CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 MUSIC 
 
Cornell University Library 
 ML 105.B87 
 
The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/cletails/cu31924022287423 
 
BIOGRAPHICAL DICTIONARY 
 OF MUSICIANS. 
 
Biographical Dictionary 
 
 OF 
 
 MUSICIANS: 
 
 With a Bibliography of EngHsh Writings 
 on Music. 
 
 BY 
 
 JAMES D. BROWN, 
 
 MITCHELL LIBRARY, GLASGOW. 
 
 I ♦ I 
 
 ALEXANDER GARDNER, 
 
 PAISLEY; AND 12 PATERNOSTER ROW, LONDON. 
 
 1886. 
 
PREFACE. 
 
 The following explanatory remarks and acknowledgments are offered 
 by way of Introduction. 
 
 This work is intended for students of Music or persons interested 
 in the art, and while not claiming a great degree of completeness in 
 any department, may nevertheless be found interesting and useful as 
 a supplement to larger and more ambitious works of the same class. 
 It aims at conciseness in every particular, and each notice is so 
 arranged that any fact of a biographical or bibliographical character 
 may be readily found. All anecdotal and gossipy matter has been 
 suppressed, the intention of the Editor" being merely to put forth a 
 work of utility, especially in view of the fact that so many works in 
 musical literature exist to which readers can turn for pastime. The 
 endeavour has been to present a series of brief notices of Musicians 
 in which every important fact likely to be ot use has been noted. 
 Prominence has naturally been given to British Musical Biography, 
 and no one whose life or works seemed of interest has been knowingly 
 omitted. The Bibliographical character of the work accounts for the 
 presence of many names of minor importance, and accordingly no 
 apology is offered for the comparative insignificance of any name 
 mentioned throughout the book. The notices of Foreign Musicians 
 are confined to such as claim attention by their acknowledged 
 eminence, or by their connection in any way with Britain. The 
 Critical Remarks occurring here and there throughout the work are 
 generally digests from a collation of opinions by writers of authority. 
 It should also be further remarked that the nationalities of biographi- 
 cal subjects are, with certain exceptions, fixed by parentage and not 
 by birthplace. 
 
 The Bibliographical Appendix forms a brief Subject-Index to the 
 work itself, and in a general way to the English Literature of Music. 
 No pretence is made to an exhaustive or even accurate treatment of 
 this division of the work, and the only plea which can be recorded on 
 
VI. PREFACE. 
 
 its behalf is its almost complete novelty. To be a Bibliography in ' 
 the strict meaning of the word would make it needful to record every 
 particular of publication, which has been found impossible in the 
 present case, as a personal examination of only a small number of the 
 books indexed could be made. For its imperfections both in regard 
 to accuracy and detail the compiler can only apologize. With a view 
 to the compilation of a complete Bibliography of the English writings 
 on Music and Collections of all kinds, the Author would be obliged 
 if possessors of musical books would communicate titles and dates to 
 him. 
 
 To Mr. Stephen S. Stratton, of Birmingham, the Author desires to 
 express most grateful acknowledgment for willing and valuable assis- 
 tance in every department of the work. The book is indebted to him 
 for dates, facts, and suggestions of every kind, and to him is due 
 many of the corrections of chronological errors in musical biography 
 which have been perpetuated in work after work. His valuable 
 services in connection with the revisal for the press are also thank- 
 fully acknowledged. Thanks are also warmly accorded to Mr. James 
 Love, of Falkirk, N. B. ; Major G. A. Crawford, of London ; Mr. W. 
 H. Dana, of Warren, Ohio ; Mr. W. H. Daniell, of Boston, Mass. ; 
 and Messrs. Karl Merz, W. B. Gilbert, J. C. Fillmore, David Baptie, 
 C. E. Stephens, and many others, for services rendered in connection 
 with British and American Biography and Bibliography. The notices 
 of many of the living musicians noticed throughout the work are in- 
 debted to themselves for revision and correction in the biographical 
 sections, and the Author desires to acknowledge much assistance freely 
 rendered in this respect. 
 
 In conclusion the Author would invite additions, suggestions and 
 corrections of all kinds, which may be sent for him to the care of the 
 publisher, and of these, acknowledgment will gladly be made. 
 
 Langside, Glasgow, 1886. 
 
Abbreviations. 
 
 . . . Words omitted to shorten titles. 
 
 [ ] Dates within brackets, are approximations or doubtful. 
 
 B.— Born. 
 
 C — Circa (about). 
 
 Cantab. — Cambridge University. 
 
 Cantuar. —Canterbury (Lambeth Musical Degree). 
 
 Cath.— Cathedral. 
 
 'Cello. — Violoncello. 
 
 Ch.— Church. 
 
 Chap. — Chapel. Chap. Roy. — Chapel Royal. 
 
 Chor, — Chorister, Chorus. 
 
 Coll. -College. 
 
 Comp. — Composer, Composed, Composition, or other forms. 
 
 Cond. — Conductor, Conducted, etc. 
 
 Cons. — Conservatory, Conservatoire. 
 
 D.— Died. 
 
 Ed,— Editor, Edited, Edition. 
 
 F.C.O.— Fellow of College of Organists. 
 
 Gent. — Gentleman (Gent, of Chap. Royal). 
 
 Mem. — Member. 
 
 Mus. Bac. or Mus. Doc. — Bachelor or Doctor of Music. 
 
 N.D.— No date. 
 
 Op. — Opus (work). 
 
 Orch. — Orchestra, Orchestral. 
 
 Org. — Organ, Organist. 
 
 Oxon. — Oxford University. 
 
 Pf.— Pianoforte. 
 
 R.A.M. — Royal Academy of Music, London. 
 
 S. — Studied, Saint. 
 
 Vn., Vnst, — Violin, Violinist. 
 
 Attention is drawn to the Appendix of Additions and 
 Corrections at the end of the Book. 
 
DICTIONARY OF MUSICIANS. 
 
 AARON. Scottish writer, B. towards close of loth cent. Abbot of St. Martin 
 Cologne, 1042. D. 1052. 
 
 Work. — "De Utilitate Cantus vocalis et de Modo cantandi atque psallendi." 
 Aaron points out the advantages to be derived from chanting psalms, and other 
 vocal music, in public worship. 
 
 AARON (Pietro). See Aron (Pietro). 
 
 ABACO (Evaristo F. Dall'). Italian comp. and violinist, B. Verona, 1662. 
 Concert- master to the Kurfiirst Max. Emanuel of Bavaria. D. Feb., 1726. 
 Works. — Sonatas for violin and bass, and for two violins, 'cello, and bass. 
 Six concertos for four violins, tenor, bassoon, 'cello, and bass, op. S- He also 
 composed a great quantity of ch. music. 
 
 ABBATINI (Antonio Maria). Italian comp., B. Tifemo. [1595.] Chap, 
 master of the Lateran, 1626-28 ; of the Ch. of the Gesii ; of the Ch. of Maria 
 Maggiore, 1645 ; of S. Lorenzo in Damaso, 1646 ; of the Ch. of Maria 
 Maggiore (2nd time), 1649-57 ; of the Loretto, 1657 ; and o£ the Ch. of Maria 
 Maggiore (3rd time), 1672-77. D. 1677. 
 Works. — Four Books of Psalms, Rome, 1630. Five Books of Motets, Rome, 
 
 1636-38. Three Books of Masses, Rome, 1638-50. Del Male in Bene, Opera, 
 
 produced 1654. Antifone for twenty-four voices, Rome, 1677. 
 
 In conjunction with Kapsberger and Carissimi he assisted Kircher with the 
 
 compilation of his "Musurgia Universalis." 
 
 ABBE (Joseph B. St.-S.). - French violoncellist and comp., B. Agen, June 11, 
 1727. D. 1787. Comp. works for 'cello, etc. 
 
 ABBEY (John). English organ-builder, B. Whilton, Northamptonshire, Dec. 
 22, 1785. He went to Paris in 1826 and established there a firm which 
 extended its operations over Europe and Gt. Britain, besides parts of S. 
 America, etc. D. Versailles, Feb. 19, 1859. He built organs for the 
 Cathedrals of Rheims, Nantes, Amiens, Evreaux, Rochelle, Rennes, Tulle, 
 Versailles, Viviers, Bayreaux, and numerous churches and theatres. Abbey 
 invented no improvements in organ mechanism, but his general workmanship 
 was good. 
 
 ABBOT (Henry), English ch. clergyman, flourished about the middle of the 
 l8th cent. Lecturer at St. John's the Baptist, Bristol. Author of "The Use 
 and Benefit of Church Music, towards quickening our Devotion," 1724. 
 
 ABBOTT (Thomas Moreton), English violinist, B. Bilston, Staffordshire, Aug. 
 13, 1843. S. under Henry Hayward. Resident in Birmingham as violinist 
 and teacher. Is well known in the Midland Counties as an admirable per- 
 former and leader. 
 
 ABEILLE (Johann C. LUdwig). German comp. and org., £. Bayreuth, Feb., 
 1761, S. at Stiittgart. Mem. of Duke of Wiirtemberg's Band. Org. at Court 
 
5 Abe — AB6. 
 
 Chap, of Duke of WSrtetaberg, 1803-32. Concert-master to the same, 1802. 
 
 Received Royal gold medal and pension, 1832. D. 1832. 
 Works.— Poems by Hubner, set to music, 1788; Do., second part, ,1793 ; 
 Idylles de Florian, 1793 ; Cantata pour le mercredi des Cendres, 1798; Chansons 
 for the piano, 17'go; Four sonatas for the piano, 1789; Sonata for Pf., with 
 variations, 1790 ; Fantasia for tjie Pf., 1790 ; Concerto for the Pf. ; Grand 
 concerto for Pf. duet, 1793; Songs and Elegies, with Pf. accomp., 1809; 
 Polonaise for Pf. ; Valses, etc., for Pf. ; L' Amour et Psyche, opera, 1801. 
 Pierre et Annette, operetta, 1810. 
 ABEL (J. E.). German pianist and comp., B. Ludwigslust, 1795. Teacher at a 
 
 German court. Seized with a painful disease. Went to America, 1819. 
 
 Came to England, 1820. Teacher in London of Pf. and 'cello. He is author 
 
 of a few unimportant pieces for the'Pf., etc. 
 
 ABEL (Karl Frledricll). German comp. and viol, -da-gamba player, B. Kothen, 
 1725. Played under Hasse at the Court of Dresden, 1748-58. Visited London, 
 1759. Appointed chamber musician (violinist) to Queen Charlotte, 1765. Gave 
 concerts in conjunction with J. C. Bach, 1762-82. Returned to Germany, 1783. 
 Returned permanently to London, and gave concerts, 1785-87. Further history 
 unknown. Supposed to have D. London, June 22, 1787. 
 Works. — Op. i. six overtures in 8 parts for orch. ; op. 2. six sonatas for clavi- 
 chord, with accomp. for violin or flute ; op. 3. six concertos for 2 violins, flute, 
 'cello, and bass ; op. 4. six overtures in 8 parts for orch ; op. 5. six sonatas for 
 clavichord and violin ; op. 6. six solos for flute, with bass accomp, ; op. 7. six 
 overtures, etc., for orch. ; op. 8. six quartets for strings ; op. 9. six trios for strings ; 
 op. 10. six overtures for orch. ; op. 11. six sonatas for clavichord, violins and bass ; 
 op. 12. six quartets for strings; op. 13. six sonatas for clavichord and violin; op. 
 14. six overtures for orch. ; op. 15. six quartets for strings ; op. 16. six trios for 
 strings; op. 17. six overtures for orch., in 4 pts. ; op. 18. six sonatas for clavichord 
 and violin. 
 
 Abel's instrumental compositions are marked by refinement and skill in manipu- 
 lation ; but this, again, is marred by lack of energy and a languid flow of ideas. 
 
 ABELA (Carl Gottlob). German comp., B. Borna, Saxony, April 29, 1803. 
 D. April 22, 1841. Writer of Lieder and Part-songs. 
 
 ABELL (Jolin). English comp. and vocalist, B. [1660.] Gent, extraordinary 
 Chap. Roy., 1679. Sent to Italy to study by Charles II. Returned to 
 England, 1683. Re-entered Chap. Roy., and remained till 1688, when he 
 was dismissed on account of his being an adherent to the Roman Catholic 
 faith. Went abroad and sung in Germany and Poland with success. Returned 
 to England about 1701. D. Cambridge, 1724. 
 Works. — A Collection cf Songs in several Laiiguages, 1701. A Collection 
 
 of Songs in English, 1701. Two songs in Pills to Purge Melancholy. Les Airs 
 
 d'Abell," etc. 
 
 ABENHEIM (Joseph). German violinist and comp., B. Worms, 1804. Mem. 
 of Chap. Roy., Stuttgart. Mem. of orch. of the theatre, Stuttgart, 1825. 
 Works, — The greater portion of this composer's works are in MS. His princi- 
 pal pieces include : — Six songs for voice and Pf., op. 2 ; Six do., op. 5. 
 Songs from works of Schiller, with Pf. accomp ; Nocturnes and Polonaises for 
 Pf. ; Music to "Hariadan," a drama, produced in 1842, Chamber music, etc. 
 
 AEEBT (Johann Josef). Bohemian comp., B. Kachowitz, 1832. S. at 
 
 Prague, etc. Entered service of King of Wiirtemberg as double-bass player, 
 
 1852. Chap.-master to do., 1867. 
 
 Works. — Columbus, Musikalisches Seegemalde, in Form einer Symphonic, fur 
 
 grosses Orchester, op. 31, 1864 ; Symphony in C minor, for orch., 1853 ; 
 
 Symphony in A minor, for orch., 1856; Anna von Landskorn, opera, 1859; 
 
 Le Roi Enzio, opera, 1862; Astorga, opera, 1866; String quartets; Vocal 
 
 quartets ; Pf. music ; Songs ; Bac fugues arranged for orch. ; Ekkhard, opera 
 
 etc, ' ' 
 
AbI — Actt 
 
 ABINGDON (Willougllliy, Earl of). English amateur comp. and flute-player, 
 B. Jan. 1 6, 1740, D. Sept. 26, 1799. Established concerts ift London, etc. 
 
 Works; — Twelve sentimental catches and glees, for three voices, a Represen- 
 tation, of the Execution of Queen M'ary of Scots, in seven views ; the music 
 composed and adapted to each view by the Earl of Abingdon'. Songs, Duets, 
 Flute music, etc. 
 
 ABOS (Geronimo). Italian comp., B. Malta, beginning of l8th century. 
 
 Teacher at Cons, of " La Pieta," Naples. Visited London in 1756. Trained 
 
 several musicians who have attained eminence : among others Aprile, the 
 
 vocalist. D. Naples, 1786. 
 
 Works. — La Pupilla e 'ITutore, opera ; La Serva Padrone'; L'Ifigenia 
 
 in Aulide; L'Artaserse, 1746; L'Adriano, 1750; Tito Manlio, 1756 ;.. Creso, 
 
 1758. Masses. Litanies, etc., preserved in MS. at Naples, Rome, Paris and 
 
 Vienna. 
 
 ABBAM (John). English comp. and org., B. Margate, Aug. 7, 1840. Org. of 
 
 S. John's, Torquay, 1864. Org. of S. Peter and Paul, Wantage, 1865. Org. 
 
 of S. Paul's Ch., St. Leonards-on-Sea, 1869. Mus. Bac. Oxon'., May 27, 
 
 1868. Mus. Doc. Oxon., April 22, 1874. F. C. O., Lond. 
 
 Works. — ^Jerusalem, a Sacred Cantata. The Widow of Nain, an. Oratorio. 
 
 Anthems, Services, Pianoforte Music, etc. 
 
 ABBAMS (Harriet). English soprano vocalist and comp., B. 1760. S. under 
 
 Dr. Arne. Debut, at Drury Lane, London, in Arne s "May Day," 1775. 
 
 Sang at Handel Commemoration, 1784. Appeared also at principal London 
 
 concerts. D. in first half of present century. 
 
 Works. — Collection of Scotch Airs harmonized for three voices, 1790- 
 
 Collection of Songs, 1787. Set of Glees. Songs, Crazy Jane, The Orphan's 
 
 Prayer, and others. 
 
 "Miss Abrams, though not possessed of great power of voice, sang with much 
 
 sweetness and delicacy ('Georgian Era'). Her sisters, Theodosia and Eliza, 
 
 were also vocalists, the former a contralto of much ability, who afterwards became 
 
 Mrs. Garrow." 
 
 ABT (Franz Willielm). German comp., B. Eilenburg, in Saxony, Dec. 22, 
 1819. Cond. of Philharmonic Soc, Zurich, 1841. Entered staff of Hof- 
 theater, Brunswick, 1853. Cond. at Hof-theater, Brunswick, 1858-80. 
 Visited America and cond. at the " Gilmore Jubilee," 1872. 
 
 Works. — His works extend to over op. 500, comprising over 3000 pieces. 
 Among the principal are : — I. Cantatas: Cinderella; Little Red Ridinghood ; 
 Richard Coeur de Lion ; Snow Maidens ; The Water Fairies ; The Silver Cloud ; 
 The Wishing Stone. 2. Concerted Vocal Music: Quartets, Trios, etc., A Rose in 
 Heaven : Alpine Horn is Sounding ; Ave Maria ; O Fatherland ; Merry May ; 
 Evening ; Joy ; Morning ; Our Native Land ; A Winter Song ; The Minstrels ; 
 The Rovers; The Boat Song; Night Song; Vineta; Thuringian Volkslied; 
 Eventide ; The Wanderer's Song ; Home ; .etc. 3. Songs^ Agathe, or, When the 
 Swallows homeward fly ; Irene ; Louise ; Devotion ; May Song ; Ever Thine ; 
 Flora ; How dear thou art to me ; My Mother's Voice ; Oh ! ye Tears (C. Mackay) ; 
 A Sound fills the Wood; Oh early morn ; The Exile ; Songs for Children ; Solemn 
 Night. 4. Pianoforte Music, Dances, Drawing-Room Pieces, etc. Orchestral 
 Music, Chamber Music, Choruses for Male voices, etc. 
 
 Abt's melodies are catching, albeit oftentimes tinged with melancholy, generally 
 in S3Tnpathy with the subject, and invariably marked with those characteristics 
 which distinguish the cultivated musician. 
 
 ABYNGDON (Henry). English comp., B. during isth cent. Sub-centor of 
 Wells, 1447-97. Master of Song, Chap. Roy., Lond., 1465. Master of St. 
 Catherine's Hospital, Bristol, 1478. D. Sept., 1497. 
 The works of this musician are unknown, but it is generally supposed that he 
 
 wrote extensively for the church. 
 
 ACHABD (Leon). French tenor vocalist, B. Lyons, 1831. D^but at Lyons, 
 
4 Act. — adA. 
 
 Oct., 1862. S. at Milan. Married to Mdlle. Le Poitevin, July, 1864. 
 
 Has appeared in Paris in several important rSles. 
 ACLAND (A. H. D.) English writer, wrote "Letters on Musical Notation," 
 
 Lond., 8vo, 1841. 
 ACLAND (T. G.) English writer, published "Chanting Simplified." Lond., 
 
 l2mo, 1843. 
 
 ADAM de la HALE. See Hale. 
 
 ADAM (Adolphe Charles). French comp. and pianist. B. Paris, July 24, 
 1803. Entered Paris Cons, and S. under Boieldieu, 1819. Went to London, 
 1832. Received Cross of Legion of Honour, 1836. Mem. of Institute de 
 France, 1844. Established and directed the Theatre National, 1847. Prof, of 
 Comp., Paris Cons., 1849. D. Paris, Slay 6, 1856. 
 Works. — i. 0/«?-aj.- Pierre et Catherine, 1829; Danilowa, 1830; Le Chalet, 1834; 
 La Marquise, 1835; Micheline, 1835; Le Postilion de Longjumeau, 1836; Le Bras- 
 seur de Preston, 1838 ; Le Fiddle Berger, 1838 ; R^gine, 1839 ; La Reine d'un 
 Jour, 1839 ; La Main de fer, ou le Secret, 1841 ; La Rose de P^ronne, 1841 ; Le 
 Roi d' Yvetot, 1842 ; Lambert Simnel, 1843 ; Cagliostro, 1844 ; Richard en Pales- 
 tine, 1844 ; Giralda, 1850 ; Les Nations, 1851 ; Le Farfadet, 1852 ; La Poupee 
 de Nuremberg, 1852 ; Si j'^tais Roi, 1852 ; La Sourd, 1853 ; La Favridondaiiie, 
 1J853 ; Le Roi des Halles, 1853 ; Le Bijou perdu, 1853 ; Mam' zelle Genevieve, 
 1853; Le Muletier de Tolede, 1854 ; A Clichy, 1854; Le Houzard de Berchiny, 
 185s ; FalstafF, 1856 ; Les Pantins de Violette, 1856. 2. Ballets. Faust, 1832 ; La 
 Fille du Danube, 1836 ; Les Mohicans, 1837 ; La jolie fiUe de Gand, 1839 ; 
 Giselle, 1841 ; Griselides, 1848 ; Orfa, 1852 ; Le Corsaire, 1856 ; La Filleule des 
 Fees. 3. Cawtotej- .• Le Premiers Pas, 1847, composed for the inauguration of the 
 Opera National ; La Fete des Arts, 1852; Chant de Victoire, 1855; Cantata, 
 1856. 4. Two Masses, 1847-1850. 5. Pianoforte music, consisting of Fantasias, 
 Rondos, Dances, and Morceaux de Salon, etc. 
 
 Adam was one of those clever, flippant, and brilliant writers with which the 
 world — but particularly France — abounds. His talent was a commodity easily 
 handled, since continued and thoughtful effort was unnecessary to what he wrote. 
 His writings possess no depth, and are marked by those features which betoken an 
 easy command of surface dexterity in shaping materials. The work which may be 
 noted as his best is "Le Postilion de Longjumeau," in which he has followed 
 Boieldieu in general style. His later works are influenced by Auber, but have 
 neither the powerful emotional characteristics, nor the refined method of expression 
 shown by the composer of "La Muette de Portici." 
 
 ADAM (Carl F.) German comp. and org., B. Zadel, nr. Meissen, 1770. D. 
 [Saxony, 1810.] 
 Writer of Pf music, organ music, choruses for male voices, etc. 
 
 ADAM (J. Louis). Father of A. C. Adam, B. Miettershelz, Alsace, 1758. 
 Prof. Paris Cons., 1797-1842. D. Paris, 1848. 
 Works. — Sonatas for the Pianoforte. Two Symphonies for orch., pro- 
 duced, 1798. Arrangements of Haydn's and Pleyel's quartets for Pf. Two 
 works on Pianoforte playing, Paris, 1798. Pieces for Harp and Violin, Piano and 
 Violin, etc., etc. 
 
 ADAM (Josef August.) German comp. and cond., B. Vienna, 22nd April, 
 1817. 
 Writer of military and orchestral music. 
 
 ADAMBEKGEB (Valentin). German tenor vocalist, B. Munich, 6th July, 
 1743. S. under Valesi, and in Italy. Sang in London, 1777. Appeared in 
 Vienna, 1780. Teacher and singer in Vienna. D. Vienna, Aug., 1804. 
 
 ADAMS (Abraham). English org. and comp. Flourished at end of l8th and 
 beginning of 19th cent. Org. of ch. of St. Mary-le-bone, 1810. Compiled 
 "The Psalmist's New Companion," Lond., n.d. 
 
 ADAMS (Rev. F.A.) See Root, G. F. 
 
ADA — ADE 
 
 ADAMS (John S.) English writer, compiled a work entitled " Five Thousand 
 Musical Terms." Lond., 1861. 
 
 ADAMS (Sara Flower). See Flower, Sara. 
 
 ADAMS (Stephen). See Maybrick, Michael. 
 
 ADAMS (Thomas). English org. and comp., B. Sth Sept., 1785. S. under 
 Busby. Org. Carlisle Chap., Lambeth, 1802-14. Org. St. Paul's, Deptford, 
 1814. Org. ch. of St. George, Camberwell, 1824. Org. St. Dunstan Ch., 
 1833. D. Sept. IS, 1858. 
 
 Works. — Fugues, Fantasias, Voluntaries, Interludes, etc., for Organ. 
 Anthems. Hymns. Pianoforte Pieces, etc. 
 
 Adams was one of the finest organists Britain has yet produced. His performance 
 was uniformly good, but he excelled in extempore playing. His compositions are 
 masterly, and are coming into general repute. 
 
 ADAMS (Thomas Julian). English comp. and cond., B. London, Jan., 1825. 
 S. under Moscheles. Cond. of orchestras in various towns and watering-places 
 in England and Scotland. Comp. some pieces of dance music. Has done 
 much to introduce good orchestral music in towns where its cultivation was 
 neglected, 
 
 ADCOCK (James). English comp., B. Eton, 1778. Chorister, St. George's 
 Chap., Windsor, 1786. Lay-clerk, do., 1797. Mem. of Trinity, St. John's, 
 and King's Colleges, Camb. D. Cambridge, April, i860. 
 Works. — Three glees for 3 and 4 voices, dedicated to Sir Patrick Blake [c. 
 
 1815]. Hark how the Bees, glee for 4 voices. Welcome Mirth, glee for 3 
 
 voices. The Rudiments of Music, etc. 
 
 ADCOCK (John). English writer, author of "The Singers' Guide to Pronunci- 
 ation, with an Appendix consisting of a Pronouncing Dictionary of Musical 
 Terms, etc." Nottingham [1873]. 
 ADDISON (John). English comp. and double-bass player, B. London, 1770. 
 Played 'cello at Vauxhall Gardens. Double-bass player at the Italian opera, 
 and at the "Ancient" and " Vocal " Concerts. Married to Miss Williams, 
 1793. Latterly speculated in mills, and was nearly ruined. D. London, 30th 
 January, 1844. 
 Works. — "Elijah," a sacred drama. Music to the dramas of "The 
 Sleeping Beauty," 1805; "The Russian Imposter,'' 1809; "My Aunt," 
 1813; "Two Words," 1816 ; "Free and Easy," 1816; "My Uncle," 1817; 
 " Singing Practically treated in a series of Instructions," Lend., n.d. [1836]. 
 His other works consist of songs, glees, etc. 
 
 Addison was a teacher of some celebrity, and was the instructor of A. Lee, 
 Pearman, and others. His compositions are now forgotten, though they are tune- 
 ful and were popular. His wife (nee Miss Williams) made her dlbut in " Love in 
 a Village," in 1796. She was a favourite singer at Vauxhall gardens and other 
 places in London. 
 
 ADDISON (Joseph). English poet and essayist, B. Milston, Wilts, 1672. 
 D. London, 1719. 
 Addison wrote the book of " Rosamund," an opera, which was originally adapted 
 to music by Clayton, and had a run of three nights. Arne subsequently wrote 
 music to it, and produced it with success in 1733. Addison is noticed here chiefly 
 on account of, his attacks on the Italian opera. These appeared in the Spectator, 
 and ridiculed the whole concern. There certainly existed many incongruities in 
 these performances— chiefly in matters of detail— and Addison, though scarcely 
 qualified to play the musical critic, made fun out of a serious exhibition spoiled by 
 ignorance. 
 
 ADDISON (R.) English music-publisher, B. 1797. Was successively in partner- 
 ship with several publishers of note. While chief of the firm, Addison and 
 Beale, he published many important works. D. Jan. 17, 1868. 
 ADELBURG (August von). Hungarian violinist and comp., B. Constantinople, 
 1833. Writer of an Opera, Music for String insts., Pf., etc. 
 
ADH — AGA 
 
 ADHEMAK (Oomte Abel d'). French song-writer, B. Paris, l8l2. Com. 
 menced comp. in 1836. D. 1851. 
 Works.— Songs, principally for male voices, with such titles as the following ;— 
 "The Bravo," "The Brigand," "The Kabyle," "The Torreador," etc. 
 
 ADLEB (Georges). French violinist and comp., B. Buda, |Hungary, 1806, 
 
 Comp. for violin and Pf. 
 ADLEB (Vincent). French comp. and pianist, B. 1828. D. Geneva, 1871. 
 
 WoKKS.— Op. I. Th^me Hongrois, for 2 vns., alto and bass. Op. 2. Variations 
 for Pf. solo. Op. 3. Sonata for Pf. and Vn. Op. 4. Variations for Pf. Op. 6. 
 First Polonaise for Violin. Op. 7. Rondo, for Pf. Op. 8. Theme (original), for 
 Pf. Op. 10. Four Songs. Op. 11. "Libera me, Domine,"for 4 voices and organ. 
 Op. 12. Songs for male quartet. Op. 13. Three songs for male quartet. Op. 15. 
 Cantata for one and more voices, with Pf. accomp. Op. 18. Nouvelle Scene de 
 Bal, for Pf Op. 19. Theme Styrien, for Pf. Op. 20. Idylle for Pf. Op. 22. 
 Idylle for Pf. Op. 23. Scene Pastorale, for Pf. Op. 24. Grand March for Pf. 
 Op. 27. Sonata for Pf. duet. Two Prayers for 4 voices, orch. and organ. Songs, 
 etc. 
 
 His compositions are of the same school as those of Ascher and Heller ; light, 
 pleasing efforts, with some originality and much careful, as well as skilful, elabor- 
 ation. 
 
 ADLINGTON (WiUiam). English pianist and teacher, B. Southwell, near 
 Nottingham, 1838. S. at R. A. M. Associate R. A. M., 1865. Principal of 
 the Edinburgh Institution for Music, etc. Cond. of Aberdeen Univer- 
 sity Orch. Soc, etc. Author of "Elementary Principles of Music,, and 
 Elements of Harmony, adapted for those studying the Pianoforte." Edin., 
 8vo., 1881. 
 
 ADLUNG (Jacob). German writer, B. near Erfurt, Jan. 14, 1699. S. at 
 School of St. Andrew, Erfurt, 171 1. Org. of Evangelical Ch., Erfurt, 1727. 
 Prof, at the Raths-gymnasium, Erfurt, 1741. D. Erfurt, Jan. 5, 1762. 
 Works. — Anleitung zu der musikalischen Gelahrtheit, Erfurt, 1758, Dresden 
 
 ed., 1783. Musica Mechanica Organoedi, etc., Berhn, 1768. Musikalisches 
 
 Siebengestirn, Berlin, 1768. 
 
 ADBIANI (Francisco). Italian comp.,B. Santo Severino, 1539. D. Aug. 16, 
 IS7S- Writer of Psalms, Chansons, etc. 
 
 ADBIEN (Martin Joseph), Belgian comp., B. Li^ge, May 26, 1767. D. 
 1822. Writer of Dramatic Music, etc. His brother was a comp. of Songs 
 and Romances, B. Liege, 1767. 
 
 ADYE (Willett). English amateur musician and violin virtuoso, has published 
 "Musical Notes," Lond., 1869. This is a work on the subject of violinists. 
 
 AELSTEBS (Georges J.) Belgian comp., B. Ghent, 1770. Carilloneur of 
 Ghent, 1788-1839. Music director of the Ch. of S. Martin, Ghent, 1839-49. 
 D. April, 1849. 
 
 Works. — Chiefly church music, and consisting of Motets, Masses, Litanies, a 
 Miserere, Hymns, etc. 
 
 AEBTS (Egidius). Belgian flute-player and comp., B. Boom, 1822. S. flute 
 and comp. at Brussels Cons., 1834. Travelled through France and Italy, 
 concert-giving, 1837-48. Prof, of flute, Brussels Cons., 1847. Gave concerts 
 in Brussels, etc., till 1852. D. Brussels, gth June, 1853. 
 
 Works.— Symphonies for orch. Concertos for flute. Fantasias, etc., for flute. 
 Overtures, etc. 
 
 AFBANIO. Italian ecclesiastic and inventor, was Canon of Ferrara about com- 
 mencement of the 1 6th cent. Said to be the inventor of the bassoon on the 
 authority of woodcuts occurring in a work by Albonesi on the Chaldean Lan- 
 guage. 1539. 
 
 AGABEG (Madame E.) See Wynne (Edith). 
 
A G A — A G R 
 
 AGAZZABI (Agostino). Italian comp., B. Sienna, Dec. 2, 1578. Master of 
 Chap, at German Coll., Rome, 1603. Master of Sienna, Oath. 1630-40. 
 D, 1640. 
 
 Works. — II Primo Libro di Madrigali a cinque voci, Venice, i6oo. Madrigali 
 Armoniosi a cinque o sei voci, Venice, 1600. Sacrse Cantiones, J, 6, 7, 8 voci. 
 Liber primus, 1602. Do., Liber Secundus, 1603. Do., Third Book, 1603. 
 Three Books of Motets, 1608-9. Sacrje Cantiones, 2, 3, 4 voices and organ, 2 
 Books, 1603. Sacree Laudes de Jesu, 4, 5, 6, 7 and 8 voices and organ, 1603. 
 II primo libro di Motteti, for 2 and 3 voices, 1604. Sacrse Laudes, 2nd. Book, 
 1603. Psalmi, 1618. Eucharisticum, 1625. Litanie, 1639. La Musica Ecclestica, 
 1636. Eumelio, a pastoral drama, 16 14. 
 
 AGNESI (Louis F. L.) French bass vocalist, B. Erpent, 1833. D. London, 
 Feb., 1875. S. Brussels Cons. Celebrated as an operatic singer. 
 
 AGOSTINI (Ludovico). Italian comp. and poet, B. Ferrara, 1534. Chap.- 
 master to Duke Alfonso II. d' Este. D. Sept. 20, 1590. 
 Works. — II primo libro di Madrigali, a 5 voci, Venice, 1570. Madrigali, a 4 
 voci, Venice, 1572. L'Eco ed enigmi musicali, 6 voci, 1581. Messe, Vespri, 
 Mottetti, Madrigali et Sinfonie, Ancona, 1588. 
 
 AGOSTINI (Paolo). Italian comp., B. Vallerano, 1593. Pupil of B. Nanini. 
 
 Master of Vatican Chap., Rome, Feb., 1629. Chap.-master and org. of S. 
 
 Maria, Trastevere. Do. S. Lorenzo, in Damaso. D. Rome, 1629. 
 
 Works. — Two Books of Psalms, Rome, 1619. Tvro Books of Magnificats, 
 
 for I 2, and 3 voices, Rome, 1620. Books of Masses, Rome, 1624-28. 
 
 Motets, Masses, etc., preserved in the Vatican Library, Rome. 
 
 " For invention he is said to have surpassed all his contemporaries. His com- 
 position for four, six, and eight choirs are said to have been the admiration of all 
 Rome. " — Hawkins. 
 
 AGRELL ( Johaun), Swedish comp. , B. Loth. Lived at Cassel and Nuremberg 
 during i8th cent. D. Jan. 19, 1769. Writer of instrumental music, pub- 
 lished during 1723-1761. 
 
 AGBELLI (Salvatore). Italian comp., B. Palermo, 1817. S. Naples Cons, 
 under Zingarelli, Donizetti, etc. 
 
 Works. — Operas : I due Pedanti, 1834 ; II Lazzarone Napolitano, 
 1838; Una Notte di Carnevale, 1838; I Due Gemelli, 1839; I Due 
 Forzati, 1839 ; La Locandiera, 1839 ; La Sentinella Notturna, 1840 ; 
 L'Omicido Immaginario, 1841 ; I Due Pulcinelli simili, 1841 ; II Fan- 
 tasma, 1846 ; La Jacqurie, 1849 ; Lfonore de M^dicis, 1855 ; Les Deux 
 Avares, i860 ; Calisto ; Blanche de Naples ; La Rose. Ballets, etc. 
 
 AGBICOLA (Alexandre). Belgian comp., B. 1470. Entered service of 
 Philip, Duke of Austria. Went to Castile, 1506, where he D. 1530 [1526-27]. 
 Works. — Motets, Masses, etc. Chiefly preserved in manuscript. 
 He was accounted one of the greatest among the musicians of his day. 
 
 AGBICOLA (Georg L.) German comp. and org., B. Thuringia, Oct. 25, 1643, 
 Chap.-master at Gotha, 1670. D. Gotha, Feb. 22, 1676. 
 Works. — Madrigals ; Sonatas for Violin, etc. ; Songs (Lieder), etc. 
 
 AGBICOLA (Johann Friedricll). German comp. and org., B. Saxony, Jan. 
 
 4, 1720. S. under J. S. Bach, and at University of Leipsic. Resided at 
 
 Berlin, 1741. Chap.-master and comp. to Frederick the Great, on death of 
 
 Graun, 1759. D. Nov. 12, 1774. 
 
 Works. — Operas : II Filosofo convinto, 1750 ; La Ricamatrice divenuta 
 
 damma ; II Re pastore, 1752 ; Cleofide, 1754 ; II Tempio d'Amore, 1755 ; Psyche, 
 
 1756 ; Achille in Sciro, 1758 ; Ifigenia in Tauride, 1765. Cantatas. 
 
 Pamphlets on musical subjects (satirical). A work on the precedence of Melody 
 
 over Harmony. A work on the Elements of Singing, etc. 
 
 AGBICOLA (Martin). German theoretical writer, B. Soralh Silesia, i486 
 
AGT — AIB 
 
 [1500]. Teacher of Music in Protestant School, Magdeburg, 1524-56. Chanter 
 
 in Ch. of Magdeburg. D. June, 1556. 
 Works. — Ein Kurtz Deutsche Musica, 1528. Musica Instrumentalis Deudsch, 
 etc., Wittemberg, 1529-45. Musica Figuralis Deudsch, etc., 1532. Rudimenta 
 Musices, etc., 1539, etc. 
 
 "The works of Agricola seem intended for the instruction of young beginners in 
 the study of music ; and, though there is something whimsical in the thought of a 
 scientific treatise composed in verse, it is probable that the author's view in it was 
 the more forcibly to impress his instructions on the memory of those who were to 
 profit by them. His " Musica Instrumentalis " seems to be a proper supplement to 
 the "Musurgia " of Ottomarus Luscinius, and is perhaps the first book of direc- 
 tions for the performance on any musical instrument, ever published." — Hawkins, 
 
 AGTHE (Caxl Christian). German comp. and pianist, B. Kettstsedt, 1739. 
 D. Nov. 27, 1797. 
 Writer of Operas, Songs, Pf. music, etc. 
 
 AGUADO (Diouisio). Spanish comp. and guitar-player, B. Madrid, April, 
 1784. S. Paris under Garcia, 1825. Returned to Madrid, 1838. D. Madrid, 
 Dec, 1849. 
 Works. — New Method for the Guitar, 1825. Three Rondos for the Guitar, 
 1822. Collection of Andantes, Valses and Minuets, for Guitar. Solos. Tran- 
 scriptions, etc. 
 
 He was one of the greatest performers on the guitar, and his feats on it are 
 spoken of as remarkable. 
 
 AGUILAR (Emanuel). English comp. and pianist, B. Clapham, London, 
 Aug. 23, 1824. Son of E. Aguilar, a West Indian of Spanish extraction. 
 Has given concerts of high-class music in London and the provinces. 
 Works. — i. The Bridal of Triermain, a Dramatic Cantata, founded on the 
 poem of Sir Walter Scott, produced by the Bedford Musical Society, Oct., 1880. 
 2. A Summer Night, Cantata for treble voices. 3, Goblin Market, a Cantata for 
 treble voices. 4. The Bridal Wreath, an Opera (manuscript). 5. Pianoforte 
 Music: Six Pieces, op. 27; War March; Couleur de Rose, galop, op. 29; Re- 
 veries ; M^lodie ; Bolero, op. 20 ; Serenade, op. 23 ; Galop, and Tyrolienne, op. 24; 
 Deux Morceaux ; Nocturne ; Leonore, mazurka ; Ophelia, romance ; Ar^thuse, 
 melodie ; Transcriptions, etc. 6. Fantasia for Organ, 2 Pianofortes, and Violin, pro- 
 duced at the Musical Artists' Association, March, 1881. 7. Songs: The Appeal, 
 The stars are brightly beaming ; In a wood on a windy day ; Sympathy ; 
 Farewell ; Break, Break ; Hope Alway. 8. Little Book about Learning the 
 Pianoforte. Lond. [1866]. 9. Symphonies, overtures, trios, sonatas, etc. in MS., 
 which have been performed at concerts. 
 
 AGUJARI (Lucrezia). Italian soprano vocalist, B. Ferrara, 1743. D. Parma, 
 May, 1783. Chiefly celebrated for the extraordinary upward range of her 
 voice. 
 
 ABLE (Johann Eudolf). German comp. and org,, B. Miihlhausen, Thur- 
 ingia, Dec. 1625. Org. at Erfurt and Miihlhausen, 1644-73. D. 1673. 
 Composer of church and instrumental music. 
 
 AHLSTROEM (A. J. R.) Swedish org. and comp., B. Stockholm, 1762. D. 
 there in first part of present century. Known only by a few songs. 
 
 AIBLINGER (Joseph Caspar). German comp., B. Bavaria, Feb. 23, 1779. 
 S. in Italy, 1803-11. Recalled to Germany, and appointed Chap.-master to 
 King of Bavaria, 1826. Returned to Italy, and compiled collection of ancient 
 music, 1833. D. Munich, May, 1867. 
 
 Works. — Op i . Requiem for 4 voices, org. and orch. Op. 2. Litanies for 4 voices 
 and orch. Op. 3. Latin Mass for 4 voices and orch. Op. 4. Graduel and Offertoire 
 for 4 voices, orch. and organ. Op. 5. Requiem for 4 voices, orch. and organ. Op. 
 6. Litanies for 4 voices and orch. Op. 7. Two Latin Masses. Op. 8. Two do. do. ; 
 Op. 1 1. Ave Regina. Op. 12. Seventeen Psalms for 4 voices, orch. and organ ' Op' 
 13. Six Offertoires, etc. Opera, Rodrigues et Chimene, 
 
AIC — AIR 
 
 AICHINGEB (Gregor). German comp., B. [1565]. S. music, and became a 
 priest. Org. at Augsberg. Visited Rome, 1599. Returned to Augsberg, 1 601, 
 D. [1614.] 
 
 Works.— I. Sacrarum Cantionum, 1590. 2. Liturgica, 1593. 3. Book II., 
 do., 1595. 4. Sacrse Cantiones, 1597. J. Tricinia Mariana, 1598. 6. Divinae 
 Laudes, 1602. 7. Vespertinum Virginis Canticum, 1604. 8. Ghirlanda di 
 Canzonette, 1604. g. Fasciculus sacrarum harmoniarum quatuor vocum, 1609. 
 10. Solemnia corporis Christi in sacrificio missse, i6o6. 11. Cantiones Ecclesias- 
 ticse, 1607. 12. Virginalia, 1608. 13. Teutsche Gesenglein, 1609. 14. Sacra2 Dei 
 Laudes,i6o9. 15. Odaria Lectissima, 1611. 16. Corona Eucharistica, l6li. 17. 
 Vulnera Christi, etc. 
 
 One of the greatest musicians of the sixteenth century. His writings abound 
 with passages wherein may be found examples of profound contrapuntal knowledge, 
 together with much inspiration and loftiness of expression. 
 
 AIDE (Hamilton). Greek poet, novelist, dramatist, and musical comp., B. 
 Paris, 1830. Educated in England, and at University of Bonn. Entered 
 army as officer of 85th Regiment. Left army in 1853 — Biograph. 
 Works. — Novels : Rita ; Confidences ; Carr of Carrlyon ; Mr. and Mrs. Faul- 
 
 conbridge; The Marstons ; Penruddoche. Philip, a drama, 1872. Poems. 
 
 Songs : Alone on the Shore ; At my feet ; Babe, good night ; Come Again ; The 
 
 Fisher ; In Autumn ; Little May ; The Music of the Sea ; Spanish Boat Song ; 
 
 Winter is Past. Operettas, etc. 
 
 AIKIN (John). English writer, author of I. Essays on Song- writing, Dublin, 
 1777 ; 2. Vocal Poetry, or a Select Collection of English Songs : to which 
 is prefixed an Essay on Song-writing, London, 1810. 
 The " Essay " which is prefixed to No. 2 is of no historical value. 
 
 AIMON (Esprit). French 'cellist and comp., B. Lisle, 1754. D. Paris, 1828, 
 Writer of string quartets, opera, Pf music, and songs. 
 
 AIMON (Famphile L. F.) French comp. and violoncellist, B. near Avignon, 
 
 1779. Cond. of theatre orch., Marseilles, 1776. Cond. at " Gymnase Drama- 
 
 tique," Paris, 1821. Cond. at Theatre Frangaise, 1822. D. Paris, Feb., 1866. 
 
 Works. — Operas: Jeux Floraux, 1818; Michel et Christine, 1821; Velleda ; 
 
 Abufar ; Alcide el Omphale ; Les Cherusques ; Les Deux Figaros. Quintet for 
 
 strings. Op. 4. Three Quartets for strings. Op. 6. Three do. Opp. 7, 8, 9. Nine 
 
 do. Op. 43, 46, 47. Nine do. Concertos for bassoon. Airs and solos for violin 
 
 and clarinet. Writings on harmony. Violoncello Music. 
 
 AINSWOETH (Henry). English musician and theologian. B. about middle 
 ofi6thcent. Lived in Holland from 1593. D. Amsterdam, 1622. Published 
 a collection of Psalms, Amsterdam 1612. An American edition of this was 
 issued with the title "The Book of Psalms : Englished both in Prose and 
 Metre," etc. 
 
 AIBD (James). Scottish music-seller engaged in business in Glasgow. Pub- 
 lished in the i8th cent. "A Selection of Scots, English, Irish, and Foreign 
 Airs, adapted for the Fife, Violin, and German Flute. ' 6 vols, n.d. 
 
 AIBETON (Edward). English violin-maker, B. 1727. D. 1807. 
 
 This maker worked under Wamsly of London, and received mstruction from 
 
 him. His instruments are pale yellow in colour, and the model is that of N. 
 
 Amati. Violins and violoncellos were the instruments on which he principally 
 
 worked. 
 
 AIBY (Sir George B.) English mathematician and writer, B. Alnwick, Nor- 
 thumberland, June 21, 1801. Educated at Hereford, Colechester, and Cam- 
 bridge, B.A. Cambridge, 1823. M.A. Cambridge, 1826. Delivered lectures 
 on Experimental Philosophy, 1827- 1836. Plumian Prof, at Cambridge, 1828. 
 Astronomer Royal, 1835. D? 
 Works. — On Sound and Atmospheric Vibrations, with the Mathematical 
 
 Elements of Music, Lond., 1868. Mathematical Tracts. Treatise on Errors of 
 
 Ot>servation. Treatise on Magnetism, 187P. 
 
10 AKE — ALB 
 
 AEEROYDE (Samuel). English comp., B. Yorkshire about end of 17th cent. 
 D. early in i8th cent. Comp. of many songs in the "Theater of Musick,' 
 1685, 86, 87. "The Banquet of Music," 1688; and in many other of the 
 collections published during that period. 
 He is briefly noticed by Hawkins. 
 
 ALA (Giovanni Battista). Italian comp., B. Monza, Milan, in latter part of 
 i6th century. D. after 1612. Wrote Canzonets, madrigals, motets, and other 
 church music. 
 
 ALABD (Delphin). French violinist and comp., B. Bayonne, March 8, 1815. 
 Went to Paris, and S. at the Cons., 1827. Gained two prizes (ist. and 2nd.) 
 for violin-playing. Made first appearance as performer in Public, 1831. 
 Prof, of violin at Paris Cons., 1843. Chevalier of Legion of Honour, 1850. 
 WoRKS.*-Op. I. Fantasia for violin ; op. 2. Six studies forviolin solo ; op. 3. 
 Twenty-nine variations for violin ; op. 4. Second fantasia for violin ; op. 5. Third 
 fantasia for violin ; op. 6. First nocturne for violin and Pf. ; op. 7. Elegie, Caprice 
 for violin ; op. 8. First quartet for strings ; op. 9. Fantasia (Norma) for violin and 
 Pf. ; op. 10. Ten studies for violin; op. II. Fantasia (Donizetti) for violin; 
 op. 12. Do. on Donizetti's Linda; op. 13. Second nocturne for violin and Pf. ; 
 op. 14. Tarantella for two violins; op. 15. First concerto for violin and orch., in 
 E. ; op. 16. Ten studies for violin ; op. 17. Fantasia for violin ; op. 20. Fantasia 
 for violin; op. 21. Fantasia (Mozart) for violin and orch.; op. 22. Three easy 
 duets for violins ; op. 23. Three do. ; op. 24. Fantaisie Caract^ristique for 
 violin and orch. ; op. 25. Duet for Pf. and violin ; op. 26. Barcarolle and Saltarello 
 for violin and Pf. ; op. 27. Three duets for 2 violins ; op. 28. Fantasia for violin 
 and orch. ; op. 29. Villaneile for violin and Pf ; op. 30. Fantasia (Beethoven) for 
 violin and orch. ; op. 31. First symphony for 2 violins and orch. ; op. 32. Fantasia 
 (Verdi) for violin and orch. ; op. 33. Second symphony for 2 violins and orch., in 
 D. ; op. 34. Second concerto for violin and orch., in A. ; op. 34a. Third symphony 
 for 2 violins and orch., in A. ; op. 35. Fantasia (Rossini) for violin and orch. ; 
 op. 36. Fantasia (Auber) for violin and orch. ; op. 37. Do. (Verdi) ; op. 38. Do. 
 (Verdi) ; op. 39. Eight easy Fantasias for violin and Pf. ; op. 40. Fantasia (Verdi) 
 for violin and Pf. ; op. 41. Twenty-four studies ; op. 42. Valse for violin and Pf. ; 
 op. 43. Mflodie for Pf. and violin ; opp. 44, 45, 46, 47, 48. Fantasias for violin and 
 Pf. (Meyerbeer, Rossini, Verdi, Gounod, and Halevy). Fantasias, Transcriptions, 
 etc. 
 
 The playing of Alard is described as being similar in object to that of Ole Bull, 
 Paganini, etc. He endeavours to make impressions more by a clever display of 
 technical ability than by legitimate and sympathetic treatment of his subject. His 
 compositions are light, brilliant, and effective in character. 
 
 ALABV (G-iulio E. A.) French comp., B. Mantua, 1814. Educated at 
 Milan Cons. Went to Paris, 1833. Librarian to Society for Religious and 
 Classic Music, Paris, 1841. Accompanist at Imperial Chap., 1853. Music- 
 director at Theatre Italien. 
 
 Works.— Redemption, a Mystery, 1850. Operas: Le Tre Nozze, 1851; 
 Sardanaple, 1852 ; L'Orgue de Barbaric, 1856 ; La Beaute du Diable, 1861 ; Le 
 Brasseur d'Amsterdam, 1861 ; La Voix Humaine, 1861 ; Locanda gratis, 1866. 
 Songs. Duets. Quartets (vocal). Dance Music. Masses, etc. 
 
 ALBANI (Mdlle. E.) See La Jeunesse, Marie Emma. 
 
 ALBANI (Mathias). German violin-maker, B." Botzen, 1621. Pupil of 
 N. Amati at Cremona and Jacob Stainer (?) D. Botzen, 1673. The violins 
 of this maker, though well modelled and beautifully finished, are still consider- 
 ably inferior to those of Jacob Stainer. This, chiefly because of defective con- 
 struction. 
 
 There are several other makers of this name, but none of them appear to have 
 gained any great degree of fame. 
 
 ALBENIZ (Pedro). Spanish org. and comp., B. Logrono, 1795. Prof, of Pf 
 at Madrid Cons. D. Madrid, 1855. Comp. pf. music, vocal music, and 
 author of a Method for the Pf., etc. 
 
ALB — ALB II 
 
 ALBEBGS'ATI (Count Firro C.) Italian Amateur comp. Flourished at end 
 of 17th and beginning of l8th centuries. 
 
 Works. — Operas: Gli Amici, 1699. II Principe selvaggio, 1712. Op. I. 
 Baletti, Correnti, Sarabande, etc., 1682. Op. 2. Sonata for 2 violins, with organ 
 and bass, 1683. Op. 3. Cantate Morali a voce sola, 1685. Op. 4. Messa e 
 Salmi, 1687. Op. 5. Plettro Armonico, 1687. Op. 6. Cantate da Camera, 
 1687. Op. 8. Motetti e Antifone, 1691. Op. 9. Concerti (vocal), 1702. 
 Op. 10. Cantate Spiritual!, 1702. Giobbe, oratorio, 1688, etc. 
 
 ALBERT (Charles D'.) French [?] dance-music comp., B. near Hamburg, 1815. 
 He is a dancing-master in England. 
 
 Works. — Dance-music, consisting of Polkas, Quadrilles, Waltzs, Valses, etc., 
 etc., chiefly based on melodies in popular operas. 
 
 His son, Eugene, was B. at Glasgow, loth April, 1864. S. under Sir A. 
 Sullivan, Prout, and Pauer. First appeared at the Crystal Palace, 5th Feb., i88l, 
 and has since appeared as a pianist on the Continent with great success. His works 
 include a Pf. Concerto in A (1881) and a Pf. suite (1883). 
 
 ALBERT (Emile). French comp. and pianist, B. Montpellier, 1823. D. 1865. 
 
 Works. — Jean le Fol, opera, 1865. Les Petits du Premier, operetta, 
 
 1864. Symphonies ; Trios for strings ; Sonatas for violin and pf. ; Pf. solos, etc- 
 
 ALBERT (Heinrich). German poet and comp., B. Lobenstein, June 28, 1604. 
 D. Konigsberg, 1657. His psalms and chorales are in use, while his writings 
 greatly influenced contemporary opinion on music. 
 
 ALBERT (Johann Frederic). German comp., B. Thuningen, Jan. 11, 1642. 
 D. 14th June, 1710. Writer of music for the organ and church. 
 
 ALBERT (H.R.H. Frmce Francis C. A. A. E.) German amateur musician, B. 
 Rosenau, Coburg, August 26, 1819. Married to Queen Victoria of Britain, 
 Feb., 1840. D. Dec. 14, 1861. 
 
 Works. — i. Vocal Compositions of H.R.H. the Prince Consort, Lond., 1862. 
 2. Songs and Ballads, arranged by E. J. Loder. 3. Anthems, Services, etc. 
 
 Prince Albert did much in every way to encourage music in Britain. He took a 
 lively interest in everything pertaining to the art, and was known and respected for 
 the patronage which he extended to all the struggling British musical institutions. 
 The members of his family exhibit a similar regard for music, and evince much 
 concern in all matters touching its development. 
 
 ALBERTAZZI (Emma), «A HOWSON. English soprano vocalist, B. Lon- 
 don, May I, 1814. S. under Sir M. Costa. D^but at Argyle Rooms, 1829. 
 Sung at King's Theatre, London, 1830. Went to Italy, and married Signer 
 Alberfazzi, 1831. Debut at Milan, 1831. Sung in Spain and Paris, 1835. 
 Returned to London, and appeared at several concerts, etc., 1837. Sung on 
 Continent, and again in London, 1846. D. 1847. 
 "In execution, Madame Albertazzi has little to acquire. . . Her face and 
 
 figure are more than pleasing — her action tame, but still not inappropriate. On 
 
 the whole, she is an acquisition to our opera of the highest value." — Athenaum, 
 
 April 22, 1837. 
 
 ALBINONI (Tomaso). Italian comp., B. Venice at end of 17th century. D. 
 [1745.] Nothing relative to his career has been handed down. 
 Works. — Op. i. Magnificat for 4 voices. Op. 2. Sinfonie, 1700. Op. 3. 
 Dieci e due balletti ossia senate da camera a tre. Op. 4. Twelve cantatas for 
 solo voice and bass. Op. 5. Twelve concertos for six instruments. Op. 6. 
 Twelve cantatas for solo voice and bass. Op. 7. Twelve concertos for oboe and 
 violin. Op. 8. Twelve ballets for 2 violins, 'cello, and bass. Op. 9. Twelve con- 
 certos for 2 oboes, alto, 'cello, and organ. 10. Operas: Palmerini, 1694; II 
 Prodigo deir innocenza, 1695 ; Zenone, 1696 ; Tigrane, 1697 ; Radamisto, 
 1698; Primislas I., 1698; L'Ingratudine castigata, 1698; Diomede, 1701 ; 
 L'Inganno innocente, 1701 ; L'Arte in gara con I'arte, 1702; La Fede tra 
 gli inganni, 1707; Astarte, 1708; II Tradimento tradito, 1709; Giro, 1710; 
 Giustina, 171 1 ; II Tiranno Eroe, 1711 ; Le Gare generose, 1712 ; Eumene, 1717 ; 
 
12 ALB — ALC 
 
 II Meleagro, 1718 ; Gli Eccessi della gelosia, 1722 ; Ermingarda, 1723 ; Marianna, 
 1724; Laodicea, 1724; Antigono tutore, 1724; Scipione celle Spagne, 1724; 
 Didone abandonata, 1725 ; Alcina, 1725 ; II Trionfo d'Armida, 1726 ; L Incostanza 
 schernita, 1727; La Griselda, 1728; II Concilio dei pianetti, 1729 ; L'Infedelta 
 delusa, 1729 ; Engelberta (written in conjunction with Gasparini) ; I due Rivali in 
 amore, 1728; Statira, 1730; Gli Stratagemmi amorosi, I73° 5 Elenia, 1730; 
 Ardelinda, 1732; Gli avvenimenti di Ruggiero, 1732; Candalide, 1734; 
 Artamene, 1741. 
 
 Albinoni was formerly regarded as one of the lights of the Venetian school, and 
 his works appear to have been received with moderate success during his day, 
 though they are now forgotten. 
 
 ALBONI (Marietta). Italian contralto vocalist, B. Cesena, Forli, loth March, 1824. 
 S. under Rossini. i)^i«^ as contralto at Milan, 1843. Appeared successively at 
 Bologna, Brescia, Vienna, Hamburg, Leipzig, Dresden, and Rome, 1845-47. 
 Dibut'm London as Arsace, in " Semiramide," 1847. Sang in London in opposi- 
 tion to Jenny Lind during 1849-51-56-57-58. Sung in America, 1852. Married to 
 Count Pepoli, 1853. Sang in Brussels, Paris, Italy, and Spain. Last appeared 
 and retired, 1863. She has since sung for charitable purposes, and appeared 
 in London in 1871. Married again, 1877, to Captain Ziegler, Paris. 
 Alboni was esteemed the greatest contralto of the nineteenth century. Her voice 
 
 exceeded two octaves in register, and was rich and mellow in quality. 
 
 ALBBECHT (Johann Lorenz). German poet and comp., B. 1732. D. 1773. 
 
 ALBBECHTSBEBGEE (Johann Georg). German writer, comp., and teacher, 
 B. Klosterneuburg. near Vienna, Feb. 3, 1736. Org. in church at Melk, 
 and at Raab, in Hungary. Court org. at Vienna, 1772-92. Director of rnusic 
 at Ch. of St. Stephen, Vienna, 1792. Married to Rosalie Weiss, 1769. 
 Mem. of Academy of Music, Vienna, 1793. Mem. of Academy of Music, 
 Stockholm, 1798. Instructor of Beethoven, Hummel, Weigl, Eybler, Mosel, 
 Preindl, Seyfried, etc. D. Vienna, March 7, 1809. 
 Works. — i. Twenty-six Masses for 6 and 4 voices, organ and orch. 2. Forty-three 
 Graduels, for voices and organ. 3. Thirty-four Offertoires. 4. Five Vespers, for 
 choir, orch., and organ. 5. Four Litanies. 6. Four Psalms. 7. Four Te Deums. 
 8. Six Motets. 9. Five Salve Regina. 10. Six Ave Regina. ti. Two Tantum 
 Ergo. 12. Eighteen Hymns. 13. Oratorios: The Pilgrims of Golgotha; The 
 Invention of the Cross ; The Birth of Christ ; The Nativity ; The Passion of 
 Christ. 14. Kine Sacred songs or cantiques. 15. An opera. 16. Forty-four 
 fugues for organ. 17. Forty-two sonatas and quartets for various instruments. 
 18. Thirty-eight quintets for 2 violins, 2 violas, and 'cello. 19. Seven sextets for 
 2 violins, 2 violas, 'cello, and D. Bass. 20. Twenty-eight trios for 2 violins and 
 'cello. 21. Six concertos for Pf., harp, organ, mandoline, and trombone. 22. 
 Four symphonies for full orchestra. 23. Theoretical Works: Griindliche Anwei- 
 sung zur Composition, etc., Leipzig, 1790; Kurzgefasste Methode den General- 
 bass zu erlernen, Vienna, 1792; Klavierschule fur Anfsenger (Pianoforte School), 
 Vienna, 1800 ; Collected Works in 3 vols., published in Vienna, 1826. 
 
 A large portion of these works remain unpublished. His works on harmony 
 and composition have been published in English by Messrs. Novello & Co., and 
 Messrs. R. Cocks & Co. 
 
 The profound contrapuntal learning of this composer is reflected in the larger 
 portion of his published works. His organ music is well known among English 
 organists, and is chiefly noted for its massive, and oftentimes heavy, character. 
 The theoretical works of Albrechtsberger which have been translated are remark- 
 able for their extreme lucidity and detailed exposition of every matter connected 
 with the subject. 
 
 ALBBICI (Vincenzo). Italian comp., B. Rome, June 26, 1631. D. Prague, 
 about 1682. Writer of Masses, Psalms, etc. 
 
 ALCOCK (John). English comp. and org., B. London, April 11, 1715. Chor. 
 St. Paul's. Pupil of Stanley, the blind organist, 1729. Org. successively of 
 Allhallows Ch., London, 1735. St. Andrew's, Plymouth, 1737. St. 
 Andrew's, Holborn, London, 1742. St. Laurence's Ch,, Reading, 1742. 
 Org. and Choir-master of Lichfield Cath., 1749. Mus. Bac. Oxon, June, 
 
ALb — Al^ ij 
 
 I75S- Mus. Doc. Oxon, 1761. Resigned post of org. and choir-master at 
 Lichfield, retaining only that of lay- vicar, 1760. Org. at Sutton-Coldfield, 
 1761 ; and Tamworth, 1765. Gained prize medal at Catch Club, 1770. D 
 Lichfield, March, 1806. 
 Works. — Six-and-twenty select Anthems in score, for 1, 2, 3, 4, 5, 6, and ! 
 voices, to which aire added a Burial Service for 4 voices, and part of the last vers{ 
 of the iSoth Psalm, for 8 voices and instruments, in 21 parts, London, 1771. Sii 
 Canzonets or Glees, in three parts (1770). Harmonia Festi, or a Collection o 
 canons, cheerful and serious glees, and catches for 4 and 5 voices, Lichfield, 1791. 
 Morning and Evening Service in E minor. Six Suites of Lessons for the Harpsi- 
 chord. The Harmony of Sion, a collection of Psalm tunes, 1802. Divine 
 Harmony ; or, a Collection of fifty-five double and single chants. Lichfield, 8vo, 
 1752. Hail, ever pleasing solitude, a glee ; gained prize medal (Catch club) in 
 1770. Life of Miss Fanny Brown, a novel, etc. 
 
 A most agreeable composer. His concerted vocal music (glees and catches) is 
 perhaps most suited to the present taste, although his anthems are very fair 
 specimens of sacred writing, and might command a hearing. His son, John 
 (1740-91), was also an org. and comp. of vocal music. 
 
 ALDOVRANDINI (Giuseppe A. V.) Italian comp., B. Bologna, 1665. 
 D. early in i8th century. Wrote operas, motets, instrumental music, 
 oratorios, etc. 
 
 ALDBICH (Henry). English comp. and divine, B. Westminster, 1647. S. at 
 
 Westminster School, and at Christ Church, Oxford, 1662. B.A. Oxon, May 
 
 31, 1666. M.A. Oxon, Aprils, 1669. Canon of Christ Church, Feb., 1681. 
 
 D.D. Oxon, 1682. Dean of Christ Church, Oxon, June, 1689. D. Oxford, 
 
 Dec. 14, 1710. 
 
 Works. — i. Artis Logicse Compendium. A work on Logic. 2. Service in G. 
 
 3. Service in A. 4. Anthems: I am well pleased. Not unto us, Lord (adapted). 
 
 Out of the deep. O give thanks. O praise the Lord. Thy beauty, O Israel. 
 
 We have heard with our ears. 5. A Catch on Tobacco. 6. Hark, the bonny 
 
 Christ Church bells, glee for 3 voices. 7. Miscellaneous Treatises: Theory of 
 
 Organ-building. On the Construction of the Organ. Principles of Ancient Greek 
 
 music. Fragment of a Treatise on Counterpoint. Memorandums made in reading 
 
 ancient authors, relative to several parts of music and its efFects. Excerpta from 
 
 P^re Menestrier ; proportion of instruments ; exotic music. Argument of Ancient 
 
 and Modern performance in music. Theory of modern musical instruments, etc. 
 
 Aldrich was a man of varied accomplishments, in all of which he excelled, and 
 in addition to his skill in logic and music, was a good architect. His anthems are 
 still occasionally sung in the provinces. 
 
 ALESSANDBI (Felice). Italian comp., B. Rome, 1742. S. at Naples. 
 
 Went to Dresden and produced an opera, 1773. Appeared in London, 1769-74. 
 
 Married Guadagni the vocalist. Went to Russia. Returned to Italy, 1788. 
 
 D. [after 1792]. 
 Works. — Operas: Ezio, 1767; II Matrimonio per concorso, 1767 ; L'Argentino, 
 1768 ; La Moglie fedele, Lond., 1769 ; II Re alia caccia ; L'Amore Soldato, 1773 ; 
 Creso, 1774 ; La Sposa Persiana, 1775 ; La Contadina, 1778 ; Venere in Cipro, 
 1779 ; Attalo, 1786 ; II Vecchio Geloso, 1781 ; Demofoonte, 1783 ; II marito 
 geloso, 1784; Artaserse, 1774; I Puntighi gelosi, 1784; I due Fratelli, 1785; 
 Dario, 1791, etc, 
 
 ALEXANDRE ET FILS. French Harmonium-makers, established, 1829. 
 
 Received the prize medal for excellence of workmanship at Paris exhibition, 
 
 1855. Have since patented several inventions applicable to harmonium 
 
 mechanism. 
 
 To Messrs. Alexandre is due the present effective condition of the harmonium. 
 
 Their inventions, chiefly in connection with tone and mechanism, have rendered 
 
 the harmonium a fit instrument for the concert-room. 
 
 A.LFORD (John). English lutenist, published, "A Briefe and Easye Introduc- 
 tion to learne the tableture, to conduct and dispose the hands unto the Lute," 
 London, 1568. 
 This is a translation of a work by a Frenchman named Le Roy. 
 
t4 ALf — ALL 
 
 ALFORD (Mamaduke). English vocalist and comp., B. Somersetstee, 1647 
 D. May, 1715. He was succlssively a Yeoman and Sergeant of the Vestry of 
 the Chapel Royal. 
 ALKAN (Charles Henri V.) Ffench comp. and pianist, B. Paris, 1813. S.at 
 Paris Cons., 1819-1830. Visited Landon, 1833. Gained first prize of Insti- 
 tute of France, for comp., 1831. Resides in Pans as concert-giver and 
 teacher. 
 Works.— Etude caprice for Pf., opp. 12, 13, fS. 16. Le Preux, concert study, 
 op. ir. Duet for violin and Pf., op. 21. Nocturne for Pf., op. 22. Saltarelle 
 for Pf., op. 23. Gigue for Pf, op. 24. AUeluja for Pf , op. 25. Transcription 
 from Mozart, op. 26. Etude for Pf., op. 27. Bouree d'Auvergne, op. 29. Trio 
 for Pf., violin and 'cello, op. 30. Twenty-five preludes for Pf. or organ, op. 31. 
 Collection of Impromptus for Pf., op. 32. Sonata for Pf , op. 33. Twelve studies 
 for Pf , op. 35. Three Marches for Pf., op. 37. Two books of Chants (Songs 
 without words) for Pf., op. 38. Twelve Studies for Pf., op. 39. Three Marches 
 for Pf. duet, op. 40. Three Fantasias for Pf, op. 41. Reconciliation, Caprice for 
 Pf , op. 42. Paraphrase for Pf., op. 45. _ Sonata for Pf. and 'cello, op. 47, etc. 
 
 The works of this composer abound with technical difficulties of every descrip- 
 tion. His. studies are especially extravagant in construction, and require close 
 attention from even the best performers to warrant adequate interpretation. 
 
 ALLAN (James). English piper and adventurer, B. Rothbury, March, 1734. 
 Known as the "celebrated Northumberland Piper." D. Durham, 13 Nov., 
 1810, in jail. Allan was famous as a strolling vagrant, half gipsy, half itinerant 
 musician. His adventures are detailed in the " Life of James Allan, the cele- 
 brated Northumberland Piper, detailing his surprising adventures, etc." By 
 James Thompson. Newcastle, 1828. He is also the hero of a hundred chap- 
 books, hailing from Newcastle, Glasgow, etc. His performance on the pipes 
 is mentioned as having been extraordinary. 
 
 ALLAN (James). Scottish cond. and barytone vocalist,' B. near Falkirk, 27 
 July, 1842. Well known in Scotland as cond. of the "Glasgow Select 
 Choir," a post which he has held since 1880. The choir itself is perhaps 
 without equal in Scotland, and has a high reputation in London and some 
 of the larger English towns. 
 
 ALLCHIN (William Thomas Howell). English org. and comp., B. 1843. 
 
 Mus. Bac. Oxon., 1869. Cond. of Oxford Choral Soc, 1869. Org. of St. 
 
 John's Coll., Oxford, 1875. Local Examiner for the R. A. M., i?8i. D. 
 
 Oxford, Jan. 8, 1883. 
 Works. — The Rebellion of Korah, a Sacred Dramatic Cantata, for Tenor 
 Solo, chorus, and full orchestra (manuscript). Produced and composed for the 
 degree of Mus. Bac, June, 1869. Songs: A Shadow; A Rainy Day; A 
 Lament for the Summer ; A Song for November ; A Christmas greeting ; Prythee 
 why so pale ? A Sea song ; The Wrecked Hope ; O but to see her face again ; The 
 Forsaken, etc. 
 
 ALLEGEANTI (Madalena). Italian soprano vocalist, B. Venice, 1754. 
 Flourished during last century, and appeared in London in 1781. D. after 1799. 
 
 ALLEGB.I (Gregorio). Italian comp., B. Rome, 1580. Priest and comp. at 
 Cath. of Fermo. Pupil of G. Nanini. Chorister in Chap, of Pope Urban 
 VIII., 1629-1652. D. Rome, Feb., 1652. 
 
 Works.— II primo Libro di concerti a due, tre, e quattro voci, Rome, 1618; 
 A second book of concertos, Rome, 1619 ; First book of motets, ftc, Rome, 
 1620 ; Motecta duarum, trium, quatuor, quinque, sex vocum, liber secundus, 
 1621 ; Various pieces of sacred music preserved in church libraries in Italy. 
 
 Allegri is the composer of a " Miserere " frequently used in the papal chapel at 
 Rome, and which is said to be one of the finest specimens of this form of 
 composition. 
 
 ALLEN (Alfred Benjamin). English comp. and pianist, B. Kingslandl 
 Middlesex, Sept. 4, 1850. Commenced study of the Pianoforte i8i;i; S at" 
 London Academy of Music, 1868. Teacher of Music near London. 
 
ALL — ALL tg 
 
 Works. — Songs: Sweet Birdie, mine, r868 ; God speed the Galatea, with 
 chorus, 1869; She sang to her harp, 1869; She answered, yes, 1870; How sweetly 
 chime those evening bells ; Eily's Reply ; Row, Boatie, Row ; Lead, kindly 
 Light ; Dream on, my Heart ; He was vety good to me ; A widow bird sate 
 mdjjrning ; The Castaway ; Does he lo^e me ? A Sea-shell ; It was a lover and 
 his lass. Marche Grotesque, for orch., 1874. Festival Gavotte. Egyptian 
 Court Dance, 1877. Orchestral music. Organ music. Other works to the 
 amount of 100, and including a secular cantata, remain in MS. 
 
 ALLEN (George). American writer, author of " The Life of Philidor, Musician 
 and Chess-Play er." Philadelphia, 1863. This book is notable as having been 
 the first work printed on vellum in America. 
 
 ALLEN ((George Benjamin). English comp. and vocalist, B. London, April 
 21, 1822. Chor. at St. Martin's-in-the-fields, 1830. Chor. in Westminster 
 Abbey, 1832. Deputy for Mr. Clark, St. Paul's Cath., and Mr. J. B. Sale, 
 Westminster Abbey. ' Established the "Abbey Glee Club," 1841. Chor. 
 (bass) Armagh Cath., Ireland, 1843. Married in London. Cond. of Classical 
 Harmonists' Soc, Belfast. Originated and executed the scheme for the build- 
 ing of the " Ulster Hall," Belfast. Bac. Mus. Oxon, 1852. Resigned appoint- 
 ment atArm^h, 1862. Org. and choir-master of All Saints' Ch., Kensington. 
 Established suburban academies, for music, in London. Org. at Toorak, Mel- 
 bourne, Australia. Cond. of Lyster's opera company, Australia. Organized 
 opera company and visited the principal towns of Australia, New Zealand, 
 and India, with great success ; this being greatly due to the efforts of his pupil. 
 Miss Alice May. Returned to England. Established a comedy opera company 
 (limited), and produced "The Sorcerer," "H.M.S. Pinafore," and "The 
 Pirates of Penzance," comic operas by W. S. Gilbert and Sir A. S. Sullivan. 
 Works. — Operas: Castle Grim, 2 Acts, London, 1S65. The Viking, 5 acts, 
 Danish subject (not produced owing to the failure of the English opera company). 
 The Wicklow Rose, Manchester, 1882. Two others remain in MS. Cantatas: 
 Harvest Home, 1863. The Vintage of the Rhine, 1865 ; Ministering Angels, 
 1884. Te Deums in D and F. Introits and the Office of the Holy Communion. 
 Anthems : A Book of Fifteen Anthems, 1853 ; Listen, O Isles ; In the be- 
 ginning was the Word ; Now is Christ risen ; O God, the rock of ages ; O 
 come let us worship ; Praise the Lord ; The Lord is King ; Awake, thou that 
 sleepest. Concerted Vocal Music: Six four-part Songs [1861] ; Far from din of 
 Cities; I love my love in the morning; The Shepherd's Song; Swiss-Lakers' 
 Festival Song ; Morning ; May ; Down in yon Green Vale ; See the Shepherd 
 Swains ; The Wind on the Tree-tops. Serenade : Soft may thy Slumbers be ; 
 When lovely Spring ; Lovely Spring ; A Game of Croquet ; Out among the 
 Summer Meadows ; Oberon, trio ; The three plagues of life, do. ; To a Robin, do. ; 
 Voice of Moonlight, do. ; Loving Voices, do. Songs : A Shadow ; Arrow and 
 the Song ; Angels' Gift ; Adeline ; Boyhood's Dream ; The Bridge ; The Brook- 
 let ; The Bird is on the Tree-top ; The- Baby Song ; The Barque that bears thee ; 
 Bessie ; Who can tell ; Little bird so sweetly singing ; The Fisherman's Wife ; 
 Denis ; Katty ; The Bridge ; The Old Mill ; The Sea King ; Carillon ; The 
 Children's Hour ; Whither away ? Unrest ; Goat-bells ; Beware ; Marita ; In 
 Silence and Tears ; 'Twas long long since in the Springtime ; Settings of many of 
 Longfellow's Songs, and others, amounting in all to about 300. -Pianoforte and 
 organ music. The Scales in Music and Colours — their Analogy, from The Musical 
 World. New Pianoforte Tutor and School. London, n. d, 
 
 Allen is one of the best and most thoroughly English composers now living. 
 His works abound in bright melody and agreeable harmony, and are in every 
 respect worthy of attention. He is a good vocalist, and was capable, when only 
 about twelve years old, of taking Miss Clara Novello's part at first sight at a con- 
 cert at which she could not attend. His church music is stamped with more than 
 mere cleverness ; while his songs and part-music are admittedly among the best 
 of any produced within recent years. 
 
 ALLEN (Henry Robinson). Irish vocalist, B. Cork, 1809. Sung in opera at 
 Drury Lane Theatre, and gave concerts at London, D, London, Nov. 27, 
 1876. 
 
t6 A.Lt — ALT 
 
 "He retired early from an active professional career, and devoted himself to tuWon 
 and quiet study. He was undoubtedly a man of very considerable powers. —Era. 
 ALLEN (Richard). English writer, flourished at end of 17th ^nd begin«f 
 i8th centuries. Author of "An Essay to prove Smging of Psalms with con- 
 joined voices a Christian duty," London, 1696. 
 ALLISON (Horton Claridge). English comp., org-, and pianist, B. London, 
 July 25, 1846. Entered R? A. M., I 856. Received instruction in music from 
 W. H. Holmes, Sir G. A. Macfarren, Garcia, Plaidy, E. F. Richter, Reinecke, 
 Hauptmann, and Moscheles. S. at Leipzig Cons., 1862-1865. Gained first 
 prize at Leipzig for general proficiency, 1865. Played at Gewandhaus 
 Concerts, Leipzig, during his stay there. Commenced concert-giving in 
 London, July, 1865, and has since appeared in the principal towns of the 
 provinces. Org. of St. James', Westminster St, London (Rev. H. R, 
 Haweis), 1867. Married in 1869. A. R. A. M., 1862. Examiner (Man- 
 chester) for R. A. M. Mus. Bac, Cambridge, 1877. Mus. Doc, Dublin, 
 1877. M. R. A. M., 1880. Examiner to Soc. of Professional Musicians, and 
 one of H.M. Examiners, 1884. 
 Works. — Cantata for 4 solo voices, chorus and orch., composed in 1874 (MS.). 
 Sacred Cantata for 4 solo voices, chorus and orch., 1871 (MS.), performed in 1877. 
 Symphony for full orchestra, 1875 (MS.). Suite for orchestra (MS.). Concerto 
 for Pf. and orch., composed in 1870, performed in 1877 (MS.). War March, Le 
 Champ de Mars, for orch., 1873. Sonata for organ, composed in 1865, published 
 in 1879. String quartet, composed and performed in 1865. Concert duet for 2 
 pianofortes, 1865. The Oxford Concert Pieces, for Pf. solo, 1872. The Cam- 
 bridge Concert Studies, for Pf. solo, 1873. Melodious and Characteristic Pianoforte 
 Studies (in two books, consisting of 19 numbers in all), 1874. Lyrics in Three 
 Sets, for Pf., 1874. Other Pieces for Pianoforte, including the Marathon March, 
 Tarantella in A minor, Valse (1869), etc. The iioth, 117th, and 134th Psalms, 
 for solo voices, chorus, and string orchestra, composed in 1876 (MS.). Behold, 
 bless ye the Lord, anthem. O Praise ye the Lord, do., 1873. Boaz and the 
 Reapers, 4-part song. The Four Friends, do. Sigh no more. Ladies, do., 1871. 
 Songs: A Song of Welcome; Again the Woods, i860; Lovely Flowers, 1872; 
 The Meeting ; Philomye, 1868. Lord Wolseley's March, 1883. 
 
 ALLISON (Biicliard). English comp., flourished in the i6th cent. D. early in 
 17th century. 
 '• He was one of the ten persons who composed parts to the common psalm tunes 
 printed by Thomas Est in 1594." Also composer of I. " The Psalmes of David 
 in Meter, the Plaine Song being the common tunne to be sung and plaide vpon 
 the lute, or pharyon, citterne, or base vioU, severally or altogether, the singing part 
 to be either tenor or treble to the instrument, according to the nature of the voyce, 
 or for foure voyces," etc., London, fo. 1599. 2. An Hour's Recreation in Musick, 
 apt for Instruments and Voyces, London, 1606. 
 
 ALLON (Rev. Henry, D.D.) English writer, B. Welton, near Hull, Oct. 13, 
 1881. Editor of the British Quarterly Review. Author of I. Church Song 
 in its Relations to Church Life, Lond., 1862. 2. The Psalmody of the Refor- 
 mation, Lond., 8vo, 1864. 3. Congregational Psalmist (with Dr. Gauntlett), 
 Lend., 1868. Other Editions, 1875, 1883. 4. Book of Chants, i860. 5. 
 Book of Church Anthems, 1872. 6. Children's Worship Hymns, 1878; 
 Tunes, 1879. 7, The Worship of theChurch (in Reynold's Ecclesia), 1870. 
 
 ALMENR.£DER (Charles). German bassoon player and comp., B. Ronsdorf, 
 near Dusseldorf, Oct. 3, 1786. D. Bieberich, Sept. 14, 1843. Composed 
 music for the bassoon, a method for the bassoon, and other instrumental works. 
 
 ALTBNBURG (Michael). German comp., B. Trcechtelborn, Thuringia, 
 1583. D. 12 Feb., 1640. Wrote psalms, chants, motets, etc. 
 
 ALTES (Joseph Henri). French comp. and flute-player, B. Rouen 18 Tan., 
 1826. Instrumental music. > j > 
 
 ALTES (Ernest Eugene), brother of above. French violinist B Paris 28 
 March, 1830. Works for his instrument. ' ' ' 
 
kiiA — aMo tj 
 
 AMADEI (Roberto). Italian comp. and org., B. Loreto, Nov. 29, 1840. 
 Comp, operas, motets, etc. 
 
 AMAT (Paul Leopold), French comp. of romances, songs, and operettas. 
 Flourished in the present century. B. Toulouse, 1814. D. Nice, Oct. 31, 
 1872. 
 
 AMATI (Andrea). Italian violin-maker, B. Cremona [1520], D. [1577]. 
 
 The founder of the ' ' Cremona " school of violin-making. Connoisseurs affect 
 to distinguish this maker's instruments, vfhich are very rare, by their small build. 
 
 AMATI (Antonio). Son of above, Italian violin-maker, B. 1550. D. 1635. 
 
 This maker worked some time with his brother Hieronimo. His instruments 
 are small in size, but possess a pleasantly sweet tone. 
 
 AMATI (Hieronimo). Son of Andrea, Italian violin-maker, B. ? D. 1638. 
 
 The instruments of this maker are generally superior to those of Antonio or 
 Andrea. The tone which they are capable of producing is more powerful, and of 
 a better quality. 
 
 AMATI (INicolo). Italian violin-maker, son of Hieronimo Amati, B. Cremona, 
 Sept. 3, 1596. D. Aug 12, 1684. 
 The most celebrated maker of this family. His violins are accounted superior to 
 those of Joseph Guarnierius, and are highly valued. 
 
 AMBBOS (August Wilhelm). Hungarian comp., writer, and pianist, B, 
 Mauth, near Prague, Nov. 17, 1816. D. Vienna, June, 28, 1876. Author 
 of several important works on musical history and criticism. Prof, of music 
 at the University of Prague, 1869. Mem. of the University of Vienna, 1S72. 
 He spent the years i86o till 1868 in collecting material for his " History of 
 Music," the publication of which is now completed. 
 Works. — Die Granzen der Poesie und Musik, Prague, 1856; Bunte Blatter, 
 
 Skizzen und Studien fur Freunde der Musik und der bildenden Kunst, 2 vols ; 
 
 Die Musik als Culturmoment in der Geschichte ; Robert Franz, eine Studie ; 
 
 Geschichte der Musik, Breslau, 1862-8. Kinderstiicke ; Wanderstucke, and other 
 
 pieces for the Pf. A Stabat Matir ; Two Masses ; Songs, etc. 
 
 His history is written in a very readable and agreeably brilliant style, and is 
 
 a most valuable contribution to recent musical literature. His ideas on English 
 
 music require revision. 
 
 AMBROSE (St.) Eminent Father of the Christian Church, was B. in Gaul, 
 340 A.D. Studied at Rome. D. [397]. 
 Ambrose introduced into the church service the practice of antiphonal singing. 
 This usage originated in the Eastern Church, and was subsequently transplanted by 
 S. Ambrose into the church at Milan, of which he was bishop. The composition 
 of the "Te Deum laudamus" has been ascribed, erroneously, to him. 
 
 AMICIS (Anna Lucia de). Italian vocalist, B. Naples, 1740. DiiuS in 
 London, 1763. Date of death unknown. 
 
 AMMON (Antoine Blaise). French comp., B. Imot in the Tyrol, Jan. 2, 
 1572. D. Munich, 9 April, 1614. .Composer of Masses, Motets, Psalms, etc. 
 
 AMNER (John). English comp. and org., B. towards end of l6th century. 
 Org. and choir-master at Ely Cath., 1610-41. Mus. Bac. Oxon, 1613. D. 
 1641. 
 Works.— A Sacred Collection of Hymnes, of three, foure, five, and six Parts, 
 for voices and vyols, 1615 ; Anthems, etc. 
 
 AMNER (Ralph). English bass vocalist, son of the above, was a lay clerk at 
 Ely in 1604, and Gent, of H.M. Chapels Royal. D. Windsor, 1644. 
 
 AMON (Johann Andreas). German comp., B. Bamberg. 1763. Director of 
 music at Heilbronn, 1789. Chap. -master to the Prince of Wallerstein, 1817- 
 182S. D. Mar. 29, 1825. 
 
 B 
 
i8 Amo — anG 
 
 WORKS.-Op. I. Duets for violin and tenor ; op. 8. Three trios for violin tenor 
 and bass; op. lo. First concerto for violin and orch. ; op. 1 1. iMee sonatas 
 forPf. and violin; op. 15. Three quartets for strings ; op. 19. Three sonatas for 
 Pf. and violin ; op. 2S. Three quartets for horns ; op. 26. Six songs for voice and 
 Pf. ; op. 30. ; Symphony in B flat for orch. ; op. 33- Six songs for voice and 
 Pf. ; op. 34. Concerto for Pf. and Orch. ; op. 36. Six songs for voice and Pf. ; op. 
 39. Three quartets for flutes ; op. 40. Six Pieces for Pf. ; op. 42. Ihree quartets 
 for flutes ; op. 43. Six songs for voice and Pf. ; op. 44- Concerto for flute and orch., 
 in G ; op. 48. Three sonatas for flute and 'cello ; op. 5°- Six variations for violin 
 and orch ; op. $1. Six songs for voice and Pf. ; op. 53, 54- ^°- > °P- 55. Sonata 
 for flute and Pf ; op. 58. Three trios for Pf , violin, and 'cello ; op. 59. Sonata for 
 flute and Pf. ; op. 60. Symphony in 16 parts, for orch ; op. 62. Six Songs for 
 voice and Pf. ; op. 63. Three sonatas for Pf. solo ; op. 64. Six songs for voice and 
 Pf. ; op. 67. Sonata for Pf. duet ; op. 71. Sonata for flute and Pf. ; op. 72. Twelve 
 pieces for Pf. ; op. 76. Three sonatas for Pf., violin and 'cello ; op. 83. Sonata for 
 Pf. ; op. 86. Nine songs for voice and Pf. ; op. 92. Three sonatas for flute 
 quartet ; op. 95. Sonata for harp and flute ; op. 99. Two sonatas for do. ; op. 106. 
 Two quartets for clarinets; op. 109. Three quartets for oboes; op. no. Quintet for 
 flute, horn, viola, and bass; op. 113. String quartet ; op. 123. Three serenades for 
 Pf. and guitar. Le Sultan Wampou and another opera. A Requiem and several 
 cantatas. 
 
 The music of Amon is in use in Germany at the present time, but we are not 
 certain that any of it has been publicly given in Britain. The instrumental works 
 are immeasurably superior to the vocal pieces, and are compactly and clearly 
 designed. 
 
 AMOTT (John). English comp. and org., was org. of Abbey Ch., Shrewsbury, 
 1822-32. Org. of Gloucester Cath., 1832-65. D. Goucester, Feb. 3, 1865. 
 He conducted the Gloucester Musical Festival, and wrote a work entitled, " The 
 Annals of the Three Choirs," 1864 [2nd ed. of work by D. Lysons] ; as well as ser- 
 vices, anthems, kyries, etc. He was a good organist, and trained a number of 
 musicians of wide celebrity. — Musical Standard, Jan. 7i 18S2. 
 
 ANACKER (August F.) German comp., B. Freiberg, Oct. 17, 1790. S. at 
 
 Freiberg and Leipzig. Appointed teaches of music in Normal School of 
 
 Freiberg, 1822. Established music school at Freiberg, 1823. Established 
 
 annnal concerts and a choral soc. at Freiberg. D. there, Aug. 21, 1854. 
 
 Works. — Overture: Goetz de Berlichingen ; Concert Overture; Cantata: 
 
 Lebensblume und Lebensunbestand ; Part Songs ; Songs ; Pianoforte music. 
 Anacker was universally known throughout Germany for his efforts to_ promote 
 
 the study of music in a district which had been neglected previous to his advent. 
 
 The fact that his choral society was composed of singers drawn from dwellers in a 
 
 mining district is sufficient to prove his courage and perseverance. 
 
 ANCOT (Jean). Belgian comp. and violinist, B. Bruges, Oct. 22, 1779. 
 Received first instructions in music in choir of ch. of S. Donat, Bruges. Went 
 to Paris and S. violin under R. Kreutzer and Baillot, and harmony under 
 Catel. Returned to Bruges, 1804, and occupied himself with concert-giving, 
 teaching, and composing. D. Bruges, July 12, 1848. 
 Works. — Four concertos for violin and orch. ; Three quartets for strings ; Two 
 masses for 3 voices and organ ; Six Tantum Ergo, for 3 and 4 voices and organ ; 
 Four Ave Maria for 4 voices ; Airs with variations for violin and orch. ; Two over- 
 tures for fifteen instruments ; Two fantasias for fifteen instruments ; Marches, and 
 other instrumental music ; Dance music, songs, etc. 
 
 ANCOT (Jean). Belgian comp. and pianist, brother of above, B. Bruges, July 
 6, 1799. S. at Paris under Berton and Pradher. Went to London,. 1823., 
 Pianist to Duchess of Kent, etc. Left London, 1825. D. Boulogne, June 
 5, 1829. 
 
 Works.— Six overtures for full orch. ; Amelia, dramatic scene, for chorus 
 and orch. ; Mane Stuart, do. ; La Resolution, do. ; La Philosophie d'Aracreon, 
 do. ; Eight fantasias for Pf. duet. : Sonata for Pf., op. 4 ; Nocturne for Pf. and 
 violin, op. 8 ; Grand sonata for Pf. and violin, op. 14 ; Fantasias for Pf. and orch.; 
 Concertos for Pf and orch.; Five concertos for violin and orch.; Numerous pieces 
 
And — ANt) i5 
 
 for Pf. solo, consisting chiefly of famasias, variations, etc. ; Twelve fugues for 
 organ, etc. 
 
 AITDEB (Aloys). Bohemian tenor vocalist, B. Liebitz, Aug. 24, 1821. Dibut 
 at Vienna in "Stradella." Sang in various parts of Europe till 1864. D. 
 Dec. II, 1864. 
 
 ANDERSON (George Frederick). English violinist, B. London, 1793, 
 Cond. of Royal private Band. Hon. Treasurer to Philharmonic Soc. Do. to 
 Royal Soc. of Musicians. Married to Miss Lucy Philpot (the pianist), 1820. 
 D. Dec. 14, 1876. 
 
 Anderson was the governing poWer in the Philharmonic Society, and exercised 
 much influence on every institution with which he had connection. He wrote 
 "Statement of Mr. G. F. Anderson, in Reply to Calumnious Charges against him 
 as Director of Her Majesty's Private Band,'* Norwich [1855]. Privately printed. 
 
 ANDERSON (Lucy), nie Philpot. English pianist, B. Bath, 1789 [1797]. 
 Instructed in Music by Windsor. Appeared in London at Philharmonic 
 Soc. Concert, April 29, 1822, and gained great applause by her playing. 
 Married G. F. Anderson, July, 1820. Teacher of Queen Victoria and several 
 other members of the royal family. D. London, Dec. 25, 1878. 
 Mrs. Anderson played [before the Philharmonic Society, being the first lady 
 
 pianist who ever did so, and was acknowledged in her day to be the best pianist in 
 
 England. 
 
 ANDERSON (John). Scottish comp., who flourished in Edinburgh in i8th 
 century. He published "A Selection of the most approved Highland Strath- 
 speys, Country Dances, English and French Dances, with a Harpsichord or 
 Violoncello Bass," Edinburgh, n. d. 
 
 ANDERSON (Josephine). English vocalist, B. 1808. D. 1848. Well-known 
 in her day as a singer of surpassing merit. She appeared in London and the 
 provinces. 
 
 ANDERSON CWilliam). Scottish writer, Author of " Remarks on Congre- 
 gational Psalmody," Aberdeen, 1855. 
 
 ANDERSON (Rev. William). Scottish divine and musician, B. Kilsyth, 
 1800. He was a great enthusiast in musical matters, and his able "Apology 
 for the Organ as an assistance of Congregational Psalmody," Glasgow, 1829, 
 thoroughly exposes the weak basis on which the arguments of the school of 
 Begg and Candlish were founded. His " Exposure of Popery " is a standard 
 work. D. Glasgow, Sept. 15, 1872. 
 
 ANDERTON (Thomas). English amateur comp., B. Birmingham, April 15, 
 1836. Editor of the Midland Counties Herald, Birmingham. 
 
 '^ow&.i.— Cantatas: The Song of Deborah and Barak (Solihull, 1871); The 
 Wreck of the Hesperus ; John Gilpin ; The Three Jovial Huntsmen, 1881. 
 Operettas: Gentle Gertrude, Alexandra Theatre, Liverpool, Feb. 21, 1881 ; 
 The Chiltern Hundreds, by J. E. Pemberton, Liverpool, April 17, 1882; 
 Artaxominous ye Great. Symphony for orch. ; Quartet for strings, in F, 
 1884; Overtures, various, and an oratorio (MS.). Part songs, numerous. Songs: 
 Blossoms ; Be with uie still ; Come to me, O ye children ; Crocus-gathering ; 
 Dreaming and waking ; Felling of the Trees ; Household Fairies ; Ivied Cottage ; 
 Little Fishermaiden ; One Summer Time ; Time of Roses ; Vespers, etc. Pf. 
 Music : AUemande ; Play hours ; Seaside sensations ; Satyr's dance ; Three 
 sketches, etc. 
 
 Mr. Anderton is one of the most successful amateur composers of recent times, 
 and it is only needful to point to his cantatas, part-songs, and some of his songs in 
 support of this. " The Wreck of the Hesperus " has been frequently performed by 
 choral societies, and a number of his songs are very popular. His music is tuneful 
 and bright, without undue straining or scientific display, and the whole of his pro- 
 ductions are of high general merit. His brother, John Anderton, is a clever libret- 
 tist, and has furnished more than one " book " for the composer. 
 
 ANDRE (Johann). Germancomp.,B. Offenbach, Mar. 28, 1 741. Established 
 
AND — ANti 
 
 a large silk factory, and published music. Director of Music at the Dbbblin 
 Theatre, Berlin. D. Offenbach, June l8, 1799- ,,. , , T^ 
 
 WOKKS.-Oieras : Der Toepfer ; Erwin und Elmire ; Herzog Michel ; Der 
 Alte Freyer ; Peter und Hannchen ; Der Fiirst im hcechsten glanze ; Laura 
 Rosetti ; Claudine ; L'Alcheraist; Das Tartarisch Gesetz ; Das Friedens Feyer; 
 Die Schaden freude ; Kurze Thor heit ist die beste ; Das Wuthende Heer ; Das 
 Automat ; Der Barbier von Bagdad. Songs. Trios for Pf., vn., and cello, 1786. 
 
 His melody is spontaneous, and has an easy flow, quite m keeping with the 
 graceful originality of his style. "Der Toepfer " (the Potter) is a fair specimen of 
 his style, and is no less simple and unaffected in melody than rich and appropriate 
 in harmony. 
 
 ANDRE (Johann Anton). German comp. and violinist, son of above, B. Offen- 
 bach, Oct. 6, 1775. Educated at Jena. Succeeded to his father's business, 
 1799. Issued a complete list of Mozart's works (thematic). D. Offenbach, 
 April 5, 1842. 
 Works. — ^Twenty-one symphonies for full orchestra ; Three concertos for violin ; 
 
 Seven concertos for wind instruments ; Seven books of quartets for strings. Two 
 
 masses. Rinaldo et Alcina, opera, 1799. Lehrbuch der Tonkunst, 6 vols., 1823; 
 
 Thematisches Verzeichniss sammtlicher compositionen von W. A. Mozart, 1829 ; 
 
 Anleitung zum violins pielen, etc. 
 
 ANDBiE (Johann B. ) Son of above, German comp. and pianist, B. Offenbach, 
 1823. Wrote Studies for the Pianoforte, Fantasias for the Pf., Duets for 
 violin and Pf., and 'cello and Pf., etc. D. Offenbach, Dec. 9, 1882. 
 
 ANDEE (Peter Friedrich Julius). German org. and comp,, brother of 
 above, B. Offenbach, 1808. Org. and Prof, at Frankfort-on-the-Maine. D. 
 there, April, 1880. 
 Works. — Method for the organ, theoretical and practical ; Anleitung zum 
 Selbstunterricht im Pedalspiel, 1834, Trans, into English by J. A. Hamilton, 
 Lond., n. d. ; Songs for voice and Pf. ; Twelve pieces for the organ, op. 9 : Do., 
 op. 26 ; Valses and Nocturnes for Pf. ; Organ music, consisting of fugues, volun- 
 taries, fantasias, sonatas, etc. 
 
 ANDBEOZZI (Gaetano). Italian comp., B. Naples, 1763. S. at Cons, of 
 Naples under Jommelli. Went to Russia, 1784. Returned to Italy, 1785. D. 
 Italy, 1826. 
 Works. — Oferas : La Morte di Cesare, 1779; II Bajazet, 1780; L'Olimpiade, 
 
 1780; Agesilao, 1781 ; Theodolrinda, 1781 ; Catone in Utica, 1782 ; II Trionfo d' 
 
 Arsace, Rome, 1782; La Vergine del Sole, 1783; Angelica e Medoro, 1783; 
 
 Dido, 1784; Giasone e Medea, 1784; Argentina, 1786; Sofronia e Olindo, 1789; 
 
 II finto cieco, 1790; La Principessa filosofa, 1790. Oratorios: Saul, 1789; La 
 
 Passione di Giesd Christo, 1790. Six quartets for 2 violins, viola, and 'cello, 
 
 1786. Songs, etc. 
 
 ANDBEVI (Francesco). Italian comp., B. near Lerida, 1785. D.Barcelona, 
 Nov. 23, 1844. Wrote church music, etc. 
 
 ANDREWS (Richard Hoffman). English writer and comp., B. 1803. 
 Author of "Music as a Science," 1865 ; "Sacred Music, adapted for Pub- 
 lic and Private Devotion," Manchester, 8vo, n.d. "The Family Vocalist;" 
 "Songs of the Hearth;" '; Handel's Songs;" "The German Choral Har- 
 monist." He has also published numerous pieces for the Pf., glees, duets, 
 songs, etc. His sons, Richard Hoffman (B. Manchester, 1831), and Ed- 
 ward Hoffman (B. Manchester, 1836), are both successful composers and 
 teachers in the United States. 
 
 ANDROT (Albert AugUSte). French comp., B. Paris, 1781. S. Paris Cons. 
 Gained prize for comp., 1803. S. under Guglielmi. D. Rome, Aug. 19, 
 1804. Comp. operas, church music, etc. 
 
 ANERIO (Felice). Italian comp., B. Rome, 1560. Pupil cf G. M. Nanini. 
 Chap. -master at Papal Chap,, 1594. D. ? 
 
 Works.— Three books of madrigals, 1585 ; Book of madrigals for 5 voices, 1587; 
 
ANE — ANG 2t 
 
 Two books of concertos for use in the church, for 4 voices, 1593 ; Book of hymns, 
 songs, and motets for 8 voices, 1596 ; Second book of hymns and motets for 5, 6, 
 and 8 voices, 1602 ; Books of madrigals for 6 voices ; Litanies ; Miscellaneous 
 works, as psalms, masses, Ave Regina, etc. , are preserved in many church libraries 
 in Italy. 
 
 ANEBIO (Giovanni Francesco). Brother of above, Italian comp., B. Rome, 
 1567. Chap. -master to Sigismund III., King of Poland. Do. of Cath. of 
 Verona. Chap.-master of Ch. of the Madonna di Monti. Do. of Lateran 
 Chap., 1600-13. D. [unknown.] 
 Works. — II Libro primo de motetti a una, due e tre voci, Rome, 1609 ; II libro 
 secondo de' motetti, con le litanie a le quattro antifone maggiori dopo il vespero, a 
 sette e otto voce, 1611 ; II libro terzo, do., 1613 ; II Libro quarto, do., 1617 ; II 
 Libro quinto, do., 1618 ; Sacri concenlus quatuor, quinque, sex vocibus una cum 
 basso ad organum, 1619 ; Ghirlanda di sacre rose, motetti a cinque voci, 1613 ; 
 Selva armonica, etc., 1617 ; Diporti musicali, madrigali ad una, due, tre, quattro 
 voci, 1617 ; Antifone sacri concerti per una, due, tre voci, 1613 ; Libro de' Respon- 
 sori, 1619 ; Litanie for 7 and 8 voices, 1626; Messa di morti, 1620; Libro de 
 salmi a tre e quattro voci, 1620 ; Antifonse, vespera^, etc., 1620 ; La Recreazione 
 armonica, madrigali ad una e due voci, 161 1 ; Teatro armonico spiritualede madri- 
 gali a cinque, sei, sette e otto voci, 1619 ; La bella clori armonica, canzonette e 
 madrigala a una, due e tre, voci, 1619 ; Ghirlanda di sacre Rose a 5 voci, 1619 ; 
 Dialogo pastorale, a tre voci con 1' intovolatura di cembalo e del luito in rame, 1600. 
 Other works of this composer are masses, motets, magnificats, etc. Several of 
 Anerio's madrigals are published in English collections, but the most of his works 
 are unknown to the present age. 
 
 ANFOSSI (Pasquale). Italian comp., B. Naples, 1729 [1736]. Pupil of Piccinni. 
 Resided in London for a time. Visited France, 1780. Returned to Italy, 
 1784. Chap.-master at the Lateran Chap., 1791-97- D. Rome, Feb., I797- 
 Works. — Of eras: Cajo Mario, 1769 ; La Clemenza di Tito, 1769 ; I Visionari> 
 1771 ; II Barone di Rocca, 1772 ; L'Incognita persequitata 1773 ; Antigono, 1773 ; 
 Demofoonte, 1773 ; Lucio Silla, 1774 ; La Finla Giardiniera, 1774 ; II Gelosa in 
 Cimento, 1775; La Contadina in Corte, 1775 ; L'Avaro, 1775; Isabella e Rodrigo, 
 1776 ; La Pescatrice fedele, 1776 ; L'Olimpiade, 1776 ; II Curioso indiscrete, 1778 ; 
 Lo Sposo disperato, 1778 ; Cleopatra, 1778 ; II Matrimonio per inganno, 1779 ; 
 La Forza delle donne, 1780 ; I Vecchi burlati, London, 1781 ; I Viaggiatori felici, 
 London, 1782; Armida, 1782; Gli Amanti canuti, 1784; II Trionfo d' Ariana, 
 1784; II Cavaliereper Amore, 1784; Chi cerca trova, 1784; La Vedova scaltra, 
 1785 ; 'I'Imbroglio delle tre spose, 1786 ; La Pazzia de' Gelosi, 1787 ; Creso, 1787 ; 
 La Villanella di Spirito, 1787; Didone abbandonata, 1785; Artaserse, 1788; 
 L'Orfanella Americana, 1788; La Maga Circe, 1788; Le Gelosie fortunate, 1788; 
 La Gazetta, 1789; Zenobia, 1790; Issifile, 1791 ; II Zottico iocivilito, 1792 ; 
 L'Americana in Olanda ; La Matilda ritrovata ; Gli Artigiani. Oratorios : La 
 Fiera del Ascensione; L'Assalone. II Figlinol prodigo, cantata. Masses, etc. 
 The works of Anfossi attained great popularity in their day, but are now 
 unknown save to musical antiquaries and curious students. 
 
 ANGEL (Alfred). English org. and vocal comp., B. 1816. Org. Exeter Cath., 
 
 1842-76. D. Exeter, May 24, 1876. 
 ANGELET (Charles F.) Belgian com., B. Ghent, Nov. 18, 1797. D. Ghent, 
 
 Dec. 20, 1832. Wrote symphonies, Pf. music, etc. 
 ANGELO DAPICITONE. Italian comp. and writer of i6th century. Author 
 
 of " Fior Angelico di Musica." Venice, 1547, etc. 
 ANGELUCCI (Angelo). Italian violin-maker of i8th century. D. 1765. 
 ANGEB (Ludwig). German comp., org. and pianist, B. Andreasberg, 
 
 Hanover, Sept. 5, 1813. D. Luneberg, Jan. 18, 1870. Writer of Pf. music, 
 
 Lieder, overtures, etc. 
 ANGUS (John). Scottish ecclesiastic and comp., B. about middle of 1 6th cen- 
 tury. Attached to Dunfermline Monastery. Embraced the Protestant faith, 
 
 and became chaplain at Stirling. D. 1596. 
 
22 ANl — APO 
 
 He is mentioned in the "Wood MSS." as a co>°P°sV^.'^'^!f„?'"lumbLTf 
 are not aware of any of his compositions being extant. He is one of a number of 
 other composers mentioned in the same work. 
 
 ANIMUCCIA (Giovanni). Italian com?., B. Florence at end of iSth century 
 
 [1505]. S. under Goudimel. Chap.-master at the Vatican, 1555-71. D. 
 
 Rome, 1571. 
 
 Works.— II primo libro di madrigali a tre voci, 1565; Joannis Animuccis 
 
 magistri capellse sacro sanctae basilicae vaticanse Missarum libn, 1567; II primo 
 
 libro de' madrigali a quattro, cinque e sei voci, 1567 ; Canticum B. Manse Virginis, 
 
 1568 ; II secondo libro delle laudi, etc., 1570 ; Credo Dominicalis quatuor vocum, 
 
 1567; Magnificat ad omnes modos, liber secundus, 1568; Masses, Agnus Dei, 
 
 Motets, etc. 
 
 Animuccia was one of those composers who, in conjunction with S. Filippo Neri, 
 first employed music as a means of attracting audiences to the orations delivered in 
 the New Church of Rome. He composed the first laudi or hymns employed for 
 this purpose, and may reasonably be accredited with the foundation of the modern 
 oratorio. 
 
 ANIMUCCIA (Paolo). Brother of above, Italian comp., B. about commence- 
 ment of i6th century. Chap.-master at the Lateran, 1550-52. D. Rome, 1563. 
 Works. — Madrigals and motets. These are preserved in many private libraries, 
 and some are published in collections which appeared in his time. 
 
 ANNIBALI (Domeuico). Italian vocalist (soprano), who flourished during 
 the l8th century. He appeared originally in Germany, and was engaged by 
 Handel for the Italian opera at London in 1736. He sang in Handel's 
 operas till about 1737, when he disappeared. No record appears to have. 
 been kept of his subsequent doings. 
 
 ANSANI (Giovanni). Italian tenor vocalist, B. Rome, middle of 18th century. 
 
 Appeared at London in 1780 and in 1781. Sung at various towns throughout 
 
 Italy, etc. D. [after 1815]. 
 He wrote vocal music and an opera entitled "La Vendetta di Minos," 1791. 
 The latter years of his life were spent in training young vocalists for the stage. 
 
 ANSCHiJTZ (Karl). German comp., B. Coblentz, Feb. 1813. Musical 
 
 Director at Coblentz till 1848. Went to United States of America, 1857. 
 
 Established German opera at New York, 1862. D. New York, Dec. 30, 1870. 
 
 This composer wrote several operas and minor works. American writers speak 
 
 in high terms of his efforts to propagate a taste for music in New York at a time 
 
 when sensation in everything was the rule of the day. 
 
 ANTHIOME (Eugene Jean B.) French operatic comp. and pianist, B. 
 Lorient, Aug. 19, 1836. 
 
 ANTON (M.T.) See Paradis (M. T.) 
 
 ANTONIOTTI (Giorgio). Italian violinist and writer, B. Milan, 1692. _ Ti.^ 
 Milan, 1776. Resided for a time in England, where he published "L'Art^ 
 Armonica ; or, a Treatise on the Composition of Musick. . . With an Introduc- 
 tion on the History and Progress of Musick from its beginning to this time." 
 London, 1760, 2 v. 
 
 ANTONY (Francois Joseph). German writer and org., B. Feb. I, 1790. D. 
 Miinster, 1837. 
 
 Wrote on Ecclesiastical music, the organ, etc. 
 
 APELL (Johann David A. D'). German comp., B. Cassel, 1754. D. 1833. 
 Wrote masses, operas, Cantatas, symphonies, etc. 
 
 APOLLONI (Giuseppe). Italian comp., B. Vicenza, A living writer of 
 operas, etc. 
 
 Works _0/«-ar; L'Ebreo, 1856; Pietro d'Albano, 1856; Adelchi, 1856; II 
 Conte di Koenigsberg, 1866 ; Gustavo Wasa, 1872. 
 
APR — ARC 23 
 
 APB.ILE (Guiseppe). Italian vocal teacher, B. Bisceglia, 1738. Author of a 
 treatise on vocalization trans, and published in London as " The Modern 
 Italian Method of Singing." Ed. by Cooke. D. between 1792-1800. 
 
 APTOMMAS. (Thomas.) Welsh harper, B. Bridgend, Glamorgan, 1826. 
 Known all over Britain as a harpist of great execution and ability. 
 
 ARAJA (Francesco), Italian operatic comp., B. Naples, 1700.- D. 1770, 
 
 ARANAZ (Don Pedro). Spanish comp., B. Soria. D. Cuenga, at an advanced 
 age, 1825. Org. and writer of sacred music. 
 
 AKANGUBiEN (Jose'). Spanish pianist and comp., B. Bilbao, May 25, 1821, 
 Professor of music at Madrid Cons. Writes Pf. music, songs, etc. 
 
 ABBAN (Joseph Jean Baptiste Laurent). French comp. and comet-player, 
 
 B. Lyons, Feb., 1825. S. at Lyons from 1841. Gained second prize for 
 
 cornet-playing, 1844. Professor of the Sax-horn, etc., at the school for 
 
 the education of military bands, 1857-69. 
 
 Works. — Grand Methode complke de cornet-4-pistons et de sax-horn, Paris. 
 
 Pieces for the Pianoforte, consisting of airs from operas, shop-pieces on topics of 
 
 current interest, etc. ; Dance music for orchestra and military band ; Fantasias, etc., 
 
 for cornet. 
 
 ABBUCKLB (Matthew). American writer and bandmaster, B. 1828. D. 
 
 New York, May 23, 1883. Author of " Arbuckle's Complete Cornet Method. 
 
 (Boston : Ditson, n. d.) " Compiled partly from the works of Jones, Koenig, 
 and Levy. 
 
 ABCADELT (Jacob) or ABEADBLT. Dutch comp., B. about end of isth 
 
 century [1490]. Pupil of Josquin, Singing-master at St. Peter's, Rome, 1539. 
 
 Mem. of Coll. of Papal singers, 1S40. Private musician to Cardinal, Charles 
 
 of Lorrain, Duke of Guise, 1555. D. Paris, in latter part of i6th century, [1575]. 
 
 Works. — II Primo Libro de' madgali a piu voci, Venice, 1538 ; II secondo 
 
 libro de' madrigali a quattro voci, etc., Venice, 1539 ; II terzo libro de' madrigali, 
 
 etc. ; II quatro libro de' madrigali d' Archadelt a quattro voci, 1539 ; II quinto 
 
 libro de' madrigali d'Archadelt a cinque voci, 1556. Masses ; Motets, etc. 
 
 One of the most popular composers of his time. His madrigals are fine examples 
 of contrapuntal skill, and have been reprinted at several different periods. We are 
 informed by historians that his motets held such repute in Italy that publishers 
 never scrupled to attach his name to works of an inferior order by way of securing 
 their sale. The claim laid by the French to Arcadelt as a countryman is founded 
 on error. 
 
 ABCHAMBBATT (Jean Michel d'); Belgian org. and comp., B. Herve, 
 Liege, 1823. Writer of masses, organ music, etc. 
 
 ABCHAMBEAU (Edouard d'). Brother of above, B. Herve, 1834. Pianist 
 and comp. 
 
 ABCHEB (Frederic). English comp. and org., B. Oxford, June 16, 1838. 
 Chorister of Margaret Chap., London. Org. at Royal Panopticon, after Dr. 
 Chipp, till its close. Org. of Merton Coll. Org. at the Alexandria Palace, 
 London. Director of an English Opera Company. Cond. for a season (1878-80) 
 of Glasgow Select' Choir. Resident in America, as org. in H. Ward 
 Beecher's Ch., Brooklyn etc., and as editor of the Keynote. 
 Works. — The Organ : A Theoretical and Practical Treatise intended to assist 
 the Student in acquiring a sound knowledge of the Instrument and its proper man- 
 ipulation, with a series of Original Exercises and Illustrative Compositions written 
 specially for this work, London : Novello & Co., n.d. ; The Collegiate Organ 
 Tutor, -London, Weekes & Co., n.d. ; -Adagio Maestoso for organ ; Fugue for organ, 
 in D minor ; Grand Fantasia in F, for organ ; Andantes for organ, in D, F, and A ; 
 Concert Variations for organ ; Marche Triomphale for organ ; Set of twelve 
 organ pieces, intended chiefly for church use ; Two Gavottes for Pf. in D, and E 
 flat ; Polka de Salon, for Pf. ; Three Impromptus for Pf. ; Bourse in C, for Pf. ; 
 Requited Love, part song ; Night, part song ; The Chase, part song ; O give 
 thanks, anthem ; The glorious majesty, anthem. Songs: My Lady's Face ; I'm 
 
24 ARC — ARK 
 
 sister to the cure (comic) ; King Witlaffs drinking horn ; Arrangements for organ, 
 Pf., choir, etc. , j i i j 
 
 Archer is a very good organist, a successful conductor, and a. moderately good 
 composer. His organ playing is marked by much technical ability and a careful 
 observance of the composer's leading meaning. In many respects-and this by 
 reason of his careful regard for the production of legitimate eflects— he niay be said 
 to rank among the foremost of living organists. His compositions display clever- 
 ness, but are neither inspired nor inspiring. He is most successful when writing 
 for his adopted instrument, the organ. 
 
 ABCHILACHUA. Greek musician, who flourished 700 B.C. He is accredited 
 with the invention of dramatic music and the epode. This dramatic music 
 probably belonged to that class of composition described in such flattering lan- 
 guage by historians, although its actual existence is only a matter of conjecture. 
 
 ABiDITI (Luigi). Italian comp. and cond., B. Crescentino, Piedmont, July 16, 
 1825. S. Milan Cons.. Dibut as violin-player. Director of ItaHan Opera 
 at Vercelli, 1843. Member of Academia Filarmonice, Vercelli. Went with 
 Bottesini, the double-bass player, to America, 1846 ; remained till 1857 ; 
 cond. and produced operas in New York, Philadelphia, and other parts of 
 America. Settled in London, 1857. Musical Director at H. M. Theatre, 
 (Italian opera), 1857. Cond. Italian opera at St. Petersburg, 1871-73, Has 
 visited America several times with the Royal Italian opera company. 
 Works. — Operas: I Briganti, 1841 ; II Corsaro, 1846 ; La Spia, N. Y., 1856. 
 
 Vocal Music : Kellogg Valse ; L'Ardita ; L'Orfanella ; La Farfalletta ; Vuole 
 
 amor un giovin cor ; For ever thine, duet ; Let me love thee ; Love's presence ; 
 
 They ask me why I love her ; The Clock ; L'Orologio ; A kiss for your thought ; 
 
 The Page's song ; True; II Bacio, vocal valse; Garibaldi; Song of Joy. Pf, 
 
 Music: L'Estasi; HymneTurc; lima, valse; La Stella ; Forosetta ; Vocal valses, 
 
 above noted, arranged for Pf. ; Transcriptions, etc. 
 Arditi is celebrated as a conductor of operatic music, in which capacity he has 
 
 appeared at the principal towns in Britain. His compositions are brilliant, and his 
 
 "vocal valses" require great flexibility of voice on the part of the performer. 
 
 Some of them, as "II Bacio," have obtained great success among vocalists and 
 
 concert-goers. 
 
 ABETINO. See Guide de Arezzo. 
 
 ABIENZO (Nicola D'). Italian comp., B. Naples, Dec. 24, 1843. P'of- of 
 
 Harmony in Coll. of S. Pietro, Naples. Obtained second prize from the. 
 
 "Societa del Quartetto," for 4 vocal nocturnes, 1869. 
 
 Works.— 0/^raj.- Monzii Gnazio, i860; I due Mariti, 1866; Le Rose, 1868; 
 
 II Cacciatore della Alpi, 1870 ; II Cuoco, 1873 ; Rita di Lister, MS. ; I Vi^gi, 
 
 MS. II Cristo sulla croce, cantata, MS. Songs. Trio for strings, in C, 1 864, etc. 
 
 ABIOSTI (Attilio). Italian comp., B. in Italy, [1660]. Originally a priest of 
 the order of S. Dominick. Obtained the papal dispensation. Chap-master 
 to Electress of Hanover, 1690-1716. Appeared in London, 1716. Produced 
 operas in London in opposition to Handel, 1716-1727. D. [unknown]. 
 Works. — i. Operas: Dafne, 1696; Erifile, 1697; La Madre de' Maccabei, 
 1704; La Festa d'Imenei, 1700; Atys, 1700; Nabucodonosor, 1706; La piii 
 gloriosa fatica d'ErcoIe, 1706; Amor tra nemici, 1708; Ciro, London, 1721 j 
 Mucins Scevola, London, 1721 (rst act only) ; Coriolan, Lond., 1723 ; Vespasian, 
 Lond., 1724; Arastere, Lond., 1724; Dario, Lond., 1725; Lucius Verus, Lond., 
 1726; Tenzone, Lond., 1727. 2. Cantatas. 3. S. Radegonda, regina di Francis, " 
 oratorio, 1693. 4. Lessons for the viol d'amore, -i 728. 
 
 Ariosti was for some time a rival of Handel in London, and was associated with 
 him and Buononcini in the composition of "Mucius Scevola." He left England 
 about 1728, and was afterwards unknown to fame. 
 
 AKKADELT. SeeArcadelt. 
 
 AKKWRIGrHT (Mrs. Robert). English song-writer, authoress of numerous 
 lyrical pieces which had some favour in their day. Among them the "Sailor's 
 Grave," "Repentance," " Zara's Ear-rings," and other songs. D. 1849. 
 
ARM — ARN 25 
 
 ARMES (Philip). English comp. and org., B. Norwich, 1836. Cher, in Nor- 
 wich Cath., 1846-48. Do. Rochester Cath., 1848-50. Articled pupil of J. L. 
 Hopkins, Rochester, 1850-55. Org. of Trinity Ch., Milton, Gravesend, 
 1855-57. Org. of St. Andrew's Ch., Wells St., Lond., 1857-61. Mus. Bac. 
 Oxon., 1858. Org. of Chichester Cath., 1861-62. Org. of Durham Cath., 
 1862. Mus. Doc. Oxon., 1864. Degrees also conferred by University of 
 Durham in 1863 and 1874. Lecturer on Harmony and counterpoint at the 
 Newcastle Branch of Trinity College, Lond. Examiner for Do. 
 Works. — Hezekiah, an oratorio, produced at Worcester festival in 1878. St. 
 John the Evangelist, an oratorio, produced at York, in 1881. Communion Service 
 in A ; Communion Service in B flat ; Te Deum in G. I will sing anew song, verse 
 anthem ; O send out Thy light, anthem ; We wait for Thy loving kindness, anthem. 
 Morning and Evening Service, in G. 
 
 ARMINGAUD (Jules). French violinist and comp., B. Bayonne, May 3, 
 1824. Writer of Fantasias, etc. for his instrument. 
 
 ABMSDOBFF (Andreas). German comp., B. Muhlberg, Sept. 9, 1670. D. 
 June 31, 1699. Compositions for the Church exist in MS. 
 
 ABMSTBONGr (W.G.) American writer, author of "A Record of the Opera 
 in Philadelphia." Philad., 1884. 
 
 ABNE (Michael). English comp., natural son of Dr. T. A. Arne, B. London, 
 
 1741. Educated by his aunt, Mrs. Cibber, for the stage. Dibut as vocalist 
 
 in 1751. Married Elizabeth Wright, a vocalist, November 5, 1766. Director 
 
 of music at theatre in Dublin, 1779. Director of oratorios at London, 1784. 
 
 Devoted himself to alchemy, and lost a fortune in an endeavour to discover 
 
 "the philosopher's stone." D. London, Jan. 14, 1786. [The date, 1806, 
 
 sometimes given, is wrong.] 
 
 Works. — The Flow'ret, a new Collection of English Songs ; Songs and Ballads 
 
 sung at Vauxhall. Music for the Dramas of The Fairy Tale, 1763 ; Almena, 1764 
 
 (with Battishill) ; Cymon, 1767; The Positive Man; Hymen, 1764; The Father, 
 
 1778; The Belle's Stratagem, 1780 ; The Choice of Harlequin, 1781 ; Tristram 
 
 Shandy, 1783. Songs, Glees, etc. 
 
 Arne's single songs possess much grace, though not the refinement of his father's, 
 and are well worthy of being preserved, if only as specimens of pure melody. 
 Arne embraced the doctrines inculcated by the learned Dr. Dee, and was a follower 
 of Paracelsus in two manners, inasmuch as he practised his philosophy and imbibed 
 his invention. 
 
 ABNE (Thomas Augustine). English comp., B. in King Street, Covent Gar- 
 den, London, May 28, 1710, Educated at Eton Coll. Designed for study 
 of the Law. Practised privately the spinnet, and learned musical theory. S. 
 violin under Festing. Instructed his sister in music. Married Cecilia Young, 
 daughter of Charles Young, organist, 1736. Comp. to Drury Lane Theatre, 
 1738. Resided in Dublin, 1742-44. Returned to London and became comp. 
 to Vauxhall Gardens, 1745. Mus. Doc. Oxon, July 6, 1759. D. London, 
 Mar. 5, 1778, buried in St. Paul's Cathedral. 
 Works.— 0/«?-aj.- Rosamond (Addison), Lond., Mar. 7, 1733; The Opera of 
 Operas or Tom Thumb, Lond., 1733; Dido and .lEneas, Lond., 1734; Comus, amas- 
 que, Lond., 1738 ; The Judgment of Paris, a masque, Lond., 1740 ; Alfred, a mas- 
 que, Lond., 1740; Britannia, a masque, Dublin, 1743 ; Eliza, opera, Dublin, 1743; 
 Artaxerxes, opera, London, 1762; The Fairies, 1762; Olimpiade, 1765. Music to 
 the following plays : The Fall of Phaeton, Lond., 1736; Zara, 1736; The Blind Beg- 
 gar of Bethnal Green, 1741 ; Thomas and Sally, Dublin, 1743 ; The Temple of Dul- 
 ness, 1745; King Pepin's Campaign, 1745; Neptune and Amphitrite, 1746; Don 
 Saverio, 1749; The Prophetess, 1759; The Sultan, 1759; Love m a Village (com- 
 piled), 1762 ; The Birth of Hercules (never produced), 1763 ; The Guardian Out- 
 witted, 1764; The Ladies' Frolic, 1770; The Fairy Prince, 1771; The Cooper, 
 1772 ; Elfrida (Mason), 1772 ; The Rose, 1773 ; The Contest of Beauty and Virtue, 
 1773 ; Achilles in Petticoats, 1773 ; May Day, 1775 ; Phoebe at Court, 1776 ; 
 Caractacus (Mason), 1776 (MS. lost) ; As you Like it, 1740 ; Twelfth Night, 1741 ; 
 The Merchant of Venice, 1742 ; The Tempest, 1746 Romeo and Juhet, 1750. 
 
26 ARN — ARN 
 
 Collections of Songs : Lyric Harmony, for voice, harpsichord, and violin ; The 
 Syren, a Collection of Favourite Songs ; The Vocal Grove ; Summer Amusement ; 
 The Winter's Amusement; Vocal Melody, 1753 ; The Agreeable Musical Choice; 
 Six Cantatas for a voice and instruments ; The Monthly Melody . . . Collection of 
 . . . Music, 1760. Ode on Shakspeare, composed for the Stratford Jubilee, 1769. 
 Songs and Glees for 2, 3, and 4 voices (composed for the Catch Club). Eight 
 Sonatas for the Harpsichord ; Glees, catches, and canons in Warren's Collection. 
 Organ music, consisting of lessons, concertos, &c.. Overtures for Orch. ; Sonatas 
 for violin. Oratorios: Abel, Mar. 12, 17SS ; Judith, Feb. 29, 1764. The Corn- 
 pleat Musician, Lond., fo. n. d. 
 
 The compositions of Arne, generally — but more particularly his songs— are 
 marked by limpid sweetness of melody, great refinement and grace, spontaneity 
 and propriety in ideas, and a fresh and thoroughly English character which should 
 endear them to every admirer of genuine melody. The freshness of his songs is a 
 feature which must be apparent to even the casual observer, and their merits as 
 agreeable compositions will not readily be excelled. In several respects he 
 resembles Purcell, but in one he is entirely different. While he is occasionally 
 energetic in a marked degree, as in "Rule Britannia" (a familiar, instance), it 
 must be allowed that deeply felt and vigorously powerful melodies are scarce 
 throughout the body of his works. Purcell exhibits fire, grandeur of conception, and 
 a continual flow of energy, conjoined with a faithful perception of the emotional 
 requirements of his text. Arne rarely reaches the summit of dramatic illustration. 
 Briefly,_ Arne is one of those musicians who seem adapted to illustrate the more 
 domestic and pleasing traits of every-day experience, by means of songs set to fine 
 melodies, which readily appeal with a refining influence to the most unmusical. 
 
 His position as an English composer is high in the school of Henry Purcell, 
 though he has been also subject to Handel's influence. Other composers, notably 0, 
 Gibbons, Boyce, Tallis, and Greene, have surpassed him in dignity and loftiness of 
 expression, but none ever exceeded him in purity of style and popularity among his 
 own countrymen. The following lines from Churchill's "Rosciad" would seem 
 to indicate that, to a certain extent, Arne was regarded in an unfavourable or 
 jealous light by contemporary writers : — 
 
 " Let Tommy Arne, with usual pomp of style. 
 Whose chief, whose only merit s to compile, 
 Who, meanly pilfering here and there a hit. 
 Deals music out as Murphy deals out wit. 
 Publish proposals,_laws for taste prescribe, 
 And chant the praise of an Italian tribe." 
 
 He, whose only merit was to compile, has been more fondly cherished in the 
 memories of musicians, than the once formidable satirist has been among poets. 
 The extent to which Arne stole from the Italian school was not so great as to be 
 broadly evident. Arne was in a very wide sense a thoroughly English composer. 
 
 ARNOLD (Carl). German comp. and pianist, B. Neukirchen, May 6, 
 1794. Resided in London as teacher. Went to reside at Christiana in 
 1849. D. there, 11 Nov., 1873. Writer of Opera, Concertos, Sonatas, Valses, 
 Fantasias, Quartets, and "The Art of Singing, or Complete Instructions for 
 Acquiring the Elementary Parts of the Science." Lond., 1828. 
 
 ARNOLD (George Benjamin). English comp. and org., B. Petworth, 
 
 Sussex, Dec. 22, 1832. S. under Dr. S. S. Wesley. Org. of St. Columba's 
 
 Coll., 1852. Org. of St. Mary's Ch., Torquay, 1856; Org. of New Coll., 
 
 Oxford, i860. Org. of Winchester Cath., 1865. Mus. Bac. Oxon., 1854. 
 
 Mus. Doc, Oxford, 1861. 
 
 Works.— Ahab, oratorio, Exeter Hall, London, 1863 ; The Second Coming of 
 
 Our Lord, oratorio (manuscript) ; The Song of David (MS. cantata) ; Sennacherib 
 
 (cantata), Gloucester, 1883. Communion Service in G major; Te Deum in C, and 
 
 Te Deum and Jubilate, in D ; Magnificat and Nunc Dimittis, in D ; and Sanctus, 
 
 Kyne and Credo, in B minor ; 43rd Psalm. Anthems and Motets : Praise the 
 
 Lord; The Lord is my Shepherd; Let the Righteous be glad; The Night is tar 
 
 ^£-^"'' S^ ^^?^ °^ ^" '"^'' "P°" Thee; Give Sentence. Concerted Vocal 
 
 Music: Thou soft Flowing Avon; Live like the Rose; Farewell; No Jewell'd 
 
 Beauty; Music when soft voices die; Tricks of Love; Oh heart of deep 
 
 unrest, trio; A Widow Bird, duet; The Sweet West Wind, do. SonJ: 
 
ARN — ARN 27 
 
 Go, sit by the Summer Sea; The Colour from the Flow'r is gone; Hope; 
 Orphan hours the year is dead ; The sea hath its Pearls ; Night Winds ; Harmony 
 (Lancashire Choral Union Prize Glee), for 5 voices ; My Dainty Chloris, madri-' 
 gal ; O Queen of Love, do. Pianoforte Music : Sonata in F minor ; Sonata in D ; 
 Minuet and Trio ; Prelude and Fugue ; Andante ; Air varied, etc. 
 
 Arnold is one of the leading composers of English church music, and his services 
 and anthems possess that solidity and sacredness of character with which English 
 cathedral music has always been identified. His songs and concerted vocal music 
 are well worked out examples of modern English composition, and his powers as 
 an organist are reckoned great. 
 
 ARNOLD (Johann Gottfried). German comp. and violoncellist, B. Niedern- 
 hall in Wiirtemberg, 1773. Commenced study of 'cello, 1785. 'Cellist at 
 Theatre of Wertheim, 1789. S. under Willmann and Romberg. Travelled 
 in Germany as 'cellist. First 'cellist at Theatre of Frankfort-on-the-Maine, 
 1798. D. Frankfort, July 26, 1806. 
 Works. — Five concertos for violoncello, and orch. in C, G, F, E, and D ; 
 
 Symphony concertante for 2 flutes and orchestra ; Six themes with variations for 2 
 
 violoncellos, op. 9 ; Duets for guitar ; Variations for flute and strings ; Music for 
 
 string instruments, etc. 
 
 ARNOLD (John). English comp., E. Essex [1720]. D. 1792. Compiler of 
 "Essex Harmony : being a choice Collection of the most celebrated Songs, 
 Catches, Canons, Epigrams, Canzonets, ^nd Glees, for 2, 3, 4 and 5 voices," 
 2 vols., 8vo, 1767 and 1774. "The Complete Psalmodist : or, the Organist's, 
 Parish-Clerk's, and Psalmodist's Companion." Various editions. 
 
 ARNOLD (Samuel). English comp. and org., B. London, August 10, 1740. 
 Educated in the Chap. Roy. under Bernard Gates. Comp. to Covent Garden 
 Theatre, 1763. Purchased Marylebone Gardens and produced several dramatic 
 entertainments (the librettos of two being by Thomas Chatterton), 1769. 
 Retired from management with pecuniary loss, 1771. Married Miss Napier, 
 1771. Mus. Doc. Oxon., 1773. Succeeded Dr. Nares as comp. and org. to 
 Chap. Roy., 1783. Sub-director of Handel Commemoration, 1784. Issuedan 
 edition of Handel's works in 36 vols. Cond. of Academy of Ancient Music, 
 1789. Org. of Westminster Abbey, 1793. Cond. the annual musical perfor- 
 mances at St. Paul's Cath. for benefit of the Sons of the Clergy, 1796. 
 Established the Glee Club, in conjunction with Dr. Callcott. D. London, 
 Oct. 22, 1802. 
 Works. — Music for Dramas, etc. . The Maid of the Mill, 1765 ; Rosamond, 
 1767; The Portrait, 1770; Mother Shipton, 1770; The Son-in-Law, 1779; 
 Summer Amusements, 1779; Fire and Water, 1780; The Wedding Night, 1780; 
 The Silver Tankard, 1780 ; The Dead Alive, 1781 ; The Castle of Andalusia, 1782 ; 
 Harlequin Teague, 1782 ; Gretna Green, 1783 ; Hunt the Slipper, 1784 ; Two to 
 One, 1784 ; Turk and no Turk, 1785 ; Siege of Cuzzola, 1785 ; Inkle and Yarico, 
 1787; The Enraged Musician, 1788; The Battle of Hexham, 1789; New Spain, 
 1790 ; The Basket Maker, 1790 ; The Surrender of Calais, 1791 ; Harlequin and 
 Faustus, 1793 ; The Children in the Wood, 1793 ; Auld Robin Grey, 1794 ; 
 Zorinski, 1795 ; The Mountaineers, 1795 ; Love and Money, 1795 ; Who Pays the 
 Reckoning? 1795 ; The Shipwreck, 1796; Bannian Day, 1796; The Italian 
 Monk, 1797 ; False and True, 1798 ; CambroBritons, 1798 ; Throw Physic to 
 the Dogs, 1798 ; Obi, 1800; The Review, 1801 ; The Corsair, i8oi ; The Veteran 
 Tar, 1801 ; The Sixty-third Letter, 1802 ; Fairies' Revels, 1802 ; The Revenge ; 
 The Woman of Spirit. Oratorios: The Cure of Saul, 1767 ; Abimelech, 1768 ; 
 The Prodigal Son, 1773 ; The Resurrection, 1777 ; Redemption (compiled from 
 the works of Handel), 1786; Elijah, 1795. Cathedral Music; a collection in 
 score of the most valuable and useful compositions by the English masters of the 
 17th and i8th centuries, London, 1790. Two Services for the Church, in A (con- 
 tinuing Boyce) and B flat ; Ode for the Anniversary of the London Hospital. Songs 
 composed for Vauxhall Gardens, several sets. Concertos ; Overtures, Lessons and 
 Sonatas for the Harpsichord or Pf. Anthems, various. Anacreontic Songs, for i, 
 2, 3 and 4 voices, London, 1785. 
 This composer furnishes a remarkable instance of the oblivion into which men of 
 
28 ARN — ART 
 
 talent fall, who write merely for money and their own generation. Of the whole 
 body of Arnold's works scarcely one number is now performed. The exceptions 
 consist of anthems ; one of which, in A, is a beautiful piece of sacred music. Had 
 Arnold bent his talents in a higher direction, confining his efforts to church music, 
 the result would have been more creditable to himself and his period. His 
 oratorios, according to Busby, are injudicious efforts, and would better have 
 remained unwritten ; since comparison with Handel's works displays them in an 
 aspect anything but favourable to their inspired character. His songs are faithful 
 imitations of those of Dr. Arne, but are pretty, and seem to have been received with 
 favour by Vauxhall audiences of about a century since. His collection of Cathedral 
 music is the most substantial monument he has to perpetuate his memory. 
 
 ARNOLD (Youry von). German comp. and writer, B. St, Petersburg, Nov. 
 I, 1811. Prof, in Moscow Cons. 
 
 ARNOULD (Madeleine Sophie.) French soprano vocalist and actress, B. 
 Paris, Feb., 1744 Dlbut, Dec. 15, 1757. She was the original "Iphigena" 
 in Gluck's opera, 1779. Retired from the stage, 1778. D. 1803. 
 
 ABON (Pietro). Italian writer, B. Florence, about end of 15th cent., [1480]. 
 
 Canon of Rimini, 1516. Founder of a School of Music at Rome Flliei 
 
 D. IS33- 
 Works. — I tre libri dell' Istituzione armonica, Bologna, 1516; Toscanelloin 
 Musica, Venice, 1523 [2nd. ed., 152Q; scarce ed., 1532]; Trattato della natura et 
 cognitione di tutti gli tuoni di canto figurato non da altrui piu scritti, Venice, folio, 
 1521; ; Lucidario in Musica di Alcune opinioni antiche et moderne, Venice, 1545 j 
 Compendiolo di molti dubbi segreti et figuratio, Milan. 
 
 This description of the two principal works of Aron is taken from Busby's "His- 
 tory of Music," vol. 2, p, 69 : — " The first book of the Toscanello, after recognising 
 the divisions of music by Boetius and others, into mundane, humane, and instrumen- 
 tal, abruptly proceeds to the exposition of the principles of the Cantus Mensurabilis, 
 including the doctrine of the ligatures ; all which, however, candour must acknow- 
 ledge Gafforio and his predecessors had, already, quite as well explained." The 
 second book treats of the intervals, consonances, and genera of the ancients ; 
 musical proportion, and the tuning of instruments. The "Lucidario" discusses 
 " The use of extraneous, or accidental semitones, forbidden by the pure scales of 
 canto fermo, " and recommends their adoption ; and also asserts the legitimacy of 
 the false fifth, formerly interdicted by Gafforio. "This, it is justice to allow, opened 
 the door to modern refinement, and introduced intervals and modulations, which, 
 though then deemed licentious, have, long since been sanctioned by general 
 adoption, " 
 
 ABQUIEB (Joseph). French comp. and 'cellist, B, 1763. D. 1816. 
 
 ABBIAGA (Juan Chrysostome de). Spanish comp., B. Bilbao, 1808. D. 
 1826. Comp, church music, symphony, overtures, songs, etc. 
 
 ABBIETA (Don Juan Emilio). Spanish comp., B. 1823. S. at Milan under 
 Cagnoni from 1842. Prof, of comp. at Madrid cons., 1857. 
 Works.— 35 operas, of which the following are the principal : — Ildegonda, 
 1847; Marina, 1855 ; EI Sonambulo, 1856; El Conjuro, 1866; La Tabernera de 
 Londres, etc. Songs and other vocal music . 
 
 ABBIGONI (Carlo). Italian comp. of i8th century. [1708-1738.] 
 
 ART ARIA (Dominico). Italian publisher, B. Blevio, Tuscany, Nov. 20, 1775. 
 He established that famous publishing house at Vienna from which issued 
 many of the principal works of Mozart, Haydn, Beethoven, Moscheles, etc. 
 The founder D. July 5, 1842, at Vienna. 
 
 ARTEAG-A (Stefano). Spanish writer on music and Italian drama, who 
 flourished during the i8th century, B. Madrid [1750]. D. Paris, Oct. 30, 
 1799. Wrote Le Rivoluzioni del teatro Musicale Italiano, etc. Venice, 
 1783-8. 3 V. 
 
 ARTHUR (J.) English writer, author of " The Modern Art of Flute Playing,,," 
 etc. Lond., 1827. ' ^ 
 
Art — Asii i^ 
 
 A 
 
 ARTOT (Alexandre Joseph Montagny d'). Belgian violinist and comp., B. 
 Brussels, 1815. D. near Paris, July 20, 1845. 
 
 ARTOT (Marguerite J. De'sire'e Montagny d'). French soprano vocalist, 
 B. Paris, July 21, 1835. Niece of A. J. Artot. S. under Pauline Viardot- 
 Garcia. Appeared virith much success in London and Paris, 1857. Appeared 
 after i860 successively in Brussels, Amsterdam, St. Petersburg, London, 
 Vienna, etc. Married to Padilla the vocalist, 1869. Her repertory includes 
 parts in operas by Mozart, Rossini, Verdi, Donizetti, Gounod, etc. 
 
 ARTX7SI (Giovanni Maria). Italian wrriter, B. Bologna. Canon of St. 
 Saviour. Flourished in the i6th century. Author of L'Arte del Contrapunto, 
 1586. L'Artusi overo delle impetufettioni della moderna musica, 1660 ; and 
 other works. 
 
 ASANTSOHEWSKT (Michel von). Russian comp., B. Moscow, 1838. S. 
 at Leipzig. Director of St. Petersburg Cons. Comp. of music for orchestra, 
 Pf., and voice, etc. 
 
 ASCHENBRENNER (Christian Heinrich). German comp., B. Stettin, 
 Dec. 29, 1654. D. Jena, Dec. 13, 1732. Writer of sonatas, preludes, etc., 
 for Harpsichord. 
 
 ASCHER (Joseph). German comp. and pianist, B. Lond., 1831. S. under 
 Moscheles. Went to Paris, where he chiefly resided, and became pianist to 
 
 ■ the Empress Eugenie. D. London, June, 1869. 
 
 Works. — Pianoforte: op. i. Tarentella ; op. 2. Valse ; op. 3. Nocturne ; op. 4. 
 Valse ; op. 5. Caprice ; op. 6. Danse ,■ op. 7. La Fileuse ; op. 8. Reverie ; op. 9. 
 Polka; op. 10. Poeme ; op. 11. Mazurka; op. 12. Impromptu; op. 13. Polka; 
 op. 14. Barcarolle; op. 15. Les Hirondelles; op. 16. Th^me russe; op. 17. 
 Caprice; op. 18. Valse; op. 19, 20. Trans; op. 21. L'Orgie ; op. 22. Capriccio ; 
 op. 23. Dozia ; op. 24. Danse (Spanish) ; op. 25. March ; op. 26. Impromptu- 
 valse; op. 27, 28. Trans.; op. 29. Idylle ; op. 30. Caprice; op. 31. Galop; op. 
 32. Le Papillon; op. 33-34, 367. Trans. ; op. 35. Styrienne; op. 38. Souvenir; 
 op. 39. Idylle ; op. 40. Fanfare ; op . 41 . Mazurka ; op. 42. Priire ; op. 43. March ; 
 op. 44, 45. Trans.; op. 46. Valse; op. 47. Dans ma Barque; op. 48. Les 
 Clochettes ; op. 49. Galop ; op. 50. Trans. ; op. 51. La Sevillana ; op. 52. La 
 Fanchonette ; op. S3. Trans. ; op. 54. Three Morceaux ; op. 55, 56. Trans. ; op. 
 57. La Sylphide ; op. 58. Tyrolienne ; op. 59. Feuilles et Fleurs ; op. 60. Trans. ; 
 op. 5i. Dance; op. 62. March ; op. 64. Souvenir; op. 65. Impromptu; op. 66. 
 Aye Maria; op. p. 63, 67-71, 75-77. Trans.; op. 72. March; op. 73. La 
 Zingara ; op. 74. La Favorite ; op. 78. Reverie ; op. 79. Trans. ; op. 80. 
 La Cascade de Roses ; op. 81, 82. Impromptus; op. 83. Galop; op. 84, 85, 86, 
 87. Trans. ; op. 88. Berceuse; op. 89. Meditation; op. 90. Fantasia; op. 91. 
 Polka ; op. 92. Serenade ; op. 93. Le Phaline ; op. 94. Le Chalet; op. 95. Chant; 
 op. 96. Galop; op. 97. Gardez cette Fleur; op. 98. Mazurka; op. 99. Impromptu; 
 op. 100. Valse ; op. 101. Trans. ; op. 102. Rhapsodic ; op. 103. Trans. ; op. 104. 
 La Ronde des Elfes ; op. 105. Impromptu ; op. 106. La Cloche du Convent ; op. 
 107. Mazurka; op. 108. Valse; op. 109. Caprice; op. no. Reverie; op. in. 
 Caprice; op. H2. I Lazzaroni ; op. 113. Caprice; op. 114, 115, 116, 117, 118. 
 Trans. ; op. 119. Le Sylphes des Bois; op. 120. Vision ; op. 121. Volhynia ; op. 
 122. Trans. ; op. 123. Invocation; op. 124. Pensee ; op. 125. Nocturne; op. 126. 
 Marinilla; op. 127. Rgverie ; op. 128. Idylle. Songs: Bygone Love; A twilight 
 dream ; Alice, where art thou ? ; M^lanie ; I'll think of thee, etc. 
 
 A composer who, had he been more careful in his worldly relations, might have 
 proved one of the greatest among recent musicians. As it stands, his music is more 
 than commonplace, and many of his single pieces evince genius of a decidedly 
 original turn. The numerous pieces which he has produced for the Pf. are in 
 general brilliant and effective in character ; while several of them show tokens of 
 real genius inspiration. 
 
 ASHDOWN EDWIN, a music-publishing firm in London, established originally 
 by Wessel & Co. in 1825. Messrs. Ashdown & Parry succeeded to the business 
 in i860, and have since worked it with considerable success. The publications 
 
56 
 
 ASH — ASH 
 
 of the firm consist of music of every description, instrumental and vocal. The 
 catalogue of vocal music contains the names of Abt, Balfe, Barnett, BeneUict, 
 Calkin Glover (S.), Hatton, Knight, Linley, Loder, Macfarren, Salaman, 
 Smart,' Sullivan, Wallace, etc. The catalogue of Pianoforte music contains 
 works' ty F. E. Bache, Bennett, Calkin, Heller, Kullak, Lett, Macfarren, 
 Osborne, Oury, Richards, Silas, Smith, etc. Besides these the firm publishes 
 an enormous quantity of other music, chiefly arrangements of popular works, 
 fantasias, brilliant morceaux de salon, and the usual amount of light music. 
 Of large important works published by this firm we may specify " The Singer's 
 Library of Concerted Music," edited by John HuUah, a very valuable publi- 
 cation ; "The Devil's Opera," and "Helvellyn," operas by G. A. Macfarren; 
 Concerted instrumental music by Beethoven, Weber, Spohr, Oberthiir, Mozart, 
 and others ; and several important collections, mostly all copyright. 
 Messrs. Ashdown & Parry issued for a time a monthly magazine of instrumental 
 and vocal music, edited by L. Sloper, called ' ' Hanover Square. " This contained 
 compositions by eminent living and recent composers, and was a good idea well 
 executed. The sole business is now [1884] carried on by Mr. Edwin Ashdown. 
 
 ASHE (Andrew). Irish flute-player, B. Lisburn, Ireland, I7S8[I7S6?] Educated 
 at Woolwich, where he learned the violin. Adopted by General Bentinck, 
 with whom he went to the Island of Minorca. Travelled with Bentinck 
 through Spain, Portugal, France, Germany, and Holland. Commenced study 
 of flute at Hague, receiving instructions from Wendling. Went to Brussels 
 and became family musician to Lord Torrington. Competed with Vanhall for 
 place of first flute-player at the Brussels opera-house, and gained, I779- Went 
 to Dublin, 1784, remained till 1791. Played concerto for flute, of his own 
 composition, at Saloman's second concert in 1792. Became principal flutist 
 at Italian opera. Married Miss Comer, a singer of some note, 1799. Director 
 of Bath concerts, 1810-1822. D. Dublin, April, 1838. 
 His compositions consist of concertos and other music for the flute, none of which 
 survive. 
 
 ASHLEY (Charles Jane). English violoncellist, B. 1773. One of the founders 
 
 of the Glee club. Secretary to Royal Soc. of Musicians. Mem. of Philharmonic 
 
 Soc. Was a prisoner for debt nearly twenty years, in King's Bench prison, 
 
 London. Proprietor of Tivoli Gardens, Margate, 1843. D. August 20, 1843. 
 
 Ashley played in the band organized by his father, John Ashley. Contemporary 
 
 accounts speak highly of his excellence as a performer on the violoncello. No 
 
 compositions by him have come down to this period. 
 
 ASHLEY (John), father of above, English bassoon-player andcond., B. first 
 quarter of the i8th century. Assistant cond. under Joah Bates, of Handel 
 Commemoration, 1784. Director of oratorio performances at Covent Garden 
 Theatre, 1795. Organizer of the band (in which his sons, C, General, J. J., 
 and Richard played) which travelled throughout the provinces of England 
 giving concerts of instrumental music. D. about beginning of 19th century. 
 His sons were General, a violin-player, who died in 1818; John James [l77'> 
 London, Jan., 1815], an org. and teacher of vocalization, who instructed Mrs, 
 Salmon, Mrs. Vauchan, and others ; and Richard, a violinist who played in pro- 
 vincial orchestras. 
 
 ASHLEY (Josiah or John), of Bath. English comp., vocalist, and bassoon- 
 player, B. Bath, 1780. He resided chiefly in Bath, where he was a teacher of 
 music and concert vocalist. D. Bath, 1830. 
 Works. — Songs. Reminiscences and Observations respecting the origin of our 
 
 National Anthem, 1827 (an answer to Clark's work). A Letter to the Rev. W. L. 
 
 Bowles, supplementary to the Observations, etc., 1827. 
 
 ASHTON (Hugh) or ASHTAN. English comp., flourished during the l6th 
 century. Comp. of several masses and anthems, which are preserved in the 
 Music School of Oxford. 
 
 ASHWELL (Thomas). English comp., flourished during first half of 16th 
 
Ash — As* ^t 
 
 century. His works, consisting ol motels, etc., .ire preserved in MS. in the 
 Music School at Oxford. 
 
 ASHWOEiTH (Calel)). English writer, B. Northampton, 1721. Director of 
 Theological Institution founded upon Coward's bequest, Northanapton. D. 
 Daventry, 1775. 
 Works. — Introduction to the Art of Singing, London, 1787 ; Collection of 
 
 Tunes and Anthems, London, n. d. ; Sermons ; A Hebrew Grammar ; etc. 
 
 ASIOLI (Bonitacio), Italian comp. and writer, B. Correggio, April 30, 1769. 
 
 S. under Crotti, an org., and Morigi. Resided successively at Turin, Venice, 
 
 and Milan. Censor at Milan Cons. Director of Music to Viceroy of Italy. 
 
 D. Correggio, May 26, 1832. 
 
 Works. — Cinna, opera ; Cantatas; Motets and other church music ; Theoretical 
 
 works, etc. 
 
 Of these, "A Compendious Musical Grammar '' was translated by Jousse, Lond., 
 1825; and " Introductory Exercises to the Art of Singing" was translated by T. 
 Rovedino, 1826. 
 
 ASFA (Edwin). Italian comp., B. London, May, 1835. D. Lincoln, August 
 17. 18S3. 
 Works. — The Gipsies, cantata ; Endymion, cantata ; Songs ; Pf. pieces, etc. 
 "The composer has evidently much feeling for that important element in a 
 Cantata obviously written to catch the public ear, which we should perhaps rather 
 call ' tune ' than ' melody ;' and throughout his composition (The Gipsies) he has 
 liberally used this power . . . ." — Musical Times. 
 
 ASFA (Mario). Italian comp., uncle of preceding, B. Messina, 1799. D. 
 
 there, Dec, 1868. 
 
 Works. — Operas: Giovanni Banier, 1830 ; 11 Carceu d' Ildegonda, 1831 ; La 
 
 Burla, 1832 ; II Litigante senza lite, 1833 ; La Finta grega ; II Marinaro, 1839 ; 
 
 Guglielmo Colman, 1843; Paolo e Virginia, 1843; La Verga majica; Werther, etc. 
 
 ASFA (Rosario). Italian comp., brother of Edwin, B. Messina, Januay, 1827. 
 Is engaged as a Pianoforte dealer at Leamington. 
 He has written a large number of songs, pianoforte pieces, and an opera entitled, 
 
 "The Artist's Stratagem;" also a work entitled, "Exercises and Observations 
 
 intended to assist in the Cultivation of the Voice," N. D. 
 
 ASFELMAYEB (Franz). German comp. , ballet-master to Emperor of Austria, 
 D. 1786. 
 
 ASFITLL (George), English pianist, B. Manchester, 1813. He displayed a 
 precocity in musical matters only equalled by Dr. Crotch, and on appearing in 
 London, was hailed as a pianist of the first rank. This favourable opinion was 
 afterwards indorsed by Rossini, who pronounced him one of the most remark- 
 able persons in Europe. His works, published after his death, consist of a 
 volume of Pianoforte music, and a few songs. His age and education con- 
 sidered, AspuU was certainly one of those inspired geniuses who occasionally 
 astonish the world with the exceptional brilliancy of their attainments. Accept- 
 ing contemporary accounts of his playing as correct, England never produced 
 one who would have made a greater pianist. D. Leamington, Aug. 20, 1832. 
 
 ASSMAYER (Ignaz). Austrian comp., B. Salzburg, Feb. 11, 1790. Org. S. 
 Peter's, Salzburg, 1808. D. Vienna, Aug. 31, 1862. Comp. oratorios, 
 masses, and much secular, vocal music, etc. 
 
 ASTON. See Ashton (Hugh). 
 
 ASTORGA (Emanuele, Baron d'). Italian comp., B. Palermo 1681. 
 Educated and instructed in music in Spain. Member of the Italian diplomatic 
 body, under title of Baron d' Astorga, 1705. Visited England, Spam, etc. 
 Went to Prague, Bohemia, and D. there, Aug. 21, 1736. 
 Works.— Stabat Mater, Oxford, 17 13; Dafne, opera, 1709; Cantatas, etc. 
 
 ASTRUA (Giovanna). Italian soprano vocalist, B. 1725. D. 1758- 
 
ii 
 
 Atk — AUB 
 
 ATKINSON (Frederick Cook). English comp. and org., B Norwich, Aug. 
 21 i8di S under Dr. Z. Buck. Assistant to do. Org. of Manmngham Ch., 
 Bradford. Mus. Bac, Cantab., 1867. Org. of Norwich Cath., 1881. 
 Works.— Services, Anthems, volume of masonic music, Songs, Part-Songs, 
 
 Pianoforte pieces, etc. 
 
 ATKYNS (B. K.) English writer. Author of " Choir-master's Manual ; con- 
 taining full' instructions for Training a Choir," 8vo, n. d. 
 
 ATTERBUEY (Luffman). English corap., B. London, in first half of iSth 
 century, [circa, 1735-40]. Musician in ordinary to George III. Obtained 
 several prizes from the Catch Club about 178c. D. London. June 11, 1796. 
 Works. — Glees and catches, contained in Warren's collection ; Goliah, oratorio, 
 
 produced in 1773 ; A collection of glees, etc., op. 3, 1790. Collection of catches 
 
 and glees, Lond. [1777]. 
 
 ATTEY (John). — English comp. [159 ?-i640], flourished during the commence- 
 ment of 17th century. Wrote a work entitled " First Booke of Ayres of Four 
 Parts, with Tableture for the Lute, so made that all the parts may be plaid 
 together with the Lute, or one voyce vrith the Lute and bass viol." London, 
 1622. 
 
 ATTWOOD (Thomas). English comp., and org., B. Lend., 1767 [1765]. 
 
 Chorister in the Chap. Roy., 1776. S. under Nares and Ayrton, 1776-1781. 
 
 Sent to Italy by George IV. (then Prince of Wales) to study, 1783. Received 
 
 instruction from Latilla, Mozart, etc., 1783-87. Returned to England. Org. 
 
 of St. George the Martyr's Ch., Lond. Mem. of Prince of Wales' chamber 
 
 band. Instructor (musical) of several members of the Royal family, 1791-95. 
 
 Org. of St. Paul's Cath., June, 1796. Comp. to Chap. Roy., 1796. Org. to 
 
 George IV., 1821. Mem. of Philharmonic Soc, 1813. Org. of Chap. Roy,, 
 
 1836. D. London, March 24, 1838. 
 
 Works. — Music to Dramas, it'c. : The Prisoner, 1792; The Mariners, 1793; 
 
 Caernarvon Castle, 1793; The Adopted Child; The Poor Sailor, 1795; The 
 
 Smugglers, 1796 ; The Devil of a Lover, 1798 ; The Mouth of the Nile, 1798; A 
 
 Day at Rome, 1798 ; The Red Cross Knight, 1799; The Castle of Sorrento, 1799; 
 
 The Magic Oak, 1799; The Old Clothesman, 1799; The Dominion of Fancy, 
 
 1800 ; True Friends, 1800; The Escapes, or the Water Carrier (from Cherubini), 
 
 1801 ; The Curfew, 1807. Services in F, A, D, and C. Anthems: Come, 
 Holy Ghost ; Enter not into judgment ; Grant, we beseech Thee ; I was glad 
 when they said unto me ; Let the words of my mouth ; God, who by the leading 
 of a Star ; O Lord, we beseech thee ; Teach me, O Lord ; Teach me Thy way, 
 Lord ; They that go down to the Sea ; Turn Thee again, O Lord ; Turn Thy face 
 from my sins ; Withdraw not Thou Thy mercy. Nine Glees for 3, 4, 5, and 6 
 voices (Lond., 1828). Son^^s : Soldier's Dream; Young Lochinvar ; The 
 Spacious Firmament ; The Sigh ; Dear Vale, whose green retreats ; and numerous 
 others. 
 
 Dismissing the music which Attwood wrote for the plays above enumerated as 
 forgotten and consequently non-existant, we find that his fame rests entirely on his 
 compositions for the church, his glees, songs, and other detached pieces. While it 
 can not be admitted that Attwood is ever sublime in his conceptions, yet his anthems 
 and services will be found to contain passages in which are united nobility and 
 dignity, with science and that finished grace which is usually the attribute of an 
 artistic mind. While he occasionally affects the manner of the modern school in 
 straining after dramatic effect, he rarely omits to infuse into his compositions that 
 lofty and sacred character which is admittedly the special feature of English church 
 music. His concerted vocal music (glees, etc.) is remarkable for melody and care- 
 ful finish, and in such works is chiefly noticeable that clear method of writing 
 which was no doubt the fruits of Mozart's preceptorship. 
 
 AUBER (Daniel Fran90is Esprit). French comp., B. Caen, Jan. 29, 1782. 
 Intended for commercial life, Auber was sent to London in 1802, where he 
 remained for a time as clerk in a merchant's office. He subsequently returned 
 to Paris, where he remained till his death. He never held any public appoint- 
 
kvb — A u d si 
 
 ments, but devoted his time to the production of operas. Mem, of the 
 " Institut," 1829. Commander of the Legion of Honour, 1847. Grand 
 Officer of the Legion of Honour, 1861. D. Paris, May 13, 1871. 
 Works. — Operas: Le S^jour militaire, 1813 ; Le Tesiament et les Billets-doux, 
 1819 ; La Berg^re chatelaine, 1820 ; Emma, 1821 ; Leicester, 1822 ; La Neige, 
 J823 ; Vendome in Espagne, 1823 ; Les Trois Genres, 1824 ; Le Concert k la cour, 
 1824; Leocadie, 1824; Le Ma^on, 1825; Le Timide, 1826; Fiorella, 1826; La 
 Muette de Portici (Masaniello), 1828 ; La Fiancee, 1829 ; Era Diavolo, 1830 
 (London 1831) ; Le Dieu et la Bayadere, 1830 ; La Marquise de Brinvilliess (with 
 others), 1831 ; Le Philtre, 1831 ; Le Serment, 1832; GustavelH., 1833; Lestocq, 
 1834; Le Cheval de Bronze, 1835; Acteon, 1836; Les Chaperons Wanes, 1836; 
 L'Ambassadrice, 1836 ; Le Domino Noir, 1837 ; Le Lac des F^es, 1839 ; Zanetta, 
 1840 ; Les Diamants de la couronne, 1841 ; Carlo Broschi, 1842 ; Le Due 
 d'Ulonne, 1842; La Part du Diable, 1843; La Sirtoe, 1844; La Barcarolle, 
 1845; Haydee, 1847; L'Enfant prodigue, 1850; Zerline, 1851; Marco Spada, 
 1852; Jenny Bell, 1855; Manon Lescaut, 1856; Le Reve d' Amour, 1869; Le 
 premier jour de bonheur, 1869. Concertos for violin, and violoncello and orches- 
 tra ; Detached Pianoforte pieces ; Overture for the London International Exhi- 
 bition, 1862. 
 
 The production of a succession of works almost equally original, brilliant, and 
 catching in character, is undoubtedly the outcome of a properly economised genius. 
 We emphasize the last word because of our intention of applying it to Auber and 
 his works, and because of certain unjust strictures which a number of writers of a 
 recent school have passed upon him, and which may be regarded as the result of 
 that professional feeling which is cherished by different schools against the methods 
 and means employed by each other in affecting certain results. The amount of 
 dramatic or pleasing effect gained by Auber, considering the comparatively humble 
 means he employs, is greatly in excess of what many more recent composers, with 
 an apparatus unparelleled in magnitude, have readily achieved. We see on one hand 
 a huge array of combined scenic, mechanical, musical, and histrionic efforts, work- 
 ing to affect a certain end, that end being dramatic effect. On the other hand we 
 see the ordinary efforts which an intelligent musician would practise, combined with 
 musical illustration clear enough to be easily comprehended. On these grounds 
 Auber is entitled to the respect of the large body of musicians who prefer compre- 
 hensible music of an agreeable character, to music which repels by its complication, 
 and failure to make the advertised impression. 
 
 AUBEEY DU BOULLEY (Prudent Louis). French comp. and writer, B. 
 Verneuil, Dec. 9, 1796. D. Verneuil, Feb. 1870. 
 Writer of masses; quartets, etc., for various instruments ; sonatas; theoretical 
 
 works, etc. 
 
 AUDBAN (Edmond). French comp., B. Lyons, April 11, 1842. Composer 
 of operas, church music, Pf. music, etc. Among his operas may be named 
 " La Mascotte " and " Olivette," both among the recent operatic successess m 
 Britain. 
 
 AUEB (Leopold). Hungarian violinist, B. Veszprem, Hungary, May 28, 1845. 
 
 Pupil of Dont and Joachim. Appeared in London in 1863. 
 ■ AUGENER & CO. German firm of music-sellers and publishers established in 
 London, 1853. Their catalogues contain many good writers names, and their pub- 
 lications are remarkable for a high standard of excellence where engraving, 
 paper, and typography is concerned. They publish the arrangements of Ernst 
 Pauer, and Pianoforte pieces by Ascher, Beethoven, Brahms, Chopin, Scotson 
 Clark, Clementi, Gade, Haydn, Liszt, Mendelssohn, Mozart, Reinecke, 
 Scharwenka, Schumann, Weber, etc. Their publications for the organ are 
 represented by Bach, Best, Clark (S.), F. E. Gladstone, Handel, Lef^bure- 
 Wely, Mendelssohn, Prout, Rinck, etc. Among the composers of vocal 
 music may be mentioned Abt, Arne, Beethoven, Bishop, Brahms, Goldschmidt, 
 Hatton, HuUah (valuable editions of English classical songs), Mendelssohn, 
 Reinecke, Schubert, Schumann, Weber, and many others. ' The Monthly 
 Musical Record" (1870) published by them is a well conducted magazine, 
 worked on German lines. 
 
i4 AUk ;AYfe 
 
 AUMONT (Henri Raymond). French comp. and violinist, B. Paris, July 31, 
 1818. Writer of violin music. 
 
 AUSTIN (W. Frank). English musician, author of " A National School of Opera 
 for England ; the Substance of a paper read before the Licentiates of Trinity 
 College, 1882," Lond., 8vo, 1883. Songs and Pf. music. 
 
 AUSTIN (G. L.) American wrriter, author of "Life of Franz Schubert." 
 Boston, i2mo, 1873. 
 
 AUSTIN (Jobn). Scottish writer, B. Craigton, near Glasgow. Wrote "A 
 System of Stenographic Music," London, 410, n. d. 
 ' ' The principal object -of the author was to simplify the prevailing method of 
 notation. In place of five lines, his system consisted of only one, written upon by 
 certain characters (six in number) which, reversed and inverted, were held capable 
 of expressing every variety in music." For the purpose quoted the work is useless. 
 However good theoretically it may be, it is impossible in practice. The writer, 
 who was also an inventor of some note in connection with machinery for use in the 
 manufacture of textile fabrics, is mentioned, and a portrait of him given, in " Kay's 
 Original Portraits," vol. ii., p. 376. Edinr. 1838. , 
 
 AUSTIN (Walter). English comp. of present time, has written "The Fire 
 King," a cantata; "The Stepmother," an operetta; Overtures for orchestra ; 
 Songs, Pianoforte Pieces, etc. 
 
 AUTRIVE (Jacq.ues F. de). French comp. and violinist, B. St. Quentin, 1758. 
 D. Mons, Belgium, Dec. 1824. Good violinist and comp. for his instrument. 
 
 AUVEEGNE (Antoine d'). French comp., director of R. A. M., Paris, 
 B. 1713. D. 1797. 
 
 AVENABIUS (MathseUS A.) Germancomp. of church mus.,B. 1625. D. 1692. 
 
 AVERY (Jolm). English org. builder, B. about middle of i8th century. 
 D. Carlisle, 1808. 
 Erected organs at Carlisle, Winchester, Cambridge, and other places throughout 
 England, 
 
 AVISON (Charles). English writer, comp., and org., B. Newcastle, 1710. S. 
 in Italy. S. in England under Geminiani. Org. of St. Nicholas Ch., New- 
 castle, 1736. D. Newcastle, May 10. 1770. 
 
 Works. — An Essay on Musical Expression, London, 8vo, 1752 (other editions, 
 with reply to Hayes, 1753; Third edition, 1775; German edition, Leipzig, 1775); 
 Marcello's Psalms, edited by Avison and Garth, 1759; Sonatas for violin ; Con- 
 certos for organ or harpsichord, op. 9, etc. ; Concertos for strings and harpsichord, 
 op. 2, 3, 4, and 6, 1740-58 ; Songs, etc. 
 
 This writer's chief work is the " Essay on Musical Expression." It is evidently 
 intended to present in this work an exposition of musical aesthetics, as well as to 
 fix a standard of criticism whereby works of abiding interest may be judged. This 
 design, however, is partly destroyed by a number of comparisons which the author 
 has chosen to institute between composers of such diverse genius as Handel, Mar- 
 cello, Rameau, etc. 
 AXT (Friedricll Samuel). German comp. of sacred music, B. 1684. D. 1745. 
 
 AYLWARD (Theodore). English comp. and org., B. [1731]. Gained prize 
 medal from Catch Club, 1769. Prof, of music in Gresham Coll., June, 1771. 
 Assistant Director at Handel Commemoration, 1784. Org. and choir-master 
 at St. George's Chap., Windsor, 1788. Mus. Bac. Oxon, Nov., 1791. Mus. 
 Doc, Oxon, 1791. D. London, Feb. 27, 1801. 
 Works. — Op. i. Six Lessons for the Harpsichord, Organ, or Pianoforte ; op. 2. 
 
 Elegies and Glees [1785] ; Music for Dramas of— Harlequin's Invasion, Midsummer 
 
 Night's Dream, etc. ; Eight Canzonets for 2 soprano voices ; Glees, various single ; 
 
 Church Music in MS. 
 
 AYRTON (Edmund). English comp. and org., B. Ripon, Yorkshire, I734. 
 Pupil of Dr. Nares. Org. of Collegiate Church, Southwell. Gent, of 
 
aVJi — fiAC ^S 
 
 Chap. Roy., 1764. Vicar-choral, St. Paul's Cath., London. Lay-clerk of 
 Westminster Abbey. Master of Children of Chap. Roy., 1780-1805. Mus. 
 Doc. Oxon, 1784. Assistant director of Handel Commemoration, 1784. D. 
 London, May, 1808. 
 Works. — Two Services for the Church; Anthems; "Begin unto my God," 
 Degree Anthem, 1784, etc. 
 
 AYRTON (William). English writer and editor, son of above, B. London, 
 Feb. 24, 1777. Married to a daughter of Dr. S. Arnold. Unsuccessful can- 
 didate for Gresham Professorship, 1801. Mem. of Royal Soc. ; Antiquarian 
 Soc. ; Athenseum Club; the Philharmonic Soc, etc. , Critic of Morning 
 Chronicle, 1813-26. Do. of Examiner, 1837-51. Editor of Harmonicon, 
 1823-33. D. London, May, 1858. 
 Works. — Critiques in Journals ; Editor of Knight's Musical Library, 1834, 8 
 vols ; Editor of Sacred Minstrelsy : a collection of sacred music by the Great 
 Masteis of all Ages anj Nations .with Biographies. 2 vols, (o., 1835 ; etc. 
 
 Ayrton was the founder of that healthy school of criticism which is now practised 
 almost universally by living English writers. The "Harmonicon" was a most 
 admirably conducted magazine, and furnished readers with a perfect storehouse of 
 interesting facts and speculations concerning music and musicians. The criticisms 
 were uniformly just, and reflect great honour on the integrity of their writers. 
 
 AZAIS (Pierre Hyacinthe). French comp., B. 1743. D. 1796. 
 
 AZPILCnHJA (Martin D'). Spanish theoretical writer, B. Verasoin, Navarre, 
 1491. D. Rome, 1586. 
 
 B. 
 
 BAAEE (Perdinand Gottfried). German org., pianist, and comp., B. 
 Hendeleer, April 15, l8oo. S. under Hummel. Comp. much music for Pf. 
 and voice. 
 
 BABBINI (Matteo). Italian tenor vocalist, B. Bologna, 1754. S. medicine. 
 Dibut in [?J Engaged for the opera of Frederick the Great. Sang in Russia, 
 and entered employment of Catherine II. Sang at Vienna, 1785. Sang in 
 London, 1786-87. Sang on Continent from 1789 till 1802. D. Bologna, 
 Sept. 2], 1816. 
 
 BABELL (William). English violinist and comp., B. 1690. S. under Dr. 
 
 Pepusch. Mem. of Royal Band of Music. Org. of All Hallows Ch., Bread 
 
 Street, London. D. 1723. 
 Works. — Twelve solos for violin or oboe ; Twelve solos for flute or oboe, op. 2; 
 Six concertos for the piccola flute and violins, etc. ; Suits of the most celebrated 
 Lessons collected and fitted to the Harpsichord or Spinet, fo. n.d. ; Arrangements 
 for Harpsichord, etc. 
 
 BACCELLI (Padre Matteo). Italian comp. of church music, etc., B. Lucca, 
 
 1680. D. Lucca, 1756. 
 BACCHINI (Cesare). Italian comp., B. Florence, 1846. Writer of songs, 
 
 operas, etc. 
 BACCUSI (Ippolito). Italian priest and comp. of i6th century. Chap, master 
 
 at Cath. of Verona. Comp. masses, psalms, madrigals, etc. Flourished 
 
 1550-96. 
 BACH (Alberto B.) German writer and teacher, author of "Musical Education 
 
 and Vocal Culture," Edin., 8vo, 1880 ; 2nd ed., 1881 ; 3rd ed., 1883. 
 BACH. This name is one of the most important in Musical history. The family 
 
 consists of fourteen principal members ; but only the historical four noticed 
 
 below are worthy of attention as having influenced musical art. 
 
3^ 
 
 B AC — BAC 
 
 BACH (Johann Christian). German comp. and org., eleventh son of J. S. 
 Bach, B. Leipzig, 1735. S. under his father. Lived with K. P. E. Bach at 
 Berlin on death of his father in 1750. S. under K. P. E. Bach. Org. of Milan 
 Cath., 1754. Married to Cecilia Grassi, 1759. Went to London, 1759. 
 Established concerts in conjunction with K. F. Abel, which lasted between 
 1764-84. D. London, 1782. 
 Works. — Operas : Catone, 1758 [London 1764] ; Orione, 1763 ; Zanaida, 1763 ; 
 Berenice (with Galuppi and Hasse), 1764; Adriano in Seria, 1764; Cara- 
 ttaco, 1767; L'Olimpiade, 1769; Ezio ; Orfeo, 1770 ; Temistocle; Siface; Lucio 
 Silla ; La Clemenza di Scipione. [Produced mostly in London.] Oratorio: 
 Gioas re di Giuda. Magnificats ; Glorias ; Laudates ; and other ch. music. 
 Cantatas. Fifteen symphonies for 8 instruments. Eighteen concertos for clavi- 
 chord. Six quintets for flutes and violins. Thirty trios for clavichord, violin, 
 and bass. Quartets for clavichord, 2 violins, and bass. Sonatas for the clavichord. 
 Songs, etc. 
 
 This composer, sometimes called En^ish Bach, was received with much 
 enthusiasm on his first appearance in London. The concerts which he gave along 
 with Abel were very successful, and latterly were denominated Professional Con- 
 certs. Of his works little can be said, as, with a few exceptions, all of them are 
 now forgotten. His chief claim to notice lies in the fact that he greatly raised the 
 quality of instrumental music in his day, by introducing works which were con- 
 sidered advanced in tendency. His compositions are in general sound in character, 
 but by no means are they similar to those of his father, either in skilful oonstruction 
 or inspiration. 
 
 BACH (Johann Sebastian). German comp. and org., B. Eisenach, March 
 21, 1685. Taught violin by his father, Johann Ambrosius Bach, a violinist. 
 Self-taught to a considerable extent. S. under his brother, Johann Cristoph, 
 at Ohrdruff, from 1693. Chor. in Coll. of St. Michael at Liineburg, 1700. 
 Mem. of band of Prince Johann Ernst of Weimar. Org. of Arnstadt Ch., 
 1703. Went to Muhlhausen as org. of St. Blasius Church, 1707. First 
 married Oct. 17, 1707. Court Org. at Weimar, 1708. Court concert- 
 master at Weimar, 1714. Went to Dresden, 17 17. Chap. -master at Kothen, 
 1717. First wife died, 1720. Competed for Organist's place at the "Jacobi 
 Kirche," Hamburg, unsuccessfully, 1 72 1. Married to his second wife, Dec. 
 3, 1721. Cantor of the Thomas-Schule, Leipzig, 1723. Court comp. to 
 Elector of Saxony, 1736. Chap.-master to Duke of Weissenfels, 1736. D. 
 Leipzig, July 28, 1750. 
 Works. — Church Music : Grosse Passionsmusik nach dem Evangelium 
 Matthei (Passion according to St. Matthew), 1729 ; Passionsmusik nach dem 
 Evangelium Johannis (Do. St. Pohn), 1729. Two other passion-oratorios are 
 ascribed to him, one being on St. Luke ; but both are disputed, and one is entirely 
 lost. Cantatas for the Church, scored for solo voices and chorus, organ and 
 orchestra. Of those works 230 only survive, out of an estimated total of 400. 
 Motets. Masses in B minor, G. minor. A, G, F, C, etc. Christmas Oratorio, 
 1734. Magnificats in various keys. Psalms, the 7th, 117th, 149th, etc., for double 
 choirs, organ, and orch. Litanies. Offertoires. Kirchengesasnge fur solo und 
 chorstimmen mit Instrumental begleitung. Miscellaneous pieces, as psalms, hymns, 
 chorales, etc. Organ Music: Die Kunst der Fuge (The art of fugue), 1749 ; 
 Clavierubung, bestehend in verschiedenen Vorspielen iiber die Cathechismus und 
 andere Gessenge vor die Orgel, Leipzig, 1739 ; Sechs Chorcele verschiedener Art, 
 auf einer Orgel mit zwei Clavieren und Pedal vorzuspielen, 1740 ; Canonische 
 Versenderungen liber das Weinachtslied, 1747 ; Choral- Vorspiele fiir die Orgel mit 
 einem und zwei Clavieren und Pedal ; 44 Kleine Choral- Vorspiele ; 15 Grosse-Cho- 
 ral-Vorspiele ; 52 Choral-Vorspiele verschiedener Form ; 18 Choral- Vorspiele mit 
 den 5 variationem ; Prakische Orgelschule, enthaltend 6 sonaten fiir 2 Manuale und 
 oblig. Pedal, Zurich ; Passacaglia fur Orgel, 1 736. Miscellaneous pieces consisting 
 of Pastorals, Preludes, Fugues, Themes, etc. Music Jor the Clavichord: Das 
 Wohltemperirte Clavier (The well-tempered clavichord), 48 fugues and 48 pre- 
 ludes, v. I, 1725, V. 2, 1740. Clavierubungen, bestehend in Prsludien Allemanden, 
 etc., Leipzig, 1728-31 ; Part two, do., 1735 5 Part three, do., 1739 ; Part four, do., 
 1742. Chromatische Fantaisie. Toccattos. Fifteen inventions. Fifteen sym- 
 
BAC — BAC 37 
 
 phonies in 3 parts. Fantasias. Six Suites. Suites Angloises. Six sonatas 
 for clavier witli violin oblig. Miscellaneous pieces. Concerted Instrumen- 
 tal Music : Three sonatas for violin ; Five duets for 2 violins ; Six sonatas for 
 violoncello ; Six concertos for various instruments ; Overtures in B. minor, D, etc. ; 
 Symphonies in D, D minor, etc. ; Caprices for lute ; Concertos for violin and orch. 
 A great quantity of miscellaneous pieces. Secular Vocal Music : Secular Cantatas, 
 various. Two of those cantatas were introduced to the London musical public for 
 the first time by Mr. S. Reay of Nevirark-on-Trent, in 1879 ; their titles were "The 
 Ciiffee Cantata," and "The Peasant's Cantata." Odes, Choruses, Songs, etc. 
 
 It is remarkable that Bach should have attained such eminence as he now occu- 
 pies when the quiet, unvarying, domestic nature of his life is considered. With 
 vejy few exceptions — and Bach is one — men of genius pass lives of great bustle and 
 activity ; their minds are more or less strongly exercised by many outward circum- 
 stances ; their whole lives are in continual and ever changing relation to the many 
 exciting circumstances which crowd everyday experience ; and destiny seems to 
 have conspired to augment the bitterness attendant on a moiling journey through 
 life. Indeed, it may be truly said that a life of homely or domestic felicity is h'ghly 
 incongenial to artistic development, and prejudicial to the ambitious aspirations of 
 genius. Comparatively few men of genius are blessed during their sojourn on 
 earth with any surprising degree of happiness ; Mozart, Burns, Beethoven, Scott, 
 and Milton occur as familiar examples of those who have had their aspirations 
 clouded by misfortune and annoyance in various forms. But this, far from deterring 
 them from the active pursuit of their chosen study, seems to have spurred them to 
 continued and greater efforts. 
 
 On this argument is based the belief that Bach was not only a great genius, but 
 recognising the untoward conditions of his career, a great example of direct musical 
 inspiration ; qualified, however, to a vast extent by education. His life was as 
 appears by the chronicles of his biographers, one of the direst monotony, unrelieved 
 by those stirring events which direct and qualify the efforts of genius. His oc- 
 casional appearances at different courts, and the unfortunate state of impoverishment 
 which clogged his latter days, had no direct influence on the artistic quality of his works. 
 Indeed he is always spoken of as having been quite indifferent to contemporary ap- 
 plause, and the poverty which eventually overtook him could have had no effect on 
 his works, since they were mostly composed previous to the advent of bad circum- 
 stances. The whole tenor of his career was that of a dull, monotonous, homely con- 
 tent, which fact alone is sufficient to prove that his works were the outcome of intense 
 inward impulse, neither governed nor inspired by the passing events of his time. Do- 
 mestic life is entirely opposed to artistic ideals, and the instinctive feeling shown by 
 Bach for what was truly poetical in art would seem to place him in the first rank of 
 nature-born artists. The deeply devotional tone which pervades most of his church 
 music is obviously the result of heartfelt emotions, and an intuitive perception of 
 what was appropriate and beautiful. 
 
 Coming directly to his works, the first thing that will strike the student is the 
 polyphonic texture of his concerted writings, whether vocal or instrumental, and the 
 surprising dexterity with which he interweaves the various independent melodies 
 which constitute the score. Careful examination will further reveal that this method 
 of making each part an independent melody is in many instances destructive to 
 perspicuity. On the other hand there is abundance of earnest purpose and loftiness 
 of endeavour to counterbalance this defect. The whole body of his music is in 
 advance of his period, and a considerable portion of it is even now beyond the 
 discerning capacities of many amateurs and no small number of professional 
 musicians. Until the musical knowledge of amateurs, and the musical public 
 generally, has been extended in many directions, his music will continue to be-dis- 
 liked, and regarded as dry unsympathetic exercises in counterpoint. A superficial 
 knowledge of composers and their works will not enable anyone to grow enthusiastic 
 over the compositions of this master. To be enjoyed Bach must be conscientiously 
 studied, and patiently followed throughout his several ramifications. 
 
 The instrumental music of Bach when examined side by side with that of his 
 contemporaries exhibits an immense degree of difference in the method of 
 orchestration employed. The string band, occasionally strengthened by trumpets, 
 oboes and flutes, constituted Handel's sole means of instrumental colouring, l-or 
 many succeeding years this method was employed by every musician except Bach, 
 and until the appearance of Haydn the method was thought unsurpassable. 
 
3* BAC — BAC 
 
 Turning to Bach's scores we find that almost constant use is made of the wind 
 instruments which Handel employed, together with a number of others now obso- 
 lete. This fact, coupled with the skilful manner in which he treated the orchestra, 
 proves that he was so far in advance of his time ; and though his instrumentation 
 was widely different from that of Haydn or Mozart, his general constructive method 
 was not less perfect than that of the composers mentioned, nor less an advance on 
 the productions during and anterior to his time. His instrumental music is a great 
 source of enjoyment to every one who can take pleasure in quaint and pretty forms, 
 and original and beautifully worked out periods. To say nothing of his fugues, 
 which are universally known, the pianist has an unfailing supply of sterling music in 
 his other pieces, which, if continually practised, will be very profitable as a means 
 of refining his taste, and giving strength and consistency to his style of performance. 
 His organ music is too well known to need much comment, but his fugues, preludes, 
 etc. are generally allowed to be unrivalled. His other instrumental works are 
 becoming more and more known as each succeeding season passes, and they are 
 bidding fair to earn more attention than is readily accorded similar works of the 
 same period. 
 
 The general characteristics of Bach's vocal music are deep religious feeling, care- 
 ful and intricate elaboration of parts, refined and beautiful melody, and an ever 
 fresh and original thematic treatment. Many of his pieces present difficulties of an 
 extraordinary character ; the parts being obviously written without the least regard 
 for the executive abilities of the performers. Indeed, it seems to have been a lead- 
 ing idea with the composer never to deviate from his original design for the mere 
 sake of securing an adequate interpretation. This feature is apparent in the writings 
 of many other composers whose works are equally unpopular, though much less 
 deserving of notice than those of Bach. Before quitting the subject of his vocal 
 music we may say that beautiful editions of these works are issued by the Bach 
 Society of Leipzig. 
 
 As time advances more attention will be given Bach and his productions. In 
 the past his music was cultivated in a moSt desultory fashion, its present advance in 
 public esteem being due to the efforts of Wesley in England and Mendelssohn in 
 Germany. The latter, indeed, may fairly be accounted the originator of the present 
 favourable feeling which is manifested, and quietly but surely spreading, in Bach 
 and his music. Numbers of musicians now exist in Britain where formerly there 
 was but a few, who cherish the most affectionate regard for Bach and his works ; 
 who know, appreciate and can afford to make earnest endeavours in promoting a 
 general knowledge of his compositions. 
 
 In conclusion we may say that Bach is one of the great masters whose influence 
 has been long and forcibly exercised on succeeding epochs of musical history. He 
 shares with other composers the honour of being one of the fountainheads of musical 
 thought. His importance in musical art cannot be overvalued, since the whole 
 body of his works is a lasting monument of profound, beautiful, and withal pleasing 
 musical imagery, unequalled in its peculiar style. There is no plea of imme- 
 diate recognition to urge on his behalf, as a large body of the musical public are 
 conscious of his manifold merits, and strive to' extend the general knowledge of his 
 powers ; while we have also a substantial assurance of his vitality and coming 
 popularity in his steady onward progress in the past, and extensive cultivation in 
 the present. 
 
 BACH (Earl PMlipp Emanuel). German comp., third son of the above, B. 
 Weimar, Mar. 14, 1714. S. at the Thomas School, Leipzig. S. at Leipzig 
 University and at Frankfort- on-the-Oder, for the Law. Appeared in Berlin, 
 1737. Chamber musician and accompanist to Court at Berlin, 1746. Went 
 to Hamburg as Choirmaster, 1751. Director of Music in succession to Tele- 
 mann at the Court, Hamburg, 1767. D. Hamburg, Dec. 14, 1788. 
 
 Works. — Solos for the Clavichord ; Trios for Clavichord, violin and 'cello ; 
 Eighteen Symphonies for orchestra, 1741-1776; Sonatas for the Clavichord ; Solos 
 for Flute, Oboe, Harp, etc. ; Quartets for Clavichord, Flute, Alto, and 'cello, 1788. 
 Church music, consisting of Motets, Services (3 for the Fete of S. Michael, 1756-78- 
 8'), Sanctuses, Litanies, Magnificats, 22 Cantatas (1 768- 1788), etc. Philis et 
 ■lircis, cantata, 1766; Der Wirth und die Gaste, do., 1796. Die Israeliten in der 
 Wuste, oratorio, 1779. Versucb uber die wahre Art das Klavier zu spielen, mit 
 
BAC — BAC 39 
 
 Exemplen und t8 Probstucken in 6 Sonaten, 1752-1762 (Treatise on clavichord 
 playing) ; A work on Counterpoint, 1757 ; Memoir of his Father, J. S. Bach, etc. 
 This musician is placed by authorities next to his great father, by reason of the 
 uniformly excellent character of his works and their value as marking a historic 
 development in instrumental music. His vocal music is by no means of such good 
 quality as his instrumental music would seem to warrant. There exists in it a 
 decided want of those salient features which in vocal music should command instant 
 attention, these being spontaneity and melody. His church cantatas are not 
 worthy of resuscitation. His instrumental music — of which considerable quantities 
 survive — is perhaps equal to anything produced during the same period. The form 
 is strictly pure, and the ideas are not lacking of a certain grace which at all times 
 has been a recommendation. We miss, however, the fancy and powerful expres- 
 sion of Haydn and Mozart. Bach lived at a time when artificial forms were made 
 subservient to every form of Art. This has been most strikingly exposed where 
 painting is concerned by Hogarth in his "Analysis of Beauty." The same cold, 
 unsympathetic features which are apparent in much of the poetry of the period are 
 observable in the music. Very few composers, excepting, of course, Handel, J. S. 
 Bach, and others, had during K. Bach's time surmounted the contrapuntal severity 
 of the former age ; but the effort once made to escape the trammels of distorted 
 polyphony, the whole character of the music became entirely changed until the 
 transition to Mozart and Beethoven became a matter easy to understand. With 
 the development of Pianoforte music K. Bach had much to do. He brought 
 chamber music to a certain height of refinement which was never attained so com- 
 pletely before ; but he introduced no radical reforms either as regards style or form, 
 and cannot therefore be regarded as a great light in history. His music is elegant, 
 not inspiring, and for this feature he received in an elegant period marks of approval 
 which were not accorded men of greater mental powers in other branches of art 
 who were his contemporaries. It remains only to be said that at one period of his 
 career Bach studied tor the Law, but that like other musicians, his ardent love for 
 music compelled him to relinquish the dry-bones of jurisprudence for the more con- 
 genial study of harmony. As a whole, his compositions are creditable to his period 
 and his education. 
 
 BACH (Wilhelm Friedemann). German comp. and org., B. Weimar, 1710. 
 
 Educated by his father, J. S. Bach. Org. of the Ch. of S. Sophia, Dresden, 
 
 1733. Choirmaster and org. of S. Mary's Ch., Halle, 1747-67- D. Berlm, 
 
 1784. 
 
 Works.— Sonatas, Polonaises, Concertos, Fugues, Fantasias, etc., for the 
 
 Clavichord; Symphonies for 2 vns., viola, 2 flutes, and bass; Trios for 2 flutes 
 
 and bass ; Cantatas ; Church music, etc., chiefly in manuscript. 
 
 Bach was, as judged by contemporary opinion, the greatest organ-player of his 
 time. How far he influenced the art cannot now be fixed, but it seems evident 
 that in many respects his good example has been followed by many organists down 
 to the present time. We have no means of determining whether or not W. Bach 
 excelled his father, but popular opinion would seem to decide in favour of the 
 Cantor of Leipzig. His compositions are now almost unknown, with perhaps the 
 exception of a few transcribed pieces for the organ. Their claims to immortality 
 need not be disturbed. In his private relations Bach was a drunkard and a profli- 
 gate. 
 EACH (Otto). German comp., B. Vienna, 1833. Writer of symphonies, 
 
 quartets, songs, Pf. music, etc. "Lenore," opera, Augsberg, 1884. 
 
 BACHE (Francis Edward). English comp. and pianist, B. Birmingham, 14th 
 
 Sept., 1833. Gave early tokens of musical precocity. S. under Alfred 
 
 Mellon. Played violin at Birmingham Festival, under Mendelssohn, 1846. 
 
 S. under W. S. Bennett at London from 1849. S. under Hauptmann and 
 
 Plaidy at Leipzig, 1853. S. under Schneider at Dresden, 1854. Returned to 
 
 London, 1855. Went to Algeria for his health, 1856. Visited Leipzig, 1856. 
 
 Returned to England, 1857. D. Birmingham, Aug. 24, 1858, 
 
 Works.— Which is Which, an opera, 1851 ; Rubezahl, an opera, 1853 ; Six 
 
 songs for voice and Pf., op. 16; Trio for Pf. and strings, op. 25 ; Four mazurkas 
 
 for Pf., op. 13; Five Characteristic Pieces for Pf. ; Drmkmg Song; Beloved; 
 
40 BAC — BaC 
 
 Forsaken; Barcarolle; A village merry-making; Two Romances for Pf. ; Deux 
 Morceaux caract^ristiques for Pf. ; La Penserosa e TAUegra; Two Polkas for Pf., 
 in E and E flat' ; Transcriptions and Miscellaneous pieces for Pf. ; Andante and 
 Rondo Polonaise for Pf. and orch ; Concerto for Pf. and orch. , in E. Morceau de 
 Concert for Pf. and orch. ; Trio for Pf., vn., and 'cello. Songs, etc. 
 
 Bache is an example of one of the many highly talented artists who have been 
 cut off in the midst of a most promising career. It seems to be universally acknow- 
 ledged that, had he attained to full maturity, he would have been an honour and an 
 ornament to English musical art. The existing specimens of his powers must of 
 course be regarded as the initial efforts of an aspiring genius and not as examples of 
 what might have been. His Pianoforte music is brilliant and highly wrought, but 
 in other respects does not evince much greatness of conception. Like his brother 
 Walter, he was a remarkable performer on the Pianoforte, and equally expert at 
 interpreting works by masters old and new. 
 
 BACHE (Walter). English pianist, B. Birmingham, June 19, 1842. Fourth 
 son of the Rev. Samuel Bache. Lived at Birmingham, studying at the Pro- 
 prietary School till 1858. S. the Pianoforte and theory of music under James 
 Stimpson, org. of Birmingham Town Hall. 8. at Leipzig under Plaidy, Mos- 
 cheles, Hauptmann, and Richter, Aug., 1858, till 1861. Visited Milan and 
 Florence, 1861. S. under Liszt at Rome, 1862-65. Gave first concerts and 
 commenced teaching, 1862-65. Returned to London in May, 1865, where he, 
 has since resided as a teacher of the Pianoforte and concert-giver. 
 Mr. Bache is a musician of the advanced school, who, being imbued with an in- 
 tense regard for the compositions of Liszt, endeavours assiduously to extend the 
 public knowledge of them whenever a suitable opportunity occurs. His efforts have 
 been the principal means of introducing to the London public the works of that 
 remarkable though unquestionably whimsical composer ; and around the concerts 
 at which those works are brought forward is centered the most lively interest. The 
 works — instrumental and choral — which he has brought forward comprise, among 
 others, the following :— " The Legend of S. Elizabeth ; " "A Faust Symphony ; " 
 "Mazeppa," symphony (twice performed); "Orpheus," symphony (twice per- 
 formed); "Tasso, symphony (twice); "Festklange" (twice) "Les Preludes" 
 (thrice); "The 13th Psalm " (twice) ; Concertos for Pianoforte in E flat and A. 
 AH of the foregoing works, excepting ' ' Mazeppa " and the Pianoforte concerto in 
 A, were produced in England for the first time by Mr. Bache. 
 
 Although Mr. Bache has shown himself zealous in the cause of Liszt and modern 
 music, he has not been indiscreet in the matter of selection ; his programmes, as a 
 rule, being composed of music of many schools and periods. Mr. Bache has not 
 yet composed or edited any music, but he is one of the foremost among British 
 pianists. His school is essentially modern or romantic in principle, but his training 
 and catholic taste may easily enable him faithfully to interpret the great classics 
 of bygone times. While Mr. Bache has become in England the acknowledged 
 exponent of Liszt's music,- he must also be credited with having boldness enough to 
 produce side by side works of ancient and present fame ; thereby challenging com- 
 parison of their respective merits. 
 
 BACHMANN (Gottlob). German comp. and org., B. Bornitz, Mar. 28, 1763. 
 Org. at Zeitz from 1791. D. (?) Writer of Cantatas. Operas: Phsedon et 
 Naide, Orfeo, etc. Songs ; Odes. Symphonies ; Quintets and Quartets for 
 strings, etc. ; Organ music ; Pf. music ; Theoretical works, etc. 
 This very prolific composer is now almost unknown, save by a few fine songs. 
 
 BACHOPEN (Johann Caspar), Swiss comp., B. Zurich, 1692. Singing-master 
 and choir-master at Zurich. D. Zurich, 1755. 
 Bachofen has written numerous pieces for the church service, but is chiefly known 
 by his hymns and psalms, a few of which stillremain popular. 
 
 BACHSMIDT (Anton). Austria^ comp. and trumpeter, B. Moelk, 1709. D. 
 1780. Writer of symphonies, masses, concertos, operas, songs, etc. 
 
 BACK (Sir George). English naval oflScer and collector. B. Stockport, 
 1796- D. 1878. Published "Canadian Airs collected by Lieut. Back, 
 R,N., during the late Arctic Expedition under Captain Franklin. With Sym- 
 
BAC — BAI 
 
 41 
 
 phonies and Accompaniments by E. Knight, jun., the words by George Soane. 
 Lond., 1823." 
 
 BACKUS (A.) American writer, author of a treatise entitled, "History, Theory, 
 and Analysis of Music." Troy, U.S.A. 8vo, 1839. 
 
 BACON (Richard Mackenzie). English writer and teacher, B. Norwich, 1776. 
 D. Norwich. 1844. 
 
 Works. — The Science and Practice of Vocal Ornament, Lond., n.d. Elements 
 of Vocal Science ; being a Philosophical Enquiry into some of the Principles of 
 Singing. Lond., 8vo, 1824. Art of Improving the Voice and Ear, and of increas- 
 ing their Musical Powers on Philosophical Principles. 8vo, 1825. 
 
 A critic, and writer of many useful musical and other works. Editor of the 
 "Quarterly Musical Magazine and Review." 
 
 BADARZEWSKA (Thecla). Polish female comp. and pianist, B. Warsaw, 
 1838. D. 1862. Writer of many meritorious works for the pianoforte, 
 including the well-known ' ' Maiden's Prayer, "or "La Priere d'une Vierge. " 
 
 BADIA (Luigi). Italian comp., B. Tiramo, Naples, 1822. Writer of Operas 
 and Songs. 
 
 BADIALI (Cesare). Italian bass vocalist, B. i8oo. Dibut at Trieste in 
 1827. Sang in Italy, Spain, England, France, and America. D. Imola, 
 Nov. 18, 1865. 
 Badiali has written a few songs. He is written of as having been a great singer : 
 one of the best of his day. 
 
 BAEHR (Johanu). German ecclesiastic, writer, comp., and vocalist, B. 1652. D. 
 1700. 
 
 BAERMANN. See Barmann. 
 
 BAGGE (Selmar). German critic and comp., B. Coburg, June, 1823. S. at 
 Prague, under D. Weber, 1837. S. under Sechter. Prof, of comp. at Vienna 
 Cons., 1851. Org. at Vienna, 1853-55. Edited journal at Leipzig, 1863. 
 Director of Music School at Basle, 1868. 
 Works. — Instrumental music, consisting chiefly of music for Pf., and combin- 
 ations of stringed and other instruments. 
 
 Beigge is a conservative and has attacked Wagner with a vehemence worthy of a 
 thorough Teuton. He adores Beethoven, Schumann, and other masters, and his 
 writings are remarkable for acumen and clearness. His compositions are not so 
 good as those of Wagner or Raff, but are, for educational purposes, all that can 
 be desired. 
 BAI (Tommaso), or Baj. Italian comp., B. Bologna, in latter half of 17th 
 
 century [1680]. D. Rome, 1714. Comp. of a famous miserere, popularly 
 believed to be one of the finest specimens of this class of devotional music ; 
 also of masses, motets, etc. 
 
 BAILDON (Joseph). English comp. and vocalist, B. 1727. Gent, of the 
 Chap. Roy. Lay-vicar of Westminster Abbey about middle of i8th century. 
 Gained a first prize given by the Catch Club, 1763. Gained another prize, 
 1766. Org. of St. Luke's Ch., Old Street, London. Org. of All-Saints' Ch., 
 Fulham. D. London, May 7, 1774. 
 Works. — Collection of Glees and Catches, Lond. [1768]. Catches. "The 
 Laurel," a collection of Songs. Songs in "Love in a Village." Ode to Con- 
 tentment. 
 
 BAILEY (Thomas and Daniel). American music publishers and composers. 
 Established about 1755. They issued various collections of psalmody, in- 
 cluding "A Complete Melody in Three Parts" [from Tansur], 1755. They 
 also put forth " New and Complete Introduction to the Grounds and Rules of 
 Music," 1764. 
 
 BAILLIE (Peter). Scottish comp. and violinist, B. Libberton, Mid-Lothian, 
 1779. Educated by his Parents. Learned to be a Mason. Mem, of the 
 private bands of several noble families, D, after 1825. 
 
42 BAI — BAK 
 
 Works.— "A Selection of Original Tunes for the Pianoforte and Violin," Edin- 
 burgh, fo., 1825. Scotch dance music, etc. 
 
 The contents of No. I consist of Reels, Jigs, and Strathspeys, named after various 
 persons. Other pieces in manuscript are still in existence. 
 
 BAILLOT (Pierre Marie Francois de Sales). French comp. and violinist, 
 B. Passy, Oct. i, 1771. Gave early signs of a love of music. S. under 
 Polidori and Sainte-Marie. Sent to Rome by M. de Boucheporn, a French- 
 man who had adopted him, where he was further instructed in violin-playing, by 
 Pollani,i783. Played in the orchestra of the Paris opera, 1791. Received Govern- 
 ment appointment in Finance department. Joined Army, 1793. Returned to 
 Paris, and became a teacher, 1795. Mem. of Napoleon's private band, 1802. 
 Travelled with Lemare in Russia, 1805-8. Established chamber concerts in 
 Paris, 1814. Played in England, etc., during 1815-16. Leader of orch. at 
 Paris Opera, 1821-31. Leader of Royal Band, 1825. Prof, of violin in Paris 
 Cons. D. Paris, Sept. 15, 1842. 
 Works. — " Methode de Violon adoptee par le Conservatoire," 1824 (written in 
 conjunction with Rode and Kreutzer). Six duets for 2 violins. Fifteen trios for 
 2 violins and 'cello. Twelve caprices and studies for solo violin. Nine concertos 
 for violin and orchestra. Thirty airs with variations for violin and orchestra. 
 Three nocturnes for 5 instruments. Three quartets for 2 violins, tenor, and 'cello. 
 Sonata for Pf. and vioUn. Twenty-four preludes. Fantasias, etc. Contributions 
 to periodical literature. 
 
 During his various tours, Baillot was received with enthusiasm, and audiences 
 took a wholesome delight in listening to his legitimate playing. His whole style 
 was more noble in purpose than that of Paganini, and he did not descend to 
 trickery. This is greatly in his favour, and places him with Joachim and F. David 
 as a truly artistic violinist. Baillot's compositions are not of much value considered 
 as music, but as violin practice they are invaluable; the "Methode" and the 
 "Studies" being especially useful. Baillot was a. thorough master of his instru- 
 ment, and showed to every advantage in works demanding dignified and refined 
 interpretation. 
 
 BAIN (John). Scottish musician and teacher in Glasgow. Published "The 
 Vocal Musician, being a Collection of Select Scots and English Songs, adapted 
 to two, three, or four Voices," Glasgow, 1774. 
 
 BAIITI (G-iuseppe, Abbe). Italian comp. and writer, B. Rome, Oct. 21, 1775. 
 
 Chorister in Pontificial Chapel, 1802. S. under Jannaconi. Admitted to holy 
 
 orders. D. Rome, May 21, 1844. 
 
 Works. — Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi 
 
 da Palestrina, Rome, 2 v., 4to, 1828. Saggio Sopra I'identiti de'ritmi Musicale e 
 
 poetico, Florence, 8vo, 1S20. Church Music, including a famous Miserere, etc. 
 
 His biography of Palestrina is the most trustworthy one written. It has been 
 translated into German (Leipzig, 1834), and is a standard, though one-sided, work 
 of individual musical biography. 
 
 BAITZ (Heinricb Hartmann). Dutch organ builder of Utrecht, flourished 
 1 708- 1 770. 
 
 BAKEB (Benjamin Franklin). American writer and comp., B. Wenham, 
 Mass, July 10, 181 1. S. music in Salem, 1831 ; and under J. Paddon at 
 Boston. Director of Music in Dr. Channing's Ch., 1839. Vice-President of 
 Handel and Haydn Soc. Editor of Boston Musical fournal. Principal of 
 Boston Music School, etc. 
 Works. — Theoretical and Practical Harmony, Boston (Ditson), n. d. Vocal 
 
 Method, with L. H. Southard (Do.) Elementary Music Book (Do.) School 
 
 Music Book (Do.) Church Chorals (collected). The Burning Ship, a Cantata. 
 
 The Storm King, a Cantata. Normal School Teacher, with M'^Trimmer 
 
 (Brainard's, Cleveland, n. d.) Songs, etc. 
 
 BAKEB (George). English comp., B. Exeter, 1768 [1750]. Instructed in 
 music by Jackson of Exeter and Hugh Bond. Entered family of the Earl of 
 Uxbridge, 1775. Placed by Earl of Uxbridge under W. Cramer and Dussek 
 
BAK — BAL 43 
 
 for instruction. Ore. at Stafford. Mus. Doc, Oxon., 1801. D. Rueelev. 
 Feb., 1847. 
 
 Works. — "The Caffres," musical entertainment, London, 1802. Sonatas for 
 the Pf. Organ Voluntaries. Six Anthems, for 4, 5, and 6 voices. Glees, for 3 
 and 4 voices. Songs, etc. 
 
 BAEEB (Sir Henry Williams, Bart.) English divine and musician, B. 
 
 London, May 27, 1821. Educated at Cambridge. B.A., 1844. M.A., 1847. 
 
 Vicar of Monkland, near Leominster, 1851. D. near Leominster, Feb. 1877. 
 He was one of the principal compilers of "Hymns, Ancient and Modern," for 
 which he wrote original hymns. 
 
 BAEEB (James Andrew). English org. and comp., B. Birmingham, Nov. 8, 
 1824. Comp. vocal and instrumental music. 
 
 BALABT (Gabriel). Spanish operatic comp., B. Barcelona, June 8, 1824. 
 
 BALATEA (Hans). Austrian cond. and comp., B. Hoffnungsthal, Moravia, 
 March 5, 1827. Chor. in Olmutz Cath. S. at Vienna under Proch and 
 Sechter, 1843. Director of the " Academa" choir at Vienna, 1844. Went 
 to New York in June, 1849. Settled at Milwaukee, 1850. Established the 
 Milwaukee Musical Society, 1850. Resided at Chicago as Teacher and Cond. 
 from i860. Established at Chicago "The Philharmonic Society," "The 
 Musical Union," "The Liederkranz, " and the "Orpheus Society." Director 
 of the "Chicago Sangerfest," or Musical Festival. 
 Works.— "The Power of Sound," Cantata, 1856. Pf. Concertos. Songs. 
 Pianoforte Music, etc. 
 
 Balatka has a wide reputation throughout the Northern States of America for his 
 great organising powers. He has done much to promote the study and taste for 
 good works in Chicago and district, and has produced among other works ' ' The 
 Creation ;" " Masaniello ;" "Der Freischiitz ;" Symphonies by Beethoven, Mozart, 
 and Haydn ; Instrumental works by Wagner and others. He has also conducted 
 numerous Festivals in different parts of the United States. 
 
 BALBASTBE (Claude). French org. and comp., B. Dijon, Dec. 8, 1729, 
 D. Paris, April 9, 1799. Writer of organ music, etc. 
 
 BALDENECEEB (Johann Bernard). German comp. of chamber music, 
 B. [?] D. 1849. 
 
 BALDENECEEB (Johann Bernard), the younger, B. Mayence, Aug. 23, 
 1791. D. June 25, 1855. Pianist and comp. for his instrument. 
 
 BALDENECEEB (Nicolas), brother of the above, B. Mayence, March 27, 
 1782. D. [?] Writer of organ and Pf. music. 
 
 BALDEWEIN (Johann Christian). German comp. of songs and Pf. music, 
 
 B. Cassel, 1784. D. [?] 
 BALDWIN (W.) English writer, author of " The Science of Music," London, 
 
 l2mo, 1829. 
 
 BALFE (Victoire). Irish soprano vocalist, daughter of M. W. Balfe, B. Paris, 
 Sept. I, 1837. S. under W. S. Bennett, Balfe, and Garcia. Dibut as 
 "Amina" in "La Sonnambula," May 28, 1857. Sang in Ireland and Italy. 
 Married to Sir John F. Crampton. Divorced from him. Married to the Duke 
 de Frias, a Spanish noblemen. D. Madrid, Jan. 22, 1871. 
 Miss Balfe sang in the " Bohemian Girl," "Don Giovanni," and other operas, 
 
 but was by no means suited for heavy parts. Her voice was light and pleasant in 
 
 quality, but not powerful. 
 
 BALFE (Michael William). Irish comp. and vocalist, B. in Pitt Street, Dub- 
 lin, May 15, 1808. S. in Ireland under C. E. Horn, O'Rourke (Rooke) and 
 Lee. Taken to England by Horn. Violinist at Drury Lane Theatre, 1824. 
 Dibut as vocalist, London and the provinces, 1824. Adopted by Count 
 Mazzara, 1825. Taken to Italy by Mazzara. Married to Mdlle Lina Roser, 
 vocalist. Sang in Italy, and in Paris, 1827. Remained on the Continent till 
 
44 BAL — BAL 
 
 1835. Appeared in London as vocalist, 1835. Manager of Lyceum Theatre, 
 1839. Cond. National Concerts at Drury Lane, 1850. Appeared m Russia, 
 1852. Cond. at H. M. Theatre, 1845-52. Engaged as Composer, 1852-70. 
 D. Rowney Abbey, Herts, Oct. 20, 1870. 
 Vfo^KS.— Operas : I Rivali di se Stessi, Palermo, 1829; Un Avertimento di 
 Gelosi, Pavia, 1830; Enrico Quarto al passo della Marno, Milan, 1831 ; Siege of 
 Rochelle, Lond., 1836; The Maid of Artois, Lond., 1836; Catherine Grey, do., 
 1837; Joan of Arc, do., 1837; Diadeste, do., 1838; Falstaff, do., 1838; Keol- 
 anthe. do., 1841 ; Le Puits d' Amour, Paris, 1843; The Bohemian Girl, London, 
 Nov. 27, 1843 ; The Daughter of St. Mark, Lond., 1844 ; Les Quarte Fils Aymon, 
 Paris, 1844; The Enchantress, Lond., 1845; L'Etoile de Seville, Paris, 1845; 
 The Bondman, Lond., Dec. 11, 1846 ; The Devil's in It, Lond,, 1847; The Maid 
 of Honour, Lond., 1847; The Sicilian Bride, do., 1852; Pittore e Duca, do., 
 1856; (revived as "The Painter of Antwerp," 1881); The Rose of Castille, 
 Lond., 1857 ; Satanella, do., 1858 ; Bianca, do., i860 ; Blanche de Nevers, 
 do., i860; The Puritan's Daughter, do., 1861 ; The Armourer of Nantes, 
 do., 1863; The Sleeping Queen, Lond., 1863; II Talismano, do., June 
 II, 1874. Cantatas: Mezeppa, Lond. [?]; The Page [?]; one produced 
 at Bologna, one produced at Paris. Moore's Irish Melodies harmonised, 
 1859 (Novello). Six nev\f Songs and a Duet, Longfellow, 1856. Trio for 
 Pf., vn., and 'cello, in A. Glees, Part-Songs, etc.: Hark! 'tis the Hunter's 
 jovial horn ; Trust her not ; Excelsior. Songs and Ballads: The Angels call me ; 
 Annie of Tharaw ; The Arrow and the Song ; As the sunshine to the flower ; A 
 home in the heart ; Ah, would that 1 could love thee less ; Anabel Lee ; A Simple 
 Rose ; Bird of the twilight ; Beneath a Portal ; The Bells ; Bridal Ballad ; Come 
 into the Garden, Maud (Tennyson) ; Daybreak ; The day is done ; Fortune at her 
 Wheel ; Fandango ; The First Kiss ; Fairy and the Flowers ; Flowers, sweet 
 flowers ; Good night, beloved ; The Green trees whispered ; Hidden voices ; Long 
 ago ; Once more ; That last light of sundown ; The Lonely Rose ; The joy of 
 Tears ; I'd rather be a Village Maid ; Maureen ; Merry and Free ; Merry May ; 
 Noble Foe ; Sea hath its Pearls ; Sing, Maiden, sing ; Spirit of Light ; The 
 Happiest Land ; Margaretta ; Nelly Grey ; The Power of Love ; The Rainy Day ; 
 Scenes of Home ; Stars of the Summer Night ; What does little Birdie say ; I love 
 you ; Mary ; Fresh as a Rose ; Phoebe the Fair ; Old Friends ; Zillah ; Killarney ; 
 Defence, not Defiance ; The Three Fishers ; Lady Hildred ; Maggie's Ransom ; 
 O let the solid ground ; Kathleen Machree ; Rose of the Heath ; The Evening 
 chime is sounding. Vocal Duets. New Universal Method of Singing without the 
 use of Solfeggi, Lond., fo. n.d. Miscellaneous Instrumental Music. 
 
 If lovely melodies, appropriate orchestration, and good dramatic illustration can 
 constitute a claim on the sympathies of musicians, Balfe is fairly entitled to a con- 
 siderable amount of popularity. Always rising to the poeiical level of his book, and 
 palpably improving lame situations, he seems to have been successful in his treat- 
 ment of whatever fell to his lot. The librettos which he set were almost invariably 
 puerile ; their poetical merits were commonplace ; and they abounded in unskilfully 
 devised situations. The " Bohemian Girl," his most popular, but not most artistic 
 work, is a fair specimen of what he could do with absolutely absurd poesy. Wit- 
 ness : — 
 
 " In the Gipiy's life you read 
 The life that all would like to lead 
 Sometimes under roof, and sometimes thrown 
 Where the wild wolf makes his lair. 
 For he who's no home to call his own 
 Will find a home somewhere." 
 
 Shade of Dryden ! The sentiment of this lovely lyric, to say nothing of its rhythm, 
 is entirely wrong. Gipsies even in the i6th century preferred to sleep in barns. 
 The attraction of a "wild wolfs lair" seems somewhat at variance with the details 
 narrated in Fielding's veracious history of "Joseph Andrews," of the doings of 
 modern Egyptians in the last century. The above rhyme is a very favourable 
 sample of the style of libretto which not only Balfe, but Barnett, Wallace, and 
 Macfarren, had to contend against. The good music which has been lavished on 
 the trash called operatic poetry warrants the assertion that English composers have 
 invariably raised their themes to a height of excellence immeasurably superior to 
 the quality of their books. Sufficient allowance has rarely been made by British 
 
)3aL— Sal 4^ 
 
 ■" - ' - — - '- - '- -. — . ■ 
 
 writers for the shortcomings of such librettos, and it remains a surprising fact that 
 they still maintain that the musical faculty was denied native composers of thirty 
 odd years ago. 
 
 Balfe's genius is exclusively lyrical, and he is most successful in those melodies 
 which colour and enforce passages of human interest. "The Bondman," "The 
 Bohemian Girl," " The Talisman," " The Daughter of St. Mark," " The Siege of 
 Rochelle," and " Satanella," are his finest creations ; and in point of melody need 
 bow to no other English work. They are exquisite musical works when regarded 
 in their proper aspect as relaxing and amusing entertainments for the public, and 
 they should not be judged or measured by the absolute standards of more preten- 
 tious works. Many of his songs are still in vogue among cultivated musicians, and 
 at least two of his operas, "The Bohemian Girl " and "The Rose of Castille" 
 (on e of his worst), are constantly being performed in the English provinces. 
 
 A. life of Balfe written by C. L. Kenny was published in 1876, and contains an 
 account of his last opera, "II Talismano," written by Desmond Ryan. In other 
 respects the book is chiefly remarkable for much gossipy writing, and a great 
 absence of dates. Mr. Ryan seems to consider this last work (II Talismano) of Balfe's 
 as being quite superior in merit to anything else he produced. Although a more 
 artistic, better elaborated, and certainly more musicianlike work than any of his 
 others, it does not contain those elements of popularity which are now required to 
 ensure success with the public. French light opera has made the public adverse to 
 any melody not catchy, and although Balfe has shown himself in former works 
 possessed of this virtue to a great extent, he does not appear in the present instance 
 to have desired to sacrifice his good name to popularity. Should English Opera 
 ever be establishe d on a thoroughly national footing, it will be necessary to draw 
 largely on the many works which Balfe has produced. Of those works, "The 
 Bondman," "The Daughter of St. Mark," "The Siege of Rochelle," "The 
 Talisman," and, of course, "The Bohemian Girl," appear most likely to prove 
 acceptable. It would be truly gratifying to see such operas mounted with all the 
 elaborate stage accessories now deemed necessary for works of even fourth-rate 
 merit. We have formerly mentioned his songs as being possessed of many attractive 
 features, and would reproduce that statement with the additional remark that they 
 seem to be embued with considerable vitality, despite many unfavourable critiques 
 which greeted their original appearance. As a vocalist Balfe was considered of a 
 high order of merit, and it has been asserted that he was one of the leading bary- 
 tones of his time. His acting was of only medium quality, and was only balanced 
 by the surpassingly fine quality of his voice. He played the violin in the earlier 
 part of his career, but like Wallace, never attained to first-rate ability. 
 
 Regarded as a whole, Balfe's career seems romantic when read in conjunction 
 with the ordinarily prosaic records of concerts and appointments which comprise 
 the general substance of other musicians' lives. The life endeavour of Balfe was 
 one great struggle to establish English opera on a secure foundation ; and to a small 
 degree he succeeded. Since his time there has always existed a company more or 
 less national in character which has been accepted by the public as a standard insti- 
 tution, and at the present date a warm and increasing interest is manifested in the 
 operatic productions of living Englishmen, 
 
 BALL (William). English writer and adapter, B. 1784. D. London, May 14, 
 1869. 
 Ball was the writer of the English version of Mendelssohn's " St. Paul," Rossini's 
 " Stabat Mater," and several Masses by Mozart, Haydn, and Beethoven, and 
 others. He also contributed to the musical press, and wrote the verses of many 
 songs. 
 
 BALTZAE (Thomas). German violinist, B. Lubeck, 1630. Appeared in 
 England in 1656. Mem. of the King's private band, 1663. D. [1664J. 
 The best violinist of his period, famed alike in England and on the Continent for 
 the vigour and purity of his style. Baltzar, though unknown in general musical 
 history, was nevertheless one of the founders of classical violin-playing. 
 
 BALTZARINI Italian violinist of i6th century. First came into notice as 
 leader of the band of Italian violinists, brought from Piedmont to the Court of 
 
46 BAM — BAN 
 
 Catharine cle':vledecis, by Marshal de Brissac. He is commonly credited with 
 the introduction of the Ballet into France ; the work usually regarded as the 
 first being "Circe," produced in 1581 for the nuptials of the Duke of Joyeuse 
 with Mdlle. de Vaudemont, sister ot Catharine de'Medecis. 
 
 BAMFOBD (H. A.) English musician, author of "The Rudiments of the 
 Theory of Music, Designed for the use of pupil-teachers and students in 
 Training Colleges," Manchester, 8vo, 1881. 
 
 BANASTEB (Gilbert). English poet and musician who flourished in latter 
 half of isth century. His works are "The Miracle of Saint Thomas," in 
 verse, contained in Stone's "History of the Monks of Christ Church (Canter- 
 bury) ;" "The Story of Guiscard and Sigismond," trans., in verse; and numer- 
 ous prophecies. These latter, however, are said by Warton to have emanated 
 from a William Bennett. 
 
 Banaster received in 1482, 40 marks yearly as ' ' Master of the Song assigned to 
 teach the children of the King's Chapel." His musical attainments, spoken of as 
 great, are not known beyond his contributions in the Fairfax MS. 
 
 BANCHIEBI (Adriano). Italian comp, and writer, B. Bologna, 1567. S. 
 under Guami. Org. of Ch. of Imola. Org. of S. Maria, Regola. Org. of 
 Ch. of S. Michael, Bosco, near Bologna, 1603. D. 1634. 
 Works. — Primo libro di Madrigali a 5 voci, 1593 ; Tanie et Concert! a otto 
 voci ; II primo libro di madrigali a 3 voci, 1 594 ; Salutazione loretane a otto voci, 
 1594 ; Primo Libro di Canzonette a quattro voci, 1595 ; Secondo Libro di Canzon- 
 ette a 4 voci, 1595 ; Terzo libro di Canzonette a 4 voci, 1596 ; II quarto libro di 
 canzonette a 4 voci, 1597 ; II quinto libro di Canzonette a 4 voci, 1598 ; La Pazzia 
 senile, raggionamenti vaghi e dilettevoli, composti e dati in luce colla musica a tre 
 voci, 1598; Salmi a quattro voci, 1598 ; Missa Solenne a otto voci, 1599; Secondo 
 libro di Madrigali a 5 voci, 1600 ; Sinfonie Ecclesiastiche ossia canzoni fr.mcesi 
 per cantare et sonare a 4 voci, 1601 ; Terzo libro di Madrigali a 5 voci, 1602 ; 
 Fantasi e Canzoni, 1603 ; Conclusioni nel suono dell' organo, novellamente 
 tradotte et dilucidate in scrittori musici ed organisti celebri, op. 20, 1609 (second 
 edition) ; Motetti a due voci, op. 21, 1609 ; Li Metamorfosi musicali, quarto libro 
 delle canzonette a tre voci, 1606 ; Carta di Sacre Lodi a 4 voci, 1605 ; L'Organo 
 suonarino, opera ventesima quinta, Venice, 1605 ; La Prudenza Giovenile (musical 
 comedy), 1607. Cartella musicale nel canto figurato (2nd ed.), 1610; Concerti 
 moderni a 2 voci,.. .1617 ; A number of single masses and madrigals; other collec- 
 tions of church music and madrigals. 
 
 This composer, at one time greatly admired, is now known only to the curious 
 antiquary. His music, if melodious is also extremely learned, and on this account 
 would not accord with present tastes. His madrigals are not equal to those of the 
 English school, nor is his sacred music, though profound, marked by much 
 devotional expression. 
 
 BANCK (Carl). German comp., E. Magdeburg, 1804. S. under Schneider, 
 Zelter, and Klein. "Writer of Lieder and Pf. music, of which a number of 
 pieces are issued by Breitkopf and Hartel. 
 
 BANDEBALI (Davide). Italian vocal instructor, B. Palazzo, Jan. 12, 1789. 
 D. Paris, June 13, 1849. Prof, solfeggi at Paris Cons. Wrote songs and 
 vocal exercises. 
 
 BANISTER (Henry Charles). English comp., pianist, and writer, B. London, 
 June 13, 1831. Son of H. J. Banister, noticed below. S. under his father, origi- 
 nally, but principally self-taught. Gained the King's Scholarship at R. A. M., 
 Dec, 1846. 8. at the R. A. M. under C. Potter, Jan., 1847— Dec, 1848. 
 Gained King's Scholarship again, and S. at the R. A. M. till 1850. Assistant 
 Prof of Harmony and Comp. at R. A. M., Jan., 1S51. Appointed Prof, of 
 Harmony and Comp. (full post) at the R. A. M., 1853, a position which he 
 now (1885) holds. Gave First Concert, Nov,, 1855. Prof, of Harmony at 
 Guildhall School of Music, London, 1880. Prof, of Harmony at the Royal 
 Normal College for the Blind . 
 
feAN — BAN 4j 
 
 Works. — Op, i. Canzonet — Lay a garland on my hearse, 1846; op. 2. Three 
 Bagatelles for the Pf., ist set ; op. 3. Canzonet — Go, you may call it madness, 
 folly; op. 4. Three Bagatelles for the Pf., 2nd set ; op. 5. Seven Variations on an 
 original air. Dedicated to Cipriani Potter ; op. 6. Three Bagatelles for the Pf., 3rd 
 set ; op. 7. Sonata in F sharp minor, for Pf. duet, produced 1852 ; op. 8. Gather ye 
 rosebuds, part song ; op. 9. Second air with variations for Pf. ; op. 10. Trifles for 
 Pf. ; op. II. Tarantella (No. i) in B flat, for Pf. ; op. 12. Song— The Hemlock Tree; 
 op. 13. Mazurka — Coralie, for Pf. ; op. 14. Barcarolle — La Gondoletta, for Pf. ; op. 15. 
 Trio — A Morning in May, for female voices ; op. 16. Three Songs — Rose and Violet, 
 Maiden wrap thy Mantle round thee, O Heart, my Heart ; op. 17. The Wind goes 
 by, sacred song ; op. 18. Capriccietto for Pf. ; op. 19. Felice, ma non gajo, for Pf. ; 
 op. 20. Two Winter Songs; op. 2i. Trio — Summer Days, female voices; op. 22. 
 Good Wishes, piece for Pf. ; op. 23. Song — Bonnie wee Thing ; op. 24. Song — 
 The Lark and the Nightingale ; op. 25. Anthem — O satisfy us early ; op. 26. 
 Souvenirs, for Pf., composed for Miss C. E. Burr ; op. 27. Ricordanza, for Pf. ; 
 op. 28. Low dies the Day, part song ; op. 29. Farewell, for Pf. ; op. 30. Part 
 song — Hail ! bright Springtime, 5 voices ; op. 31. Andante with Variations for Pf. 
 duet, in F major ; op. 32. Sacred Song — My voice shalt Thou hear in the Morn- 
 ing ; op. 33. Sacred Song — I will lay me down in peace ; op. 34. Allegretto alia 
 Marcia for Pf. 35. Chants : contained in "The Psalter and Canticles, edited by W. 
 H. Monk. 36. MSS. Works : Sonata in E, for Pf. ; First Symphony in D, for orches- 
 tra, 1847; Second Symphony in E flat, for orchestra, 1848; First Quartet for 
 Strings, in F sharp minor, 1848 ; First Overture in E flat, for orchestra, 1849 ; 
 Third Symphony for orchestra, in A minor, 1850 ; Second l?f. duet, Sonata, in G 
 minor, 1850 ; Second Quartet for Strings, in D, 1850 ; Sacred Cantata for chorus, 
 solo voices and orchestra, April, 1851 ; Second Overture — Cymbeline, July, 1852 ; 
 Andante and Rondo for Pf. and orchestra, in E flat, March, 1852 ; Third Overture 
 in E minor, for orchestra, June, 1852 ; Fourth Symphpny in A, for orchestra, 
 April, 1853; Third Sonata for Pf. duet, in A flat; Fourth Sonata for Pf. duet, in 
 A minor ; Capriccio in A minor, for Pf. and orchestra ; Fourth Overture — The 
 Serenade, in E, for orchestra; Fantasia in D, for Pf. and orch.. Musical Soc, 1863 ; 
 Intermezzo in E, for orch., Alexandra Palace, 1875 ; Fifth Overture — From Sorrow 
 to Joy, in B flat, 1876; Sonatas for Pf. in B flat, F sharp minor (*), F minor, F 
 sharp minor (•>) ; Fantasia in F minor, for Pf., 1874; String Quartet in E. minor ; 
 Cantata — The Sea Fairies, words by Tennyson, for female voices and orch., 
 R.A.M., 1861 ; Cantata — The Maiden's Holiday, for female voices (composed for 
 private choir of Madame Bassano). 37. Text-book of Music, London, Dec, 1872, 
 i2mo, and other editions. Numerous Songs, Part-Songs, etc. 
 
 Number 37 of the foregoing list is perhaps that work by which Mr. Banister is 
 most widely known. The neat, clear, and concise language in which it is written, 
 makes it a refreshing and agreeable study for musical students. The fact that an 
 eleventh edition has been called for is a sufficient witness to its importance and 
 widespread popularity among musicians. Mr. Banister has likewise lectured on 
 "Some of the underlying principles of Structure in Musical Composition," before 
 the Musical Association of London ; a subject on which he is an eminent authority ; 
 and on "Some Musical Ethics and Analogies," published London, 1884, i2mo. 
 
 BANISTER (Henry Joshua). English violoncellist, father of above, B. 
 London, 1803. D. London, 1847. Wrote a work entitled " Domestic music 
 for the wealthy ; or a Plea for the Art and its Progress," London, 8vo, 1843. 
 Banister was one of the best of English instrumentalists, and played violon- 
 cello at many of the principal concerts. He published the " Tutor's Assistant 
 for the Violoncello ;" "Lessons on Double-notes" (cello) ; and "Exercises on 
 the use of the Thumb." His father, Charles William [1768-1831], was a 
 comp., and published a "Collection of Vocal Music," London [1803], hymns, 
 songs, etc, 
 
 BANISTER (Jollll). English comp. and violinist, B. London, 1630. Sent by 
 Charles II. to France, where he studied the violin. Returned to England and 
 became leader of the King's band. Established and carried on concerts in the 
 "Musick School," Whitefriars, 1672-78. Dismissed from the King's band 
 for upholding the superiority of English over French violin-players. D. 
 London, Oct., 1679. 
 
48 BAN — BAP 
 
 Works. — Music for Sir William Davenant's "Circe" (with P. Humphrey), 
 1676. Music for Shakespeare's "Tempest," 1676. Songs. New Ayres and 
 Dialogues composed for voices and viols of two, three, and four parts, Lond., 1678 
 (with Thomas Low). Lessons for viols or violins, etc. 
 
 Banister's songs are good specimens of vocal writing, and are thoroughly English 
 in style. He was regarded as one of the most capable performers on the violin 
 living in the 17th century in England, and was evidently bold in his expressions of 
 opinion, when he could uphold, in the face of a royal patron, the superior powers 
 of his countrymen as violinists. 
 
 BANISTER (John, Junior). English violinist, son of above, one of the musi- 
 cians in the private bands of Charles IL, James IL, and Anne. Principal 
 violinist at the Italian opera, London. 
 
 BANKS (Benjamin). English violin-maker, B. Salisbury, July 14, 1727. 
 Worked chiefly at Salisbury. D. Salisbury, Feb. 18, 1795. 
 This maker, who is one of the greatest among the English, copied Amati, and 
 produced violins, violas, and 'cellos of very fine quality and good tone. These 
 instruments are now rare, and command good prices. 
 
 BANKS (James and Henry). Sons of the above, worked together and pro- 
 duced many fine instruments. Benjamin Banks, junior (1754-1818) worked 
 with his father, and produced a number of fair copies of Amati. The general 
 characteristics of the work of Banks' family are pure, sweet tone ; pale yellow 
 colouring ; high Amati model ; and general excellent finish. 
 
 BANNISTER (Charles), English comp. and vocalist, B. Gloucestershire, 
 1760. Joined travelling theatrical company as actor, and played " Romeo," 
 "Richard," etc., 1778. Appeared in London as actor in Foote's "The 
 Orators." Sang at Ranelagh and Mary-le-bone Gardens. Sang at the 
 " Royalty," London, and in the English provinces. D. Loud., Oct., 1804. 
 Bannister was a fair actor and a better vocalist, excelling in buffo pieces. His 
 
 imitations of Champness, Tenducci, and other vocalists were at one period features 
 
 in the entertainments at which he appeared. Shield composed for him "The 
 
 Wolf." 
 
 BANTI (Brigitta Giorgi). Italian soprano vocalist, B. Crema, Lombardy, 
 1759. Appeared in London, 1779-80, and again in 1799, as "Semiramide" 
 in Bianchi's opera of that name. This vocalist was originally a street singer, 
 and made her dibut on the operatic stage at Paris in 1779. D. Bologna, 
 Feb. 18, 1806. 
 
 BANWART (Jacob). Swedish comp. who flourished during the 17th century. 
 D. about 1657. Wrote music for church and chamber. 
 
 BAPTIE (David). Scottish comp. and writer, B. Edinburgh, Nov. 30, 1822. 
 
 Self-taught in music. Music-seller in employment of Swan & Pentland, 
 
 Glasgow, etc. 
 Works. — Descriptive Catalogue of upwards of 23,000 Secular part-songs, con- 
 sisting of Glees, Madrigals, Elegies, Trios, Quartets, etc. (MS.); commenced 
 about 1846. Harmonium Tune Book, 1867-68 (edited with Wm. Hume). Har- 
 monium Chant Book, 1868-69 (do.) Union Song-Garland, 1874 (do.) The 
 Scottish Book of Praise (with Lambeth), 1876. Academy Vocalist (selected), 
 1879. Richard Werner's Hymn Book (revised), 1881. Moody and Sankey's 
 Hymn Book, 1881. Vocal Composiiions:— Glees and Part-songs (Original) : A 
 rosy gift I twine for thee ; Evening (It is the hour) ; Soft pity never leaves ; Grati- 
 tude (Sweet is the breath) ; The Haaf Fishers ; Jolly Shepherd ! ; The hour is lovely ; 
 When pleasure sparkles; Beautiful Spring; Breathe softly, flutes; Come away, 
 come away, Death ! ; Come, gentle Peace ; Come to the sunset tree ! ; Glide along, 
 our bonny boat ; The Lark (Lo ! the blithesome lark) ; Let not dull sluggish sleep ; 
 May song (Beautiful flow'rs) ; Morning (Hark ! the lark begins) ; Now the bright 
 morning star ; The Shepherd's Holiday ; Spring Morning (See ! the Spring) ; The 
 murmur of the merry brook ; The sun's bright orb ; By dimpled brook ; Call the 
 loves around ; Come from the cloud of night ! ; Hark ! the speaking strings ; 
 
Bap — BAk 4^ 
 
 Martilmasse Day ; Soft thro' the woodland ; Sweetly, sweetly tune the Lyre ; Wind 
 thy horn, my hunter boy ! Glees, hamimized or adapted : Banks of the Yarrow ; 
 Bells of Aberdovey ; Bells of St. Michael's Tower ; Down the burn, Davie ; 
 Waters of Elle ! ; Erl-King ; Fair Flora decks ; Hark ! Apollo strikes the Lyre ! ; 
 Hence, gloomy care I ; Hope told a flatt'ring tale ; It was a friar of orders grey ; 
 Kelvin Grove; Pretty Fairy! when I view; Rosabelle (O listen, listen); Row', 
 gently row ; Rule Britannia ; The Storm ; Winds gently whisper ; The midges 
 dance aboon the burn ; The Maid of Islay. Anthems : Calm on the bosom of thy 
 God ; My soul truly waiteth ; Sing aloud unto God ; The Prodigal Son (I will arise) 
 adapted; also, hymn tunes, chants, school songs harmonized, rounds, etc. ; Hand- 
 book of Musical Biography. London, i2mo, 1883. 
 
 BAPTISTE (Ludwig Albert Friedrich.) French comp., B. Attingen, 
 Swabia, Aug. 8, 1700. D. Cassel, 1764. Composer of instrumental music. 
 
 BABBA (Joze). Spanish comp., B. Barcelona, April 15, 1804. Writer of 
 church music. D. Barcelona, 1883. 
 
 BABBAJA (Domenico). Italian impresario, B. Milan, 1778. D. Posilippd, 
 Oct. l5, 1841. Produced operas by Rossini, Bellini, and Donizetti, and brought 
 fsrward a number of famous vocalists, 
 
 BABBANDT (Charles). German org. and comp., was org. of Chap, of Count 
 Haslang, the Bavarian Ambassador, London, 1764. Writer of symphonies 
 for orchestra, and sonatas for harpsichord, etc. Teacher of Samuel Webbe, 
 and compiler of "Sacred Hymns, Anthems, and Versicles,"... 1766. 
 
 BARBARA (Pierre Henri). French pianist and comp., B. Orleans, April 28, 
 1823. D. Libourne, May 9, 1863. 
 
 BABBABiINO (Bartolomeo). Italian comp. of motets and madrigals, issued 
 during 1609-1617. 
 
 BABBATI (Aniello). Italian professor and comp., B. Naples, Sept. 4, 1S24. 
 Writer of masses, operas, etc. 
 
 BABBEDETTE (Henry). French writer, B. 1825. Author of works on 
 Beethoven, Chopin, Weber, Schubert, Mendelssohn, Heller, etc. The work 
 on Heller has been translated into English by the Rev. R. Brown-Borthwick. 
 
 BABBEB (Abraham). English comp. of this name wrote a "Book of Psalm 
 Tunes, in four parts," 1686; which in 1715 had reached a 7th edition. 
 Barber was a bookseller in Wakefield. 
 
 BARBEBEAU (Mathurin Augnste B.) French comp., B. Paris, Nov. i.|, 
 1799. S. at Paris Cons, from l8lo. Gained "Grand Prix de Rome" (with 
 "Agnes Sorel," cantata), 1824. Leader at Th^Stre des Nouveautfe, Paris. 
 D. Paris, 1879. 
 Barbereau's works consist of some orchestral pieces and a number of vocal pieces 
 of varying extent. He is principally known in France as a theorist, while in Eng- 
 land he is scarcely known at all. He travelled in Germany and Italy after gaining 
 the Grand Prix, and while there, laid the foundation of that profound theoretical 
 knowledge for which he has been made famous. His compositions are not numer- 
 ous, and they do not seem to possess any of those features which claim popularity. 
 
 BABBIEB (Frederic Btienne). French comp., B. Metz, Nov. 15, 1829. 
 Resided in Paris, where he lived as teacher and leader at the Thesttre Inter- 
 national. 
 Works. — Operas : Le Mariage de Colombine ; Une Nuit i Seville, 1853 ; Rose et 
 Narcisse, 1855; Le Pacha, 1858; F/ancastor, 1858; Le Page de Mme. Malbrough, 
 1858 ; Le Faux Faust, 1858 ; Le Docteur Tam-Tam, 1859 ; Monsieur Deschalu- 
 meaux, 1859 ; Le Grand Roi d' Yvetot, 1859 ; Le Loup et I'Agneau, 1862 ; Simon 
 Terre-Neuve, 1863 ; Deux Permissions de dix heures, 1864; Panne aux Airs; Les 
 Amours d'un Shah, 1861 ; Flamberge au vent, 1861 ; Versez, marquis, 1862 ; 
 La Cigale et la Fourmi, 1862; La Gamine du Village, 1863; Les Trois Nor- 
 mandes, 1863 ; Achille cbez Chiron, 1864 ; Le Bouqetiere de Trianon, 1864; Mme. 
 
 
 
BAR — BAR 
 
 Pygmalion, 1865 ; Un Congres de Modistes, 1865 ; Une Femme qui a perdu sa 
 clef, 1866 ; Gervaise, 1867 ; Les Oreilles de Midas, 1866 ; Les Legendes de 
 Gavarni, 1867 ; Le Soldat malgre lui, 1868 ; Mam 'zelle Pierrot, 1869 ; Mam 'zelle 
 Rose, 1874 ; Le Souper d' Arlequin. Ballets, Duets, Romances, etc. 
 
 A typical French composer of the school of A. 0. Adam, M. Barbier has pro- 
 duced a number of light . operas, each with a sufficiency of evanescence to render 
 them acceptable to the Parisian public. Their sparkling lightness is the only 
 recommendation they possess. 
 
 BABBIEBiI (Francisco A.) Spanish comp. B. Madrid, Aug. 3, 1823. S. 
 Madrid Cons. Cond. of Italian opera company. Mem. of numerous Spanish 
 societies, etc. 
 
 Works. — Operas: Gloria y Peluca, 1850; Tramoya, 1850; La Jacara, ballet, 
 1851 ; Jugar con fuego, 1851 ; La Hechicera, 1852; La Espada de Bernardo, 
 1853; Don Simplicio Bobadilla, 1853; Galanteos en Venecia, 1853; El Sar- 
 gento Federico, 1855 ; El Barberillo de Lavapi^s, 1874. Other ballets, operas, 
 etc., to the number of Ji. Instrumental music and songs. 
 
 Barbieri's operas have been favourably received, but will not outlive their gifted 
 composer. 
 
 BABBIBrOLLI (Lorenzo). Italian operatic comp., B. Rovigo, 1813. 
 
 BABCBOFT (Thomas). English comp. and org., flourished in the i6th century. 
 Org. of Ely Oath., 1535. Anthems, and a Te Deum and Benedictus in F are 
 contained in the Tudway MSS., British Museum. 
 
 BABGrlEL (Woldemar). German comp. and pianist. B. Berlin, Oct. 3, 1828. 
 
 S. under Dehn. S. at Leipzig Cons., 1846. Returned to Berlin, and resided 
 
 there as a teacher, 1850-59. Professor at Cons, of Cologne, 1859-65. Chap.- 
 
 master and musical director at Rotterdam School of Music, 1865-74. 
 
 Works. — Three Notturnos for Pf., op. 3 ; Six Bagatelles, do., op. 4 ; Three 
 
 Pantasiestiicke for Pf , op. 9 ; Octett for 4 violins, 2 violas, and 2 'cellos, op. 15a; 
 
 Third Quartet in A minor, for strings, op. 15* ; Suite for Pf. and violin, op. 17 ; 
 
 Suite for Pf., op. 21 ; Drei Tanze, for Pf. (4 hands), violin and 'cello, op. 24. 
 
 Suite for Pf., op. 31 ; Eight Pianofortestiicke, op. 32 ; Sonata for Pf., in C, op. 34. 
 
 Third Trio in B flat for strings, op. 37 ; Adagio for violin and Pf., op. 38. 6ist 
 
 Psalm, Hore, Gott, mein geshrei, for chorus, barytone solo, and orch., op. 43 ; 
 
 Allemanden, for Pf., op. 71 ; A Symphony ; 2 Overtures — Medee, and Prometheus. 
 A polished dulness may be said to be the peculiar characteristic of this composer's 
 
 works, which are thoroughly inspired by Schumann. 
 
 BABEEB (Charles Spackman). English organ-builder and inventor, B. Bath, 
 
 Oct. 10, 1806. Resided chiefly on the Continent; having failed to receive 
 
 encouragement from English organists in the furtherance of his invention. D. 
 
 Maidstone, Nov. 26. 1879. 
 
 Barker invented the pneumatic lever (which is also claimed for David Hamilton) 
 
 and electric action for the organ, both of which, after being worked by a French 
 
 firm, have been adopted by all the leading organ-builders. 
 
 BABEEB (George Arthur). English tenor vocalist and comp., B. 1812. Sang 
 in opera in the English provinces and in Scotland. D. Mar. 2, 1876. Composed 
 a number of popular songs, Of which the following is a representative list : — 
 Blossoms of Spring ; Cease your funning ; Do not leave me ; Dream of life ; 
 Emigrant's child ; Eva, my darling ; Excelsior ; Gallant men of old ; I cannot 
 smile, dear mother ; I dream of thee ; I know that we have parted ; Lesson of 
 the Water Mill ; Mary Blane ; My skiff is on the shore ; O how much more 
 doth beauty ; Only me ; On to conquest ; Roses of Youth ; Sands of gold ; 
 Soldier's farewell ; Song of the silent land ; Take back the ivy leaf ; White 
 squall. The last named is by far the most popular of this composer's songs. 
 
 BABEEB (Laura Wilson). See Taylor (Mrs. Tom). 
 
 BABMANN. German family of instrumentalists, consisting of Heinrich J. 
 (Feb., 1784-1847); Karl (1782-1842); and Karl, son of Heinrich (1820 —). 
 
bAR — bAr §i 
 
 H, J. Barman and Karl, his ton, were reckoned among the foremost clarinet 
 players of their time. Heinrich's brother, Karl, was a bassoon player of con- 
 siderable ability. 
 
 BARNARD (Charles). American writer, has compiled a series of biographical 
 hand-books entitled the " Tone Masters." The volumes published are — " Bach 
 and Beethoven," Boston, 1871 ; "Handel and Haydn," do. ; and "Mozart 
 and Mendelssohn," 1870. 
 
 BARNARD (Mrs. Charles) " Claribel." English song- writer, B. 1834. D. 
 Dover, Jan. 30, 1869. 
 
 Works. — Songs: All along the valley; Although the day; Answer to the 
 dream ; The Bell's whisper ; Blind Alice ; Blue Ribbon ; The Broken Sixpence ; 
 The Brook ; By the blue Alsatian mountains ; Children's voices ; Come back to 
 Erin ; Do you remember ? ; Dreamland ; The dressmaker's thrush ; Drifting ; Fare- 
 well to Erin ; Far away in bonnie Scotland ; Five o'clock in the morning ; Friends 
 for ever ; Friendship and love ; Golden days ; Half-mast high ; Hidden voices ; 
 Hope ; Hussar's parting ; I cannot sing the old songs ; I leaned out of the window ; 
 I remember it ; Jamie ; Janet's bridal ; Janet's choice ; Kathleen's answer ; The 
 life-boat ; Little bird on the green tree ; Lowland Mary ; Maggie's secret ; Maggie's 
 welcome ; Milly's Faith ; My brilliant and I ; Norah's treasure ; The old house on 
 the hill ; Only a year ago ; Out at Sea ; Riding thro' the Broom ; The Sailor Boy ; 
 Silver Chimes ; Spring-time ; Susan's story ; Tell it not ; Through the Jessamine ; 
 Walter's wooing ; When I was young and fair ; Won't you tell me why, Bobin ? 
 Vocal duets, trios, quartets. Pianoforte pieces, etc. 
 
 The vride-spread popularity of the majority of the songs above noted, was princi- 
 pally due to the homely events which they were intended to illustrate, and the pretty 
 and extremely vocal melodies to which they were set. It is a mistake to suppose 
 that the popularity of these effusions was due to bad taste on the part of the public, 
 for the truth of the matter is that the people prefer songs which contain an element 
 of humanity, however distorted, and of necessity must accept the efforts of those 
 who will deign to write to their level. Great composers, as a rule, do not strive to 
 elevate the taste of the people by first writing music easy of comprehension and 
 afterwards raising the tone of their efforts, but uniformly confine themselves to the 
 production of works calculated to please the learned. The songs of Mrs. Barnard 
 lay no claim to be considered works of art, but they are certainly healthy and fairly 
 interesting. 
 
 BARNARD (Rev. John). English divine, published a " Book of Psalms, 
 together with Fifty Tunes to sing them, neatly engraven on copper-plates." 
 1727. Also "A New Version of the Psalms of David, fitted to the Tunes used 
 in the Churches." Boston (U.S.A.), 1752, i2mo. 
 
 BARNARD (Rev. John). English divine, lived during the i6th and 17th cen- 
 turies. Minor-canon of St. Paul's Cath., temp. Charles I. 
 Barnard is famed as having been the first to issue a collection of cathedral music. 
 His collection of "Cathedral Music" appeared in 1641, and contains services, 
 anthems, etc., by Tallis, Gibbons, Mundy (W.), Parsons, Bird, Morley, Tye, Bull, 
 etc. The only perfect copy of this work is contained m the library of Hereford 
 Cathedral. The title of this most valuable work is, " The First Book of Selected 
 Church Music, consisting of Services and Anthems, such as are now used in the 
 cathedral and collegiate churches of this kingdom ; never before printed, whereby 
 such Books as were heretofore, with much difficulty and charges, transcribed for 
 the use of the Quire, are now, to the saving of much Labour and Expense, published 
 for the general good of all such as shall desire them either for public or private 
 exercise. Collected out of divers approved Authors, 1641." 
 
 BARNBECE (Friedrich). German violinist and comp., B. Westfalisch- 
 Minden, Nov. 17, 1807. Writer of lieder, violin and Pf. music, etc. 
 
 BARNBY (Joseph). English comp., org., and cond., B. York, Aug 12, 1838. 
 Chor. in York Minster. S. at R.A.M., London. Org;, of S Andrews Ch., 
 Wells Street, London, 1863-71. Precentor and Choir-inaster, S. Annes, 
 Soho, 1871 ; Precentor and director of musical instruction of Eton Coll., I»7S, 
 
^i BAR — BAli 
 
 Cond. of Barnby's Choir, the Oratorio Concerts, London Musical Soc, and 
 the Royal Albert Hall Choral Soc. 
 Works.— Rebekah, a Sacred Idyll, written by Arthur Matthison; The Lord is 
 King, for soli, chor. and orch., Leeds Festival, 1883. Service in E ; The Offertory 
 Sentences ; Canticles in Chant form ; Te Deum in B flat (unison) ; Te Deum in D 
 (unison) ; Benedictus in E ; Magnificat and Nunc dimittis in D ; Service (2nd) 
 in E ; Original Tunes to Popular Hymns, for use in Church and Home (142 num- 
 bers). Anthems: As wre have borne the image of the earthy ; Behold, I bring you 
 good tidings ; Come, ye blessed ; Drop down, ye heavens ; Grant to us, Lord, we 
 beseech Thee ; Have mercy upon me ; I bow my knee ; I will give thanks unto 
 Thee, O Lord ; I will lift up mine eyes ; It is a good thing to give thanks ; It is 
 high time to awake out of sleep ; Let the words of my mouth ; Let Thy merciful 
 kindness ; Let your light so shine ; Make me a clean heart, God ; Not unto us, 
 O Lord ; O Father blest. Thy name we sing ; O how amiable are Thy dwel- 
 lings ; O Lord God, to whom vengeance belongeth ; O Lord, how manifold ; O 
 praise the Lord ; O risen Lord ; Sing and Rejoice ; Sweet is Thy mercy ; The 
 Grace of God that bringeth salvation ; Thy mercy, O Lord ; King All Glorious, 
 motet for Ascension day, for chorus, organ, and orch. Part-songs : Home they 
 brought her warrior dead; It was a lover (madrigal) Norwich Fest., 1884; Lullaby, 
 a Cradle Song ; Sleep, the bird is in its nest ; Luna ; Phoebus ; Carmen Etonense ; 
 Annie Lee ; A wife's song ; Starry crowns of heaven ; The Skylark ; The wind ; 
 Sweet and low ; To daffodils ; Welcome ; Silent night. Songs : Daybreak ; Forget 
 me not ; How fades the light ; I sit alone ; In spring-time ; Light ; My golden 
 ship ; My summer-time . The rainy day ; The rose and the nightingale ; The 
 wrecked hope ; The Bells of St. Ethelred ; Thou whom my heart adoreth ; Vesper 
 Music ; When the tide comes in ; Beggar Maid (in Casins' "Songs from the pub- 
 lished writings of Alfred Tennyson "). Organ Music. Hymns, etc. 
 
 Mr. Barnby is one of the ablest conductors of vocal music now living. • With Mr. H. 
 Leslie he shares the honour of being the most successful cultivator of choral music ; 
 and like him, his choir is of universal renown. He was the first to introduce the 
 modern orchestra into the church, by conducting Bach's " Matthew " Passion music 
 in Westminster Abbey. To him also belongs the merit of having introduced more 
 new and great works to the English public than any other musician. Among such may 
 be named Dvoraks "Stabat Mater," and Wagner's "Parsifal." As a composer of con- 
 certed vocal music Barnby is highly esteemed, his lovely part-song "Sweet and Low " 
 being a favourite throughout Europe and America. Of his larger work, "Rebekah," 
 it is impossible to speak in terms of unqualified praise ; for despite numerous good 
 points, the work is marred by a laborious manner. Mr. Barnby is connected with 
 the, publishing house of Novello & Co., for whom he has edited many works. He 
 has also contributed to periodical musical literature. Of his powers as an 
 organist it is unnecessary to speak, his capabilities in the art being universally 
 recognised. His church music is well represented in the services of the principal 
 churches and cathedrals, and is highly deserving of the notice bestowed on it. 
 
 BARNES (Frederick Edwin). English comp. and org., B. London, 1858. 
 S. under Helmore in Chap. Roy. S. at the R.A.M. from 1872. Org. of All 
 Saints' Ch., Norfolk Square, London, 1872. Org. of S. Margaret's Ch., 
 Prince's Squaire, Liverpool, 1876. Org. of the Oath, of Montreal, Canada, 
 1878-9. Assistant org. at Trinity Ch., New York. Cond. of Montreal Phil- 
 harmonic Soc. Married to Miss Leonora Braham. D. Septi. 21, 1880. 
 Works.— An opera, libretto by Mrs. G. L. Craik (MS.) ; An Operetta (German 
 
 Reed) ; The 23rd Psalm for solo voices, chorus and orch. ; Songs ; Organ and Pf. 
 
 music, etc. 
 
 BARNES (Robert). English violin-maker, flourished towards the end of the 
 18th century. He worked with Norris, and Thomas Smith in London. His 
 violins are of average merit, but their fame is very obscure. 
 
 BARNETT (John). English comp., B. Bedford, July 15, 1802. Articled to S. J. 
 Arnold, proprietor of the Lyceum Theatre. S. under C. E. Horn, Price, and 
 Ries. Married Miss Lindley, daughter of the violoncello player, 1837. S. 
 Vogler's system of harmony at Frankfort under Schnyder von Wartensee. 
 R,eturned to London, 1838, Opened S. James' Theatre for English opera, 
 
BAR — BAR S3 
 
 1839, Retired to Cheltenham, where he established himself as a vocal teacher, 
 1841. _ Resided in Leipzig and in Italy for a short time, superintending the 
 education of his ckildren. Has since remained at Cheltenham. 
 Works. — Operettas and Operas : Before Breakfast, a Musical Farce, written by 
 Richard Peake, Lyceum, 1828; Music in Miss Mitford's "Rienzi," Drury Lane, 
 1828 ; Monsieur Mallet, operetta, written by Thomas Moncrieff, Adelphi Theatre, 
 1828 ; The Two Seconds, operetta, written by R. Peake, Lyceum, 1829 ; Carnival 
 at Naples, opera, Covent Garden, 1830 ; Robert the Devil, musical drama, Covent 
 Garden, 1830 ; The Picturesque, operetta, written by Thomas Haynes Bayley, 
 Lyceum, 1830; Baron Trenck, operetta, written by T. Morton, sen., destroyed in 
 the fire at Covent Garden Theatre, 1830; Country Quarters, musical farce, Covent 
 Garden, 1S31 ; Court of Queen's Bench, operetta, Olympic Theatre (Vestris), 1832 ; 
 The Paphian Bower, operetta, written by Planche and C. Dance, Olympic Theatre, 
 Dec, 1832; Harlequin Pat, operetta, Covent Garden, 1832; Married Lovers, 
 musical farce, Lyceum, 1832; Promotion, musical farce, Lyceum, 1833; Pet of the 
 Petticoats, operetta, Sadler's Well, Aug., 1832 ; Win Her and Wear Her, opera, 
 Drury Lane, Dec, 1832 ; The Soldier's Widow, musical drama, written by E. 
 Fitzball, English opera company, Adelphi, 1833 ; Two songs and a march in " Nell 
 Gwynne," Covent Garden, 1833; Song in Planche's "Charles the Twelfth," 
 Drury Lane, 1833 ; The Deuce is in her, operetta, 1833; Olympic Revels, 1833; 
 Blanche of Jersey, 1834; The Mountain Sylph, opera, written by Thackwray, 
 Lyceum, Aug. 25, 1834 ; Fair Rosamond, opera, written by C. Z. Barnett, Drury 
 Lane, March 30, 1837 ; Farinelli, opera, written by C. Z. Barnett, Drury Lane, 
 Feb. 8, 1837 ; Kathleen, opera (never produced), composed in 1840; Marie, opera, 
 composed in 1845 (unfinished). Oratorios: The Omnipresence of the Deity, pub- 
 lished in 1829 (never performed) ; Daniel, unfinished, composed in 1841. A Sym- 
 phony, unfinished, composed in 1840; Two string quartets, MS., composed in 
 1840. Twelve Russian Melodies, with words by Harry Stoe van Dyk, Goulding 
 [1822]; Six Bohemian Melodies, with words by Sir (then Mr.) John Bowring, 
 London, 1824 ; Twenty-four songs in imitation of the music of various nations, 
 with words by Van Dyk, Leon Lee, and Mayhew, 1824; Twelve Songs from Fairy 
 Land, written by Thomas Haynes Bayley, Cramer & Co., 1827 ; Lyric Illustrations 
 nf the Modern Poets, 1834, Reprinted in 1877. School for the Voice, a Theoretical 
 and Practical Treatise on Singing. Lond., fo. [i860], since reprinted several times. 
 Twelve Part-songs, mostly published in 1870; Chamber Madrigals, London, i86j. 
 A selection from Mr. Bametfs Concerted vocal pieces and Songs which have been 
 published, the total number of such works being about 2000, issued between 18 16 and 
 1880— Part-songs: It is summer, it is summer; Bend down from thy chariot; 
 Haste not ; Farewell to the Flowers ; Tic-tac of the mill ; Dear peaceful valley ; 
 Evening drum ; Merrily, merrily sounds the horn ; In the merry greenwood ; 
 Wrong not, sweet mistress (madrigal) ; Chamois Hunter ; O Lord, our governor. 
 Duets : A smile, a tear ; A spring song ; Come where the flowers are blooming ; 
 Dear maid, my heart is thine ; Down in the dell ; The Gleaner's Bell ; Good 
 night ; The Hungarian to his bride ; I'll follow thee ; Moonlight, music, love, and 
 flowers ; My gondola glides ; No more, no more ; Oh ! give to me ; Oh ! 'tis sweet 
 to meet again ; Spring ; The twilight hour ; There's not a breeze ; When at night; 
 Where are the mountains ; Wilt thou tempt the wave ? Songs : Adieu to thee, fair 
 Rhine ; Ask me no more ; A day-dream ; Banks of Brooms-groVe ; Break, break, 
 break ; Bride's farewell ; Chase the falling tear ; Clansman's bride ; Come to me, 
 thou gentle child ; Dear Napoli ; Days of Chivalry ; Days that ne'er return ; 
 Flower of my life ; Fill up the wine-cup ; Flowers of summer ; Go, thou art free ; 
 Highlander's bride ; Her heart is mine ; Highland soldier ; Highland mmstrel 
 boy ; Hark, the fairy bells ; Hope for the best ; Here's a health to merry England; 
 The Holly ; Hark, hark to the sound ; I have been to the woods ; Is the reign of 
 fancy over?; Knight of the golden crest; Light Guitar; Light of heart am I ; 
 Lord, I believe ; List to my wild guitar ; My home beside the Quadalquiver ; 
 Minstrel's lament ; Mermaid's song ; Maid of Athens ; My native land, good 
 night ; Maiden of Sicily ; Now the lamp of day has fled ; Normandy maid ; Rock 
 me to sleep ; Rose of Lucerne, 1823 ; Rise, gentle moon ; Swiss shepherd ; Sing, 
 nightingale, sing ; Sailor boy's song ; Spirit of love ; There sits a lovely maid ; 
 The opal ring; The ship ; Vesper hour; Up to the Forest ; Village bells ; Young 
 moss rose ; V'ear's last hours. Systems and Singing Masters, a Comment upon the 
 
$4 BAR — BAR 
 
 Wilhem System and Remarks upon Mr. J. HuUah's Manual. Lond., 1842, 
 another edition, 1877. 
 
 Barnett, like Balfe, made one great effort to establish English opera on a firm 
 footing. He sought to make it independent of the jealousies of artists, and the 
 hostility of the press which had all along shown little favour for works not 
 of foreign origin ; and, but for one unfortunate circumstance, would have 
 succeeded. Here follows his account of the matter : — " In 1833 both Drury Lane 
 and Covent Garden Theatres were only opened for the performance of German and 
 Italian operas ; at the other theatres comedies and farces were done ; consequently 
 there was at that period no field for English composers. I published a letter in 
 The Times setting forth the situation. My letter was approved of, and read in 
 Green Rooms of theatres, and amongst musicians. I called together the chief 
 coinposers of the day, Sir Henry Bishop (then Mr. Bishop), Mr. Rodwell, and others, 
 to consult as to the best means of establishing an English Opera House : nothing, 
 however, waa found practicable. I was on intimate terms at that period with Capt. 
 Arbuthnot — one of King William the Fourth's Geotlemen-in-waiting : he had the 
 ear of the King, who was very partial to him. He promised to present a memorial 
 from me to the King, asking for a patent for English Opera. The memorial was 
 presented, and the King promised to grant me the patent, when shortly after, he 
 died — and there was an end of my hopes." Had Mr. Barnett effected his purpose, 
 English opera would no doubt have been enriched by many contributions from his 
 pen, as well as by the works of other composers, whom he would have been enabled 
 to encourage and bring before the public. 
 
 Previous to the production of the "Mountain Sylph " there had not been brought 
 out in Britain any work written in strict opera form. The so-called operas of 
 Bishop, Kelly, Braham, King, Shield, and others, were nothing more or less than 
 plays interspersed with songs and concerted pieces, and occasionally garnished with 
 instrumental pieces in the form of overtures and pantomine music. Barnett had 
 long considered this point, and in 1834 brought out the first English opera which 
 was modelled on the accepted operatic form current among great continental writers 
 like Weber, and which was accordingly the archetype and precursor of modern 
 English opera. This work was received with much enthusiasm, and had a succes- 
 sive run of upwards of one hundred nights ; and on it are modelled the more recent 
 works of Balfe, Wallace, and their followers. This work, produced at a period 
 when English operatic music was at its lowest ebb, is an honour to its composer, 
 and remains to this day one of the freshest and most genuinely-inspired English 
 works of its class. 
 
 His four operas are among those which will doubtless form part of the 
 repertory of future English opera companies ; granted that such companies are 
 managed with a regard to the interests of native composers. " The Mountain 
 Sylph," "FarineUi," and "Fair Rosamond," are works which would dis- 
 credit no composer or school ; being, as they are, creations of great beauty, finish, 
 and dramatic power; abounding in melodies of exquisite sweetness and lofty fancy; 
 rich and compact harmonies ; and instrumentation of a skilful and appropriate con- 
 trivance. Many of his songs have acquired great popularity owing to their pleasing 
 and fanciful character. His " Lyrical Illustrations of the Modern Poets "—origin- 
 ally published in 1834 — when reprinted in 1877, received such commendations from 
 the press as clearly demonstrated their intrinsic value as works of art ; at the same 
 time showing that revivification is only necessary to make his works widely appre- 
 ciated. Mr. Barnett's retirement from active life was due to the disgust he con- 
 ceived at the ' ' intrigues of all connected with theatres, " and a desire for relaxation 
 from I he fatiguing excitements attending his appearance before the public. He was 
 frequently called by the press to return, but his beautiful home at Lickhampton 
 Hill possessed for him the united charms of rural quietness and natural beauties, 
 which were sufficiently binding to render a return to the bustling life of a public 
 composer most undesirable. We must, however, express regret that Mr. Barnett 
 should not have consented to the production of his MS. opera, "Kathleen," which, 
 according to Mr. C. Salaman, is a work of the greatest beauty. The members of 
 Mr. Barnett's family are all musically inclined, his eldest son being chief pianoforte- 
 teacher at the Lady's College, Cheltenham, and his two daughters singers of much 
 ability. Miss Clara Barnett, who married an American barrister of distinction, a 
 friend of the poet Longfellow, was a meniber of the " Carl Rosa " opera company 
 
BAR — BAR 55 
 
 during its visit to America. His eldest daughter is married to Mr. Robert 
 Francillon the well-known novelist. 
 
 Barnett's works are among the finest examples of English opera, and the public 
 only require to be made cognizant with the fact to fully endorse it. The Press of 
 late years have manfully asserted the right of Englishmen to obtain a hearing, and 
 we trust that their efforts will be terminated in a manner as speedily to bring the 
 best English works to the front. Charity begins at home, and Englishmen must be 
 illiberal, narrow-minded, and insular with regard to everything springing from an 
 exotic source, till her own musical institutions are firmly established. 
 
 BARNETT (Jollll Francis). Nephew of the preceding, English comp. and 
 pianist, B. London, Oct. i6, 1837. Commenced study of the pianoforte, 1843. 
 S. under Dr. Wylde, 1849. Gained Queen's scholarship at the R.A.M., 1850. 
 Gained it again, 1852. First appeared as pianist. New Philharmonic Concerts, 
 1851. S. at Leipzig under Hauptmann, Rietz, Plaidy, and Moscheles, 
 1856-1859. Returned to London, 1859. Appeared at the Philharmonic 
 Society's Concerts, i86i. Cond. the performance of "The Good Shepherd," 
 cantata, at Brighton Musical Festival, 1876. Do. " The Building of the 
 Ship," cantata, at Leeds Festival, Oct., 1880. Prof, at Royal College of 
 Music, 1883. 
 Works. — The Raising of Lazarus, an oratorio, Hereford, 1876 ; The Ancient 
 Mariner, a cantata, Birmingham, 1867 ; Paradise and the Peri, cantata, Birming- 
 ham, 1870 ; The Good Shepherd, a sacred cantata, Brighton, 1876 ; The Building 
 of the Ship (Longfellow), a cantata, Leeds, Oct., 1880. The Lay of the Last 
 Minstrel, orchestral work, Liverpool Festival, 1874 ; Symphony in A minor, for 
 orchestra, Musical Society, 1864; Ouverture Symphonique, 1868 (MS.), Philhar- 
 monic Soc. ; Overture to Shakespeare's "Winter's Tale," 1873 (MS.), British 
 Orchestral Soc. ; Concerto in D minor, for Pf. and orch., 1868 ; String Quartet 
 in D minor ; Trio in C minor, for Pianoforte, vn., and 'cello (MS.) ; Sonata for 
 Pf. and violin in E minor (MS. ) ; Quintet in G minor, for strings (MS) ; Sonata in 
 E minor, for Pf., op. 45 ; The Harvest Festival, Symphonic Poem, for orchestra, 
 written for Norwich Festival ; Elfland, pizzicato for orchestra ; Six Studies for Pf. 
 (MS.); L'Esperance, morceau elegant, for Pf ; A Pastoral Scene for Pf. ; Rosalind, 
 romance, for Pf. ; The Ebbing Tide, piece for orch. , transcribed for Pf ., op. 36 ; 
 Passepied, No. i of Ancient Dances for Pf. ; The Chapel by the Sea, descriptive 
 piece for Pf. ; Six Sketches, for Pf., dedicated to H. F. Broad wood, Esq. ; Gavotte, 
 for Pf. ; Valse des Saisons, for Pf. ; Mountain Echoes, for Pf. ; Mount S. Bernard, 
 for Pf. ; Sunrise and Sunset, two pastorals ; Three Impromptus, for Pf , dedicated 
 to Ferdinand Hiller ; Chanson d'Amour, for Pf. ; Return of Spring, for Pf., dedi- 
 cated to Arabella Goddard ; Caprice Brilliant, for Pf., op. i. Nocturne for Pf. 
 Vocal Music, Part-songs: Come thou Holy Spirit, anthem ; It is not always May ; 
 'Midst grove and dell; If I had but two little wings, madrigal. Songs: The 
 minstrel ; The Indian girl ; He is all to me ; I love, I love thee ; The Rock of 
 Ages ; The golden gate ; Star of the morn ; The violet girl's song ; Into the 
 World ; Outside ; Star of Home ; The sea fairies, duet ; The parting hour, duet. 
 
 J. F. Barnett is one of the leading English composers of the present time. His 
 works are bright, tuneful, and skilfully constructed, while their popularity is such 
 as to place beyond all doubt the place which they hold in the estimatioii of the 
 public. His minor works, songs, and pianoforte music, possess less merit in an 
 artistic sense than his cantatas, but are not less popular. Of his cantatas "The 
 Ancient Mariner " is probably the most popular, though all of them are frequently 
 performed by different societies throughout the country. The orchestral works 
 possess much merit, and have been warmly commended by various writers. 
 
 BARNETT (Robert). English pianist and comp., B. Macclesfield, 1818. D. 
 Slough, near Windsor, Nov., 1875. 
 
 BARNHILL (James, M.A.) English writer, author of " The Statics of Har- 
 mony, with an Appendix on Anticipations, Suspensions, and Transitions, 
 illustrated by Examples from the Great Masters." London, i2mo, 1865. A 
 reprint from the Choir. 
 
 BARNI (Camille). Italian cnmp. and violoncellist, B. Como, Jan. 18, 1762, 
 Writer of operas, songs, chamber music, etc. D. [?] 
 
S6 
 
 BAR — BAR 
 
 BARON (Ernst T.) German lute-player and comp., B. Breslau, Feb. 27 
 1696. D. Berlin, April 12, 1760. Sonatas and other pieces for the lute are 
 the principal works of this once-celebrated performer. Author of a work on 
 the Lute, 1727. 
 
 BABONI-CAVALCABO (Julie). Italian pianist and comp. B. Vienna, 1805. 
 Writer of Pf. music. 
 
 BABB (James). Scottish minor musician, B. Tarbolton, Ayr, 1781. Employed 
 by J. Stephen, music-publisher, Wilson Street, Glasgow, 1812. Music teacher 
 in Glasgow. Resided in Canada as farmer, 1832- 1855. The "blithe Jamie 
 Barr, frae St. Barchan's toun, who when wit gets a kingdom, he's sure o' the 
 crown," of Tannahill. Composer of a few melodies. D. Kilbarchan, Feb. 
 24, i860. 
 
 BABB (Samuel). Scottish comp. and writer, B. Glasgow, 1807. Self-taught. 
 Teacher in Glasgow, and Precentor in Dr. Wardlaw's (Independent) Church. 
 Prof, of Music in the Mechanic's Institute, Glasgow. D. Glasgow, May 16, 
 1866. 
 
 Works. — The Theory and Practice of Harmony and Composition, Lond., i86i ; 
 Singing at Sight Simplified, Glasgow, 1859. Anthems ; Psalms. Hurrah ! for the 
 Highlands, song ; The warning, song ; The land for me, song ; The bridal gem, 
 song; Naebody kens ye, song. Part-songs; Miscellaneous writings . 
 
 Barr was well known in Glasgow and the West of Scotland as a teacher of great 
 merit, and is generally supposed to have introduced class music teaching into the 
 West of Scotland. His work on Harmony, so far as it goe?, is a good, plain expo- 
 sition of the elementary rules, carefully and clearly written. Both of his theoretical 
 works were popular. His compositions are not distinguished hy any remarkable 
 flow of melody, and, except "Naebody kens ye," are plainly and unassumingly 
 commonplace. 
 
 BABBET (ApoUon Marie Bose). French oboe-player, B. 1804. D. Paris, 
 March 8. 1879. Author of the best " Method for the Oboe " extant. S. under 
 Gustav Vogt. 
 
 BABBETT (John). English violin-maker, flourished about beginning of i8th 
 century. His workshop was the " Harp and Crown" in Piccadily, London. 
 His violins, which are very rare, are modelled on those of Jacob Stainer, but 
 are only of average merit. Barrett may_be regarded as a second-rate maker of 
 the so-called " London school." 
 
 BABBETT (John). English org. and'comp., B. 1674. Pupil of Dr. Blow. 
 
 Music teacher at Christ's Hospital [1710]. Org. at Ch. of S. Mary at Hill, 
 
 1710. D. London, 1735. 
 Works.— Music for "Love's Last Shift," 1696; Tunbridge Walks, 1703; 
 Mary, Queen of Scots, 1703. Songs, etc. 
 
 BABBETT (William Alexander). English writer and org., B. Hackney, 
 Middlesex, Oct., 15, 1836. Chorister in St. Paul's Cath., 1846-49. Pupil of 
 W. Bayley and George Cooper, and Sir John Goss for comp. Org. at 
 St. Andrew's, Wales Street, London, 1858-1861. Clerk of Magdalen Coll., 
 Pentonville, 1855. Principal alto, Oxford, 1861-67. Matriculated at St. 
 Mary's Hall, Oxford, 1866. Mus. Bac.Oxon., 1870. Assistant Vicar-choral, 
 S. Paul's Cath., 1867-1876. Vicar-choral, do., 1876. Assistant Ex- 
 aminer in Music under Dr. John HuUah, 1873. Fellow of the Coll. of 
 Org., 1871. Mem. of the Council, do., 1871. Fellow of the Royal 
 Soc. of Literature, 1876. Mem. of the Council, do. 1879. Musical Editor 
 of the Morning Post, 1869. Do. of the Globe, 1874-5. Editor of the 
 Mo7ithly Musical Record, 1877 and 1885. Editor of the Orchestra and the' 
 Choir, 1881 ; Musical Examiner to the Council of Military Education, 1883. 
 Works. — Dictionary of Musical Terms (with Dr. Stainer), London, large 8vo, 
 1875 ; Etymons of Musical Terms, do., London, 1876 ; English Glee and Madrigal 
 Writers, Lond., 8vo, 1877; Introduction to form and Instrumentation for Begin- 
 ners in Composition, 1879; The Chorister's Guide, 1874; Flowers and Festivals, 
 
BAR — BAR S7 
 
 or Directions for the Floral Decoration of Churches, 1868 ; Christ before Pilate, 
 oratorio ; Anthems ; Songs ; Papers in Musical Journals ; English Church Com- 
 posers, 1882 ; Balfe — his Life and Work. Lond,, 8vo, 1882. 
 
 Mr. Barrett has translated the librettos of several operas, and is otherwise well 
 known as a lecturer and writer on musical subjects. His works on the " English 
 Glee and Madrigal writers," and "Balfe," are most interesting, and contain just 
 estimates of the composers noticed. The monument to Balfe in Westminster Abbey 
 was erected through his exertions. His contributions to periodical literature are 
 numerous, and consist of leading articles, criticisms, and notes on events of current 
 interest. He has lectured on English Organ Music, English Anthems, Madrigals 
 and Glees, History of the Sonata, Bishop, Mozart, Balfe, English Folk Songs, 
 Negro Hymnology, Irish Folk Songs, etc. 
 
 BARRINQTON (Hon. Daines). English writer on Law, Music, and Natural 
 
 History, B. London, 1727. Judge on Welsh Circuit, 1757. Second Justice at 
 
 Chester. Retired from the Law and resided in the Temple. D. 1800. 
 
 Barrington wrote a standard work on the Statutes, a work on the possibility of 
 
 reaching the North Pole, and several papers dealing with Crotch, the Wesleys, 
 
 Mornington, and Mozart. See his " Miscellanies," 1781, and the Philosophical 
 
 Transactions, 1780. Also author of "Experiments and Observations on the 
 
 Singing of Birds," Lond., 4to, 1773. 
 
 BABROILHET (Paul). French barytone operatic vocalist, B. Bayonne, Sept. 
 22, 1810. D. Paris, April, 1871. Appeared in operas of Rossini, HaWvy, 
 Adam, Donizetti, Mercadante, etc. 
 
 BABRT (Charles Ainslie). English comp., org., and writer, B. Lond., June 
 10, 1830. Educated at Rugby and Trinity Coll., Cambridge. Instructed in 
 music by T. A. Walmisley at Cambridge. Graduated at Cambridge. S. for 
 the ministry, by his father's wish, and passed the voluntary Theological 
 Examination at Cambridge. Resolved to study music in preference to 
 theology. S. at Cologne Cons, under F. Weber (organ), E. Frank (piano- 
 forte), and F. Hiller (composition). S. at Leipzig under Moscheles, Plaidy, 
 and Richter, 1856-7, Married, Sept., 1857. Resided for a time at Dresden, 
 where he received valuable hints from Reissjger. Returned to London, 1858. 
 Org. and Choir-master at the Forest School, Leytonstone, 1858-1860. De- 
 voted himself to musical and literary composition from 1859. Contributed 
 under the initials " C. A. B." to the Guardian, The Monthly Musical Record, 
 The Athemeum, the Musical World, and to the Analytical programme-books 
 of the Crystal Palace, Philharmonic, Richter, and Bache Concerts, etc., during 
 1863-1885. 
 Works. — Echoes from the Old Church Aisle, andante Religiose, for the Pf. 
 (Novello) ; Mazurka, Vivien, for Pf. (Novello); Tarantella, for Pf ; Menuetto 
 grazioso, e Barcarolle, for Pf. ; Birthday March, for Pf ; Theme, with variations, 
 Pf. duet ; Andante from Tschaikowsky's Quartet in D, transcribed for Pf (Lucas 
 & Co) ; Overture, Beatrice and Benedict, Berlioz, transcribed for Pf. duet ; Te 
 Deum (Berlioz) arranged for voices and Pf. Vocal Music : Six songs with 
 English and German words ; Come to me in my dreams, canzonet ; Sleep, 
 little birdie, baby song (Tennyson) ; Flow, softly flow (Tennyson), song ; 
 Elizabeth's Songs from "The Saint's Tragedy" (Kingsley) ; Four songs by 
 Charles Kingsley ; Sweet and low ; Good night and good morning ; Father's 
 Lullaby ; To England, song ; Beware, song j O holy night, five-part song. The 
 Child's Book of Praise (Novello) ; Choral Hymns for Four Voices ; The Story of 
 the Resurrection, a cycle of hymns ; The Christmas Story, do. ; Two Hymns — 
 Macedon, and Annunciation, in "Hymns Ancient and Modern;" Three Hymns, 
 No. 132, Capstone, — No. 169, Adoration, — and No. 195, Chesterfield, in the 
 "New Mitre Hymnal." Works in MS.: A Symphony for full orchestra; Two 
 overtures for orchestra ; Marches for orchestra ; A quartet for stringed instruments. 
 An operetta. Several Cantatas, sacred and secular, etc. 
 
 A residence, combined with a musical education, in Germany, has infused the 
 compositions of Mr. Barry with what is commonly known as the advanced or 
 Wagnerian character ; and his writings are distinguished by their keen advrocacy of 
 the "Music of the Future." He wrote prefaces to the authorised English versions 
 
S8 BAR — BAR 
 
 of the librettos of Wagner's "Meister-singer," and "Tristan und Isolde." 
 His music is scholarly and well constructed, and possesses not a few original 
 features. Mr. Barry is a highly esteemed professor of music, and his vocal 
 music has qualities which should recommend it to the public. 
 
 BABRY (William Vipond). Irish pianist, comp. and writer, B. Bandon, 
 March, 1827. Appeared in Belfast as pianist, 1846. Founded the Belfast 
 Classical Harmonist Soc. Resided for a time in the " Potteries," England. 
 He S. under Liszt, and was M.A. and Ph.D. of Gottingen University honoris 
 causi. Org. of theCath., Port of Spain, Trinidad. D. there, March 13, 1872. 
 He comp. music for the Pf. , and wrote a work entitled ' ' Dissertation upon the 
 Emotional Nature of Musical Art," dedicated to the late king of Hanover. His 
 son, William H. Barry, B. Belfast, April, 1858, is a comp. and concert-giver 
 in Dublin. 
 
 BABSANTI (Francesco). Italian musician, B. Lucca, 1690. Lived for a 
 time in Scotland, where he published "A Collection of Old Scots Tunes, with 
 the Bass for Violoncello or Harpsichord." Edin., 1742. He composed also 
 concertos for violin, etc. D. [?] 
 
 BARSOTTI (Tommaso G. F.) Italian comp. and pianist, B. Florence, Sept. 
 4, 1786. D. Marseilles, April, 1868. Composer of light Pf. music. 
 
 BARTA (Josef). Bohemian comp,, B. 1744. D. after 1803. Writer of 
 operettas, instrumental music, lieder, etc. 
 
 BARTHE .(Grat Norbert). French comp. and pianist, B. Bayonne, June 7, 
 1828. "Writer of operas and Pf music. 
 
 BARTHEL (Johann Christian). German comp., B. Plauen, April 19, 
 1776. D. Altenburg, June 10, 1 83 1. Org. and comp. of organ, pianoforte, 
 and vocal music. 
 
 BARTHELEMON (Francois Hippolite). French comp., B. Bordeaux, 
 July 27, 1741. Was an of&cer in the Irish brigade. S. music at the request 
 of the Earl of Kellie. Appeared in England in 1765. Leader of band of 
 Italian opera, London. Married to Miss Mary Young. Leader at Vauxhall 
 Gardens, 1770. Visited Dublin in 178^. D. London, July 23, 1808. 
 Works. — ^Jefte in Masfa, oratorio, Florence, 1776. Music for The Enchanted 
 
 Girdle ; The Judgment of Paris, 1768 ; The Election, 1774 ; The Maid of the Oaks, 
 
 1774; Belphegor, 1778; Orpheus, 1768; Pelopida, opera, London, 1766. String 
 
 quartets ; Concertos ; Songs, etc. 
 
 BARTHOLDY. See Mendelssohn-Bartholdy, Felix. 
 BARTHOLOMEW (Ann Sheppard Mounsey, nee Mounsey). English 
 
 comp. org., and pianist, B. London, April 17, 1811. Pupil of Logier, irom 1817. 
 
 Noticed by Spohr (in his diary) as evincing remarkable precocity, 1820. Org. 
 
 at Clapton, 1828. Org. at S. Michael's, Wood Street, 1829. Org. at S. 
 
 Vedast's, Foster Lane, from 1837. Associate of the Philharmonic Society, 
 
 1834. Mem. of the Royal Soc, of Musicians, 1839. Married to Mr. W. 
 
 Bartholomew, Af(ril 28, 1855. Gave series of Classical Sacred Concerts, for 
 
 one of which Mendelssohn comp. "Hear my Prayer," 1843 Presently 
 
 engaged in teaching the organ, piano, and harmony. 
 Works. — The Nativity, an Oratorio, produced by HuUah at S. Martin's 
 Hall, Lond., 1855 ; Sacred Harmony, hymns, etc., edited by Ann and Eliza- 
 beth Mounsey, 1839 ; The Christian Month^30 original hymns and anthems, 1842 ; 
 Original Sanctuses, Kyries, and Chants, 1853 ; Sacred cantata. Supplication and 
 Thanksgiving, dedicated to H.R.H. The Princess of Wales, 1864; The Young 
 Vocalist, arranged from classical authors, 1867; Hymns of Prayer and Praise, 
 edited and partly composed by Mrs. Mounsey Bartholomew and Miss Mounsey ; 
 Holy. Thoughts, arranged as juvenile sacred songs, 1875 > Thirty-four Original 
 Tunes (hymns), London, 1883. Part-Songs : Six four-part songs, op. 37 ; 
 Shun* delays; Take care; Tell me, where is Fancy bred; Before thine eyelids 
 close ; Three 4-part songs, in Tonic Sol-fa notation, 1870 ; A wreath for Christ- 
 mas. Songs: A Farewell; Mary, meet me there; When day has fled; Th? 
 
BAR — BAR 55 
 
 bridesmaid ; The warrior's love ; When should lovers breathe their vows ? ; The 
 northern star; Gently will I glide ; The wedding day; The maid who vowed to 
 love me ; Enchanting maid ; Lady mine ; Six Songs of Remembrance. 
 Six vocal duets in canon, 1836 ; The Erl King ; Fair Daffodils ; The 
 D^uerrotype ; The Nautilus cradle ; Lyrics for Youth— six songs ; Six Songs, 
 composed for the Royal Society of Female Musicians ; Life is full of perils ; 
 The winds are sleeping ; The Castanet's gay sound ; Now I am thine ; Moonlight ; 
 Lily of the vale ; The soul's release ; The uncertainty of life ; The Rose ; Stars of 
 the summer night ; Charming maiden ; Constancy ; I hear his horn ; Speak gently ; 
 The praise of a country life ; If all the world ; One by one ; Days gone by ; The 
 Cherry Earrings ; Nearer my God to Thee ; Flow, murmuring stream ; The 
 fountain ; Angry words ; Questions ; Yesterday and to-morrow ; Ten years ago. ; 
 The Merry Beggars ; The water rushing ; The fortune-teller ; If I could only 
 say ; Dreaming and waking ; Only a day ; Song of a sprite ; Together ; The 
 tambourine player ; O say, fond heart ; Six Songs [from Shakespeare, Mackay, 
 Heber, Poe, Hood, etc.], London, 1S82. Org. and Pf. works. 
 
 It is somewhat remarkable that music, as a means of emotional expression, 
 should have found so few exponents among women. That an art so graceful in 
 itself and so eminently suited to the refined capabilities of women should find less 
 favour with them than the sister art of poetry seems phenomenal, and indicative to 
 a considerable extent of the disadvantages presented by the technical requirements 
 of musical composition. Poetry has been graced by many female writers of rare 
 merit, and can boast of numerous lights who take foremost places in the second 
 rank of poesy. From Sappho to Mrs. Browning there have flourished many female 
 writers who have sweetened the art with their productions, and earned the applause 
 of posterity. In music, we can only record the names of a very few females who 
 take high rank as composers ; and of these Mrs. Bartholomew may be placed with 
 the most eminent. Mrs. Bartholomew is a fairly good example of the first-rate 
 class of female talent in musical composition, and she exhibits in her works all the 
 beauties and defects incident to such class. Her part-songs are well-written pieces, ■ 
 and many of her ballads are conceived in that trivial-pretty fashion so common in 
 the works of female writers. We are inclined, on the whole, to base her claim to 
 recognition on her many really meritorious concerted vocal pieces. These are 
 written in a graceful, but withal able manner, and are effective without requiring a 
 great degree of skilful interpretation. '• 
 
 BARTHOLOMEW (William). English chemist, writer, and viohnist, B. 
 
 London, 1793. Married to Miss Ann S. Mounsey, April 28, 1853. Chiefly 
 
 known as the adapter of the librettos of Mendelssohn's works. D. London, 
 
 Aug. 18, 1867. 
 
 Works. — English version of the words of Mendelssohn's Antigone, Athalie, 
 
 jEdipus, Lauda Sion, Walpurgisnacht, Loreley, Elijah, Christus ; Spohr's Jes- 
 
 sonda; Costa's Eli and Naaraan ; Bartholomew's The Nativity, etc., etc. 
 
 Mr. Bartholomew is better known for his connection with Mendelssohn than for 
 any eminence gained by works of his own production. His intercourse with 
 Mendelssohn was friendly and intimate, and he was mentioned by him in terms of 
 respect. His careful selection of scripture passages for ' ' Elijah " is highly creditable 
 to his good taste. Mr. Bartholomew has written, in addition to the works above 
 mentioned, many hymns of considerable merit. ' . ' 
 
 BARTLEMAN (James). English bass vocalist, B. Westminster, Sept^ 19, 
 1769. S. under Dr. B. Cooke. Bass chorister at the Ancient Music Concerts, 
 1788-91. Principal bass at the Vocal Concerts, 1791. Do. at the Concert of 
 Ancient Music, 1795. D. London, April 15, 1821. , 
 
 This vocalist should have his name enshrined among the benefactors of Music. 
 He revived, and by his magnificent performance, created an interest in the music of 
 Henry Purcell which lived for many years. Bartleman was possessed of a magjnilii 
 cent bass voice, and rendered Purcell's music in a style then considered unsur- 
 passable. 
 
 BARTLETT (John). English comp., B. in latter half of i6th century. Wrote 
 a "Book of Ayres, with a Triplicitie of Musicke, whereof the First Part is for 
 the Lute or Orpharion, and the Viole de Gamba, and 4 Parts to Sing : the 
 
6o BAR — BAS 
 
 Second Part is for 2 Trebles to sing to the Lute and Viole : ^the Third Part is 
 for the Lute and one Voice, and the Viole de Gamba," London, 1606. 
 Bartlett was a Bachelor of Music, Oxford, in 1610, but his biography is 
 unknown. 
 
 BABTOLI (Padre, Erasmo). Italian comp., B. near Naples, 1606. D. 
 Naples, July 14, 1656. Writer of oratorios, cantatas, masses, motets, psalms, 
 etc. 
 
 BASEVI (Abramo). Italian theoretical and historical writer, B. Livorno, Dec, 
 1818. Has comp. operas, and owns Boccherini, an Italian musical journal. 
 
 BASILI (Francesco), or Easily. Italian comp., B. Loretto, Ancona, Feb., 
 
 1766. S. under Jannaconi. Chap. -master at Foligno. Chap.-master at 
 
 Macerata. Do. at S. Peter's, Rome, 1837. Director of Milan Cons., 1827. 
 
 Was for a short time an opera vocsSSst; debut, Milan, 1787. D. Mar. 25, 1850. 
 
 Works. — La Sansone, oratorio, 1824. Operas ; La Locandiera ; D'Achille nell' 
 
 assedio di Troja, 1798 ; II Ritorno d'Ulysse, 1799 ; Lo Stravagante e il Dissipa- 
 
 tori, 1802; L'Ira d'Achille, 1817; L'Orfana egiziaria, 1817 ; Gl' lUenesi, 1818; 
 
 II Califlfo e la Schiava. Requiem fot Jannaconi, 1816. Psalms ; Miserere ; Motets. 
 
 Organ Music ; Quartets for stringed instruments ; Miscellaneous Church Music. 
 
 BASSANI (Giovanni Battista). Italian comp. and violinist, B. Padua, 1657. 
 Chap.-master at Bologna Cath. Chap.-master at Ferrara. Mem. of the 
 " Accademia delle Morte," Ferrara. Director of Accademia dei Filarmonici, 
 Bologna, 1682. D. Ferrara, 1716. 
 Works. — Op. I. Sonata da Camera, for stringed insts., 1693; op. 2. L'Armonia 
 delle Sirene, cantata amorose musical! a voce solo, 1692 ; op. 3. Cantata for solo 
 voice, 169S ; ojd. 4. La Moralita Armonica, cantata for 2 and 3 voices, 1700 ; op. 5. 
 Sonata for 2 violins and bass ; op. 6. Affetti canori, cantate ed ariette, 1697 ; op. 7. 
 Eco armonica delle muse, cantata for solo voice, 1694 ; op. 8. Resi Armonici in 
 Motteti a voci sola con violini, 1691 ; op. 9. Armonici Entusiasmi di Da vide, 1695- 
 1698; op. 10. Salmi di Compieta. a tre e quattro voci, 1691 ; op. 11. Concerti 
 Sacri (Motets), 1697 ; op. 12. Motets for solo voices, 1700 ; op. 13. Armonie Fes- 
 tive, 1696 (English edition, Harmonia Festiva, etc., Lond., fo. n. d.); op. 14. 
 Amorosi sentimenti di cantate a voce solo, 1696; op. 15. Armoniche Fantasie di 
 cantate amorose a voce sola ; op. 16. La Musa Armonica, cantata for solo voice, 
 1695 ; op. 17. La Sirena Amorosa, cantata for voice and violin, 1699 ; op. 18. 
 Three masses for 4 and 5 voices, 1698 ; op. 19. Languidezza Amorosa, cantata for 
 solo voice, 1698 ; op. 20. Mass for 4 voices, 1698 ; op. 21. Psalms for 2, 3, 4, and 5 
 voices, 1699 ; op. 22. Lagrime armoniche, ossia il Vespero de defunti, for 4 voices, 
 1699 ; op. 23. Le Notti lugubri concertate ne' responsori dell' uffezio de' morti, 
 1700 ; 24. Da vide Armonico espresso ne' salmi di mezzo, for 2 and 3 voices, 1700 ; 
 op. 25. Compietori correnti a quattro voci concertate, 1 701 ; op. 26. Antifone 
 Sacre, for solo voice, 1701 ; op. 27. Motetti sacre a voce solo con violini, 1701 ; 
 op. 28. Cantata Amorose a voce solo, 1701 ; op. 29. Corona di fiori musicali . . . 
 1702 ; op. 30. (?) ; op. 31. Cantata Amorose a voce sola con violini, 1705 ; op. 32. 
 Mass for 4 voices, 17 10, Falaride, opera, 1684; Amorosa preda di Paride, opera, 
 1684 ; Alarico, opera, 1685 ; Ginevra, 1690 ; II Conte di Bacheville, 1696. Church 
 music in MS., etc. 
 
 The general characteristics of Bassani's music — or rather the small portion known 
 — are extreme delicacy in the management of pathetic effects, careful construction, 
 and uniform religious feeling. We are unable correctly to state the degree to 
 which his music is now cultivated in Italy or anywhere. 
 
 BASSANTIN (James). Scottish astronomer of the 16th century, D. 1568. 
 Author of " Musica Secundum Platonem," in his collected writings. 
 
 BASSI (Luigi). Italian barytone vocalist, B. Pesaro, 1766 ; S. under Morandi. 
 Debut as sopranist, 1779. Debut at Prague in Paisiello's " Re Teodoro," 1784, 
 Resided at Vienna, 1806-14. Returned to Prague, 1814. Manager of the oper^ 
 at Dresden, 1815. D. Dresden, Sept. 13, 1S25. 
 
SAS — BAT 6l 
 
 Bassi was one of the finest singers of his time, and was selected by Mozart as a 
 suitable vocalist for the part of Don Giovanni, if, indeed, the part was not written to 
 suit his voice. 
 
 BASSINI (Carlo). Italian teacher and violinist, B. Piedmont, i8i2. Appeared 
 in South America as violinist with an opera company. Settled in New York 
 as a teacher. D. at Irvington, New Jersey, Nov. 26, 1870. 
 Works.— The Art of Singing, 1857 ; Method for the Barytone, 1868 f Method 
 
 for the Tenor, 1866 ; Melodic Exercises, 1865. Songs. 
 
 BASTIAANS (J. G-.) Dutch org. and comp., B. Wilp,i8i2. D. 1874. Writer 
 of organ music, chorales, motets, etc. 
 
 BASTON (Josquin). Flemish comp. of i6th century, comp. chansons, motets, 
 and other vocal music. 
 
 BATCHELDER (John C.) American org. and pianist, B. in Topsham Vt., 
 
 1852. S. at Berlin under Haupt, Ehrlich, and Loeschhorn for four years. 
 
 Teacher of organ and piano in the Detroit Cons, of Music, and Org. of S. 
 
 Paul's Episcopal Ch. 
 
 He has given between thirty and forty organ recitals in Detroit, and played also 
 
 publicly in many large cities, Philadelphia, Pittsburg, Toledo, and at other points. 
 
 BATES ( Joah). English musician, and one of the founders of the Handel Com- 
 memoration, B. Halifax, 1740. Instructed in music by Hartley, org. at 
 Rochdale ; and R. Wain Wright, org., Manchester. Resided for a time at 
 Eton and Cambridge. Private Secretary to the Earl of Sandwich. Established 
 the Concert of Ancient Music, 1776. Cond. of the Ancient Concerts. 
 Founded Handel Commemoration (with Sir W. W. Wynn and Viscount 
 Fitzwilliam), 1783. D. London, June 8, 1799. 
 The "Handel Commemoration" with -Bhich Bates is chiefly identified was, in 
 its time, a much talked of enterprize. No such gathering of a large body of musi- 
 cians had ever before taken place, and the extensive arrangements undertaken in 
 connection with it caused sufficient stir to assure its success. The vocalists who 
 held the principal parts on the occasion of the first public performance were — Miss 
 Cantelo, Miss Abrams, Mdlle. Mara, Miss Harwood, Sig. Bartolini and Tasca ; 
 and Messrs. Harrison, Dyne, Champness, Bellemy, Corfe, Norris, Knyvett, Clerk, 
 Reinhold, and Matthieson. Bates conducted, and the affair took enormously. The 
 first performance was in Westminster Abbey, on May 26, 1784. Second and third 
 performances were given on May 27 and 29. The programme included "The 
 Messiah," The Dettingen Te Deum, a Coronation Anthem, and miscellaneous 
 selections from Handel's works. 
 
 As regards Bates it can be said that he was a famous conductor, and in every 
 respect a musician of great knowledge and administrative ability. He did not com- 
 pose anything so far as we can learn, but appears to have been widely known 
 among musicians of every grade during his lifetime. He is somewhat roughly 
 handled by the Scotch poet, A. Macdonald, in "Monitory Madrigals to Musical 
 Amateurs," Nos. 3 and 4, contained in his Miscellaneous Works, 1791. 
 
 BATES (Sarah). See Harrop (Sarah). 
 
 BATES (William). English comp., B. about the beginning of the i8th century. 
 Connected during his life with Marylebone Gardens. Instructed Ann Cately 
 in music and singing, 1760. Fined and accused, together with a Sir Francis 
 Blake Delaval, of using illegal means of disposing or selling the person of Ann 
 Cately, 1763. (See Cately.) Date of death unknown. 
 Works. — Glees ; Songs sung at Marybone Gardens, 1768 ; Music for several 
 
 farces as the " Theatrical Candidates ;" Catches and Canons, etc. 
 
 BATESON (Thomas). English comp. and org., B. [?] Org. of Chester Cath., 
 
 1599. Resided in Ireland for many years, from 1608 (?). Org. of Christ 
 
 Ch. Cath., Dublin, 1608 (?). Mus. Bac, Dublin. (The first on whom the 
 
 degree was conferred by the University). D. [unknown.] 
 
 Works.— First Set of Madrigals, 1604 ; Second Set of Madrigals, 1618 ; Twq 
 
 Madrigals in the "Triumphs of Otiana." 
 
hi Mai! — BAI^ 
 
 This composer, who was a madrigal writer of great power, is unfortu- 
 nately shrouded in much gloom where kis life is concerned. His two books of 
 madrigals are the chief memorials we possess of a writer who can be classed with 
 such men as Wilbye and Weelkes without detracting greatly from their honour by 
 such association. His madrigals are not many, but they are beautifully worked 
 out pieces ; being no less well constructed than very melodious. His first book 
 of madrigals was reprinted by the Musical Antiquarian Society in 1846. 
 
 BATHE (WiUiam). Irish Jesuit and writer, B. Dublin, 1564. Professor of 
 Languages at the University of Salamanca. D. Madrid, June 17, 1614. 
 Wrote "A Brief Introduction to the true Arte of Musicke," Lond., 4to, 1584. 
 Another edition was issued with title of " A Briefe Introduction to the Skill of 
 Song, etc." Lond., n. d. 
 
 BATISTE (Antoine Edouard). French org.. Prof., and comp., B. Paris, 
 March z8, 1820. S. at Paris Cons, under Leborne, Bienaime, Le Couppey, 
 Halevy, and Benoist. Gained second prize for solfeggi, 1832. Gained first 
 do., 1833. Gained second prize for harmony and accomp. , 1836. First prize 
 do, 1837. Second prize for counterpoint and fugue, and second prize for the 
 organ, 1838. First prizes for both, 1839. Gained Second Grand Prix de 
 Rome, 1840. Prof, of singing at the Cons, from 1836. Org. of the Ch. of 
 St. Nicholas des Champs, 1842. Org. of St. Eustache, Paris, 1855. D. Paris, 
 Nov. 9, 1876. 
 
 Works. — Instruction Books for Singing. Pf. music. Organ music, consisting of 
 Offertoires, Sonatas, Fugues, Fantasias, Voluntaries, etc. Songs. Church 
 music, etc. 
 
 This organist was accounted among the best of modern performers in the brilliant 
 style. His compositions are, on the whole, good and serviceable if somewhat 
 showy pieces for the organ. His andante movements are no doubt the most 
 adapted for church use, and they are not only very melodious but also very skilfully 
 constructed. Batiste endeavoured to procure from his instrument effects which can 
 only be said to belong legitimately to the orchestra. The success with which 
 orchestral effects are imitated on the organ is marvellous. Skilful organists seem 
 to produce the more broad orchestral colourings with the greatest ease. Overtures 
 are transcribed and rendered in- a style combining neatness with fulness, but the 
 delicate gradations of light and shade are not with the present mechanism perfectly 
 attainable. Batiste's organ music is noisy, brilliant, and not so sacred and dignified 
 as church music is expected to be. 
 
 BATISTIN (Johanu B.) or Struck. German comp., B. Florence [?]. D. 
 Paris, Dec. 9, 1755. Writer of operas, etc. 
 
 BATTAILLE (Charles Amable). French bass vocalist, B. Nantes, Sept. 20, 
 1822. D. Paris, May 2, 1872. 
 
 BATTANCHON (Felix). French comp. and violoncellist, B. Paris, April 9, 
 1814. Writer of Studies, duets, rondos, and other pieces for 'cello, with 
 accomp. 
 
 BATTEN (Adrian). English comp. and org., B. in latter portion of i6th cen- 
 tury (1585-90). S. under Holmes of Winchester Cath. Vicar-choral of West: 
 minster Abbey, 1614. Vicar-choral of S. Paul's Cath., 1624. Org. do., 1624. 
 D. middle of the 17th century (1640?). 
 Works. — Anthems: Hear my Prayer; Praise the Lord; Deliver us, 
 
 Lord (in Boyce's Cathedral Music) ; Te Deum, Benedictus, jubilate, Kyrie, etc., in 
 
 D (Novello) ; Thirty-four Anthems (words only — ClilTord) ; Twenty-four Anthems 
 
 in Barnard's Cathedral Music. 
 Batten was an inferior composer, and can by no means be classed with such men 
 
 as Lawes, Hilton, Gibbons, or others who were his contemporaries. The anthems 
 
 published in "Boyce" (and by Messrs. Novello) are favourable examples of 
 
 his style. 
 
 BATTISHILL (Jonathan). English comp., B. London, May, 1738. Chor. 
 in S. Paul's Cath., 1747. Articled to W. Savage, by whom, he was ill treated. 
 Wrote for Sadler's Wells Theatre. Deputy org., under Boyce, at the Chap.- 
 
feAT — feAt; ^j 
 
 Royal. Cond. and accompanist at Covent Garden Theatre. Married to Miss 
 
 Davies (the original " Madge" in " Love in a Village"), 1763. Org. of United 
 
 parishes of S. Clement, Eastcheap, and S. Martin Orgar, 1764. Org. of 
 
 Christ Church, Newgate Street, 1764. Resigned cond. of Covent Garden. 
 
 Devoted himself to teaching and composition. Presented with gold medal by 
 
 the Nobleman's Catch-club, 1 77 1 . Lost taste for music and became addicted 
 
 to drink, on the death of his wife, 1777. D. Islington, Dec. 10, 1801. 
 
 Works. — Almena, an opera (with M. Arne), Drury Lane, 1764; The Rites of 
 
 Hecate, a musical entertainment, 1764. Collection of Twelve Songs. Set of 
 
 Sonatas for the Harpsichord. 2 Collections of Glees, 1776. Anthems: Behold, 
 
 how good and joyful ; Call to remembrance ; I will magnify Thee, O God ; O 
 
 Lord, look down from heaven; Six Anthems and ten Chants, ed. by Page, 1804. 
 
 Glees : Amidst the myrtles ; Come, bind my hair ; Again my mournful sighs. 
 
 Music for Charles Wesley's Hymns. Chants. Collection of Catches. Music (with 
 
 Baildon) for Lee's Dramatic Entertainments, 1777. Songs for 3 and 4 voices, 
 
 Lond., 1783 ; Miscellaneous songs, anthems, glees, etc. 
 
 The foregoing list of works does not represent one-third of Battishill's composi- 
 tions. His anthems are now only occasionally sung, and then only in provincial 
 churches. The simple grace of this composer has long since given way to the more 
 laboured works of modern times. 
 
 Battishill was an organist of most sterling qualities, and was specially good at 
 extemporaneous playing. Handel's music also drew out his powers to their fullest 
 extent, and Dr. Busby speaks of him as equalling Handel himself in his exquisite 
 rendering of the organ concertos, etc. The following estimate of his powers is 
 taken from Dr. Busby's "History of Music," vol. ii. Speaking of "The Rites of 
 Hecate " : — "In the airs of this piece he demonstrated a strength and originality of 
 imagination, and, in the adjustment of his score, an elegance and mastery that 
 delighted the general ear, and excited the admiration of every musical critic. . . 
 In the composition of catches and glees, this master exhibited great resources of 
 imagination, and an abundant store of science and ingenuity. . . The produc- 
 tions of this ornament of his day are marked by a peculiar strength of conceptioii, 
 considerable originality and sweetness, and fine harmonical adjustment. His 
 anthems are characterized by the learning and sober majesty of Boyce's best 
 cathedral compositions ; and his choruses in Almena may be compared with those 
 in the celebrated serenata of his early friend and favourite master." 
 
 BATTISTA (Vincenzo). Italian comp., B. Naples, Oct. 5, 1823. D, Naples, 
 Nov. 14, 1873. Operatic writer. 
 
 BATTMAN (Jacques Louis). French org., pianist, and comp., B. Masse- 
 vaux, Aug. 25, 181S. Composer of over 200 works of medium quality for 
 organ, piano, etc. 
 
 BATTON (Desire Alexandre). French comp., B. Paris, Jan. 2, 1797. S. 
 under Cherubini at the Cons., 1806-17. Travelled in Germany and Italy, 
 1818-23. D. Paris, Oct. 16, 1855. 
 Works. — Operas, Cantatas, etc., now for the most part unknown or forgotten. 
 
 BATTU (Pantaleon). French violinist and comp., B. Paris, 1799. D. Paris, 
 Jan. 17, 1870. 
 
 BAUDIOT (Charles Nicolas). French violoncellist and comp., B. Nancy, 
 March 29, 1773. Performer in the King's Chapel, l8l5. Prof, of 'cello at 
 the Cons., 1822. D. Sept. 26, 1849. 
 Works.— Two Concertos for 'cello, and orch., opp. 19, 20; Trio for strings, 
 
 op. 3 ; Duets for 2 'cellos, op. 5 and 7 ; Fantasias, Pot-pourri, etc., for 'cello ; 
 
 Sonatas for 'cello ; Trios for Pf., 'cello, and horn ; Methode de Violoncello pour 
 
 I'usage du Conservatoire, etc. 
 
 BAUDRON (Antoine Laurent.) French violinist and comp., B. Amiens, 
 
 May 16, 1743. D, 1834. 
 BAUBRSACHS (Carl Friedrich). German violoncellist and basset-horn 
 
 player, B. at Pegnitz, June 4, 1770. D. Dec. 14, 1845. 
 
64 BAU — SAY 
 
 BAULDUIN (Noel) Balauin. Belgian comp., B. towards latter part of 15th 
 century. D. 1529. Writer of church music. 
 
 BATJMANN (Emanuel). German comp. and pianist, B. 1825. Writer of Pf. 
 music, operettas, songs, etc. 
 
 BAUMBACH (Friedrich August). German comp. and writer, B. 1753. D. 
 Leipzig, Nov. 30, 1813. Composer of Pf. music, collector of songs, etc. 
 
 BAUMFELDER (Friedricll A. W.) German comp. and pianist, B. Dresden, 
 May 28, 1836. Writer of overtures, concertos, Pf. music, etc. 
 
 BAUMGARTEN (Carl Friedricll). German org. and comp., B. 1754. 
 
 Appeared in London about the end of the 1 8th century. Org. in Lutheran 
 Chap, in the Savoy, London. Leader at the opera, Covent Garden Theatre. 
 Leader of Duke of Cumberland's private band. D. London, 1824. 
 Baumgarten wrote music for several pantomimes, etc., as also a work on musical 
 theory. 
 
 BAYLET (William), English org. and comp., B. [1810] Vicar choral, S. 
 Paul's. Org. of S. John's, Southwark. D. London, 1858. Comp. a number 
 of songs, cavatinas, and other vocal music, and was an organist of some 
 ability. 
 
 BAYLY (Rev. Anslem).) English writer and divine, B. 1719. Matriculated 
 at Exeter Coll., Oxford, 1740. Lay vicar at Westminster Abbey, 1 741. Gent. 
 Chap. Roy., 1741. Priest, do., 1744. B. C. L., 1749. D. C. L., Oxford, 
 1764. Sub-dean of Chap. Roy., 1764. D. 1792. 
 Works. — Practical Treatise on Singing and Playing with just expression and real 
 elegance, London, 1771 ; The Alliance of Musick, Poetry, and Oratory, 1789; The 
 Sacred .Singer, containing an Essay on Grammar, the requisites of singing cathedral- 
 compositions, etc., Lond., 8vo, 1771. Collection of Anthems used in His Majesty's 
 Chapel . . . 8vo, 1769. Sermons, etc. 
 
 BAYLY (Thomas Haynes). English lyrical poet, B. London, 1798. D. 
 April 22, 1829. 
 The life of this latterly unfortunate poet seems to have been of a nature 
 sufi&ciently varied to furnish him with the various themes, melancholy and cheerful, 
 on which he expended so much careful finish. As he is the founder of a style or 
 departure in English ballad writing, it will be necessary to notice him at more 
 length than, as an ordinary poet, he would have been entitled to. The departure 
 in ballad writing spoken of is that in which the poet deals closely with events in 
 every-day life which are personal in character. The domestic side of man is taken 
 up, his social and homely feelings are appealed to in what are known as vers 
 de sociitL Though Bayly has had numerous imitators, we think that on the 
 whole he has been more successful than any of his followers in his treatment 
 of such subjects. This school of poetry, which was born, but has not died, 
 with the Annuals, has been greatly instrumental in lowering the artistic tone 
 of our national songs. The style of the poetry, originally healthy enough, 
 has gradually been degenerating into an empty, glittering sentimentality. 
 Bayly's songs were originally set by himself, Bishop, J. P. Knight, A. Lee, 
 Loder, and others of sound attainments. The poetry was good, and the music 
 often so. Such collections as — " Songs of the Old Chateau," "Songs for Winter 
 Nights," " Songs of the Grave and Gay," were really good. In our day this has 
 been reversed ; the poetry is sickly and the music dolorous. The melancholy side 
 of Bayly, as displayed in " Long, long ago," " She wore a wreath of roses," etc., 
 has in present times been carried to excess, and the market is deluged with pro- 
 ductions of the most effete nature, having for subject matter such stories as the 
 ascent to heaven of departed souls, via a sunbeam, or the death-scenes of pauper 
 children, either in cathedrals or on the gutter. Bayly also wrote plays and some 
 novels, all long since forgotten. 
 
 BAYR (Georg). Bohemian flute-player and comp,, B. 1773. D. Vienna, 1833. 
 Wrote concertos, etc. for his instrument. 
 
feAZ — BEA 65 
 
 BAZILLE (August Ernest). French comp., B. Paris, May 27, 1828. Writer 
 of operettas, songs, etc. 
 
 BAZIN (Francois Emanuel Joseph). French operatic comp., B. Marseilles, 
 Sept. 4, 1816. D. Paris, July 2, 1878. 
 
 BAZZINI (Antonio). Italian violinist and comp., B. Brescia, Nov. 24, 1818. 
 Played throughout Italy, France, Germany, and Belgium. Prof, of Comp. at 
 Milan Cons., 1876. 
 Works. — Concertos, Variations, and Transcriptions for the Violin, etc. 
 Bazzini was long a favourite with the more vulgar portion of the musical public on 
 the Continent, and succeeded in persuading them, as he had persuaded himself, 
 that he was a fiddle-god. Like Paganini and others of that school, he contrived to 
 delight his audiences more by mechanical means than by those usually regarded as 
 highly academic. 
 
 BEALE (John). English comp. and pianist, B. London, [1676 ? ]Pupil of J. B. 
 Cramer. Mem. of Phil. Soc, 1720. Prof, of Pf at R. A. M. Teacher in 
 London, and Director of Music at Argyle Rooms. D. [?] 
 
 Beale was a most respectable professor, and wrote a large quantity of indifferent 
 songs and Pianoforte music, none of which is now in existence. ' He wrote " Com- 
 plete Guide to the Art of Playing the German Flute, "...fo. n. d. 
 
 BEALE (Thomas Willert) Walter Maynard. English comp. and writer, B. 
 London, 1S31. Called to the bar at Lincoln's Inn, 1863. Mem. of firm of 
 Cramer & Co. 
 Works. — The Enterprising Impresario, London, 1867 ; Articles in CmtlemarCs 
 Magazine, Once a Week, etc. Songs : Ah ! would that I could weep ; I think of 
 thee still ; In the silence of the night ; 'Tis home where'er thou art ; The Cara- 
 bineers ; Let me stay ; Lover's vows ; Macbeth, dramatic scena ; O, say once 
 more, I love thee ; Regret ; Thy voice in tender accents ; 'Twas hut a word ; 
 When those bright hours ; Why did we meet, etc., etc. ; Concerted vocal music ; 
 Pf. music, etc. 
 
 BEALE (Thurley). English bass vocalist, B. Royston, Hertfordshire, April 
 
 23, 1849. Joined J. HuUah's Choral Soc. in London, 1864. Chor. in S. 
 
 Andrew's, Wells Street, London. S. under Joseph Barnby. Chor. at S. 
 
 Paul's Cath. 
 
 Beale has sung at nearly every town of importance in England and Scotland, and 
 
 is justly regarded as one of the leading English basses. 
 
 BEALE (William). English comp., B. Landrake, Cornwall, Jan. i, 1784. 
 S. under Dr. Arnold and R. Cooke. Gained prize cup from Madrigal Soc, 
 1813. Engaged in London as teacher of music, 1813-54. D. London, May 
 3. 1854- 
 Works. — Madrigals, etc., for 3, 4, and 5 voices, Lond., 1815; Collection of 
 Glees and Madrigals, 1820. Madrigals: Awake, sweet muse (prize), 1813; What 
 ho ! what ho ! 1816 ; Come let us join the roundelay ; This pleasant month of May. 
 Glees (edited by E. Plater, S. Lucas & Co.) : I'll enjoy the present time; How 
 soft the music ; By the side of a grove ; Scenes of woe ; Lo ! the Pride of the Vil- 
 lage is dead ; How often from the sleep ; Oh ! by yonder mossy seat ; The humble 
 tenant ; Ode to the memory of Samuel Webbe ; Thou herald of the blushing morn ; 
 When Fanny, "blooming fair ; Again the balmy zephyr (round) ; Sing unto the 
 Lord (canon), etc. [1879]. Songs, etc. 
 
 Beale was one of the last of the long roll of eminent English glee composers. 
 The glee, as a thoroughly English species of composition, is daily receiving less 
 attention, and it is very probable that Beale and Bishop will never be succeeded. 
 The glees of Beale are fresh and agreeable compositions, graced with all the refinei 
 
66 Bea — beC 
 
 ment and artistic skill usually found in such works, and they are in many respects 
 worthy to be named with the best creations of the older writers. 
 
 BEARD (John). English tenor vocalist, B. 1716. Chor. in Chap. Roy. under 
 B. Gates. Dibut at Covent Garden in 1736. Sang at Drury Lane, 1737. 
 Married to Lady Henrietta Herbert, widow of Lord Edward Herbert, 1739. 
 Afterwards married to Miss Rich (daughter of Rich of Covent Garden Theatre), 
 1759. One of the proprietors of Covent Garden Theatre, 1761. Retired from 
 public life, 1768. D. Hampton, London, February 4, 1791. 
 Beard was for long the leading English tenor vocalist, and was, together with 
 
 Harrison, one of the leadmg exponents of Handel's music. He was also famous 
 
 as a ballad vocalist. 
 
 BBARDMORE (Mrs.) See Parke (Maria H). 
 
 BEATTIE (James, LL.D.) Scottish poet and writer, B. Laurencekirk, Oct. 25, 
 
 1735' S. at Aberdeen University. Schoolmaster in Kincardine, I7S3-S8. 
 
 Prof, of Moral Philosophy, Marischal Coll., Aberdeen, 1760. Married to Miss 
 
 Mary Dun, 1767. D. Aberdeen, Aug. 18, 1803. 
 
 Works. — Essays on Poetry and Music as they affect the Mind, etc., London, 1776 ; 
 
 second edit., 1779. Letter to the Rev. Hugh Blair, D.D., on the Improvement of 
 
 Psalmody in Scotland, 8vo, 1778 ; another edit., Edin., i2mo, 1829 ; Poems, 
 
 Ethical works, etc. 
 
 The essay on " Poetry and Music " was translated into French. His eldest son, 
 
 James Hay Beattie (B. Aberdeen, 1768 — D. 1790) was a violinist, and amateur 
 
 musician of great promise. 
 
 BEAULIEU (Marie Desire), or Martin. French comp. and writer, B. Paris, 
 
 April II, 1791. Received first instructions in music when 7 years old. S. at 
 
 the Cons, under R. Kreutzer and M^hul. Gained second prize for comp. at 
 
 Cons. D. Paris, Dec, 1863. 
 
 Works. — Operas: Anacreon; Psyche et I'Amour, 1833; Philadelphie, 1855. 
 
 Cantatas, oratorios, etc. : Sapho, 1813 ; Jeanne d' Arc, 1817; L' Hymne du Matin, 
 
 oratorio, 1843; L'Immortalite de I'ame, 1851; Church music — Miserere, 1812; 
 
 Laudate Dominum, for 2 choirs, 1813 ; Domine Salvum, for 5 voices, 1814 ; Requiem 
 
 Mass, solo, chorus and orch., 1819; Masses, etc. Pf. music, consisting of rondos, 
 
 fantasias, sonatas, etc. Memoire sur ce qui reste de la Musique de I'ancienne 
 
 Grice dans les premiers chants de I'Eglise. 8vo, 1856. Memoire sur le caractere 
 
 que doitavoir la musique d'Eglise...8vo, 1858. Memoire sur I'origine de la Musique. 
 
 Niort, 8vo, 1859. 
 
 BEAUHARNAIS (Hortense Eugenie). See Hortense. 
 
 BEAUMARCHAIS (Pierre Augustin Caron de). French dramatist, B. 
 
 Paris, Jan. 24, 1732. D. Paris, May 17, 1799. 
 Beaumarchais is noticed here as having written the comedies of " The Barber of 
 Seville" and "The Marriage of Figaro," from which were drawn the librettos of 
 two most successful operas, written respectively by Rossini and Mozart. Was 
 music-master to the daughters of Louis XV. 
 
 BEAUMONT (Jolin). English musician, published "The New Harmonic 
 Magazine, or Compendious Repository of Sacred Music, in full Score. 
 Lond., fo. 1801. 
 
 BECHER (Alfred Julius). German comp., B. Manchester, 1803. Educated 
 
 at Universities of Heidelberg, Berlin, etc. Resided at Vienna as Editor of the 
 
 "Radikale," a democratic sheet, which was filled with seditious articles by 
 
 Becher. Shot at Vienna for sedition, Nov. 23, 1848. 
 
 Works. — Op. i. Songs for solo voice and Piano ; op. 2. Lyrical pieces for the 
 
 Pf. ; op. 3. Six poems for voice and Pf. ; op. 5. Rondo for the Pf. ; op. 6. Six 
 
 songs for voice and Pf. ; op. 7. Three sonatas for Pf. solo ; op. 8. Original theme 
 
 for Pf. ; op. 9. Monologue for Pf. ; op. 10. Six Songs for voice and Pf. ; op. 11. 
 
feEC — BEd 67 
 
 Sonata (or Pf. ; op. 18. Nine pieces for the Pf. A Symphony ; String Quartets ; 
 Writings on various musical subjects, etc. 
 
 BECHSTEIN (Friedrich Wilhelm Carl). German piano-maker, B. Gotha, 
 June, 1826. One of the most extensive Pf. manufacturers on the Continent. 
 The instruments of this firm have long taken a leading place among those of 
 recent makers, and have been awarded not a few prizes at various exhibitions. 
 
 BECK (Franz). German comp., B. Mannheim, 1731. Resided chiefly in Paris 
 and Bordeaux, where he was a teacher of some note. D. Bordeaux, 1809. 
 Works. — Symphonies; Pandore, a. melodrama, 1786; Quartets for strings; 
 Church music. 
 
 BECKEL (J. C.) American pianist and writer, has published the following 
 works : — Amateur's School for the Piano (Ditson, Boston, n.d.) ; New and 
 Improved Operatic Instruction-Book for the Pianoforte (Do.) ; Amateur's 
 Organ School (Do.); Amateur Melodeon or Reed Organ School (Do.); 
 Church Manual, a Collection of Psalms, etc. (Do.) ; The Psalter, a Collection 
 of Sacred Music (Do.) ; Philadelphia Anthem Book (Do.), etc. 
 
 BECEEB (Carl Ferdinand). German writer and teacher, B. Leipzig, 1804. 
 
 S. under Schneider and Schicht. Org. of the Nicolai-Kirche, Leipzig. Prof. 
 
 at Leipzig Cons. D. Leipzig, October 26, 1877. 
 Works. — Systematisch-chronologishe Darstellung der musikalischen Literatur 
 von der fruhesten bis auf die neueste zeit, Leipzig, 1836; Die Hausmusik in 
 Deutschland in dem i6-ten, 17-ten, and i8-ten Jahrhunderte, Materialien zu einer 
 Geschichte desselbenes, etc., 1840 (Materials for a history of chamber music in 
 Germany in the i6th, 17th, and i8th centuries) ; Die Tonwerke des XVI. und 
 XVII. jahrhunderts, oder Systematisch-chronologische zusammenstellung der in 
 diesen zwei Jahrhunderten gedruckten Musikalien, Leipzig, 410, 1847 (Catalogue of 
 music printed during the l6th and I7lh centuries) ; Alphabetisch und chronologisch 
 geordnetes Verzeichniss einer sammlung von musikalischen Schriften ein Beitrag 
 zur Literatur- Geschichte der Musik, 1847 (Catalogue of the works contained in his 
 own collection) ; Die Tonkunstler des neunzehnten Jahrhunderts, ein Kalendarisches 
 Handbuch zu Kunzt-geschichte, 1849, etc. 
 
 The foregoing works are valuable contributions to musical literature, and are 
 marked by much painstaking industry and veracity. Becker was notable as being 
 a skilled bibliographer, and his collection of music was extensive, and contained 
 many rarities. 
 
 BECEEB (Constantin Julius). German comp,, B. Freiberg, Feb. 3, 181 1. 
 S. under Anacker. Resided at Leipzig as assistant editor (with Schumann) of 
 the " Neue Zeitschrift fur Musik," 1835. Teacher of singing at Dresden, 1843. 
 D. Oberlbssnitz, Feb. 26, 1859. 
 Works.— The Siege of Belgrade, opera, Leipzig, 1848 ; Collections of Lieder, 
 opp. 2, 5, 6, 8, 14, 17 ; Symphony, 1843 ; Serenade for violin and 'cello, op. 34; 
 A vocal school for men, and Duets for female voices ; Music for Pf., etc. ; A work 
 on Harmony, trans, into English as " A Concise Treatise on Harmony, Accompani- 
 ment, and Composition. " Lond., 1845. 
 
 BECEEB (Johann). German violinist, B. Mannheim, 1836. S. under 
 Kettenus and Alard. Debut as violinist in 1847. Leader of Mannheim orch. 
 Appeared at Paris with some success, 1859. Played at Monday Popular Con- 
 certs, London. Cond. the Philharmonic Concerts. Settled at Florence, 1866. 
 Since about 1866 Becker has been a member of the celebrated string quartet 
 party, located at Florence, and named the "Florentiner Quartet," whose playmg 
 of music for stringed instruments is announced as superb. The other members of 
 the party are Masi, Chiostri, and Hilpert. Becker has comp. music for the viohn. 
 
 BECEEB (Paul). German pianist and comp., presently residing in Chicago, 
 where he settled about 1858. His works consist principally of arrangements 
 and transcriptions. He is best known in America as a pianist of much ability. 
 
 BECKET (Thomas a'). American org. and teacher, B. Philadelphia, Pa., 
 1843. Teacher in Girard Coll,, Philadelphia. Charter Member of the Amen- 
 
68 BEC — BEfi 
 
 can Coll. of Musicians. Best known as an accompanist, in which capacity he 
 has travelled with some of the leading artists in America. Comp. music for 
 Pf. and org., and songs. 
 
 BECKWITH (John Christmas). English comp. and org., B. Norwich, Dec. 
 
 25. 1759- S. under Philip Hayes. Org. of Norwich Cath., 1780. Org. of 
 
 S. Peter's Mancroft, Norwich, 1780. Mus. Bac, Oxon., 1803. Instructed 
 
 Thomas Vaughan, the vocalist, in singing. D. Norwich, June 3, 1809. 
 
 Works. — The First Verse of every Psalm of David, with an ancient or modern 
 
 chant in score, adapted as much as possible to the sentiment of each Psalm. Lond., 
 
 1808. Anthems : The Lord is very great ; My soul is weary of life ; Six Anthems 
 
 in Score, for I, 2, 3, 4, and 5 voices (Clementi). Glees: Hark, o'er the waves; 
 
 The Chimney Sweepers. Pianoforte Music and Songs ; Concertos and other pieces 
 
 for the organ. 
 
 Beckwith was one of the best organists of his time, and a highly esteemed vocal 
 instructor. Some of his secular vocal music is melodious in character, but other- 
 wise his music is dull. He was succeeded by his son, John Charles Beckwith 
 [1788-1819] at Norwich Cathedral. The book of chants contains an introductory 
 article on chanting. 
 
 BECWARZOUSKY (Anton Franz). Bohemian org. and comp., B. 1750. 
 D. Berlin, May 17, 1823. 
 
 BEDFORD (Arthur). English divine and writer, B. Tiddenham, Gloucester, 
 September, 1668. S. at Oxiord. D. London, 1745. 
 Works. — The Temple of Musick, or an Essay concerning the Method of Singing 
 the Psalms of David in the Temple before the Babylonish Captivity, wherein the 
 Musick of our Cathedrals is vindicated... Bristol, 8vo, 1706 ; The Great Abuse of 
 Musick, containing an account of the use and design of Musick among the Antient 
 Jews, Greeks, Romans, etc., Lond., Svo, 1711 ; The Excellency of Divine Musick, 
 Lond., 1733; Scripture Chronology demonstrated by Astronomical Calculations, 
 Lond., 1730; The Present State of the Republick of Letters, Lond. , 1730; Serious 
 Reflections on the Scandalous Abuse and Effects of the Stage, Bristol, 1705 ; The 
 Evil and Danger of Stage Plays, etc. 
 
 BEER (Jacob). See Meyerbeer (Jacob). 
 
 BEER (Johann). German^comp. and writer, B. 1652. D. 1700. 
 
 BEER (Joseph). German clarinet-player, B. Grunwald, 1744. D. Potsdam, 
 1811. 
 
 BEERALTHER (Aloys). German darinet-player, B. 1800. D. Stuttgart, 
 Mar. 21, 1850. 
 
 BEETHOVEN (Ludwig van). German comp., B. Bonn, Dec. 17, 1770. 
 Commenced study of music under his father, 1775. Instructed further by 
 Pfeiffer, a vocalist, 1779' Learned organ-playing from Van den Eeden, org. 
 of the Court-Chap., Bonn. S. under Neefe, successor to Van den Eeden as 
 court organist, 178 1. Deputy-org. in Court-chap., 1782. Cond. of theatre 
 orchestra at Bonn, 1783. Visited Vienna for first time, 1787. Sent by the 
 Elector to Vienna, where he S. under Haydn and Salieri, 1792. His father 
 died, 1792. Took lessons from Albrechtsberger, 1794. Visited successively 
 Prague, Nuremberg, and Berlin, 1796. First troubled with deafness, 1806. 
 Hopelessly attacked with deafness, 1810. Made acquaintance of Goethe at 
 Toplitz, 1812. Undertook charge of Carl, his brother Caspar-Carl's son, 1815. 
 Latter years of his life passed in great seclusion. D. Vienna, March 26, 1827. 
 Works.*— Op. i. Three Trios for Pf., vn., and 'cello, in E flat, G, and C 
 
 minor, 1795 ; op. 2. Three Sonatas for Pf., in F minor, A, and C, 1796 ; op. 3. 
 
 * The dates given are those of composition or publication. 
 
BEE — BEE 69 
 
 Jfrio in E flat for vn., tenor, and 'cello, 1787 ; op. 4. Quintet in E flat for 2 violins, 
 2 tenors, and 'cello, 1796 ; op. 5. Two Sonatas for Pf. and 'cello, in F and Gmin., 
 
 1796 ; op. 6. Sonata for Pf. duet, in D minor, 1796 ; op. 7. Sonata for Pf., in E flat, 
 
 1797 ; op. 8. Serenade for vn., tenor, and 'cello, in D, 1786 (?) ; op. 9. Three trios 
 for vn., tenor, and 'cello, in G, D, and C min., 1797-8; op. 10. Three sonatas for 
 Pf. in C min., F, and D, 1797-8 ; op. II. Grand trio for Pf., clarionet, and 'cello, 
 
 1798 ; op. 12. Three Sonatas for Pf., in D, A, and E flat, 1799 ; op. 13. Sonata 
 (pathetic) for Pf., in C min., 1799 ; op. 14. Two Sonatas for Pf., in E and G, 
 1799 ; op. 15. First Concerto for Pf. and orch., in C, 1795 ; op. 16. Grand Quintet 
 for Pf., oboe, clarinet, horn, and bassoon, in E flat, 1797; op. 17. Sonata for Pf. 
 and horn, in F, 1798 ; op. 18. Six Quartets for 2 vns., tenor, and 'cello, in F, G, 
 D, C min., A, and B flat, l8oo ; op. 19. Second Concerto for Pf. and orch., in B 
 fiat, 1795 ; op. 20. Septet for vn., tenor, horn, clarinet, bassoon, 'cello, and bass, in 
 E flat, i8oo-2; op. 21. First grand symphony for orchestra, in C, iSoo ; op. 22. 
 Grand Sonata for Pf., in B flat, 1802 ; op. 23. Sonata for Pf. and vn., in A min., 
 iSoi ; op. 24. Sonata for Pf. and vn., in F ; op. 25. Serenade for Flute, vn., and 
 tenor, in D, 1802; op. 26. Grand Sonata for Pf., in A flat, 1802; op. 27. Two 
 Sonatas for Pf., in E flat, and C sharp min. (popularly known as the "Moonlight 
 Sonata"), 1802; op. 28. Grand Sonata (Pastorale) for Pf., in D, 1802; op. 29. 
 Quintet for 2 vns., 2 tenors, and 'cello, in C, 1802 ; op. 30. Three Sonatas for Pf. 
 and vn. A, C min., and G, 1802 ; op. 31. Three Sonatas for Pf. in G, D min., and 
 E flat, 1803; op. 32. Six Songs (cantiques) of Gellert for voice and Pf., 1803; 
 op. 33. Bagatelles for Pf., 1792; op. 34. Six variations on an original theme, for 
 Pf., 1803 ; op. 35. Fifteen variations with one Fugue, for Pf., in E flat, 1803; 
 op. 36. Second Symphony for orch., in D, 1804 ; op. 37. Third concerto, for Pf. 
 and orch., in C min., 1805; op. 38. Grand Trio, for Pf, clarinet, and 'cello, in 
 E flat (arranged from op. 20), 1803 ; op. 39. Two Preludes on the major and minor 
 scales for Pf. or organ, 1803 ; op. 40. Romance for vn. and orch, in G, 1803 ; op. 
 41. .Serenade for Pf. and flute, in D (arranged from op. 25), 1804 ; op. 42. Nocturne 
 for Pf. and tenor, in D (arranged from op. 8), 1804; op. 43. Die Geschbpfe des 
 Prometheus, Ballet, 1801 ; op. 44. Fourteen variations for Pf., vn., and 'cello, in 
 E flat, 1804 ; op. 45. Three Grand Marches for Pf. duet, in C, E flat, and D, 1804; 
 op. 46. "Adelaide," cantata for tenor solo and Pf. (Poem by Matthison), in F 
 1797 ; op. 47. Sonata for Pf. and vn., in A (Kreutzer), 1803 ; op. 48. Scene and 
 Air — "Ah! Perfido," for soprano voice and orch., 1803; op. 49. Two Sonatas 
 (easy) for Pf, in G min., and D, 1796; op. 50. Romance for vn. and orch., in F, 
 1804 ; op. 51. Two Rondos for Pf., in C and G ; op. 52. Eight Songs (or Liederj 
 for solo voice and Pf., 1791 ; op. 53. Grand Sonata for Pf., in C, 1803 ; op. 54. 
 Sonata for Pf., in F, 1805-6; op. 55. Third Symphony for orchestra ("Eroica "), 
 in E flat, 1802-4; op- S^- Concerto for Pf , vn., and 'cello, with orch., in C, 1807 ; 
 op. 57. Grand Sonata (Appassionata) for Pf., in F min., 1803-7 ; op. 58. Fourth 
 concerto for Pf. and orch., in G, i8o6 ; op. 59. Three Grand Quartets for strings, 
 in F, E min., and C, 1806 ; op. 60. Fourth Symphony for orch., in B flat, 
 1809; op. 61. Concerto for vn. and orch., in D, 1806; op. 62. Overture ("Cario- 
 lan") for orch., in C minor, 1808; op. 63. Sonata for Pf., vn., and 'cello, in E 
 flat (arranged from op. 4) ; op. 64. Grand Sonata for Pf. and 'cello, in E flat 
 (arranged from op. 3) ; op. 65. Scene and Air (Ah ! Perfido, op. 48), arranged for 
 Pf. ; op. 66. Twelve variations in F, for Pf and 'cello ; op. 67. Fifth Symphony 
 for orch., in C minor, 1809 ; op. 68. Sixth Symphony for orch. ("The Pastoral") 
 in F, 1S08; op. 69. Grand Sonata for Pf and 'cello, in A, 1809; op. 70. Two 
 Trios for Pf., vn., and 'cello, in D and E flat, 1809 ; op. 71. Sextet for 2 clarinets, 
 2 horns, and 2 bassoons, in E flat, 1810 ; op. 72. Leonore (" Fidelio "), opera in 2 
 acts, produced Vieniia, Nov., 1805 ; London. 1832 ; in English, 1835 ; op. 
 73. Fifth Concerto for Pf. and vn., in E flat, 1811 ; op. 74. Quartet 
 for strings, in E flat, 1810 ; op. 75. Six Songs by Goethe, for solo voice 
 and Pf. ; op. 76. Variations for Pf, in D, 1810; op. 77. Fantasia 
 for Pf., in G minor ; op. 78. Sonata for Pf., in F sharp, 1810 ; op. 79. Sonata for 
 Pf, in G, 1810; op. 80. Fantasia for P, chorus, and orch., in C minor (Choral 
 Fantasia), 1811 ; op. 81. Sonata (Les Adieux) for Pf, in E flat, 1811 ; op. 8ia. 
 Sextet for 2 vns., tenor, 'cello, and 2 horns, oblig., in E flat, 181 1; op. 82. 
 Four Ariettas, and one duet, for voice and Pf. ; op. 83. Three Songs by Goethe, for 
 voice and Pf. ; op. 84. Overture and Entr'actes to "Egmont" (Goethe), 1810; 
 op. 85. The Mount of Olives, oratorio for solo voices, chorus, and orchestra, 
 
70 BEE — BEE 
 
 1800 ; op. 86. Mass, in C, for 4 voices and orch., 1810 ; op. 87. Trio for 2 oboes 
 and cor anglais, in C (arranged from op. 53), 1806; op. 88. "Das Gluck der 
 Freundschaft," song; op. 89. Polonaise for Pf, in C, 1815; op. 90. Sonata for 
 Pf., in E flat, 1815; op. 91. The Victory of Wellington, or the Battle of Vittoria, 
 for orchestra, 1816 ; op. 92. Seventh Symphony for orch., in A, 1812-16 ; op. 93. 
 Eighth Symphony for orch., in F, 1812-16; op. 94. An die Hoffnung, song for 
 solo voice and Pf. ; op. 95. Quartet for 2 vns., tenor, and 'cello, in F minor, 
 1816 ; op. 96. Sonata for Pf. and vn., in G, 1816 ; op. 97. Grand Trio for Pf., vn., 
 and 'cello, in B flat, 1816 ; op. 98. An die feme Geliebte, song for voice and Pf., 
 1816 ;- op. 99. Der Mann vorn Wort, for solo voice and Pf. ; op. 100. Merken- 
 stein, ballad for solo voice and Pf. ; op. loi. Sonata for Pf. in A ; op. 102. Two 
 Sonatas for Pf. and 'cello, in C and D ; op. 103. Grand Octet for 2 clarinets, 2 
 oboes, 2 horns, and 2 bassoons, in E flat ; op. 104. Quintet for 2 vns, 2 tenors, and 
 'cello (arranged from op. i) ; op. 105. Six themes with variations for Pf., vn., and 
 flute; op. 106. Sonata for Pf, in B flat (Hammer-Clavier), 1819 ; op. 107. Ten 
 themes for Pf., vn., and flute ; op. 108. Twenty-five Scottish Songs, arranged for 
 voice, with Pf., vn., and 'cello accompt., 1815; op. 109. Sonata for Pf, in E, 
 1822; op. no. Sonata for Pf., in A flat, 1823; op. in. Sonata for Pf, in C, 
 1823; op. 112. Meerestille und Gliickliche— Fahrt (Goethe), "Calm sea and a 
 prosperous voyage," for 4 voices and orch., 1823; opp. 113, 114. The Ruins of 
 Athens (cantata or secular oratorio), for solo voices, chorus, and orch., 1812 ; op. 
 115. Grand Overture for orch., in C ; op. 116. Trio for Soprano, Tenor, and Bass, 
 with orch. accomp. ; op. 117. Overture, King Stephen, in E flat, i8i2 ; op. 118. 
 Chant Elegiaque for 4 voices, with accomp. for 2 vns., tenor, 'cello, and Pf. ; op. 
 119. Twelve Bagatelles for Pf, 1822; op. 120. Thirty-three variations on a valse 
 by Diabelli, in C ; op. 121. Adagio, variations, and rondo, for Pf. in G ; op. 121a. 
 Opferlied, by Matthison, for solo voice, chorus, and orch. ; op. 122. Bunderslied 
 (Song of Federation), by Goethe, for solo voices, and small chorus and orch. ; op. 
 123. Second Mass for 4 voices and orch., in D, 1822-24 > °P- 124. Overture for 
 orch., in C, 1822; op. 125. Ninth Symphony (Choral Symphony) on Schiller's 
 " Ode an die Freude " for chorus and orchestra, in D minor, 1822-23; op. 126. 
 Six Bagatelles for Pf, 1822; op. 127. Quartet for strings, in Eflat; op. 128. Der 
 Kus, arietta for solo voice and Pf. ; op. 129. Rondo a Capriccio for Pf , in G 
 (posthumous) ; op. 130. Quartet for strings in B flat ; op. 131. Quartet, in C sharp 
 minor, for strings, 1825 ; op. 132. Quartet for strings, in A minor, 1825 ; op. 133. 
 Grand Fugue in B flat, for string quartet, 1825 ; op. 134. Do., arranged for Pf. 
 duet, 1825 ; op. 135. Quartet for strings, in F, 1825 ; op. 136. Der Glorreiche 
 Augenblick, cantata on poem of Weissenbach's, for 4 voices and oich., 1814; op, 
 •37- Fugue for 2 vns., 2 tenors, and 'cello, Nov., 1817 ; op. 138. Second Overture 
 to "Leonore," for orch., in C, 1807. Principal Unnumbered Works: 139. Three 
 Quartets for.Pf. and stringed instruments, in E flat, D, and C ; 140. Third Overture 
 to "Leonore," in C, for orch., 1806; 141. Rondino for 2 clarinets, 2 oboes, 2 
 bassoons, and 2 horns, in E flat; 142. Three Sonatas for Pf., in E flat, F minor, 
 and D, 1780 ; 143. Variations (various) for Pf. ; 144. Numerous Dances and 
 Marches; 145. Songs (various). Summary — vocal and instrumental : I Oratorio, 
 I opera, 2 Masses, 2 Cantatas, I Ballet. Instrumental: 9 Symphonies ; 8 Over- 
 tures, I vn. Concerto, 5 Pf. Concertos, i Octet, i Septet, i Sextet, 4 Quintets, 17 
 Quartets, 18 Trios (various), 38 Pf. sonatas. Songs (many single), etc. 
 
 In reviewing Beethoven's array of magnificent works, the handy classification of 
 the three styles will be discarded for the more convenient one of groups ; these will 
 consist of: — 
 
 1. Orchestral and Symphonic Works. 
 
 2. Chamber Music. 
 
 3. Vocal Music ; and 
 
 4. Pianoforte Music. 
 
 The examination will be confined to the body of music in each group, not to each 
 single work in detail. 
 
 The vast difference in regard to emotional colouring apparent between the works 
 of Haydn and Beethoven is indicative to some extent of the great change which, at 
 the end of last century, passed over every art. In literature we find the formal 
 scholasticism of Gray and his school giving place to the tpore natural and genial 
 school of which Scott and Byron are representative, The strict diption of the school 
 
BEE — BEE 
 
 71 
 
 of Dryden and Pope, as in music that of Bach and the classical writers, had been 
 succeeded by one of a more human and passionate order. In painting, the rigidity 
 of West, Opie, Fuseli, and Barry had been supplanted by the naturalness of W ilkie 
 and Landseer. So in music do we now find, in composers from Beethoven till now, 
 a greater degree of warmth in the treatment of poetical subjects ; a more manifest 
 effort to sympathetically illustrate the general tendency of a chosen subject. 
 
 Beethoven is probably the first composer who attempted to express in instru- 
 mental music the feelings which perhaps a poem would be expected to engender. 
 He was the first to give his symphonic writings the character and consistency of 
 epic poems. In them, apart from the mechanical manipulation of sweet sounds, is 
 to be found the various degrees of light and shade corresponding to the fluctuating, 
 events in an epic. There is fire, energy, dignity, depth, and many other varying 
 forms of expression to be found in the writings of both Haydn and Mozart, but 
 that consistency of purpose which enabled Beethoven in the course of a symphony 
 to impart a definite idea of unity in his treatment of emotional elements is wanting 
 in both. A strict adherence to form, corresponding to the literature of their 
 period, robs the music of Haydn and Mozart of much of that passionate natural , 
 character which is so noticeable a characteristic in Beethoven. On the one hand, 
 we have correct, melodious, and genial writing ; on the other, strength of concep- 
 tion and beauty of execution in those subjects which express, so far as music can, 
 the varying feelings of man. The expressional powers of Beethoven's symphonies 
 are greatly superior to anything which has ever been produced in the form of instru- 
 mental music. The whole of the symphonies from No. 3 to 9 are more powerfully 
 conceived than any others. Their character is more elevated and noble than the 
 most ambitious efforts of his followers. Beethoven regarded the orchestra as a 
 ineans of conveying a certain amount of his own feelings and aspirations to others. 
 That he looked upon it as a medium whereby pictorial representations of certain 
 subjects could be produced, is not entertained. The orchestra is not of itself 
 capable of stimulating the imagination to the realization of events of any nature. 
 Beethoven wrote for the orchestra having in his mind a subject or programme, which 
 he tried to colour and illustrate. He did not pretend, as composers now do, to 
 create pictorial representations of events, or the substantial idea of them by means 
 of absolute music and a programme. 
 
 Beethoven having left no definite clue to the event or passion which he endea- 
 voured to illustrate in his symphonic works, it is useless at this distant period trying 
 to compound a programme to fit the general tone of any one of them, excepting, of 
 course, the "Pastoral." To this he himself indicated in a slight way the general 
 impression which the music was to illustrate ; but beyond a few bird calls, his 
 account does not extend to details connected with the aspects of nature, strips of 
 blue sky, or so forth. It has been said that too romantic a standpoint cannot be 
 taken when considering Beethoven's works. To this be added the reservation that 
 the romantic vapourings descend not to the depths of the nonsensical. The follow- 
 ing criticism from the pen of G. F. Graham, and appearing in the 8th edition of the 
 Encyclopoedia Briiannica, may be taken as the general opinion on Beethoven which 
 was current forty or fifty years ago : — 
 
 " As a composer Beethoven stands in the foremost rank. He possessed a power- 
 ful, inventive, and original mind. In respect of regularity of design, purity of 
 harmonic combination, and skilful management of all his materials, he is, generally 
 speaking, inferior to Haydn and Mozart. But still, all his best compositions are 
 pervaded by an enthusiastic spirit of inspiration, a wild and masculine energy, 
 relieved by frequent touches of tender beauty and melancholy, which stamp the 
 superior genius of the man, and may, perhaps, be said to render his music analo- 
 gous in character to the poetry of Dante. His earlier works and those of the 
 second period of his artistic development are his best. His deafness may in a great 
 measure account for the dry, crude, and unmelodious style of many of his later 
 works. In vocal composition he was not in general greatly successful." This 
 decision has been almost reversed at the present period. His third period, usually 
 counted from op. 81, being now regarded as that in which his originality and powers 
 of poetic treatment were most manifested. 
 
 Beethoven's chamber music, like his other instrumental works, is highly original, 
 and an advance on anything achieved by his predecessors. This is said, not with 
 regard to proportion or form, but with regard to a consistent and impassioned 
 treatment of poetic themes. Haydn is the more pleasing and genial quartet writer 
 
72 BEE — BEE 
 
 of the two, but he did not carry the expressive capabilities of the quartet to the 
 height achieved by Beethoven. Schubert and Mendelssohn equal Beethoven in this 
 respect more than Haydn ; but none of their writings will ever be so popular with 
 the masses as those of Haydn. The genial warmth, almost personal tunefulness of 
 Haydn hjs never been equalled by any writer up to the present time. Beethoven, 
 in trying to make the quartet a means of giving orchestral expression to his themes, 
 laid the foundation of the present school of music for stringed instruments. The 
 endeavour of composers since Beethoven's time has been to expand the sphere of 
 the string quartet ; to place it on a level with the symphony as an artistic musical 
 form ; and to give it a somewhat more compact form than was the practice with 
 the older writers. 
 
 Of his vocal music it will be unnecessary to speak at length. His masses are for 
 the concert-room rather than for the cathedral ; because he has expressed in them 
 his artistic ideas of musical combinations for effect, rather than assisted the devout 
 song-offerings of Christian worshippers. By straining after dramatic effect he has 
 utterly destroyed the sacred character of his music, and rendered it unfit for the 
 church service. They are stupendous experiments in musical colouring, suited only 
 to the perceptions of trained musicians. His opera is wedded to a libretto almost 
 " Bunnish " in absurdity. The instrumental portions are beautiful, as likewise are 
 many of the vocal numbers, but it is dull so far as purely dramatic interest is con- 
 cerned. He has failed to seize the extremely few opportunities given him of inten- 
 sifying the emotional situations. A musician can enjoy the ideal beauty of the 
 music abstractly ; but as a drama it fails to interest. It is, more than any other 
 opera of pretension, a collection of variously wrought-out forms of music strung 
 together without the least appearance of dramatic continuity or organic un i/brmity. 
 " The Mount of Olives " is semi-sacred throughout, and does not compare favour- 
 ably with Mendelssohn's "Elijah," or Handel's "JVIessiah;" nevertheless, it is a 
 musical work of the greatest beauty, containing passages of striking grand eur, and 
 showing here and there its writer's vast individuality. "The Ruins of Athens" 
 and the incidental music to Goethe's " Egmont " display in a much great. er measure 
 the peculiar character of his style. But it is chiefly in the orchestral a'ds that the 
 full grandeur of his genius is manifested. The general character of his vocal music 
 is unspontaneous, and he fails to obtain the same effects from it that other com- 
 posers, inferior to him in many respects, gain with seeming ease. Intricacy and 
 straining in vocal music is invariably destructive to its character, and this is often 
 made painfully manliest in most of Beethoven's larger works. 
 
 His pianoforte sonatas stand among the greatest and most original monuments 
 to the capabilities of that instrument. Since their production the art of playing 
 the pianoforte has advanced in immense strides. The compositions of Schumann, 
 Mendelssohn, Brahms, and Liszt have given an entirely fresh turn to its powers ; 
 and their proper performance entails a degree of perfect techn.que which was for- 
 merly only possessed by a few. That the great modern schoo'l of Pianoforte play- 
 ing was founded by the requirements of Beethoven's sonatas is indisputable. The 
 works of Haydn, Mozart, Clementi, Cramer, and Czerny do not present great diffi- 
 culty to the pianist of moderate culture, while those dating after Beethoven and 
 Schumann require skilful interpretation to produce the intended effect. Beethoven's 
 reputation as a composer for this instrument will always rest on his sonatas and 
 concertos. While the latter have been equalled by composers of a more recent 
 date, it is certain that the sonatas have not yet been touched in their poetical and 
 lovely natures, though they have been surpassed where mere construction is con- 
 cerned. His sonatas have been so often analysed, and efforts so often made to 
 prove that each was invested with some underl) ing principle closely bearing on their 
 author's life, tliat it is unnecessary to dilate on the subject. 
 
 There is but a short space left for a brief summary of the great revolution which 
 Beethoven effected in instrumental music. It is well known that previous to 
 Beethoven's advent the endeavour of composers was to carefully develop and 
 embellish certain themes within the academic rules of strict form. We do not find 
 in the works of either Haydn and Mozart any great degree of those emotional 
 characteristics which form so distinguishing a line of demarcation between them 
 and Beethoven . They followed closely the form of the symphony as had been 
 accepted by others, though Haydn made the most important additions to the instru- 
 mental resources and methods of treatment, and sought only to develop in a pleasing 
 ^nd beautifi^l manner lovely melodic phrases. Beethoven, on the contrary, 
 
BEG — BEH 
 
 73 
 
 developed, so to say, a thought of more or less power throughout his whole work. 
 He attached important significance to phrases which his predecessors only regarded 
 as essential but not inseparable portions of the entire structure. Each movement 
 of the work. was with them a distinct piece, never altogether in accordance with 
 the sentiment of the others ; while in Beethoven's works each movement must be 
 taken with the others as necessary adjuncts of an organic structure. Beethoven 
 carried the expressive capabilities of the orchestra far beyond anything ever 
 achieved. Schubert, Schumann, Mendelssohn, and Brahms, though each marked 
 by a distinct individuality, are nevertheless followers in the lines which Beethoven 
 so powerfully laid down. 
 
 The following list of works may be profitably consulted by persons desirous of 
 obtaining a full knowledge of Beethoven's life and works : — Biographische Notizen 
 liber L. van Beethoven. Wegeler und Ries, 1838 ; French edit, by Legentil, Paris, 
 1862 — Biographie von L. van Beethoven. A. Schindler, Miinster, 1840; English 
 ed. by Moscheles, Lond., 2 vols., 1841 — Beethoven et ses trois styles. Lenz. 2 
 vols, 1855 — Beethoven eine Kunst-studie. Lenz. Cassel. 5 vols., 1855-60 — 
 Beethoven ; ses critiques et ses glossateurs. Oulibicheflf. Paris, 1857 — L. van 
 Beethoven Leben und Schaffen. Marx. 2 vols., 1863 — Chronologisches Ver- 
 zeichniss der Werke L. van Beethoven's. Thayer, 1865 — L. van Beethoven's 
 Leben. Thayer, 1866-79. 3 vols. — Beethoven's Leben. L. Nohl. 2 vols., 1867; 
 English ed. by J. Lalor, 1883 — Letters from Collections of Nohl and Kochel, trans. 
 by Lady Wallace. 2 vols, 1 865 — Beethoven, sa Vie et ses CEuvres. Barbedette, 
 1870 — Beethoven, a Memoir by E. Graeme, 1870 — Beethoven nach den Schilder- 
 ungen seiner Zeitgenossen, 1S77 ; English Trans, by E. Hill, 1880 — Beethoven by 
 Wagner, trans, by Dannreuther, 1880 — Ein Skizzenbuch von Beethoven aus dem 
 Jahre, 1803. Nottebohm, Berlin, 1880 — Beethoven's Symphonies Critically and 
 Sympathetically Discussed, by A. T. Teetgen. Lond., 1879 — Beethoven's Clavier 
 Sonaten fiir freunde der Tonkunst. E. von Elterlein. Leipzig, 1856 ; trans, by 
 E. Hill. Lond., 8vo, 1879. — Also articles in F^tis' Dictionnaire, Mendel's Lexikori, 
 Grove's Dictionary of Music, and the following Periodicals : — Westminster 
 Review, 1839 (vol. 32) ; Colburn's New Monthly Magazine (by Geo. Hogarth), 
 1840 (vol. 62) ; Boston Quarterly Review, 1840 ; Tail's Edinburgh Magazine, 1841 
 and 1858 ; North American Review, 1841 (vol. 53) ; Bentley's Miscellany, 1847 ; 
 Atlantic Monthly, 1858; Journal of Speculative Philosophy, 1868; Contemporary 
 Review, 1866; Appleton's Journal, 1870; Argosy, 1870; British Quarterly Review, 
 1871; Fortnightly Review, 1872; Edinburgh Review, 1873 (vol. 138); Macmillan's 
 Magazine, 1876 (vol. 34) ; and Musical Journals generally. 
 
 BEGG (Rev. James, D.D.) Scottish divine, B. 1809. D. Edinburgh, 1883. 
 Author of "The Use of Organs and other Instruments of Music in Christian 
 Worship Indispensible ." Glasgow, lamo, 1866. Instrumental Music unwar- 
 rented in the Worship of God." Edin., 8vo, n. d. His father, the Rev. 
 James Begg, D.D., minister of New Monkland, Lanarkshire, wrote a tract 
 entitled " Treatise on the Use of Organs and other Instruments of Music in the 
 Worship of God." Glasgow, 8vo, 1808. 
 
 BEGNIS (Guiseppe de). Italian barytone vocalist, B. Lugo, 1793. Sopranist 
 at Lugo till 1808. Dibut at Modena in 1813. Dibut at Paris in 1819. 
 Appeared with his wife in London, 1822. Undertook the direction of opera 
 at Bath from 1823. D. Aug., 1849. 
 
 BEGNIS (Claudin Ronzi de). Wife of above, B. Paris, Jan. 11, 1800. Dibut 
 at Paris, 1819. Appeared with her husband in London, 1822. D. July 3, 
 1853. 
 
 BEGBEZ (Pierre Ignace M.) French tenor vocalist, B. Namur, Dec, 1787, 
 D. Dec. 1863. Sang at King's Theatre, London, 1822. 
 
 BEHNKE (Emil). German writer and teacher, B. Stettin, 1836. Teacher of 
 Voice Production to singers, speakers, and speech-sufferers. Lecturer on 
 Vocal Physiology. Author of " The Mechanism of the Human Voice." Lond. , 
 1880. Co-Author with Mr. Lennox Browne, F. R.C.S., of "Voice, Song, and 
 Speech, London (1883); and Co-author with Mr. Charles W. Pearce, Mus. Doc. , 
 of ' ' Voice Training Exercises, " Lond „ r 884 . ' 'The Child's Voice, " Lond. , 1885 . 
 
74 BEH — BEL 
 
 Mr. Behnke has, for many years, made the physiological laws of voice-produc- 
 tion his special study, and he has been so successtul in the application of scientific 
 principles to the practical work of teaching, and more particularly to the restoration 
 of voices impaired by false training, as to have established an entirely new profes- 
 sion. He lectures at the foremost musical and scientific institutions of the country, 
 and is universally accepted as a leading authority on all matters relating to the voice. 
 
 BEHRENS (Christoph Heinrich Theodor). German comp., B. Erckerode, 
 Brunswick, Mar. 27, 1808. Writer of lieder, etc. 
 
 BEKKEB (Johann Heinrich). Dutch violinist and org., B. Windschoken, 
 Groningen, Jan. 5, 1826. Writer of org. music, sacred music, songs. 
 
 BELCHER (J.) English writer, author of "Lectures on the History of Ecclesi- 
 astical Music," 8vo, 1872. 
 
 BELCHER (William Thomas). English comp. and org., B. Birmingham, 
 Mar. 8, 1827. Org. of Great Barr Ch., Staffordshire, 1856. Org. and Choir- 
 master of St. Silas' Lozells, Birmingham, 1861. Org. and Choir-master of 
 S. George's Parish Ch., Birmingham, 1864-78. Org. and Choir-mas^r of 
 Handsworth Parish Ch., 1878-81. F.C.O., 1867. Mus. Bac, Oxon., 1867. 
 Mus. Doc, do., 1872. Org. and Choir-master, Holy Trinity Ch., Bordesley, 
 1884. 
 Works.— Oratorio, The Sea of Gallilee (MS.), Oxford, 1872; opera, Estelle 
 (MS.) ; cantata, The Fates (performed at the Music School, Oxford, July, 1867), 
 1868 ; cantatina. Excelsior. Pour-part Songs: The Holly Tree and the Misletoe; 
 Sweet spring is coming ; Crowned with blushing roses ; The ripe fruits mellow in 
 the sun; Give me the lusty winter time ; I wish you a merry Christmas. Church 
 Music : Sabbath Harmonies ; Four Hymns ; Six Hymns ; Full Anthem for Double 
 Choir, from Psalm 122 ; Service in C ; Anthems from Psalms 13, 27 ; Chants, 
 etc. Glees: Wake, wake, each instrument of sound ; The Shipwreck ; Happy 
 hearts in gladness met; Hark! the syren strikes the lyre; Arise and go 
 forth ; Merry Harvest. The Clarion, 6 org. pieces. Songs : Songs of the 
 Convent; The Bridegroom's Serenade ; The Death of Wellington ; My home is on 
 the mountain steep ; The brave and the bereaved ; 'Tis lovely May ; Come, then, 
 join our soldier band ; Our village Bells ; Ever mine ! ever thine ; 'Tis not when 
 smiles are brightest ; Polkas and Quadrilles for Pf. 
 
 BELCKE (Friedricll August). German trombone player and comp., B. Lucka, 
 Saxony, May 27, 1795. Mem. of Gewandhaus orch., Leipzig. Principal 
 Trombone player in Royal Band, Berlin. D. Berlin, Dec. 10, 1874. 
 
 Works. — His composition, over 100 in number, consist of music for the trom- 
 bone, concerted vocal music for male voices. Pianoforte music, and a few orches- 
 tral pieces. The trombone music is among the best of its class. 
 
 BELLAMY (Thomas Ludford). English bass vocalist, B. Westminster, 1770. 
 S. as Chor. in Westminster Abbey under Cooke. S. under Tasca. Concert 
 vocalist in London till 1794. Stage manager of theatre in Dublin, 1794-97- 
 Part-proprietor of Chester, Lichfield, Manchester, and Shrewsbury theatres, 
 1800. Proprietor of Belfast, Londonderry, and Newry theatres, 1803. Sang 
 in Covent Garden Theatre, 1807-12. Do. in Drury Lane Theatre, 1812-17. 
 Choir-master at Chap, of Spanish Embassy, London, 1819. Bass at Concert 
 of Ancient Music. D. London, Jan 3, 1843. 
 Works. — Songs and Part-songs. Lyric Poetry of Glees, Madrigals, Catches, 
 
 Rounds, Canons, and Duets. Lond., 8vo, 1840. 
 Bellamy was for long one of the best English bass singers, and kept before the 
 
 public for a period of nearly half a century. His voice was powerful in tone and 
 
 of a round, full quality. 
 
 BELLAMY (Richard). English comp. and org., father of preceding, B. about 
 middle of l8th century. He was a Bachelor of Music, and composed a "To 
 Deum, for a full orchestra; also a set of anthems," 1788. His other works 
 were anthems, songs, and "Six Glees for 3 and 4 voices, " 1 789. D. Londen, 
 Sept., 1813. 
 
BEL — BEM 
 
 75 
 
 BELLASIS (Edward). English writer, B. Jan. 28, 1852. Lancaster Herald, 
 1882. Author of " Cherubini : Memorials Illustrative of his Life." Lend., 
 8vo, 1874. "The Law of Arms," etc. Com^. Songs : Alone I wander'd ; 
 Ministering Spirits ; The Haven ; Consolation ; Waiting for the Morning ; 
 The Two Worlds ; Tyre ; Marionette Pantomime, etc. 
 
 BELLETTI (Giovanni). Italian barytone vocalist, B. Lunigiana, 1813. Dibut 
 in Rossini's " II Barbiere," at Stockholm, 1837. Appeared in London, 1848. 
 Sang with Jenny Lind, under Sir Julius Benedict, in the United States. Sang 
 in London up till 1863. Appeared afterwards in several parts of Italy. 
 
 BELL'HAVER (VincenZO). Italian comp. of madrigals, etc., B. Venice, 1530. 
 D. [1589.] 
 
 BELLI (Giulio). Italian comp., flourished in i6th and 17th centuries, and wrote 
 Masses, Psalms, and other church music, and two books of madrigals, 1589-92, 
 
 BELLINI (VincenZO). Italian comp., B. Catania, Sicily, Nov. 3, 1802. S. 
 under his father, an organist. S. under Zingarelli at Naples Cons. Went to 
 Paris, 1834. Mem. of the Legion of Honour. S. in Paris. D. Puteaux, near 
 Paris, Sept. 23, 1835. 
 
 Works. — Operas: Adelson e Salvino, 1825; Bianca e Fernando, Naples, 1826; 
 II Pirata, Milan, 1827, London, 1830; La Straniera, Milan, 1828, Lond., 1832; 
 Zaira, Parma, 1829; II Capuletti ed i Montecchi, Venice, 1830, Lond., 1833; La 
 Sonnarabula, Milan, 1831, Lond., 1831, English version, 1833 ; Norma, Milan, 
 1832, Lond., 1833, English version, 1837; Beatrice di Tenda, Venice, 1833, Lond., 
 1836 ; I Puritani, Paris, 1834, Lond., 1835. 
 
 That school of opera which depended for effect on melody has now almost 
 entirely disappeared, leaving in its place one which pretends to more powerful 
 dramatic character. The pure Italian school of opera once so influential has now- 
 almost departed from the stage, leaving for its representatives Rossini, Verdi, 
 Donizetti, and occasionally Bellini. This applies, of course, only to the British 
 stage. We find that Bellini and Donizetti are fast dying out of the current musical 
 programmes, and that they who were reigning favourites twenty or thirty years ago 
 are now comparatively neglected. This would seem to denote that culture in music 
 is quickly obliterating the taste for simple melodies. Musicians who are not alto- 
 gether one-sided in their leanings appear to delight in music that exercises the 
 reflective faculties rather than that which passes time off in an agreeable fashion. 
 
 The numberless lovely melodies of which Bellini was author, are not in the least 
 hampered by the text of the opera. They are spontaneous creations which can be 
 sung with an entire disregard to the poetry from which it is supposed they spring ; 
 so meagre is the element of dramatic continuity possessed by them. They are, 
 moreover, only thoroughly relished by denizens of the sunny south, to whom mere 
 outward beauties are most grateful. It is possible that, had Bellini lived long 
 enough, he would have proved an ornament to modern Italian music, but rather in 
 the school of Verdi than of Cherubini. As it is, he has proved himself a more 
 graceful melodist than the former, though in every respect he is much less robust in 
 his manner of colouring emotional passages. His theoretical knowledge was also 
 limited, as may readily be perceived from the numerous guitar passages with which 
 his works abound. 
 
 See also articles in the Westminster Review, 1838 (vol. 31) ; the Art Journal, 
 1858; and in the Musical Times, Musical World, etc. A. Pougin has issued a 
 biography entitled "Bellini, sa vie, ses Euvres." Paris, 1868. 
 
 BELLMAN (Carl Gottfried). German basoon-player and manufacturer, B. 
 Schellenberg, Saxony, Aug. 11, 1760. D. Dresden, 1816. 
 
 BELOCCA (Anna de). Italian (?) mezzo-soprano vocalist, B. St. Petersburg, 
 Jan., 1854. Has appeared in London and the English provinces, and been 
 everywhere received with favour. 
 
 BEMETZRIEDEB (?) French writer, B. Alsace, 1743. Lived in London, 
 1781-1810. Wrote instruction books for singers and instrumentalists. " Lejons 
 de Clavecin et Principes d' Harmonic," Paris, 4to, 1771 ; "New Guide to 
 Singing," London, etc. ; " New Less-^ns for the Harpsichord, containing the 
 
7*5 BEN — BEN 
 
 Principles of Melody and of Harmony," etc., Lond., 1783 ; Music made easy 
 to every capacity, in a series of Dialogues. ..Trans, by Giffard Bernard, M.A., 
 London, 1778. 
 
 BENDA (Franz). German violinist and comp., B. Nov. 25, 1709. S. under 
 Graun and others. Concert-director to Frederick the Great, 1771. D. Pots- 
 dam, Mar. 7, 1786. 
 Works. — Solos, Exercises, and Studies for the Violin. 
 
 Benda was one of the founders of classical violin-playing, and was himself 
 esteemed a great exponent. His son Friedrich (1745-1814) was also a violinist and 
 comp. 
 
 BENDA (Friedrich Ludwig). German comp., B. Gotha, 1746. D. Kbnigs- 
 berg, Mar. 27, 1792. Writer of operas, violin-music, etc. Son of Georg 
 Benda, and at one time music-director at Hamburg. 
 
 BENDA (Georg). German comp. and oboe-player, B. 1721. Music-director 
 to Duke of Gotha. D. Thuringia, 1795. 
 Works. — Operas: Ariadne auf Naxos, 1774; Medea; La Foire de Village, 
 1776 ; Walder, 1777 ; Le Bucheron, 1778 ; Pygmalion, 1780. Sonatas for Harpsi- 
 chord ; Concertos for Clavecin ; Cantatas, etc. 
 
 BEND ALL (WUfred Ellington). English comp., B. London, April 22, 1850. 
 
 S. harmony and comp. under Charles Lucas and E, Silas. S. also at Leipzig 
 
 Cons., 1872-74. 
 
 Works. — Operettas: Lovers' Knots, St. George's Hall, 1880; Opera Comique, 
 
 1881. Quid pro Quo, 1880. Cantatas: Parizadeh, produced at St. James' Hall, 
 
 by Willing's Choir, April, 1884 ; The Lady of Shalott, for female voices ; The 
 
 Rosiire, for female voices. Part-songs and trios; Numtrous songs and duets; 
 
 Pianoforte pieces, various. 
 
 BENDEL (Carl). Bohemian comp., B. Prague, April 16, 1838. Writer o 
 masses, an opera, songs, Pf. music, etc. 
 
 BENDEL (Franz). Bohemian comp. and pianist, B. Bohemia, Mar. 3, 1833. 
 A popular pianist and composer. D. Berlin, 1874. 
 Works. — A large quantity of miscellaneous Pianoforte music principally of the 
 drawing-room kind. These are characterized by great brilliancy, and many of them 
 are spirited and taking in so far as rhythm and melody are concerned, 
 
 BENDER (Jacob). German comp., B. Worms, 1798. D. Antwerp, August 9, 
 1844. Writer of instrumental music. 
 
 BENDER (Valentin). Brother of the above, B. Bechtheim, Worms, 1800. 
 Wiiter of military music, etc. 
 
 BENDIX (Carl). Swedish operatic comp., B. Stockholm, 1818. 
 
 BENDIX (Otto). Danish pianist and teacher, B. Copenhagen, 1850. Son of 
 Emanuel Bendix, merchant and amateur musician. S. in Copenhagen under 
 A. R^e and N. W. Gade. S. in Berlin under Kullak ; in Weimar under Liszt. 
 Teacher of Pf. in Copenhagen Cons., and oboe player in the Royal Theatre 
 orch. Settled in Boston, 18S0. Teacher of Pf. in the New England Cons, of 
 Music. Has comp. a few pieces for Pf. and other instruments. "With... 
 brilliancy of execution and a clearness of interpretation, he combines what not 
 all artists do — rare fitness as a teacher." Has played in Europe and America 
 with great success. [Musical Herald, Boston.] 
 
 BENEDICT (Sir Julius). German comp. B. Stuttgart, Nov. 27, 1804. S. 
 under Hummel and Weber. First works published, 1821. Musical-Director 
 of Kiirntner Thor Theatre, Vienna, 1824. Cond. at Naples. Went to Paris, 
 
 1835. Settled in London, 1835. Musical-Director of the Lyceum Theatre, 
 
 1836. Travelled in America with Mdlle. Jenny Lind, 1850. Cond. at H.M. 
 Theatre. Knighted by Queen Victoria, 1871. ICnight-Commander of the 
 orders of Francis and Joseph (Austria), 1871. Do. of order of Frederic (Wur- 
 temberg), 1S71. Cond. Liverpool Musical Festival, 1874, Has been twig? 
 
feEN — BEI4 77 
 
 married. President of the Schubert Soc. Prof, of Pianoforte at Trinity Coll., 
 London. Prof, at the R.A.M. Mem. of Royal Soc. of Musicians ; the Phil- 
 harmonic Soc. Presented with a Testimonial, 1884. 
 Works. — Operas: Un Anno ed un Giorno, 1836; The Gipsey's Warning, 1838; 
 Giacinta ed Ernesto, 1827; I Portoghesi in Goa, 1830; The Brides of Venice, 
 1846 ; The Crusaders, 1846 ; The Lily of Killarney, by Boucicault and Oxenford, 
 London, 1862 ; The Bride of Song, 1864. Oratorios: The Legend of St. Cecilia, 
 Norwich Festival, 1866; St. Peter, Birmingham, 1S70. Cantatas: Undine, op. 
 70, Norwich Festival, i860 ; Richard Coeur de Lion, Norwich Festival, 1863 ; 
 Graziella, Birmingham Festival, 1882; Recitatives for Weber's "Oberon," 1S60. 
 Symphony, 1873. Pianoforte Music: Concerto for Pf. and orch., op. 89 ; Do. in 
 C minor, op. 45 ; Nocturnes ; Rondos ; Instructions in the Art of Playing the 
 Pianoforte ; Exercises, Studies, Scales, Lessons, etc. ; Idylles, Reveries, Im- 
 promptus, Marches, Souvenirs, etc., for Pf. solo and duet, published between 1821 
 and 1880 by Ricordi, Milan ; Hofmeister, Leipzig ; Steiner, Vienna ; Schott, 
 Peters, and London publishing firms. Anthems: Try me, O God ; The Lord be a 
 lamp; Praise the Lord; etc. Part-Songs: Home; Summer is nigh ; Old May 
 day; A night song ; Sylvan pleasures ; The wreath; The hunting song ; Sweet 
 repose is reigning now ; Homeward bound ; May, etc. Songs : Dreamy Eyes ; 
 England yet ; Come where the willows ; By the sad sea waves ; Sleep on, sad 
 heart ; The gipsy and the bird ; Alone ; Lost ; The bird that came in spring ; 
 While the wood grows ; As weeping on my heart she lay ; Medora's song ; Morn- 
 ing ; Thoughts at eve ; Little Willie ; A spring thought ; Mine, thou art mine ; 
 When my thirsty soul I steep ; The echo song ; The parting ; Love at sea ; Rock 
 me to sleep ; Sighing for thee ; Angel adored ; Come to our fairy bower ; O do not 
 scorn my love ; Welcome to our Prince ; Alma adorata. Lectures on various sub- 
 jects. "Weber" (Great Musicians), Lond., 8vo, 1881. Contributions, chiefly 
 didactic, to musical periodicals. 
 
 " The Lily of Killarney," " St. Peter," and " St. Cecilia " are Benedict's finest 
 and most popular works. The first is an especial favourite, and when rendered, 
 rarely fails in securing well-merited success. The melodies are fine, the orchestra- 
 tion is scholarly, and the general construction of the music is highly dramatic and 
 well adapted to the nature of the situations. His sacred music is less successful. 
 This is depending greatly on a somewhat secular treatment of sacred subjects. The 
 music in " St. Peter " is, from a musician's point of view, beautiful and refined, but 
 it is lacking in tender sacred spirit. 
 
 BENEDIT (Pierre Gustave). French writer and comp., B. Marseilles, April 
 7, 1802. D. Dec. 8, 1870. 
 
 BENELLI (Antonio Peregrine). Italian comp., B. at Forli, Rome, Sept. s, 
 1 77 1. D. Aug. 6, 1830. Writer of Pf. music, church music, cantatas, 
 songs, etc. 
 
 BENESCH (Josef). Austrian comp., B. Battelau, Moravia, 1795. D. Feb. 
 II, 1873. Comp. Pf. music, songs, etc. 
 
 BEITEVOLI (Orazio). Italian comp., B. Rome, 1602. Chap. -master of 
 Vatican, 1646. D. Rome, June, 1672. 
 Works. — Masses for 8 voices, motets, magnificats, etc. 
 
 BENINCORI (Angelo Maria). Italian comp., B. Brescia, 1779. S. under 
 Cimarosa. D. Paris, Dec. 30, 1821. Comp. operas and instrumental music. 
 
 BENJAMIN (J.) American musician, of Northampton, Mass., issued " Har- 
 monia Coelestis, 1799. A collection of church music in which, for the first 
 time in America, use is made of accompaniments for harpsichord or organ. 
 
 BENEERT (George F). American comp., B. Germantown, Penn., April 11, 
 1831. S. under ]. F. Duggan at Philadelphia, and Lindpainter in Germany. 
 Teacher in America. Comp. miscellaneous vocal and instrumental music. 
 
 BENNET (John). English. comp., flt)urished at the end of i6th and beginning 
 of 17th centuries [1570-1615]. 
 
78 bEN — BEN 
 
 Works. — Madrigals to four voyces, being his first worlcs, 1599 ; Madrigal, "All 
 creatures now are merry minded," in the " Triumphs of Oriana," 1601 ; Songs in 
 a collection published by Ravenscroft ; O God of Gods, verse anthem, Sacred 
 Harmonic Society's Library ; Anthems and Madrigals in MS. 
 
 " His madrigals are finely studied, and abound with all the graces and elegance 
 of vocal harmony." Bennet was one of the ornaments of the Madrigalean period, 
 and will doubtless descend to posterity bearing a name for fine, melodious writing. 
 Nothing as to his biography appears to have been chronicled. His book of madri- 
 gals was re-published in 1845 by the Musical Antiquarian Society. 
 
 BENNET (Saunders). English org., pianist, and comp., B. in last quarter of 
 1 8th century. Org. of Ch. at Woodstoclc. D. 1809. 
 Wrote some vocal music (glees and songs), and a number of rondos, sonatas, 
 variations, etc., for the organ and Pf. 
 
 BENNETT (Alfred). Sonof Thomas Bennet, org. and comp., B. 1805. S. under 
 
 his Father. Org. of New Coll., Oxford, 1825. Mus. Bac. Oxon. D.Oxford, 
 
 1830. 
 
 Works, — Church Services and Anthems ; Chants, 1829 ; Songs; Instructions 
 
 for the Pianoforte, with popular National Airs arranged as Lessons. Lond. [1825]. 
 
 BENNETT (James). English comp. and writer, author of " A Practical Intro- 
 duction to Part and Sight-singing," London, 1843; "Elementary Exercises 
 for the Cultivation of the Voice," London fo. n.d. 
 
 BENNETT (Thomas). English org. and comp., B. 1779. Chor. in Salisbury 
 Cath. S. under Joseph Corfe. Org. of St. John's Chap., Chichester. Do. 
 of Chichester Cath., 1803. D. Chichester, March 21, 1848. 
 Works. — Introduction to the Art of Singing, London, fo. n.d. ; Songs and organ 
 
 pieces ; Sacred Melodies — a collection of Psalms and Hymns, composed, selected, 
 
 and adapted for Divine Worship, London, 8vo, n.d. ; Cathedral Selections, 
 
 Anthems, Chants, etc., n.d. 
 
 BENNETT (Joseph). English writer and musician, B. Berkeley, Gloucester- 
 shire, Nov., 1831. Musical critic successively in connection with the Sunday 
 Times, Musical Standard, Daily Telegraph, Pall Mall Gazette, Graphic, and 
 Musical Times, To the Daily Telegraph and the Musical Times most of his 
 important writings have been contributed. Editor of Concordia, 1874, and of 
 the Lute,_ 1884. Author of "The Musical Year" [1883], London, 1884; 
 Biographies of Musicians (Berlioz, Chopin), 1884, reprinted from Musical 
 Times, and numerous analyses for festival and concert use. 
 
 BENNETT (William). English org. and comp., B. near Teignmouth, 1767. 
 S. under Jackson of Exeter, and J. C. Bach and Schroeter, London. Org. of 
 St. Andrew's Ch., Plymouth. D. [?] 
 Works. — Six Songs and a Glee, London [1799] ; Anthems and organ music, etc. 
 
 BENNETT (William Cox). English lyrical author, B. Greenwich, 1820. 
 Has written a number of good songs, and some long poems, chiefly on 
 domestic subjects, of much merit. He wrote " Songs for Sailors," in conjunc- 
 tion with J. L. Hatton, and numerous lyrics which have been set by various 
 composers. 
 
 BENNETT (Sir William Stemdale). English comp. and pianist, B. Sheffield, 
 April 13, 1816. S. as chor. in choir of King's Coll., Cambridge, under his 
 grandfather, John Bennett. Received subsequent instruction from Charles 
 Lucas, Dr. Crotch, Cipriano Potter, and W. H. Holmes. S. at Leipzig Cons., 
 under Moscheles, at expense and on suggestion of Messrs. Broadwood & 
 Sons, Pianoforte makers, 1836-40. Appeared in England as concert-giver, 
 1843-1856. Unsuccessful candidate for Music Professorship at Edinburgh 
 University, 1844. Married to Miss Mary Ann Wood, 1844. Founded (with 
 others) the Bach Society, 1849. Cond. the Philharmonic Soc. Concerts, 1856- 
 66. Cond. the Leeds Musical Festival, 1858. Prof, of Music at Cambridge, 
 1856. Mus. Doc, Cambridge, 1856. M.A., Cambridge, 1857. Principal of 
 the R.A.M,, 1866. D.C.L., Oxford, 1870. Knighted, 1871. Presented 
 with Testimonial, 1872. D. London, Feb. I, 1875. 
 
feEN — feEM 7^ 
 
 Works. — Op. r. First Concerto for Pf. and orch., in D minor, 1832; op. 2- 
 Capriccio for Pf, in D ; op. 3. Overture for full orch., Parisina. 1834-35 > "?■ 4- 
 Second Concerto for Pf. and orch., in E fiat; op. 8. Sestet for Pf. and strings, 
 1844; op. 9. Third Concerto for Pf. and orch., in C minor, 1834; op. 10. Three 
 Musical Sketches for Pf. ; op. 11. Six Studies for the Pf. ; op. 12. Three 
 Impromptus for Pf. ; op. 13. Sonata for Pf., 1842 ; op. 14. Three Romances for 
 Pf. ; op. 15. Overture for full orch., The Naiads, 1 836; op. 16. Fantasia for Pf., 
 1842 ; op. 17. Three Diversions for Pf. duet ; op. 18. Allegro Grazioso for Pf. ; 
 op. 19. Fourth Concerto for Pf. and orch., in F minor, 1836-1849 ; op. 20. Over- 
 ture for full orch., The Wood Nymph, 1840 ; op. 22. Caprice in E. for Pf. and 
 orch., 1840 ; op. 23. Six Songs for solo voice with Pf. accomp. ; op. 24. Suite de 
 Pieces, for Pf.. 1843 ; op. 25. Rondo Piacevale for Pf. ; op. 26. Trio for Pf., vn., 
 and 'cello, 1844; op- 27. Scherzo for Pf. ; op. 28. Rondino for Pf., 1853; op. 
 29. Two Studies for Pf. ; op. 30. Four Sacred Duets ; op. 31. Tema e Variazione 
 for Pf. ; op. 32. Sonata for Pf. and 'cello, 1852 ; op. 33. Sixty Preludes and Les- 
 sons for Pf., 1853 ; op. 34. Rondo for Pf. ; op. 35. .Six Songs (second set) {or 
 voice and Pf. ; op. 36. Flowers of the Month ; op. 38. Toccato for Pf. ; op. 39. 
 The May Queen, a Pastoral, by H. F. Chorley (cantata) for solo voices, chorus, and 
 orch., Leeds Musical Festival, 1858 ; op. 40. Ode, written for the opening of the 
 International Exhibition, 1862, by (Lord) Alfred Tennyson, 1862 ; op. 41. Cambridge 
 Installation Ode, 1862 ; op. 42. Fantasie-overture, Paradise and the the Peri, for 
 full orch., 1862 ; op. 43. Symphony for full,orch. in G minor ; op. 44. The Woman 
 of Samaria, an oratorio, for solo voices, chorus, and orch., Birmingham Festival, 
 1867 ; op. 45. Music to Sophocles' Ajax ; op. 46. Pianoforte Sonata, The Maid of 
 Orleans. 
 
 In addition to the above he wrote overtures (The Merry Wives of Windsor, etc. ), 
 songs, part-songs, Pf. music, and collections of chants, etc., most of which have 
 been published. 
 
 Bennett holds a unique position in English musical history. No other modern 
 Englishman has attained equal prominence as a composer of instrumental music ; 
 nor has any one of the recent composers achieved more universal fame. His works 
 are chiefly remarkable on a first examination for their exquisite finish and air of 
 refinement — a characteristic peculiar to Bennett above all Englishmen. The works 
 best known to the general public are his overtures, his cantata, and oratorio. The 
 symphony in G minor and the Pianoforte concertos are of less frequent occurrence 
 in concert programmes, from which it may be inferred that they are less appreciated 
 or less known. The overtures are among the finest specimens of imaginative 
 writing ever produced in Britain. We say nothing of their grandeur, for no pre- 
 tence is made in that direction, but as purely fanciful pieces of writing they are 
 among the foremost. The "Naiads " is a most lovely work, graceful and melodious 
 in character, and entirely free from constructional defect. " The Parisina " over- 
 ture is also of great beauty and, considering its author's experience when written. 
 a gem among concert overtures, and is thoroughly deserving of its popularity. 
 
 The G minor symphony does not really receive the amount of attention which its 
 merits claim. T hough not a work of the greatest power, nor one which displays the 
 highest degree of imagination, it is still a superior work, and one which excites 
 considerable interest in performance. The "May Queen," cantata, shares with 
 Macfarren's " May Day " the greatest popularity among provincial choral societies. 
 It is thoroughly English in style, and is full of pleasant melody and charming 
 harmony. It is a work which never fails in pleasing, and conclusively shows that 
 Bennett had the art of writing well, even to a popular level. It is frequently given 
 in England, and is well deserving of the attention bestowed on it. His finest choral 
 work is least often given of all. " The Woman of Samaria," though crowded from 
 beginning to end with beauties of every variety, appears to receive less favour from 
 musical societies than its surpassing merits would seem to warrant. At any rate, it 
 appears much less frequently in the prospectuses of choral societies than it should. 
 Its difficulty may be an obstacle ; but the neglect is none the less shameful. 
 
 The pianoforte compositions are beautiful and valuable contributions to this 
 important branch of musical art, and his concertos, if less given than they ought, 
 ■are perhaps amply counterbalanced for their neglect by the popularity of the minor 
 pieces. Many of them have vast popularity both in Britain and America, and fre- 
 quently appear in the programmes of the best performers in the latter country. 
 
 Bennett must ever be known as one ^f Britain's men of mark, and his name will 
 
8o Sen — BEk 
 
 always be mentioned with respect. No more conscientious artist ever lived in 
 England, nor one who has done more to raise the musical taste of the British 
 people. His influence over that important institution, the Royal Academy of 
 Music, was felt to be great, and it is owing to him that much of its present success 
 is due. His influence in developing the higher forms of musical art in England 
 has continued with strengthening power from year to year, and though it is not 
 presently very widely recognised, it must still stand to his credit that to his impulse 
 may be attributed much of the present manifestations of popular interest in music. 
 His works are among the most beautiful creations in the whole range of musical art, 
 and what they lack in power and vigour is amply made up in polish and refinement. 
 An interesting article on this musician will be found in Frasers Magazine, v. 91-92. 
 
 BENOIST (Francois). French comp., org., and writer, B. Nantes, Sept. 10. 
 1794. S. at Paris Cons, under Catel and Adam. Org. of Chap. Roy., Paris, 
 Prot. of Org., Paris Cons , 1819. Chevalier of Legion of Honour, 1851. D. 
 Paris, May, 1878. 
 
 Works. — Felix et Leonore, opera, 1821 ; Diable Amoureux, ballet, 1848; Other 
 ballets, etc. ; Organ music, fugues, etc. 
 
 Benoist is chiefly famous as a teacher and organist. Among his more famous 
 pupils may be named Lefebure-Wely, Chauvet, Batiste, Vilbac, Bazin, Bizet, 
 Duvernoy, Salome, Dubois, and Paladilhe. 
 
 BENOIT (Pierre Leonard Leopold). Belgian comp., B. Harelbeker, August 
 17, 1834. S. under Fetis at Brussels from 1851. Gained prizes for harmony, 
 etc. Violinist in theatre at Brussels. Director of Music School at Antwerp. 
 
 Works. — Operas: De Belgische Natie, 1856; Het dorp in't gebergte, 1857; 
 Isa, 1867. Lucifer, oratorio, 1866. Instrumental and church music. 
 
 BENOin (Griulio). Italian comp., B. Vienna, 1835 (or Strelohostic, Bohemia, 
 1833). Writer of operas, songs, etc. 
 
 BENTAYOUX (Frederic). French comp., B. Bordeaux, June 14, 1840. 
 Writer of operettas, etc. 
 
 BENTLEY (John Morgan). English comp. and org., B. Manchester, Sept. 3, 
 
 1837. Org. of S. Philip's, Salford, 1855 ; S. Stephen's, Manchester, i860 ; 
 
 S. Saviour's, Manchester, 1866; Bowdon Parish Ch., 1868; Cheadle Abbey 
 
 Ch., 1877. Mus. Bac. Cantab., 1877. Mus. Doc, do., 1879. Local Examiner 
 
 for R.A.M., 1881. Established the Academy of Music, S. Ann's, Manchester, 
 
 1870. Cond. successively the following musical societies : — S. Philip's Choral, 
 
 S. Stephen's do. ; S. Saviour's do. ; Lea Choral ; Bowdon Musical ; S. Cecilia, 
 
 Winsford ; S. Cecilia, Blackburn ; Eccles Choral ; Cheadle Choral. Prov. Gr. 
 
 Organist of East Lancashire, 1 881. 
 
 Works. — Gethsemane, dramatic cantata, 1877 (Mus. Bac. Exercise) ; What is 
 
 Life? oratorio, 1879 (Mus. Doc. Exercise); Yuletyde, cantata for mixed voices 
 
 (Hutchings &.Romer) ; The Golden Butterfly, cantata for female voices (Hutchings); 
 
 Horse .Sacrse, a series of sacred pieces for Violin and Piano ; The Two Violinists, a 
 
 series of duets for Violins with Pf. accompaniment ; Vesper Canticles (Novello) ; 
 
 Psalter pointed and Psalter chants (Heywood, Manchester) ; Symphony for full 
 
 orchestra (MS.), and other orchestral works ; numerous songs published by Metzler 
 
 & Co., Hutchings & Romer, DufFft Stewart, Novello & Co., etc. 
 
 BENVENUTI. (Tommaso). Italian operatic comp., B. 1834. 
 
 BEBANGER (Pierre Jean de). French lyrical author, B. Paris, Aug. 19, 1780. 
 D. Paris, July 16, 1857. His songs have been often set by various composers, 
 and are well adapted for musical treatment. A collection of them has been 
 published with the music. 
 
 BEBAT (Eustache). French comp., B. Rouen, Dec. 4, 1791. Writer of songs 
 and Pf. music. D. Neuilly, January, 1885. 
 
 BEBBIG-UIEB (Benoit Tranquille). French comp. and flute-player, B. 
 Caderousse, Vaucluse, Dec. 21, 1782. S. at Paris Cons. Served in the Army, 
 
BER — BER 8l 
 
 1813-19. Teacher and concert-giver from 1830. D. near Blois, January 29, 
 
 1838. 
 Works.— Op. i. Three solos for flute ; op. 2. Three duets for flutes ; op. 3. 
 Duets for Flute ; op. 4. Three duets for flute ; opp. 5, 6, 7, Duets for flute ; opp. 
 8, 9, 10, II, 12, 13, 14, 15, 16, 17. Solos, trios, etc., for flute and other instru- 
 ments ; op. 18. Concerto for flute and orch., in B minor ; op. 2z. Three duets for 
 flute, in E minor, C and D ; op. 23. Three sonatas for flute and 'cello ; opp. 26, 27. 
 Concertos for flute and orch., in E min. ; opp. 29, 30. Concertos for flute and orch., 
 in G minor, and E flat ; op. 33. Three trios for flutes, in G, E, and A ; op. 37. 
 Three trios for flute, violin, and alto, in E flat, E, and D ; op. 44. Concerto for 
 flute and orch., in D ; op. 50. Symphony concertante for 2 flutes and orch., in A ; 
 op. 54. Concerto for flute and orch., in D ; op. 74. Concerto for flute and orch., 
 inD; op. 86. Quartet for flute, violin, viola, and 'cello. Method for the Flute. 
 The op. numbers omitted in the foregoing list are chiefly solos, duets, fantasias, 
 etc., for the flute and other instruments. 
 
 Berbiguier's writings for the flute possess much that is eminently suitable to its 
 character and powers of expression, and they are in constant use among flute players 
 all over the world. 
 
 BERCHEM (Jachet), Flemish comp., B. Berchem, near Antwerp, in first 
 quarter of i6th century [or about 1500]. Musician in service of the Duke of 
 Mantua. Supposed to have died in 1 580. 
 
 Works. — Libro primus, vocum quinque, Vigenti Motetos, 1539; II primo libro 
 di Motetti di Jachet, a cinque voci, 1540 ; II primo libro di Motetti a quattro voci, 
 1545 ; II primo libro de madrigali a quattro voci, 1556 ; Capriccio di Jachetto 
 Berchem con la musica da lui composta sopra le stanze del Furioso, a quattro voci, 
 4to, 1561 (3 books) ; Orationes complures ad offic — Hebdom — Sanctse pertinentes 
 quatuor et quinque vocum, 1567 ; Messe dei Fiore a cinque voci, libro primo, 1561 ; 
 Messe di Jachetto a cinque voci, Libro 2, 1555. 
 
 Berchem's works are marked by a simplicity of construction rarely found in works 
 of the polyphonic period in which he lived. His part-songs from Ariostn's " Orlando 
 Furioso " are ingenious in construction and clear in design. He is regarded as one 
 of the leading Flemish composers of the i6th century. 
 
 BEBENS (Hermann). German comp., B. Hamburg, 1826. Cond. of theatre 
 in Stockholm. Teacher and cond. there. D. May 9, 1880. 
 
 Works. — Operas: Song of a Night; LuUy und Quinault, 1859; Riccardo, 1869. 
 Org. and Pf. music: Fantasia for org., op. 25 ; Mazurka di Bravura, op. 35 ; Two 
 Studies, op. 36 ; Caprice Humoristique, op. 37 ; Dorfgeschichten, op. 40 ; Noc- 
 turne, op. 41 ; Le Zephyr, op. 43 ; Grand Caprice, op. 54 ; Bolero, op. 57 ; Neue 
 Dorlgeschichten, op. 82 ; Idylle, op. 34 ; Etudes de la Velocite (Pf.), op. 61 ; Six 
 easy Sonatas (Pf.) op. 81. Quartets and Trios for stringed instruments; Overtures 
 for orch. Songs and Part-songs, etc. 
 
 Berens is well known among modern composers for the Pianoforte by many 
 graceful contributions to the general store. 
 
 BERG (Adam). German music publisher who flourished between the years 1540- 
 1590. He is supposed to have died early in the 17th century. 
 "Patrocinium Musices," 1573-1589 is his principal publication, and is a collec- 
 tion of sacred music containing pieces by Lassus, Amon, Sale, etc. 
 
 BEBG (Conrad M). German comp. and pianist, B. Colmar, April 27, 1785. 
 
 S. at Paris Cons., 1806-7. Resided at Strasburg from 1808. Visited Paris 
 
 during successive years 1810, 1818, 1835, 1851. D. Strasburg, Dec. 7, 1852. 
 
 Works.— First Concerto, Pf. and orch. ; Second, op. 21 ; Third, op. 32 ; 
 
 Rondo, Pf. and orch., op. 24 ; Sonatas for violin and Pf., opp. 9, 23, 25 ; Three Trios 
 
 for Pf., vn., and 'cello, op. 11; Two do., op. 15; Three do., op. 20; Three 
 
 quartets for strings, op. 26 ; Quartet for Pf., vn., viola, and 'cello, op. 33 ; Sonatas for 
 
 Pf. solo, opp. 5 and 30 ; Exercises, Fantasias, Variations, etc., for Piano ; Method 
 
 for the Piano. Wrote also a history of the musical doings in Strasburg during 50 
 
 years, published in 1840. 
 
82 BER — BER 
 
 BEBiG (Georg). German comp. [B. 1730], who lived in England during last 
 century. S. under Dr. Pepusch. Gained 3 prizes from Catch Club for Glees. 
 Was org. and teacher in London, 1771. His works consist of glees, songs, 12 
 Sonatinas or Lessons for the Harpsichord (op. 3), and miscellaneous instru- 
 mental works. 
 
 BEBGEB (Emile). French pianist and arranger. Resides in Glasgow as teacher 
 of music. Arranger of numerous pieces for the Pianoforte, which exhibit some 
 degree of talent. Berger is a pianist of ability. 
 
 BEBGEB (Francesco). German comp. and pianist. B. London, June 10, 1835. 
 Educated in Germany, S. music in Italy under Luigi Ricci, and Carl Lickl. 
 First works published in London, 1850. S. at Leipzig under Hauptmann and 
 others. Settled in London as teacher and comp., 1855. Married to Miss 
 Lascelles, the English contralto vocalist, 1864. Established an Amateur Society 
 for the practice of concerted Pianoforte music, 1869. Has conducted several 
 choral societies. Director of the Philharmonic Soc. for some years, and now 
 its Hon. Secy. 
 Works. — An opera and a mass, produced in Italy ; Music for the private theatri- 
 cals organised by Charles Dickens. Drei lieder, op. 18; Mondnacht, op. 19 ; Funf 
 Lieder, op. 20. Part-Songs : Hurrah for merry England ; Arise, arise, the sun- 
 beams hail ; Childhood's melody ; Essay, my heart ; Night, lovely night ; Now ; 
 Song to Spring ; Sunset ; The dawn of May ; Echoes ; The Tritons ; Excelsior. 
 Songs : Amor timido ; Fair, but fleeting ; Books ; An old fashion ; Is it not strange ? 
 Birds of the flickering wing ; Thou still art left to me ; At last ; The blue 
 heaven ; Faith in Spring ; I weep alone ; The song of evening ; There's rest for 
 thee in heaven ; Sunshine o'er my soul ; The friends we love ; Thy will be done ; 
 10 two-part songs to Longfellow's poems. Numerous Pianoforte pieces, etc. 
 
 BEKGEE, (Johann Anton). German org. and comp., B. 1719. D. 1777. 
 Was org. at Cath. of Grenoble. 
 
 BEBGEBi (Ludwig). German pianist and comp., B. Berlin, April 18, 1777- 
 
 S. under Clementi. Visited London, where he practised as teacher, 1812-15. 
 
 Returned to Germany and resided in Berlin as teacher and concert-giver, 1815- 
 
 1839. D. Berlin, Feb. 16, 1839. 
 
 Works. — Pianoforte : Op. i ; Sonata pathdtique, in C minor; Sonatas, opp. 7, 
 
 9, 10, 18 ; Sonata, Pf Duet, op. 15 ; Preludes and Fugues, op. 5 ; Preludes ^ la 
 
 turque, op. 8 ; Twelve studies, op. II; Rondo Pastoral ; Three Marches, op. 16. 
 
 Several collections of songs for voice, with Pf accomp. Cantatas. " Oreste," opera 
 
 (MS.), never produced. 
 
 Berger was one of the connecting links binding the stately legato style of Cle- 
 menti with the more modern development of Hummel, Moscheles, and Chopin. 
 He was acknowledged by his contemporaries to be in the foremost rank as a pianist 
 and teacher, while his works were popular. Among his works op. 1 1 will doubt- 
 less be the most durable. He was teacher of a number of musicians who have at- 
 tained eminence ; among others may be mentioned Mendelssohn, Taubert, and 
 Henselt. 
 
 BEBGEBBE (Alexandre Basile). French comp., violinist, and writer, B. 
 Sep. 26, 1803. Author of "Nouvelle Classification des demi-tons," Paris, 8vo, 
 1833. "Methode de Violon, ,..1837," etc. 
 
 BEBGGBEEN (Andreas Peter). Danish comp., B. Copenhagen, Mar. 2, 1801. 
 D. 1880. Writer of cantatas, songs, prose works ; a Psalmebog, 1853 ; and a 
 standard collection of Danish national melodies, entitled "P'olkesange og 
 Melodier, faedrelandske og fremmede, Samlede og udsatte," for Pf, 1869. 
 He was an organist, and one of the teachers of Niels W. Gade. 
 
 BEEGMANN (Josef). Bohemian comp., B. July 26, 1822. Writer of Pf. 
 music, songs, etc. 
 
 BEBGMANN (Karl). German cond. and violoncello playel', B. Eisenach, 
 Saxony, 1821. Settled in America, 1850. Resided in New York as teacher 
 and cond., 1857-1877. D. New York, Aug. lO, 1876. 
 
BER — BER 83 
 
 BEBiGONZI (Carlo)- Italian violin-maker, flourished between the years 1716- 
 1755. Learned under Antonio Stradivarius. His violins are beautifully 
 modelled, and have a sweet and powerful tone. Other members of this family 
 are Nicolo and Michele (1720-60), both makers of medium ability. 
 
 BERQSON (Michel). Polish comp., B. Warsaw, May, 1820. Writer of Pf. 
 music, lieder, etc. A brilliant pianist, and comp. of much taste. 
 
 BEBGrT (Christian Gottlob August). German org. and comp., B. Freiberg, 
 June 17, 1771. Org. of Ch. of St. Peter, Bautzen. D. Bautzen, Feb. lo, 1837. 
 
 Works. — La Passion, oratorio, op. 10. Operas : Laura et Fernando ; Die 
 Wunderkur ; List gegen List ; Erwin und Elmira ; Das Stsendchen. Symphony 
 for orch., op. 12. Collections of Songs for voice and Pf.; Cantatas; Pianoforte 
 and Organ music, church music, etc. 
 
 BEBINGEB (Oscar). German pianist and comp., B. Baden, 1844. First ap- 
 peared as pianist at the Saturday Concerts of the Crystal Palace, Sydenham, 
 1861 ; S. at Leipzig Cons, under Moscheles, Reinecke, and Richter, 1864; S. 
 at Berlin under Carl Tausig and F. Weitzmann. Resided in London since 
 1 87 1. Established the "Academy for the Higher Development of Pianoforte 
 Playing," 1873. Has given concerts in London and played at provincial festi- 
 vals. 
 Works. — Pianoforte: Three series of six pieces for small hands ; From blush to 
 bloom ; Gavotte ; Allegretto ; Transcription from Serenade by G. Weber ; Three 
 fairy Tales ; Queen Mab ; Gnome's wedding ; Undine ; Two Sonatinas, in F and, 
 Bflat; Andante and Presto Agitato, Pf. and orch., produced at Crystal Palace 
 Concerts, and F. H. Co wen's Orchestral Concerts, 1880. Songs, etc. 
 
 BEBINGEB (Robert), brother of the above. German pianist and comp. , B. 
 Furtwangen, in the Black Forest, June 14, 1841. Pianist at the Crystal Palace, 
 Sydenham, from 1861. Has played at numerous London and Provincial con- 
 certs, and is cond. of several Choral Societies. Lectured on the History of 
 Pianoforte music and literature. 
 Works.— Songs ; Choruses ; Two orchestral pieces, both performed ; Works 
 
 for the Pianoforte, etc. 
 
 BEBIOT (Charles AugUSte de). Belgian violinist and comp., B. Louvain, 
 
 Feb. 20, l8e2. S. under Baillot and Viotti at Paris, 1821. jCI^*«^ in Paris. 
 
 Appeared in London, at Philharmonic Soc. Concert, May, 1826. Solo 
 
 violinist to King of the Netherlands, 1826-30. Travelled on Concert-tour 
 
 with Mdlle. Malibran in England, France, Belgium, and Italy, 1830-1835. 
 
 Married to Mdlle. Malibran, 1835. Prof, of violin in Brussels Cons., 1843-52. 
 
 Retired, 1852. D. Brussels, April 8, 1870. 
 
 Works. — op. 1-3. Airs with variations, for violin and orch., in D niinor, D, and 
 
 E; opp. 7, 12, 15. Airs varied for vn. and orch. ; op. 9. Ten studies for violin 
 
 solo ; op. 14. Variations for vn. and Pf., in A ; op. 19. Duet for 2 vns., in E flat ; 
 
 op. 25. Duet on an original theme, in B flat ; op. 26. First concerto for vn. and orch., 
 
 in D ; op. 27. Six Studies for vn. and Pf ; op. 32. Second concerto for vn. and 
 
 orch., in B minor; op. 33. Nocturne (Rossini), vn. and Pf. ; op. 35. Le Fruit de 
 
 I'etude — six easy duets tor 2 vns ; op. 37. Three characteristic studies for vn. and 
 
 Pf. ; op. 39. Souvenirs d'Auber, violin duet ; op. 41. Le Progres, duets for 2 vns. ; 
 
 op. 42. Air with variations for vn. and orch., in D ; op. 43. Three grand studies 
 
 for 2 vns.; op. 44. Third concerto for violin and orch., in E; op. 45. Six 
 
 Morceaux de Salon on original themes for vn, and Pf. ; op. 46. Fourth concerto for 
 
 violin and orch., in D min. ; op. 48. Souvenir de Boulogne, duets for 2 vns. ; op. 
 
 50. La Soiree de Boulogne, do. ; op. 52. Air with variations for vn. and Pf. ; op. 
 
 54. Duet for 2 vns. ; op. 55. Fifth concerto for vn. and orch, in D ; op. 58. First 
 
 trio for Pf., violin, and "cello ; op. 59, Valsss, vn., and Pf. ; op. 67. Three duets, con- 
 
 certante, for 2 vns. ; op. 68. First sonata concertante for vn. and Pf. ; op. 69. Air 
 
 with variations, vn. and Pf., in D ; op. 70. Sixth concerto for violin and orch., in A ; 
 
 op. 71. Second trio for Pf., vn., and 'cello ; op. 72. Duet, Pf. and vn. ; opp. 73, 
 
 74. Duets, vn. and Pf. ; op. 75. Guide des Violonistes, studies m 2 parts ; op. 76. 
 
 Seventh concerto for violin and orch., in G; op. 77-98. Minor works for violin and 
 
 other instruments ; op. 99. Eighth concerto for violin and orch., m G ; op. 100. 
 
84 BER — BER 
 
 Fantasia for violin and orch. ; op. 122. Overture for Pf. and vn. ; op. 127. Tenth 
 concerto for vn. and orch., in A minor. Methode de Violon, en trois parties, Paris, 
 1858. A number of minor works consisting of variations and arrangements of 
 operatic airs constitute the remaining portion of de Beriot's works. 
 
 Eeriot was a prolific composer, and as bright and clever in one work as in 
 another. His compositions are moderately easy, brilliant, and always pretty. The 
 airs and concertos are of especial value to the violinist. In them will be found a 
 wealth of bright ideas, and exercise of benefit alike to the fingers and the mind. 
 As a violinist de Beriot is generally classed along with the school of which Paginini 
 is the chief. This school aims at securing popular applause by the practice of 
 various tricks tending to mystify by their seeming complexity. That Beriot was a 
 follower in this school cannot be doubted. But that he was superior as an artist to 
 Paganini is also true. His compositions are not whimsical nor eccentric, and can 
 be appreciated by any one. ilis dexterity, if inferior to that of Paganini, was 
 counterbalanced by his less frequent indulgence in mechanical trickery. 
 
 BEBIOT (Charles WUfrid de). French pianist and comp., son of the above, 
 B. Paris, Feb. 12, 1833. Comp. Pf. music, songs, etc. 
 
 BERLIN (JohanU Daniel). German comp. and org., B. Memel, 1710. D. 
 1775. Writer on music, and comp. of chamber music. " Anleitung zur Tono- 
 metrie, ..." 1767, is his chief work. 
 
 BEBLIOZ (Hector). French comp., B. C6te-Saint- Andre, Isere, December II, 
 
 1803. Sent to Paris to study medicine, 1821. S. music under Lesueur and 
 
 Reicha attheCons. Gained second prize for comp. Gained the Grand "Prixd 
 
 Rome," 1830. Travelled in Italy, Germany, and Russia. Married to Miss 
 
 Smithson, an Irish actress. Librarian to the Paris Cons., 1839. Decorated 
 
 vrith the Cross of the Legion of Honour, 1839. Cond. New Philharmonic 
 
 Concerts, London, 1852; cond. his " Benvenuto Cellini," at Covent Garden 
 
 Theatre, London, June 25, 1853. D. Paris, March 8 [9], 1869. 
 
 Works. — Op. i. Overture — Waverley, for full orch. [c. 1828]; op. 2. Irlande 1 
 
 Melodies for one and two voices, choruses and Pf. accomp. ; op. 3. Overture — Des 
 
 Francs-Juges. for full orch.; op. 4. Overture — King Lear, for full orch.; op. S- 
 
 Messe des Morts (Requiene), for solo voices, chorus and orch., Paris, 1837 ; op. 6. 
 
 Le cinq Mai, Chant for Death of Napoleon I., for bass solo, chorus and orch.; 
 
 op. 7. Les Nuits d' ete : Six songs for solo voice and Pf.; op. 8. Reverie et Caprice, 
 
 for violin and orch.; op. 10. Traite d' Instrumentation; op. II. 8ara la baigneuse, 
 
 ballade for three choruses and orch.; op. 12. La Captive: Reverie for contralto 
 
 voice and orch. ; op. 13. Fleurs des Landes : Five songs for solo voice and Pf. ; op. 
 
 14. Episode sur la vie d'un artist : Symphonie-fantastique, for full orch.; op. 14 a. 
 Le Retour a la vie, Melalogue, for solo voices, chorus and orch., Paris, 1832; .op. 
 
 15. Symphony : Symphonic Funfebre et Triomphale, with an orch. of string,.instru- 
 ments and a choir ad libitum ; op. 16. Symphony : Harold in Italic, for full orch., 
 in four parts, with an alto-principal part, Paris, 1834, London, 185S > op- 17- 
 Symphony : Romeo et Julietta, for full orch., with -solos and chorus, Paris, 1839, 
 Vienna, 1856 ; op. 18. Tristia, Meditation Religieuse, for three choirs and orch.; 
 op. 19. Feuillets d' Album, three pieces for Pf^; op. 20. Vox Populi, Hymn for ■ 
 two choirs and orch.; op. 21. Overture : Le Corsaire, for full orch.; op. 22. Te 
 Deum for three choirs and organ ; op. 23. Opera ': Benvenuto Cellini, in three acts, 
 Paris, 1838, London, 1853 ; op. 24. La Damnation de Faust, Legend m four parts, 
 for full orch., solo voices and chorus, Paris, 1846 ; op. 25. L'Enfance du Christ : 
 Trilogie Sacr^e, for solo voices, chorus and orch. (Part I., Le Songe d' Herode ; 
 Part II., La Fuite en Egypte ; Part III.; L' Arriv^e k Sais), Paris, 1854 ; op. 26. 
 L' Imperiale : Cantata for two choruses and orch. Unnumbered Works : La Belle 
 Isabeau, chorus and orch. ; Le Temple universal, for chorus and organ ; Priere 
 du Matin, for chorus and Pf. ; Le Chasseur danois, for bass voice and Pf. ; L' In- 
 vitation a la valse (Weber), arranged for orch.; March Marocaine (L. de Meyer), 
 arranged for orch. ; Recitatives for Der Freischiitz (Weber); Beatrice et Benedict, 
 opera in 2 acts, Paris, 1862 ; Les Troyens a Carthage, opera in 5 acts, and a pre- 
 lude, Paris, 1864 ; La Prise de Troie, opera in three acts. Literary Works: 'A tra- 
 vers chants, etudes musicale, adorations, boutades et critiques, Paris, i2mo, 1862 ; 
 Voyage Musical en AUemagne et en Italie : etudes sur Beethoven, Gluck et Weber, 
 Paris, 2 vols., 8vo, 1844 ; Les Soirees de I'Orchestre, Paris, 1853 ; Les Grotesques 
 
BER — BER 
 
 8S 
 
 de la Musique, Paris, 8vo, 1859 ; M^raoires d' Hector Berlioz, comprenant ses 
 voyages en Italie, en AUemagne en Russie et en Angleterre, i8o3-i8'5s, Paris, Svo, 
 1870, In addition to the foregoing works, Berlioz wrote a large number of contribu- 
 tions to periodical literature. 
 
 Only within recent times has the genius of Berlioz been fully admitled. 
 In his own day he received but scant attention, and, it may be said, less than 
 justice ; but now a complete revulsion of feeling has taken place among 
 musicians, and we see as the result Berlioz elevated to the highest place among 
 instrumental composers. His works are of a bold and original stamp, and strike 
 the ordinary and non-partizan observer as being on the whole whimsical, and 
 marked by an undue straining after impressive effect. His admirers, on the other 
 hand, discern nothing in them which does not discover some profound wrinkle of 
 an incomprehensible mind. It may safely be said, however, be the merits of the 
 works ever so high, that without the printed programme, their value as works of 
 art would be very questionable. A great array of forces managed .with skill 
 denotes an ambitious mechanic rather than an inspired architect ; and when we see 
 conjoined to this display a continual effort to be vast, profound, or terror-inspiring, 
 the reflection is forced upon us that there must be some considerable weakness to 
 hide beneath all this weight of the machinery of genius. His works have been 
 repeatedly performed in Britain within recent years, and the result has been con- 
 siderably to modify the impressions formed of the supernatural power of the com- 
 poser. He has been found to be merely human, but also ambitious, and one who 
 strove to force the orchestra into the delineation of scenes and events which are 
 quite beyond the graphic powers of musical art, and certainly beyond the capa- 
 bilities of instrumental resource. A long time must pass before his place is 
 thoroughly fixed, and in the meantime it is only just to admit that, when considered 
 apart from their trappings of instrumental trickery, some of his works are of the 
 most dignified and noble nature. "The Damnation of Faust," the "Requiem," 
 the operas, and certain other works are most striking and inspired creations. 
 Others,, again, though picturesque and full of variety, seem overweighed by a super- 
 fluity of orchestral colouring. 
 
 Miich has been written in recent years anent Berlioz and his works, and among 
 works of interest may be named : — "Autobiography of Hector Berlioz from 1803 
 to 1865 ; comprising his Travels in Italy, Germany, Russsia, and England. Trans, 
 by Rachel and Eleanor Holmes." Lond., 2 vols., 8vo, 1884. "Correspondence 
 inedite, avec notice biographique par D. Bernard." Paris, 1879, 2nd ed. " L'CEuvre 
 Dramatique de H. Berlioz, par A. Ernst." Paris, 1884. "Berlioz, I'homme et 
 I'artiste d'apres des documents nouveaux, par E. Hippeau." Paris, 1883, with por- 
 trait. "Berlioz," by Joseph Bennett, London, 1883. " Lettres intimes. " Paris, 
 1881. "Life and Letters of Berlioz, Trans, by H. M. Dunstan." Lond., 2 vols., 
 Svo, 1882 — from Bernard's work. In addition to the foregoing reference should be 
 made to the following magazine articles : — Eraser's Magazine, 1848 (vol. 38), and 
 1851" (vol. 45) ; Eclectic Magazine, v. 15; All the Year Round, 1868 (vol. 21); 
 London Society (vol. 39) ; Edinburgh Review, 1870 (vol. 133) ; Atlantic Monthly, 
 1877 (vol. 41) ; Appleton's Journal, 1880 (vol. 24), etc. An edition of his literary 
 works was published in Geirman by R. Pohl, Leipzig, 1865, in 4 vols, under the 
 title, "Gesammelte Schrifte." 
 
 BEBLYN (Anton W.) Dutch comp., B. Amsterdam, May 2, 1817. D. 
 Amsterdam, Jan. 20, 1870. Writer of operas, symphonies, cantatas, oratorios, 
 concertos, quartets, songs, etc. 
 
 BEBNABEI (Giuseppe Ercole). Italian comp., B. Caprarola, 1620. S. 
 under Benevoli. Chap. -master St. John, Latern, and at Munich. D. Munich, 
 1690. He comp. "Concerto madrigalesco a tre voci," 1669; "Madrigali a 
 cinque e sei voci,'' 1669 ; "Opus Motettorum," 1690; Magnificats, etc. His 
 son, Giuseppe Antonio, B. Rome, 1659, D. Munich, March 9, 1732, comp. 
 masses, operas, and instrumental music. 
 
 BEBNACCHI (Antonio). Italian soprano vocalist, B. Bologna [1690]. S. under 
 Pistocchi. Sang in London in Handel's "Rinaldo," 1717. , Returned to 
 Italy. Vocalist in service of the Elector of Bavaria. Re-appeared in London, 
 where he sang in Italian opera, 1729. Settled at Bologna as teacher, 1730. 
 
86 B E R — b'e R 
 
 Principal of the Socifeta Filarmonica, Bologna, 1748-49. D. Bologna, March, 
 1756. 
 
 This vocalist enjoyed much success in his time, and was regarded as a good 
 exponent of the music of Handel. 
 
 BERNARD (Paul). French comp. and writer, B. Poitiers, Oct. 4, 1827. 
 S. under Halevy. Writer of Pf. music, critical miscellanies, etc. D. 1879. 
 
 BERNABDIN (Bernard) or Courtois. French comp. and violinist, B. 1826. 
 D. Paris, 1870. Wrote dramatic music, violin pieces, etc. 
 
 BERNASCONI (Antonia). Italian soprano vocalist who flourished during last 
 century. She made her dibut in Gluck's " Alceste," Vienna, 1764. Sang in 
 London, 1768, and throughout Europe with some success. 
 
 BERNEB (Friedrich Wilhelm). German comp. and org., B. Breslau, March 
 
 16, 1780. Studied under his father, an org., and Reichardt. Org. of Church 
 
 of S. Elizabeth, Breslau. Compiled a catalogue of the music in suppressed 
 
 monasteries. D. Breslau, May, 1827. 
 
 Works. — Cantata, libretto by S. G. Biirde, for four voices and orch. ; Three 
 
 songs for 2 sopranos, tenor and bass, op. 26 ; Der Here is Gott, Hymn for 4 male 
 
 voices and orch. of wind instruments ; Le Maltre de Chapelle, comic interlude ; 
 
 Three Choruses for a Tragedy ; Numerous pieces for the Pf. ; Preludes and Oifer- 
 
 toires for the organ ; Songs ; Church music, etc. Grundregeln des Gesanges, nach 
 
 Hiller entwarfen, Breslau, 1815 ; Theorie der Choralzwischenspiele, 1819 ; Die 
 
 Lehre der Musikalischen Interpunktion, 1821. His biography was published in 
 
 1821. 
 
 BERNHARD (Christoph). German comp., org., and writer, B. Dantzig, 
 1612. D. 1692. 
 
 BERNHARDT (J. W.) Author of "Music and Mind, and Musical Physics." 
 Lond. [1878]. 
 
 BERNIER (Nicolas). French Comp., B. Mantes-sur-Seine, June 28, 1664. 
 D. Paris, 1734. Writer of church music, "Motets," 1703, 1713, etc. 
 
 BERNSDORF (Eduard). German writer and song comp., B. Dessau, March 
 25, 1825. S. under F. Schneider and Marx. Edited the "Neues Universal- 
 Lexikon der Tonkunst," Dresden, 3 vols., 1855. This writer has gained con- 
 siderable notoriety in Germany as a species of Hazlitt or Jeffsry in musical 
 criticism. 
 
 BERRE (Ferdinand). Belgian comp., B. Ganshoren, Feb. 5, 1843. Writer 
 of operas, Pf. music, etc. 
 
 BERSELLI (Matteo). Italian tenor vocalist, who flourished at the beginning 
 of last century. Sang in London in Buononcini's "Astartus," Nov. 19, 1720. 
 Biography unknown. Disappeared about 1721. 
 
 BERTALI (Antonio). Italian comp., B. Verona, 1605. D. [?] Wrote 
 masses, sonatas, etc. 
 
 BERTELMAN (J. G-.). Dutch comp. and pianist, B. Amsterdam, 1782. D. 
 1854. Wrote masses, cantatas, overtures, songs, etc. 
 
 BERTELSMANN (Carl August). German comp., B. GUtersloh, Westphalia, 
 Aug 3, i8n. D. Amsterdam, Nov. 30, 1861. Writer of part-songs, lieder, 
 organ music, etc. 
 
 BERTEZEN (Salvatore). Italian writer, author of "Principi della Musica," 
 London, 8vo, 1781. Trans, as " Extract of the Work entitled Principles of 
 Music," London, Svo, 1782. 
 
 BERTHA (Alexander). Hungarian comp. and celebrated pianist. B. Pesth. 
 Pupil of Moscheles and Billow. Comp. for the Pf. and writer of songs. 
 
 BERTHATJME (Isidore). French comp. and violinist, B. Paris, 1752. D. S. 
 PetersbHrg, March 2p, j8o?. 
 
BER — BER 87 
 
 BEETflOLD (Carl Friedrich Theodor). German comp., B. Dresden, Dec. ig, 
 1815. Wrote masses, symphonies, oratorios, etc. D. Dresden, April 28, 1882. 
 
 BERTIN (Louise Angelique). French pianist and comp., B. near Paris, 1805. 
 Has sung successfully in public. She has also composed three operas, Le 
 Loup garou, 1827 ; Faust, 1831 ; and Notre-Dame de Paris, 1836. D. Paris, 
 April, 1877. 
 
 BERTINI (AugUSte). French writer. Author of "Phonological System for 
 Learning and Acquiring extraordinary Facility on all Musical Instruments in a 
 very short space of time,"...Lond., fo, 1830. [Other editions.] "Stigmato- 
 graphie ou I'art d'ecrire avec des points, "... Paris, 8vo, 11. d. 
 
 BEBTINI (Domenico). Italian comp., B. Lucca, June 26, 1826. Writer of 
 cantatas, masses, etc. 
 
 BEBTINI (Henri Jerome). French comp. and pianist, B. London, Oct. 28, 
 1798. S. under hia father, etc. Travelled through Germany and Holland. 
 Travelled in England and Scotland. Resided in Paris as teacher and concert- 
 giver from 1821. D. Meylan, near Grenoble, Oct. i, 1876. 
 Works. — Studies for the Pf., opp. 29, 32, 66, 86, 94, 100, 133, 134, 1340, 137, 
 142, 147, 166, 175, 176, 177, 178, 180; Trios for Pf., violin, and 'cello ; Sextets 
 for Pf., 2 violins, viola, 'cello, and bass, opp. 79, 85, 90, 114 ; Sonatas for Pf. and 
 violin, opp. 152, 153, 156 ; Nonetto for Pf and wind instruments. 
 
 The series of " Studies" in the foregoing list are the works by which Bertini will 
 continue to be known. He was a renowned pianist in his day, and contributed not 
 a little to the development of the brilliant school of execution. Like Heller and 
 Ascher, to whose school he belonged, he excelled in music of a light and dashing 
 character. 
 
 BEBTINI (Salvatore). Italian comp., B. Palermo, 1721. S. under Pozzuolo. 
 D. Dec. 16, 1794. Comp. church music, sonatas, etc. His son, Gujseppe, 
 Abbe', B. Palermo, 1756, D. after 1847, wrote a " Dizionario Storico-critico 
 degli Scrittori di Musica," Palerm," 4 vols., 4to, 1814-15. 
 
 BERTINOTTI (Teresa). Italian soprano vocalist, B. Savigliano, Piedmont, 
 1776. Sang in London, Paris, Germany, Spain, and Italy with much success. 
 Married to Felice Radicati. D. Bologna, Feb. 12, 1854. 
 
 BEBTOLLI (Francesca). Italian contralto vocalist who flourished in the 1 8th 
 century. Sang in Handel's operas during 1729-37. D. [unknown]. 
 
 BEBTON (Henri Montan), French comp. and writer, B. Paris, Sept. 17, 
 1767. S. under Rey and Sacchini. Violinist in orch. of the Opera, Paris, 
 1773. Fofmed connection with Mdlle. Maillard, by whom he had an illegiti- 
 mate son, Francois, 1782. Prof, bf Harmony at Paris Cons., i79S- Cond. of 
 Italian Opera, Paris, 1807. Mem. of the Institut, 1815. D. Paris, April 22, 
 1844. 
 Works. — Operas: Le Premier Navigateur, 1786; Les Promesses de Mariage, 
 1787; La Dame invisible. 1787; Cora, 1789; Les Brouilleries, 1789; Les Deux 
 Sentinelles, 1790. Les Rigueurs du Cloitre, 1790; Le Nouveau d'Assas, 1791 ; 
 Les Deux Sous-lieutenants, 1791 ; Eugene, 1792; Viala, 1792; Tyrtee, 1793; 
 Ponce de Leon, 1794; Le Souper de Famille, 1796; Le Denouementin attendu, 1798; 
 Montano et Stephanie, 1799; L'Amour bizarre, 1799; Le Delire, 1799; Le 
 Nouvelle au camp, 1799; Le Grand Deuil, 1801 ; Le Concert interrompu, 1802; 
 Aline, Reine de Golconde, 1803 ; La Romance, 1804 ; Delia et Verdikan, 1805 ; 
 Le Vaisseau amiral, 1805; Les Maris-gar9ons, 1806; Le Chevalier de S^nanges, 
 1807 ; Ninon chez Madame de Sevigne, 1807 ; Fran9oise de Foix, 1809 ; Le 
 Charme de la voix, 181 1; Valentin, 1814; Feodor, 1816 ; Roger de Sicile. 1817 ; 
 Corisandro, 1820 ; Virginie, 1823 ; Les Mousquetaires, 1824; La M^re et la Fille; 
 Les Petits Appartements, 1827. Cantatas: various. Oratorios: Absalon, 1786; 
 Jepht^ ; David dans le temple ; Les Bergers de Bethl^em. Ballets. Romances 
 for voice and Pf. TraitI d'Harmonie... Paris, 4to [1815] ; De la Musique 
 mfecanique et de la Musique philosophique, Paris, 1822 ; Writings against Rossini 
 .and other literary works, 
 
88 BER — BES 
 
 Like other French composers, Berton has only enjoyed a temporary success. 
 His works are now unknown outside historical books, and may be said. to be dead 
 to the musical world. 
 
 BERTON (Francois). French comp., B. Paris, May 3, 1784. Natural son of 
 H. M. Berton and Mdlle. Maillard. S. at Paris Cons., 1796. D. [?] Wrote 
 several operas and ballets. 
 
 BERTON (Pierre Montan). French comp., B. Paris, 1727. Leader at the 
 Paris Opera House. D. Paris, 1780. Father of Henri M. Berton. 
 Works. — Operas: Deucalion et Pyrrha, 1755 ; Erosine, 1 768 ; Sylvie, 1766 ; 
 Theonis, 1767 ; Adele de Ponthieu, 1773, etc. 
 
 BERTONI (Ferdinando Giuseppe). Italian comp. and org., B. Venice, 
 1727. S. under Padre Martini. Org. of S. Mark's, Venice, 1750. Choir- 
 master of Cons, dei Mendicanti, 1757-97. Appeared in London as comp., 
 1778. Choir-master of S. Mark's, Venice, 1785. D. i8lo. 
 Works. — Operas: Oriazio e Curiazio, 1746 ; La Vedova Accorta, 1746; Cajetto, 
 1747; Ipermestra, 1748; Le Pescatrici, 1752; Genevra, 1753; La Moda, 1754;. 
 Le Vicenda amorose, 1760 ; La Belle Girometta ; Amore in Musica, 1763; Achille 
 in Sciro, 1764; L'Ingannatore ingannato, 1764; L'Olimpiade, 1765; Alessandro 
 nell Indie, 1770 ; L'Anello incantato, 1771 ; Andromacca, 1772 ; Aristo e Temira, 
 1774 ; Orfeo, 1776 ; Ezio, 1777 ; Telemacco, 1777 ; Quinto Fabio, 1778 ; Tan- 
 credi, 1778; Artaserse, London, 1780; Armida, 1781 ; Eumene, 1784; La 
 Nitteti, 1789; Ifigenia in Aulide, 1790. Cantatas; Ballets; String Quartets, etc. 
 
 BERTUCH (Karl Volckmar). German org., B. EYfiirt, 1730. D. Berlin, 1776. 
 
 BERWALD (Johann Friedrich). Swedish comp., B. Stockholm, July 23, 
 
 1788. Travelled as an infant prodigy till 1817. Cond. and choir-master at 
 
 Stockholm, 1819-68. D. Stockholm, Sept., 1861. 
 Works. — Op. i. Three Polonaises for Pf. and violin, 1798; Symphony for 
 
 orch., 1799; Three quartets for stringed instruments, 1808; Sonata for Pf., 
 
 op. 6. ; Songs, etc. 
 This musician did much for the propagation of musical taste in Sweden as a 
 conductor, although none of his works, save the songs, are of much value. His 
 cousin Franz (B. Stockholm, 1796. D. there, April 3, i858), comp. much instru- 
 mental music. 
 BESLER (Samuel). German comp., B. Silesia, Dec. 15, 1574. D. Breslau, 
 
 July 19, 1625. Wrote church music, etc. 
 
 BESOZZI (Alessandro). Italian oboe-player, B. Parma, 1700. Oboist to the 
 King of Sardinia. D. Turin, 1775. One of a most famous family of instru- 
 mentalists, of whom Antonio, his brother (B. Parma, 1707 ; oboist to King 
 of Sardinia, 1775-1781 ; D. 1781); Carlo, son of Antonio, oboist (B. Dresden, 
 1745 ; D. (?) ; and HiERONiMO, his brother, basson-player (B. Parma, 1713 ; 
 D. Turin [?] ;) were the chief members, forming one of the most remarkable 
 groups of wind instrument performers known to musical history, 
 
 BESSEMS (Antoine). Belgian comp. and violinist. B. Antwerp, .April 4, 
 1806. D. Paris, Oct. 19, 1868. Wrote concertos for violin, masses, Pf. 
 music, songs, etc. 
 
 BESSON (Gustave AugUSte). French maker of wind instruments. Has 
 gained several prizes in Exhibitions of 1851, 1855, etc., for excellence of manu- ' 
 facture. The manufactory is in Paris with branches. 
 
 BEST (William Thomas). English org. and comp., B.Carlisle, Aug. 13, 1826. S. 
 under Young of Carlisle Cath. Org. successively of Pembroke Chap., Liver- 
 - pool, 1840 ; the Church for the Blind, Liverpool, 1847 ; Liverpool Philarmonic 
 Soc, 1848 ; Panopticon of Science and Art, London, 1852 ; Church of S. 
 Martin's-in-the-Fields, 1852; Lincoln's Inn Chap., 1854; St. George's Hall, 
 Liverpool, 1855 ; Parish Church of Wallasay, Birkenhead, i860 ; Holy Trinity 
 Church, near Liverpool, 1863 ; Musical Soc. of Liverpool, 1868 ; Royal Albert 
 Hall, 1871 ; West Derby Parish Church, 1879. Has played frequently in 
 Paris, Rome, the English provinces, London, and in Scotland and Ireland, 
 
BET — B E V 89 
 
 Works. — 0»-^a« ; Arrangements for the Scores of the Great Masters, 5 vols.; 
 The Art of Organ Playing, in 4 parts, London, n. d-.; Collection of Pieces expressly 
 Composed for Church Use, 6 Books; Sonata for Org., in G ; Thirty Progressive 
 Studies for the Use of Young Students ; Handel Album, 20 vols.; Four Concert 
 Fantasias ; Christmas Fantasy on Ancient English Carols ; Modern School for the 
 Organ (Cocks), Lond. 1855 ; Handel's Six Organ Concertos (edited) 2 series ; and 
 opera and oratorio songs ; Hommage k Handel, by I. Moscheles, arranged for org. ; 
 Three Preludes and Fugues ; Six Concert Pieces ; Andante with vars. ; Introduction 
 and Fugue (ded. to Hesse) ; Collection of Italian org. comps., edited ; " Cecilia," 
 a collection of org. pieces in diverse styles ; Overture for orch. , Festival, 
 in C ; and Marche Triomphale. Pianoforte Music : Marche Militaire ; Romanesca, 
 op. 16 ; Notturno, op. 27 ; Marche Triomphale, op. 21 ; Serenade from Don Juan. 
 Church Music : Morning and Evening Service, composed for the Parish Church, 
 Leeds, op. 40 ; A Morning, Communion, and Evening Service in simple chant 
 form ; A Morning and Evening Chant Service ; A Communion Service, consisting 
 . of Kyrie, Nicene Creed, Sanctus, and Gloria ; An Evening Service adapted to the 
 Ancient Gregorian Plain Chant ; Benedicite omnia opera ; Te Deum in C ; The 
 Athanasian Creed. Anthems, etc. : Behold I bring you glad tidings ; I will magnify 
 Thee, O God, my King ; Praise the Lord, call upon His name ; The Lord is great 
 in Sion ; While shepherds watched their flocks by night ; Abide with me (hymn) ; 
 Jesus Christ is risen (hymn) ; Dies Irse (hymn). What mournful thoughts. Glee for 
 5 voices. 
 
 Mr. Best is generally acknowledged to be the greatest master of the organ now 
 living in Britain. He belongs to that school of modern development which en- 
 deavours to make the organ the exponent of orchestral works. That the organ is in 
 itself capable of producing orchestral effects in an adequate manner is indisputable, 
 and the excellent manner in which it has been proved should be sufficient to reconcile 
 those who imagine that it is performing out of its function and lending its powers to 
 trickery. Best's technical knowledge of the instrument is great, while he possesses 
 the utmost command over its various features. His recitals at Liverpool are among 
 the most interesting items of the musical season in that city, and he has played with 
 the greatest success throughout the provinces of England and in Scotland. He is great 
 in every style, from Bach to Guilmant, and is particularly grand in his rendering of 
 the divine fugues of the former master. His compositions for the Church 
 Service are also highly deserving of praise, and are frequently produced in cathe- 
 drals and churches throughout England. Many of his anthems are in constant 
 use in English churches. His didactic works are among the standard instruction 
 books of the period, and are remarkable for the clearness of their explanations and 
 the practical character of their descriptions. 
 
 BETTINI (Alessandro). Italian tenor vocalist, B. Rome, 1830. S. under 
 Sgatelli. ZlSut at Madrid in 1853. DMut in England at H.M. Theatre, 
 London, i862. Sang in St. Petersburg. Married to Mdlle. Trebelli, 1863. 
 Signer Bettini is allowed to be a most useful tenor, and his voice is of an agree- 
 able quality. 
 
 BETTS (Arthur). English violinist and comp. of end of i8th and beginning of 
 19th centuries. B. in Lincolnshire. S. under Hindmarsh, Votti, Dussek, and 
 Steibelt. Comp. sonatas, duets for vn. and 'cello ; arrangements, etc. 
 
 BETTS (Edward). English musician and writer of 18th century. He compiled 
 "An Introduction to the_ Skill of Musick;" Anthems, Hymns, and "Psalm 
 Tunes in several parts." Lond., Svo, 1724. 
 
 BETTS (John). English violin-niaker, B. Stamford, Lincolnshire, 1755. Pupil 
 of Richard Duke. Carried on business in shop in Royal Exchange, London. 
 D. London, 1823. The quality of his violins is admired by some judges but 
 depreciated by others. His nephew, Edv^^ard Betts, also a pupil of Duke's, 
 copied Amati with great success. He died [1815-20]. 
 
 BEUMEB (Henri). French comp. and violinist, B. Leuwarden, 1831. Writer 
 of violin music, ballets, overtures, songs. 
 
 BEVIN (Elway). Welsh comp. and org., B. about middle of i6th century 
 [1560-70]. S. under Tallis. Org. of Bristol Cath., 1589. Gent. Extraordin- 
 
90 BEX B I A 
 
 ary, Chap.-Roy., 1605. Lost both places on being discovered a Roman Catholic, 
 1637. D. [1640]. 
 
 Works.— A Briefe and Short Introduction to the Art of Musicke, to teach how 
 to make Discant of all Proportions that are in use : very necessary for all sach as 
 are desirous to attaine to knowledge in the Art ; and may, by Practice, if they can 
 sing, soon be able to compose three, four, and five parts ; and also to compose all 
 sorts of Canons that are usuall, by these Directions, of two or three parts in one, 
 upon a Plain Song, 1631 ; A Short Service in D minor, and "Praise the Lord," 
 anthem, in Barnard's Collection. Other anthems exist in manuscript. 
 
 Bevin was the teacher of Dr. Child. " Though the accent o£ his compositions is 
 not always correct, and his modulation partakes of the antique, the fulness of his har- 
 mony, and general dignity of his style, compensate for those defects, and demand 
 the indulgence due to a man of acknowledged science and genius." — Busby. 
 Bevin is usually credited with having been the first in England to systematise the 
 rules for the composition of canons. 
 
 BEXFIELD (WiUiam Richard). English comp. and org., B. Norwich, April 
 27, 1824. S. under Dr. Zachariah Buck. Org. ot Boston Ch., Lincoln. 
 Mus. Bac. Oxon., 1846. Unsuccessful candidate for the Music Professorship 
 of Oxford University. Org. of St. Helen's Church, Bishopgate Street, Lond., 
 1848. Mus. Doc. Cantab., 1849. D. London, Oct. 29, 1853. 
 Works. — Israel Restored, oratorio, Sept. 22, 1852 ; reproduced, 1879 ; Church 
 
 Anthems, in score, with portrait, Lond., n. d. ; A Set of Fugues for the Organ, 
 
 Lond. , li. d. ; songs and part-songs ; organ music, etc. 
 
 The revivification of this composer's oratorio in 1879 gave rise to much favourable 
 
 criticism among competent writers, and it was allowed that had Bexfield lived he 
 
 would have proved an ornament to the English school of church music. " Israel 
 
 Restored " is a work of much promise, but cannot be said to be a mature work of 
 
 genius. 
 
 BEYEBi (Ferdinand). German comp. and pianist, B. Querfurt, Saxony, July 
 25, 1803. Was arranger and editor in employment of Messrs. Schott and Co., 
 Mayence. D. Mayence, May 14, 1863. 
 Works. — Pianoforte : Des Hausesletzte Stunde, Fantasia, op. 31 ; Les Charmes 
 de I'opera, op. 33 ; Repertoire des Jeunes Pianistes, op. 36 ; Bouquets de 
 Melodies, op. 42 ; Six Morceaux Elegants sur des Airs allemands favoris, op. 80 ; 
 Le Premier Debut, 24 pieces arranged for Pf., op. 83 ; Fleurs Italiennes, op. 87 ; 
 Heures de-Joisir, dances, op. 92 ; Fantasias and minor arrangements without num- 
 ber. , Berger's works possess considerable value as teaching pieces, but their 
 artistic rfierits are not much above the average. 
 
 BEYLE (Marie Henri). French writer, B. Grenoble, 1783. D. Paris, 1842. 
 
 He published, under the nom de plume of L. A. C. Rombet, " Lettres ecrites de 
 
 Vienne en Autriche sur le cHebre compositeur Joseph Haydn, suivies d' une 
 
 vie de Mozart, et de considerations sur Metastase et 1' ^tat present de la Musique 
 
 en France et en Italic," Paris, 8vo, 1814. Re-issued as "Vies de Haydn, et 
 
 de . Metastase, " Paris, 8vo, 1854. This work was stolen from a similar book 
 
 issued by Carpani. It was translated into English as "The Lives of Haydn 
 
 . and Mozart with Observations on Metastasio..." Lond., 8vo, 1817 ; 2nd edit., 
 
 • 1818. Under the name of M. de Stendhal he also published a "Vie de Rossini," 
 
 Paris, 1823. English translation, anonymous, 1824. Second edition, Paris, 1854. 
 
 , This is also a plagarism of a work by Carpani. JBeyle's other writings are very 
 
 numerous, and comprise many other subjects besides music. 
 
 BEZDECK (Friedrich Wenzel). Bohemian comp. and violinist, B. Prague, 
 Sept. 24, 1804. Writer of quartets, Pf. music, violin music, songs, etc. 
 
 BIAGGrI (Geiblamo Alessandro), IppoUto d' Albano. Italian writer and critic, 
 B. Milan, 1815. S. music at Milan Con. He acted as musical critic for the 
 Gazetta d' Italia, and wrote a work entitled ' ' Delia Musica Religiosa e delle 
 questioni inerenti discorso," Milan, 8vo, 1856. He has also contributed 
 largely to periodical literature. 
 
 BIAL (Carl). German comp. of Pf, music and songs. B. Habelschwerdt, near 
 GlaU, July 14, 1833, 
 
B I A — BID 
 
 91 
 
 BIANCHI (Francesco). Italian comp., B. Cremona, 1752. Chap. -master at 
 
 Cremona. Mem. of Italian opera orch. at Paris, 1775. Assistant cond. at 
 
 Ch. of S. Ambrogio, Milan, 1784. Second org. of S. Mark's, Venice, 1785. 
 
 Came to London, 1793. Married to Miss Jackson, 1800. Teacher and 
 
 comp. in London. Committed suicide. Hammersmith, London, Nov. 27, 
 
 1810. 
 
 Works. — Operas: La Reduction de Paris, 1777; Castor a Polluce, 1780; Trionfo 
 
 della Pace, 1782; Demofoonte, 1783; Brisside, 1784; La Caccia d' Enrico iv., 
 
 1784; Aspardeprincipe Battriano, 1784; II Dissertoro, 1785 ; La Villanella rapita, 
 
 1 785 ; Piramo et Tisbe, 1 786 ; La Vergine del Sole, 1 786 ; Scipione Africano, 1 787 ; 
 
 La Secchia rapita, 1787 ; L' Orfano della China, 1787 ; Pizarro, 1788 ; Mesenzio, 
 
 1788; Alessandro nell' Indie, 1788; Tarara, 1788; II Ritratto, 1788; L' Inglese 
 
 stravagante, 1789 ; II Gatto, 1789 ; La Morte di Giulio Cesare, 1789 ; L' Arminio, 
 
 1790; La Dame bizzaria, 1790 ; Cajo Ostilio, 1791 ; La Capriccioso ravveduta, 
 
 1793; L'Olandese, 1794; La Stravagante, 1795; Zenobia, Lend.; Inez de Castro; 
 
 Aci e Galatea ; La Semiramide, 1798. Oratorios: Agar, 1791 ; Joas, 1791. Songs 
 
 and other vocal music. 
 
 Bianchi was the teacher of Sir H. R. Bishop and other musicians ytho have at- 
 tained eminence. His operas were pleasing but not original. They are now com- 
 pletely forgotten. 
 
 BIBEB (Heinrich Johann Franz von). Bohemian violinist and comp. B. War- 
 tenberg, 1638. Vice chap.-master at Court of Bishop of Salzburg. D. Salz- 
 burg, 1698. 
 Works. — Fidicinium Sacro profanum, 1681 ; Harmonico artificioso-ariosa ; Ves- 
 perae longiores ac breviores, una cum litaniis Lauretanis a quatuor vocibus, Salz- 
 burg, 1693 ; Sonatas for violin and bass, etc. 
 
 He was esteemed an excellent performer and composer in his day, and introduced 
 several effects into the style of violin playing practised in his time. 
 
 BIBL (Andreas). Austrian comp., B. Vienna, April 8, 1797 (1807). Org. at 
 the Ch. of S. Stephen, Vienna, from 1818. 
 Works. — Twelve preludes for org., op. 3; Salvi Regina for 4 voices and org., 
 op. 5 ; Three Ave Maria, do., op. 6 ; Two Tantum Ergo, for 4 voices and org., 
 op. 8; Graduel, for 4 voices, strings, and org., op. 9; Cadences for the org., op. 
 10; Thirty-two Versets for org., op. 7 ; Three Prelude for org., op. r2. ; Do., op. 
 13 ; Do., op. 15 ; Twenty Preludes for organ, op. 16 ; Fugue for the organ, in C, 
 op. 17; Offertoire for tenor voice, chorus, small orch., and org., op. 18; Graduel 
 for 4 voices, small orch., and org., op. 19; Mass for 4 voices, small orch., and 
 org., op. 20); Tantum Ergo, for soprano voice, chorus and orch., op. 21 ; Tantum 
 Ergo for contralto solo, chorus, and orch., in E fiat, op. 22 ; Prelude and Fugue 
 for org., op. 23, etc. 
 
 BIBL (Rudolph). Son of the above, B. Vienna, 1832. He has written a num- 
 ber of works for organ and Pianoforte, and is a good performer on the former 
 instrument. ; 
 
 BICKHAM (George). English engraver and penman, flourished in the first 
 part of the i8th century. He published " The Musical Entertainer," 2 vols. fo. 
 [c. 1750], a collection of songs of some value. He died in 1769. 
 
 BICKING (Alfred). German comp. and vocalist; B. Berlin, 1840. D. 1864. 
 Wrote an opera, songs, etc. 
 
 BICENELL (John Laurence), English writer and barrister-at-law, and 
 reputed author of "Musical Travels through England, by Joel Collier, Licen- 
 ciate in Music." Lond., l2mo, 1774 (various editions). Inl8l8 appeared 
 "Redivivus, an entirely edition of that celebrated Author's Musical Travels." 
 The work is a satire on Burney, and is an amusing production, now getting 
 very scarce. It has also been ascribed to Peter Beckford, a writer and musical 
 amateur of last century. 
 
 BIDDLE (Horace P.) American theoretical writer, has published the "Musical 
 Scale," a scientific treatise on the ton?s of the scales, etc, (Ditson, Boston, n.d.) 
 
92 BIE — BIL 
 
 BIENAEVEE (Paul Emile). French comp., teacher, and writer, B. Paris, 
 July 6, 1802. Prof, of accompaniment and harmony in Paris Cons, from 1828. 
 D. Paris, Jan. 17, 1869. He was chiefly celebrated as a successful teacher. 
 He wrote "I'Histoire du Piano depuis son origine, etc." Paris, 3 vols;, 1863; 
 "Cinquante etudes d'harmonie pratique." Paris, 1844. 
 
 BIEBY (Gottlob Benedict). German comp., B. Dresden, July 25, 1772. 
 S. under Weinlig, Music director of opera at Vienna, 1807 ; ditto at Breslau, 
 1824. D. Breslau, May 5, 1840. 
 "Works. — Numerous operettas and cantatas, a complete list of which is contained 
 in the " Dictionnaire " of Fetis. 
 
 A few of his cantatas still survive, but are not generally known. 
 
 BIGGrS (Edward Smith). English glee comp. and pianist, B. during latter 
 half of i8th century. D. about [1820]. Was a celebrated teacher of music in 
 London. 
 
 Vio^VLS.— Pianoforte: Twenty-eight Waltzes ; Rondos and and Marches. Glees: 
 Ah ! me, with that false one ; A poor soul sat sighing ; Beneath this stone lies 
 Catherine Gray ; Bring the song ; Cease sorrow (from Jommelli) ; Hark ! what 
 sound ; Here beneath this willow sleepeth ; Here's lawn as white as driven snow ; 
 In my cot, tho' small's my store ; Lost is my quiet for ever ; Now ev'ning's come ; 
 O ! synge unto mie Roundelaie ; Tho' ruthless war; Under the greenwood tree; 
 Where feeds your flock ; Will you buy any tape ?. Songs : £ix English Songs... the 
 words from Mrs. Opie ; The suicide ; Come, my lads, time posts away ; Ha ! 
 what is this ? ; Fox and the crow ; I once rejoiced ; Barbara Allan ; Whar hae ye 
 been a' day, my boy Tammy ? ; Where are you going my pretty maid ?. Duets ; 
 Sets of Welsh and Russian Airs. 
 
 BIGtGS (Rev. L. 0.) English writer of "English Hymnology" (a series of 
 articles reprinted from the "Monthly Packet"). 
 
 BIGLIANI (Vincenzo). Italian comp. and writer, B. Alexandria, 1801. D. 
 Turin, 1876. Writer of church music, etc. 
 
 BIGNON (Louis). French org. and comp., B. Paris, July 12, 1827. D. 
 Marseilles, 1874. 
 
 BIGOT (Marie), nee Kiene. German pianist, B. Colmar, 1786. Resided at 
 Paris, where she was married to M. Bigot in 1804. D. Paris, Sept. 16, 1820. 
 She was a fine performer of the music of Mozart, and excelled in interpreting 
 Beethoven and others of the classical school. 
 
 BILLEBT (Karl Friedrich August). German comp. and cond., B. Stettin, 
 Sept. 14, 1821. Has composed a number of symphonies, overtures, and other 
 instrumental music of considerable merit. His songs and sacred compositions 
 are also ol great repute. D. Berlin, Jan. 2, 1876. 
 
 BILLET (Alexandre Philippe). French comp. and pianist. B. S. Peters- 
 burg, Mar. 14, 1817. S. at Paris Cons. Travelled in Italy and resided in 
 London as teacher and comp. for the pf. 
 
 BILLINGS (William). American comp., B. Boston, Oct. 7, 1746. D. Bos- 
 ton, Sept. 26, 1800. 
 
 Works.— The New England Psalm Singer, 1700 ; The Singing Master's Assis- 
 tant, 1778 (arranged from number i) ; Music in Miniature, 1779 ; The Psalm 
 Singer's Amusement, 1781 ; The SuflFolk Harmony, 1786; The Continental Har- 
 mony, 1794; Single anthems, etc. 
 
 Billings, who was at one time a tanner, is regarded as the first American comp. 
 of any note. His psalms are pretty, and laid the foundation no doubt of the modern 
 style of sentimental psalmody affected in the States. 
 
 BILLINGTON (Elizabeth), nie Weichsell. German soprano vocalist, B. [1765] 
 or London, [1768]. Married to James Billington, a double-bass player, 1784. 
 Made dBut at Dublin in " Orpheus and Eurydice." DSbut in London, Feb. 
 13, 1786, as Rosetta in "Love in a Village." Went to Italy with her fiusband, 
 
BIL — BIR 93 
 
 1794. Sang at Naples, 1794. Her husband died, 1794. Appeared at Venice, 
 1796. Married to a M Felissent, 1798. Separated from him, 1798. Returned 
 to England, and appeared at different times at Drury Lane and Covent Garden 
 Theatres, the Ancient and Vocal Concerts, etc., 1801-17. Reconciled to her 
 husband (M. Felissent) and retired with him to Venice, 1818. D. Venice, 
 Aug. 28, 1818. 
 This vocalist, said to be one of the most handsome and dissolute women of her 
 time, was classed among the greatest of living singers. Her voice was of extreme 
 compass amd remarkable for its sweetness. Her acting was inferior, and was only 
 compensated for by the great beauty of her person. Her letters were published to- 
 wards the commencement of this century, and created a great scandal. Some bio- 
 graphies of recent date hold that her manner of life was not so bad as has been re- 
 presented, and that the cruelty of her French husband was a sufficient excuse for any 
 little failing. Full details of her career will be found in Hogarth's ' ' Memoirs of the 
 Musical Drama," and in " Memoirs of Mrs. Billington, from her Birth ; containing 
 a variety of matter, ludicrous, theatrical, musical, and with copies of several original 
 letters written by Mrs. Billington to her Mother," Lond., 8vo, 1792. A suppressed 
 book. 
 
 BILLINGTON (Thomas). English pianist, harpist, and comp., B. about end 
 
 of i8th century. He lived in London as a teacher of the piano and harp. 
 
 The dates of his birth and death are unknown. [Supposed to have been the 
 
 husband or brother-in-law of above.] 
 
 Works. — Music to Gray's Elegies ; Pope's Elojsa to Abelard ; Prior's Garland ; 
 
 Petrarch's Laura ; The Children in the Wood, Morton ; Twelve canzonets for 2 
 
 voices ; Six songs for voice and Pf. ; Sonatas, various, for Pf. ; Music to Young's 
 
 Night Thoughts ; Music to Pope's Elegy to the Memory of an Unfortunate Lady ; 
 
 Numerous Glees ; Songs; Miscellaneous Pf. music; Scotch airs, etc., harmonized, 
 
 Lond. [1785]. 
 
 BILSE (Benjamin). German comp. and cond., B. Liegnitz,' Aug. 17, 1816. 
 
 He has composed a great amount of popular dance-music, and conducts a famous 
 orchestra of 70 performers at Berlin. 
 
 BIMBONI (Giovacchino). Italian trumpet-player, B. Florence, Aug. 19, 1810. 
 
 BINCHOIS (Egidius) or Gillies. French comp. of church music, B. in Picardy 
 [1406]. Chap. -master in service of the Duke of Bourgogne. D. [1465]. 
 Comp. masses, chansons, etc. 
 
 BING (Jacob). German pianist and comp., B. Eschenbach, July 16, 1821. D 
 April 17, 1841. Wrote Pf. music, etc. 
 
 BINGLEY (Eev. WUliam, M.A.) English writer, B. Doncaster, 1774. S. at 
 Cambridge. D. London, March 11, 1823. Author of "Musical Biography, or 
 Memoirs of the Lives and Writings of the most Eminent Musical Composers 
 and Writers who have flourished in the different countries of Europe during 
 the last Three Centuries," London, 1814, 2 vols. 8vo; 2nd edit., Lond., 1834, 
 2 vols. ; an imperfect and inaccurate work. Animal Biography, 1802, 3 
 vols., etc. 
 
 BINNET (Thomas). English writer, author of " The Service of Song in the 
 House of the Lord." Lond., 1849. 
 
 BIRCH (Rev. Edward). English author, wrote "A Tract on Responding, 
 with a Postscript on Singing." Manchester, 1862. 
 
 BIRCH (Samuel). English comp., B. London, Nov. 8, 1757. Served as Lord 
 Mayor in 1815. D. London, 1840. 
 Works.— The Mariners, musical entertainment, 1793 ; "The Packet Boat, or a 
 Peep behind the Veil," a masque, Covent Garden, May 13, 1794; The Adopted 
 Child, 1795; The Smugglers, musical drama, 1796; Fast Asleep, do., 1795 
 Albert and Adelaide, do., 1798. Glees ; songs, etc. 
 
 BIRCH (William Henry). English org. and comp., B. Uxbridge, May, 1826. 
 S. under Elvey, Blagrove and R. Barnett. Org. of S. Mary's Ch., Amersham. 
 
94 B I R — BIS 
 
 Prof. Music at Caversham, near Reading. Comp. of a number of operettas, 
 anthems, songs, etc. 
 
 BIBCHALL (Robert). English music publisher, was business manager of the 
 Ancient Concerts and one of the first to establish a Circulating Musical Library. 
 He was originally in the employment of Randall and was succeeded by Lons- 
 dale and Mills. He published works by Beethoven, Mozart, Haydn, and 
 others. D. 1819. 
 
 BIRD (Horace). American teacher and writer, author of "Bird's Singing 
 School Companion " (with Joseph Bird), Boston, n. d. ; Songs, etc. 
 
 BIRD (Joseph). American teacher and writer, has published "Bird's Vocal 
 Music Reader (Ditson, Boston, n. d.), and edited, with Horace Bird, a num- 
 ber of useful collections of music adopted for use in Schools. He has also 
 published " Gleanings from the History of Music." Boston, 8vo, 1850. 
 
 BIRB (H. D.). American org. and comp., B. 1837. Is presently located in 
 Chicago, where he is a teacher and organist, of ability. His compositions are 
 not known in England. 
 
 BIRD (William Hamilton). English collector. Author of "The Oriental 
 Miscellany, a Collection of the most favourite Airs of Hindoostan, adapted for 
 the Harpsichord," Calcutta, fo. 1789. 
 
 BIRD (William). See Byrd (William). 
 
 BIRKENSHA (John). Irish (?) writer. Lived in London as teacher of the 
 viol in the first half of the 17th century. 
 He translated the " Templum Musicum " of Johannes Henricus Alstedius, and 
 published it in 1664. For particulars of Birkensha see Busby's History, vol. ii., p. 
 246, and the " Imperial Dictionary of Biography." 
 
 BIBEENSTOCK (Julius Adam). German violinist and comp., B. Alsfeld, 
 Feb. 19, 1687. D. Feb. 26, 1733. 
 
 BISCACOIAlirTI (Eliza Ostinelli). American vocalist, B. Boston, Mass., 
 1825. Sang with success in America and Europe. 
 
 BISCHOFF (Carl Bernard). German comp., B. Nieder-Roeblingen, Weimar, 
 Dec. 24, 1807. Writer of oratorios; " Christus," "Joas,"etc.; also motets, 
 and other vocal music. 
 
 BISCHOFF (Gaspard Josef). German comp., B. Ausbach, April 7, 1823. 
 
 Writer of church music, an opera, songs, Pf. music, etc. 
 
 BISCHOFF (Ludwig Friedrich Christoph). German comp. and teacher, B. 
 Dessau, Nov. 27, 1794. S. at Berlin University from 1812. Pro. at Berlin, 
 and Director of the Gymnasium at Wesel, 1823-49. Founded several musical 
 societies. D. Cologne, Feb. 24, 1867. 
 
 BISHENDEN (Charles James). English writer and bass singer, B. 1848. 
 Author of "The Voice, and how to use it," " How to Sing," etc. 
 
 BISHOP (Anna), nk Riviere, wife of the undernoted. A French soprano 
 vocalist, B. London, 1812 [1814-15]. S. under Moscheles at the R. A. M. 
 Married Bishop, 1832. Z'^fe; at London, 1837. Sang at the Musical Festivals 
 of Gloucester, York, and Hereford. Travelled with Bochsa in Europe, 1839. 
 Appeared in Copenhagen, 1839. Sang in Stockholm, 1840. St. Petersburg, 
 1840. Sang in Russia with great success, 1840-1. Appeared in Austria, 
 etc., 1842. Visited Italy, 1843. Went to America, 1846. Travelled in 
 America, Australia, etc., 1853-8. Married to Martin Schultz, of New York, 
 1858. Returned to England in 1858. Returned to America, 1859. Travelled 
 round the world concert-giving, 1865-69, and again in 1873-76. Between the 
 years 1839 and 1843 she sang at 260 concerts. She was a cultivated vocalist 
 and member of many musical societies. D. New York, March 18 [20], 1884. 
 
 BISHOP (Sir Henry Rowley). English comp., B. London, Nov. 18, 1786. 
 S. music under F. Bianchi. Musical Director at Drury Lane Theatre, 1810- 
 
BIS — BIS 95 
 
 n. Founded (with others) the Philarmonic Soc, 1813. Visited Dublin, 1820. 
 Cond. at Drury Lane Theatre, 1825. Musical director at Vauxhall Gardens, 
 1830. Mus. Bac. Oxon,, 1839. Musical director at Covent Garden Theatre, 
 1840-41. Cond. of the Ancient Concerts, 1840-48, Prof, of Music at Edin- 
 burgh University (in succession to John Thomson), 1841-43. Knighted, 1842. 
 Prof, of Music at Oxford University (in succession to Dr. Crotch), 1848. Mus. 
 Doc. Oxon., 1853. D. London, April 30, 1855. 
 Works. — Operas and Musical Dramas: Angelina, farce, 1804; Tamerlan et 
 Bajazet, ballet, 1806 ; Narcissa et les Graces, grand anacreontic ballet, 1806 ; Car- 
 actacus, ballet, 1806; Love in a Tub, a pastoral ballet, 1806; The Mysterious 
 Bride, 1808; The Circassian Bride, 1809; Mora's Love, ballet, 1809; The Vintagers, 
 1809; The Maniac, or, Swiss Banditti, i8lo ; The Knight of Snowdoun, 181 1 ; 
 The Virgin of the Sun, 1812 ; The CEthiop, or Child of the Desert, 1812 ; The 
 Renegade, 1812 ; Haroun Alraschid (altered from The ^thiop), 1813 ; The Brazen 
 Bust, 1813; Harry Le Roy, 1813; The Miller and His Men, 1813; For England Ho ! 
 
 1813 ; The Farmer's Wife (with Reeve and Davy), 1814 ; The Wandering Boys, 
 or The Castle of Olival, 1814 ; Sadak and Kalasrade, or The Waters of Oblivion, 
 1814; The Grand Alliance, 1S14; The Forest of Bondy, or Dog of Montargus, 
 
 1814 ; The Maid of the Mill, comic opera, 1814 ; The Noble Outlaw, 1815 ; Tele- 
 machus, 1815 ; A Midsummer Night's Dream (Shakespere), 1816 ; Guy Mannering, 
 or The Gypsey's Prophecy (from Scott), (with Whittaker), l8l6 ; The Heir of Vironi, 
 or Honesty the Best Policy, 1817 ; Don Juan, or The Libertine (compiled from 
 Mozart), 1817 ; The Duke of Savoy, or Wife and Mistress, 1817 ; The Barber of 
 Seville (compiled from Rossini), 1818 ; The Marriage of Figaro (compiled from 
 Mozart), 1819; The Heart of Midlothian (from Scott;, 1819 ; A Roland for an 
 Oliver, 1819; The Gnome King, or The Giant Mountains, 1819 ; The Comedy ot 
 Errors (Shakes.), 1819; The Antiquary (from Scott), 1820; The Battle of Both- 
 well Brigg, 1820 ; Henri Quatre, or Paris in the Olden Time, 1820 ; Twelfth Night 
 (Shakes.), 1820 ; Don John, or The Two Violettas, 1820 ; The Two Gentlemen of 
 Verona (Shakes.), 1821 ; Montrose, or The Children of the Mist (from Scott), 
 1820; The Law of Java, 1822 ; Maid Marian, or The Huntress of Arlingford, opera 
 1822 ; Clari, or The Maid of Milan, opera in three acts (J. H. Payne), 1823 ; The 
 Beacon of Liberty, 1823 ; Cortez, or The Conquest of Mexico, 1823 ; Native Land, 
 or Return from Slavery, 1824 ; Charles the Second, operetta, 1824 ; The Fall of 
 Algiers, opera, 3 acts, 1825 ; Hofer, The Tell of the Tyrol (compiled from Rossini), 
 1825 ; Edward the Black Prince, 1825 ; Aladdin, or The Wonderful Lamp, opera 
 (by J. R. Planche), London, 1825 ; The Knights of the Cross, opera, 1826 ; Under 
 the Oak, opera, 1830; Adelaide, or The Royal William, opera, 1832; Home, 
 Sweet Home, operatic drama, 2 acts, 1832 ; The Magic Fan, or The Fillip on the 
 Nose, operetta, 1832 ; Yelva, musical drama, 2 acts, 1833 ; The Rencontre, operatic 
 comedy, 1833; The Doom Kiss, opera, 1836; The Slave, opera in 3 acts, by J. R. 
 Planchfe, 1816 ; As You Like It (Shakes. ) ; Aurora, ballet ; Brother and Sister, 
 1814 ; Cymon (from M. Arne), 1815 ; Comus, 1815 ; Dr. Sangrado, ballet, 1814 ; 
 December and May ; Don Pedro, tragedy (2 glees) ; Der Freyschutz (compiled from 
 Weber), 1824; Englishman in India, comic opera, 1827 ; Faustus, 1825 ; Fortuna- 
 tus and his Sons, 1S19 ; John of Paris (from Boieldieu), 1814 ; John du Bart (inci- 
 dental music), 1815 ; Ninetta, opera, 3 acts ; The Bottle of Champagne, operetta ; 
 The Czar of Muscovy, opera ; The Humorous Lieutenant, 1817 ; The Romance of 
 a Day, operatic drama; Zuma, or The Tree of Health, comic opera, 1818. The 
 Fallen Angel, oratorio; The Seventh Day, cantata, 1833. Glees: Six original 
 English glees ; Poetry by Hemans, Baillie, etc. ; Twelve original English glees ; 
 Complete collection of glees, 8 vols., 1839 (other collections have since ap- 
 peared, one — Novello's — with orch. accompaniments). Songs: Songs for the 
 seasons, by T. H. Bayly; Select and rare Scottish melodies. Poetry by Hogg; 
 Songs of the old chateau, Poetry by Bayly ; Lays and legends of the 
 Rhine, J. R. Planchfe ; Do. of the Upper Rhine ; Melodies of various nations, 
 Bayly ; Songs for leisure hours, W. Walton ; Edition of Handel's Trios, choruses, 
 etc.; Grand triumphal ode, Accession of the King; Funeral Ode; The Jolly 
 Beggars, cantata by Robert Burns ; Single songs in great numbers. Pf. music, and 
 various pieces of instrumental music. English national melodies. Poetry, edit, by 
 Chas. Mackay. Syllabus of a course of six lectures on the origin and progress of 
 the lyric drama, or opera. ..to be delivered in the Manchester Athenaeum, 8vo, 1845 
 
9^ BIS — BIS 
 
 It is believed that, had Bishop earnestly endeavoured to regenerate English 
 opera, he would have succeeded. He possessed high attainments in musical 
 knowledge, and was possessed of a fine imagination and much dramatic perception. 
 His vocal music is especially fine, and certainly not inferior to that of any English 
 operatic composer. What he most lacked was consistency. Having a personal 
 knowledge of his powers he seems to have produced work after work without the 
 slightest regard to care. He sinned in wasting rather than in economising his 
 genius, and produced a vast number of pieces, some of which possessed very little 
 merit. 
 
 The works which maybe noted as Bishop's best are — "The Knight of Snow- 
 doun," " Clari," " Cortez," " Fall of Algiers," " Oberon," and "The Slave," with, 
 perhaps, his music to Shakespeare's plays. They are not in the strict operatic form 
 made classical by Mozart, Weber, etc., containing expressive instrumental aids and 
 making use of the recitative, but are simply in that form of musical drama known 
 as English ballad opera. Bishop wrote with fluency and refinement, if carelessly, 
 and showed on every possible occasion a strong feeling for the truly artistic. 
 
 It is in his vocal music that Bishop shows in his full powers, and his glees are 
 still frequently performed and stand high in public esteem. These works — many 
 of which appeared in operas — are, in the highest sense of the word, art-songs. 
 They are conceived and shaped conformably to the purest art principles, and 
 must be known as classics equally with the work of other composers. Such works 
 as "Blow gentle gales," "Where art thou, beam of light?," "Up, quit thy 
 bower;" "Sleep, gentle lady," etc., are musical gems from whatever standpoint 
 they may be viewed. 
 
 Bishop is one of the best among English lyrical composers. He lacks to a cer- 
 tain extent that quaint unaffected style which is so admirable a feature in the older 
 composers, but on the other hand some of his concerted vocal music is unsurpassed 
 in variety. Had he concentrated his powers on the production of dramatic music 
 wholly his own, the record of his life, would have been rich in works of lasting 
 value. 
 
 BISHOP (John). English org. and writer, B. Cheltenham, July 31, 1817. Org. 
 
 of S. Paul's Ch., Cheltenham, 1831. Org. at Blackburn, Lancashire, 1838-9. 
 
 Org. of S. James' Ch., Cheltenham ; Roman Catholic Chap., do ; St. John's 
 
 Church, do. Org. appointments all resigned, 1852. 
 Works. — Remarks on the Causes of the Present generally degraded state of 
 Music in our Churches, i860; Brief Memoir of George Frederick Handel, fo., 
 1856; Selection of favourite Pieces by the Great Masters, adapted a^ solos for the 
 organ, with pedal obbligato ; 'Repertorium Musicee Antiquaa, a Miscellaneous col- 
 lection of classical compositions by the greatest masters of Italy, Germany, etc. 
 (edited with Joseph Warren), Lo'iidon, 1848. Translator of Czerny's School of 
 Practical Composition (Cocks) ; Reitha's Course of Musical Composition (edited 
 only) ; G. Weber's Theory of Musical Gomposition (edited from Warner's American 
 edit., with additions) ; Otto's Treatise 6n the Violin ; Czerny's Art of Playing the 
 Ancient and Modern Pianoforte Works; Campagnoli's Method for the Violin; 
 Spohr's Violin School ; Duport's Violoncello School ; Hamilton's Dictionary of 
 Musical Terms, edited. Remarks on the Singing of the Daily Psalins, prefixed to 
 2 Collections of Chants, 1852-1857. Anthems; organ music; songs, etc. 
 
 Mr. Bishop has enriched the educational resources of England by his admirable 
 translations of standard foreign theoretical works. They have long been established 
 as part of our musical literature, and are useful class-books. As an organist Mr.- 
 Bishop has earned fame, and is known over the greater portion of England as an 
 authority on church music and psalmody. 
 
 BISHOP (John). English org. and comp., B. 1665. D. 1737. Org. of Win- 
 chester Cath. 
 
 BISSET (Catherine). English pianist, B. London, 1795. Eldest daughter of 
 Robert Bisset, LL.D., author of the " Life of Burke," etc. Early exhibited 
 talent for music. S. under J. B. Cramer. Appeared at New Musical Fund 
 Concert, 181 1. Played in Paris, with success, 1823. D. Barnes, Feb., 1864. 
 Miss Bisset was almost exclusively engaged at private concerts given by the 
 
BIT — BLA 
 
 $t 
 
 nobility, and was a performer of first-rate ability. Her early ability as a pianist, 
 and the promise she gave, induced her instructor (Cramer) to teach her without 
 emolument. Her younger sister, Elizabeth Anne, B. London, i8oo| was a 
 harpist and comp. of great talent, who S. under F. Dizi, and became widely 
 known by her performance and compositions. Among the latter may be named 
 "Fantasia on C. E. Horn's air, 'Through the Wood,'" 1840 ; "Fantaise 
 brillante pour la Harp," 1840; "The Sailor's Adieu," ballad, 1842. The 
 date and place of her death has not been ascertained. 
 
 BITTER (Oarl Hermann). German writer, B. Schwedt-on-the-Oder, Feb. 27, 
 1813. Employed in Government of Prussia. Chiefly known to musicians by his 
 "Johann Sebastian Bach," Berlin, 2 vols., 1865 ; his "Carl Philipp Emanuel 
 and Wilhelm Friedeman Bach und deren Briider," Berlin,. 2 vols, 8vo, 1898 ; 
 and by his organisation of several large musical festivals. Recent publications 
 by Bitter are — "Beitrag. zur Geschichte des Oratoriums," Berlin, 1872 ; and 
 "Eine Studie zum Stabat mater." Leipzig, 1883. 
 
 BIZET (Alexander Cesar Leopold or Georges). French comp., B. f aris, 
 
 Oct. 25, 1838. S. under HaMvy. Gained the "Prix de Rome" at Paris 
 
 Cons., 1857. Married to Mdlle. Halevy. Lived in Paris as teacher and 
 
 composer. D. Paris, June 3, 1875. 
 
 Works. — Operas and Operettas : Docteur Miracle, 1857 ; Vasco de Gama, 1863 ; 
 
 Les Pecheurs de Perles, 1863 ; Le Jolie Fille de Perth, 1867 ; Djamileh, 1872 ; 
 
 L'Arlesienne, 1872 ; Carmen, opera in 4 acts, Paris, March 3, 1875 ! Noah, opera, 
 
 unfinished work of Halevy 's, Carlsruhe, 1885. Overture for orch., Patrie. 
 
 Songs, etc. 
 The renown of Bizet rests solely on "Carmen," a work which has attained the 
 
 greatest popularity, despite a somewhat savoury libretto. It is a clever and original 
 
 work and seems destined to maintain a place on the stage for some time. Bizet's 
 
 other works are rarely if ever produced. 
 
 BLACKWELL (Isaac). English comp., flourished during latter part of l6th 
 century. Comp. " Choice Ayres, Songs, and Dialogues to the theorbo-lute 
 and bass- violo," Lond., 1657. 
 
 BLAES-MEERTI (Elisa), «A Meerti, German vocalist, B. Antwerp, 1820. 
 Married to Arnold Joseph Blaes, Prof, in Brussels Cons. Sang at the Gewand- 
 haus Concerts, Leipzig, 1839. Sang with success in various Continental 
 towns. Resides in Brussels as a teacher of music. 
 
 BLAGROVE (R. M.) English violinist and teacher. Author of "A New and 
 Improved System to the Art of Playing the Violin "...Lond., 1828. 
 
 BLAGROVE (Henry Gamble). English violinist, B. Nottingham, Oct., 181 1. 
 Son of above. First appeared in public, 1816. Taken to London by his 
 Father, 1817. Played at Drury Lane Theatre, 1817. S. under Spagnoletti, 
 1821. Pupil at the R. A.M., 1823. Gained silver medal, R. A.M., for violin- 
 playing, 1824. Mem. of Queen Adelaide's private band, 1830-1837. S. under 
 Spohr in Germany, 1833-34. Played at London Concerts and Provincial 
 Festivals. D. London, Dec. 15, 1872. 
 Blagrove was one of the best among the small array of first-rate English violinists. 
 
 He had a great reputation throughout the provinces of England, and was well-known 
 
 in Scotland. His tone was pure, if not remarkably powerful, and he had perfect 
 
 command over the mechanical requirements of the instrument. 
 
 BLAHETEA (Leopoldine). Austrian pianist and comp., B. Guntramsdorf, 
 Vienna, Nov. 15, 1809. Wrote an opera, lieder, Pf. music, etc. 
 
 BLAINVILLE (Charles Henri). French violinist and comp. B. Tours, 171 1. 
 
 D. Paris, 1769. Wrote on the science of music and composed various pieces. 
 BLAKE (Benjamin). English comp., B. Kingsland, 1751. S. by himself. 
 
 Learned the violin, 1760. Mem. of orch. of Italian opera, Lond., 1768. 
 
 Prof, of music in Public School at Kensington, 1789-1810. D. Lond., 1827. 
 Works.— Three Books of Six Duets for violin and viola. Six Sonatas for Pf. 
 and violin. Collection of Sacred Music for voices and organ. Three Solos for 
 
9^ BLA — BLA 
 
 viola, with bass accomp. Glees and Songs. A Musical Dialogue between Master 
 and Scholar. 
 
 BLAKE (Rev. Edward, D.D.) English comp., B. 1708. Prebendary of 
 Salisbury Cath. Rector of S. Thomas' Church, Salisbury. D. June, 1765. 
 Composed Anthems and instrumental duets. 
 
 BLAMONT (Francois Colin de). French comp. and writer, B. Versailles, 
 Nov. 22, 1690. D. Paris, Feb. 14, 1760. Wrote numerous cantatas, ballets, 
 and other works, of which the following list is representative : — Les F6tes 
 Grecques et Romaines, 1723 ; Les Fetes de Thetis ; Diane et Endymion, 
 1731 ; Les Caracteres de I'Amour, 1738 ; Jupiter vainqueur des Titans, 1745 ; 
 Les Amours du Printemps ; Les Fetes du Labyrinthe, 1728 ; Zephire et Flore, 
 1739; U Pastor Fido. Also Motets, Songs, and an "Essai sur les goAts 
 anciens et modernes de la musique Frangaise," Paris, 1754- 
 
 BLANC (Adolph). French comp., B. Manosque, June 24, 1828. Writer of 
 chamber music, trios, quartets, quintets, etc. 
 
 BLANCHARD (Henry Louis). French comp. and writer, B. Bordeaux, 1778. 
 D. Paris, 1858. 
 
 BLANCKS (Edward). English comp., flourished during l6th cent. Comp. 
 tunes in Este's " Whole Booke of Psalmes." 
 
 BLAND (Maria Theresa), nie Romanzini. Italian vocalist, B. London, 1769. 
 
 First appeared at Royal Circus, London, 1773. Sang at Dublin Theatre. 
 
 Debut at Drury Lane Theatre, Oct. 24, 1786. Married Mr. Bland, brother to 
 
 Mrs. Jordan. Sang at Haymarket Theatre, 1791. Sang in London till 1824. 
 
 D. insane (?) 
 She was a magnificent ballad vocalist, and earned most of her success on the 
 operatic stage. 
 
 BLAND (John). English music-publisher, issued among other works "The 
 
 Ladies Collection of Catches, Glees, Canons, Canzonets, Madrigals, etc," 
 
 Lond., fol. 3 vols. [1720]; also the "Gentleman's Collection" about same 
 
 time. 
 
 He published a " Collection of Sonatas, Lessons, Overtures, etc., for Harpsichord 
 
 or Pianoforte," Lond., n.d. Continued by F. Linley in 5 vols. 
 
 BLANDFORD (George, Marquis of), Fourth Duke of Marlborough, B. Jan. 
 26 [1738]. D. Jan. 30, 1817. Musical amateur comp., was connected with 
 many of the musical enterprises of the end of last and the beginning of the 
 present century. He published "Twelve Glees for three and four Voices. " 
 Lond. [1798] ; and a Collection of Vocal Music. Also Sonatas, various, for 
 Pianoforte, opp. 1, 2, 3. 
 
 BLANGINI (Giuseppe Marco Marie Felice). Italian tenor vocalist, teacher, 
 
 and comp., B. Turin, Nov. 18, 1781. S. as chor. in Turin Cath., 1789. 
 
 Went to Paris, 1799. Resided at Munich from 1805. Chap. -master to 
 
 Princess Borghese at Munich, 1806. Music-director to King Jerome at Cassel, 
 
 1809. Music-director at Paris, to the Emperor, 1814. D. Paris, Dec. 18, 1841. 
 
 Works. — Operas : La Fausse Duegne, 1802 (work left unfinished by Dellamaria) ; 
 
 Z^lie et Terville, 1803 ; Chimere et Realite, 1803 ; Encore un tour de Calife, 1805 : 
 
 Nephtali, ou les Ammonites, 1806 ; Ines de Castro ; Les Fetes Lac^d^moniennes, 
 
 1810; Les Femmes vengees, 1811 : L'Amour Philosophe, 1811; Le Naufrage 
 
 comique, 1812; La Fee Urgele, 1812; La Princesse de Cachemire, 1812; Trajano 
 
 in Dacia, 1814; La Sourde-Muette, 1815; La Comtesse de Lamark, 1817; Le 
 
 Jeune Oncle, 1820; Marie Therise, 1820; Le Due d'Aquitaine, 1823; Le Projet 
 
 de Pi&ce, 1825 ; La Saint-Henri, 1825 ; L'Intendant, 1826 ; Le Coureur de 
 
 Veuves, 1827 ; Le Jeu de Cache-Cache, 1827 ; Le Morceau d'ensemble, 1825 ; 
 
 L'Anneau de la Fiancee, 1827 : Le Chanteur de Soci^te, 1830; La Marquise de 
 
 Brinvilliers, 1831 (with Cherubini, Carafa, etc.); Un Premier pas, 183 1 ; Les 
 
 Gondoliers, 1833 ; Le Vieux de la Montagne. Romances for solo voice and Pf. to 
 
 the number of upwards of 100. Nocturnes for 2 voices. Collections of Canzonets 
 
fetA — ELE 
 
 99 
 
 for voice and Pf. Motets and Masses for 4 voices and orch. Notturnos for 3 
 voices. Lond., n. d. 
 
 The great popularity of Blangini's Italian and French songs, or romances, was 
 chiefly due to their agreeable character. Their reputation, like that of his operas, 
 is fading. His life was published by Villemarest in 1834, under title of " Souvenirs 
 de F. Blangini maitre de chapelle du roi de Baviire, membre de la Legion d'honneur 
 et de rinstitut historique de France," 1797-1834. 
 
 BLASERNA (Pietro). Author of "The Theory of Sound in its Relation to 
 Music," Lond., 8vo, 1876. (International Scientific Series.) 
 
 BLASTS (Francesco Antonio de). Italian comp., B. Naples, 1765. D. 
 Florence, Aug. 22, 1851. Comp. operas, ballets, oratorios, masses, overtures, 
 and theoretical works. His son Carlo was a writer on music ; and his daugh- 
 ter, Virginia (B. Marseilles, 1804. D. Florence, May 11, 1838), a, soprano 
 vocalist of note. 
 
 BLASIUS (Matthieu Frederic). French violinist and comp., B. 1758, D. 
 1829. 
 
 BLASSMAN (Adolf Josef Maria). German comp. and pianist, B. Dresden, 
 Oct. 27, 1823. 
 
 BLAZE (Henri Sebastien). French comp., B. Cavaillon, 1763. D. May II, 
 
 Wrote duets for Harp and Pianoforte ; Sonatas for Pf. ; Songs ; and a Romance 
 entitled "Julien, ou le Pretre," Paris, 1805. 
 
 BLAZE (Francois Henri Joseph), or CastU-Blaze. French writer, son of 
 
 above, B. Cavaillon, Dec. 1784. S. for the Law. S. at Paris Cons., 1799. 
 
 Sous-prefet in Department of Vaucluse, 1820. Musical critic to Journal des 
 
 Debats, 1822-32. D. Paris, Dec. 11, 1857. 
 
 This writer, otherwise known as Castil-Blaze, contributed to the periodical 
 
 literature of his time many articles on 'musical subjects. He also wrote "De 
 
 I'Opera en France," Paris, 2 vols., 1820; " Dictionnaire de musique moderne," 
 
 Paris, 2 vols., 1821 ;" " Chapelle-musique des Rois de France," 1832; "Moliere 
 
 musicien notes sur les oeuvres de cet illustre maitre..." 2 vols., 1852; "Theatres 
 
 Lyriques de Paris," 2 vols., 1855 ; " L'opera Itajien de 1548 h. 1856," Paris, 1856. 
 
 His son, Henry Blaze, Baron de Bury, B. Avignon, 1813, wrote articles on 
 
 musicians in the " Revue des Deux Mondes " and elsewhere, reprinted as "Musi- 
 
 ciens Contemporains," Paris, 1856; "Meyerbeer, et son Temps," Paris, 1865, etc. 
 
 BLEW (William Charles Arlington). English writer and Barrister-at-Law, 
 B. London, 1848. Called to the Bar, 1876. Author of "Organs and 
 Organists in Parish Churches ; a Handbook of the Law relating to the Cus- 
 tody, Control, and Use of Organs, and the Duties, Rights, and Disabilities of 
 Organists .." Lond., 8vo, 1878. 
 
 BLEWITT (Jonas). English comp. and org., B. in first half of l8th century. 
 Held important organ appointments now untraceable. Performed publicly at 
 festivals, etc. D. 1805. 
 
 Works. — Treatise on the Organ, with explanatory voluntaries, op. 4, London, 
 n. d. ; Ten Voluntaries, or preces for the organ, in easy and familiar style, equally 
 adapted for the church or chamber with organ, proper directions for the use of 
 the stops, etc., op. S ; Twelve easy and familiar movements for the organ, op. 6. 
 
 Blewitt was one of the greatest organists of last century, and was famed for his 
 powerful and effective style. His work on the organ is now superseded, and his 
 compositions are antiquated, but both possess many good points. 
 
 BLEWITT (Jonathan or John). Son of above, English comp. and org., B. 
 London, 1782, S. under his father and Battishill. Deputy org. to his father, 
 1793- Org. at Haverhill, Suffolk ; do. at Brecon ; do. at Shefifield ; do. of 
 St. Andrew's Church, Dublin, 181 1. Comp. and cond. at Theatre Royal, 
 Dublin, 181 1. Grand Org. to the Magonic Soc. of Ireland. Returned to 
 
iOO BLI — Bid 
 
 London, 1826 Musical director at Sadler's Wells Theatre, 1828-29. Teacher 
 of vocal music and org. in London. D. London, Sept. 4, 1853. 
 Works. — Music to Plays, etc.: Harlequin, or the Man in the Moon, 1826 ; The 
 Talisman of the Elements ; Auld Robin Gray ; My Old Woman; The Corsair; The 
 Magician ; The Island of Saints ; Rory O'More ; Mischief Making, etc. Instru- 
 mental: Concerto for Pf. and orch. ; Sonatas and Duets for Pf. ; Caprices, fugues, 
 and sonatas for the organ. The Vocal Assistant, treatise on singing, Lond., n.d. 
 Songs : A nice little man ; Adieu my moustachios ; Barney Brallaghan ; England, 
 merry England ; Let us drink to old friends ; My hopes are fixed upon thee ; 
 Emerald Isle ; The White Cliffs of England ; Good bye ; Groves of Blarney ; 
 Hamlet ; I saw him but once ; New cries of London ; O for a cot ; Our jolly stout 
 jackets of blue ; Phillis, have you seen my love ? ; Pic-nic ; When crowned with 
 summer roses. 
 
 BLISS (Mrs. J. W.) See Lindsay (Miss). 
 
 BLITHEMAN (William). English comp. and org., flourished in latter half of 
 i6th century. Org. of the Chap. Royal. Mus. Bac. Cantab., 1586. Mus. 
 Doc. do. [15 ?]. D. 1590. 
 Blitheman was the preceptor of Dr. John Bull, and was succeeded by him at the 
 Chapel Royal in 1591. His biography is unknown, but it is believed that he com- 
 posed church music and had much celebrity in his time. 
 
 BLOCKLEY (John). English comp., writer, and publisher, B. 1800. Engaged 
 in music-publishing business in London. D. London, Dec. 24, 1882. 
 Works. — The Sabbath Minstrel [collection of sacred music], Lond., 8vo, n. d. j 
 The Singer's Companion, Lond., fo., n.d. Songs: My childhood's home; I 
 remember thy voice ; We have been friends together ; The absent one ; A blessing 
 on thine eyes ; The Arab's farewell to his favourite steed ; The friend of our early 
 days ; Love not ; Love on (reply) ; The Englishman ; and numerous otlier songs 
 written to words of the Hon. Mrs. Norton, etc. 
 
 BLODEE (Wilhelm). Bohemian flute-player and comp., B. Oct. 14, 1834. 
 
 BLOW (John). English comp. and org., B. North Collingham, Nottingham, 
 1648. One of Children of Chap. Roy., 1660. S. under Captain Cook, 
 Hingeston, and Christopher Gibbons. Org. of Westminster Abbey, 1669-80. 
 Gent, of Chap.-Roy., Mar., 1674. Master of the Children, do., July, 1674. 
 Org. of Chap.-Royal. Private Musician to King James II., 1685. Almoner 
 and master of the choristers of St. Paul's Cath., 1687. Re-appointed org. of 
 Westminster Abbey, 1695-1708. Married Elizabeth Braddock. Comp. to 
 Chap.-Royal, 1699. D. London, Oct. I, 1708. 
 Works. — Amphion Anglicus, a work of many compositions for' one, two, three, 
 and four voices, with several accompagnements of Instrumental Musick, and a 
 Thorow-Bass to each song, figur'd for an Organ, Harpsichord, or Theorboe-Lute, 
 Lond. fo. [1700]. Odes: A Second Musical Entertainment, performed on St. 
 Cecilia's Day, November 22, 1684, words by John Oldham, London, 1684 ; 
 Great Quire of Heaven, St. Cecilia's Day, 1691 ; Te Deum and Jubilate, composed 
 for St. Cecilia's Day, 1695; Triumphant Fame, St. Cecilia's Day, 1700; Arise, 
 Great Monarch, New Year's Day, 1681 ; New Year's Day Ode, 1683 ; Hail, 
 Monarch, do., 1686 ; Is it a Dream?, do., 1687 ; Ye Sons of Phcebus, do, 1688 ; 
 others in 1689 and 1693-94; Appear in all thy pomp, appear, do., 1700; Ode on 
 the Death of Mr. Henry Purcell, the words by Mr. Dryden, London, 1696; Three 
 Elegies upon the much lamented loss of our late most Gracious Queen Mary, — sett 
 to Musick by Dr. Blow and Mr. Henry Purcell, Lond., fol., 1695. Church Services 
 in A, G, and E minor, one in triple measure and 10 unedited. Anthems, number- 
 ing about 100, published in Boyce's Collection, Clifford's Collection, Page's Har- 
 monia Sacra, Novello's Series; others existing in MS. A choice Collection of 
 Lessons for the Harpsichord, Spinnet, etc., containing four Setts, as grounds, 
 almands, corants, sarabands, minuets, and jiggs, 1698. A Choice Collection of 
 Lessons, being excellently sett to the Harpsichord, etc., by Blow and Purcell, 1705' 
 Catches in the "Pleasant Musical Companion," published in various editions ; Do. 
 pub, in The Catch Club, or Merry Companions ; Songs in D'Urfey's collections, 
 and in others of the same period ; Organ music j various. 
 
BLO — BOC lol 
 
 Dr. Blow was one of those musicians of whom England has so many — dry, 
 severe, and scholastic, but often grand and dignified. His works are, on the 
 whole, more suggestive of learning than of fancy, though many of his songs and 
 some of his anthems are very fine, both as regards melody and construction. 
 
 BLOXSOME (Charles). English writer, author of " Elementary Practice for 
 the Vocal Student," Lond., 1857; "Elements of Singing, Chord and Scale 
 Exercises to Develop the Voice," Lond., n. d. 
 
 BLUM (Karl). German org., comp,, and poet, B. Berlin, 1788. D. Berlin, 
 July 2, 1844. 
 
 BLUMBNTHAL (Jacob). German comp. and pianist, B. Hamburg, Oct. 4, 
 1829. S. under Sechter, Grund, and Bocklet. S. at Paris Cons, from 1846 
 under Halevy. Settled in London, 1848, as pianist and piano teacher. 
 Presently residing there. 
 Works. — Trio for Pf., violin, and 'cello, op. 26. Pianoforte: Op. I. La 
 Source, caprice ; op. 2. Two Caprices ; op. 3. Three Melodies ; op. 4. Fete 
 Cosaque, caprice ; op. 5. Three Mazurkas ; op. 7. Fantasia ; op. 8. Les 
 deux Anges; op. 10. Two Nocturnes; op. II. Caprice; op. 14. Ballade; 
 op. 15. Reverie-Nocturne; op. 16. Fantasia; op. 17. Two Marches; op. 
 18. Fantasia ; op. 19. Nocturne-Impromptu ; op. 20. Three Mazurkas ; op. 21. 
 Three Pieces; op. 27. March ; op. 28. Third Nocturne; op. 30. Elegie; op. 31. 
 Tyrolienne ; op. 33. L'Exaltation ; op. 34. Chanson ; op. 36. Fantasia ; op. 37. 
 Souvenir ; op. 38. Nocturne ; op. 39. La Caressante ; op. 40. Barcarolle ; op. 41. 
 Rondo- Galop ; op. 42, 43, 44, 45, 46, 47, 48. Morceaux de Salon, various; 
 Le Parfum, op. 60; op. 66. Nocturne; op, 69. Adagio Sostenute ; op. 73' Chant 
 Religieux ; op. 8l. L'Appasionata ; Valses and Salon pieces innumerable. Six 
 Part-songs (Novello). Songs : The Message ; My Queen ; Bend of the River ; 
 Boatman's Song ; Clear and Cool ; Comrades, send the flagon round ; Gondoliera; 
 Good night ; Hebe ; Leoline ; Love the Pilgrim ; Sweet is true love ; Thinking of 
 thee ; The wedding day ; Yes ; The Requital ; Days that are no more ; Life ; My 
 Palace ; Her Name / Arise and follow me ! ; Chemin du Paradis. 
 
 BLUIOIEB (Martin). German comp., B. FUrstemberg, Nov. 21, 1827. 
 Writer of lieder, cantatas, Columbus, 1853, etc. ; oratorios, Abraham, i860; 
 Fall of Jerusalem, 18S1. 
 
 BOCCABADATI (Luigia). Italian soprano vocalist, B. Parma. DSbut in 
 
 1817. Appeared in London in Rossini's "Cenerentola," Feb., 1833. Married 
 
 to M. Gazzuoli. D. Turin, Oct., 1850. 
 
 "Her voice, like most flexible voices, is of a thin quality ; her intonation is 
 
 generally perfect, and her style is purely Italian ; rather meretricious in ornament 
 
 perhaps, but expressive. Her species, of voice is properly denominated, voce di 
 
 testa, and we observed, that some melodies were not only transposed, but disguised 
 
 by inversion. However, altogether it was a respectable performance, and her 
 
 reception was very flattering." — Athenaum, 1833, p. 124. 
 
 BOCCHEBINI (Luigi). Italian comp., B. Lucca, Jan. 14, 1740. S. music 
 at Rome. Travelled through Italy and France with Manfredi. Played at the 
 "Concerts Spirituels," Paris, 1768. Played in Spain by invitation without 
 success. Chamber musician to the King of Prussia, Frederich Wilhelm II., 
 '785-97. D. in impoverished circumstances, Madrid, May 28, 1805. 
 Works. — Op. i. Sei Sinfonie o sia quartetti per dui violoni, alto e 'cello, Paris; 
 op. 2-3. Two sets of six trios for 2 vns. and 'cello ; op. 4. Six symphonies (quartets) 
 for 2 vns., viola, and 'cello ; op. 5. Six duets for 2 vns. ; op. 6. Six sonatas for 
 harpsichord and violin, 1768; op. da. Six quartets for 2 vns., viola, and 'cello, 1769 ; 
 op. 7. Six conversazioni (or trios) for 2 vns. and 'cello ; op. 8. Concerto for 2 vns., 
 oboe, viola, 'cello, and D-bass ; op. 9. Six Terzetti for 2 vns. and 'cello ; op. 10. 
 Six quartets for strings, 1770; op. Ii. Six Divertissements for 2 vns., viola, and 
 bass ; op. 12. Six quintets for 2 vns., viola, and 2 'cellos, 1771 ; op. 13. Six quin- 
 tets for 2 vns., viola, and 2 cellos, 1771 ; op. 14. Six Terzetti for vn., viola, and 
 'cello, 1772; op. 15. Six Divertissements for 2 vns., flute oblig., viola, 2 'cellos and 
 bass, 1773 ; op. 16. Six symphonies for various instruments, 1771 ; op. 17. (?) Six 
 
loa Boc — Boc 
 
 quintets for 2 vns., viola, and 2 'cellos, 1774; op. 20. Six quintets for strings ; op. 
 21. Six quintets for flute, 2 vns., viola, and 'cello ; op. 22. Six symphonies for 2 
 vns., viola, and bass, (iboe, flute, and horn, 1775 ; op. 23. Six quintets for 2 vns., 
 viola, and 2 'cellos, 1775 ; op. 24. Six sestets concertanti for 2 vns., 2 violas, and 
 2 'cellos, 1776; op. 25. Six quintets for flute, 2 vns., viola, and 'cello, 1774; op. 
 26. Six quartets for strings, 1775 ; op. 27, Six do., 1777 ; op. 27a. Concerto for 
 flute; op. 28. Six trios for 2 vns. and 'cello; op. 29, 30, 31. (?) op. 32. Six quar- 
 tets for strings, 1778; op. 33. Six do., 1780; op. 34. Concerto for 'cello ; op. 35. 
 Six trios for 2 vns. and 'cello, 1781 ; op. 36; Three quintets for 2 vns., alto, and 
 2 'cellos, 1788 ; op. 37. Six duets for 2 vns. ; op. 370. Twenty-four quintets for 2 
 vns., alto, and 2 'cellos ; op. 38. Six trios for violin, alto, and 'cello, 1793 ; op. 39. 
 Twelve quartets for strings; op. 40. Six quartets (short) for strings, 1796; op. 41. 
 Symphony for eight instruments, 1797 ; op. 42. Sextet for 2 vns., viola, horn, and 
 2 'cellos ; Do., for violin, viola, oboe, or ilute, bassoon, horn, and bass, 1 797 ; op. 
 43. Overtuie for full orch., 1790 ; op. 44. Six trios for 2 vns. and 'cello, 1796 ; op. 
 45. Six quintets for flute or oboe, 2 vns., viola, and 'cello, 1797 ; op. 46. Six duets 
 for 2 vns. ; op. 46a. Six quintets for Pf., 2 vns., alto, and 'cello, 1797; op. 47. 
 Twelve quintets for strings ; op. 48. Six do. ; op. 49. Six do. ; op. 50. Six string 
 quartets, 1788; op. 51. Six do., 1779; op. 52 to 57 (?) op. 58. Six quartets for 
 strings, 1799. Unnumbered works consisting of Sonatas, Trios, Symphonies, 
 Quintets, Quartets, Concertos for Violoncello, a Stabat Mater, etc. 
 
 The numerous delicious bits of melody and harmony which this composer has 
 given the world, to say nothing of his invention of the string quartet, should secure 
 for him the favour of posterity. The amount of Boccherini's compositions though 
 great, is not such as had a damaging influence on his originality of idea or flow of 
 melody. The reproach of vulgarity as common-placeness is also inapplicable to his 
 works. There is a brightness of style and a simplicity of structure about his music 
 which is extremely refreshing. The absence of laboured phrases and construction 
 is also very pleasing. Boccherini was a noted violoncellist, and played music of his 
 own composition, 
 
 BOCHSA (Robert Nicolas Charles). French harp-player and comp., B. 
 Montmedi, 1789. Appeared as pianist at an early age. Resided at Bordeaux 
 till 1806. S. at Paris Cons, under Catel and Mehul, 1806. S. harp under 
 Marin and Nadermann. Harpist to the Emperor Napoleon I., 1813. Harpist 
 to Louis XVin. Do. to the Due de Berri. Discovered in connection with 
 some forgeries, 1817. Came to England (London), 1817. Cond. the Lenten 
 Oratorios with Sir George Smart, 1822-23. Prof- of Harp at R. A. M.. 
 Secretary do. Dismissed from the R.A.M. on his character becoming known, 
 1827. Cond. at King's Theatre, London, 1826-32. Travelled with Madam 
 Anna Bishop in America, Europe, and Australia. D. Sydney, Australia, Jan. 
 7, 1856. 
 
 Works.— Oratorio : Le Deluge Universel. Operas: Les H^ritiers de Paimpol, 
 1813 ; Alphonse d'Aragon, 1814 ; Les Heritiers Michau, 1814 ; Les Noces de 
 Gamacle, 1815; Le Roi et la Ligue, 1815; La Lettre de change, 1815; La 
 Bataille de Denain, 1816; Un Mari pour etrenne, i8i5. Method for the Harp. 
 Ballets : Beniowsky ; or, the Exiles of Kamschatka ; Le Corsaire, etc. Fan- 
 tasias, Studies, Variations, Concertos and Arrangements for Harp. Bohemian 
 Melodies, harmonised, Lond., n. d. Songs, etc. 
 
 Bochsa was the leading harpist of his time, and was one of the most influential 
 teachers of that instrument. His compositions for the harp still survive, but his 
 memory is best kept green through his pupils or their descendents. Parish-Alvars 
 and J. B. Chatterton were his best-known English pupils. Of his private character 
 nothing need be said. His harp compositions are brilliant in style, and afford 
 ample scope for performers. 
 
 BOCKMUHL (Robert Emil). German violoncellist and comp., B. Frankfort- 
 on-the-Maine, 1820. Is still living as a 'cellist and teacher. 
 Works. — Didactic work on the Violoncello. Fantasias, Divertissements, 
 Caprices, Concertos, Sonatas, etc. for the violoncello, with accompaniments for 
 piano or orchestra, 
 
 These works .possess some value for those who are studying the instrument. 
 
BOC — BOH 103 
 
 BOCQUILLON-WILHEM, See Wilhem. 
 
 BODDA. See Pyne (Louisa). 
 
 BODENSCHATZ (Erhard). German comp. and collector, B. Lichtenberg 
 [1570]. D. Querfurt, 1638. Famed for his collections of ancient sacred 
 music, especially "Florilegium Portense, Pars prima continens cxv. cantiones 
 selectissimas, 4, 5, 6, 7, 8 vocum," Lipzig, 1603. Second part, 1606. 
 "Psalterium Davidis," Leipzig, 1605. " Harmonia Angelica, " 1608, etc. 
 
 BOEHM (Caxl Leopold.) Austrian comp. and violoncellist, B. Vienna, Nov. 4, 
 1806. Writer of concertos, etc. 
 
 BOEHM (Joseph). Bohemian violinist, B. Pesth, 1798. S. under Rode. DSbut 
 at Vienna, 1815. Prof, at Vienna Cons., 1819-48. Mem. of Imperial band, 
 Vienna, 1821. Retired in 1868. D. Vienna, Mar., 1876. 
 
 Works. — op. 1. Polonaise for violin, with quartet accomp. ; op. 2. and 3. Vari- 
 ations for violin ; op. 4. Two polonaises for violin and quartet accomp ; Five 
 variations for violin and orch., op. 8 ; Four variations (Rossini) for vn. and orch., 
 op. 9 ; Concertino for vn. and orch., op. 10. Quartets for strings, etc. 
 
 This professor has the honour of having taught more musicians who have attained 
 eminence as violinists than perhaps any other master. Ernst, Joachim, Singer, 
 Helmesberger, and L. Strauss are among the more noted. Personally he was an 
 able performer and composed some serviceable music for his instrument. 
 
 BOEHM (Theobald). German flute-player and inventor, B. Munich, Bavaria, 
 1802. Chap. -master at Munich. Perfected his system of fingering for flutes, 
 oboes, clarionets, etc., 1831. Received Prize medal at Exhibition of 1851, 
 London. D. Dec, 1881. 
 Works. — Fantasias for the Flute, opp. 8, 21, 23, 24, etc. Variations. Polon- 
 aises. Rondos. Studies. "Ueber den Fliitenbau und die neuesten Verbesser- 
 ungen desselben," Mayence, 1847, etc. 
 
 Boehm patented the well-known system of fingering for keyed instruments, which 
 is named after him. See History of the Boehm Flute, by Christopher Welch, 
 M.A., Lond., 1883. It makes easy the performance of difficult solos, but as 
 mechanism, adds much to the weight and detracts from the tone of the instrument. 
 Recent improvements have modified its defects and perfected its capabilities as a 
 solo-performing instrument. The invention has been adopted by many makers. 
 His work on the flute has been translated as "An Essay on the Construction of 
 Flutes, giving a History and Description of the most recent Improvements, with an 
 Explanation of the Principles of Acoustics, applicable to the Manufacture of Wind 
 Instruments," by W. S. Broadwood, Lond., 1882. 
 
 BOEHNEK (Johann Ludwig). German comp. and pianist, B. Toesselstadt, 
 Gotha, Jan. 8, 1787. A good teacher and capable performer. D. i860. 
 Works. — Pianoforte, etc. : Variations, op. 3. Quartet for Pf., vn., alto, and 
 'cello ; Variations, op. 6. Concertos: Pf. and orch., in E flat, op. 7 ; in D, op. 8 j 
 in C, op. II. Serenade for orch. in F, op. 9. Concertos for Pf., op. 13 and 14. 
 Sonata, op. IJ. Fantasias, op. 19 and 20. Fantasia for clarinet and orch. in C, 
 op. 21. Fantasia, Pf., op. 22. Variations for horn and string accomp., op. 24. 
 Fantasia, Pf. duet, op. 60. Overture: Der Dreiherrenstein, for orch. Twelve 
 quartets for stringed instruments. Motets. Songs, and other vocal music. 
 
 BOELY Alexandre Pierre Francois). French org., pianist, and comp., B. 
 Versailles, April 19, 1785. D. Paris, Dec. 27, 1858. Comp. much Pf. and 
 org. music, duets, trios, etc. 
 
 BOERS (J. 0.) Dutch violinist and comp,, B. Nimeguen, 1812. Writer of 
 symphonies, psalms, songs, Pf. music, etc. 
 
 BOHBEB (Maximilian). German comp. and violoncellist, B. Munich, 1785. 
 S. 'cello under A. Schwartz. 'Cellist in Court band at Munich. S. under 
 Romberg. Resided in Paris till 1830. Principal 'cellist at Court of Stuttgart. 
 Travelled in Russia and America, 1838-43. Travelled in Holland, Belgium, 
 and England, 1847. Composed music for the violoncello, etc. D. 1867. 
 
104 BO I — BO I 
 
 Other members of this family were talented musicians, but notably Anton 
 BoHRER (1783-1852), who composed much good music for the violin. His works 
 extend over 100 op. numbers, and include concertos, etc. Caspar Bohrer, father 
 of the foregoing (B. Mannheim, 1744. D. Munich, 1809,) was a famous trumpet- 
 player. Anton's daughter Sophie (1828-1849) was a pianist of some ability. 
 
 BOIELDIEU (Francois Adrien), French comp., B. Rouen, Dec. 16, 1775. 
 
 Chorister in Rouen Cath. S. under Broche, the org. there, till 1791. Went 
 
 to Paris, 1794. Prof, of Pf. at Paris Cons., 1800. Married to Mdlle. 
 
 Mafleuroy, 1802. Was unhappy in this union. Went to S. Petersburg to 
 
 avoid his wife, 1802. Appointed Chap. -master to Emperor of Russia, 1802. 
 
 Returned to Paris, 181I. Accompanist to the King's Band, 1815. Married 
 
 to Mdlle Philis, his first wife having died, i8i6. Member of the Institut, 1817. 
 
 Prof, of Comp. at Paris Cons., rSiy. Mem. of Legion of Honour, 1821. D. 
 
 Grosbois near Bordeaux, Oct. 8, 1834. 
 
 Wos!ks.— 0/eraj.- La Fille coupable, Rouen, 1793; Rosalie et Myrza, 1795 ; 
 
 La Famille Suisse, Paris, 1797; I'Heureuse Nouvelle, 1797; Le Pari, 1797; 
 
 Zoraime et Zulnare, 1798 ; La Dot de Suzette, 1798 ; Les Meprises Espagnoles, 
 
 1799; Emma, ou la Prisonni^re (with Cherubini), 1799; Beniowski (by Duval), 
 
 1800; Le Calife de Bagdad (by St. Just Dancourt), Paris, Sept. 16, 1800 ; Ma 
 
 Xante Aurore, Jan. 13, 1803 ; Le Baiser et la Quittance (with Mehul. Kreutzer, and ' 
 
 Nicolo), 1803 ; Aline, reine de Golconde, St. Petersburg, 1804 ; Amour et Myst^re ; 
 
 Abderkhan ; Un Tour de Soubrettte ; La Jeune Femme colere, 1805 (Paris, 1812); 
 
 Tel^maque, 1806; Les Voitures versees (by Dupaty), 1808; La Dame invisible, 
 
 180S ; Rien de trop, 1810 ; Jean de Paris, Paris, April 4, 1812 (in English by 
 
 Bishop, London, 1814); Le Nouveau Seigneur de Village, 1813 ; Bayard k 
 
 M^zi^res (with Cherubini, Catel, and Nicolo), 1814; Les B&rnais (with Kreutzer), 
 
 1814 ; Angela (with S Gail), 1814 ; Fa F6te du Village voisin, 1816 ; Charles de 
 
 France, ou Amour et Gloire (with Herold), 1816 ; Le Petit Chaperon rouge, 1818 ; 
 
 Blanche de Provence (with Berton, etc.), 1821 ; Les Trois Genres (with Auber) 
 
 1824 ; Pharamond (with Berton and Kreutzer), 1825 ; La Dame blanche (from Sir 
 
 W. Scott's "Monastery" and "Guy Mannering"), Op^ra Comique, Dec. 10, 
 
 1825, London, Covent Garden, Jan. 2, 1827 ; Les Deux Nuits (by Bouilly and 
 
 Scribe), 1829; La Marquise de Brinvilliers (with Auber, etc.), 1831. Instrumental 
 
 music, church music, etc. 
 
 Boieldieu wxs the founder of modern French opera, and himself an excellent 
 composer of co;nic operas. His music is beautiful, fresh, and rarely trivial, and he 
 seems to have heen in possession of a great command over the more cheerful capa- 
 bilities of instrumental expression. The adaptability of his music to the comic 
 situations constantly occurring in his works is so obvious and apt as to do away with 
 the feeling of incongruity which arises when consideration is given to the stupidity 
 of a libretto and the beauty of its music. The genial character of the music to 
 "Jean de Paris " is typical of most of his works. Boieldieu's instrumentation is 
 always effective, though scored for a smaller orchestra than is now considered 
 necessary ; and some of his overtures are occasionally heard in concert rooms ; 
 while those to "La Dame Blanche " and " Le Calife de Bagdad " are in constant 
 use in small orchestras all over the world. The pieces by which he is best known 
 in France and elsewhere are those named " Le Calife de Bagdad," "Jean de 
 Paris,'' and " La Dame Blanche," which latter is especially deserving of praise, as 
 much for the agreeable melodies interspersed throughout course, as for the never- 
 flagging spirit and freshness of its general treatment. "Jean de Paris " was adapted 
 to the Enghsh stage by Bishop, and with other operas of Boieldieu was very suc- 
 cessful. "The Calife de Bagdad" overture alone survives, but not a few of 
 Boieldieu's minor pieces are constantly in use on the Continent. The best works on 
 Boieldieu are the following :— " Boieldieu sa vie, ses'oeuvres, son caractere, sa cor- 
 respondance,'' by A. Pougin, Paris, 1875. 
 
 His son, Adrien L. V., B. Paris, November 3, 1816. S. under his father, and 
 obtained consi.ierable success as a composer. D. Combs-la-Ville, near Paris, 
 July, 1883 Among his operas may be named Marguerite, 1838 ; L'Ai'eule, 1841 ; 
 Le Bouquet de I'Infante, 1847 ; La Butte des Moulins, 1852 ; La Fille Invisible, 
 1854 ; La Halte du Roi, 1875. He also comp. masses, cantatas, etc. 
 
 BOISMORTIEB (Joseph Bodin de). fFrench comp., B. Perpignan, 1691. D. 
 
BOI — BON 105 
 
 Paris, 17&5. Writer of operas, cantatas, motets, sonatas, concertos, serenades, 
 string music, etc. 
 
 BOISSELOT (Xavier). French comp. and Pf. manufacturer, B. Montpel'lier, 
 Dec. 3, 181 1. Writer of cantatas, operas, Pf. music, etc. 
 
 BOITO (ArrigO). Italian comp, and poet, B. [Milan, February 24], Padua, 
 1842. S. at Milan Cons, from Sept., 1853 Visited London, 1880. 
 
 Works. — Mefistofele, opera, Milan, Sep., 1868 ; Bologna, Oct. 4, 187S ; London, 
 July 6, 1880. Ero, e Leandro, opera (MS.) Le Sorelle d' Italia, Allegory, libretto 
 only. Poetical works, various. Marcello — one of the " Great Musicians " Series, 
 edited by Hueffer. 
 
 The work by which Boito has suddenly become known to the musical world is 
 "Mefistofele," an opera which owes much of its success to the music and legend so 
 skilfully blended. Boito has endeavoured to transfuse his opera with an interest 
 wholly apart from the conventional musical and dramatic elements. How far he is 
 justified in making use of an additional motive cannot be now entered into, but it 
 may be pointed out that Wagner has in a different fashion furnished a precedent. 
 The psychological opera is a novelty in many respects, but it does not follow that 
 the idea of embodying the principles of good and evil in the action of a theatrical 
 entertainment is by any means new. We find in the mediaeval miracle plays and 
 mysteries, characters which are intended to typify not only the primary elements of 
 good and evil, but their numerous sub-divisions. In them evil, or the devil, assumed 
 a tangible shape ; appearing as a tailed and horned monster. The Mefistofele of 
 Bbito's opera, as in Gounod's, is also a tangible devil, representing evil, but shorn 
 of certain appendages which formerly carried terror into the hearts of old world 
 audiences. 
 
 BOLCK (Oskaf). German comp. and pianist, B. Hohenstein, Mar. 4, 1839. 
 Presently a conductor and teacher in Germany. 
 Works. — Pierre Robin, opera, Altenburg, 1874 ; Der Schmied von Gretna 
 Green, opera, Leipzig, 1882, Paris, 1884 ; Six Lieder for voice and Pf., 
 op. 5 ; Madchens Gestandnisse, for voice and Pf., op. 7 ; Sechs Charakterbilder in 
 2 books, for Pf., op. 46 ; Herbstklange, Five songs for barytone or contralto 
 voice and Pf , op. 51. Two anthems published by Messrs. Novello & Co. 
 
 BOMBET. See Beyle (Henri). 
 
 BOMTEMPO (JoaS DomingOS). Portuguese comp. and pianist, B. Lisbon, 
 1775. Settled in Paris, 1795. Visited London. Director of Lisbon Cons. 
 Knight of the Order of Christ, Portugal. Director of Court Band, etc. D. 
 Lisbon, Aug., 1842. He comp. Operas, Church Music, Pf. Music, etc., and 
 wrote a Method for the Pf. 
 
 BONA (Valerio). Italian ecclesiastic and comp., flourished at end of i6th cent. 
 Wrote a work on counterpoint (1595), masses, motets, madrigals, etc. 
 
 BONAWITZ (Johann Heinricll). German comp., B. Durkheim-on-the 
 Rhine, Dec. 4, 1839. S. at Li^ge Cons. Resided for a time in the United 
 States. Teacher and comp in London. Comp. The Bride of Messina, opera, 
 Philadelphia, 1874. Ostrolenka, opera, 1875. 1""^, Lond., 1885. Requiem 
 Mass, Lond. , 1 88 1 . Concertos, sonatas, etc. , for Pf. Songs and other vocal music. 
 As a pianist Heir Bonawitz has given " Beethoven Recitals " and " Historical 
 
 Concerts" in Germany, Austria, France, etc., and has been on concert tours with 
 
 Dr. J. Joachim in Germany, Italy, Russia, etc., in 1880-82. 
 
 BONAZZO (Giuseppe). Italian double-bass player and comp, B. 1824. D. 
 Trieste, 1880. 
 
 BOND (OapeD- English comp. and org., lived in Coventry during middle of last 
 century. The dates of his birth and death are unknown. He was org. and 
 cond. of the first Birmingham Musical Festival, 1768. 
 Works.— Six Anthems in Score, one of which is for Christmas Day, 1769. Six 
 
 Concertos for 4 violins, tenor, and 'cello, with thorough bass, 1766. Glees and 
 
 Songs . 
 
Io6 BON — BOR 
 
 BOND (Hugh). English org. and comp., B. Exeter, beginning of l8th century. 
 Lay-vicar Exeter Cath., 1762. Org. of Ch. of S. Mary Arches. D. 1792. 
 
 Works. — Twelve Hymns and four Anthems, for four voices, Lond., n. d. 
 Glees and Songs. 
 
 BONFICHI (Paolo). Italian comp., B. Livraga, Lodi, Oct. 16, 1769. D. 
 Dec, 1840. Wrote oratorios, etc. 
 
 BONMABCHE (Jean). Belgian comp. of church music, B. Ypres, 1520. D. (?) 
 
 BONNYBOOTS. An English singer and dancer of much fame in the reign of 
 Queen Elizabeth bore this nickname. 
 Noticed in Hawkins' " History of Music." 
 
 BONOLDI (Claudio). Italian tenor vocalist and comp., B. Piacenza, 1783. 
 D. 1846. Comp. Pf. music and songs. 
 
 BOOM (Johann Van). Dutch comp., B. Utrecht, Oct 15, 1807. D. Stock- 
 holm, 1872. Wrote music for the Pianoforte, on which he was a performer. 
 His father and brother were composers. 
 
 BOOSBY & CO. English music publishers, established about 1819 by Thomas 
 Boosey. Published originally valuable copyright works by Hummel, Romberg, 
 De Beriot, Rossini, and a number of popular Italian operas. In 1854 they 
 were deprived of the exclusive right of publishing Italian operas by a decision 
 of the House of Lords. 
 They publish a large amount of vocal music, and their publications include songs 
 by Abt, G. B. Allen, Balfe, Benedict, Blumenthal, Claribel, F. Clay, F. H. Cowen, 
 Miss Dolby, Virginia Gabriel (March), A. S. Gatty, Hatton, G. Linley, J. L. 
 Molloy, Pinsuti, Richards, Sullivan, and J. Thomas. The instrumental publi- 
 cations include compositions by Beethoven, Benedict, Cowen, Favarger, GoUmick, 
 Kuhe, Mozart, Oury, Richards, Rubinstein, Thalberg, Schumann, etc. Among 
 their Series of publications may be also mentioned the " Royal Edition of Operas," 
 edited by Messrs. Sullivan and Pittman ; the "Musical Cabinet," comprising 
 Operas arranged for Pf. solo, Albums of Vocal Music, etc. ; their Royal Edition of 
 Song Books and Operatic Albums ; " The Cavendish Music Books;" Collections 
 of Standard Songs and Pf. Music, etc. In addition to the works already 
 mentioned they publish the large choral works of Bach, Handel, Mendelssohn, 
 Beethoven, Sullivan, Webbe, Cowen, Boyce, etc. "The Choralist" is the collec- 
 tive title of a large body of concerted vocal music issued in good style in penny 
 numbers. They also issue a great number of popular tutors for various instruments, 
 and publish some standard theoretical works. Their ' ' Military Journal, " established 
 in 184s, '5 ^° important annual collection of band music. In addition to their 
 publications, Messrs. Boosey manufacture an improved class of military band 
 instruments. 
 
 BOOTH (Karl Edmund Otto von). German comp., violonist, org., and 
 
 pianist, B. Schloss Weinheim, Weinheim, Baden, March 13, 1842. S. music 
 
 at Carlsruhe Cons. S. violin under Concert-meister Will, a pupil of Spohr. 
 
 Debut as violinist in Town Hall, Birmingham, 1853. Settled permanently in 
 
 London, 1856. S. composition under B. Molique ; organ under Dr. Steggall. 
 
 Org. at St. Matthew's, Eayswater, l868-7S. 
 
 Works.— Symphony in C minor (MS.) ; Operetta, Prizes and Blanks (MS.) ; 
 
 A Cantata (MS) ; Overture, Godiva, for orch. (MS.) ; Marchia Fun^bre, for orch. 
 
 (MS. ) A Te Deum in D ; Anthems and Church Services. Sonata Quasi Fantasia, 
 
 for organ ; Offertoires for org. ; Quartets and Quintets for stringed instruments 
 
 (MS.) ; Victoria March for orch. ; Sonata in A minor for violin and Pf. ; Do. in 
 
 D for violin and Pf. ; Romance in F for vn. and Pf. ; Morceaux Faciles : 'Ten Easy 
 
 pieces for violin and Pf. ; Wanderlieder — sketches for Pf. ; Gavotte and Bourse for 
 
 Pf. Songs: Fancies; The Star Angel; Break, break, break; Autumn Leaflets; 
 
 The Broken Tryst ; Greeting ; Pretty little Warbler, stay ; The Fisher ; Beautiful 
 
 May, four-part song, etc. 
 
 BOBDE. See Laborde, 
 
B R — EOT 
 
 107 
 
 BOBDESE (Luigi). Italian comp., B. Naples, 1815. S. at Naples Cons. 
 Went to Paris, 1834. Resided there from 1834. 
 He has composed a number of light operas, such as Zelimo e Zoraide, 1834 ; La 
 Mantille, 1837; L'Automate de Vaucanson, 1840; Jeanne de Naples, 1840; Les 
 Deux Bambins, 1848, which have achieved temporary popularity. 
 
 BOBDOGNI (Marco). Italian comp. and vocal teacher, B. Bergamo, 1788. 
 S. under Simon Mayr. Dibut in opera at Milan, 1813. Appeared in Paris, 
 1819. Prof, of Singing in Paris Cons., 1820. Chevalier of Legion of Honour. 
 D. Paris, July, 31, 1856. 
 
 Bordogni trained a large number of vocalists who have attained to eminence in 
 the profession, and wrote a great quantity of vocal exercises, solfeggi, and other 
 works of great use to teachers of vocalisation. 
 
 BOBDONI. See Hasse (Faustina B.) 
 
 BOBGHI (Luigi). Italian violinist and comp., B. ( ? ) S. under Pugnani. 
 
 Teacher in London about 1780. Violinist at Handel Commemoration, 1784. 
 
 D. (?) 
 Works. — Op. i. Six Sonatas for the violin; op. 2. Three concertos for the 
 violin ; op. 3. Six solos for the violin ; op. 4. Six duets for 2 violins ; op. 5. Six 
 duets for 2 vns. ; op. 6. Six duets for violin and viola ; op. 7. Six duets for violin 
 and 'cello. .Symphonies for full orch. Italian canzonets, songs, etc. 
 
 BOBNACCINI (Giuseppe). Italian comp., B. Ancona, 1805. Writer of 
 cantatas, masses, motets, operas, etc. 
 
 BOBBEMANS (Joseph). Belgiancomp.,B. Brussels, Nov. 25, 1775. D.Dec. 
 15, 1858. Writer of operas, masses, etc. 
 
 BOBTNIANSKY (Dmitri Stepanovitcll). Russian comp. and writer, B. 
 Gloukoif, Ukraine, 1751. S. at Moscow and St. Petersburg under Galuppi. 
 Do. at Rome, Naples, and Bologna. Director of Empress's Choir, 1779. D. 
 Sept. 28 (Oct. 9), 1825. 
 
 Works. — Psalms, masses, operas, etc. 
 
 BOSANQUET (B. H, M.) Contemporary English writer, and Fellow of S. 
 John's College, Oxford, has written a work entitled "An Elementary Treatise 
 on Musical Intervals and Temperament," Lond., 8vo, 1876. 
 
 BOSCHI (Giuseppe). Italian bass vocalist, B. at end of 1 8th century. Appeared 
 in London, 17 11 and 1720. Sang in London at Italian opera till 1728, when 
 he disappeared. He sang principally in operas by Handel, and was con- 
 sidered one of the greatest bass vocalists of his period. 
 
 BOSIO (Angiolina). Italian vocalist, B. Turin, Aug. 22, 1830. S. at Milan 
 Cons. Debut, July, 1846, in I DueFoscari," at Milan. Sang in Italy, Spain, 
 Paris, and America with much success. Married to a Greek gentleman, 1851. 
 Appeared in London, July, 1852, in "L'Elisir d' Amour." Reappeared again 
 at different periods. D. St. Petersburg, April 12, 1859. 
 
 BOSSENLIENGEB (Heinricll Jacob), German comp., B. Cassel, Oct. 27, 
 1838. Writer of operettas, lieder, etc. 
 
 BOTTESINI (Giovanni). Italian double-bass player and comp., B. Crema, 
 Lombardy, Dec. 24, 1823. S. at Milan Cons. Cond. of orchestra at the 
 Havannah theatre, 1846. Travelled in Britain and Europe as contra-bassist. 
 Leader of orchestra at Italian opera, Paris, 1856. Travelled in Germany, 
 Holland, Belgium, France, and England, 1857-58. Returned to Italy, 1859. 
 Teacher and composer there. 
 Works. — Operas: Christope Colomb, Havannah, 1846; L'Assedio di Firenze, 
 
 1856 ; Santa Radegonda ; II Diavolo della notte, 1859 ; Marion De Lorme, 1862 ; 
 
 Vinciguerra, 1870; Ero e Leandro, 1879; La Regina del Nepal, 1880. Methode 
 
 Complete de Contre-basse, Paris, n. d. ; English translation, Lond., n. d. Songs, 
 
 chamber music, etc. 
 To a powerful and fine tone Bottesini adds great powers of execution and delicacy 
 
 of phraseology. His rendering of many difficult pieces of violin music is superior 
 
I08 EOT — BOW 
 
 to that of a number of violinists, while it cannot be doubted that in chamber music 
 he is unsurpassed. His school for the double bass is the best ever penned. His 
 other compositions are unknown in Britain, but they are highly spoken of in 
 authoritative biographical works. 
 
 BOTTOMLEY (Joseph). English comp., org., and pianist, B. Halifax, York- 
 shire, 1786. S. under Grimshaw, Watts, Yaniewicz, Lawton, and Woelfl. 
 Org. of Parish Ch. of Bradford, 1807. Org. of Parish Ch,, Sheffield, 1820. 
 D. [?] 
 Works. — A Dictionary of Music, London, 1816. New System of Practising 
 
 and Teaching the Pianoforte..., SheflSeldj 4to, n. d. Six Exercises for the Pf. 
 
 Rondos and airs tor Pf. Divertissements for Pf. and Flute. Twelve Sonatinas for 
 
 Pf. Songs, Glees, etc. 
 
 BOUCHER (Alexandre Jean), French violinist and comp., B. Paris, April 
 II, 1770. D. Paris, Dec. 29, 1861. 
 This performer travelled extensively in Spain. France, Germany, and Italy, and 
 was everywhere received with much enthusiasm consequent on his extraordinary 
 powers as a mechanical violinist. He composed concertos and sonatas for his 
 instrument. 
 
 BOTJFFET (Jean Baptiste). French comp. and Professor of Singing, B. 
 Amiens, Oct. 3, 1770. D. Paris, Jan. 19, 1835. Wrote operas, church 
 
 music, songs, etc. 
 
 BODLANGER (Ernest Henri Alexandre). French comp., B. Paris, Sept. 
 
 16, 1815. S. at the Cons, under Alkan and Halevy, 1830. Gained first prize 
 
 for comp., with ■' Achille," a cantata. Prof, of Singing at Paris Cons., 1871. 
 
 Mem. Legion of Honour, 1869. 
 
 Works. — Operas: Le Diable a 1' &ole, 1842 ; Les Deux Bergires, 1843; Una 
 
 Voix, 1845; La Cachette, 1847; Les Sabots de la Marquise, 1854; L' E'ventail, 
 
 i860 ; Le Docteur Magnus, 1864 ; Don Quichotte, 1869 ; Don Mucarade, 1875. 
 
 Cantatas, Pf Music, etc. 
 
 BOURGAULT DXJOOURDRAY (Louis Albert). French comp., B. Nantes, 
 
 Feb. 2, 1840. S. at Paris Cons. Gained "Grand Prix de Rome," with 
 
 "Louise de Mezi^res," cantata, 1S65. S. at Rome till l858. Returned to 
 
 Paris, 1868. Founded an Amateur Choral Soc. in Paris for performance of 
 
 works by great masters. Lectured on Musical history, etc. 
 
 Works. — Louise de Mezieres, cantata, 1865; Stabat Mater, for chorus, org., 
 
 and orch., 1868; Dieu notre divin p^ie, sacred cantata ; Fantasia in C. minor for 
 
 orchestra, 1874 > Gavotte and Minuet for Pf. ; Cantata, written in honour of Sainte 
 
 Franijoise d' Amboise, duchesse de Bretagne, 1876. Souvenir d' une mission 
 
 musicale en Gr^ce et en Orient, 1876. Trente melodies populaires de Gr^ce et d' 
 
 Orient. Conference sur la modalite dans la Musique Grecque, Paris, 1879. 
 
 This composer is an eminent antiquary, and his collection of Greek and Eastern 
 melodies is valuable, as also are his remarks thereon. A number of his composi- 
 tions have been given in London, while in Germany and France he is generally 
 well known. His compositions are spoken of in terms of much approval by both 
 British and Foreign writers. 
 
 BOURGES (Jean Maurice). French operatic comp. and writer, B. Bordeaux, 
 Dec. 2, 1812. D. Paris, April, 1881. Comp. "Sultana," an opera, 1846, etc. 
 
 BOURNE (C. E.) English writer, author of " The Great Composers ; or, Stories 
 of the Lives of Eminent Musicians," London, 8vo, 1884. 
 
 BOUSQUET (Georges). French comp., B. Perpignan Mar. 12, 1818. 
 
 Works.— O/^^aj; L' H6tessede Lyon, 1844; Le Mousquetaire, 1844; Tabarin, 
 1852. Critical writings, etc. 
 
 BOWIE (John). Scottish musician of Perth, published about the end of last 
 century "A Collection of Strathspey Reels and Country Dances, with a Bass, 
 etc. Dedicated to the Countess of Kinnoul," Edin., n. d, 
 
BoW — BoV tog 
 
 BOWLEY (Robert K.) English musician, B. London, May, 1813. D. August, 
 1870. Author of "Grand Handel Musical Festival at the Crystal Palace in 
 1857, a Letter," Lond., 1856. "The Sacred Harmonic Society, a Thirtyfive 
 Years Retrospect," Lond., 1867. This musician was connected with the Sacred 
 Harmonic Society, and he assisted in establishing the GreaP Handel Celebra- 
 tions at the Crystal Palace, London. 
 
 BOWMAN (Edward M.) American comp. and org., B. Barnard Vt., July 18th, 
 
 1848. Org. of Second Baptist Chureh, St. Louis, Mo. Associate of the 
 
 London Royal College of Organists. S. at Berlin under A. Haupt and E. 
 
 Rohde for organ, Franz Bendel for piano, and C. F. Weitznian in theory, 
 
 composition, etc. Also spent a portion of the years abroad in study with 
 
 Batiste at Paris, and Drs. MacFarren, Bridge, and E. H. Turpin, of London. 
 
 Twice elected Pres. of the Music Teachers National Association. 
 
 Works. — Bowman's Weitzman's Manual of Musical Theory. Delivered the 
 
 following addresses, which have appeared at various times in the published reports 
 
 of the M. T. N. A. : — Harmony : Historic points nnd Modern Methods; Formation 
 
 of Piano Touch ; Relation of Musicians to the Public ; Relation of the Professional 
 
 to the Amateur Teacher, etc. 
 
 Mr. Bowman is well known as a musician and organist of ability, and as the 
 projector of the "National College ol Teachers" ha» a name and place in the 
 hearts of America's musicians. His Weitzman's theory is one of the leading works 
 on the subject in the country. He was the first American who won the distinction 
 of "Associate of the College of Organists." He is a painstaking and conscientious 
 student, and in the midst of his professional duties finds time for a moderate 
 amount of excellent composing. He is recognised throughout the country as an 
 eminent organist and teacher. 
 
 BOWMAN (Henry). English comp., flourished during latter half of 17th 
 cent. Wrote "Songs for one, two, and three voyces to the Thorow-Bass. 
 With some short Symphonies. Collected out of some of the Select Poems of 
 the incomparable Mr. Cowley, and others, and composed by Henry Bowman, 
 Philo-Musicns," Oxford, 1677. 
 
 BOX (Charles). English writer, author of "Church Music in the Metropolis; 
 its Past and Present Condition, with Notes, Critical and Explanatory," Lond., 
 8vo, 1884. 
 
 BOXBEBG (Christian Lndwig). German comp., B. Sondershausen, April 
 24, 1670. D. [?] Writer on the organ. Comp. of operas, etc. 
 
 BOYCE (William). English comp. and org., B. London, 17 10. Chor. in S. 
 Paul's Cath. under Charles King. Articled Pupil to Maurice Greene, org. of 
 S. Paul's. Org. of Oxford Chap., Cavendish Sq. S. under Dr. Pepusch. 
 Org. (in succession to Kelway) of St. Michael's, Cornhill, 1736. Comp. to 
 Chapel Royal and the King, June, 1736. Cond. at Meetings of Choirs of 
 Gloucester, Hereford, and Worcester, 1837. Org. of Ch. of Allhallows the 
 Great and the Less, Thames Street, 1749. Bac. and Doc. of Music, Cam- 
 bridge, 1749. Master of Royal Band of Music, 1775. One of the org. to 
 Chapel Royal, 1758. D. Kensington, Feb. 7, 1779. 
 Works. — Peleus and Thetis, masque, by Lord Lansdowne, 17 ? ; Solomon, 
 serenata by Dr. Edward Moore, 1747 ; The Chaplet, a musical drama, 
 Lond,, fo., 1745; David's Lamentation over Saul and Jonathan, oratorio, 
 by Lockman, 1736 ; Ode for St. Cecilia's Day, by Lockman ; Music to 
 the Shepherd's Lottery, 1750; Ode for the Installation of the Duke of 
 Newcastle as Chancellor of Cambridge University, 1749 ; Fifteen Anthems 
 and a Te Deum and Jubilate, 1780; Twelve Anthems and a Service, 1790; 
 Ode to Charity; Pindar's First Pythian Ode, 1749; Masque in the Tem- 
 pest. Cathedral Music, being a Collection in score of the most valuable and 
 useful compositions for that service, etc., [containing examples of Aldrich, Batten, 
 Bevin, Byrd, Blow, Bull, Child, Jer. Clark, Creyghton, Croft, Farrant, Gibbons, 
 Goldwin, Humphreys, King Henry VHL, Lawes, Locke, Morley, Purcell, Rogers, 
 Tallis, Turner, Tye, Weldon, and Wise] ; London, 3 vols, fo., 1760; second edit., 
 177s. Eight symphonies for various instruments ; Twelve sonatas for 2 violins 
 
iio BRA — brA 
 
 and bass, 1749 ; Ode for St. Cecilia's Day, by Rev. Mr. Vidal ; An organ con- 
 certo ; Two odes in Home's "Agis," 1758; Lyra Britannica . . collection 
 of songs, duets, and cantatas, fo., n. d. ; Various overtures; Songs, duets, etc., in 
 the collections of the period, as The British Orpheus, etc. ; A Collection of Ser- 
 vices and Aiithems, published in 4 vols, by Novello, Ewer & Co. (modern). 
 
 Of the many great composers of church music whom England has produced, 
 Boyce is held in especial reverence. Sabbath after Sabbath his anthems and 
 services are being heard in churches of importance throughout England. This is 
 owing chiefly to the great suitability of his music for use in public worship ; but a 
 certain amount of traditional regard for his works is also in vogue. His anthems 
 are for the most part admirable specimens of sacred music, being impressed with 
 these characteristics of majesty and devout feeling which are universally allowed to 
 be appropriate attributes of Christian song-offerings. It is almost impossible to 
 discover in the whole range of Boyce's writings a slovenly or flippant passage. 
 There is not the slightest appearance of any endeavour to gain applause by the 
 introduction of astounding progressions or flashy melodies, and the impression 
 made by his broad and powerful harmonies is. healthy, inspiring, and legitimate in 
 the highest degree. 
 
 BRADBURY (William B.) American comp. and writer, B. York, Maine, 
 
 U.S.A., 1816. Self-taught on many instruments. Went to Boston and 
 
 became an org., 1830. Settled at New York as teacher, 1836. S. at Leipzig 
 
 under Hauptmann, 1847. Established a Pianoforte manufactory, 1854 Editor 
 
 of the " New York Musical Review." D. at Montclair, New Jersey, Jan. 7, 
 
 1868. 
 
 Works. — Esther, the Beautiful Queen, cantata; Daniel, cantata (with G. J. 
 
 Root). Collections: The Young Choir, 1841 ; School Singers, 1843; Flora's 
 
 Festival, 1845 ; Young Melodist ; Musical Gems ; Sabbath School Melodies ; 
 
 Young Shawm, 1855 J Psalmata, or Choir Melodies ; Alpine Glee Book, 2 vols., 
 
 1850-54; Metropolitan Glee Book; The Golden Chain ; Golden Shower ; Fresh 
 
 Laurels ; The Jubilee ; The Key Note ; The Temple Choir ; Songs, etc. 
 
 The productions of this musician are marked by a plainness and wealth of 
 familiar reminiscence which make them easy for performance by aspiring Sunday 
 school choirs. He is said to have done much for music in New York ; but whether 
 in an artistic or popular sense is not known. He collected a very valuable musical 
 library. 
 
 BRADE (William). English comp. and viol-player, flourished about commence- 
 ment of 17th century. Published Paduanen, Galliarden, Canzonetten, etc., 
 1609 ; Neue Paduanen und Gagliarden mit stimmen, 1614 ; Neue Lustige 
 Volten Couranten, Balletten, etc. D. at Frankfort, 1647. 
 
 BRADFORD (Jacob). English comp. and teacher, is a Mus. Bac. Oxon., 1873, 
 and Mus. Doc, do., 1878. Principal of the South London Music Training 
 College. 
 
 BRADSKY (Theodor Wenzel). Bohemian comp., B. Raknovik, Jan. 17, 
 1833. Prof, in the Real-Schule, Berlin. D. Berlin, Aug. 9, 1881. Comp; 
 operas, " Christian von Schweden," 1872, etc. ; songs, and instrumental music. 
 
 BRADY (Nicholas). Irish divine and poet, B. Bandon, 1659. D. Richmond, 
 Surrey, 1726. Associated with Tate in the production of the metrical version 
 of the Psalms of David, now in general use. He also wrote ' ' Church Music 
 Vindicated, a Sermon," Lond., 1697. 
 
 BRAGA (Gaetano). Italian comp. and violoncellist, B. Giuhanuova, June 
 
 1829. 
 BRAHAM (John). EngHsh tenor vocalist and comp., B. London, 1774. S. 
 
 under Leoni. Dlbut at Royalty Theatre, Wellclose Square, London, 1787. 
 
 Appeared at Covent Garden Theatre, April 21, 1787. Sang in Bath, 1794. 
 
 S. under Rauzzini at Bath, 1794. Sang at Drury Lane Theatre, 1796, 
 
 Travelled in Italy, and sang at Florence, Rome, Naples, Milan, Genoa. 
 
 Venice, etc., occasionally with Mrs. Billington. S. under Isola in Italy. 
 
 Returned to London, 1801. Re-appeared at Covent Garden Theatre, 1801. 
 
 Married to Miss Bolton of Ardwick, 16. Appeared as "Huon," in Weber's 
 
bRA — brA iii 
 
 r^ r -T y — ■- r . -■ I . 
 
 "Oberon," 1826. Lost his fortune by failure of several speculations, 1851. 
 D. London, Feb. 17, 1856. 
 
 Works. — Mtisic to Dramas : The Cabinet, 1801; Family Quarrels, 1802; The 
 English Fleet, 1802 (containing "All's Well," duet, etc.); Thirty Thpusand, 1804; 
 Out of Place, 1805 ; False Alarms, 1807 ; Kais, or Love in a Desert, 1808 (with 
 Reeve) ; The Devil's Bridge (with C. E. Horn), 1812 ; The Paragraph ; Narensky, 
 or. The Road to Yarostaf; The Americans ; The Magicians (with M. P. King), 
 " Single songs, glees, etc. 
 
 Braham lived in a period when the naval achievements of Britain were the sub- 
 jects of universal comment. The popular feeling ran high in the direction of the 
 maintenance of a supremacy on the seas, and the writers who appeared in response 
 to the national manifestations were warmly received. Among those, however, 
 Charles Dibden and John Braham were undoubtedly supreme. The former wrote 
 and the latter sang a number of ballads highly suited to the prevailing taste of the 
 time. Braham possessed a voice of 'considerable compass and remarkable quality. 
 He excelled in ballad singing, but was also successful in the more exacting dramatic 
 music of Weber and others. In songs of his own composition, as the " Death of 
 Nelson," Braham excelled all others. This work is a very respectable specimen of 
 the class of song patronised in the first part of this century, and with Davy's " Bay 
 of Biscay " and Dibdin's "Tom Bowling," it is among the most popular of English 
 naval songs. The cabinet opera, " The Americans," contains also some melodious 
 music, but its merit is not of a first-class order. 
 
 BRAHMS (Johannes). German comp., B. Hamburg, Mar. 7, 1833. S. under 
 Marxsen. Noticed by Schumann. Travelled in Germany as pianist. Went 
 to Vienna, 1861. Cond. of the Sing-Akademie, 1863-73. Director of the 
 Gesellschaft der Musikfreunde Concerts, 1872-1875. Mem. of Academy of 
 Arts, Berlin, 1874. 
 
 Works. — Op. i. Sonata for Pf. in C ; op. 2. Sonata for Pf.in F Sharp minor ; 
 op. 3. Six Gesange fiir Tenor oder Sopran mit Pianoforte ; op. 4. Scherzo for Pf. 
 in E. flat minor ; op. 5. Sonata for Pf. in F minor ; op. 6. Six Songs for voice and 
 Pf. ; op. 7. Do. ; op. 8. Trio in B for Pf., vn., and 'cello; op. 9. Variations for 
 Pf. on theme by Schumann ; op. 10. Balladen fiir Pf ; op. II. Serenade for orch. 
 in D ; op. 12. Ave Maria, for female voices, org., and orch. ; op. 13. Funeral 
 Hymn for chorus and orch. of wind instruments ; op. 14. Eight Songs and 
 Romances ; op. 15. Concerto for Pf. and orch., in D ; op. 16. Serenade for small 
 orch., in A ; op. 17. Four part songs for female voices, 2 horns and harp ; op. 18. 
 Sextet for strings, in B flat ; op. 19. Five Songs for voice and Pf. ; op. 20. Three 
 duets for soprano and alto voices with Pf ; op. 21. Two variations for Pf. ; op. 22. 
 Seven Marienlieder for mixed choir ; op. 23. Variations for Pf. (Schumann) ; op. 
 24. Variations and Fugue for Pf. (Handel) ; op. 25. Quartet for Pf. and strings in 
 G minor ; op. 26. Do. in A ; op. 27. Psalm xiii for female voices and organ ; op, 
 28. Four duets for alto and barytone voices and Pf. ; op. 29. Two motets for 5 
 voices ; op. 30. Giestliches Lied von Paul Flemming, for 4 voices and organ ; op. 
 31. Three quartets for S. A. T. B. ; op. 32. Nine Songs by Platen and Daumer, 
 for voice and Pf. ; op. 33. Fifteen Romances from Tieck's Magelone, for voice and 
 Pf ; op. 34. Quintet for Pf. and strings in F. minor ; op. 340. Sonata for Pf duet, 
 trans, from the Quintet ; op. 35. Twenty-eight variations for Pf. [Paginini] ; op. 
 36. Sextet for strings, in G ; op. 37. Three sacred choruses for female voices ; 
 op. 38. Sonata for Pf. and 'cello, in E minor ; op. 39. Sixteen waltzes for Pf duet ; 
 op. 40. Trio for Pf., violin, and horn or 'cello ; op. 41. Five part songs for Men's 
 voices ; op. 42. Three songs for chorus ; op. 43. Four songs for solo voice and Pf. ; 
 op. 44. Twelve Songs and Romances for female chorus; op. 45. "Ein Deutscher 
 Requiem," German Requiem, for solo voices, chorus, and orch., 1868; op. 46. 
 Four songs for voice and Pf. ; op. 47. Four do. ; op. 48. Seven do. ; op. 49. Five 
 do. ; op. 50. " Rinaldo," cantata by Goethe, for solo, chorus, and orch. ; op. 51. 
 Two Quartets for strings in C minor, and A minor ; op. 52. Liebeslieder, Waltzes 
 for Pf. duet and voices ; op. 53. Rhapsodic : Fragments from Goethe's " Harzreise," 
 for alto-solo, male chorus, and orch. ; op. 54. "Schicksalslied." Song of Destiny 
 by F. Holderlin, for chorus and orch ; op. 55. Triumphlied for 8 part chorus and 
 orch. ; op. 56. Variations on theme by Haydn, for orch. ; op. 560. Do. for Pf 
 duet ; op. 57. Eight songs by Daumer for voice and Pf. ; op. 58. Eight songs for 
 voice and Pf. ; op. 59 ; Eight do. ; op. 60. Quartet for Pf. and strings, in C 
 
112 BRA BRi 
 
 minor ; op. 6l. Four duets ior soprano and alto ; op. 62. Seven songs for mixed 
 choir ; op. 63. Nine Lieder and Songs for voice and Pf. ; op. 64. Four Quartets for 
 4 voices ; op. 65. Neue Liebeslieder, WaHzes for Pf. duet ; op. 66. Five vocal 
 duets ; op. 67. Quartet for strings, in B flat; op. 68. First Symphony for full orch., in 
 C minor, 1876 ; op. 69. Nine songs for voice and Pf. ; op. 70. Four do. ; op. 71. 
 Five do. ; op. 72. Five do. ; op. ,73. Second Symphony for full orch., in D, 1877 ; 
 op. 75. Four vocal duets ; op. 76. Eight Pianoforte pieces in 2 books ; op. 77. 
 Concerto for violin and orch., in D ; op. 80. Akademische Fest-Ouverture, for 
 full orch., 1880; op. 81. Tragische Ouverture, for full orch., 1880. Concerto for 
 Pf. and orch., 1881. Third Symphony for orch., in F, op. 90, etc. 
 
 Hailed from the very outset of his career as a coming genius, Brahms had small 
 difiiculty in gaining a hearing for his works. Praised in a general way by every 
 class of musicians, because he did not in any great measure depart from the standard 
 methods of composition, and made no endeavour to imitate a school to be for ever 
 identified with his name, Brahm may fitly be described as one of those genuises 
 who neither retard nor advance contemporary art. He rises far above the genteel 
 mediocrity of the average German professor, but the general tone of his writings is 
 more learned than inspired. He is neither accounted extraordinary and eccentric 
 like Berlioz, Liszt, or Wagner, nor very staid and dull ; but he is remarkably 
 ponderous and massive. Massive is perhaps the fittest appellation which can be 
 applied to his class of genius. The truly legitimate manner in which he gains his 
 effects is one of the features which redeems his music in a Jarge degree from 
 heaviness. The honesty by which he rules his artistic method is so evident 
 as to banish all notions as to quackery or undue assumption in his music. 
 
 His most representative works are his symphonies, which have gained a certain 
 amount of approval wherever produced. They are grand and dignified works, 
 entirely free from sensation, and pervaded with a fervour of manner which raises 
 them far above the average concert works of recent times. At the same time it 
 must be admitted that the beauty of a large portion of his works is somewhat 
 marred by a pedantic manner which repels all but the most earnest student. 
 
 BKAINABD (Silas and Sons). An American music-publishing firm estab- 
 lished in Cleveland, Ohio, in 1836. Was originally a shop known as 
 "Brainard's Bazaar," and subsequently as the "Melodeon." The founder of 
 the firm, Silas Brainard, B. at Lempster, N. Y., Feb. 14, 1814, D. in 1871, 
 and was succeeded by his sons, Charles S. and Henry M., who in February, 
 1876, opened a large store in Euclid Avenue. Their publications, commenced 
 to be issued in 1845, are many, numbering about 16,000 different pieces, and 
 consisting of songs, choral music, instruction books, cantatas, pianoforte 
 music, and a monthly magazine named "Brainard's Musical World." This 
 journal is well conducted, and gives many valuable articles on musical topics, 
 as well as a selected amount of music of varying quality. Among the music 
 books issued by the firm may be mentioned the Dollar Musical Library, 
 The Crystal Glee Book ; Brainard's Musical Albums ; The Golden Chord ; 
 Anthems of the Church ; and a great number of song and chorus books bearing 
 as a rule fanciful titles. 
 
 BBAINARD (George W.) American musician and writer, author of a " New 
 Method for the Pianoforte," Cleveland, n. d. 
 
 BBAMBACH (CarlJosef). German comp., B. Bonn, July 14, 1833, 
 
 Works. — Cantatas: Die Mach des gesanges ; Velleda. Das Lied vom Rhein, 
 for male chorus and brass orchestra, op. 40 ; Four ClavierstUcke, op. I ; Vier 
 Friihlingslieder, for 2 soprano voices and Pf., op. 2 ; Sonata for Pf., in G, 
 op. 3 ; Six Lieder for voice and Pf., op. 4; Sextet for Pf., 2 violins, 2 violas, and 
 Pf., op. 5; Concerto for Pf. and orch., in D minor, op. 39; Two Romances for 
 Violoncello and Pf., op. 41 ; Two Sonatas for Pf., op. 20 ; Three Fantasiestiicke 
 for Pf . , op. 34 ; Songs, etc. 
 
 BBANDL (Johann). German comp., B. Rohr, near Ratisbon, Nov. 14, 1760. 
 S. under Valesi, and at Schools of Rohr, Munich, and Neuburg. Musical 
 director to Prince Hohenlohe Bartenstein, 1784. Music-director to Bishop of 
 Bruchsal, 1789. Do. to the Archduke of Baden, 1806. D. Cailsruhe, May 
 z6, 1837. 
 
BRA — BRE 113 
 
 Works.— Symphony for orch., in D, op. 25, 1790; Serenades for small orch., 
 op. 4, 1792, and op. 7, 1796 ; Six quartets for strings, op. 8 ; Three sets of six 
 quintets for strings, op. 8 ; op. 10 ; and op. II, 1797; Symphony for orch. in E flat, 
 op. 12 ; Quintet for Pf., vn., viola, bassoon, and 'cello, op. 13, 1798 ; Quintet for 
 violin, 2 violas, bassoon, and 'cello, op. 14 ; Sextet for various insts., op. 16 ; Six 
 String Quartets, op. 17, 1799 ; Quartet for strings in D minor, op. 18, 1799 ; 
 Nocturne for 2 vns. and 'cello, op. 19 ; Symphony concertante for violin, 'cello, and 
 orch., op. 20, iSoi ; Germania, opera, in 3 acts, 1800 ; Three quartets for strings, 
 op. 23, 1803 ; Hermann, opera, etc. 
 
 BBANDUABDI (Enrico). Italian pianist and comp., B. in Italy, 1846. 
 Has composed a number of brilliant salon pieces, and has played with consider- 
 able success throughout Italy, etc. 
 
 BBASSIN (Louis), or Bras.sine. German comp. and pianist, B. Aix-la-Chapelle, 
 June 24, 1836. S. at Leipzig Cons, under Moscheles, etc., and also at 
 Cologne. Prof of Pf. at Berlin Cons. Prof, of Pf. at Brussels Cons. Has 
 played in various parts of Europe. Prof, at St. Petersburg Cons., 1878-84. 
 D. St. Petersburg, May 17, 1884. 
 Works. — Operettas: Der Thronfolger ; Der Missonar. L'Ecole moderne 
 du Piano; Bluette for Pf., op. 4; Valse-Caprice for Pf., op. 6; Grand 
 Galop Fantastique, for Pf., op. 5 ; Le Chant du Soir, for Pf., op. 7 ; Le Ruisseau, 
 Morceau de Salon, op. 8 ; Nocturne for Pf., op. 9 ; Pri^re for Pf., op. 10; Second 
 Valse-Caprice for Pf., op. 11 ; Grandes Etudes de Concert for Pf., op. 12; R6verie 
 Pastoral for Pf., op. 13 ; Mazurka de Salon, for Pf., op. 14 ; Les Adieux for Pf., 
 op. 15; Second Galop Fantastique for Pf., op. 16; Nocturne for Pf., op. 17; 
 Second Grand Polonaise for Pf., op. 18; Six Morceaux de Fantaisie for Pf., op. 21 ; 
 Concerto for Pf. and orch., op. 22 ; Third Grand Polonaise for Pf., op. 22; Trans- 
 cription (Gounod), op. 27 ; Scherzo for Pf., op. 24 ; Works for Pf. and orch., 
 various. Songs, part-songs, etc. 
 
 BBAY (Mrs. Anna Eliza), nie Kempe. English writer, B. St. Mary, Newing- 
 ton, Surrey, Dec. 25, 1790. D. London, Jan. 21, 1S83. Wrote a number of 
 novels and miscellaneous works, and ' ' Handel : his Life, Personal and Profes- 
 sional, with Thoughts on Sacred Music," Lond., 8vo, 1857. 
 
 BREAKSFEABE (Eustace John). English writer and comp., B. Birming- 
 ham, April 22, 1854. S. under Mr. S. S. Stratton. Correspondent of the 
 "Musical Standard," 1879. Author of Papers on "Musical Aesthetics" 
 (Musical Assoc, 1880) ; "Songs and Song Writers," 1882 ; "Musical Expres- 
 sion" (Coll. of Organists), 1883; "Notes on Musical Tuition and Study," re- 
 printed from the Musical Standard, 1881. Translator of Hansliclc's "Vom 
 Musikalisch Schdnen," 1854; and Ehrlich's "Die Musik-Aesthetik," 1882, 
 both preparing for publication. Breakspeare has comp. a number of Songs, 
 and is well known as a wiiter who has done much to awaken an interest in 
 the subject of musical aesthetics. 
 
 BBECHIN (William). Scottish Teacher, and inventor of "Brechin's Stave 
 Sol-fa Notation," B. Brechin, Forfar, 1824. Held appointments as precentor 
 in Montrose, Forfar, Perth, Leith, and Edinburgh. The principal feature of 
 his system is the employment of letters, as in the ordinary Tonic Sol-fa, to 
 represent the notes, together with certain signs to mark the duration. The 
 notes are written on the staff. In addition to the invention of the Stave 
 Sol-fa Notation, Brechin has edited and compiled "Vocal Exercises, Rounds, 
 etc., in the Stave Sol-fa Notation, forming a short course of Lessons in Sight 
 Singing in the key of F." "Congregational Music, Psalms, Hymns, etc., in 
 in Stave Sol-fa Notation.'' "The Standard Scottish Psalmody (compiled from 
 the foregoing. "Exercises in Sight Singing." School Song Books. The Stave 
 Sol-fa Journal (publishing in parts) containing pieces by Croft, Beethoven, 
 Mason, Stevenson, Blow, Handel, etc. Two Books of Swedish Songs. 
 
 BBEE (Johann Bernard Van). Dutch comp., B, Amsterdam, Jan. 29, 1801. 
 A prominent musician in Amsterdam, and Musical Director there, 1821-1857. 
 D. Amsterdam, Feb. 14, 1857. 
 'Works.— Cantatas ; St. Cecilia's Dayj Lord Byron. Overtures for orch. 
 
 n 
 
Il4 feRE — ERE 
 
 Masses. Chamber Music. Symphonies for orch. Sappho, lyric drama. Mimm 
 dich in Acht, opera, etc. Masses, Motets, etc. 
 
 BREKELL (John). English divine, author of "A Discourse on Music, chiefly 
 Church Music : occasioned by the opening of the new Organ at St. Peter's 
 Church in Liverpool... Sermon," Lond., 8vo, 1766. 
 
 BEEITKOPF and HABTEL. German Music-publishing firm, founded in 
 I7I9> by B. C. Breitkopf. He was born in 1695, and died 1777. Other 
 members vi^ere his sons J. G. I. Breitkopf (1719-1794), and G. C. Hartel 
 (Jan., 1763-1827), together with the present representatives of the house. 
 The publications by which they are best known are their great editions of the 
 complete works of Palestrina, Bach, Mozart, Beethoven, Mendelssohn, Schumann, 
 Schubert, etc., someof which are in course of issue. These editions are the most last- 
 ing and monumental tributes which could possibly be raised to the memory of the 
 great composers represented. Their catalogue, which extends to nearly 500 pages, 
 contains the name and some work of nearly every continental musician of emi- 
 nence, as well as a few English works. The following list of musicians, whose 
 works the firm issue, will give some idea of the vastness of the firm's operations : — 
 Abert, Auber, Bargiel, Benedict, Bertini, Blumenthal, Brahms, Bruch, Burgmiiller, 
 CaruUi, Cherubini, Chopin, Clementi, Cramer, Czerny, David (Ferd.), Dotzauer, 
 Dupont, Dussek, Duvernoy, Eckert, Field, Franz, Gade, Gernsheim, Gluck, 
 Halevy, Handel, Hauptmann, Heller, Henselt, Hiller (F;), Hiinten, Kalkbrenner, 
 Kbhler, Kuhlau, Kummer, LefAure-W^ly, Liszt, Lobe, Lortzing, Lumbye, 
 Marschner, Meyerbeer, Neukomm, Onslow, Paer, Raff, Reichardt, Reinecke, 
 Rietz, Rode, Rossini, Rubinstein, Scarlatti, Scharwenka, Schubert, Schumann, 
 Spohr, Steibelt, Street, Taubert, Thalberg, Tours, Viotti, Voss, Wagner, Weber, 
 Winter, Wolfl, Zumsteeg. Here every school is represented, from the most 
 frivolous to the most profound. 
 
 The connection of this firm with the musical progress on the continent has ever 
 been close, and the ready recognition by the firm of rising composers has been as 
 beneficial to the art as it certainly has been honourable to themselves. Of their 
 productions it may be said that the engraving, paper, and style are in the highest 
 artistic taste, and that the prevailing correctness of their editions of standard works 
 has given them a widespread name. 
 
 BREMER (Johann Bernhard). Dutch pianist, org., and comp., B. Rotter- 
 dam, 1830. Comp. of "Judith,'' an oratorio, quartets, Pf. music, etc. 
 
 BREMNER (Robert). Scottish publisher and writer, B. in Scotland, 1720. 
 Teacher of singing in Edinburgh, and kept the music shop at the sign of the 
 Harp and Hoboy. Settled in London, with same sign, as music-seller. D. 
 Kensington, London, May 12, 1798. 
 Works. — Rudiments of Music; or a Short and Easy Treatise on that Subject, 
 to which is added a Collection of the best Church Tunes, Canons, and Anthems. 
 Edin., l2mo, 1756; 2nd edit., Edin. ; 3rd edit, also with Psalms, London, 1763. 
 Thoughts on the Performance of Concert Music, Lond., fol., n. d. Instruction for 
 the Guitar. The Vocal Harmonist's Magazine ; being a Collection of Catches, 
 Glees, Canons, and Canzonets, fo. Lond., n.d. The Songs in the Gentle Shep- 
 herd adapted to the Guitar, 1759; Thirty Scots Songs for a Voice and Harpsichord, 
 Edinburgh, 1749; A Second Set of Scots Songs for a Voice and Hpsd., Edin. ; 
 Twelve Scots Songs for a voice and guitar, with a thorough Bass adapted for that 
 instrument, Edin., 1760; A Collection of Scots Reels or Country Dances, also 
 Twelve Scots Songs for a voice or guitar, with a Bass for the violoncello or harpsi- 
 chord, Edin., n. d., also Lond, 1764; A Curious Collection of Scots Tunes with 
 variations for the violin and a Bass for the violoncello or harpsichord, Lond., 1759; 
 Thirty Scots Songs adapted for a voice and harpsichord (the words by Allan 
 Ramsay), Lond., n.d. [1760]; The Freemasons' Songs, with Choruses, in three 
 and four parts, and a Bass for the organ or violoncello, 1759 ; A Second Collection 
 of Scots Reels or Country Dances, 1761. 
 
 BRENDEL (Carl Franz). German writer and critic, B. Stollberg in the Harz, 
 Nov. 25, 181 1. Educated at Freiberg, Leipzig, and Berlin. Delivered histori- 
 cal lectures on Music. Resided at Leipzig as editor (in succession to 
 Schumann) of the Neue Zeitschrift fiir Musik. D, Leipzig, Nov. 25, 1868. 
 
BRE — BRI 115 
 
 Works. — Grundziisie der Geschichte der Musik ; Geschichte der Musik in Ifalien, 
 DeuLschland und Frankreich, von den ersler christlichen Zeiten bis auf die Gegen- 
 wart, Leipzig, 8vo, 1852 ; 2nd edit., 2 vols, 1855 ; 4 editions to 1875 ; Die Musik 
 der Gegenwart und die Gesammtktinst der Ziikiinst, Leipzig, Svo, 1854; Anregun- 
 gen fiir Kiinst, Leben und Weissenchaft (with R. Pohl), Leipzig, 6 vols, 1856. 
 
 BRENT (Miss). See Pinto (Mrs). 
 
 BREWER (Thomas). English comp., flourished during the 17th century [1610- 
 80]. Educated at Christ's Hospital. He was a performer on the viol. 
 Dates of birth and death unknown. 
 
 Works. — Seven fantasias for the viol; Rounds and catches in Hilton's 
 "Catch that catch can"; Turn, Amaryllis, to thy Swain, part-song in Playford's 
 Musical Companion. 
 
 The biography of this composer is unknown. "Turn, Amaryllis,'' is a well 
 known and pretty piece. 
 
 BREWER & CO. An English firm of music-publishers, established in London 
 by Samuel Brewer (B. 1817. D. Brighton, 1879). They publish a great 
 number of standard songs and concerted vocal music by all the principal 
 English composers, as well as instrumental music of various kinds. 
 
 BREWSTER (Henry). English writer. Author of a "Concise Method of 
 Playing Thoroughbass," Lond., 1797- 
 
 BRIAN. See Bryne. 
 
 BRICCIALDI (Giulio). Italian flute-player and comp., B. Terni, March I, 
 i8l8. S. at Rome. Teacher and comp. at Milan. D. Florence, Dec. 17, 
 1881. 
 
 Works. — Notturno, for flute and Pf., op. 32 ; Morceau de concert for Pf. and 
 flute, op. 61 ; Andante and Polonaise, do., op. 62; Deux Fleurs, do., op. 63; 
 Caprice for flute and Pf., op. 64 ; Concerto for flute and orch., op. 65 ; Cavatina 
 for flute and Pf., op. 70; II Carnevale di Venezia, flute and orch., op. 77 ; Con- 
 certino, flute, and Pf., op. 104; Capriccio for flute and Pf., op. 105; Fantasias 
 on themes from operas. A Method for the Flute, etc. 
 
 This composer's works are justly esteemed by all flute players, alike for their 
 brilliancy and neatness. Briccialdi is one of the greatest flute-players of recent 
 times. His works number over 200, but consist principally of Fantasias. He 
 aided in the improvement of flute mechanism. 
 
 BRIDGE (Frederick Albert). English org., vocalist, lecturer, and writer, B. 
 London, 1841. Choir-master and solo-bass of St. Andrew's Undershaft. Org. 
 of St. Martin's, Ludgate, 1873-78. Choir-master S. Martin- in-the-Field.^ 
 1878-82. Do. S. John's, Lewisham. Has composed some music, and is 
 author of a "Brief History of Mr. Henry Leslie's Choir from its formation 
 to its dissolution." London, 1880. He was married to Miss Elizabeth Stir- 
 ling, the gilted composer, in 1862. First commenced his Musical Monologue 
 Lecture Entertainment in 1872. 
 
 BRIDGE (Mrs. Frederick A.) See Stirling (Elizabeth). 
 
 BRIDGE (John Frederick). English comp., org,, and writer, B. Oldbury, Dec. 
 5, 1844. Educated under his Father, John Bridge, Lay Clerk of Rochester 
 Cath. Org. of Trinity Ch., Windsor, 1865. Bac. Mus. Oxford, 1868. Org. 
 of Manchester Cath., 1869. Doc. Mus., Oxford, 1874. Org. of Westminster 
 Abbey, 1875-81. Prof, of Harmony and Comp. at Royal Coll. of Music. 
 Works. — Mount Moriah, oratorio, 1874; Boadicea, cantata, 1880; Magnificat 
 and Nunc Dimittis, in D. Anthems: Give unto the Lord the glory; Harvest 
 Hymn to the Creator (motet) ; It is a good thing to give thanks ; The Lord hath 
 chosen Zion ; Seek ye the Lord ; We declare unto you glad tidings ; Hope thou in 
 the Lord ; Magnificat and Nunc dimittis in G. Part-songs ■ Christmas Bells ; 
 Flowers ; Loose the sail, rest the oar ; Peace, a Fable ; When the sun sinks to 
 rest; With thee, sweet hope ; Hurrah ! hurrah ! for England. Songs: Forget me 
 not; Tears. Counterpoint (Music Primer), London, Svo, 1880; Double Counter- 
 point and Canon (do.), London, Svo, 1881, The Offertory Sentences as «sed in 
 
H6 BRl — BRI 
 
 Westminster Abbey, 1884. Rock of Ages, Latin and English words, for barytone 
 solo, chorus, and orch., 1885, for Birmingham Festival. 
 
 "Boadicea" is frequently performed, and, no doubt, being a skilful and well- 
 constructed work, deserves all success. Dr. Bridge's theoretical writings are use- 
 ful elementary works, and form part of Novello's Music Primer Series. His minor 
 compositions evince much of that scholarly treatment which is so marked in his 
 cantata and oratorio. As an organist Dr. Bridge is widely known and justly 
 famed. 
 
 BBiIDGE (Joseph Cox). English comp. and org., brother of above, B. 
 Rochester, Kent, Aug. 16, 1853. S. at Rochester Cath. Assistant org. in 
 do. Assistant to his brother at Manchester Cath. Org. of Exeter Coll., 
 Oxford, 1871. B.A., Oxford, 1875. B. Mus., Oxon., 1876. Org. of Chester 
 Cath., 1877. M.A., Oxford, 1878. F.C.O., 1879. Mus. Doc, Oxon, 1884. 
 Works. — Service for voices and orchestra, Chester Festival, 1879. String 
 
 Quartet in G minor, 1879 ; Greek War Song, for male voices, with accomp. of 
 
 brass instruments ; Bouree for Pf. ; Sonata for violoncello and Pf. ; Part-songs ; 
 
 Songs, etc. Daniel, oratorio, Chester Festival, 1885. 
 
 BEIDGETOWER (George Augustus Polgreen), African violinist, B. Bisla, 
 
 Poland, 1780. Played at Drury Lane Theatre and at various concerts in Lon- 
 don, 1790. S. for a time under Attwood and Giornovichi. Played at the 
 Salomon concerts. Returned to Germany and travelled as a concert-giver, 
 1802. D. England after 1840. 
 
 Works. — ^Jubilee Quintet for strings ; String duets, trios, and quartets; Songs, etc. 
 He was a good performer, but his compositions are not of any merit. 
 
 BRIDGMAN (Frederick William). English pianist, B. London, Jan., 1833. 
 Well known in Scotland, and particularly in Edinburgh and Glasgow as a 
 pianist and teacher. 
 
 BBIDSON (John). English barytone singer. B. Liverpool. Holds a fore- 
 most place among living vocalists. He sings with much artistic ability and 
 refinement, and displays a strong degree of dramatic feeling. He is a pupil 
 of Mr. J. B. Welch, and has sung at the principal provincial Festivals and 
 London concerts. 
 
 BRIEGEL (Wolfgang Karl). German comp. and org., B. 1626. Org. at 
 Stettin. Music-director to Prince Friedenstein, Gotha. Do. to the Duke of 
 Saxe-Gotha, 1660. Do. to the Landgrave of Darmstadt, 1670. D. 1710. A 
 very voluminous composer of concertos, airs, dance music, lieder, sonatas, 
 madrigals, psalms, etc., published between 1652 and 1709. 
 
 BRIGGS (Thomas F.) American writer, author of " Briggs' Banjo Instructor." 
 (Ditson, Boston, n. d. ) 
 
 BRIND (Richard). English org. and comp. of 17th century. Educated at St. 
 Paul's Cath. Org. of St. Paul's Cath. Comp. a thanksgiving anthem, etc., 
 but is best known as the teacher of Greene. 
 
 BRINKERHOFF (Clara), nk Rolph. English soprano vocalist, B. Lon- 
 don. Taken to the United States about 1834-5 by her parents, and taught 
 music and singing by her mother and Herr Derwort, a German musician. 
 She S. afterwards under Madame Arnault. Debut at a concert in Apollo Hall, 
 Broadway, New York, when sixteen years of age. Married to Mr. C. E. L. 
 Brinkerhoff, 1848. Appeared at the principal concerts in New York, Boston, 
 and in many of the States. She appeared in London in 1861, and has appeared 
 in Belgium, France, etc. She has comp. a few songs, and is mistress of four 
 or five languages. 
 
 BRINSMEAD & SONS (John). English firm of pianoforte makers, estab- 
 lished by John Brinsmead in 1836. The founder was born at Wear Gifford on 
 the Torridge, North Devon, in 1814. He was originally a cabinet-maker, but 
 becoming a workman in a pianoforte manufactory, he learned there the practi- 
 cal details of his business. Having a thorough knowledge of the principles of 
 his work, Mr. Brinsmead early made endeavours to improve upon the existing 
 
BRi — BRi :i7 
 
 •— — — — 1 — ■ II ni l 
 
 mechanism of the pianoforte, and in 1862 was awarded a first-class medal at 
 the London Exhibition for his sostenente instruments. In these the tone was 
 more sustained and full than that which formerly had been attained by manu- 
 facturers. Other medals and prizes were gained at Paris in 1867 ; Amsterdam, 
 1869 ; Paris, 1870 ; Philadelphia, 1S76 ; South Africa, 1877 ; and again at 
 Paris in 1878. In 1868 Mr. Brinsmead took out a patent for that improvement 
 which has so widely extended the firm's name : we refer to the " Perfect Check 
 Repeater Action." This action is described in the following extract from the 
 Engineer : — 
 
 "The improvements in pianoforte actions invented by John Brinsmead & Sons, 
 of 18 Wigmore Street, Cavendish Square, possess the following advantages : — The 
 hammer being held firmly by the check after it has struck the blow on the string 
 allows the string to vibrate freely, producing a perfectly pure and sustained tone, 
 and as there is no tremulous recoil of the hammer (which so quickly wears out the 
 action and impedes the tone by touching the string a second time), greater power. 
 When this has been even partially attained previously, the repetition has been sacri- 
 ficed, as it was necessary when the hammer was held ' in check ' to raise the finger 
 completely off the key, allowing it to rise to a level with the others, before the 
 action was completely reinstated and ready for a second blow. In this action, how- 
 ever, a repetition of the note can be obtained even when the key is pressed down 
 to within an eighth of an inch of its utmost limit. The top of the ' hopper ' being 
 bevelled allows il to 'escape' freely, and assists in readjustment of the action. 
 This also obviates the necessity of having a space between the hopper and hammer 
 which, through striking against the leather on the butt of the hammer, in a very 
 short time produces that 'rattling' which is so disagreeable to pianoforte players ; 
 this action having no space between the hopper and hammer, the hopper simply 
 presses against the butt, and having no sharp corners to scrape against it, the friction 
 is reduced to a minimum, the blow is rendered direct and uniform, and inter- 
 mediate percussion between the finger on the key and the blow of the hammer on 
 the string is entirely avoided, whilst the almost entire absence of friction of working 
 surfaces ensures good wear even with the hardest work. The spring is at one end 
 fastened into the bottom of the hopper, and at the top (the hook end) is held by a 
 silk loop which passes through a slot in the top of the hopper, where it is attached 
 to the under part of the hammer butt ; its peculiar position, with the aid of the 
 bevel, causes the hammer and hopper to be drawn into their respective positions, 
 serving all the purposes that three, sometimes four, springs are often used for. 
 This renders the use of a complication of pieces and centres quite unnecessary. 
 The stroke of the hammer on the string is so direct from the key, and the escape- 
 ment so instantaneous, that a far more powerful blow (and consequently greater 
 volume and richness of tone) is produced than in the ordinary piano. It is impos- 
 sible for the hammer to remain against the string and stop the tone after the blow 
 has been struck (termed blocking), as the button against which the arm at the bot- 
 tom of the hopper presses forces the sticker quite clear of the hammer butt. This 
 is an important improvement, as the ordinary action has many hinges and coverings 
 of vellum, cloth, and leather, which attract moisture, and in a damp room soon 
 become so stiff and swollen as to render it quite impossible to play upon the piano, 
 at all events with any degree of pleasure." 
 
 This action has long ago been highly appreciated by the leading pianists, and is 
 therefore in need of no recommendation. In addition to this invention, the firm 
 must also be credited with the improvements achieved in the "Tone sustaining 
 pedal," and the "Upright grand construction," with other standard inventions too 
 numerous to mention. 
 
 The other prizes gained by the firm are two gold medals from the Melbourne Inter- 
 national Exhibition ; a first prize from the Queensland Exhibition; and the two 
 first prizes, with the special diploma above all competitors, at the Sydney Exhibition 
 of 1880 ; two first class medals and diplomas of honour, Calcutta, 1884 ; ^"° ™= 
 diploma of honour and gold medal, London International Exhibition, 1884. Mr. 
 Brinsmead is a Chevalier of the Legion of Honour (1878), and is assisted in 
 business by his sons Thomas and Edgar. Mr. Edgar Brinsmead (B. London, 
 March, 1848) is author of a work on the " History of the Pianoforte, witli an 
 Account of Ancient Music and Musical Instruments," Lond., n. d. ; another ed., 
 1879, which js a us?ful and well- written wovk, 
 
Il8 BRI — BRO 
 
 BRION D'ORGEVAL (Edouard Barthelemy). French comp., B. Saint 
 Etienne, Loire, May 13, 1833. Writer of operas, "Ivan IV.," 1876; "Due 
 et Paysan," 1877, etc. 
 
 BBISSON (Francois). French comp. and pianist, B. Angouleme, Charente, 
 Dec. 25, 1 82 1. Teacher in Paris. 
 Works. — Reverie for Pf., op. 17; Arabesque, op. 19; Caprice-etude, op. 25; 
 L'Americaine, Caprice-etude, op. 30 ; L'EspagnoI — Bolero, op. 32 ; Galop de Con- 
 cert, op. 36 ; Fantaisie brilliante, op. 40 ; Hymne triomphale, op. 41 ; Makouba, 
 Danse Arabe, op. 42 ; Caprice-Nocturne, op. 44; Reverie fantastique for Pf., op. 
 50; Valse de Concert, op. 59 > Caprice-Elegante for Pf., op. 51; Caprice 
 Imitatif, op. 55 ; Three Concert Pieces, op. 46. Fantasias, etc., from operas. 
 
 BRISTOW (George French). American comp. and pianist, B. Brooklyn, 
 
 N. Y., Dec. 19, 1825. S. under his father. Alto singer at Cincinnati, U.S. 
 
 Cond. of Mannerchor Choral Society. Teacher and cond. in New York. 
 
 Works. — Rip Van Winkle, opera, 1855 ; Praise to God, an oratorio, i860 ; Two 
 
 Symphonies; Andante et Polonaise for Pf., op. 18; Orchestral overtures; Pf 
 
 music; Songs and church music ; Mass, 1884; etc. 
 
 Bristow is one of the best known American composers, and has shown himself 
 one of the most ambitious. His father, W. R. Bristow, a native of England, was 
 B. in 1803. D. New York, 1867. He was a well-known conductor in New York. 
 
 BRITTON (Thomas). English musician, B. Higham Ferrers, Northampton- 
 shire, 1651. Apprenticed to a coal-dealer in London. Commenced business 
 as coal-dealer in Aylesbury Street, Clerkenwell. S. Music, Chemistry, and 
 Bibliography. Established weekly concerts in his own house, and formed 
 musical club. D. London, Sept. 27, 1714. 
 The musical club was formed by Britton for the practice of Chamber music, and 
 the performers consisted of Handel, Pepusch, Banister, H. Needier, Hughes (the 
 poet), P. Hart, H. Symonds, A, Whichello, Shuttleworth, Woollaston (the painter), 
 etc. Matthew Dubourg when a child played his first solo in Britten's house. The 
 origin of these concerts and their continuance was due to Britton's personal love for 
 music, together, it is believed, with the mutual love for bibliographical and other 
 studies held by many members of his audience. The admission to these concerts 
 was originally free, but afterwards a subscription of los. per annum was charged. 
 How much these concerts can be said to have influenced the public taste, it is diffi- 
 cult now to say, but considering that his audience in general consisted of men of 
 rank and fortune, it is right to suppose that beyond the circle concerned the taste 
 for good music was not extended. 
 
 BROADHOUSE (John). English org. and writer. Editor of the Musical 
 Standard, 1878-80 ; and of London Musical Review. Author of "Facts about 
 Fiddles, Violins, Old and New," Lond., n. d. ; "Musical Acoustics; or, the 
 Phenomena of Sound as connected with Music," Lond., 8vo, 1881; "Henry 
 Smart's Compositions for the Organ Analysed," Lond., 8vo, 1880, with por- 
 trait ; A Translation of A. Thibaut's "Purity in Music," Lond., 8vo, 1883. 
 A trans, of Bulow's " Notes on Beethoven's Sonatas," and of Schmidt's " Use 
 of the Pedal in Pianoforte playing." 
 
 These are meritorious works, the second being of considerable value for theoreti- 
 cal instruction. He has also contributed articles on technical subjects to periodical 
 literature, and founded and edited for a time English Organ Music. 
 
 BROADWOOD (John and Sons). English firm of Pianoforte makers, 
 founded in 1773 by John Broadwood, a Scottish mechanic who worked with 
 Tschudi, the former head of the firm. Broadwood was born at Cockburnspath, 
 Berwick, in 1732, and became apprenticed to Tschudi. In 1770, Broadwood, 
 with Backers, a Dutchman, produced the first grand piano in Britain. The 
 original powers of this instrument were by no means great, though an advance 
 on previous efforts, but the various improvements suggested and applied by the 
 elder Broadwood in time brought the expressive powers of the piano to much 
 of its present perfection. The characteristics of the Broadwood piano are 
 beautiful workmanship, full and powerful tone, and an admirable, though some- 
 
BRO — BRO 119 
 
 what heavy mechanism. Much of the good tone quality is secured by what is 
 known as the division of the bridge on the sound board, the invention of John 
 Broadwood. The mechanism used is almost substantially that invented by 
 Backers and improved upon by Broadwood, though a number of important 
 improvements and modifications have been introduced by successive members 
 of the firm. The reader who is desirous of obtaining full and accurate infor- 
 mation of the progress and inventions of this firm is referred to the works 
 of Rimbault, and Hipkins, those of the latter being contained in Grove's 
 "Dictionary of Music." John Broadwood died in 1812, and was succeeded 
 by his sons, two of whom, Thomas and Henry F., now carry on the business. 
 The importance of this great firm is acknowleged by the whole musical profes- 
 sion to be second to none, no less on account of the general excellence of their 
 instruments than by reason of a traditional connection with eminent musicians, 
 which has been long a feature in the business. 
 It was this Broadwood who presented Beethoven with the instrument on which 
 was composed many of his noblest inspirations, and they who were so generously 
 instrumental in aiding Bennett in his professional career. The operations of the 
 firm extend over all the world, and their instruments are to be found in every 
 quarter of the globe. They are also used by many leading pianists. 
 
 BROADWOOD (W. S.) See Boehm (Theobald). 
 
 BROCELESBY (Richard). English physician, author of "Reflections on 
 Ancient and Modern Music, with its Application to the Cure of Diseases," 
 London, 1749. 
 
 BRODBRIF (Edmund). English org. and comp., flourished in beginning of 
 l8th cent. Was org. of Wells Cath. about 1720. Wrote a service, anthems, 
 and glees. 
 
 BRODERIP (John). English comp. and org., flourished at the end of the 18th 
 and beginning of the 19th centuries. Was org. of Wells Cath., 1740. Wrote 
 various sets of songs, psalms, and "Six Glees for 3 Voices," London, n.d., 
 "The Flower Garden, a Collection of Songs, Duets, and Cantatas;" and 
 joint-editor with Robert of ' ' Portions of Psalms, in one, two, three, and four 
 parts," Bath, 1798; also "Psalms, Hymns, and Spiritual Songs in Score," fo. 
 n.d. Died 1785. 
 
 BRODERIP (Robert). English org. and comp., B. about middle of i8th cent. 
 Org. of S. James, Bristol. D. Bristol, May 14, 1808. Brother or son ot the 
 preceding. Compiled "Vocal Music, a Collection of Glees," "Organist's 
 Journal, selections from great Masters," n.d., " Cecilian Harmony," London, 
 n.d. He also wrote songs, single glees, and edited a book of Psalms with 
 his brother. Great confusion exists in connection with this family of musicians, 
 from the fact that in catalogues and old works christian names, dates, etc., are 
 omitted. 
 
 BRODERIP ( ? ) English publisher and comp. Wrote Pf. music, organ music, 
 glees, etc. Was member of firm of Longman and Broderip. " Instructions 
 for the Pianoforte, with Progressive Lessons," op. 5. " Compleat and 
 Familiar Introduction to the Art of Playing the Pianoforte, Harpsichord, or 
 Organ," n.d. (with Wilkinson). 
 
 BROMLEY (Robert Anthony). English divine and author. Bachelor of 
 Theology. D. London, 1806. Wrote "On Opening the Church and Organ. 
 Sermon on Psalm cxxii," Lond., 1771. 
 
 BRONNBR (Greorg). Danish comp., B. in Holstein, 1666. D. 1724. Writer of 
 operas, choruses, etc. 
 
 BRONSART (Hans von). German comp., cond., and pianist, B. Berlin, 
 Feb. II, 1830. Educated at Dantzig and at University of Berlin. 
 S. Harmony under Dehn, and Pianoforte under Kullak and Liszt, 1854-7. 
 Travelled in Germany, concert-giving. Conducted the Euterpe Concerts at 
 Leipzig, i86o-02. Married to Fra\jlein Starck, 1862. Pirector of th? "G?s- 
 
120 BRO — BRO 
 
 ellschaft der Musikfteund " at Berlin, 1865. Intendent of the Court Theatre 
 at Hanover, 1867. 
 
 Works. — Der Corsair, opera ; Christ-marlct, cantata ; Friihlings-fantasia, for 
 orch, ; Pf. concerto in F sharp minor ; Trio for Pf. in C ; Fantasia for Pf. in F 
 sharp minor, op. 6 ; Nachklange aus der Jugendzeit, for Pf., op. 2 ; Three 
 Mazurkas ior Pf., op. 4 ; Trio in G minor for Pf., vn., and 'cello. Miscellaneous 
 chamber music. 
 
 Bronsart is a composer of the most modern school, and his works are in spirit and 
 purpose conformable to its principles and assumptions. His compositions belong 
 to that large class of modern growth which is known as programme music. He -is 
 a pianist of great ability, and his wife, Ingeborg Starck (B. S. Petersburg, 1843, 
 of Swedish parents), has composed an opera " King Hiarne " ; an operetta, "Jery 
 und Bately " ; Songs, Pf Music, and other works, not known in Britain. 
 
 BKONSON (Oliver), or Brownson. American comp., issued " Select Tunes 
 and Anthems," 1783. This contains some good specimens of the composer's 
 melodious style. 
 
 BBiOOKBANCK (Joseph). English writer, flourished during 17th century. 
 B. 1612. D. [?] 
 
 Works. — The Well-tuned Organ ; whether or no instrumental and organical 
 Musick be lawful in holy pubhc assemblies, Lond., 1660 ; The Organ's Echo, 
 Lond., 1641 ; The Organ's Funereal, Lond., 1642 ; The Holy Harmony; or a plea 
 for the abolishing of Organs and other Musick in Churches, Lond., 1643 ; Gospel- 
 Musick, by N. H., Lond., 1644; A Breviate of Lilly's Grammar, 1660. One of 
 the original writers in the worm-eaten cause of no organs in public worship. 
 
 BBOOMFIELD (William Robert). Scottish writer and comp., B. Aberdeen 
 [c. 1815-20]. Was an arranger and amateur musician in Aberdeen. He wrote 
 "The Principles of Ancient and Modern Music, deduced from the Harmonical 
 Numbers of Antiquity, with exemplifications," etc., Aberdeen, 8vo, 1863. 
 He also published in parts "National Songs," arranged for choirs, Glasgow 
 [c. 1849-52] ; and wrote a number of Psalms, Songs, etc. 
 
 BROSCHI (Carlo). See Farinelli. 
 
 BROSIG (Moritz). Austrian comp., B. 15 Oct., 1815. Writer of Masses, 
 Organ Music, etc. 
 
 BROSSARD (Sebastien de). French writer and priest, B. 1660. Chap.- 
 
 master in Cath. of Strasburg, 1689-1698. D. Meaux, Aug. 10, 1730. He 
 
 was compiler of the first dictionary of musical terms, viz. : — 
 
 " Dictionnaire de Musique. contenant une explication des termes grecs et latins, 
 
 italiens et fran9ais les plus usites dans la Musique," etc., Paris, 1703. A full and 
 
 complete work for the period. There are many editions of this work. 
 
 BROUNCKER (William, Viscount). English writer, B. 1620. D. 1684. 
 
 Translated " Descarte's Musical Compendium," 4to, 1653. Published 
 anonymously as ' ' Excellent Compendium of Musick ; with necessary and 
 judicious animadversions thereupon. By a Person of Honour." 
 
 BROUSTET (EdOUard). French pianist and comp., B. Toulouse, April 29, 
 1836. Writer of symphonies, concertos, Pf music, songs, cantatas, etc. 
 
 BROWN (Abraham). English violinist and comp. Was one of the principal 
 performers at Ranelagh Gardens and at the aristocratic concerts in London 
 about the middle of last century. His tone is mentioned as having been clear, 
 but loud. 
 
 BROWN (Arthur Henry). English comp. and org., B. Brentwood, Essex, 
 July 24, 1830. Org. of Brentwood Parish Ch., 1841. Org. of S. Edward's, 
 Romford, Essex, 1852-57. Org. at Brentwood from 1857 till 1885. Org. for 
 six months at S. James's, Tunbridge Wells, 1875. Mem. of the Committee of 
 London Gregorian Choral Association. 
 Works. — A Century of Hymn Tunes, 1880 (2 edits.); The First Miracle, a 
 
 drawing-room oratorio ; Missa Seraphica, the Office of Holy Communion, in C 
 
BRO — BRO 121 
 
 (S editions) ; Missa Quinti Toni, the Office of Holy Communion, Plain Chant 
 Service ; Organ Harmonies for the Gregorian Psalm Tunes (9 editions) ; The 
 Gregorian Canticles and Psalter, 1874 (2 editions) ; The Anglican Canticles and 
 Psalter, 1877 (5 editions) ; The Canticles of Holy Church, Gregorian (11 editions) ; 
 The Matin and Vesper Canticles of Holy Church, Anglican (9 editions) ; Metrical 
 Litanies for use in Church ; The Prayer Book Noted, with Plain Chant for all the 
 Offices of the Church, 1885 ; The Introits ior the Sundays, Festivals, and other 
 Holy Days of the Year, 1885 ; Select Compositions from the Great Masters, 
 arranged for the Organ, with pedal obbligato (contains compositions by Handel, 
 Beethoven, Andr^, Weldon, Mozart, Wagner, Spohr, Bach, Pleyel, Weber, 
 Schubert, etc.) ; Select Overtures from the Great Masters ; Christmas Carols in 
 various collections ; Hymn Tunes contributed to Hymns Ancient and Modern, 
 Church Hymns, Chope's Congregational Hymn and Tune Book, Anglican Hymn 
 Book, Bristol Tune Book, and about 20 others ; Harvest Tide, a Service of Song 
 for Harvest Thanksgivings ; A Service for Children, adapted to the course of the 
 Church Year ; Jacob's Ladder, A Christmas volume of Prose and Song, by Barbara 
 Wordsworth, music by A. H. Brown ; Te Deum, Magnificat, Nunc Dimittis, 
 Anthems, etc. ; The Organ Olio, containing Original Pieces for Organ and 
 Harmonium; Twenty-five Original Pieces in "Les Organistes Contemporains " ; 
 Here's to the Cause ! for use at Choir Suppers, Church Gatherings, etc. ; Part 
 Song — This is the Birthday of my Love. Pianoforte Music : Sarabande and Gigue, 
 in G (9 editions) ; AUemande, Minuet, and Gigue, in A ; Gavotte and Minuet, in 
 D ; Braule de Sabots ; A Trip to Fairyland ; Rigadoon in G ; Grand Polonaise in 
 E flat ; etc. Songs : Across the Field of Barley ; Somebody's Darling ; Gather 
 the Rosebuds while ye may. New Pianoforte Tutor, 1883. 
 
 BROWN (A, M.) English writer, author of "Musical Facts Essential to Success 
 in Examination," Lond., i2mo, 1882. 
 
 BROWN (Bartholomew). American musician, B. Sterling, Mass, Sept. 8, 
 1772. D. Boston, April 14, 1854. He edited, with Judge Mitchell, the 
 " Bridgewater Collection of Church Music," etc. He composed hymns, 
 psalms, and songs. 
 
 BROWN (Colin). Scottish musician and theoretical writer, B. 1818. Euing 
 Lecturer on Music in Anderson's College, Glasgow, from i858. 
 
 Works. — Music in Common Things : Analysis of a Musical Sound, and 
 the Production therefrom of the Musical Scale, 1874 ; Part 2. Mathematical and 
 Musical Relations of the Scale, shewing the Principles, Construction, and Tuning 
 of the Natural Fingerboard with Perfect Intonation, 1876 ; Part 4. Music in Speech 
 and Speech in Music, 1870, Glasgow, 8vo [other parts in preparation]. Songs of 
 Scotland (with J. Pittman), Lond., n.d. The Thistle,' A Miscellany of Scottish 
 Song, with Notes, Critical and Historical, Instrumental Accompaniments and 
 Harmonies by James Merrylees, Glasgow, 1884 [originally issued in parts]. 
 
 Mr. Brown has constructed an instrument called the Voice Harmonium, founded 
 upon the Monopolytone, to which the principles of perfect intonation are success- 
 fully applied. The novel character of the keyboard, fully described in Music in 
 Common 1 kings, pt. 2, will perhaps act as an obstruction to its speedy adoption, 
 although in reality it is very simple, having only eight digitals in each octave to 
 give in perfect tune every tone and interval of the diatonic, chromatic, and enhar- 
 monic scales ; the fingering being identical in all keys. The Monopolytone above 
 mentioned js a small instrument for striking on the keyboard of a Pf., producing 
 one grand and perfect unison, though sounding every note and discord of the scale. 
 His harmonium was awarded the -first ' place at an exhibition of instruments 
 illustrating the same principle held in London. 
 
 BROWN (Francis H.) American writer, has written a few didactic works, of 
 which "The Pupils' First Primer" (Ditson, Boston, n.d.), in catechism form, 
 has gone through some editions. 
 
 BROWN (John). English divine and writer, B. Rothbury, Northumberland, 
 1715. Educated at Cambridge. Vicar of Great Horkesley, Essex, 1754. 
 Vicar of S. Nicholas', Newcastle, 1758. Committed suicide while insane, 
 September 23, 1766, 
 
122 BRO — BRO 
 
 Works. — Honour, a Poem ; Essay on Satire ; Sermons ; Essays on Shaftes- 
 bury's Characteristics, 1751 ; Dissertation on the Rise, Union, and Power, the 
 Progressions, Separations, and Corruptions of Poetry and Music, to which is 
 prefixed The Cure of Saul, a sacred ode, Lend., 1763 ; Remarks on some Observa- 
 tions on Dr. Brown's Dissertation on Poetry and Musick, Lond., 1764 ; An 
 Estimate of the Manners and Principles of the Times, I7S7' 
 
 An Italian edition of the Dissertation was published in 1772. 
 
 BROWN (John). Scottish artist and writer, B. Edinburgh, 1752. Resided in 
 Italy, 1771 till 1781. D. in Scotland, 1781. Author of "Letters upon the 
 Poetry and Music of the Italian Opera, Edinburgh, i2mo, 1789. 
 
 BROWN (Robert) of Rockhaven. Scottish writer and theorist. B. Glasgow. 
 Author of "The Elements of Musical Science, Lond., 4to, i860. " An Intro- 
 duction to Musical Arithmetic, with its Application to Temperament," Lond., 
 1865. "Rudiments of Harmony and Counterpoint on a New Method..." 
 London, 8vo, 1863. Also a work on Scottish Highland Psalm Tunes. 
 In the first work Brown advocates the adoption of a uniform clef, and illustrates 
 
 this in the course of his book. He also suggests certain modifications in the method 
 
 of expressing harmonical combinations, etc. 
 
 BROWNE (Lennox), F.R.C.S., Edin. English surgeon and writer, B. Lond., 
 1841. Son of a distinguished Surgeon. S. at Edinburgh University, and St. 
 George's Hospital, London, and qualified for practice in 1863, when he entered 
 H .M. Emigration Service, and made two voyages to Australia, writing a book 
 on his return on the climate of that country, and the prospects of a voyage and 
 residence for English invalids. He commenced practice in London in 1865, 
 and at once took up the specialty of treatment of diseases of the throat, ear, 
 and adjacent parts ; was attached for seven years to the Throat Hospital, and 
 in 1874 was mainly instrumental in founding the Central London Throat and 
 Ear Hospital, the foundation stone of which was laid by Madame Adelina 
 Patti. Of this Institution he is the Senior Surgeon. He is also Surgeon to the 
 Royal Society of Musicians, and Consulting Aural Surgeon to several other 
 Hospitals. Having issued in pamphlet form practical remarks in separate 
 monographs, he, in 1878, published his large work on "The Throat and its 
 Diseases " (Bailliere) illustrated by wood engravings and coloured drawings on 
 stone of his own design. This work is at present out of print and awaiting a 
 new edition. In 1876 he issued his "Medical Hints on the Production and 
 Management of the Singing Voice " (Chappell) which has attained a circulation 
 of over ten thousand. He has further translated and edited Witkowski's 
 "Mechanism of the Voice," and the "Mechanism of Hearing," and in the 
 latter part of 1883 collaborated with Mr. Emil Behnke on a work entitled 
 "Voice, Song, and Speech" (Sampson Low & Co.), intended as a complete 
 manual for singers and speakers. This work has already reached a third 
 edition. In 1885 he published "Voice Use and Stimulants," Lond., l2mo ; 
 and with E. Behnke, "The Child's Voice ; its Treatment with regard to after 
 Development," Lond., i2mo. 
 Mr. Lennox Browne is known as an earnest advocate of the view, that a very 
 large majority of the throat troubles of singers, are due to ignorance or neglect of 
 science teaching regarding voice production, and he has quite recently, 1884, pub- 
 lished a lecture entitled " Science and Singing," urging these views with consider- 
 able force, and pleading for preliminary education in voice production, as the only 
 sure basis of pleasurable and enduring speaking or singing voice. His name 
 and works are well known in America and on the Continent, and he is one of the 
 editors of "La Revue Mensuelle de Laryngologie," etc. 
 
 BROWNE (Richard). English writer and physician, flourished during i8th 
 century. Was an apothecary in Oakham. 
 He wrote " Medicina Musica : or a Mechanical Essay on the Effects of Singing, 
 Musick, and Dancing, on Human Bodies, etc.," Lond., l2mo, 1729. This is a 
 curious work on the medicinal virtues of music, a subject which has frequently 
 taken the attention of medical men as well as musicians, 
 
BRO — BRU 123 
 
 BKOWN-BORTHWICK (Rev. Robert). Scottish divine and amateur 
 musician, B. Aberdeen, May 18, 1840. Son of William Brown, Esq., of H. 
 M. Civil Service, Aberdeen, who was an amateur musician, well-known at the 
 concerts of that city. Ordained deacon in 1865. Ordained priest, l865. 
 Curate of Sudely Manor, Gloucestershire', and Chaplain to the Winchcomb 
 Union. Curate of Evesham, Worcestershire, and assistant minister of Que- 
 bec Chapel, London. Mr. Brown-Borthwick assumed additional surname of 
 Borthwick on his marriage in 1868 to Grace (D. 1884), only surviving daughter 
 of the late, and sister of the present, John Borthwick, Esq., of Borthwick 
 Castle, and Crookston, Midlothian. Incumbent of Holy Trinity, Grange-in- 
 Borrowdale, Cumberland, 1869-72. Vicar of All Saints, Scarborough, 1872. 
 Chaplain for a few years to the Bishop of Aberdeen. 
 Works. — The Supplemental Hymn and Tune Book (Novello), containing con- 
 tributions by Goss, Sullivan, Stainer, E. J. Hopkins, and J. B. Calkin, 4 editions. 
 12 Kyries. Kyries and Sanctuses, edited. Blessed are the dead, anthem. Words of 
 "Church Hymns" (with the Bishop of Bedford (Dr. W. How), Rev. J. Ellerton, 
 Rev. B. Compton), the Hymn Book issued by the S. P. C. K. Select Hymns for 
 Church and Home, Edin., 1871. The History of the Princes de Conde, by H.R.H. 
 le Due d'Aumale, translated, Lond., 8vo, 2 vols. Life and Works of Stephen 
 Heller, by H. Barbedette, translated, London. Hymns, contributed to various 
 collections. Sermons on various subjects, as "Art in Worship," "The Praise of 
 God," etc., all published. 
 
 BBOWNSMITH (John Leman). English org., B. Westminster, 1809. Chor. 
 at Westminster Abbey under Greatorex. S. org. under Greatorex. Org. of 
 S. John's Ch., Waterloo Road, London, 1829. Lay-Vicar of Westminster 
 Abbey, 1838. Org. to Sacred Harmonic Soc, 1848. Org. at Handel Festi- 
 vals of 1857, 1859, 1862, and 1865. Org. of S. Gabriel, Fimlico. D. Sept. 
 14, 1866. 
 
 * 
 
 BRUCE (James). Scottish traveller, B. 1730, D. 1794. He furnished Bumey 
 with an amount of information touching Eastern music, which will be found in 
 his History. 
 
 BRUCE (Thomas). Scottish writer. Author of "The Common Tunes of 
 Scotland's Church Music made Plain," i2mo, 1726. 
 
 BRUCH (Max). German comp., B. Cologne, Jan. 6, 1838. S. at Bonn. 
 
 Gained Scholarship of the Mozart Foundation at Frankfort-on-Maine, 1852. 
 
 S. under Hiller, Reinecke, and Breuning at Cologne. Music director at 
 
 Coblenz, 1865. Do. to Prince of Schwarzburg-Sondershausen, 1867. Director 
 
 of Liverpool Philharmonic Soc, 1880. 
 Works. — Op. i. Scherz, List, undRache, opera in two acts (Goethe) ; Jubilate, 
 Amen, by T. Moore, for sop. solo, chorus, and orch., op. 3 ; Three duets for sop. 
 and alto, with Pf., op. 4 ; Trio for Pf., vn., and 'cello, in C min. ; Six Songs for 
 voice and Pf., op. 7; Die Birken und die Erlen, for sop. solo, chorus, and orch., 
 op. 8 ; Quartet for strings in C min., op. 9; Quartet for strings in E, op. 10; 
 Fantasie for 2 Pf , op. 11 ; Six pieces for Pf. solo, op. 12 ; Hymnus Dem, der von 
 Nachten, for voice and Pf., op. 13; Four lieder for voice and Pf, op. 15 ; Lore- 
 ley, a Grand Romantic Opera, in 4 acts (Geibel) op. 16 ; Roemischer Triumph- 
 gesang, for male chorus and orch., op. 19; The Flight of the Holy Family, for 
 chorus and orch., op. 20; Frithjof, Scenes from Esaias Tegnfer's " Frithjof-Saga," 
 for solo voices, male chorus, and orch., op. 23 ; Schon Ellen, Ballad for solo voices, 
 chorus, and orch., op. 24, 1869 ; Salamis, Greek song of Triumph, for male chorus 
 and orch., op. 25; First Concerto for violin and orch., dedicated to Herr Josef 
 Joachim, op. 26 ; First Symphony for full orch., in E flat, op. 28 ; Kyrie, Sanctus, 
 Benedictus, and Agnus Dei, for double choir, orchestra, and orch., op. 35 ; Second 
 Symphony for full orch., in F min., op. 36; Hermione, opera in 4 acts (adapted 
 from Shakspere's "Winter Tale"), op. 40, Berlin, 1872; Odysseus, Scenes from 
 Homer's Odyssey, for solo voices, chorus, and orch., op. 41 ; Romanze for violm 
 and orch., op. 42; Arminius, oratorio, op. 43, 1875; The Lay of the Bell, a 
 Secular Cantata (Schiller), op. 4S. 1879 ; Fantasia on Scotch airs for violm and 
 orch., op. 47, 1880; Kolnidreis, for violoncello and orch., op. 48. Numerous 
 l.ieaer, Pianoforte music, Chamber music, etc, 
 
124 BRU — BUC 
 
 Herr Briich may be regarded as one of the foremost among living composers ot 
 chamber music, while his large works "Odysseus," "Lay of the Bell," etc., 
 entitle him to the greatest consideration as a writer of choral music. His treatment 
 of the cantata is in many respects original, and his command over the expressive 
 elements of the orchestra is great. The work by which he is most favourably 
 known in Britain is "Odysseus," a composition of great power, though in a 
 technical sense, extremely difficult. 
 
 BBULL (Ignaz). German comp. and pianist, B. Prossnitz, Nov. 7, 1847. S. at 
 Leipzig Cons. 
 
 Works. — Operas: Das Goldene Kreuz, 1875, London, 1878; Der Landfriede, 
 1877 ; Bianca, 1879 ; Konigin Mariette, 1883. Serenade for orch., in F, op. 29 ; 
 First Concerto for Pf. and orch., in F, op. 10 ; Concerto for violin and orch,, op. 
 41 ; Three pieces for the Pf., op. 28; Symphony for orch., in E minor, op. 31. 
 Lieder and Part Songs. Chamber Music. 
 
 The opera "Das Goldene Kreuz " was, on its production in London, received 
 with but limited manifestations of favour, from which it may fairly be inferred that 
 it is not a work which possesses the elements of novelty or success. 
 
 BRUMEL (Antoine). Flemish musician, flourished between the years 1480 and 
 1 520. He was a pupil of Okenheim, and composed Masses, Motets, Chansons, 
 etc. His biography is unknown. 
 
 BRUNETTI (Gaetano). Italian comp. and violinist, B. Pisa, 1753. S. under 
 Nardini at Florence. Court-Musician to Charles IV. of Spain. D. in Spain, 
 1808. 
 
 Works. — Thirty-one symphonies for orch. ; Thirty-two quintets for strings ; 
 Six quintets for 2 violins, alto, and 2 'cellos ; Nvimerous quartets for strings ; 
 Twenty-two trios for strings ; Sonatas for violin and bass, etc. 
 
 BBYCE (Rev. ? ) Irish (?) divine and writer who lived in Belfast. Author of 
 "A Rational Introduction to Music, being an attempt to simplify the first 
 Principles of the Science," Lond., 8vo, 1845. 
 
 BRYNE (Albert). English comp. who flourished in the 17th century. Pupil 
 of John Tomkins, whom he succeeded as org. of S. Paul's Cath. His compo- 
 sitions appear in Boyce, Clifford, and some are in MS. in the British Museum. 
 
 BRYSON (J.) Scottish musician, who flourished during latter part of i8th cent. 
 Published "A Curious Selection of Favourite Tunes, with variations. To 
 which are added upwards of fifty favourite Irish airs for the German flute or 
 violin ; with a bass for the Harpsichord or Violoncello," 1791. 
 
 BUCHANAN (Thomas). Scottish surgeon, author of "Physiological Illustra- 
 of the organ of hearing, more particularly of the secretion of cerumen and its 
 effects in rendering auditory perceptions accurate and acute." Lond., 1828. 
 
 BUCK (Dudley). American comp., org., and pianist, B. Hartford, Connecticut, 
 March 10, 1839. S. at Trinity Coll., Hartford. S. at Leipzig Cons, along 
 with A. Sulhvan, J. F. Barnett, S. B. Mills, etc., 1858, under Hauptmann, 
 Richter, Rietz, Moscheles, and Plaidy. S. afterwards at Dresden under 
 Schneider (organ) and Rietz (harmony, etc.) Resided in Paris, 1861-2. 
 Returned to United States, 1862. Choir-master of S. Paul's Ch., Boston. 
 Org. of Music Hall, Boston, 1871. Assistant cond. under Mr. Theodore 
 Thomas at the Central Park Garden, New York, 1875. Org. and choir- 
 master of Ch. of the Holy Trinity, Brooklyn, 1875. Director of the "Apollo 
 Club," Brooklyn. Resides in Brooklyn as teacher, etc. 
 '^OKK.%.— Cantatas : Scenes from the Golden Legend, by Longfellow, 1880 
 (this work gained a $i,ooo prize at Cincinnati) ; The Legend of Don Munio, 1874 ; 
 "The Centennial Meditation of Columbia" (for the opening of the Exhibition at 
 Philadelphia), 1876, written by Sidney Lanier; Easter Morning, for mixed 
 voices ; Hymn to Music, for chorus of mixed voices. Forty-sixth Psalm (God is our 
 Refuge), for solo voices, chorus, and orch. ; The Nun of Nidaros, chorus for male 
 voices ; King OlofFs Christmas, chorus for male voices, with solo. Ch^rch Music 
 
fiUC — BUL 12,1; 
 
 Motette Collection, 1867 ; Second Motctte Collection; Morning Service for Epis- 
 copal Ch., op. 25 ; Evening Service, do., op. 31 ; Christ our Passover, anthem, 
 op. 29 ; There were Shepherds, anthem ; Hark ! what mean these holy voices ? 
 hymn, op. 32 ; Darkly rose the guilty Morning, anthem, op. 33 ; Morning Service, 
 op. 45 ; Evening Service, op. 47 ; Easter Anthem, op. 46 ; Christmas Anthem, 
 op. 48 ; Special Hymns (in Anthem form) for Quartet or Chorus Choir, op. 43 
 (8 numbers) ; Three Anthems, op. 72 ; Te Deum and Jubilate from Schubert's 
 Mass in B flat ; O Saviour, hear me ! offertory from Gluck ; A Midnight Service 
 for New Year's Eve. Organ : Illustrations in Choir Accompaniment, with Hints 
 in Registration, 4to, 1877 ; Grand Sonata in E flat, op. 22 ; Concert Variations on 
 "The Star Spangled Banner," op. 23; Triumphal March, op. 26; Impromptu 
 Pastorale, op. 27 ; Eighteen Pedal Phrasing Studies, 2 books, op. 28 ; Rondo 
 Caprice, op. 35 ; Transcription, Overture to "William Tell," op. 37; Trans, from 
 Beethoven's "Sonata op. 28," op. 38 ; Transcription, Overture to " Stradella," op. 
 39 ; Trans, from Schumann's Pictures from the Orient, op. 40 ; Variations on a Scotch 
 Air, op. 51 ; At Evening, Idylle, op. 52; The Last Rose of Summer, with varia- 
 tions, op. 59 ; Second Grand Sonata, in G minor, op. 77 ; The Organist's Reper- 
 toire, edited by Buck and S. P. Warren, etc. Focal Music : The Tempest, 
 Dramatic Poem, for voice and Pf. ; Five Songs for alto or baritone voice and Pf., 
 words by E. C. Stedman ; Three Songs for mezzo-soprano ; Five Songs for soprano 
 or tenor. Symphonic Overture, "Marmion," for full orch. " Deseret," a comic 
 opera, libretto by W. A. Croffut, 1880. Pianoforte Music. Dictionary of Musical 
 Terms, Boston, n. d. The Influence of the Organ in History, 1882. 
 
 The compositions of this composer, though almost entirely confined to the 
 United States, are of such sterling quality as to merit their production elsewhere. 
 His chief works are the cantatas, which have attained considerable popularity in 
 the United States. Apart from his powers as a composer, Mr. Buck is one of the 
 greatest organists in the United States. His church music is remarkable for effec- 
 tive treatment without vulgarity or undue straining, and his organ music is good, if 
 somewhat brilliant. Buck has trained many good musicians, and his influence in 
 the United States is great. 
 
 BUCK (Zechariah.), English org. and comp., B. 1799. D. Newport, Essex, 
 Aug. 5, 1879. Mus. Doc. Lambeth, 1853. Dr. Buck was a highly respected 
 teacher and performer, and held the appointment of Organist and Choir-master 
 at Norwich Cathedral for a long period, 
 
 BUCKLEY (James). American writer, author of "Buckley's New Violin 
 Method " (Ditson, Boston, n. d.) "Buckley's Banjo Guide," (do.) " Buckley's 
 New Banjo Method" (do.), etc. 
 Another Buckley (Frederick), composed a number of melodies of the same stamp 
 
 as "I'd choose to be a Daisy," and founded a troupe of coloured Minstrels named 
 
 after himself. He D. at Boston (U.S.), 1864. 
 
 BUCKLEY (Olivia Dussek). English authoress, wrote a work entitled 
 "Musical Truths," Lond., i2mo, 1843. 
 
 BUDD (George W.) English publisher and comp., B. 1806. D. Lond., Aug., 
 1850. He was a member of the firm of Calkin & Budd. 
 
 BUDDICOM (Rev. Robert Pedder). English divine, and incumbent of Ever- 
 ton, Liverpool, B. 1770. D.July, 1846. Published "One Hundred Psalm 
 and Hymn Tunes with Chants," edited by C. H. Wilton, 4to, 1827. Re- 
 published as "Devotional Harmony," Liverpool, 1833. 
 
 BUHL (Joseph David). French trumpeter and writer, B. near Amboise, 1781. 
 Prof of trumpet at cavalry school at Versailles, 1805-11. Cond. of band of 
 the Garde du Corps, 1814. Mem. of Legion of Honour, D. Versailles, April, 
 i860. He wrote "A Method for the Trumpet," and other works, practical 
 and theoretical. 
 
 BUHLER (Franz G.) Abbe. German org. and comp., B. April 12, 1760. D. 
 Augsburg, Feb. 4, 1824. 
 
 BUINI (Giuseppe Maria). Italian comp., flourished at beginning of i8th centi 
 
i26 BUL — BUL 
 
 Wrote over thirty operas, produced between the years 1718 and 1734. He was 
 also a poet. 
 
 BULL (Ole Borneman). Norwegian violinist and comp., B. Bergen, Norway, • 
 Feb. s, 1810. Appeared successively in all the principal towns of Europe, 
 Britain, and America. D. Bergen, Aug. 19, 1880. He wrote a number of 
 trifling works for violin and orchestra. 
 Bull enjoyed a great notoriety in his day, and was regarded by many as a per- 
 former of extraordinary attainments. His talents were excessively lauded for a 
 time by careless or incompetent writers, but he was regarded by well informed 
 musicians as little better than a charlatan His technical skill on the violin was 
 great, and if it had been used in a legitimate manner might have secured for him a 
 high place among instrumental performers. As it is he is only remembered bythe 
 vulgar for his astonishing tricks, and daring and original methods of advertising. 
 His works possess no value, and are rarely performed. 
 
 BULL (John). English comp. and org., B. Somersetshire [1563]. S. under 
 William Blitheman. Org. and Master of the Children of Hereford Cath., 
 1582. Gent, of the Chap. Roy., Jan., 1585. Bac. Mus. Oxon., 1586. Doc. 
 Mus. Oxon., 1592. Org. to Chap. Roy., 1591. Prof, of Music at Gresham 
 Coll., 1596. Travelled on the Continent, 1601-5. Married to Elizabeth 
 Walter, 1607. Musician to Prince Henry, 161 1. Quitted England without 
 leave from his employer, 1613. Org. at Notre Dame Cath., Antwerp [1617]. 
 Was org. in service of the Archduke of Austria." D. Hamburg, LUbeck, or 
 Antwerp, Mar. 13, 1628. 
 The productions of this composer are mentioned by nearly every writer as having 
 been voluminous, but comparatively few of them appear to have been printed. 
 Specimens of his style can be seen in Barnard's Collection, Boyce, Leighton's 
 "Teares," the Fitzwilliam Music, "Parthenia," Queen Elizabeth's Virginal Book, 
 etc. A motet for 5 voices is preserved in Burney's Musical Extracts, British 
 Museum. E. Pauer gives specimens of his virginal music in "Old English Com- 
 posers." The extraordinary celebrity which this musician obtained during his 
 lifetime must have been grounded on some uncommon degree of merit either in his 
 compositions or performance. A list of his works is contained in Ward's "Lives 
 of the Gresham Professors," and in addition he wrote a great number of pieces of 
 sacred vocal music. ' ' The strength of this composer's talents lay in the production and 
 execution of pieces fully harmonized, and comprising fugues, double-fugues, and the 
 various species of canon ; and fortunately, for himself, he lived in an age that 
 
 listened with pleasure to music of that description He surmounted 
 
 old and invented new difficulties ; and disdaining to be embarrassed, aimed, in the 
 province of polyphonic fabrication, at a species of omnipotence. " — Busby. 
 
 The question as to the composition of the English national anthem remains un- 
 decided in a general way, though Carey appears to have been strongly accredited 
 with the composition. See writings of Chappell, Cummings, Clark, etc. In con- 
 nection with Gresham College, Dr. Bull delivered "The Oration of Maister John 
 Bull, Doctor of Musicke and one of the Gentlemen of hir Majesty's Royal Chappell, 
 as he pronounced the same, before divers worshipful persons, the Aldermen and 
 Commoners of the citie of London, with a great multitude of other people, the 6th 
 day of October, 1597, in the new erected Colledge of Sir Thomas Gresham, Knt. 
 deceased : made in the commendation of the founder, and the excellent science of 
 Musicke," London, Este, 1597. 
 
 BULOW (Hans GuidO von). German pianist, cond., and comp., B. Dresden, 
 
 Jan. 8, 1830. S. under Wieck and Eberwein. S. Jurisprudence for a time at 
 
 Leipzig University, 1848. S. under Hauptmann ; also under Liszt, 1851. 
 
 Made first Concert tour, 1853. Prof, of Pianoforte at the Stern and Marx 
 
 Cons., Berlin, 1855-64. Cond. of Royal Opera House and Director of the 
 
 Cons., Munich, 1864. Cond. of Hanover Court Music, Jan., 1878. Cond. 
 
 of Glasgow Musical Festival, 1878. Has given concerts in Europe, Britain, 
 
 and America (1876). Orchestral cond. in Germany. 
 
 Works. — Arabesques, Variations on Rigoletto, op. 2 ; Marche Heroique, op. 3 ; 
 
 Innocence, Albumblatt for Pf. ; Humoristic Quadrille (Berlioz), for Pf. ; Die Ent- 
 
 sagende Liedercyclus, for voice and Pf., op, 8 ; Music to Shakespeare's Julius 
 
BUN — BUN 12? 
 
 Csssar, op. ro ; Arrangements from same, opp. loa, lob ; Ballade for Orchestra, 
 op. lO ; iSirwana, Orchester-Fanlasie in Ouverturenform, op. 20, 1881 ; II Car- 
 naval di Milano for Pf., op. 21 ; Two. Romances for Mezzo-soprano voice and Pf., 
 op. 26 ; Classical Pianoforte Pieces from his Concert Programmes, 2 vols. ; Editions 
 of Bach, Beethoven, etc. ; Contributions to Periodical Literature, various, etc. 
 
 BUlovf is one of the most gifted pianists and conductors of the present time, and 
 while equally great in his interpretations of all masters, is exceptionally great in his 
 rendition of Beethoven. His performance of this master's works is indeed extraor- 
 dinary, and invariably creates a powerful impression. He is a strong supporter of 
 the most advanced school of music, and strives in his works to follow the style of 
 Wagner. In other respects Biilow has been most unfortunate, especially in regard 
 to Britain and British music. His peculiarities of temper have frequently placed 
 him in most undignified relations to his art and position, and it is to be regretted 
 that so sterling an artist should stoop to speak disrespectfully of the nation which 
 accords him the most substantial support. 
 
 BUNCE (John Thackray). English Journalist and writer. Editor of the 
 Birmingham Daily Post. Author of "Birmingham General Hospital and 
 Triennial Musical Festivals," 8vo [1858]; and "History of the Birmingham 
 General Hospital and the Musical Festivals; 1868-73," 8vo, 1873. 
 
 BUNCH (James). English musician, editor of " Ceciliana : a Collection of 
 Favourite Catches, Canons, Rondos, and Rounds, by eminent authors, 
 ancient and modern, in score, with Biographical Notes." Lond. 4to, n. d. 
 
 BUNN (Alfred). English operatic manager and librettist, B. London, 1798 ; 
 Stage manager at Drury Lane Theatre under Elliston, 1823 ; Manager and 
 Lessee of Drury Lane Theatre from 1834. D. Boulogne, Dec. 20, i860. 
 Bunn adapted a great number of pieces for the English stage, and produced 
 the following among other operas : — Maid of Artois ; Bohemian Girl ; and 
 Daughter of St. Mark (Balfe) ; Brides of Venice (Benedict) ; Maritana 
 (Wallace), etc. He also wrote a work entitled ' ' The St^e, both Before and 
 Behind the Curtain, from Observations taken on the Spot. " 3 vols. Svo, 
 London, 1840. Poems, Lond., 1816. For a severe skit on Bunn, see A 
 Word with Bunn, after Burns's Address to the Deil. By J. R. Adam, 
 the Cremorne Poet, Lond. [1847]. 
 
 BUNNETT (Edward). English comp. and org., B. Shipdham, Norfolk, June 
 26, 1834. Chor. in Norwich Cath. , 1842. S. under Dr. Z. Buck. Assistant 
 org. at Norwich Cath., 1855-77. Bac. Mus. Cantab., Dec, 1856. Doc. 
 Mus., do., March, 1869. Festival (choral) org., 1872. Org. of S. Peter's 
 Ch., 1877. Org. to Corporation of Norwich, 1880. 
 Works. — Song of Praise (Degree exercise), 1869 ; Rhineland, Cantata for 
 soprano solo, chorus and orch. comp. for Mdlle T. Titjiens, and produced at Nor- 
 wich Festival, 1872 ; Lora, Cantat^ by W. W. Turnbull, comp. for the Musical 
 Union Society in Norwich, and performed, June, 1876 ; Magnificat, Nunc 
 Dimittis, Cantate Domine, and Deus Misereatus, in A, i860 ; Venite, Exultemus 
 Domino, two settings in chant form ; Te Deum, in G ; Te Deum, in F ; 
 Benedictus and Jubilate, in F ; Out of the deep have I called unto Thee, O Lord, 
 Psalm 130, for tenor solo, chorus and organ ; Ave Maria, for six voices and Pf. or 
 harmonium accomp. ; Volume of Sacred Harmony, comprising Chants, Kyries, 
 Anthems and Organ Pieces, selected and original, 1865 ; Twenty-four Original 
 Hymn-tunes; Office of the Holy Communion, in E (1883). Anthems: If we 
 believe that Jesus died ; O how amiable are thy dwellings ; O Give Thanks unto 
 the Lord. ; O Lord, thou art my God. Eight Organ Pieces, original and selected ; 
 Six Original Compositions for org., 1884; Ave Maria for organ. Now Autumn 
 Crowns the Year with Golden Leaves, part song. Songs: There be none of 
 Beauty's daughters ; Break, break, break ; There's a bower of roses ; A Dreamer's 
 Song ; Sing joyous bird ; Winter ; A New Year's Burden ; The Moss Rose ; The 
 Message of the Rose. Pianoforte: Adagio and Rondo ; Premiere Valse ; Polacca ; 
 Three Musical Sketches ; Das Stille Abendlaftchen. Sonata for Pf. and violin, 
 1873 (MS.) ; Trio for Pf. violin and 'cello, 1873 (MS.) ; Adagio and Rondo for 
 Clarinet and Pf. (MS.), etc. 
 
128 BbN — BUR 
 
 BUNTING (Edward). Irish writer and editor, B. Armagh, Feb., 1773. 
 
 Articled assistant to Weir, at ch. in Belfast, 17S4. Org. of S. Stephen's 
 
 chap., Belfast. Married to Miss Chapman, 1S19. D. Dublin, Dec. 21, 
 
 1843. 
 
 Works. — A General Collection of the Ancient Irish Music ; containing a 
 
 variety of admired airs never before published, and also the compositions of 
 
 Conolan and Carolan, Lond., 1796. A General Collection of the Ancient Music of 
 
 Ireland, arranged for the Pianoforte ; some of the most admired Melodies are 
 
 adapted for the Voice, to poetry chiefly translated from the original Irish songs by 
 
 Thomas Campbell, Esq., and other eminent poets ; to which is prefaced an 
 
 Historical and Critical Dissertation on the Egyptian, British, and Irish Harp, 
 
 Lend., fo. 1809. The Ancient Music of Ireland, arranged for the Pianoforte; to 
 
 which is prefixed a Dissertation on the Irish Harps and Harpers, including an 
 
 account of the Old Melodies of Ireland. Dublin, 1840. 
 
 Bunting was the Thomson or Chappell of Irish music. However popular 
 Moore might have rendered the lovely melodies of Ireland, it is certain that to the 
 preservative endeavours of Bunting is due the present knowledge of Irish music. 
 He was an organist of great ability. The universal credit given to Moore and 
 Stevenson as the preservers of Irish music is not really due them, though Moore, 
 with his usual self-complacency, takes considerable honour to himself for his 
 personal endeavours. The blame of tampering with and altering the melodies was 
 at one time fixed on Stevenson, by Bunting, among others, whereas Moore in his 
 diary confesses to the alterations as being his own work. An interesting article 
 and review of Bunting and his works are contained in the "Dublin University 
 Magazine," May, 1841, and Jan., 1847. 
 
 BUONOMO (Alfonso). Italian operatic comp., B. Naples, August 12, 1829. 
 
 BUONONCINI (Giovanni Battista). Italian comp., B. Modena, 1672. 8. 
 under his Father Giovanni Maria. Violoncellist in Band of the Emperor 
 Leopold at Vienna. Came to England, 1708. Musician to the Duke of 
 Marlborough. D. 1750. 
 
 Works. — Of etas: Camilla, 1690 (London, 1706); Tullio Astilio, 1694; 
 Endimione, 1706; Mario fugitive, 1708; Tameride, 1708; Abdalonimo, 1709; 
 Muzio Scevola (with Handel and Ariosti), 1710; Astarto, 1720; Crispo, 1722; 
 Griselda, 1722 ; Farnace, 1723 ; Erminia, 1723 ; Calfurnia, 1724 ; Astianax, 
 1727. Cantate e Duetti, dedicati alia sacra Maesta di Giorgio Re della Gran 
 Britagna, etc., Lond., 1721 ; Divertimenti de Camera per Violino o Flauto, 
 dedicati all'Eccellenza del Duca di Rutland, Lond., 1722; Funereal Anthem for 
 Duke of Marlborough ; Twelve Sonatas for the Chamber, for two Violins and a 
 Bass, 1732; Other Operas and miscellaneous music. 
 
 This composer is now onl} famous for his rivalry of Handel, at that period in 
 British history when sides were taken on every matter. Buononcini was the 
 musician of the Whigs, and for a time held his own fairly well. It was only when 
 such a close comparison as that afforded by the setting of "Muzio Scevola," in 
 which both composed an act, that musicians were enabled toaward a preeminent 
 position to Handel. Buononcini's music is of a sweet and somewhat unmeaning 
 nature, not particularly marked by any original feature. He was said to have 
 been of an overbearing disposition, which latterly cost him. his place in England. 
 
 His father, Giovanni Maria (1670-17 ?), wrote a work on theory as well as some 
 chamber music. His brother, Antonio (1690-1715), composed an amount of 
 Secular music. 
 
 BURDITT (B. A.) American bandmaster and writer, has published Preceptor 
 for the Post-horn (Ditson, Boston, n. d.) Preceptor for the Saxhorn (do.) 
 Saxhorn Scales (do.) Preceptor for the Bugle (do.) Preceptor for the Corno- 
 pean (do.) Army Drum and Fife Book, with Keach and Cassidy (do.) 
 Modern School for the Drum, with Keach (do.) "National Orchestra," and 
 other collections of band music. 
 
 BURETTE (Pierre Jean). French comp. and writer, B. Paris, Nov., 1665, 
 D. May, 1747. 
 
feUR — BUR 129 
 
 BURGER (Gottefried August). German poet, B. Molmerswende, 1748. 
 D. June 8, 1794. 
 Burger's ballads are chiefly remarkable for their weird characteristics, and gener- 
 ally romantic cast. One of them, "Lenore, " has inspired the composer Raff in the 
 production of a symphony of considerable power. The lyrical productions of 
 Biirger have been set by a great variety of composers, from Schubert to Macfarren. 
 
 BURGH (A.), M.A. English writer and Prof, at Oxford. Compiled " Anecdotes 
 of Music, Historical and Biographical, in a Series of Letters from a Gentleman 
 to his Daughter," 3 vols., 8vo, Lond., 1814. 
 
 BURGHERSH (Lord). See Westmoreland (Earl of). 
 
 BURGMULLER (Johann Friedrich Franz). German comp., B. Ratisbon, 
 1806. D. Beaulieu, Seine-et-Oise, Feb. 13, 1874. Writer of Ballets, Pot- 
 pourries on motives from operas, and a large amount of brilliant pianoforte 
 music. 
 
 BURGMULLER (Norbert). German comp., B. Diisseldorf, Feb. 8, 1810. S. 
 under his Father, Spohr, and Hauptmann. D. Aix-la-Chapelle, May 7, 1836. 
 Works. — Two Symphonies for full orch. An Overture for orch. Songs, with 
 'P{. accomp., op. 3 ; Do., op. 6 ; Do., op. 10. Quartets for strings. Concertos 
 for Pf. Sonata for Pf., in F min., op, 8. Rhapsodic for Pf., op. 13. And a large 
 quantity of miscellaneous music. 
 
 BURGSTALLER (Franz Xaver)." German Zither player and comp., B. in 
 Bavaria, 181 5. Writer of Landler, Valses, etc. 
 
 BURKHARDT (Salomon). German pianist and comp., B. 1803. D. 1849. 
 Writer of Salon music of a bright, clever and graceful character. 
 
 BURMANN (Gottlieb Wilhelm). German comp., B. Lauban, 1737. D. 
 1805. Wrote songs, music for harpsichord, etc. 
 
 BURNET (Alfred). Mus. Bac, English musician, published " Instructions for 
 the Spanish Guitar, founded on the Systems of CaruUi, Giuliani, etc.," Lond,, 
 1829. 
 BURNEY (Charles). English writer, ovg., and comp., B. Shrewsbury, April 
 12, 1726. Educated at the Free School, Shrewsbury, and at Chester Public 
 School. S. music under Baker, org. of Chester Cath. ; and in London under 
 Dr. Arne, 1744-47. Org. of St. Dionis Back-Ch., Fenchurch St., London., 
 1749. Harpsichord player at the Subscription Concerts, King's Arms, Corn- 
 hill. Org. at Lynn-Regis, Norfolk, 1751-60. Bac. and Doc. of Music, 
 Oxford, 1769. Travelled in Italy, 1770. Returned to London, 1771. 
 Travelled in Germany, the Netherlands, etc., 1772. Elected Fellow of Royal 
 Soc, 1773. First vol. of the History published, 1776. Org. of Chelsea Coll., 
 1789. D. Chelsea, April 12, 1814. 
 Works. — Translation of Signor Tartini's Letter to Signor Lombardini, published 
 as an important lesson to performers on the Violin, Lond., I77i. The Present 
 State of Music in France and Italy, or the Journal of a tour through those Countries, 
 undertaken to collect Materials for a General History of Music, Lond., 8vo, 1771. 
 The Present State of Music in Germany, the Netherlands, and United Provinces, 
 or the Journal of a tour through those Countries, undertaken to collect Materials 
 for a General History of Music, Lond., 2 vols., 8vo, 1773. A General History of 
 Music, from the Earliest Ages to the Present Period, to which is prefixed a Disserta- 
 tion on the Music of the Ancients, Lond., 4 vols., 4to, 1776-1789. An Account of 
 the Musical Performance^ in Westminster Abbey and the Pantheon, May 26th, 
 27th, 29th, and June the 3rd and Sth, 1784, in Commemoration of Handel, Lond., 
 4to, 1785; Dublin edition, 1785. A paper on Crotch, the infant musician, pre- 
 sented to the Royal Society, Transactions, 1779. Striking Views of Lamia, the 
 celebrated flute-player, Massachussett's Magazine, 1786. Memoirs of the Life and 
 Writings of the Abbate Metastasio, in which are incorporated translations of his 
 principal letters, Lond., 3 vols., 8vo, 1796. A Plan for a Music School, Lond., 
 1774. An Essay towards the History of Comets, Lond., 1769. Articles on Music 
 in Ree's Encyclopaedia. Sonata for 2 violins and a bass, 1765. Six Concert 
 
 I 
 
13° BUR — BUR 
 
 Pieces with introduction and fugue for the organ. Twelve Canzonets from Metas- 
 tasio. Six duets for the German Flute. Six concertos for the violin in 8 parts. 
 Two sonatas for Pf., violin, and 'cello. Six Harpsichord Lessons. Two Sonatas 
 for Harp or Pianoforte, with accomp. for violin or 'cello. Anthems, glees, instru- 
 mental music, etc. 
 
 Burney is best known to musicians of the present day by his " History of 
 Music;" a work of much learning and ability. It is written in a pleasant 
 style, but its historical value is somewhat destroyed by a vexatious absence 
 of dates, while its critical defects are even more marked. He has given 
 too much space to the glorification of forgotten Italian composers, and too 
 little to the more interesting musicians of British nativity. The "History" 
 is less valuable than that of Hawkins, though much superior in a literary point of 
 view. His other literary productions are interesting. His musical composions are 
 quite out of date, and are never now heard. His most successful musical effort 
 was an adaptation of Rousseau's "Devin du Village," produced under the title of 
 "The Cunning Man." His daughter Frances was the Madame D'Arblay of 
 English literary renown. It may further be said that Burney was one of the most 
 esteemed organists of his time. 
 
 BURNS (Daniel Joseph). Irish org. and writer. Org. of S. Patrick's Church, 
 and of S. Malachy's Coll., Belfast. Cond. of the Philo-Celtic Soc. Author 
 of "Practical Notes on Harmony and Counterpoint for Junior Pupils." Lond. 
 [1S83]. "Exercises in Figured Bass." Lond. n.d., etc. 
 
 BURNS (Georgina). English soprano vocalist, B. London, i860. Grand- 
 daughter of a celebrated Nonconformist minister. First appeared at the 
 Westminster Aquarium Promenade Concerts. Sang in Carl Rosa's Opera 
 Company from about 1877. First appeared in opera at Nottingham. She has 
 appeared with much success in "Faust," "Maritana," "Bohemian Girl," 
 " Lurline," " Esmeralda," and other works, and has been also most successful 
 as a concert vocalist. She is married to Mr. Leslie Crotty, an Irish bary- 
 tone vocalist, B. in Galway, 1851, who has appeared in opera in connection 
 with the Carl Rosa Opera Company with much success. 
 
 BUENS (Robert). Scottish poet and writer, B. near Ayr, January 25, 1759. 
 Educated chiefly by his father. Resided successively at Mount Oliphant, 1759- 
 1777; Lochlea, 1777-84; Mossgiel, 1784-86; Edinburgh, Nov., 1786, Feb., 
 1788; EUisland, June, 1788, Dec, 1791 ; Dumfries, 1791-96. D. Dumfries, 
 July 21, 1796. Married to Jean Armour, 1788. Became exciseman, March, 
 1789. Contributed to Johnson's "Museum" from 1787. Contributed to 
 Thomson's Collection, 1792-96. Poems first published by Wilson, Kilmarnock, 
 in 1786. 
 Burns was a musician of considerable talent, as may be readily discovered by 
 observing the close union which he has been able to maintain between the spirit, 
 rhythm, and melody of his poetry and its musical setting. With one or two excep- 
 tions it must be said that he has uniformly succeeded in catching every requisite 
 feature of the tune which he set to words. 
 
 It is due to the memory of Burns to observe that the music of Scotland owes 
 much, if not all of its present popularity to his endeavours. The further help 
 afiforded by Haydn, Pleyel, Kotzluch, Beethoven, and Weber, in harmonizing 
 Thomson's collection must not be overlooked, for the oftentimes sympathetic setting 
 of such writers as Beethoven and Haydn aided greatly in extending the knowledge 
 of Scottish melodies among cultivated musicians. As regards the setting of Burns' 
 lyrics it may safely be affirmed that the music as originally given is by far the most 
 appropriate and characteristic. It is almost impossible to disassociate such songs 
 as "Gala Water;" "My Nannie, O;" "To Mary in Heaven;" "Auld Lang 
 Syne;" "John Anderson, my Jo ;" " My Tocher's the Jewel;" "She's Fair and 
 Fause ;" and ' ' Duncan Gray, " from the melodies which the happy fancy of Burns 
 hit upon as being most appropriate. One or two exceptions only occur to mind, 
 one being the lovely melody to " Afton Water, " by Hume, which has long since 
 supplanted that of "The Yellow Hair'd Laddie," to which it was originally set. 
 His songs have been set by Robert Franz among others with some degree of suc- 
 cess, but his versions are altogether for the concert-room and an audience of culti- 
 vated musicians. Among the composers who have found in Burns a sympathetic 
 
BtJR — BUS l3t 
 
 poet may be mentioned Sir H. R. Bishop, Howard Glover, Sir Arthur 
 Sullivan, Mendelssohn, Alex. Hume, Robert Franz, Samuel Barr, R. A. Smith, F. 
 Archer, F. E. Bache, Sir W. S. Bennett, Schumann, etc. 
 
 BITBB (Willard.) American comp. and writer, B. Ravenna, Ohio, Jan. 7, 
 
 1852. A graduate of Oberlin Coll. in 1876, and of the Oberlin Cons, of Music 
 
 in 1877. Received from the former in 1879 the degree of A.M. S. at Berlin 
 
 under August Haupt, 1879-1880. Comp. and writer in Boston. 
 
 Works. — Grand Sonata for Pf. and violin; Trios for Pf., violin, and 'cello; 
 
 String Quartettes ; Sonatas for Pf. ; Fugues, etudes, nocturnes, fantasias, etc. ; A 
 
 set of 7 Pf pieces entitled " From Shore to Shore," op. 19 ; 7 sacred vocal comp., 
 
 for I, 2, and 4 voices ; Anthems and songs. Music in its Relation to the Masses. 
 
 Musical Art-Creation in America and the Relation of Music .Teachers thereto. 
 
 Papers read at Eighth Annual Meeting of Music Teachers' National Association at 
 
 Cleveland, 1884, etc. 
 
 BXTBBOWES (John Freckleton). English writer and comp., B. London, 
 April 23, 1787. S. under W. Horsley. Mem. of Philharmonic Soc. Org. of 
 S. James's Ch., Piccadilly, London. D. London, March 31, 1852. 
 
 Works. — Op. i. Six English Ballads, for voice and Pf. ; Sonatas for Pf. and 
 flute, and for Pf. and 'cello ; Overture for full orch., produced by Philharm. Soc. ; 
 Six Divertissements for Pf. ; Three Sonatas for Pf. and violin ; Sonata for Pf , on 
 Scotch airs, op. 9 ; Select Airs from Mozart's Operas, for Pf. and flute, 18 numbers ; 
 Mozart's Overtures arranged for Pf., violin, flute, and 'cello ; Duets for harp and 
 other iustruments. Collection of Psalm Tunes, with Figured Bass, n.d. Burrowes' 
 Piano-Forte Primer, containing the Rudiments of Music, in Question and Answer, 
 calculated either for private tuition or teaching in classes, Lond., Clementi, 1822. 
 The Thorough-bass Primer, Lond., i2mo, 1818. Companion to the Thorough- 
 bass Primer; Lond., 8vo, 1835. Songs, part songs, etc. 
 
 Burrowes was an excellent pianist and capable instructor, though his music is now 
 almost ancient in style. His theoretical works attained an extraordinary circulation 
 considering the slender claims they possessed to popularity. Notwithstanding 
 many defects they are extensively used at the present day in America. 
 
 BURTON (Avery). English comp., who flourished during the l6th century. 
 His compositions are preserved in the Music School of Oxford . 
 
 BUBiTON (John). English comp. and harpsichord player, B. Yorkshire, 1730. 
 S. under Keeble. D. 1785. 
 
 Works. — Ten Sonatas for the harpsichord, organ, or Pianoforte, fo. n.d. ; Six 
 Solos for the harpsichord ; Six Trios for the harpsichord and violins ; Songs and 
 glees, organ music, etc. 
 
 "The compositions of this master, if not profound, were new and fanciful, and 
 derived from his execution, which was varied and fascinating, an interest which, 
 perhaps, without the light and shade imparted by his hand to whatever he played, 
 they would scarcely have been thought to possess. A movement in one of this 
 master's lessons, called the Courtship, was, for many years, upon the harpsichord 
 desk of every practitioner in England." — Busby. 
 
 BURTON (Robert Senior). English org. and cond. of present time, B. 1820. 
 Well known in the Midlands of England as a successful teacher. S. under C. 
 Potter, and succeeded Dr. S. S. Wesley as org. of Leeds Parish Church, 1849, 
 
 BUSBY (Thomas). English comp. and writer, B. Westminster, 1755. 
 
 Articled to Battishill, 1769-74. Org. of S. Mary's, Newington, Surrey. Do. 
 
 at S. Mary, Woolnoth, Lombard Street, 1798. Mus. Doc. Cantab., 1800. 
 
 LL.D., Cambridge. D. London, May 28, 1838. 
 Works. — The Prophecy, oratorio, March, 1799 ; Ode— British Genius, from 
 Gray ; Ode to St. Cecilia's Day, Pope ; Comala, a Dramatic Romance from Ossian, 
 1800 ; Thanksgiving Ode (Degree exercise), 1800 ; Music to Joanna, drama by R. 
 Cumberland, 1800; Music to M. G. Lewis's Rugantino, 1805 ; Music to Holcroft's 
 Tale of Mystery, 1802 ; Music to Porter's Fair Fugitives. Dictionary of Music,, 
 with Introduction to the First Principles of that Science, Lond. 8vo., 1786. A 
 Grammar of Music : to which are prefixed Observations explanatory of the Proper- 
 
132 BUS — BUT 
 
 ties and Powers of Music as a Science, and of the general scope and object of 
 the work. London, i2mo, 1818. A General History of Music, from the Earliest 
 Times to the Present ; comprising the Lives of Eminent Composers and Musical 
 Writers, London, 2 vols., 8vo, 1819 (Whittaker). Concert Room and Orchestra, 
 Anecdotes of Music and Musicians, Ancient and Modern, 3 vols., l2mo, London, 
 1825. Musical Manual, or Technical Directory, with Descriptions of various 
 Voices and Instruments, London, 8vo, 1828. The Divine Harmonist, a collection 
 of Anthems, etc., 1788; Melodia Britannica, do., 1790 (unfinished). Sonatas for 
 the Pf. Anthem for the Funeral of Battishill. Miscellaneous anthems, glees, songs, 
 etc. De Lolme proved to be Junius, 1816. Translation of Lucretius. The Age 
 of Genius, a Satire, 1785, etc. 
 
 Busby was one of the most respectable musicians of the early part 
 of the present century. His attainments, both literary and musical, entitle 
 him to some respect. He was the composer of • the first melo-dramatic 
 music heard in Britain, the work in which it occurred being Lewis' 
 "Rugantino." His musical works are now entirely forgotten, though 
 his literary works are occasionally used in connection with the doings 
 of his contemporaries. His "History of Music" is compiled chiefly from 
 Bumey and Hawkins, and though he in a manner repudiated the notion, very little 
 comparison will serve to show the extent to which he is indebted to those writeis. 
 He is a much more liberal historian than Bumey in his original chapters, and can 
 lay claim to some good, if old-fashioned, literary points. The accounts which sur- 
 vive as to his ability as an organist are generally favourable. His theoretical works 
 are good specimens of what constituted, in bygone times, books of instruction. 
 His "Grammar of Music" reached a second edition in 1826. 
 
 BUSNOIS (Antoine de). Belgian comp., B. [1445]. D. Oct. 26, 1480. One 
 
 of the most famous of the old chanson composers. He was a musician in the 
 service of Charles, Duke of Bargundy. 
 
 BUTLEB (Charles). English writer, B. Wycombe, Bucks, 1559. M.A., 
 
 Oxford. Master of the Free school at Basingstoke, Hants. Vicar at Wooton, 
 
 St. Lawrence, Hants. D. March 29, 1647. 
 
 Works. — The Feminine Monarchic; or, the Historic of Bees... proving that in 
 
 the Bees' Song are the Grounds of Musicke. Oxford, 8vo, 1609 ; other editions. 
 
 The Principles of Musick in Singing and Setting : with the twofold Use thereof, 
 
 Ecclesiastical and Civil. London, 410, 1636. An English Grammar, and other 
 
 works. 
 
 BUTLEB (Thomas Hamly). English comp. and pianist, B. London, 1762. 
 
 S. under Dr. Nares at the Chap. Roy. S. comp. under Piccini in Italy. 
 
 Comp. to Drurj Lane Theatre, under Sheridan. Teacher and pianist in 
 
 Edinburgh. D. Edinburgh, 1823. 
 Works. — The Widow of Delphi (R. Cumberland), musical drama, 1780. 
 Rondos on the fcUowing Scotch airs : — Duncan Gray, Flowers of Edinburgh, I'll 
 gang nae mair to yon toun, Lewie Gordon, Roy's Wife, There's cauld kail in 
 Aberdeen, etc. (Clementi). A Select Collection of Original Scottish Airs, arranged 
 for one and two voices, with Introductory and Concluding Symphonies for the 
 Flute, Violin, and Pianoforte, 1790. Sonatas for the Pf. (various). Songs, part- 
 songs, single pieces for Pf., etc. The first work is a curious production ; the second 
 a learned treatise on theory and on the abuses in sacred and secular music. His 
 works were printed partly in characters taken from the Anglo-Saxon alphabet, 
 partly in others of his own invention which are described in his Grammar. 
 
 This musician was a fine performer on the pianoforte, and with Ross, Nielson, 
 etc. , arranged a great number of Scotti-sh and other national airs for his instrument, 
 thus popularising them among a class who might otherwise have remained in 
 ignorance of their numberless beauties. 
 
 BTJTTERFIELD (J. A.) English comp., B. 1837. Comp. of Belshazzar, 
 cantata, 1781 ; Ruth, the Gleaner, opera, 1875; A Race for a Wife, melo- 
 drama, 1879. Songs, etc. 
 
 BUTTSTETT ( Johann Heinrich). A celebrated org. and pupil of Pachelbel, 
 
BUX — BYR 133 
 
 B. 1666. D. early in 18th century. Was org. at Erfurt, and comp. of organ 
 and church music. 
 
 BUXTEHUDE (Dietrich). Danish comp. and org., B. Helsingor, Denmark, 
 
 1637. S. under Thiel. Org. of Marien-Kirche, Lubeck (Ch. of S. Mary), 
 
 1668. Established a society for the performance of sacred m.usic during the 
 
 evening, 1673. D. Ltibeck, May, 9, 1707. 
 
 Works. — Six Suites of Lessons for the Harpsichord ; Sonatas a Violino, Viola 
 
 da gamba, e Cembalo ; Preludes, fugues, etc., for the organ ; Miscellaneous church 
 
 music. 
 
 Buxtehude was one of the most famous organists of his period, being considered, 
 with Bach, the greatest exponent then living. Bach is said to have travelled to Liibeck 
 to hear him, and various anecdotes are recorded anent his dealings and acquaint- 
 ance with Handel. The first work in the above list is intended to represent the 
 nature and course of the planets, an early manifestation of ambitious programme 
 writing not yet overshadowed so far as magnitude is concerned. 
 
 BYRD (William). English comp., B. [1538.] Senior chorister at S. Paul's 
 Cath., 1554. S. under Tallis. Org. of Lincoln Cath., 1563-69. Gent, of 
 Chap. Royal, 1569. Org. of Chap. Royal (with Tallis), 1575. D. London, 
 July, 4, 1623. 
 Works. — Cantiones quae ab argumento sacras vocantur quinque et sex partiura, 
 1575. Psalmes, Sonets, and Songs of Sadnesand Pietie, made into musicke of five 
 partes, Lond., 4to, 1588. Songs of Sundrie Natures, some of Gravitie and others 
 of Myrth, fit for all Companies and Voyces, lately made and composed into Musicke 
 of 3, 4> Si ^"<i 6 parts, Lond., 4to, 1589. Liber Primus Sacrarum Cantionum 
 quartum alise ad quinque, alias uno ad sex voces aedita sunt, Lond., 4to, 1589; 
 reprinted by Musical Antiquarian Soc. , edit, by W. Horsley. Liber Secundus 
 Sacrarum Cantionum quartum aliee ad quinque, alise uno ad sex voces aedita sunt, 
 Lond., 4to, 1591. Gradualia, ac Cantiones Sacrse Liber primus, 1607. Gradualia, 
 ac Cantiones Sacrse Liber secundus, 1610. Psalmes, Songs, and Sonnets, some 
 solemne, others joyfuU, etc, 161 1. Parthenia, or the Maidenhead of the first Musick 
 that ever was printed for the Virginals, composed by the three famous Masters, 
 William Byrd, Dr. John Bull, and Orlando Gibbons, Gentlemen of Her Majestie's 
 Chappell, London, fc, 1655. Service in D minor (Boyce); Three Anthems 
 (Boyce) ; Mass for Five Voices (Mus. Ant. Soc, Rimbault), 1841 ; Compositions 
 contained in the Royal Virginal Book ; Compositions contained in Lady Nevill's 
 Musick Book, 1591; Music in Leighton's "Teares;" Non Nobis Dominae, in 
 Hilton's Catches, 1652. Madrigals in various collections ; Two other masses ; 
 anthems, etc. 
 
 Byrd was one of the greatest composers of the i6th century. He lived at a period 
 when the musical glory of England was supreme. Among his contemporaries were 
 such men as Tallis, Tye, Farrant, Dowland, Bull, Morley, Hooper, Gibbons, 
 Wilbye, Lawes, Weelkes, and Parsons. Byrd's claims to recognition rest chiefly on 
 his sacred music, which is both dignified and grand without undue elaboration, 
 and pleasing and inspiring without flippancy. He was one of the first in England 
 to make use of the madrigal as an expressive musical form, though it must 
 be admitted that his treatment of works of this class is not generally so happy as 
 that of some of his successors. He was an organist of much ability. His composi- 
 tions for the virginals are dry and excessively elaborated exercises in counterpoint, 
 without the slightest attempt at emotional colouring. Byrd secured with Tallis, in 
 'S7S> by patent, the supreme right to publish music in England, and under this 
 patent they published the collection of sacred music first named in the foregoing 
 list of Byrd's compositions. 
 
 BYBNE (0. S.) Irish compiler, published a "Selection of Scottish Melodies, 
 with words by George Linley." Lond., 1827. 
 
 BYRNE (Patrick). Irish harpist and comp., B. Farney, about end of i8th 
 century. D. Dundalk, 1863. 
 
 BYRON (Lord George Gordon). English poet, B. London, Jan. 22, 1788. 
 D. Missolonghi, Italy, April 19, 1S24. 
 His " Manfred " inspired Schumann with the composition of a fine dramatic can. 
 
134 CAB — CAE 
 
 lata bearing that name, while "Parisina" is the work on which Bennett founded 
 his clever overture. Among the musicians who have set his lyrical pieces may be 
 mentioned Alex. Lee, Neukomm, A. J. Sutton, Macfarren, Mendelssohn, Kiall- 
 mark, Nathan, Schumann, Salaman, and a grea.t. number of other composers, 
 native and foreign. 
 
 c. 
 
 CABALLERO (Manuel Fernandez). Spanish comp., B. Murciaj March 14, 
 1835. S. at Madrid Cons. Has written church music, operettas, El Primer 
 dia Feliz, 1872; La Marsigliese, 1878, etc.; Songs, and other works. 
 
 CABEL (Marie Josephe), nie Dreulette. Belgian soprano vocalist, B. 
 Liige, Jan. 31, 1827. Married to M. Cabel, a music teacher. Appeared in 
 Paris as vocalist, 1847. S. for a period at Paris Cons. DSbut at " Opera 
 Comique," 1849. Sang successively in Brussels and London, July, 1860. 
 Has sang in St. Petersburg, Germany, etc. D. Paris, May 23, 1885. 
 "The incompleteness of Madame Cabel was to be felt throughout in ' La Figlia 
 del Reggimento.' The uncertainties of her voice were not those of emotion, as 
 much as of erroneous production. Her execution, however dashing, is rarely per- 
 fect, the shake excepted . . . We do not see much chance of settlement for 
 Madame Cabel on the Italian stage." — Athmaum, July 21, i860. 
 
 CABEZON (Don Felix Antonio). Spanish org. and comp., B. Madrid, 
 Mar. 30, 1510. D. Madrid, Mar. 26, 1566. Wrote theoretical works, and 
 music for the church. 
 
 CABO (Francesco Javier). Spanish org. and comp., B. Naguera, Valencia, 
 1768. D. 1832. Comp. masses, vespers, psalms, motets, organ music, etc. 
 
 CACCINI (Giulio), called Romano. Italian comp., B. Rome, 1588. Pupil of 
 
 Scipione Delia Palla. Resided at Florence from 1578. Singer at Court of 
 
 Francesco di Medicis. D. Florence, 1640. 
 
 Works. — Combattimento d'Apollino col Serpente, monodrama, 1590. Euridice 
 
 (with Peri), 1600. II Rapimento di Cefalo, 1600. Le Nuove Musiche, 1601. 
 
 Canzonets, Sonnets, etc. 
 
 Caccini was associated with Bardi, Galilei, Rinuccini, and Peri in the establish- 
 ment of the opera, which, originally based on a supposed imitation of the ancient 
 Greek drama, became what it now is, through the successive efforts of Peri, Monte- 
 verde, Scarlatti, Lulli, Rameau, Handel, Gluck, M^hul, Meyerbeer, and Wagner. 
 The canzonets and sonnets by various eminent contemporary poets which Caccini 
 set were claimed by Kircher to mark a new development of music, and on this 
 statement is based Caccini's claim to be the inventor of recitative in opposition to 
 Peri. He was one of the greatest teachers of vocalization that Italy ever produced, 
 and to his labours was no doubt due the firm establishment of a vocal method which 
 at one time placed Italian singers before all others. 
 
 CADAUX (Justin). French operatic comp., B. Albi, Tarn, April 13, 1813. 
 D. Nov. 8, 1874. Writer of songs, operettas, etc. 
 
 CADY (Calvin B.) American pianist and teacher. Director of the Ann Arbor 
 School of Music in connection with Michigan State University. Was educated 
 at the Leipzig Cons, of Music. A charter member of the American Coll. of 
 Musicians. Read a paper before the National Music Teachers' Association at 
 Providence, R.I. in 1883 on "Higher Branches of Instrumental Music in the 
 Public Schools, " which received much discussion from the Association and the 
 Press. 
 
 Has been active in promoting a taste for high class music in the Western part of 
 
 CAERWAEiDEN (John). English comp. and teacher of the violin, who 
 flourished during the 17th cent. Was member of private band of Charles I. 
 Hawkins mentions him as having been a" noted teacher but a harsh composer. 
 
C^. S — CAL 135 
 
 C^SAB (Julius). English physician and comp. , lived in Rochester during part 
 of the 17th and i8th centuries. He was an amateur composer only, but 
 Hawkins speaks of two of his catches appearing in the "Pleasant Musical 
 Companion," 1726, as being "inferior to none in that collection." 
 
 CfflSAR (William), see Smegergill. 
 
 CAFFABELLI (Gaetano), Majorano. Italian vocalist, B. Bari, near Naples, 
 April 16, 1703. S. under Porpora. Dibut at Rome, 1724. Appeared at 
 various towns throughout Italy, 1724-28. Appeared in London in Handel's 
 "Feramondo," Jan., 1738. Sang in Italy at Milan, Florence, Venice, Turin, 
 Genoa, Naples, etc. Sang at Paris in 1750. Purchased a Dukedom and 
 retired. " D. Naples, 1783. 
 Caffarelli figured largely in his day as the rival of Farinelli, and seems from all 
 
 accounts to have possessed great qualifications as a vocal performer. Numerous 
 
 anecdotes are told regarding him, some of the best appearing in Hogarth's 
 
 "Memoirs of the Musical Drama." 
 
 CAFFAEO (Pasquale). Italian comp., B. Lecce, Naples, Feb. 8, 1708. 
 
 S. under Leo at Naples. Master of Chap. Roy. at Naples. Director of 
 
 Naples Cons. D. Naples, Oct. 28, 1787. 
 
 Works. — Operas: Ipermnestra, 1751; La Disfatta di Dario, 1756; Antigono, 
 
 1754; L' Incendia di Troia, 1757; Arianna e Teseo, 1766; II Creso, 1768; 
 
 Giustizia Placata, 1769; L' Olimpiade, 1769; L' Antigono (new music), 1770; 
 
 Betulia liberata ; II Figliuolo prodigo ravveduto. Cantatas: 1764, 1766, 1769. 
 
 II Trionfo di Davidde, oratorio. Masses, Litanies, Motets, Psalms, and other 
 
 Church Music. 
 
 OAFFRO (Giuseppe). Italian oboe and cor-anglais player, B. Naples, 1766. 
 D. about beginning of present century. He wrote much for his instruments. 
 
 OAGNONI (Antonio). Italian comp., B. Godiasco, Voghera, 1828. S. at 
 Milan Cons., 1842- 1 847. Professor and Teacher. 
 Works. — Opetas: Rosalia, 1845; I due Savojardi, 184.6; Don Bucefalo, 1847; 
 II Testamento di Figaro, 1848 ; Amori e Trappole, 1850 ; La Valle d'Andorra, 
 1851 ; Giralda, 1852 ; La Fioraia, 1855 ! La Figlia di don Liborio, 1856 ; II 
 Vecchio della Montagna, 1863; Michele Perrin, 1864; Claudia, 1866; La Tom- 
 bola, 1869; Un Capriccio di Donna, 1870; Papk Martin, 1871 ; II Duca di 
 Tapigliano, 1874; Francesca da Rimini, 1878. Songs, etc. 
 
 CAHEN (Ernest). French violinist and comp., B. Paris, Aug. 18, 182S. S. at 
 Paris Cons. Writer of operetta, " Le Bois," violin music, etc. 
 
 CAHUSAC (Louis de). French dramatist, B. Montauban. D. Paris, 1759. 
 Author of the librettos of a number of Rameau's operas. He wrote also a 
 number of comic and tragic dramas, none of which were possessed of great 
 merit. 
 
 CAIMO (Giuseppe). Italian comp., B. Milan, 1540. D. [1585]. Wrote 
 madrigals and church music. 
 
 CALAH (John). English org. and comp B. 1758. D. August 4, 1798. Was 
 Org. of Peterborough Cathedral at end of i8th century. Wrote music for the 
 English church service. 
 
 CALDARA (Antonio). Italian comp., B. Venice, 1678. S. under Legrenzi. 
 
 Singer in St. Marks, Venice. Chap. -Master at Mantua, 17 14. Vice-chap. - 
 
 master to Emperor Charles VI., Vienna. Resided at Venice from 1738. D. 
 
 Venice, 1763 (1768). 
 
 Works. — Operas, etc. : Argene, Venice, 1689 ; Tirsi, 1696 ; Farnace, 1703 ; 
 
 Partenope, 1708; Sofonisbe, 1708; L'Inimico Generoso, 1709; Atenaide, 1711 ; 
 
 Tito e Berenice, 1714 ; Caio Mario, 1717; Coriolano, 1717; Astarte, 1718; 
 
 Ifigenia in Aulide, 1718; Sisara, 1719 ; Nitocri, 1722; Gianguir, 1724; Gioaz, 
 
 1726; Semiramide, 1725; Imeneo, 1727; Mitridate, 1728; Nabot, 1729; De- 
 
 metrio, 1731 ; Demofoonte, 1733 ; Adriano in Siria, 1735 ; La Clemenza di Tito, 
 
 1734; Enone, 1735; L'Ingratitudine castigata, 1737. Oratorios: Tobia, 1719; 
 
t36 CAL — CAL 
 
 Naaman, 1721 ; Giuseppe, 1722; David, 1724; Daniello, 1731. Motets, masses, 
 and cantatas ; sonatas for 2 violins and violoncello, etc. 
 
 Caldara has been very highly esteemed by successive generations of writers on 
 music, hovifever much the soundness of his claims may be open to question. His 
 music vifas certainly not superior in merit to that of his contemporaries, Leo, A. 
 Scarlatti, or Durante, and is chiefly remarkable for a languid sentimental style. 
 His music is persuasive rather than commanding, though there is also much in it 
 that is noble and inspired. 
 
 CALDICOTT (Alfred James). English comp. and org., B. Worcester, 1842. 
 Chor. in Worcester Cath., 1851. Articled to Done, org. of do., 1856. S. 
 Leipzig Cons, under Moscheles, Hauptmann, Plaidy, and Richter. Settled 
 at Worcester, 1864. Org. of St. Stephen's Ch., and to the Corporation. 
 Conductor of the "Musical" and "Instrumental" societies of Worcester. 
 Mus. Bac, Cantab., 1878. Gained Special Glee Prize offered by the Man- 
 chester Gentleman's Glee Soc, 1878. Gained first prize for serious glee, 
 Huddersfield, 1879. Prof, at Royal Coll. of Music, London, 1882. Org. 
 and Cond. at Albert Palace, London. Editor of Morley's Part Song Journal. 
 Works. — The Widowr of Nain, a sacred cantata, Worcester Festival, Sept., 1881 ; 
 A Rhine Legend, cantata for Ladies' voices, 1883 ; Queen of the May, cantata ; 
 Treasure Trove, operetta by A. Law, June, 1883 ; A Moss-Rose-Rent, operetta by 
 A. Law, 1883 ; A Fishy Case, children's operetta by F. Weatherly, 1883 ; Old 
 Knockles operetta, German Reed, 1884." Dickens' Series of Songs. Winter Days, 
 prize serious glee, 1879; Humpty Dumpty, prize humorous glee, 1878; Jack and 
 Jill, glee ; Jack Horner, glee ; House that Jack Built, glee ; Yule, glee ; Out on 
 the Waters, glee; The Haymakers, glee. Songs: Red Letter Days; For a day, 
 for aye ; The New Curate ; Lost Love ; Woman's Faith ; Parted ; The Butter- 
 fly's Kiss ; Returning Sails ; Unless ; Unbidden ; Two Spoons ; Three Men of 
 Plymouth Town ; Question and Answer ; When all the world was young ; MS. 
 works, etc. 
 
 This composer, who doubtless inherited his musical proclivities from his father, 
 an original member of the Worcester Madrigal and Harmonic Societies — has given 
 decided evidence of the possession of more than ordinary ability as a writer of con- 
 certed vocal music of a humorous character. His comical glees are gems in their 
 way, and are not spoiled by the vulgarity which usually accompanies such attempts. 
 His more ambitious works are marked by much ability, and are evidently of a pro- 
 gressive degree of merit. 
 
 CALEGABI (Antonio). Italian operatic comp. B. Padua, Oct. 18, 1758. 
 D. July, 22, 1828. Wrote L'Amor Soldato, 1786 ; II Matrimonio Scoperto, 
 1789; Le Sorelle Rivali, 1784, etc. 
 
 CALKIN (James). English pianist and comp., B. London, 1786. S. under 
 Thomas Lyon. Associate of the Philharmonic Soc, 1823. Wrote Symphony 
 for orch., Pf. music, string quartets, etc. D. I^ondon, 1862. 
 
 CALKIN (John Baptiste). English comp., pianist, and org., B. London, 
 Mar. 16, 1827. S. under his father, etc. Org., precentor, and choir-master at 
 S. Columba's Coll., Ireland, 1846-1853. Org. and choir-master at Woburn 
 Chap., 1853-7. Org. and choir master, Camden Road Chap., 1863-8. Org. 
 and choir-master of S. Thomas' Church, Elm Road, Camden Town, 1870-84. 
 Mem. of the Philharmonic Soc. F.C.O. Mem. C. Trin. Coll. London. 
 Prof, at Guildhall school of music. 
 Works. — Services in B flat op. 40 ; G op. 96 ; and in D, for Parish choirs ; 
 Morning and Evening Service, in G, 1883; Communion Service in C, op. 104; 
 Te Deum in D. Anthems : I will magnify Thee ; Behold, now praise ye the Lord ; 
 I will alway give thanks; Let your light so shine ; O God, have mercy ; Out of 
 the deep have I cried unto Thee ; Rejoice in the Lord ; Thou wilt keep him in per- 
 fect peace ; The righteous shall flourish; Four Introits ; Thou visitest the earth; 
 Rend your heart ; Unto Thee will I cry ; Whoso hath this world's goods ; Hymns. 
 Glees and Part-songs : Breathe soft, ye winds; Come, fill my boys ; Echoes; My 
 Lady is so wondrous fair ; Night win,ds that so gently flow ; The Chivalry of La- 
 bour; To the Redbreast; Up, brothers, up!. Songs: Coining Light; Sleep on 
 my heart; Every joy that earth can give; Oh ! lovely night ; No jewelled beauty 
 
CAL — CAL 137 
 
 is my love ; Oh ! turn not away ; Oh ! wake, dearest, wake ; The Maiden's reply ; 
 The rippling brook ; The two locks of hair. Organ : Andante ; Seventeen 
 Original Compositions in ten numbers ; Transcriptions, Marches, Minuets, etc. 
 Pianoforte : Arcadia Waltzes ; Rondo Grazioso, op. 93 ; Les Arp^ges, op. 
 94 ; Two Sketches, op. 79 ; A Moonlit Lake, op. 84 ; The Pixie's Revel, op. 95 ; 
 Les trois graces (sonata) ; Concert study in double notes ; Bourees, studies, transcrip- 
 tions, minuets, etc. ; Album Leaves, op. 88 ; Marches and Dances, various. 
 Quartet for strings ; Quintet for strings ; Trio for Pf., vn., and 'cello ; Sonata for 
 Pf. and 'cello, etc. 
 
 Mr. Calkin shows in his works the possession of an extremely graceful and pleas- 
 ing musical faculty. His works for the pianoforte and organ are brilliant and 
 fanciful in style. It is on his vocal and strictly church music that Mr. Calkin's 
 reputation will hereafter rest. His glees and part-songs are among the worthiest 
 productions of modern England ; and " My Lady is so wondrous fair " is one 
 which can be safely placed alongside of the best examples of the class. His anthems 
 and services have been recognised among the foremost churches and cathedrals as 
 being worthy of frequent performance, and this is sufficient evidence as to their 
 general high quality. 
 
 CALKIN (Joseph). English violonist, B. London, 1781. S. under Thomas 
 Lyon and Spagnoletti. Violinist at Drury Lane Theatre, 1798- 1808. Married 
 to widow of Mr. Budd, bookseller. Bookseller to the King under firm of 
 Calkin & Budd. Member of King's band, 182 1. D. (?) 
 
 CALL (Leonaxd de). German comp., B. Germany, 1779. D. Vienna, 1815. 
 Writer of a number of fine part-songs, songs, etc, 
 
 CALLCOTT (John George). Englishcomp. and pianist, B. July, 1821. Son of 
 J. W. Callcott. Org. at Teddington, and accompanist to Henry Leslie's choir. 
 Has composed a number of cantatas and minor works, of which the following 
 are the most important : — Hallowe'en, cantata for solo voices, chorus and orch. ; 
 The Golden Harvest, cantata for solo voices, chorus, and orch. ; Old Clock 
 on the Stairs, part-song ; Tell me where is fancy bred, trio ; The light summer 
 winds, part-song ; Songs, various; Pianoforte music consisting of transcriptions, 
 dances, etc. 
 
 CALLCOTT (John Wall). English comp. and writer, B. London, Nov. 20, 
 1766. Self-taught in music. Deputy org. to Reinhold of S. George the 
 Martyr's, Bloomsbury, I783-S' Member of orch. of Academy of Ancient 
 Music. Unsuccessiful competitor for prize offered by the Catch Club, 1784 
 (his first trial). Gained three prizes (medals) out of the four oflfered by the 
 Catch Club, 1785. Mus. Bac. Oxon., July, 1785. Gained two medals. Catch 
 Club, 1786; and two prizes in 1787 (he sent in about 100 compositions). 
 Founded, with others, the "Glee Club," 1787. Gained all the prizes offered 
 by the Catch Club, 1789. Joint org. (with C. S. Evans) of S. Paul's, Covent 
 Garden. S. under Haydn, 1790. Org. of Asylum for Female Orphans, 1792- 
 1802. Gained nine medals for his glees during 1790-93. Mus. Doc. Oxon., 
 1800. Lecturer at the Royal Institution in succession to Crotch, 1806. D. 
 London, May 15, 1821. 
 Works. — Grammar of Music, Lond., 1806 (other editions) ; Glees, Catches, and 
 Canons, op. 4 (Clementi), n. d. ; Explanations of the Notes, Marks, Words, 
 etc. used in Music (Clementi), n. d. ; Select Collection of Catches, Canons, and 
 Glees, 3 books (D'Almaine), n. d. (edited) ; Five Glees for 2 Trebles and Bass 
 in Score ; Five Glees, chiefly for Treble voices, op. 12 ; Six Glees in Score; Col- 
 lection of Glees, Canons, and Catches, including some pieces never before pub- 
 lished, with Memoir by W. Horsley (the editor), 2 vols., folio, Lond., 1824. 
 Church Psalmody (selection) ; Services, Anthems, Odes. Titles of some of his 
 p-incifal Glees and Catches : MeWa ; Are the white hours ; As I was going to 
 Derby ; Blow, Warder, blow ; Desolate is the dwelling of Morna ; Dull repining 
 sons of care ; Drink to me only ; Father of Heroes ; Forgive blest shade ; Erl 
 King ; Farewell to Lochaber ; Friend of fancy ; Fervid on the glittering flood ; 
 The Friar ; Go idle boy ; If happily we wish to live ; In the lonely vale of streams ; 
 Lo ! where incumbent o'er the shade ; Lovely seems the morn's fair lustre ; Lordly 
 gallant? ; The May-fly ; My flocks feed not ; New Mariners ; Mark the merry 
 
138 CAL — CAM 
 
 elves ; Oh share my cottage ; Once upon my cheek ; O, snatch me swift ; O thou 
 where'er ; O fancy, friend of nature ; Peace to the souls of the heroes ; Queen of 
 the valley ; Red Cross Knights ; Soft and safe ; See with ivy chaplet ; Thou art 
 beautiful ; Thyrsis, when he lelt me ; Tho' from thy bank ; To all you Ladies now 
 on land ; Thalaba ; Thou pride of the forest ; Triumphant love ; Whann battayle ; 
 When Arthur first ; When time was entwining ; Who comes so dark ; With sighs, 
 sweet rose ; Ye Gentlemen of England. Songs, etc. 
 
 Among the many eminent glee composers of England, none perhaps can be said 
 to be so popular as Callcott. He sinned in too profusely expending his genius on 
 pieces which at best were mere mechanical exercises, but the larger portion of his 
 glees are beautiful and fresh creations. With Horsley, Webbe, Cooke, Clarke, 
 and Beale he aided in greatly improving the quality of the glee as an independent 
 vocal form. His glees on words from Ossian are artistic and genuine examples of 
 pure glee- writing, though they are not treasured as such in so great a degree as 
 their merits demand. His "Grammar of Music" was, and is one of the best 
 rudimentary treatises in the English language, and it is sufficient to say that its 
 merits are recognised alike in America and Britain. His church music has not 
 been published in a collected form. His daughter Sophie was a pianist of much 
 ability. 
 
 CALLCOTT (William HutchingS). English comp. and pianist, son of the 
 
 above, B. Kensington, 1807. D. there, Aug. 5, 1882. Was an organist and 
 
 teacher in London for a considerable period. Among his various compositions 
 
 may be named the following. 
 
 Works . — Pianoforte : Elegant Extracts from Mendelssohn ; Favourite Marches, 
 
 Minuets, and Movements by Handel ; Readings from the great Masters of all 
 
 Nations ; Transcriptions from Schubert, Gounod, Haydn, Offenbach, Rossini, 
 
 Meyerbeer, Mozart, Beethoven, Verdi, Mendelssohn, etc. ; Melodies of all Nations ; 
 
 British Isles, duet ; Fairy Duet ; Oriental Duet ; Arrangements from Wallace's 
 
 Amber Witch; Recollections of the Philharmonic; Arrangements (with violin, etc.) 
 
 of Orfeo (Gluck), King Arthur (Purcell), Macbeth (Locke), Tempest (Purcell), 
 
 Comus (Arne and Handel), etc. ; Beauties of Schumann ; Morning Mist, Rainbow, 
 
 Waterfall for Pf. ; dementi's Golden Pianoforte Exercises . . . with Occasional 
 
 Remarks (Cocks) ; The Holy Family, Selections of Sacred Music. A Selection of 
 
 Glees for three voices, arranged expressly for amateurs and private performance. 
 
 Songs, Part-Songs, etc. A Few Facts in the Life of Handel, Lond., 1859. 
 
 CALLCOTT (Maria HutcMns). English authoress, has published among 
 other works " The Singer's Alphabet ; or. Hints on the English Vowels, etc," 
 Lond., 1849. 
 
 CALVISIUS (Sethus), Seth Kalwitz. German Astrologer, writer, and 
 
 musician, B. Sachsenberg, Thuringia, Feb. 21, 1556. D. Leipzig, Nov. 23, 
 
 1615. 
 
 Works. — Melopoia, seu melodias condendoe rationem, quam vulgo Musicam 
 
 poeticam vocant, Erfurt, 1595; Opuscula Musica, 161 1 ; Compendium Musicum, 
 
 1612 ; MusicEe Artis Praecepta nova et facillima (2nd edit.), i6l2; Exercitationes 
 
 Musices ; The iSoth Psalm in 12 parts for 3 choirs; Chronological Works and 
 
 General Writings. 
 
 CALZABIGI. Italian poet, chiefly known for his connection with Gluck in the 
 capacity of librettist. He wrote the book of " Orfeo," the first reformed opera 
 composed by Gluck. He also wrote "Alceste," "Armida," and some poems 
 of considerable merit. Flourished during latter portion of the i8th century. 
 
 CALZOLABrI (Enrico). Italian tenor vocalist, B. Parma, Feb. 22, 1823. 
 S. under Burckhardt. Debut at Milan, 1845. Has appeared in operas by 
 Bellini, Donizetti, Rossini, and Verdi. 
 
 CAMARGrO (Miguel Gomez). Spanish comp., flourished in latter half of i6th 
 century. Wrote music for the church, etc. 
 
 CAMAUER (Godfroid). Dutch comp., B. Berg-op-Zoom, May 31, 1821. 
 Has composed operas, masses, overtures, choruses, chamber music, etc. D. 
 Huy, Belgium, 1884. 
 
CAM — CAM 139 
 
 CAMBEBT (Robert), or Lambert. French comp. and org., B. Paris, 
 1628. S. under Chambonni^res. Org. of Ch. of S. Honor4. Musical 
 Director to Anne of Austria, 1666. Lost position at French court (through 
 intrigues of Lulli), and settled in England. Master of Music to Charles II. D. 
 England [London], 1677. 
 Works. — Operas, etc. : La Pastorale, premiere comedie Irangaise en misique, 
 
 April, 1659; Adonis, 1662; Ariane, 1667; Pomona, a Pastoral (Perrin), 1671 ; 
 
 Les Pienes et les Plaisers de 1' Amour, etc. 
 Cambert was the first Frenchman, in imitation of Peri and Caccini to write 
 
 operas in the French vernacular. He was regarded as the best French composer 
 
 till the intrigues of Lulli destroyed his position. His residence in England was not 
 
 happy for himself, as the failure of his works in London affected him greatly, and is 
 
 supposed by some historians to have hastened his death. 
 
 CAMBINI (Giovanni Giuseppe). Italian comp. and violinist, B. Leghorn, 
 
 Feb. 13, 1746. S. under Martini, 1763-66. Captured by pirates while 
 
 returning to Leghorn. Ransomed by a Venetian merchant after having been 
 
 a slave for a time. Went to Paris, 1770. Cond. at the Theatre des Beaujolais, 
 
 1788-1791. Cond. at the Theatre Louvois, 1791-94. D. Bic^tre, 1825. 
 
 Works. — Le Sacrifice d' Abraham, oratorio, 1774. Operas: Rose d'Amour et 
 
 Carloman, 1779 ; La Croisee, 1785 ; Les Fourberies de Mathurin, 1786 ; Cora ; 
 
 Le Deux Fr^res ; Ad^le et Edwin; Nantilde et Dagobert, 1791 ; Trois Gascons, 
 
 ■793 j Alcmeon ; Alcide ; Les Romans, ballet, 1776. Symphonies (50 to 60 in 
 
 number) ; String quartets (144) ; Music for the org. and Pf. ; Flute music and a 
 
 method for the flute ; Concertos, songs, etc. 
 
 CAMIDGE (John). English comp. and org., B. about 1735. Org. of York 
 Cath., 1756-1803. D. York, 1803. 
 Works. — Six Easy Lessons for the Harpsichord, York, n.d. ; Glees ; Miscel- 
 laneous works for the Harpsichord ; Church music and songs, etc. 
 
 CAMIDGE (Matthew). English comp. and org,, son of the above, B. York, 
 1764. S. under Dr. Nares at the Chap. Royal. Org. of York Cath., 1803- 
 1844. D. York, Oct. 23, 1844. 
 Works. — A Collection ol Tunes adapted to Sandy's version of the Psalms, 1789 ; 
 
 A Method of Instruction in Music by Questions and Answers, n.d. ; Twenty-four 
 
 Original Psalm and Hymn Tunes, 8vo, n.d. ; Cathedral Music, fo. n.d. ; Sonatas 
 
 for the Pf. ; Marches for the Pf. ; Glees and songs. 
 
 CAMIDGE (John). English comp. and org., son of the above, B. York, 1790. 
 
 S. under his father. [Bac. Mus. Cambridge, 1812 (?). Doc. Mus. Camb., 
 
 1819 (?)]. Doc. Mus. Lambeth, 1855. Org. of York Cath., 1844-1859. D. 
 
 York, Sept. 21, 1859. 
 
 Works. — Cathedral Music, consisting of a Service... Anthems and 50 Double 
 
 Chants. ..fo., n.d. ; Six Glees for 3 and 4 voices, n.d., etc. 
 
 CAMFAGNOLI (Bartolomeo). Italian comp. and violinist, B. Cento, near 
 Bologna, Sept. 19, 1751. S. under Nardini. Violinist in the "Pergola" at 
 Florence. Leader at Rome, Florence, etc. Chap.-master to the Bishop of 
 Freysing, 1776. Violinist to Duke of Courland, Dresden, 1778. Travelled in 
 Europe as violinist, visiting among other towns Stockholm, Copenhagen, Ham- 
 burg, Potsdam, Munich, Salzburg, Ratisbon, etc. Cond. and violinist at 
 Leipzig, 1797-1818. Resided for a time at Paris. D. Neustrelitz, Nov. 6, 
 1827. 
 Works.— Op. I. Eighteen duets for flute and violin ; op. 2. Do. ; op. 3. Three 
 
 concertos for flute and orch. ; op. 4. Eighteen duets for flute and vn. ; op. 6. Six 
 
 Solos or Sonatas for violin and 'cello ; op. 7. Three themes, varied, for 2 vns ; op. 
 
 8. Do. ; op. 9. Three duets for 2 vns. ; op. 10. Six fugues for violin ; op. 12. 
 
 Thirty Preludes for the violin ; op. 13. Six Polonaises for the violin ; op. 14. Six 
 
 easy duets for 2 violins ; op. 15. Concerto for violin and orch. in B ; op. 16. 
 
 L'lllusion de la Viole d'Amour, Sonate notturne pour le Violon, in D minor ; op. 
 
 17. L'Art d'inventer a I'improviste des Fantaisies et Cadences pour le Violon (coll. 
 
 of 246 pieces) ; op. 18. Seven Divertissements for violin ; op. 19. Three duets for 
 
140 CAM — CAM 
 
 2 violins ; op. 20. Recueil de loi Pieces faciles et progressives pour Violon ; op. 
 21. Nouvelle M^thode de la Mecanique Progressive, etc., pour 2 violins — trans, 
 into English as New and Progressive Method on the Mechanism of Violin Playing, 
 by John Bishop, Lond., fo., n.d. ; Forty-one caprices for " rAlto-Viola,"etc. 
 
 The exercises numbered 20, 21, and 22, and those numbered 10, 12, and 17, are 
 among the best studies that can be given the young violinist who has achieved a 
 moderate mastery over his instrument. They are widely in use among professors. 
 Campagnoli was a violinist of the same school as Pugnani and Giardini, and 
 aided in forming the more modern one of Viotti, Kreutzer, and Spohr. 
 
 CAMPAJOLA (Francesco). Italian comp., B. Naples, May 8, 1825. Prof, at 
 Naples Cons. Has written various operas and romances, etc. 
 
 CAMP ANA (Fabio). Italian comp., B. Bologna, 1815. S. at Bologna Cons. 
 Settled in London about 1850 as teacher of singing. D. London, Feb. 2, 1882. 
 
 Works. — Operas: Caterina di Guisa, 1838; Giulio d'Este, 1841 ; Vannina 
 d'Ornano, 1842; Luisa di Francia, 1844; Almina, London, i860; Esmeralda, 
 Lond., 1878. Songs: Eyes; Goodbye; Morn that shinest ; One smile of thine; 
 The little Gipsy ; The twilight hour ; Aika ; Elvira mia ; Fin dalla prima etade ; 
 -Non Lasciarmi ; The winds are hushed to rest ; T'Adoro ; Non m'ascolta ! ; Non 
 lo so ; Come back, my only love ; Cradle song ; Evening bringeth my heart back 
 to thee ; The Scout; Part-songs, etc. 
 
 CAMPANELLA (Francesco). Italian violinist and comp., B. Naples, Sept. 
 30, 1827. S. at Naples Cons. Writer of operas, cantatas, songs, Pf. music, etc. 
 
 CAMPANINI (Italo). Italian tenor vocalist, B. Parma, June 29, 1846. S. 
 
 at Parma Cons. Sang in Russia, and Madrid. S. under Lamperti at Milan. 
 
 Appeared at Bologna and Rome with success, 1870. Sang at Drury Lane and 
 
 H.M. Theatre London, 1872. Appeared m America, 1873. Has since 
 
 appeared in various towns and countries throughout the world. Was knighted 
 
 by the King of Italy. 
 
 " Nature endowed Campanini with a strong, even, and sympathetic voice, and 
 
 art has enabled him to greatly increase its compass, while imparting flexibility and 
 
 brilliancy throughout its range. An ardent, painstaking student, he is to-day a 
 
 living proof that good vocalism is worth all the time and labour it takes to acquire, 
 
 for without it no voice could have borne the strain to which his has been subjected 
 
 . . . His acting is nearly as good as his singing, and the poorest singer in the 
 
 cast feels his magnetic influence. But not only as an artist is he enviable : his 
 
 genial, manly character has won him hosts of friends, who love the man as much as 
 
 they admire the singer." — Frederick Nast in Harpers Magazine, 1881. 
 
 He is said to be conversant with the tenor roles of nearly 100 operas. 
 
 CAMPBELL (Rev. A., M.A.) Scottish writer, author of "Two Papers on 
 Church Music, read before (the Liverpool Ecclesiastical Musical Society,' 
 Liverpool, 1854. 
 
 CAMPBELL (Alexander). Scottish writer and musician, B. Tombea on Loch 
 
 Lubnaig, Callander, Feb. 22, 1764. S. at Callander Grammar School. 
 
 S. music at Edinburgh under Tenducci. Teacher of Pf. in Edinburgh. Org. 
 
 in the non-juring chapel, Nicolson Street, Edinburgh. Was Musical Instructor 
 
 of Sir Walter Scott. D. Edinburgh, May 15, 1824. 
 
 Works. — An Introduction to the History of Poetry in Scotland 
 
 Edinburgh, 4to, 1798. Sangs of the Lowlands of Scotland, carefully compared 
 with the original editions, and embellished with characteristic designs composed 
 and engraved by the late David Allen, Esq., Historical Painter, Edinburgh, 
 4to, 1799. A Tour from Edinburgh through parts of North Britain, Lond., 
 2 vols., 4to, 1802. Another edit., 2 vols., l8ii. The Grampians Desolate, 
 a Poem, 1804. Albyn's Anthology, or a Select collection of the melo- 
 dies and vocal poetry peculiar to Scotland and the Isles, hitherto unpublished, 
 collected and arranged by Alex. Campbell, the modern Scottish and English 
 verses adapted to the Highland, Hebridean, and Lowland melodies, written by 
 Walter Scott, Esq., etc., Edinburgh, Oliver & Boyd, 2 vols., folio, 1816-1818. 
 Collections of Scottish Songs, with violin, L-^nd., 1792. A .Second Collection 
 arranged for Harp ic)nvl, n, d., etc. 
 
CAM — CAJl i4i 
 
 The works by which Campbell will hereafter be known are " Albyn's Anthology," 
 and the " History of Poetry. He collected the melodies of Albyn's Anthology for 
 the Highland Society, and prefixed to the first volume a few notes on the national 
 music of Scotland. His collection is chiefly valuable for its preservation, of a 
 number of old Gaelic airs, some of them extremely beautiful. Wilson, Hogg, Mrs. 
 Grant, and Boswell wrote poetry for the airs. His claim to the composition of the 
 melody now sung to "Gloomy Winter's noo awa" has not been substantiated. 
 The two works first named are usually issued together as one vol. 
 
 CAMPBELL (Donald). Scottish writer and collector, author of "A Treatise 
 
 on the Language, Poetry, and Music of the Highland clans, with illustrative 
 
 Traditions and Anecdotes, and numerous ancient Highland airs, " Edinburgh, 
 
 large 8vo, 1862. 
 
 This is a good but rather opinionative work. It contains a number of ancient 
 
 Highland melodies badly set to inferior basses. He describes himself as "late 
 
 Lieut, of the 57th Regiment," and appears to have been a resident in Port-Glasgow 
 
 on the Clyde. He was a claimant to the Breadalbane Peerage. 
 
 CAMPBELL (Francis Joseph), LL.D. American musician and educator of the 
 blind, B. Franklin, Co., Tenn., Oct. 9, 1834. Lost sight when three-and-a- 
 half years old. Educated at a School for the Blind, Nashville, at which he 
 afterwards became music teacher. Teacher of Music in the Perkins Institution 
 for the Blind, Boston. Went to Europe in 1869, and S. in Leipzig and Ber- 
 lin, with Tausig and Kullak. Established in conjunction with Dr. Armitage 
 the Royal Normal College, for the Blind, London, 1872. 
 This institution has now grown into the most important School for the Blind in 
 the world, and the fame of its educational success is known everywhere. The 
 number of musical pupils educated in it is large, and not a few among those who 
 have studied in the college, are now musicians of acknowledged competence. Dr. 
 ^ Campbell has attained marvellous results by his industry and self-reliance, and has 
 placed within the reach of poor blind persons facilities for becoming quite indepen- 
 dent of their serious disadvantage. It is not too much to say that the artists educated 
 in this College take their stand with those of the same age among the seeing, and the 
 performances of the College Choir are unsurpassed by the best choirs in the country. 
 
 CAMPBELL (John). Scottish comp. and editor, B. Paisley, about end of i8th 
 century. D.Glasgow, i860. Edited " Campbell's Selection of Anthems and 
 Doxologies, with a separate piano accompaniment," Glasgow, 1848 ; and wrote 
 a few original psalms and anthems of mediocre quality. 
 
 CAMPBELL (Joshua). Scottish collector, published about the end of last 
 century "A Collection of New Reels and Highland Strathspeys, with a bass 
 for the violoncello and harpsichord," n. d. " Collection of Favourite Tunes," 
 with variations, etc., n. d. 
 
 CAMPBELL (Thomas). Scottish poet and general writer, B. Glasgow, July 
 27, 1777- t*. Boulogne, June 15, 1844. 
 One of the most chaste of modern poets. He wrote words to the music in 
 
 Bunting's Irish Airs, and wrote many lyrical pieces which have been set by many 
 
 good composers. His words have been adapted to Scottish melodies in many of 
 
 the more modern collections. Among composers who have set his verses may be 
 
 mentioned Bishop, Attwood, Callcott, Pierson, J. W. Elliot, Neukomm, Sala- 
 
 man, etc. 
 
 CAMPBELL (William). Scottish collector, published about 1 790, ' ' Campbell's 
 First Book of New and Favourite Country Dances and Strathspey Reels, for 
 the harpsichord or violin. " 
 
 CAMPENHOUT (Francois van). Belgian comp., B. Brussels, 1780. _ D. 
 Brussels, 1848. Best remembered as the comp. of "La Braban(;onne, the 
 well-known Belgian national air, composed during 1830. Also comp. the 
 operas Grotius, r8o8; I'Heureux Mensonge, 1819; Le Passe-Partout, 1814, etc 
 
 CAMPION (Thomas). English poet, dramatist, comp. and physician, flourished, 
 in first part of 17th century. D. Feb., 1619. 
 Works.— Observations on the Art of English Poesie, 1602 ; The first, second, 
 
t42 CAM — cAN 
 
 third, and fourth booke of Ayres, containing divine and niorall songs : to be sung 
 to the Lute and Viols, in two, three, and foure Parts : or by one Voyce to an 
 Instrument, Lond., i6lo-l6l2; Songs of Mourning bewailing the untimely death 
 of Prince Henry, 1613. A New Way of Making Foure parts in Counter-point, by 
 a most familiar and infallible rule, 1618 (and 1655 in Playford's " Introduction to 
 the Skill of Musick ") ; Ayres for the Mask of Flowers, 1613. 
 
 CAMPORESE (Violante). Italian soprano vocalist, B. Rome, 1785. Sang at 
 Paris, Milan, etc. Debut at King's Theatre, London, Jan. II, 1817. 
 Appeared at Ancient Concerts, etc., 1824-5. Returned to Italy, 1825. D. 
 after i860 [1839?] 
 
 CAMPEA (Andre). French comp., B. Aix (Provence), 1660. Chor. in Cath. 
 of Aix. Musical director at the Jesuit's Ch. at Paris. Master of Chap. Royal, 
 Paris. D. Versailles, July, 1744. 
 
 Works. — Operas, etc. : Hesione (by Danchet), 1700 ; Tancrede (Danchet), Nov., 
 1702; Les Muses, ballet, Oct., 1703; Hippodamie (by Roy), 1708; Idomenee, 
 1712 ; T61ephe, Nov., 1713 ; Les Devins de la place Saint Marc, ballet, 1710 ; Les 
 Festes Venitiennea, ballet, 1710; Camille, 1717 ; Alcide. Motets a I. II. et III. 
 voix, avec la basse- continue, Ballard, Paris, 1703 ; Motets a I, 2. et 3 voix avec la 
 basse continue, Livre premier, Ballard, 1710 ; Cantatas Franfoises, melees de 
 symphonies, Livre premier, 1721 ; 2nd, 1714; etc. 
 
 Hawkins says in reference to this composer : " The grace and vivacity of his airs, 
 the sweetness of his melody, and, above all, his strict attention to the sense of the 
 words, render his compositions truly estimable. 
 
 CAMPS Y SOLER (Oscar). Spanish pianist, comp. and writer, B. Alexandria, 
 Egypt, Nov. 21, 1837. Writer of theoretical works, cantatas, etc. Has 
 travelled in France, Scotland, Spain, etc. 
 
 CAMUS (J. P. le), French musician, was a teacher in London. Published 
 "The Art of Singing, a Method in Three Parts, on an entirely new Plan of 
 Vocalization," Lond., fo., 1833. 
 
 CAMUS (Paul Hippolyte). French comp. and flute player, B. Paris, Jan. 
 
 26, 1796. S. at Paris Cons. Plate flute in various Parisian theatres. D. [?] 
 
 Works.— Op. i. 24 Serenades composees d'airs nalionaux varies pour la Flflte. 
 
 Livre i, 2 ; op. 2. Duets for 2 flutes ; 3. Fantasias, duets, solos, concertos, etc., 
 
 for flute. 
 
 CANDEILLE (Pierre Joseph). French operatic comp., B. Dec. 8, 1744. D. 
 April 24, 1827. 
 
 CANDLISH (Kev. Robert Scott). Scottish divine, B. Edinburgh, 1807. D. 
 1873. He wrote "The Organ Question : Statements by Dr. Ritchie and Dr. 
 Porteous for and against the Use of the Organ in Public Worship... with an 
 introductory notice." Edin., 8vo, 1856. 
 
 CANIS (Cornelius). German comp. of i6th century. Supposed to have died 
 about IJS^' H^ wrote chansons and canons of an elaborate and learned 
 nature, many of which occur in contemporary collections. 
 
 CANNABICH (Christian). German comp. and violinist, B. Mannheim, 1731. 
 
 S. under his father and Stamitz. Sent by the Elector to Italy, where he 
 
 studied under Jommelli. Leader of Mannheim orch., 1765. Cond. of do., 
 
 1775. Cond. at Munich, 1778. D. Frankfort, 1798. 
 
 Works. — Op. i. Six quartets for strings ; op. 2. Three symphonies for orch. ; 
 
 op. 3. Six trios for strings ; op. 4. Six duets for flute and violin, 1767 ; op. 5. Six 
 
 quartets for strings ; op. 6. Three concertos for violin, with string quartet accomp. ; 
 
 op. 7. Six Symphonies (concertante) for flutes, with quartet accomp. ; Azacaja, 
 
 opera, 1778 ; Ballets, etc. 
 
 Cannabich was the friend of Mozart, one of the foremost conductors of his day, 
 
 and a good composer. His son Carl (B. Mannheim, 1769; D. Munich, 1806) 
 
 inherited the paternal musical capacity, and followed his steps as a conductor and 
 
 composer. His works are chiefly vocal. 
 
CAN — CAR t43 
 
 CANJIETI (Francesco). Italian comp,, B. Vicenza, 1809. Writer on counter- 
 point, and composer of operas, masses, romances, etc. D. Vicenza, August, 
 1 084. 
 
 CANOGIA (Jose Avelino). Spanish clarinet-player and comp., B. Oeiras, 
 Lisbon, Nov. 10, 1784. D. Lisbon, 1842. Has played at Paris, London, 
 etc., and has written concertos, fantasias, and variations for his instrument. 
 
 CAPECELATRO (Vincenzo). Italian comp., B. Naples, 1815. S. at Naples 
 Cons. D. Florence, Oct 7, 1874. Writer of operas, songs, etc. 
 
 CAPES (Rev. John Moore). English comp. and writer, was B.A., Oxford, 
 1836; M.A., 1846. He composed "The Druid," a Tragic opera, produced 
 at St. George's Hall, Liverpool, Feb. 22, 1879. This work attained not 
 more than local renown. Capes has also written "An Essay on the Growth 
 of the Musical Scale and of Modern Harmony," London, 1879. 
 
 CAPILXJPI (Geminiano). Italian comp., B. Modena, 1560. Pupil of Orazio 
 Vecchi. D. Modena, Aug. 31, 1616. Writer of madrigals, canzonets, and 
 motets. 
 
 CAPOTABTI (Luigi). Italian comp., B. Nolfetta, 1767. S. at Naples Cons. 
 D. 1842. Writer of operas, etc. 
 
 OAPOUL (Joseph Amedee Victor). French tenor vocalist, B. Toulouse, 
 Feb. 27, 1839. S. at Paris Cons, from 1859. Has sang in U. S. A., Lon- 
 don, Paris, etc., with distinguished success. 
 
 CAPUA (Einaldo di). See Rinaldo di Capua. 
 
 CAPXTZZI (Giuseppe Antonio). Italian violinist, B. Brescia, 1740. Appeared 
 in London, 1796. D. Bergamo, March 26, 1818. Writer of operas, violin 
 music, etc. 
 
 CAEACCIOLO (Luigi). Italian comp., B. Andria, Bari, Aug. 10, 1849. S. 
 at Naples Cons. Writer of operas, cantatas, and vocal music. 
 
 CABADOBI-ALLAN (Maria Caterina Eosalbina), nie De Munck. 
 
 French soprano vocalist, B. Milan, 1800. S. music under her mother. S. 
 for the Stage. Appeared in London as "Cherubino," Jan. 12, 1822. Sang 
 in London till 1826. Returned to Continent, where she continued till 1834. 
 Re-appeared in London, 1834. D. Surbiton, Surrey, Oct. 15, 1865. 
 
 CABAFA (Michele Henri Francois Aloys Vincent Paul de C). Italian 
 
 comp. and teacher, B. Naples, Nov. 17, 1787 [1785]. S. under Cherubini, 
 Fazzi, etc. Entered army and became an officer. Settled in Paris, 1827. 
 Prof, of Comp. at the Cons., 1828. Mem. of the Institute, 1837. Chev. of 
 Legion of Honour. Director of the Military Music School, etc. D. Paris, 
 July 26, 1872. 
 Works. — Operas: II Fantasma, 1802; Vascello I'Occidente, i8n ; La Gelosia 
 corretta, 1815; Gabriella di Vergy, 1816; Ifigenia in Tauride, 1817 ; Adele di 
 Lusignano, 1817; Berenice in Siria, 1818; Elisabetta in Derbyshire, 1818 ; II 
 Sacrifizio d' Epito, 1819 ; I due Figaro, 1820 ; La Capricciosa ed il Soldato, 1823 ; 
 Eufemia di Messina, 1823 ; Abufar, 1823 ; II Sonnambulo, 1824 ; Aristodemo, 
 1823 ; Jeanne d' Arc, 1821 ; Le Solitaire, 1822 ; Gl' Italici e gl' Indiani, 1823 ; 
 Le Valet de Chambre, 1823 ; I'Auberge supposee, 1824 ; La Belle au bois 
 dormant, 1825 ; Sangarido, 1827 ; Masaniello, 1827 ; La Violette, 1828 ; Jenny, 
 1829 ; Le Nozze di Lamermoor, 1829; L' Anberge d' Auray (with Herold), 1830 ; 
 Le Livre de I'Ermite, 1831 ; Nathalie (vidth Gyrowetz), ballet, 1832 ; L'Orgie 
 (ballet), 1831 ; La Prison d' Edimbourg, 1833 ; Une Journee de la Fronde, 1833 ; 
 La Grande Duchesse, 1835 ; Therise, 1838. Masses and Stabat Mater. Orches- 
 tral and Pf. music, and miscellaneous single pieces. 
 
 His music is ear-catching if shallow, and clever if not learned, and with those 
 attributes he easily earned what he most sought — contemporary fame. His operas 
 are nearly always pleasing if sometimes trivial, and his comic faculty was humorous 
 rather than flippant. 
 
t44 CAR — CAR 
 
 CARBONELLI (Stefano), Italian violinist, B. Italy, beginning of l8th century. 
 S. violin under Corelli. Musician to Duke of Rutland, in England, 1720. 
 Leader of the opera band, London. Leader at the Haymarket, 1721. Leader 
 at Drury Lane Theatre, 1725. Married to Miss Warren. Latterly became 
 wine merchant to the king. D, London, 1772. 
 He published twelve solos for a violin and bass, but was chieflyfamous as a violinist. 
 
 CARCASSI (Matteo). Italian guitar-player, B. 1792. D. Paris, 1853. 
 
 His works consist chiefly of arrangements of airs from popular operas for the 
 guitar. He also wrote a standard method for his instrument, and was one of the 
 finest performers on the guitar. 
 
 CARDON (Louis). French comp. and harp-player, B. Paris, 1747. D. Russia, 
 1805. Known by his method for the harp and a few compositions for 
 the same. 
 
 CARESTINI (Giovanni). Italian contralto vocalist, B. Ancona, 1705. Dibut 
 at Rome in Buononcinl's "Grisilda," 1721. Appeared in London, Dec, 1733. 
 Returned to Italy, and sang with much success there and in other parts of 
 Europe. D. [1758-60]. 
 
 CAREW (Miss ? ). English soprano vocalist, B. Oct. 16, 1799. S. under 
 Welsh, and her parents. Played small parts in Covent Garden Theatre. Dibut 
 as operatic vocalist, Covent Garden, July, 1815. Sang at the English Opera 
 House, 1818, etc. D. [?] 
 
 She was an excellent ballad singer, being especially successful in sentimental 
 songs. 
 
 CAREY (Henry). English comp. and minor poet, natural son of George Saville, 
 
 Marquis of Halifax, B. 1692 [1685]. Received some instruction in music from 
 
 Roseingrave and Geminiani. Otherwise self-taught. Was for a time a teacher 
 
 of music. Life spent chiefly in writing music for the theatres, and engaging in 
 
 convivial enjoyments. D. (? by suicide) London, Oct. 4, 1743. 
 
 Works. — Musical Dramas, etc: The Contrivances, 1715 ; The Honest York- 
 
 shireman, 1736; Amelia, 1732; Teraminta, 1732; Chrononhotonthologos, 1734; 
 
 The Dragon of Wantley (words only), 1737 ; The Dragoness (otherwise known 
 
 as Marjery, or a worse Plague than the Dragon), 1738. Betty, 1739 ; Nancy, 
 
 1739. Poems, 1720 ; Cantatas, 1732. The Musical Century, in 100 English 
 
 Ballads on various Subjects and Occasions, etc., Lbnd., 2 v., 1737-1740 ; Dramatic 
 
 Works (Collected), 1743. Interludes: Thomas and Sally, etc. Melody of " God 
 
 Save the Queen " (?) 
 
 Carey is now remembered chiefly on account of his ballad " Sally in our Alley;" 
 his attacks on the Italian opera ; and his unfortunate career. His ballad is a very 
 fine specimen of its class, though it is by no means a very refined or genuine 
 example of the domestic ballad, being rather mock -sentimental than natural. His 
 attack oh the Italian opera, in " The Dragon of Wantly " and its sequel, is one of 
 the first endeavours of our native musicians to regain their natural position in their 
 own country. Although the sparkling music is by Lampe (a German) it is none 
 the less true that all the point and half of the success of the piece was due to Carey's 
 clever satire. The independence shown at that period of English music could be 
 well imitated at the present time, when a mystical Teuton is as highly prized as a 
 piece of Etruscan pottery. His claim to be regarded as the composer of " God 
 save the Queen " is one of the knotty points in musical controversy, and has not yet 
 been decided with any degree of authority. 
 
 CAREY (George Saville). English poet and dramatist, son of above, B. 1743. 
 Wrote a number of farces and dramatic pieces of varying merit. Collection of 
 Songs ; Poems, 1787, etc. D. 1807. 
 
 CARISSIMI (Giacomo). Italian comp., B. Marino, near Rome, 1604 [1580]. 
 
 Chap. -master at Assisi, and of Church of S. Apollinare, Rome. D. Rome, 
 
 1674 [1670]. Biography obscure. 
 
 Works. — Concerti Sacri, a 2, 3, 4, e S voci, 1675 ; Missse 5 et 9 vocum, 1663 
 
 1666. Oratorios: Balthazar; David and- Jonathan ; Abraham and Isaac; The 
 
CAR — CAk 14s 
 
 Last Judgment ; Jonah ; Solomon ; Job ; Hezekiah, Motets, and a great amount 
 of music in manuscript. 
 
 Carissimi is one of the large number of musicians who are reckoned more 
 influential in an educational than in an artistic sense. His development of the 
 recitative and the innovations vi'hich he introduced into sacred music place, him 
 among the number of great reformers. He educated and influenced a number of 
 eminent composers, among them being A. Scarletti, Buononcini, Cesti, etc. He 
 was one of the first to introduce the string orchestra into the service of the church, 
 and was likewise a great reformer of melody and rhythm. His cantatas, or rather 
 oratorios, are remarkable works for the period which produced them, and must be 
 regarded as the forerunners of the more magnificent effusions of Handel. He is 
 not known to have written for the stage, else his influence on dramatic music might 
 have anticipated the labours of Monteverde. His works, or some of them, have 
 been reprinted in England ; and "Jonah," under the editorship of Henry Leslie, 
 will be found a most interesting work. His other works are not so popular, though 
 some of them have been adapted to the words of English anthems. 
 
 CARLBEBG (Gotthold). German comp., cond., and editor, B. 1837. Resides 
 in New York as teacher and editor of a Musical Journal. Has written can- 
 tatas, songs, etc. 
 
 CARLETON (Hugh). English writer, author of "The Genesis of Harmony : 
 An Inquiry into the Laws which govern Musical Composition," Lond., 1882. 
 
 CABLEZ (Jules Alexis). French comp. and writer, B. Caen, Feb. 10, 1836, 
 Comp. Pf., org., and church music. Director of Caen Cons., 1882. 
 
 CARLTON (Rev. Richard). English divine and comp., flourished during end 
 of 1 6th and beginning of 17th centuries. He wrote "Twenty-one Madrigals 
 for five voyces," Lond., 1601 ; and contributed "Calm was the Air," a madri- 
 gal for S voices, to the " Triumphs of Oriana." His biography is unknown. 
 
 CARMICHAEL (Peter). Scottish writer, author of the "Science of Music 
 Simplified," Glasgow, 8vo, i86o. 
 
 CARMICHAEL (S.) Scottish writer, author of "Dictionary of Musical Terms 
 and Elementary Rules," Lond., 8vo, 1878. 
 
 CARNABY (William). English comp. and org., B. London, 1772. S. under 
 
 Nares and Ayrton as Chor. in Chap. Royal. Org. at Eye, Suffolk. Org. at 
 
 Huntingdon. Bac. Mus., Cantab., 1803. Doc. Mas., Cantab., 1808. Org. 
 
 at Hanover Chap., Regent St., London, 1823. D. London, Nov. 13, 1839. 
 
 Works. — Twelve Collects for 4 voices, in score, with organ accomp. ; Sanctus 
 
 for S voices ; Six Canzonets for voice and Pf. ; Six Songs lor voice and Pf. Glees, 
 
 various. Anthems. MS. Works. The Singing Primer, or Rudiments of Solfeggi, 
 
 with Exercises in the principal Major and Minor Keys, Lond., 1827. 
 
 CARNICER (Ramon). Spanish operatic comp. and teacher, B. Lerida, Oct., 
 1789. Prof, at Madrid Cons. D. Madrid, Mar., 1855. 
 
 CARNIE (William). Scottish writer and editor, B. Aberdeen towards the 
 close of 1824. Was originally a letter engraver. Became a student of litera- 
 ture and music. Precentor of Established Ch., Banchory- Devenick, Aberdeen, 
 1845. Inspector of Poor for same parish, 1847. Sub-Editor of the ^ferafew 
 Herald, 1852. Precentor of the West, or High Ch., Aberdeen, 1854. Clerk 
 and Treasurer to the Managers of Aberdeen Royal Infirmary and the Lunatic 
 Asylum, 1861. Was local correspondent for a time to the Times and the 
 Scotsman. 
 Works.— Psalmody in Scotland, a Lecture, Aberdeen, 8vo, 1854 ; Northern 
 Psalter, containing 402 Psalm and Hymn Tunes ; Anthem Appendix to do. ; Pre- 
 centor's Companion and Teacher's Indicator; Contributions to periodical litera- 
 ture, etc. 
 
 Mr. Carnie's labours have done everything to promote good psalmody in the 
 North of Scotland. In 1854, at the request of the local Young Men's Christian 
 Association, he delivered a lecture on Psalmody to an audience numbering over 
 2000 persons. This lecture (one of the first on the subject ever given, so far as we 
 
 K 
 
146 CAR — Car 
 
 know, in Scotland) was illustrated by the Harmonic Choir in a style which 
 awakened great local interest in regard to the " Service of Sacred Song." Indeed, 
 to this meeting may be ascribed the great desire for psalmody improvement which 
 arose over the whole of the north-eastern districts of Scotland. Continuing his 
 efforts to raise the standard of congregational singing, Mr. Carnie's name became 
 widely known. His "Northern Psalter" (1870) obtained immediate popularity 
 over all Scotland, and amongst all Presbyterian denominations, and at the present 
 time upwards of 5o,ooo copies of his psalmodic works have been circulated. 
 
 CABOLAN. See O'Carolan. 
 
 CAKON (Firmain). Dutch comp. of the l6th century. Writer of church music, 
 madrigals, and other works. 
 
 CARFANI (Giuseppe). Italian comp., B. Jan. 28, 1752, in Lombardy. S. at 
 Milan. D. Vienna, Jan. 22, 1825. Comp. oratorios and church music, etc. 
 Author of " Le Haydine, ovvero lettere su la vita e le opere del celebre maes- 
 tro Giuseppe Haydn," Milan, 8vo, 1812. Trans, into French by Mondo, 
 Paris, 1837. "Le Rossiniane, ossia lettere musico-teatrali," 8vo, 1824. 
 
 CABFENTEB (Joseph Edward). English lyrical writer. D. May, 1885. 
 
 Has published Lays for Light Hearts, 1835 '> Songs and Ballads, 1844 ; 
 
 Poems and Lyrics, 1845; Border Ballads, 1846; Lays and Legends of Fairy 
 
 Land, 1849. 
 Mr. Carpenter belongs to that school of poets founded by T. Haynes Bayly, and 
 to which belong Messrs Oxenford, Guernsey, Enoch, Bellamy, etc. He has written 
 a great number of lyrics whioh have been, with their musical settings, highly suc- 
 cessful. Among the composers who have availed themselves of Mr. Carpenter's 
 prolific talent may be named J. L. Hatton, C. W. Glover, L. Phillips, T. Distin, 
 S. Glover, F. N. Crouch, J. P. Knight, J. W. Cherry, Tom Cooke, and numerous 
 others. 
 
 CABBi (?) American pianist, comp., and writer. Author of Analytical 
 Instructor for the Pianoforte (Ditson, Boston), n. d. Preludes for the 
 Pianoforte (do.) Chant Mass in D. Mass in C minor. Songs and Piano- 
 forte Music. 
 
 CABBENO (Theresa). Italian pianist and comp., B. Caraca, Venezuela, Dec. 
 22, 1853. Has played in the U. S. A., France, etc. Married to M. Emile 
 Sauret the violinist. 
 
 CABBETTI (Giuseppe Maria). Italian comp., B. Bologna, Oct. 10, 1690. 
 D. Bologna, July 8, 1774. Writer of motets, masses, and other sacred music. 
 
 CABBODUS (John Tiplady). English violinist, B. Keighley, Yorks, Jan. 20, 
 1836. S. under Molique at Stuttgart and London. Violinist at Covent 
 Garden Theatre. Debut as soloist, April 22, 1863. Leader at Covent Gar- 
 den Theatre. Leader at principal Provincial Musical Festivals, etc. 
 Mr. Carrodus is the leading English violinist at the present time, and he performs 
 
 in a powerful and skilful, yet withal unpretending manner, the works of the great 
 
 composers for the violin. His tone is firm and good in quality, while his executive 
 
 abilities are of the first order. 
 
 CABTEB (George). English org. and comp., B. London, Jan. 26, 1835. S. 
 
 under Sir John Goss. First appointed an org., 1847. Org. successively at S. 
 
 Thomas', Stamford Hill, 1848; Christ Ch., Camberwell, 1850 ; Trinity Ch., 
 
 Upper Chelsea, 1853 ; S. Luke's, Chelsea, i860 ; Montreal Cath., 1861-70. 
 
 Works. — Sinfonia-cantata, Psalm n6, "I love the Lord," Royal Albert Hall, 
 
 1872 ; Evangeline, cantata (Longfellow), R. A. Hall, 1873, and at Crystal Palace ; 
 
 Tema con variazione in E flat, for organ ; Grand festival march in D, for organ ; 
 
 Opera: " Fair Rosamond " (MS.); Italian opera : " Nerone" (MS.) ; Operetta: 
 
 Golden Dream, for S voices ; Songs and miscellaneous works. 
 
 Mr. Carter is a good organist, and has performed at New York, Boston (1865- 
 67), Leipzig, Berlin, Dresden (1871), and London (1871-73). His compositions 
 liavg been performed with success in many different towns. 
 
CAR — CAR 147 
 
 CAKTER (Henry). English org. and comp., brother of above, 13. March 5, 
 1837. Was org. at Quebec Cath. Resides in New York as org. and teacher. 
 Has composed songs, quartets, organ music, etc. 
 
 CABTER (Thomas). Irish comp., B. Ireland, 1735 [1758, 1768, also given]. 
 
 S. probably in Ireland under his father. Org. of S. Werburgh's Ch., Dublin, 
 
 1751-69. Travelled in Italy for a time [1770-1]. Cond. of theatre in Bengal 
 
 [1771-2]. Settled in Loudon as teacher and comp. to the theatres, 1773. D. 
 
 London, Oct. 12, 1804.* (Date 1800 incorrect.) 
 
 Works.— Musical Dramas: The Rival Candidates, 1775; The Milesians, 1777; 
 
 The Fair American, 1782 ; The Birthday ; The Constant Maid ; Just in Time. 
 
 Lessons for the Guitar ; Concerto for bassoon and Pf. ; Six Sonatas for the Pf. 
 
 Songs, detached and in collections, etc. 
 
 Carter, as composer of " O Nannie, wilt thou gang wi' me ?" has been accorded 
 a larger degree of fame in connection with it than any other musical composer who 
 has produced a single celebrated piece. The merits of the song are well known, 
 and its imitation of the Scottish style is probably the secret of its success. Like 
 other celebrated efforts the authorship has been doubted, but proofs in abundance 
 are existing to firmly estabhsh Carter's claim. A letter in the "Gentleman's 
 Magazine," claiming the song for a Mr. Williams, cannot be accepted as affording 
 a more powerful claim than is already advanced on behalf of Carter. Apart from 
 this song his merits as a composer are not great. 
 
 CARTER (William). English org., comp., and cond., brother of George and 
 Henry, B. London, Dec. 7, 1838. S. under his father and E. Pauer. Chor. in S. 
 Giles', Camberwell, 1845; at Chap. Royal, Whitehall; and at King's Coll. , Lon- 
 don. Org. o( Christ Ch., Rotherhithe, 1848; Little Stanmore, Whitchurch, 1S50; 
 S. Mary, Newington, Surrey, 1854 ; S. Helen's, Bishopagate, 1856. Org. in 
 exchange with his brother Henry, of Quebec Cath., 1859. Cond. largest 
 Handel Festival ever given in Canada, at Quebec, April 13, 1859. Org. of 
 S. Stephen's, Westbourne Park, Lend., i860; St. Paul's, Onslow Square, 
 1868. Established Bayswater Musical Soc, i860. Cond. of Lond. Choral 
 Union, 1861. Established choir of 1000 voices on opening of the Royal Albert 
 Hall, 1871. 
 Works. — Placida, the Christian Martyr, cantata, 5 Dec, 187 1 ; Thanksgiving 
 anthem for recovery of H. R.H. the Prince of Wales, 1872, "Let the people praise 
 Thee " ; Repent you for the kingdom of Heaven, anthem ; St. George and Merrie 
 England, part song ; Arrangements of national airs for choir ; Songs : The Vision ; 
 Beautiful Clouds ; My soul doth magnify ; Holy Christmas morn ; Not for ever ; 
 Brave and Fair, etc. 
 
 Mr. W. Carter and his choir are among the most familiar features of musical Lon- 
 don. He has established at the Royal Albert Hall an annual series of concerts, at 
 which good works are continually being produced. In the past he has brought 
 forward works by Handel, Haydn, Mendelssohn, Mozart, Gounod, Randegger, J. 
 F. Barnett, Bexfield, Dearie, etc.; not to speak of a great number of popular 
 arrangements of national airs. His ability as an organist is great, while he excels 
 as a conductor. 
 
 CARTIER (Jean Baptiste). French violinist, B. Avignon, May 28, 1765. 
 D. Paris, 1841. Comp. of music for violin. 
 
 CARTWRIGHT (Thomas). Puritan divine (1535-1603) who wrote against the 
 use of music in public worship. Full particulars of what views he held will be 
 found in Hawkins' " History of Music." 
 
 CARULLI (Ferdinando), Italian comp. and guitar-player, B. Naples, Feb. 
 
 10, 1770. S. at Naples. Went to Paris, 1808 ; teacher and composer there. 
 
 D. Paris, Feb., 1841. 
 Carulli wrote a great number of transcriptions, variations, and original airs for 
 the guitar, on which he was one of the greatest performers. His studies and 
 method for the guitar are useful. Plis son Gustave (1797-1877) wrote vocal music. 
 
 '' Gentleman's Maguitie, 1804. 
 
J 48 CAfe — CAS 
 
 CARUSO (Luigi). Italian comp., B. Naples, Sept. 25, 1754. D. Perouse, 
 1822. Wrote a number of operas of transitory merit. 
 
 CABVALHO (Joao de Sousa). Portuguese comp. who flourished during 
 middle of eighteenth century. He studied in Italy, and produced operas, 
 pastorals, and cantatas. 
 
 CARVALHO-MIOLAN (Marie Caroline). French soprano vocalist, B. 
 Marseilles, Dec. 31, 1827. S. under Duprez at Paris Cons., 1843-47. Gained 
 first prize for singing, do. Debut at Opera Comique, Paris, 1849, and ap- 
 peared in operas ot Herold, etc., till 1854. Married to Lten Carvalho, or 
 Carvaille, 1853. Appeared in London, at Italian Opera, i860. Separated 
 from her husband, 1862. Has appeared chiefly in Paris, in operas by Meyer- 
 beer, Gounod, Thomas, Auber, etc. Madame Carvalho has a powerful voice 
 of great compass, over which she has perfect command. She retired from the 
 stage in 1882. 
 
 CARY {Annie Louise). American contralto vocalist, B. Maine, U.S.A., 1846. 
 She studied in America, and has sung in oratorio and in concert music with 
 the greatest success. Her voice is pleasing and her manner refined. She is 
 probably the leading American contralto ol the present day, and is accorded a 
 very high place in popular estimation. Her personal appearance is good, and 
 her technical training has been of the highest order. She has sung principally 
 in America, in nearly every important town of which she has appeared with 
 success. Married to C. M. Raymond, a New York broker, 1882. 
 
 CASALI (Giovanni Battista). Italian comp. and org., B. 1730. Flourished 
 at Rome during middle of l8th century. He composed masses, oratorios, 
 and operas, all of which are now defunct. He is chiefly remembered as the 
 master ot Gretry. He was a chapel-master at Rome about 1760. D. Rome, 
 1792. 
 
 CASAMORATA (Luigi Ferdinando). Italian comp. and writer, B. Wurtz- 
 burg, May 15, 1807. Writer of masses, psalms, motets, hymns, theoretical 
 works, etc. D. Florence, Sept. 24, 1881. 
 
 CASE (George). English writer, author of "Instructions for the Concertina, 
 from the first Rudiments to the most difiicuU style of Performance," fo., u. d. 
 "Tutor for the Violin," etc. 
 
 CASE (John). English physician and writer, B. Woodstock about middle of 
 
 l6th century. Chor. at New Coll. and Christ Coll., Oxford. Fellow of St. 
 
 John's Coll., Oxford. Lecturer at Oxford. D. Jan., 1600. 
 
 Works. — The Praise of Musicke, wherein its Antiquity, Dignity, Delectation, 
 
 and Use, are discussed, Oxford, 8vo, 1586. Apologia Musices, tem vocalis quam 
 
 instrumentalis et mixtee, Oxford, i2rao, 1588. Philosophical works, etc. 
 
 The " Praise of Musicke " is an exceedingly quaint work, and at the present date 
 of great rarity. The writer was an enthusiast of the highest order. 
 
 CASORTI (Alexander). German violinist and comp., B. Coburg, Nov. 27, 
 1830. S. at Brussels Cons. D. Sept. 28, 1S67. Comp. of "Marie," opera, 
 violin music, and songs. 
 
 GASPERS (Louis Henri Jean). German pianist and comp., B. Paris, Oct. 2, 
 1825. S. at Paris Cons. D. Dec. 19, 1861. Composed operas, cantatas, 
 Pf. music, songs. 
 
 CASSON (Miss ?). English vocalist and comp. towards the beginning of the 
 present century. She wrote a number of vocal pieces of varying merit, among 
 which may be named the songs : The Cuckoo ; Attend, ye nymphs ; Snow- 
 drop ; God save the Queen ; etc. Her biography has not been preserved. 
 
 CASSON (Thomas). English org. and writer, of Denbigh. Author of "The 
 Modern Organ, a Consideration of the prevalent Theoretical and Practical 
 Defects in its Construction, with Plans and Suggestions for their Removal." 
 Lond., 8vo [c. 1883]. 
 
 CASTALDI. See Gastoldi, 
 
CAS — CAT 149 
 
 CASTIL-BLAZE. See Blaze. 
 
 CASTILLON DE SAINT VICTOR (Alexis, Vicomte de). French 
 amateur comp., B. 1829. D. Paris, Mar. 5, 1873. Wrote symphonies, 
 quartets, Pf. music, and songs. 
 
 CASTRUCCI (Pietro). Italian violinist, B. Rome, 1689. Came to England, 
 1715. Leader at Italian opera, supplanting Corbet. Performed at principal 
 London concerts. Supplanted at the Italian opera house by Festing. D. 
 Rome, 1769. 
 This violinist held a respectable position as a violinist in his day, and composed 
 a few unimportant pieces. He was deemed a lunatic by his contemporaries — pro- 
 bably on just grounds. 
 
 CATALANI (Angelica). Italian soprano vocalist, B. Sinigaglia, Ancona, 
 Oct., 1779. S. in Convent at Gubbio. Dibut at Venice in Mayer's 
 "Lodoiska," 1795. Sang successively in Rome, Milan, Florence, Naples, 
 and other Italian towns. Sang in Italian opera at Lisbon and in Spain. 
 Married to M. Valabregue, a French officer. Appeared at London, Dec. 15, 
 l8o6 (King's Theatre). Sang in Paris, where she undertook the management 
 of the Italian opera. Travelled in Europe. Re-appeared in London, 1824. 
 D. Paris, June 12, 1849. 
 
 " Madame Catalani's style is still purely dramatic. By this epithet, we mean to 
 convey the vivid conception that exalts passion to the utmost pitch of expressiveness ; 
 the brilliancy of colouring that invests every object upon which the imagination 
 falls with the richest clothing, that gives the broadest lights and the deepest 
 shadows." — Quarterly Musical Review, 1821. 
 
 Catalani acquired a great fortune on the stage, and devoted a portion of it to the 
 rearing of young Italian girls for the musical profession. She retired to an estate 
 in Tuscany and was herself one of the teachers in connection with the school 
 which she had endowed. 
 
 CATEL (Charles Simon). French comp. and writer, B. L'Aigle (Orne), June, 
 
 1773. S. at Paris Royal School of Music, under Gossec, Sacchini, etc. 
 
 Assistant Prof, at Paris School of Music, 1787. Attached to the Opera at 
 
 Paris, 1790. Chief (with Gossec) of the Garde National. Prof, of Harmony 
 
 at Paris Cons. ; Inspector of do., 1810-14. Mem. of the Institute of France, 
 
 1817. Chev. of Legion of Honour, 1824. D. Paris, Nov. 29, 1830. 
 
 Works. — Operas: Semiramis, 1802; L'Auberge de Bagnferes, 1807; Les Artistes 
 
 par occasion, 1807; Alexandre ches Apelles, ballet, 1808; Des Bayaderes, 1810 ; 
 
 Des Aubergistes de qualite, 1812 ; Premier en date, 1814 ; Liege de Mezieres (with 
 
 Isouard and Cherubini) ; Wallace, ou le Menestrel ecossais, 3 acts, Paris, 1817 ; 
 
 Zirphile et Fleur de Myrte, 1818 ; L'Officier enleve, 1819. Quartets for string and 
 
 wind instruments. Symphony in F. Overtures. Hymn of Victory, 1794- L)e 
 
 Profundis, 1792. Traite d'Harmonie, Paris, 1802. Translated by Lowell Mason, 
 
 Boston, U.S., 1832; and by Speranza and T. Westrop, Lond., 1875. 
 
 Though now known only as the writer of a first-rate book on harmony, Catel 
 was nevertheless one of the most refined and learned composers ever produced by 
 France. His operas are few in number, but their quality is of the highest order, 
 and " Wallace " was for long regarded as his finest work. His treatise, on harmony 
 was the text-book used in Paris Conservatoire, and has not been supplanted alto- 
 gether in France or elsewhere. 
 
 CATLEY (Ann). English soprano vocalist, B. London, 1745. Articled to 
 Bates, the comp., 1760. Appeared at Vauxhall Gardens, 1762. Sang at 
 Covent Garden Theatre, Oct. 8, 1762. Invclved in a scandalous criminal 
 case, 1763. Sang in Ireland, 1763-1770. Sang again at Covent Garden 
 Theatre, 1771. Made last appearance in Public, 1784. Supposed to have 
 been latterly married to General Lascelles, with whom she lived previous to 
 her death. D. near Brentford, Oct. 14, 1789. 
 The criminal case above alluded to in this singer's life was an action raised at the 
 
 instance of her father against Bates, Sir Francis Delavel, and an attorney named 
 
 Fraine for conspiring to prostitute her, by agreement, to the person named Delavel. 
 
 Her father gained his case. She was a great favovirite in London and in Ireland, 
 
ISO CAU — CAV 
 
 and was one of the few successful vocalists who at that time made use of the 
 Staccato style. Her biography is given in "The Life and Memoirs of Miss Ann 
 Catley," by Miss Ambross, Lend., n. d. 
 
 CATJRROY (Francois Eustache du). French comp. and org., B. 1549. 
 
 Successively Chap.-mnster to Charles IX., Henry III., and Henry IV. of 
 
 France. Canon of the Holy Chapel of Paris. Prior of St. Aioul. D. 
 
 Paris, 1609. 
 
 Works. — Missa pro defunctis quinque vocum, Paris. Preces ecclesiasticse, 2 
 
 books, 1609 ; Melanges de Musique, contenant des chansons, des psaumes, des 
 
 noels, Paris, 1610; Fantaisies k trois, quatre, cinq et six parties, etc., Paris, 1610. 
 
 Caurroy was at one time regarded as the leading composer of France, but his 
 
 reputation was almost local, and has not been lasting. 
 
 CAUSTON (Thomas). English comp. and org., flourished during i6th century. 
 Was Gent, of Chap. Roy. during reigns of Edward VI., Mary, and Elizabeth. 
 D. Oct. 28, 1569. Contributed to Day's "Certain Notes set forth in four and 
 three parts, to be sung at the Morning, Communion, and Evening Prayer. " 
 His compositions appear also in Day's " Psalms," Lond., 1563. 
 
 OAVACOIA (Giovanni). Italian comp., B. Bergamo [1556]. Chap.-master 
 Bergamo Cath. ; do., St. Maria Maggiore, Rome. D. Rome, 1626. Comp. 
 madrigals and church music. 
 
 CAVAILLE. A Firm of French Organ-Builders of long standing, presently 
 represented by M. Cavaille-CoU of Paris. They have erected some of the 
 best continental organs, and are widely known for the fine quality of their 
 workmanship. 
 
 CAVALIEBI (Emilio del). Italian comp. of noble birth, B. 1550. Associated 
 
 with Caccini, Bardi, Peri, etc. in founding Italian opera. D. about end of 
 
 i6th century [1598]. 
 
 He set to music the first known oratorio, which was given at Rome in 1600. 
 
 The title of this piece isj"La Rappresentazione di Anima e di Corpo." The 
 
 details in connection with this representation are curious, and will be found in 
 
 Burney's History. 
 
 CAVALIEBI (Katharina). Italian soprano vocalist, B. near Vienna, 1761. 
 D. June, 1801. 
 
 CAVALLI (Pietro Francesco), or Caletto. Italian comp. and org., B. 
 Crema, Venice, 1610 [1599]. Singer in choir of St. Mark's, Venice, under 
 Monteverde, 1617. Second org. at St. Mark's, 1640. Went to Paris on in- 
 vitation of Cardinal Mazarine, 1660. Returned to Venice, 1665. First org. 
 at St. Mark's, 1665. Chap.-master of St. Mark's, Nov., 1668. D. Venice, 
 Jan. 14, 1676. 
 Works. — Operas: Le Nozze di Teti e di Peleo, 1639; Gli amori d' Apollo e 
 Dafne, 1640 ; La Didone, 1641 ; Amore innamorato, 1642; La virtu de' strali 
 d'amore, 1642; Narciso ed Eco immortalati, 1642; L'Egisto, 1643; La Deidamia, 
 1644 ; II Titone, 1644 ; II Romolo ed il Remo, 1644 ; La prosperity infelice de 
 Giulio Cesare dittatore, 1646; La Torilda, 1648; Giasone, 1649; L'Euripo, 1649; 
 La Bradamante, 1650; L'Orimonte, 1650; L'Aristeo, 1651 ; Alessandro vincitor 
 di se Stesso, 165 1 ; L'Armidero, 1651 ; La Rosinda, 1651 ; La Calista, 165 1 ; 
 L'Eritrea, 1652 ; Veremonda, 1652 ; L'Amazone d'Aragona, 1652 ; L'Elena rapita 
 da Teseo, 1653; Xerse, 1654; La Statira, 1655; L'Erismena, 1655; Artemisia, 
 1656 ; Antioco, 1658 ; Elena, 1659 ; Scipione Africano, 1664 ; Muzio Scevola, 
 1665 ; Ciro, 1665 ; Pompeo Magno, 1666 ; Egisto, 1667 ; Coriolano, 1660. Sacred 
 and other music." Cavalli was a celebrated vocalist, and one of the first to employ 
 airs and recitatives in his operas in a dramatic manner. He is also mentioned as 
 the first to have used modulations to express changes of feeling or sentiment in his 
 dramatic music, and was noted for his careful regard to correct and appropriate 
 rhythm. 
 
 CAVALLINI (Ernesto). Italian clarionet-player, B. Milan, Aug. 30, 1807. 
 p. Milan, Jan. 7, 1874. Composer of concertos, variations, airs, caprices, and 
 
CAV — CEL 151 
 
 other pieces for his instrument. He was a celebrated performer on the 
 clarionet, but a somewhat mediocre composer. 
 
 CAVE-ASHTON (Gertrude) nie Holman Andrews, English soprano voca- 
 list, B. London, April 17, 1855. S. under her mother and Thorpe Pede. 
 i)/4«^ at the Alexandra (Park) Theatre, 1873. Married to Mr. Cave, 1875. 
 Sang in Provinces with Mr. Sims Reeves, etc. ; and during 1877 with the 
 Hersee Opera Company. Has since appeared at many important concerts in 
 London and the Provinces. 
 
 CAVENDISH (Michael). English comp., flourished during latter portion of 
 sixteenth century. He composed "Ayresfor Four Voyces," IS99; and con- 
 tributed the five-part madrigal " Come, gentle swains " to the "Triumphs of 
 Oriana," 1601. He also aided in harmonising "The Whole Booke of Psalmes," 
 1592. His biography has not been preserved. 
 
 CAVOS (Catterino). Italian comp., B. Venice, 1775. D. April 28, 1840. 
 Wrote operas, songs, etc. 
 
 CAZALET (Rev. William Wahab, M.A.) English divine and writer, B. 
 about commencement of present century. 
 Works. — The History of the Royal Academy of Music, compiled from Authentic 
 Sources, Lond., 8vo, 1854 ; On the right Management of the Voice in Speaking 
 and Reading, with some remarks on Phrasing and Accentuation, Lond,, 8vo, 1855 
 (third edit., 8vo, i860) ; The Voice, or the Art of Singing, Lond., 8vo, 1861 ; On 
 the Reading of the Church Liturgy, 8vo, 1862; Exhibition Lecture, On the Musical 
 Department of the late Exhibition, Lond., 1852. 
 
 CAZOT (Francois Felix). French comp., B. Orleans, April 6, 1790. S. at 
 Paris Cons. D. 1858. Composed operas and pf. music. 
 
 CAZZATI (Maurizio). Italian comp. and org., B. Mantua, 1620. D. [1677 ]. 
 Chap. -master at Bologna. Wrote masses, motets, psalms, and canzonets, 
 published between 1645-85. 
 
 CECCHEBINI (Ferdinando). Italian tenor vocalist, B. Florence, 1792. 
 Prof, of singing at Florence. D. there, Jan. 12, 1858. He wrote songs and 
 teaching pieces. 
 
 CECELIA (Saint). The patron saint of music, B. Rome about 200 A.D. 
 Martyred 230 A.D. Her connection with music is doubtful, and the accounts 
 of her miraculous escapes from death are unauthenticated or mythical. Odes 
 for her day, which is celebrated by Roman Catholics on Nov. 22, were written 
 by Dryden and Pope, etc., and have been set by a large number of the older 
 composers. Paintings in connection with her martyrdom and otherwise have 
 been executed by Raphael and Domenichino. 
 
 CECIL (Rev. Richard). English divine and musician, B. London, Nov. 8, 
 
 1748. S. at Oxford, 1773. Deacon, 1775. Priest, 1777. Minister of S. 
 
 John's Chap., Bedford Row, London, 1780. Rector of Cobham and Birley, 
 
 Surrey, 1800. D. Hampstead, Aug, 15, 1810. 
 
 Works.— Selection of Psalms and Hymns for the Public Worship of the Church 
 
 of England, Lond., n.d. ; 32nd edition issued, 1840; Sermons, lectures, etc. Best 
 
 known by his anthem, "I will arise, and go to my Father." His daughter 
 
 Theophania (B. 1782), org. of S. John's Chap., edited "The Psalm and Hymn 
 
 Tunes, used at St. John's Chapel, Bedford Row; .\rranged for Four Voices." 
 
 Lond., 1814. She D. London, Nov. 15, 1879. 
 
 CELESTINO (Eligio). Italian violinist, B. Rome, 1739. D. Ludwigslust, Jan. 
 24, 1812. Resided for a time in London as teacher. Composed for his instru- 
 ment. 
 
 CELLARIER (Hilarion). French comp., B. Florensac (Herault), March 12, 
 1818. Wrote operas and Pf. music. 
 
 CELLI (Filippo). Italian comp. of operas, etc., B. Rome, 1782. D. London, 
 Aug. 21, 1856. 
 
IS2 CEL — CHA 
 
 CELLIEB (Alfred). English comp. and cond., [B. London.] Has comp. a 
 number of melodious works, among the most important of which may be 
 named " The Sultan of Mocha," an opera ; " The Spectre Knight," opera by 
 J. Albery, 1878; "After All," vaudeville by F. Desprez, 1878; "In the 
 Sulks," operetta, 1880 ; Gray's Elegy, Leeds Festival, 1883; Part-songs, songs, 
 and other music. 
 
 CELLINI (Francesco). Italian comp., B. Fermo, May 5, 1813. D. Aug. 19, 
 1873. Comp. chiefly for the church. 
 
 CEBTOIT (Pierre). French comp. and org., flourished during l6th century. 
 Master of children of the Holy Chapel at Paris. Comp. 31 Psalms, 4 Masses, 
 a Requiem, and numerous motets. 
 
 CERViETTO (Giacomo Bassevi), Italian violoncello player, B. 1682. D. 
 London, Jan., 1783. Was a celebrated performer, and became latterly 
 manager of Drury Lane Theatre, London. 
 
 CESTI (Padre, Marco Antonio). Italian comp., B. Arezzo, 1620 4. S. under 
 Carissirai. Chap.-master at Florence, 1646. Resided at Rome, 1658. Tenor 
 singer in the Vatican chap., 1660. Chap.-master to the Emperor Leopold, 
 1661-67. D. Rome, 1675 [1681]. 
 Works. — Operas: Orontea, 1649; Cesare Amante, 1651; La Dari, lo 
 Schiavo regio, 1663 ; Tito, 1666 ; La Schiava fortunata (with Ziani) ; Argene, 
 1668 ; Genserico, 1669 ; Argia, 1669 ; II Pomo d' oro ; cantatas and miscell- 
 aneous mueic. 
 Cesti is best known by his cantatas, of which he composed a vast number, many 
 being in the Music School of Oxford, the British Museum, and in Continental 
 libraries. He was, with Carissimi, one of the improvers of melody, and the sup- 
 posed inventor of the cantata. 
 
 CEDPPENS (Victor). Belgian org. and comp., B. Brussels, July 28, 1835. S.. 
 under Fetis, Boisselet, Lemmens, etc. Comp. masses, org. music, songs, etc. 
 
 CHADWICK (George W.). American comp. and org., B. Lowell, Mass., 
 Nov. 13, 1854. S. under E. Thayer. Engaged in Olivet Coll., Mich., 1876. 
 S. in Leipzig, Germany, under Jadassohn and Reinecke. S. at Munich under 
 Rheinberger, 1879. Returned to America, 1880. Org. Park St. Ch., Boston. 
 Prof, of harmony, comp., etc., in New England Cons, of Music, Boston. 
 Works. — Trio in C minor, 1877 ; Quartet in G minor, 1878 ; Quartet in C, 
 
 1879 ; Overture : Rip Van Winkle, 1879 (prize) ; Symphony for orch. in C, 1882 ; 
 
 Pianoforte music; Songs and other vocal music; Ballad: "The Viking's Last 
 
 Voyage," male chorus and orch.; Overture : Thalia, etc. 
 
 CHALLEN & SONS. English firm of Pianoforte Manufacturers, established in 
 London in 1804. Awarded prize medals at Exhibitions of London (1862). 
 S. Africa (i877),_ Paris (1878), Melbourne (i88i), etc., for the general excel- 
 lence and durability of their instruments. They have been foremost amongst 
 English makers in the development of the Iron Frame system of construction. 
 Their pianettes and upright Iron Pianos enjoy a wide popularity, and their 
 merits have been attested by many eminent authorities. 
 
 CHALLONEB (Neville Butler). English harpist and violinist, B. London, 
 1784. S. in London. Dibut as violinist, 1793. Violinist at Covent Garden 
 Theatre, 1796. Leader at Richmond Theatre, 1799. Leader at Birmingham, 
 Sadler's Wells, etc. Harpist at Italian Opera, London. Tenor player at the 
 Philharmonic Society. Latterly a music seller. D. (?) 
 Works.— Method for the Violin, Lond., n. d. New Guida di Musica, or In- 
 structions for Beginners on the Pianoforte, fo., n. d. Method for Guitar, n. d. ; 
 Method for Flute, n. d. ; Method for the Harp, n. d. Romance and Polacca for 
 Harp, op. 14; Two Duets on Scotch Airs, op. 10; Three Duets (Trans.), op. 15 ; 
 Duet Concertante for Harp, op. 22. Miscellaneous works for Harp and Pf. 
 Harmonia Sacra, 4 books, Lond., fo., n. d. Lays of Harmony, or the Musical 
 Scrap Book, 1830. National Airs [1830], etq. 
 
CHA — CHA 153 
 
 CHALLONER (Robert). American musician, author of "History of the 
 Science and Art of Music, its Origin, Development and Progress...," Cin- 
 cinnati, 8vo, 1880. 
 
 CHAMBONNIERES (Jacques Champion de). French org. and comp. who 
 flourished during 17th cent. D. 1670. His compositions consist of pieces for 
 the organ and clavichord, and are remarkably pretty in style as well as very 
 rare. 
 
 CHAMFEIN (Stanislas). French comp., B. Marseilles, Nov. jg, 1753. S. at 
 Paris. D. Sept. 19, 1830. Wrote operas, songs, etc. 
 
 CHAMPNESS (Samuel). English bass singer, B. [1730]. He sang in concert 
 and dramatic music at the end of the i8th century. Busby speaks favourably 
 of his voice, saying that it was rich and round-toned and universally admired. 
 His biography does not appear to have been very fully recorded. He D. 
 Sept., 1803. 
 
 CHANOT (Georges). French violin-maker. B. Mirecourt, March 26, 1801. 
 D. Conrcelles, near Paris, Jan. 10, 1885. In company with his sons he 
 • made copies of Stradivarius and Guernerius of some merit, and is held in 
 much repute as a maker. Another Chanot (Fran9ois), made violins on a new 
 principle which, though submitted to the French Academy, have never gained 
 great favour. He was B. 1787. D. 1823. 
 
 CHAPPELL (William). English writer and antiquary, B. London, Nov. 20, 
 1809. Brought up in music publishing business with his Father. Engaged in 
 musical antiquarian studies. Founded (with others) the Percy Society, 1840. 
 Fojinded the Musical Antiquarian Society, 1840. F.S.A., 1840. Partner in 
 the firm of Cramer & Co., 1843. Treasurer of the Camden Society, etc. Is 
 connected with a number of Learned and Antiquarian Societies. 
 Works. — A Collection of National English Airs, consisting of Ancient Song, 
 Ballad, and Dance Tunes, Interspersed with Remarks and Anecdotes, and preceded 
 by an Essay on English Minstrelsy ; the Airs harmonized for the Pianoforte by Dr. 
 Crotch, G. A. Macfarren, and J. A. Wade. Lond., 4to, part I., 1838; II., 1839; 
 III., 1840. Popular Music of the Olden Time : a Collection of Ancient Songs, 
 Ballads, and Dance Tunes, Illustrative of the National Music of England, etc. 
 Lond., Cramer, 2 vols., 8vo [1845-59]. Old English Ditties, Lond., 2 vols., 4to, 
 n.d. History of Music, Art and Science, from the earliest records to the fall of the 
 Roman Empire, with explanations of Ancient Systems of Music, Musical Instru- 
 ments, and of the true Physiological Basis for the Science of Music, whether 
 Ancient or Modern, Vol. I., Lond., 8vo, 1874. Edited works (Collections of 
 Ancient Poetry) for the Ballad, Percy, and Camden Societies. 
 
 Previous to the appearance of Mr. Chappell's work in 1838-40 it had been 
 customary to regard English national music either as non-existent or unworthy of 
 preservation. The want of a genuine lyrical poet to collect and adapt such melodies 
 as existed to pure verse was no doubt the cause of England being considered lacking 
 in respect to national airs. In Scotland and Ireland, Burns and Moore did every- 
 thing necessary to secure universal fame for their national melodies, while in 
 England the works of RJr. Chappell have done everything to establish its title to 
 be considered a most musical nation. Mr. Chappell is one of the best informed 
 musical antiquaries living, and has shown in his work on the History of Music 
 much careful learning. 
 
 CHAPPELL & CO. English firm of music publishers, established in London in 
 1812 by Samuel Chappell. The firm was originally carried on by Cramer, 
 Chappell and Latour. Samuel Chappell died in 1834 and was succeeded by 
 his son, William, as above noted. 
 Their publications at the present period are numerous and valuable, and include 
 theoretical works by Rimbault, Richards, etc. ; pianoforte music by Ascher, Bene- 
 dict, Blumenthal, Chopin, De Kontski, C. Dick, Goodban, Gounod, Herz, Kuhe, 
 Lindahl, Oesten, Osborne, Richards, Rockstro, Schubert, Sloper; arrangements by 
 C. Hall^ and Rimbault, and many other valuable copyrights. The vocal publi- 
 cations consist of Chappell's Musical Magazine (Songs and Pf. music in books), 
 operatic part songs, vocal library of part songs, etc., popular operas (arranged for 
 
154 CH A — C H A 
 
 Pf.), Songs by nearly every good composer. They publish also Tutors and airs for 
 many other instruments, and a large selection of popular music for the harmonium. 
 
 Messrs. Chappell have done much to foster among the tniddle classes of London 
 a taste for first-rate chamber music, and the success which attends their "popular " 
 concerts is a sufficient testimony to the fact that a void which was felt by the public 
 is being ably filled. The best performers and the best music are the special charac- 
 teristics of these concerts. 
 
 CHAPPLE (Samuel). English org. and comp., B. Crediton, Devon, 1775. 
 Blind from childhood. S. Pf. Org. at Ashburton, 1795-1835. D. [1845.] 
 
 Works. — Five songs and a glee, op. 3 ; Six anthems in score, figured for the 
 organ or Pf , op. 4; A second set of six anthems in score, op. 5 ; A third set of six 
 anthems and twelve Psalm tunes in score, op. 6 ; The eighteen anthems, republished 
 (Ashdown and Parry) ; Three sonatas for the Pf. ; Six songs with Pf. accomp.; 
 Anthem for the coronation of George IV.; Single Pf. pieces ; Single glees, anthems, 
 and songs. 
 
 Looking to the fact that Chappie was blind — an infirmity, by the way, which 
 does not appear greatly to interfere with a musician in the exercise of his profession 
 ^it may be said that his anthems are fresh and correct, and his glees and songs 
 melodious and well constructed, showing that their author could write with anima- 
 tion as well as science. 
 
 CHABiD (George William). English comp. and org., B. 1765. S. under 
 Robert Hudson, in the choir of S. Paul's. Lay-clerk at Winchester, 1778. 
 Org. of Winchester Cath. and Coll. Doc. Mus. Cantab., 1812. D. Win- 
 chester, May, 1849. 
 WoKKS. — Twelve glees (or three, four, and five voices, Lond. [i8ii]; Services 
 
 and anthems, songs, etc. 
 
 CHAEKE (Richard). English violinist and comp. of middle of l8th century. 
 Married to Charlotte Cibber, whom he ill-treated, and from whom he soon 
 separated. Notable as the first to compose medley overtures (Hawkins). He 
 died in Jamaica of disorders brought on by dissipated habits. 
 
 CHABLOT (Joseph AugUSte). French comp., B. Nancy, Jan. 21, 1827. D. 
 Sevres, Aug., 1871. Comp. songs and instrumental music. 
 
 CHARLTON (R.). English writer. Author of " Reminiscences and Biogra- 
 phical Sketches of Musicians, " Lincoln, 1836. 
 
 CHARPENTIER (Marc Antoine). French comp., B. Paris, 1634. Music 
 director to Duke of Orleans. D. Paris, 1702. He comp. a number of operas 
 and other pieces, of which " Medee" achieved some fame. 
 
 OHARTON-DEMEUR (Anne Arsene) nie Charton. French soprano 
 vocalist, B. Saujon, Mar. 5, 1827. Married to M. Demeur, flutist, 1847. She 
 appeared in operas by Meyerbeer, Halevy, Donizetti, Berlioz, etc. 
 
 CHASTON (Jules). French comp., B. Marseilles, April 30, 1837. S. at Mar- 
 seilles Cons. Wrote operas, Pf. music, songs, etc. 
 
 CHATTERTON (John Balsir). English harpist and comp., B. Norwich, 1804. 
 S. under Bochsa and Labarre. Prof, of harp at R.A.M. Harpist to the 
 Queen, etc. D. London, April 9, 1871. 
 Works. — Numerous transcriptions from popular operas for the harp; Songs 
 with harp and Pf. accomp., etc. 
 
 Chatterton was one of the best among English harp players, and was the instruc- 
 tor of a number of musicians of present note. 
 
 CHATJOER (Geoffrey). English poet, B. London [1321]. D. 1400. He 
 describes in the " Canterbury Tales" a number of the manners and usages of 
 his times, many of which are connected with music. Extracts in this connec- 
 tion are given in Hawkins' " History," and in Chappell's " Popular Music." 
 
 CHAULIEU (Charles). French comp. and pianist, B. Paris, June 21, 1788. 
 S. under Adam and Catel. Settled in London about 1840. Teacher and 
 composer there. D. London, April 19, 1849, 
 
CHA — CHE 155 
 
 Works.— Op, i. Two Sonatas for Pf. ; Sonatas for Pf., op. 11, 13, 17. Grand 
 Sonata for Pf., flute, and vn., op. 15. Nocturne for Pf., vn., and flute. Caprices, 
 rondos, variations, dances, etc., chiefly on airs from operas, to the number of about 
 250. 
 
 This composer has rapidly declined in popular estimation, and his works are now 
 known only in the school-room, and not extensively even there. His works were 
 brilliant show pieces, which were successful in their day. They have been sup- 
 planted by a more powerful and earnest school. 
 
 CHAXJMET (Gnillaume). French comp. and pianist, B. Bordeaux, April 26, 
 1842. Comp. operas, quartets, songs, Pf, music, etc. 
 
 CHAUVET (Charles Alexis). French comp. and org., B. Itfarnies, June 7, 
 1837. S. at Paris Cons. Org. in various churches. D. Argenton (Orne), Jan. 
 28, 1871. Comp. fugues, offertories, and other organ music. 
 
 CHAVAGNAT (A. Pierre E.) French comp., B. Paris, Oct. 17, 1845. S. 
 under Masse at Cons. Writer of choruses, songs, and other vocal music. 
 
 CHEESE (G-. J.) English org. and writer, flourished at end of eighteenth 
 century. Was org. at Leominster and teacher in London. He wrote 
 "Practical Rules for Playing and Teaching the Pianoforte and Organ," n. d. 
 
 CEELARD (Hippolyte Andre Jean Baptiste). French comp. andcond., 
 
 B. Paris, Feb. i, 1789. S. under R. Kreutzer, Gossec, Mehul, and Cherubini. 
 
 Gained " Grand Prix de Rome," and S. in Italy under Baini, Zingarelli, 
 
 Paisiello, and Fioravanti. Violinist at the opera, Paris. Chap. -master to 
 
 King of Bavaria, Munich. Cond. the great Thuringian Musical Festival at 
 
 Erfurt, 1831. Cond. series of German opera in London, 1832-33. Musical 
 
 director at Augsberg, 1836. Chap.-master at Weimar, 1840. D. Weimar, 
 
 Feb. 12, 186 1. 
 
 Works. — Operas: La Casa de Vendere, 1815 ; Macbeth, 1828; La Table et 
 
 le Logement, 1829 ; Minuit, 1829 ; L'Etudiant, 1832 ; Le Combat d'Hermann, 
 
 1835 ; Die Seekadetten, 1842 ; Scheibentoni. Masses. Miscellaneous works, 
 
 vocal and instrumental, and contributions to musical literature. 
 
 CHELL (William). English writer and musician, was lay-vicar and precentor 
 at Hereford. Mus. Bac, Oxford, 1524. He wrote " Musicse Practicse Com- 
 pendium," " De Proportionibus Musicis,'' etc. 
 
 CHELLEKI (Fortunio). Italian comp., B. 1668. D. 1757. Wrote operas 
 and church music. 
 
 CHEKI (Victor). French violinist and comp., B. Auxerre, Mar. 14, 1830. S. 
 at Paris Cons., at which he gained several prizes. D. Paris, Nov., 1882. Comp. 
 ballets, violin and Pf. music. 
 
 CHERRY (John William). English comp. and teacher, B. London, Dec. 10, 
 1824. Self-educated in theory and on Pianoforte. Has comp. over 1000 
 pieces, of which the following are the best known ; — 
 Works. — Will-o'-the-wisp ; Shells of ocean ; Beautiful leaves ; The Blacksmith ; 
 How beautiful is the sea ; My village home ; Monarch of the woods ; Estelle ; 
 Gentle Spring ; Sweet Annie ; The Invitation ; Silently, silently over the sea ; Trees 
 of the forest ; Upon the lonely shore ; Wanton breezes, whither going ; Down by 
 the sea ; Fair Glen Lochry ; Home again to England ; Seventh day ; Spirit of the 
 whirlpool ; Breath soft, summer wind ; Summer twilight ; Come with me to Fairy- 
 land. Duets: Elfin revels; Hark! there's music stealing; Let us roam away, 
 etc. Pf. music, dances, etc. 
 
 CHERUBINI (Maria Luigi Carlo Zenobi Salvatore). Italian comp., 
 teacher, and writer, B. Florence, Sept. 14, 1760. S. under his Father, 
 Bartolomeo and Alessandro Felici, and Castrucci. Sent, at instance of Grand 
 Duke Leopold, to study under Sarti at Bologna, 1777. Resided in London 
 and held post of composer to the King, 1784-5. Visited Paris, 1786. Returned 
 to Italy, 1787. Settled in Paris, and became director of the Italian Opera, 
 1788. Inspector at Paris Cons., 1795. Married to Mdlle, Cecile Tourette, 
 
I56 CHE — CHE 
 
 1795. Chev. of Legion of Honour. Visited London again, iSlJ. Returned 
 to Paris, 1S15. Superintendent of the Royal Chapel, 1816. Member of the 
 "Institut." Director of Paris Cons., 1822. D. Paris, March 15, 1842. 
 Works. — Op. i. Mass in D, 1773 ; op. 2. Intermezzo, 1773 ; op. 3. Mass, 
 1774; op. 4. La Pubblica Felicita, cantata, 1774; op. 5, Psalm, 1775; op. 6. 
 Mass in C, 1775 ; op. 7. Psalm, 1775 ; op. 8. Intermezzo, 1775 ; op, 9. Magnificat, 
 1775; °PP- 10 to 15. Two Lamentations of Jeremiah, a miserere, etc., 1776; op. 
 16. Motet, 1777 ; op. 17. Oratorio (name unknown), 1777 ; op. 18. Te Deum, 
 1777 ; op. 19 to 27. Compositions for the Church, 1778; op. 28 to 36. Composi- 
 tions for the Church, 1779; op. 37 to 47. Church music, sonatas, etc., 1780; op. 
 48. II Quinto Fabio, opera, 1780 ; op. 49 to 61. Church music, sonatas, etc., 1780- 
 1781 ; op. 62. Armida, opera, Florence, 1782 ; op. 65. Adriano in Siria, opera, 
 1782; opp. 641078. Nocturnes, songs, duets, etc., 1782; op. 79. II Messenzio, 
 opera, 1782; op. 80-83. Songs, duets, etc., 1782; op. 84. II Quinto Fabio, opera, 
 Rome, 1783 (re-set) ; op. 85-88. Songs, madrigals, etc., 1783 ; op. 89. Lo Spose 
 di tre Marito di Nessuna, opera, 1783 ; opp. 90-92. Air and choruses in oratorio, 
 1784 ; op. 93. ridalide, opera, 1784 ; op. 94. L'Alessandro nell' Indie, opera, 
 1784 ; opp. 95 to 100. Airs, etc., 1785 ; op. loi. La Finta Principessa, opera, 
 London, 1785 ; II Giulio Sabino, opera, op. 11 1. London, 1786 ; Amphion, can- 
 tata, op. 112, 1786 ; Ifigenia in Aulide, op. 131, 1788; Demophon, opera, op. 135, 
 Paris, 1788; Circe, cantata, op. 136, 1789; Lodoiska, opera, op. 182, Paris, 1791 ; 
 La Liberta, cantata, op. 199, 1793 ; Kourkourgi, opera, op. 204, 1793 ; Clytem- 
 nestra, cantata, op. 207, 1794 ; Elisa, opera, op. 209, Paris, 1794 ; Sixty-five Sol- 
 feggi (for use in Conservatoire), op. 212, 1795 ; Med^e, opera, op. 214, Paris, Mar. 
 I3> 1797 ; L' HStellerie Portugaise, opera, op. 224, 1798 ; La Punition. opera, op. 
 225, 1799; Les Deux Journees (The Water Carrier, London, 1801 and 1824), 
 op. 229, Paris, Jan. 16, 1800 ; Epicure, opera (with M^hul), op. 230, 
 1800 ; Anacreon, opera, op. 241, Paris, 1803 ; Achille a Scyros, ballet, 
 op. 246, 1804; Faniska, opera, op. 254, Paris, l8o6 ; Pimmalione, opera, 
 op. 279, Paris, 1809 ; Le Crescendo, opera, op. 283, Paris, 1810 ; Mass in 
 D minor, op. 295, 181 1 ; Les Abencerages, opera, op. 299, Paris, 1813 ; First 
 quartet for strings, op. 317, 1S14 ; Overture in G for orch , op. 318 (written for 
 Philharmonic Soc. Lond.), 1813; Symphony, op. 319 (written for same), 1815; 
 Mass in C, op. 325, 1816; Mass in E flat, op. 338, 1816; Requiem in C minor, 
 op. 349, 1816 ; Mass in G, op. 372, 1819 ; Mass in A, op. 403, 1825 ; Ali Baba, 
 opera, op. 417, 1833 ; Quartet for strings in D minor, op. 419, 1834; Quartet for 
 strings in E, op. 421, 1835 > Quartet for strings in F, op. 424, 1835 ; Requiem in 
 D minor, op. 426, 1836 ; Quartet for strings in A minor, op. 427, 1837 ; Quartet 
 for strings in E minor, op. 428, 1837. Total number of works, including minor 
 pieces not enumerated in foregoing list, 430. 
 
 Cherubini was one of the most popular of the many composers who crowded 
 Paris in his day. His claims to recognition rest chiefly on the clear and well- 
 defined character of his writings, together with the great contrapuntal learning 
 which he possessed. Cherubini, indeed, may fairly be reckoned the most refined 
 and theoretically able composer whom Italy has in modern times produced. As 
 to ;he enduring quality of his work it may be said that not more than a score out of 
 the many above noted will be passed to posterity. It is in his operatic works and 
 church compositions that Cherubini is fully displayed as a great master. Many of 
 his minor works were merely occasional pieces, and have small claims on the atten- 
 tion of modern musicians. 
 
 "Though the style of Cherubini belongs more to the German than the Italian 
 school, still he cannot properly be placed amongst the artists of the former : yet his 
 manner is less Italian than that of Mozart ; it is purer than that of Beethoven ; it 
 is, in fact, the chaste ancient style of Italy, refreshed and decorated with the har- 
 mony of modern times. . . , Cherubini is not to be ranked with those musi- 
 cians whose labours have effected revolutions in the art by an entire transformation 
 of style. Contemporary of Haydn, of Mozart, of Beethoven, of Rossini, Cherubini 
 seems to have been placed by nature amongst those great geniuses as a moderator 
 whose wisdom and firmness was destined to counteract the ideality of the satellites 
 of those luminous planets ; as Reason, by the side of Imagination, corrects her in 
 her eccentric orbit, and focuses her scattered rays. The works of this master wil] 
 always serve as models, because written on a system of exactitude almost math?. 
 
c M E — CHI t$'^ 
 
 raatical, and consequently exempt from the changeable affectations of time and 
 fashion, they will survive many a composition of more startling pretensions, and 
 which may have reached a wider renown on its first appearance." — Adolphe Adam 
 trans, by J. iV. Moore, 
 
 As a teacher Cherubini was greatly celebrated, and numbers among his pupils 
 Auber, Halevy, Carafa, Zimmermann, Batton, etc. He wrote a valuable treatise 
 on counterpoint and -fugue, trans, as "Course of Counterpoint and Fugue" by J. 
 Hamilton, Lond., 2 vols. 8vo, 1837-41 ; and again by Mary Cowden Clark in 1854, 
 Lond., 8vo (Novello), which is still a standard text-book; and did much by the 
 encouragement of youthful musicians to foster a high standard of musical culture. 
 See Cherubini, Memorials illustrative of his Life, by E. Bellasis, Lond., 8vo, 1874. 
 
 OHEROUVRIER (Edmond Marie). French comp., B. Sabl6, Feb. 7, 1831. 
 Writer of operas, church music, etc. 
 
 CHESHIRE (John). English harpist and comp., B. Birmingham, March 28, 
 1839. Commenced playing the harp when four years of age. S. at R. A. M., 
 1852-55. S. afterwards under Prof. Sir G. A. Macfarren and J. B. ChaLterton. 
 Harpist at the Royal Italian Opera from 1855. Principal Harpist at H. M. 
 Theatre, 1865. Principal Harpist at the Grand Opera, Rio Janeiro, 1858-61. 
 Married to Miss Maria Matilda Baxter, Pianist, 1871. Travelled in Norway 
 and Sweden Concert-giving, 1879. 
 Works. — Harp: Six romances, 1855 ; Serenade, Don Quixote ; Album of Harp 
 music, 24 pieces ; Miscellaneous music for the harp. The Buccaneers, a Cantata for 4 
 voices and orch., 1866. Pianoforte: Six easy recreations; Six operatic recollec- 
 tions ; Reverie ; Souvenir de Brazil ; Marche Breselliene ; Valse di Bravoura ; 
 Patriotic duet ; Duet in B flat ; Zoe Waltzes ; Chanson d'Amour ; Grazielle ; 
 Gavotte in G ; Mazurka EspanhoU ; La Graceuse ; Romance in G ; Second 
 Gavotte in G. Songs : Cupid the conqueror ; Hurrah for bluff King Christmas ; 
 I saw thee weep ; Spring Song (words and music) ; Only thee ; The fisher's 
 daughter ; The withered violet ; When her we love is nigh ; Thoughts of the far 
 away ; O never call mine heart thine own ; The Gerster waltz. Manuscripts : 
 Overtures for orch. in B flat, D, and F minor; Cantata, The King and the 
 Maiden (libretto by Arthur Matthison), performed, 1866 ; Diana, opera, written in 
 Brazil ; etc. 
 
 Mr. Cheshire is a harpist of the school of Parish-Alvars, and is well known in 
 London and the English provinces as one of the best of modern performers. 
 
 CHETHAM (Rev. John). English musician and divine. Vicar of Skipton, 
 Yorks. D. circa, 1760. Published " A Book of Psalmody, all set in Four 
 Parts," 8vo, 1718, of which eleven editions were issued to 1787. An enlarged 
 and revised edition by -Houldsworth was issued in London, 1832. 
 
 CHEVE (EmUe Joseph Maurice). French musician and inventor of a 
 musical notation. B. Finisterre, 1804. D. Aug., 1864. Wrote bopks ex- 
 planatory and in advocacy of his system, which closely resembles the English 
 Tonic Sol-fa. His "Theory of Music " was translated by George W. Bullen. 
 London, 1880. 
 
 CHEYNE (Edwin). Scottish writer, author of " The Amateur's Vocal Guide 
 and Voice Trainer. . . ." Glasgow, 8vo, 1879. 
 
 CHIAVACOI (VincenZO). Italian comp,, B. Rome, 1760. D. Warsaw, 
 1815. Wrote comic operas, etc. 
 
 CHICKERING' & SONS. American firm of Pianoforte-makers, established 
 at Boston, Mass., by Jonas Chickering, in 1823. Jonas Chickering was 
 born at New Ipswich, N. H., April 5, 1798. He was the son of a black- 
 smith, and worked at Boston with John Osborne, a Pianoforte-maker, from 
 1818. He commenced business for himself in 1823, and continued to prosper 
 till J852, when his works were burned. He was a member of the legislature ; 
 president of the Handel and Haydn Society ; and was far famed for his 
 charitable virtues. He died at Boston, Dec. 8, 1853, and was succeeded by 
 his son, Colonel Thomas E. Chickering, who served during the Civil War in 
 
158 (JHt — CHi 
 
 command of the 41st Mass. regiment. He was born at Boston, 22nd Oct., 
 
 1824. D. Feb. 14, 1 87 1. The firm is now carried on by members of the same 
 
 family. 
 
 The instruments of the Chickerings are famed for their great solidity and rich 
 
 quality of tone. The firm has kept 'pace with the best European makers in every 
 
 respect, and is one of the most important in the United States. The Pianofortes of 
 
 Messrs. Chickering are similar in style and quality to the renowned Broadwood 
 
 instruments, and are second to none in America. The operations of the firm are 
 
 extensive, and they have branch establishments or agents in every important town 
 
 in the world. 
 
 CHILCOT (Thomas). English comp. and org., B. beginning of iSth century. 
 Org. of Abbey Ch., Bath, 1733. Chilcot is chiefly noted as having been the 
 master of Thomas Linley. He composed two sets of Concertos for the 
 harpsichord ; ' ' Twelve English Songs, the words by Shakespeare and other 
 celebrated poets ;" single songs, glees, etc. 
 
 CHILD (William). English comp. and org., B. Bristol, i6o5. S. under Elway 
 
 Bevin. Mus. Bac, Oxlord, 1631. Org. of St. George's Chap., Windsor, 
 
 1632. One of Org. of Chap. Royal. Chanter of Chap. Royal, 1660. Mem. 
 
 of King's private band. Doc. Mus., Oxon., July, 1663. D. Windsor, Mar. 
 
 23, 1697. 
 
 Works. — The First Set of Psalmes of 3 voyces, fitt for private chappells, with a 
 
 continued bass either for the organ or theorbo, composed after the Italian way, 
 
 Lond., 1639 (2nd edit., 1650). Divine anthems and vocal compositions to several 
 
 pieces of poetry, Lond. ; Service in D (Boyce) ; Service in E (Boyce) ; Praise the Lord, 
 
 O my Soul, anthem ; O Lord, grant the King, anthem ; O Pray for the Peace of 
 
 Jerusalem, anthem ; Sing we Merrily, anthem ; Services in G, F, and A minor ; 
 
 Court Ayres (a Volume of Secular Vocal Music) ; Catches and Canons, etc. 
 
 Child's compositions are very simple in general style, and his counterpoint has 
 the appearance of having been the production of a century later. ' ' At times, how- 
 ever, as in his service in D, his harmony was rich, glowing, and closely worked. 
 Some few of his full anthems, without any great depth of science or elevation of 
 genius, possess a great degree of warmth, and exhibit imagination. " He paved at 
 his own expense the body of Windsor Chapel, and was otherwise charitable. 
 
 CHILMEAD (Edmund). English scholar and musician, B. Stow-in-the-Wold, 
 Gloucester, • 1611. Clerk of Magdalen Coll., Oxford. Canon of Christ 
 Church, 1632. Resided with Este the musician, in London, 1648. D. 
 London, 1654. Wrote "De Musica Antique Grseca," printe4 at the end of 
 the Oxford edition of " Aratus," 1672. He gave concerts in London and drew 
 up a catalogue of the Greek MSS. in the Bodleian library. "He was well 
 versed in the old music, and vjfas the best qualified at that time ... to 
 enter upon this subject." — Heme. 
 
 GHIPP (Edmund Thomas). English comp. and org., B. London, Dec. 25, 
 1823. Son of Thomas Paul Chipp the well-known performer on the kettle- 
 drums and harp. Chor. in Chap. Royal under William Hawes. S. the violin 
 under W. Thomas, J. B. Nadaud, etc., 1832-40. Org. (voluntary) of Albany 
 Chap., Regent's Park, Lond., 1843-6. Mem. H. M. Private band, as 
 violinist, 1843-55. Org. S. John's Chap., Downshire Hill, Hampstead, 
 1846-7; S. Olave's, Southwark (in succession to H. J. Gauntlett), 1847-52; 
 St. Mary-at-Hill, East-Cheap, 1852-6 ; Royal Panopticon (in succession to 
 W. T. Best), 1855; Holy Trinity Ch., Paddington (in succession to C. E. 
 Stephens), 1856-62. Mus. Bac. Cantab., Mar. 17, 1859. Mus. Doc, do., 
 June 21, i860. Org. Ulster Hall, and S. George's Ch., Belfast, 1862-6. 
 Cond. of the Anacreontic, Classical Harmonists, and Vocal Union Societies, 
 Belfast. Org. of Kinnaird Hall, Dundee, Feb. -Nov., 1866; St. Paul's, 
 Edinburgh, May to Nov., 1866. Org. and Master of Chor., Ely Cath., Nov., 
 1866. Was also member (org.) of the Royal Italian Opera, the Philharmonic, 
 and Sacred Harmonic Society Bands. 
 Works. — Job, an Oratorio, for solo voices, chorus, and orch. ; Naomi, a Sacred 
 
 Idyll, for solo voices, chorus, and orch. Music for the Church Service and home 
 
CHi — CHO JI59 
 
 circle, containing 10 Sentences, 24 single and 41 double Chants, 4 Te Deums, 2 
 Jubilate, 2 Benedictus, I Te Deum in unison, 2 Sanctus, 12 Kyrie, 4 Gloria, 2 
 Magnificat, Nunc Dimittis, 4 Cantate Domine, Deus Misereatur, and 108 Church 
 Melodies in short, common, long and irregular measures, by various authors. Te 
 Deum, Jubilate, Sanctus and Kyrie in D ; Church Service in A ; Te Deum in D ; 
 Gloria for male voices. Three Studies for the Organ, op. 7 ; Introduction and six 
 variations upon Handel's Harmonious Blacksmith, for organ ; Do. and seven 
 variations on God preserve the Emperor, for organ ; Lord of all power and might, 
 anthem ; Part songs ; Songs and miscellaneous Church and Chamber Music. Dr. 
 Chipp has for long held a leading position among English organists. He has given 
 recitals in various parts of England, and has been everywhere received with favour. 
 His style and execution are faultless. Of his compositions the principal are Job 
 and Naomi ; both of which are scholarly and effective works. His services, anthems, 
 and other Church works are all impressed with the same marks of excellence, and 
 are in constant use among British Churches. 
 
 CHIFP (Thomas Paul). English harpist, Father of the foregoing, B. London, 
 May, 1793. D. June, 1870. Well-known as a drum player and harpist. 
 He played at all the principal festivals. 
 
 CHISNEY (E). English writer of "Concertina Instruction," Lond., 8vo, 1853. 
 
 CHLADNI (Ernst Florens Friedrich). German writer and acoustician, B. 
 Wittenburg, Nov., 1756. Was for a time Prof, of Law, but latterly devoted 
 himself to the study of Nature. D. Breslau, April, 1827. He wrote works 
 entitled " Entdeckungen iiber die Theorie des Klanges,'' Leipzig, 17S7; 
 " Die Akustik," Leipzig, 1802 ; " Ueber die Lsengetjene einer Saite," Berlin, 
 1792 ; etc. 
 In these works he records the results of many experiments in acoustics which 
 
 resulted in the discovery of a number of previously unknown principles. He 
 
 invented several instruments in illustration of his discoveries, such as the Euphon 
 
 and the Claircylindre. 
 
 CHOLLET (Louis Francois). French pianist, org., and comp., B. Paris, July, 
 1815. D. Paris, March 21, 1851. He was a brilliant pianist, and wrote a 
 great number of transcriptions for his instrument. 
 
 CHOPE (Eichard Bobert). English author and editor, B. Sept., 1830. Vicar 
 of St. Augustine's, S. Kensington, London. Editor of Hymn and Tune Book, 
 1857-62 ; Choir and Musical Record, 1862. Versicles, Canticles, Litany. 
 Psalter (Gregorian), 1862. Choral Communion (Marbecke, etc.), 1863 ; Carols 
 for use in church, 1868-1876 ; Easter and Harvest Carols, 1884. These works 
 are all well known at home and abroad. 
 
 CHOPIN (Francois Frederic), French comp. and pianist, B. at Zelazowa 
 
 Wola, Warsaw, March i, 1809. Son of Nicholas Chopin, a French teacher 
 
 of languages from Lorraine. S. at Warsaw under Zywny and Eisner. 
 
 Appeared at Vienna, Prague, and Dresden, 1829. Left Poland, 1830. 
 
 Appeared iii Berlin, Munich, and London as pianist, 1831. Settled in Paris, 
 
 Sept., 1831, where he afterwards lived as the centre of attraction to a large 
 
 body of fashionable and itinerant musicians. Lived with Madam Dudevant 
 
 (George Sand), 1836-1847. He visited and played in England and Scotland 
 
 towards the close of his life. D. Paris, Oct. 17, 1849. 
 
 Works. — Op. i. First Rondo for Pf. in C minor; op. 2. "La ci darem la 
 
 mano" for Pf. and orch., in B flat minor; op. 3. Introduction and Polonaise 
 
 brillante for Pf. and 'cello ; op. 4. Sonata for Pf. in C minor ; op. 5. Rondo for 
 
 Pf. in F ; op. 6. Four Mazurkas for Pf. ; op. 7. Five Mazurkas for Pf. ; op. 8. 
 
 First Trio for Pf., vn., and cello ; op. 9. Three Nocturnes for Pf. ; op. 10. Twelve 
 
 Grand Studies for Pf. ; op. 11. Grand Concerto for Pf. and orch. in E minor ; op. 
 
 12. Variations on Herold's "Je vends des Scapulaires," for Pf. ; op. 13. Grand 
 
 Fantasia for Pf. and orch., in A; op. 14. Krakowiak, grand rondo for Pf. and 
 
 orch., in F ; op. 15. Three Nocturnes for Pf ; op. 16. Rondo in E flat ; op. 17. 
 
 Four Mazurkas for Pf. ; op. 18. Grand Valse for Pf. in E flat ; op. 19. Bolero for 
 
 Pf. in C 5 op. 20. First Scherzo lor Pf. } op. 21. Second Concerto for Pf. and orch., 
 
i6o 
 
 CHO — CHO 
 
 in ¥ minor ; op. 22. Grand Polonaise brillante for Pf. andorch., in E flat ; op. 23. 
 Ballade for Pf., in G minor; op. 24. Four Mazurkas for Pf. ; op. 25. Twelve 
 Studies for Pf. ; op. 26. Two Polonaises for Pf. ; op. 27. Two Nocturnes for Pf. ; 
 op. 28. Twenty-four Preludes for Pf. ; op. 29. First Impromptu for Pf., in A flat ; 
 op. 30. Four Mazurkas for Pf. ; op. 31. Second Scherzo for Pf., in B. minor ; op. 
 32. Two Nocturnes for Pf. ; op. 33. Four Mazurkas for Pf. ; op. 34. Three Valses 
 for Pf. ; op. 35. Sonata for Pf., in B minor ; op. 36. Second Impromptu for Pf. ; 
 op. 37. Two Nocturnes for Pf. ; op. 38. Second Ballade for Pf. ; op. 39. Third 
 Scherzo for Pf. ; op. 40. Two Polonaises for Pf. ; op. 41. Four Mazurkas for Pf. ; 
 op. 42. Valse for Pf., in A flat ; op. 43. Tarantelle for Pf., in A flat ; op. 44. 
 Polonaise for Pf., in F sharp ; op. 45. Prelude for Pf., in C sharp minor ; op. 46. 
 Allegro de Concert for Pf., in A ; op. 47. Third Ballade for Pf. ; op. 48. Two 
 Nocturnes for Pf., in C minor, and F sharp minor ; op. 49. Fantasia for Pf., in F 
 minor ; op. 50. Three Mazurkas for Pf. ; op. 51. Third Impromptu for Pf. ; op. 
 52. Fourth Ballade for Pf., in F minor ; op. 53. Polonaise for Pf. ; op. 54. Fourth 
 Scherzo for Pf, in E; op. 55. Two Nocturnes for Pf. ; op. 56. Three Mazurkas 
 for Pf. ; op. 57. Berceuse for Pf., in D flat ; op. 58. Sonata, in B minor ; op. 59. 
 Three Mazurkas for Pf. ; op. 60. Barcarolle for Pf., in F sharp ; op. 61. Polonaise- 
 Fantasia for Pf., in A flat ; op. 62. Two Nocturnes for Pf. ; op. 63. Three Mazur- 
 kas for Pf. ; op. 64. Three Waltzes for Pf. ; op. 65. Sonata for Pf. and 'cello, in G 
 minor. Posthumous Works : op. 66. Fantasia- Impromptu for Pf. ; op. 67. Four 
 Mazurkas for Pf. ; op. 68. Four Mazurkas ; A number of minor and detached Pf. 
 pieces without op. numbers. 
 
 Pianoforte music is greatly indebted to Chopin for much that is beautiful and 
 original, while his influence has been considerable over succeeding writers of the 
 piano. The numberless beautiful forms vifhich Chopin created are a never failing 
 source of delight to every musician, and stripped of the silly and sentimental 
 meanings with which Liszt and other writers have tried to invest them, are as 
 healthy and enjoyable as anything ever written. It is not within the range of this 
 work to discuss the many technical points involved in their performance or construc- 
 tion, and the reader is referred in consequence to the valuable Life of Chopin by 
 Moritz Karasowski. 
 
 CHOBLEV (Henry Fothergill). English musician, art critic, novelist, verse 
 writer, journalist, dramatist, general writer, traveller, etc., B. Blackley Hurst, 
 near Billinge, Lancashire, Dec. 15, 1808. Brought up for mercantile life. 
 Commenced connection with the "Athenaeum," 1830. Member of the 
 "Athenseum" staff 1833-1871. D. London, Feb. 16, 1872. 
 Works. — Sketches of a Sea-port town, 3 vols., 1835 (novel) ; Conti the Discar- 
 ded, a novel, 3 vols., 1835 ; Memorials of Mrs. Heraans, 2 vols., 8vo, 1836 ; The 
 Lion, a Tale of the Coteries, 3 vols., 1839; Music and Manners in France and 
 Germany, 3 vols., London, 8vo, 1841 ; Pomfret, a novel, 1845 ! 0'<i '°™ ^"'^ "^^ 
 fortune, a play, 8vo, 1850 ; Modern German music, recollections and criticisms, 
 Lond., 3 vols., 8vo, 1854; Roccabella, a. novel, 1859; Thirty years' musical 
 recollections, Lond., 2 vols., 8vo, 1862 ; Prodigy, a tale of music, Lond., 3 vols., 
 1866 ; Handel Studies, 2 parts, 1859 ; National music of the vs^orld, edited by 
 H. G, Hewlett, 8vo, 1880 ; Librettos for Wallace's Amber Witch ; Bennett's May 
 Queen, etc. ; Translations of Mercadante's Elena da Feltre ; Cimarosa's II 
 Matrimonio Segreto ; H&old's Zampa ; Auber's Haydee ; Mendelssohn's Son and 
 Stranger, etc. 
 
 Chorley was too many-sided ever to attain great distinction in any one of the 
 numerous walks he attempted. His musical writings possess greater literary merit 
 than most of the English work of the same period, but the judgments formed in 
 them, especially with regard to Mendelssohn, have long since been overturned. 
 His "Autobiography, Memoir, and Letters," edited by Henry G. Hewlett, was 
 published in London, 2 vols., 1873, with a photograph. 
 
 CHOBON (Alexander Etienne). French comp. and writer, B. Caen, Oct. 
 
 21, 1771. Director of the Academic Royal de Musique, i8i6'l7. Founder 
 
 and director of the Institution Royal de Musique, 1824-30. Master of 
 
 Monpou, Duprez, Scudo, etc. D. Paris, June 29, 1834. 
 
 Works. — Principes de Composition des ^coles d'ltalie, etc., Paris, fo., 3 v., 
 
 1808 ; Dictionnaire Historique des Musiciens, par Choron et Fayolle, Paris, 1 
 
CHO — CHW l6l 
 
 vols., 1810-H ; Methode ^l^mentaire de Musique, 1811. Other didactic works in 
 association with Fiocchi, Lafage, etc. Masses, psalms, songs, etc. M^thode con- 
 certante de Musique, Paris, 1833. 
 
 CHOTEK (Franz Xaver). German pianist and comp., B. Liebisch, Oct., 
 1800. D. Vienna, May, 1852. His worlcs are mostly arrangements and 
 transcriptions for the Pf. 
 
 CHOUQUET (Adolphe Gustave). French musician and writer, B. Havre 
 April i6, 1819. Keeper of the Museum of Paris Cons. He is author of 
 " Historic de la Musique Dramatique en France, depuis ses origines jusqu'a nos 
 jours," Paris, 8vo, 1873, and of a number of valuable articles on French 
 musicians in Sir G. Grove's " Dictionary of Music and Musicians." 
 
 CHRISTIE (William). Scottish collector and Dean of Moray, compiled 
 "Traditional Ballad Airs, arranged and harmonised for the Pianoforte and 
 Harmonium, from copies procured in the counties of Aberdeen, Banff, and 
 Moray, by W. Christie, M.A., and the late Wm. Christie, Monquhitter, 
 edited by W. Christie, M.A., Dean of Moray," etc. Edin., 2 vols., 4to, 
 1876-1881. A very handsome and interesting work, containing a number of 
 previously uncollected airs. 
 
 CHBYSANDEB (Friedrich). German writer, B. Ltlbthee, Mecklenburg, 
 July 8, 1826. Has written " Ueber die Moll-Tonart in den Volkges^ngen, 
 und ueber das Oratorium," Schwerin, 1853. "G. F. Handel (eine kunsthisto- 
 riche Biographic)," Leipzig, 3 vols., 1858-67. " Jahrbiicher fiir Musikalische 
 Wissenschaft, " 2 vols., 1863-67. Also author of many contributions to 
 periodical literature. 
 
 CHURCH (John). English composer, B. Windsor, 1675. Chor. of S. John's 
 Coll., Oxford. Gent, of Chap. Royal, 1697. Lay-vicar Westminster Abbey, 
 Choir-master, do. D. Westminster, Jan. 5, 1741- Author of an Introduction 
 to Psalmody, containing useful Instructions for young Beginners, explained 
 in a familiar and easie manner, Lond., 8vo, 1723. Anthems, songs, etc. A 
 number of Church's anthems are very fine specimens of contrapuntal writing, and 
 are occasionally produced at the present time. 
 
 CHURCH (John and Co). American music-publishing firm, established at 
 Cincinnati, by John Church, in 1844. The firm is one of the most important and 
 best known in the United States, and has issued a number of good publications. 
 Messrs. Church publish the magazine known as "Church's Musical Visitor," 
 which contains, in addition to music, a great variety of interesting matters. 
 The principal publications issued by the firm in addition to sheet music, are 
 music books embracing theoretical and practical treatises ; school music books ; 
 cantatas ; glee and chorus music ; convention and temperance books ; 
 masses ; collections of church music ; and a fe^y works on general musical 
 literature. 
 
 CHURCHILL ( ? ) English pianist and comp. who flourished in London at end 
 of last and beginning of present century. He wrote a number of works for his 
 instrument, including Three Sonatas for Pf. and violin ; Six Duos for 2 vns., 
 op. 2 ; Six Duos for violin and alto; Ten Progressive Lessons for Pf., op. 
 10 ; etc. 
 
 CHURCHYARD (Thomas). English poet and musician who flourished during 
 the i6th century. Wrote "The Commendation of Musyke by Churchyarde," 
 1562. For other works see Hazlitt's " Handbook of Poetical Literature," 1867. 
 
 CHWATAL (Franz Xaver). Bohemian comp., B. Rinnburg, July 19, 1808. 
 Commenced study of Pt., 1814. Studied at Prague Cons. Resided for a time 
 at Magdeburg, 1835. Writer in musical journals and teacher. D. Soolbade 
 Elmen, June 24, 1879. 
 Chwatal was a comp. of some repute, and his works are very voluminous, in- 
 cluding theoretical books, all kinds of Pf. music, songs, etc., a number of which 
 will be found in the catalogues of the leading English publishers, 
 
 L 
 
l62 CIA — CIM 
 
 CIANCHETTI (Pio). Italian comp., B. London, 1799. Appeared as infant 
 
 prodigy, ,1804. Travelled through Germany, Holland, and France. Returned 
 
 to London, 1805.' Accompanist and cond. to Catalani. Teacher and comp. 
 
 in London. D. Cheltenham, 1851. 
 
 Works.— Pope's Ode to Solitude. Sixty Italian Catches, for two, three, and 
 
 four voices (Martini), edited. Cantata for two voices from Milton's "Paradise 
 
 Lost." Concertos, Pf Music, and Songs. Take, O, take those lips away, song. 
 
 Music by Mozart, and Beethoven, edited, etc. 
 
 This clever musician was at one time well known and popular, though now un- 
 known and not likely ever to have his name restored to popular favour. 
 
 CIANCHETTI (Veronica), nk Dussek. German pianist and comp., mother 
 of the above, B. Bohemia, 1779. S. under her Father. Married to Francesco 
 Cianehetti, London, 1797. D. London, 1833. She composed miscellaneous 
 Pf. music, as concertos, sonatas, and transcriptions. A sister of J. L. Dussek. 
 
 CIANCHI (Emilio). Italian operatic comp., B. Florence, March 21, 1833. 
 
 CIBBER (Susanna Maria), nie Arne. English soprano vocalist, B. London, 
 Feb., 1714. S. under her brother, T. A. Arne, etc. Debut in Lampe's 
 " Amelie," 1732. Married to T. Cibber, 1734. Appeared as a tragic actress, 
 1736, in Hill's "Zara." Sang at oratorio concerts, etc D. London, Jan. 
 30, 1766. 
 
 CIFRA (Antonio). Italian comp., B. Rome in latter part of i6th century. 
 S. under Palestrina. Master of Loretto Chap., Rome, 16 10. D. Rome, 
 1629. He composed a number of motets and psalms ; and ' ' Madrigali a 5 
 Voci," 1617, which are more learned than pleasing. 
 
 CIMA (Griovanni Paolo). Italian org. and comp. who flourished at Milan 
 between 1591 and 1610. He wrote some learned fugues and canons. Other 
 members of the same family are G. B. and A. Cima, neither of great renown. 
 
 CIMAROSA (Domenico). Italian comp., B. Aversa, Naples, Dec. 17, 1749. 
 
 S. at Cons. Santa Maria di Loreto, 1761-2. Resided at Rome, 1772-80. 
 
 Went to S. Petersburg, and was made chamber musician to Catherine II., 
 
 1787. Chap. -master to Leopold II. at Vienna. Chap. -master to King of 
 
 Italy at Naples, 1793. Imprisoned for promulgating revolutionary principles, 
 
 1799. Restored to liberty, 1800. Travelling back to S. Petersburg, but on 
 
 his way D. Venice, Jan. II, 1801. 
 
 Works. — Operas: Le Stravaganze del Conte, 1772 ; La Finta Parigina, 1773; 
 
 L'ltaliana in Londra, 1774; Gli Sdegni per amore, 1776 ; I Matrimonii in ballo, 
 
 1776 ; II Fanatico per gli antichi Romani, 1777 ; Le Stravaganze in Amore, 1777 5 
 
 La Contessina, 1777 ; I due Baroni, 1777 ; Amor costante, '1778 ; I Finti Nobile, 
 
 1778 ; Gli Amanti comici, 1778 ; II Duello per complimento, 1779 ; H Matrimonio 
 
 per raggiro, 1779; II Riturno di Don Calandrino, 1779; Cajo Mario, 1780; II 
 
 Mercato di Malmantile, 1780; L'Assalonte, 1780; L'Infedelta fedele, 1780; II 
 
 Falegrame, 1780; L'Avviso ai maritati, 1780; Alessandro nel 1' Indie, 1781 ; 
 
 L'Artaserse, 1781 ; II Capricio dramatico, 1781 ; II Convito, 1782; La Ballerina 
 
 amante, 1782; Nina e Martufifo, 1782; La Villana riconosciuta, 1783; L'Oreste, 
 
 1783; L'Eroe cinesq, 1783; II Pittor parigino, 1783; II Barone burlato, 1784; 
 
 I due Supposti conti, 1784; Le Statue parlante, 1784; Giannina e Bernadone, 
 1785; II Marito disperato, 1785; II Credulo, 1785; Le Trame deluse, 1786; 
 L'Impresario in Angustie, 1786 ; La Baronnessa Stramba, 1786 ; II Valdomiro, 
 1787; II Fanatico burlato, 1787 ; La Felicita inaspettata, 1790; La Cleopatra, 
 1790 ; La Vergine del Sole, 1791 ; II Matrimonio Segreto, 1792 ; La Calamita di 
 ciiori, 1793; Amor rende sagace, 1793; I Traci amanti, 1793; Le Astuzie 
 femminili, 1794 ; Penelope, 1794 ; I'Impegno superato, 1795 ; Gli Orazi e 
 Curiazi, 1794; Achille, 1798; L'Apprensivo raggirato, 1798; Semiramide, 1799; 
 Artemisia, 1801. Oratorios: La Guiditta, 1770; II Trionfa della religione, 1781 ; 
 
 II Martirio di S. Gennero, 1781 ; II Sacrificio d'Abramo, 1786. Masses, Cantatas, 
 etc. 
 
 The comic operas of Ciraarosa are, in the matter of originality of idea and fresh 
 melody, equal to anything produced by his contemporaries. The only one out ot 
 
CIN — CLA 163 
 
 all the works given in the foregoing list which has preserved any degree of vitality 
 is "II Matrimonio Segreto," which is still occasionally produced, and has been 
 printed in England. Cimarosa. was the rival of Paisiello, and authorities are 
 divided over their respective merits. 
 
 CINTHIE (Laure). See Damoreau (Laure C. M.) 
 
 CIPRIANO DI BORE. See Rore (Cipriano di.) 
 
 CLAGG-ET (Charles). English violinist and inventor, B. London, 1755. 
 Leader at theatre in Dublin. Invented a number of instruments, 1776-90. 
 Exhibited them in London, 1791. D. 1820. 
 
 Works. — Six duos for 2 flutes. Six duos for 2 violins. Six duos for violin and 
 violoncello, op. 5. "Musical Phsenomena, An organ made without pipes, 
 strings, bells or glasses, the only instrument in the world that will never require to 
 be retuned. A cromatic trumpet, capable of producing just intervals and regular 
 melodies in all keys without undergoing any change whatever. A French horn 
 answering the above description of the trumpet." London, 4to, 1793- 
 
 Cls^get was a most ingenious mechanic, and aided by the example of his inven- 
 tions, if not by their perfection, in reforming some of the systems applied to keyed 
 instruments. 
 
 OLAGGET (Walter). English comp. and pianist, living towards end of last 
 century. He composed "A new medley overture, consisting entirely of Scots 
 tunes and thirty-six of the most favorite Scots airs, to which is added the 
 favorite air of Chivey Chase. All with variations for 2 violins, or 2 German 
 flutes, and a violoncello, also adapted to the Pianoforte." Clagget's Scots 
 Tunes for the Pianoforte or Flute. Six Solos and Six Scots airs, with 
 variations for the viola or violoncello, with a thorough bass for the Harpsi- 
 chord, op. 2. Miscellaneous arrangements and teaching pieces for the Pf. 
 
 CLAIEVILLE. See Nicolaie. 
 
 CLAFHAM (Jonathan). English writer and divine. Rector of Wrampling- 
 ham, Norfolk, during 17th century, He wrote "A short and full vindication 
 of that sweet and comfortable ordinance of singing of Psalms." Lond., 1656. 
 
 CLAPISSON (Antonio Luigi). Italian comp., B. Naples, Sept. 15, 1808. 
 
 S. at Paris Cons., 1830-35. Gained 2nd violin prize, 1833. Pupil of Habe- 
 
 neck and Reicha. Violinist at Paris opera. Chevalier of Legion of Honour, 
 
 1847. Mem. of the Institute of France, 1854. Prof, of Harmony in Paris 
 
 Cons., 1861. D. Paris, March 19, 1866. 
 
 Works.— 0/«roj.- La Figurante, 1838; La Symphonie, 1839; La Perruche, 
 
 1840 ; Le Pendu, 1841 ; Fr^re et Mari, 1841 ; Le Code Noir, 1842 ; Les Bergers 
 
 trumeaux, 1844 ; Gibby la cornemuse, 1846 ; Jeanne la FoUe, 1848 ; La Statue 
 
 Equestre, 1850 ; Les Mystires d'Udolphe, 1852 ; La Promise, 1854; La Fanchon- 
 
 nette, 1856; La Sylphe, 1856; Margot, 1857; Les trois Nicolas, 1858; Madame 
 
 Gregoire, 1861 ; Don Quixhotte et Sancho, 1847 ; Dans les Vignes, 1854, ; Le 
 
 Coflret de St. Dominique, 1855 ; Les Amoureux de Perrette, 1855. Romances 
 
 and Songs to the number of over 200. 
 
 Clapisson was a fine melodist and a graceful harmonist. His operas are flovnng, 
 though scmetimes trivial, and were very popular in their day. He is now princi- 
 pally known by his numerous fine songs. 
 
 CLARE (Edward). English writer and org. of present century. D. [London], 
 April 9, 1869. Author of "Analysis of practical Thorough-bass." Lond., fol. 
 [1835]. "A simple guide for chanting for the use of amateurs, followed by the 
 complete service for the Church, and twenty psalms from the Psalter, carefully 
 pointed and adapted to the chants in general use." Lond. (Cocks), 4to, n.d. 
 
 CLARI (Giovanni Carlo Maria). Italian comp. and org., B. Pisa, 1669. S. 
 under Colonna. Chap. -master of Cath. of Pistoja. D. [1745-6.] 
 Works.— II Savio Delirante, opera, Bologna, 1695. Stabat Mater. Mass, for 
 5 voices and orch., 1712. Collection of vocal duets and trios, 1720. Psalms and 
 miscellaneous Church music. 
 
164 CLA — CLA 
 
 Clari is chiefly celebrated for his elegant chamber duets and trios, which at one 
 time were in great request. His Church music will be found in modern collections, 
 and is admirable in many respects. 
 
 CLARIBEL. See Barnard (Mrs). 
 
 CLARK (John). Scottish collector and violinist of the i8th century. Published 
 " Flores Musicse, or the Scots Musician, being a general collection of the 
 most celebrated Scots Tunes, Reels, Minuets, and Marches, adapted for the 
 Violin, Hautboy, or German Flute, with a Bass for the violoncello or Harpsi- 
 chord." Edin., fo. 1773. 
 
 CLARK (Richard). English writer and singer, B. Datchet, Bucks., April S, 
 
 17S0. Chor. in St. George's Chap.. Windsor, under Aylward. Chor. at 
 
 Eton Coll., under S. Heather. Lay-Clerk at St. George's Chap., and Eton 
 
 Coll., 1802-11. Secretary of the Glee Club. Lay-Vicar of Westminster 
 
 Abbey. Vicar-Choral of St. Paul's. Gent, of Chap. Royal, 1820. D. 
 
 London, Oct. 5, 1856. 
 
 Works. — Words of the most favourite pieces performed at the Glee Club, Catch 
 
 Club, and other Societies, London, 8vo, 1814. First volume of poetry, revised, 
 
 improved, and considerably enlarged, containing the most favourite pieces 
 
 performed at the Glee Clubs, etc., Lond., 8vo, 1824. Continuation, 1833. An 
 
 account of the National Anthem entitled "God save the King,"etc., Lond.,8vo, 1822. 
 
 Reminiscences of Handel, His Grace the Duke of Chandos, Powells the Harper, 
 
 the Harmonious Blacksmith, and others, London, fo., 1836. Reading and playing 
 
 from score simplified, Lond., 8vo, 1838. An Examination into the derivation, 
 
 etymology, and definition of the word "Madrigale," Lond., 8vo, 1852. On the 
 
 sacred oratorio of " The Messiah " previous to the death of G. F. Handel, 17S9> 
 
 Lond., 8vo, 1852. An address to the directors of the Ancient Concerts on the high 
 
 pitch of the scale, Lond., 1845. Glees, anthems, chants, etc. 
 
 The reader is referred to Chappell's "Popular Music in the Olden Time " for cer- 
 tain exposures touching Clark's works. Apart from his errors, wilful or otherwise, 
 Clark has done much good to the general cause of music in England, by his anti- 
 quarian researches. 
 
 CLARK (Rev. Frederick Scotson). Irish org. and comp., B. Loridon, Nov. 
 16, 1840. S. under his mother (a pupil of Mrs. Anderson and Chopin). S. Pf. 
 and harmony under Sergent, org. of Notre Dame. Org. of Regent Sq. Ch., 
 Lond., 1855. S. organ under E. J. Hopkins. S. at R.A.M. under Bennett, 
 Goss, Engel, Pinsuti, and Pettit. Org. successively of a number of London 
 churches. Founded a College of Music in London, 1865. S. for the ministry 
 at Oxford. Org. at Exeter Coll., Oxford. Bac. Mus., Oxon., 1867. Head 
 master of S. Michael's Grammar School, Brighton, 1867. Curate of Lewes, 
 Sussex. S. at Leipzig Cons, under Richter, Reinecke, etc., and was assistant 
 in English church there. S. under Lebert, Pruckner, and Kruger, at Stuttgart. 
 Returned to London, 1873. Resumed his connection with the Coll. or London 
 Organ School, 1875. Represented English organ-playing at Paris Exhibition, 
 1878. D. London, July 5, 1883. 
 Works. — Organ: Voluntaries; Pastorale; Douce Pensee ; Andantes in F and 
 D ; Melodies in D, A, F, and E flat ; Postlude ; Marches : Anglaise, aux Flambe- 
 aux, des Fontomes, des Girondins, des Jacobins, Militaire, Belgian, Commemora- 
 tion, Festal, HoUandaise, Inauguration, Pilgrims, Procession, Roman, Russian, 
 Vienna, etc. ; Communions in D minor, F, C minor, A minor, G and E ; Offer- 
 toires in F, D, A, G, and C ; Meditation, in B flat ; Fantasias in F, etc. ; Improvisa- 
 tions in B flat, C, G, F ; Impromptus, prayers, romances ; Gavottes ; Minuets, airs ; 
 Twelve songs from Handel's oratorios, arranged ; Twelve choruses from Handel, 
 arranged ; Transcriptions, various ; Harmonium : Arrangements from foregoing. 
 Voluntaries ; Reverie, Romance, Gavotte, Ave Maria, Songs. Same for Harmonium 
 duet ; Meditation, in B flat, for violin, harmonium and Pf.; Pianoforte: Chinese 
 march ; Midnight march ; Indian march ; Turkish march, etc.; Mazurkas : Clotilde, 
 Hiilene, La Fleurette, La Zingara ; Polkas, Galops, Valses, and minuets ; Barcar- 
 olles, studies, nocturnes, melodies, morceaux de salon ; Transcriptions, various ; 
 Sacred Evenings : selections from various composers ; Arrangement for Pf. duet, 
 etc.; Vocal: Kyrie Eleison and Sanctus in E, from communion service No. I ; Do. 
 
CtA — CLA 165 
 
 from No. 2 ; Magnificat and nunc Dimittis, chant service in F. Cupid, part song ; 
 For Queen and Fatherland, part-song ; Agnus Dei, sacred song ; He shall convert 
 my soul, sacred song ; How dear is home to me, song ; Lullaby ; Meet me once 
 more ; Never, my child, forget to pray ; The sea hath its pearls ; Pussy, etc. 
 Didactic: First Steps in Organ- Playing, Lond. (Augener), 4to, n.d. ; First Steps in 
 Harmonium-Playing, (Do. ) 4to n.d. ; First Steps in Pianoforte-Playing, do. MS. 
 works. 
 
 Clark was one of the most accomplished British musicians of recent times. He 
 gave to the world a number of organ pieces of the greatest brilliancy and effect ; 
 refined and free from vulgarity. As an instrumental composer he will doubtless be 
 better known to posterity than as a vocal composer, as his works in the latter de- 
 partiiient do not possess those features which insure a continued vitality. His 
 abilities as an instructor on the organ were well known in London, and his influence 
 over the pupils whom he instructed was lasting and healthy in its effects. His 
 pianoforte music is brilliant rather than learned in style. 
 
 CLARK (Thomas). English comp., B. Canterbury, 1775. D. there. May, 
 1859. Best known by his psalm tunes, a few of which are still used. 
 
 CLARKE (Charles E. J.). English org. and comp., B. Worcester, 1796. 
 Chorister in Worcester cath. Org. of Durham cath., 1812. Org. of Wor- 
 cester cath. , 1814. D. [?] 
 
 CLARKE (Hugh A.). American writer and comp. Has written " New Method 
 for the Pianoforte," Boston (Ditson), n.d. ; " Improved School for the Parlor 
 Organ " ; Grand Chant Te Deum ; Anthems, etc. 
 
 CLARKE (James Hamilton). Irish comp. and cond., B. Birmingham, Jan. 
 25, 1840. Chiefly self-educated in music. Apprenticed to a land surveyor, 
 1855-61. Org. of S. Matthew's ch., Duddeston, Birmingham, 1852. Entered 
 musical profession, May, 1862, as org. of the Parish ch. of Parsonstown, Ire- 
 land. Org. of Zion ch., Rathgar, Dublin, 1863. First violin Dublin Philhar- 
 monic Soc, 1862. Cond. of Belfast Anacreontic Soc, Nov. 1864. Org. of 
 Carnmoney ch., Belfast, Jan,, 1865. Temporary org. and choir-master Llan- 
 daffcath., Dec, 1865. Org. and cond., Queen's Coll., Oxford, 1866-7. Bac. 
 Mus., Oxon., May, 1867. Org. and choirmaster, S. Paul's ch., Camden Hill, 
 S. Kens., Lond., June, 1871. Org. of S. Peter's ch., S. Kens., in succession 
 to (Sir) A. S. Sullivan, Mar., 1872. Accompst. and assistant cond. at Promenade 
 Concerts, Covent Garden Theatre, Aug., 1873. Travelled on tour as cond. of 
 Carlotta Patti concert party, 1S73. Leader at the Opera Comique, Lond., 
 1874-5. Cond. of travelling company performing Gilbert and Sullivan's 
 "Sorcerer," 1878. Do. with "Sorcerer" and " Pinafore," 1878. Musical 
 director and comp. at the Royal Lyceum Theatre, London, Sept., 1878, etc. 
 Works. — Op. i. Capriccio for vn. and Pf., 1852 ; op. 7. Overture : Thanistene, 
 1859 ; op. 44. The Lord is my light, anthem in 8 parts, gained Coll. of Org. first 
 prize ; op. 68. Praise : a sacred cantata (degree exercise), June, 1867 ; op. 78. First 
 Concerto, Pf. and orch., in D. minor ; op. 79. Romance and Polonaise, vn. and 
 Pf. '; op. 80. Ode to Industry ; op. 93. First quartet, Pf , vn., viola, and 'cello, in E 
 minor ; op. 95. Parade March, Gertiani, 1872 ; op. 98. Saltarello for orch., 1874 ; 
 op. 100. Ballet overture for orch. ; op. loi. First symphony, orch., in F., Royal 
 Albert Hall, Aug., 1873 ; op. 102. Overture composed for Birket Foster, Esq., 
 1874 ; op. 122 Second symphony, in G minor, Promenade Concerts, Aug., 1879 ; 
 op. 123. Concert overture ; op. 134. Overture to Hamlet, 1875 ; op. 135. Romanza 
 cromatica, for flute ; op. 136. Music to a Ballet, Alexandra Palace, 1875 ; op. 137. 
 Overture: Rob Roy; op. 153. Second gavotte, for strings; op. 155. Second sonata, flute 
 and Pf. ; op. 156. Three sonatinas, Pf ; op. 157. Romance, flute and Pf. ; op. 159. 
 Six sonatas, organ; op. 161. Two choruses and ballet music in reconstruction of " Die 
 Fledermaus," 1876 ; op. 166. Six movements for organ. Part I. (36 pieces) ; op. 168. 
 Part 2. of organ music (6 pieces) ; op. 169. Part 3 of do. ; op. 179. Two andantes, or- 
 gan ; op. 183. Martial Law, a musical comedietta in one act ; op. 187. Overture : 
 Nanon ; op. 188. Romance and Tarantella, 'cello and Pf. ; op. 191. Gavotte in F, 
 
i66 
 
 CLA — CLA 
 
 mance and valse, flute and orch. ; op. 201. Incidental music to " Zillah," a tragedy, 
 1879; op. 202. Overture and incidental music (partly from Storace) to the " Iron 
 Chest," revived by Henry Irving, 1879 ; op. 203. Overture and masque music, etc., 
 to "Merchant of Venice," 1879; op. 206. Operetta: "Castle Botherem, " or An 
 Irish Stew, German Reed's, 1880; op. 207. Orchestral music, etc., to "lolanthe," 
 1880 ; op. 208. Overture and incidental music for the " Corsican.Brothers,"'Lyceum, 
 Sep., 1880 ; op. 209. Polonaise, Pf. and orch. ; op. 210. Overture : Cecile, 1880; 
 op. 214. Overture, entr'acte, choruses, march, dirge, and incidental music to "The 
 Cup," tragedy by Alfred Tennyson, produced by Henry Irving at the Lyceum 
 Theatre, London, Jan. 3, 1881 ; Songs, part-songs, etc. 
 
 CLARKE (James P). A Scottish musician, who held a good teaching position 
 in the West of Scotland, early in the present century. He edited "Parochial 
 Psalmody, a new Collection of Psalm Tunes, to which are prefixed Lessons in 
 the Art of Singing," Glasgow [c. 1830], 2nd ed., 1832. He comp. songs and 
 other vocal pieces. 
 
 CLARKE (James). English writer and teacher, B. London, 1793. D. Leeds, 
 1859. Author of a "Catechism of Wind Instruments, containing explanations 
 of the scale and compass of each instrument, and particular directions for 
 writing the parts of flutes, clarinets, etc.," Lond., n.d. "Instruction Book for 
 Children on the Pianoforte," Lond., n. d. "The Child's Alphabet ofMusic," 
 Lond., n. d. " Exercises in Harmony, designed to facilitate the study of the 
 Theory of Music and the Practice of Thorough Bass," Lond., 1832. " Cate- 
 chism of the Rudiments of Music," Lond., n. d. " New School ol Music, com- 
 bining the Practice of Singing with that of the Pianoforte," Lond., 11. d. 
 
 CLARKE (Jeremiah). English comp. and org., B. London, 1670. S. under 
 Blow. Chor. in the Chap. Royal.- Org. of Winchester Coll., 1692-95. 
 Almoner and master of the Chor. of St. Paul's Cath., London, 1693. Org. 
 and Vicar-Choral of St. Paul's, 1695. Gent, of Chap. -Royal, 1700. Joint 
 Org. of Chap.-Royal with Croft, 1704. D. London, Nov. 5, 1707 [suicide]. 
 
 Works. — Music to the following Plays : Antony and Cleopatra (Sedley), 1677; 
 The Fond husband, 1676 ; Titus Andronicus, 1687 ; The World in the Moon (with 
 D. Purcell), 1697 ; The Island Princess (with D. Purcell and Leveridge), 1699. 
 Ode : Alexander's Feast, Dryden ; Ode in Praise of the Island of Barbadoes. 
 Services in G and C minor. Anthems : Praise the Lord, O Jerusalem ; How 
 long wilt Thou forget me ? ; I will love Thee, O Lord ; O Lord God of my Sal- 
 vation ; Bow down Thine Ear. Songs in D'Urfey's "Pills to Purge Melan- 
 choly." The Assumption, Cantata; Lessons for the Harpsichord ; Ten Songs, op. 
 4 ; Secular music, miscellaneous. 
 
 Clarke's anthems are all of a high degree of merit, "Praise the Lord " being 
 accounted one of his best. His secular music is not above the average works of 
 his time. His dramatic music is not sufficiently matured in style to afford any 
 medium for comparison, and his endeavours in that direction were too unimportant 
 to invite criticism. His instrumental productions are too few and mediocre to call 
 for comment. Although by no means so good or so great a composer as some of 
 his contemporaries Clarke is deserving of much credit for the good music he has 
 written for the Church, which is still in constant use. 
 
 CLARKE (Jessie Murray). English writer, authoress of "How to Excel in 
 Singing and Elocution. A manual for lady students," Lond.,. 1884. 
 
 CLARKE (John), CLARK-WHITFIELD. English comp. and org., B. 
 Gloucester, Dec. 30, 1770. S. under Philip Hayes. Org. of S. Laurence's 
 Ludlow, 1789. Mus. Bac, Oxon., 1793. Org. of Armagh Cath., 1794-97. 
 Mus. Doc, Dublin, 1795. Master of chor. and org. of Christ Ch. and St. 
 Patrick's Caths., Dublin, 1798. Org. and Choirmaster of Trinity and S. 
 John's Colls., Cambridge, 1798-1820. Mus. Doc, Cantab., 1799. Mus. 
 Doc, Oxon., 1810. Org. of Hereford Cath., 1820-33. Prof- ofMusic, Cam- 
 bridge University, 1821. D. Holmer, near Hereford, Feb. 22, 1835. 
 Works. — Cathedral services and anthems, 4 vols., 1805, reprinted by Novello. 
 The Crucifixion and the Resurrection, oratorio, 1822. Twelve Glees, composed 
 and inscribed by permission to H.R.H. the Prince Regent [1805] ; Twelve Vogal 
 
CLA — CLA 167 
 
 Pieces, with original poetry, 2 vols., a. d. Glees, etc. : Alice Brand ; The Carpet 
 Weaver ; Celestial Hope ; Come, Ossian, Come ; The Coronach ; Dawn of Day ; 
 Edith of Lorn ; Hymn for the Dead ; Hymn to the Morning Star ; It was a Night 
 of lovely June ; Malvina's Lamentation ; Merrily Bounds the Bark ; Minstrel's 
 Tale ; Oh ! Liberty ; Red Cross Knights ; Roderick Vich Alpine ; What the' the 
 Knights ; When I am Doom'd ; When shall Joy ; Wide O'er the Brim ; Ve 
 Gentle Muses. Songs: Ah! Whither, Morpheus; Behold Me; Blanche of 
 Devon's Song ; Bonnie, Bonnie Blue ; Dark, dark was the Dungeon ; Days that 
 are Gone ; Ellen's Song ; Fair Jessy, the Maid of the Moor ; Go forth, my Song ; 
 Heath this Night ; Here's the Vow ; If Stormy O'er Enamelled Ground ; In Peace 
 Love Tunes ; Know ye the Land ; Laugh and Rejoice ; Lay of the Imprisoned 
 Huntsman; L'insomnie ; Minstrel's Harp; Moorland Mary; Mute Grey Fields; 
 Oh ! Sweet is the Perfume ; Oh ! Why did thy Soft ; Poor Mary ; Smile of Affec- 
 tion ; Soldier Rest ; Thou Dear Native Land ; Wake, Maid of Lorn ; With Jet 
 Black Eyes ; Withered Rose ; Young Lochnivar. The Beauties of Purcell. 
 Collection of Anthems (edited). The Vocal Works composed by G. F. Handel, 
 arranged for organ or pianoforte, Lond., 17 vols., fo. [1809]. Selection of Single 
 and Double Chants, etc., 2 vols., 4to, n. d. 
 
 Clarke is one of the well-known composers of Church music. He has written a 
 variety of good anthems and services, many of which are still often used. His glees 
 and songs from the works of Sir Walter Scott, etc., are among the best of his vocal 
 pieces, and though now almost forgotten, were once deservedly popular. 
 
 CLARKE (Mary Cowden). English writer, daughter of Vincent Novello, B. 
 London, June, 1809. Married in 1828 to Charles Cowden Clarke. She com- 
 piled the famous " Shakespeare Concordance," wrote novels and poetry, edited 
 an edition of Shakespeare, and wrote the "Life and Labours of Vincent 
 Novello." Lond., 8vo, 1864 (portrait). 
 
 This is a good work, and bears abundant evidence to the fact that Mrs. Clarke 
 has inherited a considerable portion of her father's musical genius. She has also 
 translated a number of important works on musical theory. 
 
 CLARKE (Stephen). Scottish comp. and org., B. about middle of i8th cen- 
 tury. He was Org. of the Episcopal Chap, of Edinburgh, and a teacher there 
 in the last decade of the i8th century. D. Edinburgh, 6th August, 1797. He 
 comp. "Two Sonatas for the Pianoforte or Harpsichhrd, in which are 
 introduced favourite Scotch airs, composed and respectfully dedicated to Mr. 
 Erskine, Jun., of Mar." Edin., 1790. He also harmonized the airs in 
 Johnson's "Scots Musical Museum." On his death the work was continued 
 by his son, William (B. Edinburgh [c. 1780]. D. Edinburgh, 1820), who was 
 a teacher and writer of some small pieces for the pianoforte and voice. 
 
 CLARKE (William H.). American writer and musician. Author of " Clarke's 
 Dollar Instructor for the Piano. Prepared for self-instruction and for the use 
 of teachers," Boston, n.d. "An Outline of the Structure of the Pipe 
 Organ," Indianapolis, 8vo, 1877. "Reed Organ Melodies." "Harmonic 
 School for the Organ," Boston. "Dollar Instructor of the Organ," Boston. 
 "New Method for Reed Organs," Boston. "Reed Organ Companion." 
 " Short Voluntaries for the Reed Organ." "Home Recreations for the Par- 
 lor Organ," Boston. " Dollar Instructor for the Violin," Boston, etc. 
 
 CLARKSON (John). Scottish dancing-master and violinist, B. [?]. D. St. 
 Andrews, Jan. 20, 1812. He compiled " Clarkson's Musical Entertainment, 
 being a Selection of various Tunes and Pieces of Music adapted for the Pf. or 
 Harpsichord," n.d. 
 
 CLARKSON (John, Jlinr.). Scottish dancing-master and violinist, son of above. 
 Published "A Complete Collection of the much-admired Tunes, as Danced at 
 the Balls and Publics of the late Mr. Strange, Teacher of Dancing in Edin- 
 burgh." This work appeared about the beginning of this century. 
 
 CLASING (Johann Heinrich). German pianist and comp., B. Hamburg, 1779. 
 Teacher at Hamburg, where he D. Feb. 8, 1829. He composed oratorios, 
 operas, chamber music, church music, etc., some of which is meritorious, and 
 is still kept in print, 
 
l68 CLA — CLE 
 
 CLAUDE le Jeune. See Lejeune. 
 
 GLAUS (Wilhelmine). Bohemian pianist, B. Prague, Dec. 13, 1834. See 
 
 SZARVADY. 
 
 CLAVE (Jose Anselmo). Spanish comp. and cond., B. Barcelona, April 21, 
 1824. D. Barcelona, Feb., 1874. He organised Festivals, on a large scale, 
 and composed choral music. 
 
 CLAY (Frederick). English comp., B. Paris, Aug 3, 1840. S. under Molique 
 at Paris. Resident in London as teacher and comp. 
 Works. — Operas and Operettas, etc. : The Pirate's Isle, 1859 ; Out of Sight, 
 i860 ; Court and Cottage, 1862 ; Constance, 1865 ; Ages ago, 1869 ; The Gentle- 
 man in Black, 1870 ; Happy Arcadia, 1872 ; Cattarina, 1874 ; Princess Toto, 1875 ; 
 Don Quixote, 1875 ; Babul and Bijou, 1872 (with others) ; The Black Crook, 1872 ; 
 Oriana (Albery) ; The Knight of the Cross, 1866 ; Lalla Rookh,, 1877 ; Merry 
 Duchess, 1883; Music to Shakespeare's Twelfth Night. Cantatas, Songs, Part- 
 Songs, etc. 
 
 CLAYTON (Eleanor Creathorne) Mrs. Needham. Irish general writer and 
 novelist, B. DubHn, 1832. Has published "Queens of Song, Being Memoirs 
 of some of the most celebrated Female Vocalists who have appeared on the 
 Lyric Stage, from the earliest days of opera to the present time, with a chrono- 
 logical list of all the operas that have been performed in Europe," Lond. , 2 
 vols., 8vo, 1863. She writes also a number of popular biographical works, 
 and some novels. 
 
 CLAYTON (Thomas). English comp,, B. 1670. D. 1730. He composed 
 music for Addison's "Rosamond," " Arsinoe ; " Dryden's "Alexander's Feast," 
 " The Passion of Sappho," etc., which is generally regarded as worthless. See 
 BuRNEY, Hawkins, etc. 
 
 CLEGG- (John). Irish violinist, B. Ireland, 1714. S. under Dubourg and 
 Buononcini. Dibut in London, 1723. Travelled in Italy. Was principal 
 violin at the Opera, London. Latterly insane. D. 1746. 
 Clegg was reckoned the best British violinist of his time. 
 
 CLELAND (George). English musician, was org. of S. Mary's Chap., Bath. 
 He published "A Selection of Chants, never before published," Lond. [1824]. 
 
 CLEMENT (Felix). French writer and comp., B. Paris, Jan. 13, 1822. S. at 
 S. Louis. Tutor in family in Normandy. Prof, of Pf. and Singing in Stanis- 
 las College, Paris, 1843-1860. D. Paris, Jan. 23, 1885. 
 
 Works. — Chants de la Sainte-Chapelle, 1849 ; Eucologe eh musique selon le rit 
 Patisien, 1851 ; Le Paroissien Remain, 1854 ; Methode complete du plain-chant, 
 1854 ; Methode d' orgue, Paris, n. d.; Tableaux de plain-chant, 1854 ; Methode de 
 musique vocale, Paris, 4to, n.d. ; Histoire generale de la Musique Religieux, Paris, 
 8vo, 1861 ; Les Musiciens cel^bres, depuis le seizieme siecle jusqu' anosjours, 
 Paris, 8vo, 1866; Dictionnaire Lyrique, ou Histoire des Operas, etc., Paris, 8vo, 
 [1869], (with supplements to date); Music for Racine's "AthaUe"; Les Deux 
 Savants, opera, 1858 ; Le Dormeur eveille, opera ; etc. 
 
 The majority of Clement's works are valuable contributions to musical biblio- 
 graphy, as well as to the general literature of France. Their literary merit is high, 
 though their accuracy is not always perfect. His musical compositions have never 
 been heard in Britain. 
 
 CLEMENT (Franz). Austrian violinist and comp., B. Vienna, Nov. 19, 1784 
 [1780]. S. under his father and Kurzweil. Travelled in Europe as concert 
 giver. Came to London, 1790. Solo violinist to Emperor of Austria, 1802. 
 Cond. of theatre at Vienna, 1802-11. Travelled in Germany and Russia, 
 181218. Travelled with Catalani from 1821. D. Vienna, Nov. 3, 1842. 
 He composed violin concertos, 3 overtures for orch., a Pf. concerto, and an 
 
 opera, and minor pieces for violin. He was a violinist of great refinement, and 
 
 held a high position en the Continent, 
 
CLE — CLE 
 
 169 
 
 CLEMENT (Jacques), Clemens non Papa. Belgian comp., B. at end of 15th 
 century, in Flanders. Chapel-master to Charles V. of Spain in succession to 
 Gombert. D. about middle of i6th century [1556]. 
 
 Works. — Missa cum quatuor vocibus ad imitationem cantilense Mis^ricorde 
 condita, nunc primum in lucem edita, 1556; Missa cum quatuor vocibus, 
 etc., 1557 ; Missa cum quatuor vocibus, etc., tomus III., 1557 ; Missa cum 
 quinque vocibus, 1557 ; Missa cum quinque vocibus, tomus V.; Missa cum 
 quinque vocibus, 1559; Missa cum sex vocibus, 1559; Missa cum quinque 
 vocibus, 1 560 ; Missa cum sex vocibus, 1 560 ; Missa defunctorum quatuor vocum, 
 1580 ; Liber primus cantionum sacrarum vulgo moteta vocant, quatuor vocum, etc., 
 1559 ; Sooter Liedekens (joyous song), I. Het vierde musyck boexken mit dry 
 parthien,'waer inne begrepen zyn die eerste 12 Psalmen van David, etc., 1556; 
 Sooter Liedekens, II., 1556; Sooter Liedekens, III., 1556; Sooter Liedekens, IV., 
 1557 ; Chansons Franfaise k quatre parties, etc., 1569. 
 
 " His style was smooth and clear, his melody harmonized without being drowned, 
 and his fugue and imitation simple and natural. His genius was so prolific, that 
 numerous as were his productions, he seldom borrowed even from himself." — Busby. 
 
 CLEMENTI (Muzio). Italian comp., pianist and publisher, B. Rome, 1752. 
 S. under Buroni, an org. at Rome. Became org. in 1761. S. under Carpani 
 and Sartarelli. Went to F,ngland (Dorsetshire) with Mr. Peter Beckford, 
 1766. Cond. Italian opera in London, 1777-80. Travelled in Europe, 1781. 
 Established music - publishing business. Teacher of Ludwig Berger, J. 
 Field, Zeuner, Klenzel, J. B. Cramer, etc. D. Evesham, Worcester, March 
 10, 1832. 
 Works. — Op. i. Six Sonatas for the Pf. ; op. 2. Six Sonatas for Pf. and flute 
 or violin ; pp. 3.-4. Six Sonatas for Pf. (2 sets) ; opp. 5. to 10. Sonatas for Pf., in 
 sets of 3 and 5 ; op. II. Sonata and Toccata for Pf. ; op. 12. Four Sonatas and a 
 duet for Pf. ; op. 13. Six Sonatas for Pf. ; op. 14. Three Sonatas for Pf. ; op. 15. 
 Sonatas for Pf. ; op. 16. Sonata for Pf. in D (La Chasse) j op. 17. Capriccio for 
 Pf. ; op. 18. Sonatas ; op. 19. Sonata for Pf. in C ; op. 20. Sonata in E flat ; op. 
 21. Three Sonatas for Pf. ; op. 22. Three Sonatas with violin accomp. ; op. 
 24-26. Sonatas for Pf. ; op. 27. Three Sonatas, Pf., with violin accomp.; op. 29-30. 
 Sonatas for Pf. and vn. ; op. 32-33. Sonatas for Pf. ; op. 34. Two Sonatas and 
 two capriccios, Pf. ; op. 35. Two Sonatas ; op. 36. Progressive Lessons in Piano- 
 forte Playing (Sonatinas, etc.); op. 37. Sonatinas; op. 38. Waltzes for Pf. ; op. 
 39. Waltzes (second set) ; op. 40. Three Sonatas ; op. 41. Sonata ; op. 42. Intro- 
 duction to the Art of Playing on the Pianoforte ; op. 43. Second part of do. ; op. 
 44. Gradus ad Parnassum, or the Art of Playing on the Pianoforte, exemplified in 
 a series of exercises in the strict and free styles, composed and fingered by the 
 author, Lond., 2 vols., n. d. ; op. 46. Sonata for Pf. (ded. to F. Kalkbrenner) ; op. 
 47. Two Capriccios, Pf. ; op. 48. Fantasia, Pf. j op. 49. Twelve Monferrinas ; op. 
 So. Three Sonatas, Pf. ; op. 51. Detached pieces various for Pf. 
 
 Clementi belonged to a school of pianists and composers long since passed away. 
 He was a follower of Mozart in his style of composition, but a reformer and 
 developer of playing, marking the turning point from which the great modern school 
 of Moscheles, Thalberg, Liszt, and Rubinstein took its departure. Of his personal 
 capabilities, Moscheles says. — "dementi's pianoforte playing, when he was 
 young, was famed for the exquisite legato, pearliness of touch in rapid passages, 
 and unerring certainty of execution.'' His compositions are still in use among stu- 
 dents of the pianoforte and his op. 44, though nearly supplanted by more modern 
 works, is one of the best books a beginner can have. His compositions are pretty 
 rather than vigorous, and always melodious and original. 
 
 CLEMENTI AND COMPANY. English music-publishing and instrument 
 manufacturing firm, established by Muzio Clementi in London. The firm was 
 carried on under the name of Clementi, Collard and CoUard in 1823, and they 
 manufactured pianofortes and nearly every other variety of instrument. Their 
 publications included works by most of the good composers of that period, and 
 consisted of instrumental and vocal music of every kind. 
 
 CLERAMBAULT (Louis Nicolas). French org. and comp., B. -Paris, 19th 
 Pec, 1676, D. Paris, Oct, 26, 1749, 
 
lyo CLI — CLO 
 
 Works. — Operas: Le Soleil vainqueur des nuages, 1721 ; Le Depart du roi, 
 idylle, 1745- Livre d'orgue contenant deux suites du premier et du second ton, 
 Paris, 4to, 1710; Harpsichord music, etc. 
 
 CLICQUOT (Francois). French organ-builder, B. Paris, 1728. D. 1791. 
 
 CLIFFORD (Rev. James). English divine and musician, B. Oxford, 1622. 
 
 Chor. of Magdalen Coll., Oxford, 1632-42. Minor Canon S. Paul's Cath., 
 
 Lond., 1661. Senior Cardinal, S. Paul's, Lond., 1682. Curate of Parish 
 
 Ch. of S. Gregory. Chaplain to Society of Serjeant's Inn. D. London, 1700. 
 
 Works. — A Collection of Divine Services and Anthems, usually sung in His 
 
 Majesty's Chapel, and in all the cathedral and collegiate choirs of England and 
 
 Ireland, by James Clifford, 1664; Sermons, etc. 
 
 CLIFTON (John Charles). English comp. and pianist, B. London, 1781. S. 
 
 under R. Bellamy and Charles Wesley. Employed for a time in mercantile 
 
 pursuits. Resided at Bath as teacher and cond. Went to Dublin, 1802. 
 
 Resided there as teacher and comp. till 1815. Settled in London, 1816, 
 
 as teacher of the Pf. and advocate of Logier's system. D. London, Nov., 
 
 1841. 
 
 Works. — Edwin, opera, Dublin, 1815 ; A Series of Moral Songs, by W. F. 
 
 CoUard, published in parts, 1823-4 (dementi & Co. ); Selection of British Melodies, 
 
 with appropriate words, by J. Y. M. Dovaston, Lond., n.d.; Collection of French 
 
 Airs, with symphonies and accompaniments, 2 vols. As pants the hart, canon. 
 
 Glees : Three glees for 3, 4, and 5 voices, 1823 ; A blossom wreath. Maid of Toro, 
 
 On a rock whose haughty brow. Quick flew the gales of rosy spring, Durandarte 
 
 and Belerona, Hushed is the harjD, Pray goody; Songs: As through life's early 
 
 path ; Awake, Oh ! sleeper sweet, awake ; First dawn of love ; Good night, my 
 
 pretty Anne ; If music be the food of love (canzonet) ; Lorenzo to Jessica ; Miller's 
 
 daughter ; Near the purple fountain ; Sensitive plant ; Soft on the violet bank ; 
 
 The dear delights of duty ; The prayers that are sent ; When passion first begins ; 
 
 With love-fraught eyes ; Here recline ; Hope ; It may be love ; Nay, if you 
 
 threaten ; Sweet choice of my heart ; A bumper of sparkling wine, etc. Theory of 
 
 Harmony Simplified, 1816 ; Instructions for the Pianoforte; Memoir of Sir John 
 
 Stevenson (in a review), etc. 
 
 Clifton was a pianist of much ability, and invented an instrument called the 
 "Eidomusicon," which, on being fastened to the keyboard of the Pianoforte, pro- 
 duced the notes and chords as they were struck, with a view to displaying them to 
 the eye, and so facilitate sight-singing, etc. His songs are very fine works, the one 
 called " If music be the food of love," being especially well known. 
 
 CLINTON (John). English flute player and writer, B. 1810. D. London, 1864. 
 Author of " A 'Treatise upon the Mechanism and General Principles of the 
 Flute," Lond., i2mo, n.d. ; "Complete School for the Boehm Flute, contain- 
 ing everything necessary to learn that instrument, from the elements to the 
 most advanced stage," Lond., n.d. (S editions), Ashdown ; "A Code of In- 
 struction for the Equisonant Flute, in which the fingering and resources of that 
 instrument are fully explained by numerous examples" ; "First Set of three 
 GrandStudiesfor the Flute" ; Second do. ; "Universal Flute Tutor" (Boosey). 
 Flute music : Trios for two flutes and Pf. , opp. 2, 3, 10 ; Trios for three flutes, 
 opp. 7 and 9 ; Five Notturnos, flute and harp (with Oberthiir) ; Beauties for 
 the flute ; Gems of the Italian School ; Cavatinas, or songs without words ; 
 The Drawing-Room Concert, written by W. Ball ; Transcriptions. 
 Clinton's works on, and for the flute, are among the best ever produced in Eng- 
 land. 
 
 CLIVE (Catherine), n^e Rafftor. Irish soprano vocalist, B. London, 1711. 
 Sang at Drury Lane Theatre from 1728. Married to George Clive, a Barrister, 
 1734. Separated from him, 1769. Retired from Stage. D. Twickenham, Dec. , 
 1785. 
 
 CLOUGH & WARREN. American firm of reed organ makers, established at 
 Detroit, Mich. This firm stands among the foremost of American makers, and 
 their instruments are in use all over the worjd. Their instruments possess a 
 
CLU — COC 
 
 171 
 
 few original features, such as qualifying tubes for producing a tone resembling 
 the pipe organ. 
 
 CLUEB (Jolm). Ene;Ush music publisher during the i8th century. He printed 
 Handel's works and Collections of English Songs, etc. 
 
 COBB (Bicliard). English comp. and org. during the i6th and 17th centuries. 
 Was org. to Charles I , and composed some vocal music. "Smiths are good 
 fellows," a catch, is by him. 
 
 COBBOLD (William). English comp., flourished in latter part of i6th, and 
 beginning of 17th centuries. His biography is unknown. He was one of the 
 harmonizers of Este's "Whole Book of Psalms," 1592, and contributed the 
 S-part madrigal "With wreaths of rose and laurel" to the "Triumphs of 
 Oriana." 
 
 COCOHETTA. See Gabrielli. 
 
 COCCHI (Gioacchino). Italian comp. and teacher, B. Padua, 1720. Chap.- 
 
 master at Cons, degli Incurabili, Venice, 1753. Resided in London, 
 
 1757-1773. Returned to Venice, 1773. D. Venice, 1804. 
 
 Works. — Operas: Adelaide, 1743; Bajasette, 1746; Giuseppe riconosciuto, 
 
 1748; Arminio, 1749; Siroe, 1750; La Mascherata, 1751; Le Donne Vendicate, 
 
 1752; La Gouvernante rusee, 1752; II Pazzo Glorioso, 1753; Semiramide ricon- 
 
 osciuta, 1753 ; I Matti per amore, 1756 ; Zoe, 1756 ; Emira, 1756 ; Gli Amanti, 
 
 Lond., 1757 ; Gli Amanti Gelosi, Lond., 1757 ; Zenobia, Lond., 1758 ; Issifile, 
 
 Lond., 1758 ; II Tempio della Gloria, Lond., 1759 ; La Clemenza di Tito, Lond., 
 
 1760 ; Erginda, 1760; Tito Manlio, 1761; Alessandro nell' Indie, 1761 ; Le 
 
 Nozze di Dorina, 1762 ; La Famiglia in Scompiglio, Lond., 1762. Grand 
 
 Serenata, Lond., 1761, etc. 
 
 COCCIA (Carlo). Italian comp., B. Naples, April, 1789. S. under Paisiello, 
 Capelli, etc. Accompanist to Joseph Buonaparte's private band. Teachei 
 and comp. at Lisbon, 1820. Cond. Italian opera in London, 1823-4. Chap.- 
 master of Cath. of Novara, 1836. Director of Music Academy of Turin. 
 D. Novara, April 13, 1873. 
 Works. — Operas: II Matrimonio per cambiale, 1808 ; II Poeta fortunato, 1809; 
 
 Voglia di dote e non di moglie, 1810 ; II Sogno verificato, 1812 ; I Solitari, 1812 ; 
 
 La Selvagia, 1814 ; II Crescendo, 1815 ; Euristea, 1815 ; Evelina, 1815 ; Clotilde, 
 
 1816 ; Rinaldo d' Asti, 1816 ; Carlotta e Werter, 1816 ; Claudine, 1817; Simile, 
 
 1817 ; Donna Caritea, 1818 ; Mandane, 1821 ; Elena e Costantino, 1821 ; La 
 Festa della Rosa, 1822; Maria Stuart, 1827 ; L' Orfano della selve, 1829 ; Rosa- 
 munda, 1831 ; Odoardo Stuart, 1832 ; Enrico di Montfort, 1833 ; Catarina di 
 Guisa, 1833; Ser Mercantonio, 1834; Marfa, 1834; II Lago della fate, 1841. 
 Cantata for entry of allied armies into Paris, 1814 ; Cantatas, various. Church 
 Music. Orchestral Overtures, etc. 
 
 Fifty years ago Coccia was well-known in Europe, and even in London, but his 
 operas not being possessed of much merit or interest are now unknown and uncared 
 for. The melody of Coccia's works was good, and he was a follower in the steps 
 of Paisiello. 
 
 COCHLAN (J. P.). English writer, author of "An Essay on the Church Plain- 
 Chant," Lond., i2mo, 1782. 
 
 COCHLJGUS (Johann), or Cocleus. German theoretical writer, B. Wendel- 
 stein, in 15th century. D. [1552]. Author of "Musica," Cologna, 4to, 
 1507 ; " Tetrachordum Musices : de Musicse elementis, de musica gregoriana, 
 de octo tonis meli, de musica mensurali," Nuremburg, 1311. 
 
 COCK (Lamborn). English music publisher of the present day, established in 
 London, issues works by most of the great living English composers, and the 
 complete works of Signer Piusuti. 
 
 COCKS & COMPANY (Robert). English music publishing firm, established 
 at London by Robert Cocks in 1823. The firm was carried on by the senior 
 member of the firm till 1859, when he took his sons Robert Lincoln and Stroud 
 Lincoln into partnership. Robert Lincoln died, and the firm is carried on by 
 
172 COC — COL 
 
 the only surviving son Stroud Lincoln, and Robert Cocks, sen. Robert 
 Cocks, born in 1796, has always shown himself alive to the musical interests 
 of the country. The catalogue of the firm is large, and contains in addition 
 to the usual display of songs and Pf. music, a most valuable collection of theor- 
 etical works, including translations of foreign authors. The principal loreign 
 writers represented are Albrechtsberger, Cherubini, Czerny, Marx, Weber (G.), 
 Reicha, Rinck, Chaulieu, Otto, etc., etc. The principal British authors are 
 Hamilton, Bishop (J.), Warren, Corfe, Best, Hopkins, and Rimbault, etc., etc. 
 The general catalogue contains specimens of most modern composers of note, 
 and, with several large monumental editions of single works by Handel and 
 Haydn, represent a high standard of music. 
 
 COOLIUS (Adrian Petit), or Coclicus, German writer of the l6th century. 
 A pupil of Josquin. Wrote " Compendium Musices descriptum," Nuremberg, 
 4to, 1552. 
 "His book has great merit. " — Hawkins. 
 
 CCEDES (AugUSte). French comp., B. 1835. Chorus-master at the Theatre 
 Lyrique (Gaite), Paris. Comp. of operas, ballets, etc. D. Paris, July, 14 1884. 
 
 COENEN (Franz). Dutch violinist and comp. Brother of the following. B. 
 Rotterdam, Dec. 26, 1826. Travelled in South America, etc. Writes Psalms, 
 string quartets, songs, etc. 
 
 COENEN (Willem). Dutch comp. and pianist., B. Rotterdam, Nov. 17, 1837. 
 
 S. under his father and sister. Afterwards self-taught. Travelled in West 
 
 Indies and N. and S. America, 1854-62. Settled in London, 1862. Teacher 
 
 and concert-giver there. 
 
 Works. — Oralo^ium: Lazarus (MS), Brighton, 1878. Caprice Concertante for 
 
 16 performers on 8 pianofortes. Pf. Music: Galops; Transcriptions; Dance des 
 
 Fantomes ; Chant du Barde ; Serenade, Andante, Caprices, Valses, Nocturnes, 
 
 Meditation, etc., for Pf. solo and duet ; Songs : Lovely spring. Come unto me, The 
 
 rose. Kindly stars. Yes, True love. Thou wilt remember us. Sonata for Pf. and 
 
 violin (MS.), 1867 ; Concerto for Pf., with accomp. for wind insts. (MS.) ; Three 
 
 Masses (MS.) ; Four Cantatas (MS.). 
 
 COGAN (Philip). Irish comp., org., and pianist, B. Cork, 1750 [Doncaster, 
 I7S7'']- Chor. and choirman of Cath. of St. Finbar, Cork. Stipendiary of 
 Christ Oh., Dublin, 1772. D. 1834. 
 Works.— Anthems, various ; Six Sonatas for Pf. and violin, op. 2, 1788 ; Sona- 
 tas for Pf., op. 4 ; Concerto for 2 violins, viola, 'cello, 2 flutes, and 2 horns, op. 6, . 
 1792 ; Sonatas for Pf. (Clementi), op. 8 ; Harpsichord Lessons ; Songs. 
 
 COGGINS (Joseph). English comp. and pianist, B. 1780. S. under J. W. 
 Callcott. Teacher of Pf. in London. D. in first half of present century. 
 Works. — The Musical Assistant, containing all that is truly useful to the theory 
 and practice of the Pianoforte, Lond., 1815 ; Companion to the Musical Assistant, 
 containing all that is truly useful to the theory and practice of the Pianoforte, Lond., 
 8vo, 1824 ; Admired Hymns... adapted for the use of schools, 2 parts ; Pf. music, 
 fantasias, etc ; Songs ; Complete Instructions for the Flute, according to Drouet's 
 system, Lond., fo., 1830. 
 
 COHEN (Jules). French comp. and pianist, B. Marseilles, Nov. 2, 1830. S. 
 
 at Paris Cons. Gained prizes for Pf., organ and harmony, 1850-53. Teacher 
 
 and conductor in Paris. 
 
 Works. — Operas: Mattre Claude, 1861 ; Jos^ Maria, 1866 ; Les Bleuets, Paris, 
 
 1867 (London "Estelle," 1880); D^a, 1870; Athalie (Racine). Cantatas: 
 
 L'Annexion, i860 ; Vive I'Empereur, i860. Masses ; Overtures for orch. in F, D, 
 
 and G ; Two Symphonies ; Pf. Music ; Songs. 
 
 COICK (Grian Le). Belgian comp., who flourished during latter part of l6th 
 century [B. 1520]. He composed songs, and a curious medley which is 
 noticed in most musical histories as a miracle of clever contrivance. 
 
 COLASSE (Pascal). French comp., B. Paris, 1636. Chap, master to Louis 
 XIY. D. Versailles, 1709 [1687]. He composed some operas in the style of 
 
COL — COL 173 
 
 LuUi, the most famous being " Achilla et Polixene," 1687. Th^tys and Pflee, 
 1689. En^e et Lavinie, 1690. Astr^e, 1691. Les Saisons, 1695. Jason, i6g6. 
 La Naissance de V^nus, 1696. Canente, 1700. Amarillis, 1689. L'Amour 
 et I'Hymen, etc. 
 
 COLBORNE (Langdon). English org. and comp., B. Hackney, London, Sept. 
 
 15, 1837. Org. of S. Michael's Coll., Tenbury, i860. ' Bac. Mus. Cantab., 
 
 1864. Mus. Doc. Cantuar, 1883. Org. of Beverley Minster, 1874 ; Wigan 
 
 Parish Ch., 1875 ; Dorking Parish Ch., 1877 ; Hereford Cath., 1877. 
 
 Works. — Complete Service in C ; Magnificats and Nunc dimittis in D, A, 
 
 and B flat; Te Deum and Benedictus in E flat. Anthems: I will lay me 
 
 down ; O Lord, our Governor ; Out of the deep ; Ponder my words, O Lord ; 
 
 Rend your hearts. Part Songs : If slumber sweet, Lisena ; The Siesta ; The 
 
 bright-hair'd morn is glowing ; Songs, etc. 
 
 pOLBBAN (Isabella Angela), Rossini, Spanish soprano vocalist, B. Madrid, 
 Feb. 2, 1785. S. at Madrid. Sang in Italy, France, etc., 1806-15. Married 
 to G. Rossini, 1822. Appeared in London, 1824. D. Bologna, Oct. 7, 
 1845. 
 She created the soprano parts in a number of Rossini's operas, and was one of 
 
 the foremost singers of her time. 
 
 COLEIBE (Richard, M.A.) English divine. Wrote "The Antiquity and 
 Usefulness of Instrumental Musick in the Service of God, a Sermon," 
 London, 1738. 
 
 COLEMAN (Charles). English comp., B. about beginning of 17th century 
 [1600]. Member of the private band of Charles I. Doc. Mus., 1651. D. 
 London, 1664. 
 
 Works. — The Siege of Rhodes, Davenant (with Lawes, Cook, and Hudson), 
 1657 ; Musicall Ayres and Dialogues, 1652 ; Musick's Recreation on the Lyra- 
 vioU, 1656 ; Select Ayres, 1659 ; The Musical Vocabulary in Philips' New World 
 of Words, 1658. 
 
 COLEMAN (Edward). Brother of above, B. 1633. Gent, of Chap. Royal. 
 D. Greenwich, Aug. 29, 1669. Wrote songs in various collections, etc. 
 
 COLEMAN (Obediah M.) American musician and inventor, B. Barnstable, 
 Mass., Jan. 23, 1817. He invented several very ingenious pieces of mechanism 
 such as the "Automaton Lady Minstrel and Singing Bird," and improved the 
 accordion. He invented what is known as the CEolian Attachment for 
 Pianofortes. D. Saratoga Springs, April 5, 1845. 
 
 COLEEIDGE (Arthur Duke). See Moscheles. 
 
 COLIN (Charles Joseph). French oboe player, B. Cherbourg, June, 2, 1832. 
 S. at Paris Cons. Prof, of oboe at Paris Cons. Composed cantatas, 
 exercises, etc. 
 
 COLLABD & COLLABD, English firm of Pianoforte-makers, established in 
 London early in the present century in company with Clementi. The founder 
 of the present firm was W. F. Collard, a Frenchman, to whom is due the 
 chief merit of the excellence attained by the firm in its workmanship. The 
 firm hold the patents of several important inventions applicable to the Pf. 
 Frederick W. Collard of this firm (1772-1860), composed some vocal music. 
 
 COLLIER (Joel). See Bicknell (John L.) 
 
 COLLINS (William). English poet, B. 1710. D. 1756. Author of a number 
 of fine odes which have been repeatedly set by English musician. The ode to 
 " The Passions " commencing " When music, heavenly maid, was young," is 
 by him, and has been several times set. 
 
 COLLIS (J. D.) English writer, author of "An Outsider's View of the Musical 
 Festival Question." Worcester, 1874. 
 
 COLON (Marguerite). French vocalist, B. BouIogne-sur-Mer, Nov. 5, 1808, 
 
174 COL — CON 
 
 Dibut, 1822. D. Paris, June 5, 1842. Sang in operas by Adam, Thomas, 
 Bordese, Halevy, Grisar, etc. 
 
 COLONNA (Fabio). Italian theoretical writer of 17th century, D. 1647. He 
 wrote a work on the division of the scale, now very scarce. 
 
 COLONNA (Giovanni Paolo). Italian comp., B. Brescia, 1640. S. under 
 Benevoli and Carissimi. Chap. -master of S. Petronne, Bologna. Principal of 
 Musical Academy of Bologna, 1672-91. D. Bologna, Nov. 28, 1695. 
 Works. — Op. i. Psalms ; op. 2. to 6. Motets ; op. 7. Psalms ; op. 10. Motets ; 
 
 op. 1 1- 12. Psalms; Masses; Stabat Mater. Absalone, oratorio; La Profegia 
 
 d'Eliseo nell' assedio di Samaria, oratorio, l688. Amilcare, opera, Bologna, 
 
 1693. 
 
 COLONNE (Jules). French violinist and comp., B. Bordeaux, July 23, 1838. 
 S. at Paris Cons, Comp. music for his instrument, etc. 
 
 COLVILLE (David). Scottish musician, B. Campbeltown, 1829. Published 
 "Graduated Course of Elementary Instruction in Singing, on the Letter-Note 
 Method, in Twenty-Six Lessons, with Hints on Self-Instruction, etc." (with 
 George Bentley), 1864 ; Collections of Part-Songs, under the title of " Choral 
 Harmony," etc. 
 
 COLYNS (Jean Baptiste). Belgian violinist and comp., B. Brussels, Nov. 25, 
 1834. S. at Brussels Cons. Writer of opera, violin music, and songs. 
 
 COMETTANT (Jean Pierre Oscar). French comp. and writer, B. Bordeaux, 
 April 18, 1819. S. at Paris Cons., 1839-44. 
 Works. — Trois ans aux Etats-Unis ; etude des mseurs et coutumes Americaines. 
 La Propriete intellectuelle, etc.. Histoire d'un inventeur au dix-neuvieme siecle, 
 Adolphe Sax : ses ouvrages et ses luttes, i860 ; Portefeuille d'un Musicien ; Musique 
 et Musiciens, Paris, 8vo, 1862 ; La musique, les musiciens, et les instruments de 
 musique chez les differents peuples du Monde, Paris, 8vo, 1869 ; Pianoforte pieces, 
 various ; Church music, etc. 
 
 COMMEK (Franz). German writer and comp., B. Cologne, Jan. 23, 1813. 
 
 Works. — Der Zauberring, 1843 ; Der Kiffaenser ; Masses ; Lieder ; Overtures ; 
 Cantatas ; etc. Musica Sacra, Sammlung der Meisterwerke des l6en, I7en 
 und iSen Jahrhunderts, Berlin, 4 v. 4to, 1839 ; CoUectio Operum Musicorum 
 Batavorum Steculi xvi., Mayence, 10 pts. [1857] ; Cantica Sacra, Berlin, 2 v., n.d. 
 
 Commer's collections are valuable and interesting works, 
 
 COMON, or CORMAC DALL, Irish harper, story-teller, and vocalist, B. 
 Woodstock, Mayo, May, 1703. Lived an itinerant life, and was famous as a 
 comp. of songs and elegies. He died about the end of the l8th century ; or at 
 least after 1786, at which date he was alive. 
 
 CONCONE (Giuseppe). Italian comp. and org., B. Turin, 1810. Resided at 
 Paris, 1837-1848. Org. of Royal Chap., Turin, 1848. D. Turin, June, i86i. 
 
 Works. — Graziella, opera (MS.) ; Fifty Lessons in Singing, for a Medium Voice, 
 4bks.; School of Sight-Singing ; School of Part- Singing ; Songs, etc. Methode 
 d' harmonie et de Composition. ..Paris, 4to, 1845. 
 
 This composer is celebrated for his fine vocal studies and admirable exercises for 
 the voice. His " Schools " have been translated and issued in a great many different 
 editions. 
 
 CONDELL (Henry). English violinist and comp., B. latter part of i8th century. 
 
 Violinist at Drury Lane Theatre. Gained prize at Catch Club with glee 
 
 "Loud blowe the wyndes," 1811. D. London, June, 1824. 
 
 Works. — The enchanted island, ballet, 1804 ; Who wins ? or The widow's 
 
 choice, farce. 1808; Transformation, farce, 1810; The farmer's wife, 1814; Glees; 
 
 Songs, etc. 
 
 OONGKEVE (Benjamin). English comp., B. 1S36. D. London, March 23, 
 1S71. 
 
CON — COO 175 
 
 He has composed many songs and part-songs of merit, some of the latter having 
 obtained prizes. 
 
 CONINCK {Jacques Felix de). Belgian comp. and pianist, B. Antwerp, May 
 18, 1791. D. April 25, 1866. Wrote Pf. music, songs, vocal v^orks, etc. 
 
 CONINCE (Joseph. Bernard de). Son of above, Belgian comp., B. Ostend, 
 Mar. 10, 1827. Writer of theoretical virorks, songs, operas, etc. 
 
 CONINGSBY (George). English divine, author of " A Sermon preached at the 
 Cathedral Church of Hereford, at the Anniversary Meeting of the Three Choirs, 
 Sept. 6, 1732." Oxford, 1733. 
 
 CONBADI (August). German comp., B. Berlin, 1821. S. under Rungenhagen. 
 Cond. of theatre at Stettin, 1849 ; also at Cologne, Diisseldorf, and Berlin, 
 1856. D. Berlin, May 21, 1873. 
 Works. —0/craj; Rubezahl, 1847; Musa der letzle Maurerfurst, 1855; Le 
 Valet Rupert, 1865 ; Operettas and farces ; Symphonies and overtures ; Quar- 
 tets for strings, Pf. music, songs, etc. 
 
 CONBAN (D.). Irish writer, author of "Musical Research, or General System 
 of Modulation, " Dublin, 4to, 1840. 
 
 CONRAN (Michael). Probably a relation of the above, author of "The 
 National Music of Ireland ; containing the History of the Irish bards, the 
 national melodies, the harp, etc.," Lond., 8vo, 1850. 
 
 CONRARDY (Jules). French comp., B. Liege, Jan. 27, 1836. A good 
 organist, and writer of Operas: Le Pere Lajoie, 1858; Annibal et Scipion, 
 i860; Jeanne et Jeannot, i85l ; Le roi de 1' arbal^te, 1862 ; Le Loup-Garou, 
 1872. Songs, Pf. music, etc. 
 
 CONSTANTIN (Titus Charles). French violinist and comp., B. Marseilles, 
 Jan. 7, 1835. Comp. operas, violin music, songs, etc. 
 
 CONTE (Jean). French violinist and comp.', B. Toulouse, May 12, 1830. 
 Comp. operas, violin music, etc. 
 
 CONTI (Francesco Bartolomeo). Italian comp., B. Florence, Jan. 20, 1681. 
 Court musician at Vienna, 1701-32. D. Vienna, July 20, 1732. 
 Works. — Operas: Clotilde, Lond., 1709; .Mba Cornelia, 1714 ; I Satiri in 
 Arcadia, 1714; Teseo in Creta, 171S; II Finto Policare, 1716 ; Giro, 1716 ; 
 Alessandro in Sidone, 1721 ; Archelas, 1722; Mose preservato, 1722; Penelope, 
 1724 ; Griselda, 1725. Motets and other vocal music. 
 
 CONTI. See GizziELLO. 
 
 CONTRERAS (Joas). Spanish violin-maker, who worked at Madrid about 
 middle of l8th century. He made violins in the Italian style of good quality. 
 
 CONVERSO (Girolamo). Italian comp., B. Correggio about middle of i6th 
 century. He published "Canzoni a cinque voci," Venice, 1575, and " Madri- 
 gali a sei voci," Venice, 1584. He is now known as the composer of the 
 pretty madrigal, " When all alone my pretty love." 
 
 COOK (Eliza). English poetess and song- writer, B. London, 1818. She con- 
 tributed to the literary magazines of her day, and edited a journal which 
 attained some popularity. She published "New Echoes and other Poems," 
 1864, etc. She was given a literary pension of ;^I00 in 1864. 
 She composed a number of pleasing ballads, and furnished a number of composers 
 with the words of a great many more. Among composers who have set her poetry 
 maybe named Blockley, Dempster, S. Glover, C. E. Horn, etc. 
 
 COOKE (Benjamin). English comp. and org., B. London, 1730 [1732-1734- 
 1739]- S. under Pepusch. Deputy - org. at Westminster Abbey, 1742. 
 Cond. of Academy of Ancient Music, 1752-1789. Master of boys and lay- 
 clerk, Westminster Abbey, 1757. Doc. Mus., Cantab., 1775. Org. of S. 
 Martin's-in-the-Field, 1782. Sub.-director at Handel Commemoration, 1784. 
 D. London, Sept. 14, 1793. 
 
176 coo — coo 
 
 Works.— Ode on Handel, for 8 voices. Glees : Collection of twenty Glees, 
 Catches and Canons for 3, 4, 5 and 6 voices, in score, Lond., 1775 ; As now the 
 shades ; A bachelor he may show his cares ; A knight there came from the field of 
 the slain ; Away with gloom and care ; The beef-steak glee ; Ere the beams of 
 morning break ; Farewell ; Hand in hand ; Hark, the lark ; How sleep the brave ; 
 In the merry month of May ; I've been young, though now grown old ; Now the 
 bright morning star, day's harbinger ; O strike the harp ; Take thou this cup ; Let 
 Rubinelli charm the ear, duet ; Thrysis, when he left me, duet ; The dormouse, 
 glee ; Beneath in the dust. Nine glees and two duets, op. 9 [1795]. Ode on the 
 Passipns (Collins), 1784, etc. Concertos for combinations of various instruments. 
 Organ and Harpsichord Music. Anthems and Church Services. Songs, etc. 
 
 "Dr. Cooke's glees are numerous, and of great beauty. They are remarkable 
 for natural and graceful ease of melody, great simplicity and yet much art in the 
 disposition of parts, and fine expression." — Hogarth. A number of them are still 
 in use among our singing companies; "Hark, the lark," being one of those 
 perennial favourites of which the English school furnishes not a few examples. 
 With Callcott, Webbe, and Horsley, Cooke shares the preeminent position among 
 the older glee writers. As an organist he was one of the best of his day. His 
 sacred music is now almost forgotten, as also, it must be said, his various other 
 works. Much confusion appears to exist as regards the date of his birth, 1734 and 
 1739 being obviously wrong when compared with the dates following. 
 
 COOKE (Captain Henry). English com;), and teacher, B. beginning of 17th 
 
 century. Educated at Chap. Royal. Obtained a Captain's commission during 
 
 the Civil War, 1642. Gent, of Chap. Royal and Master of Children, 1660. 
 
 Comp. to the King, 1664. D. July 13, 1672. 
 
 Works. — Anthems and Services preserved (MS.) in the Collection formed by 
 
 Dr. Aldrich in Christ Church, Oxford. Madrigals, Songs, etc. 
 
 Cooke was the teacher of Blow, Wise, Purcell and Humfrey, and for that alone 
 is entitled to some little credit and esteem. He is said by Anthony Wood to have 
 died of grief at the musical attainments of Pelham Humfrey, which far exceeded 
 his own ; but from a physiological point of view this seems rather absurd. 
 
 COOKE (John P.) English comp. and cond., B. Chester, 1820. Cond. of 
 various theatre orchestras in New York. D. New York, Nov. 4, 1865. 
 Wrote music to Shakespeare's Plays, Songs, etc. 
 
 COOKE (Nathaniel). English comp. and org., B. Bosham, near Chichester, 
 1773. S. under his uncle Matthew Cooke of London (organist). Org. of the 
 Parish Ch. of Brighton. D. [?] 
 
 Works. — Collection of Psalms and Hymns sung at Brighthelmston, with several 
 Canons, and a Te Deum, arranged for the Organ or Pianoforte, 8vo, n; d. Glees 
 and Songs. Pianoforte Music. 
 
 Cooke was a good organist, and comp. the canon "I have set God always 
 before me." 
 
 COOKE (Rohert). Son of Benjamin Cooke, English org. and comp., B. 1768. 
 
 S. under his Father. Succeeded his Father at S. Martin's-in-the-field, 1793. 
 
 Org. and choir-master at Westminster Abbey, 1802. Drowned in Thames, 
 
 Aug. 13, 1 8 14. 
 Works. — Magnificat and Nunc Dimittis in C. Anthems. G/«j ; In the rose's 
 fragrant shade ; Love and folly were at play ; Mark, where the silver queen of 
 night ; Queen of the sea ; Round thy pillow ; Sweet warbling bird ; Why o'er the 
 verdant banks. Collection of Eight Glees (Clementi) [1805]. Songs, etc. 
 
 COOKE (Thomas Simpson). Irish vocalist and comp., B. Dublin, 17S2. S. 
 under his Father and Giordani. Cond. of theatre in Dublin, 1S03. Debut as 
 vocalist at Dublin in Storace's " Siege of Belgrade." Appeared in London, 
 July, 1813. Cond. and vocalist at Drury Lane from 1813. Married to Miss 
 Howell. Mem. of R. A. M. ; the Philharmonic Soc. ; the Nobleman's 
 Catch Club ; the Glee Club j etc., etc. D. London, Feb. 26, 1848. 
 
coo — coo 177 
 
 VfOKKS.— Music to Plays: The Count of Anjou ; A Tale of the Times, 1822; 
 The Wager, 1825; Oberon, or the Charmed Horn, 1826; Malvina, 1826; The 
 Boy of Santillane, 1827 ; The Brigand, 1829 ; Peter the Great, 1829 ; The 
 Dragon's Gift, 1830 ; The Ice Witch, 1831 ; Hyder Ali, 1831 ; St. Patrick's Eve, 
 1832; King Arthur, 1835; The King's Proxy; Frederick the Great; The Five 
 Lovers ; Numerous Farces ; Adaptations of Foreign Operas. Glees : Six Glees for 
 3 and 4 voices, Lond., 1844; Come Spirits of Air; Fill me, boy, as deep a 
 draught ; Strike, strike the lyre. Duets : Love and War ; Army and Navy ; 
 Songs. Singing Exemplified in a Series of Solfeggi and exercises, progressively 
 arranged, London, n. d.; Singing in parts, containing progressive instructions, ex- 
 tracts, exercises, and original compositions. Lend., a. d. [c. 1842] etc. 
 
 Cooke enjoyed great popularity in his day and in his delineations of seafaring 
 characters (currently known as in the style a la Tom Cooke) was remarkably 
 successful. He taught J. Sims Reeves, Miss Tree, Miss Povey, Miss Rainforth 
 and a number ot other vocalists who have attained renown. His compositions in 
 general are in the same style as those of Dibdin and Braham, and are marked by 
 a free and melodious manner. He was a violinist of some note, and a good 
 vocalist. His son, Grattan Cooke, is a composer of operettas and songs. He 
 published "Statement of Facts and Correspondence between the Directors of the 
 Philharmonic Society and Mr. Grattan Cooke," London [1850]. 
 
 COOMBE (William Francis). English org. and comp., B. Plymouth, 1786. 
 S. under his father (a singing master) and W. Jackson of Exeter. Org. at 
 Chard, Somerset, 1800. Org. at Totness, Devon, 1802-11. Org. at Chelms- 
 ford, 181 1-22, D. about middle of present century. 
 He composed a few pianoforte sonatas, etc., but was chiefly remarkable as an 
 
 instrumental performer. 
 
 COOMBS (James Morris). English org. and corap., B. Salisbury, 1769. 
 
 Chor. at Salisbury Cath. S. under Dr. Stephens and Parry. Org. at Chip- 
 
 penham, Wilts, 1789-20. D. Chippenham, 1820. 
 Works. — Set of Canzonets ; Te Deums ; Divine Amusement, being Hymns, 
 Psalms, etc., from Marcello, Handel, etc. ; Glees and Songs. 
 
 COOPER (Alexander Samuel). English org. and comp., B. London, April 
 30, 1835. Org. of S. Paul's, Covent Garden. Has composed "The Athan- 
 asian Creed." Music for the Holy Communion. Nicene Creed. Te Deum. 
 Anthems: I did call upon the Lord; Brightest and best; Come unto me. 
 Chants. Part Songs : Happy bygone days ; The wayside well ; Cheerily ; 
 Sweet echo ; O tranquil eve ; Every season hath its pleasures. Songs. 
 Parochial Chant Book. The Parochial Psalter, etc. 
 
 COOPER (George). English comp. and org., B. Lambeth, London, July 7, 
 
 1820. Org. of S. Benet's, Paul's Wharf, London ; Assistant org. S. Paul's ; 
 
 Org. of S. Anne and S. Agnes, Lond., 1836; S. Sepulchre, 1843; Christ's 
 
 Hospital ; Chapel Royal. D. London, October 2, 1876. 
 
 Works. — The Organist's Assistant, a series of movements selected and arranged 
 
 from the works of classical authors (Novello), Lond., n. d. ; The Organist's Manual, 
 
 consisting of select movements for the organ, from the works of the most eminent 
 
 composers (Novello), Lond., n. d. ; Organ Arrangements, 3 vols., Lond. ; Classical 
 
 Extracts for the Organ ; Introduction to the Organ, Lond., n. d. ; Songs ; Part- 
 
 Songs, etc. 
 
 Cooper was one of the best modern organists, and an editor and arranger of the 
 first ability. His death was a sad loss to musical England. His style was chiefly 
 remarkable for refinement and for the entire absence of vulgarity and of straining. 
 
 COOPER (Henry Christopher). English violinist, B. Bath, 1819. S. violin 
 under Spagnoletti. Appeared as solo violinist at Drury Lane Theatre, 1830. 
 Principal violinist at Royal Italian Opera. Leader at Philharmonic Society. 
 Violinist at Provincial Festivals. Cond. at various theatres. Latterly cond. 
 at Gaiety Theatre, Glasgow. D. Glasgow, Jan. 26, 1881. He was one of the 
 foremost of the English school of violinists and at one time well known in 
 London. He was married to Madame Tonnellier, the vocalist. 
 
 U 
 
178 coo — COR 
 
 COOPER (Isaac). Scottish editor and violinist, published "A Collection of 
 Reels, by Isaac Cooper of Banff," about 1783. 
 
 COOPEB (Rev. James). English divine and writer, author of " Musse Sacrse ; 
 being Selections from Browaler, Heber, etc. , set to music ; to which is pre- 
 fixed an Essay on Church Music." Lond., fo., i860. 
 
 COOPER (John), Coperario. English performer on the viol-da-gamba, and 
 
 comp., B. in latter part of l5th century. Musical preceptor of the children of 
 
 James I., and master of Henry and W. Lawes. D. beginning, of 17th century. 
 
 Works. — Funeral Tears for the Death of the Right Honourable the Earle of 
 
 Devonshire, figured in seaven songs, whereof sixe are soe set forth that the words 
 
 may be expressed by a Treble voyce alone to the Lute and Base Voil, or else that 
 
 the meane part may be added, if any shall affect more fulnesse of Parts, etc., 1606. 
 
 Songs of Mourning, bewailing the untimely death of Prince Henry, Lond., fo. , 
 
 1613 ; Music in Leighton's " Teares " ; Music to Masque by Dr. Campion ; Songs 
 
 and Fancies, etc. 
 
 COOPER (Joseph Thomas). English org. and comp., B. 1810. Org. of 
 Christ Ch., Newgate Street. Org. of Christ's Hospital. D. London, 1880. 
 Works. — Songs, Part-Songs, Sacred Music, Organ Music, etc. 
 
 COOPER (J. Wilbye). English vocalist and writer, author of "The Voice, the 
 Music of Language, and the Soul of Song ; a Short Essay on the Art of Sing- 
 ing." Lond., 1874. "Cramer's Vocal School" (edited), Lond., n. d. D. 
 1885. 
 
 COOTE (Charles). English band-master and comp. of dance-music, B. 1809. 
 D. London, March 6, 1880. 
 
 He composed a great number of vigorous waltzes, galops, and polkas. The 
 style of those works is best illustrated by the following titles — " Rage of London,"- 
 " Break-neck," " Express," etc. He also wrote dances on airs from popular operas. 
 
 COOTE (Charles, Junr.), Son of the above, an English band-master and writer 
 of dance tunes in the same style as his father. 
 
 COPERARIO. See Cooper (John). 
 
 COPPOLA (P. Antonio). Italian comp., B. 1792. D. Nov., 1877. Comp. 
 operas. 
 
 CORBETT (Samuel). English comp. and org., B. Wellington, Shropshire, 
 
 " Jan. 29, 1852. S. under Dr. Sir G. A. Macfarren and James Coward. Org. 
 
 of Christ Ch., Wellington, Oct., 1867. Mus. Bac, Cantab., May I, 1873. 
 
 Org. of S. Mary's, Bridgnorth, Jan., 1875. Doc. Mus., Cantab,, March 
 
 20, 1879. 
 
 Works. — Bethlehem, a cantata ; Sonata for the Pf.; Part-songs ; Magnificat and 
 nunc dimittis in F_ ; Anthems ; .Songs. 
 
 CORBETT (William). English comp. and violinist, B. [1669]. Mem. of King's 
 Band. Travelled in Italy, Burney says, on behalf of the English Government, 
 who paid him to watch the movements of the Pretender. Returned to Eng- 
 land, 1740. D. 1748. 
 
 Works. —Op. I. Sonata for two violins and bass, Lond., 1705 ; Op. 2. Sonata 
 for 2 flutes and bass, Lond., 1706 ; op. 3. Sonata for 2 flutes and bass, Lond., 
 1707 ; Six Sonatas for -^ oboes or trumpets, 2 violins, and bass ; Concertos, or 
 Universal Bizzarries, composed on all the new Gustos during many years' resi- 
 dence in Italy, op. 5, Lond., 1741 ; Twelve Concertos for various instruments; 
 Music to " Henry IV.," 1700 ; Music to "Love Betray'd," 1763 ; Songs in collec- 
 tions, etc. 
 
 Corbett collected a valuable musical library, and was a remarkable performer on 
 the violin. His compositions are of good quality, and generally melodious. The 
 story of Burney anent his watch on the Pretender is discredited. 
 
 CORDER (Frederick). English comp. and cond., B. Hackney, London, Jan. 
 26, 1852. S. at the R. A. M., 1874. Gained Mendelssohn Scholarship, 
 
COR — coR 175 
 
 1875. S. at Cologne under Dr. Hiller, 1875-78. Returned to England, 
 1879, and became occupied with literary pursuits. Appointed cond. of orches- 
 tra at Brighton Aquarium, June, 1880. Resides at' Brighton as comp. and 
 teacher. 
 
 Works.— Op. i. Orchestral Suite : " In the Black Forest," 1876; op. 2. Idyll 
 for orchestra : " Evening on the Sea-shore," 1876 ; op. 3. Grand opera : " Morte 
 d' Arthur," 1877-9 ; op. 4. Opera : " Philomel," in one act, 1879 ; op. 5. Cantata: 
 "The Cyclops," 1880; op. 6. Four- River Songs (Trios for female voices), 1880; 
 Ossian, a concert overture for orch., produced by the Philharmonic Soc, London, 
 1882 ; Songs and part-songs, miscellaneous. 
 
 Mr. Corder's works are marked by an ambitious and undoubtedly artistic aim, 
 and the majority of them which have been produced have been well received. Mr. 
 Corder has contributed largely to periodical literature, and also to Sir George 
 Grove's "Dictionary of Musicians." 
 
 COBrELLI (Arcangelo). Italian violinist and comp., B. Fusignano, Imola, 
 1653. S. under G. Bassani and Simonelli. Early career unknown. Travel- 
 led in Germany. Mem. of Court -band of the King of Bavaria. Returned to 
 Italy, 1681. Cond. opera at Rome, 1690. D. Rome, Jan. 18, 1713. 
 Works. — Op. I. xii. Sonata a tre, due violini e violoncello, col basso'per 1' 
 organo, Rome, 1683 ; op. 2. xii. Suonate da Camera a tre, due violini, violoncello 
 e violone o cembalo, Rome, 1685 ; op. 3. xii. Suonate a tre, due violini e arciluito 
 col basso per 1' organo, Bologna, 1690 ; op. 4. xii. Suonate da Camera a tre, due 
 violini e violone o cembalo, Bologna, 1694 ; op. 5. xii. Suonate a violino e violone 
 o cembalo, Rome, 1700 ; op. 6. Concerti grossi con due violini e violoncello di con- 
 certino obligati e due altri violini, viola e basso di concerto grosso ad arbitrio che si 
 potranno radopptare, Rome, 1712. An Edition of op. 5 was published by Gemini- 
 ani at London. 
 
 Corelli is the acknowledged founder of modern violin playing and composition. 
 His works are in every respect worthy of the high favour once bestowed upon them 
 and are superior to the compositions of any of his contemporaries. Although now 
 rarely, if eVer, performed, Corelli's sonatas have lived tenaciously, and will no doubt 
 continue to exist for a considerable period. Their chief characteristics are the fine 
 melody, clear massive harmony, and general good effect secured by skilful arrange- 
 ment of the parts. He was one of the first who wrote, for the violin with a perlect 
 knowledge of its capabilities, and his music is, in consequence, always playable, if 
 occasionally dry. As a performer, he excelled most of his contemporaries, and laid 
 the foundation of the succeeding school of violinists, through Geminiani, his pupil. 
 
 COBiFE (Joseph), English org., writer, and comp., B. Salisbury, 1740, Chor. 
 
 at Salisbury Cath. Gent, of Chap. Royal, 1782. Org. and choir-master at 
 
 Salisbury Cath., 1792-1804. D. 1821. 
 Works. — A Treatise on Singing, explaining in the most simple manner all the 
 Rules for learning to Sing by Note without the assistance of an Instrument, with 
 some Observations on Vocal Music, Lond., fc, 1791, another ed., 1801 ; Thorough- 
 bass Simplified, Lond., n. d. Beauties of Handel, being 154 songs, duetts, and 
 trios with accomp. for Pf., 3 vols., n. d. ; Beauties of Purcell, 2 vols., n. d.; First 
 Set of 12 Glees, n. d. ; Second Set of 12 Glees ; Third Set of 12 Glee's, in score for 
 3 and 4 voices, from melodies of Sacchini, Paisiello, Haydn, Pleyel, Storace, etc. 
 Sacred Music, consisting of a collection of the most admired pieces, adapted to some 
 of the choicest music of Jomelli, Pergolesi, Perez, Martini, Biretti, etc., 2 vols., 
 n. d. ; Three Collections of Scottish Songs ; Anthems ; Nine Vocal Trios, harmon- 
 ized, Lond., n. d. 
 
 COBFE (Arthur Thomas). English, comp., org., and writer, son of above, 
 
 B. Salisbury, April 9, 1773. Chor. in Westminster Abbey, 1783. S. under 
 
 Dr. Cooke and Clementi. Org. and choir-master of Salisbury Cath., 1804. 
 
 D. Salisbury, Jan. 28, 1863. 
 
 Works. — Anthems ; Church Services ; Pf. music. The Principles of Harmony 
 
 and Thorough-Bass explained, Lond., 11. d. Songs; Glees, etc. 
 
 CORFE (Charles -William). English org. and comp., son of the above, B. 
 Salisbury, July 13, 1814. S. under his father, etc. Org. of Christ Ch. Cath., 
 
l8o COR — COR 
 
 Oxford, Dec, 1846. Mus. Bac, Oxon., Mar., 1847. Mus. Doc, Oxon., 
 June, 1852. Choragus of the' University of Oxford, i860. D. Oxford, Dec. 
 16, 1883. 
 Works. — Vocal music, as songs, part-songs ; Anthems. 
 
 COBKINE (William). English lute-player and comp., B. in latter part of i6th 
 century. D. first part of 17th century. 
 Works.— Ayres to Sing and Play to the Lute and Basse Violl, with Pavins, 
 Galliards, Almaines, and Corantos for the Lyra Violl, 1610 ; The Second Booke of 
 Ayres, some to sing and play to the Base violl alone, etc., 16 1 2. 
 
 CORNELIUS (Peter). German comp., B. Mayence, Dec. 24, 1824. Nephew of 
 
 P. von Cornelius, the painter. S. under Liszt. Resided at Weimar, assisting 
 
 Liszt in spreading the theories of Wagner, 1852-60. Prof, at Munich Cons. 
 
 D. Mayence, 1874. 
 
 Works.— The Barber of Bagdad, opera, Weimar, 1858 ; The Cid, opera, Munich, 
 
 1863; Pf. music; Collections of Songs: Trauer und Trost; Weihnachtslieder ; 
 
 Trauerchore, etc.; Part-songs. 
 
 CORNELL (J. H.). American writer and comp., author of ,\ Primer of 
 Tonality (2 editions). New York, n. d. ; The Practice of Sight-Singing, in 2 
 parts, New York, 8vo, n. d. ; Songs with Pf. accomp. ; Te Deum ; Part-songs. 
 Silicate Music Slate (with pamphlet), for Practical Exercises in learning to 
 Transpose and Sing ; The lutroit Psalms as prescribed by the First Prayer- 
 Book of Edward VL, set to original chants. New York, 4to, 1871. 
 
 COENETTE (Victor). French comp. and writer, B. Amiens, 1795. S. at 
 Paris Cons, from 1811. Prof, of music at College of St. Acheul, 1817-25. 
 Mem. oforch. at Ode'on, Opera Comique, etc., 1825-37. Singing-master at 
 Gymnase de Musique Militaire, 1839. Chorus-master and leader at various 
 theatres, 1842-48. 
 Works. — Methods or Tutors for the Trombone, Cornet, Bugle, Sax-horn, Ophi- 
 cleide. Bassoon, Oboe, Horn, Trumpet, Harp, Saxophon, Violoncello, Viola, 
 Organ, Harmonium, etc. ; Pf. arrangements from operas ; Music for wind- 
 instruments ; Dance music. 
 
 COB.NISH (William). English poet and musician, flourished about 1500-. He 
 wrote a " Parable between Information and Musike," a poem, which will be 
 found in Hawkins. He was a member of the Chapel Royal choir, and D. be- 
 1526. His compositions exist in MS. 
 
 CORNISH (William). Son of the above, flourished in first part of the l6th cen- 
 tury, wrote songs, part-songs, etc., said by Hawkins to be good. 
 
 CORNWALL (N. E.). American writer, author of " Music as it was and as it 
 is," New York, l2mo, n. d. 
 
 COREI (Dominico). Italian comp. and collector, B. Rome, 1746. S. under 
 Porpora, 1763-67. Came to London, 1774. Publisher, with Dussek, in Lon- 
 don. Teacher and publisher in Edinburgh. Married to Miss Bacchelli. Cond. 
 of Musical Soc. of Edinburgh. D. London, May 22, 1825. 
 WOKKS.— Operas : Alessandro nell' Indie, Lond., 1774. ; The Travellers, Lond. 
 The Singer's Preceptor, or Corri's Treatise on Vocal Music, 2 vols., fo., 18:0 (con- 
 taining his life) ; A new and complete Collection of the most favourite Scots Songs, 
 including a few English and Irish, with proper Graces and Ornaments peculiar to 
 their character ; likewise the New Method of Accompaniment of Thorough Bass, 2 
 vols. . 1788. A select collection of the most admired Songs, Duets, etc., from operas in 
 the highest esteem, and from other works in Italian, English, French, Scotch, Irish, 
 etc., in three books, n. d. ; A Select Collection of Forty of the most favourite Scotch 
 Songs, with introductory and concluding Symphonies, proper graces peculiar to 
 their character, and accompaniments for the Pf., n. d. (four editions of this work 
 were published).; The Art of Fingering, 1799 ; Musical Dictionary as a Desk, 1798; 
 Complete Musical Grammar, with a Concise Dictionary of all the Signs and Forms 
 used in Music, etc, Lond., n. d.; Two vols, of Sonatas for the Pf. ; Several vols, 
 of English and other national songs ; Six Canzonets and Two Duets (Clementi) ; 
 Lilliput, a dramatic romance ; Single songs, duets, etc. 
 
COR — COS 
 
 Corri was a fine musician, and enterprising man of business, both of which quali- 
 ■ ties he utilized in a beneficial manner in improving the musical taste of the Scottish 
 capital. His publications were superior in general to the common order of music- 
 books issued in Britain, and he appears to have been one of the first to employ 
 written-out accompaniments in Britain. He mentions at length, in a preface to one 
 of his "Select Collections," the nature and extent of his innovation. 
 
 CORBiI (Montague). Italian comp., second son of above, B. Edinburgh, 1784. 
 S. under his father, Winter, and Steibelt. Resided in London as comp. to the 
 Surrey Theatre. Comp. to Astley's and the Cobourg Theatre till 1816. Chorus- 
 master at English Opera House, 1816-17. Resided successively in Edinburgh, 
 Newcastle, Manchester, and Liverpool. D. London, Sept. 19, 1849. He 
 wrote a few songs and other unimportant pieces. He was an expert swords- 
 man, and a respectable conductor. 
 
 CORRI (Haydn). Italian comp., B. Edinburgh, 1785. D. Dublin, Feb. 19, 
 i860. Corri was a cond., teacher, and comp., in Dublin, where he was much 
 respected among musicians. His wife (1800-67) was an operatic vocalist. 
 
 CORRI (Natale). Italian comp. and music teacher, brother of Domenico Corri, 
 was living in Edinburgh contemporaneously with his brother. 
 
 CORRI-PALTONI (Fanny). Italian mezzo-soprano vocalist, B. Edinburgh, 
 
 1801, daughter of Natale Corri. S. under her father and Braham. Debut at 
 
 the King's Theatre, Lond. Sang in Germany, Italy, etc. Married to Signer 
 
 Paltoni in Italy, 1821. Sang in Spain, Russia, etc. D. [?] 
 
 Her sister Rosalie sang in London in 1S20 and afterwards, with considerable 
 
 success. 
 
 Other members of this family are DussEK (died 1870), Patrick (1820-1876), 
 and Haydn, a vocalist (died 1876). 
 
 CORSI (JaCOpo). Italian amateur musician of i6th century, who encouraged 
 Peri and Caccini in their efforts to establish what is noAf known as the opera. 
 
 CORTECCIA (Francesco). Italian comp., B. Arezzo, early in l6th century. 
 Chap. -master to Grand Duke Cosmo IL, 1541-1571. D. 1571. Composed 
 Motets, Madrigals, etc. 
 
 CORTESI (Antonio). Italian dancer, B. 1797. D. 1880. He improved and 
 invented new features in the ballet. 
 
 COSSMANN (Bernhard). German violoncellist and comp., B. Dessau, May 
 17, 1822. S. under Drechsler, MUUer, and Kummer. 'Cellist at Italian opera, 
 Paris. Appeared in Loudon, 1841. Returned to Germany and played at 
 Gewandhaus and other important concerts. Prof, of violoncello at Cons, of 
 Moscow, 1866-70. 
 
 COSTA (Francisco Eduardo da). Portuguese comp., B. Lamego, May 15, 
 1818. D. 1854. Wrote church music, etc. 
 
 COSTA (Joao E. P. da). Portuguese comp., B. Lisbon, 1805. S. at Lisbon. 
 Writer of operatic works, songs, etc. 
 
 COSTA (Sir Michael). Italian comp. and cond., B. Naples, Feb. 4, 1810. S. 
 under Zingarelli, etc. S. at the Royal Academy of Music, Naples. Visited 
 England, and assisted at the Birmingham Musical Festival, 1828. Cond. at 
 H.M. Theatre, 1831. Naturalized as British subject, 1839. Cond. of Philhar- 
 monic Soc. Concerts, 1846. Cond. at Royal Italian opera, 1847. Cond. of 
 Sacred Harmonic Soc, 1849. Cond. of the Handel Festivals, 1857, and after- 
 wards. Knighted at Windsor, April 14, 1868. Invested with the Royal Order 
 of Frederick, 1869. Cond. at H.M. Theatre, 1871. Knight of the Turkish 
 Order of the Medjidie. Knight-Commander of the Crown in Italy. D. Lon- 
 don, April 28, 1884. 
 Works.— Ora/(;«>.f and Cantatas: L' Immagine, 1815 ; La Passione, 1827 ; Eli, 
 Birmingham, 1855; Naaman, Birmingham, 1864. Operas and Ballets: II Delitto 
 punilo, 1826; II Sospetto funesto, 1827; II Carcere d' Ildegonde, 1828; Malvina, 
 1829 ; M?ilek Adhel, 1837 ; Pop Carlos, 1844} K?nilw6rth, 1831 ; Une he«te & 
 
COS — cou 
 
 Naples, 1832 ; Sir Huon, 1833 ; Alma, 1842. Mass ; Three Symphonies ; Songs 
 and miscellaneous music. 
 
 Costa was one of the greatest and most influential conductors in Britain. He had 
 a singularly fortunate career, which, coupled with hard work, raised him to the 
 highest position among musicians. His services at those institutions where he acted 
 as conductor were very beneficial to their prosperity, and healthy in general tend- 
 ancy. His superior powers as a conductor were universally acknowledged, and his 
 tact and firmness in training large bodies of singers and instrumentalists, as at the 
 Handel Festivals, insured him a success almost unprecedented in the annals of 
 musical direction. 
 
 His compositions are ol moderate popularity, and, saving "Eli " and " Naaman," 
 none are works which will have permanent interest. " Eli " and ' ' Naaman " were 
 successful when originally produced, and are occasionally brought forward by musi- 
 cal societies. His dramatic music is decidedly inferior to his sacred music, and none 
 of his operas have survived, or are likely to survive, their original production. His 
 minor works are still current. 
 
 COSTE (Jules). French amateur comp,, B. Lorraine, 1828. Wrote a number 
 of operas. D. November 13, 1883. 
 
 COSTELEY (William). Scottish comp., B. 1531. Settled in France as org. 
 to Henri II. and Charles IX. He was a member of the society known as 
 " Puy de musique a honneur de Ste Cecile." D. Evreux, 1606. His works 
 consist of songs in Le Roy's Collections of Chansons, etc., and a treatise 
 entitled "Musique," Paris, 1579. 
 
 COSYN (Benjamin). English comp. for, and performer on the Virginals who 
 flourished in first part of i8th century. He wrote music for his instrument of 
 a difficult and complicated style, and was one of the best performers of his day. 
 
 COSYN (John). English comp., probably father of above. Wrote Sixty 
 Psalms, in six Parts, 1585. 
 
 COTES (Digby), M.A. English writer, author of "Music a rational assistant in 
 the duty of praise when united with charity, a Sermon," 1756. 
 
 COTTELL (George Lansdowne). English pianist, comp., and teacher, B. 
 Bath, Sept. 22, 1835. S. under his mother, and at R. A. M., London. Per- 
 formed on Wornum's Pf. at the International Exhibition, 1862. Married 
 daughter of Samuel Perkes, C.E., of Bombay, etc., 1864. Founder and 
 director of the London Conservatoire of Music, 1S76. 
 Works. — Pianoforte : The Archers ; Gipsy Dance ; Westminster Bridge ; 
 
 Fierce Passions ; Three Minutes ; Nora ; Joy ; Sea Song ; New Wedding March, 
 
 etc. Sottas: Coming; What do Lovers Say ? ; I'm waiting ; Westminster Bridge, 
 
 etc. The Archers, opera, etc. 
 
 Cottell is known as a successful teacher, and as a pianist of much ability. His 
 
 compositions are brilliant and tasteful. 
 
 COTTON (John). American writer, author of "Singing of Psalmes a Gospel 
 Ordinance." Boston, 4to, 1647. 
 
 COTTRAU (GrUillaume). French song writer, B. Paris, 1797. D. Naples, 
 Oct. 31, 1847. 
 
 COTTRAU (Theodore), Martelli. French comp., son of above, B. Naples, 
 Nov. 7, 1827. Writer of Pf. music. 
 
 COTTRAU (Jules). French corap., brother of above, B. Naples, 1836. Writer 
 of operas, songs, Pf. music, etc. 
 
 COUDERC (Joseph Antoine Charles). French vocalist and comedian, B. 
 Toulouse, March 10, 1810. S. at Paris Cons. Sang in operas by Benoist, 
 Thomas, etc. D. April l6, 1875. 
 
 COUPERIN (Francois), surnamed Le Grand. French org. and comp., B. 
 Paris, 1668. S. under an org. named Thomelin. Org. of St. Gervais, Paris, 
 1696. Chamber musician (harpsichord) to the king, 1701. Org. of Royal 
 Chapel, 1701, D. Paris, 1733. 
 
cou — cou 183 
 
 Works. — Premier Livre de Pieces de Clavecin, Paris, 1713 ; Deuxieme livre de 
 pieces de Clavecin, Paris, 1716 ; Troisiime livre de pieces de Clavecin k la suite 
 du quel il y a quatre concerts a I'usage de touts sortes d'instruments, Paris, 1722 ; 
 Quatrifeme livre de pieces de Clavecin, Paris, 1730 ; Les Goftts reunis, ou Nouveaux 
 Concerts, augmentes de 1' Apotheose de Corelli, en trio, Paris, 1724 ; L'Apoth^ose 
 de r Incomparable L x x x (Lully), Paris, n.d. ; Trios pour deux dessus de violon, 
 basse d'archet et basse chiftrie, Paris, n.d. ; Lecons des ten^bres k une et deux 
 voix, Paris ; L'Art de toucher du clavecin, par M. Couperin, organist du Roi, 
 Paris, 17 17. 
 
 Couperin is said to have influenced J. S. Bach in the formation of his style. 
 His work "L'Art de toucher " influenced the development of piano-playing during 
 his period. His compositions are elegant and spirited in style, and, though original, 
 are often dry by reason of repeated ornaments. 
 
 OOUKCY (F. de). Author of " The Art of Singing, its Theory and Practice; for 
 perfecting and scientifically developing the Human Voice..." Lond., n.d. 
 
 COURTOIS (Jean). -Belgian comp. of i5th century, who wrote elaborate music 
 for the church, madrigals, etc. 
 
 COUBTEVILLE (Eaphael). English musician, B. in first part of 17th century, 
 D. Dec. 28, 1675. 
 He was Gent, of Chap. Royal in time of Charles I., and founder of the Courte- 
 ville family. 
 
 COXJRTEVILLE (Raphael). English org. and comp., son of above, B. latter 
 part of 17th century. Org. of St. James' Ch., Piccadilly, Lond., 1691. D. 
 [1735]- 
 Works.— Don Quixote, opera by D'Urfey (with Purcell, etc.), 1696 ; Six Sona- 
 tas for two violins ; Sonatas for two flutes, 1685 ; Songs in contemporary collec- 
 tions ; " St. James" psalm tune ; etc. 
 
 COXJRTEVILLE (Jolin). English song- writer of the 17th century, son of 
 Raphael, the elder. His works appear in the "Theater of Music," 1685-87, 
 etc. 
 
 COURTEVILLE (Raphael). English org. and comp., son of Raphael the 
 younger, succeeded his father as org. of St. James' Ch. He died in 1771 . He 
 was a severe political writer, and gained the nick-name of Court-evil. 
 
 COUSINS (Charles). English band-master and director of music at Kneller 
 Hall, B. near Portsmouth, Jan. 2, 1830. Educated at the Royal Hospital 
 Schools, Greenwich, from 1841. Assistant band-master of Royal Caledonian 
 Asylum, 1846. Member of band of the ist Life Guards, under Mr. James 
 Waddell. S. at Kneller Hall, Hounslow, for a band-mastership. Band-mas- 
 ter of 2nd Dragoon Guards, Oct., 1863. Served with Guards in India, 1864- 
 70. Held appointment till 1874. Director of Music at Kneller Hall, Nov. i, 
 1874. 
 As music-director at Kneller Hall, Mr. Cousins has much of the musical instruc- 
 tion imparted to band-masters in the British army under his control ; the institution 
 having been established in 1857 for "the better training of some of the most in- 
 telligent and promising of the six thousand men and boys who are employed in the 
 musical service of the army. The younger pupils are trained to the various mstru- 
 ments used in a military band, and for this purpose a staff of ten masters is employ- 
 ed. Those who are to be trained for band-masterships are reconimended by their 
 respective commanding officers for their musical and general intelligence, good con- 
 duct, and fitness for responsibility. The experiment of opening up to bandsmen the 
 opportunity of qualifying themselves for the highest posts in their calling has been 
 so successful, that the War Office authorities have granted the status of warrant 
 ofBcers to band-masters, which gives, while serving, emoluments of nearly ;^200 
 per annum, and a maximum retiring allowance of about £?iO per annum. 
 COUSSER (Johann Sigismund). Hungarian comp., B. Presburg, 1657. S. 
 under Lully. Visited Italy, etc. Settled in London as teacher. Weiit to Ire- 
 land, 1710. Org. in Dublin cath. D. Dublin, 1727. He composed operas, 
 church music, songs, etc, 
 
184 cou — cow 
 
 COUSSEMAKER (Charles Edmond Henri de). French writer, B. BaiUeul, 
 April, 19, 1805. D. Lille, Jan. 10, 1876. 
 Works. — Memoire sur Hucbald et sur ses traites de Musique... Paris, 1841 ; 
 Notices sur les Collections Musicales de la Bibliotheque de Cambrai et des autres 
 villes du departement du Nord, Paris, 1843 ; Essai sur les Instruments de Musique 
 au Moyen ige ; Histoire de 1' Harmonie au moyen Sge, Paris, 4to, 1852 ; Chants 
 liturgiques de Thomas a Kempis... Ghent, 8vo, 1856 ; Drames liturgiques du Moyen 
 age, Paris, 4to, 1S61 ; Les Harmonistes de xii. et xiii. Siecles, 4to, 1864 ; L' Art 
 Harmonique aux xii. et xiii. Siecles, Paris, 4to, 1865 ; Scriptores de Musica medii 
 Eevi nova series a Gerbertina altera, Lille, 3 vols., 1866-69 ; Les Harmonistes du xiv. 
 Siecle, 4to, 1869; CEuvres complies du trouvere Adam de la Halle. ..(edited), 
 Paris, 8vo, 1872 ; Chants populaires de Flamands de France, Ghent, 8vo, 1876. 
 
 [COUTTS (W. G.)], Ithuriel. Scottish writer, author of "Scottish verszis 
 Classic Music, and the Ethical and ^Esthetical aspect of the Question," Edin- 
 burgh, 8vo, 1877 (2 eds.). 
 
 COWARD (James). English org. and comp., B. London, Jan. 25, 1824. 
 Chorister in Westminster Abbey. Org. of Crystal Palace, 1857-80. D. 
 London, Jan. 22, 1880. 
 
 Works. — O Lord, correct me ; full anthem. Part-songs : Lady, I think of thee ; 
 May Day ; Summer Morning ; Airy Fairy Lilian ; The sun is bright ; Peaceful 
 Slumbering ; The day is done ; Where Claribel low lieth ; The Skylark. Songs : 
 Take, O take those lips away ; Give back my love again ; etc. Miscellaneous 
 music. Ten Glees for 4 and 5 voices, Lond., 1857 ; Ten Glees, etc., Lond., 1871. 
 
 Coward's part-songs are perhaps the best known of his published works, and are 
 agreeable pieces of a high standard of merit. He was a performer on the organ of 
 great ability. 
 
 COWDEKY (E.). See Ramann (L.). 
 
 COWEN (Frederic Hymen). English comp., pianist, and cond., B. Kingston, 
 Jamaica, Jan. 29, 1852. Brought to England, 1856. S. under Benedict and 
 Goss, 1860-65. S. at Leipzig and Berlin, under Hauptmann, Moscheles, 
 and Reinecke. First work, "Minna Waltz," published, 1858. Gave series 
 of orchestral concerts, introducing modern English works, Nov., 1880. Con- 
 ducted Promenade Concerts, Lond., 1880. Travelled in Europe, 1881-82. 
 Cond. his own works at various festivals. 
 Works. — Operas, etc.: Pauline (from Lytton's " Lady of Lyons "), Lond., Carl 
 Rosa, 1876; Schiller's Maid of Orleans (overture, etc.), 1871 ; One too Many 
 (German Reed), 1874 ; Garibaldi, operetta. Cantatas : The Rose maiden, 
 1870 ; The Corsair, Birmingham Festival, 1876 ; St. Ursula, Norwich Festival, 
 188 [ ; The Sleeping Beauty, Birmingham, 1885. Oratorio: The Deluge, 
 Brighton Festival, 1878. Symphonies : First, in C, minor, 1869 ; Second, 
 in F, 1872 ; Third, Scandinavian, in C minor, 1880 ; Fourth, Cambrian, 
 1884. Overtures and Concertos: Overture in D minor, 1866; Festival, Nor- 
 wich, 1872 ; Concerto for Pf. and orch. in A minor, 1869 ; Suite de Ballet for 
 orch.. The Language of Flowers, 6 pieces, 1880 ; Sinfonietta for orch. in A, Phil- 
 harmonic Soc, 1881. Instrumental Music, viiscellaneous : Trio in A minor for Pf., 
 violin, and 'cello, 1868 ; Quartet for Pf. and strings in C minor, 1869. /"/. music: 
 Three valses caprices, 1870 ; Rondo a la Turque, 1870 ; Fantasia on ' ' Zauberflote " 
 (8 hands), 1870 ; Sylphide ; La Coquette, 1873, etc. Six Four-part Songs, 1871. 
 Songs: Two roses (1870) ; Spinning (1871) ; Marguerite ; Marie (1872) ; Aubade ; It 
 was a dream ; The carrier dove ; Only a violet ; Night and morning (1873); Under 
 the lime (1874) ; Past and future ; Almost ; At last ; So far away ; Why ; The old 
 love is the new, 1875 ; Ay or no ; Steering ; Truant love ; The rainy day ; The 
 winding of the skein; The better land (1877); Never again; Make believe ; It 
 might have been ; A farewell ; A shadow ; Tho' lost to sight ; Regret ( 1 878) ; Watch- 
 ing and waiting ; My lady's dower ; The unfinished song ; Jessie ; O swallow (1879) ; 
 Casablanca ; I wonder ; The children's house (1880) ; The watchman and the child ; 
 All in all (1881) ; Six songs. Better far, etc, ; I will come ; The pilgrims ; Light in 
 darkness ; Passing away ; A song and a rose ; Home (1883) ; Sunlight and shadow ; 
 Album, A lullaby, A little while, Think of me, etc. j Child and the angel ; The 
 keepsake; In vain (1884). 
 
cox — CRA 185 
 
 Mr. Cowen is one of the most popular of living composers, and his works have 
 been received with a large measure of approbation by the musical public. His 
 great strength lies in instrumental composition, and especially in his symphonic 
 writings, which unite with much beauty of design and careful finish, a well-marked 
 vein of originality. His cantatas have enjoyed much popularity, but his " Rose 
 Maiden " among such works is by far the most frequently performed. His opera 
 is not now performed, and many of his earlier works have dropped out of know- 
 ledge. His songs have enjoyed a great measure of popular favour, and many of 
 them are already almost classics, but as before indicated, it is as an instrumental 
 composer that Mr. Cowen will hereafter be known. 
 
 As a conductor and pianist he takes high rank, end it is due to him to say that 
 he has made more than one effort to secure for the younger generation of British 
 composers a fair share of public attention. His efforts in this direction, though 
 perhaps less successful than desirable, were none the less patriotic and praiseworthy. 
 
 COX (Rev. John Edmund), D.D. English writer and divine, B. Norwich, 
 Oct. 9, 1812. Vicar ol St. Helen's, and St. Martin's, Bishopgale, London, 
 1849, etc. Author of "Musical Recollections of the last Half Century," 
 Lond., 2 vols., 1872. He is Hon. Chaplain of Royal Society of Musicians. 
 
 CRAIG (Adam). Scottish violinist and collector, B. in latter half of 17th cen- 
 tury. D. Oct., 1 741. He performed at the public concerts in Edinburgh 
 during his lifetime. 
 Works. — A Collection of the Choicest Scots Tunes, adapted for the Harp or 
 
 Spinnet, and within the compass of the voice, violin, or German Flute, Edinburgh, 
 
 1730. A manuscript volume of orginal compositions by Craig was exposed for 
 
 sale in 1728. 
 
 CRAMENT (John Maude). English org. and comp., B. Bolton, Percy, Yorks, 
 
 1845. S. under Sir G. A. Macfarren, Haupt, and Kiel. Org. of Brompton 
 
 Parish Ch., etc., Lond. Mus. Bac, Oxon., 1879. Secy, of the Peoples 
 
 Entertainment Soc. , London, which gives over 150 Eree Concerts annually. 
 
 Has composed some meritorious anthems, and a Festival Psalm for solo voices, 
 
 chorus and orcb. 
 
 CRAMER (Franz). German violinist and comp., B. Schwetzingen, near Mann- 
 heim, 1772. Son of Wilhelm Cramer. Settled in London. Played violin at 
 the Opera, the Ancient Concerts, etc. Afterwards Leader at the Ancient Con- 
 certs, Vocal concerts, and Philharmonic concerts. D. London, 1848. 
 His works include fantasies for violin and flute, and other pieces of no great 
 
 merit. 
 
 CRAMER (Henri). German pianist and comp., B. 1818. He has written a 
 large number of ]?f. works, of which the following are among the most impor- 
 tant .— 
 Nocturne, op. 2 ; Fantaisie Romantique, op. 8 ; Romance sans paroles, op. 21 ; 
 
 Po6me d'amour, op. 24 ; Rondo Capriccioso, op. 27 ; Three Polkas, op. 29 ; 
 
 Marche Orientale, op. 43 ; Serenade, op. 90; Three Morceaux de salon, op. 118 ; 
 
 Potpourris on melodies in operas by Balfe, Auber, Verdi, Gluck, Flotow, Cherubini, 
 
 Adam, Donizetti, Rossini, Mozart, Herold, Thomas, Lortzing, Wagner, Spohr. 
 
 CRAMER (Jacob). German flute-player and comp., B. in Silesia, 1705. D. 
 1770. Wrote a quantity of music for his instrument. 
 
 CRAMER (Johann Eaptist). German pianist and comp., B. Mannheim, Feb. 
 24, 1771. Son of Wilhelm Cramer. Taken to London by his father, 1772. 
 S. under his father, K. F. Abel, Clementi, and Schroeter. Played in various 
 towns in Europe, 1788-1791. Established firm of J. B. Cramer & Co., 1828. 
 Resided for period in Paris. Returned to London and retired, 1845. D. Lon- 
 don, April 16, 1858. 
 ■WOKViS.—Pianofot:te: Opp. i tog. Sonatas; Concerto, Pf. and orch., op. 10; 
 Sonatas, opp. II to 15 ; Concerto, Pf and orch., op. 16 ; Marches and Waltzes, 
 op. 17 ; Sonatas, opp. 18 to 23 ; Duet, op. 24 ; Three Sonatas, op. 25 ; Concerto, 
 Pf; and orch , op. 26 ; Two Sonatas, op. 27 ; Quartet, Pf., violin, viola, and 'cello, 
 op. 28 ; Three Sonatas, op. 29 ; Suite of Studies, op. 36 ; Three Sonatas, op. 31 ; 
 JlQCturne, op. 32 ; Three Sonatas, op. 33 ; Duet, op. 34 ; Sonatas, opp. 35-36 ; 
 
l86 CRA — CRE 
 
 Concerto, Pf. and orch., op. 37 ; Sonatas, op. 38-39 ; Studies, op. 40; Sonatas, opp. 
 41 to 44; Duet, Pf. and harp., op. 45 ; Sonatas, op. 46-47 ; Concerto, Pf. and 
 orch., in C minor, op. 48; Three Sonatas, op. 49 ; Duet, op. 50; Concerto, Pf. 
 and orch., in E flat, op. 51 ; Duet, Pf. and harp, op. 52 ; Sonata, op. 53 ; Noc- 
 turne, op. 54; "Dulceet Utile," op. 55; Concerto, Pf. and orch., op. 56; 
 Sonatas, opp. 57 to 59; Bravura, op. 60; Quintet, Pf., violin, viola, 'celln, and 
 d.-bass, op. 61 ; Sonatas, opp. 62-63. Method for the Pianoforte, in 5 parts, 1846. 
 The didactic vporks of Cramer have a permanent value for the student, as well 
 as an artistic interest fcr the musician. The general style of his compositions is in 
 the manner of Mozart ; but he carried the capabilities of the Pianoforte to a higher 
 degree of perfection than any of his predecessors. The melodiousness of a great 
 number of his compositions still gains for them a considerable share of attention. 
 
 CBAMEB (Wilhelm). German violinist and cond., B. Mannheim, 1745. 
 
 Settled in London, 1772. Debut as violinist, 1773. Leader at the Opera, 
 
 Ancient and Professional Concerts, etc. Leader of Handel Festivals of 1784- 
 
 87. D. London, Oct. 5, 1799. Father of Franz and Johann B. Cramer. 
 
 No compositions of any importance have been published by this musician, who 
 
 was one of the finest viohnists of his time. 
 
 CRAMER AND COMPANY. English music-publishing firm, established in 
 London by J. B. Cramer in 1828, and carried on to the present day by different 
 partners. They published large works by Crotch, BaUe, Benedict, Barnett, 
 Wallace, and numerous smaller pieces by the same composer, with Neukomm, 
 Dbhler, Moscheles, Thalberg, Horsley, Callcott, etc., etc. 
 
 CBiAMPTON (Thomas). English org., comp., and editor, B. Sheerness, 1817. 
 Has edited several collections of choral music, and composed anthems, glees, 
 and instrumental music. He was made purchaser of music to the British 
 Museum in 1875. Editor of "Pitman's Musical Monthly." D. Chiswick, April 
 13. i88S. 
 
 CRANFORD (William). English comp. Was one of the chor. of St. Paul's 
 Cath., London, in 1650. He composed rounds, catches, and songs printed in 
 the collections of Hilton, Playford, etc. 
 
 CRANG AND HANCOCK. English firm of organ-builders, established 
 towards close of last century. Their operations extend over some years of the 
 present century. 
 
 CRASKE (George). English violin-maker of the 19th century, who put forth a 
 great quantity of instruments of moderate quality. 
 
 CRAVEN (J. T.) English writer and teacher, author of "The Child's First 
 Singing Book,"Lond., n.d. ; "The Child's First Music Book, or Introduction 
 to the Art of Playing the Pianoforte," Lend., n.d. 
 
 CRECQTJILLON (Thomas), Belgian comp. and org., flourished during 1520- 
 60. Chap. -master to Charles V. of Spain. He composed masses, motets, 
 psalms, hymns, etc. 
 "His French songs, for four, five, and six voices, are numerous, and form valu- 
 able portions of the different collections of Chansons published in the Low Coun- 
 tries. " — Busby, 
 
 CRESCENTINI (Girolamo). Italian soprano vocalist and teacher, B. near 
 Urbino, 1766. S. under Gibelli. DSbut at Rome, 1783. Appeared in Lon- 
 don, 1786. Sang throughout Europe, 1786-1816. D.Naples, 1846. 
 His works consist of vocal exercises, which are still in use. 
 
 CRESSONNOIS (Jules Alfred). French comp., B. Mortagne, Orne, April 
 17, 1823. S. under Kastner. Comp. " Chapelle d' Bachaumont, " operetta, 
 1858. Military music, Pf music, songs, etc. 
 
 CREYGHTON (Robert.) English divine and comp., B. Cambridge, 1639. 
 Prof, of Greek in University of Cambridge, 1662. Canon Residentiary and 
 Precentor of Wells cath., 1674. D.D. [1736]. D. Wells 1736. 
 Works. — Services in E flat and B flat ; Anthems, various, etc. 
 
CRI — CRO 187 
 
 CBISPI (Pietro), Abbe. B. Rome, 1737. D. Rome, 1797. Wrote concertos, 
 sonatas, etc., for the harpsichord. 
 
 CBISTOFOBI (Bartolommeo di F.). Itahan harpsichord-maker, B. Padua, 
 1651. Was engaged during his life at Florence in the manufacture of harpsi- 
 chords of a superior class. He is the inventor of the Pianoforte, though his 
 claim to be regarded as such has been frequently quasi ioned, and only recently 
 been thoroughly established. For further information the reader is referred to 
 Grove's "Dictionary of Music," articles " Cristofori " and " Pianoforte." He 
 D. Florence, March, 1731. 
 
 CRIVELLI (Gaetano.) Italian tenor vocalist, B. Bergamo, 1774. Appeared 
 in London, 1817. Vocal teacher at R. A. M., 1823. Sang in Italy, etc., till 
 1829. D. Brescia, July, 1836. Wrote some operas, canzonetas, and vocal 
 exercises. 
 
 CBOAL (George). Scottish comp., B. Edinburgh, Feb. 28, 181 1. Son of Mr. 
 Croal, sub editor of the Caleaonian Mercury. Apprenticed to Alex. Robert- 
 son, music-seller, 1823. Remained with him 1823-33. Commenced business 
 as music-seller, 1840. Continued business till 1848. Latterly teacher in 
 Edinburgh. 
 AYoRKS. — Eaglesward, a narrative poem, 1858 ; The Centenary Souvenir, Six 
 Songs by Sir Walter Scott, Edinburgh, Songs : Away to the woods, My Willie, 
 The Emigrant's Dream, My Grannie's Pouch, The Queen. Pianoforte music, con- 
 sisting of arrangements,- transcriptions, and dances, published mostly under name 
 of Carlo Zotti. 
 
 Mr. Croal is an able performer of the old Scottish melodies, and on one occasion 
 played a number of them to Sir Walter Scott. He is deserving of the greatest 
 credit for having rescued from oblivion and adapting to appropriate words the songs 
 now known as " When the kye comes hame " and " My Nannie's awa." The for- 
 mer was set to Hogg's words by permission of Messrs. Blackwood in 1836, and the 
 latter to the verses of Burns in 1842. He transcribed the melodies from the sing- 
 ing of a friend, and they are now two of the most popular Scottish Songs. 
 
 CBOCE (Giovanni Dalla). Italian comp., B. Chioggia, 1560. Pupil of Zar- 
 
 lino. Vice-chapel-master of cath. of S. Mark's, Venice, 1603-9. Priest at ch. 
 
 of S. Maria in Formosa. D. Venice, Aug. 1609. 
 
 Works. — II Primo Libro de' raadrigali a cinque voci, 1585 ; Second ditto, 1588 ; 
 
 Motetti, 1589; Motetti, 1590; Salmi, 1596; Triacca musicale, nella quale visono 
 
 diversi capricci a 4, 5, 6, e 7 voci. 
 
 His psalms were reprinted in London. " Hard by a crystal fountain," a madri- 
 gal for 6 voices, is given in "Triumphs of Oriana," as his composition. His music 
 is smoothly written, and is agreeable to modern ears. 
 
 CEOFT (William). English comp. and org., B. Nether-Eatington, Warwick, 
 1677. S. under Blow. . Chor. in Chap. Royal. Org. of St. Anne's, Soho, 
 till 1711. Gent, of Chap. Royal, 1700. Joint org. Chap. Royal with Jeremiah 
 Clarke, 1704. Sole org. of do., 1707. Master of Choristers and Comp. to 
 Chap. Royal, and org. of Westminster Abbey, 1708. Resigned post of St. 
 Anne's to John Isham, 1711. Mus. Doc, Oxon., 1715. D. London, Aug. 
 14, 1727. 
 Works.— Divine Harmony, or a new collection of select anthems used at H.M. 
 Chapel Royal, etc., 1712 ; Thirty Select Anthems in score, Lond., 2 vols., (o., n.d. 
 Musica Sacra, or select anthems in score, for two, three, loure, five, six, seven and 
 eight voices, 1724. Anthems : Blessed are all they ; Be merciful unto me, O God ; 
 God is gone up ; Put me not to rebuke ; O Lord rebuke me not ; O Lord, thou 
 hast searched me out ; Hear my prayer, O Lord, 8 voices ; I will sing unto the 
 Lord ; O be joyful in God ; Rejoice in the Lord ; Sing unto God ; Sing praises un- 
 to the Lord ; We wait for Thy loving kindness. He also completed the burial ser- 
 vice. " I am the Resurrection," of which Purcell wrote one number, " Thou knowest 
 Lord." Six sets of tunes for ' viohns and bass ; Six Sonatas for 2 flutes ; Six 
 Solos for the flute. Overtures and incidental music to "Courtship a la Mode," 
 1700; "The Funeral," 1702; "The Twin Rivals," 1703; " The Lying Lover," 
 1704. Three Odes, for degree of Mus. Doc, 1715 ; Miscellaneous Odes for public 
 
CRO — CRO 
 
 occasions ; Musicus Apparatus Academicus, being a composition of two odes, etc., 
 1713- 
 
 " Dr. Croft's anthems are very grand and solemn ; their harmony is pure, and 
 their melody elegant and expressive." — Hogarth. This opinion contradicts that of 
 other authorities who speak of his music as never reaching the sublime, and being 
 lacking in melody. Croft was undoubtedly one of the first among Britain's church 
 composers, and the frequent use made of his anthems in every cathedral in Britain 
 is a sufficient testimony to their enduring qualities. Croft introduced printing from 
 engraved pewter plates, and his example was generally followed. 
 
 CROISEZ (Pierre). French pianist and comp., B. Paris, May 9, 1814. S. at 
 Paris Cons, till 1832. Teacher and comp. in Paris. He has composed a 
 great amount of brilliant salon pieces for the Pf., many of which have been 
 very popular. 
 
 CBiOMAR (Rev. Alexander, M.A.) Scottish divine, and pastor of an Episco- 
 pal congregation in Liverpool, wrote "A Vindication of the Organ — a Review 
 of the Rev. Dr. Candlish's pulalication entitled 'The Organ Question,'" Edin., 
 8vo., 1856. 
 
 CROMWELL (Thomas). English writer, author of "Church Music; a Ser- 
 mon on the Antiquity, Excellence, and Propriety of the general adoption ot 
 the legitimate Music of the Christian Church," Lond., 8vo, 1843. 
 
 CROSS (Thomas). English music-engraver during 17th century. He published 
 songs, etc. , engraved in a superior manner on copper. His son John aided 
 him in the business, and was himself a music-stamper. 
 
 CROSSDILL (John). English violoncellist, B. London, 1755. Educated at 
 Westminster School. Chor. in Westminster Abbey. S. under B. Cooke and 
 J. Robinson. Member of Royal Soc. of Musicians, 1768-1825. Violinist in 
 Chap. -Royal, 1777- Chamber-musician to Queen Charlotte, 1782. Principal 
 'cello at Handel Commemoration, 1784. Principal 'cello at Ancient Concerts, 
 etc. Married, and retired, 1790. D. Escrick, Yorkshire, Oct. 1825. 
 Crossdill was violoncellist-in-ordinary to King George IV., and a performer on 
 
 the violoncello of the greatest ability. A number of anecdotes concerning him will 
 
 be found in Parke's "Musical Memoirs." 
 
 CROSSE (John). English writer and musician. Author of " An account of 
 the Grand Musical Festival held in Sept., 1823, in the Cathedral Church of 
 York, to which is prefixed a Sketch of the Rise and Progress of Musical 
 Festivals in Great Britain; with Biographical and Historical Notes," York, 
 4to, 1825. This is a valuable work of more than local interest. Crosse died 
 about 1829. 
 
 CROTCH (William). English writer, comp. and org., B. Norwich, July 5, 
 
 1775. Gave early evidence of great talent for music. Taken to London, 
 
 1780. Assistant org. at Cambridge, 1786. S. for the Church at Oxford, 
 
 1788. Org. of Christ Ch., Oxford, 1790. Miis. Bac, Oxon., 1794. Org. 
 
 of St. John's Coll., Oxford, 1797. Prof, of Music at Oxford, March, 1797. 
 
 Mus. Doc, Oxon., 1799. Lectured in Music School of Oxford, 1800-4. 
 
 Lectured at the Royal Institution, London, 1820. First Principal of the 
 
 Royal Academy of Music, London, 1823. D. Taunton, Dec. 29, 1847. ' 
 
 Works. — Oratorios: The Captivity of Judah, 1789; Palestine, by Bishop 
 
 Heber, 1812; The Captivity of Judah, re-written, 1834. Anthems: Be Merciful 
 
 unto Me ; Comfort, O Lord, the Soul of Thy Servant ; Holy, Holy, Holy ; How 
 
 Dear are Thy Counsels ; In God's Word will I Rejoice ; Lo ! Star-led Chiefs ; 
 
 Methinks I hear the full Celestial Choir ; My God, look upon Me ; O come 
 
 hither, and hearken ; O Lord God of Hosts ; Sing we merrily ; The Lord is 
 
 King ; Who is like unto Thee. Three concertos for the organ with accompts. ; 
 
 Fugues for the organ ; Sonatas for the Pf ; Handel's oratorios (portions) adapted 
 
 for the organ or Pf. Ode on the Accession of George IV., 1827 ; Ode to Fancy, 
 
 Warton (Doctor's exercise), 1799- Glees, various. Elements of Musical Composi. 
 
 tion, comprehending the rules of Thorough-bass and the theory of Tuning, Lond. 
 
 4to, 1812; 2nd edition, 1833; 3rd edition, Novello, 1856; Practical Thorough^ 
 
CRO — CRO 189 
 
 bass, or the art of playing from a figured bass, Lond., fol. n. d. ; Questions for the 
 Examination of Pupils who are studying the work called Elements of Musical 
 Composition and Practical Thorough-bass, Lond., i2mo [1830] ; Substance of 
 Several Courses of Lectures on Music, 8vo, 1831 ; Specimens of Various Styles 
 of Music referred to in a course of Lectures read at Oxford and adapted to keyed 
 Instruments, Lond., 3 vols., fol. n. d. ; Preludes for the Pianoforte, Compositions 
 in various Styles, to which are Prefixed the Rudiments of Playing the Instrument 
 [1823]. 
 
 The extraordinary precocity of Crotch was such as to excite great interest among 
 English musicians. The Hon. Daines Barrington and Dr. Burney have both 
 published accounts of his marvellous musical faculties, and both agree with regard 
 to the inborn genius which he undoubtedly possessed. Dr. Crotch is one of the 
 greatest of England's talented and learned musicians, and he did more in an educa- 
 tional sense to spread musical knowledge that any other man of his day. His 
 didactic works are of first class utility, and one of them, " Elements of Composi- 
 tion," is still largely used as a text-book, old fashioned though it be. His 
 historical courses of lectures, among the first, and certainly the best ever delivered 
 in Britain up to recent times, are marked by much variety and accuracy of 
 information, and great taste and discrimination. 
 
 Of his oratorios " Palestine " promises to endure for a considerable time to come, 
 no less on account of its many striking original features than on account of its 
 departure from the conventional style of Handel. Busby, writing in 1819, says, 
 ". . . and his more recent production of an oratorio [Palestine] exhibits his 
 theoretical knowledge, general powers of vocal conception, and command of 
 instrumental accompaniment, in a light truly favourable to his character, as an 
 original author in the higher province of composition." Hogarth, writing in 
 1838, says — " In this oratorio Dr. Crotch has displayed a grandeur and originality 
 of conception worthy of his most illustrious predecessors, and has united, in the 
 happiest manner, the depth and severity of the old ecclesiastical masters, with the 
 graceful and flowing melody and orchestral effects of the modern school." The 
 press opinions passed on its recent revivals are even more flattering than any of the 
 above, so that the prospect seems certain that as time advances this truly beautiful 
 creation will advance in public estimation. As regards his anthems it is sufficient 
 to say, so often and wide-spread is their performance, that they are among the 
 worthiest specimens of sacred music to be found in the noble collection of British 
 Church music. His organ concertos are fine specimens of a somewhat old- 
 fashioned school of instrumental composition, but their effect when performed by 
 a capable organist is equal to some of the best works of recent times. Crotch's 
 minor works are in no way remarkable, save that they represent the fugitive pro- 
 ductions of a man of musical genius. 
 
 CROUCH (Anna Maria), nee Phillips. English soprano vocalist, B. 
 London, April 20, 1763. S. under T. Linley, to whom she was articled in 
 1779. Dibut at Drury Lane Theatre in Arne's "Artaxerxes," 1780. Ap- 
 peared in Ireland with great success, 1783. Married to Mr. Crouch, a 
 lieutenant in the navy, 1785. Sang at oratorios at Drury Lane, 1787. 
 Separated from Crouch, 1792. Resided afterwards with Michael Kelly. 
 Retired from the stage, 1800. D. Brighton, Oct. 2, 1805. 
 " She had a remarkably sweet voice, and a naive, affecting style of singing ; this 
 added to extraordinary personal charms, made her a great favourite of the public 
 for many years." A most laudatory poem on her is entitled " Euphrosyne, an Ode 
 to Beauty : addressed to Mrs. Crouch, by Silvester Otway " [otherwise John 
 Oswald], Lond., 4to, 1788. See also Memoirs of Mrs. Crouch. By M. Young, 
 Lond., 2 vols., 1806, with portrait. 
 
 CROUCH (Frederick William NichoUs). English comp. and teacher, B. 
 Devizes, July 31, 1808. S. under Bochsa and W. Hawes. Played 'cello at 
 H.M. Theatre. S. at the R.A.M. under Crotch, Attwood, Lindley, etc., 
 1822. Member of Queen Adelaide's band. Principal 'cellist at Drury Lane 
 Theatre. Engaged for a time in the manufacture of zinc. Invented the 
 engraving process known as Zincography. Musical Supervisor to 
 D'Almaine & Co., London. Went to America with Maretzek, 1849. Director 
 of the Sacred Harmonic Society, Portland, Me; Director of the Mathew's 
 
CRO — CRO 196 
 
 Choir, Washington. Served during the American Civil War on the Confederate 
 side. Latterly unemployed and in want. Teacher of Music at Baltimore. 
 
 Works. — Opeias: Sir Roger de Coverly (MS ) ; The Fifth of November, 1670 
 (MS.) Collections: Echoes of the Lakes, Twenty-four Irish Songs, Poetry by 
 Mrs. Crawford, 1840 (containing " Kathleen Mavourneen ") ; Songs of Erin, 
 Poetry by D. Ryan ; Echoes of the Past ; Bardic Reminiscences ; Songs of the 
 Past ; Songs of the Olden Time ; Songs of a Rambler ; Songs of the Parish Wake ; 
 Songs of the Seasons ; Songs of the Abbeys and Cathedrals ; Sketches of the 
 Emerald Isle ; Hours of Idleness ; Roadside Sketches ; Songs of Shakespeare ; 
 Sonjjs of a Voyager ; Friendship's Offering ; Wayside Melodies ; Songs of the 
 Bards; Beauties of other Lands; Single Songs of Mrs. Hemans, Mrs. Norton, 
 Bayly, Carpenter, Lemon, Jerrold, Thackeray, Campbell, Rogers, S. Knowles, 
 etc. ; Poetical Works. Complete Treatise on the violoncello, etc., Lond. [1827]. 
 
 Crouch, though now only remembered by his "Kathleen Mavourneen," was a 
 musician who possessed a great natural fund of beautiful melody, which he used in 
 a popular, though not inartistic manner. His songs appeal to the educated and 
 refined ear, besides possessing a certain homely charm and fireside interest. 
 Crouch was a composer of considerable real inspiration, and most of his songs are 
 quite free from stilted and artificial mannerisms. 
 
 In the United States Crouch did a vast deal of good by introducing the best 
 works of English glee and madrigal writers, as well as producing some larger works 
 by Mehul, Rossini, etc. His latterly indigent circumstances is very regretable, 
 since, to external appearances, they were produced by unavoidable misfortune. A 
 recent account speaks of his adoption by an American gentleman. 
 
 CROW (Edwin John). English comp. and org., B. Sittingbourne, Sept. 17, 
 
 1841. Chor. at Rochester Cath. Articled to J. L. Hopkins. S. under 
 
 John Hopkins, Dr. Steggall, and H. Banister. Assistant to G. A. Lohr at 
 
 Leicester, 1858. Org. successively of Holy Trinity, St. Andrew's Ch., and 
 
 St. John's Ch., Leicester, 1861-1873. Fellow of Coll. of Org., 1868. 
 
 Mus. Bac, Cantab., 1872. Org. and Choirmaster of Ripon Cath., 1873. 
 
 Mus. Doc. Cantab., 1882. Mem. of Musical Assoc. , Central Council of Soc. 
 
 of Professional Musicians. Mem. of Council of Coll. of Org., etc. 
 
 Works. — The 146th Psalm, for voices and orch. ; Communion Service in F 
 
 (gained College of Organists' prize) ; Morning Service in C ; Evening Services in 
 
 G, A, and D ; Music for Masonic Ceremonies ; Hymns ; Chants ; Songs, 
 
 various; Pianoforte Music; Church Oratorio for Harvest-time; Orchestral and 
 
 Organ Works. 
 
 CROWDY (John). English writer and editor, B. Lewknor, Jan. 6, 1834. 
 
 Editor successively of 7 lie Musician, The Musical Standard, and The Artist ; 
 
 sub-editor ot the Guardian from 1854. D. Addlestone, Surrey, Jan. 12, 1883. 
 Works. — A Kalendar of Cadences, in the form called Free Chant, adapted for 
 the recitation of the Psalms, Lond., n.d. ; The Free Chur^ch Canticle Book, n.d.; 
 The Psalter, n.d.; The Church Choirmaster, a Critical Guide to the Musical 
 Illustration of the Order for Daily Prayer, Lond., 1864; A Short Commentary on 
 Handel's oratorio. The Messiah, Lond., [1875] ; Analysis of Musical Works and 
 contributions to the musical press, etc. 
 
 CROWEST (Frederick J.) English writer, musician and critic, B. London, 
 1850. Trained as a choir-boy and subsequently org. and choirmaster in 
 various London and country churches. Author of " The Great Tone Poets ; 
 being short Memoirs of the greater Musical Composers," Lond., 8vo, 1874 
 (7 eds.) ; "Book of Musical Anecdotes, from every available source," 
 Lond., 2 vols., 8vo, 1878 (2 eds.) ; " Phases of Musical England," 8vo, 1881 ; 
 "Musical History and Biography, in the Form of Question and Answer," 
 Lond., 1883; "Advice to Singers," London, n. d.. Anon. (2 eds.) A con- 
 tributor to the musical and general press, and for many years London critic of 
 "Church's Musical Visitor" (American). Comp. various songs and some 
 Church music. Cond. of the Female Choral Union, 1874-8. Well known as 
 a tenor singer in public and private, under the nom ife guerre of Arlhur Vitton. 
 
 CROWTHER (John). English violin-maker, B. 1760. D. i8ro. One of the 
 
Cfeo — CtJilt i^t 
 
 best makers of his period. His instruments are generally dark in colour and 
 well finished. His violas are good. 
 
 CROZIER (William). English oboe-player, pupil of Barret. Member of 
 Crystal Palace orch., 1855-1870. D. Dec. 20, 1870. 
 
 CRUGEB (Johann). German comp. and writer, B. near Guben, April 8, 1598. 
 Chap.-master of the Ch. of St. Nicholas, Berlin, 1622. D. Berlin, Feb. 23, 
 1662. 
 
 Works. — Synopsis Musica, etc, ; Praxis Pietatis, a collection of Lutheran hymns. 
 This latter work went through a great number of editions, and some of the melodies 
 in it are used in recent psalmodic works. 
 
 CBUICKSHANK (J.) Scottish writer, author of "Flutina and Accordion 
 Teacher," Lond., 1851. 
 
 CBUSE (Edward). English musician and writer. Compiled "Psalms of the 
 Church, adapted for four voices, with a History of Church Music and Nota- 
 tion, the whole calculated for general adoption by every sect of the Reformed 
 Religion," Lond., [1835], fol. ; Te Deum, and other church music. 
 
 CEiUVELLI (Jeanne Sophie Charlotte), nie Cruwell. German soprano 
 
 vocalist, B. Bielefeld, Westphalia, Mar. 12, 1826. Detut at Venice, 1847. 
 Appeared in London, 1849. Sang in Paris, Italy, etc., 1851. Married Baron 
 Vigier and retired, 1855. 
 
 CUDMOBE (Bichard). English violinist, comp., and pianist, B. Chichester, 
 1787. S. under a musician named James Fargett, Reinagle, and Salomon. 
 Violinist at Chichester Theatre, 1799. Resided in Chichester as violinist and 
 teacher, 1799-1808. S. pianoforte under Woelfl at London. Member of 
 Philharmonic Band, London. Resided in Manchester as leader of Gentle- 
 men's Concerts. D. Manchester, Jan. 1841. 
 Works. — The Martyr of Antioch, oratorio; Concertos for the violin ; Concertos 
 
 for the Pf.; Songs, etc. 
 
 The accounts preserved of Cudmore's executive abilities on several instruments 
 
 indicate that he was a performer of the highest and most versatile powers. 
 
 CUISSET (Frank F.). English org. and writer, author of "The Vocalist's In- 
 dispensable Practice, a series of exercises for promoting the strength and flexi- 
 bility of the voice, Lond. [1875]. Comp, also concerted vocal music, songs, 
 etc. Org, at Godalming. 
 
 CULVEB (Richard). American writer, author of the " American Guitarist, '' 
 Boston, n. d,; "Guitar Instructor," n. d, 
 
 CULWICK (James C). English org., comp.. and writer, B. West Bromwich, 
 Staffordshire, 1845. Chor. and afterwards assistant org. Lichfield Cath. Org. 
 Parsonstown, 1866 ; Bray, 1868 ; S. Ann's, Dublin, 1870 ; Chap. Royal Dub- 
 lin, 1881. Prof, of Pf., org. and harmony, Alexandra Coll., and cond, of 
 Harmonic Soc, Dublin. Author of "The Rudiments of Music: an Introduc- 
 tory Text-Book," Dublin, 1881 ; " The Study of Music, and its Place in General 
 Education," Dublin, 8vo, 1882. Sonatas, etc., for org. and Pf. ; Quartet for 
 Pf. vn., viola and 'cello ; Church music, songs, etc. 
 
 CUMMING (Angus). Scottish violinist and comp., flourished during latter half 
 of 1 8th century. He published "A Collection of Strathspey and Old High- 
 land Reels, by Angus Gumming at Grantown in Strathspey," Edin., fo., 1780. 
 A second edition was published at Glasgow some time after. 
 
 CUAIilVEINGS (William Hayman). English comp., tenor vocalist, and writer, 
 B. Hidbury, Devon, 1835. Chor. in St. Paul's Cath. Chor. in the Temple 
 Ch. Org. of Waltham Abbey. Tenor singer in the Temple, Westminster 
 Abbey. Singer in the Chap. Royal. Prof, of Singing at Royal Coll. for the 
 Blind, Norwood, London. 
 Works. — The Fairy Ring, cantata; Te Deum, jubilate, sanctus, etc., in D ; 
 
 O Lord, give ear, anthem ; Ky ies, various. Glees : Come silent evening ; Sweet 
 
192 CUM — CUR 
 
 flowers of summer ; O thou sweet bird, (prize) ; A fond good-night (prize) ; Ye 
 gentle muses (prize) ; Song should breathe (prize) ; Oh, the summer night (prize). 
 Part-Son^s : O were I but a drop of dew; Sunday part-songs (6 numbers) ; On a 
 day, alack the day ; Hark the soft bugle ; Golden slumbers. Songs : Yellow lie 
 the corn rigs ; Ask me no more ; Birdie on yon leafless tree ; Hush thy sweet song ; 
 Just as of old ; He is with thee, though alone ; May's wedding'; Star gazing ; The 
 love of long ago ; The pilgrim's rest ; They came together ; Playing on the vir- 
 ginals ; Spare my boy at sea ; Love me little, love me long ; Love's vigil ; Sweet 
 Rothesay Bay, etc. The Rudiments of Music, Lond., 8vo [1877]; Purcell (Great 
 Musicians Series), Lend., 8vo, 1882 ; Contributions to periodicalliterature ; Papers 
 read before musical associations. 
 
 Mr. Cummings was originally a tenor singer of much cultivation, and as such 
 gained a great reputation, but latterly he has become identified with musical anti- 
 quarian pursuits, which he follows with much success. He has chiefly given atten- 
 tion to English musical history, including an advocacy of the claims of Henry Pur- 
 cell to a more wide-spread recognition. He estabKshed the " Purcell Society," 
 which has issued a few publications. His compositions are careful and finished 
 productions, and some of them have excited considerable attention. 
 
 CUMMINS (Charles). English comp., pianist, and violinist, B. York, 1785. 
 S. under Dr. Miller of Doncaster. Leader and violinist in theatres of the west 
 of England. Wrote an amount of music for dramatic pieces, and a pamphlet 
 against the system of J. B. Logier. D. [?] 
 
 CUNIO (Angelo). Italian pianist and comp., B. Milan. S. at Milan Cons. 
 Lived in Edinburgh and London as teacher of the Pf. His works consist of 
 transcriptions and light pieces for the Pf. 
 
 CUNNABELL (J. S.). American writer, author of an "Accordeon Instructor," 
 Boston, Ditson, n. d. 
 
 CUNNING-HAM (Allan). Scottish poet and writer, B. Dumfriesshire, 1784. 
 D. London, 1842. He wrote a number of novels and biographical works, and 
 a work entitled " The Songs of Scotland, with Critical and Historical Notes." 
 He is best known to musicians as the author of a number of fine lyrics, most of 
 which have been set to music. The well-known sea-song "A wet sheet and a 
 flowing sea," which has been set to music over and over again, is of his com- 
 position. 
 
 CURIONI (Alberico). Italian tenor vocalist, B. 1790. Appeared in London, 
 1821. Sang there till 1832. Was Hon. Mem. of R. A. M. Sang at Vienna, 
 Paris, etc. D. [?] 
 
 CURBiIE (Rev. James, M.A.) Scottish musician and educationist, now Rector 
 of the Established Church Training College, Edinburgh. He is author of 
 "The Elements of Musical Analysis," Edin., 1858 ; " A First Musical Gram- 
 mar," Edin., i2mo, ii. d. Works on Infant and Secondary Education ; School 
 Songs, etc. 
 
 CURSCHMANN (Karl Friedrich). German song-writer and cond., B. Ber- 
 lin, June, 1805. S. under Spohr and Hauptmann. Resided chiefly in his 
 native town. D. Berlin, Aug. 24, 1841. 
 
 His works consist of Books of Songs, some of which, as Wiegenlied, Die Stillen 
 Wanderer, Der Abend, Standchen, Der Fischer, Altes Volkslied, Jagerlied, An 
 Rose, Der Schiffer, Der kleine Hans, are well-known and beautiful productions, 
 best remembered in Britain and America under translated names. The most of 
 Curschmann's songs and concerted pieces are gems, and thoroughly deserving of 
 their popularity. 
 
 CURTISS (N. P. B.). Arherican writer, author of " Method for the Guitar," 
 Boston, n. d. ; "New Method for the Zither," by Curtiss and Charles Behr, 
 Boston, n. d. ; Songs, etc. 
 
 CURWEN (John). English musician and writer, B. Heckmondwike, Yorks., 
 Nov. 14, 1816. Educated at Coward Coll. and London University. Ordained 
 minister. Assistant minister at Independent Ch., Easingstoke, lian'.s, 1838. 
 
CtJR — CtJk 193 
 
 Co-pastor at Stowmarket, Suffolk, 1841. Pastor at Plaistow, Essex, 1844. 
 Founded Tonic Sol-Fa Associations, 1853. Established Tonic Sol-Fa Coll., 
 1862. Resigned ministry, and devoted himself to propagation of the system, 
 1867. Established "Tonic Sol-Fa Reporter," and publishing agency in Lon- 
 don. D. Heaton Mersey House, near Manchester, May 26, 1880. 
 Works. — An Account of the Tonic Sol-fa method of Teaching to Sing, Lond., 
 8vo, 1854 ; Grammar of Vocal Music, with Lessons and Exercises founded on the 
 Tonic Sol-fa method, and a full introduction to the art of singing at sight from the 
 old notation, Lond., 8vo, n. d. ; Standard Course of Lessons on the Tonic Sol-fa 
 method of teaching to sing, Lond. , 4to, n. d. ; Tonic Sol-fa instrumental instruc- 
 tion books ; Harmonium and Organ ; Theory of Fingering ; The First Pianoforte 
 Book ; Reed Band Book ; Brass Band Book ; String Band Book ; separate 
 Works, all Lond. , n. d. ; Musical Statics ; Art of Teaching, being the Teacher's 
 Manual of the Tonic Sol-fa, 8vo, n. d. ; Musical Theory, Lond. [1879] ; The 
 Common-places of Music (Lectures), 10 parts, 1871-3 ; Primer of Tonic Sol-fa 
 (Novello), 8vo, n. d. ; Music in Worship and other papers on the People's 
 Psalmody, Lond., li. d. ; The Present Crisis of Music in Schools, a Reply to Mr. 
 HuUah, Lond., 8vo [1873] ; The Child's own Hymn- Book ; How to Observe Har- 
 mony ; Construction Exercises in Elementary Composition ; Arrangements, etc. 
 
 The imperfections of the Tonic Sol-fa method have been so frequently handled 
 by its opponents that it becomes scarcely necessary to dwell upon them here. Like 
 every other innovation, the method has met with extreme opposition from a num- 
 ber of musicians who have gained the greatest personal renown. The opinions of 
 those musicians have great weight, but it is most fortunate that their views on the 
 question have not hindered the wide-spread adoption of the system throughout the 
 British Empire. In spite of its palpable shortcomings, the Tonic Sol-fa system is 
 undoubtedly the system for the many thousands of the poorer classes who sing for 
 recreation. The opponents of the system hold that the staff notation can be 
 learned in as short a period as the Tonic Sol-fa, and this being so, why not confine 
 the studies of the young to the method which will ultimately prove most useful ? 
 The initial affirmation is quite inaccurate ; the staff notation cannot be learned in 
 three times the space that suffices to enable one to acquire a thorough knowledge of 
 the Tonic Sol-fa. But this argument is nothing when placed side by side with the 
 great results which have marked the progress of the system in Britain. The 
 interest in music, formerly confined to the upper classes, is now all but universal, 
 and the poorest artizan is able to bear with good will and some ability a part in a 
 musical performance. 
 
 Mr. Curwen's labours in affecting a great revolution in the musical leanings of 
 the British public, are deserving of the greatest praise, and will place him at the 
 head of popular educationists in this particular branch, 
 
 CURWEN (John Spencer). English writer and teacher, B. Plaistow, 1847. 
 S. under G. Oakey, and at R. A. M. under G. A. Macfarren ; A. Sullivan, 
 E. Prout, 1875-79. Assoc. R. A. M., 1879. President of the Tonic Sol-fa 
 Coll., June, 1880. 
 Works. — Part Songs, etc. ; Studies in Worship Music, chiefly as regards 
 congregational singing, Lond., 8vo, 1880 ; The Tonic Sol-fa System ; A Paper 
 Read before the Society of Arts, Mar. 22, 1882, Lond., la. 8vo, 1882 ; Contribu- 
 tions to Periodical Literature. 
 
 Mr. Curwen is an able and warm advocate of the Tonic Sol-fa System, and has 
 hitherto met with the greatest success on all hands. The history of the system is 
 best given in Mr. J. S. Curwen's own words, taken from his paper : — " The chief 
 events in the history of the system may be briefly stated. Mr. Curwen's first work 
 was issued in 1841, and others in 1843 and 1848. In September, 1850, the first 
 gathering of pupils and friends of the method was held in London. In 1858, the 
 Tonic Sol-fa Association was formed. In 1855, the monthly issue of the Tonic 
 Sol-fa Reporter began, and an aggregate meeting of 4000 pupils of the system was 
 held in London. In the same year, the first attempt to write difficult music in the 
 Tonic Sol-fa notation was made, by the issue of Romberg's ' Lay of the Bell.' In 
 1855-6, Mr. Curwen visited Scotland, and the method was soon afterward adopted 
 by the three Presbyterian Churches. In September, 1857, the Tonic Sol-fa Asso- 
 ciation held the first children's concert on the Handel orchestra at the Crystal 
 
t94 ctjs — tan 
 
 Palace. These concerts were continued for many years. Mr. Curwen's first 
 attempt to teach harmony by means of the notation was made in 1862, and after 
 this he spent several years in writing manuals, applying the system to the piano- 
 forte, organ, to stringed instruments, reed instruments, and brass instruments. In 
 1867, the Tonic Sol-fa Association took part in the International Choral Competi- 
 tion at Paris, receiving a prize of equality with the first choir, and only being de- 
 barred from the first prize because the choir contained ladies' voices. In the same 
 year, at a concert by 4500 adults at the Crystal Palace, an anthem, composed for the 
 occasion by Prof. Macfarren, was read off at first sight. . . In i858, the Tonic Sol- 
 fa College was founded. . . In 1869, the Committee of Council on Education, 
 finding that the system had been already adopted very largely in schools, accepted 
 it on an equality with the old notation for use in elementary schools and training 
 colleges. In 1872, the London School Board adopted the system, a step which 
 has since been followed by all the principal School Boards in England and Scot- 
 land. In 1872-73, Tonic Sol-fa choirs obtained prizes in public musical competi- 
 tions at the Crystal Palace. In 1875, the Tonic Sol-fa College was incorporated 
 according to Act of Parliament. The growth of the number of pupils has been as 
 follows : — In 1856, it was calculated at 20,000 ; in 1858, at 65,000 ; in 1872, at 
 315,000 ; and now it is, at the very least, 500,000. The system is, as yet, almost 
 untaught on the Continent, but it has been very much used by -missionaries and by 
 English colonists in all parts of the world. . . In England, the Tonic Sol-fa system 
 is largely employed in reformatories, and mission work of all kinds. It is also used 
 to a remarkable extent in elementary schools. The last Government return shows 
 that out of 5395 schools in England, Wales, and Scotland, teaching singing by 
 some system or other, 3987, or nearly three-fourths, use the Tonic Sol-fa. . ." 
 
 CUSINS (William George). English comp. pianist and cond., B. London, Oct. 
 14, 1833. Chor. in Chap. Royal, 1843. S. at Brussels Cons, under Fetis, 1844. 
 S. at R. A. M. under Bennett, Potter, Lucas, etc. Gained King's Scholar- 
 ship, do., 1847 ; re-elected, 1849. Org. of Queen's Private Chap., 1849. 
 Violinist at Royal Italian Opera. Assistant Prof, of Pf. at R. A. M., 1851. 
 Full Prof., do. Cond. of Philharmonic Soc, 1867. Cond. of Royal Band of 
 Music, 1870. Prof, of music at Queen's Coll., 1875. Join' Examiner for 
 National Training School of Music, 1876. Prof, at Trinity Coll., and P'rof. 
 of Pf. at Guildhall School of Music, London, 1885. 
 Works. — Royal Wedding Serenata, 1863 ; Gideon, an oratorio, Gloucester Fes- 
 tival, 1871 ; Masonic Prayers in the Ceremonies of Initiation, Passing and Raising, 
 set to music ; Responses to the Commandments, sung in H. M. private chapel ; 
 Te Deum for solo voices, chorus and orch., 1880 ; I will receive the cup of salva- 
 tion, anthem. Songs from the published writings of Alfred Tennyson (Poet Laur- 
 eate), set to music by various composers, and edited by W. G. Cusins (4 songs by 
 himself); Six Four-part songs, Lond., 1869. Songs: The wishing well ; Longing. 
 Two concert overtures for full orch. Pt. Concerto in A minor, performed by the 
 comp., and Arabella Goddard, with success in Rome, Liverpool, New York, and 
 . London. Trio for Pf., violin, and 'cello, performed in London, Rome, etc ; Violin 
 Concerto (MS.) Some Pf. pieces. Handel's Messiah, an examination of the 
 original and of some contemporary MSS. 
 
 CUSTARD (Walter GOSS). English comp. and org., B. June 9, 1841. 
 Nephew of Sir John Goss. Articled to Sir George Elvey, Chap.-Royal, 
 Windsor, 1857. Org. of Spring Grove Ch., Isleworth, 1861. Org. of Christ 
 Ch., St. Leonards-on-Sea, 1865. 
 
 Works.— The Office of the Holy Communion in E flat ; Choral Service in D ; 
 Baptismal Hymn ; Te Deum in F ; Benedictus in F ; Communion Office in F, 
 1881 ; Agnus Dei and Benedictus, 1880; Hymns, various. The Chorister's Daily 
 Practice, Lond., n.d. First Nocturne C minor for Pf. ; Reverie in E ; Berceuse 
 in D flat ; Rodino in A, op. 17 ; Impromptu in B, op. 20 ; Le Chasseur, Caprice, 
 op. 21; Short Studies in all the major and minor keys, etc., for Pf. ; Twelve 
 Studies for Pf., op. 22, 1879; Triumphal March for Organ ; Songs and minor Pf. 
 works. 
 
 CUTELL (Bichard). English musician and writer of the isth century, author 
 of a treatise on Counterpoint, preserved in the Bodleian Library, Oxford 
 (MS., imperfect). 
 
cut — bAL 195 
 
 CTJTHBERT. A celebrated English violin-maker of this name flourished during 
 the 17th century. His instruments are rare, and of fine quality. 
 
 CUTLER (William Henry). English pianist, vocalist and comp., B. London, 
 1792. S. under Dr. Arnold and W. Russell. DSbut as pianist in concerto by 
 Viotti, 1800. Chor. in St. Paul's Cath. Mus. Bac, Oxon., 1812. Org. of 
 St. Helen's, Bishopgate, 1818. Taught Music by Logier's System. Org. of 
 Quebec Chap., Portman Square, 1823. Sang at the principal London 
 concerts. D. [?] 
 Works. — Church Music ; Pf. Music ; fantasias, rondos, marches, duets, songs, 
 
 etc. 
 
 CUVILLON (Jean Baptiste Philemon de). French; comp., B. Dunkirk, 
 May, 1809. Wrote Operas. Pf. music, songs, etc. 
 
 CUZENS (Benjamin). English comp. and org. Flourished about end of last 
 century. Wrote "The Portsmouth Harmony'' (Psalm Tunes, etc.), n. d. 
 "Divine Harmony, containing Six Anthems and a Christmas Ode." Five 
 Anthems and Five Collects. , etc. 
 
 CUZZONI. See Sandoni. 
 
 CZAFEE. See Hatton (John Liphot). 
 
 CZEKNY (Karl). Austrian comp., pianist, and writer, B.Vienna, Feb. 21, 
 1791. S. under Krumpholz, Beethoven, Hummel, and Clementi. Resided 
 chiefly at Vienna as teacher and comp. D. Vienna, July 15, 1857. 
 
 Works. — Op. i. Variations for Pf. and violin, 1818; other works numbered up 
 to over 850, chiefly for the Pf.; School of Practical Composition, op. 600, trans, 
 by John Bishop, Lond., 3 vols, fo., [1840] ; Exercises on Harmony and Thorough- 
 Bass, Lond., 8vo, [1846] ; Letters to a Young Lady on Playing the Pianoforte, 
 Lond., 8vo, 1851 ; Complete Theoretical and Practical Pianoforte School, trans, 
 by John Bishop, Lond., 4 vols., n.d.; Pianoforte Primer, trans, by John Bishop, 
 Lond., n.d. 
 
 Of all Czerny's immense quantity of Pf. works, none seem at all likely to survive 
 the present century ; 95 per cent, of the whole number being even now forgotten. 
 He was a good teacher, and was the preceptor of Liszt, Dohler, Madam Oury, and 
 a number of our English pianists. 
 
 The educational value of his compositions must have been high in their time, and 
 probably aided greatly in the formation of the modern school of pianoforte playing. 
 His " School" is still a standard work. 
 
 CZERWENKA (Josef). Bohemian comp. and pianist, B. 1759. D. Vienna, 
 1855. 
 
 D. 
 
 DACOSTA (Isaac Franco). French clarinet player and comp., B. Bordeaux, 
 Jan. 17, 1778. D. Bordeaux, July iz, 1866. Comp. for his mstrument. 
 
 DALAYRAC (Nicolas). French comp., B. Muret, Languedoc, June 13, 1753. 
 
 Intended for study of the law. Went to Paris, and became a commissioned 
 
 officer in the guards of Count d'Artois, I774- S. under Langle and Caffaro. 
 
 Chevalier of Legion of Honour. D. Paris, Nov. 27, 1809. 
 
 Works.— 0zs««i.- Le Petit Souper, 1781 ; Le Chevalier a la mode, 1781 ; L' 
 
 Eclipse totale, 1782 ; Le Corsaire, 1783 ; Les Deux Tuteurs 1784 ; La Dot, 1785 ; 
 
 L'Amant-Statue, 1785 ; Nina, 1786 ; Azemia, 1787 ; Renaud d Ast, 1787 ; Sargmes, 
 
 1788 ; Raoul de Crequi, 1789 5 Les Deux Fetits Savoyards, 1789 ; Fanchette, 1789 ; 
 
 La Soiree orageuse. 1790; Vert-Vert, 1790 ; Philippe et Georgette, 1791 ; Camille, 
 
 1791; Agnfeset Olivier, 1791 ; Elise-Hortense, 1792; L' Actrice chez elle 1792 ; 
 
 Ambroise, 1793 ; Romeo et Juliette, 1793 5 Urgande et Merhn, 1793 5 La Prise de 
 
196 DAL — t>AU 
 
 Toulon, 1793 ; Adfele et Dorsan, 1794 ; Arnill, 1795 ; Marianne, 1795 ; La Pauvre 
 Fem.me, 1795 ; La Famille Americaine, 1796 ; Gulnare, 1797 ; La Maison isolee, 
 1797 ; Primerose, 1798 ; Alexis, 1798 ; Le Chateau de Montenero, 1798 ; Les Deux 
 Mots, 1798 ; Adolphe et Clara, 1799 ; Laure, 1799 ; Le Le9on, 1799 ; Catinat, 
 
 1800 ; Le Rocher de Leucade, 1800 ; Maison k vendre, 1800 ; La Boucle de cheveux, 
 
 1801 ; La Tour de Neustadt, i8oi ; Picaros et Diego, 1803 ; Une Heure de mariage, 
 1804 ; La Jeune Prude, 1804 ; Gulistan, 1805 ; Lina, 1807 ; Koulouf, 1808 ; Le 
 Poete et le Musicien, 181 1. Instrumental music, etc. 
 
 The music of Dalayrac is light, and highly melodious, and was among the most 
 popular of the operatic music current in Paris at the close of last century. Now it 
 is little known. 
 
 DALBEBGr (Baron Johann Friedrich Hugo). German writer and traveller, 
 B. Coblenz, 1752. D. 181 3. 
 
 He wrote a number of works on Oriental music, didactic works, and composi- 
 tions for the Pf., etc. 
 
 D' ALBERT- See Albert. 
 
 DALE (Joseph). English comp. and editor, author of "Dale's Collection ol 
 Sixty Favourite Scotch Songs, taken from the original manuscripts of the most 
 celebrated Scotch authors and composers, properly adapted for the German 
 flute," Books I., II., and III., ob. 4to, n. d. (end of last century). Wrote an 
 "Introduction to the Pianoforte, Harpsichord, or Organ," op. 12. fo., u. d., 
 and many works for Pf , etc. 
 
 DALE (Reginald F.). See Troutbbck. 
 
 D'ALEMBERT (Jean Le Rond). French philosopher (1717-1783), author of 
 " Elemens de Musique suivant les principes de M. Rameau," Paris, 8vd, 1752. 
 In this he undertook to demonstrate, in a clear and forcible manner, the long 
 since exploded theories of Rameau. There are many editions of the work. 
 
 DALGLISH (Robert). Scottish comp., B. Pollokshaws, Renfrewshire, July, 
 1806. D. there, August 5, 1875. Comp. of a number of anthems, glees, and 
 psalms, of a very feeble class, but which were at one time regarded with some 
 favour in Glasgow. 
 
 DALL'OGLIO (Domenico). Italian comp. and violinist, B. Padua. D. 1764. 
 He composed a number of melodious pieces for the violin. 
 
 D'ALMAINE & MACKINLAY. English firm of music publishers, estab- 
 lished in London, before the middle of the present century. They published a 
 great amount of valuable works by the foremost composers of about 1834-50. 
 The firm has passed under various names and managements. 
 
 DALMAZZO (G.). Author of "Adelina Patti's Life, and her Appearances at 
 the Royal Italian Opera, Covent Garden," Lond., 1877. 
 
 DALYELL (Sir John Graham, Bart.). Scottish antiquary, B. 1799. D. 
 
 1S51. In addition to a number of valuable historical and scientific works, he 
 wrote, " Musical Memoirs of Scotland, with historical annotations, and numer- 
 ous illustrative plates," Edin., 4to, 1849. This is now an extremely scarce 
 work, and is of some value as a contribution to Scottish musical archseology. 
 
 DAMASCENE (Alexandre). French comp., who was naturalized in England 
 about 1682. He was a Gent. Chap. Roy., in 1691, and D. July 14, 1719. 
 His works appear in various collections of songs published during his lifetime. 
 
 DAMCKE (Berthold). German comp. and 'cellist, B. Hanover, Feb. 1812. 
 
 Directed several musical societies in German towns. Married Mdlle. Servais. 
 
 D. Paris, Feb. 15, 1875. 
 "Works. — Deborah, oratorio ; The 32nd Psalm ; Music for 'cello and Pf. ; Part- 
 songs and songs. 
 
 DAMON (William). English comp. and org., B. [1S40]. Org. of Queen 
 Elizabeth's chap. D. early in the 17th century. 
 Works. — The Psalmes of David in English Meter, with notes of foure parts set 
 
DAM — DAN 197 
 
 unto them by Gulielmo Damon, for John Bull, to the use of Christians for recreat- 
 ing themselves, instede of fond and unseemely ballades, 1579 [said to have been 
 published by Bull, a goldsmith in London, without Damon's consent or knowledge]. 
 The Former Booke of the Musicke of Mr. William Damon, late one of Her 
 Majesties musitions ; conteining all the Tunes of Dauids Psalmes as they are ordin- 
 arily soung in the church, most excellently by him composed into 4. parts, altus, 
 cantus, tenor, bassus ; in Which sett the tenor singeth the church tune. Published 
 for the recreation of such as delight in musicke, by W. Swayne, Gent. Printed by 
 T. Este, 1591. The Second Booke of the Musicke of Mr. William Damon, con- 
 taining all the Tunes of David's Psalmes, differing from the former in respect that 
 the highest part singeth the church tune, Lond., 1591. 
 
 The tunes to which Damon gave harmonies are 40 in number, and are the first 
 psalms with harmonies published in England. 
 
 DAMOBEAIT (Laure Cinthie Montalant), nk Cinthie. French soprano 
 vocalist, B. Paris, Feb. 6, i8oi. S. at Cons., Paris. Appeared at Paris, 
 1819. Sang in London, 1822. Debut at Paris, 1826. Married M. Damoreau, 
 an actor, 1827. Sang in Europe, and' in the U. S. A., 1844. D. near Paris, 
 Feb. 25, 1863. 
 
 DAMBOSCH (Leopold). German comp. and cond., B. Posen, Oct 22, 1832. 
 
 S. under H. Ries and Dehn. Attached to Court Chapel of Weimar. Cond. 
 
 at Posen and Breslau. Settled in America as cond. of various musical societies, 
 
 1871. D. New York, Feb. 16, 1881;. 
 
 Works. — Part-songs ; Songs ; Concerto for vn. and orch. in U minor; Pf. music ; 
 
 Ruth and Naomi, sacred cantata ; Miscellaneous vocal music. 
 
 Damrosch was held in high respect in America 'as a conductor and musician, 
 where he was greatly instrumental in introducing many high-class modern works. 
 
 DANA (William Henry). American comp., B. Warren, Ohio, June 10, 1846. 
 
 Educated at Williston Seminary, East Hampton, Mass. S. in Berlin, at 
 
 KuUak's Cons., and with August Haupt, org. of Parochial Kirche ; and also at 
 
 the Royal Academy of Music, London, 1881. President of " Dana's Musical 
 
 Institute," and Prof, of Harmony and Composition. 
 
 Works. — Practical Thorough Base, 1S73 ; Orchestration, 1875; Military Band 
 
 Instrumentation, 1876 ; Practical Harmony, 1884 ; De Profundis, for soli, chorus, 
 
 and full orchestra. Songs, Motettes, and many minor piano compositions. 
 
 Mr. Dana has been very active in his field of labour. Was one of the founders 
 of the Music Teachers' National Association, a charter member ot the National 
 College of Teachers, 'and has lectured before the National Association, and many 
 State and other Associations, on musical and other topics. Through his manage- 
 ment, one of the most excellent musical schools in America has an existence. As 
 a traveller, he holds a conspicuous position, having dipped his oar in Arctic seas, 
 and fed on the reindeer of the Laplander, as part of his experiences. 
 
 DANBE (Jules). French violinist and comp., B. Caen, Nov. 15, 1840. S. 
 Paris Cons. Writes transcriptions for vn., etc. 
 
 DANBY (John). English glee comp., B. 1750 [1757]. Biography obscure. 
 
 Gained 10 prizes from Catch Club, for 7 glees, 2 canons, and an ode, 1781-94. 
 
 Org. at chap, of Spanish embassy. D. London, May l6, 1798. 
 Works. —Masses ; Motets ; Catches, canons, and glees, lor three, four, and five 
 voices, in Score, 4 books, Lond., fo., n. d. [c. 1785-98]; La Guida alia Musica 
 Vocale, op. 2, Lond., fo. [1787], n. d. Glees: When Sappho Tuned (SmoUet), 3 
 voices ; When generous wine expands ; When floods retire to the sea ; The fairest 
 flowers the vale prefer ; Sweet thrush ; Shepherds, I have lost my love ; Go to my 
 Anna's breast ; Fair Flora decks ; Come, ye party jangling swains ; Awake, .iEolian 
 lyre, 4 voices : Music has power ; Soft pleasing pains unknown before ; When 
 beauty's soul ; The nightingale ; O salutaris hostia, etc. 
 
 Danby belonged to. the sweet pastoral school of Atterbury, Paxton, and Spofforth, 
 rather than to the more powerful school of Webbe and Callcott. His glees are 
 most charming works, and it is to be regretted that more is iiot known of the corn- 
 poser. 
 
198 DAN — DAN 
 
 DANCE (William). English violinist, pianist, and comp., B. 1755. S. under 
 Aylward, Baumgarten, and Giardini. Violinist in Drury Lane Theatre, 1771- 
 74. Leader at King's Theatre, 1775-93. Led band at Handel Commemora- 
 tions in 1790, etc. One of founders of Philharmonic See. Director and 
 Treasurer of do. Teacher of Pf in Lond. D. London, 184a 
 Dance composed a number of Lessons, op. i, etc., sonatas, fantasias, variations, 
 
 etc., for Pf., some of which were popular in their day. 
 
 DANCLA (Jean Charles). French violinist and comp., B. Bagnires-de-Big- 
 orre, Dec. 25, 1818. Entered Paris Cons., 1828. S. under Baillot, Hal6vy, 
 and Berton. Gained prizes for vn. -playing, etc. Prof, of violin at Paris Cons., 
 i860. Chevalier of Legion of Hon. 
 
 Works.— Op. i. and 3. Airs, varied, for violin and orch.; op. 2. Six Studies for 
 vn. ; op. 6. First Symphonie-concertante, for 2 vns. and orch. ; op. 9. String Quar- 
 tet ; op. 10. Second Symph.-concertante ; op. II. Duet for vn. and Pf.; op. 12. 
 Forty-six Studies for vn. ; op. 13. Studies; op. 14. Twelve easy Studies for vn.; 
 Fantasies for violin and Pf. or orch., opp. 28, 42, 47, 55 ! String Quartets, opp. Si 
 18, 41, 47, 56, 80, 87 ; Trios for Pf., violin, and 'cello, opp. 22, 37, 40, 51 ; Duets 
 for Pf. and violin, opp. 20, 30, 39, 40, 45, 49, 65, 79, 81, 83, 85, 88, 91 ; Duets for 
 two violins, opp. 19, 23, 24, 32, 33, 34, 35, 43, 60, 61, 64 ; Airs with variations for 
 violin and orch., opp. 17, 31 ; Concerto for vn. and orch., op. 78. Methode Ele- 
 mentaire et Progressive pour le Violon, op, 52 ; Ecole du Mecanisme, op. 74 > L' 
 Ecole de la Melodie, op. 129. Symphonies, studies, solos, etc. 
 
 Dancla's works are of the highest educational value, as well as full of fine melody 
 and expressive writing. He has produced some pupils now holding high places 
 among performers, and is himself a performer of the highest order. His execution 
 is great, and his tone large and full. 
 
 DANDO (Joseph Haydon Bourne). English violinist, B. London, 1806. 
 S. under Mori, 1819-1826. Mem. of Philharmonic Orch., 1831. Played at 
 various towns throughout Britain. With Blagrove, Gattie, and C. Lucas, 
 Dando gave chamber concerts, from 1836 to 1842, and is understood to have 
 been the first to introduce the public performance of string quartets, etc., into 
 London. 
 
 DANHATJSER (Adolphe Leopold). French comp. and teacher, B. Paris, 
 Feb. 26, 1835. S. Paris Cons. Prof, at Paris Cons. Has composed choruses, 
 etc. 
 
 DANICAN. See Philidor. 
 
 DANIEL (John). Scottish comp. and teacher, B. Aberdeen, 1803. Practised 
 there as teacher for a number of years. Went to America about 1840-43. 
 Resided in New York as teacher and comp. D. Ne'B York, June 21, 1881. 
 
 Works. — National Psalmody of the Church of Scotland, with Selection of Pieces 
 from the most eminent Composers, for Organ, Pianoforte, etc., ob. 4to [1837] and 
 [1843]. Part-songs, Songs, and Pf. music ; Miscellaneous works, writings, etc. 
 
 Daniel was a highly respected musician in New York, and in his younger days 
 had been a well-known figure in the north-east of Scotland. His works are un- 
 known in this country, save the "National Psalmody," which has, however, been 
 long since superseded by denominational works, and those of Carnie and Hately. 
 
 DANIELL (Williani Henry). American teacher and writer, B. Philadelphia, 
 July 24, 1834. Self-taught in music. Choir-master of All Saints Memorial 
 Ch., Providence, R. L, 1874-81. Lecturer and Prof, of Singing, New England 
 Cons, of Music, Boston, 1878. Director of the Martha's Vineyard Summer 
 Institute. 
 Works. — The Voice, and how to use it, Boston, 8vo, 1873 [another edition un- 
 der title of " How to Sing "] ; Talks on the Voice, and kindred topics [papers in 
 the Boston Musical Herald'] ; The Value of the Falsetto in Developing the Male 
 Voice, a paper read before the " Music Teachers' National Association," 1883, etc. 
 Daniell forms his method of instruction on the practice of the old Italian masters, 
 Pistocchi, Porpora, and others, and has achieved much success in his pupils. Hq 
 
DAN — DAR 199 
 
 is a tenor singer, but does not appear in public as a vocalist. His works on the 
 voice contain a detailed exposition of his principles of instruction. 
 
 DAN JON (Jean Louis Felix). French violinist and comp., B. Paris, June 
 21, 1812. Comp. of vn. music, etc. 
 
 DANKS (H. P.). American song-writer of the present time. Has written 
 " Pauline, the Belle of Saratoga," an operetta, and a heap of songs, part-songs, 
 and hymns, composed in a style combining the well-known features of negro 
 minstrelsy and revival hymnology. 
 
 DANNELEY (John Feltham). English writer, pianist, and comp., B. Oak- 
 ingham, Berks, 1786. S. under C. Knyvett, S. Webbe, Woelfl, and C. Neate. 
 Resided in Hampshire as teacher till 1812. Org. of ch. of St. Mary of the 
 Tower, Ipswich, 18 12. Visited Paris, andS. under Reicha andPradher, i8i5. 
 D. London, 1836. 
 Works. — A Set of twelve Italian duets ; Glees and songs ; Pf. music. An In- 
 troduction to the Elementary Principles of Thorough-bass and classical music, Ips- 
 wich, 8vo, 1820 ; An Encyclopaedia, or Dictionary of Music, Lend., 8vo, 1825 ; A 
 Musical Grammar, comprehending the principles and rules of the science, Lond., 
 I2mo, 1826. 
 
 The three theoretical works of Danneley are good, and served a useful purpose 
 in their time. 
 
 DANNBEUTHER (Edward). German comp., writer, and pianist, B. Stras- 
 burg, Nov. 4, 1844. Taken by parents to U. S. A., 1849. S. at Leipzig 
 Cons, under Richter, Moscheles, and Hauptmann, 1859-63. Settled in Lon- 
 don as teacher, etc., 1863. Founded a Wagner Society, 1872, and cond. its 
 concerts. 
 Works. — Richard Wagner, his tendencies and theories, Lond., 8vo, 1873 ; The 
 Music of the Future, a letter to M. F. Villot, by Richard Wagner, translated by 
 E. Dannreuther, 8vo, 1873 ; Beethoven, by Richard Wagner, translated, 1880 ; 
 On Conducting, by R. Wagner, translated, Lond., 1885 ; Articles in Grove's Dic- 
 tionary of Music, and Macmillan's Magazine on the Opera, Beethoven, Wagner, 
 etc. Pf. music and songs, etc. 
 
 Mr. Dannreuther is best known in London and America as a pianoforte player 
 of great powers, and as an advocate of the music of Wagner. 
 
 DANYL (John). English comp. of the latter part of the i6th and beginning of 
 the 1 7th centuries. He is supposed to have been the brother of Daniel, the 
 poet, and was a Bachelor of Music, Oxon., 1604. He published " Songs for 
 the Lute, Viol, and Voyce," Lond., fo., i6o5. 
 
 DANZI (Franz). German comp., B. Mannheim, May 15, 1763. D. Carlsruhe, 
 April, 1826. Wrote operas, chamber music, etc. 
 
 DAEBOVILLE (Jules Etienne Jean), Clerget. French tenor vocalist, 
 B. Montpellier, Dec. 7, 1781. D. Marseilles, Sept. 22, 1842. Sang in operas 
 by Auber, Carafa, Gretry, etc. 
 
 DARGOMIJSKY (Alexander SergOVitch). Russian comp., B. Smolensk, 
 
 Feb. 2, 1813. Resided in St. Petersburg, from 1835. ^- St. Petersburg, Jan. 
 
 17, 1869. 
 
 Works.— Esmeralda, opera (Hugo), 1847 ; La Roussalka, opera, 1856 ; Rog- 
 
 dana, do. ; La Fete de Bacchus, cantata. Miscellaneous orchestral works ; Works 
 
 for Pf. ; Songs, and other vocal works. 
 
 La Roussalka was Dargomijsky's most successful work. A number of his songs 
 are beautiful creations, and have achieved a fair measure of success. 
 
 DARNTON (Charles). English org. and comp., B. London, 1836. Compiler 
 of "Comprehensive Psalmody," Lond., 1866. Comp. also anthems, part- 
 songs, and songs. 
 
 DARWALL (Rev. John). English divine and comp., B. Haughton, 1731. 
 D. Dec, 1789. Was vicar of Walsall, and comp. of the hymn tune " Darwall." 
 
DAU — DAV 
 
 DAUNEY (William), Scottish musician and antiquary, B. Aberdeen, 1800. 
 
 Educated at Dulwich and Edin. University. Called to Scottish Bar, 1823.. 
 
 Solicitor-General for British Guiana, at Demerara, 1838. D. Demerara, July 
 
 28, 1843. 
 Work.— Ancient Scottish Melodies from a manuscript of the reign of King 
 James VI., with Introductory Iriquiry (Skene Manuscript), Edin., 4to, 1838. 
 
 In the preface to this work, Dauney covers an amount of ground previously un- 
 attempted either by Tytler, Ritson, or Stenhouse, and displays much judgment and 
 learning in the general handling of his subject ; and his work is by far the most ex- 
 haustive contribution to the history of Scottish music. It was published as a Banna- 
 tyne Club book, with so many copies not on Club paper. 
 
 DAUPRAT (Louis Francois). French horn-player and comp., B. Paris, May 
 24, 1781. S. Paris Cons. Prof, of Horn, Paris Cons. D. Paris, July 16, 1868. 
 Works. — Op. i. Concerto for horn and orch.; op. 2. Sonata for pf. and horn. 
 
 Solos, duets, trios, quartets, quintets, sextets, etc., for horn and other instruments. 
 
 Symphonies, overtures, etc.; Five theoretical works ; Methode pour Cor alto et cor 
 
 basse, Paris. 
 
 DAUSSOIGNE-MEHUL (Joseph). French comp. and teacher, B. Givet, 
 
 June 24, 1790. S. Paris Cons. Director of Liege Cons,, 1827. D. Li^ge, 
 
 March 10, 1875. 
 
 Works. — Operas: Ariane a Naxos, 1807; Robert Guiscard ; Faux Inquisiteur, 
 
 1817 ; Le Testament ; Les Amants Corsaires ; Valentine, 1822 ; Les Deux Salem, 
 
 1824 ; Les Deux Nuits. Writings on music, etc. 
 
 DAUTRESME (AugUSte Lugien). French comp., B. Elbeuf, May 21, 1826. 
 S. under A. Neukomm. Amateur opera composer, etc. 
 
 DAUVEKGNE (Antoine). French violinist and comp., B. Clermont-Ferrand, 
 Oct. 4, 1713. D. Lyons, Feb. 12, 1797. Wrote "Les Amours de Tempe," 
 1752; La Coquette trompee, 1753; Canente, 1760; Persee, 1770; and other 
 operas. 
 
 DAUVERGNE (Francois Georges AugUste). French trumpet-player and 
 comp., B. Paris, Feb. 15, 1800. D. Paris, Nov. 5, 1874. 
 Wrote a " Method " for the trumpet, and music for the same. 
 
 D'AVENANT (Sir William). English dramatist, B. Oxford, 1605. Poet 
 Laurate, 1637. D. 1668. 
 Davenant is noticed here chiefly on account of his connection with the music of 
 his time, which he in a measure inspired by his masques. Of those masques, mostly 
 set by Lawes, Purcell, etc., there are a goodly number. His merits as a poet are 
 by no means great, nor can his entertainments be named in the same breath with 
 those of Jonson. 
 
 DAVENPORT (F. W.). English comp., B. near Derby, 1847. Intended for 
 legal profession. Educated at Oxford. S. under Sir G. A. Macfarren. 
 Gained prize for a Symphony, Alexandra Palace, 1876. Comp. Overture, 
 " Twelfth Night " ; Six pieces for Pf. and 'cello ; Pictures on a Journey, Pf. 
 solo ; Songs ; "Elements of Music," Lond., 8vo, 2 editions to 1885. 
 
 DAVENPORT (Uriah). English comp. and writer of the latter part of last 
 century, and teacher in London, compiler of " The Psalm-Singer's Companion, 
 containing a new introduction, with such directions for singing, as is proper 
 and necessary for learners, " Lond., 1785. 
 
 DAVID (Felicien Cesar). French comp., B. Cadenet, March 8, 18 10. Chor. 
 in Aix Cath. Educated at Jesuit Coll. of Aix, 1825-28. Cond. of Aix theatre, 
 1828-29. Chap.-master of S. Saurieur, 1829-30. Member of sect of St. 
 Simoniens, 1831-33. Travelled in Egypt and Holy Land. Chevalier of 
 Legion of Honour. Pensioned by Napoleon III., i860. Mem. of Acad, of 
 Beux Arts, 1869. D. St. Germain-en-Laye, Aug. 29, 1876. 
 Works. — Le Desert, ode-symphonic, Paris, Dec. 8, 1814 ; Moise au Sinai', ora 
 
 torio, 1846 ; Cristophe Colomb, symphony, 1847 ; Eden, a mystery, Paris, 1848 
 
DAV — DAV 
 
 Operas: La Perle du Br^sil, 1851, Paris, 1883 ; La Fin du Monde (MS.) j Hercul- 
 ■aneum, 1859; Lalla Roukh, 1862; La Saphir, 1865; La Captive (MS.). Les 
 Quatre Saisons, collection of 24. quintets for 2 vns., alto, 'cello, and bass ; Twelve 
 . melodies for 'cello ; Les. Perles d'Orient, 6 melodies for voice and Pf. ; Miscellaneous 
 Pf. music ; Songs, etc. 
 
 David has identified himself so thoroughly with Eastern music, that it is im- 
 possible for a musician to disassociate his ideas of Oriental climes from " Le Desert " 
 or " Lalla Rookh." The former has been often given in London and the English 
 provinces, and is consequently well known. The latter, however, is not at all 
 known to the majority of English musicians. It is with "La Perle du Br&il," 
 and the minor pieces, that work by which David is best known in France. The 
 "Desert" will probably outlive any of David's works, as it possesses attractions 
 not to be found in any of the others, besides being a novel and unique production, 
 highly coloured and interesting. 
 
 DAVID (Ferdinand). German comp. and violinist, B. Hamburg, Jan. 19, 
 1810. S. under Spohr at Cassel; 1821. Dibut as violinist, 1824. Gave con- 
 certs in conjunction with his sister Louise, in Leipzig, Dresden, and Berlin, 
 1826. Violinist in Konigstadt theatre, Berlin, 1827-28. Leader of quartet 
 party to Baron Liphardt, 1829. Married Mdlle. Liphardt. Gave concerts in 
 Russia, 1835. Leader of Gewandhaus concerts, Leipzig, 1836. Trustee of 
 Mendelssohn at death, 1847. Teacher at Leipzig. D. Kloster, Switzerland, 
 July 18, 1873. 
 Works. — Op. 2. Introduction and variation, violin and orch.; op. 3. Concertinos 
 for violin and orch., in A and D ; op. 4. Concertino for bass trombone and orch., 
 in B flat ; op. 5-6. Introduction and variations for violin and orch ; op. 7. Introd., 
 adagio, and rondo ; op. 8. Introd. and variations for clarinet and orch.; op. 9-10. 
 Concertos for violin and orch.; op. 11. Introd. and variations for violin and orch.; 
 op. 12. Concerto for bassoon and orch., in B flat ;- op. 13. Introd, and v'ariations 
 for violin and orch.; op. 15. Introd. and variations for violin and orch.; op. 
 16. Andante and Scherzo Capriccisso, for violin and orch.; op. 17. Concerto 
 for violin and orch. ; op. 18. Variations for violin and orch.; op. 19. Introd. and 
 variations for violin and orch. ; op. 20. Six Caprices for Pf. and violin; op. 21. 
 Introd. and variations on Scotch air, for violin and orch. ; op. 22. Concert Polon- 
 aise for violin and orch. ; op. 23. Concerto for violin and orch. in E ; op. 24. Twelve 
 Salonstucke for violin and Pf. ; op. 25. Salon-duet for Pf. and violin ; op. 28. Five 
 Salonstiicke for violin and Pf.; op. 29. Six Lieder for voice and Pf.; op. 31. Six 
 Lieder for voice and Pf.; op. 32. Quartet for strings, in A minor ; op. 33. Psalm for 
 2 soprano voices and Pf.; op. 34. Seven Stiicke for 'cello and Pf.; op. 35. Concerto 
 for violin and orch., in D minor ; op. 36. Kammerstiike for violin and Pf.; op. 37. 
 Four Marches for Pf. duet ; op. 38. Sextet for strings ; op. 39. Studies and Caprices 
 for violin and Pf., etc. Violin School. Symphony, 1841, etc. 
 
 David is to be credited with the training of a large number of the foremost violin- 
 ists of the present time, Joachim among the number. His coraposisions are sterling 
 works, often used by violinists, and his violin-school stands near that of Spohr in a 
 few respects. As a player, he was one of the greatest of his day, and as such gained 
 the friendship of Mendelssohn. 
 
 DAVID (Maxie Louise). See Dulcken. 
 
 DAVID (Paul). French writer and critic, B. Marseilles, 1806. Nephew of 
 Dellamaria. Has written some articles in Sir G. Grove's "Dictionary of 
 Music," and numerous contributions to periodical literature. 
 
 DAVID (Samuel). French operatic comp., B. Paris, Nov. 12, 1836. S. at 
 Paris Cons. Comp. of a number of operas, operettas, Pf. music, etc. 
 
 DA VIDE (Griacomo). Italian tenor vocalist, B. near Bergamo, 1750. Appeared 
 in London, 1791. D. Dec. 31, 1830. A celebrated vocalist in his day. His 
 son, Giovanni (B. 1789, D. 1851), was an operatic manager and a vocalist of 
 renown. 
 
 DAVIDOFF (Karl). Russian violoncello-player and comp., B. Goldingen 
 Courland, March 15, 1838. S. under Schmidt, Hauptmann, and Schuberth. 
 Pibut as 'cellist, 1859. Principal 'cellist at Gewandhaus concerts, Leipzig. 
 
202 DAV — DAV 
 
 Prof, of 'cello at Leipzig Cons, Do. at St. Petersburg Cons. Appeared in 
 
 London, 1862. 
 Music for Pf. and violoncello, chamber-music, songs, etc. , constitute this com- 
 posers works. He is well known on the Continent generally, but chiefly as a per- 
 former on the 'cello of great talent and power. 
 
 DAVIDSON (Peter). Scottish writer, author of " The Violin : a concise exposi- 
 tion of the general principles of construction, theoretically and practically 
 treated," Glasgow, i2mo, 1871. Second edition, London, i2mo, 1880. 
 
 DAVIDSON (Thomas). Scottish musician of the 17th century, was appointed 
 teacher in the Music (or Song) School, Aberdeen, in 1640. This position he 
 must have held till far on in the century, as we find from the Burgh Records of 
 Aberdeen that on Jan. 16, 1666, he received an augmentation of his salary, 
 making it 250 merks. He is chiefly celebrated as the editor of ' ' Cantus, 
 Songs, and Fancies. To Thre, Foure, or Five partes, both apt for voices and 
 viols. With a briefe Introduction ot Musick, as is taught in the Musick-Schole 
 of Aberdene, by T. D., Mr. of Musick," Aberdeen, printed by John Forbes, 
 sm. ob., 4to, 1662. Second edit., 1666. Third edit., 1682. Reprint, New 
 Club Series, Paisley, 1879. The three editions of the " Cantus '' differ slightly 
 in respect of several omissions and insertions. It was the first secular music- 
 book published in Scotland, and consists chiefly of English and foreign melo- 
 dies, some by Gastoldi, or imitations of them, arranged. All these editions 
 are extremely scarce and valuable. 
 
 DAVIE (James). Scottish violinist and comp., B. towards end of l8th century. 
 Resided in Aberdeen as a teacher, and member of the Aberdeen theatre orch. 
 Works. — Music of the Church of Scotland, being a numerous selection of.Psalm 
 and Hymn Tunes, Ancient and Modern, in Four Vocal Parts, with an Instrumental 
 Accompaniment. ..To which are prefixed Remarks on Church Music, etc., Aber- 
 deen, 8vo. n. d. A Compendious Introduction to the Art of Singing, comprising 
 the most useful scales and examples, Aberdeen, n. d. The Vocal Harmonist, a 
 Collection of Duets, Trios, Glees, etc. , n. d. Caledonian Repository of the most 
 favourite Scottish slow Airs, Marches, Strathspeys, Reels, Jigs, Hornpipes, etc., 
 expressly adapted for the Violin, Aberdeen and Edin., 8vo, about 1829-30 [6 
 books]. Scales for the Voice. Songs, etc. 
 
 DA VIES (Cecilia). English vocalist, B. 1752 [1740]. Travelled in France and 
 Italy, and sang with success. Dibut in London, 1773, in Sacchini's " Lucio 
 Vero." Sang in London and on Continent, till 1791. D. London, J uly 3, 
 1836. Her sister, Marianne (B. 1736, D. 1792), was an harmonica-player, 
 and appeared with her sister in public. She was a skilful performer on her in- 
 strument. 
 
 DA VIES (Mary). English soprano vocalist of present time, was pupil in R.A.M. 
 She has sung in oratorio and concert music with the greatest success, through- 
 out the provinces of England, London, and in Scotland. Her voice is remark- 
 ably pure and clear in tone, and her style is refined and pleasing. 
 
 DAVISON (Duncan, & Co.). English firm of music publishers, established in 
 London about middle of present century. 
 
 Their publications are numerous and generally good. Their list of vocal music 
 includes the names of the greater number of our good contemporary composers. 
 They also publish the Musical World, one of the oldest and best of existing musical 
 periodicals. 
 
 DAVISON (James William). English comp. and writer, B. London, Oct. 5, 
 1813. S. under W. H. Holmes and Sir G. A. Macfarren. Married Miss 
 Arabella Goddard, i860. Musical critic of the Times and Musical World. D. 
 Margate, March 24, 1885. 
 
 Works.— An Essay on the Works of Frederic Chopin, Lond. [1849], n. d. 
 Songs: Swifter far than summer flight ; The light canoe ; Poor heart, be still ; Sweet 
 village bells ; The lover to his mistress ; False friends, wilt thou snlile or weep ? 
 Pianoforte music : Four Bagatelles a la valse, op. 4 ; First Sonata, op. 6 ; Taran- 
 tella, op. 7 ; Three Sketches, op. 8 ; Romance, op, 11. Dramatic Overture to the 
 
DAV — DEA 203 
 
 fairy tale of " Fortunatus, " for Pf. duet. Contributions to periodical literature. 
 Contributions to Grove's "Dictionary of Music and Musicians." 
 
 DAVY (John). English comp., B. Upton-Helion, Exeter, 1765. Articled to 
 Jackson of Exeter, 1777. Resided in Exeter as teacher. Violinist in orch. of 
 Covent Garden Theatre. Teacher and comp. in London. D. London, Feb. 
 22, 1824. 
 
 Works. — Music to Plays, etc.: What a blunder ! 1800 ! Perouse (with J. Moor- 
 head), i8oi ; The Brazen Mask, ballet (with Mountain), 1802 ; The Cabinet (with 
 Braham), 1802 ; The Caifres, 1802 ; Rob Roy, 1803 ; The Miller's Maid, 1804 ; 
 Harlequin Quicksilver, 1804 ; Thirty Thousand (with Reeve and Braham), 1805 ; 
 Spanish Dollars, 1805 ; Harlequin's Magnet, 1805 ; The Blind Boy, 1808 ; The 
 Farmer's Wife, 1814 ; Rob Roy Macgregor (new version), 1818 ; Woman's Will, a 
 riddle, 1820. Overture to Shakspere's " Tempest." Six Quartets for Voices, in 
 Score, with figured Basses for the Pf., op i. n. d.; Six Madrigals for 4 voices, op. 
 13 (c. iSio]. Beauties of Handel, 6 vols., 410, n. d. Songs: Bay of Biscay, Oh 
 mighty Bacchus, Beggar Boy, Brave marine, Darling Sue, Harvest home. Milk 
 maid. Smuggler, Son of old Saturn, etc. 
 
 Davy's name rests in the memory of the present generation solely through his 
 ' ' Bay of Biscay, " a song unrivalled in its way, and as fresh and breezy in style now 
 as when first penned. His other songs, operas, and pantomimes are deceased. He 
 was an instance of early precocity, and is the subject of several anecdotes. 
 
 DAVY (Bichard). English comp. of the i6th century, some of whose works 
 are in the British Museum. 
 
 DAWSON (Charles). English writer, author of "Analysis of Musical Composi- 
 tion, showing the Construction of all Musical Pieces, together with a Concise 
 and Comprehensive System of Harmony," Lond., i2mo, 1845. " Elements 
 of Music, Condensed for the Use of Students of the Pianoforte," Lond., i2mo, 
 1844. 
 
 DAY (Alfred). English physician and musician, author of a " Treatise on Har- 
 mony," Lond., 8vo [184S], n. d. He was B. London, Jan. 1810, and D. Lon- 
 don, Feb. II, 1849. His work on harmony advocates the alteration of a num- 
 ber of technical terms, most of which have been adopted by Macfarren and 
 others. 
 
 DAY (H. W.). American writer, author of "The Vocal School, or Pestalozzian 
 Method of Instruction in the Elements of Vocal Music... etc.," Boston, i6mo, 
 1844. 
 
 DAY (John). English publisher and editor, B. Dunwich, Suffolk, 1522. He 
 was established at Holborn, London, in 1549, as printer and publisher, and 
 D. July 23, 1584. 
 He published Damon's Psalms, 1579, and a work bearing the title " The Whole 
 
 Booke of Psalmes in foure partes, which may be sung to all musicall instruments," 
 
 1563- 
 
 DEAKIN (Andrew). English org. and critical writer, B. Birmingham, April 
 13, 1822. Began to study music at a very early age, and \vithout any instruc- 
 tion became a creditable vocalist, organist, and violinist. Served a severe ap- 
 prenticeship to the printing trade, and in 1849 began to write newspaper musi- 
 cal criticisms. While a youth, had some years service as org. in several 
 churches and chapels, and in 1847 was appointed org. at the Church of the 
 Saviour (the Church founded by the late Mr. George Dawson, the well known 
 lecturer), and held the post until 1878, retiring soon after the death of Mr. 
 Dawson. Mr. Deakin, who, as a musician, is altogether self-taught, has given 
 much attention to musical history and kindred branches of study, and has been 
 employed for many years by the chief concert-givers of his town and neighbour- 
 hood as a writer of analytical programme notes. He has composed a large 
 number of hymn- tunes, chants, and anthems, and some works of larger form. 
 A "Stabat Mater," for 4 solo voices, chorus, and organ (7 numbers), and 
 " Miserere," for solo voices, chorus, and orchestra (11 numbers), were per- 
 formed some years ago at the Church of the Saviour, but they remain in MS. 
 In 1846 Mr. Deakin compiled and published " Euphonia," which, if not the 
 
204 DEA — DEE 
 
 first book of Chants issued for the use of non-conformists, has done more to 
 spread a knowledge of chanting amongst dissenters than any other work. Mr. 
 Deakin is also known as an amateur landscape painter, and his name may be 
 found in many of the London and provincial exhibition catalogues of 35 years 
 ago and later. He was editor of the Birmingham Musical Examiner m 1845. 
 
 DEAN (J.). English writer, author of "Guide and Self-Instructor for the 
 Violin," Lond., 1853. 
 
 DEANE (Thomas). English comp. and org., flourished during 17th and l8th 
 centuries. Mus. Doc, Oxon., July 9, 1731. Org. at Warwick and at Coven- 
 try, and was a good violinist. Composed music in Oldmixon's " The Gover- 
 nor of Cyprus," and in the " Division Violin." 
 
 DEABLE (Edward). English comp. and org., B. Cambridge, 1806. Org. of S. 
 Paul's, Deptford, July, 1827; Blackheath (new) ch., 1830; Wisbeach-par. ch., 
 1832 ; S. Mary's, Warwick, 1833 ; Do. and song schoolmaster, Newark, 1835- 
 64. Mus. Bac, Cantab., 1836. Mus. Doc, Cantab., 1842. One of founders 
 of Trinity Coll., London, and member of council of same. 
 Works. — Morning and Evening Service in F, 1832; Turn Thee again. Thou 
 God of Hosts, anthem (gained Gresham gold medal in 1837) ; Volume of Church 
 Music [1838] ; Magnificats and Nunc Dimittis in B flat and F. Anthems: The 
 desert shall rejoice ; Rend your hearts ; With angels and arch-angels ; By the waters 
 of Babylon ; God is a spirit; Israel in the wilderness, oratorio, 1879. Part-Songs : 
 Bring again ; Sigh no more, ladies ; Up with the lark ; Mountain daisy ; The 
 Fairies ; The silent land ; The Mariners. Lays of the heart (songs), 1S29. Miscell- 
 aneous vocal music, sacred and secular. 
 
 DEBAIN (Alexandre Francois). French instrument manufacturer and me- 
 chanic. B. Paris, 1809. Was originally a cabinet-maker, but in 1825 he 
 turned his attention to Piano manufacture. His principal works, however, are 
 his "organs expressifs," harmoniums of great beauty of tone and mechanism. 
 He invented many improvements in connection with the Pf. and harmonium, 
 and devised a mechanical Pianoforte flayer and an organist. 
 
 DEBILLEMONT (Jean JaCQLUes). French violinist and comp., B. Dijon, 
 
 Dec. 12, 1824; S. under Alard and Carafa. Resided in Paris as composer, 
 
 from 1839. 
 
 '^OYXS.-^Operas: Le Renegat, Dijon; Le Bandolera; Feu mon oncle ; Le 
 
 Joujou ; Bocchoris ; C etait moi, i860 ; As-tu dejeiine, Jacquot? i860 ; Astaroth, 
 
 1861 ; Un Premier avril, 1862 ; Roger Bontemps, 1867 ; Le Grand Duke de 
 
 Matapa, 1868; Mousseline Club, 1868; La Revanche de Candaule, 1869;- Le 
 
 Pantalon de Casimir, 1873 ; Le 13s Coup de minuit, 1874 ; Les Trois Sultanes ; 
 
 La Florinde ; Les Noces de Panurge ; Le Peches de M. Jean ; Le Esclaves d' 
 
 Athys. Cantatas and Ballets ; Songs ; and writings on music. 
 
 DE CALL. See Call. 
 
 DECKER & SON. American firm of Pianoforte makers, established in New 
 York, 1856. Make special instruments of an original form, and are well 
 known in America for the high finish of their work. ■ 
 
 DECOURCELLE (Maurice Henri). French pianist and comp., B. Paris, 
 Oct. II, 1815. Comp. studies, exercises, nocturnes, fantasias, galops, tran- 
 scriptions, etc., for his instrument. His brother, Henri (B. 1821), is also a 
 composer. 
 
 DEERING or DERING (Richard). English comp, and org., B. in Kent at 
 end ot i6th century. Brought up in Italy. Org. at monastery of English 
 nuns, Brussels. Org. to Consort of Charles I., Henrietta Maria. Bac. Mus., 
 Oxon., 1610. D. 1657. 
 
 Works. — Cantiones Sacr^ quinque vocum, cum basso continuo ad organum, 
 Antwerp, 1597 ; Cantica Sacrse ad melodiam madrigalium elaborata senis vocibus, 
 Antwerp, 1618 ; Motets, madrigals, eic. 
 
 Deering became latterly a Roman Catholic, and dfed in that faith. 
 
bkf — Dtet iot; 
 
 DEFESCH (Willem). Dutch org., violinist, and comp., B. Amsterdam, about 
 end of 17th century [1695-6]. D. about middle of i8th century [1758-60]. 
 Resided for a time in England, where, in 1733, he produced "Judith," an 
 oratorio, and again in 1745 another named " Joseph." His other works con- 
 sist of instrumental and miscellaneous vocal music. 
 
 DEFFES (Pierre Louis). French comp., B. Toulouse, July 25, 1819. S. at 
 
 Toulouse Cons. S. at Paris Cons, under Hal^vy, etc., 1839. Gained first 
 
 prize at the " Institut " for cantata, "L' Ange de Tobie," 1847. Travelled in 
 
 Italy and Germany, 1848-52. Teacher and comp. in Paris. 
 
 Works. — Operas: L'Anneau d' argent, 1855 ; La Clef des champs, 1857 ; Bros- 
 
 kovano, 1859 ; Les Violons du Roi, i860 ; Le Caffe du Roi, i860 ; Les Bourguig- 
 
 nonnes, 1863; Passe Minuit, 1864; La Boite k Surprise, 1865; La Comedie en 
 
 voyage, 1867 ; Les Croqueuses de pommes, 1868 ; Petit Bonhomme vit encore, 
 
 1868 ; Valse et Menuet, 1870 ; Le Nuit de Noces ; Riquet k la houppe ; Le March- 
 
 and de Venise (MS.). Masses ; Symphonies ; Songs, etc. 
 
 DE GKAAN (Julius). Dutch violinist, B. Amsterdam, Nov. 9, 1852. D. 
 Jan. 8, 1874. 
 
 DEHN (Siegfried Wilhelm). German writer and musician, B. Altona, Feb. 
 25, 1796. S. under Klein. Librarian of Musical Liby. of Berlin. D. Ber- 
 lin, April 12, 1858. 
 
 Works. — Theoretisch-praktische Harmonielehre mit angefiigten Generalbass- 
 pielen, Berlin, 1840; Lehr vom Contrapunkt, dem canon, und der Fuge, etc., Ber- 
 lin, 1858. Collections, various, etc. 
 
 Dehn was famous as a teacher, and many of the leading composers of the present 
 day were at one period his pupils. 
 
 DEJAZET (Eugene). French comp., B 1825. Produced "Un Mariage en 
 I'air," 1852 ; " L' Argent et 1' Amour," 1863 ; " Les 7 Baisers de Buckingham," 
 . 1866 ; with other operettas. 
 
 DEJAZET (Jules). French pianist and comp., B. Paris, March 17, 1806. S. 
 Cons, under Zimmermam. D. Ivry, near Paris, Aug. 29, 1846. Comp. Pf. 
 music, fantasias, rondos, etc. 
 
 DE KONTSKI. See Kontski. 
 
 DELABORDE (Eraim Miriam). French comp. and Prof., B. Paris, Feb. 7, 
 1839. Prof, at Paris Cons., 1873. Composer of " Maitre Martin," opera. 
 Songs, Pf. music, etc. 
 
 DELACOUB (Vincent Conrad Felix). French pianist and comp., B. Paris, 
 March 25, 1808. S. Paris Cons. D. 1840. Wrote Pf. music and songs. 
 
 DE LA FOND (John Francis). English teacher of music and languages in 
 i8th century, author of " New System of Music, both Theoretical and Practi- 
 cal, yet not Mathematical : written in a manner entirely new, that is to say, in 
 a style plane and intelligible," etc., Lond., 8vo, 1725. 
 
 DELAMOTE (P.). English writer, author of " A Brief Introduction to Mvsicke, " 
 etc., London, 8vo, 1594. 
 
 DE LANGE (Hermann Francois). Belgian violinist and comp., B. Li^e, 
 1717. D. Oct. 27, 1.781. Wrote symphonies, operas, masses, overtures, etc 
 
 DE LANGE (Samuel). Dutch comp. and pianist, B. Rotterdam, June 9, 181 1. 
 D. Rotterdam, May 15, 1884. Comp. sonata for organ, variations on Dutch 
 national hymn for org. , nocturnes for Pf. , ballads, etc. 
 
 DE LANGE (Samuel). Son of above, B. Rotterdam, Feb. 22, 1840. Comp. 
 and teacher in Paris. Comp. string quartets, op. 15, 18 ; Trio for Pf., vn., 
 and 'cello, op. 21 ; Sonatas for org., op. 5, 14 ; Symphony for orch. in E flat; 
 Pf. music ; Concerto for 'cello, op. 16 ; Handel's org. concertos, arranged ; 
 Songs, etc. 
 
 DE LA KUE. See Rue. 
 
2o6 Del — D E it 
 
 DELDEVEZ (Edouard Marie Ernest). French comp. and violinist, B. 
 
 Paris, May 31, 1817. S. at Paris Cons, under Habeneck, etc., from 1825. 
 
 Gained several prizes for violin-playing and comp. Deputy leader at the 
 
 Paris Opera, 1859. Chevalier of Legion of Honour. 
 Works.— Op. i. Concert overture for orch.; op. 2. First symphony for orch. ; 
 op. 3. Robert Bruce, overture for orch.; op. 4. Six songs for voice and Pf.; op. 5. 
 Lady Henriette, ballet ; op. 6. Paquita, ballet ; op. 7. Requiem Mass ; op. 8. 
 Second Symphony; op. 9. Trio for Pf., vn., and 'cello; op. 10. Two string quar- 
 tets ; op. II. Eucharis; Mazarina, 2 ballets; op. 12. Vert-Vert, ballet; op. 13. 
 Six studies for violin ; op. 14. O Salutaris, for soprano and tenor voices, with org. 
 op. 15. Symphonic heroi-comique, for orch.; op. 16. La Vendetta, duet; op. 17. 
 Velleda, scene lyrique for soprano, chorus, and orch.; op. iS. Sacred vocal quartet ; 
 op. 19. Collection of selected violin music ; op. 20. Le Violon Enchantfe, opera ; 
 op. 21. Yanko le Bandit, ballet ; op. 22. Quintet for strings; op. 23. Trio for Pf., 
 vn., and 'cello ; op. 24. Six romances for Pf.; Hymns ; Literary works, etc. 
 
 Most of this composer's works are highly spirited compositions, and very agree- 
 able in general effect. 
 
 DELIBES (Leo). French comp. and pianist, B. Saint Germain-du-Val, 1836. 
 
 S. at Paris Cons, from 1848, under Le Couppey, Bazin, Benoist, and Adam. 
 
 Gained second prize for singing, 1849. Second chorus-master at the opera. 
 
 Accompanist at Thfe&tre Lyrique, 1853. Org. at ch. of St. Jean et St. Fran- 
 
 9ois.- Prof, of comp., Paris Cons., 1880. 
 Works. — Operas, operettas, etc.: Deux sous de charbon, 1855; Deux Vieilles 
 Gardes, 1856 ; Six Demoiselles a marier, 185&; Maitre Griffard, 1857 ; L'Omelette 
 a la Follembuche, 1859 ; Monsieur de Bonne-Etoile, i860 ; Le Jardinier et son 
 Seigneur, 1863 ; Les Musiciens de I'orchestre, 1861 ; La Tradition, 1864 ; Le 
 Serpent a plumes, 1864; Le Boeuf Apis, 1865 ; Mon ami Pierrot, 1862 ; Les Eanx 
 d' Ems, 1862 ; Alger (cantata), 1865 ; La Source (ballet), l865 ; Le Corsaire, 1867 ; 
 Marlbrough s'en va-t-en guerre (with Jonas, Bizet, and Legouix), 1867 ; L' Ecossais 
 de Chatori, 1869 ; La Cour du roi Petaud, 1869; Coppelia (ballet), 1870; Le Roi 
 I'a dit, 1873; Sylvia (ballet), June, 1876; Roi des Montagnes, opera; Jean de 
 Nivelle, opera, 1880 ; Lakme, opera, London, 1885. 
 
 Delibes is one of the best composers of light, and what is called sparkling 
 music, now living in France. His music is always agreeable and never wearisome, 
 and the neatness of his orchestration is very refreshing. The ballet "Sylvia," is 
 best known in Britain, and has been performed scores of times. His operatic 
 works achieved success in Paris. 
 
 DELIOITX (Charles). French comp., B. Lorient, April, 1830. Instructed first 
 by father. Appeared as infant prodigy, 1839. S. Paris Cons, under Halevy 
 and others, 1845. Teacher and comp. in Paris. 
 
 Works. — Yvonne et Loic, opera, 1854. Pf. Music: Galop di bravura, op. 8; 
 Danse napolitaine, op. 11 ; Valse, op. 12 ; Two nocturnes, op. 13 ; Marche hon- 
 groise, op. 14; Romance, op. 16; Etude-Carillon, op. 17; Melodie, op. 19; Etude 
 de Salon, op. 26 ; Mandoline, serenade, op. 28 ; Idyll, op. 84 ; Saltarelle, op. 85 ; 
 Arabesques, op. 61 ; and pieces to the number of about 100. 
 
 The pianoforte music of Delioux is brilliant and pretty, and well adapted for 
 showy performance. 
 
 DE LISLE. See Lisle (Claud J. Rouget de). 
 
 DELLAMABrIA (Domenico). Italian comp,, B. Marseilles, 1764. S. in 
 Italy under Paesiello. ' D. Paris, 1800. 
 
 Operas : II Maestro di Capella ; Le Prisonnier ; L' Oncle Valet ; Le Vieux 
 Chateau ; L' Opera Comique. 
 
 DELOFFRE (Louis Michel Adolphe). French violinist and comp., B. 
 Paris, July 28, 181 7. D. Jan. 8, 1876. 
 Comp. symphonies, trios, violin music, songs. 
 
 DEMEKSSEMAN (Jules AugUSte Edouard). Belgian comp.. and flute- 
 player, B. Hondschoote, Jan. 9, 1833. S. Paris Cons. D. 1866. Operettas, 
 flute music, etc. 
 
BeM — DES 20? 
 
 DEMEUE (Jules Antoine). Belgian flutist and comp., B. Sept. 23, 1814. 
 S. Brussels Cons. Prof. Brussels Cons, (flute). Comp. of fantasias, variations. 
 
 DE MOL (Francois Marie). Belgian comp., B. Brussels, March 3, 1844. 
 Comp. Pf. music and string quartets, etc. D. Ostend, Nov. 3, 1883. His 
 brother, Guillaume (B. Brussels, March i, 1846. D. Sept. 9, 1874), comp. 
 symphonies, org. music, etc. 
 
 DEMPSTER (William E.). Scottish comp., B. Keith, 1808. D. London, 
 March 7, 1871. Wrote a number of good, though not always strikingly origi- 
 nal, ballads, of the drawing-room type. 
 
 DE MUNCK (Ernest). Belgian violoncellist and comp. B. Brussels, 1841. 
 
 Has Played at London, in Scotland, Ireland, and over most of the Continent. 
 
 Now 'cellist at Weimar. Writings for instrument. Married Carlotta Patti in 
 
 1879- 
 
 DE MURIS. See Muris. 
 
 DENEFVE (Julius). Belgian comp., B. 1814. S. Brussels Cons. Director 
 of Music School at Mons. Comp. operas, cantatas, songs, instrumental music, 
 etc. 
 
 DENGEEMOKT (Maurice). French violinist, B. Rio Janeiro, March 19, 
 1867. Appeared with great success in London as solo violinist, and has been 
 received with favour in America. Is said to possess much natural aptitude for 
 the violin, and for his age is a remarkable performer. 
 
 DENNIS (John). English writer and musician, B. London, 1657. S. at Cam- 
 bridge. Travelled in France and Italy. D. Jan. 6, 1733. Author of "An 
 Essay on the Italian Opera," Lond., 1706. 
 
 DENZA (Luigi). Italian comp., B. near Naples, 1846. Famous as a writer of 
 songs of a brilliant and taking character. His works are catalogued among 
 the publications of Ricordi, etc. 
 
 DE PAEIS (Edouard). - French comp. and teacher, B. Normandy, 1827. S. 
 Paris Cons. Teacher in Brighton. 
 Composer of a quantity of dance music of a light nature. 
 DEPFE (Ludwig). German pianist and comp., B. Nov. 7, 1828. 
 DEPRES. See JosQUiN. 
 
 DERHAM (William). English writer, B. 1657. D. 1735. Author of, among 
 other works, the following, "The Artificial Clock-maker. ..shewing. ..the way 
 to alter clock-work, to make chimes and set them to musical notes," London, 
 1696 [other editions]. 
 
 DEEING. See Deering. 
 
 DESAUGIEES (Marc Antoine). French comp., B. Frejus, 1742. D. Paris, 
 Sept. 10, 1793. Writer of operas and ch. music. 
 
 DESLANDRES (Adolphe Edouard Marie). French org. and comp., B. 
 near Paris, Jan. 22, 1840. Comp. of ch. music, instr. music, etc. 
 
 DESMARETS (Henri). French comp., B. Paris, 1662. D. Lunfeville, Sept. 
 7. 1741- 
 Works. — Operas: Didon, 1639; Circe, 1694; Theagine et Chariclee, 169S 5 
 Les Amours de Momus, 1695 ; Venus et Adonis (Rousseau), 1697 ; Les F^tes 
 Galantes, 1698 ; Iphigenie en Tauride, 1704 ; Renaud, 1722, etc. 
 
 DESSAUER (Josef). Bohemian comp., B. Prague, May 28, 1798. S. under 
 Tomaschek, etc., at Prague. ■ D. Modling, near Vienna, July, 1876. 
 
 Works.— Ein Besuch in Saint Cyr, opera, 1838 ; Lidivinna, opera, 1840 ; Over- 
 ture and Pf. music. 
 
 Dessauer travelled much in England, France, etc. His works are good, but not 
 widely known. 
 
2o8 bES — DIA 
 
 DUSSOFF (Otto Felix). German violinist and comp., B. Leipzig, Jan. 14, 
 1835. Successful comp. for his instrument. 
 
 D'ESTB (John, B.A.). English musician and writer, author of " Music Made 
 
 . Easy, the Rudiments of Music," Lond., 8vo, r849 ; "The Vocalist's Vade 
 
 Mecum, or Pocket Companion, Practical Hints on Singing," etc., Lond., 1872. 
 
 DESTOUCHES (Andre Cardinal). French comp., B. Paris, 1672. Director 
 of King's music and of opera, 1713-31. D. Paris, 1749. 
 Works.- — Operas, etc.: Iss^, pastorale heroique, 1697 ; Amadis de Grece, 
 tragedie, 1699 ; Omphale, tragedie, 1701 . Le Carnavel et la Folie, ballet, 1703-4; 
 Callirhoe, tragedie, 1712; Telemaque et Calypso, tragedie, 1714, etc. 
 
 DE SWEEiT (Jules). Belgian 'cellist and comp., B. Louvain, Aug. 15., 1843. 
 S. Brussels Cons., 1856. Travelled in Belgium, Holland, Germany, and Eng- 
 land. Has composed a number of works for his instrument, and is one of the 
 foremost among modern violoncello virtuosus. He is author of a treatise on 
 the "Violoncello," published in Novello's Music Primers, Lond., 410, 1882. 
 His two brothers, Isidore (1830), and Jean (1832), are both musicians. 
 
 DEVAL (Harry). English writer and teacher, author of " The Art of Vocaliza- 
 tion, with complete instructions for the Cultivation ofthe Voice, "Lond., fo.,n.d. 
 
 DEVAUX (A.). French writer and teacher, author of "A Guide to Theory, 
 or Practical Thorough-bass, with 74 Exercises," Lond., 8vo, n. d., and other 
 works. 
 
 DEVIENNE (Francois). French comp. and flute-player, B. Joinville [1759]. 
 
 Flute-player in Swiss Guard ; bassoon-player in Theatre de Monsieur, 1788. 
 
 Prof. Paris Cons. D. Paris, Sept. J, 1803. 
 Works. — Operas: Encore des Savoyards, 1789 ; Le Mariages Clandestin, 1790 ; 
 Rose et Aurele, 1794; Valecour, 1797 ; Le Valet des deux Maitres, 1799. Method 
 for the Flute ; Trans., as. Instructions for the Flute, containing the various Modes 
 of Articulation, etc., Lond., fc, n. d. Instrumental music, etc. 
 
 DEVRIENT (Eduard Philip). German barytone singer and actor, B. Berlin, 
 Aug. II, 1801. D. Carlsruhe, Oct. 4, 1877. Best known from his connection 
 with Mendelssohn, and as author of "Meine Erinnerungen an Felix Mendels- 
 sohn Bartholdy und Seine Briefe an Mich," Leipzig, i2mo, 1869. This work 
 has been translated by N. Macfarren, as " My Recollections of Mendelssohn, 
 and his Letters to me," Lond., 8vo, 1869. It is a readable and amusing work. 
 
 DEWAS, (Rev. Daniel, LL.D.). Scottish writer, was Prof, of Moral Philosophy 
 in Aberdeen University. Author of " Observations on the Character, Customs, 
 Superstitions, Music, Poetry, and Language of the Irish," etc., Lond., 2 vols., 
 1812. 
 
 DEWAR (James). Scottish comp., cond., and violinist, B. July 26, 1793. 
 Deputy-leader in Theatre Royal, Edinburgh, 1807. Afterwards musical direc- 
 tor, do. Org. St. George's Episcopal ch., 1815-35. Cond. Edinburgh Musical 
 Assoc. D. Edinburgh, Jan. 4, 1846. 
 Dewar is famous for his arrangements of Scottish airs for the orchestra, a Pf. 
 edition of which was published about 1850. His work with the title, "Popular 
 National Melodies adapted for the Pianoforte," Edin., 1826, fo., had a large circu- 
 lation. He comp. also a few part-songs and other vocal pieces, and edited " The 
 Border Garland, Poetry by Hogg," [c. 1829]. 
 
 DEZAIDES (N.), Dezede. French comp., B. 1740. D. 1792. Composed a 
 number of operas, etc., among which may be named "Julie," 1772; " Les 
 Trois Fermiers," 1777 ; " Fatme," 1777 ; " Zulima," 1778 ; " Le Porteur de 
 Chaise," 1778; " P6ronne Sauvee," 1783; "Blaise et Babet," 1783; "La 
 Fete de la cinquantaine, " 1796, etc. 
 
 DIABELLI (Anton). Austrian pianist and comp., B. Mattsee, Salzburg, Sept. 
 6, 1781. S. under M. Haydn. Teacher of Pf. and publisher. Established 
 the firm of Diabelli & Co. at Vienna, 1824. D. Vienna, April 8, 1858. 
 
t)lA — DtB 209 
 
 Works. — Pianoforte music of all kinds, some of which is still in use for teaching 
 purposes. .. 
 
 The firm of Diabelli & Co. now existing is one of the most extensive in Austria, 
 their publications being of great extent and quality. The cotopositions of Anton 
 Diabelli are agreeable and good works. ^ 
 
 DIAZ DE LA PENA (Eugene Emile). French comp., E. Paris, Feb. 27, 
 1837. S. Cons, under Reber, Hal^vy, etc. Writer of " Le Roi Candaule, " 
 1865 ; " Le Coupe du Roi de Thule," operas, etc. 
 
 DIBDIN (Charles). English comp. and writer, B. at Dibden, near Southamp- 
 ton, March 15, 1745. S. Winchester Coll. Taught music by Kent and 
 Fussel. Appeared as an actor at Richmond and Birmingham. Went to Lon- 
 don, and was employed by BickerstaJf as comp. and singer, 1765. Renounced 
 stage, and commenced giving medley monodramas in London, 1788. D. Lon- 
 don, July "25, 1814. 
 Works. — Musical Dramas, etc. : The Shepherd's Artifice, 1763 ; Love in the 
 city, 1767 ; Damon and Phillida, 1768 ; Lionel and Clarissa, 1768 ; The Padlock, 
 176S ; The Maid the Mistress, 1769 ; The Recruiting Sergeant, do.; The Ephesian 
 Matron, do. ; The Jubilee, do. ; Queen Mab, do. ; The Captive, 1769 ; Pigmy Revel, 
 1770 ; The Wedding Ring ; The Institution of the Garter, 1770 ; The Ladle, 1772 ; 
 The Mischance ; The Brickdust Man ; The Widow of Abingdon ; The Palace of 
 Mirth, 1772 ; A Christmas Tale, 1773 ; A Trip to Portsmouth ; The Deserter ; 
 The Grenadier, 1773; The Waterman, 1774; The Cobbler, do.; The Quaker, 
 177s ; The Two Misers, 177S ; The Seraglio, 1776; The Blackamoor; The Me- 
 tamorphoses ; The Razor Grinder ; Yo, Yea, or. The Friendly Tars ; The Old Wo- 
 man of Eighty ; The Mad Doctor ; She is Mad for a Husband ; England against 
 Italy ; The Fortune Hunter ; All's not Gold that Glitters, 1776 ; Poor Vulcan, 
 1778; Rose and Colin ; The Wives Revenged; Annette and Lubin ; The Milk- 
 maid, 1778 ; Plymouth in an Uproar, 1779 ; The Chelsea Pensioners ; The Mirror ; 
 The Touchstone, 1779 ; The Shepherdess of the Alps, 1780 ; Harlequin Freemason ; 
 The Islanders, 1780 ; Jupiter and Alcmena, 1781 ; None so Blind as those who 
 won't See, 1782 ; The Barrier of Parnassus, 1783 ; The Graces ; The Saloon ; Man- 
 darina ; The Land of Simplicity; The Passions ; The Statue ; Clump and Cudden ; 
 The Benevolent Tar ; The Regions of Accomplishment ; The Lancashire Witches, 
 1783; TheCestus, 1784; Pandora; The Long Odds, do.; Liberty Hall, 1785; 
 Harvest Home, 1787; A Loyal Effusion, 1797. Monodramas: The Whim of the 
 Moment, 1788 ; The Oddities, 1789 ; The Wags ; Private Theatricals, 1791 ; The 
 Quizzes, 1792 ; Castles in the Air, 1793 ; Great News, 1794 ; Will of the Wisp, 
 1795 ; Christmas Gambols, do.; The General Election, 1796 ; The Sphinx, 1797 ; 
 Valentine's Day, do.; King and Queen, 1798 ; A Tour to the Land's End, 1799 ; 
 Tom Wilkins, 1799 ; The Cake House, 1800 ; A Frisk, 1801 ; Most Votes, 1802 ; 
 New Year's Gifts ; Broken Gold ; Briton's Strike Home ; Datchet Mead ; Commo- 
 dore Pennant ; Heads and Tails ; The Frolic, etc. Literary Musical Works: The 
 Harmonic Preceptor, a Didactic poem in three parts, Lond., 4to, 1804 ; The Eng- 
 lish Pythagoras, or Every Man his own Music-master, Lond., 4to, 1808 ; Music 
 Epitomized, a School Book in which the whole science of music is clearly explained, 
 Lond., 8vo, n. d. Hannah Hewitt, or the Female Crusoe, novel, 1792 ; The 
 Younger Brother, novel, 1793; Musical Tour, Sheffield, 4to, 1788; History of the 
 Stage, Lond., 5 vols., 8vo, 1795 ; Observations on a Tour through almost the 
 whole of England, and a considerable part of Scotland ..Lond., 2 vols., 4to, 1801 ; 
 The Professional Life of Mr. Dibdin, written by himself, with the words of six 
 hundred songs selected from his works, Lond., 4 vols., 8vo, 1803. 
 
 Dibdin, according to the biography prefixed by his son Thomas to the 1875 edi- 
 tion of his songs, wrote over 1300 songs. In addition to these he wrote other music 
 in his entertainments, etc., the gross amount of music and words which he wrote 
 being in number over 3000 pieces. Ofthese, veryfewnow are used, "The Waterman " 
 is the only large piece, and " Poor Jack " and "Tom Bowling" the only songs. 
 The first, it may be added, was recently popularized by Mr. Sims Reeves. Dib- 
 din's talent lay in hitting oflF in a fine breezy style the lights and shades of a sea- 
 faring life, and in adapting the sentiment of his songs to the patriotic and bellicose 
 spirit current in his time. The extraordinary popularity which some of his 
 monodramas obtained reflects the highest credit on his talents as a comedian. As 
 
iio DIE — Die 
 
 to the artistic status of his works, it may salely be questioned if they possess any, — 
 although in the hands of good vocalists his songs take a place with the best folk- 
 music. A collection of his "Songs, Chronologically arranged, with Notes, etc., 
 by George Hogarth," was published in 1842. 
 
 DIBDIN (Charles, Jun.) English poet and writer, B. 1770. He was for many 
 years proprietor of Sadlers' Wells Theatre, and wrote among other pieces the 
 "Farmer's Wife," "My Spouse and I," and a number of Burlettas, Panto- 
 mimes, Songs, etc. D. London, 1831. 
 
 DIBDIN (Henry Edward). English musician and compiler, B. London, Sept. 
 8, 1813. Grandson of Charles Dibdin. S. under his sister, Mrs. Tonne, 
 harpist, and Bochsa. Resided at Morningside, Edinburgh, as Teacher, from 
 1833. Honorary org. of Trinity Chap., Edinburgh. D. Edin., May 6, 1866. 
 Works. — The Standard Psalm-Tune Book, containing upwards of 600 speci- 
 mens ; compiled from the original editions, and arranged for Four Voices, with an 
 Organ Accompaniment, Lond., fo. [1851]. Harmonies to Reid's Praise Book, 
 4to, 1 868. A Collection of Church Music, consisting of Chants, Psalm and Hymn 
 Tunes, etc., 1843 (with J. T Surenne). 
 
 The "Standard Psalm-Tune Book " is his principal work, and is a most complete 
 and valuable collection of Psalm tunes. 
 
 DIBDIN (Thomas). English musician and dramatist, B. March 21, 1771. D. 
 
 Sept. 16, 1841. Writer of "Reminiscences of Thomas Dibdin of Covent 
 
 Garden, etc.," Lond., 2 vols., 1827. 
 He was a writer of sea songs, some of which appear in the work entitled, "Lays- 
 of the last three Dibdins." His opera, the " Cabinet," is his best known work. 
 
 DIBDIN (Miss ?) Daughter of Charles, Sen., English harpist. S. under Challoner 
 and Bochsa. Assistantteacher of harp at R. A. M., 1824. Married Mr. Tonne. 
 
 DICK (Charles George Cotsford). English comp., B. London, Sept. I, 1846. 
 
 Matriculated at Worcester College, Oxford, 1865. Second Class Honours in 
 
 Law and Modern Plistory School, 1869. Studied for the Bar, but obliged 
 
 from ill-health to give it up. 
 
 Works. — Our Doll's House (German Reed Co.), operetta, 1876; Our New 
 
 Doll's House (do. ), 1877; Back from India (do.), 1879; Doctor D., comic opera, 
 
 1885. Songs: Dolly Varden ; Olivia; The kingdom blest; Heloise ; Cosette ; 
 
 Tidings from afar ; Unchanged ; The vision beautiful ; Before parting ; The Knight 
 
 and the Ladye ; At his hearth alone; Beggar Maid; King Cophetua; Loreley ; 
 
 Household words; The distant hills. Pianoforte Music: Fireside Fancies, 6 pieces; 
 
 Cradle Song ; Romanesque ; Caprice ; Saltarello ; Rigodon ; Rococo ; Minuet ; 
 
 Passe-pied ; Gavotte ; Scherzo ; Arabesque ; Eourree ; Fairy Tales ; Polonaise ; 
 
 Alia Pavan; Sabotiere; Chaconne; Gigue; Toccata; Barcarolle; Melodic; Ballade; 
 
 Legende ; Tambourin ; In Wonderland, etc. 
 
 Mr. Dick has been very successful in catching the spirit of the old dance forms 
 in his Pianoforte pieces, and has given the world a number of beautiful and grace- 
 ful trifles, which, if unimposing, are interesting and pleasant. His songs are in 
 merit much above the average drawing-room ballads, and are in spirit and concep- 
 tion poetical and melodious. His operettas were successful. 
 
 DICKONS (Maria), nee Poole. English soprano vocalist, B. London, 1770 
 [1778-1780]. S. under Rauzzini at Bath. First appeared at Vauxhall, 17S3. 
 DMiit at Covent Garden, 1793. Sang at Ancient and Vocal Concerts. 
 Appeared in principal towns of Scotland, Ireland, and English provinces. 
 Married Mr. Dickons, 1800. Retired for a time. Sang in London again, 1806. 
 Sang in Italian opera at Paris, 1816. Do. at Venice. Mem. of Institute 
 Filarmonico, Venice. Appeared again in London, 1819. Retired soon after. 
 D. May 4, 1S33. 
 
 "Mrs. Dickons's chief excellence lay perhaps in sacred music, in which style she 
 is said to have sung with such a degree of sublimity, that religion seemed to breathe 
 (rum every note." 
 
 DICKSON (Ellen), "Dolores." English comp., daughter of General Sir Alex. 
 Dickson, B. Woolwich, 1819. Resided during her life-time chiefly at Lyndhurst, 
 
Die — DiS 2tl 
 
 having been an invalid from youth. She became known in her district for 
 many charitable actions. D. Lyndhurst, July 4, 1878. 
 Works. — Songs: Clear and Cool; Destiny; Goldilocks; The land of long ago; O 
 my lost love ; Pack clouds away ; The racing river ; She walked beside me ; Tell her 
 not when I am gone ; Unchanged, etc. 
 
 These songs acquired a considerable amount of popularity in their day, and some 
 of them are even now in vogue. Their merit is conspicuous in their adaptability 
 for drawing-room purposes. 
 
 DICKSON (Rev. William Edward). English writer, B. Richmond, Yorks., 
 1823. B.A., Cantab., 1846; M.A., 1851. Ordained 1846. Precentor of 
 Ely Cath., 1858. 
 
 Works.— Singing in Parish Churches, 1858 ; Cathedral Choirs, 1877 ; Practical 
 Organ Building, Lond., 8vo, 1881. 
 
 DIEHL (Louis). German comp., B. Mannheim, 1838. Resident teacher in 
 London. He married in 1863, Miss Alice Mangold (B. 1846), ii celebrated 
 pianist and writer. 
 Is best known by his songs, some of which gained much contemporary popularity. 
 
 DIEMEB (Louis). French pianist and comp., B. Paris, Feb. 14, 1S43. S. at 
 Paris Cons, under Durand, Bazin, Thomas, etc. Comp. music for Pf., etc. 
 
 DIETRICH (AllDert Hermann). German comp., B. Golk, Aug. 28, 1829.' 
 S. under Otto, Rietz, Hauptmann, and at Leipzig University. Leader of orch. 
 at Bonn. Chap. -master at Oldenburg, 1871, Leader of orch. at Leipzig. 
 
 Works.— .Symphony in D minor, 1869 ; Overture for orch., 1872 ; "Rheinmor- 
 gen," concert-stiicke, for voices, chorus, and orch., op. 31 ; Concerto for vn. and 
 orch., op. 30 ; Concerto for 'cello, op. 32 ; Concerto for horn and orch., op. 29 ; 
 Trio for vn., Pf., and 'cello, op. 9 ; Four pieces for Pf., op. 2 ; Six Lieder for Pf., 
 op. 10 ; Robin Hood, opera. 
 
 Dietrich is an industrious and capable musician, performing his undertakings with 
 a conscientious regard for artistic appearances. Few of his works are known in 
 Britain. 
 
 DIETSCH (Pierre Louis Philippe). French comp., B. Dijon, Mar. 17, 1808. 
 Chap. -master of ch. of the Madelaine. Prof, of Org. at School of Religious 
 Music. D. Paris, Feb. 20, 1865. Composed organ music, church music, etc. 
 
 DIETTEK (Christian Ludwig). German comp., B. Ludwigsburg, Wurtem- 
 berg, 1757. D. beginning of present century. 
 Wrote operas, symphonies, and music for flute. 
 
 DIGNXJM (Charles). English tenor vocalist, B. Rotherhithe, 1765. Chor. in 
 chapel of Sardinian ambassador, London. S. under Samuel Webbe. Worked 
 for a time as carver and gilder. Articled to T. Linley for 7 years. Delmt as 
 Meadows in " Love in a Village," 1784. Sang afterwards at Vauxhall, Hay- 
 market Theatre, etc. D. London, March 29, 1827. 
 Dignum, who was usually regarded as the successor of Beard, composed a num- 
 ber of songs, and published a collection of "Vocal Music, consisting of Songs, 
 Duets, and Glees," Lond., fo. [c. 1810], with portrait. He was most successful as 
 a singer of English ballads. 
 
 DILLEE (Franz X.). German violinist and comp., residing in New York, 
 where his chamber concerts and quartet party are known to every musician. 
 He was united with the Dodworths and others in giving concerts of classical 
 music. His works consist of arrangements for string quartet, rondos, etc., for Pf. 
 
 DISTIN (Theodore). English comp. and singer, B. Brighton, 1823. S. under 
 his father. Played French horn in his father's band (composed of members of 
 the family), 1836. Travelled with this band on the Continent, 1836-44. S. 
 singing under t. Cook and Negri. Barytone in Pyne and Harrison company. 
 Travelled with them in England. Bass singer in Bencher's Chapel, Lincoln's 
 Inn. Associate R. A. M. Teacher in London. 
 
DIT — DIT 
 
 Works. — Morning, Communion, and Evening Service in C ; Evening Service in 
 G, for male voices (written for S. Paul's cath.). Bacchus, on thee we call, prize 
 glee (City Glee Club, 1867) ; Ossian's address to the moon (do., 1871) ; Jack 
 Horner (Huddersfield prize, 1879) ; Sing, let us sing, prize glee (Abbey Glee Club, 
 1865); When some sweet flower I see, part song; Oh! the gallant Fisher's life, 
 part song; The lover's return, glee for male voices (MS.) ; Two masses; Introits 
 and offertories. Songs: I love to see old faces ; Down to the button ; Mine host ! ; 
 A jug of October ; The lad that follows the plough ; The chine ; My mother was a 
 soldier's wife ; Saved ! What is my fortune ; Miscellaneous vocal music, published 
 and in MS. 
 
 Mr. Distin is a son of John Distin (1793-1863), the once celebrated trumpet- 
 player, who was the inventor of the keyed bugle, and bandmaster to the Marquis of 
 Breadalbane. He was trumpet player in H.M. Theatre, and in the private band of 
 King George IV. He married Miss Loder of Bath, sister of John Loder the 
 violinist, and by her had a family of four, who formed afterwards the Distin family 
 of Instrumentalists. In 1833 Mr Distin, senr., formed a quintet band, composed 
 of the members of his own family, and with it travelled over the Continent and 
 England, playing before the Duke of Brunswick, King of Hanover, the present 
 Emperor of Germany (then Crown Prince), the Queen of England, the King of 
 Prussia, etc., etc. The band also performed at Windsor Castle, JuUien's concerts, 
 and a great number of other important concerts. 
 
 Mr. Theodore Distin took part in those performances in the capacity of a horn 
 player. He has written a number of good vocal works, most of which have been 
 publicly performed ; while as a bass singer, and formerly as a barytone, he possessed 
 much talent, and displayed great vocal ability. 
 
 Other members of the family are engaged in the manufacture of brass instruments, 
 both in America and in London, and have attained much fame in connection with 
 the good quality of their productions. One member of the family wrote "A Cornet 
 Tutor " (Boosey), published a number of years ago. 
 
 DITSON (Oliver & Co.). American music-publishing firm, established in Bos- 
 ton, in 1834. The number of large works produced by the firm exceeds 2000, 
 while the sheet music department is increased at the rate of one piece each day. 
 About 1,000,000 pieces are constantly kept in stock. The forward progress of 
 this extensive firm has been maintained during and with each advance in musi- 
 cal education in America. " Following the establishment of this firm, was a 
 great increase of interest in the science of music, soon followed by the introduc- 
 tion of music into common schools, by the formation of large choirs and of 
 choral societies, and by the development of the composing power from that re- 
 quired for the putting together of a simple march or waltz, to that now exer- 
 cised in all ways, except, perhaps, in the production of grand oratorios and 
 operas." Messrs. Ditson & Co. have contributed largely to the advance of 
 music in the United States by the publication of a large number of good theo- 
 retical works, including, among others, translations of valuable German works. 
 The total number of their collection of musical literature is close upon 500. 
 They have branch establishments in New York, Chicago, and Philadelphia, 
 and were agents for Messrs. Novello & Co., of London. The contents of their 
 general catalogue consist of Church and Sunday School Music, in books ; glee 
 and chorus music, in books and sheets ; Songs and Pf music in sheets ; and a 
 large selection of oratorios, cantatas, and operas, by leading composers. They 
 also publish The Musical Record, a. weekly musical journal. 
 
 DITTERSDORF (Karl Ditters von). Austrian comp., B. Vienna, Nov. 2, 
 
 1739. S. under Konig and Ziegler. Member of private band of Prince von 
 
 Hildburghausen. S. under Bonno and Frani. Travelled with Gluck to Italy. 
 
 Married Fraulein Nicolini. Chap. -master to Bishop of Grosswardein. D. near 
 
 Breslau, October 31, 1799. 
 
 Works. — Operas: Lo Sposo burlato, 1775 ! I^^r Dokter und Apotheker, 1786 ; 
 
 Betrug durch Aberglauhen, 1786; Die Liebe im Narrenhausen, 17S6; II Demo- 
 
 crito corretto, 1786 ; Hieronymus Knicker, 1787 ; La Contadina fedele, 1785 ; 
 
 Orpheus, der Zweyte, 1787; Das rote Kseppchen, 1788; Der SchifFspatron, oder 
 
 neue Gulshen, 1789 ; Hokus Pokus, 1790; Das Gespenst mit der Trommel, 1794; 
 
 GoLt ilars, oder der eiserne mann, 179S ; Der Gefoppte Broeutigam, 1795; Don 
 
D IX — DOD 
 
 213 
 
 Quichotte, 179S ; Die Guelfer, 179S ; Der Schah von Schiras, 1795 ; Ugolino, 
 1796 ; Die Lustigen Weiber von Windsor, 1796 ; Der Schcene Herbsttag, 1796 ; 
 Der Ternengewinnsl, 1797 ; Der Masdchenmarckt, 1797 ; Terno Secco, 1797 ; Don 
 Coribaldi, 1798. Oratorios: Isacco, 1767; Esther, 1785; Job, 1786. Cantatas. 
 Symphonies, numerous. Masses, sonatas, quartets, nocturnes, concertos, etc. 
 
 "Der Dokter und Apotheker, i7S6,"is the only one of Dittersdorf's works 
 likely to survive, the others being mostly long since lorgotten ; though several have 
 occasionally been produced, His music ia light and pretty, while his instrumenta- 
 tion and melody are both of high quality. 
 
 DIXON (Rev. E. S.) English writer, author of "The Piano Primer, and 
 Instructor's Assistant," fo. n. d. 
 
 DIXON (Creorge). English org. and comp., B. Norwich, 1820. Chorister 
 Norwich Cath., 1827-34. Got Musical training as private pupil of Dr. Buck 
 (org.) to 1835. Pupil and assistant org. Parish Church, Grantham, 1S35-45. 
 Org. Parish Church, Retford, Notts, 1845-59. Org. Parish Church, Louth, 
 1859-65. Org. Parish Church, Grantham, 1865. Mus. Bac, Oxon., 1852. 
 Mus. Doc, 1858. An Hon. Exam, for "Royal College of Music" at Gran- 
 tham and Lincoln. 
 Works. — 121st Psalm, Cantata (voices and orchestra), MS.; Pope's "Messiah," 
 Cantata (voices and orchestra), MS. Anthems: Open we the gates " (Festival), 
 composed for the re-opening of Grantham Church after restoration ; Unto thee, O 
 my Strength ; We will rejoice; O give thanks; Te Deum in G (chant form) ; Sun- 
 dry Hymn Tunes, Chants, Kyries, etc. ; also a contributor to the following works : 
 Supplemental Chant Book (Owen) ; Ancient and Modern Chants (Ridley) ; Can- 
 ticle Chant Book (Blakeley) ; 300 Chants (Metcalfe) ; The London Tune Book ; 
 The National Book of Hymn Tunes, Leeds. The Organist's Quarterly Journal 
 (Spark). Songs: The Harvest Home ; The Stricken Oak ; Wedding Song ; Tide 
 Time ; Too busy to freeze ; Be silent tongue ; Song of the Harper. Sundry other 
 songs and pieces for Pf. , etc. 
 
 Dr. Dixon is still engaged in tuition for the higher class of music, and is a well- 
 known musician in Grantham, Lincoln, etc. ; while his reputation as a composer is 
 wide-spread. 
 
 DIXON (William). English music-engraver, teacher and writer in Liverpool 
 and London, B. [1760]. D. London, 1825. Author of Introduction to 
 Singing, containing rules for Singing at Sight, formed by the Author during 
 many years study and practice in Teaching, 1795. Collection of Sacred 
 Music, 1790. Six Glees for 3 Voices [1790]. Moralities : Six Glees, Cam- 
 bridge [1800]. Euphonia... Sixty-two Psalm and Hymn Tunes, in four parts... 
 for the Congregation of All Saints Church, Liverpool, Liverpool, 4to, n. d. 
 
 DIZI (Francois Joseph). Belgian harpist and comp., B. Namur, Jan. 14, 1780. 
 
 S. under his Father, a Prof, of Music. Travelled in Europe. Settled in 
 
 London as harpist at the principal theatres, and remained there till 1830. 
 
 Resided afterwards in Paris, where he D., Nov., 1847. 
 
 He composed sonatas, variations, and exercises for harp, songs, etc. He also 
 
 invented an improvement in harp mechanism which he called the ' ' perpendicular 
 
 harp," in which the principle is carried out of having the tenison of the strings acting 
 
 upon a centre parallel to the centre of the column, as well as to that of the sonorous 
 
 body. He published in London, "Ecole de Harpe, being a Complete Treatise on 
 
 the Harp," 1827. 
 
 DLABACZ. See Rosetti. 
 
 DOBSON (George C- ) American writer, author of " New System for the Banjo," 
 Boston, n. d. 
 
 DODD (Thomas). English violin-maker, native of Sheffield. Designed and 
 varnished instruments made by Lott and B. Fendt. All of the instruments 
 emanating from this maker's workshop were of exceptional quality as regards 
 varnish and shape. Another Dodd, the son of the above, traded largely on 
 his father's reputation. 
 
214 DOD — DON 
 
 DODWELL (Eev. Henry). Irish divine and writer; B. Dublin, 1641. D. I7ii. 
 In addition to many theological works he wrote "A Treatise concerning the 
 Lawfulness of Instrumental Musick in Holy Offices." Lend., l2mo, 1700. 
 
 DODV/ORTH (Harvey B.) English Band-master and comp,, B. Sheffield, 
 1821. Inventor of the rotary string- valve and bell-back instruments, feettied 
 in the United States. Has written and published several works on band instru- 
 ments and military band instrumentation. The first military band in the U. S. 
 was organised by Mr. Dodworth. He is -.>. musician of sterling worth, and 
 still maintains an enviable position among bandsmen. 
 
 DOEHLER (Theodor). German pianist and comp., B. Naples, April 20, 1814. 
 S. under Benedict and Czerny. Travelled in England and Europe as pianist. 
 D. Florence, Feb. 21, 1856. 
 WoRJS.s.—I'ianofore: Two Nocturnes, op. 25; Valses brilliantes, op. 26; 
 Twelve Studies, op. 30; Two Nocturnes, op. 31 ; Andante, op. 32; Fifty Studies, 
 op. 42 ; Si-x Melodies without words, op. 44 ; Three Mazurkas, op. 53. Varia- 
 tions, fantasias, valses, etc. 
 
 Doehler was a brilliant pianist and composer, and in his day achieved some fame. 
 He is now much less popular, and many of his works are quite out of use. 
 
 DOLBY (Charlotte). See Sainton-Dolby. 
 
 " DOLORES." See Dickson (Ellen). 
 
 DONALDSON (John). Scottish musician, theorist, and Professor of Music in 
 Edinburgh University, 1845-65. He was for some time previous to his appoint- 
 ment a teacher of music in Edinburgh. He did little, if anything, to promote 
 the artistic interests of the Chair of Music in the University, but contributed 
 largely to the present effective means of carrying out concerts, etc., by the 
 erection of the music room and organ, and by getting the rights of the Music 
 Chair established by process at Law in 1855. He D. Edinburgh, 1865. 
 
 DONATO (Baldesaro). Italian comp., B. about 1530. D. Venice, 1603. 
 Writer of madrigals. 
 
 DONE (Joshua). English writer, B. London. S. at Paris under Cherubini. 
 Org. of S. John's, Lambeth ; Chelsea Old Church ; Knightsbridge Chap. ; 
 and S. Augustine's, Liverpool. Author of "A Short Treatise on Harmony, 
 Thorough Bass, and Modulation, including the compass and properties of 
 Musical Instruments in general." London, Cocks, n. d. "Treatise on the 
 Organ," Lond., i8mo, 1837. "Tuner's Companion : a Treatise on the Con- 
 struction of Pianofortes ... with various Methods of Tuning them," Lond., 8vo, 
 n. d. " Selection of the most Popular, with many Original Psalm and Hymn 
 Tunes, Chants, etc.," London, fo. [1830.] 
 
 DONE (William). English cond. and org., B. Worcester, 1815. Org. of 
 Worcester Cath., 1844. He has conducted the Worcester Musical Festivals 
 since 1844 ; but is best known among musicians as an organist of high attain- 
 ments, and a musician of much earnestness and capability. 
 
 DONI (Griovanni Battista). Italian comp., B. Florence, 1594. Professor of 
 
 Elocution, and Member of Florentine Academy. Member of Delia Crusca 
 
 Society. D. Flotence, 1647. 
 
 Doni is author of a number of works on ancient music containing much interesting 
 
 information touching the state of music in his own day. Among them is "Com- 
 
 pendio del trattato del generi a modi della musica...," Rome, 1635. 
 
 DONIZETTI (Graetano). Italian comp., B. Bergamo, Nov. 29, 1798. S. under 
 
 Mayr, at Vienna. Resided in Paris, 1835. Travelled in Italy. Returned to 
 
 Paris, 1843. Prof, at Royal Academy of Music, Naples. Latterly insane. 
 
 D. Bergamo, April 8, 1848. 
 
 Works. — Operas: Enrico di Borgogna, Venice, 1818 ; II Falegname di Livonia, 
 
 1819; Le Nozze in Villa, 1820; Zoraide di Granata, 1822; Le Zingiira, 1822; Le 
 
 1 ettera anonima, 1822; Chiara e Serafina, 1822; II Fortunato inganno, 1823; 
 
 Alfredo il Grande, 1823; Una FoUia, 1823; L'Ajo nell' imbarazzo, 1824; Emilia di 
 
DON — DOR 215 
 
 Liverpool, 1824; Alahor in Granata, 1826; II Castello degli Invalidi, 1826; II 
 Giovedi Grasso, 1827 ; Olivo e Pasquale, 1827 ; II Borgomastro de Saardatn, 
 1827 ; Le Convenienze teatrali, 1827 ; Otto mese in due ore, 1828 ; L'Esule di 
 Roma, 1828 ; La Regina di Golconda, 1828 ; Gianni di Calais, 1828 ; II Paria, 
 1829 ; II Castello di Keuilworth, 1829 ; II Diluvio Universale, 1829 ; I Pazzi per 
 progetto, 1830; Francesca di Foix, 1830; Isnelda de' Lambertazzi, 1830 ; La 
 Romanziera, 1830; Anna Bolena, Milan, 1S30— Lend., 1831 ; Fausta, 1830 ; 
 L'Elisire d' amore, Naples, 1832 — Lond., 1836 ; Ugo, Conte di Parigi, 1832 ; 
 Sancia di Castilla, 1832 ; II Nuova Pourceaugnac, 1832 ; II Furioso nell' isola di 
 San Domingo, 1833; Parisina, 1833; Torquato Tasso, Rome, 1833; Lucrezia 
 Borgia, Milan, 1833 — Lond., 1839, in English, 1843 ; Rosamunda d'Inghilterra, 
 1834; Maria Stuarda, Naples, 1834; Gemma di Vergi, Milan, 1834; Marino 
 Faliero, Paris, 1835, Lond., 1835; Lucia di Lammermoor, Naples, 1835, Lond., 
 1838, English, 1843 ; Belisario, 1836 ; II Campanella di Notte, 1836; Betly, 1836 ; 
 L'Assedio di Calais, 1836; Pio di Tolomei, 1836; Roberto Devereaux, 1836; 
 Maria di Rudenz, Venice, 1838; Poliuto, 1838; Gianni di Parigi, 1839; Gabriella 
 di Vergi, 1840 ; La Fille du Regiment, Paris, 1840 — London, 1847 ; Les Martyrs, 
 1840; La Favorite, 1840 — Lond., 1847; Adelasia, 1841 ; Maria Padilla, 1841 ; 
 Linda di Chamouni, Vienna, 1842 — Lond., 1843; Don Pasquale, Paris, 1843 — 
 Lond., 1843 ; Maria di Rohan, Vienna, 1843 — Lond., 1847 ; Don Sebastien, Paris, 
 1843; Catarina Cornaro, 1844; Elisabeth, 1853; II Duca di Alba, 1881-82. 
 Masses, cantatas, etc. 
 
 Donizetti, Bellini, and to some extent Verdi, are all so directly under the influ- 
 ence of Rossini, that in speaking of their individual merits it is almost necessary to 
 criticise the modern Italian school as it stands. The mechanical prettiness of 
 Donizetti which at one time held sway over the tastes of the British public, is now 
 fortunately relegated to the minor theatres of Italy, unless we except the efforts 
 made by singers at that antiquated institution "The Italian Opera," to revive and 
 keep living the mediocrities of their native land. String after string of melodious 
 phrases plastered together without design or artistic perception, and devoid of pur- 
 pose or propriety constitute grand opera, and in this style most of Donizetti's operas 
 are written. 
 
 The only feature of Donizetti's work which calls for attention is the melody, 
 which is highly Italian, and consequently very pretty ; but its application to the 
 sentiment of the position in which it is found is frequently so absurd as to justify 
 the belief that Italians of recent times have little sense of dramatic power at all. 
 In Donizetti we have instances of waltz rhythms usurping the place of soft, impas- 
 sioned strains, and cantabile passages crowding out the more natural ones of vigour 
 which may happen to be appropriate to the action. 
 
 DONKIN (W. F.) English writer and musician, M.A., F.R.S., etc. Savilian 
 Prof, of Astronomy, Oxford. Author of "Acoustics, Theoretical," Part. I., 
 Oxford, 8vo, 1870. All published of a work designed to cover the whole range 
 of the science of sound. 
 
 DONZELLI (DomeniCO). Italian tenor vocalist, B. Bergamo, 1790. S. in 
 Italy. Debut in Italy, after which he appeared in all the principal European 
 cities, and in London, 1829. D. Bologna, Mar. 31, 1873. 
 
 DOPPLER (Albert Franz). Austrian flute-player and comp., B. Lemberg, 
 Oct. I, 1821. Comp. various operas, and instrumental music. D. Baden, nr. 
 Vienna, July 27, 1883. 
 
 DOBrAN (Rev. John Wilberforce). English writer and divine, B. London, 
 1834. B.A., Cantab., 1857 ; M.A., 1861 ; ordained 1857. Successively 
 curate of various parishes. Vicar of Fen Stanton, Huntingdonshire, 1883. 
 Works. — Choir Directory of Plain Song, etc. (with S. Nottingham). The 
 Psalter and Canticles, arranged for Gregorian chanting, with a Table of Tones and 
 the Canticles. Little Directory of Plain Song for Congregational use. The Can- 
 ticles arranged for Gregorian chanting, etc. The Versicles and Responses at Matins 
 and Evensong. Ritual Music of the Altar. Choir Book of Ritual Music of the 
 Altar. Hyfforddwr ar y Gin Eglwysig (Welsh Plain-song Directory). Harmonies 
 for the Gregorian Tunes, etc. Te Deums, Chants, etc. 
 
2l6 DOR — DOW 
 
 These works are valuable aids to those engaged in conducting the church service, and 
 their success has been attested by the numerous editions of them which have appeared. 
 
 BORING (Karl Heinrich). German pianist and comp., B. Dresden, 1834. 
 Comp. of Masses, Pf. Music, Songs, etc. 
 
 DORN (Heinrich Ludwig Edmund). German comp. and cond., B. Konigs- 
 berg, Nov. 14, 1804. Educated at Kbnigsberg University. S. under Zelter, 
 Klein, and L. Berger at Berlin. Cond. of Kbnigsberg Theatre, 1828. Chap.- 
 master at Cath. of S. Peter, Riga, 1830. Cond. of Cologne Theatre, 1843. 
 Cond. of Berlin Royal Opera, 1847-68. Teacher and comp. in Berlin. 
 Works.— 0/«rflj.- Rolands' Knappen ; Der Zauberer, 1827; Die Bettlerin, 
 
 1829 ; Abu Kara, 1831 ; Das SchwEermen-Msedchen, 1832 ; Der Schbffe von Paris, 
 
 1838; Bannerets d'Angleterre, 1843; Les Musiciens d'Aix-la-Chapelle, 1848; 
 
 Artexerxes, 1848 ; Die Niebelungen, 1854. Symphonies and Overtures for orch. 
 
 Psalms and Masses. Pf. Music and Songs. 
 
 DORRINGTON (Theo.) English divine of i8th century, author of "A Dis- 
 course on Singing in the Worship of God," Lond., 8vo, 1704- 
 
 DOTZAUER (Justus Johann Friedrich). German comp. and violoncellist, 
 
 B. Ha2sseerieth, Jan. 20, 1783. S. under Kriegk, Heuschkel, etc. 'Cellist 
 
 in Meiningen court band, 1801-5. Member of King's band, Dresden, 181 1-60. 
 
 D. Dresden, March 9, i860. 
 
 Works. — Graziosa, opera. Quartets for strings, op. 12, 19, 29, 30 ; Concertos 
 
 for 'cello and orch., opp. 27, 66 in C, 72 in E, 81 in D, 82 in E flat, 84 in E min., 
 
 93 in F, 100 in D flat, loi in F; Concertinos for 'cello and orch., opp. 67, 89, 105 ; 
 
 Two Sonatas for 'cello and bass, op. 2 ; Duets for violin and bass, op. 4, 8 ; Duets 
 
 for 2 vns., op. 14, 16, 25 ; Variations (or 'cello, etc., various ; Symphonies for 
 
 orch., op. 40, 85. Overtures. Mass. Songs, etc. 
 
 Dotzauer was the teacher of Kummer, Schuberth, Drechsler, etc., and was him- 
 self a fine performer and able composer. 
 
 DOUGALL (Neil). Scottish minor poet and comp., B. Greenock, Dec. 9, 1776. 
 
 Apprenticed to mercantile marine service, 1 79 1. Continued seaman till 
 
 accidentally wounded while discharging a cannon. Became teacher of music, 
 
 1799. Married Margaret Donaldson, 1806. Inn-keeper in Greenock, 1824. 
 
 D. Greenock, Oct. 1, 1862. 
 
 Works. — Poems and Songs, Greenock, i2mo, 1854. Psalm Tunes: Naples, 
 
 1801 ; Kilmarnock ; Patience ; New East Church ; etc. Also tunes contributed to 
 
 Stevens' " Sacred Music," vol. 6. 
 
 Dougall was acquainted with R. A. Smith, whose psalm ' ' Morven " probably 
 suggested his " Kilmarnock." Dougall was a very humble musician, but his psalm- 
 tunes will keep his memory green in Scotland for some time to come. " Kilmar- 
 nock " is by far the best of his productions, and was originally published in R. A. 
 Smith's tune book. His daughter Lillie was a public singer for a time. 
 
 DOW (Daniel). Scottish comp., teacher and collector of last century, author of 
 ' ' Twenty Minuets, and Sixteen Reels or Country Dances, for the Violin, 
 Harpsichord, or German Flute," Edinburgh, 4to [1775]. "Collection of 
 Ancient Scots Music,"'fo. [1778]? "A Collection of Ancient Scots Music, 
 for the Violin, Harpsichord, or German Flute, never before printed, consisting 
 of Ports, Salutations, Marches or Pibrochs, etc.," Edin., fo. n. d. "Thirty- 
 seven New Reels and Strathspeys, for the Violin, Harpsichord, Pianoforte, or 
 German Flute," Edin. (N. Stewart), ob. 4to, n. d. 
 DOWLAND (John). English comp., B. Westminster, 1562. Resided on the 
 Continent, 1584. Returned to England. Mus. Bac, Oxon., 1588. Do., 
 Cantab., 1592. Lutenist to Charles IV. of Denmark. Returned to England, 
 1605. _ Returned to Denmark for a time. Resided in England from 1609. 
 Lutenist to the King from 1625. D. 1626. 
 Works. —The First Booke of Songes or Ayres of foure parts, with Tablature for 
 the Lute, 1595. Second Booke, do., 1600. Third Booke, do., 1602. Lachrimse, 
 or Heaven Teares figured in Seaven passionate Pavans, with divers other Pavans, 
 Galiards, and Almands, set forth for the Lute, Viols, or Violins, in five parts, 1605. 
 
UOW — DRE 217 
 
 A Pilgrim's Solace, wherein is contained Musical Harmony of three, four, and five 
 parts, to be sung and plaid with Lute and Viols, 1612. Translation of Ornitho- 
 parcus, his Micrologus, or Introduction : containing the art of singing and the per- 
 fect use of the Monochord...Lond., 1609, fo. Harmonies in Este's Psalms, etc. 
 
 The poetry and music both in Dowland's works are of an exceptionally high 
 degree of excellence, and he is properly classed among the best musicians of his 
 time. The poetry, indeed, is so good that Prolessor Arber has reprinted the three 
 books of songs, etc. (words only), in his valuable series of classical reprints, while 
 the Musical Antiquarian Society have done a like service for the first book of the 
 same set. His music has that quaint, delightful flavour common to compositions of 
 the 1 6th and 17th centuries, and his harmonies and melodies both have beauties of 
 an exceptional cast. Shakespeare has shown his preference for Dowland in the 
 sonnet commencing, 
 
 " If music and sweet poetry agree." 
 
 DOWLAND (Robert). English comp., son of above, was Lutenist to the King, 
 1626. He edited several musical publications, and a " Varietie of Lessons," etc. 
 
 DOYAG-UE (Don Manuel Jose). Spanish comp., B. Salamanca, Feb. 7, 
 1755. D. Dec. 18, 1842. Writer of church music. 
 
 DRAESCKE (Felix). German comp. and writer, B. Coburg, 1835. S. at 
 Leipzig. Teacher of Pf. at Dresden. 
 Draescke is an expounder of the ideas of Wagner in the matter of musical reform, 
 and has written largely in support of them. His published works are chiefly for 
 the Pf , with others in MS., and an opera, " Gudrun," Hanover, 1884. 
 
 DRAGHI (Antonio). Italian comp., B. Ferrara, 1642. Musician in service of 
 Court at Vienna. D. Ferrara, 1707. 
 Works. — Operas: Aronisba, 1663; Peneloppe, 1670; Gara de Genni, 167 1 ; 
 La Lanterna di Diogene, 1674 ; Pirro, 1675 ; Chelonida, 1677 ; Achille in Tessalia, 
 1681 ; Lo Studio d' Amore, 1686 ; Tanasio, 1688 ; Rosaura, 1689 ; Amor per 
 virtii, 1697 ; L' Alceste, 1699 ; and others, to the number of 83. 
 
 DRAGHI (Giovanni Battista). Italian comp. of the 17th century. Settled 
 in England about middle of 17th century. Org. to the Queen, 1677. He 
 composed music (with Locke) to Shadwell's " Psyche," D'Urfey's "The Won- 
 ders in the Sun, or The Kingdom of Birds," 1706 ; Music to Dryden's ode, 
 " From Harmony " ; Songs in great numbers in contemporary collections. 
 Draghi was brother of Antonio, above noticed, and as a composer assimilated 
 his style to the English school. His songs are melodious. 
 
 DRAGONETTI (Domenico). Italian double-bass player, B. Venice, April, 
 1755. Played in the Opera Buffa at Venice. Choir-master of S. Mark's, 
 Venice, for 18 years. Appeared in London, 1794. Played'along with Lind- 
 ley at the Ancient Concerts, the Philharmonic, etc. Led the double-basses at 
 the Beethoven Festival at Bonn, 1845. D. London, April 16, 1846. 
 Dragonetti is, to the aspiring bass player, what Paganini is, or used to be, to the 
 
 violinist. His tone and execution alike were of the rarest type, placing him far 
 
 above any contemporary performer. The numerous anecdotes related anent him 
 
 will be found in any book of musical stories. 
 
 DRECHSLER (Josef). Bohemian comp. and writer, B. Bohemia, 1782. D. 
 Feb., 1852. 
 
 DRECHSLER (Karl). German violoncellist, B. Kamenz, Saxony, May, 1800. 
 S. under Dotzauer. Leader of band at Dessau, 1826. Appeared in England. 
 D. 1873. Drechsler taught Cossmann and Griitzmacher, and was a remark- 
 ably fine performer. 
 
 DRESSEL (Otto), German comp. and pianist, B. Andernach-on-the-Rhine, 
 1826. S. under Hiller and Mendelssohn. Settled in Boston, U.S., 1852. 
 Comp. Pf. music, songs, quartets, etc. 
 
 DRESSLER (Rafael). Hungarian flute-player and comp., E. Gratz, 1784. D. 
 Mayence, Feb. 12, 1835. Wrote among other works. Caprices for flute, op. 
 
2l8 
 
 DRE — DUB 
 
 I ; Concerto for flute and orch., op. 4 ; Concerto, op. 35 ; Quartets, various, 
 etc. He also published a treatise on the flute, op. 63, which has been trans, 
 into English, and other works of instruction. 
 
 DEEYSOHOCK (Alexander). Bohemian pianist and comp., B. Zacic, Oct. 
 
 15, 1818. Travelled in Europe as concert giver. Teacher at Prague. D. 
 
 Venice, April, 1869. 
 
 His Pf. music is of the elegant type so commonly named salon music, and is 
 
 brilliant and effective. The titles are generally after the following style ; — Scherzo, 
 
 op. 19 ; Idylle, op. 26 ; Grande Sonate, op. 30 ; Saltarella, op. 43 ; Bluette, op. 
 
 S3 ; Nocturne, op. 54 ; Premiere Scene Champetre, op. 61 ; Second do., op. 65 ; 
 
 Le Contraste, op. 97 ; etc. 
 
 DREYSCHOCK (Kaimund). Bohemian violinist, brother of above, B. Zack, 
 Aug. 20, 1824, D. Leipzig, Feb., 1869. His son, Felix, B. Leipzig, Dec. 
 27, i860, is a i^ianist. 
 
 DROBOISCH (Carl Ludwig). German comp„ B. Leipzig, Dec. 24, 1803. 
 D. Augsburg, Aug. 20, 1854, Comp. Pianoforte music, Lieder for voice and 
 Pf., an oratorio, etc. 
 
 DROUET (Louis Francois Philippe). French flute player and comp., B. 
 Amsterdam, 1792. D. Berne, 1873. 
 
 Works.— Three valses for 2 flutes, op. 24 ; Three trios for 3 flutes, op. 33 ; 
 Fantasia for Pf. and flute, op. 36 ; Do., op. 37 ; Concertos, variations, duets, etc. 
 
 Drouet was one of the founders of modern flute-playing, and himself a magnifi- 
 cent performer, and is supposed to have composed or arranged " Partant pour la 
 Syrie," the French national song commonly attributed to Eugenie de Beauharnais. 
 
 DRUITT (Dr. Robert). English writer, author of "A Popular Tract on 
 Church Music, with Remarks on its moral and Political importance, and a 
 Practical Scheme for its Reformation," Lond., 8vo, 1845 ; " Conversations on 
 the Choral Service, being an Examination of the Popular Prejudices against 
 Church Music," Lond., 8vo, 1853. 
 
 DRUMMOND (George). Mus. Bac, Englishorg. and comp., B. 1798. Blind 
 frorn infancy. S. under Crotch. Published "Parochial Psalinody, or 70 
 Plain Psalm Tunes arranged for the Organ or Pianoforte," 4to, n. d. 
 
 DRYDEN (Henry E. L.). English writer, author of "On Church Music and 
 the Fittings of Churches for Music," Lond., 8vo, 1854. 
 
 DRYDEN (John). English poet, B. Aldwinkle, Northampton, Aug. 9, 1631. 
 D. London, May I, 1700. 
 
 , „ J of 
 
 hi! ■ - ----- 
 
 Dryden is closely identified with the musical and dramatic progress and events of 
 his time. He wrote the libretto of " King Arthur " for Purcell, the " Ode for St. 
 Cecilia's Day," which his been frequently set, and a number of drainatic pieces, 
 the music to accompany which exercised the genius of many of the best English 
 composers, and aided greatly in forming the school of English music. His connec- 
 tion with Purcell was originally slight, but it afterwards developed into a warm 
 friendship. His works have been set by Purcell, Jeremiah Clarke, Arne, Handel, 
 and a great number of other composers, both English and foreign. 
 
 DUBOIS (Clement Francois Theodore). French comp., B. Rosnay, Aug. 
 
 24, 1837. Comp. "La Farandole," ballet, 1883; Operas, Aben-Hamet, 1884, 
 etc. ; also dance music, songs, etc. 
 
 DUBOURG- (George). English writer, grandson of Matthew, B. 1799. Author 
 of "The Violin ; being an Account of that leading Instrument, and its most 
 Eminent Professors." London, i2mo[i832]; 2ncledit., 1837 ; 4th edit., 1852: 
 5th edit., 1856. 
 
 DUBOURG (Matthew). English violonist and comp., B. London, 1703. S. 
 under Geminiani. Appeared first at Britton's concerts. Comp. and master of 
 state music in Ireland, 1728. Succeeded Festing as member of King's band, 
 1752. Leader ofband on production of Handel's "Messiah." D.London, 1741. 
 
DUC — DUG 219 
 
 He composed concertos, solos, and variations for the violin ; odes, songs, and 
 other vocal music. He was the leading English violonist of his day, and one of the 
 greatest among his contemporaries. The records which have descended to us as to 
 his powers on his instrument are flattering in the highest degree. 
 
 DUCHEMIN (Charles Jean Batiste). English cond. and pianist, B. Birming- 
 ham, May 12, 1827. S. at Frankfort, and afterwards at the Royal Cons, of Brus- 
 sels under Fetis, from whom he received a flattering autograph certificate on his 
 leaving in 1845. He is an Associate of the London Philharmonic Soc, Mem. 
 of Trin. Coll., London, etc. 
 Mr. Duchemin, for family reasons, settled in Birmingham, his native town, where 
 as Professor he has devoted himself assiduously to the instruction of music in its 
 higher branches. He was successively org. of S. Peter's Ch. , and of The Oratory, 
 as also director of the German Liederkrantz. He was one of the original promoters 
 of Classical Chamber Concerts in Birmingham, and also the Founder o( the 
 Edgbaston Amateur Musical Union — an orchestral society which has done much to 
 develope a taste for the works of the great masters. He was its Honorary Conductor 
 for twenty years from its commencement. Mr. Duchemin has often, and always 
 with great success, played in public on his favourite instrument, the piano, and has 
 been associated in these performances wilh many of the leading artistes of the day, 
 including Sainton, Henry Blagrove, Ries, Piatti, Sims Reeves, Grisi, Mario, 
 Weiss, etc. He has composed many things for piano, orchestra, vocal, etc., and 
 amongst others several short operettas ; but few have been published, and those 
 principally in the shape of light original compositions for the piano. 
 
 Mr. Duchemin is of French origin, his father having been a naval officer on 
 parole, taken prisoner during the war with Napoleon 1., and who lived later on in 
 Birmingham as a teacher of languages. 
 
 DUCIS (Benedictus). Belgian comp. and org., B. Bruges, [1480]. Org. at 
 
 Antwerp. Supposed to have visited England in 1515. Biography unknown. 
 
 D. [c. 1540]. 
 
 Works. — Novum et insigne opus musicum, sex, quinque, et quatuor vocum, 1537; 
 
 Psalmorum selectorum, 1539 ; Selecta; Harmonife, 1538; Tertius liber Mottetorum, 
 
 1538; Harmonien iiber alle oden des Horaz, fiir 3 und 4 Stimmen. Ulm, 1539, 
 
 DUCOUDRAY. See BouROAULT-DacouDRAY. 
 
 DUFAY (Guillaume). Belgian comp. of the fourteenth century (1350-1432). 
 Author of a number of masses and other church music, published in various 
 collections, and considered remarkable specimens for the period to which they 
 belong. 
 
 DUFF (Charles). Scottish collector, teacher in Dundee about beginning of pre- 
 sent century. Published "A Collection of Strathspey Reels, Jiggs, etc., with 
 a Bass for the Violoncello or Harpsichord, etc.," Edin., fo., n. d. Another 
 Duif (Archibald), published about the same time a " Collection of Strathspeys, 
 Reels, etc., for the Pianoforte, Violin, and Violoncello." 410, 11. d. 
 
 DUFF & STEWART. English firm of music-publishers, established at Oxford 
 Street, London, by John Duff, in 1831. Their publications originally consisted 
 of the popular songs of Samuel Lover, operas by Rooke, etc., and latterly they 
 have published songs, etc., by many of the most famous English composers. 
 Successive members of the firm were Mr. Hodgson, who retired in 1866, and 
 died about 1878 ; and Mr. Frank Stewart became a partner in 1866, and is 
 now the proprietor of the business. 
 
 DUGGAN (Joseph Francis). Irish comp. and pianist, B. Dublin, July 10, 
 1817. Accompanist of the recitatives in the Italian opera. New York. Musical 
 cond. of English opera, under John Wilson, in the U. S. Cond. of German 
 opera company. Teacher in Philadelphia, Baltimore, and Washington. 
 Principal and Professor in the Philadelphia Musical Institute, 1841. Pianist, 
 teacher, and comp., in Paris, 1844-45. Resided in Edinburgh, and applied 
 unsuccessfully ior University Professorship. Settled m London, 1845. Prof, 
 of Singing in the Guildhall School of Music, etc. 
 Works, — 0/«-aj.- Pierre, l act (Henry Drayton), Lond., Nov., 1853; L6onie, 
 
220 DUH — DUN 
 
 3 acts (Henry Drayton), Lond., Mar., 1854; The Brides of Venice, 3 acts (MS.) ; 
 Alfred, German, Philadelphia (MS.) ; Le Nain Noir, Paris, (MS.). Overture and 
 Entr'actes to " As You Like It," 1854 ; Home and Foreign Lyrics, a set of 13 
 songs. The xxvii. Psalm, for contralto voice ; Four volumes of songs (about 50 in 
 number); Six songs, " Rhythmic Tentatives," op. I, 1879 ; Six string quartets;. 
 Two symphonies, in C and E flat ; Polacca in G, for Pf.; Polonaise in G, Pf ; The 
 Syrens, The Guards, Maria, Laura, Rosalie, Tears, etc., for Pf.; The Singing- 
 master's Assistant ; Translation of Albrechtsberger's "Science of Music," Phila- 
 delphia, 1842 ; Translation of Fetis' " Treatise on Counterpoint and Fugue " ; 
 Many single songs, Pf. pieces, etc. 
 
 Mr. Duggan has appeared in public as organist, violinist, conductor, and pianist, 
 but has been most appreciated in his rdle of composer. His lyrics embody his ex- 
 perience and study of rhythm, a matter of the utmost importance, but occasionally 
 overlooked by even the greatest composers, and always by the minors. He has in 
 his songs wedded the poetry and music in close rhythmical union, accompanied by 
 fine and appropriate melody. His operas I and 2 were greatly successful when 
 produced, and No. 3, which has not yet been brought out, embodies his ideas on 
 the subject of rhythm. His other songs, not in the collections above named, and 
 part songs, are all impressed with a genuine artistic feeling and sympathetic and 
 poetic colouring. 
 
 DIJHAUPAS (Albert). French comp., B. Arras, April 22, 1S32. Org. and 
 writer of masses, motets, Pf music, songs, etc. 
 
 DUKE (Richard). English violin-maker of the i8th century, flourished in Lon- 
 don in latter part of i8th century [1768-1780]. 
 The position of this maker among his contemporaries and successors has never 
 been strictly defined-; some writers holding his claims to be very shallow, and 
 others magnifying his pretensions to the greatest possible dimensions. His violins, 
 when they can be got genuine, an extremely difficult matter, are remarkable for 
 their fine smooth tone, and general good workmanship. They have been copied 
 and forged to infinity, so that a real ' Duke ' is a rarity seldom to be found among 
 the treasures of ordinary collectors. 
 
 DULCKEN (Marie Louise), nie David. German pianist, B. Hamburg, Mar. 
 20, 1811. Debut, 1821. Appeared in Berlin, Leipzig, etc. Married Mr. 
 Dulcken, in Germany, 1828. Appeared in London, 1829. Travelled in 
 Europe. D. London, April 12, 1850. 
 
 DUMONT (Henri). Belgian comp. and org., B. Liege, 1610. Chap.-master 
 to Louis XIV. D. Paris, 16S4. Dumont introduced counterpoint into his com- 
 positions, being the first musician in France who did so, and wrote a number 
 of fine motets and masses, the latter having been continually performed till far 
 on in the present century. 
 
 DUMONT (Felix). French pianist and comp., B. Paris, Aug. 14, 1832. S. 
 Paris Cons. Wrote School for Pf. and salon music. 
 
 DUN (Finlay). Scottish comp. and teacher, B. Aberdeen, Feb. 24, 1795. S. 
 under Baillot, and at Cons, of Milan. Played first tenor in theatre of San 
 Carlo. Afterwards S. singing under Crescentini. Settled in Edinburgh as 
 violinist, comp., and teacher. D. Edinburgh, Nov. 28, 1853. 
 Works. — Two Symphonies for full orch. (MS.) ; Solfeggi and Exercises upon 
 Scales, Intervals, etc.,... to which is prefixed an Introductory Discourse on Vocal 
 Expression, Lond., fo., 1829 ; Two prize glees ; The Vocal Melodies of Scotland, 
 edited with John Thomson (Paterson) ; Wood's Songs of Scotland, edited with J. 
 F. Graham, etc.; Pf. music. Part-songs and glees: June ; The Parted Spirit (prize 
 at Manchester Gentlemen's Glee Club), 1831 ; She is coming, trio, etc.; Anthems, 
 psalms, hymns ; Lays from Strathearn, by the Baroness Nairne, Glasgow, fo., n.d.; 
 The Musical Scrap Book, Edin., 4to [1833]. Orain na'h Albain, a Collection of 
 Gaelic Songs, with English and Gaelic Words, and an Appendix containing Tradi- 
 tionary Notes to many of the Songs. ..Edin. , 1848, fo. Analys,is of Scottish Music, etc. 
 Dun was a respectable musician, but will only be remembered by his harmoniza- 
 tion o( a number of the Scottish melodies, These harmonies are greatly inferior to 
 
DUN — DUP 221 
 
 Thomson's. He had an extensive capacity for languages, and was a fluent Greek, 
 Latin, German, French, and Italian scholar. Some of his songs are very good, 
 and all his part-songs are fine. 
 
 DUNCAN (Gideon). Scottish writer, author, of " True Presbyterian, or a brief 
 account of the new singing, its author, and progress in general," 175S, i2mo. 
 
 DUNI (Egidio Komoaldo). Italian comp., B. near Naples, Feb. 9, 1709. 
 Travelled in Europe. Visited London. Musician to Duke of Parma's daugh- 
 ter, 1755. Settled in Paris, 1757. D. Paris, June 11, 1775. 
 Works. — Operas: Nerone ; Artaserse ; Bajazet ; Giro ; Demofoonte ; Ninette a 
 la Cour, 1755 ; Le Peintre amoureux de son modele, 1757 ; Le Docteur Sangrado, 
 •757 ; Nina et Lindor, 1761 ; Le Bonne Fille, 1762 ; La Clochette, 1766 ; etc. 
 
 Duni is credited with having founded comic opera in France. His music is 
 melodious, but now completely forgotten. 
 
 DUNNE (John). English comp. and org., B. York, 1834. Chor. in Worcester 
 Cath., 1850. Do., Cashel Cath., Ireland, 1854. Member of Christ Ch., 
 St. Patrick's Cath., and Trinity College choirs, Dublin. Mus. Bac, Dub., 
 1866. Mus. Doc, Dub., 1870. Examiner to Government Inteimediate Edu- 
 cational Board, Ireland, etc. D. Ashton, Killiney, near Dublin, June 7, 1883. 
 Works. — Myra, a Cantata for full chorus and orch. The Hanging of the 
 
 Crane (Longfellow), Cantata. Church Services and Anthems. Glees, Songs, etc. 
 
 DUNSTABLE (John). English comp. and writer (1400-1458). Author of 
 "De Mensurabiles Musica,' a work quoted by Ravenscroft. 
 He was erroneously attributed with the invention of counterpoint by Tinctor, but 
 is generally held up by succeeding musicians as a composer of much ability and a 
 musician of universal influence. 
 
 DUNSTAN (H. Mainwaring). English writer, translated from the French 
 "Life and Letters of Berlioz," London, 8vo, 1882. 
 
 DUPONT (AugUSte). Belgian comp., pianist, and Prof., B. near Li^ge, Feb., 
 1828. Prof, of Pf. in Brussels Cons., 1853. 
 
 Works. — Pianoforte: Etude de trilles, op. 2; La Pensee, etude, op, 3; 
 Serenade, op. 6 ; Concerto in F minor, op. 1 1 ; Six Morceaux Caracteristiques, 
 op. 12; Reminiscences Pastorales, op. 16; Barcarolle, op. 17; Un Chanson de 
 jeune fille, op. i8 ; Reverie, op. 20 ; Toccatelle, op. 26 ; Chanson Hongroise, op. 
 27 ; Ballades, op. 43, 44, 47, etc. ; Roman en dix pages, op. 48. String quar- 
 tets, etc. 
 
 Dupont is a writer of most elegant and beautiful Pianoforte music, his ballades, 
 barcarolles and studies being graceful and poetical effusions, equalled by few living 
 composers. 
 
 DUPONT (Jean Francois). Belgian comp. and violinist, B. Rotterdam, 1S22. 
 Author of " Bianca "' and " Siffredi," operas, two symphonies, trios, songs, Pf. 
 music, etc. 
 
 DUPONT (Joseph). Belgian comp. and violinist, B. Liege, Aug. 21, 1821. 
 D. Li%e, Feb. 13, 1861. Prof, of violin at Li^ge Cons. Comp. of "Ribeiro 
 Pinto," opera, 1858, violin music, etc. 
 
 DUPONT (Joseph). Belgian comp. and violinist, B. Ensival, Jan. 3, 1S38. 
 S. Brussels Cons. Gained first prize for violin playing, 1862 ; First comp. 
 prize, 1863. Prof, of Harmony Brussels Cons. Comp. of Symphonies, Over- 
 tures, Cantatas, Pf. Music, Songs, etc, 
 
 DUPOET (Jean Louis). French violinist and comp., B. Paris, Oct., 1749. 
 D. Paris, Sept., 1819. 
 
 DUPORT (Jean Pierre). French violoncellist, B. Paris, Nov., 1741. D. Ber- 
 lin, 1818. Comp. for his instrument. 
 
 DUFBiEZ (Gilbert Louis). French comp. and tenor vocalist, B. Paris, Dec. 6, 
 1806. Writer of Songs, etc. Prof, in Paris Cons., 1842-50. Famous as the 
 instructor of many famous vocalists. Author of a vocal method, translated 
 
222 but— DU§ 
 
 into English as "Treatise on Singing, with Rules, Examples, and Exercises 
 for every species of voice," London, n. d. 
 
 DUPUIS (Thomas Saunders). English (French) comp. and org., B. 1733- 
 Member of Chap. Roy. S. under Gates and Travers. Org. of Chap. Roy., 
 1789. Mus. Bac. and Doc. Oxori., 1790. D. London, June 17, 1796. 
 Works.— Cathedral Music, in Score, composed for the use of His Majesty's 
 Royal Chapel, by the late T. S. Dupuis, selected from the original manuscripts, 
 and carefully revised, by John Spencer, London, n. d., 3 vols., fo. Twenty-four 
 Double and Single Chants, 4to, n. d. Sixteen Double and Single Chants, as per- 
 formed at the Chapel Royal ; two other collections. Five Concertos for Organ, 
 with Accompaniments, fo., n. d. Concertos, Sonatas and Lessons for Pf. Songs, 
 Six Glees [17S5], etc. 
 
 DURAND (Marie). American soprano vocalist, B. Charleston, S. Carolina. 
 Educated in New York. Z'/ii'M; at Chicago as "Zerlina." Appeared in St. 
 Petersburg, Brussels, New Orleans, Milan, Florence, and London, 1883-84. 
 
 DURANTE (Francesco). Italian comp., B. Naples, March, 1684 [1693]. 
 Master of Cons, of S. Onofrio, Naples. D. Naples, Aug., 1755. 
 Composer of a number of beautiful vocal exercises and duets, which up to recent 
 times were highly prized in Italy. Cherubini published an edition of his duets at 
 Paris about 1830. Durante was teacher of Pergolesi, Terradellas, Piccinni, Traetta, 
 paesiello, Sacchini, Guglielmi, etc. His works include many Masses, Psalms, 
 Hymns, Litanies, Cantatas, Madrigals, Solfeggi, Sonatas, etc. 
 
 DURASTANTI (Margherita). Italian soprano vocalist, B. in Italy, 1695. 
 Appeared in Handel's operas at London, 1720-24, 1733, etc. D. [?] 
 
 D'URFEY (Thomas). French song-writer and playwright, B. Exeter, 1649. 
 D. London, Feb. 26, 1723. 
 Writer of a large number of plays and obscene songs, most of which latter are 
 contained in "Wit and Mirth; or, Pills to purge Melancholy ;" an encyclopaedia 
 of trivial, though often witty verse, set by good composers like Purcell, Humphrey, 
 etc. The moral tone of society in Tom D'Urfey's day was not of the highest order, 
 and the debut of our Grub-street poetaster did not tend to raise it. The book 
 abounds in so-called Scotch songs, or songs in the Scotch manner, and contains a 
 few decent lyrics of a feeble kind. 
 
 D'JRRNER (Johann Euprecht.) German violinist and comp., B. Anspah, 
 Jan. 7, 1810. Resided in Edinburgh as a teacher and conductor. D. Edin- 
 burgh, June, 1859. His works consist chiefly of songs and part-songs. 
 
 DUSCHEK (Franz). Bohemian pianist and comp., B. Dec, 1736. D. end of 
 last century. His wife, «/« Josephine Hambacher, was a vocalist of some 
 repute in her day. She was B. Prague in 1756. 
 
 DTJ3SEK (Johann Ludwig) or Duschek. Bohemian comp. and pianist, E. 
 Czaslau, Feb. 9, 1761. S. under his father. Chor. in Ch. of Iglau. Edu- 
 cated at Jesuit's Coll. Org. at Kuttenberg, and at S. Rombaut, Malines. As 
 Pianist appeared in every principal European city. Came to London, 1789. 
 Married daughter of Montague Corri, 1792. Partner in music business with 
 M. Corri. Absconded. Resided on Continent. D. near Paris, March 20, 
 1812. 
 WonKS. — Op. I. Three Concertos for Pf. and quartet ; op. 2. Three Sonatas for 
 Pf , vn., and 'cello ; op. 3. Concerto for Pf and orch., in E. flat ; op. 4. Three 
 Sonatas for Pf. and vn. ; op. 5. Three Sonatas for 2 vns. ; op. 6. Airs varied, for 
 Pf ; op. 7. Three Sonatas for Pf and flute ; op. 8. Three Sonatas for Pf. and vn. ; 
 op. 9. Three Sonatas for Pf. ; op. 10. Three Sonatas for Pf. ; op. 11. Three do. ; 
 op. 12. Three Sonatas for Pf. and vn. ; op. 13. Three do. ; op. 14. Three do. ; op. 
 15. Concerto for Pf and orch. in F ; op. 16. Twelve Lessons for Pf ; op. 17. 
 Three Sonatas for Pf. and vn. ; op. 18. Three do. ; op. 19. Six Sonatas for Pf and 
 flute; op. 20. Six Sonatinas for Pf. and flute ; op. 21. Sonala for Pf, flute, and 
 'cello, in C; op. 22. Concerto for Pf. and orch., in 1! : op. 23. Sonata, etc., for 
 
DAivi — Can iz^ 
 
 Pf. ; op. 24. Three Sonatas for Pf., vn., and 'cello; op. 25. Three Sonatas for Pf. 
 and flute ; op. 26. Concerto for Pf. and orch., in E flat ; op. 27. Concerto for Pf. 
 and orch., in E flat; op. 28. Six Sonatas (or Pf. and vn. ; op. 29. Concerto for Pf. 
 and orch., in C ; op. 30. Four Sonatas for Pf. and vn. ; op. 31. Three Sonatas for 
 Pf., vn.,and'ceUo; op. 32. Sonata for Pf. duet; op. 33. II Rivocato, Pf. ; op. 34. Two 
 Sonatas for Pf , vn., and 'cello ; op. 35. Three Sonatas for Pf. ; op. 36. Sonata for 
 Pf. and vn., in C ; op. 37. Sonata for Pf., vn., cello ; op. 38. Sonata for Pf. duet ; 
 op. 39. Three Sonatas (or Pf. ; op. 40. Concerto (military) for Pf. and orch. in B ; 
 op. 41. Quartet for Pf., vn., viola, 'cello; op. 43-5. Sonatas for Pf. ; op. 46. Six 
 easy Sonatas for Pf. and vn. ; op. 47. Two do. ; op. 48. Sonata for Pf. duet, in C 
 op. 50. Concerto for Pf. and orch., in G minor ; op. 51. Three Sonatas for 
 Pf. and vn. ; op. 53. Quartet for Pf. and strings, in E flat ; op. 55. Fantasia 
 and Fugue for Pf. ; op. 56. Quartet for Pf. and strings ; op. 60. Three 
 Quartets for strings ; op. 61. Elegie harmonique sur la mort du P. L. F. de Prusse, 
 in F sharp minor ; op. 62. La Consolation, andante for Pf., in B ; op. 63. Concerto 
 for 2 pianos and orch., in B ; op. 64. Three Fugues for Pf. duet ; op. 65. Sonata 
 for Pf., flute, and 'cello, in F ; op. 66. Concerto for Pf. and orch., in F ; op. 67. 
 Three Sonatas for Pf. duet; op. 68. Notturno concertante for Pf. and vn., with 
 horn; op. 69. Three sonatas for Pf. and vn. ; op. 70. Concerto for Pf. and orch.; 
 op. 71. Recueil d'Airs connus varies pour Pf. ; op. 72. Sonata for Pf. duet, E flat ; 
 op. 73. Sonata for Pf. duet, in F ; op. 74. Do., in B ; op. 75. Sonata for Pf. ; op. 
 76. Fantasia for Pf., in F; op. 77. Sonata for Pf, in F min. (L'Invocation). 
 Numerous minor works, unnumbered, for Pf., and songs. 
 
 Much of Dussek's music still enjoys a degree of popularity, but not by any means 
 equalling that which it enjoyed at the beginning of the present century. Much of 
 his music was written for shop purposes, and possesses little, or no artistic merit 
 whatever ; his naval engagements, battles, delineations of ceremonies, etc., being 
 so much arrant trash. His sonatas for Pf. are his best works, and are likely to sur- 
 vive anything else he has composed. His concerted chamber music is also of great 
 merit, and still holds a small place in popular favour. Messrs. Breitkopf & 
 Hartel of Leipzig keep in print nearly all of his works, which shows in a measure 
 that his name is unlikely to be lost in oblivion during the present century. The Pf. 
 music of Dussek belongs to the period of Mozart rather than of Beethoven, although 
 to a large extent it is technically far in advance of either Haydn or Mozart. In 
 general style his compositions are flowing and poetical, occasionally reaching a high 
 degree of real inspiration. 
 
 DUSTMANN (Louise). See Meyer. 
 
 DUVERNAY (E.) French writer, author of "A Complete Instruction Book 
 for the Guitar." Lond., 1829. 
 
 DyVEKNOY (Jeajl B.) French comp. and pianist, B. 1S02. D. Passy, iSSo. 
 Works il4 W «. ' .5T as, Chansonettes, Divertissements, Rondos, Airs, Valses, 
 Mazurkas, etc., etc., for Pf. Studies for Pf. School for the Pf., etc. 
 
 DUVERNOY (Victor Alphonse). French pianist and comp., B. Paris, Aug. 
 30, 1842. S. Paris Cons. Writer of Pf. music. 
 
 DUVOIS (Charles). French org. and comp., B. Strasbourg, 1830. Writer ot 
 church music, theoretical works, etc. 
 V , 
 
 DVORAK (Antonin). Bohemian comp., B. Miihlhausen, near Kralup, Sept. 
 8, 1841. His father, Franz Dvorak, was a butcher, and also kept a small 
 tavern. The dance music played here first attracted the attention of the child, 
 who early displayed his love for music. His first lessons were in violin-playing and 
 singing, from a schoolmaster in the little town. In the first he made such pro- 
 gress as soon to be able to play a solo at a church festival with great success. 
 Later on he studied harmony and organ-playing with one Liehmann, in 
 Zlonitz, and obtained a first insight of the mysteries of instrumentation; By 
 dint of great sacrifice, his father sent him to Prague at the age of 16, and he 
 received instruction from Professors Pitsch and Krejci. From the year 1859, 
 he was thrown on his own resources, and endured many years of extreme 
 poverty, earning a scanty subsistence by playing in the bands that visited ca/i's, 
 etc. In 1 87 1 he obtained the position of member of the orchestra in the 
 
224 bVO — DVE 
 
 National Theatre which was opened that year. All this time he was studying 
 with the greatest zeal and ardour, and many compositions were finished, but 
 there was no possibility of getting them performed. In Carl Bendl he found a 
 friend and adviser, and in 1873 was produced a hymn, "Die Erben des weissen 
 Berges," for chorus and orchestra, which at once brought his name from 
 obscurity. The idea of obtaining a state-stipend induced him to procure the 
 recommendation of Herbeck and Hanslick, to whom he sent several works. 
 Herbeck's death caused a delay of some years ; but Braham taking his place as 
 one of the Commissioners, whose office it was to investigate such cases, at once 
 saw the merit of the compositions. He procured publishers in the firms of 
 Simrock, Berlin, and others, and Dvorak's fame was at once established. This 
 was about 1877, and two or three years later his name was known all over 
 Europe. Visited London in March, 1 884, as guest of the Philharmonic 
 Society; and attended the Worcester Festival, Sept., 1884, to conduct his 
 " Stabat Mater," and Symphony in D. He also cond. his cantata, "The 
 Spectre's Bride," at Birmingham, in Aug., 1885. 
 
 Works.— Vier Lieder, for voice and Pf., op. 3 ; Vier Lieder (Serbian), do., op. 
 6 ; Vier Lieder (Bohemian), do., op. 7 ; Silhouetten for Pf., op. 8 ; Romance for 
 vn. and orch., op. II ; Four duets for soprano and tenor, alto and tenor voices, op. 
 20 ; Trio for Pf., vn., and 'cello, op. 21 ; Serenade in E for strings, op. 22 ; Trio 
 for Pf., vn., and 'cello, in G min., op. 26 ; Dumka, elegy for Pf., op. 35; Air and 
 Variations for Pf., in A flat, op. 36 ; Comic Opera, "Der Bauer ein Schelm," op. 
 37 ; Four duets for 2 voices, op. 38 ; Suite for orch., op. 39 ; Furiante, Bohemian 
 National Dances, op. 42 ; Serenade in D minor, for wind instruments, op. 44 ; 
 Slavische Rhapsodien for orch., in D, G, and A flat, op. 45 ; Slavische Tanze, for 
 Pf., in two books, op. 46 ; Bagatellen for 2 vns., 'cello, and Pf., op. 47 ; Sextet for 
 2 vns., 2 tenors, and 2 'cellos, op. 48; Mazurka, for vn. and orch., in E. min., op. 
 49; Quartet in E flat, for strings, op. 51 ; Gipsy Melodies for voice and Pf., op. 55 ; 
 Sonata for Pf. and vn., op. 57; "Wanda," opera, Prague, 1876; Legends for 
 orch., op. 59; Symphony in D, op. 60; Third Quartet in C, op. 61; 
 Der Dickschadel, comic opera ; Dimitrije, opera, Prague, 1882 ; Mein Heim, 
 overture for orch., op. 62 ; Stabat Mater, for soli, chorus, and orch., 
 op. 58, 1883; Second trio, in F minor, op. 65 ; Scherzo Capriccioso, for orch., op. 
 65 ; Aus dem Bohmer-Walde, for Pf. duet, op. 68 ; The Spectre's Bride, cantata, 
 Birmingham Festival, 1885. 
 
 "Dvorak is eminently a national composer, and in the mass his utterances are 
 couched in the national dialect. The reasons for this are not obscure. Till Brahms 
 introduced him to Cosmopolitan society in Vienna, he was in art as in blood a 
 Czech. _. . . He may think — and, if so, he is not far wrong — that the melodic 
 element in his art needs to recruit itself more and more by going to the source from 
 which even its most cultured forms orginally sprang. But whether he hold this 
 opinion or not, the result of his work must be to strengthen the movement which is 
 now so eagerly drawing thematic material from folk-music, and to enrich the com- 
 mon musical language of all countries with new, diversified, and precious 
 resources."— Joseph Bennett in the Musical Times, April, 1881. 
 
 DWIGHT (John Sullivan). American writer and musician, B. Boston, May 
 13, 1S13. Educated at Harvard University, and at Cambridge, Mass. Or- 
 dained pastor at Northampton (Mass.), 1840. Established " Dwight's Journal 
 of Music," Boston, 1852-1880. 
 Mr. Dwight during a long life laboured successfully to promote the best interests 
 of music in the United States, and so far as Boston is concerned his efforts have 
 been eminently great in their results. His journal was the only one in America 
 which really aimed at forwarding the cause of music, and which was entirely dis- 
 associated from any trade or advertising interests. 
 
 DYER (Arthur Edwin). English comp. and org., B. Frorae, Feb. 20, 1843. 
 He has written a number of songs, church and organ music, etc. Mus. Bac, 
 Oxon., 1873. Mus. Doc, Oxon., Dec, 1880. He is music-master at Chel- 
 tenham College, and an organist of the greatest ability. His cantatas, " Sal- 
 vator Mundi," 1881, and " Harold," 1882, are good,' and have been success- 
 fully produced. Another work for chorus and orch., "I wish to tune my 
 quivering Lyre," was performed at the Gloucester Musical Festival, 1883. 
 
bYE — EAT 825 
 
 DYEB (Samuel). American musician, compiled and published " A New Selec- 
 tion of Sacred Music," Baltimore, 1820; "Philadelphia Selection of Sacred 
 Music, " 4to, n. d. 
 
 DYGON (John). English comp. of 15th century, was prior of the convent of S. 
 Augustine, Canterbury, 1497. D. 1509. 
 He composed some curious songs, etc. 
 
 DYKES (Rev. John Bacchus). English comp. and divine, B. Kingston-npon- 
 
 HuU, March lo, 1823. S. music under Skelton, org. of St. John's ch., Hull. 
 
 S. at Cambridge, 1843. B.A., 1847. Curate at Malton, Yorks., 1847. S. 
 
 under Walmisley. Minor canon and precentor, Durham Cath., 1849. Cond. 
 
 of Univ. Musical Soc. M.A., Cantab., 1851. Mus. Doc, Durham, 1861. 
 
 Vicar of St. Oswald, Durham, 1862. D. St. Leonard's, Jan. 22, 1876. 
 Works. — Service in F; The Lord is my Shepherd, 23rd Psalm ; These are they 
 which came out of great tribulation, anthem. Part-songs. Fsalms and Hymns : S. 
 Cross, Melita, Vox Dilecti, Horbury, HoUingside, St. Cuthbert, Dies Irse, Lux 
 Benigna, Nicsea, and a variety of other psalms. 
 
 The hymns of Dykes are among the finest examples of modern times. Melody, 
 harmony, and above all, true religious spirit, are beautifully and agreeably com- 
 bined in all to form very appropriate, and technically correct, song offerings. They 
 are one and all so well known, that little need be said beyond that their place in 
 our collections will ever be among the foremost. His services and anthems are 
 occasionally used, but their merits, considering the extended field he possessed in 
 these forms for exercising his many powers, are not by any means so high as the 
 genuine beauty of his hymns would warrant. 
 
 DYNE (John). English comp. and alto vocalist of l8th century. Was gentleman of 
 Chap. Roy., 1772. Lay-Vicar, Westminster, 1779. Principal at Handel 
 Commemoration, 1784. D. (suicide), Oct. 30, 1788. He composed prize 
 and other glees, songs, etc. 
 
 E. 
 
 EAGER (John). English comp. and org., B. Norwich, 1782. S. under his 
 
 father. Resided for a period with Duke of Dorset. Married at Yarmouth, 
 
 1800. Adopted Logier's system, and commenced teaching it. Corporation 
 
 org. at Yarmouth. D. [?] 
 
 Eager composed Songs, a Pf. Concerto, and Glees. He had much native talent, 
 
 and was a good violinist as well as an organist. In his efforts to propagate Logier's 
 
 system he underwent much annoyance from the county press. " . . The talents 
 
 of Eager would have enabled him, if not to rank among first-rate composers, to 
 
 have followed them at no very humble distance." 
 
 EARSDEN (John), English comp. of end of l6th and beginning of 17th cen- 
 turies. He composed songs, etc., and is mentioned in Hawkins History. 
 
 EASTCOTT (Richard). English writer and musician, B. Exeter, 1740. 
 Chaplain of Livery Dale, Devon. D. 1828. 
 Works. — Sketches of the Origin, Progress, and Effects of Musick, with an 
 account of the ancient Bards and Minstrels, illustrated with various Historical 
 Facts, Anecdotes, etc., Bath, 1793, 8vo (2 editions). The Harmony of the Muses 
 (Songs), 11. d. Six Sonatas for Pf., etc. 
 
 EATON (E. K.) American writer and comp., author of "New Method for the 
 Cornet, in three parts," Boston, n. d. 
 
 EASTLAEE (Lady Elizabeth). English writer, authoress of " Music and 
 the Art of Dress," Lond., 1852, i2mo. 
 
 EATON (Thomas Damant). English writer and musician, at one time Presi- 
 dent of the Norwich Choral Society. He wrote Critical Notices of Bexfield's 
 
226 EAV — DUN 
 
 "Israel Restored," and Pierson's "Jerusalem" {tepiinted from the f^or/oik 
 News), Norwich, 1852. Musical Criticism and Biography from the Published 
 and Unpublished Writings of T. D. Eaton, edited by his Son, London, 8vo, 
 1872. 
 
 EAVESTAFF (William). English writer and pianoforte maker, author of 
 "Instructions for the Pianoforte." Lond., 1830. 
 
 EBDON (Thomas). English comp. and org., B. Durham, 1738. Chorister in 
 
 Durham Oath. Org. of Durham Cath., 1763-1811. D.Durham, Sept. 23, 
 
 1811. 
 
 Works.— Two Sonatas for the Harpsichord, 1780 ; Collection of Six Glees, op. 
 
 3, 1780 ; Sacred music, composed for the use of the Choir of Durham, fo., 1780, 2 
 
 vols. Anthems, songs, etc. 
 
 Ebdon is best known by his service in C. He is spoken of as having been an 
 organist of much merit. 
 
 EBERL (Anton). Austrian pianist and comp., B.Vienna, Jan., 1766. Teacher 
 in Vienna, and friend of Gluck and Mozart. D. Vienna, March II, 1807. 
 Works. — Operas: Die Konigin der Schwarzen, 1801 ; Les Bohemiens ; The 
 Sorcerer. Cantatas, Symphonies, Overtures, String Quartets, Pf. Sonatas, Varia- 
 tions, Concertos, Songs, etc., none of which are now ever heard. 
 
 EBEBiLIN (Daniel). German org. and comp,, B. Nuremberg, 1630. D. 
 Cassel, 1691. Comp. org. and church music. 
 
 EBERLIN (Johann Ernst). German comp. and org., B. Jettingen, March 27, 
 
 1702. Court org. to the IPrince Archbishop of Salzburg. D. Salzburg, June 
 
 21, 1762. 
 
 Eberlin was a famous organist and contrapuntist, and wrote a large amount of 
 
 church music of an excellent kind ; including Offertorium, 1770; Improperia, etc., 
 
 1771 ; Graduale ; Hymns and motets ; Masses; Misereres; Fugues ; Cantatas, and 
 
 occasional pieces. 
 
 EBEBiS (John). German impresario and theatre manager, B. London, 1785. 
 Managed King's Theatre, 1821-28. Was ruined, and relinquished direction, 
 1828. He wrote "Seven Years at the King's Theatre," Lond., 8vo, 1828. 
 D. [?]. 
 
 EBERWEIN (Traugott Maximillian). German comp. and violinist, B. 
 
 Weimar, Oct. 27, I77S' Member of Court-band, Weimar. Vnst. in service of 
 
 Prince of Schwarzburg-Rudolstadt, 1797. Chap. -master, do., 1817. D. 
 
 Rudoistadt, Dec. 2, 183 1. 
 
 Works. — Op. I. Three string quartets. Operas: Pedro et Elvira, 1805 ; Claud- 
 
 ine de Villabella, 181 5; Ferdusi, 1821 ; La Preteuse, 1826. Overture, Macbeth, 
 
 op. 105, 1828. Symphonies, quartets, and concertos, various. Songs, Pf. music, 
 
 etc. 
 
 The music of Eberwein is now forgotten, save a few of his more important works, 
 
 published by Breitkopf and Hartel, Leipzig. 
 
 EBSWOE.TH (Joseph). English tenor vocalist and glee writer, lived in Edin- 
 burgh, and was librarian to the Edinburgh Harmonists' Society, and a choir- 
 master. He compiled " General Index to First Hundred Vols, of the Music in 
 Library of Edinburgh Harmonists' Society. ..." Edin., 4to, 1844. 
 
 ECCARD (Johann). German comp. and org., B. Mulhausen, 1545. Chapel- 
 master at Kbnigsberg, etc. D. [Berlin, i5ii]. 
 Works. — Geistliche Lieder...K6nigsberg, 1597, 2 vols.; Preussische Festlieder, 
 
 with J. Stobaus, Kbnigsberg, 1642-44, 2 vols. ; etc. 
 These works include chansons, sacred and secular ; chants, motets, and other 
 church music of a superior kind. His compositions are spoken of in terms of praise 
 by several writers, and a few of them are still in use. 
 
 ECCLES (Henry). English violinist and comp., son of Solomon Eccles, B. end 
 of 17th century. He published in Paris " Twelve Excellent Solos for Violin," 
 
fccc — Ebt> S27 
 
 1720. He was a member of the King's band in Paris. D. first part of i8th 
 century. 
 
 ECCLES (Jolm). English comp. and violinist, B. 1668. Son of Solomon Eccles. 
 S. under his father. Master of Queen's band, 1698. D. Kingston, Surrey, 
 Jan., 1735. 
 
 Works. — Acis and Galatea, masque, 1701 ; Ode for S. Cecilia's Day (Congreve), 
 1701 ; The Judgment of Paris (Congreve), masque, 2nd prize in competition with 
 Weldon, etc. ; The Mad Lover, 1701 ; The City Lady ; The Fair Penitent, 1703 ; 
 The Lancashire Witches, 1682 ; The Spanish Friar, 1681 ; Justice Busy, 1690 ; The 
 Chances, 1682 ; The Way of the World, 1700 ; The Provoked Wife, 1697 ; The 
 Richmond Heiress, 1693 ; Rinaldo and Armida (Dennis), 1699 ; Don Quixote ; Love 
 for Love, 1695. Collection of Songs for one, two, and three voices, etc., Lond. 
 [1701]. Songs in Pills to purge Melancholy, etc. 
 
 Eccles was one of the most popular composers of his day, and some of his melo- 
 dies are very fine, though not now in vogue. 
 
 ECCLES (Solomon). English comp. and violinist, B. latter part of the 17th 
 century. Father of Henry and John Eccles. He contributed to the " Division 
 Viohn," 1693, and wrote a work entitled "A Musick Lector, *or the Art of 
 Musick discoursed of, by way of dialogue between three men of several judge- 
 ments — a Musician, a Baptist, and a Quaker...." Lond., 8vo, 1667. 
 He wrote an amount of vocal music occuring in contemporary collections, and 
 
 was a violinist of some repute. 
 
 ECKEB (Carl). German comp., B. Friburg, Mar. 13, 1813. D. Friburg, Aug. 
 31, 1879. Writer of some fine lieder, part-songs, andorch. music. 
 
 ECKEBT (Carl Anton Florian). German comp., violinist, and pianist, B. 
 
 Potsdam, Dec. 7, 1820. Pupil of Mendelssohn. S. at expense of King of 
 
 Prussia, in Italy. Accompanist at Theatre Italien, Paris, 1851. Accomp. to 
 
 Sontag during hertourinU. S. A., 1851-2. Cond. of Italian opera, Paris, 1852. 
 
 Director of Court opera, Vienna, 1854; Music-director at Stuttgart, 1861-67. 
 
 Do. at Berlin Opera-house, 1868. D. Berlin, October, 1879. 
 
 Works. — Operas: Catherine di Nuremberg, 1837; Le Charlatan, 1840; Wil- 
 
 helm von Oranien, 1846. Judith, oratorio, 1841. Symphony, 1836 ; Overture for 
 
 orch., 1841. Lieder for voice and Pf., op. 12, 13, and 15. Twelve Charakter- 
 
 stiicke for Pf., op. 17 ; Trio for Pf., vn., and 'cello, B. minor, op. 18; Six poems 
 
 for voice and Pf., op. 26 ; Church music, etc. 
 
 Eckert is perhaps best known to the English musical public as a song-writer, in 
 which capacity he is one among the foremost in modern Germany. Fine poetical 
 feeling, good harmony, and due respect for the verse, are the principal features of 
 his music. The oratorio of Judith was successful on its production, and is an able 
 work. 
 
 EDDY (Hiram Clarence). American org., comp., and cond., B. Greenfield, 
 Mass., June 23, 1851. S. under J. G. Wilson of Greenfield, and under Dudley 
 Buck, at Hartford, Conn., 1867. Org. of Bethany Cong. Ch. (Dr. Lord), 
 Montpelier, Vt., till 1871. S. at Berlin under Haupt and Loeschhorn, 1871. 
 Org. Dr. Goodwin's ch., Chicago. Director of the Hershey School of Musical 
 Art, Chicago, 1876. Cond. of the Philharmonic Vocal Society, Chicago. 
 Married to Sarah Hershey. 
 Works. — Canons, preludes, fugues, variations, etc., for organ ; Church music, 
 songs, etc. ; Translation of Haupt's " Theory of Counterpoint and Fugue," etc. 
 
 Mr. Eddy holds a foremost place among American organists, by reason of his 
 great technical ability, extensive repertory, and poetical interpretation of classical 
 works. The programmes of his " National Concerts " are marked by an admirable 
 selection of composers, and good variety of works. Thus the "English" pro- 
 grammes contain the names of Ouseley, Wesley, Carter (H. ), E. J. Hopkins, 
 Macfarren, Smart, Best, and Archer, the representative works chosen giving a good 
 general idea of the modern school of English organ music. The " American " 
 school is equally well represented by Gleason, E. Thayer, J. K. Paine, D. Buck, 
 S. G. Pratt, Whitney, West, Whiting, and Eddy. The design of these national 
 
228 EDE — E6L 
 
 concerts forms part of a large scheme which some time previous to June 1879 Mr. 
 Eddy projected. He gave a series of 100 organ recitals, each programme contain- 
 ing fresh matter, and without the repetition of a single number. The successful 
 completion of this feat was accomphshed in June 23, 1879. 
 
 EDELMANN (Johann Friedrich). German comp., B. Strasburg, May 6, 
 1749. D. Paris, 1802. 
 Composed Esther, oratorio, 1781 ; Diane et I'Amour, ballet, 1802 ; Ariane dans 
 rile de Naxos, ballet. Concertos, Sonatas, etc., for Pf , several of which have 
 been repubhshed in London. 
 
 EDGrCUMBE. See Mount-Edgcumbe. 
 
 EDMONDS (M). Author of "Musical Catechism adapted to the First Class of 
 Performers on the Pianoforte," Dublin, 8vo, 1807. 
 
 EDWARDS (C. A.) English writer of present time. Author of "Organs and 
 Organ Building, a Treatise on the History and Construction of the Organ from 
 its Origin to the Present Day, with Important Specifications," London, 8vo, 
 1881, illustrated. 
 
 EDWARDS (Henry Sutherland). English writer, B. London, Sept. s, 1828. 
 Author of "The Russians at Home," 1861 (Notes on Music of Russians, etc.) 
 " History of the Opera in Italy, France, Germany, Riissia, and England, from 
 Monteverde to Verdi, with Anecdotes of the most celebrated Composers and 
 VocaUsts of Europe," London, 2 vols., 8vo, 1862. "The Polish Captivity," 
 1863. "Private History of a Polish Insurrection," 2 vols., 1865. "Lifeoi 
 Rossini," Lond., 8vo, 1869. " The Germans in France." " Rossini (Great 
 Musicians Series)," Lond., 8vo, 1881. " The Lyric Drama, Essays on Sub- 
 jects, Composers, and Executants of Modern Opera," Lond., 2 vols., Svo, 
 1881. Opera Librettos, Novels, and contributions to periodical literature, etc. 
 The whole ot the foregoing are useful and interesting works, and some of them 
 
 are valuable. 
 
 EDWARDS (Richard). English poet and comp., B. Somersetshire, 1523. 
 
 Scholar of Corpus Christi Coll., Oxlord. S. music under George Etheridge. 
 
 M.A., Oxon., 1547. Master of Children, Chap. Royal, and Gent., do. 
 
 Member of Lincoln's Inn. D. Oct. 31, 1566. 
 Works. — The Paradise of Daintie deuises. The Soul's Knell, poem. 
 Damon and Pythias, comedy. Palemon and Arcite, comedy. ' ' In going to my 
 naked bed," madrigal. Many poems, tracts, etc. 
 
 Edwards is not known now save by his lovely madrigal, " In going to my naked 
 bed," which is one of the finest examples of this species of composition extant. The 
 titles of his other poems are set out at length in Ritson's and Hazlitt's works on 
 Early English Poetry. 
 
 EGAN (Charles). Irish writer and harpist, author of a " Harp Primer, being a 
 familiar introduction to the Study of the Harp," i2mo, 1822. 
 
 EGERTON (Hon. John Gray Seymour). Contemporary English amateur 
 composer, has written some good part-songs, "Adieu to the Woods," "King 
 Winter," "Spring's Approach," "Wild Rose" ; songs, a cantata, etc. 
 
 EGESTORFF (George). German writer, author of "A Lecture on Music, with 
 especial reference to the German Opera as introduced into this Country," 
 Lond., Svo, 1840. 
 
 EGGELING (Eduard). German pianist and comp. of Pf. music, B. July 30, 
 181 3. D. Hartzburg, Brunswick, April 7, 1885. 
 
 EGGHARD. See Hardegen. 
 
 EGLI (Johann Heinrich). Swiss comp., B. Mar. 4, 1742. D. Zurich, 1807. 
 Comp. Cantiques avec des Melodies Chorales sur des textes de Lavater, 1775 ; 
 Chants Religieux, 1775; Chansons Suisses avec Melodies, 1787; Les Odes 
 Sacrees de Gellert, 1789 ; Cantatas, and many psalms, songs, chants, etc. 
 
EHL — ELL 229 
 
 EHLERT (Ludwig). German writer and comp., B. Konigsberg, Jan. 13, 18: 
 Pianist and comp. in Berlin. D. Wiesbaden, Jan. 4, 1884. 
 
 Works. — Op. i. Sonata for Pf. ; op. 2. Caprice for Pf. ; op. 4. Songs for vo 
 and Pf. ; op. 5. Sonata Romantique for Pf. ; op. 5. Songs for voice and Pf. ; op. 
 Allegro Concertante for Pf., vn., and 'cello; op. 16. 5 Lieder for voice and '. 
 Briefe ilber Musik an eine Freundin, 1859. Translated by Fanny R. Ritter, and 
 published in Boston and London, as Letters on Music to a Lady, 1877, 8vo. Aiis ( 
 Tonwelt..., Berlin, 1877, 8vo. Trans, as "From the Tone- World," by II. D. Tr 
 bar, N. Y., 1885. Articles on musicians, various. Symphonies, overtures, etc. 
 
 The work by which Ehlert is most likely to be known is his "Letters," a bo 
 containing some acute remarks, but much spoiled by a strained and unnatural sty 
 
 EHRE^BEBpQ (Eleanora, Baroness). Bohemian soprano vocalist, B. Pragi 
 1832. Has appeared chiefly in Bohemia, in various operas. 
 
 EHBLICH (Alfred Heinrich). German musician and novelist, B. Hanov 
 1824. Prof, of Pf. at Stern's Cons., Berlin, since 1858. Has composed \ 
 music, songs, novels, etc., and a work "Die Musik-Aesthetik," 1882. 
 
 EICHBEBiG (Julius). German comp. and cond., B. Dusseldorf, 1828. 
 Brussels Cons. Gained first prizes there lor vn. and comp. Music Director 
 Consistory of Ch. of Geneva. Teacher in Boston, U.S., 1856. Director 
 Boston Cons., 1867. 
 Works. — Operas: Doctor of Alcantara, by B. E. Wolf; The Rose of Tyr 
 The Two Cadis, operetta ; A Night in Rome, do. Studies for Violin, Songs, P 
 Songs, Concerted Violin Music, etc. 
 
 Eichberg has a great reputation in America as a clever violinist and conduct 
 and tuneful composer. 
 
 EICHBERG (Oscar). German pianist and comp., B. Berlin, Jan. 21, 1845. 
 under Loeschhorn and F. Kiel. Comp. of Pf Music, Songs, etc. 
 
 EICHHOBN. German family of stringed-instrument performers, of wh( 
 JoHANN Paul, B. Neuses, Coburg, Feb. 22, 1787, was Court music-direc 
 at Coburg. Johann Gottfried Ernst (B. Coburg, April 30, 1822 ; 
 there, June 16, 1844), a violinist of much promise ; Johann Carl Edha 
 (B. Oct. 17, 1823), a violinist, and comp. of much music for his instrumei 
 and Albert (1828-1852), a violoncellist of much repute. 
 They appeared in many towns of Europe with distinguished success. 
 
 EISENHOFEB (Franz Xaver). German comp., B. Ilmmunster, Nov. : 
 1783. D. V/urzburg, Aug. 15, 1855. 
 Composer of cantatas for male voices, and Lieder, in both of which he was 
 own poet. A large number of these songs are marked by much refinement and f 
 feeling. 
 
 EISFELD (Theodor). German comp. and teacher, B. Wolfenbiittel, 18 
 Teacher in New York, 1848. D. Wiesbaden, Sept. 4, 1882. 
 
 ELFORD (Richa,rd). English alto vocalist, B. about middle of 17th centu 
 Counter-tenor in Lincoln and Durham. Sang on stage in London. Gent. 
 Chap. Royal, 1702. Lay- Vicar of S. Paul's Cath., and Westminster. 
 Oct. 29, 1714. 
 
 ELLA (Prof. John). Enghsh violinist, critic, and lecturer, B. Thirsk, Yorl 
 
 Dec. 19, 1802. S. for the Law. Violinist in King's theatre, 1822 ; Concerl 
 
 Ancient Music ; Philharmonic Concerts, etc. S. under Attwood and Fe 
 
 1826-29. Established the " Musical Union," 1845-80. Established " Musi 
 
 Winter Evenings," 1845-80. Lecturer on Music at London Institution, 185 
 
 Works. — Lectures on Dramatic Music and Musical Education Abroad and 
 
 Home, 4to, 1872. Musical Sketches Abroad and at Home, 1861 (3 editior 
 
 1869-78. Records of the Musical Union, 1845-78 (analytical programmes, not 
 
 biographies). Personal Memoir of Meyerbeer, with an analysis of Les Huguenc 
 
 Lond , 1868. French Song and Traditional Melody, Anglice The Harmonii 
 
 Blacksmith, Lond., 1865 ; etc. 
 
23° ELL — ELL 
 
 Mr. Ella is one of the best known musicians in London, and numbered among 
 his acquaintance nearly every prominent musician of recent and current times. The 
 amount of good he effected for music in establishing chamber concerts of the highest 
 class in London, can not be over estimated. The " Musical Union" was for a long 
 time supreme among institutions of a similar cast, and has renown for the many fine 
 works first brought forward at its concerts. 
 
 ELLERTON (John Lodge). English comp. and minor poet, B. Chester, Jan. 
 
 11,1807. S. at Oxford. M.A., 1828. S. music at Rome. Gained prizes at 
 
 Catch Club, 1836, 1838. Resided in Germany and London as teacher and 
 
 composer. D. London, Jan. 3, 1873. 
 
 Works. — Paradise Lost, oratorio. Operas: Issipile ; Berenice in Armenio ; 
 
 Annibale in Capua ; II Sacrifizio di Epito ; Andromacca ; II Carnovale di Venezia ; 
 
 II Marito aVista; Lucinda (German); Dominica; The Bridal of Triermain (English). 
 
 Five symphonies. Four orchestral overtures. Three string quintets. Forty-four 
 
 quartets for strings. Three trios, strings. Eight trios for various instruments. 
 
 Thirteen sonatas, do. Sixty-one glees. Eighty-three vocal duets. Bridal of 
 
 Salerno, a poetical romance, Lond., 8vo, 1845. The Elixir of Youth, a legend in 
 
 ■four parts, with other poems and notes, Lond., 8vo, 1864. 
 
 EUerton is one of a group of English composers who have suffered unmerited 
 neglect at the hands of musicians. His music is melodious and scholarly, and quite 
 accessible for concert-giving purposes, so that the reason for his neglect is not quite 
 apparent. The best of EUerton's works are the music for strings, the glees, and the 
 songs. No recent opportunity of hearing the larger works has occurred, and per- 
 haps this has acted as an obstacle to popularity. EUerton was a cultivated man 
 and a poet of some fancy. 
 
 ELLEVIOU (Pierre Jean B. F.) French actor and tenor vocalist, B. Rennes, 
 June 14, 1769. D. Paris, May 5, 1842. Appeared in numerous French Ught 
 operas by the leading composers of his time. He was a poet of some little 
 note. 
 
 ELLIOTT (James). English comp. and bass vocalist, B. 1783. D. London, 
 1856. Writer of a large number of glees, some of which obtained prizes. Few 
 of his glees are now extant. 
 
 ELLIOTT (James William). English comp. of present time, has compiled 
 several works of great utility for the harmonium, and has composed a number 
 of good songs and glees ; among the former being the well-known bass song to 
 Campbell's words, "Hybrias the Cretan." This is one of the best bass songs 
 of recent production. 
 
 ELLIOTT (J.) Enghsh writer, author of "Philosophical Observations on the 
 Senses of Vision and Hearing; and a Treatise on Harmonic Sounds," Lond., 
 8vo, 1780. 
 
 ELLIS (Alexander John). Enghsh writer on music, B. Hoxton, June 14, 
 1S14. Educated at Shrewsbury, Eton, and Trinity Coll., Camb. B.A., 
 1837; F.R.S., 1864; Mem. of Council, R.S., i88o-8i ; F.S.A., 1870. 
 President of Philological Soc, 1872-74; and in 1880-82. Author of The 
 conditions, extent, and realisation of a perfect Musical Scale on instruments 
 with fixed tones. On the temperament of Musical Instruments with fixed 
 tones. On the physical constitution and relations of Musical Chords (Proc. 
 Royal Soc, 1864). On Musical Duodenes, or the theory of constructing 
 instruments with fixed tones in just, or practically just Intonation (Proc. Roy. 
 Soc, 1874). Translation of Helmholtz's "Die Lehre von den Tonempfin- 
 dungen als Physiologische grundlage fur die Theorie der Musik" (1870 and 
 1877), under title of "On the Sensations of Tone as a Physiological Basis for 
 the Theory of Music," Lond., 8vo., ist ed., 1875; with Appendix and Notes, 
 re-written, 1885. Pronunciation for Singers, with especial reference to the 
 English, German, Italian, and French Languages, with exercises for Teachers 
 and advanced Students, Lond., 4to, 1877. Basis of Music, 1877. Speech in 
 Song (Music Primer), 8vo, 1878. History of Musical Pitch; the Musical 
 Scales of various Nations (Jnl. of Soc. of Arts, 1881-85). These two papers 
 
ELO — ELW 231 
 
 were awarded silver medals by the Soc. of Arts. Philological and Mathe- 
 matical works, etc. 
 
 ELOUIS (Joseph). Swiss harpist, comp., and editor, B. Geneva, 1752. D. 
 about l8lo-20. Editor of First volume of a Selection of Favorite Scots songs, 
 with accompaniments for the harj^ or pianoforte, which may be performed on 
 these instruments either with the voice or without it, as familiar lessons ; to 
 which are added several airs with variations, Edin., fo., n.d. ; Second volume 
 [1807] ; Method of tuning the Harp, with Lessons, Preludes, etc.; Fantasias, 
 transcriptions, etc., for Harp and Pf. 
 
 ELSNEB (Joseph Xaver). German comp., B. Grodgrau, Silesia, June i, 1769. 
 S. under Forster. Violinist in theatre of Brunn, 1791. Chap.-master at 
 Lemberg, 1792. Cond. at Warsaw, 1 81 5. Director and Prof, of comp. at 
 Warsaw Cons. D. Warsaw, April, 1854. 
 Works. — Operas: Uroienie i Rzeczywistosi, 1808; Andromede, 1807; Trybun- 
 alniewid-Zialny, 1807; Znapodrodze, 1809; Sierra Morena, 181 1 ; Kabalista, 
 1813; Krol Lokietek, 1818; Jagiello wietki, 1820. Oratorios, cantatas, and 
 masses. Symphonies in D, C, and B flat. Sonatas, polonaises, quartets, songs, 
 etc. 
 Famous as a teacher, and for some very good and fluent sacred music. 
 
 ELSON (Louis C). American (German) pianist, poet, comp., etc., B. Boston, 
 Mass., 1848. S. under Kreissmann, Gloggner, etc. Org. of Trinity and 
 Emanuel Churches, Boston. Lecturer in the New England Cons, of Music, 
 Boston. Author of, among other works, " Curiosities of Music : a Collection 
 of Facts not generally known regarding the Music of Ancient and Savage 
 Nations," 8vo, n. d. 
 
 ELVEY (Sir George Job, Kt). English comp. and org., B. Canterbur)-, 
 March 27, 1816. S. under Skeats (of Canterbury), and his brother Stephen. 
 Org. of St. George's Chapel, Windsor, 183S. Mus. Bac, Oxon., 1838; Mus. 
 Doc, Oxon., 1840; Knighted, 1871. 
 
 Works. — The Resurrection and Ascension, oratorio, 1838 ; Services in F and B 
 fiat. Anthems : Arise, shine, for thy light is come ; Bow down Thine ear ; Christ 
 being raised from the dead ; Come, Holy Ghost, our souls inspire ; Come unto Me 
 all ye that labour ; Daughters of Jerusalem ; I beheld, and lo ! a great multitude ; 
 I was glad when they said ; In that day shall this song be sung in the land of 
 Judah ; O give thanks unto the Lord ; O be joyful ; O praise the Lord of Heaven ; 
 O ye that love the Lord ; Praise the Lord and call upon His name ; Rejoice in the 
 Lord ; The souls of the righteous ; This is the day which the Lord hath made ; 
 Unto Thee have I cried ; Wherewithal shall a young man. Two Chorales, sung at 
 the funeral of H. R. H. the Prince Consort. Fifteen double chants. Thirty 
 Cathedral Chants. Hymns, Psalms, etc. Organ music. Softly, softly blow ye 
 breezes, glee. Songs, etc. 
 
 The massive style of all Elvey's compositions for the church, and the sublimity of 
 a few, give him a place among living and recent composers of sacred music which 
 is second to none. He is best known by his anthems, which are in constant use in 
 British and American churches. His merits as an organist and composer have been 
 recognised in a flattering manner by the action of the Queen in conferring on him 
 the honour of knighthood. 
 
 ELVEY (Stephen). English comp. and org., brother of above, B. Canterbury, 
 
 June, 1805. S. under Skeats. Org. of New College, Oxford, 1830. Mus. 
 
 Bac, Oxon., 1831. Mus. Doc, Oxon., 1831. D. Oxford, Oct. 6, i860. 
 
 Works. — Services and Anthems. The Psalter, or Canticles and Psalms, Pointed 
 
 for Chanting, upon a New Principle, Lond., 8vo (6 editions to 1 856). Hymns, etc. 
 
 ELWART (Antoine Elie). Polish comp. and Prof, B. Paris, Nov. 18, 1808. 
 
 S. under F^tis. Gained second prize for comp., Paris, 1831. Gained grand 
 
 prix de Rome, 1834. Assistant Prof at Paris Cons., 1836. D. Paris, Oct. 
 
 14, 1877. 
 
 Works. — Oratorios: Noe, ou le Deluge universel, 1S4S ; La Naissance d' Eve, 
 
 J 846 ; Les Noces de Cana, mystery. Operas: La Reine de Saba ; Les Catalans ; 
 
232 ELZ — EMM 
 
 Les Chercheurs d'or. Cantatas ; Misereres ; Symphonies ; Overtures ; Quintets. 
 Theorii Musicale Solfege progressif, 8vo, 1830 ; Petit Manuel d'Harmonie, Paris, 
 Svo, 1839 ; Le Chanteur-accompagnateur, ou traite du clavier, de la basse chiffree, 
 de I'harmonie simple et composee, Paris, Svo, 1844 ; Etudes fl^mentaires de Musique, 
 184s ; Traitfe du Contrepoint et de la Fugue, Paris, n. d. ; Petit Manuel d' Instru- 
 mentation, Paris, n. d. ; Histoire de la Societe des Concerts du Conservatoire Im- 
 perial de Musique.... Paris, 8vo, i860. 
 
 Elwart was a laborious and highly gifted worker for musical art. His composi- 
 tions are almost forgotten, though certain of his theoretical works still enjoy a fair 
 measure of currency. 
 
 ELZE (Clement Thomas)' German org., pianist, and comp., B. Oranien- 
 baum, 1830. S. Leipzig. Writer of Pf. and org. music, songs, chamber^ 
 music, instrumental, etc. 
 
 EMERSON (Luther Orlando). American comp., writer, and teacher, B. 
 Parsonsfield, Me., August 3, 1820, Teacher in Boston. 
 
 Works. — The Emerson Method for Reed Organs (with W. S. B. Mathews), 
 Boston, n, d. ; Vocal Method, do. ; Singing School (songs) ; The Encore (songs) ; 
 Onward (tunes) ; Hour of Singing (with W. S. Tilden) ; High School Choir ; 
 Cheerful Voices ; Golden Wreath ; Merry Chimes ; Chorus Book ; The Greeting 
 (part-music), 1867 ; National Chorus Book ; The Song Monarch (vrith H. R. 
 Palmer) ; Choral Tribute ; Church Offering ; Harp of Judah ; The Jubilate ; The 
 Leader (with H. R. Palmer) ; The Salutation ; The Standard ; The Voice of Wor- 
 ship ; Sacred Quartets ; Book of Anthems ; Glad Tidings ; Golden Harp ; Chants 
 and Responses ; Episcopal Chants ; The Romberg Collection of Sacred Music, 
 Boston, 1853 (with T. M. Dewey, B. Oxford, N. H., 1812). 
 
 The whole of the above works are admirably suited for the purpose for which 
 they are primarily designed, viz., to afford a genial and instructive educational 
 course in vocal music for schools. 
 
 EMERSON (William)- English mathematical writer, author of, among other 
 works, " Cyclomathesis, or an Easy introduction to the several Branches o: 
 the Mathematics," Lond., 14 vols., 1763-70. [Vol. 13 contains "Music," 
 etc.] 
 
 EMERY (Stephen Albert). American comp., pianist, and writer, B. Paris, 
 
 Maine, Oct. 4, 1841. Educated at Colby University (then Waterville Coll.), 
 
 1859. S. Leipzig Cons, under Papperitz, Plaidy, E. F. Richter, and M. 
 
 Hauptmann, 1862, and at Dresden under F. Spindler. One of the editors of 
 
 the Musical Herald, Boston. Lecturer and Prof, of Harmony and Comp. in 
 
 New England Cons, of Music, and Boston University, Coll. of Music, 1881. 
 
 Works. — Sonatas for Pf. ; Presto Scale Studies, op. 20 ; Foundation Studies in 
 
 Pianoforte Playing ; Elements of Harmony ; String Quartets ; Part-songs, songs, 
 
 etc. Contributions to periodical literature. " Music, its meaning and mission," 
 
 paper read at fourth annual meeting of Music Teachers' National Assoc. , Buffalo, 
 
 1880. 
 
 Mr. Emery is one of the most earnest and accomplished musicians of Boston. 
 His compositions are of a high degree of excellence, and some of them are admir- 
 ably adapted for didactic purposes. His work on the "Elements of Harmony" is 
 in constant use by teachers throughout the United States, and its design is clear and 
 comprehensive. As one of the editors of the Musical Herald, his opportunities for 
 advocating the cause of music in its higher aspects are ably employed, and he de- 
 votes himself greatly, by lectures and writings, to advance the cause of his adopted 
 art. As regards his Pf. works, songs, etc., it can only be said that they are popular 
 among the higher class of musical Americans. He is the youngest son of the Hon. 
 Stephen Emery, of Paris, Maine, and Jeannette Loring Emery. 
 
 EMMERICH (Robert). German comp. of present time. Has composed Der 
 Schwedensee, opera, Weimar, 1874 ; Van Dyck, opera, Stettin, 1875. Six Lieder 
 for voice and Pf., op. 38; Nachtlied siehe Liederkreis, op. 39; Frau Mette, 
 Ballade von Heine, op. 40; Six Songs for voice and Pf., op. 41 ; Six Part- 
 Songs, op. 42; Six Songs for voice and Pf., op. 47; Do., op. 48; Vineta, 
 poem by W. MUUer, op. 49 ; etc. 
 
ENC — ERB 233 
 
 ENCKE (Heinrich). German pianist and comp., B. 181 1. Pupil of Hummel. 
 D. Leipzig, 1859. Writer of Pf. music, etc. 
 
 ENGEL (Carl). German writer, B. Hanover, 1818. D. (suicide) London, Nov. 
 17, 1882. Author of Pianist's Handbook, 1853 ; Reflections on Church Music 
 for the consideration of Church-goers in general, Lond., 8vo, 1856; The Music 
 of the most Ancient Nations, particularly of the Assyrians, Egyptians, and 
 Hebrews, with special reference to recent Discoveries in Western Asia and in 
 Egypt, Lond., 8vo., 1864, illust. ; An Introduction to the Study of National 
 Music, comprising Researches into Popular Songs, Traditions, and Customs, 
 Lond., 8vo, 1866 ; Descriptive Catalogue of the Musical Instruments in South 
 Kensington Museum, Lond., 8vo, 1874, two editions; Musical Instruments (S. 
 Kensington Handbook), Lond., 8vo, 1875 ; Musical Myths and Facts, Lond., 
 2 vols., 8vo, 1876; Researches into the Early History of the Violin Family, 
 Lond., 8vo, 1883. 
 The whole of the above works are extremely valuable to whoever would study 
 
 national music and its folklore. The fact of their being now very rare is a sufficient 
 
 testimony to the favour with which they were received by the musical profession. 
 
 Herr Engel had a good library, which was disposed of by auction in July, 1881. 
 
 ENGEL (David Hermann). German comp. and org., B. Jan. 22, 1816. D. 
 Merseburg, May 3, 1877. Writer of Pf. and org. music, songs, etc. 
 
 ENGEL (Gustav). German comp. and teacher, B. Kdnigsberg, Oct. 29, 1823. 
 Writer on philosophy and music, composer of songs, and teacher of singing. 
 
 ENGEL (Louis). German harmonium-player and comp., now resident in London. 
 Writer of music for his instrument, songs, Pf. pieces, etc. Engel was one of 
 the first to display the capacities of the harmonium for the artistic rendering 
 of classical music. 
 
 ENGELSBERG. See Schon (E. von). 
 
 ENGELHARDT (Feodor), German org., pianist, and comp., B. 1850. S. 
 Beriin. D. Arnstadt, June 10, 1876. Comp. org. and Pf. music. 
 
 ENOCH & SONS. English firm of music-pubhshers, established in London, 
 October, 1869. Their publications (copyright) embrace works for the piano 
 forte by Abt, Benedict, Dick, Fesca, Gibsone, Henselt, Krug, Kuhe, Litolff, 
 Oberthiir, Rubinstein, Schulhoff, Spindler, M. Watson, Wollenhaupt, etc. 
 Their vocal catalogue includes, among many other items, works by Cellier, 
 Clay, Dick, Fox, Gabriel, Gatty, Lecocq, Pinsuti, Sainton-Dolby, West 
 brook, etc. 
 
 EPINE (Francesca Margherita de L'). Italian vocalist of end of seventeenth 
 and beginning of eighteenth century. Dibut in London, 1704. Married to 
 Dr. Pepusch, 1718. D. (?) 
 
 EPSTEIN (Julius). Hungarian pianist, teacher, and comp. B. Agram, Aug. 14, 
 1832. Is a fashionable teacher and concert-giver in Vienna. His works are 
 principally for the pianoforte, on which instrument he is regarded in Vienna as 
 one of the foremost performers. 
 
 ERABD (Pierre). French writer and member of firm of Erard & Erard. Author 
 of "The Harp in its present improved state," Lond., fo., 1821. D. near Paris, 
 18SS. 
 
 EBARD (Sebastien). French pianoforte-maker, B. Strassburg, April, 1752. 
 Commenced to construct pianos, 1777. Took out various patents for improve- 
 ments from 1809. D. Paris, Oct. 1831. This firm, located in Paris, is one 01 
 the most important of its kind, and was carried on after Sebastien's death by 
 the nephew Pierre. Their pianos, while of great good quality, hold an inferior 
 position in popular estimation to their grand harps, which are, beyond all 
 question, the finest instruments made. 
 
 EBBEN (Henry). American organ-builder, B. New York, Jan. i, 1801. Estab- 
 lished in New York, 1835. Has built many of the best church organs through- 
 put the United States. He died, 1884. 
 
234 ERK — ESP 
 
 ERK (Ludwig Christian). German comp. and collector, B. Wetzlar, Jan. 6, 
 1807. D. Berlin, Nov. 25, 1883. 
 He composed a number of lieder and collected a great amount of German national 
 melodies. Among his best known works are " Methodischer Leitfaden fiir den 
 Gesang unterricht in Volkschulen," 8vo, 1834; " Singvogelein, " 4 pts., 1842-48; 
 " Die Deutschen Volkslieder, " 6 pts., 1838-41. 
 
 EBKEL (Franz). Hungarian comp., B. 1810. Composed operas, Pf. music, 
 chamber music, etc. 
 
 ERLANGrER (Julius). German comp., B. Vissembourg, June 25, 1830. S. at 
 Paris Cons. 
 Works. — Operas: Mesdames de Coeur Volant, 1859; Les Musiciens de 
 I'orchestre (with Delibes), 1861 ; Le Servante a Nicolas, 1861 ; L'Arbre de 
 Robinson, 1867, and other operas. Pf. music and songs. 
 
 ERNST (Heinrich Wilhelm). Austrian violinist and comp., B. Brlinn, 
 Moravia, 1814. S. under Bbhm, Seyfried and Mayseder. Travelled in Ger- 
 many and France as violinist, 1832-38, and 1838-44. Appeared in London at 
 Philharmonic Soc. Concert, 1844. D. Nice, Oct. 8, 1865. 
 Works. — ^Fantasias for violin and orch. Concertos for violin and orch. , op. 23, 
 
 etc. Transcriptions, numerous, for violin and Pf. or orch. Polonaises, variations, 
 
 nocturnes, Elegie, rondos, etc. 
 
 Ernst was a great performer and a good composer. His school of violin playing 
 
 was noble and refined, and his compositions partake, to a certain extent, of the 
 
 same general characteristics. 
 
 ESCHMANN (Julius Carl). German comp. and pianist, B. Winterthur, April, 
 1825. S. at Cassel. Writer of miscellaneous chamber and Pf. music. D. 
 Zurich, Oct. 25, 1882. 
 
 His music is good and fluent in style. 
 
 ESCOBEDO (Bartolemo). Spanish comp., B.lSJO, Chorister in Pontificial 
 Chap., Rome, 1536. D. [?] 
 
 Composed psalms, motets, and other sacred music. 
 
 y 
 ESCDDIEB (Leon). French journalist and writer, B. Castelnaudary (Aude), 
 Sept. 17, 1821. D. Paris, June 22, 1881. Educated at Toulouse. Wrote 
 in conjunction with his brother Marie, a number of valuable works on music. 
 He edited the paper named " L'Art Musical." 
 
 ESCUDIEB (Marie). French writer, brother of above, B. Castelnaudary, June 
 29, 1819. D. Paris, 1880. Author of (with Leon) Dictionnaire de Musique 
 d'apres les theoriciens, historiens et critiques les plus celebres, Paris, 2 vols., 
 1844. A Life of Rossini, 1854. Dictionnaire de Musique theorique et his- 
 torique, 1854. Contributions to periodical literature, etc. 
 
 ESLAVA (Miguel Hilarion). Spanish comp. and editor, B. near Pampeluna, 
 
 Oct. 21, 1807. Musician in Pampeluna Cath., 1824. Chap. -master at 
 
 Ossuna, 1828. Chap. -master in Seville, 1832. Ordained priest. Chap.- 
 
 master to Queen Isabella, 1844. D. Madrid, July 23, 1878. 
 
 Works. — Operas: l\ Solitario, 1841; La Tregua di Ptolemaide, 1842; Pietro 
 
 el Crudele ; Lira Sacro-Hispana : Gran Coleccion de obras de Musica Religiosa, 
 
 compuesta por los mas acreditados maestros Espaiioles tanto antiguos como moder- 
 
 nos... Madrid, 10 vols., fo. [1869]. Metodo de Solfeo, 1846. Museo Organico 
 
 Espailol (Coll. of Spanish org. music). Masses, psalms, motets, hymns, etc. 
 
 Eslava was one of the greatest among modern Spanish composers, whUe his 
 sacred music is superior in many respects to most Italian composers of recent times. 
 His " Lira Sacro-Hispana " is a valuable collection of Spanish sacred music. 
 
 ESPENT (Pierre). French org. and comp., B. Marseilles, Aug. 28, 1832. S. 
 at Paris Cons. Writer of Overtures, Masses, Cantatas, Org. Music, etc. 
 
ESP — ETH 235 
 
 ESPIN Y GUILLEN (Joaauin). Spanish org. and comp., B. Velilla, Sig- 
 uenza, May 4, 181 2. Prof, at Madrid, and composer of operas, etc. D. 
 Madrid, June 24, 1882. 
 
 ESSEB (Heinrich). German comp., B. Mannheim, July 15, 1818. Violinist 
 
 at Mannheim, 1838. Director of Court theatre, Mannheim. Director of 
 
 Imperial Opera, Vienna, 1847. D. Salzburg, June 3, 1872.. 
 
 Works. — Operas: Silas, 1839; Riquiqui, 1843; Two Princes, 1844. Psalm 
 
 23rd, for four voices. Symphony in E flat, 1844. Trio for Pf., vn., and 'cello, 
 
 op. 6. Lieder, etc. 
 
 The songs of Esser, such as " Mein Engel" and " Abschied," are of the highest 
 type of beauty. His larger works do not possess the same attractions. 
 
 ESSEX (Timothy). English comp. and org., B. Coventry, 1780. Mus. Bac, 
 Oxon., 1806. Mus. Doc, Oxon., 1812. D. [?] 
 Composed "Sonnets" of various kinds, by various authors, and wrote Rondos, 
 Six duets for 2 flutes, and miscellaneous Pf. music. 
 
 ESSIPOFF (Annette). Russian pianist, B. 1850. S. under Leschetitsky. 
 Appeared in Paris, 187'; ; London, same year. Went to America, 1876. Has 
 since appeared in London, and various large continental cities. 
 Her style is brilliant and polished, and her technical abihties are of a wonder- 
 ful nature. She is generally regarded as one of the foremost Continental per- 
 formers. Her appearance in London was attended with much success. She is 
 married to Theodor Leschetitsky. 
 
 ESTCOURT (Mary Jane). English writer. Compiler of " Music the Voice ot 
 Harmony in Creation," Lond., 8vo, 1857 [Extracts from various authors on 
 Music]. 
 
 ESTE (John d'). See D'Este (John). 
 
 ESTE (Michael). English comp., son of Thomas Este (?) B. in latter part of 
 
 l6th century. Mus. Bac. Master of Choristers of Lichfield Cath. D. about 
 
 middle of 17th century. 
 Works.— First set of Madrigals, Lond., 4to, 1604; Second set, Lond., 4to, 
 1606 ; Third set of Bookes, wherein are Pastorals, Anthems, Neapolitanes, Fancies, 
 and Madrigals, to 5 and 6 parts, Lond., 4to, 1610; Set of Madrigals, Anthems, 
 etc., 1618; Anthems, 1624; Duos and Fancies for VMs, 1638; Hence, Stars, you 
 dazzle, 5 part Madrigal in the "Triumphs of Oriana," etc. 
 
 The name ot this composer is variously spelt Est, East, and Easte. He is only 
 supposed to be the son of Thomas Este. 
 ESTE (Thomas). English publisher and musician during latter half of 1 6th and 
 
 beginning of the 17th centuries. D. [1624-5.] 
 He published all of the more important works of his time, including amoiig 
 others " The whole Booke of Psalmes ; with their wonted tunes as they are sung m 
 Churches, composed in foure parts, by Thomas Est," Lond., i2mo 1592; Byrds 
 Psalms ; The Triumphs of Oriana ; and music by Campion, Dowland, Gibbons 
 (Orlando), Weelkes, Kirbye, Wilbye, Mundy, etc. 
 ESTWICK (Rev. Sampson). English musician and divine, B. 1657. One of 
 
 children of Chap. ™ S. at olford. Chaplain of Christ Church Minor 
 
 Canon of St. Paul's Cath., 1692. Vicar of St. Helen's, Bishopgate, 1701. 
 
 Do. of St. Michael's, Queenhithe, 1712. D. Feb., 1739. 
 Works.— The Usefulness of Church Music; a Sermon preached at Christ Church, 
 Nov. 27, 1696, Lond., 4to, 1696. Odes, Sermons, etc. 
 ESZTERHAZY. An Austrian royal family, which, during the latter half of the 
 
 l8th century, maintained an orchestra and private opera, m Vienna and in 
 
 Hungary. Of the former Haydn was for thirty years conductor. 
 
 ETHERIDGE (George). JngV* comp.^of i6th century, B. Thame, Oxford- 
 
236 ETT — EXI 
 
 ETTLING (Emile). French violinist and comp., B. 1820. Writer of Pf. and 
 violin music, and a number of operettas, as " Un jour de noce,"i864; "Le 
 Tigre," 1873 ; " En Maraude," 1877. 
 
 EUING (William). Scottish collector, B. Partick, near Glasgow, May 20, 1788. 
 Educated at Glasgow Grammar School. Was an underwriter and insurance 
 broker. D. Glasgow, May 12, 1874. He founded, in connection with 
 Anderson's College, Glasgow, a music lectureship, by deed dated 1S66, and 
 the lectures have been delivered since 1869. He left also his valuable musical 
 library to the same institution, together with ;£'iooo for its maintenance ; but it 
 is at the present time practically inaccessible to students and the public alike, 
 by reason of some neglect in the administration of the provisions of the bequest. 
 The library is one of the most valuable in Britain, and contains many rare and 
 costly books and old music. The theoretical and historical department is also 
 very rich in ancient and modern literature, and contains part of the library of the 
 late Dr. Rimbault. There is also a unique collection of psalmodies, etc. A cata- 
 logue was printed in 1876, but is not satisfactorily arranged. A notice of this 
 Library appears in "The Public and Private Libraries of Glasgow." By Thos. 
 Mason, 1885. 
 
 EULENSTEIN (Carl). German performer on the Jew's-harp, B. Heilbronn, 
 1802. His life appears as "A Sketch of the Life of the Celebrated Performer 
 on the Jew's Harp," Lond., 8vo, 1833; 2nd edit., l2mo, 1840. He wrote 
 arrangements for the guitar, etc. 
 
 EULEB. (Leonhard). Swiss mathematician, B. Basle, 1707. D. 1783. Is 
 
 distinguished for his researches in the phenomena of sound, and for being the 
 first to reduce the said phenomena to scientific principles. 
 
 EVANS (Charles Smart). English comp., B. London, 1778. Chorister in 
 
 Chap. Royal. S. under Ayrton. Gentleman of the Chap. Royal, 1808. 
 
 Gained prizes for glees in 1817, 1818, and 1821. D. London, Jan. 4, 1849. 
 
 Works. — Six Glees (Clementi), [1812]. Collection of Glees, etc., Lond., 1825. 
 
 Music to Linley's " Ode to the Memory of Samuel Webbe," 1817 (prize from Catch 
 
 Club). Anthems, motets, etc. 
 
 EVANS (Eobert Harding). English writer, author of " An Essay on the 
 Music of the Hebrews, intended as a Preliminary Discourse to the Hebrew 
 Melodies of Braham^nd Nathan," Lond., 8vo, 1816. 
 
 EVERAERTS (Pierre Francois). Belgian comp., B. Louvain, 1816. Prof. 
 
 at Li^ge. Writer of L' Avalanche, opera ; Hommoge a Gretry, overture ; Ave 
 Maria ; Motets, concertos, military music, songs, etc. 
 
 EVEREST (C). American musician and teacher, author of "Vocal Instructor," 
 Boston, n. d. ; School Song Books; "The Music Teacher"; " The Singing 
 Teacher," 2 parts ; and other elementary works. 
 
 EVEKET (J.). English musician, compiled " The Divine Concert, being the 
 Newest and Choicest Book of Church Music,'' etc., Waltham, 4to, 1757. 
 
 EVERS (Carl). German pianist and comp., B. Hamburg, April, 8, 1819. D. 
 Vienna, Dec. 31, 1875. 
 His works, numbering over loo, consist almost entirely of pieces for the Pf. , most 
 of them of much brilliancy, but few of them vulgar or tasteless in style. 
 
 EWER & CO. See NovELLo, Ewer, & Co. 
 
 EWING (Alexander). Scottish amateur comp., nephew of Bishop Ewing, B. 
 Aberdeen, Jan. 3, 1830. S. at Marischal Coll. Paymaster in the Army. 
 Known as the composer of the hymn "Ewing" (1853), generally sung to the 
 words "Jerusalem the Golden," etc. Frequently, and erroneously attributed 
 to his uncle, the late Bishop Ewing. 
 
 EXIMBNO (Antonio). Spanish writer and musician, B. Balbastro, Arragon, 
 1732. S. at Salamanca. D. Rome, 1798. He was a Jesuit. Author of 
 "Deir origine della Musica, colla storia del suo progresso, decadenza, e rino- 
 vazione," Rome, 4to, 1774. Spanish trans, by Gutierez, Madrid, 3 vols., 8vo, 
 1796. This work occasioned some controversy. 
 
fcVB — FAi 2^) 
 
 EYBLER (Josef, Edeler von). Austrian comp., B. Schwechat, near Vienna, 
 
 Feb. 8, 1765. S. under Albrechtsberger and Haydn. Music-master to the 
 
 Imperial children, Vienna. Vice-chapel-master, Imperial chapel, Vienna, 
 
 1804. Principal do., 1824. Ennobled by the Emperor, 1834. D. Vienna, 
 
 July 24, 1846. 
 
 Works. — Masses ; Hymns ; Oratorio ; Opera ; Thirty-four Graduels for chorus, 
 
 org., and orch. ; Cantatas ; Two Symphonies ; Chamber and Pf. music, songs, etc. 
 
 Eybler ventured to finish Mozart's Requiem, but failed to accomplish his purpose. 
 
 His works are hardly known in England. 
 
 EYKEN (Johann Albert van). Dutch org. and comp., B. Amersfoort, April 
 29, 1823. S. at Leipzig Cons., 1845-6. Org. at Amsterdam. D. Elberfeld, 
 1868. 
 Works. — Sonatas, transcriptions, fugues, voluntaries, etc., for the organ ; church 
 
 music and other works. The organ music of Eyken is famous, and well appreciated 
 
 among organists of all countries. 
 
 EYKEN (Gerard Isaac van). Dutch org. and comp., brother of preceding, 
 B. Amersfoort, May 5, 1832. S. at Leipzig Cons., and under his brother, and 
 Schneider. Prof, at Utrecht. Comp. songs, sonatas, Pf. music, etc. 
 
 EYBiE (Alfred James). English org. and comp., B. Lambeth, London, Oct. 
 
 24, 1853. S. at R. A. M., under [Sir] G. A. Macfarren, F. Westlalce, M. Smith, 
 
 and organ under Hoyte and Cooper. Org. St. Peter's, Vauxhall, 1867-72 ; St. 
 
 Ethelburga's, Bishopsgate, 1872-74; St. Peter's, Vauxhall (again), 1874-1881 ; 
 
 St. John Evangelist, Upper Norwood, 1881. Married to Miss Margaret Buck- 
 
 nell, the pianist. Org. of Crystal Palace, May, 1880. Mem. R. A. M. 
 
 Works. — Communion Service in E flat; Evening Services for Salisbury Diocesan 
 
 Choral Assoc. ; Full Morning and Evening Service in E flat (MS.); The 126th 
 
 Psalm, for 4 voices (MS.) ; Scena for soprano solo and orch. (M.S.) ; String quartet 
 
 (MS.); Pf. Trio (MS.); Pf. pieces, various; Songs, part-songs, etc. 
 
 FABER (Heinrich). German writer of sixteenth century, B. Lichtenfels, Voigt- 
 land. Author of "Ad Musicam praticam introductio, non modo prtecepta, 
 sed exampla quoque ad usum puerorum accommodata, quam brevissime con- 
 tinens," Nuremberg, 4to, 1550, various editions. 
 
 FABER (Heinricll)- German writer and musician, was Rector at Brunswick. 
 D. Quedhnburg, Aug. 27, 1598. Wrote " Compendiolum Musicae pro mcipi- 
 entibus," Brunswick, 1548. There are numerous other editions. 
 
 FABRI (Annebale Pio). Italian tenor vocalist, B. Bologna, 1697. D. Lisbon, 
 1760. Was also a composer of some fame in his day. 
 
 FACCIO (Franco). Italian conip., B. Verona, Mar. 8, 1841. S. Milan Cons. 
 Writer of operas, songs, etc. Famous as a cond. He comp. a cantata for the 
 inauguration of Turin Exhibition, 1884. 
 
 FAGE (De la). See Lafage. 
 
 FAHRBACH (Josef). Austrian flute-player and comp., B. Vienna, Aug. 25, 
 1804. Writer of flute music, Pf. music, etc. D. Vienna, June 7, 1883. 
 
 FAHRBACH (Philip). Austrian comp., brother of above, B. Vienna, 1843. 
 Composer of dance music. D. Vienna, March 31, 1885. 
 
 PAIRBAIRN (James). Scotch writer, author of " Elements of Music : Part 
 I Melody, containing an explanation of the Simpler Principle of the Science. 
 Part II Harmony, with Appendix on the nature and causes of sound and the 
 consonance and dissonance of intervals, as arising from one system of vibra- 
 tion," Edin., 8vo, 1832. 
 
238 FAI — FAR 
 
 FAIRFAX (Robert). English comp., B. Bayford, Herts, in latter part of 
 fifteenth century. Mus. Doc, Cantab., 1504. Do., Oxford, 1511. Org. or 
 chanter of Abbey Church of St. Albans. D. St. Albans. 
 He composed sacred and secular music, but is chiefly known as the composer ot 
 
 a volume of songs in two, three, and four parts, now preserved in MS. m the 
 
 British Museum. Other compositions of the same master are in the Music School 
 
 of Oxford. 
 
 FAISST (Immanuel). German org., theorist, and comp., B. Esslingen, Oct. 13, 
 1823. Founded a school for organists at Stuttgart in 1847, and established a con- 
 servatory of music in 1857. He became director of the latter in 1859. He 
 has composed much music for the organ, and is author of a number of useful 
 theoretical works. As an organist and educator he was once well known in 
 Germany. 
 
 FALKNER (Rodolphe). English professor of music, lived in London in latter 
 part of eighteenth century. He wrote some books on musical subjects, among 
 them "Instructions for playing the Harpsichord," 1762, second edition, 1774. 
 
 FALLOUARD (Pierre Jean Michel). French org. and comp., B. Honfleur, 
 July II, 1805. D. April 6, 1865. Comp. of Pf. and org. music, theoretical 
 writings, etc. 
 
 FANING (Eaton). English comp., B. Helston, Cornwall, May 20, 1851. Men- 
 delssohn scholar at R.A.M. Has written a number of good part-songs, "The 
 Song of the Vikings," and several compositions for the Pf., as well as an 
 operetta, "Mock Turtles," 1881. His songs are good, and his works generally 
 show much promise. 
 
 FANNA (Antonio). Italian comp. and pianist, B. Venice, 1793. D. Venice, 
 Mar. 15, 1845. Comp. Pf. music of a brilliant character. 
 
 FANNING- (Charles). Irish harp-player and collector, B. about 1736. Assisted 
 Bunting with his collections. D. [?] 
 
 FARINELLI (Carlo), Broschi. Italian vocalist, B. Naples, Jan. 24, 1705. S. 
 
 under Porpora. Debut at Rome, 1 722. Sang successively in Venice, Vienna, 
 
 Naples, Milan, Bologna, Parma, Lucca, Turin, Ferrara,, etc. Appeared in 
 
 London, in "Artaserse" of Hasse, 1734. Went to Spain, and became a great 
 
 favourite at Court, 1736. Returned to Italy, by order of Charles III. of Spain, 
 
 1759. D. Bologna, July 15, 1782. 
 
 Farinelli was a male soprano, and was regarded by his contemporaries as having 
 
 the most beautiful voice of his time. In disposition he is credited with many evil 
 
 traits, chiefly those of arrogance and conceit ; the great political power which he 
 
 held in Spain having demoralised him in some respects. Many anecdotes are given 
 
 regarding him, and will be found in any book of musical gossip. 
 
 FARMER (Henry). English violinist and comp., son of John Farmer, E. 
 
 Nottingham, May, 1 81 9. 
 
 Works. — Mass in B flat. Communion Service in B flat. New Violin School, 
 
 wherein the art of bowing and fingering is explained in a series of exercises and 
 
 scales, progressively arranged, to which is added a selection of favourite airs, 
 
 Lond., n. d. New Violin Tutor, Lond., 8vo, n. d. The Amateur Violinist 
 
 (selections). Operatic Gems and Fantasias. Standard Overtures for Violin 
 
 (selected). The Violinist's Album. Concertino for vn. and Pf. Forty studies for 
 
 the violin. Twelve duets for 2 vns. Songs, Part-songs, Pf. Music, etc. 
 
 His violin tutors are among the best schools for the violin ever published in 
 England. With Loder's work they have been most popular. His transcriptions, 
 songs, and original music for the violin are good. 
 
 FARMER (John). English comp., B. Lancashire, 1789. D. Oct., 1867. 
 Wrote Songs, Pf. music, anthems, etc. 
 
 FARMER (John). English org. and comp., sen of the above, B. 1824. D. 
 Manchester, July, 1857. Composed anthems, part-songs, songs, org. music, 
 etc. 
 
¥aR — 9 AR 
 
 239 
 
 FABiMEBi ( John). English comp. and teacher of present time. Formerly music 
 master in Zurich. Music master at Harrow School, 1862-85. Oi'g- °f Balliol 
 Coll., Oxford, 1885. Comp. of "Christ and his Soldiers, "oratorio ; Harrow 
 School Glee Book, 2 vols., 1866-72; Harrow School Songs; Harrow Marches : 
 Nursery Rhymes Quadrilles, for orch. and 8 voices ; Cinderella, a Fairy Opera, by 
 H. S. Leigh, 1883 ; Requiem in Memory of Departed Harrow Friends ; Part- 
 songs, songs. 
 
 FARMER (Jolm). English comp. of i6th century, harmonized Este's Psalms, 
 and composed "First Set of English Madrigals to foure Voyces," 1599 ; " Fair 
 Nymphs," six-part Madrigal in " Triumphs of Oriana ;" "Divers and Saun- 
 drie waies of two parts in one, to the number of fortie upon one playn-song," 
 etc., Lond., 1 59 1. His biography is unknown. 
 
 FARMER (Thomas). English comp. of 17th century, was one of the waits of 
 London, and Mus. Bac, Cantab., 1684. 
 Works. — A Consort of Musick in four parts, containing thirty-three Lessons, 
 beginning with an overture, 1686. A Second Consort of Musick in four parts, con 
 taining eleven Lessons, beginning with a ground, 1690. Songs in various collec- 
 tions of his time. 
 
 FARNABY (Giles). English comp., B. Truro, Cornwall, middle of i6th cen- 
 tury [1560]. Mus. Bac. Oxon., July, 1592. D. [?] 
 Works. — Canzonets to foure Voyces, with a Song of eight parts, Lond., 4to, 
 1598. Madrigals. Psalms in Ravenscroft's collection, etc. 
 
 FARNIE (Henry Brougham). Scottish musician and librettist, a native of 
 Fife ; and was for some time editor of the Fifeshire Journal. Has compiled 
 and written the librettos of a number of operettas, pantomimes, songs, etc. ; 
 and translated most of the more successful modern French comic operas. His 
 talents as an adapter are of the highest order. Among his recent productions 
 may be named " Rip van Winkle," by Planquette. 
 
 FARQTJHARSON (James). Scottish musician and teacher in Edinburgh. 
 Published a ' ' Selection of Sacred Music suitable for Public and Private 
 Devotion," Edinburgh, i2mo, 1824. 
 
 FARRANT (Daniel). English comp. of the i6th and 17th centuries; set 
 lessons for the viol in what was known as lyra-way, in imitation of the lute. 
 
 FARRANT (John). English comp. of the l6th century, was organist of Salis- 
 bury Cath. about 1600. Biography unknown. 
 Another John Farrant, or not unlikely the same, was org. of Christ's Hospital, 
 London, about the same time. 
 
 FARRANT (Richard). English comp. B. [1530]. Gentlemen of the Chap. 
 
 Roy., 15?— 1564. Master of Choristers, St. George's Chap., Windsor, 1564- 
 
 69. Again Gent. Chap. Roy., 1569-80. Org. and Lay Vicar, St. George's 
 
 Oiap. D. Windsor, Nov. 30, 1580. 
 Works. — Services in G minor, D minor, and A minor. Anthems : Call to 
 Remembrance ; Hide not Thou Thy face ; Lord for Thy tender mercies sake ; O 
 Lord, Almighty, etc. 
 
 The work by which Farrant is best known is "Lord for Thy tender mercies sake," 
 an anthem which is of disputed authorship, some attributing it to John Hilton. As 
 the popular judgment has always decided in favour of Farrant, it may safely be 
 accorded him. It is one of the most grand and sonorous, yet simple anthems ever 
 written. 
 FARRAR (Dr. J.)- English writer and Physician, author of "The Human 
 
 Voice and Connected Parts. A practical book for orators, clergymen, vocalists, 
 
 and others." Lond., 8vo, 188 1. 
 
 FARREN (George). English writer, author of " The Mortalities of Celebrated 
 Musicians," London, 8vo, 1834. 
 
 FARRENC (Jacques Hippolyte Aristide). French flute-player and comp., 
 B. Marseille?, April 9, 1794. D. Paris, Jan. 31, 1865. Writer, and comp. of 
 flute music. A catalogue of his musical library was issued in 1S66. 
 
546 f A R — F A V 
 
 FABRENC (Jeanne Louise). French pianist and comp., wife of above, B. 
 
 Paris, May 31, 1804. D. Paris, Sept. 15, 1875. Comp. music for Pf., songs, 
 
 etc. 
 FAEBENC (Victorine Louise). French pianist and comp., daughter of 
 
 above, B. Paris, Feb. 23, 1S26. D. Paris, Jan. 3, 1859. S. Pans Cons., and 
 
 wrote music for Pf., etc. 
 
 FASANOTTI (Filippo). Italian pianist and comp., B. Milan, Feb. 19, 1821. 
 Comp. of Pf. music, and writer of a Pf. school. 
 
 FASCH (Carl Friedrich Christian). German comp. and teacher, B. Zerbst, 
 Nov. 18, 1736. D. Berlin, Aug. 1800. Is now known only as the founder of 
 the famous Singakademie in Germany. He composed a large amount of 
 choral and other music, adapted for the purposes of vocal training and practice, 
 
 FASTRE (Joseph). Dutch comp., B. Flessingue, June 22, 1783. D. April 3, 
 1842. Comp. of songs, Pf. and choral music, etc. 
 
 FAUCONIEK (Benblt Constant). French pianist, org., and comp., B. 
 
 Fontaine-l'Eveque, April 28, 1 816. S. Brussels Cons. Appeared as pianist 
 
 in various large towns. D. Thuin, Feb. 16, 1877. 
 Works. — Operas, several. Guide de I'organiste des petites villes et des campag- 
 nes. Masses, opp. 88, 89, 90, 91, 117. Pf. music of all kinds ; Hymns, songs, 
 etc., and a number of miscellaneous productions, numbering over 200 in all. 
 
 FAULKNEB (Thomas). English writer, author of " Organ Builders' Assis- 
 tant," Lond., 1826 ; "Designs for Organs," Lond., 1838, etc. 
 
 FATJRE (David). French barytone vocalist, B. Limoges, 1833. S. at Paris 
 Cons. Solo singer at the Opera Comique, in London, and the Grand Opera, 
 Paris. Prof, of Singing at Brussels Cons. 
 
 FAUBE (Jean Baptiste). French barytone vocalist and comp., B. Moulins, 
 Jan. 15, 1830. S. Paris Cons., 1843. Chorister in Ch. of St. Nicolas de 
 Champs, Paris. Dibut at Opera Comique, Paris, Oct. 20, 1850. Prof, of 
 Singing, Paris Cons., 1857. Has appeared in London and Italy. 
 Works. — Twenty-five melodies for voice and Pf. ; Twenty do. Titles of some 
 songs contained in foregoing collections : L'Aieule ; Aubade ; Ave Maria ; Bonjour 
 Suzon ; Chanson de Bord ; Charity ; Discretion ; La FSte-Dieu au Village ; Fleurs 
 du Matin ; Le joli Reve ; Marche vers I'Avenir ; O Salutaris ; Le Rameaux ; Sancta 
 Maria ; Soupirs ; Trois Soldats ; Le Vieux Guillaume, etc. Church and instru- 
 mental music, etc. 
 
 Faure is one of the leading Continental artists, and has appeared in operas by 
 many different masters, including Auber, Rossini, Verdi, Masse, Thomas, and 
 Meyerbeer. He has sung in America and Russia, as well as in the places named 
 above, and has everywhere met with success. Many of his vocal compositions are 
 very beautiful, and all of them are highly creditable to his powers as a composer. 
 He is a man of wide general culture. 
 
 FAUST (Carl). German comp. and bandmaster, B. Neisse, Silesia, Feb. 18, 
 1825. Bandmaster of the 36th regiment of infantry, 1853-9. Do. 8ist regi- 
 ment, 1859-63. Chap.-master at Holstein, 1863-69- Do. at Waldenburg, 
 1869-80. 
 He writes an immense quantity of dance music, including waltzs, polkos, galops, 
 mazurkas, etc. They are all graced by some catching or hyper-poetical title, and 
 their merits are those common to most German composers of dance music, includ- 
 ing spirit, good harmony, and grace. 
 
 FAUSTINA. See Hasse (Faustina B.). 
 
 FAVAEGEB (Bene). French pianist and comp., B. 181 5. D. Etretat, near 
 Havre, Aug. 3, 1868. 
 
 Works. — Op. i. Bolero, for Pf. ; op. 2. Reverie, for Pf. ; op. 4. Fantasia on 
 "Oberon" (Weber) : op. 7. Ondine, Bluette ; op. 18. L' Adieu, nocturne ; op. 21. 
 Serenade ; and a great number of similar productions, all of a bright, graceful nature. 
 
fAV — ifEN 241 
 
 FAVART (Charles Simon). French' dramatist, B. Paris, Nov. 13, 17 10. 
 Married Mdlle. Durconceray, 1745. D. May 12, 1793. Wrote operas, 
 comedies, etc., all of which are distinguished by lightness and good points. 
 
 A 
 
 FAVART (Maria Justine Eenoite), nh Duronceray. French vocalist 
 and actress, B. Avignon, June 15, 1727. D. April 20, 1772; - She sang in 
 her husband's operas, and was a very successful actress. . One of Offenbach's 
 last operas makes an episode in her career its leading niotive.' 
 
 FAWCETT (John). English comp., B. Kendal [Bolton-le-moors, Lancashire], 
 1789. Was a shoemaker for a time, but latterly a composer. D. Bolton-le- 
 moors, Oct. 26, 1867. 
 Works. — The Voice of Harmony, psalms ; New Set of Sacred Music in Three 
 Parts... by John Fawcett of Kendal ; Two other similar colls. ; The Harp of Zion ; 
 Miriam's Timbrell, a New Set of Psalm and Hymn Tunes... Lond., Svo, n.d. ; 
 The Universal Chorister, 2 vols. ; Melodia Divina, or Sacred Companion for the 
 Pf. (with Jos. Hart), fo. , n. d. ; The Seraph's Lyre, 2 parts ; Paradise, oratorio. 
 Voice of Devotion (selection), Glasgow, 1862. ; etc. 
 
 FAWCETT (John). English comp. and org., son of above, B. Bolton, 1824. 
 
 S. under his father. Org. of St. John's Ch., Farnworth, 1835. Org. of Parish 
 
 Ch., Bolton, 1842. S., R. A. M., Lond., under Bennett, from 1845. Org. 
 
 of Curzon Chap., Lond., 1845-46. Mus. Bac, Oxon., 1852. D. Manchester, 
 
 July I, 1857. 
 He wrote a cantata, " Supplication and Thanksgiving,'' as a degree exercise ; 
 anthems, glees, songs, etc. 
 
 FAY (Amy). American pianist and teacher, B. Bayon Goula, Louisiana, 1844. 
 
 5. piano abroad for six years, under Tausig, Liszt, KuUak, and Deppe. Her 
 charmingly written book on " Music Study in Germany," Chicago, i2mo, 1S81, 
 has been largely read in America, and has done . much to influence American 
 students in their preparation for study abroad. It has been translated into 
 German, and republished in London. Miss Fay is a teacher in Chicago, 111., 
 where she has given recitals. She was a charter member of the "American 
 College of Musicians." 
 
 FAY (Etienne). French operatic comp., B. Tours, 1770. D. Versailles, Dec. 
 
 6, 1845. Comp. "Flora," 1791 ; "Les Rendezvous Espagnols," 1793; Cle- 
 mentine," 1793 ; " La bonne aventure," 1802 ; and other operatic works. 
 
 FAYOLLE (Francois Joseph M.). French writer, B. Paris, Aug. 1774. D. 
 there, Dec, 1852. Known by his biographical articles in connection with 
 the " Biographie Universelle," and his joint authorship ofChoron's "Dictionary 
 of Musicians." Wrote also "Paganini et Bdriot," Paris, Svo, 1830; "Notices 
 'sur Corelli, Tartini, Gavinifes, Pugnani et Viotti..." Paris, Svo, 1810. His 
 other writings are forgotten. 
 
 FEATHERSTONE (IsabeHa). See Paul (Mrs. Howard). 
 
 FELTON (Rev. William). English org. and comp., B. 1713. Was vicar- 
 'choral at Hereford. D. Dec, 6, 1769. He wrote concertos for organ and 
 harpsichord ; and Two Sets of 8 Lessons for the Harpsichord, opp. 3 and 6. 
 ■ He was esteemed in his day a remarkable performer. 
 FENDT (Bernard). German violin maker, B. Innspriick, 1756. Worked in 
 London, with J. F. Lott for T. Dodd. Worked latterly with Betts. D. 
 London, 1832. 
 He turned out some very fine instruments, and founded the Fendt family of 
 violin makers. 
 
 FENDT (Bernard Simon). German violin maker, son of the above. B. 
 London, 1800. D. 1851. 
 Made a great number of copies of much accuracy in imitation of details. His 
 original instruments are good. Other members of this family are Francis, fourth 
 son of Bernard ; Jacob, third son of Bernard, B. London, 1815. D. 1849. Like 
 B. S. Fendt, this member of the family was a good copyist; Martin, second son 
 
 o 
 
242 FEN — FER 
 
 of Bernard, B. London, 1812 ; and William, son of B. S. Fendt, B. London, 
 1833. D. 1852. 
 
 FENTON (Lavinia), nk Bestwick. English soprano vocalist, B. [?] Dibut 
 in London, 1726. Original Polly Peachem in "The Beggar's Opera," Jan. 
 29, 1728. Retired from the stage as mistress of the Third Duke of Bolton. 
 Married to him at Aix, Provence, 1751. D. Greenwich, Jan., 1760. 
 This singer has interest for the present time only in her connection with that ever- 
 famous work, ' ' The Beggar's Opera. " She received an immense degree of atten- 
 tion while acting in it, and was, by the favour of the mobility or nobility, magnified 
 in every virtue to the degree of a goddess. 
 
 FEO (Francesco). Italian comp., B. Naples, about end of 17th century [1699]. 
 S. under Gizzi and Pitoni. D. [?] 
 
 Works;— O/^raj : — Ipermestra; Arianna, 1728; Andromaque, 1730; Arsace, 
 1731. Oratorios, Church Music, etc. 
 
 He was director from 1740 of the singing school of Rome, and educated many 
 famous pupils. 
 
 FEEGrUSON (John Clark). Scottish writer, author of "The Empire of Music, 
 and_ other Poems, by Alfred Lee [pseudonym]," Lend., l2mo, 1849: 2nd 
 edition, " Pleasures of Music, " 8vo, 1850. 
 
 FEEGrUSSON (Eobert). Scottish poet, B. Edinburgh, Oct. 17, 1750. D. 
 Oct. 16, 1774. 
 
 Was noted in his day for his beautiful tenor voice, and the pleasing manner in 
 which he rendered Scottish songs. His lyrical pieces for music are few and unim- 
 portant, his chief production affecting music being the "Elegy on the death of 
 Scots music," written partly with reference to the decease of William Macgibbon, 
 an Edinburgh violinist. 
 
 FEEEABOSCO (Alfonso). Italian comp., settled in England about middle of 
 i6th ceritury. He composed "Madrigali a 5 Voci," Venice, 1587; motets, 
 and music for the virginals. 
 
 FEEEABOSCO (Alfonso). Italian comp., son of above, B. Greenwich, 1580. 
 D. 1652. Wrote Ayres by Alfonso Ferrabosco, Lond., 4to, 1609. Lessons 
 for I, 2, and 3 Viols," Lond., 410, n. d. Fancies for Viols, etc. 
 
 FEEEABOSCO (John). English comp. and org., B. about beginning of 17th 
 century, son of Alfonso the younger. Mus. Bac, Cantab., 167 1. Org. Ely 
 Cath., 1662-82. D. 1682. Wrote, services, anthems, etc. 
 
 FEEEANTI (Marco Aurelio Zani de). Italian writer and theorist, B. 
 Bologna, 1800. D. Pisa, Nov. 28, 1878. 
 
 FEEEAEI (Adolphus A. G.). ItaHan musician and teacher, author of "The 
 Formation and Cultivation of the Voice for Singing," Lond., 1857. D Lond., 
 Nov. 27, 1870. 
 
 FEEEAEI (Benedetto). Italian poet and comp., B. Reggio [1597]. Re- 
 sided in Venice, where in 1638 he established an opera house, which he super- 
 intended personally. D. Venice, Oct. 22, 1681. 
 Works.— O/CTW, ^fc:— Andromeda, 1637; L'Armida, 1639; II Pastor Reggio, 
 
 1640 ; La Nmfa avara, 1641 ; Proserpina rapita, 1641 ; L'Inganno d'Amore, 1653 ; 
 
 Licasta, 1664. 
 
 His poetical works were issued in 1644. Surnamed "della Tiorba" on account 
 of his skill on the Lute. 
 
 FEEEAEI (Carlotta). Italian vocalist, B. 1837. Has appeared in many 
 operas by Verdi, etc. 
 
 FEEEAEI (Giacomo Gotifredo). Italian comp. and teacher, B. Roveredo, 
 
 1759. S. in Italy. Accompanist at Theatre Feydean, Paris. Settled in 
 
 London. Married Miss Henry, pianist, 1804. D. London, Dec., 1842. 
 
 Works.— La yillanella rapita, opera, Lond., 1797 ; I due Suizzeri, do. Sonatas, 
 
 Concertos, etc., for various instruments. Six Canons for 3 Voices, Lond., 1821. 
 
PER — PES 243 
 
 Six English Canzonets, Lond., n. d. Canzonets, Solos, Songs, Ballets. Concise 
 Treatment of Italian Singing, Elucidated by Rules, Observations, and Examples, 
 Lond., 8vo [c. 1815]. Instructions, both Theoretical and Practical, in the Art of 
 Singing, with a Series of Exercises, Lond, 1827. Studio di Musica Teorica 
 Pratica ; containing Sketches of Harmony, Rules of Thorough-Bass, and Compo- 
 sition. ..Lond., fo., n. d. Aneddoti piacevoli e interessanti occorsi nella vita, di 
 G. G. Ferrari, Lond., 2 vols., 1830. 
 
 FERRER (Mateo), Matenet. Spanish org. and comp., B. Barcelona, Feb. 
 25, 1788. D. Barcelona, Jan. 4, 1864. Composer of sacred music, and trainer 
 of many good musicians. 
 
 FERRI (Baldassare). Italian vocalist, B. Pergia, Dec, 1610. D. 1680. 
 
 FERRIS (G. T.) Author of "Great Singers, Faustina Bordoni to Henrietta 
 Sontag," 1880, 2 vols., i2mo. 
 
 FESCA (Alexander Ernst). German comp., B. Carlsruhe, May 22, 1820. D. 
 Feb., 1849. 
 The son of F. E. Fesca. Composed, among other works, the following : — Rondo 
 brilliant for Pf., op. 2 ; Grand rondo, op. 3 ; Variations on "II Puritani," op. 4 ; 
 Two nocturnes, op. 5 ; Variations, op. 6 ; First grand trio for Pf., vn., and 'cello, 
 in B flat, op. 11; Second do., op. 12; La Melancolie, for Pf., op. 15; La 
 Sylphide, for Pf., op. 19 ; Third Trio, op. 23 ; First Septet, in C minor, op. 26 ; 
 Second do., op. 28 ; Fourth Trio, in C minor, op. 31 ; Fifth and Sixth do., in B 
 min. and F, opp. 46, 54. Miscellaneous Pf. music, etc. 
 
 FESCA (Friedrich Ernst). German comp. and violinist, B. Magdeburg, Feb. 
 IS, 1789. S. under A. S. Miiller. Member of Duke of Oldenburg's band, 
 1806. Solo violinist at Cassel, 1806-iz. Leader to Duke of Baden at Carls- 
 ruhe, 1815-26. D. Carlsruhe, May 24, 1826. 
 Works. — Op. 1-3. Three sets of 3 string quartets ; op. 4. Quartet in E flat ; op. 
 5. Six songs for voice and Pf. ; op. 6. First Symphony, in E ; op. 7. Two string 
 quartets ; op. 8-9. Quintets for strings, in D ; op. 10. Second symphony, in D ; 
 op. II. Potpourri for violin; op. 12. Quartet for strings, in D minor; op. 13. 
 Third symphony, in D; op. 14. Quartet for violins, in B flat; op. 15. String 
 quintet for vns., in E ; op. 16. Six Songs for voice and Pf ; op. 17. Song for 4 
 voices; op. 18. "Cantemir," opera; op. 20. Quintet, string, in B flat; op. 21. 
 Ninth Psalm for solo voices, chorus and orch. ; op. 22. Quintet for Flutes, in C ; 
 op. 23. Potpourri for vn., in A ; op. 24. Six songs for voice and Pf. ; op. 25. The 
 13th Psalm ; op. 26. losth Psalm ; op. 27. Nine songs for voice and Pf. ; op. 28. 
 Omar et Leila, opera in 3 acts ; op. 29. Potpourri for horn; op. 30. Songs lor 
 voice and Pf. ; op. 31. Part-song for 4 male voices ; op. 32. Nine songs for voice 
 and Pf. ; op. 33. Song for voice and orch. ; op. 34. Quartet for strings in C ; op. 
 35. Six songs for 4 voices; op. 36. Quartet for strings in C ; op. 37-38. Quartets for 
 flutes in D and G ; op. 39. Andante and rondo for horn ; op. 40. Quartet tor flutes ; 
 op. 41 and 43. Overtures for orch. ; op. 42. Quintet for flutes. 
 
 The music of this composer and that of his son is most agreeable, never rising to 
 grandeur and never sinking to frivolity. It possesses a great degree of merit, and 
 is tuneful and well adapted for most musical tastes. 
 
 FESTA (Oostanza). Italian comp. , B. Rome, about end of fifteenth century 
 
 [1490]. Member of Pontifical Choir, Rome, 1517. Chap.-master at the 
 
 Vatican, D. Rome, April 10, 1545. 
 
 Works.— Motets. Madrjgali a 4 voci, 1543; Madrigali a 3 voci, Venice, 1556; 
 
 and others preserved in MS. in the Library of the Pontifical Chapel, Rome. Some 
 
 specimens of his work are given in various collections. Known in England as 
 
 composer of the madrigal " Down in a flow'ry vale," one of the best specimens 
 
 extant of the early Itahan school of madrigal writing. 
 
 FESTING (Michael Christian). German violinist and comp., B. Germany, 
 
 1680. S. under Geminiani. ZJt^a^ as violinist, London, in 1 724. Leader of 
 
 King's private band. Established, with Dr. Greene, etc., Society of Musicians 
 
 . for the support of decayed musicians, 1738. Musical Director of Ranelagh 
 
 Gardens, 1742. D. London, July 24, 1752. 
 
244 ^Ef — FET 
 
 Works.— Music to Addison's "Ode for St. Cecilia's Day"; Milton's "May 
 Morning," song, Lond., fo., n.d.; Ode upon the return of H.R.H. the Duke of 
 Cumberland from Scotland, 1746; Symphonies for orch.; Twelve Sonatas in 3 
 parts, op. 2, 1731 ; Twelve Concertos in 7 parts, op. 3, 1734 ; Eight Concertos in 
 7 parts for violins, op. 5, 1739 ; Six Sonatas for 2 viohns and a bass, op. 6. 
 
 Festing was one of the leading performers in England dilring his day, and was 
 highly respected for his benevolent qualities. 
 
 FETIS (Francois Joseph). Belgian writer and comp., B. Mons, March 25, 
 1784. S. at Paris Cons, under Boieldieu, Pradher, etc. Gained various 
 prizes, 1803-7. Married, 1806. Org. at Douai, 1813. Prof of Counterpoint 
 in Paris Cons., 1821. Librarian, do., 1827. Director of Brussels Cons., 
 1833. Musical director to the King of the Belgians, 1833. _ D. Brussels, 
 March 26, 187 1. 
 
 Works. — Operas: L' Amant et la Mari, 1820; Les Sceursjumelles, 1823; Marie 
 Stuart en Ecosse, 1823; Le Bourgeois de Reims, 1824; La Vieille, 1826; Le 
 Mannequin de Bergame, 1832; Phidias (MS.). Instrumental Music: Overtures, 
 sextets, quintets, sonatas, and single pieces. Didactic and Historical: Methode 
 elementaire et abregee d' Harmonic et d' Accompagnement suivie de basses chiffrees, 
 Paris, 4to, 1824 — English translation by John Bishop, London, fo., 1835; Traite 
 de la fugue et du contrepoint, Paris, 2 vols, fo., 1825; Trait^ de 1' Accompagne- 
 ment de la partition, Paris, fo., 1829; Solf^ges progressifs, Paris, fo., 1827; La 
 Musique mise k la port^e de tout le Monde, expose succinct de tout ce qui est 
 necessaire pour juger de cet Art, et pour en par ler sans I'avoir Etudie, Paris, l2mo, 
 1830 (other edits.); Trans, as "Music Explained to the World," Boston, 1842 — 
 London, i2mo, 1844; Curiositfa Historiques de lamusique, complement necessaire de 
 la Musique mise a la portee de tout le Monde, Paris, 8vo, 1830 ; Histoire gen^rale 
 de la Musique, Paris, 5 vols. 8vo, 1869-75 ; Biographic universelle des Musiciens 
 et Bibliographic generate de la Musique, Brussels, o vols. l2mo, 1835-44 — second 
 edition, Paris, 8 vols. 8vo, 1862 ;. Supplement by Pougin, Paris, 2 vols. 8vo, 1878- 
 80; Manuel des principes de musique... Paris, 8vo, 1837; Traits du chant en choeur, 
 Paris, 1837 ; Trans, as Treatise on Choir and Chorus Singing, Lond., 8vo, 1854; 
 Manuel des Compositeurs, Directeurs de Musique, etc., Paris, 8vo [1837]; Trans, as^ 
 "A Manual for Composers," Lond., 4to, n.d.; Methode des methodes de piano, 
 1837 ; Methode des methodes de chant, etc. ; Methode elementaire du plain-chant, 
 1843 ; Etudes de Beethoven, Traits d' Harmonic et de Composition... preface et de 
 la vie de Beethoven, par F. F6tis, Paris, 2 vols. 8vo, 1833 ; Traits complet de la 
 theorie et de la Pratique de I'Harmonie, Paris, 1841 ; Notice Biographique sur 
 Nicolo Paganini, Paris, 8vo, 1851 ; English trans., Lond., 8vo, n. d.; Notice 
 Biographique sur Sabastien Erard, Paris, 8vo, 1831; Antoine Stradivari luthier 
 celibre... Paris, 8vo, 1856; Trans, as "Notice of Anthony Stradivari... by J. Bishop, 
 London, 8vo, 1864 ; Biographie de Joseph et Michel Haydn, Paris, 8vo, 1864. 
 
 Fetis is known, and will ever be known, by his " Biographie des Musiciens," a 
 work which despite innumerable shortcomings, is one of the greatest monuments ' 
 to the achievements of musical genius ever reared. The unfortunate blundering of 
 Fetis and his successors in the work of compilation and revision is chiefly confined 
 to British musical biography, thus showing that Continental indifference and ignor- 
 ance of what is, and has been, done in Britain for music, gives rise to the erroneous 
 supposition that music, to be inferior, must only be British. Most of the articles in 
 the work on even the greatest of British musicians, do not exceed in extent the 
 space set apart for many feeble Belgian or German professors of five-finger exercises, 
 whose merits in bulk could only be classed as sixth-rate. The mistakes occurring 
 throughout his great work have been so often pointed out that it is unnecessary to 
 recapitujiite such statements here ; but it must be said that, errors apart, no work 
 has been so often drawn upon. 
 
 Fetis' other works do not call for particular comment, being well enough known 
 as text-books and reference works. His compositions are occasionally given in 
 France and Belgium. As a writer whose aim was utility to his fellow-musicians, 
 Fetis was, and will ever be known and remembered. ; 
 
 His son Edward is a professor and composer in Brussels, and in a manner helps 
 to perpetuate his great father's good name. Author of "Les Musiciens Beiges, 
 Brussels, 2 parts, n, d. 
 
FEV — FIL 245 
 
 FEVIN (Antoine). French comp., B. Orleans [1490]. D. early in i6th can 
 tury [1517]. Wrote masses, motets, etc. 
 
 FEYJOO Y MONTENEGRO (Benedict Jerome). Spanish writer, B. 
 Compostelle, Feb. 16, 1701. D. Ovi^rto, May 16, 1764. Author of "El 
 Deleyte della Musica, accompanado de la virtud, hace la tierra el noviciado 
 del cielo," Madrid, n. d. " Teatro-Critico Universal," Madrid, 16 vols., 8vo, 
 1738-46. A trans, from Feyjoo's works was published anonymously by Mr. 
 Mitford, Lond., 8vo, 1778. 
 
 FIBICH (Zdenko). Bohemian operatic comp., B. Seboric, Dec. 21, 1831. 
 Has written a number of operas, symphonies, and vocal music. 
 
 FICHEB (Ferdinand). German pianist and comp., B. Leipzig, 1821. D. New 
 York, 1865. Teacher and comp. for Pf. 
 
 FIELD (Henry). English comp. and pianist, B. Bath, Dec. 6, 1797. D. there, 
 May 26, 1848. _ S. under Coombs, of Cheltenham ; and taught music at Bath. 
 Wrote some unimportant music for Pf. 
 
 FIELD (John). Irish comp. and pianist, B. Dublin, July 26, 1782. Appren 
 ticed to Clementi, London, under whom he afterwards studied. Taken by 
 Clementi to Paris, Germany and Russia. Teacher at St. Petersburg, 1804. 
 Do. at Moscow, 1823. Appeared at London Philharmonic Concert, 1832. 
 Played in Belgium, Switzerland and Italy. Returned to Russia with family 
 named Raemann. D. Moscow, Jan. 11, 1837. 
 
 Works. — Op. i. Three Sonatas for Pf. in A, E flat, and C minor Seven Con- 
 certos for Pf. and orch., in E flat, A flat, E flat, E flat, C, C, C minor. Two 
 Divertissements for Pf., with accomp. for 2 vns., flute, alto and bass. Quintet for 
 Pf., 2 vns, alto and bass. Rondo for Pf. and quartet. Variations on Russian air 
 for Pf. duet. Grand Valse for Pf. duet. Three Sonatas for Pf. in A, B, and C. 
 .Sonata for Pf. in B. Exercise in Modulation for Pf. Two Airs for Pf. Fantasias 
 for Pf. Eighteen Nocturnes for Pf. Rondo Ecossais for Pf. Polonaises for Pf. 
 Two Songs for Voice and Pf. Romances for Pf. Rondos, and miscellaneous 
 pieces. 
 
 Of all the British composers who have beautified the general stock of music with 
 their productions, Field alone has maintained a more than ordinary place in the 
 affections of musicians. Whether this is owing to the intrinsic worth of his compo- 
 sitions or to any romantic interest which may be held to attach to his career it is 
 difficult to determine ; but the fact remains that the popularity of his works is 
 increasing, and they show no signs of becoming only of antiquarian or historical 
 interest. His nocturnes are invested vpith a great amount of poetical fervour ; are 
 never wearisome to the ordinary listener ; and never fail to impress the hearer with 
 a sense of their beauty. Chopin imitated Field in this single form in a manner 
 which at once placed his compositions as works of genius on a slightly higher level 
 than those of his precursor, but he is in every other way indebted to 'Field. 
 
 Field's other works are not so well known to the majority of pianists, but the 
 concertos are good and deserving productions ; though undoubtedly possessing few 
 of those features which are to be found in the nocturnes. The sonatas and minor 
 works are only occasionally given at our public concerts, which shows that their 
 merits are not considered of great moment, and indeed they are not by any means 
 more than average productions for such a mind. Field was himself a great pianist, 
 excelling in the interpretation of works of a dreamy, poetical nature, such as his 
 own nocturnes. 
 
 FILBY (William Charles). English org. and comp., B. Hammersmith, 1836. 
 Org. of S. Peter, Hammersmith, 1849. S. in France. Org. and Choir- 
 master of Parish Church,. Bromley, Lond., S. E., 1853. Org. successively of 
 S. Peter, Walworth ; S. Matthew, Bayswater ; S. Luke, Westbourne Park ; 
 Holy Trinity, Margate ; Holy Trinity, Stepney. 
 Works. — Three Fantasias, and other Pf. pieces, opp. l5, 17, 18, 20, 21, 23, 
 Mass in E flat, for voices and orch., op. 24. Past, Present, and Future, song, op. 
 26. Mass in E, op. 28. Pf. music— Sirfene, opp. 29, 30, 35. Twenty-third 
 Psalm, op. 36. Pf. pieces, opp. 42, 44, 46, 87. Songs— opp. 48, 52, 61, 70, 85, 
 87, 96. Pf. pieces, op. 49, 53, 55, 56, 58, 59, 62, 63, Handbook of Psalmody, 
 
246 F I L — FIN 
 
 op. 64, 1861 (Purday). Sonata for Pf. in E., op. 66. Motet— Salve Regin?), op. 
 67. Thirteenth Psalm, op. 71 (MS.) Quatre Gigues caracteristiques, for Pf., op. 
 72 ; Tarantelle, Pf., op. 73 ; Sanctus, chorus, op. 75 ; Sonata for Pf., in G minor, 
 op. 76 (MS.); Vesper Hymn, vocal trio, op. 77; O Lord of Harvest, chorus, op. 
 83; Pleasures and Perils, duet, op. 88; I vi^ill arise, chorus, etc., op. 93; Night's 
 approach, trio, op. 94. Operettas — Your money or your life, op. 99 ; Alabama 
 Claims, op. 100. Overture Fantastique, for orch., op. loi ; The mercy seat, 
 chorus, op. 105 ; Lion and four wolves, chorus, op. 109 ; Four organ voluntaries, 
 op. no; Twelve Pf. pieces, op. III ; Laudate Dominum, motet, op. 112 ; Return 
 from the revel, chorus, op. 113; Come, ye children, chorus, op. 115; Depart de 
 I'eglise, march for organ, op. 121 ; Three organ pieces, op. 124; Six Pf. pieces, 
 op. 128 Song of Praise (part editorship), 1874. Piccolo Tutor (B. Williams), 
 Lond., n. d. Flute Tutor, n. d. How to Write Music ; the Student's Copy Book, 
 Lond., 4to, 1882. 
 
 FILIPPI (Fillipo), Italian writer and comp., B. Vicenza, Jan. 13, 1833. 
 Educated at University of Padua. S. music at Vienna. Contributor to 
 periodical literature, song writer, etc. 
 
 FILMEE (Edward). English comp. of vocal music of 17th century. Published 
 "French Court Ayres of Four and Five Parts," 1629. 
 
 FILLMORE (Augustus D.) American musician, B. Ohio, 1823. Published 
 "The Universal Musician : a New Collection of Secular and Sacred Music... 
 with a new and Comprehensive Plan of Instruction, etc," Cincinnati, i860 
 [various editions]. ' ' The Christian Psalmist, " etc. 
 
 FILLMOBE (John Comfort). American teacher and writer, B. near Norwich, 
 Conn., Feb. 4, 1843. Educated at Oberlin Coll., Ohio, 1862-65. S. music 
 at Leipzig Cons., 1865-67. Director of Music Cons, in Oberlin Coll., 1869. 
 Prof, of music in Ripon Coll., Wisconsin, 1869-78. Music-director Milwaukee 
 Coll. for Young Ladies, 1878-1884. Director and founder of School of Music, 
 Milwaukee, 1884. Author of " Pianoforte Music : its History, with Bio- 
 graphical sketches and critical estimates of its greatest masters." Chicago, 
 1883, 8vo ; London edit., 1885. Also newspaper articles. 
 Mr. Fillmore is a careful and successful teacher, and the programmes of the con- 
 certs given at the institution where his labours are carried on display the highest 
 taste and culture. The work on the Pianoforte and its music is a well-written 
 exposition of the subject, tracing pianoforte music through its various developments 
 and changes, and giving a careful historical insight to the progressions of keyed 
 instrument music. 
 
 FILTSCH (Carl). Hungarian pianist, B. Hungary, 1830. Appeared in Lon- 
 don and elsewhere as an infant prodigy. D. Vienna, May II, 1845. 
 
 FINCH (Hon. and Rev. Edward). English comp., B. 1664. D. York, Feb. 
 
 14, 1738. He composed anthems, psalms, etc.; also a "Grammar for 
 
 Thorough-bass, with examples." MS. of 66 pages in the Euing Library, 
 Glasgow. 
 
 FINGER (Godfrey). Austrian violinist and comp., B. Moravia. Came to 
 England, 1685. Musical director to James II. Chapel-master at Gotha, 1717. 
 Further career unknown. 
 Works. — Sonatas for violins ; Six sonatas or solos for the flute, with a Thorough- 
 bass for the harpsichord (with D. Purcell) ; Ayres for violins and flutes. Music 
 for — The Virgin Prophetess ; The Anatomist, 1697 ; The Loves-of Mars and Venus, 
 1696 ; The Judgment of Paris, 1701 (some of these with Eccles, Weldon, and D. 
 Purcell) ; Love for Love, 1695 ; The Wives' Excuse ; Sieg der Schbnheit iiber die 
 Helder, 1706, etc. 
 
 FINK (Christian). German org. and comp., B. Dettingen, near Heidenheim, 
 1831. Org. and teacher. 
 Works.— Lieder for voice and Pf., op. 3 ; Two sonatainas for Pf., op. 16 ; 
 Sonata for Pf., op. 21 ; The 95th Psalm, op. 28 ; Fugues, sonatas, and voluntaries 
 etc., for organ. 
 
FIN — FIS 247 
 
 FINK (GrOttfried Wilhelm). German comp. and poet, B. Sulz. March 7, 
 1783. D. Halle, Aug. 7, 1846. Was editor of the "Allgemeine Musikalisches 
 Zeitung," from 1827. 
 
 Works. — Erste Wanderung der altesten Tonkunst als Vorgeschichte der Musik. 
 Essen, 8vo, 1831. Musikalische Grammatik oder theoretisch — praktischer unter- 
 richt in der Tonkunst, Leipzig, i2mo, 1836. Wesen und Geschichte der Oper, ein 
 Handbuch fiir alle Freunde der Tonkunst, Leipzig, 8vo, 1838. System der 
 Musikalishen Harmonielehre, Leipzig, 8vo, 1842. Der neumusikalische Lehrjam- 
 mer, Leipzig, 8vo, 1S42. Musikalische Kompositionslehre, Leipzig, 8vo, 1847. 
 Der Musikalische Hanslehrer, Leipzig, 8vo, 1851. Musikalischer Hausschatz der 
 Deutschen, eine sammlung von 1000 Liedern und Gesangen... Leipzig, 1862. 
 
 FIORAVANTI (Valentino), Italian comp., B. Rome, Nov. 1770. D. 
 Capua, June, 1837. 
 
 Works. — Operas: Amor aguzza I'ingegno; I'Astuta; Le cantatrice villane ; II 
 Furbo contra il Furbo, 1795 ; Gli amanti comici, 1796 ; La schiava di due padron, 
 1803 ; L'Africano generosa ; I Virtuosi ambulanti, 1807 ; Camilla, 1810. Sacred 
 music, songs, etc. 
 
 FIORAVANTI (Vincenzo). Italian comp., son of above, B. Rome, April 
 1810. D. Naples, March, 1S77. 
 Works. — Operas: La Pastorella rapita ; Robinson Crusoe ; Colombo; Amore e 
 Disinganno ; La Larva ; Un Matrimonio in Prigione, 1838 ; La Dama e lo Zocco- 
 laio, 1840 ; Gli Zingari ; La Pirata ; I Vecchi burlata ; Annella, etc. 
 
 FIOBILLO (Federigo). Italian violinist and comp., B. Brunswick, 1753. 
 
 Appeared in Poland as violinist, 1780. Cond. at Riga, 1783-5. Played in 
 
 Paris, 1785. Appeared in London, 1788 and in 1794. D. Amsterdam [1812]. 
 
 Wrote string quartets, symphonies, valses, sonatas, concertos, 36 caprices for 
 
 violin, etc. 
 
 FIOBILLO (Ignazio). Italian comp., B. Naples, May 11, 1715. D. near 
 Cassel, June, 1787. Father of the preceding. 
 
 FISCHER (Carl August). German org. and comp., B. Ebersdorf, 1829. 
 Teacher and org. in Dresden. Comp. of a sinfonia for org. and orch. ; 
 Lorely, opera ; org. sonatas, fugues, etc., and songs. 
 
 FISCHER (Christian Friedrich). German org. and comp. B, Liibeck, Oct. 
 23, 1698. D. middle of 17th century. 
 
 FISCHER (Johann Christian). German oboist, B. Freiburg, 1733. Member 
 of court band, Dresden. Appeared in London, 1768. Mem. of Queen's 
 band. Played at Abel and Bach's concerts ; Vauxhall Gardens, etc. Returned 
 to Continent, 1786. Again in London, 1790. D. London, April 29, 1800. 
 
 FISCHER (Johann Godfrey). German comp. and pianist, B. Naundorf, Sept. 
 I3i 1731- D. Freiburg, Sept. 7, 1821. Comp. overtures, Pf. music, songs, etc. 
 
 FISCHHOF (Joseph). Austrian comp., writer, and pianist, B. Moravia, April 4, 
 1804. D. near Vienna, June 28, 1857. 
 Comp. Pf. rondos, valses, variations, marches, galops, etc. ; songs ; and wrote 
 " Versuch einer Geschichte des clavierbaues..." Vienna, 1853. 
 
 FISH (William). English violinist and comp., B. Norwich, 1775. Violinist in 
 Norwich theatre. Teacher of music at Norwich. Was musical preceptor of 
 Edward Taylor amd George Perry, and a comp. of concertos, glees, and songs. 
 D. [1863-4]. 
 
 FISHER (John Abraham). English comp. and violinist, B. Dunstable [Lon- 
 don], 1744. S. under Pinto. Appeared at King's Theatre as violinist, 1763. 
 Married Miss Powell, 1770. Bac. and Doc. Mus., Oxon., 1777. Travelled 
 in Russia and Germany. Married Anne Selina Storace, 1784. Separated 
 from her soon afterwards. Lived in Dublin as teacher. D. May, 1806 
 
 [1790-5]- 
 Works,— Music to Th? Monger of the Wood, 1772 ; The Sylphs, 1774 ; Prp- 
 
248 FIS — FLE 
 
 metheus, 1776 ; The Norwood Gypsies, 1777 ; Macbeth. Providence, oratorio (for 
 degree), 1777. Symphonies; Concertos for Pf., and for oboe; Violin and flute 
 music ; Canzonets. A Comparative View of the English, French, and Italian 
 Schools, consisting of Airs and Glees composed as examples of their several manners, 
 Lond., fo., n. d. 
 
 FISIN (James). English musician, B. Colchester, 1755. S. under Burney and 
 Reinhold. Teacher in Chester. Wrote " The Seasons, or Vocal Year " ; 
 " The Judgment of Paris," a masque (Congreve) ; " Sacred Songs on the most 
 Prominent Incidents of our Saviour's Life and Death," Lond., n. d. Sonatas, 
 Glees, Canzonets, Ballads, etc. [D. ?] 
 
 FISSOT (Alexis Henri). French pianist and comp., B. 1843. Comp. of 12 
 Preludes for Pf., op. 3; Deux Ballades, Pf., op. 7; Arabesques, Pf., op. 10; 
 and a number of works in similar style. 
 
 FITZBALL (Edward), or Ball. English dramatist and writer, B. [Norwich], 
 1792. D. Chatham, Oct. 27, 1873. Wrote the librettos of some of the most 
 popular of English operas, Wallace's "Maritana" being perhaps his most 
 successful production. Although something more than a mere play-wright his 
 poetical merits were of the lowest possible order, and his failure to bring the 
 poetry of his librettos above the commonplace, communicated itself to the ven- 
 turesome composers who set them. He published "Thirty-five Years of a 
 Dramatic Author's Life," Lond., 2 vols., 1859. 
 
 FITZWILLIAM (Edward (Francis). English comp. and cond., B. Deal, 
 1824. Music-director, Haymarket Theatre, London. Married Miss Ellen 
 Chaplin, 1855. D. London, January 20, 1857. 
 Works. — Love's Alarms, operetta; Songs, 1853. Four four-part songs, Lond., 
 
 1855. Hymns, etc. 
 
 FITZWILLIAM (Richard, 7th Viscount). English peer, and founder of 
 the Fitzwilliam Museum, Cambridge, B. Aug., 1745. D. Feb. 5, 1816. 
 Title now extinct. 
 He bequeathed to the University of Cambridge a collection of paintings, music, 
 and books, the musical portion of which included a number of fine MS. composi- 
 tions of early composers, principally Italian. The sacred music contained in this 
 collection was edited and published by Vincent Novello, in 5 volumes, as " The 
 Fitzwilliam Music, being a Collection of Sacred Pieces from the MSS. of Italian 
 Composers in the Fitzwilliam Museum," fo., n. d. 
 
 FLAGGr (Josiah). American musician, published "A Collection of the best 
 Psalm Tunes, in two, three, and four parts, from the most opproved authors " 
 etc., Boston, 1764. 
 
 FLECHA (Mathieu). Spanish comp. and ecclesiastic, B. Prades, 1481. D. 
 middle of i6th century. His nephew, Mathieu, B. 1520, was also a comp. 
 They both wrote church music. 
 
 FLEGIEB (Ange). French comp., B. Marseilles, Feb. 22, 1846. Comp. can- 
 tatas, Pf. music, songs, overtures, etc. 
 
 FLEISCHER (Friedrich Gottlob). German pianist and comp., B. Kothen, 
 Jan. 14, 1722. D. Brunswick, April 4, 1806. 
 
 A famous pianist of the School of Bach., comp. an opera, much Pf. music, songs, 
 odes, etc. 
 
 FLEMING (Rev. Alexander, D.D.). Scottish divine and writer, B. 1770. 
 D. June, 1845. Was minister at Neilston. Wrote "To the Lord Provost of 
 Glasgow, the two following Letters are respectfully addressed, on the subject 
 of the Organ which... was introduced into St. Andrews Church, Glasgow. To 
 which are added Remarks on the Rev. James Begg's Treatise on the Use of 
 Organs," Glasgow, 8vo, 1808. "Answer to a Statement of the Proceedings 
 of the Presbytery of Glasgow relative to the Use of an Organ," Glas., 8vo, 1808. 
 
 FLEMING (Rev. John). Scottish divine and writer, minister at one time at 
 Airdrie. Author of " An Inquiry into the Compositions with which the Praise 
 
F L E — FLU 249 
 
 of God should be Celebrated in His Public Worship," Edin., i2mo, 1821. 
 Sermons and many controversial works. 
 
 FLEUEY (Charles Emile). French comp. and pianist, B. Paris, July 30, 
 i8io. S. Paris Cons. Comp. Pf. music, songs, masses, etc. 
 
 FLIGHT (Benjamin). English organ-builder of l8th century, B. 1767. Was 
 partner with Robson, and constructed the "Apollonicon," a variation of the 
 organ or orchestrion. He invented several improvements in the construction 
 of organs. 
 
 FLINTOFT (Rev. Luke). English divine of 18th century. Priest-vicar of 
 Lincoln Cath., 1704-14. Gent, of Chap.-Royal, 1715. Reader in Whitehall 
 Chapel, 1719. Minor canon, Westminster Abbey. D. Nov. 3, 1727. He 
 invented the double chant, or rather compqsed the earliest specimen yet dis- 
 covered. It is in G minor, and will be found in any large collection. 
 
 FLOTOW (Friedrich, Baron von). German comp., B. Rentendorf, April 
 27, 1812. S. at Paris under Reicha, 1827. Intendant of Count Schwerin, 
 1856-63. Returned to Paris, 1868. Resided in Vienna. D. Wiesbaden, Jan. 
 24, 1883. 
 
 , Works. — Operas: Le Comte de Charolais, 1836 ; Stradella, 1837 ; Le Naufrage 
 de la Meduse, 1839 ; L'esclave de Camoens, 1843 ; Die Matrosen, 1845 ; L'ame en 
 peine, 1846 ; Stradella (rewritten), 1844 (London, 1846) ; Martha, Vienna, 1847 
 (London, 1858); Die Gross fiirstin, 1850; Indra, 1853; Riibezahl, 1854; Hilda, 
 1855 ; Der Miiller von Meran, 1856 ; La Veuve Grapin, 1859 ; L'Ombre, 1869 
 (London, 1878); Naida, 1873; II Flor d'Harlem, 1876; Enchantress, 1878. 
 Ballets, songs, etc. 
 
 The musician in quest of elevated musical thought will look long and earnestly 
 before he discovers much to gratify his feelings in the foregoing list of operas. If, 
 here and there, he stumbles on a fragment of good melody, let him carefully pre- 
 serve it that it may preserve him in his endeavours to cross a boundless waste of 
 vapid sing-song. 
 
 FLOWER (Eliza). English soprano vocalist, poetess, and comp. , best known 
 as comp. of "Musical Illustrations of the Waverley Novels," Lond., 1831, and 
 similar productions. The part-song, "Npw pray we for our country," is by 
 her. 
 
 FLOWER (Sara), or Adams. English contralto singer and comp., sister of 
 preceding, B. Feb. 22, 1805. Married to Mr. W. B. Adams, engineer. D. 
 Melbourne, Aug. 16, 1865. 
 
 FLOWERS (George French). English comp., org., and v^iter, B. Boston, 
 
 Lincoln, 181 1. S. under Rinck, and Schnyder von Wartensee. Org. of English 
 
 chap., Paris; S. Mark's, Myddleton Sq., London. Mus. Bac, Oxon., 1839. 
 
 Editor of Literary Gazette. Competed, unsuccessfully, for Musical Prof, ship, 
 
 Oxford, 1848. Do., Gresham College, 1863. Mus. Doc, Oxon., 1865. 
 
 Estab. British School of Vocalization. D. London, June 14, 1872. 
 
 Works. — Essay on the Construction of Fugue, with an Introduction containing 
 
 new Rules for Harmony, Illustrated in a Passacaglia and Twelve Fugues for the 
 
 Organ, Lond., 4to, 1846; Trans. Baskr's "Pictorial Representation of the Science 
 
 of Harmony and the Relationship of Chords," Lond., fo., n. d. ; Poem on Muscular 
 
 Vocalisation, with Introduction, Barrow-on-Humber, 8vo, 1861. Anthems, songs, 
 
 miscellaneous works. Flowers was the trainer of Mrs. Howard Paul, and a number 
 
 of other successful vocalists. 
 
 FLUDD (Robert). Enghsh writer and scholar, B. Milgate, Bearsted, Kent, 
 1574. D. 1637. 
 Work. — " Utriusque cosmi majoris scilicet et minoris metaphysica, physica atque 
 technica historia," 2 vols., Oppenhemii, 1617. Contains some curious chapters on 
 music, learned but not rational. His other works, " Tractatus Apologeticus," etc., 
 are extremely rare and curious productions, chiefly on alchemical science. 
 
 I'LtJGEL (Gustav). German pianist and comp., B. Nienburg-on-the-Saale, July 
 
250 FOD — FOR 
 
 2, 1812, has written a number of good pieces for Pf., as Sonata, op. 4 ; Three 
 Charakterstiicke, op. 10; Fantasie-Bilder, op. 11 ; Sonata, op. 36; Humoreske, 
 op. 44 ; as well as Lieder and Songs for voice and Pf. His works reach op. 86. 
 
 FODOR-MAINVIELLE (Josephine). French vocalist, B. Paris, 1793. 
 Married to M. Mainvielle, actor, 1812. Dibut, Paris, 1814. D. [?] 
 
 FOGQ-IA (Francesco). Italian comp. and org., B. Rome, 1604. D. Jan. 8, 
 1688. He was a chapel-master at various towns in succession, and wrote 
 motets, masses, psalms, and other church music. 
 
 FOGLIANO (Ludovico). Italian theorist of the fifteenth and sixteenth cen- 
 turies, published a work entitled "Musica Theorica," Venice, fo., 1529, which 
 excited mucn controversy in its time with reference to the several technical 
 changes advocated in its pages. 
 
 FOLI (A. J.), Foley. Irish bass vocalist, B. Cork [?]. Has appeared with 
 great success in all the large towns of Great Britain and Ireland, in America, 
 and elsewhere. His voice is of great power and compass, and his style of 
 vocalisation is highly artistic and at the same time popular. He is a universal 
 favourite among all classes of the musical public. 
 
 FOLIANI. See FOGLIANI. 
 
 FOND. See De La Fond. 
 
 FONTAINE (Henri L- S. Mortierde). French pianist and comp., B. Wis- 
 niowiec, i8i6. Comp. of a large quantity of showy Pf. music. D. Balham, 
 May 10, 1883. 
 
 FONTANA (Bartolommeo). Italian musician and teacher, author of "Musical 
 Manual : containing both the Theory and Practice of Instrumental Music," 
 Lond., 8vo, 1847. 
 
 FOBBES (George). English pianist and comp., B. Pimlico, London, July I, 
 
 1813. S. under his brother Henry and Sir G. Smart. Gave concerts with his 
 
 brother in London, 1831-1844. Subsequently gave subscription concerts on 
 
 own account. D. London, Sept. II, 1883. 
 
 Works. — Pianoforte : Sonata in C (ded. to Geo. Hogarth) ; March des Guides ; 
 
 Larghetto and Rondo Capricciosa in E (ded. to Sir W. S. Bennett) ; Rappelletoi ; 
 
 La Caprera; La Castellucia; Carnival de Florence; Marziale; La pluie des Perles; 
 
 Forbes s Valse de Concert and Valse de Sylphes ; Calliope Valse ; Pluie de 
 
 Printemps ; La Rosamund, a nocturne ; Louise, nocturne. Four operatic duets. 
 
 Six teaching pieces for Pf. Gavotte, Queen Elizabeth. Marche et Finale brillant, 
 
 op. 7. Italian fantasia. Espaniola. Billet-doux. Transcriptions, etc. Three 
 
 Books of easy Voluntaries for organ or harmonium. Offertoire for organ in F (ded. 
 
 to Sir John Goss). 
 
 The majority of the above works are light, brilliant pieces, cleverly wrought out 
 and not too ambitious. 
 
 FORBES (Henry). English comp. and pianist, brother of the above, B. London, 
 1804. S. under Sir G. Smart, Hummel, Moscheles, and Herz. Cond. of the 
 Societa Armonica. Org. of Parish Church of S. Luke, Chelsea. Gave con- 
 certs with his brother George. D. London, Nov. 24, 1859. 
 Works. — The Fairy Oak, opera, 1845. Ruth, oratorio, 1847. Pf. music. 
 
 Songs. Psalms, etc. 
 
 Forbes was a fine pianist, and a composer of some merit, who could have made 
 a great name, had time and opportunities been allowed liim. 
 
 FOBBES (John). Scottish printer and publisher, established at Aberdeen in 
 middle of i6th century. He is chiefly remarkable as having published the first 
 music book in Scotland [See Davidson, Thomas] ; and for the authorship of 
 three inflated epistles dedicatory, prefixed to the "Cantus" of 1662, and 
 changed, to the edition of i656 ; and again different, to the edition of 1682. 
 
 FOB.BTTSH (Abijah). American musician, pubiished "The Psalmodist's Assis- 
 tant," Boston, 1806. 
 
FOR — FOR 
 
 251 
 
 FORD (David Everard). English comp. and org., flourished during the first 
 half of the present century. He wrote " The Rudiments of Music, etc.," n. d., 
 and published "Original Psalm and Hymn Tunes," Lond., 7 books, 1833. 
 Progressive Exercises for the Voice...," 1829. 
 
 FORD (Miss). English performer on the Harmonica, flourished during the 1 8th 
 century. Authoress of " Instructions for Playing on the Musical Glasses, with 
 a copperplate representing the order and manner of placing the glasses : with 
 such directions for performing on them, that any person of a musical turn may 
 learn in a few days, if not in a few hours," Lond., 1762. 
 
 FORD (Thomas). English comp., B. in latter half of the i6th century [1580]. 
 
 Musician in suite of Prince Henry (Son of James I.). Musician to Charles I., 
 
 on his accession. D. Nov., 1648. 
 Works. — Musicke of sundrie kindes set forth in two Bookes, the first whereof 
 are Aires for foure Voyces to the lute, orpherion, or basse viol, with a dialogue for 
 two voices and two basse vioUs, in parts tunde the lute-way. The second are 
 Pavans, Galiards, Almaines, Toies, Jiggs, Thumpes, and such like for two base 
 viols the liera-way, so made as the greatest number may serve to play alone, very 
 easy to be performed, fol. 1607. Contributions in Leighton's "Teares." Canons, 
 etc., in Hilton's " Catch that catch can." 
 
 Ford is now known only as the composer of the beautiful madrigal " Since first I 
 saw your face. " 
 
 FORD (Thomas). English vnitei, author of " Singing of Psalmes the duty of 
 Christians, in v Sermons," Lond., l2mo, 1659. 
 
 FORDE (William). English writer, author of "An Essay on the Key in Music, 
 fully illustrated by examples," Lond., 1841. Encyclopedia of Melody, 3050 
 Airs of all Countries..., 6 vols, 8vo, n. d. New Pianoforte Primer," Lond., 
 8vo, n. d. New Method of Singing according to the Italian School, 87 exer- 
 cises, Lond., fo., n. d. Art of Singing at Sight, Lond., 8vo, n. d. Principles 
 of Singing, with practical examples, Lond. [1830], 7 editions. 
 
 FORKEL (Johann Nicolaas). German writer and org., B near Coburg, Feb. 
 22, 1749. Chor. at Luneberg. S. at Gbttingen University, 1769. Org. at 
 University Ch. of Gbttingen. Musical Director, Gottingen University, 1778. 
 Doctor of Philosophy, Do., 1780. D. Gottingen, Mar. 17, 1818. 
 Works. — Musikalisch-Kritische Bibliothek, Gotha, 3 vols, 8vo, 1778-9. Allge- 
 meine Geschichte der Musik, Leipzig, 2 vols., 4to, 1788-1801. AUgemeine Litter- 
 atur der Musik oder anleitung zur Kenntniss Musikalischer Bucher, welche von den 
 altesten bis auf die neusten zeiten bey den Greichen, Romern und den meisten 
 neuern Europaischen nationen sind geschrieben worden, Leipzig, Svo, 1792. 
 Musikalischs Almanach fiir Deutschland auf, 1782-S3-84, Leipzig, Svo. Ueber J. 
 S. Bach's Leben, Kunst und Kunstwerke, Leipzig, 1802. Trans, as Life of John 
 Sebastian Bach, with a critical view of his compositions, Lond., 8vo, 1820. Mis- 
 cellaneous musical writings and compositions. 
 
 Forkel is best known by his two works above named, on the Literature of Music, 
 and on Bach, both of which are highly valuable to the musical student. The 
 "Litteratur" contains a bibliography of musical writings up to about the end of 
 last century. 
 
 FORMBY (Rev. Henry), M.A. English writer, author of ...Duties and 
 Privileges of Congregational Singing, Sermon, 1849. The Roman Ritual and 
 its Canto Fermo compared with the works of modern music, Lond., Svo, 1849. 
 The Cathohc Christian's- guide to the right use of Christian Psalmody and the 
 Psalter, Lond., 1S47. 
 
 FORMES (Karl). German bass vocalist, B. Muhlheim on the Rhine, Aug. 7, 
 1810. Chor. in Cath. Choir. D^iui in "Zauberflbte," at Cologne, Jan., 
 1S42. Appeared at Vienna. Appeared in London, Drury Lane, as Sarastro, 
 "Zauberflbte," May, 1849. Appeared as Cfisper in " Der Freyschutz," Covent 
 Garden Theatre, March, 1850. Sang at Philharmonic Concerts, in Provinces, 
 and in Scotland. Appeared in America, 1857. Has since sang there with 
 undiminished vigour, 
 
252 FOR — FOW 
 
 FORNASAEI (Nicolo). Italian tenor vocalist, B. 1803, D. 1861. Appeared 
 in London and elsewhere in " Fra Diavola " and other popular operas. 
 
 FORSTEB (Emanuel Aloys). German comp. and writer, B. 1748. D. 
 Vienna, 1823. Composed a large quantity of chamber, Pf. and vocal music, 
 some of which keeps a place at the present time. Also "Anleitung zum 
 General-Bass," Leipzig, n. d. 
 
 FOBSTER (Simon Andrew). English violin-maker and writer, son of William 
 Forster, the younger, B. May 13, i8oi. D. Feb. 2, 1870. Wrote with W. 
 Sandys a "History of the Violin," 1864, and made 'cellos, violins, double- 
 basses ; in the making of which he was instructed by his father. 
 
 FOBSTEB (William). English violin-maker, B. Brampton, Cumberland, May 
 
 4, 1739. Went to London, 1759. Partner with Beck, Towerhill, London, 
 
 as music-seller. Pubhsher and violin maker, 1781. Published Haydn's works, 
 
 1781. D. 1808. 
 
 Forster copied Stainer and Amati, and attained to high excellence in the general 
 
 finish of his instruments. His double-basses, of which he made a few, are excessively 
 
 valuable, as are his 'cellos, which are ranked by British performers among the best. 
 
 FOBSTEB (William). Enghsh violin-maker, B. London, Jan. 7, 1764. D. 
 July 24, 1824. He made a number of average instruments, and a few of a 
 high order of merit. His son William (1788-1824) was also a violin-maker, 
 but his work does not claim any particular merit. 
 
 FOBSYTH BBOTHEBS. English music-publishing firm, established in Lon- 
 don and Manchester in 1873. They publish Charles Halle's popular arrange- 
 ments for the Pf , and a number of other pieces, vocal and instrumental, by 
 various popular composers. 
 
 FOSTER (Myles Birket). English org. and comp., B. London, Nov. 29, 1851. 
 Eldest son of Birket Foster, the celebrated artist. Shewed early love for music, 
 but coming of a Quaker family it was not encouraged. Sent to learn Stockbroker's 
 business, 1868. Resigned, 1871. S. music under Hamilton Clarke, and at 
 R. A, M. under Sullivan, Prout and Westlake. Org. of Rev. H. R. Haweis's 
 Ch., 1873-74. Licentiate Trinity Coll., Lond., 1874. Org. of S. George's 
 Campden Hill, 1875-79; F.C.O., 1875. Org. to Foundling Hospital, 1880. 
 Associate of R. A. M. ; Philharmonic Soc, 1880. 
 Works. — Evening Service in C (male voices) ; Communion Service in B flat; 
 
 Evening Service in A (Sons ot the Clergy Festival), 1883. Anthems, Hymns, 
 
 Part-songs, Songs, etc. Symphony in F sharp minor, "Isle of Arran" (MS.). 
 
 Overtures (MS.). Two Cantatas (MS.). String quartet, Pf. trio, etc. (MS.). 
 
 FOSTEB (Stephen CoUins). American song composer, B. Pittsburg, Pa., 
 July 4, 1826. D. >few York, Jan. 13, 1864. 
 
 Works. — Songs : Beautiful child of song ; Annie, my ovm love ; Camptown 
 Races ; Come vrith thy sweet voice again ; Cheer up, Sam ; Ellen Bayne ; 
 Eulalie ; Farewell, my Lilly dear ; Gentle Annie ; Hard times come again no 
 more ; Jeannie vrith the hght brown hair ; Massa's in de cold ground ; My old 
 Kentucky home ; Maggie by my side ; Melinda May ; Mary loves the flowers ; 
 Nancy Till ; Nelly was a lady ; Nelly Bly ; Old dog Tray ; Old folks at home ; 
 Old memories ; Oh, boys carry me 'long ; The hour for Thee and me ; Ring de 
 banjo ; Village maiden ; Willie, we have missed you ; Come where my love hes 
 dreaming, for 4 voices ; etc. 
 
 The success of the majority of the above songs was something enormous previous 
 to, during, and for some time after the American Civil War. Hundreds of 
 thousands of copies have been sold both in Britain and America, and their popu- 
 larity is still enduring. 
 
 FOUQUE (Pierre Octave). French comp., B. Paris, Nov. 12, 1844. S. under 
 Chauvet, etc., in Paris Cons. Comp. operettas, Pf. music, songs, etc. D. 
 Pau, April, 1883. 
 
 FOWLE (Thomas Lloyd). English comp., writer and org., B. Amesbury, 
 Wilts, Oct. 16, 1827. Self-taught in music. Org. to his father at Amesbury. 
 
tox — frA 253 
 
 Short time org. at Crawley, Sussex. From 1856, engaged as editor and pub- 
 lisher of useful works. Resident in Ryde, Isle of Wight. 
 
 Works. — 4 vols, of Anthems ; S Cantatas ; 4 vols, of organ voluntaries ; 12 
 Marches for special seasons ; The Church Tune Book ; 2 Services " Thanksgiving 
 Te Deum," for recovery of the Prince of Wales; and numerous other musical 
 works. Versification of the several collects in the Book of Common Prayer, with 
 addenda of special hymns. Handel (memoir), 8vo, n. d. Charles Dickens (memoir). 
 Gentle Edith (novel). Autobiography and Treatise on Musical Degrees. Many 
 popular readings, including " The Ghost that ran away with Organist." 
 
 Dr. Fowle, who is M.A., Doc. Mus., and Ph. Doc. of Giessen, has done a great 
 amount of good among the parochial churches of England, by his untiring energy 
 and skill in catering to the real wants of their organists. In 1864 Dr. Fowle was 
 presented to the Prince of Wales. In 1874 his labours were so highly appreciated 
 that nearly 2000 persons of all classes petitioned the Premier for a Civil Service 
 pensioii, as a reward for his services to music. This, however, was not granted. 
 He edited for three years a popular paper entitled Monthly Muiical and Literary 
 Journal, but was forced from ill health to discontinue its publication. 
 
 FOX (George). English comp. and bass singer, has written a number of very 
 
 amusing and popular " comic cantatas. " These cantatas have been given in 
 
 most of the large towns in England. Fox is himself a remarkably fine vocalist. 
 
 Works. — Cantatas: The Jackdaw of Rheims ; John Gilpin; Lord Lovel ; The 
 
 Babes in the Wood (Ingoldsby) ; The Fair Imogene, 1880 ; The Messenger Dove, 
 
 1 88 1. Songs, Pf. music, etc. 
 
 "Mr. Geo. Fox, the composer of the second Cantata, is a gentleman who largely 
 devotes himself to the musical illustration of the horrible-grotesque, not without a 
 measure of success that amounts to justification. So far as our knowledge goes of 
 his doings, he began with the story of the Jackdaw of Rheims, and next took up the 
 pathetic narrative of Lord Lovel and his bride. We are now acquainted with him 
 as the composer of a Cantata founded on the grim and ghastly legend of Alonzo the 
 Brave and the fair Imogene — the lady, by the way, giving her name to his work. 
 ' Imogene ' is, of course, treated from a humourous point of view, and the general 
 tone of sportiveness and cynicism that pervades the music excites a sense of incon- 
 gruity provocative of laughter. In this respect the Cantata opens very well indeed. 
 Subsequently it falls off a little, and the music becomes less distinctive in its humour ; 
 but as a whole the work claims respect. In fact, the composer writes so admirably 
 that we should be glad to find him taking up a serious theme and doing his powers 
 the justice they cannot receive from any amount of clever fooling. Mr. Fox, who 
 is a baritone of considerable pretensions, took a leading part in the performance of 
 ' Imogene,' assisted by Mdlle. Bauermeister, Miss Emilie Lloyd, and Mr. Faulkner 
 Leigh, all of whom sang with care and success. Mr. Sidney Naylor conducted. — 
 The- Daily Telegraph, Friday, April 16, 1880. 
 
 FRADEL (Carl). German comp., pianist, and teacher, B. Vienna, 1821. Re- 
 sided in New York as teacher for long period. Visited London, etc. Comp. 
 Pf. music, songs, etc. 
 
 FRANCHOMME (AugUSte). French violoncellist and comp., B. Lille, April 
 10, 1808. Comp. music for his instrument, etc. D. Paris, 1884. 
 
 FRANCE (Cesar AugUSte). Belgian pianist and comp,, B. Lifege, Dec. 10, 
 1822. Org. in Paris. Comp. Pf. music, songs, an oratorio, etc. 
 
 FRANCK (Guillaanie). French comp., B. Rouen [1520]. Musician at Geneva, 
 etc. D. Lausanne [1570]. Comp. of church music, and the reputed writer of 
 the psalm tune ' ' French. " 
 
 FRANCO of Cologne, a Belgian theorist who flourished during the nth century. 
 
 He studied under Adelman at Li^ge. His works are, "Ars cantus mensura- 
 
 bills," "Compendium de Discantu." 
 " The merit of Franco, and his importance in the history of music, consist in his 
 having been the first to collect and systematize the laws of measure ; at least his 
 writings are the earliest known in which this subject is treated. " — Macfarren, in 
 " Imperial Dictionary of Biography." 
 
254 P R A — F R E 
 
 FEANCOEUR (Francois). French comp. and cond., B. Paris, Sept. 28, 1698. 
 D. Paris, Aug. 6, 17S7. He comp. "Pyrame et Thisbe " ; " Scanderberg, " 
 173s ; " Les Augustalts," 1744; "Z^Iindor," 1744; and other operas. His 
 nephew Louis Joseph Francoehr, B. Paris, Oct. 8, 1738, D. Paris, March 
 10, 1804. Was a writer and comp. " Ismeneet Lindor," 1766 ; and " Ajax," 
 1770, are among his operas. He wrote a " Traits general des voix et des in- 
 struments d'Orchestre..." Paris, fo., n. d. His son, Louis Benjamin, B. 
 Paris, Aug. 16, 1773, D. Paris, Dec. 15, 1849, was a writer on music, and 
 comp. some vocal and instrumental music. 
 
 FKANKLIN (Benjamin). American philosopher and statesman, B. Boston, 
 Mass., Jan 17, 1706. D. Philadelphia, April 17, 1790, Celebrated in con- 
 nection with music as the inventor of the Harmonica. This is described in a 
 " Description of a New Musical Instrument cftmposed of Glasses, called the 
 Armonica ; in a letter to the Rev. Father Beccaria," 1762. He also wrote 
 other papers on musical subjects. 
 
 FBANZ (Bobert). German comp. and editor, B. Halle, June 28, 1815. S. 
 
 under Fr. Schneider, at Dessau, 1835-7. Org. of the Ulrichskirche, nr. Halle. 
 
 Director of the Sing-Academie, Halle. Org. and music-director'of University. 
 
 Retired from these positions since 1868. Lives now (1885) chiefly on proceeds 
 
 of a subscription got up on his behalf in 1868, and on his editorial labours. 
 Works. — Op. i. Twelve songs for voice and Pf. ; op. 2. Five " Schilflieder '' 
 von N. Lenau ; op. 3. Six lieder for voice and Pf. ; op. 4. Twelve lieder for voice 
 and Pf ; op. 5. Twelve do. ; op. 6. Six do. ; op. 7. Six do. ; op. 8. Six songs ; op. 
 9. Six lieder ; opp. 1 1, 38, 39, 41, Sets of six lieder. Pf. music ; The 1 17th psalm ; 
 Six chorales. Edition of Bach's Matthew Passion, 10 Cantatas, etc. Revised 
 score of Mozart's edition of Handel's "Messiah," used at Birmingham Festival, 
 18S5. 
 
 Franz's songs number about 260, and are admittedly among the best of recent 
 German vocal compositions. Their artistic beauty is well known, and their interest 
 for musicians of cultured taste is great. 
 
 FBANZL (Ferdinand). German violinist and comp., B. Schwetzingen, 1770. 
 Played throughout Europe. D. Mannlieim, 1833. Comp. concertas, fantasias, 
 variations, etc., for vn. and orch., string quartets, operas, etc. 
 
 FBASEB (Captain Simon), Scottish collector, B. Ardachie, Inverness, 1773. 
 D. 1852. Published "The Airs and Melodies peculiar to the Highlands of 
 Scotland and the Isles, with a Plain Harmony for the Pianoforte, Harp, Organ, 
 or Violoncello, acquired 1715-45," Edin., fo., 1815. Another edition, 1874. 
 A valuable and scarce collection. 
 
 FRASI (Guilia). Italian soprano vocahst, flourished during the eighteenth 
 century. She appeared in London in 1743, and sang chiefly in Handel's 
 works. 
 
 FREDERICK II., sumamed The Great. B. Berlin, Jan. 24, 1712. D. Sans- 
 Souci, nr. Potsdam, Aug. 17, 1786. He was a good, or questionably good, 
 flute-player, having studied under Quantz ; and a famous patron of the fine 
 arts, especially French. He comp. some orchestral music. 
 n 
 
 FRELON (Louis Francois Alexandre). French org., comp., and pianist, 
 
 B. Orleans, 1825. Has written a large amount of Pf. and org. music, and a 
 work entitled " L' Art de 1' orgue expressif," etc. 
 
 FRESCOBALDI (Girolamo). Italian comp. and org., B. Ferrara, [1587]. 
 
 Resided at Antwerp, 1608. Org. at S. Peter's Cath., 1614. D. Rome, 1640 
 
 [1654]. 
 Works. -—11 Primo libro di madrigali, a cinque voci, Antwerp, 1608 ; II prirao 
 libro Pantasie a due, tre, e quatro voci, 1608 ; Ricercari et canzoni francesi, fatti 
 sopra diversi obligbi in partitura, 1615 ; Toccate, 1615 ; Capricci sopra diversi 
 sogetti, 1624 ; Capricci e Ricercari e Canoni, libro primo, etc. 
 
 Frescobaldi was the greatest organist of his time, and numbered among his 
 pupils Froberger. His compositions will be found here and there throughout col- 
 lections of organ music. 
 
PRE — FRO 25s 
 
 FBEYER (August). German org. and comp., B. nr. Dresden, 1803. S. under 
 Eisner, Hesse, etc. Wrote a number of good organ pieces, church and 
 chamber music, etc. 
 
 FREYLINGHAUSEN (Johann Anastasius). German comp., B. Halle, 
 Dec. 2, 1670. D. Halle, Feb. 12., 1739. Comp. of church music, chiefly 
 psalms and chorales. 
 
 FREZZOLINI . (Erminia). Italian soprano vocalist, B. Orvieto, 1818. S. 
 under her father, a singer, Ronconi, and Garcia. Dibut at Florence, 1838. 
 Appeared at Milan, 1840. Married Poggi, the tenor singer, 1840. Appeared 
 in London, 1842. Sang in St. Petersburg, 1848. Re-appeared in London, 
 1850. Appeared in Madrid and Paris, 1853. D. Paris, Nov., 1884. 
 
 FBIAS (Duchess de). See Balfe (Victoire). 
 
 FBICKEB (Anne), or Mogford. English song-writer and poetess, B. about 
 1820. Married Mr. Mogford. First song published, 1839. 
 Works. — Songs : A harvest hymn ; Angel of peace ; Autumn breezes ; Consola- 
 tion ; Dear voices of home ; Dinna ye hear ? ; Distant bells ; Fading away ; The 
 fancy fair ; Faithless swallow ; Flow, gentle river ; Footprints in the snow ; Gentle 
 Clare ; Gentle Shepherd ; Heart of hearts ; Hesperus ; I cried unto Thee ; I stood 
 beneath the chestnut trees ; Marguerite ; Memory's tears ; Nightingale ; The old 
 man's home ; Oh, weary eyes ; Phillis, fair ; Regret ; Robin ; Ruth's gleaning 
 song ; She is not mine ; Softly at thy window ; Sunshine ; Sweet queen of hearts ; 
 Thirty years ago ; To Thee alone ; Village bells ; When Celia sings ; When thou 
 art nigh ; You ask me for a song. Pf. music, etc. 
 
 FSiIES (Wulf 0. J.) German violoncello player, B. Garbeck, Holstein, Jan. 
 10, 1825. S. 'cello under Carl Ehilich ; otherwise self taught in music. First 
 played in public, 1838. Member of theatre orch. at Bergen, 1842-47. Settled 
 in Boston, U.S., 1847. Member of the Mendelssohn Quintette Club, 1848- 
 81. 'Cellist in the Beethoven Club, and principal Boston orchestras. Joint 
 author with August Suck of "Violoncello Instructor," Boston, n. d. Well 
 known in New England as one of the foremost performers and teachers. 
 
 FKIKE (PMlipp Josef), or Frick. German writer and pianist, B. Wallan- 
 
 zheim, Wiirzburg, May 27, 1740. Settled in London as pianist and teacher, 
 
 1780. D. London, June 15, 1798. 
 
 Works. — The Art of Musical Modulation rendered easy and familiar. ..Lond., 
 
 4to, 1780. French edit., Paris, 1799 ; A Treatise on Thorough Bass, containing a 
 
 plain and easy Method... Lond., 4to, 1789 ; 2nd edit., Lond., 4to, n. d. (title 
 
 varied) ; A Guide in Harmony, containing the various manners in which every chord 
 
 in four parts can be prepared. ..Lond., 4to, 1793. Duets and solos for Pf., Pf. 
 
 trios, etc. 
 
 FROBERGEE (Johann Jacob). German org., B. Halle [1606]. Court org. 
 at Vienna, 1637. S. under Frescobaldi, 1637-41. Left employment of Fer- 
 dinand III. of Austria, 1657. Appeared in London, 1662. Played in West- 
 minster Abbey. D. in France [1667]. 
 He was a remarkable performer, and carried on the traditions of Frescobaldi, 
 
 which ultimately culminated in the grandeur of J. S. Bach. The dates of his birth 
 
 and death are matters of dispute. He wrote music for the organ, the harpsichord, 
 
 and the voice. 
 
 FROST (Charles Joseph). English comp. and org., B. Westbury-on-Trym, 
 near Clifton, June 20, 1848. S. under his father (org. at Tewkesbury), Geo. 
 Cooper, Steggall, and Sir J. Goss. Org. of S. James's, Cheltenham, 1865 ; 
 Holy Trinity, Westbury-on-Trym, 1867 ; Holy Trinity, Weston-super-mare, 
 1869; Holy Trinity, Lee, Kent, 1873; St. Mary, Haggerston, 1876; Christ 
 Church, Newgate St., London, 1880 ; St. Peter's, Brockley, 1884. Mem. of 
 Board of examiners for awarding fellowships at Coll. of Org., 1875. Mus. 
 Bac, Cantab., 1876. Mus. Doc, Cantab., 1882. Mem. of Council Coll. of 
 Org. Prof, of org., Guildhall School of Music, 1880. 
 Works.— Nathan's Parable, oratorio, 1878 (MS.); Harvest Cantata, 1880 (MS.); 
 
256 PRO — PUX 
 
 By the waters of Babylon, cantata, 1876 (MS.) ; Te Deum in &; Morning Service 
 in F ; Communion Service in C ; Evening Services in C, D, G, and E flat ; The 
 Offertory Sentences. Anthems: Almighty God, give us grace ; Thou visitest the earth ; 
 God is gone up ; Almighty and Everlasting God ; When the Lord turned again ; God 
 is the Lord ; Thou shalt show us wonderful things ; Christ our Passover ; Like as 
 Christ was raised up ; He shall be great ; And I will pray the father ; Hear my prayer ; 
 Glory to God in the highest ; The Gentiles shall come. Sanctus, Kyrie, and Gloria, 
 in A flat. 36 original hymn tunes. iS'(?«^j.- 1 will lay me down in peace ; There the 
 wicked cease ; Heaven and Earth shall pass away ; Thy loving-kindness and mercy ; 
 I cried unto the Lord ; Seek ye the Lord ; Them that are meek ; Gone where 
 the light never fades ; A tender flower ; First love ; Youthful songs. Organ: Col- 
 lection of Organ pieces in 24 numbers — Preludes, Postludes, Fantasias, etc. ; Pre- 
 lude in D ; Moderato in B flat ; Sonatina in C ; Fantasia in B flat ; Impromptu in 
 A min., Larghetto in C, and Andante in F sharp. March in C, and Festal march 
 in C. Forty Preludes (chiefly short and easy), 1880 ; 27 original pieces ; 3 volun- 
 tary books. Symphony for orch., in C, 1878 (MS.) ; Two sets of six original 
 movements for harmonium ; Romance, Meditation, Tarentelle, Episode, Fantasia ; 
 Bouquet of Flowers, '24 sketches ; 7 Sonatinas ; etc., for Pf. 
 
 FBOST (Henry Frederick). English musician and org. of the Chapel Royal, 
 Savoy, authoi: of "Schubert."' Great Musicians' Series. London, Svo, 1881. 
 
 FRY (William H.) American comp. B. Philadelphia, 1813. Produced two 
 operas which have attained a measure of success in the United States : 
 "Leonora," 1858, and "Notre Dame de Paris," 1S64. He also composed 
 a Stabat Mater, Pf. music, cantatas, songs, and orchestral works. D. Santa 
 Cruz, 1864. 
 
 FBYER (G.) English musician, compiled "The Poetry of Various Glees, Songs, 
 etc., as Performed at the Harmonists." Lond., 1798, 
 
 FUHBEB (Robert). Bohemian org. and comp., B. Prague, June, 1807. Org. 
 of Prague Cath., etc. D. Vienna, Nov., 1861. 
 
 He wrote an amount of good church music, and much for the organ. 
 
 FULCHER (John). English musician and editor, B. London, August, 1S30. 
 Teacher in Glasgow. Editor of " Lays and Lyrics of Scotland, " with a Histori- 
 cal Epitome of Scottish Song by James Ballan tine, etc. Lond., n. d. Songs: 
 Afton Water ; Bonnie, bonnie Bell ; Songs of Scotland ; The Little Children, 
 Scottish vocal duet (arranged) ; Transcriptions, etc. , for Pf. ; Part-songs 
 (arrangements) ; Beauties of Scottish Song (with T. S. Gleadhilland Thomson). 
 
 FULLER (Richard). American musician, B. Beaufort, S. Carolina, 1808. 
 Compiled "The Psalmist, with Supplement." This was the hymnal in common 
 use among Baptists in America. 
 
 FUMAGrALLI (Adolfo). Italian pianist and comp,, B. Inzago, Oct. 19, 1828. 
 D. Florence, May 3, 1856. Has composed an immense quantity of brilliant 
 Pf. pieces, and songs of various degrees of merit. 
 
 FURSTENAXJ (Anton Bernard). German flute-player and comp., B. 
 Miinster, Oct. 20, 1792. D. Dresden, Nov., 1852. 
 
 Works. — Concertos for flute and orch., opp. 12, 33, 40, 58. Concerto for 2 
 flutes and orch., op. 41. Studies, rondos, adagios, quartets, caprices, nocturnes, 
 transcriptions, etc.; for flute. Die Kunst des Flotenspiels ; etc. 
 
 The works of this composer are among the best which the flute player can study. 
 His son Moritz, B. 1824, is also a flute player, and author of "Zur Geschichte der 
 Musik und des Theaters am Hofe zu Dresden," Dresden, 2 vols., 1861-2. 
 
 FURTADO (John). Italian (?) writer, author of New Elements of Thorough- 
 Bass ; clearly and concisely Demonstrated, Lond., Svo, 1798. An Essay on 
 the Theory and Advancement of Thorough-Bass, Lond., Svo, 1798. An 
 Essay on Fingering the Pianoforte, etc., Lond., 4to, 1798. 
 
 FUX (Johann Josef). German comp. and writer, B. near Gratz, 1660. Org. 
 
fUX — -GAB 257 
 
 in Vienna, 1696. Comp. to Court at Vienna, 1698. Chapel-master S. 
 
 Stephen's Cath., 1705-15. Vice Chapel-master to Court. Chapel-master to 
 
 Dowager Empress Wilhelmine Amalie, 171 3-18. Principal Chapel-master at 
 
 Court of Vienna. D. Vienna, Feb. 13, 1741. 
 
 Works. — Gradus ad Parnassum sive manuductio ad compositionem musicae 
 
 regularem, Vienna, fo., 1725; Trans, into German by L. Mizler, Leipzig, 4to, 
 
 1742 ; and into English as " Practical Rules for Learning Composition...," Lond., 
 
 fo., n. d. French trans, by P. Denis-Bordier, 4to, Paris. 50 Masses; 57 Vespers and 
 
 Psalms; 22 Litanies; 22 Motets; 10 Oratorios; 29 Overtures; 18 Operas; 
 
 Graduels, etc., mostly in MS. in the Imperial Library at Vienna. 
 
 The work by which Fux affected most good was No. i, the translation of which 
 existed as a text book for many generations. His music was produced wholesale, 
 and is learned and dry ; never being relieved by any glimpses of inspiration. He 
 was the teacher of Wagenseil, Muffat, and numerous other musicians who have 
 attained fame. His biography, containing list of works, was published by Kochel, 
 under title of "Johann Josef Fux, Hofcompositor und Hof kapellmeister...," 
 Vienna, 8vo, 1872, with portrait. 
 
 QABLER (Christoph August). Russian comp., B. Muhltroff Voigtland, 
 March 15, 1767. D. St. Petersburg, April 15, 1839. Wrote an oratorio, 
 Pf. music, songs, etc. 
 
 GABRIEL (Mary Ann Virginia), March. English comp., B. Banstead, 
 Surrey, Feb. 7, 1825. S. under Pixis, Dbhler, Thalberg, and Molique. 
 Married to George E. March, Nov., 1874. D. London, August 7, 1877 (from 
 effects of carriage accident). 
 Works. — Cantatas: Evangeline (Longfellow); Dreamland; Graziella. Oper- 
 ettas : Widows Bewitched ; Grass Widows ; Shepherd of Cornouailles ; Who's 
 the Heir ; A Rainy Day. San^s : A farewell ; Ariel ; At her wheel the maiden 
 sitting ; Across the sea ; Alone ; At rest ; A dead past ; A fisher's wife ; Alone in 
 the twilight ; A mother's song ; Arden towers ; Asleep ; A song in the heather ; 
 At my feet ; At the window ; Beryl ; Beside the sea ; Brighter hours ; Bye and 
 bye ; Change upon change ; Chattering ; Calling the roll ; Corra Linn ; Dawn ; 
 Dawn of Springtide ; Day is dying ; Dream, baby, dream ; Echo ; Eight fishers of 
 Calais ; Emerald ; Fisherman's Widow ; Golden wedding day ; Happy days ; His 
 work is done ; He will not come ; Hopeless ; In the gloaming ; Lady Moon ; Lost 
 love ; Little blossom ; Little flowers ; Light in the window ; Lady of Kienast 
 Tower ; Mountain echo ; My love ; Nightfall at sea ; Only at home ; Oh ! spare 
 my boy at sea ; Only ; The Opal ring ; Pearl ; The Prodigal son ; Prisoner and the 
 linnet ; Ruby ; Remembered ; Sweet seventeen ; Shadow light ; Somebody's 
 darling ; Sacred vows ; Servian ballad ; Skipper and his boy ; The Surprise ; Three 
 roses ; Tender and true ; The ring ; Under the palm ; Wake my beloved ; Work ; 
 Weep not for me ; When the pale moon ; Weary ; When sparrows build. Part- 
 songs, Pianoforte pieces, etc. 
 
 Some of the above-named were received with much popular favour, though only 
 of a temporary nature. 
 
 GABBIELI (Andrea). Italian comp., B. Venice, 1510. S. under Willaert. 
 Chor. in Doge's Chapel, Venice. Org. of S. Mark's. D. Venice, 1586. 
 Wrote Missarum, 1570; Madrigali, 1572, 1575, etc.; Psalmi Davidici, 1583; 
 songs, organ music, etc. He was one of the greatest of the early Venetian school. 
 
 GABBIELI (Giovanni), Italian comp, and org., B. Venice, 1557, nephew of 
 the above. S. under A. Gabrieli. Org. S. Mark's, Venice, 1585. D. 1613. 
 Comp. church music, madrigals, etc. 
 
 GABBIELLI (Catterina). Italian soprano vocahst, B. Rome, Nov., 173O. 
 S. under Porpora. D^6ut in opera by Galuppi, 1747. Sang throughout Italy. 
 Appeared in Russia; London, 1775-6, etc. D. Rome*; April, 1796. 
 
 R 
 
2S8 GA*B — GAD 
 
 GABRIELSKI (Johann Wilhelm). German flute-player and comp., B. 
 
 Berlin, May 27, 1791. Chamber musician to King of Prussia. D. Berlin, 
 
 1878. 
 6ABUSSI (Vincenzo). Italian comp., B. Bologna, 1800 [1804]. S. unde, 
 
 Mattel. Resided in London as teacher, 1825-1840. Returned to Bolognar 
 
 1840. D. London, Sept. 12, 1846. 
 Works.— Operas : I Furbi al cimento, 1825; Ernani, 1834; Clemenza di 
 Valois, 1841 ; Songs, part-songs ; Work on singing, etc. 
 
 GADE (Niels Willielm). Danish comp. and cond., B. Copenhagen, Feb. 22, 
 1817. Violinist in Royal orch., Copenhagen. Introduced to Mendelssohn, 
 
 1843. Travelled in Italy, 1843-44. Cond. Gewandhaus concerts, Leipzig, 
 
 1844. Sub.-cond., do., 1845-46. Chief do, 1846-48. Org. at Copenhagen, 
 1848. Court musician and Prof, of music, do., 1861. Visited England, 1876. 
 Visited Birmingham, 1882. 
 
 Works. — Op. i. Ossian, overture for orch., 1841 ; op. 2. Friihlingsblumen, for 
 Pf. ; op. 3 Sange af Agnete og Havemanden (Andersen) ; op. 4. Nordiske Tone- 
 billeder, fantasia for Pf. duet ; op. 5. First symphony in C min. ; op. 6. Sonata for 
 Pf. and vn., in A; op. 7. Im Hochlande, overture for orch., in D ; op. 8. 
 Quintet for 2 vns., 2 tenors, and 'cello, in E min. ; op. 9. 9 Lieder im Volkston 
 fur 2 soprane und Pf. ; op. 10. Second symphony for orch., in E; op. 11. Six 
 songs for 4 male voices; op. 12. Comala, dramatic poem for solo voices, chorus, and 
 orch. (Ossian) ; op. 13. Five part-songs for S. A. T. B. ; op. 14. Third overture 
 for orch., in C ; op. 15. Third symphony for orch., in A min. ; op. 17. Octet for 
 4 vns., 2 violas, and 2 'cellos; op. 18. Three Clavierstucke for Pf. ; op. 19. 
 Aqiiarellen for Pf., 2 books ; op. 20. Fourth symphony in B flat ; op. 21. Second 
 sonata for Pf. and vn. ; op. 22. Three Tonstiicke for organ ; op. 23. Frilhlings 
 Phantasie Concertstilcke, for 4 solo voice, orch., and Pf. ; op. 25. Fifth symphony 
 for orch., in D min. ; op. 27. Arabeske fur Pf. ; op. 28. Sonata for Pf., in E. min.; 
 op. 30. Erl-konigs Tochter (Erl King's Daughter), cantata for solo voices, chorus, 
 and orch ; op. 31. Volkstanze, Phantasiestiicke fiir Pf. ; op. 33. Five lieder for 
 male chorus ; op. 34. Idyllen for Pf. ; op. 35. Fruhlings-Botschaft Concertstilcke 
 for chorus and orch. ; op. 36. Der Kinder Christ abend albumblatter ; op. 37. 
 Hamlet — concert overture for orch. ; op. 38. Five songs for male chorus ; op. 39. 
 Michael Angelo — overture for orch.; op. 40. Die Heilige Nacht Concertstiicke for 
 vlto solo, chorus, and orch. ; op. 41. Four Fantasias for Pf. ; op. 42. Trio for Pf., 
 an., and 'cello, in F; op. 43. Zion, cantata, Birmingham, 1876 ; op. 45. Seventh 
 symphony for orch., in F; Spring's Message, cantata; op. 47. Symphony in B 
 minor ; op. 48 . Kalanus, dramatic poem for solo voices, chorus, and orch. ; op. 
 49. The Crusaders, cantata, Birmingham, 1876 ; op. 50. Die Kreuzfahrer, dramatic 
 poem by C. Andersen, for soli, chorus, and orch. ; op. 53. Novelletten for orch. ; 
 op. 55. Sommertag auf dem Lande; op, 56. Concerto for vn. and orch. ; op. 59. 
 Concerto for vn. and orch. ; op. 60. Psyche, cantata by Lobedanz, Birmingham, 
 1882. 
 
 His other works consist of numerous Danish songs, Pf. compositions, etc. 
 
 Gade is the first Danish composer who has attained anything like universal fame. 
 Of his works, the best known in Britain are "The Crusaders," "The Erl King's 
 Daughter," and "Zion," all of which have been performed many times with suc- 
 cess. In the second of those works he uses the Danish folk-song as a groundwork 
 with happy effect, and secures a local colouring, impossible under any other condi- 
 tions. "The Crusaders" is much more cosmopolitan in character, but is of great 
 beauty as a work of art, and commands, at least, the respect and admiration of the 
 English. Of his other works, op. I, 7, and the S3Tnphonies are best known to 
 British audiences, the pianoforte works following. The songs and minor works are 
 of a more confined interest, but are worthy the attention of the musical student and 
 professor. 
 
 Gade greatly resembles Mendelssohn in the universality of his musical powers, 
 though, like him, he has never produced a great opera. As a conductor, his 
 abilities procured him for a time the post once so efficiently filled by Mendelssohn. 
 In 1876 he -was voted a life-pension by the Danish Government. 
 
 GADSBY (Henry Robert). English comp. and pianist, B. Hackney, London, 
 Dec. 15, 1842. Chor., St. Paul's Cath., 1849-58, Principally self-taught in 
 
GAE — GAL 259 
 
 music. Org. of St. Peter's, Brockley, Surrey, till 1884. Prof, at Guildhall 
 School of Music. Succeeded J. HuUah as Prof, of Harmony, Queen's Coll., 
 London, 1884. 
 
 Works. — ^Alice Brand, cantata, 1870; The Lord of the Isles, cantata, by Frank 
 Murray, from Scott, 1880 ; Festival Service for 8 voices in D ; Service in C, 1872 ; 
 The 130th Psalm. Music to "Alcestis," 1876. Columbus, cantata for male 
 voices (1881), pub. 1883. Overtures: Andromeda, 1873; The Golden Legend ; 
 The Witches' Frolic. Symphonies for orch. in A, C, and D. String quartet, 
 1875 ; Andante and rondo for Pf. and flute ; Magnificat and Nunc dimittis 
 in D ; Te Deum in E flat ; Benedicite in chant form. Anthems : He is risen ; 
 Blessed be the name of the Lord ; Not unto us, O Lord ; O Lord, our 
 Governour ; Ponder my words ; Rejoice greatly ; Sing, O daughter of Zion ; The 
 Lord is King ; I will lay me down in peace. Part-Songs : The soldier's song ; The 
 sea is calm ; Summer winds. Supplemental Book of Exercises for the use of those 
 learning to sing at sight, Lond., n. d. ; Harmony, a Treatise, including the Chords 
 of the Eleventh and Thirteenth, and Harmonisation of Given Melodies, Lond., 
 1884. 
 
 Gadsby is one of the foremost among the younger school of living British com- 
 posers. His works are broad in design and careful in execution. ' ' The Lord of 
 the Isles " is his most ambitious and best work. He excels, however, in music for 
 the church, his anthems being good examples of the modern English school. 
 
 GAEBTNER (Carl). German violinist and comp., B. 1830. Teacher in 
 Boston since 1852. He is well known in the U. S., and has composed instru- 
 mental music, songs, etc. 
 
 GAFURIUS (Franchinus), Gafori. Italian writer and theorist. B. Lodi, 
 
 Jan. 14, 1451. Originally intended for the priesthood. Resided successively 
 
 at Verona, Genoa, Naples, Otranto, and Lodi. D. Milan, June 24, 1522 
 
 [1520]. 
 
 Works. — Theoricum Opus Musicse Discipline, Naples, 8vo, 1480 ; Practica 
 
 Musicse utriusque Cantus, Milan, fo., 1496; Angelicura ac Divinum Opus Musics 
 
 Materna Lingua Scrip., 1508; De Harmonica Musicor. Instrumentorum, 1518. 
 
 One of the greatest of the early theorists. His works, apart from being speci- 
 mens of early printing, are in a bibliographical sense extremely valuable, as well as 
 very scarce. 
 
 GrAGrE (Rev. William L.). See Bibliography. 
 
 GAIL (Edme Sophie), Garre. French soprano vocalist, B. Paris, Aug., 
 1775. D. Paris, July 24, 1819. Appeared in London, etc. Comp. a few 
 songs, etc. 
 
 GALILEI (Vincenzo). Italian comp., B. IS3S> was associated with Bardi and 
 Caccini, in establishing the opera. His son Galileo, the great philosopher, 
 was also a musician, having written a tract on temperament. 
 
 GALIN-PARIS-CHEVE. See Cheve. 
 
 GALITZEN (Prince George). Russian comp., B. St. Petersburg, 1823. 
 Assassinated, 1872. Wrote Pf. and other music. 
 
 GALLAY (Jacq.ueS Francois). French hom-player, teacher, and comp., B. 
 Perpignan, Dec. 8, 1795. S. Paris Cons. Prof, of horn do. D. Paris, Oct. 
 1864. Comp. studies, exercises, and nocturnes for horn, and concertos for 
 horn and orch. 
 
 GALLENBERG (Wenzel Robert, Count von). Austrian comp., B. Vienna, 
 Dec, 1783. D. Rome, Mar. 13, 1839. 
 Composed fantasias, rhapsodies, sonatas, etc., for Pf. ; songs, and other works. 
 
 GALLI (Filippo). Italian tenor vocalist, B. Rome, 1783. Dedut, 1804. Ap- 
 peared in Paris, 1821 ; London, 1827 ; Spain, 1830. D. Paris, June 3, 1853. 
 
 GALLI (Signora). Italian vocalist of i8th century. Appeared in London 
 about 1743. Sang principally in Handel's works. D. 1804, 
 
26o GAL — GAN 
 
 GALLIABD (Johann Ernst). German comp. and org., B. Zell, Hanover, 
 1687. S. under Farinelli and Steffani. Oboeist to Prince George of Den- 
 mark, in England, 1706. Org. at Somerset House. D. London, 1749. 
 V^Oi^KS.— Music to Plays, etc.: Calypso and Telemachus, 1712 ; Julius Cssar, 
 1745 ; Pan and Syrinx, 1717 ; Jupiter and Europa, 1723 ; The Necromancer, 1723 ; 
 Apollo and Daphne, 1726 ; The Royal Chace, 1736 ; Morning Hymn of Adam and 
 Eve (Milton), 1728; republished, Lond., 1818. Cantatas, various. Musicfor 
 flute, 'cello, etc. Observations on the Florid Song, or Sentiments of the Ancient 
 and Modern Singer, 1742. "His music is now ioxgo\Xej\." —ITogartk, 1838. A 
 fact beyond question at the present date. 
 
 GrALLXJS. See Handl. 
 
 G-ALUPPI (Baldassare). Italian comp., B. Island of Burano, near Venice, 
 
 Oct. 18, 1706. S. under his father and Lotti. Went to Venice, 1726. Chap.- 
 
 master of St. Mark's, 1762. Resided for a time in Russia. Returned to 
 
 Venice, 1768. D. Venice, Jan. 3, 1785. 
 
 Works. — Operas: Gli amici rivali, 1729; Dorinda, 1730; Argenide, 1735; 
 
 Alvilda, 1740 ; Gustavo I., 1741 ; Berenice, 1744 ; Forze d'amore, 1746 ; Arminio, 
 
 1749; La Mascherata, 1752; Calamita de' Cuori, 1755 ; La Diavolessa, 1756; 
 
 Sesostri, 1760 ; Ipermestra, 1762. Church music ; Cantatas. Harpsichord music, 
 
 etc. 
 
 Galuppi possessed for the period in vyhich he flourished, a considerable degree of 
 
 dramatic force. His works are long since forgotten, but the graceful nature of 
 
 his melodies must assuredly secure for them at least favourable mention in history. 
 
 GAMBLE (John). English violinist and comp. of 17th century. S. under A. 
 Beyland. Violinist in private band of Charles II., etc. He composed "Ayres 
 and Dialogues," 1657. "Ayres and Dialogues for one, two, and three voyces," 
 1659. 
 
 GrANDOLFI BiCCardo). Italian comp., B. Voghera, 1839. S. under Conti. 
 Comp. operas, symphonies, cantatas, etc. 
 
 GANDSEY (John). Irish piper. B. 1768. D. 1857. 
 
 GANSBACHEB (Johann Baptist). German comp. and cond., B. Sterzing, 
 Tyrol, May 8, 1778. D. Vienna, July 13, 1844. Comp. church music, Pf. 
 music, songs, etc. 
 Is chiefly noted as an intimate friend of Weber, who styled him his " dear friend 
 and brother," and addressed to him a large portion of his correspondence. In a 
 letter dated April 21, 1823, Weber speaks of a work by Gansbacher as being " flow- 
 ing, melodious, clear, novel in many passages, and rich and profound in harmony." 
 
 GANZ (Leopold). German violinist and comp., B. Mayence, 1806. S. under 
 Spohr. Played in principal towns of Germany, etc. 
 
 GANZ (Moritz). German comp. and 'cellist, B. Mayence, Sept. 13, 1806. S. 
 under Adolf Ganz. Appeared in London, 1837. D. Berlin, Jan. 22, 1868. 
 Wrote concertos for 'cello, lieder, and a host of Pf. works, the titles of which wil 
 be found in the current catalogues of English and foreign publishers. 
 
 GANZ (Wilhelm). German comp. and pianist, B. Mayence, Nov. 6, 1833. 
 S. under C. Eckert and Anschiitz. Came to England, 1848. Violinist, New 
 Philharmonic Concerts, 1852. Married, 1859. Org. Grand Lodge of England 
 (Freemasons), 1871. Grand org. of Knights Templars, 1873. Decorated 
 with order of the Crown (Germany). Grand org. of Mark Masons, 1881. 
 Cond. New Philharmonic Concerts. 
 Works. — Elementary Exercises in the Art of Staccato and Octave Playing, 
 
 specially written for the use of " Bohrer's " Automatic Piano Hand Guide, 2 books; 
 
 Pianoforte Music : Tyrolienne, op. i ; AUons vite ! La Vivacite ; Qui vive, a 
 
 galop ; Souviens-toi ; Vision du passe. Nocturnes, fantasias, melodies, etc. 
 
 Songs: A damsel fair was singing; Forget-me-not ; I seek for thee in every flower ; 
 
 My mother's song; Since yesterday; Sing, birdie, sing ; The murmuring sea ; The 
 
GAR — GAR 261 
 
 nightingale's trill ; When we went a gleaning ; Dear bird of Winter ; Sing sweet 
 bird ; The Fisherman's wife, etc. 
 
 Herr Ganz introduced at his series of concerts Berlioz's "Harold in Italy," 
 "Symphonie Fantastique," and "Romeo;" Gluck's " Orfeo," etc.; and brought 
 out the celebrated performers Mme. Esslpoff, M. Saint-Saens, Herr E. Loewenberg, 
 Mme. S. Menter, and M. de Pachmann ; also Mr. Herbert Reeves, the tenor 
 vocalist. 
 
 GAKAT (Pierre Jean). French vocalist, B. Ustaritz, April 25, 1764. S. 
 under Lamberti and F. Beck. Sang in opera and at concerts. Prof, of sing- 
 ing, Paris Cons. D. Paris, March 1, 1823. 
 
 GABAUDE (Alexis de). French comp. and teacher, B. Nancy, March 21, 
 1779. Prof, of solfeggi, Paris Cons., 1816. D. Paris, March 23, 1852. 
 Wrote an opera ; "Methode de chant," op. 23, 1809 ; etc. 
 
 GARCIA (Manuel Del Popolo- Vicente). Spanish comp. and teacher, B. 
 
 Seville, Jan. 22, 1775. Chor. Seville cath. Dibut as vocalist, Paris, 1808. 
 
 Appeared in London, 1817-25. Visited America, and introduced Italian 
 
 opera there, 1826. Visited Mexico, 1827. Teacher in Paris. D. Paris, June 
 
 2, 1832. 
 
 Works.— OjJ^^-os.- El Preso ; El Posadero ; El Criado fingido ; El Hablador, 
 
 etc., in all 17 in Spanish ; 19 Italian operas; 7 French operas. Vocal exercises, 
 
 etc. 
 
 Much of the best qualities of the modern school of vocalists depends on the joint 
 teaching of Manuel Garcia and his son. He undoubtedly laid the foundation of 
 the school from which sprang Grisi, Sontag, and Alboni ; and Malibran, whose tui- 
 tion was entirely directed by himself, is, with Nouritt and Viardot, the proof of his 
 skill in training voices of different kinds. 
 
 GABCIA (Manuel). Spanish vocal teacher, B. Madrid, March 17, 1805, son 
 
 of the preceding. S. under his father and Fetis. Accompanied his father to 
 
 America, 1826. Prof, of singing, Paris Cons, 1847. Prof, of singing, R.A.M., 
 
 London, 1850. 
 
 Garcia was one of the first to conduct vocal training on correct scientific principles. 
 
 . His system was based on a thorough knowledge of the physiology of the voice, and 
 
 the laws affecting natural and artificial voice production. It will be sufficient to 
 
 name, among the multitude of good singers whom he has trained, Catherine Hayes 
 
 and Jenny Lind, both of whom he was instrumental in forwarding. His labours 
 
 at the R. A. M. have been of the most valuable character for English vocal art, and 
 
 his presence in it during 30 years has placed it, in this special department, on a 
 
 level with the greatest continental conservatories. Beyond some books of vocal 
 
 exercises, he has not published important works. 
 
 GABCIA (Marie). See Malibran. 
 
 GABCIA (Pauline). See Viardot. 
 
 GABDINEB (William). English writer, B. Leicester, March 15, 1770. 
 Travelled much on the Continent. D. Leicester, Nov. 16, 1853. 
 
 Works. — Sacred Melodies, from Haydn, Mozart, and Beethoven, 6 vols., Lond., 
 n. d. Judah, an oratorio, adapted from the works of Haydn, Mozart, and Beet- 
 hoven. Pope's "Universal Prayer" set to music by Haydn, Mozart, and Beet- 
 hoven. The Music of Nature ; or, An attempt to prove that what is Passionate and 
 Pleasing in the art of Singing, Speaking, and Performing upon Musical Instruments, 
 is derived from the Sounds of the Animated World.... Lond., 8vo, 1832 Ameri- 
 can reprint, Ditson, Boston, n. d. Music and Friends ; or. Pleasant Recollections 
 of a Dillettante. Lond., 3 vols., 8vo, 1838-1853. Sights in Italy; with some 
 Account of the Present State of Music and the Sister Arts in that Country. Lond., 
 8vo, 1847. 
 
 Gardiner composed some songs under the pen name of W. G. Leicester. He is 
 chiefly to be remembered as the author of " The Music of Nature," a work which 
 contains much useful information and curious and occasionally eccentric specula- 
 tions. 
 
262 GAR — GAS 
 
 GABDNER (Charles). English comp. and pianist, B. Greenwich, April i, 
 1836. S. under Oliver May, M'Murdie, Pauer, and G. A. Macfarren. Has 
 comp. music for Pf., chamber music, and some vocal music of high merit. 
 
 GARDONI (Enrico). Italian tenor vocalist, B. Parma, 1821. D. April, 1882. 
 
 GARRETT (George Mursell). English comp. and org., B. Winchester, June 
 8, 1834. Son of William Garrett, master of the choristers, Winchester cath. 
 Chorister at New College Oxford. S. under S. S. Wesley. Assistant org. at 
 Winchester, 1851-54. Org. of Madras cath. , 1854-56 ; St. John's Coll., Cam- 
 bridge, 1857; University, 1873. Mus. Bac, Cantab., 1857. Mus. Doc, 
 Cantab., 1867. 1A.K., propter merita, 1878. University Lecturer in Harmony 
 and Counterpoint, 1883. Examiner in Music for Univ. of Camb. ; Camb. 
 Local Exams. ; Trinity Coll., Lond. ; and for the Irish Intermediate Educ. 
 Board. 
 Works. — The Shunammite, oratorio, 1882 ; The Deliverance of St. Peter, 
 sacred cantata, (M.S.); The Triumph of Love, secular cantata. Church Services, 
 in D, F, F (for parish choirs), E flat, and E ; Evening Service, in B flat, written for 
 Keble Coll., Oxford. Anthems, etc.: In humble faith and holy love; Just Judge 
 of Heaven, Psalm xliii., contralto solo and chorus ; Praise the Lord, O my soul ; 
 Prepare ye the way ; The Lord is loving unto every man ; They that put their trust 
 in the Lord ; It shall come to pass in the last days ; Thus saith the Lord ; Praise ye 
 the Lord for his goodness. Chants, old and new, selected and arranged in order 
 of daily use for one calendar month, with special Chants for the Venite and Proper 
 Psalms, Lond., n. d. Part-Songs : O my luve's like a red, red rose ; Good night- ! 
 farewell ; O sing again that simple song ; Hope ; May carol. Songs : Love will 
 last ; Palaces in air ; Parted, etc. 
 
 The anthems and services are the works by which Dr. Garrett is known best. 
 These works display much originality, and agreeably blend the proper dignity of 
 sacred music with the richer colouring of dramatic music. His songs and part- 
 songs are of their kind highly melodious, and as such are in common use. As an 
 organist. Dr. Garrett is widely known. 
 
 GARTH (John). English musician who flourished in the first part of the 17th 
 century. He published ' ' The First Fifty Psalms, set to music by Benedetto 
 Marcello," Lond., fo., 8 vols., 1757. He also wrote much instrumental music, 
 among other works, " Six Sonatas for the Harpsichord, two Violins, and 
 Violoncello," op. 2, 1768. Six Organ Voluntaries, op. 3. Thirty Collects 
 set to Music, 4to, n. d. 
 
 GASKIN (J. J.). English writer, author of "Early History, etc., of Vocal 
 Music." Lond., 8vo, i860. 
 
 GASON (Adam F.). Irish writer, author of "A Short Treatise in Defence of 
 Cathedral Worship," Dublin, i2mo, 1846. 
 
 GASPARD DE SALO. See Salo. 
 
 GASFARINI (Francesco). Italian comp., B. Lucca, 1665. S. under Corelli. 
 Choir-master at Ospedale di Pieti, Venice. Member of the Accademia Filar- 
 monia. Chapel-master of St. John, Lateran, 1725. D. Rome, April, 1727. 
 Works. — Operas: Tiberio, 1702 ; Imenei stabiliti dal caso, 1702; Amieto, 1705; 
 
 Antioco, 1705 ; Statira, 1707; Engelberta, 1709; Tamerlano, 1710; Merope, 1711; 
 
 La Ninfa Apollo, 1730. Cantatas, etc. L'Armonico prattico al cembalo, ovvero 
 
 ugole, osservatzioni ed avertimenti per ben suonare il basso e accompagnare sopra 
 
 il cembalo, spinetta ed organo, 1685. 
 
 The interest attaching to Gasparini's works is now purely historical, although at 
 one time his truly elegant melodies were current all over Europe. The operas and 
 cantatas were his most successful works. Of the former, 25 are in existence. 
 
 GASSIER (Edouard), French bass vocalist, B. 1822. S. Paris Cons. Debut 
 Op&a Comique, 1845. Sang in Spain, etc. D. Havanna, Dec. 18, 1871. 
 His wife, Josefo Fernandez, of Spanish birth, was B. Bilbao, 1821. 
 D. Madrid, 1866. She was a soprano singer of considerable contemporary 
 fame, 
 
GAS — GAU 263 
 
 GASSMANN (Florian Leopold). Bohemian comp., B. Brlix, May 4, 1724. 
 S. under P. Martini. Comp. to court of Joseph II. D. Vienna, Jan. 22, 1779. 
 Works. — Operas : Merope ; Issiphile ; Catone in Utica ; L'Olimpiade, 1764 ; II 
 Mondo nella luna, 1765 ; II Trionfo d' amore^ 1767 ; L'Occellatori ; II Fifosofo 
 innamorato, 1768 ; Un Pazzo ne ik cento, 1769 ; I Viaggiatori ridicoli, 1769 ; L' 
 Amor Artigiano, 1770; Die Junge Grsefin; Die Liebe unter den Handwerksleuten. 
 Symphonies, quintets, quartets, and sonatas, for various instruments. 
 
 GASTOLDI (Giovanni Giacomo). Italian comp., B. Caravaggi, in middle 
 of the i6th century [1532]. D. beginning of the 17th century [or 1598]. 
 Works.— Canzoni a cinque voci, 1581 ; Canzonette a quattro voci, 1581; Madri- 
 galia cinque voci, 1588; Psalmi ad Vesperas, 1588; Balletti.. .Antwerp, 1596; 
 Concerti Musicali; Masses, etc. 
 
 GAT A YES (Guillaume Pierre Antoine). French harpist and comp., B. 
 Paris, Dec. 20, 1774. D. Paris, Oct., 1846. Wrote music for the guitar, 
 harp, and Pf , and methods for the harp and guitar. His sons, Joseph Leon 
 (1804-77) and Felix, were also musicians; the former a writer, harpist, and 
 comp. 
 
 GATES (Bernard). English org. and comp., B. 1681. One of children of 
 Chap. Roy., 1702. Gent. Chap. Roy., 1708. Master of children of Chap. 
 Royal, 1740. D. near Oxford, Nov. 15, 1773. 
 
 GATTT (Alfred Scott). English comp. and writer, B. Ecclesfield, York, 
 April 25, 1847. Second son of the Rev. Alfred Gatty, D.D., vicar of Eccles- 
 field, subrdean of York cath., etc. S. Marlborough and Christ's Coll., Camb. 
 Married Eliz. E. Foster, of Newhall Grange, York, 1874. Rouge Dragon, 
 Pursuivant of Arms, Herald's Coll., Lond., May, 1880. 
 Works. — Sandford and Merton's Christmas Party, operetta, by F. C. Burnard, 
 1880.; Little Songs for Little Voices, 2 books, published originally in "Aunt Judy's 
 Magazine." Songs : Above the spire ; True till death ; Child's good-night ; Do not 
 smile ; Far in the mountain pass ; Friend sorrow ; Heartless ; I prithee send me 
 back my heart ; Love never dies ; Never again ; O fair dove ! O fond dove ; Six 
 plantation songs ; O let the solid ground ; Only a passing thought ; Raindrops 
 patter ; Some future day ; Tell him I love him yet ; The lights far out at sea ; The 
 mill lad's love ; The open window ; When I remember ; A little longer yet ; 
 Apart ; Coming home ; Clouds ; Eleonora ; He loup'd the wa' ; Life's up-hill ; 
 Gallants of England ; The old year ; One morning. Oh ! so early ; On the rocks 
 by Aberdeen ; Rothesay 'Bay ; Speedwell ; Spread thy silver wings ; Those merry 
 walks together ; Unspoken ; Withered roses ; and numerous comic songs. Pf. 
 music, etc., under various noms de plume. 
 
 Mr. Gatty is a poet as well as a musician, and the verses accompanying his music 
 are meritorious. It is chiefly as a song writer that Mr. Gatty is known. 
 
 GAUDRY (Richard Otto). Irish org. and comp., B. Dublin, 1800. Chor. 
 chap, of Dublin Castle. Org. of St. Anne's, Dublin. D. Dublin, Aug., 1825. 
 Comp. anthems, etc. 
 
 GAUL (Alfred Robert). English comp. and org., B. Norwich, 1837. Chor. 
 
 and assistant org., Norwich cath., 1846-59. Org. of ch. of St. Augustine, 
 
 Edgbaston, Birmingham. Mus. Bac, Cantab., 1862. 
 Works. — Hezekiah, oratorio, Birmingham, i860 (MS.) ; The First Psalm, 
 sacred cantata, Birmingham ; The 96th Psalm, for solo voices and 8-part chorus ; 
 Ruth, sacred cantata, Birmingham, 1881; The Holy City, sacred cantata, Birming- 
 ham Festival, 1882 ; Passion Music, cantata ; Offertory Sentences (Novello). 
 Anthems : The Lord is my Shepherd ; Hosanna to the Son of David. Part-Songs, 
 Glees, etc. : The Shipwreck (prize glee) ; The death of Adonis ; Silent land ; Better 
 land ; The day is done ; Ferry maiden ; The potter ; Footsteps of angels ; I saw 
 the moon clear rise ; O for the swords of former times ; The Erl King ; Jack Frost ; 
 Song and melody, awake ; The reaper and the flowers. Songs : The sea's love ; 
 Consider the lilies ; Ruth; The corner song; The first grief; Faithful yet. Six 
 
264 GAU — GAW 
 
 vocal compositions for i, 2, and 3 voices. Numerous Pf. pieces ; hymns and 
 miscellaneous pieces. 
 
 Mr. Gaul was until recently only favourably known as a composer of first-rate 
 part-songs, and as an organist of great local fame ; but the success of his cantata 
 "Ruth" at once gave him a title to be regarded as one worthy of a good place 
 among contemporary musicians. The cantata is a fresh and melodious work, well 
 contrasted in its several parts, and possessing those agreeable characteristics which 
 mark out such works for popularity. His part-songs are very well known to choirs 
 throughout the United Kingdom, and his songs and Pf. works are deserving of 
 considerable praise. 
 
 GAUNTLETT (Henry John). English org. and comp., B. Wellington, 
 
 Shropshire, 1806. Son of the Rev. Henry Gauntlett. Org. at Olney, Bucks., 
 
 1815. Articled for a time to a solicitor, i8z6. Org. of St. Olave's, South- 
 
 wark, 1827-4.7. Admitted as a solicitor, 1831. Commenced his labours in 
 
 connection with the establishment of the C organ, 1836, which latterly took 
 
 the place of the F and G instruments. Org. Christ Ch., Newgate Street, 1836. 
 
 Gave up practice of the law, 1842. Mus. Doc, Lambeth, 1843. Org- of 
 
 Union Chapel, Islington ; Ch. of St. Bartholomew the Great, Smithfield. D. 
 
 Kensington, London, Feb. 21, 1876. 
 
 Works. — Hymnal for Matins and Evensong, 1844 ; The Church Hymnal and 
 
 Tune Book, 1844-51 ; Cantus Melodici, 1845 ; The Coinprehensive Tune Book, 
 
 1846-7 ; The Hallelujah, 1848-55 ; The Congregational Psalmist, 1851 ; Carlyle's 
 
 Manual of Psalmody, 1861 ; Tunes, New and Old, 1868 ; Harland's Church 
 
 Psalter and Hymnal, 1868 ; The Encyclopaedia of the Chant ; St. Mark's Tune 
 
 Book ; The Choral Use of the Book of Common Prayer, Lond., 1854. Anthems: 
 
 I will go unto the altar of God ; This is the day the Lord hath made ; Thou wilt 
 
 keep him in perfect peace, in E flat. Hymns and Christmas carols ; One Hundred 
 
 and Fifty-six Questions on the Art of Music-making and the Science of Music, 
 
 Lond., i2mo, 1864. Songs, glees, organ-music, etc. 
 
 Mr. Gauntlett was in his lifetime recognised as one of the foremost organists and 
 authorities on psalmody. His hymnals, psalms, etc., are compilations of the 
 highest merit, the hand of the musician being always observable where too often 
 we find the work of the officious reviser. His anthems are in frequent use, and his 
 hymns are favourites. As an organist, he belonged to the old-fashioned school, 
 but was not on that account reckoned inferior to many of his contemporaries. 
 
 GAXJSSOIN (Auguste Louis). French writer and comp., B. Brussels, July 4, 
 1814. D. Brussels, Jan. 11, 1846. Historical works, overtures for orch., 
 chamber music, etc. 
 
 GAUTIER (Jean Francois Eugene). French comp. and violinist, B. Vaug- 
 irard, Paris, Feb. 27, 1822. S. Paris Cons, under Hal6vy, Habeneck, etc. 
 Prof, in Paris Cons., and Chap.-master Ch. of St. Eugene, Paris. D. Paris, 
 April 3, 187S. 
 
 Works.— O/eraj : L'Anneau de Marie, 1845 ; Les Barricades, 1848 ; Murdock 
 le Bandit, 1851 ; Flore et Zephire, 1852 ; Choisz le Roi, 1852 ; Le Mariage extra- 
 vagant, 1857 ; Le Docteur Mirobolan, i860; Jocrisse, 1862. Sacred music, etc. 
 
 GAVEATJX (Pierre). French singer, actor, and comp., B. Beziers, 176 1. D. 
 Paris, Feb. 5, 1825. Wrote 35 operas, etc., and sang in operas by Cherubini, 
 etc. 
 
 GAVINIES (Pierre). French violinist and comp., B. Bourdeaux, May 11, 
 1728 [Paris, 1726]. D. Paris, Sept. 9, 1800. Wrote concertos for violin and 
 orch., in A, F, D, E, and D. 12 Sonatas for violin and bass, op. i and 3. 
 Les Vingt-quatre matinees, for violin, 1794, etc. 
 
 Gavini^s is regarded as [having laid the foundation of modern French violin- 
 playmg. 
 
 GAWLER (?). English org. and teacher, flourished in London in latter part of 
 1 8th century. He compiled " Harmonia Sacra, a Collection of Psalm Tunes, 
 with mteriudes, and with a thorough-bass, forming a most complete work of 
 
GAW — GEI 265 
 
 sacred music, Lond., n. d. Dr. Watt's Divine Music. Lessons for the Harp- 
 sichord. Voluntaries, interludes, etc., for organ. 
 
 GAWTHOEN (Nathaniel). English org. and writer. Compiler of "Har- 
 monix Perfecta ; a Compleat Collection of Psalm Tunes in four parts, fitted to 
 all the various measures now in use, taken from the most Eminent Masters, 
 with an Introduction to Psalmody," Lond., 8vo, 1730. (By Ravenscroft, etc.) 
 
 GAY (John). English poet and librettist, B. Barnstaple, Devon, 1688. D. Dec. 
 II, 1732. 
 
 "The Beggar's Opera,'' 1727, and "Polly," its sequel, are the works by which 
 Gay is known to musicians. "The Beggar's Opera" was the most popular work 
 of its kind produced last century. Written partly to ridicule and supplant the 
 Italian Opera, it proved for a time a formidable rival to the melodious but incon- 
 gruous Southern productions of the foreign composers of the day. The music is 
 taken from all British sources, and was arranged by Dr. Pepusch. The bad moral 
 effects of this work were said by Sir John Fielding and other persons of contem- 
 porary fame to have been instrumental in increasing the number of criminal cases. 
 
 GAYARBE (Giuliano). Spanish tenor vocalist, B. in Spain, of Italian parents. 
 Has appeared in London with much success, in operas of Verdi, Bellini, 
 Wagner, Donizetti, Gounod, etc. He first appeared in Paris in Feb., 1884. 
 He has been elsewhere received with favour. 
 
 GAZTAMBIDE (JoaCLUin). Spanish comp., B. Tudela, Feb. 17, 1822. S. 
 Madrid Cons. Prof. Do. D. Madrid, March 20, 1870. Wrote operas, 
 operettas, etc. 
 
 GEAB (George Frederick). English comp. and pianist, B. London, May 21, 
 
 1857. S. at the London Academy of Music under Dr. Wylde and John 
 
 Francis Barnett. Gold and Silver Medallist ; Prize Scholar, and Associate. 
 
 Works. — Sonatas for Pf. Solo ; A String Quartet ; 2 Operettas, now being 
 
 performed with much success. Songs : The Rose is dead ; When night is gathering 
 
 round ; Sweet visions ; The day is done ; Beside the spring ; Under the trees ; She 
 
 is far from the land ; A tiny floweret ; My lady sleeps ; In the peaceful night ; The 
 
 white rose. Pf. pieces, etc. His father, Henry Handel Gear, B. London, Oct. 
 
 28, 1805, D. London, Oct. 16, 1884, was a tenor vocalist and comp. He wrote 
 
 anthems and church services, songs, etc. 
 
 GEARY (E. M.) English writer, author of Observations on Pianoforte Playing, 
 Lond., 1848, Musical Education, Lond., i2mo, 1851. 
 
 GEARY (Timothy). Irish comp., B. Dublin, 1783. D. 1806. Comp. glees, 
 duets, and other vocal music. Known also as Thomas Augustine Geary. 
 
 GEBEL (Georg). German comp., B. Breslau, Oct. 15, 1709. Son of G. Gebel 
 (1685-1749, comp. of org., Pf, and orch music.) ' S. under his father. D. 
 Breslau, Sept. 24, 1753. Wrote operas, etc. 
 
 GEHOT (Joseph). English (?) writer, flourished in i8th century. Wrote A 
 Treatise on the theory and practice of music, Lond., ob. fol., n. d. Complete 
 instructions for every musical instrument, containing a treatise on practical 
 music in general, Lond., fo., n. d. 
 
 GEHRING (Franz). German writer, B. Nordhausen, Dec. 7, 1838. D. 
 Vienna, Jan. 4, 1884. Author of "Mozart," Great Musicians series, Lond., 
 8vo, 1883. Also articles in Grove's Dictionary of Music and Musicians. 
 
 GEIB (George). American pianist and writer, teacher in New York, B. New 
 York, 1780. D. [?] Author of a Patent Analytical and Grammatical system 
 of teaching the science of the composition of music in all its branches, and the 
 practice of the Pianoforte, New York, fo., 1819. 
 
 GEIB (William), Mus. Doc. American writer, author 01 a work entitled. 
 Tuning the Pianoforte (Ditson, Boston). 
 
 GEIJER (Erik Gustav). Swedish writer and comp., B. Wermland, Jan. 12, 
 1783. D. Upsala, April 22, 1847. A collector and vocal composer, as well 
 fis an historian, 
 
266 GEI — GEO 
 
 GEIKIE (James Stewart). Scottish comp. and writer, B. 1811. For a num- 
 ber of years musical representative of the Scotsman. Cond. of the Edinburgh 
 Sacred Harmonic Association, and other societies of a kindred nature at 
 Newington. D. Ormiston, Haddington, Aug. 14, 1883. He comp. a number 
 of secular vocal pieces (glees and songs) of a moderate and uniform degree of 
 merit, but his psalms and other sacred music will enjoy a more lasting popu- 
 larity. He edited an edition of R. A. Smith's " Sacred Harmony." 
 
 GEISSLEB (Carl). German org. and comp., B. Mulda, April 28, 1802. Org. 
 and music director at Zschopau. 
 Works. — Neueste Orgelstilcke verschiedenen charakters mit Riicksicht auf 
 Fortbildung im Orgelspiel, sowie zum Gebrauch beim offentlichen Gottesdienste, 
 op. 62. Lieder, op. 12, 16, 17. Organ music, dance music, etc. 
 
 CrELINEK (Josef, Abbe). Bohemian comp. and pianist, B. Selcz, Dec. 3, 1757. 
 D. Vienna, April 13, 1825. Wrote variations, sonatas, rondos, etc. for Pf. 
 
 GEMINIANI (Francesco). Italian comp. and violinist, B. Lucca, 1680. S. 
 under Corelli, Lunati, and Scarlatti. Came to England, 1 7 14. Visited Paris, 
 1755. Settled in London, 1755. D. Dublin, Sept. 17, 1762. 
 Works. — Op. i. Twelve solos for violin, Lond., 1716; op. 2. Six concertos in 
 7 parts for vn., Lond., 1755 ; op. 4. Twelve solos for vn., Lond., 1739; op. 5. 
 Six solos for 'cello ; op. 6. Six concertos for vn., Lond., 1741 ; op. 7. Six do. in 8 
 parts; Twelve sonatas for vn., op. 11, 1758; Twelve trios for vns. and 'cello. 
 Lessons for the Harpsichord. Art of Playing the Violin, Lond., 1740. A Treatise 
 of good taste in the art of musick, Lond., fo., 1749. Rules for playing in a true 
 taste on the violin, german flute, violoncello, harpsichord ; particularly the thorough- 
 bass, exemphfied in a variety of compositions, Lond., fo., n. d. The Art of Accom- 
 paniment ; or a, new and well-digested Method to learn to Perform the Thorough- 
 bass on the Harpsichord, Lond., fo., n. d. Guida Armonica o dizionario armonico; 
 being a sure guide to harmony and modulation, Lond., fo., 1742. Treatise on 
 Memory, Lond. (? date). Art of playing the Guitar, etc. The Enchanted Forest, 
 dramatic piece for orch. , etc. 
 
 "His music . . is original, and full of new and bold modulations and 
 combinations of harmony ; while his melodies are not only very elegant, but often 
 extremely pathetic. His performance appears, from every account of it, to have " 
 been remarkable for its delicacy, grace, and expression. "—jSafarrf. He was an 
 enthusiastic amateur painter, or picture dealer ; expensive in his tastes ; and never 
 absolutely free from the small misfortunes common to the improvident. 
 
 GEMUENDEE, (Georg). 
 
 Resided in London, 
 
 tions of the old Italian violins, and for having discovered several of the lost 
 
 processes of varnish-making, etc. 
 
 )rg). German violin-maker, B. Ingelfingeu, Wurtemburg. 
 n, 1851. Now living in New York. Noted for his imita- 
 
 GENEE (Richard). German comp., B. Dantzig, Feb. 7, 1824. Has written 
 — Operas: Rosita, 1864; Am Runenstau ; An der Wien ; Der Seecadet,.i877, 
 which has been produced in England under the title of the " Naval Cadets :" 
 "Nanon," Berlin, 1883. 
 
 GENERALI (Pietro). Italian comp., B. Masserano, Piedmont, Oct. 4, 1783. 
 S. under Durante. D. Novara, Nov. 3, 1832. 
 Works.— 0/«rfflj.- Gli Amanti, 1800; II Duca Nottolone, 1801 ; La Pamela 
 Nubile, 1802 ; La Calzolaja, r8o2 ; Don Chisciotto, 1805 ; Le Lagrirae d'una 
 Vedova, 1808; Lo Sposo in contrasto ; Ero e Leandro, 1810; Gaulo ad Ojtono, 
 1812 ; Isabella, 1813 ; Eginardo e Lisbetta, 1813 ; Le Beneficenza, etc. 
 
 GENET (Eleazar). French comp. of 15th and i6th centuries, B. Carpentras, 
 Vaucluse, second part of 15th century. D. early in i6th century [1536]. 
 Wrote masses, hymns, etc. 
 
 GENTILI (Raffaele). Italian operatic comp., B. Rome, 1837. D. 1867. 
 Comp. Pf. music, songs, etc. 
 
 GEORGE (Miss). See Oldmixon (Lady). 
 
GER — GET 267 
 
 GEBALDY (Jean Antoine Just). French vocalist and comp., B. Frankfort- 
 on-Mane, 1808. D. Paris, May 27, 1869. Appeared in operas by Rossini, 
 and wrote songs, operettas, etc. 
 
 GrEBBEB (Ernst Ludwig). German writer, B. Sondershausen, Sept. 29, 1746. 
 S. Leipzig University, 1765. D. Sondershausen, June 30, 1819. 
 
 Works. — Historisch-Biographisches Lexikon der Tonkiinstler, welches Nach- 
 richten von dem Leben und Werken musikalischer Schriftsteller beriihmter Com- 
 ponisten, Ssenger, Meister auf Instrumenten, Dilettanten, orgel und Instrumenten- 
 macher enthalt, Leipzig, 2 vols., 8vo, 1790-92. Second edition, entitled Neues 
 Historisch-biographisches Lexikon der Tonkunstler..., Leipzig, 4 vols., 8vo, 1812. 
 
 Gerber's work was accounted the authority previous to the appearance of the 
 more modern works. He spent most of his time travelling in Europe in search of 
 materials. 
 
 GEREE (August). German violinist and comp., B. 1790. Music-director at 
 Cassel. D. (?) 
 Works. — Op. I. Three duets for 2 vns. ; op. 2. Three string trios ; op. 4. Over- 
 ture for orch. ; op. 8. String trio ; op. 13. Overture, orch. Fl. music, etc. 
 
 GEREE (Otto). German violinist and comp., B. Liineburg, July 13, 1807. S. 
 under Spohr. Comp. concertos, quartets, pot-pourris, etc. D. Paderborn, 
 June, 1878. 
 
 GERNSHEIM (Friedrich). German comp. and cond., B. Worms, July 17, 
 
 1839. S. under Liebe, Pauer, Hauff, Moscheles, Hauptmann, Rietz and 
 
 Richter, 1852-5. Resided for a time at Paris, as teacher. Prof, at Cologne 
 
 Cons. Cond. at Rotterdam. 
 
 Works. — Six lieder for voice and Pf., op. 3; Quartet for Pf., vn., viola and 
 
 'cello, op. 6 ; Wachterlied aus der Neujahrsnacht des Jahre 1200, chorus and 
 
 orch., op. 7; Introduction and Courante for Pf., op. 8; String quartet, op. 9; 
 
 Salue Regina, op. 11 ; Sonata, Pf., and 'cello, op. 12 ; Sonata for Pf. and vn., op. 
 
 12a; Overture for orch., op. 13; Romanze for Pf., op. 15; Concerto for Pf. 
 
 and orch., op. 16; Variations for Pf., op. 18; "Nordische Sommernacht," 
 
 for chorus and orch., op. 21 ; First symphony for orch., op. 22 ; Second Romanze 
 
 for Pf., op. 23 ; Quartet for strings, op. 25 ; Fantasia for Pf., op. 27; Quartet for 
 
 strings, op. 315 Four lieder, voice and Pf. , op. 34 ; Quintet for Pf. and strings, 
 
 in D minor, op. 35 ; Stimmungsbilder, four Pf. pieces, op. 36 ; Second trio for 
 
 Pf., vn. and 'cello, in B, op. 37 ; Introduction and allegro appassionato for Pf. and 
 
 vn. , op. 38 ; Lied and Gavotte for Pf. , op. 39 ; Symphony in E flat, op. 46. 
 
 Songs, etc. 
 
 GEBSTER (Etelka). Hungarian soprano vocalist, B. Kaschau, June 16, 1855 
 (or 1857). S. at Vienna Cons, under Madame Marchesi, 1873. J}^l>ut at 
 Vienna as Gilda in " Rigoletto," 1876. Appeared in Beilin and St. Peters- 
 burg, 1877. Appeared at H. M. Theatre, London, in "La Sonnambula," 
 June 23, 1877. Married to Dr. Gardini. Appeared in New York, 1882-3, 
 and has since appeared with much success in Europe. She is one of the most 
 successful of modern dramatic sopranos, and has been everywhere received 
 vrith enthusiasm. 
 
 GESUALDA (Carlo, Prince of Venosa). Italian musician, B. about end of 
 i6th century [1570]. Nephew of Cardinal Alfonso Gesualdo, Archbishop of 
 Naples. S. under P. Nenna. D.Jan., 1657. 
 
 This prince is noticed here because of an erroneousimpression which has attained 
 currency, viz., that he imitated a style of music said to have been invented by James 
 I. of Scotland, and so laying the foundation of the Italian school of music. No proof 
 of such a style exists. Those wishing to read on the subject are referred to Burney, 
 Tytler (in Arnott's History of Edinburgh), Dauney, Graham, etc. 
 
 His madrigals are not of much merit, nor do his claims apart from the above 
 matter, call for more notice. 
 
 GETZE (J. A.). American org. and writer, author of "School for the Parlor 
 Organ, Melodeon, and Harmonium," Boston, n. d. "Young Organist, a 
 complete instructor for the organ," n, d. Songs, dance music, etc. 
 
268 GE V — GIB 
 
 GEVAiiRT (Francois Augusts). Belgian comp., B. Huysse July 31, 1828. 
 
 S. Ghent Cons., 1841. Org. of Ch. of Jesuits, Ghent. Gained first prize at 
 
 Brussels for comp., 1846. Travelled in France, Spain, Italy, and Germany. 
 
 Prof, of singing at Academy of Music, Paris, 1867. Director of Brussels Cons., 
 
 1871. Member of the Academy des Beaux Arts, 1873. 
 Works.— O^cra^; Hugues de Soraerghem, 1848; La Coraedie i la ville, 1848. 
 Georgette, 1852; Le Billet de Margjierite, 1854; LaLavandiere de Santarem, 1855; 
 Quentin Durward, 1858 ; Le Chateau Tempfete, i860; Le Capitaine Henriot, 1864 ; 
 Les Deux Amours, 1861 ; Le Diable du Moulin ; Pertinax, 1884. Instrumental 
 music ; Theoretical works ; Het volk van Gent, cantata, 1881. 
 
 One of the leading Belgian composers and teachers. Being made the successor 
 of Fetis at Brussels Conservatory, proved conclusively Gavaert's fitness for respon- 
 sible duties. None of his works are known in England, save a few songs and his 
 theoretical works. 
 
 GEYER (Plodoafd). German cqmp. and writer, B. Berlin, March, 181 1. D. 
 Berlin, April 29, 1872. 
 
 GHYS (Joseph). Belgian violinist and comp., B. Ghent, 1801. Appeared 
 successively in London, Paris, Lyons, Berlin, Leipzig, etc. D. St. Peters- 
 burg, 1848. Wrote concertos, fantasias, solos, etc., for violin. He was a 
 most excellent performer. 
 
 GIARDINI (Felice de). Italian comp. and violinist, B. Turin, 1716. Chor. 
 in Milan Cath. S. under Paladini. S. at Turin under Somis. Violinist in 
 opera band, Rome. Do. at the S. Carlo theatre, Naples. Travelled in Ger- 
 many. Appeared in London, 1750. Leader of the Italian opera, 1752-56-65. 
 Manager of do. for a time, but resigned, having suffered much pecuniary loss. 
 Leader of Pantheon Concerts, 1 774-80. Returned to Italy, 1784. Appeared again 
 in England, 1790. Attempted to establish an Italian burletta in London, and 
 failed. Went with company to Russia, 1793. D. Moscow, Dec. 17, 1796. 
 Works. — Operas: Enea e Lavinia, London, 1746; L' Amour au Village, 1747; 
 Rosmita, London, 1757; Cleonice, London, 1764; Siro, 1764. Op. I. Six Solos 
 for violin ; op. 2. Six Duos for 2 violins ; op. 3. Six Sonatas for harpsichord and 
 violin; op. 4-5. Concertos for violin; op. 6. Six trios for 2 violins and 'cello ; op. 7-8. 
 Six Solos for violin (2 sets) ; op. II. Six Quintets for harpsichord, 2 violins, viola, 
 and 'cello ; op. 13. Three Trios for violin, viola, and 'cello ; op. 14. Six Duos for 
 violin and 'cello ; op. 15. Six Concertos for violin ; op. 16, 19. Six Solos for violin 
 (2 sets) ; op. 20. Six Trios for 2 violins and 'cello ; op. 29. Six Quartets for strings. 
 Ruth, oratorio, London, 1772; Italian songs and duets, catches, etc. 
 
 Giardini was the greatest violinist of his time, though as a composer he is now 
 long since forgotten. His best works are his pieces for the violin, which, if excess- 
 ively ornamented, are also fluent and melodious. 
 
 GIBBONS (Christopher). English org. and comp., B. 1615. Son of Orlando 
 Gibbons. S. under Edward Gibbons at Exeter. Org. of Winchester cath., 
 1640-44. Served for time in Royalist army. Org. Chap. Roy., 1660. Private 
 org. to Charles II., 1660. Org. Westminster Abbey, 1660. Mus. Doc, 
 Oxon., July, 1664. D. Oct. 28, 1676. 
 A few works by this musician exist in MS., but it is as an organist that he was 
 
 principally known. 
 
 GIBBONS (Eev. Edward). English org. and comp., B. [1570]. Mus. Bac, 
 Cantab. Org. of Bristol Cath., 1592-1611. Org. of Coll. of priest-vicars, 
 Exeter Cath., 1611-44. D. [1650]. 
 Works in MS., anthems, etc. 
 
 GIBBONS (Ellis). English org. and comp., B. Cambridge, end of i6th cen- 
 tury, brother of Edward. Org. of Salisbury Cath. D. [1650]. 
 Composer of " Long live, fair Oriana," madrigal for 5 voices ; " Round about her 
 chariot," for 6 voices ; both contained in the " Triumphs of Oriana." 
 
 GIBBONS (Orlando). English org. and comp., B. Cambridge, 1583. Brother 
 of Edward and Ellis Gibbons. Gent, pr org. of the Chap. Roy., Mar,, 1604. 
 
Gib — Glfi 269 
 
 Mil's. Bac, Cantab., 1606; Mus. Doc, Oxon., 1622. Org. Westminster 
 Abbey, 1623. D. Canterbury, June 5, 1625. 
 
 Works. — Morning and Evening Service, in F ; Te Deum and Jubilate, in D 
 minor ; Venite exultemus, in F ; Magnificat, Nunc Dimittis, in D minor and in F ; 
 Te Deum and Benedictus, in F ; First Preces, in F (Ouseley) ; Second, in G. 
 Anthems : Hosanna ; Lift up your heads ; O clap-your hands ; Almighty and Everlast- 
 ing ; God is gone up (Boyce) ; O Lord, in Thy wrath ; O Lord, in Thee ; Why art 
 thou so heavy ? Blessed be the Lord ; O Lord,- increase my faith ; Deliver us, O 
 Lord ; Behold, thou hast made ; This is the record of John ; Behold, I bring you ; 
 Ifye be risen again (Ouseley); We praise Thee, O Father; Lord, grant grace; 
 Glorious and powerful God ; See, see, the Word is incarnate ; Sing unto the Lord ; 
 Blessed are all they ; Great Lord of Lords ; O Thou, the Central Orb. Hymns. 
 Fantasies of II L Parts... composed for viols ; Lond., 4to, 1610. Reprinted, edited 
 by E. F. Rimbault (Music. Antiq. Soc), Lond., fo., 1843. Lessons in "Parthe- 
 nia " (with Bull and Byrd), Lond., 161 1. First set of Madrigals and Motets, for 5 
 voices, Lond., 4to, 1612. Reprinted, edited by Sir G. Smart (Mus. Ant. Soc), 
 Lond., fo., 1841. Fancies and Songs made at King James ye First's being in Scot- 
 land, Lond., n. d. Tunes for " Wither's Hymns" (Reprinted by the Spenser 
 Society, 1881). Tunes in Leighton's "Teares," 1614. Madrigal titles : The 
 silver swan ; I weigh not fortune's frown ; I tremble not ; I feign not friend- 
 ship ; Dainty fine bird ; Farewell all joys ; Oh ! dear heart ; Ne'er let the sun ; 
 Trust not too much ; O that the learned poets ; Nay, let me weep ; Yet if that age ; 
 I see ambition ; Fair ladies that to love ; What is our Life ? etc. Galiards, Fan- 
 tasias, Preludium, Pavans, etc. 
 
 Gibbons' compositions were in many respects superior to most of the musical 
 productions of his time. They lack the freshness of the older school of Morley, 
 Weelkes, etc., but compare favourably with any in point of learning. \\. is not as 
 a composer of madrigals, however, that Gibbons' name will descend to posterity. 
 His works for the church service will prove a much more lasting memorial to his 
 genius. The sacred music of Gibbons is grand and dignified, but rather over- 
 burdened by a complicated and somewhat dry counterpoint, though in this respect 
 only in keeping with the learned style of the times. His instrumental music has 
 been transcribed for modern purposes by Herr E. Pauer, and is only remarkable for 
 complication and difficulty. The most renowned of his pupils was Matthew Locke. 
 
 GIBSON (Edmund). English bishop and writer, B. Brampton, Westmorland, 
 1669. D. Bath, 1748. Wrote a number of antiquarian works and a " Method, 
 or Course of Singing in Church ; Direction to the Clergy of the Diocese of 
 London, 1727 ; etc." 
 
 GIBSON (Bev. James, D.D.). Scottish divine and writer. Prof, in Free Church 
 College, Glasgow. Author of "The Public Worship of God: its Authority 
 and Modes, Hymns and Hymn Books," Glasgow, 8vo, 1869. 
 
 GIBSON (Louisa). English teacher and writer, B. London, 1833. Authoress 
 of "A First Book on the Theory of Music, applied to the Pianoforte," Lond., 
 n.d. (2 editions) ; Second and Third Books of same. Songs, etc; 
 
 GIBSON (Mrs. Patrick), »2^« Isabella Mary Scott. Scottish vocalist and 
 comp., B. Edinburgh, 1786. Married to Patrick Gibson, R.S.A. She at one 
 time kept a Boarding School for Young Ladies, in Inverleith Row, Edinburgh, 
 and was an associate of many distinguished men of her time. Distantly related 
 to Sir Walter Scott. She was consulted much by R. A. Smith in the compo- 
 sition of his songs and duets, and some of her psalm tunes are in Dr. Andrew 
 Thomson's "Sacred Harmony," 1820, and in vol. 6 of Steven's "Church 
 Music," edited by TurnbuU, 1833. Her song " Loch-na-gar " is contained in 
 the 6th vol. of R. A. Smith's "Scottish Minstrel." Mrs. Gibson had much 
 skill on the harp. D. Edinburgh, Nov. 28, 1838. 
 
 GIBSONE (Iguace). English comp. and pianist, B. London, of Scottish 
 parentage [1826-7]. S. under Moscheles. Appeared in Brussels as pianist, 
 1845. Hon. Mem. of Brussels Soci^te de Grand Harmonie, 1846. Played 
 afterwards at Baden, Hombourg, Frankfort, Wiesbaden, Darmstadt, 184S. 
 
ZfO Gie — GIL 
 
 Played with Ernst at Berlin, 1846. Returned to London, 1850; teacher and 
 
 comp. there. 
 Works. — Cantatas: Wood Nymphs, for female voices; Elfin Knight. An 
 Opera (MS.). Two Symphonies (MS.). Sonatas for vn. and Pf. Pianoforte: 
 Polonaise ; Beaux Jours ; The Hunt ; Chanson i boire ; Visions of Night ; Une 
 nuit d'Et^ ; Une nuit d'Hiver ; Chanson d'amour ; L'alouette ; La fleche, galop ; 
 Le Carillon de Bruges ; Marche Montenegrin ; Mercure ; Nocturne dramatique ; 
 Tarantella ; The Calender's dance ; The singing apple ; Antique gems reset ; 
 Ballade ; Les Bavardes du Village ; Napolitana ; Marche aux Flambeaux ; Six 
 Studies for advanced performers ; Marche Bresillienne ; Evening Thoughts ; Tran- 
 scriptions, numerous. Songs : My lady sleeps; Her voice; O'er the bending rushes; 
 The Man-o'-War's Man ; The missing ship ; They part no more ; Sail on, O love, 
 sail on ; Ah ! Chloris, pastoral ; A thanksgiving ; I am here ; Sweet hour of even- 
 tide ; The oak and the osier ; Will you buy a moss rose ? Duets, etc. 
 
 G-ICK (Thomas). English comp., B. Liverpool, 1837 Lay-clerk of York 
 Minster, 1859. Stipendiary choirman in Christ Ch. and St. Patrick's Cath., 
 Dublin, 1864. Mus. Bac, Dub., 1880. Mus. Doc, Dublin, 1882. Comp. 
 anthems, "The Bard," cantata, 1882, etc. 
 
 GILBEBT (Alfred). English pianist and comp., B. Salisbury, 1828. S. at 
 R. A. M. Member of Philharmonic Soc, Royal Soc. of Musicians, etc. 
 Mem. of the Academy of St. Cecilia, Rome, 1884. Cond. and comp. of con- 
 siderable repute. Comp. " The Rival Roses," dramatic scene, 1883 ; Trios 
 for Pf. and strings in B flat and A min. ; Quintet in E fiat. Author of " Tech- 
 nical Exercises for the Pianoforte," London, 1885. 
 
 GILBEBT (Ernest Bennett). English comp. and vocal teacher, B. Salisbury, 
 Oct. 22, 1833 [Mar. 15, 1835]. S. at R. A. M., 1847. S. at Leipzig Cons, 
 under Moscheles, Hauptmann, Richter, Rietz, etc., 1852. Played with success 
 on the French horn in England and abroad. Org. of St. George's, Isle of 
 Man, 1853; St. Barnabas, do., 1854; St. Paul's, Newport, Mon., 1856 ; Par. 
 ch., Abergavenny, 1857; St. Peter's par. ch., Walworth, 1861 ; St. George 
 par. ch., Southwark, 1864; St. Matthew's, do., 1867. Vocal trainer in Lon- 
 don. D. London, May 11, 1885. 
 Works. — Operettas: A Night in Fairyland, Surrey Theatre, 1861 ; Das Hell- 
 dichein, Leipzig, 1851. Ramiro, dramatic cantata, 1879. Concert overture for 
 orch., 1853. Overture, Merry Wives of Windsor, 1854. String Quartets, in E 
 flat and C. Trio for Pf., violin, and 'cello, in F. Vocal Exercises for daily use, 2 
 books. School Harmony, Lond., n. d., 8 editions. Practical and Natural Method 
 for the Pf., 2 books. Major and Minor Scales arranged for daily school practice. 
 Fart-Songs : Oak and Iron ; I wandered by the brookside ; Return of Spring ; 
 Orpheus with his lute, trio. Songs : Dearer is thy smile ; A smile for every tear ; 
 The outcast ; The lost maiden ; Lullaby ; Alice Adair ; Footsteps in the snow ; The 
 ocean queen ; Let me be near to thee ; Birds' song ; Sing me to sleep ; The tramp ; 
 Haste to the forest ; The blind boy ; The fairy ring ; Sweet summer morn ; Fairy 
 flower ; The silver moon is shining ; The slave girl's lament ; Good night ; Spring ; 
 Jessie of the lea ; In yonder village ; The bondman ; The changeling ; Ye elves so 
 bright. Pianoforte : Souvenir di Cambria ; Solitude, nocturne ; Ariel ; Scherzo, in 
 E minor ; La Gondoletta ; Ballade, in A ; Six classical ballads ; Impromptu, in 
 B flat ; Polonaise, in E flat ; Pastorale, in D min. ; Nocturne, in B flat ; Impromptu, 
 in D min. ; Witch's dance ; Tarentella ; Barcarolle ; Crusaders' march ; Funeral 
 march ; Bridal march ; Pensees d'un solitarie ; La nuit ; Three sketches ; Four 
 characteristic pieces ; Second set of mazurkas ; Fingal, valse poetique ; Two Noc- 
 turnes. 
 
 GILBERT (Walter Bond). English comp., org., and writer, B. Exeter, 1829. 
 S. under Alfred Angel, Dr. Wesley, and Sir Henry Bishop. Org. at Tops- 
 ham, 183s, and afterwards at Bideford, Tunbridge, Maidstone, London, and 
 Boston. Mus. Bac, Oxon., 1854. Org. of Trinity Episcopal Chapel, New 
 York, 1869. Since, teacher and comp. there. 
 Works. — Oratorios : The restoration of Israel ; St. John, Maidstone, 1864. 
 Hymnal and Canticles of the Protestant Episcopal Church, New York, 8vo, 1875 
 (with Rev. A. B. Goodrich, D.D.). The Psalter, or Psalms of David, etc.. New 
 
GIL — GIL 271 
 
 York, 1882. Church Services in C, E, and A flat. Anthems : Our conversation 
 is in Heaven ; Behold, He cometh with clouds ; In that day shall this song be sung ; 
 There shall come forth a rod ; It shall come to pass in the last days ; Grant us Thy 
 peace ; Thou shall show me the path of life ; Walk in the spirit ; Behold this child 
 is set ; If ye then be risen with Christ ; O give thanks unto the Lord ; He shall give 
 His angels charge over thee ; I will love Thee, O Lord ; Glorious things of Thee 
 are spoken ; O Lord, how glorious are Thy works. Preludes and Fugues for the 
 Organ, New York, 1880. "Maidstone," hymn, in " Hymns Ancient and Modern." 
 Miscellaneous church and organ music. Literary : The Antiquities of Maidstone ; 
 Memorials of Maidstone Church ; and other historical works. 
 
 Mr. Gilbert is the composer of some of the most chaste and refined church music 
 produced in England within recent times. To say nothing of " Maidstone" 
 (" Pleasant are Thy courts above "), a hymn almost universally known, he has pro- 
 duced anthems and services of a cultured cast, and scholarly organ music in abun- 
 dance. A full cathedral service composed when Mr. Gilbert was only 1 7 years of 
 age, has been in use in Exeter cathedral, and in St. George's Chapel Royal, since 
 1858 ; while many of his other works are in constant use. His collections evince 
 care and taste, and are much used in America. 
 
 GILBERT CWiUiam Schwenck). English librettist and writer, B. London, 
 Nov. 18, 1836. Bred to the Law. B.A., Lond. Clerk in Privy Council 
 Office, 1857-62. Called to the Bar, 1864. 
 Works. — Flays: The Wicked World ; Pygmalion aud Galatea; Charity; The 
 
 Princess ; The Palace of Truth ; Sweethearts ; Dan'l Druce ; Gretchen ; Tom Cobb. 
 
 Operas and Operettas: Princess Toto (Clay); The Sorcerer; H. M. S. Pinafore; 
 
 Pirates of Penzance ; Patience ; lolanthe ; Princess Ida ; The Mikado. Ballads. 
 The series of operas above noted were all composed by Sir Arthur Sullivan, and 
 
 most of them, but especially the earlier ones, enjoyed unexampled popularity. They 
 
 are noticed more at length under the name of StJLLiVAN. 
 
 GILCHKIST (WiUiam Wallace). American writer and comp., B. Jersey 
 City, Jan. 8, 1846. Educated in Philadelphia. Comp. of several important 
 choral works, and many songs, etc. 
 
 GILES (Nathaniel). English comp. and org., B. Worcester (shire), [1558]. 
 
 Bac. Mus., Oxon., 1585. Doc. Mus., Oxon., 1625. Org. of St. George's 
 
 Chap., Windsor, and master of choristers, do., 1595. Org. [1625], and master 
 
 of children, Chap. Roy., 1597. D. Jan. 24, 1633. 
 
 " His services and anthems announce his learning and abilities, and, by the 
 
 lovers and judges of church composition, are regarded as masterly productions."— 
 
 Busby. 
 
 GILKES (Samuel). English violin-maker, B. Morton Pinkney, Northampton- 
 shire, 1787. Worked vnth Charles Harris and W. Forster. D. 1827. 
 He was famous for the fine finish of his instruments, and for good copies of Amati. 
 His son William (B. 181 i, D. 1875), made double-basses, etc. 
 
 GILMOEE (Patrick Sarsfleld). Irish band-master and comp., B. nr. Dublin, 
 
 Dec. 28, 1829. Joined military band, 1844. Went to Boston, U.S.A., 1849. 
 
 Director of military bands in the department of Louisiana, 1863. Organized 
 
 the National Peace Jubilee at Boston, June, 1869. Organized, and travelled in 
 
 America and Europe, with large instrumental band, 1873-79. 
 
 Works. — History of the National Peace Jubilee and Great Musical Festival in 
 
 Boston, 1869, 8vo, 1871. Diatonic and Chromatic Scales for the Cornet, etc. 
 
 Military Band Music : Aquidneck ; Bewitching Polka ; Breakfast bell ; Dinner 
 
 bell ; Emblem Schottische ; Everlasting Polka ; Good news from home ; Grape 
 
 vine ; New England Guards ; Norwich cadets ; On the road to Salem, quickstep ; 
 
 Soldier's return march ; Sons of Maine, quickstep ; Sons of temperance, quickstep ; 
 
 Spirit of the North ; Supper bell ; Vila ; Brass band music, various selections ; also 
 
 for Pf. Sonqs : Building castles in the air ; Freedom on the old plantation ; Good 
 
 news from home ; Laura haunts my fancy still ; Let me dream of former years ; 
 
 Music is the only charm ; Sad news from home ; She gave me a rose ; Sweet village 
 
 home ; Voice of a departing soul ; What is home without a baby ; When I saw 
 
 sweet Nelly home. 
 
2f2 GiL — GLA 
 
 GILMOUR (Robert). Scottish musician, compiled "The Psalm-Singer's Assis- 
 tant," Paisley, i8mo, [1793.] 
 
 GILSON (Cornfortll). English teacher and writer, chorister in Durham Cath., 
 and latterly Master of Music in the Edinburgh city churches, 1756. He wrote 
 " Lessons on the Practice of Singing, with an addition of the church tunes, in 
 four parts, and a collection of Hymns, Canons, Airs, and Catches, for the im- 
 provement of beginners," Edin. , 4to, 1759. " Twelve Songs for the Voice and 
 Harpsichord," Edin., fo., 1769. 
 
 GIORNOVIOHI. See jARNowicK, 
 
 GIOSA (Nicola di). Italian comp., B. Bari, May 5, 1820. S. Naples Cons. 
 Writer of operas, songs, etc. D. Bari, July 7, 1885. 
 
 GIOVANELLI (Ruggiero). Italian comp., B. nr. Rome, 1560. Chap.- 
 master successively of the Ch. of St. Luigi ; St. ApoUinare : and St. Peter's. 
 D. [?] 
 Wrote masses ; 2 books of madrigals, 1594-99; motets; psalms. Villanella a 3 
 
 voci, Venice, 1588; Villanella, a 5 voci, Venice, 1608; etc. 
 
 GIRVAN (John). Scottish writer. Was precentor of Tron ICirk, Glasgow. 
 Teacher in Glasgow. Published "A New Collection of Church Tunes," 
 Glas. 1761. Author of "The Vocal Musician, Part I. The Grounds of 
 Music," Edin., 8vo, 1763. 
 
 GIUGLINI (Antonio). 'Italian tenor vocalist, E. Fano, 1826. Appeared at 
 H.M. Theatre, London, 1857. Sang with much success in provinces of Eng- 
 land, in Scotland, etc. Sang in Europe, but was latterly insane. D. j'esaro, 
 Oct. 12, 1865. He had a light tenor voice of much sweetness and range. 
 
 GIULIANI (Mauro). Italian guitarist and comp., B. Bologna, 1796. D. 
 Vienna, 1820. Wrote a method for the guitar, and many pieces for the 
 guitar, etc. 
 
 GIZZI (Domenico). Italian teacher, vocalist, and comp., B. Arpino, 1684. D. 
 1745- 
 
 GIZZIELLO (Gioacchino Couti detto), orCONXl. Italian soprano vocalist, 
 B. Arpino, 1714. Appeared with much success in Europe. Named after 
 Domenico Gizzi, whose pupil he was. D. Rome, 1761. 
 
 GLADSTONE (Francis Edward). English comp. and org., B. Oxford, Mar. 
 2, 1845. Articled pupil to Dr. S. S. Wesley, Winchester, Aug. i, 1859, to 
 Aug. I, 1864. Org. of Llandaff Cath., June, 1866. Org. of Chichester Cath., 
 March, 1870. Resided at Brighton (holding various appointments), June, 
 1873, to June, 1876. Mus. Bac, Cantab., 1876. Resided in London, June, 
 
 1876, to Dec, 1877. Org. of St. Mark's Ch., Lewisham, Dec, 1876, to Dec, 
 
 1877. Org. of Norwich Cath., Dec, 1877-81. Mus. Doc. Cantab., 1879. 
 Org. Christ Ch., Lancaster Gate, London, 1881. 
 
 Works. — Cantatas : Nicodemus, Lond., 1880 ; Philippi, 1882 ; Constance of 
 Calais, 1884. Te Deum, Benedictus, Cantate Domino, Deus Misereatur and 5 an- 
 thems ; Nicene Creed, set to the 8th Gregorian Tone ; Morning, Communion and 
 Evening Service in F ; Magnificat and Nunc Dimittis, in G. Anthems : My 
 God, look upon me ; Out of the deep ; Blessed is he ; Lord is my portion ; 
 Bring unto the Lord ; Select anthems from the works of English composers, edited. 
 Organ : The Organ Students' Guide, Lond., 4to, n, d.; Organ Music for Church 
 Use, 4to, n. d. ; Twelve original pieces ; Sonata ; Preludes and other short pieces, 2 
 sets ; Andante grazioso ; Theme, with variations ; Fantasia in F ; Pieces in various 
 styles ; Three preludes ; Andante in A. A wet sheet and a flowing sea, chorus, 
 with orch. accomp., l88o. O mistress mine, song ; And wilt thou leave me thus? 
 song; Yesterday, song. Trio for Pf., violin, and 'cello, performed, Lond., Apl., 
 1876 (MS.). 
 
 Mr. Gladstone is one of the best known of our organists. He has appeared in 
 London and elsewhere with great success ; his style of performance being popular, 
 and at the same time highly cultivated. His compositions are all good, never com- 
 monplace, and always impressive. 
 
G L A — G L 273 
 
 GLAREANUS. See Loris. 
 
 GLASER (Franz), Bohemian comp. and cond., B. Bohemia, 1798. S. at 
 Prague. Opera director, Vienna, 1817. Music-director at Copenhagen, 1842 
 D. there, 1861. Writer of "Des Adlers Horst," opera, 1833, and other 
 operas, cantatas, Pf. music, etc. 
 
 GLEADHILL (Thomas Swift). Scottish comp. and teacher, B. Edinburgh, 
 1827. Resided in Glasgow for a number of years as a teacher. He wrote or 
 compiled the following works ; — Beauties of Scottish Song (with Fulcher and 
 Thomson), Glasgow, u. d. Harmonium Album (popular airs arranged). 
 Harmonium Repository (do.). Children's Songs (with J. Thomson). Scottish 
 airs arranged as part-songs, and for the Pf. Original Songs, etc. 
 
 GLEASON (Frederic Grant). American comp. and pianist, B. Middletown, 
 Conn., Dec. 17, 1848. S. under Dudley Buck in Chicago ; under Moscheles, 
 Paperitz, Richter, Plaidy and J. C. Lobe, at Leipzig. S. at Berlin under Reif 
 and Weitzraann ; and in London under O. Beringer. S. also under Loeshhorn 
 and A. Haupt. Org. at Hartford, Conn., and at South Ch., New Britain, 
 Conn. Prof, of Pf , org., and comp. at Hersby School in Chicago, 1876. 
 Married Miss Grace A. Hiltz, 1878. 
 Works. — Otho Visconti, opera, op. 7 (MS.); Montezuma, opera (MS.) ; Sym- 
 phony — cantata (MS.); Christus, oratorio (MS). Three songs for voice and Pf., 
 op. I ; Organ Sonata, op. 2 ; Episcopal church music, op. 3-6 ; Songs for alto 
 voice and Pf., op. 5 ; Triumphal Overture for org., op. 11 ; Cantata for solo voices, 
 chorus and orch., op. 12 ; Trios for Pf., vn. , and 'cello, opp. 9, 13, 14. Pf com- 
 positions, various. Quartets (vocal), songs, etc. 
 
 Mr. Gleason was originally intended for the ministry, but his musical proclivities 
 ultimately resulted in his admission to the guild of tuneful brethren. He is best 
 known in America by his various compositions, and as a successful teacher. 
 
 GLEN (Thomas). Scottish musical instrument-maker, B. Inverkeithing, Fife, 
 1804. Established business of bag-pipe maker in Edinburgh, which is still 
 carried on. He invented a wooden ophicleide, called a Serpentcleides, but is 
 best known for the construction of unrivalled Scotch bag-pipes. David Glen 
 published "A Collection of Highland Bag-pipe Music, containing Marches, 
 Quicksteps, Strathspeys, and Reels," Edin., 1876. 
 
 GLIMES (Jean Baptiste Jules de). Belgian pianist and comp., B. Brussels, 
 Jan. 24, 1814. D. Brussels, Oct. 4, 1881. S. under Fetis, and comp. Pf., 
 chamber, and vocal music. 
 
 GLINKA (Michael IvanOVitch). Russian comp., B. near Novospaskoi, 
 
 May, 1803. S. under John Field. Travelled in Italy, 1830. S. at Berlin 
 
 under S. Dehn. Music Director of the opera of Russia. Visited France and 
 
 Spain. D. Berlin, Feb. 15, 1857. 
 
 Works. — La Vie pour le Czar, opera, S. Petersburg, 1839. Russian et Lud- 
 
 milla, opera. Songs, etc. 
 Glinka will be known to posterity by the work first named above, which contains 
 many fine pieces of concerted music, but possessing in other respects little more 
 than a national interest for Russians. 
 
 GLOVER (Charles William). English comp., and violinist, B. London, Feb., 
 
 1806. S. under T. Cooke. Violinist in Drury Lane, and Covent Garden 
 
 Theatres. Musical-Director, Queen's Theatre, 1832. D. London, March 23, 
 
 1863. 
 
 Works. — Songs : I would not have thee weep for me ; The flow'ret of a day ; 
 
 Twilight ; A word in season ; Better land ; Consider the lilies ; Colleen Bawn ; 
 
 Cavalier ; Do they ever speak to me ; Eventime ; England and Ireland ; Fall of 
 
 the Leaf; Fortune-teller; Fond love; Go where the morning; Home love; 
 
 Heart and hand shall go together ; I cannot dance to-night ; Lord of the valley ; 
 
 Mermaid's cave ; My pretty cot ; Oh, Italy, dear Italy ; Psalm of Life ; Purity ; 
 
 Rosalinda ; Smiles and tears ; The sower ; Triumph ; 'Tis hard to give the hand ; 
 •Who is my neighbour; When I think of the days; Widdy M 'Shane. Duets: 
 
274 GLO — GLO 
 
 Choosing of the flowers ; Summer hours ; Let us glide on the lake ; The bridesmaid 
 and the bride. Pf. Music: Tarn o' Shanter, divertimento ; Twenty-four preludes ; 
 Sobraon, march ; Feast of Lanterns, divertimento ; Blue Beard, march ; Transcrip- 
 tions under titles of Operatic Gems ; Operatic sketches ; Gleanings of melody ; Ope- 
 ratic recollections, etc. 
 
 GLOVER (J. H. L.) English comp. and writer, author of Concise Organ Tutor, 
 Lond. (Goddard) n. d. Te Deum. Song's and Pf. music. 
 
 GLOVER (John William). Irish comp., org. and teacher. B. Dublin, June 
 19,1815. S. in Dublin. Violinist in the Dublin orch., 1830. Music-director 
 in Cath. choir, in succession to Haydn Corri. Prof, of vocal music in Normal 
 Training School of Irish National Education Board, 1848. Established the 
 Choral Institute of Dublin, 1851. Lectured on Irish music at Royal Irish In- 
 stitution ; in London, 1859. Concerned in the memorialization of O'Connell, 
 Moore, and Grattan. 
 Works. — Moore's Irish Melodies, edited 1859 ; St. Patrick at Tara, cantata, 
 dedicated by permission to H. R. H. Prince Arthur Patrick, London, 1870; 
 Erin's Matin Song, Patria, cantata composed in honour of the patriot orators of 
 Ireland, Lond. 1873 ; "One Hundred Years Ago," Ode to Thomas Moore, words 
 by Stephen N. Elrington, Lond. 1879; Goldsmith's " Deserted Village," drama- 
 tized by Edmund Falconer, opera in 3 acts, London, 1880 ; Two Itahan operas of 
 Metastasio (MS.) ; Masses, various ; Hymns ; Concerto for violin and orch., in A 
 (MS.) ; Fantasia on Irish airs for violin and orch. ; Organ book (fugues, volunta- 
 ries, &c. ) ; Grand concerto for organ j Pf. works ; Numerous songs, Irish and 
 other. 
 
 Mr. Glover is the most popular composer whom Ireland has of recent times pro- 
 duced, and where works are concerned, the most prolific. 
 
 He superintended the musical arrangements for the obsequies of Daniel O'Con- 
 nell, and on this occasion Mozart's Requiem was heard in Dublin for the first time 
 with full chorus and orchestra. In after years he organised the great musical per- 
 formances in the Exhibition Palace for the O'Connell centenary, on which occasion 
 his oratorio, "St. Patrick at Tara," was performed. Mr. Glover has published a 
 number of musical works adapted for school use, which have been adopted by the 
 Educational Commissioners of Ireland. He established in 1851 the Choral Insti- 
 tute in Dublin, and in connection with it produced many works by Mendelssohn, 
 Handel, Haydn, and for the first time in Britain Schumann's "Paradise and the 
 Peri." 
 
 GLOVER (Sarah A.) English musician and teacher, daughter of Rev. Mr. 
 Glover of Norwich. B. 1785. D. 1867. 
 She invented the Tonic Sol-fa system of musical notation, which the Rev. John 
 Curwen afterwards modified and changed till its present form was reached. For 
 teaching purposes of an elementary, and even advanced kind, the Tonic sol-fa 
 system is beyond all doubt the one most satisfactory to the teacher who has large 
 numbers of children to deal with. To Miss Glover much credit is necessarily diie 
 for the commencement of the system now so universally used in Britain. She pub- 
 lished " A Manual of the Norwich Sol-fa System . . " [1845] 8vo ;" Manual 
 containing a Development of the Tetrachordal system," London, [1850] 8vo. 
 
 GLOVER (Stephen). English comp., brother of C. W. Glover. B. London, 
 i8i2. D. London, Dec. 7i 1870. Teacher in London. 
 Works. — Songs : Annie on the Banks o' Dee ; Mary Astore ; Oh ! give me back 
 my childhood's dreams ; Sweet remembered music ; The maiden's dream ; Dreams 
 of childhood ; I dream of thee ; Life's dearest hope ; The minstrel knight ; The 
 river of song ; Emigrant's farewell ; Sing no more that song of gladness ; Woman's 
 wiles ; Yes or no ; Abide with me ; Autumn eve ; Bonnie Teviotdale ; Beware ; 
 Break, break, break ; Bloom upon the cherry ; Cloud and sunshine ; Down the 
 green lane ; Ellen Vane ; Fair rose of Killarney ; Flower of the south ; Fond 
 memory ; Good words ; I love him, yes ; Ildegonda ; King of the ocean wave ; 
 Lays of the London season ; Maid of Athens ; Merry mountain maid ; May Queen ; 
 Oh for the bloom o' my ain native heather ; Oh ye mountain streams ; Pearl of the 
 east ; Sweet is true love ; Songs of other years ; Sweet spring morn ; There once 
 was a knight; Underneath your window ; Winter night; Would you remember me. 
 
GLO — GLU 27s 
 
 Duets : The cuckoo ; The dove ; The fairies' serenade ; The gleaners ; In the star- 
 light ; Our bark is on the Rhine ; Return of the swallows ; Savoyard Maids ; The 
 skylark ; Angels are watching us ; Farewell ! remember me ; Hymn to the night ; 
 Stars of the summer night ; The curfew bell ; The gipsy countess ; To the woods ! 
 - to the woods ; Voices of the night. Four-part songs, trios, etc. Pianoforte music, 
 transcriptions, etc. 
 
 The compositions of this popular composer lay no claim to the divine fire of 
 genius, but are very pleasing works for the generality ot tastes. They are simple, 
 and the melodies are invariably pretty. His whole works exceed in number 300, 
 and nearly every one of the songs and duets were publislitrs' successes. 
 
 GLOVER (William). English org. and comp., B. London, 1822. Chor. in 
 Trinity Coll., Cantab., 1829-38. S. under Walmisley. Org. Christ Ch., 
 Camb., 1841-42. Org. S. Matthew's, Manchester, 1842. Org. S. Luke's, 
 Cheetham, 1846. 
 
 Works.— Jerusalem, oratorio, Manchester, 1848; Emmanuel, do., Manchester, 
 1851 ; The Corsair, cantata (1849), pub. 1856. Chamber music in MS. ; Songs, 
 Pf. music, etc. 
 
 GLOVER (William Howard). English comp. and violinist, B. Kilburn, Lon- 
 don, June 6, 1819. Son of Mrs. Glover, the actress; S. under Wagstaff. 
 Travelled in Europe. Member of staff of "Morning Post." Resided in U.S.A. 
 from 1868. D. New York, Oct. 28, 1875. 
 Works. — Operas and operettas : Ruy Bias, Covent Garden, London, Oct., 1861 ; 
 
 Aminta, Haymarket, London ; Once too often ; The Coquette ; Palomita, or the 
 
 Veiled Songstress. Tam o' Shanter, cantata, London, July, 1855 ; Overture for 
 
 orch., " Manfred ;" Twelve Romances for Pf., in 2 books ; Vocal Quartets, duets, 
 
 etc. Miscellaneous Pf. music ; Songs for voice and Pf. 
 
 Glover was a good melodist, and had much dramatic character in his works, 
 
 which, however, from lack of encouragement, never became fully developed. None 
 
 of his largei: works, save " Tam o' Shanter," are now heard. 
 
 GLUCE (Christoph Willibald, Ritter von). German comp , B. Weiden- 
 wang, near Neumarkt, Upper Palatinate, July 2, 1714. S. at a Jesuit school 
 in Bohemia, 1726. S. at Prague from 1732. Member of private band of 
 Prince Melri, Vienna, 1736. Accompanied Prince Melzi to Milan, where his 
 musical education was completed. Appeared in London as comp. to Hay- 
 market Theatre, 1745. Performed on musical glasses at the Haymarket 
 Theatre, April (?) 3, 1746. ' Travelled in Italy, 1750-55. Resided in Vienna, 
 1755-61. Singing-master to Marie Antoinette. Settled in Paris, 1774. En- 
 gaged infamous rivalry with Piccinni, 1 774- 1 779- Returned to Vienna, 1780. 
 D. Vienna, Nov. 15, 1787. 
 Works. — Operas: Artaserse, Milan, 1 841 ; Demofoonte, Milan, 1742 ; Deme- 
 trio, Venice, 1742; Ipermnestra, Venice, 1742; Artamene, Cremona, 1743; 
 Siface, Milan, 1743 ; Fedra, Milan, 1745 ; Alessandro nell' Indie, Turin, 
 1745 ; La Caduta de' giganti, London, 1746 ; L'Artamene, London, 
 1746 ; Piramo e Tisbe (pasticcio), do. 1746 ; Le Semiramide riconosciuta, 
 Vienna, 1748; Telemacco, Rome, 1750; La Clemenza di Tito, Naples, 1751 ; 
 L'Eroe Cinese, Vienna, 1754 ; II Trionfo di Camillo, Rome, 1754 ; Antigono, do., 
 1754 ; La Danza, 1755 ; L' Innocenza Giustificata, Vienna, 1756 ; II Re Pastore 
 (Metastasio), Vienna, 1756 ; Tetide, 1760 ; II Trionfo di Clelia, 1762 ; Orfeo ed 
 Euridice (Calzabigi), Vienna, 1762; Ezio, (Metastasio), do., 1763; Die Pilgrime 
 von Mekka (La Rencontre Imprevue), Vienna, 1764; II Parnasso Confuso, 1765; 
 Telemacco, Vienna. 1765 ; Le Corona, do., 1765 ; Alceste (Calzabigi), Vienna, 
 1767 ; Paride ed Elena, do., 1769 ; Le Feste di Apsllo, Parma, 1769 ; Bauci e 
 Filemone, do., 1769; Aristeo, do., 1769; Iphigenie en Aulide, Paris, 1774; 
 Orph^e et Eurydice (adapted' to French stage by Moline), 1774 ; L'Arbre enchante 
 (Vade), Versailles. 1775; Cythere assi^gie, do., 1775; Armide (Quinault) Paris, 
 1777; Iphigenie en Tauride (Guillard), do., 1779; Echo et Narcisse (Tschudy), 
 do., 1779 ; Filide, serenade, Copenhagen, 1749 ; Don Juan, ballet, Vienna, 1761. 
 The great principles adopted and successfully illustrated by Gluck are best de- 
 scribed in his own words, which are taken from the dedication to "Alceste," trans- 
 
276 GLU — GLU 
 
 lated in Lady Wallace's " Letters of Distinguished Musicians,'' other versions 
 appearing in Hogarth's ' ' Musical History, " etc. : — 
 
 " When I undertook to compose music to " Alceste," I proposed entirely to abo- 
 lish all those abuses introduced by the injudicious vanity of singers, or by the exces- 
 sive complaisance of masters, which have so long disfigured the Italian opera, and 
 instead of the most splendid and beautiful of all entertainments, thus rendering it 
 the most ridiculous and tiresome. My purpose was to restrict music to its true 
 office, that of ministering to the expression of the poetry, and to the situations of 
 the plot, without interrupting the action, or chilling it by superfluous and needless 
 ornamentation. I thought that it should accomplish what brilliancy of colour and 
 a skilfully adapted contrast of light and shade effect for a correct and well-designed 
 drawing, by animating the figures without distorting their contours. I wished, 
 therefore, to avoid arresting an actor in the most excited moment of his dialogue, 
 by causing him to wait for a tiresome ritournelle, or, in the midst of half uttered 
 words, to detain him on a favourable note, either for the purpose of displaying his 
 fine voice and flexibility in some long passage, or causing him to pause till the 
 orchestra gave him time to take breath for a cadence. It did not appear to me that 
 I ought to hurry over the second part of an aria, possibly the most impassioned and 
 important of all, in order to have the opportunity of repeating regularly four times 
 over the words of the first part, causing the aria to end where in all probability the 
 sense did not end, merely for the convenience of the singer, and to enable him to 
 vary a passage according to his caprice ; in short, I have striven to banish the 
 abuses against which reason and good sense have so long protested in vain. 
 
 ' ' My idea was that the overture should prepare the spectators for the plot to be 
 represented, and give some indication of its nature ; that the concerted instruments 
 ought to be regulated according to the interest and passion of the drama, and not 
 leave a void in the dialogue between the air and the recitative, so that the meaning 
 of a passage might not be perverted, nor the force and warmth of the action impro- 
 perly interrupted. 
 
 " Further, I thought that my most strenuous efforts must be directed in search of 
 a noble simplicity, thus avoiding a parade of difficulty at the expense of clearness. 
 I did not consider a mere display of novelty valuable, unless naturally suggested by 
 the situation and the expression, and on this point no rule in composition exists that 
 I would not have gladly sacrificed in favour of the effect produced. 
 
 ' ' Such are my principles. Fortunately, the libretto was wonderfully adapted to 
 my purpose, in which the celebrated author (Calzabigi), having imagined a new 
 dramatic plan, replaced flowery descriptions, superfluous similes, and cold senten- 
 tious morality by the language of the heart, strong passions, interesting situations, 
 and an ever varying spectacle." 
 
 The great principle enunciated by Glnck, that in the musical drama a natural 
 succession of evenlis should be represented by a series of effects produced by the 
 most natural means possible, has never been fully realized in practice by any com- 
 poser (including himself), from his own time till now. The overweening desire of 
 securing public applause has checked any attempt in the direction of a drama which 
 would be simple in its elements, yet so strongly impassioned in its varying scenes 
 as to claim the attention of the intelligent auditor. Gluck has to a certain extent 
 made use of a natural simplicity in his operas, but the cold classicism of his subjects, 
 and their statuesque opposition to the accepted comprehension of the action of 
 humanity under given circumstances, are not greatly favourable to the belief that 
 they represent the ideal natural drama. 
 
 The great beauty of Gluck's music lies in the fact that it is always in harmony 
 vrilh the nature of the poem, always beautiful, and always in keeping with his poet's 
 somewhat stiff idea of life. In his operas we miss the richness of the modern stage, 
 but are amply recompensed by the charming grace and dramatic truth of his musical 
 colouring. The loveliness of many of the airs and passages throughout his works 
 appears remarkable when we read the statement of his determination to cut down 
 and prune any florid passages which may seem foreign to the prevailing sentiment 
 of his piece. This he has certainly done, but not with so stern a resolve as one 
 might judge from his utterances. His melodies in " Orpheus " if not actually florid 
 are rich and flowing, and positively ear catching in a higher degree than would be 
 generally supposed by the opponents of the classical drama. 
 
 In 1774 Gluck commenced his famous contest with public opinion and latterly, 
 in 1776, with Piccinni, for the suppression of undue ornamentation in the musical 
 
GNE — GOD 277 
 
 drama. Gluck was suijported by the queen, Marie Antionette, and a host of other 
 notables, while Piccinni had the support of Madame Du Barry, and a large propor- 
 tion of the Parisian public, including journalists and philosophers. A pamphlet 
 war raged for a long time between the parties, Gluck himself making reply to 
 several of his antagonists ; musicians, great and small, became Gluckists or 
 Piccinists, as also did the general public interested in music. The ultimate result 
 was that Gluck conquered, and established for a time his idea of a natural musical 
 drama. This, however, did not last, as we find his successors— French, Italian, 
 and German, — employing the old flourishes, and having them applauded with equal 
 relish by a complaisant musical public. The revival of Gluck's idea in its entirity 
 is due to Wagner in our own time, who has more successfully than any of Gluck's 
 followers striven to combine the musical and poetical elements in his operas in a 
 strict yet harmonious union. 
 
 GNETZLEBr (Johann). German organ-builder, B. Passau, 1710. D. end of 
 l8th century. Built many continental instruments. 
 
 GOBBAEETS (Jean Louis), Streabbog. Belgian comp. and pianist, B. 
 Antwerp, Sept. 28, 1835. S. Brussels Cons. 
 
 Works. — Le Concert dans le feuillage, bluette, for Pf., op. 33; Valse des 
 masques, op. 39; Twenty-four studies, in 2 vols., op. 44; Nocturne, op. 45; 
 Idylle, op. 49 ; Galop di bravura, op. 56 ; Premieres etudes des jeunes Pianistes, 
 op. 63 ; Twelve Studies, easy, op. 64 ; Serenade, op. 84 ; Les Papillons, 6 dances, 
 op. 108. Transcriptions, and miscellaneous Pf. music to the amount of about 300 
 separate pieces. 
 
 Under the notn de plume of Streabbog, a reversed name, Gobbaerts has written 
 a large quantity of light, popular music. In addition to his gifts as a composer, he 
 is a brilliant and successful performer. 
 
 GODARD (Benjamin Louis Paul). French comp. and viohnist, B. Paris, 
 Aug. 18, 1849. S. Paris Cons., 1863, under Reber, etc. Composer of music 
 for the Pf. ; concerted instrumental music. Songs, "Pedro de Zalamea," 
 opera, Antwerp, 1884 ; etc. 
 
 GODDAB.D (Arabella), Davison. English pianist, B. St. Servan, near St. 
 Malo, Brittany, Jan. 12, 1836. S. under Kalkbrenner at Paris. S. in Lon- 
 don under Mrs. Anderson and Thalberg, 1848. Dibut London, March 30, 
 1850. S. for time under (Sir) G. A. Macfarren. Travelled on the Continent, 
 1854-56. Married to J. W. Davison, i860. Travelled in Australia and the 
 United States, 1873-76. 
 Mrs. Davison was indebted to Mr. J. W. Davison for much of her success as a 
 public performer. He directed her attention to many works, which she introduced to 
 the public with much acceptance. Her style of performance is exceedingly refined 
 and sympathetic, while brilliancy can at will be brought to bear on the work in 
 hand. She is probably the finest female pianist of modern times who has preserved 
 the traditions of the school which existed immediately before her advent. She has 
 performed in most of the large cities in Britain, and at the principal concerts. 
 
 GODDABD (Joseph). English writer and comp., B. 1833. Author of "Moral 
 Theory of Music," 1857. "Musical Development, or Remarks on the Spirit 
 of the Principal Musical Forms," Lond., 8vo, n. d. " New Graduated Method 
 for the Pianoforte," fo., n. d. " Time Exercises for the use of Pianoforte Stu- 
 dents," n. d. "A Study of Gounod's Sacred Trilogy, 'The Redemption,'" 
 Lond. [1883]. Songs, Pf. music, etc. 
 
 GOCKEL (August). German pianist and comp., B. 1831. S. Leipzig, from 
 
 1845. Played in America, 1853-56. Comp. of music for the Pf., voice, and 
 
 chamber. 
 
 GODEFBOID (Dieudonne Joseph Guillaume Felix). French comp. and 
 
 harpist, B. Namur, July 24, 1818. S. Cons. Comp. for harp and Pf. 
 
 Works. — Le Reve, etude melodique, op. 23 ; La melancolie, etude caracteris- 
 
 tique, op. 24 ; La Danse de Sylphes, op. 31 ; Minuit, serenade, op. 34 ; La Danse 
 
 des Lutins, op. 42 ; R^v^rie, Solitude, op. 44; Sonata dramatique, op. 45; Second 
 
 sonata, op. 53 ; Danse Indienne, op. 57 ; Les Alpes, op. 96 ; Johannisbc'g, valse, 
 
 op. 106; Romance sans paroles, op. 121 ; Rondo Russe, op. 126; Reverie- 
 
278 GOD — GOE 
 
 mazurka, op. 169; Etudes caracteristiques, etc. His brother, Jules Joseph, B. 
 Namur, Feb. 23, 1811. D. 1840, was a comp. for harp and Pf. 
 
 GODFREY (Adolphus Frederick). English bandmaster and comp. B. 
 1837. Son of Charles, senr. Bandmaster of the Coldstream Guards. D. 28 
 Aug., 1882. Writer of dances in large numbers, as lancers, polkas, galops, 
 quadrilles, reminiscences of England, Scotland, Ireland, and Wales, &c. 
 
 GODFREY (Charles, Senr.) English bandmaster and comp. B. Kingston, 
 Surrey, Nov. 22, 1 790. Bandmaster of Coldstream Guards. Musician in ordi- 
 nary to the king, 1831. Arranger of music for military bands, &c. D. Lon- 
 don, Dec. 1863. 
 GODFREY (Charles, Junr.) English bandmaster and comp. B. Jan. 1839. 
 Son of above. S. under Sir G. A. Macfarren at R. A. M. Bandmaster of Scots 
 Fusiliers, 1860-68 : Royal Horse Guards, 1869. Mem. and Associate, R. A. M. 
 Prof, of Military Music at Royal Coll. of Music, and at Guildhall School of 
 Music. 
 Works. — Waltzes: La murska; Love dreams; Princess Beatrice; Princess 
 Louise; The blush rose. Galops: On and off; The escort; The outpost; The 
 wind-up ; Tramp ; Mignonette ; and others to number of 20. Quadrilles ■ Cro- 
 quet ; Orpheus ; Auber ; H. M. S. Pinafore, and others to number of 18. Lancers : 
 Royal Edinburgh ; Channel Fleet ; Carmen ; etc. Polkas, Schottisches, and 
 Mazurkas. Editor of The Orpheus Journal, a military music periodical. 
 
 The band of the Royal Horse Guards, cond. by Charles Godfrey, is beyond dis- 
 pute one of the finest military bands in the world. Its performance of many classical 
 works is not exceeded in artistic effect by the best orchestras. 
 
 GODFREY (DANIEL). English bandmaster and comp. B. Westminster, 
 
 1831. Son of Charles, senr. Bandmaster of Grenadier Guards, 1856. 
 
 Travelled with band, concert-giving, in U. S. A., 1872. Mem. and Assoc, of 
 
 R. A. M. Prof, of Military Music at the R. A. M. 
 
 Works. — Transcriptions from popular operas for military bands ; marches, 
 
 numerous. Valses : Guards ; Mabel ; Hilda ; etc. 
 
 The members of this family are well known all over Great Britain for the capable 
 style in which they conduct their several bands. These bands are often employed 
 to augment the orchestra at large festivals in the Royal Albert Hall, &c. 
 
 GOEPFERT (Carl A.) German clarinet-player. B. Rimpar, Wurzburg, 16 
 Jan. 1768. D. April II, 1818. Comp. works for his instrument, quartets, etc. 
 
 GOETHE (Johann Wolfgang von). German poet and writer. B. Frankfort- 
 on-the-Main, 1749. S. at Strasburg. Resided chiefly at Weimar. D. 
 Weimar, 1832. 
 
 Works (which have been set to music). — " Faust " (Spohr, Gounod, Lindpainter, 
 etc.) ; Count Egmont (Beethoven) ; Mignon (Thomas) ; Lyrics and Lieder 
 (Anschtitz, Beethoven, Franz, Gronland (P.), Hauptmann, Klein (B.), Liszt, 
 Lowe (C. ), Meinardus (L.), Mendelssohn, Reichardt (J. F.), Schubert, Schumann, 
 Spohr, Wendt (J. A.), etc. 
 
 Goethe was a great lover of music, and the story of his connection with Mendels- 
 sohn will be found in any biography of that musician. 
 
 GOETSCHIUS (Percy). German writer. Author of " The Material used in 
 Musical Composition," Lond. 1883. 
 
 GOETZ (Hermann). German comp., B. Konigsberg, Dec. 17, 1840. S. at 
 Kbnigsberg University. S. music under Biilow and Ulrich. Org. at Winter- 
 thur, 1863. D. Hottingen, Zurich, Dec. 3, 1876. 
 Works. — Op. i. Trio for Pf., vn., and 'cello; op. 2. Three pieces for Pf. and 
 
 vn. ; op. 3. Three songs ; Quartet for strings in E. op. 6. ; Nine Pf. pieces, op. 7 ; 
 
 Two sonatinas for Pf , op. 8 ; Zwei Abendlieder, for string orch., op. 9 ; Noenia, 
 
 cantata for orch. and chorus, op. 12; Genrebilder, Pf pieces, op. 13 ; Quintet for 
 
 Pf., vn., viola, 'cello, and double bass, op. 16 : Sonata for Pf duet in G min., op. 
 
 17; Concerto for Pf and orch., op. 18; Sechs Lieder for voice and Pf., op. 
 
 19 ; Der Widerspanstigen Zahmung (Taming of the Shrew) Mannheim, Oct. 11, 
 
GOL — GOL 279 
 
 1874, published in London, 1878 ; Symphony in F for oroh. ; Francesca di Rimini, 
 opera, Mannheim, 1877 (finished by Brahms and Franclt) ; The 137th Psalm for 
 soli, chorus, and orch ; Pf. trio ; op. 21. Seven 4-part songs ; etc. 
 
 The death of this gifted composer at the early age of 36 was lamented by all 
 musicians. The merit of his works proved that had he been spared he would have 
 added many important works to the world's repertory. 
 
 GOLDBECK (Robert), German comp., pianist, and writer, B. Potsdam, 1835. 
 S. under H. Litolff. Resided in Paris and London, 1851. Went to New 
 York, 1857 ; Chicago, 1868 ; S. Louis, 1873. Was principal of a musical 
 cons, in Chicago. 
 Works. — The Soldier's Return, operetta, London ; Quintet for Pf. and strings ; 
 Trio for do. Fiaiioforte : Day-dream; Impromptu; Melodie-etude; La Cavalcade; 
 Venezia, Scene de lagunes ; Arolodo ; Caprice de Concert ; Flashes from the West ; 
 Fundamental Technics of Pf. Playing ; Harmonized Progressive Exercises ; Fifty 
 Studies ; High Technics ; Sogni d'Amore, Pf. ; Traumgewebe, nocturne ; Danse 
 des Dryades ; Transcriptions and Fantasias from operas. Songs : Break, break, 
 break ; Day is cold ; Dreams of Heaven ; Love Song ; Moonlight deep and ten- 
 der; Where'er the heart to true heart beats ; Willow song. Gradus ad Parnassum 
 of the Voice (vocal instructor). 
 
 GOLDMARK (Karl). Hungarian comp., B. Keszthely, May 18, 1832. S. 
 under Jansa at Vienna and at Cons., 1847-8. Comp, and teacher in Vienna. 
 Works. — Die Kbnigin von Saba, opera, Vienna, 1875, op. 27 ; Merlin, opera. 
 Die Landliche Hochzeit, symphony for orch. , op. 26 (five parts) ; Sakuntala, over- 
 ture for orch. ; Concerto for vn. and orch., in A min., op. 28 ; String quartet, in 
 B flat, op. 8 ; Quintet for Pf. and strings, in B flat, op. 30 ; Dances for orch., op. 
 22 ; Lieder aus dem " Wilden Jager," von J. Wolff', op. 32 ; Sonata for Pf. and 
 vn., op. 25; Suite for Pf. and vn, 5 parts, op. 11 ; Scherzo for orch. ; Songs, etc. 
 
 GOLDSCHMIDT (Adalbert von). Austrian comp., B. Vienna, May 5, 1848. 
 Belongs to a family of wealthy financiers, and is independent of the musical 
 profession ; which, however, he follows as an amateur at Vienna. He has 
 comp. " Die Sieben Todsunden," oratorio ; " Helianthus," opera, Leipzig, 
 1884; and some works for Pf. and orch., vocal music, etc. 
 
 GOLDSCHMIDT (Otto). German pianist and comp. B. Hamburg, Aug. 21. 
 1829. S. under J. Schmitt, and at Leipzig Cons, 1833. S. under Mendels- 
 sohn, 1843-46 ; Chopin, Paris, 1848. Came to England, 1848. Went to 
 America with Mdlle. Jenny Lind, as cond., 1851. Married Jenny Lind at 
 Boston, U. S.. Feb. 5, 1852. Resided at Dresden, 1852-55. Settled in Lon- 
 don, 1852. Hon. member of Philharmonic Soc, 1861, Vice-Principal, 
 R. A. M., 1863. Founded the Bach Choir, 1875. 
 Works. — Ruth, oratorio, Hereford Festival, 1867 ; Trio for Pf. vn., and 'cello, 
 
 op. 12; Concerto for Pf. and orch.. op. 10; Six songs for voice and Pf., by O. 
 
 van Redwitz, op. 8; Six do., op. 9; Part-songs, various ; Twelve studies for Pf., 
 
 op. 13, etc. 
 
 Herr Goldschmidt is better known as a conductor and pianist than as a composer. 
 
 As a conductor he has achieved great renown, and his work in connection with 
 
 the Bach Choir has been very profitable, tending to introduce the general public to 
 
 a number of standard classics. 
 
 GOLDSCHMIDT (Jenny Lind). See Lind (Jenny). 
 
 GOLDSMITH (Oliver). Irish general writer and flute-player. B. Pallas, near 
 Longford, 1728. D. London, 1774. 
 The librettos of the operas of " The Deserted Village " (Glover and Falconer); 
 and "The Vicar of Wakefield," are founded on his works. Music is also written to 
 some of his shorter pieces. He was a musician, and supported himself by playing 
 the flute when travelling on the continent. 
 
 GOLDWIN (John). English org. and comp., B. [?]. S. under Dr. W. Child. 
 Org. S. George's Chap., Windsor, 1697. Master of the Choristers, do., 1700, 
 D. Nov. 7, 1719. Comp. a service in F ; anthems ; MS. works, etc, 
 
28o GOL — GOO 
 
 GOLLMICK (Adolph). German comp. and pianist, B. Frankfort-on-the-Main, 
 
 Feb. ^, 1825. Son of Carl GoUmick. S. under his father, Riefstahl, H. 
 
 Wolff, and Kessler. Came to London, 1844. Gave first concert, Aug. 21, 
 
 1844. Founded and directed the " Reunion des beaux arts," 1851. Married 
 
 in 1853, at Frankfort. Director of the Kilburn Musical Association, 1879. 
 
 First oratorio performance, 1879. D. London, March 7, 1883. 
 
 Works. — Doi3a Constanza, comic opera, 3 acts ; The Oracle, comic opera, 
 
 2 acts ; Balthasar, do., 2 acts ; Blind Beggar's Daughter of Bethnal Green, operatic 
 
 cantata; The Heir of Linne, operatic cantata ; Symphony for orch., in C minor 
 
 (MS.) ; Overture and marches for orch. ; Pf. quartet (MS.); Pf. trio (MS.) : Six 
 
 studies for Pf. ; Eighteen German Volkslieder, trans, for Pf. ; Valse Styrienne, Pf. ; 
 
 Reverie, op. 20 ; Grand Caprice, op. 11 ; Scherzo, op. 21 ; La Flatteuse, Pf., op. 
 
 19. Songs. 
 
 GOLLMICK (Carl). German writer and comp., B. Anhalt, Dessau, March 19, 
 1796. S. under B, Klein and Spindler. D. Frankfort-on-the-Main, Oct. 3, 
 1866. 
 Works. — Handlexikon derTonkunst, 1857; Critische Terminologie fur Musiker 
 
 und Musikfreunde, 1833 ; Musikalisches Novellen und Silhouetten, 1842. Pf. 
 
 music, songs, etc. 
 
 GOLTERMANN (Georg Eduard). German violoncellist and comp., B. Han- 
 over, Aug. 19, 1825. Cond. and teacher at Frankfort. 
 
 Works. — Symphony for orch., in A minor, op. 20; Concerto No. 1, for 'cello 
 and orch., op. II ; Three morceaux caracteristiques, 'cello and Pf., op. 41 ; Danses 
 Allemanden, 'cello and Pf., op. 42 ; Do., op. 47 ; Morceaux Caracteristiques for 
 'cello and Pf., op. 48, 53 ; Adagio for 'cello and orch, op. 83; Romance, 'cello and 
 Pf., op. 87 ; Elegie for 'cello and Pf., in C minor, op. 88 ; First Sonatina for Pf. 
 and tenor, in A, op. 36 ; Five Songs for Barytone voice and Pf. , op. 7. 
 
 Goltermann is known as one of the most refined 'cellists of modern times. His 
 tone is full and powerful, and his execution perfection. As a conductor he is of 
 much eminence, being well known in Frankfort for the good service he has rendered 
 in this capacity. 
 
 GOMBERT (Nicolas). Belgian comp., B. Bruges [149s]. S. under Josquin 
 des Pres. Chap.-master to the Emperor Charles the Fifth. D. [1570]. 
 His compositions number in all slightly over 250, and consist of masses, motets, 
 psalms, chansons, galliards, pavans, etc., the chief merit which they possess for 
 modern ears being their delightful quaintness. " His counterpoint exhibits him as 
 a profound harmonist. ... he composed a set of masses which were published 
 at Venice, and two sets of motets in four parts, all of which bespeak sufficient 
 genius, science, contrivance, and taste, to entitle him to a rank with the first masters 
 of the age he ornamented." — Busby. 
 
 GOMEZ (A. Carlos) or Gomes. Portuguese comp., B. Compinos, Brazil, 
 July II, 1839. S. Milan Cons. 
 
 Works. — Operas : II Guarany, Milan, 1870, London, 1872; Fosca, Milan, 1873; 
 Salvator Eosa, Genoa, 1S74. II Saluto del Brasile, ode, Philadelphia Exhibition, 
 1876, etc. 
 
 GOMIS (Joseph Melchior). Spanish comp., B. Valencia, 1793. D. Paris, 
 July 16, 1836. V\'rote operas, songs, Pf. music, etc. 
 
 GONZALEZ Y RODRIGUEZ (Jose Maria). Spanish org. and comp., B. 
 Alcala, Feb. 5, 1822. S. Madrid. Comp. masses, litanies, org. music, etc. 
 Prof, in Madrid Cons. 
 
 GOODBAN (Thomas). English comp. and writer, B. Canterbury, Dec, 1784. 
 
 Chor. Canterbury Cath. S. under S. Porter. Articled to a Solicitor. Resigned 
 
 the Law, 179S. Lay-clerk Canterbury Cath., 1809. Leader of the Catch 
 
 Club, Canterbury, 1810. D. Canterbury, May 4, 1863. 
 
 Works.— A New and Complete Guide to the Art of Playing the Violin, Lond., 
 
 1810 ; Guide to the Piano, 181 1 ; The Rudiments of Music, 1825 ; Ne\v and Com- 
 
GO O — GO S 
 
 plete Introduction to Singing, etc., London, 1829; The Rudiments of Music, with 
 progressive exercises. Lend., 410, 1836 (new edit.) Glees, songs, Pf. music, etc. 
 
 His sons, Charles (1812-1881), Henry William (1816- ), and Thomas 
 (1822- ) were also distinguished musicians. Charles became Mus. Bac, Oxon., 
 1847, and comp. some miscellaneous pieces, the "Vocal Album," 1850, etc. 
 Henry William is a fine 'cellist and comp., having transcribed numerous pieces for 
 the Pf. and written songs, etc. ; and Thomas was a violonist. His nephew, J. F. 
 Goodban, is an org. and comp. 
 
 GOODGROOME (Jolin). English comp., B. 1630. Chor. St. George's Chap., 
 Windsor. Gent, of Chap. -Royal, 1660. Musician in Ordinary to the King, 
 1664. D. June, 1704. Comp. songs and concerted sacred and secular vocal 
 music. 
 
 GOODSON (Eicliard). English comp. and org. B. about middle of 17th cent. 
 Org. Christ Ch., Oxford. Mus. Bac, Oxon. Prof, of Music, Oxford Univer- 
 sity, in succession to EdWard Lowe, July, 1682. D. Jan. 13, 1718. Comp. 
 odes, songs, etc. 
 
 GOODSON (Richard, Junr.). English comp, and org., B. latter part of I7lh 
 century." Son of above. Org.'of Newbury till 1709. Mus. Bac, Oxon., 
 1716. Prof, and org. at Oxford in succession to his father, 1718. D. June 9, 
 1 741. 
 
 GORDIGIANI (Luigi). Italian comp., B. Modena, June 21, 1806. D. Florence, 
 May, i860. Comp. a great number of fine songs, and a few operas. His 
 brother Giovanni was a comp. and singer. 
 
 GORDON (John). English musician, B. London, March 26, 1702. Educated 
 at Westminster School and Trinity Coll., Cambridge. S. for the Law, 1718- 
 22. Prof. Music, Gresham Coll., Jan. 16, 1723. Called to Bar, 1725. D. 
 London, December 12, 1739. 
 
 GORDON (William). English comp., B. end of i8th century. S. under Drouet. 
 Captain of Swiss Guards in Paris. Commenced improving flute mechanism, 
 1830. D. iiisane, in consequence of unsuccessful experiments, 1839 (?). His 
 system of fingering was perfected by Boehm, but authorities differ both in the 
 matter of the original invention and subsequent improvements. 
 
 GORIA (Alexandre Edouard). French pianist and comp., B. Paris, 1823. 
 D. Paris, i860. Comp. a great quantity of popular Pf music. Op. i. Bluette; 
 op. 2. Harmonie du soir, nocture ; op. 3. Berceuse ; op. 4. Canzonetta ; op. 5. 
 Mazurka ; op. 6. Caprice-nocturne ; op. 7-8. Etudes de Concert ; op. 9. Seren- 
 ade ; op. lo-ll. Nocturne ; op. 12. Valse ; op. 13. Andante ; op. 14. Mazurka; 
 op. 15-17. Studies; op. 18. Mazurka; op. 19. Reverie; Transcriptions from 
 operas, op. 20, 22, 24, 31, 34, 38, 42, 46, 51, etc. Le Pianiste Moderne, 
 studies ; Ecole moderne de Pianiste, op. 63. Miscellaneous pieces. His 
 studies are extremely useful works. 
 
 GOSS (John Jeremiah). English vocalist, B. Salisbury, 1770. Chorister 
 Salisbury Cath., and lay vicar, do. Gent, of Chap. Roy^., 1808. Vicar choral, 
 St. Paul's Cath. Lay vicar of Westminster Abbay. Principal alto at meetings 
 of the Three Choirs. D. May, 1817. 
 
 GOSS (Sir John, Kt.). English comp. and org., B. Fareham, Hants, Dec. 
 
 27, 1800. Son of Joseph Goss, org. of that place. Chorister in Chap. Roy., 
 
 under J. S. Smith, 181 1. S. under Attwood. Org. of St. Luke's, Chelsea, 
 
 1824. Org. St. Paul's Cath., 1838-72. Comp. to Chap. Roy., 1856-72. 
 
 Knighted, 1872. Mus. Doc, Cantab., 1876. D. Brixton, Lond., May 10, 
 
 1880. 
 
 Works. — Church Service, in A ; Burial Service, in E minor ; Te Deum for H.M. 
 
 Thanksgiving at St. Paul's Cath., for the restoration to health of H. R. H. the 
 
 Prince of Wales. Benedictus. Te Deums in C, D, and F ; Cantate Domino and 
 
 Deus misereatur, in C ; Magnificat and Nunc Dimittis, in E. Anthems : Almighty 
 
 and merciful God ; And the king said to all the people (dirge) ; Behold I bring you 
 
 good tidings ; Blessed is the man ; Brother, thou art gone before us ; Christ, our 
 
 Passover ; Come, and let us return unto the Lord ; Fear not, O land ; Have mercy 
 
282 GOS — GOT 
 
 upon me ; Hear, O Lord ; I heard a voice from heaven j I will magnify Thee, O 
 God ; If we believe that Jesus died ; In Christ dwelleth ; Lift up thine eyes round 
 about ; O give thanks ; O Lord God, Thou strength of my health ; O praise the 
 Lord ; O praise the Lord of heaven ; O Saviour of the world ; O taste and see ; Praise 
 the Lord, O my soul ; Stand up and bless the Lord your God ; The glory of the 
 Lord ; The Lord is my strength ; They are they which follow the Lamb ; The 
 Wilderness. Seven Glees and a Madrigal, Lond., 1852. Parochial Psalmody, a 
 Collection of Ancient and Modern Tunes, Lond., 1827. Collection of Voluntaries 
 by eminent composers, organ. The Organist's Companion, 4 vols. Coll. of Volun- 
 taries, various comps. An Introduction to Harmony and Thorough-bass, Lond., 
 4to, 1833. Pianoforte Students' Catechism of the Rudiments of Music, Lond., 
 i2mo, 1835. Chants, ancient and modern, 1841. Overtures for orch., and 
 miscellaneous orch. music. Songs, etc. 
 
 Goss was one of the most melodious composers who in recent times have graced 
 the British school of sacred music. His style, which is best shown in his anthems, 
 is stately and refined, but at the same time melodious and natural. The well-known 
 anthern, " O give thanks unto the Lord," is one of the best known of his many 
 grand compositions of a like nature, and happily displays the general style which he 
 affected. As an organist, Goss was considered one of the most intellectual of his 
 time, and his performance was marked by great breadth and power. His glees, 
 songs, hymns, and other works, have all been received with favour. 
 
 G-OSSEC (Francois Joseph), Belgian comp., B. Vergnies, Jan. 17, 1733. 
 
 Chor. in Antwerp Cath. till 1748. Went to Paris, 1751. Became acquainted 
 
 with Rameau. Inspector (with Cherubini and Mehul) of the Paris Cons., 
 
 1795-1814. Mem. of the Institut, 1795. Chev. of Legion of Honour, 1802. 
 
 Retired from public life, 1815. D. Passy, Feb. 16, 1829. 
 
 Works. — Operas: Salinus, 1773 ; Alexis et Daphn^, 1775 ; Philemon et Baucis, 
 
 177s; Hylas et Sylvie, 1776; La Fete du Village, 1778; Th^see, 1782; La 
 
 Reprise de Toulon, 1796 ; La Faux Lord, 1764 ; Les Pecheurs, 1766 ; Tionon et 
 
 Tionette, 1767 ; Le Double D6guisement, 1767. Saul, oratorio ; La Nativite, 
 
 oratorio. Messe des Morts, 1760. Hymns, etc. Twenty-nine Symphonies for 
 
 orch. Eighteen Quartets for strings. Serenades, Trios, Overtures, etc. Literary 
 
 works. 
 
 Gossec is now very little known to the general musical public, his works and 
 reforms having faded from memory. He has historical importance as the originator 
 of a richer style of orchestral writing, and the introduction of many standard reforms 
 in the ordinary orchestral practice. 
 
 GOSTICK (Joseph). English writer, author of "A Manuel of Music," Edin., 
 i2mo, 1851. 
 
 GOSTLING (Eev. John). English bass vocalist, B. [1652]. D. 1733. Was 
 the possessor of a most powerful voice of great compass, for which it is said 
 Purcell composed some sacred and other music. 
 
 GOTTSCHALG (Alexander Wilhelm). German org., writer, and comp., 
 B. Mechelroda, near Weimar, 1827. 
 
 GOTTSCHALK (Louis Moreau). American comp. and pianist, B. New 
 Orleans, May 8, 1829. S. at Paris, under C. Halle, Chopin, Stamaly, and 
 Maleden, 1846. Travelled as pianist in Europe, 1847-53. Appeared succes- 
 sively Jn New York, Cuba, Porto Rica and other parts of N. and S. America. 
 D. Rio de Janeiro, Dec. 18, 1869. 
 Works. —La Nuit des Tropiques, symphony. Pianoforte : Op. 2. Bamboula, 
 Danse de N^gres ; op. 3. La Savane ; op. 4. Ossian, ballade ; op. 5. Chanson 
 negre ; op. 6. Two Mazurkas ; op. 8. La Moissonneuse ; op. 9. Caprice ; op. 10. 
 La chasse du jeune Henri ; op. 11. Serenade; op. 11. Danse Ossianiqne ; op. 13. 
 Fantaisie triomphale ; op. 14. Caprice espagnol ; op, 15. Le Banjo ; op. 23. Chant 
 du Soldat ; op. 24. Valse poetique ; op. 26. Ricordati, meditation ; op. 27. La 
 Naiade ; op. 29. Marche solennelle ; op. 31. Marche des Gibaros ; op. 34. Caprice 
 Americain ; op. 35. La Gitanella ; op. 36. Fant6me de bonheur ; op. 38. Etude 
 de concert ; op. 39. Souvenir de la Havane ; op. 40. Printemps d'Amour ; op. 42. 
 Nocturne; op. 43. Polonia, caprice; op. 47. Berceuse; op. 49. Polka, La Colombe; 
 
GOT — GO U 
 
 283 
 
 op. 50. Danse Cubaine j op. Ji. Home, sweet home (trans.); op. 53. La Gallina, 
 danse cubaine; op. 55. Caprice h^roique; op. 56. Caprice elegiaque ; op. 57! 
 Grand Scherzo; op. 58. Tremolo, study; op. 61. Marche funebre; op. 62. Pens^e 
 poetique ; op. 63. Etude de concert ; op. 64. Eataille, study ; op. 65. Solitude ; 
 op. 67. Tarantelle; op. 69. Fantasia— Brazilian National hymn; op. 85. Sixth 
 Ballade, in F ; op. 86. Danse des Sylphes ; op. 87. Seventh Ballade, in E flat ; 
 op. 88. Hercule, study ; op. 89. Le Carnival de Venise, caprice ; op. 90. Ballade, 
 in E ; Cantata ; Overture, MS. Opera, etc. Notes of a Pianist during his Profes- 
 sional Tours, Edited by his Sister. Translated by Robert E. Paterson. M D 
 Philadelphia, 1881. > -. 
 
 Gottschalk was a brilliant pianist and a fine harmonist. His works if shallow 
 are remarkably pleasing and effective productions, animated with an extreme 
 warmth of harmonical colouring. 
 
 GOTTWALD (Heinrich). German comp. and writer, B. Reichenbach, Silesia, 
 Oct. 24, 1821. D. Breslau, Feb. 17, 1876. Wrote symphonies, Pf. works, 
 songs, etc. 
 
 GOTZE (Johann Nicolas Conrad). German violinist and comp., B. Weimar, 
 Feb. II, 1791. S. under Kranz, Spohr, and Kreutzer. Appeared in Vienna, 
 Weimar, etc. Violinist in Ducal Chap, of Weimar. Comp. operas, overtures, 
 quartets, lieder, etc. 
 
 GOUDIMEL (Claude). French comp., B. Vaison, nr. Avignon, beginning of 
 i6th century [1516]. Went to Rome where he opened a music school. 
 Settled in Paris [1555]. Killed at Lyons during the massacre of S. Bartholo- 
 mew's Day, Aug. 24, 1572. 
 
 Works. — Masses. Liber quartus Ecclesiasticorum Cantionum quatuor vocum 
 vulgo Moteta vocant," Antwerp, 1554. Psalms of David, adapted to melodies and 
 harmonized (with Claude le Jeune). Motets, etc. 
 
 Goudimel was the founder of the great Roman school of composition, having been 
 teacher of Animuccia, Nanini, Palestrina, etc. As a composer he is chiefly known 
 for his harmonization and arrangement of Marot and Bega's Psalms. Many of 
 those psalms are now in use in the English and Scottish church services. 
 
 GOULD (Nathaniel D-). American writer, author of History of Church Music 
 in America, Boston, 8vo, 1853 ; Companion to the Psalmist; National Church 
 Harmony, Boston, 1832 ; The Sacred Minstrel, 1840 ; The Social Harmony, 
 Boston, 1823. 
 
 GOULDING & D'ALMAINE. English firm of music-publishers established in 
 London about 1800. Published works by most of the leading musicians of the 
 period during which the firm flourished. The firm was at one time known as 
 D'Almaine & Mackinlay. The copyrights of the firm were sold in 1867. 
 
 GOUNOD (Charles Francois). French comp. and pianist, B. Paris, June 17, 
 1818. S. under Halevy, Paer and Lesueur at Paris Cons., 1836. Gained 
 second "Prix de Rome," 1837. Gained grand "Prix de Rome," 1839. 
 Travelled in Italy, Germany, and Austria. Org. and chap. -master of the 
 Missions Etrangeres. Studied for the Church. Cond. of the Orph^on, Paris, 
 1852-60. Commander of the Legion of Hon. Mem. of Institut, 1866. In- 
 volved in law suit in London, 1870 Cond. his "Redemption" at Birming- 
 ham, 1882. 
 Works. — Operas: Sapho, 1851; Ulysse (chorus, etc.), 1852; La Nonne San- 
 glante, 1854 ; Le Medecin Malgre lui, 1858 ; Faust, Mar. 19, 1859, Theatre 
 Lyiique, Paris (London, 1863 ; in English, 1864) ; Philemon et Baucis, i860 ; La 
 Reine de Saba, Feb., 1862 ; Mireille, 1864; La Colombe, i860 ; Romeo et Juliette, 
 1867; Les Deux Reines de France (incidental music, etc.), 1872; Jeanne d'Arc 
 (do)., 1873; Cinq Mars, 1877; Polyeucte, 1879; Le Tribut de Zamora, Paris, 
 1881. Sacred Music: The Redemption, oratorio, Birmingham Festival, Aug. 
 1882 ; Mors et Vita, oratorio, do., 1885 ; Requiem Mass, 1842 ; Messe Solennelle, 
 in D, 1849 ; Ave Verum ; Te Deums and other masses ; Tobi^, oratorio ; Jesus 
 sur le lac de Tiberiade, scene for barytone voice, chorus, and orch., Paris, 1876; 
 Nazareth, sacred song, words by H. F, Chorley ; Noel, cantique ; De Profundis ; 
 
284 GOV — GOW 
 
 Twenty Melodies, first collection ; Do., second coll. ; Do., third coll. ; Do., fourth 
 coll ; Symphony in D, for orch ; Do. in E ; La Reine des Ap6tres, symphony ; 
 Marche Romaine, orch. ; Serenade ; Convoi funibre d'une marionnette, for Pf. or 
 orch. Valses and other music for Pf. M^thode de cor a pistons, etc. Biondina, 
 12 Italian melodies, voice and Pf. Part-songs, Anthems, etc. Gallia, motet for 
 soprano solo and chorus. O Salutaris Hostia. Stabat Mater. 
 
 Gounod is one of the most popular and able of the living composers of France. 
 His works abound in passages of great beauty, exhibiting strong and picturesque 
 features and fine melody ; the whole bound by a powerful and fervid colouring 
 generally of a more sacred than secular character. Of his operas, "Faust" is the 
 most popular, and of his sacred writings, probably the "Redemption." In addi- 
 tion, many of his songs and minor works have been received with favour. His 
 orchestral works are widely known, and among them the " Funeral March of a 
 Marionette " is a preeminent favourite. It is a clever, droll, and withal a pic- 
 turesque production. Many of his minor works are in constant use in Britain, and 
 we may particularize his masses, psalms, motets, and sacred songs. 
 
 GOXJVY (Theodore). French comp. and pianist, B. Goffontaine, nr. Saarbruck, 
 July 2, 1819 [July 21, 1822]. S. at Paris for the law. S. music at Berlin under 
 Elwart, and in Italy. Settled in Paris, 1846. Prof, and comp. there. 
 Works. — Op. i. Two studies for Pf. ; op. 2. Gondoliera, for Pf.; op. 3-7. 
 Serenades for Pf.; op. 8. Trio for Pf., violin, and 'cello, in E ; op. 9. Symphony for 
 orch., in E flat ; op. 10. Serenade for Pf.; op. II. Serenade for 2 violins, alto, 'cello, 
 and bass ; op. 12. Second Symphony, in F ; op. 13. Concert overture for orch., in 
 D ; op. 14. Second overture in E ; op. 15. Le Dernier Hymne d'Ossian, scene for 
 bass voice and orch ; op. 16. Two string quartets ; op. 17. Sonata for Pf. ; op. 18. 
 Second trio for Pf., violin, and 'cello, in A rain.; op. 19. Third do., in B flat ; op. 
 20. Third symphony, in C ; op. 21. Six songs for barytone voice and Pf.; op. 22. 
 Fourth trio, for Pf., violin, and 'cello, in F ; op. 23. Twelve choruses for 4 male 
 voices ; op. 24. Quintet for Pf , 2 violins, alto, and 'cello ; op. 25. Fourth sym- 
 phony, in D ; op. 26. Twelve songs for tenor and Pf. ; op. 27. Three Serenades for 
 Pf.; op. 28. Decameron, ten pieces for Pf and 'cello ; op. 29. Second sonata, for 
 Pf.; op. 30. Fifth symphony, in B flat ; op. 31. Quartet for strings ; op. 32. Three 
 choruses ; op. 33. Fifth trio, in G ; op. 34. Sixth symphony ; op. 35. Hymn and 
 march for orch.; op. 36. Sonata for Pf. duet; op. 37. Six odes of Ronsard, for 
 tenor and Pf.; op. 38-9. Two sets of three serenades, Pf.; op. 41-2. Two sets of 
 nine songs of Ronsard ; op. 43. Four odes (Ronsard) for barytone voice and Pf ; op. 
 44. Eight songs of Ronsard, tenor voice and Pf. ; op. 45. Eighteen songs (Despor- 
 tes), voice and Pf. ; op. 46. Three elegies for two voices and Pf. ; op. 47. Seven 
 songs of Ronsard ; op. 48. La Pleiade Fran9aise : 12 songs for voice and Pf. ; op. 
 49. Six sonatas for Pf. duet ; op. 50. Six duets for Pf. and violin ; op. 51. Third 
 sonata for Pf. duet ; op. 52. Variations for Pf. duet ; op. 53. The serenade ; op. 54. 
 Valses for Pf. duets ; Missa Brevis, solo, chorus, and orch., 1883, op. 72. 
 
 Gouvy is one of the most prolific and graceful composers of modern France. 
 His chamber-music enjoys much favour in Parisian musical circles, while his larger 
 works are known in every musical community. 
 
 GOW (Nathaniel). Scottish violinist and comp., B. Inver, near Dunkeld, May 
 28, 1766. Son of Neil Gow. S. under his father, R. M'Intosh, M'Glashan, 
 and J. Reinagle. Violinist at Edin. under his brother William. One of 
 H. M. trumpeters for Scotland, 1782. Succeeded his brother William as leader 
 of the Edinburgh fashionable concerts, 1791. Established in music-publishing 
 business with W. Shepherd at Edin., 1796-1813. Gave up business, but sub- 
 sequently resumed it in partnership with his son Neil. Continued the firm till 
 1827. D. Edin., Jan. 17, 1831. 
 Works.- — The Beauties of Nei! Gow, being a Selection ot the most favourite 
 tunes from his first, second, and third collections of strathspey reels and jigs, chiefly 
 comprising the compositions of Neil Gow and Sons (Edited by Nathaniel). Edin., 
 3 parts. The Vocal Melodies of Scotland, arranged for the Pianoforte, or harp, 
 violin, and violoncello, by Nath. Gow. Edin. , 3 parts, n. d. The Ancient Curious Col- 
 lection of Scotland, consisting of genuine Scotch tunes, with their original varia- 
 tions, with basses throughout, for the Pianoforte, or harp, violin and 'cello. Ded. 
 to Sir Walter Scott. Edin., 1823. A Select Collection of Original dances, waltzes, 
 
GOW — GRA 285 
 
 marches, minuets, and airs. ..many of which are composed, and the whole arranged, 
 for the Pf. and harp, by Nath. Gow. Edin., fo. A Collection of Strathspey Reels, 
 with a bass for the violoncello, or harpsichord, containing the most approved old 
 and the most fashionable new reels, some of which are composed, and others with 
 additions, by Nath. Gow. Edin., fo., n. d. Complete Repository of Old and New 
 Scotch Strathspeys, Reels, and Dances. Edin., fo., n. d. 
 
 GOW (Neil). Scottish violinist and comp., B. Inver, Dunkeld, March 22, 1727' 
 Taught violin by John Cameron, retainer in GrandtuUy family. Twice married- 
 Played at principal gatherings and balls of his time, in large towns of Scotland. 
 D. Inver, March i, 1807. 
 
 Works. — A Collection of Strathspey Reels, with bass for the Violoncello or 
 Harpsichord, Edin., circa 1784. A Collection of Strathspey Reels, with a bass 
 for the Violoncello or Harpsichord, Ded. to Her Grace the Duchess of Athole, 
 Edin. (Corri), fo., n. d. Second Collection, do., Ded. to Noblemen and Gentle- 
 men of the Caledonian Hunt, Edin. (Corri), fo. , n. d. Third Coll., Ded. to the 
 Marchioness of Tweeddale, Edin., fo., n. d. A Complete Repository of the Orig- 
 inal Scotch Slow Tunes, Strathspeys and Dances, the Dances arranged as Medleys 
 for the Pianoforte or Harp, four parts, Edin., fo., n. d. Fifth and Sixth Collections 
 of Strathspey Reels, 1808 and 1822. 
 
 As personal recollections can not now be brought to bear on the subject of Gow's 
 character, we have transcribed the following passage, which, with a curious portrait, 
 appears in T. Garnett's ' ' Observations on a Tour through the Highlands etc. of 
 Scotland." Second edition, vol. 2, p. 73, London, i8ii : — 
 
 " . . We were favoured with a visit from Neil Gow, a singular and well-known 
 character, and a celebrated performer on the violin. When I call him a celebrated 
 performer I do not mean that he can execute the sweet Italian airs with the touch 
 of a Cramer. His only music is that of his native country, which he has acquired 
 chiefly by the ear, being entirely self-taught ; but he plays the Scotch airs with a 
 spirit and enthusiasm peculiar to himself. . . He excels most in the Strathspeys, 
 which are jigs played with a peculiar spirit and life, but he executes the laments, or 
 funeral music, with a great deal of pathos. " 
 
 The good effects of the efforts made by the Gow family to preserve the older 
 Scottish melodies are felt to this day. The Gow collection was a great improve- 
 ment on that of Oswald, as latterly Johnson and Thomson (G.) was on theirs, and 
 again that of Smith, Thomson (John), and Graham on that of their predecessors. 
 The Gow collection contains a number of fine old melodies not elsewhere to be 
 found, but is slightly marred by a few mistakes in regard to the localization of 
 melodies ; some being named as Irish that were found by subsequent collectors to 
 be Scotch. 
 
 GOW (Neil, Jun.). Scottish violinist and comp., B. about end of i8th cent. 
 (1795). Son of Nathaniel Gow — was partner in music-publishing business in 
 Edinburgh with his father. D. Edinburgh, Nov. 7, 1823, aged 29, 
 
 Works.— Edinburgh Collection of Glees, Catches, Duetts, etc., Edin., n. d. A 
 Collection of Airs, Reels, and Strathspeys, being the posthumous compositions of 
 the late Neil Gow, Junr., arranged for Pf., harp, vioUn, or 'cello, by Nathaniel 
 Gow. Edin., 1849. 
 
 This most promising young man died after giving most convincing proofs of his 
 capacity for musical composition. His melodies, "Bonnie Prince Charlie" and 
 " Flora Macdonald's Lament," are well-known all over the world. He composed 
 a number of melodies to words by Hogg, etc., but the two songs named are those 
 by which he is best known. 
 
 Other members of this family were Andrew, John, and William, all of whom 
 were musicians of some fame in their day, the last being especially well known as a 
 fresh and vigorous violinist. 
 
 GRAAN (Jan van). Dutch violinist, B. Amsterdam, Sept., 1852. D, at the 
 Hague, Jan., 1874. S. under Joachim. 
 
 GRABEN-HOFFMANN (Gustav). German song writer, B. Bnin, near 
 Posen, March 7, 1820. Teacher in Dresden. Has comp. a large quantity of 
 fine vocal works, which have attained to considerable popularity in Germany. 
 
286 GRA — GRA 
 
 GBADDON (Miss). English soprano vocalist, B. Taunton, Somerset, 1804. 
 S. under Tom Cooke. Sang at Vauxhall, 1822. Debut, Dublin, 1823. Sang 
 at Liverpool, Manchester, London, and throughout English provinces. Ap- 
 peared in "Der Freischutz," Lond., Nov. 10, 1824. D. [?]. 
 
 GBAEDENEB (Carl G. P.). German comp. and Prof., B. Rostock, Jan. 
 
 13, 1812. Prof, of singing, Vienna Cons., 1861. Teacher in Hamburg. D. 
 
 Hamburg, June 11, 1883. 
 Works.— Quintet for Pf., 2 vns., viola, and 'cello, op. 7; Eight Lieder for 
 chorus and solo, op. 8; Sonata for Pf. and violin, in D min., op. 11 ; Hebrew 
 Songs (Lord Byron) for voice and Pf., op. 15 ; Sonata for Pf., in C min., op. 28 ; 
 Second trio for Pf., vn., and 'cello, in E flat, op. 35 ; etc. 
 
 GBAEME (Elliot). English writer, author of "Beethoven, a Memoir," Lond., 
 1870 ; Second edition, do. Novels, etc. 
 
 GBAEVEB (Madeleine), Madame Johnson. Dutch pianist and comp., B. 
 Amsterdam, 1830. S. under Bertelsmann, Moscheles, and Litolff, etc. 
 Appeared in Paris, England, and settled in New York, where she remained 
 till 1 86 1. She has appeared in Belgium, Holland, Germany, etc. as a pianist. 
 Her compositions are mostly for the Pf. 
 
 GBAFF (Carl). Hungarian violinist and comp., B. Also-Eor, May 20, 1833. 
 Appeared in London, Paris, etc. as vnst. Comp. operettas, organ music, 
 symphonies for small oich., songs, etc. 
 
 GBAHAM (George Farquhar). Scottish comp. and writer, B. Edinburgh, 
 Dec. 29, 1789. Educated at the High School and University of Edinburgh. 
 Chiefly self-taught in Music. Joint- Secretary of Edinburgh Musical Festival, 
 with George Hogarth, 1815. Lived for time in Italy. Unsuccessful candi- 
 date for Music Chair of Edinburgh University. D. Edinburgh, Mar. 12, 1867. 
 Works. — An Account of the first Edinburgh Musical Festival, held between the 
 30th of Oct. and Sth Nov., 1815, with an Essay containing some general obser- 
 vations on Music, Edin., 8vo, 1816. Second edition, 1835. Elements of Sing- 
 ing, written for the Edinburgh Institution for the Encouragement of Sacred 
 Music, Edin., 181 7. The article " Music " in the seventh and eighth editions 
 of the " Encyclopjedia Britannica." Essay on the Theory and Practice of 
 Musical Composition, with Introduction and Appendix [reprint with addi- 
 tions of the foregoing], Edin., 4to, 1838. Notes and editorial work in connec- 
 tion with the publication of the " Skene Manuscript " (Dauney). The Songs 
 of Scotland adapted to their appropriate Melodies... Illustrated with Historical, 
 Biographical, an(f Critical Notices..., Edin., 1848-49, 3 vols., large 8vo. 
 General Observations upon Music, and remarks upon Mr. Logier's system, Edin., 
 1817. Songs, Glees, Psalm-tunes. Contributions to periodical literature, etc. 
 
 Graham was the son of Col. Humphrey Graham of Edinburgh, and during a busy 
 life did much to elevate the musical taste of his native city. His writings are all 
 highly respectable, but the work by which he will in the future be known is the 
 Songs of Scotland, which is still the standard edition for modern purposes, and of 
 which a new edition, revised by John Muir Wood, was issued in 1884. He had an 
 extensive acquaintance among the musical celebrities of his time. 
 
 GBAHAM (Maria). Scottish writer, author of "A few words on the formation 
 of the major and minor scales, in a letter to her pupils," by M. G. Lond., 
 l2mo, 1852. 
 
 GBAMMANN (Carl). German comp., ^B. Liibeck, June 3, 1844. S. at 
 Leipzig Cons., 1867. Resides in Vienna as comp. He has comp. "Die 
 Schatzgraber " and " Die Eisjungfrau," early operas ; Melusine, opera, 187S ; 
 Thusnelda, opera, 1881 ; Das Andreasfest, opera, 1882. Symphonies, quar- , 
 tets, vocal music, etc. 
 
 GBANCINO (Giovanni), Italian violin-maker of 17th and i8th centuries. 
 Worked at Milan about 1694-1720. He made good instrmnents. His father, 
 Paolo, worked at Milan during 1665-92. 
 
 GBANT (Donald). Scottish teacher and comp., si native of Elgin, published 
 
GRA — ORE 287 
 
 " A Collection of Strathspey Reels, Jigs, etc, for the Pianoforte, Violin, and 
 Violoncello." Dedicated to Mrs. Col. Grant. Edin., n. d. 
 This book dates from the end of last century. 
 
 GKANT (General Sir James Hope). Scottish military commander and 
 musician, B. 1808. D. 1875- He entered the army in 1826, and served in 
 China with honour. 
 Works. — Voluntaries for organ ; Elegie for Pf. ; Notturno for Pf. and 'cello ; The 
 
 Sea and the Lake, piece for Pf. and 'cello ; Three sketches, Pf. and 'cello ; The 
 
 three violoncello makers, Pf. and 'cello. Songs, etc. 
 ■/ 
 
 GBAS (Julie Aimee Dorus), nle Steenkiste, German soprano vocalist, B. 
 Valenciennes, Sept., 1807. Appeared in London, 1839. Sang with success 
 in Europe, in operas of Auber, Rossini, Meyerbeer, Bellini, etc. Retired, 1850. 
 
 GBASSINEAU (JacCLUes). French writer, B. London, 1715. D. London, 
 1769. Writer of "Musical Dictionary, being a Collection of Terms and 
 Characters as well Ancient as Modern, including the Historical, Theoretical, 
 and Practical Parts of Music, as also an explanation of some parts of the Doc- 
 trine of the Ancients," etc. Lond., 8vo, 1740. 
 
 GBASSINI (Josephina). Italian contralto'vocalist, B. 1773. Appeared at the 
 Ancient Concerts, London, 1805. D. Milan, Jan., 1850. 
 
 GRAUN (Karl Heiurich). German comp., B. Wahrenbriick, nr. Dresden, 
 
 May 7, 1701. Treble singer in Dresden. S. under J. C. Schmidt, Petzhold, 
 
 etc. Tenor singer in opera at Brunswick, 1725. Chapel-master to Frederick 
 
 the Great, 1740. D. Berlin, Aug. 8, 1759. 
 
 Works. — Operas: Polydore, 1726; Sanico et Sinide ; Iphigenie en Aulide ; 
 
 Scipion I'Africain ; Pharaon ; Rodelinda, 1741 ; Cleopatra, 1742; Artaserse, 1743; 
 
 Catone enUtica, 1744; Alessandro nelle Indie, 1744; Lucio Papirio, 1745; Adriano 
 
 in Siria, 1745 ; Demofoonte, 1746 ; Cajo Fabrizio, 1747 ; Le Teste Galante, 1747 ; 
 
 Cinna, 1748; Europe Galante, 1748; Angelica e Medoro, 1749; Coriolano, 1750; 
 
 Medonte, 1750; Mitridate, 1751 ; Armida, 1741 ; Brittariico, 1752! Orfeo, 1752; 
 
 II Guidizio di Paride, 1752; Silla, I7S3 ; Semiramide, 17S4; Montezuma, 1755; 
 
 Ezio, I7SS ; I Fratelli Nemlci, 1756 ; Merope ; 1756. Te Deum, 1757. Der Tod 
 
 Jesu (The Death of Jesus), oratorio, Berlin, March 26, 1755 ; pub. Leipzig, 1760. 
 
 Masses and odes ; Lavinia e Turno, cantata ; Flute music, etc. 
 
 GRAY & DAVISON. English firm of organ-builders, established in London, 
 1779. They built organs for the Crystal Palace, London, 1883 ; the Town 
 Halls of Leeds, 1859, Bolton, 1873, Glasgow, 1853 ; and a great number of 
 large instruments in various towns in Britain, including Magdalen Coll., Ox- 
 ford, 1878 ; Town Hall, Newcastle-on-Tyne, 1858 ; St. Pancras Ch., London, 
 1885 ; St. George's Chap. Royal, Windsor, 1883. The operations of the firm 
 extend also to Ireland, Australia, South Africa, Portugal, Jamaica, China, and 
 Japan. Davison was at one time in partnership with W. Hill. 
 
 GRAZIANI (Francesco). Italian barytone vocalist, B. Fermo, April 26, 
 1829. Has appeared in modern operas in various Italian towns. 
 
 GREATHEED (Rev. Samuel Stephenson). English divine and comp., B. 
 
 nr. Weston-super-Mare, Feb. 22, 1813. B.A., Cantab., 1835. M.A., 1838. 
 
 Ordained, 1838. Rector of Corringham, Sussex. 
 Works.— Enoch's Prophecy, an oratorio, words by James Montgomery, 1852. 
 English Gradual ; a book of Plain Song for Holy Communion, from ancient English 
 sources. Plain Song for Holy Commnnion on ordinary days, so far as it differs 
 from that for feasts ; with offertory sentences, the Dies Irse (English), and the order 
 for the burial of the dead. Anthems: Blessed is the man ; Ye that fear the Lord ; 
 Hail, Gladd'ning light ; O God, Thou art worthy to be praised ; Let ray soul bless 
 God ; O Lord Almighty, God of Israel ; O Saviour of the world ; The Son of 
 man, etc. 
 GREATOREX (H. W.). American comp., published a collection of Psalms. 
 
 Wrote also songs, part-songs, hymns, etc. Native or resident of Boston. 
 
S88 GRE — GRE 
 
 GREATOREX (Thomas). English org., cond., and comp., B. North Wing- 
 field, near Chesterfield, Derby, Oct. S, 1758. S. under Dr. B. Cooke, 1772. 
 Adopted by the Earl of Sandwich. Chor. at Concert of Ancient Music, 1778. 
 Org. of Carlisle Cath., 1780-84. Teacher in Newcastle, 1784-85. Travelled in 
 Holland and Italy, 1785-88. Introduced to Prince Charles Edward Stuart. 
 Teacher in London, 1789. Cond. of the Concert of Ancient Music, 1793. 
 Revived the Vocal Concerts, 1801. Org. of Westminster Abbey, in succession 
 to G. E. Williams, 1819. Cond. of Birmingham Musical Festival. Fellow of 
 Royal and Linnean Societies. D. Hampton, London, July 18, 1831. 
 Works. — Twelve Glees from favourite English, Irish, and Scotch Melodies, 
 
 Lond., fc, n.d. [1832]. Psalms, chants, etc. 
 
 Greatorex was the foremost organist of his time, and next to Sir George Smart, 
 
 the most competent conductor. His powers on the organ were remarkable, and his 
 
 administrative capacity was great. His compositions are unimportant. 
 
 GREAVES (Thomas). English lutenist and comp. of l6th and 17th centuries. 
 Biography unknown. 
 
 Works. — Songs of Simdrie Kindes, 1604. Reprinted madrigals — Come away, 
 love ; Lady, the melting crystal of your eye ; Sweet nymphs, etc. 
 
 GREEN (James). English org. and comp. , was organist at Hull in first half of 
 last century. He published "A Book of Psalmody, containing chanting tunes 
 for the Canticles, etc. ...the Reading Psalms, with eighteen Anthems and a 
 variety of Psalm-tunes in four parts, 1724; 8th edit., 1734; nth edit., 1751. 
 
 GREEN (Joseph). English writer, author of "The Tritone; a method of har- 
 mony and modulation adapted to the scales of keyed instruments, with Appen- 
 dix, Lond., 4to, n. d. Hints' on the Spanish Guitar, being a Preparatory 
 Tutor for that Instrument, Lond. [1830]. 
 
 GREEN (Samuel). English organ-builder, B. 1740. D. Isleworth, Sept. 14, 
 1796. 
 He built the organs of Bangor Cath., 1779; Canterbury, 1784; Wells, 1786; 
 Cashel, 1786; Lichfield, 1789; Rochester, 1791 ; Winchester Coll. Chap., 1780; 
 St. George's Chapel, Windsor, 1790; Organs in Aberdeen, Bath, Chatham, Green- 
 wich, S. Petersburg, etc. 
 
 GREENE (Maurice). English org. and comp., B. London, 1696. Chor. S. Paul's 
 
 Cath. under R. Brind. Org. of S. Dunstan in the West, 1716. Org. S. Andrew's, 
 
 Holborn, 1717. Do. S. Paul's Cath., 1718. Org. and comp.. Chap. Royal, 
 
 1727. Prof, ol Music, Cambridge, 1730. Doc. Mus., Cantab., 1730. Master 
 
 of the King's Band, 1735. D. London, Sept. i, 1755. 
 
 Works. — Oratorios: Jephthah, 1737 ; The Force of Truth, 1744. Florimel, or 
 
 Love's Revenge, dramatic pastoral, 1737 ; The Judgment of Hercules, masque, 
 
 1740. Phcebe, opera, 1748. Spenser's Amoretti for voice, harpsichord, and violin. 
 
 Ode on S. Cecilia's Day, Pope, 1730; Odes for King's Birthday and New Year's 
 
 Day, 1730 ; Catches and Canons, 3 and 4 voices ; The Chaplet, coll. of 12 English 
 
 songs ; Church Service in C, 1737 ; Te Deum in D, 1745 ; Forty select Anthems 
 
 in Score for i, 2, 3, 4, 5, 6, 7 and 8 voices, Lond., 2 vols., 1743. Songs, organ 
 
 and harpsichord music, etc. 
 
 " Greene deserves to be placed in the highest rank of our musical writers for the 
 church, notwithstanding the disparaging terms in which Dr. Burney and other 
 critics have spoken of his compositions." — Hogarth. His anthems are still accorded 
 a degree of recognition. He was one of the original founders of the "Society of 
 Musicians," and also established the "Apollo" club, for the performance of vocal 
 music. 
 
 GREENWOOD (James). English comp. and vocal-trainer of present time, 
 author of The Sol-fa System of Teaching Singing as used in Lancashire and 
 Yorkshire ; Lond., 1879. Six Kyries. Anthems, Part-songs. Three hundred 
 and ninety-six two-part Exercises for Choirs and Schools (Music Primer), 1883. 
 
 GREETING (Thomas). English teacher of the flageolet in London, end of 17th 
 century. Author of "The Pleasant Companion; or new lessons and instruc- 
 tions for the Flagelot," Lond., l2mo, l656, another edit. , i68o. 
 
6kE — GRi 2§9 
 
 GR£G01B (Jacques Mathieu Joseph). Belgian pianist and comp., B. Ant- 
 werp, Jan. l8, 1817. 
 Works. — 5 Poesies Musicales for Pf., op. 51 ; Twelve Compositions in form of 
 Studies, op. 66; Concerto for Pf. and orch., op. 100, Great quantity of piano 
 music of the light drawing-room cast, also music for violin and Pf. with H. Leonard. 
 
 GREGORY of Bridlington. English musician of 13th century. Canon of 
 Order of S. Augustine. Precentor, and latterly Prior of Bridlington about 
 121 7. Author of " De Arte Musices " in 3 books. 
 
 GREGORY (Rev. John Herbert). Australian divine, author of "Letter to the 
 Bishop of Melbourne on Church Music," Melbourne, 1857. 
 
 GREGORY (Saint), Pope of Rome and Ecclesiastic. B. Rome, 542. D. 604, 
 A. D. He founded a large number of monasteries, and wrote Dialogues and a 
 Commentary on the Book of Job. His fame as a musician rests on his intro- 
 duction into the service of the early Christian church the well-known Gregorian 
 modes. These chants continued in use for man)!'; centuries, and are still 
 advocated by a section of musicians. 
 
 GRENIER (FeUx). French org. and comp., B. Marseilles, Sept.!27, 1844. S. 
 under Hesse. Comp. quartet, lieder, psalms, organ music. 
 
 GRETRY (Andre Ernest Modeste). Belgian comp., B. Li«ge, Feb. 11, 
 1741. Chor. in Ch. of S. Denis, Li^ge, 1747. S. under Moreau and Casali. 
 Went to Rome, 1759. Settled in Paris, 1767. Inspector of Paris Cons., 
 1795. Member of the Institut, 1798. Chevalier of the Legion of Honour, 
 1802. D. Montmorency, Sept. 24, 1813. 
 Works. — Operas: Le Vendemiatrice, 1765; Isabelle et Gertrude, 1767; Le 
 Huron, 1768; Lucile, 1769; Le Tableau parlant, 1769; Silvain, 1770; Les Deux 
 Avares, 1770; L'Amitie \ L'epreuve, 1771 ; Zemire et Azar, 1771 ; L'Ami de la 
 Maison, 1772; Le Magnifique, 1773; La Rosiire de Salency, 1774; La Fausse 
 Magie, 177S ; Les Mariages Samnites, 1776; Matroco, 1778; Le Jugement de 
 Midas, 1778 ; Les Evenements imprevus, 1779 ; Aucassin et Nicolette, 1780 ; 
 Thalie au Nouveau-Theatre. 1783 ; Theodore et Paulin, 1783 ; Richard Coeur de 
 Lion, Paris, 1784; Les M^prises par ressemblance, 1786; Le Comte d'Albert, 
 1787 ; La Suite de Comte d'Albert, 1787 ; Le Prisonnier Anglais, 1787 ; Le Rival 
 Confident, i788 ; Raoul Barbe-Bleue, 17S9; Pierre le Grand, 1790; Guillaume 
 Tell, 1791 ; Basile, 1792 ; Les Deux Couvents, 1792; Joseph Barra, 1794; Callias, 
 1794; Lisbeth, 1797; Elisca, 1799; Le Barbier de Village, 1797; Andromaque, 
 1780; Emilie, 1781 ; Le Caravane du Caire, 1783; Panurge dans I'lle des Lan- 
 ternes, 1785 ; Amphitryon, 1788 ; Denis le Tyran, 1794; Anacreon chez Polycrate, 
 1797 ; Le Casque et les Colombes, 1801 ; Delphis et Mopsa, 1803 ; Alcindor et 
 Zaide ; Zimeo ; Zelmar ; Electre ; Diogine et Alexandre, etc. in MS. Six Sym- 
 phonies for orch. Sonatas and quartets, various. Masses and other church music. 
 Literary works, etc. 
 
 The most of Gretry's operas are now forgotten; "Richard Coeur de Lion" 
 being the only notable exception. The style of Gretry's music is beautiful and 
 melodious ; the harmonies are good ; and the general working out effective. He 
 is commonly regarded as the founder of modern comic opera. See Andr6 Ernest 
 Modeste Gretry, Celebre Compositeur Beige, par E. G. J. Gr^goir, Brussels, 8vo, 
 1883. 
 
 GRIEG (Edvard). Norwegian comp. and pianist, B. Bergen, June 15, 1S43. 
 
 S—Leipzig Cons., 1858-1862, under Hauptmann, Richter, Rietz, Reinecke and 
 
 Moscheles. Teacher and cond. at Copenhagen. 
 Works. — Op. I. Clavierstucke for Pf. ; op. 2. Lieder for voice and Pf. ; op. 3. 
 Poetische Tonbilder for Pf. ; op. 4. Six Lieder ; op. 5. Melodien des Herzens ; 
 op. 6. Vier Humoresken fur Pf. ; op. 7. Sonata for Pf. ; op. 8. Sonata for Pf. and 
 vn. ; op. 9. Romanzen und Balladen ; op. 10. KUeine Romanzen; op. II. Phantasie 
 for Pf. duet; op. 12. Lyrische Kleine Stiicke, for Pf. ; op. 13. Sonata for Pf. and 
 vn. in G min. ; op. 14. Two Symphonische-Stucke for Pf. duet; op. 15. Romanzen; 
 op. 16. Concerto for Pf. and orch. in A minor ; op. 17. Norvegische Volks-Lieder 
 und Tanze fur Pf. ; op. i8. Romanze und Lieder ; op. 19. Humoreske for Pf. ; op. 
 
290 GR I — GR t 
 
 20. Vor Sudens Kloster, for solo, chorus, and orch. ; op. 27. Quartet for strings, G 
 min. ; op. 35. Norwegian Dances for Pf. duet; op. 36. Sonata for Pf and 'cello; 
 op. 37. Waltz-Caprices for Pf. duet; op. 38. Lyric Pieces for Pf. 
 
 Grieg is one of the most gifted of living Northern composers. His works'are 
 poetical and interesting, beautifully conceived, and carefully executed. 
 
 GBIER (William). Scottish writer, author of "The Mussical Encycloptedia ; a 
 Collection of English, Scottish, and Irish Songs, edited by J. Wilson, to which 
 is prefixed an elaborate essay on the first principles of Music," Lond., 8vo, 
 1835 ; another edition, 1852. 
 
 GRIESBACH (John Henry). German comp., B. Windsor, June 20, 1798. 
 VioIonceUist in Queen's band, 1810. S. under Kalkbrenner. Pianist in 
 London and director of Philharmonic Society. D. London, Jan. 9, 1875. 
 Works. — Belshazzar's Feast, 1835 ; Daniel (reproduction), 1853 ; Music to the 
 "Tempest"; James the First, or the Royal Captive, operetta; The Goldsmith of 
 West Cheap, opera ; Eblis, opera, unfinished ; Raby Ruins, musical drama ; Over- 
 tures for orch. Analysis of Musical Sounds, with Illustrative Figures of the ratios 
 of vibrations of Musical Intervals and their compounds. Harmonic vibration, tem- 
 perament, etc., fo., n. d. Elements of Musical Notation, containing tables of the 
 comparative value of the diiferent kinds of Notes, Signatures of the different keys, 
 etc., 8vo, n. d. Pianoforte Student's Companion, containing all the Scales in four 
 positions, etc., Lond. [1825]. Anthems, Songs, etc. 
 
 GRIEVE (John Charles). Scottish comp., cond., and teacher, B. Edinburgh, 
 
 Aug. 29, 1S42. Fellow of the Educational Institute of Scotland. Lecturer 
 
 on Musical Theory, Heriot-Watt Coll., Edinburgh. Cond. of Psalmody, Lady 
 
 Yester's Ch., Edinburgh. Was Cond. of Phoenix Musical Assoc, Edinburgh. 
 
 Teacher of Singing in various Schools, and at one time editor of The Musical 
 
 Star. 
 
 Works. — Benjamin, oratorio, Edin., 1877; Christian Songs of Praise, 24 hymns 
 
 for 4 voices, 1873 ; The Sower and the seed : Scripture parable for soli, and chorus ; 
 
 The good Samaritan, do. ; Julia's Birthday, musical sketch ; Kinderspiel, a 
 
 musical sketch for juveniles. Part-songs : Good morrow to my lady ; Stars of the 
 
 summer night ; Fly away Lady-bird ; My Love is like a red, red rose, trio. Songs: 
 
 The wells o' wearie ; The mither'S bairn ; Comin' hame. Day Dreams, reverie for 
 
 Pf. School songs, etc. The Harmonium ; how to use it. Edin., n.d. 
 
 GRIFFIN (George Eugene). Enghsh pianist and comp., B. Jan. 8, 1781. 
 Member of Philharmonic Soc, teacher, etc. D. London, May, 1863. 
 Works. — Two concertos for Pf and orch. ; Ode to Charity, 1806 ; Four 
 sonatas for Pf ; Three string quartets ; Rondos, marches, variations, etc. for Pf ; 
 Songs, glees, etc. 
 
 GRIFFITHS (John). English bass vocalist, B. about'middle of i8th century. 
 D. Worcester, Oct. 1821. 
 
 GRIGOR (Alexander L.). Scottish writer, 'author of " Hints and Maxims to 
 Players on Pianoforte, Harmonium, etc.," Glasgow, 8vo, 1S83. 
 
 GRIMM (Julius otto). German pianist and comp., B. Pernau, March 6, 1827. 
 Works. — Op. i. Six Lieder for voice and Pf. ; op. 2. Abendbilder, 5 Pf pieces; 
 op. 3. Six Lieder for voice and Pf. ; op. 4. Two Scherzos for Pf. ; op. 12. An die 
 Musik, poem by L. Schiicking for solo voice, chorus, and orch. ; op. 13. Six Lieder 
 for 4 male voices, etc. 
 
 GRISAR (Albert). Belgian comp., B. Antwerp, Dec. 26, 1808. S. under 
 Reicha at Paris. D. Asnieres, near Paris, June 15, l86g. 
 Works. — Operas: Sarah, 1836; Lady Melvil, 1838; Les Porcherons, 1850; 
 Le Carillonneur de Bruges, 1852; Les Amours du Diable. 1853, etc. 
 
 GRISI (Giulia). Italian soprano vocalist, B. Milan, July 28, 1812. S. at Con- 
 vent in Gorizia, 181 8. Got lessons from her sister, Giuditta Grisi, and Madame 
 Boccabadata. Debut at Milan in Rossini's Zelmira, 1829. Engaged with 
 Lanari, operatic manager at Florence, on unfavourable terms, 1830, and broke 
 engagement by going to Paris, 1832. Appeared in London, April, 1834, as 
 
6ro — 6UA 29I 
 
 Ninetta in "La Gazza Ladra." Married to M. de Melcry, a Frenchman, 
 1836. Separated soon after, and was afterwards married to Signor Mario, by 
 whom she had four children. Travelled in America, 1854. Retired from 
 London opera, 1861. Re-appeared at H. M. Theatre, London, 1866. D. 
 Berlin, Nov. 25, 1869. 
 
 •Grisi was one of the most magnificent sopranos who held the stage during her 
 time. She was best suited to tragic parts, which she rendered with consummate 
 dramatic skill and force. Her voice was fresh and beautiful, clear and natural in 
 intonation, and of great compass. In every respect she was one of the greatest 
 dramatic vocalists. Her sister, Giuditta, a contralto, appeared at King's Theatre, 
 London, May, 1832. 
 
 GROBE (Charles). American writer, author of " New Method for the Piano 
 forte," Boston, n. d.; Collections of School and other Songs ; Numerous light 
 pieces for the Pf. 
 
 GROOMS (W.). English writer, author of a " Concise Treatise on Music," 
 London, Svo, 1870. 
 
 GROVE (Sir George), D.C.L., Durham. English writer on music, B. Clap- 
 ham, Surrey, Aug. 13, 1820. Was bred a Civil Engineer, but forsaking that 
 line of life, became Secretary to the Society of Arts in 1849 ; and in 1852, 
 Secretary to the Crystal Palace Company, with which he was connected as 
 Secretary, Manager, and Director, till the close of 1880. During the latter 
 period he interested himself greatly in the music of the Palace. In 1883 he 
 was appointed Principal of the newly established Royal College of Music, and 
 receivedthehonourofknighthood. He became LL.D., Glasgow, 1885. In 1855 
 he recommended the appointment of Mr. Manns, to whom the formation of the 
 Crystal Palace orchestra, the daily and Saturday concerts, and the great impetus 
 given thereby to orchestral music in England, are due. Mr. Grove warmly 
 seconded Mr. Manns's efforts by his general support, by his analyses of the works 
 played on Saturdays, and by obtaining various important compositions for perfor- 
 mance, such as Mendelssohn's "Reformation Symphony," the six MS. sym- 
 phonies of Schubert, for which he made two journeys to Vienna, etc. Mr. Grove 
 is also known for his connection with Dr. Smith's Dictionary of the Bible, to 
 which he was a principal contributor, for his labours in Biblical geography, and 
 for his promotion of the Palestine Exploration Fund, the formation of which 
 was virtually due to him. He is one of the literary executors of the late Dean 
 of Westminster. He edited Macmillan's Magazine for more than 15 years, 
 and is now editing the Dictionary of Music and Musicians for Messrs. Mac- 
 millan, in which the articles on Beethoven, Mendelssohn, Schubert, and many 
 other subjects, are from his pen. In the course of his investigations for the 
 last named biography, he appears to have discovered certain traces of a for- 
 gotten symphony by Schubert, of the year 1825, the possession of which will 
 be a remarkable event in the musical world. 
 
 GRUNEISEN (Charles Lewis). German writer, B. London, Nov. 2, 1806. 
 D. London, Nov., 1879. Author of "The Opera and the Press," Svo, 1869. 
 Memoir of Meyerbeer, Lond., 1848. Journahstic work, etc. 
 
 GRUTZMACHER ffriedrich Wilhelm Ludwig). German violoncellist 
 
 and comp., B. Dessau, March i, 1832. Appeared in England, 1867. Teacher 
 
 in Dresden. 
 Works.— Concertos for 'cello and orch., various ; Variations for 'cello and orch.; 
 Im Friihhng, 3 stUcke for 'cello and Pt., op. 30; Two concert pieces for 'cello and 
 Pf., op. 32 ; etc. 
 GUADAGNI (Gaetano). Italian soprano vocalist, B. Lodi, 1725. D. Padua, 
 
 1797. 
 GUADAGNINI (Giovanni B.). Italian violin-maker, flourished 1710-50. 
 
 Brother of Lorenzo. Made violins of some repute after the Stradivarius model. 
 
 GUADAGNINI (Lorenzo). Italian violin-maker of Cremona, worked 1695- 
 1740. Was a pupil of Stradivarius, and imitated his style. His model is flat, 
 but the tone is rich and powerful. His violins are now rare. 
 
igi GUA — dul 
 
 GUARNEKIUS (Andrea). Italian violin-maker, worked at Cremona between 
 years 1630-95. Instruments good. Founder of the celebrated Guarnerius 
 family. 
 
 GUARNERIUS (Giuseppe.) Italian violin-maker, son of above. Worked at 
 Cremona, 1680-1730. Workmanship superior ; model good. 
 
 GUARNERIUS (Pietro). Italian violin-maker, worked at Cremona, 1690-1728. 
 
 Son of Andreas. 
 
 GUARNERIUS (Giuseppe Antonio). Italian violin-maker, B. Cremona, 
 June 8, 1683. D. 1745. This artist, who is known as Giuseppe del Jesii, is 
 the greatest of the family ; his instruments being of the most beautiful model, 
 finish, and tone. He was supposed to have worked with Stradivarius, but 
 some authorities contradict this statement. His instruments are very rare, 
 and extremely valuable. 
 
 GUARDUCCI (Carolina). Italian operatic vocalist, B. Leghorn, 1833. Ap- 
 peared in Italian opera in London, on the Continent, etc. 
 
 GUERNSEY (Wellington). Irish lyric poet and comp., B. MuUingar, June 8, 
 1817. D. London, Nov. 13, 1885. Has written the words of an immense 
 quantity of songs, chiefly of a sentimental kind, of which " Mary Blane," and 
 "Alice, where art thou?" are the best known. His own productions consist 
 chiefly of songs, such as "I'll hang my harp on a willow tree, " but he has 
 written a mass in B flat, and other musical works. 
 
 GUERRERO (Francisco). Spanish comp., B. Seville, 1528. S. under 
 Morales, chap, master of Seville Cath., 1538. D. Jan. 15, 1599. Comp. for 
 the church masses, motets, psalms, etc. , and also madrigals, songs, etc. 
 
 GUEST (George). English org. and comp., B. Bury St. Edmunds, 1771. S. 
 under his father, Ralph. Chor. in Chap. Roy. Org. at Eye, Suffolk, 1787. 
 Do. Wisbeach, 1789. D. Wisbeach, Sept. 10, 183 1. Wrote glees, hymns, 
 songs, duets, org. music, etc. 
 
 GUEST (Ralph). English comp. and org., B. Basely, Shropshire, 1742. Chor. 
 
 Basely Ch. Chor. Portland Ch., London, 1763. S. org. under Ford of S. 
 
 James' Ch., Bury. Choir-master of S. Mary's, Bury St. Edmunds, 1805-22. 
 
 D. Bury, June 1830. 
 Works. — The Psalms of David, collection. Glees. Songs, a great number, all 
 of moderate quality. He was an efficient choir-master. 
 
 GUEYMARD (Louis). French tenor vocalist, B. 1822. S. Paris. D^dut 
 Paris in "Robert le Diable," 1848. D. 1880. 
 
 GUGLIELMI (Pietro). Italian comp., B. Massa, Carrara, May, 1727. S. 
 
 under Durante, Naples Cons. Chap. -master at the Vatican, 1793. D. Rome, 
 
 Nov. 19, 1804. 
 Works. — Operas: I Capricci d'una Marchesa, 1759; Tamerlano, 1765; Farnace, 
 1765 ; Sesostri, 1767 ; Orfeo, Lond., 1770 ; II Carnavale di Venezia, Lond., 1770; 
 Ezio, Lend., 1770; Le Pazzie d'Orlando, Lond., 1771 ; Don Papirio, 1774; 
 Artaserce, 1776; La Bella Pescatrice, 1779; I Fratelli Pappa Mosca, 1783; 
 I Finti Amori, 1786; Didone, 1785 ; I due Gemelli, 1787; La Pastorella Nobile, 
 1788; Rinaldo, 1789. Oratorio, op. i. Six divertissements for harpsichord, vn., 
 and 'cello, Lond. ; op. 2. Six quartets for harpsichord, 2 vns. , and 'cello, Lond. ; 
 op. 3. Six solos for harpsichord. Songs, masses, etc. 
 
 GUHR (Karl Ferdinand Wilhelm). German violinist and comp., B. Militsch, 
 Oct. 1787. D. Frankfort-on-the-Main, July 23, 184S. Composed a great 
 quantity of pleasing music for violin solo, violin and Pf., violin and orch., etc. 
 
 GUIDI (Giovanni Gualberto). Italian music-publisher, B. Florence, 181 7. 
 Editor of the journal Boccherini, and publisher of a handy edition of the string 
 quartets, etc. of Haydn, Beethoven, and others, as well as of standard works 
 by the great masters. D. Florence, Jan. 18, 1883. 
 
 GUIDO DI AREZZO, or ARETINO. Italian theorist, monk in the Benedic- 
 tine Monastery al Pomposa during early part of I Ith century. Guido increased 
 
GUI — GUN 293 
 
 the limits of the stave used in his time, originated solemnization by means of 
 syllables (ut, re, mi, fa, sol, la), and invented or gave a basis for the science of 
 counterpoint. His principal work is the "Micrologus," a Latin tract which 
 
 explains his method of teaching boys to sing, with rules for the composition, 
 
 and just performance, of the plain chant. 
 
 GUILMANT (Felix Alexandre). French org. and comp., B. Boulogne, Mar. 
 
 12, 1837. S. under Lemmens, etc. Org. Ch. of St. Joseph, Boulogne, 1857. 
 
 Chap. -master, St, Nicolas, do. Prof, of Singing in Public Schools, Boulogne. 
 
 Org. of Ch. of the Trinity, Paris, 1871. Has played in London and in English 
 
 provinces. 
 Works. — Organ and Harmonium : Pieces de differents styles, first series, opp. 
 15, 16, 17, 18, 19, 20 ; Second series, opp. 24, 25, 33, 40, 44, 45 ; L' Organiste 
 pratique, opp. 39, 41, 46, 47, 49, 52 ; First Sonata in D minor, op. 42 ; Priere et 
 Berceuse, op. 27 ; Canzonetta, op. 28 ; Fughetta, op. 29 ; Scherzo, op. 30 ; Aspira- 
 tion Religieuse, op. 31 ; Villageoise, op. 32 ; Mazurka de Salon, op. 35 ; Transcrip- 
 tions for Harmonium, various; Pastorale for Pf. and Harm., op. 26; Marche 
 Triomphale, do. , op. 34 ; Scherzo Capriccioso, do. , op. 36 ; Priere for 'cello and 
 Pf., op. 22. Ce que dit le Silence, Reverie for Tenor, with accomp. for Pf and 
 Harm. O Salutaris, op. 37 ; Ave Verum, for 4 voices and org. , op. r ; O Salutaris, 
 do., op. 2 ; Psalm for 4 voices and org., op. 8 ; Mass for 4 voices and orch., op. 11; 
 Five Litanies ; Twelve Motets ; Echoes du Mois de Marie. Songs and miscell- 
 aneous works. 
 
 Guilmant is one of the greatest organists of modern times. For brilliancy, ex- 
 pression, and touch, he is unsurpassed in France. His compositions are known to 
 every organist of any pretence, and are remarkable for effectiveness. 
 
 GUIRAUD (Ernest). French comp. and prof, B. New Orleans, June 23, 1837. 
 
 S. Paris Cons. Gained " Grand Prix de Rome," 1859. Prof of Harmony 
 
 in Cons., 1876. 
 Works. — Operas: Roi David, 1864; Sylvie, 1864; Gli Avventurieri en Prison, 
 1869 ; Le Kobold, 1870 ; Madam Turlupin, 1872 ; Gretna-Green, Ballet, 1873 ; 
 Piccolino, opera, 1876, London, 1879. Orchestral works, Pf music, songs, etc. 
 
 GUMBERT (Ferdinand). German comp., B. Berlin, April 21, 1818. S. vn. 
 under C. Rietz. Teacher, etc., in Munich. 
 Works. — Die Schoene Schusterin, opera, 1844; Die Kunst geliebt zu werden, 
 do. Operettas, various. Lieder, to the amount of over 400. The lieder of this 
 comp. are marked by good taste and melodiousness. 
 
 GUMPELTZHAIMEB (Adam). Germ, comp., B. Trospberg, Bavaria, 1560. 
 Musician in service of Duke of Wiirtemberg. D. [?]. 
 Works. — Compendium Musicas Latinae Germanicum, 1595, several editions ; 
 Erster Theil des Lustgartleins teutsch und lateinischen Lieder von3stimmen, 1591 ; 
 Erster Theil des Wurtz-Gartleins 4 stimmen Geistlichen Lieder, 1594; Psalmus, 
 50, octo, vocum, 1604, etc. 
 
 GUNG'L (Josef). Hungarian comp. and bandmaster, B. Zskmbek, Dec. i, 
 1810. Travelled with band in Europe, and visited America, 1848. 
 
 '^o^Yii.^WalHes: Die Grafenberger ; Amoretten Tanze ; Soldaten Lieder; 
 Narren Tanze ; Zephyr LUfte ; Julien Tanze ; Lust und Leben ; Tanzperlen ; Friih- 
 lingslieder ; Abschied von MUnchen ; Debatten ; Ueber Land und Meer ; Dresden ; 
 Marien ; Isar Lieder ; Jungharren Tanze ; Rheinsagen ; Die Berliner ; Die Prager ; 
 Elisen Tanze ; Fiumara Lieder ; Pandekten ; Tafelrunde; LesAdieux; Feuerklange; 
 Hesperus Klange ; Improvisationem ; Frohsinn Lieder ; Copenhagen ; Leipziger 
 Lerchen ; Hochzeitsreigen ; Themselieder ; Wanderlieder ; Bardenlieder ; Wilhel- 
 minen Tanze ; Slowanka Klange ; Novellen ; Unter den Linden ; Die Benefizian- 
 ten ; Brautheder ; Phantome ; Alpenrosen ; Peterhof ; Der Verschmahte ; Hambur- 
 ger Kinder. Polkas, marches. 
 
 These dances are well knovm for their spirited rhythms and skilful harmony. A 
 nephew of this comp., named Johann Gung'l, B. Zsimb^k, 1819, was also a 
 comp. of dance music. D. there, Nov., l88j. 
 
294 GUN — GWI 
 
 G-UNN (Anne), nie Young. Scottish pianist and writer, wife of John Gunn, 
 wrote "An Introduction to music; in which the Elementary Parts of the 
 Science, and the Principles of Thorough-bass and Modulation, as illustrated by 
 the Musical Games and Apparatus, are fully and familiarly explained, with 
 Examples and Complete Directions for Playing the several Games." Edin., 
 8vo, 1803. Second edition, 8vo, 1820. 
 
 GUNN (Barnabas). English org. and comp., B. end of 17th century. Org. of 
 St. Philip's, Birmingham, till 1730. Org. of Gloucester Cath., succeeding 
 Hine, 1730. Wrote two cantatas and six songs, Gloucester, 1736. Sonatas 
 for Harpsichord, etc. D. 1743. 
 
 GUNN (John). Scottish writer and 'cellist, B. in Highlands of Scotland [Edin- 
 burgh, 1765?] Teacher of 'cello at Cambridge, and in London, from 1789. 
 Returned to Edinburgh, and married Miss Anne Young, 1S04. D. [1824 ? ]. 
 Works. — An Essay, with copious examples, towards - more easy and scientific 
 method of commencing and pursuing the study of the Pianoforte, with the principles 
 of thorough-bass and musical science. Lond., fo., 11. d. Forty Favorite Scotch airs, 
 adapted for violin, German flute, or violoncello, with the phrases mark'd.. .supple- 
 ment to the Examples in the Theory and Practice of fingering the Violoncello, 
 Lond., fo., n. d. The Theory and Practice of fingering the violoncello, containing 
 rules and progressive lessons for attaining the knowledge and command of the 
 whole compass of the instrument, Lond., fo., 1793. Second edition, n. d. Art 
 of Playing the German Flute on new principles, n. d. An Essay, theoretical and 
 practical, on the application of Harmony, Thorough-bass, and Modulation, to the 
 Violoncello. Edin., 1801. An Historical Enquiry respecting' the Performance on 
 the Harp in the Highlands of Scotland, from the earliest times until it was dis- 
 continued about the year 1734; to which is prefixed an account of a very ancient 
 Caledonian harp, and of the harp of Queen Mary. Edin., 4to, 1807. This work he 
 proposed to supplement by "An Enquiry into the Antiquity of the Harp, etc," but 
 it never appeared. School for the German Flute, fo., n. d. 
 
 GUELITT (Cornelius). German comp., B. Altona, Feb.. 10, 1820. Writer of 
 much agreeable - instrumental music: Sonatas for Pf, opp. 17, 20, 21, etc.; 
 "Gesange aus dem Quickborn v. Klaus Groth, op. iS ; Die Jahreszeiten, 
 liedercyclus, op. 26 ; Praludien u. Chorale, op. 28 ; Sonatinas for Pf., op. 
 118 ; and other pieces numbering in all over op. 140. 
 
 GURNEY (Edward). Contemporary English writer, author of " The Power 01 
 Sound," Lond., large 8vo, 1880. Several contributions to magazines on 
 musical subjects. 
 
 GURNEY (T. E.). American org. and writer, author of "American School for 
 Reed Organ, Melodeon, etc.," Boston. "Carhart's Melodeon or Reed Organ 
 Instructor, " Boston ; etc. 
 
 GUSIKOW (Michael Josef). Polish performer on the Holz und Strohiust 
 (wood and straw) instrument, B. Sklov, Sept. 1806. D. Aix-la-Chapelle, 
 Oct. 21, 1837. Travelled in Europe as performer on his instrument. 
 
 GUTMANN (Adolf). German comp., B. Heidelberg, Jan. 12, 1819. D. 
 Spezzia, Oct. 27, 1882. Wrote chamber and Pf. music in great variety. 
 
 GUY (Henry). English tenor vocalist and comp., B. Oxford, 1847. S. at 
 R. A. M. Gent, of Chap. Royal, 1876. Has appeared with success at the 
 principal London and provincial concerts and festivals. His compositions 
 consist of glees and songs. 
 
 GUYLOTT (Robert). English comp., B. 1794. D. Londori, Dec. 18, 1876. 
 Wrote songs chiefly, of which the following are among the principal : — Broken 
 vow ; Days that are gone ; Haste to the woodlands ; In the pretty spring time; 
 Rose shall cease to blow ; etc. 
 
 GWILT (Joseph). English writer and architect, B. in Surrey, 1784. Architect 
 to the Grocers' Company, London. D. Henley-on-Thames, Sept. 14, 1863. 
 He published a "Collection of Madrigals and Motetts chiefly for 4 Equal 
 Voices, by the mogt Eminent Composers of the 1 6th and 17th centuries...," 
 
GYE — HAD 
 
 295 
 
 Lond., 181S; and wrote the article " Music " in the " Encyclopsedia Metro- 
 politana." He also compiled a valuable " Encyclopsedia of Architecture," etc. 
 
 GYE (Frederick). English operatic manager, B. 1809; D. Dec. 4, 1878. 
 Managed with his sons the Italian Opera, Covent Garden, London, for a num- 
 ber of years. 
 
 GYROWETZ (Adalbert). Bohemian comp., B. Budweis, Feb. 19, 1763. S. 
 law at Prague. Secretary in private family. S. music under Sala at Naples. 
 Went to Paris. Appeared in London, 1789. Comp. to Salomon Concerts. 
 Returned to Vienna, 1792. Chap. -master at Vienna, 1804-21. D. Vienna, 
 Mar. 22, 1850. 
 
 Works. — String quartets, opp. i, 4, 5, 9, ". 17, ZI, 25, 28, 29, 42; 
 Nocturnes for flute, vn., viola, and bass, opp. 20, 23, 32, 35, 38; Sonatas for 
 Pf., vn., and 'cello, opp. 9, 10, 12, 15, 16, 19, 22, 26, 27, 31, 33, 34, 40, 41, 45, 
 48, S'. SS> 57. So, 59. 60; Sonatas for Pf., op. 62, 63: Symphonies for orch., opp. 
 7. 8, 13, 14, 18, 23a, 330!, 47. Operas: Semiramide, London (destroyed in burn- 
 ing of the Pantheon, 1792) ; Les Metamorphoses d'Arlequin ; Les Page du Due de 
 Vend6me, 1808; Le Trompeur Trompe, 1810; Agnes Sorel, 1808; Ida; Mirina, 
 1806; Selico, 1804; Der Augenarzt, 181 1; Die Priifung, 1813; Helene. 1816 ; 
 Felix und Adele, 1831 ; Die Junggesellen Wirthschaft ; Der Sammtroch ; Aladin ; 
 Das Standchen ; Federica e Adolfo, 1812 ; Gustav Vasa, ballet. 
 
 H 
 
 HAACK (Oarl). German violinist and comp., B. Potsdam, 1757. Violinist in 
 band of the king of Prussia. D. Berlin, Sept. 28, 1819. Comp. sonatas, 
 concertos for Pf., chamber music, songs, etc. 
 
 HAAS (Udefonse). German comp., B. Offenburg, April 23, 1735. D. May 
 30, 1791. Wrote music for the church, literary works, etc. 
 
 HABENECK (Francois Antoine). French violinist, cond., and comp., B. 
 Mezi^res, Jan. 22, 1781. S. under Baillot, Paris Cons. Gained first prize for 
 vn. playing, 1804. Assistant Prof., Paris Cons., 1808-16. Solo vn. at opera, 
 1815. Director of the Academie de Musique, 1821-24. Cond. at opera, 
 1824-47. Prof- at Cons., 1825-48. Member of Legion of Honour, 1822. 
 D. Paris, Feb. 8, 1849. 
 Works. — Concertos, caprices, polonaises, fantasias, etc., for vn. and Pf. or orch. 
 Ballet. Church music, songs. 
 
 Habeneck is chiefly famed for his work as a conductor, for which position he 
 possessed more than ordinary aptitude. His works are forgotten. He was associ- 
 ated with Berlioz in the production of some of his works. 
 
 HABEBBIER (Ernst). German comp. and pianist, B. Konigsberg, Oct. 5, 
 1813. D. Bergen, March 12, 1869. Works for Pf. 
 
 HABERCORN (John). English musician, pubhshed " Psalmodia Germanica 
 or the German Psalmody, translated from the High German, together with 
 their proper Tunes and Thoroughbass," Lond., 1765. 
 
 HABERMANN (Franz Johann). Bohemian comp., B. Bohemia, 1706. D. 
 April 7, 1783. Wrote church music chiefly. 
 
 HABICHT (Emma). German writer, authoress of "Recollections of Chopin,'' 
 by Mrs. C. E. H[abicht]. Privately printed, n. d. 
 
 HADDOCK (George). English violinist and writer, author of " The Major and 
 Minor Scales in all positions, with exercises on double notes, octaves, and 
 staccato bowing ; carefully fingered, forming a practical work for students of 
 the Violin," London (Ashdown), n. d. 
 
296 HAE — HAt 
 
 HAESEB (August Ferdinand). German comp. and writer, B. Leipzig, Oct. 
 IS> 1779- S. at St. Thomas Schule, Leipzig. D. Weimar, Nov. i, 1844. 
 Comp. operas, masses, church music, Pf. music, and wrote a vocal method. 
 
 HAFFNER (Johann Christian Friedrich). Swedish comp. and org., B. 
 
 Oberschbnau, Mar. 2, 1759. Org. of Upsala Cath. D. Upsala, May 28 , 
 
 1833. 
 Works. — Svensk Choralbok, 1819-21 ; Swedish National Melodies (collected) ; 
 Songs, org. music, etc. His Swedish melodies are valuable. 
 
 HAGEN (Theodor). German comp., pianist, and teacher, B. Hamburg, 1822 
 [Dessau], 1823. S. at Hamburg. Resided in London, 1852. Went to New 
 York as teacher. D. New York, Dec. 27, 1871. Journalist and teacher. 
 
 HAGUE (Charles). English comp. and org., B. Tadcaster, 1769. S. violin at 
 
 Cambridge under Manini, 1779-85. Removed to London, 1785. S'. under 
 
 Salomon and Dr. Cooke. Mus. Bac, Cantab., 1794. Prof, of Music, Camb. 
 
 Univ., 1799. Mus. Doc, Cantab., 1801. D. Cambridge, June, 1821. 
 
 Works. — Ode performed at Cambridge in June, 181 1, at the installation of the 
 
 Duke of Gloucester as Chancellor of the University ; By the waters of Babylon, 
 
 Psalm. Glees : Two Collections ; Arrangements of Haydn's 12 symphonies as Pf. 
 
 duets ; Plumptre's Collection of Songs, moral, sentimental, instructive, and 
 
 amusing, 8vo, n. d. Pf. music, etc. 
 
 His daughter Harriet (B. 1793, D. 1816) published in 1814 " Six Songs," 
 
 with Pf. accomp. 
 
 HAIGH (Thomas). English comp. and pianist, B. London, 1769. S. under 
 Haydn, 1791-92. Resided in Manchester, 1793-1801. Returned to London, 
 
 1801. D. London, April, 1808. 
 
 Works. — Sonatas for Pf. and vn., op. 4, 6, 8, 9, 10, 12, 15, 16, 24, 33, 34, 36; 
 Three sonatas, Pf. duet, op. 5 ; Easy sonatas for Pf. duet, op. 7 ; Three diverti- 
 mentos, op. 18; Three sonatas, Pf. and flute, op. 19 ; Three sonatas, op. 20 ; Three 
 capriccios, Pf. , op. 38 ; Three serenatas, do. , op. 40 ; Twelve preludes ; Twenty- 
 eight familiar airs, etc., Pf. ; Twelve petites pieces for the Pf., with introductory 
 preludes to each, op. 32. Songs and glees. 
 
 HAINL (Francois Georges). French violoncellist, cond., and comp., B. 
 Issoire, Nov., 1807. D. Paris, June, 1873. 
 
 HAITE (John James). English comp. and writer, B. [?]. D. London, Oct., 
 1874. 
 
 Works. — The Principles of Natural Harmony ; being a perfect system founded 
 upon the discovery of the true semitonic scale. Lond., 4to, n. d. Violoncello 
 Tutor, Lond., n. d. Oratorio, operettas, symphonies. Glee Garland, various 
 numbers. 
 
 HAITZINGER (Anton). Austrian vocalist, B. 1796. Sang in Paris, London, 
 St. Petersburg, Germany, etc. D. 1869. 
 
 HAKING (Rev. Richard). English musician, B. 1830. Took holy orders, 
 1861. Mus. Doc, Oxon., 1864. Rector of Easton Grey, Malmesbury, 1873 ; 
 Congham, Norfolk, 1882. 
 
 Works. — Cantatas ; Two Lyrical legends ; Orchestral pieces, and solos for violin, 
 flute, 'cello, Pf., etc. Anthems : Doth not wisdom cry ; Lord, let me know mine 
 end. Part-Songs : A knight with his falchion gleaming ; A song to the wavelets ; 
 Christmas holly ; Welcome home; Song of the old bell; The violet; The wind's 
 errand ; The old woman's wooing. Songs, etc. 
 
 HALBERSTADT (Joseph). Dutch flute-player and comp., B. 1813. D. 
 London, July, 1881. 
 
 HALE (Adam de la). French troubadour, B. Arras [1240]. D. Naples 
 [1285-7]. He was surnamed the Hunchback, and is the author of the earliest 
 known entertainment in the form of comic opera : to wit, " Le jeu de Robin et 
 de Marion," the MS, of which is in the Imperial Library in Paris, From this 
 
HAL — HAL 297 
 
 copy an edition was published in 1822. Hale also wrote a number of motets, 
 chansons, and amorous poetry. 
 
 HALE (Joseph P.), American Pf. manufacturer, B. in Massachusetts. Estab- 
 lished a large business in New York city in i860, including a factory capable 
 of turning out nearly 200 complete instruments in a week . He D. New York, 
 Oct. IS, 1885. 
 
 HALE (Thomas), of Damhall, Cheshire, English musician. Comp. " Social 
 Harmony. A Collection of Songs and Catches, in two, three, four, and five 
 parts. Also several choice Songs on Masonry, all with the Music." London, 
 4to, 1763. 
 
 HALES (William). English writer on acoustics, author of " Sonorum doctrina 
 rationalis et experimen talis," Dublin, 4to, 1788. 
 
 HALBVY (Jacques Francois Fromental Elias), or Levi, French comp., 
 B. Paris, May 27, 1799. Entered Paris Cons., 1809. Gained prize for sol- 
 feggo, 1810 ; 2nd prize harmony, 1811 ; 2nd Grand prix de Rome, 1816 ; do., 
 1817. Gained Grand Prix de Rome, 1819. S. in Italy. Prof. Paris Cons. 
 Secretary of the Academic des Beaux Arts. Member of the Institut, 1836. 
 D. Nice, March 17, 1862. Buried at Paris. 
 Works. — Operas : Les Bohemiennes, 1819 ; Pygmalion, 1823 ; Les Deux Pavil- 
 ions, 1824 ; L'Artisan, 1827 ; Le Roi et le Batelier, 1828 ; Clari, 1829 ; Le Dilet- 
 tante d'Avignon, 1829; Yella, 1830; La Langue Musicale, 1831 ; Les Souvenirs 
 de Lafleur, 1834 ; La Juive, S acts, Paris, Feb. 23, 1835 (Lond., 1846) ; L'Eclair, 3 
 acts. Opera Comique, Dec. 16, 1835 ; Guido et Ginevra, 1838 ; Les Treize, 1839 ; Le 
 Sherif, 1839 ; Le Drapier, 1840 ; Le Guitarrero, 1840 ; La Reine de Chypre, 1841 ; 
 Charles VI., 1843 ; Le Lazzarone, 1844 ; Le Val d' Andorre, 1844; Les Mousque- 
 taires de la Reine, 1846 ; Prom^th^e enchained, 1849 ; La F^e aux Roses, 1849 ; 
 La Dame de Pique, 1850 ; La Tempesta, Queen's Theatre, London, 1850 ; Paris, 
 1851 ; Le Juif Errant, 1852 ; Le Nabob, 1853 ; Jaguarita, 1855 ; Valentine d' 
 Aubigne, 1856 ; La Magici'enne, 1857 ; Noe, MS., unfinished. Manon Lescaut, 
 ballet, 1830 ; La Tentation, do., 1832 ; Les Plages du Nil, cantata. De Profundis. 
 Le9ons de Lecture Musicale, 1857. 
 
 The operatic works of Halfevy were highly popular in their day, but are now 
 rarely performed. His reputation rests chiefly on "La Juive," a work of the 
 greatest power, though marred by a somewhat repulsive libretto. This work 
 achieved considerable fame both in England and on the Continent, and may be 
 noted as one of the most thrilling operas of modern times. Among Halevy's many 
 celebrated pupils may be named Gounod, Bizet, Deldevez, and Bazin. 
 
 HALL (0. C). American writer, author of " The|Necessity and Advantages of 
 Popular Education in Church Music." New York, 8vo [1878]. 
 
 HALL (Charles King). Contemporary English comp., org., and writer. 
 Comp. of a number of songs, anthems, Pf. pieces, operettas, etc., and author 
 of " A School for the Harmonium, containing a Description of the Instrument, 
 a Diagram of the Stops, full directions for Blowing, Fingering, etc., twenty 
 Progressive Studies carefully fingered, and a Collection of Sacred and Secular 
 Pieces by the best composers, arranged for instruments of various sizes." 
 Lond. [1874]. "Harmonium Primer" (Novello's Series) 4to, n. d. 
 
 HALL (Elias). English musician, compiled "The Psalm-singer's Compleat 
 Companion," L<md., i2mo, 1708. 
 
 HALL (Henry). English org. and comp., son of Capt. Henry Hall, B. Windsor, 
 
 1655. Chor. in Chap. Royal, under Capt. Cook. S. under Dr. Blow. Org. 
 
 of Exeter Cath., 1674. Org. and vicar-choral, Hereford Cath. D. Mar. 30, 
 
 1707. 
 
 Works. — Poems ; Te Deum, in E flat ; Anthems ; Cantate Domino ; Songs, 
 
 etc. 
 
 His sons Henry and William were both musicians. The former was organist 
 and vicar-choral at Hereford Cath., and the latter a member of the King's band, 
 H? died in 1700. Writer of songs in various collections, 
 
298 HAL — HAM 
 
 HALLE (Charles). German pianist, comp., and cond., B. Hagen, near Elber- 
 feldt, April 1 1, 1819. S. under Rinck, 1835. Resided at Paris, 1836-48. 
 Married, 1841. Settled in England, 1848. Dibut as pianist, London, 1848. 
 Established subscription concerts at Manchester, 1857. Has played through- 
 out Britain, at principal concerts. 
 . Works. — Op. 1. Four romances for Pf. ; op. 2. Four esquisses for Pf. ; op. 4. 
 Scherzo, in D, for Pf ; op. 5. Miscellanies, Pf ; op. 6. Pens6es fugitives, Pf ; Prac- 
 tical Pianoforte School, 5 sections ; Musical Library Series (edited pieces) ; Twi- 
 light thoughts, op. 7 ; Beethoven's sonatas, edited ; Editions of Pf works by Bach, 
 Heller, Mendelssohn, Mozart, Schubert, etc. Transcriptions, various. 
 
 The amount of practical good which Hall^ has achieved in the cause of advancing 
 musical art among the general public of Britain, cannot be too highly estimated. 
 His success in familiarizing the musical and general public alike with the less-known 
 works of representative masters, is no mean monument to his industry and ability. 
 Berlioz was to most British musicians practically a nobody till Hallfe produced his 
 works, while many other musicians owe much of their posthumous fame to the 
 sympathetic efforts of this painstaking conductor. 
 
 The " Pianoforte School " of Hallfe is a substantial and comprehensive work, ar- 
 ranged on a methodical and sufficiently perspicuous plan to insure its place among 
 the standard exercise-books for that instrument. 
 
 HALLET, DAVIS, & 00. American Pianoforte manufacturers, established 
 in Boston, 1843. Have gained prizes at Philadelphia, etc. The production 
 of this firm has been stated at 2000 instruments annually. 
 
 HALLSTBCEM (Ivar). Contemporary Swedish comp. and pianist, B. Stock- 
 holm, 1826. Has produced several successful works, among them, Hertig' 
 magnus, opera, 1867. Les Vikings, do., 1877. Neaga, opera, 1884. 
 
 HALMA (Hilarion Emile). French violinist and comp., B.Sedan, 1803. S. 
 Paris Cons, under Baillot. Principal violin Theatre Fran9ais. Travelled in 
 England, America, Europe, etc. Comp. for violin. 
 
 HAMAL (Jean Noel). Belgian comp., B. Liege, Dec. 23, 1709. D. Nov. 
 26, 1778. Comp. operas, etc. 
 
 HAMBACHEE. See Duschek. 
 
 HAMBOIS (Jolin), Hamboys. English musician and writer of the 15th cen- 
 tury. Generally believed to have been the first English musician on whom the 
 degree of Doctor of Music was conferred. He is supposed to have received 
 the degree in 1463. He wrote two 'tracts in Latin : Summum Artis Musices, 
 and Cantionum Artificialium diversi Generis, etc. 
 
 HAMEBIK (Asger). Danish comp. and pianist, B. Copenhagen, April 8, 
 1843. S. in Germany and England. Musical Director of Peabody Institute, 
 Baltimore, 1872. 
 Works. — Operas ; Chamber music ; Songs : JUdische Triologie, orch., op. 19; 
 
 Nordische Suite fur Orchester, op. 22 ; Fourth do., in D, op. 24. Miscellaneous 
 
 orchestral works. 
 
 HAMERTON (WiUiam Henry). English comp. and writer, B. Nottingham, 
 1795. Chorister Christ Ch. Cath., Dublin. S. under T. Vaughan, London, 
 1812. Teacher in Dublin, 1814. Master of Choristers, Christ Ch. Cath., 
 Dublin, 1815. Gent, of Chap. Roy., Dublin, 1823, Teacher in Calcutta, 1829. 
 D. Calcutta [?]. 
 
 Works. — St. Alban, opera, Dublin, 1827. Vocal Instructions combined with 
 the theory and practice of Pianoforte accompaniment, 1824. Anthems, chants, 
 glees, songs, etc. 
 
 HAMILTON (0. K.). American writer, author of "Perfect Method for the 
 Zither," Illustrated. Boston, n. d. 
 
 HAMILTON (James Alexander). English writer and comp., B. London, 
 1785. D. London, August 2, 1845. 
 
HAM — HAM 299 
 
 Works. — Catechism on the nature, invention, exposition, development, and 
 concatenation of musical ideas, with examples from the great masters, Lond., 1838 
 (various editions) ; Catechism on the Art of Writing for an Orchestra, and on 
 Playing from Score, with sixty-seven examples, 1844 ; second ed., 1846, other edi- 
 tions ; Dictionary, comprising an Explanation of 3, 500 Italian, French, German, 
 English, and other Musical Terms, Phrases, and Abbreviations, also a copious list 
 of musical characters, Lond., 1849 (numerous other editions) ; The same, with Ap- 
 pendix containing "John Tinctor's Terminorum Musicse Diffinitorium," edited by 
 John Bishop ; Modern Instructions for the Pianoforte, Lond., 1290 editions said by 
 publishers to have been issued ; New Musical Grammar, in three parts (4 editions) ; 
 Catechism on Double Counterpoint and Fugue ; Practical Introduction to the Art 
 of Tuning the Pianoforte, etc. ; Catechism of the Organ, with an historical introduc- 
 tion, and a list and description of the principal organs in Great Britain, Ireland, 
 Germany, France, and Switzerland (5 editions) ; Modern Instructions for Singing, 
 containing a complete compendium of the rudiments of music, etc. ; Easy Method 
 for the Violoncello ; Catechism for the Violin ; Harmonium Instruction Book ; The 
 Pupil's New Daily Exercise, containing all the scales and chords in their respective 
 positions ; Method for the Double Bass, ...Lond., 1833 ; Sacred Harmony, aCoUec- 
 tion of three hundred and fifty standard psalm and hymn tunes (selected) ; The 
 Psalms and Hymns, in the order they are appointed to be sung or chanted in cathe- 
 drals, churches, chapels, etc., during the Morning and Evening Service of the 
 Church of England, with Explanatory Notes ; An Introduction to Choral Singing, 
 etc. ; Order of Chanting the Morning and Evening Services, according to the 
 Rubric of the Church of England ; Method of Chanting the Psalms, as used in the 
 Service of the Church of England. Compositions, various, Pf. pieces, glees, songs, 
 etc. Most of Hamilton's theoretical works are undated, as is usual with musical 
 publications, and all of them are issued from London. 
 
 HAMILTON (David). Scottish organ-builder and writer, B. Edinburgh, April 2, 
 1803. Org. in St. John's Episcopal Ch., Edin. D. Edinburgh, Dec. 20, 1863. 
 Inventor of the pneumatic lever action for organs, and writer of musical articles 
 in "Chambers' Encyclopsedia. " He also composed a few organ pieces, and 
 edited a collection of chants. He edited "New Harmonia Sancta, compiled 
 for the use of the Scottish Episcopal Church." His youngest brother Adam, 
 B. Edinburgh, is an org. and comp., and was conductor of the Edinburgh 
 Choral Union, and other societies. He S. in Germany under F. Schneider, 
 and has comp. several orchestral works. His son Carl D. is cond. of the 
 Edinburgh Amateur Orchestral Soc, and a violoncellist of great merit. 
 
 HAMILTON.! (Edward). American bass vocalist and musician, B. Worcester, 
 Mass., Jan. 6, 1812. Published "Songs of Sacred Praise, or the American 
 Collection of Church Music," 1850. 
 
 HAMILTON (John Buchanan Bailie-). Scottish inventor, son of Gerard 
 Baillie-Hamilton of the 7th Fusileers, B. Jan. 20, 1837. Inventor of the 
 Vocalion, a wind instrument resembling the harmonium, but possessing a much 
 better and rounder tone. 
 
 HAMILTON (William). Scottish music-publisher, established in Glasgow. 
 Flourished from about the middle of the present century. Issued, among other 
 publications, the following: " The British Minstrel, and Musical and Literary 
 Miscellany," 3 vols., 1842-44; "British Harmonist," 1847; Select Songs of 
 Scotland, 1848 ; Series of Glees, in numbers, 1850-68 ; Part-Songs for Choral 
 Singers, 1862-68 ; " Selection of Psalm and Hymn Tunes (edited by Baptie 
 and Hume), 1868 ; etc. 
 
 HAMMA (Benjamin). German comp., B. Friedingen, Wurtemberg, Oct. 10, 
 1831. S. under Lindpainter. Comp. operas, Pf. music, etc. His brothers, 
 Franz (B. Friedingen, Oct. 4, 1835), org. and comp., and Fridolin (B. 
 Friedingen, Dec. t6, 1818), org. at Mersebuurg, comp. org. and ch. music, are 
 both musicians of note. 
 
 HAMMERSCHMIDT (Andreas). Bohemian org. and comp., B. Brux, i6ii. 
 Org. at Freiberg and Zittau. D. Zittau, Oct. 29, 1675. Comp. masses, odes, 
 motets, org. music, etc. 
 
300 HAN — HAN 
 
 S. (Charles). English musician, author of "Accordian Instructions," 
 c. 1845]; "Flute Preceptor," Lond. [c. 1846]; "Violin Preceptor," 
 
 HANCOCK 
 
 Lond. [c. 
 Lond. [c. 1846]. 
 
 HAND (Ferdinand Gottfried). German writer, B. Feb. IS, 1786. Prof, at 
 Weimar. D. Weimar, March 14, 1851. 
 Work. — ^Aesthetik' der Tonkunst, Jena, 1837-41, 2 vols., 8vo; 2nd edition, 
 1846 ; English translation by W. E. Lawson, 1880, as "The .(Esthetics of Musical 
 Art." 
 
 HANDEL (Georg Friedrich). German comp. and org., B. Halle, Lower 
 Saxony, Feb. 23, 1685.* Son of a surgeon. Patronised by Duke of Saxe- 
 Weissenfels. S. under Zachau, org. of Halle Cath., 1692. Went to Berlin, 
 1698. Violinist at Hamburg opera, 1704. Became acquainted with Matthe- 
 son the comp., 1704. Quarrelled and fought duel with him, Dec. 5, 1704. 
 Went to Florence, 1706. Visited Venice, Rome, Naples, etc , 1706-9. Re- 
 turned to Germany, and became chapel-master to the Elector of Hanover 
 (George I. of Britain), 1709. Visited London, 1710. Returned to Germany, 
 1710-12. Settled in London as organist, 1712-16. Musician to King George 
 I. at Hanover, 1716-18. Chapel-master to the Duke of Chandos, 1718-21. 
 Director of the Italian opera, London, 1720. Musical Director or Manager of 
 King's Theatre (with Heidegger), 1729-34; Lincoln's Inn Fields Theatre, 1734- 
 37 ; Covent Garden Theatre, 1737. Bankrupt, 1737. Resided in Dublin, and 
 produced the "Messiah," 1741-42. Returned to London, 1742. Engaged in 
 opposition to the English aristocracy in producing operas ; became bankrupt 
 again, 1744. Lost his sight, 1752. D. London, Good Friday, April 13, 1759. 
 Works. — Operas: Almira, 1704; Nero, 1705; Florindo und Daphne, 1708; 
 Roderigo, 1706; Agrippina, 1707; Silla, 1707; Rinaldo, 171 1 ; Pastor Fido, 
 1712 ; Teseo, 1712 ; Amadigi [1715]; Radamisto [1720]; Muzio Scsevola (with 
 Ariosto and Buononcini), 1721 ; Floridante, 1721 ; Otho, 1722; Flavio, 1723; 
 Giulio Cesare, 1723 ; Tamerlano, 1724 ; Rodelinda, 1725 ; Scipione, 1726 ; 
 Alessandro, 1726; Admeto, 1727; Riccardo, 1727; Sirce, 1728; Tolomeo, 1728 ; 
 Lotario, 1729; Partenope, 1730; Poro, 1731 ; Ezio, 1731 ; Sosarme, 1732; 
 Orlando, 1732; Arianna, 1733 ; Ariodaute, 1734; Alcina, 1734; Atalanta, 1736; 
 Giustino, 1736; Arminio, 1736; Berenice, 1737; Faramondo, 1737; Serse, 1738; 
 Jupiter in Argos (pasticcio), 1739; Imeneo, 1738; Diedamia, 1740; Lucio Vero, 
 1747; Alcestes (English opera), 1749; Flavio Olibrio, Titus, unfinished operas; 
 part of the music for Semiramide ; Arbace ; Caio ; Fabrizio. Serenatas, etc. : Aci, 
 Galatea, e Polifemo, 1 708 ; Parnasso in Festa, 1734 ; Acis and Galatea, English seren- 
 ata, 1721 — no resemblance to 1708 version ; Semele, 1743 ; The Choice of Hercules, 
 interlude, 1750 ; Terpsichore, intermezzo. Oratorios : II Trionfo del Tempo e del 
 Disinganno, 1707; La Resurrezione, 1708; Passion oratorio, 1717 ; Esther, 1720; 
 Deborah, 1733; Athalia, 1733; Saul, 1738; Israel in Egypt, 1738; Messiah, 
 1741 (Dublin, April 18, 1742; London, March 23, 1749); Samson, 1741 ; Joseph, 
 1743; Hercules, 1744; Belshazzar, 1744; Occasional, 1746; Judas Maccabeus, 
 1746 ; Alexander Balus, 1747 ; Joshua, 1747 ; Solomon, 1748 ; Susanna, 1748 ; 
 Theodora, 1749; Jephtha, 1751; Triumph of Time and Truth (altered Enghsh 
 version of Trionfo del Tempo), I7S7. Odes: Queen Anne's Birthday, 1712; 
 Alexander's Feast (Dryden), 1736; Ode on St. Cecilia's Day (Dryden), 1739; 
 L' Allegro, II Penseroso, ed il Moderate, 1740. Anthems, Te Deums, etc. : Twelve 
 Chandos anthems, 1718-20; Arrangements of do. for Chap. -Roy. [1727]; Four 
 Coronation, 1727; Wedding anthem, 1736; Funeral, 1737; Foundling Hospital, 
 1749; Utrecht Te Deum, 1713; Queen Caroline, do. [1737]; Dettingen Te 
 Deum, 1743 ; Dixit Dominus et Gloria, 1707 ; Laudate et Gloria, 1707, and other 
 Psalms, etc. Miscellaneous Vocal Music : Three Chamber Trios, 1708 ; Twenty- 
 five chamber duets; Cecilia, volgi, cantata, 1736; Sei del Cielo, do., 1736 ; One 
 Passion Cantata; Twelve Hanover Cantatas, 171 1 ; Seventy-nine Italian cantatas, 
 1706-12; French and English songs and Italian canzonets, various, detached. 
 Instrumental Music : Twelve sonatas for harpsichord, op. I, 1732; Six do. trios, 
 op. 2, 1732 ; Six Hautboy concertos, op. 3, 1734; First set of six organ concertos, 
 op. 4, 1734; Seven sonatas for 2 vns. and 'cello, op. 5, 1735 ; Twelve grand con- 
 
 * The date Feb. 23, 1684, is also given, 
 
kAN — hAN joi 
 
 certos, op. 6, 1739-99; Second set of six organ concertos, 1741 ; Third do., op. 7, 
 1761 ; Three organ concertos (Arnold), 1797 ; Water Musiclc, 7 parts, 1715 ; 
 Forest Musick, 1741-2; Fire-work Musick, 1749; Sonata for 2 vns., 1736; do., in 
 S parts, 1736 ; Two suites oi harpsichord pieces, 1720, 1733 ; Act tunes in " The 
 Alchymist," 1732. A number of miscellaneous pieces of small importance. 
 
 Handel is greatly indebted to the early cathedral composers of England for the 
 dignified and nervous energy of his style. It is true that the works of Palestrina 
 must in some measure have influenced him, but the influence which that composer 
 exerted was purely formal, and much less potent than that exercised by Purcell 
 alone, who, authorities agree, was the direct model used by Handel in the for- 
 mation of an imposing ecclesiastical style. This, of course, is quite independent 
 of the natural genius of the man, which would in any age have lifted him to the 
 level of the greatest masters ; but it is evident from the style of his compositions 
 that he preferred to make manifest his powers through the medium of the style 
 peculiar to England. The whole tone and inspiration of his oratorio music, there- 
 fore, is English, because illustrative of English sacred text, and because modelled 
 on the style which immediately preceded his advent in England. This does not 
 hold good as regards most of his operas, the style of which is distinctly Italian, 
 tinctured with the natural force of his own originality. The great influence which 
 Handel exercised was more marked in England than in any other country, nearly 
 every succeeding composer to Bishop's time having copied his style ; and even at 
 the present period there exists a certain amount of partiality for his music among 
 many living composers. This very forcibly exhibits the power which mere tradition 
 exerts in Britain, and shows how the example of ancient institutions tends to check 
 the search for new fields of action. 
 
 The works on which Handel's fame will always be based are his oratorios, which, 
 taken as a body of music and the productions of a single mind, are among the most 
 remarkable creations in the whole range of musical science. There are many 
 instances of prolifigacy among composers of all schools, but comparatively few in- 
 stances of prolifigacy combined with a never-ceasing manifestation of originality, 
 when the endeavours are kept in one direction and in one style. There is no com- 
 poser dating from Handel's time who can be credited with having produced works 
 equal in grandeur of conception and energy of execution ; and until the rise of the 
 modern school, and the propagation of the romantic spirit and taste, no oratorios 
 have met with such a measure of popular favour. In one respect the merit of 
 Handel's work transcends that of Haydn, Beethoven, Spohr, or Mendelssohn ; that 
 is in respect to the grandeur of the choruses in his works, and his powerful treat- 
 ment generally of the choral masses. We do not find in Handel the same richness 
 of colouring as in Mendelssohn, but, on the other hand, we find a strength and 
 dignity about him not quite so striking in the younger composer. Mendelssohn has 
 intense expression in many of his solo vocal numbers, heightened in a measure by a 
 fine orchestral accompaniment, and eminently suited to the reformed tastes of the 
 present generation ; while Handel, although possessing much fervid and earnest 
 feeling, is in part out of date by reason of his expressional style being almost obso- 
 lete, and his music conceived in the manner of a bygone time. It is astonishing, 
 however, how well he has maintained his place in the midst of an ever-changing 
 musical style, and how fresh many of his really stilted arias sound when placed side 
 by side with the tremendous creations of Liszt. The diversity of styles to be found 
 throughout the range of Handel's works is great ; for we find the lively, the pastoral, 
 and the tender, side by side vpith the sombre, the pathetic, and the grand. This 
 goes to display the extent to which the powers of his mind reached, and the vary- 
 ing degrees of expression which his genius was capable of using in an effective 
 manner. 
 
 Of all Handel's oratorios the most undying is the ' ' Messiah, " which at the present 
 day is as popular as when performed fifty, sixty, or a hundred years ago. There 
 does not appear to be a great diminution in its extraordinary popularity, though it 
 it is certain that among a certain class its claims are scoffed at as being based on 
 little more than the sentimental regard with which an ancient people cherish ancient 
 national institutions. It is useless particularizing the many fine parts of the 
 "Messiah," so well are they known. Without the now common sensational ele- 
 ments of dramatic unity and style, and without a story of much coherency, it is 
 nevertheless a work possessing features of the most powerful kind . The work is 
 intended to appeal wholly to the religious sentiments of an audience, not to their 
 
362 HAN — HAR 
 
 sense of artistic form or purely musical colouring. About the skilful scientific con- 
 struction of the " Messiah " there can be no doubt, as it exhibits the wonderful 
 power possessed by its composer in blending the various musical elements. Its 
 great power lies in the stupendous choral numbers, which are among the most 
 wonderful of musical productions. 
 
 Handel has been placed by an enthusiastic English public, led by royalty, in a 
 position from which nothing short of a revolution will ever remove him. His great 
 merits are freely admitted on all hands, and his transcendental merits are even em- 
 phatically announced by some. He is a great composer, and was the greatest of 
 his period, but he is not by any means the greatest for all time. His style is 
 already antiquated, and a large percentage of his works are in complete disrepute. 
 He is, however, upheld in all his original dignity by certain of his works, which 
 are worthy monuments to his manifold powers of musical composition. The Handel 
 literature is great ; but the following selection may be found useful by enquirers 
 wishing a complete insight of his life and works : — Mattheson. G. F. Handel's 
 Lebensbeschreibung, Hamburg, 1761. Smith (J. C), Anecdotes of G. F. Handel, 
 London, 1799. Clark (R. ), Reminiscences of Handel, etc., London, 1836. Town- 
 send (H.), Visit of Handel to Dublin, Dublin, 1852. Bray (Mrs.), Handel, his 
 Life, Personal and Professional, London, 1857. Schblcher (V.), Lite of Handel, 
 London, 1857. Chrysander (F.), G. F. Handel ... Leipzig, 1858-67, 3 vols. 
 Rockstro (W. S.), Life of G. F. Handel, London, 1883. Also articles in North 
 American Review, 1836, v. 43 ; Eclectic Review, 1856, v. 105 ; British Quarterly 
 Review, 1862, v. 36 ; Edinburgh Review, 1857, v. 106 ; Eraser's Magazine, 1857, 
 V. 36 ; Contemporary Review, 1868-69 ! Macmillan's Magazine, 1868, v. 18 ; 
 Fortnightly Review, 1 879, v. 33 ; and Musical Journals, passim. See also Biblio- 
 graphical Appendix, 
 
 HANDL (Jacob), Gallus. German comp., B. Carniola, 1550. Chap.-master 
 to Bishop of Olmiitz. D. 1591. Wrote masses, motets, songs, etc. 
 
 HANSLICK (Eduard). Bohemian writer and comp., B. Prague, Sept. 11, 
 1825. S. under Tomaschek. Prof of ^Esthetics, Vienna University. Juror 
 of Paris and Vienna Exhibitions. Lectured on music from 1859. 
 Works. — Criticisms in the Freie Press, Vienna ; Vom Musikalisch-Schonen, 
 
 1854 ; Geschichte des Concertwesens in Wien, 1869 ; Aus dem Concertsaal, 1870. 
 
 Die Moderne Oper, 1875. Papers in various journals. Lieder and Songs. 
 
 HANSSENS (Charles L.). Belgian comp., B. Ghent, July 10, 1802. 'Cellist 
 at Amsterdam, etc. D. Brussels, April 8, 1871. Wrote operas, etc. 
 
 HANS SACHS. See Sachs (Hans). 
 
 HANWAY (Jonas). English writer, author of "Thoughts on the Importance 
 of the Sabbath, also on the use and advantage of Music," London, 8vo, 1765. 
 
 HABDEGEN (Count Julius von), pseudonym Egghard. Austrian pianist and 
 comp., B. Vienna, April 24, 1834. S. under Czerny and'Preyer. D. Vienna, 
 March 23, 1867. Comp. much Pf. music of a light and brilliant character. 
 Rfive d'Amour, op. 10 ; Danse Cosaque, op. 35 ; Berceuse, op. 38 ; Capriccio, 
 op. 46 ; Bijoux de Salon, op. 63 ; Impromptu, op. 74 ; Le bal aux Enfers, op. 
 136; etc. 
 
 HARDER (August). German comp., B. Schoenerstadt, Saxony, 1774. D. 
 Oct. 19, 1813. Comp. romances, choruses, guitar and Pf. music. 
 
 HARDIE (Matthew). Scottish violin-maker, worked in Edinburgh, from about 
 1815 to 1850. His violins are among the best produced in Scotland. He was 
 a dissipated character, extremely eccentric in manner. 
 
 HARDIMAN (James). Irish writer and M. R. I. A., B. Gal way. Was 
 Librarian of Queen's Coll., Galway. D. Galway, 1855. Author of "Irish 
 Minstrelsy, or Bardic Remains of Ireland ; with English poetical translations, 
 collected and edited with notes and illustrations," Lond., 2 vols., 8vo., 1831. 
 
 HARG-ITT (Charles John). English org. and comp., B. Edinburgh, 1833. 
 S. imder his father, HalM, Sir G. A. Macfarren, and Ferdinand Hiller. Org. 
 of St. Mary's Catholic Ch., Edin., and founder and cond. of Choral Union there 
 
MAR — MA a 303 
 
 till 1862. Cond. of oratorios, concerts, etc. , in London since 1862, and organised 
 
 Royal Albert Hall Choral Soc, of which he was sub-cond. to M. Gounod. 
 
 Works. — Opera, " Coronet or Crown ;" Two operettas ; "The Harvest Queen,' 
 
 cantata ; orch. overtures, marches, and incidental music to plays. Songs : The mither- 
 
 less bairn ; The last good night ; My heart's reply ; Rest thee, babe ; To-morrow ; 
 
 A Parting gift, etc. Part-songs, various. Pf. music, and other works. 
 
 HABGREAVES (George). English musician and artist, son of Thomas Har- 
 greaves, the famous miniature painter, B. Liverpool, 1799. D. Liscard, 
 Cheshire, 1869. Best known as the composer of numerous prize glees. He 
 wrote masses, an opera, songs, etc., and had some little renown as a miniature 
 painter. 
 
 HARKEB (W.). English writer, author of "A Practical Grammar of Music,'' 
 Ldnd., 8vo, 1836 ; " Elements of Vocal Music," Lond., 8vo, 1845. 
 
 EARLAND (Holland). English teacher and writer, author of " A Treatise on 
 Singing, in which the Rules of Sol-Fa Notation, or learning to sing by notes, 
 are explained by examples calculated to render Sight-Singing simple and easy," 
 Glasgow, 8vo, 1881. 
 
 HARMON (Joel). American musician, compiled "The Columbian Sacred 
 Minstrel," Northampton, Mass., 1809. 
 
 HARMSTON (J. W.). Contemporary pianist and comp., has written a great 
 number of brilliant salon pieces, under a variety of fanciful titles. Le jet d'eau, 
 op. 193 ; La Belle Rosi^re, op. 195 ; Danse des Sylphes, op. 196 ; Les Naiades, 
 op. 211 ; etc. 
 
 HARPER (Rev. John). English divine, author of "The Nature and Efficacy 
 of Musick to prepare the Mind for Good Impressions," Sermon. Lond., 8vo, 
 1830. 
 HARPER (Thomas). English trumpet-player, B. Worcester, May 3, 1787. S. 
 in London under Elvey, 1798. Member of the East India Volunteer band. 
 Principal trumpet-player at Drury Lane and English Opera House. Played at 
 Birmingham Musical Festival, 1820. Inspector of musical instruments for 
 East India Company. Principal trumpet-player at Royal Italian opera. Do. 
 at Concert of Ancient Music. D. London, Jan. 20, 1853. 
 He wrote an Instruction Book for the Trumpet, and compiled a number of books 
 of selections for that instrument, the Kent bugle, etc. His son, Thomas John, is 
 the most eminent performer now living, and succeeded his father in most of the 
 above appointments. Both father and son played at all the more important musical 
 festivals throughout Britain. 
 
 HARRINGTON (Henry, M.D.). English comp., B. Kelston, Somersetshire, 
 
 Sept. 20, 1727. Entered Queen's Coll., Oxford, 174S ; B.A., 1748. M.D. and 
 
 M.A., Oxon. Member of Oxford Musical Society. Physician at Bath. Estab. 
 
 Musical Sec. there. Mayor of Bath. D. Bath, Jan. 15, 1816. 
 
 Works.— Three Books of Glees, 1770, 1785, and 1797; Single Glees; Songs; 
 
 Anthems, etc. 
 
 HARRIS (James, M.P.) English writer (1709-1780). Author of "Three 
 Treatises— Music, Painting, and Poetry," etc., London, 1744. S editions 
 issued to 1792. 
 
 HARRIS (Joseph John). English org. and comp., B. London, 1799. Chor. 
 Chap. Royal. Org. of S. Olave's Ch., South wark, 1823. Org. ot Blackburn 
 Ch., 1828. Choir-master of Collegiate ch., Manchester; org. do., 1848. Mus. 
 Bac. D. Manchester, Feb. 10, 1869. 
 Works. — Selection of Psalm and Hymn Tunes, adapted to the psalms and 
 hymns used in the church of S. Olave, Southwark, 1827; Four Glees [1837] ; An- 
 thems ; Songs, etc. ; The Musical Exposition, a guide for parents in their choice o 
 qualified teachers of music, 8vo, 1845. 
 
 HARRIS (Joseph Macdonald). English org. and comp., B. London, 1789. 
 Chor. Westminster Abbey. Pupil of Robert Cooke. D.May [i860]. Wrote 
 
364 hAR— 'HAR 
 
 songs, duets, and Pf. music. Published five vocal trios [1817] ; Six glees 
 [1812]. Arranged music of Montagu Burgoyne's Select Portions of the Psalms, 
 etc., Lond., 2 v. 410, 1827. 
 HARRIS (Renatus). English organ-builder of the 17th century, B. [circa 
 1640-5]. D. [1715]. He constructed organs at the chapel of "Whitehall, Sal- 
 isbury Cath., Gloucester, Worcester, Chichester, Winchester, Bristol, Here- 
 ford, Cork, and Norwich cathedrals ; at King's Coll. Chap. Cambridge ; 
 Wolverhampton Collegiate Ch ; St. Patrick's, Dublin ; and in many other less 
 known churches. Other members of the same family were Thomas and John, 
 the former, father, and latter, son, of RENATtrs. They, too, constructed or 
 renovated many important instruments. Renatus is also famed as having 
 been the rival of Bernard Schmidt or " Father " Smith. 
 
 HARRISON (Rev. Ralph). EngUsh musician, and Presbyterian minister at 
 Manchester, compiled " Sacred Harmony ; or a Collection of Psalm Tunes, 
 ancient and modern," 2 v. 4to, 1786-1792. 
 
 HARRISON (Samuel). English tenor vocalist, B. Belper, Derby, Sept. 8, 
 1760. Appeared as sopranist at the Concert of Ancient Music, 1776-78. Sang 
 at Handel Commemoration, 1784. Tenor at Concert of Ancient Music. 
 Married Miss Cantelo, 1790. Established (with Knyvett) the Vocal Concerts, 
 1791-4. D. London, June 25, 1813. 
 Was one of the most popular tenor singers of his time, and was particularly suc- 
 cessful in ballad singing. 
 
 HARRISON (William). English tenor vocalist and comp., B. Marylebone, 
 
 London, 1813. First public appearance, 1836. S. at R. A. M., 1836-7. 
 
 Sang at Sacred Harmonic Soc. concerts; Debut in opera, at Covent Garden 
 
 Theatre, in Rooke's "Henrique." Established, with Miss Louisa Pyne, 
 
 " The English Opera Company'" 1856. Sang in tenor roles in operas by Balfe, 
 
 Wallace, Benedict, Mellon, etc; D. London, Nov. 9, 1868. 
 
 He comp, some songs, and an operetta, "Les Noces de Jeannette.'' It is due 
 
 to this eminent vocalist that such an institution as English opera was ever reared. 
 
 He produced during his career as manager more standard English operas than any 
 
 of his successors have been able or willing to undertake, He had evidently a warm 
 
 feeling in the matter of a national opera, as is denoted by the representation of 
 
 " Balfe's Bohemian Girl," " Rose of Castille," " Bianca," "Armourer of Nantes," 
 
 " Puritan's Daughter ;" Wallace's "Maritana" and "Lurline.;" Mellon's "Vic- 
 
 torine," and other operas. He opened H. M. Theatre for operatic performances, 
 
 and did much to advance the cause of native music. His personal powers as a 
 
 vocalist were great, and he achieved successes in most of the great cities and towns 
 
 of Britain. 
 
 HARROF (Sarah), Bates. English soprano vocalist, B. Lancashire. S. under 
 Sacchini and Dr. Howard. Married to Joah Bates, 1780. She sang at all the 
 principal London concerts, and had considerable repute for her vocal powers. 
 D. London, Dec. 11, 1 811. -t 
 
 HART (Andrew). Scottish printer and publisher, flourished in Edinburgh in 
 reign of James VI. Commenced printing about the beginning of the 17th cen- 
 tury. Best known as a printer of an edition of the Bible 1610; an edition of 
 Barbour's "Bruce"; and "The CL. Psalmes ofDauid in Prose and Meeter. 
 Where-vnto is added Prayers commonly vsed in the Kirkes and Privat houses. 
 . ." Edin. 161 1, 8vo. Another edition " printed by the Heires of Andrew 
 Hart," 1635. These have the music. 
 
 HART (Charles). English comp. and org., B. May 19, 1797. S. at R. A. M., 
 
 under Crotch. Org. of S. Dunstan's, Stepney, London, 1829-33. Org. of 
 
 ch. in Tredegar Sq., Lond. Do. S. George's, Beckenham. D. Mar. 29, 
 
 1859. 
 
 Works. — Omnipotence, oratorio, 1839; Anthems; Te deum ; Songs, and 
 
 glees. 
 
 HART (George). English writer, B. London, 1839. S. at R. A. M. under Sir 
 G. A. Macfarren and M. Sainton. Succeeded to his father's business in War- 
 dour Street, London. Author of "The Violin, its Famous Makers, and their 
 Imitators," Lond., lUust., 8vo and 4to, 1875; "The Violin and its Music," 
 
tl A R — H A R 30S 
 
 London, 8vo and 410, 1881, purtraits. The first named work has been trans- 
 lated into French and published at Paris, 1886, 4to. These works are both 
 highly valuable and interesting. 
 
 HABT (John Thomas). English violin-maker, father of the above, B. 17th 
 Dec, 1805. Worked with S. Gilkes. D. Jan. i, 1874. Was a great 
 collector, and possessed one of the most valuable collections of violins ever 
 known in England. 
 
 HART (Joseph,). English org. and comp., B. London, 1794. Chor. S. Paul's 
 
 Cath , i8oi. S. under John Sale, S. Wesley, M. Cooke, J. B. Cramer, and 
 
 Attwood. Deputy org. to Attwood, S. Paul's, 1805. Org. at Walthamstow. 
 
 Org. at Tottenham. Chorus-master, Eng. Opera House, Lyceum, 1818-20. 
 
 Music-seller in Hastings, 1829. Org. S. Mary's Chap. Hastings. D. Dec. 
 
 1844. 
 
 Works. — Dramatic music: Amateurs and actors, 1818; A walk for a wager, 
 
 1819; The Bull's head, 1819 ; The Vampire, 1820. Sets of quadrilles, waltzes, 
 
 lancers, etc. ; An easy mode of teaching thorough-bass and composition. Songs, 
 
 Pf. music. 
 
 Habt is credited with the invention of the dance form known as Lancer's Quad- 
 rille. His music is not of much importance. 
 
 HABT (Philip). English comp. and org., B. about middle of 17th century. 
 Bass singer at York Minster till 1670. Gent, of Chap. Roy., 1670-1718. Lay- 
 vicar Westminster, 1670-1718. Org. of S. Andrew Undershaft. Do. S. 
 Michael's, Cornhill. Do. S. Dionis, Blackheath, 1724. D. London, 1749. 
 Works. — Ode in praise of musick (Hughes), 1703 ; Morning hymn from " Para- 
 dise Lost," Milton, 1729 ; Anthems ; Organ fugues ; Songs in various collections. 
 
 HABTEL (Benno). German comp. and pianist, B. 1846. Teacher in RafFs 
 Academy of Music, Berlin. Writer of Pf. music, songs, etc. 
 
 HABTEL (GrUStaV Adolph). German pianist and comp., B. Leipzig, Dec. 7, 
 1836. D. Homburg, Aug. 28, 1876. 
 
 HABTEL. See Breitkopf and Hartel. 
 
 HABTMANN (Christian). German flute-player and comp., B. Altenburg. 
 Resided in Paris as flute-player and teacher. Wrote concertos, preludes, airs, 
 duets, for flute. 
 
 HABTMANN ( Johann Peter Emil). Danish comp. and pianist, B. Copen- 
 hagen, May 14, 1805. Comp. symphonies; Pf. music; and operas, "Der 
 Rube Oder die Bruderprobe, 1833 ; Die Goldenen Hoerner, 1834 ; Liden 
 Kirsten, 1847, etc. He was latterly director of Copenhagen Cons., and musi- 
 cian to the King of Denmark. His son, Emil, B. Copenhagen, 183S, has 
 comp. symphonies, overtures, and other important pieces. 
 
 HABTMANN (Llldwig). German comp. and writer, B. Neuss, 1836. S. at 
 Leipzig Cons., and under Liszt. Resides at Dresden as writer. Has comp. 
 an opera, ' ' Konig Helga, " songs, Pf. music, and has contributed numerous 
 articles to periodical literature. 
 
 HABTOG (Eduard de). Dutch comp. and pianist, B. Amsterdam, 1826. S. 
 under Dohler, Hoch, Elwart and Litolff. Comp. of Overtures : Portia ; Mac- 
 beth. Le Mariage de Don Lope, opera, 1865; Jeanne d' Arc, symphony; 
 Psalm XLIIL ; Lieder, string quartets, etc. 
 
 HABVEY (Richard Frederick). English comp., has published an iitimense 
 
 quantity of Pf. music for teaching purposes, dances, songs, etc., of which the 
 
 following pieces are representative : — 
 
 Pianoforte : National Fantasias ; Gems of Scotland, Ireland, etc. ; Transcriptions 
 
 of popular works, fantasias, and arrangements of every kind. A few original 
 
 pieces. Songs: I love but thee alone ; The golden days ; The old love dieth not ; 
 
 Beware ; Make the best of it ; Norah in tears ; Only John and I ; Pretty Blue 
 
 U 
 
io6 h A R — Hat 
 
 Flower ; Stormy Petrel ; Time Boys (boat song) ; Isadore ; Italian Fisherman's 
 song. 
 
 HABWOOD (Edward or Teddy). English comp., B. Hoddleson, near Black 
 burn, 1707. D. 1787. Comp. " A Set of Hymns andPsalm Tunes,". ..n.d.; "A 
 Second Set,". ..Chester, 1786 ; chants and anthems, a few of which are in use 
 at the present time. 
 
 HASEINS (J. F.) English writer of a "Concertina Preceptor." Lond., 8vo, 
 1852. Anofher Haskins, Alfred B., issued "Singing in Schools," London, 
 1885. 
 
 HASLINGEB. Austrian firm of music-publishers, founded in Vienna, end of 
 l8th century by Tobias Haslinger (1787-1^42). They issue important works by 
 Beethoven, Schubert, Spohr, Hummel, Moscheles, Strauss, etc. The firm is 
 now carried on by Schlesinger of Berlin. 
 
 HASSE (JobaiUl Adolph). German comp., B. Bergedorf, near Hamburg, 
 
 March 25, 1699. Tenor singer in Hamburg opera under Keisei:. Do. at 
 
 Brunswick Theatre. S. at Naples under Porpora and Scarlatti. Resided at 
 
 Venice. Proi. at Seuola degli' Xncurabili, Venice, 1727. Married to Faustina 
 
 Bordoni, 1729. Chapel-master and opera director, Dresden, 1731. Visited 
 
 London, 1740. Lived at Vienna, opposing Gluck. D. Venice, Dec. 16, 1783. 
 
 Works. — Of eras: Antigone, Brunswick, 1723 ; Sesostrate, Naples, 1726; 
 
 Dalisa, Venice, 1730; Artaserse, 1730; Arminio, 1731 ; Cajo Fabrizio, 1731 ; 
 
 Demetrio, 1732; Alessandro nell' Indie, 1732; Euristeo, 1733; Senocrita, 1736; 
 
 La Clemenza di Tito, 1737 ; Alfonso, 1738 ; Irene, 1738 ; Oliinpia in Erudo, 
 
 London, 1740; Deraofoonte, 1748; Ipermnestra, 1751; L'Olimpiade, 1756; 
 
 Nitteti, 1759. Other operas to the number of 100. Oratorios, etc. : La Vertu k 
 
 pie della Croce ; La Caduta di Gerico ; Maddalena ; II Cantico de' tre Fancuili ; 
 
 Giuseppe riconoscuito ; La Penitence de Saint Pierre. Anthems, Psalms, Motets, 
 
 Misereres, Masses, Te Deums, etc. Cantatas, Quartets for strings. Sonatas for Pf., 
 
 etc. Six Concertos, op. i ; Six Symphonies, op. 3. 
 
 " Hasse's dramatic works, like all those of his time, are forgotten ; but his sacred 
 compositions, many of which are still performed, justify the character given of him 
 by Burney, who says that he was the most learned, natural, and elegant composer 
 of his age." (Hogarth.) The present generation has not seen fit to endorse the 
 opinion of either of these two historians, for, with the exception of some transcrip- 
 tions for organ, the whole body of Hasse's works appear to have been swallowed 
 up in the capacious jaws of oblivion. 
 
 HASSE (Faustina), nie Bordoni. Italian soprano vocalist, B. Venice, 1700. 
 S. under Gasparini. Dibut in "Ariodante," 1716. Sang in Venice, Naples, 
 Florence, etc. Dibut in London, May 5, 1726. Married in Venice to Hasse, 
 1729. Appeared successively in Vienna, Dresden, etc., 1731-56. D. Venice, 
 1783. 
 She had an admirable stage presence, and a magnificent execution, and was a. 
 favourite in her day. She took part in certain stage squabbles, which were produc- 
 tive of some trouble to Handel. 
 
 HASSLEB (Johann Wilhelm). German comp., E. Erfurt, March 29, 1747. 
 S. under Kittel. Travelled in Germany. Music director of church in Erfurt. 
 D. March 25, 1822. Comp. operas, concertos, sonatas, org. music, cantatas, 
 songs, etc. 
 
 HASTINGS (Thomas). American writer, B. Lichfield, Connecticut, 1784. D. 
 1872. Author of " Elements of Vocal Music," New York, 1839. "Disserta- 
 tions on Musical Taste," Albany, 1822 ; N. Y., 8vo, 1853. "The Springfield 
 Collection ;" " The Sacred Lyre ;" and other books of Psalm tunes. 
 
 HATELY (Thomas Legerwood). Scottish comp., editor, and teacher, B. 
 Greenlaw, Berwickshire, Sept. 26, 1815. Apprenticed when a boy to Messrs. 
 Eallantyne & Co., Printers, with whom he remained 11 years. Entered em- 
 ployment of Thomas Constable. Self-taught in music. Precentor of North 
 Leith Parish Church, 1836 ; do. St. Mary's Parish Church, Edin. Appointed 
 
HAT — tlA'T ^O? 
 
 (after Disruption) precentor to Free Church Assembly. Precentor, Free High 
 Church. Established " Annual Aggregate Meetings of Congregational Classes," 
 for practice of psalmody, 1846. Director of the Scottish Vocal Music Associ- 
 ation, founded 1856. D. Edinburgh, March 22, 1867. 
 Works. — The National Psalmody, a selection of tunes for the use of churches, 
 etc., Edin., 8vo [1847]; The Psalmody of the Free Church of Scotland, with an 
 - accompaniment for the pianoforte. Prepared under the superintendence of George 
 Hogarth, Esq. Edin. la. 8vo, 1845 [other editions] ; The Scottish Psalmody, 
 1852 ; Irish Presbyterian Psalmody ; Hymnals of the Church of Scotland ; Histori- 
 cal lectures on Psalmody, with illustrations ; Lecture on music of the Scottish Re- 
 formation (included in Tricentenary Proceedings), i860 ; Songs for children ; Har- 
 monies of Zion. Psalm 'I'unes: Glencairn, Huntingtower, Cunningham, Leuchars, 
 Submission, Makerstoun, Nenthorn, Kilmany, Zuingle, Polwarth, Consolation, etc.; 
 Seann Fhuinn nan Salm Mar tha iad air an Seinn anns A'Ghaeltachd mu Thuath ; 
 or, the old Gaelic psalm tunes as sung in the congregations of the Free Church of 
 Scotland in the North Highlands, Edin. 1845. 
 
 Mr. Hately made himself well-known throughout Scotland for his perseverance 
 in promoting a higher standard of psalmody among church congregations. His 
 efforts have been crowned with success in many districts, but have been especially 
 valuable in directing a more general attention to the claims of the musical service 
 in Scotland. Some time previous to his appearance as a lecturer and teacher, the 
 national comprehension of what constituted psalmody was exceedingly curious ; for, 
 although good tunes were existing, the means of rendering them was awanting. So 
 psalmody in Scotland languished till the enlightened efforts of Mr. Hately gave an 
 interest to the matter which had not previously existed. M. Alex. T. Niven, con- 
 vener of the Church, of Scotland psalmody committee, in speaking of Mr. Hately, 
 says : — 
 
 " When one remembers the trash, under the name of psalm tunes, which used to 
 be sung 30 years ago, and compares these with the tunes now in use in our churches, 
 the contrast is most surprising. I have little hesitation in according to Mr. Hately 
 the chief merit for the improvement... As an editor, excising bad tunes, placing good 
 tunes in their proper forms and modes, improving and correcting harmonies where 
 defective, his work was admirable." In addition to editing the Free Church psalm 
 books, he had much to do with the production of the early edition of the Estab- 
 lished Church book. Mr. Hately imitated in his psalms the spirit, if not the style, 
 of the old Scottish- tunes, and the success with which the imitation has been carried 
 out does infinite credit to the taste and observation of the composer. 
 
 HATELY (Walter), Scottish pianist and comp., B. Edinburgh, Jan. 29, 1843. 
 Son of the preceding. Educated at High School, Edin. S. music at Leipzig 
 Cons, under Plaidy, Moscheles, Reinecke (Pf.); Hauptmann and Richter 
 (comp.) ; Dreyschock (vn.), 1861-64. Teacher of music in Edin. since 1865. 
 Pf. teacher in Ladies' Coll., Training Coll. of the Ch. of Scotland, private 
 schools, etc. ; teacher of harmony in connection with the St. George's Hall 
 
 placcpc etc 
 
 Works.— Church of Scotland Psalter and Hymnal, 1868 (edited) ; St. Helen, 
 AUondale, Inchcolm, and other psalm and hymn tunes in various collections. 
 Songs : Heigh-tio, daisies and buttercups ; EUorie ; King Winter ; Two songs by 
 Goethe; Row, burnie, row; Where shall the lover rest. Pianoforte : Nocturne- 
 Caprice ; Two Romances ; A la Tyrolienne ; Barcarolle. 
 
 Mr. Hately, like his father, aided the psalmody committee of the Scottish church 
 in the preparation of their tune-book. He is, however, best known in Edinburgh 
 as a most gifted pianist and composer. His talents as a performer, though seldom 
 publicly displayed, are of a high order. 
 
 HATHEBLY (Stephen Georgeson). English comp., B. Bristol, February 
 14, 1827. Org. Darlaston, 1844 ; Solihull, 1847 ; St. James, Wednesbiiry, 
 1855. Mus. Cond. Greek Church, Liverpool, 1857. Org. Tettenhall, 1863-8. 
 Mus. Bac. Oxon., 1856. Ordained Deacon and Priest of Greek Church at 
 Constantinople, 1871. Archpriest, 1875. Engaged on Mission to Greek and 
 Slavonian Seamen at Bristol Channel ports. 
 Works.— The Briton's Prayer, trio, ded. to P. Albert, 1848 ; Te Deum and 
 
 Jubilate, pp. 27, 1853 ; Benedictus and Apostles' Creed, pp. 23, 1856 ; Imperial 
 
30§ HAT — HAt 
 
 Russian Air, 4 v. set in Canon, 1857 ; God save the Queen, also in Canon, 1858 ; 
 Service of Greek Church in English, pp. 31, i860; Baptism, an Oratoriette, 8 v., 
 pp. 209, i860 ; Common Praise, an enlarged edition (the Sth) of Rev. W. H. 
 Havergal's Old Church Psalmody, extra pp. 61, 1864 ; Appendix to 6th edition of 
 the same, extra pp. 56, 1S76 ; Specimens of Ancient Byzantine Ecclesiastical 
 Melody, 4 v. Greek text, verified by every member of the Holy Synod ot the 
 Patriarch, pp. 23, 1879 ; The Cherubic Hymn, 4 m. v., Russian and English text, 
 1881 ; Hymns of the Eastern Church, translated by Dr. Neale, complete, with 
 Music from Greek and other sources, pp. 192, 1882 ; with other works, amounting 
 in all to over 40. 
 
 HATTON (David). English bag-pipe player, B. Thornton, 1769. D. Nov. 22, 
 1847. This was an eccentric character who invented an instrument which he 
 performed with some skill. It was in form similar to the Irish bag-pipe. 
 
 HATTON (John Liphot). English comp. and pianist, B. Liverpool, Oct. 12, 
 1809 [181 1]. Chiefly self-taught in music. Settled in London, 1832. Pianist 
 at Drury Lane. Visited America, 1848. Director of music in Princesses 
 Theatre, managed by Charles Kean. Teacher and pianist. 
 Works. — Operettas: Queen of the Thames, 1844; Pascal Bruno, 1844. Music 
 for "Macbeth," 1853; Sardanapalus, 1853 ; Faust and Marguerite, 1854; King 
 Henry VIIL, 1855 ; Richard II., 1857 ; King Lear, 1858 ; Merchant of Venice, 
 1858 ; and Much Ado about nothing, 1858. Rose, or Love's Ransom, opera, 
 Covent Garden, Lond., 1864. Robin Hood, cantata, 1856; Hezekiah, sacred 
 drama, Dec. 15, 1877. Morning and Evening, service in E ; Services in C 
 and E flat. Anthems : Blessed be the Lord of Israel ; Come, Holy Ghost ; I will 
 extol Thee, my God ; I will praise Thee with my whole heart ; Out of the deep ; 
 Thou art gone up on high ; Pastor Holy ; Graduale ; Mass for 4 voices and organ. 
 Part-songs : Absence ; All things love thee ; A song of winter ; Auburn Village ; 
 A lover's song ; Beware ; Bird of the Wilderness ; Bonny Blackbird ; Calm is 
 night ; Come, celebrate the May ; Come, hve with me ; Echo's last word ; England, 
 land of our birth ; Going a-maying ; Good night, beloved; Good wishes; Hark! 
 the convent bells are ringing ; I loved a lass, a fair one ; I met her in the quiet 
 lane ; Jack Frost ; Keep time ; King WitlalTs drinking horn ; Lo ! the peaceful 
 shades of evening ; Love me little, love me long ; Not for me the lark is singing ; 
 Now let us make the welkin ring ; Over hill, over dale ; Shall I wasting in despair? ; 
 Sleep, my sweet ; Song of the Gipsy maidens ; Song to Pan ; Spring ye flow'rets ; 
 Stars of the Summer Night ; Sweet lady moon ; Summer eve ; Take heart ; The 
 belfry tower ; The forget-me-not ; The hemlock tree ; The Indian maid ; The lark ; 
 The letter ; The life boat ; The moon shone calmly bright ; The pearl divers ; The 
 rivals ; The summer gale ; The village blacksmith ; Venetian boatmen's evening 
 song; The waterfall ; Wrecked hope ; Twilight; When evening's twilight; World's 
 wanderers. Songs: Songs for Sailors, wri.ten by W. C. Bennett; 19 Songs by 
 Herrick, Jonson and Sedley ; A maiden stood ; A voice from the sea ; Autumn ; 
 Aftermath ; The Bells ; By the millstream ; Bird of song ; Cloris ; Come back, Annie ; 
 Dream, baby, dream ; Dick Turpin ; Fair is my love ; Fair daffodils ; Fair and false ; 
 Friar of orders grey ; Farmer at the banks ; Garland, the ; Gentle flower ; Good- 
 bye, sweetheart; Hope; If my mistress hide her face; I stood on the beach; I 
 think on thee ; Jack 0' Lantern ; King and the Cobbler ; King Christmas ; Kitty 
 Carew ; Leather Bottel ; Lass of Watertown ; Lady Maud ; Memory ; Maiden's 
 rose ; Maid I love ; Ocean ; Phoebe dearest ; Sweet as the moonlight ; Simon the 
 Cellarer ; Song should breathe of scents and flowers ; Spring ; Starbeams ; Sailor's 
 return ; Sun to his rest ; Sea song ; Show-man ; True to love and thee ; The wish- 
 ing well ; The blind boy ; The goldsmith's daughter ; The last fond look ; The 
 nun and the rose ; The slave's dream ; 'Tis midnight ; Uncle Jack ; Under the 
 greenwood tree ; Weep no more ; Winter ; When far from thee in distant lands ; 
 Wilt think of me? Pianoforte Music: Six impromptus; Prelude and fugue in G 
 minor ; Magic music ; Presto ; Arrangements ; Dances. Singing Methods for 
 various voices ; Thirty Elementary Studies for Pf. ; and many other works. 
 
 As a vocal writer who adapts his style to the popular ear, yet maintains a high 
 place among artistic musicians, Hatton is one of the foremost in England. His 
 part-songs are known in England and America, while certain of his songs are in 
 constant uce everywhere. 
 
H A U — H A V 309 
 
 HAUCE (Minnie). German mezzo-soprano vocalist, B. New York, Nov. 16, 
 1852. D^but New Orleans, 1865. DAut New York, 1868. Appeared in 
 London, 1868. Sang in Vienna, Moscow, Berlin, Paris, Brussels, etc. Chiefly 
 successful as exponent of the heroine of Bizet's "Carmen," in which work she 
 appeared in London, June, 1878. She is a vocalist of much power, and excels 
 in parts which require an energetic and dramatic interpretation. 
 
 HAUCK (Wenzel). German comp., B. Habelschwerdt, Glatz, Feb. 27, 1801. 
 D. Berlin, Nov. 30, 1834 Comp. sonatas, variations, etc. for Pf, 
 
 HAUFF (Johann Christian). German comp. and theorist, B. Frankfort-on- 
 the-Main, Sept. 8, 181 1. Writer of theoretical works, Pf., vocal, and other 
 music. 
 
 HAUPT (Carl August). German org. and comp., B. Cunau, Aug. 27, 1810. 
 S. under A. W. Bach, Dehn, Klein, and Schneider. Appeared in public, 
 1831. Org. at Thiele. Director of the Konigliche Kirchenmusik Institut, 
 Berlin, 1870. Has made a number of concert tours in England, Fiance, 
 Germany, etc. Teacher of a number of pupils who have attained to eminence. 
 He is chiefly celebrated for his fine performance on his instrument, and his 
 remarkable power of rendering the works of Bich. 
 
 HAUPTMANN (Moritz). German teacher and comp., B. Dresden, Oct. 13, 
 1792. S. under Scholz, Morlacchi and Spohr. Vnst. in court band of 
 Dresden, 1812-18. Vnst. at Cassel. Resided for a time in Russia. Cantor 
 and music director of the Thomas-Schule, Leipzig, 1842-68. D. Leipzig, 
 Jan. 3, 1868. 
 
 Works. — Op. i. Songs for voice and Pf. ; op. 2. Duets for 2 vns. ; op. 4. 
 Songs, voice and Pf. ; op. 5. Three Sonatas for Pf. and vn. ; op. 6. Sonata, Pf. 
 and vn. ; op. 7. Two string quartets ; op. 8. Divertimento for vn. and guitar ; op. 
 9. Songs, voice and Pf. ; op. 11. Do. ; op. 14. Do. ; op. 16. Three duets for 2 vns. ; 
 opp. 22, 24, 25, 26, 27, 31, Songs; op. 32. Six Songs for 4 voices; op. 34. Motet 
 for solo voice and chorus ; op. 40. Motet for solo voice and chorus ; op. 46. Twelve 
 lieder ; op. 49. Do. (Riickert). Die Natur der Harmonik und Metrik zur Theorie 
 der Musik, 1853. Mathilde, opera, Cassel. 
 
 As a theorist and teacher, Hauptmann stood unrivalled in his time. Everjr nation 
 is indebted to him for the sound instruction he conveyed to numbers of their sons. 
 His pupils who have reached distinction are numberless, but among the more 
 famous may be named, F. David, Kiel, Curshmann, Joachim, Biilow, Sullivan, 
 Cowen, D. Buck, Bache, etc. His influence over all his pupils and over those 
 musicians with whom he came in contact, must have tended greatly to aid the pre- 
 sent revival of musical feeling. He was a most capable musician, and although 
 chiefly known as a teacher, he was also a composer of some note. His songs and 
 sacred music are best deserving of attention, being those of his works destined to 
 live. 
 
 HAUSEB, (Miska or Michael H.). Hungarian comp. and violinist, B. Press- 
 burg, 1822. D. Konigsberg, 1857. Comp. of Hungarian rhapsodies for vn. 
 and orch., chamber music. Songs, part-songs, etc. 
 
 HAUSLEB (Ernst). German violinist and comjj., B. Stuttgart, 1761. D. 
 Feb. 28, 1837. Wrote songs, canzonets, and violin music. 
 
 HAVERGAL (Rev. Henry East, M.A.). Was eldest son of the Rev. w. 
 
 H. Havergal, Hon. Canon of Worcester, and brother of Frances Ridley Haver- 
 gal, the eminent poetess. The subject of this sketch was Lorn in 1820, and 
 died Jan. 12, 1875. The public press at the period of his decease, declared— 
 "that the Church had lost a most accomplished musical clergyman.'' In 1842 
 he graduated at New College, Oxford, and became chaplain of his college, 
 and of Christ Church. These offices he resigned in 1847, on being pre- 
 sented by the latter body with the living of Cople, in Bedfordshire. 
 During his university career he played an active part, in conjunction with 
 Sir Frederick Ouseley, Bart., Mus. Doc, in promoting the cause of music by 
 inaugurating a series of concerts at Oxford. For the church of Cople he built 
 a two manual organ with his own hands, which possessed a very varied register. 
 
3IO HAV — HAW 
 
 This instrument, on which he played during divine service, was sold soon after 
 his decease, and was removed to the adjoining Parish Church of Willington, 
 by Messrs. Hill & Sons, the organ-builders of London. He also constructed 
 a chiming apparatus for 5 bells, for which he composed a set of 120 changes. 
 He was, in fact, the bell-ringer and organist, as well as the parson of the little 
 church. Before the service he was in the habit of chiming the bells, he would 
 then play a voluntary, and proceed to the reading-desk, read the service, and 
 then return to organ to accompany the canticles and the hymns. His enthus- 
 iasm for music was very great, and for some time he was conductor of a musical 
 society of the neighbouring town of Bedford. He likewise held the post of 
 Musical Examiner in the University of Oxford for one year. He compiled a 
 MS. catalogue of the Christ Church Musical Library, in 1845-7. He possessed 
 a natural counter tenor voice, and as a proof of the varied range of his musical 
 capabilities it may be mentioned that, in a trial of Dr. Crotch's oratorio, 
 "Palestine," he not only played the double-bass, but sang the alto chorus 
 parts at the same time. He was also a performer on the trumpet. In 1846, 
 before leaving Oxford, he published two editions of Wither's "Hymns of the 
 Church," and from the original MS. a copy of Tallis's "Preces," with several 
 other of Tallis's works. Among Mr. Havergal's later productions are a set of 
 four Te Deums, and a Jubilate, chiefly chantwise ; also six double and twelve 
 single Chants, as well as a Benedicite, Chant Service, forty-two single Chants 
 with double Melodies, and a number of Hymn Tunes and Graces, with an 
 improved arrangement of his Christmas Carols. Several other of his compo- 
 sitions yet remain unpublished. — {Contributed by the late Mr. C. H. Purday), 
 
 HAVEBGAL (Kev. William Henry). English comp. and divine, B. High 
 Wycombe, Jan. 18, 1793. Educated at Oxford. B.A., 1815 ; M.A., 1819. 
 Rector of Astley, Worcestershire, 1829-42. Rector of S. Nicholas, Worcester, 
 and hon. canon Worcester Cath., 1845. Rector of Shareshill, near Wolver- 
 hampton, i860. D. Leamington, April 19, 1870. 
 Works.— A History of the Old Hundredth Psalm Tune, 1854. Old Church 
 
 Psalmody, 1849. One Hundred Psalm and Hymn Tunes. Ravenscroft's Psalter 
 
 (1611), edited 1847. Anthems, psalms, hymns, etc., to number of about 50. 
 His daughter, Frances Ridley (1836-1879), was a poetess of some note, her 
 
 hymns and other pieces having been very popular. 
 
 HAWEIS (Rev. Hugh Reginald). English writer and divine, B. Egham, 
 
 Surrey, April 3, 1838. Educated at Camb. B.A., Camb., 1859; M.A., do., 
 
 1864. Incumbent of S. James's, Marylebone, 1866. Editor of CasselVs 
 
 Family Magazine, 1868. Lectured in America, 1885. 
 
 Works. — Music and Morals, Lond., 8vo, 1873; second edition, 1877. Thoughts 
 
 for the Times. My Musical Life, Lond., 1884. Current Coin. Contributions to 
 
 periodical literature of articles on musical and general subjects. 
 
 HA WES (William). English comp. and writer, B. London, 1785. Chor. 
 Chap. Roy., 1793-1801. Vnst. Covent Garden orch., 1802. Deputy Lay- 
 vicar, Westminster, 1803. Gent, of Chap. Roy., 1805. Associate Philhar- 
 monic Soc, 1813. Master of Choristers, Almoner, and Vicar Choral, St. 
 Paul's Cath., 1814. Master of Children of Chap. Roy., 1817. Lay-vicar 
 Westminster Abbey, 1817-20. Established Harmonic Institution in the Argyle 
 Rooms. Music publisher for a time. Music director, English opera, Lyceum. 
 Produced Weber's "Der Freyschutz," July 24, 1824. D. Lond., Feb. 18, 
 1846. 
 Works. — Music for Plays : Broken Promises, 1825 ; The Sister of Charity, 
 1829; The Irish Girl, 1830; Comfortable Lodgings, 1832; The Dilsk gatherer, 
 1832; The climbing boy, 1832; The Mummy, 1833; The Muleteer's vow, 1835. 
 Collection of five glees and a madrigal [1814] ; Six glees for 3 and 4 voices [1815] ; 
 Six Scotch songs harmonized as glees [1817] ; Prize glees. Adaptations of operas 
 by Paer, Salieri, Winter, Mozart, Ries, Marschner, etc. Edited an edition of 
 "The Triumphs of Oriana," and a collection of Spofforth's glees. 
 
 HAWKER (Lieut.-Col. Peter). English writer on Sport, etc., author of 
 " Instructions to Young Performers for acquiring by means of Patent Hand 
 
H AW — H AY 3TI 
 
 Moulds the best Position for Strength and Articulation on the Pianoforte," 4to, 
 1840, 3 editions. He D. in 1853. 
 
 HAWKEB (William). English writer, author of "The Theory of Music sim- 
 plified, and the principles of temperament applied to the tuning of keyed 
 instruments explained," Lond., fo., 1845. "A Specific statement and view 
 of the improved musical scale for organs and pianofortes," Lond., i2mo, 1810. 
 
 HAWKINS (James). English comp. and org., B. in latter part of the 17th 
 cent. Chor. S. John's Coll., Camb. Org. of Ely Cath., 1682-1729. Mus. 
 Bac. Cantab., 1719. D. 1729, Comp. of Services, Anthems, etc. His son, 
 John, was org. of Peterborough Cath., 1714-1759, and comp. a number of 
 Anthems, preserved in Tudway's collection, etc. 
 
 HAWKINS (Sir John, Kt.), English writer and lawyer, B. London, March 
 
 30,1719. Became an Attorney. Member of Madrigal Soc. , and of Academy 
 
 of Antient Music. Married Miss S. Storace, 1753. Retired to Twickenham. 
 
 Chairman of Middlesex Quarter Sessions. Knighted, 1772. D. May 14, 1789. 
 
 Works. — Twelve Cantatas (words), 1742-43, music by J. Stanley. An Account 
 
 of the Institution and Progress of the Academy of Ancient Music, 1770. A General 
 
 History of the Science and Practice of Music, Lond., 5 vols., 4to, 1776 (with 
 
 portraits); new edition, Novello, 1853. Edition of Walton and Cotton's "Com- 
 
 pleat Angler," 1760. 
 
 Hawkins was much esteemed in his day, and was one of Dr. Johnson's literary ex- 
 ecutors. His personal and forensic attributes have long since sunk into comparative 
 insignificance, and by his musical abilities alone is he now known. He did much by 
 the publication of his "History" to enlighten the English musical public on the 
 past state of the art, and though its value is less owing to the lapse of time, it is 
 still a standard text-book to the history of music. Its merits, and superiority in 
 some respects over the history of Burney, lie in its acknowledged greater accuracy 
 and plainness of detail. Its merits in this respect are indeed great, for, despite 
 some few blemishes in the matter of misstated facts, it is a remarkably erudite and 
 straightforward production. Hawkins was buried in Westminster Abbey. His 
 daughter, LjETITIA Matilda, was a novelist, and biographical writer, and his son, 
 John Sidney, an author. 
 
 HAYDEN (George). English org. and comp. of first half of the i8th century. 
 Org. of S. Mary Magdalen, Bermondsey. Wrote cantatas, songs, etc., some 
 of which were favourites in their day. 
 
 HAYDEN (W. L.) American writer, author of a "New Method for the Guitar," 
 Boston, Ditson, n. d. 
 
 HAYDN (Franz Josef). Austrian comp., B. Rohrau, April I (March 31), 1732. 
 Son of Matthias Haydn. Educated at Hainburg. Chor. in S. Stephen's, 
 Vienna, 1740-1748. S. under Porpora, 1755. Quartet comp. to K. J. E. von 
 Ftirnberg. Engaged as teacher, 1756-59. Music director and chamber 
 musician to Count Ferdinand Maximilian Morzin, 1759. Married to Maria 
 Anna Keller, Nov. 26, 1760 [she died, 1800]. Dismissed with band from 
 service of Count Morzin, 1761. Second chapel-master to Prince Esterhazy, 
 under Werner, 1761. Sole do., I766-90. Visited Vienna with orchestra, 
 1769. Resided in Vienna, 1790. Visited London for first time, Jan., 1791. 
 Doc. Mus., Oxon., July, 1791. Left England, 1792. Taught Beethoven 
 music, Dec, 1792. Appeared in London again, as cond. and comp. at Sala- 
 mon's concerts, Feb. 4, 1794. Returned to Vienna, Aug. 15, 1795. Resided 
 at Vienna as comp. and teacher. D. Gampendorf, near Vienna, May 31, 1809. 
 Works. — Oratorios: The Creation, Vienna, 1798; London, 1800. The 
 Seasons (Thomson), 1800 ; Seven words from the cross ; II Ritorno di Tobia ; In- 
 vocation of Neptune. Cantatas, various. Masses, etc., for voices and orch., No. 
 I, in B flat ; 2. in C ;3. The Imperial, in D ; 4. B flat ; 5. C ; 6. B flat ; 7. G ; 
 8. B flat; 9. C ; 10 ; II ; 12 ; 13. C; 14. D 5 15; 16. B flat. Stabat Mater. 
 Offertoires (13) ; Motets; Salve Regina ; Tantum Ergo; Sacred songs (arias), etc. 
 Operas, etc.: i German: 4 Italian, "Le Pescatrici;" "L'Incontro improviso ;" 
 "L'Infedeltadelusa;" "La Fedelta premiata:" 14 Buffo comedies, and 5 Marion- 
 ette operas, Twelve German Lieder, 1782; twelve do., 1784. Six Original 
 
312 HAY' — HAY 
 
 Canzonets (Mrs. Hunter), London, 1796. Accompaniments to Scottish Songs (for 
 George Thomson, Edinburgh). Welsh airs, arranged. A Requiem, etc, Sym- 
 phonies, 125 in all, with overtures, including: Twelve Symphonies (.Salomon Set), 
 No. I. 1791; 2. 1791; 3. (Surprise), 1791 ; 4. 1792; 5. 1791 ; 6. 1791 ; 7. 179S ; 
 8- 1795 ; 9- 1795 ; lO- 1793; II- (Clock), 1794; 12. (Military), 1794. Letter A, 
 1780; B (Farewell), 1772; H, 1774; I, 1772; L, 1772; Q, Oxford, 1788; R, 
 1788; T, 1787; V, 1787; V/, 1787. Le Matin, 1761 (?) ; Le Midi, 1761; Le 
 Soir, 1761 (?) ; Der Philosoph, 1764; Lamentation, 1772; Mercury, 1772; Maria 
 Theresa, 1773; La Passione, 1773; Schoolmaster, 1774; Feuer-symphonie, 1774; 
 II Distrato, 1776; Roxelano, 1777; Kinder-symphonie ; Laudon, 1779; La 
 Chasse, 1780; La Reine de France, 1780; Le Poule, 1786; L'Ours, 1786; etc. 
 Eighty-four String Quartets. Thirty Trios, for stringed etc instruments. Thirty- 
 one Concertos for various instruments. Fifty-three Si)n,itas for Harpsichord. 
 Twenty Concertos for Harpsichord, etc. Notturnos, Minuets, i Sestet, i Quintet, 
 Marches, music for barytone, etc. 
 
 Haydn's greatest work, "The Creation,'' as a work of art, claims the highest 
 praise from musicians. Its merits as a purely sacred composition are open to 
 question, for although Haydn approaches his subject in a reverent spirit, he does 
 not thoroughly imbue his music with much of that spirit. The chief feature apparent 
 in the "Creation" is the thoroughly beautiful character of the music, and the 
 absence of that severe, vigorous, yet majestic and moving manner, which raises the 
 oratorio music of Handel and Mendelssohn above all. The orchestration is 
 furthermore so lovely, original, and characteristic as to fully atone for any lack 
 there may be of the conventional requirements of sacred music. It may be said, 
 however, that Hadyn was in the habit of approaching his God with a self-satisfied 
 note of jubilant praise, and it becomes- less astonishing, when this is considerec', 
 that the "Creation" should be so unlike the generality of serious sacred works. 
 The "Seasons," which js secular, though in oratorio form, is that work of magni- 
 tude wherein Haydn best fulfils the requirements of his libretto. In it he had 
 abundant scope for exercising his cheerful vein of composition, and although it 
 must be admitted that he has not in the " Seasons " excelled himself or others, it is 
 due his memory to say that it is one of the most pleasant works of its nature. He 
 has succeeded in setting his poesy more appropriately than he ever did when his 
 buoyant and simple temperament was set to the task of composing to serious an^l 
 religious verse. 
 
 The masses of Haydn are by no means of a lofty character ; the inspiration dis- 
 played in them being rather musical than religious. Pleasant pastoral rhythms, 
 sweet melod'es, pretty harmonies, may properly be stated as constituting their most 
 representative features. They lack dignity, solemnity, and depth, and may be fitly 
 termed pleasing toys of the Papacy. Their use in Roman Catholic chapels in 
 Britain still continues, but scarcely to so great an extent as formerly. Small choral 
 societies, church choirs, and private choirs now study those masses for production 
 at concerts and soirees. 
 
 Chief among his instrumental writings are the celebrated string quartets, wliich 
 form one of the most unique bodies of music ever produced by one individual. 
 Their merit is of the highest kind, and raises Haydn to the eminence of a deity 
 among composers of the latter part of last century. The only composers who could 
 be said to rival him in the smallest measure are Boccherini, Mozart, and Pleyel, 
 who. all wrote in a manner approaching Haydn, but never equalling or excelling 
 him. The reason why we place the quartets before the symphonies in point of 
 i.nportance, is because the latter have long since been supplanted in general estima- 
 tion by the more powerful writings of Beethoven, Mendelssohn, Schubert, and 
 Spohr. The quartets, on the contrary, have only been excelled in the single par- 
 ticular of development, by the composers just mentioned, whose works carried the 
 quartet in its aesthetic aspect far beyond the conceptions of Haydn, leaving it an 
 open matter whether or not they added to the musical beauties of the form. 
 Haydn's quartets give the general impression of great beauty, mingled with a con- 
 tinual joyousness, which appeals with wonderful power to all music-lovers. In 
 powerful and vigorous conception, and in what may be called poetical meaning, 
 Haydn is manifestly inferior to either Beethoven or Schubert, but his quartets 
 will for a long time continue to enlist the sympathies of a large body of the musical 
 public. 
 
 His prolificacy as a symphonic writer will bear favourable comparison with that 
 
HAY — HAY 313 
 
 of any other composer ; and in respect to a fine and varied flow ot melody there 
 does not exist another composer in the same branch who can be put forward in 
 opposition to him. His influence over the instrumental music of the present time 
 has been immense, for not only does the modern orchestra owe many of its features 
 to him, but to Hadyn is also due the honour of having given orchestral music a 
 character and a purpose. The style of his instrumental music as contrasted with 
 that of Bach and Handel is warm aud natural, while listeners are led to follow 
 themes which are neither too complicated nor too fatiguing, instead of being bored 
 and exercised to death as was the case with the strictly contrapuntal effusions of the 
 two other masters. 
 
 As regards Haydn's minor works, such as his songs, Pf. works, and miscellaneous 
 compositions, we can only mention them. They offer a vast field for study to the 
 antiquarian enthusiast, although artists will probably find much to enlist their 
 sympathies and call forth their powers. The songs are especially deserving of 
 attention, being evidently composed with a great degree of care and fidelity to the 
 expression of the poesy. The pianoforte sonatas are a little antiquated, but are 
 still issued by modern publishers, which fact proves that the demand for them is 
 continuous, and the fame of Haydn in this department has not quite evaporated. 
 
 Haydn a»o and bibliography cannot here be dealt with. English works and 
 writings on the subject will be found in the Bibliography appended to this work. 
 Editions of his works, in whole or in part, are issued by nearly every publisher, and 
 in every variety of form and price ; while portraits, etc. are numerous. 
 
 HAYDN (Johann Michael). Austrian comp. and org., brother of above, B. 
 
 Rohrau, Sept. 14, 1737. Chor. in S. Stephen's, Vienna. Deputy-org,, do. 
 
 Chap. -master at Grosswardein, 1757. Music-director to Arrhbishop Sigismund 
 
 of Salzburg, 1762. Org. ofCh. of Holy Trinity, Salzburg, 1777. Married to 
 
 Marie M. Lipp, 1768. Mem. of the Academy of Stockholm. D. Salzburg, 
 
 Aug. ID, 1806. 
 
 Works. — Masses, litanies, offertoires, graduales, vespers, oratorios, cantatas, and 
 
 other works for the church in great quantity, but mostly in MS. He also composed 
 
 operas and instrumental music. 
 
 J. M. Haydn, or Michael, as he is usually called, is chiefly of account as a suc- 
 cessful teacher, though certain of his works are said to possess considerable merit. 
 Among his many pupils may be named C. M. von Weber, Neukomm, Reicha, and 
 Wolfl. His own abilities as a performer on the organ and harpsichord were great. 
 
 HAYDON (Thomas). English musician, B. London, 1787. S. under C. Neate 
 and Crotch. Org., and Prof, of Pf. at R. A. M. D. [?] 
 
 HAYES (Catherine). Irish soprano vocalist, B. Limerick, 1825. S. under 
 Sapio and Garcia, and at Milan under Ronconi. Debut at Marseilles in " I 
 Puritani," 1845, and afterwards sang in Vienna (1846), Venice, and else- 
 where in Italy. Appeared in London, Covent Garden Theatre, April 10, 1849. 
 Sang in Ireland, America (1851), India, Australia, etc. Married to Wm. 
 Avery Bushnell of New York, Oct. 8. 1857. D. Sydenham, Aug. 11, 1861. 
 Miss Hayes was a singer of remarkable powers, and in her day was a most 
 
 popular and favourite vocalist. Her chief power lay in the rendering of ballads. 
 
 Her biography was issued under the title of " Memoir of Miss Catherine Hayes, the 
 
 •Swan of Erin.'" 4to, n. d., with portrait. 
 
 HAYES (Philip). English org. and comp., B. Oxford, April, 1738. Son of 
 William Hayes. S. under his father. Mus. Bac. Oxon., May, 1763- Gent, 
 of Chap. Roy., 1767 Org. of New Coll . Oxford, 1776. Do. of Magdalen 
 Coll., Oxford, and Prof, of Music in University, 1777. Mus. Doc, Oxon., 
 1777. Org. of S. John's Coll., 1790. D. London, March 19, 1797. 
 Works. — Prophecy, oratorio, 1781 ; Ode for S. Cecilia's Day; Ode; "Begin 
 
 the Song"; Telemachus, a Masque. Anthems, Services, Psalms, Glees and Songs. 
 
 Harmonia Wiccamica, Lond. [1780], etc. 
 
 HAYES CWilliam). English org. and comp., B. Gloucester. 1707. Chor. 
 Gloucester Cath., under W. Hine. Org. of S. Mary's Ch., Shrewsbury. Do. 
 of Worcester Cath., 1731-34- I^o. Magdalen Coll., Oxford, 1734. Mus. 
 
314 HAY — HEC 
 
 Eac, Oxon., 1735. Prof, of Music, Oxford Univ., 1741. Doc. Mus., Oxon., 
 1749. Cond. Gloucester Musical Festival, 1763. D. Oxford, July, 1777. 
 
 Works. — Collins' Ode to the Passions, and other Odes. Twelve Ariettas or 
 Ballads, and two Catches, 1735. Services and Anthems. Circe, masque. Glees, 
 Catches, etc., 1st set, 1757 ; 2nd set and Supplement, 1763-65. Cathedral Music, 
 in Score, n. d. (collected church comps.) Instrumental Music. Remarks on Mr. 
 Avison's Essay on Musical Expression, Lond., 8vo, 1753. Anecdotes of the Five 
 Music Meetings, etc. 
 
 The church compositions of this musician and his son Philip are still in use, and 
 are fair specimens of ecclesiastical music. The "Remarks'." is now rare, and was 
 at one time considered of value. 
 
 HAYES (William). English writer and divine, son of the above, B. Oxford, 
 1741. Chor. Magdalen Coll., 1749-51. B.A., 1761 ; M.A., 1764. 
 Minor Canon, Worcester Cath., 1765. Do. S. Paul's, 1766. Vicar of Tilling- 
 ham, Essex. D. Oct. 22, 1790. Wrote a paper, entitled, " Rules necessary 
 to be observed by all Cathedral singers in the Kingdom." Gentleman's Mag., 
 1765 ; Sermons, and other works. 
 
 HAYLEY (William). English poet, B. 1770. D. 1820. Author of ",The Triumphs 
 of Music, a Poem in six cantos," Chichester, 4to, 1804, and other Poetical works. 
 
 " Triumphant first see * Temper's Triumphs ' shine ! 
 At least I'm sure they triuraph'd over min& 
 Of ' Music's Triumphs,' all who read may swear 
 That luckless music never triumph 'd there." — Byron. 
 
 HAYM (Nicolo Francesco). German comp., B. Rome, latter part of 17th 
 century [1680]. Came to England, 1704. Aided in establishing Italian opera. 
 Adapted music of various composers to his own librettos. Inaugurated system 
 of representing Italian operas with both English and Italian speakers. Latterly 
 a, picture dealer. Date of death unknown [1730]. He composed a few 
 sonatas and published a treatise on medals. 
 
 HEAP (Charles Swinnerton). English comp. and cond., B. Birmingham, 
 April 10, 1847. S. at Leipzig. Bac. Mus., Cantab., 1871. Doc. Mus., 
 Cantab,, 1872. Cond. of Birmingham Philharmonic Union ; Walsall do. ; 
 Stoke-on-Trent ; and Stafford Philharmonic Societies. Cond. of Wolver- 
 hampton Musical Festivals. 
 Works. — The Captivity, oratorio ; The Maid of Astolat, cantata, 1885 ; Third 
 Psalm, for soli, chorus, and orch. ; Benedictus for soprano solo, chorus and orch. ; 
 The Voice of Spring, for chorus and orch. (Hemans), 1882; Overture for orch., 
 in F, Birmingham Festival, 1879 ; Overture, in C, No. 2, Birmingham, 1879 ; 
 Sonata for Organ (MS.); Sonata for Clarinet and Pf., 1880; Trio for Pf., vn., 
 and 'cello, 1867. Quintet for Pf. and wind insts., 18S2 ; Sonata for violin and Pf , 
 1884. Part-songs, various; Anthems; Organ music. Songs: The Sea King; It 
 is not always May ; Annabel Lee ; Winter ; etc. 
 
 HEATHER (William), Heyther. English comp. and Doc. Mus., B. 
 
 Harmondsworth, Middlesex, 1584. Lay-vicar, Westminster Abbey. Gent, 
 
 of Chap. Roy., 1615. Doc. Mus. Oxon, 1622. Founded Music Lecture at 
 Oxford, 1626-7. D. July, 1627. 
 
 HECHT (Eduard). German comp. and pianist, B. DUrkheim-on-the-Haardt, 
 Rhenish Bavaria, Nov. 28, 1832. Son of Heinrich and Adelheid Hecht, the 
 former a teacher of singing, latterly in Frankfort-on-Main. S. under Rosenhain, 
 C. Hauff, and F. Messer."^ Came to England, Nov., 1854. Settled in Man- 
 chester as Pf. teacher. Cond. Manchester Liedertafel, 1859-78. Cond. of S. 
 Cecilia Choral Soc, since i860. Do. of Halle's Choir, 1870. Lecturer on har- 
 mony and comp., Owen's Coll., 1875. Cond. Stretford Choral Soc, 1879. 
 Musical Examiner at High Schools for Girls, Manchester and Leeds. 
 Works. — Op. i. Three part-songs; op. 2. Three Pf. Pieces; op. 3. Three 
 Mazurkas ; op. 4. Three songs ; op. 5. Three Marches ; op. 6. Three Pf. Pieces ; 
 op. 7. Trio for female voices, " Be strong ;" op. 8. Song, Leonore ; op. 9. Hunting 
 song for chorus and orch. ; op. 10. Charge of the Light Brigade (Tennyson), chorus 
 and orch., Bristol Festival, 1879 ; op. 11. Two Pf. pieces ; op. 12. Impromptu, Pf.; 
 
HEC — HEL 31S 
 
 op. 13. Two Songs ; op. 14. Two Songs ; op. 15. Part-song, " At Night," five 
 voices; op. 16. Trio for female voices ; op. 17. Polonaise for Pf. ; op. 18. Four 
 vocal duets ; op. 19. A Lullaby ; op. 23-24. Pf. pieces ; op. 25. O may I join the 
 choir invisible, chorus and orch. ; op. 26. Two part-songs ; op. 27. Two string quar- 
 tets ; op. 28. Three part-songs ; First symphony for orch., Hallo's Concerts, 1877. 
 Concerto for Pf., MS. Eric, the Dane, cantata for solo voices, chorus, and orch. 
 (R. MacLean), Manchester, 1882 (and Halifax, 1883). Manchester March, for 
 military band, or Pf. duet ; March-elegy, comp. in memory of Bishop Fraser. 
 
 HECK (Johann Caspar). German teacher and writer [B. 1740], flourished in 
 London about beginning of present century. D. [?] He wrote "The Art of 
 Playing Thorough-bass with Correctness, according to the true principles of 
 composition." Lond., n. d. "A Complete System of Harmony; or a regular 
 and easy method to attain a fundamental knowledge and practice of thorough- 
 bass." Lond., 4to, n.d. "Short and Fundamental Instructions for Learning 
 Thorough-bass." 4to, n.d. 
 
 HEIDEGGrEB (Johann Jacob). Flemish musician of the i8th century. He 
 appeared in England in 1707, and became a power in musical concerns as 
 manager of the Italian opera in London. He wrote the librettos of several of 
 Handel's works, and otherwise laid his claim to consideration from posterity. 
 His most notable ieature, however, was his ugliness, which was, frpm all 
 accounts, of a surpassing description. He disappeared from English history and 
 is not mentioned in any record after July, 1738. Nothing is known as to his 
 biography before 1707 or after 1738. 
 
 HEIOHINGTON (Musgrave). English comp. and org., B. 1680. Org. at 
 Yarmouth, 1738. Do. Leicester, 1739. D. Dundee, 1774. 
 Works. — Ode for the Spalding Gentlemen's Society ; Six Select Odes ; The 
 Enchantress, or Harlequin Merlin. Songs, etc. 
 
 HEINE (Heinrich). German poet, B. Dusseldorf, Jan. I, 1800. D. Paris, 
 1856. His lyrics have been set by a great variety of composers of all nations, 
 Schumann, Hofmann, and Franz being the principal Germans who have used his 
 poems. Many of his minor poems are admirably adapted for musical treatment. 
 
 HEINEFETTEB (Sabine). German soprano vocalist, B. Mayence, 1809. 
 Dibiit at Frankfort-on-the-Main, March 17, 1823. S. under Spohr at Cassel. 
 Travelled in Italy, and appeared with great success in Berlin in 1833. Retired 
 to Baden, 1842. D. (insane) lUenau, 1872. She sang in operas by Bellini, 
 Donizetti, Rossini, etc. 
 
 HEINICHEN (Johann David). German org. and comp., B. Croessuln Weis- 
 senfels, April 11, 1683. S. under Kuhnau, etc. Chap.-master to the King of 
 Poland. D. Dresden, July 16, 1729. Wrote operas, church music, cantatas, 
 and serenades. 
 
 EELE (Georges de la). Belgian comp., B. Hainault, IS4S- D. [1591]. 
 Wrote masses and church music. 
 
 HELLBOBN (H.). German writer of present time, author of a "Life of 
 Schubert," Englished in 1869, 2 vols., by Arthur Duke Coleridge. 
 
 HELLEB (Stephen). Hungarian pianist and comp., B. Pesth, May 15, 1815. 
 Travelled through Germany as pianist. Resident in Paris from 1838, as 
 teacher and comp. Visited England, 1862, and played at Crystal Palace 
 concert. Member of Legion of Honour, 1884. Stricken with blindness, and 
 presented with a testimonial, 1885. 
 Works. — Pianoforte: Op. i. Theme (Paganini) ; op. 2. Rondo; op. 5. Th^me 
 
 Polonais; op. 7. Three Impromptus; op. 10. Three Morceaux ; op. 11. Rondo; 
 
 op. 12. Rondoletto ; op. 13. Divertissement; op. 15. Rondino; op. 16. Studies; 
 
 op. 17. Six Caprices; op. 18. Improvista; op. 20-21. Impromptus; op. 22-23. 
 
 Rondos; op. 25. Une FiJ:vre brfllante ; op. 29. La Chasse ; opp. 42, 43, 44. 
 
 Valses ; opp. 45, 46, 47. Studies ; op. 50. Scenes Pastorales ; op. 52. Venitienne ; 
 
 op. 53. I. Tarentelle; op. 54. Fantaisie-stiicke ; op. 56. Serenade; op. 57. Scherzo; 
 
 op. 58. Rgveries; op. 60. Canzonetta; op. 61. II. Tarentelle; op. 63. Capriccio; 
 
3l6 HEL — HEM 
 
 op. 64. Huraoreske ; op. 65. Sonata ; op. 78. Promenades d'un Solitaire ; op. 79. 
 Traumbilder (Dream pictures) ; op. 80. Wanderstunden Reveries d'artiste; op. 8l. 
 Twenty-four Preludes ; op. 82. Nuits Blanches (Sleepless nights); op. 83. Feuillets 
 d'album ; op. 81;. Two Tarentelles, III. and IV. ; op. 86. Dans les Bois, Sept 
 reveries ; op. 87. V. Tarentelle ; op. 88. Third Sonata ; op. 89. In Wald und Flur ; 
 op. 90. Studies; op. 91. Nocturnes; op. 95. Allegro; op. 96. Grand etude de 
 concert ; op. 97. Twelve Valses ; op. 100. 2nd Canzonetta ; op. loi. Reveries ; 
 op. 103. Nocturne ; 104. Polonaise ; op. 107. Four Landler ; op. 108. Fourth 
 Scherzo; op. 112. Caprice humoristique ; op. 119. Thirty-two Preludes; op. 120. 
 Lieder ohne Worte ; op. 126. Three Overtures; op. 128. Dans les Bois (2nd 
 series); op. 131. Three Nocturnes ; op. 136. Dans les Bois (3rd series); op. 137. 
 Tarentelles ; and other works to number of over 150. 
 
 Among the many graceful writers for the pianoforte who have'flourished within 
 the last fifty years, none has earned so much well-deserved popularity as Stephen 
 Heller. Without being a genius of the highest order, his endowments are never- 
 theless of an elegant and agreeable nature. His music is invariably beautiful, never 
 vulgar, and always fanciful and graceful, while his knowledge of the capabilities of 
 the pianoforte has enabled him to produce many useful didactic pieces. 
 
 HELLMESBERG-ER (Georg). Austrian violinist and comp., B. Vienna, Aug. 
 24, 1800. D. Vienna, Aug. 16, 1873. 
 
 EELLMESBERGER (Josef). Austrian violinist and comp., son of above, B. 
 Vienna, Nov. 3, 1829. S. under his father. Prof, of violin and director of 
 Vienna Cons. , 1843. First violin at Imperial Opera, Vienna, i860. Is one 
 of the leading Viennese violinists, and has done much by his example to im- 
 prove the quality of the chamber music in that city. He has arranged a num- 
 ber of standard pieces for various combinations of instruments, and composed 
 some original works of merit. 
 
 HELMHOLTZ (Hermann Ludwig Ferdinand). German sciendst and 
 
 writer, B. Potsdam, Aug. 31, 1821. S. Medicine at Berlin. Teacher of 
 
 Anatomy, Berlin Academy, 1848. Prof, of Physics, Konigsberg, 1849. Do, 
 
 Heidelberg, 1858. Prof, of Physics, Berlin University, 1871. 
 
 Helmholtz is noted for his discoveries in the realm of sound, and lor the reduction 
 
 of those discoveries to a theory. His writings are " Die Lehre von den Tonemfin- 
 
 dungen als Physiologische grundlage fur die Theorie dcr Music," 8vo, 1870 ; Two 
 
 volumes of Scientific Essays, etc. The first named has been translated by A. J. 
 
 EUis under the title of " On the Sensations of Tone as a Physiological Basis for the 
 
 Theory of Music," Lond., 8vo, 1875, of which two editions have been issued to 1885. 
 
 HELMORE (Frederick). English writer on " Church Choirs," Lond.; and on 
 " Speakers, Singers, and Stammerers," Lond., 1874. 
 
 HELMORE Rev. Thomas). English writer and comp., B. Kidderminster, 
 May 7, 181 1. Educated at Oxford. Curate of S. Michael's, Lichfield, 1840. 
 Priest-vicar, Lichfield Cath. Precentor of S. Mark's Coll., Chelsea, 1842, 
 Master of Choristers, and Priest In Ordinary, Chap. Roy., 1846. 
 Works. — Manual of Plain Song, 1850 (other editions, enlarged); Primer of Plain 
 Song (Novello's Music Primers) ; The St. Mark's Chant Book, 2 parts ; a Hymnal 
 Noted, or Translations of the Ancient Hymns of the Church, set to their proper 
 melodies ; A Fuller Directory of the Plain Song of Holy Communion ; Harmonies 
 to Psalter, Canticles, etc. ; Catechism of Music, 1867 ; Papers on Church Music 
 read at the Church Congress at Wolverhampton, 1867 ; Swansea, 1879 ; and Lon- 
 don, 1868 and 1880. Christmas carols, hymns, etc. Trans, of "Treatise on 
 Choir and Chorus Singing, " F. J. Fetis. 
 
 HEMPSON (Dennis A.) Irish harp-player and comp., B. 1695. D. Nov., 
 1807. Supposed to have been a skilful performer, and said to have composed 
 some of the fine national airs of Ireland. 
 
 HEMSLEY (John). English org. and comp., B. Arnold, Notts., 1838. Chor. 
 Lichfield Cath. Org. Merivale, Warwick, 1857. Lay-clerk, Ely Cath., i860. 
 Stipendiary Choirman, Christ Ch. and S. Patrick's Oaths., Dublin, 1864. 
 Comp. anthems, songs, etc. 
 
liEM — HEN 31^ 
 
 HEMSTOCK (Arthur). English org. and writer, B. Bingham, Notts, 1845. 
 Author of "On Tuning the Organ." Lond., 8vo, [1876]; and comp. of 
 church music, org. and Pf. music, and a setting of Psalm 145 [1885]. He is 
 organist at Diss, Norfolk. 
 
 HENDEBSON (A. G.) English writer, author of "Philosophy of Music.'" 
 i2mo, 1856. (Appears also in Manchester Papers, a Series of Occasional 
 Essays, v. i, 1856.) 
 
 HENDERSON (William). Scottish poet and writer, B. Biggar, Lanarkshire, 
 August 5, 1 83 1. Reared as a printer, and was successively in employment of 
 Constable ot Edinburgh, Novello of London, etc. Established a printing 
 business in London, as Henderson, Rait, and Spalding, which is known for 
 fine music printing. Author ol "The Cedars, and other Poems," Lond., 1877 
 (with music). He has contributed to Grove's " Dictionary of Music," and has 
 in preparation a work called "The Songs of Scotland," designed to form a 
 complete encyclopaedia of the subject, both as regards words and music. He 
 has contributed to musical periodical literature. 
 
 EENKEL (Michel). German org. and comp., B. Fulda, June 24, 1780. S. 
 under Vierling. Qrg., Cath. of Fulda. D. Fulda, March 4, 1851. Wrote 
 church music, org. music, etc. Heinrich Henkel, his brother, and Georg 
 A., his son, were both composers of some note. The former was org. of St. 
 Eustache, Paris. 
 
 HENLEY (Bev. Fhocion). English comp. and divine, B. Wootton Abbots, 
 1728. Rector of St. Andrew, Blackfriars. D. Aug. 29, 1764. Wrote "The 
 Cure of Saul," anthems, hymns, and chants. 
 
 HENNINGr (Charles). American violinist and writer, author of "Practical 
 School for the Violin." Boston, 3 v., n.d. 
 
 HENBION (Paul.) French song-writer, B. Paris, July 20, 1819. Comp. operas, 
 songs, Pf. music, etc. 
 
 HENBY (P. 0.) Author of " Universal Singing Preceptor : Exercises for the 
 Formation of the Voice, the Production of a good Tone," etc. 8vo, n.d. 
 
 HENRY VIII., King of England, B. Greenwich, 1491. D. Westminster, 
 1547. He is accredited with the composition ot the anthem, "O Lord, the 
 maker of all things," and a Latin motet. He was a patron of music and the 
 fine arts generally, and is frequently mentioned as having been a musician of 
 some skill. 
 HENSCHEL (Georg). German barytone vocalist. and comp., B. Breslau, Feb. 
 18, 1850. S. under Moscheles, Richter, and Gotze, at Leipzig Cons. S. at 
 Berlin under Schulze and Kiel. First appeared as singer, 1862. Appeared in 
 England, and has since resided in London, 1877. Sang in America, and mar- 
 ried there, 1881. 
 Works. — Op. i. Three songs, voice and Pf ; op. 2. Three Pf. Pieces : op. 3. 
 Four songs ; op. 4. Three duets, for two low voices, in form of canon ; op. 5. Two 
 Pf pieces ; op. 6. Etude-impromptu, in E minor, lor Pf ; op. 7. Three part-songs 
 for 4 male voices ; op. 8. Three songs ; op. 9. Three Pf. Pieces ; op. 10. Von den 
 Nachtigallen, Two songs; op. II. " Die letzte Schlacht," ballad for baritone and 
 Pf. ; op. 12. Three songs; op. 13. Six Pf. pieces; op. 14. Three choruses for 4 
 voices ; op. 15. Three songs ; op. 16. Festival March for orch. ; op. 17. Three 
 songs; op. 18. Three Pf. pieces; op. 19. Three songs; op. 20. Zigeunerisches 
 Standchen (Gipsy serenade), accomp. for small orch. ; op. 21. Sinnen und Minnen, 
 10 songs ; op. 22. Thuringer Waldblumen, Lieder ; op. 23. Serenade for string 
 orch ; op. 24. Thiiringer Walblumen, Lieder, 2nd series ; op. 25. Werner's Lieder 
 aus Welschland, Acht Lieder aus Scheffel's Trompeter von Sakkingen ; op. 26. 
 Five part-songs ; op. 27. Three songs ; op. 28. Three duets for a male and a female 
 voice; op. 29. Ueber Berg und Thai, Lieder; op. 30. The 130th Psalm, soli, 
 chorus and orch. 
 
 ' HENSEL (Fanny Gecile),f'^e Mendelssohn, German comp., sister of Felix 
 Mendelssohn-Bartholdy, B. Hamburg, Nov. 14, 1805. Married to W. Hensel, 
 the painter, Oct. 3, 1829. D. Berlin, May 17, 1848, 
 
3l8 kEN — ttER 
 
 Works. — Lieder for voice and Pf. ; Trio for Pf. and strings; Part-songs, Pf. 
 music, etc. 
 
 She composed some sweet melodies, but is chiefly remarkable for the influence 
 which she exerted over her talented brother. 
 
 HENSELT (Adolph). German pianist and comp., B. Schwabach, Bavaria, May 
 12, 1814. S. under Hummel. Teacher at S. Petersburg, 1838. Court pianist 
 at S. Petersburg. Visited England, 1867. 
 
 Works. — Op. i. Variations de Concert for Pf. (Donizetti); op. 2. Twelve 
 Studies for Pf. ; op. 3. Poeme d'amour, Pf. ; op. 5. Twelve Studies for Pf. ; op. 6. 
 The Fountain, study ; op. 7. Impromptu for Pf. ; op. 8. Pens^e fugitive, Pf. ; op. 
 9. Scherzo for Pf., B min. ; op. 10. Romance for Pf., B flat min. ; op. II. Varia- 
 tions for Pf. (Meyerbeer) ; op. 13. Pf. pieces. La Gondola, etc. ; op. 15. Friihlings- 
 lied, Pf. ; op. 16. Concerto for Pf. andprch., in F minor; op. 17. Second 
 Impromptu ; op. 28. Valses, Pf. ; op. 36. Valse. Songs, minor Pf. pieces, etc. 
 
 Henselt is a pianist of considerable attainments, and his ability as a performer is 
 great. His works are well written, but very often difficult. 
 
 HENSLOWE (Rev. W. H.) English writer, author of "The Phonarthron, or 
 Natural System of the Sounds of Speech, including the Phonodion or Elements 
 of Music," 8vo, n.d. 
 
 HENSTBIDGE (Daniel). English org. and comp. of 17th and l8th centuries. 
 Org. of Canterbury Cath., 1700-1730. Comp. some anthems and other church 
 music. 
 
 HERBECK (Johann Franz von). Austrian comp. and cond., B. Vienna, 
 Dec. 25, 1831. D. Vienna, Oct. 28, 1877. He conducted Wagner's works 
 with success, and has written a number of choral and instrumental works of 
 some merit. His admiration of Wagner, to judge from his writings, amounted 
 to something closely resembling idolatry. Of his works the songs are best 
 known in Britain. 
 
 HERMANN (Johann David). German comp. and pianist, B. 1760. Settled 
 in Paris, 1785. Prof, of Pf. at court of Marie Antoinette. D. 1857. 
 
 HEROLD (Louis Joseph Ferdinand). French comp., B. Paris, Jan. 28, 
 1791. S. under F^tis and L. A. Adam. S.' at Paris Cons., and gained first 
 prize for Pf. playing. S. under Catel and Mehul. Gained Grand Prix de 
 Rome, 1812. Accompanist at Italian Opera, Paris, 1820-7. Choir-master at 
 Academie de Musique, 1827. Married Adele Rollet, 1827. D. Paris, Jan. 
 19. 1833- 
 Works. — Op. i. Sonata for Pf. ; op. 2. Fantasia for Pf. ; op. 3. Sonata; op. 4. 
 Caprice ; op. 5. Sonata ; op. 6. Caprice ; op. 7. Do. ; op. 8. Cagrice, Pf. and 
 quartet; op. 9. Do. ; op. 10. Rondo; op. II. Do. ; op. 12. Caprice; op. 13-14. 
 Rondos, etc. ; Fantasias, Pf., opp. 15, 21, 28, 33, 43, 49; Rondos and Divertisse- 
 ments, opp. 16, 18, 20, 22, 27, 31, 34, 37, 40, 41, 44, 47, 53, 55 ; Rondo for Pf. 
 duet, op. 17 ; Variations for Pf., opp. 19, 30, 35 ; Symphonies in C and D, for 
 orch., 1813 ; String Quartets in C, D, and G minor, 1814. Operas: Charles de 
 France (with Boieldieu), i8i6 ; Les Rosihes, 1817 ; La Clochette, 1817 ; Le 
 Premier Venn, 1818 ; Les Troqueurs, 1819 ; L'Auteur mort et vivant, 1820 ; Le 
 Muletier, 1823 ; Lasth^nie, 1823 ; Le Lapin Blanc, 1825 ; Vend6me en Espagne, 
 1823 (with Auber) ; Le Roi Rene, 1824; Marie, 1826; L'lllusion, 1829; 
 Emmeline, 1829 ; Zampa, Paris, May 3, 1831 ; Pre aux Clercs, Paris, Dec. 15, 
 1832, London, 1849. Ballets: Astolphe et Joconde, 1827; Le Fille mal gardfe, 
 1828; La Belle au bois dormant, 1829. 
 
 Herold was considered one of the rising lights of French opera, and would no 
 doubt have proved a greater ornament to it had he been longer spared. His works, 
 ^' Marie," "Zampa," and "Prfe aux Clercs," are still popular, and the overture at 
 least of the second named is tolerably well known in Britain. 
 
 HERON (H.) English musician, author of " Parochial Music Corrected : Plain 
 and Distinct Rules for the more pleasing and correct performance of Psalmody," 
 4to, 1790 (with tunes). 
 
HER — HER 319 
 
 HEBBMANN (G-Ottfried). German comp. and teacher, B. Sondershausen, 
 1808. S. under Spohr, A. Schmitt, and his father. Conductor and teacher at 
 Lubeck, etc. Comp. choral music and operas. 
 
 HEBSCHELL (Sir Friedrich Wilhelm). German comp. and astronomer, B. 
 Hanover, Nov. 15, 1738. Came to England as bandsman in Hanoverian 
 Guards. Org. Halifax Par. Ch., 1757-66. Org. Octagon Chap., Bath, 1781. 
 Private Astronomer to George III., 1781. Resided at Slough, near Windsor, 
 as scientist. LL.D., Oxon., F.R.S., etc. D. Slough, Windsor, August 23, 
 1822. 
 As a musician Herschell was clever, but not by any means eminent. His astro- 
 nomical fame has completely overshadowed his connection with music. He 
 composed a symphony, Pf. and other instrumental music. 
 
 HEBSEE (Bose). English soprano vocalist, educated under Garcia, Madame 
 Rudersdorff, and Arditi. First appeared in public at St. James's Hall, Lon- 
 don. Sang in opera, as Amina in " LaSonnambula," 1868. Sang afterwards 
 in operas by Meyerbeer and Donizetti. Appeared in America with the Carl 
 Rosa Opera Company, 1869. Afterwards she sang throughout the English 
 provinces ; the United States, again ; Australia, and London. Successful in 
 the works of Balfe, Bizet, Lecocq, Mozart, etc., and is a favourite concert 
 vocalist. 
 
 HEBTZ (Michael). Polish pianist and comp., B. Warsaw, 1844. S. Leipzig 
 
 Cons. Teacher in Berlin. Comp. of Pf. music, etc. 
 / 
 HEBVE (Florimond, BONGEB). French comp., B. Houdain, Arras, June 30, 
 
 1825. S. Paris Cons. Chef d' orchestre, Palais Royal Theatre, 1851. Mus. 
 
 director, do., 1856. Teacher, comp., and musical director. Holds other 
 
 important appointments in Paris. 
 Works. — Operas and Operettas: Don Quichotte et Sancho Panya, 1851 ; Vad^ 
 au Cabaret ; Le Compositeur toque ; La Fine Fleur de I'Andalousee ; La Perle de 
 I'Alsace ; La Belle Espagnole ; Fifi et Nini ; Les Toreadors de Grenade, 1863 ; 
 Le Joueur de flftte, 1864 ; Une Fantasia, 1865 ; La Revue pour rien ou Roland k 
 Rouge- Veau, 1865 ; Les Chevaliers de la Table Ronde, 1866 ; La Biche au bois, 
 1866 ; " 1867 ;" Orph^e aux Enfers ; Barbe-Bleue ; La Grande Duchesse de Gerol- 
 stein ; La Belle Helene ; Le Roi d' Amatibou, 1868; ChilpSric, 1868; Le Petit 
 Faust ; Les Turcs, 1869 ; Le Tr6ne d' Ecosse, 1871 ; Le Nouvel Aladin, 1871 ; La 
 Veuve du Malabar ; Le Hussard persecute ; Alice de Nevers, 1875 ; ^^ Belle 
 Poule, 187s ; Estelle et Nemorin, 1875 > Panurge, 1879 ; La femme i papa, 1879 ; 
 La Marquise des Rues, 1879 ; La M^re des Compagnons, 1880. Songs and Pf. 
 music. 
 
 Many of Herve's works achieved considerable popularity in France, and some of 
 them further afield ; but none them have any of these characteristics which distin- 
 guish works of enduring value. He writes well up to the traditions of French opera 
 comique. 
 
 HEBZ (Heinrich). Austrian pianist and comp., B. Vienna, Jan. 6, 1806. S. 
 
 Paris Cons., under Pradher, etc., 1816. Gained first prize for Pf. playing, 
 
 1816. Resided in Paris, 1816-31. Travelled in Germany, 1833. Visited 
 
 London, and played at Philharmonic Soc. Concert, 1833. Prof, of Pf , Paris 
 
 Cons., 1842-1874. Travelled in Britain as pianist, 1843. Do,, U.S.A., and 
 
 West Indies, 1845-51. Estabhshed Piano- manufactory, near Paris, 1853. 
 
 Gained highest award for instruments, Paris Exhibition. 
 
 y^OKViS.— Pianoforte, etc.; Variations, op. 13-16, 20, 23; Rondos, op. 2; 
 
 Concertos for Pf. and orch., op. 34, 74, 87, 131, 180, 192 ; Studies for Pf., op. 151, 
 
 152, 153. 179; Trio for Pf., vn. and 'cello, op. 54; M^thode Complete de Piano, 
 
 op. 100 ; Fantasias (Pf.), op. 71, 72, 89, 94, 98, 106, 108, III, 118, 126, 133, 134, 
 
 136, 147, 158, 163, 169, 173, 193, 205; Three Morceaux, op. 91 ; Mosaique Mijsi- 
 
 cale, op. loi ; Two Ballades, op. 117 ; Etudes, op. 119 ; Les Succfesde Salon, op. 
 
 142, 143; Arabesques Musicales, op. 148; Tarentelle, op. 165; Marche Mexicaine, 
 
 op. 166; Elegie, op. 187; Reverie-Nocturne, op. 194; Mazurka, op. 196. Air 
 
 Hongrois, op. 197 ; Sonata di Bravura, op. 200 ; Berceuse, op. 201 ; Chant de 
 
 Guerre, op. 204. 
 
i,26 HER — Hit 
 
 The works of Ilerz are noted chiefly for their extremely brilliant and difficult 
 features. None of them are very likely to outlive the present century. 
 
 HEBZBEBiG (Wilhelm). German pianist and comp., B. Berlin, 1819. D. 
 Custrin, Nov. 14, 1847. Wrote sonatas for Pf., lieder, etc. 
 
 HERZOGi' (Johann Georg). German org. and writer, B. Schmolz, Bavaria, 
 Sept. 6, 1822. Prof. org. at Munich Cons., 1850. Prot. at Erlangen Univer- 
 sity, 1855. Director of the Singing School, Erlangen, etc. Comp. various 
 works for the org. , and has published an organ school of some authority. 
 
 HESELTINE (James). English org. and comp., flourished during the first part 
 of l8th century. Org. of St. Katharine's Hospital, London, beginning of l8th 
 century. Org. Durham Cath., 1711. D. 1763. Wrote anthems, and other 
 church music. 
 
 HESS (Charles). American pianist and comp., author of "Normal Piano In- 
 structor," 6 parts, Cincinatti, n. d. 
 
 HESSE (Adolph Friedrich). German org. and comp., B. Breslau, Aug. 30, 
 1809. S. under Berner and E. Kbhler. Played in Germany ; in London, 
 1851. Org. of the Ch. of the Bernhardins, Breslau, 1831. Teacher and 
 cond. D. Breslau, Aug. 5, 1863. 
 Works. — The Practical Organist, coll. of pieces and instructions; Symphonies 
 for orch. , op. 64, 75, etc. ; Praludium und Fuge fiir die voile Orgel, op. 66 ; Noc- 
 turne for Pf. , op. 80 J Tobie, oratorio. Motets, Cantatas, Chamber music. 
 
 HEUSCHKEL (Johann Peter). German oboist, org., and comp., B. Harras, 
 Jan. 4, 1773. D. Biberich, 1853. 
 
 HEWETT (J.) English writer, author of "An Introduction to Singing; or, the 
 Rudiments of Music, to which is added a complete set of practical lessons, 
 together with a collection of the best and most useful psalm tunes, and several 
 anthems by eminent masters," 8vo, 1765. 
 
 HEWINS (J. M.) American writer, author of " Hints concerning Church Music, 
 
 the Liturgy, etc." 
 HEWITT (Daniel Chandler). Scottish writer, B. 1789. D. London, 1869. 
 
 Author of " New Analysis of Music," Lond., 4to, 1828. "The True Science 
 
 of Music ; being a new exposition of the Laws of Melody and Harmony," 8vo, 
 
 i860 and 1864. 
 
 HEWITT (John H.) American comp., B. New York, 1801. Resident in 
 Baltimore. Has comp. operas, oratorios, songs, etc. 
 
 HEWLETT (Henry Gr.) English writer, author of "Autobiography, Memoir, 
 and Letters of Henrj' Fothergill Chorley," London, 2 vols., 8vo, 1873. 
 
 HEWLETT (Thomas). English org. and comp., B. Oxford, 1845. D. Edin- 
 burgh, April, 1874. Teacher and org. in Dalkeith and Edinburgh. Mus. 
 Bac, Oxon., 1865. Comp. org. and Pf. music, songs, choral music, and 
 hymns, of which, " Hark, hark, my soul," is deservedly popular. 
 
 HICKS (Rev. Edward, B.A.) English writer, author of " Church Music, a 
 Popular Sketch. Being a glance at its Origin, Development, and Present 
 Use." Manchester, 8vo, 1881. 
 
 HIGtGS (James), English org. and writer, author of Fugue. (Music Primer), 
 Lond. [1878]. Collection of Two-part Solfeggi, Lond., 1881 ; etc. 
 
 HIGGINS (William MuUinger). EngHsh writer, author of "The Philosophy 
 of Sound, and History of Music," Lond., 8vo, 1838. 
 
 HILES (Henry). English org. and comp., B. Shrewsbury, Dec. 31, 1826. 
 Org. in Shrewsbury; Bury, 1846; Bishopwearmouth Par. Ch., 1847; St. 
 Michael's, Wood Street, London, 1859; Blind Asylum, Manchester, i860; 
 Bowdon Par. Ch., 1861 ; St. Paul's, Hulme, Manchester, 1864-67. Con- 
 ductor of several musical societies. Mus. Bac. Oxon., 1862. Mus. Doc, 
 Oxon., 1867. Gained four prizes consecutively, offered by Coll. of Org., and the 
 prize for the best serious glee offered by the Manchester Gentlemen's Glee Club. 
 
litL — hJL 341 
 
 Works. — The Patriarchs, oratorio. Cantatas: Fayre Pastorel, by L. Leigh; 
 The Crusaders, by Marian Millar, 1874 ; Watchfulness, female voices. God is our 
 Refuge, .46th Psalm; Sing unto the Lord, 96th Psalm.- Services in G and F. 
 Anthems: Blessed are the. merciful; I am well pleased; Gracious and 
 righteous is the Lord ; I was glad ; I will lay me down in Peace ; O give 
 thanks to the Lord, 7 voices ; Send out Thy light ; Sing unto the Lord ; 
 The Lord is my Light ; The Lord will comfort Zion ; Wherewithal shall a young 
 man. Part-songs: A Finland love song; Evening; Hushed in death; Summer 
 longings ; The calm of the Sea ; The wreck of the Hesperus ; To Daffodils ; To 
 the morning wind ; When twilight dews ; Spring ; The May (It was a lover 
 and his lass). Songs: Go lovely rose; In Paradise; The Hebrew Mother; 
 The thought of home; Awake, sweet love; Gallants of England; Hark the ripple; 
 Like to like ; Love's wishes ; May ; Rest hath come ; Three contralto songs ; Six 
 Songs ; etc. Organ : Air varied ; Fantasia ; Festival March ; Six Impromptus (2 
 sets); Preludes and Fugues in D min. and in A; Sonata in G min. Pf 
 music, various pieces. Grammar of Music, a Treatise on Harmony, Counterpoint, 
 and Form, 2 vols., 8vo, n. d. The Harmony of Sounds, Lond., 8vo, 1871 ; 1872 ; 
 3rd edition, 1878. Alphabet of Music, n. d. Vocal Tutor, n. d. Part Writing, or 
 Modern Counterpoint, Lond., 1884. 
 
 EILES (John). English writer and org. , brother of the above, B. Shrewsbury, 
 1810. Held various organ appointments in Shrewsbury, Portsmouth, Brighton, 
 and London. D. London, Feb. 4, 1882. 
 Works. — A Progressive Introduction to Playing the Organ, consisting of Fifty- 
 five Preludes, Fugues, Airs, etc., in two, three, and four parts, from the works of 
 the great composers ; to which is added some account of the Instrument itself; a 
 notice of its various stops, and the manner of combining them ; with Directions and 
 Exercises for the Use of the Pedals (Novello), n.d. Hand-Book for the Organ 
 (selections). Short Voluntaries (selected). A Catechism for the Pianoforte Student, 
 etc. Catechism for the organ, 1878. Catechism for Harmony and Thorough-bass, 
 with Key, 2 vols., n.d. Dictionary of 12,500 Musical Terms, l2mo, 1871. Cate- 
 chism for Part-singing, n.d. Juvenile Library of Pianoforte Music. Voluntaries 
 for org. original and transcribed. Pianoforte pieces, songs, etc. 
 
 HILL (A. Gt.) English architect, author of " Organ Cases and Organs of the 
 Middle Ages and Renaissance, containing an account of the most interesting 
 specimens of Ancient Organs in the Churches of Continental Europe," etc. 
 Lond., fo. [1882]. 
 
 HILL (Frederick). English org. and comp., B. Louth, Lincoln, 1760. D. 
 early in 19th century. Org. at York. Comp. Pf. music, songs, etc. His 
 brothers, Joseph, org. at Stockton, and Thomas, org. at Pontefract, were 
 composers of glees, org., Pf., and harp music, etc. 
 
 HILL (Thomas Henry Weist). English violinist comp. and cond., B. Islington, 
 Jan. 3, 1828. S. at R. A. M., London, 1844. Gained King's Scholarship. 
 Concert-giver and violinist in London and the United States. Mem. R. A. M., 
 and connected with the Italian opera, London. Musical director at Alexandra 
 Palace. Was Prof, at Eton Coll. ; now at R. A. M. Principal of the Guild- 
 hall School of Music, London, 1880. 
 Mr. Hill has shown himself possessed of great abilities as a conductor, and has 
 directed several series of concerts with much success. His compositions for the 
 orchestra, the Pf., the violin, etc., are all of a high degree of merit, and reflect great 
 credit on his taste and musical skill. As director of the Guildhall School of Music 
 he has already done a vast deal of good, and will no doubt in the future secure for 
 it a high place among the musical institutions of the country. 
 
 HILL (Joseph), (Joseph, Junr.), and (Locky). English violin-makers of the 
 end of last and beginning of present centuries. They all made instruments of 
 good quality. 
 
 HILL (U. C.) American writer and violinist, author of "Practical Violin School,' 
 Boston, n.d. ; " Spohr's Grand Violin School, edited and revised." 
 
 HILL (Junius W-) American org. and musician, B. Hingham, Mass., 1840. 
 S. under J. C. D. Parker in Boston, and under Plaidy, Richter, Moscheles, 
 
323 HlL — HlL 
 
 Hauptmann, and Papperitz, at Leipzig, 1860-63. Org. at Tremont Temple 
 Boston, 1858-60; Dr. Webb's Ch., Boston, 1863; Tremont St., Bostoi 
 Methodist Ch. Prof, of Pf. and Org. in New England Cons, of Music, Boston 
 Well known as a successful organist and teacher in Boston. 
 
 HILL (W. & SON). English firm of organ-builders, founded in London, b 
 Snetzler, 1755. Hill became a partner while Elhott held the business, ii 
 succession to the founder, and managed it until his death in Dec. 1870, ii 
 partnership with M. Davidson, now of Gray and Davidson. The firm ha 
 built a large number of important instruments in Great Britain. 
 
 HILLEB (Ferdinand). German comp. and cond., B. Frankfort-on-Main, Oct 
 24, 181 1. S. under A. Schmitt, HoUweiler, and Hummel at Weimar, 1825 
 Resided at Paris, 1828-35. Cond. of Choral Soc. at Frankforl, 1836-7 
 Resided at Milan, 1837 ; Leipzig, 1839. S. under Baini at Rome, 1841 
 Cond. Gewandhaus Concerts, Leipzig, 1843-4. Municipal Musical Cond. 
 Dusseldorf, 1847 ; Cologne, 1850. Founder and Director of Cologne (Coin 
 Cons., 1850. Cond. Lower Rhine Musical Festivals, 1850-81. Cond. Italiai 
 Opera in Paris, 1852-53. Visited England, and appeared in London, Liver 
 pool, and Manchester, 1871. D. Cologne, May 10, 1885. 
 Works. — Op. 1. First quartet for Pf. and strings ; op. 2. Duo Concertante fo 
 Pf. and vn. ; op. 3. Second quartet, in F min. ; op. 4. Three Caprices for Pf 
 op. 5. Concerto for Pf. and orch. ; opp. 6, 7, 8, 9. ist, 2nd, 3rd and 4th trios fo 
 Pf., vn., and 'cello; op. 10. Le Danse des Fees, Pf. ; op. 11. Serenade for Pf. 
 op. 12-13. String quartets; op. 14-20. Caprices for Pf. and orch.'; op. 15. Six Suite 
 for Pf. ; op. 16. Songs for Voice and Pf. ; op. 17-18, 21. Reveries, Pf. ; op. 19, 23 
 Songs for Voice and Pf. ; op. 24. Die Zerstbrung Jerusalems (Destruction o 
 Jerusalem) oratorio, 1840 ; op. 25. Six Songs for soprano and chorus of men': 
 voices ; op. 26. Six Songs for male voices ; op. 27. Two Psalms for solo voice 
 op. 28. Second Duet for Pf. and vn. ; op. 30. Four Impromptus, Pf. ; op. 31, 34 
 Songs for voice and Pf. ; op. 32. Concert-overture for orch., D min. ; op. 33 
 Reveries for Pf. ; op. 36. Song of Ondins, for chorus and orch. ; op. 37. Six Song: 
 for 4 voices ; op. 39. Lieder for 2 voices and Pf. ; op. 40. Four Impromptus, Pf 
 op. 41, 43, 46. Songs for voice and Pf. ; op. 47. Sonata for Pf. ; op. 48. Die Lustigi 
 •Musikanten, cantata ; op. 49. Hebrew Song of Byron for solo voice, chorus anc 
 orch.; op. 51. Six Songs for male voices; op. 52. Thirty Rhythmatic Studies, Pf 
 op. 54. Three Ghasiles, Pf. ; op. 55. Three Marches ; op. 56. Rhythmatic Studie: 
 for Pf. ; op. 57. Eight Measures, varices ; op. 58. Valse expressive ; op. 59. Seconc 
 Sonata, Pf. ; op. 60. 125th Psalm, for lenor, chorus and orch. ; op. 61. Six Song; 
 for 2 voices ; op. 63. Three Odes by Goethe ; op. 65. Psalm for 8 voices ; op. 66 
 Eight Pf. pieces; op. 70. Lorelei, cantata; op. 75. Ver Sacrum oder die Grundunj 
 Rom's, by Bischoff, for solo, chorus and orch. ; op. 79. Eight Pf. pieces ; op. 81 
 Pf. pieces ; op. 82. Vocal Exercises ; op. 83. Die Wallfahrt nach Kevlaar, bi 
 Heine, for voice and Pf. ; op. 86. Suite for Pf. and vn. ; op. 87. Toccata, etc. fo: 
 vn. and Pf. ; op. 88. Capriccio fiir Pf. ; op. 95. Six Sonatinas for Pf ; op. 97. Th( 
 Guitar, impromptu ; op. 98. Variations for Pf. ; op. 99. Die Nacht, Hymn for sole 
 voices, chorus and orch. ; op. 115. Gavotte, etc. for Pf ; op. 146. Aus dem Solda 
 tenleben, Fantasiestiicke for Pf. ; op. 183. Instrumental Stucke und chore zun 
 Dramatischen Marchen " Prinz Papagei " ; op. 185. Sieben Lieder; op. 186. Seconc 
 Serenade, for Pf., vn. and 'cello, in C min. ; Romilda, opera, 1839; Der Miille 
 und sien Kind, do., 1844; Conradin, do., 1847; Les Catacombes,. do., 1862; Li 
 Deserteur, do., Cologne, 1865. Saul, oratorio, Cologne, 1858 ; Song of Heloise 
 cantata; Nala and Damayanti, cantata, op. 150; Pentecost, cantata; Song 
 Victory, cantata ; 93rd Psalm ; 126th Psalm; Two Grand Symphonies. Overtures 
 Ph^dre; Faust, 1833; Fernando, 1847; Prometheus, 1847; Demetrius. Spring 
 S3miphony, 1877. Quintets, quartets, etc. for strings. Dramatic Fantasia for orch 
 Hiller's vfritings are characterized by the same spirit which animated Beethoven 
 Schubert, and Mendelssohn. His genius revels in perspicuity rather than in mysti 
 cism, and his endeavours as a composer are marked by high purity of expressioi 
 and design. His works are beautifully wrought out, fanciful, and inspired with i 
 strongly defined feeling for pure and formal workmanship. His minor works an 
 well enough known, but the cantatas are by far the most popular of his production; 
 which are known in Britain, 
 
HIL — HlN J23 
 
 HILLEB (Johanu Adam), Huller. German comp., B. near Gorlitz, Dec. 
 25, 1728. S. at Leipzig University. Cantor at the Thomas School, Leipzig, 
 and cond. of the Gewandhaus Concerts. D. Leipzig, June 16, 1804. 
 
 Works. —Operas and Ballets: Die Musen ; Die Jagd; Grab des Mufti, 1750; 
 Der Krieg, 1750; Der Erntekranz, 1758; Das gerettete Troja, 1758; Der Dorf 
 Barbier ; Die Jubelhochzeit, 1760; Die Verwandelte-Weiber, 1767; Lesvart at 
 Dariolette, 1767; Der lustige Schuster, 1771 ; Lottchen am Hofe, 1776; Die 
 Schaefer als Pilgrime, 1780 ; Die Liebe auf dem Lande, 1780. Symphonies. 
 Cantatas. Psalms, Hymns, Songs, etc. Anleitung zur Musikalischen Gelahrcheit 
 woriim von der Theorie und Praxis der Alten und Neuen Musik, von den Musikal- 
 ischer Instrumenten, besonders der Orgel Nachricht gegeben, 1783, 8vo. 
 
 ' ' Hiller, who became, perchance, the creator of the German ' Operetta, ' or 
 ' Singspiel,' possessed all the qualities necessary for the successful cultivation of this 
 style of light drama, — taste, knovi'ledge, facility of musical inventiveness, mastery 
 of popular form. His operas contained a store of charming original melodies, 
 which became popular through all Germany." — Hitter. 
 
 HILTON (John), English comp. and org., B. end of i6th century. Mus. Bac, 
 Cantab., 1626. Org. and Clerk, of S. Margaret's, Westminster, 1628. D. 
 March, 1657. 
 
 Works. — Ayres, or Fa-las for 3 voyces, Lond., 1627. Catch that catch can ; 
 or, A choice collection of catches, rounds, and canons, for 3 or 4 voyces,... Lond., 
 8vo, 1652. Services in G minor. Anthems. Elegy on William Lawes, 1648. 
 "Fair Oriana, beauty's queen," madrigal for 5 voices, and "Fair Orian, in the 
 morn," for 6 voices, are in the "Triumphs of Oriana." 
 
 Hilton has been credited with the composition of the anthem, " Lord for thy 
 tender mercies sake, " but popular opinion is strongly in favour of Farrant's title to 
 the work. The "Ayres" was edited for the Musical Antiquarian Society by J. 
 Warren, 1S44. 
 
 HIMMEL (Friedricll Heinrich). German comp. and cond., B. Treuen- 
 
 brielzen, near Brandenburg, Nov. 20, 1765. S. Theology. Educated as a 
 
 musician at instance of Frederic William II. S. under Naumann. Chamber 
 
 musician to Frederic William II. Court Chapel-master at Berlin. D. Berlin, 
 
 June 8, 1814. 
 
 Works. — II Primo Navigatore, opera, 1794 ; Semiramide, 1795 ; Don Kobold, 
 
 1804 ; Les Sylphes, 1807. Cantatas, various. Isacco, oratorio, 1792. Masses, 
 
 psalms, vespers, anthems: Sonatas, concertos, etc. for Pf. Romances and Songs. 
 
 HINDLE (Johann). Austrian contra-bass player, B. Vienna, Feb. 10, 1792. 
 First appeared in 1817. Afterwards played at Prague, Leipzig, Dresden, 
 Berlin, etc. D. Vienna, Aug. 9, 1862. 
 
 HINDLE (John). English comp., B. Westminster, 1761. Mus. Bac. Oxon., 
 1791. Lay-vicar Westminster Abbey. D. 1796. He published a " Collection 
 of Songs for i and 2 voices," and a "Set of Glees for 3, 4, and S voices, op. 
 2 " [1790]. 
 
 HINE (William). English comp. and org., B. Brightwell, Oxfordshire, 1687. 
 Chor. Magdalen Coll., Oxford, 1694- 1705. Lay-Clerk, do. S. under Jeremiah 
 Clarke. Org. of Gloucester Cath., 1712. D. Aug. 28, 1730. 
 Works.— Harmonia Sacra Glocestriensis ; or. Select Anthems for i, 2, and 
 
 3 voices, and a Te Deum and Jubilate, together with a. voluntary for Organ, fo. 
 
 n.d. Anthems, etc. 
 
 HINGSTON (John). English org. and comp. of 17th century. S . under O. Gib- 
 bons. Musician to Charles I., and preceptor in music to Cromwell's daughter. 
 Org. to Cromwell, 1654. D. Dec. 17, 1683. He comp. "Fancies for the Viol." 
 
 HINTON (John William). English org. and comp., B. Edmonton, Middle- 
 sex, April 26, 1849. Mus. Bac , Dublin, 1871 ; B.A., Dublin, 1872; Mus. 
 Doc, Dublin, 1874; M.A., do., 1876. Resident sec. and org.-prof., Trm. 
 Coll., Lond., 1876-77. Licent. Trin. Coll., Lond., 1877. He edited the "In- 
 ternational Organist, "two series ; and wrote ' ' Facts about Organs, Guide to the 
 
324 HIP — HOD 
 
 Purchase," etc. In 1884 he issued "A Manual of Harmonies for the Gregorian 
 Tones." He comp. organ music, church music, and songs, also an oratorio, 
 "Pharaoh," andean opera, "Mazeppa" (1880), both MS. 
 
 HIFKINS (Alfred James), F.S.A. English musician and writer on musical 
 subjects, especially musical instruments. B. Westminster, June 17, 1826. In 
 business connection with John Broadwood and Sons, pianoforte-makers, Lon- 
 don. A contributor to the " Encyclopsedia Britannica," Grove's " Dictionary 
 of Music and Musicians, "and various musical publications published in this 
 country and on the Continent. His articles have been reprinted in America 
 and even in Japan ; they have also been translated into the French, Italian, 
 and German languages. 
 Mr. Hipkins made a special journey to Berlin and Potsdam in 1881, under the 
 patronage of H. I. H. The Crown Princess of Germany, to identify and examine 
 the pianofortes made by Gottfried Silbermann, which had belonged to Frederick 
 the Great. In 1883 he was awarded the Silver Medal of the Society of Arts for 
 a lecture on the technical history of the piano. In 1884, at the request of H. R. H. 
 the Prince of Wales, he became concerned in founding the Division II. (Music) of 
 the Inventions Exhibition held at South Kensington in 1885, and was a member of 
 the Music Committee. He was also Chairman of the Sub-Committee of the 
 Historic Loan Collection shown in the Royal Albert Hall in connection with that 
 Exhibition, and for his services was awarded a gold medal. In January, 1886, he 
 was elected a Fellow of the Society of Antiquaries. Mr. Hipkins is regarded as 
 the most trustworthy authority on the subject of the Pianoforte, and his articles 
 on that instrument are valuable contributions to British musical literature. 
 
 HIRST (Thomas). English writer, author of "The Music of the Church, in 
 four parts ; containing a General History of music, including an Account of 
 Hebrew Music." Lond., 8vo, 1841. 
 
 HITCHIN (Rev. Edward). English dissenting minister and writer, author of 
 "Scripture proof for Singing of Scripture Psalms, Hymns, and Spiritual 
 Songs." Lond., l2mo., 1696. 
 
 HOBBS (John William). English comp. and tenor vocalist, B. Henley-on- 
 Thames, Aug. I, 1799. Chor. Canterbury Cath. Articled to John Jeremiah 
 Goss. Sang at Norwich Musical Festival, 1813. Tenor Singer of Trinity, 
 King's, and St. John's Colleges, Camb. Do. St. George's Chap., Windsor. 
 Gent, of Chap. Roy., 1827. Lay-vicar Westminster Abbey, 1836. D. Croy- 
 don, Jan. 12, 1877.. 
 
 Works. — Glees. Son^s : Caliban ; Crier, or lost heart ; Dear father, take 
 thy gentle child ; England ; Jack's alive ; Music of the past ; Nina ; Phillis 
 is my only joy ; Soldier's departure ; Then you have not forgotten ; I come 
 from the Spirit-land ; When Delia Sings ; Daphne and Damon ; Farewell to the 
 Valley ; Oh believe not the tears ; Oh my own Native Land ; Old Temeraire ; 
 Wake, Lady, Wake ; The Heavens are bright ; Departed days ; Eulalie ; Forest 
 Fairy ; Jamie ; Shepherd's Chief Mourner ; We've known each other long ; The 
 Captive Greek Girl ; and many others, amounting in all to over 100. 
 
 HOBRECHT (Jacob), or Obrecht. Flemish comp., B. Utrecht [1430]. 
 D. Antwerp, first part of i6th century [1507]. Wrote masses, madrigals, etc. 
 Chieiiy noted, apart from his connection with the music of his period, as 
 having been the music master of Erasmus, the Scholar. 
 
 HODGES (Edward). English org. and comp., B. Bristol, July 20, 1796. Org. 
 
 of Clifton Church. Do. St. James Ch., Bristol. Do. St. Nicholas Ch. Mus. 
 
 Doc, Cantab., 1825. Went to America, 1838. Org. St. John's Episcopal 
 
 Chap., New York. Org. Trinity Ch., N.Y„ 1846. Returned to England, 
 
 1863. D. Clifton, Sept. i, 1867. 
 WoRKS.^Church Services. Anthems. Contributions to the Musical Journals. 
 An Apology for Church Music and Musical Festivals, in answer to the Animad- 
 versions of the Standard and the Record, Lond., Svo, 1834. An Essay on the 
 Cultivation of Church Music, New York, 1841. 
 
HOD — HOF 325 
 
 HODGES (Colonel 0. L.) English collector, published a "Collection of 
 Peninsular melodies, with words by Mrs. Hemans, Mrs. Norton," etc., Lond. 
 [1830]. 
 
 HODSON (George A.) English song-writer, who flourished in the first half of 
 this century, has composed a number of fine melodies, among which may be 
 named : — Tell me Mary how to woo thee ; My pretty gazelle ; Bridal wreath ; 
 Briton's home ; Child s first prayer ; O give me but my Arab steed ; Poor 
 Bessie ; etc. 
 
 HOECK (William Thomson). Scottish comp. and cond., B. Paisley, June 14, 
 1859. S. under his father, Louis Hoeck, music-teacher in Paisley ; also under 
 Dr. A. L. Peace. Org. and Choirmaster Renfrew Parish Church, 1874.-80; 
 Queen's Park U. P. Ch., Glasgow, 1880. Cond. Paisley Philharmonic Soc, 
 1878-83 ; Hillhead Musical Assoc, 1882 ; PoUokshields Musical Assoc, 1882 ; 
 Glasgow, Amateur Orchestral Soc, 1883. 
 Works. — Op. I. Two Pf. pieces : melody impromptu and albumleaf ; op. 2. Te 
 Deum in E ; op. 3. Romance for Violoncello and Pf. ; op. 4. Songs : Two hands ; 
 The child and the shadow ; op. J. Three characteristic pieces for Pf. : Study, Love 
 song, March ; op. 6. " Undine," characteristic piece for orch. (Glasgow Choral 
 Union, 1884). Songs : How I envy the ring ; A love song ; Out of reach. Ro- 
 mance for oboe and Pf. " Wiegenliedchen," for Pf. Hymn tunes, etc. 
 
 HOEBING (August F.G.) German writer and teacher, author of Pianoforte 
 Playing to Highest Perfection : being a short treatise on the right way of 
 attaining the above accomplishment, Lond. 1880 ; Music, and how to become 
 a Good Musician, 8vo, 1883 ; The Method of the Future, 8vo ; A New 
 Method for the Pianoforte on an entirely new Principle, 6 books. 
 
 HOFFMANN (Ernst Theodor Wilhelm). German comp., lawyer, and 
 
 novelist, B. Kbnigsberg, Jan. 24, 1776. S. for the law. Held various legal 
 
 appointments. Councillor in Court o( Judicature, Berlin, 1818. D. Silesia, 
 
 July 25, 1822. 
 
 Works. — Operas: Der Frank der Unterblichkeit ; Ondine; Liebeaus Eifernicht; 
 
 Julius Sabinus ; Das Kreux an der Astsee. Symphonies, Instrumental music, 
 
 various. Novels, etc. 
 
 More noted as a novelist than as a musician. His novels are exceedingly gro- 
 tesque, and have been translated by T. Carlyle and others. His music has long 
 since been committed to the limbo of oblivion. He was an extravagant romancer, 
 and possibly a fantastic spirit pervaded his musical works. 
 
 HOFFMANN (Heinrich Anton). German violinist and comp., B. 1770. D. 
 1842. Comp. for his instrument. 
 
 HOFFMANN (Johann Georg). German org. and comp., B. 1700. D. 1780. 
 Wrote theoretical works, serenades, concertos, etc. 
 
 HOFFMANN (J. S. Christian). German musician. B. Hanau, near Frank- 
 fort-on-Main, April 10, 1841. S. Leipzig Cons., 1863, under Hauptmann, 
 Richter, and Wenzel. Settled in America as teacher and pianist. D. Hobo- 
 ken, N. J., June 23, 1875. 
 
 HOFFMANN (Karl Julius A.) German writer and comp., B. Ratisbon, 
 1801. Writer of concertos, operettas, songs, musical histories, etc. 
 
 HOFFMANN (Ludwig). German comp. and cond., B. Berlin, 1830. Comp. 
 P/. and orch. music, songs, etc. He is a teacher of singing. 
 
 HOFFMANN (Richard). See Andrews (Richard Hoffman). 
 
 HOFFMEISTBR (Franz Anton). German comp. and publisher, B. Rothen- 
 burg on the Neckar, 1754. Was publisher in Vienna and Leipzig. D. 
 Vienna, Feb. 10, 1812. He composed a vast amount of church music, sym- 
 phonies, flute and violin music, songs, etc. He is chiefly noted, however, for 
 the publication of the masterpieces of nearly all the great composers in a cheap 
 form, 
 
326 H F — HOG 
 
 HOFMANN (Heinrich). German comp., B. Berlin, Jan. 13, 1842. S. under 
 KuUak, Dehn and Wiierst. Teacher and comp. in Berlin, 
 Works. — Op. i. Two nocturnes for Pf. in A flat and G ; op. 2. Two valses- 
 caprices for Pf., in G and A flat ; op. 3. Three Pt. duet.s ; op. 4. Four two-part 
 songs ; op. 5. Capriccio for Pf. in A min : op. 6. Polonaise for Pf. in A sharp min ; 
 op. 7. "Cartouche," operetta in i act ; op. 8. Three quartets for S. A. T. B. ; op. 
 9. Five pieces for Pf; op. 10. Three Pf pieces; op. II. Album Leaves, four Pf. 
 pieces; op. 12. In Dreamland, Pf; op. 13. Two Pf. duets; op. 14. Valse for Pf.; 
 op. 15. Three pieces for orch.; op. 16. Hungarian Suite for orch., 1872; op. 17. 
 Champagne song for male chorus and orch. ; op. 18. Trio for Pf., vn., and 'cello, 
 in A ; op. 19. Italian love tale, 6 Pf. pieces ; op. 20. Six quartets for male voices ; 
 op. 21. Song of the Norns, for female voices, solo and chorus, and orch.; op. 22. 
 Frithjof, sinfonie for orch., 1874; op. 23. Landler for Pf.; op. 24. Fiinf Minnelieder 
 for voice and Pf.; op. 25. Sestet for 2 vns., 2 tenors and 2 'cellos, in E min. ; op. 26. 
 Five songs (Heine) ; op. 27.Liedercyclus, 7 songs for voice and Pf. ; op. 28. Dra- 
 matic overture for orch. ; op. 29. Springtime of love, 5 Pf. duets ; op. 30. Melusina, 
 cantata for solo, chorus and orch.; op. 31. Concerto for 'cello in D minor : op. 32. 
 Four songs ; op. 33. Frauenbilder aus Shakespeare's Dramen, 4 songs ; op. 34. 
 Reminiscences, 5 Pf. pieces ; op. 35. Three Pf. duets ; op. 36. Five songs ; op. 37. 
 Reminiscences, book 2, 9 pieces ; op. 38. Grand funeral march for orch. ; 39. 
 Prairie Pictures (Steppenbilder), Three Pf. pieces ; op. 40. Armin, opera in 4 acts ; 
 op. 41. Four two-part songs ; op. 42. Minnespeil, vocal waltzes with Pf. duet 
 accomp. ; op. 43. On the Rhine, four Pf. duets; op. 44. Aennchen von Tharau, 
 opera in 3 acts ; op. 45. Cinderella, cantata for solo, chorus, and orch. ; op. 46. 
 From my Diary, 12 Pf. pieces; op. 47. Summer; op. 48. Romance for 'cello and 
 Pf. ; op. 49, Wanda, ballad ; op. 50. Quartet for Pf., vn., viola, and 'cello ; op. 51. 
 Five songs. Sonata for violin and Pf. Op. 67. Sinnen und Minnen, a dance 
 poem {1883). 
 
 HOGARTH (George). Scottish writer and comp., B. Carfrae Mill, Lauderdale, 
 
 1783. S. at Edinburgh for law. Member of Edinburgh Choral Union. 
 
 Joint Secretary, with G. F. Graham, of Edinburgh Musical Festival, 1815. 
 
 Contributed to the Harmonicon, 1830. Sub-editor of the Morning Chronicle, 
 
 London, 1834. Musical critic of i?a«/)/ iV«wj, 1846-66. Secretary to Philar- 
 
 monic Society, 1850. He married Miss Thomson, daughter of George 
 
 Thomson. D. London, Feb. 12, 1870. 
 
 Works. — Musical History, Biography, and Criticism, being a General Survey of 
 
 Music from the Earliest Period to the Present Time. Lond., 1835 ; second edit., 
 
 1838, 2 v., 8vo. Memoirs of the Musical Drama, Lond., 1838, 2 v., 8vo, portraits. 
 
 Memoirs of the Opera in Italy, France, Germany, and England. Lond., 1851, 8vo. 
 
 The Birmingham Festival of 1852. London, 1852, i2mo. The Philharmonic 
 
 Society of London, from its Foundation in 1813 to its Fiftieth Year, 1862. Lond., 
 
 1862, 8vo. Book of English Song. Lond., n.d., 2 v. fo. Contributions to 
 
 Periodical Literature. Glees and Songs. 
 
 Hogarth was one of the few cultured men of letters who have written intelligibly 
 about music. His works are all of standard value, and are still sought among 
 musicians. They are only open to the same objection as that urged against Messrs. 
 Burney and Hawkins — who, by the bye, could scarcely help themselves— in not 
 coming down to recent times. His daughter, Catherine, married Charles Dickens 
 the novelist, in 1836. 
 
 HOGG (James), the Ettrick Shepherd. Scottish poet, musician, and general 
 writer, B. Ettrick Forest, Selkirk, 1772. Engaged as farmer at Altrive, but 
 chiefly as contributor to Blackwood's Magazine, and as a general writer. D. Al- 
 trive, Nov. 21, 1835. 
 
 Works.— The Mountain Bard, 1803 ; Mador of the Moor ; The Pilgrim of the 
 Sun ; The Queen's Wake ; The Jacobite Relics of Scotland : being the Songs, Airs, 
 and Legends of the Adherents of the House of Stuart, Edin. 2 v., 8vo, 1819-21, 
 with music ; tales, fugitive pieces, etc. ; musical settings of his own verses. 
 
 Hogg was a poet of considerable powers, and a prose writer of much fancy, if 
 uncultured in style. He has interest for the musician chiefly on account of his 
 lyrical effusions, which take rank after those of Burps and Ramsay in the national 
 
QOH — HOL 327 
 
 anthology. While Hogg was conceited with regard to his songs, he was even worse 
 where his musical settings of them were concerned. His melodies are passable, but 
 do not compare favourably with those of Neil Gow, junr., R. A. Smith, and other 
 composers who have used his verses. 
 
 HOHNSTOCK (Kaxl). German comp., pianist, and vnst., B. Brunswick, 
 1828. Went to Philadelphia, 1848, Resides there as teacher and comp. 
 Writer of Pf. music and songs. 
 
 HOLBORNE (Anthony and William). English musicians, who in 1597 
 published in London a joint production entitled "The Cittharn Schoole, by 
 Antony Holborne, gentleman, and servant to her most excellent Maiestie. 
 Herunto are added sixe short Aers Neapolitan like to three voyces, without 
 the instrument, done by his brother, William Holborne. " This book is now 
 excessively rare. 
 
 HOLCdMBE (Henry). English comp., B. Salisbury, 1690. Chor. Salisbury 
 Cath. Singer in London, at Drury Lane Theatre. Teacher of harpsichord 
 and vocalisation. D. London, 1750. 
 Works. — The Musical Medley, or, a Collection of English Songs and Cantatas 
 set to Music, 1745 ; The Garland : a Collection of Songs and Cantatas. 
 
 HOLDEN (George). English comp. and org., B. 1800. Org. of St. George's 
 Ch., Liverpool. D. Liverpool, Dec, 1856. Comp. anthems, songs, org. 
 music, etc. 
 
 HOLDEN (John). Scottish writer and comp., flourished in latter part of 18th 
 century. He published "A Collection of Church-Music, consisting of New 
 Setts of the Common Psalm Tunes, with some other Pieces ; adapted to the 
 several Metres in the Version authorized by the General Assembly. Composed 
 with a view to render the just Performance of each part more easy to Learners ;- 
 and the united effect of the whole more full and pathetic ; and also exemplify 
 some new Discoveries in the Scale of Music. Principally designed for the use 
 of the University of Glasgow," Glasgow, 4to, 1766. He also wrote "An 
 Essay towards a Rational System of Music," Glasgow, 4to, 1770, Calcutta, 
 1799, Edin, 8vo, 1807. He was never a Professor in Glasgow University as 
 stated by Fetis. 
 
 HOLDEN (Oliver). American comp., B. about middle of 1 8th century. Was 
 
 originally a carpenter. Published American Harmony, 1793. Collection of 
 
 Sacred Music [c. 1795]; The Worcester Collection of Sacred Harmony, 1797. 
 
 D. Charlestown, 1831. 
 
 His collection of psalm tunes are among the earliest of the American efforts in 
 
 this direction. He was associated with Holyoke in some of his ventures. 
 
 HOLDER (Joseph William). English org. and comp., B. Clerkenwell, Lon- 
 don, 1764, Chor. Chap. Roy. S. under Nares. Assistant to Reinhold, org. 
 of S. George the Martyr, Queen St. Org. of St. Mary's Ch., Bungay. Org. 
 of Chelmsford. Bac. Mus. Oxon. 1792. D. 1832. 
 Works.— Glees, 2 sets, 1787, 1800 ; Mass : Anthem and Te Deums ; Pf. music ; 
 
 songs, etc. 
 
 HOLDER (Eev. William, D.D). English writer and divine, B. Northampton- 
 shire, 1614. Educated at Camb. Rector of Blechindon, Oxfordsh., 1642. 
 D.D. 1660. Canon of Ely. Canon of S. Paul's. Sub-dean of Chap. -Roy., 
 1674-89. D. London, Jan. 24, 1697. 
 Works. — A Treatise of the Natural Grounds and Principles of Harmony, Lon- 
 don, i2mo, 1694 ; Do., to which is added, by way of Appendix, Rules for Playing 
 a Thorow-bass by the late M. Godfrey Keller, Lond., Svo, 1731 ; Evening Service 
 in C ; Anthems, etc. 
 
 HOLDROYD (Israel). English writer, published "The Spiritual Man's Com- 
 panion, or Pious Christian's Recreation, containing an Historical Account of 
 Music, &c. Grounds of Music and Composition in all Branches. . . . Psalm 
 and Hymn Tunes,"... Svo, various editions to 1753. 
 
328 HOL — HOL 
 
 HOLLAND (Justin). American writer, author of Comprehensive Method for 
 the Guitar, Boston, n. d. ; Modern Method for the Guitar, Cleveland [1874] ; 
 Songs and guitar music. 
 
 HOLLOWAY (Arthur S.) English org. and comp. of present time. Was 
 Bac. Mus. Oxon., 1875 ; Doc. Mus., etc. Has comp. songs, organ music, 
 Pf. music, etc., and a "School Board Singing Tutor," 8vo, n. d. 
 
 HOLLOWAY (H. R.) English writer, author of a " Manual of Chanting, " Lon- 
 don, 8vo, 1850. 
 
 HOLMES (Alfred). Enghsh violinist and comp., B. London, Nov. 9, 1837. 
 S. vn. under his father. Sopranist at the Oratory, King Wm. St., Strand. 
 Debut with Henry, his brother, Haymarket Theatre, July, 1847. Appeared at 
 Beethoven Rooms, London, 1853. Played in Germany, 1856 ; Austria, 1857 ; 
 Sweden, 1857-9; Norway and Holland, 1860-1. Settled in Paris, 1864. 
 Organised a quartet party, 1866. Travelled in Holland, Prussia, and Ger- 
 many, 1867. D. Paris, Mar. 4, 1876. 
 Works. — Symphonies'- Jeanne d'Arc, St. Petersburg, 1867, London, Feb. 1875 ; 
 The Youth of Shakspere, Paris ; The Siege of Paris, 1870 ; Charles XII. ; Romeo 
 and Juliet ; The Cid ; The Muses ; Robin Hood, 1870. Inez de Castro, opera, 
 1869. Pf. music and songs. 
 
 The death of this talented composer at the early age of 39 robbed English instru- 
 mental music of many fine additions to its store. As a violinist he was highly suc- 
 cessful, and appeared with much favour in various countries. 
 
 HOLMES (Augusts). Irish musician, B. Ireland, 1850. Resided in Paris. 
 Writer of several operas, "Hero et Leandre," 1874, etc. She has also comp. 
 "Ireland " and " Poland " symphonies, and other orch. pieces. 
 
 HOLMES (Edward). English writer and musician, B. near London, 1797. S. 
 under V. Novello. Musical Critic of Atlas newspaper. Married grand- 
 daughter of Samuel Webbe. D. in U. S. A., August 28, 1859. 
 Works. — A Ramble among the Musicians of Germany, giving some Account of 
 the operas of Munich, Dresden, Berlin, &c., with Remarks upon the Church Music, 
 Singers, Performers, and Composers, and a sample of the Pleasures and Inconveni- 
 ences that await the Lover of Art on a similar excursion. By a Musical Professor. 
 London, 8vo, 1828 ; 2nd edit., 1830; 3rd edit., 1838. Life of Mozart, including 
 his Correspondence, Lond., 8vo, 1845 > Life of Purcell ; Analytical and The- 
 matic Index of Mozart's Pianoforte Works ; Contributions to Periodical Literature. 
 Holmes' ' ' Life of Mozart " is recognised as the standard English work on that 
 master, and is valued accordingly. His work on German musicians, etc., is now 
 scarce, and was noted for its clever pictures of the German musical manners of his 
 time. 
 
 HOLMES (George). English org. and comp., B. about middle of 17th century. 
 Org. of Lincoln Cath., 1704. D. 1720. Wrote odes, anthems, and songs. 
 
 HOLMES (Henry). English violinist and comp., brother of Alfred Holmes, B. 
 London, Nov. 7, 1839. S. under his father. Resided for a time at Stockholm. 
 Teacher and comp. in London. Prof, of violin at Royal Coll. of Music. 
 Works. — Cantatas: Christmas; Praise ye the Lord. Overture for orch. Sym- 
 phonies, various. Concerto for violin, 1875. Songs, etc. 
 
 Mr. Holmes is famed for his artistic conception in composition, and for his fine 
 taste and execution in performance. His compositions have been well received 
 whenever produced, and they bear marks which distinguish them as the works of a 
 true musician. 
 
 HOLMES (John). English org. and comp. of 17th century. Org. of Winches- 
 ter Cath. about end of i6th century, Org. of Salisbury Cath., 1602-10. 
 Teacher of Batten and E. Lowe. 
 
 His compositions consist of services and anthems for the church, and madrigals ; 
 among them being, "Thus Bonnyboots the Birthday Celebrated," for 5 voices, con- 
 tained in the "Triumphs of Oriana,' 1601, 
 
HOL — HOO 329 
 
 HOLMES (Mary). English writer, authoress of "A Few Words about Music, 
 by M. H.," Lond., 1851. 
 
 HOLMES (William Henry). English pianist and comp., B. Sudbury, Derby, 
 Jan. 8, 1812. S., R. A. M., 1822. Gained 2 medals. Sub-Prof, of Pf., 
 R. A. M., 1826. Prof, of Pf., principal. Dibut as Pianist, Philharmonic 
 Soc. Concert, 1851. Teacher of W. S. Bennett, J. W. Davison, G.A., and 
 W. Macfarren. D. London, April 23, 1885. 
 
 Works. — Symphonies. The Elfin of the Lake, opera. Pianoforte: English 
 Chimes ; Border Strains ; Consuelo, concertino ; Fairy fingers, fantasia ; Highland 
 echo ; Christmas ; Sighing wind ; Veronica ; Pleasure trip ; Whispering music ; 
 etc. Concerto, The Jubilee, for Pf. and orch. Sonata for Pf. and vn. Songs, etc. 
 
 Holmes was one of the oldest and most respected musicians in Britain. His 
 life was devoted to the furtherance of musical art, and he achieved brilliant 
 success, as a glance at his numerous successful pupils will prove. His powers as a 
 pianist were at one time of the highest order, and he held a preeminent position 
 among British performers. 
 
 HOLSTEIN (Franz von). German comp., B. Brunswick, Feb. 16, 1826. 
 S. at Leipzig Cons., under Hauptmann. D. May 21, 1878. 
 
 Works. — Op. i. Waldlieder, voice and Pf. ; op. 2. Six songs for male voices ; 
 op. 9. Waldlieder, second series ; op. 22. Der Haideschacht, opera, 1869 ; op. 30. 
 Der Erbe von Morley, 1872 ; op. 37. Five Lieder for voice and Pf ; op. 38. 
 Beatrice, scene from Schiller, for voice and orch. ; op. 42. Six Lieder for voice and 
 Pf. ; op. 43. Five Lieder ; op. 44. Four Lieder. Die Hochlander, 1877. Songs 
 and trios. 
 
 HOLYOKE (Samuel). American teacher and cond., B. Boxford, Mass., Oct. 
 IS, 1762. D. Concord, N. H., Feb. 22, 1820. Was M.A. of Dartmouth 
 Coll. 
 
 Works.— Harmonia Americana, Boxford, 1791 ; The Christian Harmonist, 
 1804; The Instrumental Assistant, 1806-7; The Columbian Repository of Sacred 
 Harmony, 1809 ; The Massachusetts Compiler, with Oliver Holden, 1794. 
 Hymns, etc. 
 
 Holyoke was, with Billings, the pioneer of American Psalmody, and one of the 
 first native composers. 
 
 HOLZBAUER (Ignaz). Austrian comp., B. Vienna, 171 1. D. Mannheim, 
 April 7, 1783. Wrote vocal music and Pf. pieces. 
 
 HOMES (N.), D.D. English writer, author of " Gospel Musick ; or, the Singing 
 of David's Psalms, etc. in the pubhck congregations, or private families 
 asserted and vindicated," Lond., 4to, 1644. 
 
 HOMILIUS (Gottfried August). German comp., B. Rosenthal, Feb. 2, 
 1714. S. under J. S. Bach. Org. at Dresden. D. Dresden, June i, 1785, 
 Comp. music for the church service. 
 
 HOOD (Bev, George). American writer, author of " History of Music in New 
 England," Boston, l6mo, 1846; "Hood's Musical Manual," Boston, n. d. 
 
 HOOD (Thomas). Enghsh poet and humorist, B. London, 1798. D. 1845. 
 
 Hood's poems have been drawn upon by composers to a considerable extent, 
 chiefly by English composers like Smart, Mori, Allen, MoUey, and Hume. They 
 are well adapted for musical treatment. 
 
 HOOK (E. & G. G., & HASTINGS). American firm of organ-builders, 
 established in Boston about 1835. They constructed some of the principal 
 organs in the United States, and are famous in that country for the substantial 
 and good quality of their workmanship. 
 
 HOOK (James). English comp. and org., B. Norwich, 1746. S. under Gar- 
 land, org. of Norwich cath. Settled in London. Org. and comp., Maryle- 
 bone Gardens, 1769-1773. Do., Vauxhall Gardens, 1774-1820. Org. of S. 
 John's Horsleydown. Gained Catch Club prizes, 1772, 1780. Married to a 
 Miss Madden. D, Boulogne, 1827. 
 
33° HOO — HOP 
 
 WoR&s.— Music /or dramatic pieces : Dido, 1771 ; The Divorce, 1771 ; Trick 
 upon Trick, 1772 ; The Double Disguise, 1784 ; jack of Newbury, 1795 ; Diamond 
 cut Diamond, 1797 ; Music Mad, 1807, etc. Songs : Hours of love ; Hermit, op. 
 24 ; New Year's gift, collections ; A blacksmith you'll own ; Adieu ma liberie ; 
 Along the birks ; And where are you going ? ; As I leaned o'er the gate ; As I am 
 a friend ; Believe not youth ; Blow cheerly, ye winds ; Bonny sailor ; Brown Bess ; 
 Can'st thou love me, Mary ? ; Come out, my love ; Dear Mary, be mine ; Death of 
 Auld Robin Gray ; Ere love did first ; Flitch of Bacon ; Gentle as the breath ; 
 Gipsy Girl ; Glory smiles on our isle ; Hail, lovely rose ; Hook, or by crook ; H ours 
 of love ; Hush every breeze ; In hay-time ; Listen to the voice of love ; Little Sue ; 
 Lowland Kitty ; My Nancy was the sweetest maid ; Near Glasgow city ; Orphan 
 Bess ; Peace ; Pretty Anne of Windsor ; Should fears alarm ; Softly waft, ye 
 Southern breezes ; Sweet lass of Richmond hill ; Thro' the braes of Kirkcaldy ; What 
 is love ? ; Within a mile o' Edinboro town. Ode for the opening of the New Exhi- 
 bition Room, 1772. Pianoforte pieces, as Sonatas, op. 16, 54, etc. ; Rondos and 
 transcriptions ; Concertos for organ ; Cantatas, canzonets, catches, glees (Christmas 
 Box, 1795). The Ascension, oratorio, 1776. Guida di Musica ; being an easy In- 
 troduction for beginners on the Piano-forte ; to which are added 24 progressive 
 lessons, in the most useful keys, composed and fingered by the author, op. 37. 
 Lond., 4to, n. d. 
 
 As a song writer only will Hook be known to posterity. All, or most of his 
 works, have long since passed from the remembrance of the musical public, and of 
 his songs only a few survive. These are his imitations of the Scotch songs, and his 
 "Lass of Richmond Hill." " Within a mile o' Edinboro town " is the one most 
 likely to be undying. His sons James and Theodore achieved much renown in 
 their day, the former as Deap of Worcester, and a writer on ecclesiastical subjects, 
 and the latter as a novelist and parlour musician. 
 
 HOOKER (Edward W., D.D.) American divine and writer, B. Goshen, Nov. 
 24, 1794. Author of "A Plea for Sacred Music," and other lectures on that 
 subject. 
 
 HOOPER (Edmund). English comp., B. Halberton, Devon [1553]. Chor. 
 Westminster Abbey, 1582. Master of Chor. Westminster Abbey, 1588. Gent, 
 of Chap. Roy., 1603. Org. Westminster Abbey, 1606. D. July 19, 1621. 
 Works. — Harmonies in "The Whole Booke of Psalms," 1594. Anthems in 
 Barnard's Collection. Contributions to " Leighton's Teare's. " 
 Ecclesiastical composer of the school of Bull, Byrd and Farrant. 
 
 HOOPER (Rev. Richard, M.A.) English writer, author of "Music and 
 Musicians (especially English) to the Days of Henry Purcell. A brief Histo- 
 rical Sketch," London, i2mo, 1855. 
 
 HOFEKIRK (Helen). Scottish pianist of present time. Studied in Edinburgh, 
 of which town she is a native, and at Leipzig. Has performed successfully in 
 London, Scotland, and the United States. Her style is refined, and her 
 execution brilliant. Resided in Edinburgh as teacher ; but latterly travelled 
 as concert-giver. 
 
 HOPKINS (Edward John). English writer, comp., and org., B. Westminster, 
 London, June 30, 1818. Chor., Chap. Roy., under W. Hawes, 1826. S. 
 under T. F. Walmisley, 1833. Org. Mitcham Ch., 1834 ; do., St. Peter's, 
 Islington, 1838 ; S. Luke's, Berwick St., London, 1841 ; Temple Church, 
 Lond., 1843. Mus. Doc. Cantuar, 1882; Mus. Doc. Trin. Coll., Univ., 
 Toronto, 1886. Prof, of org. at Royal Normal Coll. for the Blind, Upper 
 Norwood, London. 
 
 Works. — The Organ, its History and Construction, a Comprehensive Treatise 
 on the Structure and Capabilities of the Organ, with Specifications and Suggestive 
 Details for Instruments of all Sizes, with an entirely new History of the Organ. 
 Illustrated, London, 8vo, 1855 ; 2nd edition, 1870 ; 3rd edition, 1877 (with E. F. 
 Rimbault). Articles (org., etc.) in Grove's Dictionary of Music. Select Organ 
 Movements, consisting of a series of Pieces taken chiefly from the scores of the 
 works of the great masters (Novello), n. d. Services: Morn, and Evn. in F; do. 
 in A ; do. in B flat (unison) ; Morning in C ; Te Deum in A flat. Anthems ; 
 
HOP — HOR 331 
 
 Acquaint thyself with God ; Arise, shine ; Blessed are the poor in spirit ; Bless the 
 Lord, O my soul ; God is gone up ; God, who commanded ; He was despised ; 
 I will give thanks ; I will wash my hands ; In my distress I cried unto the Lord ; 
 Let us now go even unto Bethlehem ; Gut of the deep ; O praise the Lord, all ye 
 Nations ; O sing unto the Lord ; The King shall rejoice ; The Lord is my portion ; 
 Thy mercy, O Lord j Try me, O God ; Why seek ye the living among the dead ? 
 Chloe and Corinna, madrigal. Organ compositions. Songs, etc. Edited Madri- 
 gals of Bennet and Weelkes for the Musical Antiquarian Society. 
 
 Hopkins has earned wide fame among English and Foreign musicians by his 
 valuable work on the organ. It is the only work in the English language worthy 
 of attention as a trustworthy history. Its popularity is evidenced by the number of 
 editions which have been issued. As an ecclesiastical composer Hopkins takes 
 high rank among Englishmen, and some of his works are among those most fre- 
 quently used in our cathedrals and churches. As an organist he is likewise famous. 
 
 HOPKINS (E. Jerome). American org. and teacher, B. Burlington, Vermont, 
 
 1836. Son of the Bishop of Vermont. Was a student at the University of 
 
 Vermont, and afterwards studied chemistry at the New York Medical College. 
 
 Self-taught in music. Was the founder of the N. Y. Philharmonic Jout nal, 
 
 also of the Orpheon Free Schools in New York city, which were founded 
 
 in i86i ; and the Piano Lecture Concerts, 1867. 
 
 Works. — Operas : Samuel, 1877 ; Dumb Love, 1878 ; Taffy and Old Munch, 
 
 1882 (for children). Festival Vespers, for boy choir, 2 chorus choirs, i echo choir, 
 
 soli, two organs, and harp obligate, 1876-77. Tf. and vocal music. 
 
 The works of Mr. Hopkins have been given in New York City at the Academy 
 of Music, and in Trinity Parish. He is accepted among the profession as an 
 eccentric musician who has laboured quite studiously to elevate the standard of 
 music. Editor of The Orpheonist. 
 
 HOPKINS (John). English org. and comp. , brother of Edward John Hopkins, 
 B. Westminster, 1822. Chor. S. Paul's Cath., 1831-38. Org. Mitcham Ch., 
 1838. Do., S. Stephen's, Islington, 1839; Trinity Ch., Islington, 1843; S. 
 Mark's, Jersey, 1845; Rochester Cath., 1856. 
 Has comp. anthems, org. music, and songs. 
 
 HOPKINS (Jolm Larkin). English comp. and org., ^cousin of above, B. 
 
 Westminster, 1820. Chor., Westminster Abbey. Org. Rochester Cath., 1841. 
 
 Mus. Bac, Cantab., 1842. Org. Trinity Coll., Cantab., 1856. Do. Camb. 
 
 University, 1856. Mus. Doc, Cantab., 1867. D. Ventnor, April 25, 1873. 
 Works. — Services in C and E flat ; Te Deum in G. Anthems: Hear the voice 
 and prayer ; I heard a voice ; Let Thy merciful ears, O Lord ; Lift up your heads ; 
 My God, my God, look upon me ; O clap your hands ; O Lord, we beseech Thee ; 
 O sing unto the Lord ; Ponder my words ; Rejoice in the Lord ; Save me, O God; 
 The Lord shall comfort ; Turn Thee unto me ; We give Thee thanks ; With angels 
 and archangels. Five Glees and a Madrigal, Lond., 1842. Songs, part-songs, etc. 
 
 HOPKINSON (J. & J.) English firm of Pianoforte makers, estabhshed in 
 1842. They have gained several medals and awards for the excellence of their 
 instruments, and are recognised as being among the foremost of English makers. 
 The firm annually produces a large quantity of excellent instruments. 
 
 HORAK (WencezlaS Ernst). Bohemian comp., B. Mseno, Jan. i, 1800. D. 
 Prague, 1871. Comp. church music and miscellaneous instrumental music. 
 
 HOEAN (John). Irish org. and comp., B. Drogheda, 1831. Org. successively 
 of Booterstown, Sandymount, St. Andrew's (Dublin), Adare, Tuam, and 
 Deriy. Choirman for a time in Limerick Cath. Assistant org. and master 
 of choristers Christ Church Cath., Dublin, 1873. Comp. anthems and org. 
 music. 
 
 HORN (Carl Friedrich). German comp. and pianist, B. in Saxony, 1762. 
 Came to London, 1782. Music-master to Queen Charlotte till iSii. Org. S. 
 George's Chap., Windsor, 1823. D. Aug. 5, 1830. 
 Composed some part-music, songs, Pf. music, etc., now entirely forgotten. 
 
332 HOR — HOR 
 
 HOBN (Charles Edward), German comp. and cond., son of above, B. Lon- 
 don, June, 1786. S. under his father, and Rauzzini, 1808. Sang at English 
 Opera House, 1809. S. singing under Thomas Welsh, 1 809. Re-appeared as 
 vocalist, 1814. Musical director at Lyceum, 1831-32. Went to America and 
 introduced English opera, 1833. Music-publisher in America for a time. Re- 
 turned to England, 1843, Musical Director, Princesses Theatre, London. 
 Settled in America as Director of the Handel and Haydn Society of Boston, 
 1847. Visited London, 1848. D. Boston, Oct. 21, 1849. 
 Works. — Oratorios: The Remission of Sin ; Satan, 1845 ; Daniel's Prediction, 
 London, 1848. Operas, etc.: The Magic Bride, 1810; Tricks upon Travellers 
 (with Reeve), 1810 ; The Bee-hive, 181 1; The Boarding-house, 181 1 ; Rich and 
 Poor, 1812; The Devil's Bridge (with Braham), 1812 ; Godolphin, 1813 ; The 
 Ninth Statue, 1814; The Woodman's Hut, 1814; Charles the Bold, 1815 ; The 
 Persia Hunter, 1816; The Election, 1817; The Wizard, 1817 ; Dirce. 1821; Actors 
 al Fresco (with Cooke and Blewitt), 1823 ; Philandering, 1824 ; Peveril of the Peak, 
 1826; Honest Frauds, 1830 ; " M. P." Christmas Bells, cantata. Songs: Ah, 
 flattering man ; Breaking of the day ; Brian Boru ; Chimes of Zurich ■ Cherry 
 Ripe ; Child of earth ; Deep, deep sea ; Desert isle ; Early home ; False Rosabel ; 
 Fond heart ; Forget thee, no ! ; He loves and rides away ; I've been where fresh 
 flowers ; Long time ago ; Love's stolen kiss ; My bonnie barque ; Mermaid's cave ; 
 O I have sheep and kine ; O never say I stole the heart ; O restore my love ; Old 
 ocean is calm ; Rosabelle ; The sun is on the mountain ; Trafalgar ; What shall be 
 my theme?; When Mary is away; Why comes he not; Woman's heart is free. 
 Duets and glees. Pianoforte music. Hindoo Melodies Harmonized, Lond., 1830. 
 This once-popular composer is now only known by his sprightly air, "Cherry 
 Ripe," which has stood the test of time wonderfully. 
 
 HOKNCASTLE (Frederick William). Irish comp. and org. of the present 
 century, flourished about 1810-50. He was org. of Armagh Cath., 1816-23. 
 He comp. a great number of pieces for the Pf , with songs, glees, comic rounds, 
 etc. He compiled " The Music of Ireland," 3 parts, Lond., fo., 1844," etc. 
 
 HORNCASTLE (John Henry). English writer and musician, author of "The 
 Whole Art of Singing at Sight," etc. London, 1829. 
 
 HORNE (George, D.D.) English divine and writer, author of " The Antiquity, 
 Use, and Excellence of Church Music ; a sermon preached at the opening of a 
 new organ at Canterbury." Oxford, 4to, 1784. 
 
 HORNE (Thomas Hartwell). English biblical writer, B. 1780. D. 1862. 
 Compiled " Manual of Parochial Psalmody, " London, 1829; " Selection of 
 Psalms and Hymns, arranged by Thomas Henshaw, 1829 [Tunes for No. i]. 
 Other editions. Historical Notices of Psalmody, London, 8yo, 1847. 
 
 HORNEMAN (Christian F. Emil). Danish comp., B. Copenhagen, Dec. 
 17, 1841. S. at Leipzig. Comp. "Aladdin" and " Heldenleben," over- 
 tures ; Caprices for Pf., op. I ; Miniatur-Bilder, Pf., op. 20. Songs, etc. 
 Son of the undernoted. 
 
 HORNEMAN (Johann Ole Emil). Danish comp., B. Copenhagen, 1809. D. 
 Copenhagen, May 29, 1870. Comp. instrumental and choral music. 
 
 HORSLEY (Charles Edward). Enghsh comp. and org., son of William 
 Horsley, B. London, Dec. 15, 1821. S. under his father, Moscheles, and at 
 Leipzig under Hauptmann and Mendelssohn. Org. of St. John's, Netting 
 Hill, London. Went to Australia, 1868. Settled in the United States. D. 
 New York, May 2, 1876. 
 
 Works. — Oratorios : David ; Joseph ; Gideon, Glasgow, i860. Comus, cantata 
 for solo and chorus (Milton), 1874; Impromptu for Pf., op. 12 ; Trio, No. 2, for 
 Pf., vn., and 'cello, op. 13 ; Six Lieder for voice and Pf., op. 21. Anthems. Pf. 
 pieces, various ; Songs, part-songs, etc. Text-Book of Harmony for Schools and 
 Students. 
 
 Horsley had undoubtedly inherited the genius of his father, but was discouraged 
 from properly applying it by the cold attitude assumed towards him by the British 
 musical public. His works are full of suggestions of a power which seems never 
 permitted to have supreme sway. 
 
ttoR — HOW 333 
 
 HOKSLEY (William). English comp., org., and writer, B. London, Nov. 15, 
 1774. Articled to T. Smith, a pianist. S. under J. W. Callcott and Pring. 
 Org. of Ely Chap., Holborn. Established Concentores Codales (society for 
 propagating the study of concerted vocal music), 1798-1847. Assist, org. at 
 Asylum for female orphans, 1798. Mus. Bac, Oxon., i8cx). Chief org. 
 Orphan Asylum, 1802. Org. Belgrove Chap., Grosvenor Place, 1812 ; Charter 
 House, on death of Stevens, 1837. Married Elizabeth H. Callcott, daughter 
 of J. W. Callcott. D. London, June 12, 1858. 
 Works. — Glees, canons, etc., published in 5 different collections : op. i, 1801 ; 
 op. 3, 1806; op. 4. [1808]; op. 6, 181 1, and 1827. Forty canons of various 
 species for 2, 3, 4, and 6 voices in Score, op. 9. Vocal Harmony (edited), London, 
 7 vols, [1830]. Elegiac Odes to memory of S. Webbe and S. Harrison. A Col- 
 lection of Psalms, with Interludes, 1828. Callcott's Glees, edited with Memoir, 
 Lond., 2 vo., fo., 1824. Airs of the Rhine, edited 1828. Pianoforte music, mis- 
 cellaneous. An Explanation of Musical Intervals, and of the Major and Minor 
 Scales, op. 8, Lond., fo., 1825. An Introduction to the Study of Practical Har- 
 mony and Modulation, Lond., 8vo, 1847. Songs and Canzonets, &c. 
 
 Horsley shares with Webbe, Callcott, and Bishop, the distinguished honour of 
 being one of the greatest glee composers. His works have rarely been equalled, 
 and never surpassed. As Hogarth says : — "His compositions indicate a profound 
 knowledge of the principles of his art, and a complete command of its resources ; — 
 a warm and poetical imagination, chastened by the utmost refinement of taste. In 
 the choice of his subject he is uniformly guided by a classical and discriminating 
 judgment, and thoroughly imbued with the spirit and feeling of his poetry. His 
 vocal phrases, accordingly, are not "more remarkable for their melodious flow and 
 smoothness, than for their adaptation to the correct and expressive declamation of 
 the words." In this respect he closely follows Callcott, whose musical sentiments 
 were never at variance with the spirit of the poetry. He was an organist of con- 
 siderable contemporary renown, and composed for the Vocal Concerts, which in 
 his time flourished in full vigour. 
 
 HORTENSE (Eugenie de Beauharnais), Queen of Holland, B. Paris, April 
 10, 1783. D. Viry, Oct. 5, 1837. 
 
 She composed and wrote the once popular national French air, "Partant pour 
 le Syrie." This has long since been superseded by that song of freedom, the 
 "Marseilles Hymn." Droiiet the composer claimed the music of this song as his 
 own. 
 
 HOUGHTON (William). Irish comp. and org., B. Dublin, 1844. Chor. and 
 deputy-org. Christ Ch. Cath. Dublin ; do. S. Ann's, Dublin. D. Dublin, 187 1. 
 Wrote anthems, org. music, songs, etc. 
 
 HOWARD (George H.) American pianist and writer, B. Newton, Mass, 12 
 Nov. 1843. S. under J. W. Tufts of Boston Music School. Teacher in Boston 
 Music School, 1862. S. in Europe under KuUak and Haupt, 1869. Director 
 of a department in Boston Music School, 1871. Married Miss Maggie A. 
 Gleason of Westfield, Mass. Teacher of Pf. , org. , and harmony in the Royal 
 Normal Coll. and Academy of Music for the Blind, London, 1874. Director 
 of the Michigan Cons, of Music, 1875 (in connection with Olivet Coll). Master 
 of Arts, Olivet Coll. Teacher of Pf., harmony and theory, in New England 
 Cons, of Music, Boston. 
 Mr. Howard has published Outline of Technique, and A Musical Chart. He has 
 also read before the National Music Teachers' Association papers on ".Sources of 
 Inspiration in Musical Art," 1 880 ; and "On the Benefit to Pianists of a more Ex- 
 tensive Culture of Chamber Music," 1883. — Musical Herald, Boston, etc. 
 
 HOWARD (John). American writer and comp., B. Boston, Mass, 1839. 
 Grad. Yale College, i860. S. in Leipzig, 1866-1867, under Plaidy, Richter, 
 and Scheffer. Org. of ist Presbyterian Ch. Utica, N. Y., 1868. Originator of 
 the Howard Voice-Method. Composer of songs, O, sweet vnld roses ; Hear 
 the maid at twilight sighing, etc. Author of the works on voice, ' ' Vocal Re- 
 form. Papers illustrating the revolutionary principles of the Howard Method," 
 Cincinnati, n. d. ; "Vocal Process," " Respiratory Control," papers read before 
 the Music Teachers' National Association in 1879 and 1882. 
 
334 HOW — Hufe 
 
 HOWARD (Samuel). English org. and comp., B. London, 1710. Chor. 
 Chap. Roy. under Croft. S. also under Pepusch. Org. of St. Bride s, and of 
 St. Clement Danes, London.- Mus. Doc. Cantab., 1769. D. London, July 13, 
 1782. 
 Works.— The Amorous Goddess, opera, 1744. The Musical Companion, a Col- 
 lection of English Songs, fo., Lond., N. D. Cantatas. Instrumental music, sona- 
 tas, concertas, etc. Anthems and Psalms. Contributions to contemporary collec- 
 tions. 
 
 Howard is known as the composer of the fine psalm tunes, " Howard " and " St. 
 Bride's ; " but apart from these his name is not familiar. He assisted Dr. Boyce 
 with the compilation of his Cathedral music. "The easy, simple melodies of this 
 respectable, but plain unaffected Englishman, approached nearer to the purest style 
 of Dr. Arne than the ballad effusions of any other master. — Busby. 
 
 HOWE (Elias). American musican and writer, B. Spencer, Mass., 1819. D. 
 1867. Author of the following : — 
 
 Works. — Pianoforte Instructor, Boston, n. d. ; Melodeon Instructor, n. d. ; 
 Instructor for the Guitar, n. d.; Self-instructor for the Violin, n. d.; Violin without 
 a Master, n. d. ; Flute without a Master, n. d. ; School for the Flute, n. d. ; Self- 
 instructor for the Flute ; Caledonia Collection (airs for the flute), n. d.; Accordeon 
 without a Master ; Complete Accordeon Preceptor ; Ethiopian Accordeon Instructor ; 
 Accordeon Songster (i860) ; Self-instructor for Accordeon or Flutina ; Preceptor for 
 the German Accordeon ; Few German Concertina School ; New Fife Instructor ; New 
 Clarionet Instructor ; New Flageolet Instructor ; New Cornet Instructor. 
 
 A number of those were issued under the pseudonym of " Gumbo Chaff." Howe 
 was the inventor of a sewing machine. 
 
 HOWELL (Edward). English violoncellist, B. London, Feb., 1846. Author 
 of a " First Book for the Violoncello " (from Romberg), etc. He is an 
 instrumentalist of great capabilities, and performs at the principal London and 
 provincial concerts. Brother of Francis, noted below. 
 
 HOWELL (Francis). English comp., son of James Howell, B. 1834. D. 
 1882. Comp. two oratorios, and a number of songs. 
 
 HOWELL (James). English double-bass player and teacher, B. Plymouth, 
 1811. S. R. A. M., under T. M. Mudie. S. double-bass under Anfossi. 
 Prof, of d.-bass at R. A. M. Mem. of R. A. M., etc. D. London, Aug. 
 1879. His son Arthur, also a bass-player, D. April 16, 1885. His wife was 
 Rose Hersee, the vocalist. 
 
 HOWGILL (William). English org. of iSth century. Org. of Whitehaven, 
 1 794 ; do. in London. Wrote organ voluntaries, psalms, and anthems. 
 
 HOWSON, see ALBERTAZZI (Emma). 
 
 HOYLAND (John). English org. and comp., B. Sheffield, 1783. S. under 
 Mather of Sheffield. Org. of S. James' Ch., Sheffield, 1808. Org. Parish 
 Ch., Louth, Lincoln, 1819. D. Jan. 18, 1827. Comp. anthems, songs, and 
 org. music. 
 
 HOYLE (John). English writer, who flourished in the i8th century, and D. 
 1797. Author of " Dictionarium Musicas, being a Complete Dictionary or 
 Treasury of Music," 1770. Other editions 1790 and 1791. 
 
 HOYTE (William Stevenson). English org. and comp. of present time. Comp. 
 a number of pieces for his instrument, vocal music, etc. He is a professor at 
 Trinity College, London. He composed a " Book of Litanies, Metrical and 
 Prose, with an Evening Service and Accompanying Music," 4to, n. d. 
 
 HUBBARD (Henry). English writer, author of " Elements_of Campanologia, 
 or an Essay on the Art of Ringing," London, 1876, i6mo. 
 
 HUBER (Hans). German comp. of present time, B. Schbnewend, near Olten, 
 Switzerland, June 28, 1852. Teacher and writer in Berlin. 
 Works.— Op. 2. Blatter und Bliithen, for Pf. ; op. 7. Studien iiber ein Original- 
 thema fur das Pf. ; op. 12, Bilderbuch ohne Bilder ; op. 16. Marchenerzahlungen, 
 
HUB — HiJci 33S 
 
 Pf.; op. 17. Phantasie for Pf. and vn. ; op. 18. Sonata for Pf. and vn, ; op. 20. 
 Trio for Pf., vn., and 'cello ; op. 23. Ballet music zu Goethe's Walpurgisnacht, Pf.; 
 op. 25. Friihlingsliebe, Lieder for voice and Pf. ;op. 29. Sechs Lieder in Volkston 
 fiir Mannerchar ; op. 30. Two romances for Pf. and 'cello ; op. 31. Sonatas for two 
 Pf.'s, in B flat ; op. 33. Sonata for Pf. in D ; op. 36. Concerto for Pf. and orch. ; op. 
 41. Aus Goethe's Westoestlichem Divan; op. 42. Sonata for Pf. and vn.; op. 43. 
 Weihnachtan, Album fur grosse Leute, Pf. ; op. 44. Liebeslieder ; op. 45. Aussoh- 
 nung aus Gbthe's Trilogie der Leidenschaft, for male voices, soli, chorus, and orch ; 
 op. 47. Sonata: Zu Maler Nolten, for Pf., in E flat; op. 50. Eine Lustspiel, 
 Overture, for orch.; op. 55. Serenade in E ; Rbmischar Carneval, Humoreske, for 
 orch.; Ten vocal quartets, op. 69. 
 
 HUBEBTI (GUStave Leon). Belgian comp., B. Brussels, 14 April, 1843. S. 
 Brussels Cons. Gained prizes for comp., 1863-65. Comp. " De Laatste Zonnes- 
 traal," oratorio ; cantatas, concertas, etc. 
 
 HUCBALD. Flemish monk and musician, B. [840]. D. 932. 
 
 Author of a treatise on music, the earliest which has descended to the present 
 time. It is composed and illustrated by a very confusing notation, so that the real 
 intentions of the author are never fairly comprehended. From what can be de- 
 ciphered, the music of his time appears to have been in a condition of the utmost 
 crudity. 
 
 HUCKEL (William). English writer, author of Practical Instructions in the 
 Art of Singing, London, i2mo, 1845. Practical Instructions for the Cultiva- 
 tion of the Voice, London, 8vo, u. d. 
 
 HUDL (J.J.) German writer, author of "Tabular View of Modulation from 
 any one Key to all other Keys, Major and Minor... with additional examples by 
 J. Jousse," 4to, n. d. 
 
 HUDSON (Mary). English org. and hymn comp. Org. of S. Olave, Hart St., 
 Lond.; do. St. Gregory, Old Fish St., 1790-1801. D. London, 28 Mar., 1801. 
 Daughter of Robert Hudson. 
 
 HUDSON (Robert), English comp., B. Feb. 1732. Tenor singer in Marylebone 
 and Ranelagh Gardens. Assist, org. S. Mildred, Bread St., London, 1755. 
 Vicar-Choral, S. Paul's, 1756. Gent, of Chap. Roy., 1758. Almoner and 
 master of children, S. Paul's, 1773-1793. Music-master Christ's Hospital. D. 
 Eton, Dec, 1815. 
 Works. — Services. Anthems and Hymns. The Myrtle, a Collection of Songs 
 
 in 3 books, 1767. Glees. 
 
 HUEFFEB (Francis). Writer and comp., B. 1845. Educ. in London, Paris, 
 Berlin, and Leipzig. Musical critic for the Times, London, since 1878. Ph.D. 
 Gbttingen, 1869. Author of the following works : — The Troubadours, a His- 
 tory of Provencal Life and Literature in the Middle Ages, London, 8vo, 1878. 
 Musical Studies, a Series of Contributions, 8vo, 1880. Wagner [Great 
 Musicians series], 1881, 8vo. Richard Wagner and the Music of the Future, 
 Lond., 8vo, 1874. Italian and other Studies, Lond., 1883. Paper on Liszt. 
 Songs. Pf. pieces, etc. Contributions to periodical literature, and to the 
 " Encycloptedia Britannica," ninth edition, and Grove's Dictionary of Music. 
 Also writer of opera libretti, of which "Colomba" and " Guillem de Cabe- 
 stant," both set by A. G. Mackenzie, are the most important. Editor of the 
 Musical World bom 1886. 
 
 HUGHES (Mrs. F. J.) Enghsh writer, authoress of " Harmonies of Tones and 
 Colours developed by Evolution," Lond., 1883, fo., illust. 
 
 HUGHES (G. A.) English musician and teacher, author of Instruction Book for 
 the Pianoforte or Organ for the Blind, Lond., 4to, 1848. Congregational 
 Psalmody, i8mo, 1843. 
 
 HUGHES (J.) English writer, author of " Young Student's Musical Definitions," 
 Lond., l2mo, 1877. 
 
 HUGO (Victor Marie), French poet, dramatist, and novelist, B. 1802. D. 1884. 
 
33^ ttUL — HtJM 
 
 Works. — Odes and Ballads, 1S22; Les Orientales, 1828; Autumn Leaves, 
 poems, 1832; Chansons des Rues et des Bois. Dramas: Ernani ; Lucrezia 
 Borgia ; Esmeralda ; Ruy Bias. Novels and political writings. 
 
 Operas have been founded on the dramas of Ernani, Lucrezia Borgia, Esmeralda, 
 and Ruy Bias ; the first, by Verdi, being the only one which has attained much 
 popularity, and that is now evaporating. The lyrics and songs have been set by 
 innumerable composers. Most of the modern French composers have drawn on 
 his works, an occasional German, and a few Englishmen. 
 
 HULLAH (John Pyke). English comp. and teacher, B. Worcester, June 27, 
 l8i2. S. under W. Horsley, 1829. S., R. A. M., 1832. Visited Paris and 
 adopted Wilhelm's method of vocal instruction. Musical instructor in Sir 
 James Kay Shuttleworth's (then Dr. Kay) Training College, Battersea, 1840. 
 Taught music to schoolmasters in Exeter Hall, London, 1841. Established 
 classes in S. Martin's Hall, 1847-50. Prof, vocal music. King's College, 
 Lond., 1844-74; do. Queen's Coll., Lond., and Bedford Coll. Org. of Char- 
 ter House, 1858. Conductor at R. A. M., 1870-73. Musical Inspector of 
 Training Schools for United Kingdom, 1872 — retired 1883. LL.D., Edin- 
 burgh, 1876. Member of Society of S. Cecilia, Rome, 1877. do. Music 
 Academy of Florence. D. London, Feb. 21, 1884. 
 Works. — Method of Teaching Singing, by Wilhelm, Lend., 8vo, 1842; do. 
 Revised and Reconstructed edition, 1850. Grammar of Vocal Music, founded on 
 Wilhelm's Method, 8vo, 1843. Duty and Advantages of Learning to Sing, Lond., 
 1846. Grammar of Musical Harmony, 1853; Exercises for do., 1873; new edit., 
 1873. Music in the Parish Church, a Lecture, Lond., 1856.. History of Modern 
 Music, a Course of Lectures delivered at the Royal Institution of Great Britain, 
 8vo, 1862 (2 editions). Lectures on the Third or Transition Period of Musical 
 History, Lond., 8vo, 1865; 2nd edit., 1876. The Song Book, Words and Tunes 
 from the best Poets and Musicians, l6mo, 1866. Cultivation of the Speaking 
 Voice, Oxford, 8vo, 1870; another edit., 1874. Grammar of Counterpoint. Rudi- 
 ments of Musical Grammar, 8vo, n. d. Notation : Brief Direction concerning the 
 Choice, adjustment, etc., of the Musical Alphabet, 1876. Time and Tune in the 
 Elementary School, New Method of Teaching Vocal Music, and Exercises, 8vo, 
 1877. Music in the House, Macmillan's Art at Home Series, 8vo, 1877. Exer- 
 cises for the Cultivation of the Voice, 2 parts, n. d. Operettas: The Village 
 Coquettes (Dickens) ; The Outpost ; The Barbers of Barsora. Singer's Library 
 of Concerted Music — Secular and Sacred Series, 6 vols. 58 English Songs, by 
 Composers chiefly of the 17th and i8th centuries. Songs'- Come forth from thy 
 bower ; Home of our youth ; One look of love ; Free companion ; Joy cometh in 
 the morning ; Message from the battlefield ; The storm. Motets, anthems, con- 
 certed vocal music, etc. Reports to Government on Progress of Musical Education 
 in Schools. Contributions to periodical literature. 
 
 Mr. HuUah was recognised as the first Englishman who gave an impetus to 
 musical education. His whole energies were throughout a long and successful 
 career directed in this channel, and his success in convincing the government to a 
 belief in music as an important factor in education will secure for him the lasting 
 regard of the community. His ability as a teacher was marvellous, and he trained 
 a number of vocalists who now stand in the foremost rank of English singers. 
 HuUah was an advocate of the fixed doh, and in consequence opposed to the Tonic 
 Sol-fa method. 
 
 Hullah did much by writing and composition to extend his name and usefulness. 
 As a writer his historical works possess most general interest. His other works are 
 didactic, and have fulfilled the function allotted to them by spreading theoretical 
 knowledge far and wide. As a composer Hullah has high rank. The operettas 
 were noticed by Hogarth, shortly after their performance, as giving great promise 
 of future power, and though now entirely forgotten were works possessing much 
 sweetness and melody. 
 
 HtJLLER, see HILLEB (J. A.) 
 
 HULLMANDEL (Nicolas Joseph). German writer and comp., B. Strasburg, 
 1751. D. London, Dec. 1823. He wrote Principles of Music, chiefly calcu- 
 lated for the Pianoforte or Harpsichord, Lond., fo., n. d. Sonatas for Pf. and 
 for Pf and vn. Songs and concerted vocal music. 
 
MUM — HURi 33? 
 
 HUME (Alexander). Scottish comp. and minor poet, B. Edinburgh, Feb. 17, 
 181 1. Engaged in business and teaching in Edinburgh and Glasgow. D. 
 Glasgow, Feb. 4, 1859. 
 
 Works. — The English Hymn Tune Book, containing two hundred and four 
 of the most common hymns used in England : arranged for four voices. Edin. , ob. 
 i2mo, n.d. Anthems and Sacred Songs, containing fifty-four pieces. Edin., 
 i2mo, n.d. Gall's Psalm and Hymn Book. Edin., 1842. Six Sensible Songs. 
 Songs : Afton Water ; My ain dear Nell ; The Scottish emigrant's farewell, etc. 
 Glees and duets. Poems, various. 
 
 Hume was one of the very few Scottish composers who have risen above a 
 mediocre degree of merit in their productions. His songs are inspired by the same 
 genuine feeling for the national and local associations of his country which appears 
 so prominently in the traditional lyrics of the nation. " Alton Water " is beyond 
 doubt the most beautiful song which has emanated from Scotland in modern times, 
 as well as being one of the finest in the Caledonian anthology. It is a perfect 
 example of true inspiration, and appeals to the cultured and uncultured mind alike. 
 Burns was never more sympathetically set. His other productions attain a fair 
 degree of merit, but none of them have become so popular as "Afton Water." 
 
 HUME (Tobias), English military ofilcer and musician, was a performer on the 
 viol-da-gamba, and a colonel in the army. He wrote "The First Part of 
 Ayres, French, PoUish, and others together, some in Tabliture and some in 
 Pricke," 1605 ; "Captain Hume's Poeticall Musicke, principally made for two 
 Basse VioUs, yet so construed that it may be plaied eight several waies, upon 
 sundrie instruments, with much facilitie," 1607. 
 
 HUME (William). Scottish comp. and editor, son of Alex. Hume, B. Edin- 
 burgh, Sept. 25, 1830. Engaged in teaching in Glasgow. Editor of musical 
 publications of Mr. Hamilton, Glasgow ; Gall & Inglis, Edinburgh ; and Par- 
 lane, Paisley. Musical critic of 7'Ae Bailie, Glasgow, 1872 ; and correspon- 
 dent of London musical journals. Teacher of harmony, violin, and singing. 
 Works. — Psalm and Hymn Tunes, with supplement of anthems ; Union Sacred 
 Tune-Book ; The Westminster Wesleyan Tune Book (with Mr. Sugden) ; Editions 
 of Musical Works issued by Messrs. Gall & Inglis ; Harmonium Tune-Book. Part- 
 Songs, Glees, etc. : Good morrow to the hills again ; The return of May ; Song 
 of the summer winds ; Come o'er the sea ; Allen a Dale ; Shall I wasting in 
 despair ; Philida and Corydon ; Sally Brown (Hood) ; Ben Battle ; Now at moon- 
 light's fairy hour ; Once more a welcome to the woods ; Gome away, the eastern 
 grey ; Oh, the depth of the riches ; The Lord is my strength. Cantatas : Psalm 67, 
 for treble voices ; Bartimeus, for barytone solo and chorus ; The Call to Battle. 
 
 HUMFREY. See Humphrey. 
 
 HUMMEL (Johann Nepomuk). Hungarian pianist and comp., B. Pressburg, 
 Nov. 14, 1778. S. at Vienna under Mozart, 1785. Dlbut as pianist, Dresden, 
 1787. Travelled in Germany, Denmark, and Scotland, 1788. Appeared in 
 London, 1791-92. S. under Clementi in London. Returned to Vienna, 1793. 
 S. under Albrechtsberger and Salieri. Travelled in Russia, 1800. Music- 
 diiector to Prince Nicholas Esterhazy, 1803-10. Chapel-master at Stuttgart, 
 1816-20. Do. at Weimar, 1820-37. Appeared in France and England, fre- 
 quently ; in London as conductor of German opera, 1833. D, Weimar, Oct. 
 17. 1837- 
 Works. — Operas: Das Haus ist zu Verkaufen ; Die Kuckfahrt des Kaisers; 
 Mathilde der Guise. Cantatas, various ; Ballets. Overture for orch., in B flat, op. 
 loi ; Thsee String Quartets, op. 30 ; Serenades, for various instruments, opp. 63 
 and 66 ; Septets, in D minor, op. 74, and in C, op. 1 14 ; Quintet for Pf. and strings, 
 op. 87 ; Concertos for Pf. and orch., op. 34, in C ; 73, in G ; 85, in A minor ; 89, 
 in B min.; 110, in E ; 113, in A flat. Rondos for Pf. and orch., opp. 56, 98, 117 ; 
 Themes for Pf. and orch. opp. 97, 115 ; Symphonie concertante for Pf. and vn., op. 
 17 ; Trios for Pf., vn., and 'cello, opp. 12, 22, 35, 65, 83, 93, 96 ; Sonatas for Pf. 
 and vn., opp. 5, 19, 25, 28, 37, 50, 64, 104 ; Sonatas for Pf. duet, opp. 43, 92, 
 99; Sonatas for Pf. solo, opp. 13, 20, 36, 81, 106; Rondos for Pf solo, opp. 11, 
 12, 107, 109; Fantasias for rf. solo, opp. r8, 123, 124; Studies, caprices, varia- 
 
 X 
 
338 HUM HUS 
 
 tions, and fugues for Pf., opp. I, 2, 7, 8, 9, 40, 45, 47, 49> 67, 105, 118, 119, I25> 
 etc. Three Masses, op. 77, in B flat ; op. 80, in E flat ; op. in, in D. 
 
 Hummel stood foremost in his day among a school of performers now rapidly 
 dying out. This school was an advance, in point of execution, on that of Clementi, 
 but scarcely so advanced as that headed by Moscheles, and later by Thalberg and 
 Chopin. Its characteristic feature was the use of the uniform legato touch so highly 
 esteemed by Moscheles, and a finical refinement in the interpretation of the classical 
 masters. It was the school which immediately succeeded the cantabile style of the 
 end of last and the beginning of the present century, but was the forerunner of the 
 bravura school of recent times. Hummel's Pf. compositions are still held in esteem, 
 but much of their popularity has vanished. They are marked by strong poetical 
 feeling, clear form, and much technical cleverness. His operas are forgotten, but 
 his masses are still in use. 
 
 HUMPHREY (Pelham) or Humfrey. English comp., B. 1647. Chor. Chap. 
 
 Roy., 1660. S. under LuUi at Paris, 1664. Gent, of Chap. Roy., 1667. 
 
 Master of Choristers, do., 1672. D. Windsor, July 14, 1674. 
 Works.— Anthems and Services in collections of Clifford, Boyce, Tudway, etc.; 
 Odes on the King's Birthday and on New Year's Day ; Songs in various collec- 
 tions, etc. 
 
 Humphrey was a great lute-player, and is said to have excelled the celebrated 
 Henry Cook, who died out of jealousy of his pupil's talents. This is one of Anthony 
 Wood's stories, and is of doubtful authenticity. Humphrey was a composer of 
 some promise, and would doubtless have come to greatness had he lived long 
 enough. His compositions are few in number but good in conception. 
 
 HUNNIS (William). English musician of l6th century. Chapel master to 
 Queen Elizabeth. D. [1597]. Published " Certayne Psalms in English 
 Meter." Ldnd., 1550. 
 
 HUNT (Rev. Henry George Bonavia). English writer, B. Malta, June 30, 
 
 1847. Professor and Warden of Trinity Coll., London. Author of " Concise 
 History of Music from the Christian Era to the Present Time." 1878, and 
 2nd edit., 1879 ; 7th ed., 1884 ; Papers on Musical Subjects, etc. 
 
 HUNT (Thomas). English comp. of l6th century. Wrote the madrigal, 
 "Hark ! did you ever heare so sweet a singing," for 6 voices, in the " Triumphs 
 of Oriana." 
 
 HUNTEN (Franz). German pianist and comp., B. Coblenz, Dec. 26, 1793. S. 
 at Paris Cons., under Pradher, Reicha, and Cherubini. Teacher and performer- 
 in Paris. D. Coblenz, Feb., 1878. 
 
 Works. — Polonaises for Pf., op. 3. Fantasias, op. 24, 57, 76, 107, 126, 132, 
 133, 138, 140, 142, 162, 166, 167, 170, 173, 177, 178, 187, 204, 213, etc. Rondos, 
 nocturnes, and sonatinas, op. 5, 6, 21, 30, 42, 78, 90, 93, 112, 117, 139, 169, 183, 
 186, etc. Variations, studies, lessons, etc., opp. 26, 32, 41, 58, 59, 67, 68, 70, 
 71, 73, 80, 82, 88, 89, 94, 95, 97, 98, 105, 109, III, 113, 114, 118, 124, 128, 
 131, 134, 145, 147, 150, 151, 153, 159, 179, 181, 188, 215, 219, 225, etc. Trios 
 for Pf., vn., and 'cello. School for the Pf. 
 
 Hiinlen was a brilliant pianist and a popular comp. in his day, but his works, the 
 majority of which are flimsy shop pieces, are gradually dying out. His ' ' School for 
 the Pf " is the most useful production, and his Pf. exercises are useful and much 
 used for teaching purposes. 
 
 HUNTER (Anne), nk Home. Scottish poetess, famous as having written the 
 words to a number of Haydn's songs ; reprinted in her Poetical Works, 170^. 
 B. 1742. D. 1821. '^^ 
 
 HUSK (William Henry). English writer of present time, B. London, 1814. 
 Was Librarian to the late Sacred Harmonic Society. Author of "An Account of 
 the Musical Celebrations on St. Cecilia's Day, in the i6th, 17th, and l8th cen- 
 turies, to which is appended a Collection of Odes on St. Cecilia's Day," Lond., 
 Svo, 1857; "Songs of the Nativity, being Christmas Carols, Ancient and Modern) 
 several of which appear for the first time in a Collection, edited vsith Notes," 
 
HUT — iLi 339 
 
 Lond., sm. 4to, n.d. [1866]; " Catalogues of the Library of the Sacred Har- 
 monic Society," 1853, 1862, and 1872 ; Contributions to Sir G. Grove's "Dic- 
 tionary of Musicians. " Numerous prefaces to Word Boolts of oratorios, and 
 other pieces, etc. 
 
 HUTCHESON (Charles). Scottish comp., B. 1792. Teacher in Glasgow. D. 
 Glasgow, 1856. Published "Christian Vespers," Glasgow, 4to, 1832, con- 
 taining hymn tunes harmonized in 3 and 4 parts, and an introductory essay on 
 church music. 
 
 HUTCHINGS and BOMEB. English firm of music publishers, established in 
 London in 1863. The firm has published a great amount of ballad music by 
 the leading composers of the present time, as well as Pf. music, etc. 
 
 HUTCHINSON (Francis), Fkancis Ireland. English glee comp. [B. 1730], 
 who flourished in the latter part of the 1 8th century. He composed the Glees — 
 "Return, return, my lovely maid;" "As Colin one evening;" "Jolly 
 Bacchus;" and "Where weeping yews." Catches. 11 Glees in Warren's 
 Collection. He was awarded the prizes of the Catch Club in 1771, 1772, and 
 1773. His biography is obscure. 
 
 HUTCHINSON. An American family of singers, born at Milford, N. H. Four 
 brothers composed the family, and they were singers of temperance and slavery 
 songs, well known throughout the United States. They were natural singers, 
 having received no training. They flourished about 1846-60. 
 
 HUTCHISON (G. B.) English writer, author of "Shorthand Music: an easy 
 aud rapid method of writing music. " Lond., i2mo, n.d. 
 
 HUTCHISON (William Marshall). Scottish comp., B. Glasgow, May 28, 
 1854. Writer of the popular songs, "Dream Faces," " Ehren on the Rhine," 
 etc., under various pen names, among them those of Joseph Meissler, Oscar 
 Seydel, etc. He has comp. two cantatas, "The Story of Elaine " and " H. R. 
 H." ; also a 3 act comic opera, " Glamour" ; and numerous 4-part songs and 
 instrumental pieces. 
 
 HUTTENBBENNEB (Anselm). Hungarian comp., B. Gratz, October 13, 
 1794. D. Ober-Andritz, June S, 1868. Best known as a comp. of church 
 music, and for his connection with Schubert. 
 
 HUXTABLE (Anthony, Christopher, and William). A family of English 
 musicians. Anthony, B. 1818, violinist and teacher ; Christopher, his son, org. 
 and vnst. ; William, a harpist, pianist, etc. 
 
 I. 
 
 ILIFFE (Frederick). English comp. and org., B. Smeeton, near Leicester, 
 
 1847. Org. of S. Wilfrid's Ch., Kibworth. F. C. O., 1872. Mus. Bac. 
 
 Oxon., 1873. Licentiate in Music, Trinity Coll., Lond., 1874. Org. and 
 
 Choir-master, S. Barnabas Ch., Oxford. Mus. Doc. Oxon., 1879. Org. of 
 
 S. John's Coll., Oxford, 1883. 
 
 Works.— The Visions of St. John the Divine, oratorio, in 3 parts (Mus. Doc. 
 
 degree), 1879 ; pub. in 1880. Evening Service in D, for men's voices, written for 
 
 Keble Coll., Oxford. Anglican Chant Settings for the whole of the Canticles. 
 
 Three Separate Services for Te Deum in F, G, A, in Anglican chant form. Six 
 
 Settings of the Kyrie Eleison. Anthems : Nearer my God to Thee, 1873 ; 
 
 Short and Easy Full Anthems for Parish Choirs (dedicated to Sir F. A. G. 
 
 Ouseley), 2 vols., 187';; Praise the Lord O my soul, Oxford, 1879; Jesus, Lover 
 
 of my soul (used in S. Paul's Cath., London), 1884; And I heard a great voice 
 
 out of heaven ; O to my longing eyes, 8 part chorale and fugue. Organ Music : 
 
 Andante con raoto, in E flat ; Prelude and fugue, in C minor ; Festival march, m F. 
 
340 1 L I — t R 
 
 Overture in E, for orch ; Minuet, trio, and finale, in D, for orch. Caprice de con- 
 cert, in A flat, for Pf. ; Notturno in D flat, Pf. ; Sonata in D ; Quartets, quintets, 
 trios, etc. for voices. 
 
 Mr. Ilifie has composed some very successful anthems, and is also favourably 
 known by his oratorio, vi'hich contains some good numbers. The anthems for 
 parish choirs are good examples of this style of writing, and are well adapted for 
 the purpose. 
 
 ILINSKI (Johann Stanislas, Count). Polish poet and comp., B. 1795- 
 
 Comp. masses, overtures, psalms, Pf. music, songs, poems, etc. Attamed to 
 dignity of Counsellor of State imder the Government. The date of his death 
 appears never to have been chronicled. 
 
 IMMYNS (John). English attorney and lutenist, B. early in iSth century. 
 Mem. of Acad, of Ancient Mas. Amanuensis to Dr. Pepusch. Established 
 the Madrigal Soc, 1741. Lutenist to Chap. Roy., 1752. D. London, April 
 IS, 1764. 
 
 INCLEDON (Charles Benjamin). English tenor vocalist, B. St. Keverans, 
 Cornwall, 1764. Son of a Physician. Articled pupil to W. Jackson, Exeter. 
 Chor. Exeter Cath. Sailor on board "H. M. S. Formidable," I779;83- 
 Recommended as singer to Colman by Lord Admiral Hervey, but services 
 declined. Mem. of CoUins' Dramatic company at Southampton, 1784. 
 Appeared at Bath, 1785. Pupil for a time of Rauzzini, at Bath. Sang in 
 Vauxhall Gardens, 1788. Debut in "The Poor Soldier" at Covent Garden 
 Theatre, Lond., 1790. Travelled much in the Provinces. Retired from 
 Covent Garden, 1815. Appeared in North America, 1817. Resided at 
 Brighton. D. Worcester, Feb. 11, 1826. 
 Incledon was a specimen of the unapproachable English ballad singer. His voice 
 
 was natural, and his rendering of the old British melodies has been written of as 
 
 unsurpassed. 
 
 INFANTAS (Ferdinand de Las). Spanish comp., B. Cordova, who flourished 
 in second half of l6th century. He composed among other works the fol- 
 lowing : — ■ 
 Plura Modulationum genera quK vulgo contrapuncta appellantur super excelso 
 Gregoriano Cantu. Venice, 4to, 1570. Sacrarum varii styli Cantionum tituli 
 Spiritus Sancti. Venice, 4to, 1580. 
 
 Infantas is generally regarded as the foremost light of the early Spanish school, 
 and is noted as a writer of dignified church music. 
 
 INGALLS (Jeremiah). American comp., B. in latter half of i8th century. 
 D. Hancock, Vermont, 1828. He issued "The Christian Harmony, or Song- 
 sters' Companion," Exeter, N. H., 1805. 
 
 INGHAM (Richard). English comp. and org., B. 1804. Was org. of Carlisle 
 Cath., and wrote some vocal music. D. 1841. 
 
 INGLOTT (William). English org. and comp., B. 1554. Org. of Norwich 
 Cath. D. Dec, 1621. 
 Mentioned as one of the greatest of early English organists. Biography obscure. 
 
 INVEBARITY (Eliza). Scottish soprano vocalist and comp. , B. Edinburgh, 
 March, 1813. D. Newcastle-on-Tyne, 1846. 
 She was a public singer of some note in her day, and a composer of ballads. She 
 appeared in America with her husband, Charles Martyn, a bass singer and comp. 
 
 IRELAND (Francis). See Hutchinson. 
 
 IRONS (Herbert S.). English org. and comp., B. Canterbury, Jan. 19, 1834. 
 Nephew of the Elveys. Was org. of Southwell Minster. Resident in Notting- 
 ham. He was awarded the Musical Standard prize for a hymn tune in 1866. 
 He has comp. anthems, and edited a Collection of Chants. 
 
 IRONS (Thomas), or I'ONS. English org. and comp., B. 1817. Bac. Mus., 
 Oxon., 1848. Doc. Mus., Oxon., 1854. D. Newcastle-upon-Tyne, 1857. 
 
ISA — IVA 341 
 
 Comp. of anthems, glees, and songs ; and editor of " Cantica Ecclesiastica : a 
 Collection of Psalm and Hymn Tunes, single and double chants," etc., to., n.d. 
 
 ISAAC (Heinrich), Arrigo Tedesco. German comp. and teacher, B. 1440 
 [1460]. S. under Josquin. Visited Italy, anrt was appointed Chap. -master of 
 S. Giovanni, Florence, 1475. Musical instructor to the children of Lorenzo 
 di Medici. Musical Director at Florence. Chap. -master to Maximilian I., 
 1493. D. in service of Maximilian I. early in the i6th century [1520]. 
 Works. — Ten Masses, published ; Thirteen Masses in MS. ; Motets and Psalms; 
 Secular Part-songs ; etc. 
 
 " Several of his compositions are preserved ; and considering the state of Music 
 in consonance at the time he wrote, great praise is due to his science, and the in- 
 genious disposition of his score. If in his melodies he does not discover any 
 remarkable facility of fancy, his power of imitation is conspicuous, and his harmony 
 sound." — Busby. 
 
 ISAACS (Rebecca). English actress and vocalist, B. London, 1828. First 
 appearance, 1834. Dibut in opera, at Olympic Theatre, London, in Dec. 1836. 
 Married Thomas Roberts, acting-manager. Sang with much success in London 
 and the provinces. D. London, April 24, 1877. 
 
 ISHAM (John). English org. and comp., B. 1685. Deputy-org. to Dr. Croft. 
 Org. of S. Ann's, Soho, 1711. Mus. Bac, Oxon., 1713. Org. S. Andrew's, 
 Holborn, 1718 ; S. Margaret's, Westminster. D. June, 1726. 
 Works. — Church Services and Anthems ; Songs, single and in collections ; etc. 
 
 ISMAEL (Jean Vital), Jammes. French barytone vocalist, B. Agen, April 28, 
 1827. Sang in many popular operas, in Paris, etc. 
 
 ISOUABD (Nicolo). French comp., B. Malta, Dec. 6, 1775. Educated at 
 Paris for the Navy. Became a clerk at Malta, 1790. S. under Guglielmi, at 
 Naples. Resided in Paris as comp. Decorated with cross of San Donato of 
 Malta. D. Paris, March 23, 1818. 
 
 Works. — Operas: Awiso ai Maritati, 1794 ; Artaserse, 179S ; Rinaldo d'Aste ; 
 II Barbiere di Seviglia ; L'Improvvisata in Campagna ; II Barone d'Alba chiara ; 
 Le Petit Page ou la Prison d'Etat (with R. Kreutrer), 1800 ; Flaminius ^ Corinthe 
 (with Kreutzer), i8oi ; Michel Ange, 1802 ; La Statue, ou la femme avare, 1802 ; 
 Les Confidences, 1803 ; Le Baiser et la Quittance (with M^hul, Boieldieu, and 
 Kreutzer), 1803 ; Le M^decin Turc, 1805 ; L'Intrigue aux fenStres, 1805 ; Le 
 Dejeuner de Gargons, 1805 ; La Ruse inutile, 1805 ; Leonce, 1805 ; La Prise de 
 Passau, 1806 ; Idala, 1806 ; Les Rendezvous bourgeois, 1807 ; Les Cr^anciers, 
 1807 ; Un Jour a Paris, i8o8 ; Cimarosa, 1808 ; La Victime des Arts (with Berton 
 and Solie), 1811 ; La F^te du Village, 1811; Le Billet de loterie, 1811 ; Le 
 Magicien sans magic, 181 1 ; LuUi et Quinault, 1812 ; Le Prince de Catane, 1813 ; 
 Le Franpaise \ Venise, 1813 ; Le Siege de Meziires (with Cherubini, Catel, and 
 Boieldieu), 1814; Joconde, Paris, Feb. 28, 1814 (London, Oct. 1876); Les Deux 
 Maris, i8i5; L'une pour I'autre, 1816. Five Masses. Eight Cantatas. Psalms 
 and Motets. 
 
 Taking Mozart as a model, Isouard produced a number of light, palatable works 
 which in their day disputed the ground with those of Boieldieu and other French 
 masters. Very few of Isouard's works are fated to reach u remote posterity, but 
 their claims to consideration are by no means slight, if among such claims be 
 reckoned, fine melody, rich harmony, and sympathetic setting of the libretto. 
 "Joconde" is held by many writers to be his most important work. 
 
 ITHURIEL. See Coutts (W. G.). 
 
 IVANOFF (Nicholas). Russian tenor vocalist, B. Pultava, in Lower Russia, 
 1810. Appeared in London, 1834, '35, '37. Sang afterwards in various parts 
 of the Continent. His voice was of a sweet, but by no means robust descrip- 
 tion. As a dramatic vocalist he was excelled by most of his great contempo- 
 raries, and few critics of his period give him more than a medium degree of 
 credit for his style and power. D. Bologna, July, 1880, 
 
342 IVE — J AC 
 
 IVERY (John). English comp., B. Northam, Hertford, second part of l8th 
 century, Published "The Hertfordshire Melody, or Psalm Singers Recreation, 
 being a valuable collection of Psalms, Hymns, Anthems, etc., on various occa- 
 sions, to which is prefixed a new, concise, and easy introduction to the art of 
 singing, and a copious Dictionary of the terms made use of in Music." Lend., 
 8vo, 1773. 
 
 IVES (E.) American writer and compiler. Author of " American Psalmody : a 
 Collection of sacred music," Hartford, Conn., 8vo, 1829 (with D, Dutton), 
 other editions; "Solfeggi, or a method of instruction in the principles of 
 music, N. v., fo., n.d. ; " Musical A B C,"etc., 1847; " Musical Recreations, 
 part-songs ;" " Operatic Album ;" "Musical Wreath," etc. Some of the fore- 
 going are put forth by E. Ives, junr., who was probably a son of E. Ives. 
 
 IVES (Joshua). English org. and comp., B. 1854. S. under Dr. Bridge and 
 Dr. Chipp. Took the degree of Mus. Bac. at Cambridge, 1883. Lecturer on 
 Harmony and Musical Composition at the Athenaeum, Glasgow. Writer of 
 organ music, church music, and a work on Harmony. Appointed in 1884 
 Prof, of Music at Adelaide University, S. Australia. 
 
 IVES (Simon). English comp., was Lay-vicar of S. Paul's. Singing master in 
 London. D. London, 1662. 
 
 Works.— The Triumph of Peace, masque, Shirley, 1633 (with H. & W. Lawes) ; 
 Lamentation and Mourning, Elegy on the death of William Lawes ; Comps. in 
 Hilton's Collection of Catches, Playford's Collections, etc. 
 
 IVKY (Paul Xavier Desiree, Marquis d'). French amateur comp. of present 
 time, B. Beaune, Cote d' Or, Feb. 4, 1829. Has comp. the following operas 
 produced at Paris :—Quentin Metzys, 1854; La Maison du Docteur, 1854; 
 Omphale et Penelope; L'Amants de Verone (Romeo and Juliet), none of which 
 have been brilliantly successful. The last named was produced also in London. 
 
 J. 
 
 JACKSON (Arthur Herbert). English comp. and pianist, B. 1852. S., 
 R. A. M. Professor of Harmony and comp., do. D. London, Sept. 27, 1881. 
 Works.— The Bride of Abydos, overture ; Intermezzo for orch. ; Violin Concerto ; 
 Concerto for Pf. and orch. ; Magnificat for chorus and orch. ; Two Masses for 
 inale voice ; "Jason and the Golden Fleece," cantata (MS.) ; Pf. music, many pub- 
 lished pieces ; Songs and part-songs. 
 
 JACKSON (F.) English writer, author of "The Construction of the Musical 
 Scale. Lond., n.d. 
 
 JACKSON (Dr. G. K.) English writer, author of "First Principles, or a 
 Treatise on Practical Thorough-bass, with General Rules for its Composition 
 and Modulation, ' op. 5. Lond., fo., n.d. Other musical works, as Three 
 bongs and Duets, op. 3. 
 
 JACKSON (John). English org. and comp., B. early in 17th century. Choir- 
 master, Ely Cath., 1669. Org. Wells Cath., 1676. D. after 1688. Wrote 
 Services, anthems, etc. 
 
 JACKSON (Samuel). American comp. and pianist of present time. Has 
 comp. numerous songs, Pf. pieces, choral works; Church music; "Complete 
 Dictionary of all Musical Terms" (with S. Carmichael), New York, n.d., etc. 
 
 JACKSON (Thomas). English psalm comp., B. [c. 1715] Org. of Parish Ch. 
 "jfcklonV' N^"'"l'-°°-Trent,_ Nov., 1781. Writer of the psalm-time. 
 
JAC — JAC 343 
 
 JACKSON (William). English comp., org., and writer, B. Exeter, May 28, 
 1730. Son of a grocer. S. under Silvester, org. of Exeter Cath. S. under J. 
 Travers. Teacher in Exeter. Org. and choir-master, Exeter Cath., 1777. D. 
 Exeter, July 12, 1803. 
 
 Works.— O/crar; The Lord of the Manor, Lond., 1780; The Metamorphoses, 
 Lond., 1783. Odes: Ode to Fancy (Warton), op. 8; Lycidas, 1767 ; The Dying 
 Christian to his Soul (Pope). Songs: Twelve Songs, op. i, 1755 ; Twelve Songs, 
 op. 4 ; Third set of Twelve Songs ; Fourth set of Twelve Songs. Elegies for 3 
 voices, op. 3 [1767]; Twelve Canzonets for 2 voices, op. 9; 2nd set, op. 13; 
 Twelve Pastorels. Six Vocal Quartets, op. II, 1780; Six Madrigals, op. 18, 1786; 
 Hymns, numerous. Six Sonatas for Harpsichord ; Eight do. Six Epigrams for 
 voice and Pf , op. 17 [1786] ; Anthems and Church Services by the late William 
 Jackson of Exeter, Edited by James Paddon, 3 vols., Lond., n. d. Selection 
 "from his Works, Sacred and Secular, Lond., 4 v., n.d. Thirty Letters on various 
 subjects. London, 8vo, 1782. Observations on the Present State of Music in Lon- 
 don, 8vo, 1791. The Four Ages, together with Essays on various subjects. Lond., 
 8vo, 1798. 
 
 Jackson was a man of varied accomplishments ; an essayist, musician, organist, 
 and painter. " He was a friend of Gainsborough, had a good taste for art, and was 
 known in his day by his clever landscapes. In 1771 he was an honorary exhibitor 
 at the Academy. He copied Gainsborough's work, and wrote a sketch of his 
 life." — Redgrave. His esEays are very cleverly written, and display a considerable 
 knowledge of general literary subjects, while they are marked by a fair didactic 
 tendency. It is chiefly as a musician, however, that he is known, and though 
 neglected in one respect by the present age, he is well represented in another. 
 
 Jackson's songs, elegies, etc., lack the rich warmth of the present age, in their 
 instrumental aids, though their melodiousness is greatly in their favour. The sacred 
 music of Jackson was once extremely popular, but is now chiefly represented by the 
 never-dying Te Deum in F. His services and anthems are, however, works of 
 much merit, though now seldom used. 
 
 JACKSON (William). English org. and comp., B. Masham, Yorks., Jan. 9, 
 1816. Self-taught in music. Org. at Masham, 1832. Tallow-chandler, do., 
 1839. Gained Huddersfield Glee Club first prize, 1840. Music-seller in 
 Bradford, with W. Winn, vocalist, 1852. Org. of S. John's Ch., do. ; Do., 
 Horton Chapel, 1856. Cond. of Bradford Choral Union. Chorus-master at 
 Bradford Festivals of 1853, '56, '59. D. Bradford, April 15, 1866. 
 
 "flOKKS,— Oratorios : The Deliverance of Israel from Babylon, 1845; Isaiah. 
 Cantatas : The Year, 1859 ; The Praise of Music. The 103rd Psalm for solo 
 voice, chorus, and orch. , 1841. Church services, a mass, and anthems. The 
 Bradford Tune Book (with Samuel Smith). A Singing Class Manual, n. d. Glees, 
 part-songs, and songs. 
 
 A composer and conductor of considerable ability, who did much in his time to 
 forward the musical taste of his district. Of his works " The Year " is by far the 
 best known, and is occasionally rendered by our choirs. It is a work of some 
 brilliancy, but is flimsy in style. 
 
 JACKSON (William). English writer, author of "A Preliminary Discourse to 
 a Scheme demonstrating and shewing the perfection and harmony of Sounds," 
 Westminster, 8vo, 1726. 
 
 JACOB (Benjamin). English comp. and org., B. London, 1778. S. under his 
 Father, R. Willoughby, Shrubsole, and Arnold, 1796. Chor. in Portland 
 Chap., 1786. Org. of Salem Chap., Soho Sq., 1788; Carlisle Chap., Ken- 
 nington Lane, 1790; Bentinck Chap., Lisson Green, 1790-4; Surrey Chap, 
 (Rowland Hill's), 1794; St. John's, 1823. Treble singer Westminster Abbey 
 at Festival, 1790-91. Member Royal Soc. of Musicians, 1799. Cond. of 
 series of oratorios, 1800. Gave organ recitals in conjunction with S. Wesley, 
 and W. Crotch, to great audiences, 1808-14. Cond. Lenten Oratorios at 
 Covent Garden Theatre, 1818. Assoc. Phil. Soc, 1818. One of Court of 
 Assistants, R. S. M., 1823. D. London, Aug. 24, 1829. 
 Works. — National Psalmody, a collection of Tunes for every Sunday throughout 
 
 the year, London [1819], 8vo, Tunes for the use of Surrey Chapel. Dr. Watt'p 
 
344 J A C — J A G 
 
 Divine and Moral Songs, as solos,- duets, and trios. Glees and Songs. Arrange- 
 ment of " Macbeth " music, etc. 
 
 Jacob was a great organist in his time, and his performances attracted large num- 
 bers of hearers. His best works are his glees, but his " National Psalmody " is a 
 well-known work. 
 
 JACOBI (Georges). German violinist and comp., and cond., B. Berlin, Feb. 
 
 13, 1840. S. Paris Cons. ; gained 1st prize for violin, 1861. Concert player. 
 
 Cond. Th. Bouffes, Paris, 1869. Settled in London, 1870. Cond. Alhambra, 
 
 London, 1872. 
 Works. — Operas, Oferettas, and Ballets : Le Feu aux poudres, 1869 ; La Nuit 
 du IS Octobre, 1869; Black Crook (with F. Clay), Lond., 1872 ; Mariee depuismidi, 
 1873 ; The Demon's Bride, 1874 ; The Enchanted Forest, 1874 ; Cupid in Arcadia, 
 1875 ; The Fairies Home, 1876 ; Yolande, 1877 ; Rothomago, 1879 ; Le Clairon, 
 Paris, 1883 ; Fr^tillon, 1884. Numerous ballets produced at the Alhambra, Lon- 
 don. Violin music, songs, etc. 
 
 JAOOTIN. See Berchem. 
 
 JACOX (Bev. Francis). English writer of present time, author of J' Bible 
 . Music, being variations in many Keys on Musical Themes from Scripture." 
 Lond., 8vo, 1871 ; 2nd edition, 1874. Also writer of works on Bible history, 
 " Traits of Character," etc. 
 
 JACQUABD (Leon Jean). French comp. and violoncellist, B. Paris, Nov. 3, 
 1826. S. Paris Cons., and under Norblin. Gained second prize for 'cello 
 playing, 1842 ; first do, 1844. Married Mdlle. L. Bedel, 1876. Prof. Paris 
 Cons., 1877. Comp. fantasias, transcriptions, etc., for 'cello and orch. 
 
 JADASSOHN (Salomon). German comp., writer, and teacher, B. Breslau, 
 Sept. 15, [Aug.- 13] 1831. S. under Hesse, Brosig, Hauptmann, and Liszt. 
 Settled in Leipzig, 1852. Cond. of Euterpe concerts, Leipzig. Prof, at Leip- 
 zig Cons. 
 Works. — String quartet, op. lo ; Trio for Pf, vn., and 'cello, op. 20; Two 
 morceaux for Pf., op. 21 ; Bal masque, 7 airs for Pf., op. 26 ; Serenade for Pf., op. 
 35; Nine Lieder, 2 voices and Pf., op. 36; Variations for Pf., op. 40; Two 
 Cadenzen, op. 58 ; Symphony in C for orch. ; Do. in D minor, op. 50 ; Four 
 Arabesques for Pf., op. 53 ; Preludes and fugues for Pf., op. 56 ; Scherzo for Pf. 
 in F minor, op. 57. Lehrbuch das einfachen, doppelten, drei-und vierfachen con- 
 trapunkts, Leipzig, 8vo, 1884; Lehrbuch der Harmonic, 1883; Work on Canon 
 and Fugue, 1884, etc. 
 
 JADIN (Louis Emmanuel). French comp. and pianist, B. Versailles, Sept. 
 
 21, 1768. S. under his father, a musician. Accompanist at the Theatre de 
 
 Monsieur, 1789-91. Prof, of Pf., Paris Cons., 1802. Legion of Honour, 
 
 1824. Director of Royal Chap., 1830. D. Paris, April 11, 1853. 
 
 Works. — Operas: Joconde, 1790; Les Talismans, 1793; Le Mariage de la 
 
 Veille, 1796; Les deux Lettres, 1797 ; Mahomet II., 1803, and 30 other operas; 
 
 Cantatas, various ; Symphonies, sextets, trios, concertos, sonatas, quartets, etc. 
 This composer is best known by his chamber music which is of a lively and 
 
 original cast. His brother Hyacinthe (1769-1802) composed Pf. music, and was 
 
 a performer of great brilliancy. 
 
 JAELL (Alfred). Austrian comp. and pianist, B. Trieste, March 5, 1832. 
 
 Travelled in Europe as infant prodigy. Resided successively in Brussels and 
 
 Paris. Travelled in America, 1848-54. Played in London, 1862, 1866. 
 
 Married Marie Trautmann, a pianist, 1866. D. Paris, Feb. 28, 1882. 
 
 Vio^Vi^.— Pianoforte Music: Caprice (Meyerbeer), op. 9; Romance, Pf., op. 
 
 13; Souvenir d'Hongrie, op. 15 ; Un moment en Hongrie, op. 16 ; Polka, op. 33 ; 
 
 Serenade, op. 44; La Sylphide, op. 116; Transcriptions (Wagner), opp. 120, 121, 
 
 137, 146, 147. 148, etc. ; Impromptu, op. 138 ; II Guarany (Gomes), op. 141 ; Two 
 
 morceaux, op. 153. Numerous fantasias, transcriptions, etc. 
 
 JAGABTE (Manuel). Spanish org. and comp., B. 1796. D. 1819. Wrote 
 operas, masses, etc, 
 
JAH — JAN 345 
 
 JAHN (Otto). German comp. and writer, B. Kiel, Jan. i6, 1813. S. at Leipzig 
 
 and Berlin. Graduated, 1831. Prof, of Philology at Greifswalde, 1842. 
 
 Do. Bonn, 1855-69. D. Gottingen, Sept. 9, 1869. 
 
 Works. — W. A. Mozart. Eine kunsthistoriche Biographie, Leipzig, 4 vols., 
 
 8vo, 1856-59. Lieder, various. Contributions to periodical literature. Didactic 
 
 works, various. 
 
 His "Mozart" is undoubtedly the best German work on the subject, and was 
 translated into English by Pauline D. Townsend, and published, London, 3 vols. , 
 1883, with portraits. 
 
 JAHNS (Friedricll Wilhelm). German comp. and pianist, B. Jan. 2, 1809. 
 Director of the Royal music, Berlin. Compiler of a thematic catalogue of 
 Weber's works. Comp. of Pf. music, choral music, etc. 
 
 JAMES (John). English org. and comp. of i6th century. Org. of St. Olave, 
 Southwark; S. George-in-the-East, 1738. D. 1745. Wrote songs and organ 
 pieces. 
 
 JAMES (W. N.) English flute-player and writer, author of A word or two on 
 the "Flute, Lond., i2mo, 1826. The Flutist's Catechism, in which are ex- 
 plained the First Principles of Music, Lond., i8mo, 1829. The Flutist's 
 Magazine, edited. 
 
 JAMES I., KING OF SCOTLAND. Poet and musician, B. 1394. D. 1437. 
 Noticed here as the alleged inventor of the Scottish style of music. Founding 
 on what has been regarded as a wrong reading of a passage in a work of 
 Tassoni the Italian poet (1565-1635), William Tytler has endeavoured to show 
 in his "Essay on Scottish Music" that James I. not only invented the "plain- 
 tive style of melody called Scottish," but likewise greatly influenced the style 
 of several Italian composers, among whom are Gesualda and Palestrina ! The 
 enquiries of Dauney, Graham, Burney and others prove that this theory is 
 quite untenable. So confused and misunderstood is the whole of this question, 
 that there are writers who, repeating Tytler's nonsense, transfer the honour of 
 founding the style of melody indicated to James V. and James VI. (or I. , of 
 Britain) ! 
 
 JAMESON (D. D.). English writer, author of " Colour-Music," London, 4to, 
 1844. 
 
 JANIEWICZ (Felix) or Yaniewicz. Polish violinist, B. Vilna, 1762. Tra- 
 velled in Italy and France. Married Miss Breeze, 1800. Mem. of Phil. Soc. 
 Settled in Edinburgh, 1815. D. Edinburgh, 1848. Comp. concertos, fan- 
 tasias, etc. for violin. 
 
 JANINA (Olga, Countess de). Russian pianist, S. under Liszt. Resides in 
 Paris as teacher and pianist. Writer of Pf. music, works of fiction, etc. 
 
 JANNACONI (GriUSeppe). Italian comp., B. [Rome], 1741. S. under Pisari, 
 etc. Chap. -master S. Peter's, Rome, 181 1. D. Rome, March 6, 1816. 
 Comp. masses, psalms, Roman Catholic church music, etc. ; now preserved in MS. 
 
 JANNEQUIN (Clement). Belgian (French ?) comp. who flourished during the 
 i6th century. S. under Josquin. His biography is unknown. Period [1480 
 1560]. 
 He composed chansons, psalms, and music for the clavecin to the number of 200 
 
 pieces. His instrumental music is partly, though in a crude manner, in the style 
 
 termed programme. 
 
 JANOTHA (Nathalie). Polish pianist, B. Warsaw, June 8, 1856. S. Warsaw 
 Cons. Dibut at Warsaw, 1867. S. afterwards under Clara Schumann. 
 Appeared in London, 1874, 1878, and 1879. Appeared also on Continent. 
 She pleased the London public greatly by her refined and magnificent style. 
 
 JANSA (Leopold). Bohemian comp. and arranger, B. Wildenschwert, 1794. 
 S. for the law. Cond. of music in University of Vienna, etc. Resided in 
 London, 1849-1869. D, Vienna, Jan. 25, 1875. 
 
346 JAR — JEK 
 
 Jansa is principally known by his arrangement of classical works, many of which 
 are published by Litolff. He corap. chamber music, Pf. music, etc. 
 
 JARNOWICK (Giovanni Maria), or Giornovichj. Italian comp., B. 
 
 Palermo, 1745. S. under LoUi. Appeared at Paris. Travelled in Germany. 
 Appeared in London, 1791. Travelled in Britain, 1792-96. D. St. Peters- 
 burg, Nov. 21, 1804. 
 Works.— Concertos, sonatas, etc., for violin. 
 
 " Jarnowick was but a slender musician. His concertos are agreeable and bril- 
 liant", but destitute of profundity and grandeur. His performance was graceful and 
 elegant, and his tone was pure." — Hogarth. 
 
 JAKVIS (Charles). English writer and teacher in Philadelphia. Author of 
 "Improved Method of Instruction for the Pianoforte," Boston, n.d. ; "The 
 Young Folks Glee Book," 1845 ; "American Pianoforte Instructor," Philadel- 
 phia, io., 1852. 
 
 JABiVIS (Charles H.) American teacher and pianist, son of the foregoing, B. 
 Philadelphia, Dec. 20, 1837. S. under his father. S. in Europe for a time. 
 Has played with the orch. of Theodore Thomas, and at the New York Philhar- 
 monic, 1869. Best known as a teacher and a promoter of concerts of high 
 class music in Philadelphia. 
 
 JAUCH (Johann Nepomuk). German pianist and comp., B. Strassburg, Jan. 
 25,1793. S. under Spindler. Teacher in Strassburg. Comp. of church mus., 
 concertos, Pf. music, etc. 
 
 JAWURECK (Constance). German vocalist, B. Paris, 1803. S. Paris Cons, 
 under Garat, Plantade, etc. Sang in operas by Auber, Rossini, Meyerbeer, 
 etc. D. Brussels, June 8, 1858. 
 
 JAY (John). English pianist and comp., B. Essex, Nov. 27, 1770. S. under 
 Hindmarsh and Phillips, and on the Continent. Settled in London, 1800, as 
 teacher. Mus. Bac, Oxon., 1809. Mus. Doc, Cantab., 1811. Mem. 
 R. A. M. D. London, Sept. 17, 1849. Wrote Pf. and vocal music. 
 
 JEAN DE MURIS. See Muris (Jean de). 
 
 JEBB (Rev. John, D.D.) Irish writer and divine. Canon of Hereford and Rector 
 of Peterstow, Herefordshire. B. Dublin, 1805. D.Jan. 1886. Author of Choral 
 Service of the United Church of England and Ireland, being an Inquiry into 
 the Liturgical System of the Cathedral and Collegiate Foundations of the 
 Anglican Communion. Lond., 8vo, 1843 ; Three lectures on the Cathedral 
 Service of the United Church of England and Ireland, 8vo, 1841 ; 2nd edit., 
 1845 ; The Choral Responses and Litanies of the United Church of England 
 and Ireland, collected from authentic sources, Lond., 2 v., fo., 1847-57. 
 
 JEFFERSON (Joseph). English writer, author of "Lyra Evangelica ; or an 
 Essay on the use of instrumental music in Christian Worship." London, 8vo, 
 1805. 
 
 JEFFERYS (Charles). English comp. and music publi-sher, B. Jan. 11, 1807. 
 Carried on business in London. D. London, June 9, 1865. Wrote words of a 
 number of popular songs, "Rose of Allandale, " "Mary of Argyle," etc., and 
 himself comp. " Rose Atherton," " Oh Erin, my country," and other songs. 
 
 JEFFRIES (George). English comp. and org. of 17th century. Was org. to 
 Charles I. in 1643. Comp. of anthems, preserved in MS. 
 
 JEFFRIES (Stephen). English org. and comp., B. 1660. Chor. Salisbury 
 Cath., under Wise. Org. Gloucester Cath., 1680. D. 1712. 
 
 JEKYLL (Charles Sherwood). Enghsh org. and comp., B. Westminster, 
 Nov. 29, 1842. Chor. Westminster Abbey, under J. Turle. " S. under James 
 Coward and Sir G. A. Macfarren. Org. of St. Paul's Temporary Church, 
 Kensington, Dec, 1857. Assistant Org. Westminster Abbey, 1860-75. Org. 
 Parish Ch. of Acton, i860 ; Par. Ch., St. George's, Hanover Square, 1861! 
 Org. and comp. to H. M. Chap. Roy., St. James's Palace, and Whitehall, 
 
JEL — JOA 347 
 
 Nov., 1876. Grand Org. to the United Grand Lodge of England (Free- 
 masons), 1880-81. 
 WoKKS.Sermces : Communion, in C; Morning, in F. (MS.) ; Evening, in F 
 (MS) ; Morning in C ; Evening, in C, for male voices, Comp. for St. Paul's Cath. 
 (MS. ) Anthems : Save me, O God ; Thou wilt keep him in perfect peace ; 
 Arise, O Lord ; Almighty God ; Blessed is he that considereth the poor ; O send 
 out Thy light (MS.) ; My God, look upon me (MS.) ; Them that are meek (MS.) ; 
 The Lord hear thee ; The Lord is full of compassion ; There the wicked cease from 
 troubhng ; Behold how good and joyful (MS) ; Lord, I have loved the habitation 
 of Thy house. Twelve Kyries. Part-Songs : On the sea ; When twilight dews ; 
 Remembrance; Night after the battle (MS.) ; Songs,: Pro Patria Mori; Remem- 
 ber me when far away ; Now ; Go, forget me ; In memoriam ; The mermaid's 
 lullaby. Grand March for organ ; Musical Sundays at Home, a series of 12 
 numbers, edited. Hymns, chants, etc. 
 
 JELENSFERGEB (Daniel). German writer and teacher, B. near Miilhausen, 
 1797. D. Miilhausen, May 31, 1831. Author of, among other works, 
 "L'Harmonie au Commencement du dix-neuvi^me Sifecle...," Paris, 1830. 
 German edition, Leipzig, 1833. 
 
 JENKINS (John), English comp., B. Maidstone, 1592. Musician to Charles 
 
 I. and Charles II. Resided during the greater part of his life with H. 
 
 L' Estrange of Norfolk. D. Kimberley, Oct. 27, 1678. 
 
 Works. — Elegy on the death of William Lawes, 1648. Theophila, or. Love's 
 
 Sacrifice. Poem by E. Benlowes, 1652. Twelve Sonatas for 2 violins and a Base, 
 
 with a Thorough-base for the Organ or Theorbo', i66o. Fantasias in five and six parts 
 
 forviols. Anthems, rounds, etc. A Compendium of Practical Music. Lond., 1667. 
 
 Jenkins is credited with having been the first in England to compose instrumental 
 
 music. ' ' These productions are the more worthy of our notice, as having been the 
 
 first compositions of the kind emanating from English genius. " — Busby. 
 
 JENKS (Stephen). American psalmodist, published "The Delights of Har- 
 mony, or Norfolk Compiler : Being a new Collection of Psalm Tunes, Hymns, 
 and Anthems...," Dedham, Mass, 1805. 
 
 JENSEN (Adolf). German comp. and cond., B. Konigsberg, Jan. 12, 1837. 
 S. under Ehlert, etc. Cond. and teacher in various towns. D. Baden, Jan. 
 24, 1879. 
 Works. — Daughter of Jephta, op. 26; Lieder, op. 9; Pf. music, etc. 
 
 JEUNE. See Lejeune (Claude). 
 JEUNESSE- See La Jeunesse. 
 JEWSON (Frederick Bowen). English comp. and pianist, B. Edinburgh, 
 
 July 26, 1823. S. at R. A. M., and became King's Scholar, 1837. Prof, and 
 
 Director of R. A. M. 
 Comp. Overtures for orch. ; Sonata for Pf., op. i ; Concerto for Pf. and orch., 
 op. 33 ; Six Grand Studies for Pf., op. 16 ; Douze Etudes Melodiques et Brillantes, 
 P/., op. 23 ; also numerous other pieces for Pf , as " Chanson d' Amour ;" " Moun- 
 tain Stream ;" etc. Songs and vocal music. 
 
 JOACHIM (Josef). Hungarian violinist and comp., B. Kitsee, near Pressburg, 
 June 28, 1831. Jewish parents. S. at Vienna Cons, under J. Bohm, 1838. 
 S. at Leipzig under David and Hauptmann, and played in orch. at Gewand- 
 haus Concerts, 1843-50. Appeared in Paris, 1850. Musical director at 
 Weimar, 1850. Director of the Chap.-Roy., Hanover, 1853-66. Played in 
 important cities of Europe. Member of Senate of the Berlin Academy, 1869. 
 Director of the School of Instrumental music, Berlin, 1868. Visited London, 
 and appeared at Philharmonic Soc. Concert, May 27, 1874, and has since 
 played annually. Married to Amalia Weiss, contralto singer. Mus. Doc, 
 Cantab., 1877. 
 Works. — Op. i. Andantino and allegro scherzoso for vn. and orch. ; op. 2. 
 
 Three pieces for Pf. and vn. ; op. 3. Concerto in G minor for vn. and orch. ; 
 
 op. 4. Overture: "Hamlet," orch. ; op. 5. Three pieces for vn. and Pf. ; op. 6. 
 
 Overture: " Demetrius," for orch. ; op. 7. Overture: "Henry the Fourth," do. ; 
 
 op. 8. Overture to a play by Gozzi (MS. ) ; op. 9. Hebrew melodies for viola and 
 
348 joc— JOL 
 
 Pf. ; op. lo. Variations on an original theme for viola and Pf. ; op. Ii. Hungarian 
 Concerto for vn. and orch. ; op. 12. Nutturno for vn. and orch., in A; op. 13. 
 Overture (Kleist) for orch. ; op. 14. Sena der Marfa for contralto solo and orch. 
 (Schiller's Demetrius). Miscellaneous music published and in MS. 
 
 Joachim is justly regarded as the greatest violinist of the present time. He is 
 not equalled by anyone for tone, taste, or execution. With Joachim is identified 
 all that is noble and elevated in violin playing. His works are thoughtful, and in 
 some respects clever, but can never aspire to the highest place among musical 
 compositions. He lacks in composition what he possesses in the greatest measure 
 in performance, inspiration. The works by which he is probably best known are 
 numbers 3 and II, the latter of which has achieved a considerable measure of 
 popularity. 
 
 JOCELYN (Simeon). American psalmodist, compiled the " Chorister's Com- 
 panion," New Haven, Conn., 1788. Supplement, 1793. 
 
 JOHNSON (Artemus N.). American compiler and comp., B. Middlebury, 
 Vt., 1817. Editor of the Boston Musical Gazette, and Boston Musical Journal. 
 
 Works. — Instructions in Thorough-bass, Boston, 1844 ; Chorus Choir Instruc- 
 tion Book, 1847 ; Bay State Collection, 1849 ; Melodia Sacra, 1852 ; Handel 
 Collection, 1854 ; Instruction in Harmony upon the Pestalozzian System, 1854 ; 
 Method for Singing Classes ; The True Psalmist (church music) ; Singing School 
 Text-Book; Domestic Concert Collection ; The True Choir ; Music for Choirs ; etc. 
 
 JOHNSON (Edmund C). English writer, author of "An Inquiry into the 
 Musical Instruction for the Blind in France, Spain, and America," London, 
 8vo, 1855. 
 
 JOHNSON (Edward). English comp. of i6th century. Was Mus. Bac, 
 Cantab., 1594- Contributed to Este's Psalms. He composed the madrigal, 
 "Come Blessed Bird," in the "Triumphs of Oriana," 1601. His biography 
 
 is unknown. 
 
 JOHNSON (James). Scottish engraver and publisher, who flourished in Edin- 
 burgh in the end of last and beginning of the present century. He is chiefly 
 noted for his connection with Robert Burns, and the publication of " The 
 Scots Musical Museum, with proper Basses for the Pf....," Edin-, 5 vols., 8vo, 
 n. d. [1787]. This work was edited by David Laing and Stenhouse, and 
 reprinted by Messrs. Blackwood, Edin., 4 vols., 8vo, 1853. The success of 
 this venture was entirely due to the fine lyrics which Burns contributed, and 
 which have since become world-wide favourites. 
 The arrangements of the melodies in Johnson's Collection were by Stephen Clarke 
 (see that name). Johnson after the success of his " Museum " did not attempt any- 
 thing further in the same direction, the superior musical production of a similar 
 nature issued by George Thomson having perhaps helped to damp his ardour. 
 
 JOHNSON (Robert). English comp. and divine, who flourished about the 
 middle of the i6th century. He composed part-songs, etc., one of which 
 appears in the "History" of Sir John Hawkins, and others in contemporary 
 collections. 
 
 JOHNSON (Robert). English comp. and lutenist, B. in latter half of l6th cen- 
 tury. Musician in service of Sir T. Kytson of Hengrave Hall, Suffolk. 
 Resided latterly in London as teacher, and musician in service of Prince Henry. 
 D. after 1625. 
 
 Works.— il/ajzV to Dramas: "The Witch" (Middleton) ; "The Tempest" 
 (Shakespere) ; "Masque of the Gipsies " (Jonson) ; Contributions to Leighton's 
 ' ' Teares. " Songs, madrigals, etc. 
 
 JOHNSTON (Rev. David). Scottish divine and writer, author of " Instrumental 
 Music in the Church of Scotland. By the Minister of the United Parishes of 
 Harray and Birsay." i2mo, 1872 (privately printed). 
 
 JOLLY (John Marks). English comp. and cond., B. 1790. Cond. at Surrey 
 Theatre, London. D. July i, 1864. Wrote a large number of songs, part- 
 songs, etc. Among the former many comic and of little merit; among the 
 latter some pieces worthy of preservation. 
 
JoL — JON 349 
 
 JOLLY (John). English comp. and org., B. Knutstord, Cheshire, 1794. Org. 
 of S. Philip's Chap., London. D. London, April, 1838. Comp. a number of 
 glees and other vocal music ; also "Devotional Melodies, consisting of Psalms, 
 Hymns, Collects, and Short Anthems," Lond., 1832. 
 
 JOMMELLI (Nicolo). Italian comp., B., Aversa, near Naples, Sept. II, 1714. 
 
 S. under a canon named Mozzillo ; under Durante, at S. Onofrio Cons., 1730 ; 
 
 and under Leo, Prato and Mancini. Resided at Rome under the patronage of 
 
 the Cardinal Duke of Yord, 1740. Lived for a time at Bologna. Comp. of 
 
 operas at Rome, Naples, Venice, and Vienna. Sub. -Chap. -master, S. Peter's, 
 
 Rome, 1749-54. Chap.-master to Duke of Wurtemberg, at Stuttgart, 1754-69. 
 
 Retired to Aversa after 1769. D. Naples, Aug. 28, 1774. 
 
 Works. — Operas: L'Errore Amorosa, Naples, 1737; Odoardo, 1738 ; Ricimero, 
 
 Rome, 1740 ; Astianasse, do., 1741 ; Ezio, Bologna, 1741 ; Merope, Venice, 1741 ; 
 
 II FrastuUo, 1743 ; Sofonisba, 1743 ; II Creso, 1743 ; Ciro Riconosciuto, 1745 ; 
 
 Achille in Sciro, Vienna, 1745; Didone, Vienna, 1745; Eumene, Naples, 1746; 
 
 L'Amore in Maschera, Naples, 1746; LaCrilica, 1747; L'Incantato, Rome, 1749; 
 
 Artaserse, Rome, 1749! Ifigenia in Tauride, do., 1751; Talestri, do, 1752; 
 
 Attilio Regolo, do, 1752 ; Semiraraide, 1752 ; L'Ipermestre, 1752 ; Bagazette, 
 
 Turin, 1753; Demetrio, Parma, 1753; Penelope, Stuttgart, 1754; Enea nel Lazio, 
 
 do., 175s ; II Re Pastore, do, 1755 ; Didone (fresh setting), do., 1755 ; Alessandro 
 
 nell' Indie, do. j Nitelli, do. ; La Clemenza di Tito ; Temistocle, Naples, 1757 ; 
 
 II Trionfo di Clelia, 1757 ; Cerere placata, 1772 ; Cajo Marzio ; Demofoonte ; 
 
 llFedonte; L'Isola disabitata ; Endimione ; II Vologeso (1766) ; L'Olimpiade ; 
 
 La Schiava Liberata ; L'Asilo d' Amore ; La Pastorella Illustre ; II Cacciator 
 
 deluso ; II Matrimonio per Concorso ; Armida, Naples, 1771 ; Demofoonte, new 
 
 music, 1772; Ifigenia in Aulide, 1773. Cantatas, various; Church Music; 
 
 Miserere, Graduels, Te Deums, Psalms, etc. 
 
 Jommelli, in his day regarded as among the foremost musicians, is at the present 
 period scarcely known out of musical history. His operas are obsolete in form, 
 and the disuse of classical incidents as subject-matter has long since consigned the 
 whole species to oblivion. He was a melodist of first-rate ability, and as a har- 
 monist much beyond the comprehension of his countrymen. He was taken to task 
 by Metastasio, his friend, for following the Germans in respect to dramatic colour- 
 ing. He was in some respects much in advance of his period, so far as Italy is 
 concerned. His sacred music is only separated from his operatic productions by 
 the barest possible strictness in contrapuntal treatment. 
 
 JONAS (Emile). French comp. and Prof., B. Paris, March 5, 1827. S. Paris 
 Cons., under Le Couppey, Carafa, etc. Gained 2nd prize for harmony, 1846 ; 
 1st do., 1847; 2nd grand prize for comp., 1849. Prof, of Singing, Paris Cons., 
 1847-66. Prof, of harmony for military bands, 1859-70. Director of music 
 at Portuguese Synagogue, Paris. Secretary to the Committee for organization 
 of military bands at Exhibition, 1867. Chev. of Legion of Hon. 
 
 Works. — Operas : Le Duel de- Benjamin, 1855 ; Le Parade, 1856 ; Le Roi 
 Boit, 1857 ; Les Petits Prodiges, 1857 ; Job et son chien, 1863 ; Le Manoir des 
 Larenardi^re, 1864 ; Avant la noce, 1865 ; Les deux Arlequins, 1865 ; Le Canard 
 a trois bees, 1869 ; Malbrough s'en va-t-en querre (with Bizet, Delibes, and 
 Legouix); Desire, sire de Champigny, 1869; Javotte ("Cinderella" at Gaiety 
 Theatre, London), 1871 ; Princess Kelebella (MS.); La bonne aventure, 1882; 
 Le premier Baiser, 1883. Miss Robinson, operetta. Instrumental music, etc. 
 
 JONCIEBES (Felix Ludger, sumamed Victorin de). French comp. and 
 critic, B. Paris, April 2, 1839. S. Paris Cons, under Elwart, etc. Writer in 
 musical journals. 
 Works. — Operettas: Le Sicilien, ou I'Amour peintre ; Le Dernier jour de 
 
 Pompei ; Dimitri ; Le Chevalier Jean. Symphonic Romantique, 1874. Overtures, 
 
 marches, Pf. music, etc. 
 
 JONES (Edward). Welsh writer and musician, B. Llanderfel, Merionethshire, 
 April, 1752. S. Welsh harp under his father. Appeared in London as harper, 
 1775. Welsh bard to Prince of Wales, 1783. D. London, April 18, 1824. 
 Works. — Musical and Poetical Relicks of the Welsh Bards, preserved by 
 
35° JON — JON 
 
 Tradition and Authentic Manuscripts from very remote Antiquity, with a collection 
 of the Pennillion and Englynion Epigrammatic stanzas or native Pastoral Sonnets 
 of Wales, a History of the Bards from the Earliest Period, and an Account of their 
 Music, Poetry, and Musical Instruments, Lond., fo., 1784, 2 parts. Musical and 
 Poetical Relicks of the Welsh Bards, preserved by Tradition and Authentic Manu- 
 scripts from very remote Antiquity, with a select collection of the Pennillion and 
 Englynion, with English translations, likewise a General History of the Bards and 
 Druids, from the earliest period to the present time ; with an account of their Music 
 and Poetry ; to which is prefixed a Dissertation on the Musical Instruments of the 
 Aboriginal Britons, Lond., 1794. The Bardic Museum of Primitive British Litera- 
 ture and other admirable rarities, forming the second volume of the Musical, 
 Poetical, and Historical Relicks of the Welsh Bards and Druids. ..fo., 1802. Lyric 
 Airs, consisting of specimens of Greek, Albanian, Walachian, Turkish, Arabian, 
 Persian, Chinese, and Moorish Songs and Melodies, with a short Dissertation on 
 the Origin of Ancient Greek music, Lond., fo., 1804. Popular Cheshire Melodies, 
 n. d. The Musical Miscellany, n. d. Terpsichore's Banquet (National Airs), n. d. 
 The Minstrel's Serenades, n. d. Collections from works of Handel ; etc. 
 
 JONES (George). English writer, author of "History of the rise and progress 
 of Music, Theoretical and Practical," Lond., 4to, 1818. German edition, 
 Vienna, 1821. 
 
 JONES (Eev. James). English writer and divine, author of "A Manual of 
 Instructions on Plain-chant or Gregorian music, with the chants as used in 
 Rome," Lond., 4to, 1845. 
 
 JONES (Jolm). English org. andcomp., B. early in the i8th century [1730]. 
 Org. of Middle Temple, 1749; Charterhouse, I7S3; S. Paul's, 1755. ^■ 
 London, Feb. 7, 1796. 
 
 Works. — Sixty Chants, single and double, 1785. Harpsichord Lessons, 2 vols. 
 Songs, etc. 
 
 JONES (John Hilton). American writer, B. 1827. Author of Guide to Bass, 
 N. Y., 1853. Sixty-six Psalm Interludes, Boston, 1854. Treatise on Coun- 
 terpoint, Boston, 1855, Twelve Organ Voluntaries, Boston, 1855 ; etc. 
 
 JONES (Bichard). Enghsh writer, author of " The most New and Easy Method 
 of Singing the Psalms," Lond., l2mo, 1705. 
 
 JONES (Robert). English comp. and lutenist, flourished at end of l6th and 
 beginning-of 17th centuries. Biography unknown. 
 Works. — The First Booke of Ayres, 1601. The Second Booke of Ayres, set 
 out to the Lute, the Base Violl the playne way, or the Base by tableture after the 
 leero fashion. Ultimum Vale, or the Third Booke of Ayres of 1, 2, and 4 voyces, 
 1608. A Musicall Dreame, or the fourth booke of Ayres, the first part for the 
 lute, two voices, and the viol da gamba ; the second part is for the lute, the viol, 
 and four voices to sing ; the third part is for one voice alone to the lute, the base- 
 viol, or to both if you please, whereof two are Italian Ayres, Lond., fo., 1619. 
 The Muse's Gardin for Delights, or the Fifth Booke of Ayres, only for the Lute, 
 the Bass Violl, and the Voyce, n. d. The First Set of Madrigals of 3, 4, 5, 6, 7, 
 and 8 parts for viols and for voices alone, or as you please, 1607. " Fair Oriana, 
 seeming to wink, " madrigal for 6 voices, in Triumphs of Oriana. Contributions in 
 Leighton's Teares. Songs in Smith's Musica Antiqua. 
 
 JONES (Stanton). English writer and band-master, author of "Boosey's 
 Universal Cornet Tutor," n.d. ; Shilling Cornet Tutor (abridged from No. 1). 
 Songs. 
 
 JONES (William). English writer, author of "A Discourse on the Philosophy 
 of Musical Sounds," 4to, n.d. 
 
 JONES (Rev. William). English comp., writer, and divine, B. Lowick, 
 Northamptonshire, July 30, 1726. S. Oxford. Vicar of Bethersden, Kent, 
 1764; Do. of Pluckley; Paston, Northampton; Rector of Hollingbourne, 
 Kent. D. Nayland, Jan. 6, 1800. 
 
JON — JOS 351 
 
 Works. — Ten Church Pieces for the Organ, with four anthems in score, 1789 ; 
 A Treatise on the Art of Music, in which the elements of harmony and air are prac- 
 tically considered and illustrated by 150 Examples in Notes... the whole intended as 
 a course of Lectures preparatory to the Practice of Thorough Bass and Musical 
 Composition. Colchester fo., 1784 ; 2nd edition, Sudbury, fo., 1827. Church 
 music, miscellaneous. Collected Works, published in 12 vols., 1802, and again in 
 6 vols., 1810. 
 
 JONES (Sir William). English orientalist and scholar, B. London, 1746. D. 
 Calcutta, 1794. Author of "Commentaries on Asiatic Poetry," 1744 ; "The 
 Musical Modes of the Hindus," 1784; References to Oriental Music in Col- 
 lected Works, etc. 
 
 JORDAN (ChaxleS Warwick). English comp. and org., B. Clifton, Dec. 28, 
 1840. Chor. in Bristol and St. Paul's Cath. Org. St. Paul's, Bunhill Row ; 
 St. Luke's, West HoUoway, i860 ; St. Stephen's, Lewisham, 1866. Hon. org. 
 of London Gregorian Church Association, which he aided in establishing. 
 F. C. 0., etc. Mus. Bac, Oxon., 1869. Comp. of services, anthems, songs, 
 etc. ; a cantata entitled " Blow ye the trumpet in Zion ;" and "A Short Paper 
 on the Construction of the Gregorian Tones," 1874. 150 Harmonies for 
 Gregorian Tones. Org. mu.sic, and a Communion Service in E, with accomp. 
 for brass instruments. 
 
 JORTIiJT (John). English writer, B. 1698. D. 1770. Author of "A Letter 
 concerning the music of the Ancients," in 2nd edition of Avison's "Musical 
 Expression." 
 
 JOSEFFY (Rafael), Hungarian pianist and comp., B. Pressburg, 1852. 
 Joseffy has been very successful in the United States, where he travelled much 
 on concert tours. 
 " Certainly no such extreme delicacy of touch, marvellous facility of execution, 
 and exquisite finish have been reached by any artist ever heard in this city. In 
 Chopin, Joseffy is unsurpassable; but with some composers, as he knows no techni- 
 cal difficulties, he frequently hurries the tempo, and injures the effect." — Harper's 
 Monthly Magazine. 
 
 JOSQUIN DES FRES. Jodocus Pratensis. Flemish comp., B. [Conde ; S. 
 Quentin] Hainault [144S]. S. under Okenheim. Chor. in church in Hain- 
 ault. Chap. -master at S. Quentin. Singer in court chapel of Pope Sextus IV., 
 1471-1484. Musician at courts of Ferrara, Florence, and latterly that of Louis 
 XII. of France. D. Cond^ Aug. 27, 1521. 
 Works. — Masses, about 20 in number; Motets, numerous; Psalms; Secular 
 music, songs, canons, etc. 
 
 "If we admire Palestrina, Orlando di Lasso, Tallis, and Bird, whose labours 
 adorned and enriched the musical libraries of the sixteenth century, how much more 
 ought we to be struck with the powers of Josquin, who, a hundred years before, 
 not only vanquished all the existing difficulties of Canon, Fugue, Imitation, and 
 every species of learned contrivance and ingenious contexture of consonant combin- 
 ation, but invented new structures of harmony, original adjustments oi part with 
 part, and was, in a great measure, the father of modern polyphonic composition. . . 
 According to all that can be collected from the best authorities, Josquin, in his day, 
 was the prince of musicians. No one seems to have possessed an equal influence 
 over the affections and passions of the lovers and patrons of music. Rabelais, in 
 his prologue to the third book of Pantagruel, gives him the first place among the 
 fifty-nine excellent masters whom he had formerly heard : and his compositions 
 appear to have been as well known in his time as now are those of the most favourite 
 of the modern masters." — Busby. 
 
 Josquin not only ruled the musical style of his day, but also influenced in 
 a supreme measure the succeeding masters of many a school. His pupils Mouton, 
 Coclicus, Arkadelt, Gombert, Berchem, Jannequin, Certon, etc., all had a share in 
 the formation of the great contrapuntal schools of the l6th and 17th centuries. 
 Josquin is generally credited with having been among the first of the early com- 
 posers to write with some regard for the expressional characteristics of the music as 
 well as for its mere formal construction. His music is, it may safely be said, wholly 
 
352 Jou — j62 
 
 unknown in Britain, save to a few enthusiastic students of music in its strictly 
 arch^ological aspect, and it may also be said that, if revived, it would be found 
 quite unsuited to the spirit of the age. 
 
 JOULE (Benjamin St. John Baptist). English comp. and [org., B. Sal- 
 ford, Nov. 8," 1817. S. under R. Cudmore and J. J. Harris. Hon. Org. and 
 choir-master of Holy Trinity Church, Hulme, 1846-53 ; St. Margaret's, 
 Whalley Range, Manchester, 1849-52. Hon. Org. and choirmaster St. Peter's 
 Church, Manchester, 1853. President of Manchester Vocal Soc, etc. 
 Works. — The Hymns and Canticles pointed for chanting, 1847. Directorium 
 Chori Anglicanurn ; a Complete Manual of the Choral Service of the Church of Eng- 
 land: containing the Order for Matins and Even-song, the Litany, the Order for the 
 Administration of the Holy Communion and the Occasional Services, from 
 Authentic Sources. Lond., 1849 (4 editions 4to, and 8 l8mo). A Collection of 
 Words of 2270 Anthems, composed or adapted for the Choral Service, with 452 
 Biographical Notices, Lond., 1S59. The Psalter or Psalms of David, after the 
 translation of the Great Bible, pointed as they are to be sung or said in churches, 
 with additional points for securing correctness and uniformity of accentuation. . . . 
 London, 1865. Collection of Chants for the Daily and Proper Psalms, with an 
 Appendix of Chants for the Hymns and Canticles, etc. Lond., i860, 18 editions, 
 various dates. The Order for the Holy Communion, harmonized on a Monotone, 
 for Parochial Use. Lond., 5 eds. Org. and Pf. music. Contributions to jieriodical 
 literature, and pamphlets on various subjects. 
 
 Mr. Joule was for long (1850-70) connected with the Manchester Courier, in the 
 capacity of musical critic. He is J. P. for the County of Lancaster, Fellow of the 
 Genealogical and Historical Soc. of Gt. Britain, and of the College of Organists, 
 London. 
 
 JOURET (Theodore). Belgian comp. and writer, B. Ath, Sept. 11, 1821. 
 Comp. of operas, Pf. music, songs, etc. 
 
 JOURET (Leon). Belgian org. and comp.,- brother of the above, B. Ath, Oct. 
 17, 1828. S. at Music School of Ath. Comp. music to lyrics, etc., of Hugo, 
 Musset, Gautier, etc., as well as org. works, etc. He holds post of Prof of 
 vocalization in Brussels Cons. 
 
 JOUSSE (J.). French writer, B. Orleans, [1765]. D. London, Jan., 1837. He 
 wrote the following popular works : — 
 Guida Armonica, in which the origin, signature, name and use of all the Chords 
 are clearly explained and illustrated, etc., Lond., 1808. Arcana Musicae, or a 
 variety of curious and entertaining Musical Problems, with their Solutions, Lend., 
 1818, 8vo. Familiar Dialogues on Thorough-Bass and Harmony, n. d., l2mo. 
 Dictionary of Italian and other terms used in Music, etc., 1829, 8vo. Introduction 
 to the Art of Sol-fa-ing and Singing, etc., n. ,d. Lectures on Thorough-Bass, n. d. 
 A Catechism of Singing, n. d. The Vocal Primer, etc., n. d. Catechism of 
 Thorough-Bass and Harmony, etc., n. d. Music Epitomized, in which the whole 
 Science of Music is clearly explained n. d. i2mo. Most of the foregoing works 
 have gone through a number of editions, and were very successful text-books in 
 their day. 
 
 JOYCE (P. W.), LL.D. Irish writer, compiler of "Ancient Irish Music, com- 
 prising one hundred airs hitherto unpublished, many of the old popular songs, 
 and several new Songs, etc., Dublin, 1873, 4to. 
 I 
 
 JOZE (Thomas Richard GrOnzalvez). Irish comp. and org., B. Dublin, 
 Sept. 26, 1853. Chor. in Christ Ch. Cath., 1861. Deputy org., do., 1869. 
 Org. of S. Paul's, Glenagarry, Co. Dublin, 1870. Prof, of Pf in Royal Irish 
 Acad, of Music, 1871. Mus. Doc, Dublin, June, 1877. Cond. of Kingston 
 Philharmonic Soc, 1876. 
 
 Works. — The Prophecy of Capys, cantata ;" A Dream of the Fairies, cantata. 
 Part-songs, Songs, Pf. music, etc. 
 
 Dr. Joze gained in 1 87 1 the first prize offered by the Hibernian Catch Club with 
 his five-part glee, "The dead soldier." 
 
:ruL— KAL 353 
 
 JULLIEN or JULIEN (Louis Gr. Antoine J.). French cond. and comp., 
 B. Sisterton, Basses Alps, April 23, 1812. S. at Paris Cons, under Halevy, 
 1833-36. Cond. in Paris. Do. in London of concerts at the English Opera 
 House, Drury Lane, etc., 1838. Travelled through England, Scotland, and 
 Ireland, etc., with orch. Opened Drury Lane Theatre for English opera, 
 1847, but the enterprise failed. Appeared in America with orch., 1852-54. 
 D. Paris, March 14, i860 [Suicide]. 
 
 Works.— Pietro il Grande, opera, 1852. Music for orchestra in great quantity, 
 "British Army Quadrilles " and other stuff of a like nature. 
 
 JuUien did incalculable good to orchestral music in Britain by encouraging young 
 instrumentalists, but he brought himself into disrepute with respectable musicians 
 by playing the buffoon too frequently. For a good idea of the light in which he 
 was regarded by sensible contemporanies see Punch. His music is not fated to 
 be everlasting. 
 
 JUNGMANN (Albert). German pianist and comp., B. Langensalza, Nov. 14, 
 1814. Resides in Vienna as teacher and comp. His works include Pf. and 
 orchestral compositions of merit. 
 
 K. 
 
 KAFKA (Johann Nepomuk). Bohemian comp. and pianist, B. May 17, 1819. 
 S. at Vienna, etc. Coinp. of numerous light and pleasing works for Pf. 
 
 KAHBER (Laura). See Rapfoldi. 
 
 KALKBRENNEB (Christian). German comp. of instrumental music, B. 
 1755. D. 1806. Also author of " Histoire de la Musique," 2 vols., 1802. 
 
 KALKBBENNEB (Friedrich Wilhelm Michael). German pianist and 
 
 comp., son of above, B. Cassel, 1788 [1784]. S. under his Father, and at 
 
 Paris Cons., 1798. Gained prize for Pf. playing, 1802. Dibui as pianist at 
 
 Berlin, 1813. S. harmony under Albrechtsberger. Resided in London as 
 
 teacher, 1814-23. Resided in Paris from 1824. Partner in Pf.-making firm 
 
 of Pleyel & Co. D. near Paris, June 10, 1849. 
 
 Works. — Sonatas for Pf. solo, opp. I, 4, 13, 28, 35, 48, 56. Quartet for Pf., 
 
 vn., alto, and 'cello, op. 2. Sonatas for Pf. duet, op. 3, 79. Fantasias for Pf. 
 
 solo, opp. 5, 6, 8, 9, 12, 21, 33, 36, 37, 50, 53, 64, 68, 76, 80, no, 114, 119. 
 
 Trios iot Pf., vn., and 'cello, opp. 7, 14, 26, 39, 84. Themes with variations for 
 
 Pf., opp. 10, 16, 17, 18, 19, 23, 25, 29, 38, 44, 51, 55, 69, 71, 72, 75, 83, 98, 99, 
 
 112, 115, 118, 120, 122. Duets for Pf. and vn., opp. 11, 22, 27, 47, 49, 63, 
 
 86. Septet for Pf., 2 vns., 2 horns, viola, and bass, op. 15. Rondos for P£, opp. 
 
 31. 32, 43. 45. 46, 52. 57. 59. 61, 62, 65, 67, 78, 96, 97, 101, 102, 106, 109, 116. 
 
 Studies, Caprices, for Pf., opp. 20, 54, 88, 104. Method for the Pf., op. 108. 
 
 Concertos for Pf. in D minor, op. 61 ; 2nd in E, op. 85 ; 3rd do., op. 107 ; for two 
 
 Pfs., in C, op. 125 ; Rondos iat Pf. and orch., opp. 60, 70, loi. 
 
 This pianist brought the mechanical part of his art to a perfection never 
 previously known in his period. His works are permeated with a stilted formality 
 which marks strongly enough the preponderance of the scholastic over the inspired 
 musician. His performance was distinguished by much brilliancy and a perfect 
 command over the technical peculiarities of the pianoforte, but it is spoken of by 
 Moscheles and other judges as being greatly lacking in sympathy and feeling. 
 
 KALLIWODA (Johann Wenzeslaus). Bohemian, comp., B. Prague, March 
 
 21, 1800. S. at Prague Cons., 1811-17. Cond. of Private Band of Prince 
 
 Frustenberg at Donauss-Chengin, 1823-53. D. Carlsruhe, Dec. 3, 1866. 
 
 Works. — Symphonies : ist, in F min., op. 7, 1826 ; 2nd, in E flat, op. 17 ; 
 
 3rd, in D min., op. 28; 4th, in C min. ; 5th, in B min., op. 106 ; 6th, in F. 
 
 Overtures for orch., opp. 38, 44, 55, 56, 76, 85, loi, 108, 126, 141, 143, 145. 
 
 Concertos for vn. and orch., opp. 15, 30, 72, 100, 133, 151. Variations, etc., for 
 
 vn. and orch. opp. 13, 18, 22, 35, 37, 41. Rondos for Pf. solo, opp. 10, 11, 16, 
 
 19, 23, 42. Three String Quartets, opp. 61, 62, 90. Blanda, opera, 1847. 
 
 Y 
 
3S4 KAN — K-Ei 
 
 . Kalliwoda was a violinist oi very considerable repute in his day, but is_ now best 
 known by his bright and clever overtures, most of which are stock pieces in theatri- 
 cal and other orchestras. 
 
 EANNE (Friedricll August). German comp., B. Saxony, March 8, 1788. 
 D. Vienna, Dec. 16, 1835. Comp. of operas, symphonies, and Pf. music. 
 
 KAFPEY (J. A.). English bandmaster and writer, B. Bingen, Germany, 1826. 
 Cond. of band of Royal Marines, Chatham, since 1857. Comp. The Wager, 
 opera, Lond., 1872 ; Martial cantata. Per Mare per Terram, Rochester, 1878; 
 Dance Music, Songs, etc. Author of Clarionet Tutor (Boosey), u. d. ; Forty 
 Progressive Exercises and Studies for the Clarionet ; Flute Tutor ; Oboe 
 Tutor; Complete Tutor for Brass Band Instruments ; Bassoon Tutor. Edited 
 The Songs of Germany, Schubert, Scandinavia, Eastern Europe, etc. Since 
 1869 sole editor of Boosey's Military and Brass Band Journals. 
 
 KAPSFERGEB (Johanu Jerome). German comp. and lute-player, flourished 
 in latter part of i6th and beginning of 17th centuries. Resided successively at 
 Rome and Venice. Comp. Libro primo d' Intavolatura di Chitarone...i6o4 ; 
 Libro 1 de Madrigali a 5 voci...i6o9; Libro primo di Villanelle...i6io; 
 D'Intavolature di Lauto...i6ii ; Libro primo di Arie passeggiate...i6i2. 
 Masses. Poems. 
 
 KASTNER ( Johann Georg). German comp. and writer, B. Strassburg, March 
 9, 1810. D. Paris, Dec. 19, 1867. Writer of Schools or Tutors for various 
 instruments, Pf. music, etc. 
 
 KEACH (0. W.). American band-master and writer, author of (with B. A. 
 Burditt) Modern School for the Drum. Army Drum and Fife Book (with 
 Burditt and Cassidy), n. d. 
 
 KEDDIE (Henrietta), Sarah Tytler. Authoress of "Musical Composers 
 and their Works," Lond., 1875, 8vo ; 2nd ed., 1877. Also writer of other 
 biographical works and novels. 
 
 KEEBLE (John). English org. and comp., B. Chichester, 1711. Chorister 
 
 Chichester Cath., under Kelway. S. under Pepusch. Org. of S. George's, 
 
 Hanover Sq., London, 1737. Org. of Ranelagh Gardens. D. London, Dec. 
 
 24, 1786. 
 
 Works. — Five Books of Organ Pieces. Songs, etc. The Theory of Harmonics, 
 
 or an Illustration of the Grecian Harmonics, Lond., 4to, 1784. 
 
 KEETON (Haydn), English org. and comp., B. Mosborough, near Chesterfield, 
 Derbyshire, Oct. 26, 1847. Mus. Bac, Oxon., July, 1869. Org. Peter- 
 borough Cath., Feb. 23, 1870. Mus. Doc, Oxon., Dec. 1877. 
 Works. — Anthems: I will alway give thanks ; Give ear. Lord, unto my prayer 
 (Meadowcroft Prize) ; The eyes of all. Benedicite in E flat. Magnificat and Nunc 
 Dimittis in B flat (chant form). Offertory Sentences (awarded a Prize offered by 
 Coll. of Org.). Impromptu for Pf. Morning and Evening Service in B flat (MS.). 
 Symphony for Orch. (MS.). 
 
 REISER (Beinliard). German comp. and cond., B. Weissenfels, Leipzig, 
 
 1673. S. at the Thomas Schule, Leipzig, and at Leipzig University. Resided 
 
 in Hamburg, 1694- 1734. Married, 1709. Organized Concerts in Hamburg, 
 
 1700-34. Director of Hamburg Opera, 1703. Chapel-master to the King of 
 
 Denmark. Cantor and Canon of Copenhagen Cath. D. Hamburg, Sept. 12, 
 
 1739- 
 
 Works. — Operas: Ismene, 1692 ; Basilius, 1693 ; Mahomet, 1696 ; Adonis, 
 
 1697 ; Irene, 1697 ; Janus, 1698 ; La Pomme d'or, 1698 ; Iphigenie ; Hercules ; 
 
 Endymion, 1701 ; Psyche, 1701 ; Stserte becker und Gadje Michel, 1702 ; Circe, 
 
 1702 ; Penelope, 1702 ; Orpheus, 1702 ; Claudius, 1703 ; Salomon, 1703 ; Masan- 
 
 iello furioso, 1706; Helene, 1709; Oesiderius, 1709; Charles V., 1712. Oratorios: 
 
 Nabuchodonosor, 1704 ; Passion according to S. Mark. Ballets and Interludes. 
 
 KEITH (R. W.) English pianist and writer, B. Stepney, 1787. Author of "A 
 Musical Vade Mecum, being a compendious introduction to the whole Art of 
 
kEL — KEji 35S 
 
 Music," Lond., 2 v., 8vo, 1820; "Instructions for the Pianoforte "...Lond. 
 [1833] ; "Tutor for the German Flute," etc. 
 
 KELEB-BELA (Albert von Keler, or). Hungarian comp., B. Bartfeld, 
 Feb. 13, 1820. S. under .Sechter and Schlesinger. Cond. of the Gung'l band 
 at Berlin ; Do. Lanner band at Vienna. Bandmaster in an infantry regiment. 
 Chap. -master at Wiesbaden, 1870-72. D. Wiesbaden, Nov. 20, 1882. Comp. 
 overtures, dance music for Pf., and orch., etc. 
 
 KELLER (Godfrey). See Holder (J.) 
 
 KELLIE (Thomas Alexander Erskine, Earl of), Scottish musician, B. 
 
 Sept. I, 1732. S. under Staraitz. Succeeded his father in 1756. Sold most 
 of the Killie property. D. Brussels (unmarried), Oct. 9, 1781. 
 He composed a number of overtures (The Maid of the Mill, etc.), 1761 ; 
 ' ' Minuets and Songs novir for the first time published, with an Introductory Notice 
 by C. K. Sharpe." Edinburgh, 4to, 1839. Songs, etc. 
 
 He was reckoned among the most respectable amateur violinists of his time, and 
 was a composer of some ability. "Frothy," says Busby. 
 
 KELLOGG (Clara Louise). American soprano vocalist, B. Sumterville, N. C, 
 
 July, 1842. Educated in New York. Z>^6ui as Gilda in "Rigoletto," New 
 
 York Academy of Music, i86i. First appeared in London, Nov. 2, 1867, as 
 
 Margherita ("Faust"). Sang in London again, 1872. Has since appeared 
 
 successfully in various parts of Europe and in the U. S. 
 
 Miss Kellogg is recognised in the United States as one of the foremost among 
 
 native singers. Her talents are of a very high order, and the enthusiasm with 
 
 which she is universally received speaks more than words to her popularity. 
 
 KELLY (IVtichael). Irish comp., B. Dublin, 1764 [1762]. S. singing under 
 Rauzzini. S. also at Naples under Aprile, etc., 1779. i?i^^»< as vocalist at 
 Dublin, 1779. Travelled in Italy, and became acquainted with Mozart. 
 Z):fiut at Drury Lane, as Lionel in " Lionel and Clarissa." Sang at Concerts 
 of Ancient Music, Handel Commemoration, in English Provinces, Ireland, 
 etc. Manager of King's Theatre, 1793. D. Margate, Oct. 9 [15], 1826. 
 Works. — Musical Dramas, for which the music was chiefly compiled, as — False 
 
 Appearances, 1789; The Castle Spectre; Of Age To-morrow; Blue Beard; 
 
 Pizarro ; etc. Glees and songs. Reminiscences, during a period of nearly half a 
 
 century, with original anecdotes of many distinguished persons. Lond., 2 vols., 
 
 8vo, 1826 ; and ed., 1826. 
 Kelly was a well-known and highly-appreciated singer in his day. His works 
 
 were of too temporary a character to merit preservation, and all of them, save his 
 
 garrulous " Reminiscences," have departed this world. The "Reminiscences" is 
 
 a highly amusing production, and is a storehouse of musical anecdote to which 
 
 many an erudite musical historian has turned with glee. 
 
 KELWAY (Joseph). English org. and comp., B. about beginning of the i8th 
 century [1702]. S. under Geminiani. Org. of S. Michael's, Cornhill, Lon- 
 don, till 1736. Org. S. Martin's-in-the-Fields, 1736. Instructor on Harpsi- 
 chord to Queen Charlotte. D. 1782. ' 
 Kelway was a famous organist, but is represented at the present period only by a 
 
 few harpsichord sonatas and lessons. He wrote vocal music, some of which appears 
 
 in contemporary collections. 
 
 KELWAY (Thomas). English org. and comp., B. about end of 17th century. 
 Org. of Chichester Cath, 1720. D. May 21, 1749. 
 Works.— Evening services in B min., A min., G min. ; Seven services and nine 
 
 anthems in MS. at Chichester Cath. 
 
 The good quality of Kelway's music is attested by the fact that at the present 
 
 time it is being constantly used in our cathedrals and churches. 
 
 KEMBLE (Adelaide), Mrs. Sartoris. English singer and actress, B. 1814. 
 Daughter of Charles Kemble. Appeared first in London as singer. Sang at 
 York Festival, 1835. Travelled in France and Germany. Sang in Italy, 1840, 
 Married Mr. F. Sartoris, 1843. D. Aug., 1879. 
 
35^ K.EM — KER 
 
 Works. — A Week in a French Country House, 1867 ; Records of a Girlhood, 
 1880. 
 
 KEMP (Joseph). English comp., B. Exeter, 1778. S. under W. Jackson. 
 Org. Bristol Cath., 1802. Mus. Bac, Cantab., 1808. Music teacher in Lon- 
 don, 1809. Doc. Mus., Cantab., 1809. D. London, May 22, 1824. 
 Works. — The Jubilee, 1809; The Siege of Isca, 1810 ; The Crucifixion; 
 Musical Illustrations of the Lady of the Lake, 8vo, 1810; Musical Illustrations of 
 the Beauties of Shakespear ; The Vocal Magazine, Edin., 3 vols., 1798, 1800 
 [edited] ; Glees, 2 sets, Lond. [1800-1803] ; Twelve songs, collected, and others ; 
 Twelve Psalms ; Chants, duets, anthems, etc. ; New System of Musical Education, 
 n.d., etc. 
 
 Some of this composer's anthems are still in vogue, but his compositions other- 
 wise are forgotten. He was one of the first to teach music in large classes. 
 
 KEMP (R.) English writer, author of " Directions for Tuning the Alexandre 
 Harmonium." London, 1874. 
 
 KENNEDY (Alexander). Scottish violin maker, who flourished about 1700- 
 1786, and produced good copies. John, his son, flourished 1730-1816, and 
 Thomas, his grandson, 1784-1870, both made instruments of good quality. 
 London was the headquarters of this family. 
 
 KENNEDY (David). Scottish vocalist, B. Perth, April 15, 1825. He received 
 no regular instruction in singing, but was a precentor and teacher for some 
 time in Edinburgh. He first made himself known through popular concerts 
 which he gave originally in Edinburgh, but afterwards in most of the larger 
 towns in Scotland. Latterly Mr. Kennedy has sung in Africa, New Zealand, 
 America, and London, in all of which places he has met with extraordinary 
 success. His name is a household one in Scotland, where his "Nicht wi' 
 Burns " entertainment is regarded as a most characteristic example of Scotch 
 concert-giving. His voice is in quality a tenor, merging on barytone, with a 
 good register, but the main excellence of his singing lies in the correct expres- 
 sion with which he delivers those Songs which are peculiarly Scotch. 
 
 KENNEDY (Rev. Rann, M.A.). English writer, B. 1773. D. Birmingham, 
 Jan. 2, 1851. Author of " Thoughts on the Music and Words of Psalmody, as 
 at present in use among the members of the Church of England," Lond., 8vo, 
 1821. "A Church of England Psalm Book," 1821. Poems, and other works. 
 He was incumbent of S. Paul's Chap., Birmingham. 
 
 KENNEY (Charles Lamb). English playwright and writer. D. London, 
 Aug. 25, 1881. Author of "Memoir of Michael William Balfe," Lond., 8vo, 
 1876. He was also a musical critic and barrister-at-law. 
 
 KENT (James). English org. and comp., B. Winchester, March 13, 1700. 
 Chor. Winchester Cath. under V. Richardson. Chor. Chap. Roy. under 
 Croft. Org. of Par. Ch. of Finedon, Northampton. Org. Trinity Coll., 
 Camb., till 1737. Org. Winchester Cath., 1737-1774. D. Winchester, May 
 6, 1776. 
 
 Works. — Services in C and D. Anthems: Twelve Anthems, v. i, 1773 ; Eight 
 Anthems, with Morning and Evening Service, in C, v. 2, ed. by Corfe. 
 
 "In his cathedral music he followed the style of Dr. Croft, though his compo- 
 sitions are less elaborate, and his melodies more free from divisions, and of a more 
 modern cast than those of his master." — Hogarth. Most of his anthems are pub- 
 lished by Messrs. Novello, to which circumstance is partly due their continued 
 popularity among choirmasters. 
 
 KERBUSCH (Leo). German comp., B. near Dusseldorf, 1828. S. under 
 Spohr, E. F. Richter, etc. Mus. Doc, Dublin, 1869 (accumulated degrees). 
 Author of " Hints to performers on musical instruments played by the touch of 
 the hand," Lond. [1871]. Songs, part-songs, Pf. music, etc. 
 
 KERL (Johann Caspar). German comp., B. 1628. S. under Carissimi and 
 Froberger. Org. to Elector of Bavaria. D. Munich, Feb. 13, 1693. 
 Works,— Operas. Canzonets. Sonatas for organ, etc. 
 
KER — KIE 357 
 
 Kerl was famed in his day for his powers on the organ, and some of his music 
 has come down to the present time in the form of arranged organ music. 
 
 KERB (Mrs. Alexander). English song-writer who flourished about the middle 
 or first half of the present century. She wrote a number of sentimental ballads, 
 and a few part-songs, words and music. Among the former may be named, 
 "Melodies, the Words written and the Music^composed by Mrs. Alexander 
 Kerr," Lond., D'Almaine [1831]. 
 
 KESSLEB (Josef Christoph). Bohemian pianist and comp., B. Augsburg, 
 Aug. 26, 1800. D. Vienna, Jan. 13, 1872. Comp. music for P/., etc. 
 
 KETTEN (Henri). Hungarian pianist and comp., B. Baja, March 25, 1848. 
 S. Paris Cons, under Marmontel, Hal^vy, and Reber. Has performed in 
 Europe, Britain, Australia, etc. D. Paris, March 31, 1883. 
 Ketten has composed a number of interesting pieces for his instrument, as well 
 
 as songs. His style of playing was mentioned with much respect by writers of all 
 
 ranks. 
 
 KETTENUS (Aloys). Belgian violinist and comp., B. Verviers, Feb. 22, 1823. 
 Public performer and comp. of merit. 
 
 KETTERER (Eugene). French pianist and comp., B. Rouen, 1831. S. Paris 
 Cons. Gained 2nd prize for sol-feggio. D. Paris, Dec, 1870. 
 
 Works. — Pianoforte music : Mazurka, op. 2; Redowa, op. 3; Caprice, op. 4; 
 March, op. S > Caprice, op. 7 ; Barcarolle ^cossaise, op. 10 ; Romance, op. 13 ; 
 Valse-caprice, op. 14 ; Pastorale, op. 17 ; Grand Galop, op. 24; Mazurka, op. 40; 
 Caprice Boh^mien, op. 46 ; Caprices, marches, fantasias, dances, etc., opp. 50 to 
 290 ; Nocturne, op. 39 ; Elegie \ !a Memoire de F Chopin, op. 57. 
 
 The majority of the pieces written by this composer are of a graceful character, 
 brilliant at times, but never vulgarly showy. Some of them have attained enormous 
 popularity. 
 
 KETTLE (Charles Edward). English org. and comp., B. Bury St. Edmund's, 
 
 Mar., 1833. Org. successively at S. Margaret's, Plumstead; S. Nicholas (Old 
 
 Parish Ch.), Plumstead; Holy Trinity Ch., Woolwich; Hove Parish Ch. ; 
 
 Queen Sq., Congregational Ch., Brighton. 
 
 Works. — Hymn Tunes published in Bristol Tune Book ; Bickersteth's Hymnal 
 
 Companion ; Sunday School Hymns (Weekes) ; Songs of the Church ; Northern 
 
 Psalter ; Chants Ancient and Modern. Kettle's Tune Book, containing 700 
 
 original Tunes and Chants ; Saviour and Friend, service of Song. Songs: Ben 
 
 Brace ; The Organist ; Per mare, per terram ; Peace in Heaven ; Saturday night 
 
 at sea ; Soldier's funeral ; Winds errand ; In the Dawning ; The Voice of Music. 
 
 Organ : Marche solenelle ; Marche nuptiale ; Marche aux bannieres ; Marche des 
 
 chantres; Offertoire in E flat; Postlude in C. Three Operas — "Amelie," "Her 
 
 mina," '' The Water Cure ;" also numerous songs and Pf. pieces not yet published. 
 
 KEY (Joseph), of Nuneaton. English church comp. who flourished in the first 
 half of the present century. He wrote a great number of meritorious anthems, 
 marches for org., etc, 
 
 KIALLMARK (G.) Swedish comp. and violinist, B. Lynn Regis, 1781. S. 
 
 under Barthelemon and Spagnoletti. Violinist in various orchestras, and 
 
 teacher. D. (?) 
 Works. — Music for Pf. and vn. Songs : All alone ; Autumn noons ; Banks of 
 the Rhine ; Bound where thou wilt ; Cupid and Hymen ; Fair Haidee ; Fare thee 
 well ; Farewell, bright star ; Helen's Farewell ; Him I love ; Maid of Athens ; 
 Now each tie ; O come, my love ; etc., etc. Part-songs. These songs are of con- 
 siderable merit, though now forgotten. 
 
 KIEL (Friedrich). German comp., B. Puderbach-on-the-Lahn, Oct. 7, 1821. 
 
 S. under Schulz, 1835, and Kummer & Dehn. Prof, of comp. at the Hochschule 
 
 fur Musik, Berlin. D. Berlin, Sept. 14, 1885. 
 Works. — Op. i. Fifteen Canons for Pf. ; op. 5. Three romances for Pf. ; op. 8. 
 Melgdies for Pf. S op. 11. Reisebild^r for Pf., vn,, and 'eellp ; op. 12. Three pieces 
 
3S8 KIE — KIN 
 
 for 'cello and Pf. ; op. l8. Ten pieces for Pf. ; op. 20. Requiem, 1862 ; op. 21. 
 Three pieces for Pf. ; op. 24. Trio for Pf. , vn. , and 'cello ; op. 26. Two Caprices for 
 Pf. ; op. 31. Twelve Lieder for voice and Pf. ; op. 32. Two Motets ; op. 35. 
 Sonata for Pf. and vn. ; op. 36. Three gigues for Pf. ; op. 37. Variations for Pf. 
 and vn. ; op. 38. Souvenirs de Voyage for Pf. ; op. 41. Do.; op. 42. Humoresques 
 for Pf. duet ; op. 45. Three valses for Pf. ; op. 63. Two Songs of Novalis for 
 voice, chorus, and orch. ; op. 64. Six Lieder; op. 65. Two trios for Pf., vn., and 
 'cello ; op. 66. Landler for Pf. duet ; op. 67. Sonata for Pf. and alto ; op. 69. 
 Three romances for Pf. and alto ; op. 70. Three pieces for Pf. and vn. Christus, 
 oratorio, 1874. Stabat Mater, Quartet for Pf. and strings in A flat. Masses, 
 Psalms, Motets, etc. 
 
 Kiel held a distinguished position in Germany as a violinist and composer. His 
 works have been produced vnth success in many parts of Europe, while a few of 
 them have found their way to Britain and America. " Christus " is a work of 
 much merit. 
 
 KIESEWETTER (Raphael Oeorg, Edler von Weisenbrunn). Austrian 
 writer, B. HoUeschau, Moravia, Aug. 29, 1773. C. Baden, near Vienna, Jan. 
 I, 1850. 
 
 Works. — Ueber die Musik der neueren Griechen, nebst freien Gedanken iiber 
 altegyptische und altgriechische Music, Leipzig, 1838 ; Guido von Arezzo, Sein 
 Leben und Wirken, 1840 ; Schicksale u. Beschaffenheit des weltlichen Gesanges, 
 1841 ; Die Musik der Araber, nach Originalquellen dargestellt, Mit einem Vorworte 
 vondem Freih. v. Hammer-Purgstall, 1842; Geschichte der Europaisch-abendlan- 
 dischen oder unserer heutigen Musik, Darstellung ihres Ursprungs, ihres Wachs- 
 thums und ihrer stufenweisen Entwickelung ; von dem ersten Jahrhundert des 
 Christenthums bis auf unsere Zeit, 1846. Der neuen Aristoxener zerstreute 
 Aufsatze iiber das Irrige der musikal. Arithmetik u. das Eitle ihrer Temperaturrech- 
 nungen, 1846, 
 
 The whole of the above works on musical history and theory are now among the 
 standard authorities on the various topics of which they treat. No. 5 was trans- 
 lated into English by Robert MuUer, under the title of " History of the Modern 
 Music of Western Europe, with Examples." 8vo, 1848. 
 
 KILNER (Thomas). English writer and org. Author of Manual of Psalmody 
 and Chanting, 1850 ; Pocket Chant Book, 8vo, 1850 ; Jottings about Choral 
 and Congregational Services, Organs and Organists, Gregorians, Benches, and 
 Chairs, etc. London, 8vo, 1872 ; second ed., 1873. Numerous pieces of 
 organ music, etc. 
 
 KIMBALL (Horace E.) American org. and writer, author of New Method for 
 Reed Organ, Cleveland, n.d. ; Organ Voluntaries, 2 vols., Cleveland, n.d. 
 
 KIMBALL (Jacob). American psalmodist, resided at Topsfield, Mass., and 
 published in 1793, "The Rural Harmony." 
 
 KIND (Johann Friedrich). German poet, B. Leipzig, Mar. 4, 1768. D. 
 Dresden, June 25, 1843. 
 Wrote book of Weber's "Der Freischiitz. " 
 
 KINDERMANN (Johann Erasmus). German org. and comp., B. Nurem- 
 berg, March 29, 1616. D. Nuremberg, April 14, 1655. Comp. org. and vocal 
 music. 
 
 KING (Alfred). English org. and comp., B. Shelby, Essex, April 24, 1837. 
 Org. at Brighton, 1865. F. C. O., 1868. Mus. Bac, Oxon., 1872. The 
 Epiphany, oratorio, for degree of Mus. Doc. Licentiate ol Music, Trin. Coll. , 
 London. Org. to Brighton Corporation, 1878. Cond. of Brighton Festival 
 Choir. Hon. Local Examiner to Royal Coll. of Music, 1883-86. Comp. a 
 Magnificat for Festal use, anthems, part-songs, etc. 
 
 KING (Charles). Englishcomp. and org., B. Bmy-St.-Edmunds, 1687. Chor. in 
 S. Paul's under Dr. Blow and Jeremiah Clark. Married to sister of J. Clark. 
 Almoner and Master of Chor., S. Paul's Cath., 1707. Org. of S. Benet Fink, 
 Lond, 1708. Vicar-choral, S. Paul's, 1730. D. London, March 17, 1748. 
 
KIN — KIN. 
 
 359 
 
 Works. — Services in F, C, D, and B flat. Anthems : Rejoice in the Lord ; 
 Hear, O Lord ; O pray for the peace of Jerusalem ; Unto thee, Lord ; Where- 
 withal shall a young man learn. 
 
 " King's services have been much censured ; but as they are in constant use in 
 every cathedral in England and Ireland, this is an incontestable proot of merit, and 
 silences all criticism. " — Rimbault. 
 
 KING (James). English writer and comp. Author of " An Introduction to the 
 Theory and Practice of Singing." Lond., fo. n.d. "Collection of Glees, 
 Madrigals, etc," Lond. [1839]. 
 
 KING (Julie Bive). American pianist and comp., B. Cincinnati, O., 1856. 
 Received her first instructions from her mother, and afterwards S. in New York 
 city with Wm. Mason, S.B. Mills, De Korbay, and Pruckner. Spent years in 
 Europe studying with Blassman and Rischpieter of Dresden, and Liszt at 
 Weimar. She has written a large number of compositions for the piano, many 
 of which are to be found in the repertoire of native and foreign artists. 
 Madame King is the greatest artist of her sex in America, and has appeared with 
 every musical organization of note in the United States and Canada, appearing as 
 the special attraction. Was a charter member of the American College of Musi- 
 cians. Her reputation in Europe is as assured as that accorded to her by the Press 
 of her own country. 
 
 KING (Matthew Peter). English comp., B. London, 1773. S. under C. F. 
 Horn. Teacher and musical director in London. D. London, January, 1823. 
 
 Works. — Sonatas for Pf., opp. i, 2, 5, 14; Rondos, opp. 13, 22; Quintet for 
 Pf. flute, vn., tenor, and 'cello, op. 16 ; Divertissement for Pf., op. 24. The Inter- 
 cession, oratorio, 1817. (This contains the celebrated song, "Eve s Lamentation.") 
 Music of Dramas : Matrimony, 1804; The Invisible Girl, 1806; False Alarms 
 (with Braham), 1807 ; One o'clock, or The Wood Demon, Lewis (with Kelly), 
 1807; Ella Rosenberg, 1807; Up all Night; or, the Smugglers Cave, 1809; 
 Plots, 1810; Oh this Love, 1810 ; The Americans (with Braham), 181 1 ; Timour 
 the Tartar, 181 1 ; The Fisherman's Hut (with Davy), 1819; The Magicians (with 
 Braham). The Harmonist, a Collection of Glees and Madrigals, from the Classic 
 Poets [1814]. A General Treatise on Music, particularly on Harmony or Thorpugh- 
 Bass, and its application in Composition, Lond., 1800. Introduction to the Theory 
 and Practice of Singing at First Sight, 1806. Part-songs; Duets, as "The Minute 
 Gun at Sea"; Songs, etc. 
 
 The musical dramas which King, in conjunction with other English composers, set 
 before the public of his day are totally different from the operas which now claim 
 attention from musical amateurs. In King's operas there is no sustained interest in 
 the music when taken by itself, as the whole development of the plot is revealed in 
 the libretto alone, the ballads and concerted vocal pieces strewn throughout being 
 merely subsidiary episodes of an unconnected nature. His music was of consider- 
 able dramatic power, and many of his melodies are unmatched for grace and beauty, 
 in the whole range of English music. 
 
 KING (Oliver). English comp. and pianist, B. London, 1855. Articled to J. 
 
 Barnby, and was his assistant at St. Anne's, Soho, 1871-1874. S. Pf. under 
 
 W. H. Holmes. S. Leipzig Cons, under Richter, Reinecke, and Paul, 1874-77. 
 
 Pianist to H. R. H. the Princess Louise, 1879. Went to Canada in that 
 
 capacity till 1883. Gave concerts in U. S. and Canada during same time. 
 
 Now musical director of St. Marylebone Parish Ch. 
 
 Works. — Night, symphony for orch. ; Concert-overture, Among the Pines 
 
 (Philharmonic Soc. prize, 1883) ; Concerto for Pf. and orch. (Brinsmead prize, 
 
 1885). Pianoforte : Legende ; Berceuse ; Barcarolle ; Nocturne ; Gavotte ; 
 
 Ballade; 3 Duets in Canon form ; Romance; Mazurka; Idylle; Moriska; Valses, 
 
 etc. Organ : Preludes ; Fantasias ; Offertoires. Harmonium and violin music. 
 
 Vocal: Te Deum, Jubilate, etc., in D ; Album of duets for soprano and alto. 
 
 Part-songs — Peacefully Slumber ; The Curfew ; Slumber on, Baby Dear. Songs — 
 
 When the wintry wind is blowing ; For me ; Israfel ; Twilight Fancies ; Hush. 
 
 KING (Robert). English comp., B. about middle of the 17th century. Musician 
 in band of William and Mary, and Queen Anne, Graduated at Cambridge, 
 1696; D. afterL7ii, 
 
360 KIN — KIT 
 
 Works. — Music in The Banquet of Musick, 1688 ; Choice Ayres, Songs, and 
 Dialogues, 1684; Comes Amoris, 1687-93. Music to Shadwell's Ode on St. 
 Cecilia's Day, 1690. " Once more 'tis Born," Ode on Earl of Exeter, 1693. 
 Songs for i, 2, and 3 voices composed to a Thorough Basse, for ye organ or harp- 
 sichord," Lond., 4to, n. d. 
 
 KING (William). English org. and comp., B. 1624. Chor. Magdalen Coll., 
 Oxford, 1648. B.A., 1649. Chaplain of Magdalen Coll., 1650-4. Pro- 
 bationer-fellow of All Soul's Coll., 1654. Org. of New Coll., Oxford, 1664. 
 D. Oxford, Nov., 1680. 
 
 Wrote a Service in B flat, Anthems, etc., and "Poems of Mr. Cowley, and 
 others, composed into Songs and Ayres," 1668. 
 
 KIBBYE (George). English comp. of latter half of the l6th century. One of 
 the ten composers who harmonized Este's Psalms, 1592. He composed the 
 madrigal for 6 voices in the " Triumphs of Oriana," entitled " Bright Phoebus," 
 and published "The First Set of Madrigals to 4, 5, and 6 voyces," Lond., 
 1594. Biography unknown. 
 
 EIRCHEB (Athanasius). German writer and Jesuit, B. 1602, near Fulda. 
 D. Rome, Nov. 1680. 
 
 Works. — Musurgia universalis sive ars magna consoni et dissoni ; Romas, 2 v., 
 fo., 1650. Phonurgia nova sive conjugium mechan-phys, artis et naturae para- 
 nympha phonosophia, fo., 1673. Numerous other works of topography, etc. 
 
 The first work above mentioned is becoming very scarce, and is a most curious 
 contribution to music-lore. Its practical value is little, although suggestions of 
 facts which have been now adopted were mooted in this treatise. ' 
 
 KIBCHNEB (Theodor). German org. and comp., B. Neukirchen, near Chem- 
 nitz, 1824. S. at Leipzig Cons. Org. at Winterthur. Cond, and teacher at 
 Zurich, 1862-75. Director of Music School at Wurzburg, 1875. Teacher in 
 Leipzig. 
 
 Works. — Ten pieces for Pf., op. 2 ; Madchenlieder for soprano voice and Pf., 
 op. 3 ; Four lieder, voice and Pf., op. 4; Album Leaves, 9 pieces for Pf., op. 7; 
 Scherzo in A for Pf. , op. 8 ; Sixteen Preludes for Pf. , 2 books, op. 9 ; Seven Songs 
 without words, op. 13; Fantasiestiicke, 3 books, op. 14; Quartet for slrings, op. 
 20; Still und bewegt, 8 pieces for Pf., op. 24; Nachtstucke, op. 25 ; Album for 
 Pf., op. 26; Caprice for Pf., op. 27; Nocturne for Pf., op. 28; Aus meinem 
 Skizzenbuche, Pf. , op. 29 ; Study and Recreation, 4 books, op. 30 ; Im Zwielicht, 
 lieder, op. 31 ; Four Elegies, Pf., op. 37 ; Dorfgeschichten, 14 pieces for Pf., op. 
 39; Verwehte Blatter, Pf., 3 books, op. 41; Seven Mazurkas for Pf., op. 42; 
 Blumen zum Strauss, 4 books, op. 44 ; Six pieces for Pf , op. 45 ; Thirty Kinder 
 und KUnstler-Tanze, op. 46. Miscellaneous songs, Pf. pieces, a serenade, etc. 
 
 Kirchner is one of the most renowned followers of Robert Schumann in the 
 domain of Pianoforte music. His music is beautiful in every sense of the word, and 
 at times rises to a considerable height of inspiration. 
 
 KIBEMAN. English firm of Pianoforte makers, founded in London about the 
 middle of the i8th century by Jacob Kirkmann, a German. The firm deals 
 extensively at the present time in instruments of much excellence. 
 
 KIBKMAN (Mrs. Joseph). English authoress, writer of " A'Practical Analysis 
 of the Elementary Principles of Harmony," Lond., 1845, 4to. 
 
 KIBKBEBGER (Johann Philip). German writer, B. Saalfeld, April 24, 1721. 
 Chapel-master to Princess Amalie, at Berlin. D. Berlin, July 27, 1783. 
 Works. — Die Wahren Grundsatze zum Gebrauch der Harmonic. Berlin, 4to, 
 1773 ; Die Kunst des Reinen, Satzes in Musik, Berlin, 3 vols., 4to, 1774-79 > 
 Grundsatze des Generalbasses als arste Linein zur Composition, n.d., 4to; 
 Organ fugues, etc. 
 
 EISTNEB. German music-publishing firm, established in Leipzig about 1823. 
 Publish editions of works by Mendelssohn, Schumann, Chopin, Moscheles, etc. 
 
 EITCHINEB (William). Enghsh physician and writer, B. London, 1775. 
 Educated at Eton, Physician in London, D, London, Feb. 26, 1827, 
 
KIT — KLE 361 
 
 Works. — The Cook's Oracle; Art of Invigorating and Prolonging Life ; The 
 Economy of the Eyes ; The Traveller's Oracle. Ivanhoe ; or, the Knight Tem- 
 plars, musical drama. The Loyal and National Songs of England, for one, two, 
 and three voices, selected from original manuscripts and early printed copies in the 
 Library of William Kitchiner, M.D., Lond., fo., 1823. The Sea Songs of Eng- 
 land, etc., Lond., fo., 182.3. Amatory and Anacreontic Songs Set to Music, 
 Lond., 8vo, n.d. The Sea Songs of Charles Dibdin, with a Memoir of his Life and 
 Writings, Lond., 4to, 1824. Observations on Vocal Music, Lond., i2mo, 1821. 
 Glees, songs, etc. 
 
 This celebrated epicure and musician has immortalized himself in two productions, 
 namely, "The Cook's Oracle," and "Vocal Music." In both of these works he 
 shows that he was an original thinker. His music is not fated to descend to 
 posterity, and scarcely gratified his contemporaries. His culinary precepts are, 
 however, worthy of consideration in these days of reform. 
 
 KITTEL (Johann Ckristian). German org. and comp., B. Erfurt, Feb. 18, 
 1732. S. under J. S. Bach. Org. at Langelsalza, &c. D. Erfurt, May 9, 
 1809. 
 Works. — Organ sonatas, preludes, and fugues ; Practical^^Organ School ; Pf. 
 
 music. Vierstimmige Chorale mie Vorsfielen, Altona, 1803. 
 
 EITTL (Johann Friedrich). Bohemian comp., B. Worlik, May 8, 1806, D. 
 Lissa, July 20, 1868, was a composer of Pf. and vocal music of merit. 
 
 EJERULF (Halfdan). Swedish comp., B. Sept. 17, 1815. D. Aug. 11, 1868. 
 Comp, instrumental music, songs, etc. 
 
 ELAUSER (Earl). German comp. and teacher, B. St. Petersburg, Aug. 24, 
 
 1823. Since 1850 he has resided in the U.S. of America ; five years in New 
 
 York, and twenty-six years in Farmington, Connecticut, as musical director in 
 
 a prominent young-ladies' school. He has the reputation of being a thorough 
 
 musical scholar, and has done much to further musical art in the U.S. by 
 
 his unswerving fidelity to the highest ideal in music, and may be considered as 
 
 one nf the founders or builders of an American musical audience, having had 
 
 under his instruction over 1500 pupils. Klauser has not published any original 
 
 compositions, but many transcriptions for Piano from orchestral scores of the 
 
 musical classics. His critical editions of the Pf. works of Beethoven, Mozart, 
 
 Chopin, Mendelssohn, Schumann, etc., belong to the best, and have the claim 
 
 of priority over all similar editions, as Cotta's, Peter's, Billow's, Klindworth's, 
 
 etc. In addition to these revised editions of classics he has also edited, 
 
 fingered and accentuated, more than 1000 of the best pieces of salon Pf. music. 
 
 by composers ranging from Field to Moszkowski. 
 
 It is Mr. Klauser's plan to exemplify his teachings by the illustration of the most 
 
 eminent artists. The number of concerts given solely for the benefit of his pupils 
 
 amount to over 120. Among the performers who have appeared at such rehearsals 
 
 may be named Rubinstein, Biilow, Damrosch, Theo. Thomas, S. B. Mills, Mary 
 
 Krebs, A. Mehlig, Ernst Perabo, and others, so that the Educational means put in 
 
 practice may be properly described as of the highest possible nature. 
 
 ELAUSS (Joseph). German comp. and org., B. Seelendorf, March 27, 1775. 
 D. March, 1834. Comp. of org., Pf., and vocal music. 
 
 ELEIN (Bemhard). German comp., B. Cologne, March 6, 1793. S. under 
 
 Cherubini. Director ot Music at Berlin University. Teacher of Singing at 
 
 Berlin Hochschule. D. Berlin, Sept. 9, 1832. 
 
 Works. — Mass, 1816. Oratorios: Job, 1820; Dido, 1823; Jephthah, 1828; 
 
 David, Halle, 1830 ; Hiob, cantata ; Salve Regina. Four songs, op. 2 ; Sonatas 
 
 for Pf., F min., op. S ; C, op. 7 ; Fantasia for Pf. in A flat, op. 8 ; Variations for 
 
 Pf. in E flat, op. 9. Ave Maria ; masses ; numerous songs ; etc. 
 
 ELEINMICHEL (Richard). German comp. and pianist. B. Posen, Dec. 31, 
 1846. Teacher in Hamburg. Has comp. Pf. music in variety, as Aquarellen, 
 op. 12; Five Pieces, op. 23 ; Six Sonatinas, op. 43 ; etc. 
 
 ELENGEL (August Alexander). German pianist and comp., B. Dresden, 
 Jan. 29, 1784. D, Dresden, Nov. 1852. Court org. at Dresden, Comp, 
 
362 KLI — KNI 
 
 Sonatas, rondos, polonaises, variations, fantasias for Pf. Grand Polonaise for 
 Pf. and orch., op. 35 ; Trio for Pf., vn., and 'cello, op. 36. Canons and 
 fugues for Pf., etc. 
 
 ELINDWORTH (Carl). German comp. and pianist, B. Hanover, Sept. 25, 
 
 1830. Operatic cond., 1847-49. Teacher in Hanover, 1849-50. S. under 
 
 Liszt at Weimar, 1850. Teacher and concert-giver in London, 1854-68. 
 
 Prof, of Pf. in Moscow Cons., 1868. 
 
 Klind worth is noted as a skilful arranger of large works for the Pf. Among the 
 
 composers whom he has arranged may be named Wagner, Schubert, Chopin, Liszt, 
 
 etc. His edition of Chopin is famous. 
 
 KLINGEMANN (Carl). German writer and poet, chiefly worthy of notice 
 here as author of songs which have been set by Mendelssohn. B. Limmer, 
 1798. D. London, 1862. 
 
 KLOSE (F. J.). English (?) writer, B. London, 1790. D. London, March 8, 
 1830. Author of " Practical Hints for acquiring Thorough Bass," Lond., 8vo, 
 1822. Another Klos^ has written a standard practical work on the Clarionet. 
 
 KLOSS (Karl Johann C). German org. and comp., B. Mohrungen, 1792. 
 D. Riga, 1853. Comp. org. music, songs, Pf. music, etc. 
 
 KLOZ (Matthias). German violin-maker who worked in the Tyrol about 1670- 
 1696. He was a pupil of Stainer, and produced instruments of good quality. 
 His son, Sebastian, is, however, the greater of the two. His instruments 
 date into the i8th century, and are better formed, better toned, and in better 
 preservation than those of Matthias. 
 
 KLXJGHABDT (August). German comp. and cond., B. Kothen, 1847. S. at 
 Dresden. Chapel-master at Neustrelitz, 1873. Writer of Operas : Iwein ; 
 Gudrun, 1883 ; Overtures ; Pf music, songs, etc. 
 
 KNAPP (William). English comp., B. Poole, 1698, Was parish clerk of 
 Poole. D. Poole, 1768. He published " A Sett of New Psalms and Anthems, 
 in 4 parts, and an Introduction to Psalmody," 4th ed., 1750. "New Church 
 Melody, being a Set of Anthems, Psalms, Hymns, etc. in 4 parts; with an 
 Imploration wrote by Charles I. during his captivity in Carisbrook Castle," 
 5th ed., 1764. 
 
 KNAPTON (Philip), English pianist and comp., B. York, 1788. S. under 
 Hague at Camb. Teacher in York. D. June 20, 1833. He comp. Overtures 
 for orch.. Concertos for Pf and orch.. Sonatas for Pf, Arrangements for 
 Pf , Songs, Part-songs, etc. The whole of his works are forgotten, save per- 
 haps, his Pf arrangement of " Caller Herrin'," and the song "There be none 
 of Beauty's daughters." 
 
 KNECHT (Justin Heinrich). German comp. and writer, B. Biberach, Swabia, 
 Sept. 30, 1752. Prof, of literature at Biberach. Operatic cond. at Stuttgart, 
 1807. D. Biberach, Dec. Ii, 1817. 
 Works.— School for the Organ; Theoretical works ; Psalms ; Cantatas; Motets; 
 Sonatas, etc. for org. and Pf. 
 
 This composer is best known in Britain by his Psalms, a number of which have 
 been introduced into several of our more important collections. 
 
 KNIGtHT (Joseph Philip). English song-writer, B. Bradford-on-Avon, July 
 
 26, 1812. S. under Corfe of Bristol Cath. Vicar of S. Agnes in the Scilly 
 
 Isles. Retired latterly from the ministry. 
 
 Works. — Songs : A little bird told me ; All on the Summer Sea ; Angel land ; 
 
 Beauty's but a Summer day ; Beautiful Venice : Bells of Venice ; Breathe not her 
 
 name ; Beautiful Spirit ; Calm and Storm ; Come roam to the greenwood ; Cara 
 
 Macree ; Daughter of the snow ; Down beneath the waves ; Days gone bye ; Ellen 
 
 and Patrick ; England, farewell ; Farewell to thee, sweet Venice ; Farewell my 
 
 native land ; Grecian daughter ; Gentle words ; Homeward ; I would I were a 
 
 child again ; I love the bright and smiling Spring ; the Launch ; Love that blooms 
 
 for ever ; ■ Miniature, the ; Music, sw^et music ; Merry 'tis now ; .Merry hearts ; 
 
KNO KOH 363 
 
 May time ; My mother's song ; Old green lane ; Old man's grave ; O, swift we 
 go ; O give me back the flower ; Pale rose the moon ; Parting song ; Pretty dove ; 
 Rocked in the cradle of the deep ; Say, what shall my song be ; She would not 
 know me ; Spring's first violet ; Spell-wove song ; Sleep and the past ; Saint 
 David's bells ; She wore a wreath of roses ; There was a time ; Though thou art 
 cold ; The Traveller ; They blessed her at parting j Thou wert not there ; Tree of 
 the forest ; 'Twas the long-expected signal ; The merry muleteer ; The old songs 
 we sang ; 'Tis sweet to sail on the silver sea ; The veteran ; What pleasant sounds ; 
 World is a fairy ring ; Wilt thou forget me ; When all those friends ; Why chime 
 the bells. Duets, etc. 
 
 The most of this composer's songs were popular in their day, but ' Rocked in the 
 cradle of the deep," and "She wore a wreath of roses," will outlive his other pro- 
 ductions. 
 
 ENOBR (Julius). German comp., pianist, and writer, B. Leipzig, Sept. 22, 
 1807. D. there, June 17, 1861. Was teacher and critic in Leipzig. Author 
 of Methods for the P£, Pf. music, etc. 
 
 KNYVETT (Chaxles). English org. and vocalist, B. Feb., 1752. Sang at 
 Handel Commemoration, 1784. Do. Concerts of Ancient Music. Gent, of 
 Chap. Roy., 1786. Estab., with' S. Harrison, the Vocal Concerts, 1791-94. 
 Org. of Chap. Roy., 1796. D. London, Jan. 19, 1822. 
 
 KNYVETT (Charles). English org. and comp., eldest son of above, B. 1773. 
 
 S. under Parsons and Webb. Revived the Vocal Concerts with W. Knyvett, 
 
 Greatorex, and Bartleman. Org. of St. George's, Hanover Square, 1802, D. 
 
 Nov. 2, 1852. 
 
 Wrote Glees, etc., for "Re-Unions" of the Prince of Wales, Lond., 1800. Six 
 
 Airs harmonized. Selection of Psalm Tunes sung at St. George's, Hanover Square, 
 
 1823. 
 
 KNYVETT (DeLorah), nie Travis. English singer, second wife of William 
 Knjrvett, B. Shaw, near Oldham. S. under Greatorex. Sang at Concerts of 
 Ancient Music, 1813. Sang at principal London concerts, 1815-43. Married 
 W. Knyvett, 1826. D. Feb. 10, 1876. 
 
 KNYVETT (William). English singer and comp., B. April 21, 1779. Youngest 
 son of Charles Knyvett, the elder. Sang at Concerts of Ancient Music, 1788. 
 Principal alto, do, 1795. Gent, of Chap. Roy., 1797. Lay-vicar of West- 
 minster Abbey. Comp. to Chap. Roy. Sang at London and Provincial con- 
 certs. Cond. of Concerts of Ancient Music, 1832-40. D. Ryde, Nov. 17, 1856. 
 Wrote anthems, glees, songs, etc., but was'best known'in his day as a vocalist ot 
 
 repute. 
 
 KOCH (Heiurich Ohristoph). German writer, B. Rudolstadt, 1749. D. 1816. 
 Author of " Musikalisches Lexicon, welches die Theoretische und Practische 
 Tonkunst Encyclopsedisch bearbeitet..." Frankfort, 1802, 8vo ; " Handbuch 
 beidem Studium der Harmonic," Leipzig, 181 1, etc. 
 
 KOCHEL (Ludwig, Bitter von). German musician and scientific writer, B. 
 Stein, Jan. 14, 1800. D. Vienna, June 3, 1877. Compiler of " Chronologisch- 
 thematisches Verzeichniss sammtlicher Tonwerke W. A. Mozart's. " Leipzig, 
 1862 (Chronological and Thematical Catalogue of Mozart's Works). 
 
 KOEMPEL (August). German violinist, B. Briickenau, Aug. 15, 1831. S. 
 under Spohr, David, and Joachim. Played successfully in Germany, Paris, etc. 
 
 EOETTLITZ (Adolf). German comp., B. Treves, Sept. 27, 1820. D. Oct. 
 26, i860. Writer of lieder, string quartets, Pf. music, etc. 
 
 EOHLEB (Ludwig). German comp., writer, and pianist, B. Brunswick, Sept. 
 5, 1820. S. under Seyfried, Sechter, etc. Teacher in Konigsberg since 1846. 
 Works.— Systematische Lehrmelhode fiir Klavierspiel und Musik, theoretisch 
 und praktisch dargelet, 1872. Studies for Pf., numerous numbers. Mechanische 
 und Technische Klavier-Studien, als tagliche Uebungen fur jede Bildungsstufe. 
 Transcriptions from operas etc, to the number of about 300. 
 
364 KOL — KRA 
 
 Kohler's pianoforte studies are famous over the whole musical world, and have 
 proved a never-failing source of instruction and delight to musicians of all grades. 
 
 KOLBE (Oscar). German writer and comp., B. Berlin, Aug. 10, 1836. Author 
 of a number of theoretical works and writings on music ; also, John the Bap- 
 tist, an oratorio, 1872 ; etc. 
 
 KOLLMANN (August Friedrich Carl). German org., comp., and writer, 
 B. Engelbostel, Hanover, 1756. Org. in German chap, in Loiuion. D. 
 Lend., Nov. 1824. 
 Works. — An Essay on Musical Harmony, Lond., fo., 1796. An Essay on 
 Practical Musical Composition, Lond., fo., 1799. A Practical Guide to Thorough- 
 bass, Lond., fo., 1801 ; 2nd ed., 1807. A New Theory of Music, according to a 
 Complete and Natural System of that Science, Lond., fo., 1806. The First 
 Beginning on the Pianoforte, op. 5, n. d. Vindication of a Passage in his Practical 
 Guide to Thorough-bass against an advertisement of Mr. M. P. Kng, Lond., 1801. 
 Remarks on what Mr. J. B. Logier calls his New System, Lond., 1824. An 
 Introduction to the Art of Preluding and Extemporizing in Six Lessons for the 
 Harpsichord or Harp, Lond., ob. 4to, u. d. 
 
 KONTSEI (Antoine de). Austrian pianist and comp., B. Cracow, 1817. 
 Teacher in London. 
 
 Works. — Music for Pf., chiefly of the drawing-room type. Songs. 
 Other brothers, Charles (1815-1867), Apollinaire (1825-1879), and Stanis- 
 las (1820). 
 
 KOSSAK (Dr. Ernst). German musical critic, B. at Marienwerder, Aug. 4, 1814. 
 D. Berlin, Jan. 3, 1880. 
 
 KOSSMALY (Karl). German writer and comp., B. Breslau, July 27, 1812. 
 Writer of many part-songs, Pf. pieces, songs, writings on music, etc. 
 
 EOTZELTJCH (Leopold). Bohemian org. and comp., B. Wellbarn, Bohemia, 
 
 1784. S. at Prague. Pf. teacher to the Archduchess Elizabeth, 1778. Org. 
 
 to Leopold n. at Prague, 1792. D. Vienna, May 7, 1818. 
 
 Works. — Op. i. Concerto for Pf. and orch ; op. 2. Sonata for Pf. ; op. 3. Trio 
 
 for Pf., vn., and 'cello ; op. 4. Sonata for Pf. duet; op. 5. Sonata for Pf. solo; 
 
 Sonatas and Trios for Pf., vn., and 'cello, opp. 6, 12, 21, 23, 28, 32, 33, 34, 36, 
 
 37, 40, 41, 42, 44, 46, 47, 48, 49, 50, and 52 ; Sonatas for Pf. solo, opp. 7, 8, 9, 
 
 22, 30, 38, 51, 53 ; Sonatas for Pf. duet, opp. 10, 11, 13, 19, 20. Symphonies for 
 
 orch. , various. String quartets. Operas and Ballets. Songs. 
 
 KOTZWARA (Franz). Bohemian comp., B. Prague, about middle of 18th 
 century. Resided for a time in Germany or Holland. Settled in London, 
 1790. Committed suicide Sept. 2, 1791. 
 Works. — Le Bataille de Prague, for Pf., vn., and 'cello; transcribed for Pf. 
 
 many times. Sonatas for Pf., vn., and Pf., etc. 
 
 KOWALSEI (Henri). French comp. and pianist, B. Paris, 1841. S. under 
 Marmontel and Reber. Travelled in England, Germany, and America. 
 Comp. operas, Pf. and vocal music. 
 
 ERAFT (Anton). Bohemian violoncellist and comp., B. Pilsen, Dec. 30, 1752. 
 'Cellist in Chapel of Prince Eszterhdzy. Chamber musician to Prince Grassal- 
 kowitsch. D. Aug. 28, 1820. Comp. concertos, sonatas, duets, solos, etc., for 
 violoncello. 
 
 ERAUSE (Anton). German pianist and comp., B. Geithain, Saxony, Nov. 9, 
 1834. S. under Spindler, Wieck, and Reissiger; also at Leipzig Cons., 1850- 
 53. Musical Director at Barmen, in succession to Reinecke. 
 
 Works. — Pianoforte: Op. i. Three Instructive Sonatas ; op. 2. Studies; op. 3, 
 Leichte Sonate, 4 hands, in D minor ; op. 4. Uebungsstiicke ; op. 5. Zehn Etuden ; 
 op. 6. Serenade, duet; op. 10. Two Sonatinas; op. 12. Three sonatinas ; op. 13. 
 Praeludium ; op. 15. Zehn (10) Studies; op. 17. Sonata. Other sonatas, studies, 
 etc. Vocal music: op. 11. Three Lieder; op. 14. Three Lieder ; op. l6. Kyrie 
 and Sanctus for chorus ^nd orch. 
 
itRA — KkE 365 
 
 Some of the works of this clever writer and pianist are now in use at Leipzig 
 Cons. 
 
 KRATTSS (Marie Gabrielle). Austrian soprano vocalist, B. Vienna, Mar. 23, 
 1842. S. at Vienna Cons. Dibut as Mathilda in "William Tell," July 20, 
 i860. Has sang in "Der Freischiitz," "Don Giovanni," "Tannhauser," 
 "Lohengrin," "Huguenots," "Trovatore," "Zarapa," and other works, and 
 was for many years leading soprano at the Grand Opera, Paris. 
 
 KREBS (Johann Llldwig). German org. and comp., B. Buttelstadt, Oct. 10, 
 1713. S. under his father and J. S. Bach, 1726. Org. at Zwickau, Altenberg, 
 etc. D. Altenberg, 1780. 
 Comp. of fugues, sonatas, etc. , for organ. 
 
 KBEBS (Karl August). German comp. and teacher, B. Nuremberg, Jan. 16, 
 1804. S. under Schelble and Seyfried. Teacher at Hamburg, 1827-50. 
 Chap.-master at Dresden, 1850-71. D. Dresden, May, 1880. 
 
 EBEBS (Marie). German pianist, daughter of above, B. Dresden, Dec. 5, 1851. 
 S. under her father. Dibut at Meissen, 1862. Played in Germany ; England, 
 1864 ; Italy ; France ; and America. She is one of the most brilliant and 
 accomplished pianists of the present time. Her execution is perfect and her 
 expression beautiful and faithful. 
 
 EREHBIEL (H. E.) American writer, author of " An Account of the Fourth 
 Musical Festival held at Cincinnati, May 18, 19, 20, and 21st, 1880." Cincin- 
 nati, 8vo, 1880. " Notes on the Cultivation of Choral Music and the Oratorio 
 Society of New York." N. Y., 1884. 
 
 EREJEI (Josef). Bohemian org., director, and comp., B. Milostin, 1822. 
 Director of Prague Cons. Comp. overtures, masses, songs, etc. 
 
 EBENN (Franz). Austrian org. and comp., B. Dross, 1816. S. at Vienna 
 under Seyfried. Org., 1844, and Director, 1862, of St. Michael's Cath., 
 Vienna. Comp. masses, string quartets, symphonies, songs, etc. 
 
 ERETSCHMEB (Edmund). German org. and comp., B. Ostritz, Saxony, 
 Aug. 31, 1830. S. under Otto and Schneider at Dresden. Org. of Dresden 
 Cath., 1854. Court org. and Director of Royal Chap., Dresden, 1863. 
 Works. — Operas: Die Folkunger, 1875 ; Heinrich der Loewe, 1877; Der Ver- 
 
 weisener. Part-songs ; Organ and chamber music. 
 
 EBETTTZER (Conradin). German comp., B. Mdsskirch, Baden, Nov. 22, 
 1782. Chorister there. S. medicine for a time at Freiburg, 1799. Teacher 
 in Switzerland, 1799-1804. S. under Albrechtsberger at Vienna. Chap.- 
 master to King of Wiirtemberg, 1812 ; to the Prince von Filrstenberg. Direc- 
 tor at the Karnthnerthor Theatre, 1825-40. Do. Josephstadt Theatre, 1833-40. 
 Conductor at Cologne. Conducted the Lower Rhine Festival, 1843. D. Riga, 
 Dec. 14, 1849. 
 Works. — Operas : Die Laecherliche Werbung, 1801 ; Conradin von Schwaben, 
 1805; Der Taucher, 1809; Panthea, 1810; Feodora, 181 1 ; Orestes, 1815 ; Alpen 
 Hiitter, 1816; Cordelia, 1819; Libussa, 1822; Die Jungfrau, 1830; Der Baron 
 Luft, 1830 ; Melusine, 1833 ; Das Nachlager in Granada, Vienna, 1834; Concertos, 
 sonatas, marches, etc. , for various instruments, amounting in all to about op. 70 ; 
 Lieder und Balladen, etc. 
 
 This once popular German composer is fast losing ground, even in his own 
 country, where he is known only by his opera, "Das Nachtlager in Granada," and 
 a few of his songs. In Britain a few of his songs have a feeble vitality, but other- 
 wise he is unknown. His works are all of a moderate standard of merit. 
 
 EREUTZEB (Leon). French violinist and comp., son of Rudolph Kreutzer, 
 B. Paris, Sept., 1817. D. Vichy, Oct., 1868. 
 
 EBEUTZEB (Rudolph). German viohnist and comp., B. Versailles, Nov. 16, 
 1766. S. under his Father and Stamitz. Violinist in Royal Chap. ; and 
 ThSktre Italien, Paris. Travelled in Italy, Germany, and Holland as violinist. 
 Became acquainted with Beethoven, 1798. Prof, of ve, at Paris Cons. Solo- 
 
3^6 ic R E — k Tie 
 
 violinist at Paris Opera, in- succession to Rode. Violinist to the Emperor, 
 1806. Cond. of the Academy, 1817-24. Chevalier of Legion of Honour, 
 1824. D. Geneva, Jan. 6, 1831. 
 Works. —Ojieras and Ballets : La Journee de Marathon, 1793; Flaminius i 
 Corinthe (with Isouard), 1800 ; Astianax, 1801 ; Aristippe, 1808; La Mort d'Abel, 
 1810; Antoine et Cleopatre, ballet, 1809; La FJte de Mars, 1814; L'Orifiamme, 
 1814 ; Le Princesse de Babylone, 1815 ; Les Dieux Rivaux (vi^ith Spontini, Berton, 
 etc.), i8i6 ; Le Carnavel de Venise, 1816; La Servante Justifice, 1818 ; Clari, 
 1820; Ipsibo^, 1823; Jeanne d'Arc ^ Orleans, 1790; Paul et Virginie, 1791 ; 
 Lodoiska, 1791 ; Charlotte et Werther, 1792; La Franc Breton, 1792; Le 
 Brigand, 1795 ; Imogene, 1796 ; Le Si^ge de Lille, 1793 ; Le Petit Page, 1795 ; 
 Fran9ois I., 1808; Le Camp de Sobieski, 1813; Constance et Theodore, 1813; 
 Le Mattre et le Valet, 1816 ; Le Negociant de Hambourg, 1821. MS. Operas, 
 Pasticcios, Ballets, etc. Concertos for vn. and orch.. No. I, in G ; 2, in A ; 3, in 
 E ; 4, in C ; 5, in A ; 6, in E minor ; 7, in A ; 8, in D minor ; 9, in E minor ; 
 10, in D minor ; 11, in C ; 12, in A ; Letter A, in D ; B, in E ; C, in A ; D, in 
 E minor ; E, in G ; F, in E minor ; and G, in D minor. Quartets for 2 vns., 
 tenor, and bass, opp. i, 2, and 3. Trios for 2 vns. and 'cello, opp. 5, 15, and 16. 
 Forty Studies or Caprices for the Violin. 
 
 R. Kreutzer is probably best known as the person to whom Beethoven dedicated 
 his Sonata ("Kreutzer"), op. 47. His violin studies also give him a claim to 
 attention from posterity, as they are among the best for that instrument. His 
 operas are forgotten, and his concertos are the only large works by which he is 
 now represented. 
 
 KRIEGEB (Adam PMlipp). German org. and comp., B. 1634. D. 1666. 
 
 KRIEGi'EB (Johann Fhilipp). German operatic comp., B. Nuremberg, Feb., 
 26, 1649. D. Feb. 6, 1725. 
 
 EBIMALY (Adalbert), or Hrimaly. Bohemian comp., B. Pilsen, June 30, 
 1842. Has published music for orch. and Pf., songs, part-songs, and an 
 opera. His brother, JoHANN, B. Pilsen, April 13, 1844, is a violinist. S. 
 under Laub, and now teacher in Moscow Cons. 
 
 KKOMMER (Franz). Austrian comp., B. Kamenitz, Moravia, 1759. D. 
 Vienna, Jan. 8, 1831. Wrote Pf. and chamber music, songs, and part-songs. 
 
 KRUG (Diedrich) German pianist and comp., B. Altona, 1845. Coipp. of 
 studies, exercises, transcriptions, dances, etc. for the Pf. to the number of 400 
 pieces. Some of those works are extensively used for teaching purposes. 
 
 KRUG (Gustave). German comp. and pianist, B. Hamburg, 1821. Comp. 
 light pieces for Pf., and songs. 
 
 KRUGER (Wilhelm K.). German pianist and comp., B. Stuttgart, 1820. S. 
 under Lindpainter. Prof, of Pf., Stuttgart Cons. D. Stuttgart, June, 1883. 
 Works. — Op. i. Three Nocturnes romantiques, for Pf. Melodies, Caprices, 
 Studies, Dances, Fantasias, Transcriptions, etc., for Pf., opp. 2-200. 
 
 KRUMPHOLZ (Johann Baptist). Bohemian harpist and comp., B. Zlonitz, 
 near Prague, 1745. Drowned (suicide), Paris, 1790. Comp. Sonatas for the 
 Harp, Symphonies, Preludes, etc., six Concertos for harp and orch., songs, 
 etc. His wife, nee Meyer, B. Metz. Played in London in 1788. Eloped 
 from her husband at Paris, in 1790, and from then till 1802 played chiefly in 
 London. D. London, Nov. 15, 1813. 
 Krumpholz was a famous harp-player, and composer for his instrument. Some 
 
 of his works are beautiful creations. His wife was one of the greatest performers of 
 
 her time. 
 
 KUCHLER (Heinricll). German barytone vocalist, B. Anspach, 1815. Sang 
 in opera, and was held in considerable esteem in Edinburgh, where he held 
 several appointments, and had some repute as a teacher. D. Edinburgh, 
 Nov. 1873. 
 
fc'UC — :K,u;M 367 
 
 EUCKEN (Friedrich, Wilhelm). German comp., B. Bleckede, Hanover, 
 
 Nov. 16, i8lo. S. under Sechter and Hal^vy. Noticed by the Prince of 
 
 Mecklenburg. Resided in Berlin from 1832. Cond. Saengerfest at S. Gallen 
 
 and Apenzell, 1843. Court Chap. -master, Wtirtemberg, 1857. Retired to 
 
 Schwerin, 1867. D. Schwerin, April 3, 1882. 
 
 Works. — Die Flucht nach der Schweig," opera. Songs: All is still at evening's 
 
 close ; Good night, farewell ; Maiden mine ; Moorish serenade ; Pretty one, come ; 
 
 Hobby horse ; Maid of Judah ; Trot, trot (Trab, trab), etc. Part-Son^s : The 
 
 Rhine; Soldier's love ; Goodnight; The Northman's song; The young musicians ; 
 
 Hie thee, shallop ; Rest, dearest, rest ; Pf. music, etc. 
 
 " By the side of Franz Abt, Kvicken was the most popular song-composer of 
 Germany. His productions are melodious, tender, pleasing, and of medium diffi- 
 culty. They are well-designed for the masses, and among the people his name will 
 long be gratefully remembered. When judging Kiicken from a high art stand- 
 point, his songs, of course, are found to lack great depth of sentiment and display 
 of art skill." — Brainard's Musical World. Whatever his popularity might have 
 been twenty or thirty years ago, and we are assured it was great, it is certain that 
 his reputation is sadly on the wane. Many of his part-songs, however, are still 
 largely in use, especially among male voice choirs. 
 
 KUFFERATH (Hubert Ferdinand). German pianist and comp., B. Mtihl- 
 
 heim, June 10, 1808. S. under Mendelssohn, and others. Prof, at Brussels 
 Cons. Comp. Symphonies and Concertos, Reveries, Caprices, Etudes, 
 Capriccios for Pf. , Six Lieder von Burns, and other vocal music. The works 
 of this composer are very meritorious. 
 
 KUFFNER (Josef). German pianist and comp., B. Wiirzburg, March 31, 
 1776. D. Sept. 8, 1856. Comp. an immense quantity of transcriptions and 
 original works for Pf. 
 
 KTJHE (Willielm). Bohemian pianist, teacher, and comp., B. Prague, Dec. 10, 
 
 1823. S. under Tomaschek. Visited England, 1845. Teacher and cond. 
 
 at Brighton. Has been decorated by the Emperor of Germany, and other 
 
 sovereigns. 
 
 Works. — Pianoforte : Au bord de la Mer, nocturne ; Bacchanale ; Dialogue 
 
 d'Amour ; Impromptu in A flat ; Serenade Bohemienne ; Une Rose sans Epines ; 
 
 War ; Bianca ; Andante et fetude ; Etude de Concert. Transcriptions and other 
 
 works. Songs, etc. 
 
 EUHLAU (Friedrich Daniel Rodolph). German pianist and comp., B. 
 Uelzen, Sept. 11, 1786. D. Copenhagen, March 12, 1832. 
 
 Works. — Sonatas for Pf., opp. 5, 6, 8, 20, 30, 34, 55, 59, etc.; Concertos for 
 Pf. and orch., op. 7, etc. ; Lieder for voices and Pf. ; Variations, transcriptions, 
 rondos, etc., for Pf. ; String quartets and miscellaneous chamber music ; Operas 
 and other works. 
 
 This once-famous composer is now scarcely recognised save as a writer for the Pf. 
 His fine songs and larger works are alike neglected. 
 
 KUHNAU (Johann). German org. and comp., B. Geysing, April, 1667. 
 Cantor of Leipzig, 1684. D. Leipzig, June 25, 1722. Comp. org. music, 
 church music, etc., some of which was published posthumously. Is generally 
 believed to have been the first to give form to the sonata as -an independent 
 form. His music is in the strict contrapuntal style carried to such a degree 
 of perfection by Bach and Handel. 
 
 EULLAK (Adolf). German writer and comp., B. Messnitz, Feb. 23, 1823. 
 D. Berlin, Dec. 25, 1862. Writer of two works on musical aesthetics, "Das 
 Mustkalischschon," 1858, and " Die Aesthetik des Clavierspiels," i86i. He 
 also wrote a number of Pf. pieces, as Adelaide, poeme melancolique, op. 19 ; 
 Reverie pastorale, op. 22 ; Rhapsodic, op. 25 ; Nocturne, op. 37 ; Ballade, 
 op. 38. 
 
 EDLLAK (Theodor). German comp., pianist, and teacher, B. Krotschin, 
 Sept. 12, 1818. S. under Czerny. Court pianist to the King of Prussia, 1846. 
 
3^8 KUM — LAS 
 
 Founded Conservatory of music at Berlin with Stern and Marx, 185 1. Estab- 
 lished Neue Academie der Tonkunst, 1855. D. Berlin, March i, 1882. 
 Works. — Pianoforte: La Danse des Sylphides, op. 5 ; Two Morceaux, op. 20; 
 Chant d' Ossian, op. 36 ; Album Espagnol, Pf., op. 45 ; Melodies Hongroises, 
 op. 68 ; Ballade, op. 54; Concerto, Pf. and orch., op. 55 ; Two Chansonettes, op. 92; 
 Scherzo, op. 96 ; Impromptus ; Octave School for the Pf., etc. 
 
 KUMMEB (Friedrich August). German comp. and violoncellist, B. Mein- 
 
 ingen, Aug. 5, 1797. 'Cellist in Chap.-Royal of Saxony, 1822. Travelled in 
 
 Germany, Denmark, etc. Teacher in Dresden. D. Dresden, May 22, 1879. 
 
 Works. — Concerto for 'cello and orch, op. 10; concertino for 'cello and orch., 
 
 op. 16; Transcriptions and duets, numerous. 
 
 Kummer was more noted as a performer than as a composer, few of his works 
 being now in use. 
 
 KUMPIiL (Williellll). German tenor singer and musician, B. Altona. D. 
 April 17, 1880. 
 
 KXJNKEL (Charles). German comp., pianist, and publisher, B. Sippersfeld, 
 July 22, 1840. Went to America, 1849. S. under his father, Thalberg, and 
 Gottschalk. Publisher and teacher in S. Louis. 
 
 EUNKEL (Franz Joseph). German comp. and writer, B. Dieburg, Aug. 20, 
 1804. D. Frankfort, Dec. 31, 1880. Wrote in periodicals, and comp. for Pf. 
 
 KUNKEL (Jacob). German comp., pianist, and music-seller, B. Kleiniedesheim, 
 Oct. 22, 1846. S. under his brother, Charles, Gottschalk, and Tausig. Music- 
 seller in S. Louis with his brother. D. St. Louis, Oct. 16, 1882. 
 
 KUSSEE. See CoussER. 
 
 KYTE (Francis). English writer, author of " Memoir relating to the Portrait of 
 Handel...." 4to, 1829. 
 
 L. 
 
 LAAG (Heinrich). German org. and Pf manufacturer, B. Herford, Westphalia, 
 Feb. 18, 17 13. Org. of Ch. of S. Catherine, Osnaburg. D. Oct. 30, 1797, 
 at Osnaburg. Wrote org. and ch. music, songs, etc. 
 
 LABABiBE (Theodore). French harpist and comp., B. Paris, March 9, 1805. 
 
 S. under- Bochsa and Naderman. S. Paris Cons.: gained first prize for comp., 
 
 1823 (with his cantata, " Pyrame et Thisbfe "). Appeared in London, 1824. 
 
 Played in English provinces and in Scotland. Travelled in Europe. Married 
 
 Mdlle. Lambert, 1837. Cond. of L'Opera Comique, 1847-49. Music-director 
 
 to Napoleon III. D. Paris, March 9, 1870. 
 
 Works. — Operas: Les Deux Families, 1831 ; L' Aspirant de Marine, 1834; La 
 
 RevoUe au Seraie, ballet, 1833 ; Le Mfenetrier, 1845 ; Method for the Harp ; Trio 
 
 for harp, horn, and bassoon, op. 6. Duets for harp and Pf. , opp. 3, 5) 9i 43' 47i 
 
 48, 49, 54, 59- Solos, fantasias, and Rondos, for harp, opp. 8, 10, II, 25, 26, 29, 
 
 30, 31, to 36, 39, 40, 46, 50, 51, 56, 60, 70, 72, 73, 75, 77, 82, 90 to 93. Duets 
 
 for harp and violin (with Beriot). Songs. 
 
 LAB AT (Jean Baptiste). French writer, org., and comp., B. Verdun, June 
 17, 1802. S. at Toulouse; and at Paris Cons, under Benoist. Org. at Ver- 
 dun. D. Lagarosse, Jan. 6, 1875. 
 Works. — Overtures, masses, Pf. music, anthems, and songs. Etudes Philoso- 
 
 phiques, et moralis sur 1' histoire de la Musique... Paris, 1852, 2 v. Esthetiques des 
 
 huit modes du plain-chant, 1861. 
 
LAB — LAC 3^9 
 
 LABITZKY (Josef). Bohemian bandmaster and comp., B. Schbnfield, near 
 Eger, July 4, 1802. Vnst. at Marienbad and Carlsbad. Cond. of itinerant 
 band. S. under Winter at Munich. Published first dance, 1827. Appeared 
 in London, 1850. Director of music in Carlsbad, D. Carlsbad, Aug. 29, 1881. 
 Works. — Waltzes: Homburg vorder Hbhe ; Rosen- walzer ; Der Harfenist; 
 Die Amerikaner ; Nordlicht ; Palermo ; Die Freundschaft ; etc., etc. Galops ■ 
 Faniska ; Studenten ; Durch die Welt ; Corsaren ; Telegraphen ; etc. Pclkas: 
 Friihlings ; Marionetten ; Herzpinkerl ; Die Landliche ; etc. Mazurkas, quad- 
 rilles, marches, etc. 
 
 The single dances of Labitzky number from 400 to 500, and were at one time 
 considered as nearly equal to those of Strauss in merit. Some of them are very 
 melodious, but comparatively few, if any, will survive. 
 
 LABLACHE (Fanny Wyndham), nie Wilton. English contralto vocalist. 
 S. at R. A. M., 1836-7. Dibut at the Lyceum. Sang at H. M. Theatre, etc. 
 Married Frederic Lablache, son of Luigi, and retired from the stage. D. 
 Paris, Sept. 23, 1877. She was a serviceable vocalist and a teacher of much 
 skill. 
 
 LABLACHE (Luigi). Italian bass vocalist, _B. Naples, Dec. 6, 1794 (179S?) 
 S. Naples Cons from 1806. First appeared in Theatre of S. Carlino, Naples, 
 1812. Married Mdlle. Teresa Pinotti, 1814. Resided in Sicily, 1814-19. 
 Sang at La Scala, Milan, 1820-3 ; Vienna, 1823-8 ; also in Palermo, Turin, 
 Venice and Naples, till 1830. Appeared in London, as "Geronimo" in 
 Cimarosa's "Matrimonio Segreto," March 30, 1830. Sang in Paris, Nov. 4, 
 1830; Do. Naples, in "Don Pasquale," etc., 1833. Sang in S. Petersburg, 
 1852. D. Naples, Jan. 23, 1858. 
 Works. — Complete Vocal Method (of which many editions have been printed). 
 Vocal Exercises. Songs, etc. 
 
 The vocal powers of Lablache are best described by the two competent critics 
 quoted below : — 
 
 "An organ more richly toned or suave than his voice, was never given to mortal. 
 Its real compass was about two octavos, from E to E. In the upper portion of the 
 register four or five of his tones had a power which could make itself heard above 
 any orchestral thunder, or in the midst of any chorus, however gigantic either might 
 be. This remarkable force was not, as in the case of many singers, displayed on 
 all occasions; but it was made to tell in right places...." — Charley. "The singular 
 power and the rich quality of his voice made him to the last the wonder of all who 
 heard him. His compass was not remarkable, but the immense volume of his tone 
 gave to his notes the character of depth much greater than their real pitch, and his 
 perfect command of his resources enabled him to give every variety of effect to his 
 singing. He was not less eminent as an actor than as a vocalist, and he was 
 equally admirable in the representation of tragedy and comedy." — Sir G. A. Mac 
 farren. 
 
 The mother of Lablache was an Irishwoman, and his son Frederic married Miss 
 F. Wyndham, the vocalist. Thalberg the pianist married one of his daughters. 
 
 LABORDE (Count Alexandre Louis J. de). French scientific writer, B. 
 Paris, Sept. 15, 1774. D. 1842. Author of works on Grecian music, the 
 harp, etc. Another writer named Laborde (Jean Benjamin de), published a 
 work entitled, "Essai sur la Musique Ancienne et Moderne," Paris, 1780, 
 4 vols., 4to. 
 
 LACHNEB (Franz), German comp., B. Rain, Bavaria, April 2, 1804. S. at 
 
 Neuburg and Munich ; also under Stadler and Sechter at Vienna, 1823. Sub- 
 
 cond. Karnthnerthor Theatre, Vienna, 1826. Chief cond., do., 1827-34. 
 
 Cond. of Opera at Mannheim, 1834. Court chapel-master (1836), and musical 
 
 director at Munich, 1852-65. Retired, 1865. 
 
 Works. — Operas: Lanassa, 1832; Die Burgschaft, 1834; Alidia, Munich, 
 
 April, 1839; Catarina Cornaro ; Benvenuto Cellini, Munich. Oratorios: Die Vier 
 
 Manschen-Alten (Four ages of Man) ; Moses. Symphonies : First, in E flat ; 
 
 Second, in F ; Third, in D minor, op. 52 (prize work) ; Fourth, in E ; Fifth, in 
 
 C minor ; Sixth, in D ; Seventh, in G minor, op. 100. _ Twelve Orchestral Over- 
 
 Z 
 
37'' LAC — LAE 
 
 tures. Three Masses. Cantatas. Six Suites for orch., opp. 113, 115, 122, 129, 
 '35' 'SO- Quintet for strings. Three string quartets, opp. 75, 76, 77. Three 
 trios for Pf,, vn., and 'cello' Nonetto for wind instruments. Sonata for Pf. duet, 
 op. 20 ; Six Pf. pieces, op. 109. Songs, part-songs, and miscellaneous Pf. and 
 chamber music. 
 
 Lachner was a friend of Schubert, and was formerly, and is still, held in great 
 respect by his countrymen. His works belong to the period of Spohr rather than 
 to that of Wagner. 
 
 LACHNER (Ignaz). German comp. and cond., brother of above, B. Rain, 
 Sept. II, 1807. S. at Neuburg and at Augsberg music school. Sub. -cond. of 
 opera at Vienna, 1825. Court music-director at Stuttgart, 1831. Sub-music- 
 director at Munich, 1842. Cond. of theatre at Hambrg, 1853. Court chapel- 
 master, Stockholm, 1858. Teacher, etc., in Frankfort-on-the-Maine, 1861. 
 Works. — Operas: Der Geisterhurm, 1847; Die Regenbruder, 1849; A sym- 
 phony ; Twelve string quartets ; Overtures, ballets, and Pf. music ; Songs, etc. 
 
 Ignaz Lachner is composed of many fine songs, but his dramatic works do not 
 hold a very high place in public estimation in Germany. 
 
 LACHNER (Vinoenz). German org. and comp., brother of above, B. Rain, 
 July 19, 181 1. S. at Augsburg music school. Org. at Vienna. Court Chap.- 
 master at Mannheim, 1836-73. Visited London, 1842. Has comp. a sym- 
 phony, chamber music, songs, and part-songs for men's voices. Another 
 brother, Theodor, B. 1798, was an organist of considerable attainments. 
 
 LACHNITH (Ludwig Wenzel), Bohemian comp. and cond., B. Prague, 
 July 7, 1746. D. Paris, Oct. 3, 1820. He comp. L'heureux Divorce, opera, 
 1785; Eugenie et Linval, do., 1798; Symphonies; Chamber music ; Method 
 for the Pf. ; Arrangements of several operatic works which had much notoriety 
 in their day on account of their tasteless editing. 
 
 LACOMBS (Louis BrOUillon). French pianist and comp., B. Bourges, Nov. 
 26, iSi8, D. St. Vaast-la-Hougue, Oct., 1884. Writer of Pf. music. 
 
 LACOMBE (Paul). Frenchpianist and comp., B. Carcassone, 1837. S. Paris 
 Cons. Writer of sonatas, studies, fantasias, etc., for Pf. ; overtures, etc. 
 
 LACROIX (Antoine). French vnst. and comp., B. Remberville, Nancy, 1756. 
 Appeared in Paris, 1780. Travelled in Germany, etc. Music-director at 
 Liibeck. D. Lubeck, 1812. 
 Comp. sonatas, duets, etc., for vn. and Pf. 
 
 LACY (John). Enghsh vocalist, B. about the end of the i8th century. S. under 
 Rauzzini at Both. Appeared in London, Italy, etc., at oratorios and concerts. 
 Married Miss Jackson, vocalist, 1812. Received appointment in Calcutta, 
 i8i8. D. (?) 
 
 LACY (Mrs.), n(e Jackson. Wife of above, English vocalist. Appeared in 
 London, April 25, 1798. Married F. Bianchi, 1800. Married to Lacy, 1S12. 
 Went with her husband to Calcutta. D. (?) 
 
 LACY (Michael Rophino J.) Spanish comp. and violinist., B. Bilbao, July 
 I9i 1795- S. privately, and at Bordeaux and Paris. S. also under R. 
 Kreutzer. Played before Napoleon I., 1804. Appeared in Holland and in 
 London, 1805. Leader at Edinburgh, Dublin, and Liverpool, till 1820. 
 Teacher, etc., in London. D. Pentonville, London, Sept. 20, 1867. 
 Works. — Adaptations of operas for Enghsh stage ; Songs, and violin and Pf. 
 
 pieces. 
 
 LADURNER (Anton). Austrian pianist and comp., B. in the Tyrol, 1764. D. 
 1839. Comp. Pf. music, etc. 
 
 LAE(jrEL (Johaun Gottfried). German comp., B. Flaessberg, Borna, Dec. 
 I3i '777' S. under Krebs, junr. S. at Leipzig for the ministry. Music- 
 director at Eisenberg, Gera, etc. D. June 5, 1843. Wrote oratorios, cantatas, 
 part-songs, and songs. 
 
tAi* — Lai 371 
 
 LAFAGE (Juste Adrien Lemoir de). French writer and comp., B. Paris, 
 March 27, 1805. D. Charenton, March 8, 1862. 
 
 Works. — Nicolai Capuani Compendium Musicale 8vo, 1853 ; Eloge de Choron, 
 Paris, 8vo, 1843 ; S^mliologie musicale ou expos6 succinct et raisonn^ des prin- 
 cipes elementaires de la musique, Paris, 8vo, n.d. ; Miscellanies Musicales, Paris, 
 8vo, 1844; Histoire gen&ale de la musique et de la danse, 2 v., 8vo, 1844; 
 Essais de diphtherographie musicale, Paris, 1864; De_runit^ tonique et de la fixation 
 d'un diapson universal, 8vo, 1859. 
 
 LAFONT (Charles Philippe). French violinist and comp., B. Paris, Dec. I, 
 1781. S. under Kreutzer at Paris. First appeared at Hamburg, 1793. 
 Singer at the Theatre Feydean. S. under Rode. Travelled in Europe. 
 Vnst. to Emperor of Russia, 1808-14. Vnst. to Louis XVIII., i8iS- Tra- 
 velled with Herz, 1831-39. D. Tarbes, Aug. 14, 1839. 
 
 Comp. six concertos for vn. and orch., 2 operas, fantasias, duets and variations 
 for vn. 
 
 LAGET (Paul Pierre Marie Henri). French singer and Prof., Paris Cons., 
 B. Toulouse, Dec. lo, 1821. S. Paris Cons. D. Sept. 15, 1876. 
 
 LA GRANGE (Anna). French soprano vocalist, B. Paris, 1825. S. under 
 Bordogni. Dibut, 1842. Sang in Europe, America, 1855 and 1869. Teacher 
 in Paris. 
 
 LA HABPE (Jean Francois de). French poet and critic, B. 1739. D. 1803. 
 His name frequently occurs in the musical records of last century. He is 
 chiefly of note, however, as one of the many critics who attacked Gluck in his 
 musical reforms. 
 
 LAHEE (Henry). English comp. and org., B. Chelsea, April 11, 1826. Org. of 
 Holy Trinity Ch., Brompton, 1S47-74. Teacher, etc. 
 '^O^SS.— Cantatas: Building of the Ship, 1869; The Blessing of the Children, 
 1870 ; The Sleeping Beauty, for female voices. Anthems : Grant we beseech thee ; 
 And behold a Throne ; Now on the first day ; Praise the Lord (Harvest). Con- 
 certed Vocal Music: Hark ! how the Birds, Bristol Prize Madrigal, 1869 ; Hence ! 
 Loathed Melancholy, Manchester Prize Glee, 1878; Away to the Hunt, Glas- 
 gow Prize Part-song, 1879; Love in my bosom, .London prize, 1880; Ah, woe is 
 me, London, 1884; Love me little, love me long; When twilight's parting flush; 
 The Spring ; All ye woods ; The Bells (Glasgow Select Choir). Songs and Piano- 
 forte pieces. 
 
 Mr. Lahee has for a considerable period been favourably knovra as a successful 
 writer of concerted vocal music. His success in this department has been made con- 
 spicuous by the many prizes which have been awarded him in public trials of skill. 
 
 LAHOUSSAYE (Pierre). French violinist and comp., B. Paris, April 12, 
 1735. Played in France and Italy; London in 1772. Prof, of vn. at Paris 
 Cons. D. Paris, 1818. Comp. sonatas, etc. 
 
 LA HTE (Louise Genevive), «/« Rousseau. French pianist and comp. , B. 
 Charenton, March 8, 1810. S. Paris Cons. Prof. Paris Cons. D. Paris, Nov. 
 17, 1838. Comp. melodies and method for the Harmonium, romances, etc. 
 
 LAIDLAW (Anna Eohena). English pianist, B. Bretton, Yorks, April 30, 
 1819. Educated at Edinburgh. Played in Berlin, London, 1834, Germany 
 and Russia. Chiefly remarkable as the person to whom Schumann dedicated 
 his op. 12. D. (?) 
 
 LAING (David, LL.D.). Scottish antiquary and scholar, B. Edinburgh, 1790. 
 D. Portobello, Oct. 1878. 
 
 Works. — Select Remains of the Ancient Poetry of Scotland, 1822. Early 
 Metrical Tales, 1826. An Account of the Scottish Psalter of a.d. 1566, containing 
 the Psalms, Canticles and Hymns, set to music in four parts, in the MSS. of 
 Thomas Wode or Wood, Vicar of Sanct Androus, Edin., 4to, 187 1. See also 
 Stenhouse (William). 
 
 Dr. Laing's labours were of the highest value to the illustration of Scottish 
 history and antiquities. 
 
372 LAJ — LAM 
 
 LAJABTE (Theodore EdOUard de). French comp. and writer, B. Bordeaux, 
 July lo, 1826. S. Paris Cons. Comp. military music; operas, "Le Roi du 
 Carreaii," 1883, etc. 
 
 LA JEUNESSE (Marie Emma), or Albani. French-Canadian soprano 
 
 vocahst, B. at Chambly, near Montreal, 1851. Removed to Albany (hence 
 
 pseudonym) in 1864. S. under Duprez at Paris Cons. ; and under Lamperti 
 
 at Milan. DSbut at Messina in 1870. Sang afterwards in Milan, Paris, 
 
 London, etc. with greatest success. Married Mr. Ernest Gye, 1878. 
 
 The beautiful vocalisation of this artist has secured for her a foremost place 
 
 among modern singers. Her chief excellencies are best brought out on the stage, 
 
 where her fine presence and acute perception of dramatic situation is admirably 
 
 adapted to display her vocal talents. As an oratorio vocalist she is also successful ; 
 
 but in both oratorio and concert singing she is less happy than in opera. 
 
 LAKE (George Handy). English comp. and writer, B. June, 1827. Editor 
 of the Musical Gazette. Held various London organ appointments. D. 
 London, Dec. 24, 1865. Comp. "Daniel," oratorio, 1852, and a number of 
 part-songs, ballads, etc. His son, George Ernest, B. London, May 29, 
 1854, is an org. and comp. Org. successively in Edinburgh (S. John's Epis- 
 copal Ch. ), and Weybridge, Surrey. Author of "Complete Pedal Scales, and 
 Daily Studies for the Organ," Lond. [1882], and comp. of instrumental and 
 other music. 
 
 LALANDE (Henriette Clementine Me'ric). French vocalist, B. Dunkirk, 
 1798. Dlbut Naples, 1814. S. under Garcia. Appeared in Paris, 1823 ; 
 London, 1830-31. Retired to Spain. Biography afterwards unknown. 
 
 LALANDE (Michel Richard de). French violinist and comp., B. Paris, 
 1657. Chor. in Church of S. Germain I'Auxerrois. Refused admission to 
 band of Louis XIV. by LuUi. Teacher to Daughters of Duke of Noailles and 
 Louis XIV. Music-master of the King's chamber. Composer to the King, 
 etc. D. Versailles, 1726. Comp. motets, violin music, etc. 
 
 LALO (Edouard). French violinist and comp., B. 1830. S. Lille Cons, and 
 at Paris. Comp. Symphonic Espagnole for vn. and orch., op. 21 ; Quartet 
 for strings in E flat, op. 19 ; Chanson Villageoise et Serenade for Pf., vn., and 
 'cello, op. 14. "Fiesque," opera in three acts, Paris. Concerto for vn. and 
 orch., op. 20. Trios, duets, sonatas, songs, etc. 
 
 LALOUETTE (Jean Francois). French comp., B. 1653. Cond. music in 
 churches of St. Germain I'Auxerrois and Notre Dame. D. Paris, 1728. 
 Comp. motets and other church music. 
 
 LAMARE (Jacques Michel, Hurel de). French violoncellist and comp., 
 B. Paris, May i, 1772. S. under Dupont. S. Paris Cons. Travelled in 
 Germany, Russia, etc. D. March 27, 1823. Comp. concertos, etc. 
 
 LAMB (Benjamin). English org. and comp. who flourished about the beginning 
 of the i8th century. Comp. org and church music, songs, etc. 
 
 LAMBERT (George Jackson). English org. and comp., B. Beverley, Nov. 
 16, 1794. S. under his Father, S. T. Lyon, and Dr. Crotch. Org. of Bever- 
 ley Minster, 1818-1874. D. Beverley, Jan. 24, 1880. Wrote sonatas, trios, 
 overtures, septet for strings, etc. 
 
 LAMBERT (Michel). French lute-player and comp., B. Vivonne, Poictou, 1610. 
 ■Master of King's private band. D. Paris, 1690. Comp. motets, airs, etc. 
 
 LAMBETH (Henry Albert). English org. and cond., B. near Gosport, Jan. 16, 
 
 1822. S. under Thos. Adams. Since 1853 a prominent musician in Glasgow. 
 
 Cond. of the Glasgow Choral Union, 1859- 1880. Org. and cond. at Park 
 
 Church. Org. to Corporation of Glasgow. Cond. of various choirs, etc. 
 
 Works. — Arrangements of Scotch songs for choral purposes. Bow down Thine 
 
 ear, Psalm Lxxxvi. ; By the Waters of Babylon, Psalm. The Scottish Book 
 
 of Praise, edited (with D. Baptie), 1876. Songs and Pf. pieces, various. 
 
LAM — LAN 373 
 
 LAMBILLOTTE (Louis). French comp. and writer, B. Charleroi, 1797. 
 
 Chap. -master in Jesuit Coll., at St. Scheul, 1822. Member of the Jesuistic 
 
 Order, 1825. D. 1855. 
 Works. — Church music. Clef des Melodies Gregoriennes dans les antiques 
 systemes de notation et de I'unit^ dans les chants Liturgiques. Paris, 4to, 1851. 
 
 LAMOUBEUX (Charles). French cond. and violinist, B. Bordeaux, Sept. 21, 
 1834. S. at Cons., 1850. Gained 2nd prize for vn. playing. 1st Vnst. at 
 Gymnase. Founded in Paris a society on the model of the Sacred Harmonic 
 of London, 1873. Founder and cond. of the celebrated Lamoureux Concerts 
 in Paris. Appeared in London, 1880. 
 
 LAMFADIUS (W. A.) German writer and comp., author of "Felix 
 Mendelssohn-Bartholdy, Ein Denkmal fiir seine Freunde " (Trans, by W. L. 
 Gage, and published in America and London) ; Pianoforte pieces, etc. 
 
 LAMPE (Johann Friedrich). German comp. and writer, B. Helmstadt, 
 Saxony, 1703. Appeared in England, 1725. Bassoon Player at the opera. 
 Married to Isabella Young, sister of Mrs. Arne. D. Edinburgh, July 23, 1751. 
 
 Works. — Operas and Dramatic Music: Amelia (Carey), 1732; The Dragon of 
 Wantley, 1737; Margery, or a Worse plague than the Dragon (Sequel to "The 
 Dragon"), 1738; The Sham Conjuror, 1741 ; Pyramus and Thisbe, 1745. 
 Theoretical Works : Plain and Compendious Method of Teaching Thorough-ISass 
 after the most Rational Manner, with Proper Rules for Practice, Lond., 4to, 1737. 
 The Art of Music, Lond., 8vo, 1740. 
 
 Lampe will be remembered chiefly by his opera, "The Dragon of Wantley," 
 which had an extraordinary success on its first production. It was one of the many 
 operas written in imitation of the "Beggar's Opera," but possessed the additional 
 merit of being a burlesque on the then current Italian opera. Lampe is buried in 
 the Canongate Churchyard of Edinburgh, and the following is the inscription on 
 the tablet which marks his grave : — 
 
 " Here lye the mortal remains of John Frederic Lampe, whose harmonious com- 
 positions shall outlive monumental registers, and with melodious notes, through 
 future ages, perpetuate his fame, till time shall sink into eternity. His taste for 
 moral harmony appeared through all his conduct. On the 23rd of July, 1751, in 
 the forty-eighth year of his age, he was summoned to join that heavenly concert with 
 the blessed choir above, where his virtuous soul now enjoys that harmony which 
 was his chief delight upon earth. 
 
 " In vita felicitate dignos mors reddit felices." 
 
 LAMPEBTI (Francesco). Italian teacher of singing, B. Savona, March 11, 
 1813. S. Milan Cons., 1820. Prof, at Milan Cons., 1850-1875. Teacher of 
 singing in Milan. Author of several works on vocal culture, vocal exercises, 
 etc. He has the honour of having trained, among many others, the following 
 distinguished vocalists : — Albani (Lajeunese), Artot, Galli, Hayes, Campanini, 
 Shakespeare, S. Lowe, and Cruvelli. 
 
 LAND (Edward). English pianist and comp., B. London, 1815. One of the 
 
 children of the Chap. -Roy. Accompanist to John Wilson, the Glee and 
 
 Madrigal Union, etc. Secretary of the Noblemen and Gentlemen's Catch 
 
 Club. D. London, Nov. 29, 1876. 
 
 Works. — Scottish Melodies arranged as Songs without words, PI. ; Lady Nairn's 
 
 Lays from Strathearn, do. ; Miscellaneous Pf. works. Songs : A loving heart ; Birds 
 
 of the Sea ; You know not how I've missed you ; My Gentle Elodie ; Mine, love ! 
 
 yes or no ?; Bird of beauty, wing your flight ; Sighs that only love can share ; So 
 
 sweet is love's young spring ; What can the heart want more ; Angel's watch ; 
 
 Dreaming and waking ; Italian flower girl's song ; etc. Part-songs, arrangements, 
 
 etc. Nine Four-part Songs Harmonized, Lond., 1862. 
 
 LANG (Adolph). German violinist and comp., B. Thorn, West Prussia, June 
 10, 1830. S. Leipzig Cons. Comp. music for vn. and Pf. Is favourably 
 known in Germany as a violinist of distinguished merit. 
 
 LANGr (Alexander). German comp., B. Ratisbon, March 6, 1806. Prof, in 
 University of Erlangen. D. Feb, 18, 1837. Comp. of Pf. music, lieder, etc. 
 
374 LAN — LAN 
 
 P (Benjamin J.) American comp., pianist, and coud., B. Salem, Mass., 
 lo40. S. under Jaell, Liszt, and Hauptmann. Organist in various Boston 
 churches since 185 1. Org. to Handel and Haydn Society. Cond. of Apollo 
 Club ; the Cecilia Society. A Director of Harvard Musical Assoc. Vice- 
 president of the Euterpe Assoc. Teacher etc. in Boston. 
 Works. — Numerous Songs and Pf. pieces. Principal works in MS. As a con- 
 ductor Mr. Lang has brought before the Boston public the following works : — 
 Schumann's "Faust"; Beethoven's "Ruins of Athens"; "Choral Fantasia"; 
 3rd and 4th Concertos ; Mendelssohn's "Walpurgis Night"; Loreley ; Schumann's 
 "Paradise and the Peri," etc. 
 
 Mr. Lang is best known in Boston, but he has performed in New England, 
 generally, New York, Berlin, Dresden, and Vienna. 
 
 LANG (John). Scottish musician, B. Paisley, 1829. Inventor of the "Union 
 Notation." In this system the notes are indicated to Sol-fa musicians by 
 having the initial letter of the various notes in the sol-fa scale placed within 
 the head of the ordinary musical characters, and so presenting a combination 
 of both old and new notations. A considerable amount of music has been 
 printed on this system, which has much value for teaching purposes. 
 
 LANG (Josephine). German vocalist and comp. of lieder, B. Munich, March, 
 1815. An acquaintance and correspondent of Mendelssohn. 
 
 LANGDON (Richard). English comp. and org., B. Exeter in first half of iSth 
 century. Mus. Bac, Oxon., 1 76 1. Org. Exeter Cath., 1770-77. Org. 
 Bristol Cath., 1777-82. Org. Armagh Cath., 1782-94. D. Sept. 1803. 
 Works. — Twelve Songs and two Cantatas, op. 4, Lond., n. d. Divine Har- 
 mony, A Collection in Score of Psalms and Anthems, 1774. Anthems. Twelve 
 Glees for 3' and 4 voices, Lond., 1770, etc. 
 
 LANGE (Gustav F.) German pianist andjcomp., B. Schwerstedt, 1830. S. 
 under his father, an organist, G. Schumann, and Loeschhom. 
 
 Works. — Numerous transcriptions, and original works for Pf., as Le Papillon, 
 La Reine du Bal, Le Retour du Soldat, Treue Liebe, Glockchen, Hortensia, 
 Harpe Eolienne, Sonatinas, various, Lyrisches Tonstiick, Bunte Blatter, etc. 
 
 Many of these pieces are very pleasing and pretty in character, but they are not 
 marked by any very striking features. 
 
 LANGE (Samuel). See De Lange (Samuel). 
 
 LANGHANS (Wilhelm). German comp., violinist, and writer, B. Hamburg, 
 
 Sept. 21, 1832. S. Leipzig Cons, under David, etc., 1849-52. S. also under 
 
 Alard, Hauptmann, and Richter. Married to Louise Japha (pianist and comp., 
 
 B. Dusseldorf, 1853). Prof, in BerUn Academy of Music, 1871. 
 
 Works. — Contributions to periodical literature, and other literary works; Pf. 
 
 and violin sonatas and studies ; Chamber music, songs, etc. 
 
 LANGLE (Honore Francois Marie). Italian comp. and writer, B. Monaco, 
 1741. S. Naples Cons, under Cafaro. Resided in Paris, where he aided in 
 the formation of the Conservatoire, of which he latterly became librarian. D. 
 Paris, Sept. 20, 1807. 
 Comp. operas and some vocal music, and wrote Traitfe d' Harmonic et de Modu- 
 lation, Paris, 1797 ; Traits de la Fugue, 1805, etc. 
 
 LANGSHAW (John). English org., B. 1718. Org. of Parish Church of 
 Lancaster. D. 1798, Assisted in construction of large organ for the Earl of 
 Bath. 
 
 LANGSHAW (John). English org. and comp., son of the above, B. London, 
 1763. S. under C. Wesley. Org. at Lancaster, 1798. Comp. hymns, chants, 
 songs, Pf. concertos, and org. mus. 
 
 LANIEB.E (Nicholas). Italian comp., poet, etc., B. Italy, 1588. Came to 
 England with parents about the beginning of the 17th century. Music master 
 to Charles I., 1626, Court musician till about 1665. D. London, 1665, or 
 1668, "^ 
 
LAN — LAS 
 
 375 
 
 Works.— Luminalia, or the Festival of Light, masque, 1637 ; The Vision of 
 Delight, masque, Jonson ; Masque of Flowers j Hymns, pastorals, and music to 
 masques by Daniel, Campion, Jonson, etc. ; Songs in Playford's collections, 
 Laniere wrote poetry, and collected pictures for Charles I. 
 
 LANNER (Josef Franz Karl). Austrian comp. of dance music, B. near 
 Vienna, April 11, 1800. Chiefly self-taught in music. Organized string band 
 for performance of dance music. Concertized in Austria, etc. Bandmaster of 
 the Second Burger Regiment. D. Vienna, April 14, 1843. 
 
 Works. — Numerous pieces of dance music commencing at op. i, "Neue Wiener 
 Landler," and extending onwards to about 250 numbers. His waltzes are best 
 known and are his best works. They at one time rivalled those of the elder Strauss, 
 but are now much less popular. 
 
 LANNOY (Edouard, Baron de). Belgian comp., B. Brussels, Dec, 1787. 
 D. Vienna, Mar. 28, 1853. Wrote operas, symphonies, etc. Philippe de 
 Lannoy, a member of this family, made several improvements on the construc- 
 tion of the organ. 
 
 LANZA (Gesualdo). Italian singing master and writer, B. Naples, 1779. 
 Resided in London as teacher. D. London, March 12, 1859. 
 Works. — Elements of Singing in the Italian and English Styles, Lond., 3 v., 4to, 
 1809 (other editions) ; The Elements of Singing Familiarly Exemplified, Lond., 
 1817 ; Solfeggi and songs. 
 
 His brother, Francesco Giuseppe (B. 1783, D. Naples, 1862), was a comp. 
 of vocal music. 
 
 LAPORTE (Pierre Francois). French actor and theatrical manager, B. about 
 
 the end of last or beginning of present century. Came to London, 1824, 
 
 Manager of the King's Theatre, 1827-31. Lessee of Covent Garden Theatre, 
 
 1832. Manager of King's Theatre, 1833-41. D. near Paris, Sept. 25, 1841. 
 
 Laporte is celebrated as having introduced to the British public, Sontag, 
 
 Albertazzi, Grisi, Persiani, Lalande, Mario, Ivanoff, Rubini, Tamburini, and 
 
 Lablache. 
 
 LARRINGTON (Rev. George). English divine, author of " The Influence of 
 Church Music. Sermon preach'd in the Cathedral Church of Worcester," 
 Lond., 8vo, 1726. 
 
 LA RUE (Pierre de). See Rue (Pierre de la). 
 
 LASCEUX (Guillaume). French org. and comp., B. Poissy, Feb. 3, 1740. 
 S. under Noblet at Paris. Org. of Ch. of S. Etienne ; Ch. of Mathurins ; and 
 College of Navarre, etc. D. 1829. Comp. masses, org. and Pf. music. 
 
 LASALLE (Albert de). Belgian writer, B. Mons., Aug. 16, 1833. Author of 
 Histoire des Bouffes-Parisiens, i860 ; La Musique k Paris, 1862 ; Meyerbeer, 
 sa biographie et le catalogue des ses ceuvres, 1864 ; Dictionnaire de la Musique 
 Appliqufee k I'amour, 1864; La Musique pendant le Siege de Paris, 1872 ; Les 
 Treize Salles de I'Opera, 1875 ; Memorial du Theatre Lyrique, 1877. Contri- 
 butions to L'lllustration, Monde lUustre, Nouvelle Revue de Paris, etc. 
 
 LASSEN (Eduard). Danish comp., B. Copenhagen, April 13, 1830. S. at 
 
 Brussels Cons., 1842. Gained first prize for Pf., 1844; Do. for Harmony, 
 
 1847; Second prize for comp. ; Gained Government prize, 1851. Travelled 
 
 in Italy and Germany. Music director at Weimar. 
 
 Works.— Operas : Le Roi Edgard, Weimar, 1857; Frauenlob, i860; Der 
 
 Gefangene. Symphony in D. Music to Sophocles' "QEdipus," and Goethe's 
 
 "Faust," op. 57. Lieder: opp. 59, 60, 61, 62, 67. Polonaise for orch., in B flat, 
 
 op. 63; Musik Zum Festspiel, "Die Linde am Ettersberg," op. 64; Lieder und 
 
 Gesange, op. 65. Miscellaneous Pf. and chamber music. 
 This composer holds a foremost place among his own countrymen, but his style 
 
 cannot be called national, as it is thoroughly imbued with the characteristics pf th? 
 
 !|»od?rn German school. 
 
376 LAS — LAT 
 
 LASSITS or LASSO (Orlando di), Roland de Lattre. Belgian comp., B. 
 
 Mons, 1520. Chor. in Ch. of S. Nicolas, Mons. Educated in Italy, where he 
 
 resided till 1555. Resided for a time in Antwerp. Visited England, 1554. (?) 
 
 Court-musician to Albert V., Duke of Bavaria, 1557. Married to Regina 
 
 Weckinges at Munich, 1558. Chap. -master to Albert V., 1562. Offered 
 
 appointment by Charles IX. of France, 1571 ; but that monarch died before 
 
 Lassus reached France. Returned to Munich and resumed his appointments. 
 
 Made Knight of St. Peter, by Pope Gregory XIII. D. Munich, June 15, 
 
 1594 [1595?]- 
 
 Works. — Missarum quatuor vocum, liber primus, Venice, 154S ; Cypriani de 
 
 Rore, Annibalis Patavini et Orlandi liber missarum quatuor, quinque et sex vocum, 
 
 Venice, 1566 ; Liber Missarum, quatuor et quinque vocum, Nuremberg, 1581 ; 
 
 Missse cum cantico Beatss Marise octo modis rausicis, Paris, 1583 ; Missse aliquot 
 
 quinque vocura, 1589; Numerous magnificats, psalms, lamentations, motets, etc., 
 
 published 1567-1619. II primo e secondo libro de' madrigali a cinque voci, ISS9; 
 
 II primo libro de' madrigali a quattro voci, Venice, 1560; Di Madrigali a quattro 
 
 voci il secondo libro, 1563. II terzo libro de' madrigali del eccellentissimo Orlando di 
 
 Lasso a quattro voci, Venice, 1564 ; II Libro terzo de' Madrigali a cinque voci, 1564. 
 
 De' Madrigali dell' ottimo Orlando di Lasso a cinque voci, il quarto libro, Venice, 
 
 1567 ; II Quinto libro de' Madrigali a 4 voci, Venice, 1587 ; II Seste libro de 
 
 Madrigali a 4 et 5 voci, 1588; Le Quatorzi^me livre a quatre parties con tenant 
 
 dix-hiut chansons italiennes, six chansons fran9aises, et six motets faicts, par 
 
 Rolando de Lassus, Antwerp, 1555 ; Twenty-five books of Chansons published 
 
 between 1570-11587. 
 
 The merits of this composer were until comparatively recent times less respect- 
 fully treated than modern historians think their due. Burney and Baini especially 
 among the older writers are by no means so lavish in their praise as many more 
 recent writers believe they should have been. Be his merits what they may, it is 
 certain that Lassus exercised a powerful influence over the music of his period, and 
 over that of the succeeding school, by renouncing in a great measure the stilted 
 counterpoint which prevailed previous to his advent. His music is marked by more 
 freedom, and a greater warmth than that of most of his contemporaries, so that his 
 importance as a musical reformer must be fixed by the results which his innovations 
 produced. Very few of his larger works will find favour from modern musicians, 
 as they will be found dry and dull beside even the works of contemporary com- 
 posers who are believed to possess not a tithe of his merits. In addition to his 
 fame as a composer Lassus is deserving of honour as an educationist of some success. 
 He established at Munich what was known in its time as the largest music school 
 in existence. 
 
 LATES (Charles). English comp., flourished about end of the i8th century. 
 S. under P. Hayes. Bac. Mus., Oxon. Comp. sonatas, songs, etc. His 
 brother, John James, was a violinist of some local fame in Oxford, where he 
 was a teacher. He wrote chamber music. D. 1777- 
 
 LATILLA (Gaetano). Italian comp., B. Bari, Naples, 1713. D. about 1788. 
 Comp. a number of comic operas produced chiefly at Venice and Rome. 
 
 LATOUR (Jean). French pianist and comp., B. Paris, 1766. Pianist to Prince 
 of Wales in London. Teacher, etc. in London. D. Paris, 1840. Comp. 
 variations, transcriptions, divertissements, and other light pieces for Pf Some 
 of those pieces were fashionable enough in their day, but now they are unknown. 
 
 LATROBE (Rev. Christian Ignatius). English writer and comp., B. Fulnec. 
 
 near Leeds, Feb. 12, 1758. S. at Niesky. Secretary to the United (Moravian) 
 
 Brethren in England. D. near Liverpool, May 6, 1836. 
 Works. — Original Anthems, with organ or Pf. accomp., 2 vols, fo., n. d. 
 Jubilee Anthem for George III., Oct. 25, 1809. "Dies Irae," for 4 voices, 1799. 
 Hymns. Selection of Sacred Music from the works of Eminent Composers of 
 Germany and Italy, 6 vols., 1806-1825. Instrumental and miscellaneous music. 
 
 LATROBE (John Antes, M.A.). English writer and org., son of the above, 
 B. 1792. Vicar of St. Thomas's Kendal. D. Gloucester, 1878. 
 Works. — Music of the Church considered in its various branches, Congregational 
 
LAT — LAW 377 
 
 and Choral, an Historical and Practical Treatise for the General Reader, Lond., 
 8vo, 1831. Instructions of Chenaniah, Plain directions for accompanying the 
 Chant or the Psalm tune, Lond., 8vo, 1832. 
 
 LATTRE. See Lassus. 
 
 LAUB (Ferdinand). Bohemian violinist and comp., B. Prague, Jan. 19, 1832. 
 Originally self-taught. S. at Vienna and Paris. Played in London, l85i,and 
 in other parts of Europe. Principal vnst. at Court of Berlin, 1855. Prof, of 
 vn. in Stern's Cons., Berlin, 1856. Prof, of vn., Moscow Cons., 1866. D. 
 Gries, near Botzen, March 17, 1875. 
 Laub held during his lifetime a distinguished place among European violinists. 
 
 His tone was celebrated for purity and firmness, and his execution was refined and 
 
 accurate, 
 
 LAURENS (Alberto). See Lawrence (Albert). 
 
 LAURENT DE RILLE (Francois A). French comp., B. Orleans, 1828. 
 Writer of operettas, masses, songs, etc. 
 
 LAUSKA (Franz S. Ignatius). German comp., B. Brunn, Moravia, Jan. 13, 
 1764. D. Berlin, 1825. Comp. an amount of Pf. music, but chiefly known as 
 the preceptor of Weber and Meyerbeer. 
 
 LAUTERBACH (Johann Christoph). German violinist, B. Culmbach, 
 Bavaria, July 24, 1832. S. under De Beriotand Fftis. Prof, of violin at 
 Munich Cons. Do. at Dresden. Played in England, 1864-65. Well known 
 on the Continent as a virtuoso of great talent. 
 
 LAV ALEE (Calixa). Canadian comp. and pianist, B. Vercheres, Canada, 
 
 1842. Educated in Paris, France. S. Pf. under Marmontel, and harmony, 
 
 counterpoint, comp., and instrumentation with A. Boieldieu. Is Prof, of Pf., 
 
 comp., and instrumentation at the Petersilia Academy of Music ; Languages 
 
 and Elocution, Boston, Mass. 
 
 Works.— Cantata (for the reception of the Princess Louise at Quebec in 1878) ; 
 
 Opera, " La Veuve ;" Opera, T and Q (American subject) ; Symphony ; Offertory 
 
 for soli, chorus, organ, and orchestra ; Twelve Etudes for Piano ; Miscellaneous 
 
 works for piano ; String quartettes ; An Oratorio ; Songs, etc. 
 
 Mr. Lavalee is recognised among the profession as a musician superior in inter- 
 pretation, and as a teacher. His compositions are not particularly of the French 
 school, although melodic and bright in style. In his concerted works he shows a 
 knowledge of instrumentation in many respects quite original. Was a Charter 
 Member of the American College of Musicians. Played a programme at the Music 
 Teachers' National Association Meeting in Cleveland O., 1884, consisting entirely 
 of American compositions. 
 
 LAVENU (Louis Henry). Enghsh (? French) comp., B. London, 1818. S. 
 at R. A. M., under Potter and Bochsa. 'Cellist at the opera, London. 
 Musicseller with N. Mori. Music director of Sydney Theatre. Dl Sydney, 
 Aug. I, 1859. 
 Works. — Loretta, a Tale of Seville (Bunn), opera, Nov. g, 1846. Numerous 
 songs and Pf. pieces, etc. 
 A composer of merit, but not successful or popular. 
 
 LAVIGNE (Antoine Joseph). French oboist, B. Besanjon, March 23, 1816. 
 S. Paris Cons., 1830. Oboist in England at Drury Lane Concerts, Manchester 
 and other concerts. 
 
 LAW (Andrew). American musician, B. about middle of l8th century. D. 
 Cheshire, Conn., 1821. Compiled Collection of the best and most approved 
 Tunes and Anthems [1782]. Rudiments of Musick, 1783 (4 editions to 1794). 
 Musical Primer on a New Plan, with the Four Characters, 1803. Musical 
 Magazine, 1804. Harmonic Companion and Guide to Social Worship, 
 Philad., 8vo, n. d. 
 
 LA WES (Henry). English comp., B. Dinton, near Salisbury, Wiltshire, Dec, 
 1595. S. under John Cooper (Coperario). Epistler and Cent, of Chap. 
 
378 LAW — LAW 
 
 Roy,, 1625. Clerk do. Mem. of private band of Charles I. Music master 
 
 in family of the Earl of Bridgewater. Stripped of appointments during the 
 
 Protectorate. D. London, Oct. 21, 1662. 
 
 Works. — The Triumphs of Peace, masque (with W. Lawes.and S. Ives), 1633. 
 
 Coelum Britannicum, masque (Carevi'), 1633. Comus, masque (Milton), 1634. 
 
 A Paraphrase upon the Psalmes of David set to New Tunes for Private Devotion, 
 
 and a thorow base, for voice or instrument, 1637 (Sandy's version). Choice 
 
 Psalmes put into Musick for Three Voyces, 1648. Ayres and Dialogues for One, 
 
 Two, and Three Voices, 1653; Do., 2nd book, 1655; Do., 3rd book, 1658. 
 
 Music to poetry by W. Cartwright, Herrick, Davenant, Milton, Waller, etc. 
 
 Songs in Contemporary Collections, as The Treasury of Musick, 1669 ; Anthems 
 
 in Clifford's and other collections ; Music in Select Ayres and Dialogues. 
 
 Lawes enjoyed only temporary fame as a composer, the popularity which he 
 gained in his lifetime having departed shortly after his decease. The unnatural 
 taste for foreign music was in his time as well as now one of the follies of English 
 fashionables, and Lawes is deserving of considerable credit for having stoutly 
 maintained the right of native composers to receive a hearing. He even went the 
 length of observing, and with perfect truth, that England had produced composers 
 equal to the greatest of other countries. As regards Lawes' own period this holds 
 particularly good, Monteverde and Carissimi being the only two composers worthy 
 of being named in the same breath with Byrd, Morley, Dowland, Bull, Wilbye, 
 Orlando Gibbons, etc. Lawes' claims to consideration are not great, and beyond 
 a number of fine songs he has not given the world anything worthy of preservation, 
 
 LAWES (William). English comp., brother of above, B. Salisbury, 1582, 
 
 S. under Coperario. Mem. of Chichester Cath. choir till 1602. Gent, of 
 
 Chap. Roy., 1602. Musician in ordinary to Charles I, Killed at siege of 
 
 Chester, during the Civil War, 1645. 
 
 Works. — Music to Shirley's "Peace." The Royal Consort for Viols. Songs 
 
 in various collections, etc. Fantasias for various instruments, etc. 
 
 LAWRENCE (Albert), Alberto Laurens. English barytone vocalist, B. 
 1835. Singer in United States, Teacher of Italian singing in New York, etc. 
 
 LAWBIE (Alexander). Scottish comp. and pianist, B, Edinburgh, June 26, 
 1818. Org, of S, James' Episcopal Chap,, Edinburgh, and in Rev, John 
 Kirk's church in the same city, D, Edinburgh, Dec, 1880. A blind musician 
 of great local fame. He arranged some music for the Pf., and comp. some 
 hymns and songs. 
 
 LAWSON (Malcolm Leonard). English comp. and cond., B, Wellington, 
 Shropshire, 1849, S. under various masters in London, France, Italy and 
 Germany, Org, and Choir-master of Catholic Apostolic Ch,, Lpnd,, 1876,- 
 Cond. of the Gluck Society, 1877, Do, the St, Cecilia Choir. Director of 
 the Musical branch of the Kyrle Society, 1878. Associate of the Philharmonic 
 Soc, 1878, 
 Works. — Op. i. Festival Service in F (MS.); op. 2. Festival Service with 
 Graduals and Interludes in D (both written for Catholic Apostolic Ch.); op. 3. 
 Six part-songs ; op. 4. Three songs : A Tragedy, A Nocturne, A Serenade ; 
 op. 5. Airs and Interludes to the play "England" (W. G. Wills), Lond., 1876; 
 op. 6. Andante, Scherzo, and Minuet and Trio for Pf. (MS.) ; op. 7. The Seagulls, 
 an Episode told in four Triolets for mezzo-soprano voice and Pf. ; op. 8. Seventeen 
 People's Songs and Ballads : Kitty and the Bee ; Kitty and the Flowers ; In the 
 Garden ; Kitty's beauty ; Life's pipe ; A Yorkshireman's love song ; The proud 
 Princess ; Sing heigh ho ; The world's age ; Hereafter ; Love's resolves '■ Cavalier 
 Constancy; Love and debt; Adieu ; A Secret ; The Passionate Shepherd ; A Jaco- 
 bite Lament ; op. 9. Music to the play of "Olivia," Lond,, 1877 ; op. 10. Three 
 French Songs; op, 11, Three melodies for voice and Pf, ; op, 12, Symphony 
 in D, "Pan" (MS,); op. 13. The Three Princesses, opera in 3 acts (MS); 
 op. 14. Twelve Love Songs, words by Browning, Swinburne, Morris, and D. 
 Rossetti (MS.) ; op. 15. Duet, Cupid's Curse ; op. 16. Service for the Catholic 
 Apastolic Ch. (MS.); op. 17. Six Motets (ladies' voices) for the S. Cecilia Soc. 
 (MS.); op. 18. Three songs ; op. 19. Symphony in G minor, No. 2, "Mahomet" 
 (MS.) ; op. 20. Iwelve Scotch Songs, words by Burns, etc. ; op. 21. Six Songs, 
 
LAV — LEC 379 
 
 words by the old dramatists; op. 22. Three songs, with violin obligate (MS.) ; op. 
 23. Overture, " Savonarola " (MS. ) ; op. 24. Six Anthems for 4 voices and org. (MS. ) 
 Mr. Lawson and the "Gluck Society " have been the means of bringing before 
 the London public many important works of the older masters. Among the works 
 produced may be named Gluck's "IphigeniainTauris," "Alcestis" and "Orpheus;" 
 Purcell's "Bonduca," "Dido and ^neas," and "Yorkshire Feast Song," 
 etc. ; also works by Goetz, Josquin, Dowland, Marcello, Leo, Carissimi, etc. The 
 " Kyrle Society " aims at bringing knowledge of art in its varied forms to the poorer 
 classes. The work which is done by Mr. Lawson does much to remedy the defi- 
 ciency of musical education always existing among the poor of Britain. In 1880, 
 Mr. Lawson was offered the position of director of the Belfast Philharmonic Society, 
 in succession to Sir Robert Stewart, but was unable for several reasons to accept it. 
 
 LAYOLLE (Francois de). French comp., B. end of 15th century. D. middle 
 of l6th century. Comp. masses, madrigals, motets, psalms, etc. 
 
 LAZARUS (Henry). English clarinet-player, B. London [Jan. i., 1815]. S. 
 instrument under Godfrey, etc. Second clarinet at Sacred Harmonic Soc. , 
 1838. Principal clarinet-player at Italian opera. Prof, of clarinet at R. A. 
 M., etc. Has played vrith success at principal London and provincial concerts. 
 
 LEACH (James). English comp., B. Wardle, near Rochdale, 1762. Received 
 no musical instruction. Hand-loom weaver in Rochdale. Member of the 
 King's band, and tenor vocalist in London. Tenor singer and teacher in 
 Rochdale, 1789, and latterly in Salford, 1796. D. from the effects of injuries 
 received in a coach accident, Blackley, near Manchester, Feb. 8, 1798. 
 Buried in Rochdale. 
 Works.— New Sett of Hymn and Psalm Tunes, adapted for the use of churches, 
 chapels, and Sunday schools... Lond. 4to, 1789 ; SSecond Sett of Hymn and Psalm 
 Tunes, London [1797] ; Collection of Hymn Tunes and Anthems, composed and 
 adapted for a full choir, London [1798]; Anthems, etc.; Psalmody, by James Leach 
 ..-Harmonised in compressed score by John Butterworth, with a sketch of the com- 
 poser's life and work by Thomas Newbigging, London [1884], 4to. 
 
 " In Leach's music there is nothing random or haphazard ; each note is perfectly 
 placed, and could not be altered without jeopardizing the whole strain. This proves 
 the power of the composer. He keeps his theme well in hand, and thus every note 
 strikes home to the intelligence as well as to the heart. The tunes of Leach are 
 as much a work of art as a beautiful statue produced by the cunning hand of a 
 master." — Thomas Newbigging. 
 
 LEBERT (Sigismund). German editor and Prof., B. Ludwigsburg, Dec. 12, 
 1822. Prof, at Stuttgart, and founder with Stark, of the Cons, there* D. 
 Stuttgart, Dec. 8, 1884. Writer with Dr. L. Stark of a "Grand Theoretical 
 and Practical Piano School." (Grosse Klavierschule.) 
 Lebert is best known as an editor of classics for the Pf. 
 
 LEBRUN (Louis AugUSte). Oboist and comp., B. Mannheim, 1746. D. 
 Berlin, Dec. 16, 1790. Eminent as a performer. His wife, n^e Francesca, 
 Danzi, Italian soprano vocalist, B. Mannheim, 1756. Married Lebrun, 1775. 
 Appeared in London, 1776. Sang in Italy, Germany, etc. D. May 14, 1791. 
 
 LEBURIT (Alexander). Scottish violinist, teacher at Auchtermuchty. Com- 
 piled ' ' A Collection of Strathspey Reels, etc. , with a Bass for the Violoncello 
 or Harpsichord." Edinburgh, n.d. 
 
 LE CARPENTIER (Adolphe Clair). French pianist and comp., B. Paris, 
 Feb. 17, 1809. D. Paris, July 14, 1869. 
 
 Comp. Bagatelles, Divertissements, Polkas, Fantasias, Rondos, Variations, etc., 
 for Pf., numbering nearly 300 pieces in all ; Methods and exercises for the Pf., etc. 
 
 LE CIEUX (Leon). French violinist and comp., B. Bayeux, May 12, 1821. 
 D. Paris, Feb. 15, 1873. 
 Comp. fantasias, exercises, studies, etc., for the violin, on which instrument his 
 performance was perfect. 
 
380 LEC — LEE 
 
 LECLAIR (Jean Marie). French violinist and comp., B. Lyons, 1697. S. at 
 Paris under Charon, etc. Member of Royal band, 1731. Leader of Pans 
 opera. Assassinated, Paris, Oct. 22, 1764- 
 Works.— Glaucus et Scylle, opera ; Sonatas for vn, ; Concertos for vn. ; Miscel- 
 laneous violin and chamber music. 
 
 Leclair was one of the greatest violinists of his period. His compositions are 
 excellent for their time, and have recently been resuscitated with success. 
 
 LECOCQ (Alexander Charles). French comp., B. Paris, June 3, 1832. S. 
 
 at Paris Cons, under Hal^vy, 1849-54. Gained first prize for Harmony, 1850. 
 
 Resident in Paris. 
 Works. — Operas: Le Docteur Miracle, 1857; Hiusclos, 1859; Le Baiser a la 
 porte, 1864; Liline et Valentin, 1865; Les Ondines au Champagne, Sept., 1865; 
 Le Myosotis, May, 1866; Le Cabaret de Ramponneau, Oct., 1867; Fleur de Th^, 
 1868 ; L' Amour et son Carquois, 1868 ; Les Jumeaux de Bergame, 1868 ; Le Car- 
 naval d' un mer le blanc, 1868 ; Gandolfo, Jan., 1869 ; Le Rajah de Mysore, 1869; 
 Le Testament de M. de Crac, Oct., 1871 ; Le Barbier de Trouville, Nov., 187 1. 
 Les Cent Vierges, 1872 ; Sauvons la Caisse, 1872 ; La Fille de Madame Angot, 
 Feb. 21, 1873; Girofle-Girofla, 1874; Les Pres-Saint-Gervais ; Le Pompon, Nov., 
 1875 ) Le Petite Mariee, 1876 ; Kosiki, Oct. 18, 1876 ; La Marjolaine, Feb. 3, 
 1877 ; Le Petit Due, Jan., 1878 ; Camargo, 1878 ; Le Petite Madamoiselle, 
 1879, etc. 
 
 Some of this composer's works have attained to extraordinary success. Madame 
 Angot and Girofle-Girofla are those on which his reputation will probably rest. The 
 orchestration of his works is clever, and his education has not been misused, though 
 applied to a questionable branch of musical high art. 
 
 LECOUPPEY (Felicien). French pianist and comp., B. Paris, 1814. S. at 
 the Cons. Prof, of Harmony and Pf., Paris Cons., 1843. Comp. studies, 
 exercises, methods, and numerous minor pieces for the Pf. Famous as a 
 Teacher. 
 
 LEDESMA (Don Mariano Rodriguez de). Spanish comp. and singer, B. 
 Saragossa, Dec. 14, 1779. Chorister Saragossa Cath. Sang in opera at 
 Madrid, in England, etc. D. Madrid, 1847. Comp. motets, Pf. music, 
 songs, etc. 
 
 LEDUC (Alphonse). French pianist and comp., B. Nantes, March 9, 1804. 
 
 S. Paris Cons., under Reicha, etc. Gained second prize for bassoon, 1825. 
 
 D. Paris, June 17, 1868. 
 Works. — 184 Quadrilles for Pf. ; 153 Valses and Polkas ; 295 Dance pieces, 
 miscellaneous, for Pf. duet ; Method for Pf. ; Studies, and about 400 other pieces 
 for Pf. of various kinds ; Music for org. , bassoon, flute, etc. 
 
 LEE (Alfred). See Ferguson (J. C.) 
 
 LEE (Gr.). English writer, author of "The Voice, its Artistic Production, Devel- 
 opment and Preservation," 4to, 1870, 2 editions. 
 
 LEE (George Alexander). English comp. and cond., B. London, 1802. 
 
 Tenor singer in theatre at Dublin, 1825 ; Haymarket Theatre, London, 1826. 
 
 Music-seller in London for time. Opened Tottenham St. Theatre for English 
 
 opera (with Chapman and Melrose). Lessee of Drury Lane Theatre, 1830. 
 
 Manager of Lenten Oratorios at Covent Garden and Drury Lane, 1 83 1. 
 
 Married Mrs. Waylett, the singer. Conductor of Strand Theatre, 1832; 
 
 Olympic Theatre, 1845. D. London, Oct. 8, 1851. 
 Works.— yl/a«V to Dramas: The Invincibles, 1828; The Sublime and Beauti- 
 ful ; The Nymph of the Grotto, 1829 ; The Witness, 1829 ; The Legion of Honour, 
 1831 ; Love in a Cottage ; Auld Robin Gray ; The Fairy Lake, and other operettas 
 and musical dramas. Beauties of Byron, 8 songs ; Loves of the Butterflies (T. H. 
 Bayly), 8 songs. Songs and Ballads: A dream of the past ; Away, away to the 
 mountain's brow ; Annie Bell ; Beautiful dreamer ; Believe me not false ; Bells 
 upon the wind ; Bird of Love ; Bells at Sunset ; Bright Summer days are coming ; 
 Come dwell with me ; Come, merry fays ; Come to the gipsy's tent ; Cora ; Come 
 
Lee — Lfep 3§t 
 
 U ' &-^- 
 
 where the aspens quiver ; Daughters of my sunny Italy ; Daylight is on the sea ; 
 Deerstalker ; Dark Suliote ; Day dreams are o'er ; Each bower has beauty ; Flight 
 of the Birds ; Flow on, silver Avon ; Fairies' cup ; Farewell, ye happy hours ; 
 Flower of Lammermoor ; Fairest flower ; Fair Maggiore ; Fairyland ; Garden of 
 Roses ; Gipsy's wild chant ; Gondolier's lay ; Good night, love ; Heartfelt words ; 
 He comes not ; He wipes the tear ; I'll not beguile thee ; I sigh for the woods ; 
 I'll be a fairy ; I love all that thou lovest ; Joy of our meeting ; Kate Kearney ; 
 Lad who wears the pladdy ; Macgregor's gathering ; Maid of Kildare ; My native 
 bells ; Mermaid's invitation ; Moonlight ; Meet me in the willow glen ; My cottage 
 and my mill ; Maiden of Neath ; My cot in the valley ; Old Irish Gentleman ; 
 Pride of our valley ; Rover's bride ; Rose of Killarney ; Sweetly sound the Village 
 bells ; Sweet Mary, acushla machree ; Soldier's tear ; She walks in beauty ; Thou 
 art not false but fickle ; The vidld white rose ; Twilight deepens over the green ; 
 'Tis love's hallowed hour ; When the moon is brightly beaming ; Why should we 
 sigh ; Wild mandoline ; Woman's sparkling eye. A Vocal Tutor. Duets and 
 part-songs, etc. 
 
 Lee was great in his day as a ballad writer, and a few of his more popular works 
 have survived. Among these "Macgregor's gathering" is by far the best known. 
 Much of Lee's music was written to the verses of Haynes Bayly, and suffer accor- 
 dingly ; for the good sense of the public never fails to rise superior to all such 
 lackadaisical twaddle. 
 
 LEE (Maurice). English pianist and comp., B. Hamburg, Feb. 6, 1825. 
 Resided in Paris till 1870. Settled in London, 1870. 
 Works. — Pianoforte: Derniire Valse d'un Fou ; Barcarolle d'Oberon ; Robin 
 Adair ; Le Rossignol ; La Manola ; Ah, cruel parting ; Une Nuit k Grenade ; Auf 
 FlUgeln des Gesanges ; Midsummer Night's Dream ; Ariel's song ; Le Courrier, 
 Grand Galop de Concert ; Graziella ; Gavotte de Louis XV ; Sylvana, Menuet 
 d'Exaudet ; Souvenir de la Styrie ; Turkish War March ; Brook's Lullaby ; Echo 
 du Ciel ; La Napolitaine ; L'Electricite ; Gavotte du Due de Richelieu. Etudes 
 Chantantes. Valse d'Amour. 
 
 LEE (J. S.). Bandmaster 20th Hussars, B. Feb. 14, 1831. One of the oldest 
 Military Bandmasters in the Army. Comp. of numerous pieces of dance music, 
 songs, a fantasia for cornet, and church music for military choirs. 
 
 LEE (Sebastian), German violoncellist and comp., B. Hamburg, Dec. 24, 
 1805. S. under Prell and Romberg. Comp. music for 'cello, etc. 
 
 LEEVES (Rev. William). English divineand comp., B. June 11, I748[i749?] 
 Rector of Wrington, Somerset, 1779. D. Wrington, May 25, 1828. 
 Composer of " Auld Robin Gray," 1770, a song known throughout the world. 
 The words by Lady Anne Barnard (1750-1825) are so natural and true to life that 
 the musical aid afforded by Leeve's setting is not, as some suppose, the chief reason 
 for its popularity. Leeves wrote much church music, now completely forgotten. 
 
 LEFEBURE-WELY (Louis Jacques Alfred). French comp. and org., B. 
 
 Paris, Nov. 13, 1817. S. under his father. Assistant org. to his father at St. 
 
 Roch, Paris, 1822. S. at Paris Cons, under Berton, Halevy, and Adam, 
 
 1832-34. Gained first prizes for Pf. and org., 1834. Org. at the Madelaine, 
 
 Paris, 1847-58. Mem. of Legion of Honour, 1850. Chevalier of order of 
 
 Charles III. of Spain, 1859. Org. of St. Sulpice, Paris, 1863-69. D. Paris, 
 
 Jan. I, 1870. 
 
 Works.— Les Recruteurs, opera, 1861 ; AprJ:s la Victoire, cantata, 1863; Three 
 
 symphonies for orch. ; Three masses ; String chamber music ; Studies for the Pf., 
 
 various, opp. 44, 57, 76, etc. ; Pf. pieces, various, as marches, nocturnes, caprices, 
 
 fantasias, dances, etc., to the number of about 200. Organ music, marches, ofier- 
 
 toires, fantasias, etc. 
 
 Lef^bure-Wely was one of the greatest of organ virtuosos. His command over 
 the instrument was complete, and his style of performance original, brilliant, 
 and showy, but withal the work of an artist. His org. music is best known in 
 England. 
 
3§2 LEF — LEM 
 
 LEFFLER (Adam). English bass singer, B. 1808. Chor. in Westminster 
 Abbey. Sang in opera and at concerts. D. London, Mar. 28, 1857. 
 
 LEGOUIX (Isidore Edouard). French comp., B, Paris, April I, 1834. S. 
 Paris Cons, under Reber and A. Thomas. 
 'WoRKS.—O^ereiias : Un Othello, 1863; Le Lion de Saint-Merc, 1864; Ma 
 Fille, 1866 ; Malbroug sen va-t-en guerre (with Bizet, Delibes and Jonas), 1867 ; 
 Le Vengeur, i868 ; Les Dernieres Grisettes, 1874 ; Le mariage d'une Etoile, 1876 ; 
 Madame Clara, somnambule, 1877 ; La Tartane. Pf. music and songs, etc. 
 
 LEGBiENZI (Giovanni). Italian org. and comp., B. Clusone, near Bergamo, 
 
 1625. Org. of Ch. of St. Maria Maggiore, Bergamo. Chap. -master of Ch. 
 
 of Spirito Santo, Ferrara, till 1664. Chap. -master, St. Mark's, Venice, 1685- 
 
 90. D. Venice, July 2, 1690. 
 
 Works. — Operas : Achille in Sciro, 1664 : Tiridate, 1669 ; La Divisione del 
 
 Mondo, 1675 ; Pausania, i68r ; I due Cesari, 1683 ; Publio Elio Pertinace, 1684 ; 
 
 Motets ; Instrumental music, sonatas, etc. 
 
 An influential composer, and teacher of Gasparini, Lotti, and other eminent 
 musicians. 
 
 LEIDESDORF (Max Josef C.) Austrian comp., publisher, and pianist, B. 
 Vienna, 1780. D. Florence, Sept. 20, 1839. Comp. "Esther," an oratorio, 
 Pf. music, etc. 
 
 LEIGH (Walter). English musician, comp. of " Paradise Lost and Regained, 
 or the Fall and the Redemption," oratorio, n.d. 
 
 LEIGHTON (Sir William). English musician, gentleman-pensioner, and 
 knight, who flourished during the l6th and 17th centuries. Published "The 
 Teares or Lamentations of a Sorrowful Soule; composed with Musicall Ayres 
 and Songs both for Voyces and Divers Instruments," 1614. [Psalms, Hymns, 
 etc.] Byrd, Bull, Dowland, Ford, O. Gibbons, Giles, Hooper, Wilbye, 
 Weelkes, and Milton are among the contributors to this now extremely scarce 
 and valuable publication. 
 
 LE JEUNE (Claude). French comp., B. Valenciennes [1528-30]. Chamber 
 Musician in service of Henry IV. of France. D. [1606-1607]. 
 Works. — Livre de Melanges de C. Lejeune a 4, 5, 6, et 8 voix, Antwerp, 1585 ; 
 Recueil de Plusieurs chansons et airs nouveaux mis en musique per CI. Le Jeune, 
 Paris, Leroy, 1 594 ; Dodecacorde contenant douze psaumes de David mis en musique 
 selon les douze modes approuvez des meilleurs autheurs anciens et modernes, a 2, 3, 
 4, 5, 6, et 7 voix, 4to, 1 598 ; Les Psaumes de Marot et de Theodore Bezfe mis en 
 musique k quatre et cinq parties, 4to, 1 608. 
 
 A musician famous in his time, but now forgotten. His psalms and chansons 
 were esteemed. 
 
 LEEPBEVIK (Robert). Scottish printer of the i6th century. Published "The 
 Forme of Prayers and Ministration of the Sacraments, etc. , vsed in the English 
 Churche at Geneua, approued and receiued by the Churche of Scotland, where- 
 unto besydes that was in former bokes, are also added sondrie other Prayers, 
 with the whole Psalmes of Dauid in English Meter," Edinburgh, 1565. 
 
 LE MAITRE. See Maistre. 
 
 LEMMENS (Nicolas Jacaues). Belgian comp. and org., B. Zoerle-Parwys, 
 near Antwerp, Jan. 3, 1823. S. at Brussels Cons., 1839-45. Gained 2nd 
 prize for comp., 1844; first do., 1845 ; first org. prize, 1845. S. under Hesse 
 at Breslau, 1846. Prof, of org. at Brussels Cons., 1849. Married Miss 
 Sherrington, vocalist, 1857. Opened college for training organists at Mahnes, 
 1879. D. at the Chateau de Linterpoort, near Malines, Jan. 30, 1881. 
 Works. — ^Two symphonies for orch. ; School for the organ ; Pf. music, miscel- 
 laneous ; Improvisations for org. ; Motets and other church music ; Part-songs and 
 songs, various, etc. 
 Lemmens was best known as an organist, though some of his organ works are 
 
LfiM — LER 3»3 
 
 highly original and bright. His powers as an organist were great, and he 
 was known throughout the musical world for the- brilliancy of his performance. 
 
 LEMMENS-SHERRINGTON. See Sherrington. 
 
 LEMOINE (Jean Baptiste). French operatic comp., B. Eymet, April 3, 1751. 
 D. Paris, Dec. 30, 1796. His son Gabriel L., B. 1772, D. 1815, comp. much 
 music for the Pf. 
 
 LENEPVEU (Charles Ferdinand). French comp., B. Rouen, Oct. 4, 1840. 
 Comp. operas, Pf. music, fete. 
 
 LENTON (John). English comp. , who flourished in the latter half of the 19th 
 century. He was a member of the private bands of William and Maty, and 
 Queen Anne. D. after 1711. 
 Works. — The Gentleman's Diversion, or the Violin Explained, 1693; A Con- 
 sort of Musick in Three Parts, 1694. Music for Venice Preserved, 1685 ; The 
 Ambitious Stepmother, 1700 ; Tamburlain, 1702; The Fair Penitent, 1703, etc. 
 Songs in contemporary collections. 
 
 LENTZ (Eeinrich Gerard). German pianist and comp., B. Cologne, 1764. 
 Appeared in Paris, 1785. Prof, of Pf. at Warsaw. D. Warsaw, August 21, 
 1839. Comp. concertos, sonatas, S3fmphonies, etc. 
 
 LENZ (Wilhelm von). Russian writer, B. 1809. D. S. Petersburg, Jan. 
 1883. Councillor at S. Petersburg. Author of " Beethoven et ses trois 
 Styles..." Paris, 1852, 2 vols. ; "Beethoven: an Art Study," 6 vols., 1855-60. 
 Also a small work on Pf. -playing. 
 
 LEO (Leonardo). Italian comp., B. Naples, 1694. S. under Scarlatti at 
 
 Naples, and Pitoni at Rome. Professor of Cons, of La Pieta di Turchini, 
 
 Naples. Org. at Royal Chap., 1716. Chap.-master of Ch. of Santa Maria 
 
 della Solitaria, 1717. Prof, at Cons, of San Onofrio. D. Naples, 1746. 
 
 Works. — Operas, Serenatas, etc. : II gran giorno d' Arcadia, 1716 ; Diana 
 
 amante, 1717 ; Le Nozze in Dansa, 1718 ; Sofonisbe, opera, 1719; Cajo Gracoo, 
 
 1720 ; Bajezette, 1722 ; Tamerlano, 1722 ; Timocrate, 1723 ; Zenobia in Palmira, 
 
 1725 ; Astianatte, 1725 ; La Somiglianza, 1726 ; L'Orismane, 1726 ; Ciro riconos- 
 
 ciuto, 1727; Argene, 1728; La Zingara, 1731 ; Catone, 1732 ; Amore da Senno, 
 
 1733; Emira, 1735 ; Le Clemenza di Tito, 1735 ; Onore vince Amore, 1736 ; La 
 
 Simpatia del sangue, 1737 ; Siface, 1737 ; Festa Teatrale, 1739 ; La Contesa dell' 
 
 Amore e della Virti, 1740; Alessandro, 1741 ; Demofoonte, 1741 ; Andromeda, 
 
 1742 ; Vologeso, 1744 ; La Finta Frascatana, 1744 ; Amor vuol sofferenza ; Arta- 
 
 serse; Lucio Papirio ; Alidoro ; Alessandro nell' Indie. Miserere, 1743; La 
 
 Morte d' Abele, oratorio, 1732. Santa Elena al Calvario, 1733. Miscellaneous 
 
 church music ; Instrumental music, etc. 
 
 Leo was one of the greatest lights of the Neapolitan school, and greatly influenced 
 succeeding Italian composers. His music, both dramatic and sacred, is thoroughly 
 in the Italian taste, and that for the church marks in a measure the first departure 
 from the accepted style oi Palestrina. 
 
 LEONARD (Hubert). Belgian violinist and comp., B. Bellaire, Li^ge, April 
 7, 1819. S. Paris Cons. Travelled in Germany, Sweden, Holland, etc., con- 
 cert-giving. Prof, of vn., Brussels Cons., 1849. 
 Works. — Fantasia (Russian), vn. and Pf., op. 3 ; Concertos for vn. and orch., 
 opp. 14, 16, 26, 28, etc. ; Scene populaire espagnole, op. 24 ; Twenty-four 
 Studies for vn.; Gymnastique du violoniste; Method for Violin ; Fantasias, trans- 
 criptions, etc., for vn. 
 
 LEONARD (W.) English writer, author of "Music in the Western Church." 
 London, 1872; "The Christmas Festival, with a Selection of Carols." Lond. 
 
 LEONHARD (Julius Emil). German comp., pianist, and teacher, B. Laubau, 
 1810. D. Leipzig, 1831. Comp. concerted vocal music. 
 
 LEROY (Adrien). French music publisher and printer of i6th century. Sole 
 music-printer, with Ballard, to Henri II., 1552. Published works by Lassus, 
 
384 LES — LES 
 
 Lejeune, and other eminent contemporary composers. Also an Instruction 
 Book for the Lute, 1557, translated into English and published 1568. 
 
 LESCHETITZEY (Theodor). Polish pianist and corap., B. Vienna, 1831. 
 Teacher of Pf. in St. Petersburg, but latterly in Vienna. Husband and teacher 
 of Madame Essipofif, the pianist. Comp. a number of Pf. pieces, chiefly of a 
 light nature. 
 
 LESLIE (Henry David). English comp. and cond., B. London, June 18, 1822. 
 Educated at Palace School, Enfield. S. music under Charles Lucas, 1838. 
 Secretary to Amateur Musical Soc, 1847-55. Cond. of do., 1855-61. Founder 
 and cond. of the Leslie Choir, 1855-80. Cond. of Herefordshire Philharmonic 
 Soc, 1863. Principal of National College of Music, 1864. Cond. of Guild 
 of Amateur Musicians, 1874. Gained, with choir, first prize for part-singing 
 at Paris International Competition, 1878. Cond. of musical societies in Wales. 
 Works. — Oratorios: Immanuel, 1853; Judith, Birmingham Festival, 1858. 
 Romance, or Bold Dick Turpin, operetta, 1857. Cantatas: Holyrood, i860; 
 Daughter of the Isles, 1861. Ida, opera, Covent Garden, London, 1864. Dramatic 
 overture. The Templar, 1852 ; Orchestral symphony, in F, 1847 ; Te Deum and 
 Jubilate, in D, 1841. Anthems : Let God arise (Festival), 1849 ; Blow ye the trum- 
 pet in Zion ; Fear not ; O have mercy upon me. Part-songs, etc. : Arise, sweet 
 Love ; Awake, awake, the flowers unfold ; Charm me asleep ; Daylight is fading ; 
 Down in a pretty valley ; Evening ; Hail to the chief ; Homeward ; How sweet 
 the moonlight sleeps ; Land ho ! ; My love is fair ; My soul to God, my heart to 
 thee ; Now the bright morning star ; One morning sweet in May ; Pibroch of 
 Donuil Dhu ; Soul of the age, Shakespeare rise ; The pilgrims ; The primrose j 
 The violet ; Thine eyes so bright (madrigal) ; Up, up, ye dames ; Angel's visit ; 
 Lullaby of Life ; We roam and rule the sea ; The rainbow ; Cherry ripe ; O, 
 memory, trio ; April, sweet month ; Bridal song ; Dunois the brave ; Flax spinner ; 
 Hymn of Moravian nuns ; Holiday song ; National song of defence ; O gentle 
 sleep ; The cherry time. Songs : My darling hush ; The fair sun of my heart ; 
 Boatswain's leap ; Captain's song ; Flower girl ; Always ; Mountain maid ; By 
 the sunset glow ; Calm and serene is the night ; Cottager's song ; etc. , etc. Edited 
 Choral Music, a Collection of Part-songs, etc. Contributions to periodical litera- 
 ture. 
 
 Mr. Leslie has the reputation of being one of the most successful choir-trainers 
 Britain has yet produced. His choir during its existence was recognised as repre- 
 sentative of the English culture of concerted vocal music, and many critics were of 
 opinion that for style, expression, and general capability it far exceeded any other 
 choir. Mr. Leslie's compositions are uniformly good, and show the workmanship 
 of a skilled musician. 
 
 LESUEUR (Jean Francois). French comp., B. Drucat-Plessiel, nr. Abbeville, 
 Jan. 15, 1763 [Feb. 15, 1760]. Grand nephew of Eustache Lesueur, the 
 painter. S. at Amiens. Chap. -master at Cath. of S^ez. Music master suc- 
 cessively at Dijon Cath., 17S1 ; Le Mans, 1783; Tours, 1784. Appeared in 
 Paris as master of choristers at Church of the Innocents, 1784. Music director, 
 Notre Dame, 1786-88. Invested with informal title of AbW. Retired from 
 Paris, 1788-92. Prof, at Ecole de la Garde Nationale, 1793. Inspector of 
 Instruction at Paris Cons., 1795. Dismissed from position at Cons, for libel 
 on Catel, etc, 1802. Chap.-master to Napoleon I. (First Consul), 1804. 
 Mem. of Legion of Honour ; do. of Institut, 1813. Comp. and Chap.-master 
 to Louis XVIII. Prof, of comp. at Cons., 1818-37. D. Paris, Oct. 6, 1837. 
 Works. — Operas: Le Caverne, 1793; Paul et Virginie, 1794; Telemaque dans 
 1' ile de Calypso, 1796 ; Ossian ou les Bardes, 1808 ; L'Inauguration du Temple de 
 la Victoire, divertissement, 1807 ; LeTriomphe de Trajan, 1807; La Mort d'Adam, 
 et son Apoth^ose, 1809 ; Tyrtee, 1794 (MS. opera) ; Artaxerce, do., 1801 ; 
 Alexandre a Babylon, do., 1823 ; Oratorio de Noel, 1826 ; Deborah, oratorio, 
 1828 ; Thirty-three masses ; Writings on Greek music, etc. 
 
 This influential composer must be credited with having done much to advance 
 musical art in France. The services which he conducted in the church of Notre 
 Dame, and his success and influence as a teacher both give him a fair claim to be 
 considered an iimovator and progressive musician, outside the sphere of his own 
 
LEU — Lie 385 
 
 works or personality. As a teacher he aided in forming the talents of Berlioz, 
 PrSvost, Thomas, Elwart, Ernst, Gounod, etc., and so propagated an advanced 
 school of musical thought, none of the characteristics of which are apparent in his 
 own somewhat antiquated works. His music has the merit of great power or 
 breadth. 
 
 LEUTNER. See Peschka-Leutner. 
 
 LEVASSEUB (Nicolas Prosper). French bass vocalist, B. March, 1791. 
 Debut Paris, 1813. Z'./iia/ London, 1816. D. Paris, Dec, 1871. 
 
 LEVEBIDGE (Richard). English bass vocalist and comp., B. 1670. Sang in 
 opera at Drury Lane and Queen's Theatres, 1705-12 ; do. Lincoln's Inn Fields 
 and Covent Garden, 1713-30. D. London, March 22, 1758. 
 
 Works. — Music for the Island Princess, or the Generous Portuguese, 1699 ; 
 Pyramus and Thisbe, 1716; Collection of Songs, Lond., 1727, 2 vols., with frontis- 
 piece engraved by Hogarth. 
 
 Leveridge is known only as a song-writer, though he has been credited with the 
 composition of the much-discussed " Macbeth" music, on the authority of a notice 
 in Rowe's edition of Shakespeare. The well-known songs "All in the downs " and 
 the " Roast Beef of Old England " very iairly illustrate the style of his works. 
 
 LEVETT (?). English writer and comp., who flourished in London during the 
 latter part of the l8th century. He wrote " Introductory Lessons in Singing, 
 particularly on psalmody, to which are annexed several psalm tunes," Lond., 
 n. d. Hymns for Easter, Christmas, etc. 
 
 LEVEY (William Charles). Irish comp. and pianist, B. Dublin, April 25, 
 1837. Son of Richard Michael Levey (1811), leader of the orchestra. Theatre 
 Royal, Dublin, under whom he studied. S. at Paris under Auber, Thalberg, 
 Prudent, etc., from 1852. Member of the Society des Auteurs et Composi- 
 teurs, Paris. Returned to London, 1862. Cond. successively of Covent Gar- 
 den, Drury Lane, Haymarket, Adelphi, and Princess's Theatres, London. 
 Works. — Operas and Oferettas: Fanchette, Covent Garden, 1862 ; Claude (MS.) 
 in 3 acts ; Nazarille, MS. (French) ; Punchinello, published ; Fashion, do; Wanted 
 a Parlour Maid, do. Music for " Amy Robsart," "Rebecca," " King o' Scots," 
 " Lady of the Lake ;" Seven Drury I-ane Pantomimes ; Vokes family, and Messrs. 
 H. J. Byron, Burnand, Halliday, Wills, Taylor, etc. The Man of War, cantata 
 for orch., chorus, and military band. Irish overture for orch. Pianoforte : Turkish 
 march; Mazukas, in F and D flat; Chinese Dance; Grecian march. Som^s : 
 Esmeralda ; Here stands a Post ; King and the Beggar maid ; The Raven ; My 
 darlings three ; Many a year ago ; Home from sea ; The gallant Dragoon ; Rory of 
 the Glen ; The May Song ; Musette ; Gipsy fortune-teller. 
 
 LEVY (Isaac). English cornet player, well known in London and the United 
 States as a solo performer. He is author of a Popular Cornet Tutor (n.d. ), 
 and has earned much notoriety in American musical circles. 
 
 LEWIS (T.) English writer, author of " Organ Building and Bell Founding," 
 Lond., 1878. 
 
 LEWY (Edouard Coustantin). French comet player, B. Saint-Avoid, 
 Moselle, March 3, 1796. D. Vienna, June 3, 1846. Comps. for instrument. 
 Joseph Rodolphe, his brother, was a horn player and comp. 
 
 LEYBACH (Ignaz). German comp., B. Gambsheim, July 17, 1817. S. under 
 Pixis, Kalkbrennen, and Chopin. Org. of ch. at Toulouse, 1S44. Writer of 
 Method for Harmonium ; The Practical Organist ; and numerous Pf. pieces of 
 a light character. 
 
 LIBON (Philippe). French violinist and comp., B. Cadiz, Aug. 17, 1775. 
 Played in France, Portugal, London, etc. D. Paris, Feb. 5, 1838. Comp. 
 concertos for vn. and orch., caprices, etc. 
 
 LICHFIELD (Henry). English comp. of the l6th and 17th centuries, comp. 
 " The First Set of Madrigals of Five Parts," Lond., 1613. 
 
 A 2 
 
3^6 Lie — LiN 
 
 LICHTENSTEIN (Ludwig Baron von). German vnst. and comp., B. Lahm, 
 Sept. 8, 1767. S. at University of Gottingen under Forkel, etc. U. tieiliti, 
 Sept. 10, 1845. Comp, operas, masses, etc., etc. 
 
 LICHTENTHAL (Peter). Hungarian comp. and writer. B. Pressburg, 1780. 
 S. at Vienna and Milan. D. Milan, 1858. 
 Works.— Life of Mozart, Treatise on harmony ; Influence of music on disease ; 
 Dizionario e Bibliographia della Musica, Milan, 1826, 4 vols, 8vo : French trans- 
 lation, Paris, 2 vols., 8vo, 1839; Ff. music, etc. 
 
 LICKL (Johann Georg). Austrian comp., B. Kornneuburg, Austria, April 
 II, 1769. D. May 12 1843. 
 Works.— Operas : Der Zauberpfeil ; Der Bruder von Kakrau ; Faust Leben ; 
 Der Vermeinte Hexenmeister ; Der Orgelspieler ; Der Durchniarsch. Quintets, 
 quartets, sonatas for stringed and other instruments. Sacred music, and songs. 
 
 LIEBE (Eduard Louis). German comp. and pianist, B. Magdeburg, Nov. 26, 
 1819. S. under Schwarz, Spohr, and Baldewein. Music-director at Coblentz, 
 Strassburg, etc. 
 Works. — Symphonies, masses, opera, Pf. music ; Duets, trios, and songs. 
 
 LIEBIOH (GrOttfried Sigismund). German comp., B. Frankenberg, July 22, 
 1672. D. June I, 1727. Comp. church music, chiefly motets. 
 
 LIEBIGr (Carl). German comp. and cond., B. Schwedt, July 25, 1808. Estab- 
 lished an orchestra, and gave popular symphony concerts in Berlin from 1850. 
 D. Berlin, Oct. 6, 1872. 
 
 LIEBLING (Emil). German pianist and comp., B. Berlin, 1851. S. under 
 KuUak. Emigrated to United States. Settled in Chicago, 1872. Teacher 
 and comp. there. 
 
 LIGrHT (Edward). English writer, author of "The Art of Playing the Guitar, 
 to which is annexed a selection of the most familiar lessons, divertissements, 
 songs, airs, etc.," 179S; "Concise Instructions for Playing on the English 
 Lute," 4to, Lond. 
 
 LILLE (Gaston de). French comp. of dance music, B. 1825. Has published a 
 great number of light salon pieces of a certain degree of merit in the class to 
 which they belong. 
 
 LILLE Y (G. H.) English writer, author of "The Therapeutics of Music," 
 London, 1880. 
 
 LILLO (Giuseppe). Italian comp., B. Galatina, Naples, Feb. 26, 1814. D. 
 Feb. 4, 1863. Comp. operas, masses, litanies, and an amount of miscellaneous 
 music. 
 
 LILLYCKOP (S.) English writer, author of "Theoretical and Practical Thorough 
 Bass, exemplified in a Plain and Easy manner," London, 4to, n.d. 
 
 LIMPUS (Richard). English org. and musician, B. Sept. 10, 1824. Founded, 
 with others, the College of Organists, 1864. Secretary to Coll. of Organists, 
 1864-75. D. March 15, 1875. 
 
 LIND (Jenny), or Goldschmidt. Swedish soprano vocalist, B. Stockholm, 
 
 Oct. 6, 1820. S. under Croelius and Lindblad. S. at Stockholm musical 
 
 academy. D^but in Stockholm as Agathe in Weber's "Der FreischUtz," 
 
 March, 1838. S. under Manual Garcia at Paris, 1841. First appeared in 
 
 Berlin, 1844 ; Leipzig, 1845 ; Vienna, 1846 ; London, H. M. Theatre, in 
 
 "Robert the Devil" (Meyerbeer), May 4, 1847. Sang in Ireland, 1848. 
 
 Travelled under Barnum's management (with Goldschmidt, etc. ) in America, 
 
 1850-52. Married Otto Goldschmidt, Boston, Feb. 5, 1852. Resident in 
 
 London and Malvern. 
 
 "Nothing, in any time, has equalled the amount of influence brought from the 
 
 outside to bear on the reception of a singer, who, lacking such outward influences, 
 
 would have been received as only one among many (one after a few) great singers — 
 
 w'lereas, owing to such accessory excitements, she was held in this country, for a 
 
LlN — LiN 387 
 
 while, to be the one — and the one alone. . . Mdlle. Lind's voice was a soprano, 
 two octaves in compass — from D to D — having a possible higher note or two, 
 available on rare occasions ; and that the lower half of the register and the upper 
 one were of two distinct qualities. The former was not strong, — veiled, if not 
 husky ; and apt to be out of tune. The latter was rich, brilliant, and powerful — 
 finest in its highest portions. ... Of all the singers whom I have ever heard 
 Mdlle. Lind was, perhaps, the most assiduous. Her resolution to offer the very 
 best of her best to the public seemed part and parcel of her nature and of her con- 
 science. " — Chorley's Recollections. 
 
 See further " A Review of the Performances of Mademoiselle Jenny Lind, during 
 her engagement at Her Majesty's Theatre, and their influence and effect upon our 
 National Drama ; with a Notice of her Life," Lond., 1847, 8vo, with portrait; 
 Lumley's " Reminiscences of the Opera," London, 1864 ; and " Memoranda of the 
 Life of Jenny Lind," by N. P. Willis, Philadelphia, 185 1, 8vo. In addition to 
 articles in musical journals, the following magazines contain notices of her career ; — 
 Eraser's Magazine, 1863; Scribner's Magazine (by Sir Julius Benedict), 1880; 
 Colburn's New Monthly Magazine, 1846 ; and Howitt's Journal, 1847. 
 
 LINDBLAD (Adolf Friedricll). Swedish comp., B. Lbfvingsburg, near 
 Stockholm, Feb. i, 1801. S. Berlin under Zelter. Teacher and comp. in 
 Stockholm, 1835-78. D. Stockholm, Aug. 23, 1878. 
 Works. — Symphony in C, Leipzig, 1839 ; Frondororne, opera ; Large number 
 of vocal works, chiefly lieder and part-songs. 
 
 Lindblad is known chiefly as a composer of refined and sympathetic lieder, and 
 as one of the trainers of Jenny Lind. On those grounds he is entitled to respect. 
 
 LINDEMAN & SONS. American firm of pianoforte-makers, established in 
 New York. Inventors of improvements on the Pf. Patented a Cycloid Pf. 
 in i860. 
 
 LINDEMAN (Ole Andres). Norwegian pianist and comp.,;B. 176S. D 
 1855. Comp. a number of Pf. and vocal pieces. 
 
 LINDLEY (Robert). English violoncellist and comp., B. Rotherham, March 4, 
 
 1777. Commenced study of the violin, 1781 ; do., 'cello, 1785. 'Cellist at 
 
 Brighton theatre. Principal 'cellist at the Opera, London, 1794-1851. 
 
 Played with Dragonetti at all the provincial musical festivals. D. London, 
 
 June 13, 1855. 
 
 Lindley was held among his contemporaries to be the best English performer on 
 
 the 'cello. His tone, execution, and expression were alike admirable and refined, 
 
 and artistic feeling was ever present. He composed a few concertos for 'cello and 
 
 orch., and some songs. He was a constant companion of Dragonetti, the famous 
 
 double-bass player. 
 
 His son William, B. 1802, D. at Manchester, August 12, 1869, was a good 
 violinist, and excelled in orchestral playing. 
 
 LINDPAINTNER (Peter Josef von). German comp. and cond., B. Coblentz, 
 
 Dec. 8, 1791. S. at Augsberg, and under Winter at Munich, also under 
 
 Gratz. Cond. of the Isarthortheater, Munich, 1812. Do. Royal Band at 
 
 Stuttgart, 1819-56. Appeared in London, and cond. "Widow of Nain," 
 
 oratorio, at Philharmonic Concert, 1853. D. Nonnenhorn, Aug. 21, 1856. 
 
 Works. — Operas: Demophoon, 181 1 ; Alexander in Ephesia ; Der blinde 
 
 Gaertner ; Der Pflegekinder ; Der Bergkoenig, 1830; Der Vampyr, Vienna, 1827; 
 
 Joko ; Zeila; Sulmona ; Hans Max Giesbrecht ; Lichtenstein. Oratorios : Wiiovi 
 
 of Nain ; Sacrifice of Abraham (dedicated to Queen Victoria) ; Concertino for 
 
 clarinet and orch., op. 19. Overtures : Hiltrude, op. 20 ; Timantes, op. 31 ; Le 
 
 Paria, op. 51, etc. Concerto for flute and orch., op. 28. Pf. music ; Symphonies ; 
 
 Lieder, part-songs, canons, etc. ; Motets, quartets, trios for strings, etc. 
 
 Lindpaintner is known in Britain by his oratorios and a few songs. His operas 
 and orchestral music do not appear to have been naturalized in England at all, and 
 the former are seldom produced in Germany. His music is graceful and clever. 
 
 LINDSAY (Christoplier). Scottish musician and writer, brother of Lady 
 Anne Barnard. Mem. of Choir of St. Paul's Cath. Wrote "A Scheme 
 showing the Distance of Intervals," Lond., 1793. 
 
388 LIN — LIN 
 
 LINDSAY (Thomas). English flute-player and writer, authqr of " Elements of 
 Flute-playing, according to the most approved Principles of Modern Finger- 
 ing," London, 1828. 
 
 LING (William). English comp., pianist, and teacher, who flourished about the 
 end of last or beginning of present century. Comp. of op. I. Three sonatas 
 for Pf. and flute ; op. 2. Duets for 2 flutes ; Divertimentos for Pf. , opp. 6, 7, 8 ; 
 Sonatas for Pf., opp. 12, 13 ; Serenade, op. 17, etc., etc. 
 
 LINLEY (Eliza Ann), Maid of Bath. English soprano vocalist, daughter of 
 Thomas Linley, Senr., B. Bath, 1754. S. under her father. Sang at Bath 
 concerts ; and in London ; Worcester, Hereford and Gloucester Festival. 
 Eloped with and married R. B. Sheridari, 1773. D. Bristol, 1792. 
 
 LINLEY (Francis). English comp. and org., B. Doncaster, 1774. Bhnd 
 from birth. S. under Mather of Doncaster. Org. of Pentonville Chap., Lon- 
 don. Married to a blind lady of fortune. Opened music-selling business. 
 Became bankrupt, and was deserted by his wife. Went to America as org. 
 Returned to England, 1799. D. Doncaster, Sept. 15, 1800. 
 Works.— Sonatas for Pf. and flute, op. i ; " Introduction to the Organ, n.d. ;" 
 
 Collection of Interludes, fugues, etc., for organ, op. 6; Music for the Flute ; Songs. 
 
 LINLEY (Greorge). English poet and comp., B. Whitchurch, 1795. D. Lon- 
 don, Sept. 10, 1865. 
 
 Works. — Operas and Operettas: La Poup^e de Nuremberg, Covent Garden, 
 1861 ;■ The Toy Maker; Francesca Doria. The Jolly Beggars, cantata (Burns). 
 Songs of the Camp, 12 pieces. Selection of Scottish Melodies (with C. G. Byrne), 
 1840. Songs of the Troubadours, Lond., 1830; Musical Cynics of London, Lond., 
 8vo, 1862. Selection of Original Hymn Tunes. Songs and Ballads : A dawn of 
 joy is neat ; Alice ; Ada ; A fond daughter ; Bonnie New Moon ; Bird of Beauty; 
 Beautiful Brunette ; Ballad Singer ; By the spangled starlight ; Clara ; Come 
 hither, pretty fairy ; Chide no more ; Charlie ; Dream no more of that sweet time ; 
 Gipsy mother ; Hetty ; Hope's like a minstrel bird ; Hear me but once ; lanthe ; 
 I cannot mind my wheel ; I'm the little flower girl ; Jeanie ; Lily May ; Love me 
 little, love me long; Minnie ; My own happy home ; Mariner's vrife ; Maid of the 
 Rhine ; Only for thee ; Queen of the fairy dance ; Rose of the garden ; Some 
 one to love ; Sweet village rose ; Swiss peasant; Soon I leave thee, land of sorrow; 
 Star and water-lily ; 'Tis but for thee ; Under the vine tree. Part-songs, trios, 
 duets. 
 
 Linley composed a large number of songs, of which some became very popular. 
 They are written in a good lyrical style, but many of them were obviously composed 
 hurriedly for the purposes of publishers. 
 
 LINLEY (Maria). English vocalist, third daughter of T. Linley, B. Bath. 
 Sang at Bath, etc. D. Bath, Sept. 5, 1784. 
 
 LINLEY (Mary). English vocalist, second daughter of T. Linley. B. Bath, 
 1759. Sang in Bath, etc. Married Richard Tickill. D. July, 1787. 
 
 LINLEY (Thomas). English comp., B. Bath, 1725 [1730-173S?]. S. under 
 
 Chilcot and Paradies. Cond. of oratorios and concerts at Bath. Went to 
 
 London and purchased Garrick's share in Drury Lane Theatre, with Sheridan, 
 
 1776. D. London, Nov. 19, 1795. (Buried in Wells Cath.) 
 
 Works.— Operas and musical dramas : The Duenna (Sheridan), 1775; The 
 
 Camp, 1776; The Carnival of Venice, 1781 ; The Gentle Shepherd, 1781 ; The 
 
 Triumph of Mirth, 1782; The Spanish Maid, 1783; Selima and Azor (from 
 
 Gretry), 1784 ; The Spanish Rivals, 1785 ; Tom Jones, 1785 ; The Strangers at 
 
 Home, 1786 ; Love in the East, 1788 ; Robinson Crusoe ; Beggar's Opera (new 
 
 accompaniments, etc.) ; Songs in "The School for Scandal." Six Elegies for three 
 
 voices and Pf., Lond., 1770 ; Twelve Ballads; Canzonets. Num"erous glees, 
 
 single songs, and anthems. 
 
 Liriley was one of the ornaments of English ballad music. His genius was cast 
 in a light mould, and he attained his effects more by tenderness and simplicity than 
 by vigour and learning. Many of his ballads are among the finest creations of the 
 English school, and he shares with Jackson, Shield, Arne, and Storace, the distinc- 
 
UN — L,is 3oy 
 
 tion of having greatly added to the lyricaJ treasures of England. His operas, as 
 whole works, have now very little claim on the public, but the many beautiful songs 
 and ballads scattered throughout them are worthy of a lasting recognition. "The 
 Posthumous Vocal Works of Thomas and T. Linley, Junr.," was published in 2 
 vols., 1800. 
 
 LINLEY (Thomas). English comp., son of the above, B. Bath, 1756. S. under 
 
 Boyce and his father ; also at Florence under Nardini. Acquainted with 
 
 Mozart. Leader of Bath Concerts and at Drury Lane, London. Drowned at 
 
 Grimsthorpe, Lincolnshire, Aug. 7, 1778. 
 
 Works. — Music to the Tempest ; Ode on the Witches and Fairies of Shakespeare, 
 
 1776 ; The Song of Moses, oratorio ; Accompaniments for wind instruments to 
 
 "Macbeth" music; Anthems, glees, and songs. 
 
 This composer was cut off in the midst of a promising career, but he left several 
 choice specimens of his ability as a lyrical composer. The popular setting of the 
 song, "O bid your faithful Ariel fly," in the "Tempest," is by him. His larger 
 works are now forgotten, as also are his powers as a violinist, which were great. 
 
 LINLEY (William). English comp., son of Thomas Linley, senior, B. Bath, 
 1767 (1771). Educated at Harrow. S. under Abel and his father. Ap- 
 pointed to post in East India Company's Service, by Fox. Resided in India 
 for a time. D. London, May 6, 1835. 
 Works. — Shakespeare's Dramatic Songs, consisting of all the songs, duets, and 
 
 choruses, in character, as introduced in his Dramas... with an Introduction, Lend., 
 
 2 vols., 1815-16, fo. Two operas. Glees, etc. He also wrote novels and other 
 
 literary works. 
 
 LINWOOD (Mary). English comp., B. Leicester, 1755. D. Leicester, March 
 2, 1845. Comp. " David's First Victory," oratorio. Songs and other vocal 
 music. 
 
 LIPAWSKY (Josef). Bohemian comp., B. Hohenmauth, Feb. 22, 1772. D, 
 Vienna, Jan. J, 1810. Comp. operas, sonatas, vocal music, etc. 
 
 LIPINSKI (Karl Josef). Polish violinist and comp., B. Radzyn, Nov. 4, 1790. 
 S. under his father, Paganini, and Dr. Mazzurana (a pupil of Tartini). Cond. 
 in theatre in Lemberg, 1810. Travelled on Continent and gave concerts, 
 1829-36. Visited England, and played at Philharmonic concert, London, 
 April 25, 1836. Chap. -master at Royal Chap., Dresden, 1839. Retired, 1861. 
 D. near Lemberg, December 16, 1861. 
 Works. — Three polonaises for Pf., op. 3; Two polonaises for vn. and orch., op. 
 6 ; Trio for 2 vns. and 'cello, op. 8 ; Concertos tor vn. and orch., opp. 14, 21, 24; 
 Rondeau de Concert for vn. and orch., op. 18. Numerous variations, transcrip- 
 tions, etc. 
 
 LISLE (Eouget de). See Rohget db Lisle. 
 
 LISLEY (John). 'English comp., known only as the composer of a 6 part madri- 
 gal, " Faire Citharea presents hir doves," in the " Triumphs of Oriana." 
 
 LISTEMANN (Bernhard Ferdinand). German violinist and comp., B. Schlot- 
 
 heim, Thiiringen, 1841. Educated at Sondershausen, and S. vn. under Ulrich. 
 S. at Leipzig Cons., 1856 ; also under David, Joachim, and Vieuxtemps, while 
 Kammer-Virtuoso to Prince of Schwarzburg-Rudolstadt. Went to North 
 America, 1867, and became member of several New York concert companies, 
 and was soloist and leader in the Thomas Orch. Settled in Boston as teacher 
 and cond. of the Philharmonic orch. Leader of the Boston Symphony Orch. 
 Works. — Method of Violin Playing, Boston, n.d. David's Violin School 
 
 (American edition, edited). Pf. and violin music. 
 
 Listemann holds a distinguished position in Boston, and is well known as a highly 
 
 cultured and progressive musician. His powers as a violinist are remarkable. 
 
 LISTON (Eev. Henry). Scottish writer and inventor, B. 1771. Minister of 
 Ecclesmachan, Linlithgow, from 1793. D. Merchistonhall, Feb. 24, 1836. 
 Author of "An Essay on Perfect Intonation," Lond., 4to, 1812, 
 
390 LIS — LIS 
 
 He invented an Enharmonic Organ, which was performed on in Edinburgh, and 
 his system was apphed to several other instruments, though unsuccessfully, owing to 
 the great number of pedals, and the difficulties consequently attending manipulation. 
 His son Robert was the famous surgeon. 
 
 LISZT (Franz). Hungarian comp., writer, and pianist, B. Rading, Qctober 22, 
 1811. Received early instructions in music from his lather. First public per- 
 formance on Pf., at Oedenburg, 1S20 (Ries' Concerto in E flat). Played next 
 at Pressburg. S. at Vienna under Czerny and Salieri, at expense of Counts 
 Amadi and Sapari. Debul as pianist at Vienna, 1823 ; Paris, 1823 ; London, 
 1824. Refused admission to Paris Cons, by Cherubini. S. under Reicha and 
 Paer at Paris, 1825. His father died 1827. Reappeared in Paris as 
 pianist, 1830-35. Formed intimacy with the Countess D'Agoult (Daniel 
 Stern), by whom he had one son and two daughters. Resided in Geneva, 
 1835-6. Returned to Paris, 1836. Travelled in Italy, 1837. Ap- 
 peared alternately in France, England, and Germany till 1843. Took a 
 farewell of the public at Vienna, 1843. Conducted Beethoven festival 
 at Bonn, 1845. Chapel-master to Duke of Weimar, 1849-61. Has since 
 adopted advanced views on music, and has played in several places since his 
 retirement. He is a Ph. D. and an Abbe. 
 Works. — Symphonic Poems: Ce qu'on entend sur la montagne (Hugo); Tasso ; 
 Les Preludes; Orphee; Prometheus; Mazeppa (Hugo) ; Festklange ; Herbide 
 Funebre ; Hungaria ; Hamlet ; Hunnen-Schlacht (Kaulbach) ; Die Ideale 
 (Schiller) ; Dante's Divina Commedia fiir grosses orch. und sopran-und alt-chor ; 
 Faust-symphonie in drei charakterbildern (Goethe) ; Zwei Episoden aus Lenau's 
 Faust, for orch. ; Huldigungs-Marsch (orch.), 1853; Fest-Marsch for Goethe and 
 Schiller Festival (orch.), 1857 ; Gaudeamus Igitur, humoreske for orch., soli, and 
 chorus; Concerto for Pf, in E flat (I.); Concerto for Pf, in A (II.); Etudes 
 d'Execution transcendante (Pf.); Hungarian Rhapsodies for orch., Pf, etc.; 
 Numerous transcriptions and arrangements for Pf., solo, etc., and for orch. ; 
 Christus, oratorio ; Legend of St. Elizabeth, orat rio ; St. Cecilia, cantata ; Die 
 Glocken des Strassburger, cantata ; Ungarische Kronungs-messe. Various other 
 masses, etc. ; Lieder, numerous for various solo voices and Pf. Literary : Lohen- 
 grin et Tannhauser de Richard Wagner, 1851 ; Frederic Chopin, Leipzig, 1852 
 (Trans, by M. W. Cook, Lond., 1877) ; Ueber Field's Nocturne's, 1859; Robert 
 Franz, 1872. In addition to the foregoing, which only represents a small portion 
 of his works, Liszt has edited numerous classics for the Pf. 
 
 As a striking individuality, rather than as a great composer, has Liszt in the past 
 been best known to the world. His genius as a pianist places him at the head of all 
 living performers, but his position as a composer has yet to be strictly defined. 
 Among a section of German and other Continental musicians he is regarded with a 
 degree of extravagant reverence which fills the sober-minded English with astonish- 
 ment, not unmixed with a half pitiful contempt. That every kind of honour, im- 
 perial, municipal, and private should be heaped on the head of a mere pianist and 
 composer does seem strange in a country where enthusiasm never touches the people 
 when art is concerned, and where the notion has been handed down as a national 
 heritage from Puritan times that musicians are only peripatetic vagrants. Liszt, 
 however, is a somewhat rhapsodical musician, whose extensive reputation is as 
 much due to the mysterious glamour which he choo.ses to cast over his life, as to 
 any substantial results, apart from his performance, which he has achieved in music. 
 His place in music, in an academical sense, is more among the great expounders 
 than among the great creators in the art, being as he is but an imitator of Wagner, 
 rather than an original thinker. Of his powers on the pianoforte it is almost 
 unnecessary to speak, as the name Liszt is synonymous with everything that 
 is great in connection with that instrument. As an interpreter of Beethoven and 
 composers of the advanced school, he is simply sublime, and the impres- 
 sion which his performance creates is universally described as undying 
 and marvellous. It is undoubtedly his command over the expressive capa- 
 bilities of the pianoforte which gives Liszt such an unbounded prestige, not to 
 speak of technical peculiarities which are his alone ; and which are no doubt the 
 outcome of an intensely nervous organization, acted upon by an enthusiastic love for 
 musical art. It is most difficult to attempt consideration of his personal affairs, as 
 writers who had opportunities of becoming acquainted with them invariably fall into 
 
LIT — LLO 391 
 
 a state of sheer mysticism and rhapsody, which is as confusing as it is certainly 
 amusing. 
 
 His works have been subjected to every variety of criticism, and no two writers 
 agree in regard to his works, where many agree as to his powers as a virtuoso. 
 When opinion differs so widely it naturally follows that the works considered must 
 either be -far in advance .of present-day comprehension, or must be supported by 
 undue pretension and the elevated individuality of the author. Which is correct 
 time alone can decide. See further, articles in Musical Journals, and in Fraser's 
 Magazine, v. 52; Belgravia, v. 43; Lippincott s Mag. , v. 10 ; Scribnet's Mag., v. 
 10; and the Galaxy, v. 18. 
 
 LITOLFF (Henry Charles). English (?) pianist and comp., B. London, Feb. 
 5, 1818. S. under Moscheles, 1831. Dibut as pianist at Covent Garden 
 Theatre, July 24, 1832. Married, 1835. Travelled on the Continent. Suc- 
 ceeded to music-publishing business of Meyer at Brunswick, 1851. Trans- 
 ferred business to his son Theodor, i860. Resident in Paris from 186 1. 
 Works. —Operas: Der Braut vom Kynast, 1847 ; Rodrique de Tolede ; Les Tem- 
 pliers, 1885. Oratorio : Ruth et Boaz. Pianoforte Music: Reverie a la Valse, op. 3 ; 
 Souvenirs d'Harzbourg, op. 43; Serenade, op. 61 ; Nocturne, Pf., op. 62 ; Elegie, op. 
 64;Arabesken, op. 65 ; Chant d'Amour, op. 78; La Mazurka, op. 109; Scherzo, op. 
 115. Orchestral Music, etc. -. Concerto Symphonique, No. 3, " Hollandais," op. 
 45 ; First grand trio lor Pf., vn. and 'cello, op. 47 ; Maximilian Robespierre, over- 
 ture, op. 55; Second trio, op. 56; First string quartet, op. 60; Les Girondins, 
 overture, op. 80 ; Das Welfenlied, overture, op. 99 ; Third trio, op. 100 ; Chant 
 des Beiges, overture, op. loi ; Concerto Symphonique, No. 4, op. 102 ; Scenes 
 from Goethe's " Faust," op. 103; Second Spinnleid, op. 104. 
 
 The light, graceful, and brilliant nature of Litoltf's compositions have made many 
 of them highly popular with a large section of the musical public. Many of the 
 Pf. works are Artistic and refined in the highest measure, though at no time does 
 Litolfl reach the sublime. 
 
 The well-known ZjVo^ editions of musical classics are issued by a son (Theodor) 
 of the composer's, who founded the present business in i860. The neatness and 
 correctness of those editions issued by the firm can not be too highly praised. 
 
 LITTA (Count Giulio). Italian comp., B. 1822. Comp. Operas: Bianca di 
 Santafiora, 1842; "Editta di Larmo," 1853. Oratorios and songs. 
 
 LIVINGSTON (James R.) Scottish writer and comp., native of Aberdeen- 
 shire. Resided in Glasgow from 1844. Author of "The Organ Defended : 
 being an Essay on the Use of that Instrument in Public Worship, with Stric- 
 tures on ' Phinehas Vocal's ' attack on the Organ and Dr. Anderson," Glasgow, 
 8vo, n. d. [c 1857]. Reply to a pamphlet entitled " Dr. Anderson as as an 
 Organist," by Phinehas Vocal, Glasgow, 8vo, n. d. Comp. "Turn ye even to 
 me," anthem ; Sanctus ; "Lamb of God," motet from Naumann ; "Gracious 
 Saviour," motet from Naumann ; "The Lifeboat," song (words and music) ; 
 "The Lighthouse," do. (MS.) Biographical Sketches of Haydn, Mozart, and 
 Spohr, and notes on "Samson," the "Creation," etc., in Glasgow Choral 
 Union Programmes. 
 
 LIVINGSTON (Kev. Neil). Scottish minister at Stair, Ayrshire, writer. 
 Edited a reprint of " The Scottish Metrical Psalter, 1635, and the whole Illus- 
 trated by Dissertations, Notes, and Facsimiles." Glasgow, 4to, 1864. 
 
 LLOYD (Charles Harford). English comp., org., and cond., B. Thornbury, 
 Gloucestershire, Oct. 16, 1849. Educated at Rossall School, and Magdalen 
 Hall (Hertford College), Oxford, where he held a classical scholarship. Mus. 
 Bac, Oxon., 1871. B. A., 1872. M.A., 1875. Org. of Gloucester Cath., in 
 succession to Dr. S. S. Wesley, June, 1876. Cond. Gloucester Triennial Festi- 
 val, 1877 and 1880. Cond. of the Gloucester Choral Soc; do. Gloucestershire 
 Philharmonic Soc. Org. Christ Ch., Oxford, 1883. 
 Works. — Cantatas: Hero and Leander, Worcester, 1884; Song of Balder, 
 Hereford, 1885; Andromeda; Full Cathedral Service in E flat (Novello); Mag- 
 nificat and Nunc Dimittis in F, for soli, chorus, and orch. ; " Art Thou weary?" 
 eight part anth?m; F?ar not, O Land ; Blessed is he, Part-Son^s: A sunny shaft; 
 
392 LLO — LOC 
 
 Pack, clouds away ; Looking for Spring ; Beauty was lying ; A wet sheet and a 
 flowing sea. Org. sonata in D min. Songs, etc. 
 
 LLOYD (Edward). English tenor vocalist, B. London, March 7, 1845. S. at 
 Westminster Abbey under James Turle. Tenor singer in Trinity Coll., Camb., 
 1866-67. Gent, of Chap. Roy., 1867-69. Has sung at all the principal con- 
 certs and festivals in Britain. 
 Mr. Lloyd is one of the present generation of English tenors whose reputation is 
 quite above the ordinary level. His style, execution, and the natural beauty of his 
 voice, combine to make him one of the best of living vocalists. What is known as 
 concert singing is what he has always engaged in, and as an oratorio singer Britain 
 does not possess his superior. His ballad singing is marked by much expressive 
 grace and feeling, and his extraordinary power of voice enables him with ease to do 
 justice to a varied class of music. 
 
 LOBE (Johann Christian). German comp. and writer, B. Weimar, May 30, 
 1797. Second flute player in Weimar court band. Edited the " AUgemeine 
 Musikzeitung, 1846-48. Resided at Leipzig as teacher. D. Leipzig, July 27, 
 1881. 
 Works. — Operas: Der Ksefich ; Die Flibustier, in 3 acts ; Witikind ; Derrothe 
 Domino ; Kbnig und Pachter, 1 846 ; Die Furstin von Granada. Instrumental 
 music: Solabella, overture; Concerto for flute and orch., op. I ; Quartet for Pf. 
 and strings, op. 2 ; Variations for flute and vn., viola, 'cello, op. 3 ; Three themes 
 or flute, op. 4 ; Three amusements for Pf., op. 7 ; Quartet for Pf. and strings. No. 
 2, op. 9; Overture for orch., in G, op. 18; Variations for Pf., in D, op. 16; 
 Variations for flute and orch., in G; Potpourri for orch., in F, op. 20; 
 Concertino for flute and orch., in E minor, op. 21 ; Le Buffon, Pf., op. 23 ; La 
 Gaiet^, overture for orch. , op. 27. Theoi etical ■wo> ks : Lehrbuch der Musikalischen 
 Composition, Leipzig, 4 vols., 8vo, 1858-67; Katechismus der Musik (trans, by F. 
 R. Ritter, n. d. ; and by Constance Bache, Lond., 1885) ; Katechismus der Com- 
 position ; Vereinfachte Harmonielehre, 2 parts ; Musikalische Briefe, Leipzig, 
 1852 ; Consonanzen und Dissonanzen, Leipzig, 1869 ; etc. 
 
 As a composer, Lobe will not live, but as a theoretical writer his name will be 
 held in much esteem. The whole of his didactic works are clear and simple in 
 style, and in them he enunciates many original views. The catechisms of music 
 and composition have been translated into English. 
 
 LOBO (Alphonso). Portuguese comp., B. 1555. Chap. -master at Toledo, 1601. 
 Comp. masses, and other church music. 
 
 LOCATELLI (Pietro). Italian violinist and comp., B. Bergamo, 1693. S. 
 under Corelli. Settled at Amsterdam as teacher and performer. D. Amster- 
 dam, 1764. 
 Works. — L'Arte del Violino ; Sonatas and Concertos for vn. (1721) ; Caprices, 
 etc. 
 
 " . . . while he possessed more execution, fancy, and whimsicality, than any 
 violinist of his time, he was a voluminous composer of music, better calculated to 
 surprise than to please." — Busby. 
 
 LOCKE (Matthew). English comp. and writer, B. Exeter, 1639 (1653?). 
 
 Chor. in Exeter Cath. S. under Edward Gibbons and W. Wake. Comp. in 
 
 Ordinary to Charles IL, 1661. Became Roman Catholic, and was appointed 
 
 org. to the Queen. D. London, Aug. 1677. 
 
 Works. — Cupid aud Death, masque (Shirley), with C. Gibbons, 1653. Little 
 
 Consort of Three Parts for Viols, 1656. Music for The Stepmother (Stapylton), 
 
 1664; Davenant's alteration of "Macbeth," 1672; Shadwell's "Psyche," 1673; 
 
 and the "Tempest," 1673. Anthems, various, lor Chap. Royal. Kyrie and Credo, 
 
 1666 (preface defending the work against the opposition which its novel form raised, 
 
 entitled, "Modern Church Music: Pre-accused, censur'd, and obstructed in its 
 
 performance before his Majesty," April i, 1666.) Reply to Thomas Salmon's 
 
 "Essay to the Advancement of Music," entitled, " Observations upon a late book 
 
 entitled, An Essay to the Advancement of Musick, by casting away the perplexity 
 
 of different cliffs and writing all sorts of musick in an Universal character." Reply 
 
 to Salmon's "Vindication," entitled, "The present Practice of Music Vindicated, 
 
LOC — LOD 393 
 
 with the Duellum Musicum," etc., Lond. "Melothesia, or certain General Rules 
 for playing upon a Continued Bass, with a choice collection of Lessons for the 
 Harpsichord or Organ of all sorts," Lond., 1673. Songs in contemporary collec- 
 tions, as the Theater of Music ; The Treasury of Music ; etc. 
 
 Locke is placed high among his contemporaries by the majority of historians, but 
 chiefly on the merits of the " Macbeth " music, which, it is well-known, is said by 
 certain able writers to have been written by Purcell. This proved, Locke's claims 
 to eminence pale somewhat, and he becomes more famous as the first English writer 
 on harmony or thorough-bass. The specimens of his music to which access can be 
 had shows him to have been a composer of much learning, if somewhat devoid of 
 expression. Into the merits of the " Macbeth" controversy we cannot enter, and 
 must refer inquirers to the writings of W. H. Cummings and others upon the subject. 
 
 LOCKETT {William). English org. andcomp., B. Manchester, 1835. Deputy- 
 Assistant org., Manchester Cath. Org. S. John's, Higher Broughton, 1855-61 ; 
 do. S. Mark's, Cheetham ; do. Union Chapel, Manchester, 1877. Comp. 
 anthems, songs, etc. 
 
 LOCKEY (Cliarles). English tenor vocalist, B. Oxford in first quarter of present 
 century. Chor. of Magdalen Coll., 1828-36. S. singing under E. Harris of 
 Bath ; also S. under Sir G. Smart, 1842 ; Lay-clerk S. George's Chapel, 
 Windsor. Vicar-Choral, S. Paul's, 1843. Gent, of Chap. Roy., 1848. 
 Married Miss Martha Williams, 1853. Retired, 1859. 
 Lockey was one of the most prominent English tenors during his career, and 
 
 sang on the original production of Mendelssohn's " Elijah" at Birmingham, 1846. 
 
 He also sang at most of the principal concerts and festivals throughout the kingdom, 
 
 until ultimately compelled to retire by a disorder of his throat. 
 
 LOCKHABT (Charles). English org. and comp., B. London, 1745. Org. of 
 Lock Chap., 1772; S. Katharine Cree ; S. Mary's, Lambeth; and Lock 
 Chap, again in 1790-97. D. London, Feb. 9, 1815. Comp. "A Set of 
 Hymn Tunes. ..for Three Voices," Lond., fo., n. d. 
 
 LODEE (Edward James). English comp., B. Bath, 181 3. S. at Frankfort, 
 under F. Ries, 1826-28. Returned to England, 1828. Again went to Ger- 
 many and S. under Ries. Cond. at Princess's Theatre, London ; do. Man- 
 chester. D. London, April 5, 1865. 
 Works. — Operas: Nourjahed, July, 1834; Dice of Death (Oxenford), 1835; 
 The Night Dancers, Princess Theatre, 1846 ; Puck, a ballad opera ; The Sultan, 
 dramatic piece ; The Young Guard, 1848 ; The Island of Calypso, a masque, 185 1 ; 
 Raymond and Agnes, Manchester, 1855 ; Francis the First, 1838 (compilation) ; 
 The Foresters ; or. Twenty-five Years since ; The Deer Stalkers, Scottish opera ; 
 Beggar's Opera, revised. Selection of Songs, in 3 books. Dr. Watt's Divine and 
 Moral Songs. Sacred Songs and Ballads, Poetry by D. Ryan ; Ded. to W. Stern- 
 dale Bennett. Improved and Select Psalmody. Divine Harmony. Twelve Sacred 
 Songs. Instructions and Exercises on the principles and practice of the art of 
 Singing (Ashdown), n. d. Songs and Ballads: Afloat on the Ocean; Arnold the 
 Armourer ; As the bark floateth on ; Bare-footed Friar ; Beautiful Star ; Beware ; 
 Bold Hubert the Hunter ; Brave old oak ; Come to the glen ; Columbus ; Come 
 blushing May ; Deep-sea Fisher ; Fairest joys are fleetest ; Forester's Bride ; 
 Hermit ; Hie away, hie away ; Ivy tree ; I love these merry festive times ; I ride 
 on the storm ; I'll weave a sweet garland ; Last links are broken ; My harp is 
 strung for thee ; My own loved home ; Man in the Moon ; Martin, the man of 
 arms ; O here's to the holly ; Oak of the village ; Oh, the merry days ; Outlaw ; 
 O speed my bark ; O the many days ; Oh ! the bonny banks of Yarrow ; Philip 
 the Falconer ; Rhine song ; Sweet girls of Erin ; Sing me then the songs of old ; 
 Stars of the flowers ; There is no love like the first love ; Thou art gone to the 
 grave ; The song of the water king ; The village mill ; Twilight is sad and cloudy ; 
 Wake, my love ; Wake from thy grave, Geselle ; WTiere is my loved one. Part- 
 songs, hymns, and Pf. music. 
 
 The reputation of this composer at one time stood high, and much was expected 
 of him ; but latterly he was neglected and allowed to drift into the questionable 
 artistic atmosphere of a provincial manufacturing town. This affected his works 
 
394 LOD — LOG 
 
 in a considerable measure, and a lack of spontaneity and freshness may be observed 
 in his later works. His music is generally of a bright and tender nature, and his 
 harmonies and sense of dramatic propriety are well balanced, and properly in 
 keeping with his fine flow of melody. His ballads are very fair specimens of 
 lyrical composition, and by them he will be best remembered. 
 
 LODER (George). English comp. and singer, B. Bath, 1816. D. July 15, 
 1868. Comp. "The Old House at Home," musical entertainment ; numerous 
 songs ; symphonies ; Pf. music, etc. 
 
 LODER (John David). English violinist and writer, B. 1793. D. 1846. 
 
 Author of " The Modern Art of Bowing Exemplified, with Exercises in the 
 Major and Minor Scales," Lond., n.d.; Violin School, n.d.; Works for Violin. 
 Loder's violin school is one of the most popular among recent productions of that 
 nature. 
 
 LODER (John Fawcett). English violinist and comp., son of above, B. 1812. 
 Teacher and concert-director at Bath. Leader of orch. in London. D. April 
 16, 1853. 
 
 LODER (Kate Fanny). English pianoforte player, daughter of George Loder, 
 B. Bath, Aug. 22, 1826. S, under Henry Field, and at R. A. M. under Mrs. 
 Lucy Anderson and Charles Lucas. Gained King's Scholarship, 1839. 
 Appeared at concerts at Bath, 1840. Re-elected King's scholar, 1841. 
 Prof, of Harmony, R. A. M., 1844. Appeared at Philharmonic Concert, 1847, 
 Married to Sir Henry Thompson, 1851. Performed chiefly at private concerts 
 in London. Comp. an opera ; overture ; sonatas for Pf. and vn. ; 2 string 
 quartets; trio for Pf., vn., and 'cello; Pf. music; songs, etc. 
 
 LOEILLET (Jean). Belgian flute-player and comp., was member of the opera- 
 band in London, and a popular teacher in Hart Street, Covent Garden. D. 
 London, 1728. 
 
 Works. — Six Suits of Lessons for the Harpsichord ; Six Sonatas for flutes, haut- 
 boys, german flutes, and violins ; Twelve Sonatas for violins, German flutes, and 
 common flutes ; Twelve Solos, for a German flute. 
 
 LOESCHHORN (Carl Albert). German comp., pianist, and teacher, B. Ber- 
 lin, June 27, 1819. S. under Ludwig Berger. Prof, of Pf. at Berlin since 
 1858. 
 
 Works. — Pianoforte : Six Sonatinas ; Aus der Kinderwelt, 2 series, op. 96, 100 ; 
 La Fileuse, op. 140 ; Scherzo, op. 143 ; Reverie, op. 141 ; Jagdstiick, in E flat, 
 op. 152; Eglantine, op. 154; Studies. Vocal music, etc. 
 
 LOGAN (Bdmond). Scottish musical writer and amateur flute player, was long 
 connected with the staff of the Scotsman, to which paper he contributed able 
 articles on the various Edinburgh concerts, etc. D. Edinburgh, Jan. 1865. 
 
 LOGIER (Johann Bernard). German writer and teacher, B. Cassel, Feb. 9 
 1777. Came to England, 1790. Joined regiment and went with it to Ireland. 
 Married daughter of Herr Willmann, bandmaster 1796. Settled in Ireland, 
 1826. D. Dublin, July 27, 1846. 
 
 Works. — Sonatas for Pf., various ; Set of pieces, op. 7 ; Irish melodies, op. 8 ; 
 Original pieces for two Kent bugles, op. 11 ; Seven Italian pieces, Pf.; The Last 
 Battle, Pf. Complete Introduction to the Keyed Bugle, n. d. A Refutation of the 
 Fallacies in a Pamphlet entitled, "An Exposition of the New System," Lond., 
 1818 [title of pamphlet :— Exposition of the Musical System of Mr. Logier, with 
 Strictures on his Chiroplast, by a Committee of Professors in London, 1818, 8voJ. 
 First and Second Companions to the Royal Patent Chiroplast, folio, n. d. ; Sequels 
 to do., n. d. Manual to Logier's System on the Art and Science of Music, 4to, 1828. 
 A System of the Science of Music and Practical Composition, 4to [1827]. General 
 observations upon Music, and Remarks on Mr. Logier's System of Musical Educa- 
 tion, with Appendix, Edin., 18 17. 
 
 Logier's once popular method of teaching the Pf. by means of the chiroplast, a 
 mechanical wrist-guide, has long since been superseded, and the petty jealousies 
 and strifes caused by his success, forgotten. His Pf. works are mere compilations, 
 
LOG — LOR 395 
 
 and few of his works are anything but advertisements of his chiroplast. The in- 
 vention ol the keyed bugle, claimed for Logier (as also for Halliday, an Irish musi- 
 cian), is probably a popular fallacy arising from the fact that he wrote a tutor for it. 
 Mr. Theodore Distin puts in a superior claim for his lather's title to the invention. 
 
 LOGROSCINO (Nicolo). Italian operatic comp., B. Naples, 1700. D. 1763. 
 He is credited with the creation of opera buffa, on no special grounds, and with 
 having first made use of the formal finale in his works. He composed chiefly 
 operas in the buffa style, of which the following are best known : — Giunio 
 Bruto ; II Governatore ; II Vecchio marito ; La Violante, 1741 ; Don Padu- 
 ano, 1745; La Costanza, 1747; La Griselda, 1752; Rosmonda, 1755. 
 
 LOLLI (Antonio). Italian violinist and comp., B. Bergamo, 1730. Travelled 
 in Germany as a performer. Vnst. at court of the Duke of Wiirtemberg ; do. 
 court of St. Petersburg. Played in France, Spain, and London. D. Sicily, 
 1802. Comp. sonatas, and other works for the violin. 
 Lolli was an able performer, but is not credited with having done aught to re- 
 model or change the style of performance in vogue in his time. 
 
 LOMBABDI (Giacomo). Italian comp. and Prof, of singing, P. Parma, 1810. 
 D. Naples, April, 1877. Comp. operas, masses, works on vocalization, 
 songs, etc. 
 
 LONGFELLOW (Henry W.) Americanpoet.B.Portland, Maine, 1807. D.1S82. 
 His dramatic poem, "The Spanish Student," has been set in part by different 
 composers ; and his " Golden Legend," and other works have also been utilized by 
 American musicians. It is chiefly as a lyrical poet, however, that his works have 
 been used, and among those who have composed music to his verses may be men- 
 tioned G. B. Allen, Anderton, Balfe, Blockley, Brislow, D. Buck, Dunne, Gabriel, 
 Gaul, C. W. Glover, S. Glover, Gounod, J. L. Hatton, Lahee, G. Linley, E. M. 
 Lott, Sir G. A. Macfarren, W. H. Montgomery, S. Nelson, Parker, Pinsuti, 
 Rowland, Smart, Sullivan, Thomas, Tours, and Weiss. 
 
 LONGHUEST (John Alexander). English vocalist, B. 1809. S. under John 
 Watson. First appeared in Bishop's opera, "Henri Quatre," 1820. Sang at 
 numerous concerts. D. 1855. 
 
 LONGHURST (William Henry). English org. and comp,, B. London, Oct. 
 
 6, 1819. Chor. Canterbury Cath., 1828. Assistant org., master ofthechor., 
 
 and lay-clerk, do., 1836. Org. and master of the chor., do., 1873. F. C. O. 
 
 Mus. Doc, Cantuar, 1875, also Toronto. Musical Lecturer at St. Augustine's 
 
 Coll., Canterbury. 
 Works. — David and Absalom, oratorio ; The Village Fair, an Alpine Idyll, 
 cantata (or female voices (words by Jetty Vogel, 1881. Anthems : Great is the Lord ; 
 Grant to us. Lord, we beseech Thee ; Blessed is he that considereth the Poor ; Help 
 us, O Lord ; I cried unto the Lord ; I will give thanks ; O come and behold the 
 works of the Lord ; O Lord, we beseech Thee ; The Lord is my strength. Secular 
 vocal music, etc. 
 
 LOOSEMORE (George). English org. and comp., flourished in the seventeenth 
 century. Mus. Bac, Cantab. Chor. King's Coll., Camb., 1660. Org. Trinity 
 Coll. Doc. Mus., Cantab., 1665. Comp. anthems. 
 
 LOOSEMORE (Henry). English org. and comp., brother of the above. Chor. 
 at Cambridge. Lay-clerk, do. Org. of King's Coll. Mus. Bac, Cantab., 
 1640. Org. Exeter Cath., i56o. D. 1667. Comp. service and anthems. 
 John Loosemore, organ-builder of the 17th century, D. April 8, 1681, aged 68, 
 built the organ in Exeter Cath., etc. 
 
 LOPEZ (Duarte). Portuguese comp. of the 17th century. Chap. -master of 
 Cath. ch. of Lisbon, 1600. Comp. masses, etc. 
 
 LORETZ (Jean M.) French pianist, org., and comp., B. Mulhouse, France, 
 1840. Taken while a child to United States. S. Paris Cons., under Laurent, 
 Marmontel, Reber, etc., 1857. £>Mui as pianist at Brooklyn Philharmonic, 
 j86o. Band master in U. S. navy. Org. in succession of St, Peter's R. C. 
 
39^ LOR — LOT 
 
 church, Brooklyn ; Dutch Reformed ch., do. ; St. Ann's on the Heights. 
 
 Cond. at the Park Theatre, N. Y., etc. 
 Works. — The Pearl of Bagdad, opera, 1872; Ivanhoe, opera (MS.); Sym- 
 phonic overtures ; Masses, in G, C, B flat, and E flat ; Episcopal Church Services, 
 in F, C, and E flat ; Sonatas and valses, for Pf., etc. 
 
 LOEiIS, or LORIT (Heiurich), Glareanus. German Vfriter, B. Glarus, 1488. 
 S. under J. Cochlseus. Was a musician successively in Cologne, Basle, Paris, 
 and Freiburg. D. Freiburg, May 28, 1563. Author of " Isagoge in 
 Musicen...," Basle, 1516, 4to ; and " Dodekachordon.. ," Basle, 1547, fo. 
 This latter is his great work, and contains a great variety of valuable and 
 interesting matter ; including specimens of early composers, and critical 
 remarks on their works. It is often quoted in musical history, and has great 
 value for the theoretical principles described or propounded in its pages. In a 
 bibliographical sense it is one of the most rare and valuable of musical works. 
 
 LORTZINGr (Gustav Albert). German comp., B. Berlin, Oct. 23, 1803. 
 Self-taught in music. Married at Cologne, 1822. First tenor at Stadttheater, 
 Leipzig, 1833-43. Director of do., 1844-45. Director at Vienna Theatre, 
 1846. Cond. of theatre in Berlin. D. Berlin, Jan. 21, 1852. 
 
 Works. — Operas: Ali Pacha von Janina, 1822; Die beiden Schiitzen, 1837; 
 Czaar und Zimmermann, Leipzig, 1837 (Peter the Shipwright, Lond., 1871); Hans 
 Sachs, 1840 ; Wildschiitz, 1842 ; Undine, 1845 ; Der Waffenschmidt, 1846 ; 
 Rolandsknappen, Leipzig, 1849 ; Casanova ; Zum Grossadmiral ; Eine Berliner 
 Grisette ; Caramo ; Die Schatzkammer des Inka ; Regina (MS.) Overtures, part- 
 songs, and songs. 
 
 This composer, by being kept in a somewhat low walk in operatic composition, 
 probably never reached the full height of his abilities, which were confined within 
 the narrow limits of comic opera. His melody is flowing and pretty, and his com- 
 mand over expression great. His most successful production was "Czar and 
 Zimmermann." 
 
 LOTT (Edwin Matthew). English org. and comp., son of Samuel F. Lott, 
 artist, B. St. Heller's, Jersey, Jan. 31, 1836. Org. of S. Matthew's Ch., 
 Jersey, 1846. Org. successively of S. Saviour's, S. Luke's, and S. Mark's, 
 1848-60. S. under W. T. Best, 1851-52. Org. S. Clement Danes, Strand, 
 London, i860. One of the org. at International Exhib., 1862. Org. S. 
 Peter's, Bayswater, 1863 ; Christ Ch., Kensington, 1864. F. Coll. of Org., 
 1865. Prof, of music in Victoria Coll., Jersey ; and org. in old appointments, 
 1865. Bandmaster of three regiments in Jersey, 1867. Org. of St. Simon's, 
 Jersey, 1867 ; S. Helier's Parish Ch., do., 1869. Returned to London, and 
 re-accepted post of org. at S. Peter's, Bayswater, 1870-79. Licentiate Trinity 
 Coll., Lond., 1875. Org. S. Ethelburga, Bishopsgate, 1880. Prof, of 
 Counterpoint, etc.. Trinity Coll., 1879-80. Org. of St. Sepulchre's, London, 
 1883 ; Principal of Musical International Coll., 1883 ; Mus. Doc, Toronto, 
 1885; Examiner for Toronto Univ., 1886. 
 Works. — Cantata: Thus saith the Lord, the heaven is my throne. Services: 
 Communion, in F; Communion, in E (MS.). Anthems: Let not your heart be 
 troubled ; There were shepherds. Church Music, arranged, adapted, and original 
 (14 numbers). Te Deum, in F. Orchestral selections, etc ; String Quartet, in A 
 minor ; Journeying on, part-song, 5 voices. Songs : Into the silent land ; I've some 
 one who loves me; That other shore; The fairy wedding; Marion; Snowdrop. 
 Organ : Andante in G ; Fanfare in E flat ; Offertoire in D ; Offertoire (en forme de 
 marche) in B flat ; Offertoire (en forme de marche) in G ; Offertoire (en forme de 
 marche) in F ; Toccata and fugue, in C minor (English organ music). Pianoforte ; 
 Recollections of Beethoven, Gluck, Handel, Mendelssohn, Mozart, and Spohr ; 
 Premiere Mazurka ; Pensee de plus ; Idylle ; Evening calm ; Sparkling waters ; 
 Lucrezia Borgia ; Bourree ; Dreaming on the lake ; Echos du soir, nocturne ; Fad- 
 ing twilight, reverie ; Gavotte ; Gigue ; La chasse aux bois ; Minuet ; Le bruisse- 
 ment des feuilles ; Le retour des oiseaux ; Les hallebardiers ; Marche des conscrits ; 
 Passepied ; Rgve Espagnol ; Sarabande ; The breeze and the harp ; The skaters ; 
 Review March, Tarentella ; L'esp^rance ; Fanfare de Brest, and about 300 other 
 pieces. A Pianoforte Catechism, Lond., 8vo, 1879 (7 editions). Harmony, Lond. 
 (3 edits.) Dictionary of Musical Terms, Lond. (3 edits.) 
 
LOT — LOW 397 
 
 Dr. Lott is an organist of distinguished ability, and a composer of some note. 
 He was the first musician in England to introduce Haydn's Passion music in its en- 
 tirety into the church service, and for this purpose he has recently adapted the whole 
 of the Imperial Mass. 
 
 LOTT (John Frederick). German violin-maker, B. 1775. S. under Fendt. 
 Worked with Thomas Dodd. D. April 13, 1853. 
 Lott is celebrated for his double-basses, which are of surpassingly fine quality. 
 His son, George Frederick (B. Lond., 1800. D. 1868), worked with Davis, 
 and produced fair instruments; and his other son, JOHN Frederick (D. 1871), 
 imitated the Italian makers under instructions of Davis. 
 
 LOTTI (Antonio). Italian comp., B. Venice, 1667. S. under Legrenzi. Chor. 
 in the Doge's Chap. Second org. S. Mark's, Venice, 1692 ; First do., 1704-44. 
 Chapel-master, do., 1736. D. Venice, Jan. 5, 1740. 
 
 Works. — Operas : Giustino, 1683 ; II Trionfo d' Innocenza, 1693 ; Achille 
 placato, 1707 ; Teuzzone, 1707 ; Ama piu chi men si crede, 1709 ; II commando 
 non inteso ed ubbidito, 1709; Sidonio, 1709; Isaccio Tiranno, 1710 ; La Forze 
 del Sangue, 17 11 ; L' Infedelta punita, 1712; Porsenna, 1712 ; Irene Augusta, 
 1713; IlPolidoro, 1714; Foca superbo, 1715 ; Alessandro Severo, 1717; II Vin- 
 citor Generoso, 1718. Oratorios : II Voto Crudele, 1712 ; L' Umilta coronata, 
 1714; Gioa, R^ di Giuda. Masses, numerous; Madrigals, 1705; etc. 
 
 This composer, though now almost forgotten save as a name in musical history, 
 was at one time a brilliant light, and his works were received with rapture. He 
 was the teacher of Marcello, Bassani, Gasparini, Galuppi, etc. His music is in the 
 cold florid style common to his period, but some of his madrigals are beautiful 
 specimens of counterpoint. 
 
 LOTTI DE LA SANTA (MdmsUe). Italian vocalist, B. Mantua, Dec. 23, 
 1833. Appeared in Constantinople, 1852, in " Robert the Devil." Appeared 
 successively in Milan, Vienna, Florence, S. Petersburg, etc., 1853-7. Ap- 
 peared in London, 1859, in "Maria de Rohau," "Rigoletto," "La Gazza ' 
 Ladra," etc. 
 
 LOTTO (Isidor). Polish violinist, B. Warsaw, Dec. 1840. Has appeared in 
 many of the principal Continental towns. 
 
 LOUD (Thomas). American org. and writer, author of " Organ School, or the 
 Organ Study," Boston, n. d. ; etc. 
 
 LOVER (Samuel), Irish poet, painter, noveUst, and comp., B. Dublin, 1797. 
 D. July 6, 1868. 
 
 Works. — Various Novels. Songs and Ballads, Lond., i2mo, 1859. Songs: 
 A leaf that reminds me of thee ; Angel's whisper ; Birth of St. Patrick ; Bowld 
 Sojer Boy ; Fairy Boy ; Fairy Tempter ; Fisherman ; Forgive but don't forget ; 
 Four leaved Shamrock ; Hour before day; I leave you to guess ; Irish mule driver; 
 Land of the west ; Letter (the) ; May dew ; Molly Bawn ; Molly Carew ; My 
 Mother dear ; Rory O'More ; Saint Kevin ; True love can ne'er forget ; 'Twas the 
 day of the feast ; Can you ever forget ; Dove song ; Fisherman's daughter ; I can 
 ne'er forget Thee ; Kathleen and the Swallows ; Lady mine ; Macarthy's grave 
 O watch you well ; Rose, zephyr, and dewdrop ; Sally ; Say not my heart is cold ; 
 That rogue Riley ; Voice within ; Whistling thief ; Widow Machree. 
 
 Many of Lover's songs have passed into the Irish national repertory, and wil 
 probably exist for ever. "The Angel's Whisper,'' "The Letter," and " The Fairy 
 Tempter," will probably outlive all his other productions. 
 
 LOWE (Edward). English org. and comp., B. Salisbury [1615]. Chor. in 
 Salisbury Cath. under "Holmes. Org. Christ Ch. Cath., Oxford, 1630. Org. 
 Chap. Royal, 1660. Prof. Music, Oxford, 1662. D. Oxford, July 1 1, 1682. 
 Works.— A Short Direction for the Performance of Cathedrall Service, etc., 
 
 Oxford, 1661. Anthems, etc. 
 
 LOWE (Joseph). Scottish violinist and comp., son of John Lowe, poet, B. 
 about end of last century. D. (?) 
 
398 Low — LOW 
 
 Works. — Collection of Reels, Strathspeys, Jigs, etc. (Paterson, Edin.), n. d. 
 Royal Collection of Reels, Strathspeys and Jigs, etc., n. d. 
 
 LOWE (Johann Carl Gottfried). German comp., B. Loebejuen, near Halle, 
 Nov. 30, 1796. Chor. at Kbthen, 1807-9. Do. at Franke Institute, Hanover, 
 under Tiirk, 1809. S. at Halle University under Michaelis. Prof, at Stettin 
 Gymnasium, 1820. Married to Julie von Jacob, 1821. Music director to the 
 Municipality, Stettin, 1821. Married second wife, Auguste Lange, 1823. 
 Mem. of Akademie of Berlin, 1837. Appeared in London, 1847. Travelled 
 in France, Sweden and Norway. D. Kiel, April 20, 1869. 
 Works. — Op. i. Three Ballads by Herder, Uhland and Goethe; Three do., of 
 Herder and Uhland, op. 3 ; Six Songs of Byron, op. 4. Ballads for Voice and 
 Pf., opp. 5, 6, 7, 8, 9. 10, 13, 14, 15, 16, 17, 20, 21, 23, 29 ; Six Songs for Men's 
 voices, op. 19 ; Five Sacred Songs for Men's voices, op. 22 ; Three String Quar- 
 tets, op. 24; "Die Walpurgis Nacht " (Goethe), for solo, chorus and orch., op. 
 25 ; Quartet for strings, op. 26 ; Mazeppa (Byron), op. 27 ; Trio for Pf , vn. and 
 'cello, op. 12 ; Fantasia for Pf., op. II ; Duet for Pf , op. 18 ; Three Ballads, op. 
 44; Goethe's " Paria" for voice and Pf , op. 58; Three Ballads by Goethe, op. 59; 
 Legends for voice and Pf., op. 75-76 ; Five Lieder for 4 voices, op. 81. Operas: 
 Rodolphe ; Malek Adhel; Die Alpenhiitte. Oratorios: Die Zerstoerung von Jeru- 
 salem, op. 30. ; Die Sieben Schl^fer ; Johann Huss; Apostel von Phillippi ; Polus 
 von Atella. Gutenberg, cantata. Symphonies, overtures, and concertos. 
 
 " What the simple German song, or Lied, owes to the creative spirit of Franz 
 Schubert, in whose productions it is represented to us as a work of art which has 
 attained a perfect degree of harmony, in which form and purport are most intimately 
 combined, and in which the whole variety both of form and purport seems to be 
 exhausted — so much, or nearly as much, does the ballad owe to the imaginative and 
 self-creative efforts of Carl Lowe. Lfiwe has, for this reason, been called the 
 .Schubert of North Germany. In this case also, form and purport appear to have 
 reached the most perfect harmony ; words and music, ready to follow the sentiment 
 into the nicest details ot individual nature, are enhanced by an artistic representation 
 and characterization of the purport, displaying and unveiling all the riches of 
 mysterious human nature. With no less justice is Lowe called, also, a born ballad 
 composer, on account of the extraordinary number of his works belonging to this 
 class, as well as the uncommon skill and ease with which he could overcome the 
 difficulties presented by the words, bring out prominently the really leading idea of 
 the poetry, and envelop it in a garment resplendent with colors and rich ornaments. 
 For characteristic sharpness, certainty of design, and definiteness of drawing ; for 
 variety and truth of expression ; and for poetic richness of feeling, Lowe, as a 
 ballad composer, stands hitherto unrivalled. . . The demands Lowe frequently 
 makes upon the compass and flexibility of the voice, as well as on its powers of 
 endurance, appear by no means inconsiderable, and are probably one of the reasons 
 why — with the exception of some few ballads — scarcely half the treasures he 
 bequeathed us are known to and enjoyed by a very large portion of the public. 
 In two quahties more especially, do Lowe's special labours in the domain of ballad 
 composition strike us as being most effective and significant, and likewise crowned 
 with the happiest success : one is that of the romantic colouring of the North, as it 
 is called, where hobgoblins, elves, and witches form the indispensable background, 
 as in the ballads, " Der Erlkonig," " Held Harold," "Der Todteutanz," "Elver- 
 shoh," "Odins Meeresritt," etc. ; and the other the fact of his giving utterance to 
 the folk's tone, in all its intensity, and his pouring forth from his lips those fervent 
 melodies which are capable of at once awakening the most lively echo in the hearts 
 of those who hear them. This is true more especially of the ballads: "Der 
 Wirthin Tbchterlein," " Graf Eberhard's Weissdorn," " Fredericus Rex," "Archi- 
 bald Douglas," "Henrich der Vogler," etc. Notwithstanding this, however, the 
 composer possesses a rich scale of tones when his tongue overflows with bitter 
 complaint, profound but passionless sorrow, and patient abnegation. For what is 
 highly dramatic, for the incarnation of passion, as it is called, his power of expres- 
 sion, on the other hand, does not appear equally prompt. — Dr. Edward Krause in 
 the Musical World. 
 
 LOWE (Johanna Sophie). German soprano vocalist, B. Oldenburg, 1815. S. 
 at Vienna under Ciccimara. Debut m Donizetti's "Otho," 1832. Appeared 
 
Low — LUL 3^9 
 
 in Berlin, 1836 ; London (Isabella in Bellini's " Straniera "), 1841. Married 
 Prince Lichtenstein and retired, 1848. D. Pesth, Nov. 29, 1866. 
 
 LOWE (Thomas). English tenor singer, B. early in i8th century. DSui 
 Drury Lane Theatre, Sept. 11, 1748. Sang in Arne's "As you like it;" 
 Handel's oratorios, etc. Appeared at Vauxhall, 1745. Manager of Maryle- 
 bone Gardens, 1763-68. Sang at Sadler's Wells, 1784. D. about 1784-5. 
 
 LUARD-SELBY. See Selby. 
 
 LUBECK (Ernst Heinrich). Dutch pianist and comp., B, Hague, Aug. 24, 
 1829. £>Sui as pianist, 1841. Travelled in the United States, Mexico, Peru, 
 etc., 1849-52. Court pianis at the Hague. Played at Philharmonic Society, 
 London, May 7, i860. D. Paris (insane), Sep. 24, 1876. Composed an 
 amount of tarantellas, boleros, polonaises, and other salon pieces for Pf., of a 
 light, brilliant, and clever character. 
 
 LUCAS (Charles). English comp., org., and cond., B. Salisbury, July 28, 
 1808. Chor. Salisbury Cath. under Corfe, 1815-23. Pupil R. A. M. under 
 Lindley and Crotch, 1823-30. Mem. of Queen Adelaide's private band. Cond. 
 R. A. M., 1832. 'Cellist at opera. Org. of Hanover Chap., Regent Street, 
 1839. Principal 'cello at opera. Mem. of firm of Addison, Hollier, and Lucas, 
 music-publishers, 1856-65. Principal R. A. M., 1859-66. D. London, Mar. 
 30, 1869. 
 Works.— The Regicide, opera ; Three symphonies. Anthems : Blessed be the 
 Lord ; Sing, O Heavens ; Hosanna ; O Lord, open Thou ; O God, the strength ; 
 O thou that dwellest. Hail to the new-born spring, glee. Ah, fading joy, madri- 
 gal. Song-s : Clouds from out the sky are driven ; Homeward thoughts ; Poet's 
 consolation. String quartets, unfinished operas, etc, 
 
 LUCAS (George W.) American comp., B. Glastonbury, Conn., April 12, 
 1800. S. under Thomas Hastings. Teacher and lecturer. Member of Bos- 
 ton Handel and Haydn Society. Comp. psalms, and wrote articles on musical 
 subjects. 
 
 LUCAS (STANLEY), WEBER, & Co. English firm of music-publishers, 
 established in London, December, 1872. The principal of this firm, Stanley 
 Lucas, was B. 1834, and is a son of Charles Lucas. He acted as secretary to 
 the Philharmonic Society, 1866-1880, and is still secretary of the Royal Society 
 of Musicians of Great Britain. The firm publish works by most of the eminent 
 modern musicians, and keep a great selection of the best foreign compositions. 
 
 LUCCA (Pauline). Austrian soprano vocalist, B. Vienna, April 26, 1841. S. 
 under Lewy, etc. Chorister in Vienna opera till 1859. Debut as Elvira in 
 " Ernani," Olmiitz, 1859. Sang at Prague. Court singer at Berlin. Debut 
 Covent Garden, London, as Valentin in " Huguenots," Marguerite ("Faust,") 
 and Selika (" L'Africaine "), July, 1863. Sang in London, 1866-7, 1868, 
 1870-72. Married Baron Rahde, 1865. Sang in S. Petersburg, Brussels, 
 Vienna, United States, 1872, etc. 
 
 LUDDEN (William). American writer, author of "Pronouncing Dictionary 
 of Musical Terms," Boston, n.d. ; "School for the Voice," Boston, n.d. ; 
 " Thorough-Bass School," Cincinnati, n. d. ; " School Lyrics," and other col- 
 lections. 
 
 LUKIS (Rev. William C.) English writer, author of " An Account of Church 
 Bells," London 8vo, 1857. 
 
 LULLI (Griovanni Battista), or Lully. Italian comp., B, Florence, 1633. 
 
 Page to Mdlle. de Montpensier, 1644; mem. of her band, Paris. Vnst. in 
 
 King's band ; Cond. of do. Comp. to the French opera, estab. 1669. D. 
 
 Paris, March 22, 1687. 
 
 Wo'RKS.-^Operas: Les F^tes de I'Amour et de Bacchus, 1672 ; Cadmus at Her- 
 
 mione, 1673; Alceste, 1674; Th^see, 1675; Le Carnaval, masquerade, 1675; 
 
 Atys, 1676 ; Isis, 1677 ; Psyche, 1678 ; Bellerophon, 1679 ; Proserpine, 1680 ; Le 
 
 Triomphe de I'Amour (Ballet), 1681 ; Persfee, 1682 ; Phaeton, 1683 ; Amadis de 
 
 Gaule, 1864 ; Roland, 1685 ; Idylle sur la Paix (Divertimento), 1685 ; L'Eglogue 
 
 de Versailles (do.), 1685 ; Le Temple de la Paix (Ballet), 1685 ; Armide et Renaud, 
 
400 L U M — L U N 
 
 1686 ; Acis et Galat^e, 1686. Ballets : Alcidiane, 1658 ; Serse, 1660 ; Ercole- 
 araante, 1661, etc. Te Deum ; church music; instrumental music, etc. 
 
 LuUi is one of the names in musical history more famous in an antiquarian than in 
 a practical aspect. His operas, ballets, etc., are almost completely forgotten, and 
 when any of his music is used it is only by way of illustration to some historical 
 lecture. Lulli was famous in his day in a higher degree than any of his contempo- 
 raries, and his music was in universal repute. He was imitated by many succeeding 
 composers, among others Handel and Purcell, and his influence over several parts 
 of opera was felt to a late period. He introduced the overture, and elevated and 
 strengthened the declamatory portions of the opera. In company with Quinault, 
 the poet, he produced most of his operas ; the general result of their labours, how- 
 ever, being opposite to what is usually the case as regards the longevity of libretto 
 and music : the music being dead and forgotten and the poetry flourishing in 
 a hearty old age. His music is pleasing in melody, but poor in harinony, and, as 
 compared with that of Corelli, Gasparini, Carissimi, and Purcell, lacking in interest 
 and depth. 
 
 LUMBYE (Hans Christian). Danish comp., B. Copenhagen, 1808. Cond. of 
 itinerant orch. Created a Kriegsrath, 1865. D. Copenhagen, March 20, 1874. 
 
 Works. — Die Ilexenflote, opera ; Nebelbilder, phantasie for orch. Dances for 
 orch. : Les Souvenirs de Paris ; Eine Sommernacht in Danemark ; Erinnerungen 
 an Wien ; Corsicaner Galop ; Nordische Studenten ; Amelie ; Tivoli-Bazar ; Leo- 
 poldinen ; etc. Traumbilder, and Der Traum des Savoyarden, phantasies for orch. 
 
 The orchestra founded by H. C. Lumbye is now conducted by his son Georg, and 
 has on the Continent a reputation somewhat similar to that enjoyed by Strauss at 
 Vienna, and Gilmore in the U. S. The waltzes, galops, polkas, marches, etc., of 
 Lumbye are still in vogue, but much of their popularity has sped before the efforts 
 of more modern composers. The total amount of his dances numbers considerably 
 over 400, and are distinguished by fine melody and agreeable harmony. 
 
 LUMLIiY (Benjamin). English writer and operatic manager, B. 1812. 
 
 Brought up to law, and became solicitor, 1832. Manager of Drury Lane 
 
 Theatre, 1841-52 ; closed, 1852-56 ; re-opened 1856-58 with opera. D. 
 
 March 17, 1875. 
 
 Lumley produced a number of operas by Donizetti, Verdi, Costa, Halevy, etc., 
 
 and among the singers who appeared under his management may be named Lind, 
 
 Cruvelli, Johanna Wagner, Piccolomini, Tietjens, Giuglini, Ronconi, etc. He 
 
 wrote a work entitled, "Reminiscences of the Opera," Lond., 1864, with portrait. 
 
 LUNN (Charles). English writer and teacher, B. Birmingham, 5 Jan.. 1838. 
 S. in Italy under Cattaneo, Sangiovanni, and Vizoni, i860. Sang at Worces- 
 ter, Mar. 30, 1864, and Cheltenham, Dec. 1865, with great success. 
 Relinquished public singing for purpose of devoting himself to voice training. 
 Gives " Pupil's Concerts" in Town Hall, Birmingham. 
 Works. — The Philosophy of Voice, various editions. Vox Populi, a Sequel to 
 the Philosophy of Voice, Lond. 1880. The English are not a Musical People, 
 Birmingham [1869]. The Roots of Musical Art, a Catechism for Children, n. d. 
 Vocal Expression, Empirical or Scientific, 8vo, 1878. Conservation and Restora- 
 tion, or the Two Paths; a Lecture on the Management of the Voice, 8vo, 1882. 
 Artistic Voice, 1884. 
 
 LUNN (Henry Charles). English critic, comp. and writer, B. London (?). 
 S. at R. A. M. under C. Potter and C. Lucas. Associate R. A. M.; after- 
 wards a member, and latterly a professor, member of the Committee of 
 Management, and Director. Editor of the Musical Times since 1863. 
 Works. — Musings of a Musician, Popular Sketches illustrative of Musical 
 Matters and Musical People, Lond., l2mo, 1846 (several editions). The Ele- 
 ments of Music Systematically Explained, Lond., 1849. A Descriptive Essay on 
 the patent clavic attachment invented by Robert Brooks, jun., shewing its impor- 
 tance in facilitating performance on the violin, etc., Lond,, 8vo, 1845. Articles in 
 the Musical Times. Compositions for Orch. (MS.) ; Vocal and Pf., published. 
 
LUN — LYS 401 
 
 LUNN (William A. B.) English writer, author of " The Sequential System of 
 Musical Notation," Lond., 4to, 1844. Five editions to 1871. Published under 
 the nom de plume of Arthur Wall bridge. D. London, April 4, 1879. 
 
 LUPO (Thomas). English (? Italian) violinist and comp., flourished in the reign 
 of James I. Comp. masques, anthems, madrigals, songs in contemporary col- 
 lections, and contributed to Leighton's "Teares." 
 
 LUPOT (Nicholas). German violin-maker, B. Stuttgart, 1758. Resided at 
 
 Orleans, 1785-94. Went to Paris, 1794. Violin-maker to Paris Cons. D. 
 
 Paris, 1824. 
 
 Lupot imitated Stradivarius, and produced instruments of the most beautiful 
 
 finish ; model, varnish, and tone being ahke excellent. This maker's instruments 
 
 are valuable. 
 
 LTTSCINIUS (Ottomar). German theoretical writer of the l6th century, B. at 
 Strassburg, 1487. D. there, 1536. Author of " Musurgia seu praxis Musicae. 
 lUius primo quae Instrumentis agitur certa ratio, ab Ottomaro Luscinio Argen- 
 tine duobus Libris absoluta, etc." Strasburg, 1536. 
 
 LUSTIGr (Jacob Wilhelm). German writer, B. Hamburg, Sept. 20, 1706. 
 D. about [i 780J. Wrote methods for various instruments, organ music, harpsi- 
 chord lessons, etc. 
 
 LXJSTNEB (Ignaz Peter). German violinist, B. Poischwiss, Silesia, Dec. 22, 
 1792. D. 1873. Established a violin school at Breslau, and taught there his 
 sons and other musicians. 
 
 LUTHER (Martin). German reformer and musician, B. Eisleben, Nov. 10, 
 1483. D. Feb., 1546. 
 
 Was a composer of several hymn-tunes, one of which, " Eine feste Burg ist unser 
 Gott," is quite well known. Unlike Calvin, and other reformers of severe views, 
 Luther encouraged the psalmody of his period, and gets credit generally for having 
 raised- jts standard. 
 
 LUTZ (Wilhelm Meyer). German comp. and cond., B. Mannerstadt, Kissin- 
 
 gen, 1829. S. at Wiirzburg, and under Eisenhofer, etc. Settled in England, 
 
 1848. Org. S. Chads, Birmingham ; do. S. Ann's, Leeds ; do. S. George's 
 
 Catholic Cath., London. Cond. Surrey Theatre, 1851-55 ; do. Gaiety Theatre, 
 
 1S69-81. 
 
 Works. — Operettas : Faust and Marguerite, 1855 ; Blonde and Brunette, 1862 ; 
 
 Zaida, 1868; Miller of Milburg, 1872; Legend of the Lys, 1873; All in the 
 
 Downs, 1881 ; Knight of the Garler, 1882 ; Posterity, 1884. Heme the Hunter, 
 
 cantata. Numerous songs and Pf. pieces, orchestral music in MS., etc. 
 
 LUX (Friedrich). German org. and comp., B. Ruhla, Nov. 24, 1820. Comp. 
 Das Katchen von Heilbron, 1846 ; Der Schmied von Ruhla ; and Die FUrsten 
 von Athen, 1883, operas ; a symphony, fantasias, fugues, concertos, etc. ior org. 
 
 LVOFF (Alexis Feodorovitch von). Russian violinist and comp., B. Reval, 
 May 25, 1799. General in Russian Army. Director of Music at Imperial 
 Court. D. Kowno, Dec. 28, 1870. 
 Works. — Bianca e Gualtiero, opera, 1845; Ondine, do. ; La Bordeuse, do. ; 
 Concerto for vn. and orch. ; Psalms ; Russian National Anthem, 1833. 
 
 Lvoff was a good violinist, but his fame will rest on his "Russian National 
 Anthem." 
 
 LYONS (James, M.A.), American writer and musician, compiled " Urania, or 
 a Choice Collection of Psalm Tunes, Anthems, and Hymns, from the most 
 approved Authors... To which is prefaced the plainest and most necessary 
 Rules of Psalmody," Philadelphi, 1761. " Lessons for the Uranian Society," 
 Philadelphia, 1785. 
 
 LYSBERG (Charles Samuel), or Bow. Swiss pianist and comp., B. Geneva, 
 March i, 1S21. S. under Chopin at Paris. Resided at Geneva as teacher and 
 comp. D. Geneva, Feb. 18, 1873. 
 Comp. numerous Pf. pieces of a brilliant and clever character. 
 
 B 2 
 
462 L Y S — MAC 
 
 LYSONS (Rev. Daniel). English writer, author of " History of the Origin and 
 Progress of the Meeting of the Three Choirs of Gloucester, Worcester, and 
 Hereford." Gloucester, 8vo, 1812. Second edition continued by John Amott 
 [see that name]. Lend., 8vo, n. d. [1864]. 
 
 M. 
 
 MAAS (Joseph), English tenor vocalist, B. Dartford, Kent, Jan. 30, 1847. 
 Of Dutch descent. Chor. in Rochester Cath. from 1856. S. for a time under 
 Mrs. Galton, eldest sister of Louisa Pyne. Employed in a government situa- 
 tion at Chatham. At instance of Mr. Wood, he went to Milan, where he 
 studied till 1871. Dibut at St. James's Hall, London, 1871. Appeared after- 
 wards in opera at Covent Garden, 1872. Appeared in the United States with 
 Miss Kellogg, and afterwards sang in the Carl Rosa Opera Company in Britain, 
 from 1877. Sang in Paris and Brussels. D. London, Jan. 16, i885. 
 Famed throughout Britain as a concert vocalist. He made many notable appear- 
 ances at the Crystal Palace, London ; at the Birmingham and other Festivals; and 
 at all the principal London concerts. His voice was powerful, of good compass, 
 and he managed it with much ease and feeling. A chief defect was an occasional 
 display of robustness when refinement was looked for. He was one of the most 
 promising of English tenors, and his death was much regretted by the musical pro- 
 fession and public alike. 
 
 MAAS (Louis). German pianist, comp., and teacher, B. Wiesbaden, June 21, 
 1852. Early taken to England by his father, Theodore Maas, teacher of music. 
 Educated at King's College. S. at Leipzig Cons., 1867, under Reinecke, 
 Papperitz, etc, Teacher in KuUak's Cons., 1873-4. Prof, in Leipzig Cons., 
 1875-80. Teacher of Pf., comp., etc., in the New England Cons, of Music, 
 Boston, Mass, 1880. Director of the Philharmonic Concerts, Boston. Fell. 
 American Coll. of Musicians. 
 Well known as a pianist of great ability, and a comp. of symphonies, overtures, 
 
 concertos, Pf. music, string quartets, songs, etc. 
 
 M'ALLISTER (Robert). Scottish musician and teacher of singing in Glasgow, 
 B. Glasgow, Feb., 1822. Author of " The Art of Singing at Sight SimpHfied," 
 1844 ; " The Art of Singing at Sight ; or, a Complete Theoretical and Prac- 
 tical Vocal Music Instruction Book," etc. Glasgow, 1848, 8vo. " Easy In- 
 troduction to the Key-Board of the Pianoforte or Harmonium." Inventor of 
 the Tonic Sliding Scale or Musical Ladder ; InitiaPNote Notation ; Stave Sol- 
 fa Notation, etc. 
 
 MACBETH (Allan). Scottish comp., pianist, and cond,, B. Greenock, March 
 13, 1856. Educated in Germany, 1869-71. S. music under Mr. Robert 
 Davidson, and Herr Otto Schweitzer, Edinr., 1871. Org. and choirmaster in 
 Albany Street Congregational Chap., Edin., 1874. S. at Leipzig Cons, under 
 Richter, Reinecke, Jadassohn, 1875-76. Returned to Edin., 1877. Cond. of 
 Glasgow Choral Union, Sept., 1880. Cond. Greenock Select Choir, 1881. 
 Org. and choirmaster Woodside Established Ch., 1882 ; St. George's in the 
 Fields, 1884. Cond. of Glasgow Kyrle Choir. 
 Works. — Operetta (MS.), "The Duke's Doctor;'' "In Memoriam," orchestral 
 piece ; Trio for Pf. , vn. , and 'cello ; Suite of pieces for 'cello and Pf. ; Intermezzo 
 for orch., "Forget-me-not" (Glasgow Choral Union Concerts, 1883); Serenata 
 for orch., 1884 ; Danse Pizzicati, orch.; Ballet de la cour, orch. Pianoforte Works: 
 Marche Festale (duet) ; Pleasing Moments ; Danse Allemande ; Recollection ; Ber- 
 ceuse ; Humoreske ; Marche Ancienne ; Mazurka ; Scherzino. Vocal Music : In 
 the mellow Autumn sunshine ; The steersman's song ; The light that lies in my 
 love's eyes ; Near thee, still near thee ; Come, fill me a brimming bowl ; Love's 
 Parting ; Queen Dagmar's Cross ; Jeanette ; The Waif; Arrangements of Scotch 
 Songs for 4 voices, etc. 
 
MAC — mAc 4<^3 
 
 MACDONALD (Alexander). Scottish writer. Was joint music-master with 
 Archibald Macdonald of George Heriot's Hospital, Edinburgh, 1807-10. 
 Author of " The Notation o{ Music Simplified, or the Development of a 
 System in which the Characters employed in the Notation of Language are 
 applied to the Notation of Music," Glasgow, 1826; "A New Collection of 
 Vocal Music containing Church Tunes, Anlhems, and Songs, for the Use of 
 the Several Hospitals of this City," Edin., 1807. 
 
 MACDONALD (Donald). Scottish musician and writer, flourished at end of 
 i8th and beginning of 19th centuries. Published "Collection of the Ancient 
 Martial Music of Caledonia, called Piobaireachd, as performed on the Great 
 Highland Bagpipe, adapted to the Pianoforte and Violoncello, with some old 
 Highland Lilts, etc. " Edin. , n. d. , folio. A tutor for the Bagpipe is included 
 in this work. 
 
 MACDONALD (John Denis). Scottish writer, author of "Sound and 
 Colour: their Relations, Analogies, and Harmonies." Lond., 8vo, 1869. 
 
 MACDONALD (Lieutenant-Col. John, F.R.S.). Scottish musician and 
 writer, B. Kingsbury, New York, 1759. Son of Flora Macdonald, the Scottish 
 Heroine. D. Exeter, Aug. 16, 1831. He published a number of works on 
 military tactics, telegraphy, and a "Treatise Explanatory of the Principles 
 Constituting the Practice and Theory of the Violoncello. " Fo., i8ll. Also a 
 " Treatise on the Harmonic System, arising from the Vibrations of the aliquot 
 divisions of strings." Fo., 1822. 
 
 MACDONALD (Patrick). Scottish musician and clergyman, B. April 22, 1729. 
 S. Aberdeen University. Licensed as minister, 1756. Presented to the living 
 of Kilmore, 1756. D. Sept. 25, 1824. With the assistance of Joseph 
 Macdonald he compiled "A Collection of Highland Vocal Airs, never hitherto 
 published, to which are added a few of the most lively Country Dances, or 
 Reels, of the North Highlands and Western Isles ; and some specimens of 
 Bagpipe Music," Edin., 1781. 
 " His knowledge of music was profound ; and he was not only an original com- 
 poser, but used various instruments with an affect at once eminently skilful and 
 highly characteristic." — Fasii Ecclesiae Scoticanae. 
 
 MACE (Thomas). English writer and musician, B. 1613. Clerk of Trinity 
 Coll., Camb. Married, 1636. D. after [1690]. 
 
 Works. — Musick's Monument ; or, a Remembrancer of the Best Practica 
 Musick, both Divine and Civil, that has ever been known to have been in the 
 World. Divided into Three Parts. The first part shows a necessity of Singing 
 Psalms well in Parochial Churches, or not to sing at all. ..The Second Part treats of 
 the Noble Lute (the Best of Instruments). In the Third Part, the generous Viol 
 in its Rightest use, is treated upon. Lond., fo., 1676 [portrait]. 
 
 In the foregoing extremely quaint production, the author makes use of many 
 remarks on psalmody, composition, etc., at once amusing and instructive. Mace 
 invented a Dyphone or Double Lute of 50 strings, and a table-organ. 
 
 M'FADYEN (Joseph). Scottish music-seller in Glasgow in early part of pre- 
 sent century. Published collections entitled The Repository of Scots and 
 Irish Airs, Strathspeys, Reels, etc. ; Miscellaneous Collection of the best 
 English and Irish Songs, Glasgow, 8vo, n.d. ; Selection of Scotch, English, 
 Irish, and Foreign Airs, adapted for the Fife, Violin, or German Flute. 6 vols, 
 ob. 8vo, n.d., etc. He kept a musical circulating library in Glasgow. 
 
 MACFARLANE (George). Scottish band-master and writer, was a mem- 
 ber of the late Duke of Devonshire's private band. Author of "Cornopeon 
 Instructor, containing the elementary Principles of Music, together with Exer- 
 cises, Preludes, Airs, and Duetts in every key in which the Instrument is play- 
 able with effect," Lond., fo., n.d. 
 
 MACFABLANE (John Beid). Scottish comp., B. 1800. Precentor for a time 
 in the Outer High Church, Glasgow. D. London, June 10, 1841. Comp. a 
 number of glees, psalm tunes, etc. Brother of Thomas Macfarlane noted below. 
 
404 MAC — MAC 
 
 He edited " Harmonia Sacra, a Selection of Sacred Music, Ancient and 
 Modern, in four parts," Glasgow, n.d. 
 
 MACFABiLANE (Thomas). Scottish org. and comp., B. Horsham, Sussex, 
 1809. Son of Duncan Macfarlane, a fine bass singer, who played the French 
 horn in the Ayrshire Militia. Pupil of Andrew Thomson, music-teacher, Glas- 
 gow, and afterwards S. under J. B. Cramer, Herz, and Bergotti ; ' and singing 
 under M. Garcia. Org. of Old Episcopal Chap., Glasgow, 1826, where he 
 remained five or six years. Org. of S. Jude's Episcopal Church till about 1857. 
 Precentor of Park Church, 1859-1866. Removed to London, 1869-70. Har- 
 moniumist in Camden Road Presbyterian Ch., 1871-1882 ; and cond. of 
 Camden Road Choral Soc. for a time. Retired from all professional work, 
 1882. He compiled Congregational Psalmody of St. Jude's Ch., Glasgow, 
 n. d. ; Selection of Sacred Music, containing a Selection of Psalm and 
 Hymn Tunes, Chaunts, Te Deums, etc. ; Park Church Psalmody, Glasgow, 
 4to, i860; The Chorale and Supplementary Psalmody, a Selection of Ancient 
 German and other Chorales. ..Glas., n.d. ; The Scripture Chant Book. ..the 
 Psalms of David, with other portions of Holy Scripture, pointed for Chanting, 
 etc.... Glasgow, n.d. ; Songs in "Lyric Gems of Scotland," etc. 
 
 MACFARREN (George). English play-wright, B. London, Sept. 5, 1788. D. 
 Lend., April 24, 1843. Was successively director of Queen's Theatre, Totten- 
 ham St., 1831-32, and Strand Theatre, London. Was a, critic, and wrote 
 numerous farces and dramatic pieces, including the librettos of his son's 
 "Devil's Opera" and "Don Quixote." 
 
 MACFARREN (Sir George Alexander). English comp., professor, and 
 
 writer, B. London, March 2, 1813. S. under his ^ther ; also under C. Lucas, 
 1827; and C. Potter at R. A. M., 1829. Prof, at R. A. M., 1834; Prof, 
 music Cambridge University, March 16, 1875. Bac. Mus., Cantab., April, 
 1876; Doc. Mus., do., April, 1876. Principal of R. A. M., 1876. Knighted, 
 1883. 
 
 VfoKK.s.— Operas: The Devil's Opera, 2 acts, Aug. 13, 1838 (Eng. Opera Ho.( 
 Don Quixote, 1846 (Drury Lane); King Charles IL, by D. Ryan, Oct. 27, 1849 
 (Princess Theatre) ; The Sleeper Awakened, by J. Oxenford, 1850 ; Robin Hood, 
 by J. Oxenford, i860; Jenny Lea, 1863; She Stoops to Conquer, 1864; The 
 Soldier's Legacy, 1864; Helvellyn (Oxenford) 1864; Outward Bound; The 
 Prince of Modena (MS.); Caractacus (MS.); El Malhechor (MS.); Allan 
 of Aberfeldy (MS.). Oratorios: St. John the Baptist, Oct. 23, 1873, Bristol 
 Festival ; The Resurrection, 1876, Birmingham Festival ; Joseph, 1877, 
 Leeds Festival; King David, 1883; Editions of Handel's "Judas Macca- 
 beus ;'' Jephtha ; Belshazzar, etc. Cantatas: Leonore, by J. Oxenford, 1852; 
 May Day, by J. Oxenford, 1857; Christmas, by J. Oxenford, Feb., i860; 
 Freya's Gift, masque, 1863 ; Lady of the Lake (from Scott), cantata, Glasgow 
 Musical Festival, Nov. 15, 1877 ; Songs in a Cornfield, 1868. Orchestral 
 Works: Symphonies, No. i, 1828; No. 2, ; No. 3, in A minor; No. 4, in F 
 
 minor, 1834 ; No. 5, in B flat ; No. 6, in C sharp minor ; No. 7, in D. Overtures : 
 Chevy Chase, 1836 ; Merchant of Venice ; Romeo and Juliet ; Hamlet ; Don 
 Carlos ; Midsummer Night's Dream ; Overture in E flat, etc. Chamber Music : 
 Quartet for Pf. and strings, G minor ; Trio, do., E minor ; Four string quartets, 2 
 G min., i A, I F ; Concerto for Pf. and orch., in F min. ; Sonatas for Pf., in E flat 
 and A. Church Music : Services in E flat; G (unison) ; Cantate Domino, etc. 
 Anthems : A day in Thy courts ; God said. Behold I have given you every herb ; 
 Hosannah to the Son of David ; O Holy Ghost ; O Lord, how manifold ; The 
 Lord hath been mindful of us ; The Lord is my shepherd ; We give Thee thanks ; 
 We wait for Thy loving kindness ; Wherewithal shall a young man ; While all 
 things were in quiet silence ; Seven Two-part Anthems for small choirs ; Fifty-two 
 Introits, or Short Anthems, for Holy Days and Seasons of the Church ; The Lord 
 is King, etc. Vocal Music, Secular, Concerted: Shakespere's Songs, for 4 voices, 
 1860-4 ; Moore's Irish Melodies ; Six Convivial Glees, 3 voices, 1836 ; Adieu, 
 love, adieu ; All is still ; Alton Locke's song ; At first the mountain rill ; Break, 
 break, on thy cold grey stones ; Bright Tulips ; The Bellman ; Christmas ; Fear no 
 more ; Gather ye rosebuds ; I could wish you, all who love ; In a drear-nighted 
 December ; Lads and Lasses hasten all ; Orpheus with his lute ; The Primrose ; 
 
MAC — MAC 405 
 
 Robin Goodfellow ; Sing, heigh ho j Song of the railroads ; The cuclcoo sings in 
 the poplar tree ; The hunt's up ; The last wild rose ; The Sands of Dee ; The 
 Starling; The Three Fishers ; Weighing anchor ; Cricketer's song ; The Mahogany 
 tree ; Harvest Home ; The wood, the gay green wood ; Now the sun has mounted 
 high; May the saints protect and guide thee ; A maiden I love dearly, etc., etc. 
 Songs, Ballads, etc. : A dream of the past ; As mings of countless treasure ; Be 
 still, sad heart ; Bessie ; Charming little Alice ; Farewell ! if ever fondest prayer ; 
 Heart, my heart ; I arise from dreams of thee ; Music when soft voices die ; 
 Nobody's nigh to hear ; O world ! O life ! O time ; Oh ! maiden, ungrateful ; 
 Summer, thou art sad and drear ; The Village Bride ; 'Tis sad to walk alone ; 
 Waiting at the ferry ; Wear this flower ; A lost chord ; Mountaineer's Wife ; Three 
 roses ; Bonnie Mary ; Oh I hear ye sing ; The Sea King's daughter ; I weep alone ; 
 Sombody ; Thoughts of youth ; My faint spirit ; Aniid the new mown hay ; Breathe 
 again that song of sadness ; Derwentwater ; Farewell to the woodland ; Green lanes 
 of England ; Light of our love ; Love me in the spring time ; Adieu for evermore ; 
 A morn of May ; Carno's vale ; Fading leaves ; Flowers are in the fields again ; 
 Footsteps of angels ; I'm true to thee ; Late, so late ; Laura ; When I remember ; 
 Songs of Scotland, edited ; Songs of England, edited (Chappell) ; British Vocal 
 Album ; Poems from Lane's Arabian Nights, etc. ; Sonatas etc., for organ, and 
 miscellaneous Pf. music. LiUrary Works : Rudiments of Harmony, with Progres- 
 sive Exercises, Lond. , i860 (other editions) ; Six Lectures on Harmony, delivered 
 at the Royal Institution of Great Britain, Lond., 8vo, 1867 (2nd edition, 1877) ; 
 On the Structure of a Sonata, Lond., 1871 ; Eighty Musical Sentences to illustrate 
 Chromatic Chords, Lond., 8vo, 1875 ; Counterpoint, a Practical Course of Study, 
 Lond., 4to, 1879; Musical History briefly Narrated and Technically Discussed, 
 Lond., 8vo, 1885 [from the "Encyclopaedia Britannica," 9th edit.]; Analyses of 
 works by Beethoven, Costa, Handel, Haydn, Mendelssohn, Mozart, etc. ; Articles 
 in musical periodicals on National Music, etc. ; Addresses and Lectures delivered 
 at R. A. M., etc. ; Articles on Musical Biography in Imperial Dictionary of 
 Biography ; Grove's Dictionary of Music, etc . 
 
 Sir George A. Macfarren has long been a prominent figure in the musical history 
 of Britain ; and probably no musician connected with the country ever exerted such 
 great influence for good. By precept and example both he has endeavoured to 
 raise the musical culture of the nation to a higher standard than it ever before 
 reached ; and it is due in a high measure to his endeavours that so much real good 
 has been effected. An active interest in musical concerns is now showing all over 
 the nation, and between the influence of the Royal Academy of Music, and the per- 
 sonal endeavours of its principal, there is no reason to suppose that the British may 
 not claim in time to be the most musical nation in the world. 
 
 As a composer Sir George Macfarren stands among the first of living musicians, 
 both by reason of his science and genius. His operatic works are not now per- 
 formed, for reasons no doubt connected with the questions of copyright and the 
 lack of enterprise ; but they are undeniably compositions of great dramatic power 
 and undoubted worth. Their success when produced sufficiently indicates this. 
 He has been most successful with his oratorios and cantatas among his larger works, 
 and their popularity remains a most pleasing tribute to their worth. His part-songs, 
 anthems, and other vocal works are constantly being performed, and their universal 
 use is but another indication of their merit. Among his prose works his "Harmony'' 
 has been most successful, and is now used as a text-book wherever music is taught. 
 His other writings possess high didactic value, and are recognised as valuable and 
 enduring contributions to the English literature of music. In every respect there 
 has never been a musician who has so ably and satisfactorily led the march of 
 Britisti musical progress, or so much graced the Royal Academy of Music with such 
 a capital union of scholarship, tact, and literary ability. 
 
 MACFARREN (Natalia), «/« Novello. English vocalist and teacher, wife of 
 the foregoing, has translated a number of opera hbretti, and written a Vocsil 
 School, and an " Elementary Course of Vocalising and Pronouncing the Eng- 
 lish Language," Lond., fo., n.d. 
 
 MACFARREN (Walter Cecil). English comp., pianist, lecturer and teacher, 
 brother of Sir George, B. London, Aug. 28, 1826. Chor. Westminster Abbey, 
 under J. Turle, 1836-41. S. at R, A- M. und?r Holmes, Potter, and his 
 
406 MAC — MAC 
 
 brother. Prof, at Academy, 1846; Cond. of Acad. Concerts, 1873. Director 
 
 of Philharmonic Soc, 1868; Treasurer, do, 1876. 
 Works.— Symphony in B flat. Overtures: A Winter's Tale; Beppo ; Hero 
 and Leander ; Pastoral; Henry the Fifth. ConcertstUck for Pf. and orch. Service 
 in C, for Parish Choirs ; Evening Service ; Praise ye the Lord, anthem. Part- 
 Songs : Song of the Sunbeam, cantata for female voices ; Daybreak ; An Emigrant's 
 song ; Autumn ; Cradle song ; Dainty love ; Go, pretty birds ; Good night, good 
 rest ; Harvest song ; Hence, all yon vain delights ; Highland wht song ; Lover's 
 parting ; Love's heigh ho ; More life ; Morning song ; Night, sable goddess ; O 
 gentle summer rain ; O lady, leave thy silken thread ; Sea song ; Shepherds all ; 
 Shortest and longest ; Spring ; Summer viJith your genial noons; Swallow, swallow, 
 hither wing ; Sweet content ; The Curfew bell ; Up the airy mountain ; The 
 Warrior ; Up, up ye dames ; Windlass song ; You stole my love, etc. Songs : Six 
 Sacred songs ; A widow bird sat mourning ; O were my Love ; While my lady 
 sleepeth ; Ne'er to meet again ; Welcome Spring ; Awake, O heart ; The Linnet ; 
 Sail swiftly, O my soul; The Willow. tree, etc. Pianoforte Music: 3 Sonatas; 
 Suite de pieces (5 dances) ; First Menuetto; Rondino Grazioso; Toccata; Autumn 
 song ; Capriccio brillante ; First and second polonaises ; Reveries ; Galops de 
 concert ; Nocturnes ; Marche de concert ; Impromptus ; Mazurkas ; Saltarella ; 
 Serenade ; Pastorale ; 14 Tarantellas ; Scherzos ; 5 Gavottes ; 4 Bourses ; Bar- 
 carolles ; Valses ; 3 Berceuses ; 3 Caprices ; Album Leaves. Editions of classical 
 works. 
 
 Mr. Macfarren, though perhaps best known as a successful teacher and conductor, 
 is nevertheless a composer of high merit. His part-songs and Pf. music show that 
 he possesses a most graceful faculty for composition. 
 
 McGIBBON (William). Scottish violinist and comp., B. about beginning of 
 the i8th century. S. vn. under Corbet of London. Leader of Gentlemen's 
 Concerts at Edinburgh. D. Edinburgh, Oct. 3, 1756. 
 Works.— Six Sonatos or Solos for a German Flute or Violin, Edin., 1740 ; A 
 
 Collection of Scots Tunes, some with variations for a violin, hautbois, or German 
 
 flute, with a bass for a Violoncello or Harpsichord — Book I, 1742 ; Book 2, 1746 ; 
 
 Book 3, 1755. Original dances, and some flute music. 
 
 M'GLASHAN (Alexander). Scottish violinist, flourished in Edinburgh about 
 the end of last century. Was leader of a fashionable band. He published "A 
 Collection of Strathspey Reels, with a Bass for the Violoncello or Harpsichord," 
 1778 ; A Collection of Scots Measures, Hornpipes, Jigs, Allemands, Cotillons, 
 and the fashionable Country Dances, with the bass for the Violoncello or Harp- 
 sichord, Edin., 4to [1778]. 
 
 MACGrUCKIN (Barton). Irish tenor vocalist of the present time. Has sung 
 at most of the principal concerts throughout Britain, and is a member of the 
 Carl Rosa Opera Company. He has a light tenor voice of moderate capacity, 
 admirably adapted for ballad singing, but in a measure unsuited for the heavy 
 dramatic music which he occasionally essays. 
 
 MACHABDY (James M.) Scottish teacher, author of "The Rudiments of 
 Music, as it ought to be studied, vocal and instrumental," 8vo, n.d., 32 pp. 
 
 MACHAEDY (Robert). Scottish comp. and teacher, B. Edinburgh, Sept. 10, 
 1848. Has composed "'The Woodland Witch," a Dramatic Cantata; "Hymn 
 of the Seasons," Cantatina ; Some songs and Pf. pieces ; and edited for some 
 time "The Scottish Musical Times," now defunct. Author of "Progressive 
 Pianoforte Playing," n. d. ; "Progressive Sight-Singing," n. d. 
 
 MACIRONE (Clara Angela). English comp. and teacher, B. London, 18211 
 of an ancient Roman family. S. under C. Potter and C. Lucas at R. A. M- 
 Prof at R. A. M., and Associate of Philharmonic Society. Head Music 
 Mistress, Aske's School for Girls, Hatcham. Head Music Mistress Church of 
 England High School for Girls, Baker St., Lond., n.w. 
 Works. — Part-Songs: Autolycus Song; Cavalier's Song ; Cavalry Song; Foot- 
 steps of Angels ; Good morrow to my lady bright ; Humptie dumptie ; Jack and 
 Gill (for female voices) ; Jog on, jog on, the footpath way ; Old Daddy long legs ; 
 Ragged and torn and true ; Sir Knight, Sir Knight ; Spring Song ; The Battle of 
 
MAC — MAC 407 
 
 the Baltic ; The sun shines fair on Carlisle wall ; The wounded Cupid ; The soldier's 
 dream ; Woman's smile ; Who is Sylvia ? Trios for Female Voices : When the 
 dawn of the morning ("The Cavalier"); The Farewell. Songs: An hour with 
 thee ; Daisy's Song ; Dreams ; Good morrow to my lady bright ; Lay of the Trou- 
 badour ; My child ; Song over a child ; The Recall ; Take, O, Take ; The country 
 lassie ; The song of the lily ; The Cavalier's song ; The Lady's bird song ; Aspettar 
 e nou venire ; Jeanie ; The Rose-a-Lyndsaye ; Henri de Lagadire ; Sweet and low ; 
 O, hush thee my babie. Duets : Hear me (sacred duet); Give place ye lovers (duet 
 and canon) ; Love having once flown; Italian Quartett — " O, Musa." Sacred Airs : 
 Benedictus ; Help me, O Lord ; Pianoforte Duett — Recollections of Fra Diavolo. 
 Pianoforte Pieces : Sketches for the Pianoforte — Summer Serenade ; Zwei clavier 
 sitlcke ; Cantilena. Unpublished Works: Te Deum ; Anthems ; Pf. duet; Pf. and 
 violin duet ; Pf., violin, and 'cello trio ; Larger incomplete works. 
 
 Miss Macirone is one of the best known among British lady composers, and the 
 merit of her works gives her a high place. She is chiefly known, however, by her 
 part-songs, which have been sung by 3000 voices at the Crystal Palace and Exeter 
 Hall by HuUah's Choir, Henry Leslie's choir, etc. ; and her songs, which have been 
 sung by Madam Clara Novello, Madam Sainton-Dolby, Herr Pischek, Mr. Santley, 
 etc. She has formulated and put in practice an original system of teaching large 
 numbers of pupils, and the success of her method has been endorsed by such author- 
 ities as Sir G. A. Macfarren, J. Barnby, and W. Macfarren. She has published 
 many more songs and part-songs than are noticed above. 
 
 MACKAY (Angus). Scottish collector, published "A Collection of Ancient 
 Piobaireachd, or Highland Pipe Music. ..To which are prefixed some sketches 
 of the principal hereditary pipers and their establishments." Edin., fo., 1838. 
 
 MACEAY (Charles, LL.D.). Scottish poet and writer, B. Perth, 1814- 
 Author of numerous historical and general works, but best known as the author 
 of a number of l5T:ics, which, set to music by Henry Russell, Bishop, and 
 others, were known all over the English-speaking world. He wrote an intro- 
 duction to Boosey's Collection of Scottish Songs, and has composed a few 
 pieces of music himself The vigorous and healthy tone of his lyrics has made 
 them famous all through Britain and America, and it is only necessary to men- 
 tion "Cheer, boys, cheer," "To the West, to the West," "The good time 
 coming," and "Tubal Cain," to recall a host of others. 
 
 MACKAY (William). Scottish musician, author of "The Complete Tutor 
 for the Great Highland Bagpipe." Edin., 8vo, 1840. 
 
 ICACEENZIE (John). Son of a member of the band of the Forfarshire Militia, 
 B. Durham, 1797. Vnst. and teacher in Aberdeen, and leader in Theatre 
 Royal there. Left Aberdeen for Edinburgh, at request of James Ducro w, 1 83 1 . 
 D. Edinburgh, 1852. 
 
 MACKENZIE (Alexander). Scottish violinist and comp., son of the above, 
 B. Montrose, 1819. Went to Edinr. with his father, 1831. Entered Theatre 
 Royal orch. under Dewar. S. under Sainton at London, and also at Dresden 
 under Lipinski. Leader of orch. in Theatre Royal, Edinburgh, under successive 
 managements of Murray, Glover, and Wyndham. D. Edinburgh, 1857. 
 Works.— Dance Music of Scotland, Edin., n. d.; Six Scotch Airs for Violin ; 
 
 One Hundred Scotch Airs for Violin. Songs : Grey hill plaid ; Nameless lassie ; 
 
 Linton Lowrie. , 
 
 Mackenzie was a very excellent violinist, and became widely known m his own 
 
 country for his exceptionally tender renderings of Scottish melodies. He did 
 
 much to assist and foster the cultivation of classical music in Scotland. His dance 
 
 music collection is one of the best among more modern productions, and some of 
 
 his songs are included in the national anthology. 
 
 MACKENZIE (Alexander Campbell). Scottish comp and vnst., B. Edin- 
 burgh, 1847. S. under his father, and in Germany at Schwarzburg-Sonders- 
 hausen under W. Ulrich and E. Stein, 1857. Vnst. in Ducal orch., 1861. 
 S. violin under Sainton in London, 1862. King's scholar of R. A. M., 1S62. 
 Resided in Edinburgh as teacher, conductor in S. George s Church, etc., I}ib$. 
 Resided on Continent from 1879. 
 
408 MAC — MAC 
 
 Works. — Seven part-songs for mixed voices, op. 8 ; Rustic Scenes, 4 Pf. pieces, 
 ■op. 9 ; Larghetto and Allegretto.for violoncello, op. 10 ; Pianoforte Quartet in E 
 flat (Leipzig), op. 11; Two Songs, op. 12; Five Pieces for Pf., op. 13; Drei 
 Lieder von H. Heine (Leipzig), op. 14 ; Trois Morceaux pour Pf., op. 15 ; Three 
 songs by L. Robertson, op. 16 ; Three songs by Christina Rossetti, op. 17 ; Three 
 anthems, op. 19 ; Six compositions for Pf., op. 20 ; Rhapsodic Ecossaise (No. l), 
 for orch., op. zi ; Three vocal trios (E. Oxenford), op. 22 ; In the Scottish High- 
 lauds, three Pf. pieces, op. 23 ; Burns : Rhapsodie Ecossaise (No. 2), for orch., op. 
 24 ; The Bride : Cantata for soli, chorus, and orch. , op. 25 ; Jason : Dramatic 
 Cantata, Bristol Festival, 1882 ; Colomba, Lyrical Drama by F. Hueffer, London, 
 Drury Lane, April 9, 1883 ; The Rose of Sharon, oratorio, Norwich, 1884 ; Vocal 
 Melodies of Scotland, arranged for the Pf.; Overture for orch. , "Cervantes" (MS).; 
 Scherzo for orch. (MS.); Overture to a Comedy, for .orch. (MS.); "Tempo di 
 Ballo," overture for orcih. (MS.) ; Concerto for violin and orch., 1885. " Guillaume 
 de Cabestant," opera. Part-songs, songs, organ music, etc. 
 
 The works of Mr. Mackenzie have at all times been regarded with a great 
 measure of favour, and on the production of "Jason," and latterly " Colomba," and 
 the "Rose of Sharon," he at once took a place as a composer in the first rank 
 among his British contemporaries. The level which his dramatic work " Colomba" 
 may in the future be assigned it is impossible to anticipate, but the immediate 
 favour which it attained is a moderately good augury that its merits will not be 
 overlooked in time to come. With little if any help from the libretto, he has con- 
 trived to illustrate in a powerful and brilliant manner the compact dramatic story 
 of Prosper Merim^e. Mr. Mackenzie has shown himself possessed of a singularly 
 powerful and facile vein of dramatic ideas, and in "Jason," the Rhapsodies, and 
 "Colomba," and " Rose of Sharon," has shown himself the equal of any living 
 British composer, 
 
 M'KENZIE (Marian). English contralto vocalist of present time. B. Ply- 
 moulh. Gained Perepa-Rosa Scholarship at R.A.M., 1878, and S. under 
 Randegger. She has sung at most of the English provincial festivals, in Scot- 
 land, and in London. 
 
 MACEESON (Charles). English writer, compiler of "Guide to the Churches 
 of London and its Suburbs," n.d. Contains notices of musical service, organs, 
 etc. Also, biographical sketches of musicians in the " Choir," etc. 
 
 MACEINLAY (Thomas). Scottish music publisher, compiled "A Catalogue 
 of Original Letters and Manuscripts in the Autograph of Distinguished Musi- 
 cians, Composers, Performers, and Vocalists," Lond., 8vo, 1846. 
 
 MACKINTOSH (James). Scottish musician, author of "The Musicmaster 
 for Schools and Families," Lond., 4to, 1862. 
 
 MACKINTOSH (John). Scottish bassoon player, B. 1767. Played in princi- 
 pal orchestras between 1821-1835. D. 1840. Famous as one of the finest 
 performers of his day, and celebrated all over Europe for the excellent tone 
 and style of his playing. 
 
 MACKINTOSH (Robert). Scottish comp. and violinist, B. about middle of 
 i8th century. Teacher in London. D. London, Feb., 1807. 
 
 Works. — Op. i. Airs, Minuetts, Gavotts, and Reels, mostly for two Violins, 
 and a Bass for the Violoncello or Harpsichord, n.d.; op. 2. Sixty-eight new Reels, 
 Strathspeys, and Quick Steps ; also, some slow pieces, with variations for the 
 VioUn or Pianoforte, with a Bass for the Violoncello or Harpsichord, 1793 ; 2nd 
 Book, 1793.; 3rd Book, 1793 ; 4th Book of Reels, n.d. 
 
 This composer was well known in his time as Red Rob Mackintosh. He was a 
 good performer, and wrote the song "A cogie of ale and a pickle ait-meal." 
 
 M'LACHLAN (John). Scottish musician, writer of The Precentor, with a 
 choice Collection of Psalm Tunes, Glas., 8vo, 1776 (with Finlay) ; The Pre- 
 centor, or an Easy Introduction to Church Music, Glas., i2mo, 1779; another 
 edition, Glas., 1782. 
 
 MACLEAN (Charles Donald). Scottish (?) org. and comp. B. March 27, 
 1843. S. under F. Hiller at Cologne. Mus. Bac, Oxon, i860. Org. Exeter 
 
MAC — MAC 
 
 409 
 
 Coll., Oxford, 1863. Mus. Doc, Oxen, 1865. Org. and Music-director at 
 Eton., 1872. 
 
 Works.— Noah, dramatic oratorio, 1865 ; Two Pastorales for Pf., op. 2 ; Suite 
 de Pieces, Prelude, Saltarello, Bourse, Passepied, Valse, op. 3 ; Scherzo Album, 
 Pf., op. 4 ; Three Songs ; I think of Thee, song ; Homage to Beauty ; Six Love 
 Songs. 
 
 MACLEAN (William). Scottish poet and amateur musician, B. Glasgow, 
 March 22, 1805. Educated at Glasgow University. Manufacturer and 
 merchant in Glasgow, J. P. for Counties of Renfrew and Lanark, etc. 
 Published "Maclean's Sacred Music, arranged for Four Voices, with Organ or 
 Pianoforte Accompaniment," London, 2 parts 4to, 1854-5. Also comp. of a 
 large volume of " Sacred Melodies " in manuscript, now deposited in the 
 Mitchell Library, Glasgow. 
 
 MACLEOD (Captain Neil). Scottish collector, published a Collection of 
 Piobaireachd or Pipe Tunes, as verbally taught by the M'Crummin Pipers in 
 the Isle of Skye, to their Apprentices, Edin., 1828, 8vo. 
 
 MACLEOD (Peter). Scottish amateur comp., son of James Macleod of Pol- 
 beth. West Calder, Midlothian. B. May 8, 1797. Well known in Edinburgh 
 musical and other circles during his lifetime. He associated with the leading 
 men of the time, and was an early friend of R. A. Smith, the composer. With 
 the profits of the work named second below he completed the Burns Monu- 
 ment at Edinburgh by enclosing it within an iron rail. lie was a Justice of 
 the Peace for Midlothian, and succeeded to the property of Polbeth. D. 
 Bonnington, near Edinburgh, Feb. 10, 1859, and is buried in Rosebank 
 Cemetery there. 
 
 Works. — Original Melodies, consisting of Songs, Duets, and Glees, the sym- 
 phonies and accompaniments by Mr. Mather, the poetry written expressly for this 
 work, Edin., fo. [1828]; Original Scottish Melodies, Edin., n.d., dedicated to the 
 Duchess of Buccleuch ; Original National Melodies of Scotland, Lond. and Edin., 
 8vo [1838], dedicated to Queen Victoria. Among Macleod's best-known songs 
 may be named "Scotland yet," " My bonnie wife,^' "Oh, why left I my hame," 
 "Ours is the land o' gallant hearts," "Dowie dens o' Yarrow," " Yellow locks o' 
 Charlie," " Land o' cakes, " "Emigrant's complaint," " My Highland vale," "I 
 had a hame " " More dear art thou to me," "I have loved thee only," "Flora's 
 lament, " and many others, chiefly to verses of good poets. 
 
 MACMURDIE (Joseph). English comp. and writer, B. London, 1792. Mus. 
 
 Bac, Oxon., 1814. Director of Philharmonic Soc. D. Merton„Surrey, Dec. 
 
 23, 1878. 
 Works. — Glees, Canons, etc., Lond., 1828, 1836, 1840, etc.; Trios for Female 
 Voices, 1859; Glees, etc., Lond. [1824]; Arrangements for Pf. ; Sacred Music, a 
 Collection of Tunes adapted to the new Version of Psalms, as sung at the Philan- 
 thropic Society's Chapel, Lond., 8vo, 1827 ; The Elements of Music, with the Art 
 of Playing from a Figured Bass, and an introduction to Composition, Lond., n.d.; 
 A Juvenile Preceptor for the Pianoforte, Lond., 1828; A Collection of Psalm and 
 Hymn Tunes, Lond., 4to, n.d.; De Profundis Clamavi, motet; Ode to Spring, 
 glee ; etc. 
 
 M'NABB (Hugh). Scottish writer and cond., author of " Morley's New Singing 
 Tutor," Lond,, 1883. He is cond. of the Ayr Choral Union, and of a vocal 
 association in connection with the ist Lanarkshire Rifle Volunteers. 
 
 M'NAUGHT (William Gray). English musician and teacher, B. London, 
 March 30, 1849. S- at R. A. M., 1871. Associate R. A. M.. 1878. Has 
 translated a number of musical classics from the Standard into the Tonic Sol-fa 
 Notation. Assistant Inspector of Music for Education Department. Cond. Boys 
 and Bromley Institute Choir. 
 
 MACFHEESON (D.) Scottish writer, author of " Catechism of Music, adapted 
 for learners on the Piano, etc.," Edin., 8vo. n. d. 
 
 MACRORY (Edmund). English writer, author of "A Few Notes on tho 
 Temple Organ," Lond., 8vo [1859], anon. ; second edit., 1861, 410. 
 
410 MAD — MAI 
 
 MADAN (Rev. Martin). English divine and comp., B. 1726. D. May 2, 
 1790. Comp. psalm tunes, " Huddersfield," etc. 
 
 MAELZEL (Johanu Nepomilk). German musician and inventor, B. Ratis- 
 bon, Aug. 15, 1772. Settled at Vienna as teacher. Court Mechanician, 1808. 
 Gave concerts in conjunction with Beethoven at Vienna. Perfected the 
 Metronome, an instrument for marking time in music, 1816. D. at sea, while 
 on his way to U. S. A., July 21, 1838. 
 A description of the metronome will be found in any technical musical dictionary. 
 
 It is well known to most musicians. 
 
 MAIDMENT (James). English antiquary, B. London, 1795. D. Edin., Oct. 
 24, 1879. A great authority on Scottish peerage and ballad lore. Published 
 several collections of Scottish ballads, as "New Book of Old Ballads"; 
 " Book of Scottish Pasquils," etc. He aided also with the annotations for 
 Stenhouse and Laing's "Lyric Music of Scotland," and was a friend and 
 fellow-worker with Sir Walter Scott and C. K. Sharpe. 
 
 MAILLART (Louis A.) French comp., B. Montpellier, Mar. 24, 1817. D. 
 Moulins, June 2, 1871. Comp. " Fadette," and other operatic and chamber 
 music. 
 
 MAILLY (Jean Alphonse Ernest). Belgian comp. and pianist, B. Brussels, 
 
 Nov. 27, 1833. S. under Lemmens. Prof, of Pf., Brussels Cons., i86i. 
 
 Prof, org., Brussels Cons. Org. of ch. of Cannes. Represented Belgium at 
 
 International Exhib., London, 1871. Chev. of order of Leopold. 
 
 Works. — Op. i. Sonata for org; op. 2. Prieres for org. ; op. 3. Six Morceau 
 
 characteristique for Harmonie. Serenades, Fantasias, Trios, Motets, and Songs. 
 
 MAIN WARING (Rev. John, B.D.). English author, published "Memoirs 
 of the Life of the late George Frederic Handel, to which is added a catalogue 
 of his works, and observations upon them," Lond., 8vo, 1760 [anonymous]. 
 
 MAINZER (Joseph, Abbe). German musician and writer, B. Treves, iSoi 
 
 (1807?) Educated at Treves Coll. S. under Kinck, Seyfried, and Stadler. 
 
 Ordained priest, 1826. Singing-master at Treves. Went to Brussels, 1833. 
 
 Taught popular classes in Paris. Came to England, 1839. Competed 
 
 (unsuccessfully) with Bishop for music professorship of Edinburgh University, 
 
 1 84 1. Resided latterly in Manchester as teacher of the Wilhem method. 
 
 D. Manchester, Nov. 10, 1851. 
 
 Works.— Singschule : oder Praktische Anweisung zum Gesange, Trier, 4to, 
 
 1 83 1. Singschule fiir Kinder, Mainz, 8vo, 1837. Singing for the Million: a 
 
 Practical Course of Musical Instruction, Lond., 8vo, 1841. Musical Times and 
 
 Singing Circular: a Journal of Literature, Criticism, etc., 1842-3. The Musical 
 
 Athenaeum, Lond., 1842. Treatise on Musical Grammar and the Principles of 
 
 Harmony, Lond., 8vo, 1843. The Gaehc Psalm Tunes of Ross-shire and the 
 
 neighbouring Counties, Edinburgh, 4to, 1844. Guide to Beginners in Pianoforte 
 
 Playing, 4to, n. d. Music and Education, Lond., 8vo, 1848. Articles in numerous 
 
 British and Continental Journals, etc. 
 
 A sketch of Mainzer's Life and Labours was published in 1844, translated from 
 the French of Aristide Guilbert. Mainzer was a good and practical educationist, 
 and his books as mediums of elementary instruction are still of utility, but the 
 system on which he taught has been superseded long since. The musical compo- 
 sitions of Mainzer are completely forgotten. 
 
 MAISTRE (Mattheus le), or Lemaitre. Dutch comp., B. [1510]. Chapel 
 master at Dresden, 1554. D. 1577. His works consist of motets, masses, 
 miscellaneous church music, with a number of descriptive and other secular 
 vocal pieces. 
 
 MAITLAND (J. A. Fuller). English writer, B. London, 1856, author of 
 " Schumann " (Great Musicians), Lond., l2mo, 1884. Also articles in Grove's 
 "Dictionary of Music. " Joint translator, with Clara Bell, of Spitta's "Johann 
 Sebastian Bach," Lond., 3 vols., 1884. 
 
 MAJORANO, See Caffarelli. 
 
MAJ — MAN 411 
 
 MALAN DE MERINDOL (Cesar Henri Abraham). French divine, poet, 
 and musician, B. Geneva, July 7, 1787. Pastor at Geneva. D. D., Glasgow. 
 D. 1864. Comp. anthems, hymns, and wrote severaljtheological works. 
 
 MALCOLM (Alexander). Scottish writer, B. Edinburgh, 1687. D. (?) 
 Author of "A Treatise of Music, Speculative, Practical, and Historical," 
 Edin., 1721 ; also London, 1830. This work from its scientific basis achieved 
 much success, and was reprinted in an abridged form by an "Eminent Musi- 
 cian," in 1776. 
 
 MALIBE.AN (Maria Felicita), nk Garcia. Spanish soprano vocalist, B. 
 
 Paris, March 24, 1808. Daughter of Manuel Garcia. S. under Panseron at 
 Naples, and Herold at Paris. Resided in London with her Father, 1817, by 
 whom she was taught vocalization. Dibut in London as "Rosina" in 
 Rossini's "Barbiere," June 7, 1825. Appeared in New York, 1825. Married 
 to M. Malibran, a Frenchman, New York, Mar. 25, 1826. Separated from 
 him on his failure in business, 1826 ; and formally divorced, Paris, 1836. 
 Appeared in Paris, 1827. Re-appeared in London, 1829. Sang on the 
 Continent till 1835. Married to C. de Beriot, the violinist, 1836. D. Man- 
 chester, Sept. 23, 1836. 
 
 The untimely death of this highly gifted artist has been regarded with much 
 regret. The immense popularity which she enjoyed was due no less to her 
 remarkable vocal powers, than to an almost unbounded generosity of disposition, 
 which has been mentioned in the highest terms by her contemporaries. As a 
 vocalist she excelled most in florid passages which demanded an extreme flexibility 
 of execution ; but she was also famous as a dramatic vocalist of great power. Her 
 life was published under the title of " Memoirs of Madame Malibran, by the Coun- 
 tess of Merlin, and other intimate friends, with a selection from her Correspondence, 
 and Notices of the Progress of the Musical Drama," Lond., 2 vols., 8vo, 1844. 
 Also, " Memoirs, Critical and Historical," etc., by an Amateur, Lond., i2mo, 1836. 
 
 MALLANDAINE (J. F.). English comp. and cond. of present time. Has 
 comp. operettas "Ali Baba" and " Love's Limit," and many songs, and Pf. 
 pieces. Went to America about 1881. 
 
 MALLINGER (Mathilde). Hungarian soprano vocalist, B. Agram, Feb. 16, 
 1847. S. under Lucca. Dibut, Munich, 1866, in "Norma." Has sung with 
 success in Wagner's operas at Berlin, etc. 
 
 MANDEL (Charles). German musician and writer, author of " Treatise on the 
 Instrumentation of Military Bands," Lond., 8vo, n.d. ; "System of Music," 
 London, 4to, 1869. Was Director of Music at Kneller Hall. 
 
 MANGOLD (Carl Amadeus). German violinist and comp., B. Darmstadt, 
 Oct. 8, 1813. Violinist in service of Grand Duke of Hesse-Darmstadt ; Cond. 
 at Darmstadt. Has comp. " Das Koehlermaedchen," 1843; "Der Tannhseuser," 
 1846; "Die Hermannschlacht," 1848 ; and other operas. 
 
 MANGOLD (Wilhelm). German comp., brother of the above, B. Darmstadt, 
 Nov. 19, 1796. S. under Rink, Vogler, Cherubini, and R. Kreutzer. Chap.- 
 master to Grand Duke of Hesse- Darmstadt. D. Darmstadt, May 23, 1875. 
 Comp. Symphonies; "Merope," opera; Pf. music; Lieder; and numerous 
 
 other works. 
 
 MANGOLD (Carl Georg). Cousin of preceding, B. Darmstadt, Sept. 27, 1812. 
 S. under Hummel. Prof, in Guildhall School of Music, London. Author of 
 "Harmony," "Counterpoint," 1884, 1885, etc., and comp. of Pf. music. 
 
 MANN (Arthur Henry.) English org. and comp,, B. Norwich, May 16, 1850. 
 Was chor. in Norwich Cath. under Dr. Buck; Mus. Bac, Oxon., 1874; Mus. 
 Doc, 1880; Org. S. Peter's Ch., Wolverhampton, 1870-71: Tettenhall, to 
 1875 ; Beverley Minster, to 1876. Org. King's Coll., Cambridge. Comp. 
 "Ecce Homo," for chorus, orch., and org., 1882 ; anthems, etc. 
 
 MANN (Elias). American musician, B. Weymouth, Mass., 1750. D. Nor- 
 thampton, Mass., May 12, 1825. He published "The North Hampton Col- 
 
412 MAN — MAR 
 
 lection of Church Music,'' 1778; "The Massachusetts Collection of Sacred 
 Harmony," Boston, 1807. 
 
 MANN (John A.) Scottish violin-maker and virtuoso, B. Forfar, May 13, 
 1810. Settled in Glasgov? as artist, machinist, and musical instrument maker. 
 Is known throughout Britain as one of the first authorities on the violin, which 
 instrument and its temperament he has made a life-study. 
 
 MANN (Richard). English viriter and org., B. 1837. Org. at Cirencester. D. 
 Cirencester, 1869. Author of " A Manual of Singing for the use of Choir 
 Trainers and School Masters," London, 1866; Anthems, etc. 
 
 MANNS (August). German cond., B. Stolzenburg, near Stettin, March 12. 
 
 1825. Vnst. in theatre at Elburg. Mem. of Gung'l's orch. at Berlin. Cond- 
 
 at KroU's Garden, Berlin. Bandmaster, 1 851. Sub. -cond. of Crystal Palace 
 
 orch., 1854; chief do., Oct., 1855. Cond. Glasgow Musical Festivals of 1879, 
 
 1880, etc. 
 
 Manns is recognised as one of the most capable conductors living, and his 
 
 valuable labours in producing the less known works of great masters have exercised 
 
 much influence. As a composer he takes rank chiefly as an arranger for orch., 
 
 and writer of dance music. He can be accorded considerable credit for having 
 
 aided in the recent revival of English music by encouraging what is somewhat 
 
 obscurely termed native talent. His talent and industry have made the Crystal 
 
 Palace band one of the most efficient in the country, and his ability as a conductor 
 
 is sufficiently shown by his being chosen to succeed Sir M. Costa as cond. of the 
 
 Handel Festival. 
 
 MANSFELDT (Edgar). See Pierson (Henry Hugo). 
 
 MAPLESON (James Henry), Colonel. English operatic manager. S. music 
 at R. A. M. Opened Lyceum Theatre for Italian Opera, 1861. Has travelled 
 throughout Britain and the United States with his company. Has produced a 
 few novelties ; maintained the star system, and has gained much fame as an 
 impresario both in Britain and America. 
 
 MARA (Gertrude Elizabeth), nee Schmehling. German soprano vocalist, B. 
 Cassel, Feb. 23, 1749. S. under Paradisi ; also under J. A. Hiller at Leipzig, 
 1766-71. Dibut, in opera by Hasse, at Dresden. Singer at Court of Frederick 
 the Great. Married to Johann Mara, a violoncellist. Ill-treated by him, in 
 consequence of which she ran away to Austria. Sang in Vienna, Holland, 
 Belgium, etc. Sang, in Paris, 1782. Appeared in London, 1784; Sang at 
 Handel Commemoration, 1784; remained in London till 1791. Sang after- 
 wards on the Continent. D. Revel, Jan. 20, 1833. 
 
 MARBECK (John). English writer, comp., and org., B. 1523. Chor. St. 
 
 George's Chap., Windsor, 1531. Embraced Protestant faith, and narrowly 
 
 escaped being burned for heresy, 1544. Taken under the patronage of the 
 
 Bishop of Winchester. Mus. Bac, 1553. D. 1591. 
 
 Works. — The Book of Common Praier, Noted, Lond., 1550 ; A Concordance, 
 
 that is to sale, a worke wherein by the ordre of the letters of A, B, C, ye maye 
 
 redelye finde any worde contayned in the whole, so often as it is there expressed or 
 
 mentioned, Lond., 1550 ; The Lyves of the Holy Sainctes, Prophets, Patriarchs, 
 
 and others, contained in Holye Scripture, 1574 ; The Holie Historie of King 
 
 David, etc., 1579 ; Book of Notes and Common Places, gathered out of divers 
 
 writers, 1581. 
 
 Marbeck re-set the English Church Service almost in its entirety, and is said to 
 have influenced later composers in the style of ecclesiastical composition. His sett- 
 ing continued in use during the many fluctuations in musical taste, which have been 
 witnessed since his time, and is still in use, though not wholly. 
 
 MARCELLO (Benedetto). Italian comp. and poet, B. Venice, July 26, 1686. 
 
 S. under Gasparini and Lotti. Came of a noble Venetian family, and occupied 
 
 his life with Slate affairs. Cavaliero of the Filarmonice, Bologna, 1712. D. 
 
 Brescia, July 24, 1739. 
 
 Works. — Estro Poetico-Armonico, Parafrasi sopra i primi 50 Psalmi, Poesia 
 
 di Girolamo Giustiniani, Venice, 8 vols,, 1724-7. Concerti a quinta istromenti, 
 
MAii — iiAR 413 
 
 op. I, 1701. Sonatas, 1712. Canzoni Madrigalesche, 1717. Calisto in Orsa, 
 pastoral, 1725.- Giuditta, oratorio, 1710. La Fede riconosoiuta, opera, 1702. 
 
 Marcello is known to the present generation of musicians only by a few of his 
 psalms, and his renown as depending on them has waned greatly since the early 
 part of this century. An edition of the Psalms was published in 1759 by John 
 Garth, with the title "The First Fifty Psalms, set to music by Benedetto Marcello. 
 ...Lond., fc, 8 vols., 1757. Garth was assisted by Avison in this compilation. 
 Every edition of Marcello's Psalms is rare, and it is unquestionably this scarcity 
 which occasions their neglect. A good selection is much wanted. 
 
 MABCHAND (Louis). French org. and comp,, B. Lyons, Feb. 2, 1669 [1671]. 
 S. at Paris, and became famous as an org. Exiled for dissipated habits. 
 Offered post of court organist by King of Poland. Played in opposition to J. S. 
 Bach, but was defeated. Was challenged by Bach to another trial, but dis- 
 appeared. D. Feb. 17, 1732. 
 He comp. an opera, " Pyramus et Thisbe," and some vocal and organ music. 
 
 He appears to have been something of an empiric, and to have received more credit 
 
 for his performance than was justly due. 
 
 MABCHESI (Luigi). Italian operatic vocalist, B. Milan, 1755. JJJliui, Kome, 
 1774. Sang in Italy and Germany. Appeared in London, 1788-90. Retired 
 to Milan, i8o6. D. Milan, Dec. 15, 1829. 
 
 MABCHESI (Mathilde de Castrone), f^e Graumann. German soprano 
 vocalist, B. Frankfort-on-Main, March 26, 1826. S. under Nicolai and Garcia. 
 Appeared in London, 1849. Sang in Germany, Holland, France, Belgium, 
 etc. Married Salvatore Marchesi, 1852. Resided in Paris as teacher of sing- 
 ing, i86l. Prof. Singing Cologne Cons., 1865-68 ; do. Vienna Cons. Madame 
 Marchesi is well known as a talented writer on vocalization, but her success as 
 a teacher is best illustrated in her pupils, Krauss, Murska, and Gerster, not to 
 speak of others. 
 
 MABCHESI (Salvatore). Italian teacher and comp., B. Palermo, 1822. Hus- 
 band of above. Served as a soldier, 1838-40. S. under Raimondi and Lam- 
 perti. DSut in America as vocalist. Teacher successively at Cologne, Vienna, 
 etc. Comp. numerous songs, etc. 
 
 MABCHETTI (Filippo). Italian comp., B. Bolognola, near Camerino, Feb. 
 
 26, 1831. S. at Cons, of San Pietro of Majella, Naples, under Lillo and 
 
 Conti. Prof, of Singing at Rome and Milan. 
 "Works.— Operas : Gentile da Varano, 1856 ; La Demente, 1857 ; Le Paria ; 
 Romeo e Giulietta, 1865 ; Ruy Bias, 1869 ; L'Amore alia prova, 1873 ; Gustavo 
 Wasa, 187s ; Giovanna d' Austria, 1880. Overtures and Songs. 
 
 MABENZIO (Luca). Italian comp., B. Coccaglia, Brescia, 1550. S. under 
 
 Contini. Resided in Poland, in service of various princes, etc. Chapel-master 
 
 to Cardinal Luigi d' Este, Rome, 1581. Mem. of the Pontifical College, 1595. 
 
 D. Rome, 1599. 
 
 Works.— Nine books of Madrigals published at Venice in 1580, 1581, 1582, 
 
 1583, 1584, 1585, 1586, 1587, 1589; Reprinted 1594, 1595, 1602, 1603, 1605, 1608, 
 
 1609. Complete collected edition published, 1593. Motets, canzoni, etc. A few 
 
 pieces (choruses) of dramatic music. 
 The madrigals of Marenzio are among the sweetest and most pleasing emanations 
 
 of the Italian school of the l6th centu.ry. 
 
 MABETZEK (Max). German comp. and cond., B. Briinn, 1821. S. at 
 Vienna and Paris. Went to New York, 1847. Teacher and cond. in New 
 York. 
 He has comp. "Hamlet," an opera, 1843; Pf- music; songs; and some pieces 
 
 of chamber and orchestral music. 
 
 MABIO (Giuseppe), Marchese di Candia. Italian tenor vocalist, B. 
 Cagliari, 1810 [Genoa, 1812 ; Turin, 1808, 1810]. Entered the Sardmian 
 Army as an officer in 1830, but he resigned his commission and went to Pans, 
 where he studied under Michelet, Ponchard, and Bordogni. DJdui in Robert 
 
4^4 MAR — MAS. 
 
 le Diable, Paris, Nov. 30, 1838. Dilmt London in Lucrezia Borgia, June 6, 
 
 1839. Sang afterwards at Madrid, St. Petersburg, and in Paris, London, and 
 
 the British Provinces till 1871. Married to Giulia Grisi, 1838, by whom he 
 
 had three daughters. Retired from stage, and resided at Rome. . Fell into 
 
 distressed circumstances, and in May, 1878, a benefit concert in his aid was 
 
 given in St. James' Hall, London. D. Rome, Dec. 11, 1883. 
 
 " It will not satisfy many of Signor Mario's enthusiastic admirers to be told that, 
 
 throughout his career, he has never been a thorough artist, armed at all points for 
 
 his duties before the public. Such, however, is the case. The charm of personal 
 
 appearance and graceful demeanour, borne out by a voice the persuasive sweetness 
 
 of which can never have been exceeded, has fascinated everyone— the stern as well 
 
 as the sentimental — into forgetting incompleteness and deficiency He 
 
 will live in the world's memory as the best opera lover ever seen. ... As a 
 singer of Romances he has never been excelled : rarely equalled."— C/^ff?-/*/^ A- 
 coUeciions. 
 
 He was most successful as the exponent of the leading tenor roles in Meyerbeer's 
 "Les Huguenots," Gounod's "Faust," Rossini's "Barbiere," and in certain operas 
 of Verdi and Mozart. 
 
 MARKS (James Christopher). Irish org. and comp., B. Armagh, 1835. 
 Chor. Armagh Cath., 1843. Deputy-org. do., 1852-60. Org. and choir- 
 master, S. Finbar's Cath., Cork, i860. Mus. Bac, Oxon, 1863. Mus. Doc, 
 Oxon, 1868. 
 
 Composer of several anthems, organ pieces, and songs. 
 
 MARKS (Thomas Osborne). Irish org. and comp., brother of above, B. 
 Armagh, 1845. Mus. Bac, Oxon, 1870. Chor. Armagh Cath. Org. do., 
 1872. Mus. Doc, Dublin, 1874. 
 Has comp. services, anthems, songs, organ music, and miscellaneous music. 
 
 MARKULL (Friedrich Wilhelm). German org. and comp., B. Elbing, 
 Feb. 17, 1816. S. under Schneider. Org. at Dantzig. 
 
 Works. — Operas: Maja und Alfino, 1843; Der Konig von Zion ; Der Wal- 
 purgis. Oratorios : Das Gedachtniss der Entschlafenen ; Johannes der Taiifer. 
 Twenty- fourth Psalm, for solo, chorus and orch. ; Symphonies for orch., in C 
 min. and D ; Four Mazurkas for Pf., op. 4 ; Gedichte fur eine Singstimme mit 
 Pianoforte, opp. 5, 6, 7, 71, 72, 73, 74; Gondoliera for Pf., op. 88. 
 
 MARLOW (Isaac). English writer, author of "The Controversie of Singing 
 brought to an End," etc., Lond., i2mo, 1696. 
 
 MARMONTEL (Autoine Francois). French pianist and comp., B. Cler- 
 mont-Ferrand, July 18, 1816. S. Paris Cons, under Halevy and Lesueur, 1827. 
 Gained first prize for Singing, 1828 ; second prize for Pf., 1830 ; second prize 
 for Harmony, 1832. Prof. Pf., Paris Cons., 1848. 
 Works. — Ecole ^lementaire de m^canisme et de style, op. 6; Nocturnes for Pf., 
 
 opp. 10, II, 12, 13 ; Studies for Pf., various, opp. 9, 45, 62, 80, 85, 106, 107, III, 
 
 etc.; Serenades for Pf., opp. 21, 56, 109; Polonaises, Marches, Mazurkas, 
 
 Reveries, Salon Pieces, etc. 
 
 MAROT (Clement). French poet, B. 1495. D. 1544. Fainous in connection 
 with music for his translation of the Psalms, which some historians affirm aided 
 in spreading the doctrines which led to the Reformation. These psalms were 
 used by Goudimel and Lejeune, as well as by succeeding composers. 
 
 MARPURG (Friedrich Wilhelm). German writer, B. Brandenburg, Oct. i, 
 1718. D. Berlin, May 22, 1795. 
 Works. — Handbuch von dem Generalbasse und der Composition, Berlin, 1755. 
 Historisch-Kritische Beytraege zur Aufnahme der Theoretischen Musik, Berlin, 5 
 vols., 1754-60. Aufansgriinde der Theoretischen Musik, Leipzig, 4to, 1757. 
 Anleitung zur Singecomposition, Berlin, 4to, 1758. Die Kunst das Clavier zu 
 spielen von dem Verfasser des Kritischen Masikus an der Spree, Berlin, 1762. 
 Clavierstiicke mit einem Practischen Unterricht fur Anfanger und Geubtere, Berlin, 
 1762-3. Anleitung zu Musik, 1763. Many other practical works and compositions. 
 
Mar — MAR 415 
 
 The whole of Marpurg's writings are now superseded Tjy works of more recent 
 date. 
 
 MARBIOTT (Annie). English soprano vocalist, B. Nottingham, May 26, 1859. 
 Has- appeared at London (Sacred Harmonic Society), Glasgow (Choral 
 Union), Birmingham, and throughout the provinces. 
 
 MARBIOTT (Charles Handel Rand). English comp., B. London, Nov. 3, 
 1831. Played vn. in various orchestras. Musical Director, Highbury Barns, 
 1860-65. Musical Director, Royal Gardens, Cremorne; Do., Pier Pavilion, 
 Hastings. Musical Editor Young Ladies' Journal. 
 
 Works. — Songs: England's Trust; The Lily of the West; There grew in the 
 forest a mighty oak ; Songs for Children ; Lost friends ; Rest ; Thy Face ; Our 
 Union Jack of liberty ; etc. Pianoforte : Quadrilles on melodies from operas, 
 national melodies, etc. ; Banting ; Happy Home ; Oriental ; Versailles ; Gorilla ; 
 Waltzes ; Polkas ; Galops ; and numerous pieces of Salon music. 
 
 MARSCHNER (Heinrich). German comp. and cond., B. Zittau, Aug. 16, 
 1795- S. under Schicht. Acquainted with Beethoven, 1817. Joint-cond. 
 with Weber and Morlacchi of Dresden Opera, 1823-6. Cond. at Leipzig, 
 1827. Court cond. at Hanover. D. Hanover, Dec. 14, 1861. 
 Works. — Operas: Lucretia, 1822; Schbn Ellen, 1822; Der Vampyr, Leipzig, 
 May, 1828 (Lond., Aug. 1829) ; Das Falkner's Braut; Der Templer und die Judin; 
 Hans Heiling, Hanover, 1833 ; Das Schloss am Aetna, Berlin, 1838 ; Adolph von 
 Nassau, Hanover, 1843; Austin, 1851. Instrumental Music: Twelve bagatelles 
 for guitar, op. 4 ; Twelve lieder, op. 5 \ Sonata for Pf. solo, op. 6 ; Polonaise for 
 Pf. duet, op. 7 ; Fantasias and Rondos for Pf., opp. 10, II, 15, 18, 19, 20, 21, 22, 
 23. 25, 31. 33, 37. 49. 57. 5^. 59. 64. 7i, 74; Sonatas for Pf , opp. 24, 38, 39, 40; 
 Quartet for Pf. , vn. , viola, and bass, op. 36 ; Trio for strings, opp. 29, 50 ; Over- 
 tures for orch. ; Robert Burns' Lieder fur Tenor oder Sopran mit Pf., op. 107. 
 Numerous pieces of vocal music. 
 
 Marschner is regarded as one of the most remarkable of the lesser romantic com- 
 posers. His works are full of picturesque points, and the melody and harmony are 
 full of charming and dramatic interest. 
 
 MARSH (Alphonso). English comp., B. 1627. Gent. Chap. Royal, 1660. 
 D. April, 1681. His son Alphonso was also a comp. and Gent, of Chap. 
 Royal, 1676. He died in 1672. Both wrote songs etc. in contemporary col- 
 lections. 
 
 MARSH (Jolin). English writer and comp., B. Dorking, 1752. Articled to a 
 
 solicitor at Romsey, 1768. Married, 1774. Leader at Subscription Concerts 
 
 at Salisbury, 1780. Resided at Chichester from 1787. D. 1828. 
 
 Works. — A Short Introduction to the Theory of Harmonics, or the Philosophy 
 
 of Musical Sounds, Chichester, 8vo, 1809. Rudiments of Thorough-bass, Lond., 
 
 n. d. Hints to Young Composers, n. d. Church services, anthems, glees, and 
 
 songs. Collection of the most Popular Psalm Tunes with a few Hymns and easy 
 
 Anthems in 3 parts, for the use of country choirs, n. d. 
 
 MARSHALL (Julian). English amateur musician and collector, B. Heading- 
 ley, Leeds, June 24, 1836. Author of the "Annals of Tennis"; articles in 
 periodicals ; in Grove's Dictionary of Music ; etc. His wife, nie Florence 
 A. Thomas, B. Rome, March 30, 1843, is well known as a cultured writer on 
 music, and as a composer of much ability. She S. at the R. A. M., London. 
 Wrote "Handel" (Great Musicians), Lond., 1883. "Solfeggi" (Music 
 Primer), Lond. [1885], 8vo. 
 
 MARSHALL (William). Scottish violinist and comp., B. Fochabers, Dec. 
 
 27, 1748. House steward and butler to the Duke of Gordon till 1790. Farmer 
 
 at Keithmore, and factor to the Duke of Gordon, 1790-1817. D. Newfield, 
 
 May 29, 1833. 
 
 Works. — Marshall's Scottish Airs, Melodies, Strathspeys, Reels, etc., for the 
 
 Pianoforte, Violin, and Violoncello, with appropriate basses. Dedicated to the 
 
 Marchioness of Huntly, Edin., 1822 [containing 170 airs]. Collection of Scottish 
 
 Melodies, Reels, Strathspeys, Jigs, Slow Airs, etc., for the Pianoforte, Violin, and 
 
4^6 Mar — MAR 
 
 Violoncello, being the genuine and posthumous works of William Marshall, Edin., 
 Robertson, 1847. Choice Selection of Reels and Strathspeys, Edin., n. d. (with 
 Gow). A Collection of Strathspey Reels with a Bass for the Violoncello or Ilarp- 
 sichord, n. d. 
 
 Marshall is best known as a composer by his melodies " Of a' the airts the wind 
 canblaw" ("Miss Admiral Gordon"), "This is no my ain house," "The wind 
 blew the bonnie lassie's plaidie awa," and several others, all of which are dance 
 tunes now adapted to poetry. 
 
 MARSHALL (Williani). English org. and comp., B. 1806. Chor. in Chap. 
 
 Roy., under J. S. Smith and W. Hawes. Chor. Christ Ch. Cath. and S. 
 
 John's Coll., Oxford, 1823. Org. All Saint's Ch., Oxford. Mus. Bac. Oxon., 
 
 1826. Mus. Doc, Oxon., Jan. 1840. Org. S. Mary's Ch., Kidderminster, 
 
 1846. D. Handsworth, Aug. 17, 1875. 
 Works. — Anthems used in the Cathedral and Collegiate Churches of England 
 and Wales, 1 840. Art of Reading Church Music, and Exercises intended to accom- 
 pany the same. Oxford, 8vo, 1842. Miscellaneous church music. 
 
 MABSON (George). English comp. of the i6th century. Comp. anthems and 
 a 5 part madrigal, "The Nimphes and Shepheards," in the "Triumphs of 
 Oriana. " 
 
 MABTIN (Alexander). Polish violinist and comp., B. Warsaw, 1825. D. 
 Warsaw, 1856. Comp. music to poetry of Byron and Scott, and works for 
 vn. and Pf. 
 
 MABTIN (George Clement). English org. and comp. ; B. Lambourn, Berk- 
 shire, 1844. Mus. Bac, Oxon., 1868. Mus. Doc, and F. C. O. Sub-org. 
 and choir-master S. Paul's Cath., London. 
 Works. — Three settings of the Magnificat and nunc dimittis, for chorus and 
 orch. Te Deums, Communion Services, etc. Part-songs and anthems. Songs 
 and organ-music. 
 
 MABTIN (George William). English comp. and cond., B. March 8, 1827. 
 Chor. S. Paul's Cath. S. under W. Hawes. Cond. National Schools' 
 Choral Festival, 1859 ; National Choral Soc, etc. Editor of musical journals. 
 D. Wandsworth, April 16, 1881. 
 Martin comp. several prize glees, anthems, and songs. 
 
 MABTIN (Jonathan). English org. and comp., B. 1715. Chor. in Chap. 
 Roy., under Croft. S. org. under^Rosingrave. Deputy-org. S. George's, 
 Hanover Square. Org. Chap. Roy., 1736. D. April 4, 1737. 
 
 MABTIN (Vicente), or Martini. Spanish comp., B. Valencia, 1754. D. 
 S. Petersburg, May, 1810. Comp. various operas, among them " La Cosa 
 rara," which achieved considerable contemporary fame. 
 
 MABTINI (Giovanni Battista). Italian comp. and writer, B. Bologna, April 
 
 25, 1706. S. under his father, Predieri, and Riccieri. S. theology at San 
 
 Filippo Neri. Ordained, 1722. Chap. -master at Ch. of San Francisco, 1725. 
 
 D. Bologna, Aug. 3 (Oct. 3), 1784. 
 
 Works. — Masses ; Miscellaneous church music ; Sonatas, and other instrumental 
 
 music ; Storia della Musica, Bologna, 3 vols., 1757-81 ; Esemplare ossia saggio 
 
 Fondamentale pratico di Contrappunto Sopra il Canto Fermo, Bologna, I774-7S> 
 
 2 vols. 
 
 Martini was considered one of the greatest contrapuntists of his period, and was 
 the authority on most musical points for a long time. His " Storia della Musica " 
 is his most important contribution to musical history. 
 
 MABX (Adolph Bernhard). German writer and comp., B. Halle, May 
 I Si 1799- S. for the Law. Resided in Berlin as part editor of the AUe- 
 gemeine Berliner Musikzeitung, 1824-31. Doctor of Marburg University, 1827. 
 Prof. Music, Berlin Univ., 1830. Founded, with Kullak, Berlin Cons., 1850. 
 D. Berlin, May 17, 1866. 
 Works. — Jery und Bately, opera ; Johannes der Taufer, oratorio ; Mose, oratorio ; 
 
MAR — MAS 4iy 
 
 Twelve songs for voice and Pf. ; Festgesange fur Mannerchor, op. 27 ; Die Aeti 
 Musiklehre im Streit mit unsrer Zeit, 8vo, 1841. AUgemeine Muslklehrc. Ein 
 Hiilfsbuch fur Lehrer und Lernende in jedem Zweige musikalischer Unterweisung, 
 Leipzig, 1839 (many editions). Die Musik des 19 Jahrhunderts und ihre Pflege. 
 Methode der Musik. Leipzig, 1855 (2nd ed., 1S73. Trans, as The Music of the 
 19th Century and its Culture. Lond., 8vo, pt. i, 1856 ; pt. 2, 1858. Ludwig von 
 Beethoven, Leben und Schaffar, 1858. Die lehre von der Musikalischen Composi- 
 tion, 'praktisch-theoretisch, zum Selbstunterricht, oder als Leitfaden bei Privatunter- 
 weisung, Leipzig, 4 vols., 1S52, etc. (various editions of each vol.). Translations 
 of this work are published as School of Musical Composition, by A. Wehran, vol. 
 I, Lond., 1852, 8vo ; Universal School of Music, by A. H. Wehran, Lond., 1853, 
 8vo. General Musical Instruction, trans, by George Macirone, Lond., 1854, 8vo ; 
 and Theory of Musical Composition, trans, by Saroni, Lond., 1852, 8vo, are others 
 of his works which have been Englished. 
 
 As a didactic writer, Marx is known all over Europe and America. His writings 
 have a very high educational value. 
 
 MARXSEN (Eduard). German comp., B. Niendstsedten, Altona, July 23, 
 1806. S. under Sayfried, Clasing, Bocklet, etc. Comp. symphonies, cantatas, 
 overtures, Pf. music, songs, etc. 
 
 MAKZIELS (TheopMlus). French comp. and poet, B. Brussels, Dec. 21, 
 1850. S. under M. L. Lawson, and at Paris and Milan. Employed at 
 British Museum from 1870. 
 Works. — The Gallery of Pigeons, and other Poems, 1873. Songs: Twicken- 
 ham Ferry ; The Garland ; Three sailor boys ; Timothy's welcome ; Wait till you 
 come to forty year ; The miller and the maid ; The garden ; Just as well ; Ask 
 nothing more ; May music ; Only friends ; When my Jim comes home ; etc. 
 
 MASON (John). English writer, author of "An Essay on the Power of Num- 
 bers and the Principles of Harmony," Lond., 1749. 
 
 MASON (Lowell). American comp. and writer, B. Medfield, Mass., Jan. 8, 
 1792. Resided in Savannah, Georgia, 1812-27. Self-taught in music. 
 Settled in Boston, 1827 ; President of Handel and Haydn Soc, 1827 ; Estab. 
 Boston Academy of Music, 1832 ; Taught Pestalozzi method in Boston schools, 
 1838. Visited Europe, 1837. Doc. Mus., New York (first in America), 1835. 
 D. Orange, N. J., Aug. 11, 1872. 
 Works.— Boston Handel and Haydn Collection of Church Music, 1822; Juvenile 
 Psalmist, Boston, 1829; Juvenile Lyre, 1830 (First book of school songs pub. in 
 U. S.) ; The Choir, or Union Collection of Church Music, 1833; Manual of In- 
 struction in the Elements of Vocal Music, 1834 ; Juvenile Singing School, 1835 ; 
 Sabbath School Songs, 1836; Boston Academy Collection of Church Music, 1836; 
 Sabbath School Harp, 1837 ; Lyra Sacra, 1837 ; Occasional Psalmody, 1837 ; 
 Songs of Asaph, 1838 ; The Seraph, 1838 ; Boston Anthem Book, 1839 ; Manual 
 of the Boston Academy of Music, for Instruction in the Elements of Vocal Music on 
 the System of Pestalozzi, Boston, l2mo, 1838; The Modern Psalmist, 1839; The 
 Odeon (glees), 1839 ; Juvenile Music for Sabbath Schools, Boston, 1839 ; Boston 
 School Song Book, 1840 ; Little Songs for Little Singers, 1840 ; Carmina Sacra, 
 1841 ; The Gentlemen's Glee Book, 1842; American Sabbath School Singmg 
 Book, Philadelphia, 1843; Boston Academy Collection of Choruses, 1844; The 
 Vocalist, 1844 ; The Psaltery, 184S ; Primary School Song Book, 1846 ; The 
 National Psalmist, 1848 ; Cantica Laudis, 1850 ; Boston Chorus Book, 1851 ; The 
 Glee Hive, 1851 ; The New Carmina Sacra, 1852; The Home Book of Psalmody, 
 London, 1852; The Hallelujah, N. Y., 1854; Normal Singer, N. Y., 1856; 
 Mammoth Musical Exercises, 1857; Collection of Psalms and Hymns for Christian 
 Worship ; Pestalozzian Music Teacher (with T. F. Seward), Boston ; Vocal Exer- 
 cises and Solfeggios ; The Song Garden. [Many of the foregoing works sold m 
 enormous numbers, and passed through many editions. Some of them are edited 
 in conjunction with George James Webb]. Musical Letters from Abroad, New 
 York, 8vo, 1854; Translation of Catel's Harmony, with Notes, etc. 
 
 MASON CWilliam). American piauist and comp., son of the above, B. Boston, 
 1828. S. under his father, and under Moscheles and Hauptmann at Leipzig ; 
 
 C 2 
 
4i8 Mas — MAS 
 
 under DreyschocU at Prague ; and under Liszt at Weimar. Teacher at Orange, 
 
 N. J., and teacher in New York. 
 Works.— Pianoforte Technics (with W. S. B. Matthews), Boston, n.d.; Method 
 for the Pianoforte (with E. S. Hoadley), Boston, n.d ; System for Beginners in the 
 Art of Playing rpon the Pianoforte (with E. S. Hoadley), Boston, n.d. ; Methods 
 for the Reed Organ ; Numerous Pf. pieces consisting of mazurkas, reveries, 
 gavottes, and dances. 
 
 MASON (William). English poet and writer, B. Hull, 1725. Ordained minis- 
 ter, 1755. Prebendary and Precentor, York Cath., 1763. D. Aston, April 5, 
 1797. 
 Wrote various papers on ecclesiastical music, collected under the title of "Essays, 
 historical and critical on English Church Music," York, 1795, l2mo. 
 
 MASON AND HAMLIN. American firm of reed-organ builders, established 
 in Boston, 1854. First engaged in the manufacture of the organ-harmonium 
 with 4 sets of reeds and 2 manuals. In 1861-62 the firm brought their famous 
 "School" and "Cabinet" organs, which are now known all over the world. 
 The instruments of this firm are among the best known in Britain. Establish- 
 ments also in New York and Chicago. Emmons Hamlin, one of the firm, 
 D. Boston, April 8, 1885. 
 
 MASS ART (Lambert Joseph). Belgian violinist and oomp., B. Liege, July 
 19, 1811. S. under R. Kreutzer. Prof, vn., Paris Cons., 1843. Chev. of 
 Legion of Hon. Famous as a comp. of vn. music, and as teacher of H. 
 Wieniawski, J. Lotto, Fournier, and others. 
 
 MASSE (Felix Marie Victor). French comp., B. Lorient, Mar. 7, 1822. S. 
 
 Paris Cons., 1834 ; Gained grand prix de Rome, 1844. Travelled in Italy, 
 
 etc. Chorusmaster of Academy of Music. Chorus-master at Opera, i860. 
 
 Prof, of Comp. at Paris Cons., 1866. Member of Institut, 1872. Officer of 
 
 Legion of Honour, 1877. D. Paris, July 5, 1884. 
 MVoRKS.— Operas : La Chanteuse voilee, 1852; Noces de Jeannette, 1853; 
 Galathee, 1854 ; La Fiancee du Diable, 1855 ; Miss Fauvette, 1855 ; Les Saisons, 
 1856 ; La Reine Topaze, 1856; La Fee Carabosse, 1859; La Favorita e la Schiava, 
 185s ; Le Cousin de Marivaux, 1857; La mule de Pedro, 1863 ; Tior d'Aliza, 1866; 
 Le Fils du Brigadier, 1867 ; Paul et Virgenie, 1876. Le Renegat de Tanger, prize 
 cantata, 1845. Songs, and miscellaneous compositions. 
 
 MASSENET (Jules Emile Frederic. French comp., B. Montand, near St. 
 
 Etienne, May 12, 1842. S. Paris Cons. ; gained first prize for Pf., 1859; 
 
 second prize for fugue, 1862 ; first prize for fugue and prix de Rome, 1863. 
 
 Prof, of Comp. Paris Cons., 1878. 
 Works. — Operas: La Grand Tante, 1867- ; Don Cesar de Bazan, 1872; Les 
 Erynnies, 1873 ; Le Roi de Labor, 1877 ; Herodiade, Paris, 1882 ; Manon, 1885. 
 Le Cid, 1885 ; Paix et Liberte ! cantata, 1867 ; Marie Magdaleine, sacred drama, 
 1873 ; Eve, a mystery, 1875 ; La Verge, sacred Legend ; Narcisse, antique idylle, 
 1878. O'chestral Music: Suites d'Orchestra. Scenes Hongroises ; Scenes Pittor- 
 esques ; Scenes Dramatiques ; Overture, " Phedre ;" Pompeia, fantasia-symphony. 
 Pt. Music : Le Roman d'Arlequin ; Poeme d' Avril, op. 14. Numerous other Pf. 
 pieces, songs, etc. 
 
 Among the younger members of the modern French school, Massenet holds a 
 high place. His works are conceived in a spirit thoroughly in harmony with the 
 advanced style of composition, and many of his writings are elaborated and executed 
 in a powerful dramatic manner. His operas are his most representative works, 
 though several of his large concert works are also worthy of high praise. 
 
 MASTERS (William Chalmers). English comp. , has published two operettas 
 " The Forester's Daughter," 1868, and "The Rose of Salency," and a number 
 of songs and other vocal works. 
 
 MASTERTON (Allan). Scottish musician and writing-master in the High 
 School of Edinburgh. An associate of Robert Burns, the poet, to whose song, 
 " Willie brew'd a peck o' maut," he wrote music. D. 1799. 
 
Ma* — Mat 
 
 4it, 
 
 MATENET. See Ferrer. 
 
 MATERNA (Amalie). German soprano vocalist, B. S. Georgen, 1847. First 
 appeared, 1864. Dibut in opera, Vienna, 1869. Sang at Wagner Festival, 
 Bayreuth. Sang in London, 1877. Has since appeared in Europe with dis- 
 tinguished success. 
 
 MATHER (Samuel). English org. and comp., B. Sheffield, 1783. Org. S. 
 James' Oh., Sheffield, 1799; do. S. Paul's, Sheffield, 1808. Bandmaster 
 Sheffield Volunteers, 1805. D. Sheffield, 1814. 
 Compiled a Book of Psalm Tunes; Glees ; Songs; Te Deum ; numerous hymns, 
 etc. 
 
 MATHEWS (William Smith Babcock). American writer and org., B. 
 Loudon, N. H., May 8, 1837. S. at Lowell and Boston. Teacher in New 
 Hampshire, and since 1867 org. and teacher in Chicago. Attached to editorial 
 ^f-sS. oi Daily News, Chicago. Edited The Musical Independent, 1868. 
 Works. — An Outline of Musical Form, Boston, 1868. The Emerson Organ 
 School (associate editor), Boston, 1870. Mason's Pianoforte Technics (letterpress 
 portion), Boston, 1878. How to Understand Music 8 pts., 8vo, 1880. Pronounc- 
 ing Dictionary and Condensed Encyclopedia of Musical Terms, Instruments, Com- 
 posers, and Important Works, Chicago, 8vo, 1880 (part 9 of No. i). Systematic 
 View of the Musical Forms (MS.). How to Teach the Pianoforte (MS.). Papers 
 in " Dwight's Journal of Music," and "Proceedings of Music Teachers' National 
 Association," etc. 
 
 MATTEI (Stanislao, Abbate). Italian comp. and teacher, B. Bologna, Feb. 
 
 10,1750. S. under Martini. Deputy of Martini. Chap. -master in succession 
 
 to Martini, Ch. of San Francesco, Bologna. Teacher and chap. -master of 
 
 San Petronio. Prof, at the Licco, 1804. D. Bologna, May 17, 1825. 
 
 Comp. masses, motets, symphonies, songs. Was most celebrated as a successful 
 
 teacher, and as numbering among his pupils Rossini, Morlacchi, Donizetti, Perotti, 
 
 etc. 
 
 MATTEI (Tito). Italian pianist and comp., B. Campobasso, May 24, 1841. 
 
 S. under Thalberg and Raimondi. Travelled in France, Germany, and Italy. 
 
 Settled in London. Cond. at H. M. Theatre. Married to Mdlle. Colombo. 
 
 Chevalier of Order of SS. Maurice and Lazare. 
 Works. — Maria de Gand, opera; Songs. Pianoforte: Grande valse, op. 22; 
 Reverie, op. 30 ; La harpe, melodie, op. 32 ; Barcarolle, op. 33 ; La gatt^, scherzo, 
 op. 35 ; Marches, nocturnes, valses, etc. 
 
 MATTEIS (Nicola). Italian violinist and writer, B. probably about middle of 
 17th century. Settled in London about end of reign of Charles II. [circa 1685- 
 89]. Was a teacher of the violin in London, and enjoyed extraordinary cele- 
 brity as much by his personal peculiarities as by his abilities. See North's 
 "Memoirs of Music." Date of D. unknown. He introduced the practice of 
 engraving music from plates. Among his works may be named " Ayres for 
 the Violin," 2 books ; " Ayres for the Violin, to wit : Preludes, Fugues, Alle- 
 mandes. Sarabands, Courants, Gigues, Fancies, Divisions, and likewise other 
 Passages, Introductions and Fuges for Single and Double Stops,'' etc. ; "Other 
 Ayres and Pieces for the Violin, Bass Viol, and Harpsichord " ; " The False 
 Consonances of Musick, or Instructions for Playing a True Base upon the 
 Guittarre, with choice Examples and clear Directions to enable any man in a 
 short time to play all Musicall Ayres, ..4 parts," [London], 2 vols., n. d. 
 His son Nicola, B. London, was a celebrated violinist, and was attached to the 
 
 Imperial Chap, of Vienna. He published Books_of Airs for the Violin, and wrote 
 
 "Costanza e Fortezza," an opera. D. 1749. 
 
 MATTHAY (Tobias A.). English comp. and pianist, B. Clapham (London), 
 Feb. 19, 1858. Entered the R. A. M. in 1871. S. comp. under Sterndale- 
 Bennett, Sullivan, and Prout, and Pf. under Dorrell and W. Macfarren. Elected 
 Sterndale-Bennett scholar, 1872. Gained first of the two " Reed " prizes for 
 comp. of a quartet for Pf. and strings, 1876. After having served both as 
 Harmony and Pianoforte Sub-Professor, he was in 1880 placed on the staff of 
 
420 Mat — MAY 
 
 the Institution as Assistant-Professor of Pianoforte (full Prof., 1885), and was 
 at the same time elected an Associate. 
 
 Besides a large number of MS. Pf. and other chamber pieces and songs, his latest 
 writings include 4 Concert Overtures and other works of one or two movements for 
 Full Orchestra, also a Scena for Contralto, and a Pf. " Concert Piece " in D minor, 
 with accompaniments for full orch., this latter being his third effort in this direc- 
 tion. 
 
 Works. — Pianoforte: Four Novelletten ; Nocturne in D flat ; An autumn song; 
 1 7 Variations in C ; Hommage a Chopin. For Violin and Piano : A Pamphlet. 
 Songs : Bright be the place of thy soul ; There be none of Beauty's daughters ; The 
 spring beneath the willow tree ; The gentle eventide ; A rover's life for me. Pari- 
 song : The fairy's serenade ; etc. 
 
 MATTHESON (Johann). German comp. and writer, B. Hamburg, Sept. 28, 
 1681. Singer in theatre at Hamburg, 1697. Acquainted with Handel, 1703. 
 Secretary of legation at Hamburg, 1706 ; Canon of the cath., do., 1715. Chap.- 
 master to the Duke of Holstein, 1719. D.' Hamburg, April 17, 1764. 
 Works. - -Die Pleyaden, opera, 1699 ; and 7 other operas. Oratorios and can- 
 tatas ; Organ and other instrumental music. Das neu-eroffnete Orchestre, etc. 
 Hamburg, 1713-21. Exemplarische Organisten Probe im Artikel vom General-bass, 
 Hamburg, 4to, 1719. Critica Musica, d. i. giundrichtige Untersuch und Beurth- 
 eilung vieler...Meinungen, etc. Hamburg, 2 vols., 1722-25. Grosse General- 
 basse-schule, etc., 1731. Kleine General-basse-schule, 1735. Kern Melodischer 
 Wissenschaft bestehend in der auserlesensten Haupt-und Grund-lehren der musical- 
 ischen Setz-Kunst oder Composition, 1737. Der Vollkommene Capellmeister, 
 1739- Grundlage einer Ehrenpforte, woran der tuchtigsten Capellmeister, Com- 
 ponisten. etc., 1740. 
 
 Mattheson was a person of considerable acquirements, and a musician of no mean 
 ability, though his productions are now forgotten. 
 
 MATTHEWS (H.). English writer, author of " Observations on Sound : shew- 
 ing the causes of its indistinctness in churches,'' etc. Lond., 1826, 8vo. 
 
 MAURBR (Ludwig Wilhelm). German vnst. and comp., B. Potsdam, Aug. 
 8, 1789. Played at Berlin with Mara, 1802. Travelled in Germany and 
 France. Chap. -master to Chancellor Wsowologsky at Moscow. D. S. Peters- 
 burg, Oct. 25, 1878. 
 Comp. over 100 works, consisting of operas, symphonies, overtures, Pf. and 
 
 violin music, etc. 
 
 MAURICE (Rev. Peter, D.D.). English writer, vicar of Yarnton, Wood- 
 stock, and Chaplain of New Coll., Oxford. Author of "What shall we do 
 with Music? a letter to the Earl of Derby." Lond., 1856. "Choral Har- 
 mony, ii Collection of Tunes in Short Score for four voices." 4to, 1854. 
 
 MAVER (Robert). Scottish music-publisher, established in Glasgow, 1845. 
 Issued " Maver's Collection of Genuine Scottish Melodies for the Pianoforte 
 or Harmonium, in keys suitable for the voice. Harmonised by C. H. Morine. 
 Edited by George Alexander." Glasgow, 4to [1866]. Originally issued in 
 parts. He also issued a "Collection of Genuine Irish Melodies and Songs," 
 edited by G. Alexander, Glasgow, 4to [1877]. 
 
 MAXWELL (Francis Kelly). Scottish writer, author of "An Essay upon 
 Tune, being an attempt to free the scale of Music and the tune of Instruments 
 from Imperfection." Edinburgh, 1781 ; Lond., 1794. Maxwell died in 1782. 
 
 MAY (Edward Collett). English org. and comp., B. Greenwich, Oct. 29, 
 1806. S. under Adams, Potter, and Crivelli. Org. Greenwich Hospital, 
 1837-69. Prof. Vocal Music, Queen's College, London. Famed as an org. 
 and teacher. His daughter Florence is a fine pianist, and has appeared success- 
 fully. 
 
 MAY (A.). American writer, author of "Practical Piano School," 3 parts. 
 Boston, 11. d. 
 
 JVIAY (D. M. H.). American writer, author of "Operatic Method for the 
 Violin." Boston, u. d. 
 
MAY — MAZ 421 
 
 MAYBRICK (Michael), Stephen Adams. English barytone vocalist and 
 comp., B. Liverpool, 1844. S. under W. T. Best. Org. of S. Peter's Ch., 
 Liverpool, 1858. S. at Leipzig Cons, under Moscheles, Plaidy, and Richter, 
 1866-68. S. singing at Milan under Nava. Sang at New Philharmonic Con- 
 certs, Lond., 1870. Has since appeared at the London Ballad Concerts; in 
 opera ; and at the principal London and provincial festivals. Comp. of the 
 following popular songs : Nancy Lee, The Midshipmite, The blue Alsatian 
 mountains, Good company. The tar's farewell, True hearts, etc. 
 
 MAYER (Carl). German pianist and comp., B. Kbnigsberg, March 21, 1799. 
 S. under Field, etc. Appeared in Paris, 1814. Settled in S. Petersburg as 
 teacher, 1819. Travelled in Germany, Austria, etc., 1845. Settled in Dres- 
 den, 1850. D. Dresden, July 2, 1862. 
 Author of a large number of Pianoforte works, in nearly every form ; many of 
 
 them being pieces of great merit. Much used for teaching purposes. 
 
 MAYER (Johann Simon). German comp., B. Mendorf, Bavaria, June 14^ 
 
 1763. Principally self taught. Chap. -master of Santa Maria Maggiore, Ber. 
 
 gamo; Prof, of comp. in Musical Institution, do. D. Bergamo, Dec. 2, 1845. 
 
 Works. — Operas: Saffo, 1794; Lodoiska, 1796; Telemacco, 1797; Avviso ai 
 
 maritati, 1798; Lauso e Lidia, 1798; Adriano in Siria, 1798; Adelaide di Gues- 
 
 clino, 1799 ; Gli Scitti, 1800 ; Ginevra di Scozia, 1801 ; Le due jGiornate, 1801 ; 
 
 1 virtuosi, 1801 ; Argene, 1801 ; I misteri Eleusini, 1802 ; Elisa, 1804 ; Ercole in 
 Lidia. 1805 ; Gli Americani, 1806 ; Ifigenia in Aulide, 1806; I Cherusci, 1808 ; 11 
 Raoul di Crequi, 1810; Medea, 1812; Kosabianca e Rosa rossa, 1814; Atar, 1815. 
 Oratorios : Jacob e Labano fugiens, 1791; Sisara, 1 793 ; Tobise matrimonium, 1 794 ; 
 La Passione, 1794 ; II sacrifizio di Je(te, 1795. 17 Masses ; Psalms and other 
 church music ; Cantatas, etc. 
 
 MAYNARD (John). English lute-player and comp. of the 1 6th and 17th cen- 
 turies, published " The xii Wonders of the World, set and composed for the 
 VioU de Gamba, the lute, and the voyce, to sing the verse, all three jointly, 
 and none severall ; also Lessons for the Lute and Basse vioU to play alone ; 
 with some Lessons to play lyra-wayes alone, or if you will, to fill up the parts 
 with another vioU set lute-way." Lond., 1611, fo. 
 
 MAYNARD (Walter). See Beale (Thomas Willert), 
 
 MAYSEDER (Joseph). Austrian vnst. and comp., B. Vienna, Oct. 26, 1789. 
 S. violin and music at Vienna. Musician in Court Chap., Vienna, 1816. Solo 
 violin at Court Theatre, do., 1820. Chamber-vnst. to Emperor, 1835. Mem. 
 of Ord. of Franz-Joseph, 1862. D. Vienna, Nov. 21, 1863. 
 Works. — Concertos for vn. and orch., opp. 22, 26, 28, 45 ; Rondos and Polon- 
 aises for vn. and orch., opp. 21, 27, 29, 36, etc; Airs for vn. and orch., opp. 18, 
 25, 33, 40, 45 ; Themes var. for vn. Vfith trio accomp., opp. I, 4, 15 ; Quintets for 
 
 2 vns., alto, 'cello, and double-bass, opp. 50, 51 ; String quartets, opp. 5, 6, 7, 8, 
 9, 23 ; Trios for Pf., vn., and 'cello, opp. 34, 41 ; Sonatas for Pf. and vn., opp. 16, 
 42, etc. 
 
 MAZAS (Jacques Fereol). French vnst. and comp., B. Beziers, [Sept. 23, 
 1782. S. under Baillot at Paris Cons. Travelled in Europe concert-giving. 
 Director of music school at Cambrai. D. 1849. Comp. concertos, fantasias, 
 romances, for violin. 
 
 MAZZINGHI (Joseph). Italian comp., B. London, 1765. S. under J. C. 
 
 Bach, Anfossi, and Sacchini. Musical director, King's Theatre, 1784. Music 
 
 teacher, to Princess of Wales. D. Bath., Jan. ij, 1844. 
 WOKKS.— Musical dramas :— A. day in Turkey, 1791 ; Paul and Virginia, 1800 ; 
 The Blind Girl, 1801 ; The Exile, 1808 ; La belle Arsene ; Sappho et Phaon ; The 
 magician no conjuror ; The Free Knights ; Ramah Droog (with Reeve) ; The Turn- 
 pike Gate (Reeve) ; Chains of the Heart (with Reeve) ; Wife of two Hu.sbands. 
 Glees, trios, songs, etc. — And whither would you lead me ; Ava Maria ; O Brignal 
 banks ; The captive to his bird ; Cypress wreath ; Each throbbing heart ; For ten- 
 derness formed ; Had I a heart ; Harril the brave ; Hart and hind are in their lair ; 
 H^ste, O haste, glgrious light j Hope told a flattering tale ; Huntsman rest ; I seek 
 
422 MAZ — MEL 
 
 my shepherd gone astray ; If the treasured gold ; John of Brent ; Lady Beware ; 
 Lillo Lee ; Lochgyle ; The minstrel's summons ; Mirth and beauty ; The negro's 
 glee; Nocturnal besiegers; O young Lochinvar ; Pastoral rondo; Roderick Vich 
 Alpine ; Soldier rest ; Wake maid of Lorn ; When order in this land commenced ; 
 When Phoebus rays no more appear ; When tell-tale echoes ; and, Where shall the 
 lover rest. Songs, ballads, etc. 
 
 The reputation of this once popular composer has faded sadly, and at the present 
 date only a very few of his compositions are known or used. 
 
 MAZZUOATO (Alberto). Italian comp., B. Undine, July 28, 1813. Prof, 
 and director Milan Cons., D. Milan, Dec. 31, 1877. Comp. operas, orches- 
 tral works, _etc. 
 
 MEERTS (Lambert Joseph). Belgian violinist and comp., B. Brussels, 6 Jan., 
 1800. Vnst. in orchestral of theatre in Brussels. Prof, of vn. at Brussels 
 Cons., 1833. Chor. of the order of Leopold. D. Brussels, May 12, 1863. 
 Writings on and for the violin, etc. 
 
 MEES (Arthur). American org. and teacher, B. Columbus, Ohio, 1850. S. 
 under KuUak, Weitzmann, and Dorn. Founder and teacher in the " Cincin- 
 nati Music School." Director of the Cincinnati May Festival Chorus. Fellow 
 of American Coll. of Musicians. 
 
 MEHLIG (Anna). German pianist, B. Stuttgart, June 11, 1846. S. at Stutt- 
 gart Cons., and under Liszt. Played in England, 1866 ; do. 1869. Appeared 
 in America, 1873-4. Played in London again, 1875. Has since appeared in 
 Britain with much success. A performer of great executive abilities. 
 
 MEHXTL (Etienne Nicolas). French comp., B. Givet, Ardennes, June 22, 
 
 1763. S. under an org. named Hauser. Deputy org. at church of Lavaldieu, 
 
 1777. S. under Edelmann at Paris. Acquainted with Gluck. Mem. of In- 
 
 stitut de France, 1795. Chev. Legion of Hon., 1802. D. Paris, Oct. 18, 
 
 1817. 
 
 Works. — Operas: Cora, 1791 ; Le Jeune Sage et le Vieux Fou, 1793 ; Horatius 
 
 Codes, 1794; Phrosine et Melidore, 1794; La Caverne, 1795; Le Jeune Henri, 
 
 1797; Adrien, 1799; Ariodaut, 1799; Epicure (with Cherubini), 1800; Bion, 
 
 1800; L'Irato, ou I'Emporte, 1801 ; Une Folic, 1802; Le Tresor suppose, 1802; 
 
 Joanna, 1802 ; L'Henreux nialgrfe lui, 1802 ; Helena, 1803 ; Les deux Avengles de 
 
 Tolede, i8o5; Uthal, 1806; Gabrielle d' Estrees, 1806; Joseph, Feb. 17, 1807; 
 
 La Prince Troubadour, 1813 ; La Journee aux Aventures, 1816 ; Arminius, 1794. 
 
 Ballets: — Le Jugement de Paris, 1793; Le Dansomania, 1800; Le Retour d' 
 
 Ulysse, 1809; Persee et Andromede, 1 81 1. Church and instrumental music. 
 
 M^thul was one of the greatest and most original of the French composers of the 
 present century. His melody, orchestration, and command over dramatic expres- 
 sion were all of much merit, and in his treatment of involved operatic situations he 
 was several generations in advance of his contemporaries. 
 
 MEIBOMIUS (Marcus). Danish writer, B. Foenningen in Schleswig-Holstein^ 
 1626. Prof, for a time at Upsala. D. Utrecht, 1711. Author of "Antiqua 
 MusicEe auctores septem Graece et Latina," Amsterdam, 1652, 4to. 
 
 MEINAEDUS (Ludwig Siegfried). German comp., B. Hooksiel, Olden- 
 burg, 17 Sept., 1827. S. at Leipzig, Weimar and Berlin. Teacher at Dres- 
 den Cons., 1865. Teacher at Hamburg. Comp. oratorios : " Simon Petrus ; " 
 "Gideon;" Luther in Worms," etc. Chamber music, songs, symphonies, 
 and writings on music. 
 
 MEL (Binaldo del). Flemish comp., B. Li^ge. Flourished during the latter 
 
 half of the l6th century. Musician for a time to Philip II. of Portugal. Lived 
 
 at Rome, 1580-90. Music director at cath. of Magliano, 1590. D. about end 
 
 of l6th century. 
 
 Works. — Fifteen Books of Madrigals. Five Books of Motets ; and other church 
 
 music. 
 
 MELLON (Alfred). English comp., cond., and violinist, B. London, April 
 7, 1820. Violinst at Roy. Ital. Opera, Covent Garden, London. Cond. 
 
MEL — MEN 423 
 
 at Haymarket Theatre ; do. Adelphi ; do. Pyne and Harrison opera company ; 
 do. Musical Society ; do. Promenade Concerts, Covent Garden '; do. Liverpool 
 Philharmonic Society, 1865. Married to Miss Woolgar, the actress. D. Lon- 
 don, March 27, 1867. 
 WoRKS.^-Victorine, opera, Covent Garden, 1859. Numerous Songs and Bal- 
 lads. Pf. pieces, and other instrumental music. 
 
 Mellon was held in much esteem in his day as a good practical musician, and his 
 abilities as a conductor were widely known and highly appreciated. His composi- 
 tions are not so numerous nor so important as to call for much comment. 
 
 MELTON CWilliam). English writer. Chancellor of the Duchy of York, 
 flourished during the early part of the l6th century. Author of a treatise en- 
 titled " De Musicse Ecclesiasticae," preserved in MS. 
 
 MENDEL (Hermann). German writer, B. Halle, Aug. 6, 1834. D. Berlin, 
 Oct, 26, 1876. Editor ot " Musikalisches Conversations-Lexikon," Berlin, 
 1870-79, 1 1 vols. Completed by Dr. Reissman. This work is one of the most 
 perfect books of its kind, but is very unsatisfactory, like other continental works 
 ol a similar character, as regards British musical biography. 
 
 MENDELSSOHN (Jakob Ludwig Felix Mendelssolin - Bartholdy). 
 
 German comp., B. Hamburg, Feb. 3, 1809. Grandson of Moses Mendelssohn 
 the Jewish philosopher. S. under Madame Bigot, Ludwig Berger (Pf.) ; Zelter 
 (comp.); and Henning (violin), at Berlin. First appeared as a public per- 
 former, Oct. 1818 ; second, 1822. Alto singer at the Singakademie, Berlin, 
 i8ig. First began to compose, 1820. Acquainted with Weber, 1821 ; Goethe, 
 1821 ; Spohr, 1822 ; Moscheles, 1824. Examined in music by Cherubini, at 
 Paris, 1825. S. at University of Berlin, 1827-29. Visited London and Edin- 
 burgh, and travelled in Highlands of Scotland, 1829. Visited Italy and Swit- 
 zerland, 1830-1 ; and Paris again, 1831. Director of theatre at Dusseldorf, 
 1833. Married to CeciJie Jean Renaud, 1837. Ph.D., Leipzig University, 
 1841. Superintendent of sacred music in Germany, 1841. Chapel-master to 
 King of Saxony. Musical director of Leipzig Cons., 1843. Cond. Philhar- 
 monic Concerts, London, 18.44. Cond. "Elijah" at London, 1847. D. 
 Leipzig, Nov. 4, 1847. 
 Works. — Op. i. Quartet for Pf. and strings, in C min., 1822 ; op. 2. do., No. 
 2, in F min., 1823 ; op. 3. Do. in B. min., 1825 ; op. 4. Sonata for Pf. and violin, 
 F min.; op. 5. Capriccio for Pf., in F sharp min., 1825 ; op. 6. Sonata for Pf., in 
 E, 1826 ; op. 7. Seven characteristic pieces for Pf.; op. 8. Twelve songs for voice 
 and Pf., 1829 ; op. 9. Twelve do., 1829 ; op. 10. The Wedding of Comacho (Die 
 Hochzeitdes Camacho), comic operetta in 2 acts, Aug. 10, 1825; op. 11. Symphony 
 No. I, in C mm., 1824; op. 12. First quartet for strings, in E flat ; op. 13. Second 
 do., in A min. ; op. 14. Andante and Rondo capriccioso, in E, Pf. ; op. 15. Fan- 
 tasia on the Last Rose of Summer, in E, Pf.; op. 16. Three Fantasias, Pf.; op. 17. 
 Variations concertants, in D, Pf. and 'cello ; op. 18. First quintet, in A, for strings ; 
 op. 19. Six songs ; op. 20. Ottetto, in E flat, for strings ; op. 21. Overture : Shakes- 
 peare's Midsummer Night's Dream, 1826 ; op. 22. Capriccio brilliant, in B min., 
 Pf. andorch.; op. 23. In Deep Distress, Psalm 130 (Bartholomew), for solo and 
 chorus, 2 motets ; op. 24. Overture, in C, for miUtary band ; op. 25. First concerto, 
 in G min., Pf. and orch.; op. 26. Overture: The Hebrides, in B min., 1829 ; op. 
 27. Overture in D, Die Meeresstille und Gluckliche Fahrt ; op. 28. Fantasia for Pf. 
 in F sharp min.; op. 29. Rondo Brillante, for Pf. and orch., in E flat ; op. 30. 
 Sechs Lieder ohne Worte, Pf , Book 2 ; op. 31. Psalm 115, for solo, chorus, and 
 orch. [1830] ; op. 32. Overture, in F, Marchen von die Schone Melusine [1833] ; 
 op. 33. Three caprices for Pf.; op. 34. Sechs Gesange [1824] ; op. 35. Sechs Pralu- 
 dien und 6 Fugen ; op. 36. St. Paul, oratorio ("Paulus") Dusseldorf [1836] ; 
 op. 37. 3 Praludien und Fugen fiir Orgel ; op. 38. Sechs Lieder ohne Worte ; op. 
 39. Three motets ; op. 40. Second concerto, for Pf. and orch., in D min. [1837]; 
 op. 41. Six four-part lieder ; op. 42. Psalm 42, for solo, chorus, and orch.; op. 43. 
 Serenade und Allegro giojoso, for Pf. and orch., in D ; op. 44. First, second, and 
 third quartets, for strings, in D, E minor, and E flat [1837-8]; op. 45. Sonata for 
 Pf. and 'cello, in B ; op. 46. Psalm 95, for solo, chorus, and orch. [1838] ; op. 47. 
 Sechs lieder, voice and Pf.; op. 48. Six lieder, for 4 voices, 2nd set; op. 49. First 
 
424 MEN^-MEN 
 
 trio for Pf., violin, and 'cello [1839]; op. 50. Six lieder for male voices ; op. 51. 
 Psalm 114, for 8 voice choir and orch ; op. 52. Lobgesang Symphonie-cantate 
 [1840] ; op. 53. Sechs lieder ohne worte, Pf ; op. 54. Variations (17) S&ieuses, for 
 Pf ; op. 55. Music for the "Antigone" of Sophocles, male choir and orch. [1841] ; 
 op. 56. Third ■ Symphony, in A min., "Scotch" [1843]; op- 57- Sechs Lieder; 
 op. 58. Sonata for Pf. and 'cello, in D ; op. 59. Sechs lieder, for 4 voices, ..3rd set ; 
 op. 60. Die erste Walpurgisnacht, Ballade von Goethe, for chorus and orch., 
 1832 (2nd version, 1843); op. 61. Musik zu Sommernachtstraum von Shakes- 
 peare (Incidental music to " Midsummer Night's Dream ") ; op. 62. Lieder 
 ohne worte, Pf. book 5 ; op. 63. Sechs lieder for 2 voices and Pf ; op. 64. 
 Concerto for violin and orch. in E minor [1844] ; op. 65. Six Sonatas for 
 organ; op. 66. Second trio for Pf, violin, and 'cello, in C min. ; op. 67. Lieder 
 ohne worte, Pf, 6th book; op. 68. Festgesang : " An die Kunstler " (Schiller), 
 chorus and orch. ; op. 69. Three motets, solo and chorus ; op. 70. Elijah, oratorio, 
 Birmingham. Aug. 26, 1846; op. 71. Sechs lieder; op. 72. Sechs Kinderstiicke 
 (children's pieces), Pf; op. 73. Lauda Sion for chorus, solo, and orch., 1846 [op. 
 I. posthumous]; op. 74. Musik zu "Athalia" von Racine [1843-5]; op- 75- Four 
 lieder for 4 male voices, 2nd set ;' op. 76. do., 3rd set ; op. 77. Three lieder for 2 
 voices and Pf ; op. 78. Three Psalms (2nd, 43rd, and 22nd), for solo and chorus, 
 [1844] ; op. 79. Six Spriiche (motets) for 8 part choir; op. 80. Sixth Quartet for 
 strings, in F min. [1847]; op. 81. Andante, scherzo, capriccio, and fugue for 
 strings, in E, A min, E min, and E flat ; op. 82. Variation for Pf in E flat ; op. 
 83. do. in B flat ; op. 83A. Andante and variation, in B, Pf 4 hands ; op. 84. 
 Three songs for a deep voice ; op. 85. Lieder ohne worte, Pf book 7 ; op. 86. Six 
 songs, voice and Pf ; op. 87. Second quintet for strings, in B [1845] > op- 88. Six 
 lieder for four voices, 4th set; op. 89. Heimkehr aus der Fremde ("Son and 
 Stranger,") operetta or leiderspeil in i act [1829]; op. 90. Fourth Symphony for 
 orch. "Italian," in A [1833] ; op. 91. Psalm98for8 voice choir, solo, and orch. [1844]; 
 op. 92. Allegro brillant, Pf in A ; op. 93. Musik for "Oedipus in Kolonos " of 
 Sophocles, for male chorus and orch. [1845] ; op. 94. " Concertarie (scena) for 
 soprano, solo, and orch. ; op. 95. Overture for orch. " Ruy Bias " (Hugo) in C 
 min. [1839] ; op. 96. Hynin for alto solo, chorus and orch.; op. 97. Christus, un- 
 finished oratorio (8 numbers); op. 98. Loreley, unfinished opera, comprising finale 
 to act I, Ave Maria and chorus, and Vintage chorus for male voices [1847]; op. 99. 
 Six songs, for voice and Pf ; op. 100. Four lieder for 4 voices ; op. loi. "Trumpet" 
 overture, for orch., in C; op, 102. Lieder ohne worte, Pf, book 8 ; op. 103. 
 Trauermarsch for orch. in A min. ; op. 104. Three preludes and three studies for 
 Pf ; op. 105. Sonata for Pf in G min. [1821] ; op. io5. do. in B flat [1827] ; op. 
 107. Fifth symphony for orch., "Reformation," in D min [1832] ; op. 108. March 
 for orch in D ; op. 109. Lieder ohne worte, for 'cello and Pf , in D ; op. no. 
 Sextet for Pf and strings, in D ; op. in. " Tu es Petrus," chorus for 5 voice choir 
 andtjrch. ; op. 112. Two sacred songs for solo voice and Pf ; op. 113. ConcertstUck 
 for clarinet, basset-horn, and Pf, in F.; op. 114. do., in D min.; op. 115. Two 
 sacred choruses for male voices ; op, 116. Trauergesang (funeral hymn), for mixed 
 choir; op. 117. Albumblatt, Pf, in E min.; op. 118. Capriccio, Pf, in E; op. 
 119. Perpetuum mobile, Pf, in C; op. 120. Four lieder for 4 male voices; op. 
 121. Responsorium et Hymnus, for male voices and org. "Hear my prayer," 
 Psalm for solo, chorus, and orch. [1844]. Numerous unnumbered works, including 
 songs, part-songs, sacred music (hymns, anthems, etc.), and pianoforte music 
 (studies, "gondellied," preludes, etc.) 
 
 One of the greatest and most eclectic musicians who ever lived. Brought up to 
 music, with everything in his favour, and well endowed by nature and fortune to 
 meet successfully all the difiiculties attending the pursuit of the musical art, he en- 
 countered comparatively few of the disappointments and struggles which fell in the 
 way of other famous composers, of whom Mozart and Schubert are familiar 
 instances. His career was for the most part unclouded by any of those mercenary 
 considerations which have fettered so many equally able men, and he was free to 
 devote his whole life and study to his adopted art. That he nobly did this is a 
 matter of musical history. Never during his too short career did he manifest any of 
 those huckstering traits which form the most distinguishing feature of the German- 
 Jewish character, and of which a shining exnmple is shown in the career of Jacob 
 Meyerbeer. He devoted himself with heart and soul to the cultivation of music, 
 and he made it a kind of life-work and worship, as well as a mere profession. 
 
MEN — MEN 425 
 
 His works are among the very finest in the whole range of musical art, and in their 
 peculiar style, among the most original. As original creations his works are 
 indeed marvels, when it is considered that so many great workers, each on his own 
 lines, preceded him. His works have been criticised, discussed, and re-discussed 
 ad infinitum, and it is our purpose merely to give a brief resume of some of the 
 more prominent characteristics of his style, and to point out what are deemed his 
 most important works. He has been described as standing mid-way between the 
 classical and romantic schools of musical thought, with a strong and decided leaning 
 towards the latter. All of his works are impressed in a degree more or less strongly 
 marked, with the emotional and highly-wrought feeling of the Romantic school, 
 while in form, and very often in spirit, the Classical element is allowed full sway. 
 Perhaps the best-known and most appreciated of his minor works are the Lieder 
 ohne worte (Songs without words), in which he gave a title and an existence to one 
 of the most refined and beautiful forms of Pianoforte music, These pieces, which 
 are usually allowed to be his invention, are simply thoughts in music, admirably 
 adapted to the capabilities of the Pianoforte. Their difference from the ordinary 
 pensh, impromptu, reverie, and other similar forms of more modern Pianoforte 
 music, consists in the original style of their treatment, which makes them indeed 
 Songs, as opposed to mere exercises in harmonical combination. His other works 
 for the Pianoforte are no less distinguished for the bold and original features which 
 they exhibit, and their constant use throughout the World, is a sufficient testimony 
 to their worth and vitality. Coming to his larger works, the two which immedi- 
 ately appeal to the attention are the magnificent oratorios, "Elijah" and "St. 
 Paul," both of which are unmatched for impressive dignity and originality. The 
 works of Handel bear no comparison with those creations, save in a few of the 
 choral numbers, as the styles of both masters are quite opposed to each other in 
 every respect. The harmonies of Handel are thin and colourless beside those of 
 Mendelssohn, and the whole structure and character of the dramatic and emotional 
 feeling is entirely different in both. It is a matter for congratulation that the 
 merits of such works as " Elijah " and " St. Paul " were first recognised and 
 appreciated in Britain ; a country which has been pledged to Handel and his works 
 since the advent of that master. Mendelssohn's other works, such as the music to 
 the plays of Sophocles, Goethe's " Walpurgisnacht," and the magnificent array of 
 Psalms and Motets, need not be noticed in detail, as their fine harmonies, massive 
 structure, and general impressiveness are known to every musical student. As an 
 instrumental composer he stands nearest Beethoven of any musician of the present 
 century. His fire, grasp of instrumental resource, clearness of design, and com- 
 mand of fresh combinations and beautiful forms, are all united in everything which 
 he wrote, and his symphonies, overtures, and incidental pieces are all invested 
 with those characteristics, together with a richness and warmth of treatment 
 which stamp them as his own. The characteristics of Mendelssohn's rn^usic 
 can never be mistaken by a musician of ordinary experience, and it speaks 
 volumes to his influence that so many musicians of every nation imitated his 
 peculiar florid and rich harmonies. It should be mentioned, however, that 
 although much of Mendelssohn's music is characterised by his individuality and 
 spirit, a large proportion of his works are much more conspicuous for mere 
 formal beauty than deep feeling. This is particularly observable in the " Refor- 
 mation Symphony," where the composer's imagination seems to have become 
 jaded and mechanical long before the conclusion of the work. As a writer of 
 part-songs and lieder he stands among the foremost of modern Germany, and, 
 taken as a musician all in all, he is no doubt the most eclecticand original 
 the world has yet seen. His genius shone in every department of music save opera, 
 in which he only attempted a few fragmentary sketches, and as a man of general 
 literary culture and fine character he has been long since acknowledged. Among 
 the works on this gifted artist, the following is a selected list :— 
 
 Letters from Italy and Switzerland and Letters from Felix Mendelssohn-Bar- 
 tholdy, from 1833 to 1847, translated by Lady Wallace, Lond., 2 vols., 8vo, 
 1862-63; Goethe and Mendelssohn, 1821-1831, trans, from the German of Karl 
 Mendelssohn-Bartholdy, by M. E. von Glehn, Lond , 1872, 8vo; Barbedette. Felix 
 Mendelssohn, sa Vie et ses OEuvres, Paris, 1869, 8vo ; Devrient (E.) Meine Erin- 
 nerungen an Felix Mendelssohn-Bartholdy... Leipzig, 1869; also in English, 1869; 
 Polko (E.) Reminiscences of F. Mendelssohn-Bartholdy, trans, by Lady Wallace, 
 Lond., 1869, 8vo; Mendelssolm Family, 1729-1847, by Sebastian Hensel, from 
 
426 MEN — MER 
 
 Letters and Journals, trans, by Carl Klingemann, Lond. [1884], 2 vols., 8vo ; 
 Lampadius (W. A.) Life of Mendelssohn... Lond., 1876, 8vo. Periodical Articles : 
 Edinburgh Review, vol. 115 ; British Quarterly Review, vol. 24 and 36 ; Fraser's 
 Magazine, vols. 36, 37, 68, and 79 ; Dublin Review, vol. $2 ; Temple Bar, 187 1 
 and 1874; Journal of Speculative Philosophy, vol. 7 ; Boston Review, vol. 5. See 
 also the Bibliography. 
 
 MENTEB (Joseph). German violoncellist and comp., E. Teysbach, Bavaria, 
 Jan 18, 1808. D. Munich, April 18, 1856. Comp. music for 'cello and orch. 
 Was 'cellist at Munich opera. 
 
 MENTER (Sophie). German pianist, B. Munich, July 29, 1848. Daughter 
 of above. S. at Munich Cons., and under Liszt. First appeared about 1863 
 at Stuttgart, and has since appeared at all the principal concerts in Britain and 
 Europe. Appeared at Leipzig, 1867 ; London, 1881. Married to David 
 Popper, the violoncellist, in 1872. Madame Menter is distinguished for 
 the powerful style of her performance of works of the most advanced modern 
 school. 
 
 MBEOADANTE (Saverio). , Italian comp., B. Altamura, Bari, 1797. S. at 
 Coll. ofS. Sebastian, Naples, 1809. Resided successively at Milan, Madrid, 
 Cadiz, and Naples. Director of Naples Cons., 1840-62. Mem. of the Insti- 
 tute of France. D. Naples, Dec. 13, 1870. 
 Works. — Operas: Violenza e Costanza, 1819 ; Anacreonte in Samo, 1820; II 
 
 geloso ravveduto ; Scipione in Cartagine ; Maria Stuarda, 1821 ; Elisa e Claudio, 
 
 1821 ; L'Andronico, 1822 ; Adele ed Emerico, 1822 ; Alfonso ed Elisa, 1823 ; 
 
 Didone, 1823; Gli Sciti, 1823; Dorolice ; II podesta di Burgos; Nitocri, 1825; 
 
 II Montanaro, 1827; La Rappresaglia, 1829; La Testa di Bronzo, 1831; I. 
 
 Briganti ; Le due illustr^ rivali, 1839. Cantatas, songs, etc. 
 
 The reputation of this composer, once brilliant and far-spread, has at the present 
 
 date dwindled down to very small bulk. He is chiefly famous for a great command 
 
 of fine melody, and a wide range of comic expression. 
 
 MEBCY (Louis). French flute-a-bec player and comp., B, England. Flourished 
 in first part of 1 8th century. Associated with Stanesby, a musical instru- 
 ment-maker of London, in an endeavour to keep up an interest in the flute-a-bec, 
 which was being superseded by the German flute. He published "Twelve 
 Solos for the English Flute-a-bec, with a Preface ;" Six do., op. 2, etc. 
 
 MEEKEL (Gustav). German org. and comp., B. Oberoderwitz, Saxony, 1827 ; 
 S. under Schneider, Reissiger and Schumann. Org. of Waisenkirche, Dresden, 
 Dresden, 1853; do. ICreuzkirche, i860; Court org., Dresden, 1864. Director 
 of the Singakademie, Dresden, 1867-73. Prof- at Dresden Academy, etc. D. 
 Dresden, Oct. 30, 1885. 
 Works. — Org. and Pf. Music: Sonata in D min., org. duet, op. 30; Introduc- 
 tion and double fugue, org., op. 34; Adagio, org., op. 35 ; Second Sonata, in G, 
 op. 42 ; Variations (Beethoven), op. 45 ; 36 kurze und leichte Praludien, op. 47 ; 
 50 Do., op. 48 ; Three characterstUcke, Pf., op. 50; Weihnachts pastorale, org., 
 op. 56 ; Nachklange aus schbner Zeit, romance Pf., op. 66 ; Three Idyllen, Pf., op. 
 68 ; Valse-impromptu, Pf., op. 69 ; Polonaise Pf., op. 70 ; Bunte Blatter, 4 kleine 
 Tonbilder, Pf., op. 71; Stimmungsbilder, 8 lyrische stucke, Pf., op. 72; Four 
 pieces, Pf., op. 74; Third sonata, org., C min., op. 80; Six trios, org., op. 100, 
 2 books ; 12 Orgelstiicke, op. 102 ; Pastorale in G, org., op. 103 ; Fantasia and 
 fugue, org., op. 104; Do., op. 109; Fourth sonata, org., F, op. 115; Chorale- 
 studies, org,, op. 116 ; Fifth Sonata, D min., op. 118 ; Reigen, Pf., op. 119; Lenz 
 und Lied, Pf., op. 120; Two andantes, org., op. 122; Twelve fugues, org., op. 
 124; Waldbilder, Pf. op. 127; Two military marches, Pf. op. 128; 12 Praludien 
 und Fughetten, org., op. 130, etc. 
 
 The works of Merkel are marked by great taste and brilliancy, and enjoy much 
 favour among English and American organists, as well as on the Continent. 
 
 MERMET (Auguste). French comp., B. 1815. S. 'under Lesueur and Halevy. 
 Chevelier of Legion of Hon. Comp. Le Roi David, opera, 1846. Roland k 
 Roncevaux, do., 1864. Jeanne d'Arc, 1876, etc. 
 
M E R — M E Y 427 
 
 MEEiSENNE (Marin). French writer, B. Oiz6 on the Maine, Sept. 8, 1588. 
 Ordained priest, 161 1. Prof, of Philosophy, Nevers. Resided in Paris. D. 
 Paris, Sept. i, 1648. 
 
 Works. — Traits de I'harmonie universelle, 1627. Philosophical writings, etc. 
 
 MERZ (Earl). German writer and comp., B. Bensheim, Franlcfort-on-the-Main, 
 Sept. 10, 1834. S. under his father, etc. Went to America, 1854. Engaged 
 in a music-store in Philadelphia. Org. of the Sixth Presbyterian Church, 
 Philad. Musical director of Eden Hall Seminary, Lancaster, Pa., 1856. 
 Teacher in South Virginia till 1861. Teacher of music at Oxford Coll., 
 Oxford, Ohio. Editor of BrainarcTs Musical World horn 1870. 
 Works. — Operettas, etc. : Katie Dean ; Miriam's Song of Triumph, cantata ; 
 
 Runaway Flirt ; Gipsy Girls, chorus ; The last will and testament. TAeoi etical 
 
 ■woiks: Modern Method for the Reed Organ (Brainard's), Cleveland, n. d. Musical 
 
 Hints for the Million (Brainard's), Cleveland, n. d. Harmony and Thorough-bass. 
 
 Part-music and Songs, Pf. music, etc. About 52 biographies of eminent American 
 
 and other musicians in Brainard's Musical World. 
 
 Mr. Merz holds a high position in the Western States of America tor his 
 
 efforts in the cause of classical music, as well as for several didactic works which he 
 
 has published. 
 
 METASTASIO (Pietro). Italian poet and dramatist, B. Rome, 1698. D. 
 Vienna, 1782. 
 Metastasio gave life and form to much of the operatic work of the i8th century ; 
 his librettos having been the most widely used and popular of any poet of the 
 period. At the same time his librettos had a decided tendency to make the musical 
 settings stilted and lacking in variety. Metastasio was opposed to Gluck and operatic 
 reform, and was the representative of the old classical form. His life was written 
 by Burney, and to this reference must be made for further information. 
 
 METCALFE (Rev. Joseph Powell). English musician and writer, B. Can- 
 terbury, 1824. S. at Cambridge. B.A., 1847; M.A., 1850. Ordained, 
 1847. Rector of Bilbrough, Yorks., 1856. 
 Works. — School Round Book. Rules in Rhymes and Rounds. Metrical 
 
 Anthems. Rounds, Catches, and Canons of England (with E. F. Rimbault), 
 
 Lond., 1873. Contributions to Musical Literature, etc. 
 
 METHFESSEL (Albert Gottlieb). German comp., B. Stadtilm, Sept. 20, 
 1786. S. at Rudolstadt. Musician at Court of Schwarzburg. Teacher at 
 Brunswick and Hamburg. D. Brunswick, Mar. 1869. Comp. numerous 
 lieder, Pf. music, etc. ALBERT, his son, B. 1806, D. Berne, Nov. 19, 1878, 
 wrote some of the most famous lieder of modern Germany. 
 
 METRA (Jules Louis Olivier). French comp., B. Rheims, June 2, 1830. 
 S. Paris Cons., under Elwart and Thomas. Cond. etc. 
 Works. — Le Valet de chambre de Madame, 1872 ; Robinson Crusoe, 1857 ; 
 Yedda, 1879 ; Ballets, etc. 
 
 METZLER & CO. English firm of music-publishers, established in London 
 about the end of the i8th century. They publish vocal music by Abt, G. B. 
 Allen, Balfe, Benedict, Bishop, Blumenthal, Campana, Cellier, Clay, Dick, 
 Gabriel, Glover, Gounod, Hatton, Hullah, Linley, Lutz, Moore, Offenbach, 
 Pinsuti, Sainton-Dolby, Smart, Sullivan, Wrighton, and numerous other living 
 and recent composers. Their instrumental catalogue includes works by many 
 of the modern and classic masters. 
 
 MEYER (Leopold von). Austrian comp. and pianist, B. Baden, near Vienna, 
 Dec. 20, 1814. S. under Czerny. Visited U. S. A., 1845 and 1868. Has 
 played in London, Paris, etc. D. Dresden, March 6, 1883. Comp. variations, 
 fantasias, dances, studies, nocturnes, etc. for Pf. Was a performer of great 
 ability but of eccentric manner. 
 
 MEYERBEER (Jacob), or Beer. German comp., B. Berlin, Sept. 5, 1791.. 
 S . under Vogler, Lauska, C'emenka, and Zelter. Chap. -master to King of 
 Prussia. Cond. of Opera, Berlin. Mem, of Academy of Fine Arts, Berlin. 
 
428 MIL — MIL 
 
 Comp. to Duke of Darmstadt. Visited London, 1847. Resided in Vienna, 
 1813. Resided at Venice and Milan; Paris from 1826. D. Paris, May 2', 1864. 
 
 'WoKK.s.—Oj>eras: Les Amours de Tevelinde, 1813 ; Wirth und Geist, 1813; 
 Romilda e Costanza, 1815 ; Emma di Resburgo, 1819 ; Semiramide riconosciuta, 
 1819 ; Margherita d'Anjou, Milan, 1820 ; L'Esule di Granata, 1822 ; Almanzor ; 
 Das Brandenburger, 1823; II Crociato in Egitto, Venice, 1824; Robert le 
 Diable (libretto by Scribe and Delavigne),J Paris, Nov. 21, 1831 (Lond., 1831) ; 
 Les Huguenots (Scribe), Paris, Feb. 21, 1836; Lond., 1842; Ein Feldlager in 
 Schlesien, 1840 ; Struens^e, Berlin, 1846 ; Le Prophete, Paris, 1849 (Lond., July, 
 1850); L'Etoile du Nord, Paris, Feb., 1854 (Lond., July, 1854); Le Pardon de 
 Ploermel, Paris, 1859 (London, as "Dinorah") ; " L'Africaine," 1864. Oratorios: 
 Gott und die Natur, 181 1 ; Jephtha's Geliibde, 181 1. Cantatas, etc.: Seven Sacred 
 Cantatas of Klopstock, for 4 voices and accomp. ; Le Genie de la Musique a la 
 tombe de Beethoven, cantata ; Cantata for the inauguration of Gutenberg's Statue 
 at Mayence, 1836 ; Le F^te a le cour de Ferrare, 1843 5 Cantatas fot the marriages 
 of Royal personages ; Ode au Sculpteur Rauch, 1851 ; Ninety-first Psalm for 8 
 voices ; Stabat Mater ; March for Schiller Centenary Festival, Paris, 1859 ; 
 Overture for London International Exhibition, 1861 ; Coronation March, 1863. 
 Numerous Pf. and lyrical pieces. 
 
 A composer of much influence on the operatic style of the present century. 
 Basing his style upon that of Rossini, he produced o. succession of brilliant and 
 clever works, in which every artificial means of dazzling was resorted to. His 
 works were as much spectactular as musical, and he strove to gain effects by an 
 overwhelming quantity of tricky devices, rather than by those legitimate resources 
 by which Weber and others maintained their renown as musicians. Meyerbeer 
 brought the means of operatic representation to a degree of perfection far above 
 anything achieved by his predecessors, and in this respect he has been followed by 
 Wagner. His claim to be regarded as a true artist has been very keenly discussed 
 on several occasions, and while on all hands his cleverness as an adapter and arran- 
 ger is admitted, much doubt exists as to the existence of much originality in his 
 works. Perhaps the term which best describes his style would be Germanised- 
 Rossini. He has been blamed for looking too sharply after the mercenary rather 
 than the artistic aims of a musician's career, but the explanation is easily found in 
 his nationality. 
 
 Of his works the best known are "Robert le Diable," "Les Huguenots," 
 "L'Etoile du Nord," and " Dinorah," and of these " Les Huguenots" is regarded 
 as the best. It is a work containing many powerfully conceived and well worked 
 out situations. Two works on Meyerbeer are Blaze de Bury's "Meyerbeer et son 
 Temps," Paris, 1865; and Pougin's "Meyerbeer," Paris, 1864. There are also 
 articles on him in the Atlantic Monthly, 1864 and 1879, and in nearly every 
 musical journal. 
 
 MILANOLLO (Maria). Italian violinist, B. Sevigliano, near Turin, June 19, 
 1832. S. under her sister Teresa, and travelled with her, concert giving. D. 
 Paris, Oct. 21, 1848. 
 
 MILANOLLO (Teresa). Italian violinlist, B. Sevigliano, near Turin, Aug. 28, 
 1827. S. under Lafont, etc. First appeared, 1839. Appeared in London 
 with Maria, her sister. Travelled through France, Germany, Italy, and Eng- 
 land. Married M. Parmentrer. Revisited England, 1845. 
 
 MILDER-HAUPTMANN (Pauline Anna). German soprano vocalist, B. 
 Constantinople, 1785. S. under Salieri, etc. DBut, April 9, 1805, in 
 Siissmayer's " Der Spiegel von Arkadien." Married Hauptmann, 1810. 
 Appeared successively in Italy, Germany, etc. D. Berlin, May 29, 1838. 
 
 MILLARD (James Elwin). English writer. Was Headmaster of Magdalene 
 Coll. School, Oxford. Author of "Historical Notices of the Office of Cho- 
 risters, Lond., 8vo, 1848. 
 
 MILLER (Edward). English comp. and writer, B. Norwich, 1731. Bred a 
 paviour, but absconded and S. under Burney at Lynn. Org. of Church of Don- 
 caster, 1756-1807. Mus. Doc, Cantab., 1786. D. Doncaster, Sept. 12, 1807. 
 Works. — Six solos for German flute ; Six sonatas for the harpsichord ; Elegies 
 
 for voice and Pf, ; Twelve songs, 1773 ' Instittites of Music, or Easy Instructions 
 
Mil — MoL 4S9 
 
 for the Harpsichord, Lond., fo., n.d. [1771] ; Elements of Thorough-bass and Com- 
 position, Lond., fo., 1787; The Psahns of David set to music, and arranged for 
 every Sunday in the year, 1774; Treatise of Thorough-bass and Composition, 
 Dublin, fo., n.d. ; History of Doncaster, Doncaster, 1804. 
 
 MILLER (H. W.) English writer. Author of "Notes on Old English Music, 
 a Lecture," London, 1875. 
 
 MILLER (Williain Mackie). Scottish teacher and cond., B. Glasgow, 1831. 
 Cond. of Tonic Sol-fa Society, and late principal of a College of Music. He 
 has edited a few works by Handel, in the tonic sol-fa notation, and written a 
 "Tonic Sol-fa Flute Instructor," Edin., n.d., and other works designed for 
 instruction in the Tonic Sol-fa notation. 
 
 MILLOCKER (Carl), Austrian comp. and cond., B. Vienna, April 29, 1842. 
 S. at Vienna Cons. Cond. at Gratz, and now teacher and cond. in Vienna. 
 He has comp. a number of operas and operettas of which "Diana," 1865, 
 "Three Pairs of Shoes," "The Enchanted Castle," Gasparone, 1884, Der 
 Feldprediger, 1884, and "The Beggar Student " were successful. The last 
 named was produced in London in 1885. 
 
 MILLS (S. B.) English pianist, comp., and teacher, B. Leicester, March 13, 
 1839. S. at Leipzig. Settled in New York, 1858. Teacher and comp. there. 
 Has comp. numerous fanciful pieces for the Pf. , and is regarded as one of the 
 leading pianists in America. 
 
 MILTON (John). English musician, B. about end of i6th century. Scrivener 
 in Bread Street, Cheapside, London. D. 1646. Comp. " Fayre Oriana in 
 the Morne," madrigal, and numerous songs and motets in the principal collec- 
 tions of the period. His merits as a musician are celebrated in a short poem, 
 "Ad patrem," by his son, the celebrated poet, whose works have been set by 
 numerous composers, like Handel, Lawes, King, Nelson, and others. 
 
 MINGOTTI (Eegina), nie Valentini. Italian vocalist, B. Naples, 1728. S. 
 under Porpora. Married Mingotti. Appeared in opposition to Faustina- 
 Hasse. Sang in Spain. Appeared in London, 1755. D. at Neuburg on the 
 Danube, 1807. 
 
 MITCHISON (William). Scottish musician and publisher in Glasgow. 
 
 Works. — The Psalmist's Companion, a Collection of Devotional Harmony for 
 the use of Presbyterian Churches, selected from the works of Steven, Robertson, 
 R. A. Smith, &c., Glasgow, i6mo, n. d: [c. 1843]. A few Remarks on the Piano- 
 forte, giving details of the Mechanical Construction of that Instrument, etc., Glas., 
 8vo, 1845. Selection of Sacred Music, n. d. R. A. Smith's anthems, edited 
 Glas., n. d. 
 
 MOLIQUE (Bernhard). German violinist and comp., B. Nuremberg, Oct. 7, 
 1803. S. under Spohr and Rovelli. Vnst. in theatre at Vienna. Leader of 
 band at Munich, 1820. Do. Royal band at Stuttgart, 1829-49. Resided in 
 London, 1849-66. Retired to Caustadt, 1866. D. Caustadt, near Stuttgart, 
 May 10, 1869. 
 Works. — Concertos for vn. and orch., various ; Quartets for strings etc. ; Sym- 
 phony for orch., 1837; Fantasias for vn. ; Variations, concertinos, trios, etc.; 
 Mass in B minor, op. 42. Abraham, oratorio, Norwich, i860. Songs, etc. 
 
 A composer of much refinement, and a violinist of skill and taste. "Abraham," 
 and selections from it, are still in use in England. 
 
 MOLINEUX (John). English writer and comp., B. about end of iSth century. 
 Author of "The Singer's Systematic Guide to the Science of Music," Lond., 
 fo., 1831. A Concise Collection of the Rudiments of Vocal Music, intended 
 to assist persons who practise Glees or Church Music in the Art of Singing at 
 .sight, Lond. [1830]. 
 
 MOLLESON (Alexander). Scottish minor poet, flourished at end of i8th and 
 beginning of 19th centuries. Carried on a bookseller's business in Glasgow. 
 Published anonymously, "Melody the Soul of Music, an Essay towards the 
 
43° MOL — IStON 
 
 Improvement of the Musical Art," Glasgow, 8vo, 1798. This was reprinted 
 in his " Miscellanies in Prose and Verse," Glasgow, 1806. 
 
 MOLLOY (James L.) Irish amateur comp. and writer, B. 1837. Eldest son 
 
 of Kedo Molloy, Esq., of Cornolore, King's County. M.A. of the Catholic 
 
 University of Ireland. Called to the English bar, 1864. Married Florence 
 
 Baskerville, youngest daughter of Henry Baskerville, Esq., J. P. of Crowsley 
 
 Park, Lord of the Manor of Shiplake, and deputy-heutenant for the County 
 
 of Oxford. Secretary to the late Sir John Holker, attorney-general. Member 
 
 of the South-Eastern Circuit and Brighton Sessions. Member of the Middle 
 
 Temple ; the Windham Club, etc. 
 
 Works. — Operettas: Student's frolic; My aunt's secret; Very catching. Irish 
 
 melodies (Boosey), edited with new accomps. "Our Autumn Holiday on French 
 
 Rivers " (prose work). Songs : Blue eyes ; Because I do ; By the river ; Bird and 
 
 the cross ; Child's vision ; Clang of the wooden shoon ; Clochette ; Colleen ; 
 
 Coquette ; Cragsman ; Darby and Joan ; Dreams ; Drifting boat ; Eily's reason ; 
 
 Far from my native land ; Flowers that bloom ; Golden gleamed the river ; Jack's 
 
 Farewell ; Jamie ; Kerry dance ; Knitting ; London Bridge ; Marching along ; 
 
 My love has gone a-sailing ; My own true love ; Old Chelsea pensioner ; Our home 
 
 by the sea ; Polly ; Postillion, the ; Thady O'Flinn ; Twenty-one ; Vagabond, 
 
 the ; Wandering Jew ; and Will o' the wisp. 
 
 MOMIGNY (Jerome Joseph de). French comp. and writer, B. Philippeville, 
 1766. D. 1855. Author of " Cours Complet d'Harmonie et de Composi- 
 tion..." Paris, 1806, 3 V. 
 
 MONK (Edwin George). English org. and comp., B. Frome, Somerset, Dec. 
 
 13, 1819. S. under H. and G. Field ; in HuUah's classes, and under H. 
 
 Phillips and Macfarren. Org. Coll. of St. Columba, Ireland, 1844. Teacher 
 
 in Oxford, 1847. Org. and choir-master in Coll. of S. Peter, Radley, 1848. 
 
 Mus. Bac. Oxon., 1848. Mus. Doc. Oxon., 1856. Org. York Cathedral, 
 
 1859-1883. 
 Works. — The Bard, ode for Mus. Doc. degree (Gray) 1856 ; Church Service, in 
 A. Anthems : Blessed are they that fear the Lord ; Great and marvellous are Thy 
 works ; The pains of Hell ; God so loved the world ; My soul truly waiteth upon 
 God, etc. Part-Songs : Good-night, beloved ; Empress of India ; Stars of the 
 summer night ; The beggar maid ; The miller's daughter ; A Magdalen College 
 song : Boating song ; Football song ; The jolly cricket-ball. Songs, hymns. The 
 Anglican Hymn-Book (with R. C. Singleton). Descriptive account of the York 
 Minster organs, 1863. 
 
 MONK James Jonathan). English org. and comp., B. Bolton-le-Moors, 20 
 Feb. 1846. Held various organ appointments, but now a teacher, and local 
 secretary of Trinity Coll., in Liverpool. Hon. life mem. of Trinity Coll., 
 Lond . Musical critic and writer to Liverpool Courier, Choir, Musical Stan- 
 dard, and Liverpool Evening Express. 
 Works. — Songs : Ah ! thou pale moon ; O lyric of the sea ; Among the new 
 mown hay ; Ev'ning rest ; Home recollections ; In tranquil night ; I saw thee 
 weep ; Oh ! give me back those kisses ; Primrose lane ; Snowflakes ; There is a 
 maiden ; True for aye ; 'Twas but a glimpse ; Visions of the past ; Waiting but to 
 say farewell ; What care I for the weather. Pianoforte music. I met my love, part 
 song. O be joyful in God, anthem. Te Deum for parochial use. The Compila- 
 tion of Musical Directories, a Paper read at the third meeting of the Society of Pro- 
 fessional musicians, Liverpool, i2mo, 1883. Articles in the Choir on the St, 
 George's Hall Organ ; History of the Liverpool Musical Society ; Musical Festi- 
 val, etc.. 
 
 MONK (William Henry). English comp. and org., B. London, 1823. S. 
 under T. Adams, J. A. Hamilton, and G. A. Griesbach. Org. of Eaton 
 Chapel, Pimlico, London; do. S. George's Chap., Albemarle St.; do. Portman 
 Chap , Marylebone. Choir-master (1847) ; org. (1849) ; and Prof, of vocal 
 music in King's College, London, 1874. Prof, of music at school for indigent 
 blind, 1851. Org. of S. Matthias, Stoke Newington, 1852. Prof in National 
 Training Coll. for music, 1876; Prof, do., Bedford Coll., London, 1878. 
 
M6N — M5N 43* 
 
 Works. — Te Deums, Kyries, and other works for the church service. Anthems: 
 And the angel Gabriel ; Blessed are they that alway keep judgment ; If ye love me 
 keep my commandments ; In God's word will I rejoice ; Like as the hart ; The 
 Lord is my strength ; They shall come and sing, etc. Hymns, psalms, etc. 
 Hymns of the Church, Lond., n.d. ; Fifty-two simple chants; The Canticles 
 arranged for chanting to the ecclesiastical tones ; The Book of Psalms in Metre 
 (Church of Scotland), Harmonies revised; Scottish Hymnal (edited); The Psalter 
 (Ch. of Scotland) ; Book of Anthems (Ch. of Scotland). 
 
 MONPOU (Francois L. H.) French comp., B. Paris, Jan. iz, 1804. S. under 
 Choron, etc. D. Orleans, Aug. 10, 1841. Wrote songs to verse of Musset, 
 Hugo, Beranger, etc. ; also several operas. 
 
 MONRO (Henry). English comp. and org., B. Lincoln, 1774. Chor. in Lin- 
 coln Cath. S. under Dussek, D. Corri, etc. Org. St. Andrews, Newcastle, 
 1796. D. ? [after 1824]. Comp. songs, sonatas, and other Pf. music. 
 Another org. and comp. named George Monro flourished during the first part 
 of the l8th century. He competed unsuccessfully against Rosingrave for the post 
 of org. of S. George's, Hanover Sq., London. He was afterwards org. of Ch. 
 of S. Peter, Cornhill, and played the harpsichord in Goodman's Field's Theatre. 
 He died in 1731. His songs appear in the "Musical Miscellany," 1731. 
 
 MONSIGNY (Pierre Alexandre). French comp., B. Fauquembergue, near 
 St. Omer, Oct. 17, 1729. Maitre de Hotel to Duke of Orleans. S. under 
 Gianotti. Inspector-General of Canals, Inspector of Instruction at Conserva- 
 toire de Musique, 1 800. Member of the Institut, 1813. Mem. of Legion of 
 Honour, 1816. D. Paris, Jan. 14, 1817. 
 Worics. — Operas: Les aveux indiscrets, 1759; Le Mattre en droit, 1760; Le 
 Cadi dupe, 1761 ; On ne s'avise jamais de tout, 1761 ; Le Roi et le Fermier, 1762 ; 
 Rose et Colas, 1764; Aline, Reine de Colconde, 1766; L'lle sonnante, 1768; Le 
 Deserteur, 1769 ; Le Faucon, 1772 ; Le Rendezvous bien employ^, 1774 ; La belle 
 Arsene, 1775 ; Felix ou I'enfant trouvfe, 1777 ; many others in MS. 
 
 MONTAGNANA (Antonio). Italian vocalist of l8th century. Appeared in 
 London, 1731. Sang in Handel's operas. Disappeared after 1738. 
 
 MONTAUBEY (Jean Baptiste Edouard). French vnst. and comp., B. 
 
 Nivrt, Mar. 27, 1824. S. Paris Cons. Comp. operettas, songs, etc. 
 His brother, AcHiLLE F., B. Nov. 11, 1826, is a vocalist of repute. 
 
 MONTE or MONS (Philippe de). Belgian comp., B. Mons, 1521. Resided 
 in Antwerp, 1557. Chap.-master to Emperor Maximilian at Vienna, 1568. 
 Do. to Rudolph II. at Prague. Treasurer and canon of the Cath. of Cambrai. 
 D. Cambrai, July 4, 1603. 
 Comp. 30 books of madrigals, 2 books of masses, and 6 books of motets. 
 
 MONTEVERDE (Claudio). Italian comp., B. Cremona, 1568. Violinist in 
 
 band oi the Duke of Mantua. S. under Marc A. Ingegneri. Chap.-master at 
 
 the Ducal Court of Mantua, 1603. Chap.-master of S. Mark's, Venice, 1613- 
 
 1643. D. Venice, 1643. 
 
 Works.— O/^ros: Ariadne, 1606; Orfeo, 1607; Arianne ; II Ballo delle In- 
 
 grate. Masses, motets, etc. 
 
 Monteverde was a great innovator on the harmonic methods of his time, and 
 gained the usual amount of blame and praise by his originality. His dramatic 
 works are in every respect superior to his sacred compositions, especially in the 
 effective use of the instrumental forces ; a department in which Monteverde sur- 
 passed all his predecessors. For the present age his music is more curious than 
 pleasing ; there being in it much of that laboured dryness peculiar to the Italian 
 and Flemish schools of the 17th century. His influence on opera was great, and 
 his use of the accompaniment has been often noticed as much in advance of any- 
 thing achieved by his predecessors. 
 
 MONTGOMERY (R.) English writer of present time, author of "The Voice 
 and Vocalisation," Lond., 1879. 
 
43^ M5N — MOO 
 
 MONTGOMERY (William H.) English comp., has produced an immense 
 quantity of dance music, songs, etc., some of which will be found in the 
 catalogues of almost every music-publisher. In addition to his numerous 
 compositions he has published "The Royal Standard Tutor for the Har- 
 monium," Lond., n. d. 
 
 MONTI (H. de). Italian music-teacher and music-seller, established in Edin- 
 burgh and Glasgow. Author of "The Self-taught Musician; a Treatise on 
 Music," Edinburgh, 8vo, 1796. " Strictures on Mr. Logier's System of 
 Musical Education," Glasgow, 8vo, 1817. 
 
 MONTIGNY-REMAURY (Fanny Marceline Caroline). French pianist, 
 
 B. Pamiers, Jan. 22, 1843. S. under Le Couppey at Paris Cons., from 1854. 
 Gained first prize for Pf., 1858; do. for Harmony, 1862. Married L^on 
 Montigny, a journalist, l856. Has performed in Paris, London (1872), and 
 in other parts of the continent of Europe. Her repertory is large and varied, 
 and her style of performance is brilliant but elevated. 
 
 MOODIE (William). Scottish cond. and comp., B. Bonhill, Dumbartonshire, 
 April 19, 1833. Cond. successively of Episcopal Ch., Dumbarton; Dumbar- 
 ton Choral Union ; Lansdowne (Glasgow) U. P. Ch. ; St. George's Choral 
 Union ; Musical Union; Barony Ch., and other Glasgow appointments. 
 Works. — Anthems: Blessed are the poor ; Let your light so shine ; Grace be to 
 you ; Now unto him ; Behold how good ; etc., with some in MS. Part-Son^s : 
 The auld man ; Willie Wastle ; To the woodlark : Afton water ; John Barleycorn; 
 Scroggam ; and numerous arrangements of Scotch songs. Pianoforte music, mis- 
 cellaneous, and Songs. MS. works: An oratorio; Chorus on Marriage of the 
 Princess of Wales, " Alexandra " (Tennyson) ; Cantata, "Evening Pastoral"; 
 Humdrous overture for orch. on word " Cabbage" ; Glees, and Songs. 
 
 MOOBiE (Henry Eaton). American comp. and writer, B. Andover, N. H, 
 July 21, 1803. D. Cambridge, Mass., Oct. 23, 1841. 
 Works.— Grafton Journal, 1825-26; Musical Catechism ; Merrimack Collection 
 of Instrumental Music; New Hampshire Collection of Church Music; Supplement 
 to do., 1834; The National Choir, Concord, 1834; Collection of Anthems; The 
 Northern Harp. 
 
 MOORE (Jacob Bailey). American comp., B. Georgetown, Maine, Sept. 5, 
 1772. Descendant of a Scotch fanfily. S. medicine, and became a surgeon 
 in the U. S. army. D.Jan. 10, 1813. . 
 
 Moore was a poet, and comp. a number of psalms m Holyoke s Collection. 
 
 MOORE (John Weeks). American writer, brother of the above, B. Andover, 
 N. H., April II, 1807. Teacher and writer in Boston, U. S. A. 
 Works.— Complete Encyclopaedia of Music, Elementary, Technical, Historical, 
 
 Biographical, etc., Boston, 1854 (with an Appendix of later date). Dictionary of 
 
 Musical Information, Boston (condensed from foregoing). Vocal and Instruniental 
 
 Instructor. Sacred Minstrel, 1841. Musician's Lexicon. American Collection of 
 
 Instrumental Music, 1856. 
 
 The Encyclopsedia, though by no means a reliable work, is one of the most 
 
 important American contributions to the Literature of Music. 
 
 MOORE (Thomas). English music teacher, was resident in Glasgow in latter 
 part of i8th century. On Nov. 22, 1756, he was appointed by the Magistrates 
 Teacher of the Free music classes in Hutcheson's Hospital. D. Glasgow, 
 about 1792. He compiled "Psalm-Singer's Compleat Tutor and Divine 
 Companion," Manchester, 2 vols. [c. 1750]. "The Psalm-Singers Pocket 
 Companion, containing great variety of the best English Psalm-Tunes, suited 
 to the different Metres in the Scotch Version of the Psalms of David, set ui 
 Three and Four Parts ; Likewise all the Tunes that are usually sung in most 
 Parts of Scotland. With a plain and easy Introduction to Musick..., ' Glas- 
 gow l2mo, 1756. "The Psalm-Singer's Delightful Pocket Companion. 
 Containing a Plain and Easy Introduction to Psalmody, and an Introduction 
 explaining more at large, the grounds of Music in general. Illustrated with 
 great variety of Tables, Scales, and Initial Lessons...," Glasgow, l2mo, n. d. 
 [1762]. The Vocal Concert, 1 76 1. 
 
Mo6 — m6r 435 
 
 MOORE (Thomas). Irish poet and musician. B. Dublin, May 28, 1779. D. 
 Feb. 25, 1852. 
 Connected with music through his "Irish Melodies,'' originally published in 1807- 
 34, with accompaniments by Sir John Stevenson ; and a few original pieces 
 of music, as the Canadian boat song, "Row, brothers, row," in "Seven Glees," 
 Lond., 1820. The only thing national about the " Irish Melodies" is the music, 
 the poetry, unlike that of Burns, being only illustrative of commonplace sentiments 
 of general application, which could as well be localized in France as in Ireland. 
 His letters to Power, the original publisher of the melodies, were re-issued in New 
 York in 1854, with an introductory letter by T. Crofton Croker. See his "Memoirs 
 and Correspondence," by Lord John Russell. He wrote the words of "A Selection 
 of Popular National Airs," 1818, 6 parts; and compiled "Evenings in Greece," 
 Lond., 2 vols., 1831 [vocal music]. 
 
 MOOREHEAD (John). Irish violinist and comp., B. about middle of 1 8th 
 century. Vnst. in English provincial orchestras. Do. at Covent Garden 
 Theatre, London. D. 1804. 
 Comp. music for the following plays: — The Naval Pillar, 1799; The Volcano, 
 
 1799; Harlequin's Tour; II Bondocani (with Attwood), 1801, etc. Numerous 
 
 songs and instrumental pieces. 
 
 MORALES (Cristofero). Spanish comp., B. Seville, early in i6th century. 
 Mem. of the Papal choir, Sixtine Chapel, 1540. D. (?) 
 Comp. numerous masses, motets, etc., published between 1539 and 1569. 
 Morales was the forerunner of Palestrina in the production of high-class church 
 music, and shares with Rore, Lassus and others, the honour of having founded the 
 noble ecclesiastical style of the 1 6th century. 
 
 MORALT. A family of quartet players, consisting of Joseph (1775-1828), first 
 violin; JOHANN Baptist (1777-1825), second violin ; Philipp (17S0-1847), 
 violoncello; and Georg (1781-1818) viola. 
 This family was famed for admirable rendering of the quartets of Haydn, etc, 
 Three of this family were members of the Court band of Munich. 
 
 MORELLI (GriOVanni). Italian bass singer, who flourished about the end of 
 last century. Appeared in opera, and sang at the Handel Commemoration in 
 London. 
 
 MORGAN (George Washbourne). English comp. and org., B. Gloucester, 
 April 9, 1823. Org. of Christ Church, and S. James', Gloucester. Org. of 
 South Hackney; St. Olave, Southwark; Harmonic Union, London, etc. 
 Settled in America, 1853. Org. successively of St. Thomas Epis, Ch., N.Y.; 
 Grace Ch.; S.Ann's; S.Stephens; Brooklyn Tabernacle, etc. 
 Morgan has comp. music for the church service, miscellaneous vocal music, and 
 
 some instrumental pieces. 
 
 MORGAN (J. Wilford). English comp. and tenor singer of present time, 
 comp. of a number of songs and a cantata entitled "Christian the Pilgrim." 
 
 MORI (Nicolas). English violinist and comp., B. London, 1793. Pupil of 
 Viotti. Principal violinist in London orchestras. Music publisher in Bond 
 St., London. D. June 18, 1839. 
 
 MORI (Frank). English comp., son of the above, B. 1820. D. Aug. 2, 1873. 
 
 Works.— Fridolin, cantata; The River Sprite, operetta, words by G. Linley, 
 Covent Garden, Feb. 9, 1865. Songs: Twelve Songs, by Mackay, Longfellow, 
 Oxenford, etc. ; Six Songs, by Moore, Shelley, Tennyson, Hunt, etc. ; Breathe, 
 oh ! breathe that simple strain ; Life's seasons ; I love my love in the spring time ; 
 'Tis only thee I love ; Ruth in the corn ; and Whither art thou roaming. Vocal 
 Exercises. 
 
 MORISON (Christina W.), ne^ Bogue. Scottish comp., B. Dublin, 1840. 
 From an early age evinced decided talent for musical composition. S. under 
 Glover and John Blockley. Remarkable as the first Scotchwoman who ever 
 wrote an opera. This work, "The Uhlans," in 3 acts, written by her hus- 
 
 D 2 
 
434 MOR — MOR 
 
 band, Wm. M'lvor Morison, was produced in Dublin in 1884, and in Glasgow, 
 1885, obtaining in both places considerable success. Her other works consist 
 of Songs, Pf. pieces, and some larger pieces still in MS. 
 
 MOEISON (Roderick), Rory Dall O'Cahen. Scottish poet, harper, and 
 comp., B. Lewis, 1646. Son of an Episcopal clergyman. Educated at Inver- 
 ness. Lost sight with small-pox. Engaged aa harper at Edinburgh in the 
 family of Macleod. Visited Ireland. D. near Stornoway, Lewis. The com- 
 poser of a few Gaelic airs, but best known as a poet of some ability. 
 
 MORLACCHI (Francesco). Italian comp., B. Perugia, June 14, 1784. S. 
 
 under Caruso. Zingarelli, and Mattei. Cond. of Italian opera, Dresden, 1810. 
 
 Mem. of Academy of Fine Arts, Florence. D. Innspruck, Oct. 28, 1841. 
 Works. — Operas : II Poeta in Campagne, 1807; II Ritratto, 1807; Cariadino, 
 1808 ; Oreste, 1808 ; Rinaldo d'Aste, 1809 ; La Danaide, 1810 ; Raoul de Crequi, 
 181 1 ; II Nuovo Barbieri de Siviglia, 1815 ; La Semplicetta di Pima, 1818 ; Lao- 
 dicea, 1825; II Colombo, 1828. Oratorios: La Morte d'Abele, 1820; Isacco, 
 1818. Masses, Cantatas, Misereres, and Te Deums. Sonatas and other instru- 
 mental music. 
 
 MORLEY (Thomas), English comp. and writer, B. about middle of the i6th 
 century, circa 1550-76. S. under Byrd. Chor. S. Paul's Cath. Mus. Bac, 
 Oxon., 1588; Org. S. Paul's Cath., London, 1591; Gent., etc., of Chapel- 
 Royal, 1592-1602. Obtained patent for exclusive right to print music-books, 
 1598. D. 1604. 
 
 Works. — Canzonets, or Little Short Songs to three Voyees, 1593; Madrigalls 
 to Foure Voyees, 1594 ; First Booke of Ballets to five Voyees, 1595 ; First Booke 
 of Canzonets to Two Voyees, 1595; Canzonets, or Little Short aers to Five and 
 Sixe Voyees, 1597 ; The First Booke of Consort Lessons, made by divers exquisite 
 Authors for sixe instruments to play together, etc. , 1599; The Triumphs of Oriana, 
 to five and six voices, composed by divers several authors, newly published by 
 Thomas Morley, London, Este, 1601 [contains madrigals by M. Este, J. Bennet, 
 J. Hilton, J. Holmes, Wilbye, Morley, E. Johnson, T. Weelkes, Kirbye, Carlton, 
 Cavendish, Lisley, Farmer, Milton, Jones, Croce, Hunt, Bateson, Mundy, E. 
 Gibbons, R. Nicholson, Tomkins, Marson, F. Pilkington, Norcome, and Carbold]; 
 Services in D min. ; Evening Service in G min. (in Barnard's collection) ; Burial 
 Service (in Boyce) ; A Preces, Psalms, etc., in Bernard's MS. coll.; Five Sets of 
 Lessons in Queen Elizabeth's Virginal Book ; A Plaine and Easie Introduction to 
 Praoticall Musicke, set downe in forme of a dialogue. Divided into three partes. 
 The first teacheth to sing with all things necessary for the knowledge of prickt song. 
 The second treateth of descante and to sing two parts in one upon a plain song or 
 ground, with other things necessary for a descanter. The third and last part en- 
 treateth of composition of three, foure, five or more parts, with many profitable 
 rules to that effect, with new songs of 2, 3, 4, and 5 parts. Lond., fo., 1597. 
 
 Morley holds a distinguished position in the annals of English musical history, 
 both as a didactic writer, and as a composer. In the former role he has credit by his 
 ' ' Plaine and Easie Introduction to Musicke, " which stands foremost among all similar 
 works of the same period, and is an admirable introduction to music as practised in the 
 16th and 1 7 th centuries. As a composer, he excelled chiefly in madrigals of a light and 
 airy cast, many of which hold their own at the present day, when " My bonny lass 
 shesmileth," "Now is the month of Maying," "April is in my mistress face,__ 
 "Dainty fine sweet nymph," " Sing we and chant it," "Fire ! fire ! my heart, 
 " Lo ! where with flow'ry head," and several others, are stock pieces with our glee 
 clubs and choirs. T. Oliphant considers Morley "decidedly inferior to Wilbye or 
 Weelkes, "and accuses him of wholesale thefts from F. Anerio andGastoldi. 
 
 MORLEY (William). English comp. of the 1 8th century. Mus. Bac, 1713- 
 Gent. Chap. -Royal, 1715. D. Oct. 29, 1731. Supposed to be the composer 
 of the oldest double chant known, published in Boyce's Collection, in D mmor. 
 
 MORNINGTON (Garrett CoUey Wellesley, Earl of). Irish peer and 
 
 comp., B. Dangan, Ireland, July 19, 173S [1720?] Father of the D"Ke ot 
 Wellington, and of the Marquis of Wellesley. Mus. Doc, Dublin. Succeeded 
 to title, 1758. Created Viscount Wellesley, 1760. Gained prizes from catch 
 club in 1776, 1777, 1779. D. May 22, 1781. 
 
MOR — MOS 43S 
 
 Works. —Glees and Madrigals composed by the Earl of Mornington, edited by 
 Sir H. R. Bishop. Lond., fo., 1846. Among them, the following are famous : — 
 As it fell upon a day ; Beneath this rural shade ; By greenwood tree ; Come, fairest 
 nymph ; Gently hear me, charming maid ; Go, happy shade ; Hail, hallowed fane ; 
 Here in cool grot ; O bird of eve ; Rest, warrior, rest ; and. Soft sleep profoundly. 
 To these may be added the catch, " Twas you, sir." The collection of glees, etc., 
 made by Bishop, is the only complete one extant ; though all the glees, madrigals, 
 and catches can be had as originally published in single parts. The cheerful 
 pastoral character of Mornington's glees makes them highly acceptable, and such 
 pieces as " Here in cool grot " are as popular now as when first composed. Morn- 
 ington is numbered among the classic masters of the English glee. 
 
 MORTEN (A.). English author, published " Hints on the purchase of an 
 Organ." Lond., 1877. 
 
 MOSCHELES (Ignaz). Bohemian comp. and pianist, of Jewish extraction, 
 B. Prague, May 30, 1794. See under D. Weber, Albrechtsberger, and Salieri. 
 Concertized in Europe, 1815-25. Appeared in London, 1822. Taught Men- 
 delssohn the Pf , 1824. Married to Charlotte Embden at Hamburg, 1826. 
 Settled in London, 1826-46. Director of Philharmonic Society, 1832 ; Cond. 
 of do., 1845. Prof, of Pf. at Leipzig Cons., 1846. D. Leipzig, Mar. 10, 1870. 
 Works. — Variations and Arrangements for Pf,, opp. i, 2, 5, 6, 7, 15, 17, 20, 
 23, 29, 36, 39, 40, 42, 46, 50, 59, 99, 109, 128, 137, 138, 139. Polonaises for Pf., 
 opp. 3, 19, 53. Sonatas and Sonatinas for Pf. solo, duet, and with other instru- 
 ments, opp. 4, 22, 27, 41, 44, 47, 49 (melancolique), 79, 112, 121. Waltzes and 
 Dances, opp. 8, 9, 33, 118. Marches, etc., opp. 10, 26, 31, 32, 86, 130, 141. 
 Rondos for Pf., opp. II, 12, 14, 18, 30, 43, 48, 52, 54, 58, 61, 63, 66, 67, 71, 74, 
 76, 82, 85, 94. Fantasias and Caprices for Pf., opp. 13, 25, 37, 38, 51, 55, 57, 68, 
 69. 72, 75. 77. 80, 83, 106, 108, 113, 114, 122, 123, 124, 129. Songs, opp. 16, 97, 
 116, 1x7, 119, 125, 131, 136. Duo concertante for Pf. and guitar, op. 20 ; Do. for 
 Pf. and 'cello, op. 34. Divertissements for Pf., opp. 28, 78. Sextuor for Pf., 
 violin, flute, two horns, and 'cello, op. 35. Concert de Soci^t^, Pf. and orch., 
 op. 45. Concertos for Pf. and orch. in E, op. 56 ; G minor, op. 60 ; 4th, op. 64 ; 
 C, op. 87 ; 6th, op. 90 ; "Pathetique," op. 92; "Pastoral," op. 96. impromptus 
 for Pf., opp. 62, 65, 89. Studies for Pf., opp. 70, 95, 98, 105, 107, ill, 126. 
 Symphony in C, op. 81. Trio for Pf., violin and 'cello, op. 84. Septet, op. 88. 
 Overture : " Joan of Arc " (Schiller), op. 91. Hommage h. Handel, Pf. duet, op. 
 92 ; Do. Weber, op. 102. Ballads and Romances for Pf , opp. 100, loi, 104, no. 
 Vocal duets, op. 132. Miscellaneous Pf. music, as preludes, scherzos, toccatos, 
 mazurkas, etc. 
 
 During his career Moscheles held a distinguished place among his contemporaries 
 as a pianist. As a performer he had no equal in his peculiar style, which united 
 the best features of legato and bravuara playing. He was for a long period one of 
 the leading teachers and performers in London, and in his after connection with 
 Leipzig Conservatory he did much to direct the studies of many now-famous 
 performers. His friendship with Mendelssohn is another feature in his career which 
 recommends him to the lasting regard of musicians. His musical works are valuable 
 for didactic purposes, and it is chiefly as teaching pieces that any of them are used. 
 The occasional appearance of a few of his larger pieces in concert programmes 
 sufficiently show that he is not forgotten as a composer. He edited "The Life of 
 Beethoven, including his Correspondence with his friends," London, 1841, 2 vols., 
 8vo. This work, though originally written in German by Schlinder, was for some 
 reason never acknowledged by Moscheles to be merely a translation. A work of 
 great interest and some value is " Life of Moscheles, with Selections from his 
 Diaries and Correspondence, by his Wife. Trans, by A. D. Coleridge," Lond., 
 1873, 2 vols., 8vo, with portrait. This is a most amusing work, and contains many 
 sensible remarks on music and musicians. 
 
 MOSELEY (Rev. W. Willis). English writer, author of "The Quantity and 
 Music of the Greek Chorus Discovered." Oxford, 8vo, 1847. 
 
 MOSZKOWSKI (Moritz). German pianist and comp., B. Breslau, Aug. 23, 
 1854. Here follows his own account of himself : — 
 "I took my first step before the public in my earliest youth, following ray birth, 
 
43^ MOS — MOZ 
 
 which occurred August 23, 1854, in Breslau. I selected this warm month in hopes 
 of a tornado, which always plays so prominent a part in the biography of great men. 
 This desired tempest in consequence of favourable weather did not occur, while it 
 accompanied the birth of hundreds of men of much less importance. Embittered by 
 this injustice, I determined to avenge myself on the world by playing the piano, 
 which I continued in Dresden and Berlin as Kullak's pupil. In spite of the theo- 
 retical instruction of Kiel and Wiierst, a lively desire to compose was early aroused 
 in me. I perpetrated, in time, an overture, a piano concerto, two symphonies, 
 piano and violin pieces, songs, etc. ; in short, I have twenty works in print. " 
 
 Works. — Op. i. Scherzo fiir Pf. ; op. 2. Albumblatt, Pf., op. 4. Caprice, Pf. ; 
 op. 5. Hommage a Schumann, Fantaisie fur Pf. ; op, 6. Fantaisie-Impromptu fiir 
 Pf.; op. 7. 3 Moments Musicaux, Pf. ; op. 8 ; 5 Walzer fUr Pf., a 4 mains ; op. 9. 
 2 Lieder fiir sopran. ; op. 10. Skizzen (4 kleine stiicke fur Pf. ) ; op. II. Drei stticke 
 fiir Pf., a 4 mains; op. 12. Spanische Tanze fiir Pf., a 4 mains; op. 13. Drei 
 Lieder fiir Baryton ; op. 14. Humoreske fiir Pf. ; op. 15. Sechs stUcke fiir Pf. ; op. 
 16. Zwei concertsttlcke fiir violine (Ballade, Bolero) ; op. 17. Drei Clavierstucke in 
 Tanze form ; op. 18. Fiinf Claviersrucke ; op. 19. Johanna d' Arc : Symphonische 
 Dichtung, fiir grosses orch (from Schiller) ; op. 20. Allegro Scherzando fur Pf.; op. 
 21. Album Espagnol for Pf. ; op. 22. Thranen (" Tears "), FUnf gesange fur eine 
 singstimme mit Pf. ; op. 23. Aus AUer Ilerrn Lander (6 Pf. pieces, Russian, Ger- 
 man, Spanish, Polish, Italian, Hungarian) ; op. 24. Drei Concert-etuden fiir Pf. ; 
 op. 25. Deutsche Reigen (5 German dances) ; op. 26. Drei Leider im Volkston, Pf. 
 accomp. ; op. 27. Barcarolle und Tarantelle fiir Pf. ; op. 28. Miniatures (S short 
 Pf. pieces) ; Valse-brilliante fiir Pf. (unnumbered) ; op. 29. Concerto for Pf. and 
 orch. (MS.) 
 
 MOTHERWELL (William). Scottish poet and ballad collector, B. Glasgow, 
 Oct. 13, 1797. D. Glasgow, Nov. i, 1835. 
 Best known in connection with music as editor of " Minstrelsy, Ancient and 
 Modern, vrith an Historical Introduction and Notes," Glasgow, 1827, 4to; A stan- 
 dard collection of choice ballads, to which is appended a number of ancient ballad 
 tunes. 
 
 MOUNSEY (Elizabeth). English org. and comp., B. London, Oct., 1819- 
 Org. of St. Peter's, Cornhill, 1834-81. Mem. of the Philharmonic Soc, 1842. 
 Has published works for Pf., guitar, organ, and voice. Sister of Mrs. Mounsey 
 Bartholomew. (See Bartholomew.) 
 
 MOUNT EDGCUMBE (Richard Edgcumbe, 2nd Earl). English Amateur 
 
 cpmp. and writer, B. Sept. 13, 1764. Married Lady Sophia Hobart, daughter 
 of the 2nd Earl of Buckinghamshire. D. Sept. 26, 1839. Comp. "Zenobia," 
 an opera. King's Theatre, London, 1800. Author of " Musical Reminiscences 
 of an Amateur, chiefly respecting the Italian Opera in England, for fifty years, 
 1773 to 1823, Lond., 1823; 2nded., 1827; 3rded., 1828; 4th ed., 1834. 
 
 MOUNTAIN (Sarah or Sophia), nee Wilkinson. English soprano vocalist, 
 B. 1768. First appeared in 1782. Appeared with Tate Wilkinson's Company 
 at Hull, and there made her debut in 1786. In same year sang in Leeds and 
 Liverpool. Married Mr. Mountain, violinist, 1786. Sang at Covent Garden, 
 and also in Dublin. Retired, 1814. D. July 3, 1841. 
 
 MOUTON (Jean). French comp., B. 1475. S. under Josquin. Teacher 
 of Willaert, etc. Musician to Louis XII. Comp. masses, motets, etc. 
 
 MOZART (Johann Chrysostom Wolfgang Gottlieb, or Amadeus). 
 
 Austrian comp., B. Salzburg, Jan. 27, 1756. Son of Leopold Mozart, sub- 
 director of the Archbishop's chapel, Salzburg. S. under his father. Taken 
 by his father as an infant prodigy through various European courts, along with 
 his sister Catherine; Munich (1762), Vienna (1762), Paris (1763), London 
 (1764-5). Returned to Salzburg, 1766. Director of Archbishop of Salzburg's 
 concerts, 1769. Visited Italy, Milan, Bologna, Florence, Rome, Naples, 
 etc., 1769. Made Knight of theGoIdenSpurby the Pope. Member of the Philhar- 
 monic Soc. at Rome. Resided in Paris, 1778. Settled in Vienna as comp. to 
 the Imperial Court, 1779. Married Constance Weber, Aug. 16, 1782. D. 
 Vienna, Dec. 5, 1791. 
 Works. — Operas: Bastien und Bastienne, 1768; La Finta Simplice (comp. for 
 
M o z — M o z 437 
 
 the Emperor Joseph II.), Vienna, 1768; Mitridate, Milan, Dec, 1770 ; Ascanioin 
 Alba (cantata), Milan, 1771 ; II Sogno di Scipione, 1772 ; Lucio Silk, Milan, 1773; 
 Zaide, Venice [1773] ; La Finta Giardiniera, Munich, 1774 ; II Re Pastore, pastor- 
 ale, Salzburg, 1775 ; Idomeneo, Re di Creta, Munich, 1781 ; Die Entfuhrung aus 
 dem Serail, Vienna, 1782, London, "The Seraglio," 1827; Der Schauspiel 
 Director, 1786; Le Nozze di Figaro, Vienna, 1786; II Dissoluto punito, 
 ossia il Don Giovanni, Prague, 1787 (Vienna, 1787; London, King's Theatre, 
 1817) ; Cosi fan tutte, Vienna, 1790; Die Zauberflbte, Vienna, 1791; La Cle- 
 menza di Tito, Prague, 1791. Davidde Penitente, cantata for solo, chorus, and 
 orch. ; Eight vespers and litanies. Masses : No. I, in C ; 2, in C ; 3 ; 4 ; 5 ; 6 ; 
 7, in B flat ; 8, in F ; 9, in G ; 10, in C ; II ; 12, in G ; 13, in E flat ; 14 ; 15, 
 Requiem, in D minor ; 16, in E flat (part of 13) ; 17, in C ; 18, Requiem (short), 
 in D minor ; 19 and 20. Cantatas, scenas, arias, lieder, and miscellaneous vocal 
 music. 49 Symphonies for orch.: op 7 in D ; "Jupiter," in C, op. 38, 1788 ; G 
 minor, op. 45, 1788; C, op. 34 ; D, op. 87 ; D, op. 88 ; E flat, op. 58, etc. Fif- 
 teen overtures for orch. Ten quintets for.2 violins, 2 violas, and 'cello, in C minor, 
 C major, G minor, D, E flat, etc. Quintet for strings and horn, E flat ; Quintet for 
 Pf., oboe, clarinet, horn, and bassoon. Thirty-two quartets for 2 violins, viola, and 
 'cello. Nine Trios for 2 violins and 'cello ; Tvirenty-three Trios for Pf , violin, and 
 'cello ; Twenty-seven Concertos for Pf. and orch. in C, A, F, B, E flat, C minor, D 
 minor, G, A, B, etc. ; Seven Concertos for violin and orch. ; Five Concertos for 
 flute and orch, ; Concertos for clarinet and orch., and bassoon and orch. ; Forty- 
 five Sonatas for Pf and violin, op. 2 (6), op. 8 (3), op. no, and in F, B, A, C, D, 
 E minor, G, etc. Sonatas for Pf solo : No. i, in C ; 2, in F ; 3, in B flat ; 4, in 
 B flat ; 5, in G ; 6, in D ; 7, in C ; 8, in A minor ; 9, in D ; 10, in C ; 11, in A ; 
 12, in F ; 13, in B flat ; 14, in C minor ; 15, in F ; 16, in C ; 17, in F ; 18, in B 
 flat ; 19, in D ; 20, in B flat ; 21, in B flat ; 22, in G. Concerto for 3 Pf 5. and 
 orch., 1777. Marches, serenades, and miscellaneous instrumental music. Sonatas 
 for organ, motets, hymns, etc. 
 
 Mozart was one of the greatest operatic composers the world has seen. His 
 works in every respect far transcend the best efforts of those composers who adopted 
 classical subjects for musical treatment, and until the rise of the romantic departure 
 in music, his works were the most original, fresh, and brilliant in the whole range 
 of the lyric drama. His dramatic music is more interesting than that of Gluck, and 
 in the power of its emotional colouring it is also considerably in advance of the 
 works of that master. Altogether it is less formal, statuesque, and severe than that 
 of Gluck, and vastly superior in regard to appropriate treatment than the music of 
 any other dramatic composer during and preceding his period. His melodic faculty 
 was great, and its originality and fecundity has served to keep certain of his works 
 always on the stage. Of these, "Don Giovanni," "Figaro," and "Die Zauber- 
 flbte" are always in use . Though famous as a melodist Mozart is also due great 
 credit for his method of treating the orchestral aids in his operatic works, and it is 
 his strength in this department, together with his melodiousness, which places him 
 so far above all the composers of his time. The works of Gretry, Paisiello, Cira- 
 arosa, Salieri, and others of his contemporaries, all lack this union of dramatic and 
 melodious features, and while all of them were gifted with tunefulness in the highest 
 degree, none of them could use the orchestra in a manner half so powerful and ap- 
 propriate as Mozart. Until the rise of Cherubini, Beethoven, and Weber, Mozart 
 could lay claim to be the greatest dramatic composer. Most . of his works were 
 received with the greatest enthusiasm by the public on their original production, 
 and, as before stated, three of them still maintain a place among modern operatic 
 works. The main characteristics of Mozart's dramatic music are their melody, and 
 appropriate and occasionally powerful orchestral aids. Though not uniformly 
 successful in catching the exact character of the dramatic situation, he rarely fails 
 to excite the interest of the auditor, and whether the work is comic or tragic, there 
 will always be found beauty combined with plenty of energy and skill in the treat- 
 ment of effects. 
 
 His symphonies are still in universal use, and with those of Haydn, mark an his- 
 torical epoch in Music. Some of them are much more powerful and deeply felt 
 than those of Haydn, and though all are bright and melodious, such works as that 
 in C, op. 38, commonly called the "Jupiter," rise to a very considerable height of 
 dignity and grandeur, and for the period in which they were composed, must be 
 held tQ stand among the greatest works of the kind, fiis m^sic for stringed in- 
 
43^ MOZ — MUF 
 
 struments, as the quintets and quartets, are always being performed at tlie present 
 date, and with his trios and concertos for Pf. and orch., form a very considerable 
 body of highly inspired, fresh, and agreeable compositions. His sonatas and other 
 works for the Pf. are also in constant use, and almost any of his various pieces in 
 this department of composition will be found in the catalogues of modern publishers ; 
 a fact which testifies at once to their vitality and popularity. In their general 
 features his Pf. works resemble those of Haydn, and are generally very pretty, easy, 
 and polished in style. They are not now much used for concert purposes, but are 
 always in demand as fresh and agreeable teaching pieces. Of his other works, the 
 best known are the masses, and of these, only one, the Requiem in D minor, 
 can be regarded as rising in any great degree above the average of the works 
 composed for the Roman Catholic Church service. In it will be found a larger 
 amount of impressive dignity and the true sacred character than is contained in all 
 the rest of his works of the same class. As a rule, the use of his masses is confined 
 to Roman Catholic chapels, though they are also frequently given as concert-pieces 
 by choirs and choral societies. Altogether, Mozart is one of the world's greatest 
 composers, and for melody, grace, and clear instrumental writing, has never been 
 surpassed by any writer of his school. His very remarkable musical faculty was 
 developed early in life, and he travelled all over Europe with his father in the 
 character of infant prodigy, thereby gaining a polish and ease which is impressed 
 on nearly every one of his works, save such as have dramatic character sufficient to 
 raise them above the gloss of the world. This is not the place in which to detail 
 his adventures, nor the many vicissitudes which befel him, but reference can be 
 made to the foUovnng list of works, in which will be found everything necessary 
 for the satisfaction of readers : — 
 
 Holmes, Life of Mozart, including his correspondence, Lond., 1845. Nissen, 
 Biographie, W. A. Mozart's... Leipzig, 1828; French trans, by Sowinski, 1869. 
 Jahn, W. A. Mozart, Leipzig, 4 vols., 1856. Oulibicheff, Nouvelle Biographie de 
 Mozart, Moscow, 3 vols., 1843. Nohl, Mozart, Stuttgart, 1863; Trans, by Lady 
 Wallace, 2 vols., 1877. Schlbsser, W. A. Mozart's Biographie, Augsburg, 1844. 
 Nohl, Briefe [Letters], Salzburg, 1865 ; Trans, by Lady 'WaUace, Lond., 2 vols., 
 1865. Kochel, Chronologisch Thematisches Verzeichniss sammtlicher Tonwerke, 
 ...1862. See also the Bibliography, and the following Periodicals : — Edinburgh 
 Review, vol. 150 ; Foreign Quarterly Review, v. 4 ; Westminster Review, v. 32 ; 
 Blackwood's Magazine, v. 58; Quarterly Review, v. 18 ; Fortnightly Review, v. 3 ; 
 Fraser's Magazine, v. 41 ; Cornhill Magazine, v. 21 ; Dublin University Magazine, 
 V. 27; North American Review, v. 102; London Society, v. 37; and Bentley's 
 Magazine, v. 61. 
 
 MOZABT {Johann G-eorg Leopold). German violinisti and comp., father of 
 the preceding, B. Augsburg, Nov. 14, 1719. Violinist in Chap, of Bishop of 
 Salzburg. Second chap. -master at Court of Salzburg. Travelled all over 
 Europe, and in England, with his son and daughter. D. Salzburg, May 28, 
 1787. He comp. much church music and operas, and wrote "Griindliche 
 Violinschule," of which many editions were issued. It remained the standard 
 violin-school for many years. He is now best known as W. A. Mozart's 
 father, and remembered for the care and skill with which he trained his chil- 
 dren as musicians. His daughter, Maria Anna (B. Salzburg, July 30, 1751, 
 D. there Oct. 29, 1829), was also well skilled in music, and accompanied her 
 brother in his artistic tours. She was married to the Baron von Berthold of 
 Sonnenberg. She has been figured in engravings along with her brother. 
 
 MUDIE (Thomas MoUeson). Scottish comp. and org., B. Chelsea, Nov. 30, 
 
 1S09. S. under Crotch, Potter, etc., at R. A. M., 1823-32. Prof. Pf. 
 
 R. A. M., 1832-44. Org. at Galton, Surrey, 1834-44. Teacher in Edinburgh 
 
 for a time. Returned to London, 1863. , D. London, July 24, 1876. 
 
 Works.— Symphonies in C, E flat, F, D, etc. ; Quintets, quartets, trios, etc., for 
 
 strings, etc. ; Pf. music, consisting of duets, solos, fantasias, etc. ; Anthems and 
 
 sacred songs ; Songs, various; Accompaniments in Wood's "Songs of Scotland," 
 
 ed. by Graham, etc. 
 
 MUFF AT (Georg). German org. and comp., B. about middle of 17th century. 
 Org. of Strassburg Cath. till 1675 > ^°- '° Bishop of Passau, 1695. D. Passau, 
 Feb. 23, 1704. 
 
MUL — MUR 439 
 
 Works. — Suavioris HarmoniEe instrumentalis hyporchematicae Florilegium, 
 Augsburg, 1695. Florilegium Secundum, Passau, 1698. Apparatus Musico- 
 Organisticus, 1690. 
 
 His son, August Gottlieb, B. near Weissenfels, April 17, 1683. Was org. 
 and instructor in music to the Imperial Family at Vienna. D. Dresden, July 16, 
 1729. He published " Componimenti Musicali per il Cembalo ;" " Parthien " . . . 
 Vienna, 1727 ; "Versets;" Toccatts, fugues, preludes, and other organ music, also 
 much church music. 
 
 MULLEN (Alfred F.) English writer, etc., author of "Harmonium Tutor, 
 with a Series of Easy Lessons progressively arranged, Lond., n.d. ; Easy and 
 Complete Instructions for the Pianoforte, Lond., n.d. ; Catechism of Music, 
 n.d. ; Numerous transcriptions for Pf., and songs. 
 
 MULLEN (Joseph). Irish comp. and org., B. Dublin, 1826. Chor. in Christ 
 Ch. Cath , Dublin. Org. at Tuam Cath.; Succentor of Limerick Cath.; org. 
 of S. Mary's Ch., S. Catherine's Ch., and of Christ Ch., Leeson Park, Dublin. 
 
 MULLEB (August Eberhardt). German org. and comp., B. Nordheim, Han- 
 over, Dec. 13, 1767. S. for the Law. Org. at Magdeburg, 1789. Org. S. 
 Nicholas' Ch., Leipzig, 1794. D. Weimar, 1817. 
 Works. — Sonatas for Pf., opp. 3, 5, 7, 14, 26; Sonatas for Pf. and vn., opp. 
 18, 36 ; Sonata for Pf. and 'cello, op. 17; Concerto, Pf. and orch., op. 21 ; Themes 
 for Pf., opp. 8, 9, 12, 15, 32, 37; Organ sonatas, various; Organ suites; Concertos 
 for flute, opp. 6, 10, 16, 19, 20, 22, 23, 24, 27, 30, 39 ; Methods for Flute and Pf. ; 
 Songs. 
 
 MULLEB FAMILY. A celebrated family'iof quartet players, consisting ol 
 Karl Friedrich, first violin (1797-1873) ; Franz Ferdinand Georg, 
 second viohn (1808-1855); Theodor Heinrich Georg, viola (1799-1855) ; 
 and August Theodor, violoncello (1802-1875), all natives of Brunswick. 
 They excelled in the works of Beethoven and Haydn. 
 
 MULLINGER-HIGGINS (WiUiam). See Higgins (William Mullinger). 
 
 MUNDY (Jobn). English org. and comp., B. in latter half of i6th century. S. 
 
 under his father. Org. of Eton College. Org. St. George's Chapel, Windsor, 
 
 1585. Mus. Bac, Oxon., 1586; Mus. Doc, do., 1624. D. 1630. 
 
 Works. — Songs and Psalms, composed into three, four, and five parts, for the 
 
 use of all such as either love or learn music, 1594 ; Anthems and other sacred 
 
 music ; " Lightly she tripped," madrigal for 5 voices, in " Triumphs of Oriana. " 
 
 MUNDY (William). English comp. of i6th century, father of the above. 
 Vicar-choral S. Paul's. Gent. Chap. Royal, 1563. D. 1591. Comp. anthems 
 in Clifford's collection, etc. 
 
 MURBY (Thomas). English writer and publisher, author of "The Musical 
 Student's Manual," Lond., 8vo, n. d. 
 
 MUBIS (John). English writer and musician, who flourished during the 14th 
 century. Doctor and Canon of the Sorbonne, or a Chanter in the Church of 
 Notre Dame of Paris. Author of a number of musical works, preserved in 
 MS. ; among which are treatises on counterpoint, and notices, the earliest of 
 the kind, of the time table. Nationality variously stated as Norman and 
 French, but a concensus of opinion fixes his nativity as English. 
 
 MUBBAY (James B.) American compiler of school music books, B. Andover, 
 Mass., 1841. His publications bear fanciful titles, but are mainly collections 
 of vocal music. Among them may be named : — School Chimes ; Heavenward ; 
 Joyful Songs ; Pure Diamonds ; Royal Gems ; The Imperial ; Songs of P. P. 
 Bliss, edited. 
 
 MUBSKA (lima di). Hungarian soprano vocalist, B. in Croatia, 1843. S. 
 under Marchesi at Vienna. Dibut at Florence, 1862. Appeared in London 
 at H. M. Theatre in "Lucia di Lammermuir," 1865. Visited America, 
 Australia, etc. Re-appeared in England, 1879, and has since sang in opera, 
 bttt with much less success tljan formerly. 
 
44° M U S — NAN 
 
 MUSARD (Philippe). French comp. and violinist, B. Paris, 1789 [1793]. 
 S. under Reicha. Cond. at Paris opera. Cond. Promenade Concerts at 
 Drury Lane, London, 1841. D. near Paris, Mar. 31, 1859. Comp. numerous 
 pieces of chamber and concert music of a high degree of merit. 
 
 MYSLIWECZEK (Josef). Bohemian operatic comp., B. Prague, Mar. 9, 
 1737- D. Rome, Feb. 4, 1781. 
 
 N. 
 
 NACHBAUK (Franz). German tenor vocalist, B. near Friedrichshafen, Wiir- 
 temberg,_ Mar. 25, 1835. S. at Stuttgart. Chorister at Basle. S. under 
 Lamperti. Has sung in Germany, Italy, Austria, etc., in operas by Rossini, 
 Meyerbeer, etc. 
 
 NAGrELI (Johann Greorg). Swiss comp., writer and publisher, B. Zurich, 1768. 
 Publisher in Zurich, and engaged in educational projects there. D. Zurich, 
 Dec. 26, 1836. He composed much vocal music, chiefly choral, and published 
 an amount of standard classics. He corresponded with Beethoven, Weber, 
 and other great musicians. . 
 
 NAIBrNE (Caroline Oliphant, Baroness). Scottish song and ballad writer, 
 B. Gask, Perthshire, July, 1766. D. Oct., 1845. The well-known songs 
 "Caller Herrin," "The Rowan Tree,'' "Laird o' Cockpen," " Land o' the 
 Leal," "The Auld House," "Will ye no come back again, " "The Bonnie 
 Brier Bush," are by her, and have exercised the talents of a, number of com- 
 posers from the time of the Gows to the present day. A collection of 45 songs 
 is issued by Paterson of Edinburgh under the title of " Lays of Strathearn." 
 Her works were edited by the Rev. Charles Rogers, LL. D. 
 
 NALDI (Giuseppe). Italian buffo vocalist, B. Bologna, Feb., 1770. S. at 
 Bologna and Pavia Universities. Was a government ofScial for a time. 
 Appeared at Rome, 1789. Appeared successively at Naples, Venice, Turin, 
 and Milan. Appeared in London, April, 1806. Sang in Paris, 1819. Killed 
 at Paris by accidental bursting of a kettle, Dec. 1 5, 1 820. 
 
 NANINI (Giovanni Bernardino). Italian comp., B. Vallerano, about middle 
 
 of l6th century [1550]. S. under his brother, Giovanni Maria. Chap.-master 
 
 of Ch. of S. Luigi de'Francesi ; do. S. Lorenzo in Damaso. D. [Rome] 
 
 after 1620. 
 
 Works. — II prime libro di Madrigali a 5 voci, Venice, 1598. II secondo libro 
 
 di Madrigali, 1599. II libro terzo di Madrigali, Rome, 1612. Mottecta J. B. 
 
 Nanini singulis, binis, ternis, quaternis et quinis vocibus una cum gravi voce ad 
 
 organi sonum accommodata, Rome, 1608. Book 2, do., 1611 ; Book 3, l5l2 ; 
 
 Book 4, 1618. Salmi a 4 voci per le domenichee solennit^ della Madonna ed 
 
 Apostoli, con due Salmi, una a 4, I'altro a. 8 voci, Rome, 1620. Numerous 
 
 detached pieces of church music. 
 
 NANINI (Giovanni Maria). Italian comp. , brother of the above, B. Vallerano, 
 
 1540. S. at Rome under Goudimel. Chap.-master at Vallerano ; do. at S. 
 
 Maria Maggiore, 1571-75. Established a music school at Rome in conjunction 
 
 with his brother. Member of the Pontifical choir. D. Rome, March 11, 1607. 
 
 Works. — Motettl a tre voci, Venice, 1578. Motetti a 5 voci, 1579. Second 
 
 (1580), third (1584), and fourth (1586) books, do. Canzonette a 3 voci, 1587. 
 
 Madrigals, psalms, etc. in contemporary collections. 
 
 NANTIER-DIDIEE (Constance Betsy Rosabella). French mezzo-soprano 
 
 vocalist, B. S. Denis, Isle of Bourbon, Nov. 16, 1831. S. at Paris Cons, 
 under Duprez, 1847-49. Dibut at Turin, 1850. Sang in London, 1853. 
 Sang also in Paris, St, Petersburg, and generally in Europe. D. Madrid, 
 
 Dec, 4, 1867. 
 
NAP — NAU 441 
 
 NAPIER (William). Scottish publisher, B. 1740. Established in London as 
 music-seller to the Royal family. Member of the King's band. D. London, 
 1812. He published A Selection of the most favourite Scots Songs, chiefly 
 Pastoral, adapted for the Harpsichord, with an accompaniment for the Violin, 
 by Eminent Masters, Lond. [1790] ; A Selection of Original Scots Songs, in 
 three parts, the harmony by Haydn, Lond. [1792] ; Napier's Selection of 
 Dances and Strathspeys, with new and appropriate Basses, adapted for the 
 Pianoforte, Harp, etc., n.d. The "eminent masters" mentioned in No. i 
 were S. Arnold, W. Shield, Carter, and Barthelemon. No. i contains Tytler's 
 "Dissertation on Scottish Music." 
 
 NAPRAVNIK (Eduard). Bohemian pianist and comp., B. Bejsti, Aug. 24, 
 1839. S. at Prague. Director of the Imperial Opera, St. Petersburg, 1861. 
 Chiefly known as the writer of a number of pianoforte pieces of a national 
 character, and an opera, "Nizegorodzy," which obtained some success. His 
 songs are good, but chiefly of Bohemian interest, and his other operas are un- 
 known here. 
 
 NARDINI (Pietro). Italian comp., B. Fibiana, Tuscany, 1722. S. under 
 
 Tartini. Court violinist at Stuttgart, 1753-68. Resided at Leghorn, 1767-70. 
 
 Court violinist and musical director to the Duke of Tuscany, 1770-93. D. 
 
 Florence, May 7, 1793. 
 
 Works. — Op. I. Six concertos for violin ; op. 2. Six sonatas for violin and 
 
 bass; Six trios for flute, composed for Lord Lyndhurst, London, n.d.; Six solos 
 
 for violin, op. 5 ; Six quartets for 2 violins, alto and bass, Florence, 1782. Other 
 
 instrumental music. 
 
 NARES (James). English comp. and org., B. Stan well, Middlesex, 171 5. 
 Chorister in Chap. Royal, under Gates. S. under Pepusch. Deputy-org. of 
 S. George's Chap., Windsor. Org. York Cath., 1734. Org. and comp. to 
 Chap. Royal, 1756. Mus. Doc. Cantab., 1757. Master of children of Chap. 
 Royal, 1757-80. D. London, Feb. 10, 1783. 
 Works. — Eight Setts of Lessons for the Harpsichord, 1747 ; Five Harpsichord 
 lessons, 1758 ; Three Easy do.; The Royal Pastoral, a Dramatic Ode ; Collection 
 of Catches, Canons, and Glees, Lond. [1772]; Twenty Anthems in Score, Lond., 
 1778; Morning and Evening Service, with Six Anthems in Score, 1788; Six 
 Organ Fugues. A Treatise on Singing, n.d.; II Principio, or, a Regular Introduc- 
 tion to Playing on the Harpsichord or Organ, n.d.; Concise and Easy Treatise on 
 Singing... with a Set of English duets for Beginners; Songs and miscellaneous in- 
 strumental music. 
 
 It is as a composer for the church that Nares is now known, and his claims in 
 this direction are considerable. His anthems unite grandeur with a. large amount 
 of able contrapuntal tfeatment, which, though simple, is also effective. 
 
 NATHAN (Isaac). English comp. and writer, B. Canterbury, of Jewish 
 parents, 1792. S. at Cambridge. S. music under D. Corri. Sang at Covent 
 Garden Theatre. Emigrated to Melbourne, Australia, Feb., 1841. Killed in 
 Sydney, Jan. 15, 1864. 
 Works. — Hebrew Melodies (from Byron), 1822 ;'Sweethearts and Wives, 1823 ; 
 The Alcaid, opera, 1824; The Illustrious Stranger, musical farce, 1827; Musurgia- 
 Vocalis, an Essay on the History and Theory of Music, and on the Qualities, Capa- 
 bilities, and Management of the Human Voice, 4to [1823], illust. ; Life of Madame 
 Malibran de Beriot, interspersed with original anecdotes, and critical remarks on her 
 musical powers, Lond., 1836. Miscellaneous vocal music ; The King's Fool, 
 drama. The Southern Euphrosyne and Australian Miscellany, containing Oriental 
 Moral Tales, Original Anecdotes, Poetry and Music ; an Historical Sketch, with 
 examples, of the Native Aboriginal Melodies, etc., Sydney [1846]. 
 
 Only a very few detached pieces of his compositions now exist, and the only 
 songs which obtain currency now are those from Byron's " Hebrew Melodies." 
 
 NAU (Maria Dolores Benedicta Josefina). Spanish soprano vocalist, B. 
 New York, Mar. 18, i8i8. S. Paris Cons., 1832. Dibut at Paris, 1836. 
 Sang successively in Brussels, London, 1844 ; Paris. 1844-48 ; United States, 
 1848-9, etc, Retired, 1856. 
 
442 N A U — NAY 
 
 NAUDIN (Emilio). Italian tenor vocalist, B. Parma, Oct. 23, 1823. S. under 
 G. Panizzi. Z>(®«/ at Cremona. Appeared in various Continental theatres, 
 and in London, 1858, 1862, to i872,_and following years. Sings in works of 
 Meyerbeer, Verdi, Auber, etc. 
 
 NAUMANN (Emil). German writer and musician, grandson of J. G. Nau- 
 mann, B. Berlin, Sept. 8, 1827. S. under Hauptmann, etc. Music-director of 
 St. Thomas's, Leipzig, 1880. 
 Naumann is best known as a historian, and as a writer of some tracts of a contro- 
 versial character, such as "Musikdrama der Oper?" and "Die Moderne Musika- 
 lische Zopf," in which his Conservative leanings are set forth. His History of 
 Music has been translated by F. Praeger, and is now publishing in parts by 
 Messrs. Cassell, & Co. , under the editorship of the Rev. Sir F. A. G. Ouseley. He 
 has also composed oratorios, operas, cantatas and sonatas. 
 
 NAUMANN (Johann Gottlieb). German comp. and org., B. Blasewitz, 
 near Dresden, April 17, 1741. S. at Dresden. Gave concerts in conjunction 
 with a Swede named Weestroem, 1757. S. under Martini. Court-comp. at 
 Vienna, 1763. Resided in Italy, 1769-72. Vice-chap. -master to the Elector 
 at Dresden. Principal do., 1786. Married Frau Grotschilling. D. Dresden, 
 Oct. 23, 1801. 
 
 Works. — Oratorios: La Passione de Giesu ; Giuseppe riconosciuto ; Zeit und 
 Ewigkeit ; Santa Elena ; Davidde in Terebinto, 1796 ; La Morte d'Abele. Operas: 
 Achille in Sciro, 1767; Alessandro nell Indie, 1768; La Clemenza di Tito; Le 
 Nozze disturbate, 1772; Solimano, 1772; Osiride ; Ipermestra ; Amphion, 1776; 
 Cora, 1780; Gustave Wasa, 1780; Orphee et Eurydice, 1785. Eighteen sym- 
 phonies for orch ; Ballets, various. Instrumental music : Trios, sonatas, etc. ; 
 Psalms and Masses, 1766-1800 ; Vater Unser (Klopstock) ; Songs and miscellaneous 
 music. 
 
 Naumann had undoubtedly originality in his style, and might have attained con- 
 siderable individual fame but for an imitation of the Italian school which, though 
 fashionable enough in its day, proved fatal to many other German writers who 
 adopted its conventionalities. 
 
 NAVA (Franz). See Rimbahlt (E. F.). 
 
 NAVA (Gaetano). Italian singing-master and writer, B. Milan, May, 1802. 
 S. at Milan Cons. Prof, of Singing at Milan Cons, from 1837. D. Milan, 
 1875- 
 Works.— A Baritone Vocal School ; pubhshed in London, ed. by C. Santley. 
 Vocal Exercises, numerous books, etc. 
 
 Nava was best known as a teacher, and has special interest for English musicians 
 as the instructor of C. Santley, the well-known barytone vocalist. 
 
 NAYLOR ( John). English comp. and org., B. Ktanningley, near Leeds, June 
 8, 1838. S. under R. S. Burton, Leeds. Org. Parish Ch., Scarborough, 
 1856. Mus. Bac, Oxon., 1863. Mus. Doc, Oxon., 1872. Org. All Saints 
 Ch., Scarborough, 1873. Org. York Minster, 1883. 
 Works.— Church oratorio, "Jeremiah," York, 1883. Church Services. An- 
 thems : If ye then be risen with Christ ; Sing, O daughter of Zion ; My soul truly 
 waiteth ; O praise the Lord ; Out of the deep ; O ye that love the Lord. Hymns. 
 Part-Songs : The angels breathe on flowers ; O, Phoebus ! etc. Songs. 
 
 NAYLOR (Sidney). English pianist, cond., and comp., B. Kensington, Lon- 
 don, July 24, 1841. Chor. in the Temple Ch., 1849. S. org. and harmony 
 under Dr. Hopkms. Org. successively of St. George's, Bloomsbury ; St. 
 Michael's, Bassishaw ; St. Mary's, Newington, etc. Married to Miss Blanche 
 Cole, the vocalist, 1868. Became associated with J. Sims Reeves as accom- 
 panist, etc., 1870. Partner with Mr. Carl Rosa in connection with his second 
 opera season, 1874. Has conducted and accompanied at many of the more 
 important concerts throughout Britain. 
 Mr. Naylor has composed some church music, but has published only a few 
 
 pieces, among them being a Te Deum and some songs. He is best known as a 
 
 most successful pianist, and as a sympathetic and refined accompanist. His merits 
 
 as a conductor are also \vell known and widely appreciated. 
 
N E A — N E U 443 
 
 NEATE (Charles). English comp. and pianist, B. London, March 28, 1784. 
 
 S. under J. Field, and Woelfl. Appeared as pianist, at Covent Garden, 1800. 
 
 Member of Philharmonic Soc, 1813 ; afterwards a director and conductor 
 
 of do. Acquainted with Beethoven, 181 5. S. under Winter. Played in 
 
 England at principal concerts. D. Brighton, March 30, 1877. 
 
 Works. — Grand Sonata for Pf., op. i, 1808 ; Sonata for Pf., in D. min., op. 2, 
 
 1822; Pf. rondos, and other instrumental works; Trio for Pf. , violin, and 'cello, 
 
 op. 22 [1831]. Essay on Fingering, chiefly as connected with Expression, with 
 
 General Observations on Pianoforte Playing. Lond., fo., n. d. Songs. 
 
 Neate was best known as a performer of classical music, and as one who did 
 much to popularize the works of contemporary German composers, at a time when 
 musical affairs in Britain were almost stagnant. He composed much instrumental 
 music, but none of it is now in use. 
 
 NEEDLEB (Henry). English musician and violinist, B. London, 1685. D. 
 Aug. 1760. One of the original founders of the Academy of Ancient Music, 
 and a performer of contemporary fame. 
 
 NEEFE (Christian Gottlol)). German org. and comp., B. Chemnitz, Feb. 5, 
 
 1748. Cond. orchestras in various towns in Germany. Court org. at Bonn, 
 
 1781, where Beethoven was for a time under his instruction. Afterwards 
 
 theatrical cond. D. Dessau, Jan. 26, 1798. 
 
 Neefe wrote several operas and other works, but is only now remembered as the 
 
 early instructor of Beethoven. 
 
 NEILSON (Laurence Cornelius). English comp., org., and pianist, B. Lon- 
 don, 1760. Went to America, 1767. Org. at Dudley ; Do. at Chesterfield. 
 D. 1830 (?) Comp. sonatas, duets, divertissements, for Pf. Songs, psalms, 
 flute music, etc. 
 
 NEITHAEDT (August Heinrich). German comp. and cond., B. Schleiz, 
 Reuss-Schleiz, Aug. 10, 1793. Served in Army, 1813-15. Bandmaster in 
 Army, 1816-22. Do. of Kaiser Franz Grenadiers, 1822-40. Konigliche 
 musik-director, 1839. Founded Dom-chor. of Berlin (Cath. ), 1843. Visited 
 London with Choir, 1850. D. Berlin, April 18, 1861. 
 Works. — Manfred und Julie, opera. Band music. Arrangements of choral 
 
 music, part-songs, etc. 
 
 NELSON (Sidney). English comp. and writer, B. 1800. Teacher in London. 
 D. London, April 7, 1862. 
 Works. — Songs : Better Land (Hemans) ; Corsair's bride ; Guide, the ; Gipsy 
 king ; Gipsy's invitation ; Home song ; Hunter's horn ; Mary of Argyle ; Pilot, 
 the ; Rainy day ; Rose of AUandale ; Sweet Ellen Dale ; Mountain Lays, six 
 sacred songs; Songs of the Gipsies, Lond., 1832; etc. Duets: By the gentle 
 Guadalquiver ; Our happy home. Trios: Six Vocal [1852] ; Vintager's Evening 
 Hymn. Pf. music. Vocal School, a Series of Scales, Exercises, etc., Lond., n.d. 
 Vocalist's Daily Practice, Lond., n.d. 
 
 NERI ^San Filippo). Italian priest, and founder of the Congregation of the 
 Oratory, B. Florence, 1515. D. Rome, 1595. 
 Associated with Animuccia in estabhshing the oratorio. 
 
 NERUDA (Wilhelmine). Austrian violinist, B. Brunn, Moravia, Mar. 21, 
 1840. S. under Jansa. Dibut, Vienna, 1846. Travelled in Germany. First 
 appeared in London, 1849. Appeared in Paris, 1864. Married Ludwig Nor- 
 mann, a Swedish musician, 1864. Reappeared in London, 1869, and has 
 since that date performed throughout the English Provinces and in Scotland. 
 She is one of the best-known violinists in London, and her skill in quartet 
 playing is widely known. 
 
 NESSLEB (Victor Ernst). German comp., B. Baer, Jan. 28, 1841. Comp. 
 operas, The Piper of Hamelin ; Der Trompeter von Sakkingen, 1885 ; instru- 
 mental and vocal music. 
 
 NEUKOMM (Chevalier Sigismund). Austrian comp. and pianist, B. Salz- 
 bure, July 10, 1778. S, under M, and J. Haydn. Chap. -master to Emperor 
 
444 N E U — NIC 
 
 of Russia, at S. Petersburg, 1806. Pianist to Tallyrand, in Paris. Chevalier 
 of Legion of Hon., 1815. Chap.-masler to Dora Pedro of Brazil, Rio Janeiro, 
 i8i6-2i. Appeared in London, 1829, and spent much of his time in England 
 and Pdris. D. Paris, April 3, 1858. 
 ■ Works. — Oratorios: Mount Sinai ; Christi Grablegung, oratorium (Klopstock) ; 
 David, 1834 ; Absalom ; Miriam ; etc. Cantatas : Napoleon's Midnight Review ; 
 Easter Morning; etc. Fifteen masses. Ten German operas. Many Psalms and 
 other church music. Symphonie heroique, op. 19 ; another one, op. 37. Over- 
 tures, op. 23, 25, 45, etc. Miscellaneous instrumental music : Fantasias ; Pf. con- 
 certos ; Quintets, Quartets, etc. Elementary Method for the Organ or Harmonium 
 (Novello), n. d. Songs, and many pieces of vocal music. 
 
 NICHOLDS (Joseph). English comp., B. near Birmingham (?). D. Sedgeley, 
 near Dudley, Feb., i860. Wrote oratorios, psalms, and vocal music. 
 
 NICHOLSON (Charles). English flute-player and comp. , B. Liverpool, 1795. 
 
 Flute-player at Covent Garden, Drury Lane, Philharitionic Society, etc. D. 
 
 London, March 26, 1837. 
 Wrote "Preceptive Lessons for the Flute," with Portrait and Appendix, Lond., 
 n.d. ; "Complete Preceptor in a style perfectly simple and easy," Lond., 2 pts. n.d. 
 
 NICHOLSON (Rev. Henry D., M.A.) English writer, author of "The 
 Organ: its Mechanism, Stops, etc., explained, Lond., l2mo, n.d. (2 editions) 
 Boston edit, published under the title of "Organ Manual." 
 
 NICODE (Jean Louis). German comp., B. Jerzyc, near Posen, Aug. 12, 1853. 
 
 S. under Hartkaes, Wiierst, and T. KuUak. Teacher in KuUak's Academy, 
 
 Berlin. Pf. teacher at Dresden Cons. Has travelled in Europe as a pianist 
 
 and concert giver. 
 
 Works. — Maria Stuart, symphony, op. 4; Charakteristische polonaise, Pf., op. 
 
 5 ; Andenken an Robert Schumann, op. 6 ; Zwei charakterstiicke, Pf., op. 9 ; In- 
 
 troduktion und Scherzo, orch., op. 11 ; Zwei Etuden, Pf., op. 12 ; Romanze, violin 
 
 und orch, op. 14 ; 3 Lieder, op. 15 ; Senate fiir Pf., op. 19 ; Jubilaumsmarsch fiir 
 
 orch., op. 20 ; Ein Liebesleben, Pf., op. 22. 
 
 NIOOLAI (Carl Otto Ehrenfried). German comp. and org., B. Kbnigsberg, 
 June 9, 1810. Ran away from home on account of ill-treatment, 1826. S. at 
 Berlin, under Zelter and Klein. Org. at Prussian Embassy at Rome, 1833. 
 S. at Rome under Baini. Cond. of opera at Vienna, 1837. Resided at Rome, 
 1838-41. Director of Opera at Vienna, 1841-47, and afterwards at Berlin, 
 1848. D. Berlin, May 11, 1849. 
 Works. — Operas: Enrico IL, 1839; II Templario, 1840; Odoardo e Gildiffa, 
 1841 ; II Proscritto, 1841 ; Die Lustigen Weiber von Windsor, Berlin, 1849; 
 London (Merry Wives of Windsor), 1864 ; Six Lieder, op. 6 ; Lieder und Gesange, 
 op. l5 ; Polonaise, Pf., op. 4 ; Concerto for Pf. and orch. ; a mass, and much un- 
 published music. 
 
 NICOLAI (Wilhelm F. Gr.) German org. and comp., B. Leyden, 1829. S. at 
 Leipzig, and under Schneider at Dresden. Prof, of organ at the Hague. 
 Works. — Op. i. Four Lieder; op. 2. Four Lieder; op. 4. Senate fiir Pf. ; 
 op. 10. Three Duette, Sopran und Tenor ; op. 13. Three Lieder. 
 
 NICOLINI (Ernest), or Nicholas. French tenor vocalist, B. Tours, Feb. 23, 
 1834. S. Paris Cons. Sang in Paris and in Italy. First appeared in Eng- 
 land, May, 1866. With Madam A. Patti he has appeared frequently in Lon- 
 don, the English Provinces, the United States, Europe, etc. 
 
 NICOLINI (NiCOlino Grrimaldi, detto). Italian vocalist, B. Naples, 1673. 
 Sang successively in Rome, Naples, Milan, etc. Appeared in London, 1708. 
 Sang in operas by Handel and others till 1717, and was last heard of in 1726, 
 after which all trace of him disappears. 
 
 NICOLSON (Richard). English org. and comp., B. in second half of i6th 
 century. Org. and chorus-master, Magdalen Coll., Oxford, 1595. Mus. Bac. 
 Oxon., 1596. Prof, of Music in Oxford University on Heyther's Foundation, 
 1626. D. Oxford, 1339. 
 
tj I E — NOlt 
 
 445 
 
 NIECKS (Friedrich). German writer, B. Dusseldovf, Feb. 3, 1845. Best 
 known by his writings in musical journals on assthetical and theoretical sub- 
 jects, and by "A Concise Dictionary of Musical Terms...," London [1884], 
 i2mo. 
 
 NIEDERMAYEB (Louis). Swiss pianist and comp., B. Nyon, on Lake of 
 Geneva, April 27, 1802. S. under Moscheles, Forster, Fioravanti, and Zin- 
 garelli. Went to Paris and resided there, 1823-28. Teacher in Brussels, 
 1828. Established the "Ecole de Musique Religieuse," Paris, 1854. D. 
 Paris, March 14, 1861. 
 Works. — Operas : II reo per amore, 1821 ; Stradella, 1836 ; Marie Stuart, 
 
 1844; Robert Bruce (adapted from Le Donna del Lago), 1846; La Fronde, 1853. 
 
 Traits theorique et pratique de I'accompagnement du Plain-chant, Paris, 8vo, 1857. 
 
 NIEMANN (Albert). German tenor vocalist, B. Erxleben, near Magdeburg, 
 Jan. 15, 1831. Sang in theatre at Dessau, 1849. S. under F. Schneider, 
 Nusch, and Duprez. Chamber singer to the Emperor of Germany. Has sung 
 with much success in Germany, and has created the heroic parts in Wagner's 
 operas. 
 
 NILSSON (Christine). Swedish soprano vocalist B. Wexio, Wederslof, Swe- 
 den, Aug. 20, 1843. S. under the Baroness Leuhusen (n^e Valerius), Berwald, 
 and Wartel. Dibut at Theatre Lyrique, Paris, Oct. 27, 1864, as Violetta in 
 " La Traviata." Dibut at H. M. Theatre, London, in same part, June 8, 1867. 
 Sang at Birmingham Festival, 1867; do. Royal Italian Opera, 1868; in Lon- 
 don again, 1870. Sang in the United States, 1870-72. Married to M. Auguste 
 Rouzaud, July, 1872. Has since appeared in all the principal cities. 
 Madam Nilsson unites the most perfect vocal powers with a large amount of 
 dramatic instinct, and her conception of the various parts which she has filled is 
 intelligent, powerful, and always vocally superb. "VVTierever she has appeared she 
 has won an unfailing appreciation, and has been greeted with every possible degree 
 of cordiality. She has created some of the best modern operatic parts as " Mignon " 
 and "Ophelia." About 1869 a small biography, under the title of " Memoir of 
 Mdlle. Christine Nilsson," (i2mo, n. d.), was issued. 
 
 NISARD (Theodore). See Normand (Theodore E. X., Abb^). 
 
 NISSEN (Georg Nickolaus von). Danish writer, B. Hardensleben, Jan. 22, 
 1761. D. 1826. He married Mozart's widow in 1809, and wrote a biography 
 of the composer, "Biographic, W. A. Mozart," 1828, best edition, Leipzig, 
 2 vols., 8vo, 1869. 
 
 NISSEN (Henriette), Salomon. Swedish soprano vocalist, B. Gothenburg, 
 1822. D. Harzburg, Sept., 1879. She married S. Salomon, 1850, and was 
 a successful pupil of M. Garcia's, under whom she S. at Paris. She sang in 
 operas of Bellini, Rossini, and Verdi, and appeared in London in 1848. Her 
 husband, Siegfried Salomon, a Danish violinist and comp., was B. Tondern 
 in 1818. He writes operas, lieder, overtures, etc. 
 
 NIXON (Henry George). English org. and comp., B. Winchester, Feb. 20, 
 1796. Org. S. George's Chap., London Road, 1817-20; Do. Chap, in War- 
 wick St., 1820-36. Org. S. Andrew's R. C. Chap., Glasgow, 1836-39. Org. 
 S. George's Cath., -London. D. London, 1849. 
 His sons James C. (1828-1842), and Henry Cotter (London, 1842) composed 
 
 music of a miscellaneous character. The former was also a violinist'; while H. C, 
 
 is a Mus. Bac. Cantab., 1876. 
 
 NOBLE (Oliver). Ajnerican minister, of Newbury, Mass., D. 1792. Published 
 a "Discourse on Church Music," 1774. 
 
 NOHL (Carl Friedrich Ludwig). German writer, B. Iserlohn, Westphalia, 
 
 Dec. S7 1831. S. music under S. Dehn. Member of Prussian Civil Service. 
 
 Prof. Munich University. D. Heidelberg, Dec. 16, 1885. 
 
 Works.— Mozart, Stuttgart, 8vo, 1863. Musikalisches Skizzenbuch, Munich, 
 
 8vo 1866. Musiker Briefe (Gluck, P. E. Bach, Haydn, Weber, Mendelssohn), 
 
 Leipzig 8vo, 1867. Translated under title of Letters of Distinguished Musicians, 
 
446 NOR — NOV 
 
 by Lady Wallace, Lond., 8vo, 1867. Neue Briefe Beethovens nebst einigen 
 ungedruckten Gelegenheite compositionen, Stuttgart, 8vo, 1867.' Beethoven 
 depicted by his Contemporaries, Trans, by E. Hill, London, 8vo, 1880 (German 
 edition, 1877). 
 
 NORMAND (Theodule E. Xavier, Abbe), Theodore Nisard. Belgian 
 
 writer, B. Quaregnon, Jan. 27, 1812. Author of several works on musical 
 theory and history, among which are "Du Plain-Chant Parisien...," 1846, 
 8vo ; "De la Notation Proportionnelle du Moyen-Age," Paris, 1847; 
 ' ' L'Accompagnement du Plain-chant sur I'orgue, " Paris, 1 860, 8vo. 
 
 NOBEIS (Charles, or Thomas). English comp., and tenor vocalist, B. Salis- 
 bury, 1 740 [? 1 745]. Chor. Salisbury Cath. under Stephens. Sang at Worces- 
 ter and Hereford Festivals, 1761-62 ; and at Drury Lane Theatre, 1762. Org. 
 Christ Ch., Oxford, 1765. Mus. Bac. Oxon., 1765. Org. S. John's Coll., 
 Oxford, 1765. Sang at Handel Commemoration, 1784. D. near Stour- 
 bridge, Sept. S, 1790. Composed symphonies, anthems, and Four Glees [circa 
 1770]. 
 
 NORTH (Francis), Lord Guildford. English writer, B. 1637. D. 1685. 
 Held several important legal appointments, but has interest in a musical sense 
 only as the author of "A Philosophical Essay on Music," 1677. His brother 
 Roger (B. 1650, D. 1733), was a miscellaneous writer, who left in MS. "Me- . 
 moirs of Musick,...now first printed from the original MS. and edited, with 
 copious notes, by E. F. Rimbault," London, 1846, 4to. This is an interesting 
 work, containing a fund of information on events in the musical history of the 
 author's period. 
 
 NORTH (James M.) English vocal teacher and comp., B. Huddersfield, 1835. 
 
 Settled in America, 1842. Vocal teacher in St. Louis. Mo. Pupil of Dr. 
 
 Lowell Mason, G. F. Root, Geo. James Webb, and Bassinia. Teacher at the 
 
 N. Y. State Normal School, Albany, N. Y., from 1859 to i860. Director of 
 
 music in the public schools, 1863 to 1865. 
 Works. — Vocal Exercises, 3 books, sacred songs and church services, ballads, 
 etc., with and without orchestral instruments. Associate editor of works for church 
 and singing-societies. 
 
 NORTON (Honourable Mrs. Caroline Elizabeth Sarah Sheridan). 
 
 English poetess and musician, B. iSoS. D. London, June 15, 1877. 
 She is best known as the writer of a number of songs, some of which obtained 
 much popularity. Among them may be named " Love Not," " Juaneta," "Morn- 
 ing Star," "Arab's Farewell," "Voice of Music," "Murmur of the Shell," and 
 "Blind Girl." 
 
 NOTTEBOHM (Martin Gustav). German comp. and writer, B. Liidenschied, 
 
 Arnsberg, Nov. 12, 1817. S. at Berlin under L. Berger, Dehn, and Sechter. 
 
 Teacher and editor in Vienna. D. Gratz, Oct. 31, 1882. 
 
 Works. — Ein Skizzenbuch von Beethoven, Leipzig, 1855 ; Beethoveniana, 
 
 Aufsatze und Mittheilungen, 1872 (Second Series, 1875-9) ; Beethoven's Studien, 
 
 Beethoven's Unterricht bei J. Haydn, Albrechtsberger, und Salieri nach den 
 
 Original Manuscripten dargestellt ; Thematic Catalogues of works of Beethoven and 
 
 Schubert ; Quartets and trios for strings. 
 
 NOURRIT (Adolphe). French tenor vocalist, B. Paris, Mar. 3, 1802. S. under 
 his father. Dlbutxa. Paris, in Gluck's "Iphigenie en Tauride," 182 1. Lead- 
 ing tenor at the Paris Opera for a long period, and Prof, in Paris Cons. He 
 retired to Italy wheii Duprez began to rival him in Paris, and while singing at 
 Naples received a disappointment which acted so strongly on his nervous and 
 sensitive nature that he killed himself by leaping from the window of his abode, 
 March 8, 1839. He had a fine light style of singing, and appeared in operas 
 of Meyerbeer, Mozart, Cherubini, Auber, Mehul, Rossini, and Weber. His 
 father, LouiS, B. Montpellier, Aug. 4, 1780, D. Brunoy, Sept. 23, 1831, 
 was for long a leading tenor singer in Paris. 
 
 NOVELLO (Clara Anastasia). English soprano vocalist, B. London, June 
 10, 1818. Daughter of Vincent Novello. S. at Paris Cons, and under John 
 
Nov — ^v ti 447 
 
 Robinson of York. First appeared at Windsor, 1833. Sang at Ancient and 
 Philharmonic Concerts. Sang at all the important Provincial Festivals, and at 
 the Gewandhaus Concerts, Leipzig, Italy, etc. Married Count Gigliucci, 1843. 
 Retired in i860. 
 
 Known as one of the best and most successful English soprano vocalists. She 
 possessed a voice of uncommon power and compass, which she used in a manner at 
 once refined and impressive. She excelled chiefly in oratorio music, and was 
 unrivalled in her day for the performance of the music of Handel, Mendelssohn, etc. 
 
 NOVELLO (Joseph Alfred). English publisher and musician, B. London, 
 1810. Eldest son of Vincent Novello. Choir-master of Lincoln's Inn Chapel. 
 Bass vocahst at various concerts. Publisher under title of Novello & Co. in 
 succession to the business founded by his father. Retired to Genoa in 1856. 
 He wrote "Analysis of Vocal Rudiments by Question and Answer," Lond., 
 n.d. ; "Concise Explanations of the Gregorian Note," Lond., 1842, etc. 
 
 NOVELLO (Mary Sabilla). English writer and soprano-vocalist, daughter of 
 Vincent Novello. Appeared as singer at various places, but now known only 
 as writer of a "Vocal School, etc.," Lend., ob. fo., n.d.; "Voice and Vocal 
 Art," n.d. 
 
 NOVELLO (Vincent). English org., comp., and publisher, B. London, Sept. 
 6, 1781. Chorister in the Sardinian Chap., Duke St., under S. Webbe. 
 Deputy-org. to Webbe and Danby. Org. of Portuguese Chap,, 1797-1822. 
 Founded firm of Novello & Co., 181 1. Pianist to Italian Opera, London, 
 1812. Org. R.C. Chap, in Moorfields, 1840-43. Member of Philharmonic 
 Soc, and founder of the Classical Harmonists' Society. Retired to Nice. D. 
 Nice, Aug. 9, 1861. 
 
 WoKKs. — Collections of Church Music, consisting of selections from the writ- 
 ings of composers of all times. Anthems, kyries, hymns, and other church music. 
 Cathedral Voluntaries for Organ, 8 books of selections. Short Melodies for Organ, 
 in 6 books. Select Organ Pieces, in 18 books (containing numerous original pieces). 
 Rosalba, cantata. Masses, various. Collection of Motets for the Offertory. Con- 
 vent Music, collection of sacred pieces. Studies in Vocal Counterpoint, consisting 
 of Rounds, etc. Surrey Chapel Music. Glees, songs, etc. The works of Purcell 
 (sacred). The Fitzwillliam Music. Madrigalian Studies, Lond., 8 parts, 1841. 
 A Biographical Sketch of Henry "Purcell, from the best authorities, Lond., fo. 
 [1832]. 
 
 NOVELLO, EWER, & CO. English firm of music-publishers, established in 
 London by Vincent Novello, in 181 1. Their operations at the present time 
 are world-wide, while as a publishing firm they are the foremost in Britain. 
 Their catalogue is comprised in several volumes, each containing the titles of 
 their various publications of different classes, as Sacred Music, Organ Music, 
 Secular Vocal Music, Instrumental Music, etc. It would be impossible in a 
 work of this sort to do more than enumerate a few of the works which they 
 publish, as their catalogues embrace the names of nearly every British composer 
 of note, and many eminent foreign names. Of theoretical works they issue a 
 few important translations of Fetis, Albrechtsberger, Marx, Cherubini, Berlioz, 
 etc.; to which may be added a reprint of Hawkins' "History of Music." 
 Among their more important collections of vocal music may be named 
 " Novello's Glee Hive," " Opera Choruses," " Part-Song Book," " Standard 
 Glee Book," " Musical Times " series of part-music, and numberless single 
 part-songs, madrigals, and glees, by many writers. Of sacred music they pub- 
 lish editions of nearly every famous British work, as also numerous oratorios 
 and masses by foreign writers. A series of " Music Primers " embraces works 
 by eminent specialists on all the principal branches of the musical art, edited 
 by Dr. Stainer. The well-known journal, TAe Musical Times, is also the pro- 
 perty of the firm, as also was another journal, which lived about six months, 
 named the Musical Review. 
 
 NUNN (John Hopkins). English org., comp., and cond., B. Bury-St.- 
 Edmunds, Nov. 10, 1827. S. at R. A. M. Org. at Penzance, 1859 ; since 
 
448 NUN — A R. 
 
 cond. of several musical societies. He is composer of anthems, songs, part- 
 songs, etc. 
 Robert Lindley Nunn, who was Mus. Bac, Cantab., 1867, is also a comp. 
 and org. 
 
 o. 
 
 OAKELEY (Sir Herbert Stanley). English comp., org., cond., and prof., 
 B. Ealing, Middlesex, July 22, 1830. Second son of Sir Herbert Oakeley, 
 Bart., and of Athole Murray, niece of the 4th Duke of Athole. S. at Rugby, 
 and at Christ Church, Oxford. B.A., 1853; M.A., 1856. S. at Leipzig under 
 Plaidy, Moscheles, and Papperitz ; J. Schneider, at Dresden (organ) ; and 
 Breidenstein, Bonn. Prof, of Music in Edinburgh University, 1865. Mus. 
 Doc. Cantuar, 1871. Knighted (at the inauguration of the Scottish National 
 Monument to the late Prince Consort, at Edinburgh), 1876. Mus. Doc. 
 (honoris causa), Oxon, 1879. LL.D., Aberdeen, 1881. Comp. to H.M. in 
 Scotland. 
 - Works. — Six Songs (Bagatelles), op. 2; Mazurka brillante, Pf., op. 3. Anthems: 
 Who is this that cometh from Edom?; O God, who hast prepared, op. 5. Anthems : 
 Whatsoever is born of God ; Behold, now praise the Lord, op. 6. Four Quartets 
 (ist set) : Evening and Morning ; Parting ; A warning ; The Glowworm, op. 7. 
 Three duets (vocal) : Time flies fast away ; Meet me at even ; The evening star, 
 op. 8. Service in E flat (Morning, Communion, and Evening), op. 9. Lieder : 
 O du mein Mond ; Friihlingsabend ; Sehnsucht, op. 10. Chansons ; A qui pense- 
 t'il; Marguerite, op. II. Songs: Break, break, break; Edward Gray, op. 12. 
 Canzonette : Sempre piu t'amo ; Ad amore ; Ritorno del Montanar, op. 13. Six 
 Short Anthems : O praise the Lord ; O God, our Refuge ; This is the Day ; O 
 everlasting God ; Come unto Me ; Now unto the King eternal, op. 14. Songs : 
 Farewell, if ever fondest prayer ; 'Tis not alone that thou art fair ; O my Lady's 
 true and tender, op. 15. Three quartets (2nd set): Morgenlied ; Abendlied; 
 Nachtlied, op. 16. Six part-songs for men's voices, op. 17 ; National Melodies 
 (Scottish), arranged for men's voices in chorus (5 parts of 3 numbers each), op. 
 18 ; Rondo Capriccioso, for Pf., op. 19 ; Sonata, in A, for Pf., op. 20 ; Romance, 
 in F sharp, Pf , op. 21 ; Edinburgh Festal March, oroh., Liverpool Musical Fes- 
 tival, 1874, op. 22; Funeral March, orch., op. 23. Minuet in old style, Chester 
 Festival, 1885. Songs from Tennyson's "Princess": Bugle song; Tears, idle 
 tears ; Swallow song ; Ask me no more ; Home they brought her warrior dead ; 
 Shepherd's song, op. 24. Four Choral Songs for male voices, op. 25. Student's 
 Song, "Alma Mater," for men's voices. 40 Choruses (arrangements) for male 
 voices, with orch. accomp. , for Edinburgh University Musical Society. Contribu- 
 tions to Periodical Literature. Hymns: Sun of my Soul; "Edina," in Hymns 
 Ancient and Modern, and others in numerous collections. Bible Psalter (edited). 
 Prayer-book Psalter, London, Nisbet ; and other works. 
 
 Sir Herbert Oakeley has done for classical music in Scotland more real good 
 than any other single individual. The influence which he possesses as Professor of 
 Music in Edinburgh University is of itself sufficiently great to enable him to do 
 good beyond the power of other musicians ; but when such an influence is joined to 
 well-directed energy, and an earnest, artistic desire to further musical art, the result 
 is beneficial to the community, and creditable to himself. To enumerate the 
 services he has rendered in the diffusion of knowledge of great musical works, 
 would be to write the history of musical progress in Scotland within the last twenty 
 years. His labours in connection with the University of Edinburgh are sufiiciently 
 well known ; but so important as to require detailed mention. They include, an 
 entirely successful solution of the " Reid Concert " problem, that commemoration 
 having been by him developed into an annual three days "festival," which may 
 fairly be said to have given the first impulse to advance of taste for orchestral music 
 in Scotland ; the establishment of the Edinburgh University Musical Soc, and his 
 
OAK — 6 D A 440 
 
 aid and visits to Aberdeen, St. Andrews, and Glasgow Universities, where the stu- 
 dents have followed the example of Edinburgh ; and finally, the influence of his 
 organ recitals, which have done much to spread a love for that instrument. His 
 works are all conceived in the purest artistic spirit, and have gained for their 
 author much fame among modern musicians. His songs are especially worthy of 
 attention, though not less so are his many fine anthems and part-songs. An Album, 
 dedicated by permission to Her Majesty the Queen, and containing some twenty of 
 his songs, is, it is understood, in the press. 
 
 OAKEY (George). English comp., writer, and teacher, B. St. Pancras, Lon- 
 don, Oct. 14, 1841. Gained first prizes in Society of Arts Examination, under 
 HuUah, 1869, and under Macfarren, 1873. Mus. Bac. Cantab, 1877. Examiner 
 in Harmony and Composition to Tonic Sol-fa Coll., 1870. Lecturer on har- 
 mony, do., 1877 ; and counterpoint, 1878. Prof, of harmony and counterpoint, 
 City of London Coll., 1S83. 
 Works. — Part-Songs: The daisies peep ; Pack clouds away, 1874 ; Stars of the 
 summer night; Our happy harvest home, 1879; The beacon light, x88o. Anthems: 
 Blessed be the Lord God; Praise the Lord of Hosts. Hymns and chants and 
 arrangements of part-songs and glees published in various collections. Graduated 
 Exercises in Harmony, 1877. Text-Book of Counterpoint, Lond. , 1878 [3 editions]. 
 Text-Book of Harmony, Lond., 1884 [2 editions]. Songs and glees. 
 
 OBERTHUR (Charles). German comp. and harpist, B. Munich, Mar. 4, 1819. 
 S. under Mrs. E. Brauchle and G. V. Roder. Harpist at theatre of Zurich on 
 recommendation of Charlotte Birch-Pfeiffer. Solo-harpist at Court theatre 
 Wiesbaden ; also at Mannheim. Settled in London, 1844. Harpist to 
 Italian opera, London. Latterly devoted to teaching and composition. 
 Works. — Floris de Namur, opera by C. GoUmick, Wiesbaden. The Pilgrim 
 Queen, cantata for treble voices, by Mrs. A. Roberts. The Red Cross Knight, 
 cantata for ladies' voices. Lady Jane Grey, cantata. Part Songs : Ave Maria ; 
 Breezes of Evening. Songs : Rose and the ring ; Je voudrais etre ; Babe and the 
 sunbeams ; 'Tis the gold in the heart ; Golden days ; Mighty spirit ; Three wishes, 
 etc. Overtures for orch., "Macbeth," Rubezahl. Loreley, a Legend for orch. 
 with harp obligato (MS.); Prelude, Shakespeare; Concertino for harp and orch., 
 op. 175 ; Trio for harp, violin, and 'cello, in F min., op. 139 (MS) ; Trio for harp, 
 violin, and 'cello, in C, op. 162 (MS.) ; Una Lagrima suUa tomba di Parish-Alvars, 
 Elegie, harp, op. 38 ; Trois etudes caracteristiques, harp, op. 57 ; Three charac- 
 teristic melodies, harp, op. 106 ; Pensees musicales, harp, op. 1 10 ; Le Reveil des 
 Elfes, harp, op. 181 ; Miranda, scena senza parole, op. I^ ; Le Sylphe. Piano- 
 forte: Royal Academy pictures ; Espagnolia; Chant d'Amour ; Solitude. Missa 
 Philipp di Neri (MS.) etc. 
 
 Oberthiir is the leading harpist in Britain, and on the Continent he is held in the 
 highest esteem. Wherever he has performed, in London, Munich, Leipzig, Zurich, 
 Mannheim, Prague, Wiesbaden, Weimar, or Meiningen, he has been invariably 
 greeted with enthusiasm, and he is respected as a composer no less than as a per- 
 former. 
 
 OBRECHT (J.) See HOBRECHT (Jacob). 
 O'OAHAN (Roderick Dall). See Morrison (Roderick). 
 O'CAROLAN (Turlough), or Carolan. Irish comp. and harp-player, B. 
 Baile-Nusah, or Newton, West Meath, 1670. Became blind when about 16 
 years old. Married, and settled on a farm at Mosshill, Leitrim. Was extra- 
 vagant in his manner of living, and was forced to become an itinerant harper. 
 Travelled about the country, and became widely known as a minstrel and boon 
 companion, D. Alderford House, March 25, 1738. 
 He was a poet, and comp. a large number of popular Irish tunes, such as 
 "Bumper Squire Jones," "Bridget Cruise," "Liquor of Life," and " Savourna 
 Deelish." His musical works were published in 1747, and again in 1780, but it is 
 understood that only a very small number of his tunes have been preserved or iden- 
 tified. Specimens of his works will be found in Hardiman, Bunting and Walker. 
 
 O'DALY (Gerald). Irish harpist and comp. of last century. The supposed com- 
 poser of " Eileen a Roon," now adapted to the song, " Robin Adair. 
 
 K 2 
 
4^0 ODI — OLf) 
 
 ODIEB (Ludovic). Author of " Epistola Physiologica Inauguaralis de Elemen- 
 tariis Miisicse Sensationibus, " Edinburgh, 8vo, 1770. Treatise on the 
 connection between Music and Medicine. 
 
 O'DONNELY (Abbe). Irish (?) writer, author of " The Academy of Elementary 
 Music, containing a lucid Exposition of the Theory and Basis of the Practice 
 from its Primary Notions to those of Composition," etc., Lond., 8vo, 1841 ; 
 Paris, 8vo, 1842. 
 
 OESTEN (Theodor). German comp., B. Berlin, Dec. 31, 1813. S. at Berlin 
 under Bbhmer, Schneider, Rungenhagen, etc. Teacher and comp. in Berlin. 
 D. Berhn, Mar. 16, 1870. 
 
 His works consist of transcriptions for Pf. from operas by all the famous com- 
 posers, and some original works possessing merit. 
 
 OFFENBACH (Jacques). German (Jewish) comp., B. Cologne, June 21, 
 
 1819. S. at Paris Cons., 1833-4. Violinist at Opera Comique. Cond. of 
 
 orch. of Theatre Fran9ais; and of the Bouffes Parisiens, 1855. Visited United 
 
 States. D. Paris, Oct. 5, 1880. 
 
 Works. — Operettas, Ballets, and Comic Operas : Pepito, 1850 ; Oyayaye, 1855 ; 
 
 Une Nuit blanche, 1855 ; Les Deux Aveugles, 1855 ; Le R€ve d'une nuit d'ete, 
 
 1855; La Violoneux, 1855; Ba-Ta-Clan, 1855 ; Madame Papillon, 1855; Un 
 
 Postilion en gage, 1856 ; La Rose de Saint- Fleur, 1856 ; Le Dragees du Bapteme, 
 
 1856 ; Le 65, 1856 ; La Bonne d'enfants, 1856 ; Les Trois Baisers du Diable, 
 1857; Dragonette, 1857; Une Demoiselle en loterie, 1857; Les deux Pecheurs, 
 
 1857 ; Mesdames de la Halle, 1858 ; Orphee aux Enfers, 1858 ; Genevieve de 
 Brabant, 1859 ; Daphnis et Chloe, i860 ; Le Papillon, i860 ; Le Pont des Soupirs, 
 1861 ; LeRoman Comique, 1861 ; Les Bavards, 1863 ; L' Amour Chanteur, 1864; 
 Le Fifre enchante, 1864 ; La Belle Helene, 1864 ; Les Bergers, 1865 ; Barbe-Bleue, 
 1866 ; La Vie Parisienne, 1866 ; La Grande Duchesse de G&olstein, 1867 ; Robin- 
 son Crusoe, 1867 ; Le Chateau a Toto, 1868 ; Le Perichole, l868 ; La Princesse de 
 Trebizonde, 1869; Vert- Vert, 1869; Les Brigands, 1869; Le Roi Carotte, 1872; 
 Fantasio, 1872; Le Jolie Parfumeuse, 1873; Madame L'Archiduc, 1874; Whitt- 
 ington et son chat, London, 1875 ; Le Voyage dans le Lune, 1875 ; La Bolte au 
 lait, 1876 ; Madame Favart, 1879 ; Le Fille du Tambour Major, 1880. Songs. 
 
 Offenbach produced music with a prolificacy truly amazing, though the quality 
 was by no means so apparent as the quantity. His most popular works, Orphee 
 aux Enfers, Genevieve de Brabant, La Grande Duchesse, and Madame Favart, are 
 also his best ; though none of his compositions are destined to achieve immortality. 
 
 O'KEEFE (John). Irish dramatist and writer, B. Dublin, 1748. D. Southamp- 
 ton, 1833. Writer of the librettos of numerous comic operas, comedies, and 
 farces, some of which obtained great popularity. In 1826 he published 
 ' ' Recollections of the Life of John O'Keefe, " Lond. , 2 vols. , with portrait. 
 This book contains anecdotes, gossip, etc., relative to the theatrical and musi- 
 cal doings of his time. 
 
 O'KELLY (Joseph). Irish (?) violinist and comp., B. BouIogne-sur-Mer, 1829. 
 S. under Osborne, Kalkbrenner, etc. D. Paris, Jan. 1885. 
 Works. — Paraguassii, Poem Lyrique in 3 parts, 1855 ; Ruse centre Ruse, 
 operetta ; Cantata for Centenary of O'Connell, Dublin, 1878 ; Lutin de Galway, 
 opera, 1878 ; La Zingarella, opera, 1879. Songs and Pf. music. 
 
 OKENHEIM (Johann), or Okeghem. Flemish comp., B. Termonde (Den- 
 dermonde, Belgium), early in 15th century [c. 1415-20 Ambros, 1430, Fitis\ 
 Member of Coll. of Singers at Antwerp, 1443. Musician in service of King 
 of France, 1444; Chap. -master, do., 1461. Treasurer at Ch. of S. Martin, 
 Tours, 1475. D. Tours, 1513. 
 Okenheim's works consist of masses, motets, chansons, etc. They are distin- 
 guished by learned and artificial construction. Josquin, Pierre de la Rue, Agricola, 
 Compere, 'and Brumel, may be named among a number of other pupils. He is 
 credited with having perfected the canon form. 
 
 OLD (John). Enghsh comp. and cond., B. Totness, South Devon, 1829. 
 S. under John and Edward Loder, 1842. S. also at R. A. M., Lond., under 
 
LD — ON E 
 
 45 i 
 
 Bennett ; afterwards under Thalberg and Molique. Cond. of Torquay Choral 
 Soc, 1852-55. Teacher and cond. at Reading, Berks. 
 
 Works. — The Seventh Seal, sacred drama, 1853. Dramatic Solo and Chorus : 
 The Battle (on Charge at Balaklava), 1854. Heme the Hunter, opera in 3 acts, 
 by E. Oxenford, 1879. Overture for orch., Tenth of March (on Marriage of Prince 
 of Wales). Pianoforte : Etude de concert ; Reveries ; Impromptus ; Mazurkas ; 
 Caprices ; Melodie Chantante ; Serenade ; Tarantella in A ; Romances ; Legende ; 
 Valse de Concert ; Gavotte in F ; Characteristic Sketches, etc. Part-songs. 
 Songs : I have a home in fairy land ; Farewell to the Summer birds ; My happi- 
 ness ; Where the golden sun ; Gone out with the tide ; Eulalie ; Jack's good-bye ; 
 The vulture ; Meet me at morn ; When thou art near ; My native vale ; Winter 
 song ; Annabel Lee. Anthems. Essays contributed to the Monthly Musical 
 Record, and MS. works. 
 
 "Heme the Hunter" is Mr. Old's most important published work, and has 
 been described as an introductory preface to the published score by Joseph Bennet. 
 
 OLDMIXON (Lady), nie George. English vocalist, B. 1768. Sang in oppo- 
 sition to Mrs. Billington at Dublin, 1789. Sang at Drury Lane, the Oratorio, 
 and other concerts. Biography unknown. 
 
 O'LEABY (Arthur). Irish comp. and pianist, B. near Killarney, March 15, 1834. 
 
 Early attracted attention of a member of the Dunraven Family by his Pf. playing. 
 
 Educated in Dubhn. S. at Leipzig Cons, under Moscheles, Hauptmann, 
 
 Richter, Rietz, and Plaidy, 1847-52. S. at R. A. M., Lond., under Bennett 
 
 and Potter. Prof. R. A. M. in 1856. Married to Rosetta Vinning, of Newton 
 
 Abbott, Devon, i860. Prof, at National Training School for Music. 
 
 Works. — Overture and Incidental Music to Longfellow's " Spanish Student, " 
 
 (with C. Potter); Symphony, in C; Concerto, in E. min., for Pf. and orch. 
 
 Pianoforte : Rondo grazioso ; Zwei clavierstiicke ; Fete rustique ; Minuet, in B 
 
 flat ; Conte Mauresque. op. 14 ; Berceuse ; Chant des Sirenes, op. 12 j L'adieu du 
 
 Conscrit ; Fleurs et Pleurs ; Pastorale, op. 13; Wayside Sketches; Thema in C 
 
 min. Toccata in F ; Stradella, fantasia and hymn ; Scene de chasse. Mass of S. 
 
 John (unison) ; Ode to the victor, part-song. Songs : He roamed in the forest ; 
 
 'Tis Jamie's step I hear ; Ask not why I love ; Listening ; For Rosabelle ; Six 
 
 songs (collection) ; etc. 
 
 Mr. O'Leary has edited some works of Bennett, Bach, and Hummel, in addition 
 to the works above given. His wife was King's scholar, R, A. M., conjointly with 
 J. F. Barnett, in 1852. She has comp. a number of songs, among which may be 
 named "Craigie Burn," " My angel lassie," "A smile upon the shore," " She is 
 coming down this way," " I am the angel," etc. 
 
 OLIPHANT (Thomas). English writer and musician, B. 1799. Member of 
 Madrigal Soc, 1830; Hon. sec, do.; President, do. D. London, March 9, 
 
 1873- 
 Works. — A Brief Account of the Madrigal Society. ..Lond., 1834. Short 
 Account of Madrigals from their Commencement to the Present Time. Lond., 
 
 1836. La Musa Madrigalesca, or a Collection of Madrigals, Ballets, Roundelays, 
 etc. , chiefly of the Elizabethan age ; with Remarks and Annotations. Lond. , 8vo, 
 
 1837. Catalogue of MS. Music in British Museum. Lond., 8vo, 1842. Ten Favourite 
 Madrigals, arranged from the Original Part Books, with an accompaniment for the 
 Piano. Lond., fo., n. d. Collection of Glees, Madrigals, etc. (Novello), n. d. 
 Catches and Rounds. Lond., n. d. Ditties of the Olden Times. Arrangements 
 of Songs, etc. Tallis' Song of Forty Parts; Responses (edited). Stay one 
 moment, gentle river, madrigal. Poetry for various pieces of vocal music. Swedish 
 Part-songs (i860), etc. 
 
 OLIVER (Edward B.) American writer, author of "A New Manual of 
 Thorough-base, and Test-book of Musical Theory," Boston, i2mo, 1864. 
 "Text-book of Music, as connected with the Art of Playing the Pianoforte, 'J 
 Boston, n.d. 
 
 O'NEILL (Arthur.) Irish harper and collector, B. 1726. D. near Armagh, 
 Oct., 1816. He was possessed of great stores of traditional melodies, etc., and 
 was referred to by Bunting when preparing the first portion of his Irish Melo- 
 dies, 
 
452 t)Ns — osG 
 
 ONSLOW (George). English comp., B. Clermont-Ferrand, July 27, 1784. 
 Grandson of the First Lord Onslow. S. under Hullmandel, Dussek, Cramer, 
 and Reicha. Resided for a time at Vienna, 1802. Returned to Paris and 
 received Cross of Legion of Honour. Member of the Institut (in succession to 
 Cherubini), 1842. D. Clermont-Ferrand, Oct. 3, 1853. 
 Works. — L' Alcalde de la Vega, opera, 1824; Le Colporteur, opera, 1827; Le 
 
 Due de Guise, opera, 1837. Symphonies for orch., op. 41, 42. Quintets for 2 
 
 violins, viola, and 2 'cellos, or 'cello and bass, opp. 17, 18, 19, '23, 24, 25, 32, 33, 
 
 34. 35. 37. 38. 39. 40, 43. 44. 45. 5'. 57. 58. 59. 61, 67, 68, 72, 73, 74, 78, 80, 82. 
 
 Quartets for strings, opp. 4, 8, 9, 21, 36, 44, 46, 47, 48, 49, 50, 52, 53, 54, 55, 56, 
 
 62, 63, 64, 65, 66, 69. Trios for Pf., violin, and 'cello, opp. 3, 14, 20, 24, 26, 27. 
 
 Duets (or Pf. and violin, op. 11, 15, 21, 29, 31. Sextet, op. 30. Sonata for Pf. 
 
 and 'cello, op. 16. Sonatas for Pf. solo, op. i, 2. Sonatas for Pf. duet, op. 7, 22. 
 Though French by birthplace, he is English by parentage, and is usually reckoned 
 
 among the foremost composers of instrumental music in the form commonly called 
 
 chamber. 
 
 ORG£iNYI (Anna Maria Aglaja), Austrian soprano vocalist, B. Rima Szom- 
 bat, Galicia, 1841. Daughter of an Austrian General (Gorger St. Jorgen). S. 
 under Mme. Viardot-Garcia, and Lamperti. Debut at Berhn in " Sonnam- 
 bula," 1865. Sangin London, 1866 ; again in 1870. Has appeared in operas 
 of Donizetti, Weber, Mozart, and Rossini. 
 
 ORNITHOPARCUS (Andreas), or correctly, Vogelsang. German writer, B. 
 Meiningen about end of 15th century. D. in first half of 16th century. 
 Author of the rare work entitled ' ' Musics Activae Micrologus libris quatuor . 
 digestus, Leipzig, 1519, 4to, translated by John Dowland in 1609, as Andreas 
 Ornithoparcus his Micrologus, or Introduction ; containing the art of Singing, 
 and the perfect use of the Monochord according to Guido Aretinus," Lond., fo. 
 
 OBBIDGE (Ellen Amelia). English contralto vocalist, B. London, 1856. D. 
 Guernsey, Sept. 16, 1883. She studied at the R. A. M. under Garcia, and 
 gained the Thomas (1877), Nilsson (1878), and Parepa-Rosa (1878), prizes. 
 She was well-known at most of the London and provincial concerts, and was 
 a special favourite in oratorio music. 
 
 ORTIQUE (Joseph Louis D.) French writer, B. Cavaillon, May 22, 1802. D. 
 Paris, Nov. 20, 1866. Best known by his " Dictionnaire Liturgique, Historique 
 et Theorique de Plain Chant, et de Musique d'Eglise au Moyen Age et dans 
 les Temps Modernes," Paris, 1854, 8vo. 
 
 OSBORNE (George Alexander). Irish pianist and comp., B. Limerick, Sept. 
 
 24, t8o6. S. at .Paris under Pixis and Fetis, 1826 ; and under Kalkbrenner. 
 
 Settled in London, in 1843, from which date he has been a well-known 
 
 figure in the musical world, and a most successful teacher. Member of the 
 
 Musical Association, etc. 
 Works. — Pianoforte : Florizelle ; La Zingarella ; La Pluie de Perles ; Rolando ; 
 La coquette ; Harp of Erin ; Souvenir de Sims Reeves ; Victorine valse ; Libiamo ; 
 La Fiorenza ; Evening dew ; March militaire ; A Summer's eve ; The elves ; A 
 moonlight walk ; Transcriptions, arrangements, etc., in large numbers. Songs, 
 various, etc. 
 
 Mr. Osborne during a long life has seen and known nearly every eminent 
 musician the 19th century has produced. His reminiscences in this particular would 
 accordingly form an interesting item in musical literature. His works abound in 
 brilliant passages, and his arrangements are clever and dashing. Some of them 
 achieved extraordinary popularity. 
 
 OSGOOD (Emma Aline). American soprano vocalist, B. Boston, Mass., 1849. 
 First appeared in Boston, 1873. S. under Randegger, in London, 1875. Sang 
 at Crystal Palace, 1875. Sang in English provinces, 1875-76. Sang at 
 Brighton Festival, 1877 ; Leeds Festival, 1877. Appeared at Cincinnati and 
 New York, 1878. Has since appeared repeatedly in England and America, 
 and always with invariable success. Her voice is a rich and expressive soprano, 
 with a magnificent low register. In oratorio music she is especially successful, 
 and has been highly appreciated wherever she has appeared. 
 
OSG — OUR 453 
 
 OSGOOD (George L.). American writer, author of "Guide to the Art of Sing- 
 ing." Boston, n. d. 
 
 OSWALD (James), Scottish comp. and collector, B. about beginning of 17th 
 century. Dandng-master in Dunfermline. Settled in Edinburgh as teacher 
 of music and dancing. Settled in London, 1742. Chamber comp. to George 
 III., 1761. D. (?) 
 Works. — ^A Curious Collection of Scots Tunes, for a Violin, Bass Viol, or Ger- 
 man Flute, with a Thorough-bass for the Harpsichord, etc. Edin., n. d. [c. 1740]. 
 Collection of Curious Scots Tunes, for a Violin, German Flute, or Harpsichord. 
 Lond., n.d. [c. 1742]. A Second Collection of Curious Scots Tunes, for a Violin 
 and German Flute, with a Thorough-bass for the Harpsichord, Lond., n. d. 
 [c. 1742]. The Caledonian Pocket Companion, containing a favourite collection of 
 Scotch Tunes, with variations for the German Flute or Violin. Lond. [i7S9) etc.]. 
 Issued in 12 parts. Six Pastoral Solos for a Violin and Violoncello, with a thorough- 
 bass for the Organ or Harpsichord, Lond., n. d. Airs for the Spring, Summer, 
 Autumn, and Winter, Lond., n. d. Issued separately in 4 parts. A Collection of 
 Scots Tunes, with Variations, particularly adapted for the Violin and Harpsichord, 
 Lond., n. d. Ten Favourite Songs, sung by Miss Formantel at Ranelagh, Lond., 
 n. d. Fifty-five Marches for the Militia. ..Lond., n. d. A Collection of the best 
 old Scotch and English Songs set for the Voice, with Accompaniments and 
 Thorough-bass for the Harpsichord, Lond., n. d. ; etc. 
 
 Oswald was an industrious collector of Scottish tunes, but a. most unscrupulous 
 editor. He gave rise to the absurd tradition of Rizzio being the composer of certain 
 Scottish melodies, by attaching that name to tunes in his collections, when such 
 tunes were in reality his own composition or of an ancient date. 
 
 OTTO (Ernst Julius). German comp. and cond., B. Konigstein, Sept., 1804. 
 Cantor in Kreuzschule of Dresden, 1838. D. Dresden, March S, 1877. He 
 comp. oratorios, 2 operas, masses, sonatas, trios, and songs. 
 
 OTTO (Franz), German comp. and bass vocalist, B. Konigstein, 1806. D. 
 Mayence, 1842. He wrote much part-music and songs, some of which are 
 highly popular. 
 
 OTTO (Jacob Augustus). German writer, author of "A Treatise on the Con- 
 struction, Preservation, Repair, and Improvement of the Violin. " Trans, by 
 T. Fardely, Lond., 8vo, 1833. The same work, with additions, was edited by 
 John Bishop, and published by Messrs. Cocks & Co., London, in 1833. 
 
 OULD (Charles.) English violoncellist, B. Romford, Essex, July 19, 1835. Mem- 
 ber of H. M. Private Band. Has performed at most of the provincial concerts, 
 and is a well-known instrumentalist in London, where he has also taken part 
 in important concerts, etc. 
 
 OULIBICHEFF (Count Alexander von). Russian writer, B. Dresden, 1795. 
 D. Nischni-Novgorod, Feb. 5, 1858. Author of "Nouvelle Biographic de 
 Mozart," Moscow, 3 vols., 8vo, 1843 ; German trans., 1847, Stuttgart. 
 "Beethoven: ses Critiques et ses Glossateurs, " Leipzig, 8vo, 1857; etc. 
 These are both valuable and useful works. 
 
 OTJRY (Anna Caroline), «/« de Belleville. French pianist and comp., B. 
 Landshut, Bavaria, Jan. 24, 1806. S. at Vienna under Czerny. Appeared in 
 Paris, 1821. S. under A. Strieker at Vienna. Appeared in London, at con- 
 cert given by Paganini, 1831. Married to M. Oury, violinist, 1831. Travelled 
 with him concert-giving, in Germany, Russia, Holland, and France. Settled 
 in London, 1839-66. D. Munich, July 22, 1880. 
 Works. — Pianoforte transcriptions, fantasias, etc., of which the following are 
 samples :— L'Africaine (Meyerbeer), fantasia ; Per valli, per boschi, nocturne ; 
 Plaintes de I'absence, ballade ; Souvenir d' Edimbourg ; Marche Ecossaise ; Valse 
 brillante ; I montanari, melodies ; La chasse de Compiegne, fanfare, etc. 
 
 Madame Oury was for a time one of the most popular teachers and performers in 
 London, while her reputation on the Continent was considerable. Her playing was 
 distinguished by briUiancy and spirit, and was marked by careful technique. 
 
454 ous — PAC 
 
 OUSELEY (Rev. Sir Frederick Arthur Gore, Bart.) English comp., org., 
 
 and writer, B. London, Aug. 12, 1825. Son of Sir William Ouseley, Bart. 
 
 Succeeded his father, 1844. S. at Oxford. B.A., 1846 ; M.A., 1849. 
 
 Ordained, 1849. ' Curate of St. Paul's, Knightsbridge, 1849-50. Mus. Bac. 
 
 Oxon, 1850. Mus. Doc. Oxon, 1854. Prof, of Music in Oxford Univ. (in 
 
 succession to Sir Henry Bishop), 1855, Precentor of Hereford Cath., 1855. 
 
 M,A. and Mus. Doc, Durham, 1856. Warden of S. Michael's Coll. and Vicar 
 
 of S. Michael, Tenbury, 1856. Mus. Doc. Cantab, 1862. Hon. LL.D. 
 
 Cantab., 1883. Hon. LL.D., Edinburgh, 1885. 
 
 Works.— The Martyrdom of St. Polycarp, oratorio, 1855 5 Hagar, oratorio, 
 
 Hereford Festival, 1873. Church Services in D, B minor, A, G, E, E flat, and D, 
 
 etc. Anthems : And there was a pure river ; Awake, thou that sleepest ; Behold 
 
 now praise the Lord ; Christ is risen from the dead ; Great is the Lord ; I will 
 
 give thanks ; I waited patiently for the Lord ; I will magnify Thee, O Lord ; It 
 
 came even to pass ; In God's Word will I rejoice ; Love not the world ; O love 
 
 the Lord ; O sing unto God ; Sing unto the Lord ; The Lord is king ; The Lord 
 
 is my Shepherd ; Thus saith the Lord ; Unto Thee will I cry ; Why standest Thou 
 
 so far off; etc. The Psalter, arranged for chanting, with appropriate English 
 
 chants (with E. G. Monk), Lond., various editions and dates. Anglican Psalter 
 
 Chants, Lond. [1872]. Eighteen Preludes and Fugues for Organ ; Sonata for the 
 
 opening of the New Organ in the Sheldonian Theatre, Oxford ; Three Andantes 
 
 for organ ; Preludes and Fugues, various. Cathedral Services by English masters 
 
 [Farrant, Creyghton, Kempton, Child, Kelway, Aldrich, etc.], Lond., fo., n.d. 
 
 [1853]; Collection of Anthems for certain Seasons and Festivals (edited), 2 vols., 
 
 186 1 -65; Glees; Six Songs, etc. Treatise on Harmony, Oxford, 4to, 1868; 2nd 
 
 edit., 1876; 3rd ed., 1883. Treatise on Counterpoint, Canon, and Fugue, based 
 
 upon that of Cherubini, Oxford, 4to, 1868 ; 2nd ed., 1884. Treatise on Musical 
 
 Form and General Composition, Oxford, 4to, 1875 ; 2nd ed., 1886. Naumann's 
 
 History of Music, trans, by F. Praeger (edited). Sermons, etc. 
 
 Sir F. A. G. Ouseley is one of the ablest and most widely-respected musicians in 
 Britain. The amount of practical good which he has done is great, and his influ- 
 ence is no less potent than widespread. As a didactic writer, a composer, and an 
 organist, he is equally well known ; while his ability as a musical professor is great, 
 and beneficial to the art. 
 
 OVEREND (Marmaduke). English org. and writer, B. first half of l8th cen- 
 tury. S. under Boyce. Org. of Isleworth, Middlesex. D. 1790. 
 Works. — A Brief Account of, and an Introduction to Eight Lectures on the 
 Science of Music, Lond., 4to, 1781 ; Twelve Sonatas for 2 violins and violoncello, 
 1779 ; Vocal music, etc. 
 
 OWEN (John), Owain Alaw Pencerdd. Welsh comp. and teacher, B. 
 Chester, 1821. D. Chester, Jan. 30, 1883. Took a prominent part during 
 his lifetime in furthering musical education, and was himself a prize-taker, and 
 member of the Eisteddfod. He comp. cantatas ("The Prince of Wales," etc.), 
 part-songs, songs, and edited a collection of Welsh melodies entitled "Gems 
 of Welsh Melody." He left other works in MS. 
 
 OXENFORD (John). English dramatist, poet, and general writer, B. Camber- 
 well, London, Aug. 12, 1812. Educated for the Law, but never practised. 
 D. London, Feb. 21, 1877. 
 Wrote a number of lyrical and other works for music, which have been set by 
 Macfarren, and other composers. His son Edward has written many librettos 
 and lyrical pieces which have been set by many of the best living composers. 
 
 P. 
 
 PACCHIEROTTI (Gasparo). Italian soprano vocalist, B. Fabriano, near 
 Ancona, 1744. Chorister in Forli Cath., 1757. S. privately at Venice. 
 Appeared at Venice, 1769. Sang in Palermo, 1771. Sang successively at 
 
PAC — PAG 455 
 
 Parma, Florence, Milan, Venice, Genoa, Turin, etc. Appeared in London, 
 lyjS. Returned to Italy, but afterwards re-appeared in London. D. Padua, 
 Oct. z8, 1 82 1. 
 
 FACHELBEL (Johann). German org. and comp., B. Nuremberg, Sept. I, 
 1653. S. under H. Schemmern at Nuremberg ; also at Gymnasium at 
 Regensburg. Org. at Ch. of S. Stephen, Vienna; at Eisenach, 1675 ; Org. at 
 Erfurt, 1678-90; Gotha, 1690-95; andofCh. of S. Sebald, Nuremberg, 1695. 
 D. Nuremberg, Mar. 3, 1706. 
 His works consist of church and organ music, in which is foreshadowed much of 
 
 the severe contrapuntal style which is shown in the school of Bach and following 
 
 composers. 
 
 FACHMANN (Vladimir de). Russian pianist and comp. of present time, 
 B. Odessa. Has appeared on the Continent, in London (May 20, 1882), and 
 the British Provinces, with distinguished success. He represents the most 
 advanced style of pianoforte-playing, and is remarkable as an exponent of 
 the music of composers of the romantic school, and especially of Chopin. 
 
 PACINI (Giovanni). Italian comp., B. Catania, Feb. 19, 1796. S. under 
 Marches! and Furlanetto. Taught in Music School at Viareggio. Director of 
 Music School of Florence. Chap, -master to Empress Marie Louise, widow of 
 Napoleon I. Married to Adelaide Castelli, 1825. D. Pescia, Tuscany, Dec. 
 6, 1867. 
 
 Works. — Operas: Annetta e Lucindo, 1813; Atala, i8i8; La Sposa fedele, 
 1819 ; W.allace, 1820 ; La Schiava di Bagdad, 1820 ; La Vestale, 1823 ; Isabella 
 ed Enrico, 1824; Amazilea, 1825 ; Niobe, 1826; I Cavalieri di Valenza, 1828; 
 II Talismano, 1829 ; II Corsaro, 1831 ; Ivanhoe, 1832 ; Irene di Messina, 1833 ; 
 Carlo di Borgogna, 1834; Furio Camillo, 1840; Saffo, 1840; II Duca d'Alba, 
 1842; L'Ebrea, 1844; Lorenzino de' Medici, 1845 ; La Regina di Cipro, 1846; 
 Allan Cameron, 1848; Zaffira, 1851 ; II Cid, 1853; Belfegor, 1861 ; Berta di 
 Varnol, 1867; Niccolo di Lapi, 1873. Oratorios: La Destruzione di Gerusa- 
 lemme, 1858; Carrere Mamertino, 1867; II Trionfo di Giuditta, etc. Cantatas 
 and Masses. Symphony, octet, quartets, trios, etc. Corso Teorico-practico di 
 lezioni diArmonia, cenni Storici sulla Musica, e Trattato di Contrappunto, 1864, etc. 
 
 Pacini was a voluminous and agreeable composer, his style being based on that 
 ot Rossini. 
 
 FADDON (John). English musician and writer, author of "System of Musical 
 Education," Lond., i2mo, 1818. 
 
 FADILLA Y RAMOS (M. E.) Spanish barytone vocalist, B. 1831. Married 
 to Madlle. D&iree Artot, 1869. Has appeared with much success in various 
 countries as an operatic singer. 
 
 FAER (Ferdinando). Italian comp., B. Parma, June I, 1771. S. under 
 Ghiretti. Chap. -master at Venice, 1791. Teacher and comp. at Venice, 
 1797. Opera-director at Dresden, 1801-6. Chap. -master to Napoleon I., 
 1807. Director of opera in succession to Spontini, at Paris, 1812-27. Mem- 
 ber of French Academy. Director of King's chamber music, 1832. D. Paris, 
 May 3, 1839. 
 Works.— O/^ra.;.- La Locanda de' Vagabondi, 1789; I Pretendenti burlati, 
 1790 ; Circe, 1791 ; Said, 1792 ; II Tempo fa Giustizia a tutti, 1794 ; Idomeneo, 
 1794; Matrimonio improvise, 1794; La Rossana, 1795 ; Tamerlano, 1796 ; I due 
 Sordi, 1796 ; Sofonisbe, 1796 ; Griselda, 1796 ; II Nuovo Figaro, 1797 ; La 
 Sonnambule, 1797 ; Camilla, 1801 ; II Sargino, 1803 ; Leonora, 1805 ; Cleopatra, 
 1808; I Baccanti, 1811 ; L' Agnese, 1811 ; Le Maitre de chapelle, 1824, etc. 
 Oratorios: II San Sepolcro, 1803; II Trionfo della Chiesa, 1804; La Passione di 
 Giesii-Christo, 1810. Military music; Sonatas; Fantasias; Symphonies; etc. 
 Motets and other church music. 
 
 FAGANINI (Nicolo). Italian violinist and comp., B. Genoa, October- 27, 
 1783. S. by himself, and under Costa, Ghiretti, and Paer. Travelled in Italy 
 concert-giving with his father. Travelled alone after 1801. Court musician 
 at Lucca, 1805. Appeared at Milan, 1813. Appeared at Bologna (where he 
 
4S6 PAG — PAI 
 
 made the acquaintance of'Rossini), 1814. Defeated Lafont at a public contest 
 at Milan, 1816. Appeared successively at Venice (where he met Spohr), 1816 ; 
 Verona, 1817 ; Turin and Piacenza, 1818; Rome, Florence, Milan, 1819 ; 
 Rome, 1821 ; Milan, 1822 ; Vienna, 1828 ; Paris, Mar. 9, 1831 ; London, 
 June 3, 1831 ; Scotland, Ireland^ and English provinces. Farewell concert, 
 in Victoria Theatre, London, June 17, 1832. Decorated by Pope Leo XIL 
 with Order of the Golden Spur. Chap, -master to Emperor of Prussia. Made 
 acquaintance of Berlioz at Paris, 1833. D. Nice, May 27, 1840. 
 Works. — Op. i. Ventiquattro capricci per Violino solo ; op. 2. Sei Sonati per 
 Violono e chittarra ; op. 3. Ditto ; op. 4 and 5. Tre Gran Quartetti a violono, viola, 
 chittarra e violoncello ; op. 6. Concerto in E flat, for violin and orch. ; op. 7. Con- 
 certo in B minor ; op. 8. Le Streghe : variations on air by S. Mayr ; op. 9. Varia- 
 tions on " God Save the King " ; op. 10. Le Carnaval de Venise : Burlesque on a 
 popular air; op. II. Moto perpetuo ; op. 12. Variations on "^Non piii masta " ; 
 op. 13. Variations on " Di tanti palpiti." Other variations, etc. 
 
 His playing is said by experts to have been chiefly remarkable for the great com- 
 mand displayed over the technical requirements of the violin, while he was equally 
 clever in the production of certain original effects now considered beneath the dig- 
 snity of any but common music-hall performers. His doings on one string, and his 
 duet between two strings, may be instanced as examples of his devices to mystify 
 the public. His performance of legitimate violin music was in no way remarkable, 
 save for its eccentricity, and was matched, if not excelled, for dignity and expression 
 by many of his contemporaries. It is chiefly as an individual that Paganini is re- 
 membered, the fame of his performance being now less thought of than the supposed 
 mysterious nature of his life and surroundings. The Paganini literature is large, 
 but in addition to the works noted in the Bibliography, the following Periodicals 
 should be consulted : —Foreign Quarterly, v. 7 ; Dublin University Magazine, v. 37 ; 
 Argosy, 1875, v. 21 ; Good Words, v. 14 ; Living Age, v. 33 ; and Hogg's Instruc- 
 tor, V. 7. 
 
 PAGE (John). English editor and tenor singer, B. about middle of 1 8th century. 
 Lay-clerk St. George's, Windsor, 1790. Gent, of Chap. Royal. Vicar-choral, 
 St. Paul's, 1801. D. Aug., 1812. 
 
 Works. — Harmonia Sacra : a Collection of Anthems in Score, selected for 
 Cathedral and Parochial Churches from the most Eminent Masters of the i5th, 
 17th, and i8th Centuries, Lond., 3 vols, fo., 1800; 2nd edit, by E. F. Rimbault. 
 Festive Harmony : a Collection of the most favourite Madrigals, Glees, and Ele- 
 gies ; selected from the Works of the most eminent Composers, Lond., 4 vols., 
 1804. Collection of Hymns, 1804. Burial Service, Evening Service, Anthems, 
 etc., performed at the Funeral of Lord Nelson, Jan 9, 1806, fo. Four anthems 
 (festival), etc. Responses, Anthems, and Psalms performed at St. Paul's Cathedral 
 on the Day of the Anniversary Meeting of the Charity Children, 4to, n.d. 
 
 PAIGE (Mrs. J. B.) American writer, authoress of "New Inductive and 
 Eclectic Method for the Pianoforte," Boston, n.d. 
 
 PAIGE (Kate). English writer, authoress of " Exercises on General Elementary 
 Music." Part L, 1880; Part IL, 1881. Lond., 8vo. 
 
 PAINE (John KnOWles). American comp., org., and professor, B. Portland, 
 Maine, Jan. 9, 1839. S. under H. Kotzschmar of Portland. First appeared 
 as organist, 1857. S. under Haupt, Wieprecht, and Teschner, in Germany, 
 1858-61. Returned to United States, 1861. Instructor in Music, Harvard 
 Univ., 1862; Prof, do., 1876. 
 Works. — Saint Peter oratorio, op. 20, Portland, 1873 ; Variations for org. on 
 Austrian Hymn and The Star Spangled Banner, op. 3; Christmas Gift, tor Pf., op. 
 7 ; Funeral March, Pf., op. 9 ; Mass, in D, for soli, chorus, and orch., op. 10 ; 
 Vier Character- StUcke, Pf., op. 11 ; Two preludes for org., op. 19 ; Four charac- 
 teristic pieces, Pf., op. 25 ; "In the Country," Ten sketches for Pf , op. 26 ; Cen- 
 tennial Hymn, by Whittier, op. 27, May, 1876; Four songs, op. 29; Symphonie- 
 fantasie. The Tempest ; Symphony in C minor, op. 23 ; Symphonic in A, Spring, 
 op. 34; Sonatas, etc., for Pf. ; Songs and other vocal music. 
 
 PAISIELLO (Giovanni). Italian comp., B. Tarento, May 9, 1741. S. at 
 Jesuit School of Tarento, 1746; and under Durante and Abos at Naples. 
 
PAL — PAL 457 
 
 Resided at Naples till 1776. Married Cecile Pallini, 1772. Musician to the 
 Empress Catherine of Russia, 1776. Returned to Italy, 1784. Chapel-master 
 to Ferdinand IV. at Naples, 1784. Director of National Music, Naples, 1799. 
 Music director to Napoleon I. at Paris, 1801-3. D. Naples, June 9, 1816. 
 Works. — Operas [1763-1803] : La Pupilla, 1763 ; Demetrio ; Artaserse ; II 
 Negligente ; Le Pescatrici ; L'Imbroglio delle ragazze ; Lucio Papirio ; Olimpia ; 
 L'Innocente fortunato ; Semiramide ; II Tamburo notturno ; I Filosofi ; Don 
 Chisciotte delle Mancia ; Nina ; II Demofoonte ; Le due Contesse ; La Serva 
 Padrona ; II Barbiere di Siviglia ; Lucinda ed Armidoro ; Achille in Sciro ; I Zin- 
 gari in Fiera ; Ginnone Lucina; La Molinara ; Elvira; Proserpine, 1803; etc. 
 La Passione di Gesu Cristo, 1784, oratorio. Over one hundred Masses. Quartets 
 for strings, and other combinations ; Concertos for Harpsichord ; Twelve sym- 
 phonies for orch. , and other instrumental music. 
 
 The music of Paisiello is always pretty and graceful, though very often trivial and 
 monotonous. He wrote, in all, 70 comic and other operas. 
 
 FALADILHE (Emile). French comp., B. Montpellier, June 3, 1844. S. at 
 Paris Cons., 1853 ; also under Halevy. Gained first prize for Pf., 1857. 
 Gained Prix de Rome, i860. 
 Works.— O/craj, etc. : La Passant, 1872 ; L' Amour Africain, 1875 ; Suzanne, 
 
 1878 ; Dianna, 1885 ; Patrie. Symphony for orch., i860. Six Melodies Ecossaise ; 
 
 20 Melodies for voice and Pf. ; and numerous other vocal and instrumental works. 
 
 PALESTRINA (Giovanni Pierluigi da). Italian comp., B. Palestrina, Pro- 
 vince of Rome, 1524 [1515, 1526 '28-'29]. S. at Rome under Goudimel, 1540. 
 Teacher of music in the Cappella Giuha of the Vatican, 1 55 1. Married, about 
 1554. Singer in the Pontifical Choir, Jan., 1555, under Pope Julius; dis- 
 missed, with compensation, by Pope Paul IV., 1555. Chap. -master of Lateran 
 Chapel, 1555-61. Do. at Ch. of S. Maria Maggiore, 1561-71. Do. at 
 Vatican Chap., 1571-83. Do. of Oratory S. Fifippo Neri. Master of the 
 Pontifical Choir, 1586. D. Rome, Feb. 2, 1594. 
 Works.— Joannis Petri Aloysii Pranestini in Basihca S. Petri de Urbe cappellze 
 Magistri, Missarum, liber primus. Rome, 1554. Missarum, Liber secundus, 
 Rome, 1567. Missarum, Liber III. Rome, 1570. Missarum cum quatuor et 
 quinque vocibus, liber quartus. Rome, 1582 [2nd edit., 1582; 3rd edit, 1590]; 
 Missarum... Liber quintus. Rome, 1590. Missse... Liber sextus. Rome, 1590. 
 MissEe, quinque, quatuor, etc., vocibus... Liber septimus. Rome, 1594. Missarum 
 ., .Liber VIII., 1599. Missarum... Liber nonus, 1599. Missarum... Liber X., 1600. 
 Missarum. .. Liber undecimus, 1600. Missarum... Liber duodecimus, 1601. Missae 
 quatuor, octonis vocibus concinends, 1601. Motecta festorum totius anni, cum 
 communione Sanctorum quaternis vocibus, Liber primus. Rome, 1563. Motett- 
 orum qu« partim quinis, partim senis, partim septenis vocibus concinantur, Liber 
 primus. Rome, 1569. Motettorum... Liber II. Venice, 1572. Motettorum... 
 Liber III. Rome, 1575. Motettorum quatuor vocibus partim plena voce, et par- 
 tim partibus vocibus, Liber II. Venice, 1 581. Motettorum quinque vocibus, 
 Liber quartus. Rome, 1584. Motettorum... Liber V. Rome, 1584. Lamenta- 
 tionum, liber primus cum quatuor vocibus. Rome, 1588. Hymni totius anni, sec- 
 " undum S. R. E. consuetudinem quatuor vocibus concinendi nee non hymni religion- 
 um. Rome, 1589. Offertoria, Rome, 1593. Magnificat octo tonorum. Liber 
 primus. Rome, 1591. Litanije Deiparse Virginis. Rome, 1600. Madngali 
 Spirituah a cinque voci, liber primo, Venice, 1581. De' madrigah Spirituali a 
 cinque voci il libro II, Rome, 1594. Sacra omnia solemn Psalmodia vespertma, 
 1596. II Primo Libro di Madrigali a quattri voci. Rome, 1555. II pnmo Libro 
 di Madrigali a cinque voci, 1 58 1. II secondo libro di Madngali a quattro voci. 
 
 Venice, 1586 ; etc. ... r ■ i u- ,. 
 
 One of the greatest and most dignified ecclesiastical composers of musical history. 
 He is famous as the regenerator of Italian church music, and as one whose influence 
 was long felt by succeeding composers of church music, both Italian and other. A 
 number of his works are still in use, and for concert purposes m Britain, a few of 
 his masses, motets, and madrigals are practised. His music is somewhat learned 
 and dry in style, but for church use is admirable. 
 
 PALMER (Charles Austin). American comp. and pianist, B. Rio Janeiro, 
 May 6, 1840. D. 1880. Comp. of music for Pf., songs, etc. 
 
4S8 PAL — PAQ 
 
 PALMER (H. R.). American editor and teacher, B. New York State, 1835. 
 S. under J. Piowski and Dr. Hastings. 
 Works. — Theory of Music, Cincinnati, n. d. Rudimental Class Teaching, 
 Cincinnati, n. d. Collections of Songs and Choruses : The Standard ; The Leader ; 
 The Song Monarch ; Songs of Love, for Sunday-schools ; Song Herald ; Song 
 Queen ; Song King ; Concert Choruses ; Normal Collection of Sacred Music. 
 
 PALMER (Lucas Shelton). English writer and org., author of "First 
 Studies in Sight-Singing, for the use of Schools, Choirs, and Choral Societies." 
 London (Novello). " A Short Catechism on Singing." Lond. Part-songs: 
 Sunset ; The white rose sighed ; Phyllis. 
 
 PANNY (Josef). Austrian violinist and comp., B. Kohlmitzleur, Oct. 23, 1794. 
 S. under Eybler. D. Mayence, Sept. 7, 1838. 
 
 Works. — Op. I. Trio for Pf., vn. and 'cello; Quartets for strings, op. 19; 
 Masses for 4 voices and orch., op. 17; etc. Songs. Das Madchen von Rtigen, 
 opera, 1 83 1. 
 
 PANOFKA (Heinrich). German comp., violinist, and writer, B. Breslau, Oct. 
 
 3, 1807. S. at Vienna under Mayseder and Hoffmann, 1824-27. Gave first 
 
 concert, Vienna, 1827. Resided in Munich, Berlin, and Paris. Established, 
 
 with Bordogni, the "Academic de Chant," Paris, 1842. Resided in England 
 
 from 1844. Returned to Paris, 1852. Settled at Florence, 1866. 
 
 Works. — Ballads for voice and Pf., opp. 7, 12, etc. ; Duets for Pf. and violin, 
 
 opp. 10, 13, 15, 16, 27 ; L'Art de Chanter, op. 81 ; L'Ecole de Chant [English 
 
 translations] ; 24 Vocalises progressives, op. 85 ; Quartets for Pf., etc., opp. 6, II, 
 
 14, 18 ; Elegie for violin and Pf., op. 17 ; Ballade for do., op. 20. 
 
 FANORMO (Francesco). Italian flute-player and comp., B. Rome, 1764. 
 D. London, Dec. 29, 1844. He wrote some music for his instrument, and 
 improved the action of the pianoforte. 
 
 PANSERON (AugUSte Mathieu). French writer, comp., and singing-master, 
 
 B. Paris, April 26, 1796. S. at Paris Cons, under Berton, Gossec, etc. 
 
 Gained Grand Prix de Rome, 1813. Prof, of Solfeggi, Paris Cons., 1826; 
 
 Vocal Prof., 1831 ; Singing Prof., 1836. D. Paris, July 29, 1859. 
 
 Works. — Methode Complete de Vocalisation, Paris (English trans., London, 
 
 n. d. ) Traite de I'Harmonie Pratique et de Modulation. Numerous books of 
 
 Solfeggi, and Songs and Romances. 
 
 PAPE (William Barnesmore). American pianist and comp., B. Mobile, 
 Feb. 27, 1850. Arranger and comp. of a large number of pieces for the Pf., 
 chiefly of a light, brilliant class. 
 
 PAPINI (Guido). Italian violinist, B. Camagiore, near Florence, Aug. i, 1847. 
 S. under Giorgetti at Florence. Dibut at Florence, i860. Appeared in 
 London, 1874, and Paris, 1876. Established in London as Prof. Has 
 appeared in the English Provinces and in Scotland. He has composed a 
 concerto, romances, and other pieces for the violin, and has published a 
 School for the Violin ; and " La Mecanisme du Jeune Violiniste," 1883. His 
 performance is distinguished by much refinement. 
 
 PAPPENHEIM (Eugenie). Austrian soprano vocalist of present time. Ap- 
 peared about 1874, and has since sung in Britain, Germany, and elsewhere on 
 the Continent. Her repertory consists of operas by Weber, Beethoven, 
 Wagner, Verdi, etc. 
 
 PAPPERITZ (Benjamin Robert). German teacher and pianist, B. Pima, 
 Saxony, 1826. Has been a teacher at Leipzig Cons, since 1851. He is 
 chiefly known as a successful teacher of the Pf. 
 
 PAQUE (Guillaume). Belgian violoncellist, B. Brussels, July 24, 1825. S. 
 Brussels Cons. Played in Paris, Madrid, etc. Appeared in London as mem- 
 ber of Jullien's orchestra, 1851. Was afterwards Prof, of 'cello at Dr. Wylde's 
 Academy of Music, London ; a member of the Queen's private band, etc. D. 
 London, Mar. 2, 1876. His brother, P. J. Paque, is Queen's trumpeter. 
 
PAR — PAR 
 
 459 
 
 FARADIES (Pietro Domenico). Italian comp., B. Naples, 1710. S. under 
 Porpora. Teacher in London for a time, during which he instructed the elder 
 Thos. Linley in harmony. D. Venice, 1792. He composed an opera, 
 " Phaeton," 1747, and Sonatas for the Pf., etc. 
 
 FABiADIS (Marie Theresa von), nie Anton. Austrian pianist and comp, 
 
 B. Vienna, May 15, 1759. S. under Kotzeluch, Salieri, Righini, Vogler, etc. 
 
 Blind from an early part of her career. Appeared in Paris, 1780. Appeared 
 
 in London, 1780. Travelled in Germany, etc. D. Vienna, Feb. i, 1824. 
 
 Works. — Operas: Der Schulcandidat, 1792; Ariadne und Bacchus, 1791 ; 
 
 Rinaldo und Algina. Cantata, and other vocal v^orks. Sonatas for Pf., and 
 
 Lieder. 
 
 PABEFA-BOSA (Euphrosyne Farepa de Boyesku). Roumanian soprano 
 
 vocalist, B. Edinburgh, May 7, 1839. Daughter of a native of Wallachia. 
 
 Educated by her mother, Elizabeth Seguin. Debut at Malta, 1852. Sang at 
 
 Naples, Genoa, Rome, Florence, Madrid, Lisbon, etc. Appeared in London, 
 
 May, 1857. Married Captain de Wolfe Carvell. Sang at Handel Festival, 
 
 London, 1862-65. Married Carl Rosa (after death of her first husband, 1865), 
 
 1867. Visited America, 1867-1871. Revisited America, autumn of 1871. 
 
 D. London, Jan. 21, 1874. 
 
 This vocalist sang in a wide range of opera, and was distinguished for a voice of 
 
 much power and richness. She appeared in operas by Bellini, Mellon, Macfarren, 
 
 Balfe, Meyerbeer, Auber, Mozart, with much success, and did much to establish 
 
 the now well-known Carl Rosa Opera Company. 
 
 PABIS (Edouard de). See De Paris (Edouard). 
 
 FABISH-ALVABS (Elias). English harpist and comp., B. Teignmouth, Feb. 
 
 29, 1816. Jewish by parentage. S. under Dizi, Labarre, and Bochsa. Played 
 
 in Germany, 1831 ; Italy, 1834. Appeared in London, 1836-7. Travelled in 
 
 the East, 1838-42. Appeared in Germany and Italy again, 1842-44. Settled 
 
 in Vienna, 1847. Chamber harpist to Emperor. D. Vienna, Jan. 2$, 1849. 
 
 Works. — Voyage d'un Harpiste en Orient, Recueils d' airs et de melodies popu- 
 
 laires en Turquie et dans I'Asia Mineure, Harp solo, op. 62 ; Concerto for harp and 
 
 orch., in G min., op. 81 ; Concerto for 2 harps and orch., op. 81 ; Concerto for 
 
 harp and orch., in E flat, op. 98 ; March for harp, op. 67 ; Fantasias, transcriptions, 
 
 romances, and melodies, for harp and orch., and harp and Pf , etc. 
 
 Parish-Alvars was one of the greatest harp-players of his period, and probably 
 one of the best ever known. His works are well-known to harpists generally, and 
 abound in good points. 
 
 FABK (Bev. John, D.D.) Scottish poet, comp., and divine, B. Greenock, 1804. 
 Educated at Greenock and Paisley, and at Glasgow and Aberdeen Universities. 
 Licensed to preach. Assistant to Dr. Steele, West Ch., Greenock, and after- 
 wards to Dr. Grigor of Bonhill. Minister at Liverpool. Minister at Glencairn 
 in Dumfriesshire. Do. Collegiate Parish Ch. of St. Andrews, first charge. D. 
 St. Andrews, April 8, 1865. 
 Dr. Park first became publicly known as a musician by the publication of "Songs 
 composed and in part written by the late Rev. John Park, D.D., St. Andrews, 
 with Introductory Notice by Principal Shairp, LL.D., St. Andrews," Leeds, 1876, 
 4to, portrait. This collection displays considerable merit throughout. 
 
 FABEE (John). English oboe-player and comp., B. 1745. S. under Simpson 
 and Baumgarten. Oboist at the opera, 1768. Concerto player at Vauxhall, 
 1 77 1. Principal oboist at Drury Lane, 1 77 1. Member of King's Private 
 Band. Chamber Musician to Prince of Wales, 1783. Principal at Concert of 
 Ancient Music, etc. D. London, Aug. 2, 1829. 
 
 PABKE (Maria Hester), Beardmore. English pianist, comp., and singer, 
 B. 1775. Daughter of John Parke. S. under her father. Dibut as vocalist 
 at Gloucester Festival, 1790. Sang at London concerts, etc. Married Mr. 
 Beardmore. D. 1822. 
 She wrote sonatas for Pf,, songs, a set of six glees, and some other music. 
 
460 PAR — PAR 
 
 PARKE (William Thomas). English writer, oboe-player, and comp., B. 
 London, 1762. S. under Dance, Baumgarten, and his brother, John. 
 Chorister at Drury Lane Theatre, 1775. Oboist at Vauxhall, 1776. Prin- 
 cipal oboist at Covent Garden, 1783. Employed at principal concerts, Vaux- 
 hall, etc. as oboist after 1800. D. London, Aug. 26, 1847. 
 Works. — Overtures to " Netley Abbey,'' 1794; "Lock and Key," 1796. 
 Concertos for oboe. Flute music. Tutor for the Hautboy ; being a Familiar 
 Introduction to the Art of Playing this Instrument. With sixteen duets for two 
 Hautboys, n. d. Musical Memoirs ; Comprising an Account of the General State 
 of Music in England from the First Commemoration of Handel in 1784 to the year 
 1830, interspersed with numerous Anecdotes, Musical, Histrionic, etc., Lond., 
 2 vols., 8vo, 1830. 
 
 Parke was a leading performer on the oboe during his period, but is now chiefly 
 remembered as the author of a gossipy and amusing account of music during his 
 own time. This book gives graphic glimpses of the various musical events which 
 transpired between 1784 and 1830, and the anecdotes and useful historical facts 
 chronicled in the book make it a valuable and interesting authority. 
 
 PARKER (Henry). English comp., cond. , and vocal instructor, B. London, 
 Aug. 4, 1845. S. at Leipzig under Moscheles, Richter, and Plaidy, and at Paris 
 .under Lefort. Author of "The Voice : its Production and Improvement, with 
 Practical Exercises." London, 4to (various editions). Has comp. a number 
 of orchestral works : Pamela, gavotte, 1879; Clarissa, ininuet, 1880; Dorothea, 
 sarabande ; Pavanne de Guise, 1881 ; Imogen, 1882 ; Dance of Sirens, 1885. 
 Over 400 Songs and Pf pieces published since 1863. 
 
 PARKER (James 0. D.). American comp., pianist, org., and teacher, B. 
 Boston, 1828. Educated at Harvard University. S. music at Leipzig Cons, 
 under Moscheles, Hauptmann, Richter, and Rietz, etc., 1851-54. Org. ot 
 Trinity Episcopal Church, Boston. Prof, of Pf and Harmony in New Eng- 
 land Cons, of Music, and Boston University, Coll. of Music, from 187 1. 
 Works. — Redemption Hymn, a cantata, Handel and Haydn Soc, Boston, 
 1877. Church Services. Seven Four-part songs, Boston, 1875. Songs. Manual 
 of Harmony. Translation of E. F. Richter's " Manual of Harmony," Boston, n. d. 
 Pf. music, and miscellaneons pieces for orch. and church. — Musical Herald, Bos- 
 ton, etc. 
 
 PARKER (Louis Napoleon). English comp. and pianist, B. in Department 
 of Calvados, France, Oct. 21, 1852. Educated in Italy, France, and Germany. 
 S. at R. A. M., London, 1870, under H. Thomas, Walworth, Banister, Steggall, 
 Cusins, and Sir W. S. Bennett. Received first-class diploma from R. A. M. , 
 and was elected an Associate. Org., choirmaster, and senior music master at 
 King's School, Sherborne, 1877. Mem. of Committee of United Wagner 
 Soc. , and English Representative of the Revue Wagnirienne. 
 Works. — The Wreck of the Hesperus, cantata ; Silvia, cantata, 1880. The 
 
 Lord is my Shepherd, motet. Overtures for orch. (MS.) Part-songs, songs, vn. 
 
 and Pf music. 
 
 PARKINSON (W. W.). English writer, author of " The Natural and Univer- 
 sal Principles of Harmony and Modulation, with Illustrative and Analyzed Ex- 
 tracts from the Works of Classical Composers." Lond., 1873. 
 
 PARR (Rev. Henry). English divine and musician, B. Lythwood Hall, Salop, 
 1815. Educated at Oxford. Ordained, 1845. Vicar of Yoxford, Suffolk, 
 1872. Best known as the compiler of " Church of England Psalmody: Psalm 
 Tunes, Chants, with Responses, etc., with Memoirs of the Composers and 
 Histories of the Pieces." London, Novello (8 editions to 1880). In this 
 collection the author claims to have restored the tunes to their original forms ; 
 that is, he has freed them from the alterations of editors and meddlers. 
 
 PARRATT (Walter). English org., B. Huddersfield, 1841. S. under his 
 lather and G. Cooper. Org. of Armitage Bridge Ch., 1852; S. Paul's, Hud- 
 dersfield, 1854 ; Witley, 1861 ; Wigan Parish Ch., 1868 ; Magdalen Coll., 
 Oxford, 1872. Mus. Bac, Oxon., 1873. Org. of S. George's, Windsor, 
 1882. Prof, of org. at Royal Coll. of Music. 
 
i>AR — PAR 461 
 
 PARRY (Charles Hubert Hastings). English comp. and writer, B. Bourne- 
 mouth, Feb. 27, 1848. Educated at Eton and Oxford. S. under Elvey, H. 
 H. Pierson, G. A. Macfarren and E. Dannreuther. M.A., and Mus. Doc, 
 Oxon. Prof, of Music at Royal Coll. of Music. Choragus of Oxford Uni\er- 
 sity. Mus. Doc. Cantab., 1883 (Hon. degree). 
 Works. — Scenes from Shelley's "Prometheus Unbound, " for soli, chorus, and 
 orch., Gloucester Festival, 1880 ; Incidental Music to " The Birds " of Aristophanes, 
 1883 ; Ode for chorus and orch.; Sonata No. i, in F, for P/.; Sonata No. 2, in A, 
 for Pf.; Grosses duo for 2 Pf., in E. min, ; Trio in E min., for Pf., violin, and 
 'cello ; Quartet for strings, in G min. ; Quartet for Pf. and strings, in A flat ; 
 Quintet for strings, in E flat ; Fantaisie Sonate, for Pf. and violin, in B min. ; 
 Sonata for Pf. and' cello, in A min.; 2nd Trio in B min., 1885; Overture for 
 orch., " Guillem de Cabestanh," Crystal Palace, Mar. 15, 1879; Concerto for 
 Pf. and orch., in F sharp ; Symphony, No. I, in G, for orch., Birmingham, 1882 ; 
 No. 2, in F, Cambridge, 1883 ; Sonata for Pf. and violoncello, 1883 ; Morning and 
 Evening Service in D ; Three Odes of Anacreon ; Characterbilder, for Pf. Songs, 
 etc. Cantata, O Lord thou hast. Contributions in Grove's " Dictionary of 
 Music," and other works. 
 
 PARRY (John), Welsh harper and collector, of Rhuabon, North Wales. Was 
 bard or harper to Sir W. W. Wynne of Wynnstey, during the middle of the 
 18th century. He appeared in London. D. 1782. 
 
 Works. — Antient British Music ; or a Collection of Tunes never before published. 
 An Historical Account of the Rise and Progress of Music among the Ancient 
 Britons, Lond., fo., 1742 [with Williams]. Cambrian Harmony; a Collection of 
 Ancient Welsh Airs, fo. n. d. Music for the Harpsichord. 
 
 PARRY (John). Welsh comp. and writer, B. Denbigh, Feb. 18, 1776. Mem- 
 ber of band of Denbigh Militia, I79S. Bandmaster of same, 1797-1807. 
 Teacher of flageolot in London, 1807. Comp. for Vauxhallfrom 1809. Cond. 
 an Eisteddfod in Wales. Received degree of Master of Song (Bard Alaw), 
 1821. Mnsical Clitic of Morning I'ost, 1834-48. Treasurer of Royal Soc. of 
 Musicians, 1831-49. D. London, April 8, 1851. 
 Works. — Incidental Music to " Harlequin Hoax," 1814 ; Oberon's Oath, 1816 ; 
 High Notions, 1817 ; Ivanhoe, 1S20 ; Fair Cheating, 1814 ; Helpless Animals, 
 1818 ; Two Wives, 1821 ; My Uncle Gabriel ; Caswallon, etc. The Welsh Har- 
 per, being an Extensive Collection of Welsh Music, to which are prefixed observa- 
 tions on the Character and Antiquity of the Welsh Music, Lend., fo. n.d. ; An 
 Account of the Royal Musical Festival held in Westminster Abbey, 1834, drawn up 
 from Official Documents, 4to, n. d. ; Beauties of Caledonia, or Flowers of Scottish 
 Song. ..with symphonies and accompaniments for the Pf., Lond., 4 v. fo. n.d.; Selec- 
 tions of Six Brazilian Melodies ; The Vocal Companion ; British Minstrel ; Flowers 
 of Song ; London Collection of Glees, etc. ; Glees, part-songs, etc. Songs : Jenny 
 Jones ; Apollo and the Muses ; Oh, merry row the bonny bark ; Maid of Toro, etc. 
 Parry's music was extremely popular in its day, and some of it is even now in use. 
 Parry's songs are written in a light, pleasant style, and are agreeable effusions. 
 
 PARRY (John Orlando). Welsh comp., pianist, and barytone vocalist, son of 
 above, B. London, Jan. 3, 1 8 10. S. under Bochsa and his father. Debut as 
 harpist, 1825, Appeared as ballad vocalist, 1831. Sang in operettas and 
 entertainments by himself and others. Org. of S. Jude's, Southsea, 1853. Re- 
 appeared at the German Reed Entertainments, 1860-69. Retired, 1877. D. 
 East Molesey, Feb. 20, 1879. 
 Works. — Songs, of which the following is a selection: — Bridal Bells; Blue 
 
 Beard ; Cinderella ; Country Commissions ; Crotchet ; Norah the pride of Kildare; 
 
 Take a bumper and try ; A heart to let ; Wanted a wife ; Fayre Rosamonde. The 
 
 ABC duet, and numerous comic and sentimental pieces. 
 
 PARRY (Joseph). Welsh comp. and prof., B. Merthyr, May 21, 1841. Son of 
 Daniel Parry. Went to America with his family, 1854, where he afterwards 
 worked in the Ironworks. S. at a Music School in America in company with 
 P. P. Bliss, etc. Mus. Bac. Cantab., 187 1. S. at R. A. M., London, 1878, 
 under Steggall, Garcia, Sir Wm. S. Bennett, etc. Prof, of Music at University 
 Coll. of Wales, Aberystwith. Mus. Doc. Cantab., 1878. 
 
462 PAR — PAT 
 
 Works. — Emmanuel, an oratorio. Blodwen, Welsh opera in 3 acts. Prodigal 
 Son, prize cantata. Six Easy and Devotional Anthems, 2 parts. About 100 other 
 anthems. Songs : The skylark ; The sailor's wife ; Old yew tree ; Pleasure boat of 
 Niagara ; The train ; The nightingale ; The tolling bell; Serenade, etc., and others 
 to number of 150. Trios and quartets, various. Pianoforte: Three recollections ; 
 Reverie; Fantasia; Druid's march. Three Sonatas. String Quartet. Six Overtures. 
 
 PARSONS (Albert R.). American pianist, teacher, and comp., B. Indiana- 
 polis, about 1850. Teacher in New York. He haS' translated Wagner's 
 "Beethoven," and comp. Pf. and other works. 
 
 PARSONS (Robert). English comp., B. Exeter. Comp. services, anthems, 
 madrigals. Drowned in the Trent at Newark, Jan. 25, 1570 (1569?) His 
 son John (?) was org. of S. Margaret's, Westminster, in 1616. Org., etc., 
 Westminster Abbey, 1621. D. 1623. 
 
 PARSONS (Sir William). English musician, B. 1746. Chorister under Dr. 
 Cooke, Westminster Abbey. S. in Italy, 1768. Master of King's Music, 
 1786. Mus. Bac. and Mus. Doc. Oxon, 1790. Knighted, 1795. Magistrate 
 of Middlesex. D. July 17, 1817. 
 
 PASCAL (Florian). See Williams (Joseph). 
 
 PASCAL (Prosper). French comp. and writer, B. 1825. Comp. the following 
 operas : — Le Roman de la Rose, 1854 ; La Nuit aux Condoles, 1861 ; Le 
 Cabaret des Amours, 1862 ; Fleur de Lotus, 1864. Songs, and contributions 
 to periodical literature. 
 
 PASDELOUP (Jules Btienne). French cond. and comp., B. Paris, Sept. 15, 
 1819. S. Paris Cons. Gained first prize for Solfeggi, 1832; do. Pf., 1834. 
 Founded the Societe des jeunes artistes du Conservatoire, 1851. Established 
 "Concerts Populaires" at Cirque d'Hiver, i85l. Director at the Orpheon, 
 Member of Legion of Honour, etc. Pasdeloup has earned universal fame as a 
 conductor by the production of works by eminent modern composers at his con- 
 certs. He has introduced at his Concerts Populaires works by Gounod, Lalo, 
 Saint-Saens, Gouvy, Schumann, Gade, Rubinstein, Raff, Guiraud, Massenet, 
 Berlioz, Grieg, Wagner, and numerous other well-known names. He first in- 
 troduced Wagner to the Parisian public by a performance of "Rienzi" in 1869. 
 
 PASQUALI (Nicolo). Italian comp. and writer. Flourished in London and 
 Edinburgh in the first half of the l8th century. D. Edinburgh, 1757. 
 Works. — Thorough-bass made Easy, or Practical Rules for finding and applying 
 its various Chords. ..etc., Edin., fo., 1757; London edition, fo., n.d. Art of 
 Fingering the Harpsichord, Edin., fo., n.d.; London edition, fo., n.d. Vocal and 
 Instrumental music, various. 
 
 PASTA (Giuditta), nee Negri. Italian soprano vocalist, B. Como, 1798. 
 S. under Asioli at Milan Cons., 1813. DBut at Brescia. Appeared succes- 
 sively in small Italian towns, London, Jan. 1817, and Paris, without much 
 success. Successfully appeared at Verona, 1822, Paris, 1823, London, April 
 14, 1824. Afterwards appeared in London, Paris, in Italy, and elsewhere. 
 D. Como, April i, 1865. 
 
 Madame Pasta possessed a "finely regulated and flexible" voice, " and her style 
 was full of expression," says Parke in his " Musical Memoirs " (1817) ; and further 
 (1824) that she "sang and acted in a style of high perfection." 
 
 PATEY (Janet Mouach), nh Whytock. Scottish contralto vocahst, B. 
 London, May i, 1842. Her Father was a native of Glasgow. S. under Wass, 
 Pinsuti, and Mrs. Sims Reeves. First appeared, when young, in Town Hall 
 of Birmingham. Afterwards member of Henry Leslie's choir. Sang in Pro- 
 vinces with the Lemmens' Concert Party, 1865. Married John George Patey, 
 1 865. Sang at Worcester Festival, 1866. Appeared in America, with Wynne, 
 Cummings, Santley, and her husband, 1871. Sang in Paris, 1875. Has since 
 sung at all the principal British concerts. 
 Mrs. Patey is one of the finest British contraltos, and has held a first place among 
 
 concert vocalists for many ears. She created parts in a number of important 
 
PAT — PAf 463 
 
 works by English composers, among which may be named J. F. Barnett's "Ancient 
 Mariner," and "Raising of Lazarus"; Macfarren's "St. John the Baptist," 
 "Resurrection," "Joseph," and "Lady of the Lake." 
 
 PATEY (Jolm George). English barytone vocalist, B. Stonehouse, Devon, 
 1835. Husband of above. S. at Paris and Milan. Dibut in Flotow's 
 "Martha," London, 1858. Sang afterwards in English opera, and appeared 
 in America in 1871. Latterly a music publisher in London. 
 
 PATEY (0. A.) English writer, author of " An Elementary Treatise on the Art 
 of Playing the Violin, with Scales, Exercises, etc.," Lend., n. d. 
 
 PATON (Maxy Ann), Wood. Scottish soprano vocalist, B. Edinburgh, Oct., 
 
 1802. Daughter of George Paton, writing-master of Edinburgh High School. 
 
 Sang at the Edinburgh Concerts, 1810. S. harp and PI. under S. Webbe, 
 
 Jun. Sang in London, i8ii ; and Bath, 1820-1. Sang at Covent Garden 
 
 Theatre, London, as Susannah in Mozart's "Figaro," 1822. Appeared in 
 
 Weber's "Der Freischutz," July, 1824. Married Lord William Pitt Lennox, 
 
 1824. Created part of Reiza in Weber's " Oberon," April 12, 1826. Divorced 
 
 from her husband (Lennox), 1830. Married Mr. Joseph Wood, tenor vocalist, 
 
 1831. Resided chiefly at WooUey Moor, Yorks, 1833-54. Visited United 
 
 States, 1834-36. Appeared in London again in 1837, 1844. Embraced 
 
 Roman Catholic religion, 1843. Retired, 1844. Lived abroad, 1854-63. 
 
 D. Bulclifife Hall, near Chapelthorpe, Wakefield, July 21, 1864. 
 
 Miss Paton was one of the best and most popular British singers of her period. 
 
 Her voice was full and rich in quality, and she excelled in the romantic works of 
 
 Weber as well as in simple ballad music. She appeared in Britain and America 
 
 with the most pronounced success, and enjoyed the most unbounded popularity as 
 
 long as she remained on the stage. 
 
 PATTI (Adelina Maria Olorinda). Italian soprano vocalist, B. Madrid, Feb. 
 10, 1843. Daughter of Salvatore Patti and Signora Barili, both vocalists. 
 Taken to America by parents when a child. S. under Maurice Strakosch, 
 her brother-in-law. Dibut in New York as Lucia in " Lucia di Lammermoor," 
 1859. Dibut in London as Amina in "La Sonnambula," May 14, 1861. 
 Sang at Birmingham Festival and in the Provinces, Scotland, etc. Appeared 
 successively in Brussels, Berlin, Paris, Vienna, St. Petersburg, Moscow, in 
 Spain, Italy, etc. Married Marquis de Caux, July, 1868. Separated from 
 him, 1877. Divorced, 1885. Travelled in United States with much success, 
 1883. 
 Madame Patti has created the parts of Esmeralda, Juliet, Aida, Estella, etc., in 
 
 works by various composers. Her style of vocalization is pretty and graceful, but 
 
 never rises above a medium degree of dramatic ability. 
 
 PATTI (Carlotta). Italian soprano vocalist, sister of above, B. Florence, 1840. 
 
 Debut in New York as concert singer, 1861. Dibut in London, April, 1863. 
 
 Has since appeared as a concert vocalist in Britain, America, and the European 
 
 Continent. Married Ernst de Munck, violoncellist, 1879. 
 
 Her voice is of great upward compass, and is of uniform good quality. She 
 
 appears chiefly as a concert vocalist. 
 
 PATTISON (John Nelson). American pianist and comp., B. Niagara Falls, 
 Oct. 22, 1843. S. in Germany under Hauptmann, Reinecke, Stern, Marx, 
 Bulow, and Henselt. Returned to America, i860. Visited Germany again, and 
 played in Italy, Paris, etc. Travelled on concert tours in America with Parepa- 
 Rosa, Kellogg, Ole Bull, Albani, Lucca, etc. Comp. of "Niagara," a sym- 
 phony, numerous Pf. pieces, etc. 
 
 PATTISON (Thomas Mee). Enghsh org. and comp., B. Warrington, Jan. 27, 
 1845. Org. Warrington Musical Soc. since 1868. Org. St. Paul's Ch., War- 
 rington, since 1869. 
 Works.— Cantatas : The Ancient Mariner; Lay of the Last Minstrel, 1885. 
 
 The Happy Valley, opera. Anthems: O how plentiful is thy goodness; I did call 
 
 upon the Lord ; Truly God is loving ; It is a good thing to give thanks ; O praise 
 
 the Lord ; Give ear, O Lord ; Magnificat and Nunc Dimitis in A. Organ : Five 
 
464 PAU — PAY 
 
 Introductory Voluntaries ; Five Concluding do. ; Pastorale in F ; Fifteen Introduc- 
 tory and Concluding Voluntaries. Pianoforte : Allegretto Grazioso ; Chanson des 
 Oiseaux. Rudiments of Vocal Music, with Preparatory Exercises, etc., Lond., 
 8vo, n.d. 
 
 PAUER (Ernst). Austrian pianist, comp., and writer, B. Vienna, Dec. 21, 
 1826. S. under Dirzka ; and Sechter and Lachner, at Munich, 1845. Musical 
 Director at Mayence, 1846. Appeared at a Philharmonic Concert, London, 
 April, 1851. Married Miss Andreae of Frankfort. Juror for Austria at 
 International Exhibition, London, 1862. Delivered courses of historical lec- 
 tures from 1862. Prof, of Pf. at R. A. M. ; Do. at National Training School 
 for Music, etc. 
 Works. — Don Riego, opera, 1849 ; Die Rothe Maske, opera, 1850 ; Symphony 
 in C minor for orch., op. 50. Pianoforte: Sonata, op. 22 ; Caprice, op. 30 ; Noc- 
 turne, op. 32 ; Pensees fugitives, op. 33 ; Seguidille. op. 35 ; La cascade, raorceau 
 de concert, op. 37 ; Two sonatas, op. 38 ; Capriccio, op. 39 ; Passacaille, op. 40 ; 
 Presto Scherzando, op. 42 ; Bagatelles ; New Gradus ad Parnassum, 100 Studies 
 for Pf. ; Capriccio, in E flat ; Tarentelles, various : Arrangements, transcriptions, 
 and collections, various. Family Gift Book, Lond. [1878]. The Classic Com- 
 panion, 2 vols. Sunday Music. Old English Composers (selections from Byrd, 
 Bull, Gibbons, Blow, Purcell, and Arne, with notices by W. A. Barrett), London, 
 n. d. Children's Classics, various. March Album. The Birthday Book of 
 Musicians and Composers, for every day in the year, Lond. [1883]. Six Historical 
 Performances of Pianoforte Music, in strictly chronological order, April and May, 
 1863, with Biographies of the Composers, and criticisms on their works, Lond., 
 8vo, n. d. Three Lectures on the History of Oratorios, 8vo, n. d. Elements of 
 the Beautiful in Music (Music Primer), Lond. [1877]. Musical Forms (Music 
 Primer), Lond. [1878]. The Pianoforte (Music Primer), Lond. [1877]. Contribu- 
 tions to periodical literature, and lectures. 
 
 PAUL (Mrs. Howard), nie Isabella Featherstone. B. Dartford, Kent, 
 1833. Appeared in the Beggar's Opera, 1853, and in many musical and dra- 
 matic pieces. Married Mr. Henry Howard Paul, and in 1854 appeared with 
 him in a large number of different entertainments. She had a voice of much 
 beauty, but as she turned her attention to comedy, she never attained the posi- 
 tion as vocalist which she easily could. She D. London, June 6, 1879. 
 
 PAUL (Oscar). German writer and teacher, B. Freiwaldau, Silesia, April 8, 
 1836. S. at Univ. of Leipzig ; and music under Plaidy, Richter, and Haupt- 
 mann. Graduated as Ph.D., i860. Prof, of Musical Science at Leipzig 
 Univ., l866. Teacher in Cons., and critic of Leifziger Tagblatt. Author of 
 theoretical and other works. 
 
 PAVESI (Stefano). Italian comp., B. Casaletto Vaprio, Jan. 22, 1779. S. at 
 Cons, la Piet& de' Turchini, Naples. D. Crema, July 28, 1850. 
 Works. — Operas: L'Avvertimento ai Gelosi, 1803 ; Fingallo e Comala, 1805 ; 
 II Maldicenti, 1S09 ; Tancredi, 1812 ; Le Celanira, 181 5 ; I Pitocchi fortunati, 
 1819 ; Don Gusmano, 1819 ; L'Egilda di Provenza, 1823 ; II Solitario, 1826. 
 Oratorios. Songs and miscellaneous music. 
 
 PAXTON (Stephen). English glee-writer, B. 1735. Gained Prizes from Catch 
 Club in 1779, 1781, 1783, 1784, and 1785. D. London, Aug. 18, 1787. He 
 comp. numerous glees and catches, some of which were republished in 
 "Collection of Glees, Catches, etc., for 3 and 4 voices," op. 5. London 
 [1780], and in other collections. He also comp. a few masses and songs. 
 His brother William (D. 1781), was a violoncellist, and comp. " Breathe 
 soft, ye winds," a well-known glee for 3 voices, besides other pieces contained 
 in the collections above noted. 
 
 PAYER (Hieronymus). Austrian comp., B. Meidling, Vienna, Feb. 15, 1787. 
 D. Wiedburg, Sept. 1845. Comp. trios for Pf., concertos, sonatas, variations, 
 dances, etc., for Pf., motets, and operas. Best known as an instrumental 
 composer. 
 
 PAYNE (John Howard). American poet and dramatist, B. New York, June 
 9, 1792. D. Tunis, April 10, 1852. Celebrated as the author of "Clari, or 
 
fEA — PEA 465 
 
 the Maid of Milan," in which appears the world-famous song, " Home, sweet 
 home," set by Sir Henry Bishop. He edited, from 1826 to 1827, the Opera 
 Glass, a dramatic and musical journal. 
 
 PEACE (Albert Lister). English org. and comp., B. Huddersfield, 1845.' 
 Org. of Parish Ch. of Holmfirth, 1854. Settled in Glasgow as org. of Trinity 
 Congregational Ch., 1866. Org. of Glasgow Univ. Mus. Bac. Oxon, 1870. 
 Mus. Doc, do., 1875. Org. at St. Andrew's Hall, 1877. Org. Glasgow 
 Cath., 1879. 
 Works.— The 138th Psalm, 1870. The Narrative of John the Baptist, 1875. 
 Morning, Communion, and Evening Services. Anthems: Awake up my glory, 
 etc. Editor of "The Scottish Hymnal," and "Psalms and Paraphrases." Organ 
 arrangements of "L'etoile du Nord," " WiUiam Tell," " Der Freischutz," and 
 "Oberon," overtures, etc., etc. 
 
 Dr. Peace enjoys a wide reputation in Great Britain as an organist of extra- 
 ordinary executive ability,, and has appeared throughout Scotland ; at the Bow and 
 Bromley Institution, London ; and in the Provinces, with uniform success. 
 
 FEABCE (Joseph). English writer, author of "Violins and Violin-makers: 
 Biographical Dictionary of the Great Italian Artistes, their Followers and 
 Imitators to the Present Time. With Essays on Important Subjects connected 
 with the Violin," Lond., i2mo, 1866. 
 
 PEARMAN (William). English tenor vocalist, B. Manchester, 1792. Went 
 to sea as a cabin-boy. Engaged at Battle of Copenhagen, and wounded. 
 Appeared unsuccessfully as an actor. Sang at Sadler's Wells Theatre. S. for 
 a short time under Addison. Sang at Newcastle, Bath, Bristol, etc. Dibut 
 as operatic vocalist at English Opera House, July 7, 1817, in "The Cabinet." 
 Sang at Drury Lane, Covent Garden, and principal concerts. 
 
 PEARSALL (Robert Lucas de). English comp., B. Clifton, March 14, I79S- 
 Educated for Law. Called to the Bar, 1821. Practised till 1825. S. music 
 under Panny at Mayence, Re-visited England, 1829. Settled at Carlsruhe, 
 1830. Lived at Wartensee Castle on Lake of Constance from 1832. D. 
 Wartensee, Aug. 5, 1856. 
 
 Works. — Madrigals for 4, 5, 6 and 8 Voices, Lond. [1840]. Eight Glees and 
 Madrigals, Lond. [1863]. Twenty-four Choral Songs, etc., ed. by J. HuUah 
 [1863]. Ballet Opera Choruses [1878]. Sacred Compositions, ed. by Trimnel, 
 n. d. Edited a Catholic Hymn Book, 1863, and comp. Psalms and Anthems. 
 Part-Songs : A king there was in Thule ; Let us all a- Maying go ; O who will o'er 
 the downs so free ; Purple glow the forest mountains ; Sing we and chaunt it ; Sir 
 Patrick Spens (10 parts); Bishop of Mentz ; Hardy Norseman's house of yore ; 
 Red wine flows ; Watchman's song ; Winter song ; Who shall win my lady fair, 
 etc. Essay on Consecutive Fifths and Octaves in Counterpoint, Lond., n. d., 4to. 
 
 Pearsall's concerted vocal music is probably the most popular of any in use at the 
 present time. At least this can be easily affirmed of " O who will o'er the downs 
 so free," and "The HardyNorseman's House of Yore," both of which are familiar 
 to everyone. He was an artist too many-sided to attain great distinction in any one 
 of the numerous walks he attempted, but his achievements in music will certainly 
 keep his name in constant remembrance. 
 
 PEARSON (Martin). English comp., B. in latter half of l6th century. Mas- 
 ter of the children, S. Paul's Cath., 1604. Mus. Bac, Oxon., 1613. D. 1650. 
 Works.— Private Musicke, or the First Booke of Ayres and Dialogues, contain- 
 ing Songs of 4, S, and 6 Parts of severall sorts, etc., 1604. Mottects, or Grave 
 Church Musique, 1630. 
 
 PEARSON (William Webster). English comp. and org., B. Bishop-Auck- 
 land, Sept. 27, 1839. Org. Parish Ch., Elmham. Teacher of the viohn m 
 Norfolk County School, Dereham. 
 Works.— Fart-Soft^s : Departed joys ; Jager chorus; Over the mountain side ; 
 Soul of living music ; Sweet spring (madrigal) ; The anglers ; The coral grove ; The 
 dream of home ; The Ironfounders ; The ocean ; The river ; The stormy petrel ; 
 The iron horse ; Three doughtie men ; Autumn ; Soldier, rest ! Sweet to live amid 
 
 F 2 
 
4^6 PEA — PER 
 
 the mountains ; Welcome, young Spring ; A ryghte merrie geste. Notation of 
 Vocal Music on the principle of the substitution of Pitch, Lend., n. d. The 
 National Method of Vocal Music for Elementary Schools, Manchester, 1874. 
 Church music, org. music, songs, Pf. pieces, and orch. works. 
 
 PEASE (Alfred H.). American comp. and pianist, B. Cleveland, Ohio, 1842. 
 S. music in Berlin, under Kullak, Wiierst, and Wieprecht, and afterwards under 
 Billow. Gave concerts throughout America. D. H. Louis, Mo., July 13, 
 1882. Comp. of Songs, etc., Blow, bugle, blow; Good night; Stars of the 
 summer night ; Absence ; Beautiful Emeline ; Fanny Lee ; May belle ; 
 Memory's refrain ; Rock me to sleep, mother ; Song for freedom. 
 
 FECK (James). English music-publisher arid engraver, established in London. 
 He edited "Two Hundred and Fifty Psalm Tunes in Three Parts," 1798. He 
 was succeeded in business by his son John, org. of S. Faith's, who issued in 
 conjunction with his brother James, Junr., "Peck's Pocket Arrangement or 
 General Collection of Psalm and Hymn Tunes," Lond., 1833, 3 v., 8vo. 
 
 FEGLER (Daniel). English amateur comp. and pianist, was well known in the 
 early part of the present century as a performer of great ability. D. Colchester, 
 Dec. 29, 1876. 
 
 PELLEGrBINI (Felice). Italian bass vocalist and comp., B. Turin, 1774. 
 Chor. in Turin Cath. S. under Ottavi. DSbut at Leghorn, 1795. Sang in 
 Rome, Milan, Naples, Venice, etc. Sang in Paris, 1819. Appeared in Lon- 
 don, 1828-9. Prof, of Singing in Paris Cons., 1829. D. Paris. Sept. 20, 1832. 
 Comp. Harpsichord lessons, songs, and other vocal music. His son, GlULIO, B. 
 
 Milan, Jan 1, 1806. S. Milan Cons., 1817. Z'/iSa? at Turin, 182 1. Bass singer 
 
 at Munich. D. Munich, July 12, 1858. 
 
 PENNA (Frederic). English barytone vocalist and writer, B. London, 1832. 
 Author of "Singing, an Essay," Lond., 8vo, 1878. His wife, Catherine 
 Louisa Smith, was a soprano vocalist of ability, and D. London, 1879. His 
 daughter, Catherine, is also a soprano vocalist. 
 
 PENFIELD (Smith Newell). American org., pianist, and comp., B. Oberlin, 
 O., April 4, 1837. B.A. and M.A. of Oberlin Coll. S. at Leipzig under 
 Reinecke, Moscheles, Papperitz, and others, and at Paris under Delioux. Org. 
 and teacher in New York city. Mus. Doc, Univ., N.Y., 1883. President of 
 Music Teachers' National Assoc, 1884. 
 Works. — The i8th Psalm, for chorus and solo voices, with orch. ; Eleven an- 
 thems, constituting full set of Canticles of Prot. Epis. Ch. ; Concert Overture for 
 full orchestra ; Various songs ; Pf. and organ pieces. 
 
 PEPUSCH (Johann Christoph). German comp. and writer, B. Berlin, 1667. 
 
 S. under Klingenberg. Musician at Prussian Court, 1681-1697. Resided in 
 
 Holland, 1698. Came to England, 1700. Musician in orch. of Drury Lane 
 
 Theatre. Assistant to Este at Academy of Ancient Music. Org. to Duke of 
 
 Chandos, 1712. Mus. Doc. Oxon, 1713. Musical director of Lincoln's Inn 
 
 Fields Theatre. Married Margarite de I'Epine. Org. at Charter House, 1737. 
 
 F.R.S., 1746. D. London, July 20, 1752, 
 
 Works. — Arranged overture and airs in "The Beggar's Opera," 1728; "Polly," 
 
 etc. Edited CoreUi's Sonatas. Six English Cantatas, Lond., Walsh, 1712. Odes 
 
 and anthems, various. Short Treatise on Harmony, containing the chief rules for 
 
 composing in 2, 3, and 4 parts, Lond., 8vo, 1730 ; second edit., 1731. 
 
 Pepusch was best known as a teacher and theorist, and by his arrangement of the 
 airs in "The Beggar's Opera." The Treatise on Harmony is said to be by Lord 
 Abercorn, or Paisley ; but authorities say, in nothing more than name. 
 
 PERABO (Johann Ernst). German pianist and comp., B. Wiesbaden, Nov. 
 14. 1845. Went to America with his family, 1852. Resided successively at 
 New York, Dover, N. H., and Boston. S. under his father and W. Schultze 
 in America. Educated at Eimsbiittel, near Hamburg. S. music at Leipzig 
 Cons, under Moscheles and E. F. Wenzel (PI.) ; Papperitz, Hauptmann and 
 Richter (harmony); and Reinecke (comp.); 1862-65. Awarded one of the 
 Helbig Prizes. Returned to New York, Nov. 1865. Settled in Boston, 1865. 
 
PER — PER 467 
 
 Has given concerts in Sandusky; Lafayette; Chicago; Cleveland; Boston; 
 
 at the Harvard Musical Association ; Boston Symphony Concerts ; and in 
 
 other cities in the United States. 
 Works. — Op. i. Moment Musical, Pf.; op. 2. Scherzo, Pf.; op. 3. Prelude, Pf.; 
 op. 4. Waltz; op. 5. Introduction and Andante; op. 6. Penste Fugitive; op. 7. 
 " After School," six short pieces ; op. 8. Souvenir, Pf. ; op. 9. Three Studies ; op. 
 10. Petit Scherzo, Pf.; op. n. Pensees, in G minor, Pf. ; op. 12. For Amy, musi- 
 cal sketch, in A minor ; Transcriptions of Ballads by C. Lowe, arrangements from 
 Rubinstein, Bennett, Schubert, Beethoven, and collections of Pf. pieces for the use 
 of pupils. 
 
 His style unites delicacy of touch and expression, with a keen poetic insight of 
 the truest meaning of the composer, and a technical capability at once correct and 
 vigorous. He has introduced into America many interesting pianoforte works by 
 European composers, and has done much to spread the public knowledge of the 
 works of Sir W. S. Bennet. Some of the works introduced by Perabo were given 
 for the first time in America. His works are finished and poetical effusions, and 
 have commanded admiration wherever produced. 
 
 PEKCIVAL (Samuel). English org., flute-player, and comp., B. 1824. S. at 
 R. A. M., London. Org. at School for the Blind, Liverpool. Org. of Wal- 
 lasey Parish Ch. Teacher in Liverpool. D. Liverpool, Nov. 7, 1876. He 
 composed some vocal music, songs, etc., and a cantata entitled "The Lyre." 
 
 PERCY (John). English comp., org., and tenor vocalist, B. (?) D. London, 
 January 24, 1797. Little is known of this musician, and he is only remembered 
 as the composer of the ballad, " Wapping Old Stairs." 
 
 PERCY (Bishop Thomas). English antiquary and divine, B. Bridgenorth, 
 Shropshire, 1728. U. 1811. Best known by his " Reliques of Ancient Eng- 
 lish Poetry," 1765, and numerous other editions. This work contains the 
 poetry of many old songs and ballads, and has been compared and collated in 
 this connection by the late Dr. Rimbault, who published " Musical Illustrations 
 of Bishop Percy's Reliques of Ancient English poetry, Lond., 8vo, 1850. 
 
 PEREZ (Davide). Spanish comp., B. Naples, 1711. Chap. -master to the 
 King of Portugal, 1752. D. Lisbon, 1778. Comp. church and operatic music. 
 
 PERGETTI (Paolo). Italian writer and singing master, author of "A Treatise 
 on Singing, forming a complete School of the Art," Lond., 3 parts, fo. [1857]. 
 
 PERGOLESI (Giovanni Battista). Italian comp., B. Jesi, Jan. 3, 1710. S. 
 
 at Cons, dei Poveri in Gesu Cristo, Naples, under Matteis, Feo, Durante, 
 
 Greco, and Vinci. Chap.-master, Ch. of Loretto, 1734. D. Pozzuoli, near 
 
 Naples, March 16, 1736. 
 
 Works. — S. Guglielmo d'Aquitania, sacred drama, 1731. Operas: LaSallustia, 
 
 1731 ; Amor fa I'uomo cieco, 1731 ; Recimero, 1731 ; La Serva Padrona, Naples, 
 
 1731 (London, 1873) ; II Maestro de Musique, 1732; II Geloso Schernito, 1732; 
 
 Le Frate innamorato, 1732; II Prigionier superbo ; Adriano in Siria, 1734; Livi- 
 
 etta e Tracolo, 1734; La Contadina astuta, 1734; Flaminio, 1735; L'Olimpiade, 
 
 1749. Masses, various; Miserere, 4 voices and orch. Stabat Mater; Salve 
 
 Regina ; Cantatas, songs, and other vocal music ; Trios for strings. 
 
 Pergolesi's music was considered an advance on the style current in his day, inas- 
 much as it afforded a brilliant contrast by its refreshing, varied, and tuneful 
 character to the formal and stilted efforts of many of his contemporaries. The pro- 
 duction of "La Serva Padrona" in Paris is said to have helped to form the school 
 of French opera comique. 
 
 PERI (Jacopo). Italian comp., B. Florence, about middle of i6th century. S. 
 
 at Lucca under Malvezzi. Chap.-master to Fernando, Duke of Tuscany ; do. 
 
 to Duke Cosmo II. ; do. Duke of Ferrara, 1601. Married a lady of the House 
 
 of Forlini. D. after 1610. 
 
 Works.— Dafne (the first musical drama), by Rinuccini, Florence, 1597 ; Euri- 
 
 dice, by Rinuccini (with Caccini), 1600 ; Le Musiche di Jacopo Peri, nobil Fioren- 
 
 tino sopra I'Euridice del sig, Ottavio Rinuccini, rappresentati nello sposalizio della 
 
 cristianissima Maria Medici, regina di Francia e di Navarra ; in Fiorenza, 1600, 4I0, 
 
468 PER — PES 
 
 Peri is usually regarded as the principal founder of the opera, and was associated 
 with Bardi, Caccini, Corsi, and Rinuccini in the original endeavours to establish a 
 musical drama. 
 
 PERKINS (Henry S.) American teacher and comp., B. Stockbridge, Vermont, 
 March 20, 1833. S. at Boston. Cond. and music director. Compiler of a 
 number of song collections, as "The Advance;" "Song Echo;" "The 
 Nightingale ;" "Glee and Chorus Book ;" " College Hymn and Tune Book.', 
 
 FEBiKIITS (Julius E.) American bass vocalist and pianist, B. Stockbridge, Vt., 
 1845. Brother of above. S. in Paris and Italy. Debut in Italy, 1868. 
 Joined Mapleson Opera Company, 1873. Married Marie Roze, 1874. D. 
 Manchester, Feb. 24, 1875. 
 
 PERKINS (William 0.) American comp. and Doc. Mus., B. Stockbridge, Vt., 
 May 23, 1831. S. at Boston, and is a teacher and cond. there. 
 Works. — The Temple; Laurel Wreath; Seminary Album; Golden Robin; 
 Mocking Bird ; The Whip-poor-will ; Male Voice Glee Book ; Union Star (with 
 B. F. Baker) ; Singing School ; The Chorister ; Church Welcome ; Anthem Book, 
 and numerous other collections edited by himself and in conjunction with his 
 brother, etc. 
 
 PERNE (Francois Louis). French writer and Prof., B. Paris, 1772. Prof, of 
 harmony, Cons., 1811. Inspector of Cons., i8i6; Librarian, do., 1820. D. 
 Paris, May 26, 1832. Comp. some church music, and wrote on ancient music 
 and on notation. 
 
 PERRY {George). English org. and comp., B. Norwich, 1793. Chorister in 
 Norwich Cath. S. under Beckwith. Settled in London, 1822. Director of 
 music in Haymarket Theatre, 1822. Org. of Quebec Chap. Leader of band. 
 Sacred Harmonic Soc, 1832-47. Cond. do., 1848. Org. Trinity Ch., Gray's 
 Inn Road, 1846, D. March 4, 1862. 
 Works. --Overture to the Persian Hunters, 1817 ; Elijah and the Priests of 
 Baal, oratorio, 1818; Morning, Noon, and Night, opera, 1822; The Fall of Jeru- 
 salem, oratorio, 1830; The Death of Abel, oratorio; Belshazzar's Feast, cantata, 
 1836; Hezekiah, oratorio, 1847; Anthems. 
 
 PERSIANI (Fanny), nSe Tacchinardi, Italian soprano vocalist, B. Rome, 
 
 Oct. 4, 1812. S. under her father. Married to Giuseppe Persiani, 1830. 
 
 Dibut at Leghorn, 1832. Appeared successively at Milan, Florence, Vienna, 
 
 Padua, Venice, and Naples. Debut at Paris in Lucia di Lammermoor, Dec, 
 
 1837. Appeared in London, 1838, as Amina in " La Sonnambula." Sang 
 
 thereafter in London, Paris, Holland, Germany, Russia, etc. Last appeared 
 
 in London, 1858. D. Neuilly-sur-Seine, May 3, 1867. 
 
 "Never was there woman less vulgar, in physiognomy or in manner, than she ; 
 
 but never was there one whose appearance on the stage was less distinguished. . ." 
 
 Her voice " was an acute soprano, mounting to E flat altissimo—-s.cnA and piercing 
 
 rather than sweet, penetrating rather than full, and always liable to rise in pitch. " — 
 
 Charley's Recollections. 
 
 PERSIUS (Louis Luc L. de). French comp., B. Metz, May 21, 1769. Prof. 
 Paris Cons., 1795-1802. Cond. of Emperor's Court Concerts, 1810-15, ^'c. 
 D. Paris, Dec. 20, 1819. 
 
 Works.— Le Passage de la Mer Rouge, oratorio, 1787. Operas: Le Nuit 
 Espagnole, 1791 ; Estelle, 1794 ; Phanor et Angela ; Fanny Morna ; Ltenidas, 
 1799 ; Marcel, i8oi. 
 
 PERTKJacopo Antonio). Italian comp., B. Bologna, June 6, 1661. S. under 
 
 his uncle, Lorenzo Perti. Educated at the Jesuit Coll., Bologna. Chap.- 
 
 master of San Petronio, Bologna, till 1756. D. Bologna, April 10, 1756. 
 
 Works.— O/crai.- Atide, 1679; Oreste, 1681; Marzio Coriolano, 1683; Brenno 
 
 m Efeso, 1690 ; Furio Camillo, 1692 ; Nerone fatto Cesare, 1693 ; Laodicea e 
 
 " Berenice, 1695. Cantate morah e spirituali, 1688. Masses, etc. 
 
 PESCHKA-LEUTNER (Minna). Austrian soprano vocalist, B. Vienna, Oct. 
 25, 1839. S. under Proch. Debut sX Breslau as "Agatha," 1856. Sang at 
 
PES — PEV 469 
 
 Dessau, 1857-61. Married to Dr. Peschka, 1861. Sang in Vienna, 1863. Si 
 under Mme. Bockholtz-Falconi. Sang at Leipzig, 1868-76. Sang in London, 
 at Crystal Palace, etc., 1872. Sang at Boston, Mass., 1872. Engaged at Ham- 
 burg, 1877. Reappeared in America, 1881. Since engaged on the Continent. 
 
 PESSARD (Emile Louis Fortune). French comp., B. Montmartre, Paris, 
 May 29, 1843. S. Paris Cons, under Bazin and Carafa. Inspector of singing 
 in public schools of Paris. Chevalier of Legion of Honour, 1879. 
 Works. — Operas : La cruche cass^e, 1870 ; Le Char, 1878 ; Le Capitaine Fra- 
 
 casse, 1878 ; Tabarin, 1885. Cantata, Dalila, 1867. joyeusetes de bonne com- 
 
 pagnie (a collection of songs) ; Trios for Pf., vn., and 'cello ; Marches, mazurkas, 
 
 and nocturnes for Pf. 
 
 PESTALOZZI (Johann Heinrich). Swiss educationist, B. Ziirich, Jan., 1745, 
 D. Brugg, Basle, 1827. 
 The theories of Pestalozzi have been successfully applied to music, and is in fact 
 the basis of all illustrative class music-teaching. A text-book specially adapted to 
 the method has been published in America by Lovifell Mason and T. F. Seward, 
 under the title of " The Pestalozzian Music-Teacher, or Class Instructor in Ele- 
 mentary Music," Boston, u. d. 
 
 PETEBBOBOUGH (Countess of). See Robinson (Anastasia). 
 
 PETERS (Carl Friedrich). German music-publisher, established at Leipzig, 
 about 1814. He bought the copyrights of Kiihnel and Hofftneister, and 
 founded a great business in editions of classical works. The catalogue of the 
 firm includes the principal works of all the leading composers, ancient and 
 modern ; full scores of orchestral works ; and a great variety of miscellaneous 
 works. The full scores of this firm are famed for their correctness. 
 
 PETERS (W. C.) American writer and teacher, author of "Eclectic Piano Instruc- 
 tor," Boston; "Elements of Thorough Base," Boston; "Art of Singing," 
 Boston ; Collections for Pf., etc. 
 
 PETERSILEA (Carlyle). American pianist and teacher, B. Boston, Mass., 
 Jan. 18, 1848. S. at Leipzig Cons., under Plaidy and Moscheles, and also 
 under Biilow. Pianist and teacher in Boston, where he founded the Petersilea 
 Academy of Music, 1871. Famous throughout the United States as a pianist 
 and teacher. 
 
 PETIT (Adrian). See Coclicus. 
 
 PETTIT (Walter). English violoncellist, B. London, March 14, 1835. S. at 
 
 R. A. M. Principal 'cellist at Philharmonic Society, H. M. Theatre, etc. D. 
 
 London, Dec. 11, 1882. 
 
 PETRELLA (Enrico). Italian comp., B. Palermo, Dec. 10, 1813. S. at 
 Naples under Zingarelli, Bellini, and Ruggi. D. Genoa, April 7, 1877. 
 Works.— II Diavolo color di rosa, 1829 ; I Pirati Spagnuoli, 1837 ; Le Miniere 
 
 di Freiberg, 1839; Galeotto Manfredi, 1843; Elena di Toloso, 1852; Marco 
 
 Visconti, 1854 ; II Duca di Scilla, 1859 ; Morosina, l86o ; Virginia, 1861 ; I Pro- 
 
 messi Sposi, 1866; Giovanna II. di Napoli, 1869; Manfredo, 1872; BiancaOrsmi, 
 
 1874, and other operas. 
 
 PETRIE (Robert). Scottish musician, of Kirkniichael, Perthshire, flourished 
 about end of i8th century. Published four "Collections of Strathspey Reels 
 and Country Dances, with a Bass for the Violoncello, etc.," Edm., n.d. The 
 titles of the succeeding vols, vary slightly from the first, which is the one here 
 given. 
 
 PETRUCOI (Ottavio, da FoSSOmbrone). Italian printer, B. June, 1466. D. 
 1524 (?) Inventor of the process of printing music by means of movable metal 
 types, 1502. This invention did much to spread music by the multiplication 
 of musical works, and Petrucci printed a number of the compositions of the 
 leading writers of his day. 
 
 PEVERNAGE (Andre). Belgian comp., B. Courtrai, 1543- Chap -master at 
 Courtrai, and afterwards Choir-master of Antwerp Cath. D. Antwerp, July 
 
470 PFE — PHI 
 
 30, 1589. Comp. masses, motets, 5 books of chansons, and madrigals con- 
 tained in "Harmonia Celeste," 1593. 
 
 PFEIFFEK (Georges Jean). French pianist and comp., B. Versailles, Dec. 
 
 12, 1835. S. under his Mother, Maleden, and Damcke. Appeared in London 
 as pianist, 1862. 
 
 Works. — Concertos for Pf. and orch., opp. ii, 21, 58; Sonata for Pf. and 
 'cello, op. 28; Symphony for orch., op. 31 ; Jeanne d'Arc, symphonie-poem, op. 
 23 ; Le Capitaine Rock, opera comique, op. 19. 
 
 PFLUGHAUPT (Robert). German pianist and comp., B. Berlin, Aug. 4, 
 1833. S. under Liszt. D. Aachen, June 12, 1871. Comp. mazurkas, galops, 
 themes, and other works for Pf. 
 
 FHILIDOR (Francois Andre), Danican. French comp. and chess-player, 
 
 B. Dreux, Sept. 7, 1726. S. music under Campra. Went to Paris and was a 
 
 teacher and chess-player. Travelled in Germany and Holland as chess-player, 
 
 1745-48. Came to England, 1748. Resided between France and England, 
 
 but quitted the former on outbreak of French Revolution. D, London, Aug. 
 
 3i> 1795- 
 
 Works. — Operas: Blaise le Savetier, 1759; L'Huitre et les Plaideurs, 1759; 
 
 Le Soldat Magicien, 1760 ; Le Jardinier et son Seigneur, 1761 ; Sancho Pan(;a, 
 
 1762; Le Biicheron, 1763; Le Sorcier, 1764; Tom Jones, 1764; Zelime et 
 
 Melide, 1766; Ernelinde, 1767; La Nouvelle Ecole des Femmes, 1770; Le Bon 
 
 fils, 1773; Les Femmes vengete, 1774; L'Amitie au Village, 1785. Carmen 
 
 Sfficulare of Horace, 1779. Analyse du Jeu des Echecs, 1777 (translated into 
 
 English). Ode to Harmony (Congreve). 
 
 The fame of Philidor as a musician has long since been eclipsed by his repute as 
 a chess-player. In the latter art he enjoyed a wide contemporary reputation, which 
 has long survived him and his musical works. 
 
 PHILIPPS (Peter), Petrus Philippus. English comp., B. in England 
 [1560]. Canon of Bethune in Flanders. Org. of vice-regal chapel of the 
 Governor of Low Countries. Canon of Collegiate Ch. of S. Vincent, Soig- 
 nies. D. April, 1625. 
 
 Works. — Melodia Olympica di diversi eccellentissimi Musici a 4, 5, 6, e 8 voci) 
 1591 (and other editions). II Primo libro de' Madrigali a sei voci, 1596. Madri- 
 gali a otto voci, 1598. II Secondo libro di Madrigali a sei voci, 1604. Cantiones 
 Sacrae, 5 vocum, 1612. Gemmulse Sacrse, 2 e 3 voci, 1613. Cantiones Sacrse octi 
 vocum, 161 3. Litanise, 1623. 
 
 PHILLIPPS (Adelaide). English contralto vocalist, B. Bristol. Sang in 
 Boston and Philadelphia. S. in London under Garcia and W. C. Masters, 
 1852 ; also in Italy. Appeared in London, Paris, and in U. S. of America. 
 
 PHILLIPPS (Arthur). English org, and comp., B. 1605. Clerk of New 
 Coll., Oxford, 1622. Org. of Bristol Cath., 1638. Org. of Magdalen Coll., 
 Oxford, 1639. Prof. Music, Oxford Univ., 1639. Mus. Bac, Oxon., 1640. 
 Org. to Queen Henrietta Maria of France, Comp. "The Requiem, or 
 Liberty of an imprisoned Royalist," 1641 ; "The Resurrection," 1649; etc. 
 
 PHILLIPS (Henry). English barytone vocalist and writer, B. Bristol, Aug. 
 
 13, 1801. Sang in chorus at Drury Lane Theatre. S. under Broadhurst, and 
 Sir G. Smart. Sang at English Opera House. Sang at Lenten Oratorios ; 
 in Arne's " Artaxerxes," 1824 ; " Der Freischutz," 1S24. Sang at Provincial 
 Festivals. Appeared in America, 1844. Retired, 1863. D. Dalston, Nov. 
 8, 1876. 
 
 Works. — The True Enjoyment of Angling, 1843. Hints on Musical Declama- 
 tion. Lond., 8vo, 1848 ; Birmingham ed., n. d. Musical and Personal RecoUec- 
 ticns during Half-a-Century. London, 1864, 2 vols., 8vo. Songs and other vocal 
 music. 
 
 PHILLIPS (Thomas). Welsh tenor vocalist, lecturer, and comp., B. Mon- 
 mouthshire, 1774. Lectured and sang at concerts during his lifetime. Author 
 of " Elementary Principles and Practices for Singing," Lond., fo. [1830]. 
 
t>HI — PIC 471 
 
 Comp. a few songs and part-songs, and compiled "The Mentor's Harp,' 
 moral ballads by T. H. Bayly ; " Improved Psalmody for the Church and the 
 Chamber." Also an arrangement of Linley's "Duenna." D. Northwich, 
 Oct. 29, 1841. 
 
 PHILLIPS (William Lovell). English comp. and pianist, B. Bristol, Dec. 
 
 26, 1816. Chor. in Bristol Cath. S. under C. Potter at R. A. M. Prof, of 
 
 comp. R. A. M. S. violoncello under Lindley. Mem. of orch. of H. M. 
 
 Theatre, Philharmonic Soc, and Sacred Harmonic Soc. Cond. at Olympic 
 
 Theatre ; Princess' Theatre. Org. of St. Catherine's Church, Regent Park, 
 
 etc. D. London, March 19, i86o. 
 
 WoEKS.— Symphony in F min. ; Cantata. Songs: Lady mine; The sleeping 
 
 beauty ; Longings ; The old ballad ; Voice of Songs ; Christmas rose ; England's 
 
 hope and pride ; Bear and forbear ; One word ; What must I sing you ? 
 
 PHILLIPSON (W.) English writer, author of " Guide to Young Pianoforte 
 Teachers and Students, with Analysis of Examples, etc., London, 8vo, n.d., 2 
 editions. 
 
 PHILP (Elizabeth). English vocal comp., B. Falmouth, 1827. S. under 
 Garcia, Marchesi, and F. Hiller. D. London, Nov. 26, 1885. Comp. a num- 
 ber of meritorious songs, etc., of which the following is a select list : — 
 Works. — Songs : Bye and Bye ; Dolly ; Fisherman's story ; Forgiven ; Golden 
 past ; Hop-pickers ; I love him more than I can say ; Love that's never told ; My 
 head is like to rend ; Oh ! why not be happy ; Poacher's Widow ; River ran 
 between them ; 'tis all that I can say ; 'Tis wine ; Violets of the Spring : Wrecked 
 hope. Part-songs, various. How to sing an English Ballad, Lond., 8vo, 1883 
 [Reprint], etc. 
 
 PHILPOT (Lucy). See Anderson (Lucy). 
 
 PHIPPS (Alexander James). English org. and comp. S. under W. H. 
 Holmes and Steggall. Org. of S. James', Swansea, 1866. Wrote an oratorio 
 entitled "The Ten Virgins," and other works. 
 
 PHIPPS (Sireno B.) American writer, author of "Musical Mirror," Elemen- 
 tary instructions in Vocal Music, Boston, 8vo, n. d. 
 
 PHIPSON (Dr. T. L.) English writer, author of "Biographical Sketches and 
 Anecdotes of Celebrated Violinists," Lond., 8vo, 1877. "Bellini and the 
 Opera of La Sonnambula," Lond., 1880. 
 
 PIATTI (Alfredo). Italian violoncellist and comp., B. Bergamo, Jan. 8, 1822. 
 
 S. under Merighi at Milan Cons., 1832. Z>^7;«< as 'cellist, 1837. Settled in 
 
 England, 1844. Has since held foremost position as principal performer at 
 
 Philharmonic Society, London Popular Concerts, and the Provincial and 
 
 Scottish Festivals. 
 
 Works. — Introduction et Variations sur un theme de Lucia di Lammermoor, for 
 
 'cello, op. 2; Une Priere, theme, 'cello and Pf., op. 3; Passe-temps sentimental 
 
 (Schubert), op. 4; Souvenirs de " La Sonnambula," op. S ; Mazurka sentimentale, 
 
 op. 6 ; Les Fiances, petit caprice, op. 7 ; Airs Baskyrs, scherzo, op. 8 ; Souvenir 
 
 de " I Puritani," op. 9 ; Amour et Caprice, fantaisie, op. 10; La Suedoise, caprice, 
 
 op. II : Divertissement sur un Air napohtain, op. 12; Souvenirs de "Linda di 
 
 Chamounix," op. 13; Bergamasca, op. 14; Three Russian Airs, varied, op. 16; 
 
 Sa renade Italienne, op. 17; Siciliana, op. 19; Nocturne, op. 20. Songs and 
 
 other works. 
 
 His playing is distinguished by much refinement, taste, and skill ; and his interpre- 
 tation of whatever he undertakes is marked by much poetical feeling and careful 
 execution. His tone is large, and his execution is correct and finely controlled. 
 His playing and phrasing of simple melodies is exquisite, and the whole style of 
 his performance is artistic and enjoyable. 
 
 PICCINI (Niccolo). Italian comp., B. Bari, Naples, 1728. S. under Leo and 
 Durante at the Cons, of San Onofrio, 1742-56. Married to Vincenza SibiDa, 
 1756. Went to Paris, 1776. Teacher to Marie Antoinette, 1776. Director 
 of the Italian Opera, Paris. Rivalry with Gluck commenced, 1779. D, 
 Passy, May 7, 1 800, 
 
472 PIC — PIE 
 
 Works. — Operas: Le Donne dispettore, 1754; Le Gelosie, 1755; Zenobia, 
 1756; L'Astrologa, 1756; L'Amante ridicolo, 1757;" La Schiava, 1757; CJli 
 Uccellatore, 1758; Siroe, 1759; Le Donne vendicate, 1759; II Re Pastore, 1760 ; 
 La Contadina bizzarra, 1701 ; L'Olimpiade, 1761 ; Le Vicende della sorte, 1762 ; 
 II Demetrio, 1762; II Barone de Torre forte, 1762; La Villegiatura, 1762; II 
 Mondo della Luna ; II Nuova Orlando ; II gran Cid ; Berenice ; La Pescatrice ; 
 II Cavaliere per amore ; Artaserse ; Gli amanti raascherati ; Gli Stravagante ; 
 Catone, 1770; La Finta Giardiniera, 1771 ; Don Chisciotto, 1771 ; L' Olimpiade 
 (new version), 1771 ; L' Antigono, 1771 ; La Molinarella, 1772; Artaserse (new 
 version), 1772 ; L' Ignorante astuto, 1773 ; I sposi persequitati ; L' Americano 
 ingentilito ; Alessandro nelle Indie (new version), 1775 ; I Viaggiatori felice, 1776 ; 
 Radamisto, 1776; Roland, Paris, Jan. 27, 1778 (Quinault) ; Phaon, 1778; Le 
 Fat Meprise, 1779; Atys, Paris, 1780; Iphigenie en Tauride, 1781 ; Adele de 
 Ponthieu, 1781 ; Didon, 1783; Le faux Lord, 1783; Diane et Endimion, 1784; 
 Penelope, Nov., 1785 ; Clytemnestre, 1787. Jonathan, oratorio, 1792. Church 
 music, etc. 
 
 Piccini was a composer of great natural abilities, and turned his powers to coii- 
 siderable advantage during his career. His melodies are flowing, warm, and tune- 
 ful ; while his handling of dramatic combinations and situations displays skill 
 and a good measure of science. His rivalry with Gluck served in a measure to 
 dim his fame. 
 
 PICCOLOMINI (Maria). Italian soprano vocalist, B. Sienna, 1835 [given also 
 as 1834 and 1836]. Came of a noble family. S. under Mazzarelli and Romani. 
 Debut as "Lucrezia Borgia" at La Pergole, in 1852. Appeared in London, at 
 H. M. Theatre, May, 1856, in " La Traviata." Appeared in America, 1858. 
 Re-appeared in London, 1859-60. (Farewell, April, i860.) Married to 
 Marchese Gaetani, and retired, i85o. 
 Piccolomini had a voice of great flexibility and brilliancy, though she was 
 deficient in tone. She excelled in light, graceful, and rapid passages, and displayed 
 a surprising volubility in many of the characters which she assumed. Among the 
 operas in which she appeared may be named "La Figlia di Regimento," "Nor- 
 ma," " L'Elisir d' Amour," "Don Giovanni," "Bohemian Girl," and " Luisa 
 Miller." 
 
 PICHEL (Wenzel). Bohemian comp. and cond., B. Bechiu, Tabor, 1740. S. 
 
 at Prague. Musical comp. to Archduke Ferdinand. D. Vienna, Jan. 23, 1805. 
 
 Works. — Symphonies (nearly 100); Concertos, duets, etc., for violin ; Trios, 
 
 quartets, and quintets for strings ; Sonatas and smaller pieces for Pf. ; Operas and 
 
 other vocal music. 
 
 PICKABiD (J.) English writer, author of "Modulation exemplified by a grand 
 tabular view of the preparations of all the notes of the octaves," Lond., fo. n.d. 
 
 PIEESON (Henry Hugo), or Pearson. English comp., B. Oxford, April 12, 
 1815. Educated at Harrow and Trinity Coll., Oxford. S. music under 
 Attwood and Corfe, in England ; Rink, Tomaschek, and Reissiger in Ger- 
 many. Professor of Music in Edinburgh University, 1844. Married to 
 Caroline Leonhardt. Resided mostly in Germany. D. Leipzig, Jan. 28, 1873. 
 Works. — Ojatorios: Jerusalem, Norwich Festival, 1852; Lond., 1853. Heze- 
 ziah. Mu.sic to Second Part of Goethe's "Faust," Hamburg, 1854. Operas: Con- 
 tarini, Hamburg, 1872; Leila, Hamburg, 1848. Overtures: "Macbeth"; "As 
 You Like It "; " Romeo and Juliet "; Romantique. Salve Sternum, a Roman 
 dirge, op. 30, 1853 ; Der Elfensieg. Six Romances for voice and Pf ; Six Songs 
 for voice and Pf ; Elegies, do. ; Lieder, various ; Ye Mariners of England, part- 
 song ; Hurrah for Merry England ; Now the bright morning star. Blessed are 
 the dead, anthem ; Ave Maria. 
 
 Pierson was a composer of great talent, and held in Germany a high position, 
 while in England his name is only associated with a single part-song, though it is 
 by no means the chief effort of his genius. Under the name of Edgar Mansfeldt he 
 published a number of his minor works. 
 
 PIESENDEL, See PiSENDEL, 
 
PIG — PIN 473 
 
 PIGGOTT (Francis). English org. and comp., B. about middle of 17th century. 
 Org. of Magdalen Coll., Oxford, 1686-87. Org. Temple Ch., Lond., 1688. 
 Gent, extraordinary, Chap. Royal, 1695. Org- ^°-i ^^91- Mus. Bac, Can- 
 tab., 1698. D. May, 1704. Comp. anthems, etc. 
 
 PILATE (August). French operatic comp., B. Bouchain, Sept. 29, 1810. S. 
 at Douai and at Paris Cons. D. Paris, Aug. I, 1877. 
 Works. — Operettas: Les Etoiles, 1854; Olivier Basselin, 1838; La Modiste et 
 le Lord, 1833 ; Jean le Sot, 1856. 
 
 PILKINGTON (Francis). English comp. of i6th and 17th centuries. Was a 
 chorister in Chester Cath., and Mus. Bac, Oxon., 1595. He published 
 First Booke of Songs or Ay res of 4 Parts, 1605 ; First Set of Madrigals 
 and Pastorals of 3, 4, and 5 Parts, 1613 ; Second Set of Madrigals and Pas- 
 torals of 3, 4, 5, and 6 Parts, apt for VioU and Voyce, 1624. 
 
 PILKINGTON {H. W.) English writer, author of "A Musical Dictionary," 
 Boston, 8vo, 1812. 
 
 PINSUTI (II Cavaliere, Ciro E.) Italian comp., B. Sinalunga, Siena, 9 
 May, 1829. S. under his father, in Italy. Taken to England by Henry 
 Drummond, M.P. S. under C. Potter and Blagrove in London ; and at Cons, 
 of Bologna, 1845 ; pupil also of Rossini. Resided permanently in London since 
 1848. Prof, at R. A. M., London, 1856. 
 Works. — Operas : II Mercante di Venezia, opera, 1873 ; Mattia Corvino, opera, 
 1877; Margherita, opera (MS.). Te Deum. Part-Songs: April time; Autumn 
 song ; A Rivederci ; Bridal chorus ; Crusader ; Caravan, the ; Fairest flowers ; 
 Fair land, we greet thee ; Good-night, beloved ; In this hour of softened splendour ; 
 I canta storie ; Irlanda ; Kings and Queens ; My lady comes to me ; Over wood- 
 land, over plain ; Rhine-raft song ; Silent-tide ; Song to Pan ; Spring song ; Sea hath 
 its pearls ; Stradella ; Tell me. Flora ; Tell me where is fancy bred ; Think of me ; 
 Tell me not in mournful numbers ; Two angel bands ; Would you ask my heart ; 
 Watchword. Trios'- Italian trios, various; It is not always May ; Kind words; 
 Music ; May morning. Duets \ After the rain ; Boating ; Bygone days ; 
 Golden leav'd autumn ; Heather breezes ; Meeting ; Separation ; Sunrise ; 
 Sunset; Italian duets, various, etc., etc. Songs: A smile; A dream of 
 two worlds; After long years; A maiden's love; As a flower; Afterglow; 
 Arrow and the song; Beatrice; Bedouin love song; Before the fight; Bugler; 
 Better than gold ; Christmas ; Changed ; Captive skylark ; Crusader's love song ; 
 Dreams, only dreams ; England's dead ; Excelsior ; Estelle ; El sereno ; Eterna 
 memoria ; Flower and the hope ; Fairer than thee ; Free lance ; Five barred gate ; 
 Ferryman ; Fairer still ; Farewell, dear love ; Falconer ; Gathered roses ; Gentle 
 heart ; Good old times ; Heaven's chorister ; Harbour lights ; In shadowland ; In 
 the spring-time ; I love my love ; I fear no foe ; It may be so ; I remember ; King's 
 minstrel ; Knight's shield ; Last watch ; Lost and won ; May-day Queen Marie ; 
 Minster windows ; Miller's daughter ; Moorish serenade ; My lady's heart ; My 
 lass ; Night ; Night watch ; Old comrades ; Ophelia ; Owl ; Old cathedral ; Out- 
 posts ; Pilgrim song ; Playmates ; The raft ; Roll call ; Swallow ; Skylark ; Sum- 
 mer friends ; Sleep on, dear love ; To-morrow ; Too soon ; 'Twas on a market- 
 day ; Three letters ; Vicar's daughter ; Water lilies ; Warrior ; Wayside ministry. 
 Pianoforte Music : Les trois graces, valses ; Rosina, mazurka; Nocturne; Grand 
 March ; Serenata Spagnola, for 'cello and Pf. ; Three melodies ; Gran marcia ; 
 Outpost march ; Transcriptions; etc. Daily Vocal Exercises, Lond., n. d. Hints 
 to Students on Singing, written in a familiar style for all engaged in tuition, Lond., 
 n. d. 
 
 The vocal works of Pinsuti have achieved great and deserved success in Britain. 
 His part-songs and many of his single songs are among the standard favourites with 
 all the principal choirs. 
 
 PINTO (George Frederick), or Sauters. English violinist and comp., B. 
 Lambeth, London, Sept. 25, 1786. Grandson of Thomas Pinto. S. under 
 Salomon. Performed at principal London and provincial concerts ; and ap- 
 peared in Scotland with great success, 1802. D. Little Chelsea, London, 
 March 23, 1806. 
 
474 PIN — PIT 
 
 Works. —Sonatas for Pf. solo ; Sonatas for violin and Pf. ; Six Canzonets for 
 voice and Pf. ; Four Canzonets and a sonata, edited, with preface, by S. Wesley. 
 Other vocal and instrumental works. 
 
 PINTO (Thomas). Italian violinist, B. in England, of Italian parents, early in 
 eighteenth century. Performed at provincial festivals, and at King's Theatre, 
 London. Resided successively in Edinburgh and Ireland. Married to Miss 
 Brent, the vocalist. D. in Ireland, 1773. 
 His second wife, Miss Brent, whom he married in 1766, was a famous soprano 
 vocalist, and appeared as a concert vocalist for many years in London and else- 
 where, from 1758. She D. London, April 10, 1802. 
 
 PISABONI (Benedetta Bosamunda). Italian contralto vocalist, B. Piacenza, 
 Feb. 6, 1793- S. under Marchesi. Dlb-ut as soprano in opera of Paer, 1811. 
 Cultivated her lower voice and appeared as a contralto in Venice, Florence, 
 Padua, Palermo, Naples, Milan, Turin, Paris, 1827, London, 1829. Retired, 
 and resided at Piacenza. D. there, Aug. 6, 1872. 
 
 PISCHEK (Johann Baptist). Bohemian barytone vocalist and comp., B. 
 Melnik, near Prague, Oct. 14, 1814. S. at Prague for the law, but forsook 
 that study to appear as a vocalist, 1835. Appeared afterwards as a dramatic 
 and concert vocalist at Pressburg and Vienna, 1837 ; Frankfort-on-Main, 1840 ; 
 Berlin, 1843 ; London, 1845 ; Hamburg, etc. Court singer to the King of 
 Wurtemberg, Stuttgart, 1844-63. Re-appeared in London, 1846-51. . D. 
 Sigmaringen, Stuttgart, Feb. 16, 1873. 
 Pischek was a vocalist of much power and talent, and comp. some very meri- 
 torious songs, etc. He sang in operas of Beethoven, Spohr, Kreutzer, Mozart, 
 Mehul, Donizetti, Herold, etc. 
 
 PISENDEL (Johann Georg). German violinist and comp., B. Carlsburg, 
 Franconia, Dec. 26, 1687. Chor. in Chap, of Margrave of Anspach, under 
 Pistocchi and Corelli. Concert-meister at Dresden, 1730 ; Leader at the 
 theatre, under Hasse, 1731. D. Dresden, Nov. 25, I7SS. Comp. an amount 
 of instrumental music existing mostly in MS. 
 
 PISTOCCHI (Francesco Antonio). Italian comp. and vocal trainer, B. 
 Palermo, 1659. S. singing under P. Vastamigli and Monari. Chap.-master 
 to the Margrave of Anspach. Established a Singing School at Bologna, 1700, 
 where he trained Bernacchi, Fabri, Minelli, and many other famous vocalists. 
 D. Bologna, 1720. 
 Works. — Operas: Narciso, 1697; Leandro, 1679; II Girello, 1681. Oratorios: 
 II Martirio di S. Adriano ; Maria Virgine addolorata, 1698. Vocal Works : Caprici 
 puerili variamente composti in 40 modi, sopra un basso, da un balbetto in etk 
 d'anni 8, op. I, 1687 ; Scherzi Musicali ; Duetti e Terzetti, 1707 ; etc. 
 One of the most celebrated masters of singing of the olden time. 
 
 PITMAN (Ambrose). English writer, author of "The Miseries of Musick 
 Masters. A Serio-comick dramatick Poem...," London, 4to, 1815. 
 
 PITONI (Giuseppe Ottavio). Italian comp. and writer, B. Rieti, March 18, 
 1657. S. at Rome under Foggia, etc. Chap.-master at Terre di Rotondo, 
 1673; Cath. of Assisi, 1674; S. Marks, Rome, 1677; S. Peters, Rome, 1719; 
 D. Rome, Feb. 1, 1743. 
 Works. — Masses and other church music. Notizie del Maestri di Cappella si 
 di Roma che, oltramontani, ossia Notizia di contrappuntisti e compositori di musica 
 degli anni dell' era cristiana 1500 sino al 1700 ; Title of a MS. work on the Chapel- 
 masters of Rome, preserved in the Vatican Library. 
 
 Pitoni is noted as the teacher of Durante, Leo, and other masters. Some of his 
 church music is still in use. 
 
 PITTMAN (Josiah). English org. and comp., B. London, Sept. 3, 1816. S. 
 under S. S. Wesley, Moscheles, and Schnyder von Wartensee. Org. at Syden- 
 ham, 1831 ; Spitalfields, 1835-47. Org. Lincoln's Inn, 1852-64. Accompa- 
 nist at H. M. Theatre, 1865-68; R. L O., Covent Garden, 1868-80. 
 
FIX — P L A 475 
 
 Works. — The People in the Church, their Rights and Duties in connection with 
 the Poetry and Music of the Book of Common Prayer, Lond., 8vo, 1858. The 
 People in the Cathedral; a letter to the very Rev. Henry Hart Milman, D.D., 
 London, 8vo, 1859. Songs of Scotland, edited (with Colin Brown). Songs from 
 the Operas, 2 vols, (edited). Royal Edition of Operas, edited with Sir A. SuUivan 
 (Boosey). Callcott's Grammar of Music (edited), London, n. d. 
 
 PIXIS (Friedrich. Wilhelm). German violinist and comp., B. Mannheim, 
 1786. S. under his father, Franzel and Viotti. Vnst. in Chap, of the Prince 
 Palatine, Mannheim, 1804. Prof, at Prague Cons., and leader of theatre 
 orch., 1806. D. Prague, Oct. 20, 1842. Com. variations for violin andorch., 
 etc. His son, Theodor, B. Prague, April 13, 1831, D. Cologne, Aug. I, 
 1S56, was a violinist and comp. 
 
 PIXIS (Johann Peter). German pianist and comp., B. Mannheim, 1788. 
 
 Brother of preceding. S. under his father. Resided successively in Munich 
 
 (1809), and Vienna. Resided in Paris from 1825. D. Baden-Baden, Dec. 
 
 20, 1874. 
 
 Works. — Bibiana, opera; Die Sprache des Herzens, 1836 ; Symphony for orch., 
 
 No. I, op. 5 ; Quartet for Pf., vn., viola, and 'cello, op. 4 ; Theme lor Pf. and 
 
 violin, op. 105. Pf. music, consisting of variations, fantasias, rondos, caprices, etc. 
 
 Pixis adopted a young German orphan girl named Francilla Guringer, whom 
 
 he had educated as a vocalist. She appeared under the name Pixis in Germany, 
 
 Italy, etc., with much success. 
 
 PLACE (Gertrude). English writer, authoress of "A Catechism of Music for 
 the Use of Young Children." Lond., I2mo, 1856. 
 
 PLAIDY (Louis or Ludwig). German violinist, teacher, and writer, B. 
 Wermsdorf, Saxony, Nov. 28, 1810. S. under Agthe and Hache. Pf. 
 teacher at Dresden for a time. Prof, ot Pf. at Leipzig Cons., on invitation of 
 ■ Mendelssohn, 1843. D. Grimma, March 3, 1874. 
 
 Works. — Technische Studien fiir das Pianofortespiel, Eingefiihrt in Conserva- 
 torium del Musik in Leipzig und Munchen. Translated into English, and published 
 in Germany, United States, and Britain, as Technical Studies for the Pf. ; Der 
 Klavierlehrer, translated as the " Pianoforte Teacher's Guide," by F. R. Ritter, 
 and as the " Piano Teacher," by John S. Dwight, both American. The first 
 named translation has been re-published in London. 
 
 Plaidy was one of the most successful Pianoforte teachers known to musical his- 
 tory, and his influence on- the pupils whose studies he directed must have been 
 great. 
 
 PLANCHE (James Robinson). English dramatist and herald, B. London, 
 Feb. 27, 1796. Descended from a French family which settled in England in 
 1685. Wrote plays, etc., for Madame Vestris, early in his career. Rouge 
 Croix Pursuivant of Arms, 1854 ; Somerset Herald, 1856. D. London, May 
 30, 1880. 
 Works. — Numerous writings on Costume and Heraldry ; Librettos of operas, 
 
 including Weber's " Oberon," and Bishop's "Maid Marian;" Farces, etc. ; Lays 
 
 and Legends of the Rhine, music by Bishop ; Contributions to Musical Annuals, etc. 
 Blanche published, in 1872, his "Recollections"^ (2 vols,), a, book containing 
 
 much interesting matter relating to British musical history. 
 
 PLANQUETTE (Robert). French comp., B. Paris, July 31, 1850. S. under 
 
 Duprato, and in Paris Cons. 
 yNOKK.s.— Operas and Operettas: Mefie-toi de Pharaon, 1872; Le Serment de 
 Mine. Gr^goire, 1874; Faille d'avoine, 1874; Les Cloches de Corneville, Paris, 
 1877 (London, 1878) ; Le Chevalier Gaston, 1879 ; Les Voltigeurs de la 32 me, 
 1880; Rip Van Winkle, Lond., 1883 (Paris, 1883) ; Nell Gwynne (Farnie), 1884. 
 Refrains du Regiment, 12 military songs ; songs and instrumental music, miscel- 
 laneous. 
 PLANTADE (Charles Henri). French comp., B. Pontoise, Oct. 14, 1764. S. 
 
 under Duport, LangU and HuUmandel. Singing master to Queen Hortense. 
 
476 PLA — PLA 
 
 Prof, in Paris Cona., 1799. Chap. -master to Louis Napoleon, King of 
 Holland. Music director to Queen Hortense. D. Paris, Dec, 18, 1839. 
 Works. — Operas: Les deux Soeurs, 1791 ; Les Souliers mordores, 1793; Palma, 
 
 1798; Zoe, 1800; Bayard a la Ferte, 181 1 ; Le Mari de circonstance, 1813. 
 
 Masses and motets ; Sonatas for Pf. and other instruments ; Romances and songs. 
 
 PLANTE (Francois). French comp. and pianist, B. Orthez, March 2, 1839. 
 S. at Paris under Mme. Saint-Aubert ; and in Cons, under Marmontel, Bazin, 
 etc., gaining various prizes while there. Chevalier of Legion of Honour. 
 Plant? is best known as a performer of great brilliancy, and by the recitals he 
 has given in Paris in conjunction with other artists. 
 
 PLATEL (Nicolas Joseph). French violoncellist and comp., B. Versailles, 
 1777. S. under L. Duport and Lamare. 'Cellist in orch. of Theatre Feydeau, 
 1796. Prof, of 'cello in Brussels Cons., 1831. D. Brussels, Aug. 25, 1835. 
 Comp. concertos, sonatas, caprices, romances, etc. for his instrument. 
 
 PLATT (Edward). English comp. and horn-player, B. 1793. D. 1861. 
 Author of an Instruction Book for the Pianoforte, and comp. of songs and Pf. 
 music. ' ' New, Easy, and Correct System of Vocal Music : a Practical Manual 
 of Singing at Sight." Lond., 8vo, 1847. 
 
 PLAYPORD (John). English comp. and music-publisher, B. London, 1623 
 [1613]. Established a music-selling and publishing business, in the Inner 
 Temple, London. Clerk of the Temple Church, 1653. D. London, 1693 
 [1694]. 
 Works. — An Introduction to the Skill of Musick, in two books. To which is 
 added the Art of Descant, by Dr. Thomas Campion, and Annotations thereon by 
 Mr. Chr. Simpson... [? 2nd edit.]. Lond., 8vo, 1655. [An earher edition [1654] 
 is noted in Grove's " Dictionary of Music," as having been in the possession of 
 Dr. Rimbault, and the only known copy]. 3rd edit., 1660 ; an unnumbered edit., 
 1662 ; 4th edit., with portrait, 1664 ; unnumbered editions in 1667, 1670 ; 6th edit., 
 portrait, 1672 ; 7th edit., with the Order of Performing the Divine Service in 
 Cathedrals and Collegeate Chapels, portrait, 1674 ; 8th edit., portrait, 1679; 9th 
 edit. (?) ; loth edit, (to which is added as a third book in place of Campion's 
 treatise, "A brief Introduction to the Art of Descant, or Composing Music in 
 Parts," ascribed in future editions to Henry Purcell), portrait, 1683; nth edit., 
 port, 16S7; 1 2th edit., port, 1694; 13th edit., port, 1697; 14th edit., port 1700; 
 15th edit., port, 1703 ; i6th edit., port, 1713 ; 17th edit., port, 1718 ; l8th edit., 
 port, 1724 ; 19th edil., port, 1730. Psalms and Hymns in Solemn Musick of four 
 parts on the Common Tunes to the Psalms in Metre. ..Lond., fo., 1671. The 
 Whole Book of Psalms, with the usual Hymns and Spiritual Songs, etc., composed 
 in three parts, Lond., 8vo (?) ; other editions, 1697; 6th, i2mo, 1700; 19th edit., 
 1738 ; 20th, 1757. A Paraphrase upon the JPsalms of David, by George Sandys. 
 Set to new tunes, for private devotion, by Henry Lawes. Revised and 
 corrected, by John Play ford... Lond., 8vo, 1676. The Musical Companion 
 in two books. The first book containing catches and rounds for three 
 voyces, the second book containing dialogues, glees, ayres, and songs for 
 two, three, and four voyces, Lond., 4to, 1673. A Booke of New Lessons, 
 for the Cythern and Cittern, Lond., 4to, 1652. Musick's Recreation on the 
 Viol, Lyra-way; being a choice collection of Lessons... etc., Lond., 2nd 
 edit., 1682. In Locke's "Present Practice of Musick vindicated," 1673, 
 is "A Letter from John Playford to Mr. T. Salmon," in which he espouses 
 Locke's cause to the manifest disadvantage of Salmon. Publications, various : 
 Hilton's Catch that catch can ; or a choice collection of catches, rounds, and 
 canons for 3 and 4 voyces, 1652; Select Musical Ayres and Dialogues, in three 
 books, for one, two, and three voyces. ..by sundry composers (composed by Wilson, 
 Colman, Lawes, etc.), 1653; another edition, 1659; Choice Ayres, Songs, and 
 Dialogues to be sung to the theorbo... 5 books, 1676-84; The English Dancing 
 Master: or Plaine and Easie Rules for the Dancing of Country Dances. ..Lond., 
 4to, 1651 ; 2nd edit., 1657 ; 3rd edit., 1665, and numerous other editions till 1728; 
 ilusick's Delight on the Cithern, 1666 ; also published works of Lawes ; Court 
 Ayres ; and most of the important music books of the period. 
 
PLA — -PLE 477 
 
 PLAYFORD (Henry). English publisher, second son of foregoing, B. London, 
 May S. 1657. Succeeded to his Father's business in 1685, which he carried 
 on for a time in company with Robert Carr, but afterwards alone at the Temple 
 Change, Fleet Street. D. London [1710]. 
 
 His principal publications consist of the Theater of Music ; or a choice collec- 
 tion of the newest and best songs sung at the Court, etc . The words composed by 
 the most ingenious wils of the age, and set to music by the greatest masters... Lond., 
 fo., 4 books, 1685-87. Banquet of Musick : a collection of the newest and best 
 songs sung at Court... 6 books, fo., 1688-92. Pleasant Musical Companion, being 
 a choice collection of catches for three and four voices ; published chiefly for the 
 encouragement of the Musical Societies, which will be speedily set up in all the 
 chief cities and towns in England, 4to, 1701 ; 5th edit., 1709. A Collection of 
 Original Scotch Tunes (full of the Highland Humours) for the Violin : being the 
 first of this kind yet printed : most of them being in the compass of the Flute, 
 Lond., 4to, 1700. He also published Purcell's "Ten Sonatas, in four parts," 
 4 vols., 1697; Purcell's "Orpheus Britannicus," 1698-1702; Blow's "Amphion 
 Anglicus," 1700, etc. He also published a work which went through a number of 
 editions, viz., " Harmonia Sacra ; or Divine Hymns and Dialogues, with a 
 Thorow-bass, etc.," Lond., fo., 1687-93 ; S^d edit., with "four excellent hymns of 
 the late Mr. Henry Purcell, never before printed," 1726. 
 
 His younger brother John (B. 1665, D. 1686), carried on business of music 
 printer, and reprinted some of his father's works. For some years he was in 
 partnership with the Widow of William Godbid, a well-known London music- 
 printer, who executed much work for John Playford, senior. 
 
 PLEYEL (Ignaz Josef). Austrian comp., B. Ruppersthal, near Vienna, June 
 I, 1757. S. at Vienna under Vanhall and Haydn. Chap. -master to Count 
 Erlody in 1772. Chap. -master at Strassburg Cath., 1783-93. Married, 1788. 
 Appeared in London as cond. of the Professional Concerts, 1792. Left 
 Strasburg and settled in Paris during the Revolution, 1795. Established a 
 music-selling and publishing firm, and afterwards founded (1807) the Pianoforte- 
 manufacturing firm now known as Pleyel, Wolff & Co. D. near Paris, Nov. 
 14, 1831. 
 Works. — Symphonies: No. i and 2, op. 6 ; 3, 4, and 5, op. 12; 6, 7, and 8, 
 op. 14; 9, ep. 20; 10, II, and 12, op. 27; 13, 14, 15, 16, op. 29; 17, 18, 19, op. 
 30; 20, 21, op. 33; 22, op. 38; 23, op. 62; 24, op. 68; 25, op. 75, and others, 
 up to no. 29. Septets, sextets, and quintets, various, for strings, etc. Quartets for 
 strings, op. i, 2, 3, 4, 5, 7. Trios for strings, op. II, etc. Concertos for vn. and 
 orch., and Pf. and orch. Sonatas for Pf. solo. Duets for Pf. and violin, and for 
 strings. Vocal Musk : Iphigenia in Aulide, opera; Lieder, etc. 
 
 Pleyel, from being a pupil of Haydn, copied his style so closely, that many of his 
 works are quite plainly mere imitations of that master. Their original merits con- 
 sist in a certain easy flow, combined vnth much grace and an agreeable leavening 
 of vigour. 
 
 PLEYEL (Camille). Austrian comp. and Pf. manufacturer, son of preceding, 
 
 B. Strassburg, Dec. 18, 1788. S. under his father and Dussek. Succeeded to 
 
 his father's business in Paris, in 1821, and carried it on in company with Kalk- 
 
 brenner, from 1824. Chevalier of Legion of Honour. D. Paris, May 4, 1855. 
 
 He comp. quartets and trios for strings, sonatas, fantasias, rondos, and other Pf. 
 
 music. 
 
 PLEYEL (Marie Felicite Denise), nk Moke. Belgian pianist, wife of fore- 
 going, B. Paris, Sept. 4, 18 11. S. under Moscheles, Kalkbrenner, etc. Per- 
 formed in various parts of Europe. Appeared in London, 1846. Prof, of Pf. 
 in Brussels Cons., 1848-72. D. near Brussels, March 30, 1875. 
 
 PLEYEL WOLFF, & CJo. French firm of pianoforte manufacturers, established 
 originally by Ignaz Peyel in l8o8, and with whom his son Camille became 
 associated in 1821. In 1824 C. Pleyel was joined by Kalkbrenner, and was in 
 turn succeeded by M. A. Wolff, a musician who at one time was a Prof, in 
 Paris Cons. 
 
47^ POH — PON 
 
 FOxIL (Carl Ferdinand). German wriler, B. Darmstadt, Sept. 6, 1819. S.. 
 under Sechter at Vienna. Org. of Protestant church at Gumpendorf, Vienna, 
 1849-55. Resided in London, 1863-66, searching for materials regarding 
 Mozart and Haydn. Librarian to the Gesellschaft der Musikfreund, Vienna, 
 1866. 
 
 Works. — Mozart und Haydn in London, Vienna, 2 vols., 1867; Die Gesell- 
 schaft der Musikfreunde und ihr Conservatorium in Wien, 1871 ; Joseph Haydn, 
 Berlin, 1875 (vol. l) ; Some Pf. music, and many contributions to periodical 
 literature, Grove's " Dictionary of Music, " etc. 
 
 POHL (Kichard). German musician. and vfriter, B. Leipzig,- Sept. 12, 1826. S. 
 at Gottingen and Leipzig. Prof, in University' of Gratz. Joint editor of the 
 " Neue Zeitschrift filr Musik." Best known as a supporter of the theories and 
 works of Wagner. 
 
 POISE (Jean Alexandre Ferdinand). French comp., B. Ntmes, June 3, 
 
 1828. S. Paris Cons, under Adam and Zimmermann. 
 Works. — Operas, etc.: Bonsoir, voisin, 1853; Les Charmeurs, 1855; Le The 
 de Polichinelle, 1856 ; Don P4dre, 1858 ; Le Jardinier galant, 1861 ; La Surprise 
 de I'Amour, 1878 ; Joli Gille, 1884. Pf. and vocal music. 
 
 POLE (William, F.R.S.) English writer and- musician, B. Birmingham, 1814. 
 Civil Engineer. Mus. Bac, Oxon., i860. Mus. Doc, Oxon., 1867. Re- 
 porter to the Jury on Musical Instruments, International Exhibition, 1862. 
 Examiner for Musical degrees at London University. 
 Works. — Musical Instruments in the Great Industrial Exhibition of 1851, Lond., 
 1851, 8vo ; Diagrams and Tables to Illustrate the Nature and Construction of the 
 Musical Scale and the various. Musical Intervals, Lond., 4to, 1868 ; Story of 
 Mozart's Requiem, Lond., 1879; Philosophy of Music, being the substance of a 
 course of Lectures, ...1877, Lond., 1879; The Hundredth Psalm arranged as a 
 motet for 8 voices, etc. 
 
 POLKO (Elise), nSe Vogler. German soprano vocalist and writer, B. Leipzig, 
 Jan. 31, 1831. -S. under Mendelssohn and Garcia at Paris. 
 Works. — Erinnerungen an Felix Mendelssohn-Bartholdy, Ein Kiinstler und 
 Menschenleben, Leipzig, 1868, trans, by Lady Wallace as Reminiscences of Felix 
 Mendelssohn-Bartholdy, Lond., 8vo, 1869 ; Faustina Hasse [novel], Leipzig, 3 vols., 
 1870 ; Nicolo Paganini und die Geigenbauer, Leipzig, 8vo, 1876 ; Musikalische 
 Mffihrchen, Leipzig, 3 vols., trans, by M. P. Maudslay as Musical Tales, Phan- 
 tasms, and Sketches, Lond., 2 vols., 1876-77. The "Musical Sketches" was 
 trans, by Fanny Fuller, Philadelphia, 1864. 
 
 POLLEDEO (Giovanni Battista). Italian violinist and comp., B. Piova, 
 Piedmont, June 10, 1781. S. under Pugnani. Mem. of Royal band of Turin. 
 Appeared as vnst. successively at Milan, Moscow, S. Petersburg, Warsaw, 
 Berlin, etc. Leader of court band, Dresden, 1814-24. Do. at Turin, 1824. 
 D. Piova, Aug. 15, 1853. 
 Works. — Concertos for violin and orch., op. 6, 7. and 10 ; Airs with variations 
 
 for violin and orch. , op. 3, 5, 8 ; Trios for strings, op. 2, 4, 9 ; Duets and 
 
 exercises for violin ; Mass, miserere, etc. 
 
 POLLINI (Francesco). Italian pianist and comp., B. Laybach, Illyria, 1763. 
 
 5. at Vienna under Mozart and Zingarelli. Prof, of Pf. at Milan Cons. D. 
 Milan, Sept. 17, 1846. 
 
 Works. — La Casetta nei boschi, opera, 1801 ; Cantatas ; Stabat mater. Piano- 
 forte Music : Sonatas, rondos, caprices, variations, scherzos, toccatos, etc. ; also a. 
 " Metodo per Pianoforte " (Ricordi). 
 
 PONCHARD (Louis Antoine Eleonore). French vocalist, B. Paris, Aug. 
 31, 1787. S. at Cons, under Garat. Dibut in Paris, 1812. Sang in Operas 
 of Auber, Boildieu, Isouard, etc. Chevalier of Honour, 1845. D. Paris, Jan. 
 
 6, 1866. His wife, Marie Sophie Calladlt, B. Paris, May 30, 1792. D. 
 there, Sept. 19, 1873. S. at Paris Cons, under Garat, and appeared in operas 
 of Auber, Carafa, Herold, and others. Charles Marie Augu.st, son of the 
 
i- U IN f U K 47P 
 
 foregoing, B. Paris, Nov. 17, 1824, is a tenor singer of much repute, and Prof, 
 at Paris Cons. 
 
 FOITCHIELLI (Amilcare). Italian comp., B. Pademo, Fasolaro, near Cre- 
 mona, Sept. I, 1834. S. Milan Cons, under Cagnoni, etc., 1843-54. Band- 
 master at Plaisance and Cremona. Married to Teresina Brambilla, vocalist. 
 D. Milan, Jan. 16, i886. 
 Works. — Operas : I promessi Sposi, Cremona, 1856 ; La Savojarda, Cremona, 
 1864 ; Roderico, re de' Goti, 1867 ; La Stella del monte, 1867 ; II parlatore eterno, 
 1873 ; I Lituani; 1874 ; Gioconda, Milan, 1876 (London, Covent Garden, July, 
 1883) ; II Figliuol prodigo, Milan, 1880. La Maschere, etc. (MS.) Ballets: Le 
 due Gemelle, 1873 ; Clarina, 1873. Cantata a Gaetano Donizetti, 1875. Instru- 
 mental music, etc. 
 
 PONIATOWSKI (Prince Josef Michel Xaver Johann). Polish comp., B. 
 
 Rome, Feb. 20, 1816. S. under Ceccherini, and at Florence. Sang as tenor 
 at Florence, etc. Involved in the political affairs of Italy. Plenipotentiary at 
 Paris, of the Grand Duke of Tuscany, 1 848- 1 870. Resided in London from 
 1870. D. London, July 3, 1873. 
 Works. — Operas: Giovanni da Prncida, 1838; Don Desiderio, 1839. Ruy 
 Bias, 1842; Bonifazio dei Geremei, 1844; I Lambertazzi, 1845; Malek-Adel, 
 1846; Esmeralda, 1847 ; Pierre de Medicis, Paris, i860; L'Aventurier, do., 1865; 
 La Contessina, do., 1868; Gelmina, London, 1872. Songs: Farewell, the breeze 
 blows fair ; Flower girl ; For a year and a day ; Claude Duval ; Stag hunt ; Yeo- 
 man's wedding song ; Love's antidote. Les Progres de la Musique Dramatique, 
 Paris, 8vo, 1859. 
 
 PONTE (Lorenzo da). Italian poet, B. Ceneda, Venice, Mar. 10, 1749. D. 
 New York, Aug. 17, 1838. Author of the librettos of " Le Nozze di Figaro," 
 " II Dissoluto punito ossia il Don Giovanni," and " Cosi fan tutte," the three 
 famous operas of Mozart. 
 
 POOLE (Elizabeth). English mezzo-soprano vocalist, B. London, April 5, 
 1820. Dibut in opera at Drury Lane, 1834. Sang in the United States, 
 1839. Sang in opera, at concerts, etc., in London, from 1841 to 1870. Mar- 
 ried a Mr. Bacon. 
 
 Best remembered as a ballad vocalist, and as an actress of much original talent. 
 
 POOLE (Maria). See Dickons (Mrs.) 
 
 POPE (Alexander). English poet, B. London, 1688. D. Twickenham, 1744. 
 Wrote Odes : St. Cecilia's Day (" Descend, ye Nine "), set by Jackson, Busby, 
 and Greene ; Ode on solitude ; Dying Christian to his soul ; which with others 
 of his works have been at various times utilized by T. Billington and different 
 composers. 
 
 POPPER (David). Bohemian violoncellist and comp., B. Prague, June 18, 1846 
 [1842]. S. at Prague Cons., and was pupil of Goltermann for 'cello. Cham- 
 ber musician to Prince Hohenzollern. Travelled concert-giving in Germany, 
 Holland, Switzerland, England, Austria, etc. Was solo 'cellist at the Court 
 Theatre, Vienna, for a time. Married to Sophie Menter, pianist, 1872. _ 
 
 Works.— Perles musicales, for 'cello and Pf , op. 3 ; do. op. 9 ; Sarabande and 
 Gavotte, 'cello and Pf., op. 10; Drei stucke, 'cello and Pf., op. 11 ; Nocturne in 
 G, op. 22 ; Gavotte in D, op. 23 ; Polonaise, op. 28 ; Menuetto in D, op. 48 ; Im 
 Walde, suite for orch., with obbligato for 'cello, op. 50 ; Spinning song, concert 
 study for 'cello and Pf., op. 56, etc. 
 
 One of the most distinguished instrumentalists of the present time. His style of 
 performance is marked by much power of expression and great volume of tone. 
 
 PORPOEA (NicCOlo). Italian comp. and vocal instructor, B. Naples, 19 Aug., 
 1686. S. under Greco, Mancini, A. Scarlatti, etc. Chap. -master to the Portu- 
 guese Ambassador at Naples. Established a famous school for singers. Dir- 
 ector of the Cons, of San Onofrio, Naples. Travelled about in Europe. 
 Resided in London, where he wrote operas in opposition to Handel, 1729-36. 
 Director of the Ospedaletto Music School, Venice. Returned to Naples 1759, 
 
480 i> O R — P O 1* 
 
 and became Chap. -master of the Cath., and director of the Cons, of San Onot 
 
 rio. D. Naples, Feb. 1767, in poverty. 
 Works. — Operas: Basilio, re di Oriente, 1710; Berenice, 1710; Flavio Anicio 
 Olibrio, 1711; Eumene, 1721 ; Issipile, 1723; Adelaide, 1723; Siface, 1726; 
 Imeneo in Atene. 1726; Meride e Selinunte, 1727; Ezio, 1728; Tamerlano, 
 1730 ; Alessandro nelle Indie ; Annibale, 1731 ; Mitridate, 1733 ; Ferdinando, 
 London, 1734; Lucio Papirio, 1737; Temistocle, London, 1742; II Trionfo dl 
 Camillo, 1760 ; Statira ; Ifigenia in Aulide ; Didone ; and others to number of 40 
 or more. Oratorios : Gedeone ; I Martiri di S. Giovanni ; Nepomucene ; Davide, 
 London, 1735. Masses, and other church music. Cantatas. Sonatas for harpsi- 
 chord, and for violin and bass. 
 
 The fame of this master is now altogether traditional, and concerns as much his 
 pupils as himself. As a teacher he was responsible for the excellence of Farinelli, 
 Caffarelli, and other vocalists of repute. 
 
 PORTA (Costanzo). ItaHan comp., B. Cremona in first half of l6th century. 
 
 S. under Willaert. Chap. -master at Padua, Osimo, Ravenna, and at Santa 
 
 Casa, Loretto. D. Loretto, 1601. 
 Works.— Five Books of Motets, iSSS-85. Missarum, Lib. I., 1578. Liber I. 
 Introitus Missarum, 1566; 2nd book, 1588. Madrigali a 4 e 5 voci, IS5S ; 2nd 
 book, 1573; 3rd book, 1586. Psalmodia Vespertina, 1605. etc. 
 
 PORTA (Giovanni). Italian comp., B. Venice, at end of 17th century. Visited 
 
 Lond., 1729. Chap. -master to the Elector of Bavaria, 1737. D. Munich, 1740. 
 
 Comp. a number of operas mostly produced at Venice. "Numidor, " an opera, 
 
 was produced at London under direction of The Royal Academy of Music, April 2, 
 
 1720. 
 
 PORTER (R.). English writer, author of a small tract entitled "Rudiments of 
 Music, abridged for the use of Choirs," 8vo, n. d. 
 
 PORTER (Samuel). English org. and comp., B. Norwich, 1733. S. under M. 
 Greene. Org. Canterbury Cath., 1757-1803. D. Canterbury, Dec. 11, 1810. 
 He comp. "Four Anthems and Two Psalm Tunes"; "Cathedral Music in 
 Score," edited by Rev. W. J. Porter, fo., 11. d. His Service in D has been re- 
 printed by Novello & Co. 
 
 PORTER (Thomas). English writer, author of "How to choose a Violin," 
 Lond. [1879]. 
 
 PORTER (Walter). English comp., B. about end of 17th century. Gent, of 
 
 Chap. Royal, 1616. Master of Choristers, Westminster Abbey, 1639. D. 
 
 Nov. 1659. 
 
 Works. — Madrigals and Ayres of two, three, foure, and five voyces...i632. 
 
 Aires and Madrigals for two, three, four, and five voices, with a thorough-bass for 
 
 the Organ or Theorbo-lute, the Italian way, 1639. Motetts uf two Voices-treble, 
 
 tenor and bass, with continued bass or score, to be performed on an organ, harjD- 
 
 sychor, lute, or bass viol, 3 parts, Lond., 1657. Psalms of Mr. George Sandys 
 
 composed into Music for two Voyces, with a Thorough-bass for the Organ [1670]. 
 
 PORTOGALLO (Marco Antonio), properly Simao. Portuguese comp., B. 
 
 Lisbon, March 24, 1762. S. under Borselli. Resided in Italy, 1787-90. 
 
 Chap. -master to King of Portugal, 1790. Accompanied Portuguese Count to 
 
 Brazil, and resided in Rio, 1807-1815. D. Lisbon, Feb. 7, 1830. 
 
 Works. — Operas : L'Eroe cinese, 1788 ; II Molinaro, 1790 ; La Donna di genio 
 
 volubile, 1791 ; I due Gobbi, 1793 ; Demofoonte, 1794 ; Fernando in Messico, 
 
 Rome, 1797 (written for Mrs. Billington) ; Semiramide, 1802. Church music, etc. 
 
 POSTANS (Mary). See Shaw (Mrs. Alfred). 
 
 POTT (F. August). German violinist and comp., B. Nordheim, Hanover, Nov. 
 7, 1806. S. under Spohr at Cassel. Appeared as violinist successively at 
 Cassel (1824), Austria, Paris, London (1838), Belgium, etc. Chap. -master to 
 the Duke of Oldenburg till 1861. D. Gratz, Nov. 1883. Comp. music for 
 violin, songs, etc. 
 
l>of — POW 481 
 
 POTTER (John). English writer and comp. of last century, author of "Obser- 
 vations on the Present State of Music and Musicians, with General Rules for 
 Studying Music," Lond., 8vo, 1762. He also comp. for Vauxhall Gardens, 
 and published a collection entitled "New Songs, sung at the Vauxhall Gardens, 
 1771-1772, fo., Lond., n.d. 
 
 POTTER (Philip Cipriani Hambly). English pianist and comp., B. London, 
 1792. S. under his father, Callcott, Attwood, Crotch, and Woelfl. Dibut as 
 pianist at Philharmonic Soc. Concert, 1816. S. at Vienna under Forster, and 
 while there came in contact with Beethoven, 1817-18. Prof, of Pf. at R. A. M., 
 Lond., 1822. Principal of R. A. M. in succession to Crotch, 1832-59. D. 
 London, Sept. 26, 1871. 
 
 Works. — Symphonies for orch., in A, G minor, etc., nine in all (MS.); Four 
 Overtures for orch. ; Three Concertos for Pf. and orch. ; Sextet for Pf., flute, 
 violin, viola, 'cello, and D.-bass, op. ii ; Three trios forPf., violin, and 'cello, or 
 clarinet and bassoon, op. 12 ; Sonata concertante for Pf. and horn, op. 13 ; Duet 
 for two Pf., op. 7 ; Variations for Pf., op. I ; Sonatas for Pf., in D, op. 2; E min., 
 op. 3 ; and C. Toccattas in G and 33 flat, for Pf. Rondeaus in C and F for Pf. 
 Introduction and Rondo for Pf., 4 hands, op. 8. Pezzi di bravura, Pf. String 
 Quartets. Etudes dans tons les tons majeurs et mineurs, 4 I'usage du Conservatoire 
 de Musique a Londres, op. 19. 
 
 Potter was a musician of much influence in his time, and it is due to his good 
 management that the Royal Academy of Music of London is now on such a sub- 
 stantial basis. His works possess many merits, and though nearly defunct, in the 
 sense of their being now unused, deserve to be kindly remembered. As one of the few 
 Englishmen who have attained distinction as writers of instrumental music, his 
 works should have much wider currency than is at present accorded them. Bir- 
 mingham, and London concert-givers are, indeed, the only ones who condescend to 
 perform the works of an Englishman who at one time commanded respect from the 
 most cultured opinion on the Continent. 
 
 POUGIN (Francois AugUSte Arthur). French writer, B. Chateauroux, 
 Indre, Aug. 6, 1834. S. at Paris Cons, under Reber, etc. Violinist in various 
 Parisian theatres. First violin in Musard's orch. Attached to staff of many 
 journals as "Menestrel," "L'Art Musical," "Soir," "Journal Officiel," etc. 
 
 Works. — Meyerbeer, notes biogra^hiques, Paris, 1864; F. Hal^vy, ^crivain, 
 1865 ; William-Vincent Wallace, 6tude biographique et critique, Paris, 8vo, 1866; 
 Almanach illustr^, chronologique, historique, critique et anecdotique de la Musique, 
 Paris, 3 vols., 1866-8 ; De la Litt^rature Musicale en France, 1867 ; Leon Kreutzer, 
 8vo, 1868 ; Bellini, sa vie, ses oeuvres, 1868; Albert Grisar, etude artistique, 1870; 
 Rossini, notes, impressions, souvenirs, commentaires, Paris, 1871 ; Auber — ses com- 
 mencements, les origines de sa carriere, 1873; Notice sur Rode, 1874; Boildieu : 
 sa vie, ses ceuvres, son caractere, sa correspondance, 1875 ; Rameau, 1876 ; 
 Adolphe Adam, 1876; Biographic Universelle des Musiciens...par F. J. Fetis, 
 Supplement et Complement [edited by Pougin], Paris, 2 vols, 1878-80. 
 
 The work last named contains much valuable information in regard to contempo- 
 rary musical celebrifies, and continues with great exactness the work of Fetis. 
 
 POVEY (Miss). English soprano vocalist, B. Birmingham, 1804. Debut June 
 3, 1817. S. under T. Cooke and Bartleman. Sang at Drury Lane, 1819, 
 English Opera House, etc. D. [?] 
 
 POWELL (Thomas). English violinist and comp., B. London, 1776. S. harp, 
 violin, and Pf. Mem. of Royal Soc. of Musicians. Married, 1811. Resided 
 in Dublin as teacher. Performed a violin concerto in Haymarket Theatre, 
 London. Comp. IJ Concertos for violin and orch ; Three duets for violin and 
 'cello, op. I ; Three duets for two 'cellos, op. 2 ; Capriccio for 'cello, op. 24 ; 
 Introduction and Fugue for organ ; Sonatas, etc., for Pf. ; Overtures for orch., 
 etc. 
 
 POWELL (Walter). English tenor vocalist, B. Oxford, 1697. Chor. and 
 Clerk to Magdalen Coll., Oxford. Sang in Handel's oratorios. D. Oxford, 
 Nov. 6, 1744. 
 
 G 2 
 
PR A — piiA 
 
 PKADnER (Louis Barthelemi), or Pradere. French comp., violinist, and 
 pianist, B. Paris, Deo. i8, 1781. S. under Mme. de Montgeroult, and at 
 Cons, under Gobert and Berton. Married a daughter of PhiHdor. Prof, of 
 Pf., Paris Cons. Accompanist to Chap.-Royal, Paris. Married second time 
 to Mile. F. More, 1820. Retired from Cons., 1827, and settled at Toulouse 
 as director of Cons, there. D. Gray, Oct., 1843. 
 -Works. — Operas: Le Voisinage, 1800; Le chevalier d' Industrie, 1804; Jenny 
 
 la bouquetiere, 1823. Concertos and sonatas for Pf. with other instruments. 
 
 Sonatas for Pf. solo, etc. 
 
 His second viiie, Feucite More, B. Carcassone, Aude, Jan. 6, 1800, D. Gray, 
 Nov. 12, 1876, was an actress and vocalist of great celebrity. 
 
 PBAEGEE (Heinrich Aloys). Dutch comp., violinist, and guitarist, B. Am- 
 sterdam, Dec. 23, 1783. 
 Works. — Quintet for viola, 2 clarinets, flute, and bassoon, op. 12 ; Quintet for 
 strings, op. 28; Quartets for strings, opp. 13, 17, 18, 19; Trios and duets for 
 strings. Pf. music. Mehrstimmige Gesange, op. 30, etc. 
 
 PRAEGEK (Ferdinand Christian Wilhelm). Dutch violinist, pianist, and 
 
 comp. Son of above. B. Leipzig, Jan. 22, 1815. Teacher at the Hague. 
 
 Settled in London, 1834. Has performed at important concerts in London, 
 
 Paris, Leipzig, etc. English correspondent of "Neue Zeitschrift fiir Musik." 
 
 Works. — Manfred, prelude symphonique, 1881. Leben und Lieben, symphonic 
 
 poem, 1885. Sonata in G, Pf. and 'cello, Birmingham, 1883. Ff. Music: Danse 
 
 rustique; Mazurka elegante, op. 67; Styrienne brillante, op. 68; Rgverie-nocturne, 
 
 op. 69 ; Moment joyeux, op. 72 ; etc. A selection of 48 short works has been 
 
 published in 2 vols, at Leipzig, entitled the "Praeger Album." 12 Pf. sonatas, 
 
 20 string quartets, a Pf. trio, and other works in MS. History of Music, by Emil 
 
 Naumann, translated, 1883-6. Elementary and Practical School for_ the Violin. 
 
 3 parts. Lond. (Cocks), n. d. Orchestral works, varfous. 
 
 PR.ffiTOE,IUS (Hieronymus), or Schultz. German org. and comp., B. 
 
 Hamburg, 1560. Son of the org. of Church of St. James. S. under his 
 
 father, and at Cologne. Cantor of Erfurt, 1580. Succeeded his father as org. 
 
 of Church of St. James, Hamburg, 1582. D. Hamburg, 1629. 
 
 Works. — Cantiones Sacrae de prsecipius festis totius anni 5, 6, 7, et 8 vocum. 
 
 1599. Magnificat octo vocum liber die acht Kirchen-Toene, 1602. Six Masses, 
 
 1616. Cantionum Sacrarum, op. 5, 1618. Ein Kindelein so loebelich, carol for 8 
 
 voices, 161 3 ; etc. 
 
 PBriBTOBIUS (Michel), or Schultz. German comp. and writer, B. Creutz- 
 berg, Thuringia, Feb. 15, 1571. Chap. -master and org. to the Duke of 
 Brunswick, and secretary to his Consprt Elizabeth. D. Wolfenbilttel, Feb. 
 15, 1621. 
 Works. — Syntagma musicum ex veterum et recentiorum ecclesiasticorum autorum 
 lectione... Wittenberg, 4to, 1615 [general title-page]. The separate parts were 
 issued in 1615, 1618, and the Appendix to part 2, consisting of plates, in 1620. 
 Sacrarum Motetarum primitiee, 4, 5, usque ad 6 vocum, 1600. IIL Polyhymnia 
 panegyrica.. 15 vols., fo., 1602. Musarum Sioniar motectae et psalnii Latini... 
 Nuremberg, 8 vols., 1607. Hymnodia Sionia; continens hymnos sacros 24 anni- 
 versaries selectos... Wolfenbilttel, 6 vols., 4to, 1611. Megalynodia Sionia; con- 
 tinens canticum B. Marias Virginis magnificat, 5, 6, et 8 voc. Wolfenbilttel, 6 
 vols., 4to, i6ii. 
 
 PRAT (Daniel). English divine and writer, was rector of Harrixham, Kent, 
 and Chaplain to George IH. Wrote "An Ode to Mr. Handel, on his playing 
 on the Organ," Lond., fo., 1722 ; reprinted as " An Ode on the late celebrated 
 Handel on his playing on the Organ," Cambridge, 4to, 1791. 
 
 PEATO. See JOSQUIN. 
 
 PRATT (John). Enghsh org. and comp., B. Cambridge, 1772 [1779]. Son of 
 Jonas Pratt, music-seller there. Chor. in choir of King's Coll. S. under Dr. 
 Randall, whom he succeeded as org. of King's Coll., 1799. Org. of Cam- 
 
P R A — PRE 483 
 
 bridge University, 1800. Org. S. Peter's Coll., 1813. D. Cambridge, March 
 9, 1855- 
 WoRKS^ — Collection of Anthems in Score, selected from the works of Handel, 
 Haydn, Mozart, Clari, Leo, and Carissimi, with Organ or Pianoforte Accompani- 
 ment, 2 vols., fo., u. d. Selection of Ancient and Modern Psalm Tunes, arranged 
 for Two Trebles, or Tenors, and a Bass, for the use of Parish Churches, fo., n. d. 
 "Psalmodia Cantabrigiensis...4to, 1817, with an Appendix of later date. Four 
 Double Chants, and the Responses to the Commandments, as performed at the 
 King's College, Cambridge, 8vo, n. d. 
 
 PRATT (Silas Gamaliel). American comp. and pianist, B. Addison, Vt., 
 
 Aug. 4, 1846. S. at Chicago, and at Berlin under Wiierst, Bendel, Kullak, 
 
 and Kiel. Afterwards S. under Liszt at Weimar. Played in London, 1885. 
 
 Works. — Zenobia, opera, 1882. Symphonies for orch.. No. i, op. 16 (1871) ; 
 
 2nd, Prodigal Son, op. 33 (1876) ; Symphonic sketch, Magdalena's Lament. 
 
 Pianoforte : Shadow thoughts ; Mazurka caprice ; Mazurka dolour ; Polonaises ; 
 
 Reveries ; Fantasie-caprice, op. 24 ; Fantasie-impromptu, op. 28 ; Continuous 
 
 Scales and Exercises ; Mazurka-andante ; Nocturne ; Antique minuet ; Rocking 
 
 minuet ; other works in MS. Songs and part-songs. Grand march. Homage to 
 
 Chicago, for orch., 1873. Soul Longings, String quintet. Centennial overture, 
 
 chorus and orch., 1876. Serenade for strings. Elegy to General Grant, for chorus 
 
 and orch., etc. 
 
 PRATTEN (Robert Sidney). English flute^player and comp., B. Bristol, 
 Jan. 23, 1824. Performed when a boy at concerts in Bath, Bristol, etc. First 
 flute in orch. of Theatre Royal, Dublin ; Do. at Royal Italian Opera, London, 
 1846 ; Sacred Harmonic Society ; Philharmonic Society, etc. S. for a time 
 in Germany. D. Ramsgate, Feb. 10, i858. 
 Works. — Fantasias, arrangements, studies, solos, etc. for flute, in combination 
 with other instruments. Complete Series of Exercises for the Siccama Flute. 
 Complete Series of Scales and Exercises, carefully fingered for Pratten's Per- 
 fected Flute, n. d. Flute Tutors (one published by Boosey & Co., and another by 
 Edwin Ashdown). 
 
 His wife. Madam Sidney Pratten, is a well-known guitar-player, and writer 
 for that instrument. Solos for the Guitar, a series of about 100 original and selected 
 pieces ; Numerous Divertimentos on original and selected themes ; Guitar School, 
 being complete Instructions fur Modern Guitar Playing in the Common Key ; 
 Learning the Guitar Simplified... Also a book of Instructions for the Gigliera 
 (wood and straw instrument). 
 
 PREINDL (Joseph). German org. and comp., B. Marbach-on-the-Danube, 
 
 1758. S. under Albrechtsberger. Org. and chap. -master of St. Stephen's, 
 
 Vienna, 1809-23. D. Vienna, Oct. 23, 1823. 
 
 Works. — Op. i and 2. Concertos for Pf. ; op. 3, 4 and 6. Themes for Pf. ; op. 
 
 5 and 13. Fantasias for Pf. Gesanglehre (vocal method), op. 33. Wiener Ton- 
 
 schule (treatise on harmony), 1827. Masses, graduels, and other church music. 
 
 Organ music, etc. 
 
 PRELLEUR (Pierre, or Peter). French musician and writing master. Settled 
 in London in first part of i8th century. Writing master in Spitalfields. Org., 
 church of St. Alban, 1728. Accompanist and comp. Goodman's Fields 
 Theatre, till 1737. Org. of Christ Church, Spitalfields, 1735. D. probably 
 about middle of i8th century. 
 Works. — Ballets and pantomime music. The Songs and Duets in Baucis and 
 Philemon, as they are now perform'd at the New Wells in Goodman's Fields ; to 
 which is prefix'd, the Overture in Score, Lond., fo. [c. 1737]. The Modern 
 Musick-master, or the Universal Musician ; containing an introduction to singing, 
 with directions for the flute, hautboy, violin, harpsichord, etc., with a brief history 
 of Musick, and a Musical Dictionary, Lond., 8vo, 1731. Introduction to Singing, 
 or plain rules whereby any person may in a short time learn to sing any song that is 
 set to musick, Lond., 8vo, n. d. Divine Melody, in twenty-four choice hymns, set 
 to music, in two parts... Lond,, 8vo, 1758. This last work was written in conjunc- 
 tion with Moze, an organist. Another work comp. conjointly is The Harmonious 
 
4^4 PRE — PRE 
 
 Companion, or the Psalm-singer's Magazine... in four parts, with Benjamin Smith, 
 Lond., 1732, 8vo. 
 
 PEENDERGAST (Arthur Hugh Dalrymple). English comp. and cond., 
 
 B. London, June 28, 1833. S. under James Turle. Cond. of Lombard 
 
 Amateur Musical Soc. Late secretary of the Bach Choir. 
 
 Works. — Cantate Domino and Deus Misereatur, in F ; Festival Te Deum, 1882 ; 
 
 Anthems : O Lord our Governour ; O God ! Thou hast cast us out ; Shew me thy 
 
 ways. Part Songs, etc., for male and mixed voices : A Grace; Hark ! how the 
 
 cheerful birds (prize madrigal, 1880); My love is now awake; Sunshine; When 
 
 weeping friends are parting ; O, mistress mine ; Phillis dyes her tresses black ; 
 
 Song of the silent land ; Take, oh take those lips away ; Sweet western wind ; 
 
 When for the world's repose ; Wines, the ; Although soft sleep ; A garden is my 
 
 lady's face ; Light, wandering, murmuring wind ; Imbuta. Songs : A birdie's life ; 
 
 A shady nook ; I do confess thou'rt smooth and. fair ; Sleep ! wake ! live ! 
 
 PRENTICE (Thomas Ridley). English pianist and comp., B. Paslow Hall, 
 Ongar, Essex, July 6, 1842. S, at R. A. M. Gained silver medal, 1863, and 
 Potter Exhibition. Associate R. A. M. Started the ' ' Monthly Popular Con- 
 certs" at Brixton, 1869. Org. of Christ Church, Lee. Started Kensington 
 "Twopenny Concerts," 1880. Prof, of Pf. Guildhall School of Music, 1880. 
 Prof, of Pf. and harmony, Blackheath Cons, of Music. Principal of Becken- 
 ham and Wimbledon Schools of Music. 
 Works. — Cantata for ladies' voices — Linda. Anthems : Break forth into joy ; I 
 love the Lord. Part Songs, etc. : Christmas ; Ye little birds ; The day is done ; O 
 the summer night ; The mermaid's invitation. Songs : The God of love my shep- 
 herd is ; Love floweth on for ever ; Evensong ; Echoes ; Broken links. Pianoforte 
 Music : Gavotte in E flat ; Gavotte fantastique ; Elegy ; Reverie, By the sea ; Chil- 
 dren's fancies ; Harvest home ; Maypole ; Sunday musings, etc. The Musician, 
 a Guide for Pianoforte Students : Helps towards the better understanding and en- 
 joyment of Beautiful Music, Lond., 8vo, 1883, in 6 grades or parts. Edited can- 
 tatas by Carissimi. 
 
 PRESCOTT (Oliveria Louisa). English comp. and writer, B. London, Sept. 
 
 3, 1842. S. under Lindsay Sloper, and for 7 or 8 years at the R. A. M. under 
 
 Prof. Macfarren, Jewson, Folkes, and Ralph. Associate R. A. M. Teacher 
 
 of harmony at the Ch. of England High School for Girls, Upper Baker Street, 
 
 London. Conducts classes for harmony, etc., in the University of Cambridge 
 
 correspondence system for ladies. 
 
 Works. — Two symphonies, several overtures, and some shorter pieces for orch. ; 
 
 Concerted music for stringed instruments ; Psalm XIII. for soprano solo, chorus, 
 
 and orch. ; Psalm CXXVI. for voices alone (sung in S. Paul's Cath.) ; Lord Ullin's 
 
 Daughter (Campbell), for chorus, with orch.; The righteous live for evermore; Our 
 
 conversation is in prayer (anthems). Part-songs : Ballad of Young John ; Douglas 
 
 raid ; The Huntsman. Songs. Form, or Design, in Music : Part I. Instrumental ; 
 
 Part 2. Vocal. Lond., l2mo, 1882 (reprinted from the Musical World). 
 
 The work last named has been received vrith great favour by the Press and 
 teachers, on account of its clearness of exposition, and interesting treatment of a 
 difficult subject. 
 
 PRESSER (Theodore). American journalist and teacher, B. Pittsburg, Pa., 
 l848._ Educated at Mount Union Coll., Ohio. S. music at Boston and at 
 Leipzig Cons. Editor of The Etude, a journal for teachers and students of the 
 pianoforte. Organizer of the Music Teacher's National Assoc. ; Virginia State 
 Assoc, etc. 
 Presser has translated and enlarged Urbach's Pianoforte Method ; and has pub- 
 lished Pf. studies and teaching pieces. He is.widely known as a teacher and writer. 
 
 PREVOST (Eugene Prosper). French comp., B. Paris, Aug. 23, 1809. S. 
 Paris Cons, under Lesueur, etc. Gained 2nd prize for comp., 1829; gained 
 Grand Prix de Rome, 1831. Travelled for a time in Italy. Married to 
 Eleonore Colon. Cond. at Havre Theatre. Settled in New Orleans, 1838, as 
 cond. of the opera, and teacher. Cond. in Paris for a time about 1863. D. 
 New Orleans, Aug. 30, 1872. 
 
PRE — PRO 485 
 
 Works. — Operas : L'H6tel des Princes, 1831 ; Le Grenadier de Wagram, 1831 j 
 Cosimo, 1834.; Le bon Gar9on, 1837; Blanche et Renfe; Esmeralda ; L' Illustre 
 Gaspard, 1863. Bianca Capella, cantata which gained the Prix de Rome, 1831. 
 Masses. Arrangements for orch. , etc. 
 
 PREVOST (Jean Marie Michel Hippolyte). French musician and steno- 
 grapher, B. Toulouse, 1808. D. Paris, Feb. 17, 1873. Author of " Steno- 
 graphie musicale, ou art de suivre 1' execution musicale en ferivant," Paris, 
 1833, 8vo. Translated into English under title of "A System of Musical 
 Stenography," Lond., 8vo, 1849. 
 
 FBIDHAM (Jolin). English comp. and arranger for the Pf., B. Popsham, 
 Devon, Oct. i, 1818. Teacher in Taunton. 
 Works.— Pianoforte : Sabbath Recreations, 13 numbers of sacred pieces 
 arranged ; Spring Flowers, 6 original pieces ; Early Blossoms, do. ; Hills and 
 Lakes of Scotland, 12 numbers; Hills and Lakes of Ireland and England, 6 nos. 
 each. Songs, vocal duets, etc. New Method for the Piano, Lond., Brewer, n.d. 
 
 PRILIPP (Camille). See Schdbert (Camille). 
 
 PRING (Jacob Cubitt). English org. and comp., B. Lewisham, 1771. Org. 
 of St. Botolph, Aldgate, London. Mus. Bac, Oxon., 1797. D. 1799. 
 WORKS.^Eight Glees, Catches, etc., Lond. [c. 1795]. Eight Anthems as per- 
 formed in St. Paul's Cathedral, fo., n. d. Glees, and catches in Warren's collec- 
 tion. 
 
 PRING (Joseph). English org. and comp., brother of above, B. Kensington, 
 Jan. IS, 1776. Org. of Bangor Cath., 1793. Mus. Bac. and Doc, Oxon., 
 1808. D. Bangor, Feb. 13, 1842. 
 
 Works. — Twenty Anthems in Score, for I, 2, 3, 4, and S voices, fo.[[i8o5]. 
 Magnificats, and other church music. 
 
 PRING (Isaac). English org. and comp., brother of above, B. Kensington, 
 1777. Assistant to Dr. Philip Hayes, at New Coll., Oxford, and his successor 
 in 1797. Mus. Bac, Oxon., 1799. D. Oxford, Oct, 18, 1799. Comp. 
 chants, anthems, etc. 
 
 PRINGLE (John). Scottish musician, resided in Edinburgh at end of last, and 
 beginning of present century. Published " A Collection of Reels, Strathspeys, 
 and Jigs, with a Bass for the Violoncello or Pianoforte." Edin., n. d. 
 
 PRINTZ (Wolfgang Caspar), sumamed Waldthurn. German comp. and 
 writer, B. Waldthurn, Upper Palatinate, Oct. 10, 1641. Educated at Univer- 
 sity of Altorff. S. under Stoeckel and Merz. Org. and court musician in 
 service of Count Promnitz, Dresden, 1682 ; with whom he afterwards tra- 
 velled in Germany, Austria, etc. Cantor of Triebel, and afterwards at Sorau 
 in Upper Saxony. D. Sorau, Oct. 13, 1717. 
 Works. —Anweisung zur Singekunst...i666. Phrynis Mylilenasus...Quedling- 
 
 burg, 2pts., 1676-7. Musica Modulatoria vocalis...i678. Exercitationes musicae. 
 
 Dresden, 1689. Compositions for the church. 
 
 PROCH (Heinrich). Austrian comp. and violinist, B. Laybach [Vienna], July 
 
 22, 1809. S. under Benesch. Educated for the Law at Vienna University. 
 
 Mem. of Imperial Chap., Vienna, 1834. Leader in orch. of Josephstadt 
 
 Theatre, Vienna, 1837 ; do. Imperial Opera House, 1840-70. Chevalier of 
 
 the Order of Franz- Joseph of Austria, etc. D. Vienna, Dec 18, 1878. 
 
 Works.— (?/^raj.- Ring und Maske, 1844; Die Blutrache, 1847; Der Gefahr- 
 
 lich Sprung, 1848. Overtures for orch. Quartets, trio for Pf, vn., and 'cello., 
 
 op. 27, and other chamber music. Masses, graduels, offertoires, and other church 
 
 music. Lieder for voice, with accomp., for Pf., 'cello and horn, opp. I, 3, 4, 5, 6, 
 
 II, 14, 17, 18, 19, 21, 22, 28, 29, 31, 34. 38, 46, etc, of which the following are 
 
 the titles of some of the best known single songs :— Das Alpenhorn ; Morgengruss ; 
 
 Wanderlied; Der jUngling am Bache ; Liebesend ; An die Sterne; Lebewohl; 
 
 Das Erkennen Das ; Bliimlein ; Das blinde Madchen, 
 
486 PRO — PRU 
 
 FBOSKE (Carl), German ecclesiastic and collector, B. Grobing, Upper Silesia 
 Feb. II, 1794. Ordained priest, 1826. Canon and Chap. -master of Ratisbon 
 Cath., 1830. Travelling in Italy collecting and transcribing ancient pieces of 
 MS. ecclesiastical music. Member of Order of S. Michel, and of Episcopal 
 Council of Ratisbon. D. Ratisbon, Dec. 20, 1861. 
 Best known as the editor and collector of the fine work entitled, "Musica 
 Divina, sive Thesaurus concentuum Selectissimorum omni cultui divino totius anni 
 juxta ritum Sanctae EcclesiK catholicae inservientiuni...," Ratisbon, 4 vols., 4to, 
 '853-59. This is a collection of scarce and previously unpublished church music, 
 chiefly by early composers, and is a most valuable, accurate, and altogether monu- 
 mental compilation. 
 
 PROUDMAN (Joseph). English writer and cond., B. London, Nov. 10, 1833. 
 Identified with the Tonic Sol-fa movement, of which he is a prominent leader. 
 He has conducted numerous large festivals, and has done much to foster the 
 spread of popular vocal music. His works include " Musical Lectures and 
 Sketches," Lond., 1869, and "Musical Jottings," Lond., 1872. Also numer- 
 ous articles on musical education and lectures on kindred subjects. 
 
 PROUT (Ebeuezer), English comp., writer, and cond., B. Oundle, Northamp- 
 tonshire, March I, 1835. Graduated B. A. , London University, 1854. S. Pf. 
 under C. K. Salaman. Org. of Union Chap., Islington, 1861-73. Gained 
 first prizes offered by the Soc. of British Musicians, for his op. I and 2, 1862-65. 
 Editor of Monthly Musical Record, 1871-74. Musical Critic of the Academy, 
 1874-79 ; do. of the Athencsum, 1879. Prof of Harmony and comp. at 
 National Training School for Music, 1876. Cond. of the Borough of Hackney 
 Choral Assoc, 1876. Prof, at R. A. M., 1879. Prof at Guildhall School of 
 Music, 1884. 
 WOEKS. — Op. I. Quartet for strings in E flat, 1862 ; op. 2. Pf. quartet in C, 
 1865 ; op. 3. Pf. quintet in G, i860; op. 4. Sonata for Org., in D, 1866; op. 5. 
 Concerto for org. and orch., in E min., 1870 ; op. 6. Concertante duet for Pf. and 
 harmonium, in A ; op. 7. Magnificat for solo voices, chorus, and orch., in C, 1873 ; 
 op. 8. Evening service for solo voices, chorus, and org., in E flat, 1875 ; op. 9. 
 Evening service in F, for chorus and org. (written for the London Church Choir 
 Assoc), 1876; op. 10. Hail to the chief, chorus, with orch. (written for the re- 
 opening of the Alexandra Palace), 1877; op. 11. Happy is the man that findeth 
 wisdom, anthem, for chorus and org. ; op. 12. Hereward, cantata, written for the 
 Borough of Hackney Choral Assoc, 1878 ; op. 13. Morning and communion ser- 
 vice, in F, 1879; op. 14. Minuet and trio, in B flat, for orch., 1877 ; op. 15. 2nd 
 string quartet, in B flat, 1881 ; op. 16. Alfred, cantata, London, 1881 ; op. 17. 
 Sonata in A, for Pf. and flute, 1882 ; op. 18. Quartet in F, for Pf and strings, 
 1881 ; op. 19. Evening Service in D, 1883 ; op. 20. "Freedom," chorus, vpith orch., 
 1885 ; op. 21. Queen Aimee, cantata for female voices, with Pf , 1885 ; op. 22. 
 Third symphony, in F, 1884 ; op. 23. The Hundredth Psalm, for soprano solo, 
 chorus, and orch., 1886. Unpublished: Romance, for viola, vrith Pf. accomp., 
 1870 ; First symphony, in C major, 1873 ; Second symphony, in G minor, 1876 ; 
 Suite in D, for orch., 1878 ; Overture to " Twelfth Night," 1880 ; Sonata in D, for 
 Pf and clarinet, 1882 ; Second organ concerto, in E flat, 1883 ; Love and Taxa- 
 tion, comic opera, in 3 acts, 1883; Fourth symphony, in D major, 1886. Organ 
 Arrangements, 2 vols., in 44 numbers, selected from the great masters. Instrumen- 
 tation (Music Primer), London, 8vo, 1876 ; also a German trans, issued in Leipzig. 
 Songs and some pieces of various kinds for Pf 
 
 PRUCKNER (Dionys). German pianist, comp., and teacher, B. 1830. S. at 
 Weimar, with Liszt. Resided in New York for a short time after 1874. Prof, 
 of Pf in Stuttgart Cons. 
 Caroline Pruckner, the soprano vocalist, was B. Vienna, 1832. 
 
 PRUDENT (Emile Eeunie). French pianist and comp., B. Angouleme, Feb. 
 3, 1817. S. Paris Cons, under Le Couppey. Gained prizes for Pf and har- 
 mony. Travelled in Europe, concert-giving, and appeared in London as 
 pianist, 1848, and 1852-3. Resided chiefly in Paris as teacher. D. Paris, May 
 14, 1863. 
 
PRU — PUR 487 
 
 Works. — Concerto-Symphonie, for Pf. and orch., op. 67; Trio for Pf., vn., 
 and 'cello. Miscellaneous Pf. Works : Rondo, op. 3 ; Andante, op. 9 ; L'Hiron- 
 delle, ^tude, op. 11 ; La ronde de nuit, ^tude, op. 12 ; Barcarolle, op. 21 ; Etude 
 de concert in E flat, op. 28 ; Six pieces, op. 30 ; Concerto — symphonie, op. 34 ; Le 
 Reveil des F^es, op. 14 ; Les Naiades, caprice-^tude, op. 45 ; Scherzo, op. 47 ; La 
 Prairie, 2nd concerto, op. 48 ; 6 Etudes de Salon, op. 60 ; Solitude, andante, op. 
 65. Numerous transcriptions and arrangements. 
 
 FBUME (Francois Hubert). Belgian violinist and comp., B. Stavelot, June 
 
 3, i8i6. S, at Li^ge Cons, and Paris Cons., under Habeneck. Prof, of violin 
 
 in Li^e Cons. Performed in Germany, Russia, Sweden, Belgium, etc. D, 
 
 Stevelot, July 14, 1849. 
 
 Works. — La Mflancolie, for violin and orch., op. 2 ; Concerto h^roique, for vn. 
 
 and orch., op. II ; Caprice, op. 12 ; La Danse des Sorcieres, scherzo, vn. and Pf., 
 
 op. 13. Studies for violin, etc. 
 
 PRUMIER (Antoine). French harpist and comp., B. Paris, July 2, 1794. S. 
 Cons, under Catel, etc. Harpist of the Theatre Italien and Opera-Comique. 
 Prof, of Harp, at Paris Cons., 1845. Chevalier of Legion of Honour, 1845. 
 D. Paris, Jan. 20, 1868. Comp. fantasias, rondos, transcriptions, etc., for 
 harp. His son, Ange Conrad, B. Paris, fan. 5, 1820. S. under his father, 
 and at Paris Cons. , where he gained several prizes. He succeeded Labarre as 
 Prof of Harp in Paris Cons., in 1870. His comps. consist mainly of harp 
 music, with some pieces for the church. D. Paris, April 3, 1884. 
 
 PUCCITA (Vincenzo). Italian comp., B. Rome, 1778. S. at Cons, of La 
 Pieta, Naples, under Sala. Director of Italian Opera, London, 1809. Tra- 
 velled as accompanist to Catalani. Accompanist at the Paris Opera. D. 
 Milan, Dec. 20, 1861. 
 Works. — Operas: V Amor Platonico, 1800; Le Nozze senza sposa, 1800; I due 
 
 Prigionieri, 1801 ; I Villeggiaturi bizarri, London, 1809 ; La Vestale, Lond., 1809; 
 
 Le tre Sultane, Lond., 1812 ; L' Orgoglio awilito, Paris, 1815 ; Adolfo e Cbiara, 
 
 Milan, 1833. Songs, and other vocal music. 
 
 PTJGNANI (Gaetano). Italian violinist and comp., B. Turin, 1727. S. under 
 Somis. Violinist to King of Sardinia, 1752. Appeared in Paris, 1754. Re- 
 sided in London till 1770, where for a time he led the opera band. Estab- 
 lished school at Turin, and taught Viotti, Bruni, Olivieri, PoUedro, etc. D. 
 Turin, 1803. 
 Works.— 0/«raj : Tamas Koulikan, 1772 ; Adone e Venere, 1784 ; Nanetta e 
 Lubino, 1784 ; Achilla in Sciro, 1785 ; Demofoonte, 1788. Ballets and cantatas. 
 Sonatas for violin solo, op. I, 3, 6, 11. Duets for 2 violins, op. 2, 13. Quartets 
 or 2 vns., alto and baas, op. 7 (London, Preston). Six Symphonies for 2 vns., 
 viola, bass, 2 oboes, and two horns, op. 4; Do., op. 8; Quintets for 2 vns., 2 
 flutes, and bass. Three books of trios, etc. 
 
 One of the most famous of classical violinists, and one who did much to estab- 
 , lish the modern school, through the agency of his pupils. 
 
 PXJLLEN (H. W.). English writer, author of "Our Choral Services," Lond., 
 1865 ; and "The Real Work of a Cathedral," Lond., 1869. 
 
 PUPPO (Giuseppe). Italian violinist and comp., B. Lucca, June 12, 1749. S. at 
 
 Cons, of S. Onofrio, Naple.s. .S. violin under Tartini. Appeared successively in 
 
 Paris (1775), Spain, Portugal, Britain, etc. Returned to Paris, 1784, as leader 
 
 at the Theatre Feydeau, and as cond. at Theatre Fran9ais. Wandered about 
 
 in Italy, and was finally reduced to a state of complete destitution from which 
 
 he was rescued by Prof. Edward Taylor, the English musician, who had him 
 
 removed to an hospital in Naples, in which he D. April 19, 1827. 
 
 He comp. three duets for 2 violins, studies for violin, and fantasies for Pf., but 
 
 is best known as a peripatetic fiddler who could say smart things : one of his best 
 
 being that in which he aptly terms Boccherini " the vrife of Haydn." 
 
 PUECELL (Daniel). English org. and comp., B. London, 1660. Youngest 
 son of Henry Purcell the elder. Org. of Magdalen Coll,, Oxford, 1688-95. 
 
488 PUR — PUR 
 
 Settled in London, 1695. Cdmp. for various theatres. Org. of S. Andrew's 
 
 Ch., Holborn, 1713-17. D. London, 1718. 
 '^O^VLS.— Music to Dramas: Love's Last Shift- (Gibber), 1696; Indian Queen, 
 1696 ; Brutus of Alba, or Augusta's Triumph, 1697 ; Cynthia and Endymion 
 (D'Urfey), 1697 ; Phaeton, or, the Fatal Divorce, 1698 ; The Island Princess 
 (Motteaux), with Clark and Leveridge, 1699 ; The Grove, or Love's Paradise, 
 1700; The Unhappy Penitent, 1701 ; The Inconstant (Farquhar), 1702; The 
 Judgment of Paris, a Pastoral (Congreve). [This masque gained the third prize in 
 competition with Weldon, Eccles, etc.], 1700. Odes, numerous; including several 
 for "St. Cecilia's Day,"by Addison and others; Songs in contemporary collections ; 
 The Psalms, set full for the organ or harpsichord, as they are plaid in churchesand 
 chappels in the raaner given out ; as also with their interludes of great variety, 
 Lond., ob. fo., n.d.; Instrumental music, church music, etc. 
 
 PURCELL (Edward). English org., youngest son of Henry Purcell, the 
 younger, B. London, 1689. Org. of St. Clement, Eastcheap, London. Org. 
 S. Margaret's, Westminster, 1726. D. London, 1740. 
 
 PURCELL (Henry), the Elder. English musician, father of the celebrated 
 Henry Purcell of musical history, B. in first half of 17th century. Gent, of 
 Chap. -Royal, 1660. Master of the Choristers in Westminster Abbey. Mem-- 
 ber of Royal Band of Music, 1663. D. London, Aug. 11, 1664. Comp. three- 
 part song in Playford's Musical Companion, 1667. 
 
 PURCELL (Henry). English org. and comp. , B. Westminster, London, 1658. 
 Second son of the preceding. S. in Chap. Royal under Cooke and Humphrey, 
 1664. S. under Blow. Copyist in Westminster Abbey, 1676-78. Org., 
 Westminster Abbey, 1680. Org., Chap. Royal, 1682. Comp. in Ordinary to 
 the King, 1683. D. Westminster, London, Nov. 21, 1695. Buried in West- 
 minster Abbey. 
 "Works.— Dramaiic Music: Epsom Wells (Shadwell), 1676; Aurenge-Zebe 
 (Dryden), 1676 ; The Libertine (Shadwell), 1676 ; Abdelazor (Behn), 1677 ; Timon 
 of Athens (Shakspere), 1678 ; The Virtuous Wife (D'Urfey), 1680 ; Theodosius 
 (Lee), 1680 ; Dido and ^neas (Tate), 1680 [Published by the Musical Antiquarian 
 Soc, 1840]; Circe, 1685; Tyrannic Love (Dryden), 1686; A Fool's Preferment 
 (D'Urfey), 1688 ; The Tempest (Shakspere), 1690 ; Dioclesian, 1690 ; Massacre 
 of Paris (Lee), 1690; Amphitryon, 1690 ; Distressed Innocence (Settle), 1691 ; . 
 King Arthur (Dryden), 1691 [published by the Musical Antiquarian Soc, 1843] ; 
 The' Gordian Knot Untyed, 1691 ; Sir Anthony Low (Southerne), 1691 ; The 
 Fairy Queen (Shakspere's Midsummer Night's Dream), 1692; The Wife's Excuse 
 (Southerne), 1692 ; The Indian Queen (Dryden), 1692 ; The Indian Emperour 
 (Dryden), 1692 ; OLdipus, 1692 ; Cleomenes, 1692 ; The Marriage-hater Match'd 
 (D'tFrfey), 1692 ; The Old Bachelor (Congreve), 1693 ; The Richmond Heiress 
 (D'Urfey), 1693 ; The Maid's Last Prayer (Southerne), 1693 ; Henry the Second 
 (Bancroft), 1693 ; Don Quixote (D'Urfey), 1694-95 > The Married Beau (Crowne), 
 1694 ; The Double Dealer (Congreve), 1694 ; The Fatal Marriage (Southerne), 
 
 1694 ; Love Triumphant (Dryden), 1694 ; The Canterbury Guests (Ravenscroft), 
 
 1695 ; The Mock Marriage (Scott), 1695 ; The Rival Sisters (Gould), 1695 ; 
 Oroonoko (Southerne), 1695 > The Knight of Malta (Beaumont and Fletcher), 1695 ; 
 Bonduca (Beaumont and Fletcher), 1695. Odes and laj-ge Vocal Works : Elegy on 
 Death of Matthew Locke, 1677 ; A Welcome Song for His Royal Highness' 
 Return from Scotland, 1680 ; A Song to Welcome His Majesty home from Windsor, 
 1680; Swifter, Isis, swifter flow (ode), 1681 ; Ode for the King on his Return from 
 Newmarket, 1682 ; Three Odes for St. Cecilia's Day, 1683 ; From Hardy Climes 
 and Dangerous Toils of War, ode on Marriage of Prince George of Denmark with 
 Princess Anne, 1683; Welcome to all the Pleasures, ode, published 1684; Why. are 
 all the Muses mute? ode for James I.; Ye tuneful muses, ode, 1686; 
 Sound the trumpet, beat the drum, ode, 1687 ; Celestial Music, 1689 ; The 
 Yorkshire Feast Song, D'Urfey, 1689 [Reprinted by the Purcell Soc, 
 edited by W. H. Cummings, 1878] ; Arise, my Muse, ode for the 
 Queen's Birthday, 1689 ; Sound the Trumpet, ode, 1689 ; Welcome, glorious 
 morn. Birthday ode, 1691 ; Love's Goddess sure was blind, ode, 1692 ; Hail ! 
 great Cecilia, ode, 1692 ; Celebrate this Festival, 1693 ; Come, come, ye Sons of 
 Art, ode, 1694 ; Who can from joy refrain, ode, 1695. Church Music : Purcell's 
 
PUR — PUR 489 
 
 Sacred Music, edited by Vincent Novello, Lond., fo,, 6 vols. [1829-32], contains 
 most of the master's church music, with portrait and biography, including the Te 
 Deum and Jubilate in D (1694). Other collections in which his church music will 
 be found are Boyce's ; Tudway's ; Smith's Harmonica Sacra ; Page's Harmonia 
 Sacra ; and in nearly every other important general selection. The names of the 
 anthems in current use in our churches and cathedrals will be found in Novello's 
 catalogue of sacred music. Instrumental Music : Three sonatas, for two violins, 
 violoncello, and basso- continuo, Lond., 4 vols., 1683. Lessons for the Harpsi- 
 chord or Spinnet, Lond., 1696. Ten Sonatas, in four parts, ist and 2nd violins, 
 bassus and organ, Lond., 4 vols., fo., 1697. Collection of Ayres compos'd for the 
 Theatre, and upon other Occasions, Lond., fo., 1697. Orpheus Britannicus ; a 
 Collection of the Choicest Songs, for i, 2, and 3 voices, with such Symphonies for 
 Violins or Flutes as were by him designed for any of them, and a Thorough-bass to 
 each Song figured for the Organ, Harpsichord, or Theorbo-Lute ..book I., Lond., 
 fo., 1698, with portrait engraved by White. Book II., 1702; Second edition 
 (enlarged), 2 vols., 1706-1711; Third edition, 1721. The Catch Club, or JVIerry 
 Companion. By Purcell, Blow, etc., 2 books, 4to, n. d. " The Art of Descant," 
 contributed to the loth ed. of Playford's " Introduction to the Skill of Musick," 
 1683. Selections from PurcelVs works : The Beauties of Purcell : a Selection of the 
 .Favourite Songs, Duets, Trios and Choruses from his different works, arranged 
 with Pf. accomp. by Dr. John Clarke, 2 vols., fo., n. d. Beauties of Purcell. ..ed. 
 by Joseph Corfe, 2 vols., fo., n. d. The Words of Henry Purcell's Vocal Music, 
 8vo, n. d. (privately printed). A Selection of his Harpsichord pieces has been 
 edited by Herr Ernst Pauer (Augener, London). 
 
 The greatest and most original English composer of his period, and one of the 
 most influential musicians of British nativity. His works are full of fresh, vigorous 
 and original ideas, and his whole style is powerful and masterly. To him is due 
 that broad and dignified style of music which is always called English, and which 
 numbers among its exponents such men as Handel, Arne, Boyce, Attwood, Bishop, 
 and Macfarren, not to mention many minor luminaries who have been more directly 
 under Purcell's influence. Purcell was not only the greatest composer of his coun- 
 try, but also of his period, and there can be no doubt that all of his foreign contem- 
 poraries are quite overshadowed, if not in acierice, certainly in genius, by the great 
 Englishman. The stilted arias of LuUi and Scarlatti bear no comparison with the 
 crisp dignity and real power with which Purcell almost invariably invests his works. 
 . His dramatic and church compositions form a body of music unmatched in variety 
 and originality till we reach the period of Handel, when the development of 
 musical art, and the introduction of new effects and orchestral colouring by Mozart 
 and Haydn, created a wide difference in styles, and renders comparison out of the 
 question. His music for the church is much more suitable for the purpose than 
 much of the pretentious productions of recent times, British and Foreign, which 
 require a ponderous array of instrumental accessories to bring out their dramatic 
 meaning. In the simplicity, purity, and vigorous handling of his musical works, 
 Purcell has never been excelled by any composer of any school or period. His 
 music is in constant use in our churches, while many efforts have been made 
 recently to bring forward some of his dramatic and secular works with considerable 
 success. 
 
 PURCELL (Thomas). English comp., uncle of preceding, B. in first half of 
 17th century. Gent, of Chap. -royal, 1660. Lay-vicar and copyist, Westmin- 
 ster Abbey, 1661. Comp. in ordinary to the King, with Humphrey, 1662 ; 
 and master of the royal band of music (also with Humphrey), 1672. D. Lon- 
 don, July 31, 1682. Comp. of chants, some of which are now in common use. 
 
 PURDAY (Charles Henry). English comp. and writer, B. Folkestone, Jan. 
 II, 1799. Lecturer on musical topics in London and the English provinces ; 
 and at one time a vocalist of some repute. Chiefly celebrated as a reformer of 
 the laws relating to musical copyright. D. London, April 23, 1885. 
 Works.— The Sacred Musical Offering, Lond., 1833. Copyright, a Sketch of 
 its Rise and Progress... Lond., 8vo, 1877. Writer and composer of a considerable 
 number of songs ; joint editor with John Thomas of a large volume of Welsh airs ; 
 Various volumes of church tunes ; Trios for female voices ; Two volumes of chil- 
 dren's songs, etc. 
 
49° PUR — QUE 
 
 PUBKIS (John). English org. and comp., B. London, 1781. D. London, 
 1849. Performer on the Apollonicon, and org. of some repute. Comp. a few 
 works of no great merit for the organ. 
 
 PYE (Kellow John). English comp., B. Exeter, Feb. 9, 1812. S. at R. A. M. 
 under C. Potter and Dr. Crotch till 1829. Resided in Exeter till about 1840. 
 Mus. Bac, Oxon., 1842. Afterwards resided in London, where he connected 
 himself with various musical institutions. Composer of many anthems, glees, 
 and songs. 
 
 PYNE (James Kendrick). Enghsh org. and comp., B. London, Aug. 21, 
 1810. S. at R. A. M. Org. of St. Mark's, Pentonville, London, 1829-39. 
 Org. and teacher at Bath. Comp. of church services, anthems, glees, songs, 
 and Pf. music. Son of James Kbndrick Pyne (1785-1857), aonce celebrated 
 tenor vocalist, 
 
 PYNE (James Kendrick). English org., lecturer, and comp., B. Bath, Feb. 
 5, 1852. S. under S. S. Wesley. Org. of Chichester Cath., 1874 ; St. 
 Mark's, Philadelphia, Pa., 1875; and Manchester Cath., 1877. Org. of Town 
 Hall, Manchester, where his weekly recitals have been extremely popular and 
 successful. He has lectured frequently before the Royal Manchester Institu- 
 tion, and other learned bodies, on musical matters, and has given much atten- 
 tion to the history of ancient instruments ; his collection of clavichords, 
 spinnets, harpsichords, etc., being a very celebrated one. Comp. of an orch. 
 festival "Communion Service"; a Morning Service in D ; Evening Service- 
 in F ; a Mass ; Te deum and jubilate in D. Pf. pieces, songs, etc. 
 
 PYNE (Louisa Fanny), or Bodda. English soprano vocalist, B. 1832. S. 
 under Sir George Smart. First appeared in public, with her sister Susan (Mrs. 
 Gallon), 1842. Sang in Paris, 1847. Appeared at Boulogne in " La Somn- 
 ambula," 1849. Debut on London stage as " Zerlina " in Don Juan, Oct., 
 1849. Sang afterwards at the principal theatres and concerts in London. 
 Appeared in America, with her sister and Wm. Harrison, 1854-56. Established 
 with Wm. Harrison, the " Harrison- Pyne " English opera company, which 
 performed with much success in Britain, and produced a, number of famous 
 English operas, 1856-62. Married Frank Bodda, a barytone vocalist, 1868, 
 and retired from the stage. Teacher of singing in London. Her voice was a 
 clear soprano of great compass, and possessed of much expressive power. She 
 excelled in such works as Wallace's " Maritana " and "Lurline"; Balfe's 
 " Bohemian Girl " and " Rose of Castile " ; and it is due to her no less than 
 to Harrison, that English opera flourished so successfully under their manage- 
 ment. Her father, George Pyne (1790-1877), was an alto singer of some 
 fame in his day. 
 
 Q. 
 
 QUANTZ or QUANZ (Johann Joachim). German flute-player, B. Obers- 
 cheden, Hanover, Jan. 30, 1697. S. flute under Buffardin. Travelled in 
 Europe as flute-player, and in 1726 visited Paris, and in 1727 appeared in Lon- 
 don. Flute-player and teacher to Frederick the Great at Berlin, and afterwards 
 comp. to the court. D. Potsdam, July 12, 1773. Author of "Versuch einer 
 Anweisung die Flote traversi^re zu spielen..." Berlin, 1752]; and comp. of sona- 
 tas, solos, duets, and other music for flute. 
 
 QUARENGtHI (Guglielmo). Italian violoncellist and comp., B. Casalmag- 
 giore, Oct. 22, 1826. S. Milan Cons. Music-director of the Duomo, Milan. 
 Comp. music for 'cello, etc. D. Milan, Feb. 3, 1882. 
 
 QUEISSEB (Carl Traugott). German trombone player, B. Driben, near Leip- 
 zig, Jan. II, 1800. Trombone player at the Gewandhaus and other concerts 
 in Leipzig. D. Leipzig, June 12, 1846. 
 
QUI — RAF 491 
 
 QUIDANT (Joseph). French pianist and comp., B. Lyons, Dec. 7, 1815. S. 
 Paris Cons. Comp. of studies, valses, nocturnes, fantasias, and caprices for Pf. 
 
 QUINAULT (Jean Baptiste Maurice). French dramatist, B. Paris, 1635. 
 D. Nov. 26, l688. Author of the hbrettos of many of Lulli's operas. 
 
 R. 
 
 EAAFF (Anton). German tenor vocalist, B. Gelsdorf, 1714. S. at Jesuits' Coll. 
 at Cologne, for the church. S. music at Cologne, and Munich, and at Bologna, 
 under Bernacchi. Appeared successively in Italy, Germany, Spain, Portugal. 
 Sang in Paris, 1778. Taught music school at Munich from 1779. D. Munich, 
 May 28, 1797. 
 
 BADECKE (Louise). German soprano vocalist, B. Hanover, June 27, 1847. 
 S. Cologne Cons., under Hiller and Marchesi. Debut at Cologne in Der 
 Freischutz, 1867. Appeared with success in Wagner's operas. Married Baron 
 Brummer and retired, 1876. 
 
 BADECKE (Robert). German org., pianist, and comp., B. Dittmannsdorf, 
 
 Silesia, Oct. 31, 1830. S. under his father, an org. S. at Breslau, and under 
 
 E. Kohler, Liistner, and Brosig. S. Leipzig Cons., 1848. Second director of 
 
 the Leipzig Sing-Akademie, 1852. Cond. of Opera, Berlin, 1863. 
 
 Works. — Op. 1. Four Stiicke for Pf. and violin ; L'Amazone, study for Pf., op. 
 
 4. ; King John, overture for orch. ; Der Liebe Huldigung, cantata ; Die Monk- 
 
 guter, opera ; Psalms, Lieder, etc. 
 
 BADIGrEB (Anton). German comp., B. Chatham, 1749. D. 1817. Comp. a 
 number of now obsolete psalm tunes, such as "Praise," "Compassion," 
 " Denton's Green," etc. Also a few sonatas and other pieces for Pf., and 
 " Four Setts of New Psalm and Hymn Tunes in 3 and 4 Parts," Lond., fo. n.d. 
 
 BADZIWILL (Prince Anton Heinrich.) Russian amateur comp., B. Wilna, 
 June 13, 1775. D. Berlin, April 7, 1833. 
 
 Works. — Faust, compositions on the drama of Goethe, published 1835 ; first 
 performed as a whole, 1833 ; Lieder and part-songs ; instrumental music, etc. 
 
 RAFF (Anton). See Raaff (Anton). 
 
 RAFF (Joseph Joachim). Swiss comp., B. Lachen, Lake of Zurich, May 27, 
 
 1822. Educated at the Jesuit School of Schwyz. Originally self-educated in 
 
 music, but patronised at various periods by Mendelssohn, Liszt, and Biilow. 
 
 Married to Doris Genast, 1859. Director of the Cons, at Frankfort, 1877. 
 
 D. Frankfort-on-Main, June 25, 1882. 
 
 Works. — Of eras: Konig Alfred, Weimar, 1850; Dame Kobold, op. 154, 
 
 Weimar, 1870; Samson (MS.). Symphonies: An das Vaterland, op. 96, 1863 ; 
 
 Second in C, op. 140; Im Walde, op. 153, 1869 ; Fourth in G minor, op, 167, 
 
 1871 ; Lenore, op. 177, 1872; Gelebt, gestrebt, gelitlen, gestritten, gestorben, 
 
 umworben, op. 189, 1876 ; Alpensinfonie, op. 201, 1877 ; Friihlingsklange, op. 
 
 205, 1878 ; Im Sommerzeit, op. 208, 1880 ; Zur Herbstzeit, op. 213, 1882. 
 
 Orchestral works, minor : Suite, op. loi ; Jubilee overture, op. 103 ; Festival 
 
 overture, op. 117; Concert overture, in F, op. 123; Ein'feste Burg, overture, op. 
 
 127; 2nd Suite, op. 194; Suite in B flat, op. 204. Concertos: Violin and orch., 
 
 in B minor, op. 161 ; Pf. and orch., in C min., op. 185 ; Violoncello and orch., in 
 
 D minor, op. 193 ; Violin and orch. (No. 2), op. 206. Concerted Instrumental 
 
 Music: Octet for strings, op. 176; Sestet for strings, op. 178; Quintet, Pf., 
 
 violins, viola and 'cello, op. 107 ; Quartets for strings. No. I, op. 77 ; No. 2 
 
 in A, op. 90 ; No. 3 in E min., op. 136 ; No. 4 in A min., op. 137 ; No. S in G, 
 
 op. 138 ; 3 Quartets, Nos. 6-8, op. 192 ; Quartets for Pf., vn., viola, and 'cello, op. 
 
 202 ; Trios for Pf., violin, and 'cello, No. i, op. 102 ; No. 2, op. 112 ; No. 3, op. 
 
492 RAH — RAI 
 
 15s ; No. 4, op. 158. Duets, numerous. Pianoforte ■works: Sonatas, Pf. and vn., 
 No. 1, op. 73 ; No. 2, op. 78 ; No. 3, op. 128 ; No. 4, op. 129 ; No. S, op. 145 ; 
 Pf. and 'cello, op. 183 ; Serenade, op. i ; Scherzo, op. 3 ; Romances, op. 8 ; 
 Sonata and fugue, op. 14 ; Fantasias (various) ; Morceaux de Salon ; Friihlings- 
 boten, op. 55 ; Salon-etuden from Wagner, op. 62 ; Capriccio, op. 64 ; Suites, opp. 
 69, 71, 75, 82, 91, 162, 163; Ungarische Rhapsodie, op. 113; Festival overture, 
 Pf. duet, op. 124 ; Studies, marches, barcarolles, humoreskes, variations, etc. Vocal 
 Music : Wachet auf (by Geibel), male chorus and orch. , op. 80 ; Deutschlands 
 Auferstehung, cantata, op. 100; Psalm 130, 8 voices and orch., op. 141 ; Morgen- 
 leid, op. l86a ; Lieder, opp. 47, 48, 49, 50, 51, 52, 53, 97, 122 ; Sanges-Friihling, 
 op. 98. Part-Songs, etc. The World's End, The judgment, The New World. 
 Oratorio, posthumous, 1883. 
 
 Raff was one of the most successful and prolific composers of recent times, and 
 though not an original genius of the highest order, yet one \i\\o had considerable 
 influence in promulgating and enforcing the artistic creed of the more modern 
 development in instrumental music. He is well known in Britain by his chamber- 
 music, which is quite as popular as that of any living continental composer, but his 
 larger and more ambitious works have been less often heard. Some of his sym- 
 phonic works have been frequently performed in various towns in Britain, and 
 among them perhaps " Lenore" has been most popular. Excerpts from many of 
 the others have been also given ; while in London and other cities they have been 
 performed in their entirety with considerable frequency. 
 
 Some of Raft's minor works are of the highest value, and give evidence of his 
 possession of great culture and artistic feeling. His songs and concerted pieces for 
 various instruments show his originality to fine advantage, and it must be conceded 
 that his talent for melodious writing was great and refined. He possessed a wealth 
 of beautiful and fanciful melody which he was lavish in bestowing on most of his 
 works, but which is most appreciably felt in his shorter pieces ; as those for Pf. and 
 violin, the trios and quartets, but above all, the songs. 
 
 KAHLES (Ferdinand). German comp. and writer, B. Diiren, i8i2. D. Lon- 
 don, March 19, 1878. He composed a number of part-songs and lieder, and 
 published "Practical Hints and Observations relative to the Introduction by 
 Government of Singing in Public Schools," Lond., n.d. 
 
 BAIMONDI (Pietro). Italian comp., E. Rome, Dec. 20, 1786. S. in Cons. 
 
 of the Pieti de' Turchini, Naples. Director of the Royal Theatres, Naples, 
 
 1824-32. Prof, of comp. at Palermo Cons., 1832. Chap. -master ofS. Peter's, 
 
 Rome, 1850. D. Rome, Oct. 30, 1853. 
 
 Works. — Operas: Le Bizarrie d'Amore, 1807; Ero e Leandro ; II Fanatico 
 
 deluso ; La Lavandaja [the foregoing produced between 1807 and 1814] ; Andro- 
 
 macca ; II Dissoluto punito [1815-19] ; Le Finte Amazzoni ; La Donna Colonella ; 
 
 II Disertore ; Argia ; I Minatori Scozzesi ; La Gioja pubblica [produced 1820-30] ; 
 
 II Ventaglio, 1831 ; L' Orfana Russa ; II Trionfo dell' Amore ; Rafaello d' Urbino; 
 
 II Fausto arrivo ; II Caffetiere [1831-40]. Oratorios: Ruth; Giuditta ; Mose al 
 
 Sinai. Potiphar ; Pharaoh ; Jacob [1848], produced simultaneously as Joseph, 
 
 Aug., 1852. Ballets. Masses, requiems, psalms, fugues, etc. The whole Book 
 
 of Psalms for 4, 5, 6, 7, and 8 voices ; numerous minor works. 
 
 Raimondi is chiefly remarkable for his great contrapuntal skill, which enabled 
 him to combine and have performed at the same time three separate and indepen- 
 dent oratorios. This undertaking is unexampled in the annals of music. Many of 
 his other works are written on the same principle, and he composed two operas, ' 
 one comic and the other serious, capable of being performed together as one work, 
 or separately if desired. 
 
 KAINFOEiTH (Elizabeth). English soprano vocalist, B. Nov. 23, 1814. S. 
 under T. Cooke, and George Perry. Appeared in Arne's " Artaxerxes, " at 
 S. James's Theatre, 1836. S. under Crivelli. Sang at Philharmonic Concerts, 
 Concert of Ancient Music, Provincial Concerts, etc. Appeared as the original 
 Arline in Balfe's "Bohemian Girl," 1843. Sang in dramatic pieces in Dublin, 
 etc. Resided in Edinburgh, 1852-56. Retired, and lived as a teacher at Old 
 Windsor, from about 1858. After 1871, resided at Bristol. D. Redland, 
 Bristol, Sept. 22, 1877. 
 
RAM — RAM 49 j 
 
 EAMANN (Bruno). German comp., B. Erfurt [1830]. S. under Brendel, 
 Riedel, and Hauptmann. Comp. and teacher in Dresden. 
 Works. — 10 kleine Tondichtungen, for Pf., op. 2; Lob der Frauen, Poem by 
 Walther von der Vogelweide, for male voices and Pf., op. 6 ; Ein Tanz-Poem, for 
 Pf. duet, op. 22 ; Three Lieder for mixed choir, op. 23 ; Schwert und Minne, voice 
 and Pf , op. 25 ; Album fiirstlicher Minnesanger und Lieder, op. 39, 40, 41, 42, 47 ; 
 Miniatures for Pf., op. 53. 
 
 BAMANN (Lina). German writer, cousin of above, B. Mainstockheim, near 
 Kitzingen, Bavaria, June 24, 1833. S. under F. Brendel's wife at Leipzig. 
 Opened Institute for training of music mistresses at Gluckstadt, Holstein, 1858- 
 65. Do. at Niirnberg, 1865. Visited London, 1882. Writer of various 
 works on musical education, but best known by her "Franz Liszt" (Leipzig, 
 1880), a work now in progress. 
 
 BAMEAU (Jean Philippe). French comp., org., and theorist, B. Dijon, 
 Sept. 25, 1683. Son of Jean Rameau, org. of Dijon Cath. Educated at the 
 Jesuit Coll. of Dijon. Sent to Italy by his father, 1701, which, however, he 
 soon left to travel as first violinist to a theatrical company, and in this capacity 
 visited the whole South of France. Resided in Paris for a time as org. of the 
 Jesuit Convent in the Rue St. Jacques, and of the Chap, of the P^res de la 
 Merci. Competed for place of org. of St. Paul's, Paris, 171 7, but was unsuc- 
 cessful. Org. of St. Etienne, Lille. Org. of Cath. of Clermont, Auvergne, 
 which post was resigned in his favour by his brother Claude. Went to Paris and 
 brought out his "Harmonie," 1722. Org. of Ch. of S. Croix de la Breton- 
 nerie, Paris. Married Marie Louise Mangot, 1726. Cond. of the Op^ra- 
 Comique, Paris. Chamber Musician to the King of France, 1745. D. Paris, 
 Sept. 12, 1764. 
 Works. — Operas, Ballets, etc. : Samson (Voltaire), 1732 ; Hippolyte et Aricie, 
 1733 ; Les Indes galantes, 1735 ; Castor et Pollux, 1737 ; Les Fetes d' Hebee, ou 
 les Talents lyriques, 1739 ; Dardanus, 1739 ; Les F^tes de Polyranie, 1745 ; 
 La Princesse de Navarre, 1745 ; Le Temple de la Gloire, 1745 ; Les Fetes 
 de I'Hymen et de I'Amour, 1748; Zais, 1748; Pygmalion, 1748; Nais, 1749; 
 Platee, 1749; Zoroastre, 1749; Acante et Cephise, 1751; La Guirlande, 1751; 
 Daphne et Egle, 1753; Lysis et D^lie, 1753; La Naissance d'Osiris, 1754; Ana- 
 creon, 1754; Zephire, 1754; Le Retour d' Astr^e, 1757; Les surprises de I'Amour, 
 1757; Les Sybarites, 1759; Les Paladins, 1760. Theoretical Works: Traite de 
 I'harmonie r^duite i ses principes naturels, ...Paris, 4to, 1722, trans, into English as 
 Treatise on Harmony, in which the Principles of Accompaniment are fully explained 
 and illustrated by a variety of examples... Lond., n.d. [By Griffith Jones, circa 1820]; 
 Third book trans, as A Treatise of Music, containing the Principles of Composition, 
 Lond., 4to, 1752; Nouveau Syst^me de Musique Theorique, ...Paris, 4to, 1726; 
 Dissertation sur les diff(£rentes m^thodes d'accompagnement pour le Clavecin ou 
 pour I'orgue,... Paris, 1732; Generation Harmonique,... Paris, 8vo, 1737; Demon- 
 stration du principe de Tharmonie, ...Paris, 8vo, 1750; Nouvelles reflexions sur la 
 Demonstration duprincipe de I'harmonie, Paris, 8vo, 1752 ; Erreurs sur la Musique 
 dans r Encyclopedic, Paris, 1755 ; Pifeces de Clavecin, Paris, 3 books, 1706, 1721, 
 1726, etc. 
 
 Rameau was one of the greatest among the theorists and composers of the 
 eighteenth century. His industry was remarkable, and the success of some of his 
 works pronounced. His theoretical writings and discoveries laid the foundation of 
 a new system of harmony, and did much to elucidate and ventilate what was 
 erroneous or bad in the older practice. His operas were regarded as dangerous 
 innovations, and his views on musical practice as impracticable. 
 
 BAMM (Friedrich). German oboeist, B. Mannheim, Nov. 18, 1744. S. under 
 Stark, etc. Member of Elector of Bavaria's private band under Cannabich. 
 Appeared in Munich, Frankfort, Vienna, Paris, London (1784), Berlin, Italy, 
 etc. D. [?] 
 
 BAMONDON or EAYMONDON (Louis). French singer and comp., ap- 
 peared in various Italian operas in London about the beginning of the 18th 
 century. Comp. "A New Book of Songs, the Words and Musick by Mr. 
 Raymondon," Lond., fo. [1710]. He also wrote songs in the "Merry Musi- 
 cian," 1716, and in other collections of the period. 
 
494 k A li — R A tj 
 
 EAMSAY (Allan). Scottish poet, B. Leadhills village, Lanarkshire, Oct. 15, 
 
 1686. D. Edinburgh, Jan. 7, 1758. Author of the well-known pastoral, 
 
 " The Gentle Shepherd," of which an edition with the music and overtures to 
 
 the songs, etc., was published. Bremner issued in Edinburgh about i749j 
 
 "Thirty Scots Songs for a Voice and Harpsichord, the Music taken from the 
 
 most genuine sets extant, the words from Allan Ramsay. " Another work is 
 
 " Musick for Allan Ramsay's Collection of Scots Songs, set by Alex. Stuart." 
 
 Edin., n. d., selected from the first volume of the Tea Table Miscellany. 
 
 Ramsay did aiuch to preserve old Scots melodies by wedding them to his verses 
 
 in such collections as the "Tea Table Miscellany," 1724-27, "The Evergreen," 
 
 1724, etc. Among such may be named "The yellow hair'd Laddie," " Farewell 
 
 to Lochaber," " Bessie Bell and Mary Gray," " Lass o' Patie's Mill," " Wae'smy 
 
 heart that we should sunder," "Through the wood. Laddie," "Mary Scott," "The 
 
 Highland Laddie," " My mither's aye glowrin' owre me, " "The Widow," "This 
 
 is no mine ain House," "The Ewe Bughts," etc. 
 
 BiAMSAY (D. 0. Scottish musician, author ot "Four Diagrams illustrative 
 of Intervals, Scales, and Chords." Glasgow, fo., 1S60. 
 
 RAMSAY (Edward Bannerman Burnett). Scottish Episcopal divine and 
 writer, B. Aberdeen, Jan. 31, 1793. Dean of Diocese of Edinburgh, 1846. 
 D. Edinburgh, Dec. 27, 1872. Author of " Two Lectures on the Genius of 
 Handel, and the Distinctive Character of his Sacred Compositions, " Edin. , 
 8vo, 1862. " Proposals for providing a Peal of Bells for Edinburgh," 1863, 
 etc. 
 
 RANDALL (John). English org. and comp., B. 1715. Chorister in Chap.- 
 Royal under B. Gates. Mus. Bac, Cantab., 1744. Org. of King's Coll., 
 Cambridge, 1745. Prof, of Music Cambridge Univ., in succession to M. 
 Greene, 1755. Mus. Doc, Cantab., 1756. D. Cambridge, Mar. 18, 1799. 
 Comp. of odes, anthems, psalms, and chants, and a ' ' Collection of Tunes, 
 some of which are new, others by permission of the authors." Cambridge, 
 l2mo, 1794. 
 
 RANDALL (Richard). English tenor vocalist, B. Sept. i, 1736. S.^under 
 B. Gates. Sang principally in works of Handel. D. April 15, 1828. 
 
 RANDEGGt-ER (Alberto). Austrian comp., teacher, and writer, B. Trieste, 
 
 April 13, 1832. S. under Tivoli, Lafont, and L. Ricci. Musical director in 
 
 theatres of various towns. Settled in London about 1854. Prof, of Singing 
 
 at R. A. M., London, 1868. Has cond. various musical festivals. Successful 
 
 teacher of singing in London. 
 
 Works. — Operas: Bianca Capello, Brescia, 1854; The Rival Beauties, Leeds, 
 
 1863. Medea, scena, 1869 ; Safifo, scena, 1875. Fridolin, cantata, Birmingham 
 
 Festival, 1873. 150th Psalm, for solo, chorus, and orch., Boston, 1872. Funeral 
 
 Anthem on death of the Prince Consort. Sacred songs for little singers, illustrated, 
 
 Lond. , 8vo, n. d. Songs : A life for old Olympians ; Ben e ridicolo (Joyous life) ; 
 
 Beneath the blue transparent sky ; Bird of the springtime ; Bonnie Nelly ; Come 
 
 hither, shepherd swain ; Cupid ; Freshening breeze ; Friendship ; Fair northern 
 
 flower ; Good-night ; Goldbeater ; The hammer ; Innamorata d'una Stella ; King 
 
 of Thule ; King Solomon ; La luna h bella ; Live long day ; May morning ; Mill 
 
 wheel ; Marinella ; My pipe ; My true love hath my heart ; Peacefully slumbering ; 
 
 Round the bottle ; She loves me best of all ; Spinning wheel ; Starhght ; Violet 
 
 and the maiden ; There's rest'in heaven ; Till we meet ; Una ; Well a day ; Where 
 
 wilt thou meet me? Singing (Novello's Music Primers), Lond., 4to, 1878. 
 
 RANDHARTINGER (Benedict). Austrian comp., B. Ruprechtshofen, July 
 27, 1802. S. under Salieri. Was a tenor singer for a time. Court Chap.- 
 master at Vienna, 1862. Comp. a large number of works, including an opera, 
 symphonies, masses and motets, part-songs and songs. Otherwise celebrated 
 as a friend of Schubert. 
 
 RANDLES (Elizabeth). English pianist, B. Wrexham, Aug. I, 1800. Known 
 as the "little Cambrian prodigy." Gave very early indications of a talent 
 for music, which was encouraged by her father [1760- 1820], a blind harper 
 and org. in Wrexham. S. under John Parry. Appeared in London and the 
 English provinces. Teacher for a time in Liverpool. D. 1829. 
 
RAN — R A V 49S 
 
 R'ANSFOBiD (Edwin). Englisli barytone vocalist and comp., B. Bourton-on- 
 the-Water, Gloucestershire, Mar, 13, 1805. Sang in London theatres in 
 various operas and musical dramas. Wrote various musical entertainments, 
 and engaged in musical publishing. D. London, July 11, 1876. 
 He wrote a number of ballads, and viras also a lyric author of popular renown. 
 
 BAPFOLDI (Eduard). Austrian violinist and comp., B. Vienna, Feb. 21, 1839. 
 S. under Doleschall, Mittag and Jansa. Appeared in London, 1850. S. at 
 Vienna Cons., under Patronage of the Countess Banffy, with Hellmesberger, 
 1851-54. S. also under Bohm, Sechter, and Hiller. Travelled as violinist 
 from 1854. Leader of German opera, Rotterdam, i86i-66. Leader in 
 theatres of Liibeck (1S66), Stettin (1867), and Prague (1869). Teacher at the 
 Hochschule, Berlin, with Joachim, 1870-77. Married Laura Kahrer, 1874. 
 Leader at the Dresden Opera, and Prof, in Cons, there, 1876. Comp. instru- 
 mental music, consisting of symphonies, sonatas, quartets, solos, and a number 
 of songs. His wife; Laura Rappoldi-Kahrer, B. Wistelbach, near Vienna, 
 1853. S. under Dachs and Dessoff, at Vienna Cons., 1866-69; gained first 
 prize for Pf. playing, 1867. Appeared as pianist in Prague, Dresden, Berlin, 
 and Weimar. S. under Liszt at Weimar. Appeared afterwards at Warsaw, 
 St. Petersburg, Moscow, etc., and with her husband in London, 1881. Pianist 
 to the Court of Saxony at Dresden. 
 
 RASOUMOWSKY (Prince Andreas Kyrillovitsch). Russian nobleman 
 
 and amateur violinlist, B. Lemeschi, in the Ukraine, Oct. 22, 1752. Russian 
 Ambassador at Vienna. D. Sept. 23, 1836. Celebrated as the person to 
 whom Beethoven dedicated his op. 59, three quartets in F, E minor, and C, 
 and jointly with Prince Lobkowitz, his symphonies No. 5 and 6 (op. 67-68). 
 
 RASTBELLI (Joseph). German violinist and 'comp., B. Dresden, April 13, 
 
 1799. S. violin under Poland, and harmony under Feildler and Mattel. Vnst. 
 
 in Chap, of King of Saxony, 1820. Second cond. at theatre, and cond. at 
 
 Chap.-Royal, Dresden, 1829-30. D. Dresden, Nov. 14, 1842. 
 
 Works. — Operas: La Distruzione di Gerusalemme, 1816; La Schiava Circassa, 
 
 1820 ; Salvator Rosa, Dresden, 1832 ; Berthe de Bretagne, 1835. Church music. 
 
 Violin and Pf. music. 
 
 RATCLIFFE (James). English comp., B. 1751. Lay-vicar in Durham Cath. 
 D. 1818. Comp. of church music, including anthems, psalms, and chants. 
 
 RATJZZINI (Venanzio). Italian comp. and vocal instructor, B. Rome, 1747. 
 
 S. singing in Rome. Debut in opera at Rotne, 1765. Sang afterwards at 
 
 Vienna and Munich, 1767-74. Appeared in London, 1774, in an opera 
 
 by Corri, and remained there till 1787. Settled at Bath as teacher and 
 
 concert-giver, 1787. D. Bath, April 8, 1810. 
 
 ^OKV^i.— Operas: Piramo e Tisbe, 1769 ; L'Ali d' Amore, 1770 ; L' Eroe cinese, 
 
 1770; Astarto, 1772; La Regina di Golconda, London, 177S ; Armida, 1778; 
 
 Creusa in Delfo, 1782 ; La Vestale, 1787. Requiem Mass, l8oi. Quartets for 
 
 strings, op. 2, 5 and 7. Sonatas for Pf., op. 8, etc. Songs : Adieu (the) ; Ah, how 
 
 the hours on golden plumes ; Avon side; Blithe were the hours; By all the softness 
 
 of the hour ; Cease to blame my melancholy ; Cupids ; Fair was the morning of my 
 
 love ; False shepherd ; Go, gentle zephyr ; Haymakers ; If in your village ; Jervis 
 
 and Duncan; Maid of the Severn; Reconcihation ; Rose (the); Shepherds, 
 
 I have lost my love ; 'Tis midnight hour ; etc. Twenty-four Solfeggi, or Exercises 
 
 for the Voice, Lond., fo., n. d. . 
 
 Rauzzini was in his day the fashionable vocal teacher, and reigned like a little 
 king at Bath. Among his pupils were Mara, Eillington, Selina Storace, Miss 
 Poole, Sarah Mountain, Braham, and Incledon, besides many others of less fame. 
 
 jj^YEITSCROFT (John). English violinist and comp., was one of the Waits 
 
 of the Tower Hamlets and a violinist in Goodman's Fields Theatre. D. 1745. 
 
 He pubUshed a collection of hornpipes, also sonatas for stringed instruments. 
 
 — Hawkins. 
 RAVENSCROFT (Thomas). English comp., B. [1582]. Chorister of S. 
 
 Paul's Cath., London, under Edward Pearce. Mus. Bac, Cantab., 1607. 
 
 D. London, 1635. 
 
496 b A V — R E A 
 
 Works.— Pammelia, Musicke's Miscellanie, or Mixed varietie of pleasant 
 Roundelayes and delightful Catches of 3, 4, 5, 6, 7, 7, 8, 9, 10 Parts in one. Lond., 
 1609. 2nd edit., 1618. Deuteromelia : or the Second Part of Musick's Melodie, 
 or melodious Musicke of pleasant Roundelais, K. H. mirth, or Freemen's Songs, 
 and such delightfuU Catches. Lond., 4to, 1609. Melismata ; musical Phansies, 
 fitting the Court, Citie, and Country humours, to three, four, and five voyces. 
 Lond., 4to, i6ii. The Whole Booke of Psalmes, with the Hymnes Evangelicall 
 and Songs Spiritual, Composed into 4 Parts by sundry authors, to such severall 
 Tunes as have been and are usually sung in England, Scotland, Wales, Germany, 
 Italy, France, and the Netherlands. Lond., i2mo, 1621. 2nd edit., 1633. 
 Selections from the Works of Thomas Ravenscroft, a musical composer in the time 
 of King James I. (Roxburghe Club). Lond., 4to, n. d. A Briefe Discourse of 
 the True but neglected use of Charact'ring the Degrees by their Perfection, Imper- 
 fection, and Diminution in Mensurable Musicke, against the common practise and 
 custome of these times. Lond., 1614. 
 
 Ravenscroft is best knovifn by his "Booke of Psalmes," a vi'ork of much impor- 
 tance, containing contributions by Tallis, Dowland, Morley, Farnaby, Tomkins, 
 Pearson, Parsons, Hooper, Kirbye, Allison, Farmer, Bennet, Milton, Cranford, 
 Harrison, and the editor. It has been drawn upon by nearly every succeeding 
 compiler of psalmody, and is now a somewhat rare work. It is worthy of notice 
 that his "Pammelia" is the earliest collection of rounds and canons published in 
 Britain. 
 
 KAVINA (Jean Henri). French comp. and pianist, B. Bordeaux, May 20, 
 
 1818. S. at Paris Cons., 1831, and gained several prizes. Prof, of Pf. at 
 
 Paris Cons., 1835-37. Performed in Russia, Spain, France, etc. Chevalier 
 
 of Legion of Honour, 1861. 
 
 Works. — Pianoforte : 12 Etudes de style, op. 14 ; Le mouvement perpetuel, 
 
 op. 18 ; Reverie, op. 19 ; Elegie, op. 22 ; 25 Exercises, Etudes, op. 28 ; Pastorale, 
 
 op. 29 ; Idylle, op. 46 ; 25 Etudes harmonieuses, op. 50 ; 25 Etudes mignonnes, 
 
 op. 60 ; First concerto, op. 63 ; Scherzo, op. 75 ; Canzonetta, op. 77. 
 
 RAWLINGS (Thomas). English vioUnist, B. about 1703. S. under Pepusch. 
 Performed at Handel's oratorios when originally produced. Org. of Chelsea 
 Hospital, 1753. D. 1767. 
 
 EAWLING-S (Robert). English violinist, son of above, B. London, 1742. S. 
 under his father and Barsanti. Org. of Chelsea Coll., 1759. Musical page to 
 the Duke of York, till 1767. Member of private band of George III. D. 
 1814. 
 
 BAWLINGS (Thomas A.). Enghsh comp. and viohnist, son of above, B. 
 London, I77S' S- under R. Rawlings and Dittenhofer. Violinist at the 
 Opera, the Ancient, Vocal, and Professional Concerts, etc. Teacher in Lon- 
 don. D. about middle of present century. 
 Works. — Concerti di camera, for Pf., flute, violins, viola, and 'cello. Piano- 
 forte : The bugle ; Spring ; May Day ; Le Plaisirs de la chasse ; Le Retour ; The 
 Wreath ; The Bouquet. Duet for harp and Pf. Songs : Bee's wing ; Evergreen 
 leaf ; Hither, love, hither ; Home of youth ; Lilla's a lady ; O 'twas sad ; Oh 
 come to me ; Oh what a pity ; Sabbath bells ; Strike the guitar ; Weep not, thou 
 lovely one ; When spring time was gay. Also in collected form, " Selection of 
 Foreign Melodies " [1825], and " Songs to Rosa [1826], with endless contributions 
 to the musical annuals. Rawlings is usually identified with the well-known song, 
 "Isle of Beauty, " which, however, was only arranged, not composed, by him, but 
 by a Major Whitmore. 
 
 RAWLINS (Rev. John). English writer, was rector of Leigh. Author of 
 " The Power of Musick, and the particular influence of Church Musick : a 
 Sermon preached in the Cathedral Church of Worcester, at the Anniversary 
 Meeting of the Choirs of Worcester, Hereford, and Gloucester." Ravington, 
 1773- 
 
 REA (William). English org., comp., and cond., B. London, March 25, 1827. 
 S. under J. Pittman for org. Org. of Christ Church, Watney Street, 1843. 
 S. for a time under Sir W. S. Bennett. Org. of St. Andrew, Undershaft, S. 
 
k E A — R E A 49*^ 
 
 under Moscheles and Richter at Leipzig, and under Dreyschock at Prague, 
 1849. Gave concerts in London, and became org. to the Harmonic Union, 
 1853. Established the London Polyhymnian Choir, 1856. Org. of St. 
 Michael's, Stock well, 1858. Org. to the Corporation of Newcastle-upon- 
 Tyne, i860. Cond. of various musical societies, among them the Newcastle 
 Amateur Vocal Society, etc. Org. of St. Hilda's Ch., South Shields. 
 Works. — Organ: Andante cantabile ; Andante con variazioni ; Larghetto. 
 
 Operatic fantasias for Pf. Anthems : O give thanks ; The souls of the righteous. 
 
 Songs : I arise from dreams of thee ; Oh, thou breeze of spring ; Go, happy rose ; 
 
 What song does the cricket sing ? ; Arab lover ; Beaming on the path- way. 
 
 READE (Charles). English writer, author of "Cremona Violins, Four Letters 
 descriptive of those Exhibited in 1873 at the South Kensington Museum, also 
 giving the Data for producing the True varnishes used by the great Cremona 
 makers, reprinted from the /"a// Ma// Gazette by George H. M. Muntz," 
 Gloucester, 1873, 8vo. 
 
 READING (John). English org. and comp.,-B. probably some time before the 
 middle of the 17th century. Lay-vicar of Lincoln Cath., 1667. Master of the 
 choristers, do., 1670. Org. of Winchester Cath., 1675-81 ; and of Winchester 
 Coll., 1681. D. Winchester, 1692. Comp. an "Election Grace" for the 
 scholars of Winchester Coll.; "Dulce Domum," a hymn, printed in Harmonia 
 Wiccamica ; and is stated to have comp. the well known hymn, "Adeste 
 Fideles," otherwise the "Portuguese Hymn." 
 
 READINGr (John). English org. and comp. (son of above?), B. 1677. Chor. 
 in Chap. -Royal, where he S. under Dr. Blow. Org. of Dulwich Coll., 1700- 
 1702. Lay-vicar, 1702, and Master of Choristers, Lincoln Cath., 1703. Org. 
 of S. John's Hackney, London ; St. Mary, Woolnoth ; S. Dunstan in the 
 West; S. Mary, Woolchurchaw. D. 1764. [The dates 1740 and 1766 are 
 also given.] 
 He comp. "A Book of New Anthems, containing a hundred plates fairly engraved 
 with a thorough-bass figured for the Organ or Harpsichord, with proper Ritornels," 
 London, fo., 1742; "A Book of New Songs," etc. To him has also been attri- 
 buted the composition of "Adeste Fideles." Another John Reading was org. of 
 Chichester Cath. from 1674 till 1720. 
 
 READING (Rev. John, D.D.) English divine, was Prebendary of Canterbury 
 Cath. Author of " A Sermon lately delivered in the Cathedral Church of Can- 
 terbury, concerning church-musick," London, 4to, 1663. 
 
 REAY (Samuel). English org. and comp., B. Hexham, Northumberland, Mar. 
 17, 1826. Son of the org. of Hexham Parish Ch. Chor. in Durham Cath., 
 and while there S. under Rev. P. Penson ; afterwards had org. lessons from 
 James Stimpson (now of Birmingham). Org. of St. Andrew's, Newcastle, 
 1843 (where for the first time in any parish church in that pan of the country, 
 a surpliced choir and choral service were established) ; St. Peter's, Tiverton, 
 1847; St. John's, Hampstead, 1854; St. Saviour's, Paddington, 1856; St. 
 Stephen's, Paddington ; Org. and precentor of St. Peter's Coll. , Radley, in 
 succession to Dr. Monk, 1859. Org. of parish ch.. Bury, Lancashire, 1861. 
 Song-schoolmaster and org. of parish church, Newark-on-Trent, 1864, which 
 post he still holds. Mus. Bac, Oxon., 1871. 
 Works. — Morning and evening service in F. Anthems: I will go to the altar; 
 O Lord, why sleepest Thou?; O sing unto the Lord; Rejoice in the Lord ; The 
 Gentiles shall come ; The love of God ; This is the day. Part-Songs : As it fell 
 upon a day ; Bright hair'd mom is glowing ; Clouds that wrap the setting sun ; 
 Cuckoo; Dawn of day; Fly night away; Good-night; Here let's join; Hunts- 
 man rest ; I lov'd a lass ; In an arbour green ; It was a lover and his lass (madri- 
 gal) ; Love's good morrow ; Merrily rolls the mill stream on ; Now night her dusky 
 mantle folds ; Oh, springtime ; Red o'er the forest ; See the rivers flowing ; Spring 
 voices ; Spring's free sunshine ; Sweet is the breath of early morn ; Take, oh take, 
 those lips away ; 'Tis May upon the mountain ; Wake, love, day is breaking ; 
 Waken, lords and ladies gay ; Way is long and weary ; Ye little birds that chant. 
 Hymns contributed to Chope's "Congregational Hymn and Tune Book"; the 
 "Hymnary," etc. Joint musical, jedi tor with Drs. Gauntlett and Bridge, of Dob- 
 son's "Tunes New and Old." He produced at the Bow and Bromley Institute, 
 
 H 2 
 
49^ 
 
 REB — REE 
 
 London, Bach's "Coffee" and "Peasants," cantatas, in 1879, which was their 
 first performance in England. He also edited and adapted them to English words, 
 and they have since been published. 
 
 BEBEL (Francois). French comp., B. Paris, June 19, 1701. S. under his 
 father, Jean Ferry Rebel [1669-1747], a comp. D. Paris, Nov. 7, 1775. 
 Comp. operas, cantatas, etc. 
 
 BEBEB (Napoleon Henri). French comp., B. MUlhausen, Upper Rhine, Oct. 
 
 21, 1807. S. at Paris Cons, under Reicha, Jelensperger, and Lesueur, from 
 
 1828. Prof, of Harmony at Paris Cons., 1851. Member of the Institut de 
 
 France in succession to Onslow, 1853. Chevalier of Legion of Honour, 1854. 
 
 Prof, of comp, at Cons, in succession to Halevy, 1862. Inspector of Branches 
 
 of the Cons., 1871. D. Paris, Nov. 24, 1880. 
 
 Works. — Operas: Le Diable Amoureux, ballet (with Benoist), 1840; La Nuit 
 
 de Noel, 1848 ; Le Vhxe Gaillard, 1852 ; Les Papillotes de M. Benoist, 1853 ; Les 
 
 Dames Capitaines .: 1857; Le Menetrier a la cour (MS.); Naim (MS.) Roland, 
 
 scenes lyriques, from Quinault, 1875. Symphonies for orch., inD minor, C, E flat, 
 
 and G. Quartets and trios for strings, etc. Duets for Pf. and violin. Pianoforte 
 
 music. Church music, choruses, and songs. Traits d' Harmonic, Paris, 8vo, 1862. 
 
 Reber was a successful comp., and one of the best teachers ever connected with 
 
 the Paris Conservatory. His work on Harmony has been received with much 
 
 favour, on account of its great superiority in regard to lucidity and directness. 
 
 Among his pupils may be named Godard, E. Diaz, Legouix, and Pougin. 
 
 KEBLING- (Gustave). German org. and comp., B. Barby, Magdeburg, July 
 10, 1821. S. under his father and F. Schneider. Org. of Church of S. John, 
 Magdeburg. 
 Works. — Pf. sonatas, various. Psalms xil. (op. 13), Lxxxv. (op. 13), cxxxviii. 
 
 (op. 14), LI. (op. 16), for 5 and 8 voices, and accomp. ; Elegie for 'cello and orch., 
 
 op. 32 ; Organ music, songs. 
 
 BEDEKEB (Louise Dorette AugUSte). German contralto vocalist, B. 
 Duingen, Hanover, Jan. 19, 1853. S. at Leipzig Cons. D^but at Bremen, 
 1873. Appeared at the Gewandhaus Concerts, Leipzig, 1874. Appeared in 
 London, 1876, and has sung with much acceptance'at many of the leading con- 
 certs. She married and retired, 1879. 
 
 BEDFOED (John). English org. and comp. of i6th century. Org. and 
 almoner, and master of choristers, St. Paul's Cath., 1543. D. circa, 1546-7. 
 Comp. the well-known anthem, " Rejoice in the Lord," as well as several 
 similar pieces in various collections. 
 
 BEDHEAD (Bichard). English org. and comp., B. Harrow, 1820. Educated 
 at Magdalen Coll., Oxford. Org. of St. Mary Magdalene's Ch., Paddington, 
 London. 
 Works. — Laudes Diurnae, the Psalter and Canticles in the Morning and Evening 
 Service of the Church of England, Lond., 8vo, 1843 ; The Order for Morning and 
 Evening Prayer, with Litany and Proper Psalms ; Proper Psalms, appointed by the 
 Church to be said on certain Days, together with the Gospel Canticles, set 
 to Ancient Psalm Tunes. Metrical Litanies, for the several Seasons of the 
 Christian Year, 2 parts. Hymns for Holy Seasons and other occasions. The 
 Celebrant's Office Book : being the Office of Holy Communion. Church Hymn 
 Tunes sung lat All Saints', Margaret Street. Canticles at Matins and Evensong, 
 pointed as they are to be sung in Churches, and adapted to the Ancient Psalm 
 Chants. Music to the Divine Liturgy. The Cathedral and Church Choir Book, 
 a Collection of Pieces, chiefly adaptations from the Latin works of the great masters, 
 arranged for use in the English Church. Parochial Church Tune Book and 
 Appendix. Universal Organist, a Selection of Short Classical and Modern pieces, 
 S books. Several masses, and many other compositions for the church. 
 
 BEED (Daniel). American comp. and psalmody collector, B. Rehoboth, Conn., 
 Nov. 2, 1757. Lived at New Haven as teacher. D. New Haven, 1836. 
 Compiled among other works the "American Singing Book," 1785. "The 
 Columbian Harmony," New Haven, 1793. Comp. of the tunes " Sherbourne," 
 "Windham," "Newport," etc. 
 
REE — REE 49^ 
 
 BEED (Thomas German), English musician and actor, B. Bristol, June 27, 
 
 1817. Org. of Catholic Chap., Sloane Street, London. Musical director of 
 
 Haymarket Theatre, 1838-51. Chap.-master of Royal Bavarian Chapel, 1838. 
 
 Married Miss Priscilla Horton, 1844. Established "Mr. and Mrs. German 
 
 Reed's Entertainments," 1855, and produced pieces by Brough, Parry, Gilbert 
 
 and Sullivan, Burnand, Clay, CeUier, Reed, and Macfarren. 
 
 His wife, nh Priscilla Horton (B. Birmingham, Jan. i, 1818), a contralto 
 
 singer and actress of great repute who appeared in Macready's revivals of Shakes- 
 
 pere's plays, and afterwards in Blanche's pieces at the Haymarket Theatre. 
 
 REES (David). English writer, author of " Reasons for and against singing of 
 Psalms in Private or PubUc Worship." Lond., 8vo, 1737. 
 
 REEVE (William). Enghsh comp., B. 1757. S. under Richardson. Org. of 
 Totness, Devon, 1781-83. Comp. to Astley's Circus, London, Comp. to 
 Covent Garden Theatre, 1791. Org. of Ch. of St. Martin, Ludgate Hill, 
 1792. Joint-proprietor of Sadler's Wells Theatre. D. London, June 22, 
 
 1815. 
 Works. — Music to Plays, etc.: Oscar and Malvina, 1791 ; Orpheus and Eury- 
 dice, 1792; The Apparition, 1794; British Fortitude, 1794; Hercules and 
 Omphale, 1794 ; The Purse, 1794 ; Merry Sherwood, 1795 ; Harlequin and Ober- 
 on, 1796 ; Bantry Bay, 1797 ; Raymond and Agnes, 1797 ; Harlequin Quixote, 
 1797; The Round Tower, 1797; Joan of Arc, 1798; Ramah Droog (with 
 Mazzinghi), 1798; The Turnpike Gate (do.), 1799; Embarkation, 1799; Thomas 
 and Susan, 1799; Paul and Virginia (with Mazzinghi), 1800; Harlequin's 
 Almanac, 1801 ; The Blind Girl (with Mazzinghi), 1801 ; The Cabinet (with 
 Braham, Moorhead, and Davy), 1802 ; Family Quarrels (with Braham), 1802 ; 
 The Caravan, 1803 ; The Dash, 1804 ; Thirty Thousand (with Davy and Braham), 
 1804 ; Out of Place, or the Lake of Lausanne (with Braham), 1805 ; The White 
 Plume, 1806 ; An Bratach, 1806 ; Kais, or Love in the Deserts (with Braham), 
 1808; Tricks upon Travellers, 1810 ; Outside Passenger, 181 1 ; Chains of the 
 Heart (with Mazzinghi) ; Jamie and Anna, Scots Pastoral. Glees. Songs : Cherry- 
 cheeked Patty ; Fryar of Orders Grey ; Little haymaker; Live and be jolly; Mar- 
 gery Grinder ; Rose of the Valley ; Tippetywitchet, clown's songs for Grimaldi ; 
 etc. The Juvenile Preceptor, or Entertaining Instructor: a Complete and Con- 
 cise Introduction to the Pianoforte, with 24 Lessons and 4 Easy Duets. Lond., n.d. 
 
 BEEVES (Daniel M. G, S,) English amateur musician, author of "A Treatise 
 on the Science of Music," Lond,, 8vo, 1853 ; 2nd edit., 1861. 
 
 REEVES (John Sims). English tenor vocalist, B. Woolwich, Oct. 21, 1822, 
 S. originally under his father. Org. of North Cray Ch., Kent, 1836. Dibut 
 as barytone vocalist at Newcastle-on-Tyne, June 1839, in " La Sonnambula." 
 S. under Callcott, Hobbs, J. B. Cramer, and T. Cooke, and was engaged as 
 tenor vocalist at Drury Lane Theatre, London. S. singing at Paris, and at 
 Milan, under Mazzucato, where he appeared in Italian opera in " Lucia." 
 Re-appeared at Drury Lane Theatre, London, as ^i/^ar in "Lucia d; Lam- 
 mermoor," Dec. 1847, with great success. Sang his first original part, in 
 Balfe's "Maid of Honour," 1847. Appeared at H. M. Theatre, 1848, in 
 Donizetti's " Linda." Sang in oratorio at Norwich Festival, 1848 ; and at the 
 Sacred Harmonic Society. Appeared at Royal Italian Opera, Covent Garden, 
 1849. Married to Miss Emma Lucombe, Nov. 1850. Appeared at various 
 Handel Festivals, and has sang in the English Provinces, Scotland, and 
 Ireland with extraordinary success. He withdrew from public life to a con- 
 siderable extent about 1881. His wife nk Emma Lucombe, was a soprano 
 singer of considerable fame, appearing in opera and oratorio from 1839 till 
 within recent times, when she retired, and devoted herself to tuition in smging, 
 in which she has attained much success. Their son Herbert (B. i860), S. 
 under his father, and made his debut in June 1880, and has since appeared with 
 some success in various parts of Britain. 
 Reeves has been justly regarded as the greatest tenor Britain ever produced, and 
 =,« r>ne of the most successful the world has known. He achieved equal success in 
 nratorio opera, and ballad vocalisation, and was invariably received with great 
 enthusiasm by the public. Almost equally successful in whatever he undertook, it 
 is impossible to name one part more than another in which he chiefly excelled. 
 
So6 
 
 REG — REI 
 
 His voice IS of great range, strength and purity, managed with exquisite taste and 
 skill, and equally capable of rendering with acceptance the lightest as well as the 
 most passionate and powerful music. 
 
 REaAN (Anna). See Schimon. 
 
 BiEG-GIO (Pietro). Italian lute-player and comp., B. Genoa in first part of 17th 
 century. Member of private band of Christina, Queen of Sweden. Settled in 
 Oxford as teacher, 1654. Teacher and performer in London. D. London, 
 July 23, 1685. Comp. music to Cowley's "Mistress," etc., and wrote "A 
 Treatise to Sing well any Song whatsoever," Oxford, J677. 
 
 E,EGNAE,D (Francois). French comp., B. Douai in first half of l6th century. 
 Chap. -master of Cath. of Tournai from 1573. Comp. Masses; Chansons, 
 IS75 ; Po&ies de P. de Ronsard, Paris, 4to, 1579 ; etc. His brother Jacob 
 (B. Douai, 1531, D. 1600), was chap. -master to the Emperor Rudolf H. at 
 Prague. He comp. large numbers of masses, motets, chansons, lieder, etc. 
 
 BiEG-ONDI (Giulio). Italian concertina player, guitarist, and comp., B. Geneva, 
 1822. Travelled as an infant prodigy. Appeared in England, 1831, and re- 
 mained in London as teacher and performer till his death there, May 6, 1872. 
 His concertina comps. include two concertos ; Morceau de fantasie ; Introduction 
 et caprice ; Les Oiseaux ; Le Delizie dell' Italia ; Arrangements for concertina. He 
 also wrote a "Concertina Tutor, containing Plain and Practical Instructions,..." 
 London, n. d. , of which different editions appeared. 
 
 REICHA (Anton Joseph). Bohemian comp. and writer, B. Prague, Feb. 27, 
 1770. S. under his uncle Joseph (B. Prague, 1746, D. Bonn, 1793). Resided 
 in Hamburg, 1 794- 1 799. Went to Paris, 1799, and produced a few instrumental 
 works. Resided in Vienna, 1802-8, where he came much in contact with 
 Beethoven, Haydn, Salieri, etc. Settled in Paris, 1 808, and became Prof, of 
 counterpoint and fugue at the Cons. Naturalised as Frenchman, 1829. Mem- 
 ber of the Institut de France, 1835. D. Paris, May 28, 1836. 
 Works. — Operas: Godefroid de Montfort, 1794; Cagliostro, Paris, 1810; 
 Natalie, 1816 ; Sapho, 1822. Symphonies for orch., op. 41, 42; Overture for 
 orch., op. 24; Quintet for strings, op. 92; Twenty-four quintets for flute, oboe, 
 clarinet, horn, and bassoon, op. 88, 91, 99, 100 ; Quartets for strings, op. 48, 49, 
 52, 58, 90, 94, 95 ; Trios for strings, etc. ; Sonatas for Pf. and violin, op. 44, 54, 
 55, 62 ; Sonatas for Pf solo, op. 40, 43, 46 ; Studies, fugues, etc., for Pf. Theo- 
 retical: Etudes ou Theories pour le Piano-forte, Paris, 4to, 1800 ; Traits de 
 M^lodie,... Paris, 4to, 1814; Cours de Composition Musicale,... Paris, 4to[l8i8]; 
 Traite de haute Composition Musicale, ... Paris, 2 vols., 1824-26 (trans, from the 
 German edition of Czerny by Arnold Merrick, and edited by John Bishop, Lond., 
 4to, n.d.); Art du Compositeur Dramatique, ...Paris, 2 vols., 4to, 1833; Petit 
 Traite d' Harmonie pratique, op. 84. 
 
 Reicha was famous in his day for his theoretical writings and his success as a 
 teacher. His works on harmony, etc., have been superseded, but his fame as a 
 teacher survives in such pupils as Dancia, Lecarpentier, Lefebvre, Elwart, etc. 
 
 BEICHAKDT (Alexander). Hungarian tenor vocalist and comp., B. Packs, 
 April 17, 1825. S. under his uncle. First appeared at Lemberg, 1833. 
 Sang at Court Opera, Vienna, where he also S. under Catalani, etc. Chamber- 
 musician (vocalist) to Prince Esterhazy. First appeared in London, at Musi- 
 cal Union and Philharmonic Concerts, 1851. Sang afterwards with some regu- 
 larity in London, the English provinces, and Scotland, in oratorio and opera. 
 Dibut in Paris, 1857. Settled at Boulogne as cond. and choir organiser. D. 
 Boulogne, May 14, 1885. 
 A famous and well-liked vocalist in Britain, renowned for the sweet, clear, and 
 agreeable character of his singing. He wrote a number of songs, of which the fol- 
 lowing list is representative : — Love's request ; Thou art so near and yet so far ; 
 Good night ; Golden stars ; Memory ; Of thee I think ; I love but thee ; Nelly's 
 letter ; and Remembrance. 
 
 BEICHABDT (G-UStav). German comp. and cond., B. Stralsund, Nov. 13, 
 1797. S. music under B. Klein at Berlin, Director of Royal music, etc., 
 Berlin, 1850. D. Berlin, 1884. 
 
RKI — REI 501 
 
 Works. — Sonatas for Pf., various. Part-songs for male voices, op. 5, 7, 8, iz. 
 Part-songs for S. A. T. B., op. 9, 11, 13, 16. German songs for voice and Pf., 
 op. 6, 10, etc. Lieder for voice and Pf. He composed the well-known patriotic 
 chorus, "Where is the German's Fatherland." 
 
 BEICHABDT (Johann Friedrich). German comp., cond., and writer, B. 
 Kbnigsberg, Nov. 25, 1752. S. under Veichtener and Richter. Travelled as 
 an infant prodigy from 1762. Educated at Universities of Konigsberg and 
 Leipzig. Succeeded Agricola as chap. -master to Friedrich the Great, 1776. 
 Visited Italy, 1782 ; London, 1785 ; and Paris, where some of his works were 
 produced. Music-director to Friedrich Wilhelm II., 1786. Revisited Italy, 
 1790. Dismissed from the Prussian royal service on grounds of his holding 
 revolutionary principles, 1794. Settled at Hambjjrg as editor of a journal en- 
 titled Frankreich, 1794. Inspector of salt works at Halle, near which he 
 settled for a time, 1796. Re-instated in his offices by Friedrich II., 1797. 
 Chap. -Master to Jerome Buonaparte at Cassel, 1808. D. at his estate of 
 Giebichenstein, near Halle, June 17, 1814. 
 Works. — Operas, etc.: Hanschen und Gretchen, 1772 ; Le Bflcheron, 1775 ; Ar- 
 temisia, 1778 ; Andromeda, 1778 ; Protesilas, 1779 ; Ino, 1779 ; Procris et 
 Cephale, 1780 ; Tamerlan, 1785 : Panthee, 1786 ; Claudine von Villabella, 1788 ; 
 Lilla, 1790; Erwin und Elmira, 1790; Rosamunda, 1801 ; Jerry and Bately, 
 1790; Bradamante, 1808; La Passione, oratorio, London, 1785; La Ressurection, 
 oratorio, 1785. Cantatas, psalms, and te deums. Numerous Lieder; Elegy for 
 Handel cantata, Lond., 1785. Symphonies, concertos, quartets, trios, sonatas, 
 rondos, and other instrumental music. Literary : Ueber die Deutsche komische 
 Oper, Hamburg, 1774 ; Briefe eines aufmerksamen Reisenden, die musik betreffend, 
 1774-76; Vertraute Briefe aus Paris, 1802-3 ; <Jo. Wien, 1810 ; Das Kiinst Magazin, 
 Berlin, 1781-91 ; Georg-Friedrich Handel's Jugend, Berlin, 1785; Studien fiir 
 Tonkunstler und Musikfreunde, Berlin, 1793- 
 
 BEICHABDT (Louise). German comp., B. Berlin, 1778. D. Hamburg, 
 Nov. 17, 1826. Daughter of J. F. Reichardt, She comp. songs, chansons, 
 etc. 
 
 BEID (General John). Scottish musician, and founder of the Edinburgh Pro- 
 fessorship of music, B. Straloch, Perthshire, Feb. 13, 1721 [1720]. Son of 
 Alexander Robertson of Straloch. S. at Edinburgh University. Lieut, in 
 Earl of Loudon's Regiment, 1745 ; afterwards became a General in the Earl of 
 Loudon's Highlanders. D. London, Feb. 6, 1807. 
 Works.— A Sett of Minuets and Marches, inscribed to the Right Hon. Lady 
 Catharine Murray, by J — R— , Esq., London, 4to, n. d. (Bremner). [Contains 
 the well-known air, "The Garbof Old Gaul," to verses of Sir H. Erskine of Alva]. 
 Six Solos for a German Flute or Violin, with a Thorough-bass for the Harpsichord, 
 by J— R— , Esq., a Member of the Temple of Apollo, Loud., fo., n. d. (Oswald). 
 There have also been ascribed to him "Three Grand Marches, and Three Quick- 
 steps for a Full Military Band, by an Eminent Master, "'Lond., 4to, n. d. 
 
 General Reid directed in his will that, subject to the life-rent of his daughter, the 
 sum of ;^52,ooo should be applied to founding a Chair of Music in Edinburgh Uni- 
 versity, and that an annual concert (to include a full military band) should be given 
 on his birthday, at which was to be performed some specimens of his own composi- 
 tions, to show the style of music that prevailed about the middle of last century. 
 The chair was instituted in 1839, when a sum of between ^'70,000 and ^80,000 be- 
 came available. The succession of Professors has been John Thomson, 1839 ; Sir 
 Henry Bishop, 1842 ; Henry Hugo Pierson, 1844 ; John Donaldson, 1845 ; and 
 Sir Herbert Stanley Oakeley, 1865. 
 
 BEINAGLE (Joseph). Austrian violoncellist, comp., and writer, B. Ports- 
 mouth, 1762. Intended for the navy, but afterwards apprenticed to an Edin- 
 burgh jeweller. S. 'cello under Schetkey, who married his sister. S. violin 
 under Aragoni and Pinto, and became leader at the Edinburgh Theatre. Per- 
 formed 'cello in London, etc. Resided in Dublin, 1784-86. Played at Salo- 
 mon's Concerts in London, and in Oxford, where he latterly resided. D. Gjt- 
 ford, 1836. 
 
S02 RE I — REl 
 
 Works. — Twenty-four Progressive Lessons for ,the Pianoforte, London, 1796. 
 Twelve Duets for the violoncello, op. 2 ; 3 Sets of 6 do., op. 3, 4, J. Six Quartets 
 for strings. Concertos for violin and violoncello, with accomp. Concise Intro- 
 duction to the Art of Playing the Violoncello, Lond., n. d. Thisjwork has reached 
 4 editions. 
 
 His son, Alexander Robert, B. Brighton, Aug. 21, 1799, was org. of S. 
 Peter's-in-the-East, Oxford. D. Kidlington, near Oxford, April 6, 1877. Comp. 
 " Preparatory Exercises for the Violin " ; " Selection of Popular Airs, varied, for 
 "Violin " ; " Violinist's Portfolio, for Amateurs " ; " Seven Easy Studies for Violon- 
 cello " ; " First Lessons for Beginners on Violoncello, to which are added a Selec- 
 tion of Psalm Tunes and Chants"; "Ten Airs for Organ or Harmonium"; "Four 
 Introits for Organ " ; "Processional March," do. Twelve songs without words, 
 Pf. ; Two Sets of Bagatelles, Pf. Comp. also a number of Psalm and hymn tunes. 
 Another musician named Caroline Reinagle wrote " A Few Words on Piano- 
 forte Playing," Lond., n. d., which has reached at least two editions. 
 
 BEINCEE. See Reinken. 
 
 BEINECEE (Carl). German comp., cond., and pianist, B. Altona, June 23, 
 1824. S. under his father J. P. R. Reinecke, a piano-teacher and writer. 
 Travelled as a violinist concert-giving, and visited Copenhagen, Stockholm, 
 Cologne, and Leipzig, in which he settled about 1843. Travelled with 
 Wasielewski to Riga, etc. Court pianist to King of Denmark. Prof, of Pf. 
 and counterpoint at Cologne Cons., 1851. Cond. at Barmen, 1854; and 
 music-director at Breslau University, 1859. Cond. of Gewandhaus Concerts, 
 and Prof, at Leipzig Cons., i860. Appeared in London, 1869-72, with much 
 success. Ph. D., Leipzig Univ., honoris causd, 1SS4. 
 Works. — Op. 5. Six Lieder, voice and Pf. ; op. 12. Four Lieder, for 2 sopranos 
 and Pf. ; op. 14. Five Lieder, for S. A. T. B. ; op. 15. Fantasia, in sonata form, 
 for Pf. ; op. 20. Ballade for Pf. ; op. 27. Six Lieder, for barytone or bass ; op. 37. 
 Eight Kinderlieder, voice and Pf. ; op. 38. Trio for Pf , violin, and 'cello ; op. 43. 
 Three Phantasiestticke, for Pf. and viola, or violin ; op. 45. Der Vierjahrige Posten, 
 operetta ; op. 46. Music to Hoffman's nursery tale of " Nussknacker und Mause- 
 kbnig," for Pf., 2 hands; op. 47. Three Sonatinas, for Pf ; op. 51. Overture to 
 Calderon's "Dame Kobold," for orch. ; op. 56. Schlachtlied by Klopstock, for 2 
 male choirs and orch. ; op. 57. Alte und neue Tanze, for Pf. ; op. 63. Nine Kinder- 
 lieder, for voice and Pf ; op. 66. Impromptu, for 2 Pf , on motive from Schumann's 
 "Manfred"; op. 72. Concerto, for Pf and orch., in F sharp minor; op. 74. 
 Miriam's Song of Triumph, for soprano and orch. ; op. 75. Ten Kinderlieder, voice 
 and Pf ; op. 78. Te Deum laudamus ; op. 79. Symphony, for orch., in A ; op. 81. 
 Eine Novelle in Liedern, cyclus of 8 songs for tenor and Pf. ; op. 83. Quintet for 
 Pf and strings ; op. 87. Cadenzen zu classischen Pianoforte-concerten (17 selected 
 pieces) ; op. 89. Sonata for Pf. and 'cello, in D ; op. 91. Eight Kinderlieder, for 2 
 voices and Pf ; op. 92. Overture 5to Goethe's "Das Jahrmarkts-Fest zu Plunder- 
 sweilern," Pf, 4 hands ; op. 93. Konig Manfred, opera in 5 acts, by F. Rober; 
 op. 94. La belle Griselidis, improvista for 2 Pf ; op. 98. Three sonatinas, for Pf ; 
 op. 102. Music to Schiller's " Wilhelm Tell " ; op. 109. Six lieder, for 2 female 
 voices and Pf ; op. 110. Deutscher Triumph-marsch, for orch.; op. 116. Sonata 
 for Pf. and violin ; op. 124. Almansor, Heine, for barytone voice and orch. ; Con- 
 cetto for violin and orch., in G minor, op. 141 ; Three pieces for 'cello and Pf , 
 op. 146; Festival overture in C, op. 148; Sieben Landler, Pf, op. 152; Ein 
 mahrchen ohne worte, Pf duet, op. 165 ; Bethlehem, cantata, op. 170 ; Gliickskind 
 und Pechvogel, fairy opera, op. 177 ; Ein Abenteuer Handel's, operetta ; Belsazar, 
 oratorio ; Hakon Jarl, cantata ; " Aladin " and " Friedensfeier," overtures. 
 Masses, etc. 
 
 BEINHOLD (Hugo). Austrian comp., B. Vienna, March 3, 1854. Chor. in 
 Imperial Chap. S. Vienna Cons, under Bruckner, Epstein and Dessoff. 
 Gained silver medal, 1874. Comp. orch music, string quartets, Pf music, 
 choruses for male voices, lieder, etc. 
 
 BiEINHOLD (Thomas). German bass vocalist, B. Dresden [1690]. Son or 
 nephew of Archbishop Reinhold of Dresden. Became acquainted with 
 Handel in Germany, and followed him to London, where he appeared at the 
 
REI — REL 503 
 
 Haymarket Theatre in 1731. Appeared in many of Handel's worlis on their 
 original production, among others " Samson," " Susanna," "Joshua," "Judas 
 Maccabeus," "Solomon," etc. D. London, 1751. 
 His son Charles Frederick, B. London, 1737, was a chor. in S. Paul's Cath. 
 and Chap. Royal. Appeared at Drury Lane Theatre in J. C. Smith's "Fairies," 
 opera, 1755. Org. of St. George the Martyr, Bloomsbury. Sang at Marylebone 
 Gardens, in the Provinces, and at the Handel Commemoration of 1784. D. Lon- 
 don, Sept. 29, 1815. He had a bass voice of much power and good compass, 
 
 BEINKEN (Johann Adam), or Reincke. Dutch org, and comp., B. Deventer, 
 Overyssel, April 27, 1623. S. under Swelinck at Amsterdam. Succeeded H, 
 Scheidmann as org. of S. Catharine's Ch., Hamburg, 1654, a post he retained 
 till his death. D. Hamburg, Nov, 24, 1722, He comp, "Hortus Musicus : 
 Sonaten, concertanten, allemanden, couranten, sarabandeu und chiquen, auf 
 zwei violinen und dem cembalo," Hamburg, 1704. 
 
 BEINTHALER (Carl Martin). German comp. and cond., B. Erfurt, Oct, 
 
 13, 1822. S, under Ritter for a time, S, under A. B. Marx. S. in Italy 
 
 through bounty of Friedrich Wilhelm IV. S. singing under G&aldy and 
 
 Bordogni. Prof, of singing at Cologne Cons., 1853. Org. of Bremen Cath., 
 
 1858, and director ot Singing Academy there. 
 
 Works. — ^Jephtha und Seine Tochter, oratorio (produced London, 1856). Edda, 
 
 opera, 1875. Das Madchen von Kola, op. 16, elegy for chorus and orch. In der 
 
 Wiiste, cantata. Symphony for orch. in D, op. 12. Overtures for orch. Bismark- 
 
 hymne, prize comp., for chorus. Six Male Quartets, op. 11. Six Lieder for voice 
 
 and Pf., op. 10. Gesange und Lieder zu einer hohen Feier der heiligen Taufe, 
 
 1837. Die heilige Passion unsers Herrn, 1837. 
 
 BEISSIGEB (Carl Gottlieb). German comp. and prof., B. Belzig, near 
 
 Wittemberg, Jan. 31, 1798. S. under Schicht at S. Thomas School, Leipzig, 
 
 S. at Vienna, and Munich under Winter, Prof at the Sing-Academie, Berlin, 
 
 under Zelter. Organized the Hague Cons., 1826. Chap. -master to the King 
 
 o( Saxony, 1827. Cond. of German opera at Dresden, 1827. D, Dresden, 
 
 Nov. 7, 1859, 
 
 Works, — Operas : Das Rockenweibchen, Vienna, 1821 ; Nero (incidental 
 
 music), 1822 ; Didone, 1823 ; Der Ahnenschatz, 1825 ; Yelva, 1827 ; Libella, 
 
 1828 ; Die Felsenmuhle zu Etalieres, 1829 ; Turandot, 183S ; Adele von Foix j 
 
 Der Schifibruch der Medusa, 1846, Masses, psalms, and hymns. Symphony in E 
 
 flat for orch., op, 120 ; Overture for orch., op. 128 ; Quintet for strings, op. 90 ; 
 
 Quartets for strings, etc, op. 29, 70, 108, 135, 141 ; Trios, Pf , violin, and 'cello, 
 
 op- 25, 33, 40, 56, 75, 77, 85, 97, 103, 115, 12$; Duets for Pf, and violin; Sonatas 
 
 for Pf , op. 22, 41 ; Sonata, violin and 'cello, op. 147 ; Rondos for Pf., op. 21, 30, 
 
 31. 36, 37. 39. 47. 5'. 55- 57, S8, S9. 64. 78. 83- Lied" ^r voice and Pf., op. 13, 
 
 16, etc. 
 
 BEISSMANN (August). German writer and comp., B. Frankenstein, Silesia, 
 Nov. 14, 1825. S. at Breslau under Mosewius, Liistner, and Richter. Em- 
 ployed as writer in Leipzig. 
 MVORKS.— Operas : Gudrun, 1871 ; Das Gralspiel ; Le Bourgmestere de Schon- 
 dorf Oratorio, Wittekind, 1877 ; Concertos ; Sonatas for Pf and violin; Lieder, 
 Pf. music, etc. Literary : Von Bach bis Wagner, Berlin, 1861 ; Das Lied in 
 seiner historischen Entwickelung, 1861, re-issued as Geschichte des Deutschen 
 Liedes, 1874 ; Allgemeine Musikgeschichte, ...Leipzig, 3 vols., 8vo, 1863-4 ; Lehr- 
 buch der Musikalischen Composition, Berlin, 3 vols., 1866-70; Felix Mendelssohn- 
 Bartholdy, 1872; Franz Schubert, 1874; and monographs upon Schumann (1865) 
 and Haydn (1879), etc.; Handlexikon der Tonkunst, Berlin, 8vo, 1882. Edited 
 the " Musik Conversations Lexikon" in succession to Hermann Mendel, 1871. 
 
 BELFE (John), English comp, and writer, B. Greenwich, 1763. Son of Lup- 
 
 ton Relfe, who was org. of Greenwich Hospital, under whom he studied. S. 
 
 also under Keeble. Member of King's Band of Music, 1810. Teacher of 
 
 harmony and Pf in London. D. there, circa 1837. 
 
 Works.— Guida Armonica, or Introduction to the General Knowledge of Music, 
 
 theoretical and practical, Lond., 3 parts, fo, [1798] J reprinted as " The Principles 
 
504 R E L — R E U 
 
 of Harmony, containing a complete and compendious Illustration of the Theory of 
 Music, ' Lond., 1817 ; Remarks on the Present State of ifusical Instruction, with 
 a Prospectus of a new order of Thoroughbass designation, and a demonstrative 
 view of the defective nature of the customary mode,... Lond., 8vo, 1819. Lucidus 
 ordo ; comprising an Analytical Course of Studies on the several branches of 
 Musical Science... London, 4to, 1821. Songs: Come, thou laughter-loving power ; 
 Mary's dream. Duets. 
 
 Relie's " Guida Armonica " anticipated in a large measure the method of Logier 
 in regard to instruction by exercises. 
 
 BELLSTAB (Johann Carl Friedrich). German comp., printer and writer, 
 B. Berlin, Feb. 27, 1759. S. under Agricola and Fasch. Established a musi- 
 cal lending library, 1783. D. Berlin, Aug. 19, 1813. 
 Works.— Versuch iiber die Vereinigung der Musikalischen und Oratorisch Decla- 
 mation, Berlin, 1789. Oratorias ; Cantatas; Symphonies and overtures; Organ 
 sonatas ; Songs, etc. 
 
 BELLSTAB (Heinrich Friedrich Ludwig). German writer and musician, 
 son of preceding, B. Berlin, April 13, 1799. S. under his father. Engaged as 
 soldier in the war, till 1816. S. under L. Berger and Klein. Devoted him- 
 self afterwards to literature. D. Berlin, Nov. 28, i860. 
 Works.— Henrietta, ou la belle cantatrice [Satire on Sontag, for which he was 
 imprisoned], 1825. Ueber die Theater-verwaltung Spontini's. Ueber mein Ver- 
 haltniss als kritiker zu Herrn Spontini. A collected edition of his essays, novels, 
 and other writings, appeared in 24 vols., with title, "Gesammelte-Schriften," 
 Leipzig. His sister Caroline, B. Berlin, April 18, 1794, D. Berlin, Feb. 17, 
 1814, was a soprano vocalist of much promise, famed for the extraordinary upward 
 compass of her voice. 
 
 EEMAUBY.. See Montigny-Remaury. 
 
 BEMENYI (Eduard). Hungarian violinist, B. Hewes, 1830. S, at Vienna 
 Cons, under Bohm, 1842-45. Took part in Hungarian revolutionary troubles, 
 1848, and .was exiled. Settled in the United States, where he occupied him- 
 self with concert-giving. Returned to Europe, 1853, and was made solo- 
 violonist to Queen Victoria, 1854. Was made solo-violonist to the Emperor 
 of Austria, King of Hungary, after obtaining his pardon for political offences, 
 i860. Appeared successively at London (1854), Paris (1865), in Germany, 
 Holland, and Belgium. Settled at Paris, 1875. Appeared in London, 1877-78, 
 with some success. Resident in the United States as violinist and concert- 
 giver. Famous for the wild and almost whimsical characteristics of his perfor- 
 mance. His works consist of transcriptions of Field's nocturnes ; Chopin's 
 mazurkas and polonaises ; Mendelssohn's songs without words, etc., for violin. 
 
 BEMUSAT (Jean.) French flute-player and 'comp., B. Bordeaux, Gironde, 
 May II, 1815. S. at Paris Cons, under Tulou. Gained first prize for flute- 
 playing, 1832. Flute-player for a time in Queen's Theatre, London, and solo- 
 flute at the Theatre-Lyrique, Paris. Settled at Shanghai as flute-player, and 
 D. there, Sept. i, 1880. 
 Comp. cavatinas, fantasias, and transcriptions from operas for flute and Pf. 
 
 BENDANO (Alfonso). Italian pianist and comp., B. Carolei, Cosenza, April 
 5, 1853. S. at Naples Cons., under Thalberg, and'at Leipzig Cons. Appeared 
 at the Gewandhaus Concerts, Leipzig; the Musical Union, London (1872); 
 Philharmonic and Crystal Palace Concerts, etc. Resident in Italy. Comp. 
 gavottes, valses, sonatinas, marches, "chant derpaysan," and other Pf pieces. 
 
 BEUTTER (Georg). Austrian org. and comp., B. Vienna, 1656. Org. of S. 
 Stephen's Ch., Vienna, 1686. Court org., 1700. Chap.-master of St. 
 Stephen's, 1715. D. Vienna, Aug. 29, 1738. Comp. masses, misereres, and 
 other church music. His son, Georg Carl, B. Vienna, April 6. 1708. S. 
 under his father. Court comp., 1731. Married Theresia Holzhauser, a voca- 
 list, 1731. Chap.-master of St. Stephen's, 1738. Court chap.-master in suc- 
 cession to Predieri, 1751. D. Vienna, Mar. 12, 1772. Comp. " Forza 
 
REV — RHE Sog 
 
 deH'Amicizia," opera (with Caldara) ; "La divina Providenza in Ismael," 
 oratorio, 1732 ; " II ritorno di Tobio," and " Betulia liberata;" also oratorios ; 
 and some cantatas and church music. Best remembered for his maltreatment 
 of Haydn, who was a chorister under him in St. Stephen's. 
 
 BEVIAL (Marie Pauline Francois Benoit Alphonse). French tenor 
 vocalist and Prof., B. Toulouse, May 29, 1810. S. under Kuhn and Henry at 
 Paris Cons. Dlbut at Opera Comique, Paris, 1833. Prof, of singing at Paris 
 Cons., 1846. D. Paris, Oct. 13, 1871. 
 
 BEY (Jean Baptiste). French comp., B. Lauzerte, Tarn-et-Garonne, Dec. 18, 
 
 1734. Chap. -master to Louis XVI., 1779. Prof, of harmony in Paris Cons. 
 
 for a time. Chap.-master to Napoleon I., 1804. D. Paris, July 15, 1810. 
 
 Comp. "Apollon et Coronis," 1781 ; "Diane et Endymion," 1791, and other 
 
 operas, etc., and an "Exposition Elementaire de I'Harmonie," 1807. His brother 
 
 Louis Charles Joseph, B. Lauzerte, Oct. 26, 1738, was a violinist and comp. 
 
 D. Paris, May 12, 181 1. 
 
 BEYEB (Lonis Etienne Ernest), or Rey. French comp., B. Marseilles, 
 
 Dec. I, 1823. S. at Barsotti's Free Music School, Marseilles ; and under his 
 
 aunt Louise Farrenc. Held Government appointment in Algiers, 1839-48. 
 
 Resides in Paris as writer, comp. , and librarian at the opera. Member of the 
 
 Institut, 1876. 
 
 Works. — Operas, ballets, etc. : Le Selam, s3miphonic-poem (Gautier), 1850 ; 
 
 Maitre Wolfram, 1854 ; Sacountala (Gautier), 1858 ; La Statue, 1861 ; Erostrate, 
 
 1862 ; Sigurd, Brussels, 1884, London, 1884. Victoire, cantata, 1859. Recueil 
 
 de 10 Melodies, for voice and j?f. Pf. music, scenas, songs, etc. 
 
 BEYNOLDS (John). English comp. of i8th century. Was Gent, of Chap.- 
 Royal, 1765-1770. D. Lambeth, 1770 [Nov. 1778?]. Comp. the well-known 
 anthem, "My God, my God, look upon me." 
 
 BHAW (Georg), or Rhau. German comp. and writer, B. Eisfeld, Franconia, 
 1488. Director and cantor at Leipzig, and latterly printer at Wittenberg. 
 D. Wittenberg, Aug. 6, 1548. 
 Works. — Enchiridion utruisque Musical practical ex variis Musicorum.. .Witten- 
 berg, 8vo, 1530 [7 editions to 1553]. Enchiridion Musicse mensuralis... Leipzig, 
 i2mo, 1520. Opus decem missarum quatuor vocum collectum, Wittenberg, 4to, 
 1541- 
 
 BHEINBEBGEB (Joseph). German pianist, org., and comp., B. Vadutz, 
 
 Lichtenstein, March 17, 1839. Org. at Vadutz, 1846. S. at Munich Cons. 
 
 under F. Hauser, L^onhard, Herzog, and Meier, 1851-58. Pf. teacher in 
 
 Munich Cons., 1859, and org. of the Hof-kirche of S. Michael. Cond. of 
 
 Munich Oratorio Society. Prof, in Royal School of Music, and Cond. of 
 
 Bavarian Court Band, Munich. 
 
 Works. — Operas : Magnus ; Crown of Misfortune ; Die Sieben Raben, 1869 ; 
 
 Thvlrmer's Tochterlein, 1873. Three Latin Hymns, female voices and org., op. 
 
 96. Wittekind, ballad for chorus and orch. Das Thai des Espingo, do. Christo- 
 
 forus, legend, op. 120. Wallenstein, symphony, op. 10. Florentinische Sinfonie. 
 
 Overtures : Taming of the Shrew ; Demetrius (Schiller), op. no ; and to a Play by 
 
 Shakespeare, op. 17 ; Fantasia for orch., op. 79; Requiem Mass for chorus, solo, 
 
 and orch., 1871 ; Stabat Mater, op, 138; Quintet for strings, op. 82 : Quintet for 
 
 Pf,, 2 violins, viola, and 'cello, op. 114 ; Quartet for strings, in C min., op. 89 ; 
 
 Quartet for Pf., violins, and 'cello, in E flat, op. 38 ; Trio, Pf., violin, and 'cello, 
 
 op. 34 ; 2nd Trio for Pf., violin, and 'cello, op. 112 ; Concerto in A flat for Pf. 
 
 and orch., op. 94 ; Sonata in E flat for Pf. and violin, op. 77 ; Do. in E min., op. 
 
 105. Pianoforte : Sonata symphonique, op. 47 ; Sonata in D flat, op. 99 ; 
 
 Humoresques, op. 28; Toccatas, opp. 12, 104, 115; 3 Kleine concertstiicke, op. 
 
 5; 3 Klaviervortrage, op. 53; Zum Abschied, study, op. 59; Drei vortrags 
 
 studien, op. loi ; 3 Studies for left hand, op. 113. Organ: Sonata, No. I in C 
 
 min., op. 27 ; No. 2 in A fiat, op. 65 ; No. 3 in G, op. 88 ; No. 4 in A min._, op. 
 
 98; No. 5 in F sharp, op. Ill 5 No. 8 in E min., op. 132 ; Sonata pastorale in G. 
 
So6 
 
 RIC — RIC 
 
 RICiCI (Federico). Italian comp., B. Naples, Oct. 22, 1809, S. at Cons, of S. 
 
 Sebastiano, under Zingarelli, Raimondi, etc. Resided with his brother till 
 
 1844. D. Conegliano, Dec. 10, 1877. 
 V^OKKS.— Operas : II Colonello, 1835 ; II Desertore per Amore, 1836 (comp. 
 in association with his brother Luigi) ; La Prigione d' Edimburgo, 1837 ; Michel 
 Angelo e RoUa, 1841 ; Vallombra, 1842; Isabella de' Medici, 1844 ; Estella, 1846 ; 
 Griselda, 1847 ; Crispino e la comare, 1850 (with Luigi) ; I due Ritratti, 1850 ; II 
 Paniere d' amore, 1853; Una FoUia a Roma, 1869. Masses, cantatas, duets, 
 songs, etc. 
 
 BICCI (Luigi). Italian comp., brother of preceding, B. Naples, June 8, iSoj. 
 
 S. Naples Cons, under Zingarelli, Furno, and afterwards under Generali. 
 
 Married Lidia Stoltz, 1844. Chap. -master at Trieste Cath., and cond. of the 
 
 opera. D. insane, at Prague, Dec. 31, 1859. 
 Works. — Operas : L'Impresario in angustie, 1823 ; La Cena frastornata, 1824 ; 
 II Diavolo condamnato, 1826; La Lucerna di Epitteto, 1827; Ulisse, 1828; II 
 Colombo, 1829; II Sonnambulo, 1829; La Neve, 1831 ; II Nuovo Figaro, 1832; 
 I due Sergenti, 1833; Chi dura vince, 1834; II Colonello (with Federico), 1835 ; 
 Chiara di Montalbano, 1835 ; II Disertore per amore (with Federico), 1836 ; Le 
 Nozze di Figaro, 1838 ; La Solitaria delle Asturie, 1844 ; L'Amante di richiamo 
 (with Federico), 1846 ; II Birrajo di Preston, 1850 ; Crispino e la comare, Venice, 
 1850 (with Federico) ; La Festa di Piedigrotta, 1852; II Diavolo a quattro, 1859. 
 Songs, church music, etc. 
 
 A number of the above operas were produced with much success in Italy, and 
 " Crispino e la Comare " is still in use. His son Luigi, B. Trieste, is resident in 
 London as teacher and comp. He has written Frosina, 1870; Un Curioso acci- 
 dente, 1871 ; Donna Ines, Milan, 1885. Masses, songs, etc. 
 
 BpICE (Fenelon B.) American musician. Director of Oberlin Conservatory of 
 Music, Ohio. Past President of the Music Teachers' National Association. 
 Author of many valuable papers on musical subjects read at the meetings of 
 the M. T. Nat. Assoc, and elsewhere. 
 
 EICE (Philip). American writer, D. 1857. Author of " Method for the Banjo, 
 with or without music," Boston, n.d. Rice was a negro minstrel. 
 
 BICHARDS (Henry Brinley). Welsh comp., pianist, and teacher, B. Car- 
 marthen, Nov. 13, 1817. Son of H. Richards, org. of S. Peter's, Carmarthen. 
 Intended for medical profession, but abandoned it in favour of music. Entered 
 R. A. M. as student, with assistance of the Duke of Newcastle. Gained 
 King's Scholarship, 1835 ^"<i 1837. Member R. A. M. Resided in London 
 as teacher and pianist. D. London, May 2, 1885. 
 Works. — Orchestral: Overture in F minor, Paris, 1840, Lond., 1841 ; The 
 "Albert Edward," march (military band), 1862 ; The Carmarthen march. Piano- 
 forte : Andante Pastorale ; The angel's song ; Picciola Estelle ; Fete de la Reine 
 (1849) ; La Reine Blanche, scherzo ; Recollections of Wales (1852) ; Warblings at 
 eve (1856); Marie, nocturne (1857) ; Book of Octave Studies; Andante cantabile 
 (1858); Fantasias on Welsh airs (1861) ; Tarantelle (1864); Evening, nocturne 
 (1877); Autrefois (1880). Parf Songs: "Dp quit thy bower, trio (1846) ; In the 
 hour of my distress, solo and choir (1856) ; There's not a heath (1857) ; The boat 
 song; Ye little birds madrigal (1863); Sun of my soul (1868); The Cambrian 
 plume (1869) ; Let the hills resound (1873); The men of Wales (1877) ; Nobody 
 cares for thee (1878). Duets: How beautiful is night; The old church chimes; 
 Home, etc. Songs : In the hour of my distress ; Cambrian war-song (1859) ; The 
 harp of Wales (1862) ; God bless the Prince of Wales (Dec. 1862) ; As o'er the past 
 (1868); The harper's grave (1869); The Black Watch (1874); Men of Wales 
 (1877), etc. Songs of Wales, edited, London, 8vo, 1873 (other editions). 
 
 RICHARDSON (John E.) English org., comp., and writer. S. at Salisbury 
 Cath., under A. T. Corfe. Org. and master of the choristers, Salisbury Cath., 
 1863. Comp. Service in F. Anthems : I will give thanks ; Turn Thee, O 
 Lord ; Praise to Thee, O God ; Short anthems for Whitsuntide and Trinity. 
 Organ music. "The Tour of a Cathedral Organist," Salisbury, 8vo, 1870. 
 
RIC — RIC 507 
 
 BICHABDSON (Joseph). English flute-player and comp., B. 1814. Member 
 of Jullien's orch. , and latterly principal flutist in Queen's private band. D. 
 London, March 22, 1862. 
 Comp. fantasias, variations, original pieces and arrangements for flute ; Songs, etc. 
 
 RICHARDSON (Nathan). American comp. and pianist, B. Gloucester, Mass., 
 1827. S. under Dreyschock at Prague, etc. Established music-publishing 
 firm of Russell and Richardson at Boston. D. Paris, Nov. 19, 1859. Author 
 of "Modern School for the Pianoforte..." Boston, 4to, 1859. " New Method 
 for the Pianoforte," 1859, with American or Foreign Fingering. 
 
 RICHARDSON (Vaughan). English org. and comp., B. in latter half of the 
 17th century. S. under Blow, in Chap.-Royal. Org. of Winchester Cath., 
 1695. D. 1729. 
 Works. — A Collection of Songs for one, two, and three voices, accompany'd 
 
 with Instruments, Lond., 1 701. Odes, cantatas, etc. Anthems and songs. 
 
 RICHARDSON (William). English org. and comp., was org. of Deptford, 
 London, early in last century. Published "The Pious Recreation..." Lond., 
 8vo, 1729. A collection of psalms. 
 
 RICHAULT (Charles Simon). French music-publisher, B. Chartres, May 
 10, 1780. Established famous publishing business at Paris, 1805. D. Paris, 
 Feb. 20, 1866. His son, Guillaume Simon, B. Paris, Nov. 2, 1806, carried 
 on the business in succession to his father, till his death at Paris, Feb. 7, 1877. 
 In his turn he was succeeded by his son, Leon, B. Paris, Aug. 6, 1839, who 
 has greatly increased the business and the number of works issued. The cata- 
 logue of this celebrated firm contains good editions of the works of Schubert, 
 Mozart, Handel, Bach, Beethoven, Cherubini, M^hul, Meyerbeer, Onslow, 
 Spontini, Marschner, Rossini, Cimarcsa, Hummel, Pacini, Balfe, Paer, Gretry, 
 Joachim, Piatti, Thomas, Berlioz, Eeber, Gounod, Gouvy, Guilmant, Mass^, 
 etc. 
 
 RICHMOND (Rev. Legh). English divine and musician, E. Liverpool, 1772. 
 D. May 8, 1827. Author of "The Dairyman's Daughter " in the "Annals of 
 the Poor," and other religious works. Known to musicians by some good 
 glees, contained in Hague's collections. 
 
 RICHMOND (William Henry). English org. and comp. S. under Jas. 
 Rhodes and T. A. Marsh. Org. successively at Knaresborough and Dundee. 
 Comp. church services and anthems, marches and other music for organ, etc. 
 
 RICHTER (Ernst Friedrich Eduard). German writer, comp., and teacher, 
 B. Gross-Schonau, Zittau, Oct. 24, 1808. Educated at the School of Zittau, 
 and afterwards at Leipzig University. S. music under Weinlig. Prof, of har- 
 mony and counterpoint at Leipzig Cons., 1843. Music-director at Leipzig 
 University, 1843. Cond. the Singakademie till 1847. Org. of S. Peters, 
 Leipzig, 1851, and afterwards of St. Nicholas. Cantor of St. Thomas School, 
 1851. D. Leipzig, April 9, 1879. 
 Works. — Oratorio: Christus der Erloser, 1849. Cantatas, etc. Op. 7. 3 
 Romanzen fiir Pf. ; op. 8. Hymne, chorus and orch. ; op. 9. Four lieder ; op. 10. 
 The 126th Psalm ; op. 11. Six lieder; op. 12. Four 4-part lieder; op. 14. Six 4- 
 part lieder ; op. 16. The Ii6th Psalm, for solo, chorus, and orch.; op. 17. The 
 137th Psalm ; op. 18. Six 4-part lieder ; op. 19. Fantasia and fugue, for org.; op. 
 20. Six pieces for org.; op. 21. Three preludes and fugues, org.; op. 25. Quartet 
 for strings, in E minor ; op. 26. Sonata for Pf. and violin, A minor; op. 27. Sonata 
 for Pf. ; op. 35. Two poems for female chorus, with solo ; op. 37. Sonata for 'cello ; 
 op. 44, 46. Masses for solo, chorus, and orch., etc. Didactic : Lehrbuch der 
 Harmonie Praktische anleitung zu den Studien in derselben, zunachst fiir das Con- 
 servatorium der Musik in Leipzig, Leipzig, 8vo, i860 (numerous editions), trans, 
 as Treatise on Harmony, by Franklin Taylor, London, 8vo, 1864 ; American trans, 
 by T. P. Morgan, and J. CD. Parker, in numerous editions. Morgan's trans, was re- 
 printed in London, 1880. Lehrbuch des einfachen und doppelten Contrapunkts, 
 Leipzig, 8vo, 1872, English trans, by Franklin Taylor, Lond., 8vo, 1874. Lehrbuch 
 der Fuge... Leipzig, 8vo, 1872, trans, by Franklin Taylor, London, 8vo, 1878, 
 American edition by Arthur W. Foote, Boston. 
 
5o8 RIC — RIE 
 
 Richter attained great fame as a teacher, and his influence in this respect is still 
 maintained through his excellent theoretical hand-books. 
 
 EICHTER (Ernst Heinrich Leopold). German comp., B. Thiergarten, Glo- 
 gau, Nov. 15, 1805. S. under Ernst, Berner, Klein and Zelter. Prof, of 
 music at Normal School of Breslau, 1826. Music-director at Gorlitz, 1845. 
 Comp. an opera, symphonies, psalms, motets, masses, org. -music, part-songs, 
 lieder, etc. 
 
 RICHTER (Hans). Hungarian cond., B. Raab, April 4, 1843. Son of the 
 
 Chap. -master of Raab Cath. Chorister in Court Chap., Vienna. S. at Vienna 
 
 Cons, under Kleinicke (horn), Sechter, and Hellmesberger, 1859. Horn-player 
 
 in Karnthnerthor orch. Associated with Wagner in the production of his 
 
 operas from l865. Cond. at Hof-und-National Theatre, Munich. Cond. at 
 
 National Theatre, Pesth, 1871. Cond. at Court Opera Theatre, Vienna, 1875. 
 
 First appeared in London, 1877. Court Chap. -master at Vienna, 1878. Cond. 
 
 series of orchestral concerts in London which attracted much attention, 1879- 
 
 1885. Mus. Doc. Cantab., honoris causd, 1885. Cond. the Birmingham 
 
 Musical Festival, 1885, at which were produced original works by Gounod, 
 
 Dvorak, Stanford, Mackenzie, etc. 
 
 Richter is regarded as the greatest master of orchestral conducting presently 
 
 before the public. His great grasp of his art is evidenced by the fact that his 
 
 intimate knowledge of the works of many great masters, including Beethoven and 
 
 Wagner, enables him to conduct with ease and in unsurpassable style without 
 
 score. It is chiefly as a conductor of Wagner's operas that he is most favourably 
 
 known, and he is understood to have enjoyed the advantage of the practical advice 
 
 of the composer himself, imparted during many years of personal communion. 
 
 RICORDI (Giovanni). Italian music-pubhsher, B. Milan, 1785. Became 
 famous as a publisher early in the present century, and issued an enormous 
 quantity of operatic music, as well as Pf. music, songs, and other works from 
 about 1808. He D. Milan, March 15, 1853. Succeeded by his son TiTO, 
 who added much to the number of publications. In his turn Tito was suc- 
 ceeded by GiULio Di Tito (B. 1835), who relieved his Father from the cares 
 of the business consequent on his withdrawal through illness. The firm is now 
 one of the most extensive in the world, their publications numbering upwards 
 of 50,000 items. They have branch establishments in Rome, Naples, Florence, 
 London, and Paris. Among their periodical publications may be named the 
 Gazzetta Musicale di Milano, which, under the editorship of Mazzucato, has 
 attained great success. In addition to works in musical literature, including 
 Paloschi's well-known "Annuario Musicale," the firm issues works by the 
 following composers : — Asioli, Auber, Basily, Bellini, Boito, Bottesini, Cag- 
 noni, Carafa, Cimarosa, Donizetti, Dussek, Fioravanti, Gomes, Jommelli, 
 Marchetti, Mayr, Mercadante, Meyerbeer, Morlacchi, Mosca, Mozart, Orlandi, 
 Pacini, Paer, Peri, Ponchielli, Raimondi, Ricci, Rossini, Spontini, Tosti, 
 Vaccaj, Verdi, Weber, Weigl, and Zingarelli. 
 
 RIDDELL (Captain Robert). Of Glenriddell, Dumfriesshire, Scottish anti- 
 quary and musician, best known as the friend of Burns the poet. He published 
 "A Collection of Scotch, Galwegian, and Border Tunes, for the Violin and 
 Pianoforte, with a Bass for the Violoncello or Harpsichord," Edinburgh, 1794, 
 fo. ' ' New Music for the Pianoforte or Harpsichord, composed by a Gentle- 
 man. Consisting of a Collection of Reels, Minuets, Hornpipes, Marches, and 
 two Songs in the Old Scotch taste, with variations to five favourite tunes," 
 Edinburgh, n. d., fo. Also music to some of Burns' songs. He D. Friar's 
 Carse, near Dumfries, April 21, 1794. 
 
 RIEDEL (Carl). German org. and comp., B. Kronenberg, near Elberfeld, Oct. 
 6, 1827. S. under Carl Wilhelm, and at Leipzig Cons, under .Moscheles, 
 Hauptmann, Plaidy, etc. Established at Leipzig the "Riedelsche Verein," a 
 society for the cultivation and performance of choral music, famous throughout 
 Germany for the number of new works brought forward at its concerts. 
 Riedel has comp. a number of pieces of concerted vocal music, and has edited 
 and republished a few works of the older German masters, 
 
RiE — Ri^ gog 
 
 RIEDT (Friedrich Wilhelm). German flute-player and comp., B. Berlin, Jan. 
 5, 1710. S. flute under Graun and SchafFrath. Chamber musician and flutist 
 to King of Prussia, 1741. D. Berlin, Jan. 5, 1783. Comp. sonatas, concertos, 
 and trios for flute, and theoretical works. 
 
 BIEM (Wilhelm Friedricll). German org. and comp., B. Colleda, Thuringia, 
 Feb. 17, 1779. S. under J. A. Hiller at Leipzig. Org. of the Cath., and 
 director of the Singing School, Bremen, 1822. D. Bremen, April 20, 1837. 
 Works. — Op. 1-5. Sonatas for Pf.; op. 6. Quintet for strings in G minor; op. 7. 
 Two sonatas, Pf. ; op. 8. Quartet for Pf , 2 violas, and 'cello ; op. 19. Three quar- 
 tets for strings ; Songs, lieder, etc. ; Sammtliche Orgel-Compositionen ; Cantatas. 
 
 RIEPEL (Joseph). German theorist and writer, B. in Saxony in first half of 
 1 8th century. S. at Dresden. Musical director at Ratisbon. D. Ratisbon, 
 Oct. 23, 1782. 
 BiIES (Ferdinand). German pianist, comp., and cond., B. Bonn, Nov. 28, 
 1784. Son of Franz Ries (B. Bonn, 1755, D. 1846), who was court musician 
 at Bonn. S. under liis father and Bernhard Romberg. Blind of an eye, which 
 he lost after an attack of smallpox. Resided successively at Munich (where he 
 S. under Winter), and Vienna, where he S. under Beethoven, and was greatly 
 befriended by him. Visited Paris, Cassel, and travelled via Hamburg and 
 Copenhagen to Russia, where he gave concerts in conjunction with B. Romberg. 
 Appeared in London, 1813, became a member of the Philharmonic Soc, and 
 resided there as a fashionable pianist and teacher till 1824. Retired to Godes- 
 berg, near Bonn, 1824. Cond. Lower Rhine Festivals for a few years. Cond. 
 , of the Cecilian Soc, Frankfort. Revisited London, 1831, and produced his 
 
 opera, "Liska." D. Frankfort-on-Main, Jan. 13, 1838. 
 Works. — Operas: Die Rauberbraut, Frankfort, 1829 (London, 1829); Liska, 
 1831, London (The Sorcerer, 1831). Oratorios: Der Sieg des Glaubens, 1835; 
 Die Konige Israels, 1837. Mring quintets : op. 37, 68, 107, 167, 171, 183. Siring 
 quartets: op. 70, 126, 145, 150, 166. Concertos for Pf. : op. 24, 42, 55, 115, 120, 
 123, 132, 151, 177. Trios for Pf, violin, and 'cello : op. 2, 28, 35, 63, 143. Duets, 
 Pf and violin : op. 3, 8, 10, 16, l8, 19, 20, 21, 29, 30, 38, 45, 69, 71, 76, 81, 83, 
 86, 87, 169. Sonatas, Pf. solo: op. I, S, 9, 11, 26, 49, 114, 141, 175. Sonata for 
 Pf. and horn, op. 5. Rondos, marches, variations, fantasias, and transcriptions for 
 Pf. solo. Songs, etc. Biographische Notizen uber Ludwig van Beethoven [with 
 Wegeler], Coblentz, 8vo, 1838. Trans, into French by M. A. F. Legentil, Paris, 
 1862. 
 
 Ries is best remembered by his connection with Beethoven, and the interesting 
 biographical notice relative to him which he has left us. His works are permeated 
 with the style and essence of Beethoven, but lack the necessary fire and originality. 
 
 RIES (Hubert). German violinist and comp., brother of the preceding, B. 
 Bonn, April I, 1802. S. under his father and Spohr. Member of Royal Band, 
 Beriin. Director of the Philharmonic Society, Berlin, 1835. Author of a 
 Standard Method for the Violin, and concertos, quartets, duets, etc. 
 
 RIES (Louis). German violinist and teacher, son of the preceding, B. Berlin, 
 Jan. 30, 1830. S. under his father and Vieuxtemps. Visited Brussels and 
 Paris. Settled in London, 1852. Engaged there as member of the Musical 
 Union, and second viohn at the Monday Popular Concerts. His brothers 
 Adolph, B. Berlin, 1837, is a pianist and comp. S. under Kullak and 
 Bohmer. Teacher and comp. in London. Franz, B. Berlin, April 7, 1846, 
 violinist and comp. S. under Kiel and at Paris Cons. Performed in Paris, 
 London, etc. Now engaged as music publisher in Dresden. Comp. over- 
 tures, concertos, Pf. music, lieder, etc. 
 
 RIETZ (Julius). German comp., cond., and violoncellist, B. Berlin, Dec. 28, 
 1812. S. under Zelter, Schmidt, and B. Romberg. 'Cellist in Royal Theatre, 
 Berlin, 1828. Sub.-cond. at Dusseldorf Opera, 1834 ; and chief director, 1835. 
 Director of the royal music, and cond. of Choral Soc. , . Diisseldorf, 1 836- 1 847. 
 Cond. of the opera, and director of the Singing School, Leipzig, 1847. Cond. 
 of the Gewandhaus Concerts, and Prof, of comp. at the Cons., 1848. Cond. 
 of royal opera, Dresden, and chap. -master to the King of Saxony in succession 
 to Reissiger, i860. Director of Dresden Cons. D. Dresden, Oct. i, 1877. 
 
Sl6 RIG Riljt 
 
 Works.— O/smj, etc. -. Lorbeerbaum und Bettelstab, 1833 ; Das Madchen aus 
 der Fremde, 1839 ; Jery und Bately ; Der Corsar, Leipzig, 1850; Georg Neumark 
 und die Gambe, 1859. Symphonies : No. I, in G minor, op. 13 ; No. 2, op. 23 ; 
 No. 3, in E flat, op. 31. Overtures : Military, op. 3 ; Concert, in A, op. 7 ; Hero 
 und Leander, op. 1 1 ;_ Lustspiel, op. 18; Shakspeare's "Tempest." Quartet for 
 strings, op. i ; Fantasia, for 'cello and orch., op. 2 ; Scherzo capriccioso, Pf., op. 
 S ; Concertos, for 'cello and orch., op. i6, 32 ; Sonatas, for Pf. solo, op. 17, 21 ; 
 Concerto for clarinet and orch., op. 29 ; Concerto for violin and orch., op. 31 ; 
 Concertstilcke for oboe and orch., op. 33 ; Arioso for violin and org., etc. Vocal : 
 13 Gesange for voice and Pf., op. 6; Altdeutscher schlachtgesang, chorus and 
 orch., op. 12 ; 7 Lieder, voice and Pf., op. 27 ; 6 Geistliche lieder, for 4-part 
 choir, op. 37 ; Das Grosse Deutsche Vaterland, hymn by Pabst, op. 51 ; Dithy- 
 rambe, chorus and orch. ; Mass, in F ; Psalms ; Cantatas ; Te deums ; Motets ; 
 duets, etc. Editions of Mozart, Beethoven, Handel, and Mendelssohn. 
 
 Rietz will be best remembered as an editor and teacher. His pupils were many, 
 and among them it will be sufficient to mention Radecke, Bargiel, Dessoff, and 
 Nicolai. His brother Eduard, B. Berlin, 1801, D. there, 1832, was a violinist 
 and cond. of great merit. 
 
 RIGBY (George Vernon). English tenor vocalist, B. Birmingham, Jan. 21, 
 1840. Chor. in St. Chad's Cath., Birmingham. Sang in Birmingham, and in 
 1861 appeared in London. Sang as tenor in Corri's Opera Company, 1865. 
 S. under San Giovanni at Milan, where he also sang in opera. Sang after- 
 wards at Berlin and the North of Europe. Sang at the Gloucester Festival, 
 1868, and at the Sacred Harmonic Society, London, in the same year. Has 
 sung in London and the provinces with great success as an oratorio and operatic 
 vocaUst. 
 
 BIGEL (Heinrich Josef), or Riegel. German comp. and cond., B. Wertheim, 
 
 Franconia, Feb. 9, 1741. S. under Jommelli and Richter. Resided in Paris 
 
 as cond. of the Concerts Spirituals, Concert Olympique, and Prof, at Cons. D. 
 
 Paris, May, 1799. Comp. oratorios, operas, J^uartets, Pf. sonatas, etc. 
 
 His son, Henri Jean, B. Paris, May 11, 1772. S. under his father. Director 
 
 of music at Cairo, and member of the Egyptian Institute. Pianist to Napoleon 
 
 I. D. Abbeville, Dec. 16, 1852. He comp. sonatas and concertos for Pf., etc. 
 
 EIGHINI (Vincenzo). Italian comp. and cond., B. Bologna, Jan. 22, 1756. 
 S. under Martini. Actor and buffo vocalist at Prague. Director and comp. 
 at Italian Opera, Vienna, 1779. Singing-master to Princess Elizabeth of Wur- 
 temberg. Court music-director at Mayence, 1788. Married to Henriette 
 Kneisel (1761-1801), a vocalist. Cond. to Friedrich Wilhelm II. at Italian 
 Opera, Berlin, 1793 till 1806. Re-visited Italy, 1804. D. Bologna, Aug. 19, 
 1812. 
 
 Works. — Operas : La Vedova scaltra, Prague, 1778; La Bottega del Caf4; Don 
 Giovanni; Antigono, 1788; Alcide al Bivio, 1789; Enea nel Lazio, 1793; II 
 Trionfo d'Ariane, 1795 ; Atalante e Meleagro, 1797; Armida, 1799; Tigrane, 
 1799 ; Gerusalemme liberata, 1802 ; La Selva incantata, 1803, etc. Masses and 
 other church music, cantatas, ariettas, lieder, solfeggi ; Concertos for various instru- 
 ments, etc. 
 
 Best known in his day as a conductor and teacher, Righini still holds a consider- 
 able degree of attention as a composer of vocal exercises. 
 
 BILEY (William). English musician and writer, was "principal teacher of 
 psalmody to the Charity Schools in London, Westminster, and Parts adjacent." 
 Author of " Parochial Musick Corrected, containing Remarks on Psalmody in 
 Country Churches ; on the ridiculous and profane manner of singing by Metho- 
 dists ; on the bad performance of Psalmody in London and Westminster, with 
 hints for its Improvement... To whish is added a Scarce and Valuable Collec- 
 tion of Psalm Tunes,..." Lond., 1762, 4to. "Parochial Harmony, in three 
 and four Parts, by some of the most Eminent Ancient and Modern Composers, 
 and others," London, 4to, n.d. 
 
 RIMBAULT (Stephen Francis). English org., pianist, and comp., B. Lon- 
 don, 1773. S. under Dittenhofer, Hook, and Possin. Org. of St. Giles in 
 
feiM — Rii\t ^ti 
 
 the Fields. D. London, 1837. Published numerous adaptations for Pf. from 
 Haydn, Mozart, Beethoven, Rossini, Winter, etc. Comp. three grand sonatas 
 for Pf., with Flute accomp., etc. 
 
 BIMBAULT (Edward Francis). English writer and comp., son of preceding, 
 B. Soho, London, June 13, i8i6. S. under his father and Samuel Wesley. 
 Org. of the Swiss Ch., Soho, 1832, and subsequently of several other London 
 churches. Lectured at the Royal Institution and elsewhere on English musical 
 history. One of the founders of the Percy and Musical Antiquarian Societies. 
 Editor to Motett Society, 1841. F.S.A., 1842; Mem. of Academy of Music, 
 and Ph.D., Stockholm, 1842. Hon. Degree of LL.D., Harvard Univ., 
 U.S.A., 1848. D. Regent's Park, London, Sept. 26, 1876. 
 Works. — ^Who was Jack Wilson, the Singer of Shakespeare's Stage ? an attempt 
 to prove the identity of this person with John Wilson, Doctor of Music in the Uni- 
 versity of Oxford, A.D. 1644, Lond., 8vo, 1846. Bibliotheca Madrigaliana ; a Bib- 
 liographical Account of Musical and Poetical Works published in England during 
 the reigns of Elizabeth and James I. ...London, 8vo, 1847. The First Book of the 
 Pianoforte, being a Plain and Easy Introduction to the Study of Music, Lond., 
 l2mo, 184S. The Organ : its History and Construction (with E. J. Hopkins), 
 Lond., 8vo, 1855 (various editions). The Pianoforte: its Origin, Progress, and 
 Construction : with some Account of Instruments of the same class which preceded 
 it, viz.: the Clavichord, the Virginals, the Spinet, the Harpsichord, etc., Lond., 
 4to, i860. The Early English Organ-Builders and their Works, from the Fifteenth 
 Century to the period of the Great Rebellion,... Lond., l2mo [1864]. J. S. Bach : 
 his Life and Writings, compiled from Hilgenfeldt and Forkel, Lond., 8vo, 1869. 
 A Guide to the Use of the New Alexandre Church Harmonium with two rows of 
 Keys, ...Lond., n.d. The Harmonium : it Uses and Capabilities for the Drawing 
 Room as well as the Church, 8vo, 1857. Rimbault's Harmonium Tutor, a Concise 
 and Easy Book of Instruction,... Lond., n.d. Rimbault's New Singing Tutor, 
 adapted from the valuable work of Lablache, Lond., n.d. Edited, secular . Little 
 Book of Songs and Ballads, gathered from Ancient Musick Books, MS. and 
 Printed,. ..Lond., 8vo, 1840 (2nd ed., 1851). The Ancient Vocal Music of Eng- 
 land, Lond., 2 v. [1846-49. Little Lays for Little Learners, set to Easy Songs, 
 Lond., 4to, n.d. Nursery Rhymes, with the Tunes to which they are sung in the 
 Nursery of England, obtained principally from Oral Tradition, Lond., 4to, 1847 ; 
 2nd edit., 1863; 3rd edit., 1867 (other edits.). Musical Illustrations of 
 Bishop Percy's Reliques of Ancient Enghsh Poetry, a Collection of Old 
 Ballad Tunes, etc. ...Lond., 8vo, 1850. The Rounds, Catches, and Canons 
 of England. ..16, 17, and 18 Centuries (with, the Rev. J. Powell Metcalfe), 
 Lond., 4to, n.d. The Old Cheque-Book, or Book of Remembrance of the Chapel 
 Royal from 1561 to 1744, Lond. (Camden Soc), 4to, 1872. Memoirs of Musick 
 by the Hon. Roger North, Attorney-General to James II. ...Edited, with copious 
 notes, Lond., 4to, 1846. Thomas Morley's First Book of Ballets for 5 voices 
 (Mus. Antiq. Soc.) Thomas Bateson's First Set of Madrigals (Mus. Ant. Soc.) 
 Orlando Gibbons' Fantasies of 3 parts for viols (Mus. Ant. Soc. ) Purcell's Bon- 
 duca, a tragedy... to which is added a History of the Rise and Progress of Dramatic- 
 Music in England (Mus. Ant. Soc.) Byrd, Bull and Gibbons' " Parthenia" (Mus. 
 Ant. Soc.) Purcell's Ode for St. Cecilia's Day (Mus. Ant. Soc.) Edited, Sacred: 
 Cathedral Chants of the xvi., xvii., and xviii. centuries... Biographical Notices of 
 the Composers, Lond., 4to, 1844. The Order of Daily Service. ..as used in the 
 Abbey Church of Saint Peter, Westminster... Lond., 1844. A Collection of 
 Anthems by Composers of the Madrigalian Era, Lond. (Mus. Antiq. Soc), 1845. 
 Cathedral Music, consisting of Services and Anthems. ..Lond., fo., n. d. [Vol, I. all 
 published]. Collection of Services and Anthems, chiefly adapted from the works 
 of Palestrina, Orlando di Lasso, Vittoria, Colonna, etc., Lond. (Motett Society), 
 3 vols., fo. The- Hand-Book for the Parish Choir, a Collection of Psalm Tunes, 
 Services, Anthems, Chants, etc., Lond., n. d. The Order of Morning and Evening 
 Prayer, with the Harmony in 4 parts... Lond., n. d. Vocal Part Music, Sacred and 
 Secular, a Collection of Anthems, Motetti, Madrigals, Part-Songs, etc., Lond., n.d. 
 A Little Book of Christmas Carols, with the Ancient Melodies to which they are 
 sung in various parts of the Country... Lond., 4to [1847]. Old English Carols and 
 Two Hymns, Lond., 4to, 1865. The Full Cathedral Service composed by Thomas 
 Tallis...with an Historical Preface, and a Biography of the Composer, Lond,, fo., 
 
5^^ RIN — Rid 
 
 n. d. The Order of Daily Service with the Musical Notation as adapted and com- 
 posed by Thomas Tallis, Lond., fo., n. d. Edward Lowe's Order of Chanting the 
 Cathedral Service, Lond., n. d. The Whole Book of Psalms, with the Tunes in 
 four parts as printed by Thomas Este, 1 592... historical and biographical notice, 
 Lond. (Mus. Ant. Soc), n.d. The Booke of Common Prayer with Musical Notes, 
 as used m the Chapel Royal of Edward VI., 1550. Compiled by John Merbecke... 
 Reprinted in Facsimile, Lond., n.d. Vocal: Country Life, cantata; Fair Maid 
 of Islington, operetta, 1838. Part-songs and numerous single songs. Organ: 
 Organist's Handbook, a Collection of Voluntaries... arranged from Composers of 
 the German School, Lond., n. d. The Organist's Portfolio, a Series of Voluntaries 
 from the works of Ancient and Modern Composers, Lond., 4to, 1S66 (Boston 
 edition, 1867). Some original pieces. Pianoforte: An enormous quantity of 
 Albums, Arrangements, Selections, Transcriptions and other pieces for solo and 
 duet, with a few original pieces. In addition to all the foregoing it should be 
 mentioned that Rimbault edited many works for the Percy Society ; an edition of 
 Sir Thomas Overbury's Works ; several of Handel's oratorios ; Operas by various 
 composers ; and contributed many articles biographical and otherwise to the 
 "Imperial Dictionary of Biography," Grove's "Dictionary of Music," and to 
 periodical literature. 
 
 Much of the work done by Rimbault has high value for practical musicians as 
 well as for the mere antiquary. His labours in reviving some of the older works, 
 and the light which his researches threw on many important subjects connected with 
 English music, entitle him to the respect of all succeeding students of Music. He 
 was especially successful in rescuing from oblivion some Qf the best productions of 
 the early English composers. 
 
 BINALDO DA CAPUA. Italian comp., B. Capua, Naples, 1715. His 
 biography has not been preserved, nor is it known when or where he died. 
 He composed the following operas : — Farnace, 1739 ; La Donna Vendicativa, 
 1740 ; La Libert^ novica, 1744 ; L'Ambizione delusa, 1745 ; La Commedia in 
 Commedia, 1749; La Zingara, 1753; etc. 
 
 KINCK (Johann Christian Heinrich), or Rink. German org. and comp., 
 B. Elgersburg, Gotha, Feb. 18, 1770. S. under Kirschmer, Kittel, and 
 Forkel. Org. at Giessen, 1789, and afterwards Prof, at the Music School 
 there, 1805. Org. and Prof, at University, Darmstadt, 1806 ; Court org. at 
 Darmstadt, 1813 ; Chamber musician to Ludwig I. Ph.D., Giessen Univ., 
 1840. Travelled in Germany as concert-giver and org. D. Darmstadt, Aug. 
 7, 1846. 
 Works. — Church Music •■ Masses, motets, chorales, hymns, etc. Organ: Pre- 
 ludes, op. 2, 25, 37, 47, 49, 52, S3, 58, 63, 74, 95, 103, 116, etc.; Themes with 
 variations, op. 56, 57, 70, 84, 89, 108 ; Twenty pieces, various, op. 33 ; Chorales, 
 op. 40, 64, 77, 78, 109. Practical Organ School, op. 5S ; English editions by J. 
 Bishop, W. T. Best, and J. A. Hamilton. Ecole pratique de la Modulation. ..op. 
 99. Der choralfreund, oder Studien fiir das Choralspielen, 7 vols., op. loi, 104, 
 no, 115, 117, 119, 122, etc. Pianoforte sonatas, variations. Three sonatas for 
 Pf. violin and 'cello, op. I, etc. 
 
 Rinck's Organ School, the work by which he is now known in Britain, is a stan- 
 dard practical authority on the subject of which it treats, illustrated by many exani- 
 ples of various styles of performance^ which renders it valuable both in a didactic 
 and artistic sense. 
 
 EING (John). English writer, B. 1751. D. 1821. Author of "The Com- 
 memoration of Handel, and other Poems," Lond., 8vo, 1786; second edition, 
 Lond., 8vo, 1819. 
 
 RINUCCINI (Ottavio). Italian poet, flourished at end of isth and beginning 
 of 1 6th centuries. B. at Florence. Wrote the pastorals "Daphne" and 
 "Eurydice," 1600, both composed by Peri, and supposed to have been the 
 originals of modern opera. 
 
 RIOTTE (Philipp Jacob). German comp., B. Trier, Rhenish Prussia, Aug. 
 16, 1776. S. under Andre. Music-director at Gotha, 1806. Resided at 
 Vienna as cond. and teacher, D. Vienna, Aug. 20, 1856. 
 
Ris — nii §13 
 
 Works. —O/eras, etc.: Das GrenzstacUchen, 1809; Mozart's Zauljcr.lolc, 1820; 
 LiebeaufdemLande, 1833 ; Noureddin ; DieLieb'inderStadt, 1834. Symphonies, 
 op. 25, etc. ; Concertos for Pf., clarinet, and flute and orch. ; Quartets for strings ; 
 Sonatas for Pf. and violin, op. 13, 35, 44, 45, 50, 55 ; Sonatas for Pf. solo, op. 2, 
 3, n, 20, 32, 37, 38, 41, 52. Fantasias, variations, etc., for Pf. solo. 
 
 RISELE7 (Greorge). English cond. and org., B. Bristol, Aug. 28, 1845. Chor. 
 Bristol Cath., 1852. Articled to John D. Corfe, of Bristol Cath. Deputy 
 org., Bristol Cath., and in 1876 he succeeded to the full post. Established a 
 series of Orchestral Concerts at Bristol in 1877, which have now become most 
 important and influential in the west of England. Mr. Riseley is known as an 
 organist throughout England, and as a conductor and organiser he is widely 
 celebrated. 
 
 BiITSON (Joseph). English antiquary and writer, B. Stockton, 1752. D. 
 London, 1803. Compiled, among other valuable and interesting works, 
 "Ancient Songs, from the Time of King Henry the Third to the Revolution. 
 Prefixed are observations on the Ancient English Minstrels, and Dissertation 
 on Ancient Songs and Music." Lond., 1790, 8vo. "Scottish Songs, with 
 the Music, and Historical Essay..." Lond., 2 vols., 1794, i2mo. Reprinted, 
 Glasgow, 2 vols., 1869. Also an English Anthology, Ballad Collections, and 
 a Bibliographia Poetica, etc. 
 
 RITTER (August Gottfried). German org. and comp., B. Erfurt, Aug. 23, 
 181 1. S. under Miiller and L. Berger. Org. at Erfurt, and afterwards of 
 Magdeburg Cath., 1843. D. Magdeburg, Aug. 27, 1885. 
 
 Works.— Die kunst der Orgelspiels, Erfurt, u. d.; Concerto for Pf. and orch.; 
 Sonatas for Pf., op. 20, 21, etc. Preludes, fugues, sonatas, variations, etc., for 
 org. Songs, etc. 
 
 RITTER (Frederick Louis). French writer and comp,, B. Strasburg, 1834. 
 Descended from a Spanish family of name Caballero. S. under Hauser, 
 Schletterer, and G. Kastner. Prof, of music in Protestant seminary of 
 Fenestrange. Went to the United States, and was a cond. and teacher in 
 Cincinnati, New York, etc, directing Sacred Harmonic Soc, N. Y., Arion 
 Choral Soc, etc. Prof, of music in Vassar Coll., Poughkeepsie, 1867. Mus. 
 Doc, New York, 1878. 
 
 Works. — Symphonies for orch, in A, E min., and E flat ; Overture for orch., 
 Othello ; Concerto for Pf. and orch. ; Stella, symphonic poem ; op. I. Hafis, 
 Persian songs ; op. 2. Scherzo, Pf. ; op. 3. Ten children's songs ; op. 5. Eight Pf. 
 pieces ; op. 6. Six songs ; op. 7. Five choruses for male voices ; op. 8. Psalm xxiii. 
 for female voices ; op. II. Organ fantasia. History of Music, in the form of Lec- 
 tures, Boston, 2 vols., 1870-74, 8vo. Reprinted as History of Music, from the 
 Christian Era to the Present Time, Lond., 8vo, 1878. 2nd edit., 1880. Music in 
 England, New York, 8vo, 1883. Music in America, N. Y., 8vo, 1883. London 
 reprint 2 vols. 1884. Practical Method for the Instruction of Chorus-Classes, etc. 
 
 Ritter's History of Music is the best and most comprehensive work in English 
 coming down to recent times.. His other literary works also possess some value. 
 His wife, nee Fanny Raymond, B. Philadelphia, 1840, is an accomplished musi- 
 cian and writer, and has published "Letters on Music to a Lady, by L. Ehlert," 
 trans., London, 8vo, 1877. "Woman as a Musician, an Art Historical Study," 
 Lond., 8vo, 1877. "Some Famous Songs, an Art Historical Sketch," Lond., 8vo, 
 1878. She also translated Schumann's Music and Musicians, Essays and Criticisms 
 ...2 series, 8vo, 1878-1880. 
 
 RIVIERE (Jules Prudence). French comp. and music-publisher. Partner in 
 the music-publishing firm of Rivifere and Hawkes, London. Comp. " Babil 
 and Bijou," opera, containing "Spring, gentle spring," chorus, which was 
 greatly popular. He also composes much music for military band, and many 
 dances, Pt. music, and songs. He is also celebrated as a cond., and in this 
 capacity has directed some large series of promenade concerts. 
 
 RIZZIO (Davide), or Riccio. Italian musician, B. Turin, early in the l6th cen- 
 tury. Son of a dancing-master. Musician in service of Court of Savoy, and 
 
 I 2 
 
514 Riz — Rob 
 
 in suite of Ambassador of the Grand Duke to Scotland, 1564. French Secre- 
 tary to Mary Queen of Scots. In this position Rizzio made himself very dis- 
 tasteful to the Protestant party in Scotland and also to Darnley, husband of the 
 Queen, and on March 9, 1566, as the outcome of a joint conspiracy, he was 
 assassinated in Holyrood Palace by Lord Ruthven, George Douglas, and others. 
 He receives mention here on account of the very absurd notion which has got 
 abroad that to him is due the invention of the Scottish style of music. 
 Oswald encouraged this belief by affixing Rizzio's name to several tunes in his 
 collections, which are now supposed to have been Oswald's own. Among the 
 tunes said to have been composed by Rizzio are " Gala Water," " Bush aboon 
 Traquair," and others. Rizzio had some skill on the lute, but seems otherwise 
 to have been an artful Italian, more bent on self-advancement than on improv- 
 ing the national music of a turbulent country. 
 
 BOBBEBECHTS (Andre). Belgian violinist and comp., B. Brussels, Dec. 16, 
 1797. S. Paris Cons., and under Baillot and Viotti. Solo violinist to the 
 King of Belgium. D. Paris, May 23, i860. Comp. music for the violin, etc. 
 
 BOBEBTI (Giulio). Italian comp. and singing master, B. Barga, Saluzzo, Nov. 
 
 14, 1823. S. under Rossi. Director of singing school at Florence, 1869, etc. 
 
 Works. — Pier de' Medici, opera, 1849 ; Petrarca, opera, 1858. Masses. 
 
 Corso elementare di Musica Vocale, Pagine di buona fede a proposito di Musica, 
 
 Florence, 1876. Solfeggi, Songs, etc. 
 
 BOBEBrTS (John Varley). English org. and comp., B. Stanningley, near 
 
 Leeds, Sept. 25, 1841. At an early age became org. of S. John's Ch., 
 
 Farsley, near Leeds. Org. of S. Bartholomew's Ch. , Armley, Leeds. Org. 
 
 and choir-master. Parish Church, Halifax, 1867 (of this church Sir John 
 
 Herschell was at one time organist. The organ, oriE;inally built by Snetzler, 
 
 was in 1870-1879 enlarged and improved on the suggestion and under the 
 
 direction of Dr. Roberts, at a cost of about ;^4000, and it is now one of the 
 
 finest instruments in the English provinces). Org. Magdalen Coll., Oxford, 
 
 1882. Bac. Mus. Oxon., 1871. Doc. Mus. Oxon., 1876. F. C. O., 1876. 
 
 Works. — Jonah, a sacred cantata, 1876 ; Appendix and Supplement to 
 
 Cheetham's Psalmody ; Full Morning and Evening Service in D ; Evening Service 
 
 in F, 1880. Anthems: Lord, we pray Thee ; Seek ye the Lord, etc. Songs : I'm 
 
 thinking of the past ; My World ; Happy moments I remember ; Opposite ; Home 
 
 and Friends ; Maiden with the Merry Eye, etc. Organ : Andantes in F and G ; 
 
 Postlude in F ; Siciliano in F ; Fugues, etc. The 103rd Psalm, for chorus and 
 
 orch. (MS.) 
 
 ROBERTSON (Alexander). Scottish musician and teacher of first part of 
 present century. He taught the Pf. on the Logierian system, and was in com- 
 pany with Penson, a violinist, as musicseller in Edinburgh. He afterwards 
 carried on a music-publishing business in partnership with his brother John. 
 Robertson published Marshall's Reels and Strathspeys, and many other Scot- 
 tish musical works. 
 
 ROBERTSON (James Stewart, of Edradynate). Scottish collector, published 
 "The Athole Collection of the Dance Music of Scotland, "...Edmr., 1884, 
 2 v., fo. 
 
 ROBERTSON (Rev. Thomas, D.D.). Scottish divine and writer, was minis- 
 ter at Dalmeny, Linlithgowshire. D. Edinburgh, Nov. IJ, 1799- Author of 
 "Aninquiry into the Fine Arts..." Vol. L London, 1784, 4to. This vol., 
 all that was published of the work, contains the "History and Theory of 
 Ancient and Modern Music." 
 
 ROBINSON (Anastasia), Countess of- Peterborough, English contralto 
 vocalist, B. London, about end of 17th century [1698]. Daughter of a portrait 
 painter. S. under Croft and Sandoni. DSui in "Creso," 1714. Appeared 
 afterwards in operas by Handel, Scarlatti, and Buononcini. Privately married 
 to the Earl of Peterborough, 1724, at which time she quitted the stage. She 
 is supposed to have lived with him, and to have been considered as his " mis- 
 
Rob — ROfi 515 
 
 tress" till 1 735, when, a short time previous to his death in that year, the Earl 
 acknowledged the marriage. D. Bevis Mount, Southampton, 1750. 
 
 ROBINSON (Charles S.). American musician, published the following collec- 
 tions : — " Songs for the Sanctuary: or. Hymns and Tunes for Christian Wor- 
 ship," New York, 8vo, 1865 (other editions) ; " Songs for Christian Worship 
 in the Chapel and Family..." 1869 [selected from the foregoing]; "Short 
 Studies for Sunday School Teachers," 1868 ; etc. 
 
 ROBINSON (Daniel). English writer, author of " An Essay upon Vocal 
 Musick," Nottingham, i2mo, 1715. 
 
 ROBINSON (John). English org. and comp., B. 1682. S. in' Chap. Roy. 
 under Dr. Blow. Org. of St. Lawrence, Jewry, and St. Magnus. Org. West- 
 minster Abbey, 1727. D. London, April 30, 1762. Conip. chants, psalms, 
 etc. His wife, Ann Turner Robertson, whom he married in 1716, was a 
 vocalist of some fame in her day, and sang in the works of Handel. She D. 
 Jan. S, I74I- 
 
 ROBINSON (Joseph). Irish cond and comp,, B. Dublin, Aug. 1816. Son of 
 Francis Robinson, a musician. Chor. in St. Patrick's Oath. Established and 
 cond. the Antient Society from 1834. Cond. of University Choral Soc, 1837. 
 Married to Miss Fanny Arthur, 1849. Cond. at the Exhibitions of Cork 
 (1852), and Dublin (1853). Prof, at Irish Academy of Music, 1856. Estab- 
 lished the Dublin Musical Soc, 1876. Best known for his enterprise in pro- 
 ducing new and large works in Ireland. He comp. anthems, songs, and Pf. 
 music. His wife, Fanny Arthur Robinson, B. Sept., 1831, was a comp. 
 and pianist. She appeared in London, Paris, and Ireland with great success. 
 D. Dublin, Oct. 31, 1879. Among her comps. should be named "God is 
 Love," cantata ; a number of Pf. pieces, such as " Song of the Mill-wheel," 
 "Elf Land," "The Hunt," "Village Fgte," and a few songs, 
 
 ROBINSON (Thomas). English musician and writer. Flourished in the i6th 
 and 17th centuries. Published " The Schoole of Musicke : wherein is taught 
 the perfect method of the true Fingering of the Lute, Pandora, Orpharion, 
 and Viol de Gamba..." London, 1603, fo. 
 
 ROOHLITZ (Friedrich Johann). German writer and musician, B. Leipzig, 
 Feb. 12, 1769. S. at St. Thomas School, under Doles. Founder and editor 
 of the Allgemeine Musikalische Zeitung, 1798-1818. Councillor of Court of " 
 Saxe-Weimar. D. Leipzig, Dec. 16, 1842. 
 Works.— Fiir Freunde der Tonkunst, 1824-32, 4 v. 8vo [Essays on musical sub- 
 jects reprinted from the Musikalische Zeitung\ ; Sammlung vorziiglicher Gesang- 
 st11cke...Mayence, 1838-40, 3 vols., 4to [Collection of vocal music from the works 
 of all the composers who aided in the progress of music to the time of Haydn]. He 
 comp. also masses, cantatas, and hymns. 
 
 ROCK (Michael). English comp. and org., B. in latter part of i8th century. 
 S. under Dr. B. Cooke. Org. of Margaret's, Westminster, 1802. D. Lond., 
 March, 1809. Comp. glees, " Let the sparkling wine go round " (prize, 1794), 
 etc. Another musician named William Rock, was org. of St._ Margaret's, 
 Westminster, 1774-1802. He comp. glees, songs, and some instrumental 
 music. 
 
 ROCKSTRO (William Smjrth). English musician and writer, B. about 1830. 
 
 Pupil of Mendelssohn. Precentor of All Saints, Babbicombe, Devon. Author 
 
 of the following 
 Works. —Harmonies for Additional Chants and the Ambrosian Te Deum, Lond. , 
 1870, 4to; History of Music for the Use of Young Students,... Lond., n.d. ; The 
 Rules of Counterpoint, Lond. ; Practical Harmony for Young Students, Lond., 
 1881 ; Life of G. F. Handel, London, 1883, 8vo ; A General History of Music 
 from the Infancy of the Greek Drama to the Present Period, Lond., 1886, 8vo. 
 Numerous important contributions to Sir George Grove's " Dictionary of Music. 
 He has also comp. and edited numerous Pf. pieces, and published several tales. 
 
 RODE (Jacques Pierre Joseph). French violinist and comp., B. Bordeaux, 
 Feb. 16, 1774. S. under Dacosta, Gervais and Viotti. Dibut as violinist at 
 
5i6 
 
 r6d — ROfi 
 
 Paris, in Viotti's 13th Concerto, 1790. Appeared in Berlin and Hamburg. 
 Shipwrecked on the English coast when on his way from Hamburg, 1794- 
 Ptayed at concert in London, 1794. Performed again in Germany, with great 
 success. Returned to Paris and became Prof, of violin in the Cons. Appeared 
 in Spain, 1799. Solo violinist to Napoleon I., 1800. Went to St. Petersburg 
 with Boieldieu, 1803, where he became solo violinist to the Emperor Alex- 
 ander. Returned to Paris, 1808, and afterwards travelled in Germany, concert- 
 giving, 1811-14. Retired to Bordeaux, and after an unsuccessful re-appearance 
 at Paris in 1825, finally quitted public life and D. Chateau de Bourbon, Ton- 
 neins, near Bordeaux, Nov. 26, 1830. 
 Works. — Concertos for violin and orch., No. I in D minor ; No. 2 in E ; No. 3 
 in G minor ; No. 4 in A ; No. S in D ; No. 6 in B flat ; No. 7 in A minor; No. 
 8 in E minor; No. 9 in C ; No. 10 in B minor; No. 11 in D; No. 12 in E. 
 Quartets for strings, opp. 11, 14, 15, 18, 24, 25. Themes with variations, for violin 
 and orch., opp. 10, 13, 19, 21, 26. Cavatina and rondo, violin and orch., op. 28. 
 Duets for 2 violins. Caprices, op. 22. Romances, Exercises, etc. Songs. 
 
 With Kreutzer and Baillot, he compiled the violin school adopted for use in Paris 
 Cons. Rode was one of the greatest performers of his time, and did much by 
 example to improve the style of playing current during the period of his public appear- 
 ances. His works are still in use, especially for didactic purposes. 
 
 BiODOLPHE (JecUl Joseph), or Rudolphe. French horn-player and comp., 
 B. Strasburg, Oct. 14, 1730. S. horn under his Father. S. under Leclair. 
 Horn-player in seirvice of Duke of Parma, 1754 ; Duke of Wilrtemburg ; and 
 in band of Prince de Conti, at Paris. Prof, of Horn in Paris Cons. D. Paris, 
 Aug. 1812. Comp. operas, horn music, etc. 
 
 BODWELL (Ann). English writer, authoress of " The JuvenilefPianist," Lond., 
 4to [1838] ; several editions. 
 
 RODWELL (George Herbert Bonaparte). English comp. and dramatist, 
 
 B. London, Nov. 15, 1800. Son of Thomas Rod well, part-proprietor of the 
 Adelphi Theatre, on whose death in March, 1825, he succeeded to his share in 
 the theatre. Music-director of Covent Garden, 1836. Married to Miss Liston, 
 daughter of John Liston, the comedian. D. Pimlico, London, Jan. 22, 1852. 
 Works.— Opereitas, etc.: The Bottle Imp, 1828; The Mason of Buda, 1828; 
 The Spring Lock, 1829 ; The Earthquake, 1829 ; The Devil's Elixir, 1829 ; My 
 Own Lover, 1832 ; The Evil Eye, 1832 ; The Lord of the Isles, 1834 ; Paul Clif- 
 ford, 183s ; The Sexton of Cologne, 1836 ; Jack Sheppard, 1839 ; Grace Darling; 
 Die Hexen am Rhien ; Sathanus ; Don Quixote ; The Bronze Horse ; Quasimodo 
 (from Weber's " Preciosa") ; The Last Days of Pompeii. Songs of the Sabbath 
 Eve, poetry by E. Fitzball. Songs of the Birds, by Fitzball ; Six Rounds, two 
 Books, Loud., 8vo, n. d. The Royal Serenades, 3 part-songs. Songs: A cup of 
 nectar ; Awake ye gallant sons of Greece ; Banks of the Blue Moselle ; Beautiful 
 blue violets ; Blind flower-girl's song ; Flower of EUerslie ; Hurrah ! for the 
 road ; Here's a health to thee, Mary ; Land of the free ; Muleteer ; Nix, my dolly, 
 pals fake away ; Poor Louise ; Song of Night ; Up, brothers, up ; Who cares, etc. 
 The First Rudiments of Harmony, with an Account of all Instruments employed in 
 an Orchestra, Lond., 1830, 8vo. A Catechism on Harmony, Lond., n. d. The 
 Guitar, Lond., n. d. A Letter to the Musicians of Great Britain, Lond., 1833. 
 Also a few novels, of which "Old London Bridge" ran through several editions, 
 and was reprinted in America. "The Memoirs of an Umbrella," and "Woman's 
 Love," are two others. Also farces and dramatic pieces. 
 
 Rodwell was a favourite lyric composer in his day, and was very popular among 
 all classes. He was associated with Barnett, Bishop, and others, in the attempt to 
 get a National English Opera established. 
 
 ROE (Richard). Irish vocalist and writer. D. London, April, 1853. He 
 wrote " The Principles of Rhythm, both in Speech and Music, especially in 
 the mechanism of English verse," Dublin, 1823, 4to. 
 
 ROECKEL (Joseph Augustus). German cond. and tenor vocalist, B. Neum- 
 burg. Upper Palatinate, Aug. 28, 1783. Employed as secretary to the 
 Bavarian charg^ d' Affaires, at Salzburg. Tenor singer in opera at Vienna, 
 
ROE — ROG 517 
 
 1804. Prof, of singing at the Imperial Opera, Vienna, 1823. Opera director 
 at Aixla-Chapelle, 1828. Introduced German opera into Paris, 1829-32. D. 
 Anhalt-Kothen, Sept. 19, 1870. His eldest son, Augustus (B. Gratz, Dec. 
 I, 1814, D. Buda Pesth, June 18, 1876), was a music director at Dresden. 
 His second son, Eduard, B. Treves, Nov. 20, 1816, S. under Hummel. Ap- 
 peared in London, 1835, and gave concerts till 1848, when he settled at Bath 
 as a teacher and pianist. He has published caprices, i nocturnes, scherzos, 
 marches, mazurkas, etc., for Pf. 
 
 BOECKEL (Joseph Leopold). Youngest son of Joseph Augustus Roeckel, B. 
 
 London, April 11, 1838. S. under Eisenhofer and Gotze. Teacher and pianist 
 
 at Clifton. 
 WoKKS.—Canlaias : Fair Rosamond, 1871 ; The Ten Virgins; Ruth; Father 
 Christmas ; The Sea Maidens ; Westward Ho ; Heather Belles ; Mary Stuart. 
 Songs : Two sets of five songs, op. 12, 13 ; Angus Macdonald ; Arise, sweet maiden, 
 mine ; Beside the sea ; Bride bells ; Children in the wood ; Elsie's dream ; I can- 
 not say good-bye ; Nellie's good-night ; Sea story ; Sun dial ; Storm fiend ; Sun 
 dial ; The river and the rose ; The tryst, etc. Pianoforte : Air du Dauphin ; Alle- 
 gretto pastorale ; Bella Napoli ! ; Fete Roumaine ; Impromptu caprices, 2 books ; 
 Morgenlieder, 4 nos. ; Three musical sketches ; Sylphentanz, etc. 
 
 BOEDER (Martin). German comp. and violinist, B. Berlin, April 7, 1851. 
 
 S. under Joachim and Kiel. Chorus-director at Teatro dal Vermio, Milan, 
 
 1873. Cond. Italian opera company in Spain and Azores, 1875-76. Resident 
 
 in Berlin. 
 
 Works. — Operas: Pietro Candiano IV. Giuditta; Vera. Maria Magdalena, 
 
 oratorio; Two symphonic poems; Lieder, op. II, 12; Gavotte for Pf., op 7 ; 5 
 
 Gesange, voice and Pf , op. 3 ; Trio for Pf., vn., and 'cello, op. 14 ; Itahenische 
 
 wanderbilder, Pf. duet, op. 24. Various literary works, and contributions to 
 
 periodical literature. 
 
 EOFFE (Alfred). English writer, author of " The Handbook of Shakespeare 
 Music, being an Account of Three Hundred and Fifty Pieces of Music set to 
 words taken from the Plays and Poems of Shakespeare, the Compositions 
 ranging from the Elizabethan Age to the Present Time," Lond., 1878, 4to ; 
 "Ghost Belief of Shakespeare," London, 1851, privately printed ; etc. 
 
 BOGEL (Jose). Spanish comp., cond., and violinist, B. Orihuela, Alicante, 
 Dec. 24, 1829. S. under Cascales, Gil, and P. Perez. Cond. in Spain. 
 Comp. operas, operettas, etc. 
 
 BOGEB (Gustave Hippolyte). French tenor vocalist, B. Chapelle-Saint- 
 Denis, Paris, Dec. 17, 1815. Educated for the law. S. music at Paris Cons., 
 under Martin, 1836 ; gained prizes for singing. Dibut at the Opera Comique, 
 Paris, Feb. 1838. Appeared afterwards in operas by Thomas, HaMvy, Auber, 
 Meyerbeer, David, and Boieldieu. Appeared in London, 1847, and afterwards 
 sang in the English provinces, 1848. Sang in Germany in 1850, and after- 
 wards. Lost his right arm through the accidental bursting of a rifle. Prof, of 
 singing in Paris Cons., 1868. D. Paris, September 12, 1879. 
 One of the most famous of French tenor vocalists. For him parts were specially 
 written by various composers, and he was uniformly successful in all of his represen- 
 tations. He was a very good actor, and was best adapted for light parts. After 
 his death, was published " Le Garnet d'un Tenor," Paris, 1880, a book of remin- 
 iscences. 
 
 ROGERS (Benjamin). English comp. and org., B. Windsor, 1614. Son of 
 Peter Rogers, lay-clerk of S. George's Chap. Chor. under Dr. Giles, and lay- 
 clerk. S. George's Chap., Windsor. Org. Christ Church Cath., Dublin. 1639. 
 Gem. of S. George's Chap., Windsor, 1641. Music-teacher in Windsor. 
 Miis. Bac. Cantab., 1658. Org. Eton Coll., circa 1662. Reappointed lay- 
 clerk, Windsor, 1662. Org. Magdalen Coll., Oxford, 1664-85. Mus. Doc, 
 Oxon., 1669. D. Oxford, June, 1698. 
 Works.— A Set of Airs in Four Parts, for Violins, 1653. Hymnus Eucharis- 
 ticus, 1660. Evening Service in G. Services in D, A minor, E mmor, and F. 
 
5^8 ROG — ROL 
 
 Anthems: Behold now, praise the Lord ; Lord, who shall dwell; O pray for the 
 peace of Jerusalem ; Teach me, O Lord ; etc., contained in the collections of 
 Boyce, Page, Ouseley, and Rimbault. Hymns, songs, and instrumental pieces. 
 
 ROGERS (Edmund). English comp. and org., B. Salisbury, 1851. Chor. 
 Salisbury Cath., 1860-65. Org. of Church of S. Thomas, Portman Sq., Lond. 
 yStOKKS.— Cantatas: The Bridal Lay, 1871 ; Jack and the Beanstack, 1879; 
 Blue Beard, 1881 ; Beauty and the Beast, 1882 ; John Gilpin ; or, the Ride to 
 Ware, 18S3 ; The Pilgrim's Progress, 1883 ; The Forty Thieves, 1884. Mass in 
 p. Offertory Sentences. Part-Songs : Sleep on, my babe ; Softly falls the moon- 
 light. Songs : The Huguenot ; My Pet ; When we two parted ; Timothy Tym. 
 Twenty-five Nursery Rhymes. Organ voluntaries, Pf. music, hymns, etc. 
 
 BOaEBS (Frederick F.) English comp. and org., B. Cheltenham, 1846. 
 Org. and choir-master Parish Ch., Highworth, 1863-65. Assistant org. Parish 
 Ch., Great Malvern; and org. at College Chap., 1865-69. Org. and choir- 
 master, St. Peter's, Malvern Wells. 
 Works.— Festival Setting of Te Deum, in F ; Te Deum in G, for Parish Choirs. 
 
 69th Psalm for solo, chorus and organ (MS.) Offertory Sentences. Numerous 
 
 Chants and Kyries. Deborah, sacred cantata for solo voices, chorus, and orch. 
 
 Pianoforte: Valse Sentimentale; Minuet Sentimentale ; In the Gloaming ; Minuet, 
 
 in A. Songs and Part-songs. 
 
 BOGERS (Sir John Leman, Baxt.) English amateur comp., B. April 18, 
 1780. Succeeded to the baronetcy, 1797. Mem. of the Madrigal Soc, 1819. 
 President of Madrigal Soc, 1820-41. D. Dec. 10, 1847. 
 Works. — Sixteen Glees, for three, four, five, and six voices, Lond., u. d., fo. 
 Church Service in F ; anthems, chants, and other sacred music. 
 
 BOGERS (Boland). English comp. and org., B. West Bromwich, Staffordshire, 
 
 Nov. 17, 1847. Commenced study of music at the age of II. Org. of S. 
 
 John's, Wolverhampton, 1861. Org. Tettenhall Parish Ch., 1867. Mus; 
 
 Bac. Oxen., 1870. Org. Bangor Cath., after competition, before George 
 
 Cooper, 1872. Mus. Doc. Oxon., 1875. 
 Works. — Prayer and Praise, a Cantata. Symphony for orch. in A minor (MS.) 
 Quintet for strings (MS.) Anthems, Part.-.songs, Songs, Organ music. 
 
 ROHNER (Georg Wilhelm). German writer and comp., B. Saxe-Coburg, 
 1806. Mus. Doc. Dublin, 1870. D. Liverpool, Feb. 26, 1884. Author of 
 "A Practical Treatise on Musical Composition, in three Parts," Lond., 
 1849-54, 4to. "Art of Singing," Lond., 1856, fo. "Art of Piano Playing," 
 Lond., n. d., fo. " Moses," an Oratorio ; Foxglove, or the Quaker's Will, 
 opera, 1883 ; a Stabat Mater ; and Vocal and Pf. music. 
 
 ROKITANSKY (Victor, Freiherr von). Austrian bass vocalist and teacher, 
 B. Vienna, July 9, 1836. S. at Bologna and Milan. Appeared in England, 
 1856. Debut -dX Prague, 1862. Re-appeared in London, 1865, and again in 
 1876-77. Prof, of singing in Vienna Cons., 1871-80, and teacher there. 
 
 ROLLA (AleSSandro). Italian violinist and comp., B. Pavia, April 22, 1757. 
 S. under Renzi and Conti. Leader in band at Parma, where Paganini was his 
 pupil. Cond. of the Opera at La Scala, Milan, 1802. Prof Milan Cons., 
 etc. D. Milan, Sept. 15, 1841. Comp. ballets, serenades, concertos ; quar- 
 tets, trios, and duets for stringed instruments. His son Antonio, B. Parma, 
 April 18, 1798. D. Dresden, May 19, 1837, was a violinist and comp. for that 
 instrument. 
 
 BOLLE (Johann Heinricll). German comp. and org., B. Quedlinburg, Dec. 
 23, 17 18. S. under his father, a musician. Court musician in chapel of Fre- 
 derick the Great. Org. of church of St. John, Madgeburg. D. Madgeburg, 
 Dec. 29, 1785. 
 Works. — Oratorios, etc. : Der tod Abels, 1771 ; La Victoire de David, 1776; 
 .Saul, 1776; Abraham auf Moria, 1777; Lazarus, 1777; David und Jonathan, 
 1773 ; Samson ; Thirza und ihre Sbhne, 1784 ; Oreste et Pylade ; Idamant, 1782 ; 
 
ROM — RON 
 
 519 
 
 Melida, 1785; Mehalaj La Tempfete, 1802. Odes of Anacreon. Passion music, 
 Church cantatas. Lieder. Pf. music, etc. 
 
 BOMAINE (Rev. William). English divine and writer, 1714-1795, Author 
 of "An Essay on Psalmody, by W. R.," Lond,, 1775, i2mo. 
 
 BOMANI (Felice), Italian librettist, B. Genoa, Jan. 31, 1788. D. Moneglia, 
 Riviera, Jan. 28, 1865. Author of many opera librettos, among, which maybe 
 specified " La Sonnambula," " Norma," and ' ' L'Elisir d'Amore." He wrote 
 numerous other opera books for composers like Rossini, Mercadante, Donizetti, 
 and Ricci. 
 
 ROMANO. See Caccini (Giulio). 
 
 BOMBEKG (Andreas). German comp, and violinistj B. Vechte, Osnabruck, 
 April 27, 1767. S. music under his father, a clarinet player. Appeared as 
 violinist when only seven years old. Dibut at Paris, 1784. Violinist in band 
 of the Elector at Bonn. Appeared in Italy, 1793-96. Travelled in North 
 Europe as a violinist. Resided at Hamburg, where he was married. Chap, • 
 master at Gotha. D. Gotha, Nov. 10, 1821. 
 Works. — Operas and Oferettas: Das Graue Ungeheuer, 1790 ; DerRabe, 1791 ; 
 Die Macht der Musik, 1791 ; Don Mendoce, 1800. Cantatas : Die Ruinen von 
 Paluzzi ; Die Grossmuth des Scipio ; Die Glocke, Schiller (The Lay of the Bell), 
 op. 25, 1808 ; Harmony of the Spheres, op. 45 (Kosegarten); The Transient and 
 the Eternal (Kosegarten); The Power of Song (Schiller); Die Kindesmorderin, op. 
 27 ; Psalms ; Te Deums, etc. Symphonies for orch., op. 6, 22, 33, and 51. Con- 
 certos for violin and orch., op. 3, 8, 46, 50. Quintets for strings, op. 23, 58. 
 Quartets for strings, op. I, 2, 5, 7, 11, 16, 30, $8, 59. Rondos for violin and orch., 
 duets for violins, studies for violin, etc., Psalmodie... Offenbach, 11. d., 4to. Lieder. 
 Sonatas for violin and Pf. and other works. 
 
 Best known by his cantata, the "Song of the Bell," and his symphony for toy 
 instruments. His style is formed on that of Mozart, and is careful and unaffected. 
 
 B0M6EBG (Beruliard). German violoncellist and comp., B. Dinklage, Nov. 
 
 II, 1767. Cousin of the foregoing. S. under his father. Played in band of 
 
 the Elector of Cologne at Bonn. Travelled as 'cellist in Italy, Spain, and 
 
 Austria. Resided at Hamburg. Prof of 'cello in Paris Cons., 1801-3. 
 
 'Cellist in Royal band at Berlin till 1806, and Court music-director till 1817. 
 
 Travelled as a virtuoso till about 1840. D. Hamburg, Aug. 13, 1841. 
 
 Works. —Of eras: Die wiedergefundene Statue, 1790; Der Schiffbruch, 1791 ; 
 
 Don Mendoce (with Andreas Romberg), Paris, 1800 ; Ulysses und Circe, op. 26, 
 
 1827 ; Rittertreue, 1817. Concertos for violoncello and orch., op. 2, 3 in D, 7 in 
 
 E, 30, 31 (military), 44 in C, 48 in A, 56 in B minor ; Overtmres for orch., op. II 
 
 and 14 ; Concertino for 2 'cellos and orch., op. 72 ; Quartets for strings, op. i, 12, 
 
 2Si 39, etc ; Trios for strings, op, 8, 38, etc. Sonatas, fantasias, duets, caprices, 
 
 rondos, etc., for 'cello and Pf. Music written in association with his cousin Andreas. 
 
 Method for the Violoncello, Berlin, 1840. 
 
 Famous as a performer more than as a composer. His concertos are still in the 
 repertoires of the best players, and some of his music for the violoncello is in use at 
 the present time for teaching purposes. 
 
 BOMEB (Emma). English soprano vocalist, B. 1814. S. under Sir George 
 Smart. Debut at Covent Garden Theatre, London, 1830. Sang in English 
 Opera House, etc. Appeared chiefly in English operas, which she produced 
 at the Surrey Theatre, London. D. Margate, April II, 1868. 
 
 ROMER (Frank). English writer and comp., B. London, Aug. 5, 1810. Mem- 
 ber of the music-publishing firm of Hutchings and Romer. Comp. Fridolin, 
 opera, 1840 ; The Pacha's Bride, opera. Songs : Day dreams, Fair Chloris, 
 I joyfully carol, I've watched with thee, Maiden of the sunny clime, Now 
 smiling comes the joyous spring, O mother hear thy poor blind child. The 
 lay of the chimes; Part-music for three and four voices, etc. "The Physi- 
 ology of the Human Voice," London, 1850, 8vo (2 editions). 
 
 RONCONI (Domenico). Italian tenor vocalist, B. Lendinara-di-PoUesine, 
 Venetia, July 11, 1772. S. under Pacchierotti and Babini. Singing master at 
 
520 RON — ROO 
 
 Conegliano and Venice. Dibut as tenor at the San Benedetto Theatre, Venice, 
 1796. Afterwards appeared in various parts of Italy, and in St, Petersburg. 
 Court vocalist to the King of Bavaria at Munich, 1819-29. Teacher in Milan. 
 D. Milan, April 13, 1839. He comp. ariettas and other vocal pieces. His 
 sons were all distinguished vocalists. Giorgio, barytone, B. Milan, Aug. 6, 
 
 1810, S. under his father, and made his debut in 1831 at Pavia. He subse- 
 quently sang in various parts of Italy, and found much favour in Rome, 
 Florence and Naples. Married Giovannina Giannoni, 1837. Appeared at 
 H. M. Theatre, London, 1842, in Donizetti's "Lucia di Lammermoor." 
 Sang also in the provinces same year. Sang in Paris, 1842, and in succeeding 
 years appeared successfully in Austria, Spain, and Italy. He sang in London 
 again, in 1847, and continued to appear there till 1866. He had in 1863 estab- 
 lished a singing school at Granada. He afterwards appeared in America, and 
 on his return to Europe, in 1874, became Prof, of singing at Madrid Cons. 
 He has comp. some fine songs, and published "II Baritono moderno, 12 
 vocalizzi per voce di baritono," Milan, n.d. His brother Felice, B. Venice, 
 
 181 1, D. St. Petersburg, Sept. 10, 1875, wrote songs and a vocal method. He 
 had some fame as a teacher. Finally, Sebastiano, the youngest son of 
 Domenico, B. at Venice, 1814. S. under his father, and appeared with much 
 success as a barytone singer in Italy, Spain, Austria, and America. He sang 
 in London in i860. Now a teacher o( singing at Milan. 
 
 BONDINELLA (Pasoiuale). Italian writer and vocal teacher, B. Naples, 
 March 16, 1825. S. Naples Cons, under Lanza, Ruggi, Mercadante, etc. 
 Settled in Philadelphia, U.S.A., as teacher of singing, 1852. Author of "Pre- 
 paratory Lessons in the Art of Singing,..." Philadelphia, 1864, 2 parts ; 65 
 Progressive Exercises; 50 Vocalises; 12 Vocalising Melodies; Fundamental 
 Rules for the study of Harmony, Boston, n.d. 
 
 BONTGEN (Julius). German comp. and pianist, B. Leipzig, May 9, 1855. 
 Son of Engelbert (B. Deventer, Holland, 1829), a violinist and prof, in Leip- 
 zig Cons. S. under his father, and Haupfmann, Richter, and Plaidy. After- 
 wards S. under F. Lachner at Munich. Travelled in Germany with Julius 
 Stockhausen, the vocalist, concert-giving, 1873. Teacher at Amsterdam. 
 Works. — Op. i. Sonata for Pf. and violin ; op. 2. Sonata forPf. ; op. 3. Sonata 
 for Pf. and 'cello ; op. 4. Aus der Jugendzeit, Pf. pieces ; op. 5. Ballade, Pf. ; op. 
 6. Cyclus of Pf. pieces ; op. 7. Suite for Pf. ; op. 8. Phantasie, Pf. ; op. 9. Tos- 
 kanische Rispetti, operetta; op. 10. Sonata for Pf. ; op. 11. Neckens Polska, 
 variations for Pf. ; op. 14. Serenade for wind instruments ; op. 15. Lieder for voice 
 and Pf ; op. 18. Concerto for Pf. and orch. ; op. 20. Sonata for Pf. and violin in F 
 sharp minor ; op. 21. Nordisches Volkslied, Pf. and violin, etc. 
 
 BONZI (Claudiue). See Begnis (Claudine Ronzi de). 
 
 EOOKE (William Michael), or Rourke. Irish comp., B. Dublin, Sept. 29, 
 1794. Self-taught, with the exception of a few lessons from Dr. Cogan. 
 Chorus-master and deputy-leader at Crow St. Theatre, Dublin, 1817. Settled 
 in England. Chorus-master at Drury Lane Theatre, London, and teacher of 
 singing. D. London, Oct. 14, 1847. 
 Works.— -0/eraj/ Amilie, or the Love Test, Lond., 1837; Henrique, or, the 
 
 Love Pilgrim, Lond., 1839; Cagliostro (MS.) Songs, Pf music, etc. 
 
 ROOT (George Frederick). American comp. and writer, B. Sheffield, Mass., 
 Aug. 30, 1820. Removed with his parents to New Reading, 1826. Partner 
 with A. N. Johnson, as teacher of singing and org. at Boston, 1834-43. Music 
 teacher in New York, where he established a school for the training of music 
 teachers, 1844-55. Removed to Chicago, and founded the firm of Root & 
 Cady, 1860-80. 
 Works. — Cantatas : The Flower Queen ; Daniel (with Bradbury) ; The Hay- 
 makers, 1865 ; Pilgrim Fathers ; Belshazzar's Feast ; The Song Tournament. 
 Collections: Church Music, 1849 ; Academy Vocalist, 1852 ; Young Ladies' Choir ; 
 Musical Album; Young Men's Singing-book (with L. Mason), 1855; Sabbath 
 Bell, 1856; Festival Glee-book, 1857; The Shawm; The Diapason, i860; The 
 Bugle-call, 1863 ; The Cornet, 1865 ; Silver Lute ; The Forest Choir ; The 
 
ROO — ROS 521 
 
 Triumph, 1868 ; The Choir and Congregation. Theoretical: Singer's Manual, 
 l8mo, 1849 ; School for the Melodeon, Harmonium, and Cabinet Organ, 4to, 
 1863 ; The Musical Curriculum for Solid and Symmetrical acquirement in Piano- 
 forte playing, etc., 4to, 1865 (numerous editions) ; Guide for the Pianoforte, Cin- 
 cinnati, n. d. ; School of Singing, n. d. ; Normal Musical Hand-book, n. d. 
 Songs : Away on the prairie alone ; Battle-cry of freedom ; Beyond ; Boy at the 
 fountain ; Dearest spot on Earth to me is home ; Hazel Dell ; Honeysuckle glen ; 
 Jenny Lyle ; Just before the battle. Mother ; Kiss me Mother, kiss your Darling ; 
 Lilly Brook ; Rosalie the prairie flower ; There is music in the air, etc. Numerous 
 vocal quartets, and many Pf. pieces. 
 
 Some of Root's productions have been received with extraordinary popular 
 favour, especially such as are in the same vein as S. C. Foster's contributions to 
 American negro minstrelsy. A number of Root's songs, etc. were issued under the 
 nom de plume of G. F. Wurzel, the German for root. 
 
 ROOTSEY (S., F.L.S.) English writer, author of "An attempt to simplify the 
 Notation ol Music, together with an account of that now in use, "... London, 
 181 1, 4to. 
 
 ROBE (Cipriano di). Flemish comp., B. Mechlin, 15 16. S. at Venice under 
 
 Adrien Willaert. Musician in service of the Duke of Ferrara. Returned to 
 
 Venice and became second chap. -master of St. Marks, IS59; succeeded Willaert 
 
 in full post, 1563. Went to Court of Parma shortly after. D. Parma, 1565. 
 
 Works. — II Primo Libro de' Madrigali ^ quattro voci, Venice, 1542, 4to; II 
 
 secondo Libro de' Madrigali a quattro e cinque voci, 1543 ; Madrigali a cinque voci, 
 
 1544; Mottetti a quattro, cinque, sei et otto voci, 1544; II secondo libro de' 
 
 Mottetti a quattro e cinque voci, 1547 ; II terzo libro di Mottetti,. .1569 ; Fantasie 
 
 e Ricercari 4 3 voci, ...Venice, 1549, Madrigali Cromatici k 5 voci, 5 books, 1560- 
 
 68; Liber Missarum 4, 5, et 6 vocum, 1566; Cantiones sacrae, 1573; Salmi e 
 
 Vespere, 1593 ; Tutti i Madrigali di Cipriano di Rore, ...Venice, 1577, fo., etc. 
 
 This famous and learned musician is still remembered by a few of his madrigals. 
 He is commonly named along with Lassus as a reformer of the musical style current 
 in the i6th century, and as one of the first to employ chromatic progressions with 
 ease and skill. 
 
 ROSA (Carl August Nicolas), or Rose. German cond., violinist, and opera 
 manager, B. Hamburg, March 22, 1842. S. under Lindenau, and at Leipzig 
 Cons., 1859, under David, Dreyschock, Hauptmann, and Richter. Dibut as 
 violinist in a concerto by Jansa, 1850. Appeared as violinist at Crystal Palace, 
 London, 1866. Travelled with Mdlle. Parepa, etc., on a concert- tour in the 
 United States. Married Mdlle. Parepa at New York, Feb. 26, 1867. About 
 this period he established the Carl Rosa Opera Company, and with it gave 
 performances in London and throughout Britain from 1875. Among the operas 
 introduced to the British public by Rosa may be named Gounod's "Faust," 
 Cherubini's "Water Carrier," Adam's "Giralda," Wagner's " Flying Dutch- 
 man," Cowen's "Pauline," Briill's "Golden Cross," Wagner's "Rienzi," 
 Bizet's "Carmen," Thomas' "Mignon," Wagner's "Lohengrin," Verdi's 
 "Aida," Stanford's "Veiled Prophet of Khorassan," Goring Thomas' "Esmer- 
 alda," Mackenzie's "Colomba," Stanford's "Canterbury Pilgrims," and 
 G. Thomas' " Nadeshda." In addition to all those works originally presented 
 by the Eosa Company, there is included in the repertory of the company 
 many standard works of Balfe, Wallace, Benedict, Auber, Flotow, Verdi, 
 Mozart, Bellini, Herold, and Meyerbeer. 
 
 ROSA (Salvator). Italian painter, poet, and musician, B. Benella, near Naples, 
 June 20, 1615. D. Rome, March 1$, 1673. Was a performer on the lute, 
 and comp. numerous madrigals and cantatas. Burney possessed an MS. col- 
 lection of music by Italian musicians, in which appeared several of Rosa's com- 
 positions, and of these specimens are contained in Burney's History. 
 
 ROSE (John), or Ross. English musician of reign of Elizabeth. Invented a 
 musical instrument of the guitar kind, which he called the bandore. It dif- 
 fered in the method of tuning from the lute or orpharion. His son, John, of 
 the Bridewell, London, was famous during his period as a maker of viols. 
 
522 ROS — RO S 
 
 ROSE (Mrs. H. R). See Samuell (Clara). 
 EOSEINGRAVE. See Rosingrave. 
 
 ROSELLEN (Henri). French pianist and comp., B. Paris, Oct. 13, 1811. Son 
 
 of a Pf. manufacturer there. S. at Paris Cons, under Pradher, Zimmerman, 
 Halevy, and Herz, from 1823. Teacher of Pf. in Paris. D. Paris, March 20, 
 1876. 
 
 Works. — Pianoforte '■ Op. i. Perles d'ltalie, 2 rondos ; op. 28. Three reveries; 
 op. 37. 2 Fantasias; op. 55. Decameron des jeunes pianistes; op. 57. Follette, rondo- 
 valse ; op. 69. Etudes ; op. 83. 3 Divertissements Espagnols ; op. 92. Nocturne, 
 tarentelle, etc.; op. 112. La Ros^e, valse ; op. 129. Promenade en mer, barcarolle ; 
 op. 132. Ballade; op. 138. Pensees ; Numerous fantasias, transcriptions, etc., on 
 airs from popular operas. Methode de Piano, op. 116 (English edition also); 
 Manual du Pianiste, exercises, etc., op. Ii6a. 
 
 ROSENHAIN (Jacob). German comp. and pianist, B. Mannheim, Dec. 2, 
 1813, S. under J. Schmitt. Appeared as pianist at Mannheim, 1824, and at 
 Stuttgart, 1825. Afterwards he resided at Frankfort. S. under Schnyder von 
 Wartensee. Appeared in London, 1837, and about the same period settled in 
 Paris. 
 Works. — Operas, etc.: Der Besuch in Irrenhause, 1834; Liswenna, Frankfort, 
 1835; Le Demon de la Nuit ("Liswenna," rewritten), Paris, 1851 ; Volage et 
 Jaloux, 1863. Symphonies : Op. 42. in G minor ; F minor, op. 43 ; F minor " Im 
 Friihling," op. 61. Concerto for Pf. Cantata, for solo voices, chorus, and orch. 
 Quartets and trios for Pf. and strings. Pianoforte : Op. 14. Four romances ; op. 
 15. Romance ; op. 20. 24 Etudes melodiques ; op. 24. Poeme ; op. 25, 31, 37, Ro- 
 mances. Transcriptions, etc. Lieder, op. 21, 23, etc. 
 
 His brother, Eddard, B. Mannheim, Nov. i8, 1818, D. Frankfort-on-Main, 
 Sept. 6, 1 86 1, was a pupil of Schnyder von Wartensee, and comp. works for the 
 Pf. as follows : — Sicilienne, op. 8 ; Nocturnes, op. 6 and 9 ; Sonata, op. 12 ; Sar- 
 matienne, op. 15 ; Elegie, op. 18 ; A Serenade for Pf. and 'cello, and other works. 
 
 ROSENMULLER (Johann). German comp. and org., B. in Saxony, 1615. 
 S. at St. Thomas School, Leipzig, of which he afterwards became joint cantor 
 in association with Tobias Michaelis. Resided at Hamburg for a time, but 
 afterwards went to Italy, where he gained much fame as an organist. Chap.- 
 master to Duke of Brunswick at Wolfenbiittel. D. Wolfenbiittel, 1686. 
 Works. — Maximes de I'Ancien et du Nouveau Testament a 3, 4, S, 6, et 7 voix, 
 1648-52. Xn. Sonata da Camera a 5 stromenti, 1667 ; etc. 
 
 Famous for his chorales, and other sacred pieces, some of which appear in modern 
 collections. 
 
 ROSETTI (Franz Anton), or Dlabacz. Bohemian comp., B. Leitmeritz, 
 1750. Educated at Prague. Chap, -master to Count Wallerstein, and at Court 
 of Mecklenburg-Schwerin, 1789. D. Ludwigslust, June 30, 1792. Comp. 
 oratorios, masses, symphonies, quartets, concertos for flute and orch., and 
 sonatas for Pf. His brother, Gottfried Johann, B. Prague, July 17, 175S. 
 D. Prague, Feb. 4, 1820. Was a writer, and held musical appointments in 
 Prague. 
 
 ROSINGRAVE (Daniel), or Roseingrave. English org., was chorister in 
 Chap. Royal, and S. with Purcell, etc., under Blow. Org. Winchester Cath., 
 1681. Org. Salisbury Cath., 1693-98. Org. and vicar-choral St. Patrick's 
 Cath., Dublin, June 9, 1698-1727. Org. and stipendiary of Christ Church, 
 Dublin, Nov. 11, 1698. D. Dublin, May, 1727. His son Ralph, became 
 vicar-choral of S. Patrick's Cath., 1719 ; org. do., and of Christ Church, 1727, 
 which post he held till his D. at Dublin, Oct. 1747. Thomas, another son, 
 B. Dublin, was educated by his father. S. at Rome, at expense of the Dean 
 and Chapter of S. Patrick's Cath., 1 7 10. Comp. at the King's Theatre, Lon- 
 don, 1720. Org. of St. George's, Hanover Square, 1725-37. D. insane, 
 London [1750]. He published " Voluntarys and Fugues made on purpose for 
 the Organ or Harpsichord," Lond., n. d., 4to. "Twelve Solos for the German 
 Flute, with a Thorough-bass for the Harpsichord," n. d. ; "Eight Suits of Leg- 
 
ROS — ROS 523 
 
 sons for the Harpsichord or Spinnet in most of the Keys," Lond., fo., n. d. ; 
 "Six Cantatas, with accompaniments..." Lond., fo., n. d. ; "Narcissus," 
 opera by D. Scarlatti, adapted for the English stage, with additional songs, 
 1720; "A Collection of 42 Suits of Lessons, by D. Scarlatti, with an intro- 
 duction." Also some anthems, Italian songs, etc. He had some fame as an 
 organist in his day. 
 
 ROSS (John). English org. and comp., B. Newcastle-upon-Tyne, Oct. 12, 
 1763. S. under Hawden. Org. of S. Paul's Ch., Aberdeen, 1783. D. 
 Craigie Park, Aberdeen, July 28, 1837. 
 Works. — Six concertos, for Pf. and orch. ; Seven sets of 3 sonatas, for Pf. , op. 
 31, etc. ; Three sonatas, for Pf. and flute or violin, op. 16 ; Four sets of six waltzes, 
 for Pf. ; Duets for Pf., op. 26, etc. Ode to Charity, for solo, chorus, and org.; Six 
 hymns, for 3 voices and org. ; Two books of 6 canzonets, for voice and Pf. ; 
 Numerous songs, in sets and single. A Select Collection of Ancient and Modern 
 Scottish Airs, adapted for the Voice, with Introductory and Concluding Symphonies 
 and accompaniments for the Pianoforte, Edin., n. d., fo. Sacred Music, consisting 
 of Chants, Psalms, and Hymns, Lend., n. d., 4to. A Complete Book of Instruc- 
 tions for Beginners on the Harpsichord or Pianoforte, to which is added a select set 
 of Airs, Scots Songs, and Lessons, Lond., 1820, fo. 
 
 Ross was a musician of great local fame. A number of his songs are well known, 
 and some of them appeared in R. A. Smith's "Scottish Minstrel." 
 
 ROSSETOB (Philip). Enghsh lute-player and comp., of first part of 17th cen- 
 tury. Published "A Booke of Ayres, set foorth to be song to the Lute, 
 Orpherian, and Base Violl," Lond., 1601, 4to ; "Lessons for Consort, made 
 by sundry excellent authors, and set to sixe severall instruments, namely the 
 Treble lute. Treble violl, Base violl, Bandora, Citteme, and the Flute," Lond., 
 1609. 
 
 ROSSI (Lauro). Italian comp., D. Macerata, Feb. 20, 1812. S. Naples Cons, 
 under Crescentini, Furno, and Zingarelli. Leader and comp. at the Teatro 
 Valle, Rome, 1832. Resided for a time in Milan. Travelled as operatic cond. 
 in Mexico, Havannah, New Orleans, etc. Married, 1841. Returned to Italy, 
 1843. Director of Milan Cons., 1870-78. D. Cremona, May 6, 1885. 
 Works. — Operas : Le Contesse Villane, 1829 ; Costanzo ed Oringaldo, 1830 ; II 
 Disertore Svizzero, 1832; I falsi Monetari, 1834; Amelia, 1834; Leocadia, 1835; 
 Giovanna Shore, 1836 ; II Borgomestro di Schiedam, 1844; Cellini a Parigi, Turin, 
 184s ; Azema di Granata, 1840 ; Bianca Contarini, 1847 > I' Domino nero, Milan ; 
 Le Sabine, 1852 ; L'Alchimista, 1853 ; Gli Artisti alia fiera, 1868 ; La Contessa 
 di Mons, 1874; Cleopatra, 1874; Biorn, 1877; La Figlia di Figaro. Saul, ora- 
 torio, 1833. Cantatas, elegies, songs, and vocal exercises. Guida di Armenia 
 Pratica Orale, Milan, 1858, and other works. 
 
 ROSSI (Luigi). Italian comp. of end of l6th and beginning of 17th centuries. 
 B. Naples. Comp. operas, cantatas for solo voice, with accomp. Some of 
 the cantatas have been republished in modern collections. 
 
 ROSSI (Luigi Felice). Italian comp. and writer, B. Brandizzo, Chivasso, 
 Piedmont, July 7, 1805. D. Turin, June 20, 1863. Comp. masses, psalms, 
 and other sacred music. Also author of some literary works and translations. 
 
 ROSSINI (Gioacchino Antonio). Italian comp., B. Pesaro, Feb. 29, 1792. 
 Son of Giuseppe Rossini, a horn-player, attached to various travelling theatri- 
 cal companies, and at one time town-trumpeter of Pesaro. S. at Bologna, 
 under Tesei and Padre Mattei, 1807-8. Travelled about from town to town 
 in Italy as comp. and cond., 1810-1814. Director of the Concordi Society of 
 Bologna. Cond. of the San Carlo and Del Fondo theatres at Naples, 1815. 
 Married Isabella Colbran, the singer, Bologna, 1822. Appeared at Vienna, 
 1822. Visited London, Dec, 1823. Musical director of the Theatre Italien, 
 Paris, 1824. Comp. to the King of France, etc., 1826. Returned to Bologna, 
 1829. His first wife died, 1845. Grand Officer of the Legion of Honour. 
 Married Olympe Pelissier, 1847. (She D. Passey, Mar. 22, 1878.) Resided 
 in Italy till 1855. Returned to Paris, 1855, and resided thereafter always 
 there, when his home at Passy became the centre of great musical, literary. 
 
524 ROS — ROS 
 
 and artistic circles. D. Passy, near Paris, Nov. i, 1868. Established a prize 
 for composition at Paris, and endowed a Cons, of Music at Pesaro. 
 Works. — Operas : La cambiale di matrimonio, Venice, 1810 ; L'Equivoco Stra- 
 vagante, Bologna, 181 1 ; Demetrio et Polibio, 1812 ; L'Inganno felice, Venice, 
 
 1812 (London, 1819) ; La scala di seta, Venice, 1812 ; La Pietra del Paragone, 
 Milan, 1812; L'Occasione fa il ladro, Venice, 1812 ; II Figlio per azzardo, 1813 ; 
 Tancredi, Venice, 1813 (Lond., May, 1820) ; I due Bruschini, Venice, 1813 ; 
 L'ltaliana in Algeri, Venice, 1813 (Lond., 1819), Aureliano in Palmira, Milan, 
 
 1813 (Lond., 1826); IlTurco in Italia, Milan, 1814 (Lond., 1821); Elisabetta, 
 regina d'Inghilterra, Naples, 1815 (Lond., 1818) ; Sigismundo, Venice, 1815 ; 
 Torvaldo e Dorliska, Rome, 1815 ; H Barbiere di Siviglia, Rome, Feb. 5, 1816 
 (London, 1818; Paris, 1824); La Gazzetta, Naples, 1816; Otello, Naples, 1S16 
 (London, 1822 ; Paris, 1844) 5 La Cenerentola, Rome, 1817 (London, 1820) ; La 
 Gazza ladra, Milan, 1817 (London, 1821) ; Armida, Naples, 1817 ; Adelaide di 
 Borgogna, Rome, 1818 ; Adina, o il Califfo di Bagdad, 1818 ; Mosfe in Egitto, 
 Naples, 1818 (London as " Pietro I'Ermita, " 1822; Paris, 1827); Ricciardo e 
 Zoraide, Naples, 1818 (London, 1823) ; Ermione, Naples, 1819 ; Eduardo e Cris- 
 tina, Venice, 1819 ; La Donna del Lago, Naples, Oct. 4, 1819 (London, 1823 ; 
 Paris. 1825); Bianca e Faliero, Milan, 1819 ; Maometto Secondo, Naples, 1820; 
 Matilde di Shabran, Rome, 1821 (London, 1823 ; Paris, 1857) ; Zelmira, Naples, 
 1821 (London, 1824) ; La Pie Voleuse, Paris, 1822 ; Sermiramide, Venice, 1823 
 (London, 1824 ; Paris, i860) ; II Viaggio a Reims, Paris, 1825 ; Le Sifege de 
 Corinthe (a revision of Maometto II.), Paris, 1826 (London, as " L'Assedio di 
 Corinto) ; Le Comte Ory, Paris, 1828 (London, 1829) ; Guillaume Tell, Paris, 
 Aug. 3, 1829 (London, in Italian, July, 1839) ; Robert Bruce (pasticcio by Nieder- 
 meyer, from "La Donna "del Lago," " Zelmira, " and "Armida"), Paris, 1846. 
 Giro in Babilonia, oratorio, Ferrara, 1812. Cantatas and occasional pieces : II 
 Pianto d'Armonia, 1808 ; Didone abbandonata, Bologna, 1810 ; Irene e 
 Egle ; Teti e Peleo, 1816 ; Partenope, 1819 ; La Riconoscenza, 1821 ; II 
 Vero Ommaggio, Verona, 1823; L'Augurio felice, 1823; II Bardo, 1823; 
 La Sacra Alleanza, 1823 ; II Pianto delle Muse, London, 1823 ; II Ritorno, 
 1823 ; I Pastori, 1825 ; II Serto votivo, 1829 ; La Foi, I'Esp^rance et la 
 Charite, for female voices, 1844 ; Cantata for the Paris Exhibition, 1867. Sacred: 
 Stabat Mater, 1832-41 ; Petite Messo Solennelle, 1864; Tantumergo ; O Salutaris. 
 Les Soirees musicales, ariettas and duets (these have been transcribed for Pf); 
 Gorgheggi e Solfeggio, exercises and solfeggios, Lond., fo. , n. d. (trans, by Sabilla 
 Novello). Instrumental : Mariage de S. A. R. le Due d' Orleans, 3 marches pour 
 musique militaire (Pf. arrangement also) : Quartet for flute, clarinet, horn, and 
 bassoon, in F ; Le Rendez-vous de Chasse, fanfare for 4 trumpets (1828) ; Seren- 
 ade for orch., in E flat ; 5 Sonatinas for Pf. (arranged from string quartets), in G, 
 A, B, E flat, and D ; Variations for clarinet and orch., in B. Numerous pieces for 
 Pf., mostly in MS., and consisting of short sketches with whimsical titles. 
 
 One of the most famous and popular composers of the 19th century. Many of 
 his operas attained extraordinary contemporary fame, and on all hands his influence 
 on the dramatic music of Italy is allowed to have been great. He did much to 
 strengthen the orchestral department of Italian operatic music, and although he 
 composed very few pieces of transcendent power, his example must be held to have 
 influenced every succeeding Italian musician down to recent times. His music is 
 almost invariably florid in character, and his melodies are not lacking in the ex- 
 cessive ornamentation common to the Italian school. The instrumental accompani- 
 ments to his ojjeras are too frequently noisy, and he not uncommonly resorted to 
 the cheap expedient of covering harmonical defects in his concerted vocal music 
 with an overloading crash of brass-and-drum. Notwithstanding, it must be stated 
 that with capable vocalists, no Italian composer can be placed alongside of Rossini 
 for brilliancy, dash, and melody. It is partly due to the trying vocal difficulties of 
 Rossini's works that so few of them now keep the stage ; and to this may be added 
 the gradually awakening taste of the musical public for works showing stronger 
 dramatic continuity, and less of the effect got by mere vocal ornament. Some of 
 his overtures, and especially that to " William Tell," continue to be used in Britain 
 for concert purposes, and his Stabat Mater is of constant appearance in the pro- 
 grammes of our choral societies. His operatic works have of recent years been de- 
 clining iu popular esteem, and few of Ms operas obtain a hearing out of Italy. Of 
 
k6T — ROU gag 
 
 Rossini iiteratOre there is abundance, and the folio wui^ section may prove useful 
 to the student desirous of a detailed account of his career : — Carpani, " Le Rossini- 
 ane..." Padua, 1824; Beyle (Stendhal), "Vie de Rossini," Paris, 1823 (trans, into 
 English, London, 1824) ; Escudier, " Rossini, sa vie et ses oeuvres..." Paris, 1854 ; 
 Azevedo, "G. Rossini, sa vie et ses oeuvres..." Paris, 1865; Edwards, "Life of 
 Rossini..." London, 1869 ; Pougin, " Rossini..." Paris, 1870; Edvifards, "Rossini 
 and his School" (Great Musicians), London, 1881. See also the following 
 Periodicals : — Blackwood's Magazine, vol. 12 ; Cornhill, 1863 (vol. 19) ; Eclectic 
 Magazine, 1868 (vol. 72) ; Englishwoman's Domestic Magazine, 1867 (vol. 3) ; 
 Colburn's New? Monthly Magazine, 1828-29 (vols. 26 and 28) ; Once a Week (by 
 F. Hiller), 1868 (vols. 19 and 20) ; Edinburgh Review, 1870 (vol. 133) ; British 
 Quarterly Review, 1869 (vol. 50) ; London Magazine, 1823 (vol. 9) ; Musical 
 Journals, passim. 
 
 ROTA (Andrea). Italian comp., B. Bologna, 1553. Chap. -master of the 
 Basilica of San Petronio. D. Bologna, June, 1597. Comp. " Madrigali a 
 cinque voci," 1579, 2 books ; "Madrigali a 4 voci," 1792 ; " Motetti a 5, 6, 
 7voci," 1584; "Missarum," 1595. 
 
 ROUGET DE LISLE (Claude Joseph). French poet and musician, B. Mon- 
 taigu, Lons-le-Saulnier, May 10, 1760. D. Choisy-le-Roi, near Paris, June 27, 
 1836. Was engaged as an officer in the army during the French Revolutionary 
 period. On April 24, 1792, during the excitement occasioned by the declara- 
 tion of war by the King of Bohemia and Hungary against France, he wrote 
 and set to music a " Chant de Guerre aux Armees"; afterwards successively 
 known as " Marche des Marseillais, " " Hymne des Marseillaise," and "La 
 Marseillaise." This chant is now known all over the world, and as the " Mar- 
 seillaise Hymn " is used as a national anthem by the French, and as a song of 
 liberty by every other nation. 
 He wrote also " Essais en vers et en prose," Paris, 1796 ; " Cinquante Chants 
 Fran9ais, Paris, 1825 ; and the librettos of "Jacquot, ou 1' Ecole des Mi;res," comic 
 opera by Dellamaria, 1798; "Macbeth," opera, Chelard, 1827; and many battle 
 chants in the style of the " Marseillaise," none of which attained more than local 
 fame. 
 
 ROUSSEAU (Jean JaCCtUes). French writer and musician, B. Geneva, June 
 28, 1712. Educated in and near Geneva. Lived a strange wandering life, 
 during which he occupied a few appointments. D. Ermenonville, near Paris, 
 July 2, 1778. 
 'VfoKKS.— Operas, etc. : Les muses galantes, 1745 ; Le Devin du Village, Paris, 
 Oct., 1752; Pygmalion, scene lyrique, Paris, 1775 ; Daphnis et Chloe (fragment), 
 published at Paris, 1779. Les Consolations des Miseres de ma Vie, ou Recueil 
 d'Airs, Romances, et Duos, Paris, 1 78 1, fo. Literary: Dissertation Sur la 
 musique Fran9oise, Paris, 1753, 8vo ; Lettre d'un symphoniste de 1' Academic 
 Royale de Musique a ses camarades de I'orchestre, Paris, 1753, 8vo ; Dictionnaire 
 de Musique, Geneva, 1767, 4to ; Paris, 1768, 8vo, and many other editions to that 
 of Paris, 1821-22, 2 vols. English translation as "The Complete Dictionary of 
 Music, consisting of a copious explanation of all words necessary to a true know- 
 ledge and understanding of Music, translated from the original French of J. J. 
 Rousseau by William Waring," Lond., 1771, 8vo (2nd edit., 1779). Projet con- 
 cernant de nouveaux signes pour la Musique, Geneva, 1781, i2mo. The articles 
 on music in Diderot's "Encyclopedic." Numerous letters and pamphlets on the 
 controversies in which he became involved. 
 
 Eousseau is much more famous in connection with literature than with music, 
 though his achievements as a musician created no small stir in his day. His only 
 musical works now known are his " Dictionary of Music," and the melody called 
 "Rousseau's Dream," which has been attributed to him, and is now constantly 
 used as a hymn tune. 
 
 ROUSSELOIS (Marie Wilhelmine). Austrian soprano vocalist, B. Vienna, 
 Feb. 26, 1765. D. Brussels, Nov. 8, 1850. 
 Sang with much acceptance in operas by Gluck and other composers. 
 ROUSSELOT (Scipion). French comp. and violoncellist, B. in early years of 
 
526 ROlJ — R02 
 
 present cenlury. S. Paris Cons, under Baucliot, and gained first 'cello prize 
 in 1823. S. harmony under Reicha. Went to London as 'cellist, and took 
 part in the Musical Union Concerts of 1845. He continued to reside in Lon- 
 don as a concert-giver, teacher, and music-publisher till 1849, when he retired 
 to Paris. 
 Works. — Symphony for orch., 1834; Sextet for oboe, clarinet, horn, bassoon, 
 'cello, and d.-bass; Quintets for strings, op. 14, 16, 21, 23, 26; Quartets for strings, 
 op. 10, 25 ; Trio for Pf., violin and 'cello, op. 7 ; 3 Sonatinas for 'cello and d.-bass, 
 op. 2 ; Variations and solos for 'cello, and music for Pf. and violin. His brother 
 Joseph Francois, B. Feb. 6, 1803. S. horn under Dauprat. Horn-player in 
 Paris. D. Argenteuil, near Paris, Sept., 1880. 
 
 ROVBDINO (Carlo). Italian bass-singer, B. 1751. Appeared chiefly in Eng- 
 land. Sang in London from 1778. D. London, Oct. 6, 1822. Another 
 musician of the same name, Tommaso, published some vocal music, including 
 a "Descriptive Cantata for Seven Voices," Lond., fo. n.d. 
 
 BOVELLI (Pietro). Italian violinist, B. Bergamo, Feb. 6, 1793. S. under G. 
 B. Rovelli, and afterwards under Molique. Appeared with success in Paris, 
 Weimar, Munich, and Vienna. Married Micheline Fbrster, a pianist. Vnst. 
 in Church of S. Maria Maggiore, Bergamo, 1819. D. JBergamo, Sept. 8, 
 1838. His grandfather, Giovanni Battista, his uncle, Giuseppe (B. Ber- 
 gamo, 1753, D. Parma, 1806), and his father, Alessandro, were all musicians 
 of note. 
 
 ROVETTA (Giovanni). Italian comp. of 17th century. Chap.-master of S. 
 Mark's, Venice, in succession to Monteverde, 1643. D. Venice, Oct. 23, 
 1668. He composed masses, motets, psalms, and madrigals, also operas. 
 His nephew, Giovanni Battista, comp. operas during 1649-1664. 
 
 EOWBOTHAM (John Frederick). English writer, author of " A History of 
 Music," London, Vol. I., 1885, 8vo. To be issued in 3 vols. 
 
 EOWLAND (Alexander Campbell). English double-bass player, violinist, 
 and comp., B. Trinidad, Jan. I, 1826. S. under his father, a bandmaster, 
 and in London. Violinist in orch. of Queen's Theatre, 1833, and afterwards at 
 many of the best London and provincial concerts and festivals. Performer on 
 the drum, etc., in JuUien's orch., 1842-46. Double-bass player in orch. of 
 Royal Italian Opera, the Philharmonic Soc, Sacred Harmonic Soc, and 
 H. M. Theatre. Since 1866, has resided at Southampton as teacher. 
 Works. — 70th Psalm, for solo, chorus, and orch. ; Overture for orch.; Waltzes 
 and other dance pieces, for orch. and Pf. ; Fantasias, etc , for double-bass and Pf. 
 Songs : Blessed be the Lord ; Moonrise ; Look out upon the stars, my love ; Morn- 
 ing thoughts ; The statue over the cathedral door ; The white dove ; etc. Tutor 
 for the Double-bass, Lend., n. d. 
 
 BOXAS (Emanuele de). Spanish comp., B. Reggio, Calabria, Jan. I, 1827. 
 S. Naples Cons, under Crescentini, Ruggi, etc. Prof, of singing, Naples Cons. 
 Comp. Operas: La Figlia del Sergente, 1847; Gisella, 1852; Rita, 1857. 
 Masses, songs, and other works. 
 
 ROY. See Leroy. 
 
 ROYER (Jean Nicolas Pancrace). French org. and comp., B. Burgundy, 
 1705 [1700]. Resident in Paris from 1725. Music master to Royal Family of 
 France, and Director of the Concert Spirituels, 1747. Comp. to the King, 
 1754. D. Paris, Jan., 1755. Famous as an org. and performer on the harp- 
 sichord. He comp. operas and music for the harpsichord. 
 
 ROZE (Marie), Ponsin. French soprano vocalist, B. Paris, March 2, 1846. 
 S. at Paris Cons., under Molker, and gained prizes for vocalization. Dlbut in 
 Herold's "Marie," at Paris, 1865; and appeared there in works of M6hul, 
 Boieldieu, Auber, Gounod, and Flotow. The original Djalma in Auber's 
 " Le Premier jour de Bonheur. " On the outbreak of the Franco-Prussian 
 War, she served as a nurse in the ambulance, and received the Geneva Cross 
 and a diploma of thanks for her services. Appeared in London, April 30, 
 
RUB — RUB 527 
 
 1S72, in Gounod's " Faust," and fiom then till 1S77 remained in England as an 
 operatic and concert vocalist. Married Julius Perkins, the American bass singer, 
 1874. Travelled in the United States as an operatic singer, 1877-79, visiting 
 New York, Boston, Chicago, St. Louis, New Orleans, San Francisco, etc. 
 Married to Mr. Henry Mapleson, 1877. Has since appeared chiefly in Britain 
 as an opera, oratorio, and concert singer. She sings in operas of Mozart, 
 Weber, Thomas, Verdi, Bizet, Beethoven, Mackenzie, etc., and occupies the 
 position of prima donna of the Carl Rosa Opera Company. Her voice is a 
 powerful soprano, brilliant and clear in tone, and her abilities as a dramatic 
 singer are of the highest order. She excels equally as an exponent of sacred 
 and ballad music, and has been everywhere received with marked favour and 
 enthusiasm. 
 
 EUBINELLI (Griovanni Maria). Italian contralto vocalist, B. Brescia, 1793. 
 Chorister in service of Duke of Wiirtemberg, at Stuttgart, 1772. Sang in 
 Italy with success, from 1774; appearing successively at Milan, 1778, Florence, 
 1782, Naples, 1784. Appeared in London, May 4, 1786, in "Virginia." 
 Sang also in works by Handel. Returned to Italy about 1790, and appeared 
 in Rome, Verona, etc. Retired to Brescia, 1800, and D. there 1829. 
 
 RUBINI (Giovanni Battista). Italian tenor vocalist, B, Romano, Bergamo, 
 April 7, 1795. Son of a music-teacher, under whom he studied. Appeared 
 at Romano theatre in small parts. Sang as a chorister at Bergamo, and 
 afterwards became a tenor-singer with a strolling company. Sang with varying 
 success till 1815, when he was engaged for Brescia and Venice, and afterwards 
 for Naples, by Barbaja. Sang in Rome, Palermo, and Naples, till 1825. 
 Married Adelaide Chomel (1794, D. Milan, Jan. 30, 1874), a mezzo-soprano 
 vocalist of some renown. Appeared at Paris, Oct. 6, 1825, in Rossini's 
 "Cenerentola," and afterwards in other works by the same master.^both in 
 Paris, Naples, and Vienna. Appeared in London, 1831, and sang alternately 
 there and in Paris till 1843. Went with Liszt to Berlin, via Holland and 
 Germany, and afterwards alone to St. Petersburg, where he achieved extra- 
 ordinary success, and where he was much patronised by the nobility and 
 decorated by Royalty. Sang afterwards occasionally in Italy, Vienna, and 
 again in St. Petersburg, 1844, but retired soon afterwards to his native place. 
 D. Romano, March 3, 1854. 
 Famous for his fine voice, and original style of using it. Chorley says of him : — 
 "As a singer, and nothing beyond a singer, he is the only man of his class who 
 deserves to be named in these pages as an artist of genius. No one, in my ex- 
 perience, so merely and exclusively a singer as he was, so entirely enchanted our 
 public, so long as a shred of voice was left to him ; no one is more affectionately 
 remembered...." Certain features in his style of laerformance by no means un- 
 pleasing in Rubini, became in the hands of many inferior imitators, a caricature and 
 outrage upon good taste, and hurtful to the progress and cultivation of operatic 
 singing. 
 
 RUBINSTEIN (Anton Gregor). Russian pianist and comp., B. Wechwoty- 
 netz in Russian Bessarabia, near Jassy, Nov. 30, 1829. Son of Jewish parents. 
 S. under his mother, and afterwards at St. Petersburg under Villoing. Made 
 concert-tour in Europe, and reached Paris, where he S. for a time. Came to 
 England, 1842, and afterwards played in Germany and North Europe. S. 
 comp. under Dehn at Berlin, 1845. Resided in Vienna and Pressburg till 
 1848. Chamber pianist to the Grand Duchess Helen at St. Petersburg, 1848. 
 Gave concerts in North Germany, and was received with great acclamation, 
 1856. Appeared in London at a Philharmonic Concert, May 18, 1857. 
 Imperial concert-director at St. Petersburg, 1858. Founded the St. Peters- 
 burg Cons., in conjunction with C. Schuberth and his brother Nicholas, 1862. 
 Principal of this Cons, till 1867. Since then he has appeared as a pianist all 
 over Europe and America (1872-3), and has been many times a concert-giver 
 in Britain. The Russian decoration of Vladimir, carrying with it a patent of 
 nobility, was conferred on him in 1S69. 
 Works. — Operas: Dimitri Donskoi, 1852; The Children of the Heath, i86i ; 
 Feramors, 1863; The Demon, 1875 (London, 1881); Die Rebe (ballet); The 
 Maccabees, 1875 ; Der Papagei (comic) ; Nero. Oratorios, Cantatas, etc. : Tower 
 
gaS RUB — RlfM 
 
 of liabel, op. So, 1872 (London, 1881); Paradise Lost (Milton), op. 54, 1876; Der 
 Morgen, cantata, op. 74 ; Songs and Requiem for Mignon (Goethe), op. 91. 
 Symphonies: No. I, in F, op. 40; No. z, "The Ocean," in C, op. 42 (London, 
 1861, since enlarged); No. 3, in A, op. 56; No. 4, "Dramatic," in D minor, 
 op. 95 ; No. 5, in G minor, op. 107. Overtures and large orchestral pieces : 
 Triumphal overture, op. 43 ; Concert overture, B flat, op. 60 ; Faust, musical 
 portrait, op. 68 ; Ivan the Terrible, mus. port., op. 79 ; Don Quixote, op. 
 87; Eroica, fantasia, op. no. Concertos: First, Pf., in E, op. 25; Second, 
 Pf., in F, op. 35; Third, Pf., in G, op. 45; Fourth, Pf., In D minor, op. 
 70; Fifth, Pf., in E flat, op. 94; First, violin, in G, op. 46; First, 'cello, 
 in A minor, op. 65 ; Second, 'cello, op. 96. Concerted Instrumental, various : 
 Octet, in D, op. 9; Three pieces, Pf. and vn., op. II; First sonata, Pf. 
 and vn., op. 13 ; Two trios, Pf., vn. and 'cello, op. 15 ; Three string quar- 
 tets, op. 17 ; First sonata, Pf. and 'cello, in D, op. 18 ; Second sonata, 
 Pf. and vn., op. 19 ; Second sonata, Pf. and 'cello, in G, op. 39 ; Three string 
 quartets, op. 47 ; Sonata for Pf. and viola, op. 49 ; Third trio, Pf. and strings, 
 op. 52 ; Quintet for Pf. and wind insts., in F, op. 55 ; String quintet in F, op. 59 ; 
 Quartet, Pf. and strings, op. 66 ; Fantasia, Pf. and orch., in 0, op. 84 ; Fourth 
 trio, Pf. and strings, in A, op. 85 ; Romance and caprice, vn. and orch., op. 86 ; 
 Two string quartets, op. 90 ; Sextet for strings, in D, op. 97 ; Third sonata, Pf. 
 and vn., op. 98; Quintet, Pf. and strings, op. 99; Caprice Russe, Pf. and orch., 
 op. 102; Two string quartets, op. 106; Trio, Pf., vn. ,and 'cello, C minor, op. 108. 
 Pianoforte : Fantasias on Russian themes, op. 2 ; Two melodies, op. 3 ; Mazurka 
 fantasia, in G, op. 4 ; Polonaise, Cracovienne and mazurka, op. 5 ; Tarantelle, 
 op. 6 ; Hommage a Jenny Lind, impromptu-caprice, op. 7 ; Kamennoi-Ostrow, 
 24 portraits, op. 10 ; First sonata, in E, op. 12 ; The Ball, fantasia, op. 14 ; Im- 
 promptu, berceuse, and serenade, op. 16 ; Second sonata, in C minor, op. 20 ; 
 Three caprices, op. 21 ; Three serenades, op. 22 ; Six Etudes, op. 23 ; Six Pre- 
 ludes, op. 24 ; Romance and Impromptu, op. 26 ; Nocturne and caprice, op. 28 ; 
 Two funeral marches, op. 29 ; Barcarolle, etc., op. 30 ; Akrostichon, op. 37 ; 
 Suite, op. 38 ; Third sonata, in F, op. 41 ; Soirees k St. Petersbourg, op. 44; Six 
 charakter-Bilder, op. 50 ; Six Morceaux, op. 51 ; Six preludes and fugues, op. 53 ; 
 Five morceaux, op. 69 ; Three morceaux, op. 71 ; Fantasia, for 2 Pfs., op. 73 ; 
 Album de Peterhof, op. 75 ; Fantasia, in E. minor, op. 77 ; Six Etudes, op. 81 ; 
 Album of National dances, op. 82 ; Theme with variations, op. 88 ; Sonata, Pf. 
 duet, OP.-.89 ; Nine books of Pieces, op. 93 ; Fourth sonata, in A minor, op. 100 ; 
 Bal Costume, 20 characteristic pieces, 4 hands, op. 103; Elegie, etude, etc, op. 104. 
 Vocal : Six songs, op. i ; Six Songs (Russian), op. 8 ; Nine Songs (Russian), op. 
 27 ; Six four-part songs, male voices, op. 31 ; Six Songs (Heine), op. 32 ; Six 
 songs, op. 33 ; Twelve Persian songs, op. 34; Twelve songs (Russian), op. 36; 
 Twelve duets (Russian), op. 48 ; Six songs, op. 57 ; 'E dunque vero ? scena, op. 
 58 ; Three part-songs, male voices, op. 61 ; Six part-songs, op. 62 ; " Die Nixe," 
 for solo, female chorus, and orch., op. 63; Five fables (Kriloff), op. 64 ; Six duets, 
 op. 67 ; Six songs, op. 72 ; Six songs, op. 76 ; Twelve songs (Russian), op. 78 ; 
 Ten songs, op. 83; Two scenas for contralto voice and orch., op. 92; Twelve 
 songs, op. loi ; Russian songs, op. 105. 
 
 Although he occupies a high place in music as a composer, Rubinstein is perhaps 
 best appreciated and most lauded as a pianist. With one notable exception, 
 he stands unrivalled as a performer on the piano. Younger, equally vigorous, and 
 with as high and enthusiastic an artistic conception, he holds his own with Liszt, 
 the one notable exception named. He is a virtuoso of the most extraordinary 
 stamp ; extremely impassioned, and carrying into his music and performance a 
 vigour and variety of expression hitherto unequalled by any of his younger contem- 
 poraries. 
 
 Rubinstein is best known in Britain by his Pianoforte works and some of his 
 songs. Occasionally a few of his orchestral works have been given, either entire or 
 as excerpts, but their merits have not yet been recognised as being greatly beyond 
 the common. None of his dramatic music can be noted as having achieved more 
 than temporary and ordinary success. 
 
 RUBINSTEIN (NicolaUS). Russian pianist, and comp., B. Moscow, 1835. 
 Brother of preceding. Gave early indications of a disposition for music. S. 
 at Berlin under KuUak and Dehn, 1845-6. S. Law at Moscow University for a 
 
feuc — RtJM 5^9 
 
 short time. Travelled in Germany and Russia as pianist. Founded the Rus- 
 sian Musical Society, Moscow, 1859; also, conjointly with his brother, etc., he 
 founded Moscow Cons., 1864, and became its director. Appeared in London, 
 at Musical Union Concerts, l85l. Organised and gave orchestral concerts at 
 the Paris Exhibition, 1878. D. Paris, March 23, 1881. 
 Comp. some interesting Pf. and vocal music. 
 
 BUCKEBS or BUYCKEES (Hans). Flemish harpsichord-maker, B. Mechlin, 
 about middle of i6th century [1555]. Established at Antwerp as a musical 
 instrument maker, his speciality being harpsichords and spinets. Engaged in 
 the same manufacture were his sons, Hans (1578-1642), and Andribs (B, 
 1579)1 ^nd tl^sir successors. The instruments of this firm, now excessively 
 rare, are usually decorated with paintings, and date between 1579 and 1667. 
 
 BUDEBSDOBFF (Herminie) [Emilia]. Soprano vocalist and teacher, B. 
 Ivanowsky, Ukraine, Dec. 12, 1822. Daughter of Joseph Rudersdorff, 
 violinist, with whom she went to Hamburg, in 1825. S. under Sessi, Bander- 
 ali, and Bordogni, at Paris. Appeared as concert vocalist in Germany. Sang 
 in opera at Carlsruhe, 1841. Married Dr. Kuchenmeister, mathematician, at 
 Frankfort-on-Main, 1844. Renounced the stage for a. time, but re-appeared 
 at Breslau in 1846. Sang at Berlin, 1852-54, in operas by Lortzing, Bellini, 
 Auber, Boieldieu, Harold, Thomas, etc. Removed to London in May, 1854, 
 and appeared there in operas by Mozart, Weber, Auber, Meyerbeer, Loder, 
 and Beethoven. Became famous as a teacher, and renowned as a concert and 
 oratorio vocalist. Sang at Birmingham Festival, 1861 ; Handel Festivals, etc. 
 Settled in Boston, U.S.A., 1867. Sang there in concert music, but latterly 
 employed in tuition. D. Boston, Feb. 26, 1882. 
 
 BUDHALL (Abraham). English bell-founder, B. Gloucester, 1657. D. 
 Gloucester, Jan. 25, 1736. The most famous of a family of Gloucester bell- 
 founders, established in the 17th century by Abraham Rudhall, the elder. 
 This family supplied bells for innumerable churches in London and the English 
 provinces. Abraham, junr., greatly improved the art of bell-founding, and 
 bells of his workmanship are said to be distinguished by fine tone. 
 
 EUDOBFF (Ernst). German comp., B. Berlin, Jan. 18, 1840. S. under 
 Bargiel, L. Ries, Hauptmann, and Reinecke. Prof, at Cologne Cons. Prof, 
 at High School, Berlin, and cond. of the Stern Singing Soc. 
 Works. — Op. i. Variations for 2 Pf. ; op. 2. Six songs ; op. 5. Sextet for strings; 
 
 op. 6. Four part-songs ; op. 8. Overture, Der blonde Ekbert ; op. 10. Eight fan- 
 
 tasie-stiicke, Pf. ; op. 12. Overture, Otto der Schutz ; op. 15. Ballade for orch. ; op. 
 
 18. Der Auizug der Romanze (Tieck), soli, chorus, and orch. ; op. 25. Four 6-part 
 
 songs ; Studies for Pf. , songs, etc. 
 
 BITE (Pierre de la), or La Rue. French comp., B. Picardy. Flourished in 
 second half of 15th and beginning of i6th centuries. S. under Okenheim. 
 Musician in court service in Germany, and chap. -master at Antwerp. Comp. 
 masses, motets, and madrigals, mostly existing in MS. 
 
 BUFFO (Vincenzo). Italian comp. of i6th century, B. Verona. Chap. -master 
 of Milan Cath., and afterwards at cath. of Verona, 1554. Comp. Motetti a 5 
 voci, 1551 ; Motetti a 6 voci, 1583; II Libro Primo di Madrigali a 5 voci, 
 1550; Armenia Celeste. 1563; Madrigali Cromatici, 1554; Salmi, 1574. 
 
 BU6GIEBI (Francesco). Italian violin maker of end of 17th and beginning of 
 1 8th century. The founder of the family of noted violin-makers of Cremona, 
 known as Ruggierius. The instruments of Francesco bear dates ranging be- 
 tween 1668 and 1720. Other members of the family, notably Giovanni 
 Battista (1700-25), PiETRO (1700-20), GuiDO, and Vicenzo, were all more 
 or less celebrated. The general character of their instruments is closely akin 
 to those of the Amati family, and they are noted for a smooth, soft tone, and 
 good model. 
 
 BUMMEL (Christian Franz Ludwig Friedrich Alexander). German 
 pianist, violinist, clarinet-player, and comp., B. Brichsenstadt, Bavaria, Nov. 
 27, 1787. S. under'Ritter and Vogler. Chap.-master to Duke of Nassau, 
 D, Wiesbaden, Feb. 13, 1849. 
 
 K 2 
 
Si^ feuM — kus 
 
 Comp. much music for military bands, VL music, and songs. See catalogue of 
 Schott, etc. His daughters Josephine, B. Manzanar^s, Spain, May 12, 18 12, was 
 court-pianist at Wiesbaden. D. Wiesbaden, Dec. 19, 1877. Francisca, B. 
 Wiesbaden, Feb. 4, 1821. S. singing under Bordogni and Lamperti. Married 
 P. Schott, the music-publisher. Famous as a singer. His son Joseph, B. Wies- 
 baden, Oct. 6, 1818. S. under his father. Chap. -master to Prince of Oldenburg. 
 Resided in Paris and London alternately, from 1842. D. London, March 25, 
 1880. Comp. for Pf., 3 mazurkas, op. 20 ; Bolero, op. 25 ; M^lodie originate, op. 
 29 ; Cardonia, romance, op. 52 ; Etude de concert, op. 57 ; Perles Enfantines ; 
 Bonbonni^re des Pianistes; Echos de 1' Opera; Impromptus, fantasias, and an 
 immense quantity of transcriptions of every class. 
 
 RUMMEL (Franz). Grandson of Christian Rummel, B. London, Jan. 11, 
 1853. S. Brussels under Brassin, and in Cons. Gained first prize for Pf. 
 playing, 1872. Employed there as a teacher, 1872-76. First appeared as 
 pianist at Antwerp, 1872 ; London, 1873. Travelled afterwards in Germany, 
 France, England, and the U. S. of America, 1878-81. Has appeared in 
 various parts of Britain, and very frequently in London. 
 
 RUNGENHAGEN (Carl Friedrich). German comp. and cond., B. Berlin, 
 Sept. 27, 1778. S. under Benda and Zelter. Succeeded Zelter as director of 
 the Singakademie of Berlin, 1832. D. Berlin, Dec. 21, 1851. He comp. 
 ' ' Cecilia, " an oratorio ; Cantatas, motets, hymns, songs, etc. 
 
 RUPPE '(Christian Friedrich). German comp. and writer, B. Salzungen, 
 Saxe-Meiningen, 1765. S. for the law at Leyden University. Music-director 
 at Leyden University, at which town he was living in 1812. Comp. Trios for 
 Pf., vn. and 'cello, opp. I, 3, 6, 7, 14, 25, 26, 27; Sonatas for Pf., and Pf. 
 and violin ; Theoretical works, etc. His brother, Friedrich Christian, 
 B. Salzungen, Feb. 18, 1771. D. Meiningen, Aug. 14, 1834, was a pianist, 
 and comp. oratorios, cantatas, quartets, and sonatas, rondos, etc. for Pf. 
 
 RUSH (James). American physician and writer, B. 1790. Practised in Phila- 
 delphia. Author of " The Philosophy of the Human Voice, embracing its 
 Physiological History, together with a System of Principles by which Criticism 
 of the Art of Elocution may be rendered intelligible," Philadelphia, 1827, 8vo. 
 This work has gone through many editions to the present time ; an incontes- 
 table proof of its value and popularity. 
 
 RUSSELL (Henry). English comp. and barytone vocalist, B. Sheernesg, Kent, 
 
 Dec. 24, 1815. S. under P. King. Left England in 1825, and became an 
 
 outdoor scholar at Bologna Cons. Went to New York, 1833, and began his 
 
 career of concert-giver and comp. Returned to England, 1840, and from that 
 
 time travelled in Britain as a singer and comp., attaining a most extraordinary 
 
 popularity. Retired from public life some years ago. 
 
 Works. — Son^s and Ballads : Ballad singer ; Bandit's song ; Brave old oak ; 
 
 Birds of passage ; Blind girl ! ; Cheer ! boys cheer ; Columbia's the pride of the 
 
 ocean ; Come fill the cup ; Chieftian's daughter ; Canadian song ; Chase, the ; 
 
 Dream of the reveller ; Dance of death ; Exile, the ; Far, far upon the sea ; Feast 
 
 of the Despots ; Fanny Mavourneen ; Felon, the ; Fishman, the ; Founding of the 
 
 bell ; Gambler's wife ; I'm afloat ! ; I love, I love the free ! ; Ivy green ; Life on the 
 
 ocean wave ; Long parted have we been ; Land ho I ; Land ! land ! land ! ; Last tree 
 
 of the forest ; Maniac, the ; Man the Life-boat ; Mad girl's song ; Midnight watch ; 
 
 Old arm chair ; Old water mill ; Old clock ; Old Sexton ; Over the waters ; 
 
 Patriot's farewell ; Phantom ship ; Ship on fire ; Spider and the fly ; Song of the 
 
 scaffold ; Slave ship ; Sea diver ; Sky-lark ; Song of the silent night ; Song of the 
 
 Indian ; Song of the raft ; Signal gun ; There's a good time coming boys ; To the 
 
 West ! ; to the West ! Tubal Cain ; Woodman spare that tree ; Where there's a will 
 
 there's a way ; Wine cup ; Wreck of the Hesperus ; Wind of the Winter night ; 
 
 Weaver ; A series of songs from Scott's ' ' Lady of the Lake " ; Scripture Melodies ; 
 
 A few glees and part-songs. Songs, Dramatic Scenes, Cantatas, etc., with a 
 
 Memoir, Lond., 1846. Copyright Songs, i860, 2 vols., 4to. L'Amico dei Can- 
 
 tanti, the Singer's Friend, a treatise on the art of Singing, Lond., fo., n. d. 
 
 Some of Russell's songs had a most extraordinary run some forty years ago. In 
 an entertainment written by Charles Mackay, entitled "The Emigrant's Progress, or 
 
kUS — SAB ^31 
 
 Life in the Far West," many of them originally appeared. At the present day 
 only a small Dumber are in use, and among them may be named " Cheer, boys, 
 cheer !" " I'm afloat," "Ivy green," " Old Sexton," " To the west ! to the west !" 
 and "Woodman, spare that tree." A number of his songs possess very powerful 
 dramatic feeling. The number of songs composed by Russell is estimated by him- 
 self to amount to 675. 
 
 RUSSELL (WiUiam). English org. and comp., B. London, 1777. Son of an 
 organ-builder. S. under Shrubsole, Arnold, etc. Deputy Org. St. Mary, 
 Aldermanbury, 1789-93 ; Chap, of Great Queen Street, Lincoln's Inn Fields, 
 1793-98 ; St. Ann's Limehbuse, 1798 ; Foundling Hospital, 1801. Pianist at 
 Sadler's Wells Theatre, 1800, and held similar post at Covent Garden, 1801. 
 Mus. Bac, Oxon., i8o8. D. London, Nov. 21, 1813. 
 Works. — Oratorios : Job, with org. accomps. by S. Wesley (1826) ; The Deliver- 
 ance of Israel ; The Redemption. Mass in C minor for 4 voices. Odes : To music ; 
 Genius of Handel ; St. Cecilia's Day (Smart) ; To Harmony. Glees and Songs. 
 Psalms, Hymns, and Anthems for the Foundling Chapel, London, 1809. Six 
 Anthems, adapted from the works of Haydn, etc.,. ..and a morning and evening 
 service composed by the late William Russell, ...arranged by William Patten. 
 Several books of organ voluntaries. Services and anthems. Theatre and panto- 
 mime music, songs, etc. 
 
 RUST (Friedrich. Wilhelm). German comp., B. Worlitz, near Dessau, July 
 6) 1739. S. under F. and E. Bach, F. Benda, and Tartini. Music-director 
 of Dessau Theatre. Married Henriette Niedhart. Court Musician of Dessau. 
 D. Dessau, Feb. 28, 1796. He comp. operas, cantatas, sonatas, and concer- 
 tos, for Pf. ; choruses and songs, and some violin music. His son, Wilhelm 
 Carl, B. Dessau, April 29, 1787. S. under Tiirk. Org. in Protestant ch. of 
 Vienna for a time, where he became acquainted with Beethoven. D. Dessau, 
 April 18, 1855. Comp. Pf. music and lieder. 
 
 RUST (Wilhelin). German comp. and cond., B. Dessau, Aug. 15, 1822. S. 
 under W. C. Rust and F. Schneider. Org., teacher, and cond., in Berlin. 
 Prof, in Stern's Cons., Berlin, 1870. Cantor of S. Thomas School, Leipzig, 
 
 1879. 
 Works. — Op. I. Cacilia, songs for voice and Pf. ; op. 4. Eighty-fourth Psalm, 
 for voices and org. ; op. 5. Fantasia for Pf. ; op. 9. Sonata for Pf. ; op. 10. Ave 
 Maria, voices and Pf. Lieder and Pf. pieces. Also edited several of Bach's works 
 for the Leipzig Bach Society. 
 
 RUTHERFORD (D ). English musician of 1 8th century. Author of "Art 
 
 of Playing on the Violin, showing how to stop every note exactly..." Lond., 
 8vo, n. d. ; Gentleman's Pocket Guide for the German Flute, with some agree- 
 able Lessons..." 8vo ; "Ladies' Pocket Guide for the Guitar..." 8vo. 
 
 RUYCEERS. See Ruckers. 
 
 RYAN (Michael Desmond). Irish dramatic and musical writer, B. Kilkenny, 
 March 3, l8l6. Educated at Edinburgh University. Engaged as musical 
 and dramatic critic on staff of T/ie Mortiing Post, Morning Herald, and Stan- 
 dard. Sub. -editor of yl/a«Va/ World. D. London, Dec. 8, 1868. 
 Author of the libretto of Macfarren's "Charles II.," and words for various 
 
 musical works by Crouch, Loder, Mori, etc. His son, DESMOND L. Ryan, is a 
 
 composer and writer of various works in poetry and prose. 
 
 RYBA (Jacob Johann). Bohemian comp., B. Przesstiez, October 26, 1765. 
 S. at Prague. D. Roozmittal, 1788. Comp. masses, stabat mater, duets, 
 quartets, etc. 
 
 s. 
 
 SABBATINI (GaleaZZO). Italian comp. and writer, B. Pisaro, at end of l6th 
 century. D. in first half of 17th century. 
 
S^i Sab — sAi 
 
 Works. — II primo libro de'Madrigali, op. i, 1627; Second do., op. 2, 1636; 
 Sacrse laudes, op. 3, 1642 ; Madrigali, op. 4, 1636, etc. 
 
 SABBATINI (Lnigi Antonio). Italian ecclesiastic, writer, andcomp., B. Al- 
 
 bano, Rome, 1739. S. under Martini and Valotti. Chap. -master at Rome, 
 
 1780, and Padua. D. Padua, Jan. 29, 1809. 
 
 Works. — Gli elementi teorici della musica, coUa pratica de' medesimi in duetti 
 
 e terzetti a canone, Rome, 1789, 2nd ed., 1795. Trattato sopra le fughe musi- 
 
 cali, Venice, 4to, 1802. Edition of Marcello's Psalms, and miscellaneous comps. 
 
 SACCHINI (Antonio Maria Gasparo). Italian comp., B. Pozzuoli, near 
 Naples, July 23, 1734. S. under Durante at Cons, of S. Onofrio, Naples. 
 Comp. to Argentina Theatre, Rome, etc., 1762-69. Director of Cons, of 
 L'Ospedaletto, Venice, 1768-1771. Resided in London as comp., April 1772- 
 1782 P1784]. Resided afterwards in Paris as comp. D. Paris, Oct. 7, 1786. 
 Works.— O^^raj : Fra Donato, 1756 ; L'Olimpia tradita, 1758 ; I due Fratelli 
 beffati, 1760; I due Baroni, 1762; Semiramide, 1762; Eumene, 1763; Andro- 
 macca, 1763 ; II gran Cid, 1764 ; Lucio Vero, 1764 ; La Contadina in Corte, 1765 ; 
 L'Isola d'Amore, 1766, Paris, 1781 ; L'Olimpiade, 1767 ; Artaserse, 1768; Ales- 
 sandro nell' Indie, 1768 ; Armida, 1772 ; II gran Cid (revised from Rome version 
 of 1764), London, 1773; Tamerlano, Lond., 1773; Nitetti, Lond., 1774; Perseo, 
 Lond., 1774 ; Montesuma, Lond., 1775 ; II Creso, do., 1775 ; Erifile, do., 1776; 
 L'Amor Soldata, do., 1777; II Calandrino, do., 1778; Enea a Lavinia, 1779; 
 Renaud (Rinaldo), Paris. 1783; Dardanus, Paris, 17S4; CEdipe k Colone, 1787; 
 Evelina, etc. Oraforios : Esther; St. Philippe; Jefte, etc. Misereres, masses, 
 motets, and sacred solos. Six trios for 2 violins and bass, op. I, Lond.; Six quar- 
 tets for 2 violins, viola and bass, Lond.; Six sonatas for clavecin and violin, op. 3 ; 
 Six do., op. 4. 
 
 A composer of much power and originality. His best work was "CEdipe k 
 Colonne," which remained popular in France for many years after his death. 
 
 SACHS (Hans). German poet and musician, B. Nuremberg, Nov. 5, 1494. D. 
 Nuremberg, Jan. 25, 1576. He wrote an immense number of poetical works, 
 comedies, tragedies, psalms, songs, etc., and to a large number of the last 
 named he comp. music. His career forms the subject of Wagner's opera, 
 "Die Meistersinger von NUrnberg," 1868. 
 
 SACHS (Julius). German comp. and pianist, B. Meiningen, 1830. S. under 
 Kessler and Rosenhain. Comp. much Pf. music, as rondos, caprices, etc., and 
 lieder for voice and Pf. 
 
 SAINT- ATTBIN (Jeanne Charlotte), «^« Schroder. French actress. and 
 singer, B. Paris, Dec. 9, 1764. D. Paris, Sept. 11, 1850. Celebrated as an 
 actress and burlesque singer, in which capacities she attained much renown in 
 Paris. She married an actor named Saint-Aubin, by whom she had two 
 daughters, Cecile and Alexandrine, who were singers of some local fame. 
 
 SAINT-GrEORG-ES (Chevalier de). French violinist and comp., B. Gaude- 
 loupe, Dec. 25, 1745. S. under Leclair and Gossec. Viohnist in Paris, and 
 engaged in connection with the French Revolution. D. Paris, June 12, 1799. 
 Comp. Ernestine, opera, 1777 ; Le Marchand de Marrons, opera, 1788; Con- 
 certos, sonatas, and other violin music. 
 
 SAINT-GEOKGES (Jules Henri Vernoy, Marquis de). French novelist 
 
 and opera-librettist, B. Paris, 1801. D. Paris, 1875. Wrote librettos for the 
 most popular operas of Halevy, Adam, Auber, Donizetti, etc. 
 
 SAINT-HUBEKTY (Antoinette Cecile), or Clavel. French soprano 
 
 vocalist, B. Toul, 1756. Sang in operas by Piccinni, Gluck, Gossec, Gr^try, 
 Sacchini, and others. Married Count d'Entraigues, in whose political schemes 
 she became involved, 1790. Settled at Barnes, near Richmond, with her hus- 
 band, and was assassinated along with him on July 22, 1812, by a servant in 
 the pay of the French Government. 
 
 SAINT-SAENS (Charles Camille). French comp. and pianist, B. Paris, Oct. 
 9, 1835. S. Pf. under Stamaty, and harmony under Maleden. S. at Cons, 
 
SAi — SAi 533 
 
 under Benoist, and gained 2nd org. prize in 1849, and the first in 1851. Org. 
 of Ch. of S. M^ry, Paris, 1853. Prof, in Niedermayer's School of Religious 
 Music. Org, of the Madeleine, Paris, 1858-1877. Appeared in London as 
 pianist, 1871, and has since appeared there often. Member of the Institute of 
 France, 1881. 
 Works. — Operas: La Princesse Jaune, op. 30, 1872; Le Timbre d' Argent, 
 1877; Samson et Dalila, sacred drama, op. 47, Weimar, 1877; Etienne Marcel, 
 Lyons, 1879; Henry VIII., Paris, March 5, 1883. Cantatas and large choral 
 works : Les Noces de Prom^th^e, 1867 ; Le Dfluge, pogme biblique, op. 45, 1876 ; 
 La Lyre et la Harpe, Birmingham Festival, 1879; Oratorio de Noel, op. 12; Psalm 
 XVIII., op. 42; Ode i Sainte C^cile, solo, chorus, and orch.; Mass, 4 voices, 
 orch. and 2 orgs. ; Requiem Mass, op. 54, etc. ; Hymn to Victor Hugo, op. 69, 
 1885 ; Scenes d' Horace (Corneille), op. 10, etc. ; Les Soldats de Gedfeon, double 
 chorus for male voices, op. 46. Symphonic and large orchestral works : Symphony 
 No. I, in E flat ; No. 2, in F, 1856 ; No. 3, in A minor ; No. 4, in D, 1863 ; Le 
 Rouet d'Omphale, poeme symphonique, op. 31 ; Marche heroique, op. 34 ; 
 Phaeton, op. 39 ; Danse Macabre, op. 40 ; Suite for orch. (prelude, saraband, 
 gavotte, romance, and finale), op. 49 ; La Jeunesse d' Hercule, op. 50 ; Suite 
 Algerienne ; Overture, Spartacus, 1863. Concerted hislrumental Music: Op. 6. 
 Tarentelle for flute and clarinet ; op. 14. Quintet for Pf., 2 violins, viola, and 'cello, 
 in A minor; op. 15. Serenade for Pf., org., vn., viola, and 'cello; op. 16. Suite 
 for Pf. and 'cello ; op. 17. First Concerto for Pf. and orch, in D ; op. 18. Trio in 
 F, Pf , vn., and 'cello ; op. 22. Second do., in G minor ; op. 27. Romance, Pf., 
 org., and vn. ; op. 28. Introduction and rondo, vn. and Pf. ; op. 29. Third con- 
 certo, Pf. and orch., in E flat ; op. 32. Sonata, Pf. and 'cello, in C min. ; op. 33. 
 Concerto, 'cello and orch., in A minor ; op. 36. Romance for horn or 'cello and Pf. 
 in F; op. 37. Romance, flute or vn., and Pf., in D flat ; op. 38. Berceuse, Pf. and 
 vn., in B fiat; op. 41. Quartet for Pf. and strings, in B flat ; op. 43. Allegro ap- 
 passionata, 'cello and Pf. ; op. 44. Fourth Concerto, Pf. and orch., in C minor ; 
 op. 48. Romance, vn. and Pf., in C ; op. 51. Romance, 'cello and Pf., in D. 
 Pianoforte: op. II. Duettino, Pf. duet, in G ; op. 21. Mazurka; op. 23. Gavotte; 
 op. 24. Mazurka ; op. 25. Occident et Orient, duet ; op. 35. Variations, Pf. duet 
 (Beethoven) ; op. 52. Six studies ; op. 56. Minuet and valse ; op. 59. Ballade, 
 duet; op. 72. Album of six pieces; op. 73. Rhapsodie d'Auvergne. Transcriptions 
 from Bach, Beethoven, Gluck, Wagner, etc. Vocal : op. 26. Melodies Persanes ; 
 op. 53. Chansons ; also numerous songs in collections and detached. 
 
 Saint-Saens is one of the most prominent French instrumental composers of the 
 present time. His works have been heard in Europe, Britain, and America, and 
 some of them have achieved distinguished success. His style is original, but the 
 formality and occasional uninteresting character of his music militates against its 
 continued popularity. A number of his Pf. v? orks are, hovfever, among the adopted 
 classics of recent times. 
 
 SAINTON (Prosper PhUippe Catherine). French violinist and comp., B. 
 Toulouse, June S, 1813. Originally educated for the law. S. at Paris Cons., 
 under Habeneck, from 1831. Gained second violin prize, 1833, and the first, 
 1834. Member of orch. of the opera, etc. Made concert tour in Italy, Ger- 
 many, Austria, Russia, Denmark, and Spain. Violin prof, at Toulouse Cons 
 1840-44. First visited London, 1844, and settled there, 1845. Prof, of violin, 
 R. A. M., 1845. Leader at Musical Unioij^ Sacred Harmonic, Monday Popu- 
 lar, and other concerts; and of Philharmonic Orch., 1846-54. Leader at 
 Covent Garden Theatre, 1847-71 ; and at H.M. Theatre, 1871-80. Also 
 leader at several provincial festivals. Married Miss Charlotte Dolby, i860. 
 Cond. of Royal Band of Music, 1848-55. Retired from professional life in 
 June, 1883. 
 Works. — First concerto for violin and orch., op. 9 ; Thfeme Italien, varied, vn. 
 
 and orch., op. 10 ; Fantasia (Lindpaintner), op. II ; Fantasias (Donizetti), op. 12, 
 
 13 ; Air Montagnard, vn. and Pf , op. 14 ; Solo de Concert, vn. and orch., op. 16; 
 
 Rondo-mazurka, vn. and orch., op. 17; Three romances, vn. and Pf, op. 18; 
 
 Tarentelle, vn. and Pf , op. 20. 
 
 SAINTON - DOLBY (Charlotte Helen), nie Dolby. English contralto 
 vocalist and comp., B. London, May 17, 1821. S. at R. A. M., from 1832, 
 
S34 SAL — SAL 
 
 under J. Bennett, Elliott, and Crivelli, Gained the King's Scholarship, 1837. 
 
 Member of R. A. M. First appeared as a public singer about 1840, and sang 
 
 at Philharmonic Concert, 1841. Sang in oratorio and ballad music till 1846, 
 
 when she appeared at a Gewandhaus concert in Leipzig, in Mendelssohn's 
 
 "Elijah"; the contralto part of which was specially written for her voice. 
 
 Made concert tours in France and Holland. Married M. Prosper Sainton, 
 
 i860. From thence onwards to 1870, when she retired, she appeared at all 
 
 the most important concerts in Britain, and became the most popular and 
 
 successful contralto of her period. Established in London a Vocal Academy, 
 
 1872, in which many promising vocalists have been trained. Made her last 
 
 public appearance as a vocalist at her husband's farewell concert, in June, 
 
 1883. D. London, Feb. 18, 1885. 
 
 'Works.— Caniaias : The Legend of St. Dorothea, London, 1876; The Story 
 
 of the Faithful Soul, 1879 ; Florimel, female voices, 1885. Sofiffs : A stream of 
 
 golden sunshine ; A-saihng we will go ; Bonnie Dundee ; Coming home ; Charlie 
 
 yet ; Come forth, my love ; Drummer's song ; The G.L.O.V.E. ; Heigho ! Janet ; 
 
 In August ; Is it for ever ? ; I love her ; Lady's yes ; My Donald ; Marjorie's 
 
 almanack ; My love he stands upon the quay; Never again ; Watching and waiting ; 
 
 While I listen to thy voice. Tutor for English Singers, a Complete Course of 
 
 Practical Instructions in Singing, Lond., n. d., Svo. 
 
 Madam Dolby was a vocalist of great culture and taste, and excelled in ballad 
 singing. She had a voice of much power, and of a full, round tone, which was 
 highly effective and telling in oratorio music. Some of her songs and cantatas 
 attained much popularity. 
 
 SALA (Nicolo). ItaUan comp. and writer, B. near Naples [1701]. S. at Cons. 
 
 of La Pieta de' Turchini, Naples, under Abos and Leo. Succeeded Cafaro as 
 
 Director of the Cons, of La Pieta, 1787. D. Naples, 1800. 
 
 Works. — O/sJ-aj; Vologese, 1737 ; Zenobia, 1761 ; Merope, 1769. Oratorio, 
 
 odes, masses, etc. "Regole del Contrappunto prattico...," Naples, 1794, 3 vols., 
 
 fo. A work of very considerable importance in the literature of harmony and fugue. 
 
 SALAMAN (Charles Kensington). English comp., pianist, lecturer, and 
 writer, B. London, March 3, 1814. Gave early indications of a disposition for 
 music. Was elected a student of R. A. M., 1824, but never availed himself 
 of the election. S. Pf. under Charles Neate, 1826-1831 ; and harmony under 
 Dr. Crotch, and Ely, with whom he also S. the ''cello. Had Pf. lessons from 
 H. Herz, in Paris, 1828, in which year he first appeared as a pianist and comp. 
 Commenced series of annual orch. and vocal concerts, 1833, at the second of 
 which Grisi first appeared in London as a concert singer. Elected Mem. of 
 Royal Soc. of Musicians, 1837. Associate of Philharmonic Soc, 1837-55, 
 when he withdrew from the Soc. Visited Continent in 1838, and gave Pf. 
 performances in Vienna, Munich, etc. Resided at Rome, 1846-48. Made 
 Hon. Mem. of Academy of S. Cecilia, Rome, 1846, and of the Royal Phil- 
 harmonic Soc, 1847. Founded the first private Amateur Choral Soc. in 
 London, 1849, ^u<i appeared at a Philharmonic Concert, 1850. Lectured on 
 musical subjects from 1855. One of the founders of the Musical Society of 
 London, 1858, and was its secretary till 1865. Assumed the additional 
 surname, Kensington, on death of his father, in 1867. Aided in establishing 
 the Musical Association, 1874. 
 Works. — Cantata for Shakespeare Jubilee at Stratford-upon-Avon, April 30, 
 1830. Anthems and Part-Songs : A voiceless sigh ; Fair is the swan ; Give to the 
 Lord (double choir) ; Have mercy ; How lovely are Thy habitations ; Preserve me 
 O God ; There is an hour. Many Hebrew choral works for the service of 
 the synagogue. Musical Settings of the Annent Lyrics: Ad Chloen (Horace, 
 Ode 23, Bk. l) ; Donee gratus, duet soprano and tenor (Horace, Ode 9, 
 Bk. 3); To Ncera, "Non erat " (Horace, 15 Epode) ; Luctus in morte passeris 
 (Catullus, Ode 3) ; Para ten skien, duet for soprano and contralto (Anacreon, Ode 
 22) ; Hebrew Love-song (Halevi, circa 1200). Songs in English, German, French, 
 Italian, and Spanish : A leave-taking ; Al Salir ; Are other eyes ; As I did walk ; 
 A toi, toujours a toi (Hugo); A voiceless sigh; Away with sorrow ; Biondina's 
 song ; Celia ; Come dry those tears ; Come quel fior ; Cradle song ; Dost thou love 
 the blue to see?; Du SUsses madchen; EvaTual; Farewell ! if ever fondest prayer; 
 
SAL — SAL 
 
 S3S 
 
 Fare thee well ; Gi^ la notte ; Good-bye ; Home ; How lonely ; I arise from dreams 
 of Thee (Shelley), 1836 ; I would tell her ; I cannot part from Thee ; I dare not 
 ask ; I ever think of Thee ; lo lo so ; lo sento che in petto ; Katie ; Leila ; Linger not 
 long ; Lov'd one ; Love's legacy ; Love's philosophy ; Medora's song ; Memory ; 
 My sweetheart ; No, I never was in love ; No, non vedrete mai ; Oh, if thou wert 
 mine own ; Oh ! I have lov'd thee ; Oh ! linger on the oar ; Perdita's song ; Placido 
 zefiretto ; Pyrrha ; Song of welcome ; Sweet, have the roses ; The farewell ; The sun 
 has set ; There is beauty ; There's not an accent ; Think'st thou on me ? ; This 
 Rose ; Thought (sonnet by Shakespeare) ; Tu di saper; What shall I send to thee, 
 sweet ? ; Where is my lov'd one? ; Why didst thou ever ; Without thine ear ; Zahra ; 
 Zuleika. Pianoforte : Atalanta ; Birthday valse ; Cloelia ; Egeria ; Hesperus ; 
 Habanera ; Hilda ; II riposo h I'agitazione ; Iris ; Joy ; La barchetta sul 
 flume ; La notte serena ; Lullaby ; Mazurka ; Medora ; Pavan ; Pegasus ; 
 Prelude and Gavotte ; Remembrance ; Rondo nel tempo della giga ; Sal- 
 tarello ; Serenata ; Spanish caprice ; Syrian bride ; Toccato, op. 44 ; Tranquility ; 
 Twilight thoughts ; Un fantasma, op. 21 ; Zephyrus. Orchestral: Overture in D ; 
 Fantasia orchestrale, in G min. ; Rondo al capriccio, Pf. and orch. Grand Funeral 
 March, in honour of Victor Hugo, for orch. and military band, 1885. Grand Parade 
 March for military band. Twelve Voluntaries for org., harmonium, or American org. , 
 1885. Lectures : The History of the Pianoforte, and the ancient keyed instruments, 
 the immediate precursors of the Pianoforte, 1855-6 ; Music in connection with the 
 dance ; Handel and his Contemporaries ; Beethoven and his works ; Carl Maria 
 von Weber, his Dramatic compositions ; History of Italian, German, and English 
 Opera. Papers in Proceedings of Musical Association — Musical Criticism (repub- 
 lished, 1876) ; The English Language as a Language for Music ; On Music as a 
 Profession in England (republished, 1880). Contributions to Musical Journals — 
 Musical Recollections ( Concordia) ; History of English Opera ; Music in connection 
 with Dancing; Classical Music (in Musical Times). Jews as they Are. Lond., 
 1884, 8vo. 
 
 One of the best of modern English composers, and as a song-writer one of the 
 most refined and original of his period. Certain of his lyrical compositions are not 
 matched for taste, slall, or melody, in the anthology of any nation in Europe. ' ' I 
 arise from dreams of Thee," the classical lyrics, and many others which considera- 
 tions of space must prevent us from re-enumerating, are unequalled for beauty of 
 melody, fine sympathy with the feeling of the poet, and warmth of musical ima- 
 gery. His pianoforte music and choral works are likewise marked by similar evi- 
 dences of poetic and scholarly treatment. His son, Malcolm Charles, a lyric 
 poet and dramatist, was B. Lond., Sept. 6, 1855. He is author of "Ivan's Love- 
 Quest and other Poems," Lond., 1879, 8vo, and the verses of many of his father's 
 best songs, as " Biondina's song, " "Love's Legacy," "Zahra," and others; also 
 of words for compositions by Sir G. A. Macfarren and G. A. Osborne, etc. As a 
 dramatic author and librettist he has produced ' ' Deceivers Ever, " a farcical comedy, 
 Strand Theatre, Nov. 26, 1883 ; and "Boycotted," a comedietta in one act, with 
 music by Eugene Barnett. Other two of his plays, " Dimity's Dilemma," and 
 " Only Sympathy," have been accepted for production at London theatres. Edited, 
 1879-S0, Replies, a Weekly Journal of Questions and Answers. 
 
 SALDONI (Baltasar). Spanish comp., B. Barcelona, Jan. 4, 1807. S. at 
 Barcelona, and under Andrevi. Org. of S. Maria del Mar, Barcelona. Prof, 
 of Singing Madrid Cons, from 1830. Comp. Ipermestra, 1838; Boabdil ; La 
 Porte de Monaco, 1857, and other operas. Also masses, motets, cantatas, and - 
 orch. music. 
 
 SALE (John). English bass vocalist and comp., B. London, 1758. Son of 
 John Sale (B. Gainsborough, 1734, D. Windsor, 1802), a lay-clerk of S. 
 George's Chap., Windsor. Chor. Chap. Roy., Windsor, and in Eton Coll., 
 under W. Webb, 1767-1775. Lay-vicar Chap.-Roy., Windsor, and Eton Coll,, 
 1777-96. Gent, of Chap.-Roy., London, 1783. Vicar-choral, S. Paul's Cath., 
 1794. Lay- vicar Westminster Abbey, 1796. Almoner and master of choris- 
 ters, S. Paul's Cath., 1800-1812. Secretary of the Catch Club, 1812. Cond. 
 of the Glee Club, and bass at Concert of Ancient Music, the Ladies Concerts, 
 and in,many parts of England at festivals and concerts. D. London, Nov. 11, 
 1827. 
 
536 SAL — SAL 
 
 Works. — A Collection of New Glees, composed by John Sale...Lond., ob. fc, 
 n. d. Also some issued in a collection, with others comp. by Lord Mornington, 
 Callcott, etc. 
 
 SALE (John Bernard). English comp. and bass vocalist, B. Windsor, 1779. 
 
 Chor. in St. George's Chap., Windsor, and in Eton Coll., 1785. Lay-vicar 
 
 Westminster Abbey, 1800. Gent, of Chap. -Roy. , 1803. Org. S. Margaret's,- 
 
 Westminster, 1809. Musical instructor to Qu^en Victoria. Org, of the Chap. - 
 
 Roy., 1838. D. London, Sept. 16, 1836. 
 
 Works. — Psalms and Hymns for the Service of the Church, Lond., 1837, 4to. 
 
 S. Webbe's Solfegios as Exercising Duetts, newly arranged by J. B. Sale, Lond., 
 
 fo., n. d. The Butterfly, duet, and other vocal pieces. 
 
 His daughters, Mary Anne, and Sophia (D. May 3, 1869), were also musicians. 
 Another daughter, Laura, married W. J. Thoms the writer. His brother, George 
 Charles, B. Windsor, 1796. Chor. 8. Paul's Cath., 1803. Org. S. Mary's, 
 Newington, in succession to Dr. T. Busby, 1817 ; St. George's, Hanover Square, 
 1826. D. London, Jan. 23, 1869. Both John and J. B. Sale were very remark- 
 able bass singers, and were famous throughout Britain during their careers. 
 
 SALES .(Fietro Pompeo). Italian comp., B. Brescia, 1729. Travelled in Ger- 
 many. Appeared in London, 1763-68. Chap. -master to the Elector at Cob- 
 lentz, 1768. Re-visited London, 1777, with his wife, who was a singer. D. 
 Hanau, 1797. Comp. operas and oratorios. 
 
 SALIERI (Antonio). Italian comp., B. Legnano, Venice, Aug. 19, 1750. S. 
 under his brother, Pescetti, Passini, and Gassmann. Accompanied Gassmann 
 to Vienna, 1766, and he S. under him till 1774. Court comp., and director of 
 opera at Vienna, 1774. Court Chap. -master, 1788. D. Vienna, May 12, 
 1825. 
 
 Works. — Operas: Le Donne letterate, 1770; Armida, 1771 ; II Don Chisciotte, 
 1771 ; Europa riconosciuta, 1776 ; II Talismanno, 1779 ; Der Rauchfangkehrer, 
 1781 ; Semiramide, 1784; II Ricco d'un Giorno, 1784; Les Danaides, Paris, 
 1785 ; La Grotto di Trofonio, 1785 ; Les Horaces, 1786 ; Tarare, 1787 (reproduced 
 as Axur, re d'Ormus, 1788); Chimene et Rodrigue, 1788 (never produced); II 
 Pastor Fido, 1789 ; Falstaff, 1798 ; Die Neger, 1804. Oratorios, La Passione di 
 Gesii Cristo, 1776, etc. Masses, cantatas, ballets, and other vocal music. Concertos 
 for Pf. and org. 
 
 Salieri occupied a very influential position in Vienna, and associated with the 
 best musicians of the age, among them being Gluck, Beethoven, Haydn, Schubert, 
 and Mozart. He professed to be a follower of Gluck in the style of his operatic 
 works, but no traces of the powerful dramatic characteristics of Gluck are apparent 
 in his compositions. He trained many first-class musicians, and was instrumental, 
 in many ways, in forwarding the musical culture of his time. 
 
 SALINAS (Francesco). Spanish writer and conap., B. Burgos, 1512. Blind 
 from his birth. S. at Salamanca, and in Italy. Abbot of S. Pancratio della 
 Rocca Salegna, Naples. D. Salamanca, Feb. 1590. He wrote " De Musica 
 libri septem..." [Salamanca], 1577. Comp. church and org. music. 
 
 SALMON (Eliza), «^e Munday. English soprano vocalist, B. Oxford, 1787. 
 S. under John Ashley. DJbut at Lenten Oratorio Concerts, Covent Garden, 
 London, 1803. Married James Salmon, a singer, 1805. Sang at the principal 
 London and provincial concerts till 1824, when her voice was lost, through a 
 break down of her nervous system, caused by intemperance. Married the 
 Rev. Mr. Hinde, after Salmon's death. Became quite destitute on death of 
 her second husband, and after various ineffectual attempts to regain a position 
 D. Chelsea, June 5, 1849. Her husband, James Salmon, was org. of S. 
 Peter's, Liverpool, 1805. He was latterly in very embarrassed circumstances, 
 and went to the West Indies as a soldier, where he died. His brother 
 William, B. 1789, D. Windsor, Jan. 26, 1858, was a singer and teacher. 
 
 SALMON (Rev. Thomas). Enghsh writer of 17th century, was educated at 
 Oxford University, of which he was M.A., and became Rector of Mepsall, 
 Bedfordshire. He wrote "An Essay to the Advancement of Musickby casting 
 away the perplexity of different cliffs, and uniting all sorts of Musick, lute, 
 
SAL — SAN 537 
 
 viol, violins, organ, harpsichord, voice, etc., in one universal character," Lond., 
 1672, 8vo. This was answered by Matthew Locke in his " Observations," and 
 elicited "A Vindication of an Essay to the Advancement of Musick, from Mr, 
 Matthew Lock's Observations, enquiring into the real nature and most con- 
 venient practice of that science," Lond., 1673. To this. Lock replied conclu- 
 sively in his " Present Practice of Music vindicated," in which is a letter by 
 John Playford. His other works are "A Proposal to perform Music in perfect 
 and mathematical proportions," Lond., 1688, 4to ; " The Theory of Music re- 
 duced to Arithmetical and Geometrical Proportions '' (Philosophical Transac- 
 tions, 1705). His sons, Nathaniel and Thomas, were both writers. 
 
 SALO (Gasparo di). Italian violin-maker, B. Salo, on Lake of Garda, in latter 
 part of 1 6th century. His biography is unknown. His instruments include 
 violins, violas, and double-basses, and on the good quality of the last-named, 
 his fame chiefly rests. His double-basses are of excellent tone and model, and 
 one was in the possession of Dragonetti, the celebrated contiabassist. 
 
 SALOME (Theodore Cesar), French comp. and org., B. Paris, Jan. 20, 1834. 
 S. Paris Cons, under Bazin, Thomas, and Benoisl. Gained various prizes 
 between 1855-59, and the second grand Prix de Rome in 1861. Org. of Ch. 
 of the Trinity, Paris, Comp. symphonies, chamber music, org, music, and 
 vocal works. 
 
 SALOMON (Johann Peter). German violinist, cond., and comp,, B. Bonn, 
 Feb, 1745, Originally educated for the Law, but relinquished it in favour of 
 music, and became famous as a violinist when quite young. Violinist in court 
 band of the Elector, at Bonn, 1758. Travelled in Germany and France as 
 violinist and concert-giver. Appeared in Paris, ijSt, and arrived in London 
 in March of the same year. Appeared at the Theatres, the Professional Con- 
 certs, Academy of Ancient Music, and at Concerts organised by himself, which 
 he gave between 1781 and 1790. In 1791 he gave a series of concerts at which 
 the twelve symphonies of Haydn, known as the Salomon set, were produced. 
 He afterwards gave other concerts, and engaged the Haymarket Theatre with 
 Arnold for oratorio performances, 1801, and took an active part in the musical 
 doings of his time, aiding among other things with the establishment of the 
 Philharmonic Society, D, London, May 28, 1815, Buried in Westminster 
 Abbey, 
 He comp. Windsor Castle, an opera ; The Marriage of Peleus and Thetis, a 
 
 masque ; Two sets of canzonets ; Violin concertos and concertos ; Glees and songs. 
 Chiefly celebrated as a violinist, and as the one who introduced Haydn and his 
 
 works to the English public. 
 
 SALOMON (Henriette and Siegfried). See Nissen (Henriette), 
 
 SALVAYRE (Gervais Bernard), French comp., B, Toulouse, June 23, 1847, 
 
 S, at Toulouse for a time, but afterwards entered Paris Cons, as a pupil of 
 
 Thomas, Benoist, and Bazin, Gained various prizes for org,, and the Grand 
 
 Prix de Rome, in 1872, with " Calypso," a cantata. 
 
 Works. — Le Bravo, opera, 1877 ; Le Fandango, ballet, 1877. Le Resurrection, 
 
 symphonic biblique (Le Jugement dernier), 1876. Psalm cxiii. for soli, chorus and 
 
 orch, Stabat Mater, Les Bacchantes, scene instrumentale. Songs and Pf, music, 
 
 SAMUEL (Adolph). Belgian comp,, B, Liege, July 11, 1824, S. at Li^ge, 
 and in Brussels Cons,, 1832-40, Prof, of Harniony, Brussels Cons., i860. 
 Comp. Operas, symphonies, overtures, cantatas, masses, motets, theoretical 
 works and songs. 
 
 SAMUELL (Clara), Rose. English soprano vocalist, B. Manchester, August 
 29, 1857. S. in Milan, and at R. A. M., and gained the Parepa-Rosa Scholar- 
 ship in 1876 and 1880. Married Mr. Henry Robert Rose, org. and comp., 
 Dec, 1880. Associate of R. A. M,, 1881. She has appeared at most of the 
 Principal Festivals in England and Scotland, and has sang in London with 
 distinguished success. Chiefly celebrated as a concert vocalist. 
 
 SANDERSON (James), English violinist and comp., B. Workington, Cumber- 
 land, 1769, Self-taught in music and on the violin. Violinist in Sunderland 
 
53^ SAN — SAN 
 
 Theatre. Teacher in South Shields, 1784-87. Leader of theatre orch., New- 
 castle-on-Tyne, 1787. Vnst. in orch. of Astley's Amphitheatre, 1788. Music- 
 director at the Surrey Theatre, Was violinist in Philharmonic Orch.j and 
 comp. for Vauxhall Gardens. D. London, 1841. 
 Works. — Music to Dramas, etc. : Harlequin in Ireland, 1792 ; Blackbeard, 
 1798 ; Cora, 1799 ; Sir Francis Drake, 1800 (containing the once-famous song, 
 " Bound 'Prentice to a Waterman") ; The Magic Pipe ; and many melo-dramas, 
 burlettas, and pantomimes to the number of over 150. Collins' Ode on the Pas- 
 sions, 1789. Overtures, violin music, and songs. 
 
 SANDONI (Francesa), nle Cuzzoni. Italian contralto vocalist, B. Parma, 
 1700. S. under Lanzi. Sang in Italy with much success, and in Venice, 1719. 
 Appeared in London about 1722. Sang in Handel's operas, etc., as the rival 
 of Faustina Bordoni, till 1729, vjfhen she quitted England. Returned, 1734, 
 and again 1750, but each time with less success. She went to Holland, where 
 she was imprisoned for debt, and afterwards returned to Italy, and D. at 
 Bologna, 1770. 
 
 SANDYS (Greorge). English poet. B. 1577. D. 1643. He wrote "A Para- 
 phrase upon the Psalms of David... set to new tunes for private devotion by 
 Henry Lawes," of which there are several editions, one of which was revised 
 by John Playford. 
 
 SANDYS (Wiiliam). English writer, B. 1792. Member of the legal profession 
 in London; an F.S.A., etc. D. London, Feb. 18, 1874. 
 Works. — Christmas Carols, Ancient and Modern, including the most Popular in 
 the West of England, and the Airs to which they are sung, also specimens of French 
 Provincial Carols, with an Introduction and Notes, Lond., 1833. Christmas Tide, 
 its History, Festivities, and Carols, with their Music, Lond., 1852, 8vo (various 
 editions) ; History of the Violin and other Instruments played on with the Bow, 
 from the Remotest times to the Present. Also an account of the Principal Makers, 
 English and and Foreign," Lond., 1864, 8vo. 
 
 SANGSTER (Walter Hay). English org. and comp., B. London, 1835. 
 Educated at City of London School. Chor. in Temple Ch. , London. S. org. 
 under E. J. Hopkins, and Pf. under W. Rea. S. also in Berlin, 1855. Org. 
 successively of Christ Church, Ealing; English Ambassador's Chap., BerHn, 
 1855 ; St. Michael's, Chester Sq. ; All Saints, St. John's Wood ; St. James', 
 Weybridge; St. Michael's, Star St., Paddington ; and St. Saviour's, East- 
 bourne. Mus. Bac, Oxon. F.C.O. 
 Works. — The Lord is my Light, cantata; The Knight of Elle, cantata (MS.) 
 
 Anthems, songs, organ and Pf. music. 
 
 SANKEY (Ira David). American comp. and barytone vocalist, B. in Pennsyl- 
 vania, Aug. 13, 1840. Chiefly known as the coadjutor of Mr. D. L. Moody 
 in a series of meetings held in connection with religious revivals throughout 
 Britain and America. Comp. of a large number of hymn tunes which have 
 attained much favour in some circles, and among which are the vigorous tunes 
 named " Hold the Fort," '■ Come to the Saviour," "Jesus of Nazareth passeth 
 by," "More to Follow," " Safe in the arms of Jesus," " The Life- Boat," etc. 
 
 SANTINI (Abbe Fortunato). Italian musician, B. Rome, July S, 1778. S. 
 music under Jannaconi. Educated at the Collegio Salviati, Rome, and was 
 ordained priest in 1801. Hon. member of the Singakademie of Berlin. D. (?) 
 Best known as an assiduous collector of church music, and celebrated as one 
 who did much to make known in Italy the works of German and other masters. 
 He issued a ' ' Catalogo della Musica esistente presso Fortunato Santini in 
 Roma," 1820. 
 
 SANTLEY (Charles). English barytone vocahst, B. Liverpool, Feb. 28, 1834. 
 S. at Milan under Gaetano Nava, 1855-1857, and in London under Garcia. 
 Z>/i5a; in London as Adam in Haydn's "Creation," Nov. 16, 1857. Appeared in 
 English opera as Hoel in Meyerbeer's "Dinorah," 1859 ; and in Italian opera 
 in 1862. Married Miss Gertrude Kemble, 1859. First sang at Handel Festi- 
 val, Crystal Palace, 1862 ; Birmingham Festival, 1864. Appeared in the U. S. 
 of America, 1871. Has appeared in all the principal towns of Britain as a 
 
SAP — SAS 539 
 
 concert vocalist. Celebrated as one of the finest barytone vocalists of the pre- 
 sent time. He has comp. a few songs, and has edited " Nava's Method of In- 
 struction for a Baritone Voice..." Lond., n. d. 
 
 SAPIO. An Italian vocalist of this name was a professor of singing in Paris, and 
 the vocal instructor of the Empress Maria Antoinette. He emigrated to Eng- 
 land during the French Revolution. His son, A. Sapio, B. London, 1792, 
 held a commission in the army for a short time. Afterwards became a tenor voca- 
 list, and made his dJbut in the " Messiah " in 1822. He sang also at York and 
 Edinburgh, and sang on the stage from 1824. Appeared at Drury Lane 
 Theatre, London, 1824, and afterwards sang chiefly in opera. D (?). 
 
 SABASATE (Martin Meliton). Spanish violinist and comp., B. Pampeluna, 
 Navarre, March 10, 1844. S. at Paris Cons, from 1856, under Alard and 
 Reber, and gained several prizes. Travelled in France, Spain, Norway, 
 America, etc. First appeared in London, 1874. Travelled in Austria and 
 Germany, 1876-77 ; in Belgium and Russia, 1878. Has appeared in London 
 several times since, and also in the provinces. 
 Works.— Op. 7. Confidence, romance ; op. 8. Souvenir de Domont, valse ; op. 
 II. Le Sommeil ; op. 12. Moscovienne; op. 15. Mosaique sur Zarapa ; op. Priere 
 et Berceuse ; Spanish Dances, for vn. and Pf., 6 books, op. 26, etc.; Serenade An- 
 dalouse, vn. and Pf. , op. 28 ; Fantasias on Don Juan ; Faust ; Spanish airs ; Scot- 
 tish airs, etc. 
 
 One of the greatest of living violinists, and distinguished as much by the fire and 
 brilliancy of his performance, as by his refinement and technique. He has travelled 
 over most of the world, and has everywhere met with success. 
 
 SABONI (Hennanu S.) German writer and comp., resident in the United 
 States of America. Author of "Musical Vade Mecum, a Manual of the 
 Science of Music," New York, 1852, 8vo. "Marx's Musical Composition, 
 translated from the Third German edition, with Appendix by E. Girac," New 
 York, 8vo, n. d. "Theory of Harmony," Boston, n. d. He also comp. 
 "Twin Sisters," an operetta, and some vocal music. 
 
 SABBIA (Enrico). Italian comp., B. Naples, Feb. 19, 1836. S. under Vitale 
 and Fornasini. Comp., among others, the following operas, "Carmosina," 
 1853; "Estella," 1858; "Babbeo e I'Intrigante," 1872 ; "Giudetta," 1875; 
 "GhEquivoci," 1878, etc. 
 
 SABTI (Giuseppe). Italian comp., B. Faenza, Dec. 28 [Dec. i], 1729. S. 
 
 music originally in Cath. of Faenza, and afterwards under Martini at Bologna. 
 
 Music-director of Faenza Theatre, and org. of Cath., 1748-50. Court chap.- 
 
 master at Copenhagen, 1756 ; and cond. of court theatre, 1770-1775. Visited 
 
 London, 1769. Prof, in Cons, of I'Ospedaletto, Venice, 1770. Chap. -master 
 
 of the Duomo, Milan, 1779. Chap. -master to the Empress Catherine II. of 
 
 Russia, 1785. Director of the Cons, at Katorinoslaw. D. Berlin, July 28, 
 
 1802. 
 
 y^OKKS.— Operas : Pompeo in Armenia, 1751 ; II Re Pastore, 1753 ; Medonte ; 
 
 Demotoonte; L'Olimpiade ; Ciro riconosciuto, Copenhagen, 1756; La Figlia ricu- 
 
 perata; La Giardiniera brilliante, 1758; Mitridate, 1765; II Vologeso, 1765; La 
 
 Nitetti, 1765 ; Ipermnestra, 1766 ; Didone, 1767 ; Semiramide, 1768 ; Cl^omene, 
 
 1770; La Clemenza di Tito, 1771 ; Le Gelosie villane, 1776; Farnace, 1776 ; 
 
 Ifigenia in Aulide, 1777; Epponina, 1777; Achille in Sciro, 1779; Scipione, 
 
 1780 ; Giuho Sabino, 1781 ; Le Nozze de Dorina, 1782 ; Siroe, 1783 ; Armida e 
 
 Rinaldo, 1785 ; La gloire du Nord, 1794 ; I rivali delusi, London. Masses, 
 
 misereres, cantatas, and sonatas for harpsichord. 
 
 SABTORIS (Mrs.) See Kemble (Adelaide). 
 
 SARTOEIUS (Erasmus), or Schneider. German poet and writer, B. Schles- 
 
 wig, 1577. Chap. -master and vicar of Hamburg Cath. D. Hamburg, Oct. 
 
 17, 1637. Wrote "Institutionum Musicarxun.. " Hamburg, 1635, and other 
 
 works. 
 SASS or SAX (Marie Constance). Belgian soprano vocalist, B. Ghent, Jan. 
 
 26, 1838. S. Ghent Cons. Sang in Paris, in opera, 1859. Married to M. 
 
540 SAT — SAW 
 
 Castan, 1864, and separated from him in 1867. Has appeared in operas of 
 Gounod, Meyerbeer, Halevy, Verdi, Spontini, Wagner, etc. 
 
 SATTER (Gustav). Austrian pianist and comp., B. Vienna, Feb. 12, 1832. 
 
 S. at Vienna and Paris. Made concert tours in America and Europe. Cond. 
 
 at Hanover. 
 Works. — Washington, symphony for orch. Overtures for orch,, Loreley, 
 Julius Csesar, etc. lolanthe, opera. Pianoforte : Niagara, op. 52 ; Scherzo, op, 
 54 ; Impromptu, op. 71 ; Sonatas, fantasias, etc. 
 
 SAUNDERS (George). American writer, author of " Self-Instructing School 
 for the Violin," Boston, 1857, 3 parts. 
 
 SAXJRET (Emile). French violinist and comp., B. Dun-le-Roi, Cher, May 22, 
 1852. S. under Beriot. Travelled as a violinist in France and Italy, and ap- 
 peared in London, 1866. Played in the United States, 1872, and 1874-76. 
 Played at the Gewandhaus Concerts, Leipzig, 1876. Reappeared in the U.S., 
 1877, and in London, 18S0. Has also played in Scotland. Prof, of violin in 
 KuUak's Academy of Music, Berlin, since 1879. 
 He has comp. a concerto for vn. and orch., in G minor, op. 26 ; A Serenade ; 
 
 Ballade, and Legende ; Caprices, and many transcriptions for violin and orch. 
 
 Eighteen Studies for violin, 3 books. Cavatina and aubade mauresque, op. 25 ; 
 
 Fantasia on Spanish airs, op. 27; Pensees Fugitives, vn. and Pf , op. 29 ; Romance 
 
 and Tarantelle, op. 31. 
 
 SAUZAY (Charles Emile). French violinist and comp., B. Paris, July 14, 
 
 1809. S. under Vidal, and in Cons, under Baillot, Guerin, and Reicha. 
 
 Gained several prizes. Was a member of Baillot's quartet party, and married 
 
 his daughter. Violinist to Louis Philippe, 1840, and leader of second violins to 
 
 Napoleon III. Prof, of violin, Paris Cons., i860. Chevaher of the Legion 
 
 of Honour. 
 
 WoKKS. — Op. 1. Fantasia on " Zampa,'' vn. and Pf. ; op. 12. Symphonic rusti- 
 
 que, Pf. duet; op. 13. Etudes harmoniques pour Violon ; Music for "Georges 
 
 Dandin," and " Le Sicilien" (Moli^re). Haydn, Mozart, Beethoven, etude sur le 
 
 quatuor, Paris, 1 861. L' Ecole de I'Accompagnement... Paris, 1S69, 8vo ; etc. 
 
 SAVAGE (William). English org., comp., and bass vocalist, B. [1720]. S. 
 under Dr. Pepusch. Gent, of Chap.-Roy., 1744. Almoner, vicar-choral, and 
 master of choristers, S. Paul's Cath., 1748. D. London, July 27, 1789. Comp. 
 chants and other church music. 
 
 SAVARD (Marie Gabriel AugUStin). French writer and teacher, B. Paris, 
 Aug. 21, 1814. S. Cons, under Bazin, etc. Prof, of harmony, Paris Cons. 
 Author of "Cours complet d'Harmonie," Paris, 1853, 2 vols. ; "Manuel d' 
 Harmonic"; " Principes de la Musique..." Paris, 1865; " Recueil de Plain 
 chant d'Eglise," Paris ; "Etudes d'Harmonie pratique," Paris, n. d., 2 vols,, 
 8vo. Comp. motets, and other vocal pieces. 
 
 SAVART (Felix). French scientist, B. Mezi^res, June 30, 1 79 1. D. Paris, 
 March, 1841. Author of " Memoire sur la Construction des Instruments i 
 cordes et h archet..." Paris, 1819, but best known for his valuable discoveries 
 in acoustical science. Inventor of Savart's wheel, for measuring the vibrations 
 iu sounds. 
 
 SAVILE (Jeremy). English comp. of 17th century. Now known as comp. of 
 "The Waits, " a four-part song sung at the meetings of Glee societies. He 
 also published songs in contemporary collections (circa, 1650-60). 
 
 SAWERTHAL (Joseph Rudolf). Bohemian violinist, comp. and cond., B. 
 Polep, Leitraeritz, Nov. 5, 1819. S. at Prague Cons., from 1830 to 1837. 
 Bandmaster of 6th Kurassier Regiment (Austrian), 1840. Correspondent of 
 the Viennese "Allgemeine Musik-Zeitung," 1842. Married, 1844. Band- 
 master of 53rd Infantry regiment. Established the Pension Soc. for 
 Bandmasters of the Austrian Army (1846), the statutes of which were con- 
 firmed by the Emperor in 1859. Bandmaster of Imperial Marines, 1850-64. 
 Director of Military Music to Emperor Maximilian of Mexico, 1864. Band- 
 master of the 4th (British) " King's Own " regiment, 1868. Bandmaster of the 
 
SAX — SCA 541 
 
 Royal Engineers, 1S71. He has comp. "Pastyrka," a Serbian opera, 1847; 
 Numerous pieces of military music ; Marches arid dance music ; Songs, 
 choruses, and operatic selections for military band. It is almost needless to 
 say the band of the Royal Engineers, under Sawerthal, is one of the finest 
 military bands in existence. [See also Zavertal]. 
 
 SAX (Charles Joseph). Belgian musical-instrument maker, B. Dinant, Meuse, 
 Feb. I, 1791. Established a manufactory for the production of brass instru- 
 ments at Brussels. Gained several decorations and prizes at various Exhi- 
 bitions for improvements in the manufacture of wood and brass wind instru- 
 ments. D. Paris, April 26, 1865. 
 His eldest son Antoine Joseph, or Adolphe, B. Dinant, Nov. 5, 1814. S. 
 music in Brussels Cons. Devoted himself to the improvement of brass instruments, 
 and invented the whole family of Sax instruments, including Sax horns (1845), 
 Saxophones (1846), and other ■ varieties. Exhibited in various Exhibitions, and 
 was highly rewarded. Became bankrupt in 1852. Reconstructed his business 
 afterwards, but it declined to nothing. His saxophones have been adopted in 
 military bands all over the world. He wrote ' ' Methode complete pour Sax-Horn 
 et Saxotromba...," Paris, n. d. 
 
 SAX (Marie C.) See Sass. 
 
 SCALCHI (Sofia). Italian vocalist, B. Turin, Nov. 29, 1850. S. under Bocca- 
 badati. Dibut at Mantua, 1866. Sang afterwards in various parts of Italy, 
 and in 1868 appeared in London, and has since sang there with success. 
 Married Signor LoUi, of Ferrara, 1875. Has sang since 1868 in English 
 provinces, Ireland, Scotland, St. Petersburg, Moscow, Warsaw, Vienna, 
 Madrid, Rio Janeiro, 1883, and New York, 1883. She sings both rnezzo- 
 . soprano and contralto parts, and usually appears in works by Verdi, Donizetti, 
 Meyerbeer, Cimarosa, Mass^, and Nicolai. 
 
 SCABIA (Emil). Austrian bass vocalist, B. Gratz, Styria, 1838. S. at Vienna 
 Cons., but principally under Garcia in London, i860. Appeared at Dessau, 
 1862 ; Leipzig ; and from 1865 to 1872 at Dresden. Singer in opera at 
 Vienna, from 1872, but has also appeared in other parts of Europe. Successful 
 in operas of Wagner. Has also appeared in operas by Mozart, Weber, Lort- 
 zing, Cimarosa, Cherubini, and Boieldieu. 
 
 SCABISBBICK (Thomas). English org. and comp., B. Prescot, Lancashire, 
 Mar. 24, 1805. D. Kendal, Feb. 26, 1869, where he was org. Comp. 
 anthems and other church music. His wife, nk Whitnall (B. 1829, D. 
 1874), was a contralto singer. 
 
 SCARLATTI (Alessandro). Italian comp. B. Trapani, Sicily, 1659. S. 
 
 under Carissimi at Rome. Musician in service of Queen Christina of Sweden, 
 
 1680-88 (?). Chap. -master to the Viceroy of Naples, 1694. Second chap.- 
 
 master at S. Maria Maggiore, Rome, 1703 ; chief do., 1707-9. Also master 
 
 of the private music of Cardinal Ottoboni. Retired to Naples, 1709. D. 
 
 Naples, Oct. 24, 1725. 
 
 Works. — Operas: L'Onesta nell' amore, Rome, 1680; Pompeo, Naples, 1684; 
 
 Teodora, 1693 ; Odoacre, 1694 ; Pirro e Demetrio, 1697 ; II Prigioniero fortunato, 
 
 1698; II Prigioniero superbo, 1699; Gli equivochi nel sembiante, 1700; Eraclea, 
 
 1700; Laodicea e Berenice, 1701 ; 11 Figlio delle selve, 1702; La caduta de' 
 
 decemviri, 1706 ; II trionfo della libertk, 1707 ; II Medo, 1708 ; II martirio di Saiita 
 
 Cecila, 1709; Giro riconosciuto, 1712 ; Scipione nelle Spagne, 1714 ; Arminio, 
 
 1714; II Tigrane, 1715 ; H Trionfo dell' Onore, 1718; II Telemacco, 1718 ; 
 
 Attiho Regolo, 1719 ; Tito Sempronio Gracco, 1720 ; La Principessa fedele, 1721 ; 
 
 Griselda, 1721 ; Didone abbandonata, and others to number of 115. Oratorios : I 
 
 dolori di Maria sempre Vergine, 1693 ; II Sacrifizio d'Abramo, 1703 ; II Martirio 
 
 di Santa Teodosia, 1705; San Filippo Neri, 1718, etc. Masses (about 200), 
 
 motets, and psalms. Serenataaquattro voci...i723. Madrigals. Duets. Tocat- 
 
 tas for harpsichord or organ, etc. 
 
 Scarlatti was one of the greatest lights of the Italian school of the 17th century. 
 His influence on operatic music was considerable, and much of his church music is 
 highly original and impressive. His name and style were further spread by many 
 
S4^ SCA — sen 
 
 celebrated pupils, among whom may be named Porpora, Fee, Durante, Leo, Hasse, 
 Logroscino, Abos, Gizzi, and Sarri. 
 
 SCARLATTI (Domenico). Italian comp., son of above, B. Naples, 1683. S. 
 under his father, Gasparini, and Pasquini. Became acquainted with Handel 
 at Venice, 1708. Succeeded T. Baj as chap. -master of S. Peter's, Rome, 1715- 
 19. Comp. and accompanist at the opera, London, iTi<). Proceeded to Lis- 
 bon, and became a musician at court, 1 72 1. Afterwards became music-masfer 
 at court of Madrid. Returned to Naples, 1754, and D. there, 1757. 
 Works.— 0/«-ai : Irtee, 1704; La Silvia,] 1710 ; L'Orlando, 171 1 ; Tolomeo 
 ed Alessandro, 171 1; Tetide in Sciro, 1712; Ifigenia in Aulide, 17 13; Ifigenia in 
 Tauri, 1713 ; Amor d'un' ombra e gelosia d'un' aura, 1714 ; II Narciso, 1714 (Lon- 
 don, under T. Rosingrave, 1720); L'Amleto, 171$ ; Telemacco, 1718. Piecespour 
 le Clavecin, composees par Domenico Scarlatti... 2 vols. Harpsichord pieces in 
 Farrenc's " Tresor des Pianistes," etc. 
 
 Chiefly famous as a performer, who did much to found the modern style of 
 playing keyed instruments. Some of his instrumental works are very quaint and 
 pretty, and others of them are stiff and dry. His operas are never now heard. 
 
 SCAKLATTI (Giuseppe). Italian comp., grandson of Alessandro, B. Naples, 
 1711. D. Vienna, Aug. 17, 1777. Comp. operas, among which maybe 
 named " Pompeo in Armenia," 1747; "Adrianoin Siria,"l7S2 ; Ezio,l7S4; 
 Merope, 175S ; L'Isola disabitata, 1757; La Clemenza di Tito, 1760; La 
 moglie padrona, 1768, etc. 
 
 SCHACHNER (Joseph Budolf). German comp. and pianist, B. Munich, Dec. 
 31, 1821. Comp. of "Israel's Return from Babylon," an oratorio which has 
 achieved considerable popularity in Britain. His other works are chiefly choral 
 pieces and Pf. music. 
 
 SCHAD (Joseph). German pianist and comp., B. Steinach, Bavaria, May 6, 
 18 12. S. under Frblich and A. Schmitt. Travelled as a concert-giver, and 
 was successively prof, of Pf. in Geneva Cons., and in Bordeaux from 1847. D. 
 Bordeaux, July 4, 1879. 
 Works. — Frantzia, ballet, 1864. Pianoforte: op. 6. Three nocturnes ; Etudes, 
 Pf. duet, op. 31 ; Amour k Jesus Christ, in 3 parts, op. 40, 42, 43. Concert stu- 
 dies. Concerto for Pf. and orch,, op. 62. Transcriptions and dances, numbering 
 jn all about op. 100. ' 
 
 SCHAEFFEB (August). German comp., B. Rheinsberg, Aug. 23, 1814. S. 
 under Koch, Bbttcher, and Birnbach. D. Berlin, 1879. Comp. operas, 
 Pf. music, lieder and choral music. 
 
 SCHABWENKA (Philipp). German pianist and comp., B. Samter, Posen, 
 Feb. 25, 1847. S. in Kullak's Academy, Berlin, 1865. Teacher of composi- 
 tion there. 
 Works. — Pianoforte'- op. 6. Scenes de Danse ; op. 10. Romance et Scherzo 
 (Pf. and vn.); op. 11. Fantaisiestiicke ; op. 13. Htimoresque ; op. 18. Miscellanees ; 
 op. 25. Caprice ; op. 27. Albumblatter ; op. 33. Album polonais ; Three morceaux 
 de Concert, Pf. and 'cello, op. 17; Serenade for orch., op. 19. Two polonaises, 
 orch., op. 20; Cavatina, Pf. and 'cello, op. 22 ; Menuet et Mouvement perpetuel, 
 vn. and Pf., op. 24; Four pieces, vn. and Pf., op. 53; Lieder und Tanzweisen, 
 Pf. duet, op. 54; Seestucke, Pf., op. 60, Symphonies, overtures, and suite for 
 orch. Lieder. 
 
 SCHARWENKA (Xaver). German pianist and comp., B. Samter, Posen, 
 
 Jan. 6, 1850. S. at Kullak's Academy, Berlin. First appeared as pianist at 
 
 Berlin, 1869. Travelled in Europe as a performer, and in 1879 appeared in 
 
 London. He has since appeared in London several times. 
 
 Works. — Op. i. Trio for Pf., vn., and 'cello; op. 2. Sonata for Pf. and vn; op. 
 
 3. Polnische nationaltanze, Pf.; op. 4. Scherzo, Pf.; op. 5. Zwei erzahlungen, Pf.; 
 
 op. 6. Sonata, Pf., C sharp minor; op. 7. Polonaise, Pf. ; op. 8. Ballade, Pf. ; op. 
 
 9. Polnische nationaltanze, Pf.; op. 10. Four lieder, voice and Pf. ; op. 15. Three 
 
 lieder, voice and Pf. ; op. 16. Polonaise and mazurka, Pf.; op. 17. Impromptu, 
 
 Pf. ; op 22. Novelette et melodic, Pf. ; op. 23. Wanderbilder, Pf. ; op. 24. Four 
 
 danses, Pf, duet ; op. 25. Two romances, Pf. ; op. 28. Six valses ; op. 29. Two 
 
SCH — scH 543 
 
 Polish dances ; op. 30. Valse-impromptu ; op. 32. Concerto,- Pf. and orch. ; op. 33. 
 Romance, Pf.; op. 36. Second sonata; op. 37. Quartet for Pf. and strings, in F; 
 Sonata, Pf. and vn., in D min ; Trio for Pfs., op. 45.; Sonata for Pf. and 'cello, 
 op. 46; Symphony for orch., in C minor, op. 60. 
 
 One of the most gifted instrumental composers of the present time. His Pf works 
 abound in original features, and all are marked by much that is graceful and clever. 
 
 SCHEBEK (Edmond). Austrian writer and amateur musician, B. Petersdorf, 
 Oct. 22, 1819. Imperial counsellor, and secretary to Chamber of Commerce, 
 Prague. Author of " La Fabrication des Violons en Italic et son origine AUe- 
 mande," Prague, 1874. Trans, as "Violin Manufacture in Italy, and its Ger- 
 man Origin, an Historical Sketch," by Walter E. Lawson, Ldnd,, 8vo, 1877. 
 
 SCHEBST or SCHEBEST (Agnes). Austrian mezzo-soprano vocalist, B. 
 Vienna, Feb. 15, 1813. Singer in court theatre of Dresden. S. under 
 Madame Werdy. Dibtit at Dresden in M&ul's Joseph. Sang at Pesthj 
 Vienna, Carlsruhe, and elsewhere in Germany, and in France and Italy. 
 Married Dr. David F. Strauss, the [author of a Life of Jesus, 1841, and quitted 
 the stage. D. Stuttgart, Dec. 22, 1869. She published an autobiography with 
 title, " Aus dem Leben einer Klinstlerin," Stuttgart, 8vo, 1857. 
 
 SCHECHNER-WAAGEN (Nanette). German soprano vocalist, B. Munich, 
 1806. S. under Grassini and Ronconi. Dibut at Munich. Sang in Vienna 
 (1826), Berlin (1827) ; and in 1831 married Herr Waagen, a painter. Retired 
 from the stage in 1835. D. Munich, April 30, i860. Sang in operas of 
 Weigl, Cimarosa, Mozart, Gluck, Weber, and Beethoven. 
 
 SCHEIBLEB (Johnn Heinrich). German musician, B. Montjoie, Aix-la- 
 Chapelle, Nov. 11,1777. Silk manufacturer at Crefeld. D. Crefeld, Nov. 
 20, 1837. Inventor of a tonometer, for measuring sound, and various other 
 devices in acoustical science. His discoveries are contained in " Der Physi- 
 kalische und Musikalische Tonmesser,".. .Essen, 1834; " Anleitung die Orgel 
 vermittelst der Straesse und des Metronoms," Crefeld, 1834. 
 
 SCHEIN (Jobann Hermann). German comp., B. GrUnhain, Saxony, Jan. 
 
 29, 1586. Chor. in Elector's Chap., at Dresden. Chap.-master to Duke of 
 
 Saxe- Weimar, 1613. Cantor at Leipzig, in succession to Calvisius, 1615. D. 
 
 Leipzig, 1630. 
 
 Works. — Venus Kraenzlein, oder weltliche lieder mit 5 stimmen...i6o9 ; Cym- 
 
 balum Sionium, 1615 ; Banchetto Musicale, 1617 ; Israels Briinlein, 1623. Some 
 
 of Schein's chorales are now in use as psalm tunes. 
 
 SCHELBLE (Johann Nepomuk), German tenor vocalist, teacher and comp., 
 B. Hoffingen, in the Black Forest, May 16, 1789. S. under Vogler and Krebs. 
 Director of the Musical Academy of Frankfort-on-Main, 1817. Established 
 the "Csecilian Society" of Frankfort, 1818. D. Frankfort, Aug. 7, 1837. 
 Celebrated as a cond. and for his connection with Beethoven, Mendelssohn, 
 Spohr, and others. He comp. operas and some choral music. 
 
 SCHELLER (Jacob). Bohemian violinist and comp., B. Schettat, Rakonitz, 
 May 12, 1759. Educated at Prague. 8. music under Vogler. Violinist in 
 orchs. in Vienna, and court orch. of Mannheim. Leader in court-band at 
 Stuttgart till 1793. Travelled over Europe as a violinist, and became reduced 
 by intemperate habits to the lowest possible straits. D. in a village in Frisia, 
 1800. Comp. violin music. 
 
 SCHENCK (Jobann). Austrian comp., B. Neustadt, Vienna, Nov. 30, 1753. 
 S. under Stall and Wagenseil. Instructed Beethoven in harmony. Music- 
 director to Prince of Auersberg. D. Vienna, Dec. 29, 1836. 
 Works. — Operas, etc, : Dis singspiel ohne Titel, 1790; Im Finstern ist nich gut 
 tappen, 1791 ; Die Weinlese, 1791 ; Der Aerntekranz, 1791 ; Die Weihnacht auf 
 dem Lande, 1792; Der Bettelstudent, 1796; Der Dorfbarbier, 1796; Der Jagd, 
 1798 ; Der Fassbinder, 1802. Symphonies, masses, quartets, lieder, and other 
 music. 
 
 SCHETKY (Jobann Georg Cbristopb). German comp. and violoncellist, 
 B. Darmstadt, 1740. Educated at Jena University. S. music under Filtz. 
 
S44 SCH — RIO 
 
 'Cellist at Court of Hesse. Travelled in Italy, France, etc., as 'cellist. 'Cellist 
 
 at Darmstadt and Frankfort, 1772. Engaged by Bremner as principal 'cellist 
 
 for the S. Cecilia Concerts in Edinburgh, 1773. Married Maria Anna Theresa 
 
 Reinagle, 1774. D. Edinburgh, Nov. 30, 1824. 
 
 Works. — Op. i. Six trios for 2 vns. and 'cello; op. 2. Six duets for vn. and 
 
 'cello ; op. 3. Six trios for harpsichord, vn., and 'cello ; op. 4. Six sonatas for 'cello 
 
 and bass ; op. 5. Six duets for two flutes ;■ op. 6. Six string quartets ; op. 7. Twelve 
 
 duets for 2 'cellos ; op. 13. Six sonatas for 'cello and bass ; op. 24. Three duets for 
 
 vn. and 'cello. Concertos for 'cello and orch. ; symphonies ; and vocal music. 
 
 Practical and Progressive Lessons for the Violoncello, dedicated to J. Crosdill, Esq. 
 
 Loud., n. d., fo. 
 
 Schetky was a great power in musical Edinburgh in his day, and held a high 
 place as a teacher. His son, John Christian, was a painter of some celebrity. 
 The melody of" Mary's Dream " has been attributed to him, but is now known not 
 to have been his composition. See Wood's Songs of Scotland, edited by Graham, 
 first edition. 
 
 SCHICHT (Johann Gottfried). German comp., B. Reichnau, Zittau, Sept. 
 
 29. 1753- Educ. at Leipzig University. S. music under Trier. Married 
 
 Mdlle. Valdestrula, a singer (D. 1809), in 1786. Succeeded J. A. Hiller as 
 
 Cantor of S. Thomas Schule, Leipzig, i8lo. D. Leipzig, Feb. 16, 1823. 
 
 Works. — Das ende der Gerechten, oratorio. Motets and Psalms. AUgemeine 
 
 Choralbuch fllr Kirchen Schulen... Leipzig, n. d., 3 vols. Grundregeln der Har- 
 
 monie... Leipzig, n. d. An edition of Bach's Motets, and some other works. 
 
 SCHICK (Margaret Louise), nie Hamel. German soprano vocalist, B. 
 Mayence, April 26, 1773. S. under Hellmuth and Righini. Married Ernst 
 Schick, vioHnist (B. the Hague, 1756. D. Berlin, 1813), 1791. Travelled in 
 Germany, and appeared in operas of Salieri, Gluck, Mozart, Martini, and 
 others. 
 
 SCHIEDMAYER & SONS. German firm of Pianoforte makers, established in 
 Stuttgart, 1809. Celebrated on the Continent for the superior make of their 
 instruments. Another firm bearing the same name, but known as J. & P. 
 SCHIEDMAYER, have been established in Stuttgart since 1854. Both firms 
 have gained prizes at various Exhibitions for the good quality of their manu- 
 factures. Johann David Schiedmayer, B. Erlangen, April, 1753, D. 
 Nuremberg, Mar. 20, 1805, was the original founder of both families. His son, 
 Johann Lorenz, B. Erlangen, 1786, established the firm of Schiedmayer & 
 Sons, at Stuttgart, as above noted. He D. Stuttgart, April, i860. 
 
 SCHIKANEDEB (Johann Emmanuel). German actor and singer, B. Rat- 
 isbon, 1751. Played throughout Europe. D. Vienna, Sept. 21, 1812. Of 
 note as the author of the libretto of Mozart's "Zauberflbte." 
 
 SCHILLEE (Johann Christoph Friedrich von). German poet and writer, 
 
 B. Marbach, Wiirtemberg, Nov. 11, 1759. D. Weimar, May 9, 1805. Many 
 of Schiller's dramatic works have been utilized by different composers for musi- 
 cal treatment, among them are "The Robbers," "Don Carlos," "Wallen- 
 stein," " Jeanne d' Arc, " and "Bride of Messina." His lyrical works have 
 inspired Beethoven, Mendelssohn, Lowe, Reichardt, Romberg, Brahms, and 
 many other musicians. 
 
 SCHILLING- (Gustav). German writer and teacher, B. Schwiegershausen, 
 
 Hanover, Nov. 3, 1805. Son of the Protestant pastor there. Educated at 
 
 Gottingen and Halle universities. Director of a music school in Stuttgart, 
 
 1830. Settled in New York, and became director of a music-school there, 
 
 1857. Resident in Montreal for a time. D. Nebraska, May, 1880. 
 
 Works. — Musikalische Handworterbuch,... Stuttgart, 1830; Encyclopsedie der 
 
 gesammten Musikalischen Weissenschaften, oder Universal Lexikon der Tonkunst, 
 
 Stuttgart, 1835-40, 7 vols., Svo ; Versuch einer Philosophie des Schcenen in der 
 
 Musik, oder ^sthetik der Tonkunst, Mayence, 1838 ; AUgemeine generalbass- 
 
 lehre,... Darmstadt, 1839; Geschichte der heutigen oder Modernen Musik,... Carls- 
 
 ruhe, 1841; Das Musikalische Europa, ..Stuttgart, 1840; Musikalische Didaktik,.., 
 
 1851. 
 
sck — SCH §45 
 
 SCHIMON (Anna), nie Regan. Bohemian soprano vocalist, B. Aich, near 
 Carlsbad, Sept. i8, 1841. S. under Mme. Sabatier-Ungher, 1860-64. 
 Appeared in Italy, Hanover, and St. Petersburg. Visited London, 1869, arid 
 again sang in England, 1869-75. Sang in Vienna, 1870. Married Adolf 
 Schimon, 1872. Chiefly famous as a concert vocalist. Her husband, Adolf 
 ScHlMON, B. Vienna, Feb. 29, 1820. S. at Paris Cons, under Halevy. 
 Appeared in England, 1850. Prof, of singing successively at Leipzig and 
 Munich. Comp. operas, songs, etc. 
 
 SCHINDELMEISSER (Ludwig). German comp. and cond., B. Konigsberg, 
 Dec. 8, 181 1. Son of Fanny Schindelmeisser, a pianist (D. Berlin, Feb. 28, 
 1846). S. violin and became cond. in various theatres. Chap. -master to 
 Grand Duke of Hesse-Darmstadt. D. Darmstadt, Mar. 20, 1864. Comp. 
 oratorios ; operas — Mathilde ; Die Zehn Glllcklicher Tage ; Peter von Szapary, 
 1839 ; Die Racher, 1844 ; Overtures, Pf. music, and lieder. 
 
 SCHINDLER (Anton). Austrian writer, B. Modi, Neustadt, 1796. Educated 
 
 at Vienna University, and cond. at the Josephstadt theatre there. Became 
 
 intimately acquainted with Beethoven, 1814, and on his death became possessed 
 
 of his papers. Music-director at Miinster Cath., and afterwards at Aix-la- 
 
 Chapelle, 1835. D. Bockenheim, near Frankfort-on-Main, Jan. 16, 1864. 
 
 Works. — Biographie von Ludwig van Beethoven, ...Miinster, 1840, 8vo, with 
 
 portrait, 3 editions to i860; Beethoven in Paris,... Munster, 1842, 8vo. The first 
 
 of these two works was edited and translated by Moscheles as ' ' The Life of 
 
 Beethoven, including his correspondence with his Friends," Lond., 1841, 2 vols., 8vo. 
 
 SCHIRA (Francesco). Italian comp. and teacher of singing, B. Malta, Sept. 
 
 19, 1815. Descended from a family of Milanese origin. S. at Milan Cons., 
 
 under Basily, till about 1832. Cond. of theatre of Santo Carlos, Lisbon, and 
 
 Prof, at the Cons, there. Went to Paris, 1842, and was there engaged as 
 
 cond. of the Princess's Theatre, London. Cond. at Drury Lane, 1844-47 and 
 
 1852; and of Covent Garden Theatre, 1 848. Teacher of singing in London. 
 
 Officer of Order of the Crown of Italy. D. London, Oct. 15, 1883. 
 
 Works. — Operas: Elena e Malvina, Milan, 1832; I cavalieri di Valenza, 1837; 
 
 II Fanatico per la Musica, Lisbon ; Kenilworth (never produced) ; Mina, London, 
 
 1849; Theresa, or the Orphan of Geneva, 1850; Nicolo de' Lappi, Lond., 1863 ; 
 
 Selvaggia, Naples, 1865 ; Lia, Venice, 1866. The Ear-ring, operetta. Cantata, 
 
 The Lord of Burleigh, Birmingham Festival, 1873. Numerous songs, and other 
 
 vocal music. 
 
 His brother ViNCENZO (B. Madrid, D. Lisbon, 1857), was educated at Milan 
 Cons., and became cond. of Santo Carlos Theatre at Lisbon. He comp. ballets 
 and operas. Margherita, sister of the preceding, was also a pupil of Milan 
 Cons., and became celebrated in Italy as an operatic vocalist, and afterwards as a 
 teacher. D. Milan, April, 1885. 
 
 SCEIBMACHER (Dora). Pianist, B. Liverpool, Sept. i, 1857. S. at Leipzig 
 Cons, from 1872. Appeared at Crystal Palace, London, 1877. Has since 
 appeared with much success in the English provinces, and on the Continent. 
 
 SCHIBMER (Gustav). German music-publisher, B. Thuringia, 1830. Went 
 to New York, 1840, and in 1853 entered into the music-publishing business 
 there. Firm known for a time as Beer and Schirmer, but now as Schirmer of 
 Broadway, New York. The firm act as American agents for Peters, Breitkopf 
 and Hartel, and Augener and Co., and publish numerous works of every kind. 
 The catalogue of the firm includes titles of many works of Abt, Arditi, Bass- 
 ford, Buck, Dararosch, Gounod, Gumbert, Kiicken, Liszt, Millard, Pease, 
 Schumann, S. P. Warren, and other American and European composers. 
 The Musical Review, a weekly magazine on musical topics, was established 
 about 1879, and has since been published by the firm. 
 
 SCHLESINGER (Martin Adolph). German music-publisher, established a 
 
 large business in Berlin in 1795, and issued many important musical works, as 
 
 well as a musical periodical. He D. 1839, and was succeeded by his second 
 
 son Heinrich (1807-1879), who continued the business. The firm still exists. 
 
 His eldest son, Moritz Adolph (B. Berlin, Oct. 30, 1798. D. Baden-Baden, 
 
 L 2 
 
546 scH — s c li 
 
 Feb. 1 87 1), was bred to business in Paris, and about 1823 he established a large 
 music-publishing firm, which existed in his name till 1846, when he sold out and 
 retired. The Business is now in the hands of Messrs. Brandus and DuFOUR. 
 Among the composers of importance whose works in whole or in part the firm 
 issues, may be named Beethoven, Mozart, Meyerbeer, Weber, Hummel, Moscheles, 
 Hal^vy and Berlioz. The other publications of Schlesinger included the now 
 defunct "Gazette Musicale de Paris," 1843-1881, and many important theoretical 
 works. 
 
 SCHLETTERER (Hans Michel). German writer, violinist, and comp., B. 
 Anspach, May 29, 1824. S. violin under J. Durrner, Spohr, and David. 
 Prof, of music at Heidelberg, Augsberg, etc. Married Hortensia Zirges 
 (B. 1830), a singer. Author of "Histoire de la Musique d'Eglise...." "Das 
 Deutsch Singspiel von seinen ersten Anfangen, etc," 1863, 8vo. Comp. 
 Psalms, and other vocal music. 
 
 SCHLOSSER (Ludwig). German comp. and cond., B. Darmstadt, 1800. 
 S. at Vienna under Mayseder, Rinck, Seyfried, and Salieri ; also at Paris Cons, 
 under Kreutzer and Lesueur. Cond. of Court Band of Darmstadt. 
 
 Works. — Operas : Granada ; Das Leben ist ein Traum, 1839 ; Kapitsen Hector; 
 Die jugend Karls II. von Spanien. String quartets, op. I, 4, 6, 15. Concertino 
 for horn and orch., op. 16. Themes varied, for vn. and orch., op. 2, S, 9, and II. 
 Sonatas for Pf., op. 17, 20, etc. 
 
 His son Carl Wilhelm Adolph, was B. Darmstadt, Feb. i, 1830. Educated 
 in music by his father, and appeared as pianist in Germany and France. He settled 
 in London in 1854 as teacher, and is one of the Pf. teachers at the R. A. M. His 
 works include op. 3. L'Attente ; op. 6. Impromptu ; op. 7. Fantasiestvick ; op. 8. 
 Allegro capriccioso ; op. 9. Le Papillon; op. 16. Idylle. Caprices, and other Pf. 
 works. 
 
 SCHLUTER (Joseph). German writer, author of "AUgemeine Geschichte der 
 Musik in iibersichtlicher Darstellung, " Leipzig, 1863, 8vo. Trans, as "A 
 General History of Music," by Mrs. Tubbs, London, 1865, 8vo. 
 
 SCHMIDT (Bernard). " Father Smith," German organ-builder, B. in Ger- 
 many about 1630. Learned business under Christian Former. Came to Eng- 
 land about 1660, with his nephews Gerard and Bernard, and in the same year 
 secured the erection of the organ in the Chapel Royal, Whitehall. Made 
 organ-maker in ordinary to Charles II. Involved in dispute with Renatus 
 Harris regarding the erection of an organ for the Temple Chapel, London, 
 which was subsequently decided by the organ which Schmidt submitted on 
 trial being accepted, 1683-84. D. London, 1799. 
 The principal organs built by Schmidt or his nephews are as follows : — Westmin- 
 ster Abbey, 1660 ; St. Giles-in-the-Fields, 1671 ; St. Margaret's, Westminster, 
 1675; Durham Cath., 1683; St. Paul's Cath., London, 1694-97; Trinity Coll., 
 Cambridge, 1708 ; Wells Cath., 1664; Christ Church Cath., Oxford, 16S0; Ripon 
 Cath. ; St. George's Chap., Windsor; Southwell Collegiate Church; Manchester 
 Cathedral, and Chester Cathedral. 
 
 SCHMIDT (Gustav). German comp., B. Weimar, Sept. I, 1816. S. under 
 Toepfer. Music-director at Briinn, Wiirzburg Frankfort-on-Main, and May- 
 ence. D. Darmstadt, Feb. 1 1, 1882. Comp. operas. Lieder and Pf. music. 
 
 SCHMIDT (Johann Philipp Samuel). German comp., B, Kbnigsberg, 
 Sept. 3, 1779. D. 1850. Comp. "Alfred der Grosse," opera; Overtures; 
 Lieder for single voice and Pf ; Choral music, etc. 
 
 SCHMITT (Aloys). German comp. and pianist, B. Erlenbach-on-Main, 1789. 
 S. under his father and Andre. Prof, of Pf. at Frankfort, 1816, and afterwards 
 at Berlin. Court org. at Hanover. Resided afterwards successively at Frank- 
 fort, Brussels, and Paris. D. Frankfort-on-Main. July 25, 1866. 
 Works. — Tongemalde, symphony for orch.; Overtures for orch., op. 36,46; 
 
 Quartets for strings, op. 70, 80, 81 ; Concertos for Pf. and orch., op. 14, 34, 60; 
 
 Concertinos, Pf. and orch., op. 75, 76; Sonatas, Pf. and vn., op. 27, 66; Sonatas, 
 
 Pf. duet, op. 31, 39, 46; Sonatas, Pf. solo, op. 6, 7, 8, 10, 11, 14, 78, 83, 84. 
 
SCH — SCH S4|f 
 
 Exercises and studies for Pf., including a famous teaching series of five-finger 
 exercises. 
 
 Schmitt was a successful teacher, and numbered among his pupils the late Fer- 
 dinand Hiller. 
 
 SCHMITT (Jacob). German comp. and pianist, brother of preceding, B. 
 
 Obernburg, Nov. 2, 1803. S. under Aloys. Prof, of Pf. at Hamburg. D. 
 
 Hamburg, June, 1 853. 
 His works include Variations for Pf. duet, op. 27, 28, 30, 45, 48, 58, 60, 65 ; 
 Sonatas, Pf. duet, op. 31, 39, 46; Sonatas, Pf. solo, op. 24, 25, 29, 50-55; also 
 exercises, rondos, studies and transcriptions. 
 
 SCHNEIDER (Georg, or Gottleib Abraham). German comp. and cond., B. 
 Darmstadt, April 19, 1770. Oboe-player in the army. Music-director in ser- 
 vice of Duke of Mecklenburg, 1790. Member of Royal Chap. , Berlin. Leader 
 at the opera, 1825, and bandmaster of the Royal Guard. D. Berlin, Jan. 19, 
 1839. Comp. masses and sacred cantatas, music for wind instruments, a sym- 
 phony, and overtures for orch. 
 
 SCHNEIDER (Friedrich Jobann Christian). German comp., writer, org., 
 
 and teacher, B. Alt-Waltersdorf, near Zittau, Jan. 3, 1786. S. under his 
 
 father, org. of Gersdorf. Educated at Zittau, and at Leipzig Univ., and S. 
 
 music under Schonfelder and Unger. Org. of Univ. Ch., S. Paul's, Leipzig, 
 
 1807. Cond. of an opera company which performed in Leipzig and Dresden 
 
 alternately, 1810. Org. of S. Thomas's Ch., Leipzig, 1812-21. Chap. -master 
 
 to the Duke of Anhalt-Dessau, 1821. Established a music school at Dessau, 
 
 and cond. choral festivals there, and in other German towns. D. Dessau, 
 
 Nov. 23, 1853. 
 
 Works. — Oratorios: Die SUndfluth (The Deluge, trans, by E. Taylor); Das 
 
 Weltgericht (Last Judgment), 1819 ; Das Verlorne Paradies (Paradise Lost), op. 
 
 75, 1824; Pharaon, op. 74, 1828; Christus der Meister ; Absalon ; Christus das 
 
 Kind, op. 83, 1829 ; Gideon, op. 88, 1829 ; Gethsemane und Golgotha, op. 96, 
 
 1838 ; Das befreiete Jerusalem ; .Salomonis Tempelbau ; Bonifacius ; Christus der 
 
 Erlbser; Jehova, hymn, op. 94. Alwins Entzauberung, opera, 1809. Mass, op. 
 
 55. Psalm xxiv. (Herder), op. 72 ; Vater Unser, for double male choir, orch., and 
 
 org., op. 103. Songs and lieder, op, 16, 24, 28, 44, 53, 60, 64, and 69. Overtures 
 
 for orch. : Op. 11 ; Die Braut von Messina, op. 42 ; On theme of God save the 
 
 King, op. 43 ; Tragic, in C minor, op. 45 ; opp. 50, 60, 67 ; Gaudeamus Igitur, 
 
 op. 84. Polonaise for orch., op. 48. Concertos for Pf. and orch., op. 18 and 22. 
 
 Quartets for strings, opp. 24, 34, 36. Trio for Pf , clarinet, and bassoon, op. 10. 
 
 Duets for Pf. and violin, or flute, opp. 19, 31, 33, 35, 6l. Sonatas for Pf. duet, 
 
 op. 2, 8, 13, 29. Sonatas, Pf solo, opp. I, 3, 5, 6, 14, 20, 21, 26, 27, 30, 37, 40. 
 
 Theoretical: Elementarbuch der Harmonic und Tonsetzkunst, Leipzig, 1820, 4to, 
 
 Trans, as The Elements of Musical Harmony and Composition... Lond., 1828, fo., 
 
 also as Treatise on Thorough Bass and Harmony, by Edward L. White, Lond., 
 
 1856, 8vo. Vorschule der Musik, Leipzig, 1827. Handbuch des Organisten, 
 
 Halberstadt, 1829-30, 4 parts. Trans, as Complete Theoretical and Practical Organ 
 
 School. ..Lond. (Novello), n. d. 
 
 Famous as a teacher and learned musician. His pupils were numerous, and in- 
 clude some of the best modern men, among them Robert Franz. His compositions 
 are of the same school as those of Haydn and Mozart, and only a few lieder and 
 sacred pieces are now in use. His life was issued as Friedrich Schneider als Mensch 
 und Kiinstler, von F. Kempe, Dessau, 1859, 8vo, with portrait. 
 
 SCHNEIDER (Johann Gottlob). German comp. and org. B. Alt-Gersdorf, 
 Oct. 28, 1789. S. under his father and Unger. Org. to University of Leip- 
 zig, 181 1. Gave organ recitals in Gorlitz, Dresden, and Zittau, 1816-17, and 
 in Freiberg, Leipzig, Weimar, Gotha, and Dresden, from 1820. Court org. 
 at Dresden, 1825. D. Dresden, April 13, 1864. 
 Works.— Op. i. Fantasia and Fugue, org. ; op. 2. Religiose Chorgesange fur 3 
 
 soprane, oder 2 tenore u. Bass ; op. 3. Fantasia and Fugue, org. ; op. 4. Twelve 
 
 easy organ pieces ; op. 5-6. Six sacred choruses. 
 Teacher of Van Eyken, Faisst, Herzog, Merkel, A. G. Ritter, Naumann, E. F. 
 
 Richter, Oakeley, and others. In i86l his pupils presented him with a "Jubel- 
 
 Album liir die Orgel," consisting of compositions by themselves, 
 
54^ scH — scH 
 
 SCHNEIDER (Wilhelm). German org. andcomp., B. Neudorf, July 21, 1783, 
 Org. Merseburg Cath. D. Merseburg, Oct. 9, 1843. Comp. overtures, org. 
 and Pf. music, lieder, and theoretical works. 
 
 SCHNORR VON CAROLSFELD (Ludwig). German tenor vocalist, B. 
 Munich, 1836. S. at Leipzig Cons, from 1853. Sang in Wagner's operas at 
 Carlsruhe, 1858, and also in Dresden. D. Dresden, 1865. 
 
 SCHNYDER VON WARTENSEE (Xaver). German comp. and writer, B. 
 
 Lucerne, April 18, 1786. Of noble German family. S. under Kienlen. 
 
 Entered army and served against the French. Afterwards settled" at Franlcfort- 
 
 on-Main, and became celebrated as a teacher, D. Frankfort-on-Main, Aug.' 
 
 30, 1868. 
 Works. — Fortunat mit den Sockel und Wundschiitsein, opera, 1829 ; Zeit und 
 Ewigkeit, oratorio, 1838; Symphonies; Geistliche Lieder; Sonatas for Pf. ; 
 Choruses, songs, and cantatas. 
 
 More-famous as a teacher than as a composer. He was one of the teachers of 
 Pearsall, John Thomson, and John Barnett. His writings were chiefly contributed 
 to periodical literature. 
 
 SCHOBERLECHNER (Franz). Austrian pianist and comp., B. Vienna, July 
 21, 1797. S. under Grllner, a pupil of Hummel. Patronised by Prince 
 Esterhazy, and at his instance placed under Fbrster for tuition. Appeared at 
 Gratz, Trieste, and Florence as pianist. Chap, -master at Lucca. Appeared 
 in Vienna, 1820, and in 1823 went to St. Petersburg. Married there to Sophie 
 Dair Occa, 1824, Travelled in Europe, but latterly retired to Florence, where 
 he chiefly resided. D. Berlin, Jan. 7. 1843. 
 Works. — Operas : I virtuosi teatrali ; Gli Arabi nelle Gallie ; Le jeune Oncle ; 
 II Barone di Dolzheim, 1827; Rossane, 1839. Themes, varied, Pf. and orch., op. 
 46-47. Trios for Pf., vn., and 'cello. Sonatas for Pf., rondos, fantasias, varia- 
 tions, etc. 
 
 His wife, nie Sophie Dall' Occa (B. St. Petersburg, 1807 ; D. Florence, 1863), 
 was a soprano vocalist, and appeared with success in operas by her husband and 
 others. 
 
 SCHOBERT or SCHUBART. German comp. and harpsichord-player, B. 
 Strassburg. Christian name unknown. Musician in service of the Prince de 
 Conti at Paris, 1760. D. Paris, Aug., 1767, from effects of eating poisonous 
 mushrooms. Famous in his day as a performer, and held in considerable 
 esteem for his compositions, which consist of " Sonatas for Clavecin and Violin, 
 op. I, 2, 3. Sonatas for Clavecin solo, op. 4, 5, 16, 17. Trios for Clavecin, 
 violin, and bass, op. 6, 8. Quartets for clavecin and strings. Concertos for 
 Clavecin, op. 9, 10, 11, 12, 13, and 18. Symphonies for Harpsichord, violin, 
 and 2 horns, op. 14, 15. 
 
 SCHCELCHER (Victor). French writer, B. Paris, July 21, 1804. Expelled 
 from France for political reasons, 1 851, and took up residence in London. 
 Returned to France, 1870, and became member of the National Assembly. 
 Made collection of publications relating to Handel, and presented it to Paris 
 Conservatory. Author of " The Life of Handel," Lond., 1857, 8vo. 
 
 SCHOLTZ (Herrmann). German pianist and comp., B. Breslau, June 9, 1845. 
 S. under Brosig, at Leipzig ; under Plaidy and Riedel ; and afterwards under 
 Liszt, Billow, and Rheinberger. Teacher and comp. in Dresden. Court 
 pianist there. Has travelled as a concert giver. Comp. sonatas, variations, 
 elegies^ fantasias, and other pieces for Pf. solo ; Trio for Pf. , violin, and 'cello, 
 op. 51 ; Concerto for Pf. and orch., etc. 
 
 SCHOLZ (Bernard). German comp. and cond., B. Mayence, March 30, 1835. 
 S. under Pauer and Dehn. Prof, in Munich Cons., 1856-58. Chap. -master 
 to King of Hanover, and cond. at theatre, 1859. Teacher in Florence, Berlin, 
 and Breslau. Comp. operas. Carlo Rosa, Morgiana, 1870, Golo, 1875 ! ^'^ 
 vornehmen Wirthe, 1883 ; Pf. music ; Symphony in B ilat ; concerted vocal 
 music, etc. Edited Dehn's "Die Lehre vom Contrapunkt, dem Canon und 
 der Fuge," Berlin, 1858. 
 
SCH — scH 549 
 
 SCHONFELD (Henry), American comp., B. Milwaukee, Oct. 4, 1856. S. at 
 Leipzig Cons., and under Lassen. Has written "The Easter Idyll," cantata ; 
 Pf. music, songs, and choral music. 
 
 SCHOP or SCHOPP (Johann). German comp. of 17th century, B. Hamburg. 
 Music-director in Hamburg and Luneburg. He published "Neues Paduanen, 
 Galliarden, AUemanden, Balletten, Couranten und canzonen, mit 3, 4, 5, und 
 6 Stemmen," Hamburg, 1633-1644. "Geistlicher Concerten," 1644. " Ristii 
 Frommer Christen AUtEegliche Haus-Musik," 1654, etc. A number of Schop's 
 chorales are in use as psalm-tunes in Britain. 
 
 ' SCHOTT (Anton). .German tenor vocalist, B. Staufeneck, Swabia, June 25, 
 1846. S. under Agnes Schebest. DBiii at Frankfort in "Der Freischiitz," 
 1870. Served in army through Franco-Prussian War. Sang in London, 1879, 
 and appeared in Wagner's operas, 1880. Has since appeared in opera in 
 Germany. 
 
 SCHOTT'S SOHNE. German firm of music-publishers, established in Mayence 
 in 1773, by Bernhard Schott (D. 1817). He was succeeded by his son JOHANN 
 Joseph (1782-1855), and the business in time passed on to the grandson, 
 Franz Philippe (B. 1811, D. Milan, 1874), being now mainly in the hands 
 of Peter Schott and Dr. L. Strecker. The firm has branches in Brussels, 
 Paris, London, Leipzig, Rotterdam, and New York. Their catalogue of 
 Pianoforte music alone extends to about 200 pp., and it contains the name of 
 nearly every prominent composer for that instrument, as Ascher, Beethoven, 
 Bertini, Beyer, Clementi, Cramer, Czerny, Dupont, Gottschalk, Herz, Hiinten, 
 Liszt, Osborne, Prudent, Rummel, Schubert, and Wallace. Their other 
 catalogues are equally representative, and among the large vocal works issued 
 by the firm are those of Auber, Wagner, Rossini, and Donizetti. They also" 
 issue a considerable number of theoretical and didactic works of all kinds. 
 
 SCHBODEB-DEVRIENT (Wilhelmine). German soprano vocalist, B. 
 Hamburg, Dec. 6, 1804. Daughter of Antoinette Sophie Schroder, «/j 
 Burger, a celebrated actress. Appeared originally as a ballet-girl at Hamburg 
 theatre. Afterwards appeared as a tragic actress in plays by Racine and 
 Schiller. ZJ^^a^ as vocalist in Mozart's "Zauberfldte," Vienna, 1821 ; where 
 she had S. singing under Mazatti. Sang in Berlin from 1823, in works of 
 Beethoven, Spontini, and Weber. Married Devrient, the actor, 1823, and 
 separated from him in 1828. Appeared in Paris, 1829-30. Sang in London, 
 1832-3, and again in 1837. Afterwards sang in Dresden, where she married 
 an oiEcer named Doring, but soon separated irom him. Travelled afterwards 
 in North Europe, and made her last appearance at Riga, 1847. Married Herr 
 von Bock, 1850. D. Coburg, Jan. 26, i860. 
 Famous for her powers as a dramatic singer, and especially for the earnestness 
 and energy of her singing and acting in Beethoven's " Fidelio." She had a voice 
 of much strength and richness of tone, which she used to best advantage in exciting 
 and passionate operatic scenes. In many respects she excelled most of her contem- 
 poraries, but in the matters of execution and training she was deficient, as the early 
 deterioration of her voice suJSciently proved. 
 
 SCHBOTEB (Christoph Gottlieb). German writer and inventor, B. Hohen- 
 stein, near Dresden, Aug. 10, 1699. S. under Schmidt at Dresden. Lecturer 
 and org. at Jena, Nordhausen, etc. D. Nordhausen, Saxony, Nov. 1782. 
 Wrote much on Harmony and musical theory. Attributed with the invention 
 of the Pianofore, which later authorities have fixed with certainty on Cristofori. 
 
 SCHBOTEB (Johann Samuel). German pianist and comp., B. Warsaw, 1750. 
 Travelled as a pianist in Holland, and in 1772 settled in London as teacher. 
 Org. in German chap., and music-master to the Queen. Married clandestinely 
 to one of his pupils, who was highly connected ; but obliged by her friends to 
 consent to a separation and a. settlement of ;^S00 per annum. D. Pimlico, 
 London, Nov. 2, 1788. 
 He comp. Six Sonatas for harpsichord, op. i ; Three quintets for Pf., 2 vns., 
 
 viola, and bass ; Three trios for harpsichord, violin, and 'cello, op. 2 ; Six concur- 
 
S50 SCH — SCH 
 
 tos for harpsichord, op. 3 ; 3 do., op. 4 ; 3 do., op. 5 ; and 6 do., op. 6. His 
 brother, Johann Heinrich (B. Warsaw, 1762), resided in London from 1782, was 
 a violinist and comp. His sister. Corona Elisabeth Wilhelmine (B. Warsaw, 
 1748. D. Weimar, 1802), was a singer at the court of Weimar. 
 
 SCHUBEBT (Camille), man de plume of Camille Prilipp. French comp. 
 and music-publisher, B. 1810. In business in Paris. Chiefly known by his 
 Pf. works, which number over 400, and include nocturnes, fantasias, serenades, 
 transcriptions, and nearly every form of light Pf. music. 
 
 SCHUBERT (Franz Peter). Austrian comp., B. Vienna, Jan. 31, 1797. Son 
 of Franz Schubert, a schoolmaster. S. music under M. Holzer. Chor. in 
 Lichtenhal Choir, Vienna. Chor. and pupil in the Imperial Convict, Vienna, 
 1808, and afterwards first violin there. Pupil-teacher in his father's school for 
 three years. S. under Salieri. Teacher of music in family of Count Johann 
 Esterhazy, 1818. His songs first publicly performed, 1821. Member of the 
 Musical Society of Vienna, 1827. He never held any musical appointments, 
 though he often acted as a conductor, and twice unsuccessfully applied for 
 musical directorships in Laybach and Vienna. D. Vienna, Nov. 19, 1828. 
 Works. — Operas, operettas, etc.: Der Teufels Lustschloss, 1814; Die Vierjah- 
 rige Posten, 181 5 ; Fernando, 181 5 ; Der Spiegelritter, 181 5; Die Freunde von 
 Salamanka, 1815; Die Zwillingsbriider, 1819; Die Zauberharfe, 1820; Altonso 
 und Estrella, 1822 ; Die Verschworenen, 1823 ; Fierabras, 1823 ; Rosamunde, op. 
 26, 1823. Miriam's Siegesgesang, oratorio, op. 136. Symphonies: No. I, in D, 
 1813 ; No. 2, in B flat, 1815 ; No. 3, in D, 1815 ; No. 4 (tragic), in C minor, 
 l8l6 ; No. 5, in B flat, 1816 ; No. 6, in C, 1818 ; No. 7, in E, 1821 ; No. 8 (un- 
 finished), in B minor; No. 9; No. 10, in C, 1828. Overtures'- Itahan, op. 170, 
 others in MS., and arrangements for Pf Octet for 2 vns., viola, 'cello, D-bass, 
 horn, bassoon, and clarinet, op. 166. Quintet for Pf. and strings, op. 1 14. String 
 Quartets: Twenty, of which numbers 9; 12, op. 168; 13; 16-17, op. 125; 18, 
 op. 29 ; 19 ; and 20, op. 161, are pubhshed. Trios for Pf., violin, and 'cello, op. 
 99, 100. Notturno for Pf., violin, and 'cello, op. 148. Rondo for Pf. and violin, 
 op. 70; Phantasie, do., op. ijg; Duo, do., op. 162. Pianoforte: Sonatas, 
 twenty-four in all, op. 30, 40, 42, 53, 78, 120, 143, 147, 162, 164, and others pub- 
 lished; op. 9. Originaltftnze ; op. lo. Variations (4 hands); op. IJ- Phantasie ; op. 
 18. Walzer, Landler, etc.; op. 27. Marches (4 hands); op. 33. Deutsche Tanze j 
 op. 35. Variations (4 hands); op. 40. 6 marches (4 hands); op. 49. Galopp und 
 Ecossaisen; op. 50. Valses sentimentales ; op. 51. Three marches militaires (4 
 hands); op. 54. Divertissement k la Hongroise {4 hands); op. 55. Funeral march of 
 Alexander I. (4 hands); op. 61. Polonaises (4 hands); op. 62. Divertissement 
 (4 hands) ; op. 63. March heroique ; op. 64. Wiener Damen-Landler ; op. 75. 
 Four Polonaises ; op. 77. Valses ; op. 78. Phantasie ; op. 82. Variations (4 
 hands) ; op. 84. Andantino and Rondo (4 hands) ; op. 90. Four impromptus ; 
 op. 91. Gratzer Walzer; op. 94. Moments musicals (also arranged for orch.); 
 op. 103. Phantasie (4 hands); op. 107. Rondo (4 hands); op. 121. Two 
 marches (4 hands); op. 127. Letzte Walzer ; op. 138. Rondo (4 hands); op. 140. 
 Grando Duo (4 hands); op. 142. Impromptus; op. 144. Lebensstiirme, allegro (4 
 hands); op. 152. Fugue; op. 171. Twelve Landler; etc. Masses: No. I in F, 
 1814; No. 2, in G, 1815 ; No. 3, in B flat, op. 141, 1815 ; No. 4, in C, op. 48, 
 1818 ; No. S, in A flat, 1822 ; No. 6, in E flat, 1828. Cantatas ; Salve Regina, 
 op. 47 ; Stabat Mater ; and other large vocal works. Lieder, originally issued in 
 collections of 3 or more, or singly, and including Erlkbnig, op. I ; Das Wirths- 
 haus ; Ave maria ; Am meer ; Adieu ; Hark ! hark ! the lark at heaven's gate 
 sings ; Serenade ; Der Fischer ; The Fishermaiden ; The Post ; Wanderer ; Nur 
 wer die Sehnsucht kennt ; Das Wandern ; Der Kbnig von Thule ; Memnon ; 
 Gretchen am Spinnrade ; Ganymed ; Der Sanger ; Der Jager ; Sehnsucht ; Des 
 Madchen's Klage ; Thekla ; Schlummerlied ; Der Kampf; Der Pilgrim; Die 
 Rose ; Schwanengesang (collection), etc. Four-part songs for various combina- 
 tions of voices, trios, and other vocal works. 
 
 At the present time Schubert is widely known, and the merits of his compositions 
 have been long since recognised. This was not so in his own time ; as, save by a 
 select circle of Austrians, his compositions were almost entirely neglected. Posterity 
 has thought proper to reverse this state of matters, and now Schubert is placed along 
 
SCH — SCH S51 
 
 with Beethoven, Mendelssohn, and Mozart, in the forefront of musical art. His 
 works are all in use in Britain, with the exception of those which are purely drama- 
 tic, and are daily receiving more attention. The lieder are perhaps the works by 
 which he is best known among amateurs, though some of the symphonies, overtures, 
 and other concerted pieces, are popular and familiar among all grades of musicians. 
 None of his operatic works have achieved success, and he is best known in Britain 
 as a dramatic composer, by the incidental music to " Rosamunde." His symphonies 
 and quartets are also familiar, and very often appear in concert programmes. His 
 Pf. music also receives a large share of attention. The character of his genius is in 
 a measure identical with that of Beethoven, with less strength, and a somewhat less 
 laboured style. The rapidity with which he composed, induced careless writing, 
 and there are apparent in most of his works a diffuseness and want of attention to 
 the ordinary rules, which detracts from their value both practically and aesthetically. 
 These faults are especiajly conspicuous in his instrumental works. The German 
 lied as a song form is practically his, as it was he who first invested it with a dra- 
 matic character, and sought to make the union of the music and verse absolutely 
 perfect. He very rarely fails to accomplish this, and his songs form one of the 
 most unique and splendid monuments to musical genius ever reared by a single 
 hand. The Schubert literature is very considerable, but mostly exists in the Ger- 
 man language. The best English works are Coleridge's translation of Kreissle von 
 Hellborn's "Life," London, 2 vols., 1866; Wilberforces version of the same, Lond., 
 1866; and the small "Schubert" handbook of H. F. Frost, in Low's "Great 
 Musicians " series. 
 
 SCHUBERT (Ferdinand). Austrian comp., B. Vienna, Oct. 19, 1794. D. 
 Vienna, Feb. 28, 1859. Elder brother of the preceding, and a comp, of church 
 and Pf. music 
 
 SCHTTBEBiTH (Edward Charles). German cond., violoncellist, and comp., 
 B. St. Petersburg. Educated in Germany, and in 1864 settled in London. 
 Founded the Schubert Society, 1866 ; and the Mozart and Beethoven Society, 
 1870. These Societies are both under Herr Schuberth's directorship, and at 
 them have been produced many works by eminent composers, not hitherto 
 performed in Britain, Herr Schuberth has composed many songs, and pieces 
 for the violoncello. 
 
 SCHUBERTH (Julius Ferdinand Georg). German writer and publisher, 
 B. Magdeburg, July 14, 1804. Established firm of Schuberth & Co., of Leip- 
 zig and New York. He was employed in business successively in Hamburg, 
 Leipzig, and New York. He also accompanied H. Vieuxtemps on an artistic 
 tour in Mexico. D. Leipzig, June 9, 1875. He published works by Chopin, 
 Liszt, Mendelssohn, Wallace, Schumann, and Rubinstein, and compiled a 
 " Kleines Musikalisches Conversations Lexikon filr Tonkunstler und Musik- 
 freunde," of which numerous editions have been issued. Its English title is 
 "Musical Hand-book for Musicians and Amateurs," Hamburg, n. d., also 
 New York. 
 His brother Carl (B. Magdeburg, Feb. 25, 181 1. D. Zurich, July 22, 1863), 
 S. under Hesse and Dotzauer. He appeared as a violoncellist in Germany, France, 
 Holland, and London (1835), ^^'^ latterly became cond. at St. Petersburg. 
 
 SOHULHOFF (Julius). Bohemian pianist and comp., B. Prague, Aug. 2, 
 
 1825. S, under Tomaschek. Appeared as pianist in Paris, 1845. Afterwards 
 
 appeared in Spain, England, Germany, and Russia, 
 
 Works.— Op. i. Allegro, Pf, ; op, 2, Des pieces, Pf. ; op, 3. Andante and 
 
 Study; op, 5. Two Suites of mazurkas; op. 7. Two Scherzos; op. 11. Nocturne; 
 
 op. 17. Galop di bravura ; op. 37. Sonata ; op. 53, Six Morceaux ; etc. 
 
 SOHULZ. See Pr^torius. 
 
 SCHULZ (Johann Abraham Peter). German comp. and cond., B. LUneburg, 
 March 31, 1747. S. under Kirnberger at Berlin. Music-director at Berlin. 
 Chap, -master to King of Denmark at Copenhagen, 1787, D, Schwedt, June 
 10, 1800. He comp. Clarissa, 1783 ; Minora, 1786 ; Hostgilde, 1790 ; and 
 other operas, oratorios, hymns, and instrumental music, but is chiefly cele- 
 brated as a composer of lieder, many of which are now current in Germany. 
 
SS2 SCH — SCH 
 
 SCHUMANN (Gustav). German comp. and pianist, B. Holdenstedt, Maich 
 15, 1815. Teacher and pianist in Berlin. Comp, of works for Pf. and voice. 
 
 SCHUMANN (Robert Alexander). German comp. and pianist, B. Zwickau, 
 Saxony, June 8, 1810. Son of F. A. G. Schumann, a Bookseller. S. music 
 under Kuntzsch, org. of Zwickau. S. for the Law at Leipzig and Heidelberg 
 Universities. S. Pf. under F. Wieck, and harmony under H. Dorn, at Leip- 
 zig. Established the " Neue Zeitschrift fur Musik," 1834. Resided in Vienna, 
 1838-39. Ph.D., Jena, 1840. Married to Clara Wieck, 1840. Travelled 
 with his wife as a concert-giver in Austria, Russia, and North Germany. Prof, 
 of Pf. in Leipzig Cons, for a time. Settled at Dresden, 1844, where he became 
 cond. of a Choral Soc, in succession to F. Hiller. Director of music at 
 Diisseldorf, 1850. D. Enderich, near Bonn., July 29, 1856 (Insane). 
 Works. — Op. i. Variations, Pf.; op. 2. Papillons, Pf.; op. 3. Studies (Pagan- 
 ini), Pf.; op. 4. Intermezzi, Pf.; op. 5. Impromptus, Pf.; op. 6. Davidsbiindler- 
 tanze, Pf.; op. 7. Toccata, Pf. ; op. 8. Allegro, Pf.; op. 9. Carnaval, Pf.; op. 10. 
 Six studies (Paganini), Pf.; op. Ii. Sonata in F sharp minor, Pf.; op. 12. Fantasie- 
 stiicke, Pf.; op. 13. Studies, Pf.; op. 14. Sonata in F minor, Pf.; op. 15. Kinder- 
 scenen, Pf.; op. 16. Kreisleriana, Pf.; op. 17. Fantasia, Pf.; op. 18. Arabeske, Pf.; 
 op. 19. Blumenstilck, Pf.; op. 20. Humoreske, Pf.; op. 21. Novelletten, Pf.; op. 
 22. Sonata in G min., Pf. ; op. 23. Nachtsttlcke, Pf.; op. 24. Liederkreis, voice and 
 Pf.; op. 25. Myrthen (26 songs); op. 26. Faschingsschwank aus Wien, Pf.; op. 27. 
 Five Lieder ; op. 28. Three romances, Pf. ; op. 29. Three songs, of Geibel ; op. 
 30. Three do.; op. 31. Three songs, by Chamisso ; op. 32. Four pieces for Pf.; op. 
 33. Six four-part songs for male voices ; op. 34. Four vocal duets ; op. 35. Twelve 
 songs, by Korner ; op. 36. Six do., by Reinick ; op. 37. Rttckert's ' Liebesfriihling' 
 (songs); op. 38. Symphony for orch., in B flat [1840]; op. 39. Liederkreis (12 
 ■ songs); op. 40. Five songs ; op. 41. Three string quartets [1842]; op. 42. Songs by 
 Chamisso ; op. 43. Three 2-part songs ; op. 44. Quintet for Pf. and strings, in E 
 flat ; op. 45. Three romances (vocal); op. 46. Andante and variations, Pf. (4hands); 
 op. 47. Quartet for Pf. and strings ; op. 48. Sixteen songs by Heine ; op. 50. Das 
 Paradies und die Peri, for soli, chorus, and orch. (T. Moore's Lalla Rookh), 1843 ; 
 op. 52. Overture, scherzo, and finale, for orch. ; op. 53. Three romances (vocal) ; 
 op. 54. Concerto forPf. and orch., in A min ; op. 55. Five part-songs, by Burns; 
 op. 56. Studies for the Pedal Pf.; op. 57. Belsatzar, ballad (Heine); op. 58. Sket- 
 ches for Pedal Pf. ; op. 59. Four part-songs ; op. 60. Six Fugues on name B A C 
 H; op. 61. Symphony for orch., in C, 1846 ; op. 62. Three part-songs for male 
 voices; op. 63. Trio for Pf., vn., and 'cello, in D min.; op. 64. Three romances 
 (vocal); op. 65. Ritornelle von Riickert, in canon form, for male voices ; op. 66. 
 Bilder aus Osten, Pf. duet ; op. 67. Five romances for chorus ; op. 68. Album of 40 Pf. 
 pieces ; op. 69. Romances for female voices ; op. 70. Adagio and Allegro, Pf. and 
 horn ; op. 7 1 . Adventlied, Riickert, for solo, chorus, and orch. ; op. 72. Four fugues, 
 Pf.;op.73. Fantasiestilckefor Pf. and clarinet; op. 74. SpanischesLiederspiel (songs); 
 op. 75. Five romances for chorus ; op. 76. Four marches for Pf.; op. 77. Lieder 
 and Songs ; op. 78. Four vocal duets ; op. 79. Lieder-Album fur die jugend ; 
 op. 80. Trio for Pf., vn., and 'cello, in F ; op. 81. Genoveva, opera in 4 acts, 
 Leipzig, 1850 ; op. 82. Waldscenen, Pf. ; op. 83. Three songs ; op. 84. Parting 
 song, for solo, chorus, and orch. ; op. 85. Twelve pieces for Pf^ duet ; op. 86. Con- 
 certstuck for 4 horns and orch. ; op. 87. Der Handschuh, ballad ; op. 88. Phan- 
 tasiestiicke for Pf., vn., and 'cello; op. 89. Six Songs (Nenn); op. 90. Six Songs 
 (Lenau) ; op. 91. Romances for female voices ; op. 92. Concertstuck for Pf. and 
 orch. (Introduction and Allegro appassionato), in G ; op. 93. Motet for double male 
 chorus ; op. 94. Three Romances, Pf. and oboe ; op. 95. Three Songs (Byron) ; 
 op. 96. Five Lieder ; op. 97. Symphony in E flat, for orch., 1850; op. 982. Nine 
 Lieder (Goethe) ; op. gSk Requiem for Mignon, solo, chorus and orch. ; op. 99. 
 Bunte Blatter, Pf.; op. 100. Overture to Schiller's "Braut von Messina," 1851 ; 
 op. loi. Minnespiel (Riickert), voices and Pf ; op. 102. Five pftces for Pf. and 
 'cello ; op. 103. Madchenlieder, for 2 soprano voices ; op. 104. Seven Songs ; op. 
 105. Sonata, Pf. and vn.; op. 106. Schbn Hedwig, ballad by Hebbel, voice and 
 Pf. ; op. 107. Six Songs ; op. 108. Nachtlied (Hebbel), solo, chorus, and orch. ; 
 op, 109. Ballscenen, Pf. duet; op. 110. Trio for Pf., vn., and 'cello, in G min. ; 
 op. III. Three Fantasiestiicke, Pf.; op. 112. Der Rose Pilgerfahrt (Pilgrimage of 
 the Rose), for solo, chorus, and orch., 1851 ; op. 113. Marchenbilder, for Pf. and 
 
SCH — SCH SS3 
 
 viola; op. II4. Three trios for female voices ; op. 115. Music for Byron's "Man- 
 fred," Weimar, 1852; op. 116. Der Konigssohn, ballad by Uhland, solo, chorus, 
 and orch. ; op. 117. Four Lieder (Lenau) ; op. 118. Three Sonatas, Pf. ; op. iig. 
 Three Songs ; op. I20. Symphony in D min., for orch., 1851 ; op. 121. Sonata for 
 Pf. and vn., in D min. ; op. 122. Ballad in "Haideknabe" (Hebbel) ; op. 123. 
 Festival overture, on the "Rheinweinlied," with chorus, 1853; op. 124. Album- 
 blatter, Pf. ; op. 125. Five Songs ; op. 126. Seven Pf. pieces in fughetta form ; 
 op. 127. Five Lieder; op. 128. Overture to Shakespeare's "Julius Caesar"; op. 
 129. Concerto for 'cello and orch., in A min.; op. 130. Kinderball, 6 dances, Pf. 
 duet ; op. 131. Phantasie for vn. and orch. ; op. 132. Marchenerzahlungen, 4 pieces 
 for Pf., clarinet, and viola; op. 133. Morning Songs, Pf.; op. 134. Concert allegro, 
 Pf. and orch. ; op. 135. Five Songs of Mary Stuart ; op. 136. Overture to Goethe's 
 "Hermann und Dorothea"; op. 137. Five hunting songs, male voices and horn 
 accomp.; op. 139. Des Sangers Fluch, ballad (Uhland) ; op. 140. Vom Pagen und 
 der Kbnigstochter, ballads ; op. 141. Four Part-songs for double chorus ; op. 142. 
 Four Songs; op. 143. Der Gliick von Edenhall, ballad ; op. 144. New Year s Song 
 (Riickert), solo, chorus, and orch. ; op. 145. Romances for chorus ; op. 146. Do. ; 
 op. 147. Mass for solo, chorus, and orch. (1852); op. 148. Requiem Mass, do., 
 1852. Scenes from Goethe's "Faust." Edition of Bach's violin suites, etc. Other 
 works unpublished. He wrote many critical notices on music, and these were 
 issued as " Gesammelte Schriften iiber Musik und Musiker," Leipzig, 1854, 4 vols. 
 Trans, by F. R. Ritter as " Music and Musicians, Essays and Criticisms," Lend., 
 1st series, 1878, 8vo ; 2nd series, 1880. 
 
 Schumann's life is given with much fullness in " Robert Schumann eine Biogra- 
 phic," by J. W. von Wasielewski, Dresden, 1858, and it is only needful to refer 
 students to that work for all other information regarding him. A translation of this 
 work entitled " Life and Letters of Robert Schumann," trans, by A. L. Alger, was 
 issued in London, 8vo, 1878. Schumann was one of the most thoroughly romantic 
 composers of the century, his works being completely invested with the character- 
 istics of the poetical leaders of the movement, whose aims and ideas he sought to 
 convey in his works, so far as is possible in music. His best and most original 
 works are those for the pianoforte and the voice. None of his large works have 
 ever been popular, and though his symphonies are remarkable in many respects, 
 they are not sufficiently interesting, and too involved and obscure, to meet with 
 general acceptance. His chamber music is much cultivated, and forms on the whole 
 the most representative outcome of his genius. His critical works have received 
 much attention and praise for the delicacy and appreciative kindness of the style. 
 
 SCHUMANN (Clara Josephine), «^« Wieck. German pianist and comp., B. 
 Leipzig, Sept. 13, 18 19. S. under her father, a musician. Dibut Leipzig, 
 1828. Appeared afterwards with success in Weimar, Cassel, Frankfort, and 
 Paris, 1831. Appeared at the Gewandhaus Concerts, Leipzig, 1832, and in 
 Vienna, 1836. Married to Robert Schumann, 1840. Travelled with her 
 husband in North Germany and Denmark, 1842. Appeared with other 
 artists at numerous concerts in various parts of Europe. Appeared in London, 
 at Philharmonic Soc, and Musical Union Concerts, April-June, 1856. Re- 
 sided afterwards at Baden-Baden till 1874. Re-appeared afterwards at the 
 Philharmonic and Musical Union Concerts, in April; May, and June, 1865, and 
 has since appeared frequently. Principal Pf. teacher at Dr. Hoch's Cons, at 
 Frankfort, 1878. 
 Madame Schumann is celebrated as the greatest living female pianist, and especially 
 for her rendition of her husband's works. It is due to her that so much is now known 
 of them, as her introduction and interpretation of all of his more recent pianoforte 
 works contributed greatly in extending the public knowledge of them. She has 
 composed a number of Pf. works and songs, including 4 Polonaises, op. i ; Concerto, 
 op. 7 ; Three songs, op. 12 (in her husband's op. 37, nos. 2, 4, 11) ; Trio, for Pf. 
 and strings, G minor, op. 17, etc. 
 
 SCHUNKE (Ludwig). German pianist and comp., B. Cassel, Dec. 21, 1810. 
 S. under his father. Appeared at Darmstadt, Cassel, Hanover, Leipzig, 
 Munich and Vienna. Visited Paris, and S. under Kalkbrenner and Reicha. 
 Friend and associate of R. Schumann. D. Leipzig, Dec. 7, 1834. Comp. 
 sonata lor Pf., op. 3; Caprices, op. 9, 10, 11 ; Rondo, op. 15; Variations, 
 etc. 
 
5S4 SCH — SEC 
 
 SCHUPPANZIGH (Ignaz), Austrian violinist and comp., B. Vienna, 1776. 
 S. under Mayseder. Teacher of Beethoven for a time. Cond. in Vienna. 
 Estab. Rasoumoffsky quartet party at Vienna. Married Fraulein Kilitzky. 
 Travelled in Germany, Poland, Russia. Chap.-master and director of court 
 opera, Dresden, 1828. D. Vienna, March 2, 1830. Comp. variations and 
 other solos for violin. Chiefly remembered as the friend of Beethoven and 
 Schubert. 
 
 SCHUTZ (Heinrich). German comp., B. Kbsteritz, Voigtland, Oct. 8, 1585. 
 Educated at Court of Hesse-Cassel. S. law at Marburg. S. music under 
 Gabrielli at Venice, till 161 2. Held appointments in Dresden, and in 1642 
 was made Director of Royal Music at Copenhagen. D. Copenhagen, Nov. 6, 
 1672. 
 Works. — Madrigali a cinque voci, 1611 ; Psalmen Davids,.. .1619, 3 parts; 
 
 Geistreiches Gesangbuch, ...1619 ; Symphonise Sacrae,... 1625-58 ; Kleinen Geist- 
 
 licher Concerten,...i636 ; Daphn^, opera, 1627. 
 
 SCHWEIZEB (Otto). Swiss pianist and comp., B. Zurich, May 26, 1846. S. 
 at Leipzig Cons, under Moscheles, Plaidy, Reinecke, etc. Settled in Edin- 
 burgh, 1870, as teacher. Comp. of the following works for Pf. : — Polonaise 
 brillante ; Village tales; Three Romantic Studies,; Suite in 4 movements; 
 Valsette, op. 3 ; Berceuse, op. 6 ; Pf. duets. Trios, songs, and other vocal 
 music ; also cantatas and large works in MS. 
 
 SCOTT (Sir Walter). Scottish poet and general writer, B. Edinburgh, Aug. 15, 
 1771. D. Abbotsford, Sept. 21, 1832. 
 Although not himself possessing the slightest musical faculty, Scott inspired more 
 musicians than any other modern writer. Among the operas founded on drama- 
 tised versions of his novels and poems may be mentioned "La jolie fiUe de Perth," 
 Bizet ; "Quentin Durward," Gevaert ; " Ivanhoe," Rossini, Pacini, and J. Parry ; 
 "Dame Blanche" (on Guy Mannering and the Monastery), Boieldieu ; "Guy 
 Mannering," Bishop; "Donna Bianca d'Avenello" (on the "Monastery"), Pavesi 
 and Galliero ; " II Talismano," Balfe ; " Prison de Edimbourg" (Heart of Mid- 
 lothian), Carafa; "Rob Roy," Davy and Flotow; "Antiquary," Bishop; 
 "Leicester" (Kenilworth), Auber ; "Montrose" (Legend of Montrose), Bishop ; 
 "Lucia di Lammermoor" (Bride of Lammermoor), Donizetti; "II Donna del 
 Lago " (Lady of the Lake), Rossini ; " Robert Bruce " (from the History of Scot- 
 land), Rossini; "Lord of the Isles" (Gadsby), cantata; "Lady of the Lake" 
 (Macfarren), cantata; and "Waverley" (Berlioz), symphony. Of composers who 
 have set his lyrical pieces the number is immense, nearly every musician of eminence 
 having at some period made use of his verses. The following may be specially 
 named, however, as being both prominent and successful: — Schubert, Sullivan, 
 Macfarren, Callcott, Alex. Lee, John Thomson, Sir H. Bishop, Attwood, Rim- 
 bault, Loder, Graham, Wilson, Pearsall, Prout, Hatton, Leslie, Oakeley, Smart, 
 Reay, Schumann, Mendelssohn, etc. 
 
 SCRIBE (Eugene). French dramatist, B. Paris, Dec. 25, 1791. D. Paris, Feb. 
 21, 1861. Author of the librettos of Auber's "Masaniello" (La Muette de 
 Portici) ; " Fra Diavolo ;" "Lestocq;" "Domino Noir ;" Meyerbeer's 
 "L'Africaine ;" " Robert le Diable ;" "Les Huguenots ;" "LeProphHe," 
 etc. Also librettos for Boieldieu "Dame Blanche ;" Harold ; Adam ; Halevy, 
 and Verdi. Some of his librettos are among the most brilliant and clever m 
 the whole range of opera. 
 
 SCUDO (Pietro). Italian writer and comp., B. Venice, June 6, 1806. D. 
 (insane), Blois, Oct. 14, 1864. Author of many critical works, among which 
 are " L'Anne Musicale," 1860-63, 4- vols ; "La Musique Ancienne et 
 Moderne," 1854; "Critique et Litterature Musicale," 1850; etc., being 
 mostly republications of articles contributed to periodical literature. Comp. 
 .songs, and other vocal music. 
 
 SECHTEB. (Simon). Bohemian comp., org., and teacher, B. Friedberg, Oct. 
 II, 1788. S. under Kotzeluch and Hartmann, at Vienna, from 1804. Music 
 master in Institute for the Blind, and attached to the Imperial Chap., by 
 influence of Stadler. Court oig., 1824, and Prof, of comp. in Vienna Cons., 
 1850. D. Vienna, Sept. 10, 1867. 
 
SEC — SEL 555 
 
 Works. — ^Ali Hitsch Hatsch, opera, 1844 (under name of Ernst Heiter). Fugues 
 for Pf. or org., opp. I, 2, 4, 5, 9, 20, 55 and 61 Versets for org., opp. 3, 12, 22. 
 Preludes for org., opp. 8, 13, 14, 21, 52, 56. Masses, Songs, and Pf. music. Die 
 Grundsatze der Musikalischen Komposition, Leipzig, 1853-54, 3 vols., etc. 
 
 Chiefly celebrated as a teacher. Among his pupils were Thalberg, Pauer, 
 Dbhler, Henselt, Vieuxtemps, Preyer, Bibl, Schachner, Bagge and Pohl. 
 
 SECOND (Mary), nee Mahon. English soprano vocalist, B. Oxford, about 
 1771. Daughter of Mahon-, a celebrated clarinet player. Dibut in "The 
 Woodman," Covent Garden, London, Sept. 17, 1796. Married to a Mr. 
 Second, 1800. Afterwards retired from the stage. She appeared at the prin- 
 cipal concerts of her time. 
 
 SEDGWICK (Alfred B.) Author of the following works -.—Complete Method 
 for the French Accordeon ; Complete Method for the German Accordeon ; 
 Complete Method for the English Concertina ; also for German Concertina ; 
 Complete Method for the Cornet, etc. 
 
 SEDIE (Enrico delle). Italian barytone vocalist, B. Leghorn, 1826. S. under 
 Galassi. Appeared in Pistoja, 1851 : Florence, 1854 ; Rome, Vienna, Paris, 
 and London. Prof, of Singing in Paris Cons. Author of "L'Art Lyrique,'' 
 Paris, 1874, a treatise on Singing. 
 
 SEELING (Hans). Bohemian pianist and comp., B. Prague, 1828. S. Leipzig 
 
 Cons. D. Prague, May 26, 1862. Comp. many Pf. pieces of which 
 
 "Loreley," op. 2; 12 Concert studies; and numerous nocturnes, idylls, etc. 
 are well known. 
 
 SEGUIN (Arthur Edward Shelden). English bass vocalist, B. London, 
 
 April 7, 1809. S. at R. A. M. Sang at Exeter Festival, 1829 ; and in 1831 
 
 appeared on the stage in London. Sang at the Concert of Ancient Music and 
 
 on the stage till 1838. Appeared in New York in Rooke's "Amilie," Oct. 
 
 1838, and from that date travelled in the States with an opera company to 
 
 which he gave his name. D. New York, Dec. 9 [11], 1852. 
 
 His wife, nee Ann Childe, was a soprano vocalist, and sang with her husband 
 
 at all the principal British concerts, and on the stage from 1837. Sang in the 
 
 United States. His sister Elizabeth Seguin (B. London, 1815, D. London, 
 
 1870), was the mother of Madame Parepa-Rosa, and his brother, William Henry 
 
 (1814-1850), was a bass-singer known in London. 
 
 SEIDEL (Friedrich Ludwig). German org. and comp., B. Treuenbriezen, 
 June I, 1765. 8. under Reichardt. D. Charlottenburg, May 5, 1831. Comp. 
 operas, oratorios, masses, Pf. music, and songs. 
 
 SEIDEL (Johann Julius). German writer, B. Breslau, July 14, 1810. D. 
 1837. Author of a work on the organ, trans, as "The Organ and its Construc- 
 tion," Lond., 1852, 8vo. 
 
 SEILEB (Emma). German teacher and writer, now resident in the United 
 States. Authoress of "The Voice in Singing," Philadelphia, 1869, i2mo. 
 "Exercises for Training the Voice," Boston, n. d. 
 
 SEJAN (Nicolas). French org. and comp., B. Paris, March 19, 1745. 8. under 
 Bordier. Joint-org. Notre Dame Cath., 1772; Org. S. Sulpice, 1783; Court 
 org., 1789 ; and org. Ch. of the Invalides. Prof, org., Paris Cons. D. Paris, 
 Mar. 16, 1819. Comp. iugues, sonatas, etc. for org., Pf. and vn. music, etc. 
 
 SELIGMANN (Hippolyte Prosper). French violoncellist and comp., B. 
 Paris, July 28, 1817. S. at Paris Cons, under Alkan, Norblin, and Halevy. 
 Travelled in France, Italy, Algeria, and Spain as violoncellist. D. Monte 
 Carlo, 1882. Comp. Album Algfrien, op. 60; Concerto, op. 70; Caprices, 
 fantasias, studies and other music for 'cello ; Songs, etc. 
 
 SELIGMANN (Julius). German violinist, cond., and comp., B. Hamburg, 
 Nov. 2, 1817. Settled in Glasgow as teacher, and became cond. of the Choral 
 Union; a post which he held till i860. Comp. "Victory," a cantata for 
 female voices ; Pf. music, songs, and part-songs. 
 
55^ SEL — SER 
 
 SELLE (Thomas). German comp., B. Zorbig, Saxony, Mar. 23, 1599. Cantor 
 and music-director of S. Catherine's Cath., Hamburg. D. Hamburg, July 2, 
 1663. Comp. psalms, motets, and wrote theoretical works. 
 
 SEMBBICH (Marzella). Austrian soprano vocalist, B. Lemberg, Galicia, 
 1858. S. Pf. and violin, but afterwards S. singing at Milan under Lamperti. 
 D3ut at Athens in " I Puritani," 1877. Appeared at Vienna, Dresden, and 
 in London in 1880, in "Lucia di Lammermoor." Has since appeared in 
 England, Russia, Poland, Austria, and Italy. 
 
 SEMET (Theophile Aime Emile). French comp. and cond., B. Lille, Sept. 
 6, 1824. S. at Lille and at Paris Cons, under Halevy. Music-director in 
 Paris, and played drums in orch. of the opera, Paris. Comp. La petite 
 Fadette, 2 acts, 1850 ; rewritten, 3 acts, 1869 ; Gil Bias, i860; Ondine, 1863, 
 and other operas. Also cantatas, songs, and ballet music. 
 
 SEMPLE (Armand, M.B.) English physician and writer, author of "The 
 Voice Musically and Medically Considered," Lond., 1885. (Reprinted from 
 the Musical Standard. ) 
 
 SENESINO (Francesco Bernard! detto). Itahan soprano vocahst, B. 
 
 Sienna, about l58o. S. under Bernacchi; Singer at Dresden in 1719. 
 Engaged by Handel for the London opera, and first appeared there in 
 Buononcini's "Astarto," Nov., 1720. Afterwards sang in operas by Handel 
 till 1726, when he returned to Italy. He re-appeared in London, in 1727, 
 under Handel's direction, until the break up of the company. Noted for his 
 quarrels and disputes with Handel and the Italian singers. He afterwards 
 sang in Handel's oratorio, " Esther," and sang in opposition to Handel at 
 Lincoln's Inn Fields Theatre, at the opera founded by the nobility, till 1735. 
 Retired to Sienna, and D. about 1750. 
 
 SENFL or SENFEL (Ludwig). Swiss comp,, B. Basle about end ofisth 
 century. S. under Heinrich Isaac. Chap. -master to Maximilian I., Duke of 
 Bavaria, at Munich. D. Munich [1555]. Comp. motets, chorales, graduels, 
 masses, etc. Also "Quinque Salutationes Domini nostri Hiesu Christi,"... 
 1526; "Magnificat," 1537; "Melodic in Odas Horatii," 1557 ; "Harmonies 
 Poeticae,"...i539, etc. 
 
 SEBiAFIN. Italian violin-maker of 1 8th century. Giorgio and Santo worked 
 between 1710 and 1740, and produced instruments of fair quality and some 
 value. 
 
 SEROFF (Alexander Nikolavitch). Russian comp., B. St. Petersburg, 
 May II, 1818. S. under Carl Schuberth and Hunke. Was for sometime 
 engaged in profession of the law. _D. St. Petersburg, Feb. i, 1871. 
 Comp. Judith, 1863 ; Rogneida, 1863 ; Taras Bulba, 1866 ; Wakula, 1867 ; 
 
 Wrajia Siela, 1872, operas and ballets ; Stabat Mater ; Songs, etc. Also many 
 
 writings in periodicals. A follower of Richard Wagner in style, and popular in 
 
 Russia as a composer. 
 
 SERPETTE (Henri Charles Antoine Gaston). French comp., B. Nantes, 
 
 Nov. 4, 1846. S. Paris Cons, under Thomas, etc., 1868. Gained Grand Prix 
 de Rome, 1871. Comp. La Branche cassee, 1874; Le Manior de Pic-Tordu, 
 1875 ; Le Moulin du Vert galant, 1876 ; La petite Muette, 1877 ; La Nuit de 
 St. Germain, 1880; Madame le Diable, 1882, and other operas. 
 
 SERVAIS (Adrien Francois). Belgian violoncellist and comp., B. Hal, near 
 Brussels, June 7, 1807. S. Brussels Cons, under Platel. 'Cellist in orch. of 
 Brussels Theatre. Appeared in Paris, and in London, 1835, at Philharmonic 
 Concert. Travelled afterwards as 'cellist in Germany, France, Norway, 
 Russia, etc. Married, 1842. 'Cellist to King of the Belgians. Prof, of 
 'cello, Brussels Cons, from 1848. D. Hal, Nov. 26, 1866. 
 Works. — Op. i. Fantasia, 'cello, and Pf. ; op. 5. Concerto, 'cello and orch., in 
 
 B minor ; op. 7. Andante cantabile, 'cello and orch. ; op. 18. Concerto Militaire, 
 
 'cello and orch. ; other concertos, fantasias, studies, duets, etc., for 'cello and Pf., 
 
 or orch. 
 
Ses — shA SS? 
 
 His eldest son, Joseph (B. Hal, Nov.- 23, 1850; D. Hal, Aug. 28, 1885), S. 
 under his father, and in 1872 became Prof, of 'cello at Brussels Cons. Appeared at 
 Paris and in Germany. Both father and son were remarkable performers, and 
 formed many now famous pupils. 
 
 SESSI (Marianna). Italian soprano vocalist and comp., B. Rome, 1776. D. 
 Vienna, Mar. 10, 1847. Sang in France, Germany, London, etc. 
 
 SEVERN (Thomas Henry). English vocal comp., B. Lond., Nov. 5, 1801. 
 D. Wandsworth, April 15, 1881. Comp. songs and part-songs. 
 
 SEWARD (Theodore Frelinghausen). American comp., B. Florida, N.Y., 
 Jan. 25, 1835. Editor of "The Sunnyside Glee Book, a Collection of Secular 
 Music," New York, 1866; "The Temple Choir " (with Mason and Bradbury), 
 N.Y., 1867; and comp. of part-songs, songs, etc. 
 
 SEWELL (John). English org. and comp. Org. at Bridgnorth, and Mus. Bac. , 
 Oxon., 1848; Mus. Doc, Oxon., 1856. Comp. of anthems, "Break forth 
 into joy," " They that wait upon the Lord," etc. 
 
 SEXTON (William). English comp. and org., B. 1764. Chor. S. George's 
 Chap., Windsor, and Eton Coll., 1773. S. under Edward Webb. Org., sub- 
 precentor, and master of choristers S. George's Chap., Windsor, 1801. D. 
 about 1824. Comp. anthems, glees, and songs ; and edited Handel's Chandos 
 Anthem, 1808. 
 
 SEYFRIED (Ignaz Xaver, Ritter von). Austrian comp., B. Vienna, Aug. 
 IS> 1776- Educated at Prague. S. under Kotzeluch and Haydn. Musical 
 director in Vienna. Intimate with Beethoven, Mozart, and other eminent 
 musicians. D. Vienna, Aug. 27, 1841. He comp. Der Lowenbrunnen, 1797; 
 Der Wundermann am Rheinfall, 1799 ; Saul, 1810 ; Abraham, 1817; Die Och- 
 senmenuette, 1823 ; and many other operas. He wrote some theoretical works, 
 and trained a large number of eminent musicians, among whom are Supp6, 
 Parish-Alvars, Ernst, Krebs, Schlosser, Kessler, Sulzer, and Fischhof. 
 
 SGAMBATI (Giovanni). Italian pianist and comp., B. Rome, May 28, 1843. 
 S. under Natalucci. Settled in Rome in i860, as pianist and comp., and S. 
 there for a time under Liszt. Cond. numerous concerts in Rome, and intro- 
 duced much high class instrumental music. Appeared as pianist in London, 
 at Philharmonic Concert, May 11, 1882, when he performed his own Pf. con- 
 certo, op. 15. Prof, of Pf. in S. Cecilia Academy, at Rome. 
 Works. — Op. i. Album of 5 songs ; op. 2. Album of 10 songs ; op. 3. Notturno, 
 Pf. ; op. 4. Quintet for Pf and strings ; op. 5. Quintet for Pf and strings, in G 
 min. ; op. 6. Prelude and Fugue, in E flat min., Pf ; op. 10. Two studies, Pf ; op. 
 14. Gavotte, Pf ; op. 15. Concerto for Pf. and orch., in G min. ; op. 16. Symphony 
 in D ; op. 17. String quartet ; Festival overture for orch. ; Second Symphony for 
 orch., in E flat. 
 
 SHAKESPEARE (William). English dramatic poet, B. Stratford-on-Avon, 
 1564. D. Stratford-on-Avon, April 23, 1616. A poet of much influence on 
 musical art all over the world. To versions of his plays music has been set by 
 many composers, while the number of times his lyrical pieces have been set by 
 different composers cannot be computed. A work on the subject of Shakes- 
 peare Music was written by Alfred Roffe [see that name], and from it and 
 other sources the following list of composers who have set his poetry is com- 
 piled : — 
 Arne, J. Addison, S. Arnold, T. Aylward, Bishop, Braham, Balfe, Banister, 
 Beethoven, Carey, Chilcot, B. Cooke, Curschmann, T. Cooke, Clifton, Dignum, 
 Dibdin, Duggan, Fisin, Gabriel, Galliard, W. Gardiner, H. Glovei', Greene, Hil- 
 ton, Hatton, Horn, Hobbs, Hook, P. Humphry, C. Horsley, Haydn, Hime, Har- 
 rington, Jackson, Johnson, Kemp, Knyvett, Kelly, M. P. King, Locke, E. J 
 Loder, T. and W. Linley, Leveridge, Leslie, Lampe, Levey, Laniere, G. A. Mac- 
 farren, Mellon, Morehead, Macirone, Percy, Parry, Purcell, Reay, W. Russell, 
 Reinhold, Shield, Stevens, J. S. Smith, Schubert, Stevenson, Sullivan, Webbe, 
 Dr. John Wilson, Weldon, S. Wesley, and A. Zimmerman. Collections of Shakes- 
 peare music are ; — Caulfield (John), "A Collection of the Vocal Music in Shakes^ 
 
558 SHA — siiA 
 
 peare's Plays..." Lond., n. d. ; Linley (Wm.), "The Dramatic Songs of Shakes- 
 peare," Lond., n. d. More recently a selection has been issued as the "Shakes- 
 peare Album," by Augener of London, containing 62 songs. The principal operas 
 founded on his plays are . — " Macbeth," by Chelard, Andr^ Reichardt, Rastrelli, 
 Taubert, and Verdi ; " Hamlet," by Thomas, Mareczek, and Vogler ; " Othello," 
 by Rossini ; " Romeo and Juliet," by Steibelt, Zingarelli, Gounod, d'lvry, Vaccaj, 
 and Bellini (Capuletti ed i Montecchi) ; "Henry IV.," and "Merry Wives of 
 Windsor," by Nicblai, Balfe, Adam, and Salieri, as " Falstaff "; "Taming of the 
 Shrew," by Goetz ; "King Lear," by Andr^ ; "Richard IIL," by Meiners; 
 "Timon of Athens," by Purcell ; "Anthony and Cleopatra," by Kafka; "Mer- 
 chant of Venice," by J. A. Just ; "Midsummer Night's Dream," by Mendelssohn ; 
 "Much ado about Nothing," by Berlioz (Beatrice et Benedict) ; "Winter's Tale," 
 by Flotow (Conte d' Hiver) ; " Tempest," by Hal^vy and Winter. The amount 
 of illustrative orchestral music is also very large, and includes Berlioz's "Romeo 
 and Juliet," symphony; numerous overtures, syinphonies, and other pieces. 
 
 SHAKESPEARE (William). English tenor vocalist, pianist, comp., and 
 cond., B. Croydon, June 16, 1849. Played.org, when only 13 years old. S. 
 under Molique, 1862 ; and at R. A. M., where he gained the King's Scholar- 
 ship, 1866. S. Pf. under Sir W. S. Bennett. Elected Mendelssohn Scholar, 
 R. A. M., 1871, and afterwards S. at Leipzig Consi under Reinecke. S. 
 singing under Lamperti at Milan. Sang in oratorio and concert music in 
 Britain from 1875. Prof, of singing, 1878, and cond. of concerts, R. A. M., 
 1880-86. Has comp. symphonies, overtures, a Pf. concerto, and much Pf. music 
 and songs. 
 
 SHARP (Granville). English writer, B. 1734. D. 1813. Author of "A 
 Short Introduction to Vocal Musick," Lond., 4to, 1767 ; another edition, 
 1777. 
 
 SHARP (Richard). English writer, author of " New Guida di Musica, being a 
 Complete Book of Instructions for Beginners of the Pianoforte,.." Lond., 4to, 
 1794. Pub. Pf. sonatas, etc. 
 
 SHARP (Simeon). English writer, author of " Music, a Satire," London, 
 i2mo, 1824. 
 
 SHARPE (Charles Kirkpatrick). Scottish amateur musician, poet, etc., B. 
 1781. D. Edinburgh, Mar. 18, 1851. He comp. music, and contributed to 
 Stenhouse's Lyric Poetry of Scotland. He also edited and published the Earl 
 of Kellie's "Minuets and Songs," 1839. 
 
 SHAW (Mrs. Alfred), nh Mary Postans. English contralto vocalist, B. 
 London, 1814. S. at R. A. M., and under Sir George Smart. Sang as Miss 
 Postans in 1834-35 at the Concert of Ancient Music, and at York Festival. 
 Married Alfred Shaw, artist, 1835. Sang afterwards at all the principal festi- 
 vals, and sang the contralto part in Mendelssohn's "St. Paul," on its first pro- 
 duction in England. Sang at Leipzig, 1838 ; in Italy, 1839, and afterwards in 
 England. She was married a second time to J. F. Robinson. Her voice 
 failed owing to the shock which the appearance of insanity in her first husband 
 caused, and she retired from public life soon after. D. Hadleigh. Hall, Suf- 
 folk, Sept. 9, 1876. 
 
 SHAW (James). English org. and comp., B. Leeds, 1842. S. under R. Bur- 
 ton. Org. of S. John's Episcopal Chap., Edinburgh ; and afterwards of St. 
 Paul's there. Cond. of Edinburgh Choral Union, 1862-63. Org. and choir- 
 master of Parish Ch., Hampstead ; and of the Collegiate Chap, of St. John, 
 Clapham. 
 Works. — Church Music: Evening Service, comp. for London Church Choir 
 Assoc, 1874; Evening Service in F, 1881; Communion Service, 1881 ; The Lord 
 is my Shepherd ; I will magnify Thee ; and many other anthems. An Ode of 
 Thanksgiving, for solo, chorus and orch., 1880. Pf. Music : Gavotte in A, minuett, 
 Bouree ; Gavotte in G; Introduction and Polonaise, 'La Belle France,' 1872; 
 Grand concert valse, 1870; Three sketches, 1870; Introduction and fugue; Two 
 grand studies, etc. Songs : Break, break (Tennyson), 1868 ; Angel's welcome ; 
 Mary's lament ; Morning greeting ; A wet sheet and a flowing sea ; Constancy, 
 etc. Also part songs. 
 
siiA — SHI SS9 
 
 SHAW (Oliver). American corap., B. 1778. D. Providence, R.I., Dec. 
 1848. Wrote an "Instruction Book for the Piaiioforte," and comp. songs, 
 hymns, etc. 
 
 SHENTON (Rev. Robert). English musician, was B. A., Oxon., 1750 ; M.A. 
 Cantab., 1757. Vicar-choral Hereford Cath. ; Dean's-vicar at Christ Church, 
 1757, and vicar of St. Patrick's Cathedral, Dublin, 1758. Dean's-vicar at St. 
 Patrick's, 1783. D. Dublin, 1798. Comp. anthems and music for the church 
 service. 
 
 SHEPHERD (William). Scottish teacher and violinist, was music-teacher in 
 partnership with Nathaniel Gow, 1796. D. Edinburgh, Jan. 19, 1812. Comp. 
 "A Collection of Strathspey Reels, etc., with a Bass for the Violoncello or 
 Harpsichord," Edin., fo.; "A Second Collection. ..for the Pf., violin, and 
 violoncello," Edin., fo., n. d. 
 
 SHEPHERDSON (William). English writer, D. Oct. 12, 1884. Author of 
 "The Organ, Hints on its Construction, Purchase, and Preservation," Lon- 
 don, 8vo, 1873. 
 
 SHEPPARD (Elizabeth Sara). English novelist and writer, B. Blackheath, 
 1830. D. Brixton, London, March 13, i86z. Authoress of "Charles 
 Auchester," 1853, 3 vols; "Rumour," 1858, 3 vols., musical novels, in the 
 former of which Mendelssohn is depicted as Seraphael. 
 
 SHEPPARD or SHEPHERD (John). English comp., B. early in l6th cen- 
 tury. Chorister in S. Paul's, London. Instructor of the choristers and org., 
 Magdalen Coll., Oxford, 1542-47. D. (?). Comp. numerous anthems, masses, 
 motets, and other pieces o( church music, mostly preserved in MS. in English 
 libraries. 
 
 SHERINGHAM (J. W.) English writer, author of " Our Choir Festivals, can 
 they be Reformed without Abohtion?" Gloucester, 1874. 
 
 SHERRINGTON (Helena), Lemmens-Sherrington). English soprano 
 
 vocalist, B. Preston, Oct. 4, 1834. Went to Rotterdam with her family, 1838. 
 S. there under Verhulst ; and at Brussels Cons. Gained prizes for singing 
 while there. First appeared in London, April 7, 1856, and at once took a 
 position as a prominent soprano vocalist. She has appeared at all the prin- 
 cipal concerts and festivals in Britain, and has sung with success in operas of 
 Wallace, Auber, Macfarren, Meyerbeer, Flotow, and Mozart. She is un- 
 doubtedly the greatest English soprano singer of recent times, and her success 
 as an oratorio singer has never been excelled. She has composed some songs. 
 
 SHERRINGTON (Jose). English soprano vocalist, younger sister of preceding, 
 B. Rotterdam, Oct. 27, 1850. S. at Brussels under Meyer-Boulard and 
 Chiriamonte. Appeared in London, 1871, and afterwards travelled in Britain 
 with her sister. Travelled in Holland, concert-giving, 1873, but has appeared 
 chiefly in Britain as a singer. 
 
 SHERWIN (William Fisk). American comp., B. Buckland, Mass., March 
 14, 1826. Publishes collections of vocal music, and comp. part-songs, songs, 
 and sacred music. 
 
 SHERWOOD (William H.) American pianist, comp., and teacher, B. Lyons, 
 N. Y., Jan. 31, 1854. S. at first under his father and W. Mason. S. in Berlin 
 under KuUak and Weitzmann, 1871 ; in Stuttgart under C. Doppler; and in 
 London under F. Scotson Clark. Was also for a time under L. Deppe and 
 Richter. Married to Miss Mary Fay, a pianist of great ability. Performed 
 successfully in Germany, and in 1876 returned to America, and appeared at 
 the Centennial Exhibition at Philadelphia. Has performed in the principal 
 American cities. Teacher in Boston, and Fellow of the American Coll. of 
 Musicians. He has comp. a. number of Pf. pieces, but is chiefly celebrated in 
 America as one of the leading pianists and teachers. 
 
 SHIELD (William). English comp. and writer, B. Swallwell, Durham, 1748. 
 S. under his father, a singing-master, and practised violin and harpsichord. 
 Apprenticed to a boat-builder at North Shields, on the death of his father. 
 
560 SHI — S H R 
 
 Became leader at Newcastle Subscription Concerts, and S. music under Avison. 
 Went to Scarborough as leader of the theatre orch., and of subscription con- 
 certs. Violin-player in orch. of the Opera, London, 1772; and in 1773 he 
 was made principal viola-player. Composer to Covent Garden Theatre, 
 1778-91 and 1792-97. Visited France and Italy with Ritson the Antiquary, 
 1791. Master of the Royal Music on death of Parsons, 1817." Original mem- 
 ber of Philharmonic Soc. D. Berners Street, London, Jan. 25, 1829. 
 Works. — Music to Dramas, Operas, etc.: The Flitch of Bacon, 1778; Lord 
 Mayor's Day, 1782; Rosina, 1783; The Poor Soldier, 1783; Harlequin Friar 
 Bacon, 1783 ; Robin Hood, 1784; The Noble Peasant, 1784; Fontainbleau, 1784; 
 The Magic Cavern, 1784; The Nunnery, 1785; Love in a camp, 1785; The 
 Choleric Fathers, 1785 ; Omai, 1785 ; Richard Coeur de Lion, 1786 ; The En- 
 chanted Castle, 1786; Marian, 1788; The Prophet, 1788; The Highland Reel, 
 1788; Aladdin, 1788; The Crusade, 1790; The Picture of Paris, 1790; Oscar and 
 Malvina (with Reeve), 1791 ; The Woodman, 1792; Hartford Bridge, 1792; 
 Harlequin's Museum, 1793; The Deaf Lover, 1793; Midnight Wanderers, 1793; 
 Sprigs of Laurel, 1793; Travellers in Switzerland, 1794; Arrived at Portsmouth, 
 1794; Netley Abbey, 1794; Mysteries of the Castle, 1795 ; Lock and Key, 1796; 
 Abroad and at Home, 1796; Italian Villagers, 1797; The Farmer, 1798; Two 
 Faces under a Hood, 1807 ; The Wicklow Mountains. A Cento, consisting of 
 Ballads, Rounds, Glees, and a Roundelay; Cavatinas, Canzonettas, etc., Lond., 
 fo. [1809]. Collection of Six Canzonets and an Elegy, Lond., n. d. Collection of 
 Favourite Songs, etc., Lond., n. d. Six Trios for violin, tenor, and violoncello, 
 Lond., n. d., 3 vols. Six Duos for two violins. An Introduction to Harmony, 
 Lond., 1800, 4to; 2nd ed., 1817. Rudiments of Thorough-Bass for Young Har- 
 monists, Lond., 1815, 4to. Numerous Songs, of which the best known are The 
 Wolf; The Thorn ; Old Towler ; The Heaving of the Lead ; The Post Captain ; 
 The Plough-boy ; Death of Tom Moody ; The Arethusa ; Last whistle ; Lovely 
 Jane ; My own native village ; The bud of the rose ; Sailor's epitaph ; On by the 
 spur of valour goaded ; and Violet nurs'd in woodlands wild. 
 
 Shield was one of the most famous of English ballad composers, and shares with 
 Storace, Arne, Linley, and Jackson the honour of giving a form and character to 
 the English song as bequeathed by Purcell and the older composers. His concerted 
 music is melodious and pretty, and most of his music is composed in a quiet and 
 beautiful pastoral vein. His dramatic works are now forgotten, save for the songs 
 they contain. His theoretical works are well written, and though now disused 
 served a valuable purpose in their day. 
 
 SHIBiBEFF (Jane). English soprano vocalist, B. 181 1. S. under Thomas 
 Welsh. Dibut Covent Garden Theatre, London, in Arne's " Artaxerxes," 
 1831. Sang at the Philharmonic Concerts, the Concerts of Ancient Music, 
 and at Provincial Festivals. Sang also at Drury Lane Theatre, and in 1838 
 appeared in America with Seguin's company. Married Mr. J. Walcott, Secre- 
 tary of the Army and Navy Club, and retired. D. Kensington, London, Dec. 
 23, 1883. 
 
 SHORE (John). English trumpeter, B. in latter part of 17th century. Suc- 
 ceeded his brother William in of&ce of sergeant trumpeter. Trumpeter in the 
 Queen's band. D. Nov. 20, 1750. Credited with the invention of the tuning- 
 fork. The most celebrated trumpet-player of his time. He was succeeded in 
 his office by Valentine Snow. His sister Catherine, B. 1668, S. under H. 
 Purcell. Married Colley Cibber, 1693. Appeared as a singer in operas by 
 Purcell and others. D. 1730. The founder of the Shore family was MATTHIAS 
 (D. 1700), who was King's trumpeter in 1685, and was succeeded by his son 
 William (D. 1707). 
 
 SHORE (William). English amateur comp., B. Manchester, 1792. D. Buxton, 
 Jan. 16, 1877. Was Founder and Musical Director of the Manchester Madri- 
 _ gal Soc. ; and Hon. Secretary of the Gentlemen's Glee Club. He edited 
 "Sacred Music, selected and arranged from the works of the most eminent 
 composers..." Lond., fo., n.d., and comp. glees and songs, and the well-known 
 trio, ' ' O Willie brew'd a peck 0' Maut. " 
 
 SHRUBSOLE (William). EngUsh comp., B. Sheemess, 1758. Chorister in 
 Canterbury Cath. Was org. in Spa Fields Chap., 1784-1806. D. l8o6, 
 Comp. hymns and other sacred music. 
 
sliu — siL S6t 
 
 SHUDI (Burkhardt). properly Tschudi. Swiss harpsichord-maker, B. March 
 13, 1702. Came to London, 1718. Established a manufactory in Great Pul- 
 teney Street. Entered into partnership with his son-in-law, John Broad- 
 wood, 1769. D. London, Aug. 19, 1773. A famous harpsichord-raaker, and 
 original founder of the great firm of Broadwood & Sons. 
 
 SHUTTLBWORTH (Obadiah). English org., violinist, and comp., B. Spital- 
 fields, London, 1675. Vnst. at Swan Tavern Concerts, Cornhill, 1728, Org. 
 successively of S. Michael's, Cornhill, and of the Temple Church. Comp 
 concertos and sonatas for violin. D. 1735. 
 
 SIBBALD (James). Scottish publisher and bookseller in Edinburgh (D. 1803.) 
 Edited "The Vocal Magazine, containing a selection of the most esteemed 
 English, Scots, and Irish Songs, Ancient and Modern, adapted for the Harpsi- 
 chord and Violin," Edin., 1797-99. 3 vols., issued in 19 parts. A second 
 series only reached a few parts. ' ' Collection of Catches, Canons, Glees, etc. , 
 in score, from the works of the most eminent Composers, Ancient and 
 Modern," Edin., 3 vols., 4to, n.d. 
 
 SIBONI (Giuseppe). Italian tenor vocalist, B. Forli, Jan. 27, 1780. Debut at 
 
 Florence, 1797. Appeared in London, 1806. Appeared at Vienna, Prague, 
 
 etc., and in 1818 settled at Copenhagen, where he became Director of the 
 
 Opera and Cons. D. Copenhagen, March 29, 1839. 
 
 His son, Erik Anton Waldemar, B. Copenhagen, Aug. 26, 1828. S. under 
 
 Goetze, Vogel, J. P. E. Hartmann, Moscheles, and Hauptmann, Org. and Prof. 
 
 of Music at Royal Academy of Music, Soro, Seeland. He has comp. " Loreley," 
 
 opera; "Carl den Andens Flugt," opera; Stabat Mater; Cantatas, overtures, 
 
 quartets, sonatas, and org. and Pf. music. He married in 1 865 Johanna 
 
 Frederika Crull, B. Rostock, Jan. 30, 1839, a pianist of great ability, who S. 
 
 under Marschner and Moscheles. 
 
 SIOCAMA (A.) Author of "The New Diatonic Flute," Lond., 1847, 4to. 
 
 SIFACE (Griovanni Francesco Gross!, detto). Italian soprano vocalist, B. 
 Pescia, Tuscany [1666]. S. under T. Redi. Chorister in the Pope's Chapel, 
 1675. Sang in Italy, and about 1686-7 was in England, in service of James 
 II. Murdered in Italy [1699]. 
 
 SIGHICELLI (Filippo). Italian violinist, B. San Cesario, Modena, 1686. D. 
 Modena, April 14, 1773. His son and descendants, Giuseppe, B. Modena, 
 1737, D. Modena, Nov. 8, 1826 ; Carlo, B. Modena, 1772, D. there, April 
 7, 1806; Antonio, B. Modena, July i, 1802— D. Modena, ^883; and ViN- 
 CENZO, B. Cento, July 30, 1830, form a most remarkable family of violinists, 
 in which son succeeded father for four generations. 
 
 SILAS (Edward). German pianist and comp., B. Amsterdam, Aug. 22, 1827. 
 
 S. under Kalkbrenner, Benoist, and Hal^vy, at Paris. Gained first prize for 
 
 organ, Paris Cons., 1849. Settled in London as pianist and teacher. Org. of 
 
 Catholic Chap., Kingston-on-Thames. Prof, in Guildhall School of Music, 
 
 London. 
 
 Works. — ^Joash, oratorio, Norwich Festival, 1863. Nitocris, tragic opera, in 3 
 
 acts, words by E. Fitzball. Overture and incidental music to Fanchette, a drama. 
 
 Kyrie eleison, for 4 voices and orch. Symphony for orch., in A, 1850 ; Symphony 
 
 in C ; Overtures : in E, and to Olivier Brusson, and Don Quixote. Concertos for 
 
 Pf. and orch., in D, C minor, and D minor. Nonetto in F min., for flute, oboe, 
 
 clarinet, bassoon, horn, violin, violo, 'cello, and double-bass. Two quintets. Quartets 
 
 for Pf. and strings, and for other combinations. Trios for Pf., vn., and 'cello, in C 
 
 min.. A, C, D, etc. Pianoforte: Two books of romances ; Mazurkas; Nocturnes; 
 
 Sonata in F ; La Gentilezza, op. 14 ; Caprices ; Allegretto, op. 20; Pastorale in F ; 
 
 Gavottes in F and D; Tarantelle, op. 51 ; Idylle, op. 63; Barcarolle in G min., op. 
 
 54; Six esquisses, op. 67 ; Impromptus ; Bourse in G min. ; Bolero in C ; Sonatina in 
 
 D ; Pf. duets, etc. Church music : Mass for 4 voices and org. (prize gold medal and 
 
 1000 fcs. at Belgian International Exhibition, t866); Ave Verum; Tantum ergo; Ave 
 
 Regina ; O Salutaris ; Four Litanies ; Offertorium ; Magnificat ; Responses, etc. Part- 
 
 Songs: Christmas Carol, for 6 voices ; Softly fall the shades of evening ; The Owl ; 
 
 Song for Spring. Songi^: Treue Liebe ; The life chase ; Entsagen ; O thou pale orb ; 
 
 M 2 
 
562 si L — S t M 
 
 Stars of the summer night ; The dying child ; The Curfew ; Orange blossoms ; I 
 think of thee; Polly Vanderdecken ; etc. Numerous comic and humoristic pieces 
 for voices and instruments. Organ : Andantes in C, D, A flat, etc. ; Fugues in D 
 and C min. ; Preludes in D and F min. ; March in B ilat ; Sonata in F ; Menuet in 
 F; Fantasias in E min., on S". Ann's tune, etc.; Melodies in C, and E. min.; 
 Allegro in F ; Canzonetta ; Pastorales ; Six pieces ded. to J. Lemmens ; and many 
 other works. 
 
 SILBERMANN (GrOttfried). German organ and clavichord maker, B. Klein- 
 bobritzsch, 1683. D. Aug. 4, 1753. Descended from a celebrated family of 
 organ builders, of whom Andreas (1678-1733), and his sons, JOHANN 
 Andreas (1712-1783), Johann Daniel (1718-1766), and Johann Heinrich" 
 (1727-C1792), were eminent. Gottfried built many organs in Saxony, and is 
 equally celebrated for his pianofortes, some of which he made for Frederick the 
 Great. 
 
 SILOHER (Friedrich). German comp. and writer, B. Schnaith, in Wiirtem- 
 berg, Jan. 27, 1789. S. under Auberlen. Teacher at Stuttgart, and cond. in 
 Tubingen University. D. Tiibingen, Aug. 26, i860. Comp. choral music, - 
 songs, and hymns, and wrote " Harmonie und Composition Lehre..." 1851. 
 One of his books was translated by Sabilla Novello as " Succinct Instructions 
 for the Guidance of Singing-Schools and Choral Societies," Lond., 8vo, 1857. 
 
 SIMAO. See PORTOGALLO. 
 
 SIMPSON (Christoplier), or Sympson. English violinist and writer, B. 
 [about 1610]. Was a soldier in the army raised by the Duke of Newcastle for 
 service of Charles I. He was a Roman Catholic, and was patronized by Sir 
 Robert Bolles of Leicestershire, whose son he taught the viol. D. Turnstile, 
 Holborn [?]. 
 
 Works. — The Division-Violist, or an Introduction to the Playing upon a Ground, 
 divided in two parts, the first directing the hand, with other preparative instructions ; 
 the second laying open the manner and method of playing, or composing division 
 to a ground, Lond., fo., 1659; 2nd edit, as "Chelys Minuritionum artificio exor- 
 nata, sive Minuritiones ad Basin, etiam extempore modulandi ratio. ..or The Divi- 
 sion Viol," etc., Lond., 1667 ; Third edition, with portrait, 1712. The Principles 
 of Practical Musick, Lond., 1665 ; 2nd ed. A Compendium of Practical Music, in 
 S parts : I. The Rudiments of Song ; 2. The Principles of Composition ; 3. The 
 Use of Discords ; 4. The Form of Figurate Descant ; 5. The Contrivance of Canon 
 ...Lond., l2mo, 1667. Of this work there are many editions dated and undated to 
 about 1760. .^t of Discant, or Composing Musick in Parts, by Dr. Thomas Cam- 
 pion, with -Annotations thereon by Mr. Christopher Simpson, Lond., 8vo, 1655. 
 Also contained in Playford's," Introduction." 
 
 Simpson was a viol-player of great renown in his day. His works are becoming 
 scarce in the earlier editions. 
 
 SIMPSON (Robert). Scottish comp., B. Glasgow about 1792. He was a 
 weaver to trade, and led the singing in Dr. Wardlaw's church, Glasgow, for a 
 time. Precentor and session-clerk of East Parish Ch., Greenock, from 1823. 
 D. Greenock, June or July, 1832. Known as comp. of the well-known psalm- 
 tune, "Ballerma." 
 
 SIMPSON (Thomas). English violinist, who in 1615 was vnst. in Chap, of 
 Prince of Holstein-Schaumburg. Comp. " Opusculum neuer Pavanen, Galli- 
 arden, Couranten, und Volten..." Frankfort, 1610. " Pavanen, Volten und 
 Galliarden," Frankfort, 4to, 1611. " Tafel-Consort, allerhand lustige Lieder 
 von 4 Instrumenten und Generalbass," Hamburg, 1621. 
 
 SIMPSON (T.) English writer, author of "The Norma Virium, or Musical 
 Accentuator, a Disquisitory Essay on the Obstructions Students meet with in 
 becoming good timeists..." Lond., 4to, n. d. 
 
 QIMROCK (NikolaUS). German music-publisher, B. Bonn, 1755. Established 
 at Bonn, 1790. Famous as the publisher of Beethoven's works. The Berlin 
 branch of the firm publish the works of Brahms and other modern composers, 
 
SIN — SKE 563 
 
 SINCLAIR (John). Scottish tenor vocalist, B. near Edinburgh, 1790. Clarinet 
 player in band of Campbell of Shawfield's Regiment. Teacher of music in 
 Aberdeen. First appeared as a singer in London, Haymarket Theatre, as 
 Cheerly in "Lock and Key," 1810. S. for a time under Thomas Welsh. 
 Engaged for Covent Garden Theatre, and appeared in Linley's "Duenna," 
 l8n. Married Miss Norton, daughter of Captain Norton, 1816. Appeared 
 in London, and in English Provinces till 1819 ; when he visited Paris, and 
 S. for a time under Pellegrini, and under Banderali at Milan. Visited Rossini 
 at Naples, 1821. Sang in Pisa, Bologna (where he was made a mem. of the 
 Philharmonic Academy), Modena, Florence, Venice (where Rossini wrote for 
 him the part ol Idreno in " Semiramide "), and Genoa, 1822-23. Re-appeared 
 in London, Covent Garden, Nov. 19, 1823, and at other theatres till 1830. 
 Sang in America, and appeared in opera, 1830. Retired about same time. 
 D. Margate, Sept. 23, 1857. 
 
 Sinclair was one of the most popular singers of his day, and was the creator of 
 the tenor ?-o/«j in Bishop's "Guy Mannering," "The Slave," "Noble Outlaw," 
 and Davy's "Roy Roy." He comp. the well-known songs "Hey, the bonnie 
 breast-knots," "Johnnie Sands," and others in the Scotch style. 
 
 SINGELEE ( Jean Baptiste). Belgian violinist and comp., B. Brussels, Sept. 25, 
 1812. S. in Brussels under Wery. Violinist in Paris for a time. Violinist 
 and cond. at Brussels and Ghent, and travelled as a virtuoso. D. Ostend, 
 Sept. 29, 1875. Comp. Arsfene, ballet, 1845. Concerto for vn. and orch., 
 op. 10. Fantasias for vn. and Pf. on operas of Bellini, Auber, Hferold, Verdi, 
 Donizetti, Rossini, Meyerbeer, Weber, etc. Fantasia Pastorale, "op. 56 ; 
 Fantasia elegante, op. 98, etc. 
 
 SINGEK (Edmond). Hungarian violinist and comp., B. Totis, Oct. 14, 1830. 
 S. Pesth Cons., and under Bohm. Travelled as violinist in Hungary, Germany, 
 France, etc. Solo-violinist at Court of Weimar, and Prof, at Stuttgart. 
 Comp. Adieux a la Patrie, op. 4 : La Sentimentale, op. 13 ; Caprice-etude, 
 op. 14; Le Carnaval Hongrois, vn. and orch., op. 15 ; and many other violin 
 pieces. 
 
 SINGER (Otto). German pianist, comp., and teacher, B. 1833. Established in 
 Cincinnati as Prof, of the Coll. of Music. Comp. variations and other works 
 for Pf solo and duet ; Festival Ode, for chorus and orch. , and other choral 
 music. 
 
 SIRMEN (Maddalena), kA Lombardini. Italian violinist, B. Venice, 
 1735. S. at Cons, de' Mendicanti, and under Tartini at Padua. Appeared in 
 Italy. Married Luigi de Sirmen. Played in Paris, 1761, and appeared in 
 London, 1768. Afterwards a singer at Dresden, 1782. D. about end of last 
 century. She comp. Trios for 2 vns. and 'cello, op. i ; Concertos for violin, 
 op. 2, 3. 
 
 SIVORI (Ernesto Camillo). Italian violinist, B. Genoa, Oct. 25, 1815. Early 
 displayed talent for violin. S. under Paganini, and received general musical 
 education from Costa and Serra. Appeared in Paris and London, 1827. 
 Travelled in France. Appeared in America, 1846, and again in London. 
 ChevaHer of Order of S.S. Maurice and Lazare, 1855; of Order of Charles II. 
 of Spain, 1856, etc. 
 
 Works. — Concertos in E flat and A, vn. and orch.; La G^noise, caprice, op. i ; 
 Fantasia-etude, op. 10 ; Carnavals de Cuba, Chili, Americain, etc. ; Les Folies 
 Espagnoles ; Tarentella Napolitan ; Duets, etc. 
 
 SKEAF (Joseph). English comp. and pianist, B. Liverpool, Nov. 10, 1836. 
 Cond. of Apollo Glee Club, and Grand Org. to Freemasons of West I^anca- 
 shire. Comp. part-songs and songs. D. Liverpool, Nov. i, 1884. 
 
 SKEATS (Highmore). English comp. and org., B. 1787. Son of Highmore 
 Skeats, org. of Canterbury Cath. (D. 1831.) Org. of S. George's Chap., 
 Windsor, 1830. . D. Jan. 24, 1835. Comp. church music. His father pub- 
 lished a " Collection of Songs," Lond., 1784, fo. 
 
 SKEFFINGTON (Hon. and. Rev. T. C). English writer, author of " Handy- 
 
564 SKE — siiA 
 
 Book of Musical Art, with some Practical Hints to Students," Lond., 1858, 
 l2mo ; "The Flute in its Transition State, a Review of its Changes during the 
 past Fifty Years," Lond., 1862, 8vo. 
 
 SKENE (John) of Halyards. Scottish collector of i6th and 17th centuries. 
 The supposed compiler of the " Skene Manuscript," 1614-1620, a collection of 
 vocal and dance music which was edited and published by Dauney and Graham 
 for the Bannatyne Club, in 1 838. It contains, among other melodies, the old 
 set of the " Flowers of the Forest." 
 
 SKRAUP (Franz). Bohemian cond. and comp., B. .Vosic, June 3, 1801. D. 
 Rotterdam, Feb. 7, 1862. Comp. operas, songs, etc. His brother, JOHANN 
 Nepomuk, B. Vosic, Sept. 15, 181 1, D. Prague, Nov. 18, 1865, comp. operas, 
 lieder, etc. 
 
 SLAYIK or SLAWJIK (Josef). Bohemian violinist and comp., B. Ginetz, 
 March I, 1806. D. Pesth, May 30, 1833. Comp. violin music. 
 
 SLOMAN (RoTaert). English org. and comp., B. Gloucester. S. under Amott, 
 Wesley, and C. Lucas. Private org. to Earl of Powis, 1852. Org. of Parish 
 Ch. , Welshpool. Org. S. Martin's, Scarborough, 1869 ; West Dulwich, Lond., 
 1877. Mus. Bac, Oxorl., 1861. Mus. Doc, Oxon., 1867. Comp. "Sup- 
 plication and Praise," a sacred cantata ; anthems, part-songs, songs, and Pf. 
 music. 
 
 SLOFEB (E. H. Lindsay). English pianist and comp., B. London, June 14, 
 1826. S. under Moscheles, at Frankfort under A. Schmitt, at Heidelberg 
 under VoUweiler, and at Paris under Rousselot, 1841-46. Appeared in Lon- 
 don at Musical Union, 1846. Teacher and pianist in London. 
 Works. — Op. i. Czartoryska, 3 mazurkas, Pf. ; op. 2. Henriette, valse, Pf. ; 
 op. 3. 24 Studies, Pf. ; op. 8. Six songs ; op. 12. Serenade and canzonette, Pf.; op. 
 13. 12 Studies, Pf.; Sonata for Pf. and vn.; op. 15. Pens^e fugitive, Pf.; Transcrip- 
 tions and arrangements for Pf. Songs : Medora, Song to May, Child and the sky- 
 lark, Fairy's reproach. The Violet, To-night, etc. Tutor and Technical Guide 
 for the Pianoforte. 
 
 SMALLWOOD (William). English org. and comp., B. Kendal, 1831. Org. 
 S. George's Ch., Kendal. Comp. of a large number of teaching pieces for Pf., 
 chiefly in collections, like " Home Treasures," " Classics at Home," " Flowers 
 of Melody," " Youthful Pleasures," and some original pieces, as "Hawthorn 
 Blossoms," " Elfin Bower," " Clarissa," etc. He is also author of a " Tutor 
 for the Pianoforte." 
 SMART (Christopher). Enghsh writer. D. May 18, 1770. Published a 
 "Collection of Melodies for the Psalms of David, according to the Version of 
 Christopher Smart, A. M. By the most Eminent Composers of Church Music." 
 Lend., Walsh, 176.5, 4to. 
 
 SMART (Sir George Thomas). English cond. and teacher, B. London, May 
 10, 1776. Chor. in Chap. Royal under Ayrton. S. org. under Dupuis, and 
 comp. under Arnold. Org. S. James's Chap., Hampstead Road. Knighted 
 at Dublin by Lord Lieutenant, after cond. a successful series of concerts, 181 1. 
 Original mem. of Philharmonic Soc, 1813. Cond. concerts of Philharmonic 
 Soc, 1813-44. Cond. Lenten oratorios. One of org. of Chap. Roy., 1822. 
 Connected with Weber, who died at his house in 1826. Cond. Mendelssohn's 
 "St. Paul," at Liverpool, 1836. Comp. to Chap. Royal, 1838. Cond. all 
 the principal provincial festivals of his time. Cond. music at coronations of 
 William IV. and Victoria. D. Bedford Square, London, Feb. 23, 1867. One 
 of the greatest English conductors. He \vas a successful vocal teacher, and 
 gave instruction to Jenny Lind and Sontag. His works include anthems, 
 chants, glees, and songs ; and he edited Gibbon's ' ' First set of Madrigals, "■ for 
 the Musical Antiquarian Soc. 
 
 SMART (Henry). English violinist, B. London, 1778. Brother of the preced- 
 ing. S. under W. Cramer. Leader in various theatre orchs. , the Philhar- 
 monic Soc, English Opera House, etc. Became part-proprietor of a brewery, 
 which did not succeed. Established a Pf. manufactory. D. Dublin, Nov. 23, 
 1823. 
 
S M A — SMI 565 
 
 SMART (Henry). English org. and comp., son of above, B. London, Oct. 26, 
 1813. S. under his father and W. H. Kearns ; and self-taught. Articled to 
 a solicitor. Org. of Parish Ch. of Blackburn, 1831-36. Org. S. Philip's, 
 Regent St., London, 1836. Married, July, 1840. Org. S. Luke's, Old St., 
 City, London, 1844-64. Org. S. Pancras, Euston Road, 1864. His sight 
 failed him in 1864. Granted pension of ;!f 100 per annum by the Government, 
 in 1879. D. London, July 6, 1879, and is buried in Hampstead Cemetery, 
 Finchley Road, London. 
 
 Works. — Operas: Bertha, or the Gnome of Hartzberg, Haymarket Theatre, 
 Lond., 1855 ; Undine (unfinished) ; Surrender of Calais, by Planch^ (unfinished). 
 Cantatas: The Bride of Dunkerron, Birmingham Festival, 1864; King Rent's 
 Daughter (by F. Enoch), 1871 ; The Fishermaidens, 1871 ; Jacob, sacred, Glasggvif 
 Choral Union, Nov. 10, 1873. Full Morning and Evening Services in F and G, 
 1871. Anthems: O God, the King of Glory; Sing to the Lord; The Angel 
 Gabriel ; Be glad, O ye righteous ; The Lord is my strength ; The Lord hath done 
 great things; Lord Thou hast been our refuge. Part-Songi : Ave Maria (1859); 
 Behold where laughing Spring (1859); Cradle Song; Evening Hymn; Queen of 
 the night; The shepherd's farewell; The waves' reproof ; Stars of the Summer 
 night; Lady, rise, sweet Morn's awaking; Six four-part songs (1869); Four-part 
 songs comp. for Leslie's choir. Trios for female voices, and many Vocal duets. 
 Songs : The Lady of the Lea ; The Spinning wheel ; Near thee, still near thee ; 
 Vineta ; The Lady Isoline ; Autumn song ; Come again Spring ; I dream of thee 
 at morn ; Rose of May ; The gleaner maiden ; The midnight ride ; The talisman ; 
 The fairy's whisper ; Blue eyes ; Go, whispering breeze ; Wake, Mary, wake ; 
 Echo of the lake ; Sir Roland ; The bird's love song ; The lark's song ; etc. 
 Organ: Fifty Preludes and Interludes (1862) ; Andantes in G, A, and E min. ; 
 Eighteen short easy pieces ; Postludes in C, D, E flat, etc. ; Twelve short inter- 
 ludes ; Grand solemn march ; March in G ; Festive march in D ; Minuet in C ; 
 Choral, with variations ; The Organ Student, 12 pieces. Chamber Duets and 
 Trios, by G. F. Handel, edited by Smart for the English Handel Soc., 1852. The 
 Presbyterian Hymnal, 1877 (edited). Report on the Organ of Christ Chuich 
 Cathedral, Dublin, 1878. 
 
 Smart was one of the most gifted and original of recent English organists and 
 composers. His songs, part-songs, and organ-music enjoy a wide popularity, while 
 his cantatas are very frequently performed. His most striking work is the "Bride 
 of Dunkerron," which contains many powerful and highly dramatic passages. He 
 was an authority on the organ, and the very large and beautiful instruments at 
 Leeds Town Hall, and in St. Andrew's Hall, Glasgow, were erected from his speci- 
 fications. As a performer he possessed several original points. Some books on 
 him are "Henry Smart: His Life and Works," by Wm. Spark, London, 1881, 
 8vo, with portrait. "Henry Smart," by W. D. Seymour [Leeds, 1881]. "Henry 
 Smart's Compositions for the Organ, analysed by John Broadhouse," Lond., 1880. 
 
 SMETANA (Friedrich). Bohemian comp., B. Leitomfeschel, near Prague, 
 March 2, 1824. S. under Proksch at Prague from 1843 ; under R. Schumann, 
 1846 ; and under Liszt. Married Katharina Kolar, 1848, and taught in Music 
 School at Prague. Gave Concerts at Prague in conjunction with Liszt. Cond. 
 of Philharmonic Soc. at Gothenburg, Sweden, 1856. Cond. of National 
 Theatre at Prague, 1866-74. Retired on account of his deafness. Teacher of 
 Dvorak. D. Prague, iVIay, 1884. 
 Works. — Operas: The Brandenburger in Bohemia; Married for Money, 1866; 
 
 Dalibar, 1868 ; The Kiss ; etc. Symphonic Poems : Mein Vaterland ; Ultava ; 
 
 Libussa; Vyschrad. Quartets, Pf music, and Songs. 
 
 SMETHBRGELL (William). English org,, comp., and writer, flourished in 
 London in last century. Was org. of St. Margaret-on-the-Hill, Southwark, 
 and of Allhallows, Barking. Author of "A Treatise on Thoroughbass," 
 Lond., 1794, 4to. "Rules for Thoroughbass, to which are annexed three 
 sonatas," Lond., n. d., fo. Comp. Six Overtures; Lessons for Pf. ; Sonatas 
 for Pf., etc. 
 
 SMITH (Alfred Montem). English tenor vocalist and comp., was. chor. in 
 S, George's Chap., Windsor. Lay vicar Westminster Abbey, and Gent, of 
 
S66 SMI — SMI 
 
 Chap.-Royal (1858). Prof, of Singing at R. A. M., and Guildhall School of 
 Music. A concert vocali.st of much repute. Has comp. songs and glees. 
 
 SMITH (Alice Mary), Mrs. Meadows White. English comp. , B. London, 
 May 19, 1839. S. under Sir W. S. Bennett and Sir G. A. Macfarren. Married 
 to Mr. Frederick Meadows White, Q.C., 1867. Associate of Philharmonic 
 See, 1867. D. London, Dec. 4, 1884. 
 
 Works. — Cantatas: Rudesheim, Cambridge, 1865; Ode to the North-east 
 Wind, Hackney Choral Assoc, 1880; Ode, The Passions (Collins), Hereford 
 Festival, 1882 ; Song of the Little Baltung (Kingsley), Lombard Amateur 
 Assoc, 1883 ; The Red King (Kingsley). Symphony in C minor, Mus. 
 Soc of Lond., 1863. Overtures : Endymion, 1864 (re-written, , Crystal 
 Palace, 1871) ; Lalla Rookh, 1865; Masque of Pandora, 1878; Jason, or the 
 Argonauts and Sirens, 1879. Quartets for Pf. and strings, B flat, 1861 ; D, 
 1S64; Quartet for strings in D, 1862; another, 1870; Concerto for clarinet and 
 orch., Norwich Festival, 1872; Introduction and Allegro, Pf. and orch, 1865; 
 Two Intermezzi from the "Masque of Pandora," 1879. Part;Songs, songs, etc. — 
 Musical Times. 
 
 SMITH (Bernard). See Schmidt (Bernard). 
 
 SMITH (Boyton). English comp. and pianist, B. Dorchester, Feb. 23, 1837. 
 S. under S. S. Wesley. 
 Works. — Te Deums, anthems, and other music for the church service ; Organ 
 pieces for church use, 6 sets; Andante con moto for org., etc. Pianoforte: Fern 
 leaves, melody, op. 45 ; La Fete de la Reine, op. 50 ; La Fee coquette, op. 64 ; 
 La bayadere ; La Napolitaine ; La sirfene ; La vivandiere ; Maidenhair ; Sur le lac ; 
 Numerous transcriptions. Songs : Bird of the Wilderness ; For ever and a day ; I 
 think of thee ;. Remembrance; Sweet Leonora ; Old Millstream ; The Parting ; 
 Violets of Spring, etc. 
 
 SMITH (Charles). English vocalist and comp., B. London, 1786. S. under 
 Costellow. - Chor. in Chap.-Royal under Ayrton. S. under John Ashley. 
 Sang as a soprano from 1799 at Ranelagh, in Scotland, etc., till his voice broke 
 in 1803. Org. Croydon Ch. ; org. Welbeck Chap., 1807. Sang as a bass in 
 oratorio, 1813. Married Miss Both of Norwich. Resided in Liverpool from 
 1816. D. Crediton, Devon, Nov. 22, 1856. Comp. music to the dramatic 
 pieces. Yes or No, 1809 ; The Tourist Friend ; Hit or Miss ; Anything New, 
 etc. ; and many songs. Far o'er the Sea, The Battle of Hohenlinden, and others. 
 
 SMITH (Catherine Louisa). See Penna. 
 
 SMITH (Rev. George). English writer, author of "Church Music, Two Lec- 
 tures," Lond., i860, 8vo. 
 
 SMITH (George Townshend). English comp. and teacher, B. Windsor, Nov. 
 14, 1813. Chor. in St. George's Chap., Windsor. S. under Highmore 
 Skeats and S. Wesley. Org. of Old Parish Ch., Eastbourne. S. Margaret's 
 Lynn. Org. Hereford Cath., 1843. Cond. and Hon. Sec. of the Three Choir 
 Festival. D. Hereford, Aug. 3, 1877. Comp. of anthems, songs, and other 
 vocal music. 
 
 SMITH (Isaac). English comp., B. about middle of l8th century. Was pre- 
 centor of Alie Street Meeting House, London. D. London, about 1800. 
 Published "A Collection of Psalm Tunes in Three Parts," Lond., n.d., 8vo. 
 Comp. of the well-known psalm tune "Irish." 
 
 SMITH (John). English org. and comp., B. Cambridge, 1795. Stipendiary 
 
 Choirman of Christ Church Cath., Dublin, 1815. Vicar-choral of St. Patrick's 
 
 Cath., 1816. Org. of the Chap., Dublin Castle, 1833-35. Prof- of Music in 
 
 University of Dublin. Mus. Doc, Dublin. D. near Dublin, Nov. 12, 1861. 
 
 Works. — The Revelation, oratorio; Cathedral Music, fo. , n.d.; Lyra Masonica, 
 
 collection of masonic songs, Lond., 1847 ; Glees, songs, and other vocal music. 
 
 Treatise on the Theory and Practise of Music, with the Principles of Harmony and 
 
 Composition, Dublin, 1853, 2 v., 4to; A Selection of Original Melodies of Erin, 
 
 with characteristic words by Edward Fitzsimons; symphonies by J. Smith, 1814, fo. 
 
SMI — SMI 567 
 
 SMITH (John Christopher). German comp. and cond. B. Anspach, 1712. 
 
 Originally Johann Christoph Schmidt. His father was Handel's treasurer. 
 
 He got lessons in music from Pepusch, Rosingrave, and Handel. Org. of 
 
 Foundling Hospital. Handel's amanuensis when that comp. became blind. 
 
 Cond. several series of concerts, including Handel's oratorios, 1732-74. D. 
 
 Bath, Oct. 3, 1795. 
 Works. — Operas: Teraminta, 1732; Ulysses, 1733; Rosalinda, 1739; Dario, 
 1746 ; Issipile, 1746 ; The Fairies, 1754 ; The Tempest, 1756 ; Medea ; II Giro 
 riconosciuto ; The Enchanter, 1760. Oratorios : The Lamentation of David, or 
 the Death of Saul and Jonathan, 1738; Paradise Lost, 1758; Rebecca; Nabal 
 (from Handel), 1764; Gideon (from Handel), 1769; Judith; Jehosaphat ; The Re- 
 demption. The Seasons. Daphne, pastoral by Pope. Thamesis ; Isis and Pro- 
 teus, cantatas. Six Sets of Lessons for the Harpsichord, op. 3, 4, etc. Anecdotes 
 of George Frederick Handel and John Christopher Smith. ..Lond., fo., 1799. 
 
 SMITH (John Stafford). English org. and comp., B. Gloucester, 1750. Son 
 of Martin Smith, the Cath. org., from 1743 to 1782. S. under his father and 
 Dr. Boyce. Chor. in Chap. -Royal under Nares. Gent, of Chap. -Royal, 1784. 
 Lay-vicar Westminster Abbey, 1785. Org. of Chap.-Royal, 1802; and from 
 1805-1817 master of the children, do. Gained many prizes for glees, 1773- 
 1780, etc. D. London, Sept. 20, 1836. 
 
 Works. — Musica Antiqua, a Selection of Music of this and other Countries, from 
 the commencement of the Twelfth to the beginning of the Eighteenth Century, 
 comprising some of the earliest and most curious Motettes, Madrigals, etc., Lond., 
 2 vols., fo., 1812. A Collection of English Songs in Score, for 3 and 4 voices, 
 composed about the year 1500, taken from MSS. of the same age, Lond., fo., 1779. 
 Anthems Composed for the Choir Service of the Church of England, Lond., fo., 
 n. d. Twelve Chants composed for the Use of the Choirs of the Church of Eng- 
 land, Lond., ob. 4to, n. d. A Collection of Songs of Various Kinds for Different 
 Voices, Lond., fo., 1785. A Collection of Glees, for 3, 4, 5, and 6 Voices, Lond., 
 n. d. 
 
 A most industrious compiler, whose " Musica Antiqua" is one of the best Eng- 
 lish collections of ancient vocal music. He aided Sir John Hawkins with the com- 
 pilation of his " History of Music. " Many of his glees are among the standard 
 favourites in this class of music. 
 
 SMITH (Montague). English org. and comp., B. Norwich, July, 1843. Org. 
 Glasgow University; St. Silas Episcopal Ch. Cond. University Choral Soc. 
 Local Examiner in Music, Glasgow University. Prof, of Harmony in Queen 
 Margaret College, Glasgow. Comp. of " Blessed is the Man," and "By the 
 Waters of Babylon," cantatas ; The Killabag Shootings, opera ; Concert over- 
 ture, Gloucester Festival, 1877 ; Songs, part-songs, and instrumental music. 
 
 SMITH (Robert). English writer and professor, B. Cambridge, 1689. Plumian 
 Prof, of Astronomy, Cambridge. Master of Trinity Coll., 1742. D. Cam- 
 bridge, 1768. Author of " Harmonics, or the Philosophy of Musical Sounds," 
 Cambridge, Svo, 1749; 2nd ed., enlarged, Lond., 8vo, 1759. A Postscript 
 upon the Changeable Harpsichord, a Perfect Instrument, Lond., 1762, Svo. A 
 learned and able work. 
 
 SMITH (Robert Archibald). Scottish comp., B. Reading, Berks, Nov. 16, 
 1780. Son of Robert Smith, silk weaver, a native of East Kilbride, who settled 
 , at Reading in 1 774, during a heavy depression of trade in Paisley. Gave very 
 early indications of musical ability. Apprenticed to the weaving trade, which 
 he followed in Reading, and in Paisley, from 1800, where he became intimate 
 vrith Tannahill, Motherwell, etc. Married Mary MacNicol, 1802. Teacher 
 of music, and precentor in the Abbey Church, Paisley, 1807. Musical director 
 of S. George's, Edinburgh, Aug. 1823. D. Edinburgh, Jan. 3, 1829 (buried 
 in S. Cuthbert's churchyard). 
 Works. — The Scotish Minstrel, a Selection from the Vocal Melodies of Scot- 
 land, Ancient and Modern, arranged for the Pianoforte, Edin. [c. 1821-24], 6 vols., 
 large 8vo. The Irish Minstrel, a Selection from the Vocal Melodies of Ireland, 
 Ancient and Modern, Edin., n. d. [1825]. Flowers of Scottish Song, Glasgow, 
 n, d,, fo, Select Melodies, with appropriate words, chiefly original, collected and 
 
S68 SMI — SOB 
 
 arranged with Symphonies and Accompaniments for the Pianoforte, Edin., n. d. 
 [1827]. Devotional Music, original and selected, arranged mostly in four parts, 
 with a Thorough-bass for the Organ or Pianoforte, l8io ; New ed. by John Turn- 
 bull, Glas., n. d., 8vo. Anthems in Four Vocal Parts, with an Accompaniment for 
 the Organ or Pianoforte. . . 1819. Sacred Harmony, for the use of S. George's Church, 
 
 Edinburgh, being a Collection of Psalm and Hymn Tunes Edin. [1820], i2mo 
 
 (with Rev. A. Thomson) ; other editions, and a modern one edited by Jas. S. Geikie, 
 Edin., n.d., 8vo. Sacred Music, consisting of the Tunes, Sanctusses, Doxologies, 
 Thanksgivings, etc., sung in St. George's Church, Edinburgh, Edin., 1825, 8vo. 
 Edinburgh Sacred Harmony for the Use of Churches and Families, arranged for 
 Four Voices, Edin. , 1 829, 2 vols. , fo. The Sacred Harmony of the Church of Scot- 
 land, n. d. [1828], 8vo. Songs: Jessie, the Flow'r o' Dunblane (1808) ; Bonnie 
 Mary Hay ; O wha's at the window ? The lass o' Arranteenie ; The Harper of Mull ; 
 Loudon's bonnie woods and braes ; On wi' the tartan ; Maid of the sea ; Highlan- 
 der's farewell; The willow. Duets; Row weel, my boatie, row weel ; etc. Psalm 
 tunes : Morven, St. Mirren, Invocation, St. Lawrence, Kelburn, Irvine, Paisley, 
 Abbey, and many others, all published in his collections. Anthems: How beautiful 
 upon the mountains ; The earth is the Lord's ; etc. An Introduction to Singing, 
 comprising various examples, with scales, exercises, and songs, etc., Edin. [1826], fo. 
 Smith was one of the best musicians whom Scotland produced in the first part of 
 this century. His works are now as much used as ever they were, and his songs 
 and psalms will always remain in use in Scotland. He composed many fine Scot- 
 tish melodies, and did not scruple occasionally to pass a number of them off as 
 genuine antiques. His anthems are of no particular merit judged by present stan- 
 dards, but considering the state of music in Scotland during his period, are very 
 creditable works. 
 
 SMITH (Sydney). English pianist and comp., B. Dorchester, July 14, 1839. 
 S. at Leipzig Cons, under Moscheles, Plaidy, Hauptmann, Richter, Papperitz, 
 and Rietz, from 1855. Settled in London as pianist and comp., 1859. 
 Works. — Pianoforte: Arcadia; Barcarolle; Bolero; Chant des oiseaux; Chant 
 
 der Savoyard ; Coquetterie ; Danse Napolitaine ; Etudes de concert ; Eventide ; 
 
 Fairy realms ; Fairy whispers ; Fandango ; Fete champ6tre ; FSte Hongroise ; 
 
 Fete militaire ; Gavotte ; La harpe Eolienne ; Le jet d'eau ; Les trompettes de la 
 
 guerre ; Marche Hongroise ; Maypole dance ; Pas de sabots ; R8ve ang^lique ; 
 
 Rhapsodie ; Saltarello ; Tarentelles ; The spinning wheel ; Titania ; Tyrohenne ; 
 
 Fantasias on Operas, and Transcriptions, numerous. 
 
 SMITH (Thomas). English org., comp., and vwiter, B. Arnold, Notts., Feb. 
 20, 1832. Org. at Bury St. Edmunds. Author of several didactic treatises; 
 Short Practical Method for teaching Singing, Lond., n.d., etc. ; and comp. of 
 anthems, 
 
 SMITH (T. R.) English writer, author of "The Violoncello Preceptor, contain- 
 ing the Rudiments of Music, with Scales, etc. " Lond. , n. d. 
 
 SMITH (Dr. William). Scottish amateur musician and divine, B. in Scotland, 
 1754. Settled in New York, 1783. D. New York, April 6, 1821. Author 
 of ' ' The Reasonableness of Setting forth the Praises of God. according to the 
 Use of the Primitive Church; with Historical Views of Metre Psalmody," 
 New York, 18 14. Chants for Publick Worship, 18 14. 
 
 SNETZLEE. (Johann). German organ-builder, B. Passau, 17 10. Settled in 
 England, and built a number of fine organs, among which may be named those 
 at Lynn Regis (1754), Halifax (1766), and St. Martin's, Leicester (1774). D. 
 London about end of l8th century. 
 
 SNOW (Valentine). English trumpet-player, of l8th century. Serjeant-trum- 
 peter to the King, in succession to John Shore, 1753. Played in Handel's 
 oratorios, the trumpet parts in which were specially written for him. D. Lon- 
 don, Dec. 1770. 
 
 SOAPEB (John). English comp., B. about middle of l8th century. Gent, of 
 Chap.-Royal, and Vicar-choral S. Paul's. D. London, June S, 1794. Comp. 
 psalms and chants. 
 
 SOBOLBWSKI (Eduard). German violinist and comp., B, Konigsberg, Oct, 
 
SOD — SOU 569 
 
 1,1808. S. under C. GoUmick. D. St. Louis, U.S., May 23, 1872. Comp. 
 Velleda, 1836 ; Salvator, Rosa, 1848, and other operas ; oratorios ; hymns, 
 and choral music. 
 
 SODEEMANN (Johan August). Swedish comp., B. Stoclcholm, July 17, 
 1832. S. at Leipzig under Richter and Hauptmann. Chorus-master of 
 Royal Opera, Stockholm. Mem. of Swedish Academy of Music. D. Stock- 
 holm, Feb. 10, 1876. 
 Works. — Hinandes fdrsta larospons ; Wedding at Ulfasa ; Regina von Emmeritz, 
 
 operettas. Overture, Joan of Arc (Schiller). Masses. Trios for male voices. 
 
 Hymns, Songs, etc. 
 
 SOLA (Charles Michel Alexis). Italian guitar-player and comp., E. Turin, 
 June 6, 1786. Settled in London about 1829. D. London [?]. Comp. 
 music for guitar and harp. Method for the Guitar, etc. 
 
 SOLDENE (Emily). English soprano vocalist and actress, B. Islington, Lon- 
 don. Dlbut at Drury Lane in ''II Trovatore." First appeared in Opera 
 bouffe in "The Grand Duchess," 1869. Sang at the Crystal Palace, Lyceum 
 Theatre, etc. Visited the United States, 1874, and 1876-77. Sang in New 
 Zealand and Australia. Has sang throughout the Provinces of England and 
 in Scotland (since 1878) with great success. 
 
 SOLIE. See Soulier. 
 
 SOLOMON (Edward). English comp. of present time, has written the following 
 popular operas and operettas : — Billee Taylor, Oct. 1880 ; Claude Duval, or 
 Love and Larceny, Aug., 18S1 ; Quite an Adventure, 1881 ; Lord Bateman ; 
 or, Picotee's Pledge, April, 1882 ; Through the Looking Glass (farce), 1882 ; 
 Vicar of Bray, 1882 ; Paul and Virginia, 1883 ; Polly, 1884 ; Pocahontas, 
 1885. Comp. also songs, and other pieces. 
 
 SOMIS (Giovanni Battista). Italian violinist and comp., B. in Piedmont, 
 1676. S. at Rome under Corelli, and at Venice under Vivaldi. Settled at 
 Turin as leader of the Royal music. D. Turin, Aug. 14, 1763. Comp. 
 Opera Prima di Sonale a violino e violoncello e cembalo, Rome, 1722. 
 XII Sonate da Camera. Amsterdam, n. d. 
 
 SONNLBITHNER (Christoph). Hungarian comp., B. Szegedin, May 28, 
 1734. D. Vienna, Dec. 25, 1786. Comp. symphonies, music for the church, 
 organ pieces, etc. Founder of a Family intimately connected with the musical 
 life of Vienna. 
 
 SONTAG (Henriette Gertrude Walpurgis, Countess Rossi). German 
 
 soprano vocalist, B. Coblentz, Jan. 3, 1806. Appeared in an opera at Darm- 
 stadt, 1811. S. at Prague Cons., 1815, and appeared there in Boieldieu's 
 "Jean de Paris," 1820. S. at Vienna under Mdme. Fodor-Mainville. En- 
 gaged for opera of Leipzig, 1824; Berlin, 1825; Paris, June 15, 1826; Lon- 
 don, April, 19, 1828, at King's '1 heatre. Married to Count Rossi and retired, 
 1830. Re-appeared in London and Paris, 1849-51. Visited the United States, 
 1852. D. Mexico, June 17, 1854. 
 A popular soprano, famed alike for the beauty of her voice and person. She 
 created the utmost enthusiasm wherever she appeared, and in Germany and Paris 
 was all but worshipped. She sang in operas of Weber, Donizetti, Rossini, Mozart, 
 Halevy, etc. 
 
 SOBLA (Jules Diaz de). Portuguese barytone vocalist, B. Bordeaux, April 28, 
 1843. Has sang in Vienna, Paris, St. Petersburg, and London, 1867, 1872, 
 with great success. 
 
 SORIANO (Francesco). Italian comp., B. Rome, 1549. S. under Nanini and 
 Palestrina. Chap. -master of St. Peler's, Rome, 1603. D. Rome, Jan. 1620. 
 Comp. madrigals, masses, psalms, motets and canons. 
 
 SOULIER (Jean Pierre), or Solie. French comp., B. Nimes, 1755. D. 
 Paris, Aug. 6, 1812. Comp. Le Jockey, 1795 ; Azeline, 1796; Le Diable %, 
 qualre, 1806; Les M^nestrels, 181 1, and other operas, 
 
S7<^ sow — s PI 
 
 SOWINSKI (Albert). Polish writer and comp., B. Ladyzyn, Ukraine, 1803. 
 S. at Vienna under Czerny, Seyfried and Gyrowetz. Travelled in Italy, and 
 settled in Paris. D. Paris, March 5, 1880. Comp. St. Adalbert, oratorio, 
 op. 66 ; La Reine Hedwige, Mazeppa, op. 75, overtures ; Symphony in E 
 min. op. 62 ; and Pf. music. Author of " Les Musiciens Polonais et Slaves, 
 Anciens et Modernes, Dictionnaire Biographique des Compositeurs, Chanteurs, 
 Instrumentalistes, etc.," Paris, 8vo, 1857. Edited a collection of Polish na- 
 tional music. 
 
 SOUTHARD (L. H.) American writer and comp., author of "Thorough Base 
 and Harmony," Boston, n. d. ; The Organist (vrith G. E. Whiting); and 
 editor of The Bouquet, a Collection of Vocal Music, New York, 1856 ; The 
 Offering, a Collection of New Church Music, 1866. 
 
 SPAGNOLETTI (Pietro). Italian violoncello player and comp., B. Cremona, 
 1768. D. 1834. Appeared in England, and played with success. Teacher 
 of a number of violinists and other musicians. 
 
 SPAEK (William). English org., comp., and writer, B. Exeter, Oct. 28, 
 1825. Chor. Exeter Cath., and articled pupil to Dr. S. S. Wesley, 1834. 
 Org. of St. Laurence's, Exeter, 1840; deputy-org. Leeds Parish Ch., 1842; 
 Chapeltown ; and St. Paul's, Leeds. Org. successively at Tiverton, Daven- 
 try, Northampton, and St. George's Ch., Leeds, 1850. Org. of Leeds Town 
 Hall, 1859. Mxis. Doc. Dublin, 1861. Has appeared as an org. throughout 
 Britain. Established the Leeds Madrigal and Motet Soc, and a series of 
 People's Concerts. 
 Works. — Trust and .Triumph, cantata; Ode to Labour; Magnificat and Nunc 
 dimittis in D. Anthems: All we like sheep ; O God, have mercy upon me ; Christ 
 being raised from the dead ; etc. The Practical Choirmaster (12 parts), edited; 
 Sacred Harmony, selected and arranged, Lond., 1862, 4to ; The Organist's Quar- 
 terly Journal, containing Original Compositions (edited), 1869, and now being pub- 
 lished. Grand Organ Sonata, op. 21. Short Pieces for the Organ, original and 
 selected {12 books). Part-songs, glees and songs, various. Handy Book for the 
 Organ, Instructions for use of Manuals and Pedals, fo., n. d. Lecture on Church 
 Music, more particularly the Choral Service of the Church of England, as applied 
 to Parochial Worship, Leeds, 1851, 8vo. Choirs and Organs, Lond., 1852. A 
 Few Words to Musical Conductors, by a Musician, 1853. Musical Tour in North 
 Germany, Lond., 1871. Handy Book of Choral Singing. Henry Smart, his Life 
 and Works, Lond., 1881, 8vo, etc. 
 
 SFEIDEL (Wilhelm). German comp. and cpnd,, B. Ulm, Sept. 3, 1826. S. 
 under I. Lachner. Musical-director at Ulm and Stuttgart. Comp. of choral 
 and Pf. music, etc. His brother LUDWIG, B. Ulm, April 11, 1830, is a writer 
 on music, and is noted for his anti- Wagnerian views. 
 
 SPENCE (Mrs. Sarah), English writer, authoress of "An Introduction to the 
 Science of Harmony," Lond., 1810, 8vo. 
 
 SPENCER (Charles Child). English writer and comp., B. London, 1797. 
 Was Mus. Doc. and org. and choir-master of St. James' Chap., Clapton. 
 Author of " Elements of Practical Music," Lond., 1829, 8vo ; " Elements of 
 Musical Composition," Lond., 1840, 8vo ; "The Pianoforte, the Rudiments of 
 the Art of Playing," Lond., n. d. ; "Rudimentary and Practical Treatise on 
 Music," Lond., 1850, 2 vols., i2mo ; "A Concise Explanation of the Church 
 Modes, with Remarks on the Mutations they have undergone since the Inven- 
 tions of the Hexachord and the Modern Tonal System of Music..." Lond., 
 1846. Some of the foregoing works have gone through several editions. He 
 comp. many glees and songs, and other vocal music. 
 
 SPEYER (Wilhelm). German violinist and comp., B. Frankfort-on-Main, 
 June 21, 1790. D. there, April S, 1878. Comp. music for stringed instru- 
 ments, violin music, lieder and choral music. 
 
 SPINDLER (Fritz). German pianist and comp., B. Wurzbach, Lobenstein, 
 Nov. 24, 1817. S. under F. Schneider. Teacher in Dresden. Comp. 
 numerous Pf. works, among which are Schneegldcklein, op. 19 ; Fisherlied, 
 
spi — spo 571 
 
 op. 35 ; Reiterlied, op. 38 ; Unter dem Lindenbaum, op. 39 ; Tonblttthen, op. 
 43 ; Scherzo, op. 46 ; Romance, op. 52 ; Silberquell, op. 74 ; Tannhiiuser, 
 transcribed, op. 94; Flying Dutchman (Wagner), transcribed, op. 122. He 
 has also comp. symphonies for orch., concerto for Pf. and orch., trios for Pf. 
 and strings, etc. 
 
 SFINOLA (J. J. De Virues y). Author of "An Original and Condensed 
 Grammar of Harmony, Counterpoint, and Musical Composition ; or the Gener- 
 ation of Euphony reduced to Natural Truth, preceded by the Elements of 
 Music..." Lond., 1850, 8vo. With F. T. A. Chaluz de Vernevil. 
 
 SPITTA (Julius August Philipp). German writer, E. Wechold, Hanover, 
 Dec. 27, 1841. S. at Gottingen Univ. Prof, of Musical History in Berlin 
 Univ. Director of Berlin High School for Music. Author of "Johann 
 Sebastian Bach," Leipzig, 1873-80, 2 vols., 8vo, and other works. 
 
 SPOFFORTH (Reginald). English comp., E. Southwell, Notts, 1768 [1767?] 
 S. under his uncle, Thomas Spofforth, org. of Southwell Collegiate Ch. ; and 
 Dr. B. Cooke. Gained two prizes given by Nobleman's Catch Club. D. 
 Kensington, London, Sept. 8, 1S27. 
 Works. — Set of Six Glees, Lond. [1799] ; A Collection of Glees, compiled from 
 the Unpublished Manuscripts of the late Mr. Spofforth, carefully collated with the 
 Originals, by W. Hawes, Lond., fo., n. d. ; The Christmas Box, a variety of Baga- 
 telles for I, 2, and 3 voices, with Pf. accompaniment, 2 books, Lond., n. d. Single 
 Glees: Hail, smiling morn (in No. l), 1799; Come bounteous May; How calm 
 the evening ; Fill high the grape's exulting stream (prize), l8io; Health to my 
 dear ; My dear mistress ; The Spring, the pleasant spring ; While the madly raging 
 nations ; Where are those hours ; See, smiling from the rosy east ; Lightly o'er the 
 village green. Canzonets. 
 
 A composer whose name is kept in remembrance by his ever fresh glee, " Hail, 
 smiling morn." His brother, Samuel, B. 1780, S. under his uncle, and in 1798 
 became org. of Peterborough Cath., and in 1807 org. of Lichfield Cath. D. Lich- 
 field, June 6, 1864. Comp. chants and other church music. 
 
 SPOHR (Louis or Ludwig). German comp. and violinist, B. Brunswick, 
 April 25, 1784. Son of a physician. S. under Dufour, Kunisch, Maucourt, 
 and Franz Eck. Early appeared as a violinist. Went on concert tour with 
 Franz Eck in 1802, and visited Russia, France, and Germany. Leader in band 
 of Duke of Gotha, 1805. Married to Dorette Scheidler. Cond. first musical 
 festival in Germany, 1809. Appeared in Vienna, 1812, and became leader of 
 the Theatre-an-der-Wien till 1815. Made concert-tour in Germany, Italy, etc. 
 1816-17. Cond. of the opera at Frankfort-on-Main, 1817-19. First appeared 
 in London, at Philharmonic Soc, March 6, 1820. Court chap. -master to the 
 Elector of Hesse-Cassel, 1822. Revisited London, 1839, and cond. at the 
 Norwich Festival. Cond. his "Faust" opera at London, 185J. Pensioned 
 by Elector of Hesse-Cassel, 1857. D. Cassel, Oct. 16, 1859. 
 Works. — Operas: Der Zweikampf mit der Geliebten, Hambiurg, 1809 : Faust, 
 op. 60, Frankfort, 1818 (Lond., 1852) ; Zemire und Azor, Frankfort, 1819 (in Eng- 
 lish as Azor and Zemira, by Sir Geo. Smart) ; Jessonda, op. 63, Cassel, 1822 (Lond., 
 1823) ; Der Berggeist, op. 73, Cassel, 1825 ; Pietro von Albano, op. 76, Cassel, 
 1834 ; Der Alchymist, Cassel, 1832 (Lond., 1832) ; Der Kreuzfahrer (the Crusaders), 
 Cassel, 1844. Oratorios: Das jUngste Gericht, 1812; Die letzten Dinge (The 
 Last judgment), Dusseldorf, 1826 ; Des Heiland's letzte Stunden (Calvary), 
 Cassel, 1835 (Norwich, 1839) ; The Fall of Babylon, Norwich, 1842 ; Vater 
 Unser (The Lord's Prayer), by Klopstock. Choral Works, other: Mass, op. 
 54 j Three Psalms for soli and double choir, op. 85 ; Six four-part songs for male 
 voices, op. 90; Hymn, St. Cacilia, op. 97 ; God, thou art Great, hymn, op. 98 ; 
 Six four-part songs, op. 120; Psalm 128, for soli and chorus, op. 122; Psalm 84, 
 for soli and chorus, op. 84; Six four-part songs, op. 151. Symphonies: First, in 
 E flat, op. 20; Second, in D min., op. 49; Third, in C min., op. 78; Fourth, 
 "The Consecration of Sound," op. 86 ; Fifth, in C min., op. 102 ; Sixth, "His- 
 torical," in G, op. 116 ; Seventh, for double orch., op. 121 ; Eighth, in G min., op. 
 137; Ninth, "The Seasons," op. 143. Overtures: No. i in C min., op. 12; "Die 
 Priifung " (to an unpublished opera), op. 15 a ; "Alruna " (unpub. opera), op. 21 ; 
 
572 S PO — STA 
 
 "Macbeth," in B min., op. 75; " Im ernsten styl," in D, op. 126. Concertante 
 for 2 vns. and orch., op. 48, in A minor, and op. 88. Concertos for violin and orch., 
 op. I, in A min. ; op. 2, in D min. ; op. 7, in C min. ; op. 10, in B min. ; op. 17, 
 in E flat ; op. 28, in G min ; op. 38, in E min. ; op. 47, in A min. ; op. 55, in D 
 min. ; op. 62, in A min. ; op. 70, in G; op. 128, in E min. ; also several concer- 
 tinos, op. 79, 92, no, etc. ; Concertos for clarinet and orch., op. 26, 57 ; Nonetto, 
 in F, for vn., viola, 'cello, d-bass, flute, oboe, clarinet, bassoon, and horn, op. 31 ; 
 Octet, in E, for strings, clarinet, and 2 horns, op. 32 ; Septet for Pf , strings, flute, 
 etc., op. 147 ; Sextet for strings, op. 140 ; Quintets for strings, op. 33, 69, 91, 106, 
 129, 144; also for wind insts. and Pf. and strings, op. 52 and 130; Quartets for 
 strings, op. 4, II, 15, 27, 29, 30, 43, 45, 58, 61, 68, 74, 82, 83, 84, 93, 141, 146, 
 152 (in all, about 34 single quartets) ; Double Quartets for strings, op. 65, in D 
 minor ; op. 77, in E flat ; op. 87, in E minor, and op. 136, in B flat ; Quartet con- 
 cert, for 2 violins, viola, 'cello, and orch., op. 131 ; Trios for Pf., vn., and 'cello. 
 Numerous potpourris, variations, duets, fantasias, rondos, etc., for vn., and orch. 
 or Pf. and other combinations. Songs : op. 25, 37, 41, 72, 94, loi, 103, 105, 139, 
 and op. 154, with accomp. for vn. and Pf. Vocal duets, and other pieces. Violin- 
 Schule, 1831 ; trans, into English by John Bishop, Lond., n.d., fo., etc. Louis 
 Spohr's Selbstbiographie, Cassel, i860, 2 v. port. ; trans, as "Autobiography of 
 Louis Spohr," Lond., 1865, 2 v., 8vo. 
 
 Spohr was a composer of great originality and refinement, and his works are now 
 enjoying a large amount of popularity. As a violinist he was one of the greatest 
 who ever lived, and his Violin School is the standard instruction book everywhere. 
 His oratorios and operas are still in use, but none of them are powerful works, 
 though they all bear the impress of the composer's individuality, and no less so of 
 his mannered and self-repeating style. Probably his orchestral and violin music 
 will outlive all his other works, 
 
 SPONTINI (Luigi GaspaXO Pacifico). Italian oomp. and cond., B. Majolati, 
 
 near Jesi, Nov. 14, 1774. S. at Cons, de' Turchini, Naples, 1791, under Salo 
 
 and Tritto. Comp. to Italian court at Palermo, 1798- 1800. Visited Paris, and 
 
 comp. several operas, 1803. Comp. to the Empress Josephine, 1806. Cond. 
 
 of the Italian opera, Paris, 1810. Cond. of Opera, and Director of Royal 
 
 Music at Berlin from 1820 to 1842. Member of the Institut of France, 1838. 
 
 Retired to Italy and Paris, 1843. D. Majolati, Jan. 14, 1851. 
 
 Works.— Operas : I puntigli delle donne, Rome, 1796; L'Eroismo ridicolo, 
 
 Rome, 1797 ; II finto Pittore, 1798; La fuga in maschera, 1800 ; Julie, ou le pot 
 
 de fleurs, Paris, 1804; La petite maison, 1804; Milton, Paris, 1804; La Vestale, 
 
 Paris, 1807 ; Fernand Cortez, Paris, 1809 ; Pelage ou le Roi de la Paix, Paris, 
 
 1814 ; Les Dieux rivaux, ballet (with Persius, Berton, and Kreutzer), 1816 ; 
 
 Olympia, Paris, 1819; Nurmahal, Berlin, 1822; Alcidor, Berlin, 1825; Agnes von 
 
 Hohenstaufen, Berlin, 1827. Cantatas, church music, and songs. 
 
 Spontini is cliiefly known as a composer, in whose works are united the utmost 
 measure of pompous dignity and brilliancy. All his operatic works are written in a 
 heroic style, and very often attain a pitch of grandeur unequalled in musical art. 
 His operas are, however, so vast in conception, and so difficult and expensive to 
 mount successfully for the stage, that little if any attention has been accorded them 
 in recent years. 
 
 SFOBiLE (Nathan James), properly Burnett. English tenor vocalist and 
 comp., B. Ipsvrich, 1812. S. under Thomas Welsh. D. March 2, 1853. 
 Comp. many popular songs and ballads, such as — Meirie England ; I dwell 
 amid the beautiful ; A calm is o'er the sea ; In the days when we went gipsy- 
 ing ; Country Life ; The Lugger ; and The Union Standard. 
 
 STABLER (Maximilian, Abbe). Austrian org. and comp., B. Melk, Aug. 
 4, 1748. Joined Benedictine order, 1766, and in 17S6 was made Abbot of 
 Lilienfeld, and in 1789, of ICremsmiinster. Settled in Vienna, where he D. 
 Nov. 8, 1833. Comp. Pf. and org. music ; masses, psalms, and other church 
 music, and the oratorio "Die Befreiung von Jerusalem," 1816. He also con- 
 tributed in various ways to musical literature. 
 
 STAFFORD (William Cooke). English writer, B. York, 1793. D. Norwich, 
 Dec. 23, 1876. Author of "A History of Music," Edinburgh, 1830, i2mo 
 
STA — stA 57j 
 
 (Constable's Miscellany, v. 52). Trans, into French, Paris, 1832, and into 
 German, Weimar, 1S35. A work of no authority, and now very generally 
 condemned. 
 
 STAGGINS (Nicholas). English comp., was made master of the Royal music, 
 1682 ; and Mus. Doc. Cantab. First Prof, of Music in Cambridge University, 
 1684. Comp. Odes, Songs, etc. D. 1705. 
 
 STAINER (Jacob), or Steiner. German violin-maker, B. Absam, near Inns- 
 briick, July 14, 1621. D. (insane), 1683. 
 One of the most famous German makers, and one whose instruments are held in 
 very high repute. He worked in or near his native place, and was patronized by 
 the Archbishop of Salzburg, the Archduke Ferdinand Charles, and others. His 
 instruments follow the Italian or Cremona model, and are celebrated for tone and 
 finish. 
 
 STAINER (John). English comp., org., and writer, B. London, June 6, 1840. 
 Chorister in S. Paul's Cath., 1847- 1856. Org. and choir-master of St. 
 Benedict and St. Peter, Paul's Wharf, 1854. S. under Bayley, Steggall, and 
 Geo. Cooper. Org. at S. Michael's Coll., Tenbury, 1856. Mus. Bac. Oxon., 
 1859. Org. Magdalen Coll., Oxford. B.A., Oxford, 1863. Org. to Uni%'er- 
 sity of Oxford. Mus. Doc, 1865, and M.A., Oxon., 1866. Org. S. Paul's 
 Cath., London, 1872. Examiner for musical degrees for various institutions. 
 Mem. of R. A. M., and Vice-president of Coll. of Organists. Government 
 Inspector of Music in Schools in succession to Dr. Hullah, 1882. Hon. Mus. 
 Doc, Durham, 1885. 
 Works. — Gideon, oratorio. The Daughter of Jairus, cantata, Worcester Fes- 
 tival, 1878. S. Mary Magdalen, cantata, Gloucester Festival, 1883. Church 
 Services in E flat, A and D. Communion Service. Magnificat and Nunc Dimit- 
 tis, in A. Canticles of the Church arranged to Gregorian Tones. Choir Book 
 of the Office of Holy Communion. Anthons : Awake, awake, put on Thy strength ; 
 Deliver me, O Lord ; Drop down, ye heavens ; Hosanna in the highest ; I am 
 Alpha and Omega ; I saw the Lord ; Lead, kindly light ; O clap your hands ; 
 The- Lord is in His holy temple ; The morning stars sang together ; The righteous 
 live for evermore ; They have taken away my Lord ; They were lovely and pleasant 
 in their lives ; etc. Arrangements and other works for Exercises for Students, 
 Lond., 1871, 8vo (3rd. ed., 1876). Dictionary of Musical org. A Theory of 
 Harmony founded on the Tempered Scale, with Questions and Terms, Lond., 1876, 
 la. 8vo (with W. A. Barrett); abbreviated edition, 1880. Harmony (Music 
 Primer), Lend., 1877, 8vo. The Organ (Music Primer), Lond., 1877, 4to. The 
 Music of the Bible, with an Account of the Development of Modern Musical 
 Instruments from Ancient Types, Lond. [1879], i2mo. Composition (Music 
 Primer), Lond., 1880, 8vo. Tutor for the American Organ, Lond., 1883, 4to. 
 
 STAINS (V. D. de). Author of "Phonography, or the Writing of Sounds, in 
 Two Parts, viz., Logograpby and Musicography, " Lond., 1842, 8vo. 
 
 STAMATY (Camille Marie). Italian pianist and comp., B. Rome, March 23, 
 181 1. S. under Kalkbrenner, Fessy, and Mendelssohn. Married, 1848. 
 Chev. of Legion of Hon., 1862. D. Paris, April 19, 1870. Comp. concertos, 
 variations, and studies for Pf., and a number of didactic works for Pianoforte. 
 Teacher of Saint-Saens. 
 
 STAMITZ (Johauu Karl). Bohemian violinist and comp., B. Deutschbrod, 
 1719. D. Mannheim, 1761. Comp. sonatas, concertos, and violin music. 
 His son Karl, B. Mannheim, May 7, 1746. D. Jena, 1801. Comp. an 
 opera, symphonies, concertos, and other instrumental pieces. 
 
 STANFORD (Charles Villiers). Irish comp. and cond., B. Dublin, Sept. 
 30, 1852. Son of the late John Stanford, Esq., Examiner in the Court of 
 Chancery, Dublin. S. under Arthur O'Leary and Sir Robert Stewart of 
 Dublin, and in 1874-76, under Reinecke at Leipzig, and Kiel at Berlin. Org. 
 Trinity Coll., Cambridge, 1873. Cond. of University Musical Soc. Graduated 
 in Classical honours, Cambridge, 1874. M.A., Cambridge, 1877. Prof, of 
 comp. and orch. playing at Royal Coll. of Music, London. Hon. Mus. Doc, 
 Oxon., 1883. Cond. of the Bach Choir, 1885. 
 
S?4 StA — StA 
 
 Works. — Op. i. Set of Songs from George Eliot's "Spanish Gypsy"; op. 2. 
 Courante, Sarabande and Gavotte for Pf.; op. 3. Toccata for Pf. ; op. 4. Six Songs 
 of Heine ; op. 5. The Resurrection, cantata, poem by Klopstock, for tenor solo, 
 chorus and orch., Cambridge, May, 1875 ; op. 6. Overture, Songs, and Entr'actes 
 to Tennyson's drama "Queen Mary," Gentlemen's Concerts, Manchester, March, 
 1880 ; op. 7. Six Songs of Heine, 2nd set ; op. 8. The 46th Psalm for soli, chorus 
 and orch., Cambridge, 1877; op. 9. Sonata for Pf. and 'cello; op. 10. Morning, 
 Communion and Evening Service in B flat; op. II. Sonata for Pf. and violin; 
 op. 12. Festival Evening Service in A, for chorus, orch. and org., Festival of Sons 
 of the Clergy, St. Paul's Cath., Lond., 1880 ; op. 13. Three Intermezzi for Pf. and 
 violin, clarinet, or 'cello ; op. 14. Songs ; op. 15. Quartet for Pf. and strings in F 
 (1879) ; op. 16. Awake my Heart, choral hymn (Klopstock) ; op. 17. Serenade for 
 orch., in five movements, Birmingham Festival, 1882; op. 18. Cavalier Songs ; op. 
 19. Six Songs; op. 20. Pf. Sonata, in D flat, 1884; op. 21. Elegiac Ode, Norwich 
 Fest., 1884; op. 22. The Three Holy Children, oratorio, Birmingham Fest., 1885; 
 op. 23. Choruses and incidental music to "Eumenides" of CEschylus, Cambridge, 
 1885; op. 24. The Revenge, ballad for chorus and orch., Leeds Fest., 1886. 
 Operas ; The Veiled Prophet of Khorassan, Hanover, Feb. 6, 1881 ; Savonarola, 
 Hamburg, 1884; The Canterbury Pilgrims, London, 1884. Symphony for orch., 
 in B flat, Crystal Palace, 1879 ; Elegiac symphony for orch., Cambridge, 1882, 
 Gloucester Festival, 1883. Festival overture for orch., Gloucester Festival, 1877. 
 Concerto for 'cello and orch. Quintet for Pf. and strings. Fifty Irish Melodies, 
 arranged and edited, 1883. Song Book for Schools, 1884. Songs and other works. 
 STANHOPE (Charles, Third Earl). English peer and scientist, author of 
 
 " Principles of the Science of Tuning Instruments with Fixed Tones," Lond., 
 
 1806, 8vo. 
 
 STANISLAUS (F.) Comp. of present time, has published "The Lancashire 
 Witches...," an opera. Numerous Songs, Part-songs, and other music. 
 
 STANISTREET (Henry Dawson). English org. and comp., was a chorister 
 in York Cath. Mus. Bac. Oxon., 1862. Mus. Doc, Dublin, 1872. Org. at 
 Bandon, Cork. Comp. anthems and other music. D. Dublin, Aug. I, 1883. 
 STANLEY (Albert Augustus). American comp. and org., B. Manville, S..I., 
 May 25, 185 1. S. at Leipzig Cons, under Wenzel, Papperitz, Paul, and E. 
 F. Richter, 1871-75. Org. of Grace Ch. (Episcopal), Providence, Rhode Is- 
 land. Comp. org. fugues ; a suite for vn. and Pf. ; Psalm of Victory, solo, 
 chorus, and orch.; Part-songs, and songs. Has given organ recitals in various 
 parts of America. 
 STANLEY (John). English org. and comp., B. London, Jan. 17, 1713. Blind 
 from infancy. S. under J. Reading and Greene. Org. of All Hallows, Bread 
 St., Lond., 1724; St. Andrews, Holborn, 1726. Mus. Bac. Oxon., 1729. 
 Org. of the Temple Ch., 1734. Master of the King's Band of Music, 1779. 
 D. London, May 19. 1786. 
 Works.— Oratorios : Jephthah, 1757; Zimri, 1760; The Fall of Egypt, 1774. 
 Arcadia, or the Shepherd's Wedding, 1761. Twelve Cantatas for a Voice, harpsi- 
 chord and violin [1742]. Three Cantatas and Three Songs for a Voice and Instru- 
 ments. Three Sets of Organ Voluntaries. Eight Solos for a Flute, Violin, or 
 Harpsichord, op. I. Six do., op. 4. 
 
 STANLEY (Samuel). English comp., B. Birmingham, 1797. D. 1822. Pre- 
 centor in Carr's Lane Congregational Chap., Birmingham. Comp. a number 
 of melodious hymn tunes, of which the best known is probably "Warwick." 
 "Twenty-four Tunes, in Four Parts," Birmingham, n. d. "Nineteen Psalm, 
 Hymn, and Charity Hymn Tunes," Birmingham, n. d. 
 
 STARCK. See Bronsart. 
 
 STARK (Humphrey John). English comp. and org., B. May 22, 1854. Mus, 
 Bac. Oxon., 1875. Org. and choir-master Holy Trinity Ch., Tulse Hill, Lon- 
 don, 1875. One of the founders of Trinity Coll , London, and Hon. Regis- 
 trar and Visiting Examiner of same. Comp. Festival Setting of the Magnificat 
 and Nunc Dimittis in D ; Evening Service, with orch. accomp. ; anthems ; 
 Organ music and songs. 
 
 STARK (Ludwig). German teacher, comp., and writer, B. Munich, June 19, 
 1831. Founded, in association with Lebert and others, the Stuttgart Cons, of 
 
StA — STE S^S 
 
 Music. He has written a number of didactic works for Pf., including a 
 "Pianoforte School," with Lebert, and has comp. a number of original songs, 
 Pf. pieces, etc. D. Stuttgart, Mar. 22, 1884. 
 
 STAUDIGL (Joseph). Austrian bass vocalist, B. WoUersdorf, April 14, 1807. 
 Chorister in Karnthnerthor Theatre, Vienna. Chor. in Court Chapel, 1831. 
 Appeared at all the principal concerts in Vienna, as leading bass. Appeared 
 in England, and in 1846 he sang in Mendelssohn's " Elijah" at Birmingham. 
 Became insane latterly, and was confined in an Asylum in Vienna, where he 
 D. March 28, i86l. He was one of the most famous bass singers of his time, 
 and was great in oratorio music, and in the lieder of Schubert. 
 
 STEED (Albert Orlando). English comp. and writer, B. 1839. D. Oct. 25, 
 1881. Author of " Music in Play, and Music in Earnest," Lond., 1S73 ; and 
 comp. of anthems, songs, etc. 
 
 STEENKISTE. See Gras. 
 
 STEETZ (William). German writer, author of "Treatise on the Elements of 
 Music in a Series of Letters to a Lady," Tiverton, 1812, 4to. 
 
 STEFFANI (AgOStino). Italian comp., B. Castelfranco, A'^enice, 1655. S. 
 music under Bernabei. Chamber musician at Munich. Took holy orders, 
 1680, and became Abbot of Lipsing. Chap. -master at court of Hanover, 
 and director of opera there. Much engaged in the political life of his time. 
 Made Bishop of Spigna. President of Academy of Ancient Music, London. 
 D. Frankfort-on-Main, 1730. 
 Works. — Operas : Marco Aurelio, 1681 ; II Solone, 1685 ; Servio Tullio, 1686; 
 
 Alarico in Baltha, 1687 ; Niobe, 1688 ; Enrico detto il Leone, 1689 ; Alcide, 1692 ; 
 
 Alexandre I'Orgueilleux, 1695 ; Roland, 1696 ; Alcibiade, 1697 ; Atalante, 1698 ; 
 
 II Trionfo del Fato, 1699. Psalmodia Vespertina...l674 ; Janus Quadrifons tribus 
 
 vocibus...i68s; Sonata da camera a due violini, alto e continuo, 1679; Duetti da 
 
 Camera a Soprana e Contralto, 1683. 
 
 STEGGALL (Charles). English org. and comp., B. London, June 3, 1826. 
 S. at R. A. M. under Sterndale, Bennett, etc. Org. of Christ Chap., Maida 
 Hill, 1847 ; Christ Church, Paddington, 1855 ; and Lincoln's Inn, 1864. 
 Prof, of Harmony and org. at R. A. M., 1851. Mus. Bac. and Doc, Cantab., 
 1851. Comp. church services in F and G. Anthems: God came from Teman; 
 Hear ye and give ear ; Have mercy upon me ; He was as the morning star; O 
 clap your hands ; Praised be the Lord ; Remember now thy Creator ; Turn 
 Thy face from my sins. Sacred cantata, Rejoice in the Lord, for voices and 
 orchestra. Orchestral service in C. Instruction Book for the Organ, and 
 numerous compositions and arrangements for that instrument. Editor of 
 Bach's Motetts, and composer of about 100 Hymn Tunes, Carols, etc., contri- 
 buted to various Collections. 
 STEIBELT (Daniel). German pianist and comp., B. 1755 or 1764-5. Son of 
 a Pf. manufacturer. Patronised by William III. of Prussia, who had him edu- 
 cated under Kirnberger. Resided in Paris and London, from 1796, and made 
 concert tours in various parts of Europe. Chap. -master to the Emperor Alex, 
 of Russia. D. St. Petersburg, Sept. 20, 1823. 
 Works. — Operas and ballets: Romeo et Juliette, 1793 ; Albert and Adelaide, 
 London, 1799 ; Le Retour de Zephyr, 1802; Le Jugement du berger Paris, Lond., 
 1804 , La belle Laitiere, 1805 ; La F6te de Mars, 1806 ; Condrillon ; Sargines, 
 etc. Pianoforte : Concertos, sonatas, rondos, variations, fantasias, and numerous 
 other single pieces in large numbers. Quartets, trios, duets, and other concerted 
 pieces of all kinds for various combinations. Overtures for orch., etc. 
 
 Steibelt is a composer whose once brilliant reputation has completely faded. 
 Scarcely a single piece of his composition is now ever used, save for teaching pur- 
 poses. Most of his works were written for merely temporary purposes, but among 
 them are many numbers of great brilliancy and some originality. 
 STEINER (Jacob). See Stainer (Jacob). 
 
 STEINWAY & SONS. American firm of pianoforte manufacturers, estabhshed 
 in New York, 1853. The founder of the firm was Henry Engelhardt 
 Steinway, B. Wolfshagen, Brunswick, Feb. 15, 1797. Settled in America, 
 1849, and established the now-famous firm of Steinway & Sons, in company 
 
576 stE — stE 
 
 with his sons. Originators of the " Iron Frame " system of Pf. manufacture, 
 for which the firm has gained prizes in Exhibitions all over the world. In 1875 
 they estabUshed a branch in London. . The instruments of the firm are noted 
 for the power and beauty of their tone, and for the solidity and perfection of 
 the workmanship. 
 
 STENDHAL. See Beyle. 
 
 STENHOTTSE (William). Scottish writer and collector, B. Roxburghshire, 
 1773. Accountant in Edinburgh. D. Edinburgh, Nov. 10, 1827. Published 
 " Illustra;ions of the Lyric Poetry and Music of Scotland..." Edin., 1853, 8vo, 
 (edited by David Laing, LL.D.) 
 
 STEPHENS (Catherine), Countess of Essex. English soprano vocalist, B. 
 London, Dec. 18, 1791. S. under Lanza and Thomas Welsh. Appeared in 
 Italian opera, 1812. Appeared in Arne's " Artaxerxes," 1813. From then 
 on till 1835 she appeared at all the principal concerts in London, and at the 
 Provincial Concerts. She also appeared in English opera at Covent Garden 
 and Drury Lane Theatres. Retired, 1835. Married to the Earl of Essex, 
 1838. D. London, Feb. 22, 1882. Well-kno*n in her day as "Kitty Ste- 
 phens," and famed as an admirable exponent of English ballad music. 
 
 STEPHENS (Charles Edward). English comp., pianist, and teacher, B. Lon- 
 don, March 18, 1821. Nephew of the preceding. S. under C. Potter, J. A. 
 Hamilton, and Henry Blagrove. Org. S. Mark's, Myddleton Sq., 1843; 
 Trinity Ch., Paddington, 1846; St. John, Harapstead, 1856-; St. Mark's, St. 
 John's Wood, 1862-63; S. Clement Danes, Strand, 1864-69; S. Saviour's, 
 Paddington, 1872-75. Mem. of Roy. Soc. of Musicians, 1843. Associate, 
 1S50, and Mem., 1857, of Philharmonic Soc; Hon. Treasurer since 1880. 
 F. C. O., 1865. Hon. mem. of R. A. M., 1870. Original Mem. of Musical 
 Assoc, 1874. Hon. Licentiate in Music, Trin. Coll., London, 1877. Mem. 
 and Hon. Treas. South Eastern Section, National Soc. of Professional Musi- 
 cians, 1886. 
 Works. — Op. 1. Trio for Pf., vn., and 'cello, 1851 ; op. 2. Quartet for Pf. and 
 strings, 1853 ; op. 3. Two movements for org., 1857; op. 4. Duo concertant for 2 
 Pfs., 1859; op. 5. Mathilde, valse, Pf. ; op. 6. Sehnsucht, nocturne, Pf ; op. 7. 
 Two movements for org., 1863; op. 8. First Pf. sonata, 1866; op. 9. AUegro- 
 rhapsodie, Pf ; op. 10. Idylle Rustique, Pf.; op. 11. Fantasia for org. ; op. 12. 
 Praise the Lord all ye nations, anthem, 1868 ; op. 13. Impromptu, Pf ; op. 14. 
 Romance, Pf ; op. 15. Two movements for org., 1869 ; op. 16. Offertoire for org., 
 1870; op. 17. Reverie, Pf. ; op. 18. Marche guerri^re, Pf, 1872; op. 19. Duo 
 bvillant, Pf, 4 hands, 1875; op. 20. Printemps, Pf piece, 1882; op. 21. Prize 
 slung quartet in G, 1880; op. 22. Prize string quartet, in F, 1880 (both 
 Trinity Coll. prizes) ; op. 23. Magnificat and Nunc Dimittis, in F, comp. for 8th 
 festival of Lond. Church Choir Assoc, S. Paul's Cath., 1880 ; op. 24. Fantasia for 
 org., 1882; op. 25. Sonata Piacevole, Pf and flute, 1883. Symphony for orch., 
 concert overtures (A Dream of Happiness, 1873, etc.), and chamber music in MS. 
 Complete Services for the Church, 1847 and 1853. Part-song, Come, fill ye right 
 merrily (gained prize offered by Leslie's choir, 1858) ; Glees, songs, and Pf pieces, 
 unnumbered. " Bemrose's Choir Chant Book," edited and enlarged with biogra- 
 phical notices of composers, Lond., 1882. 
 
 STEBKEL (Johaun Franz Xaver, Abbe). German comp., B. Wiirzburg, 
 
 Dec. 3, 1750. Took holy orders, and became org. and chaplain at Aschaffen- 
 burg. Chap. -master to Elector of Mayence, and afterwards at Ratisbon. D. 
 Ratisbon, Oct. 21, 1817. Comp. an opera ; Symphonies for orch., op. 7, 11, 
 35, etc. ; overtures ; concertos ; quintet and trios for strings ; Sonatas and 
 variations for Pf ; Songs, canzonets, and choral music. 
 
 STEALING (Antoinette). American contralto vocalist, B. Sterlingville, N.Y., 
 Jan. 23, 1850. S. under Marchesi, Viardot, and Garcia in Europe. Returned 
 to America, 1871, and became widely known as a concert singer. Appeared 
 in London, 1873, and since then has resided in England. Married to Mr. 
 John MacKinlay, 1875. She has appeared with brilliarit success in London, 
 and at the principalprovincial festivals. 
 
StE — Sfll 5)1 
 
 STEBN (Julius). German cond. and comp., B. Breslau, Aug. 8, 1820. S. 
 under Rungenhagen and Maurer. Founder of the Stern Choral Society, 1847 ; 
 and in conjunction with KuUak and Marx, of the Stern Cons, of Music, Ber- 
 lin, 1850. D. Berlin, Feb. 27, 1883. Comp. of songs, vocal exercises, and 
 choral music. 
 
 STEVEN (James). Scottish musician and psalm-collector, was a music-seller in 
 Glasgow early in the present century. He compiled "A Selection of Psalm 
 and Hjmin Tunes in Four Parts. ..to which is added a compendious Introduc- 
 tion...," Glasgow [1801], Vol. I.; "A Selection of Sacred Music...," Vol. II., 
 Glasgow, u. d. ; "A Selection of Sacred Music...," Vol. III., n. d. ; Vols. IV. 
 and v., same title. "Selection of Original Sacred Music...," Vol. VI., edited 
 by John TurnbuU, Glasgow [1833]. " Harmonia Sacra, a Selection of the 
 most approved Psalm and Hymn Tunes," Glasgow, 2 vols., n. d. Flute 
 duets, etc. 
 
 STEVENS (Charles Isaac). English writer, author of "An Essay on the 
 Theory of Music," Gottingen, 1863, 8vo. 
 
 STEVENS (Richard John Samuel). English comp. and org., B. London, 
 
 1757. Chor. S. Paul's Cath. under Savage. Org. of the Temple Church, 
 
 1786 ; and of the Charter House, 1796. Gained prizes from Catch Club, 1782 
 
 and 1786. Prof, of Music Gresham Coll., 1801. D. Peckham, London, 
 
 Sept. 23, 1837. 
 
 Works. — Eight Glees for 4 and 5 voices, op. 3, Lond. [1790] ; Eight Glees, op. 
 
 4, Lond. [1792] ; Ten Glees for 3, 4, 5 and 6 voices, op. 5, Lond. [1800] ; Seven 
 
 Glees, op. 6, Lond. [1808]. Eight Glees, expressly composed for Ladies. Sacred 
 
 Mu.sic for I, 2, 3 and 4 voices, consisting of Selections from the works of the most 
 
 esteemed composers, Italian and English, Lond., n.d., 3 vols., fo. Ten Songs, 
 
 with an accomp. for two violins, Lond., n. d. 
 
 One of the most popular of English glee composers. Some of his works are in 
 constant use at the present time. Among his best known glees are " From Oberon 
 in Fairy Land," "Sigh no more Ladies," "Ye spotted snakes," "The cloud-capt 
 towers," "Crabbed age and Youth," etc. 
 
 STEVENS (William S.) English pianist and comp., B. Westminster, 1778. 
 S. under R. J. S. Steven, Dr. Cooke, and T. Smart. Author of "Treatise on 
 Pianoforte Expression, containing the Principles of Fine Playing on that Instru- 
 ment,". ..Lond., l8ii, fo. He comp. Pf. music and songs. 
 
 STEVENSON (Sir John Andrew). Irish comp., B. Dublin, 1761-62. s. 
 under Dr. Murphy. Chor. in S. Patrick's Cath., 1775-80. Vicar-choral, do., 
 1783. Mus. Doc, Dublin, 1791. Vicar-choral Christ Church Cath., Dublin, 
 1800; and chorister in Trinity Coll., Dublin. Married to daughter of Mr. 
 Morton of the Custom House, Dublin. Knighted, 1803. D. Dublin, Sept. 
 14. 1833- 
 Works. — Music to The Son-in-Law ; The Patriot ; Border Feuds ; The Bedouins ; 
 Spanish Patriots ; The Agreeable Surprise; The Contract, 1783; and Love in a 
 Blaze, 1800, etc. Thanksgiving, an oratorio. Morning and Evening Services and 
 Anthems for the Use of the Church of England, ... Lond. , 2 vols., fo. [1825]. Glees: 
 See our oars with feathered spray ; Welcome friends of harmony ; To thy lover, 
 dear, discover ; Hail ! to the mighty pow'r of song ; Dublin Cries (round), etc. 
 Canons, catches, and Glees (collected), Lond., fo. Duets and songs. Moore's 
 Irish Melodies, with symphonies and accompaniments by Sir John Stevenson 
 and Henry R. Bishop, 10 parts and supplement, 1807-34; reissued, harmonized, 
 1858. A Series of Sacred Songs, Duets, and Trios, the words by Thomas Moore... 
 London, n.d. A Selection of Popular National Airs, with symphonies and accom- 
 paniments by Sir John Stevenson... Lond., 1818, 2 v., 4to, illust. 
 
 STEWART (Mrs. Colonel). Authoress of "Critical Remarks on the Art of 
 Singing," Lond., 1836, 4to. 
 
 STEWART (Charles). Scottish collector, B. Glenlyon House, Fortingall, Dec. 
 24, 1823. Published "The Killin Collection of Gaelic Songs, with Music 
 and Translations," Edin., 1884, 4to. 
 
 N 3 
 
57^ 
 
 STi; — sfi 
 
 STEWAET (Charles). Scottish dance-music comp., published "A Collection 
 of Strathspeys, Reels, Giggs, etc., with a Bass for the Violoncello or Harpsi- 
 chord," n.d., fo. 
 
 STEWART (Neill). Scottish comp. and editor, flourished in Edinburgh in latter 
 half of last century. Published A New Collection ol Scots and English Tunes, 
 adapted to the Guitar... Edin. [1760]. A Collection of the Newest and Best 
 Minuets. ..[1770]. A Second Collection of Airs and Marches for Two Violins, 
 German flutes, and Hautboys, all of which have Basses for the Violoncello or 
 Harpsichord, Edin. A Collection of Scots Songs adapted for a Voice or Harpsi- 
 . chord, Edin. [1790]. A Collection of Catches, Canons, Glees, Duettos, &c., 
 selected from the Works of the most Eminent Composers, Antient and Modern, 
 Edin. [1780]. 
 
 STEWART (Robert B.) Scottish violinist of present century. Long connected 
 with all the concerts and musical assemblies in Edinburgh. He D. Edinburgh, 
 in 1884. He published in Edinr. "A New Set of Military Quadrilles, arranged 
 for the Pianoforte," 1826, 410. 
 
 STEWART (Sir Robert Prescott). Irish comp. and prof., B. Dublin, Dec. 
 16, 1825. Son of C. F. Stewart, librarian of the King's Inns, Dublin. Chor. 
 Christ Church Cath., Dublin; Org. of do., 1844. Org. of Chap, of Trinity 
 Coll., 1844. Cond. of University of Dublin Choral Soc, 1846. Mus. Doc, 
 Dublin, 1851. Org. and vicar-choral, S. Patrick's Cath., 1852. Prof, of 
 Music in Dublin University, 1861. Knighted, 1872. Cond. of Diiblin Phil- 
 harmonic Soc, 1873. 
 Works.— A Winter Night's Wake, cantata ; The Eve of S. John, cantata; Ode 
 on Shakespeare, Birmingham Festival, 1870 ; Ode for the opening of Cork Exhibi- 
 tion, 1852. Service in G. Anthems : In the Lord put I my trust ; If ye love Me, 
 keep My commandments ; Thou, O God, art praised in Zion. Glees and Part- 
 songs, including a number of prize compositions. Church Hymnal. Music, a 
 Lecture, 1863 ; also papers read before Social Science Assoc. Contributions to 
 periodical literature, and Grove's Dictionary of Music. 
 
 STIASTNY (Johann). Bohemian violoncellist and comp., B. Prague, 1774. 
 . Musical director at Nuremberg. Appeared in London and Paris. D. (?) 
 Comp. sonatas, concertos, duets, trios, and other pieces, for violoncello, all of 
 great originality and merit. 
 
 STIEHL (Heinrich F. D.). German org. and comp., B. Lubeck, Aug. 5, 
 1829. S. under Moscheles, Gade, and Hauptmann. Resided in Vienna, 
 London (1872-73), Belfast (1874-77), and now org. and cond. in Revel. Comp. 
 Jerry and Bateley, operetta; Trios for Pf.; Sonatas for Pf., and Pf. and violin; 
 Numerous single pieces for Pf. , numbering about 200 in all. 
 
 STIELER (J.). German writer, author of " Great German Composers, Biogra- 
 phical Notices, with some Account of their several Works, adapted for the 
 Young," Lond., 1879, 8vo. Trans, by C. P. S. 
 
 STILLIE (Thomas Logan). Scottish amateur musician and writer, B. May- 
 bole, Ayrshire, 1832. D. Glasgow, June 6, 1883. Was musical critic of 
 Glasgow Herald for a long period . He left a valuable musical library to the 
 University of Glasgow. 
 
 STILLINGFLEET (Benjamin). English poet and naturalist, B. 1702. D. 
 1771. Wrote words of five oratorios, and a " Treatise on the Principles and 
 Power of Harmony," Lond., 1771, a commentary on Tartini's "Trattato di 
 Musica." 
 
 STILLINGFLEET (Henry Anthony). English divine, author of "The 
 
 Antiquity and Advantages of Church Music, a Sermon," 1803, 8vo. 
 
 STIMPSON (James). English org. and writer, B. Lincoln, Feb. 29, 1820. 
 Chor. Durham Cath., 1827. Articled to Mr. Ingham, org. of Carlisle Cath., 
 1834. Org. of S. Andrew's Newcastle, 1836 ; and of Carlisle Cath., 1841. 
 Org. of Town Hall, Birmingham, 1842, and of S. Paul's Ch. there. Founded 
 the Birmingham Festival Choral Soc, 1843, and was cond. of it till 1855. 
 
§T1 — sto 5f^ 
 
 iS^.^ — ■ - — 1^. 
 
 Prof, of Music at the Birmingham Institution for the Blind. Has given impor- 
 tant organ recitals in Birmingham, and was the org. on the production of 
 Mendelssohn's "Elijah." Editor of "The Organist's Standard Library." 
 His brother, Orlando, J., music master at the Durham Diocesan Training 
 Coll. for Masters, was Mus. Bac, Oxon., 1871. He is author of a "Singing 
 Class Book for Use in Elementary Schools," Glasgow, 1877, izmo. 
 
 STIRLING (Elizabeth), Mrs. F. A. Bridge. English comp. and org., B. 
 Greenwich, Feb. 26, 1819. S. under W. B. Wilson, Edward Holmes, J. A. 
 Hamilton, and Macfarren. Org. of All Saints, Poplar, 1839-58. Org. S. 
 Andrew's, Undershaft, 1858-80. Married to Mr. Frederick A. Bridge, May, 
 i6, 1863. 
 
 Works. — Part-Songs : Nine Choral Songs: All among the barley, The dream, 
 War song. The hermit. The early settlers. Red leaves. An emigrant's song, Friend- 
 ship, love, and truth, Parted friends ; Buttercups and daisies ; Disdain returned ; 
 Sleeping, why now sleeping ; The forester ; Song of the poppies ; Now autumn 
 strews on every plain ; Faded flowers ; The portrait ; Vernal showers ; Oh ! the 
 merry day ; The warrior, etc. , in all about 50 pieces. Two grand voluntaries for 
 org. ; Six pedal fugues and eight slow movements for the org. Songs, Pf. music, 
 etc. 
 
 STOCKHAUSEN (Julius). German barytone vocalist, B. Paris, July 22, 1826. 
 S. under Stamaty and E. Garcia. Sang in London, 1849, 1851, 1870, etc. 
 Music-director at Hamburg, 1862. Director of Stern's Vocal Society in Ber- 
 lin, 1874. Prof, of Singing in Frankfort Cons. He appeared in opera, and 
 was famous for his singing of German Heder. His brother, Franz, B. Geb- 
 weiler, Jan. 30, 1839. S. under Alkan, and is a cond. at Stuttgart. Both 
 sons of Margaret Stockhausen, n^e Schmuck, a German soprano vocalist 
 who sang in London and Paris with success in 1828-40. B. Gebweiler, 1803. 
 D. Colmar, Oct. 6, 1877. 
 
 STOKES (Charles). English org. and comp., B. 1784. Chor. S. Paul's Cath., 
 Lond. Org. at Croydon, etc. D. London, April 14, 1839. Comp. anthems, 
 glees, songs, and organ music. 
 
 STOLTZ (Bosine). French mezzo-soprano vocalist, B. Paris, Feb. 13, 1815. 
 Appeared in operas of Weber, Hal^vy, Donizetti, Rossini, etc . 
 
 STONABD (William). English org, and comp. Org. of Christ Church Cath., 
 Oxford. Mus. Doc. Oxon., 1608. D. 1630. Comp. anthems in Clifford's 
 Coll., and in MS. in Music School of Oxford. 
 
 STONE (William H.) English writer, author of "Sound and Music," Lond., 
 1876; "Elementary Lessons on Sound," Lond., 1879; "Scientific Basis of 
 Music" (Music Primer), Lond., n. d., 8vo. 
 
 STORAGE (Anna Selina). Italian soprano vocalist, B. London, 1766. S. 
 under her father and Rauzzini. Appeared as a concert vocalist in London, 
 1 774- 1 778. S. at Venice under Sacchini. Sang at Florence, 1780 ; Parma, 
 1781 ; Milan, 1782 ; and Vienna, 1784. Married to J. A. Fisher, 1784, and 
 separated from him soon afterwards. Appeared in Mozart's "Figaro," at 
 Vienna, 1786. Returned to London and appeared in English and Italian 
 opera from 1787. Sang at Handel Festival, 1791. Retired, 1808. D. Dul- 
 wich, Aug. 24, 18 1 7. 
 
 STORAGE (Stephen). Italian comp., B. London, 1763. Son of Stefano 
 
 Storace, an Italian double-bass player. S. under his father, and at Naples in 
 
 Cons, of S. Onofrio. Resided in London as comp. to the principal theatres. 
 
 D. London, March 19, 1796. 
 
 Works. — Musical Dramas : Gli sposi malcontent!, 1785 ; Gli Equivoci, Vienna, 
 
 1786; The Doctor and Apothecary, Lond., 1788; The Haunted Tower, 1789; 
 
 No Song no Supper, 1790 ; The Siege of Belgrade, 1791 ; Cave of Trophonius, 
 
 1791 ; The Pirates, 1792; Dido, 1792 ; The Prize, 1793 ; My Grandmother, 1793 ; 
 
 The Glorious First of June, 1794; Lodoiska, 1794; The Cherokee, 1794; The 
 
 Iron Chest (Colman), 1796 ; Mahmoud, 1796 ; Three and the Deuce. His other 
 
 works are mostly songs, published singly. 
 
S8o STO — ST it 
 
 Storace is a composer of the same school as Shield. His melodies are remarkable 
 for their agreeable and fluent character, and his concerted music for its sweetness 
 and freshness. He was thoroughly English in his style, and is reckoned among 
 the best of our national ballad compopers. Of his works, " No Song no Supper " 
 has been reprinted. 
 
 STOKER (John). English org. and comp., B. Hulland, near Derby, May i8, 
 1858. S. under Dr. John Nay lor. Org. and choir-master of S. Michael's, 
 Whitby, 1879 ; Do., Scarborough Parish Church. Comp. anthems, glees, 
 songs, and Pf. music. 
 
 STRADELLA (Alessandro). Italian comp., B. Naples, 1645. p. about 
 1679-81. Celebrated chiefly on accovmt of a romantic episode in his career, 
 which will be found in any book of musical anecdotes. He comp. operas, 
 oratorios, cantatas, and other vocal works. 
 He is a musician of no weight or importance in music, and save for the fact that 
 his career has been made the subject of several operas, and that his deliverance from 
 assassins is frequently cited as an instance of the power of music, it would not be 
 necessary to do more than mention his name. The air, "Pieta! Signer!" attri- 
 buted to Stradella, is supposed to be of modern composition. 
 
 STRADIVARI (Antonio), Antonius Stradivarius. Italian violin-maker, 
 
 B. [Cremona], about 1650. Supposed to have worked with Niccolo Amati till 
 
 1648, when he established himself as h, violin-maker on his own account, and 
 
 turned out a very large number of instruments till his death at Cremona, in 
 
 December, 1737. 
 
 .Stradivarius improved the model of the violin, and increased its tone-power, and 
 
 his instruments, when genuine, are preferred above all others. He made violins, 
 
 violas, and violoncellos, and those made in the later part of his career are most 
 
 sought after by collectors. They are the instruments chiefly used by all great solo 
 
 violinists, and as a rule fetch, when in good condition, prices ranging from ;^8o to 
 
 p^Soo. His sons Francesco and Oruobone, also made violins. 
 
 STRAKOSCH (Maurice). Hungarian pianist, comp., and impresario, B. Lem- 
 berg, 1825. S. under Sechter at Vienna. Organised and directed in the 
 United States, from 1855, numerous operatic and concert companies which 
 travelled all over the country. Most of the best European singers have been 
 engaged by him, or his brother Max, who joined in his management in i860. 
 Maurice Strakosch has comp. some Pf and vocal works. He is married to 
 Amalia Patti, an elder sister of the famous vocalist. 
 
 STRATTON (Stephen Samuel). English comp., writer, and lecturer, B. 
 
 London, Dec. 19, 1840. First S. Pf. under Miss Elizabeth Chamberlaine 
 
 (Mrs. H. von Hoff). S. org. under Chas. Gardner, and comp: under Charles 
 
 Lucas. Prof, of music at Totteridge Park School, Herts, 1864-6. Original 
 
 member of Coll. of Organists, 1864. Settled in Birmingham as teacher and 
 
 org., 1866. Org. of Edgbaston Parish Ch. for a number of years. Established 
 
 the Popular Chamber Concerts in Birmingham, 1879, and at them brought 
 
 forward many new works by British and Foreign composers for the first time, 
 
 including Anderton, Bache, Bennett, Carrodus, Cowen, Griesbach, Heap, 
 
 King, Kjerulf, Lucas, Mackenzie,. Mellon, Onslow, Parry, Praeger, Prout, 
 
 Sharp, Stanford, Stephens, Ward, and Westrop. Assoc, of Philharmonic Soc. , 
 
 London, 1882. Associate musical critic of Birviingham Daily Post. Has 
 
 lectured in Birmingham, and other towns in the Midlands, on musical topics. 
 
 Has lectured on "Woman in relation to Musical Art," and on other subjects, 
 
 before the Musical Association, London. 
 
 Works. — Church Music, a collection of Hymn Tunes, Chants, etc., Lond., n.d. 
 
 The Nicene Creed. Te Deum. Part Songs : Christabel ; Hark, the nightingale 
 
 is singing ; Merrily every bosom boundeth ; May Day ; Monarch Winter ; Summer 
 
 is but fleeting. Two-part songs for the use of schools, several numbers. Songs : 
 
 Arise, my love ; Cricketer's song ; Dreaming in the shadow ; Hark ! sweet bells 
 
 are ringing ; Lover's star ; Little rosebud ; Magic harp ; Sun and the flower ; That 
 
 smile of thine ; Winter and spring ; The woodman ; etc. Pianoforte : The ride ; 
 
 Musings (rondoletto) ; The merry heart; Evening by the sea; Gondolier's song 
 
 (barcarolle); etc, 
 
STR — SUL 581 
 
 STRAUSS (Johann). Austrian comp. and cond., B. Vienna, March 14, 1804. 
 S. under Seyfried. Organised an orch. and appeared with it in various parts 
 of Germany, Bel|ium, France, and Britain, 1833-38, and afterwards in Europe. 
 Cond. of Court Balls, Vienna. D. Vienna, Sept. 25, 1849. Comp. a large 
 number of waltzes, quadrilles, galops, polkas, marches, etc., most of which had 
 great success on publication. His three sons are noted below. 
 
 STRAUSS (Johann). Austrian comp., B. Vienna, Oct. 25, 1825. Organised 
 a band of his own, and on his father's death, combined the two bands and 
 travelled with it in Europe. Married Jetty Treffz, singer, 1862. Cond. of the 
 Court Balls, 1863. Comp. of numerous operettas. Indigo und die vierzig Rauber, 
 1871 ; Die Fledermaus, 1874; Cagliostro, 1875; Mathusalem, 1877; Blinde 
 Kuh, 1878 ; Die lustige Krieg, etc. His dances are innumerable, and consist 
 chiefly of waltzes, some of which became extremely popular. His brother 
 Joseph, B. Vienna, Aug. 22, 1827. D. there, July 22, 1870. He also had 
 his band, but is best known by his dance music, which is of a very high class. 
 The youngest brother, Eduard, B. Vienna, Feb. 14, 1835. S. under Preyer. 
 Cond. at St. Petersburg, Organised a band and travelled with it in Germany. 
 In 1885, he appeared with his band at the Inventions Exhibition, London. 
 His works consist of dance pieces of various kinds. 
 
 STBrEABBOG. See Gobbaerts. 
 
 STREETER (Dr. H.). American writer, author of "Voice-Building," Boston, 
 n.d. " Primary Elements of Music," Boston, n.d. Vocal Exercises. 
 
 STRUNGK (Nicolas Adam). German violinist and comp., B. Zell, 1640. 
 D. Leipzig, Sept. 20, 1700. Comp. operas, violin music, etc. 
 
 SUCH (Edwin Charles). English comp., B. London, Aug. 11, 1840. Educ. 
 at Merchant Taylor's school, and at London University Coll. B.A., London 
 University Coll. S. at Cologne under Dr. F. Hiller, from 1861. Mus. Bac, 
 Cantab., 1877. Comp. "Narcissus and Echo," a dramatic cantata; "The 
 Watersprite," cantata ; " God is our Refuge," 46th Psalm for solo, chorus, and 
 orch. ; Anthems, part-songs, songs, and Pf. pieces. 
 
 SUCHER (Josef ). Hungarian cond. and comp., B. Dobor, Eisenburg, Nov. 23, 
 1844. S. under Sechter at Vienna. Cond. at Vienna and Leipzig. Married 
 Rosa Hasselbeck, 1877, who has appeared in London (1882), in opera, with 
 great success. Cond. at Hamburg, where his wife is prima donna. Comp. 
 orchestral works, lieder, etc. 
 
 SULLIVAN (Sir Arthur Seymour). Comp. and cond., B. London, May 
 13, 1842. Son of Thomas Sullivan, prof, at Kneller Hall. Chor. 
 in Chap. -Royal under Helmore. Elected Mendelssohn Scholar, R.A. M., 
 1856. S. at R. A. M. under Goss and Bennett till 1858. S. Leipzig Cons, 
 under Plaidy, Moscheles, Richter, Rietz, Hauptmann, 1858-61. Cond. of 
 Leeds Festivals ; Promenade Concerts, London ; Glasgow Musical 
 Festivals, etc. Principal of National Training School of Music, 1876- 
 1881. Mem. of Council of Royal Coll. of Music. Hon. Mus. Doc, Cantab., 
 1876; do., Oxon., 1879. Knighted, May 15, 1883. 
 '^o-e.K.s.— Operas and Operettas: The Contrabandista, 1868; Cox and Box, 
 1869; Trial by Jury (Gilbert), Lond., 1875; The Sorcerer, 1877; H. M. S. 
 Pinafore, or the Lass that Loves a Sailor, 1878 ; The Pirates of Penzance, 
 1880 ; Patience, or Bunthorn's Bride, i88l ; lolanthe, 1882 ; Princess 
 Ida, 1884 ; The Mikado, or the Town of Titipu, 1885.' Oratorios : The Prodi- 
 gal Son, 1869 ; The Light of the World, Birmingham, 1873 ; The Martyr of 
 Antioch, Leeds, 1880. Cantatas : Kenilworth, Birmingham, 1864 ; On Shore 
 and Sea, Albett Hall, London, 1 87 1. Orchestral and Dramatic: Music for the 
 Tempest (op. i). Crystal Palace, 1862 ; The Merchant of Venice, 1871 ; The Merry 
 Wives of Windsor, 1874; Henry VIII., 1878; Symphony in E, 1866; In 
 Memoriam, overture, 1866; Marmion, overture, 1867; Overture di Ballo, 1870; 
 Procession March, 1863 ; Concerto for 'cello and orch., 1866 ; P'estival Te Deum and 
 Domine salvam fac Reginam, in commemoration of the recovery of H. R. H. the 
 Prince of Wales, 1872 ; Te Deum, jubilate, and kyrie, in D. Anthems ; Hearken 
 unto Me, My people ; I will mention the loving kindnesses ; I will worship ; I wilj 
 
582 SUP — sus 
 
 sing of Thy power ; O taste and see ; O love the Lord ; O God, thou art worthy 
 to be praised ; Rejoice in the Lord ; Sing, O Heavens; Turn Thee again ; Turn 
 Thy face from sin ; We have heard with our ears. Part-songs: Echoes ; Evening; 
 Joy to the Victors ; O hush thee, my babie ; Parting gleams ; Song of Peace ; The 
 long day closes ; The beleagured ; The last night of the year. Songs : The Win- 
 dow, or the Loves of the Wrens (Tennyson), 187 1 ; A life that lives for you ; Ah ! 
 county Guy ; A weary lot is thine ; Arabian love song ; Christmas bells at sea ; 
 Distant shore ; Dove song ; Guinevere ; If doughty deeds ; In the summers long 
 ago; Let me dream again, 1875; Lost chord, 1877; Love that Loves me not, 
 1875; Looking back; Mary Morison, 1874; Maiden's story; Mother's dream; 
 My dear and only love ; My dearest heart ; Orpheus with his lute ; O ma char- 
 mant ; O mistress mine ; O sweet and fair ; Once again ; Old love letters ; Rosa- 
 lind ; St. Agnes. Eve ; Sweet day so cool ; Snow lies white ; Sailor's grave ; Sweet 
 dreamer ; Sometimes ; Sweethearts, 1875 ; Tender and True ; Thou'rt passing 
 hence ; Troubadour ; Willow song, etc. Hymns in various collections, of which 
 " Onward, Christian Soldiers " is best known. 
 
 The popularity of Sir Arthur Sullivan's operatic works has never been equalled 
 in Britain nor America. "The Sorcerer "and "H. M. S. Pinafore" were the 
 forerunners of a series of the most brilliant and lasting successes ever obtained on 
 the stage. In America especially, the run after "Pinafore" was for a time most 
 tremendous, and the merry tunes of the opera were in everybody's mind. Others 
 of the Series which gained much favour were "The Pirates of Penzance" and 
 "Patience." "The Mikado" hasequalled " Pinafore " in popularity. The music of 
 Sir Arthur Sullivan is always that of a scholar, however triiling may be the piece on 
 . which his talents are exercised. His orchestral music is clever and effective, and 
 his dramatic works are always appropriately and prettily treated in the matter of 
 accompaniments. His songs and concerted vocal music have also been successful, 
 ' and he no doubt holds the highest position in Britain as a popular composer at 
 the present time. His brother Fredrick, B. London, 1838. D. London, Jan. 
 18, 1877. A popular vocalist, whose clever impersonation of the Judge, in the 
 " Trial by Jury," did much to aid its original success. 
 
 SUPPE (Franz von). Austrian comp., B. Spalato, Dalmatia, April 18, 1820. 
 Descended from a Belgian family. Educated at University of Padua. S. at 
 Vienna under Sechter and Seyfried. Cond. at Pressburg and Vienna. Comp. 
 numerous operatic works, of which the following are best known : — Das Mad- 
 chen vom Lande, 1847 ; Die Miillerin von Burgos, 1849 ; Paragraph III., 
 1858 ; Zehn Madchen und kein Mann, 1862 ; Franz Schubert, 1864; Schbne 
 Galathea, 1865; Leichte Cavalerie, 1866; Freija, 1866; Isabella, 1869; Die 
 Jungfrau von Dragant, 1870 ; Cannebas, 1873 ; Fatinitza, 1876 (Lond., 1878) ; 
 Boccaccio, 1879 (Lond., 1882) ; Donna Juanita, 1880. Also symphonies, over- 
 tures (Dichter und Bauer), etc., masses, quartets, songs, etc. He is best known 
 in Britain by his " Poet and Peasant " (Dichter und Bauer) overture. 
 
 SUKENNE (John Thomas). English org. and comp., B. London, March 4, 
 1814. Org. S. George's Episcopal Chap., Edinburgh. D. Edinburgh, Feb. 
 3, 1878. He compiled " The Dance Music of Scotland, a Collection of all 
 the best Reels and Strathspeys, both of the Highlands and Lowlands, for the 
 Pianoforte," Edin. [1851], fo., 5 editions. "Songs of Scotland without 
 Words," 1852, 8vo, and 1854 8vo. " Songs of Ireland," 1855, 8vo. A Collec- 
 tion of Church Music (with H. E. Dibdin), 2 vols., 4to, n. d. Psalm Tunes ; 
 Hymns ; Part-songs, and songs. Students' Manual of Classical Extracts for 
 Pf., and other instrumental compositions. 
 
 SUBMAN (Joseph). English cond. and writer, B. at Chesham, 1794 [1803]. 
 Cond. of Sacred Harmonic Soc, 1832-48. Music publisher in London. Cond. 
 Worcester Festival. D. London, Jan. 20, 1871. He wrote "The Sacred 
 Harmonic Society, a Statement in Reply to Charges preferred against the Con- 
 ductor of the Society," London, 1848, 8vo. He had been removed from the 
 conductorship of the Society on certain charges against his management being 
 proved. 
 
 SifSSMAYEB (Franz Xaver). Austrian comp. and cond., B. Steyer, 1766. 
 S, under Salieri and Mozart. Cond, of the Karnthnerthor Court Theatre, 
 
SUT — SZA 583 
 
 Vienna, 1795. D. Vienna, Sept. 17, 1803. Comp. Moses, 1792 ; Der Spiegel 
 von Arkadien, 1794; Die edle Rache, 1795; Der Wildfang, 1797; Soliman 
 der Zweite, 1799, and other operas. He is chiefly remembered as the friend 
 and last companion of Mozart, whose death-bed he attended, and for his share 
 in completing that composer's requiem. 
 
 SUTHERLAND (G.). Author of " A Manuel of the Theory of Music," Lond., 
 8vo, 2 editions to 1871. 
 
 SUTTON (Alfred James). English comp. and cond., B. Droitwich, May i, 
 1827. Accompanist to Birmingham Festival Choir, 1855, and cond. of Bir- 
 mingham Amateur Harmonic Assoc. Cond. of choir in Birmingham. Cond. 
 of Edgbaston Amateur Musical Union, 1883. Comp. Serenade on Marriage 
 of H. R. H. the Prince of Wales ; Songs, Part-songs, and Pf. music. His 
 wife is well known as an excellent soprano vocalist. 
 
 SUTTON (F. H.). Author of " Some Account of the Mediaeval Organ Case still 
 existing at Old Radnor," London, 1866. 
 
 SUTTON (R.). Author of "Elements of the Theory of Music," Lend., n. d. 
 (Cocks). 
 
 SVENDSEN (Johan Severin). Norwegian comp., B. Christiania, Sept. 30, 
 1840. S. Leipzig Cons, under Hauptmann, Richter, and F. David, 1863-67, 
 and gained the honorary medal of the Cons. Travelled as violinist in Den- 
 mark, Scotland, Ireland, and in England. Vnst. in Paris, 1868-70. Leader 
 of the Euterpe Concerts in Leipzig. Cond. in Christiania. Visited Italy, 
 1877-78. Appeared in London, 1878. Now teacher and cond. in Christiania, 
 Works. — Op. i. String quartet in A min.; op. 2. Songs; op. 3. Octet for strings 
 in A min.; op. 4. Symphony in D; op. 5. String quartet in C; op. 6. Concerto for 
 vn. and orch. in A ; op. 7. Concerto for 'cello and orch. in D. min. ; op. 8. Over- 
 ture, Sigurd Slembe, 1871 ; op. 9. Carnaval k Paris, orch.; op. 10. Funeral March 
 for Charles XV.; op. 11. Zorahayde, legend for orch..: op. 12. Polonaise for orch.; 
 op. 13. Coronation March for Oscar II.; op. 14. Marriage cantata ; op. 15. Sym- 
 phony in B flat; op. i6. Carnaval; op. 17. Norwegian rhapsody, for orch.; op. 
 18. Overture, Romeo and Juliet ; op. 19. Norwegian rhapsody, No. 2 ; op. 20. 
 Scandinavian airs, for string quartet; op. 21-22. Norwegian rhapsodies, Nos. 3 and 
 4 ; op. 23. Five songs ; op. 24. Four songs ; op. 25. Romance for 'cello and Pf. 
 (from Popper) ; op. 26. Romance for vn. and orch. in G ; Marche humoristique for 
 orch. 
 
 SVENDSEN (Oluf). Norwegian flute-player, B. Christiania, April 19, 1832. 
 S. Brussels Cons. Appeared at JuUien's Concerts in London. Flute-player 
 in Crystal Palace band ; Philharmonic orch. ; H. M. Theatre orch. First 
 flute in the Queen's Private Band, 1861. Prof, of Flute at R.A.M., 1867. 
 
 SWAINE (N.). Author of "The Young Musician, or the Science of Music 
 familiarly explained," Stroudport, n.d., l2mo. 
 
 SWELINOK or SWEELINOK (Jan Peter). Dutch org. and comp., B, 
 Deventer, 1562. S. at Venice under Zarlino (?). Org. of the Old Church, 
 Amsterdam. D. Amsterdam, Oc<. 9, 1621. Comp. Chansons, Rimes Fran- 
 9aises, Psalms, and much organ music. Celebrated as the most famous Dutch 
 organist of his period. 
 
 SWERT. See De Swert (Jules). 
 
 SYMMERS (James). Scottish writer. Rector of Alloa Academy. Author of 
 "The Sol-fa Method of Singing at Sight from the Common Musical Notation," 
 Glasgow, 1858-59, 2 parts, 8vo. 
 
 SYMMES (Thomas). English writer, B. 1678. D. 1725. Author of " Utile 
 Dulci, or a joco-serious dialogue concerning regular singing," Boston, 1723. • 
 
 SYMONDS (Henry). English comp. and org. One of the King's Band of 
 Music. Org. of S. Martin's, Ludgate, and of the Church of S. John. D. 
 1730. Comp. Six Sets of Lessons for the Harpsichord, etc. 
 
 SZARVAD7 (Wilbeimina), »ife Claus, Bohemian pianist, B, Prague, Dec, 
 
584 SZE — TAM 
 
 13, 1834. First appeared as pianist, 1849. Married F. Szarvady, author 
 (D. Paris, 1882), 1856. Has performed in France, Germany, and England. 
 Resident in Paris as teacher and pianist. 
 
 SZEEELY (Emerik). Hungarian comp. and pianist, B. Matyfalva, May 8, 
 1823. Appeared in Paris and London, 1846. Prof, in Buda-Pesth. Comp. 
 music for Pf,, etc. 
 
 TACCHINAKDI (NiCCOlo). Italian tenor vocalist, B. Florence, Sept. 3, 1772. 
 Sang in churches and at concerts from 1798, and first appeared in public, 1804. 
 Sang in Milan, 1804, and in Rome till 181 1. Appeared in Paris, 1 81 1, in an 
 opera by Zingarelli, and afterwards in other works. Returned to Italy, 1814. 
 Solo vocalist to Grand Duke of Tuscany, 1822. Sang in Spain, etc. D. 
 Florence, March 14, 1859. Comp. a few vocal exercises, etc. His daughter 
 Fanny is noticed under Persian!. 
 
 TADOLINI (Giovanni). Italian comp., B. Bologna, 1793. S. under Mattel 
 and Babbini. Accompanist at Paris Opera. D. Bologna, Nov. 29, 1872. 
 Comp. operas, canzonets, rondos, etc. 
 
 TAGLIAFICO (Joseph Dieudonne). Italian barytone vocalist and comp., 
 B. Toulon, Jan. I, 1821. S. under Lablache and Piermarini. Appeared in 
 Paris, 1844, and in London from 1847 till 1876. Stage manager at Italian 
 opera, London, 1877-82. Appeared in America and Russia. Comp. of songs, 
 etc., and writer of articles in musical journals. 
 
 TAGLICHSBECK (Thomas). German comp., B. Ansbach, Bavaria, Dec. 
 3i> I799' D- Baden Baden, Oct. 4, 1867. Comp. symphonies, operas, Pf, 
 music, and lieder. 
 
 TALEXY (Adrien). French pianist and comp., B. 1820, D. Paris, i88l. 
 Comp. operettas, Un Gar9on de Cabinet, 1872; La Fete des Lanternes, 1872 ; 
 Le Secret de Rose, 1875, etc. Also author of a method for the Pf., and comp. 
 of a large number of Pf. works, studies, fantasias, valses, nocturnes, and other 
 pieces, numbering over op. 100. 
 
 TALLIS (Thomas). English comp. and org., B. [c. 1520-1529]. Chor. in 
 
 Chap. Royal (?). Org. of Waltham Abbey till 1540. Gent, of Chap. Royal 
 
 during reigns of Henry VIII., Edward VI., Mary, and Elizabeth. Joint org. 
 
 with Byrd, of Chap. Roy., and joint patentee with him in the exclusive right 
 
 to print music. D. Nov. 23, 1585, and was buried in Parish Church of 
 
 Greenwich. 
 
 Works. — Cantiones quae ab argumento Sacrae vocantur, quinque et sex partium, 
 
 Lond., 1575. The Preces, Chants, Te Deum, Benedictus, Responses, Litany, 
 
 Kyrie, Creed, Sanctus, Gloria, Magnificat and Nunc Dimittis (Church of England 
 
 Service), first printed in Barnard's Collection, 1641, and since reprinted many times 
 
 by Novello, Rimbault, Jebb, etc. Song of Forty Parts, for 8 choirs of 5 voices each, 
 
 " Spem in alium non habui." The Order of the Daily Service of the United Church 
 
 of England and Ireland, Ed. by John Bishop, Lond., 1S43, 8vo. Anthems: All 
 
 people that on earth do dwell ; Come, Holy Ghost ; Hear the voice and Prayer ; I 
 
 call and cry ; If ye love Me ; Hear my prayer ; Blessed are those ; Salvator Mundi 
 
 (motet) ; and many others in MS. contained in the British Museum, Music School 
 
 of Oxford, Fitzwilliam Museum, Cambridge, and elsewhere. 
 
 Tallis was one of the greatest contrapuntists of the English school. His works 
 are invested with great learning and much dignity, and are highly calculated to im- 
 press by their solemnity and power. His cathedral service is sufficiently well- 
 known to require no comment. 
 
 TAMBERLIK (Enrico). Italian tenor vocalist, B. Rome, March 16, 1820. 
 S. under Guglielmi. Dlbut at Naples in Bellini's "Giulietta," 1841, Ap- 
 
TAM — TAU 585 
 
 peared successively in Lisbon, Madrid, London (1850, 1864, and 1877), St. 
 Petersburg, Europe, and America. Appeared in Paris, 1858. Retired to 
 Madrid, but re-appeared in 1884 for a time. 
 
 TAMBUBINI (Antonio). Italian barytone vocalist, B. Faenza, March 28, 
 1800. S. under Bossi. Appeared at Bologna in opera by Generali, 1818. 
 Sang in principal Italian cities till 1832. Appeared in London, 1832, and 
 afterwards sang there and in Paris till 1852. Sang, in St. Petersburg, etc. 
 Reappeared in London, 1852 and 1859. D. Nice, Nov. 9, 1876. 
 
 TANS'UR (William). English comp. and writer, B. Barnes, Surrey, 1699 
 [Dunchurch, Warwickshire, 1700]. Was org. at Barnes, Ewell, Leicester, 
 and S. Neot's, and a bookseller in Leicester. D. S. Neot's, Oct. 7, 1783. 
 Works.— The Melody of the Heart, 1730, 1735, 1737. A Compleat Melody, 
 or the Hannony of Zion... Lond. [1724?], 1735 and 1736. Heaven on Earth, or 
 the Beauty of Holiness, 1738. Sacred Mirth, or the Pious Soul's Daily Delight, 
 1739. Poetical Meditations on the Four Last Things, with a Variety of Poems on 
 other Divine Subjects, 1740. The Universal Harmony, containing the whole Book 
 of Psalms, 1743, 1746. The Royal Melody Compleat, or the New Harmony of 
 Zion, Lond., 1754, 1755 and 1764. The Royal Psalmodist Compleat, Lond., n.d. 
 The Psalm-Singer's Jewel, or, Useful Companion, Lond., 1760, 8vo. Melodia 
 Sacra, or, The Devout Psalmist's New Musical Companion, 1771, 1772. A New 
 Musical Grammar, or the Harmonical Spectator, Lond., 1746, i2mo, 1753. New 
 Musical Grammar and Dictionary... (3rd ed.), Lond., 1756; 7th ed., Lond., 1829, 
 8vo. The Elements of Musick Displayed ; or its Grammar or Ground-work made 
 Easy, Lond., 1 772. He comp. some Psalm Tunes, contained in his works above 
 named. 
 
 TAPPERT (Wilhelm). German writer, B. Ober-Thomaswaldau, Feb. 19, 
 1830. S. at Berlin under Dehn. Journalist and Teacher in Berlin. Author of 
 " Musikalische Studien." " Ein Wagner-Lexikon, Worterbuch der Unhoflich- 
 keit," Leipzig, 1878, etc. 
 
 TABCHI (Angelo). Italian comp., B. Naples, 1760. D. Paris, Aug. 19, 1814, 
 Produced numerous operas at Naples, Rome, London, Milan and Paris. 
 Comp. "Isaaco" and "Ester," oratorios; Masses, and vocal music. 
 
 TABTINI (Giuseppe). Italian violinist and comp., B. Pirano, Istria, April 12, 
 1692. Educated at Padua for the Law. Solo violinist in Chap, of S, Antonio, 
 Padua, 1721. Established himself at Padua as teacher of the violin, from 
 about 1728, and there he instructed Nardini, Lahoussaye, Graun, Manfredi, 
 and Pasqualino. D. Padua, Feb. 16, 1770. 
 Works. — Op. i. Sei Concerti ; op. 2. Six Sonatas for vn., 'cello, and harpsi- 
 chord, 1745 ; op. 3. XII Senate a violino e basso ; op. 4. Sei Concerti ; op. 8. 
 Sei Sonate, etc. Trattato di Musica..., Padua, 1754. De' Principii dell' Armonia 
 Musicale..., 1767. Lettera sur Signora Maddalena Lombardini..., 1770, trans, by 
 Burney as A Letter from the late Signer Tartini to Signora Maddalena Lombardini 
 (afterwards Signora Syrmen), published as an important Lesson to Performers on 
 the Violin..., 1779. 
 
 TATE (Nahum). Irish poet and writer, B. Dublin, 1652. D. London, 1715. 
 Author of "An Essay for Promoting Psalmody," Lond., 1710. 
 
 TATTEBSALL (William de Chair). English divine and musician, B. 1752. 
 Rector of Westbourne, Sussex, 1778, and of Wotten-under-Edge, 1779. D. 
 1829. Published " Improved Psalmody, with New Music," Lond., 1794, 4to ; 
 Improved Psalmody, in Three Parts, 1795, 3 vols., 8vo. 
 
 TAUBERT (Carl Gottfried Wilhelm). German comp., B. Berlin, March 
 23, 1811. S. under Neithardt, L. Berger, and B. Klein. Appeared aspianist, 
 1825, and visited England and Scotland, 1836. Cond. of Royal opera, Ber- 
 lin, 1841. Court Kapellmeister, 1845-69. Mem. of Council of Royal Aca- 
 demy of Fine Arts, Beriin, 1875. 
 Works. — Operas: Der Kermesse, op. 7, 1832; Der Ziegeuner, 1834; Marquis 
 und Dieb, 1842 ; Joggdi, op. 100, 1852 ; Macbeth, 1857 ; Phedra, 1868 ; Cesario, 
 1874. Symphonies for orch., No. I in C, op. 31; No. 3 in F, op. 69; No. 4 in 
 
S86 TAU — TAY 
 
 B min,, op, 113. Concertos for Pf. and orch., op. 18 and 189. Quartet for Pf. 
 strings, op. 19. String Quartets, op. 73, 93, 130, etc. Trios for Pf., vn., and 
 'cello, op. 32, 38. Sonatas for Pf. and vn., op. I, 15, 104. Sonatas for Pf. solo, 
 op. 4, 20, 21, 35, 44, 114. Cantatas, Lieder, and Psalms. 
 
 TAUSCH (Julius). German comp, and cond., B. Dessau, April 15, 1827. S. 
 under Schneider, etc., and at Leipzig Cons. Teacher and cond. in Diisseldorf. 
 Cond. Glasgow Musical Festival of 1878. Comp. overtures, lieder, and Pf. 
 music. 
 
 TAUSIG (Carl). Polish pianist and comp., R Warsaw, Nov. 4, 1841. S. 
 under Liszt at Weimar. First appeared at Berlin, 1858. Teacher and comp. 
 in Berlin, where he was married in 1865. D. Leipzig,'July 17, 1871. Best 
 known as a remarkable performer, and as a successful teacher. His works 
 consist of arrangements for Pf., with a few studies and other original pieces. 
 
 TAVEENER (John). English org. and comp. of i6th century. Org. of Bos- 
 ton, Lincolnshire, and of Christ Church Coll., Oxford. He was involved in 
 the Reformation struggle, and narrowly escaped martyrdom. He comp. 
 masses, motets, and anthems, now existing in MS. 
 
 TAVERNER (John). English musician, B. 1584. Prof, of Music at Greshara 
 College, 16 10. Was Vicar of Stoke Newington. D. there 1638. 
 
 TAYLOR (Edward). English writer and musician, B. Norwich, Jan. 22, 1784. 
 Son of John Taylor, a Unitarian preacher there. S. under Charles Smyth and 
 Dr. Beckwith. Bass singer at the Norwich Concerts. Established, with 
 others, the Norwich Musical Festival, 1824. Settled in London, 1825, and 
 became bass singer, teacher, and musical critic of the Spectator, and a writer in 
 the Harmonicon, Prof, of Music, Gresham Coll, in succession to Stevens, 
 1837. Cond. Norwich Festivals of 1839 and 1842. Founded the Purcell Club, 
 and with Rimbault and Chappell, the Musical Antiquarian Soc. Secretary of 
 the Vocal Society. D. Brentwood, March 12, 1863. 
 Works. — Three Inaugural Lectures (Gresham College), Lond., 1838, 8vo. ; An 
 Address from the Gresham Professor of Music to the Patrons and Lovers of Art, . . . 
 Lond., 1838 ; The Vocal School of Italy in the Sixteenth Century, Madrigals, full 
 Anthems, Motets, and Villanellas, adapted to English Words, Lond. [1839], fo. ; 
 The People's Music Book (with J. Turle), Lond., 1844 ; The English Cathedral 
 Service : its Glory, its Decline, and its Destined Extinction, Lond., 184S, 8vo 
 (Reprinted from the British and Foreign Review) ; The Art of Singing at Sight 
 (with Turle), Lond., 1846, 2nd ed., 1855 ; Airs of the Rhine, edited. Edited Pur- 
 cell's " King Arthur " for the Musical Antiquarian Soc. Trans, librettos of 
 Mozart's Requiem, Haydn's Seasons, Graun's Death of Jesus, Spohr's Last 
 Judgment and Fall of Babylon, etc. 
 
 TAYLOR (Franklin). English pianist and teacher, B. Birmingham, Feb. 5, 
 1843. S. under Flavell and Bedsmore. S. at Leipzig Cons, under Plaidy, 
 Moscheles, Hauptmann, Richter, and Papperitz ; and in Paris under Madame 
 Schumann. Teacher in London, where he has performed at all the principal 
 concerts. Prof, at National Training School for Music, and the Royal Coll. 
 of Music, 1882. Author of "Primer of Pianoforte Playing," Lond., 1877; 
 " Pianoforte Tutor," Lond., u. d. ; Trans, of Richter's Harmony, Lond., 1864; 
 Counterpoint, Lond., 1874 > ^"^ Canon and Fugue, Lond., 1878. Arrange- 
 ments for Pf., etc. 
 
 TAYLOR (James). English writer, author of "A Course of Preceptive Les- 
 sons for the Spanish Guitar, designed for the assistance of Master and Pupil," 
 Lond. [1827]. 
 
 TAYLOR (John). English writer, author of "A Manual of Vocal Music,'' 
 Lond., 1872 ; "Music and the Sol-fa Systems in Elementary Schools," Lond., 
 1873; "A Few Words on the Anglican Chant," Lond., n.d. ; "Student's 
 Text-Book on the Science of Music," Lond., 1876, 8vo. 
 
 TAYLOR (John). English divine and writer, B. Lancaster, 1694. D. Warring- 
 ton, 1761. Author of "The Music Speech at the Public Commencement at 
 Cambridge," Lond., 1730; "A Collection of Tunes in various Airs, with a 
 
TAY — TEN 587 
 
 Scheme for supporting the spirit and practice of Psalmody in Congregations," 
 Lond., 1750, 8vo. 
 
 TAYLOR (John BiancM). English comp. and cond., B. Bath, 1801. D 
 Bath, April, 1876. Comp. "A Set of Seven Glees," Bath [1840]; and a 
 number of single part-^ongs and songs. 
 
 TAYLOR (Richard). English comp. and writer, B. Chester, 1758. D. Ches- 
 ter, Feb., 1813. Author of "The Principles of Music at One View," Lond., 
 1791, 8vo ; " Beauties of Sacred Verse," Lond., 1795, 3 vols. National Songs. 
 Glees : Now Winter with her hoary train ; The gloomy season's past ; Summer 
 now upholds her scenes ; Clad in her brown vesture ; Gently as the breathing 
 gale. Songs, etc. His son, Thomas, B. Chester, 1787, was org. of S. John's, 
 Liverpool. He published "A Book of Original Chants," songs, etc. 
 
 TAYLOR (Sedley). English writer, author of " Sound and Music, a Non- 
 Mathematical Treatise on the Physical Constitution of Musical Sounds and 
 Harmony..." Lond., 1873, 8vo. 
 
 TAYLOR (Silas). English comp., B. Harley, 1624. D. 1678. Published 
 "Court Ayres, or Pavins, Almaines, Corants, and Sarabands," Lond., 1655, 
 8vo. 
 
 TAYLOR (Mrs. Tom), «/« Laura W. Barker. Third daughter of the Rev. 
 Thomas Barker, vicar of Thirkleby, Yorks. Married Mr. Tom Taylor, June, 
 1855. Comp. Sonata for Pf. and vn., the Country Walk, i860. "Ballads 
 and Songs of Brittany. ..Trans, by Tom Taylor, with some of the Original 
 Melodies harmonized by Mrs. Tom Taylor," Lond., 1865. "Enone," can- 
 tata; Glees, Songs, etc. Music to "As You Like It," 1880. 
 
 TAYLOR (William Frederick). English pianist and comp., B. Bristol, 1833. 
 Comp. of a large number of Pf. pieces, songs, and part-songs. 
 
 TEDESCO (Ignaz Amadeus). Bohemian comp. and pianist, B. Prague, 
 1817. S. under Tomaschek. Resided in London from 1856. Comp. a large 
 number of pieces for the Pf. in various styles. D. Odessa, Nov. 13, 1882. 
 
 TEETGEN (Alexander). German writer, author of "Beethoven's Symphonies 
 critically and sympathetically discussed," Lond., 1879, 8vo. 
 
 TELEMANN (Georg Philipp). German org. and comp., B. Magdeburg, 
 March 14, 1681. Org. of the Neukirche, Leipzig. Chap.-master to Prince 
 Promnitz at Sorau, 1704. Do. at Eisenach, 1708. Org. of S. Catherine's, 
 Frankfort. Music-director of the Church of St. John, Hamburg, 1721. D. 
 Hamburg, June 25, 1767. Comp. oratorios, operas, overtures, cantatas and 
 other large works, now obsolete. Fugues and other works for org. Violin 
 sonatas, trios, and works for flute, etc. 
 
 TELLEFSEN (Thomas Dyke Acland). Norwegian pianist and comp., B. 
 Drontheim, Nov. 26, 1823. S. at Paris under Chopin. Appeared in London, 
 1848. D. Paris, Oct., 1874. Comp. Pf. music, and edited Chopin's works. 
 
 TEMPLETON (John). Scottish tenor vocalist, B. Riccarton, Kilmarnock, 
 July 30, 1802. One of a family of which other members were singers. Pre- 
 centor in Dr. Brown's Church, Edinburgh. Went to London, and S. under 
 Blewitt, Welsh, and T. Cooke. DSui on stage at Worthing, 1828. First 
 appeared in London as Belville in Shield's " Rosina," Oct. 13, 1831. Became 
 associated with Malibran in 1833, and sang with her in opera in London with 
 great success. Sang in Scotland, 1836. Appeared in the United States as 
 lecturer and vocalist, 1845-6, and published his lecture as " A Musical Enter- 
 tainment," Boston, 184S, 8vo. He retired from public life in 1852. He sang 
 in operas of Meyerbeer, Spohr, Mozart, Auber, Barnett, Balfe, Benedict, 
 and Rossini, and was one of the most popular and refined ballad vocalists 
 ever reared in Britain. See Terapleton and Malibran, Reminiscences of these 
 Renowned Singers, with Original Letters and Anecdotes, by W. H. H., 
 Lond., 1880, 8vo, 3 portraits. He comp. a few songs, "Put off! put off!" 
 (Queen Mary's Escape from Lochleven), etc. 
 
 TENDUCOI (Griusto Ferdinando). Italian soprano vocalist, B. Siena, 1736. 
 
588 TEN — THA 
 
 Appeared in London in a pasticcio called " Attalio," 1758, and afterwards in 
 Cocchi's " Giro riconosciuto, " 1759. Travelled as singer in Scotland and Ire- 
 land, with Dr. Arne, 1765. Left England on account of his debts, 1776, but 
 returned and sang till 1790. Returned to Italy, and died there early in the 
 present century. Author of a "Treatise on Singing," Lond., n. d. Songs, 
 an overture, etc. 
 
 TENNYSON (Alfred, Lord). English poet, B. Somersby, Lincolnshire, 1809. 
 One of the most popular modern poets, in a musical aspect. Author of many 
 fine lyrics, which have been set by the best living musicians. One work of 
 surpassing interest is "Songs from the Published Writings of Alfred Tennyson. 
 Set to Music by Various Composers, and Edited by W. G. Cusins." This 
 volume contains contributions by Barnby, Cowen, Cummings, Gusins, Gounod, 
 Hatton, HuUah, Joachim, Liszt, Pinsuti, Raff, Saint-Saens, Stanford, Sulli- 
 van, and Tours. His works have also been set by Balfe, Anderton, Blockley, 
 Macfarren, Glaribel, Glover, J. G. D. Parker, Lindsay, Wallace, Blumenthal, 
 Oakeley, Linley, etc., etc. 
 
 TERRADELLAS (Domenico M.B.), or Terradeglias. Spanish: comp., B. 
 
 Barcelona, 1701 [or 1711]. S. under Durante. Visited England, 1746. 
 Chap. -master at Rome. D. Rome, 1751. Gomp. Astarte, 1739; Romolo, 
 1740; Mitridate, Lond., 1746; Bellerophon, London, and other operas. 
 Twelve Italian Airs and Duets, Lond., n.d. 
 
 TERSCHAK (Adolf.) German flute-player and comp., B. Hermannstadt, 
 1832. S. Vienna Cons. Appeared in Berlin, London, Scotland, Ireland, 
 France, etc. Teacher and comp. in Vienna. Gomp. works for flute. 
 
 TESI-TRAMONTINI (Vittoria). Italian soprano vocalist, B. Florence, 
 1690. S. under Redi and Bernacchi. Sang in Bologna, Venice, Dresden, 
 Milan, Naples, Vienna, etc. D. 1775. 
 
 TESSARINI (Carlo). ItaUan violinist and writer, B. Rimini, 1690. S. under 
 Corelli. Appeared in Italy, and in 1752 went to Amsterdam. D. 1762. 
 Comp. sonatas, concertos, etc., for vn., and wrote "Grammatica di Musica;" 
 trans, as "A Musical Grammar, which teaches an easy and short method of 
 learning to play to perfection the Violin in parts," Edin., n.d., fo. [? a Lon- 
 don edition.] 
 
 THALBERG (Sigismund). Swiss pianist and comp., B. Geneva, Jan. 7 [Feb. 
 7], 1812. Natural son of Prince Maurice Dietrichstein and the Baroness de 
 Wetzlar. S. under Sechter, Hummel, and Mittag. Appeared as pianist at 
 Vienna, Paris, London, 1830, etc. Appeared in London, 1839; Russia, 1839; 
 Spain, 1845. Married Madame Boucher, 1845. Pianist to the Emperor of 
 Austria. Travelled in Brazil and the United States, 1855-56. Appeared in 
 London again in 1863. D. Naples, April 27, 1871. 
 Works. — Pianoforte: Fantasias, op. i, 2, 6, 9, 10, 12, 20, 27 (God save the 
 Queen), 33, 37, 40, 42, 43, 50, 51, 52, 53, 63, 67, 68, etc. ; Concerto, in F min., 
 op. 5 ; Sonata in G min., op. 56 ; Impromptus, Divertissements, Variations (Home, 
 sweet home, and Last Rose of Summer), Ballades, Valses, Marches, Caprices, Noc- 
 turnes, Romances, and other works for the Pf. ; " L'Art du Chant appliqu^ au 
 Piano," op. 70 ; trans, as "The Art of Singing applied to the Pianoforte," Lend., 
 1853. Boston edition, n.d. 
 
 Thalberg was one of the most famous pianists of the brilliant school, who ever 
 lived. His performance was marked by great power and dexterity, and was re- 
 nowned for its accuracy and spirit. His works are showy and difiicult pieces, 
 . mostly all containing novel ideas, and well worked out. His natural daughter, 
 Zara (by Madame d'Angri, an Italian vocalist), B. New York, April 16, 1858, was 
 for a time a soprano vocalist in the Italian opera, and appeared in London and else- 
 where from 1874. She married the Marquis Doria and retired in 1881. 
 
 THAYER (Eugene). American musician and writer, author of "The Organist's 
 Reliance," Boston, n. d. ; and comp. of a "Festival Cantata"; Part-songs, 
 songs, and other works. 
 
 THAYER (Alexander Wheelock). American writer, B. South Natick, near 
 Boston, Mass,, Oct. 22, 1817. Educated at Harvard University. Travelled 
 
THE — THO S8g 
 
 in Germany collecting materials for his Life of Beethoven from 1854. U. S. 
 Consul at Trieste. Autor of " Signor Masoni, and other Papers of the late J. 
 Brown," Berlin, 1862 ; " Ludwig van Beethoven's Leben," Berlin, 1866, etc., 
 3 vols published, but virork not yet completed. 
 
 THEILE (Johann). German comp., B. Naumburg, July 29, 1646. S. under 
 H. Schiitz. Chap. -master at Gottorp, Wolfenbiittel, and Merseburg. D. 
 Naumburg, 1724. He comp. a Passion oratorio, 1675; The Birth of Jesus, 
 oratorio, 1681. Noviter Inventum opus Musicalis Compositionis 4 et 5 vocum. 
 Novse Sonatae. Adam and Eve, opera, 1678. Masses, etc. 
 
 THIBAUT (Anton Friedrich Justus). German writer, B. Hameln, Hano- 
 ver, Jan. 4, 1772. Prof of law at Heidelberg. D. Heidelberg, March 28, 
 1840. Author of " Ueber Reinheit der Tonkunst," Heidelberg, 1825. Third 
 ed., 1853. Trans, by Mr. W. H. Gladstone, as "Purity in Musical Art," 
 Lond., 1877; and by John Broadhouse as "Purity in Music,'' Lond., 1882, 
 8vo. 
 
 THILLON (Anna), nh Hunt. English soprano vocalist, B. Calcutta, 1819. 
 Educated in London. Married M. Thillon, cond. of Philharmonic Soc. of 
 Havre. Sang in opera in France, and made dibut at Paris, 1838. Sang in 
 London, 1844-47 ; in California, 1850 ; and now retired. 
 
 THIRLWALL (John Wade). English comp. and violinist, B. Shilbottle, 
 Northumberland, Jan. 11, 1809. D. London, June 15, 1876. Comp. "A 
 Book of Ballads," 1843; songs, violin music, etc. 
 
 THOMAS (Arthur Goring). English comp., B. Ratton, near Eastbourne, 
 
 Sussex, Nov. 21, 185 1. Educated at Haileybury Coll. S. under Durand of 
 
 Paris Cons., 1874-76. S. at R. A. M., London, under Sullivan and Prout. 
 
 Gained "Charles Lucas" prize, 1879-80. 
 
 Works. — Operas : The Light of the Harem (MS. ) ; Esmeralda, 1883 ; Nadeshda, 
 
 1885. The Sun- Worshippers, cantata, Norwich Festival, Feb., 1881. Four 
 
 dramatic scenas, "Hero and Leander," etc. Psalm for solo, chorus, and orch., 
 
 1878. Ballet Music. Songs : Chanson d'Avril ; Chanson de Mai ; The Girl to 
 
 her bird ; Sous les etoiles ; Gentle sleep ; The veiled Bayadere ; etc. 
 
 THOMAS (Charles Louis Ambroise). French comp., B. Metz, Aug. 5, 
 
 181 1. S. under his father at Metz, and at Paris Cons, from 1828 under 
 
 Zimmerman, Lesueur, and Kalkbrenner. Gained various prizes, and in 1832 
 
 carried off the Grand Prix de Rome. Mem. of Academie des Beux Arts, 
 
 1851. Commander of Legion of Honour, 1868, and decorated with Grand 
 
 Cross of same, 1880. Director of Paris Cons., 1871. 
 
 WORKS.—Operas : La Double echelle, 1837; Le Perruquier de la R^gence, 
 
 1838; Le Panier fleuri, 1839; La Gipsy (ballet), with Benoist, 1839; Carline, 
 
 1840 ; Le Comte de Carmagnola, 1841 ; Le Guerillero, 1842 ; Angelique et 
 
 Medor, 1843; Mina, ou le Manage i. trois, 1843 ; Betty (ballet), 1846 ;Le Caid, 
 
 1849 ; Le Songe d'une nuit d'ete, 1850 ; Raymond, ou le Secret de la Reine, 1851 ; 
 
 La Tonelli, 1853; La Cour de Celim^ne, 1855; Psyche, 1857; Le Carnaval de 
 
 Venise, 1857; Le Roman d'Elvire, i860; Mignon, 1866; Hamlet, 1868; Gille et 
 
 Gillotin, 1874 ; Franijoise de Rimini, 1882. Masses, Cantatas, Part-Songs, Songs, 
 
 etc. Contributions to periodical literature. 
 
 THOMAS (Harold). English pianist and comp., B. Cheltenham, July 8, 1834. 
 
 S. at R. A. M. under Bennett, Potter, and Blagrove. Appeared as pianist at 
 
 London concerts, from 1850. Prof, of Pf. at R. A. M., and Guildhall School 
 
 of Music. D. London, July 29, 1885. 
 
 Works. — Mountain, Lake, and Moorland, overture for orch., 1880; overture to 
 
 "As You Like It," 1864. Pianoforte: Ave Maria (from Arcadelt) ; Nocturne; 
 
 Fantasias ; Et Bondebryllup, Danish wedding song ; The Waits, 2 pieces, and 
 
 numerous transcriptions ; Songs, etc. 
 
 THOMAS (John), Pencerdd Gwalia. Welsh harpist and comp., B. Bridg- 
 end, Glamorganshire, March i, 1826. S.at R. A. M., under J. B. Chatterton 
 for harp, Potter and Read. Assoc, Mem., and Prof, of Harp at R. A. M., in 
 which he has endowed a "John Thomas " Scholarship. Travelled as harpist 
 
§96 ttto — tHO 
 
 in France, Germany, Russia, Austria, and Italy. Gave Welsh concerts in 
 London from 1862. Harpist to the Queen, 1872. Prof, of harp at Royal 
 Coll. of Music. 
 
 Woe KS.— Llewelyn, cantata, Swansea Eisteddfod, 1863 ; The Bride of Neath 
 Valley, a Welsh scene, Chester Eisteddfod, 1866; Welsh Melodies (collection), 
 1862-76 ; Concertos for harp ; Olivia valse, harp and Pf. ; La Gassier valse, do. ; 
 Transcriptions, various, for harp ; Six songs, with accomp. for harp ; Guardian 
 Spirit, song; The Minstrel, song, etc. 
 
 THOMAS (John E.) Welsh comp., B. Newport, Monmouth, 1830. Teacher 
 and editor in America, where he published "Church Music, a Selection of 
 Gems from the Best Masters," N. Y., 1863, 8vo. Comp. "The Pic-nic," can- 
 tata ; "Diamond cut Diamond," operetta, and many songs, including Beauti- 
 ful Isle of the Sea, In the moonlight, 'Tis but a little faded flower, Evangeline, 
 Pretty Nelly, The return, Thine alone, I dream of thy sweet smile, etc. 
 
 THOMAS (Lewis William). Welsh bass vocalist, B. Bath, 1826. S. under 
 J. Bianchi Taylor, and Randegger. Lay-clerk Worcester Cath., 1850. 
 Master of Choristers Worcester Cath., 1852. Sang at Provincial Festivals till 
 1854, when he appeared in London with much success. Bass singer in St. 
 Paul's Cath., Temple Church, etc. Gent, of Chap. Royal, 1857. Famous as 
 a concert vocalist of much ability. 
 
 THOMAS (Theodore). German cond. and comp., B. Esens, Hanover, Oct. 
 II, 1835. S. violin under his father. Settled with his family in America, 
 1845. Violinist at concerts with Sontag, Jenny Lipd, Grisi, Mario, etc. Vnst. 
 and cond. of various Italian opera companies. Established a quartet soiree in 
 conjunction with W. Mason, etc., at New York. Established symphony con- 
 certs in New York, 1864. Travelled in the United States from 1869, with his 
 orch. Cond. of New York Philharmonic Soc, Philharmonic Society of 
 Brooklyn, and New York Chorus Soc. He has done everything to introduce 
 high-class orchestral music to American audiences, and has produced at his 
 concerts many novelties of all kinds. 
 
 THOMPSON (General Thomas Perronet). English political writer and 
 
 musician, B. Hull, 1783. D. London, Sept. 6, 1869. Author of " Instruc- 
 tions to my Daughter, for Playing on the Enharmonic Guitar, being an Attempt 
 to effect the Execution of Correct Harmony, on Principles analogous to those 
 of the Ancient Euharmonic," Lond., 1829. "Enharmonic Theory of Music," 
 Lond., 1829 ; Second edition issued as "Theory and Practice of Just Intona- 
 tion," Lend., 1850; Third ed.; "Principles and Practice of Just Intonation, 
 with a view to Embodying the Results of the Sol-fa Associations, as Illustra- 
 ted on the Enharmonic Organ..." Lond., 1859, 8vo. 
 
 THOMSON (Rev. Andrew). Scottish divine and musician, B. Sanquhar, 
 Dumfriesshire, June, 1778 [July 11, 1779]. Pastor of S. George's Ch., Edin- 
 burgh. D. Edinburgh, Feb. 9, 1831. Famous for his patronage of R. A. 
 Smith, and for his efforts to promote good psalmody in the Church of Scotland. 
 Edited "Sacred Harmony for the use of S. George's Church, Edinburgh," 
 1820. He comp. "St. George's, Edinburgh," and other well-known psalm 
 tunes, and some other pieces for the musical service of the church. 
 
 THOMSON (George). Scottish collector and editor, B. Limekilns, Fife, March 
 4, 1759. Secretary to the Board of Trustees for the Encouragemeut of Arts 
 and Manufactures in Scotland, 1780. D. Leith, Feb. 18, 1851. Published 
 " A Select Collection of Original Scottish Airs for the Voice, to each of which 
 are added Introductory and Concluding Symphonies and Accompanyments for 
 the Pianoforte, Violin, and Violoncello " [by Pleyel, Kozeluch, Haydn, and 
 Beethoven, vol. titles differ], with select and characteristic verses by the most 
 admired Scottish Poets... London [1792-1841], 6 vols., fo. Collection of the 
 Songs of Burns, Sir Walter Scott, and other eminent Lyric Poets, Ancient and 
 Modern, united to the Select Melodies of Scotland, and of Ireland and Wales, 
 with Symphonies and Accompaniments for the Pianoforte, by Pleyel, Haydn, 
 Beethoven, etc. ...Lond., 1822, 6 vols., 8vo. Select Collection of Original 
 Welsh Airs, adapted for the Voice, united to Characteristic English Poetry, 
 
*H0 — THY 59I' 
 
 with Introductory and Concluding Symphonies [by Haydn, Beethoven, etc.], 
 Lond., 1809, 3 vols., fo. Select Collection of Original Irish Airs, united to 
 Characteristic English Poetry, with Symphonies and Accompaniments for the 
 Pianoforte, Violin, and Violoncello, composed by Beethoven, Lond., 1814-16, 
 2 vols., fo. 
 
 THOMSON (James). Scottish writer, author of " Rudiments of Music, with a 
 Collection of Tunes, Hymns, etc.," Edin., 1778, l6mo. 
 
 THOMSON (John). Scottish comp., cond., and professor, B. Sprouston, Rox- 
 burgh, Oct. 28, 1805. Son of the Rev. Dr. Andrew Thomson. Became 
 acquainted with Mendelssohn in Edinburgh, and renewed his acquaintance at 
 Leipzig, where he S. under Schnyder von Wartensee. Returned to Edinburgh, 
 and in 1839 became first Reid Professor of Music at the University. Cond. 
 the first Reid Concert, Feb. 12, 1841, at which for the first time analytical 
 programmes were used. D. Edinburgh, May 6, 1841. 
 Works. — Operas: Hermann, or the Broken Spear, London, 1834 ; The House 
 of Aspen, London, 1834; The Shadow on the Wall, London, 1835. Vocal 
 Melodies of Scotland, with Symphonies and Accompaniments by John Thomson 
 and Finlay Dun, Edin., n. d., 4to ; New edition, 1880. Minuetto for Pf and flute ; 
 Capriccio for Pf. and violin. Bagatelle,; 1831 ; Divertimento (duet); Polonaises; 
 and waltzes for Pf. Songs : Arab to his steed ; Blow light, thou balmy air ; Cleve- 
 land's farewell to Minna ; Die tanti mei tormenti ; Farewell, my love ; Love, art 
 thou waking or sleeping ? ; The merry moonlight ; Midnight dream ; O ! sweet be 
 your slumbers ; The pirate's serenade ; Poor Camille ; Song of Harold Harfager ; 
 Song of the Rhenish peasant ; Song of the Spanish maid ; The Savoyard's return ; 
 Where art thou ? ; Zara ! art thou sleeping ? etc. 
 
 THOMSON (William). Scottish musician, son of Daniel Thomson, King's 
 Trumpeter in Edinburgh. Went to London, and became known as a singer. 
 Published " Orpheus Caledonius, or a Collection of the best Scotch Songs set 
 to Musick by W. Thomson," Lond. [1725], fo. Second edit., Lond, 1733, 
 2 vols., 8vo. 
 
 THORNE (Edward Henry). English org. and comp., B. Cranbourne, Dorset, 
 
 May 9, 1834. Articled to Sir George Elvey, Chap. Royal, Windsor, under 
 
 whom he studied. Org. successively of Henley-on-Thames, 1853 > Chichester 
 
 Cath., 1863 ; St. Patrick's, Brighton, 1871 ; St. Peter's, Cranley Gardens, 
 
 1873; and St. Michael's, Cornhill, London, 1875. 
 
 Works. — Sacred Music for the Home Circle, 1859. A Selection of Psalm and 
 
 Hymn Tunes, Lond., n. d. Church Services in E flat, B flat, and C. Anthems : 
 
 All Thy works praise Thee ; Behold the Lord the Ruler is come ; I was glad when 
 
 they said unto me ; O cast thy burden upon the Lord ; The Lord is in His holy 
 
 temple. Part-songs, Songs, and Pf. music. Two Trios for Pf., vn., and 'cello ; 
 
 Sonata for Pf and vn. ; Sonata and romance for Pf. and violoncello : Suite for Pf. 
 
 and clarinet. Psalm Lvn. for tenor solo, chorus and orch. 
 
 THUNDER (Henry G-.) Irish pianist and comp., B. near Dublin, Feb. 10, 
 10, 1832. S. under Thalberg. Settled in New York, and was org. of S. 
 Augustine's, S. Clement's, and S. Stephen's R. C. Churches. D. New York, 
 Dec. 14, 1881. Successful as a teacher. He comp. much church music, 
 songs, etc. 
 
 THURSBY (Emma). American soprano vocalist, B. Brooklyn, Long Island, 
 Nov. 17, 1857. S. under Julius Meyer, in Italy, and under Madame Ruders- 
 dorff. Was originally a church choir singer. Made a concert tour in the 
 U. S., 1875. Appeared in London at the Philharmonic Soc, May, 1878. 
 Sang in Paris, and in other parts of France, Germany, Austria, Belgium, 
 Spain, and Norway, 1879-1882. Since then has appeared chiefly in the 
 United States. She is best known as a concert vocalist. Her voice is a 
 powerful soprano, which she uses with great ease and skill. 
 
 THYS (Alphonse). French comp., B. Paris, March 8, 1807. S. Paris Cons, 
 under Bienaim^ and Berton. D. Bois-Guillaume, near Rouen, Aug., 1879. 
 Comp. operas, cantatas, songs, and much Pf. music. His daughter, Pauline 
 THys-Sebault, B. 1836, comp. operas and vocal music, 
 
Sgi tic — Toii 
 
 TICHATSCHEK (Josef Alois). Bohemian tenor vocalist, B. Ober-Weckels- 
 dorf, July ii, 1807. Chor. in S. Michael's, Vienna. DSui Dresden, 1837. 
 Appeared in London, 1841. Has sung in operas of Weber, M6hul, Spohr, 
 Meyerbeer, Beethoven, etc., in all parts of Germany. Teacher in Dresden. 
 D. Jan. 19, 1885. 
 
 TIETJENS, or TITIENS (Theresa Caroline Johanna). Hungarian soprano 
 
 vocalist, B. Hamburg, July 17, 1833 [1831]. DSui in "Lucrezia Borgia," at 
 
 Hamburg, 1849. Sang in Frankfort and Vienna till 1856. Appeared at 
 
 H. M. Theatre, London, as Valentine in "The Huguenots," April 13, 1858. 
 
 Sang throughout Britain from that date, and appeared in London every season. 
 
 She sang in America in 1876. Last appeared in London, May, 1877. D. 
 
 London, Oct. 3, 1877. 
 
 A vocalist of great popularity in Britain, where she was greatly admired for the 
 
 extraordinary power and sweetness of her voice. She sang in operas of Verdi, 
 
 Donizetti, Bellini, Cherubini, Meyerbeer, Flotow, Weber, Gluck, and Wagner. 
 
 TILLEAB.D (James). English comp. and editor, B. 1827. D. 1876. Pub- 
 lished Sacred Music for Schools, Lond., 1853; Secular Music for Schools, 
 1853 ; People's Chant Book, 1853. Te Deums, anthems, and other church 
 music. Patriotic Part Songs, 19 numbers, Lond. [1864]. Original part-songs, 
 songs, etc. 
 
 TILLMAN (S. D.) American writer, author of "A Treatise on Musical Sounds, 
 and an Explanation of the Tonometer," New York, i860. 
 
 TIMANOFF (Vera). Russian pianist, B. 1858. S. under Liszt. Appeared in 
 London at the Promenade Concerts, Covent Garden, 1880. Has since ap- 
 peared in London, and in various parts of the continent. 
 
 TINCTOR (Joannes). Belgian comp. and theorist, B, Nivelle, Brabant, 1434. 
 Chaplain to Ferdinand of Arragon, King of Naples, and estabhshed a music 
 school there. D. Nivelle, 1520. He wrote a number of most important theo- 
 retical works, of which "Terminorum Musicse Diffinitorium," n. d., 4to (a 
 musical dictionary, and the first of the kind) ; reprinted by John Bishop as a 
 supplement to his edition of Hamilton's Dictionary of Musical Terms ; " Liber 
 de Arti Contrapuncti ; " " Proportionale Musices," etc. 
 
 TITIENS. See TiETjENS. 
 
 TODI (Maria Francesca). Portuguese contralto vocalist, B. Portugal, 174S. 
 S. under Perez. De'iuf in London, at King's Theatre, 1772. Sang in Paris, 
 Berlin, and St. Petersburg, Hanover, etc. At St. Petersburg she became 
 highly intimate with the Empress Catherine, and acquired much court in- 
 fluence. D. Lisbon, June, 1793. 
 
 TOEPFER (Johann Gottlob). German writer and teacher, B. Niederrossla, 
 near Weimar, Dec. 4, 1 79 1. D. Weimar, May 8, 1870. Comp. org. and 
 choral music, and wrote on musical theory. 
 
 TOFTS (Catherine). English soprano vocalist of l8th century. She was the 
 first English vocalist who attempted Italian opera, and appeared in " Arsmoe, 
 " Camilla," " Rosamond," and " Love's Triumph." She is said to have been 
 very avaricious, and was continually mixed up in the broils and rivalry which 
 early beset the Italian opera. Latterly she married Mr. Joseph Smith, British 
 Consul at Venice, and is supposed to have become insane. She was living m 
 Venice in 1735. 
 
 TOLHURST (George). English comp. and org., B. 1827. D. Barnstaple, 
 Jan. 18, 1877. He comp. "Ruth," an oratorio, which went through two 
 editions ; org. music, church music, and songs. 
 
 TOLLET (Thomas). English musician, author of "Directions to Play the 
 French Flageolet"; and comp., with John Lenton, of "A Consort of Musick 
 in Three Parts," 1694. 
 
 TOMASCHEK (Wenzel Johann). Bohemian comp. and pianist, B. Skatsch, 
 April 17, 1774. Chiefly self-taught in music. Comp. to Count Bucquoy von 
 
TOM — tOtJ S93 
 
 Longueval. D. Prague, April 3, 1850. Chiefly famous as a teacher. He 
 numbers among his pupils Dessau, Kittl, Kuhe, Dreyschock, Schulhofif, 
 Bocklet, etc. His works consist of Masses, Hymns, and other church music ; 
 "Seraphine," opera, 1811 ; Leonora, ballad by BUrger, 1808; Symphonies, 
 quartets, trios, and a large quantity of pieces for the Pf. 
 
 TOMEINS (Thomas). English org. and comp., B. Gloucester in latter part of 
 
 i6th century. Chor. in Gloucester Cath. Educated at Magdalen Coll., 
 
 Oxford. Mus. Bac. Oxon., 1607. S. under Byrd. Gent, of Chap. Royal, 
 
 1621, and org. do., 1621. Org. of Worcester Cath. D. Worcester, 1656. 
 
 He comp. "Songs of 3, 4, 5 and 6 Parts," 1622, 4to ; "Musica Deo Sacra et 
 
 Ecclesiae Anglicanae, or Musick dedicated to the Honor and Service of God...," 
 
 Lond., 1664, 4to (issued in 10 parts). His father Thomas, comp. "The Faunes 
 
 and Satirs Tripping," madrigal in the "Triumphs of Oriana." His brother John 
 
 (D. London, Sept. 27, 1638), was org. of King's Coll., Cambridge, and afterwards 
 
 of S. Paul's Cath., London. Another brother, Giles, was org. successively of 
 
 King's Coll., Cambridge, and Salisbury Cath., till his death in 1668. 
 
 TOMLINS (William L.) English cond. and comp., B. London, Feb. 4, 1844. 
 Settled in the U. S., 1869. S. under Sir G. A. Macfarren, and E. Silas. 
 Cond. of the "Apollo Musical Club," Chicago, from 1875, and became associ- 
 ated with Theodore Thomas, as chorus master, at the Festivals given at 
 Chicago under his direction. Mem. of American Coll. of Musicians. Comp. 
 vocal music, and author of papers on Choral Training. 
 
 TOPLIFF (Robert). English musician, editor of "Selection of the most 
 Popular Melodies of the Tyne and the Wear, harmonised, with appropriate 
 words, symphonies, etc.," n. d., fo. "Scripture Melodies, the Words from 
 Holy Writ," Lond., 2 vols., n. d., fo. Some of his sacred songs, "Consider 
 the Lilies," etc., are still popular. 
 
 TOBBANCE (Rev. George William). Irish comp. and writer, B. Rathmines, 
 Dublin, 1835. Ordained, l866. Incumbent of Holy Trinity Church, Bala- 
 clava, near Melbourne. Mus. 1 Bac. and Doc, Dublin, 1879. Has comp. 
 "Abraham," "The Captivity," and "The Revelation," oratorios. Author of 
 "Music and its Relation to Religion, a Lecture," Dublin, 1861 ; etc. 
 
 TOSI (Pietro Francesco). Italian sopranist and comp., B. Bologna, 1650. 
 Travelled in Europe as vocalist, and resided in London as teacher during the 
 reign of Charles I. D. London. Author of " Opinioni de' Cantori Antichi e 
 Moderni...," 1723. Trans, by Galliard as "Observations on the Florid Song, 
 or Sentiments of the Ancient and Modern Singers," Lond., 1742, 2nd edit., 
 1743. He comp. songs and other vocal works. D. London, [1730]. 
 
 TOSTI (Francesco Paolo). Italian comp., B. Ortona, in the Abruzzi, April 9, 
 1846. S. under Pinto, Conti, and Mercadante. Teacher of Singing to the 
 Queen of Italy. Visited London, 1875. Teacher of Singing to the Royal 
 Family of Britain. Comp. of many fine Songs, of which the most popular 
 are: — At Vespers ; Forever and for ever; Goodbye; Mother; Non m' ama 
 pill ; Lamento d'amore ; Aprile ; also a number of vocal duets, etc. 
 
 TOURJIiE (Eben). American musician, E. Warwick, R. I., June i, 1834. 
 Self-taught in music. Org. in Old Trinity Ch., Newport. Established a 
 Musical Institute at East Greenwich, R. I. S. in Berlin under Haupt, 1863. 
 Established in Boston the New England Conservatory of Music, 1867, one of 
 the largest music schools in the world. He aided in the organisation and 
 direction of the Peace Jubilee, in 1869. He aided " The Centennial Old 
 Folks' Collection " (church music), and has written papers on musical subjects. 
 The teachers in the New England Cons, are the best known musicians in 
 America, and include Bendix, Chadwick, Daniell, Elson, Emery, Howard, 
 Maas, Parker, Whitney, Whiting, and Zerrahn. 
 
 TOURS (Berthold). French comp. and writer, B. Rotterdam, Dec. 17, 1838. 
 S. at Cons, of Brussels and Leipzig. Settled in London, 1861, and in 1878 
 became musical editor to Messrs. Novello, Ewer, & Co. 
 Works. — Church Service in F. Anthems: Blessed are they that dwell in thy 
 
 2 
 
S94 tOU — TRl 
 
 house ; Blessing, glory, wisdom, and thanks ; God be merciful ; God hath appointed 
 a day; In Thee, O Lord; O saving victim; Praise God in His holiness; etc. 
 Magnificat and Nunc Dimittis in F, with orch. accomp. Part-songs. Songs ; 
 Angel at the window ; Because of thee ; Fisherman's wife ; Gate of Heaven ; How 
 s'hall I picture thee ; Ivy tower ; Little chair ; Myrrha ; Name in the sand ; New 
 kingdom ; O mother dear, good-night ; Solitude ; Stars of the summer night ; Tears 
 of childhood ; Sea hath its pearls ; etc. Pf. music. The Violin (Music Primer), 
 London, n. d., 4to. He has also edited a number of large choral works. 
 
 TOURTE (Francois). French violin-bow maker, B. Paris, 1747. D. Paris, 
 April, 1835. Invented the violin-bow now in use. These bows are famous 
 for their fine workmanship and extreme lightness and elasticity. They in- 
 variably fetch good prices, and have been valued at all prices between ;^30 
 and £,1. 
 
 TOWERS (John). English cond. and writer, B. Salford, Feb. 18, 1836. Chor. 
 in Manchester Cath. S. at R. A. M., 1856, and at Berlin under Marx, 1857. 
 Org. of S. Stephen's Conell, Manchester, and cond. of Rochdale, Fallowfield, 
 and other Glee Societies. Author of "Beethoven, a Centenary Memoir;" 
 " The Mortality of Musicians," etc. 
 
 TOWERSON (Rev. Gabriel, D.D.) English divine and writer, B. 1635. 
 Rector of S. Andrew Undershaft. D. 1697. Author of "A Sermon concern- 
 ing concerning Vocal and Instrumental Musick in the Church," Lond., 1696, 4to. 
 
 TOWNSEND (Mrs.) Authoress of a " Floral Music Book for Young Learners," 
 Lond., 1862, 8vo. 
 
 TOWNSEND (Horace). Author of "An Account of the Visit of Handel to 
 Dublin," Dublin, 1852 ; "The Moral Uses of Music, Lecture," Dublin, 1862. 
 
 TOWNSEND (John). English flute-player, B. Yorkshire. S. under Mtiller 
 and Ware. Author of a " New and Complete Flute Preceptor," Lond., n.d. 
 
 TRAETTA (Tommaso). Italian comp., B. Bitonto, Naples, March 30, 1727. 
 
 S. under Durante. Chap. -master to Duke of Parma. Director of Cons, dell' 
 
 Ospedaletto, Venice. Comp. at Court of Catherine II. of Russia. Visited 
 
 London, 1776. D. Venice, April 6, 1779. 
 
 Works. — Operas: Farnace, 1751; Ezio, 1754; Stordilano, 1760; Armida, 
 
 1760; Sofonisba, 1761 ; Semiramide, 1765; L'Ohmpiade, 1770 ; Antigone, 1772; 
 
 Germondo, Lond., 1776 ; Artenice, Venice, 1778. Oratorios, and much vocal 
 
 music. 
 
 TRAVERS (John). English comp. and org., B. about 1703. Chor. in S. 
 George's Chap., Windsor. S. under Greene and Pepusch. Org. of S. Paul's 
 Covent Garden, 1725, and afterwards became org. at Fulham. Org. of Chap. 
 Royal, May 10, 1737. D. 1758. Published " The Whole Book of Psalms for 
 one, two, three, four, and five voices, with a. Thorough Bass for the Harpsi- 
 chord," Lond., 1746, 2 vols., fo. "Eighteen Canzonets for two and three 
 Voices, the words chiefly by Matthew Prior." Anthems: Ascribe unto the 
 Lord ; Ponder my words ; Keep, we beseech Thee, O Lord. 
 
 TRAVIS. See Knvyett (Deborah). 
 
 TREBELLI or 6ILLBERT (Zelia), Bettini. French contralto vocalist, B. 
 Paris, 1838. S. under Wartel. DSbut at Madrid, 1859. Sang afterwards in 
 Germany and Holland. Appeared in London, May, 1862. Married Signer 
 Bettini 1863, and soon afterwards separated from him. Has sang in St. Peters- 
 burg, Berlin, Vienna, and in 1875 and 1881 appeared in Norway and Sweden. 
 Appeared in the United States, 1884. Has since sang principally in Britain. 
 She sings in operas by Rossini, Donizetti, Weber, Bizet, Bellini, Gounod, 
 Verdi, Meyerbeer, Flotow, Mozart, etc, 
 
 TRITTA or TRITTO (Giacomo). Italian comp. and writer, B. Altamura, 
 Bari, 1732. S. under Cafaro. D. Naples, Sept. i6, 1824. Comp. II Prin- 
 cipe riconosciuto, 1780; Don Procopio, 1782; La Molinarella, 1789; Ginevra 
 di Scozia, iScxj ; Masses, Theoretical works, etc, 
 
tRO — Tuc 595 
 
 TEOUTBEOK (Rev. John). English writer, B. Blencowe, Cumberland, Nov. 
 12, 1832. Educated at Oxford, and graduated B.A., 1856; M.A., 1858. Pre- 
 centor of Manchester, 1865-69 ; Canon of Westminster, 1869. Author of 
 Manchester Psalter, 1868 ; Manchester Chant Book, 1871 ; " A Music Primer 
 for Schools," Lond., 1873, 8vo ; 2nd ed., 1876 (with Reginald F. Dale). 
 " Church Choir Training " (Music Primer), Lond. [1879], 8vo. Hymn Book 
 in Use in Westminster Abbey. English librettos for Beethoven's " Mount of 
 Olives"; Cade's "Crusaders," etc.; Killer's " Song of Victory ; " Wagner's 
 "Flying Dutchman," etc. 
 
 TROYTE (Arthur Henry Dyke), or Acland. English amateur comp., B. 
 May 3, i8n. Son of Sir J. D. Acland. Assumed name of Troyte in 1852. 
 D. June 19, 1857. Comp. the chants known by his name. 
 
 TRUHN (Friedrich Hieronymus). German comp., B. Elbing, Oct. 14, 
 
 181 1. S. under Klein, Mendelssohn, and Dehn. Comp. operas and choral 
 music, and known in Britain by his part-song "The Three Chafers.'' 
 
 TBYDELL (Rev. John). Irish writer, author of "Two Essays on the Theory 
 and Practice of Music," Dublin, 1766, 8vo. 
 
 TSCHAIKOWSKY (Peter Iljitsch.) Russian comp., B. Wotkinsk, Ural 
 District, April 25, 1840. S. at St. Petersburg Cons, under A. Rubinstein, etc. 
 Prof, of Harmony at Moscow Cons., 1866. Comp. resident in St. Peters- 
 burg, etc. 
 
 Works. — Operas: Voievode, 1869; Opritschnik, St. Petersburg, 1874; Vakoul 
 le Forgeron, 1876 ; Schwanensee, ballet ; Snegourotska ; Eugeny Onegin ; 
 Mazeppa, 1884. Overtures: Romeo and Juliet ; Triumphal, op. 15; 1812, Solen- 
 nella, op. 49. Symphonies: No. i, op. 13 ; No. 2 ; No. 3, op. 29 ; No. 4, op. 36. 
 Suites, fantasias, etc., for orch. ; String quartets, op. II, 22, 30, etc. ; Symphonic 
 poem for orch., " Francesca da Rimini," op. 32; Concerto for violin and orch., op. ^ 
 35; Concertos for Pf. and orch., op. 23 and 44. Pf. music, lieder, and concerted 
 vocal music. 
 
 TSCHIRCHE (Wilhelm). German org. and comp., B. Lichtenau, Lauban, 
 June 8, 1818. S. under Rungenhagen, Grell, and Marx. Cantor and org. at 
 Liegnitz. Comp. music for church, orch. and org. music, lieder, etc. His 
 brothers Ernst (1819-1854), Julius (1820-1867), Rudolf (1825-1S72), and 
 Adolf (D. 1875), were also musicians. 
 
 TSCHUDI. See Shudi. 
 
 TUA (Maria Felicita, or Teresina). Italian violinist, B. Turin, May 22, 
 1867. S. at Paris Cons, under Massart, and gained first prize for violin, 1880. 
 Travelled as violinist on Continent, and appeared at the Crystal Palace, Lon- 
 don, May 5, 1883. Has appeared elsewhere in London, and again on the 
 Continent with great and increasing success. 
 
 TUBES (Mrs. F. Cecilia). Translator of Dr. Joseph. Schluter's " General 
 History of Music," London, 1865. 
 
 TUCKER (Isaac). English comp., of Westbury, Leigh, Wilts, B. 1761. D. 
 1825. Comp. psalms and hymns. 
 
 TUCKER (Rev. William). English comp. of 17th century. Was Gent, of 
 Chap. Royal. Minor canon and precentor of Westminster Abbey, 1660. D. 
 London, Feb. 28, 1678, Comp. anthems and other church music. 
 
 TUCKERMAN (Samuel Parkman). American comp. and org., B. Boston, 
 Mass., Feb. 17, 1819. S. under C. Zeuner. Org. S. Paul's Ch., Boston, 
 1840. S. in London, and resided in various cathedral towns, studying the Ch. 
 service. Mus. Doc, Cantuar, 1853. Returned to England, 1856, and re- 
 mained till about i860. Now resident in Switzerland. 
 Works. — The Episcopal Harp, Boston, n. d. The National Lyre, a Collection 
 of Psalm and Hymn Tunes (with Bancroft and Oliver), Boston. Cathedral Chants, 
 a Collection of Psalm and Hymn Tunes, Anthems, Chants, etc. The Trinity 
 Collection of Church Music. ..New York, 1864. Church Services in C, G, F, and 
 
59^ tUD — ttJR 
 
 E flat. Anthems : Thou shall shew me the path ; Come unto Him ; God so loved 
 the world ; Lighten our darkness ; And they rest not ; Their sun shall no more go 
 down ; Come unto Me ; I looked, and behold a door was opened in heaven ; I was 
 glad when they said unto nie ; Hear my prayer ; etc. Hymns, part-songs, and 
 other works. 
 
 TUDWAY (Thomas). English comp. and org. of 17th century. Chor. in 
 Chap. Royal under Dr. Blow, from 1660. Lay-vicar St. George's Chap., 
 Windsor, 1664. Org. of King's Coll., Cambridge, 1670. Instructor of 
 Choristers, King's Coll., 1679-80. Org. of Pembroke Coll. Mus. Bac. Can- 
 tab., 1681. Prof, of Music in Cambridge University, 1704. Mus. Doc. 
 Cantab. Suspended from his University offices, 1706-7. Resigned his organ 
 at King's Coll., 1726, and retired to London, where he employed himself in 
 forming a collection of Music for Edward (Lord Harley), Earl of Oxford. 
 D. 1730. 
 Works. — A Collection of the most celebrated Services and Anthems used in the 
 Church of England, from the Reformation to the Restoration of K. Charles H., 
 composed by the best masters and collected by Thomas Tudway...," 6 vols. [1715- 
 1720], now preserved in MS. in the British Museum, London. Of this collection a 
 list will be found in the British Museum Catalogue of MS. Music. From it a 
 number of services and anthems have been printed at various times. Tudway 
 comp. various anthems, motets, services, and songs. 
 
 TUFTS (Rev. John). American musician, was minister of the second church in 
 Newbury, Mass. D. 1750. Published "A Very Plain and Easy Introduction 
 to the Art of Singing Psalm Tunes, with a Collection of Tunes in Three Parts," 
 1710, l6mo ; 8 editions to 1731. 
 
 TULLY (James Howard). English comp. and cond., B. 1815. Cond. opera 
 at Drury Lane Theatre and elsewhere. D. London, Jan. 28, 1868. Comp. 
 "I'm a light bright water sprite," "Summer Hours," and a large number of 
 other songs. He also comp. operatic works. 
 
 TIILOU (Jean Louis). French flute-player and comp., B. Paris, Sept. 12, 
 1786. S. at Paris Cons. Prof, of Flute in Paris Cons. Afterwards flute 
 manufacturer at Nantes. D. Nantes, July 23, 1865. Comp. concertos, solos, 
 fantasias, variations, etc. for flute ; and a symphonic concertante, for flute, 
 oboe, and bassoon. 
 
 TUNSTED (Simon). Enghsh Franciscan monk and Doctor of Theology. B. 
 at Norwich early in 14th century. D. Bruzard, Suffolk, 1369. Author of 
 " De Musica Continua et Discreta cum Diagrammatibus," and " De Quatuor 
 Principalibus in quibus totius Musicse Radices Consistunt," two works pre- 
 served in MS. in the Bodleian Library, Oxford. 
 
 TURK (Daniel Gottlieb). German comp. and writer, B. Claussnitz, near 
 Chemnitz, Aug. 10, 1756. S. under Horailius. Music-director of Halle Uni- 
 versity, 1779 ; and org. of ch. of Notre Dame, Halle, 1787. D. Halle, Aug. 
 26, 1813. Author of a " Clavierschule..." 1789, 4to, of which an English 
 translation exists as " A Treatise on the Pianoforte, from the German of D. G. 
 Turk, by C. G. Vaunberger, Lond., 1804, 8vo. Comp. cantatas, sonatas for 
 Pf., and a large number of songs. 
 
 TURLE (James). English org., comp., and writer, B. Taunton, March 5, 
 1802. Chor. in Well's Cath., 1810-13. Org. of Christ Ch., Surrey, 1819-29, 
 and of St. James', Bermondsey, 1829-31. Assistant org. to Greatorex at West- 
 minster Abbey till 1831, and succeeded him as org. and master of the choris- 
 ters, 1 83 1. Music-master at the School for the Indigent Blind, 1829-56. D. 
 London, June 28, 1882. 
 Works.— Art of Singing at Sight (with E. Taylor), Lond., 1846, 8vo. Psalms 
 and Hymns, 1855. Psalms and Hymns for Public Worship, Lond., 1863, 1864, 
 1869. Hymns for Public Worship, revised, 1863. Psalter and Canticles, with 
 Chants, Lond., 1865. Child's Own Tune Book, 1865. The People's Music Book 
 (with E. Taylor^, Lond., n. d. Edited Wilbye's First Set of Madrigals, for the 
 Musical Antiquarian Soc, 1841. Single and Double Chants, composed for the use 
 
TUR — TYE 597 
 
 of the Choral Service of Westminster Abbey. The Westminster Abbey Chant 
 Book, with Dr. J. F. Bridge, n. d. Church Services in D, E flat, etc. Anthems: 
 Almighty and most merciful God ; Hear my crying, O God ; The Lord that made 
 heaven and earth ; This is the day which the Lord hath made ; Arise, and help, etc. 
 
 TUKNBULL (John). Scottish musician, B. Paisley, Jan. 12, 1804. Precentor 
 in St. George's Ch., Glasgow. D. Glasgow, 1845. Published "A Selection 
 of Original Sacred Music in Four Parts," adapted to the various metres used in 
 Presbyterian churches and chapels,.. Glasgow, 1833, 8vo. The Garland of 
 Scotia, a Musical Wreath of Scottish Songs, with Descriptive and Historical 
 Notes, Glasgow, 1841, 8vo (with Patrick Buchan). Easy and Progressive 
 Exercises in Singing and in Reading Music, Glasgow, n. d., 8vo. Six Glees, 
 for three and four voices, Glasgow, n. d., fo. An edition of R. A. Smith's 
 Devotional Music, and a number of anthems, psalms, and songs. 
 
 TURNER (John). English writer, author of " Manual of Instruction in Vocal 
 Music, chiefly with a view to Psalmody..." Lond., 1833, 2nd ed. 1835, Boston 
 ed. 1836 ; "Class Singing Book for Schools," 1844, 2 parts, 8vo. 
 
 TURNER (William). English comp., B. 1651. Chor. of Christ Ch., Oxford, 
 under Lowe, and chor. Chap. Royal under Cooke. Chorister in Lincoln 
 Cath., and Gent, of the Chap. Royal, 1669. Vicar-choral of S. Paul's, and 
 lay-vicar Westminster Abbey. Mus. Doc, Cantab., i6g6. D. Westminster, 
 Jan. 13, 1740. Comp. music for "Presumptuous Love," 1716 ; Services, 
 anthems, and other church music. Another William Turner wrote " A 
 Philosophical Essay of Musick directed to a Friend," Lond. [1677], 4to ; 
 " Sound Anatomized in a Philosophical Essay on Music, wherein is explained 
 the Nature of Sound, both in its Essence and Regulation," Lond., 1724, 4to 
 (3 editions). 
 
 TURPIN (Edmund Hart). English org., comp., and writer, B. Nottingham, 
 May 4, 1835. S. org. under C. Noble, and in London under HuUah and 
 Pauer. Org. of Ch. of S. Barnabas, Nottingham, 1850. Appeared as an org. 
 in London, at the Exhibition of 1851, and performed at the Crystal Palace, 
 Royal Albert Hall, Bow and Bromley Institute, etc. F. C. O., 1869. Org. 
 S. George, Bloomsbury, 1869. S. music Trinity Coll., London, 1874. Cond. 
 and Secretary of Coll. of Organists, 1875. Musical Examiner for Coll. of 
 Preceptors, and Prof, of Form and Instrumentation at Trinity Coll., London. 
 Editor of the Musical Standard since 1880. 
 Works. — Cantatas: A Song of Faith, 1867 ; Jerusalem. Oratorios: S. John 
 the Baptist, and Hezekiah (MS). Symphony, The Monastery (MS.). A Festival 
 Mass, in D (with orch.) ; Motets, etc. Overtures for orch., quartets, etc. Hymn 
 Tunes, edited, 1872. Anthems : Trust ye in the Lord ; The Offertory Sentences ; 
 Blessed be the Lord God of Israel ; etc. Organ : Overtura pastorale ; Musette ; 
 Adagio and Allegro ; Andante ; Allegro maestoso ; Gavotte modeine ; Short Volun- 
 taries from unpublished scbres ; Impromptu in C ; Prelude and Fugue in F ; Post- 
 lude alia Marcia. Students' Edition of Classical Composers (36 numbers), Pf. 
 Songs, duets, and other vocal music. 
 
 TWINING (Rev. Thomas). English musician and writer, B. London, 1734. 
 Rector of S. Mary's Colchester, 1770. D. Colchester, Aug. 6, 1804. Pub- 
 lished "Aristotle's Treatise on Poetry, translated with Notes., and Two Dis- 
 sertations on Poetical and Musical Imitation," Oxford, 1789, 4to ; London, 
 1812, 2 v., 2nd ed. 
 
 TYE (Christopher). English org., comp., and verse-writer, B. Westminster 
 early in the i6th century. Chor. and Gent, of Chap. Royal. Mus. Bac, 
 Cantab., 1536. Org. of Ely Cath., 1541-1562. Mus. Doc, Cantab., 1545, 
 and Oxon. {ad eundem), 1548. D. March, 1572 [?i58o]. 
 Works. — The Actes of the Apostles, translated into Englyshe meter, and dedi- 
 cated to the Kynge's moste excellannte Maiestye...wyth notes to eche chapter, to 
 synge and also to play upon the Lute,... London, 1553,410; A Notable Historve 
 of Nastagio and Traversari, no less PitiefuU than Plesaunt, out of Italian, Lond., 
 1569, i2mo ; Service in G min. Anthems: I will exalt Thee; Sing unto the 
 Lord ; This is the day which the Lord hath made ; Arise, and help us. Masses, 
 anthems, and other works in MS, 
 
S98 TYN — URB 
 
 TYNDALL (John), Irish scientist and writer, B. Leighlin Bridge, near Car- 
 low, 1820. Author of " Sound : a Course of Eight Lectures delivered at the 
 Royal Institution ot Great Britain," London, 1867, 8vo ; other editions. 
 
 TYTLER (Sarah). See Keddie (Henrietta). 
 
 TYTLEB (William), of Woodhouselee. Scottish antiquary and writer, B. 
 Edinburgh, Oct. 12, 1711. D. Woodhouselee, Sept. 12, 1792. Member of 
 the Musical Society of Edinburgh, and author of "A Dissertation on the 
 Scottish Music," which has been printed along with Arnot's "History of 
 Edinburgh;" Napier's " Selection of Favourite Scots Songs ; " and in "The 
 Poetical Remains of James I. of Scotland. " "An Account of the Fashionable 
 Amusements and Entertainments of Edinburgh in the Last Century, with the 
 Plan of a Grand Concert of Music performed there on St. Cecilia's Day, 1695," 
 in the ' ' Transactions of the Society of Antiquaries of Scotland. " His advice to 
 persons seeking health and contentment was, " Short, but cheerful meals, 
 Music, and a good conscience." 
 
 u. 
 
 UBEB (Friedrich Christian Hermann). German violinist and comp., B. 
 Breslau, April 22, 1781. D. Dresden, March 2, 1822. Comp. operas, 
 oratorios, symphonies, concertos, overtures, etc. 
 
 UGALDE (Delpbine), nie Beuce. French soprano vocalist, B. Paris, Dec. 3, 
 1829. S. under Madame Moreau-Santi. Debut at Opera Comique, 1848. 
 Appeared in London, June, 1S52. Afterwards sang in Paris in operas of 
 Auber, Thomas, Rossini, Mozart, Mass4 etc. Retired, and now employed as 
 a vocal teacher. 
 
 UGOLINI (Vincenzo). Italian comp., B. in 2nd half of i6th century, at 
 Perouse. S. under B. Nanini. D. 1626. Comp. masses, motets, and psalms. 
 
 ULBICH (Hugo), German comp., B. Oppein, Silesia, Nov. 26, 1827. S. under 
 Dehn and Brosig. Prof, for a time in Berlin Cons. D. Berlin, May 22, 1872. 
 Comp. an opera, three symphonies, overtures, string quartets, Pf. music, and 
 lieder. 
 
 UMBREIT (Carl Gottlieb), German comp. and org., B. Kehstedt, Gotha, 
 June 9, 1763. S. under Kittel. D. Kehstedt, April 27, 1829. PubUshed 
 organ and vocal music, and "Allgemeines Choral- Buch," 181 1. 
 
 UMLAUF (Ignaz). Austrian comp., B. Vienna, 1756. D. Vienna, June 8, 
 1796. Comp. " Bergknappen, " "Die Schbne Schustern," "Das Irrlicht," 
 "Die Gliicklichen Jager," and other operettas or singspiele. His son 
 Michael, B. Vienna, 1781. D. Baden, near Vienna, June 20, 1842, was a 
 violinist and comp. 
 
 UNGER or UNGHER (Caroline), Hungarian contralto vocalist, B. Stuhl- 
 weissenburg, near Pesth, Oct. 28, 1805 [1800]. S. under Vogl, etc. DSbut at 
 Vienna, 1821. Sang in Italy, and in Paris, 1833. Married M. Sabatier, and 
 retired, 1840. D. Florence, March 23, 1877. Sang in operas of Rossini, 
 Donizetti, Mercadante, and Bellini. 
 
 TTRBANI (Pietro), Italian comp., B. Milan [1749]. S. at Milan. Resided in 
 
 Edinburgh from 1776 ; and was latterly a teacher and cond. in Dublin. D, 
 
 Dublin, 1816. 
 
 Works. — Operas : Farnace, Dublin, 1784 ; II Trionfo di Clelia, Dublin, 1785. 
 
 A Selection of Scots Songs, harmonised and improved, with simple and adapted 
 
 graces... Edinburgh [1792-99], Books I to 4. A Select Collection of Original 
 
 Scotch Airs, with Verses, the most part of which were written by the celebrated 
 
 Holicrt Burns... 1804, Books 5 and 6, A Favourite Selection of Scots Tunes, 
 
U R F — V A U 599 
 
 properly arranged as Duettos for Two German Flutes or Two Violins, Edinburgh, 
 n. d , 2 vols. 
 
 URFEY (Thomas D'). See D'Urfey (Thomas). 
 
 URQUHART (Thomas). Scottish violin-maker of 17th century. Established 
 in London in reign of Charles II., and made instruments of considerable value. 
 These are now rarely met with. Noted for good varnishing. 
 
 USIG-LIO (Emilio). Italian comp., B. Parma, Jan. 8, 1841. S. under Mabel- 
 lini. Cond. in various Italian towns, and of Thetee Italien, Paris, from 1877. 
 Comp. "La Locandiera," "La Secchia rapita," " Le Donne Curiose," and 
 other operas. 
 
 V. 
 
 VACCAJ (Nicola). Italian comp., B. Tolentino, March 15, 1790. S. under 
 Jannaconi and Paisiello. Teacher at Trieste and Vienna, and in Paris and 
 London, 1829-30. Principal of Milan Cons., 1838. D. Pesaro, Aug. S, 1848. 
 Comp. I solitari di Scozia, 1814; Giulietta e Romeo, Naples, 1825 (London, 
 1832) ; Marco Visconti, 1831 ; Giovanna d'Arco ; Giovanna Grey ; Zadig ed 
 Astartea ; Virginia ; and other operatic works. Melodo pratico di canto 
 Italiano, London, n.d., fo. Arias, and other vocal works. 
 
 VAET (Jacob). Flemish comp. of i6th century. Chap. -master at Imperial 
 Chap, of Vienna. D. Vienna, Jan. 8, 1567. Comp. chansons, Te Deums, 
 motets, and much church music. 
 
 VALENTINE (John). English writer, author of " Elements of Practical Har- 
 mony," Lond., n.d., 8vo. 
 
 VALENTINE (Thomas). English comp. and writer, B. 1790. D. near Bir- 
 mingham, Jan. II, 1878. Author of "Instructions for the Pianoforte, to 
 which is added a Selection of Favourite Airs, ... " Lond. [1826]; "A Dictionary 
 of Terms used in Music," Lond., 1833, Svo. Comp. and arranged music for 
 the Pf. 
 
 VALLEBIA (Alwina), or Lohmann. American soprano vocalist, B. Balti- 
 more, Maryland, Oct. 12, 1848. S. at R. A. M., London, under W. H. 
 Holmes and Wallworth. Gained Westmoreland Scholarship, 1869. S. also 
 under Arditi. Dibut, 1871. Appeared at St. Petersburg, 1871 ; in Germany, 
 Milan, and at H. M. Theatre, London, May, 1873. Sang at Italian opera, 
 till 1882, and from then onwards with the Carl Rosa company in English 
 opera. Married Mr. R. H. P. Hutchinson, 1877. Sings in operas of Meyer- 
 beer, Verdi, Mozart, Bizet, Mackenzie, Wagner, etc. She has also appeared 
 with much success throughout Britain as a concert vocalist. 
 
 VAN BREE. See Bree (J. B. Van). 
 
 VAN DYK (Harry Stoe). English lyric author and librettist, B. 1798. D. 
 1828. Author of "Theatrical Portraits, and other Poems," "Selection of 
 Russian Melodies," and songs set to music by Barnett, Bishop, Rodwell, Raw- 
 lings, Crouch, and other contemporary composers. 
 
 VANEYKEN. See Eyken. 
 
 VANHALL or WANHAL (Johann Baptist). Dutch comp., B. Necha- 
 nicz, Bohemia, May 12, 1739. S. under Dittersdorf at Vienna. Violinist and 
 comp. there. D. Vienna, Aug. 26, 1813. 
 Comp. 100 symphuuies, 100 string quartets, masses, an oratorio, operas, and Pf, 
 sonatas. Some of his Pf. works and overtures were republished in England. 
 
 VAXJCORBEIL (Auguste Emmanuel). French operatic manager and comp., 
 B, Rouen, Dec. 15, 1821, S. Pari^ Cons. Became director of the Pari? 
 
600 VAU — VER 
 
 Ophsi, 1879, and managed it till he D. at Paris, Nov. 2, 1884. He comp. 
 operas, string quartets, sonatas for vn. and Pf., songs, and other works. 
 
 VAUGHAN (Thomas). English tenor vocalist, B. Norwich, 1782, Chorister 
 in Norwich Cath. under Beckwith. Lay-clerk St. George's Chap., Windsor, 
 1799. Gent, of the Chap. Royal, 1803. Vicar-choral St. Paul's, London, 
 and lay-vicar Westminster Abbey. Married Miss Tennant, a soprano singer. 
 Singer at Concert of Ancient Music, and at the principal London and provin- 
 cial concerts. D. Birmingham, Jan. 9, 1843. 
 
 VECCHI (Orazio). Italian comp., B. Modena, 1551. Chap. -master of Modena 
 Cath., 1596, Director of music to court of Modena, 1598. D. Modena, Sept. 
 19, 1605. He comp. " Canzonette," 1580, 1585, 1590, and 1611; " Madri- 
 gali," 1589, 1591, etc. Motets, masses, and other church music. 
 
 VELLUTI (Giovanni Battista). Italian soprano vocalist, B. Monterone, An- 
 cona, 1781. S. under Calpi. Debut at Forli, 1800. Appeared at Rome, 
 1805, Naples, 1807, Milan, 1809, Vienna, 1812, London, 1825 and 1829. 
 D. Padua, Feb. 1861. 
 
 VENOSA (Prince of). See Gesualdo, 
 
 VEBACINI (Francesco Maria). Italian comp. and violinist, B. Florence, 
 1685. Leader of the opera orch. in London, 1714-20. Soloist at Court of 
 Dresden, 1720. Comp. in London, 1735. D. Pisa, 1750. Comp. "Adriano," 
 '735 > "Roselinda," 1744 ; and " L'Errore di Salomone," 1744, operas pro- 
 duced at London ; Violin sonatas, concertos, and other instrumental music. 
 
 VERDI (Giuseppe). Itahan comp., B. Roncole, near Busseto, Oct. 10, 1813. S, 
 under Provesi, at Busseto, and at Milan, under Lavigna. Married to Marghe- 
 rita Barezzi, 1836, and in 1838 settled in Milan. Married again to Mme. 
 Strepponi. Comp. for various Italian cities, London, 1847, etc. Has resided 
 for a number of years at St. Agata, near Busseto. 
 Works. — Operas: Oberto 'Conte di S. Bonifacio, Milan, Nov. 1839; Un 
 giorno di Regno, 1840 ; Nabucodonosor, Milan, 1842 ; I Lombard!, Milan, 1843 ; 
 Ernani, Venice, March, 1844 ; I due Foscari, Rome, 1844 ; Giovanna d'Arco, 
 Milan, 1845 ; Alzira, Naples, 1845 5 Attila, Venice, 1846 ; Macbeth, Florence, 
 1847 ; I Masnadieri, London, July 22, 1847 ; Jerusalem, Paris,- 1847 ; II Corsaro, 
 Trieste, 1848 ; La Battaglia di Legnano, Rome, 1849 ; Luisa Miller, Naples, 1849 ; 
 Stifellio, Trieste, 1850 : Rigoletto, Venice, March, 1851 (London, 1853); II Trova- 
 tore, Rome, Jan. 19, 1853 (London, May, 1855); La Traviata, Venice, March 6, 
 1853 (London, May, 1856); Les V^pres Siciliennes, Paris, 1855; Simon Boccanc- 
 gra, Venice, 1857; Aroldo, Rimini, 1857; Un Ballo in Maschera, Rome, 1857; 
 La forza del Destino, St. Petersburg, 1862 ; Don Carlos, Paris. 1867 ; Aida, Cairo, 
 1871 ; Requiem mass, Milan, 1874. Some miscellaneous church and chamber music. 
 One of the most popular operatic composers of the present century. His works 
 abound in fine melody, and it is due to this more than to anything else that they 
 have taken such a prominent place in the affections of the people. Notwithstanding, 
 they are now declining in popular esteem in Britain, and his earlier works have long 
 since lost place everywhere. His most powerful work, and that possessing the 
 greatest kinship to the recent development in operatic writing, is Aida, in which he 
 has followed in a measure the leading of Wagner. " II Trovatore " achieved most 
 extraordinary popularity, and is still a leading favourite in Britain, where an Eng- 
 lish version has been performed for a number of years by various opera companies. 
 His music is an advance on that of Donizetti and Bellini in its dramatic colouring, 
 and in some respects equals and transcends that of Rossini. In his recent works 
 he takes rank above all other Italian composers of the present time. 
 
 VERHULST (Johannes Josephus Herman). Dutch comp. and cond., B. 
 
 at the Hague, March 19, 1816. S. under J. Klein, and at Leipzig. Cond. of 
 Euterpe Concerts at Leipzig (resigned 1882). Cond. at the Hague, Rotterdam, 
 and Amsterdam. Comp. symphonies, overtures, quartets, and other instru- 
 mental works, and music for the church and voice. 
 
 VERNON (Joseph). English tenor vocalist, B. Coventry [1738]- S. under 
 W. Savage. Appeared at Drury Lane Theatre, London, 1751, and from 1756 
 sang at Vauxhall and other London Concerts, and appeared on the stage in 
 
VER — VIE 6oi 
 
 various musical dramas. D. Lambeth, London, March 19, 1782. Comp. 
 songs and ballads. 
 
 VERNON (M.). English writer. Author of " Analogy of the Laws of Musical 
 Temperament to the Naiuial Dissonance of Creation," London, 1867, 8vo. 
 
 VERRINDER (Charles Garland). English org. and comp., B. Blakeney, 
 Gloucestershire. S. under Sir G. J. Elvey. Org. successively of S. Giles'-in-the- 
 fields ; Christ Ch., Lancaster Gate ; and S. Michael's, Chester Square, Lond. 
 Org. of the Reformed Synagogue, Lond. Mus. Bac, Oxon , 1862; Mus. 
 Doc, Cantuar, 1873. Comp. of " Israel," a cantata ; Church Service in E. 
 Anthems : Seek ye the Lord ; The light hath shined upon us ; Eemember, 
 Lord. Thy loving kindness ; Blessed is he that considereth the poor ; Grant to 
 us, Lord, we beseech Thee ; O Lord, raise up, we pray Thee ; etc. Hebrew 
 Music and Psalms, 3 vols. Organ music, etc. 
 
 VESTRIS (Lucia Elizabeth), nee Bartolozzi. English contralto vocalist 
 and actress, B. London, 1797. S. under Corri. Married Armand Vestris, a 
 ballet-master, 1813. Appeared in opera, 1815. Appeared in Paris, 1816. and 
 again sang in London from 1820, appearing in operas and in numerous theat- 
 rical pieces. She became manager successively of the Olympic, Covent Gar- 
 den, and Lyceum Theatres, and produced a large succession of dramatic pieces, 
 in many of which she appeared. Married to Charles Mathews the younger, 
 1838. D. Fulham, London, Aug. 8, 1856. Famous for her beauty, and her 
 charming style of acting and singing. 
 
 VIADANA (Ludovico). Italian comp., B. Lodi, 1565. Chap. -master at 
 Fano in Urbino, Mantua, etc. He was living in Mantua in 1644. Comp. 
 church music, madrigals, and " Cento concerti ecclesiastici a I, 2, 3, e 4 voci, 
 con il basso continuo per sonar nell' crgano..." Venice, 1603, 5 vols. Famous 
 as the first to write solos with organ accoinpaniments. 
 
 VIARD-LOUIS (Jenny), nie Martin. French pianist and writer, B. Car- 
 cassonne, Sept. 29, 1831. S. at Paris Cons., and under Madame Pleyel. 
 Married Nicolas Louis (D. 1857), a comp., 1853. Married M. Viard, a mer- 
 chant, 1859. Performed as pianist in Gerinany and Paris. Appeared in Lon- 
 don, 1876, and since then has given numerous concerts of Pf. music. Authoress 
 of "Music and the Piano," Lond., 1884, 8vo. 
 
 VIARDOT-GARCIA (Michelle Ferdinande Pauline). Spanish mezzo- 
 soprano vocalist and comp., B. Paris, July 18, 1821. S. under her father, 
 Manuel Garcia, the celebrated vocal trainer. S. Pf under Meysenberg and 
 Liszt, and comp. under Reicha. Debut as a vocalist at Brussels, 1837. 
 Appeared at H. M. Theatre, London, May, 1839. Married M. Louis 
 Viardot, 1840. Travelled as a vocalist in Italy, Spain. Germany, Russia, and 
 England, and in 1849 sang again in Paris. Sans; in London and Paris from 
 1849. Has resided since 1871 in Paris, where she is a teacher, and Prof, of 
 singing at the Cons. Her husband died in 1883. She has comp. a number of 
 operettas, chamber and Pf. music, songs, etc. Among her pupils are Artot, 
 Brandt, and Antoinette Sterling. 
 
 VIDAL (Louis Antoine). French writer, B. Rouen, July 10, 1820. Author 
 of "Les Instruments a Archet, les Fesseurs, les Joueurs d'Instruments leur 
 Histnire sur le continent Europeen suivi d'un Catalogue general de la Musique 
 de Chambre," Paris, 1876, 3 vols., 4to ; A monumental and beautifully illus- 
 trated work on musical instruments played by the bow. 
 
 VIEELING (Georg). German org. and comp., B. Frankenthal, Bavaria, Sept. 
 15, 1820. S. under Rinck and Marx. Org. of the Oberkirch, Frankfort-on- 
 Main, 1847, Founded a Bach Society at Berlin. Retired from the musical 
 profession. Comp. a symphony, overtures, vocal quartets, lieder, and several 
 large choral works. 
 
 VIERLING (Johann Gottfried). German org. and comp., B. Metzels, 
 Saxony, Jan. 25, 1750. D. Schmalkalden, Nov. 22, 1813. Comp. Choral- 
 vorspiele for the org., sonatas for org. and Pf., preludes, fugues, and interludes 
 for org. Writer on theorj'. 
 
502 VIE — VI V 
 
 VIEUXTEMPS (Henri). Belgian violinist and comp., B. Vervlers, Feb. 17, 
 
 1820. S. originally under Lecloux, a musician of Verviers ; afterwards under 
 
 De Beriot, Sechter, and Reicha. Travelled as a violinist in Germany, and 
 
 performed in Vienna. Appeared in London at a Philharmonic Concert, June, 
 
 1834. Visited Russia, Germany, and in 1841 appeared again in London. 
 
 Visited the Uniled Stales, 1844. Married Josephine Eder, a pianist, 1845. 
 
 Solo violinist to ihe Emperor of Russia, and Prof, at the Cons , 1846-52. 
 
 Appeared again in America, 1857, and in 1870. Prof, of violin at Brussels 
 
 Cons., 1871. D. Mustapha-lez-Alger, Algiers, June 6, 1881. 
 
 Works. — Concertos for violin and orch., in E, op. 10; F sharp minor, op. ig ; 
 
 A, op. 25 ; D minor, op. 31 ; A minor, op. 37 ; G, op. 47 ; Hommage a Paganini, 
 
 caprice, op. 9 ; Fantaisie-caprice, op. 11; Sonata for Pf. and vn., op. 12 ; Duo 
 
 brillant for vn. or 'cello and orch., op. 39 ; Feuilles d' Album, op. 40; Ballade and 
 
 Polonaise, vn. and orch., and many other violin pieces. 
 
 A great and brilliant performer of the French school, famed for his command 
 over the technique of the instrument, and the breadth and originality of his inter- 
 pretation of the more modern masters. His works are clever, difficult, and possess 
 much originality and dash. 
 
 VILBAC (Alphonse Oharls Eenaud de). French comp., org., and pianist, 
 B. Montpellier, June 3, 1829. S. Paris Cons. D. Brussels, March 19, 1884. 
 Comp. operettas, cantatas, and much Pf. music of a brilliant and effective 
 character. 
 
 VILLOTEAU (Guillaume Andre). French writer, B. BellSme, Sept. 6, 
 1759. D. Tours, April 27, 1839. Author of several works on musical theory, 
 and of the musical portion of " La Description de I'Egypte," 1809-26, published 
 in 20 vols. , fo. and 8vo. 
 
 VINCENT (Marvin E.) Author ot " Church Music," New York [1880], 8vo. 
 
 VINCENT (Rev. William, D.D.) English writer, author of "Considerations 
 on Parochial Music," Lond., 1790, 8vo. 
 
 VINCI (Leonardo). Italian comp., B. Strongoli, Calabria, 1690. S. under 
 Greco. D. 1732. Comp. operas, and much vocal music for solo and duet. 
 His "Six Arie," issued by Walsh, London, in folio, is scarce. 
 
 VINNING. SeeO'LEARY. 
 
 VIOTTI (Giovanni Battista). Italian vnst. and comp., B. Fontanetto, Pied- 
 mont, Mar. 23, 1753. D, Mar. 3, 1824. S. under Pugnani. Travelled with 
 Pugnani in Germany and Russia, and about 1780 appeared in London. He 
 performed in Paris, 1782, and afterwards resided there as a teacher, and 
 director of the Italian opera till 1793. Resided in London from about 1793, 
 and became manager of Italian opera. Resided between London and Paris 
 till his death at London, March 10, 1824. 
 His works consist of Concertos for violin and orch. ; Quartets for strings ; Trios 
 for strings, opp. 16, 17, 19, 20, etc. ; Sonatas for violin and bass ; Duets for two 
 violins; Serenades for Pf. and vn., op. 23; and other instrumental pieces, only a 
 s.nall proportion of which is now in use. He was celebrated as a teacher and per- 
 former, and as the former was one of the most influential instructors who ever lived. 
 His works are melodious and agreeable, without exhibiting much that is powerful or 
 original. 
 
 VITTORIA (Tommaso Ludovico da). Spanish comp., B. Avila, 1540. S. 
 at Rome. Choir-master of Ch. of S. Appollinare, Rome, 1575-89. Chap.- 
 master at Royal Chap., Madrid. I). Madrid [1606-8]. Comp. masses, motets, 
 hymns, psalms, and other works for the Roman Catholic church service, some 
 of which are still in use. 
 
 VIVALDI (Antonio). Italian comp. and violinist, B. Venice, in latter part of 
 17th century. Violinist in service of the Court of Hesse-Darmstadt. Leader 
 at the Ospitale della Pieta, Venice. D. Venice, 1743, Comp. many operas 
 rind other vocal music, and numerous concertos, trios, sonatas, and other works 
 fur stringed instruments. 
 
VOG — WAC 603 
 
 VOGL (Heinrich). German tenor vocalist, B. Au, near Munich, Jan. 15, 1845. 
 S. under F. Lachner. Dibut in Der Freischiitz, 1865, at Munich. Married 
 Therese Thoma, 1868. Has appeared chiefly in Wagner's operas in Germany, 
 and in 1882 sang at H. M. Theatre, London. His wife, nee Thoma, B. 
 Tutzing, Bavaria, Nov. 12, 1846. S. under Hauser at Munich Cons. Sang 
 in Wagner's operas with her husband, and appeared with him in London, in 
 1882. 
 
 VOGL (Johann Michael). Austrian barytone vocalist, B. Steyer, Aug. 10, 
 1768. Sang at Court opera in Vienna in operas of Gluck, Mozart, M^hul, etc. 
 D. Vienna, Nov. 19, 1840. Celebrated as an exponent of the music of 
 Schubert. 
 
 VOGLER Georg Joseph, Abbe). German comp., org. and writer, B. Wilrz- 
 burg, June 15, 1749. S. under Valotti and Mysiiweczel<, and in 1773 was 
 ordained priest. Spent most of his life travelling about Europe, and in 1784 
 was in London. Chap. -master to the King of Sweden at Stockholm, and held 
 other appointments. Chap. -master and director of a music school at Darm- 
 stadt, 1807. D. Darmstadt, May 6, 1814. 
 Works. — Operas: Albert III. von Baiern, 1780; La Kermesse, 1783; Castor 
 and Pollux, 1784; Egle, 1787; Gustav Adolf, 1792; Samori, 1804, etc. Masses, 
 motets, hymns. Instrumental music, consisting of trios for Pf and strings : Con- 
 certos for Pf and org. ; Preludes, fugues, and other works for organ. An Organ 
 School, 1797; A Choral System, 1800 ; Handbuch zur Harmonielehre, etc., 1802; 
 and many other theoretical works. 
 
 Famous as a teacher of influence, and as a composer and performer of great note 
 in his day. He was the teacher of C. M. von Weber, Winter, Meyerbeer, Danzi, 
 and Gansbacher. 
 
 VOGT (Gustave). French oboe-player and comp., B. Strasburg, March 18, 
 1781. S. Paris Cons. Solo oboist at the opera, and Prof, at the Cons. Played 
 at the Philarmonic Soc, London, 1825-28. D. Paris, May 30, 1879. Author 
 of an Oboe Method, and comp. ol arrangements and original pieces for oboe. 
 
 VOLCEMAB (A. B. Wilhelm). German org. and comp., B. Herzfeld, Dec. 
 26, 1812. S. under his father, and became org. and teacher at Brunswick and 
 Romberg. Author of " Hulfsbuch fiir Organisten " ; a "School for the 
 Organ," op. 50 ; and many fantasias, fugues, preludes, and other pieces for 
 org. Comp. also quartets for strings, and vocal music. 
 
 VOLKMANN (Friedrich Robert). German comp., B. Lommatzsch, Saxony, 
 April 6, 1815. D. Oct. 29, 1883. S. under Anacker, and in Leipzig from 
 1836. Resided successively in Vienna and Pesth as comp. and teacher. Comp. 
 symphonies for orch., op. 44, 53. Overtures for orch. Concertos for 'cello, 
 Pf., etc., and orch. Quartets for strings, op. 9, 14, 34, 35, and 37. Pf. music, 
 and masses. Part-songs and lieder. Member of Berlin Academy of Arts, 1883. 
 
 VOSS (Carl). German pianist, B. Schmarsow, Sept. 20, 1815. D. Verona, 
 Aug. 29, 1882. Comp. Rhapsodies ; Etudes ; Fantasias, op. 59, loi, etc. ; 
 Melodies ; Polka ; Transcriptions, etc. 
 
 VUILLAUME (Jean Baptiste). French violin-maker, B. Mirecourt, Oct. 7, 
 1798. Learned under Chanot. Established himself at Paris, and became the 
 most famous modern violin-maker. Gained various medals at Exhibitions of 
 Paris and London, D. Paris, Feb. 19, 1875. His instruments are the most 
 celebrated and highly valued among those of modern manufacture. They arc 
 finely toned and beautifully modelled instruments, and some of the best speci- 
 mens are now scarce and valuable. 
 
 w. 
 
 WACHTEL (Theodor). German tenor vocalist, B. Hamburg, March 10, 1823. 
 Son of a stable-keeper. S. at Hamburg. Appeared at Court Theatre of 
 
604 WAC — WAG 
 
 Schwerin ; afterwards at Dresden, Hanover, Cassel, Vienna, Berlin, etc. 
 Appeared in London, June, 1862 ; Paris, 1869 ; America, etc. He had a 
 voice of much power and compass, and appeared in works by Rossini 
 ("William Tell"); Mozart ("Don Giovanni"); Meyerbeer, Verdi, Adam, 
 Boieldieu, Donizetti, etc. 
 
 WACKERBAETH (F. D.) German (?) writer, author of "History ol the 
 Church of the Reformation," New York, 8vo, 1834, "Music of the Angln- 
 Saxons ; being some account of the Anglo-Saxon orchestra ; with remarks on 
 the Church Music of the 19th Century," Lond., 8vo, 1837. "Lyra Ecclesias- 
 tica," 1842-43, 2 parts, etc. 
 
 WADDEL (William). Scottish violinist and cond., B. Edinburgh, 1842. S. 
 under David at Leipzig. Originated the choir named after him, producing by 
 its means for the first time in Scotland Schumann's "Faust," "Requiem," 
 "Pilgrimage of the Rose," and " Requiem for Mignon " ; Brahm's "German 
 Requiem" and " Song of the Fates " ; Eruch's " Odysseus " and " Lay of the 
 Bell," etc. Formed the Edinburgh Ladies Orch., and successfully carried on 
 chamber concerts. Gave Free Musical Evenings for the People. He has also 
 exhibited at the R. S. A. for many years as a painter in oil colours. 
 
 WADE (Joseph Augustine). Irish comp. and writer, B. Dublin [1796]. 
 
 Married Miss Kelly of Garnavilla, and was a surgeon for a time. Went to 
 
 London, and worked for the thealres and publishers. D. London, July 15, 1845. 
 
 Works. — The Two Houses of Granada, opera, 1826; The Pupil of Da Vinci, 
 
 operetta; The Prophecy, oratorio, 1S24. Polish Melodies, Lond., 1831. Songs 
 
 of the Flowers, 2 books. Many duets, " I've wandered in dreams," etc. Songs: 
 
 Meet me by moonlight alone ; Love was once a little boy ; A Woodland life ; and 
 
 others. 
 
 WADE (Richard). English pianist and writer, flourished in London about 
 middle of 1 8th century. Author of "The Harpsichord illustrated and im- 
 proved, wherein is shewn the Italian manner of Fingering..." Lond., 4to, 
 n. d., anon. 
 
 WAELRANT (Hubert). Flemish comp., B. Antwerp, 1517. S. at Venice 
 under Willaert. Returned to Belgium in 1547. D. Antwerp, Nov. 19, 1595. 
 Works. — Liber nonus Cantionum sacrarum vulgo motetta vocant, quinque et 
 sex vocum, 1557 ; Madrigali e Canzoni Francesi a 5 voci, Antwerp, 155S ; Canzoni 
 alia Napoletana, a 3 et 4 voci, Venice, 1565 ; Symphonia Angelica di diversi eccel- 
 lentissimi musici a 4, 5, et 6 voci, Antwerp, 1565 ; Canzoni scelti di diversi eccel- 
 lentissimi musici a 4 voci, Antwerp, 1587. 
 
 WAGrENSEIL (Georg Christoph). Austrian comp. and pianist, B. Vienna, 
 Jan. 15, 1715. Music teacher to Maria Therese. D. Vienna, March I, 1779. 
 Works. — Op. i. Sei Divertimenti di Cembalo; op. 2. Six do.; op. 3. Do. do.; 
 op. 4. Quatre Symphonies pour le Clavecin, avec 2 violons et bass ; op. 5. Three 
 Divertissements ; op. 6. Six sonatas for harpsichord and violin ; op. 7. Four sym- 
 phonies for harpsichord, 2 violins, and bass ; op. 8. Two do. Trios, concertos, 
 symphonies, sonatas, etc., in MS. 
 
 WAGNER (Johanna). German soprano vocalist, B. Hanover, Oct. 13, 1828. 
 Niece of W. R. Wagner. S. under her parents, and M. Garcia at Paris. Ap- 
 peared at Dresden, Bernburg, etc., in small parts, and in 1847 made her dibut 
 at Dresden. Sang at Hamburg, 1849, Vienna and Berlin, 18.50, where she 
 was afterwards engaged as leading soprano at the opera, and became court 
 singer. Appeared in London, 1856. Married Councillor Jachmann, 1859, 
 and on the loss of her voice, became a very successful actress. Afterwards 
 sang in Wagner's operas, and in 1883 became Prof of dramatic singing at the 
 Royal School of Music, Dresden. She appeared in works of Wagner, Rossini, 
 Verdi, Weber, Boieldieu, Bellini, etc. 
 
 WAGNER (Wilhelm Richard). German comp. and writer, B. Leipzig, May 
 22, 1813. Educated at Kreuz-Schule of Dresden, and matriculated at Leipzig 
 University, 1830. S. music under Weinlig. Chorus-master at Wiirzburg 
 theatre, 1833. Music director at ^Magdeburg theatre, 1834. Married Frau- 
 
\V A t — W A i ^05 
 
 Iciii Planer at Kdnigsberg, 1836. Music director al Riga, 1S3S. Went to 
 Paris, 1839, and endeavoured to get his " Rienzi " produced, but without suc- 
 cess. Cond. of the Royal Opera at Dresden, 1842-4.9. Exiled for his share 
 in the Dresden revolutionary movements, 1849, and took up his residence at 
 ZUrich. Cond. a series of Philharmonic Concerts at London, 1855. Gave 
 concerts in Germany and Russia, 1863. Established in Munich under the 
 patronage of Ludwig II. of Bavaria, 1864. Married to Cosima von Billow, nie 
 Liszt, 1870. Settled at Bayreuth, 1872, and there carried out his plan of a 
 theatre, and had performed all his large works. Cond. a Wagner Festival in 
 London, 1877. D. Venice, Feb. 13, 1883. 
 Works.— O/CMM.- Die Feen, 1833 (MS.); Das Liebesverbot, 1836 (MS.); 
 Rienzi, der letzte der Tribunen, 5 acts, Dresden, 1842 (London, 1879) ; Der flie- 
 gende Hollander, 3 acts, Dresden, 1843 (London, 1870) ; Tannhauser, und der 
 Sangerkrieg auf Wartburg, Dresden, 1845 (London, 1876) ; Lohengrin, Weimar, 
 1850 (London, 1875); Der Ring des Nibtlungen (London, 1882) — Part 1, Das 
 Rheingold. Munich, 1869; Part 2, Die Walktire, Munich, 1870 ; Part 3, Siegfried, 
 Bayreuth, 1876 ; Part 4, Gotterdammerung, Bayreuth, 1876. Tristran und Isolde, 
 3 acts, Munich, 1865 (London, 1882) ; Die Meistersinger von NUrnberg, 3 acts, 
 Munich, 1868 ; Parsifal, eine Biihnenweihfestspiel, 3 acts, Bayreuth, 1S82. Das 
 Liebesmahl der Apostel, eine Biblische scene, Dresden, 1847. Symphony in C 
 (1832); MS. overtures in D min., 1831 ; C, 1833; "Polonia," in C, 1832; 
 "Columbus," 1835; Eine Faust Overture, 1855. Huldigungsmarsch, orch., 1864; 
 Siegfried Idyll, orch., 1870; Kaisermarsch, orch., 1871; Grosser Festsmarsch (Phila- 
 delphia Exhibition), 1876. Sonatas, albumblatt, and other Pf. pieces. Songs, and 
 arrangements for Pf. Literary: Acollected edition was issued at Leipzig, 1871-85, 
 10 vols., as "Gesammelte Schriften und Dichtungen." The separate publication 
 of some of the principal is as follows : — Die Kunst und die Revolution, 1849 ; Das 
 Kunstwerke der Zukunft, 1850; Kunst und Klima, 1850; Oper und Drama, 1852; 
 Das Judenthum in der Musilc, 1852; Ueber Staat und Religion, 1864; Ueber das 
 Dirigiren [1870]; Beethoven, 1870 (trans, by A. R. Parsons, Indianapolis, 1873; 
 also, London, trans, by Dannreuther, 1880) ; Deutsch Kunst und Deutsch Politik, 
 1868; Uber Schauspieler und Sanger, 1882, etc. Translations exist of "The 
 Nibelung's Ring" (Forman), "Die Meistersinger,'' "Tristran und Isolde," and 
 "Parsifal" (Corder). 
 
 The most famous musician of modern times. Celebrated alike for his reforms in 
 every department of the musical drama, and for his boldness and energy in getting 
 them carried into practice. His principal reform consists of the close union which 
 he effected between his music and poetry, and generally the balance one part with 
 another which in his operas is so conspicuous. In this respect they stand apart 
 from the operas of every other master. His work has been the completion of that 
 inaugurated by Gluck, but applied to the romantic instead of the classic drama. 
 Wagner's operas are drawn largely from what we might call ballad literature, and 
 are in some respects more suited for musical treatment and the attainment of 
 magnificent stage effects than the usual run of hackneyed opera libretti. His 
 music is highly original and bold in general style, but very often disappoints and 
 displeases by too apparent an effort to produce startling and new effects. The strain- 
 ing after originality is very conspicuous in his instrumental music, and frequently 
 conveys the impression that the composer is unable to express in music the full 
 extent of his meaning. In recent times his influence has been great, and most 
 of the younger composers are adopting in a measure his reforms. The slipshod 
 Italian opera which held universal sway till within the last ten years is fast dying 
 out, and it is to be expected and hoped that the unique musical dramas of Wagner 
 will form the starting point and example for every future composer. We say 
 nothing of the taste or morality of certain of Wagner's librettos, which have been 
 generally condemned on their artistic and moral merits alike. 
 
 WAINWRIGHT (Jonathan Mayhew). English comp., B. Liverpool, 1792. 
 D. New York, Sept. 21, 1854. Comp. Chants, Psalms, and other church 
 music, in collections. 
 
 WAINWRIGHT (John). English comp. and org., B. Stockport. Org. ot 
 Manchester Cath. D. Manchester, Jan. , 1768. Comp. Psalms, anthems, etc. 
 His sons, Robert (B. 1748, D. Tuly iS, 1782) and Richard (B. 1758, D, 
 
6o6 Wal — w A L 
 
 Aug. 20, 1825) were both organists and composers. Robert is known as the 
 comp. of "The Fall of Egypt," an oratorio, and the Psalm tunes "St. 
 Gregory" and "Manchester." 
 
 WALDATJER (A.) Violinist and teacher, B. in' Germany. Director of the 
 Beethoven Cons., St. Louis, Mo. Pupil of Molique. Went to America when 
 young, and was one of the pioneers in orchestral work. Travelled as solo 
 violinist during the triumphal tour of Jenny Lind through the States. Mem- 
 ber of American Coll. of Musicians, and trans, of many plays, etc. 
 
 WALEY (Simon Waley). English amateur comp. and pianist, B. London, 
 1827. S. under Moscheles, Bennett, etc. D. London, Dec. 30, 1875. 
 Comp. services for the Jewish church service, Pf. music, a Pf. concerto, and 
 much vocal music. 
 
 WALKER (James). Scottish amateur musician, author of " On Just Intonation 
 in Song and Speech," Aberdeen, 1876, 4to, privately printed. 
 
 WALKER (Joseph Cooper). Irish writer and musician, B. Dublin, Nov. 1760. 
 D. St. Valery, near Bray, April 12, 1810. Author of " Historical Memoirs of 
 the Irish Bards, interspersed with Anecdotes and Occasional Observations on 
 the Music of Ireland .."Dublin, 1786, 4to. "An Historical Account and 
 Critical Essay on the Opera, and on the Revival of the Drama in Italy, " Edin. 
 1805, 8vo. "Memoirs of Alessandro Tassoni, edited by S. Walker," 1815, 
 8v. Other works chiefly on Irish antiquities. 
 
 WALLACE (Lady Maxwell), nk Grace Stein. Scottish writer, B. at Edin- 
 burgh. D. 1878. Translated " Letters from Italy and Switzerland, by Felix 
 Mendelssohn-Bartholdy," Lond., 1862 (2 editions) ; "Letters of Felix Men - 
 delssohn-Bartholdyj from 1833 to 1847..." 1863, Svo ; " Letters of Wolfgang 
 Amadeus Mozart, 1769-1791 .." Lond., 1865, 2vo ; "Beethoven's Letters, 
 1790-1826," Lond., i856, 2 vol.; "Letters of Distinguished Musicians, Gluck, 
 Haydn, P. E. Bach, Weber, Mendelssohn," Lond., 1867, Svo; "Reminis- 
 cences of Felix Mendelssohn-Bartholdy, by Elise Polko," Lond., 1869. 
 
 WALLACE (William Vincent). Scottish comp. and violinist, B. Waterford, 
 Ireland, June I, 1814. Son of Scottish parents, his father being an army band- 
 master. Played violin in various orchestras for a time, and about 1836 went 
 to Australia. He afterwards travelled about in New Zealand, India and South 
 America, and in 1845 appeared in London. He afterwards gave concerts in 
 America, and after another visit to London, D. at the Chfiteau de Bagen, Haute 
 Garonne, France, Oct. 12, 1865. 
 Works. — Operas: Maritana, London (Drury Lane), Nov. 15, 1845 ; Matilda of 
 Hungary, London, 1847 ; Lurline, London (Covent Garden), Feb. i860 ; The 
 Amber Witch, Lond., Feb. l86i ; Love's Triumph, London, Nov. 1862 ; The 
 Desert Flower, London, Oct. 1863 ; The Maid of Zurich (never performed) ; 
 Estrella (unfinished); Gulnare, operetta; Olga, operetta. Pianoforte: La Gondola, 
 op. 18; Three nocturnes, op. 20; Chant d'Amour, op. 26; Tarentellas ; Numerous 
 transcriptions of popular airs and arrangements from operas. Songi : If doughty 
 deeds ; Silent love ; The bellringer ; Coming of the flowers ; Gipsy maid ; Leaves 
 are turning red (Autumn song) ; Star of love ; Wood-nymph ; etc. 
 
 One of the most successful British composers, and with Balfe, the only one of the 
 British school whose works keep the stage. "Maritana" is no doubt the most 
 popular opera we have, and is also one of the best excepting the same composer's 
 "Lurline," which is of very high merit. His works are written in the style common 
 to nearly every British composer up to quite recent times, and as we have already 
 spoken at length on the main characteristics of the school, reference need only be 
 made to the articles Balfe and Barnett in this work. The musical merits of 
 Wallace's works are in general much higher than are common to those of Balfe, and 
 there can be no doubt that his works unite a greater degree of richness and fine 
 melody than any other English writer. His Pf. music is refined and graceful. 
 See " WiUiam-Vincent Wallace, etude biographique et critique, par A. Pougin,' 
 Paris, 1866, 8vo. 
 
 WALLBRIDOE (Arthur). See Lunn (William A. B.) 
 
Wal — War 607 
 
 WALxiIS (John). l:^iiglish mathematician and writer, B. Ashlord, Kent, Nov. 
 23, 1616. D. London, Oct. 28, 1703. Author of "Observations concerning 
 the swiftness of sound," Lend., 1672, fo. " Claudii Ptolemjei Harmoni- 
 corum..." Oxford, 1680, 4to. Also numerous papers on musical subjects in 
 Philosophical Transactions. 
 
 WALLWORTH (Thomas Adlington). English comp., teacher, and writer, 
 B. Liverpool, Jan. 18, 1831. S. at R. A. M., where he is now Prof, of 
 singing. Prof, at Guildhall School of Music. Sang as a barytone vocalist at 
 London concerts, and in opera. Comp. "Kevin's Choice," opera, part-songs, 
 and songs. Author of "The Art of Singing," Lond., n. d. "A Course of 
 Study and Practice for the Voice," etc. 
 
 WALMISLEY (Thomas Fortes). English comp. and org., B. London, 1783. 
 
 Chor. in Westminster Abbey. S. under Attwood. Married eldest daughter 
 
 of Wm. Capon, 1810. Org. of S. Martin's-in-the-Fields, 1812. D. London, 
 
 July 23, 1866. 
 
 Works. — Six Glees for 3, 4, 5 and 6 Voices, Lond., 1814; A Collection of 
 
 Glees, Trios, Rounds, and Canons, Lond., 1826; Six Glees, dedicated to the 
 
 Catch Club, Lond., 1830, fo. Six Glees for 4 Voices, 3rd collection, Lond., 1830, 
 
 fo. ; Six Glees, 4th collection, Lond., fo. Many single glees, including prize glees, 
 
 etc. Six Anthems and a Short Morning and Evening Service, Lond., n. d., fo. 
 
 Sacred Songs, Lond., 1841. Songs. 
 
 WALMISLEY (Thomas Attwood). English org. and comp., B. London, 
 Jan. 21, 1814. S. under Attwood. Org. ol Croydon Ch., 1830 ; Trinity and 
 S. John's Colls., Cambridge, 1833. Mus. Bac. Cantab., 1833. Prof, of 
 Music at Cambridge, 1836. B.A., 1838; M.A., 1841. Mus. Doc. Cantab., 
 1846. D. Hastings, Jan. 17, 1856. 
 Works. — Cathedral Music, a Collection of Services and Anthems, Lond., 1857, 
 
 fo., Edited by T. F. Walmisley. Anthems, odea, trios, songs, and concerted 
 
 vocal music. 
 
 WALSHE (Walter Hayle). Irish writer, B. Dublin, 1816. Author of 
 "Dramatic Singing Physiologically estimated," Lond., i88i,. 8vo. 
 
 WALTER (Thomas). American writer, B. Roxbury, Mass., 1696. D. 1728. 
 Author of the "Grounds and Rules of Musick Explained, or an Introduction 
 to the Art of Singing by Note..." 1721 ; other eds., 1740, 1746, 1760. 
 
 WALTHER (Johann Gottfried). German writer, B. Erfurt, Sept. iS, 1684. 
 Org. at Erfurt and Weimar. D. Weimar, Mar. 23, 1748. Author of 
 " Musikalisches Lexikon, oder Musikalisches Bibliothek, darinnen nicht allein 
 die Musici, welche so wol in alten als neuen Zeiten..." Leipzig, 1732. A 
 combined biographical and technological dictionary. 
 
 WANHAL. See Vanhall. 
 
 WARD (Frederick). English violinist and comp., B. Birmingham, Dec. 26, 
 1845. Soloist and leader at the principal Birmingham and Midland concerts. 
 Comp. a concert overture for orch. ; Concerto for clarinet and orch. ; Ten 
 string quartets ; Songs, etc. 
 
 WARD (John). English comp. of i6th and 17th centuries. D. circa 1640. 
 Comp. "The First Set of English Madrigals, to 3, 4, 5, and 6 parts, apt both 
 for viols and voyces ; with a Mourning Song in Memory of Prince Henry..." 
 London, 1613, 4to. Songs in Leighton's " Teares," and service and anthem 
 in Barnard's collection. 
 
 WARE (George). English comp. and writer, B. 1762. D. Liverpool, 1850. 
 Son of George Ware (B. 1723, D. London, Mar. 7, 1814), a vocal comp. 
 Author of "A Dictionary of Musical Chords, arranged so as to find any 
 Modulation, by various methods, through the twelve half tones..." Lond., n.d., 
 fo. His brother, William Henry, was leader at Covent Garden Theatre, 
 and comp. " Mother Goose," and other musical pieces. 
 
 WAREING (Herbert Walter). See Baptie. English comp., B. Birmingham, 
 April 5, 1857. S. under Dr. C. S. Heap, and at Leipzig Cons. Mus. Doc, 1886, 
 
 WARING (William). See Rousseau (J. J.), 
 
6oR WAR — WAt 
 
 WARMAN (John Watson). English org. and writer, B. Canterbury, Aug. 
 12, 1842. Amlior of a worlc on '• The Organ," originally contributed to the 
 English Mechanic, and now being republished in book /orn:i. 
 
 WABiNEB (James F.). American writer. Author of "A Universal Dictionary 
 of Musical Terms," Boston, 1842, 8vo ; " Primary Note Reader, or First 
 Steps in Singing at Sight," New York, u. d., i2mo ; " Rudimental Lessons on 
 Music," New York, 1845, l8mo. Trans. Gottfried Weber's '• General Music 
 Teacher, adapted for Self-Instruction," Boston, 1842, 8vo ; and "Theory of 
 Musical Composition," 1842, 8vo. Lond. ed. by John Bishop, 1851, 2 vols., 
 8vp. 
 
 WARNOTS (Henri). Belgian comp. and tenor vocalist, B. Brussels, July 11, 
 1832. S. at Brussels Cons., and now Prof, of Singing there. Comp. operas, 
 etc. His daughter, Elly, B. Li^ge, 1857, has sung in Brussels, and in i88i 
 appeared in London, where she has since frequently sung. 
 
 WARREN (Ambrose). English writer, author of " The Tonometer, explaining 
 and demonstrating by an easy method in Numbers and Proportions, all the 32 
 Distinct and Different Notes, adjuncts, or supplements contained in each of 
 four octives..." London, 1725, 4(0. 
 
 WARREN (Edmund Thomas). English music-publisher, B. [1730]. D. 
 1794. Was Secretary of the Catch Club. Edited " Reliques of Ancient 
 Music," and issued in monthly and annual parts the collection of catches and 
 glees known as " Vocal Harmony." 
 
 WARREN (Joseph). English writer and org., B. London, March 20, 1804. 
 S. under J. Stone. Org. and choir-master of S. Mary's R. C. Chapel, Chel- 
 sea, 1843. D. Bexley, Kent, March 8, 1881. 
 Works. — Hints to Young Organists, Lond., 1844. Biographical Dictionary of 
 Deceased Musicians, Lond., 1845. Chanter's Hand Guide, Lond., 1845. Hints 
 to Young Composers, Lond., 1S46. Instruction Book for the Organ, Lond., n.d. 
 Instructions for the Harmonium, Lond., 1852, fo. Introduction and Observations 
 on the Mode of Singing Catches, Rounds, Canons, Glees, and Madrigals. ..Lond., 
 n. d., fo. Selection of One Hundred Chants, 1845. Repertorium Musicse Antiquse, 
 Lond., 1848, fo. (with John Bishop). Collection of Psalm and Hymn Tunes, 1850- 
 53, 4 vols., 8vo. Hymns and Canticles, 1852, i2mo. Bunal Service, as perlormed 
 at the Funeral of the Duke of Wellington, 1853, 4to ti,dited Hymns of Joh. 
 Sebastian Bach, Lond., n. d. ; Hamilton's Writing for the Orch., 1846 ; etc. 
 
 WARREN (Samuel P.) Canadian pianist and comp., B. Montreal, Feb. 18, 
 1841. Son of S. R. Warren, org. -builder. S. Pf originally at home, and 
 org. under G. F. Graham. Org. in a Ch. at Montreal, 1853-1861. S. at 
 Berlin under Haupt (org., harmony, etc.), G. Schumann (Ff.), Wieprecht, and 
 others, 1861-64. Returned to Montreal, 1864, and in 1865 became org. of All 
 Soul's Ch., New York, till 1868. Afterwards org. of Grace Ch., and for a 
 time, 1874-76, org. of Ch. of the Holy Trinity. Comp. Church services, 
 anthems, and songs. Known as one of the most distinguished pianists of the 
 United 'States. 
 
 WARTENSEE. See Schnyder von Wartensee. 
 
 WASIELEWSKI (Joseph W. von). German violinist and writer, B. Gross- 
 Leesen, near Dantzig, June 17, 1822. S. at Leipzig Cons, under Mendelssohn. 
 Cond. at Bonn. Author of "Die Violine in XVI. Jahrhundert," Leipzig, 
 1869; "Geschichte der Instrumentalmusik in XVI. Jahrhundert,'' Berlin, 
 1878 ; A Life of Schumann, and other works. Resigned post of Town Con- 
 ductor, Bonn, 1883, in order to devote more time to musico-literary labours. 
 
 WATSON (Thomas). English poet and comp. of i6th century D. 1592. 
 Comp. "The First Sett of Italian Madrigals Englished, not to the Sense of 
 the Original Dittie, but after the Affection of the Noate," Lond., 1590, 4to- 
 
 WATSON (William Michal). English comp. and poet, B. Newcastle-on- 
 Tyne, July 31, 1840. Best known as a very successful comp. of songs and Pf. 
 music. Among his songs may be named : — Far o'er the mountains ; Little 
 
Way — Web 609 
 
 birdie, mine ; Phoebe's trust ; the blush rose ; Talisman ; Powder monkey ; 
 Mariner's song; Valiant knight ; Two summer days ; There's a bower of roses ; 
 Thoughts of home ; My country calls ; Gallant Vaquero, etc. Part-songs, and 
 numerous Pf. pieces, original and arrangements. 
 
 WAYLETT (Mrs.), nte Cooke. English soprano vocalist, B. Bath, Feb. 7, 
 1800. S. under Loder. Dibut at Bath, 1816. Married Mr. Waylett, 1819 ; 
 separated from him, 1822. Afterwards married to G. Alex. Lee. Appeared 
 in London, 1820 ; Dublin, 1826. Sang at principal London and provincial 
 concerts. D. London, April 19, 1851. 
 
 WEATHERLY (Frederic E.) English poet, B. Portishead, 184.8. Educated 
 at Oxford, and became B.A., 1871 ; M.A., 1874. Tutor in Oxford. One of 
 the most popular lyric authors of the present day. Author of " Muriel and 
 other Poems;" "Verses for Children;" "Told in the Twilight;" "Sixes 
 and Sevens;" "Dresden China," and other volumes of poetry. Librettos of 
 many cantatas and oratorios, but best known by his popular songs, "Angus 
 Macdonald" (Roeckel), "Nancy Lee" (Adams), " Polly "''(Molloy), "London 
 Bridge " (MoUoy) ; " Midshipmite " (Adams) ; "When we are old and gray" 
 (Sainton-Dolby); " The Worker " (Gounod) ; "The Chorister" (Sullivan); 
 " Jack's Yarn " (Diehl) ; " Darby and Joan " (MoUoy) ; "Old Lock " (Wel- 
 lings) ; " At the Ferry " (Wellings) ; " Children's Dream " (Cowen), etc. 
 
 WEBB (Daniel). English writer, B. Taunton, 1735. D. Bath, Aug. 2, 1815.^ 
 Author ol "Observations on the Correspondence between Poetry and Music," 
 Lond., 1769, 8vo (Anon.) Reprinted in his "Miscellanies," 1802. 
 
 WEBB (Francis). English writer, author of " Panharmonicon, an Illustration 
 of an Engraved Plate, in which is attempted to be proved that the principles 
 of Harmony more or less prevail througliout the whole System of Nature, but 
 more especially in the Human Frame," Lond. [1815], 4to- 
 
 WEBB (George James). English org. and comp., B. near Salisbury, June 24, 
 1803. Org. and teacher in Boston, Mass., U. S. A. Author of "Vocal 
 Technics," Boslon, n. d. ; and editor of "Young Ladies' Vocal Class Book," 
 Boston, 1853 ; Glee Hive (with L. Mason) ; New Odeon (with L. Mason) ; 
 Cantica Laudis (with Mason) N. Y., 1850. 
 
 WEBB (Rev. Richard, M.A.) English musician. Was minor Canon of S. 
 Paul's, London. D. near Windsor, April 13, 1829. Published "A Collec- 
 tion of Madrigals for 3, 4, 5, and 6 voices, selected from the Works of the most 
 eminent composers of the 15th and l6th Centuries," Lond., 1808, fo. Comp. 
 a " Set of Four Glees for 3 Voices," Lond., n. d. 
 
 WEBBE (Samuel). English comp. and org., B. Minorca, 1740. S. under 
 Charles Barbandt. Married 1763. Chap.-master in Portuguese Chap., Lon- 
 don, 1776. Secretary to Noblemen and Gentlemen's Catch Club, 1794. D. 
 London, May 25, 1816. 
 Works.— A Collection of Sacred Music, as used in the Chapel of the King of 
 . Sardinia in London, Lond., fo., n.d. A Collection of Masses, with an Accompani- 
 ment for the Organ... Lond., 1792, i2mo. Eight Anthems by Samuel Webbe, the 
 Organ Parts by V. Novello, Lond., n.d. A Collection of Original Psalm Tunes 
 for 3 and 4 Voices, by S. Webbe, Senr. and Junr., Lond., fo. Glees: A Selection 
 of Glees, Duets, Canzonets, etc., published at different periods from the year 1764, 
 to which are added many new glees and canzonets never before published. Lend., 
 3 vols., fo. A Collection of Catches, Canons and Glees, Lond., 9 vols. Six 
 Original Glees, Lond., 1840, fo. Single Glees: Breathe soft, ye winds; Cecilia, 
 more than all the muses skilled ; Come live with me; Come, rosy health; Discord, 
 dire sister, 177 1 ; Glorious Apollo ; Great Apollo, strike the lyre; Great Bacchus, 
 O aid us ; Herce, all ye vain delights ; Hail, star of Brunswick ; Mighty conque- 
 ror of hearts, 17/5; Swiftly from -the mountain's brow (1788); Thy voice, O har- 
 mony; When winds breathe soft. Those dated are prize glees. Duets, songs. 
 Concerto for harps. Pf. music, and other works, 
 
 Webbe was one of the most celebrated glee composers of England. With Call- 
 cott, Horsley, and Cooke, he stands foremost among British composers of concerted 
 
 P 2 
 
6lO WE fe — weM 
 
 vocal music. He is best known by his glees, "When winds breathe soft," and 
 Swiftly from the mountain's brow. 
 
 WEBBE (Samuel, Junr.) English comp., writer, and org., B. London, 1770. 
 S. under his father and Clementi. Org. successively of Unitarian Ch., Para- 
 dise St., Liverpool; Spanish Ambassador's Chap., Lond.; S. Nicholas Ch., 
 and S. Patrick's R. C. Chap., Liverpool. D. Hammersmith, London, Nov. 
 2S, 1843. 
 Works.— Collection of Motetts or Antiphons for 1, 2, 3, and 4 Voices, Lond., 
 n.d., 4to. Collection of Psalm Tunes, intermixed with Airs adapted as such, for 
 four Voices, Lond., 1808, 4to. Glees, duets, etc. Convito Armonico, a Collection 
 of Madrigals, elegies, glees, canons, catches, and duets, selected from the works of 
 the most eminent Composers, Lond., 4 vols., n.d. L'Amico del Principiante, 
 being 28 short Solfaing Exercises for a Single Voice, Lond., n.d., 4to ; 2nd edit. 
 ed. by J. B. Sale. 42 Vocal Exercises... n.d. Short Exercises for Young Singers 
 ...n.d. Harmony Epitomised, or Elements of the Thoroughbass, Lond., n.d., 4to. 
 
 WEBER (Carl Maria Friedrich Ernst. Baron von). German comp. and 
 cond., B. Eutin, Holstein, Dec. 18, 1786. Son of Baron Franz Anton Weber 
 arid Genovefa Brenner. S. under Michael Haydn and J. W. Kalcher, and at 
 Vienna under Vogler. Cond. to Duke Eugen Friedrich of Wurtemberg, at 
 Carlsruhe. Private Secretary to Duke Louis of Wurtemberg, 1806. Travelled 
 in Germany and Switzerland with Barmann the clarinet-player, 181 1. Opera 
 director at Prague, 1813-16. Married to Caroline Brandt, Dec, 1817. Cond. 
 of German opera at Dresden.. D. London, June 5, 1826 (in house of Sir 
 George Smart). Buried at Dresden. 
 Works.— Operas : Das Waldniadchen, i8oo; Peter SchmoU und seine Nach- 
 barn, l8oi ; Silvana, 3 acts (new version of Das Waldmadchen), 1810; Abu 
 Hassan, l act, Munich, l8u (London, 1825); Der Freischutz, 3 acts, by Friedrich 
 Kind, Berlin, June 18, 1821 (London, July, 1824) ; Preciosa, 4 acts, by P. A. 
 Wolff, Dresden, 1822 ; Euryanthe, 3 acts, by Helmina von Chezy, Vienna, 1823 
 (London, 1833) ; Oberon, 3 acts, by J. R. Planche, London, 1826 ; Die drei 
 Pintos, 3 acts (unfinished) ; Rilbezahl (MS.) Op. I. Six fugues, Pf., 1798 ; op. 2. 
 Six variations, Pf. ; op. 4. 12 Allemandes ; op. 6. Six variations, Pf and 'cello ; 
 op. 8. Overture, Peter Schmoll, 1807; op. 10. Six pieces, Pf. duet; op. 11. 
 I. Concerto, Pf. and orch., in C, 1810; op. 12. Momento Capriccioso, Pf., 1808; 
 op. 13. 6 Lieder ; op. 14. Der erste Ton, poem by Rochlitz, 1808 ; op. 15. 
 6 Songs ; op. 16. Concert aria, II momento s'avoicina ; op. 17. Six sonatas, Pf. and 
 vn. ; op. 18. Quartet, Pf. and strings; op. 19. Symphony, No. i in C, 1807, No. 2 
 in C, 1807; op. 23. 6 Songs; op. 24. L Sonata, Pf., in C, 1812; op. 25. Five 
 songs ; op. 26. Concertino for clarinet, 181 1 ; op. 27. Overture, Beherrschen der 
 Geister (Ruler of the Spirits), 181 1 ; op. 30. Six lieder; op. 32. II. Concerto, Pf. 
 and orch., in E flat, 1812; op. 34. Quintet for clarinet and strings, 1815 ; op. 36. 
 Hymn, In seinen ordnung schafft der Herr, 1812; op. 37. Music to "Turandot," 
 a play; op. 39. II. Sonata for Pf. in A flat; op. 42. Six songs (including "Liit- 
 zow's Wild Hunt) ; op. 44. Kampf und Sieg, cantata, 1815 ; op. 45. Concertino, 
 horn and orch.; op. 49. III. Sonata, Pf., in D min., 1816; op. 50-53 Scenas, 
 "Misera me!" "Non paventar," etc.; op. 54. Seven songs; op. 58. Jubel can- 
 tata, 1818 ; op. 59. Jubel overture, 1818 ; op. 61. Natur und Liebe, cantata, 1818 ; 
 op. 62. Rondo, "La Gaite," Pf., 1819 ; op. 63. Trio, Pf., flute, and 'cello ; op. 65. 
 Aufforderung zum Tanze (Invitation k la valse), rondo for Pf., also for orch. by 
 Berlioz; op. 66. Six songs; op. 70. IV. Sonata, Pf., in E min.; op. 71. Six 
 songs ; op. 72. Polacca, "L'hilarite," Pf; op. 73. Concerto for clarinet and oroh. 
 in F min., 1811; op. 74. Do., in E flat; op. 75. Concerto for Bassoon, 1811 ; 
 op. 75». Missa Sancta, in E flat ; op. 76. Mass, in G, No. 2 ; op. 79. Concertstuck 
 for Pf. and orch., 1821 ; op. 80. Six lieder ; op. 81. Les AdieUx, for Pf. in G min. 
 Accompaniments for 10 Scottish Melodies, for Pf., flute, vn., and 'cello. Detached 
 songs and Pf. pieces. 
 
 Weber was the most remarkable composer of the early days of romantic opera. 
 To him is due the development of the romantic movement in music, and his operas 
 mark the commencement of a long series of musical dramas founded on incidents 
 which centre round supernatural events. His works are the musical complement of 
 the corresponding romantic element in German literature which was forming and 
 flourishing in Weber's time. His instrumental music is in general very lich an4 
 
WEB — W E L 6tI 
 
 varied in character, and much of it remains in present use. His operas "Der 
 Freischiitz " and ' ' Oberon, " are, however, those works on which his fame will 
 hereafter rest. See "Carl Maria von Weber, ein lebensbild," von Max Maria von 
 Weber, Leipzig, 1864-68, 3 vols. Trans, as " Carl Maria von Weber, the Life of 
 an Artist," by J. P. Simpson, Lond., 1865, 2 vols. Carl M. von Weber in seinen 
 Werken, F. W. Jahns, 1871. Weber (Great Musicians), by Sir J. Benedict, 
 Lond., 1881. 
 
 WEBER (Bernhard Anselm). German comp., B. Mannheim, April 18, 1766. 
 S. under Vogler, etc. Chap. -master to the Kine; of Prussia at Berlin, 1804. 
 D. Berlin, March 23, 182 1. Comp. operas, lieder, and instrumental music. 
 
 WEBEBi (Friedricll Dionysius). Bohemian teacher and vreiter, B. Welchau, 
 1771. Founder and director of Prague Cons. D. Prague, Dec. 26, 1842. 
 Author of numerous theoretical works, and comp. operas, cantatas, masses, 
 and much instrumental music. 
 
 WEBEB (Gottfried). German writer, B. Freinsheim, Bavaria, Mar. i, 1779. 
 Educated at Heidelberg and Gottingen universities. Counsellor of Justice at 
 Darmstadt. D. Kreuznach, Sept. 12, 1839. Author of " Versuch einer geord- 
 neten Theorie der Tonsetzkunst zum selbstunterricht, mit Anmerkungen fur 
 Gelehrtere..." Mayence, 1817-21, 3 vols. New edit., 1830-32, 4 vols. Trans, 
 as " The Theory of Musical Composition treated with a View to a Naturally 
 Consecutive Arrangement of Topics," by Jas. F. Warner, Boston, Mass., n.d., 
 8vo ; and another edition edited by John Bishop, Lond., 1851, 2 vols, 8vo. 
 Numerous other writings on music. 
 WECEEBLIN (Jean Baptist Theodor). French comp., B. Guebwiller, 
 Alsace, Nov. 9, 1821. S. at Paris Cons, under Elwart and Halevy. Cond. 
 in Paris, and was librarian at Cons. Comp. operas " L'Organiste," 1853, etc. 
 Symphonies, choral music, songs, and writings on music. 
 WEELKES (Thomas). English comp. and org., B. [1575]- Org. of Winches- 
 ter Coll. in 1600 ; and of Chichester Cath., 1608. D. [?] 
 Works. — Madrigals to 3, 4, 5, and 6 voyces, Lond., 1597, 4to; Ed. by E. J. 
 Hopkins for the Musical Antiquarian Soc, 1843. Ballets and Madrigals to five 
 Voyces, with one to six voyces, 1 598, 4to. Madrigals of Five and Six Parts, apt 
 for Viols and Voices, 1600. Madrigals of Six Parts, apt for the Viols^and Voices, 
 Lond., 1600, 4to. Ayres or Phantasticke Spirites for 3 Voices, with a Song, a 
 Remembrance of my Friend Mr. Thomas Morley, for 6 voices, Lond., 1608, 3 parts, 
 4to. Anthems and church music in collections of Clifford and Rimbault. 
 
 WEHLE (Charles). Bohemian pianist and comp., B. Prague, Mar. 17, 1825. 
 S. under Thalberg, Moscheles, and Richter. Travelled in Europe, America, 
 and Australia, and has appeared .in London. D. Paris, June 2, 1883. Comp. 
 Sonata in C min., op. 38 ; Marche Cosaque, op. 37. Tarentelles, ballades, 
 serenades, valses, and numerous trahscriptions for Pf. 
 
 WEIGL (Josef). Hungarian comp., B. Eisenstadt, Mar. 28, 1766. S. under 
 Albrechtsberger and Salieri. Second chap, -master of Imperial Chap. , Vienna. 
 D. Vienna, Feb. 3, 1846. Comp. Cleopatra, 1807 ; Swiss Family, 1816 ; 
 Eduard und Caroline, 1825 ; Ostade, 1806; Waldemar, 1824; and other 
 operas and ballets. He comp. also oratorios, cantatas, overtures, and songs. 
 
 WEISS (Willoughby Hunter). English bass vocalist and comp., B. Liver- 
 pool, April 2, 1820. D. London, Oct. 24, 1867. A well-known vocalist, 
 who appeared at the principal London and provincial concerts. Known also 
 as comp. of the popular songs "The Village Blacksmith," "Bowmen of Old 
 England," " Knight's Vigil," "Wreck of the homeward bound," etc. 
 
 WEITZMANN (Carl Priedrich). German writer and comp., B. Berlin, Aug. 
 10, 1808. S. under Klein, Spohr, etc. Prof, in Berlin Cons. D. Berlir, 
 Nov. 7, 1880. Author of "Geschichte der Griechischen Musik," Berlin, 1855; 
 " Geschichte der Harmonie und ihrer Lehre"; "Harmonic System," etc. 
 
 WELDON (Georgina), nSe Treherne. English soprano vocalist and writer, 
 B. London, May 24, 1837. S. under her mother and Jules de Glimes. Gave 
 foncerts in Canada, and appeared in London as a vocalist. Organised a train- 
 
6l2 WEL — WES 
 
 ing school for vocalists, 1871. Authoress of " Musical Reform," Lond., 1872 j 
 " Hints for Pronunciation in Singing, with Proposals for a Self-supporting 
 Academy," Lond., 1872. Autobiographic de Ch. Gounod. ..Lond., etc. 
 
 WELDON (John). English comp. and org., B. Chichester, about 1680. S. 
 under John Walter of Eton Coll., and H. Purcell. Org. of New Coll., Ox- 
 ford. Gent, extraordinary of Chap. Royal, June 6, 1701. Org. of Chap. 
 Royal, 1708. Second comp. to Chap. Roy., 1715. Org. of S. Bride's and of 
 S. Martin-in-the-Fields, London. D. London, May 7, 1736. 
 Works. — Divine Harmony, six select anthems for a voice alone, with a thorow- 
 bass for the organ, Lond., n. d.. fo. ; Hear my crying; In Thee, O Lord ; O God, 
 Thou hast cast us out ; Who can tell how oft he offendeth, anthems. The Judg- 
 ment of Paris, masque. Many songs in contemporary collections, such as "Let 
 ambition fire thy mind," etc. 
 
 WELLEB (S.) American writer, author of numerous practical handbooks, pub- 
 lished in Boston, among which are — " Piano without a Master," "Reed Organ 
 or Melodeon," "Violin without a Master," "Flute without a Master," " Fife 
 without a Master," "Clarionet without a Master," and "Flageolet without a 
 Master." 
 
 WELSH (Thomas). English bass vocalist, teacher, and comp., B. Wells, 
 Somersetshire, 1770. Chor. in Wells Cath. S. under J. B. Cramer and 
 Bauragarten. First appeared in opera in Attwood's "Prisoner," 1792. 
 Engaged by Linley to sing in oratorio at Hayraarket Theatre, London, 1796. 
 Gent, of Chap. Royal. Celebrated as a vocal teacher in London, and num- 
 bered among his pupils John Sinclair, Charles Horn, Miss Stephens, and Miss 
 Wilson {DSbut, 1821, sang in opera, D. 1867), who became his second wife. 
 D. Brighton, Jan. 31, 1848. 
 Works. — Music to The Green Eyed Monster ; Twenty Years Ago ; Kamschatka, 
 
 and other dramatic pieces. Sonatas for Pf. Part-songs, glees, and duets, numerous 
 
 songs, etc. Vocal Instructor, or the Art of Singing exemplified in Fifteen Lessons 
 
 leading to Forty progressive Exercises, Lond., n. d., fo. 
 
 WERCKMEISTEB (Andreas). German org. and comp., B. Benneckenstein, 
 Thuringia, Nov. 30, 1645. Org. at Halberstadt. D. Halberstadt, Oct. 26, 
 1706. Comp. org. and violin music, and wrote works on theory. 
 
 WERY (Nicolas Lambert). Belgian violinist and comp., B. Huy, Li^ge, 
 May 9, 1789. S. under Gaillard. Prof, of vn. at Liege Cons, till i860. D. 
 Bande, Luxembourg, Oct. 6, 1867. Comp. concertos for vn. and orch., 
 rondos, polonaises, and other vn. music, songs, etc. His pupils include 
 Singelee, Colyns, Dubois, Massetj etc. 
 
 WESLEY (Charles). English org. and comp., B. Bristol, Dec, 11, 1757. Son 
 of the Rev. Charles Wesley, and nephew of John Wesley, the Methodist leader. 
 S. under Rooke, Kelway, and Boyce. Teacher in London. Org. of S. 
 George's, Hanover Sq. Org. in ordinary to George IV. Gave subscription 
 concerts at his house in London. D. London, 1834. Comp. "A Set of Eight 
 Songs," 1784 ; "A Set of Six Concertos for the Organ or Harpsichord ;" An- 
 thems in Page's "Harmonia Sacra." 
 
 WESLEY (Samuel), English org. and comp., B. Bristol, Feb. 24, 1766. 
 Brother of the preceding. Gave very early indications of a disposition for 
 music. S. under his brother Charles, and from an early age excited great in- 
 terest among musicians by his extraordinary genius for music. He became the 
 greatest organist of his time, and was the first Englishman to make known the 
 music of Bach. D. London, Oct. 11, 1837. 
 Works.— Church Service in F. Anthems and Motets : My soul hath patiently ; 
 Thou, O God, art praised in Sion ; I said I will take heed to my ways ; Dixit 
 Dominus ; Exultate Deo ; In exitu Israel ; and other church music. Original 
 Hymn Tunes adapted to every Metre in the Collection of the Rev. J. Wesley, 
 Lond., n.d. Sonatas for Pf. Organ voluntaries, fugues, etc. " O, synge unto 
 my roundelaie," madrigal, etc. The Misanthrope, opera (MS.) Letters of Samuel 
 Wesley to Mr. Jacobs, relating to the Introduction into this Country of the Works 
 
WES — WES 6t3 
 
 of Bach, edited by E. Wesley," Lond., 1878, 8vo. See also "An Account of the 
 Remarkable Musical Talents of several Members of the Wesley Family, collected 
 from Original MSS., with Memorial Introduction and Notes by W. Winters," 
 Lond., 1874, 8vo. 
 
 WESLEY (Samuel Sebastian). English org. and comp., B. London, Aug. 
 
 14, 1810. Son of the preceding. Chor. in Chap. Royal. Org. Hereford 
 
 Cath., 1832; Exeter Cath., 1835. Mus. Bac. and Doc, Oxon., 1839. Org. 
 
 Leeds Parish Ch., 1842; Winchester Cath., 1849; Gloucester Cath., 1865. 
 
 D. Gloucester, April 19, 1876. 
 Works.— Church Services in E (1845), F, F (chant), and G. Anthems: 
 Ascribe unto the Lord ; All go unto one place ; Blessed be the Lord ; 
 Blessed be the God and Father ; Cast me not away ; Give the King 
 Thy judgments ; Glory be to God on high ; God be merciful ; I am 
 Thine ; I will arise ; Let us lift up our heart ; Man that is born of 
 a woman ; O give thanks ; O God, whose nature ; O Lord, my God ; 
 O Lord, Thou art my God ; Praise the Lord ; The face of the Lord ; The Wilder- 
 ness ; Thou wilt keep him in perfect peace ; Wash me thoroughly ; etc. The 
 Psalter, with Chants, arranged for Daily Morning and Evening Service, Lond., 
 1843, 4to. Glees and Part-songs : At that Dread Hour ; I wish to tune my 
 quiv'ring lyre ; Shall I telj you whom I love ? ; When fierce conflicting passions ; 
 etc. Songs : The Butterfly ; Orphan hours the year is dead ; There be none of 
 beauty's daughters ; Wert thou like me ; etc. Organ : A Studio for the Organ, 
 exemplified in a Series of Exercises ; Air composed for the Holsworthy Church 
 Bells; Andantes in G, A, E min., etc. Two sets (6 pieces) of Organ Pieces, etc. 
 Melodia Sacra, Handel's airs arranged for Pf. The English Cathedral Service, its 
 Glory, its Decline, and its designed Extinction, Lond., 1845. A Few Words on 
 Cathedral Music and the Musical System of the Church, with a Plan of Reform, 
 Lond., 1849, 8vo. 
 
 WEST (George Frederick). English writer, comp. and teacher, B. Bath. 
 Author of "Questions relating to the Theory of Music," Lond., 1864, i2mo ; 
 and comp. of a very large number of Pf. pieces. 
 
 WEST (H.) English writer, author of "Singing Preceptor," Lond., 1846. 
 "Accordian Preceptor," 1846. 
 
 WESTBROOKE (William Joseph). English comp., org. and writer, B. 
 London, Jan. I, 1831. Org. ol S. Bartholomew, Bethnal Green, 1849 ; 
 S. Bartholomew, Sydenham, 1851-84 ; Co-org., Crystal Palace, i860. Cond. 
 of South Norwood Musical Soc, 1865-78. Musical Examiner to the Coll. of 
 Preceptors, London. Mus. Bac, Cantab., 1876; Mus. Doc, 1878. Estab- 
 lished with A. W. Hammond and John Crowdy, the Musical Standard, 1862. 
 Works.— Jesus, oratorio, 1877. The Lord is my Shepherd, cantata, 1875. 
 Services in G, D, etc. Anthems : Let then) give thanks ; Holy, holy ! ; 
 Set up Thyself, O God ; O God, Thou art my God ; Now is Christ risen ; 
 O God, who by the leading of a star ; With hearts renewed ; I saw the Lord, 
 etc., Bristol prize madrigal, 1865, "All is not gold." Part-songs, and Trios 
 for Ladies' Voices : Holly berries ; Fall on us, O night ; Lines to the Evening 
 Star ; Sigh no more. Ladies ; Burly Winter ; Hurrah for Father Christmas ; Con- 
 sider the Lilies (trio) ; Dream, baby, dream ; The little voice ; Sing merrily all ! 
 Songs : Gather me smiles ; The snow ; On the water ; Bonnie Bessie ; Minnie 
 mine; Shelley's Good Night; Watching; Christmas songs. Organ: Sonata in E 
 flat, 1882; Three pieces, 1883; Voluntaries, 3 vols. ; The Young Organist, 2 vols. ; 
 The Organist, 2 vols. ; Haydn's Last Seven Words (complete) ; The Practical 
 Organist, 5 nos. ; The Organ Journal ; Ancient and Modern Fugues, 3 books; The 
 March Album, etc. Harmonium Music, The Hundred Composers, English, 
 French, Italian, and German, 4 vols. Pianoforte pieces. The Young Artist, 12 
 sonatas, 1883. Literary: Elementary Music, a Primer, London, 1879 ; A Practi- 
 cal Organ Tutor, n.d. ; Translations of De Beriot's, Dancla's, and Alard's Violin 
 School s, etc. 
 
 WESTMORELAND (John Fane, Earl of). Lord Burghersh. English 
 comp., B. London, Feb. 3, 1784. Entered army, 1803. Envoy at Court of 
 Florence, 1814. S. music under Hague, Mayseder, Portogallo, and Bianchi. 
 
6l4 WES — WHI 
 
 Succeeded to title, 1841. British Minister at Berlin, 1841-51. Established the 
 
 Royal Academy of Music, London, in which a scholarship was founded in his 
 
 memory, i86i. D. Apthorpe House, Oct. 16, 1859. 
 
 Works. — Operas : Bajazet, Florence, 1821 (Lond., 1822); L'Eroe di Lancastre, 
 
 R. A. M. Pupils, 1826 ; Lo Scompiglio teatrale, Florence, 1830 (published 1846) ; 
 
 Catarina, ossia I'assedio di Belgrade, Lond., 1830 (in English as Catherine the 
 
 Austrian Captive) ; Fedra, Florence, 1828 (pub. Berlin, 1848) ; II Torneo, 
 
 Florence, 1829 (Lond., 1838); II Ratto di Proserpina, 1845. Cathedral Service, 
 
 1841 ; Messa Solenne, 1858 ; Requiem to the Memory of Samuel Webbe (with 
 
 others) ; Six Canons, for three voices ; Six Cantatas of Metastasio, for solo voice 
 
 and Pf., 1831. Madrigals, glees, and numerous single songs. Three symphonies 
 
 for orch. , quartets, and Pf. music. 
 
 WESTROP (East J.). English comp., B. Lavenham, Suffolk, 1804. D. Lon- 
 don, 1856. Comp. "Carmina Sacra," Lond., 1857, 8vo ; 100 Little Songs 
 for Little Singers, 1857; Normal Singer, 1857; 200 Psalms and Hymns, with 
 Wade, 1859 ; etc. 
 
 WESTROP (Henry). English comp., violinist, org. and cond., B. Lavenham, 
 Suffolk, July 22, 1812. Org. of S. Stephen's, Norwich ; Little Stanmore, 
 1831 ; Fitzroy Chap., London, 1833 ; S. Edmund the King and Martyr, Lom- 
 bard St., London, 1834. Vnst. at Italian opera and Philharmonic Soc. 
 Cond. the Choral Harmonist's Soc. Mem. of Philharmonic Soc, and of 
 Royal Soc. of Musicians. D. London, Sept. 23, 1879. 
 Works. — Maid of Bremen, opera (E. Fitzball), in MS. (was preparing for pro- 
 duction by the Pyne and Harrison Company when that undertaking ceased). 
 Anthem, O taste and see, in E flat. Symphony for orch., 1838. Qjuintets for Pf. 
 and strings, in E flat, 1843, and C min. 1844 ; Quartet for Pf. and strings, in A 
 flat, op. 2 ; Trio, for Pf. and strings, in F, 1 841. Sonata, Pf. and violin, in F, 
 1844 ; Sonata, Pf. and flute, in F, op. 6; Sonata for Pf. and viola, E flat. Quar- 
 tets for strings, in E, and E flat. Pianoforte : Allegro, in E flat ; Parting ; Greet- 
 ing ; A summer eve. Winter, descriptive cantata for bass voice and orch. 
 
 A musician much respected in London. His daughter, Kate, is a pianist and 
 org. of ability. His brother, Thomas, B. 1816, D. 1881, was a writer and comp. 
 He published "120 Selected Short Anthems," Lond., 1861 ; "Psalms, Hymns, 
 etc.," 1862, 4to ; " 18 Selected Vocal Duets," 1863 ; " Sacred Songs," 1863 ; 
 " Universal Violin Tutor," 1862, 8vo ; " Complete Organ Tutor," 1863, 4to. 
 
 WEYMAN (David). Irish collector, was vicar-choral of S. Patrick's, Dublin, 
 early in 19th century. Published " Melodia Sacra, or, the Psalms of David, 
 arranged for I, 2, 3, or 4 Voices," Dublin, 1812-14, fo. Sequel in 3 vols., 
 1840-52, 4to. 
 
 WEYSE (Christoph Ernst Friedrich). German comp., B. Altona, Mar. 5, 
 1774. Prof, of music in Copenhagen. D. Copenhagen, Oct. 4, 1842. Comp. 
 " Ludlam's Hbhle," opera, 1809. Symphonies, overtures, sonatas and other 
 Pf. works. 
 
 WHEALL (William). English org. and comp. , was org. of St. Paul's, Bed- 
 ford. Mus. Bac. Cantab., 1719. D. 1745. Comp. the psalm-tune, "Bed- 
 ford," etc. 
 
 WHEELER (Lyman Warren). American tenor vocahst and teacher, B. 
 Swampscott, Mass, April 7, 1835. S. under C. A. Adams, and in i860 went 
 to London, where he S. under Garcia. He afterwards continued his studies 
 under Prati and San Giovanni, of Milan ; Skafati, of Naples ; and again in 
 London under Garcia, Perrin, and Smith. Sang in America as a concert voca- 
 list, but best known there as a successful teacher. His pupils include the well- 
 known vocalists Miss Annie Louise Gary, and Miss Jennie Sargent. 
 
 WHICHELLO (Abiell). Org. and comp., was deputy org. to Philip Hart. 
 Org. of Ch. of S. Edmund the King. Played at Britton's concerts. D. about 
 1745. Comp. songs, and a "Collection of Lessons for the Harpsichord or 
 Spinnet." 
 
WHt — WlE 615 
 
 WHi'iAKiiK (Johu}. English comp., B. 1776. D. London, Dec. 4, 1848. 
 His biography is obscure. Known as the comp. of the popular songs, "Oh ! 
 say not woman's heart is bought;" "Thine am I, my faithful fair;" and a 
 number of glees, "Winds gently whisper," and other works. 
 
 WHITE (Mrs. F. Meadows). See Smith (Alice Mary). 
 
 WHITE (Maude Valerie). English comp., B. Dieppe, June 23, 1855. S. 
 under Sir G. A. Macfarren at R. A. M., and in 1879 gained the Mendelssohn 
 Scholarship. Comp. part-songs. Songs : Ave Maria ; The lassie I lo'e best ; 
 To Daffodils ; There was a king of Thule ; My ain kind dearie, O ; To Blos- 
 soms ; Loving and true ; Montrose's Love Song, etc. Also comp. Pf. music, 
 a mass, and other works. 
 
 WHITE (Biichard Grant). American writer on musical and philological topics, 
 B. New York, May 23, 1822. D. there April 8, 1885. 
 
 WHITE (Robert). English comp. and org. ofi6th century. Org. of Ely Cath., 
 1562. D. about 1581. The Library of Christ Church Coll., Oxford, contains 
 a number of his comps. in MS. 
 
 WHITFIELD. See Clarke- Whitfield. 
 
 WHITING (George E.) American comp. and org., B. Holliston, Mass, 1842. 
 S. under W. T. Best and R. Radecke. Org. at Hartford, Conn. ; King's 
 Chap., Boston; Pro Cath.; Music Hall Soc; Ch. of the Immaculate Concep- 
 tion, Boston. Org. of Cincinnati Music Hall for five years. Now head of the 
 org. department in New England Cons, of Music, Boston. 
 Works. — Op. i. The organist, 12 pieces ; op. a. Three preludes, org. ; op. 3. 
 
 25 Studies ; op. 4. Mass in C ; op. 10. Six songs ; op. 11. Prologue to Longfellow's 
 
 "Golden Legend"; op. 12. Set of Part-songs ; op. 13-18. Church services; op. 21. 
 
 Festival Te Deum ; op. 22. Fantasia, org. ; op. 23. Registration fantasia, org. ; 
 
 op. 24. Storm fantasia, org.; op. 25. Magnificat; op. 26. Preludes lor Grand Mass; 
 
 op. 31. Bethlehem, female voices ; op. 32. Suite, 'cello and Pf. ; op. 33. Hymns 
 
 and Offertory Pieces ; op. 34. Psalm ; op. 35. Grand Sonata ; op. 36. Preludes ; 
 
 op. 37. 2nd Mass, F min. ; op. 40. Tale of the Viking ; op. 41. March of the 
 
 Monks of Bangor ; op. 42. Leonore, cantata ; op. 43. Midnight cantata; op. 44. 
 
 Overture to Tennyson's " Princess," etc. 
 
 WHITNEY (Samuel B.) American comp. and org., B. Woodstock, Vermont, 
 June 4, 1842. Org. of Christ Ch., Montpelier, Vt.; S. Peter's, Albany, N.Y.; 
 S. Paul's, Burlington, Vt.; Old Ch. of the Advent ; and now of New Ch. of 
 the Advent, Boston. Prof, in New England Cons, of Music, and in Boston 
 University. Comp. Two full Communion Services ; Five Te Deums ; and 
 numerous other pieces for the church service ; Organ music ; Trio for Pf. and 
 strings ; Pf. music, and songs. 
 
 WHITTINGEAM (Alfred). English org. and writer, author of "The Major 
 and Minor Scales, in Octaves, Sixths, and Thirds..." Lond., n. d. "Life and 
 Works of Mozart," 1880, 8vo. " Life and Works of Handel," Lond., 1881, 
 and other works. 
 
 WHYTHORNE or WHITHORNE (Thomas). English comp., B. 1531. 
 Comp. "Songes of Three, Power and Five Voyces..." Lond., 1571, 4to. 
 "Bassavo, Duos, or Songs for Two Voices," 1590. 
 
 WIDOR (Charles Marie). French comp., org., and pianist, B. Lyons, Feb. 
 
 22, 1845. S. at Brussels under Lemmens and Fetis. Org. of S. Francis, 
 
 Lyons, i860; S. Sulpice, Paris, 1869. 
 Works.— La Nuit de Walpurgis, symphonic poem. Concerto for Pf. and orch., 
 1876. Concerto for 'cello and orch.; Quintet in D min. for Pf. and strings, op. 7 ; 
 Six Symphonies for org.; Ballet Airs, Pf., op. 4 ; Psalm cxil., for chorus, 2 orgs., 
 and orch. Songs, duets, and other vocal music. 
 
 WIECK (Friedrich). German pianist, comp., and writer, B. Pretsch, Wittem- 
 berg, Aug. 18, 1785. Teacher in Leipzig and Dresden. D. Loschwitz, 
 Presden, Oct. 6, 1873. His daughter, Clara, married Robert Schumann 
 
6i6 w I E — wl L 
 
 (see that name). His second daughter, Marie, is also a pianist of note. His 
 "Piano and Singing" was translated /»?■ Clara and Marie by H. Krueger. 
 WIENIAWSKI (Henri). Polish violinist and comp., B. Lublin, July lo, 1835. 
 S. under Massart at Paris Cons., 1844. Gained first violin prize, 1846. Ap- 
 peared as violinist in Russia, 1848. Solo vnst. to Emperor of Russia. Prof, 
 of violin at Brussels Cons., 1874-77. D. Moscow, April 2, 1880. Comp. 
 Fantasias, polonaises, legends, airs, and transcriptions for the viohn. His 
 brother, Joseph, B. Lublin, May 23, 1837. S. at Paris Cons, under Alkan, 
 Marmontel, and Le Couppey. Gained first prize for Pf. playing, 1849. Ap- 
 peared with his brother in Poland, Germany, Belgium, and Holland. Comp. 
 op. I. Two Idylles, Pf.; op. 3. Valse ; op. 4. Tarantelle ; Duets, transcriptions, 
 etc., for Pf. 
 
 WIEPRECHT (Wilhelm Friedrich). German comp. and teacher, B. As- 
 chersleben, Aug. 9, 1800. Director of military music in Prussia. D. Berlin, 
 Aug. 4, 1872. Comp. much military music, and was noted as a teacher. 
 
 WIGAN (Arthur Cleveland). English writer and comp., B. London, 1815. 
 Author of " Modulating Dictionary, consisting of 552 Modulations with the 
 Returns," Lond., 1852, 8vo. Comp. also many good songs. 
 
 WILBYE (John). English comp. of i6th century. His biography is very ob- 
 scure. In 1598 he was a teacher of music in Austin Friars, London. Comp. 
 " Madrigals to 3, 4, 5, and 6 Voices..." London, Este, 1598. Reprinted by 
 Musical Antiquarian Soc, edit, by James Turle, 1841. "The Second Set of 
 Madrigals, to 3, 4, 5, and 6 parts, apt both for Voyals and Voyces," Lond., 
 1609. Reprinted by Mus. Antiq. Soc, edit, by G. W. Budd, 1846. "The 
 Lady Oriana," madrigal is in the "Triumphs of Oriana." Among his best 
 known madrigals are " Flora gave me fairest flowers," " Sweet honey-sucking 
 bee," "Die, hapless man," " When Cloris heard," " Stay, Corydon," "Lady, 
 when I behold," "Why dost thou shoot," etc. These madrigals are the 
 sweetest, most appropriate, and fanciful pieces of pastoral music ever composed. 
 There can be no hesitation in accepting Oliphant's verdict, which places him 
 above all other madrigal composers as a writer of pretty pastoral music. 
 
 WILHELM (Carl). German comp., B. Schmalkalden, Sept. 5, 181 5. S. under 
 Spohr, etc. Cond. at Crefeld. D. Schmalkalden, Aug. 25, 1873. Comp. 
 many fine lieder, but only remembered now as the composer of the "Watch 
 on the Rhine " (Die Wacht am Rhein). 
 
 WILHELMJ (Auguste Emil Daniel Friedrich Victor). German violinist 
 
 and comp. B. Usingen, Nassau, Sept. 21, 1845. S. originally under Fischer. 
 Appeared first in public, 1854. Patronised by Liszt, S. at Leipzig Cons, 
 under Hauptmann, Richter, and David, 1861-64. Appeared in Switzerland, 
 Holland, London, 1865-66 ; Paris, 1867, Denmark, Sweden, and the United 
 States. Has appeared frequently in London, and is esteemed one of the 
 greatest living violinists. Has comp. a number of transcriptions for violin. 
 
 WILHEM (GuHlaume Louis Bocauillon-). French writer and teacher, B. 
 Paris, Dec. 18, 1781. D. Paris, April 26, 1842. A strenuous advocate of the 
 fixed Doh principle, which was adopted by the late Dr. HuUah, in connection 
 with which he compiled a number of instruction books, " Methode. Manuel 
 Musicale," 1840, etc. Some of his books have been translated. 
 
 WILLAERT (Adrien). Belgian comp., B. Bruges [1490]. Educ. at Paris 
 Univ. S. under Mouton, Okenheim, and Josquin. Resided at Paris for a 
 time. Chap.-master, S. Mark's, Venice, 1527. D. Venice, Deo. 7, 1562. 
 He comp. II Primo Libro de Motetti, 1542; Canzone Villanesche, 1545; Li- 
 bro primo de Madrigali, a cinque voci, 1548. Fantasie, 1549. Psalmi Ves- 
 pertini, 1550, and other books of sacred and secular music. 
 
 WILLIAMS (Anna). English soprano vocalist. S. in London under H. 
 Deacon and J. B. Welch, and at Naples under Scapati. Dlbut at Crystal 
 Palace, 1874. Has appeared at most of the principal London and provincial 
 concerts, and is a leading soprano in oratorio. 
 
WiL — Win 6if 
 
 WILLIAMS (George Ebenezer). English comp. and org., B. 1783. Chor. 
 in S. Paul's Cath. under R. Bellamy. Deputy Org. Westminster Abbey, 1814. 
 D. London, April 17, 1819. Comp. " Sixty Chants, Single and Double," and 
 other vocal music. 
 
 WILLIAMS (Joseph), Florian Pascal. English comp., son of the late 
 Joseph Williams, music-publisher. B. London, 1850. S. at Zilrich and Stutt- 
 gart. Comp. an opera, overtures, orch. suites, Pf. music, and songs. 
 
 WILLIS (Richard Storrs). American writer, B. Boston, Feb. 10, 1819. 
 Editor of the New York Musical Times. Compiled ' ' Church Chorales and 
 Choir Studies," N. Y., n. d. Author of "Our Church Music, a Book for 
 Pastors and People," 1855, l2mo. 
 
 WILLMEBS (Heinrich Budolf). German pianist and comp., B. Berlin, Oct. 
 31, 1821. 8. under Hummel and F. Schneider. D. Vienna, Aug. 24, 1878. 
 Comp. Reverie, op. 8 ; Sonata h&oique, op. 33 ; Jugendtraume, op. 80 ; 
 Scenes champetres, op. -84 ; Impressions du Rhin, op. 86 ; and numerous Pf. 
 studies, transcriptions, and other works. 
 
 WILSON (Hugh). Scottish comp., B. 1764. Comp. of the well-known psalm 
 tune, ' ' Martyrdom. " 
 
 WILSON (John). English comp. and lute player, B. Feversham, Kent, 1594. 
 Doc. Mus., Oxon., 1644. Resided with family of Sir Wm. Walter of Sarsden, 
 Oxfordshire, 1646. Prof, of Music, Oxiord, 1656. Gent, of Chap. Royal, 
 1662. D. Westminster, Feb. 22, 1673. Identified by Rimbault as the Jack 
 Wilson who sang in Shakespeare's plays. Comp. "Psalterium Carolinum, the 
 Devotions of his Sacred Majestic in his Solitudes and Sufierings, rendered in 
 Verse, set to Music for Three Voices, and an Organ or Theorbo," 1657 ; 
 " Cheerful Airs or Ballads, first composed for one single voice, and since set 
 for three. voices," Oxford, i65o; "Aires for a Voice alone to a Theorbo or Bass 
 Viol. Divine Services and Anthems," 1663 ; " Fantasias for Viols." 
 
 WILSON (John). Scottish tenor vocalist, B. in the Canongate, Edinburgh, 
 
 Dec. 25, 1800. Married about 1820. Reader for the Press in Ballantyne's 
 
 Printing Office, Edinburgh. S. under Finlay Dun. Choir-singer in Dudding- 
 
 ston Parish Ch., where the Rev. John Thomson was pastor. Precentor of 
 
 Relief Ch., Roxburgh Place, Edin. ; do. S. Mary's, 1826. Sang at concerts 
 
 in Edinburgh. S. singing in London under Lanza, 1827, and Crivelli, 1830. 
 
 S. harmony under Aspull. First appeared in opera in '• Guy Mannering," as 
 
 Harry Bertram, Edinburgh, March, 1830. Sang in opera in London, from 
 
 1830, and became highly successful in English opera at Covent Garden, Drury 
 
 Lane, and other theatres. Travelled in Britain giving his Songs of Scotland 
 
 entertainment, and appeared as concert and opera singer till 1838. Appeared 
 
 in the United States, 1838. Visited Canada, 1849. D. Quebec, July 8, 1849. 
 
 One of the most successful Scottish singers. His entertainments consisted of 
 
 Nights with Burns, Jacobite Songs, etc., and were very well patronised wherever 
 
 he appeared. He pubUshed "Wilson's Edition of the Songs of Scotland, as Sung 
 
 by him at his Entertainments on Scottish Music and Song," Lond., 1842, 3 books. 
 
 WILSON (Miss). See Welsh. 
 
 WILSON (William). Author of "A New Dictionary of Music" (with Grier), 
 Lond., n.d. i2mo. 
 
 WILT (Marie). Austrian soprano vocalist, B. Vienna, 1838. S. under Gans- 
 bacher. Debut Gratz, 1865. Appeared in London, 1866, Vienna, etc. 
 Sang in operas of Meyerbeer, Thomas, Weber, Mozart, etc. 
 
 WILTON. See Lablache (Fanny). 
 
 WILTON (Thomas Egerton, Second Earl of). English comp., B. 1799- 
 D. 1882. Comp. "O Praise the Lord," anthem ; "Hymn to Eros, chants, 
 and other vocal music. 
 
 WINGHAM (Thomas.) Enghsh comp., B. London, Jan. S, 1846. S. at 
 R. A. M. under Bennett. Prof, of Pf. at R. A. M. Comp. six overtures, 
 symphonies, Mass in D, anthems, songs, and other works. 
 
 Q 2 
 
6i8 vriN — woo 
 
 WINN iWiUiam). English bass vocalist and comp., B. Bramham, Yorks., 
 May 8, 1828. Gent, of Chap. Royal, 1864. Vicar-choral of S. Paul's, Lon- 
 don, 1867. Comp. glees and part-songs ; Songs — The Old Ice-king, Evening 
 Thoughts, A kiss and nothing more ; and other vocal works. Well known as 
 a bass singer of great power and culture. 
 
 WINNER (Septimus), American writer, author of New School for the Violin, 
 1870; Easy System for the Pianoforte; New School for the Piano; New 
 School for the Cabinet Organ ; Easy System for the Melodeon ; Guitar 
 Primer ; Perfect Guide for the Violin ; New School for the Flute ; Easy 
 System for the Violoncello ; Perfect Guide for the Accordeon ; New School 
 for the Banjo ; Perfect Guide for the German Concertina ; New School for the 
 Clarionet ; New School for the Flageolet ; New School for the Cornet ; and 
 Singing Method. All these, with many others, are issued by Ditson of Bos- 
 ton, Mass. 
 
 WINTER (Peter von), German comp., B. Mannheim, 1754. S. under Vogler. 
 
 Cond. Court Theatre, Munich. Visited Paris, 1802; London, 1803-5. D. 
 
 Munich, Oct. 17, 1825. 
 Works. — Operas: Der Bettelstudent ; Psyche, 1793; Der Sturm, 1793; Das 
 Unterbrochene Opferfest (Interrupted Sacrifice), Munich, 1795 ; Die Thomasnacht, 
 179s; Calypso, Lond., 1803; Castor and Pollux, Lond., 1803; Proserpina, do., 
 1804; Zaira, do., 1805; Der Sanger und der Schneider. Ballets — Colman, 1809, 
 etc. Cantatas, church music, symphonies, overtures, etc. 
 
 WISE (Michael), English comp., B. Salisbury, 1638. Educated in Chap. 
 Royal under Cook. Org. and choirmaster, Salisbury Cath., 1668. Gent, of 
 Chap. Royal, 1675. Almoner and master of the choristers, S. Paul's, Lond., 
 1686-7. Killed at Salisbury in a midnight brawl with the Watch, Aug. 1687. 
 Comp. Magnificat in E flat. Anthems: Prepare ye the way of the Lord; 
 Awake, put on Thy strength ; Blessed is he ; Awake up, my glory ; The Ways 
 of Zion do mourn ; Thy beauty, O Israel ; etc. 
 
 WOAKES (W. H,) English writer and comp., was org. at Hereford. Author 
 of "A Catechism of Thorough-bass, Catechism on Music, and Dictionary," 
 Hereford, 1820, l2mo. Comp. also glees, songs, and anthems. 
 
 WOHLFAHRT (Heinrich), German writer and comp., B. Kossnitz, Dec. 16, 
 1797. D. May 7, 1883. Best known by his instruction books in theory and 
 for the Pf , and by numerous pieces for that instrument. His " Guide to 
 Musical Composition" was trans, by J. S. Dwight, Boston, n.d. 
 
 WOLFFL (Joseph), Austrian comp. and pianist, B. Salzburg, 1772. S. under 
 
 L. Mozart and M. Haydn. Appeared at Warsaw, Vienna, etc. Married 
 
 Therese Klemm, 1798. Appeared in London and Paris till 1801. Resided in 
 
 London as teacher from 1805. D. London, May 22, 1814. 
 
 Works.— Concertos for Pf. and orch,, op. 20, 26, 32, 49, etc.; Quartets for 
 
 strings, op. 4, 10, 30 ; Trios for strings, op. 6, 16, 25, 33 ; Sonatas, Pf. and vn., 
 
 op- 7, 9. 13. '8, 24 ; Sonatas, Pf. solo, op. i, 15, 19, 22, 36, 38, 41, 45, 47, 50, 
 
 S4> 5S> 58) 62, etc. ; School for the pianoforte, op. 56. Rondos and arrangements 
 
 for Pf. "The Surprise of Diana," and other works. 
 
 WOLLENHAUPT (Hermann Adolph). German pianist and comp., B. 
 Schkenditz, Dusseldorf, Sept. 27, 1827. S. under Hauptmann. Teacher in 
 New York from 1845. D. New York, Sept. 18, 1863. Comp. Polkas, 
 op. 8 ; Nocturne, op. 15 ; La campanella, op. 16; Five pieces, op. 23; Galop, 
 op. 24 ; Andante, op. 45 ; Valse gracieuse, op. 70 ; and numerous Pf. tran- 
 scriptions and arrangements. 
 
 WOOD (Anthony a), English antiquary and writer, B. Oxford, Dec. 17, 
 1632. D. Oxford, Nov. 29, 1695. From his writings many biographies of 
 the older musicians have been taken. His "Athense Oxoniensis...," Lond., 
 1691-92, 2 V. fo., contains notices of musicians who were educated at Oxford, 
 and there exists in MS. in the Ashmolean Museum a work entitled ' ' Some 
 Materials towards a History of the Lives and Compositions of all English 
 Musicians." "A Wood," as he styles himself, was a great amateur musiciani 
 
woo — WRI 619 
 
 WOOD. See Paton. 
 
 WOOD (John Muir), Scottish music-publisher, B. early in the present century. 
 Established music-publishing businesses in Edinburgh and Glasgow. He was 
 associated with Chopin and other great artists who visited Scotland on concert- 
 giving enterprizes. His firm published for a time the Scottish Monthly Musical 
 Times, a journal which lived only for a short time 1876-78. He edited a new 
 edition of the "Songs of Scotland" (1884), and has contributed important 
 Scottish matter to Grove's " Dictionary of Music." 
 
 WOODBURY (Isaac B.) American writer and comp., B. Beverly, Mass., Oct. 
 l8, 1819. S. in Europe for one year, and was chiefly engaged as teacher and 
 cond. in various American towns. D. Colombia, S.C, Oct. 26, 1858. 
 Works.— The Dulcimer, collection of church music, N. Y., 1850. Liber 
 Musicus, 1 85 1. The Cythara. Cultivation of the Voice without a Master, N. Y., 
 n. d. Self-Instruction in Musical Composition and Thorough-Bass, n. d. Singing 
 School and Music Teacher's Companion, n. d. Melodeon and Seraphine Instruc- 
 tion-Book, n. d. Edited and established the Musical Review, 1850 ; and the 
 Musical Pioneer. 
 
 WOODMAN (Rev. W.) Author of "Singing at Sight made Easy, complete 
 course of Instruction," Lond., i860, 8vo. 
 
 WOODWARD (Richard). Irish org. and comp., B. Dublin, about 1744. 
 Bac. Mus., Dublin, 1768; Doc. Mus., 1771. Vicar-choral, S. Patrick's 
 Cath., 1772. Org. of Christ Ch. Cath., 1765. Master of Choristers, S. 
 Patrick's and Christ Ch. Cathedrals. D. Dublin, 1777-78. Comp. "Cathe- 
 dral Music in Score," op. 3. Anthems. "Songs, Catches, and Canons," 
 n. d., etc. 
 
 WOOLHOUSE (W. S. B.) English writer, author of "A Catechism of Music," 
 Lond., 1843, i8mo. "A Treatise on Singing," Lond., n. d., fo. 
 
 WORGAN (John). English org. and comp., B. London, 1724. S. under 
 Rosingrave and Geminiani. Org. and comp. to Vauxhall Gardens, 1751-74. 
 Org. of S. Botolph's, Aldgate, London, 1753; S. Mary Axe ; and S. John's, 
 Bedford Row. Mus. Bac, Cantab., 1748. Mus. Doc, 1775. D. London, 
 Aug. 24, 1790. 
 Works. — Oratorios: Hannah, 1764; Manasseh. Anthems, various. Can- 
 zonets ; The Agreeable Choice, a collection of Songs ; Pieces for the Harpsichord ; 
 Six Sonatas for the Harpsichord, 1769 ; Org. music, etc. 
 
 Celebrated as an organist. His son, Thomas Danvers Worgan, was author 
 of " Rouge et Noine de Musique, or Harmonic Pastimes, being games of cards con- 
 structed on the principles of Music," Lond., 1807, i2mo. "The Musical Reformer, 
 comprising an Apology for Intellectual Music..." Lond., 1829, 8vo. He was 
 brother-in-law of Sir Wm. Parsons. 
 
 WRAGG. English flute-player, comp., and writer, of early part "of present cen- 
 tury. Author of " Wragg's Improved Flute Preceptor," Lond., n. d., which 
 went through many editions. He comp. solos for the flute. 
 
 WRIGHT (Henry S.}. English writer, author of "An Introduction to the 
 Study of Music, with Historical and other References," London, n. d., 8vo. 
 
 WRIGHT (Thomas). English org. and comp., B. Stockton-on-Tees, 1763. 
 Assistant org. to Garth, and Ebdon of Durham. Org. at Sedgefield, 1785-97; 
 afterwards at Stockton. D. at Wycliffe Rectory, near Barnard Castle, Nov, 
 24, 1829. Comp. Pf, concerto ; " Rusticity," an operetta, i860 ; Anthems, 
 songs, and Psalm tunes, " Stockton," etc. 
 
 WRIGHT (T, H,). English writer, author of "New Preceptor for the Harp, 
 including a Series of Exercises, and succeeded by Preludes, and Progressive 
 Lessons..." London, 1825. 
 
 WRIGHTON (W. T.). English comp., B. 1816. D. Tunbridge Wells, July 
 13, 1880. Comp. of numerous popular songs, among which may be named 
 "Jler bright smile haunts me still," "Approach of Spring," "A wish," 
 
620 WUE — YRI 
 
 "Days gone by," "Ever with thee," "Memories," "My mother's name," 
 "Our English rose," "Postman's knock," "You need na come courting o' 
 me " ; Duets, etc. 
 
 WUERST (Kichard). German comp. and teacher, B. Berlin, Feb. 22., 1824. 
 S. under H. Ries and Mendelssohn. Prof, in Kullak's Cons., Berlin. Direc- 
 tor of Royal Music, Berhn. D. Berlin, Oct. 9, 1881. Comp. Rothmandel, 
 opera, 1848 ; Der Stern von Turan, 1864 ; Vineta, 1864 ; Faublas, 1873. 
 Cantatas, lieder, chamber music. Writings on music, etc. 
 
 WtiLLNER (Franz). German comp. and cond., B. Miinster, 1832. S. under 
 Schindler. Cond. at Aix-la-Chapelle and Munich. Chap, -master at Dresden. 
 Comp. choral music, songs, Pf. music, and wrote a "Chorgesangschule." 
 Succeeded Dr. Hiller at Cologne, 1884. 
 
 WYLDE (Henry). English comp. and writer, B. Hertfordshire, 1822. Mus. 
 Doc, Cantab., 1851 (accumulated degrees). Gresham Prof, of music in suc- 
 cession to Prof. E. Taylor, 1863. Assoc. R. A. M., etc. Author of "Har- 
 mony and the Science of Music," Lond., 1865, 8vo, and 1872 ; " Music in its 
 Art Mysteries," Lond., 1867, 8vo ; "Modern Counterpoint in Major Keys," 
 Lond., 1873; "Occult Principles of Music..." 1881, 8vo; "Music as-an 
 Educator..." 1882, 8vo. 
 
 WYVILL (Zerubbabel). English comp., B. Maidenhead, Berks., 1762. 
 Teacher at Maidenhead. D. there, 1837. Comp. "A Collection of Psalms 
 and Hymns for four voices," Lond., n. d. ; "A Collection of Catches and 
 Glees, for 3 and 4 voices,..," Lond., n.d., fo. Now remembered as the com- 
 poser of "Eaton " and other hymns. 
 
 YANIEWICZ. See JANIEWICZ. 
 
 YONGE (Nicholas). English musician, pubhshed "Musica Transalpina, Mad- 
 rigales translated, of 4, 5, and 6 parts, chosen out of divers excellent authors..." 
 Lond., 1588, 4to ; "Musica Transalpina, the Second Book of Madrigalles, to 
 5 and 6 voices, translated out of sundry Italian authors .." Lond., 1597, 4to ; 
 Contents set out in Oliphant's "Musa Madrigalegca. " 
 
 YOUNG (Anne). See Gunn (Anne). 
 
 YOUNG (Rev. Edward). English writer on art and music, author of "The 
 Harp of God, Twelve Lectures on Liturgical Music, its Import, History, Pre- 
 sent State, and Reformation," Lond., 1861, 8vo. 
 
 YOUNG (John Matthew Wilson). English org. and comp., B. Durham, 
 Dec. 17, 1822. S. under Henshaw. Prof, of music at York Training Coll. 
 Org. Lincoln Cath. from 1850. Comp. "The Return of Israel to Palestine," 
 cantata ; O Lord, Thou art great and glorious ; I will extol my God ; O Lord, 
 God of my salvation, anthems, etc. 
 
 YOUNG (William James). English comp. and org., brother of preceding, B. 
 Durham, April 18, 1835. S. under his brother. Assistant org. Lincoln Cath., 
 1857-8. Org. at S. John's, Longsight, Manchester, 1858-71 ; St. Peters, 
 Levenshulrae ; and S. James's, Birch-in-Rusholme, 1880. Composed 27 
 good part-songs — I love the merry spring time ; Gaily through the greenwood; 
 Welcome, merry May ; Fairy revels ; The merry bird ; The streamlet ; Coming 
 of Spring, etc. 
 
 YOUNG (Rev. Matthew, D.D.). Irish writer, E. Roscommon, 1750. D. 
 1800. Author of "Inquiry into the Principal Phenomena of Sounds and 
 Musical Strings," Lond., 1784, 8vo. 
 
 YRIARTE (Tomas de). Spanish poet, author of "La Musica Poema," 
 Madrid, 1784. Trans, as "Music, a Didactic Poem, in five cantos," by John 
 Belfour, Lond., 1807, 8vo, 
 
ZAC — ZIN 621 
 
 z. 
 
 ZACCONI (Lodovioo). Italian theorist of i6-i7th centuries. Author of " Pra- 
 tica di Musica...," Venice, 1596, fo. 
 
 ZACHAU (Friedrich Wilhelm). German org. and comp., B. Leipzig, Nov 
 19. 1663. D. Halle, Aug. 14, 1717. Comp. music for the church service! 
 org. pieces, etc., but now remembered only as the teacher of Handel. 
 
 ZABLINO (Gioseffo). Italian writer and comp., B. Chioggia, 1519. Chap.- 
 master of St. Mark's, Venice. D. Venice, Feb. 16, 1590. His didactic works 
 were collected under the general title " Di Tutti I'Opere," Venice, 1589,4 V. 
 fo., containing his most famous works, " L'Istituzioni harmoniche " ■ '" Le 
 Dimostrationi harmoniche," "Sopplimenti Musicali," etc. 
 
 ZAVERTHAL (J. R.). See Savarthal (J. R.). 
 
 ZAVERTHAL (Wenceslas Hugo). Bohemian comp., B. Polep, Aug. 31, 
 1821. Brother of Johann Rudolf Saverthal. Clarinet-player and bandmaster! 
 • Married Carlotta Maironi, 1847. Cond. at Modena, etc. Resident at Helens- 
 burgh, on the Clyde, since 1875. Comp. orchestral music, church music, part- 
 songs, and songs. His second son, Ladislao, B. Milan, Sept. 29, 1849. was 
 appointed bandmaster of the Royal Artillery, at Woolwich, in 1882. Comp. 
 operas, dance music, etc. 
 
 ZELTER (Carl Friedricll). German comp. and writer, B. Berlin, Dec. 11, 
 
 1758. S. under Fasch. Director of the Sing-Akademie in succession to 
 
 Fasch. Prof, of music at the Academy of Arts, Berlin, 1809. Founded the 
 
 Liedertafel, Berlin, 1809. D, Berlin, May 15, 1832. 
 
 He cotnp. cantatas for voice and Pf., songs, and numerous part-songs, all of 
 
 great merit. He was a friend and correspondent of Goethe, and their letters to 
 
 each other fill several volumes. Mendelssohn was also closely connected with 
 
 Zelter, who was a most influential musician in Berlin. 
 
 ZERRAHN (Darl). German cond., B. Malchow, Mecklenburg-Schwerin, July, 
 1826. Settled in New York, 1848. Cond. of the Handel and Haydn Soc. of 
 Boston, 1854. Cond. of the Harvard Symphony Assoc, 1866. Celebrated 
 in America as a cond. of musical festivals. 
 
 ZEUNER (Charles). German comp., B. 1797. Settled in U. S., and became 
 org. of Park Street Ch., Boston, and of Handel and Haydn Soc. Comp. 
 "The Feast of the Tabernacles," oratorio, 1832 ; American Harp, 1839 ; An- 
 cient Lyre, 1848; Musical Manual, n.d. ; etc. D. Philadelphia, Nov. 1857. 
 
 ZIEGFELD (F.). German pianist and teacher, B. Jever, 1841. Founder of the 
 Chicago Coll. of Music. S. under Moscheles, Plaidy, Richter, etc. Well 
 known in America as a teacher and performer. 
 
 ZIMMERMANN (Agnes). German pianist and comp., B. Cologne, July 5, 
 1847. Resided in London from 1851. S. at R. A. M. under Potter, Steggall, 
 and Macfarren. Gained King's Scholarship, i860, and re-elected, 1862. 
 Gained silver medal. Dibut at Crystal Palace, London. Appeared in Ger- 
 many at Gewandhaus Concerts, 1879-80, 1882-83. Has performed in Britain, 
 and very frequently in London. Comp. much Pf. music, arrangements, and 
 original works. Fart-Songs : Come follow, follow me ; Flowers ; Gone for 
 ev\sr ; Good morrow; Good night; To daffodils. Songs: Der Verbannte ; 
 Lebewohl ; After war ; Blow, blow, thou vrinter wind ; My heart is sair for 
 somebody ; O ! that we two were maying ; The Exile ; The ringlet ; Stars are 
 with the voyager, etc. 
 
 ZINGARELLI (Niccolo Antonio). Italian comp,, ,B. Naples, April 4, 1752. 
 S. at Cons, of Loretto under Feneroli and Speranza. Chap. -master of Milan 
 Cath. Chap.-master of S. Peter's, Rome, in succession to Guglielmi, 1804. 
 Comp. "Cantata Sacra," the first work directly commissioned for the Birming- 
 ham Festival, 1829. D, Naples, May 5, 1837, 
 
622 ZI S — ZU N 
 
 Works. — Operas: Montezuma, 1781 ; 11 Telemacco, 1785; Armida, 1786; 
 Annibale, 1787 ; Antigone, 1789 ; Artaserse, 1794 ; Romeo e Giulietta, 1796 ; II 
 Ritratto, 1799; Infes da Castro, 1803; Baldovino, 1810. Oratorios: La Distruz- 
 zione di Gerusalemme, 1810 ; SauUe ; La Passione. Vocal music, and other works. 
 Celebrated as a teacher. 
 
 ZISKA (Leopoldine). Authoress of "Handbook of the Four Elements of 
 Vocalization, edited by Leopold'Wray," Lond., 1850, 8vo. 
 
 ZOELLER (Carli). German comp., writer, and cond., B. Berlin, March 28, 
 1840. S. at Royal Academy of Arts there. Settled in England, 1873. 
 Bandmaster of the 7th (Queen's Own Hussars), 1879. Mem. of Academy of 
 S. Cecilia, Rome, 1884. Corresponding Mem. of Royal Academy of Music, 
 Florence, 1885. 
 Works. — Mary Stuart, Queen of Scots, in her Prison at Fotheringay, lyrical 
 monodrama, with male voice chorus ; Qui sedes Domine, cantata, with viola d' 
 amour solo ; The Missing Heir, operetta in one act ; Suite for flute, clarjnet and 
 bassoon ; Trio for Pf., vn., and 'cello; Quartet for strings ; Quintet for wind instru- 
 ments ; Concerto dramatique for violin and orch. ; Bless the Lord, O my Soul, an- 
 them, 1875 ; Ave Maria for 8 voices ; 3 Masses ; and Songs, Pf. music, etc. 
 
 Well known as a virtuoso on the viola d'amour, which instrument he has made a 
 special study, and has comp. for it a Concertino; Two Introductions and Rondos in 
 D minor and D major ; Adagio religioso, for 2 violas d'amour ; Offertorium for 
 viola d'amour and org.; Fantasias, transcriptions, etc. Author of "Art of Modula- 
 lation, a Handbook showing at a glance the Modulation from one key to any other 
 in the octave.. " Lond., 1880; The Viole d'Amour, its Origin, History, and 
 Method of Playing it," Lond., 1885. 
 
 ZOLLNBR (Christian Heinrich). German comp., B. Oels, Silesia, May 5, 
 1792. D. Hamburg, July 12, 1836. Org. and cond. at Dresden, Hamburg, 
 etc. Comp. " Kunz de Kanfungen," opera; psalms, sonatas for Pf., songs, etc. 
 
 ZOTTI (Carlo). See Croal (George). 
 
 ZUMSTEEG ( Johann Rudolf). German comp. and violonceUist, B. Sachsen- 
 flur, Odenwald, Jan. 10, 1760. S. under Poli, Mazzanti, etc. Cond. at Stutt- 
 gart. D. Stuttgart, Jan. 27, 1802. Comp. cantatas for solo voice and Pf., 
 Ballads and Lieder ; Tamira, 1791 ; El Bondokani, 1792 ; Schuss von 
 Sansewitz, 1792; Die Geisterinsel, 1793; Das Pfauenfest, 1796; and other 
 operatic works. 
 
 ZUNDEL (Johann). German writer and comp., B. Erslingen, 1815. Settled 
 in America, and became org. of St. George's Ch., N. Y., and of Plymouth Ch., 
 Brooklyn. D. Cannstadt, July 1882. PublisTied Book of Easy Voluntaries for 
 the Organ, N. Y., 1851 ; Complete Melodeon Instruction Book, Boston, 1853; 
 Model Melodeon Instructor, 1854, 4to ; Amateur Organist, 1854 ; Modern 
 Organ School, Boston, i860 ; Psalms, etc. 
 
APPENDIX OF ADDITIONS AND CORRECTIONS. 
 
 The matter shewn in Italics is additional or oorrectory. 
 
 ABINGDON, p. 3. Third line from top, read A Representation, etc. (new title.) 
 
 ABT, p. 3. D. Wiesbaden, April 2, 1885. 
 
 ALLEN (H. E.), p. 15. Comp. Maid of Athens and other popular songs. 
 
 ALLON, p. 16. For B. 1881 read B. 1818. 
 
 APKILE (Giuseppe) not (GUISEPPB). 
 
 Archilochus, p. 24, not ARGHILACHUA. 
 
 ASHTON (HUGH), p. 30, or Aston, not ASHTAN. 
 
 ATTWOOD, p. 32. B. London, Nov. 23, 1767. 
 
 BAEMANN (HEINRICH), p. 50. (B. 1820, D. Munich, June 1885. 
 
 BARE (JAMES), p. 56. D. Oovan {Buried at Kilbarchan), Feb. 24, 1860. Comp. 
 
 " Thou Bonnie Wood o' Craigielea," and other melodies. 
 BASEVI (ABRAMO). p. 60. D. Florence, Dec. 1885. 
 BECKBE (JOHANN), p. 67. B. Mannheim, May 11, 1836. D. Mannheim, Oct. 10, 
 
 1884. 
 Bedsmore (Thomas), English org. and comp., B. Lichfield, 1833, Z). Lichfield, June 
 
 9, 1881. Org. of Lichfield Oath, from, 1864. Comp. Anthems, etc. 
 BENEDICT (SIR JULIUS), p. 77. D. London, Jwae 5,.1885. 
 BEST (W, T.), p. 89, top line, " Arrangements /rom," not "for." 
 BICKNELL (JOHN L.), p. 91. six lines from bottom, "Eedivivus, an entirely new 
 
 edition," etc. 
 BITTEE (C. H.), p. 97. D. Berlin, Sept. 13, 1885. 
 Bhtmner, p. 101, not BLUMMER. 
 
 BRAHMS, p. 112, fourteen lines from top, for " imitate " read initiate. 
 BUCHANNAN, p. 124. Physiological Illustra-«iom«. 
 BUTLER (CHARLES), p. 132. The four lines of note under Thomas Hamlt But- 
 
 LBR beginning " The first work is a curious production," and ending " described in 
 
 his Grammar," belong to the notice of Charles Butler, not to Thomas H. Butler. 
 CecUia (Saint), p. 151, not CECELIA (SAINT). 
 CHILMEAD, p. 158. Authority quoted is Hearne not Heme. 
 CHOUQUET (A. G,), p. 161. D. Paris, Jan. 30, 1886. 
 CLARKE (JOHN), Cterfe-WHITFIELD, p. 166. 
 CUMMINGS (W. H.), p. 191. B. Aug. 22, 1831. F.S.A., 1883. Gent, of Chap. 
 
 Royal. Frof. in R.A.M., and Guildhall School of Music. Hon. Treasurer of 
 
 Royal Soc. of Musicians. Cond. of Sacred Harmonic Soc, 
 
624 
 
 DIBDIN (CHARLES), p. -^09. A correspondent in the " Musical Times," April, 1886, 
 states that Dibilin was Baptised on March i, 1745, thus malting the birth date, 
 March 15, wrong. 
 
 HOYTB (W. S.), p. 334. B. Sidmouth, Devon, Sepi!. 22, 1841 Org. of All Saints, 
 Margaret St., London. Comp. a Communion Service in D, Anthems, etc. 
 
 KOHLER (LUDWIG) p. 363. D. Eonigsberg, Feb. 16, 1886. 
 
 Lamond (Frederic). Scottish Pianist, B. Glasgow, 1868. /S. Violin under H. C. 
 Cooper, in Glasgow, and from 1882 S. Pf. in Germany under Biilow and Liszt. 
 Played with great success in Berlin and Vienna, and in 1886 appeared in Glasgow 
 and London, obtaining at both places the most complete triumphs. Me has comp. 
 a few studies and other works for Pf. 
 
 LESLIE (H. D.) p. 384. Oratorio "Judith," 1857 not 1858. A Biblical Pastoral, 
 The First Christmas Morn, 1880. Symphony in D, " Chivalry," 1880, Quartet 
 for strings in mm., 1842 ; Do, in A, 1843 ; Quintet for strings in D, 1846 ; 
 Quintet in G. min, for Pf. , oboe, clarinet, bassoon and horn, 1851. 
 
 MACFARREN (SIR G. A.) p. 404. M. A. Cwntah., and Mus. Doc. Oxon. Principal 
 of E. A.M. Feb. 8, 1875, not 1876. Opera Jessy hot Jenny Lea. 
 
 MACFARBEN (NATALIA), nle Andrae, not Novello. B. at Lwbeck. 
 
 Marxials (T.), p. 417, not MARZIBLS. 
 
 Mirrlees (Alexander). Scottish organ-builder. In 1844, in company with his 
 brother John, succeeded his father Robert Mirrlees in the business, which was 
 established in Glasgow in 1811. For many years the only organ-builders in 
 Glasgow. Besides many chamber-organs the firm have erected church organs in St. 
 Andrew's R. C. Pro-Cath. ; St. John's Episcopal Church. ; St. Andrew's Parish 
 Ch. ; Parkhead Parish Ch. : Woodside R. C. Church, all in Glasgow, as well as 
 other important instruments in Greenock, etc. 
 
 MONK (E. G.) p. 430. S. with J. Hullah, not in his classes. An Oxford Unim, 
 Examiner for musical Degrees, 1872-1884. Works — " The Anglican Chant Book," 
 " The Psalter Pointed," and " Anglican Psalter Chants," with Sir F. Ousdey. 
 
 MONK (W. H.), p. 430. Add to biography— Vice-President of the Musical Assoc, of 
 Land. , and of North-East London Sac. of Musicians. Mem. of London Diocesan 
 Conference. Add to woika— Hymns Ancient and Modem, with tunes (edited), 
 1861, {numerous editions). The Psalter and Canticles, Ancient and Modern (with 
 Rev. Sir S. W. Baker). The Congregational Psalmist (edited), 1886. 
 
 PACHMANN (V. DE). p. 455. B. Odessa, July 27, 1848. S. under his father, amd 
 Prof. Dachs at Vienna Cons. Gained the gold medal for Pf. playing. Gave a 
 series of concerts in Russia, 1869, with great success. Appeared in Vienna, after 
 many years hard private study, 1882, and was received with acclamation. Appeared 
 next in Paris and London. Has appeared in nearly every large continental city of 
 musical repute, cmd in 1885 was decorated by the King of Denmark, and made 
 Chevalier of the Order of Danebrog. He married in 1884, his only pupil Miss 
 Maggie Okey. 
 
 PATTISON (T. M.) p. 463. Now Org. of S. Mary's, EaUng, London. 
 
 REEVES (JOHN SIMS). B. Shooters Hill. D^but, December 1839. S. singing at 
 Paris under Bordogni. Sang his first original part in Balfe's Maid of Honour, 1848. 
 Appeared also with great success in Paris, at the Italian Opera, 1851. Mr. Reeves 
 made strenuous efforts to effect the lowering of thepresen t high pitch used in England. 
 
 EOCKSTRO (WILLIAM Smith). Formerly Hon. Precentor of All Saints, Babbioombe, 
 Works— yAe Standard Lyric Drama, Land., 1847-1853, 12 vols. Mendelssohn, 
 Lond., 1884. The Good Shepherd, oratorio, comp. for Gloucester Festival, 1886. 
 
BIBLIOGRAPHICAL SUBJECT-INDEX: 
 
 A TENTATIVE INDEX OF THE PRINCIPAL SUBJECTS AND WORKS IN THE 
 ENGLISH LITERATURE OF MUSIC. 
 
 As the titles of most of the works indexed have already been given in full under Authors 
 or Editor^ names, the titles in this index are only repeated in brief. When stibject words 
 occur in titles, the initials of such words only are given : M.=music. 
 
 ACCORDEON. 
 
 Cruikshank, J. A., teacher, 1851. 
 Howe, E. A., preceptor, n. d. 
 Sedgwick, A. B., Methods, n. d. 
 
 ACOUSTICS. 
 
 Airy, Sir G. B. , Sound, 1868. 
 Blaserna, P., Theory of Sound, 1876. 
 Broadhouse, J., Musical A., 1 88 1. 
 Donkin, W. F., Acoustics, 1870. 
 Griesbach, J. H., Musical sounds, n. d. 
 Helmholtz. Sensations of Tone, 1875 and 
 
 1885. 
 Marsh, J., Harmonics, 1809. 
 Smith, K., Harmonics, 1 749. 
 Stone, W. H., Sound and M., 1876. 
 
 — Lessons on Sound, 1879. 
 
 — Scientific Basis of M., n. d. 
 Taylor, S., Sound and M., 1873. 
 Tyndall, J., Sound, 1867. 
 
 .ESTHETICS. 
 
 Avison, Charles, Musical Expression, 1752. 
 Banister, H. C, Musical Ethics, 1884. 
 Banister, H. J., Domestic M., 1843. 
 Barry, W. V., Emotional Nature of Musical 
 
 Art and its Media of Operation, Lend., 
 
 1863. 
 Beattie, J., Poetry and M., 1776. 
 Eaton, T. D., Musical Criticism, 1872. 
 Ehlert, L., Letters, 1877. 
 
 — Tone- World, 1885. 
 
 Gurney, E., Power of Sound, 1880. 
 Hand, F. G., A. of Musical Art, 1880. 
 Hastings, T., Musical Taste, 1822 and 1853. 
 Pauer, E., Beautiful in M. [1877]. 
 HuUah, J., M. in the House, 1877. 
 Steed, A. O., Music in Play, 1873. 
 Thibaut, A. F. J., Purity in M., 1877. 1882. 
 
 AMERICA. 
 
 Gould, N. D., Church M. in A., 1853. 
 Hood, G., M. in New England, 1846. 
 Ritter, F. L., Music in A., 1883. 
 American Organ. See Reed Organ. 
 
 ANECDOTES. 
 
 Burgh, A., Anecdotes, 1814, 3 v. 
 Busby, T., Concert Room, 1825, 3 v. 
 Crowest, F. J., Musical A., 1878, 2 v. 
 Anthems. See Church Music Collections. 
 
 BACH. 
 
 Barnard, C, Bach, 1871. 
 Forkel, J. N., Life of J. S. B., 1820. 
 Rimbault, E. F., ed. Life, 1869. 
 Spitta, J. A. P., J. S. Bach, 1884, 3 v. 
 
 BAG-PIPE. 
 
 Glen, D., Highland B.-P. M., 1876. 
 Macdonald, D., Martial M. of Caledonia, n. d. 
 Mackay, A., Ancient Piobaireachd, 1838. 
 Mackay, W., Tutor for Highland B., 1840. 
 Macleod, N., Piobaireachd, 1828. 
 
 BANJO. 
 
 Briggs, T. F., Instructor, n. d. 
 Buckley, J., B. Guide, n. d. 
 
 — B. Method, n. d. 
 
 Dobson, G. C, New System, n. d. 
 Rice, P., Method, n. d. 
 Winner, S., New School, n. d. 
 
 BASSOON. 
 
 Bassoon Tutor (Williams), n. d. 
 Kappey, J. A., Tutor, n. d. 
 Tamplini, G., Instruction Book, n. d. 
 
 BEETHOVEN. 
 
 Barnard, C, Beethoven, 1871. 
 Graeme, E., Memoir, 1870. 
 Nohl, L., B. depicted, 1880. 
 Schindler, Life, 1 841, 2 v. 
 Teetgen, A., B. Symphonies, 1879. 
 Towers, J., B. a Memoir, n. d. 
 Wagner, R., Beethoven, 1880. 
 
 BELLS. 
 
 Campanalogia, ringing made easy, 1733. 
 EUacombe, H. T., Belfries and Ringers, 1871. 
 Gatty, A., The Bell, 1848. 
 
 R ? 
 
626 
 
 Hubbard, H., Campanologia, 1876. 
 Jones, W., Art of Ringing, n. d. 
 Lewis, T., Bell Founding, 1878. 
 Lukis, W. C, Church Bells, 1857. 
 Troyte, C. A. W., Change Ringing, 1869. 
 Wigram, W., Change Ringing, 1880. 
 
 BERLIOZ. 
 
 Bennett, J., Berlioz, 1883. 
 
 Berlioz, H., Autobiography, 1884, 2 v. 
 
 Bernard, D., Life, 1882, 2 v. 
 
 BIOGRAPHY. 
 
 Baptie, D., Musical B. [1S83]. 
 
 Barret, W. A. , English Church Composers, n. d . 
 
 — Glee and Madrigal Writers, 
 
 1877. 
 Bingley, W., Musical B., 1814. 1834. 
 Bourne, C. E., Great Composers, 1884. 
 Burney, C, History of M.... 1 776-89, 4 V. 
 Busby, T., History of M....1819, 2 v. 
 Charlton, R., Sketches of Musicians, 1836. 
 Clayton, E. C., Queens of Song, 1863, 2 v. 
 Crowest, F. J., Great Tone Poets, 1874 (7 
 
 eds.) 
 Dictionary of Musicians, from the earliest ages 
 
 to the present time, Lond., 1824, 2 v., 8vo. 
 Dictionary of Musicians, 1878 (Cocks). 
 Ferris, G. T., Great Singers, 1880, 2 v. 
 Grove, Sir G., Dictionary of Musici^fi»s 1879 — 
 
 4 V. 
 
 Keddie, H., Tytler. Musical Composers, 1875. 
 Mathews, W. S. B., Dictionary, 1880. 
 Pauer, E., Birthday Book [1883]. 
 Phipson, T. L., Celebrated Violinists, 1877. 
 Schuberth, J. F. G., Musical hand-book, n.d. 
 Stieler, J., German Composers, 1879. 
 Universal Dictionary of Music [A-M, all 
 
 published], Lond., n. d. 
 Warren, J., Deceased Musicians, 1845. 
 
 CAROLS. 
 
 Chope, R. R., Carols, 1868-76. 
 
 Husk, W. H., Songs of Nativity [i866]. 
 
 Rimbault, E. F., Little Book [1847]. 
 
 — Old English Carols, 1865. 
 
 Sandys, W., Christmas C, 1833. 
 
 — Christmas Tide, 1852. 
 Sylvester, J., Garland, 1833. 
 
 CHANTS. 
 
 Acland, T. G., Chanting Simplified, 1843. 
 
 AUon, H., Book of C, i860. 
 
 Beckwith, J. C, First Verse of every Psalm 
 
 ...1808. 
 Bemrose's Choir C. Book, 1882. 
 Clarke- Whitfield, J., Chants, 2 v., u. d. 
 Clare, E., Guide n. d. 
 Cleland, G., Selection [1824]. 
 Goss, Sir J., Chants, 1841. 
 Helmore, T.,St. Marks' C. Book, n. d. 
 HoUoway, H. R., Manual, 1850. 
 Joule, B., Collection, i860. 
 
 Ouseley, Sir F., Anglican Psalter C. [1872]. 
 Rimbault, E. F., Cathedral C, 1844. 
 Troutbeck, J., Manchester C. Book, 1871. 
 Turle, J., Single and Double C, n. d. 
 
 — Westminster Abbey C. Book, n. d. 
 Warren, J., 100 Chants, 1845. 
 Chants See also Psalmody. 
 
 CHOIR-TRAINING. 
 
 Atkyns, B. K,, Choir-master's Manual. . .n. d. 
 Barrett, W. A., Chorister's Guide, 1874, 
 Concone, G., Part-Singing, n. d. 
 Fetis, F. J., Choir Singing, 1854. 
 Hamilton, J. A., Choral Singing, n. d. 
 Helmore, P"., Church Choirs, 1S74. 
 Hiles, J., Part-Singing, n. d. 
 Jackson, W., Singing-class Manual, n. d. 
 Johnson, A. N., Choir Instruction, 1847. 
 
 — Method for Singing Classes, n. d. 
 Mann, R., Manual of Singing, 1866. 
 Molineux, J., Vocal Music [1830]. 
 
 Silcher, F., Instructions, 1857. 
 
 Troutbeck, J., Church Choir Training [1879]. 
 
 Warren, J., Singing Catches, etc., n. d. 
 
 CHOPIN. 
 
 Bennett, J., Chopin, 1884. 
 Davison, J. W., Essay [1849]. 
 Habicht, E., Recollections, n. d. 
 Karasowski, M., Life, 1879, 2 v. 
 Liszt, F., Life, 1877. 
 
 CHURCH MUSIC : COLLECTIONS. 
 
 Arnold, S., Cathedral M. ...1790. 
 
 Ayrton, W., Sacred Minstrelsy... 1835, 2 v. 
 
 Barnard, J. , Church Music, 1641. 
 
 Bishop and Warren. Repertorium Musicie 
 
 Antiquae...i848. 
 Boyce, W., Cathedral M....1760, 3 v. 
 Clifford, J., Services and Anthems, 1664. 
 Jebb, J., Choral Responses, 1847-57, 2 v. 
 Joule, B. St. J. B., Directoriurn Chori An- 
 
 glicanum, 1849. 
 Latrobe, C. J., Sacred Music, 1806-25, 6 v. 
 Novello, v., Collections, ■/. d. 
 
 — Fitzwilliam M., n. d. 
 Ouseley, Sir F., Anthems, 1861-66, 2 v. 
 
 — Cathedral Services [1853]. 
 
 Page, J., Harmonia Sacra, 1800, 3 v. 
 Pratt, J., Anthems, n. d., 2 v. 
 Rimbault, E. F., ed. Anthems, 1845. 
 
 — Cathedral M., n. d. [v. i]. 
 
 — Services and Anthems, 
 u. d., 3 V. 
 
 Stevens, R. J. S., Sacred M., 3 v. 
 
 Turle and Taylor. People's M. Book, 1848, 
 
 2 V. 
 
 Church Music Collections. See also Psalmody. 
 CHURCH MUSIC: LITERATURE. 
 
 Abbot, H., Use and Benefit, 1724. 
 Allen, R., Singing of Psalms, 1696. 
 AUon, H., Church Song, 1862. 
 
627 
 
 AUon, H., Psalmody of Reformation, n. d. 
 Anderson, W., Apology for Organ, 1829. 
 Anderson W., Congregational Psalmody, 
 
 ('Bayly, A., Sacred Singer... 1 771. 
 Bedford, A., Temple of M., 1706. 
 
 — Great Abuse of M., 17 1 1. 
 Begg, J., Use of Organs, 1808. 
 
 — Use of Organs, i865. 
 
 Belcher, J., Ecclesiastical M., 1872. 
 Biggs, Rev. L. C, English Hymnology, n. d. 
 Binney, T., Service of Song, 1849. 
 Bishop, J.,' Degraded State of M., i860. 
 Box, C, C. M. in Metropolis, 1884. 
 Brady, N., C. M. vindicated, 1697. 
 Brookbanck, J., Well-tuned Organ. ..1660. 
 
 — Organ's Echo, 1641. 
 
 — Organ's Funereal, 1642. 
 
 — Gospel-Musick...i644. 
 Bruce, T., Common Tunes ; or, Scotland's 
 
 C. M. made Plain, 1726. 
 Candlish, R. S., Organ Question, 1856. 
 Carnie, W., Psalmody in Scotland, 1854. 
 Cromar, A., Vindication of Organ, 1856. 
 Curwen, ]. S., Worship M., 1880. 
 Dodwell, H., Instrumental M., 1700. 
 Druitt, R., Church M., 1845. 
 
 — Choral Service, 1853. 
 Engel, C, Reflections, 1856. 
 
 Hall, C. C, Education in C. M. [1878]. 
 Hicks, £., Church M.,^ 1 88 1. 
 Hirst, T., Music of the Ch., 184J. 
 Hodges, E., Cultivation of C. M., 1841. 
 Home, T. H., Notices of Psalmody, 1847. 
 Kilner, T., Choral Services, 1872. 
 Latrobe, J. A., M. of the Ch., 1831. 
 Riley, W!, Parochial M., 1762. 
 Young, E., Harp of God, 1861. 
 
 CLARINET. 
 
 Howe, E., Instructor, n. d. 
 Kappy, J. A., Tutor, n. d. 
 Lazarus, H., Method, n. d. 
 Tytler, G., Instruction Bk., n. d. 
 Waller, S., C. without a Master, n. d. 
 Willman. Instruction Book, n. d. 
 
 COLOUR AND MUSIC. 
 
 Allen, G. B., Scales in Music and Colours, 
 
 n. d. 
 Hughes, F. J., Harmonies of Tones and 
 
 Colours, 1883. 
 Jameson, D.D., Colour M., 1844. 
 Macdonald, J. D., Sound and Colour, 1869. 
 
 COMPOSITION. 
 
 Albrechtsberger, J. G., Methods, 1834, 2 v. 
 Crotch, W., Elements, 1812, 1833, 1856. 
 
 Questions on do. [1830]. 
 Czerny, K., Practical C. [1840], 3 v. 
 Dawson, C, Analysis of C., 1845. 
 Fux, J. J., Practical Rules, n. d. 
 Graham, G. F., Theory and Practice, 1838. 
 
 Hamilton, J. A., Musical Ideas, 1838. 
 Jones, W., Art of Music, 1784. 
 KoUmann, A. F., Musical C, 1799. 
 Marsh, J., Hints to Young Composers. 
 Marx, A. B., School, 1852-53, 54. 
 Reicha, A. J., Course of C, n. d. 
 Rbhner, G. W., Treatise, 1849-54. 
 Spencer, C. C, Elements, 1840. 
 Stainer, J., Composition, 1880. 
 Weber, G., Musical C, 1842, 1851, 2 v. 
 
 CONCERTINA. 
 
 Case, G., Instructions, n. d. 
 Chisney, E., Instructor, 1853. 
 Haskins, J. F., Preceptor, 1852. 
 Regondi, G., Tutor, n. d. 
 Sedgwick, A. B., Methods, u. d. 
 
 CORNET. 
 
 Arban, Method, n. d. 
 Arbuckle, M., Method, n. d. 
 Eaton, E. K., New Method, n. d. 
 Howe, E., Instructor, n. d. 
 Jones, S., Tutor, n. d. 
 Levy, I., Tutor, n. d. 
 Sedgwick, A. B., Method, n. d. 
 
 COUNTERPOINT. 
 
 Bridge, J. F., Counterpoint [1880]. 
 
 — Double C, 1881. 
 
 Cherubinl, M. L., Course, 1837-41, 1854, 
 
 2 V. 
 
 Hamilton, J. A., Catechism, n. d. 
 
 Hiles, H., Part Writing, 1884. 
 
 HuUah, J. Grammar, n. d. 
 
 Jones, J. H., Guide, 1855. 
 
 Macfarren, Sir G. A., Counterpoint, 1879. 
 
 Mangold, C. G., Counterpoint, 1885. 
 
 Oakey, G., Text-Book, 1878. 
 
 Ouseley, Sir F., Treatise, 1868. 
 
 Richter, E. F., Counterpoint, 1874. 
 
 Rockstro, W. S., Rules, n. d. 
 
 DANCE MUSIC. 
 
 Bremner, R., Scots Reels. 
 
 Davie, J., Caledonian Repository, 1829-30, 
 
 6v. 
 Gow, Nath., Collection of Reels, etc., n. d. 
 Gow, Neil. Collection of Reels, 1784-1822, 
 
 v. d. 
 M'Gibbon, W., Scots Tunes, 1742-55. 3 v- 
 M'Glashan, A., Strathspey Reels, 1778; Scots 
 
 Measures [1778]. 
 Mackenzie, A., Dance M. of Scotland, u. d. 
 Napier, W., Dances and Strathspeys, n. d. 
 Robertson, J. S., Athole Collection, 1884, 2 v. 
 Surenne, J. T., D. M. of Scotland [18.51]. 
 
 DICTIONARIES, TECHNOLOGICAL. 
 
 Adams, J. S., 5000 Terms, 1861. 
 Bottomley, J., Dictionary, 1816. 
 Buck, D., Musical terms, n. d. 
 Busby, T., Dictionary of Music, 1786. 
 Danneley, J. F.. Encyclopaedia,, 1S25. 
 
628 
 
 Grassineau, J., Musical Dictionary, 1740. 
 
 Grove, Sir G., D. of Music, 1879 — in progress, 
 4V. 
 
 Hamilton, J. A., D. of 3500 terms, 1849. 
 
 Hiles, J., D. of 12,500 terms, 1871. 
 
 Hoyle, J., Dictionarium MusicEe, 1770. 
 
 Jackson, S., Complete D., n. d. 
 
 Jousse, J., D. of Italian terms, 1829. 
 
 Lott, E. M., D. of Terms, n. d. 
 
 Ludden, W., Pronouncing D., n. d. 
 
 Mathews, W. S. B., Pronouncing D., 1880. 
 
 Moore, J. W., Encyclopaedia, 1854. 
 
 Niecks, F., Concise D. [1S84]. 
 
 Pilkington, H. W., Musical D., 1812. 
 
 Rousseau, J. J., Complete D., 1771. 79. 
 
 Schuberth, J. F. G., Musical Hand-book, 
 n. d. 
 
 Stainer and Barrett, Dicty., 1876. 
 
 Universal Dictionary of Music [A.M., all pub- 
 lished], Lond., n. d. 
 
 Valentine, H., Dictionary, 1833. 
 
 Warner, J. F., Universal D., 1842. 
 
 DOUBLE-BASS. 
 
 Bottesini, G., Complete Method, n. d. 
 Friedheim, J., Instructor, n. d. 
 Hamilton, J. A., Method, 1833. 
 Rowland, A. C. , Tutor, n. d. 
 
 DRUM. 
 
 Hart's Instructor, n. d. 
 
 Keach, O. W., Modern School, n. d. 
 
 — Drum and Fife Book, n. d. 
 
 Tamplini, G., Drum Major, n. d. 
 Winner, S., Drum Book, n. d. 
 
 EDUCATION. 
 
 Fay, A., M. Study in Germany, 1881. 
 Geary, E. M., Musical E., 1851. 
 Harris, J. J., Musical Exposition, 1845. 
 Mainzer, J., M. and Education, 1848. 
 Paddon, J., Musical E., i8i8. 
 
 Elements of Music. See Principles. 
 FLAGEOLET. 
 
 Colinet, A., Tutor, n. d. 
 
 Green, J., Complete Preceptor, n. d. 
 
 Greeting, T., Pleasant Companion, 1660. 
 
 Howe, E., Instructor, n. d. 
 
 Toilet, T., Directions, n. d. 
 
 Weller, S., F. without a Master, n. d. 
 
 FLUTE. 
 
 Arthur, J., F. Playing, 1827. 
 Beale, J., German F., n. d. 
 Boehm, T., Construction. ..1882. 
 Challoner, N. B'., Method, n. d. 
 Clinton, J., Equisonant F., n. d. 
 
 — Mechanism and Principles, n. d. 
 
 — School for Boehm F., n. d. 
 
 — F. Tutor, n. d. 
 Coggins, J., Instructions, 1830. 
 Howe, E., F. without a master, n. d. 
 
 Howe, E., School for F., n. d. 
 
 James, W. N., Word or two on the F., 1826. 
 
 — Flutist's Catechism, 1829. 
 
 — Flutist's Magazine, n. d. 
 Keith, R. W,, Tutor, n. d. 
 
 Lindsay, T., Flute Playing, 1828. 
 Nicholson, C., Lessons, n. d. 
 
 — Preceptor, n. d. 
 
 Pratten, R. S., Siccama Flute, n. d. 
 
 — Tutors, n. d. 
 Rockstro, W. S., School, n. d. 
 Siccama, A., Diatonic F., 1847. 
 Skeffington, T. C, The Flute, 1862. 
 Welch, C, Boehm F., 1883. 
 
 FORM. 
 
 Barrett, W. A., Form, 1879. 
 Goddard, J., Musical Development, n, d. 
 Mathews, W. S. B., Musical F., 1868. 
 Ouseley, Sir F., Treatise, 1875. 
 Pauer, E., Musical Forms [1 878]. 
 Prentice, T. R., Musician, 1883. 
 Prescott, O. L., Form in M., 1882. 
 
 FUGUE. 
 
 Cherubini, M. L., Course, 1837-41-54, 2 v. 
 Flowers, G. F., Construction, 1846, 
 Higgs, J., Fugue [1878]. 
 Richter, E. F., Fugue, 1878. 
 
 Gage, Rev. W. L., Trans, of Mendelssohn's 
 Life by Lampadius, and other musical 
 works. 
 
 GLEES. 
 
 Barrett, W. A., English Glee Writers, 1877. 
 
 Bellamy, T. L., Lyric Poetry, 1840. 
 
 Clark, R., First Volume of Poetry revised, 
 1824 ; Continuation, 1833. 
 
 Clark, R., Words of Favourite Pieces, 1814. 
 See also Part-Music. 
 
 GUITAR. 
 
 Bremner, R., Instructions, n. d. 
 Burnet, A., Spanish G., 1829. 
 Carcassi, M., Method, n. d. 
 Carulli, F., Method, n. d. 
 Challoner, N. B., Method, n. d. 
 Culver, R., American Guitarist, n. d. 
 
 — G. Instructor, n. d. 
 
 Curtiss, N, P. B., Method, n. d. 
 Duvernay, E., Instruction Book, 1829, 
 Green, J., Spanish G. [1830]. 
 Hayden, W. L., Method, n. d. 
 Holland, J., Method, n. d. 
 
 — Modern Method [1874]. 
 
 Light, E., Art of Playing, 1795. 
 Pratten, Mrs. S., School, n. d. 
 Rodwell, G. H., The Guitar, n. d. 
 Sola, C. M. A., Method, n. d. 
 Taylor, J., Lessons [1827]. 
 
 HANDEL. 
 
 Barnard, C, Handel, 1871. 
 Bishop, J., Memoir, 1856. 
 
629 
 
 Bowley, R. K., Handel Festival, in 1857. 
 Bray, A. E., Handel, 1857. 
 Burney, C, Musical Performances in Com- 
 memoration of Handel, 1785. 
 Callcott, W. H., Life of Handel, 1859. 
 Chorley, H. F., Handel Studies, 1859, 2 pts. 
 Kyte, F., Portrait of Handel, 1829. 
 Mainwaring, J., Memoirs, 1760. 
 Marshall, Mrs. J., Handel, 1883. 
 Prat, D., Ode to Mr. Handel, 1722. 
 Ramsay, E. B. B., Genius of Handel, 1862. 
 SRing, J., Commemoration of H., 1786. 
 iRockstro, W. S., Life, 1883. 
 Schoelcher, V., Life, 1857. 
 Smith, J. C., Anecdotes, 1799. 
 Townsend, H., Visit of H. to Dublin, 1852. 
 
 HARMONIUM. 
 
 Clark, F. S., First Steps, n. d. 
 Grieve, J. C.,- Harmonium, n. d. 
 Hall, C. K., School [1874]. 
 
 — H. Primer, n. d. 
 
 Montgomery, W. H., Tutor, n. d. 
 Mullen, A. F., Tutor, n. d. 
 Rimbault, E. F., Harmonium, 1857. 
 — Tutor, n. d. 
 
 HARMONY. 
 
 Albrechtsberger, J. G., Collected Writings, 
 l&SS, 3 V. 
 
 — Methods ... 1 834, 2 v. 
 
 Baker, B. F., Theoretical H. 
 Barnhill, J., Statics, 1865. 
 Barr, S., Theory, 1861. 
 Becker, C. J., Treatise, 1845. 
 Bowman, E. M. , Harmony, n. d. 
 Brown, R., Rudiments, 1863. 
 Burns, D. J., Practical Notes [1883]. 
 Carleton, H., Genesis, 1882. 
 Catel, C, Treatise, 1832-75. 
 Clifton, J. C, Theory, 1816. 
 Corfe, A. T., Principles, 11. d. 
 Curwen, J., How to observe, u. d. 
 Czerny, K., Exercises [1846]. 
 Dana, W. H., Practical H., 1884. 
 Day, A., Treatise, 1845. 
 Done, J., Short Treatise, n. d. 
 Emery, S. A. , Element, n. d. 
 Fetis, F. J., Method, n. d. 
 Frike, P. F., Guide, 1793. 
 Gadsby, H. R., Harmony, 1884. 
 Geminiani, F,, Guida Armonica, 1742. 
 Gilbert, E. B., School H., n. d. 
 Goss, Sir J., Introduction, 1833. 
 Hiles, H., H. of Sounds, 1871. 
 Hiles, J., Catechism, 2 v., n. d. 
 Holder, W., Natural Grounds, 1731. 
 Horsley, C. E., Text-Book, n. d. 
 Horsley, W., Introduction, 1847. 
 Hullah, J., Musical H., 1853. 
 Johnson, A. N., Instruction, 1854. 
 Jousse, J., Guida Armonica, 1808. 
 King, M. P., General Treatise, i8op, 
 
 Kirkman, J., Principles, 1845. 
 KoUmann, A. F., Musical H., 1796. 
 Macfarren, Sir G. A., Rudiments, i860. 
 
 — Six Lectures, 1867. 
 
 — 80 Musical Sentences, 
 Chords, 1875. 
 
 Mangold, C. G.. Harmony, 1884. 
 
 Merz, K., Harmony, n. d. 
 
 Oakey, G., Graduated Services, 1877. 
 
 — Text-Book, 1884. 
 Ouseley, Sir F., Treatise, 1868. 
 Parker, J. C. D., Manual, n. d. 
 Pepusch, J. C., Treatise, 1730. 
 Richter, E. F., Treatise, 1864-80. 
 Rockstro, W. S., Practical H., i88i. 
 Rodwell, G. H., First Rudiments, 1830. 
 
 — Catechism, n. d. 
 Saroni, H. S., Theory, n. d. 
 
 Schneider, F. J. C, Elements, 1828; Treatise, 
 
 1856. 
 Shield, W., Introduction, 1800-1817. 
 Stainer, J., Theory, 1871. 
 
 — Harmony, 1877. 
 
 Wigan, A. C, Modulating Dictionary, 1852. 
 
 Harmony. See also Principles and Thorough- 
 
 Bass. 
 
 HARP. 
 
 Bochsa, R. N. C, Method, n. d. 
 
 Challoner, N. B., Method, n. d. 
 
 Dizi, F. J., Ecole de Harpe, 1827. 
 
 Egan, C, Harp Primer, 1822. 
 
 Erard, P., The Harp, 1821. 
 
 Gunn, J., H. in Highlands of Scotland, 1807. 
 
 Meyer, F. C, New Treatise, n. d. 
 
 Wright, T. H., New Preceptor, 1825. 
 
 - HARPSICHORD. 
 
 Bemetzrieder, New Lessons, 1783. 
 Falkner, R., Instructions, 1762. 
 Nares, J., II Principio, n. d, 
 Pasquali, N., Art of Fingering, n. d. 
 Ross, J., Instructions, 1820. 
 Wade, R., The H., n. d. 
 
 HISTORY. 
 
 Backus, A., History of M., iS'39. 
 
 Bird, J., Gleanings from H., 1850. 
 
 Burney, C, General H. of M., 1776-89, 4 V. 
 
 Busby, T., General H. of M., 1819, 2 v. 
 
 Challoner, R., Art of M., 1880. 
 
 Chappell, W., H. of Music. ..v. i, Lond, 
 
 1874. 
 Crowest, F. J., Musical H., 1883. 
 Eastcott, Ry Origin of M., 1793. 
 Gaskin, J. |., H. of Vocal Music, i860. 
 Hawkins, Sir J., General History, 1776, 5 v. 
 Hogarth, G., Musical H., etc., 2 v., 1835 and 
 
 1838. 
 Hooper, R., Music and Musicians, 1855. 
 Hullah, J., H. of Modern M., 1862. 
 
 — Transition Period of, 1865. 
 Hunt, G. B.. Concise H., 1878, etc. 
 
630 
 
 Jones, G., Rise and Progress of M., 1818. 
 
 Kiesewetter, R., M. of Western Europe, 1848. 
 
 Macfarren, Sir G. A., Musical H., 1885. 
 
 Marx; A. B., M. of 19th Century, 1856-58. 
 
 Music in England, Ireland, Wales, and Scot- 
 land, 1845. 
 
 Nauniann, E., History of M., n. d. 
 
 North, R., Memoirs of Musick, 1846. 
 
 Parke, W. T., Musical Memoirs [1784-1830], 
 1830, 2 V. 
 
 Ritter, F. L., History of M., 1870-74, 2 v., 
 1878, 1880. 
 
 — Music in England and America, 
 2 v., 1883, 1884. 
 
 Rockstro, W. S., H. of Music, n. d. 
 
 — General H. ofM., 1886. 
 
 Rowbotham, J. F., H. of Music, 1885 (v. i). 
 Schluter, J., General H. of M., 1865. 
 Stafford, W. C, History, 1830. 
 Hymns. See Church Music and Psalmody. 
 
 INSTRUMENTATION. 
 
 Barrett, W. A., Instrumentation, 1879. 
 Clarke, J., Wind Instruments, n. d. 
 Dana, W. H., Orchestration, 1875. 
 
 — Military Band I., 1876. 
 
 Hamilton, J. A., Writing for an ofch., 1844. 
 Mandel, C., Military Bands, n. d. 
 Prout, E., Instrumentation, 1876. 
 
 IRISH MUSIC. 
 
 Walker, J. C, Irish Bards, 1786. 
 See also Songs. 
 
 LUTE. 
 
 Alford, J., Introduction (Le Roy), 1568. 
 Light, E., Instructions, n. d. 
 Mace, T., Musik's Monument, 1676. 
 Robinson, T., Schoole of Musicke, 1603. 
 
 MADRIGALS. 
 
 Barrett, W. A., English Writers, 1877. 
 
 Bellamy, T. L., Poetry. ..1840. 
 
 Clark, R., Derivation, etc., of "Madrigale," 
 
 1852. 
 Oliphant, T., Account of M., 1836. 
 
 — La Musa Madrigalesca, 1837. 
 Rimbault, E. F., Bibliotheca Madrigaliana, 
 
 1847. 
 Madrigals. See also Part Music. 
 
 MEDICAL MUSIC. 
 
 Brocklesby, R., M., Application to Cure of 
 
 Diseases, 1749. 
 Browne, R., Medicina Musica...i729. 
 Lilley, G. H., Therapeutics of M., 1880. 
 
 MENDELSSOHN. 
 
 Barnard, C, Mendelssohn, 1870. 
 
 Devrient, E., Recollections, 1869. 
 
 Glehn, M. E., Goethe and Mendelssohn, 1872. 
 
 Heusel, S., M. family, 1884, 2 v. 
 
 Lampadius, W. A., Life, 1876. 
 
 Letters from Italy, etc., 1862-3. 
 
 Polko, E., Reminiscences, 1869. 
 Rockstro, W. S., Mendelssohn. 
 
 MOZART. 
 
 Barnard, C, Mozart, 1870. 
 
 Beyle, M. H., Bombet. Lives of Haydn and 
 
 Mozart, 1817, 1818. 
 Gehring, F., Mozart, 1883. 
 Holmes, E., Life, 1845. 
 Jahn, O., Mozart, 1883, 3 v. 
 Nohl, L., ed., Letters, 1865, 2 v. 
 
 — Mozart, 1877, 2 v. 
 Pole, W., Mozart's Requiem, 1879. 
 
 NATIONAL MUSIC. 
 
 Chorley, H. F., N. M. of the World, 1880. 
 
 Crotch, W., Specimens. 
 
 Elson, L. C, Curiosities of Music, n. d. 
 
 Engel, C, Study of N. M., 1866. 
 
 Jones, E., Lyric Airs, 1804. 
 
 Moore and Stevenson, National Airs, 1818. 
 
 National Music See also Songs. 
 
 NOTATION. 
 
 Acland, A. H. D., Musical N., 1841. 
 Griesbach, J. H., Musical N., n. d. 
 Lunn, W. A. B., Sequential system, 1844. 
 Macdonald, A., N. simplified, 1826. 
 Rootsey, S., N. of Music, 181 1. 
 Notation. See also Principles. 
 
 OBOE. 
 
 Kappey, J. A., Tutor, n. d. 
 Oboe Tutor (Williams), n. d. 
 Tamplini, G., Instruction Book, n. d. 
 
 OPERA. 
 
 Algarolti, F., Essay on the O., 1768. 
 Armstrong, W. G., O. in Philadelphia, 1884, 
 Austin, W. F., O. for England, 1883. 
 Brown, J., M. of Italian O., 1789. 
 Chorley, H. F., Recollections, 1862, 2 v. 
 Edwards, H. S., History, 1862, 2 v. 
 
 — Lyric Drama, 1881, 2 v. 
 
 Egestorff, G., Lecture. ..German Opera, 1840. 
 Ella, J., Dramatic Music, 1872. 
 Gruneisen, C. L., O. and the Press, 1869. 
 Hogarth, G., Musical drama, 1838, 2 v. 
 
 — Memoirs of the O., 1851. 
 Lumley, B., Reminiscences, 1864. 
 
 Lyric Muse revived in Europe, Lond., 1768.. 
 Mount Edgcumbe, Reminiscences, 1823. 
 Walker, J. C, Historical Account, 1805. 
 
 ORGAN. 
 
 Andre, P. F. J., Use of Pedals, n. d. 
 Archer, F., Collegiate O. Tutor, n. d. 
 
 — The Organ, n. d. 
 
 Beckel, J. C, Amateur's O. School, n. d. 
 Best, W. T., O. Playing, n. d. 
 
 — Modern School [1855]. 
 Blew, W. C. A., Handbook of law, 1878. 
 Blewitt, J., Treatise, n. d. 
 
 Buck, D , Influence, 1882. 
 Casson, T., Modern O. [1883]. 
 
63i 
 
 Cheese, G. J., Rules for Playing; n. d. 
 Clagget, C, O. made without Pipes,... 1793. 
 Clark, F. S., First Steps, n. d. 
 Clarke, H. A., School for Parlor O., n. d. 
 Clarke, W. H., Instructor, n. d. 
 
 — Harmonic School, n. d. 
 
 — Structure, 1877. 
 Cooper, G., Introduction, n. d. 
 Dickson, W. E., Organ Building, i88i. 
 Done, J., Treatise, 1837. 
 
 gEdwards, C. A., Organs and O. Building, 
 (,'•; 1881. 
 
 Faulkner, T., O. builder's assistant, 1826. 
 — Designs for Organs, 1838. 
 
 Getze, J. A., Young Organist, n. d. 
 
 Gladstone, F. E., O. Student's Guide, n. d. 
 
 Glover, J. H. L., O. Tutor, n. d. 
 
 Hamilton, J. A"., Catechism, n. d. 
 
 Hemstock, A., Tuning [1876]. 
 
 Hiles, J., Introduction, n. d. 
 
 — Handbook, n. d. 
 
 — Catechism, 1878. 
 Hill, A. G., Organ Cases [1882]. 
 Hinton, J. W., Facts about Organs, n. d. 
 Hopkins and Rimbault, The O., 1855, 1870, 
 
 r877. 
 Lewis, T., O. Building, 1878. 
 Loud, T., O. School, n. d. 
 Macrory, E., Temple Org. [1859]. 
 Mathews, W. S. B., School, 1870. 
 Morten, A., Purchase, 1877. 
 Neukomm, S., Method, n. d. 
 Nicholson, H., The Organ, n. d. 
 Rimbault, E. F., English O. builders [1864]. 
 Schneider, F. J. C, O. School, n. d. 
 Seidel, J. J., Construction, 1852. 
 Shepherdson, W., The Organ, 1873. 
 Spark, W., Handy-Book, n. d. 
 Stainer, J., Organ, 1877. 
 Steggall, C., Instruction Book, n. d. 
 ' Warman, J. W., Organ, n. d. 
 Warren, J., Instruction Book, n. d. 
 Organ question. See Church Music. 
 
 PART MUSIC. 
 
 Alcock, J., Harmonia Festi, 1 791. 
 Appollonian Harmony, Glees, Madrigals, etc., 
 
 n. d., 6 vols. 
 Arnold, J., Essex Harmony, 1767-74, 2 v. 
 Bland, J., Ladies Collection of Catches [1720]. 
 
 — Gentleman's Collection, n. d. 
 Bremner, R. , Vocal Harmonist's Magazine, n. d. 
 Gwilt, J., Madrigals, 1815. 
 
 Hilton, J., Catch that Catch can, 1652. 
 HuUah, J., Singer's Library, 6 v., n. d. 
 Metcalfe, J, P., Rounds, etc., of England, 
 
 Novello, v., Madrigalian Studies, 1841. 
 Novello's Glee Hive, Lond., 3 v., n. d. 
 
 — Standard Glee Book, v. d. 
 
 — Part-Song Book, in progress. 
 Oliphant, T., Collection (Glees), n. d. 
 
 Orpheus, the. Glees and Part-songs (Novello), 
 
 in progress. 
 Page, J., Festive Harmony, 1804, 4 v. 
 Playford, J., Musical Companion, 1673. 
 Pleasant Musical Companion, catches, 1701 
 
 (Playford). 
 Rimbault, E. F., Vocal Part Music, n. d. 
 Smith, J. S., Musica Antiqua, 1812, 2 v. 
 
 — English Soiigs in Score, 1779. 
 
 Taylor, E., Vocal School of Italy [1839] 
 Triumphs of Oriana, ed. by T. Morley, i6oi. 
 Warren, E. T., Vocal Harmony, v. d. 
 Yonge, N., Musica Transalpina, 1588-97, 2 v. 
 
 PERIODICALS. 
 
 American Art Jourual, New York, 1846 — 
 
 Apollo, Boston, U.S., 1882— 
 
 ApoUonicon, or Musical Album, London, 
 
 1832. 
 Athenaeum, Journal of Literature, Science, the 
 
 Fine Arts, Music, and the Drama, Lon- 
 don, 1828 — 
 Benham's Musical Review, Indianapolis — 
 
 monthly. 
 Birmingham and Midlands Musical Journal, 
 
 1884. 
 Birmingham Musical Examiner, Sept. i, 1845, 
 
 Jan. 3, 1846 (19 no's.) — weekly. 
 Brainard's Musical World, Cleveland, 1863 — 
 
 monthly. 
 British Minstrel, and Musical and Literary 
 
 Miscellany, 1842-44. 
 Choir and Musical Record, London, July, 
 
 1863- 
 Church's Musical Visitor, Cincinnati, 1871 — 
 
 monthly. 
 Concordia, A Journal of Music and the Sister 
 
 Arts, London, 1875-76. 
 Dramatic and Musical Review, London, April 
 
 1842, Dec. 1851 — weekly and monthly. 
 Dwight's Journal of Music, Boston, 1852-1880. 
 English Musical Gazette, or Monthly Intelli- 
 gence, London, 18 1 9. 
 Euterpean, The, A Critical Review of Music 
 
 and the Drama, London, Aug., Nov., 
 
 1849 — weekly. 
 Euterpeiad, The, A Musical Review, and 
 
 Tablet of the Fine Arts, New York, 1830. 
 Gem, and Musical Herald, London, 1884. 
 Goldbeck's Journal of Music, Chicago — 
 
 monthly. 
 Grafton Journal, 1825-26 (H. E. Moore). 
 Harmonicon, London, 1823-33 — monthly. 
 
 Edit, by W. Ayrton. 
 Howe's Musical Monthly, Boston. 
 London and Provincial Music Trades Review, 
 
 1877- 
 London Figaro, May 1870 — 
 London Literary and Musical Observer, Mar., 
 
 Sept., 1848 — weekly. 
 Loomis' Musical and Masonic Journal, New 
 
 Haven, Conn. — monthly. 
 
632 
 
 Lute, The, A Monthly Journal of Musical 
 News, London, 1883 — 
 
 Magazine of Music, and Journal of the Musi- 
 cal Reform Association, London, 1884 — 
 
 Monthly Musical and Literary Magazine, 
 London, 1830. 
 
 Monthly Musical Record, London, 1870 — 
 
 Music, A Weekly Newspaper for Musicians 
 and Amateurs, London, April to Aug. 1880 
 
 Music Publishers' Circular and Monthly Trade 
 List, London, 1853. 
 
 Music Trade Review, New York, 1871 — 
 
 Musical Album, Montreal, 1882. 
 
 Musical Amateur, a Monthly Chronicle, Liver- 
 pool, 1 86 1. 
 
 Musical American, New York, 1882. 
 
 Musical and Dramatic Courier, New York, 
 1880. 
 
 Musical and Dramatic World, Liverpool, 
 1881-83. 
 
 Musical Athenaeum (Mainzer), London, 1842. 
 
 Musical Echo, Milwaukee — monthly. 
 
 Musical Education, a Monthly Review, Lon- 
 don, 1883. 
 
 Musical Examiner, London, Nov. 1842, Dec. 
 1844. 
 
 Musical Gazette and Review, London, 1878. 
 
 Musical Globe, New York — monthly. 
 
 Musical Herald, a Journal of Music and Musi- 
 cal Literature, London, May 1846, May 
 1847 — weekly. 
 
 Musical Herald, Boston, U.S., iSSch- 
 
 Musical Library, Supplement, London, April 
 1834, July 1836 — monthly. 
 
 Musical Magazine. London, 1835, 12 nos. 
 
 Musical Monitor, New York — quarterly. 
 
 Musical Notes, London, 1883 — monthly. 
 
 Musical Observer, Boston, Mass., 1883. 
 
 Musical Opinion, London, 1878 — monthly. 
 
 Musical Pioneer, New York. 
 
 Musical Reporter, Boston, Mass., Jan., Aug., 
 1841. 
 
 Musical Review, or Guide to the Musical 
 World, London, 1863. 
 
 Musical Review, New York, 1850. 
 
 Musical Review, New York, 1879 — 
 
 Musical Review, London, 1884. 
 
 Musical Society, London, 1886. 
 
 Musical Standard, a Newspaper for Musicians, 
 London, 1862 — 
 
 Musical Times and Singing Class Circular, 
 London, 1842— 
 
 Musical World, London, 1836 — 
 
 Musician and Artist, Boston. 
 
 New Musical and Universal Magazine, Lon- 
 don, Sept. 1774, Dec. 1775, 4 v. 
 
 New York Musical Times, edited by Willis. 
 
 New York Philharmonic Journal. 
 
 Orchestra, the, London, Oct. 1863, Mar. 
 1874 — weekly ;. 1874-1882 — monthly 
 from 1882 combined with the " Choir ' 
 and " Musical Educator." 
 
 Organist, the, a monthly musical journal. 
 
 Apr. - Dec, 1866 ; changed to Church 
 Choir Master and Organist, Jan., 1867- 
 Dec, 1868 ; The Choir Master, 1869, 
 etc.; ended Dec, 1869. 
 
 Orpheonist, the. New York, ed. by E. Jerome 
 Hopkins. 
 
 Psalmodist, a monthly magazine. Paisley, 1874. 
 
 Psalmodist and Magazine of Sacred Music, 
 Edinburgh, 1856. 
 
 Quarterly Musical Magazine and Review, 
 London, 1818-29. 
 
 Quarterly Musical Register, London, 1812. 
 
 S. Cecilia Magazine, Edinburgh, 1883-84, 
 monthly. 
 
 Scottish Monthly Musical Times, Edinburgh, 
 Oct. 1876, Dec 1878. 
 
 Sherman and Hydes Musical Review, San 
 Francisco, monthly. 
 
 Tonic Sol-Fa Reporter, London, 1853 ; en- 
 larged, 1883— 
 
 Whitney's Musical Guest and Literary Jour- 
 nal, Toledo, Ohio, monthly. 
 
 PIANOFOKTE. 
 
 Aguilar, E., Learning the Pf. [1866]. 
 Allen, G. B., New Tutor, n. d. 
 Benedict, Sir J., Art of Playing, n. d. 
 Bennett, A., Instructions [1825]. 
 Bottomley, J., System [1847]. 
 Brainard, G. W., New Method, n. d. 
 Brinsmead, E., History, n. d.; 2nd ed. 1879. 
 Burrowes, J. F., Primer, 1822. 
 Challoner, N. B., Guida di Musica, n. d. 
 Clark, F. S., First Steps, n. d. 
 Clark, R., Playing from Score, 1838. 
 Clarke, H. A., New Method, n. d. 
 Clarke, J., Instruction Book, n. d. 
 dementi, M., Art of Playing, n. d., 2 v. 
 
 — Gradus ad Parnassum, n. d., 
 
 2 V. 
 Clifton, J. C, Instructions, n. d. 
 Coggins, J., Musical Assistant, 18x5. 
 
 — Companion to do., 1824. 
 Corri, D., Art of Fingering, 1799. 
 Cramer, J. B., Method, 1846, 5 parts. 
 Czerny, C., Art of Playing, n. d. 
 
 — Primer, n. d. 
 
 — School, n. d., 4 vols. 
 Dixon, E. S., Primer, n. d. 
 Done, J., Tuner's Companion, n. d. 
 Eavestaff, W., Instructions, 1830. 
 Engel, C, Handbook, 1853. 
 Fillmore, J. C, Music, 1883-85. 
 Gilbert, E. B., Natural Method, n. d. 
 Goddard, J., Graduated Method, n. d. 
 Hall^, C, Practical School, n. d. 
 Hamilton, J. A., Modern Instructions, many 
 
 eds. 
 Hiles, J., Catechism, n. d. 
 Howe, E., Instructor, n. d. 
 Hughes, G. A., Instruction Book for Blind, 
 
 1848. 
 Keith, P. W., Instructions [1833]. 
 
^33 
 
 liOtt, E. M., Catechism, 1879. 
 MacHardy, R., Progressive Playing, n. d. 
 Macmurdie, J., Juvenile Preceptor, 1828. 
 Mason, W., and Mathews, Pf. Technics, n. d. 
 Mason, W., Method, n. d. 
 
 — System for Beginners, n. d. 
 May, A., Piano School, n. d., 3 pts. 
 Neate, C, Essay on Fingering, n. d. 
 Pauer, E., The Pianoforte [1877]. 
 Peters, W. C, Eclectic Instructor, n. d. 
 Plaidy, L., Technical Studies, n. d. 
 
 — Pf. Teacher's Guide, n. d. 
 
 Prentice, T. R., The Musician, 1883. 
 Richardson, N., Modern School, 1859. 
 
 — New Method, 1859. 
 
 Rimbault, E. F., First Book, 1848. 
 
 — Pianoforte, its origin, etc., 
 
 i86o. 
 Rodwell, A., Juvenile pianist [1838]. 
 Rbhner, G. W., Piano Playing, n. d. 
 Root, G. F., Musical Curriculum, 1865. 
 
 — Guide for the Pf., n. d. 
 
 Rosellen, H., Method, n. d. 
 Sloper, L., Tutor, n. d. 
 Smallwood, W., Tutor, n. d. 
 Spencer, C. C, The Pianoforte, n. d. 
 Taylor, F., Primer, 1877. 
 
 — Tutor, n. d. 
 
 Thalberg, S., Singing applied to Pf., 1853. 
 Wade, J. A., Handbook, 1806. 
 
 PRINCIPLES OF MUSIC. 
 
 Adcock, James, Rudiments, n. d. 
 lAntoniotti, G., L'Arte Armonica, 1760, 2 v. 
 'Arne [T. A. ] Compleat Musician ... 1 760. 
 lAsioli, B., Musical Grammar, 1825. 
 
 Backus, A., Analysis of M., 1839. 
 
 Baker, B. F., Elementary M. Book, n. d. 
 
 Banister, H. C, Text-book, 1872, etc. 
 tBathe, W., True Arte of M., 1584, 2nd. edit., 
 
 n. d. 
 iBemetzrieder, Music made easy, 1778. 
 
 Betts, E., Skill of M., n. d. 
 
 Bremner, R., Rudiments of M., 1756 ; 2nd 
 ed., Edin; 3rd ed., London, 1763. 
 
 Brown, R., Musical Science, i860. 
 
 Busby, T., Grammar, i8i8. 
 
 Busby, T., Musical Manual. ..1828. 
 ■Callcott, J. W., Grammar, 1806 ; other ed. 
 sCamidge, M., Instruction, n. d. 
 'Clarke, J., Catechism, n. d. 
 
 Corri, D., Grammar, n. d. 
 
 Culwick, J. C, Rudiments, 1881. 
 
 Cummings, W. H., Rudiments [1877]. 
 
 Currie, J., First Musical Grammar [1873]. 
 
 Danneley, J. F., Musical Grammar, 1826. 
 
 Davenport, F. W., Elements, n. d. 
 
 Dawson, C, Elements, 1844. 
 
 D'Este, J., Music made easy, 1849. 
 
 Dibdin, C, Music epitomized, ii. d. 
 
 Fairbairn, J., Elements, 2 pts., 1832. 
 
 Fetis, F. J., Music explained, 1842, 1 844. 
 
 Fontana, B., Musical Manual, 1847. 
 
 S 2 
 
 Gauntlett, H. J., 156 Questions, 1864. 
 Goodban, T., Rudiments, 1825, 1836. 
 Goss, Sir J., Catechism, 1835. 
 Groome, W., Concise Treatise, 1870. 
 Gunn, A., Introduction, 1803. 
 Hewitt, D. C, New Analysis, 1828. 
 
 — True Science, i860. 
 Hiles, H., Grammar, 2 v., n. d. 
 HuUah, J., Musical Grammar, n. d. 
 Jousse, J., Music epitomized, n. d. 
 
 Keith, R. W., Musical Vade Mecum, 1820, 2 v. 
 Lampe, J. F., Art of Music, 1740. 
 Law, A., Rudiments, 1783. 
 
 — Musical Primer, 1803. 
 Lobe, J. C, Catechism, 1885. 
 Logier, J. B., Manual, 1828. 
 
 — System, 1827. 
 Lunn, H. C, Elements, 1849. 
 Macmurdie, J., Elements, n. d. 
 Mainzer, J., Grammar, 1843. 
 Malcolm, A., Treatise, 1721. 
 Mandel, C, System, 1869. 
 
 Mason, L., Pestalozzian Teacher, n. d. 
 Mathews, W. S. B., How to Understand M. 
 
 1880. 
 Merz, K., Musical Hints, n. d. 
 Morley, T., Introduction, 1597. 
 Murby, T., Student's Manual, n. d. 
 O'Donnely, Elementary M., 1841. 
 Playford, J., Skill of Musick, i6SS- 
 Prelleur, P., Musick-master, 1731. 
 Relfe, J., Guida Armonica [1798]. 
 
 — Lucidus ordo, 1821. 
 
 — Musical Instruction, 1819. 
 Saroni, H. S., Musical vade mecum, 1852. 
 Simpson, C, Principles, 1665. 
 Skeffington, T. C, Musical Art, 1858. 
 Smith, J., Treatise, 1853, 2 v. 
 
 Spencer, C. C, Elements, 1829. 
 
 — Treatise, 1850, 2 v. 
 
 Spinola, J. J., Grammar, 1850. 
 Tans'ur, W., Musical Grammar, 1746, etc. 
 
 — ■ Elements of M., 1772. 
 Taylor, J., Text-book, 1876. 
 Troutbeck and Dale, M. Primer, 1873. 
 Weitzman, C. F., Musical Theory, n. d. 
 
 PSALMODY : COLLECTIONS. 
 
 Ainsworth, Henry, Booke of Psalmes, Amster- 
 dam, 1612. 
 
 Alcock, J., Harmony of Sion, 1802. 
 
 AUon and Gauntlett, Congregational Psalmist, 
 1868. 
 
 Billings, W., New England Psalm Singer, 
 1770. 
 
 Brown-Borthwick, R., Supplemental Tune 
 Book, n. d. 
 
 Carnie, W., Northern Psalter [1870]. 
 
 Chetham, J., Book of Psalmody, 1718. 
 
 Revised by Houldsworth, 1832. 
 
 Chope, R. R., Hymn Book, 1857-62. 
 
 Daniel, J., P. of Church of Scotland [1837]. 
 I Davie, J., M. of Church of Scotland, n. d. 
 
^34 
 
 Dibdin, H. E., Standard Psalm Tune Book 
 
 [i8Si]- 
 Este, T., Whole Booke of Psalmes, 1592. 
 Gauntlett, H. J., Comprehensive Tune Book, 
 1846-7. 
 — Congregational Psalmist, 1851. 
 
 Goss, Sir J., Parochial P., 1827. 
 Hamilton's Psalm and Hjrmn Tunes, 1868. 
 Hart, A., CL. Psalmes of Dauid, 161 1. 
 Hately, T. L., National Psalmody [1847]. 
 
 — Scottish P., 1852. 
 Havergal, W. H., Old Church P., 1849. 
 Holden, O., American Harmony, 1793. 
 
 — Worcester Collection, 1797. 
 Mason, L., Handel and Haydn Coll., 182^, 
 
 — Modern Psalmist, 1839. 
 Ives, E., American P., 1829. 
 Jacob, B., National P. [1819]. 
 Livingston, N., Scottish Psalter, 1635, 1864. 
 Monk, E. G., Anglican Hymn Book, n. d. 
 Monk, W. H., Hymns of the Church, u. d. 
 Parr, H., Church of England P., v. d. 
 Playford, J., Whole Book of Psalms, 1697. 
 Pratt, J., Selection, 1817. 
 
 Ravenscroft, T., Whole Booke of Psalmes, 
 
 1621. 
 Redhead, R. Cathedral Choir Book, n. d. 
 
 — Parochial Ch. Tune Book, n. d. 
 Reed, D., Columbian Harmony, 1793. 
 Robinson, C. S., Songs for the Sanctuary, 
 
 1865. 
 Smith, R. A., Devotional Music, 1810. 
 
 — Sacred Harmony, 1829. 
 Tans'ur, W., Sacred Mirth, 1739. 
 
 — Psalm-singer's Jewel, 1760, etc, 
 Turle, J., Psalms and Hymns, 1863. 
 Warren, J., Collection, 1850-53, 4 v. 
 Psalm-singing. See Church- Music. 
 
 PURCELL. 
 
 Cummings, W. H., Purcell, 1882. 
 
 Holmes, E., Life of P., n. d. 
 
 Novello, v.. Biographical Sketch [1832]. 
 
 REED ORGAN. 
 
 Beckel, J. C, School, n. d. 
 Clarke, W. H., New Method, n. d. 
 
 — R. O. Companion, n. d. 
 
 Emerson, L. O., Method, n. d. 
 Gurney, T. E., American School, n. d, 
 Kimball, H. E., New Method, n. d. 
 Merz, K., Modern Method, u. d. 
 Root, G. F., Guide, 1863. 
 Stainer, J., Tutor, 1883. 
 Rudiments of Music, See Principles. 
 
 SCALE. 
 
 Biddle, H. P., Musical S., n. d. 
 
 Capes, J. M., Growth of Musical S., 1879. 
 
 Clark, R., High Pitch of S., 1845. 
 
 Jackson, F., Musical S., n. d. 
 
 Pole, W., Diagrams, 1868. 
 
 SCHUBERT. 
 
 Austin, G. L,, Life, 1873. 
 Frost, H. F., Schubert, 1881. 
 Hellborn, H., Life, 1869, 2 v. 
 
 SCHUMANN. 
 
 Maitland, J. A. F., Schumann, 1884. 
 Wasielewski, J. W. von, Life, 1878. 
 
 SCOTTISH MUSIC. 
 
 Coutts, W. G., Scottish versus Classic M., 
 
 1877. 
 Dalyell, Sir J. G., Musical Memoirs, 1849. 
 Dauney, W,, Ancient S. Melodies, 1838. 
 Stenhouse, W., Lyric M. of Scotland, 1853. 
 Tytler, W., Dissertation, n. d. 
 See also Songs, 
 
 SHORTHAND MUSIC. 
 
 Austin, J., Stenographic M., n. d. 
 Hutchison, G. B., S. Music, n. d. 
 
 SINGERS. 
 
 Chorley, H. F., Musical Recollections, 1862, 
 
 2 V. 
 
 Clayton, E. C, Queens of Song, 1863, 2 v. 
 Ferris, G. T., Great Singers, 1880, 2 v. 
 
 SINGING. 
 
 Addison, J., S. practically treated... [i 836]. l 
 Aprile, G., Italian Method (Cooke), n. d. 
 Arnold, C, Art of S., 1828. 
 Bach, A. B., Musical Education, 1880. 
 Bacon, R. M., Imprpvingthe Voice, 1825. 
 
 — Vocal Science, 1824. 
 
 — Vocal Ornament, n. d. _ 
 Balfe, M. W., Method of S., n. d. 
 Barnett, John, School [i86o]. 
 
 Barr, S., S. at Sight, 1859. 
 Bassini, C, Art of S., 1857. 
 
 — Method for the Barytone, 1868. 
 
 — Method for the Tenor, 1866. 
 Behnke, E., Mechanism of Human Voice, 
 
 1880. 
 Bennett, J., Cultivation of Voice, n. d. 
 Blockley, J., Singer's Companion, n. d. 
 Browne, L., Science and Singing, 1884. 
 
 — Throat and its Diseases, 1878, 
 
 — Medical Hints, 1876. 
 
 — Voice Use and Stimulants, 1885. 
 Browne and Behnkej Voice, Song, and Speech, 
 
 1883. 
 Camus, J. P. le^ Art of S,, 1833. 
 Carnaby, W., S. Primer, 1827. 
 Cazalet, W. W., Voice, or the Art of S., 1861. 
 Concone, G., Fifty Lessons in S., n. d. 
 
 — School of Sight-S., n. d. 
 Cooke, T. S., S. exemplified, n. d. 
 Corri, D., Singer's Preceptor, i8io, 2 y. 
 Curwen, J., Tonic Sol-fa Method, 1854, 'J,, s 
 
 — Grammar of Vocal Music, n,3. 
 -r- Standard Course, n. d. 
 
 Daniell, W. H., The Voice, 1873, 
 
635 
 
 Day, H. W., Vocal School, 1844. 
 Dixon, W., Introduction, 1795. 
 Duggan,J. F., Singing-master's Assistant, n.d. 
 Ellis, A. J., Pronunciation, 1877. 
 
 — Speech in song, 1878. 
 Emerson, L. O., Method, n.d. 
 
 Ferrari, A. A. G., Formation of Voice, 1857. 
 Ferrari, G. G., Italian Singing [1815]. 
 
 — Instructions, 1827. 
 
 Forde, W., New Method, n. d. 
 
 — Principles [1830], etc. 
 
 — Singing at Sight, n. d. 
 Goodban, T., Introduction, 1829. 
 Hamilton, J. A., Modern Instructions, n. d. 
 Harker, W., Elements, 1845. 
 
 Henry, P. C, S. Preceptor, n. d. 
 Hiles, H., Vocal Tutor, n. d. 
 Horncastle, J. H., S. at Sight, 1829. 
 Howard, J., Vocal Reform, n. d. 
 Huckel, W., Art of S., 1845. 
 
 — Cultivation of Voice, 11. d. 
 HuUah, J., Vocal Music, 1843. 
 Jousse, J., Art of Sol-fa-ing, n. d. 
 King, M. P., S. at First Sight, 1806. 
 Kitchiner, W., Vocal Music, 1821. 
 Lablache, L. Vocal Method, n. d. 
 Lanza, G., Elements of S., 1809, 3 v. 
 
 — S. Familiarly Exemplified, 1817. 
 Lee, G., The Voice, 1870. 
 
 Lee, G. A., Vocal Tutor, n. d. 
 Loder, E. J., Instructions, n. d. 
 Lunn, C, Philosophy of Voice, n. d. 
 
 — Vox Populi, 1880. 
 
 — Vocal Expression, 1878. 
 
 — Conservation and Restoration, 1882. 
 
 — Artistic Voice, 1884. 
 Mason, L., Vocal Music, 1834. 
 Nava, G., Baritone School, n. d. 
 Nelson, S., Vocal School, n. d. 
 Novello, J. A., Vocal Rudiments, n. d. 
 Novello, M. S., Vocal School, n. d. 
 
 — Voice and Vocal Art, n. d. 
 Parker, H., The Voice, n. d. 
 
 Penna, F., Singing, 1878. 
 
 Pergetti, P., Treatise [1857], 3 pts. 
 
 Phillips, H., Musical Declamation, 1848. 
 
 Phillips, T., Principles [1830]. 
 
 Philp, E., How to Sing an English Ballad, 
 
 1883. 
 Pinsuti, C. E., Hints to Students, n. d. 
 Randeggar, A., Singing [1878]. 
 Rauzzini, V., Solfeggi, n. d, 
 Rimbault, E. F., Tutor, n. d. 
 Rohner, G. W., Art of S., 1856. 
 Romer, F., Physiology of Voice, 1850. 
 Root, G. F., Singer's Manual, 1849. 
 
 — School of S., n. d. 
 
 Rush, J., Philosophy of the Human Voice, 
 
 1827. 
 Sainton-Dolby, C. H., Tutor, n. d. 
 Seller, E., Voice in S., 1S69. 
 Semple, A., The Voice, 1885. 
 Smith, R. A., Introduction [1826]. 
 
 Taylor and Turle, S. at Sight, 1846. 
 Tenducci, G. F., Treatise, n. d. 
 Tosi, P. F., Florid Song, 1742. 
 Wallworth, T. A., Art of 8., n. d. 
 Walshe, W. H., Dramatic S., 1881. 
 Welsh, T., Vocal Instructor, n. d. 
 Wilhelm-HuUah, Method, 1842 and 1850. 
 Sound. See Acoustics. 
 
 SONGS. 
 
 Aird, J., Selection of Airs, 6 v., n. d. 
 American Musical Miscellany, 1798. 
 Arnold, J., Essex Harmony... 1767-74, 2 v. 
 Banquet of Musick, 168S-92, 6 books (Play- 
 ford). 
 Barsanti, F., Old Scots Tunes, 1742. 
 Bickham, G., Musical Entertainer [1750], 2 v. 
 Bishop, Sir H. R., National Melodies, n. d. 
 Bremner, R., Thirty Scots Songs, 1749. 
 
 — Twelve Scots Songs, 1760. 
 
 — Curious Scots Tunes, 1759. 
 British Musical Miscellany, 1733, 4 v. 
 Bunting, E., Ancient Irish Music, 1796- 1 840, 
 
 3v. 
 Calliope, or English Harmony, 1739, 2 v. 
 Campbell, A., Albyn's Anthology.. .1816-18, 
 
 2 V. 
 
 Campbell, D., Music of Highland Clans, 1862. 
 Carey, H., Musical Century, 100 E. Ballads, 
 
 1737-40, 2 V. 
 Chappell, W., National Airs, 3 pts., 1838-40. 
 
 — Old English Ditties, n. d., 2 v. 
 
 — Popular M. of Olden Time... 
 .[i84S-S9]> 2 V. 
 
 Choice Ajrres, Songs, and Dialogues, Lond., 
 
 1676-84, 5 books. 
 Christie, W., Traditional Ballad Airs, 1876- 
 
 81, 2 V. 
 Clio and Euterpe, 1759-62, 3 v. 
 Comes Amoris, or Companion of Love, n.d., 
 
 5v. 
 Conran, M., Music of Ireland, 1850. 
 Corri, D., Favourite Scots Songs, 1788, 2 v. 
 Delicise Musicse, newest and best songs, 1695-6, 
 
 4 books. 
 
 Dun, F., Orain na'h Albain, 1848. 
 D'Urfey, T., Wit and Mirth, 1719, 6 v. 
 Fraser, S., Airs and Melodies, 1815 and 1874. 
 Gow, Nath., Vocal Melodies of Scotland, n.d. 
 Graham, G. F., Songs of Scotland, 1848-49, 
 
 3 V. 
 
 Grier, W., Musical Encyclopaedia, 1835. 
 Hamilton, W., Select Songs of Scotland, 1848. 
 Hardiman, J., Irish Minstrelsy, 1831, 2 v. 
 Hodges, C. L., Peninsular Melodies [1830]. 
 Hogg, J., Jacobite Relics, 1819-21, 2 v. 
 Horncastle, F. W., Music of Ireland, 1844, 
 
 3 parts. 
 HuUah, J., Ed. 58 English Songs, 17th and 
 
 1 8th Century, n. d. 
 Johnson, J., Scots Musical Museum [178J], 
 
 5 vols. 
 
 Jones, E., Musical Relicks, 1784-94. 
 
636 
 
 Jones, E., Bardic Museum, 1802. 
 Jovial Compa,nion, or Merry Club [1700]. 
 Joyce, P. W., Ancient Irish M., 1873. 
 ^^PPyj J- A., Songs of Germany, n. d. 
 
 — Songs of Scajidinavia, n. d, 
 Kitchiner, W., Loyal Songs, 1823. 
 
 — Sea Songs, 1823. 
 Maver's Scottish Melodies [1866]. 
 
 — Irish Melodies [1877]. 
 Macdonald, P., Highland Airs, 1781. 
 Moore and Stevenson, Irjsh Melodies, 1807-34. 
 — National Airs, 1818,2 V. 
 
 Motherwell, W., Minstrelsy, 1827. ■ 
 Musical Miscellany, 1729-31, 6 v. 
 Oliphant, T., Ditties of Olden Time, n. d. 
 Oswald, J., Caledonian Pocket-companion. 
 
 1759, 12 parts. 
 Owen, J., Welsh Melody, n. d. 
 Parry, J., Antient British M., 1742. 
 
 — Cambrian Harmony, n. d. 
 Parry, J., Beauties of Caledonia, 4 v., n. d. 
 Parry, J., Welsh Harper, 11. d. 
 Pittmann and Brown, Songs of Scotland, n. d. 
 Richards, H. B., Songs of Wales, 1873. 
 Rimbault, E. F., Ancient Vocal M. of Eng- 
 land, 1846-9, 2 V. 
 Ritson, J., Scottish Songs, 1794, 2 v. 
 Roberts, R., Cambrian Harmony, n. d. 
 Ross, J. , Scottish Airs, n. d. 
 Smith, R. A., Irish Minstrel [1825]. 
 
 — Scottish Minstrel [1821-24], 6 v. 
 Stewart, C, Gaelic Songs, 1884. 
 
 Theater of Music... 1685-87, 4 v. (Playford). 
 Thomas, J., Welsh Melodies, 1862-76. 
 Thomson, G., Irish Airs, 1814-16, 2 v. 
 
 — Scottish Airs, 1792-1841, 6 v. 
 
 — Songs of Burns, etc., 1822, 6 v. 
 Thomson, G., Original Welsh Airs, 3 v. 1809. 
 Thomson, W., Orpheus Caledonius, 1725. ' 
 Urbani, B., Scots Songs, 1792-1804, 6 books. 
 Wilson, J., Songs of Scotland, 2 v., fo., 1842. 
 
 TEMPERAMENT. 
 
 Bosanquet, R. H. M., Musical Temperament, 
 
 1876. 
 Brown, R., Musical Arithmetic, 1865. 
 Liston, H., Perfect Intonation, 1812. 
 Maxwell, F. K., Essay upon Tune, 1781. 
 Stanhope, Earl, Tuning, 1806.' 
 Thompson, T. P., Enharmonic Theory, 1829. 
 — Just Intonation, 1 850. 
 
 THOROUGH-BASS. 
 
 Albrechtsberger, J. G., Principles (J. Jousse), 
 
 n. d. 
 Brewster, H., Thorough-bass, 1797. 
 Burrowes, J. F., Primer, 1818. 
 
 — Companion, 1835. 
 Clare, E., Analysis [1835]. 
 Corfe, J., Thorough-bass, n. d. 
 Crotch, W., Thorough-bass, n. d. 
 Dana, W. H., Thorough-bass, 1873. 
 
 Danneley, J. F. , Thorough-bass, 1820. 
 Frike,, P. J., Thorough-bass, 1789. 
 Furtado, J., Thorough-bass, 1798. 
 Geminiani, F., Accompaniment, n. d. 
 Hart, J., Thorough-bass, n. d. 
 Heck, J. C, Thorough-bass, u. d. 
 Jackson, G. K., Thorough-bass, n. d. 
 Johnson, A. N., Thorough-bass, 1844. 
 Klose, F. J., Thorough-bass, 1822. 
 KoUmann, A. F., Thorough-bass, 1801. 
 Lampe, J. F., Thorough-bass, 1737. 
 Marsh, J., Thorough-bass, n. d. 
 Miller, E., Thorough-bass, 1787. 
 Oliver, E. B., Thorough-base, 1864. 
 Pasquali, N., Thorough-bass, I7S7- 
 Shield, W., Thorough-bass, 1815. 
 Smethergell, W., Treatise, 1798. 
 Thorough-bass. See also Harmony, 
 
 TONIC SOL-FA. 
 
 Curwen, J., Art of Teaching, n. d. 
 
 — Present Crisis of Music in Schools 
 
 [1873]. 
 
 — Primer, n. d. 
 
 Curwen, J. S., Tonic Sol-fa System, 1882, 
 Glover, S., Norwich Sol-fa [1845]. 
 
 — Tetrachordal System [1850]. 
 Greenwood, J., Lancashire System, 1879. 
 
 TROMBONE. 
 
 Foraboschi, G., Instruction Book, n. d, 
 Tamplini, G., Instruction Book, n. d, 
 
 VIOLA. 
 
 Bruni, B., Method, n. d. 
 Viola Tutor, Williams, n. d. 
 
 VIOLIN. 
 
 Allen, E. H., Violin-making, 1885. 
 Blagrove, R. M., Art of Playing, 1828. 
 Broadhouse, J., Facts about Fiddles, n. d. 
 Campagnoli, B., Mechanism of V. Playing, n. d. 
 Challoner, N. B., Method, n.d. 
 Davidson, P., The Violin, 1871 and 1880. 
 Dubourg, G., The Violin [1832]. 1852, 1856. 
 Engel, C, Early History of V. Family, 1883. 
 Fleming, J. M., Old Violins, n. d. 
 Farmer, H., New Tutor, u. d. 
 Geminiani, F., Art of Playing, 1 740. 
 Goodban, T., Guide, 1810. 
 Hamilton, J. A., Catechism, u. d. 
 Hart, G., Violin, its Makers, etc., 1875. 
 
 — V. and its Music, 1881. 
 Henning, C, Practical School, u. d., 3 V. 
 Hill, U. C, V. School, n. d. 
 Lenton, J., Gentleman's diversion, 1693. 
 Listemann, B. F., Method, n. d. 
 Loder, J. D., Art of Bowing, n. d. 
 
 — Violin School, n. d 
 
 Mace, T., Musick's Monument, 1676. 
 Otto, J. A. Construction, 1833, 1848. 
 Papini, G., School, 11. d, 
 
637 
 
 Pearce, J., Violins and V. -makers, 1866. 
 Praeger, F., School, 3 pts., n. d. 
 Reade, C, Cremona Violins, 1873. 
 Rutherford, D. , Art of Playing, n. d. 
 Sandys, W., and Forster, History, 1864. 
 Saunders, G., Self-instructing School, 1857. 
 Schebek, E., V. manufacture in Italy, 1877. 
 Simpson, C, Division-Violist, 1659. 
 Spohr, L., V. School, n. d. 
 Tours, B., The Violin, n. d. 
 
 VIOLONCELLO. 
 
 Banister, H. J., Exercises, Use of Thumb, n. d. 
 
 — Lessons, Double Notes, n. d. 
 
 — Tutor's Assistant, n. d. 
 Crouch, F. W. N., Complete Treatise [1827]. 
 De Swert, J., The V., 1882. 
 
 i/Duport, Violoncello School, n. d. 
 ' Fries and Suck, V. Instructor, n. d. 
 Gunn, J., Fingering, 1793. 
 
 — Harmony to V,, 1801. 
 
 Haite, J. J., Tutor, n. d. 
 Hamilton, J. A., Easy Method, n. d. 
 Howell, E., First Book, n. d. 
 Macdonald, J., Practice and Theory, 1811. 
 Reinagle, A. R., First Lessons, n. d. 
 Reinagle, J., Introduction, n. d, 
 Romberg, B., Method, n. d. 
 Schetky, J. G. C, Lessons, n. d. 
 Smith, T. R., Preceptor, n. d. 
 
 WAGNEB. 
 
 Dannreuther, E., R. Wagner, 1873. 
 Hueffer, F., R. Wagner and M. of Future, 
 
 1874. 
 
 — Wagner, 1881. 
 
 ZITHER. 
 
 Curtiss, N. P. B., Method, n. d. 
 Hamilton, C. K., Perfect Method, n. d. 
 Moralt, W., Method, n. d. 
 WassilieflF, A., Easy Method, n. d.