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Ocr'd Text:
Editorial Committee:
SIR HUGH ALLEN, M.A., Mus.Doc. OXON.
PROF. GRANVILLE BANTOCK, M.A., Mus.Doc. EDIN.
EDWARD J. DENT, M.A. (CHAIRMAN OF INTER-
NATIONAL SOCIETY FOR CONTEMPORARY MUSIC)
SIR HENRY J. WOOD
General Editor:
A. EAGLEFIELD-HULL, Mus. Doc. OXON., ETC.
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Ocr'd Text:
A
DICTIONARY
OF MODERN MUSIC
AND MUSICIANS
MUSIC IS
et
SEA & AIR
IN THE SEA
8
MCMXXIV
LONDON & TORONTO
J. M. DENT & SONS LTD.
NEW YORK: E. P. DUTTON & CO.
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Ocr'd Text:
The articles assembled in this Dictionary
have all been specially written, and the copy-
right is strictly reserved by the Publishers.
PRINTED IN GREAT BRITAIN
SOREN
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Ocr'd Text:
PREFACE
BY THE
EDITORIAL COMMITTEE
THE political confusion which began in 1914, and from which Europe
has not yet been able wholly to emerge, has affected the world of music in
many ways. In some countries it has deeply intensified the desire for
music and the will to create it; in others it has to some extent caused
music to be laid aside as a matter of secondary interest. A sharply accentu-
ated sense of nationalism, however valuable a stimulus it may have given
in individual cases, has hindered that free international exchange of
musical ideas which up to 1914 had been developing for generations. The
English musical public has shown for centuries a healthy curiosity about
the music of the whole civilised world; Dr. Burney's "General History
of Music," published towards the end of the eighteenth century, and
Grove's "Dictionary of Music and Musicians," begun a hundred years
later, are both of them now recognised abroad as well as at home as pioneer
works in their respective lines. The last thirty years have, in spite of all
the damage caused by political events, brought about an enormous in-
crease of interest in music in England and a growing consciousness that
music can be, in the best sense, a form of national self-expression. It is,
indeed, one of the healthiest signs of our new musical life that we still
feel, no less than our predecessors, that vigorous curiosity about the music
of other countries; but the normal sources of information have been
obstructed, and the lover of music, not only in England but in all coun-
tries, has been cut off from knowledge.
The object of this new Dictionary is to supply the musician and the
general musical reader with a concise and practical survey of all modern
musical activities. Its backward limit has been fixed at or about 1880,
the year in which Parry's "Prometheus Unbound" marked the begin-
ning of what has been called the "English Renaissance." The period
thus included covers, as regards the music of other countries, such out-
standing landmarks of musical history as Wagner's "Parsifal," Verdi's
"Otello" and "Falstaff," the later works of Brahms and César Franck,
so that the reader may here find information not only about the music of
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Ocr'd Text:
GENERAL PREFACE
our own day, but may also trace the historical sources of its various styles.
Since the beginning of the new century a remarkable change has come
over our whole musical outlook, a change easily perceptible to the general
music-lover no less than to the trained specialist. All aspects of this
change, practical as well as theoretical, have been carefully considered
and expounded in this new Dictionary.
The chief technical article is that on "Harmony," which has been
written not by a single author, whose views, however interesting, might
be one-sided, but by various contributors who have met several times as
a committee ¹ to discuss it by word of mouth, and have supplied material
on various points to the General Editor. A special feature of the Dic-
tionary is the series of critical articles on Opera, Symphony, Chamber
Music, Songs, etc., in various countries. The numerous foreign con-
tributors have been selected with great care by the Editorial Committee,
who have desired to leave them as wide a latitude as possible in the ex-
pression of critical opinions. The proofs of the whole Dictionary have
been read by all the members of this committee, and the general policy of
the work has been determined by them.
HUGH P. ALLEN
GRANVILLE BANTOCK
EDWARD J. DENT
HENRY J. WOOD
A. EAGLEFIELD-HULL
1 Sir Hugh Allen, Mr. Béla Bartók, Mr. Arnold Bax, Mr. Eugène Goossens, Dr. Eaglefield-
Hull, Prof. Tovey, Dr. Vaughan Williams, and Prof. Granville Bantock (Chairman of the Har-
mony Committee). The whole of the General Principles are endorsed by them.
vi
D
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Ocr'd Text:
GENERAL
EDITOR'S
PREFACE
THE Editorial Committee's decision to follow the 1919 rulings of the Ver-
sailles Supreme Council in dealing with the various European countries
was not so completely simple as it seemed at first. Little-known languages
have now sprung into prominence, and great stress is laid on their exact
usage by those concerned; many unfamiliar names of places have come
into use again, and in 1922 a fairly complete European tour became
necessary to meet the various committees personally, and to settle many
questions on the spot. In 1923 I again visited most of the European
countries to discuss the progress of the work. Even this did not prevent
some overlapping in the names chosen and some omission of artists of
thoroughly cosmopolitan habits. Most of these articles have subsequently
been supplied by myself.
The necessary material has been obtained through National Sub-editors,
some of whom have written the majority of the articles themselves (as,
for example, Dr. Einstein and Germany, Dr. Alaleona and Italy);
others have formed a National Committee, which has allotted the
work in sections. Thus in France, Dr. Henry Prunières (Chairman), Mr.
Cœuroy and Mr. Calvocoressi have written the articles on the composers;
Mr. Scheeffner those on the conductors; Mr. Rigaud, on the singers; Mr.
Lazarus, on the pianists and harpists; Mr. Raugel, on the organists; Mr.
Pincherle, on violinists, cellists, etc., and Mlle. Pereyra, on musicologists,
societies, etc. (see list on pages ix and x).
In the articles dealing with the recently freed countries of Poland,
Hungary, Lithuania, Czecho-Slovakia, etc., the new names of places have
been given, often with the more widely known name in brackets (see
list on page xiii).
In the spelling of Polish names, Dr. Jachimecki has naturally followed
the Polish spelling; but a few of the more widely accepted spellings have
been retained. Leschetizky, for instance, looks strange in the Polish
Lezetycki; but Polish names in general should never have the final "i"
converted into "y." For the Polish pronunciation, as well as for other good
advice, I am indebted to Mr. F. B. Czarnowski, of the Polish Legation in
London. For the Russian accentuation, Mr. Victor Belaief, of the Russian
State Music Publishing Department, Moscow, and Mr. M. D. Calvocoressi
have made themselves responsible. For the titles of pieces, books, works,
etc., various courses have been followed. Where the English translation
vii
FRAN
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GENERAL EDITOR'S PREFACE
is widely accepted, or where it may be translated back again with com-
parative safety, the English title alone has been given. Elsewhere, either
the original title is given, or both the original and an English translation
appear; for example:
Elementar Musiklære (Elementary Music Theory).
For the translation of all the French and German articles, Mr. W. H.
Kerridge, M.A., Mus.Bac. Cantab., has been responsible. Miss E. J. Bray
has undertaken all the Italian translations. Amongst the many helpers
engaged in the production of the Dictionary I am specially indebted to
Mr. Charles Lee, of Letchworth, for much valuable help and advice, and
to Mr. E. F. Bozman, B.A., for many useful suggestions.
The newly revived languages have necessitated the manufacture of large
numbers of special letters for their exact representation. In this matter, as
in all others, the publishers, in their high esteem for music, have been
most generous. It is the intention of the publishers that the Dictionary
shall be brought well up to date in successive editions, and they have
undertaken to keep the type standing, in order that all corrections and
additions may be made in their proper places instead of being relegated
to an appendix.
Additions, corrections, and all editorial matters relating to the
Dictionary, should be addressed to me, c/o Messrs. J. M. DENT AND
SONS LTD., 10-13, Bedford Street, London, W.C.2.
A. EAGLEFIELD-HULL
viii
General Editor.
MAR
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NATIONAL COMMITTEES AND
SUB-EDITORS
ARGENTINA
Dr. Angelo Menchaca, Buenos Ayres
AUSTRALIA
Mr. Gibson Young, Melbourne
Mr. F. Bennicke Hart, Melbourne
Mrs. Louise B. M. Dyer, Melbourne
AUSTRIA
Dr. Egon Wellesz, Vienna
Dr. Hugo Botstiber, Vienna
Dr. Ernst Decsey, Vienna
Dr. Wilhelm Fischer, Vienna
Dr. Paul A. Pisk, Vienna.
Dr. Paul Stefan, Vienna
BELGIUM
Dr. Charles Van den Borren, Brussels
Dr. Ernest Closson, Brussels
Mr. Joseph Jongen, Brussels
BRAZIL
Mr. J. Armstrong Read, Rio de Janeiro
Mr. Oscar Guanobarino, Rio de Janeiro
CANADA
Dr. A. S. Vogt, Toronto
Mr. H. F. Fricker, Toronto
Mr. Leo Smith, Toronto
Miss Helen Roberts, Chicago
CZECHOSLOVAKIA (BOHEMIA, MORAVIA,
SILESIA, SLOVAKIA)
Dr. Erich Steinhard, Prague
Dr. Václav Štěpán, Prague
DENMARK
Dr. Angul Hammerich, Copenhagen
Dr. William Behrend, Copenhagen
ENGLAND
Professor Sir Hugh Allen, London
Professor Granville Bantock, Birmingham
Sir Henry Wood, London
Mr. Edward J. Dent, London
Dr. Eaglefield-Hull, London
FRANCE
Dr. Henry Prunières, Paris
Mr. André Cœuroy, Paris
Mr. M. D. Calvocoressi, London
Mr. Marc Pincherle, Paris
Mlle. M. L. Pereyra, Paris
Mr. Henri Raugel, Paris
Mr. André Rigaud, Paris
Mr. André Scheeffner, Paris
Mr. Joseph Bonnet, Paris
GERMANY
Dr. Alfred Einstein, Munich
Dr. Hugo Leichtentritt, Berlin
Dr. Adolf Weissmann, Berlin
HOLLAND
Mr. William Pijper, Bilthoven, Holland
HUNGARY
Mr. Béla Bartók, Budapest
Mr. Zoltán Kodály, Budapest
INDIA
Mr. A. K. Coomaraswamy, Boston, U.S.A.
IRELAND
Mr. Hamilton Harty, Manchester
Dr. J. F. Larchet, Dublin
Professor William Starkie, Dublin
ITALY
Dr. Domenico Alaleona, Rome
Mr. Renato Fondi, Rome
JAPAN
Lord Raitai Tokuguwa, Tokio
LATVIA
ix
Mr. K. Paucitis, Riga
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NATIONAL COMMITTEES AND SUB-EDITORS
SCOTLAND
Professor Donald Tovey, Edinburgh
Mr. Hugh S. Roberton, Glasgow
Mr. J. Petrie Dunn, Edinburgh
Mr. William Saunders, Edinburgh
LITHUANIA
Mr. H. Rabinavičius, London
MEXICO, CUBA, CHILE, PERU
Mr. Frederick H. Martens, New York
NORWAY
Mr. Reidar Mjöen, Christiania
Mr. Jens A. Arbo, Christiania
Mr. Ulrick Mörk, Christiania
Dr. O. M. Sandvik, Christiania
Mr. Alfred Hurum, Christiania
POLAND
Professor Zdzisław Jachimecki, Cracow
PORTUGAL
Mr. Cecil Mackee, Lisbon
RUMANIA
Mr. Constantin N. Brailoiù, Bucharest
RUSSIA
Mr. Victor Belaief, Moscow
Mr. M. D. Calvocoressi, London
Mr. Boris de Schloezer, Paris
Mr. W. Bessell, Paris
SERBIA
Mr. T. F. Dunhill, London
SOUTH AFRICA
Prof. W. H. Bell, Cape Town
Mr. Theo Wendt, Cape Town
Prof. Percival Kirby, Johannesburg
Mr. H. Lyell-Taylor, Durban
SPAIN
Mr. Pedro G. Morales, London
SWEDEN
Dr. Patrik Vretblad, Stockholm
SWITZERLAND
Mr. Frederick Hay, Geneva
WALES
Sir Henry Walford Davies, Aberystwyth
Dr. D. Vaughan Thomas, Swansea
U. S. A.
Dr. Otto Kinkeldey, New York
Mr. Julius Matfield, New York
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A. B.
A. C.
A. M.
A. N.
A. CL.
A. E.
Alfred Einstein, Munich
A. H.
Angul Hammerich, Copenhagen
A. K. C. A. K. Coomaraswamy, Boston,
U.S.A.
A. R.
A. S.
A.S. V.
A. W.
CONTRIBUTORS
The articles in this Dictionary appear over the initials of their contributors
according to the following list
C. L
C. M.
C. M. B.
C. N. B.
C. V. B.
Arnold Bax, London
André Cœuroy, Paris
Alfred Clark, London
B. B.
Béla Bartók, Budapest
B. DE S. Boris de Schloezer, Paris
E. C.
E. D.
E. E.
E. G.
Eu. G.
Angelo Menchaca, Buenos Ayres
Antoon Nauwelaerts, Bruges
André Rigaud, Paris
André Scheeffner, Paris
Augustus S. Vogt, Toronto
Adolf Weissmann, Berlin
E.-H.
E. J. D.
E. R. D.
E. S.
EG. W.
Charles Lee, Letchworth
Compton Mackenzie, London
C. M. Barbeau, Ottawa
D. A.
D. L.
D. T.
Donald Tovey, Edinburgh
D. V. T. D. Vaughan Thomas, Swansea
F. A. H.
F. C.
F.G. S.
Constantin N. Brailoiù, Bucharest
Charles Van den Borren, Brussels
Domenico Alaleona, Rome
D. Lazarus, Paris
Ernest Closson, Brussels
Ernst Decsey, Vienna
Edwin Evans, Londcn
Edward German, London
Eugène Goossens, London
Eaglefield-Hull, General Editor
Edward J. Dent, London
Emily R. Daymond, London
Erich Steinhard, Prague
Egon Wellesz, Vienna
Frank A. Hadland, London
Frederick Corder, London
Frederick G. Shinn, London
F. H.
Frederick Hay, Geneva
F. H. M. Frederick H. Martens, New York
Frank Kidson, Leeds
F. Raugel, Paris
F. K.
F. R.
G. B. Granville Bantock, Birmingham
G. M. G. Guido M. Gatti, Turin
G. O.
G. Y.
H. B.
H. G.
H. H.
H. H. R.
H. J. W.
H. L.
H. P.
H. P. A.
H. R.
H. S. W.
H. T. B.
H. W.
H. W. D.
George Osborne, Huddersfield
Gibson Young, Melbourne
Hugo Botstiber, Vienna
Harvey Grace, London
Herbert Howells, London
Helen H. Roberts, Toronto
Sir Henry J. Wood, London
Hugo Leichtentritt, Berlin
Henry Prunières, Paris
Sir Hugh P. Allen, London
H. Rabinavičius, London
H. Saxe Wyndham, London
H. T. Burleigh, New York
Hadley Watkins, Bournemouth
Sir Henry Walford Davies,
Aberystwyth
J. A.
J.A. F.
Jens Arbo, Christiania
J. A. Forsyth, Manchester
Joseph Bonnet, Paris
J. B.
J. B. R.
J. B. Richardson, Toronto
J.C. M'L. J. C. McLean, Aberystwyth
J. F. R. J. F. Russell, Manchester
J. G.
James Graham, London
J. LL. W.
J. M.
J. M.D.
J. M. L.
J. M. M.
J.P. D.
K. P.
J. Lloyd Williams, Aberystwyth
Julius Mattfield, New York
J. MacDonagh, London
J. Mewburn Levien, London
J. M. Mitchell, Dunfermline
John Petrie Dunn, Edinburgh
K. Paucitis, Riga
L. F.
Louis Fleury, Paris
L. S.
Leo Smith, Toronto
L. S. J. L. Stanton Jefferies, London
xi
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M. BA.
M. B.
M. D. C.
M. K.-F.
M. L. P.
M.-L.
M. P.
O.G.
O. K.
O. M. S.
P. B. R.
P. C. H.
P. E. W.
P. G. M.
P. H.
P. K.
P. P.
P. ST.
P. V.
CONTRIBUTORS
S. G. S.
S. S. F.
Maurice Barbleau, Toronto
Maurice Bex, Paris.
M. D. Calvocoressi, London
Marjory Kennedy-Fraser, Edin-
burgh
Marie Louise Pereyra, Paris
H. H. Mischa-Léon, London
Marc Pincherle, Paris
Oscar Guanobarino, Rio de Janeiro
Otto Kinkeldey, New York
O. M. Sandvik, Christiania
P. B. Richardson, Toronto
Percy C. Hull, Hereford
Percy E. Watkins, Aberystwyth
Pedro G. Morales, London
Philip Heseltine, London
Percival Kirkby, Johannesburg,
S.A.
Paul Pisk, Vienna
Paul Stefan, Vienna
Patrik Vretblad, Stockholm.
R. F.
Renato Fondi, Rome
R. M.
Reidar Mjöen, Christiania
R. V. W. R. Vaughan Williams, London
xii
T. F. D.
T. H.
U. M.
V. B.
V. ST.
W. A.
W. B.
W. F.
W. H. B.
W. H. K.
W. M.
W. P.
W. S.
W. ST.
W. W. S.
ZD. J.
Z. K.
S. Geoffrey Smith, Buenos Ayres
S. S. Forsyth, Glasgow
Thomas F. Dunhill, London
Toivo Haapanen, Helsingfors
Ulric Mörk, Christiania
Victor Belaief, Moscow
Václav Štěpán, Prague
Wilfred Arlom, Sydney, Australia
William Behrend, Copenhagen
Wilhelm Fischer, Vienna
W. H. Bell, Cape Town
W. H. Kerridge, London
William Murdoch, London
Willem Pijper, The Hague
William Saunders, Edinburgh
Walter Starkie, Dublin
W. Wooding Starmer, Tunbridge
Wells
Zdzisław Jachimecki, Cracow
Zoltán Kodály, Budapest
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LESS FAMILIAR PLACE-NAMES ADOPTED
SINCE 1918 ¹
CZECHO-SLOVAKIA
Bratislava.
FINLAND
Åbo
Brno.
Budějovice
Budweis
Karlovy Vary . Carlsbad
Marianshé Lázne Marienbad
Olomouc
Plzeň
Hämeenlinna
Kaarina
Oulu.
Pori.
Savonlinna.
Tempere
Viipuri
Pressburg (Ger.), Poz-
sony (Hung.)
. Brünn
.
.
. Olmütz
. Pilsen
Turku
. Tavastehus
. St. Karins
Uleåborg
Bjorneborg
Nyslott
Tammerfors
Viborg
GERMANY
xiii
Regensburg
JUGO-SLAVIA
Lublanjá
LITHUANIA
Gardinas
Klaipėda
Kaunas
Šiauliai
Tilžė.
Vilnius
POLAND
¹ Except Regensburg.
Bydgoszcz
Lwów
RUMANIA
Cluj.
Ratisbon
.
Laibach
. Grodno
Memel
Kovno
Sharli
Tilsit
Vilna
Bromberg
. Lemberg
Klausenburg
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Ocr'd Text:
a.
A.J.M.
Acad.
acc.
adj.
Amer.
arr.
art.
b.
b.
b.c.
b.d.
barit.
C
c.a.
Cantab.
cath.
cello
cf.
ch.
clar.
coll.
collab.
baritone
B.N.O.C. British National Opera Co.
bsn.
bassoon
condr.
Cons.
contr.
cpt.
d.
d.b.
dir.
D.d.T.
alto
Archiv für Musikwissenschaft
(Archive for Musical Knowledge)
Academy
D.T.B.
D.T.Ö.
accompaniment; accompanist
adjudicator
American
arranged; arrangements
article
bass
born
bass clarinet
bass drum
circa, about
cor anglais.
Cambridge
cathedral
violoncello
compare
church
clarinet
comp.
compn.
compr. composer
cond.
conducted
conductor
Conservatoire
collection; college
collaboration
composed
composition
ABBREVIATIONS
contralto
counterpoint
died
double-bass
director
Denkmäler deutscher Tonkunst
(Monuments of German Music)
Denkmäler der Tonkunst in Bayern
(Monuments of Bavarian Music)
Denkmäler der Tonkunst in Österreich
(Monuments of Austrian Music)
Dunelm. Durham
XV
ed.
educ.
Eng.
establ.
fest.
fl.
Fr.
gen.
Ger.
Ges.
h.c.
hon.
ib.
id.
I.M.G.
Inst.
instr.
instrs.
Ital.
LL.D.
ma.
mi.
ms.
mss.
mus.
Mus. Bac.
Mus. Doc.
n.d.
n.s.
4608
ob.
m.-sopr. mezzo-soprano
op.
orch.
edited; editor; edition
educated
English
established
orgt.
festival
flute
French
general
German
Gesellschaft
(Society)
honoris causâ
honorary
in the same place
the same.
Internationale Musik-Gesellschaft
(International Society of Music)
Institute; Institution
instrument; instrumental
instruments.
Italian
Doctor of Laws
major
minor
manuscript
manuscripts.
musical
Bachelor of Music
Doctor of Music
no date.
new style
oboe
opus
orchestra; orchestral
organist
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Ocr'd Text:
orig.
O.S.
Oxon.
perf.
pf.
Ph.D.
Philh.
phon.
prod.
prof.
pron.
publ.
Q.H.
R.
R.A.M.
R.C.M.
rev.
original
old style
Oxford
3.
sec.
Soc.
Span.
str.
performed; performer
pianoforte
Doctor of Philosophy
Philharmonic
phonetic
produced
professor
pronounced
published; publisher
Queen's Hall
Royal
Royal Academy of Music
Royal College of Music.
revised
R.M.C.M. Royal Manchester College of Music
Russ.
Russian
soprano
secretary
ABBREVIATIONS
Society
Spanish
string or strings
stud.
syll.
symph.
t.
tpi.
tpt.
transl.
unacc.
Univ.
V.
vla.
vn.
vol.
Z.
Z.J.M.
4tet
5tet
6tet
4-v.
5-v.
xvi
studied
syllable
symphonic
tenor
timpani
trumpet
translated; translation.
unaccompanied
University
voice
viola
violin
volume
Zeitschrift
(Journal)
Zeitschrift für Musikwissenschaft
(Journal for Musical Knowledge)
quartet
quintet
sextet and so on
..
4 voices or parts
5 voices or parts . . . and so on
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A DICTIONARY OF MODERN MUSIC
AND MUSICIANS
A
ABENDROTH, Hermann. Ger. condr. b.
Frankfort-o-M., 19 Jan. 1883. Originally book-
seller, became pupil of Ludwig Thuille (compn.)
and Anna Langenhan-Hirzel (pf.); condr. of
Munich Orch. Soc., of the Music-Lovers' Soc.,
1903, and of Stadttheater, Lübeck (1905-11);
dir. of music to Municipality of Essen, 1911;
municipal dir. of music and dir. of Cons., Cologne,
1915, becoming gen. mus. dir. 1918, and prof.
in 1919. In 1922 he was condr. of Lower
Rhine Festival; 1922-23 also of Symphony
Concerts of Berlin State Opera. His conducting
is remarkable for rhythmic strength.-A. E.
ABERT, Hermann. Ger. musicologist; b.
Stuttgart, 25 March, 1871. Stud. under his
father, Johann Joseph Abert (1832-1915,
for many years condr. of Court Orch. Stutt-
gart); also attended Stuttgart Cons. First
stud. classical philology (securing his Ph.D.
at Tübingen in 1897), after which took a 4-
years' course in theory of music at Berlin
Univ. In 1902 submitted thesis The Esthetic
Principles of Medieval Melody - construction,
and was formally admitted academic lecturer
in theory of music at Univ. of Halle-o-S.,
being titular prof.-in-ordinary, 1909; prof.
in-ordinary, 1918. Has been prof. at Univ.
of Leipzig in succession to Riemann since
1920. Declined a call from Univ. of Heidel-
berg in 1919, and has responded to later invita-
tion to Berlin 1923. He is one of the most ver-
satile investigators, in the field of music, in all
Germany, having more especially mastered the
history and theory of ancient and medieval
music, as well as the opera of XVII and XVIII
centuries and that of Romantic music.
Die Lehre vom Ethos in der griechischen Musik
(1899, Breitkopf); several contributions on The
latest Discoveries in Oryrhynchus, 4.f.M.
. I and
Z.f.M. IV; The Concept of Music in Mediaval
Times and its Principles (Halle-o-S., 1905, Nie-
meyer); Dramatic Music at Nicolo Tommelli as a
Duke Karl
Eugen of
Composer of Operas (Halle, 1908,
Jos. A 216, Breitkopf); Goethe yer);
1922, J. Engelhorn); History of the
and Music
Robert Franz Acad. of Singing in Halle (1908); Robert
3rd
Verlags-Anstalt). His principal achievement is the
re-writing of Otto Jahn's Biography of Mozart
which thus becomes practically a new work (1920-1).
Ed. a Gluck Annual (4 issues since 1914), and a Mozart
Annual (from Munich, 1923, Drei Masken Verlag).
He ed. Pergolesi's La Serva Padrona (Munich, Wun-
derhorn Verlag, now Tischer & Jagenberg, Cologne);
in D.d.T. XXXII and XXXIII he ed. Jommelli's
Felonte, Carlo Pallavicino's Gerusalemme Liberata,
B
ballets by Florian Deller and J. J. Rudolph; in
D.T.B., Le Nozze d'Ercole e d'Ebe by Gluck: in
D.T.O., the Italian version of Gluck's Orfeo ed
Euridice.-A. E.
ABONNEMENT. A term used in connection
with concert-tickets, in France, Germany and
Switzerland. In Italy it is called Abbonamento.
It is a subscription-ticket for a series, working
out more cheaply than tickets for single per-
formances.-E.-H.
ABRAHAM, Otto.
Musical psychologist;
b. Berlin, 31 May, 1872. Stud. medicine
and natural science in Berlin, where he ob-
tained M.D. in 1894. Since 1896 assistant to
Prof. Carl Stumpf at Psychological Inst.,
Berlin, and is associated with Prof. Dr. E. M. v.
Hornbostel in the direction of the latter's
Phonograph Archives.
The Limits of Tone-Perception (with L. J. Brühl,
Zeitschr. für PsychSound Progression (with
Physiologie, 1898); On the
Marimum Speed
Ludolf Schäfer, 1899, b.); On the Discontinuance
of Tone-Sensations (1899, ib.); Studies on Inter-
ruption-Tones (with K. L. Schäfer, 1900-4 in Archiv
f. d. Ges. Physiologie); Absolute Sound-Perception
(Sammelb. d. I.M.G. III, 1, and VIII, ili); Studies
on the Tone-System and Music of the Japanese (Sam-
melb. d. I.M.G. IV, ii, 1904); Phonographed Turkish
Melodies; On Importance of Phonograph in Com-
parative Musical Science, and Phonographed Indian
Melodies (all with E. M. v. Hornbostel, 1904); Phono-
graphed Indian Melodies from British Columbia
(with E. M. v. Hornbostel, 1905, in fest. publica-
tion for Boas); On Susceptibility to Harmonisation of
Exotic Melodies (with E. M. v. Hornbostel) in Sammelb.
d. I.M.G. VII, 1906.-A. E.
ÁBRÁNYI, Emil. Hungarian compr. condr.
b. Budapest, 1882. Was condr. at R. Hungarian
Opera House; then at Municipal Theatre,
Budapest.-B. B.
ACADEMIES, Colleges, Conservatoires, etc.
ARGENTINA. Buenos Ayres: Chief Cons.
is that of Alberto Williams; it has 92 branches
in different parts of the Republic. The Thibaud
and Piazzini Cons. is also important. There are
many others: Sta. Cecilia Cons. dir. by H. Fo-
rino and C. Troiani; the Argentine School of
Music, under Julián Aguirre; the Beethoven
Cons. founded 1900 (Profs. Scolese and Flocco);
the Verdi Cons. (A. Faleni); Fontana's Institute of
Music, which has 10 branches in the provinces, etc.
AUSTRALIA.-Melbourne: (i) The Univ.
Cons. of Music, founded 1894; Dir. W. A.
Laver, the Ormond Prof. of Music. (ii) Cons. of
Music, Albert St., founded 1895; Dir. F. Ben-
nicke Hart. Sydney: N.S. W. State Cons. of
Music, founded 1914; Dir. W. Arundel Orchard,
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ACADEMIES
from 1923. Adelaide: Elder Cons. Univ. of S.
Australia; Dir. Dr. Harold E. Davies.
AUSTRIA.-Vienna: Conservatoire (Akade-
mie für Musik und darstellende Kunst), founded
1 Aug. 1817 by Gesellschaft der Musikfreunde
as singing-school under Salieri. 1819, vn. class
added under Joseph Böhm, the father of Vienna
school of violinists (among his pupils were Ernst,
Grün, Hellmesberger, Joachim); 1821, other
instr. classes followed. Dir. by a committee of
16. 1844, Gottfried Preyer appointed first and
sole Dir. Later on Joseph Hellmesberger sen.
(1851-93) was Dir. Under his and Johann Nep.
Fuchs's (1893-9) direction it reached its highest.
standard. A dramatic class was added. Chief
professors were: Dachs, Door, Epstein, Fuchs,
and Grün. Amongst the chief pupils were: Kreis-
ler, Mahler, Mottl, Nikisch, Rosé, Schalk, Schre-
ker, Hugo Wolf and Zemlinsky. The succeeding
Directors were: Richard von Perger, Wilhelm
Bopp, Ferdinand Loewe and now Dr. Josef
Marx (from 1922). In 1908, the Cons. (formerly
a private inst. supported by Gesellschaft der
Musikfreunde) was taken over by the Govern-
ment as a State institution.
BELGIUM. There are 4 Royal Cons, which
are State insts.: those of Brussels, (Dir. Léon
Du Bois), Ghent (Dir. Martin Lunssens), Liège
(Dir. Sylvain Dupuis), and Antwerp (Dir. Emil
Wambach). This last bears the title of Flemish
Conservatoire (Vlaamsch koninglijk Conserva-
torium). The Brussels Cons. possesses a library
of over 30,000 vols. and an instrumental museum
of more than 3000 exhibits, of international im-
portance. A large number of provincial towns
(Bruges, Louvain, Mons, etc.), and of suburbs of
large cities (St. Josse-den-Noode-Schaerbeek,
St. Gilles, Ixelles, etc.), possess schools of music
of which some have a very well-deserved re-
putation.
CANADA.-Toronto: (i) Cons. of Music,
founded 1886 by late Dr. Henry Fisher. In 1919
the Cons. was acquired, by Act of Parliament,
for the Univ. of Toronto, thus becoming in effect
a State school of music. The Cons. grants 2
diplomas Associateship and Licentiateship.
The present Principal is Dr. A. S. Vogt and the
Vice-principal is Dr. Healey Willan. (ii) Toronto
Coll. of Music, founded 1888 by late Dr. Torring-
ton. It was affiliated with the Univ. of Toronto.
At founder's death in 1917, it was amalgamated
with the Canadian Coll. of Music. (iii) Canadian
Coll. of Music, founded 1911 under name of
Columbian Cons. of Music. Amalgamated in
1917 with Toronto Coll of Music (see above).
Grants 2 diplomas-Associate and Licentiate.
Present Dir. F. S. Welsman. (iv) Hambourg Cons.
of Music, founded 1911 by late Michael Ham-
bourg. Present Directors, Jan and Boris Ham-
bourg, the eminent players. Montreal: The
McGill Cons. of Music, founded 1904. First mus.
Dir. Dr. C. A. E. Harris, succeeded in 1908 by
Dr. H. C. Perrin. It was generously endowed in
1917 by Sir William Macdonald. It gives degrees
of Mus. Bac. and Mus.Doc. and also diploma of
Licentiateship. Hamilton: Cons. of Music;
ACADEMIES
Principal, W. H. Howlett; partly affiliated
with Toronto Cons. London (Canada): Inst. of
Musical Art; Principal, A. D. Jordan; partly
Ottawa: The
affiliated with Toronto Cons.
Canadian Cons. of Music; Principal, H. Puddi-
combe. Regina (Sask.): Coll. of Music; Princi-
pal, F. G. Killmaster.
CZECHO-SLOVAKIA.-Prague: (i) Prague
Cons. of Music, founded 1811 by Soc. for Culti-
vation of Music in Bohemia; supported by that
Soc. until 1919; then taken over by new Re-
public of Czecho-Slovakia. Bears the stamp of
a middle-school, on to which some advanced
classes have been grafted. Directors during last
40 years: Anton Bennewitz (1881-1901);
Antonín Dvořák (1901-4); Karel Knittl (1904
1907); Jindřich Kaàn de Albest (1907-18).
Since then, it has elected its own dir.: Vítězslav
Novák (1918-22); now Josef B. Foerster. The
Administrative Principal, 1918-22, Fr. Spilka;
now Otakar Šín (g.v.). In 1922 there were 660
students. The Organ School was amalgamated
with the Cons. in 1890. The Advanced School
profs. include: J. B. Foerster, V. Novák, J. Suk,
0. Ševčík, K. Hoffmann, K. Hofmeister, A.
Mikes, J. Burián, J. Klička. (ii) German Acad.
of Music and Descriptive Art. The Prague Cons.
of Music (founded 1811) was bi-lingual until
1918, when it was confiscated by the Czechs.
The Germans founded the Acad. in 1920. It
takes the status of a High School, although
amalgamated with 3 Meister-schulen, to which are
attached Conrad Ansorge, Henri Marteau and
Alex. Zemlinsky, the last-named being Dir. from
1920. Brno (Brünn): Cons. founded 1919, after
the political upheaval. Formed on the Organ
School founded by Leoš Janaček, its first Dir.
Taken over by State in 1921. Administrative
Principal is Jan Kunc (q.v.). In 1923, it had
243 pupils.
2
DENMARK. Copenhagen: Royal Cons. of
Music; Dir. Otto V. Malling.
ENGLAND. London: (i) R. Acad. of Music,
founded 1822; Principal, John B. McEwen
(from July, 1924); former Principals: Dr.
Crotch, 1822-32; Cipriani Potter, 1832-59;
C. Lucas, 1859 66; Sir W. Sterndale Bennett.
1866-75; Sir G. A. Macfarren, 1875-88; Sir
Alexander Mackenzie, 1888-1924. (See special
art. under R.) (ii) R. Coll. of Music, founded.
as National Training School, 1882; Royal
Charter, 1853; R.C.M. Principals: Sir George
Grove, 1883-94; Sir Hubert Parry, 1894-
1918; Sir Hugh P. Allen from 1918. (See
special art. under R.) (iii) Guildhall School of
Music, founded 1880; Principals: Weist Hill,
1880-92; Sir J. Barnby, 1892-6; Dr. W. H.
Cummings, 1896-1910; Sir Landon Ronald
from 1910. (See special art. under G.) (iv)
Trinity Coll. of Music, founded 1872; first War-
den, Rev. H. G. Bonavia Hunt, Mus. Doc.; pre-
sent Chairman, Sir F. Bridge; Dir. of studies, Dr.
C. W. Pearce; Dir. of examinations, Dr. E. F.
Horner. (v) Royal Coll. of Organists, founded
1864; President (1924), Dr. Alan Gray. (See
special art. under R.) Manchester: Royal
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ACADEMIES
Manchester Coll. of Music, founded 3 Oct. 1893;
first Principal, Sir Charles Hallé (till his death,
25 Oct. 1895); then Dr. Adolph Brodsky till
present time. Royal Charter, 5 May, 1923. The
Coll. is closely associated with Victoria Univ.
(Owens Coll.), Manchester. Birmingham: Bir-
mingham and Midland Inst. School of Music,
founded 1854; present Director, Granville Ban-
tock (from 1900). (See special article.).
FINLAND. Helsingfors: The mus. SOC.
Helsingfors Musikförening (founded 1882) opened
in the autumn of same year a municipally sub-
sidised Music Inst., a higher acad. of music.
First Dir. was Martin Wegelius; after him, came
Armas Järnefelt, 1906-7; Karl Ekman, 1907-11;
Erkki Melartin, 1911-22; the present Dir. Armas
Launis, from 1922. A large section of staff con-
sisted originally of foreign teachers (best-known
being Ferruccio Busoni); later, the staff was
limited to native teachers. Nearly all the younger
Finnish musicians have received their musical
education at this Music Inst. Students, 49 in
1882, numbered in 1924, over 800. Regular
concerts (chiefly chamber-music) are also given,
and up to 1924 numbered over 500.
FRANCE.-Paris: (i) Conservatoire national
de Musique et de Déclamation. For the history
of its beginnings, consult Constantin Pierre's
Le Conservatoire national de Musique et de Dé-
clamation (Paris, 1910), and Les anciennes Ecoles
de Déclamation dramatique (ib. 1896). Housed
from 1911 in an old school of expelled Jesuits,
14 rue de Madrid. Directors of recent years:
Th. Dubois (1896-1905); Gabriel Fauré (1905-
1920); Henri Rabaud (1920). On the staff (1924)
are: Widor, Vidal (compn.); Gédalge, Caussade
(cpt.); Chapuis, Dallier, etc. (harmony); E.
Gigout (organ, voluntary); Lorrain, Engel,
Hettich, Mlle. Grandjean, Guillamot (singing);
H. Büsser (vocal ensemble); Chevillard, Capet,
Tournemire (instr. ensemble); V. d'Indy (orch.
class); Philipp, Cortot, etc. (pf.); Lefart, Rémy,
Touche, etc. (vn.). (ii) Schola Cantorum (q.v.),
founded by d'Indy in 1896. (iii) Ecole normale
de Musique de Paris (1919), dir. by A. Mangeot
(founder and administrator), and the compr. R.
Laparra; complete curriculum of studies. (iv)
Cons. Rameau, Dir. F. Delgrange. (v) Ecole
supérieure de Musique et de Déclamation, Presi-
dent, Ch. M. Widor. (vi) Ecole de Chant Choral,
an earlier foundation than (v) (Dir. H. Radigner),
the mainspring of the Association pour le dévelop-
pement du chant choral. Its aim is to revive the
tradition of serious popular artistic work and to
make mus. education accessible to all. (vii) In
addition to the 15 provincial branches of the
Pari Cons. there are also in the departments
and colonies of France, 22 National Schools,
and 32 establishments called Municipal Cons.,
Municipal Schools, Free Schools, etc. (viii)
Conservatoire Américain, founded in 1921 by
Fragnaud and the compr. Francis Casadesus
(q.v.). This school, called "des hautes Études
musicales," has its abode in the palace of Fon-
tainebleau, and is equipped for the reception
of Amer. music-students. Managed by an Amer.
3
ACADEMIES
committee on the board, among others, W.
Damrosch-it has for Dir.-gen. of studies Ch. M.
Widor and for technical dir. Max d'Ollone. It
comprises classes in all subjects. Open each year
from 25 June to 25 Sept. (ix) Ecole Niedermeyer,
founded in 1853 by Louis Niedermeyer (1802-61)
under name of Ecole de Musique religieuse et
classique for training singers, orgts., orch. condrs.
and comprs. by study of masters
XV, XVI,
XVII centuries. Its founder intended it to con-
tinue the work of the Institution royale de
musique classique et religieuse (created by Choron)
which ceased in 1830. Among its students were
Gabriel Fauré, Lecocq, André Messager, Eugène
Gigout, Claude Terrasse, Henri Büsser, etc.
Saint-Saëns was a prof. there. Its present Dir.
is Henri Büsser (q.v.). Consult Gabriel Fauré,
Souvenirs (Revue Musicale, Oct. 1922).
GERMANY.-Berlin: Staatliche Akademische
Hochschule für Musik (Charlottenburg, Fasanen-
Str. 1). Opened 1 Oct. 1869 under Joseph
Joachim, primarily for vn. cello. pf.; now all
subjects. Dir. Franz Schreker; Deputy-Dir.
Dr. George Schünemann. Staff: L. Koch, P.
Juon, R. Kahn, A. Moser, Hugo Becker, etc.
(ii) Sternsches Konservatorium der Musik (Bern-
burger-Str. 11 and 22a, 23). Oldest Cons. in Ber-
lin, founded 1850 by A. B. Marx, T. Kullak and
Julius Stern; from 1857 conducted by Stern.
alone; Dir. (until 1915) G. Hollaender; now
Alex. von Fielitz. Present staff includes R. M.
Breithaupt, J. Kwast, W. Klatte, Max Schwarz,
E. R. Mendelssohn, etc. (iii) Klindworth-Schar-
wenka Konservatorium der Musik (Genthiner.
Str. 11). Founded 1881 by Scharwenka; amalga-
mated with Klindworth's school, 1893. Operatic
and dramatic school attached; also a training-
school for teachers. Dir. Robert Robitschek.
Staff includes C. Ansorge, T. Lambrino, Hugo
Leichtentritt, Erwin Lendvai, etc. (iv) By their
dependence on the Staatlichen Akademie der
Künste (State Acad. of Arts), the following 2
insts. are connected with the Akademische
Hochschule (Acad. High School): (a) The Akade.
mische Meisterschule which gives further training
in compn. It started in 1833. Present teachers,
F. Busoni, Hans Pfitzner, Georg Schumann. (b)
Akademische Institut für Kirchenmusik; since
1922 under name of Akademie für deutsche
Schul- und Kirchenmusik (Acad. for Ger. School-
and Church-music). Founded by Carl Zelter, a
friend of Goethe. Carl Thiel succeeded Kretsch-
mar as Dir. in 1922. Staff includes Max Seiffert,
and Joh. Wolf. Carlsruhe: Konservatorium,
founded 1884 by H. Ordenstein. Dir. from 1921,
H. K. Schmidt. Dresden: Konservatorium,
founded 1856. Frankfort: Dr. Hoch'sche Konser-
vatorium, founded 1878 under Joachim Raff;
raised to great esteem under dir. of Ivan Knorr
(1908-16). Present Dir. Waldemar von Baussnern.
Hamburg: Konservatorium, founded 1873 by
Julius von Bernuth. Present Dir. R. Barth.
Leipzig: Konservatorium und Hochschule der
Musik, founded by Mendelssohn, 1843; from
1887 in Grassi-Str. Has numbered amongst its
former teachers, Robert Schumann, Ferd. David,
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ACADEMIES
M. Hauptmann, F. Hiller, N. W. Gade, I.
Moscheles, H. Kretschmar, Max Reger. High
school, 4 divs.; finishing classes (Ausbildungs-
klassen), 5 divs.; opera-school; church music
institute. Present Dir. Stephan Krehl. Coun-
cillors: P. Graener, O. Lohse, K. Straube, R.
Teichmüller. Consult Festschrift of 75th anni-
versary (Leipzig, 1918). Munich: Akademie der
Tonkunst. State inst. (as is also the one at Würz-
burg), founded 1846 by Franz Hauser; re-
organised by Hans von Bülow. Specially noted
under dir. of Joseph Rheinberger and Felix
Mottl. Present Dir. Siegmund von Hausegger.
Stuttgart: Konservatorium (now Hochschule für
Musik), founded 1856 by L. Stark, Lebert, Faisst;
(a) Künstlerschule (Artists' School), (b) Dilettan-
ten-Schule (amateurs). Dir. Max Pauer (from
1908). Weimar: Konservatorium. Dir. from
1872, Bruno Hinze-Reinhold. Breslau: Institut
für Kirchenmusik. Regensburg (Ratisbon): The
famous Kirchenmusikschule, founded by Father
X. Haberl. In 1910 Carl Weinmann succeeded
him as director.
ACADEMIES
support. Royal charter 1919, becoming directly
dependent on State for support. Has a dramatic
school attached. Situate in Via dei Greci. Dir.
Marco Enrico Bossi till Nov. 1923, when Ottorino.
Respighi was appointed (ii) Pontificia Scuola
Superiore di Musica Sacra, instituted by desire
of Pope Pius X in 1910; opened Jan. 1911;
officially sanctioned by Papal mandate in same
year; proclaimed "Pontifical" 1914. The Dir..
from its foundation until his death, was Padre
Angelo De Santi (q.v.). Gives instruction in all
subjects of music, but with special regard to
sacred music and the organ, vocal polyphony,
and Gregorian chant. Located in Piazza di
Sant Agostino; has a fine hall and an excellent
organ. Bologna: (i) Accademia Filarmonica di
Bologna, founded 1666; gives diplomas (Mozart)
won one), as well as tuition. Present President,
Guglielmo Zuelli. (ii) Liceo Musicale Gioacchino
Rossini. Belongs to municipality. Founded in
1804 by Padre Stanislao Mattei. Possesses a
library of very interesting old music (see printed
catalogue, 2 vols., publ. by Gaspari, formerly
dir. of library); has a rich gallery of pic-
tures of musicians, chiefly from collections.
of the famous Bolognese musician, Father
Giambattista Martini. Florence: Istituto
Musicale Cherubini (Regio). One of the 6
govt. insts. for teaching music. Its origin
dates from 1814; but its real foundation took
place in 1860. Possesses a rich library of
old music. There is attached to it a school
of acting and an Acad., which publishes mono-
graphs, and takes other steps for spread of
mus. culture. Milan: (i) Conservatorio di
Musica (Regio) Giuseppe Verdi. One of most
renowned in Italy; founded by Napoleon I;
inaugurated 1808. Possesses a rich library.
Located in Via Giuseppe Verdi; has a beautiful.
concert-hall, the best in Milan. Present Dir.
Ildebrando Pizzetti. (ii) Scuola Municipale di
Musica. This school is divided into two branches:
one for wind instrs. (males); the other for choral.
singing (mixed). The head of singing section is
Filippo Brunetto; of wind section, Pio Nevi.
Located at Castello Sforzesco. Naples: Con-
servatorio di Musica (Regio) San Pietro a Maiella.
The oldest Ital. Cons., and the richest in glorious
traditions. Possesses a valuable library. Present
Dir. Francesco Cilea. Palermo: Conservatorio di
Musica (Regio) Vincenzo Bellini, founded in XVII
century. One of 6 present Ital. State Cons. Its
last Dir., Guido A. Fano, was succeeded in 1923 by
Giuseppe Mulè. Parma: Conservatorio di Musica
(Regio) Arrigo Boito, founded 1888, on traditions
of ancient Regio Scuola di Musica Parmense.
Now an important school again, under dir. of
Guglielmo Zuelli. Possesses a rich library.
Pesaro: Liceo Musicale Rossini. Owes its
foundation to a legacy and testamentary dis-
position of Rossini, who wished to pay a lasting
tribute to his native town. Started its activity
in 1882, Carlo Pedrotti being its first Dir. It
flourished especially under Pietro Mascagni.
Its present Dir. is Amilcare Zanella. Turin:
Scuola Municipale di Canto Corale, founded
HOLLAND.-Amsterdam: Cons. Dir. Julius
Röntgen from 1913. Rotterdam: Cons. Dir.
Woulter Huytschenruyter from 1917. The
Hague: R. Cons. Dir. Johan Wagenaar from
1918. Utrecht: . of Music.
HUNGARY.-Budapest: Magyar királyi
zeneművészeti föiskola (Hungarian R. High
School) (Liszt Ferenc-tér, 12). Until 1919 called
R. Hungarian State Acad. for Music (Országos
magyar királyi zeneakadémia). Educational in-
stitution supported by the State. Founded 1875.
Originally only 2 subjects were taught-pf. and
compn. Now instruction is given in all subjects.
Special tuition in cimbalom-playing (seo HUN-
GARIAN MUS. INSTRUMENTS). First President was
Franz Liszt, who up to his death gave pf.-lessons
several months a year. Among its first pro-
fessors was Robert Volkmann (compn.) until his
death in 1883; then David Popper (cello),
1886-1913. First Dir. Franz Erkel (q.v.) until
1887; acted as pf, prof. until 1889. From 1887-
1919 the Dir. was Ödön Mihalovich (q.v.); 1919-20
Ernst von Dohnányi. Present Dir. (since 1920)
Eugen Hubay, (vn. prof. there from 1886). Pre-
sent staff includes: Béla Bartók (pf.); Zoltán
Kodály, Hans Koessler, Leo Weiner (compn.);
Nándor Zsolt (vn.).
IRELAND.-Dublin: R. Irish Acad. of Music.
In 1856 a committee was formed, and was sub-
stantially assisted by the Marquis of Downshire.
In 1870, the British Govt. (under Gladstone)
voted it an annual grant of £150, later in-
creased to £300. There is apparently no Director.
Signor Esposito has been head of the pf. section
for over 40 years. The chief vn. profs. in the
past have been Papini, Adolf Wilhelmj, Achille
Simonetti. The present one is Joshua F. Watson.
Chief singing prof. Adelio Viani; prof. of har-
mony, etc. Dr. J. F. Larchet.
ITALY. Rome: (i) Santa Cecilia (Regio Liceo
Musicale di). One of foremost teaching insts. in
the world. Founded 1876 by the Acad. of same
name, on which it depended for some time for
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ACADEMIES
and dir. in 1864 by Eugenio Tancioni, under
title of Scuola Sperimentale di Canto. When.
in 1867, the Liceo Musicale was instituted,
this school was incorporated with it, and
until 1905 continued its activity uninterrupt-
edly, having as Directors after Tancioni:
Filippo Angeleri, Maurizio Sciorati, Alessandro
Moreschi, Oreste Pasquarelli, Delfino Thermi-
gnon, Faustino Del Marchi. After a short in-
terruption from 1905 to 1914, it was recon-
stituted, and the direction was entrusted to
Vittore Veneziani and then to Ettore Cordone
and Giorgio Federico Ghedini. From 1921 to
1924 the direction was resumed by Delfino
Thermignon. He was followed in 1924 by
Franco Alfano. Venice: Liceo Musicale Bene-
detto Marcello. Supported by the municipality.
Founded in 1878, under auspices of Concert Soc.
of same name, still in existence. Present Dir.
Mezio Agostini.
LATVIA. Riga: State Cons. Dir. Jozefs
Vitols.
LITHUANIA. - Kaunas (Kovno): State
School of Music; Dir. J. Naujalis. (See LITHU-
ANIAN MUSIC.)
NORWAY. Christiania: Cons. of Music,
founded 1883 by Peter Lindeman and L. M.
Lindeman. Number of students, between 800
and 900. Receives from State and Municipality
grants amounting together to Kr. 5000. Bergen:
Acad. of Music, founded in 1905 by Torgrim
Castberg with the support of Frithjof Sundt.
Number of students, between 300 and 400. Re-
ceives from State and Municipality grants
amounting together to Kr. 2500.
POLAND. Warsaw: Cons. founded 1821 by
Elsner; closed 1830; re-opened 1861 under
Apoll. de Kontski; Dir. 1904, E. Młynarski;
1911, S. Barcewicz; 1919, Młynarski again; 1922,
H. Melcer-Sczawinski. Cracow: Cons. founded.
1888; Dir. Władysław Żeleński (d. 1921):
Lwów (Lemberg): Music School of the Galician
Music Society; Dir. K. Mikuli, 1858-98;
Mieczysław Soltys from 1899. Posen: State
Cons. Dir. H. Opieński.
PORTUGAL. Lisbon: Conservatorio Real,
founded 1833 with Bontempo as Dir.; now under
Guilhelme Cossoul.
RUMANIA.-Bucharest: Cons. of Music.
Dir. from 1918, J. Norma Otescu. Cluj (formerly
Klausenburg): Cons. founded by Governing
Council of Transylvania in 1919; Dir. G. Dima
(q.v.). Jassy: Cons. founded in 1836; State inst.
since 1860. Suppressed by budget of 1876; but
reorganised same year. Amongst its Directors
have been Ed. Caudella (1892-1901) and G.
Muzicescu (1901-3), both zealous propagandists
of Rumanian music and comprs. of choruses
and songs.
RUSSIA.-Petrograd: Imperial Cons. (now
State Cons.), founded in 1862 by the Imperial
Russ. Soc.; 1st Dir. Anton Rubinstein, 1862-7;
Zaremba, 1867-71; Asantschevsky, 1871-6;
K. Davidof, 1876-86; then again A. Rubin-
stein, 1887-91; Johannsen, 1891-6; A. Bern-
hardt, 1896; Alex. Glazunof from 1909. The
5
ACADEMIES
staff has included Auer (vn.), Essipof (pf.), Liadof
(compn.). About 75 teachers, 870 students. Mos-
cow: (i) Imperial Cons. (now State Cons.),
founded by Nicolas Rubinstein 1866, its first Dir.
(until 1881); Huberti, 1881-3; K. Albrecht,
1883-5; Tanéief, 1885-9; Safonof, 1889; Ippo-
litof-Ivanof from 1906. 40 teachers, 526 students.
(iii) Philharmonic Society's Music School, founded
by P. Schostakowski in 1878; had same official
recognition as the Imperial Cons. Its Directors
were: P. Schostakowski, 1883-96; S. Kruglikof,
1898-1901; W. Kes, 1901; Brandukof. 30
teachers, 482 students. In the Russ. provinces
there are Cons. at Astrakan, Kirschnief, Kief,
Nicolaief, Odessa, Kostof, Saratof, Tambof,
Tiflis, Charkof.
SCOTLAND.-Edinburgh: Univ. School of
Music. Originated with Reid Chair, founded
and endowed by the late General Reid, an XVIII
century amateur and flautist. Chair founded
1839. Treated as a sinecure for many years, and
bulk of endowments diverted into other channels.
Prof. Donaldson, who built the Music Class
Room on scientific acoustical principles, took
the University Court to law and recovered the
misapplied endowments. Faculty greatly ex-
tended under régime of Prof. Niecks, and more
so under Prof. Tovey, who succeeded. former
as Reid Professor in 1914. Now fully equipped
school for higher instruction in music. Former
professors included Sir Henry R. Bishop and Sir
Herbert Oakeley. Glasgow: Athenaeum (In-
corporated) School of Music. Establ. 1890. (See
special article under G.)
SERBIA.-Belgrade: Serbian State School of
Music; Dir. Joram Zorka, violinist, from 1920.
SOUTH AFRICA.- Cape Town: South
African College of Music, founded 1909; govt.
grant of £1000 per annum from 1911. Principal,
W. H. Bell, F.R.A.M. Staff of 25 teachers;
600 students.
SPAIN. Madrid: Conservatorio de Música y
Declamación (Real). Official school of music,
created by Royal decree, 15 July, 1830, on the
initiative of Maria Cristina, the Ital.-born fourth
wife of Ferdinand VII. Modelled on similar
establishments in Italy, its 1st Dir. being the
Ital. singer Francesco Piermarini. Its original
name was Conservatorio de Maria Cristina, and
has been called afterwards, at different periods
(a school for acting being attached to it), Escuela
Nacional de Música y Declamación and Real
Conservatorio de Música y Declamación.
SWEDEN. Stockholm: (i) R. Cons. of Music;
Dir. Bror Beckman. (ii) Richard Andersson's
Music School; Dir. Iven Lizell. (iii) Stockholm
Musikinstitut; Dir. Sigrid Carlheim. Malmö:
Cons. of Music (private), founded by Giovanni
Tronchi, subsidised by the city, from 1909. Lund:
Sydsvenska Musikkonservatorial.
SWITZERLAND.-Zurich: Konservatorium
für Musik, founded 1876; Dir. F. Hegar (1876-
1914); 1894-1914, jointly with C. Attenhofer;
from 1914, Volkmar Andreae; from 1919, jointly
with C. Vogler. (a) Dilettantenschüle. (b) Be-
rufsschule: (i) teachers, (ii) concert and orch.
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ACADEMIES
players, (iii) opera-school. Basle: Conservatoire,
founded 1867; Dir. Selmar Bagge, 1867-96;
Hans Huber, 1896-1918; H. Suter, 1918-21;
now Willy Rehberg. In 1922, there were 58
teachers and 1363 pupils.
ADAMS
Cons.). The total registration since its founda-
tion is over 100,000. The faculty includes over
75 members. Chicago: (i) Amer. Cons. of Music,
organised 1886, incorporated 1887. Founder,
John J. Hattstaedt. Three present Directors
are John J. Hattstaedt, Karlton Hackett and
Adolf Weidig. (ii) Cons. of Dramatic and Mus.
Art, founded 1885 by Samuel Kayzer (1885-
1907). Present President, Walter Perkins, 1907.
(iii) Mus. Coll. founded 1867 by Florenz
Ziegfeld, incorporated 1877. President, Ziegfeld,
1867-1905-1906; present President, Borowski;
Vice-president, Carl D. Kinsey, 1905. Cin-
cinnati: (i) Cons. of Music, started 1867 by Clara
Baur, in charge 1867-1912, succeeded by her
niece Bertha Baur, 1912. (ii) Coll. of Music,
founded 1878. Endowed by Reuben R. Springer.
Dir. Theodore Thomas, 1878-80; George Ward
Nichols 1880-5; Peter Rudolph Neff, 1885-94;
Frank Van der Stucken, 1894-9; Arnold J.
Gantvoort, 1899-1920.-E.-H.
ACHTÉ, Irma. Sec TERVANI.
ACKTÉ, Aino. Finnish operatic singer; b.
Helsingfors, 23 April, 1876. Stud. under her
mother, the opera-singer Emmy Strömer-Achté,
and at Paris Cons. 1894 97. Engaged at Grand
Opéra, Paris, 1897-1904, where she proved her-
self to be an artist of the highest rank in many
rôles, notably as Marguerite in Gounod's Faust.
She appeared at Metropolitan Opera, New York,
1904-6, and went with the company on tours
throughout U.S.A. Up to 1913, undertook
extensive opera and concert tours in Europe
(Gewandhaus Concerts, Leipzig; Colonne and
Cons. Concerts, Paris; Queen's Hall, London).
Engaged 3 times at Covent Garden, London.
In Finland, she has perf. much as operatic and
concert-singer, and is one of most enthusiastic
promoters of Finnish opera (q.v.). In 1911 she
organised the annual Finnish Opera Fests. in
Savonlinna (Nyslott). 1901, married the senator
Dr. Heikki Renvall, and 1919 the minister
B. Jalander. Lives in Helsingfors.-T. H.
UNITED STATES OF AMERICA. There
is as yet no official national school of music in
America, and no independent Cons, subsidised by
a national or State government. The nearest
approach to such an inst. may be found in some
of the State univs., like the Univ. of Michigan at
Ann Arbor, or the Univ. of Wisconsin at Madison,
which have a more or less completely organised
Cons. or school of music attached to the Univ.,
either as a separate branch of the Univ. complex
or as a department of the school of arts. A num-
ber of the larger univs, which are not State insts.,
like Harvard, Yale and Columbia, or Vassar,
Wellesley and Smith Colls., have music depart-
ments or schools of music in which, however, the
training in the practical or performing side of
the art is less emphasised than the theoretical
side and the teaching of musical compn., and
the more general training in the appreciation of
music. Still, other univs. and colls. have highly
developed mus. cons. like that of Oberlin Coll.
in Oberlin, Ohio, or the Music School of North-
western Univ. at Evanston, Illinois. In some of
these cases, the higher instructors of the cons.
have full academic standing as professors, in
the faculty of Arts. The following are some of
the more important independent Cons. in the
U.S.A. New York: (i) Inst. of Mus. Art,
planned in 1904 by Frank Damrosch on the
basis of an initial endowment of $500,000
by James Loeb, with later additions. Opened in
1905. Present Dir. Frank Damrosch with a
faculty including Franz Kneisel, Percy Goet-
schius and other instructors of high repute. Its
financial independence enables it to be rigid in
its requirements for admission and graduation.
(ii) David Mannes Music School, cond. since 1916
by David and Clara (Damrosch) Mannes. (iii)
Metropolitan Cons. of Music, establ. 1886 by
Charles B. Hawley and Herbert W. Greene. In
1891 it was incorporated as the Metropolitan
Coll. of Music. In 1900 reorganised as the Amer.
Inst. of Applied Music. (iv) National Cons. of
Music of America, founded by Mrs. Jeanette
Thurber in 1885. Among the Directors were
Jacques Bouhy, Antonín Dvořák, Emil Paur, and
W. Safonof. (v) Amer. Inst. of Applied Music,
incorporated 1900. Dean, Kate S. Chitten-
den (1900). (vi) New York Coll. of Music,
founded 1878. Dir. Alexander Lambert, 1887-
1905, succeeded by Carl Hein and August
Fraemeke. Baltimore: Peabody Cons., opened
1868. Dir.: Lucien H. Southard, 1868-71;
Harold Randolph, 1898. Boston: New England
Cons. of Music, establ. 1867 by Eben Tourkee.
Dir. Carl Faelten, 1891-97; George W. Chad-
wick, 1897. Wallace Goodrich is now Dean
of the Faculty. In 1902 the Cons. occupied the
present building. It contains a large auditorium
called Jordan Hall after the donor, Eben D.
Jordan, benefactor (at one time President of
6
ADAJEWSKI, Ella von (real name, Schultz).
Russian compr. b. Petrograd, 10 Feb. 1846. Pf.
pupil of Honselt; after several years' concert-
touring, became (1862-6) pupil of Rubin-
stein, Zaremba, Dreyschock and Famintsin at
Petrograd Cons. Paid special attention to pecu-
liarities of old Greek music. In 1882 she went
to Italy, collected national songs (among others
waltz songs of the Resianer (Rhaetians) in 5-4
time); resided a long time in Venice; living
since 1909 in Germany at Neuwied on the Rhine.
Wrote several arts. on folk-music in Rivista Musi-
cale Italiana (XVI, 143, 311; XVIII, 137; La
Berceuse Populaire, I, 240; II, 420; IV, 484; Les
Chants de l' Eglise Grecque Orientale, VIII, 43, 579).
Unace, choruses for Russian Church; 1-act opera;
songs and duets; Greek Sonata, pf. and clar. (1880:
Tischer & Jakob (1881); pf. pieces; vocal
1913); 4-act Russian folk
opera, The
chamber-music, etc.-A. E.
ADAMS, John. British t. singer; b. Paisley.
Stud. under Victor Beigel, London, and in
Munich. Sang in César Franck's Beatitudes with
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ADAMS
Bach Choir, London, in 1912, and has sung often
with them in St. Matthew Passion, St. John
Passion, Mass in B mi., etc. A fest. singer of
serious aims.. -E.-II.
ADAMS, Suzanne. Operatic s. singer; b. of
Irish-Amer. parents in America. Stud. under
Jacques Bouhy, Paris; début there as Juliette;
principal oratorios and concerts in England;
opera in America. Appeared at Covent Garden
annually from 1899 to 1906; has lived in London
since 1903; favourite rôles: Juliette, Marguerite,
Euridice, Gilda, Micaela, Zerlina, Cherubino,
Donna Elvira.
Married the late Leo Stern,
well-known cellist.-E.-H.
ADAMUS, Henryk (phon. Ahdahmoos). Polish
cellist, compr. b. 19 Feb. 1880. Stud. Warsaw
Cons.; then Leipzig under Krehl and Klengel.
Was solo-player of Warsaw Philh. and Opera
orch.; then manager of Mus. Soc. at Kalisz.
Lately dir. of opera-chorus at Warsaw. His
works give evidence of melodious skill and
technical knowledge of modern style.
1918; Rey w Babinie (comic opera about the
Polish poet), 1922; 2 symph. poems; Solemn Over-
ture; some short instr. pieces.-ZD. J.
ADJUDICATORS. The British Federation of
Musical Competition Festivals gives the following
list of adjudicators: A. T. Akeroyd, Sir Hugh
Allen, Sir Ivor Atkins, Frederic Austin, E. L.
Bainton, Dr. E. C. Bairstow, Prof. Granville
Bantock, F. H. Bisset, Acton Bond, Dr. Adrian
Boult, Dr. A. H. Brewer, A. Collingwood, F.
Corder, Dr. Henry Coward, Dr. Harold Darke,
Sir Walford Davies, Frederick Dawson, T. F.
Dunhill, Rev. Dr. E. Fellowes, Ernest Fowles,
Harvey Grace, II. Plunket Greene, Madame Edith
Hands, Julius Harrison, Hamilton Harty, Gus-
tav Holst, Dr. A. Eaglefield - Hull, Granville
Humphreys, Dr. T. Keighley, Miss Editha
Knocker, Dr. E. Markham Lee, Dr. James Lyon,
Dr. Charles Macpherson, Mrs. Tobias Matthay,
Robert McLeod, Walter Nesbitt, Ernest New-
man, J. Weston Nicholl, S. H. Nicholson,
Dr. C. Palmer, Madame Denne Parker, Dan
Price, W. H. Reed, H. S. Roberton, Dr. Caradog
Roberts, E. Stanley Roper, Harold Samuel, Dr.
Malcolm Sargent, C. Kennedy Scott, Cecil Sharp,
Geoffrey Shaw, Dr. A. Somervell, W. Wooding
Starmer, David Stephen, Felix Swinstead, Sir
R. R. Terry, Dr. Vaughan Thomas, Dr. F.
W. Wadely, Dr. W. G. Whittaker, Dr. Vaughan
Williams, Dr. R. H. Wilson, Steuart Wilson,
Dr. F. H. Wood.-G. B.
ADLER, Agnes Charlotte Dagmar (née Han-
sen). Danish pianist; b. Copenhagen, 19 Feb.
1865. ister of Robert Hansen; pupil of Edmund
Neupert and of R. Cons. of Music, Copenhagen.
At 17, made her début under Niels W. Gade at
Musikforening (Music Soc.), Copenhagen. Has
toured extensively in Scandinavia, but only occa-
sionally abroad. A. H.
ADLER, Guido. Austrian musical historian; b.
Eibenschütz (Moravia), Nov. 1855, Prof. of history
of music at Vienna Univ. Leader and founder
of Univ. Musikhistorisches Inst. Pupil of Anton
AGOSTINI
Bruckner. Founded (with Felix Mottl and Hugo
Wolf) the Akademische Wagnerverein (Academi-
cal Wagner Soc.). LL.D. 1878; Ph.D. 1880. In
1885, prof. of history of music at Prague; 1898
at Vienna. To promote musico-historical study
in Austria, he began to publ. important works
from the XIV century to the classics, in D.T.O.
Organised historical department and wrote
catalogue for the Exhibition for Music and
Theatre, Vienna, 1892; in 1909, for the Haydn
Fest. and for Congress of Mus. History. Founded
a new method of historical musical research.
Richard Wagner (1st
analysis of
D.T.O. with valuable
4, Breitkopf Fr. tran-1.
by Laloy): Dworks) (1904, cat biography and
Stil in der Musik (Style in Music)
(1912, Breitkopf); Methode der Musikgeschichte
(Method in Mus. Historroductions.-EG. W.
Many vols, of the
AEROPHOR. A new appliance for enabling a
wind-instr. player to sustain his notes ad infini-
tum; invented by Bernard Samuels, flautist in
the orch. of the Grand Duke of Mecklenburg-
Schwerin. The apparatus consists of a small
bellows worked by one foot, with rubber tubing
attached, terminating in a small metal reed fixed
near the mouthpiece of the instr. played. The
air from the player's lungs is prevented from
passing into the bellows by a stop-cock in the
tubing. First used in Richard Strauss's Fest-
liches Präludium, written for the opening of the
Concert House in Vienna, 19 Oct. 1913; used.
again in his Alpine Symphony.-E.-H.
AFANASSIEF, Nicholas (accent 3rd syll.). Russ.
compr. b. Tobolsk, 1821; d. Petrograd, 22 May/
3 June, 1898. After working for many years as
a violinist and teacher, he devoted himself to
compn.; in 1860 his str. 4tet Volga took 1st.
prize at competition organised by Russ. Mus.
Soc. Wrote a quantity of chamber-music.
several operas, 2 oratorios, a symphony, and
other works, none of which has survived.-M.D.C.
AFFERNI, Ugo. Ital. pianist and condr. b.
Florence, 1 Jan. 1871. Completed his studies
in Florence; went to Germany; occupied
important posts at Annaberg, Harzburg, Wies-
baden and other towns; organised concerts of
chamber-music with his wife, the Eng. violinist,
Mary Brammer. At the beginning of the 1914-
1918 war he returned to Italy.-D. A.
AGENTEN-VERTRÄGE. Ger. contract-forms
supplied by the agent to a singer, giving him (or
her) particulars of a vacancy and an introduce-
tion to the dir. of an opera. The agent fills in the
possible salary tentatively. The singer then
signs the form and returns it to the agent. As
a contract it is worth nothing at all, until signed
by the dir. of the opera-house concerned. Even
then it is not valid until singer has sung, at the
opera house concerned, as many trial perform-
ances as the contract calls for.-E.-H.
AGNEW, Roy E. Australian compr. b. Sydney,
1894.
Poem, orch, and voice; 7 pf. sonatas: 18 preludes,
of the
for
-E.-H.
AGOSTINI, Mezio.
b. Fano, 12 Aug. 1875.
Ital. compr. and pianist;
Pupil of Liceo at Pesaro;
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AGUIRRE
1900, teacher in same. Since 1909, dir. of Liceo
Mus. Benedetto Marcello, Venice. Has given
concerts as pianist and condr. Is author of
various dramatic works (unpubl.) and chamber-
music, pf. and other instruments.-D. A.
AGUIRRE, Julián. Argentine pianist and
compr. b. Buenos Ayres, 1869. As boy,
stud. at R. Cons. Madrid, under Karl Beck
(pf.) and Emilio Arrieto (harmony). Re-
turning to Argentina, was appointed secretary
and prof. in Buenos Ayres Cons. upon its
foundation. Was a founder-member of Music
Section of the Ateneo and of National Committee
of Fine Arts. His early pieces, the Barcarola,
Idilio and Rapsodia española, show Span. in-
fluence. His later works are in two styles;
Aires criollos, Aires populares, Tristes argentinos
and Aires nacionales being purely Argentine:
his Loin, Romanza, 5 Mazurkas and Las Intimas
follow the Fr. school. Also publ. sonata (vn. and
pf.), Ballad and Nocturne (vn.) and sonata
(cello and pf.).-A. M.
AHNGER, Alexander. Finnish singer; b.
Kuopio, 15 May, 1859. Stud. Helsingfors Music
Inst., Dresden and Paris. Since 1906 teacher at
Music Inst. Has appeared as concert, opera
and oratorio-singer.-T. II.
AITKEN, George. Eng. pianist, compr. b.
London. Stud. R.A.M.; prof. Guildhall School
of Music; orgt. and choirmaster Hampstead
parish ch. from 1895.
Pf. pieces: songs; church music (Augener; Ash-
down; Boosey; Chappell; Elkin; Ricordi; Schott);
book, Tobias Matthay and his Teachings (Field Pross).
-E.-H.
AKIMENKO, Feodor Stepanovitch (accent 2nd
syll.). Russ. compr. b Kharkof, 8/20 Feb. 1876.
Began his mus. education in Court Chapel School,
Petrograd, under Balakiref, and continued it at
Petrograd Cons. (1896-1901), where his compn.
teacher was Rimsky-Korsakof. After a period
at Tiflis as dir. of Music School, he was for a
time principal of a music school at Nice (France),
lived some time in Paris, and later was teacher
of theory of Kharkof section of Imperial Russ.
Mus. Soc.; then prof. at Petrograd Cons., a post
he now holds.
His works are many, and consist chiefly of
pieces for pf., pf. and vn., pf. and cello, songs;
for orch. a Lyric Poem and a Russian Fantasy;
his chamber-music comprises 2 sonatas (vn. and
pf. and cello and pf.), a str. 4tet and a str.
trio. Among his pf. pieces, the suite Uranie and
the sets Récits d'une Ame rêveuse and Pages de
Poésie fantasque are particularly characteristic
of his favourite moods of poetic reverie and of
his mus. style, which is quiet as a rule, but often
very free and subtle, showing at times in its
details, the influence of Scriabin. He has also
written an opera, The Snow Queen (poem by
M. D. Calvocoressi), and a ballet (both unpubl.),
both of fantastic character. Publ. Belaief and
Jurgenson.-M. D. C.
ALABARDEROS (Banda del Real Cuerpo de).
Military band of the Real Cuerpo de Alabarderos
(R. Corps of Halberdiers), the King of Spain's
bodyguard, doing service only within the royal
ALALEONA
palace. During reign of Isabel II it consisted of
24 players. In 1875, on advent of Alfonso XII,
after restoration of monarchy, the band was re-
organised and increased to 40. Nearly all the
soloists of the classical concert orchs, and the
professors of wind-instrs. at Real Cons. de Música
are amongst its members, forming one of most
remarkable ensembles of its kind in Europe.
-P. G. M.
ALALEONA, Domenico. Ital. compr. b.
Montegiorgio (Piceno), 16 Nov. 1881. After
having completed his first mus. activities as
church orgt., and taking part in the band in
his native place, he studied at the R. Liceo
Mus. di Santa Cecilia, Rome (compn. under
De Sanctis; pf. under Bustini and Sgambati;
organ under Renzi). He has gained a place
amongst modern Ital. musicians, as one of
most national and most original composers. His
productions can be divided into three groups:
the first recalls the open air and distant places,
the simple and frank people of his native place.
To this group belong the Albe, the Melodie
Pascoliane (on the poetry of that exquisite
modern Italian poet, Giovanni Pascoli), and
also the opera, Mirra, in which the profound.
and ingenuous sense of the myth, and the accents.
of potent but delicate passion, well out from
the spirit of an author born and bred in a
healthy, uncontaminated country atmosphere.
To the second, which one might call the
"city-group," belong, e.g., the collection of
Stigmata for pf., styled La Città fiorita.
There palpitates the nostalgia of one who,
amidst the narrow life of cities and the tumult
of machines, keeps alive and eager the memory
of the pure, free and boundless air of the fields.
The third group includes the collections of
Canzoni italiane and Laudi italiane, for orch.,
str. 4tet and pf., which, by reviving the
songs of his people and identifying his spirit
with the purest expressions in the Ital. musical
heritage of the Golden Age, he has tried to
reconstruct a basis for the symphony and for
modern instrumental music, which should be
genuinely Italian.
A. has also devoted his energies to conducting,
both at theatre and concerts (Augusteo), and
as dir. of choral societies (Choral Soc. Guido
Monaco of Leghorn), giving special attention
to propaganda óf Ital. music, and the revival
of the glorious heritage of the Ital. vocal sym-
phony. We also owe to him some important
studies of Ital. mus. history. His book on
The Musical Oratorio in Italy, which contains
much new and valuable research, was the thesis
for his University degree.
To this national characteristic, he adds an
absolutely modern and progressive spirit; the
two articles New Horizons of Musical Technique
and Modern Harmony (in Rivista Musicale
Italiana, 1911) are amongst most daring pre-
cursory manifestations of their kind. A lecturer,
writer, teacher of history and aesthetics of music
at R. Liceo Mus. di Santa Cecilia, and mus.
critic to daily newspaper Il Mondo, A. is one of
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ALBANESI
most representative and combative modern
Italian musicians.
Dr. Alaleona is responsible for most of the
Italian articles in this Dictionary.
31
Compns.: Mirra, melodrama in 2 acts and an
Intermezzo (on 2nd part of tragedy of that name by
Alfieri), 1st perf. Rome at Costanzi Theatre,
starch, 1920, with success (Ricordi); Albe, 6 songs,
v. and pf. (Rome, De Santis ed.); Aelodie Pasco-
liane, v. and pf. (18 songs, divided into various sets,
Creature, Marine, Canti di neve e di primavera,
Brividi, Meteore) Ricord) Canti di Maggio, d
and p (id.); La Città
italiane, pronte
(Stigmata), pf. (id.); 2 Canzoni 51
harp, celeste and tpi.; 4 Canzoni italiane, str. harp
and some wind; 4 Laudi italiane, str. fl. and brass;
6 Canzoni italiane, str. 4tet; Canto dell' amore, 11
Tramonto, 4-v. male choruses (all_Ricordi).
str.,
& secoli
loro
italiane nei
Writings: Studi su la storia dell oratorio musicale
in Italia (Turin, 1908, Bocca); Le Laudi spirituali
canti profani (Rivista Musicale italiana, 1909, coi
No. 1);
1 nuovi orizzonti della tecnica musicale (id. 1911,
No. 2); L'Armonia modernissima: le tonalità neutre
materno e umanità musicale (review Harmonia, Rome,
1914, No. 4); Il libro d' oro del musicista, physical,
historical and aesthetie fundamentals of the art,
3rd ed. (Edizioni musica Palestrina, Rome, 1923);
del popolo
organizzazione
nella scuola e nella vita cittadina, lecture at Mus.
Congress, Turin, Oct., 1921, publ. in Congress Records
(Turin, Bocca).
Consult sketch of Alaleona (Milan review, L'Eroica,
1920, Nos. 8-10). Also; T. Ferriozzi, Un musicista
4): G. M. Gatti, in Mus. Times, London, Dec. 1921;
E. G. Rovira, La Mirra di D. 4. nella sua spiritualità
musicale (Musica publ, house, Rome, 1920). R. De
Angelis, La Mirra di D. A. nei giudizi della stampa
romana (Rassegna Italiana, Rome, 1920); A. Eagle-
feld Hull, Alaleona's New Theory of
(Monthly Mus. Record, London, Aug.
1999 armony
The Pentaphonic Mode (id. Sept. 1922).-R. F.
and
ALBANESI, Carlo. Ital. pianist, compr. b.
Naples, 22 Oct. 1858. Recitals in Italy and in
Paris; settled in London in 1882; gave recitals
till 1893, in which year, was made prof. at R.A.M.
Is Knight of the Crown of Italy; had many
distinguished pupils amongst royalty. Has com-
posed in many forms.
str.
(Ricordi); songs (id.),tet; pf. trio: 6 pf. sonatas
ALBANI, Emma (Marie Cécile Emma Lajeu-
nesse).
Operatic and concert s. singer; b.
Chambly, near Montreal, Canada, Nov. 1852.
1st s. at St. Joseph's Catholic Ch., Albany, New
York, 1866. Subsequently became orgt. and
choir-trainer there. Then stud. under Duprez in
Paris and later under Lamperti in Milan. Début
in Messina, Sicily (1869), in La Sonnambula.
First sang in London at Covent Garden Theatre,
May 1872. Since then in all European countries,
America and the Colonies. Sang in oratorio at
all the great Eng. fests. Decorated by Queen
Victoria, King Edward VII, German Emperor,
King of Denmark. Gold medal, Eng. R. Philh.
Soc. Retired from public singing in 1911, and
has devoted herself to teaching.-E.-H.
ALBENIZ, Isaac. Spanish pianist and com-
poser; b. Camprodon (Gerona), 29 May, 1860;
d. Cambo-les-Bains, 16 June, 1909.
The rather uncommon name of Albeniz
appears more than once, with special signifi-
cance, in the history of Spanish music. In 1802,
Don Mateo Antonio Pérez de Albeniz attained
distinction with his treatise Instrucción metódica
ALBENIZ
para enseñar a cantar y tañer la música moderna
y antigua (Methodical Instruction for the Teaching
of Singing and Playing Modern and Ancient
Music), as well as for being one of the first to fight
the Italian music invasion. To this end he wrote
(with Carnicer, Saldoni and Piermarini) a lyrie
melodrama (Los enredos de un curioso) in the
Spanish language, performed at Conservatorio
Real de Música, founded two years before (1830).
Next we have Don Pedro Albeniz (b. Logroño,
1795; d. Madrid, 1855), famous for his Método
completo de piano del Conservatorio de Música,
Madrid, for his piano works, and specially for
being the founder in Spain of modern school of
piano-playing, the knowledge of which he had
acquired in Paris, where his father (music master
and organist at Logroño, and later at San Sebas-
tian) had sent him to study. There he became a
prominent pupil and friend of Henri Herz,
Kalkbrenner, Thalberg and Fétis.
Neither of these musical reformers are related
to Isaac Albeniz, who was also, in larger measure,
an innovator. With him came into existence the
new Spanish school," and his name as piano
composer has now extended to all countries.
Isaac learned the piano as a child with his
second sister, appearing in public, at the Teatro
Romea, Madrid, when only four. At six he went to
Paris, and after receiving tuition for 9 months
from Marmontel, competed for admission at the
Conservatoire. When the jury, astonished at the
boy's ability, were about to decide in his favour,
the "prodigy" produced a ball from his pocket,
threw it at a looking-glass and smashed it to
pieces. Obviously he was declared too young to
be a pupil at that institution. In this incident
wo may see a symbolic announcement of the
characteristic restlessness of his subsequent
life: his several escapades (from his 11th to
15th years) as a concert-giver in the provinces
and North and South America, with the police
on his track; his joining the Leipzig Con.
servatoire, for a short time, with the savings
from his concerts in California; his new esca-
pade to North America from the Brussels Con-
servatoire, where he was studying under the
auspices of King Alfonso XII; his return to
Brussels and further escapade to follow Liszt to
Weimar and Rome; his disastrous experiment in
financial speculations, and flight to France; his
failure as a musical-comedy impresario, and many
other adventures that enhanced his life with a
background of picturesque romance, but left their
damaging influence on his career. Three persons
exercised over him a definite influence at three
cardinal stages of his life: the Conde de Morphy,
the Spanish musicologist, his faithful adviser
and protector when he was a youngster; the
admirable lady he married, and Francis Money.
Coutts (Lord Latymer), the poet, his Maecenas
and collaborator. Gevaert also took a fatherly
interest in his education.
As pianist, Albeniz was specially famous for
his rendering of the clavecinists, Bach, Chopin
and Schubert. He had had lessons from many
a teacher in Spain, from Marmontel (Paris),
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ALBENIZ
Brassin (Brussels), Jadassohn and Reinecke
(Leipzig), but none for long. He also received
advice from Rubinstein and Liszt. Eventually he
gave up the piano to devote himself entirely to
composition. His musical output is astounding in
quantity. It falls into two separate groups: his
works from 1883 to 1890, approximately; and
works from this date till his death. The first
period covers over 200 works for the piano,
including concertos and sonatas, but mostly
pieces of a light character, revealing a distinctive
personality and impeccable taste. They are the
spontaneous outcome of an exuberant natural
genius, for at the time Albeniz had not a con-
scious knowledge of composition, nor even full
command of musical grammar. It was not until
1890 that he took up seriously the study of
composition, under Vincent d'Indy and Paul
Dukas in Paris, writing subsequently his operas
Pepita Jiménez, Henry Clifford, Merlin, the
orchestral suite Catalonia and the great piano
works that have placed him in the forefront of
modern musicians.
It seems to be the fate of the Spanish school
that some of its most promising composers (like
Usandizaga and Granados) die leaving their
mission unaccomplished. Such is the case of
lbeniz. Even in his most representative works,
La Vega, Albaicín or the great piano suite Iberia,
one finds the composer, only just reaching
mature development, obviously delayed by un-
fortunate circumstances. The texture of his
operas shows him unable to get away from
piano idiom when composing for the orchestra
(this is noticeable even in his rich scoring of first
part of unfinished suite Catalonia). Monotony of
form and technique can be detected in his pro-
duction which is unconvincing, but disarms the
critic by its magical colour and intensely sincere
feeling, which conceals the author's occasional
lack of constructive imagination. The style has
been more than onco denounced as French-
an absurd assertion; for in its very essence it
represents the antithesis of the eliminating pro-
cess, characteristic of the French mind. Besides
harmonic schemes based on the colour of the
augmented triad, some of the technical devices.
common to Albeniz and the French modern.
composers are derivations from Spanish folk-
music (specially evident in Debussy and Ravel).
If comparison must be made, it would be nearer
the truth to call Albeniz the Spanish Liszt; and
this only on account of an external resemblance
-the Slavonic pomposity the one and the
Mediterrancan exuberance of the other. Psycho-
logically they are totally different, to say noth-
ing of the superiority of Liszt's musical achieve-
ments in general. Albeniz's greatness is based on
a genius and personality forceful enough to shine
in spite of unmethodical training. He continued
the work of Chopin and Liszt as an explorer of
pianoforte tone and colour possibilities, in accor-
dance with the post-Wagnerian attitude. He
revealed to the world the artistic significance
of Spanish music, and awoke musical Spain to
the reality of a modern sensibility.
ALBINATI
Of the unnecessary difficulty of his piano
writing, there is something to be said. He was
the young hero destined to fight the last battle
in Spain against the traditional tyranny of the
C major chord and its near "relative keys." To
cause its disappearance he may have gone at
times so far as to disguise C major as B sharp
major.
Pf.: Chants d'Espagne (5 pieces); España (6
album-leaves); Suite española (8 pieces); Piezas
características (12 pieces); Seis danzas españolas;
Suite ance, Deuxième suite ancienne: Yvonne en
suite (12 nouvelles impressions, in 4
books); La Vega; Albaicin. Posthumous works
finished by Déodat de Séverac and Enrique Granados:
visite;
Azulejos; Navarra. Orch.: Catalonia, suite (sopaire
Lyric Theatre, London, and Madrid); San Antonio
de la Florida (perf. Brussels, Madrid). Operas: Henry
Clifford (Barcelona, 1895); Pepita Jiménez, (ib.
1897; Paris, Opéra Comique, 1923); Merlin; Lancelotte
(unpubl.). For v. and pf.: To Nellie (6 songs);
Quatre mélodies: Two Songs; Il en est de
de l'Amour.
At the time of his death, he was writing 3rd part
of trilogy King Arthur, the 1st and 2nd of which are
Merlin and Lancelote.
.:Heugel; Durand; P. Girod; Rouart,
Edition Mutuelle, Paris; Stanley Lucas &
Hatzfeld, London; Juan Bautista Pujol y Compañía,
Barcelon M.
Unión Musical Española, Madrid.
-P.
d'ALBERT, Eugen (Eugène Francis Charles).
Compr. and pianist; b. Glasgow, 10 April, 1864.
Son of the dance compr. Charles d'Albert (b. of
Fr. parents, 25 Feb. 1809, at Nienstetten near
Altona; d. London, 26 May, 1886); stud. under
Ernst Pauer, Stainer, Prout, and Sullivan in
London, then with Hans Richter in Vienna
and especially under Franz Liszt in Weimar.
As a pianist, he called forth the astonishment
of Hans v. Bülow on his first public appear-
ance. His playing was distinguished by force and
poetry of conception, and by greatness of con-
struction; and even now, when he has become
almost exclusively an opera compr. and no longer
cultivates refinements of technique, he still
maintains some of his former excellence. Was for
a short time (1895) Court condr. in Weimar.
Married several times: (1892-5) to celebrated
pianist, Teresa Carreño; (1895-1910) to singer,
Hermine Finck; (1910-12) to Ida Theumann.
Now resides in Lucerne.
Pt. suite, op. 1; pf. pieces, op. 5; sonata, F sharp
mi. op. 10; p. pieces, op. 16; cadenzas to Beet-
hoven's Gma. pf. concertello concerto, op. 20
B mi. op. 2, and E E ma. op. 12;
chmond (Dresden, 1895); Gernot (Mannheim,
overture; symphony; str. 1tet, A ml. op. 8,
and another, E flat ma.. op. 11; many songs, and
1897)
The Departure (Die Abreise, a charming little 1-act
.by Brockhaus);
comedy, Frankfort-o-M., 1898, puiser (Berlin, 1900);
Cain (Berlin, 1900; The Improviser
Tiefland (Prague, 1903), his most successful work
(forms part of the stock repertory of all German
theatres; it Germanises and improves the style
of the Italian Verists); Flauto Solo (Prague, 1905,
mus.
The Proffered 1 (Vienna,
1912); Love's Chains (Dresden, 1912); Dead Eyes
(Dresden, 1916); The Bull of Olivera (Leipzig, 1918):
The Wedding during the Revolution (Leipzig, 1919);
Scirocco (Darmstadt, 1921); Mareike von Nymwegen
(Hamburg, 1923).-A. E.
Izeul (Hamburg, Joagaldabas red Wit 1907);
IO
ALBINATI, Giuseppe. Ital. musicologist; b.
Milan, 2 Feb. 1856. One of oldest employés of
publ. house of Ricordi, Milan. The compila-
tion of important catalogues of this firm is due
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ALBINI
to him. His position has enabled him to exercise
abundantly his passion for research and study
of mus. history. His Dizionario di opere teatrali,
oratorii, cantate (Milan, 1912, Ricordi) is note-
worthy.-D. A.
ALBINI, Eugenio. Ital. cellist; b. Saludecio,
near Rimini, 26 April, 1881. Stud. at Bologna.
under Francesco Serato; then in Germany
under Hugo Becker. After having travelled.
abroad for some years, settled in Rome, where
he has devoted himself to teaching and con-
certs. Is a noted player of viola da gamba. Took
leading part in founding the Roman Società
degli Amici della Musica (Society of Friends.
of Music) and started a quartet (Sandri, Zerti,
Raffaelli, Albini). Author of several compns.
and transcriptions for his own instr.-D. A.
ALCOCK, Walter Galpin. Eng. orgt. b. Eden-
bridge, Kent, 29 Dec. 1864. Stud. at National
Training School for Music (now R.C.M.) under
Sullivan, Stainer, Barnett; orgt. Holy Trinity,
Sloane Square, 1895-1902; then of Chapels
Royal, 1902-16; assistant-orgt. of Westminster
Abbey, 1896-1916; organ prof. R.C.M. from
1893; orgt. and choirmaster, Salisbury Cath.
from Jan. 1917. Orgt. at Coronations of King
Edward VII (1902), and of King George V (1911).
MVO. Mus.Doc. Dunelm. 1905.
A large amount of church and organ music; an
excellent organ tutor (Novello); articles in Mus.
Times: lectures in R.C.O. calendar.-E.-H.
ALDERIGHI, Dante. Ital. pianist; b.
Taranto, July, 1898. Stud. under Sgambati;
then at Leipzig. Acquired a good name amongst
young Ital. concert-artists, and plays in principal
towns, and at the Augusteo in Rome. Is also a
good composer.-D. A.
ALDRICH, Richard. Amer. critic and author;
b. Providence, R.I., U.S.A., 31 July, 1863. Gradu-
ated A.B. (1885) Harvard College, where he had
stud. music under Paine. Began journalistic
carrer on Providence Journal; 1889-91, private
secretary to Senator Dixon in Washington,
also wrote criticisms for Washington Evening
Star. 1891-2, with New York Tribune in various
editorial capacities, assisting Krehbiel with mus.
criticisms. Mus. ed. of New York Times, and
que of most respected music critics of metropolis.
Associated with Krehbiel as Amer. contributor
to revised ed. of Grove's Dictionary.
Juule to Parsifal (Ditson, 1904); Guide to Ring of
le Vibelung (id. 1905); transl. of Lilli Lehmann'
(Macmillan, K.
ALESSANDRESCU, Alfred. Rumanian compr.
Bucharest, 14 Aug. 1893. Pupil of Castaldi
lor pf. and compn.) at Bucharest Cons, and of
Vincent d'Indy at Schola Cantorum, Paris. Took
Enescu Prize in 1916. Condr. at Bucharest
Opera House since 1921.
Dramatic overture, Dido (1911); symph. poem,
actéon (perf. Colonne Concerts, Paris, 1920); songs
for v. and pf. (6 publ. by Rouart & Lerolle, Paris,
1922) C. BR.
ALEXANDER, Arthur. Pianist; b. Dunedin,
New Zealand, 25 March, 1891. Stud. R.A.M.
london under Tobias Matthay (pf.) and F.
order (compn.). Macfarren and Chappell gold
ALFVÉN
medals for pf. playing; 1912, recitals Vienna,
Berlin (with Leila Doubleday, Australian vio-
linist); recitals in London, many 1st perfs. of
Bax (2nd sonata) Scriabin (5th sonata) Metner,
etc.; prof. Matthay Pf. School from 1912; prof.
R.C.M. from 1920.
II
Songs with orch. (Patron's Fund concert); str.
4tet, etc.-E.-H.
ALEXANDROF, Anatole Nicolaevitch (accent
3rd syll.). Russ. compr. and pianist; b. Moscow,
13 May (o.s.), 1888. Son of prof. of Tomsk Univ.;
pupil of Jiliaef, S. I. Tanéief and Vassilenko
(theory) and Igumnof (pf.) at Moscow Cons.
which ho left in 1915. His music reveals.
influence of Metner and Scriabin. His inven-
tive powers, technical skill and depth of thought
place him with Miaskovsky and Feinberg in the
first rank of contemporary Russ. comprs.
was appointed prof. at Moscow Cons. in 1923.
He
Str. 4tet, G, op. 7 (ms.); 5 pf. sonatas, op. 4, 12,
22 (ms.);
preludes, op. 1, 10 (Gutheil); other pr. pieces, op. 6.
21; songs, op. 2, 5, 8, 11 (Guthell), 13, 14, 15, 20
(R.S.M.P.D.); incidental music for Moscow Chamber
Theatre. V. B.
ALFANO, Franco. Ital. compr. b. Posillipo
(Naples), 8 March, 1876. Stud. at Naples, then
at Leipzig. After some attempts at dramatic
works and ballets, began to acquire a solid
reputation by his work Resurrection (from
Tolstoy's novel), perf. Turin, 1904. He is one
of best living Ital. musicians, from technical
point of view. Dir. and prof. of compn. at Liceo
Mus. at Bologna; from which he went to Liceo
at Turin in 1923 as Director.
Zilah The Shade of Don Giovanni (1914);
works: Resurrection (1904); Prince
La leggenda di Sakuntala (Bologna, 1922). Also
Romantic Suite for orch. (1909);
7
; 3 Poems of Tagore, v. anaphony in E
2) tets in D (1918) (publ. Pizzi, Bologna).
(Ricordi,
Consult: G. M. Gatti, F. A., in Modern Musicians in
Italy and Abroad (Bologna, 1920, Pizzi) and in Mus.
Times (London), March 1921; and Gajanus, Contem-
porary Artists: F. A., in Emporium, Bergamo, March.
1919.-D. A.
ALFONSO, Father José. Span. orgt. and
compr. of religious music, b. Alcañiz, 1867. Orgt.
at Valladolid Cath. and Segovia. Choirmaster at
Cath. of Santiago de Compostela and later at
Madrid.-P. G. M.
ALFVEN, Hugo. Swedish compr. condr. b.
Stockholm, 1 May, 1872. Stud. R. Cons. Stock-
holm, 1887-91, then vn. under Lars Zetterqvist,
pf. under Johan Lindegren, 1891-7; then stud.
in Germany, France and Belgium (César Thom-
son), 1900; sub-condr. under Kutzschbach in
Dresden; prof. of compn. R. Cons. Stockholm,
1903-4; dir. of music, R. Univ. of Upsala, where
he now livos as condr. of well-known students'
glee club, "O. D." has
also in music
fests. at Dortmund (1912), Stuttgart (1913),
Gothenburg (1915), Copenhagen (1918-19). Dir.
fest. Upsala, 1911. Toured Germany, Denmark,
Russia, Norway, with "0. D." Ph.D. h.c.
Upsala, 1917; member R.A.M. Stockholm,
1908. His 2nd symphony (D ma.), and his
rhapsody, op. 19, have both been perf. at Queen's
Hall, London, under Sir Henry Wood.
Orch. Symphony I, F mi, op. 7, ms.; II, D ma.
op. 11 (Mayence, 1901); Midsommarvaka, rhapsody,
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ALIO
op. 19 (Copenhagen, 1908); symph. poem, En skär
gardssägen op. 20 (Stockholm, 1921); Symphony III,
E ma. op. 23 (id. 1913); Upsala Rhapsody, op. 24
(id. 1907); Festspel for theatre, op. 25 (id. 1908):
Drapa, op. 27; Den bergtagna, ballet-pantomime,
op. 37: Symphony IV. C ini. op. 39 (Vienna, 1922).
Vs. and orch.: The Bells (barit. and orch), op. 13;
Ballade, barit., male chorus, orch. op. 30; Baltic
Exhibition Cantata, op. 33 (1914); Ode on Gustavus
Vasa, soli, mixed vs., orch, op. 40. Chamber-music:
sonata, vn. and pf, op. 1: Romance, vn. and pf. op. 3:
Elégie, horn and pf. op. 5; pi. pieces; songs.-P. V.
ALIO, Francisco. Span. musician of Cata-
lonian group. Author of a coll. of Catalonian
folk-songs: Cançons Populars Catalans (Unión
Musical Española, Madrid).-P. G. M.
ALLEN, Sir Hugh Percy. Director of Royal
College of Music, London; b. Reading, 23 Dec.
1869. Began his musical career at Chichester
Cathedral as assistant organist under Dr. F. J.
Read; then became assistant music-master at
Wellington College (under Dr. Alan Gray);
organ-scholar, Christ's College, Cambridge;
organist, St. Asaph Cathedral, 1897-8; Ely
Cathedral, 1898-1901; proceeded to the Oxford
Mus.Doc. 1898; organist, New College Oxford,
1901-18; later sub-warden and Fellow of the
college; conductor, Bach Choir, London, 1901-
20. He was appointed to the Heather Chair of
Music in University of Oxford in 1918; followed
Sir Hubert Parry as Director of Royal College of
Music, London, 1918; and was knighted in
1920.
As the Professor of Music at Oxford, he has done
extremely valuable work in widening the scope
and practicality of the musical courses there.
As a choral conductor he has always been highly
successful, for he loves the broad phrase and
the plasticity of massed sound, whether it be a
small country cathedral choir, a large congre-
gation of hymn-singers, a University chorus, the
Bach Choir or the huge Royal Choral Society.
He was appointed to the Directorship the
Royal College of Music, the most influential
academic post in England, at a time ripe for the
unification of all the diverse and scattered musi-
cal developments in Great Britain. The British
Music Society did much towards the consolida-
tion of music in England; but no single man
individually has done more than Sir Hugh to
advance this purpose. His magnetic personality,
strong driving force, broad outlook, unusual
organising gifts, and entirely unprejudiced mind,
have all combined to make him the most trusted
musician in Britain.-E.-H.
ALLEN, Maud Perceval. Eng. s. singer; b.
Ripley, Derbyshire. Trained under W. Shake.
speare; début at Philh. London, 1905; has sung
at many Eng. fests.; sang Brünnhilde in 1st
Eng. perf. of Wagner's Ring, R. Opera Synd.
Covent Garden, under Richter. World-tour with
Quinlan Opera Co. as leading s. 1913-14; 3
tours in America with Chicago Orch.-E.-H.
ALLENDE, Humberto. Chilean compr. b.
1885. Stud. in Chile. His first pieces appeared
in 1912. after a tour through Europe, where he
was sent, by Government of Chile, to study
teaching of music in primary schools. Debussy,
12
ALONSO
Pedrell and Massenet expressed high opinions of
his compositions.
Choruses; many pf. pieces (Leipzig, Carisch;
Barcelona, Astor). His cello concerto (1915), and
his symph. poem Escenas campestres achieved a
great success.-A. M.
ALLIN, Norman. Eng. opera concert singer;
b. Ashton-u-Lyne, Lancs, 19 Nov. 1885. Stud.
under John Acton (singing) and Dr. Walter
Carroll (theory) in Manchester. Has a fine b.
voice, which is particularly effective as Boris
Godunof in Mussorgsky's opera and as Gurne-
manz in Parsifal; has appeared at all the lead-
ing Eng, fests. A. was one of founders of British
National Opera Co.-E.-H.
ALME, Waldemar. Norwegian pianist; b.
Christiania, 10 Jan. 1890. Trained as pianist
and orgt. at Lindeman's Music Cons. Christi-
ania. Début there, 1909; Stud. afterwards in
Berlin (theory, Tobias; pf., Barth). Teacher at
Klindworth-Scharwenka Cons. in Berlin, 1916-
1917; teacher in Helsingfors, 1919-21. Has
given concerts in Scandinavia and Germany.
Lives in Christiania.-U. M.
ALNÆS, Eyvind. Norwegian compr. orgt.
condr. b. Fredriksstad, 29 April, 1872. Stud.
first at Music Cons. Christiania (1889-92);
afterwards in Leipzig (Reinecke and Ruthardt)
and Berlin. Orgt. in Drammen, 1895-1907;
from 1907 in Christiania; from 1916 orgt. and
choirmaster at Our Saviour's Ch.; condr. of
Holter's Choral Soc. from 1920, also of
Christiania Craftsmen's Choral Soc. 1905-1920
and again from 1922.
As a compr. he became known by his Sym-
phony in C mi. (Christiania Mus. Soc. 1898); in
following year he cond. his Symph. Variations.
His works show solid construction, capable
treatment of cpt., and effective instrumentation.
It is as a lyric compr. that A. has become widely
known outside Norway; his songs and romances
rank amongst the best productions of his native
land. They have a simple, natural quality, often
with a strong national tinge.
Symphony, C mi. (Leipzig, 1900; Christiania,
1898); Variations Symphoniques (perf. Leipzig,
Cohen, Christiania): nf. concerto, D ma. (pert.
Christiania); Suite for vn. and pf.:
male-chorus piece; pf. pieces; songs with piano
(including famous Sidste reis (Last Journey).-J. A.
ALONSO, López Francisco. Span. compr.
b. Granada, 9 May, 1887. Stud. there under Don
Celestino Vila (music-master of Cath.). Founder
and condr. of orch. and choir of Sociedad Filar-
mónica Granadina. Regimental bandmaster,
before he turned to writing mus. comedies
(zarzuelas) in Madrid, where he now lives. His
successful stage works already exceed 60 in num-
ber. Las Corsarias has been perf. in Spain and
Latin America, during last 3 years, over 10,000
times. One of its musical numbers, the March,
known as Paso doble de la Bandera or La Ban-
derita (The Little Flag), may be described as the
Span. Tipperary. It has taken the place in
popularity of that famous Marcha de Cádiz
once officially proclaimed a national hymn
(himno nacional). In Dec. 1922, the Granada
County Council conferred upon him the freedom
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ALPAERTS
of the city, and in 1923 he received the Gran
Cruz of Alfonso XII.
La Boda de la Farruca; De Madrid al Infierno;
Poca Pena; Cleopatra; Música, Luz y Alegria; El
Secreto de la Cibeles; La Perfecta Casada; Las
Antonio Mata-
tarias: La Hora Tonta. (Publ.: al Española,
Alier;
Madrid.)-P. G. M.
Unión
ALPAERTS, Flor. Belgian compr. condr.
b. Antwerp, 12 Sept. 1876. Stud. at Antwerp
Cons. under Benoit and Blockx. Prof. there
in 1903. Condr. at symphony concerts of Zoo-
logical Soc. in 1919. Manager of R. Belgian
Opera House, 1922.
Opera, Shylock (Antwerp, 1913). Orch.: Psyché;
Renouveau; Cyrus (symph. poems); Symphonie du
Printemps. Het schooner Vaderland, cantata, chil-
v. and pf. Author of a Solfeggio in 5
dren's vs. and orch Kinderlieder (Children's E. C.
Book),
ALTMANN, Wilhelm. Ger. mus. critic, author,
Stud.
historian; b. Adelnau, 4 April, 1862.
history at Marburg and Berlin. Entered career
of librarian in 1886, first Breslau, then Greifs-
wald, where he devoted himself to music.
Chief librarian Prussian State Library since
1900. In 1906 founded its Deutsche Musik-
sammlung, embracing nearly whole of modern.
published music. Since 1914 dir. of musical
section, Prussian State Library.
Chronik des Berliner Philharmonischen Orch. (1902);
H. v. Herzogenberg (1903); Richard Wagner's Letters
(1905, Breitkopf: Index of 3143 letters); Wagner's
Correspondence with his Publishers, 2 vols. (1911);
Brahms' Correspondence, Vol. 111 (1907); Index to
Chamber Music Literature (1910, 3rd ed. 1923,
Leipzig, C. Merseburger); Catalogue of Orch. Literature
(Leipzig, 1919, Leuckart).-A. E.
ALTSCHULER, Modest. Russ. condr. cellist;
b. Mogilef, Russia, 18 Feb. 1873. Stud. cello under
Goebelt at Warsaw Cons. and Fitzenhagen and
von Glen at Moscow Cons, where he was also a
pupil of Arensky (harmony) and Tanéief (compn.),
graduating in 1890. Went to America in 1895 as
cellist and teacher. Condr. of Russ. Symphony
Orch, from its organisation in 1903. In 1919, the
regular subscription concerts in New York were
abandoned, but A. still conducts his orch.
regularly at music fests. in the Southern States.
-0. K.
ÁLVAREZ, Carmen. Span. pianist; b.
Madrid, 2 Dec. 1905. Has attained special dis-
tinction as exponent of works of modern Span.
compra. Stud. at R. Cons. de Música under José
Tragó and Francisco Furter. Recitals in Madrid,
Paris and London.-P. G. M.
ÁLVAREZ UDELL, Luis. Span. operatic
t. singer; b. Seville, June 1866; d. there, May
1920. First prize for pf. at R. Cons. de
Música, Madrid; stud. singing under Francisco
Reynés, Seville. After a remarkable season
at Lyric Theatre, Milan, when he sang in 22
perfs. of The Barber of Seville (with the sopr.
Maria Barrientos), appeared at Petrograd and
Moscow (with Sembrich and Nilsson), being
entrusted by Rubinstein with principal rôle for
first perf, of his opera The Demon.-P. G. M.
AMES
Muck, went to Court Opera House, Berlin, as
Korrepetitor; took part in Wagner fest. at
Bayreuth, 1912. Assistant condr. Halle, 1913;
condr. in Posen, 1914; condr. at Stadttheater,
Düsseldorf, 1915-17; and Hamburg Stadttheater,
1917-20. Condr. at Vienna State Opera House
since 1920. Cond. Ring and Strauss perfs. Grand
Opera, Covent Garden, London, May 1924.
Numerous songs; also some oroh. works. Married
the celebrated lyrical s., Elizabeth Schumann, who
was at Hamburg Stadttheater, and is now at Vienna
State Opera House (chief parts: Susanne, Despina,
Sophie in Rosenkavalier, etc.).-A. E.
AMATO, Pasquale. Singer; b. Naples, 1880.
One of the most renowned Ital. baritones; well
known on principal stages in Italy and America;
assisted at Verdi Commemoration at Busseto
Theatre 1913, under Toscanini, rendering La
Traviata and title-rôle in Falstaff.-D. A.
AMELLI, Guerrino. Ital. historian and
critic of sacred music; b. Milan, 18 March,
1848. Ordained in 1870; 1885, joined monks
of San Benedetto at Montecassino, assuming
name of Ambrogio; occupied positions of
monastic prior and librarian; at present, is
visitor to the Cassinese Congregation. One of
most efficient and authoritative promoters in
Italy of the restoration of sacred music;
founded in 1881 the Associazione Italiana Santa
Cecilia, for which he had been preparing since
1877 by his periodical Musica Sacra. In 1882,
instituted at Milan a higher school of sacred
music. The movement, already officially recog-
nised by Pope Leo XIII in 1884 (by his Regola-
mento per la Musica Sacra), had its victorious
crowning with the famous Motu Proprio of
Pius X. In 1920, on the occasion of 50th anni-
versary of ordination of Padre Amelli, the
Abbey of Montecassino publ. in his honour a
coll. of Various Writings in Ecclesiastical
Literature.
Sacred Music in Italy, lec
The Restoration of
ture (Bologna, 1874, Felsinea); St. Thomas and
Music (Milan, 1876); Musica Sacra, review of mus.
liturgy (Milan, 1877-85); The Psalms of Benedetto
Marcello, 5 vols. (Milan, 1880, Calcografia Musica
Tomadini, with
preface by G. Amelli, 2 vols. (Milan, 1882); Repertory
of Sacred Vocal Music, 9 vols.; Repertory of Sacred
Music for the Organ, 9 vols. (in Records of
Roma,
Argentoratum: Oratio habita in generali cantus
gregoriani studiosorum conventu (Argentorati [Stras-
ad prestantiores Guidonis Monachi Aretini Micrologus
Lefebvre); a specimen from the Complete Critical
Ed. of the works of Guido d'Arezzo, prepared by
Amelli, an ed. he was unable to publish for various
various reasons: From an Unpublished Writing of
San Ludovico, Bishop of Toulouse, about Music (in
Archivium Franciscanum, Quaracchi, 1909); Biblio-
teca Ceciliana (Milan, 1907).-D. A.
ALWIN, Karl. Ger. condr. and compr.
b. Königsberg, 15 April, 1891. Stud. litera-
ture and philosophy in Berlin; music with
Humperdinck and Hugo Kaun. Through Carl
13
AMER, Miguel. Span. musicologist; b. in the
Balearic Islands. One of founders of Capella de
Manacor (see NOGUERA). Author of Reforma de
la música religiosa (Palma de Mallorca, 1900).-
P. G. M.
AMES, John Carlowitz. Eng. compr. pianist;
b. Westbury-on-Trym, nr. Bristol, 8 Jan. 1860.
Educated Edinburgh Univ.; stud. Stuttgart
Cons. under Pruckner (pf.), Goetschius and
Faisst (compn.); later at Dresden Cons. under
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ANCELL
F. Wüllner; début at Steinway Hall, London,
1881, playing his own compositions.
4-act opera, The Last Inca: 3 comic operas; in-
cidental music to Richard II (Tree, at H.M. Theatre);
I music to
Dundee (Lawrence Irving,
soli,
incidental orch. pieces; 2 pf. concertos; Psalm
picces; songs, etc. Porch.; chamber-music; pt.
ANCELL, Sarah. Argentine pianist; b.
Buenos Ayres, 4 Aug. 1896. Stud. under Alberto
Williams at Buenos Ayres Cons. Has given
many successful concerts, especially those in
Argentine Centenary celebrations and a grand
symph. concert in 1911. One of the first pianists
to give concerts with an orch. in S. America.
-A. M.
ANDERS, Erich. Ger. compr. b. Teutschental,
near Halle-o-S., 29 Aug. 1883. First intended
for banking; took up music on advice of Max
Reger; entered Cons. Leipzig, and the Univ.;
condr. Barmen Stadttheater, Heidelberg Stadt-
theater; teacher and reviewer, Berlin; 1916-19,
Munich; 1919-20, Cologne; 1920, lector in music
at Bonn Univ.; 1922, teacher of compn. at
Klindworth-Scharwenka Conservatoire, Berlin.
Many songs, especially for children; choral pieces;
chamber-music; p pf. pieces. Operas: Venezia (Frank-
fort-o-M., 1917); Anselmo (not produced); Death
and Life (spoken opera, Hanover, 1920) and Mandra-
gola (not produced).-A. E.
ANDERSEN, Carl Joachim. Danish fl.
virtuoso, condr. b. Copenhagen, 29 April, 1847;
d. there 7 May, 1909. Member of R. Chapel of
Copenhagen, 1869-78; of orch. of Ital. Opera,
Petrograd; later of R. Chapel, Berlin, and of
Philh. Orch. there. Engaged in conducting in
Berlin and Bad Scheveningen, Holland. From
1894 till death, condr. of Tivoli Concerts in
Copenhagen, and of popular Sunday Palace
Concerts. Comp. studies as well as concerted
pieces for flute.-A. H.
ANDERSEN, Hildur. Norwegian pianist; b.
Christiania, 25 May, 1864. Pupil of Jadassohn,
Weidenbach and Reinecke in Leipzig, and of
Leschetizky in Vienna. As a brilliant inter-
preter, especially of classical works and chamber-
music (a member of Gustav Lange's chamber-
music ensemble), she has had an important in-
fluence on music in her native city.-J. A.
ANDERSEN, Sophus. Danish song-compr. b.
8 Dec. 1859; d. 19 Sept. 1923. Mus. critic of
journal Köbenhavn (Copenhagen). One of his chief
pieces is a recitation to orch. acc. Historien
om en Moder (The Story of a Mother), text from
Hans Chr. Andersen and Stuckenberg.-A. H.
ANDERSEN WINGAR, Alfred. Norwegian
compr. condr. b. Christiania, 15 Oct. 1869.
Pupil of Alfred Paulsen, Johannes Haarklou,
Jules Massenet and André Gédalge (Paris);
Violinist in Christiania Theatre orch. (1890-9);
vla.-player in National Theatre orch. (1901-5);
from 1911, leader of Popular Symphony Con-
certs, partly supported by grant from munici-
pality; from 1921, vla.-player in Philh. Orch.
Christiania. His operas are written with dra-
matic talent. The comic opera seems to be his
most natural field.
certos; stage-music to 0.
2 operas; 2 operettas: 2nding's d. 2 vn. con-
drama Iraka;
14
ANDREAE
overtures to Ibsen's Hedda Gabler and Master-Builder:
orch, fantasias, Aus Norwegens Berg und Thal, and
Les Naïades; orch. suites, La Vie and Les Sauterelles;
2 Oriental Rhapsodies for orch.; songs with pf.,
etc.-J. A.
ANDERSSON, Otto. Finnish writer on music
and choral condr. b. Vårdö, 27 March, 1879.
Stud. at Helsingfors Music Inst. and Univ.
(Ph.D. 1923). Founded (1906) Brage Soc. for
cultivation of Swedish folk-music and folk-
dance in Finland. Has written several special
studies on mus. history and instrs. of Finland:
Inhemska Musiksträvanden (1907); Musik och
Musiker (1917); Martin Wegelius (1918); J. J.
Pippingsköld och musiklivet i Abo 1808-27 (1922);
Strakharpan (1923).-T. H.
ANDERSSON, Richard. Swedish pianist; b.
Stockholm, 22 Sept. 1851; d. 20 May, 1918.
Stud.
Cons. Stockholm, 1867-74; début R.
Opera, 1872; stud. in Berlin (pf. Clara Schu-
mann and H. Barth; compn. R. Würst, F. Kiel)
1876 et seq.; concert-pianist in Stockholm from
1884; founded his own pf. school there in 1884;
prof. pf. R. Cons. 1912; member R.A.M. Stock-
holm, 1891. Amongst his pupils are W. Sten-
hammar, Knut Bäck, Astrid Berwald.
Pf. sonata (1889); Schwedische Tänze and other.
pf. pieces; 12 songs (1919).-P. V.
ANDERTON, Howard Orsmond. Eng. compr.
author; b. Clapton, London, 20 April, 1861.
Stud. at R.A.M. under Bannister, Macfarren and
Prout. In 1908, took post at Midland Inst..
Birmingham, with Bantock. 1923, librarian at
London head-quarters for British Federation of
Musical Competition Festivals.
(Blackwell). Music: Song and Death-March;
Books: Baldur (Fisher Unwin): Song of Alfred
(Constable); Early English Music (Musical Opinion);
Granville Bantock (John Lane); On Desert Islands
the Morning Stars
(Forsyth); Baldur,
English Sinfonietta. Music to Euripides' Trojan
Women and Sophocles' Trachinia (Greek text).
-E.-H.
ANDOLFI, Otello. Ital. cellist and critic;
b. Tivoli, 20 Feb. 1887. Cellist in quartet-con-
certs (with his brothers, Argeo, Überto, and
Goffredo); as soloist in concerts (together with
his wife, Manolita de Anduaga-Andolfi). Critic
on Rome paper Musica. Dir. of an Ital. Concert
Agency.-D. A.
ANDRÉ, José. Argentine compr. critic; b.
Buenos Ayres in 1891. Stud. under Alberto
Williams at Buenos Ayres Cons.; Grand Prize
for compn. 1909. His style is based on modern Fr.
school. 19 songs (Fr. words), choruses and pf.
pieces. Has establ. a mus. review, and is a
well-known musical critic.-A. M.
ANDREAE, Volkmar. Swiss conductor, com-
poser; b. Berne, 5 July, 1879. Studied in Berne;
later pupil of Wüll Franke and Staub at
Cologne Conservatoire (1897-1900). In 1902
conductor of the Gemischter Chor at Zurich and
the Stadtsängerverein at Winterthur.
Suc-
ceeded Fr. Hegar as conductor of symphony
concerts at Zurich in 1906 and has since devoted
himself entirely to the development of musical
life in Zurich, where he directs the Conservatoire
and delivers occasional courses of lectures at the
University. An excellent conductor, he has been
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ANDRÉE
called to conduct symphony concerts in Germany,
Holland, Sweden, Spain and Italy. 1914, Ph.D.
h.c. Zurich University.
2 symphonies; Charons Nachen, for chorus and
orch. op. 3 (Mayence, Schott); Symph. Phantasy,
t. solo, chorus and orch, op. 7 (Leipzig, Hug); Suite
for orch. op. 27 (Leipzig, Leuckart), perf. Queen's
Hall Symph. Concerts and Proms, ut
under Sir Henry
Wood; opera, Ratcliff, op. 25 (Berlin, Fürstner); vn.
sonata, op. 5 (Schott); str. 4tet and trio (Hug);
numerous unacc. choruses and songs in op. 13-21
(Hug).-F. H.
ANDRÉE, Elfrida. Swedish orgt. and compr.
b. Visby, Gottland, 19 Feb. 1844. Stud. in Stock-
holm, Copenhagen, Berlin. From 1867, orgt.
Gothenburg Cath. where she has given recitals;
from 1897 condr. of People's Concerts, Gothen-
burg; member R.A.M. Stockholm, 1879.
Opera, Fritiofs saga (libretto by Selma Lagerlöf);
symphony; organ symphonies (1 publ. Augener);
cantata, Snöfrid, with orch. (1879); Swedish Mass
pf. Stet (Ed. Mus. Konstföreningen); pf.
Songs.-P. V.
ANDREOLI, Guglielmo. Ital. pianist and
compr. b. Mirandola (Modena), 9 Jan. 1862.
Belongs to a family of musicians. With hist
brother Carlo, now deceased, organised in
Milan (1878-86) seasons popular concerts,
which left a strong impression on mus. life
of Milan. Took vla. part in various quartets.
Since 1891, prof. at Milan Conservatoire.
in collab. with E. Codazzi (Milan, Cogliati.). Consult
A Family of Musicians: the
G. Teneriodical L'Arte Pianistica e Andreoli
(in
1918). D. A.
Naples, Oct.
ANDREWS, W. Bowker. Eng. music-publ. b.
Durham, 25 Feb. 1876. Head of firm of Swan
& Co. London, which specialises in publ. music
by British composers.-G. B.
ANDRIESSEN, Willem. Dutch pianist; b.
Haarlem, 25 Oct. 1887. Stud. at Amsterdam
Cons. (de Pauw, pf; Bernard Zweers, theory);
1908, Prix d'excellence; 1910-18, prof. of pf.
R.A.M., The Hague; then teacher at Music
School, Rotterdam.
Mass, chorus, soli and orch.; pf. concerto in D flat;
numerous songs.-W. P.
ANFOSSI, Giovanni. Ital. pianist and compr.
b. Ancona, 6 Jan. 1864. After activitics as
concert-player, founded in Milan a school
named after Pasquale Anfossi, his ancestor.
He directs and teaches pf. there.-D. A.
ANGELELLI, Carlo. Ital. pianist and compr.
b. Florence, 5 Sept. 1872." Concert-player,
teacher, compr. of pf., vn. and vocal works.
His 2 songs to d'Annunzio's words took prize
offered by journal Il Tirso (Rome).
Variations for organ (New York, Fischer); concert
transcription of a little clavier piece of Bach (London,
Schott); Danze italiane del secolo XVI per liuto
(concert transcription for pf.).-D. A.
d'ANNUNZIO, Antonio. Ital. conductor; b.
Pescara. Brother of the great poet. For many
years he has lived in North America, engaged
in conducting.-D. A.
d'ANNUNZIO, Gabriele. Italian poet, soldier,
writer and thinker; b. Pescara, 12 March,
1864. An enthusiastic lover of the art of
music, which he has always cultivated pro-
foundly. The musical style of his writings,
15
ANSERMET
orations and poetry is marvellous. Two of his
beautiful Laudi are inspired by Bellini and
Verdi. In his youth in Rome as journalist he
wrote many mus. reviews. In 1917, he took
the initiative in the National Coll. of Ital. Music,
which with the technical co-operation of various
musicians, was then publ. in Milan by the
Istituto Editoriale Italiano.
Many lyrical works were inspired by his
stage pieces. Franchetti set music to La Figlia
di Jorio, Mascagni to Parisina, Italo Monte-
mezzi to La Nave, Zandonai to Francesca da
Rimini, Pizzetti to Fedra. Pizzetti wrote the
mus. interludes for La Nave and Pisanella;
and the music of the mystery Le Martyre de
St. Sébastien was comp. by Debussy. Many
of d'Annunzio's poems have given Ital. comprs.
musical inspiration.
In the Statute of the Ital. Regency of Carnaro,
promulgated by d'Annunzio in 1920, the last
two paragraphs, with their noble sentiments,
are dedicated to music. Therein he exalts mus.
art as the supreme means of spiritual and civil
education, and fixes the basis of what-in the
divine remembrance of Ancient Greece-should
be the mus. regulations of an ideal State. He
is at present living at Gardone Riviera (Brescia).
In 1924 he was ennobled by King Victor
Emmanuel III.-D. A.
ANROOY, Peter van. Dutch condr. b. Zalt-
Bommel (Guelderland), 13 Oct. 1879. Stud. in
Utrecht under Dr. Joh. Wagenaar, theory; and
G. Veerman, vn. In 1899 went to Willem Kes
(formerly condr. of Concertgebouw Orch. Am-
sterdam) in Moscow, for vn. study and conduct-
ing practice. There stud. cpt. under Tanéief.
1901-2 violinist in Scottish Orch. Glasgow,
and Tonhalle Orch. Zurich; 1902, 2nd condr.
Lyric Theatre, Amsterdam; 1905, condr. Gron-
ingen Symph. Orch.; 1910, condr. Arnhem
Symph. Orch.; 1917, dir. of Residentie Orch.
The Hague (second best orch. in Holland-80
members). 1914, created Doctor h.c. Groningen
Univ. An enthusiastic Brahms, Beethoven and
Bach conductor.
Andante for wind instrs. (1895); Introduction and
Scherzo for orch. (1896); 2 overtures for orch. (1897);
5tet, pf. and str. (1898); 2 cantatas for children's
vs. (1898 and 1899): (a) Zonneklaartje (Princess Sun-
shine), publ. Lielitenauer, Rotterdam; (b) In
Holland Piet Hein, for orch. (1901), well known in
and Germany (publ. Noske, The Hague);
Ballad, vn. and orch. (1902); music to Das Kalte
Herz (Wilh. Hauff).-W. P.
ANSELMI, Giuseppe. T. singer; b. Catania,
16 Nov. 1876. One of most renowned Ital.
opera singers (Traviata; Rigoletto; Barbiere di
Siviglia; Cavalleria; La Bohème; Lucia; La
Sonnambula).-D. A.
ANSERMET, Ernest. Swiss condr. b. Vevey
in 1883. First a teacher of mathematics in Lau-
sanne; stud. compn. under Denéréaz (Lausanne),
A. Gédalge (Paris), O. Barblan and E. Bloch
(Geneva). In 1912, became condr. of orch. con-
certs in Montreux and, since 1913, of the Or-
chestre de la Suisse Romande in Geneva. A
pioneer of modern music, which he conducts
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ANSORGE
extremely well; has done a great deal to make
known the music of the modern Russ. school,
particularly Igor Stravinsky. Conducted the
Russ. ballet in Paris and London.-F. H.
ANSORGE, Conrad. Ger. pianist and compr.
b. Buchwald, near Liebau, Silesia, 15 Oct.
1862. Pupil of Leipzig Cons, and of Franz Liszt,
1885-6; recitals in America, 1887; settled in
Weimar 1893, and in Berlin 1895; piano
teacher there, 1898-1903, at Klindworth-Schar-
wenka Cons. A brilliant Liszt exponent and an
impressive Beethoven interpreter. As compr.,
belongs to a mystic romantic circle, and in his
time was the specially favoured musician among
the associates of the poet Stefan George.
Songs; pf.
3 sonatas; pf. concerto (1922);
2 str. 4tets; sth. Requiem (with free text) male
vs. and orch.; orch. pieces.-A. E.
ANTCLIFFE, Herbert. Eng. writer on music;
b. Sheffield, 30 July, 1875. Writes for a large
number of journals.
Books: Living Music (J. Williams); Short Studies
on Nature of Music (Kegan Paul); The Successful
short biographies of Brahms and Schubert (G. Bell)
The Chorus-Master (W. Paxton). Transl. of Lenor-
mand's Etude sur l'harmonie moderne (1912, J. Wil-
liams). Arr. for 2 v. and pf. of Dutch folk-songs with
English words (Evans).-E.-H.
ANTOINE, Georges. Belgian composer; b.
Liège, 28 April, 1892; d. Bruges, 15 Nov. 1918.
Son of a choir-master of Liège Cath. Stud.
at Liège Cons. and began to compose about
1910. Fought in the war (1914-18), discharged
for sickness, rejoined army and died of fever
at Bruges, in the moment of victory. Was a
remarkably gifted musician with a culture
above the ordinary, as witnessed by his articles
in the review Les Cahiers, publ. on the Belgian
front during the war. His Veillée d'Armes, perf.
at Liège in 1919, and Brussels, 1922, revealed
a temperament alien to Lekeu's, in its intense
lyricisin and richness of musical matter.
Sonata, pf. and vn. op. 3 (1912-15); pf. concerto,
op. 5 (1914); 4tet, pf. and str. op. 6 (1916); Veillée
d'Armes, poem for orch. op. 9 (1918); a dozen songs.
and some unfinished works.-C. V. B.
ANZOLETTI, Marco. Italian violinist; b.
Trent, 4 June, 1866. Prof. at Milan Cons. Has
composed many works for his own instrument.
Is also a student of mus. history and a writer.
He has written 4 unperf. operas: Serbia (1898);
Le gare (1902); Faida (1912-15); Belfegor
(1920). His writings include:
W. A. Mozart (Florence, Rassegna Nazionale,
violino in Italia (id. 1909); Mozart (scenes of home-
life) in 4 parts (Milan, Cogliati, 1902); Giuseppe Tartini
(crit.
D. Ag.study) (Milan review, Italianissima, 1917).
APPIANI, Vincenzo. Ital. pianist and compr.
b. Monza, 18 Aug. 1850. Has occupied for many
years post of teacher at Milan Cons.
Had a
great reputation as concert-player; and founded
the Milanese Trio, in which he took part, together
with violinist Rampazzini and cellist Magrini.
-D. A.
APPRECIATION, MUSICAL. The study of
mus. appreciation as a separate branch is a
recent addition to the syllabus of mus. education.
Greater importance is ascribed to it, as such,
16
APPRECIATION
in the Anglo-Saxon countries than in any other;
and practically all the books devoted to it are in
the Eng. language. The principles upon which it
is conducted aim at developing perceptivity and
receptivity. They all fall under one of three head-
ings: (a) aural training, (b) mind and memory
training, (c) stimulating the imagination. Aural
training, of course, is the very basis and sine qua
non. It is generally conducted on the lines laid
down by Lavignac in his Cours de Dictée Musicale.
Many more or less complicated suggestions
offered in books on appreciation are justified in
so far as they make for aural training, but would
be more useful if this point was made clearer.
The necessity of being able to listen not only
discriminatingly, so as to perceive the very
subtlest shades in details, but reconstructively,
so as to acquire a conception of each work as a
whole, calls for training of the memory, which
retains the necessary data, and of the mind,
which, consciously or unconsciously, organises
these data into a whole. To this end, knowledge
of the principles of construction, or familiarity
with the main features of musical design and
architecture, are useful. Hence, most books
lay great stress upon technical information of
various kinds as to the materials used and how
they are used. It has been remarked (Mus.
Times, July 1912, art. by H. P. S.) that "it is a
mistake to lead the layman to the gates of music
along the same path that the professional must
traverse, supplying him with a rough technique.
only modified so that he may acquire it more
easily." Ernest Newman (sce infra) writes:
"Scientific understanding of music has abso-
lutely nothing to do with the ability to under-
stand it as a language of the emotions." And
M. D. Calvocoressi (Monthly Mus. Record, Nov.
1921-Jan. 1922, "On teaching Musical Appre-
ciation," and "Labelling versus Appreciating")
expresses the fear that elementary knowledge of
theory and technique may lead listeners very far
astray. But as a rule, writers on mus. apprecia-
tion favour the opposite view.
Stimulating the imagination is a more direct.
contribution to that formation of mus. taste
which is aimed at by all. This is generally done.
with the help of comments, direct or indirect.
Direct comments refer to the music only. In-
direct comment may be of two kinds. One is
that which refers to associations, to emotional
or dramatic suggestions, and to concrete imagery
in connection with music. The other refers to
historical and biographical facts, and to other
elements of information outside the works con-
sidered. The latter is useful, but may tend to
introduce circumstantial evidence of a mislead.
ing nature, e.g. when an artist's intentions, as
revealed in his biography or writings, are con-
fused with the actual achievements embodied in
his music.
On the value of the other order of indirect com-
ment, opinions vary greatly. Dr. F. H. Hay.
ward (quoted by Scholes, see infra) writes: "If,
hearing the first movement of Beethoven's Fifth
Symphony, we do not hear the hammer-strokes
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APTHORP
of Fate knocking at Beethoven's door and saying
"You shall suffer, suffer, suffer-you shall be
deaf as a stone-you shall never know domestic
joys.. and our appreciation of the sym-
phony is merely the appreciation of its musical
make-up, we miss much that it is a thousand
pities to miss." On the other hand, W. J. Turner,
in Music and Life (London, 1921), writes: "The
higher the type of music, the less it will suggest
concrete images. . . the emotional listener.
really misses all that distinguishes music from
any other art." Whoever feels the latter view to
be true will agree that while direct comment
provides a less easy path, it will lead further.
The chief books on Appreciation are:
H. Antcliffe, How to enjoy Music (Kegan Paul);
Clarence G. Hamilton, Musical Appreciation (Ditson,
Boston); W. J. Henderson, What is Good Music?
(Murray); Leigh Honry, Music, what it means and
how to understand it (Curwen); E. Markham Lee,
On listening to Music (Kegan Paul); Stewart Mac-
pherson, Music and its Appreciation (J. Williams);
Ernest Newman, The Appreciation of Music ("Art
of Life" Courses); Arthur W. Pollitt, The Enjoy-
ment of Music (Methuen); Percy A
Appreciation in Schools and The Lasteles, Musical
's Guide to
Music (Oxford Univ. Press); T. W. Surette and
D. G. Mason, The Appreciation of Music (W. H.
Gray, New York).-M. D. C.
APTHORP, William Foster. Amer. author,
critic; b. Boston, Mass., U.S.A., 24 Oct. 1849; d.
Vevey, Switzerland, 19 Feb. 1913. Earlyschooling
in Dresden, Berlin and Rome. Graduated A.B.,
Harvard Univ. 1869. From 1863, stud. pf.,
harmony and cpt. under Paine; later pf. under
B. J. Lang. 1874, teacher of piano and theory at
New England Cons. Boston, until 1886. Lec-
tured on aesthetics and history of music at Coll.
of Music of Boston Univ. From 1872-7 music
critic of Atlantic Monthly; 1881-1903, one of
most influential of Boston music and dramatic
critics, on Evening Transcript. 1892-1901, pro-
vided the analytical notes for the Boston Sym-
phony programmes. Retired 1903 to Switzerland.
Musicians and Music Lovers (Scribner, 1894);
The Opera, Past and Present (Scribner, 1901);
translator of a selection of Berlioz's Letters (Holt,
1879). Ed. (with J. D. Champlin) of useful 3-vol.
of Music and Musicians (Scribner,
.K.
ARAB FOLK-MUSIC. See BARTÓK,
ARACENA, Infanta Anibal. Chilean orgt. b.
Chañaral, 1881. Stud. in Chile; in 1918, recitals
in Buenos Ayres. Has publ. 72 pieces, mostly
sacred.-A. M.
d'ARÁNYI, Jelly. Hungarian violinist; b.
Budapest, 30 May, 1895. Stud. under Jenő
Hubay at R. High School for Music, Budapest,
For some time past has lived in England, where
she is well known as a solo-violinist. Produced
Bartók's 2 vn. sonatas in London (1st, March
1922; 2nd, May 1923).-B. B.
ARBO, Jens. Norwegian music critic; b.
Kristiansand, 20 Aug. 1885. Engaged on
Nationen, Christiania, and Musikbladet (1917-
21), Musikbladet og Sangerposten (from 1922).
Contributor to Norges Musik-historie (1921).
Writer of several of the Norwegian arts. in this
Dictionary. R. M.
ARÍN Y GOENAGA
Jesús Monasterio, Madrid; stud. in Brussels
under Vieuxtemps, and Berlin under Joachim
with whom he lived for some time. Stud compn.
under Gevaert in Brussels and Herzogenberg in
Berlin. He commenced his studies under aus.
pices of H.R.H. tho Infanta Doña Isabel. Taught
vn. at Hamburg Cons. and, for many years, at
the R.C.M. London. Former leader of Philh.
Orch. Berlin, and Boston Symphony Orch. Has
appeared occasionally as condr. in England,
France and Russia; also as chamber-music
player. Since 1908, condr. of the Orquesta Sin-
fónica in Madrid, where he now resides, and is
vn. prof. at the R. Cons. de Música, a position
he won by competition in the early days of his
career. Is also a member of the orch. of R.
Chapel, Commander of Order of Isabel la Católica,
Knight of Order of Carlos III, Légion d'Honneur,
and Santiago and Villaviciosa, Portugal.
с
Centro de la Tierra, mus. comedy, prod. Madrid
about 1890; Trois pièces originales dans le genre
espagnol, vn. cello and pf.; Zambra, Tango, and
Guajiras, vn. and pf. (Bote & Bock, Berlin; Schott,
Mayence).-P. G. M.
ARDITI, Luigi. Ital. violinist, opera-condr.
and compr. b. Crescentino (Piedmont), 22 July,
1822; d. 1 May, 1903. Noted for his waltz-
songs, among which the most celebrated are
Il Bacio and L'Estasi.-D. A.
ARENSKY, Antony Stepanovitch (accent 2nd
syll.). Russ. compr. b. Novgorod, 30 July/11
Aug. 1861; d. Terioki, Finland, 26 Feb./11
March, 1906. Stud. under Zikke, and later
under Johansen and Rimsky- Korsakof, at
Petrograd Cons. In 1882, appointed prof.
of cpt. at Moscow Cons., and in 1892 his first
opera, A Dream on the Volga, was successfully
perf. in that city. His other chief works are
the opera Nal and Damayanti (1899), the ballet
A Night in Egypt, and cantata The Fountain of
Bakhchisarai. He also comp. church music,
pf. pieces, songs, 2 symphonies, a set of Varia-
tions for strings, on a theme of Tchaikovsky
(often played at Q. H. London) and some cham-
ber-music, among which a pf. trio (op. 31) enjoys
a certain popularity. The greater part of his
output is already forgotten. He is a compr.
in most respects akin to Tchaikovsky, but with
less inclination towards dramatic eloquence,
and a far less efficient and less versatile technical
equipment.-M. D. C.
ARIANI, Adriano. Ital. pianist and compr.
b. Macerata, 1880. Stud. at Liceo at Pesaro, pf.
under Vitali, compn. under Mascagni. Rapidly
gained high reputation as concert player,
appearing in Rome (at Augusteo) and in many
other towns. Several years ago he went over
to New
here he devoted himself also
to conducting; in 1918, an oratorio San Fran-
cesco was perf. Carnegie Hall under his
bâton.
In 1920, dir. a successful season of
opera at the Brooklyn Acad. of Music theatre.
Lately returned to Italy.-D. A.
ARÍN Y GOENAGA, Valentín. Span. teacher
and compr. b. Villafranca (Alava), 3 Nov. 1854.
One of first in Spain to adopt modern methods
of studying and teaching harmony and cpt.
ARBÓS, Enrique Fernandez. Span. vn. teacher
and condr. b. Madrid, 25 Dec. 1863. Pupil of
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ARKWRIGHT
Until his recent death, he was teacher at R.
Cons. de Música, Madrid, where, as pupil of
Arrieta, he obtained Ist prize for compn. in
1877.-P. G. M.
ARKWRIGHT, Godfrey E. P.
Eng. mus.
writer and researcher; b. 10 April, 1864. Stud.
under John Farmer (Balliol Coll. Oxford) and
H. E. Wooldridge.
Ed. Musical Antiquary (magazine); Old English
Edition (25 vols.) of old Eng. music; some vols, for
Purcell Soc.; Eng. songs, Lawes to catalogue
of ms. musie in Christ Ch. Library,
(not yet
completed: 2 vols, 1
Studies in Modal Compo-
sition (Musica Antiquata) with H. E. Wooldridge; 5
vols. songs.-E.-H.
ARKWRIGHT, Marian Ursula. Eng. compr.
b. Norwich, 1863; d. 1922. Mus. Doc. Dunelm.
1913. Sister of the above. Has exercised a
great influence on rural music.
Concert pieces, vla. and pi. (Breitkopf); Requiem
Mass (Cary); Dragon of Wantley, female chorus
(Cary); orch. suites;
instrs.; Waterbabies, music for wood-wind
Last Rhyme of True
Thomas, chorus and strings.-E.-H.
ARLOM, Wilfred. Australian compr. b. New-
castle-on-Tyne. Lives in Roseville, N.S.W.
Many songs; anthems; pf. pieces (Newman; Allan
& Co. Melbourne).-E.-H.
ARMÁNDOZ, Norberto. Span. orgt. and
compr. b. Astizárraga (Guipúzcoa), June 1893.
Stud. in Spain and in Paris; at age of 26, chief
orgt. of Cath. of Seville, a position he still holds.
music; arr.
Goizian On, etc.).-P. Gasque folk-songs (Itiuna,
ARMBRUST, Walter. Ger. orgt. b. Hamburg,
17 Oct. 1882. Son of celebrated orgt. Carl F. A.
(1849-96), whose pupil he was; then of W.
Böhmer and P. Homeyer (Leipzig); 1903, orgt.
and choirmaster of Heiligengeist Kirche, Ham-
burg; 1908, founded Brahms Cons. Hamburg;
condr, of Philh. Orch. Dresden since 1920.-A. E.
d'ARNEIRO, Count. Portuguese compr.
b. Lisbon, 1838; d. 1903. Stud. under V. Schira
for compn. and singing, under Antonio José
Soares for pf., on which instr. he became very
proficient. He early migrated to Italy where he
spent the rest of his life, but continually returned
to Lisbon, where his early works, including his
ballet Ginn (San Carlos Theatre), were given in
1866. In 1871 his Te Deum was given there;
later it was transformed to a cantata and given
in Paris under Léon Martin.
Opera, Elisir di giovanezza, 4 acts (Lisbon, 1876;
Dal Verme, Milan, 1877); given later in a new version,
Don Bibas,
last opera, took a prize in a competi
tion in Italy; Symphonie-Cantate (Te Deum), chorus
and orch.; many pf. pieces.-E.-H.
AROCA Y ORTEGA, Jesús. Span. compr. and
musicologist; b. Algete (Madrid), Oct. 1877.
Stud. pf. and compn. at R. Cons. de Música,
Madrid. President of Asociació: de Direct
de Orquesta (Association of Orch. Condrs.),
Spain. Also known as compr. of a number of
small popular pieces and mus. comedies. As a
mus. scholar, he renders valuable service to the
reconstruction of mus. history of Spain. Amongst
his works are Cancionero musical y poético del
siglo XVI, transcriptions of song- book of
Claudio de la Sablonara, containing music and
biographical notes of Span. poets of the Golden
ARRIOLA
Age, such as Juan Blas de Castro, Mateo Romero,
El Maestro Capitán, and Machado el Portugués
(publ. in the Boletín de la R. Acad. Española);
Reseña histórica de la tonada, mus. transcriptions
from the XVI, XVII, and XVIII centuries (publ. by
R. Velasco, Madrid).-P. G. M.
Incidental music for drama of Antonio J. de
Linares Castellanos, suite f
remota (Teatro Español, Madrid);
Arrabales
e for orch. (perf. in Madrid
by Orquesta Sinfónica and Orquesta Filarmónica).
(Publ.: Faustino Fuentes; Mateu; Unión Musical
Española, Madrid.)-P. G. M.
ARREGUI GARAY, Vicente. Span. compr.
b. Madrid, 3 July, 1871. Stud. at R. Cons. de
Música, Madrid, being awarded 1st prize for pf.
and compn. In 1899 was granted the Rome Prize
by the Acad. de Bellas Artes. He does not
follow any particular school, and in this sense
may be considered a free-lance whose mus.
output always exhibits those features of sobriety
and solidity inherent in the Castilian tempera-
ment.
Str. 4tet; pf. sonata, (1st perf. 1916, Sociedad
Nacional de Música): orch. Melodia religiosa (1st perf.
Orquesta Benedito, Gran Teatro, Madrid, Feb. 1917);
Oración y Escena de los Angeles from oratorio San
symph, poem
based on story by Andersen
curso Nacional, 1910, and has been perf. many times.
by Orquesta Sinfónica and Orquesta Filarmónica,
Madrid, and the Orq
Sinfónica, Barceloch
Sinofnia vasca, 1st perf.
Francisco; Historia de una Madre a prize in Con-
Madrid, 1916) operas: Yolanda, 1 act, based on
poem by Henry Hertz (awarded prize at Concurso
Nacional del Estado, 1911; Teatro Real, Madrid,
1923); La Maya, 2 acts; La Madona, 2 acts; El
Cuento de Barba Azul (Story of Bluebeard), 3 acts;
Motet, 4 v.; Mass, 3 v. and organ acc.; 3 lyrical
comedies for children, Chao, Tatin, and La Sombra
de Mariani (Schott).-P. G. M.
ARRIETA Y CORERA, Emilio. Span. compr.
b. Puente de la Reina (Navarra), 21 Oct. 1823.
Prof. of compn. (1857) at R. Cons. de Música;
dir. of same from 1858 until his death, 11 Feb.
1864, in Madrid. Member of the Acad. de Bellas
Artes de San Fernando; counsellor to the
Ministry of Education. At age of 15 went to
Italy,
stud. under Perelli and Mandanicci.
Entered the Milan Cons. 1841, where he obtained
1st prize for compn. and wrote, whilst a pupil
there, his opera Ildegonda, perf. later in Madrid
(R. Opera House), and at several theatres abroad.
He wrote cantatas and some religious music,
but mostly zarzuelas, after the style of the Ital.
operetta, for which he became famous. (El
Domino Azul was written in 1853, and he made
an operatic version of Marina, his most popular
one, for R. Opera House, Madrid.)
Like his contemporary, Hilarión Eslava,
he exercised greatest influence on public
taste and mus. education of Spain. Both of
them, owing to lack of sensibility, ignored or
despised the Wagnerian ideas predominating
the time throughout the world. A. was an up-
holder of the Ital. tradition, and shares with
Eslava the responsibility for delaying the advent
of the Span, renaissance at least twenty years.
Opera, Ildegonda. Zarzuelas: El Grumete; La
Estrella de Madrid; Marina; El Planeta Venus,
Llamada y tropa; La Guerra Santa (Unión Musical
Española, Madrid).-P. G. M.
ARRIOLA, José. Span. pianist. He appeared
on concert platform at such an early age that his
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ARROYO
toys had to be placed on the piano in order to
induce him to play. He is still known as
Pepito Arriola (diminutive of Pepe, pet-name
for José in Spain). Struck by the 9-year-old
boy's talent, Nikisch undertook in 1908 the
direction of his education at Leipzig Cons. He
has toured occasionally in Germany, Spain and
America.-P. G. M.
ARROYO. See PORTUGUESE OPERA,
ARTE DI STUPORE. An expression adopted
by Domenico Alaleona (q.v.) in his arts. on
modern harmony (publ. in Rivista Musicale
Italiana in 1911) to indicate certain expressive
effects of "neutral tonailty." (See TONALITÀ
NEUTRE.) E.-II.
ARTSYBUCHEF, Nicolas Vassilievitch (accent
2nd syll.). Russ. compr. b. Petrograd, 1858.
Stud. under Rimsky-Korsakof. Made transcrip-
tions of works of R.-K., Mussorgsky, Borodin;
comp. songs and pf. pieces in pleasing melodic
style; but eclectic. Reflects the influence of
"the Five," and also of Chopin. 1908, president
of Committee of Management of Russ. Mus. Soc.
(Petrograd section), and in same year, succeeded
R.-K. as president of committee founded by
Belaief for encouragement of Russ. comprs, and
executants. He carries out this function at the
present time. In 1920 he settled in Paris where
he dir. the firm of the Belaief Mus. Ed.-B. de S.
ARVESCHOUG, Albert. Norwegian barit.
singer; b. Hamar in 1861; d. in Oregon, U.S.A.,
in 1913. Trained at Music Acad. in Stockholm.
Went when young to New York, where he lived
for many years, being a popular and admired
Made concert-tours in America, England
singer.
and Norway. One of the most gifted vocalists
Norway has possessed.-R. M.
ATONALITY
and is largely devoted to modern teaching
material.-E.-H.
ASHTON, Algernon Bennet Langton. Eng.
compr. b. Durham, 9 Dec. 1859. Went to Leipzig
1863, remaining there for 17 years. Stud. at
Cons. there (1875-9) under Reinecke, Jadassohn
and E. F. Richter; later under Joachim Raff,
Frankfort-o-M. Settled in London in 1881. Pf.
prof. R.C.M. 1885-1910. A compr. of serious aims
and sound scholarship. Has publ. over 150
works.
Pf. trios; 24 pf. sonatas; 5 vn. sonatas: 5 cello
sonatas; 3 trios; 2 pf. 4tets; 2 str. 4tets: 2 pf.
Stets: 1 str. Stet; 1 wind 5tet; 1 str. 6tet (Leipzig.
Hofbauer); pf. picces (Hofbauer; Erler; Simrock:
Steingräber: Leuckart; Forberg; Schirmer: C.
ARVESEN, Arve.
Norwegian violinist and
teacher; b. Hamar, 12 Sept. 1869. Trained under
Gudbrand Böhn, Christiania, at Cons. in Leip-
zig, under Marsick, Paris, and 1892-5 (State
scholarship) under Eugène Ysaye in Brussels.
Début 1890 in Christiania at concert given by
Erika Nissen; leader of chief orchs. in Helsing-
fors, Abo, Bergen and Gothenburg. Since
1904, in Christiania, as teacher and soloist.
Founded in 1917 a chamber-music soc., whose
string quartet (with A. as 1st vn.) has perf. in
Paris, Copenhagen and Stockholm, as well as
regularly in Christiania.-R. M.
Stainer & Bell); songs
part-s
In ms (Hofbauer: rock; Hofbauer;
organ pieces (Novello).
5 symphonies, overtures, marches, dances
(orch.); pt. concerto; vn. concerto;
music. Has also publ.
chamber-
Letters to the Press (Oxan & Hall, 1905); Vol. II,
Wit and Wisdom, 525
656 Letters (id. 190S).-E.-H.
ASPESTRAND, Sigwardt. Norwegian compr.
b. Fredrikshald, 13 Nov. 1856. Pupil of Dalback
and Böhn (Christiania) in vn.; from 1881 pupil
of Cons. in Leipzig, afterwards of High School
in Berlin (Joachim). An injury to his hand
forced him to abandon vn.-playing, whereupon
he stud. compn.; during a residence of many
years in Germany, comp. several operas to his
own text. He has also written some chamber-
music, etc. In style he has kept close to the
classicists and Romanticists, especially Weber
and Marschner, often with a popular and national
mode of expression. Now lives in Christiania.
Operas: Sjömandsbruden (produced in Gotha,
Coburg and Christiania);
von
Baiser queid; Die revas Alter: Der Recke
Im Göthezimmer: Le
Porteur; Robin Hood; comic opera,
Pervonte.-J. A.
ASSAFIEF, Boris Vladimirovitch (accent 2nd
syll.). See GLEBOF, IGOR.
ATANASIU. See RUMANIAN OPERA.
ATKINS, Sir Ivor Algernon. Orgt. of Wor-
cester Cath., England; b. Cardiff, 29 Nov. 1869.
Assistant-orgt. under Dr. Sinclair at Truro and
Hereford. Cond. fests, of the Three Choirs at
Worcester, 1899, 1902, 1905, 1908, 1911, 1920,
1923. Mus.Doc. Oxon. 1920. Knighted 1921.
Has ed. (with Sir Edward Elgar) Bach's St.
Matthew Passion and the Orgelbüchlein of Bach's
Weimar period, in Eng. form (Novello).
Hymn of Faith (libretto by Ed. Elgar); settings
of Magnificat and Nune Dimittis, chorus and
oroh.; part-songs; songs, etc.-.-H.
ASHDOWN, Edwin, Ltd. Publishers. The orig.
founder was Christian Rudolph Wessel (b. Bre-
men, 1797). Came to London and started pub-
lishing unknown foreign works in 1825, Chopin
and Heller. The business was afterwards
acquired by Edwin Ashdown and Henry J.
Parry (both formerly in employ of Wessel).
The publication of pf. pieces by Sydney Smith
and Brinley Richards brought fame and fortune
to the firm. On retirement of Parry, Edwin A.
devoted himself to bringing out the classics and
secured services of Walter Macfarren and Stern-
dale Bennett as editors. The firm is now (1924)
conducted by two grandsons of late Edwin A.
ATONALITY. A new style of composing with-
out conscious reference to any scale or tonic. The
scale, under the mus, system at present in vogue,
must of course be the dodecuple (q.v.). The
desire to clude a fixed tonality (key) is at least
as old as Mozart. The term was first given to
the works of Arnold Schönberg. The sources
can be traced through the chromatic harmony
of Wagner's Tristan. The dissolution of fixed
tonality had its first definite expression in Schön-
berg's 3 pf. pieces, op. 11 (1909). He refers
to atonality in his Harmonielehre (Univ. Ed.
Vienna, 1911). Atonality also came about
through building up dissonances on every degree
of the chromatic scale, so that each degree gains
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ATTERBERG
the function of a dominant. By this means, the
predominance of the dominant and tonic of the
older system is extinguished, and new laws have
to be discovered empirically. Schönberg uses
atonality in a contrapuntal way, often poly-
tonally. Amongst the purely atonal writers are
Béla Bartók, Arthur Honegger, Arthur Bliss,
Stravinsky, Anton von Webern, Bernard van
Dieren, Sorabji, Daniel Ruyneman, and many
others. Debussy achieves atonal effects often
through the use of the whole-tone scale. Amongst
modern comprs. who resorted occasionally to
atonality before 1911 may be mentioned Richard
Strauss, Granville Bantock and Cyril Scott. See
Chap. XI in Eaglefield-Hull's Modern Harmony
(Augener, 1913). Also arts. in Musical Opinion,
Oct. and Nov. 1922, and art. HAUER in this
Dictionary.-EG. W. & E.-H.
ATTERBERG, Kurt M. Swedish compr. and
condr. b. Gothenburg, 12 Dec. 1887; engineer
in R. Patent Office; music critic Stockholms
Tidningen. One of most talented of young
Swedish comprs.
Op. 1, Rapsodie, pf. and orch. (1908; perf. Gothen-
burg, 1912); op. 2, Adagio and Scherzo, str. 4tet
(1909; Stockholm, 1918); op. 3, Symphony No. I,
B mi. (1909-11; G
concer
overture, A mi. (1909ebuthe, 19
symph. poem, barit and orch. (1912); Stockholm,
1913; op. 6, Symphony No. II, F (1911-13; Sonders-
hausen, 1913); op. 7, vn. concerto (1913; Gothen-
burg, 1914); op. 8, Requiem, chorus and orch. (1914;
Malmo, 1914); op. 9, pantomime-ballet, Per Svina-
herde (1914; Gothenburg, 1916); op. 19, Symphony
No. III, Meeressymphonie (Stockholm, 1916); op. 11,
str. 4tet (Stockholm, 1918); op. 12, opera, Harvard
Harpolekare (to own words; 1912-5; Stockholm,
1919); op. 13, prelude to Perseus (1918; Stockholm,
1919); op. 14, Symphony No. IV (Piccola sinfonia;
1918; Stockholm, 1919); op. 15, Autumn Ballades,
pf. (1918-9; Ed. Nord. Muslkföri.); op. 16, cantata
for mining-school Jubilee (Stockholm (1920: Ed.
. 1919); op. 17,
orch. rhapsody, The Foolish Maiden
Nord, Mus.); op. 18, music to a Shakespeare play;
suites (Leuckart); op. 20, Symphony No. V
pieces.-P. V.
2
AUBERT, Louis François Marie. Fr. compr.
b. Paramé, 19 Feb. 1877. Stud. at Paris Cons.,
where his teacher of compn. was Gabriel Fauré.
In 1901 the perf. (Concerts-Colonne) of his Fan-
taisie for pf. and orch. (comp. 1899) confirmed the
excellent impression created in 1900 by his orch.
Suite Brève. Until 1902 he was engaged in
writing an important lyric score, La Légende du
Sang, of which only two excerpts, the song
Hélène and an Invocation à Odin, have appeared.
In 1910 he completed a lyric fairy-play in 3 acts,
La Forêt bleue, which was successfully produced
at Geneva and at Boston (1913), but of which
only concert performances have taken place so
far in France. He has written a number of songs,
among which the fine sets Crépuscules d'automne
(1910) and Poèmes arabes (1917) stand fore-
most. Among his pf. works the picturesque set,
Sillages (1911), deserves special mention. And
his latest orch. work, Habanera (1919), has
been hailed as particularly beautiful from both
technical and poetic points of view. It was given
in Queen's Hall, London in 1920 under Sir Henry
Wood. Consult L. Vuillemin; Louis Aubert
(Paris, Durand, 1921).-M. D. C.
AUER
AUBRY, Pierre. Fr. musicologist and historian;
b. Paris, 14 Feb. 1874; was killed accidentally at
Dieppe (Seine Inférieure), 31 Aug. 1910. Having
obtained degrees in Letters and Law (1894, 1896),
and diploma from l'École des Chartes, awarded
for his thesis on the Philosophie musicale des
trouvères, he taught at Catholic Inst. in Paris.
Entrusted in 1901 with an official mission for
musical research in Turkestan, he there collected
documents in view of a comparative history of
liturgic chant of Greek and Roman Churches.
As he was specialist musician-palæographer of
sacred and secular music of Middle Ages, his
labours have brought to light a quantity of
melodic notations of the period. His interpreta.
tions have been greatly disputed and have been
in certain cases the object of sharp polemics.
His numerous publs. are always of the greatest
value. Of special interest are:
Estampies et danses royales: Les plus anciens textes
de musique instrumentale du Moyen-Age (1907); Re-
cherches sur les "tenors français" dans les motets
Roman de
(Reproduction of ms. in National Libr.); Cent Motets
du XIIIe siècle, 3 vols., 1908 (Reproduction of Cod.
Bamberg, E. D. IV, 6); Chansons des Croisades, 1909
(with J. Bédier); Trouvères et troubadours (Les Marches
de la musique, Paris, Alcan, 1909), Chansonnier de
ed. La
de St.
Gereais with A. Gastoué and from 1903 to 1908 he
wrote in the Mercure Musical a series of essays,
He collaborated in 2 vols. of Chansons (Chansons de
troubadours, Chansons du XVe siècle), with har
. d'Indy, Ch. Bordes, R. de Castéra, etc.
monies Rouart)-M. L. P.
(Paris,
AUDRAN, Edmond. Fr. compr. b. Lyons,
11 April, 1842; d. Lierceville (Seine et Oise),
17 Aug. 1901. After studies at École
Niedermeyer, went to Marseilles at age of 201
and became orgt. there. From 1877, he lived
in Paris and comp. operettas with success. His
facile style, less laboured than Lecocq's, is
praiseworthy for gaiety of melodies and freedom
of rhythms. Operettas: Le Grand Mogol (1877);
La Mascotte (1880); Gillette de Narbonne (1882);
Miss Helyett (1890). The complete number of
his works, almost all operettas, is over 40. There
is a mass and an oratorio. All publ. by Choudens,
Paris.-A. C.
AUDSLEY, George Ashdown. Scottish organ
designer, writer; Elgin, Sept. 1838.
Educated as an architect. Became interested in
organs and organ-building about 1865 and com-
menced writing on the subject in 1886. Went to
U.S.A. in 1892.
The Art of Organ-
The Organ of the
he Twenticing Dodd, Mead, 1905);
Century (Dodd, Mead,
1919); Organ-stops and their Artistic Registration
(Gray, 1921); contributions to The
and World of Science, 1886-8.-1. Olish Mechanic
AUER, Leopold (von). Hungarian violinist;
b. Beszpré 7 June, 1845. Stud. at Budapest
Cons. under Ridley Kohne; Vienna Cons.
1857-8 under J. Dont; later at Hanover under
J. Joachim; in 1863 he was leader of orch. at
Düsseldorf; in 1866 of orch. at Hamburg;
1868, Imperial Solo-violinist at Petrograd and
prof. of vn. at Cons.; from 1887 to 1892 he led
the concerts of the Russ. Imperial Music Soc.;
in 1895, was ennobled; 1903, created Staatsrat.
From 1911 he lived at Dresden, going back in
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AUGÉ DE LASSUS
1914 to Petrograd; 1917 at Christiania; in
Feb. 1918, went to New York, where he publ.
Violin Playing as I teach it (1921). Has also
written an autobiography, My Long Life in
Music (London, 1924, Duckworth).-E.-H.
AUGÉ DE LASSUS, Lucien. Fr. writer on
music and librettist; b. Paris, 1846; d. there,
1914. Wrote 5 comedies in verse, a drama in 5
acts, and libretti for 8 comic operas; a popular
lecturer, and treated the most diverse subjects
in mus. history with masterly ease; a personal
friend of Camille Saint-Saëns and wrote 3 libretti
for him (Phryné, L'Ancêtre, La Gloire); also
devoted a book to him-Camille Saint-Saëns
(Paris, 1914, Delagrave). Also publ. a volume
on Boieldieu; a history of the mus. soc. called
La Trompette; Un Demi-siècle de Musique de
Chambre (1911, Delagrave).-M. L. P.
AUGENER, Ltd. Publishers, founded 1853 in
London, by late George Augener. In 1855, first
cheap type-ed. of classics was produced; since
that date the firm has been closely identified with
cheap eds. of classics, and other educational
music. Augener's Edition (over 6000 vols.) was
commenced in 1867. In 1871 the publ. of The
Monthly Musical Record was commenced. In
1878 the firm established a printing department
in Lexington Street, Golden Square; superseded
1911 by modern printing works at Acton. In
1896 the trade-name of Robert Cocks & Co.
(establ. 1823) was acquired. The business was
converted into a company with limited liability
in October 1904. The founder, George Augener,
retired in 1910 and died in 1915. Almost from
the outset the publ. of pf. music became a speci-
ality, and the catalogue is remarkable for large
number of names of British comprs. which it
contains.-E.-II.
AUGUSTEO, The. Famous concert-hall in
Rome, the most important in Italy both as re-
gards size and artistic programmes. Built on
ruins of the Mausoleum of Augustus, whence its
name. During the last century, was used for
popular spectacles; then closed for a long time.
Some years ago the municipality of Rome made
it into the present magnificent concert - hall,
inaugurated 1908. The orch. and choral con-
certs, which had formerly taken place in Hall of
Acad. of Santa Cecilia, were transferred here,
and the Augusteo soon became the centre of
the Ital. mus. movement, as far as symph. works
are concerned. All the greatest condrs. and con-
cert-artists have appeared there. The hall be.
longs to the municipality of Rome, and is
managed by R. Acad. of Santa Cecilia. The con-
cert-season is from Dec. to April. Bernardino
Molinari (q.v.) is now the artistic dir. of the
Augusteo.-D. A.
AULA GUILLÉN, Luis. Span. compr. and pf.
prof. b. Saragossa, 1876. Stud. at R. Cons. de
Música, Madrid. Prof. of pf. at Escuela Nacional
de Música, Saragossa.
Double 5tet, str., wind and pf. (Filarmónica, Sara-
gossa, 1915); Añoranzas, symph. poem (Orquesta
Filarmónica, Madrid, 1919); Cuadros poéticos, suite
for Trozo
rapsódico (id. 1923).-P. G. M.
AUSTIN
AULAS, Francisque. Fr. compr. b. Lyons, 1884;
d. during the war, 30 June, 1915. Pupil of Cons.
Lyons; a compr. of considerable promise, of
ardent temperament; was a fanatical follower
of Berlioz. Left a certain amount of work
unpublished:
Poeme
oroh. (1904) tasque, orch.; Le Crépuscule, ob. and
pf. and vn. sonatas; pf. suite; songs.
(to composer's own words).-A. C.
AURIC, Georges. Fr. compr. b. Lodève (Hé-
rault), 1899. Pupil of Caussade at Paris Cons.;
of V. d'Indy at Schola Cantorum. Joined the
so-called "Group of Six," of which he was
the youngest member. Now mus. critic of the
Nouvelles Littéraires.
Theatro: Les Noces de Gamache; La Reine de
cour: Les Facheux; Les Pelicans. Orch.: For
suite,
3 pastorals. Songs:
Trol; no Alphabet: 3 de chansons pour
Les Joues
enfants (Songs for Children).-A. C.
AUSTIN, Ernest. Eng. compr. b. London, 31
Dec. 1874. Was in business until age of 33 when
he took up profession of music. Received a few
lessons from F. Davenport, but is practically
self-taught. His Vicar of Bray variations for str.
orch. (Novello) were perf. at Queen's Hall in
1918 (again 1919, 1920); Hymn of Apollo, Leeds
Choral Union, 1918; Stella Mary Dances,
(Queen's Hall, 1918); Ode on a Grecian Urn
(R.C.M. Patron's Fund, 1922); a long cycle of
works for organ founded on Bunyan's Pilgrim's
Progress. His works are of modern typo and
show a considerable feeling for true poetical
accentuation; some of his songs are without bar-
lines. Has publ. a vol. of verses, Songs from the
Ravel (Reeves).
Has comp. several sonatinas for children on national
tunes, and a large amount of pf-teaching music.
Most of his works are publ. by J. H. Larway, London;
a few by Novello; Stainer & Bell; Boosey; Chester.
-E.-H.
AUSTIN, Frederic. Eng. barit, operatic singer
and compr. b. London, 1872. Stud. singing under
Charles Lunn; compn. and music in general
under his uncle, Dr. W. H. Hunt. Sang at
Gloucester Fest. 1904; since then at many of the
chief fests.; and as principal barit. at R. Opera,
Covent Garden; in Beecham's seasons at His
Majesty's and Covent Garden; in Denhof's Eng.
Ring, Mastersingers and other perfs.; also in
Germany, Holland, Denmark; arr. and comp. a
new version of Pepusch's Beggar's Opera (Ham-
mersmith) which ran uninterruptedly in London
from 6 June, 1920, to 17 Dec. 1923 (1463 times);
also given in Paris, U.S.A., Canada, Australia.
Later on wrote a new mus. version of Polly
(Gay's sequel to Beggar's Opera). His other stage
works include music to The Knight of the Burning
Pestle (1921), The Insect Play (1922), and Con-
greve's Way of the World (1924). His orch. works
have been successful. In 1924 he was appointed
artistic dir. of British National Opera Co.
Orch. works: Rhapsody, Spring (ms.), Promenade.
Concerts, Sir Henry Wood, 1907; symph. poem,
Isabella (ms.), League of Music Fest. Liverpool, 1912;
symphony in E (Balfour Gardiner Concerts, 1913);
Palsgaard, orch. Songs of
sketches (mrest (Augener), Bir-
Philh. Soc. 1916;
3 songs with e
mingham League of Music Fest. 1913; 3 songs, Love's
Pilgrimage, v. pf. str. 4tet (Enoch); Songs in a Farm-
house, soli, str. 4tet and pf. (Novello); pf. pieces (W.
Rogers); The Beggar's Opera (Boosey); Polly (id.);
3 dances from The Insect Play (id.).-E.-H.
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AUSTRIAN ORCH. MUSIC
AUSTRIAN ORCHESTRAL MUSIC. The
period at the end of XIX and beginning of xx
century, was most significant in Austrian music.
Whereas opera was deeply influenced by Wagner,
the symph. line was taken up by Bruckner from
where Schubert had left it. Brahms, though
important, is not thoroughly representative of
Austrian art, which follows on from Beethoven's
9th symphony. The last movement of symphony
becomes the problem. Bruckner connects it by
bringing in principal theme of 1st movement at
climax of last as a leitmotiv. Mahler does this
in his 1st symphony, but in his 2nd, uses chorus.
His 3rd symphony has 6 movements (4th, a
solo; 5th, chorus). In last movement of his
4th symphony he uses a s. solo voice. The 5th,
6th, 7th are instrumental, and, in contrast to
former, very polyphonic. The finale of 5th and
7th is a rondo; the finale of 6th is a symphony
in itself (-hour). He solved Beethoven's prob-
lem by making his 8th symphony choral through-
out. Mahler began a new style with his 9th
symphony, instrumental throughout, leaving
his former individual romantic line to open an
objective period. Nothing further has been done
in Austria. The younger men are trying to create
a new dramatic style or work out the new cham-
ber-music initiated by Schönberg in the Kammer-
symphonic and 2nd str. 4tet.-EG. W.
AUTERI - MANZOCCHI,
Salvatore. Ital.
compr.
Palermo, 25 Dec. 1845; d. Parma,
1924. Compr. of several mélodrames, amongst
which Dolores (perf. Florence, 1873) was especi-
ally successful. Many of his ballads became
AZKUE
popular for their melodic richness and spon-
taneity.-D. A.
AVISON EDITION. An ed. of contemporary
British music, publ. for the members of Soc. of
British Comprs. by Cary & Co. The name was
taken from an Eng. compr. Charles Avison (b.
Newcastle-on-Tyne, about 1710) (see Grove's
Dictionary of Music).-E.-H.
AXMAN, Emil. Czech_compr. b. Rataje,
Moravia, 1887. Stud. at Prague Univ. under
Vítězslav Novák; Doctor of Mus. Science, 1912;
official of Nat. Museum, Prague, since 1913.
Publ. a study, Moravia in the Czech Music of
XIX Century.
Choral works, song-cycles: Z Vojnu (From the
naděje (Mourning and Hope); Jasno; 2 pf. sonatas
(publ. V. Kotrba; J. Otto; E. Starý; F. A.
Urbánek; Hudební Matice).-V. ST.
AXTENS, Florence E. Australian compr. b.
London. Lives in Sydney.
Memory Sketches pt. (Novello); sets of
sets of Australian
2-part songs (Nicholson, Sydney; also New South
Wales Education Board); vn. sonatina, ms.; solo-
songs, etc.-E.-H.
22
AZKUE, Father Resurrección María de. Span.
compr. philologist and leading musicologist of
Basque group; D.D.; dir. of Acad. de la Lengua
Vasca (Basque Language Acad.), Bilbao.
Vizcaytik Bizkaira, 3-act zarzuela; Pasa de chimbos,
2-act zarzuela; Eguzkia nora, 2-act zarzuela; Colonia
inglesa,
Sasi-eskola,
Aitaren bildur, 1-act zarzuela; Ortzuri, 3-act opera
Urlo, 3-act opera. Folk-lore: La música popular vas-
congada; Música popular vasca; Cancionero popular
vasco. Church music: J
medita-
tions; Cánticos religiosos; Cánticos a Nuestra Señora;
Coro y tres estrofas en honor de San José.-P. G. M.
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BACARISSE CHINORIA, Salvador. Spanish
pb Madrid, 12 Sept. 1898. Stud. at R. Cons.
de Masca, Madrid, under Conrado del Campo.
His works are modern in spirit and form.
? Nocturnes, v. and orch. (poems by J. A. Silva);
Ulises, symph. poem; Heraldos, pf.
La Musical Española, Madrid). P. G. M.
(Unión
BACCARA, Luisa. Ital. pianist; b. Venice,
14 Jan. 1894. Stud. at Milan Cons., then at
Vieuu. She appeared successfully as concert-
player; 1918 played at Augusteo, Rome.
Gabriel d'Annunzio dedicated various eulo-
gistin writings to her.-D. A.
BACH, David Josef. Austrian writer on music;
entic; b. Vienna, 13 Aug. 1874. Stud. philosophy
Graduated
and philology at Vienna Univ.
Ph D. at 23; went to Berlin, where he stud.
under Helmholtz; later at Leipzig (under
Wundt) At 26 began to study music, giving
lessons and writing for newspapers. In 1900,
teturned to Vienna; wrote for Frankfurter
Zeitung, Die Zeit, and finally for the Arbeiter
Zeitung (Labour paper), where he is now chief
uritie.
Instituted great Workers' Symphony
Concerts in Vienna and leads mus. education
amongst Viennese working classes. The great
Music Fest. in Vienna, 1918, was due to him.
He is also mus. adviser to municipality of
Vienna. He was editor (with J. Bittner) of the
Merker, 1918-22.-P. P.
BACH, Fritz. Swiss orgt. compr. b. Paris,
3 June, 1881. Stud. compn. in Paris under Vin-
cent d'Indy and organ under Guilmant and
Vierne. Since 1913, has lived at Nyon (Switzer-
land), where he is orgt. and teacher of harmony.
Symphony in C mi.; pf. 5tet, A mi.; numerous.
choruses (Lausanne, Fetisch) and organ pieces.
-F. H.
BACH DE LLOBERA, Lea. Harpist; b. Paris
in 1883. At 7, entered Cons. of Isabel II in
Barcelona, where her parents had gone. Gained
professional diploma with honourable mention
here when 12 years old. Then went to Cons.
Paris, under Hasselmans. 1st prize and pro-
fessional diploma, 1907. In London was received
and complimented by late King Edward VII.
-A. M.
B
3 acts and 5 scenes; libretto by Charles Meré).
This powerful and stormy piece aroused both
enthusiasm and hostility, but it won the approval
of musicians. During the war, as conductor of
the Opéra orchestra, he successfully produced
a ballet (libretto by Henry Prunières) into
which he incorporated works of XVIII century,
which he had orchestrated with great verve
and skill, La Fête chez La Pouplinière.
BACHELET, Alfred. Fr. compr. b. Paris, 26
Feb. 1864. Is one of the most remarkable opera-
composers in modern Fren
ool; ained
popularity only late in life; then only with one
work, a lyrical drama called Quand la cloche son-
nera in 1922. After brilliant studies at Conserva-
toire, he obtained Prix de Rome, in 1890. He was
then practically unheard of for 25 years, except
among his composer friends. Very occasionally
a song, lyrical scene, or symphonic poem from
his pen was performed at concerts. In 1914,
the Opéra performed Scemo (lyrical drama,
When appointed head of Conservatoire at
Nancy (succeeding Guy Ropartz), Bachelet
showed great initiative. He conducted the
orchestra, and composed for it his lyrical drama,
Quand la cloche sonnera, which was performed
with phenomenal success at the Opéra-Comique
in Nov. 1922. Although the libretto is most
mediocre, it yet contains a dramatic situation
of which the composer has taken excellent
advantage. The music throughout is animated
by a dramatic inspiration which carries the
hearer away without even being able to analyse
his sensations. This work is one of the most.
powerful produced on the French operatic stage
for the last 30 years.-H. P.
BÄCK, Knut. Swedish compr. pianist; b.
Stockholm, 22 April, 1868; stud. there and in
Berlin; lives in Gothenburg; member R.A.M.
Stockholm, 1912. Has comp. pf. pieces and
songs.-P. V.
Liszt.
BACKER-GRÖNDAHL, Agathe Ursula. Nor-
wegian pianist, compr. b. Holmestrand, 1 Dec.
1847; d. Christiania, 6 June, 1907. Pf. pupil
of Otto Winter-Hjelm, Halfdan Kjerulf and
Ludv. M. Lindeman; in 1866 of Kullak (Ber-
lin); afterwards, for short time, of Bülow and
Gave concerts in 1871 with great suc-
cess at Gewandhaus, Leipzig, and subsequently
in the great cities of Europe. Bülow spoke very
highly both of her gifts as a pianist and of her
compositions in one of his letters to Allg. d.
Musikzeitung. In compn. she was pupil of Würst
in Berlin amongst others, and her 70 works secure
for her the first place among Norwegian female
composers.
As a pianist, she cultivated especially masters
of Romantic school, and her romantic tempera-
ment also stamps her pf.-pieces and songs. Her
lyric vein flows richly and smoothly, and her
songs have charm, and a fresh, natural feeling.
B.-G. gave frequent concerts in her native land,
where she was also highly esteemed as a teacher.
In 1875 she married the condr. and teacher of
singing, C. A. Gröndahl.
Songs
cycles: Flower Vignettes; Southwards; The Child's
Spring Day; Songs from the Sea; Ahasuerus, etc.);
arr. of Norwegian folk-songs and folk-lays; pf.
pieces (including several concert-studies); character-
pleces; suites; fantasy-pieces; cycle, In the Blue
Mountains; Children's Pictures; adaptations of folk-
songs and dances, etc.-J. A.
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BACKER-GRÖNDAHL
BACKER-GRÖNDAHL, Fridtjof. Norwegian
pianist, compr. b. Christiania, 15 Oct. 1885.
Stud. pf. under his mother, the pianist and
compr. Agathe Backer-Gröndahl (Christiania);
afterwards under Rudorff, Barth and Dohnányi
(Berlin), and theory under Iver Holter (Christi-
ania), and Kahn (Berlin). Gave his 1st concert
in Christiania, 19 Sept. 1903. Has given con-
certs in most of large cities in Europe. Has
comp. several colls. of short pieces for pf.
frequently played in London, where he is now
living.-U. M.
Has
BÄCKER-LUNDE, Johan. See LUNDE.
BACKHAUS, Wilhelm. Pianist; b. Leipzig,
26 March, 1884.
Pupil of Alois Reckendorf,
Leipzig, till 1899; then of Eugen d'Albert,
Frankfort-o-M. Has toured as virtuoso pianist
since 1900. Piano-teacher R. Coll. Music, Man-
chester, 1905; Rubinstein Prize, 1905. Is one
of the most brilliant German pianists with an
astounding and polished technique.-A. E.
BACKHOUSE, Rhoda. Eng. violinist; b. near
Darlington, 17 June, 1889. Stud. under Editha
Knocker (York) and Leopold Auer (in Petro-
grad, Dresden and Christiania). 1st publ. appear-
ance 1917. Specialises in chamber-music, and
leads her own str. quartet.-E.-H.
BAGIER, Guido. Ger. author and compr.
b. Berlin, 20 June, 1888. Stud. under Max Reger
and Hugo Riemann, Leipzig; Ph.D. 1910
(thesis, Herbart and Music); editor of the pro-
gressive publication, Feuer, since 1918. Wrote
Max Reger (Stuttgart, 1923, Deutsche Verlags-
Anstalt).
and
music to H. v. Botticher's Liebe Gottes (Düsseldorf,
1919).-A. E.
BAGLIONI, Silvestro. Ital. physiologist and
patron of the science of music; b. Belmonte
Piceno, 30 Dec. 1876. Prof. of Physiology at
R. Univ. Rome; applied himself with par-
ticular devotion to research and study in re-
lation to music. Had constructed for his re-
searches a harmonium with two keyboards,
tuned to quarter-tones, which he calls an
enarmonium.
The Psycho-physiological Basis of Musical Esthetics
(in
Vol. VI, 1910);
of Natural Music (n
Contributions to the Knowledge
Records of Roman Anthropological Soc., 1910 and
1911); The Influence of Sounds on the Vocal Range of
Language (in Review of Anthropology, XIX, 1914, and
Italian Record of New
(id.); Variations of the Vocal Register during the
Various Hours of the Day (id.).-D. A.
BAGNATI, Cayetano. Argentine pianist, compr.
b. Tropea, Italy, in 1840; d. Buenos Ayres, 1904.
Stud. at Naples under Fischietti and Ketten
when 8 years old. Played in public at 9, when he
was most enthusiastic
cived. Went to
Cons. di San Pietro a Maiella, Naples, to com-
plete his training. Appointed mus. dir. of Chapel
of Bishop of Tropea at age of 19. Then went to
Buenos Ayres with Melani, playing for first time
in Buenos Ayres the 1st concerto of Martucci.
Establ. Cons. of Almagro in 1890, which soon
became a famous institution. Has publ. large
number of pf. solos, trios, 4tets and some orch.
music.-A. M.
24
BAIXULI
BAINES, William. Eng. compr. b. Horbury,
Yorks, 1899; d. 6 Nov. 1922. Showed mus.
inclination at a very early age; practically self-
taught; developed pneumonia in the army in
1918, and never fully recovered; comp. chiefly
during the months when he was temporarily
convalescent. Two striking pf. works, Paradise
Gardens and Seven Preludes (Elkin), drew the
attention of L. Dunton Green, and the writer,
to the unusually fine character displayed by
the then unknown compr. Frederick Dawson
helped much by giving B.'s works special pro-
minence in his programmes. The writer assisted
him to further publication; but the composer's
rich promise was broken before full maturity
by his untimely death at the age of 23. A tablet
is being erected in York Minister to his memory.
In his remarkable pf. feeling he followed in the
direct line of Field, Chopin, and Scriabin.
There is a pf. sonata left in ms.; also many songs,
collo pleces, and much chamber-music. Amongst his
other publ. pf. pieces are: Tides (Elkin); Milestones
(id.); Silver-Points (id.); Poems (Augener); Coloured
Leaves (id.).-E.-H.
BAINTON, Edgar Leslie. Eng. compr. b.
London, 14 Feb. 1880. Won open pf. scholarship,
R.C.M. London, 1896; Wilson Scholarship
(compn.) 1899. Stud. compn. under Walford
Davies, Sir Ch. Stanford, Ch. Wood. In 1912,
principal of Cons. of Music, Newcastle-on-Tyne.
Symph. poem, Pompilia (Queen's Hall, London,
1903); symphony, B flat (Bournemouth, 1903);
overture, Prometheus (Newcastle Fest. 1909);
Celtic Sketches (Queen's Hall, 1912); str. 4tet
(London, 1912). Interned in Ruhleben, Ger-
many, 1914-18. Cond. 2 concerts of British
music in Holland with Mengelberg's orch.
(Amsterdam, The Hague), Dec. 1918.
at Sea, chond orch. (id.); Song of
The Blessed Damozel, s. and t. soli, chorus and orch.
(Breitkopf); symphony, Before Sunrise, contr._solo,
chorus, orch. (Carnegie award; Stainer & Bell);
Staircase, chorus
(Curwen); Concerto-Fantasia, pf. and orch. (Carnegie
award, 1921; Stainer & Bell); Miniature Suite, pf.
duet (Anglo-French Co.); pf. pieces (Augener;
Anglo-French Co.); songs, etc. A sonata, vla, and
pf. (1922), an Eclogue, orch. (1923) and a work for
chorus and orch. The Tower (1923) are not yet
published.-E.-II.
BAIRSTOW, Edward Cuthbert. Eng. orgt.
compr. b. Huddersfield, 22 Aug. 1874. Pupil of
Sir F. Bridge, 1893-6; amanuensis to him,
1896-9. Orgt. Wigan Parish Ch. 1899-1906;
Leeds Parish Ch. 1906-13; York Minster, 1913.
Condr. Leeds Philh. Soc., Bradford Fest. Choral
Soc. and York Mus. Soc. Mus. Doc. Durham,
1900. He is one of the very finest of cathedral.
orgts. and choir-trainers. Has comp. many fine
anthems, part-songs (Novello) and organ pieces
(Augener; Stainer & Bell). His music is always
very solidly constructed, scholarly and sincere.
His sacred works have a strong church character.
In his own perfs. he shows a great preference for
music by native composers.-E.-H.
and oroh. (id.): The Vo
BAIXULI, Father M. Span. musicologist.
Author of study on Obras musicales de San
Francisco de Borja (in review Razón y Fe,
Madrid, 1902). Pupil of José María Ubeda.
Member of the Jesuit Order.-P. G. M.
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BAJARDI
mus.
BAJARDI, Francesco.
Ital. pianist and
cumpr. b. Isnello (Palermo), 23 April, 1867.
One of best pianists of the Sgambati school.
Concert-player and teacher of note;
prof. at R. Liceo Mus. di Santa Cecilia, Rome.
Author of charming compns. for his instr.
There are also a symphony, an overture and a
suite for orchestra.-D. A.
BAKER, Dalton. British singer and orgt.
b. Merton, Surrey, 17 Oct. 1879. Trained at
R.A.M. London. Won the Mence Smith scholar-
ship for singing. 1894, orgt. and choirmaster at
the Guards' Chapel, Chelsea Barracks; 1894-6,
held similar position at St. Mary Magdalene's,
Munster Square. His début as a singer occurred
at St. James's Hall Ballad Concerts in 1902,
after which he appeared regularly at mus. fests.
and at most important London and provincial
concerts. Took part in 1st perf. of Bantock's
Omar Khayyám (Birmingham Fest.) and 1st
London perf. of Elgar's The Kingdom. In 1914
went to Canada and joined staff of Toronto
Cons. as teacher of singing. In 1920 founded
Toronto Orpheus Soc. He has frequently sung
in U.S.A. and now lives in New York.-L. S.
BAKER, Theodore. American author and
editor; b. New York, 3 June, 1851. Stud.
in Leipzig from 1874 under Oskar Paul,
and 1878 at Univ. Here received his Ph.D.
with thesis on the music of the N. Amer.
Indians, the result of studies made in 1880, on
the Reservation of the Seneca Tribe in New York
State, and at the Indian School at Carlisle, Penn-
sylvania. This was the first scientific attempt at
fixing the music of the Indians, and was the
source of a number of the themes used by Mac-
Dowell in his Indian Suite for orch. (1896). Until
1890, B. lived in Germany. Since 1892, has
been literary ed. of music-publishing firm of G.
Schirmer in New York, for whom he has transl.
innumerable songs as well as theoretical, peda-
gogical, historical, and aesthetic works by Paul,
Bussler, Lobe, Jadassohn, Löwengard, Richter,
Kullak, Bree, Lamperti, Weitzmann, d'Indy,
Busoni, Istel and others.
Über die Musik der nordamerikanischen Wilden
(Leipzig dissection, 1882); Dictionary of Musical
Terms
1895; 18th ed. 1918); Biographical
Dictionary of Musicians (Schirmer, 1900; 3rd ed. by
Alfred Remy, 1919).-O. K.
BALAKIREF, Mily Alexeievitch (accent 2nd
syll.). Russian composer; b. Nijny-Novgorod, 21
Dec. 1836/2 Jan. 1837; d. Petrograd, 16/29 May,
1910. The acknowledged leader of the so-called
"Nationalist " Russian school which sprang up in
the 'fiftics, as much under his influence as under
that of Glinka, whose direct continuator he al-
ways remained. According to his own statement
(letter to N. Findeisen, 1903, published in
Russian Musical Gazette, 1910, No. 41) his only
teacher, apart from his mother under whom he
started to study music and Dubuque (1812-97,
a pupil of Field) from whom he received a few
lessons, was Karl Eisrich, to whom his early
Fantasy on Russian Motives for pf. and orch.
[1852; unpubl.) is inscribed.
As a pianist he achieved fame early. Of his
25
BALAKIREF
early compositions a few remain unpublished;
others, such as the incidental music to King
Lear (1861), the tone-poem Russia (1862), the
overtures on Spanish (1851), Russian (1858), and
Czech (1867) motives were only published many
years after they were written, and often in much
revised form (the last-named now bears the title
In Bohemia, tone-poem). In 1861, he began to
be acknowledged as the leader and educator of
a number of budding musicians whom we see
instinctively congregating around him; first
Cui and Borodin (both them his elders), then
Mussorgsky, and a little later Rimsky-Korsakof.
He exercised upon every one of them a great
influence, not always easy to disengage clearly;
and an influence of similar order made itself felt
even on composers who were not his pupils, such
as Tchaikovsky, who received from him a great
many suggestions and often profited by these
(see The Correspondence between Balakiref and
Tchaikovsky, by M. D. Calvocoressi, Musical
Times, Nov. 1912).
In 1862 he founded with Lomakin the Petro-
grad Free School of Music, and devoted much of
his time to organising and conducting concerts
at which many orchestral works by Russian
composers were first performed. In 1869 he was
appointed conductor of the Imperial Russian
Musical Society and director of the Imperial
Chapel. In 1874 he renounced his various posts
and went to live in the country, where ho re-
mained in complete seclusion until 1881, when
he re-appeared at Petrograd with the score of
his symphonic masterpiece, the tone - poem
Tamara, which he had started composing in
1867. In 1883 he was appointed director of the
Court Chapel. In 1894 he retired on a pension,
and devoted the remainder of his lifetime to
revising his early works and writing new ones.
As a creative artist, he is extremely original,
although much under the influence of Glinka,
Chopin, Liszt and Schumann, and, to a lesser
degree, of Berlioz. Nowhere has the combina-
tion of these influences (common to most great
composers of his generation, especially Borodin
and Rimsky-Korsakof) and of the direct in-
fluence of folk-music, Russian and Eastern, led
to finer artistic results. His output is uneven and
comprises (especially as regards pf. music) works
whose artistic significance is very slight. But
Tamara, the pf. fantasy Islamey and the tone-
poem Russia (as well as some of his early songs)
remain landmarks in the history of modern de-
velopments in music; and many other works of
his, such as the two symphonics (one written in
1865 but published in 1897 only; the other
published in 1909, immediately after its com-
pletion) are rich in poetic beauty of the highest
order.
Orch.: Tamara, tone-poem (Moscow, Jurgenson);
Russia, tone-poem (Leipzig. Zimmerman); In
(id.); inci-
Bohemia, tone-poem (id.); 2 69.); Pf. con
dental music to King Lear
Islamey, fantasy, for pf., recently scored for pf. and
orch. (Jurgenson); pf. scherzi, mazurkas, waltzes
(Zimmermann); pf. sonata (id.); 20 songs (1858-61)
(Moscow, Gutheil); 10 songs (1895) (Jurgenson); 10
Bongs (1903) (Zimmermann).-M. D. C.
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BALDANZA
BALDANZA, Romana. Argentine singer;
b. Tropea, Italy. Went to Buenos Ayres as a
child, where she stud. at Almagro Cons. under
Bagnati. Completed her training at Cons. in
Naples; gained special prize offered by Ricordi,
the Milan publ. After giving numerous concerts
in Naples and Milan, went to Buenos Ayres in
1908. Her light s. voice has a very pure quality.
Founded Buenos Ayres Academy of Singing,
1910.-A. M.
BALDASSARI, Rafael. Argentine cellist; b.
Rome in 1861. Stud. under Quarenchi and
Torriani at Milan Cons., becoming 1st cellist of
La Scala, Milan. Visited S. America in 1896,
settling down in Buenos Ayres as teacher. His
Hymn Guemes took gold medal in Salta
competition, 1911. Has comp. songs and light
instrumental pieces.-A. M.
BALFOUR, Henry Lucas. Eng. orgt. condr. b.
Battersea, London, 1859. Scholar of National.
Training School of Music (now R.C.M.), 1876-82.
Stud. under Sullivan, Stainer, Ernst Pauer,
Brinley Richards, Cowen, Prout. Gen. condr.
R. Albert Hall Choral Soc. from 1922.-E.-H.
BALL, George Thalben. Eng. orgt. b. Sydney,
Australia, 18 June, 1896. Stud. R.C.M. London,
under Sir H. Parry, Sir C. Stanford, Sir F.
F. Bridge, Frits Hartvigson and Dr. Charles
Wood; orgt. Temple Ch. London from 1919;
prof. of organ, R.C.M. from 1919.-E.-H.
BALLING, Michael. Ger. condr. b. Heidings-
feld-o-M., 28 Aug. 1866. Pupil of Hermann
Ritter at Würzburg Music School; then as
vla. player in Mayence; in Court Orch. Schwerin
(1886-92); and fest. performances in Bayreuth.
From Schwerin went to New Zealand. Founded
the first music school in Australasia at Nelson.
After world tour of 2 years came to England;
in 1896 entered upon career of condr. as assistant
at Bayreuth and in the autumn of same year
was chorus-master at Hamburg Stadttheater;
1898, 1st condr. in Lübeck; then in Breslau and
succeeded Mottl in Carlsruhe; 1906-14, was also
engaged as mus. dir. Bayreuth. In 1911 went to
Manchester (Hallé Orch.) as successor to Hans
Richter, remaining there till outbreak of 1914
war. Gen. mus. dir. at Darmstadt since 1919.
The complete edition of Richard Wagner's works,
now being publ. by Breitkopf, is under his direc-
tion.-A. E.
BAND, Erich. Ger. condr. and compr. b. Ber-
lin, 10 May, 1876. Stud. High School of Music
and Univ. Berlin; condr. Mayence, Bremen,
Rostock; mus. dir. and condr. Court Theatre,
Stuttgart, from 1905.
Pf. pieces, op. and 5; pf. sonata, op. 2; str.
4tet in A, op. 3; Romance for cello and orch. op. 7:
songs, op. 4 and 6. Has also dono literary work.
-A. E.
BANDA MUNICIPAL of Madrid. Spanish
military band, of 88 first-class performers,
founded by Madrid County Council; organised
and cond. since its creation (June 1909) by
Ricardo Villa (q.v.).-P. G. M.
BANDINI, Bruno. Argentine vla.-player; b.
Faenza, Italy, in 1889. Went to Buenos Ayres as a
26
BANTOCK
child; stud. in Santa Cecilia Inst. under Galvani;
obtained gold medal in open competition. Gave
first vla. concerts in Buenos Ayres. Now devotes
himself to teaching in government and private
insts. Has publ. a Prelude for vla. solo.-A. M.
BANDROWSKI, Alexander. Polish t. singer;
b. Lubaczow, 1860; d. Cracow, 1913. Excel-
lent impersonator of Wagner's and Meyer-
beer's heroes. From 1889 to 1901, permanently
engaged at Frankfort Opera. Sang in nearly all
the larger opera houses of Europe and America.
Publ. transi. of some dramas of Wagner and
wrote libretti to 2 Polish operas: Stara Basn
(An Old Fable), for Władysław Żeleński (1907),
and Bolesław Smialy (Boleslas the Bold) for
Ludomir Różycki (1909).-ZD. J.
BANG, Maja. Norwegian-Amer. violinist; b.
Tromsö, 24 April, 1877.
Trained at Leipzig
Cons.; afterwards stud. under Marteau in
Geneva and Auer in Petrograd. Début, Christi-
ania, 1900. Establ. Oslo Music School, Christi-
ania. Teacher at Auer's Acad. in New York,
1919. Wrote a Violin Method in 6 vols. (New
York, 1922, Fischer). Married, in 1922, Baron
Hoehn, New York.-U. M.
BANTOCK, Granville. English composer; b.
London, 7
1868. Originally intended for
Indian Civil Service, but soon turned to music;
after a few lessons at Trinity College of Music,
entered Royal Academy of Music in 1889, win-
ning the Macfarren Scholarship after his first
term there. During his student days a concert
version of his Cadmar (1-act opera staged at
Olympic, 1892) was given. Between May 1893
and February 1896, he edited The New Quarterly
Musical Review and toured the country as con-
ductor of musical comedies and light music.
After world tour with an operatic company,
he settled again in London in winter of 1896,
giving a concert devoted entirely to modern
British composers (Bantock, Hawley, Hinton,
R. Steggall, Wallace). In 1897, he was appointed
musical director of the Tower at New Brighton,
contenting himself with a military band for the
first year, but inaugurating in the following year
a series of concerts with bold and even adven-
turous programmes. In February 1900, he con-
ducted a concert of British music at Antwerp.
There his music was heard for the first time
out of England.
In the autumn of 1900, he was appointed
Principal of the School of Music attached to the
Birmingham and Midland Institute, a post he
still holds. To this great music-school he has.
given a character all its own; and he has been
no less original in his modelling of the Faculty
of Music at Birmingham University where (from
1908) he is the Professor of Music. He was
appointed conductor of Liverpool Orchestral
Society in 1904, and Sibelius paid his first visit
to England (to conduct his first symphony and
Finlandia) at Bantock's invitation. One of the
most generous of men, numberless musicians
and composers owe their first start to him. He
was one of the earliest pioneers of contemporary
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BANTOCK
British music, and himself one of the foremost
creators of it. He never composes without a pro-
of his
gramme, more or less defined; and much of
music is avowedly of a mimetic order. His Omar
Khayyán for chorus and orchestra (Part I, pro-
duced Birmingham Festival, 1906; II, Cardiff
Festival, 1907; III, Birmingham Festival, 1909)
flung wide the gate to a new English choralism, a
gate partly opened by Elgar with his Gerontius
in 1900. Bantock enjoys his new domain in
Atalanta; The Great God Pan; Vanity; The Song
of Songs (1922-4), etc. His genius was of just the
right calibre to stand in between the somewhat
dry academicism and strongly German bias of
the eighties and 'nineties in England and the
younger XX century school. His original outlook
and strong imagination, his pagan love of beauty
in all forms, and his bold pursuance of it, brought
an entirely new feature into English music. In
addition, he has personally trained many young
composers.
As a composer he has passed through many
phases, and made valuable contributions in all
cult of the East, folk-music, and nationalism,
modern choral development, socialistic music and
a more universal style. He did not ignore the big
figures of European music, and owes a good deal
Wagner, Strauss and the Russians. He is al
great orchestral colourist. His best orchestral
work is to be found in the Hebridean Symphony,
frankly pictorial, and in The Great God Pan. He
is a sturdy believer in the competition festival
movement and one of its most active apostles.
In 1923, with Plunket Greene, he visited Canada
and started the competition movement there.
His adjudicative work has reacted on his own
compositions, inspiring him to write for un-
accompanied choirs in an increasingly masterful
way (Atalanta; Vanity of Vanities). Birmingham
University bestowed on him M.A. and Edin-
burgh, Mus.Doc. honoris causa.
For chorus and orch.: Omar Khayydm, Parts I, II
and III for c. t. and b. soli, chorus, orch, (Breitkopf):
The Great God Pan, soli, chorus, orch. (Novello);
The Time-Spirit, chorus and orch. (Breitkopf); Sea-
Wanderers, chorus and orch. (Breitkopf); Christ in
the Wilderness, for s. and b. soll, chorus and orch.
(Breitkopf); The Song of Songs, in 5 parts, for soli,
chorus and orch.
The Seal-Woman, a Celtic
folk-opera, in 2
Orch. works: Hebridean Symphony (Stainer &
Bell); Pagan Symphony; Processional and Jaga-
Naut (Breitkopf); The Pierrot of the Minute (id.);
Dante and Beatrice (id.): Helena Variations (id.):
The Witch of Allas (Novello); Fifine at the Fair (id.);
Overture to a Greek Tragedy (Leuckart): Russian
Scenes (Bosworth); From the Far West (Breitkopf);
Scenes from the Scottish Highlands (id.); Sapphic
Poem (Novello), etc.
Unace. choral works: Villon, ballade (Novello);
The Lost Leader (Breitkopf); The Twilight Tombs of
Ancient Kings (Curwen); Cavalier Tunes (Novello):
Atalanta in Calydon (Breitkopf); Vanity of Vanities
(Curwen); A Pageant of Human Life (Novello);
The Golden Journey to Samarkand (Birchard); The
Grianan of Aileach (Curwen); Lucifer in Starlight
(Novello); War-Song of the Saracens (Curwen), etc.
Vocal works: Sappho (Breitkopf); Ferishtah's
Fancies (id.); Hymn of Pan (Swan); Ghazals of
Hafiz (Breitkopf); Songs of Arabia, Japan, Egypt,
India,
(Swan): 13, China, 6 vols. (id.); 4 Pagan Chants
Lyrics
(Curwen); The March (Chester); Songs from the
Chinese Poets, 2 vols. (id.); Songs from the Chinese
(Elkin); Songs of Childhood (id.); The Vale of Arden
(Enoch), etc.
27
BARBIERI
Chamber music: Sonata in F for vla. and pf.
(Chester): sonata in G ini. cello alone (id.); Hambadil
and Pibroch for cello (id.), etc.; pf. pieces (Swan;
Forsyth; Elkin).
Miscellaneous: Music for Electra of Sophocles
(Breitkopf); Judith, 2 vols. (Swan); Lalla Rookh,
(2 vols. (id); Arabian Nights, 4 vols. (id.); Scottish
Scenes (id.), etc. Unison and 2-, 3-, 4-pt. songs;
school songs; part-songs, etc. (Curwen; J. Williams:
Novello; Arnold; Boosey).
Edited 100 Foli
Folk-Songs of all Nations (Oliver
Ditson Co.): 100 Songs of England (id.); 60 Patriotic
Songs of all Nations (id.); pf. Albums of Byrd, Bull,
Farnaby (Novello).
Consult H. O. Anderton, G. B. (John Lane, 1915).
-E.-H.
BARBI, Alice. Italian concert - singer; b.
Bologna, 1862. Acquired great fame by her
concerts in Italy and principal countries of
Europe.
An excellent interpreter of music of
the past and present, which she sang in the
orig. languages. Brahms wrote many songs for
her, and Martucci composed La Canzone dei
Ricordi for her. In 1897, B. married Baron.
Wolf-Stomersen. Sgambati, an admirer of
B., publ. an art. about her in Musical World,
London, 1885, p. 452.-D. A.
BARBIER, René Auguste Ernest. Belgian
compr. b. Namur, 12 July, 1890. Stud. at
Académie de Musique, Namur; later Liège
Cons. (compn. under Sylvain Dupuis). 1st prize
for cantata La Légende de Béatrice.
Yvette (opera, 1st perf. Namur, 1912); pf. and yn.
sonata; 5tet; trio; pf. Triptych (publ. L'Art Belge,
Brussels); concerto for Hans piano (q.v.) and orch.;
Mass for 3 vs. and organic cantata (perf. Namur);
many songs.-C. V. B.
BARBIERI, Francisco Asenjo. Span. compr.
condr. and musicologist; b. Madrid, 3 Aug. 1823;
d. there, 19 Feb. 1894. In 1859 organised a series
of Conciertos Espirituales at Madrid. In 1870
cond. symph. concerts at Lisbon. Fellow of Real
Acad. de Bellas Artes. Holder of many Span.
honours, including the Gran Cruz de Isabel la
Católica. started his career as a clar.-player
in a band
the Milicia Nacional. He initiated
the reconstruction of the history of Span. music,
and the doom of the domination of the Ital.
school in Spain. Having a natural bent for his-
torical investigation he devoted himself, on his
own initiative, to the research of libros de cifra
(tablature), all kinds of ancient mus. documents,
and especially the books of the vihuelistas and
the Cancioneros (collections of songs) of xv and
XVI centuries. In these, he found the funda-
mental elements for regeneration of contem-
porary school and practical study of mus. folk-
lore, a branch of knowledge which before him in
modern times had been explored only by literary
men such as Serafín Estébanez Calderón, José
María Quadrado, Pablo Piferrer, Francisco
Pelayo Briz, Manuel Mila y Fontanals (author of
first book on Esthetics publ. in Spain). The
fruit of his research work is to be found in (a) the
publication of the annotated transcriptions of the
so-called Cancionero de Palacio and Cancionero
Musical de Barbieri (1890), the pamphlet on the
Canto de Ultreja, the much discussed Pilgrimage
Chant (probably of foreign extraction), annexed
Players of the old Span. instr. vihuela, not to be
confused with the lute of the same period.
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BARBLAN
to the Codex of Calixtus II (XII century) (see
OLMEDA); (b) the leading part he took in the
religious reform initiated towards 1890; (c) the
assistance he gave to Don Marcelino Menéndez
Pelayo in relation to his great work Historia de
las Ideas Estéticas en España (1881-91)-in
which the artistic personality of the Jesuit
Eximeno (see PEDRELL) was brought to light-
and (d) the coll. of books and mss. now in the
Biblioteca Nacional, Madrid.
As a compr. B. was distinguished from Eslava,
the most important of his contemporaries, by
working always, within the limits of his technique,
in perfect agreement with his ideas on mus.
nationalism. This attitude is the most eloquent
proof of his strong individuality and solidity of
character. His zarzuelas, El Barberillo de Lava-
piés and Pan y Toros, show him, among his
Italianised contemporaries, as the Spanish com-
poser par excellence. In them, by far his most
important work, he saved from oblivion a
treasure of rhythmic and melodic elements.
characteristic of the national folk-lore of the
XVIII century, thus laying the foundation of
a national school with a physiognomy that
distinguishes it from all the others. Never was
a man of a studious nature, and possessor of rare
knowledge, so free of
mpousnes and pedanti-
cism. Joviality is ever present in his music, for
it was a distinct feature of his character, well
illustrated in "a humorous study dedicated to all
dancers by one of them," entitled Las Casta-
ñuelas (The Castanets). His Barberillo de Lava-
piés and Pan y Toros have the greatest signifi-
cance for Spanish music.
The following list contains but a few of his
zarzuelas, of which he wrote over 70, in 1, 2, 3
or more acts:
Los Carboneros; Un loro y una lechuza; Triste
Ojo a la niñera; El Diablo Cojuelo; Los
Jugar
Juan de Urbina: Chorizos y Polacos; La Vuelta ai
Mundo, etc. (publ. Unión Musical Española, Madrid).
Many of his works are out of print, but the scores are
in the possession of the Sociedad de Autores Españoles,
Madrid.-P. G. M.
BARBLAN, Otto. Swiss orgt. compr. b.
Scanfs (Engadine), 22 March, 1860. Began mus.
studies at Chur (Switzerland). Entered Cons.
at Stuttgart in 1878, pupil of Schuler and Alwens
(pf.) and of F. Faisst (organ and compn.). Became
condr. of mixed choir and male choir at Chur in
1885. Since 1887 orgt. at St. Peter's Cath. in
Geneva, where he also conducts the Société de
Chant Sacré (Oratorio Concerts) and teaches
compn. at Cons. Among his compns. (written in
Bach style) his choruses obtained great success.
For soli, chorus and orch.: Post tenebras luz, op. 8
Calvinfeier,
Jubilee of Calvin in 1909);
Ode patriotique, op. 20 (for inauguration of Swiss
National Exhibition, Geneva, 1896); St. Luke
Passion, op. 25; Psalm CXVII and Psalm LXXV
and Organ:
op. 6; Chaconne on B.A.C.H. op. 10; Toccatasacaglia,
op. 23;
Variations on B.A.C.H. op. 24; str. 4tet, op. 19.
Mostly publ. by Hug, Leipzig.-F. H.
BARCEWICZ, Stanisław (phon. Bartsevich).
Polish violinist; b. Warsaw, 16 April, 1858. Stud.
under Hrimaly, Laub and Czajkowski at Moscow
Cons. At 11, began to appear in public. For many
BARRIENTOS
years, undertook long tours in Europe. His play.
ing is distinguished by an immense and beautiful
tone and true Slavonic temperament. Since 1885,
prof. Warsaw Cons. where he was dir. 1911-18.
--ZD. J.
BARILLI, Bruno. Ital. compr. b. Fano,
14 Dec. 1880. In 1923 won the prize for a lyric
opera, instituted by the Ital. Government, with
the opera Emiral (Costanzi Th. Rome, March
1924). Was mus. critic of Rome newspaper Il
Tempo; is now critic of the Corriere Italiano. D.A.
BARINI, Giorgio.
Ital. critic, historian,
lecturer, teacher; b. Turin, 3 Aug. 1864. First
wrote for the Rome newspaper La Tribuna,
then for review La Nuova Antologia, and the
newspaper L'Epoca.-D. A.
BARLOW, Arthur. Eng. b. singer; b. Wilms-
low, 31 Aug. 1868. Prof. singing, Guildhall
School of Music, London.-E.-H.
BARMOTIN, Simon Alexeievitch (accent 2nd
syll.). Russ. compr. b. Petrograd in 1877. Began
his mus. education under Balakiref and continued
it under Rimsky-Korsakof. Has written a number
of pf. works, among which are a sonata, a set
of preludes and a Theme and variations; a
sonata and a suite for vn. and pf.; and songs.
-M. D. C.
BARNEKOW, Christian.
Danish compr. b.
28 July, 1837; d. 20 March, 1913. President of
Musikforening (Music Soc.), Copenhagen, 1895.
Comp. chamber-music works, cantatas and many
songs, both secular and religious.-A. H.
BARRATT, Edgar. British pianist, compr. b.
Lincoln, 1877. The son of an accomplished musi-
cian, John Barratt, Mus. Bac. Oxon. (who became
orgt. and choirmaster in Paisley Abbey in 1879).
Stud. Leipzig Cons., pf. under Bruno Zwintscher
and Robert Teichmüller; compn. under Schreck.
Has appeared as soloist with Scottish Orch.;
sole accompanist at Scottish Orch. concerts for
many years. Has played with world-famous.
British and Continental str. and pf. quartets;
acc. Albani and Dolores on extensive tours. Has
comp. much pf. and vocal music, largely in the
Scottish idiom. Is rapidly acquiring an assured
position and popularity, not in Scotland alone,
but in England as well, where most of his publ.
works have appeared with Elkin.-W. s.
BARRATT, Mary Louise. Norwegian pianist;
b. Bergen, 9 April, 1888. Pupil of Lindeman's
Music School, Christiania. Stud. in Rome
(Signorina Mettler and Sgambati), in London.
(Percy Grainger) and in Paris. Début,
Christiania, 1908. Has given concerts throughout
Scandinavia. Married in 1916 the Norwegian-
Amer. violinist, Henrik Due, Christiania.-U. M.
BARRERA, Tomás. Span. compr. Lives in
Madrid. Chief zarzuelas:
El Celoso Extremeño, Sueño de Pierrot, El Maño,
Ideiens, La Vara de Alcalde, La Tajadera, La Manzana
de Oro (nubl. by Fuentes & Asenjo, Madrid).
-P. G. M.
BARRIENTOS, María. Span. s. operatic singer;
b. Barcelona, 10 March, 1885. At a very early
age, entered Cons. at Barcelona, studying vn.
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BARRIOS
with distinction, and compn. as well as pf. Her
exceptional coloratura voice was discovered.
at a private concert of students. Her solid
mus. education proved a great asset to her, and,
after receiving some lessons from the local sing-
ing master Bennet, she made her début at age of
14, with great success (Teatro de Novedades) in
L'Africaine. She then stud. in Milan, appearing
12 months later in Lakmé. Was immediately
engaged at La Scala; subsequently at all
principal theatres of Europe and America. After
a retirement of 3 years, she reappeared (1916)
at Metropolitan Opera House, New York, which
has practically monopolised her ever since.
(special modern works, her repertoire includes:
Besides The Nightingale (Stravinsky), El Abanico
written for her by Amadeo Vives) and
other
Puritani; Sonnambula: Barber of Seville; Lucia;
Don Pasquale; Elisir d'Amore; Traviata; Rigoletto;
Pêcheurs de Perles; Linda; Dinorah; Lakmé
Mignon; Hamlet; Martha.-P. G. M.
BARRIOS, Angel. Span. compr. b. Granada,
1862. Began as orch. vn.-player; gave up vn.
for study of guitar; became a very remarkable
performer, though, in opposition to some famous
guitarists, he excluded from his repertoire all
transcriptions of orch. or pf. works, faithful to
his feelings, as a genuine Andalusian, that the
guitar is only suited to music known in Spain as
flamenco. In this he followed the example of his
father who, though a commercial man by pro-
fession, is very well known as a guitar-player and
singer, being considered the greatest connoisseur
of Andalusian songs and dances in Granada.
B.'s ideas have attracted many musicians of
greater technical capacity than himself. Was
the founder (about 1900) of the once celebrated
Trio Iberia (see CHAMBER-MUSIC PLAYERS). B.
completed his mus. studies under Antonio
Segura (Granada), Gédalge (Paris), and Conrado
del Campo (Madrid).
Sinfónica at R. Opera House, Madrid):
Copla de Soled and Danzas gitanas, for orch.; several
pf. pleces; incidental music for Moorish tragedy of
Humeya)
Fackinlay (La Dansa de la Cautiva); Granada mía,
2-act zarzuela; 2 operas (in collab. with Conrado
del Campo), La Romeria (2 acts) and El Avapiés
(3 acts) first peri. at R. Opera House, Madrid.
-P. G. M.
BARTELS, Wolfgang von. Ger. compr. b.
Hamburg, 21 July, 1883. Son of marine painter,
Hans v. Bartels. Stud. under Anton Beer-Wal-
brunn, Munich, and André Gédalge, Paris (1904-
1909). Lives in Munich. Comp. music of The
Little Dream (John Galsworthy, Manchester,
1911); Little Snowdrop (nursery tale, text by
Green, Manchester, 1911); The Spanish Lovers
(Fernando de Rojas, adapted by Garnett, Lon-
don, 1912); The Persians of Æschylus (Feucht-
wanger, Munich Theatre, 1917); Li-J-Lan
(text by Warden and Welleminsky, Cassel,
1918). Wrote a cycle of Old German
Songs and
The 12 Songs of Li-Tai-Pe, 1921.-A. E.
BARTH, Karl Heinrich. Ger. pianist, teacher;
b. Pillau, near Königsberg, 12 July, 1847; d.
Berlin, Dec. 1922. Pupil of Hans v. Bülow,
Hans v. Bronsart and C. Tausig. Teacher at
Stern's Cons. 1868; at R. High School of Music,
BARTÓK
Berlin, 1871, of which he was head of pf. dept.
in 1910 and ex-officio member of R. Acad. of
Arts. Retired 1921. Formerly one of Barth
Trio with de Ahna (vn.) and Hausmann (cello).
As teacher was one of the most distinguished
and successful in Germany.
Vn. sonata in D.-A. E.
BARTH, Richard. Ger. choral condr. and
compr. b. Grosswanzleben, 5 June, 1850. First
trained as violinist under Beck, Magdeburg,
and Joachim, Hanover (1863-7); then concert
dir. in Munster, in Crefeld, 1882; then dir. of
music, Univ. of Marburg; 1895-1904, dir.
Philh. Concerts, Hamburg, Acad. of Singing
and other choral societies; dir. of Cons.,
Hamburg, since 1908. In 1904 Ph.D. h.c. Univ.
of Marburg.
3 sonatas for vn. and pf. op. 14, 20, 23; pf. trio, op.
19; str. 4tet, G mi. op. 15; Partita, for vn. solo;
Ciacona, va. solo. Publ.: J. Brahms' correspondence
with J. O. Grimm (Brahms' Correspondence, Vol. IV,
Berlin, 1908, German Brahms
Brahms and his Music (1904).-A. E. Johannes
BARTHOLDY, Conrad Johan. Danish compr.
b. 12 March, 1853; d. 6 Dec. 1904. Cantor, St.
Matthew's Ch. Copenhagen; dir. of the Studenter-
Sangforening (Univ. Students' Singing Soc.).
Numerous vocal and orch. works.
Operas Svinedrengen (The Swineherd), libretto
based upon Hans Chr. Andersen; Loreley; Duvelce
(produced R. Theatre, Copenhagen).-A. H.
BARTÓK, Béla. Hungarian composer, pianist
and folk-song collector; b. Nagyszentmiklós,
Hungary (now annexed by Rumania), 25 March,
1881. His mother first taught him piano in his
6th year. His father, director of the School of
Agriculture (and a gifted musician), died in
the boy's 8th year; so his mother had to
earn her living as an elementary school-teacher.
After working in small provincial towns, she was
able to settle in Pozsony (now Bratislava,
annexed
Czecho-Slovakia), where the active
musical life helped in Bartók's development.
Here he studied piano and harmony under
László Erkel (son of well-known opera-composer,
Franz Erkel). Became acquainted with classical
music from Bach to Brahms, and also with
Wagner's first operas. Began composition in his
9th year and finished a piano sonata (1897), a
piano quartet (1898) and a string quartet (1899).
În 1899, entered Royal Hungarian High School
for Music, Budapest, studying composition under
Hans Koessler and piano under Stephan Thomán.
In the first two or three years, composition was
in abeyance, B. being better known as a very
promising pianist. A performance of Strauss's
Thus Spake Zarathustra suddenly awoke his
impulse for composition, and in a short time.
numerous works appeared: a Scherzo for or-
chestra, a fragment of a symphony already
planned; a symphonic poem, Kossuth (1903),
performed by the Budapest Philharmonic Society,
and in Manchester under Hans Richter; a
violin sonata (1903) and a piano quintet (1904),
both performed in Vienna. The above-mentioned
works (apart from the Funeral March from Kos-
suth) remain unpublished. Published works of
this period include: 4 songs; 4 piano pieces;
29
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Rhapsody, op. 1 (1904) with which he competed
unsuccessfully for the Rubinstein Prize in Paris,
1905; and 1st Suite for orchestra, op. 3 (1905).
A Burlesque, op. 2 (1904), for orchestra is still
unpublished. All these works already show a pro-
nounced individuality. Besides the influence of
Strauss there is Hungarian colouring. A strong
national movement, which also helped to encour-
age the expression of national character through
art, was then at its height, and had its effect
on Bartók. Not only do his musical themes
show the undisguised use of Hungarian popular
melodies, but the very programme of Kossuth
itself was of a national and political nature. It
was soon proved, however, that the possibilities
of this so-called Hungarian folk-music, most of
which arose in the XIX century, had its limita-
tions, and was unsatisfactory as a basis for a
national style in music. It soon became known
that there was a much older kind of peasant-
music, up to that time uninvestigated, which was
not to be obtained except on the spot. So Bar-
tók-who had been engaged teacher at the
Budapest High School since 1907-set out on
an exploration, which later extended to Slo-
vakian and Rumanian territory, and brought to
light a large number of old, traditional melodies.
His style soon showed the effect of this archaic
music, which is for the most part pentatonic and
modal, with an extraordinary amount of rhythm.
The 2nd Suite, op. 4 (1905-7), and Two Portraits,
op. 5 (1907), marked a transition to a new style
of
expression, which in the Bagatelles, op. 6
(1908), becomes consistent and homogeneous.
Inspired by this peasant-music, remote from
conventional European forms, B. attains a melo-
dic, rhythmic and harmonic freedom of a highly
individualised kind. This new style, especially
the frequent and unaccustomed employment
of dissonance, called forth strong opposition.
Whereas Bartók's first works earned unqualified
success, he had now for a long time to forgo all
outward success, and content himself with the
intelligent appreciation of a small circle. The
more characteristic works of this period are 1st
string quartet (1908); Deux Images (1910); the
Nénies (1910); and the opera Duke Bluebeard's
Castle. This opera was rejected at a subsequent
prize-competition. A Music Society under his
direction had to be dissolved after only a short
spell of activity. Disheartened by this and other
failures, he withdrew more and more from public
life. After a period of intensive production a
pause set in, during which time he devoted him-
self to his folk-lore studies, the extent of which
had by this time greatly increased. Thus in
1913 he travelled to Biskra and returned with
a rich collection of Arab peasant music. The war
put an end to all further ideas of travelling. Cut
off as he was from the outer world, and living in
a country where desperate conditions prevailed,
he became more reserved and ended in complete
isolation. The works of this period became more
and more individual and subjective. Neverthe-
less, one of these was to mark a turn in popular
favour for Bartók. The pantomime, The Wooden
BARTÓK
Prince (magnificently performed in the Buda-
pest Opera House in 1917 under E. Tango), at
one stroke brought him recognition, which since
that time could be no more in dispute. In 1918,
followed the first performance of Bluebeard, and
the new generation received his later works also
with enthusiasm. These were the piano Suite,
2nd Quartet, and the Studies. The last big work
of this creative period is the pantomime, The
Wonderful Mandarin, which is not yet completed.
The disturbances in the country in 1919-20 were
not favourable to great productive work. In
1920 there appeared Improvisations on Hun-
garian Folk-Songs. In 1921 Bartók finished the
Violin Sonata, op. 21, which he himself per-
formed in England with Jelly d'Arányi in 1922.
In the same year the Frankfort Opera gave his
two works for the stage. In recent years Bartók
has often accepted invitations to foreign coun-
tries to perform his own works. His Ist Suite
has been perf. at Queen's Hall, London, and his
Deux Portraits at Eolian Hall, both under Sir
Henry Wood.
Mr. Bartók is responsible for the Hungarian
articles in this Dictionary.
Dramatic works:
30
Orch.:
Vocal:
Opera, Duke Bluebeard's Castle, op. 11
Pantomime, The Wooden Prince, op. 13 (both
publ. Univ. Ed. Vienna)
Chamber-music:
Pf.:
Burlesque, op. 2 (ms.)
1st Suite, op. 3 (Rózsavölgyi, Budapest)
2nd Suite, op. 4 (Univ. Ed.)
Deux
Portraits, op. 5 (Rozsnyai, Budapest)
s, op. 10 (Rózsavölgyi)
Quatre Morceaux, op. 12 (Univ. Ed.)
Dante-Suite (id.)
1st str. quartet, op. 7 (Rózsavölgy!)
2nd str. quartet, op. 17 (Univ. Ed.)
Vn. sonata, No. I (id.)
VI. sonata, No. II (id.)
4 songs (Bárd, Budapest)
5 songs, op. 16 (Univ. Ed.)
4 Morceaux (Hard)
Funeral March from Kossuth (Rozsnyai)
Rhapsody, op. 1 (Rózsavölgyi)
14 Bagatelles, op. 6 (Rozsnyal)
10 casy pf. pieces (id.)
2 Elégies, op. 8b (id.)
2 Danses roumaines, op 8a (Rózsavölgyi)
Esquisses, op. 9 (Rozsnyai)
3 Burlesques, op. 8c (Rózsavölgyi)
4 Nénies (id.)
legro barbar
o (Univ. Ed.)
op.
3 Études, op. 18 (id.)
Improvisations, op. 20 (id.)
Arr. of folk-songs:
(i) Pf.: 3 Hungarian folk-songs (Rozsnyai)
For children, 4 vols. (id.)
15 Hungarian peasant-songs (Univ. Ed.)
Roumanian folk-dances from Hungary (id.)
Roumanian Christmas songs (id.)
Sonatina or
a on Rumanian themes (Rózsavölgyi)
(ii) V. and pf.: 20 Hungarian folk-songs (with
Z. Kodály; Rozsnyai)
8 Hungarian folk-songs (Univ. Ed.)
(iii) Chorus: Hungarian folk-songs for male
vs. (ms.).
Slovakian folk-songs for mixed vs. (ms.)
Slovakian folk-songs for male vs. (Univ. Ed.)
Folk-lore publications: Chansons populaires rou-
maines du départment Bihar (Académia Română,
Songs, 150 melodies with preface in
and Fr.,
publ. by B. Bartók and Z. Kodály (Popular Literary
Soc. Budapest, 1923). Volksmusik der Rumänen von
Maramures, Munich, 1923, Drei Masken Verlag).
(Sammelbände für vergleichende Musik-
Hungarian Folk Music, 340 melodies and critical notes
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BARTOŠ
(Oxford Univ. Press, 1924). Slovakian Folk-Tunes,
2600 melodies with preface and notes in Slovak,
Matica,
French, English, German, (Slovenská
Curčiansky-Svätý Martin. 1924-5). dialekt
Die
der Rumänen von Hunyad (Z.J.M. II,
Volksmusik der Araber von Biskra und Umgebung
(2.J.M. II, 352-360).
Arab) remains eschofsky) a PI. School, and has
The greater part of the folk-tunes collected by
B. (2700 Hungarian, 3500 Rumanian, and 200
He has also written (in
collab, with Alex.
ed. many classical pf. works for teaching purposes.
4.K.
Czech folklorist and
BARTOS, František.
philologist; b. Mlatcov, 1838; died there, 1906.
After studying in Vienna, engaged mostly in
Brünn. During his travels in Moravia for many
years he collected folk-songs of his country and
publ. collections (notation partly written by
Leoš Janáček, q.v.). The Moravian folk-songs.
vere collected in the fullest manner through his
activity. Chief works (all in Czech):
New Moravian Folk Songs (1882); 2nd coll.
1887-9; 3rd coll, 1901.-V. ST.
BARTOŠ, Josef. Czech writer on music; b.
Vysoké Mýto, 1887. Stud. and graduated Ph.D.
in Prague, where he lives as critic and teacher.
Anton Drofák, 1913; Zdenko Fibich, 1913; J. B.
oerster, 1923; Introduction to Musical Art; Intro-
duction to Esthetics, 1922 (all in Czech).-V. ST.
BARY, Alfred E. von. Ger. t. opera singer;
Stud.
b. La Valetta, Malta, 18 Jan. 1873.
medicine; M.D. 1898; assistant Mental Clinic
of Leipzig Univ.; also stud. singing; 1902-12
at Court Opera, Dresden; 1912-18, Court Opera
House, Munich. Retired from stage 1918 (owing
to increasing eye-trouble) and returned to treat-
ment of mental diseases. Sang Parsifal, Sieg-
mund, Siegfried, Lohengrin and Tristan at
Bayreuth from 1904.-A. E.
BAS, Giulio. Ital. theorist, orgt. compr. b.
Venice, 21 April 1874. Director of music at
S Luigi di Francesi, Rome. Has devoted him-
self specially to study of Gregorian chant.
Manual of Gregorian Chant (Düsseldorf, Schwann);
Re-
newal of Studies of IIarmony and
(Schwann); Harmonisation of Gregorian Melodies
Ideas of Gregorian Chant (Rome, point
Chant and of
Modes (Turin,
S.T.E.N.); Treatise on Musical Form (Milan, Ricordi).
All in Italian.-D. A.
(Desclée); tion in the wind of Gregorian
BASABILBASO de Catelin, Henriette. Argen-
tine dramatic s. singer. Stud. at Paris under
Rosa Caron and Matilde Marchesi and at Buenos
Ayres under Maguilli. Sang at La Scala, Milan,
1906, and several times in Paris. She is one of the
most distinguished amateurs of Buenos Ayres.
-A. M.
BASQUE FOLK-MUSIC. See AZKUE; BORDES,
CHARLES; DONOSTÍA; GASCÚE, F.
BASSI, Amadeo. Ital. t. singer; b. Monte-
spertoli (Florence), 20 July, 1874. Known in
principal opera houses in Europe and America.
Was first to sing t. rôle in Puccini's The Girl
of the Golden West at Costanzi Theatre, Rome,
and at Covent Garden, London.-D. A.
BASTIANELLI, Giannotto. Ital. critic and
compr. b. San Domenico di Fiesole (Florence),
20 July, 1883. Was mus. critic for newspapers
La Nazione (Florence) and Il Resto del Carlino
(Bologna). Has publ. a voluminous study on
3⁰
BATTISTINI
The Musical Crisis in Europe (Pistoia, Pagnini
ed.); a study on P. Mascagni (Naples, 1910,
Ricciardi); Musicians of To-day and Yesterday
(Milan, 1914); The Opera and Other Musical
Essays (Florence, 1921, Vallecchi). Of his com-
positions the following have been performed:
Concerto for 2 pfs.; 4 sonatas for 2 pfs.; Poem for
2 vns. and pf.-R. F.
BATES, Frank. Eng. orgt., condr. b. March,
Cambs, 13 Jan. 1856. Mus.Doc. Trin. Coll.
Dublin. Orgt. and master of the choristers, Nor-
wich Cath. Condr. Norwich Philh. Soc. (regular
orch and choral concerts); Norwich Choral Soc.;
Diocesan Choral Association; chairman, Norwich
Competition Fest. Committee. Promoter of
out-door music and folk-dances.-E.-H.
BATH, Hubert. Eng. compr.
b. Barnstaple,
Devon, 6 Nov. 1883. Stud. under Dr. H. I.
Edwards and later at R.A.M. London (Goring
Thomas Scholarship for compn.) under Beringer,
R. Steggall and Corder. In 1913-14 was one of
condrs. for Quinlan Opera Co. Condr. Royal
Carl Rosa Opera Co. 1923-4. Was for some
years condr. of opera class at Guildhall School of
Music, and also mus. adviser to London County
Council. In compn. he turns to the lighter kinds
of music, which he writes very tastefully, with
great skill and knowledge of effect, although he
has achieved a measure of success with symph.
work. His mus. settings of the works of Fiona
Macleod are extensive and interesting.
Operas: Bubbole, 1 act (Milan, 3 Jan. 1920);
Young England, comic opera (with G. H. Cluteam),
Daly's Theatre, London, 1915; Drury Lane, 1916;
The Sire de Malétroit's Door, 1 act; The Three
(Queen's Hall, 1905); African rahe
overture, Mid-
shipman Easy; Woodland Scenes; Visions of Ian-
nele, symph. poem (Queen's Hall, Feb. 1920), etc.
Chorus and orch: Wedding of Shon Maclean (Leeds
on the
Line, male vs. (Albert Hall, 1913); Jackdaw of
Rheims; Look at the Clock, etc. Incidental music to
Asia (Kegan Paul). Numerous recitations to music,
songs, pf. pieces, eto.; Freedom, the first symphony
ever written for a brass band, 1922.-E.-H.
BATKA, Richard. Austrian critic, musicologist;
b. Prague, 14 Dec. 1868; d. Vienna, 24 April,
1922. Stud. at Prague (Ph.D.). Worked as
musicologist from 1896. Critic of Prager Tagblatt.
Did good work for contemporary music as mus.
ed. of Der Kunstwart; founded the Dürerbund
and awakened the public interest in historical
as well as modern music. From 1908, B. worked
as music-critic in Vienna for Fremdenblatt, then
for Allgemeine Zeitung; for some time, cd. (with
Richard Specht) the Merker. Was teacher of
mus. history and of lute at Vienna Music Acad.
Was a most diligent and successful writer, ed.,
translator and author of many opera-texts.
Biographies of Bach and Schumann (Reclam); a
short handy biography of Wagner; Geschichte der
Musik in Böhmen (1906); Allgemeine Geschichte
der Musik (1908); Gesammelte Aufsätze aus der
Musik und Theater-Well (1899); Musikalische
Streifzüge (1908); Kranz (1903). He dir. the coll.
Hausmusik der Kunstwart (from 1907); re-ed. Bach's
Notenbüchlein für A. M. Bach (1904).-P. ST.
BATON, René. See RHENÉ-BATON.
BATTISTINI, Mattia. Italian baritone operatic
and concert singer; b. Rome, 27 Feb. 1858.
Known in all the principal theatres of the
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world. His repertory includes 82 works, be-
longing to all periods, from Mozart's Nozze
di Figaro and Don Giovanni, the Barbiere,
Rigoletto, Luisa Miller, Lohengrin, Carmen,
to Massenet's Werther (which the compr. speci-
ally re-set as a barit. part for him), Rubinstein's
Demonio and Tchaikovsky's Eugene Onegin.
A cultured and intelligent artist, he gives every
care to the costumes and the interpretation of
his parts. Has recently completed very successful
concert tours in Germany, Scandinavia and
England. Is also the compr. of some ballads.
Consult Monaldi, Celebrated Singers (Turin, Bocca).
-D. . A.
BATTKE, Max. Ger. teacher and author;
b. Schiffuss, East Prussia, 15 Sept. 1863;
d. Berlin, 4 Oct. 1916. Pupil of R. High School
and Acad., Berlin. Teacher at several cons.
in Berlin. Founded a
Seminary for Music "
in 1900, which became in 1910 "Seminary for
School Singing." Founder of "Young People's
Concerts." Wrote a whole series of widely
circulated works on teaching music; publ.
collections of songs and choral pieces.-A. E.
BAUER, Harold. Pianist; b. New Malden,
near London, 28 April, 1873, of an Eng. mother
and a Ger. father. Stud. vn. under father and
Adolph Pollitzer in London; début as violinist
in London in 1883. For 9 years after this,
appeared frequently in various British towns as
violinist. His pf.-playing, however, attracted
the attention of Paderewski, who advised him to
devote himself to this branch of the art. Accord-
ingly he went to Paris in 1892, where he stud.
under Paderewski for a year, supporting himself
meanwhile by giving lessons. Paderewski was
his only master. So great was his natural apti-
tude for the pf. that he has become one of the
world's foremost virtuosos on this instr. Official
début as pianist in 1893; 1893-4, made a concert-
tour in Russia, followed by engagements on the
Continent and in England. His Amer. début was
made with Boston Symphony Orch. in 1900.
Until the outbreak of the war he lived chiefly in
Paris, where he establ. an enviable reputation as
a teacher. After the outbreak of the war he
settled in New York. Here he founded the
Beethoven Association of which he is the Presi-
dent. This soc., with the co-operation of many
artists and virtuosos of the first rank, began
giving concerts in 1919, devoting itself in the
beginning chiefly to the presentation of Beet-
hoven's works in all forms, particularly those
less often heard. It has become a powerful factor
in the mus. life of New York City. A part of the
proceeds of its concerts it devoted to the publ.
(Schirmer) of the orig. Eng. version (in a re-
vision and emendation by H. E. Krehbiel) of
Arthur Wheelock Thayer's authoritative life
of Beethoven, hitherto available only in its
Ger. translation. It contributed materially to the
establ. in the New York Public Library of a
valuable coll. of works by Beethoven and books
about this compr., and made a substantial
contribution towards the erection of a new
Festspielhaus at Salzburg.-O. K.
32
BAX
BAUER, Moritz. Ger. critic and historian;
b. Hamburg, 8 April, 1857. Stud. medicine;
then music at Leipzig. Ph.D. 1904; teacher
at Hoch's Cons. Frankfort; prof. Univ. of
Frankfort-o-M., 1914.
Contributions
to the
Schubert's Songs (1914, kopf); of
Franz
Ivan Knorr
(Frankfort, 1916) and other studies, e.g. on Schubert's
frlend, the poet Johann Mayrhofer (Z.f.M. V,
1922-3).-A. E.
BÄUERLE, Hermann. Ger. compr. and ed.
of church music; b. Ebersberg (Würtemberg),
24 Oct. 1869. Stud. theology at Tübingen;
also music under Emil Kauffmann and Haberl
in Regensburg. Teacher in School of Church
Music, Regensburg (Ratisbon), 1901; then
vicar of Reutlingendorf. 1917, mus. dir. in
Schwäbisch Gmünd; dir. of a cons. in Ulm
since 1921.
Church vocal music; masses, etc.; ed. of a cappella
church music in modern notation.-A. E.
BAUSSNERN, Waldemar von.
Ger. compr.
b. Berlin, 29 Nov. 1866. Spent his youth in
Transylvania, whence his family came. Pupil
R. High School of Music, Berlin, 1882-8 (Kiel;
Bargiel); chorus - master, Mannheim, 1891;
Dresden, 1895; teacher in Cons. and condr.
Cologne, 1903; dir. of Grand Ducal Music
School, Weimar, 1908 (1910, prof.); dir. of
Hoch's Cons. Frankfort-o-M. 1916; secretary of
Berlin Acad. of Art, and teacher in Acad. for
Church and School Music since 1923.
6 symphonies; chamber music; pf. pieces;
songs: operas: The Poet and the World (Weimar,
1897) Dürer in Venice (Welmar, 1901); Herbori
and Hilde (Mannhelm, 1902); The Clog (Frankfort-
o-M. 1904); Satyros (after Goethe; Basle 1923); and
especially the choral work The Great Hymn of Life and
Death. He edited 2 of Peter Cornelius' operas and
completed C.'s unfinished opera Gunlöd (perf. Cologne,
1906).-A. E.
BAUTISTA, Julián. Span. compr. b. Madrid,
21 April, 1901. Pupil of Conrado del Campo,
Madrid. His works are conceived in accordance.
with the most advanced tendency of to-day.
Dos impresiones sinfónicas, orch.; Interior, 1-act
lyric drama (Maeterlinck); Dos canciones and La
Frate de jade, v. and pf.: Colorfusical Española,
pf.
La
Fuerza, ballet (publ.
Madrid).-P. G. M.
Unión
BAX, Arnold Edward Trevor. English com-
poser; b. London, 6 Nov. 1883. Comes of a
family, several of whose members have attained
prominence in the public eye. He studied at the
Royal Academy of Music, under Frederick
Corder for composition and Tobias Matthay for
piano (1900-5), and was one of the most brilliant
students that that institute had known, astonish-
ing everybody, in particular by the facility with
which he read at the piano the most intricate of
modern scores as they arrived. The same re-
markable proficiency showed itself quickly in
composition, and if the works belonging to this
early period appeared over-elaborated it must be
ascribed in part to this youthful exuberance
which knew no difficulty. Most of these works
were subsequently withdrawn or revised. It
was not long before the process of simplification
began to set in, and although the texture of
Bax's music will always have a certain com-
plexity of appearance, it had long since been
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clear in effect. Structurally it is diatonic, but
the figuration is of a personal order of chroma-
ticism, and every thematic idea is treated with
a continuous flow of harmonic variants. At an
early age he came under the influence of the
Neo-Celtic movement, and he has taken an
absorbing interest in Irish folk-lore and litera-
ture. This is clearly revealed in many of his
works, and the mode of expression it has induced
has frequently been described as the musical
equivalent of W. B. Yeats's poetry. Omitting
for the moment piano pieces and songs, of
which there has been a continuous flow, the
chronological order of his larger works indicates
sufficiently the progress of his development. To
1906 belongs the trio for violin, viola and piano,
which has ceased to be in any sense representa-
tive. The following year produced Fatherland
for tenor solo with chorus and orchestra. The
chief works of 1908 were the orch. poem Into
the Twilight, since discarded, and a string 5tet,
of which only an Interlude has been retained.
With 1909 are reached the first works which
survive the composer's criticism, chiefly the tone-
poem In the Faery Hills, and the Festival Over-
ture, together with a setting, for two sopranos,
chorus and orchestra, of a fragment from
Shelley's Prometheus Unbound under the title
Enchanted Summer. In 1910 he wrote the carlier
version of his first piano sonata and commenced
that of his first for violin and piano; all the
four sonatas however, two for violin, and two
for piano, have been subjected to such complete
revision that they may practically be regarded
is recent works. The years 1912-13 were prolific
in large orchestral works. Their output com-
prises Christmas Eve in the Mountains; a suite
of four pieces concluding with the Dance of Wild
Iravel; two works inspired by Swinburne (the
tone-poem Nympholept and the symphony in
four connected movements Spring Fire); a
symphonic scherzo; and another tone-poem,
The Garden of Fand. The latter was given in
Paris with great success under Kussevitzky (17
May, 1923). The outstanding work of 1914-15
was the piano quintet, one of Bax's greatest
achievements. About the same time he com-
pleted the earlier version of both the violin
sonatas and set six poems from The Bard of
The
the Dimbovitza for voice and orchestra.
BAX
the music for Sir J. M. Barrie's phantasy The
Truth about the Russian Dancers, produced at
the Coliseum with Mme. Karsavina in the princi-
pal part. In the same year he wrote the two
carols, Mater Ora Filium, for unaccompanied
double choir, and Of a Rose I sing, for choir,
harp, cello and double-bass. Next followed a
concerto for viola and orchestra which was in-
troduced at a Philharmonic Concert by Lionel
Tertis. After that the composer was engaged
for a time in the final revision of the four sonatas,
which involved the writing of entirely new move-
ments. 1921 saw the completion of yet another
tone-poem, The Happy Forest, of relatively
moderate dimensions. On 13 Nov. 1922, a
concert, chiefly orchestral and choral, of his
works was given with conspicuous success at
Queen's Hall. During the same week Lionel
Tertis and the composer gave the first perform-
ance of a new sonata for viola and piano. Both
this work and the symphony in E flat were com-
posed during 1922. The symphony was first
perf. 2 Dec. 1922, revived with great success on
12 Jan. 1924 at Queen's Hall, London, under Sir
Henry Wood, and given in Prague, 7 June, 1924.
In 1923, a new choral work To the Name above
Every Name was performed at the Worcester
Festival.
The smaller piano pieces, of which about two
dozen have been published, are very characteris-
tic of the composer, especially in their mode of
elaboration, for which he has found a very per-
sonal type pianistic arabesque. Three of the
best-known were inspired by a visit to Russia,
and of these the most frequently performed is
In a Vodka Shop. Those picces which incline
to the form of the nocturne, are remarkable for
their delicacy. Of songs he has written a large
number in all styles, besides harmonising many
French and English folk-songs.
If it were necessary to find a label for Bax
we might call him a Neo-Romantic. He has a
strong feeling for beauty, both of line and of
texture, and, contrary to a tendency prevalent
among modern composers, he is not afraid to
give it full play, whether in the fashioning of
a poetic melody, or in a more prolonged flow of
fantasy. In a certain sense of the word, he is
one of the most musical of present-day com-
posers, for music flows from him in a generous
stream. The length of some of his works is due
to this, and not to diffuseness, or the common
practice of adopting the larger musical forms
and filling them. Almost invariably this stream
is lyrical. It sings in every mood, but always
with a romantic inflection. "
following year, 1916, was mostly occupied with
the Symphonic Variations for piano and orch-
estra, performed five years later (by Harriet
Cohen), the only other concerted work being the
Elegy Trio for flute, viola and harp. In 1917
there was another outburst of orchestral activity.
three tone-poems being completed in rapid suc-
cession; the as yet unperformed In Memoriam,
followed by November Woods, and Tintagel, be-
sides a ballet, Between Dusk and Dawn, an Irish
tone-poem for two pianos, Moy Mell or The
Happy Plain, and an Irish Elegy for cor-anglais,
harp and strings. In 1918 appeared the string
quartet in G. To 1919 belong the quintet for
strings and harp, and the second piano sonata.
In 1920 the composer was commissioned to write
Orch.: Symphony in E flat (1921-2) (full score
ubl. by Murdoch & Co. London); The Garden of
Fand (id.); November Woods (id.); In the Faëry Hills
(id.); vla. concerto (id.). Choir and
(id.): Tintages Summer (Murdoch); Fatherland
orch.:
(Chester); To the Name above Every Name (Worc. 31
Choira, 1923; Murdoch); St. Patrick's Breastplate
(1923), ms.; Male chorus, fl. pf.: Now is the Time of
Christymas (id.). Small choir, harp, cello, d.b.: Of a
Rose I sing a Song, 1921 (id.). A cappella motets:
Maler ora Filium, 1921 (id.); This World's Joy, 1922
(id.). Unace. male chorus, The Boar's Head. Chamber-
music: 5tet, pf. and str. (Murdoch); 5tet, str. and
harp, in 1 movement (id.); str. 4tet (id.); 4tet, in 1
D
33
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BAYREUTH
movement, ms.; trio, fl. vla. harp (Chester); trio, pf.
sonata, vn. and pf. in D (id.);
. in Manch
26 Feb.1924 by Beatrice Harrison and Harriet Cohen);
, ms. (first perf.
Folk Tale, cello and pf. (Chester); Legend, vn. and
1921 (id.); sonata, cello and pf. (1999a, yla, and
in G (id.); Moy Mell, Irish tone-poem, 2 pfs. (Chester);
sonata.
many pf. pieces and songs
Augener; Chester; J. Williams; Enoch; Boosey).
Anglo-Fr. Co.;
-E. E.
BAYREUTH. In 1872, on 22 May, Richard
Wagner laid the foundation-stone of the Festival
Theatre, which was formally opened on 13 Aug.
1876, with perf. of The Nibelungen Ring. Since
that time it has remained the tutelar home of
the authentic interpretations of Wagner's works.
Towards end of 1914, it closed its doors, and did
not re-open till 1924.-A. E.
BAZELAIRE, Paul. Fr. cellist; b. Sedan, 1886.
Stud. at Paris Cons.; 1st prize for cello at
age of 11. 1903-5, 1st prize for harmony, cpt. and
fugue. Possesses a remarkable technique. Prof.
of cello at Cons. Wrote works on technique, e.g.:
Quelques notes sur différents points importants de
la technique générale de violoncelle (Paris, Senart).
As compr., is known by his pf. pieces, works for
cello and clar., choral music.
Fantaisie for
-M. for solo vn. (Played London, 1899), Le
(played Manchester, 1908), etc.
P.
BAZZINI, Antonio. Italian violinist and
compr. b. Brescia, 11 March, 1818; d. 10 Feb.
1897. From 1882 until his death, dir. of Milan
Conservatoire.
Biblical cantata, La risurrezione di Cristo;
overtures: Saul; Refor vni vocal chamber-
Francesca
str. many pieces
music; an opera.-D. A.
BEACH, Mrs. H. H. A. (neé Amy Marcy
Cheney). Amer. compr. b. Henniker, N.H., U.S.A.,
5 Sept. 1867. Stud. the pf. under E. Perabo and
K. Baermann, and harmony under Junius W.
Hill in Boston. In this city she made her debut
as pianist at age of 16. In succeeding years she
appeared repeatedly with Boston Symphony
Orch., the Thomas Örch. (in Chicago), the Pitts-
burgh and St. Louis Orchs., and also the Berlin
Philh., and gave pf. recitals, often playing her
own compns. in America and in Munich, Dresden
and Breslau.
After her marriage in 1885 to Dr. Beach, she
appeared less frequently, devoting herself more
to compn., in which she was wholly self-taught.
For her own use in her studies she made complete
Eng. transl. (not published) of Berlioz's and
Gevaert's classic works on instrumentation.
After her husband's death in 1910 she spent
several seasons concertising in Europe.
Her op. 1 (songs) was publ. by A. P. Schmidt
in Boston in 1886, but she first really came into
prominence as a compr. when her Mass E
op. 5, was perf. by Boston Handel and Haydn
Soc. in 1892. On 30 Oct. 1896 the Boston Symph.
Orch. gave 1st perf, of her Gaelic Symphony, op.
32, and she played her C sharp mi. concerto for
the pf. (comp. 1899) at a Boston Symphony con-
cert on 7 April, 1900. Her Festival Jubilate, op 7,
was written by invitation for the dedication of
the Women's Building at the Chicago Exposi-
34
BECKMAN
tion in 1893. For the Panama-Pacific Exposi-
tion in San Francisco in 1915 she wrote a Panama
Hymn, op. 74, for chorus and orch. Her polished,
at times much elaborated style, rooted in the
Wagner - Brahms period, often displays an
energetic daring and an unusual virility.
Gaelic Symphony, op. 32 (1897); pf. concerto,
op. 45 (1900); Mass in E flat, op. 5 (1890); The
Minstrel and the King, ballad for male vs. and orch.
op. 16 (1892); The Rose of Avontown for female vs.
op. 30; Festival Jubilate, op. 17 (1892); Sylvania,
wedding cantata for mixed vs. op. 46 (1901); The
Cha Nautilus, cantata for female vs. op.
Panama Hymn, op. 74 (Schirmer, 1915):
Stet for pf. and str. op. 67 (1909); Theme and
variations for fl. and str. 4tet, op. 80 (Schirmer,
1920); sonata for vn. and pf. op. 34 (1899); Varia
tions on a Balkan theme for pf. op. 60 (1906):
pf. op. 92 (Schirmer, 1922). Also church must to
Eskimos, 4 pieces for pf. op. 64 (1907): 2
es for
pf. pieces and Boston. 0. K.
100 songs. Mostly publ. by
many
A. P. Schmidt,
BECHGAARD, Julius.
Danish compr. b.
19 Dec. 1843; d. 5 March, 1917. Pupil of Cons.
Leipzig; wrote numerous vocal pieces in large
and small forms, all of distinctly national char-
His opera Frode was produced at R.
Theatre, Copenhagen, and at Prague, 1893.-A.H.
acter.
BECK, Ellen. Danish singer; b. 3 Oct.
1873. Pupil of Algot Lange, Copenhagen, and
Devilliers, Paris. Countless concerts in Scan-
dinavia, also Paris and London. An excellent and
most experienced vocal teacher. Has sung in
England at Sheffield and other festivals.-A. II.
BECK, Reinhold J. Ger. compr. b. Hanover,
10 Jan. 1881. At first, pharmacist; then actor;
took up music in Berlin, 1906. Compr. and
lecturer on Science of Music at Herder High
School and People's High School, Berlin-Harms-
dorf.
Lyrical phantasy On the Rhine, for orch.; chamber
for clar.
concerto for vn. in suite form; Serember-musie;
and str. 4tet; 2 str. 4tet Grillparzer's Ahnfrau;
songs;
duets; choruses;
operettas, Rivieraliebe and Berliner Rangen.-A. E.
BECKER, Hugo. Ger. cellist; b. Strasburg,
Alsace, 13 Feb. 1864. Stud. under his father, the
celebrated violinist, Jean Becker (1833-84),
Kanut Kündinger, Fr. Grützmacher, sen., Karl
Hess in Dresden, Piatti and de Swert. Solo
violinist Opera House Orch., Frankfort-o-M.;
teacher, Hoch's Cons., 1890-1906; solo cellist
from 1901 (in succession to Piatti) at the Monday
Popular Concerts, London; teacher High School
of Music, Berlin, since 1909. Formerly member
of Heermann Quartet. At present, member of
a trio with Carl Friedberg (formerly Arthur
Schnabel) and Carl Flesch. Becker is the
classical cellist of Germany. He has written a
concerto (A ma. op. 10, Schott) for his instru-
ment.-A. E.
BECKER, Reinhold. Ger. compr. b. Adorf,
Saxony, 11 Aug. 1842. At first violinist; since
1870 in Dresden as compr. and dir. of Men's
Choral Society (1884-94).
Many favourite songs and male choruses; 2 vn.
concertos (A mi. and G ml.); symphony in C,
op. 140; vn. sonatas; str. 4tets; symph. poem,
The Prince of Homburg: operas: Frauenlob (Dresden,
1892); Ratbold (Mayence, 1896).-A. E.
BECKMAN, Bror. Swedish compr. b. Chris-
tinehamn, 10 Feb. 1866. Stud. under J. Linde-
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BEDFORD
gren (at pf. school of S. Carlheim-Gyllensköld),
1890-1902; member R.A.M. Stockholm, 1904;
from 1910, dir. R. Cons. Stockholm.
Symphony in F (Stockholm, 1902): Om lyckan
orch. op. 10 (id. 1902); I som-
(About Former Nights), str. orch. (1893); Flod-
marnätter
Ballade, barit. and orch.
sanger, v. and orch.
(1906); stage-music; sonata, vn. and pf. op. 1; pf.
pieces (3 symph. ballades, op. 14); songs.-P. v.
BEDFORD, Herbert. Eng. compr. and painter;
Has lectured on
b. London, 23 Jan. 1867.
Modern Unace. Song and publ. an essay on it
(Oxford Univ. Press, 1923). Married Liza Leh-
mann (q.v.).
Opera, Kit Marlowe; symph. phantasy, The
Optimist; suite, Queen Mab; overture, Sowing the
Vox Veris, s. v. and orch. (all F. & B. Goodwin
Library); Mélodie Solennelle for str. (Schott); songs
with str. 4tet (Boosey: Chester); 8 unacc. songs
(F. & B. Goodwin).-E.-H.
BEECHAM, Sir Thomas, Bart. Eng. condr.
and operatie impresario; b. near Liverpool, 29
April, 1879. Educated Rossall School (where
he had lessons in compn. from Dr. Sweeting)
and Wadham Coll. Oxford (a few lessons from
Dr. Varley Roberts); no further regular music
tuation; 1889, he founded an amateur orch.
al Huyton, near Liverpool, and at a concert
given by his father, he deputised for Dr.
Richter who was indisposed; 1902, engaged by
Kelson Truman to cond. a touring opera co.;
then stud. compn. for 12 months and comp. 3
operas (ms.); 1905, gave his 1st concert in
London with Queen's Hall Orch. In 1906,
founded New Symphony Orch. (severed his
connection with it in 1908); then started Bee-
cham Symphony Orch.; in 1910, took Covent
Garden Theatre and gave a few series of old and
new operas, including Strauss's Elektra, Ethel
Smyth's Wreckers, Debussy's L'Enfant Prodigue,
and the 1st production of Delius's A Village
Romeo and Juliet; he gave a season of light
opera in autumn of 1910 at His Majesty's Theatre.
and a second Covent Garden season in the winter,
when he cond. Strauss's Salome and produced
(lutsam's 1-act opera A Summer Night, Strauss's
Elektra, Debussy's Pelléas et Mélisande, etc. In
1911, he cond. the Beecham Symphony Orch.,
the London Symphony and other orchs. and
continued his determined advocacy of Delius.
by producing his Appalachia, Paris, and the
Dance Rhapsody. Indeed, England owes more to
B. than to any other man, for its knowledge of
Delius. In 1913, he went to the relief of Denhof
Opera Co. in the provinces (Wagner's Ring, etc.,
Strauss, under Balling and Cortolezi).
Between Jan. and March 1913, he produced
largely Strauss and Wagner operas; from 27 May
to 7 June, 1913, he co-operated with Sir Herbert
oducing at His Majesty's Theat
Molière's Le Bourgeois Gentilhomme with Strauss's
Ariadne in Naxos (the play in English, the opera
in German).
Tree in
It was in June and July 1913 that his father,
Sir Joseph, gave a 5-weeks' season of Russ.
opera and ballet at Drury Lane Theatre:
Mussorgsky's Boris (24 June) with Chaliapin in
title-rôle; his Khovanshtchina (1 July); Rimsky-
Korsakof's Ivan the Terrible, with Emil Cooper
35
BEECHAM
Ivan;
as chief condr. The ballet was under Serge
Diaghilef, the new ones being Stravinsky's Le
Sacre du printemps, Florent Schmitt's La
Tragédie de Salome, and a poem-dance, Jeux, by
Debussy. In 1914, Sir Joseph gave a second
Russ. season of opera and ballet with the singers
from Imperial Opera, Petrograd, and Diaghilef's
troupe. This included Borodin's Prince Igor;
Rimsky-Korsakof's Coq d'Or, Night of May and
Strauss's Rosenkavalier; Mozart's Die
Zauberflöte, and the 1st perf. on any stage of
Stravinsky's The Nightingale. The ballets in-
cluded Ravel's Daphnis et Chloé; Rimsky-
Korsakof's Antar and Scheherazade; Steinberg's
Midas; Tchaikovsky's Le Lac des Cygnes;
Balakiref's Tamara; Rimsky-Korsakof's (with
Glazunof) Cléopâtre; Tchérepnin's Narcisse;
Stravinsky's Petruchka and L'Oiseau de feu, and
the 1st perf. in England of Strauss's Legend of
Joseph, which had been produced in Paris a few
weeks previously. On 4 July, 1914, B. produced
(1st perf.) Holbrooke's Dylan.
In Oct. 1915, at the Shaftesbury Theatre
(with R. Courtneidge) Thomas Beecham cond.
a season of opera in Eng.: Mozart, Puccini,
etc.
Between May and July, 1916, he gave a
Beecham Opera season at Aldwych Theatre:
Mozart's Flute and Wagner's Tristan (in Eng.);
Bach's Phoebus and Pan, Mussorgsky, Puccini,
Verdi (Otello), Stanford's The Critic, Ethel
Smyth's The Boatswain's Mate, etc. (He had
been knighted by King George in 1914 and in-
herited the baronetcy in 1916.) In Oct. 1916 he
gave an autumn season of opera in Eng. at the
Aldwych: Mozart, Wagner, Saint-Saëns, Verdi,
Puccini, Gounod (Faust; Romeo and Juliet),
Charpentier (Louise). This season continued till
10 Feb. 1917.
In autumn 1917 (till Nov. 24), he removed
to Drury Lane Theatre: Mussorgsky, Rimsky-
Korsakof, Wagner (Tristan), Puccini, Bach, etc.
The summer season (3 June to 27 July) of 1918
he gave at Drury Lane Theatre, and there again
in 1919 (from 19 March) he gave a season
(Wagner, Mozart, Verdi, Charpentier, Puccini,
etc.), including Bizet's Fair Maid of Perth. At
Covent Garden, in May and June of this year
he revived Massenet's Thais and gave the first
production in England of Massenet's Thérèse. In
Nov.-Dec. of the same year the Beecham Opera
Co. gave a season at Covent Garden which in-
cluded Wagner's Parsifal, Wolf-Ferrari's Su-
sanna's Secret, and Stravinsky's Nightingale (the
last 2 in Eng. for 1st time). A fortnight of
Russian opera brought the season to a close on
22 Dec. 1919.
On 24 Feb. 1920, the Beecham Co. were again
at Covent Garden, and produced Delius's A Village
Romeo and Juliet (19 March, 1920) and all the
usual operas. On 10 May, under the Grand
Opera Syndicate, Ltd., Sir Thomas dir. at Covent
Garden Opera House, amongst other works,
Bizet's I Pescatori di Perle, Debussy's Pelléas,
Donizetti's Don Pasquale, etc., but the season
ended in July. Since then Sir Thomas has only
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BEER-WALBRUNN
appeared occasionally as condr. at a few orch..
concerts in London and in Manchester.
It goes without saying that B. has done more
than any living man towards the establishment
of grand opera in England. Without his good
work the British National Opera Co. could not
have made their fine beginning. As condr. he
added a greater zest and a finer line to the works
of Mozart. He rejuvenated the programmes of
the R. Philh. Soc. concerts during the seasons
when he was artistic director, 1916-17 and 1917-
1918; and he did the same for the Hallé orch.
concerts in Manchester.-E.-II.
BEER-WALBRUNN, Anton. Ger. compr. b.
Kohlberg, Bavaria, 29 June, 1864. At first a
teacher and orgt. in Eichstätt; then pupil at
Acad. of Music (Rheinberger) in Munich; teacher
of compn. there since 1901; prof. 1908.
compr. is a delicate and melodious romanticist.
Songs; Cycle of Shakespeare's Sonnets should be
specially mentioned, op. 34 (own publication);
chamber-music: vn. sonatas, D mi. op. 30, Tischer
& Jagenberg: pf. 4tet, op. 8 (Peters); str.
4tet, G. ma. op. 14 (Peters); orch. pieces, the
most orig. of the 3 Burlesques being Cloud-Cuckoo-
As
Town, op. 40 (Colo 17 & Jagenberg); vn.
concerto; operas:
(Lübeck, 1894); Don
Quixote (Munich, 1908, Drei Masken Verlag); Das
Ungeheuer (Carlsruhe, 1919); also music to Hamlet
and The Tempest.-A. E.
BEETHOVEN ASSOCIATION, New York. See
BAUER, HAROLD.
BEGGAR'S OPERA, The. Originally pro-
duced at John Rich's theatre, in Lincoln's Inn
Fields, 29 Jan. 1728, with immense success.
Written by John Gay with popular tunes for
the songs; arranged with an overture by Dr.
J. C. Pepusch. It ridiculed the Ital. Opera of
that day, had political satire, drew attention to
the bad system of prison discipline, and the pay-
ment of informers. Prior to the 1920 revival, it
was last seen on the Eng, boards in 1886, with
Sims Reeves as Captain Macheath. The 1920
reproduction at Lyric Theatre, Hammersmith,
under auspices of Nigel Playfair, ran from 5
June, 1920, to 17 Dec. 1923 (1463 continuous
perfs.). The airs were artistically harmonised by
Frederic Austin, and the scenery designed by
late C. Lovat Fraser. Some necessary "cuts" had
to be made, owing to length of piece and other
causes. See "POLLY."-F. K.
BEHM, Eduard. Ger. compr. b. Stettin, 8 April,
1862. Pupil at Leipzig Cons.; then of Härtel,
Raif and Kiel in Berlin; resided in Vienna;
then in Kiel as critic and condr.; sometime
teacher at Acad. of Music, Erfurt; next dir. of
Schwantzer Cons. Berlin, till 1901; prof. 1917.
Symphony; Idyll of Spring for orch.; pf. concerto;
vn. concerto: pf. trio, E mi. op. 14; 5tet for
clar. and str.; str. 6tet (with violotta); 2 vn. sonatas,
A ma, op. 15 and D mi.; yn. suite, G. ma. op. 22;
glees; songs; operas: The Rogue of Bergen (Dresden,
1899); Marienkind (1902); The Vow (1914).-A. E.
BEHN, Hermann. Ger. compr. b. Hamburg,
11 Nov. 1859. Jurist; became pupil of Anton
Bruckner in Vienna, Joseph Rheinberger in
Munich, and Hermann Zumpe in Hamburg,
where he has resided since 1887; has given
lectures on musical history since 1897.
9 books of songs; pf. sonata, C mi. (Leipzig,
36
BEKKER
Fr. Kistner); arrangements of works of Wagner,
Bruckner, Mahler, etc.-A. E.
BEHREND, Fritz. Ger. compr. b. Berlin, 3
March, 1889. Stud. under A. van Eyken, Ph.
Rüfer and E. Humperdinck for compn., K. M.
Breithaupt for pf.; was for a time Korrepetitor
at Court Theatre, Brunswick; then once more in
Berlin as compr. and teacher of compn. and pf.
There is a Fritz Behrend Society engaged in
spreading his works.
Songs, op. 11, 21, 27, 30 (Magdeburg, Heinrichs-
hofen), 2, 14, 19, 23, 24 (Dresden, Aurora Verlag), and
1-act opera King René's Daughter (Magdeburg,
Heinrichshofen). Unpubl.: Prelude to Kleist's Penthe-
sile other orch. works; 2 str. 4tets.-A. E.
Young Olaf (ballad for barit. and
orch.);
BEHREND, William. Danish music historian,
critic; b. 16 May, 1861. Stud. law at Univ.
Copenhagen; has since occupied important
positions under the magistracy of Copenhagen;
mus. critic of several dailies and magazines;
author of musico-historical works.
Chief is
Illustrated History of Music (Illustreret Musik-
historie, Vol. II, Copenhagen, 1905), 1076 pages,
covering period from Gluck to present time; also
biographies (Danish) of Niels W. Gade (1917)
and J. P. E. Hartmann (1919).-A. H.
BEIGEL, Victor. b. London, 29 May, 1870, of
Hungarian parents. Stud. in Vienna, later at
Königliche Hochschule, Berlin (Wilhelm Berger,
Anton Raif, W. Bargiel). Toured as pianist in
Austria, Germany, Sweden, Norway, Poland,
with the singers Eugen Hildach and Raimond
von Zur Mühlen. 1896, prof. singing, Brooklyn
School of Music, New York, teaching in London
in the season. Settled in London in 1906 as
teacher of singing. Famous pupils: late Gervase
Elwes, Susan Metcalfe-Casals, Hubert Eisdell,
John Adams, Yves Tinayre (Paris), Loritz
Melchoir (Copenhagen Opera).-E.-H.
BEILSCHMIDT, Kurt. Ger. compr. b. Magde-
burg, 20 March, 1886. Pupil of Schünemann
and F. Kauffmann, Magdeburg; at Leipzig
Cons., 1905-9; engaged in Brussels for short
time; has lived in Leipzig since end of 1909 as
composer, teacher and author.
Symphonietta In May, op. 17; Zu einem Liebespiel
for orch. op. 31; Serenade, op. 33; pf. suite, op. 2;
vn. sonatas, op. 3 and 34; cello sonata, op. 10;
str. 4tet, op. 5; choruses; songs; and for stage:
The Adventure in the Wood, op. 25 (Leipzig, 1918);
the
no mus,
8. comedy Meister Innocenz, op. 24; pastoral
play, Artful Cupid (Leipzig, 1921).-A. E.
BEKKER, Paul. Ger. writer on music; b.
Berlin, 11 Sept. 1882. At first, violinist in Philh.
Orch. Berlin; then condr. in Aschaffenburg and
Görlitz; writer on music since 1906, firstly as
reviewer to Berliner Neueste Nachrichten, in
1909 to Berliner Allgemeine Zeitung, and 1911-
1923 to Frankfurter Zeitung. Resides in Hof-
heim, Taunus. One of most influential critics
and one of most stimulating writers on music
in Germany; an advocate of progress and inter-
national fertility; champion of Mahler and
Schreker. His controversy with Hans Pfitzner
marked an era in German criticism.
Beethoven (Stuttgart, 1911, Deutsche Verlags-
Anstalt); Das deutsche Musikleben: Attempt at a
Sociological Appreciation of Music (1916, id.): The
The
Sumphonies of Gustav Mahler (1921, id.);
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BEKKEVOLD
Symphony from Beethoven to Mahler (1918, id.); Frane
of
(collected essays, 1921 and 1923, (d.).; Sound
Eros-A. E.
BEKKEVOLD, Frederik August. Norwegian
barit. singer; b. Christiania, 18 May, 1830; d.
there, 17 Jan. 1911. Stud. philology at Christi-
ania Univ.; subsequently trained as vocalist;
gained great popularity by his spirited lyrical
nterpretation.-J. A.
BELAIEF, Mitrofan Petrovitch (accent 2nd syll.).
Russ. music publ. b. Petrograd, 10/22 Feb. 1836;
d. Petrograd, 10/23 Jan. 1903. A distinguished
music-lover and generous patron, to whom
He founded (in
musical Russia owes much.
1885) the publ. firm which bears his name, and
the Russian Symphony Concerts, devoted to
the propagation of Russian music.-M. D. C.
BELAIEF, Victor Michaelovitch. Russ. writer
on music; b. Uralsk (Ural Cossack govt.)
24 Jan./5 Feb. 1888. Pupil of Liadof, Wihtol,
and Glazunof in Petrograd Cons. (1908-14).
course became
Before finishing students'
teacher of theory 1913, and prof. 1919. From
1917, secretary of Art Council of Petro-
grad Cons.; 1918-19, secretary of chief direc-
In 1922, went to
tion of Russ. Music Soc.
Moscow as member of council of Russ. State
Music Publ. Dept. Has written for many papers
and periodicals: Muzika (1911-16); Mus. Con-
temporary (1916-17): Melos (1917-18). Founded
in 1923 (with V. Derjanovsky) the mus. monthly
Towards New Shores (suspended 1924). Member
of Russ. Acad. of Art-Sciences and of State Inst.
of Mus. Science; 1923, prof. at Moscow Cons.
Short exposition, Counterpoint and Mus. Forms
(1st ed. 1914: 2nd, 1922); biography, A. K. Glazunof
(Vol. 1, 1921): Correspondence of Scriabin and M. P.
Belaief (1922); Russ. transl. of Prout's Fugal Analysis
(1913).
Mr. Belaief has contributed a large number of
the Russ. articles in this Dictionary.-E.-H.
Is culti-
BELGIAN CHAMBER - MUSIC.
vated with a very special partiality. It is in this
domain that Belgian comprs. of the last 20 years
have brought forth their most significant works,
notably Joseph Jongen and Victor Vreuls, in
wbom, spiritual links with Young Fr. school
have inspired a style and mode of writing in
perfect harmony with the exigencies of this
species, distinguished among all others by its
refinement and delicacy. Several groups of
Belgian artists devote themselves with assiduity
to the interpretation of chamber-music. See art.
on CHAMBER-MUSIC PLAYERS.-C. V. B.
BELGIAN FOLK-MUSIC. See CLOSSON,
ERNEST, and references under FLEMISH FOLK-
MUSIC.
BELGIAN OPERA. Belgian works destined.
for the lyric stage do not show, as a whole, any
very clear national characteristics. Apart from
the operas of Jan Blockx, which have tendencies
more or less towards folk-lore, but which are
rather superficial, the Belgian comprs. of last
20 years are essentially indebted to Wagner,
(Du Bois, Gilson, De Boeck). For the rest, one
notices the infiltration of Fr. influences (Franck,
BELL
d'Indy, Massenet, etc.) or the Ital. Verism,
sometimes unadulterated (Vreuls, Buffin), some-
times under forms more or less mixed (Thiébaut,
Alb. Dupuis, Rasse, Lagye, etc.). Consult L.
Solvay, L'Evolution théâtrale, Vol. II, La Musique
(Brussels, 1922, Van Oest).-C. V. B.
BELGIUM, ORCHESTRAL CONCERTS IN. In
Brussels the symphonic works find hospitality in
three great concert insts. founded long ago: Con-
certs du Conservatoire (condr. L. Du Bois), for the
exlusive perf. of the works of deceased musicians;
Concerts populaires de musique classique (condr.
Rühlmann; manager, Henry Le Bouf), whose
repertory tends more and more to enlarge itself
in time and in space, extending from the music of
the XVII century to that of the most daring
masters of to-day; Concerts Ysaye (condr.
Eugène Ysaye), which, pursuing their pre-war
apostolate, continued to provide, in a generous
cclecticism, the music of to-day and that of
former times, until the beginning of 1924, when
they were replaced by chamber-concerts. Their
place in orch. work was consequently taken up
by the Concerts symphoniques Houdret. In addi-
tion, there are the Concerts Spirituels (orch.
condr. Joseph Jongen), more especially devoted
to oratorio and cantata. In Ghent and Liège,
Concerts du Conservatoire. In Antwerp there are
also exceedingly good societies of symph. con-
certs dir. by excellent conductors (Alpaerts de
Vocht, Mortelmans).-C. V. B.
BELL, George. British mus. ed. b. Lisburn, Co.
Antrim, Ireland; d. Glasgow, 6 March, 1923.
Presbyterian minister in Establ. Church of
Scotland, who did much for furtherance of
church music there. Educated at Trinity Coll.
Dublin, where he graduated Mus. Bac., and
(1888) Mus.Doc. He had been licensed by Irish
Presbyterian Church in 1882, but in 1890 ob-
tained admission to Church of Scotland; when
inducted as 1st minister of parish ch. of St.
Kenneth, Holmfieldhead, Govan, from very be-
ginning he worked for attainment of a fully
choral service, and musically his church was one
of best in Scotland. Influential member of
Church of Scotland Psalmody Committee. On
his initiative, a general survey of position of
psalmody in every church under their juris-
diction was made by the Gen. Assembly. Had
much to do with preparation and publication
of Scottish Mission Hymn-book in which several
of his own tunes appear, and of Classified List
of Anthems.-W. s.
BELL, William Henry. Eng. compr. b. St.
Albans, 20 Aug. 1873. Stud. R.A.M. London,
winning scholarship in 1889; prof. of harmony
there, 1903; vacated it to take charge (as dir.)
of S. African Coll. of Music at Cape Town. In
March 1918, appointed to the newly-formed
chair of music at Univ. of Cape Town. Latterly
the S. African Coll. of Music has become part of
Univ. with B. as Dean of the Faculty of Music.
Practically all his earlier orch. works were
produced in England between 1899 and 1912;
first by Manns at the Crystal Palace, who
37
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BELLA
presented a new work of Bell's nearly every year
from 1899 onwards; and later by Richter, Sir
T. Beecham and Sir H. Wood. The last works
to be done in London were A Song of Greeting,
symph. poem, under Sir H. Wood at R.A.M.
centenary, Queen's Hall, July 1922; and the
Symph. Variations, under the compr. (then in
London on his only visit to this country since
1912) at a Philh. concert, Feb. 1921. All his later
orch. work is in the repertoire of the Cape Town
Municipal Orch. and is frequently played by
them under Theo Wendt. B. cond. at the St.
Albans Pageant, 1907 (for which he wrote the
music), and at the Fest. of Empire, 1911.
F.R.C.M. h.c. 1924.
Operas: Hippolytus, 3 acts (after Euripides),
about 1920: Isabeau, 1 act (1922); symphonies:
I, C mi. Walt Whitman (early); II. A mi. (1917);
III. F ma. (1918); Symph. Variations (1916; pert.
Philh. London, 1921); preludes for orch. The
Canterbury Pilgrims (Manns, Crystal Palace, 1899);
A Song i
g in the Morning (Gloucester Fest. and Queen's
Hall, 1901): symph. poems: The Pardoner's Tale
(Manns, 1900); La Fée des Sources (1912); Mother
Carey (a) In the Night Watches (Philh. Soc.), (b) In
the Fo'c'sle (Novello); Lore among the Ruins
(Beecham); The Shepherd
The Por-
tal (1921): Veldt Wood, 1922); Arcadian Suite,
Loneli Queen's A Song of
Greeting (Sir
1909 (Avison Ed. Cary & Co.); music to St. Albans
Pageant (id.); his most representative work, Maria
Assumpta (Crashaw), s. v. double chorus, boys'
chorus, orch. (1922; Stainer & F
early Mystica (about 1917); Ballad of a concerto,
the Bird-Bride,
barit. solo and orch. (1909; Richter,
Queen's Hall); for chorus and orch.: Hawke (early);
The Baron of Brackley, early (J. Williams); 3 vn.
sonatas, E mi. F mi. D mi.; songs, 6 Lore Lyrics,
(Novello); 16 songs from Bliss Carman's
Sappho; 3 old Eng. songs, v. and orch.; music for
Ben Jonson's masque A Vision of Delight (Kingsway
Theatre, 1908); 5 Medieval Songs, female vs. str. and
pf. (2 sets); choruses from Shelley's Prometheus
Unbound (1923), etc.
Consult arts. on the Symph. Variations and 2
symphonies by M. van Someren-Godfery, in Mus.
Times, May, June, July 1920.-E.-H.
BELLA, Jan Levoslav. Slovak compr. b.
St. Mikuláš, Slovakia, 1843. Stud. in Vienna;
Catholic priest, devoting himself to church
music, into which he introduced Slovak folk-
songs. Later, several years in Hungary; now
at Cluj (Klausenburg), Rumania.
Motet Tu es Petrus; masses; church hymns;
symph. poem, Osud a Ideál (Fate and the Ideal), 1875;
songs; variations and transcriptions of Slovak folk-
songs. V. ST.
BELLAIGUE, Camille. Fr. musical critic; b.
Paris, 1858. Stud. law. Pupil of Paladilhe and
Marmontel at Cons., Paris; 1st prize for pf.,
1878. Wrote articles for Correspondant, Figaro,
Le Temps, L'Echo de Paris, and is still writing
for the Gaulois; mus. critic for Revue des Deux
Mondes since 1885; gained Prix Vitet, 1894.
The greater part of his work is contained in
L'Année musicale (1886-91, 5 vols.) and L'An-
née musicale et dramatique (1892-93, 2 vols.,
both publ. Paris, Delagrave.
Un Siècle de musique francaise; Portraits et
silhouettes de musiciens (Eng. and Ger. transl.);
Etudes musicales and Nourelles Silhouettes d
de la muns
(Delagrave).
(also transl.); Les Eps and Gounod
(Paris, Alcan); Mozat and Verdi (Paris, Laurens),
etc. Amongst latest publ.: Propos de
et de guerre; Souvenirs de musique et de musi
(1921).-M. L. P.
BELLENOT, Philippe. French compr.
24 Jan. 1860; pupil of Ecole Niedermeyer,
b.
38
BELLS AND CARILLONS
then at Cons.; choirmaster Saint-Sulpice since
1884; lauréat de l'Institut; author of motets,
masses, 2 dramatic works, Naristé and Le Coeur
dormant, perf. Monte Carlo and Cannes, and
Opéra-Comique, Paris.-F. R.
BELLINCIONI, Gemma. S. singer; b. Monza,
17 Aug. 1864. One of the most famous artists
of Ital. singing of modern times. Her inter-
pretations of Santuzza in Mascagni's Caval.
leria Rusticana (of which she, with t. Roberto
Stagno, was first interpreter), of Violetta in
La Traviata, of Salome in Strauss's opera, are
now memorable. Began her career by playing
light and comic parts. The t. Tamberlik, having
noticed her ability, engaged her to tour with
him abroad; in 1881 she was in Spain and then
in Portugal. From that time her fame grew
continually, until she was known universally,
and her successes aroused the highest enthusiasm.
She became the favourite artist of the public
and of the Royal Courts. She also establ. herself
as an actress in stage-plays, the Dame aux
Camélias being one of her greatest successes.
She publ. her autobiographical memoirs in a
book Myself and the Stage (Io ed il Palcoscenico)
(Milan, Quintieri, 1920).
Consult: G. Baccioni, G. B. (Palermo, S.
Contemporaries
Biondo); O. Roux, Illustrious
(Florence, Bemporad).-D. A.
BELLS AND CARILLONS. During recent
times great developments have taken place in
the making, hanging and tuning of bells. It has
been established that there can be very little
deviation from the most approved contour of
the bell which has been arrived at by the practical
experience of generations of bell-founders, with
out a very detrimental influence on the tone.
The science of change-ringing, as regards the
fundamental principles, remains the same,
namely, that in ringing changes a bell may
repeat its position or move one place up or down,
but new methods have been evolved, adding
interest to various modes in which different
series of changes are obtained. The magnificent
ring of bells at Exeter Cath. has recently been
added to by the gift of two trebles, so that now
it is possible to ring peals in 3 keys: B flat (12),
E flat (8), and C mi. (8) (descending melodic
scale). Great advances have been made in hang-
ing of bells. Steel and iron have gradually taken
place of wooden frame-construction, and by
use of ball-bearings, bells which required four
men to ring them can now be rung with comfort
by one man. The development of art of tuning
bells has been accomplished by much experi-
mental work and by invention of necessary
machines for taking out metal from inside of bell.
Every good bell should contain 5 tones in
accurate tune, thus:
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BELLUCCI
From this it will be seen that the tuning-zone
lao compass of 2 octaves. It will be noted that
the tierce is minor and not major as is the case
in the series of partial tones of strings and pipes.
All these tones can be tuned to accuracy of a
single vibration. Such accuracy of tune has never
before been possible in the whole history of bells,
although it is surprising how near to truth such
a master as Hemony got in many of his bells.
This finer tuning has greatly influenced the mak-
ing of carillons with clavier tuned to equal
temperament, and has greatly increased the love
of bell-music, particularly as such bells can be
used with excellent effect in chords of 3 or 4
notes, and can be played with great expression.
Intense crescendos, delicate diminuendos, and
strong rhythmic accent, etc., are all possible
to the skilled bell-player. The most famous
continental carillons are: (i) in Holland, Rotter-
dam City Hall, Middelburg, Arnhem, Utrecht;
(ii) in Belgium, Mechlin, Antwerp, Bruges. The
most distinguished living carillonists are: Josef
Denijn, Mechlin; Jules Van de Plas, Louvain;
Antoon Nauwelaerts, Bruges; Antoon Brees,
Antwerp; Gustav Nees, Mechlin. The following
Crillons with clavier have been erected during
recent years in the British Isles: Bournville,
37 bells; Queenstown, 42; Armagh, 42; Park-
gate, 37; Loughborough Foundry Tower 42;
Loughborough War Memorial, 47; and in U.S.A.:
Gloucester, 31; Birmingham, 25; Monistown,
25. Andover, 30, all made in England.-W. W. S.
BELLUCCI, Hector. Argentine condr. and
teacher; b. Rome in 1855. Stud. vn. and pf. under
Ettore and Oreste Pinelli. Orch. condr. at Reggio
Emilia and Perugia, going to Buenos Ayres in 1878,
where he formed part of the "First Quartet"
with Cayetano Gaito, Enrique Bomon and
Cayetano Ghignatti. Pf. prof. in Cons. Thibaud-
Piazzini. One of pioneers of Ital. music in
Argentina.-A. M.
BENDER, Paul. Ger. b. singer; b. Driedorf,
Westerwald, 28 July, 1875. Son of clergyman;
at first a physician, and at same time stud. sing-
ing under Luise Resz and Baptist Hoffmann.
Stadttheater, Breslau (1900-3), since which time
has been one of most prominent singers of
National Theatre, Munich; also sang at Bayreuth
from 1902 onwards. Equally distinguished in
opera and concert music. In 1922 first voyage to
America. Repertoire embraces: Sarastro, O8-
min, Barber of Bagdad, Basilio, Ochs von
Lerchenau, Marke, Gurnemanz, Hagen, Hans
Sachs, Dutchman, Wotan.-A. E.
BENNETT
Prague, 16 April, 1838; there, 16 Sept.
1897. Pupil of Organ School, Prague (under
Blažek and Zvonař); 1864, condr. of theatres
in Brussels and Amsterdam; 1865-77, condr. of
the choir Hlahol, Prague; 1879-81, condr. of
private orch. of Baron Dervies in Nice, then in
Milan. From 1881, again in Prague, devoting him.
self entirely to compn. His activity with amateur
orchs. and choirs left its traces in his inclina-
tion to choruses, duets, songs with orch. His
style is eclectic-older German romanticism,
Italian suavity, influence of Smetana, Czech folk-
song, etc. In his operas, we even have verism.
To-day his works are nearly forgotten, despite
their good qualities-sincerity, tunefulness,
cheerfulness.
Stedry den (Xmas Eve), 1885 (chorus, soli, orch.);
Jihoslovanská rapsodie (Jugoslav Rhapsody) 1881,
orch.; str. 4tet; 2 masses; church compns.;
Ciganské melodie (Gipsy Songs; 2 vols., Novello);
Cypřiše (Cupresses); Pisné skřivánět (Songs of the
Nightingale); Plané
Králodvorského (Songs
from Coder of Dvůr Králové), v. and pf.; choruses.
Operas: Lejla; Břetislav; Star ženich (The Old
Bridegroom), 1871; Indická princtower); Cernohorci
Magic
(Montenegrins); Svanda dudák (1st in concert form;
dram. form, 1891); Karel Skréta (1883); Ditě Tábora
(The Child of Tabor), 1888; Máti Mila (Mother Mila);
Česká svatba (Czech Wedding-Day), a ballet; publ. F. A.
Urbánek; E. tarý, Pra
Novello, London.-
V. ST.
BENGTSSON, Gustav Adolf Tiburtius. Swedish
compr. b. Vadstena, 29 March, 1885. Stud. R.
Cons. Stockholm, compn. under Johan Linde.
gren, and later, under Paul Juon and Hugo Rie-
mann. Lives in Norrköping.
Symphonies: I, C mi. (1908); II, D mi. (1910);
III, O mi. (1921); str. 4tet (1907); sonata, vn. and
pf. (1905); pf. trio (1916); songs with pf.-P. V.,
BENJAMIN, Arthur L. Australian pianist; b.
Sydney, 18 Sept. 1893. Won open scholarship,
R.C.M. London, 1911. Stud. there under Charles
Stanford and Frederic Cliffe (pf.). In 1920, prof.
of pf. State Cons. Sydney.
Orch: 3 Dance-Scherzi; Rhapsody on negro folk-
tunes; 2 songs (Masefield), barit. and orch.; clar.
5tet, C mi.; Rhapsody in D, vn., cello, pf.; sonata,
i. for vn. and pf.; Scherzo in B mi. clar. and pf.;
4 Impressions, m.-sopr. v. and str. 4tet; suite of
songs, for barit. and pf. (XVIII century poems):
Pastoral Fantasia, str. 4fet (Carnegie award, 1924);
all ms.-E.-H.
BENNER, Paul. Swiss orgt. condr. compr.
b. Neuchâtel, 7 Sept. 1877. Stud. at Cons. in
Frankfort, pupil of Ivan Knorr and B. Scholz
(compn.). Since 1901, orgt. and condr. of Société
Chorale (Oratorio Concerts) at Neuchâtel.
For soll, chorus, orch. and organ: Requiem
(Lausanne, Fetison: Liber apertus est. Numérous
Mer (id.); Le
unace, choruses publ. by the Commission du Chant
sacré de l'Eglise indépendante (Neuchâtel), Chamber-
music; songs with orch, and with pf.-F. H.
BENNETT, George John. Eng. orgt. compr. b.
Andover, 5 May, 1863. Stud. R.A.M. London
under Macfarren and Steggall, at Berlin under
Kiel and Barth, and at Munich under Rhein-
berger. Orgt. Lincoln Cath. since 1895. Condr.
Lincoln Mus. Fest. 1896-9; 1902-6-10; condr.
Lincoln Mus. Soc. from its foundation in 1896.
Mus.Doc. Cantab. 1893.
BENDIX, Victor Emanuel. Danish compr. b.
17 May, 1851. Pupil of R. Cons. Copenhagen,
and of Niels W. Gade. A follower of Neo-Roman-
tic school; several works have attained a place.
in international repertoire. Pianist and teacher;
condr. of Folkekoncerterne (Peoples' Concerts),
Philh. Concerts (1897-1901) and Dansk Koncert-
forening (Danish Concert Soc.) 1907-10.
4 symphonics; concerto, pf. and orch.; pf. trio;
series of songs and romances of great individuality.
-A. H.
BENDL, Karel. Czechoslovak compr. b.
39
Church musie; orch. suite in D mi.; organ music;
manuals on Combined and Florid Counterpoint and
Elements g
of Music for Choir-boys (Novello). A large
number of good organ arrs, of orch, and other works,
especially Wagner (mostly Novello).-E.-II.
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BENNEWITZ
BENNEWITZ, Kurt. Ger. compr. b. Magde-
burg, 2 Feb. 1886. Assistant at Inst. of
Chemistry and Physics, Berlin; stud. music under
Bischof, the orgt., and Kauffmann, mus. dir.
Magdeburg.
Pr. sonata, F mi. (Magdeburg, Heinrichshofen);
pl. trio in D; songs.-A. E.
BENOIT, Pierre Léonard Léopold. Belgian
composer; b. Harlebeke (Flanders), 17 August,
1834; d. Antwerp, 8 March, 1901. Born of a
peasant family with musical and literary tastes,
Benoit first studied under his father and the
village organist. At fifteen he composed music
for the village prize distribution. From 1851
to 1855, he attended Brussels Conservatoire,
becoming later conductor at the Flemish Theatre
and composing melodramas. Having won the
Prix de Rome, 1857, he made the stipulated
journey to Germany. In 1861 he went to
Paris, where his opera Erl King was accepted
but not played. Whilst there, he held the
post of 2nd conductor at Offenbach's Bouffes-
Parisiens. He settled in Antwerp in 1863
and there realised his ideal the creation
of a national Flemish art. During his travels
in Germany, he published a work on the
future of Flemish music. From 1867 to 1884
his Flemish pamphlets (many translated)
appeared, asserting the objective existence of
Flemish musical art. Thanks to his efforts,
Antwerp became an important musical centre.
He established a society for concert organisation
and an association of musical artists. In 1867,
he founded the Flemish School of Music (Vlaam-
sche Muziekschool) and induced the Govern-
ment to take it over as the Royal Flemish
Conservatoire in Antwerp, 1898.
He organised a Gounod Festival and was
first to produce Berlioz's Damnation de Faust in
Belgium. Benoit was a member of the Academy.
An important society in Antwerp, the Benoit
Fonds, propagates his works.
As composer he is deservedly reckoned as the
Tyrtæus of the Flemish movement (which he,
however, only considered as within the Belgian
nationality). He dreamt of expressing his race
under a concrete musical form; for although
there had been Flemish composers, there had
not been a Flemish musical art. He undertook
to create one, and was completely successful.
His own work is deeply imbued with Flemish
genius. His songs become merged in the Nether-
land folk-songs. His historical significance,
however, must be sought in his oratorios: La
Guerre, Lucifer, L'Escaut, the Rubens Cantata,
which, like real musical rescoes with broad.
lines, massive effects and decorative procedure,
call to mind the great Flemish painters. His
writing is simple, summary even; the style
quite classic; the melody sometimes common-
place; but some of his inspirations are full of
beauty and occasionally call to mind Bect-
hoven, with whom, through the Bonn master's
Flemish ancestry, he has points of resemblance.
One of his distinctive characteristics is the
felicitous use of children's choirs, which no one
40
BERG
else had done with such striking effect. It is
not sufficient to say that he was talented; he
must be considered as one who just missed
being a genius.
Stage pieces: Het Dorp in 't gebergte (1856); Isa,
drama with lyrics (1864); Willem de Zwijger, id.
met ons, cantata
wit Popular
songs
scenes (1886); Het Mellief, pastoral play wit
(1893). Melodramas: De belgische Natie (1855);
Charlotte Corday (1875); Karel van Gelderland (1891);
Pompeia (1894); Blek in 't jaar 30 (1897).
Works for solí, chorus and orch.: Le Meurtre
d'Abel (Pria de Rome); Vlaanderen Kunstroem
(Rubens cantata); Lucifer (1866); Par Care);
De
Londres (1889); De Schelde: De Rhyn;
Feestzang; De Wereld in (children's cantata);
Triomfmarsch; De Leie; Kinderhulde aan den dichter;
Antwerpen; De Muze der Geschiedenis. Sacred: a
tetralogy comprising Cantate de Noël, Messe, Te Deum,
Requiem; Drama Christi (sacred drama); Messe
20 motets: Maria. Tales and
and orch.; pf. concerto; fl. concerto; pieces for ob.,
clar., etc.; many songs, especially cycles Dichterheil,
Liefde uit Leven; Liefdedrama; Tales and Ballads,
pf.
Consult:
Eeckhoud, P. B., 1897; Stoffels,
P. B., 1901; Gittens, P. B. (in Nouvelle Revue Inter
nationale, 1901-2). Sabbe, In Memoriam P. B., 1902;
Blockx, P. B., 1904; P. B.'s Jaarboek (Benoit Soc.),
1905, 1906, 1907.-E. C.
BEÑOS, Avelino. Uruguay cellist; b. Monte-
video, 1887. Stud. at Cons. La Lira, Montevideo;
completed his training at Brussels under César
On return to Montevideo, joined.
Vicente Pablo in founding the Cons. Uruguay.
Many concerts; admirable technique.-A. M.
Thomson.
BENVENUTI, Giacomo. Ital. historian and
compr. b. Toscolano (Brescia). Stud. at Liceo
Mus. at Bologna under Bossi. Is author of
some appreciated vocal compns. (Ricordi; Pizzi
ed.), and some important reprints of old Ital.
music.-D. A.
BEOBIDE, José María. Contemporary Span.
orgt. of Basque group; b. at Zumaya. Stud. at
Real Cons. de Música, Madrid. Former orgt. in
Jesuit College, Quito (Ecuador); and prof. at
Quito Cons. Lives at Zumaya.-P. G. M.
BERBER, Felix. Ger. violinist; b. Jena, 11
March, 1871. Pupil at Cons. Dresden and
Leipzig; played in London, 1899; Konzert-
meister in Magdeburg, 1891-6; Chemnitz, 1896-8;
Gewandhaus Orch., Leipzig, 1898-1902; teacher
in Acad. of Music, Munich, 1904, and in Hoch's
Cons. Frankfort-o-M., 1905; Geneva Cons.,
1908; returned to Munich 1912, where he
has been prof. in Acad. of Music since 1920.
Leader str. quartet (Berber, A. Huber, V. Härtl
and Johannes Hegar).-A. E.
BERENS, Hermann. Ger. compr. b. Hamburg,
7 April, 1826; d. Stockholm, 9 May, 1880. Son
of military bandsman, Karl Berens (1801-57),
whose pupil he was; afterwards of Reissiger in
Dresden. Accompanist to Alboni, in Stock-
holm, 1847; mus. dir. in Ürebro, 1849; condr.
of orch. Stockholm, 1860; cond. of Court Orch.,
teacher of compn. and prof. at Acad. Stockholm.
Operas and operettas pt. and chamber-music.
His New Course of Agility (pf. studies, op. 61) is
well known.-A. E.
BERG, Alban. Austrian compr. b. Vienna, 7 Feb.
1885. Since 1910, teacher of theory and compn.
From 1918, he was active in the Verein für
Musikalische Privataufführungen (Association for
Private Performances of Music), founded by
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BERG
Arnold Schönberg. Arr. piano-score of Schön-
berg's Gurrelieder and Schreker's opera Der
ferne Klang, as well as Mahler's 8th symphony
for four hands. Author of Guide to the Gurre-
lieder, and a thematic analysis of Schönberg's
Kammersymphonie. (All Univ. Ed. Vienna.)
His own compns, are publ. by Schlesinger &
Lienau (Berlin and Vienna): pf. sonata, op. 1
(1908); 4 songs for v. and pf. op. 2 (1919); str.
4tet, op. 3 (1909-10); 4 pieces for clar. op. 5
(1913). These works are of equal importance,
in the history of modern music in Vienna, with
those of Webern. Not yet publ.: 5 songs with
orch. (words by Peter Altenberg), op. 4 (1912),
and 3 orch. pieces (Prelude, Dance, March), op. 6
(1914). His opera Wozzek (finished 1922), publ.
in piano-score, seems destined to open new
paths in dramatic music. Each of the 15 scenes
follows a special mus. form. Scene 1 is a suite;
Scene 4, 21 variations on a theme; Act II a
symphony in five movements; Act III a
quence of 6 inventions. Consult art. by E.
Stein (Chesterian, No. 26).-P. ST.
BERG, Maria, Argentine pianist; b. London,
1888. Stud. in England and under Bosch at Ma-
drid Cons. Gave concerts in London and Madrid;
Weit Buenos Ayres in 1904, where she
establ, the Cons. Beethoven in Quilmes.-A. M.
BERG, Natanael. Swedish compr. b. Stock-
holm, 9 Feb. 1879; stud. singing at R. Cons.
there, 1897-1900; and compn. in Germany,
France and Austria. President of Soc.
Swedish Comprs. from its foundation in 1918.
One of the most eminent of younger Swedish
20mposers.
of
Deras written). Pantomime-ballets: Alfvorna
Leila (1908-10; Stockholm, 1910); Josua
(Fairies), Stockholm (1914); Sensitiva (1919); Herti-
vinnans friare (The
Wooers), 1920. Symph.
poems, orch.: Duchess on (1911); Alles endet
was ents
s entstehet (1913); Varde ljus! (Fiat lux!) 1914;
Arstiderma (The Seasons) 1916; Makler
1917: Pezzo sinfonico
(1922), Ballades, v. and on); Trilogia delle one
Saul and David (1907);
Eros' erede (The Wrath of Eros), 1907; Predikaren
(The Preacher), 1911; Die badenden Kinder (1918).
Chorus, soli, orch.: Mannen och kvinnan (The Man
and the Woman), 1911; Israels lovsång (1915). Vn.
concerto (1918); pf. 5tet (1917; Musikaliska Konst-
föreningen); str. 4tet (1919).-P. V.
BERG-HANSEN, Johannes. Norwegian barit.
concert-singer; b. Christiania, 5 March, 1882.
Pupil of Schinckel in Munich, and of Lulle
Haanshus in Christiania. Début, Christiania,
1904. Outside Scandinavian countries, has sung
in Antwerp, Paris and London.-U. M.
BERGER, Francesco. Pianist, compr. b. of
Ital. parents, London, 10 June, 1834. Stud.
compn. at Trieste (under Luigi Ricci), pf. under
Karl Lichl; later, Leipzig (pf. Moscheles and
Plaidy; harmony, Moritz Hauptmann). For 27
years hon. sec. R. Philh. Soc. London. Pf. prof.
at R.A.M. and Guildhall School of Music. His
part-song Night, Lovely Night had a great vogue.
Overture and incidental music to The Lighthouse,
and to The Frozen Deep
Dickens and his circle plays acted by C
);
100
4. etc.); nearly 100 songs, duets, trios,
Augener; Chappell; Boosey; Enoch;
part-songs, to Eng. Ger. Fr. or Ital. texts. Author
of Reminiscences, Impressions and Anecdotes (Samp-
son Low), and a Musical Vocabulary in 4 Languages
(1922, W. Reeves).-E.-H.
BERLIOZ
BERGER, Wilhelm. Compr. b. Boston, U.S.A.,
9 Aug. 1861; d. Jena, 16 Jan. 1911. Of
Ger. descent; brought up in Bremen; pupil of
Kiel and Rudorff at R. High School, Berlin,
1878-84; teacher at Klindworth-Scharwenka
Cons, from 1888. Court Orch. condr. Meiningen,
1903; prof. and member of Prussian Acad. of
Arts, 1903.
2 symphonies, in B flat, op. 71 (Breitkopf) and in B.
mi. op. 80 (Boté & Bock); Variations and fugue for
orch. op. 97 (Louckart); pf. works, including a sonata
in B, op. 76 (O. Forberg); 3 vn. sonatas, op. 7, A ma.
(Praeger), op. 29, F ma. (Peters), op. 70, G mi.
(Simon); pf. trio, G mi. op. 94, with clar, and cello
(Kabnt); pf. 4tet, op. 21 (Praeger); pf. stet, F mi.
op. 95 (Kahnt); str. stet, E mi. op. 75 (Bote & Bock);
choral works with orch.; choruses; some favourite
list of his publ. works by W. Altmann
(1920).-A.
BERGH, Rudolph. Danish compr. b. 22 Sept.
1859. Prof. of embryology at Univ. of Copen-
hagen, 1890; retired in 1903, to devote himself
to music; settled at Godesberg-on-Rhine; has
lately resided in Copenhagen.
3 choral works with orch. (Requiem für Werther;
Geister der Windstille; Der Berg des heiligen Feuers);
Tragic Symphony; 3 orch. pieces; str. 4tet; 2 vn.
sonatas; numerous songs and pf. pieces.-A. H.
BERGMANS, Paul Jean Étienne Charles Marie,
Belgian writer on music; b. Gand (Ghent).
23 Feb. 1868. Stud. at Ghent Cons. and privately
under Waelput. Doctor of philosophy and
literature, Ghent Univ. 1887; assistant-librarian
there, 1892; chief librarian, 1919; lecturer in
music to Faculty of philosophy and literature,
1912; professor-extraordinary in same, 1919;
member R. Belgian Acad. of Archaeology,
1900; member of R. Acad. of Belgium, 1913.
Dramatic and music critic of the Flandre Libérale
(Ghent). Contributor to various reviews (Guide
Musical, since 1884; S.I.M.; Sammelb. d.
I.M.G., etc.). Author of numerous. mono-
graphs, small in dimensions, but extremely
rich in documentation and irreproachable in
scientific exactitude. Amongst others:
P. J. Leblan, carillonneur de la Ville de Gand au
XVIIIe
der
(Ghent, 1886, Van der Haeghen),
Vie musicale gant'Organiste des archi-
1997, Beyer);
Varietés musicologiques (1st series, Ghent, 1891,
Vijt 2nd series, 1901, id.; 3rd series, Antwerp, 1920,
au
(musi
ducs Albert et Isabelle: Peter Philips (Ghent, 1903,
Vijt); Les Musiciens de Courtrai et du Courtraisis
(Ghent,
(Brussels, 1919, Hayez); Henry Vieuxtemps (Turn-
hout, 1920, Brepols); Le Baron Limnander de Nieu-
wenhove (Brussels, 1920, Hayez); Quatorze lettres
inédites.
Philippe de Monte (Brussels,
1921, Hayez);
etc.-C. V. B.
u compoaman Susato (Antwerp, 1923),
BERINGER, Oscar. Pianist, teacher; b. Furt-
wangen, Baden, 14 July, 1844; d. London,
Feb. 1922. Pupil gnaz Moscheles at Leipzig
and of Carl Tausig, Berlin; from 1871 in
London, where he had an acad. for advanced
pf. playing; in 1885, prof. of pf. at R.C.M.
London; 1900, hon. member of same. Well-
known pf. teacher and examiner in London.
Educational works for pf. (Bosworth; Augener);
pf. concerto; songs. Wrote Fifty Years Experience
of Pf. Teaching and Playing (London, 1907,
Bosworth).-A. E.
BERLIOZ, Louis Hector. French composer;
b. Côte-Saint-André, near Grenoble (Isère), 11
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BERLIOZ
Dec. 1803; d. Paris, 8 March, 1869. Although
Berlioz died in 1869, and consequently does
not come strictly within the limits of the
present work, it is impossible not to devote
some space to this great musician whose influ-
ence is felt, even to-day in European music,
on what is most vital amongst contemporary
musicians. There is nothing more French than
Berlioz and nothing less related to the past,
unless by that taste for vast musical frescoes
which traverses the ages from Jannequin to Lully
and Debussy to Ravel, and seems to be the
appanage of French genius. Berlioz appears as
a sort of phenomenon. Instead of slowly gather-
ing up the efforts of preceding generations (as
was the case for the most part with the German
geniuses, Bach, Beethoven, Wagner, Brahms) he
seems to draw everything from himself, to con-
struct precociously a huge edifice of which cer-
tain parts were never finished, others quickly
fell in ruin, but of which the rest leaves for
musicians a fruitful source for meditation and
invention.
BERNERS
Saint-Saëns noticed this apropos of the Course.
à l'abime in the Damnation.
In the domain of musical architecture, as in
that of orchestral colour, Berlioz was a pro-
digious innovator. Not only is his Symphonie
Fantastique the original of the symphonic poem,
but his admirable Roméo et Juliette (1839) is
the first model of a new type-the dramatic
symphony of which musicians are still far
from realising the full consequences.
His faults, very visible (the results of his
impetuous temperament and his impatience of
discipline), have turned away from him numbers
of musicians who nevertheless profited from his
discoveries. His clumsinesses of writing (often
as potentially expressive as those of Mussorgsky)
were denounced by purists, as much as by the
representatives of the Impressionist school,
Debussy, and Ravel. However, Berlioz is the
father of musical Impressionism, just as Eugène
Delacroix is the point of departure for all
modern pictorial evolution, and musicians will
end one day by acknowledging this.
Berlioz had the soul of a great poet. His fiery,
romantic periods of genuine creation attained
an admirable balance and transposed into the
language of tone the harmonies brought to
light by Virgil. Les Troyens contains sublime
pages; unfortunately the whole is badly pro-
portioned. Self-taught artists only make frag-
mentary and incomplete studies, and Berlioz
escaped from the discipline of symphonic
classicism which had already established itself
strongly in Germany, and so avoided the con-
tagion of the Italian opera. Admirer of Beethoven,
he did not seek to imitate him, but, fully grasp-
ing the lesson of the 9th Symphony, courageously
carried forward mus. progress in an age when all
efforts were expected to be merely along the
lines indicated by Haydn, Mozart, and Beet-
hoven.
Berlioz is really the origin of all that revolu-
tionary movement which has been carried on,
in the search for new forms, by the French
musicians during the last half-century. He broke
up all the traditional forms and conventions
which stifled music, and he opened the door to the
future. He offers an absolute contrast to Wagner.
Whilst the latter slowly took possession of his
genius and followed its ascension methodically
and surely, Berlioz perpetually hesitated to
follow along his road. It does not behove us
to trace this vie douloureuse, full of uncer-
tainties. In 1830 (three years after Beethoven's
death) this young man of 27 had already
composed the 8 Scenes from Faust, the over-
ture Waverley and the Symphonie Fantastique,
in which, breaking through the milieu of the
symphony character, he gives us the prototype
of the "symphonic poem." Liszt (who made
in 1830 at Paris a piano-transcription of the
Symphonie Fantastique) only progressed by
systematising Berlioz's idea. Berlioz knew not
what to do with his inventions; he sowed to
the winds, but nothing was lost; and Liszt,
Richard Strauss, Rimsky-Korsakof, Lalo,
Saint-Saëns, profited largely by Berlioz's.
suggestions.
Berlioz was, above all, a marvellous inventor
of orchestral sonorities. He reviewed all his
discoveries of orchestral technique in his famous.
Traité of 1839, which lives even to-day as an
important work on the subject. Instead of
reating the orchestra in the mass (as did
Beethoven and even Wagner) Berlioz placed
a value on the sonority of pure isolated tone-
qualities proceeding by juxtaposition of touches,
as Delacroix was endeavouring to do at that
time in painting. Although an admirable
theorist in his art, Berlioz often appears guided
by a kind of intuition. His orchestral writing
is moreover so far removed from the usual
procedure, that one cannot imagine the effect.
produced in performance by merely reading it.
42
Consult Alfred Ernst's L'Euvre dramatique
d'H. B. (1884); Adolphe Jullien's biography
of H. B. (1888); Berlioz's Memoirs and Letters,
edited by Bernard; W. H. Hadow's Studies in
Modern Music (Seeley, London, 1894); T. S.
Wotton, The Scores of B. (Mus. Times, Nov. 1915);
W.J. Turner, H. B. (New Statesman, 14 Oct. 1916);
J. G. Prod'homme, Unpublished Berlioziana (Mus.
Quarterly, April 1918).-H. P.
BERNEKER, Konstanz. Ger. compr. b.
Darkehmen, 31 Oct. 1844; d. Königsberg,
9 June, 1906. Pupil at Acad. Inst. for Church
Music, Berlin; choirmaster in Berlin; cath.
orgt. in Königsberg; dir. of Acad. of Singing,
1872; lector at Univ., and teacher at Königs-
berg Cons. One of most important musicians of
East Prussia. A Berneker Society was founded
in Königsberg (1907) which publ. his works.
Cantatas and oratorios (Victory Festival, 1871:
Judith, 1877; Hero and Leander; Mila the Ileath-
child).-A. E.
Eng.
BERNERS, Lord (Gerald Tyrwhitt).
compr. b. Apley Park, Bridgnorth, 18 Sept. 1883.
Entered diplomatic service as hon. attaché, 1909;
appointed to Constantinople, 1909-11; to Rome,
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BERNTSEN
1911-19; chiefly self-taught in music; stud.
orchestration (for a time) under Stravinsky and
Casella. His style is sometimes subtly complex, at
others, daringly outspoken. He has chosen un-
usual paths in music. He ranges from caustic
cynicism to witty musical parody, from mock-
lyricism to amazing caricature, from pleasant
fooling to biting sarcasm. His Valses bourgeoises
for pf. duet were played at the Salzburg Inter-
national Fest. Aug. 1923.
Le Carrosse du Saint-Sacrement, opera (1923);
partici
Valse Sentimentale, Kasatchok); Fragments
(Hatred, Laughter, A Sigh), pf.; The Goldfish,
log Funeral Marches (For a Statesman, a Canary,
pf.: 3
a Rich Aunt); Valses bourgeoises, pf. duet; Lieder
album (Ger. words); 3 songs (Eng.); 3 chansons
(Fr.); Dialogue between Tom Filuter and his Man, by
Ned the Dog-Stealer (all publ. by Chester).-E.-H.
BERNTSEN, Jens. Norwegian barit. singer
and choral condr. b. Aalesund, 22 Aug. 1867.
Took organist's examination at Christiania
Music Cons. in 1889; then stud. singing.
Teachers: Wilhelm Kloed and Thv. Lammers
(Christiania), Arlberg (Stockholm), Prof. Ney
and George Armin (Berlin). Début as opera-
singer, 1893, old Christiania Theatre (no longer
existing); took part in perf. at National
Thea Christiania. Chief rôles: Mephisto-
pheles (Faust); Don Juan and Leporello (Don
Juan); Kaspar (Freischütz); Lothario (Mignon),
etc. Leader of several choirs in Christiania.
Teacher of singing, and publicist working for
popularisation of Armin's method.-R. M.
BERR, José.
Ger. compr. b. Regensburg
(Ratisbon), 29 Dec. 1874. Pupil of Rheinberger
and Kellermann at Acad. of Music, Munich;
teacher at Acad. of Music, Zurich, 1901; establ.
a cons. of his own there in 1913.
Choral pieces for male vs.; song-cycle, 4 vs. and
pf.; mimodrama, Francesca.-A. E.
BERTELIN, Albert. Fr. compr.; b. Paris,
26 July, 1872. Stud. at Paris Cons. under Th.
Dubois and Ch. M. Widor; 2nd Grand Prix
de Rome, 1902. B. is skilful in harmony and
vigorous in ept.; he submits to classical dis-
cipline whilst expressing himself in very modern
musical language.
Songs; poems (v. and orch.); sonatas; a 5tet
(1922); Sakountala, a Hindoo legend (prize, Paris
Competition); Goitza, lyrical drama, 3 acts (1912);
preludes and interludes on Christmas Cano Nativitate
organ;
2 oratorios, Sub Umbra Crucis (1917), In
Domini (1922), which were perf. at Church of St.-
Eustache.-F. R.
BERTRAM, Georg. Ger. pianist; b. Berlin,
27 April, 1882. Pupil of Ernst Jedlicka (pf.)
Hans Pfitzner and Ph. Rüfer; teacher at Stern's
Cons. Berlin, since 1903. Excellent concert
artist.-A. E.
BESLY
pf. pieces, and has had some of her work
orchestrated for use in local theatres.-W. S.
BERUTTI, Arturo.
Argentine compr. b.
San Juan, in 1862. Stud. at Leipzig under
Reinecke and Jadassohn. Then went to Paris
and Milan to study operatic compn. Returned
to Buenos Ayres in 1896, his works from this
period showing influence of the legends and
airs of his native land.
Vendetta (1892), 3 acts (libretto by Domingo Crisa-
pulli), perf, at Vercelli and Milan (publ. by Demarchi);
Evangelina (1893), 3 acts (libretto by Costella), perf.
in Milan and afterwards in Bologna, Naples, Florence
and Buenos Ayres (publ. by Demarchi); Tarass
Bulba (1895), 4 acts (libretto by Guillermo Godio),
perf. in Turin and later in Buenos Ayres, Montevideo
Mexico
by Guido Borra, the 1st lyrical compn. of a national
character; produced at Opera of Buenos Ayres with
great success; Yupanki (1899), 3 acts, libretto by
Enrique Rodríguez Larreta, founded on Inca legend;
Khrysé
), perf. (1905).
4 acts (own libretto),
Poll-
Buenos Ayres; Horrida
teama Th02), 4
in 2 acts. Also pf. and vn. and pf. pieces.-A. M.
BERUTTI, Pablo M. Argentine compr. b.
San Juan, in 1887. Stud. at Leipzig under
Jadassohn. Was dir. of Argentine National
Military School of Music. Received from late
Emperor of Austria an hon. Doctorate and
Grand Cross of Francis Joseph. Now inspector
of bands of national army and dir. of a Cons.
which he establ. in Buenos Ayres.
Opera, Cochabamba, in 3 acts (publ. by Oretti,
Buenos Ayres); Mass; Funeral March; pf. pieces.
-A. M.
BERWALD, Astrid. Swedish pianist; b.
Stockholm, 8 Sept. 1886. Stud. pf. under
Richard Andersson and at High School for Music,
Berlin (under E. Dohnányi and G. Bertram).
Frequently appears at Konsertföreningen in
Stockholm and in Gothenburg. Teaches at R.
Andersson's pf. School, Stockholm.-P. V.
BERTRAM, Madge. Scottish compr. b. Edin-
burgh, 8 Nov. 1879. Youngest of a family of 9, all
of whom were musicians. Her father, James B.,
was a well-known Edinburgh bandmaster and
concert-agent, and he was himself the mus. des-
cendant of a long line of mus. ancestors. She
stud. harmony under Grieve of Edinburgh and pf.
under Mme. Krüger (a pupil of Clara Schumann).
Composition came naturally, and she possesses
a rich gift of melody. Has publ. many songs and
43
BERWALD, William Henry. Amer. compr. b.
Schwerin, Germany, 26 Dec. 1864. Stud. under
Rheinberger, 1883-7; in Stuttgart under Faisst,
1887-88. Went to Libau, Russia, in 1889 as condr.
of Philh. Soc. In 1892, prof. of pf. and compn. at
Univ. of Syracuse, N.Y. where he is still active.
B. has been a prolific compr., particularly of
anthems, many of them very effective. Also
over 70 pf. pieces. A dramatic overture and an
overture Walthari (both still ms.) have been re-
peatedly perf. by American orchestras.-O. K.
BESCH, Otto. Ger. compr. and writer on
music; b. Neuhausen, near Königsberg, 14 Feb.
1885. At first, stud. theology; then music with
O. Fiebach, Königsberg, and Ph. Rüfer and
E. Humperdinck, Berlin.
Orch. works: overtures (E. T. A. Hoffmann,
1920); chamber-music: str. 4tet in one
aus
Mitsommessen. Ed. a blography of E. Humper-
! (Midsummer Song); pt. ove
dinck (1914, Breitkopf). Lives in Königsberg as a
compr. and critic to Hartungschen Zeitung.-A. E.
BESLY, Maurice. Eng. condr. compr. b. Nor-
manby, Yorks, 28 Jan. 1888. Stud. pf. and
compn. at Leipzig Cons. 1910-12; pupil of
Teichmüller (pf.), Schreck and Krehl (compn.),
Ernst Ansermet (cond.); orgt. at Eng. Ch.,
Leipzig, 1910-12; assistant music-master Ton-
bridge School 1912-14; served in H.M. forces,
1914-19. Orgt. to Queen's Coll. Oxford, 1919;
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BESSE
condr. Oxford Orch. 1920; London début
Queen's Hall, 1922, with R. Albert Hall Orch.
One of condrs. of Scottish Orch. 1924. Ed. the
Queen's College Hymn Book.
Overture and incidental music to Merchant of
Venice; Mist in the Valley, Impression for orch.
(ms. Chester); Chelsea China, orch. suite (Boosey);
Bach's trio in C mi. and 2 chorale preludes, tran-
scribed for orch. (ms. Chester); 4 Tune with Dis-
quises, vn. pf.
(id.); organ transcriptiose); Nocturne, vn. and pf.
from Stravinsky's Fire-
Bird (Chester); Phadra, scena, s. v. and orch.
(Boosey); The Shepherds heard an Angel, s. v.,
chorus and c.a. (Curwen); 4 Poems, v. and pf.
(Boosey); songs (Boosey; Curwen; Enoch); an-
thems, motets (Curwen; Stainer & Bell).-E.-H.
BESSE, Clément. Fr. musicologist; b. Paris in
1870. d. 1923. Pupil of Ch. Planchet. Canon;
founder of Chorale des Franciscaines, Saint-Ger-
main-en-Laye; and prof. at Institut Catholique.
Numerous articles on interpretation of Gregorian
Chant, works of musicology, as follows:
The Crisis of Religious Ceremonies and of Sacred
Music (1914); German Music in France (1916);
author of religious
set to music by Albert
Alsin, orgt. of the Cho A. C.
BIAŁKIEWICZOWNA, Irena. Polish singer,
pianist and compr. of many pretty songs. Born
in 1890. Heard chiefly in Ital. opera houses.-
ZD. J.
BIANCO-LANZI, Maria. Ital. pianist; b.
Turin, 3 Oct. 1891. Stud. at Bologna, Rome
(under Sgambati), Paris, and Berlin. Many
successful concerts both in Italy and abroad
(Paris, Berlin, Brazil, etc.).-D. A.
BIARENT, Adolphe. Belgian compr. b.
Frasnes-lez-Gosselies, 11 Oct. 1871; d. Mont-
sur-Marchiennes, 4 Feb. 1916. Stud. music in
Brussels and Ghent; Prix de Rome, 1901;
Teacher of harmony and cpt. at Acad. of Music,
Charleroi. In spite of brevity of his career,
Biarent left a considerable number of works
which occupy an honourable place in modern
Walloon school.
Orch.: Conte d'Orient, suite: Trenmer, a symph.
poem; Légende de
Pf. 5tet; pf. and cello
Nocturne for vs. pf. harmonium, harp,
horn; pieces for pf.; songs.-E. C.
allonne: Poème homour et de la mort; Rapsodie
BIE, Oscar. Ger. writer on music; b. Breslau,
9 Feb. 1864. Ph.D. in music; pupil of Philipp
Scharwenka; lecturer on history of art at
Technical High School, Berlin; ed. of in-
fluential review, Die Neue Rundschau (S. Fischer,
publ.); reviewer to Berlin Börsen Courier. Is
a brilliant writer and a champion of Strauss,
Busoni, etc.
The Pf. and its Masters (Munich, 1898, Bruck-
mann; Eng. transl. by E. E. Kellett and E. W.
Naylor, J. M. Dent & Sons); The Dance (Berlin, 1906,
Bard, Marquardt & Co.); The Opera (Berlin, 1913, S.
Fischer), and smaller works.-A. E.
BIENSTOCK, Heinrich. Ger. compr. b. Mul-
house, Alsace, 13 July, 1894; d. Tübingen, 17
Dec. 1918. Pupil of Georg Haeser and Hans
Huber in Basle; then of conductors' class at R.
High School, Berlin; solo-repetitor in Carlsruhe.
Along with Rudi Stephan, he was one of the
greatest hopes of German musical life destroyed
by the war.
the Fool (Stuttgart, 1916); the 4-act mímodrama
The Conquerors of Life (Drei Masken Verlag, not
yet produced).-A. E.
44
BIRD
BIERNACKI, Michał Marjan. Polish compr.
and theorist; b. Lublin, 24 Nov. 1855. Pupil of
Roguski and Zeleński at Warsaw Cons. Dir. of
Mus. Soc. at Stanisławow (Galicia), 1880-97.
Prof. and dir. of Mus. Soc. Warsaw, 1902-5.
Among numerous compns. first place must be
given to symph. prologue, The Vigil; symph.
polonaise; symph. poem; 3 cantatas (one
received 1st prize at Brussels); 2 masses. His
songs, small instr. and choral pieces, like the
preceding, have the dignity of a conservative
style. Has publ. some works on theory and mus.
aesthetics.-ZD. J.
BIFONIA.
New tonal effect, obtained by
dividing the octave into 2 perfectly equal parts,
expounded by Domenico Alaleona (q.v.) in his
I moderni Orizzonti della Tecnica Musicale (Turin,
1911, Bocca).-E.-H.
BILLI, Vincenzo. Ital. compr. b. Brisighella
(Romagna), 4 April, 1869. His pieces are of a
popular type. A pf. piece Campane a sera has
a tremendous success. Has also written several
successful operettas (La camera oscura, 3 acts)
(Ricordi, 1921).-D. A.
28 Dec.
BINENBAUM, Janko. Compr. b. Adrianople,
80. Stud. theory at Munich Cons.
under Victor Gluth and Rheinberger. His first
works (songs, part-songs, 2 symphonies, and an
overture) were perf. in that city. His first str.
4tet was played at Paris in 1910; his 2nd in
1911; his pf. 5tet in 1912. The 2nd 4tet has
recently been perf. in New York, Boston and
Philadelphia. He has written a 3rd symphony,
a ballet The Masque of the Red Death, a Poème
lyrique for 8 str. instrs., a Poème intime for
pf. trio, songs, and pf. pieces.
His works have aroused great interest among
those who have heard them. He stands apart
from all classified tendencies of the present day,
and in some respects shows affinities with the
Ger. classics. His music is substantial, earnest,
often grim and terse in character, and altogether
original.-M. D. C.
BINYON, Bertram. Eng. t. singer; b. Capri,
1874. Educated Collegio Alfano, Naples; came
to England in 1892 to study architecture with
his uncle Brightwen B. at Ipswich; 1894,
entered Herkomer School of Painting at Bushey;
stud. under Prof. Herkomer for 2 years. Stud.
singing under Walter Austin at Guildhall School
of Music; and in 1897 under Bouhy in Paris for
3 winters; in 1900 sang with D'Oyly Carte's
Opera Co. on a special tour of The Rose of Persia.
1904, toured with Albani in England and Ire-
land; 1905, stud. under many masters, including
Jean de Reszke in Paris; sang (Don Ottavio) at
Mozart Fest. under Reynaldo Hahn; for 3
seasons at R. Opera, Covent Garden, in Grand
Opera season. Sang in Nigel Playfair's produc-
tion of As You Like It in 1919 (Stratford-on-
Avon) and 1920 (Lyric, Hammersmith). Many
vocal recitals in London.-E.-H.
BIRBYNE. See LITHUANIAN MUSIC.
BIRD, Arthur. Amer. compr. b. Cambridge,
Mass., U.S.A., 23 July, 1856. Pupil of Haupt,
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BIRMINGHAM
Loeschhorn and Rohde in Berlin, 1875-7. Return-
ing to America, was orgt. in Halifax, N.S. In
1881, again in Berlin studying compn. under
Urban. In 1884-5. pupil of Liszt in Weimar. In
1886 during a visit to America he conducted at
a Milwaukee music fest. Has resided since then.
chiefly in Berlin. B. has comp. much in all forms.
During the past 20 years he has made a speciality
of compn. for harmonium. A comic opera, Daphne,
was perf. at a Bagby musicale at the Hotel
Waldorf Astoria, New York, in 1897. One of his
2 decimettes for wind-instrs. (unpubl.) won
Paderewski Prize, 1902.
Symphony, op. 8 (Hainauer, 1886); Dritte Kleine
Suite for orch. op. 32 (A. P. Schmidt, 1892); Eine
Carneral-Scene for orch. op. 5 (Hainauer, 1887);
Gavotte for str. orch. op. 7 (C. F. Schmidt, 1899);
pf. pieces (Hainauer, 1886-9); pf. pieces, 4 hands,
op. 13, 16, 23 (id. 1886-7); organ pieces (Schirmer,
1903, 1905); harmonium pieces (Berlin, Köppen).
-0. K.
BIRMINGHAM AND MIDLAND INSTITUTE
SCHOOL OF MUSIC. Founded 1854, when col-
lective singing-classes were instituted. These
were dropped in 1861, but re-established in 1863,
since when there has been continuous growth.
In 1886 an hon. principal (Stockley) was ap-
pointed, resulting in appointment in 1900 of
regular principal (Granville Bantock) who now
holds office of dir. The Hon. Visitor is Sir Edward
Elgar, O.M. At present this school provides
tuition for over 1600 individual students; there
are teachers in all branches of the art, with
weekly classes for chamber and orch. music.
Three open rehearsals are held every term; in
addition to terminal concerts, an annual orch.
concert is given in Town Hall. Examinations
are held annually; diplomas of Associateship and
Licentiateship are granted to successful candi-
dates.-G. B.
BIRMINGHAM TRIENNIAL FESTIVAL. The
original fests., initiated in 1768, played a con-
siderable part in mus. life of city. In their time
they acquired a valuable influence, and show a
good record in the commissioning and produc-
tion of new works, such as Mendelssohn's Elijah;
Gounod's Mors et Vita; Dvořák's Stabat Mater;
Elgar's Gerontius; Bantock's Omar Khayyam,
etc. List of condrs. includes Crotch, Costa,
Richter and Wood. Since the war, these triennial
fests. have been discontinued, and a more im-
portant need is being met by the growing acti-
vities of the Midland Mus. Competition Fest.
(q.v.).-G. B.
BIRNBAUM, Zdzisław. Polish violinist, condr.
b. Warsaw, 1880; d. tragically in the neighbour-
hood of Berlin in 1921. Pupil of Eugène Ysaye.
Worked many years at Paris with Claude
Terrasse in his chamber-operettas; then Berlin
and last 10 years (1991-21) Warsaw, as condr.
of Philh. Orch.-ZD. J.
BITTNER
practical edition of Bach's pf. works (Stein-
gräber).-A. E.
BISCHOFF, Hermann. Ger. compr. b. Duis-
burg-o-Rhine, 7 Jan. 1868; stud. at Leipzig
Cons.; then in Munich, where he establ. a close
friendship with young Richard Strauss. Is a
landed proprietor at St. Georgen on the Ammer-
see, Upper Bavaria. As a compr. he is a talented
but not prolific representative of the "Modern
German" music.
2 symphonies, E ma. and D mi.; symph. poem Pan;
Gewitterseen partly in simple harmony;
verses by Richard Deh-
publ. Das
deutsche Lied (1905, C. F. W. Siegel's Verlag).-A. E.
mel); songs,
BISGAARD, Astri Udnæs. M.-sopr. opera-
singer; b. (of Norwegian parents) Bellingham,
Wash., U.S.A., 22 Jan. 1891. Went to Norway
in 1911. Stud. under Ellen Gulbranson and Mimi
Hviid (Christiania), Valdis Zerener (Munich).
Début-concert, Christiania, 1917. Was attached
to Opéra-Comique, Christiania, as long as it
existed (1918-21). Best rôles: Elizabeth (Tann-
häuser); Tosca.-U. M.
BISPHAM, David Scull. Amer. opera and con-
cert barit. b. Philadelphia, Pa., U.S.A., 5 Jan.
1857; d. New York, 2 Oct. 1921. A singer of un-
usually high intellectual attainments, and of high
artistic ideals, who made his mark both on the
operatic stage, where he exhibited marked
talents as an actor in humorous as well as in
serious parts, and on the concert platform. Of
Quaker antecedents, his early training was very
strict. Attended Haverford Coll. (Quaker inst.)
and graduated A.B. 1876. In 1886, went to Milan
and stud. under Vannuccini and Hall. 1887-90,
stud. in London under Shakespeare and Ran-
degger. Made his operatic début as Longueville
in Messager's Basoche, at Covent Garden Opera
House, London, 3 Nov. 1891. In 1892 sang
Kurwenal at Drury Lane. Was particularly suc-
cessful in Wagner's barit. rôles, notably Alberich
and Beckmesser. Until 1909, divided his time
between Covent Garden, London, and Metro-
politan Opera, New York, numbering over 50
rôles. Created rôles of William the Conqueror
in Cowen's Harold, Chillingsworth in Damrosch's
Scarlet Letter, Benedick in Stanford's Much Ado
about Nothing, Rudolph in Ethel Smyth's Der
Wald. He was an excellent Mefistofele in Boito's
opera and Falstaff and Iago in Verdi's operas.
First to sing Brahms's Four Serious Songs in
England and America. After 1909, devoted him-
self to recital singing, and became an ardent
advocate of singing all songs in English. 1916-17,
he was associated with the Soc. of Amer. Singers
in the revival of Mozart's Bastien and Bastienne,
and Der Schauspieldirektor and other small
operas in English. Also made a speciality of
reciting to music, being particularly successful.
in Strauss's Enoch Arden and Schillings' Hexen-
lied. Wrote A Quaker Singer's Recollections
(New York, 1920, Macmillan).-0. K.
BISCHOFF, Hans. Ger. pf. teacher and ed.
b. Berlin, 17 Feb. 1852; d. Niederschönhausen,
12 June, 1889. Pupil of Kullak and Würst;
stud. philosophy and modern languages in Berlin;
teacher at Kullak's Acad. in 1872; later at
Stern's Cons. Is (with others) ed. of best
BITTNER, Julius. Austrian compr. b. Vienna,
4 April, 1874. LL.D.; was a judge for a long
time. Showed a ms. opera Alarich to Mahler,
who sent him to Bruno Walter for training. His
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BIZZOZERO
Die rote Gred (1907) was very successful. Then
followed Der Musikant (1910); Der Bergsee
(Peasants' War), 1st perf. 1911 (new version,
1922); Das höllisch Gold (1st perf. 1916);
Die Kohlhaymerin (1921); Das Rosengärtlein
(1923). He wrote his own opera - books;
they are amongst the best in libretto litera-
ture. He also wrote dramas with incidental
music: Der liebe Augustin (Raimund Prize);
Die unsterbliche Kanzlei. Also a ballet, Panto-
mime des Todes. He ed. (with D. J. Bach) the
Merker for 1918-22. Has an excellent, witty
and enthusiastic pen. His music is both popular
and original in the best sense. He is the greatest
hope for the Ger. popular opera of our time.
Consult biography by R. Specht (Munich, 1922,
Drei Masken Verlag).-P. ST.
BIZZOZERO, Julieta. Uruguay pianist; b.
Montevideo. Stud. at Cons. La Lira there. After
a series of very successful concerts, she founded
Cons. Chopin at Montevideo in 1916. A pianist
of great artistic ability. In 1920, founded the
Wagnerian Association which has received good
support from music-lovers of Uruguay.-A. M.
BLACK, Andrew. Scottish barit. b. Glasgow,
15 Jan. 1859; d. Australia, Nov. 1920. Stud.
under Randegger and in Milan; sang Crystal
Palace concerts 1887; Leeds Fest. 1892; and
later at many other fests.; sang Judas in 1st
perf. The Apostles (Birmingham, 1903); toured
Australia and settled there about 1913.-E.-H.
BLÁHA-MIKEŠ, Záboj. Czechoslovak compr.
b. Prague, 1887. Pupil of V. Novák, A. Mikeš
and F. Spilka. Chiefly vocal works.
Song-cycles: Notturna; Hovory se smrti (Dialogue
with Death); Milostné pisné (Love Songs); Veselá
Liska (Gay Lore); Pisen Salomonova (Song of Solo-
mon), female chorus and orch.); 3 melodnes n
and
Tagore,
Visions for pfber-ensemble;
BLANCH, Pedro. Span. condr. Lives and
works in Lisbon, where he teaches at the Cons.
-P. G. M.
BLANCHET, Émile R. Swiss pianist, compr.
b. Lausanne, 17 July, 1877. Son of well-known
orgt. Charles B. of Lausanne; stud. pf. at Cons.
Cologne, and under Busoni at Weimar. Settled at
Lausanne, but lives during winter season in Paris.
One of the most eminent Swiss pianists of day,
possessing a masterly technique; also a compr.
of great originality. His pieces (mostly for pf.),
recall Chopin, as well as the modern Fr. school
(Debussy). They have a very complex harmony
and an extraordinarily rich colour.
Concert-piece, pf. and orch.;
(Ricordi)tions; Scherzo andudes; polonaises;
études;
H.
other pf. pieces
BLANCO, Pedro. Span. compr. Stud. at
R. Cons. de Música, Madrid; establ. himself at
Oporto (Portugal), where he died in 1920.
Orch., Añoranzas; pf. suites: Hispania; Galanias
sions intimes); Dos mazurures romantiques (Impres-
del y del dolor;
songs with Spán. and Portuguese words; vn. and pf.
pieces (publ. E. da Fonseca, Oporto).-P. G. M.
BLANCO RECIO, José Ramón. Span. compr.
b. Burgos, 13 Sept. 1886. Though he practised
music from his early youth, he did not adopt
it as a profession until 1919, when he revealed
himself practically as a self-taught compr. with
46
YANA
BLECH
his symph. poem, Égloga, founded on a Basque
subject (perf. by Orquesta Benedito, Madrid,
20 April; 2nd perf. by Orquesta Filarmónica,
Madrid, under Pérez Casas, 5 March, 1920). On
11 Dec. 1921, the Orquesta Lassalle played for
first time his 2nd symph. work, Cinco Minia-
turas, and repeated it I Feb. 1922. He lives in
Madrid, and has also written:
Faunalia, choreographic poem, full orch.: Oración
y Marcha fúnebres, str. orch. and tpi.; Fantasia
apasionada, pf. and cello; sets of Span. songs and
children's songs; pf. pieces. (Publ.: Unión Musical
Española, Madrid; Leduc, Paris).-P. G. M.
BLARAMBERG, Paul, Ivanovitch (accent 1st
syll.). Russ. compr b. Orenburg, 14/20 Sept.
1841; d. Nice, 15/28 Feb. 1907. Received
lessons from Balakiref, but chiefly self-taught;
1883-98, prof. of theory at Philh. Soc. School at
Moscow. Several operas; orch. and choral music;
many songs, most of which are in a facile
vein.-M. D. C.
BLAUWAERT, Émile. Baritone singer; b.
St. Nicholas (East Flanders) 13 June, 1845; d.
2 Feb. 1891. Stud. at Brussels Cons.; 1st prize
for vn., one for trombone and one for singing.
Joined orch. of Théâtre Flamand, Brussels, as
2nd vn.; soon devoted himself entirely to
singing, which was always characterised by
the purest taste and reverent deference to spirit
of masters. He had an extraordinary compass;
was principal interpreter of Benoit's great.
oratorios (Lucifer, 1868; De Schelde, 1869;
De Oorlog [War], 1880; De Pacificatie van
Gent). Taught singing at Bruges, Antwerp,
and Mons Acad. From 1880 toured Holland,
France, Germany, Austria, Russia and Eng-
land, finally going to opera stage, distinguish-
ing himself in Wagnerian opera, especially
part of Telramund in the solitary perf. of
Lohengrin, Paris, 1887, and part of Gurnemanz
at Bayreuth.-C. V. B.
BLAŽEK, František. Czechoslovak theorist;
b. Velešice, 1815; d. 23 Jan. 1900. Taught at
Organ School, Prague (until 1895), where Bendl
and Dvořák were his pupils. Wrote Manual of
Harmony; Figured Bass Exercises, etc.-V. Sr.
BLECH, Leo. Ger. compr. b. Aix-la-Chapelle,
21 April, 1871; was at first in business; stud.
music for a year in Berlin under Bargiel and
Rudorff; in the winter months (1892-8) was en-
gaged as condr, at Stadttheater, Aix-la-Chapelle
(early operas: Aglaja, 1893, and Cherubina,
1894); continued his studies under Engelbert
Humperdinck for 4 years during summer months.
Called to Prague (1899) as first condr. to Deutsches
Landestheater, and in 1906 to Berlin as condr. at
the R. Opera House, where he has been gen.
mus. dir. since 1913; first condr. Charlottenburg
Opera, Berlin, since 1923.
Songs (op. 19, 21, 24); pf. pieces; symph.
poems: Die Nonne; Trost in der Natur; Waldwan-
(chorus
derung; choruses with orch. Von denomic opera,
for female vs.), Sommernacht. A 1-act
Das war ich (Dresden, 1902, words by R. Batka);
Cinderella (Aschenbrödel), Prague, 1905, 3 acts; and
Versiegelt (Hamburg, 1908, 1 act); also a new
setting of Raimund's Alpenkönig und Menschen-
feind, text recast by Bátka, as a 3-act opera (Dresden,
1903); and the operetta Die Strohwitwe (The Grass
Widow), Hamburg, 1920.-A. E.
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BLOCH
symphony (Colour). Consult a booklet on A. B. by
Percy A. Scholes (F. & B. Goodwin).-E.-H.
BLOCH, Ernest. Composer; b. Geneva,
Switzerland, 24 July, 1880. Son of a Jewish
merchant in Geneva. Stud under Jaques-Dal-
croze (solfège) and Louis Rey (vn.) between 1894
and 1897. From 1897-9, attended the Con-
servatoire at Brussels, studying violin
and orch.
under
Ysaye and composition under F. Rasse. From
1897-9. was pupil in composition of Ivan Knorr
at Hoch's Cons. Frankfort-o-M. After a short
time under Thuille in Munich, went to Paris
and returned to Geneva in 1904, becoming
a bookkeeper in his mother's shop and devoting
his spare hours to composing.
Through the interest of Mme. Bréval, his opera
Macbeth (written at 23) was brought out at the
Opéra-Comique, Paris, 30 Nov. 1910. It aroused.
much opposition and some interest. The com-
poser was declared a revolutionary. In 1909-10
he conducted orchestral concerts at Neuf-
châtel and Lausanne, and in 1910 produced his
1st symphony in C sharp minor (written 1901-3),
which was warmly acclaimed by Romain Rolland.
From 1911 to 1915 he taught composition and
aesthetics at the Geneva Conservatoire. In 1915
he went to America as conductor for the dancer,
Maud Allan. In 1917 he settled in New York as
teacher at the David Mannes School of Music.
In 1920 he was called to Cleveland, Ohio, as the
head of the newly organised Cleveland Institute
of Music.
BLEYLE
BLEYLE, Karl. Ger. compr. b. Feldkirch
(Vorarlberg), 7 May, 1880. 1894, private pupil
Hugo Wehrle and Samuel de Lange in
Stuttgart; at Cons. there, 1897-99 (E. Singer,
de Lange); then stud. three more years (1904-7)
under Thuille in Munich, where he settled; at
present living at Canstatt, near Stuttgart.
An den Mistral, op. 21 (for male
Nietzsche); male choruses, a cappella, op. 4 and 7 (Niet-
zsche); symphony in 1 movement, Fma. op. 6; Learn
to laugh, op. 8 (for contr., barit., mixed chorus and
orch., text from Also sprach Zarathustra put together
by compr.); Flagellantenzug, op. 9 for orch. (Munich,
1908); vn.
C ma. op. 10; Mignon's
Funeral, op. 11 (mixed chorus, boys' vs., full orch.);
Musikalische Bausteine, op. 12 (10 pf. pieces);
Heilige Sendung, op. 13 (t. and barit. soli, mixed
chorus, boys' vs. and orch., text by Fr. Lienhard);
A Bouquet of Flowers, op. 14 (10 songs by Christian
Wagner); Gnomentans, op. 16 (full orch.); Die
Höllenfahrt Christi, op. 17 (after Goethe: barit.,
male vs. and orch.); Thousand and One Nights
(10 pf. pieces), op. 18; Chorus Musticus (from Faust),
op. 19 (mixed choras, harmonium and pf.); Ein
Harfenklang, op. 20 (contr. solo, male chorus,
orch., 1911); Victory Overture, op. 21 (1913 Centenary
Fest. of Battle of Leipzig); 4 duets, op. 22 (m.-sopr.
and barit.); overture to Goethe's Reineke Fuchs,
op. 23; Lustiges A B C, op. 24 (pf. variations);
Prometheus, op. 25 (male chorus and orch., 1912);
comic opera, Hannesle and Sannele (Stuttgart, 1923).
-A. E.
BLIN, René. Fr. compr., orgt. Somfois
(Marne), 13 Nov. 1884. Pupil of Schola Can-
torum; orgt. St. Elizabeth Ch. Paris. Music
with classical tendency.
En Champagne (suite for pf.; orch. in 1919);
Symphonie brève; symphony in B flat; Suite héroique
(organ); many other organ pieces; songs.-A. C.
BLINDER, Naum Samoilovitch (accent 1st
syll.). Russ. violinist; b. Eupatoria, Crimea,
6 June (o.s.), 1889. Pupil of Brodsky, 1910;
now vn. prof. Moscow Cons.-V. B.
BLISS, Arthur. Eng. compr. b. Barnes,
London, 2 Aug. 1891. Educated Pembroke Coll.
Cambridge; stud. music at Cambridge under Dr.
Charles Wood and at R.C.M. London under Sir
Charles Stanford and Dr. Vaughan Williams;
served in war, 1914-18; prof. R.C.M. 1921-2.
B. was one of the most prominent comprs. in
London from 1920-3, when he went to live in
America. His Rout was perf. at Salzburg 1922
Fest. and establ. his reputation on the Continent;
his Rhapsody was equally successful there in
1923. His so-called Colour Symphony was pro-
duced at Gloucester Three Choirs Fest. 1922, and
later at Queen's Hall, London, under Sir Henry
Wood, 10 March, 1923. Opinions differ about
the relative value of the orch. and the chamber
works, though all contain passages of undeniable
interest. His style is decidedly modern, and
owes much to the Fr. group once known as Les
Six, espec. to Honegger; his music shows a cheer-
ful, humorous and occasionally ironic cast of
mind. He played a part of some importance in
extending the boundaries of Eng. music at a
critical period.
His earlier works included two symphonic
poems, Vivre et Aimer (1900) and Printemps-Hiver
(1905). Besides these he wrote several Psalms for
solo voice with orchestra. According to the com-
poser's own statement his creative work entered
upon a new phase with his Trois Poèmes Juifs
for orchestra (1913). They were first performed
by the Boston Symphony Orchestra, 23 March,
1916. Then his works gradually gained a hearing
in America. At a concert of his own composi-
tions arranged by the Society of the Friends of
Music in New York on 3 May, 1916, he brought
out his second symphony, Israel (begun 1914),
and Schelomo: a Hebrew Rhapsody for cello and
orchestra. His string quartet was first per-
formed by the Flonzaley Quartet in New York,
Dec. 29, 1916. A Suite for viola and piano won
the Coolidge Chamber-music Prize in 1919, and
was first performed at Pittsfield, Mass., 27 Sept.
1919. An arrangement for viola and orchestra
was produced by National Symphony Orchestra
in New York, 5 Nov. 1920.
Among the many composers of modern
tendencies Bloch maintains a striking individu-
ality. Frankly avowing his purpose of producing
Jewish music, he does not rely upon the uso
of actual Oriental or Hebrew themes, but seeks.
to express the character and the spirit of his race
in all its Old Testament dignity and grandeur.
A dark, sombre spirit pervades much of his music.
It is highly polychromatic, ofttimes barbarous,
refractory and even cacophonous, but it displays
much temperament and tragic passion, with a
fantastic logic all its own. As a teacher Bloch is
Madam
bsn. vla, d,,song for s. v. and 6 instrs. (fl. clar.
harp), Chester; Rhapsody, s. and t.
vs. l. c.a. str. 4tet, d.-b. (Carnegie award), Stainer
& Bell: Rout, s. v. and
Tabb);
Imber-orch. (Goodwin &
(Chester);
H. V. clar. and pf.
antersations, vn. vla. cello, fl. (+ bass
fl.) ob. (+ c.a.) (Goodwin); Mêlée Fantasque, full
orch. (id.): 3 Itomantic Songs, v. and pf. (id.);
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BLOCKX
by no means a revolutionary, requiring of his
pupils a careful study of the masters of XVI
century polyphony.
Opera, Macbeth (vocal score, Enoch). Printemps-
Schelomo:
orch (1918);
Hirer, symph. poem (1919 Trois Poèmes Juifs, for
orch. (1918); str. 4tet (1919); Suite, via. and pf.
Rhapsody, cello and
(1. pf: (1921); Psalms Calm XXII for barit. and
(1920); Poemes d'Automne, v. and pt.(1918); sonata,
for s.
orch.
orch. (id. 1921: both also in vocal score). (All publ.
by Schirmer.) Consult art. by Guido Gatti, E. B. in
Musical Quarterly traits (Kegan Paul).-O. K.
York, Jan. 1921); also
BLOCKX, Jean (commonly called Jan Blockx).
Belgian composer; b. Antwerp, 25 Jan. 1851;
d. there 26 May, 1912. Son of a simple up-
holsterer; had a very hard childhood; learnt
music at school and in churches as chorister;
lost his father at 13, and had to support his
family by giving music lessons, and studying
during the night. Later he entered the Antwerp
School of Music, then directed by Benoit, whose
pupil he became. Organised a concert of his
works in Antwerp, 1876; obtained prizes at
competitions for composition of popular songs
and overtures. 1879, went to Leipzig, studying
under Reinecke at the Conservatoire. Appointed
professor at Antwerp School of Music, and
director of the Cercle Artistique, 1886; in 1901
followed Benoit as director of Antwerp Conser-
vatoire. Blockx had never received any official
distinction, and never entered for Prix de Rome.
He was a member of the Belgian Academy.
He is directly connected with the Antwerp
School, founded by Benoit, which evolved
from the so-called "national" schools, giving
musical expression to the soul of the race
and drawing their inspiration from folk-lore.
Blockx's artistic mission was the transference
to the stage of Benoit's popular style. Benoit
was more epic, nobler; Blockx, more of a realist.
Benoit suggests Jordaens; Blockx suggests
Rubens. Up to present he is the most
popular of Belgian lyrical composers. Never-
theless, his composition, like Benoit's, is sum-
mary, his harmony rudimentary, his polyphony
hollow. These defects are counterbalanced by
a very keen instinct for stage requirements,
the incisive and vigorous stroke with which he
accentuates a dramatic situation. He is incom-
parable in popular scenes of a collective nature
(Kermesses, etc.), arranged for him with great
skill by his chief librettist, the Flemish poet
Nestor de Tière.
Stage-works: Iets vergeten, comic opera. (Antwerp,
1876); Milenka, ballet (Brussels, 1888); Maitre
Martin, opera (Brussels, 1892); Saint-Nicolas, panto-
mime (Brussels, 1894);
lyric
(Antwerp, 1896: Fr. sts, to d'auberg
la
Brussels, 1898); Thyl Uilenspiegel (Till Owlglass),
lyric drama (Brussels 1900; new version completely
rewritten by compr., finished by P. Gilson after B.'s
death, Brussels, 1920); De Bruid der Zee, lyric
drama (Brussels, 1902); De Kapel, lyric episode
1901 Fr. version, La Fiancée de
(Antwerp, 1903); Baldie, lyric drama (Antwerp, 1908,
rewritten under title Liefdelied,
1912).
De Bruid der Zee, which with Baldie form a trilogy:
the Flemish town, coast, and countryside (poems by
de Tière). Cantatas: Klokke Roeland; Het Vader-
land; Scheldezang; Feest in den Lande; Jubelgalm;
Een droom van 't paradijs; oratorio; church music;
unacc. mixed choruses and solo pieces. Orch.: Rubens
of these the most appreciated are Hetwerp, and
BOEZI
Overture; Concert Overture; Kermisdag; symph.
poem in 3 parts; Flemish Dances; symphony in D;
Sumph. Triptych; Suite in ancient style. Pf. 5tet;
Albumblad and Humoresque, str. 4tet; trlo; songs,
among which Ons Vaderland has become popular.
-E. C.
BLOM, Eric. Eng. writer on music; b. 20 Aug.
1888. Attached to Queen's Hall Orch. as writer
of analytical programme notes.-E.-H.
BLUMENFELD, Felix Michaelovitch. Russ.
compr. pianist, condr. b. in govt. of Kherson,
S. Russin, 7/19 April, 1863. Pf. pupil of his
father, F. Stein, at Petrograd Cons. (1881-5);
pupil of Rimsky-Korsakof (compn.). Made prof.
at Petrograd Cons. 1885; 1895-8, chorus-master
Maryinsky Opera House; 1898, condr. there;
pf. prof. Petrograd Cons. till 1918, appearing as
condr. of several concerts of Russ. Music Soc.
and of Russ. Symphony Concerts (founded by
M. P. Belaief); a fine pf. soloist, accompanist, and
chamber-music player.
Symphony in C mi. op. 39; Allegro de Concert, pt.
and orch. op. 7; str. 4tet in F, op. 26; Sonata-Fan-
op. 46;
(mostly Belaief).V. B. fine pf. pieces; songs, etc.
BLUMER, Theodor. Ger. compr. b. Dresden,
24 March, 1882. Pupil of his father (R. chamber-
musician) and of R. Cons. (Dracseke) in Dresden;
Korrepetitor 1906-10; then condr. Court
Theatre, Altenburg; back in Dresden since 1911.
Opera Der Fünfuhrtee (Five o'clock Tea, Dresden,
1911); Carnival Episode for orch.; symph. poem,
Erlösung pf. stet; vn. sonata, D mi. op. 33;
Serenade und Thema con variazioni for wind stet,
op. 34; 6tet for wind instrs, and pf. op. 45; an orch,
work, The Legend of Thais the Dancer; songs; pf.
pieces.-A. E.
BOCCACCINI, Pietro.
macchio, 6 Nov. 1843.
Ital. pianist; b. Co-
Was at the school of
Liszt in Rome; then stud. in Naples under
Beniamino Cesi, of whose method he became
the champion. Devoted himself specially to
propaganda and teaching. Wrote a voluminous
book on The Art of Playing the Pianoforte
(publ. by Musica, Rome, 1913).-D. A.
BOEHE, Ernst. Ger. compr. and condr.
b. Munich, 27 Dec. 1880. Pupil of Rudolf Louis
and Ludwig Thuille in Munich. Condr. of
People's Symphony Concerts in the Kaimsaal;
Court condr. in Oldenburg, 1913-20; dir. of
Palatinate Symphony Orch. in Ludwigshafen
since 1920. As a premature compr. of the so-
called "Munich School" his productive power
has quickly abated.
The Voyages of Ulysses (4 symph. poems); Taor-
mina, op. 9; A Tragic Overture; Symphonic Epilogue
to a Tragedy, op. 11; Comedy Overture; also some
songs.-A. E.
BOELLMANN, Léon. Fr. orgt., compr. b.
Alsace, 29 Sept. 1862; d. Paris, 11 Oct. 1897.
Died too young to give his full measure, but
promised great things. Pupil of Ecole Nieder-
meyer; quickly became famous for the purity
of his playing and was appointed titular orgt.
of St.-Vincent-de-Paul in Paris.
Symphonic Variations, cello and orch.; Fantasia
in form of dialogue, organ and orch. (often played at
Queen's Hall, London); Heures mystiques (collee-
tions for organ); pf. 4tet; pf. trio; cello sonata; pt.
pieces. Consult P. Locard, Boellmann (1901).-A. C.
BOEZI, Ernesto. Ital. compr. and orgt. b.
Rome, 11 Feb. 1856. After distinguished
48
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BOGHEN
career as orgt. and condr. was elected in 1905
Master of the Cappella Giulia at St. Peter's,
Rome. Technical dir. of Pontifical School
of Sacred Music, (instituted under Pius X)
from its foundation till 1918. Member of the
R. Acad. of Santa Cecilia, of R. Philh. Acad.
and of Pontifical Commission of Sacred Music.
One of his operas, in 1 act, Don Paez, was perf.
in Venice, 1893. A distinguished compr. of
sacred music, a cultured man (a graduate in
law), he is held in great esteem in mus. world
of Rome.-D. A.
BOGHEN, Felice. Ital. compr. b. Venice,
23 Jan. 1875. Resides in Florence, where he is
prof. of harmony at Cherubini R. Inst. of Music.
Amongst his works are an opera Alcesti (not
yet perf.); 6 fugues for pf. (Ricordi); 6 Paesaggi
musicali; Prelude and Choral; Aubade (Carisch
ed.); Momento capriccioso (Paris, Noël).
has also publ., in a modern ed. brought out
by himself, some works of Frescobaldi, some
colls. of old Ital. fugues and toccatas (Ricordi)
and of compns. of Bernardo Pasquini (Rome,
Musica ed.).-D. A.
He
BÖHN, Gudbrand. Norwegian violinist; b.
Nes in Romerike, 10 Nov. 1839; d. Christiania,
9 Jan. 1906. Pupil of Nils Ursin, Ullensaker,
Fredrik Ursin, Christiania; Léonard, Brussels
(1859 and 1861); Lauterbach, Dresden (1864).
For a whole generation he was leader of orch.
at Christiania Theatre and in Musikforeningen
(Mus. Soc.), besides being 1st vn. in well-known
str. quartet (Kunstnerkvartten) which during
many years gave chamber-music evenings every
season.-U. M.
BOHNEN, Michael. German bass singer; b.
Cologne, 1888. In Düsseldorf, 1910; Wiesbaden,
1911; since then at Berlin State Opera House.
Has undertaken many tours. Excellent both
as singer and actor.-A. E.
BOHNKE, Emil. Compr. b. Zdunska Wola,
Poland, 11 Oct. 1888. Pupil of Sitt and Krehl
at Leipzig Cons., and of Fr. Gernsheim, Berlin.
Teacher at Stern's Cons.; vla. player in Bandler
Quartet, and (1919-20) in Adolf Busch Quartet.
Then establ. in Berlin as compr. and mus.
dir. of modern tendencies; condr. of Symphony
Orch. Leipzig since 1923; at same time teacher
of vla. at High School of Music, Berlin.
Str. 4tet, mi. op. 1; pf. trio, op. 5; pf.
sonata, B mi. op. 10; pr. pieces, op. 4, 6, 8:
Symph. Overture, op. 2; vn. concerto, D ma. op. 11;
Theme with variations, full orch. op. 9.-A. E.
BOITO, Arrigo. Ital. compr. and poet; b.
Padua, 24 Feb. 1842; d. Milan, 10 June, 1918.
An extraordinary type, musician, poet, and
artist in the highest and most complete sense
of the word. He has exercised a profound and
beneficial influence in Italian musical spheres
of the last 50 years, especially on young
musicians, by the fascination of his noble per-
sonality and by the example of his culture and
fine intellectuality. This influence has been
much greater than one can judge from the
limited extent of his work as a composer. He
was son of Cavaliere Silvestro B. and Countess
E
BOITO
Giuseppina Radolinski (a Pole); when he was
very young he went to Milan, where he was
admitted to the Cons. He had Mazzuccato as
a master, who understood his worth, and Franco
Faccio as a companion, in collab. with whom he
wrote the cantata Il Quattro Giugno (The Fourth
of June) and a mystery Le Sorelle d' Italia
(The Sisters of Italy), perf. at the Cons. in 1860
and 1861 respectively. Having obtained a
bursary in consequence, he travelled in France
and Germany, and also in his mother country,
Poland. He came back to Italy full of the
new ideas on musical art then agitating those
countries, particularly the appearance of Wagner,
and he returned with an acute desire for conquest
and rebellion.
There were then in vogue in Milan cenacoli
(meetings) at which artists and poets gathered
round Emilio Praga; artists who, with Boito,
loved a strange and nervous poetry, abounding
in realistic crudeness and verbal iridescence,
with bizarre metres and rhymes, and play on
words. It was in this atmosphere that B. grew;
here were born his first verses, his first theatrical
works, of which some were done in collab.
with Praga himself. Here the Mefistofele ger-
minated. (A parenthesis in the artistic activity
of B. and his friends occurred in 1866, when
they enrolled with Garibaldi.) The first perf.
of Mefistofele at La Scala on 5 March, 1868, can
well be included amongst celebrated first per-
formances. The opera was a very long one, and
commencing at 7.30, it lasted, it is said, until
2 in the morning. The public, unwarned, and
imbued with the very different tastes prevail-
ing at that time, gave the opera a most hostile
reception. Seven years later, Mefistofele,
revised and abbreviated, had a triumphant
revenge at the Teatro Comunale, Bologna, 4 Oct.
1875. B. published no other musical works, if
we exclude an Ode to Art (to verses of Giacosa)
perf. Turin, 1880 (a composition of little im-
portance), and a few small pieces for v. and pf.
49
Between the first Mefistofele and the second
he turned his attention to gathering together
his poems, which he publ. under title of Il
Libro dei Versi. Whereas in the mus. field he
would not publish anything besides Mefisto-
fele, he did not hide his activity as a writer
of operatic libretti. The affectionate friendship
which bound him to Giuseppe Verdi, for whom
he wrote Otello and Falstaff, is well known.
Hero and Leander, which he had begun to set
to music himself, and of which some parts had
been transferred into Mefistofele, was handed
over by him to Bottesini and Mancinelli. He
then wrote-mostly under the anagrammatic
pseudonym of Tobia Gorrio-Pierluigi Farnese
for Costantino Palumbo, La Falce (The Scythe)
for Catalani, La Gioconda for Ponchielli, Hamlet
for Faccio, Un Tramonto for Gaetano Coronaro,
Iram for Cesare Dominiceti, Semira for Luigi
Sangermano, L'Inno delle Nazioni for Verdi, and
Basi e Bote (in Venetian dialect), set to music
after his death by Riccardo Pick-Mangiagalli
(q.v.) (not yet perf.). There remains to be
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BOLIA
mentioned Nerone (Nero), which B. had in
hand for nearly forty years, without ever
making up his mind to complete it, so that it
has become almost a legend. In 1901 he publ.
the poem, but the music (although the perf.
of the opera was announced many times as
imminent) was even at his death left in-
complete, for which reason it was not possible
for the work to be produced until 1 May,
1924, when it was given at the Scala, Milan,
under Toscanini. But, even in his obstinate
silence as a composer, B. continued to take
an active part in Ital. mus. life, by giving
his advice, and by acting on committees,
particularly on the Permanent Commission
for the Art of Music for the Ministry of
Education. During his last years he was
nominated Senator of the Kingdom. His memory
will remain in the minds of modern Ital.
musicians as a very high example of nobility
and spirituality.
Poetic works, besides librett! above-mentioned:
Il Libro dei Versi, Re Orso (1877, Turin; there are
more recent reprints in existence); The First Mef-
stofele (reprint of libretto, Naples, 1916, Perrella);
Nerone (Milan, 1901, Treves); Norelle e riviste dram-
matiche, with preface and bibliographic appendix by
Gioacchino Brognoligo (Naples, 1920, Ricciardi);
the comic libretto in Venetian dialect, Basi e Bote,
was publ. in Milanese review La Lettura (Nos. 1 and 2,
1914).
Mus. works: Of the first Mefistofele, Ricordi publ.
only two detached pieces, the Sabba Classico (Classical
Walpurgis-Night) and the Battaglia, an intermezzo
between Acts IV and V. The second Mefistofele is
Ricordi's publication. Some minor compns, are publ.
by other firms.
Consult: Camille Bellaigue, A. B. (Revue des Deux
Mondes, 15 Aug. 1918); D. Alaleona, A. B. (in
Rassegna Italiana, Rome, 15 July, 1918); A. Pom-
peati, A. B., Poet and Musician (Florence, 1919,
Battistelli); Corrado Ricci, A. B. (Milan, 1919,
Treves).-D. A.
BOLIA, David. Argentine violinist; b. Mercedes
in 1867. In 1880, stud. under Pinto at Cons.
at Naples. Diploma in 1882. Returning to
Buenos Ayres, continued studies under Pedro
Melani. In 1886 appointed 1st violinist at the
Colón; later at the Opera. Now devotes him-
self entirely to teaching, having founded the
Cons. Melani, which he personally directs.-A. M.
BÖLSCHE, Franz. Ger. compr. b. Wegen-
stedt, 20 Aug. 1869. Pupil of R. High School,
Berlin; teacher of theory of music, Cologne
Cons. 1896; prof. 1911; ed. of Melchior
Franck's instrumental works in the D.d.T.;
author of a widely circulated exercise-book
for study of harmony (1911).
Symphony, op. 30; overturés; chamber-music;
songs; choral works.-A. E.
BOLSTAD, Per. Norwegian violinist; b. 7
Jan. 1899. Pupil of Ingebret Haaland, Chris-
tiania, and (with State scholarship) of Marsick
in Paris. Début, Christiania, 1918.
own country, he has appeared in Copenhagen
and Helsingfors.-R. M.
Outside
BOLZONI, Giovanni. Ital. compr. b. Parma,
14 May, 1841; d. Turin, 21 Feb. 1919. After
a successful career as violinist and condr. he
took up in 1889 position of dir. of Liceo Mus. G.
Verdi, Turin, which post he held until his death.
He tried opera but with small success; his
50
BONINSEGNA
works for orch., and especially for str., are
well known, and are written with simplicity
and good taste.
civile (1870); La stella delle Alpi (1871); Jella (1881.
Many overtures and suites for orch.; symphony
in E (1886); 6tet for ob. 2 clar, horn, 2 bsns.;
Theme with variations, str. 4tet (Milan, Ricordi).
-D. A.
BONAVENTURA, Arnaldo. Ital. mus. his-
torian; b. Leghorn, 28 July, 1862. Prof. of
history and mus. aesthetics and librarian of
Cherubini R. Inst. of Music, Florence. National
vice-president, (and Florentine section presi-
dent) of Assoc. of Ital. Musicologists. He
has published:
History and Literature of Pianoforte; Manual of
History of Music (7th ed.); Manual of Esthetics of
Music; Manual of History of Musical Instruments;
and Music;
Essay on the Italian
Musical Theatre; The Perical and Art of Giuseppe
Verdi (all publ. by Giusti of Leghorn). Music in the
Works of Horace (Florence, Franceschini): Musical
Life in Tuscany in the XIX Century (Florence, Bar-
bera); Nicolò Paganini (Genoa, Formiggini); L'An-
fiparnaso di Orazio Vecchi (Florence, Tipografla
Galileiana); Boccaccio and Music (Turin, Bocca
Le Maggiolate (Merry May Songs) (schki); On
graphs of Nicolò Paganini (Florence,
a Musical MS. of the Medici (id.); Verdi (Paris,
1923, Felix Alcan).-D. A.
BONCI, Alessandro. Ital. singer; b. Cesena,
10 Feb. 1870. One of the most famous living
tenors. Of humble origin, thanks to his beautiful
voice he succeeded in entering the Liceo Mus.
at Pesaro, where he stud. under Felice Coen.
In 1892 admitted as 1st t. in choir of Basilica
of Loreto, where he already gained wide re-
nown. His operatic career began in 1893, at the
Regio Theatre, Parma, with part of Fenton in
Falstaff. His fame soon spread throughout
the world. In certain operas, like Sonnambula,
Puritani, Favorita, Don Pasquale, Elisir d'Amore,
Don Giovanni, and Ballo in Maschera, B. is
without a rival. He has appeared with tri-
umphant success in all the theatres of Europe
and America.-D. A.
BONFIGLIOLI, José. Argentine vla.-player; b.
Bologna in 1851. Stud. under Carlos Veradi, going
to Buenos Ayres as 1st vla.-player at the Colón,
1881-90. Formed part of the Melani, La Rosa
and Cattelani Quartets. Joined staff of Cons.
Melani.-A. M.
BONI, Livio. Ital. cellist; b. Rome in 1885.
First a pupil of Forino in Rome; then of
Francesco Serato at Bologna. Went to Ger-
many, England and France, perfecting himself
and giving concerts, until he gained reputa-
one of most distinguished Ital. "cello
players.
In Rome he has given important
concerts at the Augusteo and at Acad. Hall
of Santa Cecilia.-D. A.
tion
BONICIOLI, Fruhman Ricardo. Argentine
compr. b. Zara (Dalmatia) in 1853. Stud. at Milan.
Now leader of orch. at Politeama Theatre, Buenos
Ayres. 2 operas (Marco Bozzari, 1881; Don
Juan de Garay, 1900); symph. poems, 4tets,
etc.-A. M.
BONINSEGNA, Celestina. Ital. s. singer; b.
Reggio Emilia, 26 Feb. 1877. Was a pupil of
Liceo Mus. at Pesaro, when Mascagni was dir.
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BONNET
M. asked her to create the part of Rosaura
in his opera, Le Maschere.-D. A.
BONNET, Joseph Élie Georges Marie. Fr.
orgt. and compr. b. Bordeaux, 17 March, 1884.
First taught by his father, Georges Bonnet,
organist at Sainte-Eulalie, then by Charles
Tournemire and finally by Alex. Guilmant at
Paris Cons. First prize for organ by unanimous
vote in 1906, and the same year was appointed,
in open competition, orgt. of Saint-Eustache.
Invited to all the European capitals, received in
U.S.A. and Canada, this admirable virtuoso
rapidly acquired universal celebrity, exciting
everywhere great enthusiasm on behalf of classi-
cal organ music and organ music of Fr. school.
The Univ. of Rochester (New York) entrusted
to him the management of the teaching of organ
in that famous school. He is the ideal inter-
preter of Bach and of César Franck, in the
complete expression of whose ardent lyricism
he excels; yet he is not less astonishing in the
masterpieces of the early comprs., of whom
he has publ. several collections carefully revised
and annotated: Historical Organ Recitals (5 vols.,
G. Schirmer) and the Fiori musicali of Fresco-
baldi (Senart). As compr. he has written numer-
ous pieces in various styles, from the austere
paraphrase of the Gregorian chant to the grand
concert fantasia, romantic and brilliant (3 vols.
of pieces, Durand, Paris). We mention especi-
ally his Poèmes d'automne, his Noëls, his Versets
d'Hymne, his Légende symphonique, and several
motets for chorus or solo vs. He first visited
England in 1910 and America in 1916. Has
contributed articles on GREGORIAN CHANT and
SOLESMES, and on GUILMANT, to this Dictionary.
-F. R.
Consult arts. on him by A. Eaglefield-Hull, in The
Organ (London, Oct. 1921).
BOOSEY & CO. Publishers. The following facts
bring the history of firm, in Grove's Dictionary,
up to date. During winter of 1865, late John
Boosey instituted London Ballad Concerts.
These have now run for 57 years without break.
They were originally held at St. James's Hall and
transferred to Queen's Hall when former build-
ing was demolished. In 1907, they removed to
Albert Hall where they are now held. Among
the post-war activities is foundation of West-
minster Choral Society, in 1919, with Vincent
Thomas as condr. In addition to music-pub-
lishing, they carry on manufacture of wind
instrs. In 1868 they purchased business of Henry
Distin. In 1879, manufacture of clarinets and
other reeds, including saxophones, was added to
brass and flute departments. Besides Pratten
flutes and Clinton clarinets, the firm has patent
compensating pistons for brass instrs. designed
to correct sharpening effect of valves used in
combination, and the "Solbron" valves in-
troduced in 1908. Present partners are C. P.
Boosey, L. A. Boosey and C. E. Boosey.-E.-H.
BOOTH, John. Eng. singer; Bolton,
Lancs, 11 Sept. 1878. Stud. under John Acton
at the R. Manchester Coll. of Music; also pf.
and harmony there. 1916-19, active war service
51
BORDES
in France and Flanders; then stud. in Milan
under Cav. Ernesto Colli; also opera under
T. C. Fairbairn in London. Well known as an
oratorio singer with a large repertoire; toured
S. Africa 1922-3.-E.-II.
BORCH, Gaston.
Norwegian-Amer. cellist,
compr. condr. b. Guines, Pas-de-Calais, France,
8 March, 1871. Son of Norwegian father and
Fr. mother. Educated in Sweden. Stud. 3 years.
under Massenet, Paris; afterwards under Svend-
sen in Copenhagen. Condr. and music-teacher
in Christiania and Bergen 1893-8. Went to
America in 1899, where he has, amongst other
things, been condr. of Symphony Orch. in Pitts-
burg and Carnegie Orch. in St. Louis; now
condr. at Opera House in Boston; had special
engagements as condr. of a number of orchs. in
Europe, mainly in 1906 and 1907. Made his 1st.
appearance as compr. in Christiania (1893) with
a fragment of the orch. work Geneviève de Paris
(perf. in its entirety in Europe and America,
1906). Has publ. a largo number of works for
pf., organ, vn., cello, and for orch. and voice.
His more important works show influence of
Wagner and of Italian Verists.
Opera, Silvio, a kind of sequel to Cavalleria Rusti-
cana (1st perf. Eldorado Theatre, Christiania, 1897);
music to fairy-comedy Östenfor sol og vestenfor maane
(1906); symph. poem, Quo vadis (Philadelphia, 1909);
several symphonies.-U. M.
BORCHMAN, Alexander Adolphovitch (accent
1st syll.). Russ. compr. b. 28 March, 1872. Chose
medical profession; after a music course at
Moscow Univ. became pupil of Gretchaninof
and Glière (1904-7).
Symph. poem Kusum (after Tagore's The Harbour
Steps); Variations on a White-Russ. theme, orch.
(1909); str. 4tet in C (Zimmerman); pf. trio; vn.
sonata (1914); e
BORDES, Charles.
Music Publ. V. B 13, publ. by Russ. State
French compr. b. La
Roche Corbon, 12 May, 1863; d. Toulon, 8 Nov.
1909. Stud. in Paris, pf. with Marmontel, compn.
with César Franck; but did not take up music.
professionally until 1887, when he accepted_a
small post as church-orgt. and choirmaster. In
1889 the French Ministry of Education com-
missioned him to collect folk-tunes in the Basque
provinces; and the following year he was ap-
pointed choirmaster of St.-Gervais, Paris, where
he soon organised the now world-famous choir,
the Chanteurs de St.-Gervais. He also under-
took the publication of his Anthologie des maîtres
religieux primitifs and other old works. A little
later he began to give concerts of Bach's music,
and (1894) founded (with Guilmant and d'Indy).
the Schola Cantorum as a soc. whose object
was to raise the standard of music in Fr. churches
by promoting return to true tradition of plain-
song, to the music of old masters, and by the
creation of a suitable repertory of church
music by contemporary comprs. His exertions
proved forthwith far-reaching in effect, and
heralded the reforms introduced by Pope Pius X.
Two years later, the Schola Cantorum organised
the teaching of church-singing on a practical
basis; and in 1900 it became a high school of
music, of which Bordes, with his partners Guil-
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mant and d'Indy, remained a dir, until his death.
The following years of his life were devoted to
ever-increasing activities in concert organising.
conducting, teaching, and collecting, editing and
issuing music old and new, sacred and profane,
and also to composition. The catalogue of his
works comprises a fair quantity of church music,
songs, a few instr. works, among which a Suite
basque for fl. and strs. (1887, Bornemann), a
Rapsodie basque, pf. and orch. (1889, Rouart &
Lerolle), and a lyric drama, Les Trois Vagues,
left unfinished. As a compr. he occupies an
honourable rank among the minor poets of his
time. Considering the spirit and originality of
some of his music, one may regret that his very
devotion to propaganda work should have pre-
vented him from asserting himself more fully as
a compr. during the few years of his artistic
maturity. But none deserves better than he the
gratitude of his contemporaries for all that he
has achieved or set in motion. His was one of
the chief influences through which mus. art and
science progressed in France during last decade
of XIX and first of xx century. Consult
Octave Seré, Musiciens d'aujourd'hui (Paris,
Mercure de France, 1921).-M. D. C.
BORGATTI, Giuseppe. Ital. t. singer; b.
Cento, 19 March, 1871. Of humble origin;
stud. at Liceo Mus. at Bologna with Busi as
master. By the quality of his voice and his in-
telligence succeeded in winning a place in the
front rank, especially as a Wagnerian tenor. In
Italy he was the first interpreter of Siegfried,
and of other Wagner works, and his rendering
of the characters has become a model one. His
repertoire also includes the works of other
composers, of which he has always been an
individual and intelligent interpreter. Has
visited principal theatres of Europe and South
America.-D. A.
BORGSTRÖM, Hjalmar. Norwegian composer
and musical critic; 6. Christiania, 23 March, 1861.
Studied violin under Martin Ursin, Christiania
(a pupil of Léonard), theory and composition
under the eminent Norwegian organist and
contrapuntist Ludv. M. Lindeman, and instru-
mentation under Johan Svendsen. Likewise
studied piano-playing. Went 1887 to Con-
servatoire in Leipzig and in 1890 (State scholar-
ship) to Berlin; was in these years greatly
impressed by Wagner's music and instrumenta-
tion. Also went to London and Paris for study
and returned in 1904 to Christiania, where he
became musical critic, which occupation he has
since pursued on various journals (from 1913 on
staff of Aftenposten). His musical output is very
great and includes: 2 symphonies; 2 operas
(to own text); 5 symphonic poems; a choral
work; a good deal of chamber-music (including
a string quartet and a piano quintet); concerto
for piano and orchestra; a considerable number
of songs and piano pieces. In Berlin, Busoni has
played his piano pieces, and the Berlin Phil-
harmonic Orchestra has produced works by
him. In his native land, his music is much
cultivated and he is regarded as the most
52
BORODIN
eminent Norwegian composer after Christian
Sinding.
The most important part of Borgström's pro-
duction is represented by his last 4 symphonic
poems: Jesus in Gethsemane, Hamlet, John
Gabriel Borkman (after Ibsen's well-known play)
and Tanken (Thought). Of these, again, Hamlet
(orchestra and piano) is undoubtedly the work
which has made him most known, both within
and outside of his own country. Hamlet was
first performed in Christiania in 1903, with the
composer's wife Amalie Müller at the piano.
The symphonic poem Tanken is, however,
regarded as his most important work. Borg-
ström inclines to the modern programmatic
tendency in music. Although in his treatment
of the orchestra he is in close touch with the
young German school, yet he is quite indepen-
dent in his style and method of expression.
The national element can be felt in his music,
Of
without being very strongly marked.
older Norwegian composers, the programmatic
compr. Johan Selmer is the one to whom he
stands nearest.--R. M.
BORKOWICZÓWNA, Maria. Polish compr.
b. Warsaw, 1886. Pupil of Urstein at Warsaw.
Pf.: Incantagione; idylle champêtre; Ghiribizzo;
Plaintes des fleurs; L'ultimo canto (Paris, Fromont).
Vn. and pf.: Romanza e Intermezzo boemio (Ricordi);
Daphnis et Chloé.-ZD. J.
BORODIN, Alexander Porphirievitch (accent
3rd syll.). Russian composer; b. Petrograd, 31
Oct./12 Nov. 1834; d. there, 16/28 Feb. 1887.
Of this composer, it has been said that "no
musician has ever claimed immortality with
so slender an offering-yet, if there be, indeed,
immortalities in music, his claim is incontest-
able" (Edinburgh Review, Oct. 1906); and a
great majority of music-lovers will certainly
subscribe to this opinion. He displayed from
his early childhood an equal liking for music
and for science. Professionally, his career
was that of an expert in chemistry, but all his
spare time he devoted to music. He first
came under Balakiref's influence, and after a
period of study wrote his first symphony (which
betrays to a great extent the influence of Schu-
mann but is in many respects characteristic of
Borodin as we see him in his later works),
and started to compose his opera Prince Igor,
at which he worked at irregular intervals.
This score, left unfinished, contains some
of the finest music he wrote. His other
works are: a second symphony (1877, Bessel),
and a third, left unfinished (Belaief); two
string quartets and a few minor pieces for the
same combinations of instruments (Belaief);
2 episodes for an opera-ballet Mlada (Belaief);
a little Suite and a pf. Scherzo (Bessel); a dozen
songs, some of which are of great beauty (Jur-
genson; Belaief; Bessel); and the orchestral
tone-picture In the Steppes of Central Asia.
Among the chief characteristics of his music
are, on the one hand, the exquisite quality of his
melody, always individual, even when the in-
fluence of folk-lore is most obvious, and of his
harmonies, simple but rich and effective; on
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the other hand, the gift he has almost alone
among Russians-for utilising equally simple,
but remarkably apt and effective polyphonic
combinations of these melodies (e.g. in the tone-
picture The Steppes and in the famous Polovtsian
Dances in Prince Igor).-M. D. C.
BOROWSKI, Felix. Compr., teacher; b.
Burton, England, 10 March, 1872. Stud. vn.
under Jacques Rosenthal. In 1887, went to
Cologne Cons., studying under Japha (vn.),
Heuser (pf.) and Gustav Jensen (compn.). From
1889, stud. vn. under Pollitzer and cpt. under
Pearce in London. After 1892, taught in Aber-
deen and London. In 1897, went to Chicago as
teacher of compn. at Chicago Mus. Coll., where he
has also taught vn. and history of music. Since
1916, President of this school. Between 1906
and 1918, wrote mus. criticisms for various news-
papers (Chicago Evening Post, Chicago Herald).
Since 1908, author of programme notes for the
Chicago Orch. His pf. concerto was first perf.
at a concert of the Symphony Orch. at Chicago,
27 April, 1914; while the Chicago Symphony
Orch. produced an Allegro de Concert for organ
and orch., 17 March, 1915, and an Elégie sym-
phonique, 9 March, 1917. A pantomime-ballet,
Boudour, produced by Chicago Opera Co., 25
Nov. 1919. A Poème for orch., Le Printemps
passionné, 1st perf. at Chicago North Shore
Fest. (Evanston, Ill.), 25 May, 1920. His Youth
for orch. won $1000 prize of North Shore Mus.
Fest. (perf. 30 May, 1923).
Pf. concerto, arr. 2 pfs. (Composers' Music Corp.
1921); 1st organ sonata (London, Laudy); 2nd
organ sonata (Paris, 1906,
pieces for pf.
and for vn. (Laudy: Gould: Presen).-0. K.
BÖRRESON, Hakon. Danish compr. b. Copen-
hagen, 2 July, 1876. Pupil of Johan Svendsen.
Awarded Anker Stipendium, 1901; went abroad
for study. His vn. concerto was perf. under
Nikisch; his overture Normannerne (The Nor-
mans) was produced in England under Safonof.
3 symphonies and some smaller, orch. compns.;
2 str. 4tets; 6tet; numerous pf. pleces; songs; 2
operas: Kongelige Geest (The Royal Guest), 1 act;
Kaddara (3 acts). The latter opera, with its unique
setting and subject from Greenland, was produced
at R. Theatre, Copenhagen, 1921.-A. H.
BORWICK, Leonard. English pianist; b.
Walthamstow, Essex, 26 Feb. 1868. Stud. pf.
under Henry R. Bird; vn. and vla. under Alfred
Gibson up to age of 16; then pf. under Clara Schu-
mann at Hoch's Cons. Frankfort-o-M.; compn.
under Bernhard Scholz and Ivan Knorr; vn. and
vla. under Fritz Basserman. Made his début at
Museum concerts in Frankfort (in Nov. 1889),
with Beethoven's E flat concerto; in London,
8 May, 1890, at Philh. concert in Schumann's
concerto; 1891, in Brahms's D mi. concerto in
Vienna under Richter; since then, appeared
regularly in all chief European countries. He
belongs to the Clara Schumann school but adds
a rhythmic force peculiar to himself. He was
closely associated with Joachim in the latter's
musical work in England.
Arrs. for pf. solo of Bach's smaller organ works
(Augener); of Debussy's L'Après-midi d'un Faune
and Fetes (both Fromont, Paris).-E.-II.
BOSCH, Carlos. Span. music critic. Author
BOSSI
of Impresiones estéticas (García Rico & Co.
Madrid), and other essays on mus. subjects.
Lives and works in Madrid.-P. G. M.
BOSCHOT, Adolphe. Fr. writer on music; b.
Fontenay-sous-Bois (Seine) in 1871. Wrote from
1897 onwards for Revue de Paris, Revue Heb-
domadaire. Vice-pres. of Cercle de la Critique;
mus. critic to Echo de Paris (from 1910) and
Revue Bleue (from 1919); made important addi-
tion to literature on Berlioz in Histoire d'un
romantique (Berlioz) 1906-13 (3 vols.) and Une
Vie romantique, 1920 (transl. Eng.), both works
crowned by Académie des Beaux-Arts and
Académie Française (Paris, Plon Nourrit).
Wrote Le Faust de Berlioz (Paris, Costallat,
1910). His last work is Chez les musiciens,
(Plon-Nourrit, 1922).-M. L. P.
BOSE, Fritz von. Pianist and compr. b.
Königstein, Saxony, 16 Oct. 1865. Pupil of
Leipzig Cons. and (1887-8) of H. v. Bülow
in Hamburg. Teacher at Cons. Carlsruhe,
1893; in Leipzig since 1898. Prof. 1912. A
refined and sensitive player; compr. of pf.
pieces and chamber-music.-A. E.
BOSKOFF, Georges. Rumanian pianist and
compr. b. Jassy, 1882. Stud. Cons. of Paris.
(L. Diémer's class). Many pf. pieces and tran-
scriptions of Bach's organ works (Paris,Hamelle).
Lives in Paris.-C. BR.
BOSQUET, Émile. Pianist; b. Brussels,
8 Dec. 1878. Received diplomas for virtuosity
at Brussels Cons. 1898, and International Rubin-
stein Prize, Vienna, 1900; prof of pf. at Antwerp
Cons. 1905; and at Brussels Cons. 1919; has
rare intelligence, high culture, complete self-
effacement in interpretation; as far back as
1895, devoted himself to making known classical
works seldom played, and also modern music
at recitals and chamber-concerts in Brussels,
Paris, London, Petrograd, Vienna, Berlin, etc.
Has written various instruction books for
piano.-C. V. B.
BOSSI, Costante Adolfo. Ital. orgt. and
compr. b. 25 Dec. 1876. Appointed orgt. of
Milan Cath. in 1907; prof. of harmony and cpt.
at Milan Cons. in 1914.
e l'eroe, 16): Requiem Mass (funeral of King
Opera in 3 acts, Enoch Arden (1913); La mammola
t (1916); Il marito decorativo, 3-act
operetta
Humbert I), 4-6 v. and orch. (1921); Messa di
gloria, 4-v. (Böhm); numerous organ pieces.-D. A.
BOSSI, Marco Enrico. Italian organist and
composer; b. Salò (Lake Garda), 25 April,
1861. One of the most esteemed musicians and
composers of Italian music of the modern
school, and an organist of world-wide fame.
As a composer of concert-music he is regarded
as one of the few within the last ten years of
XIX century (other names are those of Sgambati
and Martucci) who have devoted themselves in
the highest way to the culture of symphonic,
vocal, and instrumental music in Italy.
Bossi studied first at the Liceo Musicale
at Bologna, and then at the Conservatoire,
Milan. He then went abroad and formed
an idea of the great inferiority of organ-
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BOSSI
study in Italy at that time, and resolved to
make a reform in that branch, which he effected
in the best way, by teaching and by example.
In 1881 he obtained Diploma of Honour at
Bonetti Competition with a 1-act opera called
Paquita. In the same year he was appointed
choirmaster and organist of Como Cathedral;
in 1890, he went to Naples as teacher of organ
and harmony at the Royal Academy of San
Pietro a Maiella. From 1895 to 1902 he was
director of the Liceo Musicale Benedetto
Marcello, Venice. In 1902 he succeeded
Martucci as director of the Liceo Musicale
at Bologna, which he left in 1911 in
order to spend a few years devoting himself
entirely to composition. In 1916 he took up
the direction of the Royal Liceo Musicale di
Santa Cecilia, Rome, which he resigned in
1922. Member of the Permanent Commis-
sion of Musical Art attached to the Ministry of
Instruction, and of numerous academies in
Europe and America.
Choral works : Canticum Canticorum, biblical
cantata for soli, chorus, orch. and organ (1st perf.
in St. Thomas Ch. Leipzig, 1900): 1 Paradiso
perduto (Paradise Lost) vocal and instr. symph.
poem (1st perf. Augsburg, 1903): Giovanna d'Arco
Joan of Are), mystery for soli, chorus and orch.
(1st perf. Cologne, 1914).
Operas: (Milan,
(The
Seer) (Milan, Dal Verme Theatre, 1890); angelo
della notte (The Angel of the Night) (not yet perf.).
B's. minor compns. are very numerous. Amongst
his organ works: Concerto, organ and orch. op. 100;
overture, op. 3; 2 Scherzi and Impromptu, op. 49;
Triumphal IIymn, op. 53; suite, Res severa magnum
gaudium, op. 59; fugue, Fede a Bach; Fantasia,
64;
op. 78. Other works: Tota pulchra, mixed chorus and
organ, op. 96; Mass (of St. Mark) 3 v. and organ,
op. 61; Requiem masses, op. 83 and 90: Cantate
Domino: The for orch. The Blind Man, short poeni
for organ, str. and harp;
Symph.
for barit., chorus and orch. (to words by Giovanni
Pascoli); Mossa d'Averno, cantata for 4 v. (to words
by Pope Leo XIII), Intermezzi goldoniani, for str.;
2 trios,
cello; 2 organ sonatas; 2 sonatas,
pf. and vn.
B.'s music is publ. by Lucca; Ricordi; Musica
Sacra ed.; Pigna; Carlsch, Milan; Perosino, Turin;
Pizzi, Bologna; Izzo, Pisano, Naples; Durand,
Lemoine, Paris; Augener, Laudy, Novello,
Schirmer, Fischelpzig;
Hug, Zurich.
London; Peters,
Heinrichshofen, Magdebur
York; Presser, Philadelphia;
In collab. with Tebaldini (q.v.), he has publ. a
Method of
Carisch) Study for Modern Organ (Milan, 1893-1,
A.
BOSSI, Renzo. Ital. compr. b. Como, 9
April, 1883. Son of Marco Enrico Bossi. Stud.
at Naples, Venice and then at Leipzig; success-
fully devoted himself to conducting and to pf.-
playing. In 1913, prof. of organ and compn.
at Parma Cons., whence he went to Milan Cons.
in 1916.
and
in A mi. (Leipzig, Rieter Bledermann); concerto,
vn. and orch. (Bologna, Pizzi); several operatio
works, amongst which Passa la Ronda was perf.
Milan, 1919 (score printed by Chester, London).-
D. A.
BOSWORTH & CO. Ltd. Founded Leipzig,
1889, by wish of Sir Arthur Sullivan for publica-
tion and advancement of his works on Continent.
The firm has developed greatly, by purchase of
catalogues of Leipzig, Stuttgart, Vienna and
London houses, by its own initiative (Ševčík's
vn. school, Beringer's, Graham P. Moore's,
BOUCHERIT
Matthay's and other educational pf. works),
and by an ed. of classics now numbering over
1000 vols. Total works publ. about 40,000. Has
houses under its own management in London,
Brussels, Leipzig, Vienna, Zurich and New
York.-E.-H.
BOTSTIBER, Hugo. Austrian music historian;
b. 21 April, 1875. Graduated at Vienna Univ. in
law and philosophy; stud. at same time at
Cons. under Robert Fuchs; later under Zem-
linsky. In 1896, assistant of Mandyczewski at
Library of Gesellschaft der Musikfreunde; in
1900, secretary of newly-founded Wiener Kon-
zertverein; 1905 sec. of Vienna Cons. (since
1908 called Academy of Music and Dramatic
Art); 1913, sole manager of Wiener Konzert-
vereins-Gesellschaft. The foundation and erec-
tion of the Wiener Konzerthaus is due to his
efforts. 1904-11, ed. of Musikbuch aus Öster-
reich. Wrote History of the Overture (Breitkopf);
monograph Haydn und das Verlagshaus Artaria
(Franz Artaria). Is now completing Pohl's
unfinished biography of Haydn.-EG. W.
BOTTARO, Cav. Arnaldo. Singer and teacher;
b. Genoa in 1871. Stud. under several masters
without result for some years. Finally Tartini's
methods developed his t. voice. Began operatic
career at the Carlo Felice, Genoa. After singing
in Spain, Turkey, Egypt, and Greece, went to
Buenos Ayres Opera in 1907. Prof. of singing at
Buenos Ayres Conservatoire.-A. M.
BÖTTCHER, Lukas J. Ger. compr. b. Frank-
fort-o-M., 13 Feb. 1878. Pupil of E. Humper-
dinck at Hoch's Cons.; black-and-white artist
and pf. teacher in Frankfort till 1915; condr. at
Stadttheater, Halle, 1916-17; at Bad Brücke-
nau, 1917; then as composer in Bamberg.
Large choral works; ballads; songs; the rococo-
pantomime Der blaue Falter (1917); operas: Salambo
(Altenburg, 1920);
(own text, 1921);
Lagunenfieber (own text, 1921).-A. E.
BOTTI, Cardenio. Ital. bandmaster and
compr. b. Magliano Sabino, 14 Dec. 1890.
Began his mus. career at Sistine Chapel under
Perosi; stud. vn. under Tagliacozzo and
Fattorini, and band-orchestration under Ales-
sandro Vessella at R. Liceo Mus. di Santa
Cecilia, Rome. In 1914, he won by competi-
tion the post of bandmaster of 35th Infantry
Regiment, with headquarters at Bologna.
Recently he left to conduct the band at
Valetta (Malta). Author of various instr. and
vocal chamber-works (Bologna, Bongiovanni).
Has contributed to reviews and mus. papers.
-D. A.
BOUCHER, Maurice. Fr. compr. musicologist;
b. Paris, 1886. Pupil of Ecole Normale
Supérieure; Agrégé des Lettres; in music, pupil
of Savard and Witkowski; comp. str. 4tet;
pf. picces (En Savoie); songs (own words).
Wrote Albéric Magnard (Les 2 Collines, Lyons,
1919); La Musique moderne (ib. 1919).-A. C.
BOUCHERIT, Jules. Fr. violinist; b. Moraix,
29 March, 1877. 1st prize, Paris Cons., 1892.
Many tours, and has gained great success as
soloist with symphony orchs. His extremely
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BOUGHTON
delicate and pure style inclined him from the
outset towards the classics, particularly Mozart.
Without forsaking his first ideals, now shows
leanings towards romantic and modern schools.
Schumann's sonata in D has no finer interpreter.
-M. P.
BOUGHTON, Rutland. English composer; b.
Aylesbury, Bucks, 23 Jan. 1878. Stud. R.C.M.
London under Charles Stanford and Walford
Davies (1900-1). From 1904-11 he taught sing-
ing at Birmingham Midland Inst. of Music (under
Bantock). Started in Aug. 1914 a series of music-
drama fests. at Glastonbury, Somerset, at first
with the object of producing a cycle of music-
dramas on Arthurian legends by the late R. R.
Buckley to Boughton's own music. The prelude
and 1st scene of The Birth of Arthur had been
given at Bournemouth (with "human scenery")
on 17-28 Aug. 1913, under Edgar L. Bainton.
rays
Arthur of Britain did not come to a perf. for
want of a suitable building; but the Tintagel
scene was given several times in Aug. 1914, and,
in addition to various plays, 3 perfs. of the
romantic opera The Immortal Hour (on play by
Fiona Macleod) were given by the Glastonbury
Players recruited largely from the locality (see
Mus. Times, Oct. 1914). Boughton has
been a believer in amateur capacity in the arts,
and his first Glastonbury venture ripened into
the foundation of the Glastonbury Music School
and the Glastonbury Fests. (q.v.). Up to 1923,
nearly 300 perfs. were given, the greater number
being operatic. His own Alkestis was given there
in Aug. 1922. The Immortal Hour, when pro-
duced by Barry Jackson in London at the Regent
Theatre in Sept. 1922, settled down into the
longest run of any Eng. romantic opera. It had
already been given at Bournemouth, Bristol,
Birmingham, the Old Vic." London (by the
Glastonbury Players, 1920 [Gwen Ffrangcon-
Davies as the Princess]) but it was not until
presented by the Birmingham Repertory Co.
that it became an establ. success. His Bethlehem
was given at Regent Theatre, London, Dec. 1923-
Jan. 1924, and his Alkestis by British National
Opera Co. Covent Garden, 11 Jan. 1924. The
Immortal Hour was revived again at the Regent
in Feb. 1924. B. is essentially a compr. for the
stage; and Eng. feeling and folk-song play a
great part in his musical equipment.
Stage-works: The Birth of Arthur (1907-8, ms.);
The Immortal Hour (1912-13, Stainer & Bell); Snow-
White (1914); Bethlehem (1915, Curwen); The Round
Table (1916); Dawn at Agincourt (1918) The Moon-
Maiden (1919, Curwen); Alkestis (1920-2, id.). Choral
works: Midnight (Birmingham Fest.; Novello);
49°
Song of
songs (Lee (Reeves): Choral Dances (ongs for
unacc.
The Armada; The Skeleton in Armour;
Choral Variations on folk-
Fest.; W. Reeves); 6 spiritual i
Cur-
wen). Vn. sonata (Goodwin & Tabb); Celtic Prelude,
pf. vn. cello (1917); str. 4tets in A and F (1923). Song-
cycles: Songs of Womanhood (Larway); Symbol Songs
(Curwen); numerous songs and part-songs. Literary
works: Bach (J. Lane); The Glastonbury Festival
Movement (Somerset Folk Press); The Death and
Resurrection of the Mus. Festivals (W. Reeves);
The Music-Drama of the Future (id.); A Study of
Parsifal (Mus. Opinion Office).-E.-II.
BOULANGER, Lily. Fr. compr. b. Paris,
21 Aug. 1893; d. Paris, 15 March, 1918. One of
55
BOURGAULT-DUCOUDRAY
a family of musicians; showed signs, at early
age, of extraordinary musical gifts. In spite
of constant ill-health she worked at technique
with as much facility as if she had known music
before learning it. At 20 she gained Prix de
Rome (never before awarded to a woman).
Although suffering from a new and even more
acute illness, she again set to work; her sublime
resignation in the face of certain death seemed
to bring forth the full beauty of her_genius.
The result was the production of Deux Psaumes
(choir and orchestra), Les Clairières du ciel
(collection of songs), a great deal of vocal music
and religious works. The music is remarkable,
not so much for its novelty, for a certain
sensitiveness and purity of feeling. Her nobility
of soul and dauntless faith radiate through it.
When this young musician died at the age of
24, the world lost a real genius.
Consult Camille Mauclair, La Vie et l'auvre de
L. B. (Revue Musicale, Aug. 1921).-H. P.
BOULNOIS, Joseph. Fr. compr. b. Paris,
1880; killed in action, Chalaines (Meuse), 1918.
Operas, symphonies, chamber music, mostly
unpubl.-A. C.
BOULT, Adrian Cedric. Eng. condr. b.
Chester, 8 April 1889. Educated Westminster
School and Christ Ch. Oxford (music under Sir
Hugh Allen); Leipzig Cons. (Hans Sitt; Eugen
Lindner; S. Krehl; and stud. the methods of
Nikisch); on mus. staff, R. Opera, Covent Gar-
den, 1914; since 1918, has cond. at R. Philh.
Soc., Liverpool Philh. Soc., London Symphony
Orch. and Queen's Hall Orch.; also a season of
Russ. ballet at Empire Theatre, 1919; on teach-
ing staff at R.C.M. London, 1919; teacher of
conducting, condr. of orch. and of Patron's Fund
concerts there, 1919; Mus.Doc. Oxon.; condr.
of Birmingham Fest. Choral Soc. 1923. Has done
fine work, especially for the younger Eng. school
of composers.
Handbook for Conductors (Goodwin & Tabb).
-E.-H.
BOURGAULT-DUCOUDRAY, Louis Albert.
Fr. composer; b. Nantes, 2 Feb. 1840; d. Ver-
nouillet, near Paris, 4 July, 1910. During his
childhood he heard a good deal of chamber-
music in his home. At 15 he wrote a small comic
opera, produced at Nantes, 1859. The same
year he went to Paris, and entered the Con-
servatoire, studying under Ambroise Thomas,
obtaining the Prix de Rome in 1862. In Italy
he developed an interest in the music of Pales-
trinian period and in folk-music. In 1869 founded
at Paris a society for production of choral and
orchestral works, ancient and modern, which
during years of existence rendered gnal
services. In 1874, his health having broken
down in consequence of a wound received
in Franco-Prussian War (awarded Médaille Mili
taire for conspicuous bravery), he was sent to
Greece on an official mission. There he began
his studies of Greek church-music and folk-
music, thereby inaugurating an order of research
which was to open new vistas in both musical
science and musical art. In 1878, appointed
professor of musical history at Paris Conser-
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BOURIELLO
vatoire. He held the post 30 years, exercising
a far-reaching influence by his teaching which
included aesthetics as well as history. His
course on Russian music (1903) heralded the
progress which this music was to make in
France and subsequently in other countries.
As early as 1878 (in a lecture at Paris Universal
Exhibition) he had pointed out how necessary it
was to extend the vocabulary of music by re-
sorting to "all possible modes, old or new,
European or exotic." And what he preached he
successfully practised in works such as the
Rapsodie cambodgienne (1882) and Le Carnaval
d'Athènes (1884) for orch., the operas Myrdhin
(1905, unpublished) and Thamara (Paris Opéra
1891, revived in 1907), etc.
His other chief works are the operas Michel
Columb (1877) and Bretagne (1888), both un-
published; a Stabat Mater (1862), an Hymne
à la Joie (1864), Prométhée (1868) and many
other choral cantatas or hymns; L'Enterrement
d'Ophélie (1877) for orchestra, a little satirical
play, La Conjuration des fleurs (1883), of
which he wrote both words and music, and
numerous songs,
He is a composer of high originality and
genuine feeling, whose best works would certainly
be popular among music-lovers if they were
better known.
His collections of folk-songs, Trente Mélodies
popularies de la Grèce et de l'Orient (1875) and
Trente Mélodies populaires de la Basse Bretagne
(1883), Mélodies du Pays de Galles et d'Ecosse
(1909), are classics of their kind; likewise his
books, Etudes sur la musique ecclesiastique
grecque, La Modalité dans la musique grecque,
and Souvenirs d'une mission musicale en Orient
(Paris, Hachette). He has also written a sound
and instructive critical biography of Schubert
(Paris, Laurens).
There is practically no literature on him
except for notices of his opera Thamara and of
a few other works, and obituary notices in the
Paris Press.-M. D. C.
BOURIELLO, François. Fr. compr. b. Algiers,
1872. This blind compr. has long frequented
Spanish and Algerian milieux, from which he
has transcribed many popular songs. Formerly
orgt. of grand organ at Algiers Cathedral.
Theatre: Catherine de Sienne; Le Lys dans la
vallée (after Balzac); Libération. Cantata, Le Can-
tique des Cantiques (Song of Solomon), Pf. pieces: Le
Livre de la Jungle; Préludes; Tarentelles, etc.-A. C.
BOUVET, Charles. Fr. writer on music; b. Paris,
1858. Archivist to the Opéra, succeeding Henri
Quittard (q.v.). Founded and directed (1903-11)
La Fondation J. S. Bach, a soc. specially devoted
to perf. of old music. Then devoted himself to
musicology. Wrote for various reviews, such as
Monde Musical, Courrier Musical, Bulletin de la
Société française de Musicologie.
Une leçon de G. Tartini et une femme violoniste au
XVIIIe siècle (Paris, 1915, Senart); Une Dynastie de
musiciens français: les Couperins (Paris, 1919, Dela-
grave) crowned by Acad. of Fine Arts. Also revisions of
old works publ. under title Collection Charles Bouvet
(Paris, E. Demets); 4 Inventions for yn, and pf, taken
from La Pace by Antonio Buonyporti; Pièces de viole
de F. Couperin (Paris, Durand).-M. L. I P.
BRAGA
BOWDEN, Alfred H. E. Tasmanian musician;
b. Glenorchy, near Hobart. Trained under A.
Jackson Dentith at Hobart and Heinrich
Dettmer, Victoria; for 14 years choirmaster,
St. Andrew's Presbyterian Ch. Launceston, where
he produced many oratorios; was for some
years member of Philh. Soc. Orch. Melbourne.
Has taught in Tasmania for 35 years; for 23
years, music critic of Daily Telegraph, Launces-
ton (pen-name "Moderato"). Has publ. pieces
for vn. and pf. In 1920, Trinity Coll. of Music,
London, conferred on him the L.T.C.L. h.c.
-E.-II.
BOWDEN, Mrs. Alfred H. E. Tasmanian
pianist and teacher; b. Hobart. Stud. under her
father, A. Jackson Dentith (who was at that time
Hobart's most prominent musician, and had
stud. with Costa in London, and Jacob Schmidt
in Hamburg). Made many concert-appearances
in Tasmania and in Melbourne. Has trained
many prominent teachers in N. Tasmania.
Has publ. pf. picces, songs, anthems, etc. (Allan
& Co., Melbourne).-E.-II.
BOWEN, York. Eng. compr. and pianist; b.
London, 22 Feb. 1884. Played a pf. concerto in
public at age of 83; was not allowed to appear
as a prodigy; at 14, gained a 3-years' scholar-
ship at R.A.M. and afterwards a further 2 years
(pf. under Tobias Matthay; compn. under Bat-
tison Haynes and F. Corder); then pf. prof.
there; has appeared regularly as soloist in chief
London and provincial concerts. His 1st pf.
concerto was produced Queen's Hall Promenades
1904; his 3rd concerto, G mi., there, 8 Sept. 1908.
His symph. poom, Lament of Tasso, had been
given there, 1 Sept. 1903. He is one of leading
Eng. pianists of last 20 years; has a full rich
tone, a wide mus. culture and a most brilliant
keyboard technique. As a compr. he is at his
best in pf. music; he derives from the Romantic
school, and adds all the subtler nuances of a
modern harmonic style. His earlier works
show Wagnerian influence; his later ones are
thoroughly original, Neo-Romantic in feeling,
and quite untouched by Fr. Impressionism. His
contributions to chamber-music, and especially
to pf. music and vla. music, are particularly
valuable.
ell
and
2 symphonies (ms.); overture; suite; orch.
poem, Eventide; 3 pf. concertos.
cello concerto,
(1923); At the Play, orch. (id.); 7tet, clar. horn, pf.
and str. (ms.); trio, vla. harp and organ; str. 4tet, No.
2, D mi. (Stainer & Bell; Carnegie award); No. 3 in G;
id.); sonata, cello and pf. op. 64 (Schott, London);
2 sonatas and a suite, vía. and pf. (Schott); 5 suites
for pf. (I, II and III, Anglo-Fr. Co.; IV and V,
J.
Polonaise (Anglo-Fr. Co.); pf. pieces
(Swan; Ricordi; Ascherberg); pf. duets (Stainer
Suite (J. Williams)Bells (Ascherberg); Curiosity
Hans Andersen, 4
pf. sonata, F mi, op. 72 (Swan); 7 songs, 1921 (id.);
Chinese Lyrics (Enoch); Meg Merrilies, song with
str. 4tet, 1921 (ms.); Songs of Elfland, op. 73
(Swan); 2 songs, op. 75 (id.).-E.-II.
BRAGA, Hernani. Portuguese pianist; b.
about 1855. Pupil of Marmontel at Paris;
taught for a long time at the Academia de
Amados de Musica, Lisbon; introduced clavecin
music into Lisbon, being the only Portuguese
teacher who possessed one.-E.-II.
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BRAHMS
BRAHMS, Johannes. German composer; b.
Hamburg, 7 May, 1833; d. Vienna, 3 April, 1897.
Son of the double-bass player of Hamburg Stadt-
theater, Johann Jakob, and of Henrika Christina,
née Nissen. At first, pupil of his father for violin
and cello, of Otto Fr. W. Cossel
piano and
Eduard Marxsen for composition. First public
appearance as pianist in Hamburg, 21 Sept.
1848. In April 1853, left his native town for a
concert-tour with the Hungarian violinist Ed.
Reményi. In May, met Joseph Joachim in Han-
over, with whom he remained in lifelong friend-
ship despite occasional disagreement. Later,
became acquainted with Liszt, whose guest he
was in Altenburg near Weimar; finally, in the
autumn, met Schumann in Düsseldorf. Acquain-
tance with Brahms's first compositions was the
occasion of Schumann's enthusiastic introduc-
tory article (Neue Bahnen) in the Neue Zeit-
schrift für Musik (23 Oct. 1853), since the
appearance of which Brahms's fame may be
said to date. After several concert-tours, and
visits to Clara Schumann and Joachim, Brahms
settled in Detmold, Sept. 1857, as choral con-
ductor and teacher to Princess Friederike. In
1860 Brahms returned to Hamburg, where he
conducted a Ladies' Choral Society and com-
posed the works 18-34.
op.
In Sept. 1862,
settled in Vienna, which from henceforth to his
death became his second home. In winter 1863,
took over for
short time the conductorship
of the Vienna Singakademie, and then led for
several years a rather restless life, wandering
from place to place. Returned to Vienna, how-
ever, and, 1872-5, took over conductorship, this
time of the Society of Friends of Music (Gesell-
schaft der Musikfreunde). Since that time he
lived as a creative musician without any fixed
post, and only left Vienna for summer holidays
and travels, of which those in Italy proved very
fruitful for his creative work. Of honorary titles
he received Mus.Doc. Cantab. 1877; Ph.D.
Breslau Univ. 1879; Freedom of City of
Hamburg, 1889; Foreign Member, Académie
de Paris, 1896.
Orch: Serenade in D, op. 11; in A, op. 16; Varia-
tions on theme of Haydn, op. 56a; Symphony I.
in C mi. op. 68; II, in D, op. 73; III, in F, op. 90;
IV, in E mi. op. 98; Academic Overture, op. 80;
Tragic Overture, op. 81.
Pr. and orch:
B flat, op. 83.
Concerto.
Concerto I, in D mi. op. 15; II, in
2 cadenzas to Beethoven's G ma.
Vn. and orch: Vn. concerto in D op. 77; concerto
for A mi. op. 102.
Pf.: Sonata I, in C, op. 1; II, in F sharp mi. op. 2;
III, in F mi. op. 5; Scherzo, E flat ml. op. 4; Varia-
tions on theme of Schumann, op. 9; Balladen, op.
10; Variations on orig. theme, op. 21a; on a Hun-
garian song, op. 216; on theme of Handel with
ugue, op. 24; on theme of Paganini, op. 35;
Klavierstücke, 2 books, op. 76; 2 Rhapsodies, op. 79;
2 books, op. 116; 3 Intermezzi, op. 117;
op. 118, 119.
ci
Pf. duet: Variations on theme of Schumann,
op. 23; Wallzer, op. 39; Waltzer-Liebeslieder, op.
52a;
op.
. and vn.: Sonata I, in G, op. 78; II, in A, op.
100; III, in D ml. op. 108.
Pf.
mi, op. 99.
cello: Sonata I, in E mi. op. 38; II, in F
Pt. and olar.: Sonata I, in F mi. op. 120a; II, in
E flat, op 120b.
As a man, Brahms sought to conceal under a
rough exterior an enormous fund of delicacy
and impressionability. The purity and nobility
of his character elevated him to a singularly
lofty height. His historical position is deter-
mined by his attitude as a musician of a "late"
generation (nachgeborenen Geschlechts) towards the
past and classical music. Contrary to his con-
temporaries Liszt and Wagner, his ideals lay,
not in the future but in the past. He began as
a Romantic, somewhat in the stormy, youthful
manner of Schumann; but he soon felt the
necessity of establishing his own creative activity
through a profound acquaintance with the crea-
tive work of the classical composers, including
Schubert. He was perpetually striving after the
mastery of sonata and variation form by per-
sonally assimilating harmonic, rhythmic and
melodic modes of expression inherited from the
past. As an artist in practice he became the
greatest master of the XIX century. He may
BRAHMS
be truly called the "classic of the Classicists";
for he was the last who succeeded in putting
content into classical forms which, in the hands
of the Romanticists, had become weak, empty
and purely formalistic. Through his posthumous
masterpieces he succeeded, at the close of his
life, in giving pure expression in music to the
human element within him, and in transfiguring
that element through the medium of art. In
the lyricism of the 4 ernste Gesänge, in the final
movement of the E minor symphony, in his
chamber-music, in the clarinet quintet and the
clarinet sonatas, he is the prophet of resigna-
tion and pessimism, since he gives expression to
a post-classical period that has lost something
of its original fullness.
57
Trios: Pf. vn. oello in B, op. 8; in C, op. 87; in
C mi, op. 101; pf. vn. waldhorn in E flat, op. 40;
pf., clar. 1 cello in A mi. op. 114.
4tets: Pf. vn. vla. cello G mi. op. 25; pf.,
vn. vla, cello in A, op. 26; pf. vn. vla. and cello
in C ml. op. 60. Str.: I, in C mi. op. 51a; II, in A
mi. op. 516; in B flat,
Stets: Pf. and str. f ml. op. 34; str.: 1, in F, op.
88; II, in G, op. 111; clar. and str. in B mi. op. 115.
otets: Str.: I, in B flat, op. 18; II, in G, op. 36.
Organ: 11 Choralvorspiele (
e (his work) 2 books,
op. 122; Choralvorspiel und Fuge, A mi. (without
op. no.); Fugue in A flat mi. (id.).
Unace. mixed chorus: Marienlieder, op. 22: 2
motets,
42;
Lieder, op. 62; 2 motets, op. 74; Lieder und Roman-
5
und
Gedenksprüche, 8-v. op. 109; 2 motets, 4- and 8-v.
op. 110.
Unace. female chorus: 2 Geistliche Chöre, op. 37:
12 Lieder und Romanzen, op. 44; 13 canons, op. 113.
Unace, male chorus: 5 Lieder, 4-v. op. 41.
Chorus and orch.: Ave Maria, female chorus,
op. 12; German Requiem, op. 45; Rinaldo, t. solo
and male chorus, op. 50; Rhapsodie, contr. solo
and male chorus, op. 53; Schicksalslied, mixed
chorus, op. 54; Triumphlied, double chorus, op. 55;
Nänie, mixed chorus, op. 82; Gesang der Parzen,
mixed chorus and wind
s and
6-v. op. 89; Begräbnispes emale chorus, 2 hoto1.
instrs. op. 13;
harp, op. 17; 2 Lieder, contr., vla. and pf.
4 solo vs. and pf. op. 31, 64, 92, 112, 52, (Liebes-
lieder), 65 (Neue
103 (Zigeunerlieder).
Vocal duets ancien 1, 66 (all s. and a.);
(Balladen); 84 (Romanzen).
28, a., barit.; 75
Songs (v. and
(Magelone), 43, P.): Op. 3, 6, 7, 14, 19, 32, 33
, 48, 49, 57, 58, 59, 63, 69, 70,
71, 72, 84, 85, 86, 94, 95, 96, 97, 105, 106, 107, 121,
and 4 ernste Gesänge (without op. no.).
Consult: Max Kalbeck, J. B., 4 vols. (1904-14)
Walther Niemann, J. B. (Berlin, 1920); Heinrich Rei-
mann, J. B. (1897); Gustav Jenner, J. B. als Mensch,
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BRAHY
Lehrer und Künstler (1905); W.
Thomas-San Galli,
J. B. (Eng. 1905: Ger. 1912) Por Maland,
B. (Eng. 1911; Ger. 1913); Ed. Evans, Historical
J. A. Fuller-
Description and Analytical Account of the Entire
Work of J. B. (London, 1912, Reeves); H. C. Colles.
B. (Eng. 1908; Ger. 1913); H. Imbert, J. B. (1905);
P. Landormy, B. (1920). Reminiscences: G. Hen-
of J. B. (Boston, 1907);
schel, Personal, Erinnan J. B. (1898); J. V.
Albert Dietrich in Erinnerungen (1898); J. V.
Widmann.
Sizilien und andere Gegenden Italiens,
Reisen mit J. B.; J.
(1921); R. v. d. Levenhüls, Erinnerungen an J. B.
B. als Mensch und Freund
(1908). 15 vols. of B.'s contre have been
publ. by
schaft). A thematic catalogue of the complete works
of B. was issued in 1897 (2nd ed. 1902) by Simrock
(Berlin) who publ. nearly all the music of B.-A. E.
BRAHY, Édouard. Belgian condr. b. Liège,
1 Sept. 1873; d. Brussels, 6 Nov. 1919. Stud.
Liège Cons. in 1887. 1st prize for cello and
chamber music, 1891. Went to finish his studies
at Leipzig (under Jadassohn) and in Berlin
where he stud. conducting under Bülow, Nikisch
and Weingartner. Came back to Brussels (1896),
one of founders of Zimmer Quartet in which he
was cellist. 1898-1907, cond. symph. concerts
at
He
Anger, 1903-13, Winter Concerts at
Ghent, 1906-18, the Brahy Concerts at Liège
Cons. Having cond. concerts in Brussels with
great success (1905, 1916, 1917), appointed
condr. of Popular Concerts there in 1919.
had just cond. 1st concert of season when he
died. He was extraordinarily talented as a
condr.; he could conduct the most complicated
works from memory and with the deepest
lyrical appreciation.-E. C.
BRAITHWAITE, Sam Hartley. Eng. compr.
and pianist; b. Egremont, Cumberland, 20 July,
1883. Stud. R.A.M. London; holder clar.
scholarship, 1902; stud. compn. under F. Corder;
clar. under George Clinton, pf. under Cuthbert
Whitemore; mus. dir. Passmore Edwards Settle-
ment, 1910-13; from 1917, living in Bourne-
mouth on account of health. His pf. works, in
particular, are well written for the instrument.
Overture, military band (Pageant of Empire,
Crystal Palace, 1911); orch. tone-poem, On a Sum-
mer's Day (Bournemouth Fest. 1923); tone-poem,
Snow-Picture (a
award, 1923; Stainer &
Bell); pf. music (Augener; Schirmer; Arnold).
-E.-H.
BRANBERGER, Jan. Czech writer on music;
b. Prague, 18 Nov. 1877. Trained at Cons.
there; 1905, Ph.D.; stud. under Kretzschmar,
Wolf, Friedländer at Berlin Univ. From 1906 to
1918 secretary and prof. of mus. history at Prague
Cons. Since 1919 official of the Ministry of Public
Instruction. Wrote much for mus. periodical
Dalibor. For a long time, critic for newspaper
Cas.
Catechism of General Musical History; The Music of
the Jews; Ithythm and Tone; History of Prague Cons.;
(contin. of Ambros' work), all in Czech. In German
Musical History of Bohemia; 1922, publ. Musical
Almanac of Czechoslovak republic.V. ST.
BRANCOUR, René. Fr. musicologist; b. Paris,
17 May, 1862; custodian of Museum of Instrs.
at Paris Cons. Has written some unpretentious
chamber-music. As musicologist, represents the
intractable party of opponents of the young
school. Has publ. Félicien David, 1911; Méhul,
1912; Bizet, 1913; Massenet, 1923.-A. C.
BRANSCOMBE
BRANDELER, Henriette van Heukelom van
den. Dutch compr. b. The Hague, 25 Sept. 1884.
Stud. under Joh. Wagenaar, Dirk Schäfer,
Bernard Zweers.
58
Numerous songs and choral works, perf. several
times in Holland. (Publ. Alsbach, Amsterdam; De
Algemeene Muziekhandel,
Haguo.)
in Weekonsult arts. in sterdam; Noske, The
revlows: Nolthenins
voor Muziek (23 Jan. 1909); Marie
Berdenis van Berlekom in De Vrouw en haar huis
(1917); Henriette van
Amsterdammer
(17 June, 1916): Herman in De
Rutters in Het Muziek-
college (July, 1917).-W. P.
BRANDT RANTZAU, Rolf. Norwegian
pianist; b. Sarpsborg, 21 May, 1883. Pf. pupil
of Paolo Gallico in New York, 1892-1901; gave
his first concert in that city in 1898; afterwards
pupil of Agathe Backer-Gröndahl, Xaver Schar-
wenka and Busoni. B.-R. has developed into a
virtuoso of European dimensions, and he has
given concerts in Berlin, Stockholm, Gothen-
burg, Copenhagen and in most Norwegian towns.
He is a highly-esteemed pf. teacher and is
resident in Christiania, to which city he has
also made valuable contributions of chamber.
music performance.-J. A.
BRANDTS-BUYS, Jan. Dutch compr. 6.
Zutphen (Guelderland), 12 Sept. 1868. Stud. at
Frankfort; comp. several operas well known in
Germany (Das Veilchenfest, Berlin, 1910; Das
Glockenspiel; Die Schneider von Schönau; Der
Mann im Mond; Mi-Carême); 3 concertos, pf.
and orch.; suite, str., harp and horn; 4tet;
5tet (str. and fl.); trio; numerous songs with
pf. and with orch.; pf. pieces (Etudes; Leipzig,
Cranz). Lives in Vienna.-W. P.
BRANDTS-BUYS, Johan Sebastian. Son of
Ludwig Felix; 1910-18 mus. critic of Utrechtsch
Dagblad; pioneer of modern music; 1918, went
to Java and stud. Javanese music; has written
an extensive brochure, De ontwikkelingsmo-
gelijkheden der inlandsche muziek op Java (Posi-
tion of Javanese Music). Lives in Solo,
Java.-W. P.
BRANDTS-BUYS, Ludwig Felix. Dutch choir-
trainer and compr. b. Deventer, 20 Nov. 1847;
d. Velp, 29 June, 1917. Comp. several choral
works, songs and smaller pieces.-W. P.
BRANDTS-BUYS, Marius. Dutch choir-
trainer; brother of Jan B.-B.; comp. choruses;
operettas for children's voices; numerous
songs.-W. P.
BRANSCOMBE, Gena (Mrs. John F. Tenney).
Canadian compr. b. Picton, Ontario, 4 Nov. 1881.
Stud. pf. at Chicago Mus. Coll. under Ziegfeld
and Friedheim, and compn. under Borowski,
1897-9. Later, pf. under Ganz and compn. under
von Fielitz and Humperdinck. A faculty for
pleasing melodic invention has won many
admirers for her numerous songs and choruses.
One of her most popular songs is Hail ye Time of
Holie Dayes (Schmidt). A Festival Prelude for
orch. was perf. at MacDowell Fest. in Peterboro,
N.H. in 1914.
Pr. pieces (A. P. Schmidt); songs (Schmidt:
Schirmer; Ditson); 2 song-cycles: 4 Laute of Jade;
1913); Carnival Fantasy,
The Sun-Dial (Schmid K.
vn. and pf. (id.
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BRANZELL
BRANZELL, Karin Maria. Swedish contr.
operatic and concert-singer; b. Stockholm, 24
Sept. 1891; stud. under Thekla Hofer, Mantlen,
Louis Bachuen (Berlin). Début 1911; member
Stockholm R. Opera, 1912-18; then Berlin.
and Vienna operas as guest; many other Ger.
operas and Zurich. Rôles: Amneris, Azucena,
Carmen, Brünnhilde, Erda, Fricka, Ortrud,
Brangäne, Leonora, Martha, etc.-P. V.
BRATT, Thora. Norwegian pianist; b.
Christiania, 8 Oct. 1892. Stud. at R. Music
Cons. in Copenhagen, 1907-10; at High School
in Berlin under Dohnányi, 1911-14; début,
Christiania, 1914.-U. M.
BRATZA, (real name, Milan Yovanovitch).
Serbian violinist; b. Novi Sad, 12 May, 1904.
Trained as violinist by Prof. Ševčík at Vienna
Imperial Acad. of Music. His development was
very rapid; finished his studies at Vienna in 1918,
when only 14. Since then B. has played and
achieved extraordinary success in the principal
European capitals. He now resides in London,
where he is frequently heard. Both technically
and temperamentally he ranks with the greatest
players of the day. Has made a special success
with Tchaikovsky's concerto.-T. F. D.
BRAUNFELS, Walter. Ger. compr. b. Frank-
fort-o-M., 19 Dec. 1882. Pupil of J. Kwast,
Frankfort-o-M., Leschetizky and Navrátil,
Vienna, and Ludwig Thuille in Munich, in which
town he has resided since 1903, distinguishing
himself as a pianist (Beethoven and Bach).
As a compr. he alike approaches the classicism
of a Brahms, the feeling for the grotesque of
a Berlioz and the romanticism of a Schumann.
Songs, op. 1. 2 (folk-style, ms.), 4, 7 (Fragmente
eines Federspiels). 13 (Echoes of Beethoven's Music), 24
(after Eichendorff and Goethe, ms.); pf. pieces, op. 5,
10 (Studies); Rondo, op. 9: Variations for 2 pianos,
op. 21; Herensabbat (Vitches' Sabbath) for pf. and
orch, op. 8. For orch.: Variations on children's song,
op. 15; Ariel's Song, op. 18; Serenade, op. 20;
Fantasia on theme of Berlioz, op. 25 (Univ. Ed.
Vienna); choral work, Revelation of St. John, Chap.
chorus and orch., op. 11; Te Deum, op. 32
VI, t. solo, chorus
(Univ. Ed. Vienna); Neues Federspiel, vs. and orch.;
Die Ammenuhr, boys' chorus and orch., op. 28; orch.
songs, op. 15, 26, 27; music to Twelfth Night, op. 11,
and Macbeth, op. 14 (ms.). Operas: Falada, op. 3
(ms.); Der Goldene Topf (unfin. ms.), op. 6; Princess
Brambilla, op. 12 (Stuttgart, 1909; overture as
Carnival Overture, op. 22); Till Eulenspiegel, op. 23
(Stuttgart, 1913); the very successful Die Vögel
(The Birds), op. 30 (Munich, 1920; Univ. Ed.
Vienna); Don Gil von den grünen IIosen (Munich,
1924).-A. E.
BRAUNSTEIN, Pierre. Fr. compr. b. Alsace,
1888; d. during war, 16 Sept. 1914. Exception-
ally gifted, he stud. rather late under Michel
Karren. Left 2 symphonies. The 2nd, left un-
finished, was orchestrated by Florent Schmitt.
First part of it ends on night preceding mobilis-
tion of 1914.-A. C.
BRAZILIAN OPERA. See GÓMEZ, A. C.;
MIGNONE, FRANCESCO.
BRAZYS, Theodore. Lithuanian priest and
compr. b. Pabirze, in Birziai district, 20 Nov.
1870. Educated at Bauskis, Courland. Orgt.;
then priest in 1900 at Batstoge. In 1905,
entered Haberl's Church Music School, Ratisbon.
Awarded diploma for 4-v. Mass and Fugue.
BRENET
From 1907-17 teacher of singing at Vilna and
dir. of Cath. choir, where he reformed the Gre-
gorian chanting. Removed from Cath. post for
having written a memorandum against Polish
policy of aggression towards Lithuania.
Masses; responses; vespers; Completium (4-v. faux-
bourdon); Dominica Resurrectionis (id.): Te Deum;
cantata Nurimki Tevyne (Be tranquil, Fatherland);
Cantata of Commemoration on return of hostages
from Bolshevik captivity; Salute to the Lithuanian
Flag; coll. of Lithuanian songs; a Singing Manual
(Giedojimo mokykla); Guide to Harmony (Muzikos
Teorija) in Lithuanian; etc.-H. R.
BRECHER, Gustav. Ger.-Czechoslovak condr.
compr. and author; b. Eichwald, near Teplitz,
5 Feb. 1879. Stud. in Leipzig. Has been condr. at
Stadttheater, Leipzig; dir. of R. Opera, Vienna,
1900; then Hamburg Theatre, 1903; producer of
opera in Cologne, 1911, and Frankfort-o-M., 1916.
Symph, poem, Rosmersholm; social symphony, Aus
unsern Zeit; str. 5tet op. 50; pf. sonata mi.
Biography of Richard Strauss; a remarkable book,
On Translations of Operas (1911).-E. S.
Ger. pf.
BREITHAUPT, Rudolf Maria.
teacher; b. Brunswick, 11 Aug. 1873. Stud. law,
philosophy, psychology, art and the science of
music at Jena, Leipzig and Berlin; also pupil
at Leipzig Cons. 1897, and lived in Vienna for
a while; from 1901 has settled in Berlin as
a writer on musical subjects and an authority
on pf. teaching. From 1918 has been Martin
Krause's successor as teacher at Stern's Cons.
Mallers (Collected; also:
Essays, 1900. E.
Natural Pf. Technique (1904, 3d ed. 1912): and, as
second part of same, The Principles of Pf. Technique
(1907; Fr. ed. 1908; Eng. ed. 1909); and third
part, Practical Studies (1919); Practical Exercise
(1914, 2 T
and Controversial
BREMA, Marie. Eng. operatic singer; b.
Liverpool. Début at Popular Concerts, 1891,
after studying 3 months under George Henschel;
stage début as Adrienne Lecouvreur at Oxford;
operatic début 1891 at Shaftesbury Theatre under
Lago; at R. Ital. Opera, London (under Grau),
in 1892, sang Gluck's Orfeo, and Brünnhilde; in
New York, the Ring, Tristan, at the Metropolitan
under Mottl, Seidl, and others. First Eng.
singer to sing at Bayreuth; sang in Brussels and
Paris; 1911, produced Orpheus at Savoy Theatre
with great success; in March 1912, toured pro-
vinces with Denhof Opera Co. Is now teaching
at R. Coll. of Music, Manchester.-E.-II.
BRENET, Michel (Marie Bobillier). Fr. musi-
cologist; with Romain Rolland and André Pirro,
one of the great names in contemporary French
musicology; b. Lunéville, 11 April, 1858; d. Paris,
4 Nov. 1918. Although an invalid, she worked with
a patient and intelligent perseverance which can-
not be sufficiently admired. She undertook deep
and systematic research of old archives, and the
thousands of jottings and notes left by her to
the Bibliothèque Nationale are an inexhaustible
treasure-trove for musicologists. She especially
devoted herself to the history of sacred music in
France; death struck her down before she could
achieve the great work on the Royal Choirs of
the Kings of France for which she had been
amassing notes for over 30 years. M. B. was one
of the first musicologists in France to apply
to the history of music the systematic methods
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BRET
of research and classification now generally
adopted in the study of general history docu-
ments. Her vast labour on archives have made
possible a complete reconstruction of French
musical life of the XVI and XVII centuries, and
her notes will be consulted with advantage by
musicologists for many years to come.
The Musicians of the "Sainte Chapelle" (1910,
Picard);
(1900, Fischbacher); Palestrina (1910. Alcan); i
(1909, Alean); Military Music
Handel (1903, Laurens); Notes on the History of the
Laurens);
Lute in France (Turin, 1899, Bocca): The Musical
Library in France from 1653 to 1780 (Leipzig, 1907,
Breitkopf), etc.-II. P.
in France under the Old Ré
BRET, Gustave. Fr. compr. b. Brignoles (Var),
1875. Pupil of Ch. M. Widor for organ at Cons.,
and of V. d'Indy at Schola Cantorum. Taught
there himself, until 1908, lyric declamation, organ
and improvisation. Called to replace his master
Widor at organ of St.-Sulpice (1898-1903), he
founded at Paris in 1904 the Société J. S. Bach
(see SOCIETIES). Is now music critic of news-
paper L'Intransigeant.
Oratorio in 2 parts, Les Pélerins d'Emmäus for
soli, chorus and orch. (Paris, Rouart), perf. 1903,
Amsterdam, under Willem Mengelberg;
choruses; songs, etc.-M. L. P.
unace.
BRETAGNE, Pierre. Fr. compr. b. Épinal,
1881. Pupil of Guy Ropartz at Cons. Nancy.
Str. 4tet; collo sonata; overture for play Les
Caprices de Marianne (after Musset).-A. C.
BRETÓN, Abelardo. Span. compr.; son of
famous maestro Tomás Bretón.
Compr. of
Fantasía Gitana, and other orch. works perf. by
Orquesta Sinfónica and Orquesta Filarmónica,
Madrid. Teaches harmony at R. Cons. de Música,
Madrid.-P. G. M.
BRETÓN, Tomás. Span. compr. b. Salamanca,
29 Dec. 1850; d. Madrid, 2 Dec. 1923. Former
condr. of orch. Unión Artístico-Musical (founded
1876), of the R. Opera House, Madrid, and the
Soc. de Conciertos (now Orquesta Filarmónica);
ex-dir. and lecturer of R. Cons. de Música, Madrid
(1901); fellow of R. Acad. de Bellas Artes (1896).
Honours: Cruz y Encomienda de Carlos III; En-
comienda de Número de Alfonso XII; Golden
Palms, Fr. Acad. Stud. under Arrieta at
Madrid Cons.; 1st prize for compn. in 1872.
Received grants from King Alfonso XII and the
R. Acad. de Bellas Artes for study in Rome,
Paris and Vienna. Of very humble parentage,
he started to earn his living as an orch. player.
in Salamanca, when only ten. At 15, went to
Madrid, played in cafés, theatres, toured with
a mus. comedy company, and acted at Retiro
Theatre as leader, and assistant-condr. to the
celebrated waltz-compr. Olivier Metra. As condr.
of Unión Artístico-Musical, he had to fight
against establ. traditions, in order to introduce
new works, amongst them the Danse macabre of
Saint-Saëns, which had been rejected at re-
hearsals for its modernity by the veteran orch.
Soc. de Conciertos. In 1891, Isaac Albeniz in-
troduced B. to the London public as a condr. at
two concerts at St. James's Hall. In one of these
he perf. two works of his own, a symphony on
classical lines and a minor work of Span. char-
acter. One of the leading critics advised him to
60
BRÉVAL
abandon the imitation of the classics and devote
his talents to the music of his country. B. took
the hint in the right spirit, for no Span. musician
has ever worked with more fervour for the estab.
lishment of the Span. opera as a national in-
stitution, nor came so near to bringing it to a
successful end. No lyric work in modern
times has gone so deep into the Span.
heart as his 1-act zarzuela, La verbena de la
paloma, dealing with a typical aspect (pictur-
esque and sentimental) of Madrid life. His most
successful works, besides this, are the operas:
Los Amantes de Teruel, 5 acts (1889), perf.
throughout Spain and in Vienna and Prague,
under compr.'s baton; Garin, 4 acts (1891), Spain
and Prague; La Dolores, 3 acts (1895). La
Dolores received 63 consecutive perfs. in Madrid,
and 112 in Barcelona. It was also perf. with
equal success in S. America, and was produced
11 years later at Milan and Prague. At the perf.
of Los Amantes de Teruel at Prague, B. was
invited to succeed Karl Muck as condr. of the
Opera House Orch. He was often his own libret-
tist, and wrote and lectured widely in favour of
the establishment of Span. national opera.
Zarzuelas in 1 act: Los dos
(1874); El 93
(1875); El-
Vista y sentencia (1875); caminos de maridos;
estudiantes
(1877) Las señoritas de Conil (1881); El grito en el
verbena de la paloma (1893); ET
Domingo de Ramos (1894); Las nieves (1895); EU
Guardia de Corps (1897); El Puente del Diablo; EL
reloj de Cuco (1898); Botin de guerra: La bien plantá
(1902); El caballo del señorito; La Cariñosa (1899);
La Generosa; Piel de oso (1909); Al alcance de la
mano (1911); Las Percheleras (1911); Los Húsares
del Cear (1914): in 2 acts: El alma en un hilo (1874;
in collab.); El viaje de Europa (1874); Maria (1875);
Los dos leones; Huyendo de ellas (1877); El bautizo
de Pepin; Bonito país; in 3 acts: El Centro de
Begoña (1878); El Barberillo de Orán;
corona (1879); Los amores de un principe (1881); El
clavel rojo (1899); Covadonga (1901); Las cortes de
amor (1916). Operas in 1 act: Guzmán el Bueno
de
La Dolores (1895); Taboremona (1906); in 3 acts:
(1913); Don Gil (1914);
in 4 acts: Garin (1891); Raquel (1900); Farinelli
(1901); in 5 acts: Los Amantes de Teruel (1889).
Choral works: Flors del Orta; Vizcaya; Eructarit
cor meum; Oquendo; La primavera (female vs. orch.
and pf.); El Apocalipsis, oratorio. Chamber-music:
pf. trio; 3 str. 4tets; pf. 5tet; 6tet,
sy
and horn. Orch.: En la Alhambra. ob. clar.
Los
symph. poem; Salamanca, symph. poem; Elegía y
Añoranzas; suite, Escenas Andaluzas: vn. concerto
(first perf. Queen's Hall, London, 21 Aug. 1923,
by Angel Grande under Sir Henry Wood). (Unión
Musical Española, Madrid).-P. G. M.
BRETON MUSIC. Collection by Maurice
Duhamel (Rouart & Lerolle), who has also
written a brochure, Les 15 Modes de la Musique
Bretonne. See also BOURGAULT-DUCOUDRAY;
CELLIER, LAURENT.-E.-H.
BREUNING-STORM, Gunna. Danish violinist;
b. Copenhagen, 25 Jan. 1891. Pupil of Anton
Svendsen, Copenhagen, and Henri Marteau.
Made her début at an early age; toured exten-
sively in Scandinavia and Germany. Since the
war, has resided in Copenhagen, where she is
the 1st-vn. member of the Copenhagen Str.
Quartet (see CHAMBER-MUSIC PLAYERS).-A. II.
BRÉVAL, Lucienne (real name Lisette Schil-
ling). Fr. s. singer; b. Berlin, 4 Nov. 1869. At 17,
1st prize for pf. at Geneva Cons. In Paris,
1890, 2nd prize (singing) and 1st prize (opera).
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BRÉVILLE
For 30
Her voice was rich and particularly warm in
tone, and her imposing physique made her an
admirable interpreter of lyrical rôles.
years, she helped to maintain the fame of the
Opéra in Paris. Her name will particularly be
remembered by the numerous rôles she created
in Wagnerian operas, e.g. Brünnhilde (Valkyrie);
Eva (Mastersingers); also Chimène in Le Cid
(Massenet), Griseldis, Ariane, Pénélope (Fauré),
Monna Vanna, La Burgonde, Pallas Athéné,
Amy Robsart.-M. B.
BRÉVILLE, Pierre Onfroy de. Fr. compr.
b. Bar-le-Duc, 21 Feb. 1861. Stud. harmony at
Paris Cons. under Théodore Dubois; soon after-
wards went to César Franck for ept., fugue
and compn. Since then, he has divided his time.
between compn. and other mus. activities. For
several years, taught cpt. at Schola Cantorum;
and during the war took charge of a chamber-
music class at Paris Cons. Has long been, and
still is, one of most industrious members of com-
mittee of Société Nationale de Musique. For a
time was mus. critic of Mercure de France; has
written (jointly with H. Gauthier-Villars) an
instructive booklet on d'Indy's Fervaal. As a
creative artist he holds, among Fr. comprs., a
place very much his own. His music has given
rise to no discussion, but is held in high esteem.
It is instinct with poetic feeling and sober
originality, and remarkable for its exquisite
proportions and finish, as well as for the quiet
intensity of its tone and colours.
Lyric drama, Eros Vainqueur (perf. Brussels, 1910);
incidental music to Maeterlinck's Sept Princesses;
a variety of vocal works (among which are Sainte
Rose de Lima for s. solo and female chorus, Hymne
à Vénus for 2 vs., wind and harp; a mass, and 2
also in pf.-solo form); overture for La Princesse
Maleine for orch.; a few organ pieces; vn. sonata
(Rouart); pf. sonata (id. 1922).-M. D. C.
BREWER, Alfred Herbert. Eng. orgt. and
compr. b. Gloucester, 21 June, 1865. Educated
Cath. School, Gloucester; Exeter Coll. Oxford;
first organ scholar, R.C.M. London. Appointed
orgt. and master of the choristers, Gloucester
Cath. 1897; cond. Three Choirs Fest. 1898, 1901,
1904, 1907, 1910, 1913, 1922; instituted organ
recitals in Gloucester Cath for elementary school.
children. Mus. Doc. Cantuar. 1905. His muse
turns naturally to cheerful subjects.
Orch. Service in C (Glos. Fest. 1895); Psalm
XCVIII (id. 1898); Emmaus (id. 1901); Dedication
Ode (Wore. Fest. 1902); The Holy Innocents (Glos.
Fest. 1904); A Song of Eden (Worc. Fest. 1905);
3 Elizabethan Pastorals (Hereford Fest. 1906); Sir
Patrick
Fest. 1907); In Springtime
England, My England (Wore.
Fest. 1908); Age and Youth, orch. (Queen's Hall
Prom. 1908). Summer Sports (Glos. Fest. 1910);
Jillian of Berry (pastorals), Hereford Fest. 1921
(mostly Novello); a large number of songs; pf.
pieces; organ pieces (Novello; Boosey; Augener).
-E. H.
ens
BREWER, John Hyatt. Amer. compr. b.
Brooklyn, N.Y., U.S.A., 18 Jan. 1856. For ten
years a pupil of Dudley Buck. From 1871 to 1873,
orgt. at various churches in Brooklyn. An orig.
member of Apollo Club (male chorus) founded
in 1877; its accompanist until death of Buck,
whom he succeeded as condr. in 1903. 1899-
1906, prof. of music, Adelphi Coll. Brooklyn.
BRIDGE
One of founders of Amer. Guild of Orgts. in 1896.
Mus.D. h.c. New York Univ. 1914. Over 200
anthems; 40 songs and cantatas (Schmidt;
Schirmer; Ditson).-O. K.
BREWSTER-JONES, H. Compr. Lives at
Adelaide, S. Australia. Founded his own orch.
in Adelaide, which has given most of his orch.
works.
3-act opera, Deirdre of the Sorrows (1915-17); 5-act
mus. drama, Jesus of Nazareth (1918-23); 2-act mus.
drama, Undine (started 1918, unfin.). Orch.: Scherzo
in E mi. (1915; perf. by Brewster-Jones Symphony
Orch.); ballet-music to Call of France (1917; Gala
Review, Adelaide);
1919); Anzac Suite (19htingale Suite (Adelaide,
Rhapsody (1918). Pas-
toral Concerto, pf. and orch. (1921); str. 4tet (1921);
sonatas for pf. and cello; for pf. and vn.; for pf.
and vla. (all 1921); many pf. pieces and songs, 4
books (Allan and Co. Melbourne).-E.-H.
BREZOVSCHEK, Ivan. Serbian opera-condr.
b. Celje (Slovenia), 3 July, 1888. Stud. at
Cologne Cons. under Steinbach; under Friedmann
for pf. One of principal condrs. at National
Theatre (New Opera House) in Belgrade.-T.F.D.
BRIAN, William Havergal. Eng. compr. b.
Dresden, Staffs, 29 Jan. 1877. Stud. harmony
under T. Hemmings, Stoke-on-Trent; otherwise
self-taught; attended Richter's concerts as
critic for the Musical World, just then (1905) re-
vived. On 12 Jan. 1907, B.'s 1st English Suite
was produced by Leeds Municipal Orch. under
compr.; in Sept. same year by Sir Henry Wood
at Queen's Hall. His Festival Dance (1908) was
produced by Bantock in Birmingham in 1914;
by Beecham in London, June, 1915. Dr. Merry-
heart (comedy-overture) was produced at Mus.
League Fest. (1913) in Birmingham under Julius
Harrison, and in following October by Sir Henry
Wood at Queen's Hall. For Valour concert-
overture (1907) was rewritten and perf. by late
Coleridge-Taylor at a Crystal Palace Empire
concert, 1910, and at a Strauss concert under
Beecham in Birmingham, 1911; Fantastic Varia-
tions, perf. by Lyell-Taylor in Brighton, 1920;
In Memoriam tone-poem, under Sir Landon
Ronald with Scottish Orch. at Edinburgh, Dec.
1920. An English Suite No. 3 was produced by
Sir Dan Godfrey, Jan. 1922. His music is highly
original and often daring. He has even made
excursions into Expressionism (pf. pieces). His
choral writing is of a high order. The works
mentioned above are all publ. by Breitkopf,
Leipzig. Other works:
5 symph. danees and symph. variations from opera
The Grotesques (ms.); choral works: By the Waters of
Babylon (Breitkopf): Cleopatra (Bosworth; South-
port Fest. 1909); Die Wahlfahrt nach Kerlaar (Heine;
ms.); 8 pf. works (4 Miniatures, etc.), Augener;
Illuminations (Chester); songs (Breitkopf; Enoch);
part-songs (finest are publ. by Augener).-E.-H.
BRIDGE, Frank. Eng. compr. b. Brighton,
26 Feb. 1879. Trained at R.C.M. London as a
vn. student; gained scholarship in compn. 1899,
and stud. under Sir Charles Stanford for 4 years;
in 1903, was already well known as a vla.-player;
took part in Joachim Quartet on Wirth's in-
disposition in 1906. Cond. Marie Brema's opera
seasons 1910-11, at Savoy Theatre, London; in
autumn season of 1913 was one of condrs. of
Raymond Roze's Eng. Opera season at Covent
Garden; later, as condr. at Queen's Hall
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BRIDGE
Symphony Concerts and R. Philh. Soc. He cond.
at Rochester, U.S.A. in 1923. His reputation as
a chamber-music compr. dates from 1904. He
is amongst the foremost Eng. chamber-music
comprs. He always writes very finely for the
strings; and takes high rank as a vla.-player
both as soloist and in the English Quartet. He
rose to a prominent position with his songs, when
public opinion in 1916-17 awoke to recognition
of the new xx century Eng. school of compn.
F.R.C.M. h.c. 1924.
Orch.: Symph. poem, Isabella (ms.); Dance Poem
(ms.); Dance-Rhapsody (ms.); tone-poem. Summer,
written 1914 (Augener); 2 Poems
orch, written 1915 (Augener, 1923); suite The Sen
Jefferies),
(Stainer & Bell). Str. orch.: Lament; Suite (1920;
F. & B. Goodwin). Chamber-music: str. 6tet
(Augener); pf. 5tet; str. 4tets, E mi. and G mi.
(the latter known as Boulogne 4tet); also 3 Idylls; 3
Novelletten (id.); Sally in our Alley; Cherry Ripe;
Irish Melody (Londonderry Air); A Christmas Dance
(Sir Roger De Coverley) all for str. 4tet (Augener);
an orch. version of Sir Roger was played at the Queen's
Hall; pf. 4tet; Phantasy Trio, pf. vn. cello; sonata,
cello and pf. (W. Rogers); Mélodie and Elégie, cello
and pf. (F. & B. Goodwin): Morning Song, id. (W.
Rogers); A Prayer (Thomas à Kempis), chorus and
orch.; sonnet, t. v. and orch. Blow out, ye Bugles
(Rupert Brooke); numerous
(W. Rogers: Augener, etc.). E, pf. pieces, etc.
BRIDGE, Sir Frederick. Eng. orgt. compr.
condr. b. Oldbury, Wores, 5 Dec. 1844; d.
London, 18 March, 1924. Choir-school, Rochester
Cath.; orgt. Trinity Ch., Windsor, 1865-9;
Manchester Cath. 1869-75; Westminster Abbey,
1875-1918; Gresham prof. from 1890; condr. R.
Choral Soc. 1896-1922; King Edward prof. of
music, London Univ. from its foundation 1902;
Mus. Doc. Oxon. 1874; knighted 1897; M.V.O.
1902; C.V.O. 1911. Chairman of Trinity College
of Music, London. Mus. dir. of the Madrigal Soc.
London. His books on counterpoint had a wide
vogue. He was very popular as a lecturer on
mus. subjects. He composed in all branches,
from dignified church music to humorous glees
for male voices.
Oratorios: Mount Moriah; The Repentance of
Nineveh (Novello). Cantatas: Boadicea; Callirhoe
(Novello); Hymn to the Creator; The Inchcape Rock;
The Cradle of Christ; organ sonata; male choruses;
mixed choruses; church music; glees; 2 manuals:
Counterpoint; Double Counterpoint and Canon (mostly
and Music Birthday Book (Bosworth, 1900); S
spearean Music (Dent & Sons, 1923); Samuel Pepus,
Lover of Music (1904); 4 Westminster Pilgrim
(Novello,
The Old Cryes of London (id.
1921).-E.-1919);
BRIDGE, Joseph Cox. Brother of the above.
Eng. orgt. b. Rochester, 1853. Organ scholar
Exeter Coll. Oxford; orgt. Chester Cath. from
1877; condr. Chester Triennial Fest. 1879-1900;
founder and condr. (31 years) Chester Mus. Soc.;
Mus.Doc. Oxon. 1884; Mus.Doc. Dunelm. 1908;
prof. of music, Univ. of Durham, from 1908.
Oratorio, Daniel;
works; church music; part-songs;
Chester Madrigalists; Recorders; Ludlow and the
Masque of Comus; Chester Miracle Plays, etc.-E.-H.
cantatas; hor of organ
part-songs
BRITISH CHAMBER-MUSIC FROM 1880.
Chamber-music made very little headway in
England between 1880 and 1900. Parry had
written his pf. 4tet in F minor in 1879, and fol-
lowed it up by his string 4tet in G minor. A
little later he wrote a str. 5tet in E flat and a 4tet
for wind instruments. His chamber-music be-
BRITISH CHAMBER-MUSIC
longs mostly to the earlier part of his long
career. Stanford, who was by far the ablest
writer of chamber-music in this period, pub-
lished his early str. 4tets in Germany (Eulen-
berg), his later 4tets in England, and his 7th
and 8th (1919-20) still remain in ms. His great
admiration for Brahms shows itself repeatedly in
his chamber-works, and his personality is least
marked in this kind of music; but his impeccable
workmanship, found here as elsewhere, is
eminently suited to this genre, and he shows
great aptitude for the chamber-music style. But
on the whole, chamber-music was little cultivated
in England at that time, and native composers re-
ceived small encouragement to write in this form.
Delius wrote his first str. 4tet in 1893, but it
has not been heard in England. His other
chamber-music belongs to a later period of his
career-2nd str. 4tet, 1916-17; sonata for vn.
and pf. 1915; sonata for cello and pf. 1917-all
highly original and interesting works. Elgar
only turned to chamber-music late in life. The
year 1919 saw the production of his sonata for pf.
and vn. op. 82, his str. 4tet, E mi. op. 83, and his
5tet for pf. and strings, A mi. op. 84. Although
these three works are written in the style of Ger-
man classicism, notably Schumann and Brahms,
he yet retains his individuality-most in the vn.
sonata, and least in the pf. 5tet.
W. H. Hurlstone was the first to break away
from the German classical manner, though he
falls unduly at times under the spell of the
Bohemian, Dvořák. His early sonata for pf. and
vn., the one for cello and pf. and his string 4tet
in E mi. were produced in 1897-8-9; his 5tet for
pf. and wind, the suite for clar. and pf. and the
4tet for pf. and str. waited till 1904 for a hearing.
He stands at the beginning of the remarkable
school of modern British chamber-music com-
posers.
Walford Davies wrote many quartets between
1890 and 1895, but did not achieve popularity in
this form until his Peter Pan str. 4tet of 1909. His
delightful Pastorals for 4 solo voices, strings and
pf. however had appeared in 1897. Ernest Walker
has written some refined works for pf. and strings
and for strings alone. Vaughan Williams's
chief contribution is his characteristic song-
cycle On Wenlock Edge, for tenor voice, strings
and pf. (1909), very English in feeling, yet with the
delicacy of French Impressionism. Joseph Hol-
brooke (b. 1878) provided more exciting matter
in his approach to chamber-music, of which his
titles give some indication: 5tet, pf. and str.
(Diabolique) op. 44; Miniature Suite for wind
instrs. op. 33; 4 dances for str. 6tet; Pickwick
4tet; Russia and Belgium, etc. His chamber-
music is amongst his best work.
Tovey inclines to the older schools, especially
that of Brahms, in his trio for pf. clar. and horn,
his string 4tets, his Air and Variations (str. 4tet),
Elegiac Variations (cello and pf.), etc. They are
none the less valuable, for he is one of the most
erudite of living musicians. Cyril Scott has con-
tributed some very interesting pieces, a pf. 4tet,
a surprisingly virile str. 4tet, a free-metre sonata
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BRITISH CHAMBER-MUSIC
for vn. and pf. and a charming Pastoral Idyll for
voice, ob, and cello.
John B. McEwen has always cultivated
chamber-music very assiduously and to good
purpose, in his Phantasy 5tet and his 14 str.
4tets, the two most played being Threnody and
Biscay. York Bowen is another composer to
whom the concerted forms come very gratefully
(7tet, 2 str. 4tets, 2 sonatas for vla. and pf., etc.).
Rutland Boughton has also composed some
chamber-works, which, however, cannot be
classed with his more important stage-works.
T. F. Dunhill's chamber-music is always pleas-
antly written, leaning to the intellectual side
of music.
In 1915, John Ireland sprang to fame with his
2nd sonata for vn. and pf., one of the finest
written since César Franck's of 1886. His 1st vn.
sonata is a charming work in a lighter vein. His
other chamber-music is all deeply felt and
tensely expressed (2 pf. trios; a 4tet, etc.).
Frank Bridge is another composer whose muse is
well suited to this form, and his knowledge of
strings is profound. Joseph Speaight created a
genre of his own in his series of Shakespearean
Sketches. The viola music of B. J. Dale, like that
of York Bowen, is of the greatest importance.
The latter has also written some fine str. 4tets.
and a 4tet for 4 violas. Amongst other gifted
composers of this period are James Friskin
(Quartet Phantasy, Trio Phantasy, pf. 5tet in C
mi.), Arthur Hinton (pf. 5tet; pf. trio), Norman
O'Neill, Waldo Warner, Ernest Austin, and
many others. Nor is the slightly later genera-
tion less rich. First amongst these is Arnold
Bax, with a charming pf. 5tet, a 5tet for str. and
harp (1919), two picturesque and romantic vn.
sonatas. Then mention must be made of
Goossens, with his short picturesque pieces, Jack
o' Lanthorn, By the Tarn, etc., Herbert Howells,
J. N. Hay, W. J. Fenney, Armstrong Gibbs, J. R.
Heath and E. J. Mocran (str. 6tet). Arthur Bliss
is adventurous, even here; his chamber-music
and pieces for clar. and voice, and other combina-
tions, are amongst the finest works of the modern
school. Almost alone at present, stands a young
and promising composer in the cosmopolitan
atonal manner, W. T. Walton, whose str. 4tet
played in London and Salzburg in 1923 showed
him well able to hold his own amongst the
younger Continental writers.
Amongst women composers, Ethel Smyth
holds easily the first place. She is not at her best
in chamber-music, and her early string quartets,
recently revived in England, sound outmoded
and not very individual.
The taste for chamber-music, even more than
the taste for the intimate forms of poetry which
awakened at the same time, has undergone a
sudden and remarkable growth in Britain since
1914, and a whole school of gifted and interesting
native composers responded to the stimulus. No
nation is now more richly endowed with chamber-
music players and composers, and this form of
music appears to be well adapted to the racial
characteristics of Britons.-E.-H.
BRITISH ORCHESTRAL MUSIC
BRITISH MUSIC SOCIETY. Founded in 1918
by Dr. Eaglefield-Hull. Its aims are to fight for a
recognised place for music in education, to stimu-
late appreciation of music by lectures and con-
certs, to champion the cause of British comprs.
and performers at home and abroad, to encourage
the establishment of music libraries, to co-
ordinate all musical activity in the United
Kingdom for greater strength. Headquarters in
London with Sir Hugh Allen as chairman;
numerous active centres and branches through-
out the world. The central London office (3
Berners St. W. 1) is also the official home of the
International Soc. for Contemporary Music.
Monthly journal, the Music Bulletin. Gen. Sec.
Arthur Reade, M.A.-G. O.
BRITISH ORCHESTRAL MUSIC FROM 1880.
Up to within ten years before the birth of the xxX
century, orchestral composition in Britain was
the least cultivated form of the musical art. The
reason for this is to be found in the great poverty
of orchestras. The North of England and the
Midlands have still to draw on Leeds and Man-
chester for wood-wind and other players; all
Scotland is dependent chiefly on the Scottish
Orchestra, centred in Glasgow, notwithstanding
the establishment by Prof. Tovey of the efficient
Reid Orchestra Edinburgh. The Three Choirs
and other festivals in the South and West of Eng-
land draw their orchestras from London, which
city, together with Manchester (Hallé Orchestra),
affords the only opening for orchestral composers.
The pioneers amongst these were Parry, Stanford
and Mackenzie. Parry's orchestral works (4
symphonics, including the English Symphony of
1880; Symphonic Variations [1897]; overtures,
etc.) were important not so much for what they
achieved in themselves, as for what they made
possible. Elgar, for instance, owes more to Parry
than is usually acknowledged. Mackenzie intro-
duced the national and the topical into his well-
scored works (Scottish Rhapsody, Canadian Rhap-
sody, Britannia Overture, London Day by Day,
Pibroch, Scottish pf. concerto, etc.). Stanford,
with a still finer style, also struck the national
note, in his 7 symphonies (the 3rd, called the
Irish) and 5 Irish Rhapsodies.
The most Scottish of composers, Hamish
MacCunn, supplied 3 very picturesque overtures,
The Land o' the Mountain and the Flood (1887),
The Dowie Dens of Yarrow (1888) and The Ship
o' the Fiend (1888). The works of Delius were
mostly produced in Germany some years before
their performance in England; but they quickly
secured a firm hold through their charming
originality and delightful scoring, though the
moods are rather long-drawn-out at times. Hist
Appalachia was written in 1896, Paris in 1899,
Brigg Fair in 1907, 1st Dance Rhapsody 1908, the
2nd, 1916, North Country Sketches 1913-14.
William Wallace wrote tone-poems, The Passing
of Beatrice (1892), Wallace (1905), Villon (1909)
and called his symphony of 1899 The Creation.
Elgar's finest orch. work is his Enigma Varia-
tions (1899). His 2 symphonies (No. 1, A flat,
1907-8; No. 2, E flat, 1911) contain much fine
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BRITISH ORCHESTRAL MUSIC
material, splendidly scored, but raise the question
as to the suitability of the symphony form to his
muse. His overtures (In the South, Cockaigne,
Froissart) are thoroughly successful. His tone-
poem Falstaff seems somewhat hampered by its
over-elaborate programme. His concertos for vn.
and for cello are amongst the finest of modern
works. Nor must his carly Serenade and his In-
troduction and Allegro for strings be overlooked.
Granville Bantock's orchestral works were the
most advanced of his time in technique and
handling. He began with tone-poems-Thalaba
(1900), Dante and Beatrice (1902), Fifine at the
Fair (1912), The Witch of Atlas (1902), The
Pierrot of the Minute (1908). His finest orch.
work is the Hebridean Symphony (1914).
Another powerful composer of programmatic
tendencies is Holbrooke. The Raven was produced
under Manns at Crystal Palace in 1900; his
Ulalume at a London Symphony Orchestra
concert in 1904, his Queen Mab at Leeds in the
same year and The Bells at Birmingham in 1906.
His Apollo and the Seaman, given under Beecham
at the Queen's Hall in 1907, followed the poem
(by Trench) closely, having it thrown on a lantern
screen, verse by verse.
A composer of a very different type is
Vaughan Williams whose London Symphony has
been as much played abroad as at home. It was
first heard in the spring of 1914. It waited
until 1922 (2 Jan.) for its successor, A Pastoral
Symphony, a much finer work. The Lark Ascend-
ing for vn. and orch. was first played at a British
Music Society concert in 1921, with Marie Hall as
soloist. After him, the two outstanding orchestral
composers are Holst and Bax. The former wrote
his Beni Mora in 1910, but made his great success
with his suite The Planets (1915-16) produced in
part at a R. Philh. concert in 1919, but in full at
the British Music Society congress in 1921 under
Adrian Boult. Arnold Bax is one of the leading
figures in British music of to-day. He is a com-
poser of pure, absolute music. His 1st symphony
was produced by Albert Coates at a London
Symphony Orchestra concert in Dec. 1922. His
2nd symphony, Spring Fire (1912-13) still awaits
performance. His Garden of F'and (1912-13) has
been repeatedly played in England. It was given
in Paris under Kussevitzky with great success
in May 1923.
His Tintagel and Symphonic
Variations for pf. and orch. are also important.
Hamilton Harty, the condr. of the Hallé
Orchestra, has contributed some valuable works
-With the Wild Geese, Comedy Overture, and a
fine vn. concerto. Cyril Scott has written a
Christmas Overture, 2 Passacaglias, La Belle Dame
sans Merci, Aubade, etc. and a characteristic pf.
concerto. John Ireland has only written two
orch. pieces, A Forgotten Rite (1912) and the
symphonic rhapsody, Mai-Dun (1921), both very
fine works.
BRODER
in 1923 was a great loss to English music,
Goossens's Eternal Rhythm (1920) and his Sin-
fonietta (Feb. 1923) show a masterly handling
of the orchestra as well as of material. In 1923,
McEwen's Solway Symphony was successfully
produced. Amongst other gifted orch. composers
are Frederic Austin, Hubert Bath, W. H. Bell,
York Bowen, Havergal Brian, Frank Bridge,
Howard Carr, Eric Coates, E. Bristow Farrar,
John Foulds, Balfour Gardiner, Julius Harrison,
James Lyon, Norman O'Neill, Montagu Phillipa,
Roger Quilter, Cyril Rootham, Arthur Somervell,
Joseph Speaight, and others."
Arthur Bliss's Colour Symphony made a sensa-
tion at the Worcester Festival of 1922 (London,
1923) by its daring harmony, polyphony and
orchestration. It is a very virile work, in the Neo-
classical style, and his migration to America
Although the remarkable impetus given to
chamber-music in Britain seems to have tem-
porarily diverted many composers from the
orchestral forms, yet the galaxy of British orches-
tral composers, ranging from Elgar, Delius and
Bantock on the one hand, to Bax and Bliss on
the other, can by no means be said to be lacking
in its contribution to the finest orchestral music
of the world.-E.-II.
BRIUSSOVA, Nadejda Jacevlovna (accent on
the U). Russ. pianist and writer on music; b.
Moscow, 7/19 Nov. 1881. Sister of the poet
Valery Briussof. Pupil of S. I. Tanéief (theory),
and Igumnof (pf.); teacher of theory at People's
Cons. of Music, Moscow (1906-16) and at Shani-
avsky Univ. there (1917-19); now prof. at Mos-
cow Cons. (from 1921) and its pro-rector (from
1922) As theorist, she is a follower of Javorsky.
Member of Russ. Acad. of Art-Sciences and of
State Inst. of Mus. Science. Wrote Musical
Science; Temporal and Extensional Construction
of Form, etc.-V. B.
BROADCASTING. See WIRELESS MUSIC,
BROCKWAY, Howard A. Amer. compr. b.
Brooklyn, N.Y., U.S.A., 22 Nov. 1870. Stud. pf.
(1890-5) under Barth and compn. under Boise in
Berlin. Gave a concert, 23 Feb. 1895, in Berlin,
including pf. pieces of his own compn., a sym-
phony in D mi. op. 12 (played in America by
Boston Symphony Orch., 5 April, 1907) and a
1895-1903, teacher in New York.
1903-10, taught pf. and compn. at Peabody Inst.
Baltimore. From 1910 again in New York; pf.
teacher at David Mannes School. Excellent
workmanship and refined mus. taste mark his
works. He is a member of the National Inst. of
Art and Letters.
vn. sonata.
Vn. sonata, G
mi. op. 9 (Schlesinger,
Cavatina, vn. and small orch. op. 13: Sylvan
1895
Romanze, for vn. and pf. op. 18 (id.
Suite for orch. op. 19 (Schirmer, 1900); The Minstrel's
Curse, ballad for 8 vs. unacc. op. 27 (id. 1902); Sir
Olaf, ballad for mixed
1913); pf. pieces; horus and orch. op. 37 id
vn. pieces (Church); songs
(Church; Novello). With Lorraine Wyman, 2 colls.
of folk-songs; Lonesome Tunes (Gray, 1916); 20
Ken cky Mountain Songs (Ditson, 1920).
Hughes, Contemporary American Composers (pp.
Consult
298-304),-0. K.
BRODER, Annie Glen. British pianist and
writer; b. Agra, India. Trained at National
Training School and R.C.M. London. On com-
pleting her studies, gave considerable attention
to art of accompanying.
Her book How to
Accompany (Robert Cocks) was first textbook
publ. on this subject. Lectured extensively on
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BRODERSEN
this subject; adjudicator at R.A.M. for Santley
Acc. Prize and Heathcote Song Prize. After her
marriage in 1900, left England for Western
Canada where she has accomplished much valu-
able work of a pioneer nature. In addition to her
teaching, she has acted as special correspondent
for the Toronto Globe, Manitoba Free Press and
other papers. Lives at Calgary, Canada.-L. S.
BRODERSEN, Friedrich. Ger. barit. singer;
b. Bad Boll (Würtemberg), 1 Dec. 1873.
Distinguished stage and concert singer. Was in-
tended for an architect, but stud. singing at same
time under Heinrich Bertram (Theodor Bert-
ram's father). In 1903 went to the Stadttheater,
Nuremberg; from there he was engaged by
E. v. Possart in 1903 for Munich Opera House,
to which he is still attached (1907, private
Court singer), and which he has played all
the lyric, dramatic and character parts of a
baritone's repertoire. In songs has distinguished.
himself as interpreter of Strauss and Schubert
(Winterreise). His daughter, Linde Brodersen
(b. Munich, 22 June, 1903), assists him as his
accompanist.-A. E.
BRODSKY, Adolph. Russ. violinist; b.
Taganrog, 21 March, 1851. Stud. Vienna Cons.
1860-6; member of Vienna Court Orch.; 2nd
vn. of famous Hellmesberger (his teacher's)
Quartet; toured in Russia 1870-4; condr. of
Kief Symphony Orch. 1878-80; toured Austria,
Germany, England, 1880-3; appeared in Lon-
don at Richter concerts, 1882, 1883; head-prof.
Leipzig Cons. (where he formed his famous
Brodsky Quartet), 1883-91; toured U.S.A. and
Canada, 1891-4; principal R. Manchester Coll.
of Music since 1895; leader of Hallé Orch. and
temporary condr. after Hallé's death; founded
Brodsky Quartet in Manchester in Oct. 1895. A
powerful master of the vn.; was first to play his
friend Tchaikovsky's vn. concerto. In 1902,
Mus.Doc. h.c. Victoria Univ. Manchester.-E.-H.
BROGI, Renato. Ital. compr. b. Sesto Fioren-
tino, 25 Feb. 1873. Stud. at Florence and
Milan. When 23 he gained the Steiner Prize
of Vienna with a 1-act opera, La prima notte,
perf. successfully in Florence, 1898. He sub-
sequently comp. two other operas: Oblio, and
Isabella Orsini; the latter was perf. in Florence
in 1920 and then in Rome and South America.
Vn. concebums; 2 books of valses.-R. F.
str. 4tet, B mi.; pf. trio, B mi.;
BROMAN, K. Natanael. Swedish pianist and
compr. b. Kolsva, 11 Dec. 1887. Stud. R. Cons.
Stockholm, 1902-12 (pf., compn.), then pf. under
Ignaz Friedman (1912-13), compn. under Carl
Kämpff. Excellent concerto, ensemble and acc.
player.
several
*Symph. poem, Fritiof och Ingeborg (Gothenburg,
1912); ballad, Kung Lif och Drottning Död (Stock-
holm, 1913); sonata, vn. and pf.; Romance, vn. and
pf.; songs; pf. pieces.-P. V.
BRONDI, Maria Rita. Ital. guitar concert-
player; b. Rimini, 5 July, 1889. Gained a special
reputation in Italy and abroad as a guitar-
player on account of the artistic character
with which she invests her perfs., which aim
F
BRUCH
at reviving the old local and national music
and songs. She has also studied the lute..
BRONSART, Hans von. Ger. compr. 5. Berlin.
11 Feb. 1830; d. Munich, 3 Nov. 1913. Pupil
of Dehn in Berlin and Franz Liszt in Weimar;
at first a concert pianist. Dir. of Euterpe
Concerts in Leipzig, 1860-2, and of Concerts
of Soc. of Friends of Music, Berlin, 1865 6;
manager of Court Theatre, Hanover, 1867; gen.
manager in Weimar in 1887. Retired in 1895.
In 1898 at Achensee, Tyrol, but spent his last
years in Munich. He was one of last survivors.
of great "New-German" period in music. Mar
ried in 1862 the pianist and compr. Ingeborg
Starck (1840-1913).
Pt. concerto, F sharp mi. (played by v. Bülow);
pf. trio, G ml. op. 1; Phantasy of Spring, orch.; you
phony with chorus, In den Alpen; dramatic tim
poem, Manfred (Weimar, 1901); str. 6tet; cantata,
Christnacht; works.-A. E.
BROOME, Edward. Brit. orgt. choral conde
compr. b. Manchester in 1868. At an early age
he went to live in N. Wales and received his
early instruction at Bangor. Chorister at Bangor
Cath.; assistant-orgt. there; orgt. of Bangor
Choral Soc. and condr. of Penrhyn Male Chorus
In 1893, visited Chicago and won Eisteddfod
Prize at World's Fair. From there, went to
Canada, and, after living some time in Brock-
ville, went to Montreal, as orgt. at Amer, Ch.
1896,
and condr. of McGill Univ. Glee Club.
went to Toronto to succeed Dr. A. S. Vogt as
orgt. at Jarvis Street Baptist Ch., and in 1898
became condr. of Toronto Oratorio Soc. (see
CHORAL SOCIETIES), which position he now holds.
Has publ. over 70 works, chiefly anthems.
motets, songs, etc. (Novello; Ditson). Has wor
8 National Eisteddford prizes in compn., last
one being £50 prize for best dramatic cantata
awarded at Cardiff in 1900. Holds degree of
Mus.Doc. Trinity (Toronto) University.--L. 8.
BROTHIER, Yvonne. Fr. light opcratic singer;
b. St.-Julien l'Ars (Vienne) 6 June, 1889. Entered
Cons. 1910; 1913, 1st prize (singing), also
1st prize (opéra-comique). Engaged by La
Monnaie Theatre, Brussels, 1914; 1915, went
to Opéra-Comique, Paris; début in Lakmé.
Sang usual repertoire; created rôles in Ping-
Sin (1917), Le Sauteriot (1920), Masques el
Bergamasques (1920). Possesses a voice of even
quality and great purity, sufficiently versatile
for her varied repertoire.-A. R.
BRUCH, Max. German composer; b. Cologne,
6 Jan. 1838; d. Berlin-Friedenau, 2 Oct. 1920.
Pupil of Karl Breidenstein. Mozart Foundation
Scholar, 1853-57, and as such, became the special
pupil of Ferdinand Hiller, Karl Reinecke (til!
1854) and Ferdinand Breunung. After a short
stay in Leipzig, lived as music teacher (1858-61)
in Cologne, where he produced his first dramatic
composition, a musical play by Goethe, Scherz,
List und Rache (op. 1). În 1861 he entered upon
an extended tour for the purpose of study, which
ended in Mannheim (1862-64). Here his opera
Loreley (op. 16) was produced in 1863. The text
was taken from that written by Geibel for Men.
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BRUCH
delssohn. In 1864-5 he was again on his travels.
Musical director in Coblence, 1865-7, Court-con-
ductor at Sondershausen, 1867-70. After 5
years (1873-8) in Bonn, entirely devoted to
composition, with two journeys to England for
the production of his works, he was appointed
director of the Stern Choral Society, Berlin (on
Stockhausen's retirement) in 1878. In 1880 he
succeeded Benedict as director of the Philhar-
monic Society in Liverpool. He married Klara
Tuczek the Berlin singer in 1881 (she died at
Friedenau, end of Aug. 1919). In 1883 he gave
up his position in Liverpool to take over the
directorship of the Orchestral Society in Breslau
(in succession to Bernhard Scholz), remaining
there till the end of 1890. In 1891 he received
the title of Professor, when placed at head of
an academic advanced class in composition at
the Berlin Academy. In 1893, the University.
of Cambridge conferred on him Mus. Doc. h.c.,
and in 1898 he was elected a corresponding
member of the French Academy of Arts. Bruch
was for a long period the President of the Music.
Section of the Senate of the Royal Academy of
Arts, Berlin (since 1913, honorary member), and
member of the board of management of the
Royal High School for Music. In 1908 he re-
ceived the Prussian Order of Merit for Arts and
Sciences. In 1918 he was granted the Th.D.
and Ph.D. (Berlin). In the autumn of 1910,
he retired and settled at Friedenau, near
Berlin.
Die
For mixed chorus and orch.: Schön Ellen, op. 24.
(1867); Odysseus, op. 41 (1872); Arminius, op. 43
(1875) Das Lied von der Glocke, op. 45' (1878);
Achilleus, op. 50 (1885); Das Feuerkreuz, op. 52
(1889); Moses, op. 67, sacred oratorio (1894); Gustav
Adolf, op. 73, secular oratorio (1898); Nal und Dama.
janti, op. 78 (1903); Jubilate, Amen, op. 3;
Birken und die Erlen, op. 8; Die Flucht der heiligen
Familie, op. 20; Rorate Cali, op. 29; Römische
Leichenfeier, op. 34; Kyrie, Sanctus and Agnus Dei,
op. 35, double choir; Lied vom Deutschen Kaiser,
op. 37: Dithyrambe, op. 39, 6-v.; Gruss an die heilige
Nacht, op. 62; Hymne, op. 64; Easter Cantata, op.
81; Die Macht des Gesanges, op. 87; 5-v. choral
songs with organ, op. 69: mixed chorus a cappella
op. 38 and op. 60; The Voice of Mother Earth (with
orch. op. 91); Trauerfeier für Mignon for double
chorus, soli and orch.
For female vs., soli 93.
and orch. Frithjof auf
seines Vaters Grabhügel, op. 27; The Flight into
Egypt and Morgenstunde, op. 31; The Priestess of
Isis, op. 30 (contr. and orch.); Christkindlieder for
female chorus, soli and pf. op. 92; female chorus,
a cappella, op. 6; 3 duets for s. and contr. op. 4
(with pf.).
For male chorus and orch.: Römischer Triumph-
gesang: Das Wessobrunner Gebet; Lied der Städte
and Scotland's Tears, op. 19; Song of the Three Holy
23 choral
work which first made his name known); Salamis,
op. 25; Normannensug, op. 32; Thermopylae, op. 53;
Leonidas, op. 66; Der letzte Abschied des Volkes,
op. 76; and the choral songs, op. 19 (a cappella),
op. 48 (id.), op. 68 (with orch.), op. 72 (a cappella),
op. 74.
Songs with Scotch Songs; Hebrew Mel
op. 7, 13, 15, 17, 18, 33, 49, 54, 59, 90.
instr. works: Vn. concertos P. W. Siegel,
26,
dedicated to Joseph Joachim (C.
Leipzig, his most celebrated work), op. 44 and 58
(both in D mi.); Konzertstück, vn. with orch. op. 84;
Romance, vn. op. 42,, A mi.; Scottish
op. 46; Adagio appassionato, op. 57; In antasy,
(Adagio, op. 65); Serenade, op. 75, all with orch.;
Swedish Dances, op. 63; Swedish and Russian Songs
For cello and orch.: Kol Nidrei (Hebrew melody),
op. 47; Canzone, op. 55; Adagio on Celtic Melodies,
66
BRUCKNER
op. 50; Ave Maria, op. 61; and for cello and pt.,
4 pieces, op. 70.
F
Symph. works: 3 symphonies: op. 28, E flat, op.
36 Chamber-music: 2 str. 4tets, op. 9, C mi. and
51, Em
op. 10, E: trio, op. 5, C mi.; for pf. op. 2, 11, 12, 14,
Operas: Schers, List und Rache, op. 1
E.
1858); Hermione, op. 40 (Berlin, 1872), Cologne,
BRUCKEN-FOCK, Gerard von. Dutch compr.
and painter; b. Middelburg (Zeeland), 28 Dec.
1859. Stud. music in Utrecht under Richard
Hol and in Berlin under W. Bargiel.
Oratorio, Christ's Return; a grand symphony;
numerous songs and pf. pieces.-W. P.
BRUCKNER, Anton. Austrian composer; b.
Ansfelden (Upper Austria), 4 Sept. 1824; d.
Vienna, 11 Oct. 1896. One of the most important.
Austrian composers; came of a family of village
schoolmasters. The deepest impressions, for
his future evolution, can be traced back to his
childhood, when he received decisive impulses
from the church-music which still cultivated
the traditions of the baroque and classical
periods. As a boy of 10, he played the organ in
public, and the influence of this instrument may
be seen in nearly everything he wrote, particu
larly in scoring. After his father's death in 1837,
he came to St. Florian monastery as choir-boy.
There he learned the violin and piano. From
1837 to 1840 he studied at Linz for teaching, and
took his first appointment in 1841 at Windhag,
and 1843 at Kronsdorf, where he received his
first harmony lessons. In 1845 he returned as
teacher and assistant-organist to St. Florian,
where a very famous organ deepened his know.
ledge of playing. Although in 1853 he went to
Vienna to be examined on the organ, extem-
porising a double fugue to Simon Sechter (the
famous counterpoint teacher), he had not then
decided to follow music. But in 1855 he became
organist at Linz, where he played until 1868.
Although he had already attained a masterly
theoretical technique, he took counterpoint
lessons from Sechter in Vienna during his holi-
days, for five years. At the examination, one of
the examiners, Herbeck, spoke the famous words,
"He should have examined us." In 1861-3,
Bruckner studied formal analysis and instru-
mentation under Otto Kitzler at Linz, and wrote
his 1st symphony, in F minor (unpublished).
At this time, he heard Tannhäuser at Linz and
studied the score; his admiration for Wagner,
and the influence of Wagner's instrumentation
on him, then began. In 1865-6 he composed his
2nd symphony, in C minor (publ. as first
symphony; first performance, Linz, 1868).
After Sechter's death in 1867, Bruckner was
nominated organist at the Court Chapel, pro-
fessor at Vienna Conservatoire, lector for
theory at the University in 1875, a Doctor (h.c.)
of the University in 1891. He composed the
greater part of his works in Vienna.
The
symphonies, 3rd (dedicated to Wagner), 4th
(Romantic), 7th (with so-called Funeral Music
to Wagner's memory) and the unfinished 9th
(his Te Deum for mixed choir is usually per
formed as Finale) are the most famous. Of his
church music, his Masses in E minor and F
minor are the best-known.
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BRUGNOLI
As a symphonic composer, Bruckner continues
the line of the Austrian classical period. One can
sce very plainly a continuation from Schubert.
The proportions of the movements are greater
than usual; the instrumentation is richer. In the
Adagios of the 7th, 8th, and 9th symphonies
he uses the 4 Wagner-tubas.
His first move-
ments represent a heroic feeling of struggle, in
the manner of Beethoven. The Scherzi are often
in the style of peasant-dances. Bruckner gives
his best in the Adagios, especially those of 4th,
7th and 8th symphonies, where there is a deeply
religious feeling and a beautiful body of tone.
(See AUSTRIAN ORCHESTRAL MUSIC; CHORALE
SYMPHONIE; GERMAN ORCHESTRAL MUSIC.)
Bruckner was very late in obtaining a name
as a composer and his works have been ignored
by the greater public, on account of the ani-
mosity of his followers towards those of Brahms.
Musical life in Vienna at the end of the XIX
century was divided by the open conflict of the
Brucknerianer and Brahmsianer, and even now
this divergence continues. Nikisch, and Hermann
Levi, made Bruckner's name known in Germany.
In Vienna it was the sustained work of Ferdinand
Löwe and Franz Schalk, who edited and revised
the scores and made piano arrangements, which
rendered him famous.
9 symphonies; str. 5tet in F; 3 masses; Te Deum ;
Psalm CL several vocal compus. (Univ. Ed.). Biog
raphies: R. Louis, A. B. (1905); Franz Graflinger
(1911); consult also A. Halm, Die Symphonien A. Bs.
(1914).-EG. W.
BRUGNOLI, Attilio. Ital. pianist and compr.
b. Rome, 7 Sept. 1880. Was pupil at Naples
Cons. (under Rossomandi for pf. and Serrao
for compn.). After having gained high reputa-
tion as concert-player, entered in 1906 the
Parma Cons. as teacher, whence he went in
1920 to the R. Music Inst. Florence. Has
comp. several works specially for his own instr.;
also occupies himself with writing didactic
propaganda in the principal reviews.-D. A.
BRÜLL, Ignaz. Moravian compr. b. Pross-
nitz, 7 Nov. 1846; d. Vienna, 17 Sept. 1907.
Pupil of Julius Epstein (pf.) and Johann Rufi-
natscha and Otto Dessoff (compn.); was concert
pianist till quite old age. 1872-8, pf. teacher
at Horak's Pf. School, Vienna; 1881, co-dir. of
same. He belonged to Viennese Brahms circle;
cultivated as pf.-compr. a pleasing late-romantic
style, and as opera-compr. paid special attention
to Spieloper.
Overture to Macbeth, op. 46: overtures, In the
Forest and Overture Pathétique, op. 98; 3 orch.
serenades, op. 29; symphony E mi. op. 31; vn. con-
orch,
op. 88; chamber-music and several pieces for
Beggar of Samarkand
The Golden Cross
work); Der Landfriede (1877); Bianca (1879); Queen
Glory
Stone Heart (1885);
cally operas: The this most successful
Numerous and some pf.
Overture to a Rococo Play for small orch.A. Peces;
BRUNEAU, Louis Charles Bonaventure Alfred.
Fr. compr. b. Paris, 1 March, 1857. Stud. cello
and compn. (under Massenet) at Paris Cons. which
he left in 1881 after having obtained 2nd Grand
Prix for compn. He has written a few symph.
works, among which the best-known are tone-
poem, La Belle au Bois Dormant (1884) and
Penthésilée for v. and orch. (1888); songs, and a
Requiem (1889). But it is almost solely as a
writer of dramatic music that he has made his
mark. His first important score, Le Rêve (whose
libretto was written by Louis Gallet after
Zola's novel) was produced at Opéra-Comique
in June, 1891. It is a work of striking originality
and power, which has exercised a great influence
upon the development of the modern Fr. school.
From that time on he worked in increasingly
close co-operation with Zola. Louis Gallet wrote
the libretto of L'Attaque du Moulin (1893) after
Zola's story, but Zola himself was responsible
for poems of L'Ouragan (1901), L'Enfant Roi
(1905) and of the unpubl. Lazare (1905). After
Zola's death, Bruneau himself adapted La Faute
de l'abbé Mouret (1907) and Nais Micoulin (1907)
for the stage. Another work on a poem by Zola,
Les Quatre Journées, remains unpubl. Critics of
his works are unanimous in praising Le Rêve, but
there is no such agreement.
regards his later
works. He has many enthusiastic admirers
(such as Arthur Hervey in England), but in
some quarters there is a tendency to consider
his technique rather crude. His uncompro-
mising genuineness, however, has never been
questioned. He has acted as mus. critic to Le
Figaro and since 1904 writes in Le Matin. 3
BRUMAGNE, Fernand. Belgian compr. b.
Namur, 11 Nov. 1887. Pupil of Léon Du Bois
at Brussels Cons., and of d'Indy (Schola Can-
torum, Paris); wrote L'Invasion, lyric drama
67
BRUNEAU
(Brussels, 1919); Judith of Bethulia, ballet;
Le Miracle de Saint-Antoine, miracle-play.-E. C.
BRUN, Fritz. Swiss condr. and compr. b.
Lucerne, 18 Aug. 1878. Stud. at Cologne Cons.
(1896-1901) and after being teacher at Dort-
mund Cons. for pf. and theory, became condr. of
Symphony Concerts at Berne, where he has been
dir. of the Cäcilienverein (mixed choir) and the
Liedertafel (male choir) since 1907. His compns.
although influenced by Brahms, show a very per-
sonal style and, particularly in the slow move-
ments of his symphonies, he attains the highest
degree of expression. In 1921, the Univ. of
Berne gave him the Doctorate, h.c.
se 11883) Checkmate (1893) The Hussar (
ballet, A Tale of the Champagne (1896).
Consult Hermine Schwarz, Ignaz Brüll and his
Circle (Vienna, 1922).-A. E.
3 symphonies (2nd in B. publ. in Swiss National
Ed.); symph. poem, Aus dem Buche Hiob (From the
Book of Job); vn. sonata; numerous songs (Zurich,
Hüni).-F. H.
BRUNCK, Constantin. Ger. compr. b. Nurem-
berg, 30 May, 1884. Pupil of Municipal School
of Music, Nuremberg; 1904 of Humperdinck and
Rüfer, Berlin; dir. of German Male Choral Soc.,
Milan; chorus-master in Nuremberg since 1911,
as well as critic to the Fränkischen Post. As
writer, he occupied himself largely with social
questions affecting the profession. The Soc. for
the Publ. of Composers' own Works-the Meister-
singerverlag in Nuremberg-is a result of his en-
deavours, and has been under his direction
since 1920.
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BRUNOLD
vols, of essays by him have appeared: Musiques
d'hier et de demain (1900); La Musique française
(1901); Musiques de Russie et Musiciens de
France (1903).
Consult: Bibliography in Octave Séré (q.v.);
Arthur Hervey, A. B. (London, J. Lane); Julien
Tiersot, Un Demi-siècle de musique française (Paris,
1918, Alcan).-M. D. C.
BRUNOLD, Paul. Fr. pianist; b. Paris, 14 Oct.
1875. Pupil of Raoul Pugno and of Xavier
Leroux at Cons. Paris; later, of Marmontel and
Paderewski. He specialises in ancient music,
which he plays on a harpsichord of xvIII century.
Publ. (in collab. with Henry Expert) anthology
of Maitres françaises du clavecin des XVIIe et
XVIIIe siècles (Senart). Is titular orgt. of
Grand Organ, St.-Gervais, the instr. of the
Couperins.-F. R.
BRUSSELMANS, Michel. Belgian compr. b.
Paris (Belgian parentage), 12 Feb. 1886. Stud.
at Brussels Cons. under Paul Gilson. Prize
from the Morgendstar in 1910 (for song) and at
the Concours de Rome in 1911. In 1914, obtained
Agniez Prize for symph. poem. Became prof.
of harmony and compn. Since 1922, has been
editing the Jamin publications in Paris. Public
attention was drawn to B. mainly after perf.
at Ysaye Concerts in Brussels (1913) of his
Kermesse flamande, a set of symphonic pictures.
These are quite original and decidedly modern
in tone, and depict the visions of Breughel
the Elder. His music, although extraordinarily
independent in style, yet shows a purely Flemish
temperament. His sure instinct, however, leads
him to seek inspiration outside the frontiers
of his country, thus widening and refining it.
Rapsodie, on a popular air (Antwerp, 1911); Ouver
ture fériale (Brussels, 1912); Kermesse flamande (1913):
Hélène de Sparte, symph. poem on Emile Verhaeren's
tragedy (Brussels, 1915); Les Néréides, tone-picture,
vn. harp and orch. (1915); pf. and vn. sonata, B mi.
(1915, Senart); sonata, cello and pf. (1916, id.);
numerous songs and organ pieces.-C. V. B.
BRUSSELS, THÉATRE DE LA MONNAIE
(Royal Opera-House). Goes back to 1700; has
won a position of first rank in world, especially
under the brilliant management of Dupont and
Lapissida, and of Kufferath and Guidé (1900-14).
At La Monnaie were produced works, celebrated,
or at least of undeniable merit, with which Paris
would at first have nothing to do: Hérodiade,
Massenet (1881); Sigurd, Reyer (1884); Gwendo-
line, Chabrier (1886); Salammbó, Reyer (1889);
Fervaal, d'Indy (1897); Le Roi Arthus, Chausson.
(1903); L'Etranger, d'Indy (1903); Eros Vain-
queur, de Bréville (1910); Le Chant de la Cloche,
d'Indy (1912). It welcomed the Wagnerian
repertory at a period when it was still the sub-
ject of much debate (see Evenepoel, Wagnerism
outside Germany [1891]).-C. V. B.
BRUSSELS
CONSERVATOIRE MUSEUM.
See MAHILLON, VICTOR CHARLES.
BRYSON, (Robert) Ernest.
Scottish compr.
b. Glasgow, 30 March, 1867. His music is modern
in texture and finished in style.
Opera, The Leper's Flute (on Ian Colvin's play
symphony in a Carnegie award); Voices, orch.
study (Goodwin); Vaila, fantasia for str. (id.); str.
4tet in E (1923).-E.-H.
BUFALETTI
BRZEZIŃSKI, Franciszek (phon. Bjezinski).
Polish compr. b. Warsaw, 6 Nov. 1867. Stud.
under Kleczynski, then under Krehl, Max Reger
and Richard Hoffmann at Leipzig. His char-
acteristic trait is the polyphonic cast of his
ideas. Cultivates particularly the writing of
fugues, which are found in nearly all his works.
Was music critic of Kurjer Warszawski at War-
saw. Polish Consul, Breslau, 1922.
Pf. concerto, G mi. (played by Ignacy Friedman);
vn. concerto; Polish Suite, pf. op. 4; Introduction
and Polermezzo and Krakowiak: Triptych, op. 5:
Oberek
in of fugue;
Le Doute, prelude and fugue; Noël en Pologne, prelude
and fugue; Devant le Sphinx, prelude
and
op. centena
(awarded prize a petition of i
1910, Lemberg);
J.
BÜCHER, Karl. Ger. political economist; b.
Kirberg, near Wiesbaden, 16 Feb. 1847. Prof.
of political economy, Leipzig, since 1892; retired
1916. His work Arbeit und Rhythmus (1896, 5th
ed. Leipzig, 1919, E. Reinecke) entitles him to a
notice in this work, since it maintains the origin of
music to lie in the rhythmically ordered singing
of labourers at work.-A. E.
BUCHMAYER, Richard. Ger. pianist; b.
Zittau, 19 April, 1857. Pupil at Dresden Cons.;
after 4 years in Russia, teacher at Cons. Dresden
(to 1890); teacher Dresden School of Music,
1892; no official post at present. Prof. 1917.
Not only is he a specialist in interpretation of
older clavier music, but also an excellent investi-
gator of music of this branch, which owes to
him some discoveries of the greatest import-
ance (Christian Ritter, Georg Böhm, one of
whose cantatas he publ.). He is opposed to
Wanda Landowska on question of the Cembalo
versus Pianoforte.-A. E.
BUCK, Percy Carter. Eng. mus. educationist;
b. West Ham, Essex, 1871. Stud. at Guildhall
School of Music under Dr. C. J. Frost and F.
Davenport; later at R.C.M. (scholar) under Sir
Hubert Parry, Sir Walter Parratt, and Dr. C. H.
Lloyd; Mus. Doc. Oxon. 1899; orgt. Worcester
Coll. Oxford, 1891-5; Wells Cath. 1895-9;
Bristol Cath. 1900-1; mus. dir. of Harrow
School from 1901; prof. of music, Trinity Coll.
Dublin (succeeding Ebenezer Prout), 1910-20;
first Cramb lecturer, Glasgow Univ. 1923.
3 organ sonatas (Breitkopf); several choral works.
and school songs; 2 organ manuals (Stainer & Bell);
Unfigured Harmony (Clarendon Press, Oxford, 1911);
Acoustics for Musicians (ib. 1918).-E.-H.
BUCKLEY, John. British barit. singer; b.
Ewloe, Flintshire, Wales, 14 Dec. 1888. Stud. at
Guildhall School of Music, London; at London
School of Opera; repertoire under Sir Henry
Wood and Victor Beigel; lieder under Mme. M.
Rosenberg. He has a fine legato style as well as
great dramatic powers of interpretation.-E.-H.
BUFALETTI, Federico. Ital. pianist; b.
Naples, 1 March, 1866. Gained much fame by
his concerts in Italy, Spain, France, Greece,
Turkey, etc. Having settled in Turin as prof.
of pf. at Acad. of Music, he conducted an
important series of symphony concerts and
founded a mus. soc. which has given many
memorable perfs. Has written many compns.
for his own instrument.-D. A.
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BUFFIN
BUFFIN, Victor (Baron). Compr. b. Chercq,
near Tournai, 19 July, 1867. Stud. compn. at
first with De Boeck, but gave up his mus. work
to become a soldier. He worked his way through
all ranks until he became a general, in command
of a cavalry division, a post he holds to-day.
After an interruption of ten years, he resumed
his mus. career under H. Waclput (harmony,
cpt., fugue); then became pupil of J. Jongen.
Eugène Ysaye first made his works known, and
Kufferath and Guidé (managers of La Monnaie)
urged him towards opera. His style is of the
Fr. school, but his modernism is temperate.
Kaatje (Brussels,
(1906); Lovelace, symph, poem (1911); Les Villages
de la Côte (on a work of Verhaeren), 1921; Poème,
vn. and orch. (1922); sonata, vn. and pf. (1908);
Poème, vn. and pf. (1912); songs.-E. C.
BUHLIG, Richard. Amer. pianist; b. Chicago,
21 Dec. 1880. Stud. in native city, and from 1897-
1900 under Leschetizky in Vienna. Thereafter
(1901) teacher in Berlin and extended tours in
Europe and U.S.A. (Amer. début 5 Nov. 1907,
with Philadelphia Symphony Orch.). From 1918-
20, teacher at Inst. of Mus. Art, New York.-J. M.
BÜLOW
Edvard Grieg and Björnstjerne Björnson spoke.
In 1901 there was unveiled in Bergen a statue
of B., designed by Stephan Sinding.
His best-known compn. is the song Paa solen
jeg ser (Upon the Sun 1 gaze).-R. M.
BULLOCK, Ernest.
BULL, Ole Bornemann. Norwegian violinist;
b. Bergen 5 Feb. 1810; d. there, 17 Aug. 1880.
Attended Christiania Univ. but abandoned his
studies and devoted himself to the vn., in which
his teachers were a Danish chamber-musician,
Paulsen, and a Swedish violinist, Lundholm
(pupil of Baillot). Became at 19 condr. at theatre
in the capital; but went same year to Cassel
to study under Spohr. Broke off his studies
there, as Spohr's Ger. method did not please
his taste. Went in 1831 to Paris, where he was
strongly affected by Paganini's style, and in
following year gave his first concert with the
assistance of Chopin, Ernst and other celebrities.
After concerts in Italy, which aroused much
attention, he again in 1835 gave a concert in
Paris, this time in the great Opera House. From
then onwards he was one of the world's famous
artists. After that, he made constant tours.
through England, France, Germany, Russia,
Sweden, everywhere hailed with enthusiasm as
Paganini's equal and loaded with distinctions
from royal courts, from mus. societies and from
the great celebrities of music. Went in 1843 to
America, where he reaped still greater triumphs
than he had ever gained in Europe and earned
huge sums. With greater part of this money,
B. founded in 1852 a Norwegian settlement in
Pennsylvania and called it Öleana. There he
wished to offer Norwegian emigrants good and
free conditions of life under the "Stars and
Stripes." Oleana turned out a disappointment.
for B., there were swindlers at wo and B.
lost the whole of his fortune. In Pennsylvania
a fund is now being raised for a monument to
the great virtuoso.
America became B.'s second fatherland. Here
he married in 1872 his second wife, Sarah Torp,
daughter of Senator Torp of Madison, his first
wife, Alexandrine Félicité Villeminot, of Paris,
having died in 1862. His death occasioned
universal grief in Norway. At his graveside
Eng. orgt. compr. b.
Wigan, 15 Sept. 1890; trained under Dr. E. C.
Bairstow at Leeds Parish Ch.; orgt. St. Michael's,
Tenbury, for a short time in 1919; appointed,
in Dec. of that year, to Exeter Cath. Mus.Doc.
Dunelm. 1914. His compns. have solidity and
dignity, sound workmanship and poetic feeling.
Organ music (Augener); church music (Novello;
Stainer & Bell; Oxford Univ. Press); songs (Ash-
down; Curwen; Cramer; Enoch); school songs
(Oxford Univ. Press).-E.-H.
BÜLOW, Hans Guido, Freiherr von. German
pianist and conductor; b. Dresden, 8 Jan.
1830; d. Cairo, 12 Feb. 1894. Son of the
author, Eduard v. Bülow. Learnt piano under
Fr. Wieck in 1839; harmony from Max Eber-
wein, Dresden. From 1836 to 1846 the family
lived in Stuttgart, where Bülow already played
in public. In 1848 he studied law at Leipzig
and also counterpoint under Moritz Hauptmann.
He went to Berlin in 1849, where he became
an advocate of Wagner's ideals. A perfor-
mance of Lohengrin at Weimar in 1850 finally
determined him to devote himself entirely to
music, and in spite of his parents' opposition, he
hurried to Wagner at Zurich, under whom he
learnt conducting. After making his first
attempts at conducting in Zurich and St. Gallen,
he visited Liszt in Weimar, from whom he re-
ceived the final inspiration for his piano playing,
which had already attained a high degree of
masterly achievement. In 1853 he undertook his
first concert tour through Germany and Austria.
A second tour was undertaken in 1855, ter-
minating with his appointment as principal
pianoforte teacher at Stern's Conservatorium
(in Th. Kullak's place). In 1857 he married
Liszt's daughter Cosima (b. 1837). He was
appointed Court pianist in 1858, and was
granted the degree of Ph.D. h.c. by the Jena
University in 1863. Conducted the concerts
of the "Friends of Music" in Berlin for a time.
In 1864 he received a call to Munich from R.
Wagner as Court pianist at first, but later as
Court Orchestra conductor, and director of the
Royal Music School in course of reconstruction,
after he had spent some time in Basle giving
concerts and teaching. After his divorce from
his wife, who followed Wagner to Triebschen,
he settled in Florence, where he influenced
the dissemination of German music in Italy
by organising regular concerts and perfor
mances of chamber music. In 1872 he again.
changed his place of residence (1875-6 in
America). Conductor of the Hanover Court.
Theatre from 1877 to 3 Nov. 1879 (pro-
visionally appointed at first; definitely 1 July,
1878). From 1880 to 1885 he was musical
director to the Duke of Saxe-Meiningen and
soon raised the Court Orchestra to a first-rank
model orchestra, with which he undertook a
series of concert tours through Germany.
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BULTHAUPT
He was next engaged in conducting the Phil.
harmonic Concerts in Petrograd, Berlin, etc.,
and gave a month's tuition at the Raff Con-
servatorium, Frankfort-o-M., in the summer
of each year. In July 1882, he married his
second wife, Marie Schanzer, the Saxe-Meinin-
gen Court actress. From 1887 he settled in
Hamburg, where he had been conducting since
1886 the Abonnement Konzerte, a new concert.
institution, founded by Hermann Wolff. Bülow is
the prototype of the modern interpreter, both as
conductor and pianist. His alliance with Wagner
was dissolved later by a close intimacy with
Brahms, which was not quite unclouded.
Pf. works; songs and orch. pieces; music to
Julius Nirvana, characteristic piece puch
Mazurka vana, op. 13 for pf. The editions
op. 23,
op. 16;
of classical works ed. by him have a certain educa-
tional value, though this is
disputed
(Beethoven's Pr. Works, from one on: Studies from
Cramer and Chopin). The edition of his letters and
writings in 8 vols. may be considered as the best
source for biographical information (1895-1908,
Breitkopf).-A. E.
BULTHAUPT, Heinrich. German writer on
music; b. Bremen, 26 Oct. 1849; d. Bremen,
21 Aug. 1905. Has written a whole series of
oratorio and opera-texts for Bruch (Achilleus),
E. d'Albert (Cain) and others. Best known by
his Dramaturgie der Oper (1887, 2 vols.).-A. E.
BUNGERT, August. Ger. compr. b. Mühl-
heim-o-Ruhr, 14 March, 1846; d. Leutesdorf-o-
Rhine, 26 Oct. 1915. Pupil of F. Kufferath,
Mühlheim; 1860-2 at Cologne Cons.; Paris till
1868; condr. Kreuznach, 1869; then resided
Carlsruhe, Berlin, 1873-81 (stud. under Kiel);
mostly at Pegli, Riviera, from 1882. Later
Berlin and Leutesdorf; prof. 1911. He attempted
a cycle of Homeric operas on the lines of
Wagner's Ring, a hopeless task. In 1911 a
Bungert Union was founded to disseminate his
works. Consult Max Chop's A. B. (1916).
Comic opera, Die Studenten von Salamanka (Leip
zig, 1884); music-drama tetralogy, Homerische Welt
(Kirke (Circe), 1898; Nausikaa, 1901: Odysseus'
Heimkehr, 1896: Odysseus' Tod, 1903); mystery-play,
Warum? Woher? Wohin? (1908); orch. works;
songs (many with words by Carmen Sylva, Queen
of Rumania).-A. E.
BUNNING, Herbert. Eng. compr. condr. b.
London, 1863. On leaving Oxford, was for 2
years a subaltern in 4th Hussars; started mus.
study 1886 (Hanover and Milan); as mus. dir. at
Lyric Theatre 1892-3, he produced Albeniz's
Magic Opal, and Goring Thomas's Golden Web;
condr. Prince of Wales's Theatre, 1894-6.
Opera, La Princesse Osra (Covent Garden, July
1902); S
; Sir Launcelot and Queen Guinevere, t. scena,
Norwich Fest, 1905; incidental music to Robin
Hood, 1906.-E.-H.
BURBURE DE WESEMBEEK (le Chevalier
Léon Philippe Marie de). Belgian compr. music
logist; b. Termonde, 16 Aug. 1812; d. Antwerp,
8 Dec. 1889. LL.D. Ghent Univ. 1832. Lived
at Termonde, later at Antwerp. During first
part of his life comp. many mus. works which
he left to Antwerp public library. Then took
up research in gen. history of art, particu-
larly music. Member of R. Acad. of Belgium,
1862. With the exception of his article on Jan
van Ockeghem, zijne geboorteplaats en zijn verblijf
70
BURNETT
in Antwerpen (Antwerp, 1856, and Termonde,
1868), his publications have all appeared in the
Bulletins de l'Académie de Belgique.
Summary of Ancient Societies of Instrumentalists at
Antwerp (1862); Notes on Harpsichord and Stringed-
makers in
Virtuosi of Antwerp Episode in Musical Customs of
XVI Century (1880); Charles Luython, Composer to
Imperial Court 1550-1620: his Life and Works
(1880); Study of a XVI Century MS. (songs for 3.
and 4 vs., etc.), 1882.-C. V. B.
BURIAN, Karel. Czechoslovak singer, heroic
t. b. Rousinov, 1870. Stud. at Wallerstein,
Prague. Début National Theatre, Brno (Brünn),
1891. After long engagement in Dresden, sang in
chief musical centres of world, chiefly Wagnerian
rôles. Sang Parsifal at Bayreuth.-V. ST.
BURLEIGH, Cecil. Amer. violinist; b. Wyo-
ming, N.Y., U.S.A., 17 April, 1885. Stud. vn. in
Berlin under Gruenberg and Witek, theory under
Leichtentritt. Continued vn. at Chicago Mus.
Coll. under Sauret and Hugo Heermann, compn.
under Borowski. 1907-9, gave concerts in the
U.S.A. and Canada. 1909-19, vn. instructor in
various Western colleges; 1919-21, lived in
New York. Since 1921, head of vn. department
of the Univ. of Wisconsin. Comp. more than 110
pieces for vn. and pf., some 40 songs and 20 pf.
pieces (Fischer; Schirmer; Ditson).-0. K.
BURLEIGH, Harry Thacker. Amer. negro
spiritual and art-song singer, compr. b. Erie, Pa.,
U.S.A., 2 Dec. 1866. His maternal grandfather
was a slave. B. was the first native Ameri-
can negro to win recognition as a compr. After
working as stenographer for a few years, B.
went to New York in 1892, and through the
interest of Mrs. MacDowell (mother of the
compr.) obtained scholarship in National Cons.
of Music, then under dir. of Dvořák, who never
tired of hearing him sing the old plantation songs
of his boyhood. Appointed principal barit. of
St. George's Episcopal Church, New York. He
sang for many years at concerts and at home,
and only took up compn. about 10 years ago.
Over 100 songs, of which best are: Five Songs of
Laurence Hope, The Grey Wolf (Arthur Symons), The
Young Warrior, and Passionale. Among the best
Swing Low, Go down
are Deep River (fe-Taylor's favour-
ite),
My Lord, what a
morning (publ. by Ricordi). See art. on NEGRO
SPIRITUALS.-E.-H.
BURLIN, Natalie Curtis. See CURTIS, NATALIE.
BURMESTER, Willy. Ger. vn.-virtuoso;
b. Hamburg, 16 March, 1869. Pupil R. High
School, Berlin (Joachim); professional tours
since 1886; Konzertmeister in Sondershausen,
1890; lives in Berlin. Arranger of small virtuoso
pieces. Composed Serenade for str. 4tet,
D ma.-A. E.
BURNETT,
Scottish barit. singer; b.
Lasswade, Midlothian, 1875. Received his early
mus. training as chorister in Duke of Buccleuch's
private chapel at Dalkeith. It was with great
diffidence, and only after long and careful con-
sideration, that he resolved to enter the mus.
profession. His first teacher endeavoured to
make him a t., but as his voice matured, there
could be no doubt of its barit. calibre. Stud. first
under Signor Ricei of Edinburgh; afterwards
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BURROWS
under Randegger, and Sir Henry J. Wood in
London. Began his vocal career as member of
a once-famous Edinburgh male-v. quartet, "The
Harmonists." His first real step into popular
favour was on a certain New Year's Day, when
the barit. engaged to sing in the Edinburgh R.
Choral Union annual perf. of Messiah was de-
tained by a railway breakdown occasioned by a
snowstorm, and failed to appear. B. stepped out
of the chorus, and sang the solos with tremendous
success. He thus became famous in a day, and
has since appeared as soloist with nearly every
choral soc. of note in Great Britain, and also sung
at London Symphony, Queen's Hall, Hallé,
Liverpool Philh., London Ballad, and Scottish
Orch. Concerts. He is a great protagonist of
Scottish folk-song, and (with David Stephen,
principal of Dumfermline Carnegie School of
Music) has ed. several valuable colls. of such
(Glasgow, Paterson Sons).-W. S.
BURROWS, Benjamin. Eng. orgt. and compr.
b. Leicester. Stud. under Dr. C. H. Kitson; Mus.
Doc. London, 1921. His pf. works are written in
a very graceful, poetic style (Augener).-E.-II.
BURSA, Stanisław (phon. Boorsah). Polish
compr. and choral condr. b. Obertyn, Galicia,
22 Aug. 1865. Publ. some hundreds of choral
compns. adapted by himself and some orig.
solo songs. Music critic and organiser of Pro-
fessional Syndicate of Musicians and Music-
teachers (Polski związek muzyczno-pedagogiczny)
at Cracow.-ZD. J.
BURZIO, Eugenia. Ital. dramatic s. singer;
b. Turin, 20 June, 1872; d. Milan, 1922. Won a
high reputation by means of her forceful
temperament. Sang in principal European and
Amer. opera houses (Massenet's Navarraise;
Gioconda; Cavalleria; The Girl of the Golden
West; Pacini's Saffo; Alfano's Resurrezione.
-D. A.
BUSCH, Adolf. Ger. violinist and compr.
b. Siegen, Westphalia, 8 Aug. 1891. Brother of
Fritz; taught vn. by his father, by Anders,
Duisburg, and Bram Eldering, Cologne; pupil
Cologne Cons. and of Hugo Grüters (compn.)
in Bonn. After extensive tours, succeeded
Marteau at High School of Music, Berlin,
1918-20; formed str. quartet, 1919, with Karl
Reitz, Emil Bohnke and Paul Grümmer (now G.
Andreasson, Karl Doktor, P. Grümmer).
Sonata for vn. and 1 for cello-solo; Prelude and
fugue for vns. and cello; Variations on theme of his
for pf.; Variations on theme of Schubert for
Simrock); vn. sonata, G ma. op. 21 (Breitkopf);
vn.
(Simrock): songs with pt.; Fantasie for organ,
op. 19 (Breitkopf); Konzertstück, vn. and orch.;
concerto, A mi. op. 20 (id.); pf. trio, A mi.; Variations
on Mozart theme for small orch.; Variations on
Radetzky March for orch.; overture to King
in D
Grabgesang. Also ed. new series Bach's sonatas
and scores for vn. (1919).-A. E.
BUSCH, Fritz. Ger. condr. b. Siegen, West-
phalia, 13 March, 1890. Eldest son of Wilhelm
Busch, vn. maker. Pupil Leipzig Cons. (Stein-
bach, Böttcher, Uzielli, Klauwell); condr.
Riga, 1909; chorus-master, Mus. Soc. Gotha,
BUSONI
1911-12, and Court-condr. and dir. of Kurhaus
concerts in summer (1910-12) at Bad Pyrmont;
mus. dir. Aix-la-Chapelle, 1912; 1918, followed
Max Schillings as chief condr. Stuttgart; dir.
Opera House, 1919; dir. Dresden (following
Reiner). Also made name as pianist.-A.
BUSONI, Ferruccio Benvenuto. Ital. compr.
and pianist; b. Empoli, near Florence, 1 April,
1866. His early musical training was due to his
father, Ferdinando Busoni, a well-known clarinet
virtuoso, and to his mother, Anna Weiss-Busoni,
an accomplished pianist of German descent. His
early years were spent chiefly in Trieste. At 9 he
was introduced to the musical world by a concert
in Vienna. Not only by his piano-playing, but
also by his compositions and his gift of impro-
visation, he excited the admiration of the severe.
critic, Eduard Hanslick, who wrote enthusias
tically about him. A few years later, he studied
composition with Wilhelm Meyer-Remy at Graz;
but in piano-playing he was never taught by an
acknowledged master. As a youth of 15 he made
a successful concert-tour in Italy, was honoured
by admission as member (the youngest one since
Mozart) of the Bolognese Philharmonic Academy
and had his most ambitious work (a long can-
tata for solo voices and orchestra, Il Sabato del
Villaggio, to Leopardi's poem) performed in
Bologna. The next years were spent in Vienna.
and Leipzig. In 1889 he was appointed professor
at the Helsingfors Conservatoire. The close con-
tact with the northern art of Scandinavia, Fin-
land, and Russia had an important effect on
the development of his art. In 1890 he won the
Rubinstein Prize in Petrograd for his Konzert-
stück for piano and orchestra, op. 31a. The
years 1891-4 he spent in America, giving con-
certs and teaching for some time at the New
England Conservatory in Boston. From 1894
to 1914 he resided in Berlin. In these years
his international celebrity was founded by his
concerts in almost all European countries.
1901-2 he held summer-courses for advanced
pianists in Weimar, thus continuing in a certain
manner the work of Liszt. For many years he
conducted orchestral concerts in Berlin devoted
exclusively to new and rarely heard works.
In 1911 he gave 6 Liszt recitals (Liszt's birth-
centenary) which marked an epoch in the
growth of pianistic art. In 1910-11 he was in
America; in 1913 he gave a series of historical
concerts in Italy and was appointed director of
the Liceo Musicale in Bologna. This position he
resigned a year later. After the outbreak of war
in 1914 he left Berlin for America in 1915, and
could not return to Germany after Italyhad entered
into the war. 1915-19 he spent in Switzerland,
living in Zurich in a sort of self-chosen exile,
and manifesting his independent, international,
neutral position by refraining from all concerts
in the countries engaged in the war. In 1920 he
returned to Berlin, where he is residing at
present. The Berlin Academy of Arts put him in
charge of a Meisterklasse for composition. The
pianist Busoni is universally acknowledged to
have the most powerful individuality and the
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BUSONI
greatest technical mastery since Liszt and Rubin-
stein, a technical mastery never displayed for its
own sake, but made subservient to a most
powerful intellect, and a cultured mind. There
is an elevation, a spiritual force, an utter absence
of materialism in his playing which renders it
unique. The astounding boldness and clearness
of his polyphonic playing, the vehemence and
elementary force of his brazen octaves and
chords, his sweeping passages, the fascinating
elegance of his ornamental work, the elasticity
and precision of his rhythms, the surprisingly new
and admirable treatment of the pedal, create
marvels of sound, the like of which have never
been heard before. The profundity which is the
metaphysical background of his playing does not
interfere with its musical qualities. He started
with universal tendencies, interpreting almost
the entire piano literature. In his middle years,
however, he evinced a marked predilection for
Bach and Liszt, and the latest phase is charac-
terised by his passionate love for Mozart, whose
concertos he plays in a truly creative manner,
discovering them, as it were, anew for our time.
As a composer Busoni has been busily active
since his childhood. In the middle of his career,
however, there is a gap of about ten years
(about 1890-1900). These were the years in
which his pianistic mastery came to full develop-
ment. The composer, however, was silent during
these years and slowly began to evolve the new
ideas which characterise his mature art. The
works from 1877 up to 1892, comprising about
op. 1-32, the products of his youth, are no
longer fully recognised by him. Nevertheless
they contain much fine music, and several have.
appeared in a second, revised edition, such as
the Konzertstück, op. 31a (piano and orchestra),
written in 1890 for the Rubinstein Prize
and rounded off into a concertino in 1921 by
addition of a charming Romanza e Scherzoso.
Similarly the Second Orchestral Suite (Gehar-
nischte Suite) received its final shape years
after. His second, mature period may be
dated from the violin sonata, No. 2, op. 36a,
which shows his peculiar mixture of Southern
temperament with mystic and fantastic Northern
traits. The art of his earlier years is summed.
up in the monumental piano concerto, op. 34,
which occupies a place of its own by reason
of its novel conception of the concerto-idea,
by grandeur of construction and wealth of
musical invention. After this magnificent climax
his style begins to change. In every new work
he seems to be different, always intent on en-
tering further into unknown regions and pur.
suing this research with a passionate mental
activity. To enumerate these compositions is
to show most interesting examples of the mani-
fold tendencies of modern music. The charming
and clever Turandot Suite, op. 41 (1906), with
its fantastic oriental colouring continues a series
including Borodin's Asiatische Steppenskizze,
Rimsky-Korsakof's Scheherazade, Delius's Appa-
The touching and unique Berceuse
élégiaque, op. 12, and the closely-knit Nocturne
lachia.
BUSONI
symphonique, op. 43, show the new harmonic
and contrapuntal treatment which he develops
in a certain parallelism with Schönberg. The
Indian Sketchbook and the Indian Fantasia for
piano and orchestra, op. 44, follow the trend of
modern folk-lore research. The second sonatina,
perhaps the most problematic of his works, is
a most remarkable predecessor of the boldest
revolutionary attempts of the present time in its
disdain of triads, tonality, and bar-notation.
Lately he has entered a new phase. The immense
experience, skill and culture acquired he now
intends to apply to a neo classical style, in
which form and expression are perfectly balanced.
Specimens of this style are offered by his later
sonatinas, the Divertimento for flute and orchestra,
Sarabande and Cortège from the Faust music.
72
In dramatic art, he objects to the veristic
conception of opera, as also to the Wagnerian
methods, and sees as fit objects for musical
treatment only those based on the supernatural,
magical, mythical, fantastic, or the mere "play."
His three operas corroborate these ideas very
logically and strongly. In all of them he has
been his own librettist. Die Brautwahl (first
performance 1912, Hamburg), takes its plot.
from a fantastic tale by E. T. A. Hoffmann.
Turandot, after Gozzi's drama, and Arlecchino
(Zurich, 1918) are a direct continuation of the
old Italian commedia dell' arte. For years he
has been occupied with the composition of his
opera Doctor Faust, which he considers his
chief work.
The art of arrangement he has brought to a
perfection surpassing even Liszt's efforts. His
Bach Studies fill 7 extensive volumes, including
the edition of the Well-tempered Clavichord. His
numerous literary essays, which give him a rank
also as a writer, have lately been collected into
a volume entitled Von der Einheit der Musik
(Max Hesse, Berlin). His essay Entwurf einer
neuen Ästhetik der Tonkunst (1907; 1916) has
been translated into Russian and English.
His compositions have been published almost
entirely by Breitkopf & Härtel. The list of
his mature works comprises:
Operas: Die Brautwahl, op. 45; Turandot, a
Chinese fable (without op. number): Arlecchino, a
stage capriccio, op. 50.
For pf.: Variations
mi. Prelude, op. 22;
30, 30a); 6
Indianisches Tages.
(on parts of Bach's Art of Fugue).
For 2 pianos: New version of Fantasia contrap-
puntistica; Improvisation on a Buch Chorale: Duettino
concertante (on themes from a Mozart concerto).
For pf. and orch.: Konzertstück, op. 31a, supple-
mented by Romanza e Scherzo80, op. 51; concerto,
op. 39; Indian Fantasy, op. 44.
Chamber-musie: 2 str. 4tets, op. 19, 26; 2 vn.
sonatas, op. 29, 36a.
For orch.: Symph. tone-poem, op. 32a; Lust-
op 38; Sumph. Suite, op. 25;
and fugue on Chopin's C
4 Balletszenen (op. 6, 20,
gomas; An die Jugend:
contrappuntistica
severtrete op. 34a; Turandot Suite, op. 41;
Brautwahl Suite, op. 45; Berceuse élégiaque, op. 42;
Nocturne symphonique, op. 43; Rondo arlecchinesco,
op. 46; Gesang vom Reigen der Geister, op. 47; Sara-
bande, Cortège, op. 51 (from the Faust-music); Tanz-
walzer, op. 53.
Various: Vn. concerto, op. 35a; Concertino for
clar. and orch. op. 48; Divertimento, fl. and orch.
op. 52. Various songs (op. 1, 2, 15, 18, 24, 31, 32, 35).
Numerous cadenzas to concertos by Beethoven,
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BÜSSER
Brahms, Mozart. Arr. from Bach (collected in
7 vols. of Bach Studies); ed. of Well-tempered Clavi-
chord, D mi. Concorto, Goldberg Variations, etc.
Entwurf einer neuen Asthetik der Tonkunst (Leipzig,
Insel Verlag): Eng. transl. by Th. Baker, The
New Esthetic of Music (New York, 1911, Schirmer).
H. Leichtentritt, F. Busoni (Leipzig,
1916,
1922. E. P. Tal).
Biographies Selden-Goth, F. Busoni (Vienna,
Essays: H. Leichtentritt, F. Busoni as a Com-
poser (Musical Quarterly, New York, Jan. 1917); J
Chantavoine, F. Busoni (Revue Hebdomadaire,
Paris, 17 April, 1920); Busoni number of Anbruch,
Vienna, 1920; Il Pianoforte (Turin, June 1921), and
various articles by E. J. Dent in the Athenaeum,
London, 1919-21.-H. L.
BUSSER, Henri. Fr. compr. orch. condr.
b. Toulouse, 16 Jan. 1872. Prix de Rome 1893
(for cantata, Amadis des Gaules); orgt. St.-Cloud;
then chorus- master, Opéra-Comique, Paris;
finally at Cons, and condr. at Opera. His compns.
are carefully worked out and have an official
touch.
1-comiqu2 (opera):
1920 (opera);
La Ronde des Saisons, 1905 (ballet).-A. C.
Colomba,
Daphnis et Chioces Corinthiennes,
BUSTINI, Alessandro. Ital. compr. and
pianist; b. Rome, 24 Dec. 1876. A musician
greatly esteemed in Roman mus. circles. Was
pf. pupil of Sgambati. Is teacher at R. Liceo
Mus. di Santa Cecilia in Rome. Has comp.
several operas, of which Maria Dulcis was perf.
at the Costanzi in Rome in 1902. Also chamber-
music and concert pieces. Has publ. a study on
The Symphony in Italy (Rome, 1904, Roux
& Viarengo).-D. A.
BUTHS, Julius. Ger. pianist and condr.
b. Wiesbaden, 7 May, 1851; d. Düsseldorf,
12 March, 1920. Son and pupil of Karl Buths
(oboist); pupil of W. Freudenberg, and at
Cologne Cons. 1860-70 (Hiller, Gernsheim);
1872, under Friedrich Kiel, Berlin; Meyerbeer
Travelling Scholarship, Italy, 1873, Paris, 1875;
pianist and condr. Breslau, 1875-9; dir. Concert
Soc. Elberfeld, 1879-90; mus. dir. Düsseldorf,
1890-1908; dir. of Cons. from 1903. Translated
Elgar's Apostles and Dream of Gerontius into
German. The latter work he cond. for first time in
Germany in May 1902 (Lower Rhine Fest.).
PI. concerto; pf. 5tet; str. 4tet.-A. E.
BUTT, Dame Clara. Eng. contr. singer; b.
Southwick, Sussex, 1 Feb. 1873. Stud. R.C.M.
London, under late Henry Blower; début in
R.C.M. students' perf. of Gluck's Orfeo at
Lyceum Theatre, 5 Dec. 1892; further study
under Duvernoy and Bouhy in Paris; under
Mme. Etelka Gerster in Italy. The most popular
contr. in Britain of present day; confines her-
self chiefly to ballad-songs. Married Kennerley
Rumford (q.v.), 1900.-E.-H.
1897
BUTTERWORTH, Clara. S. singer; b. Man-
chester. Stud. at R.A.M. under Agnes Larkcom;
début Queen's Hall, London, March 1908; made
her appearance on light opera stage with great
distinction in 1914; A Country Girl (revival
Daly's, 1914); Young England (ib. 1916); The
Lilac Domino (Empire, 1918); Medorah (Alham-
bra, 1920); The Rebel Maid (Empire, 1921);
Lilac-Time (Lyric Theatre, 1922-4).
Montague Phillips, the composer.-E.-H.
Married
73
BYK
Eng.
BUTTERWORTH, George S. Kaye.
compr. b. London, 1885; lived in Yorkshire,
1891-1909; fell in Somme battle, 5 Aug. 1916.
His first serious compn. was written whilst at
school at Eton (Barcarolle for orch.); took a
Classical Honours degree at Oxford; stud. music
chiefly privately, though for a short time he was
at R.C.M. London. Threw himself whole-hearted.
ly into the folk-song and dance movement. In
his songs and orch. pieces is heard a particularly
pure English strain. His Shropshire Lad, tone-
poem, raised high hopes which were frustrated.
by the war. His songs are amongst the finest of
the xx century composers.
Two Folk-Song Idylls (Oxford st. under Nikisch,
Lad, orch. tone-ofeeds Fest
1913); The
Green Willow, idyll for small
orch. (Liverpool, 1913); cycle of 4 songs, Love Blous
as the Wind Blows, barít. and str. 4tet (1912,
cycle of 6 songs
another cycle, Bredon Hill (id.); Folk-Songs from
4 Shropshire Lad (Novello);
(Augener);
Sussex (id.); single songs (Augener); Country-Dance
Tunes (8 parts, 1906-16, Novello); The
Book (5 parts, 1907-13, d.); part-song (t.t.h
We get up in the.
(Augener).-E.-H.
BUTTING, Max. Ger. compr. of chamber-
music; b. Berlin, 6 Oct. 1888. Stud. under
Arnold Dreyer, Berlin orgt., Paul Prill, Klose and
Courvoisier, Munich, where attended the Univ.;
resident in Berlin since 1919.
Unfinished mass, op. 6;
with or
18, 20 (1st, op. 1-5; 4 str. 4tets, op. 8, 16,
publ. by Tischer & Jagenberg); str.
5tet, op. 10; solo sonatas for vn. in 5 movements,
op. 11; pf. 4tet, op. 14; str. trio, op. 15; cello
vn. vla. and cello, op. 22; str. 5tet with
d.b. op. 24; chamber-symphony for 13 instruments,
op. 25.-A. E.
concer; chamber-symphony, op. 21; 5tet
BUTTNER, Paul. Ger. compr. b. Dresden,
10 Dec. 1870. Pupil of Draeseke (Dresden
Cons.); teacher there 1896-1907; also engaged
as critic. As a symphonist, has been somewhat
influenced by Anton Bruckner.
4 symphonies in F, G, D flat ma. (his best-known
work) and B mi.; symph. phantasies; overture
to Napoleon's Tomb; Saturnalia, drums and wind
instrs.; chamber-music (vn. sonata; str. 4tet, G
mi. publ.); male choruses; 2 stage works, Anka
and Das Wunder der Isis.-A. E.
BUTTYKAY, Ákos. Hungarian compr. b.
Halmi, Hungary (now annexed by Rumania),
1871. 1907-22, teacher at R. High School for
Music, Budapest.-B. B.
BYE, Erik. Norwegian barit. opera-singer,
b. Drammen, 20 March, 1883.
Stud. singing
under Zur Mühlen (London); 1909-12, in Milan,
Paris and Berlin. Début, Christiania, 1913.
Engaged at Breslau Stadttheater 1914-17; sub-
sequently gave special performances at National
Theatre and Opéra-Comique, Christiania. Best
rôles, Don Basilio, Amonasro, Wolfram. Since
1921, engaged at the Capitol Kino-Theatre, New
York.-U. M.
BYK, Ryszard. Polish pianist; b. Brody,
Galicia, 1892. Pupil of Friedmann and Lesche-
tizky in Vienna. Stud. music history under G.
Adler and theory under Carl Weigl. Is much
appreciated in Germany, Poland and Rumania
Lives in Dresden.-ZD. J.
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Span.
CABALLERO, Manuel Fernández.
compr. b. Murcia, 1835; d. 26 Feb. 1906. Was
youngest of family of 18. Pupil of Indalecio
Soriano Fuertes at Murcia; of Pedro Albeniz
and Hilarión Eslava at R. Cons. de Música,
Madrid; 1853-86, in Spain, Portugal, Cuba
and S. America as theatre and concert-condr.;
1891, elected Fellow of R. Acad, de Bellas Artes;
1903, received Grand Cross of Alfonso XII; hon.
member of many foreign literary and musical
societies. He was equally popular in Spain and
America as a compr. of mus. comedies, some of
which were perf. in Italy and Portugal. Besides
many songs and much church music, he wrote
nearly 200 works for stage, in 1, 2, 3 or 4 acts.
Not only as a compr. but also as an impresario,
he contributed to the maintenance of the dignity
of Span. lyric art against detrimental influences
and fashions. Amongst his best-known works,
some of which were comp. and dictated during
several years of total blindness, are:
La jardinera, Un cocinero, Frasquito, El loco de la
guardilla, Luz y Sombra, El primer dia feliz,
Las El
siglo que viene, Los sobrinos del capitán Grant, El salto
del Pasiego, Las dos princes Para casa de los padres,
El lucero del alba, Las
mil y una noches, Curriya,
Chateau Margaux, Los zangolotinos, La choza del
diablo, Los aparecidos, Triple alianza, El dúo de La
Africana, Los dineros del sacristán, El cabo primero,
El padrino del Nene, La viejecita, El señor Joaquin,
Gigantes y cabezudos, El traje de luces, La diligencia,
La trapera, La manta zamorana, Maria Luisa, La
cacharrera, El lego de San Pablo (Unión Musical
Española, Madrid).-P. G. M.
CÄCILIENVEREIN (Ger.). A choral society
for mixed voices.-E.-H.
CADMAN, Charles Wakefield. Amer. compr.
b. Johnstown, Pa., U.S.A., 24 Dec. 1881. Received
his mus. education entirely from Pittsburgh
teachers (Walker, Oehmler, Steiner, von Kunits)
1899-1909. Mus. critic Pittsburgh Despatch;
orgt of East Liberty Presbyterian Ch. One of the
Amer. musicians who have sought inspiration
from the music of the Indians. The first results.
of this interest are laid down in Four Indian
Songs, op. 45 (1907), one of which, The Land of
the Sky-Blue Water, has become very popular in
America and has been sung by singers of note.
After his removal from Pittsburgh he was orgt.
in Denver and since then has made his home.
chiefly in Los Angeles. He has travelled much
as lecture-recitalist, assisted in recent years by
an Indian m.-sopr., Princess Tsianina Red-
feather. His lecture on Amer.-Indian music was
given in 1910 in Paris and London.
C
carlier 3-act opera, The Land of the Misty Water
(completed 1912), and a later work in 1 act, The
Garden of Mystery, have not been perf. A suite
for orch., The Thunderbird, originally written
as incidental to Norman Bel Geddes' drama of
same name, 1st played by Los Angeles Sym-
phony Orch. 9 Jan. 1917. An Oriental suite,
Omar Khayyám, 1st perf. San Francisco Sym-
phony Orch., Los Angeles, Aug. 1922.
Vantawis (The Robin Woman) (1918);
The Vision of Sir Isetantata, male vs. (Schir-
Church Co. 191
Race,
(John
mer, 1910); pf. trio, D ma. op. 56 (1914): The
Legend of the Canyon, vn. and pf. op. 68 (1920);
Idealised i
Indian Themes, Suite, pf. op. 63 (1917)
(1912);
op. 58 (1915); Thunderbird
pf. suite, The Rubaiyát of Omar Khayyam, op. 75
(1921); Four Indian Songs, op. 45 (1908); From
imcam and Tepee, Indian song-13): The Willow
op. 57 (1914);
Sayonara, Japanese song-cycle
Wind, Chinese song-cycle (1922). Mostly publ. by
White Smith Co., Boston. Other pf. pieces publ.
also by Presser; Hatch;
Other songs
(Presser; Willis; Ditson; Summy).-0. K.
CAHNBLEY, Ernst. Ger. cellist; b. Hamburg,
3 Sept. 1875. Pupil Hamburg Cons. and Hugo
Becker; teacher Würzburg Cons. from 1909;
member of Schörg Quartet since 1918. Prof.
1919. Wrote cello pieces and studies; songs.
-A. E.
Cadman's compns. are numerous. Not all are in
the category of Indian music. He adhered con-
sistently to a comparatively simple style. His
most important work is 1-act Indian opera,
Shanewis (The Robin Woman), 1st perf. Metro-
politan Opera, New York, 23 March, 1918. An
74
CAHNBLEY-HINKEN, Tilly. Ger. s. singer;
b. Bremen, 12 June, 1880. Ernst Cahnbley's
wife; pupil of Bussjäger and Rössler (Bremen),
Wolff and Wüllner (Cologne Cons.); Ducal
chamber-singer; teacher of singing, Würzburg
Cons.
Esteemed singer in oratorio.-A. E.
CAHN-SPEYER, Rudolf. Mus. research
scholar; b. Vienna, 1 Sept. 1881. Stud.
natural sciences, Vienna; music under Jadas-
sohn, Krehl, Riemann, Nikisch, science of
music with Sandberger, theory under Thuille
and Beer-Walbrunn; condr. in Kiel, 1908,
in Hamburg, 1909-11; teacher at Klindworth-
Scharwenka Cons. Berlin; President of coun-
cil, Union of Ger. Concert Artists, (since 1913),
a professional organisation having for its object
the suppression of agents.
zig, 1909. Br Breitkopf).-A. E.
Franz Seidelmann as a Dramatic Composer (Leip
Handbuch des Dirigierens
(Leipzig,
CAIROS-REGO, Rex de. Australian compr. b.
Sydney, 25 Sept. 1886. Teaches in Sydney.
Many songs; pf. solos; Iumoresque, vn. and pf.
(all Shrimpton & Sons, 101 Leadenhall St. London);
vn. sonata (ms.); Fantaisie-Sonata in 1 movement,
pf. and cello; ballad, Killed at the Ford (Longfellow),
male chorus and orch.-E.-H.
CALAND, Elizabeth. Pf. teacher; b. Rotter-
dam, 13 Jan. 1862. Stud. 1884-6 under Ludwig
Deppe, Berlin, theory under J. Rebiček; 1898,
pf. teacher in Berlin; 1915 at Gehlsdorf, near
Rostock. Publications (all by Heinrichshofen,
Magdeburg):
Quick Instruction in Pf. Playing, 1897; 4th ed.
1912 (also in English, Fr., Dutch and Russian);