 1798. called Caffarelli. B. Feb. 8, 1706, Calamus. Heed flute. Lecce, near Naples; d. Oct. 23, 1787. Calando. It. Indicates decrease in CafCarelll (Oaetano Majorano) be- volume of tone and in tempo, came one of the most celebrated so- Calandrone. It. Primitive two- pranists of all times, assuming the hole clarinet played by peasantry, name Oaffarelli in compliment to his Calascione or Colascione. It. In- teacher; also studied five years with strument of guitar family having two Porpora, and in 1724 made his debut or three strings. in Kome, singing with continuous sue- Calata. /*. Sprightly dance in cess (except in London, where the cli- 2-4 time. mate did not agree with him) until Calcando. It. Hurrying the time. 65, by which time he had become very Calcant. Treading, wealthy and had purchased a dukedom, Calcenten-Glocke. Ger. Bells which a nephew inherited. B. April rung by pedal action. 16, 1703, Naples; d. Nov. 30, 1783. Caldara (Antonio) composed church Cagnoni (Antonio) composed the music, 36 oratorios, 66 operas; assist- opera bulfa " Don Bucefalo," Milan, ant chapelmaster to J. J. Fux at 1847, still popular in Italy, many Vienna. B. Venice about 1670; d. other operas, " Papa Martin " having Dec. 28, 1736. been given in English as " The Porter Caldicott (Alfred Tames) composed of Havre"; motets; chapelmaster at 13 operettas, cantatas; played organ, Vigevano and at Bei^amo; Com- Worcester; taught Royal College of mander of the Crown of Italy. B. Music, London. B. 1842, Worcester, Feb. 8, 1828, Godiasco, Voghera; d. Eng.; d. Oct. 24, 1897. Bergamo, April 30, 1890. California, XTniversity of, which Cahen (Albert) composed the is located in Berkeley, a suburb of operas " Le Bois," 1880 ; " La Belle au San Francisco, included a Department Bois Dormant," 1886 ; " Le Vfinitien," of Music headed by Prof. WOLLE. 1890 ; " La Femme de Claude," 1896 ; Mrs. Phoebe A. Hearst had been one the ballet "FleurdeNeiges," 1891; and of the largest benefactors of this in- " Jean lePrecurseur," a Biblical drama, stitution, and the beautiful Greek 1874; pupil of Cesar Franck. B.Jan. Theatre, with a seating capacity of 8, 1846; d. Cap d'Ail, France, 1903. 8000, was the gift of her son Wil- Cahusac (Thomas) published music liam Randolph Hearst, the newspaper and made mstruments in London, 1775, proprietor. While the department of CAIiL 95 CAMIDGE music is of recent foundation, it had attracted a lajge enrolment in 1908, and this Greek Theatre was used not merely for a series of concerts by the Symphony Orchestra and the Minetti quartette, but for "half hours of musie"given regularlyon Sundayafter- noons, which were free to the public. Call. Military signal sounded by bugle or drum. Call Changes are those rung ac- cording to written direction, or as the conductor calls them, to each bell- ringer. See BELLS. _ Call, von (Iieonard) wrote instruc- tion book for guitar and composed songs. B. 1779; d. Vienna, 1815. Callcott (Dr. John Wall) helped found the London Catch Club, 1787, and in 1789 won all its prizes with his catch " Have you Sir John Hawkins' History?" his canon "O that Thou would'st," and his glees " O Thou, where'er thie bones att rest " and " Gro, idle boy " ; wrote a "Musical Grammar," 1806, and became insane while at work on a dictionary of music. B. Nov. 20, 1766, London; d. May 15, 1821. William Hutchins composed songs including " The Last Man," and the anthem " Give Peace in our time, O Lord." B. Sept. 28, 1807 ; son of JOHN WALL; d. Aug. 5, 1882. William Robert Stuart played organ. B. London, 1852; son of WILLIAM HUTCHINS; d. 1886. Calliope. Instrument composed of steam whistles arranged in organ style and played by keyboard; in Greek mythology name of Muse of Heroic Verse. Calma, con. /*. With calmness. Calmato. It. Calmed. Calore, con. /*. With heat. Calori (Anglola) sang sop. in opera with great success, 1758-83. B. Milan, 1732; d. about 1790. Caloroso. It. Passionately; warmly. Calvary. Ludwig Spohr's oratorio " Des Heilands letzte Stunden " is so called in the English version per- formed under Spohr's own direction at the Norwich Festival of 1839. Calvfi (Emm.a) became recognized as the greatest of Carmens; created the r6le of Anita in Massenet's " Na- varraise," which was composed for her, and the name part in that composer's "Sapho"; excelled as Santuzza; pupil of Mme. Marchesi and of Puget ; debut as Marguerite in Brussels, Sept. 23, 1882; became popular favourite at Coyent Garden, London, and Metro- politan Opera House, New York ; sang at Manhattan Opera House, New York, 1907-8. B. Madrid, 1864; add. Paris. Calvisus (Seth) composed and wrote on music; taught and directed at the Thomassehule and Thomas- kirche, Leipsic. B. Gorsleben, Thurin- gia, Feb. 21, 1556; d. Leipsic, Nov. 24, 1615. Camargo (Miquel Gomez) com- posed and directed music at Valla- dolid, Spain, 16th century. Cambert (Robert) composed the first French opera, "Pomone," with Perrin, produced Mar. 19, 1761; his first operatic composition, "La Pas- torale," having been performed at the Chateau d'Issy as early as April, 1659. Letters patent were issued to Perrin establishing the Academic de Musique, and for 30 years Cambert and Perrin worked together until Lulli came into power, when Cambert went to England, becoming master of music to Charles II. In early life Cambert was organist at St. Honore's Church, Paris, and In- tendant of Music to Anne of Austria. B. 1628, Paris; d. London, 1677. Cambiare. It. To turn or alter. Cambini (Giovanni Giuseppe) composed chamber music in the sfyle of Boccherini, which was mistaken for the work of that master and pub- lished as such ; 12 operas ; " Le Sac- rifice d'Isaac," an oratorio performed at the Paris Concerts Spirituelj 1774; 60 symphonies, etc.; conducted; played violin; wrote criticism; but died in poveriy after romantic life, in the course of which he was captured by Corsairs while returning with his bride from Leghorn to Naples, and sold into slavery in Barbary. B. Leghorn, Feb. 13, 1746; d. Paris, 1825. Camera, Musica di. /*. CHAM- BER MUSIC. Camidge (John) wrote " Six Easy Lessons for the harpsichord"; pupil CAMMINANDO 96 CAMPRA of Dr. Greene and Handel; organ- Mapleson) ; debut at Bologna, 1871. ist at York Cathedral. B. York, B. June 26, 1846, Parma; d. near 1735; d. April 25, 1803. Matthew Parma, Nov. 22, 1896. Cleofonte wrote a " Method of Instruction in conducted at Manhattan Opera House, Music by Questions and Answers"; New York, 1906-8; Covent Garden, composed sonatas and published col- London, La Scala, Milan; studied and lection of hymn tunes; played organ taught, Milan Conservatory, at York Cathedral in succession to his Campanology. The art of making father JOHN. B. York, 1758; d. or ringing BELLS. See "Change Oct. 23, 1844. Jolin composed and Ringing Disentangled," Rev. Wool- published a volume of Cathedral more Wigram, 1871; "Clocks and music, and played organ at York Bells," E. B. Denison; "Church Bells Cathedral in succession to his father and Ringing," W. T. Maunsell. MATTHEW. B. York, 1790; d. Sept. Campbell(Alexaiider)played organ 21, 1859. Thomas Sim.psoiL played in Edinburgh, where he edited and organ in English churches and was published a collection of Scots songs, assistant to his father JOHN at York 1792. B. Tombea, Loch Lubnaig, Feb. Cathedral. John, son of THOMAS 22, 1764; d. May 15, 1824. SIMPSON, became organist at Bev- Campenhout, van (Frangois) com- erly Minster, Eng. posed the " BRABANQONNB," which Camminando. It. Flowing. became Belgium's national air, "Gro- Campagnoli (Bartolomeo) com- tins," and other operas; sang ten. in posed for and played violin ; conducted opera for thirty years, ending 1827. Gewandhaus concerts, Leipsic, 1797. B. Feb. 5, 1779, Brussels; d. April 24, B. Cento near Bologna, Sept. 10, 1751; 1848. d. Nov. 6, 1827, Neustrelitz. Campioli (Antonio Crualandi) Campana. /*. Bell. sang con. in opera; debut Berlin, 1708, Campana (Fabio) composed "Al- later with Handel in London, 1731. mira," "Esmeralda," and other operas. Campion (Thomas, KC.D.) com- songs ; taught music in London. B. Bo- posed songs and wrote on theory, being logna, 1815; d. London, Feb. 2, 1882. physician, poet, and dramatist, as well Campanari (Leandro) conducted as musician. B. 1575, London; d. opera at Covent Garden, London, 1619. Manhattan Opera House, New York, Camporese (Violante) sang at Na- 1906-7 ; composed and wrote on poleon's private concerts in Paris, and music; played violin and organized with equal success in opera; London string quartet; pupil of Milan Con- debut, 1817; retired 1827. B. Rome, servatory; settled in Boston, 1878; 1785; d. 1839. became director violin department Campra (Andre) dominated French Cincinnati College of Music in succes- operatic stage between the reigns of sion to Henry Schradieek; returned LuUi and Rameau, making his first to Italy; Chevalier of the Crown of success with " L'Europe Galante," Italy; conducted at Milan. B. Ro- 1697, which with his next work " Le vigo, Italy, Oct. 20, 1857. Giuseppe Carnaval de Venise," was published sang bar. with distinction at Covent in the name of his brother Joseph, a Garden, London, Metropolitan Opera doublebass player, as Campra had House, New York; self taught in vocal taken orders and held church bene- muaie, having studied 'cello at Milan fices. The popularity of his works Conservatory, afterwards playing with encouraged him to withdraw from the Boston Symphony Orchestra. Brother church, and " Hesione," 1700 was pro- of LBANDRO. Add. New York City, duced under his own name " Tan- Campanella. It. gmall bell. crede," 1702, became the best known Campanetta. /*. GLOCKENSPIEL, of his works (Mile. Maupin, con sang Campanini (Italo) sang ten. in the r6le of the heroine), and " Les concert and opera in the principal Noces de Venus," 1740, was the last cities of Europe and in America (under Campra became chapelmaster to the CANALI 97 CAKTEBBTJRY PILGIIIMS ^^£V/'"*^''°™P°^^'^ ^"^ cantatas, by symbols or monograms are Indi- motete, and a mass B Dec 4, 1660, eated Canons or Eni|natical Canons. ^Q iV^/™^^""^' ^- Versailles, June Canons completely written out were r»^«H n 1 ^-B, ■ . , ''^^^^ ^"^' or Aperto Canons. Can- „,„.„ f «' ^"'^Jt^PfJi^'""^ F^^y^*^ °"^<^1 imitation with free aceompani- organ in Brescia, 1581-1603, and com- ment is frequently to be met with in ^"clx^-r^if OK™,-. ^ .^ classic music, but Canons Cancrizans, Canaries. Obsolete dance of Eng- which might be played backward and hsh or possibly Spanish origin, re- even upside down, can hardly be con- sembling the gigue sidered art, however interesting for Cancan, ii-r. Vulgar dance devel- their display of ingenuity. Thenomen- oped from the quadrille. clature of the canon may be continued Canonzans. CANONS by retro- by adding that the Sciolto is a free gression which may be read backward, canon, the Chiuso a Close Canon, and Cannabicli (Christian) composed the Al Sospiro a canon where the sub- and played violin but was chiefly jeet is answered the second beat of time. known for the unusual refinement ob- tained in the performances he con Canonici. Followers in Ancient Greece of the Pythagorean musical ducted of the Electoral orchestra at system as opposed to Muaici, who ad- Mannheim and Munich. B. Mann- heim, 1731; pupil of his father, a flautist; d. 1798, Frankfort. Carl played violin, composed and succeeded his father CHRISTIAN as conductor. B. Mannheim, 1769; d. Mar. 3, 1806. Canniciari (Pompeo) composed church music for two and four choirs ; hered to the Aristoxenian system. Cantabile. It. Singing style. Cantadour. Fr. Street singer. Cantambanco. It. Mountebank. Cantando. It. CANTABILE. Cantante. It. Singer; voice-part. Cantare. It. To sing. Cantare a Aria. It. Introducing directed music S. Maria Maggiore, an improvisation in singing. Rome, from 1709 to his death, Dec. 29, 1744. Canon. Or. Cantata. It. In the modern sense is either a short oratorio or a short Standard or rule." opera intended to be given in concert Formal imitation in music, in which form. After the invention of opera, the first part or subject or antecedent which was an attempt to revive the is repeated in the answer or conse- declamation of tragic poems in the quent. Canons in which the same manner of the ancients, the musical melody is sung by two voices an oc- declamation of verse by solo voice tave apart are called Two and One^at with simple accompaniment was styled the octave; when concluded are Finite cantata. The introduction of arias Canons, but when leading back to the and of elaborate accompaniment fol- beginning, and therefore capable of lowed, and a cantata by Mozart, 1783, interminable repetition, are termed is scored for three solo voices, chorus. Circular or Infinite. Where two and orchestra. Church cantatas, of canons are united in the same com- which BACH left many fine specimens, position the result is called a Four are often elaborate compositions. ~ - - - . - ... Cantate Domino. The 98th Psalm, which may be sung in the Anglican comes a canon 8 in 1. A canon where Church evening service instead of the the consequent is double the length of Magnificat. in Two canon, and if there are eight parts singing the same theme it be- the antecedent is a Canon by Augmen- Cantatilla or Cantatina. tation, and where the consequent is minutive of cantata, only half the length of the antecedent becomes a Canon by Diminution. Where a canon's consequent follows the inverted intervals of the antece- dent it is a Canon by Inversion. Canons not written out but indicated It. Di- Cantatore. It. Male singer. Cantatorium. L. Song book. Cantatrice. It. Female singer. Cantellerando. It. Subdued sing- ing; trilling. Canterbury Pilgrims. C. Villiers CASTTI CABinVAIil 98 CAFELLlffiEISTEIl Stanford's three-act opera to book by dean's stall, known therefore as the Gilbert i. Becket was first performed Decani side. at Drury Lane, London, by the Carl Canto Secondo. It. Second so- Bosa Opera Company. prano. Canti CarnlTali. It. Carnival Cantus Ambrosianus. L. AM- songs. BROSIAN CHANT. Cantici. /*. LAUDI. Cantus Coronatus. L. Melody Canticle. Those hymns, psalms, or progressing by consonances and ac- verses which form part of the liturgy companied by fa-burden, of the Anglican Church. Cantus Surus. L. Song modu- Canticum. L. " Canticle." In lated into a key of one or more sharps. Latin comedies a song with dancing Cantus Ecclesiasticus. L. Flain- and accompaniment. song or other church melodies ; method Cantilena. /*. " Little song." of singing instead of saying the liturgy. Short vocal composition or instru- Cantus Figuratus. L. Church mental passage in song style; cantus music having more than one note to firmus in unison, with organ ac- the syllable, which was forbidden in companiment. ancient times. Cantilenare. It. Singing unac- Cantus Firmus. L. Plain unorn- companied. amented church song such as Pales- Cantillatio. L. Declamatory sing- trina loved to glorify by elaborate ing or chanting. contrapuntal treatment, in which, Cantino. /*. A violin's E string, however, the melody was distinctly Cantique. Fr. Hymn or canticle, preserved, other parts moving below Canto. /*. Upper voice part in con- it in counterpoint modeled upon it ; certed music which carries the melody, hence the upper or chief melody part Canto a Capella. It. Church music, in polyphonic works. Canto Armonico. /*. Part song. Cantus Fractus. L. "Broken Canto Fermo. It. CANTUS melody" or tune proceeding by con- FIKMUS. sonances, either perfect or imperfect. Canto Figurato. /*. CANTUS Cantus Gregorianus. L. GREG- FIGURATUS. ORIAN CHANT. Canto Gregoriano. /*. GREGO- Cantus Mensurabilis. L. Meas- RIAN CHANT. ured song. The practice of dividing Canto Llano. Sp. PLAIN CHANT, music into measures of equal duration Canto Piano. It. PLAIN CHANT, by means of bars seems to have been a Canto Prime. It. First soprano, gradual growth of the 14th and 15th Cantor. " Precentor." Officer in centuries to' which many musicians charge of music at Cathedral, Mon- contributed, but for which none was astic, or Collegiate churches; prin- solely responsible. oipal of a college of church music ; Cantus Planus. L. PLAIN SONG, heads of musical institutions, such as Cantus Bomanus. L. Roman or the LEIPSIC THOMASSCHULB. Gregorian chant. Cantor Choralis. L. Chorus- Canun. Turkish zither, master. _ _ Canzona. /*. Short song, some- _ Canto Becitativo. It. Declama- what like the madrigal or its instru- tion; recitative. mental imitation; obsolete term for Canto Bipiendo. It. Additional sonata ; obsolete time indication equiv- soprano parts for chorus. alent to allegro. Cantoris. In cathedrals where an- Canzonet or Canzonetta. It. tiphonal singing was practiced, the Originally a diminutive canzona in pr.ecentor or cantor usually had his parts; term for short songs of light stall on the north side of the choir order. facing the altar, and this was called Canzoniere. It. Lyric verse or song, the Cantoris side, as opposed to that Caoinan. Irish funeral song or wail, on the south side where stood the Capellmeister. Ger. Chapelmas- CAPISCOLUS 99 CAHEY ter; director of music in a chapel or London, 1822 to 1846. B. Milan, 1800; church or title of honor. daughter of Col. Baron de Munck; Caplscolus. Precentor. d. Oct. 15, 1865. Capo. It. Head or beginning. Carafa di Colobrano (Michele Capo, da. It. Indicates return to Enrico) composed 35 operas, some of beginning. which rivalled those of Rossini and Capocci(Gaetailo) composed church Auber in popularity, such as "La music and directed and played organ Fiancee de Lammermoor," "Masani- at St. John Lateran, Rome. B. Oct. ello," "Le Solitaire"; taught com- 16, 1811; d. Jan. 11, 1898. Eilippo position at Paris Conservatoire; of- became director of music at St. John ficer under Murat, decorated by Na- Lateran in succession to his father poleon in 1812. B. Nov. 17, 1787, GAETANO; composed sonatas, etc.; Naples; d. Paris, July 26, 1872. pupil of his father and of GUIL- Caral. Old English for CAROL. MANT. B. Rome, May 11, 1840; add. Caraterre. It. Character; dignity. Rome. Cardon (Louis) wrote "Art de Caporale (Andrea) composed for jouer la harpe " and played harp ad- 'cello and played 'cello in London mirably. B. Paris, 1747; d. Russia, 1735 to his death, about 1756. 1805. Pierre played 'cello and sang. Capotasto. It. Bar crossing the B. Paris, 1751; brother of LOUIS, fingerboard of a guitar to which it Cardoso (Hanuel) composed church may be fastened by a screw, forming music; sub-prior and chapelmaster of a permanent GRANDE BARRfi, rais- Carmelites at Lisbon and friend of ing the pitch of the strings and alter- King John IV. B. Fronteira, Spain, ing the key. 1569 ; d. Lisbon, Nov. 29, 1650. Capoul (Joseph. Victor Amgdee) Caresana (Christoforo) composed sang ten. rSles in opera; debut Paris solfeggi, church and chamber music; Op€ra Comique, 1861 to 1889, when played organ at Naples. B. Tarentum, he joined administrative staff of Paris 1655 ; d. Naples, 1730. Op6ra. B. Feb. 27, 1839, Toulouse; Carestini (Giovanni) became the add. Paris. greatest con. singer of his day; debut Capriccietto. It. Little caprice, in Bononcini's " Griselda," Rome, Capriccio. /*. Originally a lively 1721; Handel's principal singer dur- whimsical composition in fugal style; ing London engagement of FARIN- in the 18th century instrumental ELLI at Bononcini's rival opera house, pieces which would now be styled range from d to g"; retired 1758 on etudes ; in the modem sense generally concluding engagement at St. Peters- a composition in modified rondo or burg. B. Monte Filatrano, Ancona, sonata form. 1705; assumed name Cusanino in Capuletti e i Montecchi. Vin- gratitude to his early patrons the ccnzo Bellini's three-act opera to book Cusani of Milan, by Romani, founded on Romeo and Carey (Henry) composed " Sally Juliette, was first performed at Venice, in our Alley " and numerous other Mar. 12, 1830. songs and cantatas, for which he wrote Caraccio (Giovanni) composed the verses as well, possibly including church music and madrigals; one of "God Save the King"; wrote and 14 composers who collaborated in vol- composed quantities of dramatic farces ume of psalms dedicated to Pales- and burlesques, among them " Chro- trina; played organ at S. Maria Mag- nonhotonthologos," "The Dragon of giore, Rome, and directed 23 years, Wantley," and "Nancy," revived as until his death, 1626. B. Bergamo. " The Press Gang " and " True Blue." Caracteres de Musique. Pr. Char- B. about 1690; son of George Saville, aeters or signs used in musical NO- Marquis of Halifax; d. London, Oct. TATION. 4. 1743. George Savile sang_ and Caradori- Allan (Maria C. B.) acted; advanced his father's claim to sang sop. in opera and concert, debut the authorship of " God Save the CABEZZAITDO 100 CAKIdEIT King " ; father of Anne, who was Ed- mund Kean's mother. B. 1743; son of HBNEY; d. 1807. Carezzando. It. Caressingly. Caricato. It. Exaggerated. Carillon. Fixed BELLS, which may- be played by hand or by one of miiny mechanical appliances, the most com- mon of which is a barrel on the prin- ciple of the music box and BARREL ORGAN. Illustrations representing small carillons played by hand are common in mediaeval church books, but large carillons, such as may be found in the steeples of churches or town halls in almost every city, first came into use in the Low Countries. Mathias van den Gheyn, b. Mechlin, 1721, but settled in Louvain, from whom is descended the present Van Aerscholdt family of bell founders, was among the earliest of great caril- lon makers and players or carillon- neurs. Mechlin has a carillon of 45 bells, the largest, cast by Aerscholdt, 1844, weighing nearly 10 tons; Ghent has a carillon of 48 bells; Antwerp of 40 bells; Bruges, 48 bells, etc. Carlo (Tohanii Heinrich) improved and played trumpet. B. Eokernforde, Holstein, 1736. Carissimi (Giacomo) composed ora- torios, developed the sacred cantata, directed music at S. Apollinare, Rome, 1628 to his death, Jan. 12, 1674; taught Bononcini, Scarlatti, Cesti. B. Marino, near Rome, 1604. Carita, con. "/*. With tenderness. Carl (William Crane) played organ in concert and at 1st Pres. Church, New York City; taught; pupil of Guilmant. B. Bloomfield, N. J., Mar. 2, 1865; add. New York City. Carlo (Geronimo) edited collection of five-part motets, published as " Mo- tetti del Labirinto," Venice, 1554-55. Carlton (Kev. Bichard) composed madrigals; priest at Norwich Cathe- dral; d. about 1638. Carmagnole. French Revolution- ary song beginning " Madame Veto avait promis," and with the refrain, " Dansons la carmagnole, vive le son du canon." Carmen. Georges Bizet's four-act opera to book by Meilhac and Halfivy, based on Prosper Merimfe's story, was produced Mar. 3, 1875, at the Op€ra Comique, Paris, and ranks with the most popular in modern repertoire. The first act represents a square in Seville, the cigarette factory to the right, to the left a guardhouse. Miehaela enters seeking Don Jos6, for whom she bears a message from his mother, but only sees Morales, for the Brigadier Don Jos6 and his officer, Zuniga, are in command of the guard. Presently the guard is relieved and the girls rush from the factory as noon strikes, followed by Carmen, who flirts with the men, and as she re- enters the factory, tosses a flower to Jos6. Then Miehaela returns, gives Jos6 a letter, money, and his mother's kiss, and he sends her home with lov- ing messages, just as a riot breaks out in the factory. Carmen, in a fit of rage, has stabbed a girl, is arrested, and has her arms tied to prevent fur- ther mischief. Left alone with Jos6, Carmen pleads for her release most seductively. He finally unties her hands, agrees to meet her at the house of Lillas-Pastia, and connives at her escape. Punished for his fault, Josfi finds her two months later at Lillas- Pastia's, where she has been making merry with his superior Zuniga, a band of gipsy smugglers, and the toreador Escamillo. Carmen coquets with him, and urges him to run away with her and join the smugglers. Zuniga returns, orders Jos6 back to the barracks, reproaching Carmen for pre- ferring a mere brigadier to an officer. Josg denounces his superior, and they are about to fight, when the gipsies disarm and bind Zuniga, and Jos6 pre- fers joining them with . Carmen to another term in military prison. The third act represents a smuggler's camp. Carmen has tired of Jos6, and wishes to rejoin the toreador. She runs the cards, finding her death foreshadowed. Escamillo, who has found her retreat, comes to claim her, but is obliged to fight Josg. They are separated by the gipsies, and Escamillo leaves, inviting Carmen to meet him at the bull fight in Seville. Miehaela comes, telling Josg that his mother is dying of grief. CARMEN 101 CABBENO and they go away together as the conducted opera at Barcelona and toreador's song is heard in the dis- Madrid; taught composition in Ma- tance. The fourth act shows the en- drid Conservatory. B. Oct. 24, 1789, trance to the Seville bull- ring. A Lerida, Catalonia; d. Madrid, Mar. crowd escorts Escamillo through the 17, 1855. gates, but as Carmen is about to enter, Carol. Song of praise appropriate Jos6 stops her. Though warned by to Christmas, midway in style between her gipsy friend Frasquita that Jos6 hymns and ballads ; anciently song ac- will kill her, she has no fear, and only companying a round dance or the laughs when he pleads his love and dance itself; to sing, finally threatens her. Shouts from the Caron (Philippe) composed secular bull-ring announce that Escamillo has soBigs and church music; Cambrai, again been victorious, and Carmen, 15th century. with a cry of joy, moves toward the Caron (Bose Lucille) sang sop. in entrance, throwing at Jos6 a ring he opera and concert; debut Brussels, had given her. In despair and rage, 1882, where she created the Brunhilde he stabs her, and Escamillo, returning of Ernst Beyer's " Sigurd," to 1902, from the arena with an admiring when she became vocal teacher in the throng, finds Jos6 kneeling beside Car- Paris Conservatoire. B. Monerville, men's corpse. At the first production France, Nov. 17, 1857; add. Paris. Mme. Galli-Marie sang the title r61e, Caroso (Pabritio) wrote " II Bal- and the Michaela was Mile. Chapuy. larino," Venice, 1581; republished in The principal music numbers are: enlarged form, Venice, 1600, as "No- Act I : the old Habanera " Amor, mis- bilita di Dame," containing the music terioso angelo," Carmen, mez. sop.; of dances in lute-tablature. "La madretua con me," Michaela, sop.; Carpaui (Giuseppe) wrote libretti " Mia madre io la rivedo," Don Jos6, and " Haydine," an appreciation of hia ten. ; the seguidilla " Presso il bastion friend Haydn. B. Villalbese, Brianza, di Seviglia," Carmen; Act 11: " Vezzi Jan. 28, 1752; d. Vienna, Jan. 22, eanella scintillar," Carmen and chorus; 1825. "Toreador, attento," Escamillo, bar.; Carpentras or Carpentrasso. " Abbiamo in vista," quintet; "Voglio Eleazar GENET was so called from danzar per tuo piacer," Carmen; "II his place of birth, flor che avevi," Don Josfi; Act III: Carr (Dr. Frank Osmond) com- "Mischiam! alziam! " terzetto; "Lo posed "His Excellency," 1894, to dico no, non son paurosa," Michaela; libretto by W. S. Gilbert; and other Act IV: Toreador's march. dramatic pieces. B. about 1857, York- Canuen (Johannes) composed in shire, Eng. Paris, 15th century. Carr (John) published music in Camaby (Dr. William) composed London, 17th century, songs, played organ, sang in Eng. Carre (Albert) became director of Chapel Royal. B. London, 1772; d. the Paris Op6ra Comique, 1898, from Nov. 13, 1839.. which he retired at the close of the Carnaval de Venise. Tune of un- season 1907-8, after a very successful known origin first made famous by the administration, to become director of celebrated variations written for it by the Comgdie Francaise, when it was Paganini, who first heard it in Venice, rumoured that his successor would be Carneval. Robert Schumann's 21 M. Ghensi. B. June 22, 1852; add. piano pieces, each with a title sugges- Paris. tive of a carnival scene, were published Carreno (Teresa) composed the na- as Op. 9, and dedicated to Carl Lipin- tional hymn of Venezuela; ranked as ski 1837. tli6 foremost pianist of her sex since Camicer (Ramon) composed nine retirement of Clara Wieck Schumann; operas, including " Adela de Lusig- conducted and sang in opera. Pupil nano," " Elena e Malvino," and " Co- first of her father, the Minister of lombo," symphonies, church music; Finance of Venezuela, later of L. CABBODTTS 103 CASTANETS Gottsehalk, New York, Mathias in Paris, and Rubinstein; she played in public in New York at nine, and toured the United States; later sang in opera under Mapleson and Maurice Strakosch; m. B. Sauret, then Grio- vanno Tagliapietra, then Eugen d' Al- bert, 1892-95; then Arturo Taglia- pietra, brother of her second husband, 1902. B. Caracas, Dee. 22, 1853 ; add. Caracas. Carrodus (John Tiplady) com- posed for and played violin. B. York- shire, Eng., Jan. 20, 1836; d. July 13, 1895. Cartel. Sketch of a score. Cartellone. It. Prospectus of opera season. Carter (Thomas) composed popu- lar songs, " O Nancy wilt thou fly with me " and " Guardian Angels," six sonatas for harpsichord ; played organ. B. 1734, Dublin. Sampson composed songs and such dramatic pieces as "The Fair American," 1782; "The Constant Maid," and the comic opera, "Just in Time," 1792. B. Dublin; elder brother of THOMAS; d. Oct. 16, 1804, London. Carter (Thomas) composed songs and dramatic pieces; directed music in Calcutta Theatre. B. Dublin, 1769 ; d. London, Nov. 8, 1800. Cartier (Jean Baptiste) wrote on, composed for, and played violin. B. May 28, 1765, Avignon; d. Paris, 1841. Carulli (Ferdinando) wrote a " Methode " for guitar, became famous guitarist, and composed 300 guitar pieces; wrote "Harmonie appliquge a la Guitare," Paris, 1825. B. Naples, Feb. 10, 1770; d. Paris, 1841. Caruso (Enrico) sang ten. in opera at Covent Garden, Londpn, and Metro- politan Opera House, New York, 1905-8, having previously toured South America and sung in principal Italian cities ; possessed voice of wide compass and great power, with ex- tensive Italian repertoire. In June, 1908, he was made Chevalier of the Legion of Honor. B. Naples, 1874; add. Villa alle Pauchi, Porta San Gallo, Naples. Caruso (Luigi) composed 60 operas, including " II Barone di Trocchia," " Artaserae," and " L'Avviso ai Mari- tati " ; oratorios and cantatas. B. Nar pies, Sept. 25, 1754; d. Perugia, 1822. Carvaille (Leon) managed the Paris Op6ra Comique from 1876 until its destruction by fire. May 25, 1887 ; fined and imprisoned for failing to take precautionary measures; suc- ceeded by M. Paravey, 1888. B. 1825 ; pupil of Paris Conservatoire; d. Dec. 26, 1897. Carvalho (ItCarie Caroline Felix) sang sop. in opera, debut in 1849 to 1872, and in concert until 1887, rank- ing as the foremost of French women singers for nearly a generation; pupil of her father Felix Miolan, the oboist, and of Duprez at the Conservatoire. B. Marseilles, Dec. 31, 1827; d. July 10, 1895. Cary (Annie liouise) sang con. in opera and concert, 1868 to 1882; Lon- don, New York, St. Petersburg; pupil of J. Q. Wetherbee and Lyman Wheeler, Boston, Corsi, Milan, and Maurice Strakosch, under whose management she won her greatest success. B. Wayne, Me., Oct. 22, 1842 ; m. Charles M. Raymond, 1882, and retired; add. New York City. Casali (Giovanni Battista) com- posed church music and the operas "Campasbe," 1740, and "Antigone," 1752; chapelmaster at St. John's Lateran, Rome, 1759, to his death, 17«2. Case (John) wrote " The Praise of Musicke," 1586. B. Woodstock, Eng. ; d. Jan. 23, 1599. Casentini (Signora) sang in Lon- don opera, 1791 to 1793. Casini (Giovanni Maria) com- posed two oratorios and church music; played organ Florence Cathedral; op- posed equal temperament and favoured the Greek modes. B. Florence, 1675. Cassagrande. /*. Bass drum. Cassation. 18th century music for open air performance. Cassel (Guillaume) taught sing- ing at Brussels Conservatory. B. Lyons, 1794; d. Brussels, 1836. Castanets. Percussion instruments consisting of small shells of hard wood hinged together, held in the hand and snapped together. As an accompani- CASTELLAN 103 CATEL ment for dancing it is popular in the world from her debut at 16 in ^C^.tJi^'^fl "* ^° a"'^- s^^- y^'^^' "»«' ""It" her retirement" Castellan (Jeanne Anais) sang 1828; possessed a range up to e'" sop in opera and concert, 1836 to and a facility in bravufa singing un- 1859^ touring Europe and America, surpassed; sang with great success in all European music centres, and in the single year 1807 earned $83,500 by her English operatic and concert -^ •,,-,. — engagements. In 1804, Catalani m. gemeiner Musikabscher Anzeiger," Valabrfigue, of the French diplomatic K\no^A°^ ^- Vienna, Mar. service, who saw to it that her con- ^ :-'ii ' ^' ^^^^' *™''*^ ^^^^ managers were of the best, Castillon, de (Alexis Vicomte de rigidly enforced, and spent the greater St. Victor) composed the overture part of her enormous earnings. The "Torquato Tasso," Psalm Ixxxiv for keenness of his dealings in business soli, chorus, and orchestra, " Equisses did not prevent her from giving her symphoniques," "Marche Scandinave," services freely to charities, and it has B. Oct. 26, 1819, Beaujeu, France; pupil of the Paris Conservatoire. Castelli (Ignaz Franz) wrote libretti and edited the Vienna "AU- and chamber music; pupil of Mass€ and of Cesar Franck. B. Chartres, France, Dec. 13, 1838; d. Mar. 5, 1873, Paris. Castrati. It. Eunuchs or artifi- cial male sopranos and contraltos. Castro, de (Jean) composed church music, madrigals, and chansons; vice chapelmaster at Vienna, 1588. B. Evreux. Castro (Ricardo) was director gen- eral of the Mexican National Conser- vatory of Music, where he had re- ceived his musical education, and in turn became an instructor. An ac- complished pianist, his friends raised a fund which enabled him to study in Europe for four years, and on his re- turn he produced his opera, " Legend of Rudel," with such great success that he was instantly hailed as the foremost Mexican composer. B. Mex- ico, 1877; d. Mexico City, Nov., 1907. Castrucci (Petro) played first vio- lin in Handel's London opera orches- tra, composed for that instrument, and invented the VIOLETTA MARINA. B. Rome, 1689; pupil of Corelli; d. Dublin about 1769. Catalani (Alfreddo) composed the operas " Elda," 1883; " Dejanice," "Ero e Leandro," "Edmea," 1886; "Loreley," 1890; "La Wally," 1892; wrote a mass at 14. B. Lucca, June 19, 1854; pupil of his father, a church organist, and of the Paris Conserva- toire; d. Aug. 7, 1893, Milan. Catalani (Angelica) ranked as the greatest concert and operatic sop. in been estimated that she raised 2,000,- 000 francs for charity by her concerts. In 1814 Catalani was given a sub- vention of 160,000 francs to manage the Italian opera in Paris, but was unsuccessful. Her last appearance in public took place at the York Festi- val, 1828, after which she retired to a villa near Florence, where she es- tablished a singing school for girls. B. Sinigaglia, Italy, May 10, 1780; d. Paris, June 12, 1849. Catch.. Canon or round for three or more voices in which each singer took up his part or " catch " in such a, way as to give new meaning to the cue or catch word. These musical trifles were in great favor in England in the 17th and 18th centuries. Catch Club was founded in Lon- don, 1761, to encourage the composi- tion and performances of canons, catches, and glees, and of late years has held semi-monthly meetings dur- ing the season. The non-professional members have included distinguished gentlemen, nobles, and members of the royal family, and among the profes- sional members have been: Beard, Battishill, Arne, Hayes, Atterbury, Paxton, Webbe, Piozzi, Knyvett, Stev- ens, Callcott, Danby, Greatorex, Bar- tleman, Cooke, Horsley, Goss, Walm- isley, and Turle. Catel (Charles Simon) composed the operas "Semiramis," 1802; "L'Au- berge de Bagnfires," 1807; "Les Baya- derSs," 1810; symphonies and chamber music, and much of the military CATELANI 104 CAVALIEBI music played by the bands of the Bunn, was first performed May 27, French revolutionary armies j became 1837, at Drury Lane, London, Balfe professor of composition at the Con- being one of the caste, servatoire on its establishment, 1795; Catley (Anne) sang sop. in light wrote a valuable treatise on harmony. English opera with great success; B. L'Aigle, Orne, June 10, 1773; d. debut Covent Garden, London, 1762; Nov. 29, 1830, Paris. retired 1784. B. London, 1745; m. Catelani (Angelo) composed operas General Lascelles; d. Oct. 14, 1789. and wrote on musical history and biog- Catling. Smallest of lute-strings, raphy; chapelmaster and librarian at Cauda. L. Tail of a note. Modena. B. Mar. 30, 1811; d. Sept. Caurroy, du (Frangois Eustache) 5, 1866. composed mass long sung at the Catena di Trilli. It. Succession funerals of French kings, songs; was of trills. Sieur de St. Frfimen, canon of Ste. Caters. Changes rung on nine bells. Chapelle and prior of St. Aioul de Catgut is never made into strings Provins, and " Surintendant de la of musical instruments, but the Musique de Eoi," 1599. B. Gerberoy strings so called are made from the near Beauvais, 1549; d. Aug. 7, 1609, intestines of sheep or horses. Paris. Cathedral Music in the Anglican Causton (Thomas) composed church was originally an adaptation church music and sang Bng. Chapel of the Roman liturgical music as it Royal; 15th century, had been sung in Sarum Cathedral. Oavaccio (Giovanni) composed Archbishop Cranmer is believed to church music; directed music in Ber- have made the first adaptation of the gamo Cathedral. B. Bergamo, 1556; Litany, and to have authorized the d. Aug. 11, 1626. plain song to which it was to be Cavaille-Col (Aristide) built or- chanted, and in John Marbecke's gans and was first to employ Barker's " Book of Common Praier noted," pneumatic lever. B. Montpellier, Feb. 1550, is a further musical adaptation 2, 1811, descended of family of organ of the Roman services. Henry VIII's builders; d. Paris, 1886. Commissioners directed that the ser- Cavaletto. It. Cabaletta; small vice be sung in a " plain, distinct and bridge ; break between vocal registers, audible manner " ; the singing or Cavalieri, del (Emilio) was among chanting of the liturgy is further the first to write instrumental accom- authorized by rubric in the Prayer paniments and to employ BASSO Book of Edward VI, and the use of CONTINUO; composed "La Rappre- song in church service was enjoined sentazione di Anima e di Corpo," " II again by Elizabeth in the first year Satiro," and other operas; became of her reign, 1559, who specified that " Inspector General of Artists at Flor- "the same may be as playnely under- ence." B. Rome about 1550; d. Mar. standed as if it were read without 11, 1602. syngynge." During the Common; Cavalieri (Eatherina) sang sop. in wealth the simplest form of psalm Vienna opera, debut at 14 in 1775; singing was encouraged, but the or- retired 1793; created the rSle of Con- nate musical accompaniment of wor- stance in "Entfuhrung," which Mozart ship was abolished. In 1660 music composed for her; favourite pupil of was restored to the church service by Salieri, who also composed for her. Charles II, but the communion ser- B. Vienna, 1761 ; d. June 30, 1801. vice was said, not sung, and Cathedral Cavalieri (Lina) sang sop. in Music was neglected until 1840, since opera, debut in " Pagliacci," Lisbon, which time there has been a return 1900; in Naples, Warsaw, Metropoli- to full choral service, including chant- tan Opera, New York, and Covent ingof the communion. Garden, London; in earlier life favour- Catherine Grey. Michael William ite in cafes chantant. B. Dec. 24, Balfe's three-act opera, to book by 1874, Rome. CAVALLEBIA 105 U BABiBjS Cavalleria Busticana. Pietro Mascagni's one-act opera, to book by G. Targioni-Tozzetti and G. Menasci, based on a tale by Verga, won the prize offered by the publisher Son- zogo, and was first performed May 17, 1890, at Rome, with immediate suc- cess. This drama of "rustic chivalry" is laid in a Sicilian village to which Turridu, a young peasant, returns after his service in the army. In his absence Alfio, the carrier, has married Lola, with whom Turridu was in love, and he consoles himself by playing the gallant to Santuzza. Lola again ensnares him, however, and his love for her is expressed in a beautiful Siciliana which is introduced in the overture. The rising curtain discloses a public square. Santuzza comes to the cottage of Lucia in search of her faithless lover, and is told that Tur- ridu has gone to Francofonte. Alfio comes in cracking his whip, singing the joys of the road and the fidelity of his wife Lola, and asks for wine. Lucia tells him that Turridu has gone to the next village to buy some, but Alfio remembers to have seen him near his own cottage. Just then the Easter hymn is begun in the church, and the peasantry enter, leaving Lucia and Santuzza alone. The girl tells Tur- ridu's mother that she has been be- trayed. Later, as Lucia enters the church, Turridu appears, and San- tuzza pleads with him to fulfil his promise of marriage, but he refuses. Lola is heard singing in the distance, and when she enters she taunts San- tuzza while coquetting with Turridu. She too goes into the church, and Turridu, throwing Santuzza, who tries to detain him, to the ground, follows. Then Santuzza, mad with jealousy and despair, tells Alfio that Lola has de- ceived him, and he vows vengeance. After a beautiful intermezzo the ac- tion is resumed. The people are leav- ing church, and Turridu invites his friends to join him in some wine. Alfio refuses, and then comes a, chal- lenge in Sicilian fashion, Turridu bit- ing Alfio's ear. Turridu repents his folly, bids farewell to his mother, to whom he commends Santuzza, and rushes oflf to join Alfio in combat. A few moments later the peasants an- nounce that Alfio has killed him. The principal musical numbers are the Siciliana " Lola, c'hai di latti," in the overture, Turridu, ten.; "II cavallo sealpita," Alfio, bar. ; " Inneggiamo, il Signor," Santuzza, sop., and chorus ; " Voi lo sapete, O mamma," Santuzza ; " Fior di giaggolo," Lola, mez. sop. ; the Intermezzo; and "Viva il vino," Turridu. At the first performance Roberto Stagno was the Turridu and Gemma Bellinconi the Santuzza. Cavalli (Pietro Francesco) com- posed 27 operas, including " Le Nozzi di Teti," 1639; " Serse," 1660, for the marriage festivities of Louis XIV in Paris ; " Ercole amante," and church music; played organ at St. Mark's, Venice, where he finally became chapel- master; son of Caletti-Bruni, a musi- cian of Crema, Venice, assumed name Cavalli in compliment to his patron, a Venetian nobleman. B. about 1600; d. Jan. 14, 1676. Cavallini (Ernesto) composed for and played and taught clarinet. B. Aug. 30, 1807; d. Jan. 7, 1873. Cavalquet. Fr. Military trumpet- Cavatina. It. Originally meant a melody in one part and without re- peat, but is now applied to such arias as " Salve dimora " in " Faust " and " Be thou faithful " in Mendelssohn's "St. Paul." Cavendish. (Michael) composed "Ayfes for four Voyces," 1599; and, with nine other composers, "The Whole Booke of Psalmes," published by Este, 1592. Cavos (Catterino) composed " Ivan Sonsanin" and successful Russian fairy operas; conducted at Padua, taught in Venice, became conductor of St. Petersburg opera, 1797. B. Venice, 1776; son of the director of "La Feniee"; d. 1840. Cazzati (Maurlzio) composed church music; chapelmaster to Duke of Sabioneta and to churches in Fer- rerra, Bergamo, and Bologna. B. 1620, Guastalla; d. 1677. C BarrS. Fr. Time indication C with a line through it. C DUB 106 CHADWICK C JDuT. Oer. ,C major. Cebell. Obsolete name of dance form now called GAVOTTE. Cecilia (Saint). Noble Roman virgin and martyr whose festival, Nov. 22, is celebrated as that of the tute- lary saint of music and musicians, and for whom many important socie- ties have been named. Celere. /*. Swift. Celerita, con. It. With speed; swiftly. Celesta. Keyboard percussion in- strument invented by Mustel, Paris. Celeste. Fr. Directs use of soft pedal. Celeste, Voiz. Fr. Organ or har- monium stop; Vox Angelica. Celestino (Eligio) composed for and played violin; concertmeister to Duke of Mecklenburg. B. 1739, Rome; d. Jan. 14, 1812. Cellier (Alfred) composed light operas, including " Nell Gwynne," re- vived later with new book as " Dor- othy,'' " The Mountebanks," to book by W. S. Gilbert, 1891S, " Bella Donna," " Pandora," book by Longfellow, Bos- ton, 1881 ; orchestral " Suite Sym- phonique," setting of Grey's " Elegy," etc. ; played organ and conducted. B. London, 1844; d. 1891. 'Cello. Popular abbreviated* name of VIOLONCELLO. Cembal d'Amore. Probably a double clavichord, now obsolete. Cembalo. DULCIMER or cimbalom, still played in so-called Hungarian and Gipsy orchestras ; abbreviation of clavicembalo or HARPSICHORD. Cembanella or Cennamella. It. Flute or pipe. Cenerentola. Gioacchina Rossini's opera, to book by Feretti, based on " Cinderella," was first performed during the Roman Carnival of 1817 at the Teatro Valle. Centone. /*. Patchwork or pas- ticcio. Cerone (Dom Pietro) wrote on theory; priest and musician to Chapel Royals of Spain and Naples. B. 1566, Bergamo; d. Naples. Certon (Pierre) composed church music; chapelmaster at the Ste. Chap- elle, Paris. D. Paris, Feb. 23, 1572. Cetvelet or Cervalet. Small reed instrument now obsolete. Cervetto. Professional name of the BASSEVI family. Ces. aer. C flat. Cesaris (Johannes) composed mo- tets, and secular songs to French words, 15th century. Cesti (Marcantonio) composed "L'Orontea," "La Dori," and other operas; did much to reform and im- prove the opera of his day; chapel- master at Florence, 1646; vice chapel- master at Vienna, 1666. B. about 1620 ; entered the Church; d. Venice, 1069. Cetera. It. Citara or zither. Cevallos (rrancisco) composed church music; canon and music direc- tor Burgos Cathedral from 1535 to 1572. Chabrier (Alexis Emmanuel) composed the operas " Gwendoline," Brussels, 1886; "Le Roi malgrfi lui," Paris Opfira Comique, 1887; and " Brisfiis," left unfinished; the scena " La Sulamite," " Espana," a rhap- sody on Spanish airs; conducted, etc. B. Ambert, Puy de D6me, Jan. 18, 1841; d. Paris, Sept. 13, 1894. Chaconne. Fr. Obsolete Spanish dance in 3-4 time, often constructed upon a ground bass, and sometimes introduced as a slow movement in sonatas. Chadwick (George Whitfield) com- posed three symphonies, six overtures, eight choral works with orchestra, chamber music, songs; conducted the Springfield and Worcester, Mass., Festivals, directed the New England Conservatory of Music, 1897; played organ; pupil of Eugene Thayer, Bos- ton; Reinecke, Jadassohn, Leipsic Conservatory. " Rip van Winkle," an overture, was performed at Leipsic, and later in Boston, where Mr. Chad- wick settled as teacher and organist. Other works to be noted are the con- cert overtures "Thalia," "Melpom- ene," "Euterpe," symphonies No. 1, in C major; No. 3 in P major, which won first prize in the competition of the National Conservatory of Music, 1894; "Columbian Ode" for dedica- tion of the Chicago Exposition, 1892; "The Viking's Last Voyage," for the Boston Apollo Club, 1880. Mr. Chad- CHAIR OBOAN 107 CHANT wick also wrote a text book on har- Changes. Alterations of bell mel- mony. B. Nov. 13, 1854, Lowell, ody by changing the order in which Mass.; add. Boston. bells are rung. Chair Organ. Choir or Prestant Changing Notes. Passing notes o'g*ii. or discords on accented parts of a Ch&let. Adolphe Adam's three-act measure. comic opera, to book by Scribe, was first Chanot (Frangois) made a pear- performed Sept. 25, 1834, in Paris. shaped violin, which a committee of Chalumeau. Fr. From the Latin the Institute of France declared equal " calumus," a reed, was the name of in quality to those of Guarnerius and an obsolete instrument also called Stradivarius, 1817, but like all at- shawn or schalmey, from which tempts to improve on the models of clarinets and oboes may have been those masters, his instrument finally derived. The term applies to the proved a failure. B. Mirecourt, France, clarinet's lowest register. 1787; d. Brest, 1823. Georges made Chamber Husic is that heard to violins modeled on that of his brother better advantage in a small room or FRANQOIS, but eventually returned to chamber, rather than in a large con- the classic model. He married Plor- cert room, church, or theatre. The entlue Demoliens, the only woman term originally included vocal as well known to have become a skilled violin as instrumental pieces for solo or con- maker. B. Mirecourt, 1801 ; retired certed performance. In modern usage 1872. Oeorges, Jr., made violins in the term is restricted to music for London. B. Paris, 1831; son of MME. strings or combina/tions of strings and GEORGES CHANOT; d. 1895. with piano. G. A., P. W., and Joseph, three sons Chamber Organ. Small organ. of GEORGES, JR., also made violins. Chambonnieres, de (Jacques Chanson. Fr. Songs which are Champion) composed for, taught, and the French equivalent of the German played harpsichord ; musician to Louis lieder or English ballad, and like them XIV; took name from his wife's es- are of all degrees of merit or demerit, tate. Son of Jacques de CHAMPION, reflecting the religious, political, and Chaminade (Cecile) composed a ethical status of the people among Symphonic lyrique for chorus and or- whom they were sung. Numerous chestra ; the ballet " Callirhoe," Mar- classes of chansons may be grouped seilles, 1888; songs and piano pieces; under four general heads, which seem played piano in concert; debut at 18. to have been recognized by early B. Paris, Aug. 8, 1861; add. Paris. French poets: chansons historique, Champion (Antoine) played organ de mStier, d'amour, and bachique ; and in Paris, 16th century. Thomas to these divisions may be added the composed 60 psalms for four voices; chanson des rues, or street song, played organ and harpsichord at courts Chant is the specific term for the of Charles IX and Henri III of musical rendering of a church ser- France. Jacques played organ in vice, although it also means " song " Paris during reign of Louis XIII ; or " to sing," and is the French equiv- Bon of THOMAS; father of CHAM- alent of song, tune, or vocal part. BONNli;RES. Ecclesiastical chants, whether Angli- Change. MODULATION or change can, Galilean, Parisian, or of Cologne, of key. are merely modifications of eanti firmi Changeable Chant. One that may built upon GREGORIAN TONES. be sung in either major or minor Anglican chant in John Marbeeke's mode. "Book of Common Praier noted" is Changer de Jeu. Fr. To change an adaptation of the Roman ritual- an organ's stops. istic music to the first English ver- Change Ringing. Diversity of sions of the service, 1550, and the effect in bell ringing obtained by ehang- Gregorian chants continued to be em- ing the order in which they are rung, ployed in Anglican churches until CHANT i:GAL 108 CHABB liturgical music was suppressed by Cromwell. With the accession of Charles II, chanting was resumed in Cathedrals, at least. The ancient chants have been more carefully studied since 1840, the result being numerous editions of Anglican ser- vice books, of which the most impor- tant in recent years is " The Cathe- dral Prayer Book." Beformed Churches on the Continent held chanting in dis- favour, like the English Puritans, preferring metrical versions of the psalms and other passages of scrip- ture used in worship. Modern Angli- can chants are either Single, consist- ing of a first strain of three and a second of four measures in length; or Double, having twice the length of a single chant. As originally sung in the Roman liturgy every syllable was soimded to a single note, and the Gregorian chant had five parts: the intonation, the first reciting note or dominant, the mediation, the second reciting note or dominant, and the ending. The Anglican chant elimi- nates the intonation, and permits sev- eral words to be chanted to the note, perfecting the rhythm. Fitting words to the music is called " pointing," and, in the absence of authority, editors have exercised their own discretion in pointing the psalter and canticles. Chant jkgal. Fr. Chant on two tones or chant en ison. Chantant. Fr. Singing. Chanter. One who chants; lay vicar. Chanter g, Livre Ouvert. Fr. Sight singing. Chanterelle. Fr. A violin's E string; highest string on instruments, generally employed in producing a melody. Chanterres. Fr. Mediasval ballad singers or cantadours. ChanteuT. Fr. Male singer. Chanteuse. Fr. Female singer. Chant Gregorien. Fr. Plain song or Gregorian chant. Chantries. Roman Catholic chapels endowed for the celebration of masses attached to cathedrals and monasteries. Chant sur la Livre. Fr. Cantus fermus sung, usually by the bass, with free contrapuntal accompaniment of higher voice. Chapeau Chinois. Fr. Small bells arranged on a frame resembling a Chinese hat. Chapelle. Fr. Choir or orchestra or musical establishment, either reli- gious or secular. Chapelle, Maitre de. Fr. Chapel- master. Chapels Royal. Clergy and lay clerks attached to royal families. There are English chapels royal at Whitehall, and St. George's, Windsor, but the term is usually restricted to the chapel at St. James's Palace, where the establishment, besides the clergy, includes ten boys, eight gentlemen, a chapelmaster, an organist, and a composer. Chappell & Co. publish music and manufacture pianos in London. The house was founded in 1812 by Samuel Chapell, Francis Tatton La- tour, and John Baptist Cramer, but eventually passed to the exclusive control of Mr. Chapell, who died, 1834, leaving the business to his widow and sons. William wrote on music, pub- lished song collections, and projected the Musical Antiquarian Society, 1840. B. London, Nov. 20, 1809; d. Aug. 20, 1888. THOMAS PATEY planned the London Saturday and Monday Popular Concerts, which were managed by his younger brother Ar- thur, and together they aided in building St. James's Hall. Thomas Patey died 1902, and his son T. Stan- ley succeeded to his Interest in the house, which had become a corpora- tion, 1896. Chappington (John) built organs in England. D. 1606. Chappie (Samuel) composed and played organ 40 years at Ashburton, though blind from infancy. B. Cred- iton, Eng., 1775; d. Oct. 3, 1833. Characteristischer Ton. &er. Leading note. Characters. Signs employed in NOTATION. CharacterstUcke. Ger. Descrip- tive music. Chard (Dr. George William) com- poser church music and glees; organ- CHARITY 109 CHElTCSt ist Winchester Cathedral. B. Win- chester, Eng., 1765; d. May 23, 1849. Charity Children attached to Lon- don charity schools held annual song festivals in St. Paul's Cathedral, 1704 to 1877, mustering from 5000 to 6000 voices. Charles II. Sir George A. Mac- farren'a two-act English opera, to book by Desmond Ryan, was first performed in London, 1849. Charpentier (Gustave) composed the opera "LOUISE," Paris Op6ra Comique, 1900; " Orphee," " Tgte rouge," " La Couronnement de la Muse"; ranked with the best of younger French composers. A native of Dieuze, Alsace-Lorraine, his par- ents removed to Turcoing after the Franco-Prussian war; at 17 he en- tered the Lille Conservatory, won many prizes; became pupil of Mas- sart, Pessard, and Massenet at the Paris Conservatoire; captured the prix de Rome, 1887, with " Didon," his " sc6ne . lyrique " ; composed the suite " Impressions d'ltalie " ; and a " symphonic drama," " La Vie de Po6te," in four movements for orches- tra, chorus, and soli, to his own words. Other important works of more recent date are : " Fleurs de Mai," to Bau- delaire's poems ; " Quinze pofemes chant6s"; an orchestral suite, 1894; "Serenade a Watteau," 1896; "Impres- sions fausses," orchestra and voices. B. June 25, 1860; add. Paris. Charpentier (Marc Antoine) com- posed 17 operas, music to plays by MoliSre andOorneille; church music, or- atorios, cantatas, symphonies ; chapel- master to the Ste. Ohapelle and in- tendant to Due d'Orleans; Regent of France. B. Paris, 1634; d. 1702. Chasse, a la. Fr. In hunting style. Chatterton (John Balsir) com- posed for harp ; harpist to Queen Vic- toria. B. Norwich, 1802; d. London, April 9, 1871. Chatzozerah or Khatsotsrah. Hei. Silver trumpets used by Moses for calling the assembly and " for the journeying of the camps." Chausson (Ernst) composed " H6- 16ne," two-act lyrical play; music for Shakespeare's " Tempest," " La L6- gende de Sainte-C6eile," lyrical play, and "Le Roi Arthus," Brussels, 1903; three symphonic poems, " Solitude dans le bois," " Viviane," " Soir de fete"; symphony in B minor; "Jeanne d'Arc," and other songs with orches- tra, church, and chamber music ; pupil of Cesar Pranck. B. 1855, Paris; d. Limay, July 10, 1899. Chauvet (Charles Alexis) com- posed for and played organ at the Trinite, Paris; pupil of Benoist and Ambroise Thomas. B. June 7, 1837; d. Jan. 28, 1871. Chavanne, von (Irene) sang con. Dresden Court Opera, 1885; pupil Vienna Conservatory. B. Gratz, 1867 ; add. Dresden. Check. Part of the action in pianos which holds the hammer from the time it falls back from the string until released by rising of the key. Cheese (Griffith James) played and wrote on piano and organ. B. 1751; d. Loiidon, Nov. 10, 1804. Chef d'Attaque. Fr. Concert- meister. Chef d'oeuvre. Fr. Masterpiece. Chef d'Orchestre. Fr. Conductor of orchestra. Chef du Chant. Fr. Operatic chorusmaster. Chelard (Hippolyte Andrg Jean. Baptiste) composed the opera " Mac- beth," to book by Rouget de I'lsle; " Die Hermannschlacht," " L'Aquila Romana " (posth.) ; comic operas; chapelmaster at Munich and Weimar; conductor German opera in London; pupil of Gossec, M6hul, Kreutzer, and Cherubini at Paris Conservatoire; won prix de Rome, 1803. B. Feb. 1, 1789, Paris; son of clarinetist at Grand Opera; d. Feb. 12, 1861. Chelidonizing. Singing the "swal- low " or spring song. Chell CWilliam) wrote on music, in which he graduated at Oxford, 1524; held appointments at Hereford Cathedral until deposed by Elizabeth. Chelys. Or. Mercury's lyre; ob- solete name of viol. Cheng. Chinese mouth organ, said to have suggested invention of accor- deon and melodeon. dHEKTTBINI 110 CHESTEK Chembini (U. Luigi C. Z. S.) composed 15 Italian and 14 French operas, 17 cantatas, 11 masses, an ora- torio, two requiems, a symphony, and chamber music; influenced the devel- opment of French composers during nearly half a century at the Paris Conservatoire; was esteemed the greatest living writer for the stage by Beethoven, and was the last great master of polyphonic style. His mas- terpieces were " Les DEUX JOUR- NEES" ("The Water Carrier"), an opera which has held its own with German, French, and English audi- ences, and a celebrated Requiem in C minor. Son of the cembalist at the Pergola Theatre, Florence, Maria Luigi Carlo Zenobio Salvatore, to give his name in full, began to learn music from his father at six, and composition at nine. At 16 he had composed three cantatas, an oratorio, a Te Deum, three masses, two Dixits, a Miserere, a Mag- nificat, and other works, and at 17 the Archduke, afterwards Emperor Leopold II, sent him to study with Sarti, of Bologna, where he remained four years, thoroughly mastering counterpoint, and writing antiphons in imitation of those of Palestrina. In 1780 " Quinto Fabio," his first opera, was produced at Alessandria. From 1784 to 1786 he was in London, where his operas " La Finta Principessa " and " Giulio Sabino " were given. The next year he spent in Paris, then returned to Italy. His opera " Ifigenia in Aulide " was produced at Turin, after which he returned to Paris. His music had hitherto been modeled upon that of the Neapolitan dramatic composers, but in 1878 he produced " Dgmophon," to book by Marmontel, which proved a radical departure from existing con- ventions, marking out a style dis- tinctly his own. He conducted the Italian opera at Paris, and when the Conservatoire was founded, became one of the inspectors of studies. The post was unsuitable, Cherubini was out of favour with Napoleon, and had contracted a marriage which was by no means happy, and in 1805 he was glad to accept a commission to write an opera for the Vienna Imperial Theatre. During a sojourn in that city he met Beethoven, whose admira- tion he does not seem to have re- turned, and produced the operas "Was- sertrager" ("The Water Carrier" or "Deux Journfies") and "Faniska." Shortly afterwards Napoleon captured Vienna, and Cherubini likewise. Men- tal anxieties broke down his health, and Cherubini went into retirement at the country seat of Prince Chimay. There he was asked to write a mass for the dedication of a church. The three-part mass in F resulted, 1809, and thereafter, while not wholly aban- doning the stage, the composer de- voted himself mainly to church music. On his return from Elba Napole.in gave Cherubini the cross of the Legion of Honor, and during the reign of Louis XVIII he became a member of the Institute, joint surintendant of the king's music, and finally director of the Conservatoire, a post he' held until his death. Other works to be noted are " Marguerite d'Anjou," " Lodoiska," " Koukourgi " ( altered, expanded, and renamed "Ali Baba"); "Elisa," " M6d6e," operas ; the ballet operas " Anacreon " and " Achille a Scyros " ; the later operas, " Pimmalione," " Le Crescendo," and " Abenc^rages," and " Ali Baba " ; symphony in D for London Philharmonic Society; the masses in F, D minor, A flat; the Solemn Mass in C, the Requiem in C minor, and the Requiem in D minor for male voices. B. Florence, Sept. 14, 1760; d. Paris, Mar. 15, 1842. See biography: Edward Bellaais, Lon- don, 1874; " Derniers souvenirs d'un musicien," Adolphe Adam, 1859. Cherubinical Hymn. Trisagion or Ter Sanctus; in English that part of the communion service beginning " Holy, Holy, Holy." Chest of Viols. Set of two trebles, two tenors, and two basses was so called in the 17th century, and when supplemented by harpsichord or organ and a few woodwinds, sui&ced for the ordinary orchestra. Chester Musical Festival was founded 1772 under the direction of Dr. William Hayes, conductor, and Mr. Orme, the Cathedral organist. CHEST TONE 111 CHICAGO Festivals were continued at irregular intervals until 1829, when they ceased, to be revived 50 years later by Dr. Bridges, since which time they have been given triennially with great ar- tistic success. Chest Tone or Voice. The lowest or first register. Cheval de Bronze. Daniel F. E. Auber's three-act comic opera, to book by Scribe, was first performed Mar. 23, 183S, at the Paris Opera Comique. An English version is known as " The Bronze Horse." Chevalet. Fr. Bridge of stringed instruments. Chevalier composed 34 court bal- lets, 1587-1617, and played violin at courts of Henri IV and Louis XIII of France. Chev€ (Armand) directed the £icole Galin-Paris-Chev6, in Paris, which is devoted to teaching sight singing and sight reading by means of a numerical notation combined with sol-fa. Jean Jacques Rousseau was first to suggest the numeral system of notation, and his theories were adapted to practical use by Pierre Galin, a Bordeaux teacher of mathematics, 1786-1821. Airafi Paris, Galin's pupil, devised the special nomenclature which has grown into the Tonic Sol-Fa sys- tem, 1798-1866. Emile Ghev6, a phy- sician who married a sister of Paris, wrote an account of the system " M6- thode Elementaire de la Musique Vo- cale," and the vigorous propaganda that followed resulted in the introduc- tion of the method in the schools of Paris and many other cities. Chevillard ' (Pierre Alexander Frangois) played and taught 'cello in the Paris Conservatoire, and founded the " Society des derniera quatuors de Beethoven," 1835. B. Antwerp. Jan. 15, 1811; d. Paris, Dec. 18, 1877. Camille composed a "Ballade symphonique," "Le ChSne et le Roseau," symphonic poem ; cham- ber music ; headed the " Soeifitg f ran- caise de musique de chambre," assisted Lamoureux at the first Parisian per- formance of " Lohengrin," 1887 ; con- ducted concerts in succession to Lam- oureux, whose daughter he m., and who translated Weingartner'a book on the symphony. B. Paris, Oct. 14, 1859; son of PIERRE A. F.; add. Paris. Cheville. Fr. Peg used in string instruments. Chevroter. Fr. To quiver; faulty vocalization. Chiabran (Francesco) composed and played violin; pupil of his uncle Somis; known also as Chabran or Chiabrano. B. Piedmont, 1723. Chiara. It. Pure, distinct. Chiaramente. It. Clearly, purely. Chiarezza, con. /*. With bright- ness, or clearness. Chiarlna. It. Clarion or trumpet. Chiave. It. Clef or key. Chiavette. /*. "Little keys or clefs." Transposing clefs used for higher Church Modes to keep the notes within the limits of the staflf. Chica. South American Spanish dance, said to have originated with Moors. Chicago traced its eminence in music to 1891, when Theodore THOMAS was brought from Cincin- nati with the majority of his players to found the Chicago Orchestra, now known in his memory as the Thomas Orchestra. For many years the con- certs of this organization were given in the Chicago Auditorium, which was, in the opinion of competent judges, one of the best, as well as the largest of theatres suitable for musical per- formances in America. It is to be noted with regret that the directors of the Auditorium Association, finding this house unprofitable, proposed to remodel it in 1909 for hotel or busi- ness purposes. At first the Chicago orchestra numbered 60 men, and con- certs were given twice each week for a comparatively short season. In 1901 the orchestra was enlarged to 90, and the patronage of the concerts had so increased as to justify plans for the erection of a Symphony Hall. Mr. Thomas survived long enough to conduct the first concerts in the or- chestra's new home, and on his decease Frederick A. STOCK became conduc- tor. In 1908-9 biweekly concerts were planned for a season of 22 weeks. eaiOAGO 112 CHILSTON and in addition there were occasional Adolf Carpen. The registration then tournees. Chicago is the seat of many included 2000 students. The Bush educational institutions. The Ameri- Temple Conservatory embraced can Conservatory of Music was au- schools for languages, opera, and thorized by a charter of the state of acting, as well as music in all of its Illinois to confer certificates and the branches, and was in affiliation with degree Bachelor of Music, the latter producing theatres. Kenneth M. Brad- on completion of a post graduate ley was the director in 1908. Chi- course. It professed to give the most cage Musical College was founded thorough Course of study in the art 1869, and in 1908 included, besides of music that could be found in Amer- all branches of music, schools of iea. The Conservatory was founded acting, opera of expression, and of in 1886 by John J. Hattstaedt, who modern languages. In that year Dr. was its president and head of the Ziegfeld was president, and the board piano department in 1908. Other of musical directors included William members of the faculty then were: Castle, Hugo Heerman,Bernhard Liste- Piano: Victor Garwood, Allen Spen- mann. Dr. Louis Falk, Herman De- cer, Heniot Levy, Silvio Scionti, Jen- vriea, Hans von Schiller, Felix Borow- nette Loudon, Effie Murdock, Ida ski, Ernesto Console, Mrs. O. H. Fox, Kaehler, Lillian W. Pomeroy, Louise and J. H. Gilmour. Of the many im- Robyn, Florence Hackett, Earl Blair, portant singing societies called Apollo May Doelling, Ella Mills, Amanda Club one of the largest and most im- Closius, Sadie Krause, Helen Ashley, portant is domiciled in Chicago. In Lucile Fitzgerald, Albertine Heller, 1908 the musical director wias Harri- Edna Cookingham, Frank Van Dusen, son M. Wild. Emma Dean, George Weiler, Kurt Cliickering (OTonas) founded the Wanieck, Clyde Stephens. Singing: first important American piano fae- Karleton Hackett, E. C. Towne, Ragna tory, 1823. B. New Ipswich, N. H., Linng, John T. Read, O. E. Robinson, 1798; d. Boston, 1853. Col. Thomas Jennie Johnson, Susan E. Drought, E. C. took first prize at the Paris Ex- Viola Paulus, Heater Schoeninger. position of 1867 with an improved Violin: Herbert Butler, Adolf Weidig, piano; became Chevalier of the Le- Charles Moerenhout, Josef Halamicek, gion of Honor; continued the piano William Eis, George Colbum, Lulu business. B. Boston, 1824; d. 1871. Sinclair, Mary Cox. Organ: Wilhelm His sons succeeded to the business, Middelsehulte, Effie Murdock, Sara L. which was incorporated. In 1908 C. Beals. Harmony, Counterpoint, Com- H. W. Foster was president of the position: Adolf Weidig, Hubbard W. company. Harris, Charles Elander, George Col- CMesa. /*. Church, burn. Orchestration: Adlof Weidig. ChifEres. Fr. Figures, as Basse, Violoncello: Jan Kalas. Harp: Alice FIGURED BASS. Genevieve Smith. Clarinet: Frank Chilcot (Thomas) composed songs Schoepp. Cornet: J. D. Llewellyn, to words by Shakespeare and harpsi- Flute: Herman Wiesenbach. Trom- chord concertos; played organ at hone: Gustav Stange. Bassoon: Paul Abbey Church, Bath, Eng. D. 1766. Kruse. Mandolin, Gmtar: J. B. Cor- Child (Dr. William) composed bett. Ensemhle PloA^ing : AAoM'WiiidA.g. services and other church music ; com- Normal Department: John J. Hatt- poser to Charles II of Eng.; organ- staedt,Victor Garwood, Karleton Hack- ist Chapel Royal. B. Bristol, 1606; ett, Allen Spencer, Jennette Loudon, d. Mar. 23, 1697. Louise Robyn. PubUc School Music: Chilesotti (Oscar) wrote valuable O. E. Robinson, George A. Blackman. books on musical antiquities; ama- Dramatic Art, Oratory: Emma G. teur 'cellist and flautist; graduated Lumm-Crane, Frances Donovan, Helen in law at Padua. B. July 12, 1848, Alden, Mary L. Abell. Italian and Bassano; add. Milan. French: Stephen Spagiari. German: Chilston wrote on theory in Eng- CHIME BELLS 113 CHOPIN land, 15th century, viewing music as words from Spencer's " Polynietis," a branch of applied mathematics. His was first performed Mar. 1, 1751, at treatise is almost entirely reprinted Covent Garden, in Hawkins' "History of Music." Choir. In abbey or cathedral Chime Bells attuned to a scale and churches that portion set apart for played either by striking by hand with the daily services, usually the eastern a hammer or by ringing, either to an- end, which is sometimes enclosed by nounce worship or the hour of the a screen; the singers in a church; day. The BARREL mechanism has subdivisions of a church chorus, that been applied to chime ringing, and seated near the Cantor or Precentor Lewis, the organ builder, invented a being the Cantoris,^ as distinguished pneumatic chime. from that seated near the Dean, or Chinese Pavilion. CHAPEAU Decani. CHINOIS. Choirman. Adult member of a Chipp (Dr. Edmund Thomas) choir, composed the oratorio " Job " ; " Na- Choir Organ. Small organ used to omi, a Sacred Idyl," church and organ accompany the choir, formerly placed music; played organ Ely Cathedral, in front of and below the Great Eng. B. London, Deo. 25, 1823; d. Organ. Nice, Dec. 17, 1886. ChoUet (Jean Baptiste Marie) Chlrimia. 8p. Oboe. created many ten. rSles in operas of Chirogymnast. Any apparatus H€rold, Auber, Adam, Halevy, and designed to strengthen the fingers. Balfe, at Paris Opgra Comique. B. Chironomy. Gesticulations of the Paris, May 20, 1798; d. Nemours, hands in conducting. Jan. 12, 1892. Chiroplast. Instrument invented Chopin (Prangois Prederic) com- by Logier, 1810, consisting of position posed piano music unsurpassed for frame and wrist and finger guides to perfection in style, rich singing qual- aid in correct performance on the ity, and originality; played with a piano. delicacy combined with poetic fervour Chitarra. /*. GUITAR. which distinguished him above the Chitarra col Arco. It. String in- other great pianists of his generation, strument shaped like guitar but played developing a style of piano technique like viol. in which " everything must be made Chitarrina. It. Small Neapolitan to sing " instead of aiming chiefly at guitar. orchestral effect. Son of Nicholas Chitarrone. /*. Large double- Chopin, who had gone from Nancy to necked lute or theorbo with two sets Polaind, becoming first bookkeeper in of wire strings, especially useful for a snuff factory, afterwards a captain bass accompaniment. in the National Guard, and finally a Chiuso. It. Closed; concealed. teacher of French, in the Warsaw Chladni (Ernst Plorens Pried- Lyceum, Chopin inherited from his rich) made the first serious investi- mother, born Justine Kryzanowska, gations into the laws of sound, and much of the temperament of his na- embodied his experiments, among tive land, for which he ever retamed which was that showing the vibration a patriotic devotion. Adalbert Zywny of plates and chords by means of sand was his first teacher, and he first ap- sprinkled over them, in a "Treatise peared in concert at nine, and as a on Acoustics," which Napoleon gave composer at 11. At 12 he entered him 6000 francs to translate into the Warsaw conservatory, studying French; invented the OLAVICY- with Joseph Eisner, and at 14 his LINDER B NOV 30 1756; LL.D.. -d° /" ^ ^-^^^0^ "'l^ ^i ""ilTeU'- T'^o"^ ' °aV Op. 2, the trio for piano and Choice of Hercules. George; Fred- strings, Op. 8, the sonata. Op 4, the erick Handel's musical interlude, to E minor nocturne, and the polonaises 8 CHOPIN 114 CHOPIN in G minor, D minor, and B flat were union of two such opposing natures composed before he was 19, at which could only result in unhappiness for time he first visited Berlin. In 1829 both, but each found in the other a he gave successful concerts in Vienna, fertile source _ of " copy." George and after a brief sojourn at Warsaw, Sand's impressions of the pianist are departed on a concert tour in 1830, recorded in " Un Hiver a Majorque," which included Breslau, Dresden, the "Histoire de ma Vie," and " Lu- Prague, Vienna, Munich, and Stutt- crezia Floriani " ; while those of gart, but which proved a financial Chopin found expression in his pre- failure. In the latter city he composed ludes, Op. 28, and other works. They the etude in C minor. Op. 10, No. 12, returned to France in the spring of believed to have been inspired by his 1839, spending their summers at grief at the capture of Warsaw by the Nohant, their winters in Paris, until Russians. Debarred by physical frail- 1847, when they separated after a ties from fighting for Poland, Chopin bitter quarrel, the shock of which henceforth regarded himself as an may have hastened the composer's exile, and made his home in Paris, end. On the outbreak of the Revolu- where the misfortunes of his country tion of 1848, Chopin went to England, caused him to be received with great where he gave a number of concerts, cordiality. In 1832 Chopin gave his although so weak he had to be carried first concert in Paris, and although into the concert room. In the fall he embarrassed at first by want of money, visited Scotland, but his concerts soon established himself as a teacher failed to arouse enthusiasm, and in and concert pianist. He formed the 1849 he returned to Paris, where he acquaintance of the leading musicians died, and was buried at the PSre-Ia- of the period, including Bellini, Cheru- Chaise, after an elaborate funeral ser- bini, and Meyerbeer, but does not ap- vice attended by all the musicians of pear to have won the regard of either the French capital, at which Mozart's Liszt or Berlioz. However, Schumann Eequiem was sung. B. Zelazowa reviewed some of his compositions Wola, near Warsaw, Mar. 1, 1809; with the eulogy "Hats off, gentlemen! d. Oct. 17, 1849. See Nieck's "Life," a genius!" and his music soon ac- London, 1888; Hunneker's "Chopin," quired a ready sale in Gtermany. In New York, 1900. A complete list of 1835, Chopin visited Carlsbad, where Chopin's works follows: Rondo, C he saw his parents; Dresden and minor, Op. 1; "La Ci darem," varia- Leipsic, in the latter city meeting tions. Op. 2; Introduction and Polo- Mendelssohn, Schumann, and Clara naise for piano and 'cello in C, Op. 3; Wieck. The following year he again sonata in C minor, Op. 4; Rondo a toured Germany, and in 1837 made la Mazur, Op. 5; 4 mazurkas, Op. 6; his first visit to England, where he 5 mazurkas. Op. 7; trio piano and consulted a physician regarding the strings. Op. 8; 3 nocturnes. Op. 9; pulmonary troubles which finally re- 12 etudes. Op. 10; E minor concerto, suited in his death, and where he like- Op. 11; "Ludovic," variations. Op. wise arranged for the publication of 12; fantasia on Polish airs. Op. 13; his music by Wessel & Co. 1837 was Krakoviak rondo. Op. 14; 3 nocturnes, memorable for the beginning of his Op. 15; E fiat rondo. Op. 16; 4 liason with Mme. Dudevant (George mazurkas. Op. 17; E flat valse. Op. Sand), to whom he had been intro- 18; bolero. Op. 19; B minor scherzo, duced by Liszt, and with whom he Op. 20; P minor concerto. Op. 21; went to Majorca in the fall of 1838. E flat polonaise, Op. 22; G minor bal- Chopin's disease had progressed to an lade, Op. 23; 4 mazurkas. Op. 24; 12 alarming stage by this time. He was etudes, Op. 25; 2 polonaises. Op. 26; naturally a sentimentalist, morbid, 2 nocturnes. Op. 27 ; 24 preludes. Op. frail, of almost effeminate delicacy, 28; A flat impromptu, Op. 29 ; 4 ma- while Mme. Dudevant was robust, zurkas. Op. 30 ; B flat minor scherzo, masculine, and of virile intellect. The Op. 31; 2 nocturnes. Op. 32; 4 ma- CHOB 115 CHORD zurkas. Op. 33; 3 valses, Op. 34; B flat minor sonata, Op. 35; F sharp impromptu, Op. 36; 2 nocturnes, Op. 37; Ballade in F, Op. 38; C sharp minor scherzo. Op. 39; 2 polonaises, Op. 40; 4 mazurkas, Op. 41; A flat valse. Op. 42; tarantelle. Op. 43; polonaise, F sharp minor, Op. 44 ; pre- lude, C sharp minor. Op. 45; allegro de concert, Op. 46 ; A flat ballade, Op. 47 ; 2 nocturnes. Op. 48 ; F minor fan- tasia. Op. 49; 3 mazurkas, Op. 50; D flat impromptu. Op. 51; F minor ballade. Op. 52; A flat polonaise. Op. 53 ; scherzo in E, Op. 54 ; 2 nocturnes, Op. 55 ; 3 mazurkas. Op. 56 ; berceuse. Op. 57; B minor sonata. Op. 58; 3 mazurkas. Op. 59; barcarole. Op. 60; polonaise fantasie. Op. 61; 2 noc- turnes. Op. 62; 3 mazurkas, Op. 63; 3 valses. Op. 64; G minor sonata for piano and 'cello. Op. 65; fantasie im- promptu. Op. 66 ; 4 mazurkas, Op. 67 ; 4 mazurkas. Op. 68 ; 2 valses. Op. 69 ; 3 valses. Op. 70; 3 polonaises. Op. 71; E minor nocturne, marche funebre in C minor and 3 Ecossaises, Op. 72; rondo in C for two pianos, Op. 73 ; 17 songs with piano accompaniment; 3 etudes; mazurkas in G, B flat, D, C, and A minor; valses in E major and minor; polonaises in G sharp minor and B flat minor; variations in E; duet concertante for piano and 'cello; fugue and nocturne. Op. 4, Op. 5 ; Op. 66, and all succeeding compositions in this catalogue were published after the composer's death. Chor. Ger. Chorus. Choragus. Or. Chorus leader in ancient Greek drama; titular musical official in Oxford University, Eng. Choral. Pertaining to the chorus or choir. Chorale. Ger. "Hymn tunes." With the substitution of German for Latin in church services by Martin Luther and his followers, it was found that melodies in rhythmic music were more popular with the people than the old Gregorian church music, so, while the older music was retained in some instances, secular tunes were often adapted to hymns, and new tunes and new hymns were evolved by the Prot- estant leaders. Luther wrote many hymns and hymn tunes himself, the most famous being " Ein feste Burg," which is reproduced in the works of Bach, Mendelssohn, Meyerbeer, and Wagner; and in 1524 he published a collection of hymns, with Walther, known as the " Urfurt Enchiridion." Elaboration of chorales into contra- puntal works with organ accompani- ment, practised by Johann Sebastian Bach and a host of lesser musicians, gave rise to a distinctive school of German organists and composers, and has had an important influence on all modern German music. Choral Fantasia. Ludwig van Beethoven's composition first per- formed Dec. 22, 1808, at the Theatre an den Wien, Vienna, foreshadowed the Choral Symphony. It is in C minor, scored for solo piano, orchestra, solo quartet, and chorus. Choral Harmonic Society gave amateur concerts of vocal and instru- mental music in London, 1837. Choral Harmonists Society gave amateur concerts of the larger choral works with orchestra from 1833 to 1855 in London, having seceded from the City of London Classical Harmonists. Choral Service. Anglican church service which is sxuig or chanted throughout. Choral Symphony. Ludwig van Beethoven's ninth and his only sym- phony with chorus was commissioned by the London Philharmonic Society, Nov. 10, 1822, for $250, and bears the inscription " Grosse Sinfonie ge- schrieben fiir die Philharmonische Ge- sellschaft in London von Ludwig van Beethoven," but was first performed at the Karnthnerthor Theatre, Vienna, May 7, 1824, and in London, Mar. 21, 1825. The work was probably begun by Beethoven as early as 1817, al- though he had thought of setting Schil- ler's "Ode to Joy," which forms the text, as early as 1792. Choral Vicars. Lay vicars who supervise music in Anglican cathe- drals. Chord. Several musical sounds in combination whether dissonant or con- sonant, as the chord of the dominant, the common chord, the chord of the CHORD 116 CEOTTDENS, BE sixth, of the ninth, of the diminished seventh, a major or minor chord. Chord. String. Chorda Characteristica. h. Chord of the seventh. Chordae Essentlales. h. Key chords. Chordaulodion. Automatic in- strument of BARREL type invented by Kauffmann of Dresden, 1812. Chordient or Chorampt. Qer. Choral service. Chordirektor. Gter. Chorusmaster. Chordometer. Gauge for measur- ing strings. Chords Etouffes. Fr. Damped chords. Choriambus. Metrical foot com- posed of two short between two long syllables. Chorister. Any singer in a chorus or choir; in a more restricted sense, boy singers attached to Anglican Cathedrals or Chapels Royal or such vested choirs as that of Trinity Church, New York, wherein the boys receive instruction, and in some in- stances food, lodging, and an allowance of money for their services. Many of the privileges belonging to choristers in England, such as educational facili- ties, the right to exact certain fees and to elect " boy bishops " have dis- appeared, but the tendency to assume entire control of the physical, mental, and moral well being of the chorister is beginning to assert itself again in the English Cathedrals. The office of chorister has assumed additional im- portance in Catholic countries of late years since the promulgation of mu- sical reforms and a return to the strict Gregorian style. Any number of choristers have achieved places of dis- tinction in church and state, and. from Palestrina and Bach, to Dr. Burney and Sir Arthur Sullivan, hundreds of eminent musicians obtained their first instruction as choristers. Chorley (Henry Eothergill) wrote "Modern German Music," 1854; " Thirty Years Musical Recollections," 1862; "Handel Studies," 1859; "Na- tional Music of the World," 1880 (posth. ), and music criticism for the London " Athenseum " from 1830 to his death; translated libretti and wrote songs. B. Dec. 15, 1808, Black- ley Hurst, Lancashire, Eng.; d. Lon- don, Feb. 16, 1872. Choron (Alexandre Etienne) pub- lished a " Dictionnaire des Musi- ciens," many works of the German and Italian masters; composed many songs, including "La Sentinelle," which is still popular; translated and edited Albrechtberger's works; taught many eminent musicians; directed music at public fgtes from 1812 to close of Napoleon's reign; founded " Institution Royale de Musiq\ie clas- sique et religieuse," which he directed 1824-30. B. Oct. 21, 1772, Caen; d. June 29, 1834. Chorton. Obsolete pitch to which organs were tuned, higher than pitch for secular music. Chorus. Those who sing the choruses, whether in opera, oratorio, concert, or in church. In ancient Greece the chorus was composed of men and women who recited com- ment and explanatory text on the action as presented by the principal actors. The first operas were an attempt at reviving the classic trag- edy, and a similar duty again de- volved upon the chorus, which was ranged upon the stage in two rows, and took no part in the action. Gluck was the first operatic composer to em- ploy the chorus in such a manner as to make the singers part of the dra- matis personse, contributing to the action of the piece. Choruses may be written in any number of parts. Bach sometimes wrote for chorus in unison, Handel generally for four-part chorus in his oratorios, and Tallis composed a motet in 40 parts. Choruses are often divided into choirs, and there are masses in the Italian style for 10 and 12 choirs of four voices each. Tlie burden or refrain of a song is called its chorus. The term was once employed as equivalent to the modern word ensemble. Chorus was the name of an obsolete instrument of the trumpet family and is also the name of the mixture and compound organ stop. Choudens, de (Antoine) founded CHOTIQUET liy CHWATAIi the Paris music publishing house known as Choudens flls, June, 1845. D. 1888, when the business passed to his son Paul. Chouquet (Adolphe Oustave) wrote " Histoire de la Musique dra- matique en France," " Le Musfe du Conservatoire national de Musique," contributed to musical periodicals; taught music in New York, 1840-56; keeper of the Museum of the Paris Conservatoire, 1871. B. April 16, 1819, Havre; d. Paris, Jan. 30, 1886. Chrismaiin (Franz Xavier) built organs in Austria; secular priest. B. 1715; d. Rottenmann, Styria, May 20, 1795. Christe Eleison. Gr. Part of the KYRIE in the MASS. Christmaiin (Johann Friedrich) wrote on theory, composed, played flute and piano; Lutheran clergyman. B. Sept. 10, 1752, Ludwigsburg; d. May 21, 1817, Heutingaheim. Christmas Carol. CAHOL sung at Christmas tide. Christmas Music. Music appro- priate to the Feast of the Nativity. Christmas Oratorio. Johann Se- bastian Bach's six church cantatas composed for the holy days in Christ- mas tide, 1734, to words written by Picander and himself; called in Ger- man " Weihnachtsoratorium." Christus. Felix Mendelssohn's ora- torio to words by Chevalier Bunsen was begun 1844, laid aside until the completion of "Elijah," resumed in 1847. Eight numbers were published after Mendelssohn's death, and these were sung, 1852, at the Birmingham (Eng.) Festival. Christus am Oelberge. Beetho- ven's first choice of name of the work now known as the "Mount of Olives." . , Chroma. Gr. "Color." One of the modifications of the Greek musical Chroma Duplex. L. Semiquaver; double sharp. Chromatic. A scale consisting of a succession of semitones; an interval augmented or diminished by a sharp, flat, or natural; a chord containing a note or notes foreign to diatonic pro- gression; harmony made up of chro- matic chords. Chromatique. Fr. CHROMATIC. Chrotta. Obsolete instrument of viol family also called CRWTH and crowd. Chrysander (Friedrich) wrote a biography of Handel remarkable for the abundance of material and minute research as well as for his exaggerated idea of that composer's importance, and for the writer's opposition to modern music; edited ifiindel's com- plete works for the Handel Gesell- sehaft. B. Lubthee, Mecklenburg, July 8, 1826; d. Sept. 3, 1901, Bergedorf. Church (John) wrote an " Intro- duction to Psalmody," 1723; master of choristers, Westminster Abbey. B. Windsor, 1675; d. Jan. 6, 1741. Church (John.) founded the John CHURCH 00. after having had 11 years' experience in the music house of Oliver Ditson Co., Boston, Mass. B. Boston, May 9, 1834; d. April 19, 1890. Church Company, John, was founded in Cincinnati by John CHURCH in 1859, published music and manufactured the Everett Piano. In 1869 the trade name was changed to John Church & Co. In 1872 the house purchased the plates of Root & Cady and later, in the same year, the stock and good will of Root & Sons Music Co., both of Chicago, and opened a branch house in New York City. In 1908 branches were also operated in Chicago, Leipsic, and London. In 1885 the company was incorporated with Mr. Church as president, and estab- lished its piano factory in Boston. In 1892 it was reorganized with a capital of $1,250,000 and Frank A. Lee became president and general manager, which offices he held in 1908. Fac- tories subsequently established are known as the Harvard, the Dayton, and the John Church Co., and are located in Dayton, Ky. Chwatal (Franz Xavier) composed more than 200 salon pieces for piano. B. Rumburg, Bohemia, June 19, 1808; d. Soolbad, Bhnen, June 24, 1879. CIACCOITA 118 CIHAItOSA Joseph improved the action of the organ and founded the organ building firm of Chwatal & Sohn at Merseberg. B. Jan. 12, 1811; brother of FRANZ XAVIER. Ciaccona. It. CHACONNE. Ciaja, della (Azzolino Bernar- dino) composed masses, motets, and cantatas; was Knight of St. Stephen, and presented to the church of that order in Pisa a splendid organ of which he supervised the building. B. Mar. 21, 1671, Sienna. Ciampi (Legrenzio Vincenzo) composed " Didone " and many other operas, church, and chamber music. B. 1719, Piacenza; visited London, 1748. Cianchettini (Veronica) composed piano sonatas and concertos and taught. B. 1779, Czaslau, Bohemia; sister of L. Dussek; m. Francesco Cianchettini. Fio composed cantata to words from Paradise Lost; edited Mozart and Beethoven's works ; played piano at the London Opera House ut five and traveled as an " infant prod- igy." B. Dec. 11, 1799, London; son of VERONICA; d. July 20, 1851, Cheltenham. Cibber (Susanna Uaria) ranked as the greatest tragic actress of her generation, but sang con. so admirably that Handel composed for her; oper- atic debut as Amelia in Lampe's opera. Mar. 13, 1732, at the Haymarket, Lon- don. B. Feb., 1714; sister of DR. ARNE, whose pupil she was; m. Theophilus Cibber, 1734; d. Jan. 30, 1766. Cld. Jules Emile Frederic Masse- net's opera in four acts and ten tab- leaux, to book by Dennery, Gallet, and Blau, based on the well known legends of the Spanish hero, was first per- formed Nov. 30, 1885, at the Academic, Paris. Rodrigue, "The Cid " loves ChimSne, whose father. Count Gormas, he is compelled to kill in a duel. ChimSne demands vengeance of King Ferdinand IV, but is counselled to wait, as Rodrigue's services are needed to repel a Moorish invasion. When The Cid returns victorious Chimgne demands his head, and the King agrees, only requiring that she shall herself pronounce sentence. Chim6ne does so, but it is a sentence to marriage, not of death. The original caste included : Rodrigue, Jean de Reszke, ten.; Gor- mas, Pol. Plancon, bass; Don Diggue, Ed. de Reszke, bar. ; ChimSne, Mme. Fidfis-DevriSs, sop. The principal mu- sical numbers are : Act I : " Que c'est beau," ChimSne and Gormas ; " Ah, la chSre promesse," ChimSne and In- fanta ; " O, noble glave fitincelant," Rodrigue ; " O rage, O dfiaepoir," Don DiSgue ; Act II : " Perce jusques au fond du coeur," Rodrigue ; " A moi, Comte, deux mots! " Rodrigue; "Ah lui! Ciel! Rodrigue !" ChimSne ; "Ah! je doute et je tremble," tutti; Act III: " De cet affreux combat," ChimSne ; " Oh, jours de premiSre tendrease," Rodrigue and ChimSne; Act IV: " Gloire a celui que les Rois maures," and " Gloire au Cid, au vainqueur." Cifra (Antonio) composed 200 mo- tets and madrigals; pupil of Pales- trina; conducted St. John's Lateran, Rome, and at court of Archduke Charles. B. Rome, 1575; d. 1638. Cimador (Giambattista) composed ; arranged music; taught. B. Venice, 1761; d. London, 1808. Cimarosa (Domenico) composed 66 operas, cantatas, oratorios; ranked with the foremost of the older Italian dramatic composers; ehapelmaster to Emperor Leopold III, and later to the King of Naples ; chamber composer to Catherine II of Russia; banished from Naples because of revolutionary opin- ions, and died, possibly of poison, while en route to Russia. Pupil for 11 years at Conservatorio Santa Maria di Loreto, Naples, he won success with his first opera, " Le Stravaganze del Conte," 1772, Naples, and for 18 years divided his time between Naples and Rome, producing 20 operas, which were' popular in London, Paris, Dres- den, and Vienna as well as in Italy. Among his best known works are: " II pittore Paragino," " II convito di pietra," " La ballerina amante," " L'Olimpiade," "Artaserse," "II sa- crifizio d'Abramo," " L'impresario in angustie," " La Cleopatra," " La ver- gine del Sole," "II matrimonio se- grieto," "Le astuzie femminile," CIMBALOK 119 CINCIimATI Lamante disperato," "L'impegno some eatablishment in the suburb superato," «Gh Oraztte Curiazii," "Mt. Auburn," with equipment for T,^1f/,°P*'. "c"''-"^ all' assedio di boarding pupils from a distance, and ?,T,'.„*°a'^ " Semiramide." B. Dec. has always raiiked with the largest il'J^r' ^^^"^' Naples; d. Jan. 11, and best of private musical institu- ii- LT"®' t X. *>°"«- It was founded 1867 by Miss Cimbalom. /*. Dulcimer; harp- Clara Bauer, who was the directress sichord; cymbals; tambourine. in 1908, and employs a large staff of Cimbel. Oer. Mixture stop in teachers, including Cav. Pier Adolfo organs TIRINDELLI, Theodore BOHLMANN, Cimbelstern. Ger. Star shaped Frederic Shailer Evans, Malton Boyce, cymbals attached to organs set in mo- and Frances Moses. Cincinnati Fes- tion by pedal. tival was for many years the most Cincinnati College of llusic important biennial music festival in teaches vocal and orchestral music, America, notable alike for the excel- eomposition, and is the oldest of en- lence of the performance of standard dowed music schools in the United choral and orchestral works, for the States, having been founded in 1872 high reputation of the soloists, and through the liberality of Heuben the number of new works first made Springer and other wealthy citizens, known. An outgrowth of a large Its property adjoins the great Music festival given by German singing so- Hall, the organ of which is available cieties in 1849 at which the North for students, and besides a number of American Sangerbund was organ- class rooms and a large dormitory, ized, the Cincinnati Festival was offices, etc., it possesses in the Odeon established in 1873 with Theodore an excellent auditorium for chamber THOMAS as conductor, his orchestra music, and a smaller hall for recital as the nucleus of the instrumental or- purposes. The property is worth about ganization.and a chorus of 1250 singers $1,500,000, and is administered by a made up of 29 societies. The concerts board of trustees. Theodore Thomas differed from those of the German was the first director, and he assem- bled an unusually able teaching corps. singers in giving prominence to or- chestral works, and in singing to Eng- The heads of the violin department lish texts. Later a permanent May have been successively JACOBSOHN, Festival chorus was organized, and HENRY SCHRADIECK, Leandro since 1878 the festivals have been held CAMPANARI, and Jose Marien. Al- in the great Music Hall. Mr. Thranas bino GORNO headed the piano de- retained the direction of the festivals, partment almost from the beginning; and his orchestra continued to be their Otto Singer taught theory, and the main instrumental support until his heads of the vocal department have death. Frank van der Stucken sue- been Bush W. FOLEY, Teela Vigna, ceeded to the post of director, and Lino Mattioli. Upon the removal of conducted the May Festival of 1908. Theodore Thomas to Chicago the man- Cincinnati Symphony Orchestra, agement of the college devolved upon founded by an organization of women President Peter Rudolph Neff, and presided over by Mrs. William H. Taft, upon his retirement, in 1896, Frank van der STUCKEN became director. Pietro FLORIDIA, A. J. GANT- ( Helen Herron), became the legitimate successor of several orchestral bodies in the performance of symphonic mu- VOORT, Gisela L. Weber, Louis Victor sic. On the withdrawal of Theodore SAAR, and Romeo Grorno were mem- Thomas to Chicago some of the musi- bers of the faculty in 1908, and the cians who had played in his orchestra retirement of Mr. Van der Stucken preferred to remain in Cincinnati, the left executive administration with the chiefs of the various choirs being at- president, ex-Mayor Fleischmann. tached in many instances to the Cin- Cincinnati Conservatory teaches mu- cinnati College of Music. They or- sic in all branches, possesses a hand- ganized the Cincinnati Orchestra, the CINELLI 120 CLAOaETT best known conductor of which was Cipriani (Lorenzo) sang buflFo in Michael Brand, who had been 1st opera, London, 1790-91 'cello with Mr. Thomas, and gave a series of concerts, including an exeel- Circassienne. Daniel F. E. Auber's three-act comic opera to book by lent "popular" series on Sunday Scribe was produced at the Pans afternoons. While head of the violin Op^ra Comique, Feb. 2, 1861. department at the College, Henry Circular Canon closes in a key a Schradieck gave symphony concerts semitone higher than that in wnieh with an orchestra composed of ad- it commences, and in the course of vanced instrumental students and 12 repetitions therefore passes through members of the faculty, assisted by all the keys, musicians from the Cincinnati Orches- tra ; after his departure there came a Circuliis. L. Obsolete character indicating " tempus perfectum " or time when serious orchestral music three semibreves to the measure. A was heard no more. This want was semicirculus or half circle was the supplied by the association of women, character indicating common time for who obtained pledges for the support which C is now employed, of a series of symphony concerts, em- Cis. Qer. C sharp, ploying the best musicians in the Cin- cinnati Orchestra, and engaging a few additional men from abroad. There major, were several conductors during the Cis KLoW, first season of 1894-5, but in 1895-6 minor, Frank van der Stucken was engaged as conductor, and, although it proved a difficult matter to obtain funds with which to meet an annual deficit, the Cincinnati Symphony Orchestra bid tern, fair to become a permanent institu- Cithara. tion. Unfortunately the "Symphony Orchestra Association Co." became in- volved in a controversy with the mu- sicians' union during the season of family, but having a flat back, strung 1906-7, and the orchestra, still under with wire and played with a plectrum, the baton of Mr. Van der Stucken, from which the ZITHER is derived, while the Association had for its Some forms of the cither were played president Mrs. C. R. Holmes, was dis- with bow; others strung with catgut, banded in April, 1907. In that season were plucked with the fingers, the receipts had been $49,794.41, leav- Citole. Obscure old English name ing a deficit of only $10,056.45, which of instrument, probably the PSALT- the supporters of the association de- ERY. Ciscis. Qer. Double C sharp. Cis Dur. Ger. Key of C sharp Oer. Key of C sharp Cistella. L. Dulcimer or citole. Cistre. Fr. CITTERN. Cistrum. SISTRUM. Citara. /*. Cither; guitar; cit- Ancient lute. Cithara Bijurga<. Double-necked guitar or lute. Cither. Instrument of the lute frayed." Such orchestral music as Cincinnati enjoyed during 1907-8 Civetteria, con. It. Coquettishly. Civil Service ICusical Society was furnished chiefly by visiting gave concerts in London, 1864 to 1880, organizations. Cinelli. It. CYMBALS. Cink. Ger. Reed organ stop. Cinq SEars. Charles Gounod's four- conducted by Sir Arthur Sullivan and John Foster. Claassen (Arthur) composed the prize chorus "J>er Kamerad," sym- act " opera dialogue " to book by phonic poem " Hohenfriedberg " ; con- Poirson and Gallet was first performed ducted New York and Brooklyn Arion at the Paris Op6ra Comique, April 5, societies ; founded " Claassen Musical 1877. Cinque. /*. Fifth part in con certed music. Ciprandi (Efcole) sang ten. opera, 1754-70, London and Milan. Institute." B. Feb. 19, 1859, Stargard, Prussia; add. New York. Claggett (Charles) invented piano in and harpsichord improvements which were approved by Haydn, and devised CLAIRON 121 CLARK S ^miTti.°^'r,™?*' ''^"^ ''^^f '^"PP^'l P>P«' l^'^^^g » mouthpiece and ^^H T,W^^,^°^'^lJ''fSi„'=TP°"«'^ •'«"' ^itli twenty sideholes, of which ford.a'a?rn,,.?.;\^«'^A^^*- *ii^t«» -? 4-»ed by' keys, the ford, Ireland; d. Dublin, 1820, Clairon. Fr. CLARIN. Clang. Tone quality or timbre; noise of clashing metals; blast of loud wind instruments. Clapisson (Antoine Iiouis) com- posed "La Promise" and "La fan- chonnette" and many other operas which failed of success because of poor libretti; played violin; collected ancient instruments now in the mu- seum of the Paris Conservatoire; Chev- alier of the Legion of Honor and Member of the Institut. B. Naples, Sept. 15, 1808; d. Paris, Mar. 19, 1866. ' Clapper. Metal rod suspended from within the centre of a bell, the strokes of which set it in vibration; BONES. Claque. Fr. People openly em- ployed at entertainments in France and in secret elsewhere to direct and emphasize the applause. Claquebois. Fr. Xylophone. Clarabella. 8 ft. organ stop of open wooden pipes. Clara Voce. It. Clear Voice. Clari (aiovanni Carlo Maria) composed church music, some of which was appropriated by Handel; chapel- master at Pistoia, Bologna, and Pisa. B. 1669, Pisa; d. about 1745. Claribel Flute. 4 ft. pitch organ stop of open wooden pipes. Clarichord. Obsolete English term either for clavichord or harp. Clarin. Oer. Clarion or trumpet; 4 ft. pitch reed organ stop. Clarin'blasen.' Oer. Trumpet call; the trumpet's softer tones. Clarinet. Woodwind instrument closely corresponding to the violin in compass and of great importance in modern orchestras, was probably an improvement on the ancient shawm or chaliuneau, devised by Denner in Nuremberg about 1690. It differs from the oboe in having a single in- stead of a double reed, and in being cylindrical rather than conical and thus having a twelfth instead of an octave as its first overtone. It is a rest stopped with fingers and thiunb. There are four registers, the lowest of rich contralto quality being known as the " chalumeau or schalmei " and ranging from g to e'. The transition to the next register above is difficult, as the player must increase the wind pressure, and this register, the me- dium, ranges from f to b' fiat (in- cluded with the chalumeau in orches- tration, and marked chal.), while the clarion register from which the instru- ment is named ranges from b' to c'", and the superacute or highest register from d'" to c"". The two upper regis- ters are indicated in scores by the abbreviation "clar." The length of the tube determines the instrument's scale, thus the shorter clarinet is in C, a longer in B flat and a still longer one in A. Complicated scales for one instrument become simple on another, and the compass is extended by hav- ing^ instruments in different keys. A shrill toned instrument useful in mili- tary bands is set in E flat, and there are clarinets in D, E, F, and A flat. The instrument in F is the tenor clari- net, also known as Basset Horn, Corno di Bassetto or Alto Clarinet. Bass clarinets, sounding an octave below the ordinary instruments are usually set in B flat or A. Johann Christian Bach is said to have first employed the clarinet as a regular orchestral in- strument in 1763, but it remained for Mozart to give it permanence and importance. Clarinettista. It. Clarinetist. Clarinettiste. Fr. Clarinetist. Clarinetto. It. CLARINET. Clarino. /*. Trumpet. Clarion or Clarino. 4 ft. pitch reed organ stop. Clark (Bev. Frederick Scotson) composed; played organ; founded school for organ and church music. B. Nov. 16, 1840, London; d. July 5, 1883, London. Clark (J. lEoir) composed quintet in F for piano and strings and suite for flute and piano. B. Aberdeen about 1863. CLARK 123 CLAY Clark (Bicliard) composed, wrote on music, edited collections of vocal music; sang in Eng. Chapel Koyal. B. April 5, 1780, Datchet, Bucks, Eng.; d. Oct. 5, 1856. Clarke (Dr. Hugh Archibald) was professor of music at University of Pennsylvania from 1875; wrote text books on harmony and counterpoint; composed the oratorio " Jerusalem," music to the " Acharnians," performed by the university 1886, music to " Ephigenia in Taurus," performed by the university 1908; pupil of his father Dr. J. P. Clarke. B. 1839, Tor- onto, Canada; add. Philadelphia, Pa. Clarke (Jeremiah) composed first setting of Dryden's "Alexander's Feast," an "Ode on the Glorious As- sumption of the Blessed Virgin," church and dramatic music; sang and played organ in Eng. Chapel Bx)yal; killed himself because of dis- appointment in love. B. about 1669; d. London, Dec. 1, 1707. Clarke- Whitfeld (Dr. John) com- posed cathedral services and anthems ; organist Hereford Cathedral, professor of music at Cambridge. B. Dee. 13, 1770, Gloucester, Eng.; d. Feb. 22, 1836, Holmer near Hereford. Classical is a term applied to the music of the older masters and to the sonata and opera forms to which they adhered as opposed to the freer style of the ROMANTIC school. Claudin. Professional name of LE JEUNE and SERMISY. Claudine von Villabella. Franz Schubert's music to a drama by Goethe, was composed in 1815, but never performed, and all but the first act is now lost. Clauss-Szarvady (Wilhelmine) played piano; noted for interpreta- tion of Scarlatti, Bach, and Beetho- ven. B. Prague, Dec. 13, 1834; m. Friedrich Szarvady, 1857, lived in Paris. Clausula. L. CADENCE. Clavecin. Fr. Harpsichord; key- board of chime of bells or carillon. Claviatur. Oer. Keyboard; fingering. Clavicembalum. L. Harpsichord 6r clavicembalo. Clavichord. Obsolete instrument for which Johann Sebastian Bach wrote his " Wohltemperirtes Clavier," thus enforcing the practicability of Equal TEMPERAMENT tuning; which Beethoven preferred among all keyed instruments; and which Mozart played, was not unlike a square piano in appearance, but differed in principle, being a development of the monochord. The strings were set in vibration by tangents which at the same time fixed their vibrating lengths, the shorter vibrating portion being immediately damped by an in- terlaced band of cloth. The tone pro- duced was faint but sweet, and could be swelled or diminished at the will of the performer. In the earlier in- struments one set of strings was made to serve for two or more notes, F sharp being produced on the F string, for example, by a tangent stopping that string at shorter length. In , Bach's time, however, the clavichord was made " bundf rei," that is with- out frets, each pair of strings for the chromatic scale having its own tan- gent. A clavichord dated 1537 may be seen in the Metropolitan Museum, New York. Many of the later instru- ments were made with two or more keyboards or manuals, and with pedal notes as well. Clavicylinder. CHLADNI'S in- strument composed of glass tubes or cylinders. Another instrument of the same name produced tones by the vi- bration of glass plates in motion by hammers operated by keyboard. Clavicytherium. Clavichord. Clavier. Qer. Any keyboard stringed instrument, such as the piano or clavichord. Clavier. Fr. The organ or piano keyboard. Clavierauszug. Ger. Piano score. Clay (Frederic) composed music for the " Black Crook," 1870, and other dramatic pieces, the songs " Long Ago," the " Sands of Dee," " She wan- dered down the mountain side"; the cantatas " The Knights of the Cross," 1866, and " Lalla Rookh," which con- tains " I '11 sing thee sougs of Araby," 1877. B. Paris, 1838; son of James CLAYTOS" 123 CLEMENTl Clay, M.P.; d. Great Marlow, Eng., religieuae," composed; edited church Nov. 24, 1889. music; played organ and directed Clayton (Thomas) adapted and music at the Sorbonne. B. Jan. 13, composed dramatic pieces for Drury 1822, Paris; d. Jan. 23, 1885. Lane, London; played in the King's Clement (Franz) composed; played band, 1692-72. B. about 1670; d. violin with distinction; conducted the about 1730. Vienna Opera; possessed remarkable Cle du Caveau. Collection of memory, writing a piano score of French sopgs taken from vaudevilles Haydn's "Creation" without the book; and comic operas and popular tunes first performed Beethoven's great vio- dating from the time of Henri IV to lin concerto (which had been dedi- 1848. Piron, Crgbillon fills, and Collg, cated to him), Dec. 23, 1806. B. Nov. French song writers, formed a club in 17, 1780; d. Nov. 3, 1842. 1733, which dined in the Cafg le Clement (Johann Oeorg) com- Caveau, and the meeting place gave posed 14 masses, 28 offertories, 18 the name to many later organizations graduals, Te Deums, a requiem for of a like nature, and from these clubs Emperor Charles VI; chapelmaster at came the name of the collection, which Breslau for 50 years ; knight of the embraces 2350 songs. Golden Spur; also called Clemen and Clefs are the characters employed Clementi. B. Breslau about 1710. One in NOTATION to indicate absolute son became first violin at Stuttgart, pitch, and, in modern music^ are three another chapelmaster at Carlsruhe. in number, being modified forms of the Clementi (Hvzio) composed 100 letters C, G, and F, from which they studies published as " Gradus ad Par- take their names. On whatever line nassum," 1817, which are the founda- it may be placed, the C clef or tenor tion of modern piano playing; ranked clef (Soprano, German Soprano, Alto, as the legitimate successor to Scar- Mean, Counter Tenor clef) indicates latti as composer for and performer c', and the purpose in altering the on the piano; founded the London position of the letter on the staff is music publishing house of CLEMENTI to bring as many notes as possible & CO.; taught with great success; within the staff, thus avoiding ledger enjoyed the admiration of Beethoven lines. The G clef or treble of the and the friendship of all the great piano indicates g' and is placed on the musicians of his generation except second line of the staff. The F or bass Mozart, with whom he played in a clef of the piano indicates f and occu- drawn contest before Emperor Joseph pies the fourth line of the staff. II. Son of a goldsmith with a taste Placed on the third line it becomes the for music who placed him under Bu- baritone clef. In ancient music two roni, choirmaster in a Roman church, other clefs were employed, a D clef he became a pupil of Cordicelli in indicating d" and the gamut clef from 1759. When 14 he composed a mass the Greek gamma, indicating G. Both which aroused the admiration of Peter have become obsolete. Beckford, M.P., who took him to his Clegg (John) played and composed country home in Dorsetshire, Eng., to for violin, although his works have perfect himself in his studies. In 1770 been lost; pupil of Dubourg and Bo- Clementi gave brilliantly successful noncini. B. 1714, Dublin; d. 1750, concerts in London, and from 1777 to London. 1780 was cembalist at the Italian Clemens (Jacob) composed church Opera, London. During the following and secular music; chapelmaster to year he toured Europe, having the Charles V at Vienna ; called " Non famous encounter with Mozart in Papa" (not the Pope), native of Vienna. Thereafter his home was in Flanders, 16th century. England, although he made occasional Clement (Felix) wrote " Diction- concert tours of the continent. Losing naire lyrique," a " Mfithode d'orgue," heavily in the failure of Longman_ & "Histoire ggnfirale de la musique Broderip, with whom he had an in- CLEHENTI & CO. 134 COCKS terest, he founded a new publishing house and recouped his losses. From 1810 he devoted himself to his busi- ness, composing only in leisure mo- ments. B. Rome, 1752 ; m. daughter of J. G. G. Lehmann, cantor of Berlin Nicolaiikirehe, 1804; d. Mar. 10, 1832, Evesham, Eng. Clement! & Co. manufactured pianos and violins and published mu- sic in London. The house was founded by MUZIO CLEMENTI, and after various changes in personnel, became COLLARD & COLLARD in 1832. Clemenza di Tito. W. A. Mozart's two-act opera to book by Mazzola, adapted from Metastasio, was first performed Sept. 6, 1791, at Prague, one day after its completion. It was Mozart's 23d and last opera. Clicquot (FraiiQois Henri) built organs in many French churches. B. 1828, Paris; d. 1891. Cliffe (Frederick) composed sym- phonies in C minor (Op. 1) and in. E minor, " Cloud and Sunshine," an orchestral poem ; " The Triumph of Alcestis," scena for con. and orchestra, Norwich Festival, 1902; and an "Ode to the North-East Wind"; pupil of Sullivan, Stainer, Prout, ajid Taylor; organist and piano virtuoso; taught piano Royal College of Music, London; toured Australia, 1898, Africa and America, 1900-3. B. May 2, 1857, Bradford, Eng.; add. London. Clifford (Bev. James) compiled and published an important collection of " The Divine Services and Anthems usually sung in the Cathedrals and collegiate Choirs of the Church of England," 1663; minor canon St. Paul's Cathedral. B. 1622, Oxford; d. 1698. Clifton (Jolin C.) composed vocal music ; invented the " Eidomusicon " to teach sight reading. B. 1781, Lon- don; d. Nov. 18, 1841. Clive (Eatherlne) sang the part of Dalila in the first production of Handel's oratorio " Samson " ; first made known Dr. Arne's song " Where the Bee sucks " ; made her first suc- cess in Colley Cibber's ballad opera " Love in a, Riddle " ; and as " Kitty Clive " was immensely popular in comedy and comic opera. B. 1711, London ; daughter of William Raftor ; m. George Clive, 1734; d. Dec. 6, 1785. Clocca. L. Bell. Cloche. Fr. Bell. Clochette. Fr. Handbell. Clock. To swing the hammer of a stationary bell. Clokerre. Old Eng. for belfry. Close Cadence. Half or imper- fect CADENCE. Close Play. Smooth or legato style in lute playing. Cluer (John) invented improve- ments in music type, printed Handel's operas, London, 1724, to his death, about 1730, when his engraver, Thomas Cobb, continued his business. Clynkebell. Chime. C Moll. Ger. C minor. Cobb (Gerard Francis) composed Psalm Ixii with orchestra; chairman board of music studies, Cambridge. B. Nettlestead, Kent, Eng., Oct. 15, 1838; add. Cambridge. Cobbold (William) composed mad- rigals, the anthem " In Bethlehem towne " ; one of 10 composers of " The Whole Booke of Psalmes," published by Thomas Este; played organ Nor- wich Cathedral. B. Norwich, Jan. 5, 1559; d. Beccles, Nov. 7, 1639. Cocchi (Giacchino) composed operas; taught with great success; conducted Mrs. Cornelys' London con- certs. B. Padua about 1720; d. Venice, 1804. Coccia (Carlo) composed the operas "Clotilde," Venice, 1815; "Donna Caritea " (in six days), Turin, 1818, and many other dramatic works and cantatas; conducted at Lisbon and London; court musician to Joseph Bonaparte. B. April 14, 1782, Naples; d. Novara, April 13, 1873. Coccia (Maria Bosa) composed a Magnificat for four voices and organ, an eight part " Dixit Dominus " ; given the title " maestra di capella " by Bologna Academia Filarmonioa; honoured by the Saint Cecilia, Rome, 1775, which published an account of her examination. B. Rome, Jan. 4, 1759. Cocks (Bobert) founded the music publishing house in London known CODA 135 COLLAKD as Robert Cocks & Co., 1823, which issued more than 16,000 works. B. 1797 ; d. London, April 7, 1887. The business was continued until 1898 by Robert M. Cocks, when the estab- lishment was purchased by Messrs. Augener. Coda. It. "Tail." Originally a few bars or chords preceding a ca- dence to give a formal conclusion to a composition, especially those in which the theme was often repeated; Beethoven developed the coda until it often becomes part of the movement, even introducing new subject matter. Elaborate codas are common in the works of his successors. Codetta. It. Short coda. Codon. Or. Small bell such as those attached to harness; trumpet with bell mouth-piece or the bell itself. Coenen (Cornelius) conducted Am- sterdam orchestra, 1859 ; Utrecht Na- tional Guarde band, 1860. B. 1838 at The Hague. Coenen (Franz) composed a sym- phony, cantatas, quartets, setting of Psalm xxxii; directed Amsterdam Conservatory; played violin. B. Rot- terdam, Deo. 26, 1826; son of church organist. Willem composed the ora- torio " Lazarus," songs ; concert pian- ist in America and in London. B. Rot- terdam, Nov. 17, 1837, brother of FRANZ; settled in London, 1862. Coenen (Johannes IVEeinardus) composed the opera " Bertha und Sieg- fried," ballet and incidental music, cantatas, chamber music, two sym- phonies; conducted and built up the " Palais Orchestra " at Amsterdam. B. Jan. 28, 1824, at The Hague; d. Jan. 9, 1899, Amsterdam. Coerne (Louis Adolphe) composed the opera " The Maid of Marblehead," symphonic poem " Hiawatha " ; organ- ist; directed Buffalo Liedertafel; pu- pil of Paine, Kneisel, Rheinberger, and Hieber. B. Newark, N. J., 1870. Cogan (Dr. Philip) composed piano concerto and sonatas; taught; played organ St. Patrick's Cathedral, Dublin. B. 1750, Cork, Ireland; d. Dublin, 1834. Cogll Stromenti. /*. With the instruments. Cohen (Jules Emile David) com- posed the operas " Maltre Claude," " Jos6 Maria," " Les Bleuets," choral works, symphofties, masses; chorus- master at the Paris Opfira 20 years; professor at the Conservatoire, 35 years. B. Nov. 2, 1835, Marseilles; d. Jan. 13, 1901, Paris. Coi Bassi. It. With the basses. Coi Violini. It. With the violins. Col. It. " With the," as Aroo, with the bow; Destra, with the right hand; Voce, with the voice. Colasse (Pascal) composed nine operas including " Thetis et Pflfie," " Jason," " La naissance de Venus " ; conducted at Paris Op6ra, 1677; a " surintendant de la chapelle royale " and " maltre de musique de chambre " to Louis XIV; pupil of LuUy. B. Jan. 22, 1649; d. Versailles, July 17, 1709. Colbran (Isabella Angela) sang sop. in opera, 1806-24; composed; favourite of the King of Naples; m. Rossini, 1822, and went with him to Paris. B. Madrid, Feb. 2, 1785; daughter of Gianni Colbran, court musician to the King of Spain; d. Bologna, Oct. 7, 1845. Cole (Blanche) sang sop. in opera with Carl Rosa and headed her own company. B. Portsmouth, 1851; m. Sidney Nalor, 1868; d. Aug. 31, 1888, London. Coleman or Colman (Dr. Charles) composed songs, masques, and dra- matic music ; composer and court mu- sician to Charles I. D. July 9, 1664. Charles played in the Royal Band. Died about 1694. Edward composed songs; sang in the Chapel Royal. His wife was one of the first women to appear on the English stage. Son of DR. CHARLES; d. Aug. 29, 1669. CoUa (Giuseppe) composed the operas " Adriano in Siria," Milan, 1763; " Lieida e Mopso," 1769; " Enea in Cartagine," Turin, 1770; "Tolo- meo," Milan, 1774, in which AGUJARI made a great success, afterwards mar- rying the composer. B. Parma, 1730; d. Mar. 16, 1806. Collard (P. J.) patented piano im- provements in 1811 ; employed in the business of CLEMENTI & CO., with COLLEGE 126 COLUMBIA ■which he was associated. D. 1879. On the death of Clementi the firm be- came Collard & CoUard, and in 1908 the firm was headed by John Clementi Collard. College of Organists, Boyal. Founded 1864 and chartered 1893; grants diplomas to organists after ex- amination or honoris causa. The headquarters are in London. College Youths, Ancient Society of. Founded in 1636 for change-ring- ing at the Church of the College of Sts. Spirit and Mary, is the largest as well as the oldest and most important of such organizations in England. The founders included the then Lords Salis- bury, Brereton, and Dacre, and Sir Cliff Clifton, and it continues to num- ber many of the nobility in its mem- bership as patrons and performers. Col Legno. It. Indicates that the strings of the viol are ta be struck with the stick of the bow. Collet de Violon. Fr. Violin's neck. Collinet. Name for flageolet de- rived from that of famous performer. Colomba. A. C. Mackenzie's opera, to book by Francis HueflFer, founded on Prosper MerimSe's tale, was written for the Carl Rosa Opera Company and produced at Drury Lane, April 5, 1883. Colombe. Charles Gounod's two- act comic opera to book by Barbier and Carrg was produced June 7, 1866, at the Opfira Comique, Paris. Colombi (Vincenzo) built the or- gan in the Cathedral of St. John's Lateran, Rome, 1549. Colonna (Giovanni Paolo) com- posed the opera " Amilcare," Bologna, 1693; six oratorios and church music; played organ; chapelmaster of San Petronio, Bologna. B. Brescia, 1637; d. Nov. 28, 1695. Coloune (Judas, called Edtxard) founded the Paris concerts bearing his name, at which many recent French composers gained their first hearing, and distinguished himself by carefully reviving all the choral and orchestral works of Berlioz, including " Le Dam- nation de Faust"; studied violin at the Paris Conservatoire, won the first prize in harmony, 1858; played first violin in Opgra orchestra; established the " Concert National " with Hart- mann, 1873-75, continuing them alone after ther latter date; Chevalier of the Legion of Honor, 1880; m. Elise Vergin, the singer; conducted at the Grand Opera, 1892; ranked with the best of modern conductors. B. July 24, 1838, Bordeaux; add. Paris. Colophane. Rosin for fiddle bows was so called because the best was obtained in Colophon, Asia Minor. Coloratura. It. Florid passages in vocal music, consisting of divisions, runs, trills, and cadenzas. Coloscione or Colachon. Variety of guitar. Colour. " Timbre." The word had a variety of meanings in mediaeval music, and is now employed to suggest imaginary analogies between tones and tints. Colporteur. George Onslow's three- act lyric drama to- book by Planard was produced Nov. 22, 1827, in Paris. Coltellini (Celeste) sang mez. sop. in opera with great success in Vienna; debut Naples, 1781; m. M. Mgricofre, 1795, and retired. Paisiello composed "Nina" for her. B. Leghorn, 1764; daughter of the poet; d. 1817. Coluiabani (Orazio) composed church music and songs; one of the composers who dedicated a version of the Psalms to Palestrina. B. Verona; became Cordelier monk, 16th century. Columbia University established its department of music in 1896 with the most illustrious of American com- posers. Dr. Edward A. MACDOWELL, as professor of music. Instruction was given, from the first, in the history and criticism of music, and in har- mony, counterpoint, and composition. In 1904 Prof. MacDowell withdrew from Columbia University, and Cor- nelius RUBNER was elected to suc- ceed him. With Professor Rubner is associated Leonard B. McWHOOD (formerly assistant to Prof. Mac- Dowell) as Adjunct Professor, these two constituting the entire faculty in 1908. The original lines of instruc- tion have been broadened and enlarged since the foundation of the depart- COIiYNS 1211 COMMON TIME ment, and some practical courses in eaiT-training and in orchestral and choral performance added. Individual instruction in musical performance has never been undertaken. The courses in music may be counted toward the academic degrees (Bach- elor of Arts and Bachelor of Science) as well as toward the degrees in music (Bachelor of Music, Master of Arts in Music, and Doctor of Philosophy in Music). In addition, music may be presented as a subject for examination by a candidate for admission to the Academic College or to the School of Music. Colyns (Jean Baptists) composed the operas "Sir William," 1877; " Capitaine Raymond," 1881; played violin; taught in Dresden Conserva- tory and became violinist to King of Saxony, 1876. B. Nov. 24, 1834, Brus- sels; d. Brussels, Oct. 31, 1902. Combarieu (Jules Leon Jean) wrote on musical history, theory, and aesthetics; taught at the Lycee Grand, Paris. B. Feb. 3, 1859, Cahors; pupil of Philip Spitta; add. Paris. Combination Pedals invented by the French organ builders CAVAIL- LE-COL enable the performer by means of a pedal controlling a ventil to bring into play or shut off any combination of stops at will. Come. It. " As or like." Prima, at first; Sopra, as above. Comes. L. ANSWER. Comes (Juan Bautista) composed church music; chapehnaster Valencia Cathedral. B. 1568, Valencia; d. 1643. Comettant (Pierre Jean Oscar) composed; wrote criticism for the Paris " Siede," " La musique, les mu- siciens, et les instruments de musique chez les differents peuples du monde," Paris, 1869; "Trois ans aux :fitats Unis," describing his sojourn in Amer- ica, 1852-5; played piano; pupil Paris Conservatoire. B. April 18, 1819, Bordeaux; d. Paris, Jan. 24, 1898. Comic Opera in the broadest sense is one in which the incidents and dia- logues are humorous, but the name is suflSciently elastic to include the form- less " creations " which are depend- ant upon the costumer and ballet master rather than music for their chief interest. The term might, with propriety, be restricted to works of the Gilbert and Sullivan type. The earli- est comic opera still extant is "Le jeu de Robin et Marion " of ADAM DE LA HALE, first performed at the French court in Naples, 1285, re- scored for modern orchestra and per- formed at Arras, 1896. Op€ra comique as it developed in France consisted of dramatic pieces with music and danc- ing and instrumental accompaniment, often along tragic rather than comic lines, like the German singspiel, all or nearly all the dialogue being spoken; differing from the Italian opera buffa, which is sung throughout, never spoken. Exceptions to the last state- ment will be found in occasional opera buffa modelled on the French style. Comma. The interval between a major and minor tone, the ratio being 80: 81 in the common comma or comma of Didymus. The Pythagorean comma or comma maxima is the difference resulting from tuning up from the same tone 12 perfect fifths and seven octaves. Commer (Franz) composed music to " The Frogs " of Aristophanes and " Eleetra " of Sophocles ; edited im- portant collections of music; founded the Berlin Tonkunstlerverein in 1844, jointly with Kullak; librarian to Konigliche Musik-Institut and choir- master St. Hedwig's Church, Berlin. B. Cologne, Jan. 23, 1813; d. Aug. 17, 1887, Berlin. Commodamente. It. Easily, quietly. Commode. /*. " Easily or at con- venient speed." Common Chord. A tone and its major or minor third and perfect fifth. Common Time has two beats or any multiple of two beats to the measure. Simple Common Time in- cludes all rhythms of two or four, as 4—4 or 2-4. Compound Common Time is where the value of each beat is three quavers or crochets although the num- ber of beats be even as 6-4, 6-8, 12-8. In ancient notation a circle meant COMMtTNIOIT 138 COMTE OBY "tempus perfectum,'' which had three semibreves to the measure. A semi- circle C meant " tempus imperfectum," which had two semibreves to the meas- ure, and this sign has been retained in modern notation for alia capella time or tempo ordinario, which gen- erally has four minims to the bar and is played or sung slowly. If a vertical line is drawn through the C it indicates alia breve time or four minims to the measure played twice as fast. Communion Service. In the Anglican Church in which the Com- munion Service is a translation or rather an adaptation of the MASS, the English words were originally sung to the music already familiar from having been employed with the Latin ritual, and the services edited by Marbeck and Tallis were noted in full. Music in the Anglican Church' gradually decreased in importance with the growth of the Puritan movemeilt, practically ceased to exist during the Commonwealth except in Psalmody, and although restored by Charles II, was rarely heard throughout a service except in the Chapel Royals and Cathe- drals and Collegiate Churches until about 1840, when a renewed interest in ritualistic music was manifested, which has resulted in a careful re- vision of the older music for the Communion Service, and many new compositions. Compagnia del Gonf alone, founded at Rome in 1264, played sacred dramas with music, or " miracles " which may have suggested the later ORATORIOS. Company of Musicians estab- lished by letters patent issued by Edward IV in 1472 as "a perpetual guild or fraternity and sisterhood of minstrels " (musicians qualified to sing or play in public), and char- tered by James I, July 8, 1604, con- trolled the exercise of the musical pro- fession in London, and appears to have been the English prototype of the modem musicians' unions. Compass. The range of sound of which a voice or instrument is capable. CompSre (Loyset) composed church music and songs; distinguished pupil of Okeghem; chorister, canon, and chancellor of the St. Quentin Cathe- dral; d. Aug. 16, 1518. Compiacevole. It. Pleasant, agreeable. Complement is whatever interval added to another interval will com- plete an octave. Compline completes the Horae Diumae of the Latin breviary and fol- lows the vesper service, with or without pause. The Latin term is " Completorium." Composer. An author of music. Composition. An invention in music whether for voices, instruments, or both in combination. Literally " a putting together." The art of writ- ing music according to scientific rules. Composition Pedals were of two kinds, single action, by which an or- ganist could throw out or draw in certain stops, and double action, which not only threw out a certain number of ■ stops but drew in all the rest. Prior to Bishop's invention of these pedals a shifting pedal was employed permitting a change from the " great " or " loud " to the " choir " or " small " organ. Composizione. It. , Composition. Di Tavolino, table music. Compound Intervals are those greater than an octave, those less than an octave being called simple. Compound Stops are those which control more than one rank of organ pipes. Compound Time is the rhythm formed by combining two, three, or four measures of simple time, and besides the principal accent on the first note of each measure, has sub- ordinate accents -on each group of notes. It is common or triple accord- ing to the number of groups in each measure: thus 6-8 consisting of two measures of 3-8, and 12-8, consisting of four measures of 3-8 time are com- mon; 9-8, consisting of three meas- ures of 3-8, and 9-4 consisting of three measures of 3-4 are triple. Comte Cry. Gioacchino Rossini's two-act opera to book by Scribe and Delestre-Poirson, both score and text being adaptations of earlier works by • CON 129 CONCEBT PITCH the same men, was produced Aug. 20, 1828, at the Paris Acad^mie Royale. Con. It. " With," as con Anima, with spirit; con Amore, with affec- tion; con Sordini, with mutes; eon Brio, with life and fire. Conacher & Co. built organs in Huddersfield, Eng., beginning in 1854. Concentores Sodales founded by William Horsley, the organist, Dr. Callcott and other London musicians, 1798, met in various taverns and sang canons, glees, and madrigals composed by the members. Disbanded, 1847. Concentus. L. Harmony or part music; consonance. Concert. A performance of music of a miscellaneous character, to which the public is admitted by payment, is the modern acceptation of a term which seems to have originally referred to several instnmients playing one tune in unison or to a set of viols or other instruments. Famous concerts of the world's music centres and the organizations which give them are referred to under the names of the cities to which they belong. Concert, ©er. Concerto. Concertante. It. Composition suitable for concert performance ; mu- sic for two or more instruments with solo parts. Concerted Ilusic. Vocal or in- strumental music for two or more performers. Concertina. Portable free reed in- strument of hexagonal form, invented by Sir Charles Wheatstone, 1829, con- sisting of a bellows with keyboard at either extremity, made in treble, tenor, bass, and doublebass sizes with a com- bined range from C to c'". The Ger- man instrument of the same name, unlike the English, produces differ- ent tones by inspiratory and expira- tory action, and is tuned in one key. Concertino. Solo instruments re- quired in the performance of a CON- CERTO GROSSO; a diminutive con- certo in freer form than a concerto, and often having a single movement. Concertista. It. Virtuoso. Concertmeister. Qer. The first violin and leader of the orchestra. Concerto. /*. An instrumental composition in three movements based upon the sonata form and serving to display the performer's skill, with or- chestral accompaniment. Concertos for more than one solo instrument are known as double, triple, quad- ruple, as the case may be. Originally the term was applied to vocal com- positions with organ accompaniment termed concerti ecclesiastici or con- certi da chiesa or church concertos. A " concerto da camera " for two vio- lins and bass published in 1685 by Giuseppe Torelli was the model upon which the CONCERTI 6R0SSI of Corelli, Geminiani, and Vivaldi were based, and to which Bach and Handel adhered. Mozart crystallized the form of the concerto as it is known to-day, giving larger prominence to the or- chestra, which, however, was still chiefly confined to accompaniment. The introduction of cadenzas by per- formers led Mozart to write 35 ca- denzas for his own concerti, an ex- ample which Beethoven followed. With Beethoven the orchestral part in the concerto assumed symphonic proportions, and the composers suc- ceeding him have conformed to his ideas in this respect. Brahms has even gone to the extreme in his D minor concerto of deferring the en- trance of the piano until the orchestra has played 91 measures. Exceptions to the definition given in the first sentence of this article may be noted in Liszt's "Concert Pathgtique," which is for two pianos without orchestra, and in Litolff's Concert-Symphonie for piano and orchestra in E flat, which introduces a scherzo as the third of four movements. Concerto Grosso. Composition for two or more solo instruments and or- chestra in several movements, analo- gous to overtures and suites. Concerto Spirituale. It. Sacred concert. Concert Pitch is usually higher than A at 435 double vibrations per second or French diapason normal, be- cause that pitch is estimated at a temperature of 59 degrees F. and the temperature of a concert room is much warmer. 9 CONCEKTSFIELEB 130 CONDUCTIUa Concertspieler. Ger. Soloist con- certo player. Concertstuck. &er. Concert piece; concerto. Concha. L. Triton's horn or shell- shaped trumpet; conch. Concitato. It. Agitated; disturbed. Concone (Giuseppe) composed vocal music and solfeggi; taught in Paris; chapelmaster and organist at the Chapel Royal, Turin. B. 1810, Turin; d. June 1, 1861. Conpord combines notes which give the ear complete satisfaction, such as perfect fifths and major and minor sixths and thirds, their octaves, and combinations of them not involving other intervals. Other concords rec- ognized in HARMONY may be pro- duced by placing concordant notes below those which would otherwise be discordant. Condell (Henry) composed " The Enchanted Isle," a ballet, farces, and other dramatic music and the prize glee " Loud Blowe the Wyndes " ; played violin at London Opera, Co- vent Garden, and Drury Lane. B. 1757; d. June 24, 1824. Conducting has grown in impor- tance with the evolution of the or- chestra and the increasing number of parts and of performers until the con- ductor has virtually become a soloist and the musicians under him an in- strument, with this difference, that the conductor's instrument is instinct with life, and with intelligence — more or less — and should therefore be cap- able of quicker response and more subtle expression than any of the solo instruments designed for big tonal effects. Almost any one can beat time, just as almost any one can sing, but great conductors are still more rare than great singers, since the many qualities which must be combined in the " prima donna conductor " are seldom realized in one person. Pri- marily the conductor must set the tempo for the orchestra or chorus or both. In this he will have the guid- ance of the composer's indicated inten- tion so far as language and notation give it, generally supplemented by the metronome, by tradition, and also by such enlightenment as may be had through careful study of the work to be performed. This knowledge he must be able to impart to the musicians under him in the clearest and most decisive manner. Every motion of the baton should mean something, every gesture should give direction, for it is necessary, as Wagner suggested, that the musicians be taught to look for the melody in every bar, and then sing it. In obtaining delicate effects in light and shade, and in rubato, the conductor has the same right to dis- cretion which the pianist has always claimed and often abused. He may likewise accord certain liberties to his musicians in extended solo passages, for it has been repeatedly observed that an orchestra in which the con- ductor drills his men with too much severity loses in brilliancy. Above all, possessing knowledge of music and interpretive talent in the highest de- gree, the conductor must know how to command men, for it is more difficult to keep an assemblage of musicians in the proper mood for the best work than to tune a violin or even a piano. Perfect understanding between con- ductor and musicians is absolutely essential to the best results, and it need hardly be added that such under- standing can only be arrived at in a permanent orchestra. In mediaeval music where chorus and orchestra were alike of small proportions a conductor in the modern sense was no more nec- essary than in chamber music at pres- ent. In early French opera time was beaten by rapping a long baton or stick on the floor, and in Rousseau's day the baton had been shortened in length and was beaten against the con- ductor's desk. In Beethoven's youth it was part of his duty as cembalist at the Bonn opera to give the time, and Bach habitually directed while playing organ. But while conducting may have been practised in the modern sense in the Sistine Chapel at Rome as early as the 16th century, it remained for Mendelssohn, while at the head of the Gewandhaus concerts in Leipsic to establish the importance of the con- ductor's office, and his influence grew CONDUCTOR'S PART 131 CONRIED paramount in matter of interpreta- tion until a new school grew up with such leaders as Wagner, von Billow, SeidI, and Richter, whose successors in the present generation have been Ni- kisch, Weingartner, Mottl, Muck, and Mahler. See: " Le Chef d'Orchestre," Hector Berlioz, Paris, 1848, for dia- grams of various beats, arrangement of orchestra, conducting in theatre, etc. ; " Ueber das Dirigiren," Richard Wagner, 1869, Engi trans, by Dann- i-euther, 1887 ; " Ueber das Dirigiren," Felix Weingartner, 1896, dealing with use and abuse of tempo rubato; Carl Schroder, " Handbook on Conducting," Eng. trans., London, 1891. Conductor's Part. Condensation of a score on two staves, giving the entrances of the various instruments in proper order. Conductus. Obsolete 13th century polyphonic music in from one to four parts sometimes sung without words, in which the cantus flrmus was of secular not church origin. Conduit. Fr. Wind trunk. Cone Gamba. Bell gamba. Conforti (Giovanni Luca) wrote " Passaggi sopra tutti i salmi," which gives vocal ornaments for use in church service. B. Mileto, 1560; joined the Papal choir at Rome, Nov. 4, 1519. Confrerie de St. Julien was com- posed of musicians who settled in Paris about 1330, formed a guild for self-protection at a time when the art of the troubadour or minstrel had ceased to be fashionable, and monopo- lized secular music in France until the reign of Louis XIV. In 1658 that monarch confirmed the privileges which had been granted the Confrgrie by his ancestors, but two years later his majesty desired to hear the perform- ance of a new work by Jean Baptiste Lulli, and the Confrgrie having grown so negligent of its art as to be unable to comply, Lulli was commissioned to organize the band of 24 men known as "Le Petits violons du Roi." This was the beginning of the Confrgrie's decline, and it was suppressed in 1761. Congregational Husic. That sung in church by the people as opposed to that sung bv a trained choir. Conjunct. In GREEK MUSIC a, combination of Hexachords; notes close together. Conradi (August) composed the opera " Rubezahl," five symphonies, dance music ; conducted in Dusseldorf, Cologne, and Berlin theatres; played organ. B. June 27, 1821, Berlin; d. May 26, 1873, Berlin. Conradi (Johann Georg) composed the operas " Ariane," " Diogenes," and " Numa Pompillus," 1691; "Jerusa- lem," 1692; "Sigismund," " Genese- rius," and " Pygmalion," 1693; chapel- master at Oettingen, Bavaria. Conried, Ritter von (Heinrich) became impresario at the Metropolitan Opera House, New York, 1903, made a notable production of " Parsifal," the first to be given outside the Pestspielhaus in Bayreuth; produced Richard Strauss's " Salome," 1907, but was compelled to withdraw it by the owners of the opera house. Appren- ticed to a weaver in Vienna as a boy, he was fired with ambition to become an actor, and, on mastering his trade, obtained employment at the Vienna theatres in a minor capacity. After acquiring some reputation as a, come- dian, he left Vienna for New York, where he soon assembled a small com- pany of German players about him. In 1887 he obtained a lease of the Irving Place Theatre, which speedily became famous for the excellence of its ensemble at a time when the English houses were dominated by the star system. It was due the merit of the performances there given that the Metropolitan Opera House Realty Co., owners of the building, installed him as manager in succession to Maurice Grau, who retired because of ill health. 1905 he received a decoration from Franz Leopold carrying the right to the prefix "von," and received the honorary degree of M.A. from Har- vard, and was made honorary member of the board for Germanic language and literature at Harvard and Vassar. In 1907 Mr. von Conried was afflicted with a nervous disorder which threat- ened to make him a permanent in- CONSECUTIVES 133 CONSEKVATOIRE valid, and on the advice of his physi- the Conservatoire organization, im- cians he retired from the management proving it, as he had many other edu- of the Opera on the conclusion of the cational institutions; and in 1800 the season 1907-8, giving way to Messrs. faculty consisted of: Sarrette, di- Andreas DIPPEL and GATTI-OA- rector ; Gossec, Mghul, Lesueur, Cheru- SAZZA. Mr. von Conried had previ- bini, Monsigny, inspectors of tuition; ously retired from the management of Louis Adam', Berton, Blasius, Catel, the Irving Place Theatre, and in the Devienne, Dugazon, Ihivernoy, Garat, fall of 1908 was endeavouring to re- Gavinies, Hugot, Kreutzer, Persuis, gain his health in Europe and was at Plantade, Rode, Rodolphe, Sallentin, the same time engaged in writing his and in all 31 first class professors; memoirs. B. Sept. 13, 1855, Bielitz, Adrien, Baillot, Boieldieu, Domnich, Silesia; add. New York City. Eler, Jadin, and in all 40 second class Consecutives. The progression of professors. Again reorganized in 1812 parallel fifths or octaves, although by the Decree of Moscow, nine pupils occasionally exemplified in the works of each sex in preparation for the of the great composers, is forbidden Theatre Frangais were allowed 1100 by theorists. Consecutive fifths neces- francs each for maintenance. When sarily move in different keys, and Louis XVIII came to the throne Sar- doubling octaves, unless to strengthen rette was dismissed, reinstated during a melody temporarily, would be throw- six months of 1815 and again dis- ing away a part in vocal music or missed, and the Conservatoire was string quartets, which could ill be closed, to be reopened in 1816 as the spared. ificole royale de Musique, with Perne" Consento. /*. Harmony; notes as inspector general. Sarrette had of a chord sounded together as opposed been £llowed a budget of 240,000 to arpeggio. francs, which was reduced to 100,000 Consequent. The answer to a in 1802, but he gave form to the fugue subject. courses of study by means of the Conservatoire ITational de Mu- " M^thode de Conservatoire," estab- slque et de Declamation, referred lished the prix de Rome, 1803, founded, to in this work as the Paris Conserva- the library, and inaugurated theatrical toire had its beginning in the :6cDle and concert performances for the pu- Royale de Chant, opened in 1784 by pils. Perne held ofiice until April 1, Gossec in the Hotel des Menus-Plaisirs 1822, formed special classes for dec- du Roi. Plans had been submitted lamation and opera, and an ficole for the formation of such a school primaire du chant, besides aflfiliating by a horn player, Rodolphe, in 1775. subordinate schools at Lille and The first concert took place in 1786. Douai. Cherubini increased the num- A school for declamation was then ber of public concerts, established an added, and the institution became auxiliary school at Toulouse, opened the ^cole Royale de Chant et de additional instrumental classes, im- Declamation. In 1792 Sarrette or- proved the discipline and in all ways ganized the ficole gratuite de Musique raised the institution's standard to de la Garde Nationale Parisienne, a higher plane. Among the faculty afterwards known as the Institut during his long administration were: National de Musique. On Aug. 3, Habeneck and Paer, inspectors of tui- 1795, both schools were incorporated tion; Lesueur, Berton, Reicha, Fgtis, as the Conservatoire de Musique, with Halgvy, Carafa, composition; Lain€, Sarrette as president. Pour years Lays, Garat, Plantade, Ponchard, later the Conservatoire had 600 pupils Banderali, Bordogni, Panseron, and of both sexes, 125 professors, and a Mme. Damoreau, vocal; Benoist, or- printing office for the publication of gan; L. Adam and Zimmerman, piano ; " fitudes de Conservatoire," edited by Baillot, Habeneck, and Kreutzer, vio- Catel, Mghul, Rode, and Kreutzer. lin; Baudiot, Norblin, and Vaslin, Napoleon made important changes in 'cello; Guilou, Tulou, flute; Voght, CONSERVATOIRE 133 CONSERVATORI oboe; Leffivre, Klos6, clarinet; Del- cambre, Gebauer, bassoon; Dauprat, Meifred, horn; Dauvernfi, trumpet; Dieppo, trombone; Naderman, Pru- mier, harp; Adolphe Nourrit, opera; Michelot, Samson, Provost, Beauval- let, dramatic action. Feb. 8, 1842, Cherubini was replaced by Auber, who established lectures on the history and literature of music, greatly enlarged the buildings and equipment and aided in the reform of pitch. Additions to the faculty during Auber's adminis- tration included Adolphe Adam, Am- broise Thomas, and Reber, composi- tion; Elwart, Bazin, harmony; Bat- taille, Duprez, Faure, Garcia, Revial, Masset, vocal; Mme. Farrenc, H. Herz, Marmontel, Le Couppey, piano; Alard, C. Dancla, Girard, and Mas- sart, violin; Franchortune and Chevil- lard, 'cello ; Tulou, Dorus, flute ; Ver- roust, oboe; Willent, Cokken, bassoon; Gallay, Meifred, horn; Forestier, Ar- ban, cornet; Keginier, Monrose, Bres- sant and Mile. Brohan, dramatic action. During the latter part of Auber's term Lassabathie was ap- pointed administrateur, but on the appointment of Ambroise Thomas to the post of inspector general on the death of Auber, the office of adminis- trateur and the allowance of main- tenance to pupils were discontinued. Under the ITiomas regime lectures on the general history of music, a, class in orchestra and a compulsory sight singing class were established, and the Conservatoire received an increased allowance from the state which en- abled it to pay better salaries. Theo- dore Dubois became director upon the death of Thomas, 1896. In 1908 the library of the Conservatoire numbered more than 30,000, and the museum, founded in 1861 with the Clapisson collection as a nucleus, contained more than 700 instruments. The affiliated schools included those of Marseilles; Lille, Lyons, Nancy, Nantes, Perpi- gnan, Rennes, Toulouse, and Iloubaix. The management and faculty was constituted as follows: Director, GABRIEL FAURE ; composition and fugue, CHARLES LENEPVEU, C. M. WIDOR, Andre Gedalge, Georges Caus- saude, Lavignac, E. Pessard, Taudou, Leroux, Chapuis, GEORGES MARTY; history of music, Bourgault, Ducou- dray ; solf ege, Rougnon, Emile Schvartz, Cuignache, Kaiser, Vervaelde, Au- zende, Sujol, PifiFaretti, Mile. Har- douin, Mme. Marcan, Mme. Renart, Mme. Roy, Mme. Vinot, Mme. Sau- tereau, Mme. Massart, Mme. Vizen- tini; singing, Mme. ROSE CARON, Dubulle, Ed. Duvernoy, J. LASELLE, Manoury, de Martini, Lorrain, Engel, Hetlich, Cazeneuve; vocal ensemble, Biisser; lyric declamation. Max Bon- vet, Meldiissedec, Isnardon, Dupey- ron; dramatic declamation, G. Berr, Leloir, Paul Mounet, Silvain, Jules Truffier, Mme. Sarah Bernhardt; in- strumental ensemble, Charles Le- febvre, Chevillard, Capet; piano ac- companiment, P. Vidal; organ and improvization, GUILMANT ; piano classes, Diemar, Risler, Delaborde, Philipp, Cortet; preparatory piano classes, Falkenberg, Mme. Ch6n6, Mme. Trouillebert, Mme. Long; harp, Has- selmans; chromatic harp, Tassu- Spencer; violin, Berthelier, A. Lefort, G. Remy, Nadaud; viola, Lafarge; preparatory violin class, Desjardins, A. Brun; 'cello, Loeb, Cros St. Auge; doublebass, Charpentier; flute, Taf- fanel; oboe, G. Gillet; clarinet. Mi- mart; bassoon, Eugene Bourdeau; horn, Bremond; cornet, J. Mellet; trumpet, Franquin ; trombone, Al- lard. ERNEST REYER continued to be inspector-general of the auxiliary schools of the Conservatoire in 1908, and the librarian was M. Weekerlin. There was an enrollment of more than 700 free pupils of either sex in 1908. ' Conservatori, or public schools for teaching music, were early established in Italy in connection with hospitals and benevolent institutions, and some- times provided free board, lodging, and clothing for poor students of either sex, differing in these respects from the ACCADEMIA, which usually were de- voted to the arts and sciences in gen- eral. Naples was the seat of the con- servatori Santa Maria di Loreto, San Onofrio, De' Poveri di Gesfl Cristo, and Delia Pieta de' Turchino, all of which COITSOLANTE 134 CONTREDAITSE had their beginning in a music school founded in 1490 by the Fleming Jean Tinetor. In Venice were the conserva- tor! L'Ospedale della Pieta, Dei Mendi- canti, Degl' Incurabili, and L'Ospeda- letto de' SS. Griovanni e Paolo ; besides which there were many music schools attached to churches and cathedrals, patterned after the one established by Pope Gregory the Great in Rome. All these schools have passed away, al- though there are highly important Conaervatori at NAPLES and MILAN, under royal patronage. Consolante. It. Consolingly. Consonance. Notes in accord which produce an agreeable effect sounded together as opposed to dissonance, or discordant tones. Consort. Set of viols six in num- ber; to sound in accord. Construction. FORM in which a composition is expressed. Contes d'HofCmann. J. Offenbach's operetta to book by Jules Barbier was first performed at the Paris Op6ra Oomique, and speedily became popular in all parts of the world. Revived at the Manhattan Opera House, New York, Nov. 27, 1907, the name part was sung by Dalmores, with Mme. Zeppilli as Olympia; Jomelli as Giu- lietta; Trentini as Antonia; De Cis- neros, as Nicklausse, etc. The poet Hoffmann is drinking with friends at Luther's tavern. Finding him very sad, they declare he is in love, but the poet tells them all that is in the past. Then he undertakes to describe his three love affairs, which are enacted in character with Olympia, Giulietta, and Antonia. An epilogue reveals Hoffmann alone in the tavern, which his companions have deserted. The Muse appears to him in a vision, and tells him she is the only mistress to follow, and the only one who will remain true to him. Conti (Erancesco Bartolomeo) composed " Don Chisciotte in Sierra Morena," and in all 16 operas, 13 serenades, nine oratorios; theorbist and court composer, Vienna. B. Flor- ence, Jan. 20, 1681 ; d. Vienna, July 20, 1732. Ignaz composed serenades and bratorios. B. 1699; son of FRANCESCO BARTOLOMEO; d. Mar. 28, 1759. Continued Bass. FIGURED BASS or basso continuo. Continuo. /*. Continued bass. Contra. /*. Indicates an octave lower. Contrabasso. It. DOUBLEBASS. Contrabass Posaune. /*. TROM- BONE; 16 ft. and 32 ft. organ stop. Contrabass Tuba. It. BOMBAR- DON. Contraddanza. /*. COUNTRY DANCE or CONTREDANSE. Contra Fagotto. It. DOUBLE BASSOON. Contralto. The lowest female voice, generally ranging between g and d", but sometimes extending to three octaves. Rossini and his followers were the first to compose important music for this voice. The name is derived from the fact that this voice was contra or below the highest male voice or ALTO, i Contra^untista. It. Writer on or composer in counterpoint. Contrappunto. It. COUNTER- POINT; Alia SCente, improvised or Chant sur le Livre. Contrappunto Doppio. It. Double counterpoint. Contrapuntal. Pertaining to COUNTERPOINT. Contrapuntist. Writer on or composer in counterpoint. Contr'arco. Violation of approved bowing. Contrary Motion. Melodies or harmonies progressing in opposite di- rections, some ascending while others descend. Contrassoggetto. It. Counter subject. Contra Tempo. It. Against time ; syncopated. Contratenor. It. ALTO. Contraviolone. /*. DOUBLE BASS. Contrebasse. Fr. DOUBLE BASS. Contredanse. Fr. Lively dance consisted of eight measure phrases, each repeated and in 2-4 or 6-8 time. which became popular in France dur- ing the Regency, although of English CONTREP ARTIE 135 COPYRIGHT origin, the name being a corruption of COUNTRY DANCE. A group of contredanses make a QUADRILLE. Contrepartie. Fr. Part in con- trast. Contrepoint. Fr. COtJNTER- POINT. Contresujet. Fr. Counter subject. Contre Temps. Fr. Contra tempo. Conversi (Giralomo) composed the madrigal " When all alone my pretty love was playing," and other songs; B. Correggio, 16th century. Conversio. L. Inversion. Cooke (Dr. Benjamin) composed an Anglican service in 6 and other church music, choruses, songs, and chamber music; played organ West- minster Abbey and conducted London Academy of Ancient Music. B. Lon- don, 1734; son of a music publisher; d. Sept. 14, 1793. Cooke (Captain Henry) composed coronation music for Charles II, under vrhose reign he was master of the chil- dren of the Chapel Royal and com- poser; fought in the Royalist army during Civil War, obtaining captain's commission. B. about 1600; d. July 13, 1672. Cooke (Nathaniel) published a collection of psalm and hymn tunes, partly original; played organ. B 1773, Bosham, Chichester, Eng.; d. about 1820. Cooke (Robert) composed an Angli- can evening service in C, prize glees; played organ Westminster Abbey. B. 1768, London; son of DR. BENJA- MIN ; drowned himself in the Thames, Aug. 13, 1814. Cooke (Thomas Simpson) adapted many operas for the London stage, composed glees and dramatic pieces; sang ten.; played violin, flute, oboe, clarinet, bassoon, horn, doublebass, 'cello, and piano; directed music at Drury Lane and Covent Garden, Lon- don. B. Dublin, 1782; son of an oboe player; d. Feb. 26, 1848. Grattan or Henry Michael Angelo played oboe; bandmaster 2d Reg. British Life Guards. B. 1809; son of THOMAS SIMPSON; d. Sept. 12, 1889. Coombe (William Francis) com- posed piano music; played organ. B. 1786, Plymouth, Eng.; son of a sing- ing teacher; d. 1850. Coombs (James Morris) composed a Te Deiun and other church music; organist at Chippenham, Eng. B. Salisbury, 1769; d. Mar. 7, 1820. Cooper (George) wrote an "Intro- duction to the Organ," and admirably interpreted Bach on that instrument; played organ Eng. Chapel Royal. B. July 7, 1820; d. Oct. 2, 1876. Cooper (Richard) first engraved music in Scotland, for Allan Ramsay's collection of Scots songs set by Alex- ander Stuart, 1725. D. Jan. 20, 1764. Coperario (John) taught music to the family of James I, of England, and composed "The Masque of Flowers," " Songs of Mourning," and other occa- sional music; played viol da gamba; Italianized his English name Cooper while living in Italy, prior to 1604; d. 1627. Coppola (Pier Antonio) composed the operas "II Figlio bandito"; "Nina pazza per amore," Rome, 1835, Paris, 1839, as "Eva"; " Ines de Castro," 1842, and other dramatic and church music, and conducted at Royal Thea- tre, Lisbon. B. Castrogiovanni, Sicily, Dec. 11, 1793; d. Nov. 13, 1877. Copula. L. Flowery slui;red des- cant in mediaeval music. Copyright protects the author or other owner of a musical or literary work or painting or engraving in " the right to copy " or reproduce such copy- righted work, and by implication pre- vents others from so copying. In the United States, by compliance with certain formalities, this right may be obtained for a period of 28 years, re- newable for a further period of 14 years. In Great Britain copyright endures for the author's life and for seven years after his death or for a period of 42 years after publication, which ever may be longest. Perform- ing right which is embraced in British copyright is not recognized in Ameri- can law, music being protected only where it forms an integral part of the play. International 'copyright as pro- vided for by the Berne convention of 1886 has decreased piracy in Europe, and reciprocal copyright privileges COQTrABD 136 COBFE have now been established between Opera Company, 1887; " River Songs," most of the powers. A copy of the " Roumanian Dances " for violin and existing American law may be had piano ; overture " Prospero," the can- free on application to the Copyright tata " Bridal of Triermain " for the Division, Library of Congress, Wash- Wolverhampton Festival, 1886; "O ington, D. C, and information regard- sun, that waken'st all," song to Ten- ing British copyright may be obtained nyson's words ; " The Sword of Ar- by addressing the Registry at Sta- gantyr," cantata for Leeds Festival, tioners' Hall, London, Eng. 1889; taught composition Royal Col- Coqiiard (Arthur) composed the lege of Music, London; conducted operas " L'fipge du Roi," 1884; "Le Aquarium Concerts, Brighton; wrote Marid'un jour," 1886; "La Jacquerie," criticisms and made translations. B. 1895; "La Troupe Jolicoeur," 1902; Jan. 26, 1852, London; add. London, many dramatic scenes for voice and Cor de Vaches. Fr. Cow horn, orchestra ; wrote " De la Musique en Cordier (Jacques) played violin France depuis Rameau," criticisms for and rebec and taught dancing to Hen- " Le Monde " ; lectured at the National rietta Maria, Queen of Charles I, of Institute for the Blind. B. May 26, England; called Bocan. B. about 1846, Paris; add. Paris. 1580, Lorraine. Cor. Fr. Horn. Corelli (Arcangelo) founded the Corale. /*. Chorale, hymn, or technique of violin playing; composed psalm tune. chamber sonatas and concerti grossi Cor Anglais. Fr. Tenor oboe set which have influenced later orchestral in F and a fifth lower than the oboe development; ranked as the first great proper, ranging in compass from b to violin virtuoso; pupil of Matteo Si- fa" fiat. Although the name means monelli in counterpoint, and of G. B. English horn, and it is " Corno Ing- Bassani on the violin; among the lese " in Italian, and " Englisches most admired and least spoiled mu- Horn " in German, the instrument is sicians in history. In early life he doubtless of German origin, being a visited Germany, probably Bavaria development of the tenor POM- and Hanover, possibly staying in Paris MER. Modern composers employ it for a time on his homeward journey, frequently. About 1685 he was settled in Rome Coranto. COURANTE. and had published 12 sonatas, acquir- Corbett(!Francisque) played guitar ing a high reputation both as com- at courts of Louis XIV and Charles II ; poser and violinist. Cardinal Pietro real name Corbetti or Corbetta ; taught Ottoboni became his friend and, ex- De Vabray, De Visfi, and Mgdard. B. cept for occasional visits to other about 1620, Pavia; d. 1681, Paris. cities, there Corelli lived for the re- Corbett (William.) composed inci- mainder of his life, leaving the Car- dental music to Shakespeare's plays, dinal about $300,000 in money and a concertos, and sonatas; played violin collection of paintings. (The money at the London Opera; collected Italian was distributed to Corelli's surviving music and violins during sojourn in relatives it should be added. ) B. Feb. Italy; returned to England 1740, 12, 1653, Fusignano, Imola; d. Jan. playing in Royal orchestra. D. Mar. 10, 1713. 7, 1747. Corfe (Joseph) composed a volume Corda, sopra una. /*. Directs of church music, glees ; wrote on Sing- that a passage is to be played on one ing and Thorough-Bass ; sang in Salis- string. bury Cathedral and Eng. Chapel Corde a Jour. Fr. Open string. Royal; master of choristers Salisbury Cor de Chasse. Fr. Hunting horn. Cathedral. B. Salisbury, 1740 ; d. Corde Pausse. Fr. False string. July 29, 1820. Arthur Thomas com- Corder (Frederick) composed posed a service and other church mu- " Nordisa," which was produced with sic, wrote " The Principles of Har- brilliant success by the Carl Rosa mony and Thorough-Bass " ; succeeded COBIFEO 137 COBO his father as master of the children and organist at Salisbury Cathedral. B. Salisbury, April 9, 1773; son of JOSEPH; d. Jan. 28, 1863. Dr. Charles William played organ at Christ Church, Oxford. B. July 13, 1814, one of 13 children of ARTHUR THOMAS; d. Dec. 16, 1883, Oxford. Job.li Davis played organ Bristol Cathedral. B. 1804; brother of DR. CHARLES WILLIAM; d. 1876. Corifeo. /*. CORYPHAEUS. Corkine (William) published books of " Ayres to sing and play " with lute and Tiol accompaniments, London, 1610 and 1612. Cormuse. Fr. BAGPIPE. Cornamusa. It. BAGPIPE. Cornelius (Peter) composed the BARBER OF BAGDAD, the unfa- vourable reception of which led to Liszt's retirement from Weimar; aided Liszt in the establishment of the New German school, and upheld the Wagnerian art theories by articles in the "Neue Zeitschrift fUr Musik" and translations of Liszt's French lectures; joined Wagner in Munich and taught harmony and rhetoric in the " Konigliehe Musik-schule " of which von Biilow was director, com- posed the opera "Gunl6d" in Wag- nerian style and many songs. B. Dec. 24, 1824, Mayence; d. Oct. 26, 1874. Cornelys (Theresa) managed con- certs at Carlisle House, London, di- rected by Bach and Abel, 1764-73, which were the most notable of that period; first favourite of Senator Malipiero of Venice, then of the Mar- grave of Baireuth; became directress of theatres in the Austrian Nether- lands, went to England to sing opera as " Mme. Pompeati " ; finally became impoverished, her career terminating in Fleet Street prison. B. 1723, Ven- ice; daughter of the actor Imer; d. Aug. 19, 1797. Cornet. Brass valve instrument of the trumpet family with compass ranging from c' to g"', having com- plete chromatic scale, with good vocal quality when well played, but lacking the power and brilliancy of the trum- pet, for which it is often substituted. The fundamental tone is an octave be- low the compass indicated, but is rarely used. Cornets are usually in B fiat with an A crook, but a smaller instrument in E fiat is used in mili- tary and brass bands. Comet. Obsolete woodwind instru- ment of the oboe type, but covered with leather, known as ZINKE and in Italy as cornetto. Cornet, Echo. Swell organ stop of small scale which originally consisted of the same ranks of pipes as the MOUNTED CORNET; now applied to any small scale sesquialtera or mixture. Cornet, mounted. Solo great or- gan stop fast becoming obsolete which had several ranks of pipes so that the open, principal, 12th, 15th, and tierce tones were sounded together. Usually the compass was upward from c'. " Cornet voluntaries " consisted of embellished passages on this stop to a soft bass on the choir organ. Cornette (Victor) composed and wrote methods for orchestral instru- ments, director and chorusmaster at various Paris theatres; deputy or- ganist at St. Sulpioe and the Invalides, Paris. B. 1795, Amiens; d. Paris. Cornetto. /*. CORNET. Corno. It. HORN. Corno Alto. /*. Horn of high pitch. Corno Basso. It. Deep toned horn. Corno di Basseto. It. BASSET HORN ; organ stop of clarinet quality. Corno di Caccia. It. Hunting or FRENCH HORN. Corno Flute. 8 ft. organ stop of soft tone. Corno Inglese. It. COR AN- GLAIS. Comopeon. Obsolete name of valved cornets. Comu. L. Roman horns. Cornyshe or Cornish (William) sang in Chapel Royal during reign of Henry VII; master of the children; accompanied Henry VIII to Field of the Cloth of Gold. D. 1524. Wil- liam, Jr., composed part songs and sacred music. Son of WILLIAM. Cor Omnitonique. Fr. Horn capable of producing chromatic scale. Coro. It. CHORUS. COBONA 138 COSI FAN TTITTE Corona. It. Fermata or pause. Coronach or Coranach. Fimeral song chanted by the seannachie or bard on the death of a chief or other great man in the Gaelic parts of Scot- land. In modern times the coronach has given way to the cumhadh which, instead of being chanted, is played on the bagpipe. Corps de Voix. Fr. Quality or fulness of the voice. Corrente. It. COURANTE. Correpetiteur. Fr. Chorus in- structor. Corri (Somenico) composed " Ales- sandro nell' Indie," London 1774; " The Travellers," Jan. 22, 1806, songs; wrote "The Art of Fingering" and a "Musical Dictionary," 1798; con- ducted, taught, and published music in Edinburgh, the business being carried on by his son JOHN as Corri & Co.; settled in London in partnership with Dussek, who married his daughter. B. Oct. 4, 1746, Rome; d. London, May 22, 1825. Natale managed the Scotch end of the publishing house of Corri & Co. B. 1765; brother of DOMENICO; d. 1822. John carried on his father's business in Edinburgh, failing in business ISOl. Son of DOMENICO. Philip Anthony helped found the London Philharmonic but later settled in America. Brother of JOHN. Haydn, a third brother, taught music in Dublin and became organist at the Pro-Cathedral. B. 1785; d. Feb. 12, 1860. The London house of Corri, Dussek & Co. failed in 1801, and Dussek fled. to escape his creditors. Domenico continued in busi- ness alone until succeeded by his son Montague, who was b. Edinburgh, 1784; d. London, 1849. After sev- eral changes in name Montague re- tired, and the only member of the family remaining in business was Natale, who established himself in London, but d. 1822, leaving no successor. Corri-Faltoni (Mme. Frances) sang mez. sop. in opera. B. Edin- burgh, 1801; daughter of Natale Corri. Corsi (Jacopo) played harpsichord at the performances of " Dafne " and " Euridice," Peri's operas, which were given at his home in Florence, 1597, and are considered the earliest Italian operas. B. about 1560 of noble fam- ily; d. about 1604. Corteccia (Francesco di Bernado) composed madrigals, church music; chapelmaster to Cosimo I, and or- ganist and canon of S. Lorenzo, Flor- ence. B. Arezzo; d. Florence, June 7, 1571. Cortellini (Camillo) composed church music and madrigals; played violin so well as to be called " II Vio- lino " ; in service of municipality of Bologna, 1583. Coryphaeus. L. Chorus or dance leader; titular ofiScer of music at Oxford University on Dr. Heather's foundation. Coryphee. Fr. Ballet dancer who leads a group. Cosi Fan Tutte. W. A. Mozart's two-act opera buffa to book by Da Ponte was first performed in Vienna, Jan. 26, 1790. The music has been greatly admired, and as the libretto was not, many attempts have been made to provide new books, and in several languages. Rosaura and Isa- bella, two Andalusian ladies, are be- trothed to Don Fernando and Don Alvar. The lovers sing their praises to the disgust of Don Onofrio, an old bachelor, who declares that they are no better than other women, and pro- poses a test of their constancy, to which the young men agree. They pretend to have gone to Havana with their regiments, but return in dis- guise to make love to each other's fianc€e. Dolores, maid to the ladies, has been made a party to the scheme. To their delight, both young men are rejected, but Onofrio then suggests a further temptation. By his direction the young men pretend to take poison in their despair at not overcoming the scruples of the young ladies. Rosaura and Isabella, much moved by this evi- dence of passion, call Dolores to go for a physician, and by her advice take the young men in their arms, pending his arrival. Dolores comes back dis- guised as a physician, and pretends to administer antidotes. To calm the COSSSCAITN' 139 COTILLON anxiety of her young ladies, Dolores now tells them of the plot, which they resolve to turn to the disadvantage of their lovers. They consent to mar- riage, and Dolores, this time dis- guised as a notary, performs the cere- mony. The bridegrooms depart, only to return and upbraid the young women for their heartless conduct, but after teasing them sufficiently, the ladies confess the trick, Don Fernando and Don Alvar humbly beg forgiveness, and Don Onofrio confesses he was wrong. Cossmann (Bernhard) played 'cello in solo and quartet with dis- tinction; taught in Frankfort Hoch Conservatorium. B. May 17, 1822, Dessau; add. Frankfort. Costa (Andrea) wrote " Analytical Considerations on the Art of Singing," London, 1838 ; taught Mme. Borgondio and Mme. Albertazzi. B. Brescia, settled in London, 1825. Costa (Sir DUIicIiael Andrew Ag- nus) composed the oratorios " Eli," Birmingham Festival, 1855; "Naa- man," Birmingham Festival, 1864; the ballets " Sir Huon " for Taglioni, 1833, "Alma" for Cerito, 1842; the operas "Don Carlos," London, 1844; and "Malek Adhel"; conducted admir- ably the London Philharmonic orches- tra. Sacred Harmonic Society, Italian opera at Covent Garden ; the Birming- ham, Bradford, Leeds, and Handel Festivals; became in 1871 "director of the music, composer and conductor " of Her Majesty's Opera; received dec- orations from many countries, and knighthood (1869) from Queen Vic- toria. Son of the Cavaliere Pasquale Costa, of an ancient Spanish family, and himself a gifted amateur; young Costa gained a free scholarship in the Royal College of Music, Naples; at 15 composed a cantata, "L'Immagine," which was performed in the college theatre; and at 18 the opera "II Delitto punito." A grand mass for four voices, an oratorio, three sym- phonies, and other operas also date from this period. In 1829 he composed "Malvina" for the San Carlo opera house, then directed by Barbaja, and the following year he was sent to Bir- mingham by his master, Zingarelli, to conduct a cantata, but, through error, was compelled to sing the tenor part instead. Maestro al piano at the King's Theatre in 1829, he composed the grand ballet " Kenilworth," and in 1832 became conductor at the Italian opera. " Malek Adhel," per- formed at the Italian opera, Paris, 1837, was presented with greater suc- cess in London, but Costa's arduous duties as conductor doubtless com- pelled him to give less time to composi- tion than he would have preferred. B. Feb. 4, 1808, Naples; d. April 29, 1884, London. Costantini (Eabio) composed church music and songs ; chapelmaster at Orvieto Cathedral. B. Rome about 1570. Alessandro composed; played organ at St. Peter's, Rome, in succes- sion to Frescobaldi, 1643; brother of FABIO. Costanzi (Juan) composed the opera " Carlo Magno," Rome, 1729 ; the ora- torio " S. Pietro Alessandrino " ; 16 part motets for four choirs ; a " Mis- erere " ; chapelmaster at St. Peter's, Rome, 1754; called "Gioannino di Roma." B, Rome; d. Rome, Mar. 5, 1778. Coste (Oaspard) composed "Trente- cinq livres des chansons S. quatre parties," Paris, 1539-49; "Ghirlanda di Fioretti Musicale," Rome, 1589; chorister, 1530, Avignon Cathedral. Costeley (William) composed " Chansons a 4 et 5 parties," Paris, 1567, a founder and first president of a St. Cecilia society which gave con- tests, Orlandi di Lasso winning first prize in 1575; played organ at courts of Henri II and Charles IX, of France. B. Scotland, 1531; d. Evreux, Feb. 1, 1606. Cosyn (Benjamin) collected vir- ginal music; played organ Dulwich College and Charterhouse, 1622-44. Cotillon. Fr. "Under petticoat." Name given in the reign of Louis XIV to a variation of COUNTRY DANCE originally for one man and woman, then for four couples and now for any number of dancers, with a constant variety of figures, which are danced to waltz, polka, mazourka, and galop COTTA 140 COtTNTERPOIlTT tunes; led by one, two, or more couples, depending upon the number of dancers. Cotta (Johannes) composed the popular quartet setting for four male voices of Arndt's patriotic song " Was ist des Deutschen Vaterland." B. Ruhia, Thuringia, May 24, 1794; d. Mar. 18, 1868, Willerstedt. Cottage Piano. Small upright piano. Cotton or Cottonius (John) wrote a treatise on music, 12th century, valuable for its portrayal of musical systems of that period. Cotumacci or Contumacci (Carlo) composed a, Requiem, " Partimenti " and for harpsichord; played organ at S. Onofrio, Naples ; pupil of Scarlatti. B. 1698, Naples; d. 1775. Coiiac. Fr. " Quack." Goosenote or disagreeable noise to which instru- ments of the clarinet and oboe type are subject if not correctly blown. Couched Harp. Obsolete name for SPINET. C011I& Fr. Glide; slurred notes; harpsichord ornament. Counterpoint is the art of combin- ing with a melody one or more melo- dious parts, as contrasted with har- mony, which accompanies a melody with chords. It is so called because the notes or points are written counter to each other or " nota contra notam." The chief melody or theme or subject or CANTUS FIRMUS, the latter of the nearly synonymous terms being best, may pass from one part to an- other without losing its predominant character, from which it may readily be seen that the composer's aim is to give a, singing quality to each part. The art may have originated from the difficulty presented in chanting church music in unison by singers with voices of varying range. The canti firmi to which the Latin liturgy was so chanted in the earlier stages of Christianity were found to have a more agreeable effect when the low voices, instead of taking the melody an octave below, used intervals of a fifth or third, im- provising a part which was neither harmonic nor contrapuntal, strictly speaking, but partook the nature of harmony and counterpoint, giving rise to both. The development of counter- point was marked by the growth of strict rules forming a kind of gram- mar, but with many exceptions, since music continued to be a living and growing language. Music constructed according to these rules was called "polyphonic" (many voiced) as dis- tinguished from "homophonic" or one voiced. It has become the fashion to sneer at the laws laid down by the older contrapuntists as we do at the pedanticism of the Meistersingers, yet they were, for the most part, based on simple common sense. Counter- point is either simple or double, and of simple counterpoint there are five varieties: 1. Note against note. 2. Two notes against one in the cantus firmus. 3. Four notes to one in the cantus firmus. 4. When the added part is in syncopation. 5. When there is free or florid accompaniment to each note of the cantus firmus. Some of the rules governing the first vari- ety: "No discords -are allowed." It may be observed that toleration of dis- cord unless instantly followed by reso- lution is purely a. matter of educa- tion, which such masters as Palestrina were born too early to have enjoyed. " More than three consecutive thirds or sixths are forbidden." Otherwise har- mony would result instead of two in- dividual melodies. " Consecutive fifths and octaves are forbidden." Consecu- tive fifths are not merely ugly but would throw the two parts into dif- ferent keys, and consecutive octaves would merge two parts into one. " The fourth is to be considered a dis- cord." It is, when combined with a third or fifth. To object to the rules of counterpoint would seem no more rational than to object to regular con- jugation of verbs because there are irregular verbs. From the examples already shown it may be inferred that there are reasons for forbidding all dissonances other than passing notes, chromatics, and chords of more than three tones. Besides simple counter- point, there is double counterpoint in which the parts must be interchange- able or invertible; usually at the COtTNTEK 141 COrPERIW bctave, tenth, or twelfth. Rarer forma are triple or quadruple counterpoint, where there are three or four inter- changeable parts; and still rarer, quintuple counterpoint, with five in- terchangeable parts. With Palestrina and his followers counterpoint reached its highest development in ecclesias- tical music, and since further progress seemed impossible, musicians turned their attention to harmony, the evolu- tion of which had been checked by the over stimulation of the sister growth. Up to the close of the 16th century the rules of counterpoint were the sole guidance of composers, but in 1605 MONTEVERDE, destined to become the most popular composer of his day, published a volume of madrigals at variance with the polyphonic method, and suggesting the harmonic style of treatment. It remained to a few mu- sicians such as Porpora to carry on the traditions of the contrapuntists, whose principles had been elucidated in FUX'S " Gradus ad Parnassum " (Vienna, 1725), and through Haydn, pupil of Porpora, and Albreehtsberger, they were thoroughly grounded in Beeth'oven, however little he may have regarded them. A second culminating point in the history of contrapuntal music was reached in the works of Johann Sebastian Bach, who applied to instrumental music a complete knowledge of counterpoint as well as of harmony, and whose fugues are a most perfect illustration of the prin- ciples of counterpoint. Cherubini and Brahms were perhaps the most skill- ful contrapuntists of modern times, but counterpoint and harmony go hand in hand in the works_ of the latest composers, and in what is, called free counterpoint is an intimate blend of both. See works of Fux (Eng. trans.); E. F. Richter, Macfarren; "Counterpoint Strict and Free," Prout, London; and " Cours de Countre- point et de la Fugue," Cherubini, Eng. trans., Novello & Co., London. Counter Subject. Answer or sec- ond theme in a fugue. Counter Tenor Clef. C clef on third line of stave for the viola and alto or counter tenor. Counter Tenor Voice. ALTO. Country Dance. Dance once popu- lar in rural England, whence it spread to France and Italy as CONTRE- DANSE and CONTRADDANZA, con- sisted of four or eight measure phrases which might be in either triple or duple time. It still survives as the " Sir Roger de Coverly" or " Virginia Reel." Coupart (Antolne Marie) founded and edited the " Almanach des Spec- tacles," Paris, 1822-36; edited collec- tions of songs. B. 1780, Paris; d. 1854. Coup d'Arcliet. Fr. Bow stroke. Couperin (Charles) founded a family of distinguished French musi- cians; m. Marie Andry, of Chaume, in La Brie. Louis played organ at St. Gervais, Paris; composed three harpsichord suites; played violin in royal band. B. 1630; eldest son of CHARLES; d. 1665. rranQois played organ at St. Gervais; pupil of Cham- bonniferes. B. 1631; second son of CHARLES; d. 1698. Charles played organ at St. Gervais; m. Marie Guerin, 1662; father of Francois "Le Grand"; b. 1638; third son of CHARLES; d. 1669. Frangois, called "LB GRAND" is the subject of a separate article. His daughter. Mar- guerite Antoinette, assisted him dur- ing the last three years of his life, and became organist to the king on his decease. B. Sept. 19, 1705. Nicholas played organ at St. Gervais. B. 1680; son of the earlier FRANCOIS; d. 1748. Armand Louis played organ at St. Gervais and Notre Dame; com- posed for harpsichord and violin. B. 1725; son of NICHOLAS; d. 1789. Pierre Louis acted as the deputy of his father ARMAND LOUIS, d. 1789, and was succeeded at St. Gervais by his brother Frangois. Couperin (Frangois) composed harpsichord suites and wrote a " M.6- thode" which influenced the style of Johann Sebastian Bach both as per- former and composer; played organ at St. Gervais, like many others of his family; organist to the king and to his private chapel at Versailles, and sufEciently great as a musician to COtrPEB 143 COWEN deserve his title of " Le Grand Cou- perin." Brahms edited his suites for harpsichord which have been reprinted by Augener & Co. B. Nov. 10, 1668, Paris; d. 1733. Couper le Sujet. Fr. To shorten a subject or theme. Coupler. Organ mechanism con- necting the pedals with manuals or different manuals. Couplet. Two notes occupying the time of three ; stanza ; two line verse. Courante. Pr. "Running." French dance in fast 3-2 time, usually with many dotted notes, and in two parts, which are repeated, the last measure of each being in 6-4 time. The Italian form called 'corrente is in 3-8 or 3— t time, played fast and usually con- taining many running passages. A third variety of courante attempted to combine features of the two already described. Couronne. Fr. The pause char- acter. Courtant. Obsolete variety of bassoon. Courteville (Raphael) sang in Eng. Chapel Royal. D. London, Dec. 28, 1675. Balph. composed sonatas for two flutes, hymns, songs and dramatic music; sang in Eng. Chapel Royal and played organ at St. James, West- minster. Son of RAPHAEL; d. about 1735. Raphael wrote political pam- phlets; played organ. Probably son of the second RAPHAEL above men- tioned. D. 1772. Courtols (Jean) composed church music and songs; chapelmaster to Archbishop of Chambray; 16th cen- tury. Coussemaker, de (Charles Ed- mond Henri) edited works of Adam de la Hale, Paris, 1872 ; wrote " Me- moire sur HucbaJd " and many impor- tant works on mediaeval music and in- struments; Chevalier of the Legion of Honor and of the Order of Leopold, member of the Institute; judicial officer by profession but an amateur of great skill. B. April 19, 1805, Bailleul, Nord; d. Jan. 7, 1876. Cousser or KUsser (Johann Sigis- mund) composed the operas "Erindo," 1693; "Pyramus and Thisbe," 1694; "Scipio Africanus," 1694; "Jason," 1697, overtures and songs; chapel- master at Stuttgart, 1700-4; Master of Music at Anglican Cathedral, Dub- lin, 1710. B. Presburg, about 1657; d. Dublin, 1727. Coveut Garden Theatre has been the principal home of opera in Eng- land for many years. The original building was opened under Rich's management, Dec. 7, 1732, but the present structure only dates from 1858, five others having been destroyed by fires. Fifty musical productions were made during the administration of Sir Henry Bishop, 1810-24, and von Weber's " Oberon," written for the house, was produced there 1826. Occa- sional musical productions followed, but in 1846 it was remodelled for opera exclusively. For a time Costa directed and Mario and Grisi were members of the company, as well as Alboni, Tam- bourini, Persiani, and Roneoni. In 1861 Patti made her first European appearance there. Tamberlik, Lucca, Graziani, and Albani came next, and for a time there were performances of English opera, notably those of Balfe. Then came a period of depression, with a revival of interest which continued throughout the administration of Sir Augustus Harris, dating from 1888 to his death in 1896, since which time the opera has been managed by the Opera Syndicate as lessees of the house. Covered Consecutives. Hidden consecutives. Covered Strings for the piano, viols, or guitar, are made by spinning fine wire over silk wire or gut strings, the effect being to make the string so covered vibrate more slowly. Coward (Dr. Henry) trained the SheflSeld Festival and other choruses; composed cantatas, anthems, and songs. B. Nov. 26, 1849, Liverpool; add. Sheffield, Eng. Coward (James) composed church music and glees; played organs in London churches and to Grand Lodge of Freemasons and the Sacred Har- monic Society. B. Jan. 25, 1824, Lon- don; d. Jan. 22, 1880. Cowen (Frederic Hymen) com- COWNTERYMTGE 143 CRANZ posed a waltz at six, an operetta at 12, and in after life became one of the most distinguished of English com- posers and conductors. Pupil of Gross and Benedict, his first public appear- ance was at a piano recital in London, 1863. Two years later he won the Mendelssohn scholarship, but relin- quished it, and his parents themselves took liim to Leipsic, where he became a pupil of Plaidy, Moscheles, Eein- ecke, Eichter, and Hauptmann at the Conservatory. After occasional eon- cert performances he studied conduct- ing with Kiel at the Berlin Stern Con- servatory, and in 1869 produced his C minor symphony and a piano con- certo in A at St. James's Hall, London. Costa, whose assistant he had become, got him the commission for " The Cor- sair," which was given at the Bir- mingham Festival of 1876, and the same year the Carl Rosa company pro- duced his opera " Pauline." His rec- ognition as one of the foremost of English composers followed the per- formance of his " Scandinavian Sym- phony," London, 1880. Thereafter he conducted the Philharmonic concerts, at the Melbourne Centennial, receiv- ing $25,000 for a six months' engage- ment, and on returning to England conducted the Hall6 orchestra at Man- chester, the Liverpool Philharmonic concerts, the Bradford Festival, the Scottish orchestra and the Cardiff Festival, 1902, and the Handel Festi- val, 1903. Other compositions to be noted are : four symphonies, concert , overtures and suites, chamber music, the operas " Signa," Milan, 1893 ; "Harold," Covent Garden, 1895, sev- eral operettas, the oratorios " The Deluge," "St. Ursula," "Ruth," "Song of Thanksgiving," "The Transfigura- tion," 1895; the cantatas "Rose Maiden," 1870, "Corsair," "Sleeping Beauty," "St. John's Eve," "The Water Lily," "All hail the glorious reign," Jubilee ode, 1897; "Ode to the Passions," "Coronation Ode," 1902, songs, anthems, etc. B. Jan. 29, 1852, Kingston, Jamaica; add. London. Cownterynge yn Songe. Old Eng. for descant or singing a tune's accom- paniment. Cox and Box. Sir Arthur Sulli- van's music to the farce by F. C. Burnand was first performed in pub- lic May 11, 1867, at the Adelphi Thea- tre, London. Cracovienne. Polacoa or KRAK- OVIAK. Cramer (Jacob) played violin and founded a well known family of musi- cians. B. 1705, Sachau, Silesia; d. 1770, Mannheim. Johann. played drum in Mannheim court band. B. 1743 ; son of JACOB. Wilhelm com- posed and played violin, ranking with the best performers of his day; Immi- grated to London, headed the king's band and led at the Opera, the Pan- theon, the Ancient Concerts, and the Professional Concerts, and at the Handel Festivals. B. Mannheim about 1744; son of JACOB; d. London, Oct. 5, 1799. Franz became master of the king's music, 1834. B. 1772; son of WILHELM; d. Aug. 1, 1848. Johann Baptist composed 82 studies, which formed the fifth part of his "Grosse praktische Pianoforte- Schule," and which have been more serviceable to pianists than any work other than dementi's " Gradus ad Pamassum " ; and 100 studies published as " Schule der Gelaiifigkeit," and 105 sonatas; ranked with the greatest teachers and performers of his age; established the firm of CRAMER & CO.; pupil of Benser, Schroeter, and MUZIO CLE- MENTI. B. Feb. 24, 1771, Mann- heim; son of WILHELM; d. April 16, 1858, London. Carl taught music and played piano in London. B. 1780, London ; younger brother of JOHANN BAPTIST. Cramer & Co. publish music in London. The house was founded in 1824 by JOHANN BAPTIST CRAMER with Robert Addison and T. Frederick Beale. In 1861, Beale, the sole surviv- ing partner, took in George Wood as a member of the firm. On Mr. Wood's death in 1893 his two nephews suc- ceeded to the business, which was transferred to a stock company in 1902. Crang & Hancock built organs in England, 18th century. Cranz (A. H.) founded music pub- CBEATION 144 CBICKET lishing house in Hamburg, 1813. B. 1789; d. 1870, when his son Alwin succeeded to the business. B. 1834. Creation. Joseph Haydn's first oratorio was composed between 1796 and 1798, and was first performed in private, April 2, 1798 at the Schwartz- enberg Palace, Vienna. The book was originally prepared for Handel by Lidley or Liddell from text in Genesis and in "Paradise Ix)st," and was translated and adapted by Baron van Swieten as " Die Schopfung." Salo- mon is said to have suggested the sub- ject to the composer. The first publi- cation, with German and English words, took place in Vienna, 1800, and the work has been sung in all parts of the world. Credo. The first word of the Nicene Creed in the Latin ritual ; an integral part of the MASS, upon which the world's greatest composers have lav- ished their best music. Creed. In the early Anglican Church the Nicene Creed was chanted in the ancient manner, and Marbeck's setting strictly follows the Boman original. That of Tallis is likewise of Gregorian origin. The Apostles' Creed is either said or intoned. The Athanasian Creed, which is the " QUI- CUNQUE VULT " of the Latin ritual, where it is chanted as a Psalm, is usually chanted in the Anglican Church to what is known as " The Canterbury Tune," and is a corrup- tion of the Eighth Gregorian. Crembalum. Jew's Harp. Cremona. Viols made by the cele- brated makers who lived in Cremona, Lombardy, such as the AMATIS, STRADIVARII, GUARNERII, BER- GONZI, GUADAGNINI, MONTA- GNANA, RUGGIERI, STORIONE, and TESTORE. The name as applied to an 8 ft. reed organ stop is a corrup- tion of Krummhorn. Cremorne. Fr. KRUMMHORN. Crepitaoulum or Crepundia. L. Obsolete frictional castanets. Crequillon or Crecquillon (Thomas) composed church music and songs; Netherlander attached to court of Emperor Charles V at Madrid, 16th century. Crescendo. It. Directs that the volume of tone be increased or made louder. Crescendo Pedal. The organ's swell pedal. Crescendo Zug. Q-er. Swell box of an organ. Crescentini (Girolamo) was the last of great sopranists, and sang the air "Ombra adorata," which he had composed and interpolated in Zinga- relli's " Romeo e Giulietta " with so much feeling as to move Napoleon and his court to tears. After his debut in Rome, 1783, Crescentini sang in opera in London, Vienna, Lisbon, and throughout Italy. In 1805 he be- came singing master to the Imperial family at Vienna, where Napoleon heard him, engaged him at a handsome salary, took him back to Paris, and decorated him with the Iron Cross. The climate injured his throat, and in 1812 he obtained a reluctant permis- sion to return to Italy. After a four years' sojourn in Rome he taught' at the Royal College of Music in Naples, wrote a treatise on singing, which was published in French and Italian, and composed. B. Eeb. 2, 1766, Urbania, near Urbino; d. Naples, April 24, 1846. Creser (Dr. William) composed "Eudora," cantata, Leeds, 1882; "The Sacrifice of Freia," Leeds Festival, 1889; "The Golden Legend," "Nax- ine," and operetta; "Old English Suite" for orchestra, chamber music; played organ and conducted ; organist and composer, Eng. Chapel Royal, 1891-1902. B. Sept. 9, 1844, York; m. Amelia Clarke, mez. sop.; add. London. Creticus. L. Metrical foot con- sisting of one short between two long syllables. Creyghton (Rev. Robert, D.D.) composed services in E flat, B flat, and C, and the anthem "I Will Arise"; taught Greek at Cambridge; precentor at Wells Cathedral. B. 1639 ; d. Feb. 17, 1733. Cricket on th.e Hearth. Carl Goldmark's opera to book by M. Will- ner, founded on Dickens's tale, was produced at Berlin, June 27, 1896, CBISFIITO 145 CROOKS as " Das Heimchen am Herd," but the English version of 1900 carries the title as above. The story need not be repeated, since it is doubtless familiar to every reader, and is followed with reasonable fidelity by the librettist. The scene is laid, of course, in an Eng- lish village. The best musical numbers are Dot's dancing song in the second act, the quintet with which it con- eludes, and the prelude to the third act, in which Goldmark introduces the song " Weisst I>u, wie viel Sternlein stehen." The work is characterized by great beauty of melody and a total absence of sensationalism. Crispino. Luigi Ricci's three-act opera buff a to text by Piave was first performed 1850, Venice. Crispino the cobbler is unhappy because of his pov- erty, although blessed with a beautiful wife, Annetta, who adds to the family purse by singing baUads, and is ad- mired by a wealthy count. Resolved to throw himself into a well, Crispino meets a fairy who persuades him to turn physician, declaring he will al- ways be successful in his operations unless she is present. Great pros- perity follows, which turns Crispino's head, and he forgets old friends and becomes cruel to Annetta. One day when he is about to strike his wife the fairy appears and takes him to a cave where many lamps are burning, each representing a human life. Find- ing the oil low in his own lamp, he suggests that some be poured in from Annetta's, whereupon the fairy reveals herself as Death, and tells him to make a last request before dying. Crispino asks for another opportunity to see his wife and children, and the scene shifts again to his little home. For- tunately he has only had the night- mare, but he is filled with joy on awakening, and is content with his lot. Federico Ricci collaborated with his brother in this work. Cristofori (Bartolommeo di Fran- cesco) invented the piano, which he called " gravicembalo col piano e forte." A perfect specimen of his work was presented to the Metropoli- tan Museum, New York, by Mrs. J. Crosby Brown. It is a bichord instru- 10 ment with a compass of four octaves, with hammer action complete, and bears the inscription : " Bartholomaeus de Christoforis Patavinus Inventor faciebat Florentise MDCCCXX." Born in Padua, Cristofori became in early manhood the best harpsichord maker in that city, and as such was called to Florence by Prince Ferdinand, son of Cosmo III. The precise date of his invention of the piano is not known, but the instrument is described in vol. V of MaflFei's " Giornale dei Let- terati d'ltalia," and he must have seen it during his visit to Florence in 1809. A later specimen of the Cris- tofori grand piano owned by the Kraus family is shown at the Museum in Florence, and a beautiful specimen of his harpsichords, one having three manuals, was presented by Frederick Stearns of Detroit to the University of Michigan. It is dated 1702. B. about 1665; d. Jan. 27, 1731. Crivelli (Gaetano) composed songs, taught, sang ten. in opera. B. 1774, Bergamo; d. Brescia, July 10, 1836. Domenico wrote " The Art of Sing- ing," taught in KTaples and London, composed the opera buffa " La Fiera di Salerno." B. June 7, 1793, Brescia; son of GAETANO; d. Feb. 11, 1857, London. Croce (Giovanni) composed church music, songs, and motets, some of which were republished in England; pupil of Zarlino; priest and chapel- master at St. Mark's, Venice. B. about 1557, Chioggia; d. May 15, 1609. Groclie. Fr. Quaver. Crociato in Egitto. Giacomo Meyerbeer's two-act opera to book by Rossi was produced in 1824 at La Fenice, Venice. Croft (Br. William) composed a chant in B minor, occasional anthems and other music for the Anglican ser- vice; played at Westminster Abbey and was master of the children, Eng. Chapel Royal, of whom he had been one in boyhood. B. 1678, Warwick- shire, Eng.; d. Aug. 14, 1727, Bath. Croma. /*. Quaver. Cromatico. /*. Chromatic. Cromatiscli. Ger. CHROMATIC. Crooks. Tubes inserted between the CSOSDILL 146 CTJI body of brass instruments and the mouth-piece, thus extending or lower- ing the pitch and altering the scale. Crosdill (John) played 'cello ad- mirably; chamber musician to Queen Charlotte, 1782, and teacher of George IV; m. woman of wealth and retired. B. about 1751, London; d. 1825. Cross (Thomas) engraved music in London, 1683-1732. Crosse (John) wrote a sketch of English music festivals in connection with his "Account of the Grand Mu- sical Festival held in 1823 in the Cathedral Church of York." B. July 7, 1786, Hull; d. Oct. 20, 1833, York. Crossley (Ada) sang con. in Eng- lish concerts and festivals, London debut, May 18, 1895, Queen's Hall. B. Farraville, Gippsland, Australia, Mar. 3, 1874. Add. London. Crotalum. L. Rattle formed of a slab of wood to which another is hinged. Anciently used in the wor- ship of Cybele to mark the dance rhythm ; a variety has survived in the " slap-stick " of the low comedian. Crotch (Dr. William) composed the oratorios " Captivity of Judah," " Palestine," ten anthems, ode on the accession of George IV; edited and lectured on music; wrote on theory; played on an organ built by his father at two, and at London concerts at four; organist and professor at Ox- ford, 1797. B. July 5, 1775, Norwich; d. Dec. 29, 1847. Crotchet. Quarter note. Crouch (Mrs. Anna Maria) sang sop. in opera and concert, debut in Ame's " Artaserse " 1780, Drury Lane, London; retired 1801. B. April 20, 1763, London ; daughter of P. Philips ; m. Lieut. Crouch, K. N.; d. Oct. 2, 1805, Brighton. Crouch (Frederick Nicholls) com- posed " Kathleen Mavourneen " and the operas "Sir Roger de Coverly " and " The Fifth of November "; played 'cello at Astor Place Opera House, New York, 1849; taught and con- ducted in Boston, Portland, Me., Phil- adelphia (1856), Washington, Rich- mond, Baltimore; 'cello pupil of his father, grandfather, and of Royal Academy of Music. B. July 31, 1808, London; d. Aug. 18, 1896, Port- land, Me. Crowd. CRWTH. Criiger (Johann) composed " Jesu meine Freude," " Nun danket alle Gott," " Jesu meine Zuversicht," and other famous chorales; cantor at Nicolaiikirche, Berlin, 1622-62. B. April 9, 1598, Gross-Breesen, Prussia; d. Feb. 23, 1662, Berlin. Cruvelli (Jeanne Sophie Char- lotte) sang con. in opera; debut, Venice, 1847; retired 1856; m. Comte Vignier, real name Criiwell. B. Mar. 12, 1826, Westphalia. Friederike Harie sang con. in opera; died of grief on losing her voice. B. Aug. 29, 1824; sister of J. S. C; d. July 26, 1868. Crwth or Crowd. Obsolete lyre shaped instrument with six strings, four played with the bow and two plucked. Bow instruments probably originated in India, but the crwth, which was highly popular in Wales, appears to have been the first of the viol family in Europe. Csardas. Hungarian dance in 2-4 or 4-4 time, generally opening with a slow movement called Lassu, followed by the Fris or Friska, which is the dance proper. The Csardas is oriental in character, like most Magyar music. C Schliissel. Qer. C clef. Cudmore (Bichard) composed the oratorio " Martyr of Antioch " and violin and piano concertos; led Gen- tlemen's Concerts in Manchester. B. 1787, Chichester, Eng.; d. Manches- ter, Dec. 29, 1840. Cue. Catch words or notes em- ployed to indicate the entrance of a voice or instrument. Cui (Cesar Antonovioh) composed operas, songs, chamber music, and for orchestra, ranking with the best of modern Russian musicians, al- though by profession a military en- gineer, recognized authority on forti- fications, and a Lieutenant General of the army. Pupil of Moniuszko in boyhood, Cui's early enthusiasm for music was revived by Balakirev, 1857, and in the following year he married Mile. Bamberg (pupil of Dargomij- sky), in whose honor his first pub- CVLhEN 147 CUZZONI lished composition, a scherzo for two every opening flower,'' and in alt 83 pianos, was written. " The Manda- songs for solo voice and nine part rin's Son," operetta, was composed the songs and the opera " Abdul und Erin- following year, as well as the opera nieh." B. June 21, 1804, Berlin; d. " The Captive in the Caucasus," other Langfuhr, near Dantzig, Aug. 24, 1841. operas being " William Rattcliflf," Curtal. Obsolete instrument of the " Angelo," " Le Filibustier," " A bassoon family. Feast in Time of Plague," 1900, Curwen (John) founded the TONIC "Mam'zelle Fifi," and "The Saracen," SOL-FA system and college (1879), which proved the most successful of and devoted his life to writing text all. His compositions for orchestra books and propaganda; in early life include four suites, two scherzos, a a Nonconformist minister. B. Heck- tarantella, and a marche solonnelle. mondwike, Yorkshire, Eng., Nov. 14, Cui's contributions to French and 1816; d. May 26, 1880, Manchester. Belgian publications were first to Jolin Spencer wrote " Memorials of awaJcen an outside interest in the John Curwen," his father, and con- " New Bussian " school, and he also tiuued his work on behalf of the Tonic wrote criticism for the leading Rus- Sol-fa as principal of the college, and sian newspapers. B. Jan. 18, 1835, as editor. B. Sept. 13, 1847; add. Vilna; add. St. Petersburg. Manchester. Cullen (John) published music in Curzon, de (Emmanuel Henri London, 1705-10. Parent) wrote historical and critical Cumberlands. London change- works on music; music critic the ringing society, originally called the " Gazette de France," 1889. B. Havre, Society of London Scholars, but re- July 6, 1861 ; add. Paris, named Cumberland Youths or Royal Cusanini (Giovanni). Professional Cumberlands in honor of the Duke of name of the sopranist CARESTINI. Cumberland. Cushion Dance. Old English kiss- Cummings (William Hayman) ing dance in 3-4 time. The dancer composed the cantata " The Fairy placed a cushion before another of the Ring," a. Morning Service and an opposite sex, upon which both dancers Anthem and many songs ; founded the knelt and kissed. Purcell Society and wrote a biog- Cusins (Sir William George) com- raphy of that composer, a biographi- posed " Royal Wedding Serenata," cal dictionary of musicians, and a 1863; the overtures " Les Travail- " Primer of the Rudiments of Music " ; leurs de la Mer," and " Love's Labor sang ten. at American and English Lost"; piano concerto in A minor; festivals; taught vocal in Royal the oratorio "Gideon"; conducted; Academy of Music, London; played taught Royal Academy of Music, Lon- organ Waltham Abbey. B. Aug. X, don; master of music to the Queen, 1831, Devonshire, Eng.; add. London. 1870; knighted, 1892. B. Oct. 14, Cum Sancto. L. Part of the 1833, London; d. Aug. 31, 1893. Gloria in the MASS. Gustos. L. A direct. Cupo. It. Darkly, mysteriously. Cutell (Richard) wrote on counter- Curioni sang sop. King's Theatre, point, England, 15th century. London, 1754. Alberico sang ten.. Cutler (William Henry) composed London debut, 1821 to 1834. B. about a service, anthems, and songs; sang 1790; probably son of the soprano and played organ. B. 1792, London; CURIONI. retired July 5, 1824. Curioso Indiscrete. Anfossi's Cuzzoni (Francesca) sang mez. opera was produced 1778, Milan, and sop.; debut at Venice with Faustina, 1783, Vienna, with two interpolated 1719; became that singer's great rival songs composed by Mozart. in London, and retired to .Vienna, Currende. Ger. Juvenile carol 1728, because Faustina was allowed singers. one guinea per annum beyond her Curschmann (Karl) composed " In salary; spent some time in Dutch CYCLE 148 debtors' prison, and supported her- self in old age by malang buttons. B. Parma or Modena about 1700; m. Sandoni, a harpsichordist, London, 1722; d. 1770, Bologna. Cycle. Set of songs with related subjects. Clyclisclie Formen. Oer. Rondo form. Cymbals. Percussion instrument consisting of two circular bronze plates with straps, through the centres by which they may be held in either hand and clashed, or rather rubbed together. In small orchestras one plate is com- monly fastened to the bass drum to permit the drummer to play it with one hand while wielding the drum- stick with the other. The instrument is of oriental origin and was in use in Assyria and Egypt. Two varieties are referred to in the Bible. Small cymbals tuned a fifth apart were em- ployed by Berlioz. Cypher System. Variety of NO- TATION. Czaar und Zlmmermann. Albert Lortzing's most popular opera was composed to his own libretto based upon an old comedy, and first per- formed at Leipsic, Dec. 22, 1837. Peter the Great, while learning the ship builders' craft at Saardam, is eagerly sought by the ambassadors of England and France, but has con- cealed his identity under the name Peter Michaelow. A Russian rene- gade, Peter Ivanow, is employed in the same shipyard, and the comedy scenes are based upon mistaken iden- tity. Both Peters have been making love to Mary, niece of the Burgo- master Van Vett, but in the end the Czar sails away leaving Us rival a pardon and a sum of money and the prospect of a bride. Although the opera was performed in nearly all music centres, Lortzing is said to have received only between 30 and 50 thalers for it, of which he paid 25 to have it copied. Donizetti, T. S. Cooke, and L. A. JuUien composed operas on the same episode of the great Czar's life. Czakan. Obsolete Bohemian flute or flageolet, usually in A. Czardasch. CSARDAS. Czemohorsky (Bohuslav) played organ in churches, Minorite monk; taught Gliick and Tartini. B. Niem- burg, Bohemia, 1690; d. 1740. Czemy (Karl) was the favourite pupil of Beethoven and teacher of Liszt; composed a "Complete Theo- retical and Practical Pianoforte School," and in all nearly 1000 pub- lications, some of which contain more than 50 compositions; pupil also of Hummel and Clementi; rarely played in public, owing to timidity; wrote "Umriss der ganzen Musikgeschichte," " School of Practical Composition," and an autobiography; left posthu- mous works to the Gesellschaft der Musikfreunde, Vienna, including 24 masses, 300 graduales, offertories, symphonies, chamber music, and vocal and dramatic pieces, and four re- quiems. B. Feb. 20, 1791, Vienna; son of Wenzel, a gifted musician, who was his first teacher; d. July 15, 1857, Vienna. Czerwenka (Joseph) played oboe with Haydn, then in Vienna Imperial Band, and taught in Vienna Conser- vatory. B. 1759, Benadek, Bohemia; d. 1835, Vienna. Czibulka (Alphons) composed " Der Bajazzo," Vienna, 1892, and other operettas and waltzes; played piano and conducted. B. May 14, 1842, Szepes-Varallya, Hungaria; d. Oct. 27, 1894, Vienna. Czimken. Polish dance, similar to the country dance. *Cayiabalum. Hungarian DULCI- MER. D is the second note of the natural scale of C; the name of the major key having F and C sharpened, the relative minor of which is B; of the minor key having B flat, the relative major of which is F; of an obsolete clef indicating d" ; of the third string of the violin; the second string of the viola and of the 'cello. D serves as an abbreviation for discantui, dessus, destra, droit, de, da, dal. Bt was the first note of the ancient Phrygian and Dorian modes. DAASE 149 SAUCE BLAITCHE Saase (Budoph) composed for chorus and orchestra ; conducted ; pupil of W. A. Bach, Marx, and Wilsing. B. Feb. 21, 1822, Berlin; add. Berlin. Da Ballo. It. In dance style. Babbuda. It. PSALTERY. Da Camera. It. For the chamber. Da Capella. It. In church style. Da Capo. It. "From the begin- ning." Da Capo al Fine. It. From the beginning to the double bar, which indicates Fine. Da Capo al Segno. It. From the beginning to the sign. D'Accord. Pr. In tune. Dach. Qer. Sound board or reso- nance box. Da Chiesa. It. In church style. Dacbscbweller. Qer. Swell box. Dacbstein (Wolfgang) composed " An Wasserjliissen Babylon " and other chorales; priest and organist Strasburg Cathedral, 1520 ; joined Re- formed faith and married; vicar and organist St. Thomaskirche; d. 1561. Dacbtylion. Or. Instrument in- vented by Henri Herz to strengthen the fingers. Dactyl. Metrical foot composed of one long and two short syllables. Daina or Dainos. Love song of Lithuania. Daire. Turkish tambourine. Dalayrac (Nicholas) composed " La Famille Americaine " and Am- brose," 1793; "Le Corsaire," "Nina," " Maison a vendre," and in all 56 operas; Chevalier of the Legion of Honor, 1800. B. June 13, 1753, Muret; d. Nov. 27, 1809, Paris. Dalberg, Baron von (Johann Friedrich. Hugo) composed the can- tatas "Jesus auf Golgotha," "Eva's Klagen," "An die Freude" (Schiller) ; wrote and translated works on music. B. May 17, 1752, AscliaflFenberg; d. July 26, 1812. Dalcroze (Emile Tacques) com- posed "Janie," lyric comedy, Geneva, 1893; "Poem Alpeatre," for soli, chorus, and orchestra, Geneva Expo- sition, 1896; "Sancho Panza," lyric comedy, Geneva, 1897; "Festival Vau- dois," soli, chorus, and orchestra, Lausanne, 1903; chamber music, songs; taught harmony and singing, Geneva Conservatory; lectured, wrote criticism; pupil of Fuchs and Bruck- ner, Vienna, and Delibes, Paris. B. July 6, 1865, Vienna; add. Geneva. Dale (Joseph.) published music in London, 1778, business continued by his sons to 1835. Dallam built organs in England, 1605-37; also called Dalham, Dal- lum, Dallans. Bobert, Balph, and George, also organ builders, were probably his sons. Dallery (Charles) built organs in France. B. about 1710, Amiens. Pierre built organs in partnership with CLICQUOT for Notre Dame, Paris, the Ste. Chapelle, and Ver- sailles. B. 1735 ; nephew of CHARLES. Pierre Frangois assisted his father PIERRE and continued the business. B. 1764, Paris; d. 1833. Louis Paul continued the business. B. 1797 ; son of PIERRE FRANCOIS. Dalnaores (Charles) sang ten. in opera, becoming a favourite at the Manhattan Opera House, New York, where he made his debut in 1906, when that theatre was opened; prize pupil of the Paris Conservatoire, and later prof, of the Lyons Conservatory. B. Nancy, Meurthe and Moselle, France, Jan. 1, 1872; add. New York. Dal Segno. It. " From the sign." Sign usually modified from letter S. Daman or Damon (William) com- posed 40 psalm tunes published in London by Este; musician to Queen Elizabeth. Damascene (Alexander) composed songs; sang in Eng. Chapel Royal. Probably • b. Italy ; naturalized in Eng., 1682; d. July 14, 1719. Dame Blanche. Francois Adrien Boieldieu's opera comique, to book by Scribe, based on Walter Scott's novels " The Monastery and Guy Manner- ing," proved the most popular work of its kind in French, having been performed at the Opera Comique alone 1340 times up to June, 1875. The English version is called " The White Maid." The Laird of Avenel, Scot- land, follows the Stuarts into exile, having entrusted the care of the es- tate to Gaveston, his steward. Gaves- BAUENlSATIOir 150 DAUBOSCH ton does not share the common super- lioz's dramatic legend in four parts, stition of the White Lady who pro- to book based on de Nerval's version tects the Avenels, and whose statue of Goethe's poem, partly by Gandon- is shown in the castle, and believing niere, but completed by Berlioz him- the Laird to have died without heirs, self, was first performed Dec. 6, 1846, offers the estate for sale, hoping to at the Opera Comique, Paris, in con- bid it in at a low price for himself, cert form. It was performed at Monte Anna, ward of Gaveston and pro- Carlo as opera, 1903, and New York, tegfie of the Laird, determines to pre- 1908, but while the music is highly vent this rascality, and disguised as dramatic, and the work is one of mas- the White Lady, appears in the vil- sive proportions, embodying the com- lage, and writes Dickson, a farmer, poser's best efforts, it is doubtless appointing a midnight meeting at heard to better advantage in concert. Avenel. Dickson is afraid to go to Damoreau (Laure Cinthie SEon- the haunted castle, but George Brown, talant) sang sop. with great success; a young English ofllcer who is his debut as Cherubino, Theatre Italien, guest, offers to do so. Anna, who rec- Paris, at 18; toured Europe and ognizes in Brown the young officer America, 1843; taught singing at she has nursed back to health after Paris Conservatoire, where she had a dangerous wound, tells him there been a pupil; composed "Album de is an heir to the Avenel property, and romances " and wrote " Mfithode de implores his aid in circumventing chant." B. Feb. 6, 1801, Paris; d. Gaveston. When the sale comes on, Feb. 25, 1863. Dickson has been authorized by the Damp. To stop the vibration of neighbouring farmers to bid for the strings of the harp and guitar by property so as to prevent Gaveston touching them with the hand; to from securing it, but Gaveston outbids apply mechanical dampers or mutes, him. Brown, prompted by Anna, bids Damper. Cloth-covered wooden higher, and when payment is de- mechanism which checks the vibra- manded, Anna produces a treasure tions of a piano's string on the rising which had been hidden by the old of the key; mute employed with horn Laird in the statue of the White and other brass instruments. Lady, and tells Brown that he is Dampfer. Qer. Damper; violin Avenel's heir. Gaveston tears off her mute. veil, revealing the fact that Anna and Damrosch. (Dr. Leopold) placed the White Lady are one and the same, German opera on a profitable perma- and of course the engagement of the nent basis at the Metropolitan Opera heir and his young protectress fol- House, New York, 1884-5; founded lows. The principal musical numbers the Oratorio Society, New York, 1874, are: Act I: "Ah, what pleasure to the New York Symphony Society, be a Soldier," George; "Where yon 1878; conducted the Arion Singing Trees your Eye discovers," the White Society, New York, 1871, Philhar- Lady and chorus; "Heavens! what monic concerts, 1876-7; New York do I hear?" trio finale. Act II: Music Festival of 1881; composed "Poor Margaret, spin away! " spin- " Sulamith," sacred cantata, sop., ten., ning song, Margaret (Anna's nurse) ; chorus, and orchestra; "Ruth and "Come O gentle Lady," George; Naomi," oratorio; church music pub- "From these Halls," duet; septet lished as "Saint Cecilia"; "Thou, with chorus, finale. Act III: "With Who art God alone" (Masonic), bar., what delight I behold," Anna; and male chorus, and orchestra; Lexing- the chorus "Robin Adair," slightly ton Battle Hymn, mixed chorus; unfamiliar but very graceful as "Cherry Ripe," part song, all pub- treated by Boieldieu. lished in the United States, and songs, Damemsation. Graun's system of coneertstucke, violin pieces, etc., pub- Solmisation. lished in Germany. A physician in Damnation de Faust. Hector Ber- early Hfe, Damrosch abandoned medi- SASIBOSCE 151 DAITCE 3CrSIC cine for the violin, became concert- meister at Weimar under Liszt, formed friendship with Wagner, and later as conductor of the Breslau Philharmonic Society, presented the music of Liszt, Wagner, and Berlioz. After extensive concert tours he or- ganized the Breslau Orchesterverein, 1862, where he remained until sailing for New York, 1871. Columbia Col- lege conferred the degree doctor of music upon him, 1880. B. Posen, Prussia, Oct. 22, 1832; m. Helene von Heimburg; d. Feb. 15, 1885. Frank Heino founded the Musical Art So- ciety, the People's Sight Singing Classes, and People's Choral Union, INSTITUTE OF MUSICAL ART; wrote a " Popular Method of Sight Singing," 1894; conducted the Ora- torio Society, 1898, the Mursurgia, Bridgeport Oratorio Society, Orpheus and Eurydice societies of Philadel- phia; the MENDELSSOHN GLEE CLUB; became supervisor to New York Public Schools, 1897. In early life Mr. Damrosch engaged in business in Denver, but eventually became su- pervisor of music in the schools there, a church organist, and conductor of the Denver Chorus Club. During the administration of Dr. Damrosch at the Metropolitan Opera House, and for a time thereafter, he was ohorusmaster. B. Breslau, June 22, 1859; son of LEOPOLD; add. New York. Walter Johannes composed the opera " Scar- let Letter," to book by G. P. Lathrop, based on Hawthorne's romance, Bos- ton, Feb. 11, 1896; "Manila Te Deum," 1898; "Cyrano," to book by Henderson, based on Rostand's play, 1903; conducted German opera at Metropolitan Opera House as assistant to his father, whom he succeeded as eondvictor of the Oratorio and Sym- phony societies; later was assistant conductor to Seidl; founded the Dam- rosch Opera Company, 1894; played New York and other cities five years; retired to compose; became conduc- tor of German operas under the Grau regime at the Metropolitan Opera House; of the New York Philhar- monic Society, 1902-3; and then es- tablished the Damrosch Symphony Orchestra, later known as the New York Symphony Orchestra, which gave concerts at Carnegie Hall, New York. B. Jan. 30, 1862, Breslau; son of LEOPOLD; m. Margaret, daughter of James G. Blaine, ex-Secretary of State, etc. ; add. New York. Danby (John) composed the glee "Awake Aeolian lyre!'' secured 10 prizes at the Catch Club; published four books of compositions; wrote " Guida alia Musica Vocale," 1787. B. England, 1757; d. London, May 16, 1798. Dance CWilliam.) with Cramer and Corri founded the London Philhar- monic Society, 1813; played violin and led orchestras. B. 1755, London; d. June 5, 1840. Henry, son of WIL- LIAM, was the Philharmonic Society's first secretary. Dance llusic has played a most important part in the origin of FORM, if it be not the original form, of all music in all countries. It is quite conceivable that the first idea of rhythm, whether in poetry or music, was suggested by the dance ; it is cer- tain that all instruments of percus- sion were invented and employed to mark the steps in dancing; and since dancing was a religious rite as well as a social diversion with all primitive peoples, the first attempts at singing were probably guttural grunts, rising or falling in tone as the dancers be- came more excited and more rapid in movement, or slackening as their vigour relaxed. Of such a type is the dance of the American Indian and of the savage tribes in Africa. Dancing formed part of the religious ritual of the Jews and of Greeks, and of the Ro- mans, but there soon came to be a dis- tinction between the religious dances and those meant for social entertain- ment. The ancient secular dances were largely gymnastic, that is, intended for exercise; or mimetic, that is, convey- ing emotion by gesture, and the various dances in Greece were so highly spe- cialized that there is reason to believe they included a form of entertainment closely corresponding to the modern ballet d'action, which developed in Italy in the 16th century. During SANCLA 152 DA PONTE the early ages of Christianity dancing was not wholly discouraged, but it is probably because of the pagan origin of the dance and its connection with pagan worship that rhythm was ig- nored in the songs used in Christian worship. At any rate secular music came to be noted as to rhythm long before church music, which had reached its final perfection in form in the 16th century, was so divided; and as the secular songs were nearly always composed in some dance rhythm, the practice of the leaders of rebellion against the authority of Rome in reli- gious matters of having the hymns and chorales adapted to popular music, soon reacted on the older church music itself. There is a remarkable similar- ity in the dance rhythms of all Euro- pean races, however different they may be in name. In various forms, these rhythms have perpetuated themselves in the SONATA and SYMPHONY from the earlier orchestral suites, which were merely various dances so brought together as to give an agree- able sense of variety. Modem com- posers, even more than those of the classic period, borrow freely of the dance tunes of every nation, and the waltz is taking its place along with the gavotte, sarabande, scherzo, con- tredanse, and minuet in the severest forms of music. Dancla (Jean Baptiste Charles) composed etudes for violin which are still valuable; played that instrument with distinction and taught at the Paris Conservatoire, where he had been a pupil of Baillot. B. 1818, BagnSres de Bigorre. Arnaud played 'cello and wrote on musical topics. B. 1820; brother of J. B. C; d. 1862. Iieopold composed. B. 1825; brother of J. B. C; d. 1895, Paris. Dando (Joseph Haydn Bourne) played violin in Philharmonic and other London orchestras; founded string quartet; taught at Charter- house; pupil of his uncle Gaetana Brandi and of Mori. B. May 11, 1806, Somers Town; d. May 9, 1894. Banican. Name of French family of musicians better known as PHILI- DOR. Daniel (Hermann Adalbert) wrote "Thesaurus Hymnologicus," which con- tains a valuable collection of hymns and their history. B. 1812, CSthen near Dessau; taught Halle University. Dankerts (Ghiselin) composed church music and songs; sang in Papal Chapel, 1538-65. B. Tholen in Zealand. Danneley (Jolin Feltham) wrote " Elementary Principles of Thorough Bass," 1820; "An Encyclopaedia or Dictionary of Music," 1825 ; " A Mu- sical Grammar," 1826; played organ and taught. B. 1786, Berkshire, Eng. ; d. 1836, London. Dannreuther (Edward George) composed songs and duets; wrote " Musical Ornamentation," " Wagner and the Reform of the Opera," 1904; translated Wagner's books; played piano in concert and taught that in- strument. Royal College of Music, 1895; lectured and contributed to magazines; pupil of P. L. Ritter, Cin- cinnati; of Moscheles, Hauptmann, and Riehter, Leipsic Conservatory; London debut at Crystal Palace, April 11, 1863. B. Nov. 4, 1844, Strasburg; d. Feb. 12, 1905, London. Gustav wrote " Chord and Scale Studies for Young Players " ; founded Dannreu- ther string quartet. New York; led Symphony and Oratorio societies; pupil of de Ahna and Joachim and Heitel, Berlin; joined Mendelssohn Quintet Club, Boston, 1877; played in Boston Symphony Orchestra, 1882-84; directed Buffalo Philharmonic Society. B. July 21, 1853, Cincinnati; add. New York. Danzi (Erancesca) was the maiden name of MME. LEBRUN. Danzi (Eranz) composed 11 operas, including "Die Mitternachtsstunde," "Der Kuss," "Cleopatra," "Iphi- genia " ; vice chapelmaster at Munich ; chapelmaster at Stuttgart and Carls- ruhe; m. the singer Marguerite Mar- chand, and conducted opera companies in which she sang; taught singing and wrote " Singing Exercises." B. May 15, 1763, Mannheim; d. April 13, 1826, Carlsruhe. Da Ponte (Lorenzo) wrote books ■of "Don Giovanni" and "Cosi Fan DAQTJIN 153 DAVID Tutti," for Mozart; poet laureate to Emperor Joseph II at Vienna until 1792; librettist to Italian opera in London, 1803; taught Italian at Co- lumbia University, New York; wrote "Memorie." B. Ceneda, near Venice, Mar. 10, 1749; d. New York, Aug. 17, 1838. Daqiiin (Iiouis Claude) composed " Coucou " and other harpsichord mu- sic; organist at St. Antoine's, Paris, at 12, and at St. Paul's from 1727. B. July 4, 1694, Paris; son of L. C, a harpsichordist; d. Paris, June 15, 1772. Darabooka. Arabian drum. Dargomijsky (Alexander Sergei- vich) composed the " Stone Guest," which was completed by Kimsky Kor- sakoff and expressed in opera the latest ideas of the New Russian school in dramatic reform, the text being adapted from Poushkin's drama which follows in the main the story of Mo- zart's "Don Giovanni," 1872; "Esmer- alda," from Hugo's " Notre Dame de Paris"; "The Triumph of Bacchus," to book by Poushkin ; " Roussalka," to book adapted from Poushkin's poem; "Rogdane," unfinished fairy opera; and for orchestra, piano, and voice. An official in early life, a meet- ing with Glinka determined Dargo- mijsky to devote himself to music. His songs rank as the best of the Russian school and display great va- riety in treatment, those in oriental style, "An Eastern Song," "I Think that thou wert born for this," and " O maid my rose," being especially noteworthy. His "Kazachok," "Dance of the Mummers," and "Russian Le- gend," orchestral fantasias, first ob- tained recognition in Belgium during a tour of Europe made by the com- poser, 1864, and on his return to Rus- sia he formed a close connection with Balakirev. B. Feb. 14, 1813, on an estate in Toula; d. Jan. 1869, St. Petersburg. Danusaiten. Uer. Catgut strings. Dash. Indicates a more pronounced staccato than a dot; in harpsichord music a slur or coulfi; sharpens the interval a semitone when drawn through a figure in Thorough Bass. Da Teatro. /*. In theatrical style. Daublaine & Callinet built organs in Paris, 1828 to 1855, when the firm became a corporation, to which Merk- lin, Schiltze & Co. are successors. Dauer. Oer. Duration of vibra- tion. Daughter of St. Mark. Michael William Balfe's opera to book by Bunn, founded on " La reine de Chypre," was first performed Nov. 27, 1844, at Drury Lane, London. Daumen. Ger. Thumb. Dauney (William) wrote " Disser- tation illustrative of the history of music in Scotland," 1838, in connec- tion with tablature music which he collected and deciphered; lawyer and government official. B. Oct. 27, 1800, Aberdeen, Scotland; d. July 28, 1843, Georgetown, Demerara. Dauvergne (Antoine) composed "Les Troquers," 1753, and in all 15 operas, the ballet " Les Amours de Tempg"; managed Paris Opera, con- ducted opera and concerts spirituel, played violin; surintendant de mu- sique, 1769-76. B. Oct. 4, 1713, Cler- mont-Ferrand; d. Lyons, Feb. 12, 1797. Davenport (Francis William) composed symphonies in D minor ( Ist prize at Alexandra Palace competition, 1876] and in C; overture "Twelfth Night," 1879; "Prelude and fugue" for orchestra, 1879; chamber music; wrote "Elements of Music," 1884; " Elements of Harmony and Counter- point," 1886; "Guide for Pianoforte Students," 1891 ; taught Royal Acad- emy and Guildhall School of Music; pupil of Sir George Macfarren, whose daughter he married. B. Wilderslowe, near Derby, 1847; add. London. David (relicien Cesar) composed the op6ra comique " La Perle du Br6- sil," 1851; "Lalla Rookh," 1862; and the symphonic ode " Le Dfisert," 1844 ; the oratorio "Moise au Sinai," 1846; the descriptive symphony " Christophe Colomb," 1847, and with "Hercu- lanemn," produced at the Grand Opera, Paris, 1859, largely built up of the earlier work " La Fin du Monde,'' which was never performed, won the state prize of 20,000 francs. DAVID 154 DA VIES Son of a gifted amateur musician, David became a chorister at Aix Ca- thedral, composed hymns and a quartet for strings at 13; conducted at the Aix theatre and later at St. Sauveur; entered the Paris Conservatoire, 1830; joined the St. Simoniens, 1831, and composed for them, and on the disso- lution of the society three years later, went to Marseilles, and thence to Con- stantinople, Smyrna, Egypt, and Pal- estine. In 1835 he returned with collections of " Melodies orientales " for piano, which failed of success, whereupon he withdrew from Paris to Igny, composed two symphonies, chamber music, and "Les Hirondelles," and other songs. " Le Desert " proved hi^ first great success, and thereafter David lived in Paris, was elected to the Academic, and for the last seven years of his life served as librarian to the Conservatoire. Other works to be noted are: "Eden, a mystery," 1848; "Le Saphir," Op6ra Comique, 1865, and the " Beatus Vir" and " Ave Verum," composed in early life. B. April 13, 1810, Cadenet, Vaucluse; d. Aug. 29, 1876, St. Germain en Laye. David (Ferdinand) wrote a valu- able " Violin School " ; collected the works of early violinists in " Hohe Schttle des Violonspiels " ; composed the opera "Hans Wacht" and much music for violin and string combina- tions; revised and was first to per- form the Mendelssohn concerto for violin; taught violin in Leipsic Con- servatory, numbering Joachim and Wilhelm j among his pupils ; was Men- delssohn's concertmeister at the Gre- wandhaus concerts, Leipsic, 1836 to his death; highly esteemed through- out Europe as solo violinist, editor and teacher. B. July 19, 1810, Ham- burg; pupil of Spohr and Haupt- mann; brother of Mme. DULCKEN; d. while on an excursion to the Gri- sons, July 18, 1873. Peter Paul led Carlsruhe orchestra, 1862-65; taught in England; pupil of his father, FER- DINAND. B. Dec. 1, 1840; add. Up- pingham, Eng. Davidde Penitente. W. A. Mo- zart's cantata for three solo voices, chorus, and orchestra, was adapted from his C minor unfinished mass to Italian words by an unnamed author and produced Mar. 13 and 15, 1785, at the Burg Theatre, Vienna, at the benefit of the Tonkiinstler Societat. Davide (Giacomo) sang ten. with great success in opera and church, 1785-1820, Naples, London, Florence, and Bergamo. B. 1750, Presezzo, near Bergamo; d. Dec. 31, 1830, Bergamo. Giovanni sang ten. in opera, with range of three octaves; founded vocal school in Naples, 1841; became man- ager of St. Petersburg Opera; pupil of his father GIACOMO. B. 1789; d. 1851, St. Petersburg. Davidofl (Charles) composed sym- phonic sketch for orchestra. Op. 27; Russian Fantasia, Op. 7; Orchestral suite. Op. 37; popular songs and chamber music; four concertos for 'cello, which instrument he played at the St. Petersburg Opera and taught in the Conservatoire; he wrote an excellent " School for Violoncello." B. Mar. 17, 1838, Goldingen, Courland; d. Feb. 15, 1889, Moscow. Davidsbiindler. Schumann's imag- inary society for fighting the battles of the New Music against the Phil- istines. Davidson (G. E.) published music in London, 1842-59. Davies (Ben) sang ten. in English opera and concert, in Welsh choirs, as a boy, and at the Crystal Palace; pupil Royal Academy of Music; joined Carl Rosa Company, 1881; debut in oratorio at Norwich, 1890; since then a favourite in England and America. B. Jan. 6, 1858, near Swansea; m. Clara Perry, 1885; add. London. Davies (Fanny) played piano in concert; noted for interpretations of Brahms and Schumann ; pupil of Mme. Schumann. B. June 27, 1861, Guern- sey; add. London. Davies (Ffranggon) sang bar. in English and American festivals, and in opera, debut with Carl Rosa Com- pany, 1890, as the herald in "Lohen- grin " ; sang ballads admirably, be- came vocal teacher at Royal Academy of Music, 1903, and wrote on voice training; was graduated from Jesus College, Oxford, where he gained a BAVIES 155 BEBtrSSY classical exhibition, and took orders, but withdrew from the priesthood be- cause of doctrinal convictions. B. Bethesda, Carnarvon, Dee. 11, 1860; add London. Savies (Dr. Henry "Waif ord) com- posed the cantata " Herv6 Kiel," 1895 ; setting of the mystery play " Every- man," Leeds Festival, 1904; "The Temple," oratorio, Worcester Festival, 1902; Dedication overture, symphony in D; Cathedral Service; anthems; part songs; a quartet in E flat for piano and strings, and other chamber music; played organ; taught counter- point Royal College of Music, 1895- 1903, and in that year became director Bach Choir. B. Sept. 6, 1869, Os- westry; add. London. Davies (IVtarianne and Cecilia) taught music to the daughters of Empress Maria Theresa in Vienna and won celebrity as singers and instru- mentalists. Marianne at her London debut, 1751, played flute and harpsi- chord, and sang; later became per- former on " the musical glasses." B. 1744; d. 1792. Cecilia was the first woman of English birth to be accepted as an opera singer in Italy; suffered from extreme poverty in old age. B. about 1750; d. July 3, 1836. Davies (Mary) sang mez. sop. at English festivals; debut at eight in a chapel in London, of which her father was precentor; won scholarship at Royal Academy of Music, and gained Parepa-Rosa gold medal and Nilsson prize; m. W. C. Davies, 1888; re- tired 1900. B. Feb. 27, 1855, London; add. Worthing. Davis (Thomas) composed six solos for flute or violin with bass or harpsi- chord, country dances, and " Twenty English and Scotch airs " ; one publi- cation dated London, 1751. Davison (James William) wrote music criticism for London " Times," 1846-1879, continually attacking Schu- mann, Gounod, Liszt, and Wagner, and upholding the classicists ; edited harp- sichord music for piano; composed songs. B. Oct. 5, 1813, London; m. the pianist, Arabella Goddard; d. Mar. 24, 1885. Davy (John) composed "The Bay of Biscay " and many other songs once highly popular; "Rob Roy," 1803; " Woman's Will, a Riddle," 1820, and other forgotten dramatic pieces; played in Covent Garden Theatre and taught. B. Dec. 23, 1763, near Exeter, Eng. ; d. Feb. 24, 1824, London. Davy or Davys (Bichard) com- posed for virginal, motets, and secu- lar songs; choirman and organist Magdalen College, Oxford, 1490-92. Day (Alfred, 3I.D.) wrote a " Treatise on Harmony " designed to replace the existing rules by proposing such as would harmonize with the nu- merous exceptions occurring in the works of the great masters; propos- ing a new nomenclature for figured bass and a simplified system of chords. B. 1810, London; d. Feb. 11, 1849. Day (DEaj. Charles Russell) wrote " The Music and Musical Instru- ments of Southern India and the Dec- can," Novello & Co., 1889, the only authority on that subject; served in India with British army, 1882-87; mortally wounded in attack on Cronje, Paardeberg, South Africa, Feb. 18, 1900. B. 1860, Norwich; d. Feb. 18, 1900. Day (John) published music in London, 1547, to his death, 1584, when the business was continued by his son Richard. D. C. Abbreviation for DA CAPO. D Dur. Oer. D major. Deane (Dr. Thomas) composed music for the play " Governor of Cy- press," a service, and other church music; played organ and violin and is said to have performed a Corelli so- nata in England for the first time, 1709. Debain (Alexander Frangois) in- vented the HARMONIUM, patented, 1840, and founded a piano factory in Paris. B. 1809, Paris; d. Dec. 3, 1877. Deborah. George Frederick Handel's oratorio, largely adapted from his earlier works, to book by Humphreys, was completed Feb. 21. 1733, and pro- duced Mar. 17, 1733, at the Hay- market, London. Debussy (Claude Achille) won the Prix de Rome at the Paris Oonserva- DEBUT 156 DEITEKS toire, 1884, with his cantata "L'En- fant Prodigiie," and while in Rome composed the setting of Eossetti's " Blessed Damoael " ( " La Demoiselle 6hi"), which was rejected by the French authorities; an orchestral suite, string quartet, prelude sym- phonique to " Apres midi d'un faune," ariettes to poems of Paul Verlaine, five " Pofimea de Baudelaire," " Chansons de Biliis," " Chimine," opera to book by Catulle Mendez ; " Nuagea " and " Fetes " for orchestra, a suite ,for piano, and Maeterlinck's "PELLEAS et MELISANDE," Op6ra Comique, Paris, 1902. B. Aug. 22, 1862, St. Germain en Laye; add. Paris. Debut. Fr. First appearance. Debutant. Fr. One appearing for the first time. The feminine ia debutante. Dec. Abreviation of DECANI and of DECRESCENDO. Decachordon. Or. Ten stringed instrument. Decani. L. The division of a choir sitting on the dean's or south side "of the cathedral aa opposed to the CANTORIS. Deceptive Cadence. One in which the laat chord is other than the tonic. Decide. Fr. Decidedly; firmly. Decima. L. "A tenth"; Plena de Tonis, major tenth; Non Plena de Tonis, minor tenth; Quarta, a fourteenth; Quinta, fifteenth; Tertia, thirteenth. Decimole. DECUPLET. Decisio. Major semitone or APO- TOME. Deciso. It. Determined. Decke. Ger. Cover or back or belly of resonance box; cover of stopped metal organ pipes. Declamando. It. In declamatory style. Declamation. Recitative as op- posed to song. " Declamation music " such aa the Strauss musical setting of Tennyson's " Enoch Arden " is merely incidental music played while the poem is being read in speaking voice. Decompose. Fr. Disconnected. Decoration. Fr, A signature. Decres. Abbreviation of DECRES- CEiVDO. Decrescendo. /*. To gradually decrease the volume of tone. Dedekind (Constantin Christian) wrote and composed poetic dramaa on sacred subjects and church music; court chapelmaster and poet at Dres- den. B. Reinsdorf, Anhalt-Cothen, where his father was pastor, April 2, 1628; d. Sept. 7, 1697. Dedekind (Euricius) composed church music; cantor Johanniskirche, Luneberg. B. Neustadt, Saxe- Weimar, 1585; d. 1619. Henning composed; officiated in Thuringia as cantor and pastor. B. Luneberg, son of Fried- rich, paator of St. Michaels, brother of EURICIUS; d. 1630. Dedicate. It. Dedicated. Dedi€. Fr. Dedicated. Deduction. L. Succession of notes in hexachords. Defesch (William) composed the oratorios " Judith " and " Joseph," songa and chamber muaic; played or- gan in Antwerp. B. Flanders; d. about 1758. Deflciendo. It. Slowly diminish- ing. Degrg. Fr. Degree of a scale. Degree of a Scale. Intervals of a tone, semitone, or augmented tone. Degrees in Music are conferred by varioua univeraitiea eitlier after pre- scribed courses of study and examina- tion or honoris causa. They are Bach- elor, Master, and Doctor of Music. Dehn (Siegfried Wilhelm) wrote on theory; edited and collected muaic and biographical material; was given charge of the musical portion of the Berlin Royal Library on Meyerbeer's' recommendation. B. Feb. 25, 1799; d. Berlin, April 12, 1858. Dehnung. Ger. Expansion or extension. Dehnungstricbe. Ger. Long bow stroke. Deiss (Michael) composed " Misit Horodes rex" and other motets; mu- sician to Emperor Ferdinand I, 16th century. Deiters (Hermann) revised and translated into German Thayer's " Life of Beethoven," which he completed; DEIi 157 DEBEONIO published biography of Brahms, 1880 (Eng. version by Mrs. Newmaroh, 1888); wrote for various musical pub- lications. B. June 27, 1833, Bonn; Dr. Juris et Lit. Bonn; add. Berlin. Del, Delia, Delle, Dello. It. " Of the." Delaborde (£. 3C.) composed the op€ra comique "La Keine dort"; the overture "Attila," chamber music; played piano, pupil of Alkan and Moscheles; taught Paris Conserva- toire, 1872. B. Feb. 7, 1839, Paris; add. Paris. Dglassement. Pr. Light enter- tainment. Deldevez (Eduard Karie Ernst) compiled an " Anthology of violinists " in 4 vols.; composed a requiem, three symphonies, songs, chamber music, the ballets " Lady Henriette," " Eucharis," " Paquita," " Vertvert " ; second con- ductor at Paris Opera, 1859, and at Concerts du Conservatoire; chief con- ductor, 1873 ; retired 1877 and 1885. B. May 31, 1817, Paris; d. Nov. 6, 1897. Deliberatame&te. It. Deliber- - ately. Deliberate. It. Deliberate. Delibes (Clement Fbilibert Leo) composed the ballets " Coppelia " and " Sylvia," which are among the most beautiful in modem repertoire, the opera "LAKME," and many other less successful dramatic works, choruses, songs; taught in the Paris Conserva- toire; Chevalier of the L^on of Honor and Member of the Institut. In 1848 Delibes was admitted to the solfege class at the Conservatoire, and sang in the Madeleine and other churches; won first prize in solfege, 1850; and studied under Le Couppey, Benoist, and Adolphe Adam._ In 1853 he was appointed accompanist at the Theatre Lyrique and organist at Pierre de Chaillot upon Adam's recommenda- tion, and from 1862 to 1871 was or- ganist at St. Jean St. Frangois, and in 1865 became accompanist and later second chorusmaster at the Opera. " Deux sous de Charbon " was his first dramatic piece, 1855, and the later operas followed in the order given: "Maltre GriflFard," "De Jardinier et son Seigneur," " Deux veilles Gardes," "L'Omelette a la FoUembflche," "Le Serpent a plumes," " L'Eccosais de Chatou." His more pretentious operas include " Le Eoi I'a dit," " Jean de Nivelle," and "Kassya," completed after the composer's death by E. Guir, and '•' Le Don Juan suisee " and " La princesse Ravigotte," which have not been performed. B. Feb. 21, 1836, St. Germain du Val; d. Paris, Jan. 16, 1891. Delicatesse. Fr. Delicately. Delicatezza, con. It. With deli- cacy. Delicatissimo. It. Very deli- cately. Delicato. /*. Delicately. Dellrio, con. It. With frenzy. Delle Sedle (Enrico) wrote books which have been combined in Eng- lish trans, as " Complete Method of Singing"; sang bar. in opera; taught in Paris Conservatoire. B. June 17, 1826, Leghorn. Delmotte (Henri Elorent) wrote a biography of Orlando di Lasso, based on Vinchant's chronicle. B. 1799, MonS; d. Mar. 9, 1836. Delyn. Welsh harp. Demancber. Fr. To cross hands in playing piano or shift position on ■the violin. Demande. . Fr. Fugue subject. Demantius (Johann Christoph) composed church music and songs and wrote on music; cantor at Zittau and Freiburg. B. Dec. 15, 1567, Reichen- berg; d. Freiburg, April 20, 1643. Demeur (Anne Arsgne) sang sop. in opera with great success, much ad- mired by Berlioz for whom she created Dido in " Les Troyens a Carthage." B. Mar. 5, 1827, Saujon, Charente, maiden name Charton; m. Demeur the flautist; d. Nov. 30, 1892, Paris. Demi Baton. Fr. Semibreve rest. Demi Cadence. Fr. Half cadence. Demi Jeu. Fr. Mezzo forte or half power. Demi mesure. Fr. Minim rest. Demisemiquaver. Thirty-second note. Demi Soupir. Fr. Quaver rest. Demi Ton. Fr. Semitone. Demoiselle. Fr. An organ coupler. Demonic. Anton Rubinstein's D^MOPHON 158 DESKAB.ETS three-act opera to book by Wiskowa- tov, based on Lermontoff's poetic tale, was first performed Jan. 25, 1875, at St Petersburg, and in 1881 at Covent Garden. The prologue portrays the Demon defying the Angel of Light, but falling in love with Tamara, daughter of Prince Gudal and be- trothed of Prince Sinodu on seeing her with her maidens by the water. He first causes a band of Tartars to mur- der Prince Sinodu and then undertakes to comfort Tamara, who weeps over her lover's body. Tamara retires to a convent where she is followed by the Demon, who reveals himself to her in his proper person, and invites her to share his power. Tamara consents, provided he will reconcile himself to his Creator, and this he agrees to, but as he makes his vow the Angel of Light appears, accompanied by the ghost of the murdered prince, and the Demon sees Tamara carried off to heaven by a band of angels. The principal mu- sical numbers are : Act I : "He Da- mon! wir warten" and "Verhasste, verfliichte Welt! " the Demon; "Tag- lich eilen wir im Fluge," chorus of maidens ; " Ach ! liebe MSdchen," Ta- mara; and "Ach! Tamara," the maidens ; " Stille, Stille ! sehleichet naher! " the Tartars; Act II: " Ru- fet Heil unserm Fursten," and " Der Wein, Der Wein," chorus; ballet music ; " Weh uns ! ein Trauerzug," chorus ; " Susses Kind, Du weinst vergebens," the Demon; " Auf zum Kampfe, Eache uns, beseele uns," Gudal and chorus. Act III: duo, the Demon and Tamara and the apotheo- sis music with angelic chorus. Demophon. Luigi Cherubini's opera to book by Marmontel was pro- duced Dec. 5, 1788, at the Academic Royale, in Paris. Benefve (Jules) composed a re- quiem, cantata for the unveiling of the Orlando di Lasso statue in Ghent, 1858, three operas, male choruses; taught and played 'cello. B. 1814, Chimay; d. Aug. 19, 1877. Dengremont (lllaurice) played violin with great success, but killed himself in dissipation. B. Rio Janeiro," Mar. 19, 1866; d. Paris, 1893. Denis d'Or. Keyboard instru- ment with pedals invented by Pro- copius Divis, 1762, Moravia. Denkmaler der Tonkunst was the title of Dr. Crysander's reprint of music by Palestrina, Corelli, and Couperin. Denkmaler Deutscher Tonkiinst were music reprints undertaken by a committee composed of Dr. Crysander, Brahms, Joachim, Spitta, Helmholtz, and Herzogenberg, 1892, with govern- ment aid. Denza (Luigi) composed the extra- ordinarily popular song " Funiculi Funicula" which Richard Strauss used in his Italian suite, and more than 500 other songs to English, Ital- ian, and French texts ; taught singing at Royal Academy of Music, London. B. Castellmare di Stabia, 1846; pupil of Naples Conservatory ; add. London. Depart, Chant du. The only French national song composed during the Terror was written by Marie Joseph Chfinier to celebrate the fourth anniversary of the Fall of the Bastile, while in hiding in Barrett's home, and was set by Mehul. Deppe (Ludwig) conducted musi- cal society in Hamburg; taught piano; imperial chapelmaster at Berlin. B. Nov. 7, 1828, Alverdissen, Lippe; d. Sept. 5, 1890, at Bad Pyrmont. Dering or Deering (Bichard) com- posed sacred music and madrigals and for viol ; organist to Queen Henrietta Maria and musician to Charles I of Eng.; studied in Italy; may have been among the first to employ figured bass. Son of Henry Dering of Liss; d. 1630. Derivative. Root from which the harmonies are derived; an inversion. Des. Ger. D flat. Descant. DISCANT. Des Dur. Ger. Key of D flat major. Deserteur. P. A. Monsigny's musi- cal play in three acts to book by Sedaine, was first produced Mar. 6, 1769, at the Theatre des Italiens, Paris. Desmarets (Henri) composed sa- cred music and the operas " Didon," 1693; "Circe," 1694; "Th6ag6ne et Chariclee " and " Les Amours de Momus," 1695; "Venus et Adonis"; DES KOLIi 159 DETTX "Les Fetes Galantes"; fled Paris to escape punishment for secret marriage, became chapelmaster to Philip V; ob- tained ratification of his marriage under patronage of the Duke of Lor- raine, while resident at Luneville, 1722, and produced "Renaud, ou la Suite d'Armide" in Paris that year. B. 1662, Paris; d. Sept. 7, 1741, Luneville. Des Moll, Qer. Key of D flat minor. Despres. One form of spelling the name of JOSQUIN de Pres or di Prato. Dessauer (Josef) composed the song " Lockung " and the operas " Lid- wina," " Ein Besuch in St. Cyr," " Pa- quita," " Domingo," and chamber mu- sic. B. 1798, Prague; d. July 8, 1876, near Vienna. Dessin. Fr. Plan or design. Sessoff (Felix Otto) conducted opera at Vienna, Carlsruhe, and Frankfort; composed chamber music. B. Jan. 14, 1835, Leipsio; d. Oct. 28, 1891, Frankfort. Dessus. Fr. Treble or upper part of a score. Bestouches (Andre Cardinal) com- posed the successful opera " Iss6 " at 25, " Les Elements," an elaborate bal- let in which Louis XV danced and which has been orchestrated anew by d'Indy; the cantatas "Oenone" and " S6m616 " ; originally a mousquetier, but became " inspecteur general " of the Acad€mie royale de musique and surintendant of music to the king. B. 1672, Paris; d. 1749. Destra. /*. The right; Mano, hand. Destranges (Louis Augustin fitienne Soullle) wrote " Les Inter- pr6tes musicaux du Faust de Goethe " and other books of a critical nature; edited " L'Ouest- Artiste," 1890; advo- cated Wagner's music. B. Mar. 29, 1863, Nantes; add. Paris. Destro. /*. Sprightly. DStache. Fr. Detached; staccato notes. Determinato. It. Resolutely. Detonation. Fr. False intonation. Dgtonner. Fr. To sing out of tune. Dettingen Te Teum. George Fred- erick Handel's work in celebration of the victory of Dettingen contains many excerpts from " Urio," and was first performed at the Chapel Royal, Nov. 27, 1743, though begun in July of that year. Beus Iffisereatur. Psalm bcvii is considered a responsoiy psalm in the Latin ritual. In the revision of the Anglican Book of Common Prayer, 1552, it is given as an alternative to the Nunc Dimittis. Deutsche Elote. Cter. German flute. Deutscher Bass. Ger. A viol mid- way in size between a doublebass and a 'cello. Deuxieme Fositlon. Fr. Second position on the violin; guitar's second fret. Deux Journees. M. Luigi C. Z. S. Cherubini's three-act com€die lyrique to book by Bouilly was produced Jan. 16, 1800, at the Theatre Feydeau, Paris, and subsequently given in Ger- man, English, and Itialian versions. Michele, from whose occupation as water carrier the English version takes its name, is the father of Antonio, who is about to marry Angeline, a peasant girl of Genesse, and he obtains passes for himself, Antonio, and Mar- celline, his daughter, in order that they may go to fetch the bride. Count Armand, to whom Michele is under obligation, falls into disfavour with Mazarin, who places a guard at the city gates in order to prevent his es- cape. Michele hides the Count in a water barrel, induces Marcelline to remain at home and thus enable the Count's wife Costanza to take her place, and gets the fugitives past the gate. Although the Count is obliged at one time to hide in a, hollow tree, the party reaches the open country in apparent safety. Costanza claps her hands as a signal to her husband that they have escaped, but as she does so, the party is surrounded by soldiers. The soldiers seize Costanza, and the Count rushes to her rescue. He reveals his identity, but as the sol- diers are about to take him back to Paris, Michele brings the news that Mazarin has restored the Count's lib- erty and estates. The principal mu- DEVELOPMEUT 160 SIAMAU'TS Bioal numbers are: Act I: "Da casa il princo mio signor," Antonio; " Deh so m'ascolti," Michele ; " O mio libera- tor," Armand, Costanza, and Michele; and a duo for Armand and Costanza; Act 11: "Via! cedete ull' evidenza," Costanza, Antonio, and soldiers; and a trio and march in the finale; Act III: "La pastorella" (wedding cho- rus) which merges into "Nulla pieta de omai" (Soldiers' chorus), and a brilliant quartet with double chorus as the finale. Development is the elaboration of a theme in accordance with the recog- nized rules of art. Devil's Opera. G. A. Macfarren's two-act opera to words by F. Macfar- ren was first performed Aug. 13, 1838, at the English Opera House, London. Devin du Village. Jean Jacques Rousseau's one-act opera to his own text was first produced at Fontaine- bleu, Oct. 18, 1752, and the following year at the Acad^mie Royale. In 1766 it was translated and adapted for English performance by Dr. Bur- ney as " The Cunning Man." " Rous- seau's Dream," which has been used as a hymn tune, is part of the di- vertissement of this work, which, de- spite its composer's tempestuous career in music, was so popular as to have reached its 400th performance before it was shelved in 1829. Devoto, Devozlone, con. It. De- votedly; with affection. Dextra. L. The right. Dextrae Tibiae. L. Pipes held in the right hand. Di. It. "By, for, with, of"; Orado, by degrees; Chiesa, for the church. Diabelli (Antonio) composed the waltz on which Beethoven virrote 33 variations ( Op. 120 ) ; " Landmessen," still sung in Austrian churches; the operetta " Adam in der Klemme " ; taught piano and guitar; joined Peter Cappi as music publisher, 1818; founded DIABELLI & CO., 1824; edu- cated for the priesthood, but deter- mined, on secularization of Bavarian monasteries, to devote himself to mu- sic, and became pupil of Haydn, Vienna, 1803. B. Mattsee near Salz- burg, Sept. 6, 1781; d. April 8, 1858, Vienna. Diabelli & Co. published music in Vienna from 1824 when the house was founded by ANTONIO DIA- BELLI, acquiring the publications of ARATARIA and other houses, issuing works of Schubert, Czerny, and other composers, in all more than 25,000 publications up to 1880. C. A. Spina took charge of the business, 1852, F. Screiber in 1872, ' in whose name it was continued after the purchase by A. Cranz, of Hamburg, 1876. Diadeste. Michael William Balfe's Italian opera buffa to words by Fitz- ball was first performed May 17, 1838, at Drury Lane, London. Dialogo. It. Dialogue; duet. Dialogue. Fr. Dialogue; duet. Diamants de la Couronne. Daniel F. E. Auber's three-act opera comique to book by Scribe was first produced at the Op6ra Comique, Paris, Mar. 6, 1841, and as "The Crown Diamonds" in London the following year. The scene is laid in Portugal, 1777. Don Henrique, who is making a journey for the twofold purpose of attending the coronation of his queen and wed- ding Diana, daughter of his uncle. Count de Campo Mayor, minister of police; is captured in the mountains by a band of counterfeiters. Catarina, who is the leader of the gang, spares his life on condition that he shall not reveal what he has seen for a year. As he is about to depart they are sur- rounded by troops led by Don Hen- rique's friend, Don Sebastian, and the coiners and Henrique make their es- cape disguised as monks while Cata- rina and her lieutenant Rebolledo disappear through a subterranean pas- sage, taking with them a casket con- taining some mysterious jewels. In the next act Don Henrique reaches the home of his uncle, only to find that Diana is in love with his friend Don Sebastian, while he himself is sigh- ing for Catarina. Meantime a car- riage bearing Catarina and Rebolledo breaks down, and they seek shelter in the castle of the minister of police. When Diana reads an account of a robbery containing a description of BIAKAITTS 161 SIATESSABON Catarina and Rebolledo, the latter dis- appears, and Don Henrique tells Cata- rina of her danger, confesses his love for her, and urges her to run away with him. Catarina, though moved by his generosity, declines, but gives him Eer ring as a souvenir. Just then Count Campo Mayor enters and an- nounces that the Crown Diamonds have been stolen and, despite the ex- cit^nent of the moment, recognizes the ring Don Henrique is wearing as one of the royal jewels. Diana turns the situation to her own advantage by making Henrique promise that if she will assist Ca^rina to escape he will refuse to marry her. In the last act Diana, Count Campo Mayor, Don Hen- rique, and Don Sebastian assemble in an ante chamber at the royal palace, where Kebolledo is presently announced as Count Fuentes. It develops that the crown diamonds have been actually pledged for the national debt, and that Count Fuentes has been employed to procure duplicates to be used on state occasions until the real jewels can be redeemed. The scene changes, the Queen comes in, expresses her pleasure at the way in which Count Fuentes has performed this delicate mission, and makes him Minister of Secret Police. Count Campo Mayor is then admitted, and he announces the de- cision of the royal council that her majesty shall marry the prince of Spain. The Queen declares she will marry a man of her own choice, and when the Count protests, threatens to confiscate his property for permitting the crown diamonds to be stolen, and orders him to arrest Diana and Don Henrique for harbouring the thieves. Diana enters, but fails to recognize Catarina in the Queen. Not so with Don Henrique. He knows Catarina at once, is amazed to find her in the royal palace, and is planning to rescue her by force when the Queen orders his arrest for high treason. Another change of scene reveals her majesty holding court. Don Henrique comes in to plead for Catarina to find at last that Catarina and the Queen are one and the same, and to be overjoyed with the announcement of her majesty that she will wed him as the man who loved her for herself alone. The prin- cipal musical numbers are: Act I: " Roll on, roll on," Henrique; " O 'er Mountain steep, through Valley Roam- ing," Rebolledo; "The young Pe- drillo," tutti; "Unto the Hermit of the Chapel," chorus of disguised monks; Act II: "The Brigand" and " In the Deep Ravine of the Forest," Don Henrique ; " Oh, Surprise unex- pected! " quintet; "Love! at once I break thy fetters," and " If I could but Courage feel," Catarina; "Oh, whisper what thou feelest! " Hen- rique ; Act III : " When doubt the tortured frame is rending," Diana; " Love, dwell with me," the Queen. Diana. Fr. Aubade or reveille or " huntsup." Diapason. Gr. An octave or the compass of all the strings of the lyre; the foundation stop of an organ or principal, whether open or stopped; in French a tuning fork or the piteh registered by it. In French diapason normal or French pitch a' is the result of 435 double vibrations per second at a temperature of 59 degrees F. This standard of PITCH is modified first by equal temperament and also by the fact that the temperature of the aver- age concert room is higher than that given, and at 68 degrees F. in equal temperament a' represents 439 double vibrations per second. Diapasou cum Diapente. L. A twelfth. Diapason, cum Diatessaron. L. An eleventh. Diapente. Or. A fifth. Diapentissare. Middle L. Discant at the interval of a fifth. Diaphonia. Chr. Dissonance as opposed to consonance; obsolete form of DISCANT or two voice counter- point. Diarmid. Hamish McCunn's four- act grand opera to book by the Duke of Argyll (then Marquis of Lome), based on Celtic folklore, was produced Get. 23, 1897, at Covent Garden, Lon- don, by the Carl Rosa Opera Company. Diaschisma. Gr. Half a LIMMA. Diastema. Or. An interval. Diatessaron. Or. A fourth. 11 DIATONIC 162 SIETBICH Diatonic. Intervals, progressions of melody or chords belonging to one key and unaltered by accidentals; dia- tonic modulation shifts from one to a closely related key; diatonic scales are the modem major and minor scales; diatonic melody is constructed exclusively of the notes of a single scale; hence in general opposed to chromatic. Diatonic with the ancient Greeks was one of the three genera of music, the other two being Enharmonic and Chromatic. Diaulion. Qr. Air played on the aulos or flute between parts of a song. Diaulos. Or. Double flute. Diazeuzis. Qr. The separation of two tetrachords by a tone; the tone itself. Dibdin (Charles) composed light dramatic entertainments including " The Waterman " and the " Quaker," " The Shepherd's Artifice " for Covent Garden, "The Padlock" and "The Recruiting Sergeant " for Drury Lane, but retired from the latter house after a quarrel with Garrick; was composer to Covent Garden for a time at $50 per week, but became best known through " The Whim of the Moment," in which he was sole actor, singer, composer, and author, and manager; and in a similar entertainment called " The Oddities," in the course of which he introduced many sea songs which acquired popularity in the British navy; wrote "A History ()i the Stage," novels, and his own " Professional Life." B. Mar. 4, 1745; d. July 25, 1814. Two sons, Charles and Thomas, became playwrights. Henry Edward compiled "The Standard Psalm Book," 1857; composed psalm tunes and for piano and organ; played violin and harp. B. Sadler's Wells, Sept. 8, 1813; son of Charles and grandson of CHARLES; d. May 6, 1866, Edinburgh. Dicetto. It. Composition for ten instruments. Dichord. Two stringed instrument ; biehord or instrument with two strings to the note. Dickons (Mrs. Poole) sang sop. in London opera and concert. B. 1770, London; d. May 4, 1833. Di Colpo. /*. Suddenly, at once. Dido and Aeneas. Henry Purcell's three-act opera to book by Nahum Tate, probably composed between 1688 and 1690, has been occasionally given in concert form and in student per- formances, but was revived Mar. 25, 1901, at the Coronet Theatre, London. Diemer (Louis) founded the " So- eiSte des instruments anciens " ; com- posed " concertstuck," Op. 31; con- certo for piano and orchestra. Op. 32; " concertstuck " for violin and orches- tra. Op. 33, songs and chamber music ; taught; won first piano prize at Paris Conservatoire at 13. B. Feb. 14, 1843, Paris; add. Paris. Diesare. It. To sharpen. Di6se. Fr. Sharp. Dieser. Fr. To sharpen. Dies Irae. L. " Day of wrath." Splendid Latin hymn written and probably composed by Thomas de Ce- lano, friend and follower of St. Francis of Assisi, is a sequence in Masses for the Dead between the Epistle and the Gospel, for which Cherubini, Berlioz, and Verdi have composed especially fine settings. Diesis. Or. Quartertones in an- cient Greek music and the last sub- division of intervals in the Aristotel- ian system; in modern terms the dif- ference between a major or diatonic semitone, and a minor or chromatic semitone, obtained by tuning up the same tone three major thirds and an octave, the resultant ratios of vibra- tion being 125 : 128. Dietrich (Albert Hermann) com- posed the successful three-act opera " Robin Hood," Frankfort, 1879 ; sym- phony in D minor, concert overture " Normannenfahrt," " Rheinmorgen," and other works for chorus and or- chestra; incidental music to " Cymbe- line," and chamber music; pupil of Schumann and friend of Brahms; wrote " Recollections of Brahms," 1899, with J. V. Widmann; court chapelmaster at Oldenburg and royal professor at Berlin. B. Golk near Meissen, Aug. 28, 1829; settled in Berlin, 1890. Dietrich (Sixt) composed 36 anti- phons and book of Magnificats. B. DIETSCH 163 Augsburg, about 1490: d. Oct. 21, 1548, St. Gall. Dietsch (Pierre Louis Philippe) bought Wagner's " Flying Dutchman " libretto and produced his setting at the Grand Opera, Paris, Nov. 9, 1842 ; composed church music; conducted Grand Opera, 1860-63. B. Mar. 17, 1808, Dijon; d. Feb. 20, 1865, Paris. _ Bieupart (Charles) composed harp- sichord suites which may have sug- gested the title " Suite Anglaise " to Bach;_ played and taught harpsichord and violin; adapted Italian opera for Drury Lane, 1707. B. France; d. Lon- don, 1740. DiSze. Fr. Sharp. Diezeugmeuon. Chr. Disjunct or disjoined. Difficile. It. Difficult. Di Gala. It. Merrily. Dlgitorium. Dumb instrument for exercising the fingers invented by M. Marks. Dignum (Charles) composed songs and glees, sang in London opera. B. 1765, Rotherhithe, Eng.; d. Mar. 29, 1827, London. /*. By conjunct inter- DINORAH Indian variety of cym- Di Grade. vals. Dilettante. Diluendo. crescendo. Diluvium. It. Amateur. Diminishing; de- Interlude. Diminished Intervals are those a semitone less than minor. Thus G and D sounded together make a per- fect fifth, but G and D flat a dimin- ished fifth, which is a discord, but may be modified by adding a major sixth to the G. The diminished fourth is always discordant. The chord of the diminished seventh, which is an in- version of the chord of the minor ninth, is valuable as afifording ease in modulation. A diminished triad consists of two thirds on the aubtonic or the chord formed in the key of C by B, D, and F. DiminuS. Fr. Diminished. Diminuendo. It. Decreasing in volume of tone; decrescendo. Diminution. Repetition of a sub- ject or theme in fugues and canons in notes of smaller duration. Si nolto. It. Very much. Din Din. bals. Dinorah. Giacomo Meyerbeer's three-act opera to book by Barbier and Carre was first performed April 4, 1859, at the Op6ra Comique, Paris. The scene is laid in the Breton village of Ploermel. HSel, a goatherd, and Dinorah, his betrothed, start to the chapel to be married on the day ap- pointed in the village for a pilgrimage in honour of the Virgin, but the festivi- ties are interrupted by a storm, and Dinorah's home is destroyed by light- ning. Hoel is advised by the Wizard Tonick to seek the treasure of the Korigans, a Breton fairy folk, in prep- aration for which he must spend a year in solitude. He sets forth upon his quest, but Dinorah, believing her- self deserted, goes mad, and wanders through the woods with her goat, seeking him. After an overture which introduces a chorus sung behind the curtain, the opera opens with the re- turn of HSel a year later. The vil- lagers are singing as Dinorah enters, looking for her goat. Corentin, the bagpiper, has returned to his cottage, and begins to sing and play in order to drive away the fairies and goblins, and Dinorah, attracted by the music, enters, and insists that he continue. Then Hoel, confident that he has dis- covered the secret of the Korigan's treasure, and believing that the first to touch it must die, comes in to get Corentin to serve as his victim. As he enters Dinorah disappears through a window, and a moment later HSel sends Corentin out for wine, meaning to stiffen his courage for the ordeal. Woodcutters are singing a brindisi as the curtain rises on the second act, and Dinorah enters, still seeking her lost lover. The scene shifts to the Val Maudit into which come Hoel and Corentin; but the latter, hearing Di- norah singing the treasure ballad, learns that whoever first touches it will die, and he refuses to go on. An angry debate follows, after which Dinorah and her goat appear and Hiiel mistakes her for a spirit sent to deter him from the search. Dinorah falls into a mountain torrent while 1>IPPEL 164 DISPERSED attempting to cross on a tree which bridges a chasm, and H3el plunges in to her rescue. The shock and Hijel'a singing restore Dinorah's reason, and on learning what she has suffered, HSel persuades her that the events of the year have been a dream. Dinorah tries to recall the Pardon of Ploermel, which is taken up by a chorus ap- proaching from the distance, and Hiiel and Dinorah resume their interrupted journey toward the chapel. At the first production the caste was as fol- lows : Dinorah, Mme. Miolan-Carvalho, sop.; H6el, Paure, bar.; Corentin, Sainte-Foy, ten. The principal mu- sical numbers are: Act I: "Si carina, caprettina," Dinorah; " Sto in casa al fine," Corentin ; " Se per predner," HSel ; Act II : polka mazourka known as "The Shadow Song," Dinorah; " Chi primo al tesor," Dinorah ; " Le crede il padre," Hoel ; Act III : " Sei vendicata assai," HBel; "Santa Maria! nostra donna," Dinorah and chorus. Dippel (Andreas) sang ten. in opera, possessing a remarkably exten- sive repertoire in both German and Italian, so that he was often called upon to substitute for other leading artists on the briefest notice; became associated with GATTI-CASAZZA in the artistic management of the Metro- politan Opera House, New York, 1908, and assuming direction of German repertoire at that house, where he had been a favourite singer for several seasons. The summer of 1908 Mr. Dippel toured Europe, engaging new works and new artists and scenic equipment for the season of 1908-9. Direct. Sign placed at the end of a page or line to indicate the note next to be played. Directeur. Fr. Director or man- ager. Direct notion. Progression of parts in a similar direction. Diretta, all. It. In direct motion. Direttore. /*. Director or man- ager. Dirge. Funeral music, so called from the antiphon " Dirige, Domine Deus meus." Diruta (Agostino) composed church music; Augustinian monk; chapel- master at Sant' Agostino's, Rome, 1630^7; relative and pupil of GI- ROIiAMO. Girolamo wrote "II Trans- ilvano," which was not only the first work to treat the organ as a distinct instrument as regards technique, but includes descriptions of the three best instriunents of the period in Italy, rules of counterpoint and of trans- posing the ecclesiastical modes, an in- troduction to singing and many illus- trations; became the most celebrated of Italian organists an