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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.
Shanewis (The Robin Woman) (1918); To a
(John Church Co. 1917);
Vanishing Race tantata, male vs. (Schir:
str.
The Vision of Sir
mer, 1910); pf. trio, D ma. op. 56 (1914); The
Legend of the Canyon, vn. and pf. op. 68 (1920);
Idealised Indian Themes, op. 54 (1912); pf. sonata,
op. 58 (1915); Thunderbird Suite, pf. op. 63 (1917);
pf. suite, The Rubaiyát of Omar Khayyam, op. 75
(1921); Four Indian Songs, op. 45 (1908); From
Wigwam and Tepee, Indian song-cycle, op. Willow
(1914);
. 57
CABALLERO, Manuel Fernández.
Span.
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 felis, La
gallina ciega, Las nueve de la noche, La Marsellesa, El
siglo que viene, Los sobrinos del capitán Grant, El sallo
del Pasiego, Las dos princesas, El lucero del alba, Las
mil y una noches, Curriya, Para casa de los padres,
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
La
La trapera, La manta zamorana,.
cacharrera, El lego de San Pablo (Unión Musical
Española, Madrid).-P. G. M.
de lucria Luisaa,
CÄCILIENVEREIN (Ger.). A choral society.
for mixed voices.-E.-II.
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 geles. 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.
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
Sayonara, Japanese song-cycle
Wind,
White Smite song-cycle (1922). Mostly publ. by
Co., Boston. Other pf. pieces publ.
also by Presser; Hatch; Willis. Other songs
(Presser; lis; 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.
Cons.
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
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.
as a
Franz Sederkopf): Handbuch des Dirigierens
zig, 1909,
(Leipzig, 1919, Breitkopf).-A. E.
CAIROS-REGO, Rex de. Australian compr. b.
Sydney, 25 Sept. 1886. Teaches in Sydney.
"Many songs; pf. solos; IIumoresque, vn. and pf.
(all Shrimpton & Sons, 101 Leadenhall St. London);
vn. sonata (ms.); Fantaisie-Sonata in 1 movement,
pf. and collo; ballad, Killed at the Ford (Longfellow),
male chorus and orch.-E.-II.
74
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);
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CALLEJA
Technical Advice to Pf. Players, 1897; 4th ed. 1912;
The Application of Weight in Pf. Playing, 1904-5
Artistic Pf. Playing, 1910; 2nd ed. 1919; Practical
Course of Instruction, 1912; 2nd ed. 1919; Important
Facts for controlling Proper Arm-movements, 1919.
-A. E.
CALLEJA, Gómez Rafael. Span. compr. b.
Burgos, 23 Dec. 1874. Choirboy at Burgos
Cath.; then stud. at R. Cons. de Música, Madrid,
where he distinguished himself in compn. under
Arrieta. Has held at different times the posi-
tion of condr. at nearly all principal theatres
in Spain, Portugal and Latin America. Besides
works on national folk-lore, orch. and vocal
pieces, he has written 287 mus. comedies and
revues, all of which have been perf. He lives in
Madrid.
Colección de canciones populares de la provincia de
Santander; Colección de canciones populares de Galicia
y Asturias; Cantos de la Montaña, symph. poem for
orch. Mus. comedies and revues: El Arbol de Ber-
toldo; Las Alondras; El As; Aires Nacionales; El
Abanico de la Pompadur; 'La Araña Azul; Las
Bribonas; El Conde de Lavapiés; Copito de Nieve;
La Ilustre Fre
gona;
Frou Fa Maja Desnuda; Maese Figaro: El Principe
Carnaval; El Moco Cruo, etc. (Publ.: Unión Musical
Española; Faustino Fuente; Ricardo Rodriguez;
Antonio Matamala, Madrid; Salabert, Paris.)
-P. G. M.
CALMUS, Georgy. Ger. mus. research scholar;
b. Berlin, 10 Sept. 1874. Pupil of Berlin R. High
School of Music (Joachim) and the Univ.
(Kretzschmar, Friedlaender, Fleischer, Wolf).
Die ersten deutschen Singspiele von Standfuss und
Hiller (Leipzig, 1908, Breitkopf); new ed. of Le-
and Gay's Beggar's Opera (Berlin,
on Opera in England
sage's ciemaqueticles
(S.I.M.G.).-A. E.
CALVÉ, Emma. French operatic singer; b.
Madrid (of Fr. parents) in 1864. Pupil of Mar-
chesi and Puget; first appeared at a charity
concert at Nice. Début in Brussels, 1882 (Mar-
guerite in Faust). Toured in Rome, Paris,
London and in America. Created rôles of Bianca
in Aben Hamet (Dubois), Santuzza in Caval-
leria Rusticana, also in La Navarraise, Sapho,
La Carmélite, Messaline. Famous for her in-
terpretation of Carmen. Not content with pos-
sessing a very fine voice and perfect technique,
she always endeavoured, by intense study, to
interpret cach of her rôles with the greatest
realism. She lived the life of a gipsy at Granada,
dressing and dancing like one, in order to enter
more deeply into the sources of inspiration of
Bizet and Mérimée.-M. B.
CALVOCORESSI, Michael D. Mus. critic; b.
Marseilles, 2 Oct. 1877. Both parents Greek.
Educated in Paris; stud. harmony under Xavier
Leroux at Paris Cons.; otherwise self-taught
in music. Stud. literature and classics under
Gabriel Vauthier and philosophy under André
Lalande. Began writing criticism at end of 1901;
correspondent to many foreign papers and
periodicals; 1905-14, lectures, at Paris École
des Hautes Études Sociales, on modern music,
abundantly illustrated, introduced many works
of various schools (Bartók, Kodály, Stravinsky,
Schönberg, Wellesz); also lectures on mus.
criticism; 1914-19, served in British Military
Intelligence. Has transl. into Eng., Fr. or Ger.
countless works of various compra. (Balakiref,
Mussorgsky, Rimsky-Korsakof, Debussy, Du-
75
CAMPBELL
parc, Bartók, Stravinsky, etc.) and books on
music; has contributed to Eng. papers, Morning
Post, Daily Telegraph, Musical Times, Monthly
Musical Record, Glasgow Herald, Music and
Letters, etc. Is devoted to the dissemination of
contemporary music, especially Russ., Fr.,
British and Hungarian. Collab. with Diaghilef,
1907-10. Has lectured in Britain, Belgium,
and France. C. has an exceptionally clear, well-
balanced style of musical criticism. Contributor
of many articles on Fr. and Russ, musicians, etc.,
to this Dictionary.
Books (in Fr.): Liszt (Laurens, 1905); Mussorgsky
(Alcan, 1908; Eng. 1917; Span. 1919; Ger. 1922);
Glinka (Laurens, 1911); Schumann (Michaud, 1912).
Pamphlets on Russian Music
Musical Criticism (H. Milford, 1923).-E.-H.
.Eng.: The Pritish Music
and Methods of
CAMETTI, Alberto. Ital. historian of music;
b. Rome, 5 May, 1871. At present condr. of the
Choir of San Luigi dei Francesi in Rome.
Member of many acads. and of the Pontifical
Commission of Sacred Music. Has devoted
himself specially to interesting researches re-
garding Roman mus. history. As compr. has
written pf. and organ pieces, songs, and especi-
ally sacred music.
His chief monographs are on Frescobaldi (Milan,
1895, Ricordi); Bellini in Rome (Rome, 1900, Cug-
giani); Mozart in Rome (Rome, 1907, Union Coop.
ed.); and numerous articles on these and other
subjects (Corelli, Rossini, Donizetti, etc.) in the
Rivista Musicale Italiana (Turin, Bocca) from 1899
to present timo (1923).-D. A.
CAMPANINI, Cleofonte. Ital. condr. b.
Parma, 1 Sept. 1860; d. Chicago, 19 Dec. 1919.
Eminent condr. who helped to maintain, both
in Italy and abroad, the prestige of Ital. art.
Started his career at Parma in 1883, conducting
a series of perfs., in which his brother, Italo,
the celebrated t. singer, participated. In 1884
C. stayed in Turin, conducting a series of sym-
phony concerts. He immediately passed on
to the principal theatres in Italy and abroad.
(La Scala, Milan; Municipal Theatre, Nice;
Colón and Opera, Buenos Ayres; Lyceum,
Barcelona; San Carlos Theatre, Lisbon; R.
Theatre, Madrid; San Carlo Theatre, Naples;
Covent Garden, London). In 1913, on occasion
of Verdi Centenary, he cond. a cycle of Verdi's
works at Parma. He then went to North
America and linked his name with the founda-
tion the McCormack Campanini annual
competition among Ital comprs. for an Ital.
opera. During his last years he was the
artistic and administrative dir. of the Chicago
Opera Association, and in that post he greatly
contributed to spreading the repertoire of Ital.
operas.-D. A.
CAMPBELL, George. Scottish barit singer; b.
Westmorland, 1873. Choirboy at Carlisle Cath.
Stud. singing under Hugo Beyer, pf. under W.
Thomson, organ under Scott Jupp. For many
years, choirmaster, St. Peter's R.C. ch. Edin-
burgh. Has sung widely in oratorios and con-
certs. Orgt. at several Edinburgh churches. In
1886 entered music-selling firm of Messrs. Town-
send and Thomson, one of oldest businesses in
Edinburgh. In 1894, became sole owner.-W. S.
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CAMPBELL-MCINNES
CAMPBELL-MCINNES, James. Brit. barit.
singer; b. Holcombe, Lancs, 23 Jan. 1874. Stud.
at R.C.M. London; also under M. Bouhy in Paris;
Sir George Henschel, Sir Charles Santley and
William Shakespeare in London. First appeared
at a song-recital in St. James's Hall. His fine
interpretation of the songs of Brahms in 1899
brought him to notice of Joseph Joachim, who
introduced him to various concert societies,
resulting in many important provincial engage-
ments. One of the orig. members of the Soc. of
Eng. Singers, London; became known as one of
the finest of Bach singers. After several years.
of war service he resumed his profession (1919)
in Toronto, Canada, where he now resides. Has
helped a large number of British comprs. to a
hearing; a great number of modern representa-
tive Eng. songs have been comp. or dedicated to
him. His most characteristic feature is his fine
musicianship and great diversity of style, this
permitting him to interpret equally successfully
the humorous folk-songs on the one hand and
the Christus of Bach on the other.-L. S.
CAMPO Y ZABALETA, Conrado del. Span.
compr. b. in Madrid, 28 Oct. 1879. One of chief
figures in modern Span. music. Started his mus.
education at Real Cons. Madrid. On entering
the compn. class, his professors found themselves
dealing with a personality they could not control
or understand. He had developed through his
own efforts a mentality superior to that prevail-
ing in his environment. Nevertheless Campo
adopted a compromising attitude and finished.
his studies brilliantly. Thenceforth he became a
free lance, an uncompromising and expert adept
in modern technique. He was soon declared un-
faithful to the Span. traditions and a fanatical
follower of the Ger. school-an unjust accusa-
tion, for the works of his most advanced
pupils prove that he is equally familiar with
the methods of modern Fr. comprs. He
the possessor of a complex mus. mind that might
give grounds for describing him as the "Spanish
Strauss," but he differs from Strauss in a very
essential way; there is a sincerity of purpose in
Campo which is nearly always absent in Strauss.
For this, Campo is also accused of being a
Romantic, nowadays a deprecatory term he
accepts with pride. He is a modern progressist
who abhors all kinds of unruly extravagance in
art and professes the doctrine that without feel-
ing there is no conception worth the name, and
that perfect expression cannot be attained with-
out a complete mastery of technique. The exis-
tence in Spain of such a personality is unsus-
pected abroad, though he is the most prolific
Span. compr., and one who excels in chamber and
symph. music, two styles of compn. which, un-
like theatrical works, are free from limitations in
regard to universal meaning. The list of his works
speaks for itself; all have been perf. in Spain,
many of them having won prizes; but very few
are publ. up to now. They constitute an in-
valuable asset to the modern Span. school. His
activities as prof. of harmony at Madrid R. Cons.,
private teacher in compn., member of the
76
CANTELOUBE
Cuarteto Francés, Quinteto de Madrid, and a
brilliant writer on mus. subjects, are a powerful
element in the mus. regeneration of the country.
He it was who in his early youth told Madrid
of the supreme beauty of Beethoven's latest
quartets, then neglected there as the incom-
deaf man.
prehensible failures of
Campo has
been for many years the vla. soloist at Madrid
R. Opera House and the Orquesta Sinfónica, of
which he is a founder, as well as of the other.
two chamber-music organisations above men-
tioned.
Operas: La Dama Desconocida, 3 acts (book by
Tomás Borras; Leonor Teller (book by M. Mezquita);
Don Alvaro, 4 acts; Tragedia del Beso, 2 acts: Romeo
y Julieta, 4 acts: Dies Irae, 4 acts; Avapiés, (in collab.
with Angel Barrios); La Culpa (not yet perf.); La
(in preparation). Orch.: La Divina
Flor del Aranada; Danza del Niaou; Kasida; Don
b. Rosario.
Comedia;
Juan de España (suite from incidental music to M.
Sierra's play of same title). Aires, Airiños, Aires, for
orch., s. v. and chorus. Mass for orch. and double
chorus. Str. 4tets: Asturiano; Cristo de la Vega
(with recitation, of poem of same name by José
Zorrilla); Caprichos románticos; Oriental: 2 4tets
in E ma. (one a prize one); another in C mi.; Las
Horas de Nietzsche. Publishers: Unión Musical
Española (Madrid); Schott (Mayence).-P. G. M.
CAMPODONICO, Armanda. Argentine singer;
Stud. at Milan under Benve.
nuti, and at Brussels under Warnotz. Began
operatic career at Barcelona in Samson and
Delilah. After singing in Italy and Russia,
returned to S. America in 1900 to fill engage
ments in Chile and Buenos Ayres. Now teaches
Buenos Ayres Conservatoiro.-A. M.
CAMUSSI, Ezio. Ital. compr. b. Florence,
16 Jan. 1893. Stud. in Rome and Bologna;
then in France under Massenet. Is noted for
two melodramas which were perf. with a certain
amount of success, La Dubarry (Lyric Theatre,
Milan, 1912), and I Fuochi di San Giovanni,
based on Sudermann's work (Dal Verme Theatre,
Milan, 1920).-D. A.
CANAL, Marguerite. Fr. compr. Gained Ist
Grand Prix de Rome (by unanimous vote), 1920,
for her dramatic poem, Don Juan; also 1st
prizes for harmony, acc. and fugue, at Paris Cons.,
where she pursued her studies and where she is
to-day a titular professor.
About 100 songs; 5 vn. pieces; some pf. pieces;
cello pieces; vn. sonata; Don Juan (orch.). (All
publ. by Jamin.)
CANALES, Marta. Chilean violinist and
compr. Stud. in Chile where she has gained an
eminent position on concert-platform. Is even
better-known as compr., especially of a Funeral
March and a Berceuse.
Orch. works; pieces for vn. and pf.; choruses,
etc.-A. M.
CANONICA, Pietro. Ital. compr. b. Turin,
1 March, 1869. Is best known as a very clever
sculptor, but is also passionately devoted to
music. Has comp. various works, one of which,
La sposa di Corinto (The Bride of Corinth), has
been perf. at the Argentina, Rome, 1918.-D. A.
CANTELOUBE, Jean. Fr. compr. b. Montauban,
1875. Pupil of Schola Cantorum; a "regional"
musician of the artistic family of Déodat de
Séverac, finding his inspiration in the popular
songs of Languedoc, of which he is a native.
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CANTOR
Many songs, melodies and a very lively opera,
Le Mas, based on aesthetic charm of regional
inspiration.-A. C.
CANTOR. The name for a choirmaster in
Germany.-E.-H.
CANTRELLE, William. Fr. violinist; b. Paris,
20 Nov. 1888. Pupil of Rémy at Paris Cons.; 1st
prize 1905; first became known at Concerts
Rouge, which had seen début of Jacques Thibaut.
Remained here as soloist, 1908-12; then appeared
at Touche Concerts, 1913-21; solo vn. Colonne
and Lamoureux orchs., united in 1917 and 1918;
1922, soloist at Colonne Concerts. His technical
ability is extraordinary. The repertory of
Heifetz and Elman is well known to him, but his
orch. work has given him a complete general
culture and a style which is as pure in the
classics as it is fanciful in Paganini or Wieni-
awski. He may be placed, with Thibaut, Capet
and Boucherit, as a violinist of first rank.-M. P.
CAPELL, Richard. Eng. mus. critic; b. North-
ampton. Critic of Daily Mail, London, since
1911. Has an interesting style and a penetrating
insight. Puts great emphasis on native art.-E.-H.
CAPELLEN, Georg. Ger. writer on theory
of music; b. Salzuflen, 1 April, 1869. Jurist.
Since 1901, theorist in harmonics and acoustics,
with special reference to exotic influences.
Harmony and Melody in Wagner's Works (Bay-
reuther Blätter, 1901): Is Simon
a Suitable Point of Departure for Techter's System
Wagner
Research? (1902); Musical Acoustics as the Basis of
Harmony and Melody (1903): The Freedom or Want of
Freedom of Tones and Intervals as a Criterion in
Part-writing (1904); Interdependence (Abhängigkeits-
verhältnisse) in Music (1904); The Future of Musical
A Music
Progressive Course of Harmony and Melody (L):
(Leipzig,
1908).-A. E.
CAPET, Lucien. French violinist; b. Paris,
1873. Pupil of Morin at Cons.; 1st prize, 1893.
Appeared as soloist for all the great symphony
societies, especially Concerts Lamoureux. Taught
at Cons. Bordeaux (1899-1903) and at Paris
(1907 onwards). Excels as teacher, and his book
Technique de l'Archet (Technique of the Bow) is
authoritative. Has comp. 3 4tets. Mainly cele-
brated in connection with the quartet he founded,
with Giron, H. Casadesus, Touret (replaced by
Carcanade); this quartet (composed in 1903 of
L. C., Touret, Bailly [Carcanade], Hasselmans;
in 1910 of L. C., Hewitt, Benoît, Delobelle)
has reached the highest points of perfection.
Although it devotes a few performances each year
to modern music, it is mainly concerned with the
execution of the 17 quartets of Beethoven.-M. P.
CAPLET, André. Fr. compr. condr. b. Le
Havre, 27 Nov. 1879. Began to study music
in native city under Henry Woollett; in 1897
entered Paris Cons., where his teachers were
Leroux and Lenepveu. Prix de Rome, 1901; at
that time had already made his mark as condr.
at the Odéon. On his return from Rome, ex-
tended his activities in this capacity to Ger-
many, and later to United States (Boston
Opera) and to England (Covent Garden).
Pf. 5tet; Legend, harp and small orch. (after Poe's
Masque of the Red Death); Suite persane, wind instrs.;
77
CAREY
7tet. 3 female vs. and strs.: mass, 3 female vs.;
sonata, v., cello and pf.; a r
part-songs. They evince in Aumber of songs and
and an original
imagination as well as technical skill.
artist, he has much in common with the school of
As a creative
Gabriel Fauré.-M. D. C.
CAPPELEN, Christian. Norwegian compr. and
orgt. b. Drammen, 26 Jan. 1845; d. Chris-
tiania, 11 May, 1916. Received his mus. training
at Cons. in Leipzig and in Dresden; afterwards
orgt. in Drammen. From 1887, L. M. Linde.
man's successor as orgt. to Our Saviour's Ch.
Christiania, where he acquired a name as Nor.
way's greatest church musician after the death
of his predecessor. His fame as orgt. extended
beyond his own country and his dominant per-
sonality gave his art a noble and lofty character.
His improvisations were famed for their deep
religious spirit. As a compr. he belongs to the
older school, but all his 32 works show taste,
excellent form and clever cpt. with restrained
characterisation.
Cantatas; organ pieces; unacc. choral works for
mixed chorus (6 Geistliche Lieder, perf. in Leipzig);
pf. pieces; songs.-J. A.
CARABELLA, Ezio. Ital. compr. b. Rome,
1891. Compr. of symph. works (perf. at the
Augusteo), and of operettas, perf. with success.
Impressione sinfonica, small orch. (1913); Preludio,
full orch. (1916); Variazioni sinfoniche (1921)
incidental music to Fraschetti's Fortunello (Rome,
Teatro dei Piccoli, 1921); Don Gil dalle calze Verdi,
operetta (Rome, 1922).-D. A.
CARBONELL DE VILLAR, Manuel. Singer;
b. Alicante in 1856. Stud. under Fasenga at
Madrid Cons, and under Antonio Selva at Padua.
First appeared at the Dal Verme, Milan (in
Favorita). Sang throughout Europe and N.
America 30 years, in company with the
greatest singers. On leaving opera stage, was
appointed prof. of singing at Regio Cons. Barce-
lona, and later at Imperial Cons. Petrograd.
Went to Buenos Ayres in 1910, where founded
a successful school of singing. Author of a book
giving the careers of the principal opera-singers,
and a work dealing with operatic scenery and
stage-setting.-A. M.
CARELLI, Emma. Ital. s. singer; b. Naples,
12 May, 1877. Pupil of her father, Beniamino
Carelli, a noted teacher of singing. Owing to
her ability and uncommon artistic qualities,
she rapidly gained a position in front rank
of Ital. operatic world. She was a very capable
interpreter of the title - rôle in Mascagni's
Iris in company with Caruso; she created the
title-rôle in Elektra (Strauss) in Italy. At
the age of 35, she gave up her career to devote
herself to operatic enterprises, with her hus-
band, Walter Mocchi, and she took over the
management of the Costanzi Theatre (q.v.)
as representative of a company which also runs
various theatres South America under
Mocchi's management.-D. A.
CAREY, Francis Clive Savill. Eng. compr. and
1883; educated Sherborne and Clare Coll.
Cambridge; stud. R.C.M. under Sir Charles
Stanford (compn.); singing under James H. Ley,
London, and Jean de Reszke, Nice; member of
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CARILLO
"The English Singers" ensemble. C. is a fine
singer, a good actor and an intelligent producer.
Incidental music to The Blue Lagoon (London,
1920); The Wonderful Visit (London, 1921); All
Fools' Day (Glastonbury, 1921);_songa (Stainer &
Bell; Boosey; W. Rogers); 10 English Folk-Songs
(Curwen): folk-song and dance arrs. in The Esperance
Morris Books (2 vols., Curwen).-E.-H.
CARILLO, Julián. Mexican compr. b. 1875.
Has comp. operas, symphonies, chamber and
choral music, and written a treatise Tratado
sintético de Harmonía (1913-15).-F. H. M.
CARILLON. See art. on BELLS.
CARILLON MUSIC is rarely published. Most
of it is in ms. An important vol. consisting of a
selection of preludos, fugues, minuets, etc., from
the works of Matthias van den Gheyn (1721-85)
was printed by Schott in 1862 and ed. by X.
van Elewyck in collab. with Lemmens, the well-
known orgt. This is out of print; the plates
have been destroyed, and the few existing copies
are only to be found in the most important
libraries. A contemporary compr. of Van den
Gheyn was Pothoff of Amsterdam. In recent
times Josef Denijn and J. A. F. Wagenaar have
written music specially for the carillon. Sir
Edward Elgarcomp. a special Memorial Chimefor
opening ceremony of Loughborough carillon, 1923.
The compr. must have an exact appreciation
of special characteristics of bell-tone as well as
an intimate knowledge of the clavier technique.
Two-part writing with clearly defined harmonic
suggestion is perhaps the most effective. In
the upper octaves of the clavier, chords of 3 or
more notes can be freely used, in which case it
is desirable to keep the bass part distant. A
school of carillon-playing has recently (1922)
been inaugurated at Mechlin with Josef Denijn
as dir. The premises are granted free by the
city authorities and are conveniently situated
near the carillon tower. The complete course of
study extends over a period of 3 years and pro-
vides carefully-graded work, first for attainment
of manual dexterity; then the addition of a
simple pedal part; finally elaborate manual and
pedal technique. In England a bold and com-
prehensive course has been adopted by Prof.
Granville Bantock at Birmingham Univ.
special lectureship has been instituted in campa-
nology, including bell-making and tuning,
acoustics of bells, carillons and carillon music,
chimes, chime-tunes, the composing of bell-music,
etc., together with practical demonstrations of
the carillonist's art. The subject is included in the
requirements of the Honours Mus. Bac. degree.
The Bournville carillon is being completed by
making the compass 3 octaves chromatic (37
bells) and will be available for students. Thero
will also be a practice clavier-an exact replica
of the carillon one-for the purpose of individual
study. The Birmingham Univ. scheme is the
only one of its kind in the world.-W. w. s.
CARL, William Crane. Amer. orgt. and
teacher; b. Bloomfield, N.J., U.S.A., 2 March,
1865. Stud. chiefly in New York. Was for 2
years a pupil in organ and theory of Guilmant
in Paris. A founder in 1896 of Amer. Guild of
A
CARNEGIE TRUST
Orgts. Establ. a Guilmant Organ School in New
York in 1899. Has travelled far and wide in
U.S.A. as a concert orgt. Officier de l'Instruction
Publique in 1909, and in 1911 Mus.D. h.c. New
York Univ. Has comp. organ pieces and ed.
several large colls. of organ works (Schirmer;
Boston Music Co.; Ditson).-O. K.
CARLHEIM-GYLLENSKÖLD, Sigrid. Swedish
pianist; b. Väjö, 9 May, 1863. Stud. R. Cons.
Stockholm (Hilda Thegerström) and Lesche-
tizky (Vienna). Founded Stockholm Musik-
institut, which enjoys a good reputation.
Member R.A.M. Stockholm, 1912.-P. V.
CARLSON, Bengt. Finnish compr., choral
condr. b. Ekenäs, 26 April, 1890. Pupil of
Helsingfors Music Inst. and of Vincent d'Indy,
Paris. Since 1920, condr. Swedish Students'
Choir (Akademiska Sångföreningen) and recently
of Swedish Oratorio Choir in Helsingfors. Has
comp. chamber-music, choral songs, etc.-T. H.
CARNEGIE UNITED KINGDOM TRUST. The
musical policy of the Trustees falls under the
following heads: (1) Music Publication Scheme;
(2) Tudor Music Editions; (3) rural concert and
dramatic (largely mus.) tours: (4) miscellaneous
grants. Grants to churches towards purchase of
organs are
ely discontinued. Altogether
the Trust has honoured promises to the number
of 540.
(1) Each year the Trustees publish new
compns. by British comprs. residing within
United Kingdom (maximum number 6). The
works eligible are: (a) Concerted chamber-music
for 3 or more instrs.; (b) concerto for one or
more solo instrs, with acc. for large or small
orch.; (c) choral work, with acc. for large or small
orch.; (d) symphony or other orch, work of an
important nature; (e) opera or mus. drama,
including incidental music to plays. In chief
works in classes c, d and e, the full score is
not normally publ., but a sufficient number of
ms. copies of full score and parts are provided
to facilitate performance; in classes c and e
an edition of the vocal score is printed. Works
must be submitted by 21 Dec. each year; awards
are announced about 4 or 5 months later. The
works published up to Dec. 1923, are:
Before Sunrise, symphony, contr. solo, chorus,
orch. (Edgar L. Bainton); The Hebridean Symphony,
orch. (Granville Bantock); The Immortal Hour, music
drama (Rutland Boughton); The Sea, symph. suite,
orch
(Frank Bridge): 4tet in A mi. pt. vn. vla.
cello (Herbert Howells); The Travelling Companion,
4-act opera (Charles V. Stanford): 4 London Sym-
phony, orch. (R. Vaughan Williams); Poème Sum-
phonique, orch. (L. A. Collingwood); str. 4tet in A
ma. (E. N. Hay); 4tet in C mi. pf. vn. vla. cello
(Alfred M. Wall);
Dyson); The Hound
for barit.
solo. chorus and orch. (W. H. Harris): The Hymn of
(Gustav T. 1
6tet for str. in G mi. (P. H. Miles);
The Magic Harp, rhapsody, orch. (Ina Boyle); Tam
o' Shanter, conce impressions, suite, orch. (Ernest
English Pastoral
Rhapsodie 5tet, clar. 2 vns. vla. cello
(Terbert.
Howells); Chamber Rhapsody, No. 2, fl.
c.a. str. 4tet and 2 vs. (Arthur Bliss); Brown Earth,
chorus, semi-chorus, and orch. (Cyril Bradley Root-
ham); Prince Ferelon, 1-act mus.
(Nicholas Gatty); Among the
Rhape str. 4tet (George
pt. 2 vns, vla. cello (W. G. Whittumbrianza
No. 2 in D mi. 2 vns. vla. cello (York Bowen); Fan-
str. 4tet
78
Hills.
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CARNEVALI
tasy, str. orch. (R. O. Morris); The Nymph's Com-
plaint for the Death of her Fawn, poem for ob. (or
vn), vla. and pf. (Felix White); Fantasy-Overture,
(John B. McEwen): St. Dominic, mass for choir,
soli and orch. (Harry Farjeon) (vocal score only);
Nativity Hymn, solo,
(vocal score only); L'Allegrand orch. (Cyril Scott
il sym-
phony No. 5 in D ma. orch. (Charles V. Stanford);
Curlew, t. v. fl. o.a. str. 4tet (Peter Warlock), poem by
Yeats; Hymn to the Virgin and the White Island,
men's vs. str. pf. organ (Leslie Woodgate). All
inquiries to Messrs. Stainer & Bell, Ltd. 58 Berners
Street, London, W.1.
Recommended for publication, 1924 (7 works);
Pastoral Fantasia, str. 4tet (Arthur Benjamin); A
Severn Rhapsody, chamber orch. (Gerald Finzi); The
Blue Peter, comiíe opera (C. Armstrong Gibbs)
Western Playland, song-cycle on works by A. E. Hous-
man (Ivor Gurney); 5tet, pf. and str. (Cyril Scott);
4tet, pf. and str. (W. T. Walton); 4 Luke-Wake Dirge,
chorus and orch. (W. G. Whittaker).
The
(2) A quarto ed. of 10 vols. containing compns.
by Elizabethan comprs, is in course of publica-
tion. Vol. II (Byrd: English Church Music,
Part I) appeared in autumn of 1922, Vol. I
(Taverner, Part I) in Dec. 1923, and Vol. III
(Taverner, Part II) in March 1924. The re-
maining vols. will contain further compns.
of Byrd, and also of Orlando Gibbons (Vol.
IV), Robert White, Thomas Tallis, Thomas.
Tomkins, John Merbecke, Thomas Morley,
Thomas Weelkes and John Ward. For conveni-
ence of choirs, 50 characteristic works are being
separately publ. in 8vo at popular prices. All
inquiries to Oxford University Press, Amen
House, Warwick Square, London, E.C.
(3) The Trustees have assisted, by grants and
guarantees, the Village and Country Town Con-
certs Fund and the Arts League of Service, to
arrange tours in small towns and villages, mainly
under the auspices, locally, of county education
committees. The former body, during 1922, gave
roughly 500 concerts in 20 counties of England
and Scotland.
(4) The Trustees have assisted the formation
and early development of the British Federa-
tion of Mus. Competition Fests. They are setting
up gradually an Orch. Loan Library for the use
of smaller orch. societies. They publ. in 1921 a
Report on British Music by Sir Henry Hadow.-
J. M. M.
CARNEVALI, Vito. Ital. pianist; b. Rome,
4 July, 1888. Stud. at R. Liceo Mus. di Santa
Cecilia (pf. Bajardi and Sgambati; compn.
Falchi and Respighi). Favourably known as a
concert-player. Now lives in New York.-D. A.
CAROL-BÉRARD. Fr. compr. b. 1885. Pupil
of Albeniz; stud. especially Chinese, Arabic
and negro music; directs his researches towards
the utilisation in music of noises of modern
life (factories, stations, etc.). He publ. numerous
articles to defend his theories, notably the
Couleur en mouvement (Revue Musicale) and
Instrumentation par le système des bruits enre-
gistrés; also several vols. of verses and essays
(under the name of Olivier Réaltor). He helped
to found Union Syndicale des Compositeurs de
Musique (of which he is gen. secretary), and is
planning the creation of a Maison des Musiciens.
His mus. output (very abundant and almost entirely
79
CARRAUD
unpubl.), comprises: Symphonie dansée; suite, Pro-
vence;
little ballental music for Semiramis of Peladan;
Les Amants de Tong-ho; a piece,
L'Oiseau des Iles; fragments for a filin, La
de Babylone; many pf. pieces; songs.-A. C.
Terrasse
CARPENTER, John Alden. Amer. compr. b.
Park Ridge (Chicago), Ill., U.S.A., 28 Feb. 1876.
Stud. pf. under Amy Fay, later under Seeboeck
in Chicago. His theoretical studies he continued
at Harvard Univ. under J. K. Paine.
After
his graduation (A.B. 1897), entered his father's
business (mill, railway and shipping supplies).
In 1909, became Vice-President of the corpora-
tion organised by his father. He did not, how-
ever, abandon his mus. studies. In 1906 he came
into contact for a short time with Edward Elgar
in Rome. Between 1908 and 1912 he continued
the study of mus. theory under Bernhard Ziehn
in Chicago.
His first publ. works of any significance were
Improving Songs for Children (Schirmer, 1907).
A sonata for pf. and vn. was 1st perf. in public
at a concert of the Schola Cantorum in New York,
11 Dec. 1912. He became better known after
the publication in 1914 of his Gitanjali, a song.
cycle of poems by Tagore. A humoristic orch.
suite, Adventures in a Perambulator, was 1st perf.
by the Chicago Orch. 19 March, 1915, and was
perf. in London at B.M.S. Congress in June
1921. His 1st symphony, Sermons in Stones
(written 1916-17), was first played at Litchfield
County Choral Union Fest. (Norfolk, Conn.), 5
June, 1917. A ballet-pantomime, The Birthday of
the Infanta (after Oscar Wilde), was brought out
by the Chicago Opera Co. 23 Dec. 1919. His
latest work is a ballet Krazy Kat (described as a
"jazz-pantomime"), founded on a series of popu-
lar newspaper cartoons. The music was played
by the Chicago Orch. 23 Dec. 1921.
In 1921 C. was decorated with the Cross of the
Fr. Legion of Honour. He received the degree of
M.A. h.c. from Harvard Univ. 1922. As a compr.
he follows modern tendencies entirely, although
he has not yet joined the extreme ultra-
modernists. His work exhibits great variety and
skill in the handling of the orchestra.
Adventures in a Perambulator for orch. (1917);
Concertino for pf. and orch. (1920); Kracy Kat,
ballet, pf. arr. by compr. (1922);
pl. (1913); Gitanjali Song-Offering for vn. and
poems by
Rabindranath Tagore (1914); Water Colours: four
Chinese Tone-Poems (songs) (1916). (All publ. by
Schirmer.)-0. K.
CARPI, Fernando. Ital. operatic t. singer;
b. Florence, 1881. Stud. singing at Liceo
Mus. at Bologna, and at the same time stud.
law at the Univ. Rapidly gained a wide
putation for the exquisite qualities of his light
lyric voice. Has appeared at all the principal
opera-houses, especially in North America.
Repertoire:
Itigoletto, Barbiere, Sonnambula, Don Pasquale,
Elisir d'amore, Bohème, Manon, Mefistofele, Tosca,
Werther, Zaza, etc.-D. A.
CARRAUD, Gaston. Fr. compr. critic; b. Paris,
1869; d. there, 1920. Grand Prix de Rome,
1890; put at service of mus. compn. a nature
as literary as musicianly; has always oscillated
between compn. and criticism, and the latter has
finally triumphed. (This is the case with Émile
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CARREÑO
Vuillermoz also.) Critic for journal La Liberté,
he has shown for 20 years a free mind, the judg-
ment of a historian, and real talent also. Author
of Albéric Magnard (Paris, 1921).
Songs, Soirs moroses (1891); symph. poem, La
Chevauchée de la Chimère (1905); dramatic symphony,
pasqua.-A.
CARREÑO, María Teresa. South Amer.
pianist; b. 22 Dec. 1853 at Caracas (Venezuela)
where her father was Minister of Finance; d.
New York, 12 June, 1917. Stud. under L.
Gottschalk in Caracas and later under G. A.
St. C. Mathias in Paris; then under Rubinstein.
At the age of 9 appeared as pianist in New York
and toured through the States. She toured Eng-
land, and the Continent, 1865-74. She appeared
(1875-82) on the operatic stage; reappearing as
pianist in 1889. Her fame as one of the most
brilliant and powerful of pianists dates from her
European tour of 1889-90. She married 4 times
-1872, the violinist Sauret; 1875, the bari-
tone Giovanni Tagliapietra; 1892, the pianist
d'Albert; 1902, Arturo Tagliapietra.-E.-H.
CARROLL, Walter. Mus. Adviser to Man-
chester Education Committee since 1918; b.
Manchester, 4 July, 1869. Stud. privately and
at Univ. of Manchester; Mus.Doc. Manchester,
1900; formerly prof. of harmony, compn. and
art of teaching, R. Manchester Coll. of Music;
formerly lecturer in music and examiner, Univ.
of Manchester. Has done much to advance the
cause of musical appreciation in schools, and to
improve methods of teaching music.
Large amount of children's music (Forsyth;
1909-23); book, The Training of Children's Voices.
-E.-H.
CARSE, Adam. Eng. compr. b. Newcastle-
on-Tyne, 19 May, 1878. Stud. in Germany, 1893;
R.A.M. London under Corder and Burnett,
1894-1903 (Macfarren Scholarship; Musicians
Co. Medal; Lucas Medal; Dove Prize); assis-
tant music-master, Winchester Coll. 1909-22;
now prof. of harmony and cpt. R.A.M. London.
Has a pleasant and well finished style of writing,
which concerns itself more with sound con-
struction than original or atmospheric effects.
Has written much educational music.
Orch.: Miniature suite, Boulogne (J. Williams);
The Merry Milkmaids (1922, Augener); Barbara
Allen, variations for str. orch. (Novello); Norwegian
Fantasia, vn. and orch. (J. Williams). Two sketches,
str. orch. (1923; Augener); sonata, C mi. vn. and pf.
(id.); Judas Iscariot's Paradise, ballad for chorus,
barit. solo and orch. (1922, id.); The Lay of the Broum
Rong dramatic cantata (Novello); many part-
numerous songs, pf., vn. d I other pieces; pf.
studies, exercises. Books: Summary of the Elements
of Music (Augener); Practical Hints on Orchestration
(id.); Harmony Exercises, 2 books (1923, id.).-E.-II.
CARUSO, Enrico. Italian operatic tenor
singer; b. Naples, 25 Feb. 1873; d. Naples,
2 August, 1921. This celebrated artist, who
gained, especially in North America, such a
superlative degree of celebrity that he com-
manded the salary of $10,000 a night, started.
his career in a very humble and uncertain
way. At the age of 10 he was singing in church
choirs; then he set himself to study, passing
under various masters, none of whom knew how
to appreciate his extraordinary qualities; only
CASALS
quite late did he discover, in the masters Lam-
perti, Concone and Lombardi, teachers who set
him seriously on the high road of art. He
started his career in his native town; then
appeared at the Lyric, Milan, with a clamorous
reception; from then onwards his successes
became continuous and triumphant. He took
part in the first perfs. of Fedora (Giordano) and
of Germania (Franchetti). His repertoire was
vast, and included almost all the lyric and
dramatic Fr. and Ital. operas, from Sonnambula
to L'Africana, Don Giovanni to Il Trovatore,
L'Elisir d' amore to Cavalleria and Pagliacci,
La Gioconda to La Bohème and the Fanciulla
del West, Pescatore di Perle and Samson and
Delilah to Faust and Manon (Massenet). C.
was gifted with an exquisite artistic sense in
other directions also; he was an enthusiastic
collector of pictures and works of art; he
amused himself also by drawing and was a
capable caricaturist (see Caruso's Book, being
a collection of caricatures and character-studies
from original drawings of the Metropolitan
Opera Company, 1906). He publ. a book on the
art of singing, entitled Wie man singen soll
(Mayence, 1914, Schott).
Consult: Onorato Roux in Illustrious Italian Con-
Wagenmann,
temporaries (Florences Problem der
Enrico und Problem der Stimmbildung:
Pierre V. Key, E.C. (London, Hurst & Blackett, 1923);
also innumerable articles published in America during
his stay there, and everywhere on the occasion of
his death.-D. A.
Felix Tilkin).
CARYLL, Ivan (real name
Compr. condr. b. Liège, Belgium, 1861; d. New
York, 28 Nov. 1921. Stud. Liège Cons. Comp.
mus. comedies.
Duchess of Dantzig (1903); Earl and the Girl (1904);
New Aladdin (1906); Our Miss Gibbs (1909); The
CASADESUS, Francis. Fr. compr. b. Paris,
1870. 1918-22, dir. Fontainebleau School of
Music for Amer. teachers and advanced students.
He was followed there by Max d'Ollone in 1923.
1914; Le Moissonneur,
5-act, 1918; 4
eau jardin de France, 1-act, 1918;
symphony, E mi.-A. C.
CASALS, Enrique. Span. violinist and compr.
b. Vendrell (Barcelona)
Leader of the Paul
As
Casals Orch. Barcelona.
a compr. he
specialises in Catalonian popular music, best
known for his sardanas. Brother of celebrated
cellist, Pablo Casals.-P. G. M.
CASALS, Pablo. Span. cellist and condr.
b. Vendrell (Catalonia), 30 Dec. 1876. His father,
the local orgt., taught him to play several wind
and str. instrs., which he abandoned for the cello,
taking lessons with José García. First public
perf. in 1889 at Barcelona, where he remained
until his 17 year. Under patronage of Queen
María Cristina, he entered the R. Cons. de Música,
Madrid, attending the chamber-music classes of
the late Monasterio. At 19, he joined the Brussels
Cons. for a short time, but did not actually
receive any tuition there, returning to Barcelona,
where he became prof. at the Cons. and founded
a str. quartet with his colleague, the Belgian
violinist, Crickboom. Made his début in Paris,
at Lamoureux Concerts; and in London,
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CASAUX
Crystal Palace (1898). His rise to fame was pre-
ceded by years of patient struggle. In 1919 ho
founded in Barcelona the Orquesta Pau Casals,
and gave several series of concerts. As a condr.
he is looked upon as a stimulating force, opposed
to that pseudo-virtuosity of the bâton, into.
which the Nikisch tradition seems to be de-
generating. He is a remarkable pianist and has
comp. pieces for orch. and chamber-music. C. is
recognised as one of the epoch-making figures
in the contemporary history of art. Guided by
an unusual inborn understanding of the abstract
meaning of music, he has developed the re-
sources of cello technique and expression to a
limit of unsuspected possibilities. No cello ex-
ponent of the present generation can remain
immune to his influence, the title of founder of
a new school of cello-playing being due to him.
An uncompromising and incorruptible attitude
in matters of mus. interpretation is the founda-
tion-stone of his incomparable art, in which
he exhibits the robust sobriety characteristic
of the Span. creative genius of Velásquez,
Victoria, Morales, Zurbarán, Fray Luis de
León and Herrera. He has restored to the
concert repertoire Bach's unaccompanied com-
positions for the cello, thus saving from com-
plete deterioration that standard of refinement
in execution and sense of extreme subtlety of
nuance which are essential to the accurate
rendering of the classics. In 1906 he married
Guilhermina Suggia (q.v.)-P. G. M.
CASAUX, Juan. Span. cello virtuoso; b.
San Fernando (Cadiz), 28 Dec. 1889. First
prize at Paris Cons.; lives in Madrid, where
he is senior prof. at the R. Cons. de Música.
-P. G. M.
CASELLA, Alfredo. Italian pianist and
composer; 6. Turin, 25 July, 1883. Son of a
teacher at the Turin Liceo; studied piano
first under his mother; then went at the age of
13, on Martucci's advice, to Paris Cons., under
Diémer, (pianoforte) and Fauré (composition)
He then toured successfully as a pianist, appear-
ing under famous conductors (Colonne, Lamou-
reux, Monteux, Hasselmans, Mengelberg, etc.).
From 1912 he directed the Concerts Populaires
at the Trocadéro, Paris, and for 3 years directed.
a piano class at the Paris Conservatoire. From
1915 to 1923 taught at the Royal Liceo Musicale
di Santa Cecilia, Rome. Musical critic to
journals Monde Musical, S.I.M., the Paris daily
Homme Enchainé; Italian correspondent for
Courrier Musical (Paris) and Musical America
(New York). In 1917 he founded in Rome
the Società Nazionale di Musica (afterwards the
Società Italiana di Musica Moderna; refounded,
1923, as the Corporazione delle Musiche
Nuove [Italian section. of the International
Society for Contemporary Music]). Gifted
with powers of memory and analytical faculties
of assimilation that are truly prodigious,
Casella is the accomplished type of European
musician. He knows all styles, and practises
them on occasion with an unheard-of virtuosity.
He submitted in turn to the most contradictory
CASIMIRI
influences-Debussy, Mahler, Ravel, Stravinsky
and Schönberg. These influences may be re-
cognised in all his works; those of his youth
particularly (symphony; cello sonata; Suite
in C; Couvent sur l'eau [ballet]; Notte di
Maggio) have caused certain people to deny
to Casella a strictly original talent. This is
unjust. His personality appears in his first
compositions, and manifests itself brilliantly
in his more recent works: Pagine di guerra,
Elegia eroica, L'Adieu à la vie (to poems of
Tagore), A notte alla (piano concerto). He
there manifests a sombre soul haunted by
funereal visions, expressing, in a new and
original manner, his sense of mystery and of
the beyond. One finds also in certain works
a singular humour and a truly ferocious sense
of the grotesque. From the purely technical
point of view, he is without doubt the most
able of Italian composers of the day. His Elegia
eroica and his Pagine di guerra reveal a sur-
prising orchestral virtuosity. In 1924, he pub-
lished an interesting book, The Evolution of
Music (Italian, French and English texts;
Chester, London).
Pf.: Toccata, 1904 (Ricordi, Milan); Berceuse
triste, 1909 (Mathot); Barcarola, 1910 (Ricordi);
Sarabanda, 1910 (Mathot); Nove pezzi, 1914 (Ricordi);
Pagine di guerra, 1915 (pf. duet) (Chester, London);
Pupazzetti, 1916 (pf. duet) (id.); Sonatina, 1916
(Ricordi): 4 notte alta, 1917 (id.); Inezie (3 easy
pieces); 2 Contrastes (Grazioso; _Antigrazioso), 1918
(Chester); 3 pieces for pianola (Eolian Co. London)
Undici pezzi infantili, 1920 (Univ. Ed. Vienna);
Fox-trot (pt. duet) 1920 (id.).
Songs: Cinque liriche, 1903 (Mathot); Soleils
couchants, Soir palen, En ramant, 1906 (id.): Sonnet,
1910 (id.); Il bove, 1913 (Ricordi); L'Adieu à la vie
(4 funeral songs from Tagore), 1
, 1915 (Chester).
Chamber-muslo: Barcarola e scherzo, fl. and pf.
1904 (Mathot); sonata, pf. and cello, 1907 (Mathot);
Siciliana e burlesca, pf. vn. and cello, 1914 (Ricordi);
5 pieces for str. 4tet (Preludio; Ninna-nanna; Valse
ridicule; Notturno; Fox-trot), 1920 (Univ. Ed.).
Orch.: 1st Sinfonia in B mi. 1905 (Mathot); 2nd
Sinfonia in C mi. (1908-10); Italia (rhapsody) 1900
ma.
(id.); Notte di maggio (Colonne Concerts, 1914),
v. and orch. (Ricordi); Le Couvent sur l'eau (1911-12),
suite symph. (Monteux 1914) (Ricord
Elegia eroica, 1916 (Univ. Pagine di guerra
(1917), 5" filims" (Chester). Stage-work: Le Courent
sur l'eau (commedia coreografica) in 2 acts.
Mahler's 7th, Gatti, d. C. (in Critica Musicale,
for hands
Consult G..
Arr.
Florence, July 1918) and Mus. Times (London) July
1921. II. P.
CASIMIRI, (Monsignor) Raffaele Casimiro.
Ital. compr. and condr. of sacred music; b.
Gualdo Tadino (Umbria), 3 Nov. 1880. After
having occupied various positions in seminaries
and chapels in several Ital. cities, in 1911
he was called to conduct the choir of St. John
Lateran, Rome, which post he still occupies;
at the same time he is teacher at the Pontificia
Scuola Superiore di Musica Sacra, and member
of various commissions. Author of much
sacred music (publ. Capra, Turin; Bertarelli,
Milan; Schwann, Düsseldorf, etc.). Has cond.
concerts of sacred music of XVI century, with the
Società Polifonica Romana (q.v.), with which soc.
he has toured in America, England and other
countries. Has publ. numerous studies in
various Ital. mus. reviews, especially regarding
the history of sacred music in Rome. His
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CASSADÓ
vol. on Codex 56 of the Lateran Musical Archives
(the only known autograph of Giovanni Pier-
luigi da Palestrina) is important. In 1907,
founded in Perugia the Psalterium, a review of
sacred music, which he soon transferred to Rome,
where it is still publ. under his direction.-D. A.
CASSADÓ, Gaspar. Span. cello virtuoso; b.
Catalonia, 1898. Pupil of Pablo Casals; tours
Spain, France, Germany and America.-P. G. M.
CASSADÓ, Joaquín. Span. contemporary
compr. b. in Catalonia. Lyric drama, Lo Monjo
Negre; cello concerto; Sinfonía Macarena; His-
pania, piano and orch. (first perf. in London,
Promenade Concerts, Queen's Hall, 1923, soloist
José Iturbi, under Sir Henry Wood); smaller
works for orch., for cello, etc. Lives in
Barcelona.-P. G. M.
CASTBERG, Torgrim. Norwegian violinist;
condr. of the Music Acad. in Bergen; b. Skien
in 1874. Stud. 1893-6 in Paris; 1896-1900 in
Berlin. In 1905 he founded (with splendid
assistance from the art-patron, Frithjof Sundt,
and with the support of Edvard Grieg, J. L.
Mowinckel, Joachim Grieg and Under-Secretary
of State Haugen) the Music Acad. in Bergen, of
which he has since been director.-R. M.
CASTELNUOVO-TEDESCO, Mario. Compr.
b. Florence, 3 April, 1895. Stud. at Cherubini
R. Inst. of Music there, under Del Valle (pf.)
and I. Pizzetti (compn.). As one of the young
Ital. school, he is noted for his
work.
Orch: Ciclo di settembre (1910). Pf.: il raggio
verde; Alghe; I naviganti; Cantico. V. and pf.:
Fuori barbari; Le
Il libro di
Signorine
cadenti; Coplas; Briciole; Cera Vergineanna, Stelle
Dolcina: (1918). dei golosi; Star. Vn. and pf.:
Capitan Fracassa (1920). V. and orch.: 2 esco
3 Canti (1919); Ritmi (1920);
(from Tagore) (1917); 3 Fioretti di San
(1914): 2 Canti Greci (1917).
Unacc. 4-v. chorus: 2 Madrigali a Galatea
Mostly publ. by
Forlivesi (Florence). Also 5 Songs of Shakespeare
(Chester, 1923).
Consult Guido M. Gatti, M. C.-T. (Musicisti
moderni, d' Italia e di fuori; Bologna, 1920, Pizzi),
and Mus. Times (London) Feb. 1921.-D. A.
CASTÉRA, René de. Fr. compr. b. Dax,
3 April, 1873. Inclined at first towards agricul-
ture; stud. music from 1897 onwards; pupil
at Schola Cantorum; contributed in 1902 to
foundation of Soc. of Edition Mutuelle, which
has publ. greater part of productions of Schola
pupils.
Pr. trio; vn. sonata; symph. poem, Jour de fêle au
pays basque; pf. pieces; some songs.-A. C.
CASTILLON, Alexis de. Fr. compr. b. Chartres,
13 Dec. 1838; d. Paris, 5 March, 1873. Entered
military school of Saint-Cyr; left to devote him-
self to mus. compn. At first, pupil of Victor
Massé, then of César Franck, to whom Duparc
introduced him in 1868. Died suddenly in 1873,
having had time, however, to draw up the
statutes of the Société Nationale de Musique
(founded 1871) of which he was secretary.
Symph. music: pf. concerto (played by Saint-
Saëns, March 10, 1872, at Pasdeloup Concert; hissed.
by public not then accustomed to serious music);
chamber works: pf. 5tet; 2 str. 4tets; 2 trios for
pf. vn. and cello; pf. and vn. sonata; pf.: Pièces
dans le style ancien; 2 suites; 6 Valses humoristiques;
Pensées fugitives; songs. Consult Hugues Imbert,
Profils d'artistes contemporains (1897).-A. C.
CATTERALL
CASTRO, Ricardo. See MEXICAN OPERA.
CATALANI, Alfredo. Ital. opera - compr. b.
Lucca, 19 June, 1854; d. Milan, 7 Aug. 1893.
Stud. first under his father in his native city,
afterwards under Bazzini in Paris, then for 2
years at Milan Cons. under Bazzini, where in
1875 his eclogue in 1 act, La Falce, was perf.
His début as opera-compr. was made in Turin,
1880, with Elda. In 1883 Dejanire was produced
at La Scala; in 1886 Edmea in same theatre; in
1890, in Turin, Loreley (a revision of Elda); in
1892 La Wally. In 1885, he wrote the symph.
poem Ero e Leandro. He was also an esteemed
teacher at Milan Cons. His work has had a
marked influence on the Ital. comprs, who suc-
ceeded him (Mascagni, Puccini, etc.).-D. A.
CATHIE, Philip. Eng. violinist; b. Manchester,
1874. Stud. at R.A.M. London under Sainton
and Sauret; début as boy-violinist; later at St.
James's Hall in R.A.M. concert, 1891, when he
introduced Goldmark's concerto into England;
prof. R.A.M. in 1897. Since 1914, had been dir.
of music in various London theatres.-E.-H.
but
CATOIRE, George Lvovitch (pron. Catuár,
accent on 3rd syll.). Russ. compr. b. Moscow,
15/27 April, 1861; pupil of Klindworth (pf.)
and Vilborg, Rüfer (Berlin) and Liadof
(theory); took mathematical course at Moscow
Univ. His early works drew Tchaikovsky's
attention, and showed his influence;
gradually he evolved an individual style, fine and
claborate, especially in his pf. 4tet, op. 31, 5tet,
op. 28, and later songs, op. 32, 33 (all Russ.
State Music Publ. Dept.). His pf. concerto
(E flat) was perf. at Q. H. London in 1920. In
1923 he completed a manual of harmony, founded
on the dodecuple scale (q.v.). Is prof. of compn.
at Moscow Conservatoire.
LeSymphony, op. 7: symph. poem, Meyri (after
op. 13; pf. concerto, op. 21; str. 5tet,
op. 16; pf. 5tet, op. 28; pf. 4tet, op. 31; pf. trio,
op. 14; 1st vn. sonata, op. 15; 2nd vn. sonata, The
Poep. 20; many songs; choruses; pr. pieces.
CATTELANI, Ferruccio. Argentine violinist;
b. Parma in 1867. Stud. at Cons, of Parma under
Mantovani and Dacci. In 1897, vn. soloist at the
Opera and Colón theatres in Buenos Ayres.
Prof. of vn. for 14 years at Argentine Cons. of
Music (dir. by Pallemaerts). Set himself the un-
grateful task of educating mus. taste in Argen-
tina; founded Cattelani Quartet 1897 (with
Alessio Morrone, José Bonfiglioli and Tomás
Marenco). In 1900, formed a Symphony Concert
Company, which after 4 years had to be dis-
solved through lack of support. After unceasing
efforts, re-established the company 3 years later.
Its 4 concerts each year have proved very
successful.
Stet;
studies.-A. M.
Atahualpa, 4-act opera; symphony in E; Stet;
4tet:
yn. pieces; numerous songs; 6 vn.
CATTERALL, Arthur. Eng. violinist; b.
Preston, Lancs. Stud. under Willy Hess in 1894;
under Adolph Brodsky at R. Manchester Coll.
of Music, 1895; played at all Cosima Wagner's
mus. evenings at Bayreuth in season 1902;
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CAUDELLA
appeared at a Hallé concert in Tchaikovsky's
concerto, 1903; leader of Queen's Hall Prome-
nade concerts, 1909; prof. of vn. R. Manchester
Coll. of Music, 1912; leader of Hallé Orch. and
of quartet under his name (Catterall, Bridge,
Park, Hock).-E.-H.
CAUDELLA, Ed. See RUMANIA in art.
ACADEMIES.
ČELANSKÝ, Ludvík Vítězslav. Czech compr.
and condr. b. Vienna, 1870. At first a teacher,
at Prague Cons. 1892; also at singing schools.
Condr. at several theatres (Plzeň, Zagreb, Lwów,
Prague) and of several orchs. (Prague, Lwów,
Warsaw, Kief). Organised several orchs. per-
sonally, but did not remain long at their head.
1907-8, opera-dir. at Town Theatre, Vinohrady,
Prague; then some time in Paris (Châtelet);
1918-19, in Prague with Czech Philh., and
is now living there. One of best Czech condrs.,
distinguished by verve and intensity of expression.
His rendering is characterised by numerous
rubati. His talent is great, but he is with-
out the necessary perseverance to utilise his
gifts adequately.
Opera, Camilla (1907). Orch. melodramas: The
Earth; The Ballad of Jan Neruda's Death; The
Bells. Symph. poems: Adam; Noah; Moses; Hold
slunci (Homage to the Sun).-V. ST.
CELESTA. See MUSTEL.
CELLI, Edoardo. Ital. pianist; b. Rome,
2 Feb. 1888. Pupil of Giovanni Sgambati at
R. Liceo Mus. di Santa Cecilia; diploma in
1904; then went to Vienna to the Sauer and
Leschetizky school. Has given concerts with
the greatest success at the Augusteo, Rome,
and in Paris, Boston and New York (where he
resided for 2 years.)-D. A.
CELLIER, Alexandre. Fr. compr. orgt. b.
Molières-en-Cèze (Gard), 1883. Pupil of Diémer,
Leroux, Guilmant and Widor; orgt. and choir-
master.
Symph. suite, organ; 2 str. 4tets; Impromptus,
pf.; cello sonátas; Paysages cévenols, pf. duet;
songs. Author of an important work on the modern
organ, L'Orgue moderne (1913).-A. C.
CELLIER, Laurent. Fr. compr. b. Metague,
1887. Pupil of Roger-Ducasse, Gédalge, Vierne.
Has coll. 1200 Breton songs in Morbihan.
Pf. duets; Prélude, pt.; Barcarolle, pf. Also a
monograph on his master, Roger-Ducasse (1920,
Durand). A. C.
CERNIKOF, Vladimir. Pianist; b. Paris,
2 May, 1882. Stud. Geneva, Malta, Berlin. Début
17 Oct. 1905, Mülhausen, Alsace; 1st London
appearance, Feb. 1908; tours widely.-E.-H.
CESARI, Gaetano. Ital. music critic; b.
Cremona in 1870. At first a d.-b. player; then,
having gone to Germany, he stud. at the Arnold
Krug School in Hamburg, and in Munich under
Mottl, Sandberger and Kroyer. Returned to
Italy and taught mus. history at the Istituto
Superiore Manzoni. Now critic for the daily
Corriere della Sera, and librarian at the Liceo
Mus. G. Verdi; was a member of the per-
manent commission for mus. art at the Ministry
of Education. Has given some of his best work
to the preparation of a complete ed. of the
works of Claudio Monteverdi (which will
CESI
appear shortly).
Publ. following important
studies in Rivista Musicale Italiana:
The Origins of XVI Century Madrigal; Giorgio
Giulini as a
(contribution
symphony); The "Orfeo of Claudio Monteverdi, of
the Association of the Friends of Music at Milan; Sir
Nocturne Sonatas of Giambattista Sammartini.-D. A.
CESI, Beniamino. Ital. pianist; b. Naples,
6 Nov. 1845; d. there, 19 Jan. 1907. A dis-
tinguished concert-player and teacher. The
most esteemed living pianists of the Neapolitan
school have been his pupils, and his influence.
has been very wide and beneficial. He was
at first his father's pupil, then Albanesi's.
When Thalberg heard him, he made him one
of his favourite pupils. At 20, he won the
competition for pf. prof. at R. Cons. di San
Pietro a Maiella in his native town.
His career as concert-player began at 18,
and he very quickly gained a first-class reputa-
tion, not only in Italy but in all principal cities
of Europe. He appeared in London in 1886,
with great success. He was a great interpreter
of old Ital. music, as well as Bach, Beethoven,
Chopin, Schumann.
Anton Rubinstein esteemed Cesi, to such
a degree that when Rubinstein was appointed
dir. of Cons, of Petrograd, C. was asked by him
to direct the pf. schools there. C. went to
Petrograd in 1885, and remained there until
1891, when he was obliged to return to Italy
on account of paralysis, which quickly reduced
him to immobility, leaving, fortunately, his
intelligence and his right hand untouched.
In 1894 he was re-admitted as a teaching official
in Cons. of Palermo, from whence, a few years
after, he was able to return to the Naples Cons.
in charge of a chamber-music class which he
superintended until his death. His educational
works have great importance.
Metodo per pianoforte, in 3 large parts to be used
canons,
Polyphonic works: fugues, cans and studies; 2.
3. Pieces: sonatas, trios, 4tets, concertos, etc.
(Ricordi). Many other colls, of pf, music, excellently
revised. Consult a biography by Alessandro Longo
(in review L'Arte pianistica, Naples, 1 Jan. 1914).
-D. A.
CESI, Cecilia. Ital. pianist; b. Palermo,
Dec. 1903. Daughter and pupil of Napoleone
Cesi (q.v.). Showed a precocious aptitude as
a pianist, worthily continuing the traditions
of her family. At 6, made her début; at 8, gave
a concert at the Sala Maddaloni, Naples, with
great success. She had similar welcomes in
Rome, Milan and other Ital. cities.-D. A.
CESI, Napoleone. Ital. pianist and compr.
b. Naples, 6 Aug. 1867. Eldest son of Benia-
mino, whose pupil he was; with his younger
brother Sigismondo (q.u.) he carried on the
traditions and artistic heritage of his father.
As a compr. he won several important competi-
tions, and has publ. various works, especially
for piano.-D. A.
CESI, Sigismondo. Ital. pianist and compr.
b. Naples, 24 May, 1869. Second son of Benia-
mino. With his brother Napoleone he continued
his father's teachings and traditions. Founded.
in Naples, 1908 (together with Ernesto Marciano),
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GHABRIER
the Liceo Musicale, a private teaching insti-
tute which rose later to notable development
and importance. C. has given successful con-
certs in principal Ital. cities, and is an esteemed
teacher.
also
4/50 ppuntah, with Marciano) a Prontuario di
Numerous revisions of classical pf. music, and
i di storia e di letteratura del pianoforte:
musica (Handbook of Music) (Ricordi).-D. A.
CHABRIER, Alexis Emmanuel. French com-
poser; b. Ambert, 18 Jan. 1841; d. Paris, 13 Sept.
1894. Showed from early childhood a marked
disposition for music, but was not allowed to
study with view of taking it up profession-
ally. Whilst pursuing his classical studies
at Paris, received piano lessons from Eduard
Wolf, and later lessons in harmony and counter-
point from Semet and Hignard. He also came
into contact with César Franck's circle.
In
1877 the success of his operetta L'Etoile (per-
formed at Bouffes-Parisiens) marked the first
step in his artistic career. It was followed by
another operetta (in one act), L'Education man-
quée (1879) which attracted much notice. A
journey to Munich, in company of Duparc,
brought Wagner's music to Chabrier's notice,
and exercised a decisive influence upon him.
Soon afterwards he had the good fortune to
find a post as assistant choirmaster to Charles
Lamoureux, and henceforth he was able to devote
all his time to music. Successively his orchestral
rhapsody España (1883), his Sulamite for mezzo-
soprano and female chorus (1885), and fragments.
of his lyric drama Gwendoline were performed
under Lamoureux; and meanwhile various other
works, such as his 10 Pièces pittoresques for
pianoforte (1881) and Valses romantiques for 2
pianofortes (1883) were being published.
Gwendoline was produced at Brussels in 1886,
but its run was cut short by the manager be-
coming bankrupt. A year later, the comic opera
Le Roi malgré lui was produced at Paris Opéra-
Comique, the first performance taking place a
bare week before that theatre was destroyed by
fire. Both these works were produced in Ger-
many, but first performance of Gwendoline at
Paris took place only at end of 1893, at a time
when the composer's health had finally failed him.
His later works were the Bourrée fantasque for
pianoforte, a few songs, and a choral ode, A la
Musique. When death came, he was engaged in
composing an opera, Briséis, of which the first
act, which he had completed, was given at the
Concerts Lamoureux in 1897 and produced at
the Opéra in 1899 (publ. Enoch).
He died long before having given his measure,
and, most unfortunately, before having come to
his own for what he achieved. Endowed
with a wonderfully original imagination and
with an instinct which enabled him to acquire,
unassisted, the full measure of technique which
he needed for self-expression, he is now regarded
as one of the most significant French composers
of his time. In picturesque and humorous effects
he remains unsurpassed, and he has exercised a
considerable influence upon contemporary de-
velopments in French music.
CHADWICK
Consult: J. Desaymard, E. Ch. (Clermont Ferrard,
1908); R. Martineau, E. Ch. (Paris, 1910); G. Ser-
vières, E. Ch. (Paris).
in
Séré (q.v.).-M. D. C.
CHADWICK, George Whitefield. Amer. compr.
b. Lowell, Mass., U.S.A., 13 Nov. 1854. Came of
a New England family in which the love for music
and some practical skill in singing or playing was
common. At 15 he played the organ in a church
in Lawrence, Mass. He entered his father's in-
surance business; but did not put aside music,
studying at the New England Cons. in Boston,
where Dudley Buck taught him theory, and
George E. Whiting the piano. Later Eugene
Thayer became his organ-master. After teaching
for a year 1876 at Olivet Coll. (Michigan), he
entered the Leipzig Cons., studying theory under
Jadassohn and pf. under Reinecke. His gradua-
tion work, an overture, Rip Van Winkle, was
perf. at the Cons. in Leipzig (June 1879) and
later in America (11 Dec. 1879) by Harvard
Mus. Association. In the winter of 1879 he stud.
organ and compn. under Rheinberger in Munich.
Returning to America, Chadwick became the
orgt. of the South Congregational Ch. in Boston
in 1880, and in 1881 joined the teaching staff of
the New England Cons. with which he has been
connected ever since. In 1897 he became its dir.
and has made of this inst. one of the most solid
and most highly respected schools in U.S.A.
He cond. J. K. Paine's music at the perf. of
Sophocles' (Edipus Tyrannus at Harvard Univ.
in 1881. His work with choral organisations in
Boston and with the Amateur Boston Orch.
Association led to his engagement by the Hamp-
den County Fest. Association as condr. of their
Springfield Fests. (1889-99). From 1898 to 1901
he cond. the better-known Worcester (Mass.)
Fests. An achievement of no little significance.
was his organisation and conducting of the Cons.
orch., which under C.'s direction began giving
public concerts in 1902. The orch. raised the
quality of its performances steadily up to the
present day. He relinquished the bâton in 1919.
In 1901 he went to England to study the organi-
sation of typical Eng. music schools such as the
R.C.M., R.A.M. and Guildhall School. In 1905
he made a similar trip to the Continent.
From the very beginning his compns. found a
ready hearing. His first symphony was perf. by
Harvard Mus. Association 23 Feb. 1882. On
13 Jan. 1883 the Boston Symphony Orch. played
his overture Thalia. His second symphony,
B flat, was perf. by the Boston Symphony Orch.
11 Dec. 1886. The overture Melpomene followed,
23 Dec. 1887, and in Feb. 1888, the Kneisel
Quartet played his 5tet for pf. with strs. Thus
itation as a compr. was establ., so that in
1892 the managers of the World's Columbian
Exposition, held in Chicago in 1892, turned to
C., when they sought a compr. for the Columbian
Ode which was to commemorate the occasion,
and which, in C.'s setting, was perf. by a chorus
of 3000 singers with an orch. of 300 under
Theodore Thomas.
his
As a compr. C. is a fine type of the native
Amer. musician, who, like MacDowell, although
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CHAILLEY
trained in Europe, raised the standing of the
Amer. compr. by giving evidence of a capacity
for original work and a masterly technical equip-
ment. Although true to the principles of Post-
classic and Romantic schools which he had im-
bibed in his European training, he was not
entirely oblivious to new movements. A loyal
member of the conservative Old Guard, his
later works show occasional evidences of the
assimilation of new ideas, both in technique and
in matters of style. Liberal and versatile in his
tastes, his chief qualities are fluent melodic
invention, and a fine mastery of classical forms.
In 1897 he received A.M. h.c. from Yale Univ.;
in 1905 LL.D. from Tufts Coll. He is at present
(1924) the only musician in the Amer. Acad. of
Arts and Letters, where he is the successor of
MacDowell.
Symphony in F, No. III (Schmidt, 1896); Melpo-
mene, dramatic overture (id. 1891); Euterpe, con-
cert overture (id. 1906); Aphrodite, symph. fantasy
(id. 1912); Sinfonietta (Schirmer, 1906); Symphonic
Sketches, orch. suite (Schmidt, 1907); Suite sym
phonique, E flat (id. 1911); Tam O'Shanter, symph.
ballad (Boston Music Co. 1917); The Pilgrims, for
chorus and orch. (Schmidt, 1890); Noel, for chorus,
soli and orch., (H. W. Gray, 1909); Judith, lyric
drama for soli, chorus and orch. (Schirmer, 1901);
Everywoman, a morality (T. B. Harms, 1911);
many songs (Schmidt; Ditson); Manual of Harmony,
(Boston, 1897, B. F. Wood).-O. K.
CHAILLEY, Marcel. Fr. violinist; b. Paris,
1881. Pupil of Bertheliez at Cons., which he left
in 1902 with a prize. Since 1905, has devoted
himself entirely to chamber-music playing. His
quartet, which has changed several times, now
consists of Chailley (1st vn.), Guilevitch
(2nd vn.), Pascal (vla.), and Diran Alexanian
(cello). This party, relatively little heard in
France, enjoys great popularity in Holland,
where it has produced important works (Voor-
molen's 4tet, etc.), and in Brazil where it
made a brilliant tour. C. married the pianist
Céliny Richez, who obtained 1st prize at Paris
Cons. and was one of favourite pupils of Raoul
Pugno.-M. P.
CHAINS OF IRON. Used for instr. effect by
A. Schönberg in 3rd part of Gurrelieder (Wilde
Jagd chorus).-EG. W.
CHAIX, Charles. Compr. b. Paris, 26 March,
1885. Stud. 1 year at the Ecole Niedermeyer,
Paris (1903); entered Geneva Cons. (organ);
prof. of harmony there from 1909. His compns.,
very poetically conceived and admirably clear
in texture, show the influence of the school of
César Franck.
Scherzo for orch. op. 2 (Swiss National Ed.);
phong in D, op.
for organ, op. 1 (Leipzig, Leuckart); 2 motets,
unaco. chorus, op. 4 (Paris, Huguenin); Poème
funebre, chorus and orch. op. 5 (written in Macedonia
during the war).-F. H.
CHALIAPIN, Feodor Ivanovitch. Russian
operatic bass singer; Kazan on the Volga,
15 Feb. (o.s.) 1873. Sang as choir-boy; at 17,
joined a provincial opera-company, beginning
as the Stranger in Vertovsky's Askold's Tomb;
on its dissolution, became à porter, a hunter,
and a street-sweeper in turn; later, travelled
with a Malo-Russ. company as singer and dancer,
visiting the Caucasus; Ussatof, a well-known
CHAMBER-MUSIC PLAYERS
singer, offered to teach him, and secured for him
an engagement at Tiflis Opera House; in sum-
mer of 1894, he sang at Summer Theatre of
Aquarium, Petrograd; then at Maryinsky, and
at Imperial Opera House in following season
(Ivan the Terrible in Rimsky-Korsakof's Maid
of Pskof); he visited Milan; but received his
most important schooling in Mamantof's com-
pany (Miller in Dargomisky's Russalka, Salieri
in Rimsky-Korsakof's Mozart and Salieri,
Mephistopheles in Gounod's Faust, etc.). In 1899,
appeared as guest-artist at Imperial Opera, Mos-
cow, and at Maryinsky, Petrograd (title-rôle in
Rubinstein's The Demon; Holofernes in Serof's
Judith, etc.). In Boito's Mefistofele he appeared
10 times in Milan in 1901. Two of his favourite
parts are Don Basilio (Rossini's Barber) and
Leporello (Mozart's Don Giovanni). On June 24,
1913, C. appeared for first time in England, in
Sir Joseph Beecham's season of Russ. opera and
ballet; appeared also in the 1914 season and
created a furore. Since 1918 his London appear-
ances have been confined to song-recitals in the
Albert Hall.-E.-H.
CHAMBERLAIN, Houston Stewart. Wag-
nerian author; b. Portsmouth, 9 Sept. 1855.
Pupil of Cheltenham College; stud. natural
sciences at Geneva, 1879-81; 1885, Dresden;
1889, Vienna; 1908, Bayreuth; married Eva,
daughter of Cosima Wagner. Chamberlain,
a naturalised German, through his chief work,
The Foundations of the Nineteenth Century, was
with Gobineau the originator of the view that
the Germanic race is the race par excellence
the modern Germans in particular. Or,
negatively expressed, he held that the Hebrew
race was both inferior and disintegrating.
Richard Wagner's Drama, 1892: Richard Wagner's
Genuine Letters to Ferdinand Praeger, 1894; Richard
Wagner, 1896 (Eng., 1897; Fr., 1899): First
Twenty years of Bayreuth Festival Plays, 1896. Con-
sult his autobiography Lebenswege meines Denkens
(Bruckmann, Munich, 1919).-A. E.
CHAMBER-MUSIC in Belgium, in Britain,
in Finland, etc. See under headings of various
countries-BELGIAN CHAMBER-MUSIC, BRITISH,
FINNISH,
The
CHAMBER-MUSIC PLAYERS. ARGENTINA.
-Buenos Ayres: (i) Primer Cuarteto.
first str. quartet party formed in Argentina
under this name, was the Gaito party, founded
1874. Cayetano Gaito, Bellucci, Ghignatti
and Bomon. Toured S. America in 1879.
Pedro Melani joined as 1st vn. in 1880. (ii)
Buenos Ayres Str. Quartet, founded 1886. Her-
cules Galvani, Forino, Bonfiglioli, Scarabella.
(iii) Cattelani Str. Quartet, founded 1879. Ferruccio
Cattelani, Alessio one, José Bonfiglioli,
Tomás Marenco. (iv) Argentina Soc. of Chamber-
Music. Directed by León Fontova and Antonio
López-Naguil.
AUSTRIA.-Rosé Str. Quartet (Vienna).
Arnold Rosé, Anton Rušizka, Paul Fischer,
Anton Walter.
BELGIUM.-(i) Schörg Str. Quartet (Brussels).
F. Schörg, H. Daucher, P. Miry, Jacques Gaillard
(toured Europe and America for 15 years).
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CHAMBER-MUSIC PLAYERS
Zimmer Str. Quartet (Brussels). A. Zimmer, F.
Ghigo, L. Baroen, J. Gaillard. (iii) "Pro Arte"
Str. Quartet (Brussels), founded 1922. Alphonse
Onnou, Laurent Halleux, Germain Prévost,
Robert Maas. (iv) Mathieu Crickboom Quartet.
mem-
CZECHO-SLOVAKIA.-(i) Czech Quartet
(formerly Bohemian Quartet), founded in Buda-
pest in 1892 by pupils of Hanus Wihan of Prague
Cons. Karel Hoffmann, Josef Suk, Oskar Nedbal,
Otto Berger (b. 1873, d. 1897). Wihan took
Berger's place. Nedbal left in 1906, replaced by
Jeří Herold (b. 1875). Wihan left in 1913, re-
placed by Ladislav Zelenka (b. 1881). Tours
Europe repeatedly, especially with Smetana's
and Dvořák's quartets. Noted for their warm
tone and fiery rhythms. In 1922 the
bers were appointed profs. at Prague Cons.
Consult Boleska's Ten Years of Czech Quartet
(Prague, 1902, M. Urbánek). (ii) Ševčík-Lhatsky
Str. Quartet (late Ševčík Quartet), founded at
Warsaw, 1903; the leader Bohuslav Lhatsky
(b. Libochovice, 1879), Karel Procházka, Karel
Moravec were all pupils of Ševčík. The cellist
Bohuslav Váska was replaced in 1911 by Ladislav
Zelenka and after the latter's removal to the
Czech Quartet by Antonio Fingerland. Toured
Russia, 1904; then settled in Prague; later
toured Europe regularly.
DENMARK.-(i) Copenhagen Str. Quartet,
founded 1916. Gunna Breuning, Gerhard Rafn,
Ella Faber, Paulus Bache. Tours in Denmark,
England, Germany, Sweden, Finland. (ii)
Copenhagen Trio. Peder Möller (vn.), Louis
Jensen (cello), Agnes Adler (pf.).
ENGLAND. (i) London Str. Quartet, formed
in 1908. First concert 26 July, 1910; have given
hundreds of concerts, toured England, America,
France, Germany, Spain, Portugal, Canada;
world-tour Nov. 1922-April, 1924. James Levey,
T. W. Petre, H. Waldo Warner, C. Warwick
Evans. (ii) Philharmonic Str. Quartet (London).
Frederic Holding, Cecil Bonvalot, Raymond.
Jeremy, Cedric Sharpe. (iii) English Str. Quartet
(London). Marjory Hayward, E. Virgo, Frank
Bridge, Ivor James. (iv) Mandeville Str. Quartet
(London). William J. Fry, Henri Peros, Vera L.
Henkel, Elsa Martin. (v) Spencer Dyke Str.
Quartet. (vi) Kendall Str. Quartet. (vii) Chamber-
Music Players, The (London). William Murdoch
(pf.), Albert Sammons (vn.), Lionel Tertis (vla.),
Cedric Sharpe (cello). (viii) Catterall Str. Quartet
(Manchester), founded 1912. Arthur Catterall,
John S. Bridge, Frank S. Park, Johan C. Hock.
(ix) Edith Robinson Str. Quartet (Manchester).
Edith Robinson, Gertrude Barker, Hilda Lind-
say, Kathlee
Moorhouse. (x) M'Cullagh Str.
Quartet (Liverpool), founded 1920; first London
appearance 1921; played at Salzburg Inter-
national Fest. Aug. 1923. Isobel M Cullagh,
Gertrude Newsham, Helen Rawdon Briggs,
Mary M'Cullagh.
FRANCE.-(i) Capet Str. Quartet (Paris).
Originally Lucien Capet, Giron, H. Casadesus,
Furet; in 1903, Lucien Capet, Touret, Bailly,
Hasselmans; in 1910, Capet, Hewitt, Benoft,
Delobelle. (ii) Chailley Str. Quartet (Paris).
CHAMBER-MUSIC PLAYERS
Marcel Chailley, Guilovitch, Pascal, Diran Alex-
anian. (iii) Hayot Str. Quartet. Maurice Hayot,
André, Denayez, Salmon. (iv) Soc. de Musique de
Chambre pour Instruments à Vent, founded 1879
by Paul Taffanel, flautist and condr.; is unique
of its kind; its repertoire consists of all the 6tets,
5tets, 4tets, trios, duos, and solos for wind instrs.
with or without the pf., of both ancient and
modern schools. Present players: René le Roy
(fl.), Louis Bas (ob.), Achille Grass (clar.), Jules
Vialet (horn), Leir Letellier (bsn.). (v) Société
Moderne d' Instruments à Vent. See special article.
GERMANY.-(i) Busch-Quartett. "Adolf Busch,
Gösta Andreasson, Karl Doktor, Paul Grümmer.
(ii) Klingler-Quartett. Karl Klingler, Richard
Heber, Fridolin Klingler, Max Baldner. (iii)
Amar-Quartett. Licco Amar, Walter Casper,
Paul Hindemith, Maurits Frank. (iv) Wendling.
Quartett. Carl Wendling, Philipp Neeter, Hans
Michaelis, Alfred Saal. (v) Havemann-Quartett.
Gustav Havemann, Georg Kniestädt, Hans
Mahlke, Adolf Steiner. (vi) Gürzenich-Quartett.
Bram Eldering, C. Körner, A. Zimmermann,
Emanuel Feuermann. Nos. ii and v specialise
in the propaganda of contemporary music.
HOLLAND.-(i) Hollandsch Quartet (Dutch
Str. Quartet), formed at Amsterdam, 1911. Her
man Leydensdorff, Julius Röntgen, jun., Bram
Mendes, Thomas Canivez. Reconstituted in 1922:
Herm. Leydensdorf, Jul. Röntgen, jun., Bram.
Mendes, Thomas Canivez. Plays in Holland, Bel-
gium, Germany, Denmark and Sweden. Has given
a very large number of first perfs. of modern
works. (ii) Amsterdam Str. Quartet, formed 1912.
Louis Zimmerman, Joh. Herbschleb, Herman
Meerloo, Frits Gaillard. Since 1920, cello, Marix
Loevensohn. (iii) Haagsch Quartet, formed at The
Hague, 1918. Sam Swaap, Adolphe Poth, Jean
Devert, Charles van Isterdael. Produced many
Dutch works: Schäfer, Voormolen, van den
Sigtenhorst Meyer, Oberstadt, Blitz, Brandts-
Buys, Diepenbrock, Zagwijn, van Anrooy, etc.
Perf. also for first time in Holland quartets of
Milhaud, Migot, Honegger, Tailleferre, Esplá,
Turina, Franco Alfano, Respighi, Malipiero,
Casella, Enesco, Procházka, Suk, Stravinsky and
Stan Golestan. (iv) Concertgebouw Sextet, formed
at Amsterdam, 1909. Evert Cornelis (condr.
pf.), N. Klasen (fl.), G. Blanchard (ob.), P.
Swager (clar.), G. S. de Groen (bsn.), H. Tak
(horn). Gives in nearly every Dutch town classic
and modern chamber-music for wind instrs.
First Dutch perfs. of Magnard's 5tet, op. 8;
Roussel's 6tet; Debussy's sonata, fl. vla. harp;
Ravel's 7tet; Goossens's Holiday Impressions;
chamber-symphonies of Schönberg, Juon, Wolf-
Ferrari, Sekles (in connection with other players)
and Ravel's Poèmes de Stéphane Mallarmé.
Works by Averkamp, Dopper (6tet), Sem Dres-
den (three 6tets and a trio), Diepenbrock, Ingen-
hoven, Willem Pijper (7tet), Röntgen and Henri
Zagwijn were specially written for them. (v)
Societies of wind-instrs. also exist at The Hague
(Haagsch Sextet) and at Utrecht.
HUNGARY-(i) Hungarian Str. Quartet
(Budapest). Emeric Waldbauer, Egon Korstein,
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CHAMBER-MUSIC PLAYERS
Jean de Temesváry, Eugene de Keynely. (See
WALDBAUER.) (ii) Budapest Str. Quartet.
Hauser, Pogany, Ipolyi, Son. (iii) Lehner (some-
times spelt Léner) Str. Quartet. J. Lehner, J.
Smilovits, S. Roth, I. Hartmann.
ITALY. (i) Quartetto Romano (str. quartet),
founded by Oscar Browning in Rome in 1921.
Formerly the Spada Quartet (Spada was drowned
in 1922). Ármando delle Fornaci, Ettore
Gandini, Giuseppe Matteucci, York Zucca-
roli. Giuseppe Cristiani often joins them
at the pf. (ii) Quartetto di Roma (str. quartet),
founded in Rome in 1923, from leading players
of Augusteo orch. Oscar Zuccarini, Francesco
Montelli, Aldo Perini, Tito Rosati. (iii) Società
fra Strumenti a Fiato per la Musica da
Camera, founded in Rome in 1922. Alberto
Veggetti (fl.), Riccardo Scozzi (ob.), Carlo Luberti
(clar.), Marsilio Ceccarelli (horn), and Gino Bara-
baschi (bsn.) Has given many concerts at
Reale Accademia Filharmonica. (iv) Doppio
Quintetto Torinese, founded in Turin in 1920,
and formed by the best professors of Liceo
Municipale, of Symph. Concerts and of Teatro
Regio. The quintet is composed of 5 str. instrs.
(2 vns. vla. cello and d.-b.), and 5 wind instrs.
(fl. ob. clar. bsn. horn) in addition to a harp and
pf. The present players are: Maurizio Vico,
Italo Vallora, Angelo Lissolo, Gaetano De
Napoli, Angelo F. Cuneo, Ulrico Virgilio, Ermete
Simonazzi, Leonardo Savina, Carlo Giolito, Ezio
Nicolini, Clelia Aldovrandi (harpist), Luigi Per-
rachio (dir. and pianist). The soc., which has a
governing board, is domiciled at Piazza Castello
No. 1. It gives 3 concerts annually in Turin, and
it has won many successes also in other Italian
cities. (v) Quartetto Bolognese. Federico Barera,
Giorgio Consolini, Angelo Consolini, Dante Serra.
(vi) Quartetto Napoletano. Cantani, Parmiciano,
Scarano, Viterbini; Alessandro Longo often joins
them at the pf. (vii) Quartetto Polo (Milan);
leader, Enrico Polo (q.v.). (viii) Trio Nucci
(Florence). (ix) Quintetto Senese di Violoncelli;
leader, Arrigo Provvedi. (x) Trio Consolo-Serato-
Mainardi. (xi) Trio Casella-Corti-Crepax.
NORWAY. Arvesen Quartet (Christiania).
Arvesen, Haaland, Vitols, Yrjö Selin.
SCOTLAND-Horace Fellowes Str. Quartet.
See FELLOWES.
SPAIN (i) Cuarteto Francés (str. quartet),
founded in Madrid, 1902, for development of
national chamber-music. Julio Francés, Odon
González, Conrado del Campo, Luis Villa. During
8 years they toured all over Spain, including
small villages, the result being, in many cases,
the creation of Philh. Societies which now exist
in almost every one of 49 Span. provinces. To their
initiative is also due the writing of 17 chamber-
works, dedicated to them by Ricardo Villa,
Ruperto Chapí, Bartolomé Pérez Casas, Vicente
Zurrón, and one of its members, Conrado del
Campo. (ii) Cuarteto Vela (str. quartet), founded
in Madrid, 1908, by the violinist Telmo Vela.
In 1911, owing to absence of two of its members,
it was reorganised and renamed Cuarteto Español.
(iii) Cuarteto Español (see CUARTETO VELA above).
CHANTAVOINE
(iv) Trio Iberia, composed of plucked str..
instrs. bandurria, lute and guitar; founded i
(about 1900) by Angel Barrios (q.v.), in
collab. with R. Deovalque and C. Artea, the
object being to spread a knowledge of Anda-
lusian music. Their success in Paris, London and
Rome, not to mention Spain, exceeded all ex-
pectations. They gave several perfs. before the
royal families of England and Spain, and, at the
time, contributed more than any other mus.
organisation of higher standard to awake the
interest of foreign peoples in the works of
Albeniz, Granados, Bretón, Falla and others then
hardly known outside Spain. As their real end
was study and propaganda, when they con-
sidered their aims fulfilled, they refused many
tempting offers and dissolved the organisation.
They handed their repertoire and their tradition
to the Trio Albeniz, a similar ensemble of players,
well known in Spain at present. (v) Trio Albeniz
(see TRIO IBERIA above). (vi) Sociedad de Instru-
mentos de Viento, founded in Madrid, 1910, by
Mariano San Miguel (q.v.).
SWEDEN.-(i) Svon Kjellström Str. Quartet
(Stockholm). Sven Kjellström, Gösta Björk,
Einar Grönwall, Carl Christiansen. (ii) Julius
Ruthström's Str. Quartet (Stockholm). (iii)
Society of Chamber-Music (Malmö). (iv) Gothen-
burg Str. Quartet. (v) Mazerska Kvartett" Uska-
pet," founded by Johan Mazer's bequests of
1841 and 1846. The members cultivate chamber-
music, in closed meetings.
U.S.A.-(i) Kneisel Str. Quartet founded 1885,
disbanded 1917 (see special art.). (ii) Flonzaley
Str. Quartet (New York), founded 1902 (sce
special art.). (iii) Olive Mead Str. Quartet (New
York), founded 1904, Olive Mead, Vera Fonarof,
Gladys North, Lillian Littlehales. (iv) Mar-
gulies Trio (New York), founded 1904 (sce special
art.). (v) Philharmonic Ensemble of New York
(str. quartet), founded 1913. (vi) Letz Str.
Quartet (New York), founded 1917, after dissolu-
tion of Kneisel Quartet. Hans Letz, Sandor
Harmati, Edward Kreiner, Gerald Maas. (vii)
New York Chamber Music Soc., str. and wind,
formed 1914 by Miss Carolyn Beebe (pf.)
and Gustave Langenus (clar.). Incorporated
1919; about a dozen players. (viii) Adamowski
Str. Quartet (Boston), founded 1888. Timothée
Adamowski, E. Fiedler, D. Kuntz, Giuseppe
Campanini. Reconstituted in 1890: T. A., A.
Moldauer, Max Zach, Joseph Adamowski. (ix)
Longy Club (Boston) of wind instrs., to which
was added in 1910 the similar Barrère Ensemble.
of New York. (x) Kortshak Str. Quartet (Chi-
cago), founded 1915; name changed to Berkshire
S. Q. 1916.-E.-H.
CHANTAVOINE, Jean. Fr. musicologist; b.
Paris, 17 May, 1877. Pupil of Friedländer,
Berlin; dir. of the Collection des Maîtres de la
Musique (Alcan, Paris). Formerly critic of La
Revue Hebdomadaire and of Excelsior. Since 1923,
gen. secretary of Paris Conservatoire.
Beethoven, 1905; Nibelungen Ring (transl. of
Pochhammer's commentaries), 1911; Liszt, 1912;
Musiciens et Poètes, 1912; De Couperin à Debussy,
1921. Also a transl. of a selection of Beethoven's
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CHAPÍ
and ed. of 12 Beethoven minuets, for orch.
-A. C.
CHAPÍ, Ruperto.
Span. compr. b. Villena,
23 March, 1851; d. 25 March, 1909. A son of
the local barber, he started as a piccolo-player
in his native town; became afterwards a bril-
liant executant on the cornet; in 1867 went to
Madrid, on his own initiative, as student at R.
Cons. de Música, carrying with him only a few
pounds, and relying for support on his cornet-
playing, which proved injurious to his health.
In 1872, he won the post of regimental band-
master; in 1873, the Rome award of the R. Acad.
de Bellas Artes; in 1878, obtained a special
grant for study in Paris, which he renounced
(1879) and returned to Spain. He conducted the
Sociedad Artístico Musical in 1881, and in 1882
rose definitely to fame with his zarzuela La
Tempestad, the book being a version of the Juif
polonais of Ercokmann-Chatrian. In 1892 he had
sufficient authority and means to start alone a
campaign of the utmost importance for the mus.
profession in Spain. In his endeavour to become
independent of the patronage of publishers, he
had always refused to part with the right of re-
production of the orch. parts of his works. There
was at the time a very well known acaparator,
who had acquired the rights of practically every
work produced in Spain, by paying ridiculous
sums to the needy comprs. He offered Chapí
not less than 1,000,000 pesetas for the orch.
material of his works. Chapí not only refused the
offer, but started a library of his own in opposi-
tion to the powerful monopoliser. The latter
tried to boycott Chapí, to whom the doors of
practically every theatre were closed for a time.
But the people missed Chapí's music, and on
one occasion, the attraction of his name was
considered indispensable to prevent the closing
of the Teatro de la Zarzuela before the season.
was over. So he was called upon to write in three
days a new play, which he did (Mujer y reina,
1895), obtaining a phenomenal success. This and
his triumph with El Tambor de Granaderos made
him the sole master of the situation.
Almost simultaneously with the foundation of
his library, he founded the Sociedad de Com-
positores y Editores Propietarios de Obras
Musicales, which in 1893 extended its scope to
dramatic authors, as the Soc. de Autores, Com-
positores y Editores de Música. The object of
the Soc. was to organise, protect, and adminis-
trate the petit droit, until then unknown in Spain;
but C.'s idea was that the Soc. should control all
kinds of authors' rights. This was accomplished
(with the co-operation of the author Sinesio Del-
gado) by the establishment of the Soc. de Autores
Españoles (Span. Soc. of Authors), 1899, which all
the authors and comprs. in Spain joined in 1901.
In 1899, C. was elected fellow of the R. Acad. de
Bellas Artes, but he declined the honour. His
death, the day after the production of his Mar-
garita la Tornera at the Teatro Real (R. Opera
House), called forth a popular demonstration of
mourning in Madrid, where his memory is
honoured by a statue in the Jardines del Retiro.
CHAPÍ
Many claim for Chapí the place given in the
history of Span. music to Isaac Albeniz, and
never was a Span. compr. discussed with so much
intemperance, both by his admirers and critics,
The composer, scholar and academician, Manuel
Manrique de Lara, proclaims Chapí the founder
of the Span. opera, and the inspiring reformer,
"thanks to whom Span. contemporary music is
in closer relationship to that of Mozart, Weber,
Beethoven and Wagner than it ever was to that
of Rossini, Meyerbeer, Donizetti or Mercadante.
So the logical evolution of the mus. art that
started with the Magic Flute, Freischütz and
Fidelio, leading through Spontini to Tann-
häuser and Lohengrin, has its manifestation in
Spain in the master-works of Chapí, his Curro
Vargas, Circe, and Margarita la Tornera."
Henri Collet, the eminent Fr. critic and his-
torian, an authority on old and modern Span.
music, expresses himself on Chapí (Encyclopédie
de la Musique et Dictionnaire du Cons.):
s devoid of any originstantial orch.
Up to his death, he flooded Spain with composi-
tions aussi détestables que faciles; amongst them 4
diculous str. 4tots, 2 u
poems,
commonplace pf.
pieces and songs, and zarzuelas like La bruja, Curro
Vargas, El rey que rabió, La revoltosa, that cannot be
Operettas.
co
His unfortunate attempts in Circe
i la
Tornera to speak a more serious mus. language are
not worth mentioning.
Julio Gómez, the compr., scholar and librarian
of the R. Cons. de Música, considers Chapi's
4tets "four master-works that will for ever stand
as the foundation and origin of pure Span.music."
Rafael Mitjana, in his book Para música vamos,
writes:
In the history of Spanish art, Chapi will always
have his place as the most genuine representative
degradation.
A man who was the object of such divergency
of views must have been a personality of no mean
order. In fact, he left the mark of talent on every
page of music he wrote. Considering as a whole
his prolific production, the conclusion is that he
possessed what is generally called mus. genius.
His facility for work brings to mind the name of
Schubert; but undoubtedly he was the victim
of his own gifts combined with the exigencies
of a public that expected from him mus. comedies
(chiefly of 1 act) in profusion, many of which
had be written at a stretch in one or two
days. From the point of view of modern music,
his works offer little interest to the student in
general, but they must not be ignored by those
concerned in the evolution of Span. music.
The following are some of his 168 works for
the stage:
Operas in 1 act: Las naves de Cortés; La hija de
Jefte; La muerte de Garcilaso; La serenata; in 3 acts:
Roger de Flor, La Bruja, Circe, Margarita la Tornera.
clásica; Las doce y media
Las tentaciones de San
Monje; Las campanadas;
Zarzuelas in i act:
sereno; Los alojados;
Antonio; La leyenda del
La
La revoltosa. El tambor de granaderos; La gitanilla;
Pepe Gallardo; La chavala; El puñao
de rosas; La venta de Don Quijote; El amor en solfa;
La patria chica; in 2 acts: Los lobos marinos; Las
hijas del Zebedeo; in 3 acts: Dos huérfanas; La
tempestad; El milagro de la Virgen; El rey que rabió;
Mujer y reina; Curro Vargas; La cortijera. Orch.:
Moorish fantasia, La Corte de Granada; symphony
in D mi.; symph. legend, Los Gnomos de la Alhambra;
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CHAPLIN
symph. poem, Escenas de capa y espada; Scherzo,
on an episode of Don Quixote: Polaca; fantasia,
Recuerdo a Gaztambide; Marcha de recepción; Jola,
for vn. and orch. Chamber-music: 4 str. 4tets (G
F: D ma.; D mi.); Allegro and Scherzo, pf. trio;
Romanza, vn. and pf. For pf.: Zarabanda; Danza
Morisca; Marcha de los trovadores; Hoja de Album
(Album-Leaf). V. and pf.: Seis melodías. Oratorio,
Los Angeles; Motet for 7 vs.; Veni Creator, double
chorus and orch.; Ave Maris Stella, vs. and orch.;
military band: Marcha heroica; Himno militar.
(Unión Musical Española; Faustino Fuentes,
Madrid.)-P. G. M.
CHAPLIN, Kate. Eng. vla.-d'amore player;
violinist; b. London 3 July, 1865. Stud. under
Adolph Pollitzer at London Acad. of Music;
later under Eugène Ysaye in Brussels. Her
vla. d'amore was made by G. Saint-George.-
E.-H.
CHAPLIN, Mabel. Eng. vla.-da-gamba player
and cellist; b. London, 19 Oct. 1870. Stud.
under Pezze at London Acad. of Music; also for
3 years under E. Jacobs at Brussels Cons. Stud.
vla. da gamba alone. Her gamba is by Barak
Norman, dated 1718.-E.-H.
CHAPLIN, Nellie. Eng. harpsichordist; b.
London, 11 Feb. 1857. Stud. at London Acad.
of Music under Dr. Wylde; also Deppe method
under Frl. Timm and Virgil system under A. P.
Virgil. She was the pioneer in the revival of the
old dances including the Allemande, Courante,
Sarabande, Chaconne (1st perf. 1904); first to
revive old Eng. folk-dances from Playford's
Dancing-Master (after a lapse of 200 years).
Playford's Dances, with Steps (Curwen);
Dances (id.);
Suite (i.d.), etc-Eand Steps of the Dances of the
Court
CHAPUIS, Auguste. Fr. compr. b. Dom-
pierre-sur-Salon (Haute Saône), 1858. Dir. of
mus. instruction in schools of City of Paris and
prof. of harmony at Cons. Several times lauréat
of Cons, and of Inst.; pupil of César Franck for
compn.; orgt. at churches of Notre-Dame-des-
Champs and of St.-Roch, Paris; made a name as
compr. by the dramatic works:
Enguerrande (opéra-comique), Paris, 1882; Les
Demoiselles de St.-Cyr (Monte Carlo, 1921); Yannel,
lyric drama in 3 acts. Has had perf. a symphony;
Tableaux flamands; pf. and cello sonata; pf. and
songs; choruses; and about 20 volumes of solfeggi.
-M. L. P.
CHARPENTIER, Gustave. Fr. compr. b.
Dieuze (Lorraine), 25 June, 1860. Stud. at
Lille Cons.; granted by town of Tourcoing an
annual pension of 1200 fr., allowing him to come
to Paris (1881); entered Paris Cons.; Grand
Prix de Rome, 1887 (with cantata, Didon);
founded in 1900 Cons. populaire de Mimi Pinson,
with free courses of popular music and classical
dancing. The art of Gustave Charpentier is
directed to the people. He takes as his basis a
naturalistic aestheticism and seeks to translate
social questions into music. One discovers in
him also traces of romanticism, deliberately
grandiloquent, and of lyricism, often verbose but
full of fire and conviction.
CHESTER
1912. The 500th perf. of Louise took place in Jan.
1921. Consult: Alfred
çaise (1901); André Himonet, eau, La Musique fran-
de
(1922); D. C. Parker, G. C., Mus. Opinion, Oct. 1915
and Mus. Standard, 23 Sept. 1916.-A. C.
CHAUMONT, Émile. Belgian violinist; b.
March, 1878. Entered Liège Cons.;
Liège,
vn. medal, 1896. Two years in Berlin as pupil
of Halir and Max Bruch. Came to Paris and
became 1st vn. at Lamoureux Concerts. Settled.
in Brussels as virtuoso and vn. teacher. 1909,
taught at Liège Cons.; 1919, at that of Brussels.
36 in
songs with pt.-E. cendental Execution, 1913; some
CHAUSSON, Ernest. Fr. compr. b. Paris, 21
Jan. 1855; d. Limay (Seine et Oise), 16 June,
1899. Started mus. study rather late, after
having passed his law examinations. At first
pupil of Massenet at Cons. (1880); then of
César Franck. Was secretary of the Société
Nationale de Musique. Died from a bicycle
accident. In the group of pupils round Franck,
he possessed the greatest sensibility. His symph.
writing is remarkable and always betrays a
sentiment from the heart. His music reveals,
however, traces of the influence of Franck and
Wagner.
Numerous songs (the best-known: Le Colibri; La
Caravane); choruses: Hymne védique; Chant nup-
tial; Chant funèbre. Chamber-music: pf. trio; con-
certo, pf., vn. and orch.; pf. 4tet; str. 4tet
(unfinished). Symph. music: Viviane (1882); sym-
phony, B flat (1890); Poème, vn. and orch. (1896);
Poème d'Amour et de la Mer (v. and orch.). For
theatre: La Tempête; La Légende de Sainte-Cécile:
dramatic music: Jeanne d'Arc (1880); Le Roi
Arthus (6 tableaux; Carlsruhe, 1900; Brussels,
1903).-A. C.
Impressions d'Italie (1890), symph. pocm; La Vie
du Poète, symph. drama, 3 acts (1892); Louise, mus.
romance, 5 tableaux (1900); Julien, lyric drama
5 acts (1913). Songs: Poèmes chantés (1894): Les
Fleurs du Mal of Baudelaire, v. and orch. (1895);
Impressions fausses of Verlaine (1895). He was
elected Membre de l'Institut in place of Massenet, in
89
CHELIUS, Oskar von. German composer; b.
Mannheim, 28 July, 1859; d. Munich, 12 June,
1923. Pupil of Emil Steinbach (Mannheim).
Symots (Heidelberg), Roiss (Cassel), Jadassohn
(Leipzig); then a soldier, 1911; major-general,
aide-de-camp to William II; 1914, military
attaché, Petrograd.
Songs: pf. pieces; symph. poems Und Pippa
tanzt (after Gerhart Hauptmann); Requiem (text by
Friedrich Hebbel), chorus and orch.; Psalm CXXI.
Operas: Haschisch (Dresden, 1897): Theebade
Princess, text by Otto Jul. Bierbaum
1905); Magda-Maria (Dessau, 1920).-A. E.
CHENAL, Marthe. Fr. operatic s. singer; b.
Saint-Maurice (Seine), 24 Aug. 1881. Stud. at
Cons. in 1901 under MM. Martini and Melchis-
sédec; 1905, 2 1st prizes for singing and operatic
work. Début at Opéra 1905, in Sigurd as Brune-
hilde; then in Freischütz, Tannhäuser, Faust,
Ariane. Went to Opéra-Comique in 1908 and
sang in Aphrodite, La Tosca, Le Roi d'Ys, Sanga
(1909), On ne badine pas avec l'amour (1910).
Created rôles in Bacchus Triomphant (Bordeaux,
1909); La Sorcière (Opéra-Comique, 1912);
L'Aube Rouge (Rouen, 1912);
(Opéra-Comique, 1915); Goyescas (Opéra, 1919);
Les Trois Mousquetaires (Cannes, 1921); La
Mégère apprivoisée (Opéra, 1922).-A. R.
Tambour
CHESTER, J. & W. Ltd. Publishers, establ.
Brighton in 1860. London house opened in
1915 as a centre for modern music and agency
for foreign publications. The firm's bulletin The
Chesterian, publ. in 1919 as a mus. review, has
now an international circulation.-E.-H.
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CHEVALLEY
CHEVALLEY, Heinrich. Ger. mus. writer
and critic; b. Düsseldorf, 19 May, 1870. Pupil
Leipzig Cons.; started the Redenden Künste
journal, Leipzig; 1896 in Hamburg, where he
has been mus. ed. since 1897 of Hamburger
Fremdenblatt; ed. of the Monats Musikzeitschrift
since 1920. Compr. of songs and pf. pieces.-A. E.
CHEVILLARD, Camille. Fr. compr. and condr.
b. Paris, 14 Oct. 1859; d. Paris, 30 May, 1923.
Son of Alexandre Chevillard (prof. of cello, Cons.
Paris, and founder of Soc. des Derniers Quatuors
de Beethoven). Pupil of G. Mathias for pf.; choral
condr. of Concerts Lamoureux; son-in-law of
Charles Lamoureux, whose official successor he
became in 1899. In that year, he founded the
Société de Fondation Beethoven, and in 1903 the
trio Chevillard, Hayot and Salmon. 1907, prof.
of instr. ensemble class at Cons.; also, since
1914, dir. of mus. studies at the Opéra.
Ballade symphonique; Le Chêne et le Roseau
(symph, poem) 1890; Fantaisie sumphonique (1893);
Stet, pf. and str. s. and pf. Consult Romain
4tet; pf. trio; pieces for pf.
and vla.; sonata,
Rolland, Musiciens d'aujourd'hui (1908) (Eng..
Kegan Paul, 1915).-A. C.
CHILESOTTI, Oscar.
Italian musicologist;
b. Bassano (Veneto), 12 July, 1848; d. there,
1916. Publ. (Ricordi) interesting transcriptions
of ancient pieces for lute; author of import-
ant works, such as Evoluzione della musica
(Turin, Bocca), also arts. on mus. history and
theory in Rivista Musicale Italiana, etc.-D. A.
CHINESE MUSIC. Sec LALOY, LOUIS.
CHLUBNA, Osvald. Czechoslovak compr.
b. Brno (Brünn), 1893; pupil of Leoš Janáčck in
compn.; teacher of Cons. in Brno. Some orch.
compns. perf. in Prague and Brno:
Do pohádky; Dvě pohádky (Fairy-Tales); Pisen
mé touhy (Song of Longing). For vs. a
3. and orch.: Tiché
usmifeni (Quiet Consolation); Sumafovo dite (The
Musician's Child). Opera, Pomsta Catullova (The
Revenge of Catullus), book by Vrchlický.-V. ST.
CHOJNACKI, Roman (phon. Hoynatski).
Polish theorist and writer; b. Warsaw, 1880.
Pupil of Noskowski at Warsaw Cons. Teacher
of mus. theory. Ed. of mus. periodicals (Nowa
muzyka and Przeglad muzyczny) at Warsaw. In
1918, became manager of Warsaw Philh. Orch.
(see ORCHESTRAS).-ZD. J.
CHOP, Max. Ger. mus. writer and critic;
b. Greussen, 17 May, 1862. Journalist; ed.
of Signale für die Musikalische Welt since 1920;
well known through his Erläuterungen von Mei-
sterwerken der Tonkunst in Reclam's Universal
Library. Publ., inter alia, F. Delius (1907);
August Bungert (1899 and 1906).-A. E.
CHORAL MUSIC in England, France, etc. See
ENGLISH CHORAL MUSIC, FRENCH CHORAL MUSIC,
etc.
CHORAL SOCIETIES, etc. AUSTRALIA.-(i)
Melbourne Philh. Soc. founded 1853. Present
condr. Alberto Zelman. Has a brilliant record
(sce George Peake's Historical Souvenir. Mel.
bourne, 1913, Peacock Bros.). (ii) Royal Vic-
torian Liedertafel (formed from amalgamation of
Melbourne Liedertafel and Royal Metropolitan
Liedertafel, Aug. 1905). Present condr. Mansley
Greer.
CHORAL SOCIETIES
CANADA. These are relatively of great im-
portance and so far mark the highest achievement
of purely Canadian musical endeavour. (i) The
unique position of the Mendelssohn Choir of
Toronto is due primarily to it founder and condr.
Dr. A. S. Vogt. Beginning in 1895 with a cap.
pella works, the scope was soon enlarged by the
co-operation of Amer. symphony orchs., and
since then, the 4 or 5 concerts, given usually
in Feb. each year, have constituted the most
important feature of the Toronto mus. season.
Important tours in U.S.A. have gained for
Toronto a fine reputation for choral-singing.
Its present condr., H. A. Fricker, succeeded
Dr. Vogt in 1917 and has most successfully
piloted the organisation over a difficult period
due largely to war and post-war conditions.
The choir now averages about 250 voices.
(ii) The National Chorus of Toronto, founded and
cond. by Dr. Albert Ham, has given concerts in
that city for 20 years. It gives a concert in Jan.
each year. Formerly programmes were given.
with Amer. symphony orchs.; lately the policy
has been more directed to a cappella works,
and in this respect much fine music has been
introduced to Canadian audiences. The choir
averages 200 voices. (iii) The Oratorio Society
(Toronto), founded and cond. by Dr. Edward
Broome, has given concerts in that city since
1898. Beginning with the standard oratorios,
the policy of late has been to co-operate with one
of the big Amer. symphony orchs. and to give a
fest. of 2 or 3 concerts with performances de-
voted largely to modern works. This choir
averages 240 voices. (iv) The Elgar Choir of
Hamilton, Ontario, organised in 1905 by Bruce
Carey, gives concerts in Hamilton and occasion-
ally in Toronto. It has an excellent reputation
in a cappella singing. The present condr., W. H.
Hewlett, was appointed in 1922. (v) There are
also the Winnipeg Male-Voice Choir, condr.
Hugh Ross, which has a fine reputation in Winni.
peg and in certain U.S.A. cities; the Orpheus
Society (Toronto), condr. Dalton Baker, now in
its 3rd season; and the Toronto Male-Voice
Choir, cond. by E. R. Bowles.
CZECHO-SLOVAKIA.-(i) Choral Union of
Prague Teachers (Pěvecké sdružení pražských
učitelů), founded in 1908 by Frant. Spilka (q.v.).
After months of methodical preparation it made
a most successful appearance, subsequently
meeting with quite exceptional appreciation
abroad (France, England, Germany). Along with
its Moravian prototype, this choir represents the
highest grade of the great national choir-culti-
vation; it has assisted the productivity of
modern choral composition. Method Doležil
(prof. at the Prague Cons.) has been dir. since
1922. He had before founded an equally notable
Choral Union of Prague Lady-teachers. (ii)
Choral Union of Moravian Teachers (Pěvecké
sdružení moravských učitelů), founded by Ferdi-
nand Vach (q.v.) in 1903 from his pupils at
teachers' school in Kroměříž. Their centre is now
Brno (Brünn). The beauty of the voices and the
mus. intelligence of the members helped Vach to
go
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CHORAL SOCIETIES
attain a high standard of technical efficiency.
True intonation, strong rhythmic feeling, clear
declamation, perfect balance of tone, dramatic
graduation and purity of style are united
to the feat of memorising their large repertory.
In Czecho-Slovakia this association marked a
new epoch in choral singing, the Czechoslovak
comprs. now writing, in consequence, choral
pieces of great difficulty. The choir has made
successful tours in Europe. It appeared in Lon-
don in 1919. From 1914 a choir of lady-teachers
(Sdružení moravskýh učitelek) has been con-
nected with it, being one of the best female choirs
in Czecho-Slovakia. (iii) The Smetana Choir
(Prague), condr. K. Černý. Approaches the
Prague Teachers' Choir in importance. (iv) The
Křízkovský, male choir (Prague). (v) The large
choral soc. Hlahol (Prague), founded 1861; now
conducted by A. Herle.
DENMARK.-(i) Danish Choral Soc. (Copen-
hagen); condr. Georg Höeberg. (ii) Studenter-
Sangforening (Univ. Students' Choral Soc.),
Copenhagen.
ENGLAND. (i) Royal Albert Hall Choral
Society (London); condr. Sir Hugh Allen. (ii)
Bach Choir; condr. Dr. Vaughan Williams. (iii)
London Choral Society; condr. Arthur Fagge.
(iv) Oriana Madrigal Choir; condr. C. Kennedy
Scott. (v) Philharmonic Choir; (vi) The Novello
Choir; condr. Harold Brooke. (vii) South
London Philharmonic Society, founded 1912;
present condr. William H. Kerridge. Pioneer
soc. of decentralisation, arranging lectures
and recitals in addition to its own choral and
orch. concerts. Has its headquarters at Gold-
smiths' College, New Cross.
There are also large choruses in connection.
with the fests. at Birmingham, Leeds, Sheffield,
Three Choirs (Gloucester, Worcester, Hereford);
and large choral societies at Bradford, Cambridge,
Halifax, Huddersfield, Nottingham, Newcastle,
Oxford (Bach Choir, etc.), Wolverhampton; and
in connection with the Hallé Orch. at Man-
chester, and the Philharmonic at Liverpool,
where there is also the Welsh Choral Union
(condr. T. Hopkin Evans).
FINLAND. (i) Choral soc. Suomen Laulu;
condr. H. Klemetti (q.v.) who also cond. the
Ylioppilaskunnan Laulajat (Students' Choir),
Helsingfors. (ii) Swedish Oratorio Choir (Hel-
singfors); condr. B. Carlson (q.v.). (iii) Kansallis-
Kuoro (Helsingfors); condr. A. Maasalo (q.v.).
FRANCE. (i) Les Chanteurs de Saint-Gervais.
Choral association, created in 1892 by Charles
Bordes (q.v.), precentor of St.-Gervais in Paris;
for perf. of sacred and secular polyphonic music
of xv and XVI centuries, and of Gregorian chant.
Its origin was an attempt to organise the singing
of the responses in Holy Week (1891). Since
1909, it has been cond. by Léon Saint-Réquier.
This choir (60 in number) sings regularly in
church of Saint-Gervais only 6 times a year
(Christmas, Purification, Maundy - Thursday,
Good Friday, Easter and Pentecost). Since their
creation, over 600 other concerts have been given.
Their repertoire extends from Gregorian pieces
91
CHORAL SOCIETIES
of XII century to modern works. This associa-
tion has powerfully contributed to the renewal in
France of the taste for ancient polyphonic art.
(ii) Concerts Spirituels de la Sorbonne, founded in
Paris in 1898 by P. de Saunières, and cond. by
him; gives every year in the Church of the Sor
bonne oratorios and other sacred works. (iii)
Manécanterie des Petits Chanteurs à la Croix
de Bois. Manécanterie (from Latin mane cantare,
to sing in the morning) formerly meant a singing
school attached to a cathedral. Founded in Paris
in 1907; both a school of liturgic singing and a
centre for Christian education. This choir of
boys and young men is trained both in unison-
singing and polyphonic music, and is heard in
churches and at concerts. Condr. Abbé Rebufat.
(iv) Chorale Universitaire (Univ. Choral Soc.).
Founded 1918 by Mlle. Bonnet, principal of the
Maison des Étudiantes, with H. Expert (q.v.) as
choirmaster, and Borrel, prof. in Schola
Cantorum. First composed only of girls, it be-
came later a mixed choir by amalgamation with
a young men's soc. in 1920. Although its re-
pertoire mainly consists of Renaissance masters
and the whole of Fr. choral work excluding
modern comprs., it also produces from time to
time works of the Ital., Ger. and Span. Renais-
sance as well as foreign works of other periods.
Its President is H. Lichtenberger (q.v.). (v)
Chaur Mixte de Paris (Paris Mixed Choir) of 70
voices, founded in 1921 by M. de Ranse, prof. at
the Schola Cantorum, and cond. by him. Its pro-
grammes consist of works by the great Renais-
sance masters, classical and modern compns. and
works of contemporary comprs. (G. Fauré, Fl.
Schmitt, Ravel, Inghelbrecht, etc.). (vi) Société
Griset-Saintbris, founded in Paris, 1865. Present
condr. Étienne Millot. 110 singers. 2 concerts
a year.
HOLLAND.-Madrigaalvereeniging. A cap-
pella choir of 9 solo-singers, founded 1914 by
Sem Dresden (q.v.). The present singers are:
Kubbinga-Burg, Van Raalte-Horneman, Van der
Linde (s.); Evekink Busgers, Dresden-Dhont
(a.); J. van Kempen, R. van Schaik (t.); W.
Ravelli, H. Kubbinga (b.). First concert 8 Nov.
1915, Amsterdam; 100th concert 13 Oct. 1922.
Concerts in Paris, Dec. 1919; Brussels, 1922.
IRELAND. (i) University of Dublin Choral
Soc. founded 1837; at first, Handel's works;
1845, Mendelssohn's Antigone. First condr.
Joseph Robinson (until 1847); then Sir Robert
Stewart till 1894; C. Marchant till 1920; present
condr. Dr. G. P. Hewson (orgt. St. Patrick's
Cath.). Up to 1870, choristers of the 2 caths, took
treble parts; then ladies. (ii) Hibernian Catch
Club, oldest existing mus. soc. in Europe.
Founded 1679 by vicars-choral of St. Patrick's
and Christchurch cathedrals.
ITALY. (i) Accademia di Canto Corale Stefano
Tempia (Turin). One of oldest and most famous.
Ital. choral institutions; founded in 1785 by
Stefano Tempia, who dir. it until his death.
After him, the condrs. were Giulio Roberti,
Delfino Thermignon, Michele Pachner, and
Ettore Lena. Up to 1922, it had given 234
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CHORAL SOCIETIES
ordinary and 68 special concerts, taking part also
in massed performances, and tours. It has also
inaugurated choral competitions and possesses
a rich mus. library. In 1923, it was merged with
the other Turin choral soc. of more recent founda-
tion, the Palestrina, thus forming the new
Società Corale Stefano Tempia-Palestrina. (ii)
Orfeonica (Bologna). Male choral soc. founded in
1868. (iii) Euridice (Bologna). Male choral soc.
founded in 1880. (iv) Euterpe (Bologna). Male
choral soc. founded in 1905. (v) Guido Monaco
(Leghorn). One of the most important choral
socs. in Italy. Is composed only of male singers
and numbers about 50 voices. Under the dir. of
Domenico Alaleona (g.v.), it has made successful
appearances in Marseilles, Florence and at the
Augustco in Rome. (vi) Società Polifonica
Romana (Rome); sec special article. (vii) Coro
di Varese (Milan); condr. Romeo Bartoli.
NORWAY. The principal male choirs in
Christiania are: The Students' Choral Soc.
(founded 1845; present condr. Emil Nielsen);
The Mercantile Association's Choral Union
(founded 1845 [or 1847]; present condr. Leif
Halvorsen); The Artisans' Choral Union (found-
ed 1845; present condr. Eyvind Alnæs); The
Workmen's Choral Union (founded 1864; present
condr. Alfred Russ); Guldberg's Choir (founded
1916; present condr. Ansgar Guldberg). The
principal mixed choirs are: The Cecilia Soc.
(founded 1898; present condr. Leif Halvorsen);
Holter's Choir (founded 1898; present condr.
Eyvind Alnæs). Ladies' choir: The Female
Students' Choral Soc. (founded 1895; present
condr. Per Winge). In Bergen: The Choral
Union, founded 1891 by Ingolf Schjött.
SCOTLAND.-(i) Edinburgh Royal Choral
Union, founded 1858. First condr. Charles J.
Hargitt; first work, Sterndale Bennett's May
Queen. From 1862-4, James Shaw cond. and
William Howard (1864-6). In 1866 a theory-
class was started in connection with it, and this
has continued up to the present day. From
1866 to 1883 Adam Hamilton cond. and brought
the choir up to a high state of efficiency. Dr. T.
H. Collinson, who cond. 1883-1913, was followed
by Herr Feuerberg, and in 1915 by W. Green-
house Allt. It received Royal recognition, 10
Aug. 1911. (ii) Glasgow Orpheus Choir; condr.
Hugh S. Roberton. One of the finest choral
bodies in the United Kingdom. (iii) Glasgow
Choral Union.
SPAIN. Choral singing flourishes more ex-
tensively in Spain than is generally known,
though its practice is mostly confined to the
Basque and Catalonian provinces. (i) Sociedad
Coral (Choral Soc.), founded in 1922 by the
Asociación General de Profesores de Orquesta,
Madrid. Condr. Julio Francés. (ii) Orfeó Catalá
(Barcelona), founded in 1891 by its condr. the
compr. Luis Millet. It has been acknowledged
by Richard Strauss and Vincent d'Indy as one
of the leading choral bodies of the world. It
sings in the magnificent hall, Palau de la Musica
Catalana. Appeared in Paris and London (Albert
Hall), 1914. (iii) Sociedad Coral (Bilbao), founded
CHORAL SOCIETIES
in 1886 under the name of Orfeón Bilbaino, and
consisting then of male voices only. Has obtained
many prizes in national and international com-
petitions. In 1906, reconstituted as a mixed
chorus, giving the first perfs. in Spain of César
Franck's Béatitudes in 1907 and Brahms's Re-
quiem in 1913. It also took part in first perf. of
Basque operas Mendy-Mendiyan by Usandizaga,
Mirentau and Amaya by Guridi, pastoral Mai
tena, Lide ta Izidor, etc., thus helping the
Basque lyric-theatre's ideal. Zabala cond.
1886-99; then Aureliano Valle; from 1910,
the compr. Jesús Guridi. It is one of the most
important choral societies in Spain; appeared.
with distinction at Verviers (Belgium) in 1905.
(iv) Orfeón Donostiarra (San Sebastian), founded
in 1896 by its condrs. Norberto Luzurriaga and
Miguel Oñate. One of the most important of its
kind since 1902, under dir. of Secundino Esnaola
(q.v.). It was composed exclusively of male
voices until 1906, when it was enlarged to a
mixed chorus of 220, including children's voices.
Has won prizes at international competitions
in Paris; is recognised in Madrid and Barcelona
as a first-class choir (first perfs. in Spain of
Mass in D and Ninth Symphony of Beethoven,
Brahms's Requiem, etc.). (v) Coros Clavé (sec
CLAVE, JOSÉ ANSELMO). (vi) Of other choral
societies, the most important are: Orfeó Man-
resa; Orfeó Gracienc; Orfeó Tarragoni; Orfeó
Villafranqui; Escola Coral; Orfeón Euskaria.
SWEDEN. (i) Musikföreningen (Stockholm),
founded 1880 by Ludvig Norman and Vilh.
Svedbom; condr. Victor Wiklund. (ii) Musika.
liska Sällskapet (Stockholm), founded as S.S.U.H.
Choir, 1908, newly organised 1915; condr. David
Åhlen. (iii) Stockholms Madrigalsällskap, founded
1917; condr. Felix Saul. (iv) Stockholms All-
männa Sängförening. (v) Sjung, sjung (Stock-
holm) male choir. (vi) Glee-society Par Bricole
(Stockholm). (vii) Philh. Sällskapet (Sundsvall).
1st concert in Feb. 1922; condr. A. Wahlberg.
(viii) Motell- och Musikförening (Christianstad);
condr. O. Wadborg. (ix) Musikförening (Falun);
condr. Joel Olsson. (x) Allmänna Sångföreningen
(students of the Univ. at Upsala); condr. the
mus. dir. of the Univ. (xi) Göta Par Bricole
(glee-soc. of Gothenburg). (xii) Lunds Student-
sångförening (glee-soc. of Lund); condr. the
mus. dir. of the Univ. (xiii) Svenska Sångar-
förbundet, a national federation of 22 provincial
glee-clubs, comprising about 6000 singers.
SWITZERLAND.-(i) Basler Gesangverein.
The most eminent mixed choir of Switzerland,
admirably trained. Founded at Basle in 1824.
Condrs.: Ferd. Laur (1824-45); E. (1845-
1875); Alfred Volkland (1875-99); Hans Huber
(1899-1903), and from 1903, H. Suter. Consists
at present of 380 active and 420 subscribing mem-
bers. Gives 2 oratorio concerts every winter.
(ii) Basler Liedertafel. Best Swiss male choir,
every member being a professional singer.
Founded in 1852. Condrs.: E. Reiter (1852-75);
A. Volkland (1875-1902), and now H. Suter.
This choir of 180 singers gives every winter one
a cappella concert and one with orch. (iii) At
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Berne, there is the Cäcilienverein cond. by Fritz
Brun. (iv) At Geneva, the Soc. de Chant du
Cons. cond. by F. Hay. (v) Also Soc. de Chant
Sacré, condr. O. Barblan.
U.S.A. Of all forms of mus. activity culti-
vated in the U.S.A. to-day, apart from the church
music, choral-singing can look back upon the
longest continuous history. Before the end of the
XVIII century, sacred concerts by the church.
choirs came into vogue. New England was the
chief scene of activity. (i) One of these singing-
schools, led by the tanner-composer, William
Billings, in Stoughton, Mass., was organised in
1786 as the Stoughton Mus. Soc. and under this
name has maintained an uninterrupted existence
up to the present day. (ii) Not quite so old, but
still active and more ambitious, is the Handel
and Haydn Soc. of Boston, founded 1815 with
Thomas S. Webb as mus. dir. The most striking
figure among its early leaders was Lowell Mason
(1792-1872) who cond. from 1827-32. Later
condrs. were Carl Zerrahn (1854-95), B. J. Lang
(1895-7), R. L. Herman (1898-9) and Emil
Mollenhauer (from 1899).
Consult Charles G. Perkins and John S. Dwight,
The History of the Handel and Haydn Society (Boston,
1893).
(iii) The Cecilia Soc. of Boston was founded
1874 as a subsidiary of the Harvard Mus. Associa-
tion, but became independent in 1876. Its condrs.
were B. J. Lang (1874-1907), Wallace Goodrich
(1907-10), Max Fiedler (1910-11), Arthur Mees
and Henry Gideon (1911-15), Chalmers Clifton
(1915-17), and then Arthur Shepherd, Ernest
Mitchell and Georges Longy in rapid succession.
(iv) The most important choral organisation in
New York City is the Oratorio Soc. founded in
1873 by Leopold Damrosch. Its condrs. were
Leopold Damrosch (1873-85), Walter Damrosch
(1885-99), Frank Damrosch (1899-1912), Louis
Koemmenich (1912-17), Walter Damrosch (1917-
1921) and Albert Stoessel (from 1921).
Consult II. E. Krehbiel, Notes on the Cultivation of
Choral Music and the Oratorio Society of New York
(New York, 1894); and his continuation of this his-
tory in the Festival Programme Book for 1920.
(v) The Mus. Art Soc. of New York, organised
by Frank Damrosch in 1894, consisted of selected
professional singers and cultivated particularly
the older masters of a cappella music. It ceased
its activity in 1920. (vi) The Schola Cantorum
of New York was organised by Kurt Schindler
in 1909, originally under the name of The Mac-
Dowell Chorus. Its present name was adopted
in 1912. It sings a cappella music as well as choral
works with orch. (vii) Among the male choruses,
two of the Ger. singing societies were for many
years factors in the mus. life of New York. The
Liederkranz was organised in 1847. Its recent
condrs. have been R. L. Herman (1884-9), Hein-
rich Zoellner (1890-8), Paul Klengel (1898-1903),
Arthur Claassen (1903-14) Otto Graf (1914-17),
E. Klee (1917-20) and O. Wick (from 1920).
(viii) The Arion, founded in 1854, was raised
to a high artistic level by Leopold Damrosch
(1871-84). Frank van der Stucken, who cond.
1884-94, took the society on a European tour in
1892. His successors were Julius Lorenz (1895-
93
CHRISTIANSEN
1911) and Carl Hahn (1913-18). The society
united with the Liederkranz in 1920. (ix) The
Mendelssohn Glee Club (male chorus) was
founded in 1866. Among its condrs. were Edward
MacDowell (1897-9), Arthur Mees (1899-1909),
Frank Damrosch (1904-9), Clarence Dickinson
(1909-13), Louis Koemmenich (1913-19), N. P.
Coffin (from 1919). (x) The St. Cecilia Club
(female vs.) has been cond. from 1902 by Victor
Harris; and a similar organisation, (xi) the
Rubinstein Club, is cond. by William R. Chapman.
(xii) The Brooklyn Oratorio Soc. organised in 1893
and cond. since then by Walter Henry Hall, gives
2 concerts yearly. The Apollo Club (male chorus)
of Brooklyn was founded in 1877 by Dudley
Buck. He was succeeded as condr. in 1903 by
J. H. Brewer, the present condr. (xiii) The
Oratorio Soc. of Newark, N.J., was organised in
1878 by Louis Arthur Russell, who is still its
condr. (xiv) The Mendelssohn Club of Phila-
delphia began its activity in 1874 under W. W.
Gilchrist, who died in 1916 and was succeeded
by N. Lindsay Norden. It became a mixed
chorus in 1879. (xv) The Oberlin (Ohio) Mus.
Union had its beginning in 1860. It was cond.
from 1871 to 1900 by Fenelon B. Rice, and since
1900 by George W. Andrews. (xvi) The Apollo
Mus. Club of Chicago was organised in 1872 by
Silas G. Pratt and George P. Upton. Originally
a male chorus, it was later transformed into a
mixed chorus. Its condr. from 1875-98 was
William L. Tomlins, and since 1898 Harrison.
M. Wild. (xvii) The Mendelssohn Club (mixed
voices) of Chicago had Frederick W. Root for
its first condr. (1894-95). Since 1895 Harrison
M. Wild is the leader.
For the Bethlehem Bach Choir, the Hampden
County Musical Association and the Litchfield County
Choral Union, see U.S.A. MUSIC FESTIVALS.-E.-H.
CHORALE-SYMPHONIE. Name given to 5th
symphony of Anton Bruckner, which intro-
duces a chorale-tune in last movement. It is
played at end of symphony by a band of 11 brass
instrs. placed in gallery of concert-hall-a re-
miniscence of the old baroque tradition. B.
derived the idea from the perf. of masses in
Austrian monasteries. Mahler has also intro-
duced chorale-tunes in last movement of his
1st symphony, augmenting the brass instrs, for
this purpose; and also in his 2nd (Resurrection)
symphony. Like Bruckner, Mahler introduced
(end of 1st and 2nd parts of 8th symphony) a
special band (4 tpts. 3 trombones) playing in the
gallery.-EG. W.
CHRISTIANSEN, F. Melius. Norwegian-Amer.
condr. compr. b. Eidsvold, 1 April 1871. Pupil
of Oscar Hansen (orgt. condr. Larvik). Went
to America in 1888. Took examination at
North-western Cons. 1894, stud. at Cons. in
Leipzig, 1897-9, 1906-7; mus. dir. at St. Olaf Coll.
Northfield, Minnesota, from 1903. Leader of the
students' band. His numerous concert-tours in
the Northern States with St. Olaf Choir have
exercised great influence on the public's interest
in church singing.
Practical Modulation (1916); Reformation Cantata
(1917); The Prodigal Son, cantata (1918); St. Olaf
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CHRISTIE
Choir Series (I, 1920, mainly classical compns., also
compns.)
M.
Played
(Minneapolis, Augsburg Publ. House).-U.
CHRISTIE, Winifred. Eng. pianist.
in public at age of 6; stud. later at R.A.M.
London, under Oscar Beringer, and harmony
under Stewart Macpherson; later pf. under
Harold Bauer; tours Germany, England,
Holland, France; 1915-19 in America; toured
with Boston Orch. In 1921, gave recitals in
London on Emmanuel Moór's new Duplex-
Coupler pianoforte, which she considers has
effected a complete regeneration of pf. inter-
pretation.-E.-II.
CHRYSANDER, Friedrich. Ger. mus. research
scholar; b. Lübtheen, 8 July, 1826; d. Berge-
dorf, 3 Sept. 1901. Stud. philosophy at Rostock;
lived a long time in England; settled in
Bergedorf, near Hamburg. Not only was he
indefatigable ed. of complete ed. of Handel's
works (1859-94), but also universal worker in
field of musical research in Germany; endowed
with great brilliancy and force of character,
even though the depth of his specific qualities
as a musician has been somewhat challenged
owing to his Practical ed. of Handel's works.
Yearbooks of Musical Science, 1863 and 1867;
ed. of Allgemeine Musikalische Zeitung, containing a
quantity of his essays, 1868-71 and 1875-82; joint
ed. of the Vierteljahrsschrift für Musik-Wissenschaft,
a quarterly publication from 1885-94. Inter alia
publ. all Corelli's works and Couperin's Pièces de
Clavecin (London, Augener, 4 books). Chief work
is the biography G. F. Händel, which remains a
monumental work (Breitkopf, 1858-67; unaltered
reprint 1919).-A. E.
CHUBB, John Frederick. Eng. orgt. b. Hast-
ings in 1885. Educated principally at St.
John's Choir School, St. Leonards and Cam-
bridge Univ. Organ appointments: St. John's,
St. Leonards, 1898-1903; Ely Cath. assistant
orgt. 1903-6; Christ's Coll. Cambridge, 1906-10;
Christ Ch. Harrogate, 1910-12. In 1912, went
to Canada and has been orgt. at Christ Ch.
Vancouver, B.C., since that time. Has exercised
much influence on mus. education in Vancouver.
He holds degrees of B.A. Cantab. and Mus. Bac.
Oxon.-L. S.
CILEA
The
subject-a satire on the municipal affairs of the
Madrid of that period-could not be understood.
outside Spain. The magic power of his melody
was the attraction; for he might not have been
able to compose, in the real sense of the word,
but he could invent tunes, and nobody else ever
got such results from a simple tonic-and-domin-
ant system of harmony. He even succeeded in
interesting, though in a negative sense, the
proudest of modern philosophers. On hearing
the famous Jota de los Ratas (Pick-pockets' Song)
from La Gran Via, Nietzsche exclaimed:
people that has produced this music is beyond
salvation." In London the music of La Gran Via
failed to gain the same vogue as in other parts
of Europe. The English theatrical manager's
customary treatment robs the continental im-
portations of their character. Chueca's music
was introduced in a show arranged ad hoc,
entitled Castles in Spain. It was neither
English nor Spanish. A march from his mus.
comedy Cádiz imposed itself on Spain as a
national hymn, and was proclaimed so by the
Government. It is still in the repertoire of
all the military bands in the world.
La Abuela, 4 la exposición, El año pasado por
Los Arrastraos, Cádiz, La Gran Via, Los Barrios
Bajos, El Bateo, La Canción del Amor, Los Caramelos,
La caza del oso o el tendero de comestibles, La Corrida
de Toros, De Madrid a Paris, Lección conyugal, El
Chaleco Blanco. (Unión Musical Española, Madrid.)
-P. G. M.
CHVÁLA, Emanuel. Czech critic and compr.;
b. Prague, 1851. Stud. under Josef Foerster and
Zdenko Fibich. For over 30 years (until 1917)
"one of most noted Czech critics. Wrote (in Czech)
for Národní Politika; (in Ger.) for Politik; also
later for Union. Lives in Prague. At his own
expense he publ. A Quarter of a Century of
Bohemian Music (1886).
Opera, Záboj; orch.: Sousedské; overture, At the
Kermesse (0 posviceni); str. 4tet; songs. V. ST.
CHYBIŃSKI, Adolf (phon. Hybinski). Polish
music-historian; b. Cracow, 29 March, 1880.
Student of Ger. philology. Pf. pupil of Jan
Drozdowski (Jan Jordan). Stud. science of music
at Munich under Sandberger and Kroyer. Ph.D.
1908, with dissertation Beiträge zur Geschichte
des Taktschlagens. In 1912, lecturer; 1917,
prof.-extraordinary; 1921, prof.-in-ordinary at
Lemberg Univ. Industrious contributor to many
Polish and Ger. music periodicals. Many reviews
in Z. der I.M.G. His treatises, dealing with his-
tory of Polish music, are:
Bogurodzica (oldest Polish church song) in relation
to the H History of Music (1907, Polish); Materials for
the History of the Rorantic Chapel in R. Castle Varel
at Cracow from 1540 to
The
for Organ of Johannes de Lublin from 1540
ablature 1912-13 in periodical Kwartalnik Muzycz
ny). Elaborated Polish part for Polish od. of Karl
Weinmann's Geschichte der Kirchenmusik and transl.
(with Josef Reiss) Hausegger's Musik als Ausdruck.
-ZD. J.
CHUECA, Federico. Span. compr. b. Madrid,
5 May, 1848; d. 20 June, 1908. Generally re-
puted as a musician who had no knowledge of
music. He did know it, but in a very small
measure. Perhaps this is the reason why he
nearly always worked in collab. with the compr.
Joaquín Valverde, the association being known
as Chueca y Valverde. His father intended him
for a doctor, but he was determined to be a
musician, and a musician he became, in spite of
his poor training,
fame and fortune with
his numerous mus. comedies. His popularity
went as far as to convert him at one time into
a powerful influence for municipal and political
propaganda in Madrid. He had an inborn
gift for appealing to the man in the street.
He was destined by the gods to be the
barrel-organ of his generation. La Gran Via,
his revue-like mus. comedy, took Spain by
storm, passed the frontiers and attained almost
equal success in foreign countries, though its
CILEA, Francesco. Ital. compr. b. Palmi,
26 July, 1866. A representative of the Ital.
lyric, veristic school of period of Mascagni
and Puccini. He is specially noted for his
opera, Adriana Lecouvreur, first perf. in 1902
(Lyric Theatre, Milan) with great success, which
has gone round the principal theatres of the
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CIMBALOM
world. Before this opera, C. had comp. Gina
in 1889; Tilda (perf. Florence, 1892); Arlesiana
(Lyric, Milan, 1897). It was at first perf. of
Arlesiana that the t. Caruso revealed himself
in Milan. C.'s last opera was Gloria (perf. at
Scala, Milan, 1907). He has comp. some elegant
chamber-music, pf. pieces and songs. At pre-
sent C. is dir. of Cons. of San Pietro a Maiella,
Naples, having gone there from Palermo, where
he was also dir. of the Cons. Previously he
was a teacher in Naples and Florence.-D. A.
CIMBALOM. See HUNGARIAN MUS. INSTRS.
ĈIURLIONIS, Mikalojus Konstantinas. Lithu-
anian compr. b. Varena, Vilna government, 10
Sept. 1875; d. near Warsaw, 28 March, 1914.
His father was an orgt. At 14, the boy entered
the music-school attached to Prince Oginski's
orch. at Plunge. The Prince sent him to Warsaw
Cons. In his fifth year there, he was leading pupil
of Noskowski's compn. class. In 1901, his symph.
poem for orch. Miškas (The Forest) took 1st
prize at Zamojski competition at Warsaw. It
was perf. at Kaunas in 1921. For his second
orch. work, Polonez, he received from Prince
Oginski an award of 1000 marks towards cost
of mus. study in Leipzig. After a year there
under Reinecke, he returned to Warsaw and
gave mus. lectures. He spent a year at the
Strabrausti art school (1903-4) and wrote symph.
poem Jura (Ocean). He proposed to turn this
into an opera, but left the work unfinished,
though his wife Sofija (Kymantaite) had written
the libretto, Jurata (Queen of the Ocean). During
his later years, whilst living at Vilna, he wrote
mostly for pf. and for chorus. Through his efforts,
the Vilna people first heard a properly trained
Lithuanian choir. His cantata De Profundis
(1899-1900) is still perf. Together with the
artists A Žmuidzinavičius and P. Rimsa, he
founded in Vilna the Lithuanian Art Association
and exhibited many of his own pictures. For an
account of his pictorical art, see Rosa Newmarch's
The Russian Arts (Jenkins) under heading
Chourlianis (sic), pp. 271-3.-H. R.
CLARINET in E flat. Modern symph. music
gives this instr. great importanco. Gustav
Mahler uses it in all his symphonies and in the
Lied von der Erde, and gives instructions to double
the part in ff passages. Mahler uses the clar. in
E flat not for tone-colour but to strengthen the
intensity of the melody when the full orchestra
is playing.-E.-H.
CLERICE
pf. work for Mrs. Coolidge's Pittsfield Fest. 1923.
Two songs (Shy One; The Cloths of Heaven) are publ.
by Winthrop Rogers; the via. sonata by Chester;
by Murdoch.-E.-H.
the
CLARKE, Rebecca. Eng. compr. vla.-player;
b. Harrow, England, 27 Aug. 1886. Stud. compn.
under Sir Charles Stanford at R.C.M. At his
advice, took up vla., which she has played pro-
fessionally ever since. 1916, went to New York,
and played much in solo and chamber-music
in America.
CLARKE, Robert Coningsby. Eng. song-
writer; b. Old Charlton, Kent, 17 March, 1879.
Educated Marlborough Coll.; articled pupil of
Sir F. Bridge at Westminster Abbey; orgt.
Trinity Coll. Oxford; B.A. (jurisprudence), 1902.
Popular songs and ballads, and pr. pieces (Chappell;
Boosey; Cramer; Church; Newman; Ascherberg,
etc.).-E.-H.
CLAUSETTI, Carlo. Ital. writer; b. Naples,
17 Oct. 1869. A graduate in law; devoted
from early youth to music; active member, for
6 years, of Concert Soc. founded by Martucci;
then in Naples assisted in founding the Quartet
Society. Finally, developing Martucci's idea,
founded a new concert soc. which took Mar-
tucci's name, and gave important series of
concerts. Founded the review Symphonia.
Until 1912, C. was manager of Ricordi's at
Naples; in 1919, joined Renzo Valcarenghi
in the management of the Ricordi head-office
at Milan. Publ. 2 illuminating books on Wag-
ner's Tristan and Twilight of the Gods; wrote
the legend Sumitra, set to music by Riccardo
Pick-Mangiagalli (q.v.).-D. A.
CLAVÉ, José Anselmo. Span. musician; b.
Barcelona, 21 April, 1827; d. there, 1872.
Founder of famous Coros Clavé of Barcelona, a
choral soc. of great importance in the educa-
tion of Catalonian working classes; for it he
wrote numerous works of an adequate, but some-
what obsolete, character. His memory is
honoured by a statue in the Rambla de Cataluña,
Barcelona.-P. G. M.
CLAVICEMBALO. See LANDOWSKA, WANDA;
BUCHMAYER, RICHARD.
CLAVIOR. A little apparatus made of alumi-
nium for stretching the hand. Invented in July
1922 by Ennemond Trillat.-E.-H.
CLEATHER, Gabriel Gordon. Eng. timpanist;
b. Manchester, 3 May, 1846. 1882, gen. manager
of Crystal Palace; has played under most of
the famous condrs.; has lectured widely on the
drums, especially on their use in churches in
combination with the organ. Played the Tausch
concerto for 6 drums with Thomas Orch. in New
York.-E.-H.
CLEGG, Edith Kate. Eng. operatic singer; b.
London. Stud. under Hermann Klein, London;
Bouhy, Paris; John Acton, Blackburn; opera-
tic debut in Liza Lehmann's Vicar of Wakefield;
sang in grand opera seasons, R. Opera, Covent
Garden, Suzuki (Butterfly); Mother (Louise);
Maddalena (Rigoletto), etc. Toured Australia,
S. Africa, Canada with Quinlan Co.; member of
Beecham Opera Co. (in above, and also in Boris,
Falstaff, Tales of Hoffmann). Now member of
the British National Opera Co.-E.-H.
Her vla. sonata tied with a piece by Ernest Bloch
for the Mrs. F. S. Coolidge Prize, in 1919. The donor
CLERICE, Justino. Argentine compr. b. Buenos
decided on the Bloch piece. It was produced at the Ayres in 1863; d. Paris in 1900. After studying in
Pittsfield Fest, that year, played by Harold Bauer
and Louls Bailly. Since perf. in Europe by herself,
Argentina, went to Paris Cons., under Pessard
Lionel Tertis, and others. In 1921 her trio (pf. vn. and Delibes, Devoted himself to comic operas
cello) again took the i
Prize (perf.
London, 3 Dec. 1922. Cond Coolidariorie Hay
and operettas. His 1st piece, Le Meunier d'Al-
ward, May Mukle). Was commissioned for a cello and calá, was given at Trinidad Theatre, Lisbon,
Myra Hess,
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CLEVE
1887. In 1889, produced several pieces at Paris
theatres, which were warmly received by the
public.
Le Meunier
3-act opera, libretto by
Garrido and Lafrique; Figarella, 1-act comic opera,
libretto by Grandmougin and Méry; Monsieur
Huchot, 1-act vaudeville, libretto by Férésand
(Bouffes-Parisiennes,
Au
Le 3e Hous-
sards, 3-act operetta (Gaieté, Paris, 1894); Les Eufs
de Pâques, lyrical comedy; Colibrí, ballet (in collab.
with Noël);
ballet (Theatre Roval 100p, 188 noir, 2-act
4.net : La Petite Vénus, 3-act opera; Margarred.
Flagrant Delit, comic opera; La
Dame de coeur, 2-act ballet (in collab. with Mars);
Ordre de l'Empereur, operetta (a large number of
Many songs and
CLEVE, Berit Winderen. Norwegian pianist;
b. Vestre Aker, near Christiania, 10 Feb. 1878.
Stud. pf. in Christiania under Ida Lie, in Berlin
under Raif, Jedliczka and Carreño. Début in
Christiania in 1902. Married (1904) the compr.
Halfdan Cleve.-U. M.
CLOSSON, Ernest. Belgian mus. critic, musico-
logist; b. Brussels, 12 Dec. 1870. Stud. under
various profs., notably Léopold Wallner. In
1896, appointed curator of instr. museum of
Brussels Cons. In 1912 became prof. of general
culture and mus. history there. In 1917, prof.
of mus. history at Mons Cons.
Since 1920,
music critic of L'Indépendance Belge (Brussels).
Is also famous for his mus. lectures and numerous
transl. into Fr. of Ger. and Ital. mus. works,
Member of commission for publ. old Belgian
masters. Collab. with C. Van den Borren for
the Belgian articles in this Dictionary.
Siegfried (1891); Edvard Grieg (1892); Music and
the Plastic Arts (1896); Folk-Songs of the Belgian
Provinces (1905, 2nd and 3rd ed. 1911 and 1920);
Franco-Walloon' Folk-Songs (taken from the former
coll. 1913); Old French Christmas Carols (1911);
ms. of Les de la
gogne (1912); Folk-Songs in Belgium (1913); Elements
of Musical Esthetics (1916); Musical Esthetics, 1921
(all publ. Brussels); monographs on Lassus and
Grétry (Turnhout, 1919 and 1920); colls. of old
Belgian harpsichord music (Paris, Durand). Contri-
buted to Guide Musical (1892-1914), to Biographie
Nationale, and to following newspapers and periodi-
cals: Echo Musical, Libre Critique, Jeune Belgique,
Durendal, Le Soir (Brussels); Wallonia (Liège); La
Terre Wallonne (Charleroi); Weekblad voor
(Amsterdam);
Musical (Paris); Z. and Sammelbände of 1.M.G.;
Signale (Leipzig); Österreichische Musik- und Theater
Zeitung, etc.-6. V. B.
CLUTSAM, George H.
Australian compr.
music critic; b. Sydney, New S. Wales, 1866.
Toured New Zealand as a prodigy-pianist; in
1890, India, China, Japan, and then settled in
London, rapidly becoming known as an accom-
panist; music critic for The Observer, 1908-18.
S.I.M.. Revue Musicale, Cick
Operas: The Queen's Jester (Leipzig, 1896); 4
Summer Night, 1 act (Beecham's seasons, 1910); The
Quest of Rapunzel, cantata (Queen's Hall, 1911);
After a Thousand Years, 1 act (Tivoli); The Pool,
fantastic melodrama (Alhambra); King Harlequin
(Berlin, Nov. 1912); Foung England (with Hubert
Bath), 1916; light operas: Gabrielli (with A. Joyce),
1921; The Little Duchess (1922); Lilac-Time (arr. of
Schubert themes), Lyric Theatre, 1923. Orch. suites,
pf. music and many songs.-E.-H.
COATES, Albert. Eng. condr. b. in Petro-
grad in 1882, of Eng. parents. At age of 12, sent
to Liverpool for education; at 18, office-work
in Thornton Woollen Mills, Petrograd; later
stud. pf., cello, compn. at Leipzig Cons.; joined
Nikisch's conductors' class in 1904; assistant to
N. at Leipzig Opera House; 1909, senior-condr.
and artistic dir. Imperial Opera, Petrograd; in
1914, cond. at Covent Garden, London, for 1st
time, during Wagner season; re-engaged for
Grand season, sharing work with Nikisch (N.
The Ring; C. Tristan, Mastersingers, Parsifal).
When Czar's opera-dir. resigned the 1917
revolution, C. was elected president of Opera
House, by the managing committee; Bol-
sheviks confirmed the opera autonomy. Illness
CLIFTON, Chalmers. Amer. condr. b. Jack-
son, Miss., U.S.A., 30 April, 1889. Stud. at Cin-
cinnati Cons. 1903-8. Graduated A.B. at Har-
vard 1912, with highest honours in music. Cond.
1st MacDowell Fest. in Peterboro, N.H., in 1910;
96
CLEVE, Halfdan. Norwegian compr. pianist;
b. Kongsberg, 5 Oct. 1879. Stud. pf. and compn.
under Otto-Hjelm in Christiania. Lived (1898-
1909) in Berlin, where his teachers were O. Raif
and the brothers Scharwenka. Début as compr.
in 1902 at Singakademie in Berlin where 2 of
his pf. concertos were perf. as well as some pf.
pieces. Critics foretold a brilliant future for him.
Three years later, gave a successful concert of his
own compns. in the same hall, with Philh. Orch.
In 1907, at a concert which Grieg gave with the
Berlin Philh., C. played brilliantly the pf. part
in Grieg's concerto. Has frequently appeared as
soloist in his native land and abroad. Stands in
the first rank of younger Norwegian comprs.
His pf. pieces are especially brilliant.
5 pf. concertos; vn. sonata; over 20 pf. pieces;
songs with orch.-R. M.
CLIFFE, Frederic. Eng. pianist; b. Lowmoor,
near Bradford, 2 May, 1857. Orgt. at various
churches at a very early age; 1873-6, orgt. to
Bradford Fest. Choral Soc.; 1883, prof. of pf. at
R.C.M. London (now senr. prof. of pf. there);
orgt. Bach Choir, 1888-94; and of Ital. opera,
Drury Lane, about same time. His orch. works
met with success.
Symphony I, C mi. (Crystal Palace, 1889); II, E mi.
Leeds Fest. 1892); Coronation March (Westminster
Abbey, King George V); vn. concerto (Norwich Fest.
1896); Cloud and Sunshine, orch. poem (R. Philh.
1890); Ode to North-East Wind, chorus and orch.
(Sheffield Fest. 1905); scena, Triumph of Alcestis (Nor-
wich Fest. 1902); church músic; many songs.-E.-H.
CLIFFORD, Julian. Eng. compr. condr.
pianist; b. London, 28 Sept. 1877; d. Hastings,
27 Dec. 1921. Stud. Leipzig Cons., also under
Sliwiński and Sir W. Parratt; condr. Birming-
ham Symphony Orch.; Yorkshire Permanent
Orch., Leeds; mus. dir. Harrogate Corporation
and Eastbourne Corporation. Cond. frequently
in London. A particularly fine condr. of
Tchaikovsky's music. His son succeeded him as
condr. at Eastbourne.
COATES
1912-14, a pupil in Paris of d'Indy and Gédalge
(as holder of a Sheldon Fellowship of Harvard
Univ.). In 1914 again a condr. at MacDowell
Fest. Comp. and cond. the music for Lexington
(Mass.) Pageant in 1915. Condr. of the Cecilia
Soc. in Boston (1915-17) and Plymouth Pageant,
1921. Now dir. of a well-accredited training orch.
of the Amer. Orch. Soc. of New York. Publ.
Adagio for orch. (Schirmer, 1919).-O. K.
Orch. pieces; cantata; pf. pieces; songs (Schott).
-E.-H.
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COATES
forced him to leave Russia, through Finland.
In May 1919, engaged by Beecham as senior
condr. and artistic co-dir. for the English
Opera. Since then has cond. opera (Beecham;
B.N.O.C. and orch. concerts [Leeds Fest. 1922],
etc.) continuously in England and America. In
1923 and 1924, took conducting classes, at
Eastman Inst. Rochester, U.S.A. C.'s thorough
mastery of orch. effect, great control of orch.
and tireless rhythmic energy, place him amongst
the greatest conductors of to-day.-E.-H.
COATES, Eric. Eng. compr. b. Hucknall,
Notts, 27 Aug. 1886. Stud. in Nottingham under
Georg Ellenberger (vn.) and Dr. Ralph Horner
(compn.); 1906, gained scholarship at R.A.M.
London. Stud. vla. under Lionel Tertis, compn.
under F. Corder. 1907, toured S. Africa with
Hambourg Str. Quartet. At one time, member
of Cathie and Walenn Str. Quartets; 1912,
principal vla. Queen's Hall Orch. for some years,
during which he comp. several light orch. works
which were produced under his direction at the
Promenade Concerts and have since become
widely played. In 1918, devoted himself entirely
to composition.
Miniature Suite (Boosey); Countryside Suite
(Hawkes); Summer Days Suite (Chappell); Joyous
Youth Suite (id. 1921); The Merry-makers, miniature
overture (id. 1923); Moresque, Dance Interlude (id.);
valsette, Wood-Nymphs (id.). Song-cycles with orch.:
Lace and Porcelain (Boosey); Four Shakespeare
Songs (id.); The Mill o' Dreams (Chappell); also
numerous songs.-E.-H.
COATES, John. Eng. song and operatic t.
singer; b. near Bradford, 29 June, 1865. Came
of a mus. family on both sides, for generations;
stud. in Yorkshire under J. G. Walton, Robert
Burton, Dr. J. C. Bridge; in London, under W.
Shakespeare, and T. A. Wallworth; in Paris
under Bouhy. 1st London appearance (as barit.)
Savoy Theatre, 1894; for 5 years sang comic
opera and mus. comedy in England and America;
as t. at Globe, London, 1900; 1st appearance
R. Opera, Covent Garden, 1901 (Faust; and
created Claudio in Stanford's Much Ado);
Gürzenich Concerts and Opera, Cologne, 1901;
Leipzig, etc.; Berlin R. Opera House and
Hanover R. Opera House, 1902; Dresden, Ham-
burg, Frankfort, Mannheim, Paris, Cincinnati
Fest. 1906; Holland, 1910; 1st fest. engage-
ment Leeds, 1901; since then, all the chief
Eng. fests.; Covent Garden, Eng. seasons,
Moody Manners Co.; Carl Rosa, 1909; Beecham
spring, summer and winter seasons, 1910; pro-
duction of Ethel Smyth's The Wreckers, 1909;
Denhof Ring perfs., both Siegfrieds, 1911; Quin-
lan tour United Kingdom, S. Africa, Australia,
1911-13; 4 years war-service, in France, 1916-
19; resumed prof. career 1919. Very many song-
recitals (especially all Eng.), concerts, etc., 1920
till now. He unites to a fine tenor voice, wide
culture, perfection of vocal declamation and high
dramatic attainments.-E.-H.
COBBETT, Walter Willson. Eng. music
patron; an amateur violinist and chamber-music
player; b. Blackheath, 11 July, 1847. Inaugu-
rated 1st Cobbett Competition in 1905, under
auspices of the Musicians' Company, for a new,
H
97
COERNE
short form of str. 4tet, Phantasy, the modern
analogue of the old-time Fancy. The winner of
the 1st prize (50 gs.) was W. H. Hurlstone. In
1908, C. offered further prizes for a Phantasy-
Trio (1st prize taken by Frank Bridge); in the
1909 competition (international, 134 entrants),
the 1st prize went to John Ireland, for sonata vi.
and pf. (No. 1; publ. since by Augener). In 1911
a competition for str. 4tet prize of 50 gs. was won
by Frank Bridge. A Folk-song-Phantasy com-
petition in 1916 resulted in 1st prizes to J. Cliffo
Forrester for Phantasy Trio and H. Waldo
Warner for Phantasy-Quartet; York Bowen took
the lat prize in 1918 for a Phantasy for vla. and
pf.; in 1919, dance-measures were introduced
and the 1st prize for a Dance-Phantasy for str.
and pf. went to C. Armstrong Gibbs. In 1921, Mr.
Cobbett offered 50 gs. in prizes to students and
ex-students of R.A.M. and similar prize to
R.C.M. Ho has also, at various times, com-
missioned 18 British comprs. to write picces in
Phantasy form for various combinations of instrs.
He also gave prizes at R.A.M. (1922) and R.C.M.
(1920-21-22-23) for best quartet-teams amongst
the students, playing a work of their own choice.
He ed. a chamber-music supplement to the Music
Student (for 3 years). Has contributed to many
journals. Wrote 60 arts. for Grove's Dictionary
of Music. Has planned (1924) an International
Encyclopaedia of Chamber-music.-E.-II.
COCCHI de SANCTIS, Eduardo. Compr. b.
Rome in 1868. Stud. under Serrao at Cons of
Naples, and under De Sanctis, dir. of R. Licen
Mus. di Santa Cecilia in Rome. Went to Buenos
Ayres in 1906, where he establ. the Cons, which
he now directs.
Funeral Mass for King Charles Albert (perf. R.
Palace of Superga). Orch. marches, Tripoli and
Libya; some sacred pieces and chamber music.
-A. M.
COCHRANE, Sir Stanley H., Bart. One of
foremost Irish patrons of music in Dublin; b.
19 Sept. 1877. Has on many occasions most
generously aided the cause of orch. music. In
1913-14 he engaged London Symphony Orch.
(under Hamilton Harty) for concerts in concert-
hall at his residence, Woodbrook, near Dublin;
organised chamber-music concerts there, at
which Esposito, Simonetti and Clyde Twelvetrees
perf. complete set of Beethoven trios. Chiefly
owing to his generous patronage, the Quinlan
Opera Co. perf. entire Ring of Wagner in Dublin,
1914. With Esposito, he founded the "C. & E.
Edition" for publishing music.-w. ST.
COCORASCU, Scarlat. See RUMANIAN OPERA.
COCQ-WEINGAND, Amelia. Chilean pianist;
Santiago;
b. 1884. Began stud.
1900 went
to Paris and stud. under Raoul Pugno. Re-
turning to Chile in 1905, gave a series of most
successful concerts. In 1914, settled in Buenos
Ayres, with her husband, the violinist Edmundo
Weingand, with whom she continues her concert.
career.-A. M.
COERNE, Louis Adolphe. Amer. compr. b.
Newark, N.J., U.S.A., 27 Feb. 1870; d. Boston,
Mass., 11 Sept. 1922. Received his carly schooling
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CŒUROY
in Germany and France. Then attended Boston
(Mass.) Latin School and (1888-90) Harvard Coll.,
taking mus. theory under Paine. At the same
time, a vn. pupil of Franz Kneisel; 1890-3,
stud. the organ and compn. under Rhein-
berger in Munich. Here his symph. poem,
Hiawatha, op. 18, was perf. in 1893. He
cond. this work with Boston Symphony
Orch. 4 April, 1894. After acting as a choral
dir. and as church orgt. in Buffalo, N.Y.
(1894-7), and in Columbus, Ohio (1897-9), he
returned to Germany where he remained until
1902. 1903-4, was associate-prof. of music at
Smith Coll., Northampton, Mass. Having de-
voted himself for some time to mus. research
work, he received the degree of Ph.D. from Har-
vard Univ. in 1905, the first mus. degree of this
kind to be conferred by an Amer. Univ. His
thesis, The Evolution of Modern Orchestration,
was publ. by Macmillan, New York, 1908. Then
followed 2 more years in Germany, 1905-7.
During this time his opera Zenobia was brought
out in Bremen, the first opera by a native
American to be produced in Germany. After
this he was mus. dir. in Troy, N.Y. (1907-9).
From 1909 to 1910, head of the mus. cons. of
Olivet Coll. Michigan, from which inst. he re-
ceiv the degree of Mus.D. in 1910. From 1910
to 1915, head of music department of Univ. of
Wisconsin in Madison, and from 1915 until death,
prof. of music at Connecticut Coll. for Women at
New London.
Although he was an industrious compr. of the
old school-his opus numbers are close to 200,
of which more than half are publ.-his larger
compns. have not been often heard in America.
Mass in D mi., 6-v. unace. op. 53 (Leuckart);
Swedish Sonata, vn. and pf. op. 60 (
pf. trios, op. 62, 64
3-act opera, op. 66 (SDU And Hofmeister);
Zenobia,
Cantatas (all Ditson):
Until
Day Break, op. 124; 4 Song of Victory,
op. 125; Skipper Ireson's Ride, op. 131: The Landing
of the Pilgrims, op. 135; The Man of Galilee, op. 141
(Schirmer). Many anthems and choruses (Ditson) and
pf., organ and vn. pieces.-O. K.
COEUROY, André. Fr. musicologist; b. Dijon,
24 Feb. 1891. Former pupil of Ecole Normale
Supérieure, Paris; Agrégé de l'Univ. Paris; music
pupil of Max Reger; stud. specially the con-
nections of music with literature in Europe. Has
publ. La Musique française moderne (Delagrave,
1922); studies and analysis of La Walkyrie and
La Tosca (1923); Essais de musique et de littéra-
ture comparées (Bloud & Gay, 1923, with preface
by Maurice Barrès); Weber (Alcan, 1924).
compr. has produced (under name of Jean Be-
lime) a trio for vla. and clar. and a 5tet. Con-
tributed in 1920 to the foundation of La Revue
Musicale, of which he is ed.-in-chief. Music critic
of La Revue Universelle. Collab. with Henry
Prunières (chairman), M. D. Calvocoressi, D.
Lazarus, M. Pincherle, M. L. Pereyra, Félix
Raugel, André Rigaud and A. Scheeffner for the
Fr. articles in this Dictionary.-H. P.
As
COHEN, Dulcie M. Australian compr. Lives
at Sydney.
Zuleika, small orch.; Chanson d'Eviradnus, tone-
poem, solo, v. and orch.; cantatas; educational pf.
and chamber-music; many songs.-E.-H.
98
COLERIDGE-TAYLOR
COHEN, Harriet. Eng. pianist; b. London.
Stud. at R.A.M. under Tobias Matthay; 1st
recital, June 1920, Wigmore Hall (with John
Coates); has toured widely, and given the 1st.
perfs. of most of Arnold Bax's pf. works, in
which she is heard at her best. She also gives
very sensitive readings of the Russ. and Ger.
XVIII and XIX century classics.-E.-H.
COLAÇO, Alexandre Rey. Portuguese pianist
and teacher; b. about 1850. Stud. at Cons, at
Madrid and in Paris under G. Mathias and T.
Ritter; also at Berlin, for a short time, under
Barth and Rudorff for pf., Härtel for cpt. and
Spitta for history. Was a for long time the most
fashionable pf. teacher in Lisbon, and occupied
a chief place at the Cons. He contributed largely
to the introduction of chamber-music in Lisbon.
Comp. numerous fados and other popular songs.
Consult Encyclopédie de la Musique (Paris,
1920, Delagrave).-E.-H.
The compn.
COLERIDGE-TAYLOR, Samuel. Eng. compr.
b. Holborn, London, 15 Aug. 1875; d. Croydon, 1
Sept. 1912. Was of Negroid race, and later on in
life became an enthusiastic apostle of colour;
early vn. training under Joseph Beckwith of
Croydon; stud. R.C.M. London, 1890-7, at
first with vn. as chief study; later, on advice of
Sir Charles Stanford, placed compn. first. In 1893.
gained a 3-years scholarship at R.C.M., later re-
newed for a further year. Joachim led a perf. of
C.-T.'s clar. 5tot, op. 10, in Berlin, 1897. His
great achievement was his strikingly original.
setting of Hiawatha's Wedding Feast (Long-
fellow) for soli, chorus and orch. It was first
perf. at the R.C.M. 11 Nov. 1898.
of the 2 other parts, Death of Minnehaha and
Hiawatha's Departure, followed. A long string
of works for chorus and orch. led on to his next.
chief success along this line, the cantata A Tale
of Old Japan, op. 76 (London Choral Soc. Queen's
Hall, 1911). His pf. and his vn. works are also
very characteristic. As is the case with many
other comprs. there is some dross amongst the
gold; but of his original creative gift there is
no doubt. A believer in the folk-song element in
art, his aim was to do for the negro music, what
Dvořák had done for the Bohemian, and Grieg for
the Norwegian. The overture to the Song of Hia-
watha is built upon the Jubilee Singers' song,
Nobody knows the trouble I see, Lord! His visit
to U.S.A. in 1904 was successful in every way.
His works were given at Washington (2 evenings
C.-T. Fest.) New York, Chicago, Baltimore and
Philadelphia.
Op. 1, 5tet G pf. and str. (ms.); in
F mi.
pr., wood-wind, str. (ms.); 3, Suite de Pièces,
vn. and organ (Schott); 4, Ballade in D mi. vn. and
Songs for Little Folk (Boosey); 7, Zara's Ear-rings,
v. and orch. (Imperial Inst.); 8, symphony, A mi.
(R.C.M. St. James's Hall, 1896); 9, 2 romantic
pieces (Augener): 10, 5tet in A
Dream-Lovers, operaticromance (Boosey): 70pt); 1
Love-Songs (Augener); 13, str. 4tet in D mi. (ms.);
14, Legend, vn. and orch. (Augener); 15, Land of the
Sun, part-song (id.); 16, Hiawathan Sketches, vn.
and pf. (id.); 17 African Romances, pt. (id.); 18,church
service in F (Novello); 19, 2 Moorish Pictures, pf.
(Augener); 20, Gipsy 'Suite, vn. and pf. (id.); 21,
part-songs, s.s.a. (id.); 22, 4 characteristic waltzes,
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WENDE
COLLEGES OF MUSIC
orch. (Novello); 23, False-Caprice (Augener); 24, In
Memoriam, vs. and pf. (id.); 25, missing; 26,
(id.); 27, 28, missing; 29,
Gitanos, cantata-operet of Hiawatha (Novello); 31,
songs (Augener); 30,
Humoresques, pf. (Augener); 32, missing; 33, Bal-
(Novello); 34, missing: 35, African
lade. A ml. orchner): 36, Nourmahal's Song and
Suite, pf.
Dance, pf. (id.); 37, 6 songs; 38, Silhouelles, pt. (id.):
39, Romance in G, vn. and orch. (Novello): 40,
. (Novello), Wore. Fest. 1899);
Solemn Prelude, orcruday Romance, orch. (Novello,
41, Scenes from an
Philh. Soc. 1900); 42, The Soul's Expression, contr. and
orch. (Novello), Hereford Fest. 1900; 43, Blind Girl of
Castel-Cuillé (Novello) Leeds Fest. 1901; 44, Idyll,
orch. (Novello); 45, American Lyrics, v. (Novello); 46,
Toussaint L'Ouverture (Novello), Queen's Hall, 1901;
47, incidental music to Herod (Augener); 47 ii, Hemo
Dance, orch. (Novello); 48, Meg Blane, cantata (Novel-
lo), Sheffield Fest. 1902; 49, incidental music to
the C
tambourine,
50, Song-Poems (Enoch); 51, Ethiopia saluting
Colours, march (Augener): 53, The Atonement
52, Novelletten, str. orch.,
cantata (Novello), Hereford Fest. 1903; 54, Choral
Ballad, barit., chorus, orch. (Breitkopf); 55, Moorish
Dance (Augener); 56, Cameos, pf. (id.); 57, 6 Sorrow
Songs (id.); 58, 4 African Dances, vn. and pf. (id.);
59, 24 negro melodies (Ditson, Boston); 60, Romance,
vn. and gener): 61, Kubla Khan, cantata
(Novello)
Soc. London, 1906); 62, incidental
music to Nero (Novello); 63, symph. variations on
African air, orch. (id.); 64, Scènes de ballet, pl.
66,
(Novello), (Brighton Fest. 1910);
, Forest Scenes, pl.
(Augener); 67, part-songs (id.): 68, Bon-Bon Suite,
chorus and orch. (Novello); 69, Seadrift, unaco. 8-v.
chorus (id.); 70, incidental music to Faust (Boosey);
71, Valse Suite, pf. (Augener); 72, opera, Thelma
(ms.); 73, Ballade, G ml. vn. and pf. (Augener);
74, Scenes from an Imaginary Ballet, pt. (Schirmer);
75, The Bamboula (Hawkes) (Norfolk Fest. Conn.
U.S.A. 1911); 76, cantata, A Tale of Old Japan
(Novello); 77, Suite de Concert (Hawkes); 78, 3 Im-
promptus, organ (Weekes); 79, incidental music to
Othello (Metzler); 80, vn. concerto, G mi. (id.);
81, 2 songs, Waiting (Boosey), Red o' the Dawn
(Augener); 82, Hiawatha ballet, orch. (ms.).
. Various
pieces without opus no. and numerous arrs. Con-
sult biography by W. C. Berwick Sayers (Cassell,
1915).-E.-H.
COLLEGES OF MUSIC. See ACADEMIES.
COLLES, Henry Cope. Eng. music critic; b.
1879. Stud. R.C.M. London; Worcester Coll.
Oxford (organ-scholar); music critic to The
Academy, 1905; assistant-critic to The Times,
1906; followed J. A. Fuller-Maitland as chief
mus. critic of The Times in 1911; joined the
staff of R.C.M. as lecturer in mus. history and
form, 1919; dir. of music, Cheltenham Ladies'
Coll. 1919. His criticisms are sound, logical
and scholarly. In 1923, was entrusted with the
editing of the new ed. of Grove's Dictionary of
Music and Musicians. Wrote in New York as
a guest-critic for the New York Times for 3
months, in 1923.
Books: Brahms (1908); The Growth of Music
(Part I, 1912; 11, 1913; III, 1916; Milford); edited
Parry's R.C.M. Addresses.-E.-H.
COLLET, Henri. Fr. musicologist, compr. b.
Paris, 5 Nov. 1885. LL.D. Has publ. some studies
relating to Spanish music, Le Mysticisme musical
espagnol au XVIe siècle (Alcan, 1913); Vittoria
(1914). Has comp. some chamber-music in a
style imitated from the Spanish.-A. C.
COLLINSON, Thomas H. Scottish orgt. condr.
b. Alnwick, Northumberland, 1858. From his
great-grandfather, who was a remarkable mathe-
matician, and from his father who for 47 years
was headmaster of Alnwick School, he inherited
abilities and energy of exceptional order. Com-
menced study of organ at 9, and played his first
COMBARIEU
service in church at 10. Possessed a good alto
voice, and while training as chorister proved to
have exceptional reading abilities, and the gift
of absolute pitch. In 1871 articled to Dr. Armes,
orgt. of Durham Cath.; also stud. under Dr.
Dykes there. Mus.Bac. Oxon. in 1877; in
1878, orgt. and choirmaster of new Episcopal
Cath. of St. Mary, in Edinburgh. There he has
laboured for nearly 50 years with unqualified
success. For 31 years, condr. of Edinburgh R.
Choral Union; 24 years, cond. Edinburgh
Amateur Orch. Soc.; since 1898, official orgt.
to Univ. of Edinburgh. He has publ. many
services, anthems, and organ pieces.-W. S.
COLLISSON, Rev. William Alexander Houston.
Irish compr. b. Dublin, 20 May, 1865; d.
Hawarden, 31 Jan. 1920. Educated at
Trinity Coll. Dublin; Mus. Bac. 1804; Mus.
Doc. 1890; orgt. St. Patrick's, Trin. 1881; held
appointments at Rathfarnham and St. George's,
Dublin. Owing to his energy, the Dublin Popular
Concerts were started in 1885; also organised
some in Belfast and London; 1898, ordained;
1899, assistant priest, St. Tudy's, Cornwall;
remained there until 1901, when he went to
London; devoted all his leisure time to mus.
compn.; wrote many popular songs of a
humorous character.
Comic operas: The Knight of the Road; Strongbow;
Midsummer Madness. Cantatas: St. Patrick; The
Game of Chess; Samhain. Noah's Ark, operetta;
Rosaleen, Irish suite; songs (Maguire's Motor-E
r-Bike,
Mountains of Mourne, etc.). Book, Dr. Collison in
and on Ireland.-W. ST.
COLONNE, Édouard Judas. Fr. orch. condr.
b. Bordeaux, 23 July, 1838; d. Paris, 28 March,
1910. Pupil of Cons., Paris. Founder of the
Concert National (1873), which quickly took the
name of Concerts Colonne (see below).-A. C.
COLONNE CONCERTS, Paris.
Founded
2 March, 1873, at Odéon Théatre by Édouard
Judas Colonne (q.v.), who specialised in the works
of Beethoven and Berlioz, whose Damnation de
Faust was perf. there over 200 times. The concerts
are now given at Théâtre du Châtelet. On death
of Colonne in 1910, Gabriel Pierné became condr.
The concerts are given on Saturday and Sunday
afternoons and the audiences consist chiefly
students and business people.-A. C.
99
COLONNESE, Elvira. S. singer; b. Naples.
Stud. at Cons. there. Début at La Scala, Milan,
as prima donna in Les Huguenots. For 20
years, continued singing at all the principal
theatres in Italy, at Madrid, Barcelona, London,
Budapest, Petrograd, Moscow, and Vienna.
Went to S. America in 1887 to sing in opera at
Montevideo and Buenos Ayres. Her greatest
part was Desdemona in Verdi's Otello. Fran-
chetti chose her for Queen Isabel in his Chris-
topher Columbus. Establ. herself as teacher
in Buenos Ayres, where she founded Acad.
Magistral of Singing, which supplies a complete
finishing school for Argentine students.-A. M.
COMBARIEU, Jules. Fr. writer on music; b.
Cahors (Lot), 1859; d. Paris, 1916. Lectured on
history of music, 1904-10, at Collège de France.
Appointed Inspector of Lycée Choirs. Specially
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COMBE
interested in advancement of choral singing;
publ. many colls. of songs for school use. While
a pupil of J. Langlade at École Niedermeyer and
of Spitta in Berlin, he was struck by lack of
instruction in mus. matters at Fr. Univ. In the
effort to remedy this need, he assisted in founding
the Revue Musicale, of which he became ed.
in 1904. The object of the review was to further
musicological study.
Les Rapports de la Musique et de la Poésie, considé-
réts s au point de vue de l'expression, thesis for Doc
torate (Paris, 1894, Alcan): De parabaseos partibus et
origine (1894); Théorie du rythme dans la composition.
musicale moderne (Paris, 1897, Picard); Eléments de
Le Chant Choral (Paris, Hachette); La Musique:
e musicale historique (Revue Musicale, 1905-
6);
ses lois, son évolution (Paris, 1907, Flammarion;
Eng. London, Kegan Paul); La Musique et la Magie
(Picard, Histoire de la Musique, 3 vols. (Paris,
A. Colin),
L.
COMBE, Édouard. Swiss compr. musicologist;
b. Aigle, 23 Sept. 1866. Pupil of Guilmant in
Paris, where he was secretary to Lamoureux,
1891-3. Thanks to his initiative and to his
great efforts, the Association of Swiss Musicians
(Schweizerische Tonkünstlerverein) was founded.
in 1899, of which he remained member of com-
mittee for 18 years. Lecturer on mus. history at
Lausanne (1902-14); now gen. ed. and mus.
critic of Tribune de Genève.
Symph. poem, Les Alpes; Serenade and Overture
(Guillaume Tell), oreh.; ode, Moisson (Verlaine),
chorus, orch. and organ. Numerous unacc. choruses;
songs (Lausanne, Fetisch).-F. H.
COMETTANT, Oscar. Fr. musicologist; b.
Bordeaux, 18 April, 1819; d. Havre, 24 Jan.
1898. Although he composed a large number of
religious works and pf. pieces, he is known to-day
solely on account of his literary labours. He was
rather a brilliant chronicler than a genuine
musicologist. There are interesting gleanings
here and there in his numerous writings.
Adolphe Sax (1860); La Musique, les Musiciens et
les Instruments de Musique chez les différents peuples
du monde (1869); Un Nid d'autographes (1885), etc.
-HI. P.
CONCERTAL. See MUSTEL.
CONCERT-MEISTER. See KONZERTMEISTER.
CONCERTS ROUGE, Paris. Founded 1889 to
supply classical music at moderate prices.
Situated in the Univ. quarter of Paris, they
recruited greater part of their audiences from the
student world. These popular concerts are at
present suspended. They have been replaced by
concerts on a larger scale, with higher aims, in
Paris and the provinces, by the condr. Léon
Loicq.-M. L. P.
CONDUCTORLESS ORCHESTRA. See ZEIT.
LIN, LEF, and GRAINGER, GEORGE PERCY.
CONN, John Peebles. Scottish violinist, pianist
and condr. b. Penicuik, Midlothian, 15 Sept.
1883. Stud. under MacKenzie, Townsend, and
Prof. Niecks in Edinburgh; won Bucher
scholarship in 1902, and entered the Cons. of
Cologne, where Eldering and Steinbach were his
teachers (1905-6); stud, under Ševčík in Prague.
Subsequently leader of Dortmund Philh. Orch.;
later leader and sub-condr. of Bielefeld Municipal
Orch. (1909-14). Was a prisoner of war at
Ruhleben. Deputy-leader of Scottish Orch.
CONVERSE
1919-22. Now teacher at the Athenaeum, Glas-
gow, and condr. of Greenock and Glasgow
Amateur Orch. Societies.-J. P. D.
CONRADI, Johan Gotfried. Norwegian compr
condr. historian; b. Tönsberg, 7 April, 1820; *d.
Christiania, 29 Sept. 1896.
Began to study
medicine, but soon went over to music. Formed in
1843 a 4-v. singing-club of students and artisans
in Christiania; founded in 1845 the Haand-
verkersangforening (Artisans' Glee Soc.) in the
same city. Started singing-clubs in several smaller
Norwegian towns. C. thus shares with Johan D.
Behrens the credit for the great interest roused.
in Norway for 4-v. male choirs; 1875-93, condr.
of Christiania Trades' Union Choral Soc.; also
did important work for Norwegian orch. music;
1853-4 cond. orch in the Norwegian Theatre,
Christiania. He then stud. music in Germany
(chiefly Leipzig), 1855-6; in 1857-9, held sub-
scription concerts, which afforded Christiania
an opportunity of hearing for first time fine inter-
pretations of the orchestral masterpieces.
Kortfattet historisk oversigt over musikens utvikling
og nuværende standpunkt i Norge (Historical Survey
of Development and Present Position of Music in
Norway) (Christiania, 1878, Carl Warmuth), which
forms a thorough preparation for later investigations
regarding Norwegian music. Music to Christian Mon-
sen's rama Gudbrandsdölerne (Norwegian Theatre,
1861); 4-v. songs for male chorus.-U. M.
CONSERVATOIRES OF MUSIC.
Seo ACA-
DEMIES.
IOO
CONSOLO, Ernesto. Pianist; b. London, of
Ital. parents, 15 Sept. 1864. One of most
esteemed among Ital. pianists; Stud. at R.
Liceo Mus. di Santa Cecilia, Rome, under
Sgambati; then in Leipzig under Reinach.
Has given concerts in principal cities, of Europe
and America. Lives at present in Florence, be-
ing prof. at Cherubini R. Inst. of Music.-D. A.
CONUS, George Edwardovitch. Russ. compr.
and theorist; b. Moscow, 18/30 Sept. 1862.
Pupil of his father (a pf. teacher) and of S. I.
Tanéief and Arensky (theory) in Moscow Cons.
From 1891 to 1899, prof. of harmony and orches-
tration there; from 1902, prof. at Music School
of Moscow Philh.; then prof. and dir. of Saratof
Cons. After the 1918 revolution returned to
Moscow; now prof. at Cons. and dean of the
theoretical faculty there. Member of Russ. Acad.
of Art-Sciences and of State Inst. of Mus. Science.
A gifted theorist, with orig. theories on metric-
technical analysis of musical form. His chief
books on these ideas are not yet published.
Ballet, Daita; suite, From Child-life, chorus and
orch. op. 1; symph. poem, From the World of
Fancu, op. 23; symph. poem, The Forest is rustling
(after
op. 33; songs; pf. pieces; manual
of Harmony, 1894; 1001 Exercises t
Ers. to same; Russ. transl.
The's
Adamentation.-V. B.
CONVERSE, Frederick Shepherd. Amer. compr.
b. Newton, Mass., U.S.A., 15 Jan. 1871. Educated
at Harvard Univ. where he stud. music under
Paine. Graduated A.B. 1893 with highest
honours in music. His op. 1, sonata for vn. and
pf. (Boston Mus. Co.), was produced in 1909.
From 1894 to 1896, stud. under Baermann and
Chadwick in Boston; 1896-8, under Rhein-
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COOK
berger at Cons. in Munich, where his symphony
in D mi. op. 7, was perf. in 1898. From 1898 to
1901, taught at New England Cons. in Boston.
From 1901 to 1904 instructor in music, from 1904
to 1907 assistant-prof. at Harvard. In 1907, re-
signed to devote himself to compn. At present
(1924) prof. in theory and compn. at New England
Cons. His opera, The Pipe of Desire, was first
work by Amer. compr. perf. at Metropolitan
Opera, New York (1910).
Festival of Pan, orch. romance, op. 9 (1st perf.
Boston
Orch. 1900; publ. Boston Music
Co. 1904) in's Narrative, orch. romance,
op. 10 (Boston Symphony Orch. 1903; H. W. Gray,
1909); La Belle Dame sans Merci, for barit. and
orch. op. 12 (Schirmer, 1902); The Trumpeter
orch, fantasy, op. 19 (1st perf. Dysticia, 1915;
Schirmer, 1907); The Pipe of Desire, romantic opera
in 1 act (1st perf. Boston, 1906; H. W. Gray, 1907);
Job, dramatio poem for soll, chorus and orch.
op. 21
(1st perf. Worcester (Mass.] Fest. 1907; Gray, 1907);
Ormazd, symph. poem (1st perf. St. Louis Orch. 1912;
Gray, 1913); The Sacrifice, 3-act opera (Gray, 1910);
The Peace Pipe, cantata (Birchard, 1915).-0. K.
COOK, Edgar Thomas. Eng. orgt. b. Wor-
cester, 18 March, 1880. Became assistant-orgt. of
Worcester Cath. (under Sir Ivor Atkins) in 1904;
since 1907, orgt. and dir. of music at Southwark
Cath. London, where he has instituted choral
and orch. perfs. of the greatest modern oratorios
as well as early English music.
Anthems; services; part-songs (Weekes; Stainer
& Bell; Faith Press; Novello).-E.-H.
COOLIDGE PRIZE. See U.S.A. MUS. FESTS. (ix).
COOLS, Eugène. Fr. compr. b. Paris, 1870.
Gained the Prix Cressent in 1906. His music is
modern in style but based on a groundwork of
solid classicism. Has comp. for the stage:
Musique pour Hamlet (1920); Le Jugement de
Midas (1922). Also some chamber-music.-A. C.
COOMARASWAMY, Ananda K. Writer on
art and music; keeper of Indian and Moham-
medan Art in Museum of Fine Arts, Boston,
Mass. Educated Wycliffe Coll., Stonehouse,
Glos; Univ. Coll. London; D.Sc. London; 1910,
assisted in founding the Indian Soc.; lecturer
on history of Indian art, and general aesthetics,
sociology, metaphysics. Author of many books.
Dr. Coomaraswamy is the author of the Indian
articles in this Dictionary.-E.-H.
COQUARD, ARTHUR. Fr. compr. b. Paris,
25 May, 1846; d. Noirmoutiers (Vendée), 20
Aug. 1910. After successful law studies, took
lessons with César Franck and became his
disciple. From that date a series of orch. works
appeared: Ballade des Epées (1875); Héro (1881);
Ossian (with harp obblig.), 1880; Cassandre; Hai-
Luli; Andromaque; Christophe Colomb; Jeanne
d'Arc; Le Meurtrier. Appeared as dramatic
compr. in 1884 with L'Epée du Roi; then Le
Mari d'un Jour (1886); La Jacquerie (1895);
Zahel (1900); Philoctète; La Troupe Jolicoeur
(1902). He is sentimental, emotional, picturesque
and of classical tendency. Has written as critic
in Écho de Paris. Author of a biography of
César Franck, and a History of French Music
since Rameau (only a sketch).-A. C.
CORBANI, Francisco. Teacher and compr. b.
Cremona in 1871. Stud. at Cons. of Bergamo;
went to Buenos Ayres in 1896. Singing-master
CORNELIUS
of National School for Blind. Has publ. pl.-
transcription of Andrea Chénier.-A. M.
CORBELLINI, César. Condr. teacher;
Genoa in 1856; Buenos Ayres in 1912. Stud.
at Civic Inst. of Music, Genoa. Selected by
Ceferino Alassio to conduct his opera Il Sindaco
Babbeo at theatre of R. Palace, Genoa. Went to
Buenos Ayres in 1884, to give concerts. Joined
Santa Cecilia Inst. there; establ. a mus. acad.
in Barracas, which he dir. up to his death.-A. M.
CORDER, Frederick. Eng. compr. teacher ci
compn.
London, 26 Jan. 1852. Stud. under
G. A. Macfarren at R.A.M. London, and under
Ferdinand Hiller at Cologne Cons. First appear-
ance as condr. at Brighton Aquarium 1880;
prof. of compn. at R.A.M. London, from 1888
till now. Curator there from 1890. His opera
Nordisa was perf. by Carl Rosa Co. at Liverpool,
1887. He founded the Soc. of British Comprs.
in 1905 (disbanded in 1915) and formed many
British composers.
(Williams, 1888), 1889):
Margaret (lemale v
Opera, Nordisa (Forsyth, 1886). Cantatas: The
Bridal of Triermain (Novello, 1886); The Sword of
overture,
15851
Elegy for 24 vns. and organ (id. 1905); 24 pieces for
a 2nd pf. composed to Czerny's Studies (Williams,
Rumanian Dances, 2 books, vn. (Breilkopf,
1883)
The Orchestra (Curwen, 1895); Afodern Composition
(id. 1909); History of the Royal Academy of Music
(Anglo-Fr. Co. 1922). Principal works are unpubl.
-E.-H.
IOI
CORDER, Paul W. Eng. compr. b. London.
Dec. 1879; son of Frederick C. (q.v.). Stud. at
R.A.M. London as pianist and compr.; prof. of
harmony and composition there from 1907.
2 operas (ms.); Dross, music-drama without words;
of
Songs, barit. and orch.; pf. pieces; Transmutations
of an orig. theme; 9 preludes; Heroic Elegy, etc.
(Ricordi; Anglo-Fr. Co., etc.).-E.-II.
CORNELIS, Evert. Dutch condr. and pianist;
b. Amsterdam, 5 Dec. 1884. Pupil of Amster-
dam Cons. (de Pauw, pf. and organ). In 1904,
Prix d'excellence for organ. 2nd condr. of Con-
certgebouw Orch. (Amsterdam) 1910-19. In
1922, condr. of Utrechtsch Stedelijk Orch. Was
condr. of Concertgebouw Sextet (see CHAMBER-
MUSIC PLAYERS) and orgt. Lutheran Ch. Amster-
dam. As a pioncer of modern music, he has
played in Holland, Belgium, France, Germany,
Austria, India and Australia.-W. P.
CORNELIUS, Peter. Ger. poet and compr.
b. Mayence, 24 Dec. 1824; d. Mayence, 26 Oct.
1874. It was only after his death that the influ-
ence of this refined and sensitive poet-composer
spread and took root. The publication of his
literary works brought to light his fine mental
personality (Vols. I and II, Selected Letters,
ed. by his son, C. M. Cornelius, 1904-5; 11i,
Essays on Art and Music, ed. by Edgar Istel,
1904; IV, Poems, by Adolf Stern, 1905,
Breitkopf). The complete ed. of his musical works
in 5 vols. by Max Hasse (Breitkopf), has had
the practical result of his first and most
charming operatic work, The Barber of Bagdad,
being again performed in its orig. version, whereas
it had only been heard before in a fully-orches-
trated Wagnerian version, which misrepresented,
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CORNELIUS
though it may not have injured, the orig.
form. Consult:
Hasse, P. C. und sein Barbier von Bagdad,
Edgar Istel, P. C. (Leipzig, 1904, (Leipz
Max Hasse, Der Dichtermusiker, P. C., 2 vols.
1922, Breitkopf).-A. E.
CORNELIUS, Peter. Danish t. singer; b.
4 Jan. 1865. Stud. in Copenhagen and Paris.
Début in 1892 as barit. at R. Theatre, Copenhagen
(Toreador in Carmen). Later sang Don Juan
(Mozart). After renewed study abroad, he went
over to leading t. roles, in which he immediately
came to front rank (Samson in Saint-Saëns's
Samson and Delilah; Pedro in d'Albert's Tief-
land), and especially in Wagner's operas, having
repeatedly sung these parts at Bayreuth and
Covent Garden, London. He still sings at R.
Theatre, Copenhagen. Not to be confused with
P. C. the Ger. compr. (q.v.).-A. II.
CORONARO, Gaetano. Ital. compr. and
teacher at Milan Cons.; b. Vicenza, 18 Dec. 1852;
d. 5 April, 1908. Belonged to a distinguished
family of musicians (his brothers Antonio and
Gellio-Benvenuto were comprs.). His best operas
are Un tramonto; La Creola; Enoch Arden; also
symph. works and chamber-music. Consult E.
Oddone, G. C. (Rome, 1922, Ausonia).-D. A.
CORTI, Maric Ital. violinist; Guastalla,
9 Jan. 1882. Performer and teacher of repute.
Stud. vn. at Bologna under Massarenti, and
compn. under Martucci and Bossi. As leader
of Mugellini Quintet, C. carried out several
tours in Italy and abroad, achieving great
success everywhere. At age of 24, he com-
peted successfully for post of prof. at Parma
Cons.; in 1914, went to Scharwenka Cons.
Berlin (as substitute for Arrigo Serato); in
1915 prof. at R. Liceo Mus. di Santa Cecilia
in Rome, a post which he still holds. Has
publ. (Milan, Carisch) a coll. of little-known
works by XVII century musicians, entitled
Classical Italian Violinists.-D. A.
CORTOLEZIS, Fritz. Ger. condr. b. Passau,
21 Feb. 1878. Army officer, 1899; pupil of
Ludwig Thuille and Bussmeyer, Munich; 1907,
Court condr., Munich, under Felix Mottl; dir.
of Wagner-Strauss operas in England, 1911;
condr. of Kurfürsten Opera House, Berlin, 1912;
Court music dir. Carlsruhe, since 1913.
Compr. of operetta Rosemarie, Bremen, 1919.-A. E.
CORTOT, Alfred. French pianist; b. Nyon
(Switzerland) of French parentage. While still
a child he came to Paris with his family. Began
studying pianoforte under his sisters. At the Con-
servatoire his first master was Decombes (an old
pupil of Chopin); later, studied under Diémer
and in his class carried off a brilliant 1st prize
in 1895. At this time he was passionately de-
voted to Wagner whose operas he used to play at
private performances to a select audience. After
being appointed Korrepetitor at Bayreuth, he
founded Concert Society in Paris, to which
he gave his name and in which he conducted
the orchestra. In 1902, he conducted at Théâtre
du Château d'Eau, Götterdämmerung, Tristan,
Parsifal, Beethoven's Mass, Liszt's St. Elizabeth,
COSTA
Brahms's Requiem (all first performances in
Paris). At the Société Nationale, he directed
many first performances, without ceasing to
appear allover Europe as a soloist. In 1905, he
founded (with Jacques Thibaut and Pablo Casals)
the trio which is to-day undoubtedly the best in
the world. At the age of 30, he was appointed
head of the highest pianoforte course at the
Conservatoire (in place of Pugno).
The war interrupted his artistic activities.
When he was again at liberty to follow his pro-
fession, submitted himself to a rigorous
course of study and re-appeared on the concert
platform in possession of an astounding facility
of execution, which, with his deep sensitiveness
and an intuition which amounts to genius, easily
puts him first among French pianists.
Of late years his reputation has steadily in-
creased in both the continents through which he
tours. If his playing appears at first to lack that
brilliant force which strikes one in Busoni, he
none the less captivates his audience with his
soul-penetrating grace and tenderness. His tone
gives an effect of inexpressible transparency, yet
retains its vigour. What one reads about Chopin's
touch from his contemporaries might easily be
applied to Cortot, but the latter has a force
which the ailing genius lacked. After devoting
himself to German classics and romantics, he
has for some years given the French school pre-
eminence in his programmes. He is without
equal in his interpretation of the works of César
Franck, Debussy, Fauré and Ravel. He has
published a student's edition of Chopin's Études
(Senart), and important articles on piano com-
positions of Debussy and Gabriel Fauré (Revue
Musicale, Dec. 1920; Oct. 1922). The Debussy
articles are published in English by Chester,
London. Each spring, Cortot gives a course of
musical interpretation at École Normale del
Musique.-H. P.
COSTA, Alessandro. Ital. compr. b. Rome,
19 March, 1857. Took an important part
in Roman mus. life from 1880 to 1900,
especially as founder of Bach Soc., which gave
fine renderings of Bach's works. The Soc.,
which first perf. at the Sala Costanzi, and
later at hall of same name in Via Gregoriana,
was at that time the centre of the most select.
portion of the Roman mus. world. As com-
poser, C. publ. a 5tet (Kistner); La Leggenda
dell' anima and an Allegretto from a Fantasia
for orch. (Rome, Cristiano); Presso una
fontana, v. and pf. (Berlin, Simrock); Danza
degli Scheletri, Ondine, v. and pf., Canzone della
bajadera, from opera Sumitri (Bologna, Tedeschi).
Costa has also written arts. on music, and
about the doctrines of Buddha, of which he
is a convinced devotee. For many years he has
lived in solitary retirement at Mompeo, a little
place in Umbria.-D. A.
COSTA, Pasquale Mario. Ital. compr. b.
Naples, 24 July, 1858. Popular for his numerous
songs to Ital. and Neapolitan words, and for
his pantomime L'Histoire d'un Pierrot, which
he almost improvised in Paris at quite a
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COSTA CARRERA
difficult period of his life (1892-3). It was such.
a success that it has been reproduced countless
times in theatres all over the world. After
having stud. at Naples Cons., in 1881 he went
to London, where he won fortune and popu-
larity by his songs, which he sang himself as
a tenor. He now lives in Rome.
Best-known songs are Luna nova, Napulitanata,
Calari, Un organetto suona per la via, Scetate For
the stage, I
e, in addition to the Histoire d'un Pierrot, he
wrote various other pantomimes and 3 operettas:
Il Capitan Fracassa (Turin, 1909), Posillipo (Rome,
1921), and Scugnizza (1923). Mostly publ. by Ricordi,
Milan.-D. A.
COSTA CARRERA, Francisco. Span. violinist;
b. in Barcelona, Feb. 1891. Stud. Barcelona
Municipal School; 1908, the Barcelona County
Council made him a grant for mus. study at R.
Cons. Brussels, where he obtained high dis-
tinction. Appeared as soloist in 1914, with
Granados, at the concert when the latter gave
1st perf. of his Goyescas. Former leader of Pierre
Monteux's orch. concerts, Dieppe. Has toured
extensively in America, Egypt and Spain. Lives
in Barcelona.-P. G. M.
COSTANZI, Teatro. The foremost opera-house
in Rome, and one of most important in Italy, in
spite of its quite recent origin. Built by initiative
of Domenico Costanzi, a native of Macerata, who
went to Rome in 1851, devoting himself at first
to the hotel business; he constructed and
managed several hotels, amongst them the
Albergo del Quirinale. He conceived the bold
idea of giving to Rome a great theatre, which the
Ital, capital was then in need of, as the Argentine
and Apollo theatres (latter now demolished) were
insufficient; and in 18 months he succeeded in
realising his dream. Its construction was en-
trusted to the engineer Sfondrini. The theatre is
one of the largest and most beautiful in Italy.
The pictures are by Brugnoli. Inaugurated 27
Nov. 1880, with Rossini's Semiramide. From
that year onwards opera seasons have followed,
gaining for it the wide fame it now enjoys.
Amongst the most important events are the
1st perfs. of Mascagni's Cavalleria Rusticana,
L'Amico Fritz, Iris and Le Maschere; Puccini's
La Tosca and the triptych II Tabarro, Suor Ange-
lica and Gianni Schicchi. Between the opera
seasons the theatre is used for plays and oper-
ettas; there have been some important sym-
phony-concerts there also. A fine concert-hall is
annexed. The theatre has always remained
private property, privately managed. At present
it is in the hands of a company, and the manage-
ment is entrusted to Signora Emma Carelli (q.v.),
herself a well-known operatic singer. The muni-
cipality of Rome allows the undertaking a con-
siderable grant, imposing certain obligations.
Consult Matteo Incagliati, The Costanzi Theatre,
1880-1907 (Tipografia editrice Roma, 1907).
-D. A.
COVIELLO
humble origin, he stud. first at Hospice of San
Michele; then he stud. under Faldi, Capocci,
Mustafà, and Aldega. C. gained his first success
in the Oratory of the Filippini in the Chiesa
Nuova. He appeared on stage for first time
in Rome in 1852, and his fame grew rapidly.
The greatest theatres vied with each other for
him; he returned to Petrograd for 26 seasons,
to London for 23 seasons, and appeared at all
the principal theatres of Europe in the course
of his long career. His repertoire included 157
operas, from Don Giovanni and Magic Flute
to modern ones like Pagliacci and Manon
Lescaut. He was a great interpreter especially
of Ballo in Maschera, Ernani, Linda di Chamou-
nir, Faust, Elisir d' amore and Barbiere. In
Italy he was the first to interpret Verdi's Don
Carlos at Bologna, and in this opera he was,
in Verdi's opinion, unrivalled. He created.
many importants parts in new operas. During
his sojourn in Russia, at Rubinstein's invita-
tion, he accepted the directorship of school.
of singing at the Cons. of Petrograd, which
he held for 4 years, and had to abandon in
consequence of a serious illness. He left the
stage in 1904, and took over dir. of school of
singing at R. Liceo Mus. di Santa Cecilia, Rome,
where he passed the last years of his life, beloved
by his many pupils and all who knew him.
4. C. (Rome, 1907, elucel, Ricordi di un artista:
Soc.
Roux, A. C. (Florence, Bemporad).-D. Á.
COUNTERPOINT. The bringing together of
two or more melodic lines. Also called Poly-
phony. See art. on HARMONY.-E.-H.
man.
COURVOISIER, Walter. Compr. b. Riehen,
near Basle, Switzerland, 7 Feb. 1875. Medical
Musician since 1902, pupil of Ludwig
Thuille in Munich, whose son-in-law he became
later. Assoc.-condr. of People's Symphony Con-
certs in the Kaimsaal, 1907; teacher of compn.
at Acad. of Music, 1910; prof. 1919. He is a
tasteful representative of the so-called "Munich
School."
Many songs, including cycle of 52 sacred songs,
op. 29 (Cologne, Tischer & Jagenberg); choral
5, 11,
for soli, choir and orch. op. 26; 6 suites for vn.
solo, op. 31; symph. prologue to Spitteler's Olym- -
pischer Frühling, op. 10; Variations and fugue for
pf. op. 21: opers, Laurag); 1-act comedy, Die
and
Drei Masken
Krähen (Munich, 1921, Drei Masken Verlag).-A. E.
COUTTS, D. J. Prof. Univ. of Music, Mel-
bourne, Australia; d. 1923. Has comp. orch.
overture; cantata, Lord Ullin's Daughter, chorus
and orch.; album of 5 songs (Allan & Co.,
Melbourne); 3 songs by J. E. Brown (F. Harris
Co., London); many pf. pieces.-E.-H.
COVENT GARDEN, Royal Opera puse.
ROYAL OPERA HOUSE.
COVIELLO, Ambrose. Eng. pianist; b. Brix-
ton, London, 30 Jan. 1887. Stud. under Oscar
Beringer and Frederick Corder at R.A.M.;
gained Thalberg Scholarship and Macfarren
Gold Medal. Prof. (1914) and Fellow (1922) of
R.A.M. Contributed arts. to Music Student
(1920), Monthly Musical Record, etc. (1921-2).
-E.-H.
COTOGNI, Antonio. Ital. barit. b. Rome,
1 Aug. 1831; d. Rome, 15 Oct. 1918. One of
the greatest and most popular lyric artists of
Italy during latter half of XIX century.
greatness was due both to beauty of voice and
cleverness and versatility as interpreter. Of
His
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COWARD
COWARD, Henry. Eng. chorus-trainer and
choral condr. b. Liverpool, 26 Nov. 1849. Be-
gan training singing-classes at 18; cond. 1st
concert at 19; became a school teacher at 22;
left scholastic prof. in 1888; in 1889 (at age
of 40) took Mus. Bac. Oxon.; and in 1894 the
Doctorate. His 20 years' work as condr. and
trainer passed unnoticed till the 1st Sheffield
Fest. proved his choral prowess. This has re-
sulted in choral music being raised to a higher
plane in technique and expression. In this and
succeeding fests. (1902, 1905, etc.), he opened a
new epoch of choral singing. He conducts
choruses at Sheffield, Leeds, Huddersfield, New-
castle, Glasgow, Barnsley, Hull, Derby (each
averaging 350 members); toured with his Shef-
field choir in Germany (twice); with Yorkshire
chorus in Canada and round the world.
lecturer in music at Sheffield Univ. which has
conferred on him the degree of M.A. Is a well-
known adjudicator at mus. competition fests.
Is
Numerous cantatas; anthems; glees; part-songs;
songs; books: Choral Technique and Interpretation
(Novello, 1914); Reminiscences (Curwen, 1919);
The Pioneer Choirmaster (J. L. Consult J. A. Rodgers,
many
COW-BELLS as mus. instrs. Used by Mahler
in Adagio of his VI (Tragic) Symphony, behind
the platform, to express feelings of a in the
high mountains, whom no human sound reaches.
He only hears the dispersed sounds of cow-bells.
The effect differs absolutely from their use in
Scherzo of R. Strauss's Alpine Symphony.
-EG. W.
COWEN, Sir Frederic Hymen. British compr.
and condr. b. Kingston, Jamaica, 29 Jan. 1852.
Brought to London at age of 4; placed at age
of 8 under Benedict for pf. and Goss for har-
mony; in 1865, competed successfully for the
Mendelssohn Scholarship, which was relinquished
as his parents did not wish to surrender the
control of their son; stud. at Leipzig Cons. under
Moscheles, Reinecke and Hauptmann, 1865-6;
and in Berlin, under Kiel, 1867-8. Amongst his
unpubl. works are an operetta, Garibaldi (written
when 8); 2 trios, pf. vn. and cello (A ma.; A mi.)
a str. 4tet in E flat; a 4tet for pf. and str. in
Cmi.; a sinfonietta in A; 2 symphonies (C mi.;
F ma.); an overture in D mi.; an oratorio, The
Deluge. As condr. he has held many of the chief
positions in London and the provinces: Pro-
menade Concerts at Covent Garden 1880, and
again in 1893; R. Philh. Soc. 1888-92 and
1900-7; Hallé Concerts, Manchester, 1896-9;
Liverpool Philh. 1896-1912; Bradford Fest.
Choral Soc. 1897-1915; Scottish Orch. Glasgow
and Edinburgh, 1900-10; Cardiff Fests. 1902-
4-7-10; Handel sts., Crysta
1902
0-9-12-20-23. Was maestro-al-piano at Ital.
Opera, under Mapleson, 1871-9; made many
tours with Titiens, Trebelli, Christine Nillson;
also toured with Trebelli in Scandinavia. His
3rd symphony, The Scandinavian, in C mi., was
first perf. at one of his own concerts in Dec.
1880. It was played in Vienna by Richter in Jan.
1882. In 1888, went to Melbourne as condr. of
Centennial Exhibition where he received from
104
CRICKBOOM
the Victorian Government, the largest fee
(£5000) ever paid to a condr. for six months'
service. Was condr. at Queen's Hall at its in-
auguration in Dec. 1893, and during the season
of choral concerts given there the same winter.
Mus.Doc. h.c. Cambridge Univ. 1900; also
Edinburgh Univ. in 1910; received knighthood
in 1911.
As a compr. he has turned chiefly to the lighter
side of music. His orchestration is always
refined.
Operas: Pauline (Carl Rosa Co. Lyceum Theatre,
1876); Thorgrim (id. Drury Lane, 1890); Signa
(Milan, 1893: Covent Garden, 1894); Harold (Covent
Garden, 1895). Oratorios: Ruth (Worcester Fest.
1887); The Transfiguration (Gloucester Fest. 1895);
The Veil (Cardiff Fest. 1910). Cantatas: The Rose
Maiden
1876); la (Norwich Fest
The Corsair (Birmingham Fest.
1881); Sleeping
Beauty (Birmingham Fest. 1885); Song of Thanks-
giving (Melbourne Exhibition, 1888); St. John's Eve
(Crystal Palace, 1889); The Water Lily (Norwich
Fest. 1893); Ode to the Passions (Leeds Fest. 1898);
Coronation Ode (1902); John Gilpin (Cardiff Fest.
1904); The Sleep (ib. 1907); Monica's Blue Boy,
playlet without words (Pinero) (New Theatre, 1917);
Cupid's Conspiracy, ballet (Coliseum, 1917); Dream
of Endymion, scena for t. v. and orch. (Philh. Soc.
1897). Orch.:
Symphon, 1880);
in C mi. (St. James's
No. V navian)
) in
B flat mi. (Philh. Soc. 1884); V, in F (Cambridge,
1887); VI (Idyllic) in E (Richter Concerts, 1897);
ballet suite, Language of Flowers (1880); suite, In
Fairyland (1896); Four Old English Dances (1896);
Concertstück, pf. and orch. (1898); overture, The
Butterflies' Ball (1900); orch. poem, 4 Phantasy of
Life and Love (1901); Coronation March (1902);
Indian Rhapsody (1903); Four Old English Dances,
2nd set (1905); Language of Flowers, 2nd suite (1914);
The Enchanted Collage, 2 entr'actes (1922). Many
pl. pieces; part-songs; cantatas for female vs.;
anthems; about 300 songs.-E.-II.
CRAS, Jean. Fr. compr. b. Brest, 1879.
The sea has its representatives not only in
Fr. literature (with Loti, Farrère and Avesnes)
but also in music Albert Roussel, Bloch,
Mariotte and Jean Cras. The latter stud. compn.
under Henri Duparc, whose friend he is. Among
his works are a str. 4tet; a sonata, pf. and cello;
3 collections of pf. pieces; 3 collections of songs;
and Ames d'enfants (symph. poem). His lyric
drama Polyphème (after Samain) obtained the
Grand Prix de la Ville de Paris in 1922.-A. C.
CREMONINI, Eligio. Ital. cellist; b. Persi-
ceto, 1854. After having taken part as leading
cellist in the most important orchestras, in 1895
was elected, by competition, prof. at Liceo
Mus. at Turin. From there he passed in 1896,
to the Rossini Liceo at Pesaro, where he has
remained, training a large number of very
capable pupils. He took part in the Pesarese
Trio with the violinist Frontali and the pianist
Vitali.-D. A.
CRICKBOOM, Mathieu. Belgian violinist and
compr. b. Hodimont (Liège), 2 March, 1871.
One of Ysaye Quartet, 1888-94; 1894-6, leader
of a quartet at Société Nationale, Paris (under
management of V. d'Indy). Principal of
Acad. of Music and of Philh. Soc. Barce-
lona, 1896-1905. Prof. of vn. Liège Cons.
1910, and at Brussels Cons. 1919. As a
violinist he is perfect in technique and poetical
interpretation. His instructive works are
models of their kind (Le Violon théorique et
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CRIMI
pratique, 5 vols.; La Technique du Violon,
4 vols.). As a compr. he does not claim any
great originality, but his work is distinguished
by a certain serious elegance.
Vn. and pf.: Esquisses (Baudoux); sonata (Schott,
Brussels); Romance, Ballade, Poème. Cello and pf.,
Chant élégiaque. Songs.-C. V. B.
CRIMI, Giulio. Ital. lyric and dramatic
t. singer; b. Paternò (Catania), 10 May,
1885. Began career at Teatro Sociale at
Treviso, in Catalani's Wally; then appeared
at all principal European and Amer. theatres
(Covent Garden, London; Opéra, Paris; Colón,
Buenos Ayres; Metropolitan, New York; etc.).
He created t. part in Zandonai's Francesca da
Rimini (Turin), and in Puccini's Tabarro and
Gianni Schicchi (New York).-D. A.
CRISTIANI, Giuseppe. Italian pianist; b.
Anagni, 19 March, 1865. Stud. at R. Liceo
Mus. di Santa Cecilia in Rome, under Eugenio
Terziani for compn. and Sgambati for pf. In
1886 won a competition offered by Orch.
Soc. in Rome, for a symphony. Then founded
and cond. the Roman Quintet (Cristiani,
Zuccarini, Tignani, Rosa and Magalotti), which
revealed many modern compns. to Rome. In
1915, won by competition a position as teacher
in Liceo Mus. di Santa Cecilia, Rome. Amongst
his works we mention a sonata for vn and pf.
(Leipzig, Jurgenson).-D. A.
CRITICISM, Musical. The history of music.
criticism runs parallel with that of mus. philo-
sophy and aesthetics, and in the present state of
our knowledge should begin with the study of
the doctrines of Pythagoras, Aristoxenes, Plato,
and Aristotle. At the very outset, two opposite
conceptions are to be observed, Pythagoras
holding that music is to be judged from the point
of view of the mind, and Aristoxenes that it is
to be judged from the point of view of the ear
-a matter upon which controversy is not yet
altogether a thing of the past.
In point of fact, musical criticism remained
either dogmatic or empirical (and correspond-
ingly tentative, erratic, and, at its best, very
vague) until the XIX century, when the desir-
ability of method (as opposed to systems), of
discipline, and of specificness, began to be
realised, in accordance with the modern pro-
gress of the art and science of criticism in general
and of musical aesthetics. It is now almost uni.
versally admitted that "the true critic is simply
the most enlightened listener: not standing
aloof with a manual of arrogant imperatives, but
taking his place among us to stimulate our atten-
tion when it falters, and to supplement our
knowledge where it is deficient" (Hadow, Edin-
burgh Review, Oct. 1906); and increasing atten-
tion is given to the part played by imagination
in the appraisement of music.
The first attempt towards laying the founda-
tion of a specific method in musical criticism is
Hadow's (Studies in Modern Music; London,
Seeley, first series, 1895), who disengages the 4
main principles vitality, labour, proportion,
and fitness from the existence of which,
CUCUEL
estimates of musical works can be arrived at.
Frédéric Hellouin (Essai de Critique de la
Critique Musicale; Paris, 1906, Joanin) tends to
favour a purely deductive method; "criticism,"
he writes, "ascertains whether the character-
istics of beauty, as determined by aesthetics,
exist in a given work," but he qualifies the
assertion by showing that criticism should be
partly objective and partly subjective. M. D.
Calvocoressi ("La Critique Musicale, ses devoirs,
ses méthodes," in Courrier Musical, Paris, 1910;
and Principles and Methods of Musical Criticism
[Oxford Univ. Press, 1923]) advocates a method
founded, in the main, upon the general principles
of criticism disengaged by J. M. Robertson (New
Essays towards a Critical Method; London, J.
Lane, 1891) and Hennequin (La Critique Scienti-
fique; Paris, Perrin, 1888), these principles being
modified only so far as required by the special
conditions governing music. Dogmatism and
inconsistency, he writes, will be further avoided
by doing away with the looseness of conception
of which the prevailing ambiguity of the critical
vocabulary is a sign.
Among endeavours to provide practical
tuition in musical criticism should be mentioned
the classes at the Royal College of Music, London
(H. C. Colles), at the Berlin Seminar für Musik
(Dr. W. Altmann), and at the Paris École des
Hautes Études Sociales (1904, F. Hellouin; 1909-
1914, M. D. Calvocoressi).
Various other points of principle and methods will
be found
Musical Criticis, following articles: J. Bradford,
Nov. 1891); M. D. Calvocoressi, Can Musical Criticism
be Taught? (Musical Times, May 1911) and Towards
a Method in Musical
(Musical Quarter.
Jan. 1923); A. Hcrvey, Concerning Musical C
(Musical Times, Juno 1911); E. Newman, 4 School
for Musical Critics (Musical Times, Jan. 1911).
-M. D. C.
CUBAN OPERA. See MEXICAN AND CUBAN
OPERA.
CUBILES, José. Span. pianist; b. Cadiz, 1896.
Pupil of Pilar de la Mora, Madrid, and of Diémer,
Paris. Prof. at R. Cons. de Música, Madrid.
-P. G. M.
CUCUEL, Georges. Fr. musicologist. b. Dijon,
14 Dec. 1884; d. 28 Oct. 1918. One of the
most able of the young French musicologists
trained by Romain Rolland. He died at the
age of 34, of trench fever. His Doctorate
thesis, La Pouplinière et la Musique de
Chambre au XVIIIe siècle, is
a veritable
monument of research on that musical re-
naissance, of which Paris, no less than Mann-
heim, was the active centre. His Etudes sur un
orchestre au XVIIIe siècle add much of import-
ance to the history of the origin of symphony in
France, and also contain important notes on the
horns, clarinets and harp which made their
appearance in orchestras of that period. He
wrote a little book full of facts and ideas on the
Founders of the French Opéra-Comique (Alcan,
1914); also Documents on the Musical Library
of the XVIII Century (Sammelbände der I.M.G.,
1912); Le Baron de Bagge et son temps (Année
Musicale, 1911); Operas of Gluck according to the
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CUI
Parodies of XVIII Century (posthumous, Revue
Musicale, March-April, 1922). He had in pre-
paration a work on Italian opéra-bouffe, when
the war cut short his activities. He possessed
a fine power of synthetic construction, added to
erudition that considered no detail insignificant.
-II. P.
CUI, César Antonovitch (pron. Quee). Rus-
sian composer; b. Vilna, 6/18 Jan. 1835; d.
Petrograd, 1/14 March, 1918. Received his
first lessons in music from Polish composer
Moniuszko; but did not start to study com-
posing until 1857, when (after having com-
pleted courses at Petrograd School of Military
Engineering) he joined forces with Balakiref
in taking the lead of the "Nationalist " move-
ment which followed the advent of Glinka.
He did not altogether practise what he preached.
and the resemblances between his works and
those of his comrades are few. He was par-
ticularly impressed by Dargomisky's innova-
tions in the province of melodic recitative, and
at times he followed this master's methods,
although more often he inclined to abide by the
tenets of operatic style proper. His music shows
no trace of the folk-song influence which is so
great on practically all his contemporaries;
and he was never attracted towards
realms
of picturesque and fantastic poetry from which
other Russian composers derived so
many
felicitous inspirations He even ovinced small
interest in national history, legend, or fiction
as subjects for lyric treatment, and most of
his operas after his early Captive of the Caucasus
(1859) are written on libretti of foreign origin:
Angelo (after Hugo, 1876); Le Flibustier (by
Richepin, 1889); The Saracen (after Dumas,
1889); Mam'selle Fifi (after Maupassant,
1903); Matteo Falcone (after Mérimée, 1908);
the only two exceptions are the short Feast at
the Time of the Plague (1859) and The Captain's
Daughter (1911), both after Pushkin. He wrote
many songs, a few choral works, 4 orchestral
suites, a small amount of chamber-music, and
a few pf. pieces. His music is often ingenious
and graceful, but reveals no great degree of
creative imagination.
He was active as a writer of articles and
essays on music (chiefly on Russian music). A
book of his in French, La Musique en Russie,
appeared in 1880 (Paris, Fischbacher), and con-
stitutes a curious document as to his outlook.
-M. D. C.
CULWICK, James C. Orgt. and condr. b.
West Bromwich, 28 April, 1845; d. 1909.
Trained at Lichfield Cath. as chorister and
CURTIS
writer on music; h. Eccles, 7 May, 1881. Mus.
critic of Manchester Courier, 1909-12; Daily
Citizen, 1912-15; prolific contributor to Eng.
and Amer. papers. Author of Imaginary Con-
versations with Great Composers (W. Reeves);
Set Down in Malice (Grant Richards, 1918);
Written in Friendship (id. 1923); editor of
Musician's Handbook Series (id.).-E.-H.
CUMEYAS RIBÓ, José. Span. compr. of
choral, religious and popular music; b. Bar-
celona, 1875. Cond. of Orfeó Catalá. Choir-
master at San Felipe de Neri's Ch. Barcelona.
-P. G. M.
CUMMINGS, William Hayman. Eng. t. voca-
list, condr. mus. antiquarian; b. Sidbury, Devon,
22 Aug. 1831; d. Dulwich, 10 June, 1915. Sang
at many fests.; in opera from 1865; prof. R.A.M.
1879; joined newly-formed Guildhall School of
Music, London, 1880; condr. Sacred Harmonic
Soc. 1882; Principal of Guildhall School of Music,
1896 till death. Mus.Doc. Dublin, h.c. 1900.
E.-H.
CUNDELL, Edric. Eng. compr. and condr.
b. London, 29 Jan. 1893. Began as Fr.-horn
player; played in Covent Garden opera season
1912; pf. scholarship, Trinity Coll. of Music;
appointed to teaching staff thore, 1914; condr.
of Westminster Orch. Soc. 1920. Gained the
Hammond Endowment Grant (£200) for com-
position in 1929.
Suite for str. orch. (Goodwin); symph. poem,
Serbia (1919; Robert Goodwin Libr.); Poem, The
Tragedy of Deirdre, op. 17 (1922, ms.); Sonnet, Our
Dead,
and orch.
op. 15 (1922, ms.); str. 4tet, op. 18 (1922, Goodwin);
Valse Fantasque, op. 16 (1922, Paxton); The Water
Babies, Parts I and II (pf. pieces for young) (Paxton);
numerous songs
Ks (Chappell).-E.-H.
CUP-BELLS. 25 copper-bells, with chromatic
range of 2 octaves, from cl to e³. Surprisingly
beautiful tone, which mixes well with other instrs.
The lower ones possess a heavy tone-quality;
the upper ones sound like flageolets. The instr.
was cast by J. Taylor & Co., Loughborough,
England. Used for 1st time by Dutch compr.
Daniel Ruyneman (g.v.) in his Hieroglyphs.
-E.-II.
CURTIS, Natalie (Mrs. Paul Burlin). Writer
on Indian and negro music; b. New York; d.
Paris, 23 Oct. 1921. Stud. pf. in New York under
Arthur Friedheim, and abroad under Busoni
(Berlin), Giraudet (Paris), Wolf (Bonn) and
Kniese (Wagner-Schule, Bayreuth). Returned
to America as pianist, but sojourning with her
brother in Arizona became interested in the
music of the Indians and visited their encamp-
ments. The first result of her studies here is her
Indians' Book, a coll. of 200 songs, culled from 18
tribes. Her success brought the invitation to
undertake similar investigations in negro music
which she pursued among the students of Hamp-
ton (Va.) Inst. and elsewhere. Married the artist
Paul Burlin, 1917. Died in Paris after an
automobile accident.
Songs of Ancient America (Schirmer, 1905); The
Indians' Book (Harper, 1907); Negro Folk Songs,
the Dark Continent (Schirmer, 1920); songs and
(Schirmer, 1918-19); Songs and Tales from
choruses (Wa-Wan Press; Schirmer; Dilworth).
-J. M.
ant-orgt.; orgt. of Parsonstown, 1866; of
Chapel Royal, 1881; prof. of pf. and harmony,
Alexander Coll. Dublin; Mus.Doc. h.c. 1893;
an excellent lecturer on mus. subjects. His most.
successful work was choral-conducting, and it
was through his enthusiasm that the Orpheus
Choral Soc. became best choir in Dublin. After
his death, his daughter, Miss Culwick, carried.
on the excellent work.-W. ST.
CUMBERLAND, Gerald. Eng. critic and
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CURWEN
British didactic
CURWEN, Annie Jessie.
writer; b. Rathmines, Dublin, 1 Sept. 1845.
Stud. at R. Irish Acad. of Music, Dublin, under
Joseph Robinson, Fanny Robinson, and Sir
Robert Stewart; well-known educationist; has
done much to raise standard of teaching in the
elementary grades, striving to do for the pf.
teacher what John Curwen did for the teacher of
class-singing, by the application of the same edu-
cational principles. Wife of J. Spencer Curwen.
The Child Pianist (now known as the Curwen
Pianoforte Method) a practical course in elements of
music (Curwen, 1886); Psychology applied to Music
Teaching (id. 1920).-E.-H.
CURWEN, J. & SONS, Ltd. Music publishers
and general printers, founded by John Curwen in
London about 1850. Succeeded by John Spencer
C. F.R.A.M. in 1881, and Kenneth C. in 1916.
The original aim was to publish music in Tonic-
Solfa notation. Spencer Curwen developed it
on choral and educational side to a position of
great strength. Kenneth C. while following this
tradition, is also developing the work of youngest
school of British comprs. The firm owns Musical
News and Herald, a weekly newspaper, and The
Sackbut, a monthly mus, review. It also controls
the London and Continental Mus. Publ. Co. Ltd.
which holds
for Univ. Ed. of Vienna.
It amalgamated F. & B. Goodwin, Ltd. Jan.
1924.-E.-H.
CURWEN, John Kenneth. Eng. mus. publ. b.
Upton, Essex, 1881. Educated Abbotsholme and
New Coll. Oxford. Man. dir. J. Curwen & Sons,
1914; President, Tonic Solfa Assoc. from 1919;
editor Mus. News and Herald from 1922 to
1924.-G.-B.
CURWEN, John Spencer. Eng. journalist;
writer on mus.-educational subjects; b. Plaistow,
Essex, 30 Sept. 1847; d. London, 6 Aug. 1916.
Stud. at R.A.M., under Ebenezer Prout, Sir
Arthur Sullivan and Sir George Macfarren.
Devoted his life to the Tonic Solfa movement,
CZECH FOLK-MUSIC
the cultivation of sight-singing in schools and
the general development of choral music. Con-
tinued his father's (Rev. John C.) work. Presi-
dent of Tonic Solfa Coll. 1880; establ. first
competitive mus. fest. (an adaptation of the
Welsh Eisteddfod) 1883 at Stratford, London, E.
Visited and inspected chief continental, Canadian
and Amer. schools; promoted conferences of
music-teachers throughout Great Britain. Ed.
Musical Herald from 1866.
107
Studies in Worship Music (1880); 2nd series (1885);
Memorials of John Curwen (1882); School Music
Abroad (1901) (all publ. by Curwen).-E.-H.
CURZON, Henri de. Fr. musicologist. b. Le
Havre, 1861. D.Litt.; musicographer and mus.
critic; keeper of National Archives. Wrote
L'Etat sommaire des pièces et documents con-
cernant le théâtre et la musique, conservés aux
Archives Nationales (1899); regular contribu-
tions to papers and reviews such as Le Guide
Musical (1894-1918), which he managed, La
Gazette de France (1889-1914), Le Bulletin de a
Société de l'Histoire du Théâtre (1902-22), etc.
Since 1889, when he wrote La Légende de
Sigurd dans l'Edda. L'Opéra d'E. Reyer, his
researches extended in many directions.
graphie Mozartine (1906) (1905); Essai de biblio-
Musiciens du temps passé (1893); Croquis d'artistes
(1897); Les Lieder de F. Schubert (1899); Les Lieder
et airs détachés de
Documents inédiis sur le
"Faust" de Gounod (with Albert Soubies) (1912,
Paris, Fischbacher), etc. Has written a Mozart, a
Rossini (Paris, Alcan, 1914, 1920), Grétry, Meyerbeer
(Paris, Laurens, 1907, 1910). Transl. letters and
writings of Mozart, Schumann and Hoffmann.-
M. L. P.
CUYPERS, Hubert. Dutch compr. b. Roer-
mond (Limburg), 26 Dec. 1873. Pupil of Bernard
Zweers, Amsterdam. His 3 melodramas Terwe
(Wheat), Die Wallfahrt nach Kevlaar (from
Heine), and Das Klagende Lied (The Complaint)
are well known in Holland.-W. P.
CZECH FOLK-MUSIC. See KUBA, LUDVÍK;
MALÁT, JAN.
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D
D'AGUILLO, Corradino. Argentine compr. b.
Agnone, Campobasso, Italy, in 1868. Stud. at
Naples Cons. Went to Buenos Ayres in 1888. Here
he set to music Il Leone di Venezia, given at the
Politeama, Buenos Ayres. Then returned to
Italy, for 4 years, again coming to Buenos Ayres.
as prof. of cpt. and harmony at Cattelani Cons.
Now pf. prof. at Santa Cecilia Inst. His other
opera, La Zingara, is in 1 act (libretto by his
uncle, Nicolas d'Aguillo the poet).-A. M.
DAHL, Viking. Swedish compr. b. Osby, 8
Oct. 1895. Stud. Cons. of Malmo and of Stock-
holm; then in London and Paris (under Vidal,
Ravel, Viñes), dancing under Isadora Duncan.
Composes in most modern style and shows great
interest in the dance-pantomime.
Suite orientale, ballet (1917; Stockholm, 1919);
Maison de fous, ballet-pantomime (1920, Théâtre des
Champs-Elysées, Paris; 1921, Lo
London); Pastorale,
concert-piece, ob. and orch. (Copenhagen, 1922);
symphonietta; str. 4tet; pf. trio;
and pf.;
studies; songs; pf. pieces.-P. V.
DAHMS, Walter. Ger. music critic; b. Berlin,
9 June, 1887. Violinist in orch.; stud. under
Adolf Schultze, Berlin; music critic of Kleine
Journal. Lived in Berlin, now in Rome.
Schubert (1912, Deutsche Verlags-Anstalt); Schu-
mann (1916, ib.); Mendelssohn (1919, ib.); Die
Offenbarung der Musik, an Apotheosis of Friedrich
Nietzsche (Munich, 1922, Musarion Verlag).-A. E.
DAINO. See LITHUANIAN MUSIC.
D'ALBERT, Eugen. See D'ALBERT.
DALCROZE. See JAQUES-DALCROZE.
DALE, Benjamin James. Eng. compr. b.
Crouch Hill, London, 17 July, 1885. Educated
privately, and afterwards at R.A.M. under
Frederick Corder, Evlyn Howard-Jones, H. W.
Richards, E. H. Lemare. His best-known work
is the pf. sonata op. 1 (Novello), for an elaborate
art. on which (by F. Corder) see Mus. Times, April
1918. His music is of the Neo-Romantic order.
Op. 2, Suite, vla. and pf. (Novello); op. 3, Night-
Fancies, pf. (Ricordi); op. 4, Phantasy, vla. and pf.
(Schott); op. 7, Before the Paling of the Stars, chorus
and orch. (Hereford Fest. 1921) (Novello); op. 9,
2 songs from Twelfth Night, for male v. with vla.
obbligato (Novello); op. 10, English Dance, vn. and
pf. (Anglo-Fr. Co.); op. 11, vn. sonata (Augener);
op. 12, Song of Praise, chorus and orch. (Novello)
vn.
(with
pieces by Couperin, freely arr. vn. and pf. (id.); op. 6,
Carols: In Bethlehem (Novello); The Holy Birth (id.);
The Shepherd and the Mother (Stainer & Bell). Un-
publ.: op. 5, Fantasia for 6 vlas. (sce Mus.
pf.
(played Rowsby Woof and York Bowen, Wigmore
Hall, 27 Oct. 1922).-E.-II.
DALLA RIZZA, Gilda. One of best living.
Ital. s. singers; b. Verona, 1892. Appeared chiefly
in Rome and S. America. Created s. parts in
Puccini's La Rondine, Suor Angelica, Gianni
Schicchi (1st perf. in Italy); Mascagni's I
Piccolo Marat and Zandonai's Giulietta e Romeo.
-D. A.
108
Australian
DALLEY - SCARLETT, Robert.
orgt, and compr. b. 16 April, 1887. Lives as
teacher at Brisbane, Queensland.
Christmas
anthems;
Armada; Psalm XXIV; Mass in E flat: The
choruses; 2 sonatas, vn. and pf. (in D; in A); many
songs and pf. pieces, all ms.-E.-H.
DALLIER, Henri. Fr. orgt., compr. b. Rheims,
1849. Cath. orgt. at age of 16; stud. under
Bazin and César Franck at Paris Cons.; 1st
prize for fugue and organ-playing; prof. of
harmony at Cons. 1908; orgt. at St.-Eustache,
Paris, 1878-1905, in which year he succeeded
G. Fauré as orgt. at the Madeleine.
Allegro (Paris, Mennesson);
Ledue); offertories; preludeseth G (Paris,
Saints' Day,
etc.
Has written 2 masses; 3 cantatas; choruses;
chamber-Institut (Paris, Fromont)); pieces for v.
(including a trio in C mi. awarded a
by
and pf., etc.-M. L. P.
DAMERINI, Adelmo. Ital. writer and compr.
b. Cormagnano (Florence), 11 Dec. 1880. Resides
in Rome, where he teaches singing in the Amer.
Methodist Inst. Author of various vocal and
instr. compns. Has publ. many articles in
journals and reviews on mus, subjects; a study
on the score of Ercole in Tebe, by Jacopo Melani
(1623-76) in the Bollettino storico pistoiese,
XIX, parts 1, 2); and work on The Origin
and Development of the Symphony (Pistoia, 1920,
Pagnini).-R. F.
DAMROSCH, Frank Heino. Amer. condr.
educator; b. Breslau, Germany, 22 June, 1859.
Son of Leopold Damrosch, brother of Walter;
educated in New York City schools. Stud.
pf. under Joseffy, Jean Vogt, Pruckner and
Von Inten; compn. under father and Moritz
Moszkowski. In 1879, went to Denver, Col.,
where from 1882-5 he cond. Denver Choral
Club, and from 1884-5 supervised music in
public schools. Returned to New York as
chorus-master at Metropolitan Opera House
until 1891. In 1892, organised the People's Sing-
ing Classes, later developed into People's Choral
Union, which has accomplished much for popular
training in choral singing in New York City. Its
work is being carried on by D.'s assistants. In
1893 founded Mus. Art Soc., an organisation of
about 60 selected professional singers, which gave
concerts, largely of a cappella music, old and
new, with a degree of finish and style not heard
in America before or since. This remarkable
organisation ceased its activity in 1920 for want
of financial support. 1898-1912, condr. of
Oratorio Soc. of New York, founded by his
father in 1873; 1898-1918, cond. Symphony
Concerts for Young People. 1897-1905, super-
visor of music in New York public schools. In
1905 organised the Inst. of Mus. Art, which (well
endowed by James Loeb) has become one of the
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DAMROSCH
best music schools in America. He received the
degree of Mus.D. h.c. from Yale Univ. in 1904.
Popular Method of Sight-Singing (Schirmer,
1894); Some Essentials in the Teaching of Music (id.
1916)-0. K.
D'ARIENZO
concerts were so successful that he remained
as teacher. Dir. Cons. Fracassi - D'Andrea,
which he founded with Fracassi. In 1906, the
Ital. Government awarded him the Cross of the
Crown of Italy. Cesi, in his Appunti di Storia e
Letteratura del Pianoforte, mentions him with
high praise.-A. M.
DAMROSCH, Walter Johannes. Amer. condr.
compr. b. Breslau, Germany, 30 Jan. 1862. Son
of Leopold Damrosch, brother of Frank; came
to America, when 9, with his father. Educated in
public schools of New York; stud. pf. under Von
Inten, Boekelmann and Pinner in New York,
and theory under his father, then under Risch-
bieter and Draeseke in Dresden, later with Ur-
spruch in Frankfort-o-M. and under Bülow.
While still a young man, he acted as his
father's assistant as condr. at Metropolitan Opera
House in New York. When Leopold Damrosch
died in 1885, the task of continuing his work, not
only with the opera, but with Oratorio Soc. and
with Symphony Soc. of New York, devolved
upon his 23-year-old son, who cond. Oratorio
Soc. 1885-98 and again 1917-21. In 1895 he
organised the Damrosch Opera Co. which toured
the country for 4 years, being the first to make
Wagner operas really well known in America.
With this company he also produced his own
opera, The Scarlet Letter (1st perf. in Boston, 10
1896). opera, de Bergerac,
was produced at Metropolitan Opera, 27 Feb.
1913. His chief claim to fame rests on his work
with the orch. of the Symphony Soc. He has
been its leader since 1885, and is thus the doyen
of Amer. orch. condrs. With this organisation
and the Oratorio Soc. he gave the 1st perf. in
America of Parsifal in concert form (1896). First
in America to perform Tchaikovsky's fifth and
sixth, Brahms's fourth, Elgar's first and second,
Sibelius' fourth and d'Indy's third symphonies,
and Elgar's Falstaff, Ravel's Daphnis and Chloe
and Delius's Summer Night on the River, and On
Hearing the First Cuckoo. In 1920 he made an
extended tour through Europe with the Sym-
phony Orch., the first Amer. orch. to visit
Europe. In 1902-3 he also cond. the concerts
of the New York Philh. Orch. and in 1900-2
cond. the Wagner operas at the Metropolitan
under Maurice Grau's management. In June
1921 he cond. a programme of Amer. music at the
British Music Soc. Congress in London. Beside
the compns. listed below he has comp. incidental
music to Euripides' Medea and Iphigenia in
Aulis (1915) and to Sophocles' Electra (1917).
Mus.D. h.c. Columbia Univ. New York, 1914;
is a trustee of the Amer. Acad. in Rome, and a
member of National Inst. of Arts and Letters.
The Scarlet Letter, opera (Breitkopf, 1896); Cyrano
de
Schirmer, 191
opera
The Dove of
Peace, comic opera (id. 1912); Manila Te Deum,
chorus and orch. (J. Church Co. 1898); The Virgin
Mary to the Child Jesus, 2 motets for 6 vs. a cappella
(id. 1899); sonata for pf. and vn. op. 6 (id. 1899).
Many songs (among them the popular "Danny
Deever," op. 2, No. 7; Church, 1897). Publ. My
Musical Life (Scribner, 1923).-0. K.
D'ANDREA, Cav. Gennaro. Argentine pianist;
b. Naples in 1860. Stud. at Naples Cons. under
Cesi. First concert at Naples at 15. In 1896, made
concert-tour, playing in Paris, Nice and Monte
Carlo. Went to Buenos Ayres in 1898, where his
109
DANEAU, Nicolas Adolphe Gustave. Belgian
compr. b. Binche, 17 June, 1866. Stud, at
Acad. of Music, Charleroi, then at Ghent Cons.;
1895, obtained in Rome Competition the ler
second prix; 1896, became dir. of Acad. of Music,
Tournai; 1919, succeeded Van den Eeden at
Mons Conservatoire.
Linario, 3-act lyric drama (Tournai, 1906); Myrtis,
opera-idyll, 4 acts; The Sphynx, 3-act opera; Chasse
du Roy, lyrio vaudeville, 3 acts; La Brute, 1-act opera.
Choral works for male vs.: songs with pf.: pf.
pieces; str. 4tet and a 5tet, etc.-E. C.
D'ANGELI, Andrea. Ital. historian and
music-critic; b. Padua, 9 Nov. 1868. Teacher
of mus. history in the Rossini Liceo Mus. at
Pesaro, and lecturer on same subject at Univ.
of Padua. Has publ. interesting studies, some in
review Cronaca Musicale (dir. by him in Pesaro
from 1907 until outbreak of 1914 war); others in
vols., a sketch of Giuseppe Verdi (Formiggini,
Rome), and study on Music in the Greek
Drama (Loescher, Turin). He is also the
author of some libretti for operas, and of
various compositions.-D. A.
DANISH FOLK-MUSIC. See LAUB, T. L.;
THUREN, HJALMAR.
DANNREUTHER, Gustav. Amer. violinist;
b. Cincinnati, Ohio, U.S.A., 21 July, 1853;
d. New York, 19 Dec. 1923. Brother of
Edward, at whose instance he went to the
Berlin Hochschule in 1871, studying there until
1874, vn. under De Ahna and Joachim. Lived
in London until 1877, then went to Boston and
after playing for 3 years with the Mendelssohn
Quintet Club became a member of the new Bos-
ton Symphony Orch. in 1880. From 1882 to
1884 was dir. of the Buffalo (N.Y.) Philh. Soc.
(chamber-music). In 1884, went to New York
and organised the Beethoven String Quartet,
which, from 1894 to 1917, when it disbanded, was
known as the Dannreuther String Quartet. For
three years was leading violinist in New York
Symphony Soc. orch., but from 1899 devoted
himself exclusively to church music and to teach-
ing. From 1907, instructor-in-music in Vassar
Coll., Poughkeepsie, N.Y. Violin Scale and
Chord Studies (Breitkopf).-0. K.
DARBO, Erica. Norwegian opera- and
operetta-singer (s.); b. Christiania, 23 May,
1891. Pupil of Ellen Gulbranson, Christiania
(1914), and Mme. Cahier. Début at concert in
Christiania, 1913. Has been engaged at different
theatres in Christiania, and at Opéra-Comique,
1919-21; afterwards at Mayol Operetta Theatre.
Starred in Copenhagen in 1921-2.-U. M.
D'ARIENZO, Nicola. Ital. compr. and teacher
of compn. in Naples Cons. b. Naples, 24 Dec.
1843; d. there, 25 April, 1915. Was pupil of
Mercadante. Author of several operas, and
A
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DARKE
interesting studies on Neapolitan comic opera
(Rivista Musicale Italiana).-D. A.
DARKE, Harold E. Eng. orgt. and compr.
b. Highbury, London, 29 Oct. 1888. Scholar
R.C.M. (organ and compn.); winner of Tagore
Gold Medal. Stud. under Sir Walter Parratt
(organ), Sir Charles Stanford (compn.), Herbert
Sharpe (pf.). For 10 years assistant-orgt. Temple
Church; now orgt. St. Michael's, Cornhill, and
condr. of St. Michael's Singers, a choral soc. for
city clerks (100 vs.). Prof. of harmony, cpt.
and vocal ensemble at R.C.M. Mus. Doc. Oxon.
1919. Has given a complete series of Bach organ
recitals and conducted many modern British
choral works.
Choral cantata, The Kingdom of God (Stainer &
Bell); cantata, As the Leaves fall (s. v., female chorus,
small orch.); Fe Watchers, female chorns and orch.
Stainer & Bell); part-songs (Stalner & Bell;
&
organ (Novello); Morning and Evening Service in
(Stainer & Bell); songs: Uphill; Three Songs of
Innocence; Baby Songs (Stainer & Bell).-E.-H.
D'ATRI, Nicola. Ital. music critic; b. Foggia.
Was, from its foundation until 1914, the much
appreciated music critic of Roman newspaper
Il Giornale d'Italia, in which position he excr-
cised an effective influence on the Ital. mus.
movement, contributing, especially in Rome, to
the foundation of the concerts at the Augusteo.
In 1908, he gave a lecture on The Future Genius
of the Italian Opera, and in 1913 another
on Giuseppe Verdi. Has served on the
permanent commission for mus. art for the
Ministry of Education, and also on other
commissions. Is a Councillor of the R. Acad.
Mus. di Santa Cecilia, and member of the concert-
board at the Augusteo.-D. A.
DAURIAC, Lionel, Fr. musicologist; b. Brest,
19 Nov. 1847; d. 1923. Pupil of Ecole Normale
Supérieure, Paris; hon. prof. of philosophy;
reseaches in aesthetics: La Psychologie dans
l'opéra français (1897); Essai sur l'esprit musi-
cal (1904); Rossini (1907); Le Musicien-poète
R. Wagner (1908). He founded the Fr. Soc.
of Musicology (1904).-A. C.
DAVELLI, Marthe,
Fr. lyrical s. b. Lille,
Stud. under M. Duvernois; Début in La Tosca,
Opéra-Comique, 1912; sang in 1st perf. of
Marouf, Savetier du Caire, 1914; also in Madame
Sans-Gêne (1915); Les Quatre Journées (1916);
La Rôtisserie de la Reine Pédauque (1920); Dans
l'ombre de la Cathédrale (1920). Engaged at
Paris Opéra, 1922; sang in revivals of Griseldis
and Magic Flute. Apart from her extraordinarily
pure-toned voice. she has real talent as an
actress.-A. R.
DA VENEZIA, Franco. Ital. pianist and
compr. b. Venice 2 Nov. 1876. Left the Milan
Cons. with diplomas for pf. and compn.; won
various competitions, amongst them, with his
opera Il Domino Azzurro (The Blue Domino),
that offered by publisher Sonzogno in 1904. Hel
lives at present in Turin, as teacher in Acad.
there. Ricordi, Hug, Carisch, Rieter-Bieder-
mann and others, have publ. many of his
DAVIES
pieces, especially for pf. He also writes for the
musical journals.-D. A.
DAVEY, Henry. Eng. mus. historian; b.
Brighton, 29 Nov. 1853. Was in business for
some years; did not begin to study music
seriously until 1874 (Leipzig Cons., under
Reinecke, Jadassohn, Richter, and Weiden.
bach). Returned to Brighton, 1877, as teacher
and journalist. Retired, 1903, from practical
music. Did a great service to early Eng. music
by his research work in libraries.
istory of Music (Curwen, 1895; rev. and
1891; 8th ed. 1920): Handel (in "MaHistory of
ed.
Student's Musical
(id.
Music series), 1912: numerous arts. in London and
foreign mus. press. Eng. corrector of Eitner's
Quellenlexikon.-E.-II.
DAVICO, Vincenzo. Compr. b. Monaco
Principality, of an Ital. family, 14 Jan. 1889.
Stud. first at Turin, then at Leipzig under Max
Reger. He is very well known amongst young
Ital. comprs. for numerous orch. symph.
works, pf. music and songs.
His opera, La
Dogaressa, was perf. at Monte Carlo in 1920:
The Temptation of St. Antony (after Flaubert),
soli, chorus, orch., was given in 1923.
Impressioni romane, orch. suite (1913); Poema
erotico (1913); Impressioni pagane, orch.; Polifemo,
V. D. (Naples, I
V. D. in vol.
orch; also a 917); M. GaConsult: E. Jenco,
I giovani: G. M. Gatti, I giovani sinfonisti (Rome,
Orfeo).-D. A.
DAVID, Karl Heinrich. Swiss compr. b. St.
Gall, 30 Dec. 1884. Stud. at Cologne Cons, and
under L. Thuille (compn.) at Munich. Teacher of
theory at Cons. Basle, 1910-14. Since 1917, has
lived at Zurich.
Tredeschin (Bundi), opera; Aschenputtel (Cinderella),
fairy-opera; Das Hohe Lied Salamonis (The Song of
Songs), female chorus and orch. (Swiss National Ed.);
Schnitterlied, chorus and orch.; Gessnerlieder, s. and
4tet.
orch.; vn. concerto; str.
Mostly publ. by
Hug, Leipzig.-F. H.
DAVIES, Ben. British t. singer; b. Pontar-
dawe, Wales, 6 Jan. 1858. Stud. R.A.M. London,
under Randegger and Signor Fiori. 3 years with
Carl Rosa Opera Co. Sang title-rôle in Ivanhoe;
and then took a leading position in concerts,
festivals, etc.-E.-H.
DAVIES, E. T. Welsh orgt.; b. Dowlais, S.
Wales, 1879. Stud. pf. and organ; acc.; condr.;
1900, toured U.S.A. with a small concert party;
organ recitalist; opened over 100 new organs in
Wales; succeeded late Harry Evans in Merthyr
Tydfil in 1906; well-known adjudicator; dir. of
Mus. Univ. Coll. Bangor, 1920; choral, orch.
and regular chamber-music classes with lecture-
notes; lectures on mus. history; organised and
cond. Anglesey Choral and Orch. Fest. (1000
vs.), 1921-22, and cond. (jointly with Sir Wal-
ford Davies) Harlech Mus. Fest. 1922. Keen folk-
song enthusiast and a firm believer in knowledge
of Welsh language and study of Welsh literature
and poetry for Welsh comprs. Successful compr.
in lighter form of instr. and vocal music.
Series of Welsh miniatures, vn. cello, pf.; also
for str. 4tet; very popular part-songs:
Summer's Merry Days; Y deryn Pur (The Gentle
When
Dove); The Winds.-D. V. T.
DAVIES, Fanny. Eng. pianist; b. Guernsey,
27 June, 1861. Stud. privately in Birmingham,
IIO
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DAVIES
and at Leipzig Cons. under Reinecke and Oscar
Paul; and under Mme. Schumann at Frank-
fort. Appeared in Birmingham at 6 years of age;
Crystal Palace, 1885; Sat. and Mon. Popular
Concerts, 1885; Philh. 1886; Berlin 1887;
Gewandhaus, Leipzig, 1888; Rome, 1889;
Beethoven Fest. Bonn, 1893; Vienna Philh.
1895; Milan, 1895 and 1904; Paris, 1902, 1904,
1905; Holland, 1920, 1921; Prague, 1920, 1922;
Spain, 1923. Has lectured and written articles
(Schumann's music, Musical Times, Aug. 1911;
teaching the pf. etc.). As a player, she is par-
ticularly fine in Beethoven, Schumann, Brahms,
and the early schools; she was, however, very
early in the field in introducing the works of
Debussy and Scriabin to London. Consult Mus.
Times, art. on F. D., June 1905.-E.-H.
DAVIES, Harold E. Mus.Doc.
Orgt. and
teacher, Univ. Adelaide, S. Australia. Head of
Adelaide Cons. Founder and condr. of S.
Australian Orch. from 1922. Brother of Sir
Walford Davies. Compr. of anthems and songs
(Novello).-E.-H.
DAVIES, Sir Henry Walford. Dir. of music
in the University of Wales from 1919; b.
Oswestry, Shropshire, 6 Sept. 1869. Chorister,
St. George's Chapel, Windsor, 1882; assistant-
orgt. to Sir Walter Parratt, 1885-90; compn.
scholar R.C.M. London (1890-4), stud. under
Parry, Rockstro and Stanford; orgt. St. Anne's,
Soho, 1890-1; Christ Ch. Hampstead 1891-8;
teacher of cpt. R.C.M. 1895; condr. London
Bach Choir 1903-7; London Church Association
1901-13; orgt. Temple Ch. London, 1898-1919,
holding the post nominally, with an acting
orgt. until 1923; organising dir. of music to
Royal Air Force, 1918-19; prof. of music, Univ.
Coll. of Wales, Aberstywyth, from 5 June, 1919;
chairman of the National Council of Music,
Univ. of Wales, from 1919. He was knighted
in 1922. Mus.Doc. Cantab. 1696; LL.D. h.c.
Leeds, 1904; F.R.A.M. h.c. 1922; F.R.C.M.
h.c. 1924.
As a compr. the weightiest part of his work has
been in oratorio and cantata form. Since 1902,
when The Temple was produced at Worcester, he
has written important choral works regularly for
the Eng. fests. In The Temple he first showed
himself a master of construction, and intro-
duced an innovation in the use of a solo str.-
quartet for certain parts. His morality Every-
man was produced at Leeds in 1904, and has since
been widely perf.; a choral symphony, Lift up
your hearts, at Hereford 1905; an Ode on Time
for the Milton celebration in 1908; Noble Num-
bers followed in 1909; the Five Sayings of Jesus
at Worcester in 1911; Song of St. Francis for
Birmingham Fest. 1912. There was a short
Requiem in English in 1915. The Dante Fantasy
of 1914 was prod. at Worcester in 1921. Heaven's
Gate was prod. at the People's Palace, London, in
1916. His chief orch. works are the Holiday Tunes
(Queen's Hall Promenades, 1907); Parthenia
Suite (1911); Wordsworth Suite (1913); Conver-
sations, pf. and orch. (1914). In songs for and
about children, he has a niche all his own, and such
DAVIS
things as A Child's Grace, the song When Childher
Play, the Peter Pan Suite for str. 4tet (1909)
testify to remarkable gifts in this direction. He
was a pioneer in England in certain forms; the
6 Pastorals for vocal 4tet, str. 4tet and pf. were
written in 1904. He has never abandoned organic
form for programme music," but is a great
believer in pictorial or illustrative music
(Peter Pan Suite, etc.), and sometimes con-
structs his musical themes on the rhythms of
verbal sentences. He invariably secures a fine.
texture, good workmanship, simplicity and
directness; and with him it is ever "art for
life's sake." As an organiser and inspirer, he has
always been a great force, whether as trainer
of the Temple Choir, organiser in the Royal
Air Force, adjudicator, a pioneer of community
singing, or the director of music in the Welsh
Univ. and schools. In the elementary and
secondary schools he makes much use of the
pianola and the gramophone.
Orch.: Variations in A flat (1891); Dedication Over-
ture in G (1893); symphony in D (1894); overture,
A Welshman in London (1899); Holiday Tunes
(1907,
Frestal Over Solemn Melody (1908, Novello):
in 4 Goodwin MS.
Library); Parthenia Suite (1911, id.); symphony in
G (1911, id.); Wordsworth Sulte (1912, id.); Memorial
Suite in C (Queen's Hall Promenades, 18 Oct. 1923;
and (1914,
d.); Conversations. The Future (1889); Nativity
(1892); Music (an ode), 1893; Hervé Riel (1894,
Novello); Days of Man (1897); God created Man,
motet, double chorus and organ or orch. (1898,
Novello); Jovial Huntsmen (1902, id.); The Temple
(1902, id.); Everyman (1901, id.); Lift up your Hearts
(1906, id.); Ode on Time (1908, id.); Noble Numbers
(1909, id.); Sayings of Jesus' (1911, Curwen); St.
Francis (1912, Curwen); Heaven's Gate (1916, id.);
Dante-Fantasy (1914, d.). Pf. and chorus: Jovial
Huntsmen (1902, Novello); Humpty Dumpty (1907,
id.); Merry Heart (1910, Curwen); Eight Nursery
Rhymes (1905, Boosey); New Nursery Rhymes
(1908, Chappell).
III
Chamber-music: Str. 4tet in D mi. (1890); str.
4tet in D ma. (1892); pf. 4tet in E flat (1893); pf. 4tet
in D mi. (1893); str. 4tet in C (1895); pf. 4tet in
C (1895); Peter Pan 4tet (1909, Curwen); pf. trio in
C(1897); Quiet Tunes, pf. vn. and cello (1906); Songs
of Nature (1909, Goodwin MS. Library). Pf. pieces;
Suite in G, 2 pls. (1914); 6 sonatas, pf. and vn. G
vello); D mi. (1896, id.); F (3 movements) (1899-
1902); sonata in F (1891) pf. and horn; Prospice, 5tet
for vs. and str. (1894, Novello); Psalm XXIII,' t. v.,
harp and str. (1896, id.); Psalm XXIX, t.v., harp and
str. (1896); Sir Pastorals, 4 vs., 4 str. and pf. (1897,
Curwen); Psalm XIII, t. v., harp and str. (1898);
Vs. and i
numerous
ed. Fellowship Song Book
(1915, Curwen); Thirty Songs Old and New (1915, id.);
Fifty-two Hymn Tunes (1915, id.); ed. Hymns of
the Kingdom and Students' Hymnal boton, March
Oxford
Univ. Press, 1923). Consult Musical Opinion,
1920.-E.-H.
Songs of part-sono lastra. (1908); over 100 songs;
DAVIS, John David. Eng. compr. and pianist;
b. Edgbaston, Warwickshire, 22 Oct. 1870. Stud.
at Raff Cons. in Frankfort-o-M. under Max
Schwarz; then for 3 years at Brussels Cons.
where his teachers were Jules de Zarembski and
Arthur de Greef (pf.), Ferdinand Kufferath (cpt.)
and Leopold Wallner (privately) for compn.
Has been prof. at Guildhall School of Music,
Birmingham and Midland School of Music, and
prof. of theory and solfège at the now-defunct
International Cons. (London).
The Maid of Astolat, symph. poem, orch. (Novello);
Pro Patria, orch. march (id.); cello concerto, op 73
(ms.); Song of Evening, str. 5tet (Novello); Summer
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Eve at Cookham Lock, str. 4tet (Hawkes); trio, pf.
yn. cello, op. 76 (ms.); sonata, pf. and cello, op. 74
(ms.): Fantasia and fugue, organ (Novello); pf. and
vn.
worth), (id.); nf. pieces (Schott; Boosey: Bos-
DAVY, Ruby C. E. Australian compr.; corre.
spondence pupil of Dr. Eaglefield- Hull; took
Mus. Doc. at Adelaide Univ.
Overture in B llat; pf. concerto in Cmi: trio in B
str. A mi.; str. in C;
flat, pf. and str.; sonata, vn. and pf.; many pf.
pieces; songs, etc. (all ms.).-E.-H.
DAWSON, Frederick. Eng. pianist; b. Leeds,
16 July, 1868. Chief appearances: Hallé Con-
certs, Manchester, 26 Dec. 1890; Monday Popu-
lar Concerts, 9 Jan. 1893; Saturday Popular
Concerts, 21 Jan. 1893; Inaugural Concert,
Queen's Hall, London, 2 Dec. 1893; Crystal
Palace Concerts, 23 Feb. 1895; Philh. Concerts,
20 March, 1895; Promenade Concerts, Queen's
Hall, 1st season, 1895 (6 times); Sheffield Fest.
12 Oct. 1899. Also lectures widely on music.
An enthusiastic exponent of Debussy, Ravel and
Scriabin. A warm friend and eager propagandist
of the works of the late William Baines (q.v.).
-E.-H.
DAWSON, Peter. Barit. singer; b. Adelaide,
Australia, 13 Jan. 1882. Stud. under Sir Charles
Santley, 1903-7. Well-known as an operatic and
concert-singer.-E.-H.
DE ANGELIS, Alberto. Ital. writer on music;
b. Rome, Sept. 1885.
Journalist; ed. of
daily paper La Tribuna, Rome. Has devoted
himself to publ. biographies and monographs,
especially on Ital. mus. life in xIx and present
centuries. Among his principal arts. publ. in
reviews are:
Franz Liszt in Rome (Rivista Musicale Italiana,
Vol. XVIII): ContemporaIX); Cosima Wagner
Giovanni Sgambati (ib. Vol.
(ib. Vol. XX); The Mission of the Orchestral Soc. in
Rome (in Harmonia, 1914); Alessandro Vessella
e Corrie
del Teatro,
The Memoirs of Luisa
Mancinelli (in Noi e il Mondo, Rome, 1920).
Roman Revilene erto Gasco (in the
He is also the author of the vol. L'Italia
musicale d' oggi (Musical Italy of To-day: Dic-
tionary of Musicians) (1st ed. 1918; 2nd ed.
1922). He then conceived the idea of writing
a series of biographies of Ital. musicians of
present time, and of monographs regarding
the Ital. mus. movement of recent years, which
work he directs for the publ. firm Ausonia
-D. A.
DE ANGELIS, Nazareno. Ital. b. singer; b.
Rome, 17 Nov. 1881. One of most distinguished
living Ital. singers, remarkable both for his
magnificent voice and his skill as an interpreter.
Of humble origin, he pursued his first mus.
studies at a monastic school in Rome. Later,
account of his beautiful voice, he was per-
suaded to take up singing and stud. under
various masters; but he perfected himself
chiefly by his own efforts. He began his operatic
career at Aquila in Linda di Chamounix, and
his reputation made rapid strides, until it placed
him in the first rank. He has appeared at the
principal theatres in Europe and America. His
repertoire includes 42 operas. His interpretations
of Mefistofele, Mosè (Rossini), Valkyrie and
DEBUSSY
Parsifal are splendid. He created the b. parts
of operas Gloria (Cilea), L'Amore dei tre re
(Montemezzi) and Mirra (Alaleona).-R. F.
DEARTH, Harry. Eng. b. singer; b. London,
1876. Stud. singing at R.C.M. Principal bass,
Westminster Abbey, 14 years; 3 years with
Beecham Opera Co.; 3 years light opera with
the late George Edwardes and Robert Court-
neidge. All principal concerts in Britain.-E.-H.
DE BOECK, Auguste. Belgian compr. b.
Merchtem (Brabant), 9 May, 1865. Stud. at
Brussels Cons. under J. Dupont (harmony),
Mailly (organ), Kufferath (opt.). Now teacher
of harmony at Brussels Cons.; and dir. of
Acad. of Music in Malines. He has a tempera-
ment profoundly Flemish, loving colour heavily
applied and rich orch. effects. His impetuosity
is not always sufficiently controlled by self-
He is, essentially, a theatrical
musician, loving action and the picturesque.
Yet Wagnerian (and occasionally Russ.) in-
fluence have been so strong that he has not been
able to give to his mus. ideas a really original
stamp.
criticism.
For theatre: Théroigne de Méricourt (1901, Opéra
Flamand,
Een Winternachtsdroom (1903,
id.): De Rierp): 906, id.); Reynaert de Vos
(1909, id.); La Phalène, ballet (1914, Théâtre de la
Monnaie, Brussels); I Rout 'Emeraude (1921,
Théâtre Royal, Ghent); Cendrillon, ballet (ms.)
Many songs; pt. pieces; symph. music (Rapsodie
dahoméenne, etc.); religious musio (masses, motets);
choruses, cantatas, etc.-C. V. B.
DEBOGIS, Marie Louise. Swiss s. singer; b.
Geneva, 15 Aug. 1879. Stud. singing at Geneva
under Leopold Ketten, after having won 1st
prize in pf. competition at Lyons; début at
Opera in Geneva; soon rose to fame after a
recital in Berlin. Siegfried Wagner engaged her
(1909) for the fest. at Bayreuth. Triumphal
tours through America and Europe. A natural
musician with a wonderful voice and an intensely
sympathetic rendering. Lives in Geneva.-F. H.
DE BONDT, Louis. Belgian compr. orgt.
teacher and theorist; b. Puers, 5 July, 1877;
d. Brussels, 23 Sept. 1920. Stud. at Brussels
Cons. where he was sub-prof. of harmony 1899,
of organ 1903, and prof. in 1910; 1901, orgt. and
choirmaster at Notre-Dame, in Laeken, near
Brussels (a royal parish). Inspector of mus.
educ. in secondary State schools; teacher in
School of Religious Music in Malines.
Incidental music for drama Robrecht van Eyne;
Marche religieuse for orch.; Mass. Author of a
Preparatory Course of harmony (Breitkopf), and a
complete course of harmony.-E. C.
DEBUSSY, Claude Achille,
poser; b. St. Germain-en-Laye,
22 August, 1862; d. Paris, 26 March, 1918.
DEBRNOV. Pseudonym of Josef Srb (g.v.).
French com-
aris,
The personality of Debussy dominated the
whole history of music, not only in France,
but in Europe for a quarter of a century. A
musician of extraordinary powers, he regenerated
every form of musical art: symphony, lyrical
drama, song, chamber-music and pianoforte
composition. One may differ from this great
composer in musical ideals, but it is impossible
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DEBUSSY
to deny his stupendous originality. His genius,
like that of Berlioz, is somewhat elusive. It
is essentially intuitive-he allows himself to
be guided by instinct rather than reason, and
with him the most astonishing technical ability
was always the slave of sensibility.
He came of a family entirely unacquainted
with musical matters. His talent, however,
soon became evident and his parents sent
him at the age of eleven to the Conserva-
toire. Here he obtained several prizes for
pianoforte and accompaniment, and in 1884,
under the tuition of Massenet, carried off the
Prix de Rome, for his cantata L'Enfant Prodigue.
It was in the shades of the Villa Medici in
Rome that he began to meditate on his art.
He endeavoured to forget the formulas that he
had learnt, in order to fashion for himself new
laws which should fulfil the requirements of his
temperament. One finds in his earliest composi-
tions evidence of the influence of Massenet,
Wagner, and later Mussorgsky, Lalo and Chab-
rier. The work he sent from Rome, an orchestral.
suite Printemps, caused a veritable scandal in
the Institut on account of its harmonic audaci-
ties. La Damoiselle Élue (Rossetti's Blessed
Damozel), composed about the same time
(1887), was not produced until five years later.
On his return to Paris, Debussy, with his
sureness of instinct, set about acquiring the
literary culture which he lacked. He was
immediately attracted by the school of Sym-
bolists, and frequented the house of Mallarmé.
No doubt artistic discussions on symbolism
and impressionism had a very great influence
on him; but he had a far wider vision than
Mallarmé, who was immersed in the Wagnerian
cult. Debussy, like Erik Satie, realised that
music must follow an evolution parallel to that
of literature and painting, and repudiating the
rhetoric of the Romantics, find more direct
means of interpreting impressions and feelings.
This inner development of ideals took place.
imperceptibly, without Debussy being fully
conscious of it. Still groping for means of
expression, he produced his adorable Ariettes
oubliées, the first collection of Fêtes galantes
on some lines of Verlaine, his Cinq Poèmes de
Baudelaire, and for the piano, his Arabesques
and Suite Bergamasque.
Between 1892 and 1894, Debussy composed
the Prelude to L'Après-midi d'un Faune, a
symphonic poem inspired by an eclogue of
Mallarmé. It was of its kind as original and
epoch-making a work as the Symphonie fantas-
tique of Berlioz in 1829. Not only did Debussy
introduce methods of composition which were
entirely new, but his style of harmony, his
orchestration, his rhythm, in short the whole
thing, produced an atmosphere hitherto un-
known. This was music ardent, sensuous,
profound, that developed not in accordance
with a certain necessary dogma, but simply and
logically in accordance with the feeling which
it sought to express.
From this time forward, masterpieces followed
DEBUSSY
in quick succession: in 1893 a marvellous
quartet entirely new in form and yet classic
in tone and inspiration; in 1894 the Proses
lyriques for which he had written delightful
words; in 1898 the Chansons de Bilitis and
Nocturnes for orchestra, a set of impressionist
tone-pictures calling forth sensations which,
up to then, music had been powerless to in-
terpret. Finally, in 1902, the Opéra-Comique
produced Pelléas et Mélisande before an audience
which came to laugh and stayed to jeer. A few
years later Pelléas was to become almost a
popular success! Abandoning archaic forms of
opera and the Wagnerian lyrical drama, De-
bussy instinctively returned to the pure tradi-
tions of French musical drama introduced by
Lully, according to which, recitative should
consist of a simple but well-marked declama-
tion, while the orchestra weaves an atmosphere
of melody around the action. Debussy from the
outset succeeded in producing a perfect balance
between poetry and music. He could interpret,
with a sort of fine restraint, the most poignant
emotions that rend the human soul; he could
evoke by the simplest means the most delicate
impressions, the most fleeting sensations-the
fragrance of flowers, the coolness of the evening,
the stillness of water.
In spite of several attempts, Debussy was not
destined to leave behind him any other opera.
He wrote nothing more for the stage except
the incidental music to d'Annunzio's Martyre
de Saint Sébastien and a ballet, Jeux, composed
for Diaghilef's company; but even this is very
important, and contains some of his finest
inspiration. He devoted himself to orchestral
and chamber-music, producing, in succession
La Mer, Rondes de printemps, Iberia, several
collections of songs and pianoforte pieces,
instrumental sonatas, etc.
The criticism has sometimes been made that
his two books of Préludes contain less spon-
taneous work than his first collections. One is
certainly conscious of a greater attention to
details of style and technique; but who can
deny the poetry of such compositions as La
Cathédrale engloutie, Ce qu'a vu le vent d'ouest,
and La Terrasse des audiences du clair de lune?
These are worthy of a place side by side with
the most perfect emotional efforts of Chopin,
who shared, with Mozart, Debussy's sincerest
homage.
Although in the grip of an incurable disease,
Debussy struggled on for years, heroically com-
posing works of astonishing freshness, such as
the sonata for flute, viola, and harp, or the
sonata for violin and one for cello.
Debussy accomplished a complete revolution
in musical art. He ended the reform in harmony
that Chabrier, Lalo and Gabriel Fauré had
begun; he invented new ways of associating
chords hitherto regarded as discords, and used
them to produce exquisite and delightful har-
monies, and he disengaged the separate timbres
of the orchestra by making one accentuate the
value of another, instead of combining them
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DECAGRAMA
in confused masses. In this respect his method
is that of an impressionist painter who lays
on his canvas primary colours, side by side,
instead of mixing them on the palette. In short,
Debussy violated all conventional formulas,
replacing them by new ones no less beautiful,
and far more suitable for the expression of those
transient sensations and delicate emotions
which he loved above all to portray. He was the
incomparable painter of mystery, silence and
the infinite, of the passing cloud and the sunlit
shimmer of waves-subtleties which none before
him had been capable of suggesting. His power
of expression is not less real for being always
restrained and intolerant of excess and over-
emphasis, but its force is under the surface,
like that of Racine. One must realise to the full
the French genius in order to understand that
there may be as much force in Phèdre as in
Macbeth.
The figure of Debussy so overshadows those
of his contemporaries in music that the follow-
ing quotation from M. André Suarès does small
injustice to his masters and rivals: "If it is
a fact that French music is to-day an example
and an ornament to Europe, as it was in the
vital Middle Ages, and in the tempestuous
times of the first Renaissance, Debussy and
Debussy alone is responsible." He visited London
on 27 Feb. 1909, conducting the Queen's Hall
Orchestra in the 3 Nocturnes and the prelude
L'Après-midi d'un Faune. The 2nd Nocturne and
the prelude were encored.
(1901);
Pf.: 2 Arabesques (1888, Durand); Ballade (1890,
Froment); 1
Pour Plans (989) Suite Bergamasque (1890)
Joyeuse (1904); Masques (1904): Images (Set 1, 1905;
Set 2. 1907): Children's Corner (1908); La plus que
lente (1910); 12
(1910); 12 Préludes (1913);
La Boite à Joujoux (1913); Berceuse (1914);
12 Etudes (1915); pf. duet: Marche
Petite Suite (1894); 6 Epigraphes antiques (1915); 2
(1891);
pfs. (4 hands) En blanc et noir (1915). V. and pf.:
Ariettes oubliées (1888); Cing poèmes (Baudelaire),
1890; Mandoline (1890); Féles galantes (1892 and
Proses lyriques (1893); Chanson de Bilitis
Trois
1901). Trois chansons de France (1904):
ballades de François Villon (1910); Le Promenoir des
deur Amants (1910); Trois poèmes (Mallarmé), 1913;
Noël des enfants qui n'ont plus de maison (1915). Vocal
4tet, Trois chansons (1908); v. and orch.: Le Jel
Chamber-music: str.
d'eau; Deuz proses and pf.; sonata, cello and pf.;:
4tet (1893); sonata, vn.
sonata, fl. vla. harp; Rapsodie, clar. and pf. (1910).
Orch.: Prélude à l'après-midi d'un Faune (1892); 3
Nocturnes (Nuages: Féles; Sirènes (with female
chorus]), 1899; Danse profane, Danse sacrée (harp
and orch.), 1904; La Mer (1905); Images (3rd set),
1909. Cantata (female chorus), La Damoiselle Elue
(1887). Stage-music, Le Marture de St. Sebastien
(d'Annunzio), 1911. Dramatic: L'Enfant Prodigue
(1884); Pelléas et Mélisande (Durand, 1902); Jeux,
ballet (1912).
Consult: Louis Laloy, Claude Debussy (Dorbon);
La Revae Musicale: Special number devoted to
Debussy, Nov. 1920 (articles by Suarès, Robert
Godet, Cortot, Falla, etc.); Romain Rolland, Musi
cians of To-day (Fr. ed. Hachette; Eng. transl.
Kegan Paul); G. J.-Aubry, La Musique et la Nature
(Chester). Articles by Debussy have lately appeared.
(Dorbon; and Nouvelle Revue Française) undor title
chosen by himself: M. Croche anti-dilettante.-H. P.
DECAGRAMA. See NOTATIONS ; also
GUERVOS
DECAUX, Abel. Fr. orgt. b. Auffay (Seine
Inférieure), 1869. Stud. at Cons. Paris; then at
Schola Cantorum, under Alexandre Guilmant;
DE GREEF
since 1898 organ prof. at that school. From 1903
onwards, orgt. at Sacré-Coeur, Montmartre.
II4
La Lu
Lune blanche, song (1899, Senart); 4 pf. pieces,
Clairs de lune (Paris, 1900-7, Chapeller), played
at Société Nationale, 1913; a Fuguette on Ave Maris
Stella (in Maitres contemporains de l'orgue of Abbé
Joubert).-M. L. P.
DECHERT, Hugo. Ger. cellist; b. Dresden,
16 Sept. 1860. Pupil High School of Music,
Berlin (Robert Hausmann); after concert
tours, cellist in opera orch. Berlin, 1881; solo
cellist, 1894. Member of Halir Quartet, then of
Hess Quartet.-A. E.
DECIMETTE.
A composition for 10 solo
instruments, usually wood-wind. See BIRD,
ARTHUR.-E.-H.
DECKERT, Willy. Ger. cellist; b. Naumburg,
4 June, 1870; d. Berlin, Feb. 1923. Stud.
under Louis Schröder, Friedrich Grützmacher,
Dresden, and Julius Klengel, Leipzig. First
cellist Liszt Soc. and Acad. Orch. Concerts,
Leipzig: Komische Oper, Berlin; then inde-
pendent soloist.
Ed. and arranger of old classical cello music.-A. E.
DECSEY, Ernst. Austrian mus. author; critic;
b. Hamburg, 13 April, 1870. Stud. at Vienna
Acad. of Music (pupil of Bruckner); _took.
doctor's degree (law) at Univ. of Vienna. Went
to Graz as government-official, where he became
critic of Tagespost, and subsequently chief
editor (1908). Since 1921, music critic of Neue
Wiener Tagblatt. He made his name through.
his definitive biography of Hugo Wolf (1903-6)
-originally 4 vols.; revised ed. in 1 vol. 1919.
A deeply human spirit is shown in his work on
Bruckner (1919). His book on Johann Strauss
(1922) is an entirely poetical version of the life.
D. is author of several novels, chiefly describing
the charms of Old Vienna; also a splendid de-
scription of the time of Franz Josef (all publ.
by Schuster & Loeffler). Musiker-Anekdoten,
publ. by Tal, Vienna, 1922.-P. ST.
DE FILIPPIS, Eduardo Angel. Argentine vio-
linist; b. Santa Fé, Argentina, in 1887. Stud. at
Cons. Santafecino, Santa Fé, where he now dir.
Cons. Mozart, founded by him. Has publ. manual
of vn.-playing (awarded prize, Liceo Rossini,
Milan, 1911).-A. M.
DEGNER, Erich Wolf. Ger. compr. and
teacher; b. Hohenstein-Ernstthal, 8 April, 1858;
d. Berka, 18 Nov. 1908. Stud. Ducal Music
School, Weimar, and R. School, Würzburg.
Teacher, Regensburg and Gotha Music Schools;
dir. Music School, Pettau (Steiermark), 1885;
teacher, Ducal Music School, Weimar, 1888; dir.
Steiermark Mus. Soc. Graz, 1891; dir. Music
School, Weimar, 1902.
Symphony, Emi, organ and orch.; overture, Emi.
organ and orch.; Serenade, G mi.. small orch.;
Theme and variations for org in; choral variations,
songs, choral works; pf. pieces; oratorio, Maria als
die Mutter, for soli, chorus and orch. Consult R. v.
Mojsisovics, E. W. D. (1909).-A.
A.E.
DE GREEF, Arthur. Belgian pianist,
compr. b. Louvain, 10 Oct. 1862. Pupil of
Louis Brassin at Brussels Cons.; of Liszt at
Weimar. Pf. prof. at Brussels Cons. 1885.
Toured in England, France, Holland, Germany,
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DE IRIGOYEN
Italy, Spain, Russia, Sweden and Norway.
As a pianist he combines force and grace, emotion
and style. Specialises on works of Grieg, whose
personal friend he was. Originator and chief
perf. of Durant Concerts, founded in Brussels
before the war by Félicien Durant. As compr.
he combines a Flemish generosity of inspiration
with a Latin distinction of style.
Ballade en forme de variations, str. orch. (Peters):
and Suite,
Four old Flemish Songs, orch: (Chester) produced
Queen's Hall, London, under compr. 4 Oct. 1896:
Chants d'Amour, v. and orch.; Menuet varié and
Concerto in C, pf. and orch. (produced Queen's Hall,
London, under Sir Henry Wood, with compr. at pf.
6 Sept. 1921), etc. Pf. pieces; songs.-C. V. B.
DE IRIGOYEN, Bernardo Manuel. Argentine
cellist; b. Buenos Ayres in 1883. Stud. in Europe.
Whilst in Brussels, was member of Van Necke
Quartet. Well known in Argentina as a concert
player.-A. M.
DEITERS, Hermann C. O. Ger. philologist
and mus. research scholar; b. Bonn, 27 June,
1833; d. Coblence, 11 May, 1907. Secondary
schoolmaster at Bonn, Düren, Konitz, Posen.
Chief inspector Provincial Education Dept.,
Coblence, 1885. In his writings he opposed
Wagner and championed Brahms, on whom he
short study (1880).
wrote
a of 3rd and 4th ed. of Otto Jahn's Mozart
and
by A.
Thayer (from 1866).-A. E.
DE KOVEN, Reginald. Amer. compr. b. Middle-
town, Conn., U.S.A., 3 April, 1859; d. Chicago,
III., U.S.A., 16 Jan. 1920. His family removed to
England in his early youth. Graduated at St.
John's Coll. Oxford, 1879. After graduation,
stud. a year under Lebert (pf.) and Pruckner
(theory) at Stuttgart. After half a year in compn.
under Hauff in Frankfort, went to Florence
where Vannuccini was his singing-master. Also
enjoyed instruction of Genée in Vienna and
Delibes in Paris. After a year as music critic of
Evening Post in Chicago, was 1891-7 music
critic of New York World; then of Journal (1898)
to 1900) and again of the World, 1907 to 1912.
In 1902 organised a Philh. Orch. in Washington,
D.C.; cond. it until 1905. Possessed of facile
melodic invention, he was a prolific compr. in
the lighter style. His opus numbers run to 411,
including more than 130 songs. He composed no
fewer than 20 comic operas, beginning with
The Begum (Philadelphia, 1887). The most suc-
cessful were Robin Hood, brought out in Chicago,
1890, and perf. in London, under the title of
Maid Marion, 1891; The Highwayman (New
Haven, 1897). Also The Knickerbockers (Boston,
1893), Rob Roy (Detroit, 1894). A grand opera,
The Canterbury Pilgrims, was first perf. at Metro-
politan Opera, New York, 8 March, 1917, and
another, Rip van Winkle, was brought out by
the Chicago Opera Co., 2 Jan. 1919.
The Canterbury Pilgrims (J. Church Co. 1916);
Rip Van Winkle (Schirmer, 1919). His comic operas
were publ., up to 1897, by
after that by
Harms, Church, Stern, Remick and Schubert. King
Willaf's Horn, ballad for male chorus and t. solo,
with pf. Co 50 (Schirmer, 1889). A setting of
1916). Most famous song, O
Me, c
Kipling's Recessional for male and for mixed chorus.
(Church) is very popular.-O. K.
DELHASSE
DELACROIX, Auguste. Fr. compr. b. Mar-
seilles, 27 Dec. 1871; pupil of Taudon and
Guiraud; several songs; symph. poem Les
Roses.-A. C.
DELAGE, Charles Maurice. Fr.compr. b. Paris,
13 Nov. 1879. Stud. harmony, cpt. and compn.
under Maurice Ravel, and Indian music during
a visit to the East. His publ. works (Durand)
are 2 books of songs; Quatre Poèmes hindous,
v. and small orch.; Ragamalika, v. and full
orch.; and Schumann, pf. The unpubl. com-
prise a choreographic poem on Indian themes and
a tone-poem Conté par la Mer. His music has
great delicacy of colour.-M. D. C.
DE LAMARTER, Eric. Amer. critic, condr. b.
Lansing, Mich., U.S.A., 18 Feb. 1880. Stud. pf.
under Mary Wood Chase in Chicago, organ under
Fairclough in St. Paul, and Middelschulte in
Chicago; pupil of Guilmant and Widor in Paris,
1901-2. Was orgt. of the New England Con-
Mus.
gregational Ch. in Chicago until 1912.
critic of Chicago Record-Herald 1908-9, then of
the Tribune, and after 1910 of the Inter-Ocean.
From 1911 to 1913, cond. Mus. Art Soc. Made
assistant-condr. of Chicago Symphony Orch. in
1918. His symphony in D was first perf. by
Chicago Orch. 23 Jan. 1914; Serenade for orchi.
in 1915 at Gunn's Amer. Concerts. Several over-
tures and suites have been played by Chicago
Orch, and on 2 April, 1920 (with compr. as soloist)
his 1st organ concerto was brought out. A 2nd
organ concerto followed on 24 Feb. 1922.-0. K.
DE LARA, Isidore. Brit. compr. b. London, 9
Aug. 1858. At 13 appeared in public as pianist;
at 15 stud. in Milan under Mizzucati (compn.)
and Lamperti (singing); settled in London as
singer, compr. and condr. Gave many series of
British chamber-music concerts in London in
1915-16. His operatic style is founded on that
of Saint-Saëns and Massenet. He is Chevalier of
the Legion of Honour and Commander of the
Crown of Italy.
Operas: The Light of Asia, a cantata converted
into an opera (Covent Garden, 1892); Amy
Robsort
(Covent Garden, 1893); Moina (Monte Carlo, 1807);
Messaline (ib. 1899); Soléa (Cologne, 1906); Sanga
(Opéra-Comique,
Paris,
Garden, 1919);
Three Masks (Marseilles, 1912); The Three Mus
keteers (Cannes, 1920).-E.-H.
Gaieté, Paris, 1910; Coventail (Theat. 21./12
DELCROIX, Léon. Belgian compr. b. Brus
sels, 15 Sept. 1880. Pupil of Joseph Wieni-
awski (pf.), Alphonse Mailly (organ), V. d'Indy
and Théo Ysaye (compn.). Leader of orch, at
Théâtre Royal, Ghent, 1911; at Tournai
Theatre, 1912; now at Trocadéro, Brussels.
His compns. are marked by an elegant and
graceful style which is full of distinction.
Orch. works: Symph. suite, op. 18; symphony,
op. 19 (crowned by R. Acad. of Belgium, 1900);
Harald,
Cunácépa, Soir
& Lerici, Op. 66, symph. poems Thapsody of Langur,
doc, op. 27. Chamber-music: pf. 4tot, op. 1 (crowned
by R. Acad. 1903); str. 4tet, op. 35; trio, op. 4
(Brussels, Schott); 5tet, op. 23; sonata, vn. and pf.
op. 34 (P
(Paris, Evette & Schaeffer); sonata, cello
and pf. op. 67. Opera, Le Petit Poucet (Tom Thumb)
(Brussels, 1913); La Bacchante, ballet (Ghent, 1912).
-0. V. B.
DELHASSE, Félix. Belgian musicologist; b.
Spa, 5 Jan. 1809; d. Brussels, 4 Nov. 1898.
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DELIBES
Gave up commercial career to devote himself
to sociology and music. Founded the Guide.
Musical (1854) to which he long contributed,
as well as to Diapason, La France Musicale,
etc.; author of an anonymous Annuaire Dra-
matique (1839-47); biography of Vieuxtemps;
Gallery of Belgian artists' portraits, etc. Gave
much material, intellectual and moral assistance
to writers, artists and institutions. Both rich
and generous, he used his fortune to benefit
others; many made their début through him.
Several eminent musicologists and artists owed
their position to him. His unflagging love of
collecting documents enabled him to provide
valuable materials to Van der Straeten, Kuf-
ferath, Grégoir, Pougin for their works. His
memory was encyclopædic.-E. C.
He
DELIBES, Léo. French composer; b. St.-
Germain du Val (Sarthe), 21 Feb. 1836; d.
Paris, 16 Jan. 1891. This charming musician,
after having terminated his studies at the
Paris Conservatoire, appeared, when 19, with an
operetta Deux Sous de Charbon at the Folies-
Nouvelles. He then gave at Théâtre-Lyrique,
Maitre Griffard (1857) and Le Jardinier et son
Seigneur (1865). But it was at the Grand
Opéra that he knew his greatest triumphs with
his ballets La Source (1865), Coppélia (1870),
Sylvia (1876). At the Opéra-Comique he achieved
a great success with Le Roi l'a dit (1873), Jean
de Nivelle (1880), and especially Lakmé (1883),
which is still in the repertoire. From 1881 he
taught harmony at the Conservatoire, and was
elected a member of the Institut in 1889.
Delibes practised in music the écriture artiste
which Goncourt made the fashion in literature.
His music, entirely superficial, is gracious and
supremely elegant. He knew all kinds of refine-
ments. His light music seems truly "winged,"
and suits the classical ballet perfectly.
contributed to the enrichment of the musical
language, and his influence has been very real
on musicians of the generation of Gabriel Fauré.
Even to-day it is to Delibes that Henri Rabaud
pays allegiance in Marouf.-H. P.
DELIUS, Frederick. British composer; b.
Bradford, Yorkshire, 29 Jan. 1863. Son of Julius
D. who became a naturalised British subject in
1850. He was educated at Bradford Grammar
School and at International Coll., Spring Grove,
Isleworth (1876-9). Parental opposition at first
prevented him from devoting himself exclusively
to music, but after a few years of business in
the north of England-pleasantly relieved by
occasional trips to Scandinavia-he persuaded
his father to purchase an orange-grove in Florida.
Here he had ample opportunity to develop in
the most congenial surroundings. After six
months of solitude, which he regards as the
decisive period of his career, he was fortunate
enough to encounter an admirable musician,
Thomas F. Ward, who came to live with him and
proved a sympathetic friend as well as a valuable
teacher. But Delius soon began to feel the need
of a definitely musical environment and begged
his father to allow him to go to Germany. His
DELIUS
request was refused. In August 1885, he left.
the orange-grove and secured a post as music
teacher in Danville, Virginia, with the object
of becoming financially independent. He was
very successful in this capacity and his abrupt
and long-unexplained disappearance from Florida
seemed to convince his parents of the futility
of their attitude towards his ambition. In the
following year he went to Leipzig where he
learned nothing from the Conservatorium but
a great deal from his association with Grieg, who
was at that time living in the town. On leaving
Leipzig in 1888, he settled in Paris, where, as
he never allied himself to any clique or coterie
of musicians, his work was-and is still-com-
pletely ignored. Publicity, however, meant little
to him; he wrote much, but published nothing
and had no work performed until he had attained.
maturity. In 1893, he withdrew at the last
moment, on purely self-critical scruples, an opera
which had been accepted for production at
Weimar, and it was not until 1899 that he
ventured to give a concert of his own works.
This took place in London at the old St. James's
Hall, and attracted so much attention (as may
be seen from the press notices) that it is astonish-
ing to find that further performance of any
of his works took place in England during the
next eight years. Germany was more active.
in her recognition of his genius. Hans Haym in
Elberfeld, Julius Buths in Düsseldorf and Busoni,
Oskar Fried and Fritz Cassirer in Berlin sup-
ported their belief in him by performing his
orchestral works, and his reputation was still
further enhanced by the production of Appa-
lachia at the Lower Rhine Musical Festival in
1905, and Sea-Drift at the Tonkünstlerfest of
the united German musical societies in 1906.
In England we have to thank Sir Thomas
Beecham, more than any other conductor, for
familiarising us with all his works.
Delius is one of the very few composers who
have learnt much from Wagner without being
overwhelmed by him. The early works of Delius
are clearly Wagnerian, with touches here and
there of Chopin and Grieg; but from the very
first there was always more Delius than Wagner,
or anyone else, and the traces of external in-
fluence gradually diminished until, by 1900,
Delius's individuality completely asserted itself.
He is the sunset of that period styled Romantic,
of which Wagner may be regarded as the high
noon. Delius's art is retrospective, in the sense
of being compact of "emotion recollected in
tranquillity." It is therefore the reverse of im-
pressionistic. Nature is interpreted not as a series
of external phenomena, but rather an integral.
part of the soul itself. Neither in his orchestral
works nor in his operas and other compositions
constructed upon a poetic basis is there any
programme other than a purely spiritual one.
Taking his text as a starting-point, Delius
extracts what is universal from the particular
details of his subject and leaves one wondering
at the way in which minute particulars seem to
be contained and individually expressed in an
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DELMAS
all-embracing synthesis. His greatest work,
A Mass of Life (Zarathustra)-inspired by
Nietzsche the poet rather than Nietzsche the
philosopher-is an epic of initiation, of the bring-
ing to birth of God in Man: the most essentially
religious work of our time, consequently one of
the most neglected-a work which in its grandeur,
its breadth of vision, and its wealth of beauty, is
unsurpassed by the most monumental achieve-
ments in music. In his technique Delius relies
mainly, but by no means exclusively, upon an
almost kaleidoscopic interplay of harmonics.
Though historians might compare him on the
one hand with Gesualdo, on the other with some
composers of the present day, his work bears
no trace of any contemporary influence and its
peculiarly individual qualities are elusive and
unanalysable. The letter without reference to
the spirit is a thing of naught. But his personal
style is as clear and distinguished in a little
unaccompanied chorus like On Craig Ddu as in
the operas and the great works for chorus and
orchestra. Delius lives at Grez-sur-Loing, Seine-
et-Marne, France.
Operas: Koanga (1897); A Village Romeo and
Beecham Opera Co. 1910; revived 1919); Fenimore
(1910). Choral works: Appalachia (1902); Sea-Drift
A Mass of Life (1905; produced London,
1909); Songs of Sunset (1906); Song of the High Hills
(1912). Orch. works: Paris (1899); Brigg Fair (1907);
In a Summer Garden (1908); Dance Rhapsody (1908);
On hearing the First Cuckoo in Spring (1912); North
Country Sketches (1914); Eventyr (1917). Pf. con-
certo (1906); vn. concerto (1916); double concerto
for vn. and cello (1916); cello concerto (1921).
Incidental music to James Elroy Flecker's play,
Hassan: or the Golden Journey to Samarcand (1920;
produced His Majesty's Theatre, London, 1923);
many songs and a few part-songs. Publ. chiefly
Univ. Ed. Vienna, and Augener, London. Consult
book on D. by the writer, publ. by J. Lane, 1923.
-P. H.
DELMAS, Jean François. Fr. operatic b.
singer; b. Lyons, 14 April, 1861. Début in opera
at small theatres of suburbs of Paris. Stud. at
Cons., Lyons; also at Paris under Busine and
Aubin. 1881, 1st prize for singing in Semiramis,
and 1st prize for opera in Edipe à Colone,
Robert le Diable and Les Huguenots. Created
rôles in Le Dame de Montmartre, 1888; Lohen-
grin, 1891; Salammbo, 1892; Valkyrie, 1893;
Thais, 1894; Messidor, 1897; The Mastersingers,
1897; Les Barbares, 1901; Paillasse, 1903;
L'Étranger, 1904; Armide, 1905; Ariane, 1906;
Hippolyte et Aricie, 1908; Götterdämmerung,
1908; Monna Vanna, 1909; Rhinegold, 1909;
La Forêt, 1910; Roma, 1912; Parsifal, 1914;
La Légende de St. Christophe, 1920; Antar, 1921;
La Fille de Roland, 1922. He possesses a voice
of exceptional range and purity which enables
him to take a variety of parts, ranging from
operatic barit. to b. His singing is a model of
mus. declamation and the nobility of his style has
made him one of the most respected of operatic
singers for the last 30 years. In the opinion of
the Wagner family he is the most perfect Wotan
ever heard.-A. R.
DELMAS, Marc. Fr. compr. b. St. Quentin,
28 March, 1885. Pupil of X. Leroux, Caussade,
Lenepveu, and Paul Vidal; Priz de Rome, 1919.
DE MALEINGREAU
His lyric legend Anne-Marie gained the Prix
Rossini (1911); Les Deux Routes (symph.
poem) gained the Prix A. Thomas. The Prix
Chartier was awarded to him in 1919 for his
chamber-music works: a trio; Legende et Danse
for str. 4tet; pf. pieces: Impressions d'Ariège;
Nostalgie; Suite française. The Prix Cressent
has rewarded his lyric drama, Iriam. Ho is
the typical musician-laureate.
Jean de Calais (1907); Stéphanie (1910); Lais
(1909); Camille (1921): Anne-Marie (1922). Symph.
music: Les Deux Routes (1913); Au pays wallon
(1914); Le Poète et la Fée (1920); Du Rêve au Sou-
venir (1919); Le Bateau ture; Penthésilée.-A. O.
DE LUCA, Giuseppe. Ital. barit. singer; b.
Rome, 25 Dec. 1876. One of the most celebrated
living artists of Ital. song. Stud. in Rome at
R. Liceo Mus. di Santa Cecilia (under Persichini).
At début at Piacenza, 1897 (in Faust), his fame
was immediately assured, and he became sought
after by chief theatres of Europe and America.
Amongst his finest interpretations are those of
Damnation of Faust, Rigoletto, and Parsifal.
He created parts of Michaunnet in Adriana
Lecouvreur (Cilea), of Gualberto in Notte di
Leggenda (Franchetti) of Sharpless in Madana
Butterfly, and title-rôle in Gianni Schicchi at its
first perf. in New York.-D. A.
DE LUCIA, Fernando. Ital. t. singer; b.
Naples, 11 Oct. 1860. Celebrated for his unique
qualities as singer and interpreter. Stud. at
Cons. in his native town, where he made his
first appearance at the San Carlo in Faust.
Rapidly gained a footing and laid the founda-
tions of a most brilliant career. In Carmen, in
the Pescatori di Perle, in Iris, he has remained.
unsurpassed. Created L'Amico Fritz and I
Rantzau (Mascagni). Lives at present in Naples,
where he teaches singing at the Cons.-D. Â.
DEL VALLE DE PAZ, Edgardo. Pianist,
compr. b. Alexandria (Egypt), of Ital. parents,
18 Oct. 1861; d. Florence, 5 April, 1920. Was
prof. of pf. at Cherubini R. Inst. of Music,
Florence. Very capable teacher and concert-
player; gave many concerts in Italy and
abroad. In 1886, made a tour with violinist,
César Thomson. Is the compr. of orch., vocal
and pf. music (Ricordi and Augener) and of
interesting educational works. In 1896, founded
in Florence La Nuova Musica, which he directed
until his death.-R. F.
DELVINCOURT, Claude. Fr. compr. b. Paris,
12 Jan. 1888. Studied at Conservatoire, Paris,
under Widor. In 1913, carried off brilliantly
Prix de Rome, with cantata Faust et Hélène
(Legouix). His labours were interrupted by the
war, in which he was severely wounded and lost
an eye. This highly gifted musician has taken
up composition again after an interval of 8
years. He has written songs (Senart); vocal
quartets (Legouix); and an extremely interest-
ing sonata for pianoforte and violin (Senart,
1923).-H. P.
117
DE MALEINGREAU, Paul. Belgian orgt.
compr. b. Trélon en Thiérache, 23 Nov. 1887;
entered Brussels Cons. 1905; stud. compn.
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DEMÉNY
there under Edgar Tinel; lecturer in harmony
there, 1903; lecturer in organ classes, 1921.
Revived primitive and classic compns. for organ,
gave remarkable perf. at Brussels (1921-2)
of the entire Bach organ works. As compr.
he combines a keen perception of modern.
harmony with a marked predilection for fine
form and architecture. His works (not numerous)
are marked by a characteristic aspiration after
depth and perfection.
2
Pt.: Suite; Sonatine; Angelus de Printemps. Orgon:
(Lauwerline;
Brussels); suite, 214 liturgical pieces
Sacrum (Chester). Sonata, cello and pf. (Lauwerijns,
Brussels).-C. V. B.
op.
DEMÉNY, Dezső. Hungarian compr. b. Buda-
pest, 29 Jan. 1871. Over 100 songs; orch, and
especially choral works. Condr. at St. Stephen's.
-B. B.
DEMEST, Désiré. Belgian singer; b. Liège,
16 Sept. 1864. Pupil of Bonheur and Carman
at Liège Cons. Sang t. parts at concerts, notably
in oratorios; teacher of singing, Brussels Cons.
since 1893, where he has trained some well-
known artists: Swolfs, Ansseau (ts.), Dufranne
(barit.), and Huberty (b.). Author of Manual
of Singing Exercises (12th ed.).-E. C.
DE MOL, Guillaume.
Belgian compr. b.
Brussels, 1 March, 1846; d. Marseilles, 7 Sept.
1874. Remarkably gifted artist; brother and
nephew of musicians; stud. at Brussels Cons.
Prix de Rome, 1871, for cantata Columbus
Droom. After the prescribed journey abroad,
went to Marseilles, where his brother was
orgt. and there died prematurely at age of 28.
Symphony. La Guerre; oratorios: Levenstijden;
Laatste Zonnestraal; songs on
of which, Ik ken een lied to its extreme simplicity
vol
melodi, sh poems, one
acquired a well-
earned popularity, owing
and its deeply expressive emotion.-C. V. B.
DE MURO, Bernardo. Ital. t. singer; b.
Tempio Pausania, Sardinia, 1881. Much appre-
ciated dramatic singer. Stud. in Rome; début
at the Costanzi. Has since sung in principal
theatres of Italy and S. America. At Scala
in Milan, created part of Folco in Mascagni's
Isabeau.-D. A.
DEMUTH, Leopold. Ger.-Czechoslovak singer
(barit.); b. Brünn, 2 Nov. 1861; d. Bernwoitz,
4 March, 1910. Kammersänger at Vienna R.
Opera, 1897.-E. S.
DE NARDIS, Camillo. Ital. compr. b. Orsogna
(Chieti), 26 May, 1857. Teacher of fugue and
compn. and vice-dir. of Naples Cons. Å skilful
compr. of operas and much instr. and vocal
music. Especially interesting are his orch. works
inspired by Abruzzi melodies. Was dir. of San
Carlo Theatre and (as substitute for Martucci)
condr. of orch. of the Quartet Soc. Has publ.
several educational works and transcriptions of
music, notably of xvIII century Neapolitan
school.
Bi ba bu, comic opera (1880); Un bacio alla
Regina, id. (1890); Stella, serious 3-act opera (1898);
Camoens (unpubl.); I Turchi in Ortona, oratorio
(1884).-D. A.
DENKMÄLER
(comp.), C. H. Döring (pf.) and Jannsen (organ).
Became orgt. at St. Francis' Ch. in Lausanne and
prof. of compn. and organ at Cons. Since 1918,
lecturer at Univ. where he delivers courses on
mus. philosophy (Symbolique des principes acous-
tiques et du principe tonal). Has written (with C.
Bourguès) a most important book La Musique et
la Vie interieure: Histoire psychologique de l'Art
musical (Paris, Alcan). As supplement, he publ.
L'Arbre généalogique de l'Art musical (Alcan),
illustrated, representing the continuity of mus.
technique from 4000 B.C. till Strauss, Debussy
and Stravinsky (about 1200 comprs. grouped
according to their melodic and harmonic rela-
tionship, and 27 colours help to distinguish the
various kinds of national movements).
DENÉRÉAZ, Alexandre. Swiss orgt. compr.
musicologist; b. Lausanne, 31 July, 1875. Stud.
at R. Cons. Dresden (1891-5) under F. Draeseke
symphonies ( ma., C mi., E mi, with organ);
2 symph, poems, Le Rêve and Les Saisons; Epopée
symphonique (visions of war, 1914-18) for full orch.;
symph. variations, Scènes de la vie de cirque; symph.
pieces, Autour du monde; vn. concerto, D ma. (1st
perf. by Jacques Thibaut). Works for chorus, soll and
orch.:
lointaines; La Chasse maudite; Can-
tate Aurortion. Mil huit cent trois, cantate
patriotique (Lausanne, Walbach); 2 str. 4tets, I and
D (Lausanne, Fotisch); incidental music to La
Dime (Morax); unacc. choruses; songs with orch.
and with pf.-F. H.
DENIJN, Jef. Belgian carilloneur; b. Malines,
March, 1862.
his
Adolphe
Denijn, municipal carilloneur of Malines, 1881,
when latter became blind. Officially appointed
Jan. 1887. Since 1892 organised Carillon
Concerts in Malines, famous to-day. Has given.
concerts in various cities in Belgium, Holland
and England. Introduced technical carillon
improvements not only in Belgium but in
France and Holland. Comp. for carillon (publ.
in Journal of R. Soc. of Arts, Vol. LXIV, No.
3291, 17 Dec. 1915, an article Technique et
mécanismes de carillon). A congress of L'Art
du Carillon was organised in Malines, April
1922, on his 35th year of office. D. is the
herald of the art of carillon - playing. His
world-wide fame is due to his astonishing skill
and to the great variety of his repertoire.
Thanks to the Carillon School, which he directs
at Malines, he forms pupils who will maintain
and develop his ideas.-C. V. B.
DE NITO, José. Argentine compr. b. Rosario
de Santa Fé, in 1887. Stud. at Cons. of Naples
under Serrao, De Nardis, Longo, Cotrufo and
Napoli. Returned to Argentina in 1910, where
he establ. an Inst. of Music, which he now
directs. Pieces for pf.; vn. and pf.; songs.-A. M.
DENKMÄLER DER TONKUNST IN BAYERN
(Monuments of Music in Bavaria). A parallel
publication to Denkmäler Deutscher Tonkunst;
supported by Bavarian Government; under dir.
of Adolf Sandberger. The works publ. since
1900 are: I and IX 1, Dall' Abaco, Selected
Works (Sandberger); II 1, Johann and W. H.
Pachelbel, Clavier Works (M. Seiffert); II 2,
J. K. Kerll, Selected Works, Part 1 (Sandberger);
III 1, VII 2, and VIII 2, Symphonies of Bavarian
Palatinate School-Mannheim Symphonists (H.
Riemann); III 2, Ludwig Sonfl's Works, I
(Theodor Kroyer); IV 1, Johann Pachelbel,
Organ Compositions (Seiffert); IV 2, Organ Com-
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DENKMÄLER
positions of Chr. Erbach, H. L. Hassler and
Jakob Hassler (E. v. Werra); V 1, Notes for
Biography of H. L. Hassler and his Brothers, etc.
(Sandberger); V 2, Works of H. L. Hassler,
Part 2 (Rudolph Schwartz); VI 1, The Nurem-
berg Masters of 2nd Half of XVII Century (Seif-
fert); VI 2, Agostino Steffani, Selected Chamber
Duets (Alfred Einstein and Ad. Sandberger);
VII 1 and VIII 1, Johann Staden, Selected Works
(Eugen Schmitz); IX, Leopold Mozart, Selected
Works (Seiffert); X 1, G. Aichinger, Selected
Works (Kroyer); X 2, Ad. Gumpeltzheimer,
Selected Works (0. Mayer); XI 2, Agostino
Steffani's opera Alarico and particulars of all his
operas (H. Riemann); XII 1, Ag. Steffani,
Selection from his Operas (H. Riemann); XII 2,
Anton Rössler (Rosetti), Symphonies (0. Kaul);
XIII, J. Erasmus Kindermann, Selected Works
(Felix Schneider); XIV 1, Traetta, Selected
Works, I (H. Goldschmidt); XIV 2, Gluck,
Nozze d' Ercole e d'Ebe (Abert); XV-XVI, Mann-
heim Chamber-Music of the XVIII Century (Ric-
mann); XVII, T. Traetta, Selected Works, II
(H. Goldschmidt); XVIII, Joh. Krieger, Mursch-
hauser, J. Ph. Krieger, Selected Works (Max
Seiffert); XIX and XX, Pietro Torri, Selected
Works, I (H. Junker).-A. E.
DENKMÄLER DER TONKUNST IN ÖSTER-
REICH (Monuments of Music in Austria).
Annual publ. of old Austrian compns., from time
of Minnesänger period up to classical era.
Founded 1894 by Guido Adler (q.v.). Up to 1924,
56 vols. were publ.-a cappella works from the
6 Trentine Codices (Dufay, Binchois, Dunstable,
etc.), complete operas of baroque period (Cesti's
Il pomo d'oro; Fux's Constanza e Fortezza), a
rococo opera (Gassmann's La Contessina), and
Umlauf's singspiel Bergknappen. A 2nd series
has started on Gluck's works (only Orfeo, after
orig. score of 1762, done so far). In 1913, Adler
commenced admirable studies on these comprs.;
so far 9 vols. publ. in the Denkmäler. Chief are:
Gluck's Early Operas (by E. Kurth), XVII
Century Masses in Austria (by G. Adler), Operas
and, Oratorios in Vienna 1660-1708 (E. Wellesz),
The Trentine Codices (Finker and Orel). The
Denkmäler was at first publ. by Artaria; now by
Univ. Edition.-EG. W.
DENKMÄLER DEUTSCHER TONKUNST
(Monuments of German Music). An extensive pub-
lication of older works, supported by Prussian
State and ed. by Commission for History of
Music under dir. of R. von Liliencron (d. 1912,
succeeded by H. Kretzschmar), Leipzig, Breit-
kopf & Härtel. Since 1892 have been publ.:
I, S. Scheidt, Tabulatura nova (M. Seiffert), and
after long delay in 1900, when better materials
had been taken in hand, there followed in quick
succession: II, H. L. Hassler, Cantiones Sacrae
4-12 v8. (H. Gehrmann); III, Fr. Tunder, Ge-
sangswerke (M. Seiffert); IV, J. Kuhnau, Clavier
Works (K. Päsler); V, J. R. Ahle, Selected Vocal
Works (Joh. Wolf); VI, Math. Weckmann and
Chr. Bernhard, Solo Cantatas and Chorales with
Instr. (M. Seiffert); VII, H. L. Hassler, Masses
4-8 vs. (Joseph Auer); VIII-IX, J. Holzbauer,
DENT
opera Gunther von Schwarzburg (H. Kretz-
schmar); X, J. K. F. Fischer, Journal du Prin-
temps, and D. A. Schmicorer, Zodiacus Musicus
(E. v. Werra); XI, D. Buxtehude, Instrumental
Works (K. Stiehl); XII-XIII, Heinrich Albert,
Arias (Ed. Bernoulli); XIV, D. Buxtehude,
Abend-Musiken and Cantatas (M. Seiffert); XV,
K. H. Graun, Montezuma (Mayer-Reinach);
XVI, Melchior Franck and Valentin Hausmann,
Selected Instr. Works (Fr. Bölsche); XVII,
Johann Sebastiani and Johann Theile, Passion
Music (Fr. Zelle); XVIII, Johann Rosenmüller,
Chamber Sonatas of 1670 (Nef); XIX, Ad.
Krieger, Arias (Alfred Heuss); XX, Hasse,
Conversione di S. Agostino (Arn. Schering); XXI-
XXII, Fr. W. Zachow's Works (Seiffert); XXIII,
Hieronymus Prætorius, Selected Church Music
(H. Leichtentritt); XXIV-XXV, H. L. Hassler,
Sacri concentus 4-12 vs. (Joseph Auer); XXVI-
XXVII, J. G. Walther, Organ Pieces (Seiffert);
XXVIII, Telemann, The Day of Judgment (text
by Alers), and Ramler-Telemann, Ino (Max
Schneider); XXIX-XXX, Instrumental Con-
certos of German Masters (Pisendel, Hasse, Ph.
Em. Bach, Telemann, Graupner, Stölzel, Hurle-
busch) (A. Schering); XXXI and XLI, Ph.
Dulichius, Centuria (Rudolf Schwartz); XXXII-
XXXIII, Jommelli, Fetonte (Hermann Abert);
XXXIV, Rhaw, New German Sacred Songs
(Johannes Wolf); XXXV-XXXVI, Sperontes,
Singing Muse (E. Buhle); XXXVII-XXXVIII,
Keiser, Craesus and selection from L'inganno
felice (M. Schneider); XXXIX, Johann Scho-
bert, Selected Works (Hugo Riemann); XL,
Andr. Hammerschmidt, Selected Works (Leichten-
tritt); XLII, Ernst Bach and Valentin Herbing,
Songs (Kretzschmar); XLIII-XLIV, Ballets by
Fr. Deller and J. J. Rudolph (Abert); XLV,
Elmenhorst's Sacred Songs, comp. by J. W.
Franck, G. Böhm, P. L. Wockenfuss (Kromo-
licki and Krabbe); XLVI-XLVII, Erlebach,
Harmonic Joy (O. Kinkeldey); XLVIII, Johann
Ernst Bach's Passion (Kromolicki); XLIX-L,
Thuringian Motets of 1st Half of XVIII Century
(Max Seiffert, 93 nos. from ms. 13661 in Univ.
Library, Königsberg); LI-LII, North German
Symphonies, 1 vol. (M. Schneider and B. Engelke)
LIII-LIV, J. Ph. Krieger, 21 Selected Church
Compositions (M. Seiffert); LV, B. Pallavicino,
Gerusalemme liberata (H. Abert); LVI, J. Chr.
Fr. Bach's The Children of Jesus and The
Awakening of Lazarus-texts by Herder (G.
Schünemann); LVII, G. Ph. Telemann, 24 Odes
and Görner's Collection of New Odes and Songs
(W. Krabbe).-A. E.
DENSMORE, Frances. Writer on Amer. Indian
music. Author of Chippewa Music (Bureau of
American Ethnology, Washington, D.C., 1910);
Telon Sioux Music (id. 1918); Northern Ute
Music (id. 1922).-J. M.
DENT, Edward Joseph. English writer on
music; b. Ribston, Yorks, 16 July, 1876.
Studied composition under C. H. Lloyd at Eton
and under Charles Wood and Stanford at Cam-
bridge, but from 1900 onwards devoted himself
to historical research, for which he obtained a
IIg
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DENZA
Fellowship at King's College, Cambridge, in 1902.
He lectured on musical history at Cambridge for
several years; in 1919 became musical critic of
The Athenaeum. First chairman of the Inter-
national Society for Contemporary Works (1903
Alessandro Scarlatti, his
E.
Chatto
& Windus); transl. into Ger. by Dr. Anton
Mayer, Berlin, 1923); a chapter on Fr. music (from
Josquin des Prés to Ravel) in Arthur Tilley's Modern
France 1922); a
since 1880 in Guido Adler's Handbuch der Musik
geschichte (1924); arts. in Grove's Dictionary and
Encue. Brit. chiefly on Ital. opera-comprs. of XVIII
century several papers, chiefly on Ital. opera of
XVII and xvIII centuries, in Sammelbände der Inter-
nationalen
Record, Musical
Monthly Musical Gesellschaft, Musical Antiquary,
York) and Music and Letters; transerly (New
Magic Flute (Cam 1911). Nozze di Figaro
of Mozart's
(1920, Old Vic.
Wagner's Liebesterbot (Breitkopf, 1922).-E.-H.
Don Giovanni (1921, ib.);
DENZA, Luigi. Ital. compr. b. Castellamare
di Stabia, 24 Feb. 1848; d. London, 1922. A
noted compr. of songs and pf. pieces. Over
500 songs to Ital., Neapolitan, Eng. and Fr.
words. Together with those of Tosti, Rotoli
and others, these constituted a type ballad
and Ital. song greatly in vogue during the last
10 years of XIX century. In 1897 he settled in
London; was one of directors of London Acad.
of Music. 98, prof. of singing at R.A.M.
London. In 1876, his opera Wallenstein was
perf. at Mercadante Theatre, Naples, with only
moderate success. At Naples Cons. he had
stud. compn. under Mercadante and Serrao.
-D. A.
DENZLER, Robert F. Swiss condr. compr. b.
Zurich, 19 March, 1892. Stud. pf. and compn. at
Cons. Zurich; pupil of Volkmar Andreae; 1911,
became condr. of symphony concerts at Lucerne;
since 1915, condr. of opera and choral concerts.
at Zurich. His music shows the influence of R.
Strauss; his symph. poems were particularly
appreciated at fests. of Swiss Music Society.
orchch16m,
Totentanz and Richmodis, symph. poems for full
poem, chorus, soli and
5 songs in op. 2, 5, 10 and 12 (Zurich,
Hüni); suite for 2 vns. (Huni).-F. H.
DEPANIS, Giuseppe. Ital. writer, mus.
organiser; b. Turin, 5 April, 1853. In his native
town, D. has been valuable promoter of
mus. activity, and took an effective part in
organisation of symphony concerts during
Exhibitions of 1884, 1898 and 1911. Especially
memorable were those of 1884, to which the
following orchs. contributed: Turin, cond. by
Pedrotti; Milan, cond. by Faccio; Naples, cond.
by Martucci; Bologna, cond. by Mancinelli;
Rome, cond. by Pinelli; Parma, cond. by
Campanini. To D. (and to Carlo Pedrotti) is
due the credit for this musical awakening, which
placed Turin ahead of other Ital. cities in
organisation of symphony concerts. D. was
one of first propagandists of Wagner's art in
Italy. His book, Popular Concerts and the Regio
Theatre of Turin, 1872-86 (Fifteen Years of
Musical Life), 2 vols. (S.T.E.N., Turin, 1914-15),
is a very interesting mine of records. He
has publ. also a book on the Nibelung Ring
(Roux & Frassati, Turin, 1896), and various
DE SANTI
other writings, especially on Wagnerian sub-
jects.-D. A.
DÉRÉ, Jean. Fr. compr. b. Niort, 1886.
Pupil of Diémer, Caussade, and Widor; just
missed Prix de Rome in 1919; author of stage-
music for Marlowe's Dr. Faustus; several
songs; pf. pieces.-A. C.
DE RENSIS, Raffaello. Ital. mus. writer; b.
Casacalenda (Campobasso), 1880. Founded in
Rome in 1908 the periodical Musica and the
publ. firm connected therewith. As ed. of the
paper, he has taken an active share in Ital.
mus. life of last 15 years. Publ.: Anime musicali
(Musical Souls), psychological essays on writers
and poets (1913); Rivendicazioni musicali
(Musical Vindications), a vol. of historical
criticism and controversies. Has helped to
recall to mind forgotten figures of Ital. musicians.
Is mus. critic of Rome daily paper Il Messaggero,
and contributor to many reviews.-D. A.
D'ERLANGER, Baron Frederic. Compr. b.
Paris, 1868. Spent his youth and completed his
literary and mus. studies in Paris; he resides in
England, the country of his adoption; has been
for many years one of the dirs. of Covent Garden
Opera. His opera Tess (on Hardy's novel) was
first produced at San Carlo, Naples, and after-
wards at Dal Verme Theatre, Milan. Its first
London perf. was in 1909 (with Emma Destinn
as heroine).
120
4 operas: Jehan de Saintré (Fr., 2 acts; Aix-les-
Bains, 1893); Ines Mendo (Fr., 4 acts; id. 1893;
Garden, London, Tess
Naples, 1906); Noël (FT., 2 acts: Théâtre Municipal,
oroh. vn. con-
certo; 5tet, pf. and strings; pf. pieces; vn. pieces;
songs (Eng. and Fr.), etc. (Schott; Augener; Ricordi,
Milan; Rouart & Lerolle, Paris).-E.-II.
DE ROGATIS, Pascual. Argentine violinist,
compr. b. Naples in 1883. Went to Buenos
Ayres as a child. Stud. at Buenos Ayres Cons.
In 1906, the Cons. gave a concert devoted
entirely to his symph. works.
3 orch. poems: Marko u el Hada; Belkiss en la
Selva; Zupay. Other pieces are Preludes; Suite arabe;
Danza de las Driadas; Paisaje Otoñal; Romance for
vn.; 2 vn. concertos; 2 cello concertos; songs; pf.
pieces.-A. M.
DE RUBERTIS, Oreste. Ital. pianist; b.
Naples in 1893. Coming from the Rossomandi
School at Naples Cons., he gained a good reputa-
tion as a concert-player and teacher. Founded
in Naples the Società Amici della Musica (Friends
of Music). Prof. of pf. at R. Liceo Mus. di Santa
Cecilia in Rome: Has comp. orch. and chamber-
music.
Leggenda indiana, orch.; Egyptia, orch.; sonata
for vn. and pf.-D. A.
DE SABATA, Victor. Compr. b. at Trieste,
of Ital. parents, in 1892.
Is noted amongst
young Ital. musicians for his opera Il Macigno,
perf. at Scala in Milan, 1916, and for various
symph. works: 2 overtures, a suite, a symph.
poem Juventus (publ. by Ricordi, Milan), vocal
works and instr. chamber-music. Is also a good
conductor.-D. A.
DE SANTI, Father Angelo. Ital. writer and
propagandist of sacred music; b. Trieste, 12
July, 1847; d. Rome, 28 Jan. 1922. When very
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DESMOND
a
young, entered Jesuit Order, and devoted him-
self to music, especially the teaching of
Called to Rome by Pope Leo XIII,
singing.
vast field for propa-
he found there
gating his ideas on reform of sacred music in
Italy, and became one of most efficient col-
laborators of the movement started for that
purpose by the priest Guerrino Amelli (q.v.).
By his activities as teacher in Roman seminaries
and as a writer, particularly for Jesuit review
La Civiltà Cattolica, he exercised a very great
influence, which aroused not a little opposition
from those attached to the decadent and
theatrical taste to which sacred music in Italy
had been reduced. This reform, initiated by
Pope Leo XIII, was brought to fulfilment by
Pius X. De S. had not only the satisfaction of
seeing his ideas triumph; he succeeded also in
effecting another project of his-the foundation
of the Pontificia Scuola Superiore di Musica
Sacra (see ACADEMIES). He publ. a memoir on
the first 10 years of its activity. In 1909, at
National Congress of Sacred Music at Pisa, he
was elected Gen. President of the Associazione
Italiana di Santa Cecilia, and again at succeeding
congress held at Turin in 1920. He publ. a very
large number of historical and polemical articles
on sacred music and Gregorian
Civiltà Cattolica, in Rassegna Gregoriana (which
he founded in 1902 together with Monsignor [now
Card.] Respighi) and in other reviews.-D. A.
in
DESMOND, Astra (Mrs. Thomas Neame). Eng.
contr. singer; b. Torquay, 10 April, 1893. Stud.
under Blanche Marchesi; took B.A. honours
classical degree at Westfield Coll. London in
1914. Has given many recitals in London and
the provinces. Is a fine interpreter, particularly
of the contemporary Eng. and Fr. songs.-E.-H.
DESSAU, Bernhard. Ger. violinist; b. Ham-
burg, 1 March, 1861; d. May 1923. Stud. under.
Schradieck (Hamburg and Leipzig), Joachim and
Wieniawski; Konzertmeister in Görlitz, Ghent,
Königsberg, Brünn, Prague and Rotterdam
(where he taught at Cons.), Bremen (Philh.); has
been Konzertmeister at the R. Opera, Berlin;
for a time also teacher at Stern's Cons.; R.
prof. 1906.
Numerous works for vn. (op. 9-16, 20; vn. con-
certo In the Old Style, op. 55), etc.-A. É.
DESTINN, Emmy (family name Kittel).
b. Prague, 1878. Received her vocal training and
her professional name from Marie Destinn-Löwe.
Engaged Berlin Court Opera, 1898. After series
of star performances in Prague, was granted
hon. membership of Prague National Theatre,
1908. Her world-wide reputation dates from
1901. Bayreuth, Paris, London and New York
are the stages of her artistic career. Whilst
abroad she was a keen advocate for Smetana's
operas.
Now confines herself to star tours in
opera and concert platform; lives on her estate
in Stráž, Bohemia. Her voice is remarkable for
its smooth silvery timbre and its great carrying
power. A superior singing technique and drama-
tic plasticity are further characteristics.-V. ST.
DETT, Robert Nathaniel. Amer. compr. b.
DIAGHILEF
Drummondville, Ontario, Canada, 11 Oct. 1882.
A remarkable coloured musician, of high attain-
ments.
Graduated Niagara Falls Collegiate
Inst. 1903.
Early mus. education at Oliver
Willis Halstead Cons., Lockport, N.Y., later
at Oberlin, Ohio. Continued his studies at
Columbia Univ. and elsewhere until 1915. At
various times, mus. dir. of several educational
insts. for coloured people-Lane Coll., Jackson,
Tex. (1898-1903), Lincoln Inst., Jefferson City,
Miss. (1908-11). Since 1913 has been con-
nected with the Hampton (Va.) Inst. and dir.
of its excellent Choral Union. Won the
Bowdoin Prize of Harvard Univ. with an essay,
The Emancipation of Negro Music, 1920; and
the Francis Boott Prize at Harvard for a Motet
on a negro theme, Don't be Weary, Traveller.
Has comp. also Magnolia Suite for pf. (Summy,
1912); Juba Dance (id. 1921); many motets,
negro spirituals and songs (Church; Schirmer).
-0. K.
DEUTSCH, Piet Hermann. Swiss singer;
b. Richterswyl, Switzerland, 21 Feb. 1876.
Started singing in 1907, after having stud.
law and practised as lawyer in Winterthur
(Switzerland). Pupil of Paul Reimers in
Berlin; gave first concerts there in 1910. Since
1914 in Switzerland; soon rose to fame and
became prof. at Cons. in Basle and Winterthur.
A perfect musician with an admirably trained
voice. Has written an important essay, Über
Stimmbildung (Winterthur, A. Vogel).-F. H.
DE VOCHT, Louis. Belgian compr. condr.
b. Antwerp, 21 Sept. 1887. Precentor Antwerp
Cath. since 1912; dir. of Cecilia mixed choir;
prof. of harmony, Antwerp Cons. and condr.
of Nouveaux Concerts, 1921.
Avondschemering (Evening Twilight); Legen
(Spring Morning); Meizangen (May Song);
schap (Exile); symph. poems; choruses; songs.
-E. C.
DIACK, John Michael. Scottish musical editor,
b. Glasgow, 26 June, 1869. Manager of the publ.
dept. of Paterson Sons & Co. Glasgow.
Vocal Exercises in Tone-Placing and Enunciation;
Vocal Technique; arr. New Scottish Orpheus, Vol. I
(100 songs) and The Burns Song Book (50 songs);
Eng. transl. of Bach's Peasant Cantata (all Paterson).
-E.-H.
DIAGHILEF, Serge Pavlovitch (accent on the
long A). Russ. ballet producer. Born in the
government of Novgorod (Russia), 19 March,
1872. Stud. law at Univ. of Petrograd, and
worked at mus. theory and singing at same time
under Cotogni, Sokolof and Liadof. He began
as critic of journal Les Nouvelles in 1897, and in
that year organised the first exhibition in Petro-
grad of Eng. and Ger. water-colourists. The
following year he arr. an exhibition of Scandi-
navian art. In 1899 he founded review, Le
Monde de l'Art, which ran for 6 years, helped
materially by the Emperor Nicholas II. It played
a great part in the artistic and intellectual
life of Russia. During the following years, D.
organised numerous exhibitions in Russia and
abroad. In 1904 he issued an important work
on the painter Levitzky. His theatrical and mus.
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DIANOF
activity, which was destined to be so fruitful-
thanks to his organising and inspiring talents,
his energy and his rich artistic culture-dates
from 1907. He then came to Paris and organised
a series of concerts of Russ. music in which the
greatest artists from Moscow and Petrograd took
part. In 1908, helped financially by the Grand
Duke Vladimir, produced at the Grand
Opéra in Paris, Mussorgsky's Boris Godunof, with
Chaliapin and the chorus of Imperial Opera
from Petrograd; then, in 1909, he gave Rimsky-
Korsakof's Pskovitaine and the first season
of Russ. ballet with Nijinsky, Pavlova, Karsa-
vina, Fokin, etc. The following years, he effected
a veritable renaissance of theatrical and choreo-
graphic art. Grouping round himself the most
remarkable comprs., painters and interpreters,
he produced opera and ballet-spectacles in Paris,
Rome, Berlin, London, Madrid and America.
The war slackened his activity without paraly-
sing it and during recent years he has undertaken
new ventures (seasons in Paris, London, Monte
Carlo, Brussels, etc.).-B. DE S.
DIANOF, Antony Michaelovitch (accent 2nd
syll.). Russ. compr. b. 7/19 Feb. 1882. Pupil
of G. Conus, Javorsky, and Korestchenko
(theory). Graduated Musico-dramatic School of
Moscow Philh. in 1912. From 1920, dir. of
Technicum (music school, grade II), founded in
honour of Mussorgsky, in Moscow.
Lyric Fragments, vn. and pf. op. 10; pf. sonata,
op. 12; 2 Lyric Suites, pf. op. 6; songs, op. 2, 3, 8;
pf. pieces, op. 1, 4, 5, 7, 9, 11, 13, 14. V. B.
DIAPHONY. A primitive form of harmonising
a melody in parallel consecutive fourths, or even
in fifths. The name has been applied to certain
technical procedures in modern harmony. See
art. on HARMONY.-E.-H.
DICKINSON, Clarence. Amer. compr. b. Lafa-
yette, Ind., U.S.A., 7 May, 1873. Mus. training
from Cutler, Wild and Weidig in Chicago. Was
pupil of Singer and Reimann (organ) in Berlin,
and later of Guilmant (organ), Moszkowski (pf.)
and Vierne (compn.) in Paris. Founded the Mus.
Art Association in Chicago and was its condr. for
3 years. A light opera, The Medicine Man, was
produced in Chicago, 1895. In 1909, settled in
New York as orgt. of the Brick Presbyterian Ch.
and of Temple Emanu-El. In 1912, made prof.
of ecclesiastical music at Gen. Theological Semi-
nary, New York. Here his historical recitals and
concerts with lectures attracted wide attention.
Has given organ recitals in U.S.A., Canada,
France, Germany and Spain. Has comp., arr.,
ed. and publ. many choruses, sacred and secular
songs and organ music.
Recital Series (about 100 to date); authot author
Storm King, symphony for organ (1920); Historical
of Tech-
nique and Art of Organ Playing (1921);
with his wife, Helena Adele Dickinson, of: Excur
sions in Musical History (1917); Songs of the Trouba.
dours (1920); all publ. by H. W. Gray, New York.
-0. K.
DICKINSON, Edward. Amer author, educator;
b. West Springfield, Mass., U.S.A., 10 Oct. 1853.
Stud. music at New England Cons. in Boston,
1871-2. Later, 1878-9, was an organ pupil of
Eugene Thayer in Boston. After holding organ
DIEREN
positions in Northampton, Mass., and Spring.
field, Mass., became dir. of Elmira (N.Y.) Coll.
of Music from 1883 to 1892. During this period
he went to Europe several times and attended
the lectures of Spitta at Univ. of Berlin and of
W. Langhans, 1885-6, 1888-9, 1892-3. In 1893,
prof. of mus. history and criticism at Oberlin
(Ohio) Coll., where he did much to raise the
standard of general mus. education and intelli-
gent appreciation. Retired from active teaching
in 1922.
Music in the Western Church (Scribner, 1902); The
Study of the History of Music (id. 1905; 2nd augm.
ed. 1908); The Education of a Music-Lover (id, 1911);
Music and the Higher Education (id. 1915).-O. K.
122
DIDUR, Adam. Polish b. singer; b. Sanok,
Galicia, 24 Dec. 1874. In 1892, stud. singing
under Wysocki at Lemberg.
In 1893, pupil
of Emerich at Milan, where he sang shortly
afterwards b.-solo in Beethoven's Ninth Sym-
phony under Lamoureux. Began opera career in
Rio de Janeiro, 1894. Then at Cairo and, for 4
years, at La Scala, Milan. From 1899-1903 at
Warsaw Opera. After that, Petrograd, Moscow,
London, Barcelona, Madrid, Buenos Ayres. For
last 15 years, 1st b. at Metropolitan Opera,
New York. Principal parts: Mephistopheles
(Gounod), Mefistofele (Boito), Wotan (Wagner),
Boris (Mussorgsky), Kezal (Smetana's Bartered
Bride) Don Basilio (Rossini), Figaro (Mozart),
etc. D. sings in Polish, Ital., Eng., Fr., Russ.
and German.-ZD. J.
DIEPENBROCK, Alphons. Dutch compr. b.
Amsterdam, 2 Sept. 1862; d. there, 5 April, 1921.
Most important Dutch compr. between 1890
and 1920; self-taught; teacher of classical
literature at Amsterdam Grammar School. Hist
first compus. show Wagnerian influence; his later
style is noble and original. A characteristic is
its uninterrupted and continually modulating
melodic flow.
Mass, male vs. and organ (1891); incidental music
to Joost van den Vondel's Gijsbrecht van Aemstel (1896);
Te Deum, chorus and orch. (1897); Stabat mater
dolorosa and Stabat mater speciosa, unaco, chorus;
Les Elfes, chorus (1897); Hymne an die Nacht (1899),
8. and orch.; Abendmahlshymne, s. and orch.; Die
Nacht (Hölderlin), contr. and orch.; 1902 and 1904,
2 long barit. solos with orch: Vondels Vaart naar
Agrippina (Alberdingt Thijm), 1902, and Im grossen
Schweigen (Nietzsche), 1904; Humne, vn. and orch.
(written for famous Dutch violinist Louis Zimmer-
man), 1905; Hymne aan Rembrandt (1906); music
to Marsyas (comedy by Balthazar Verhagen), 1911;
music to Faust (Goethe); The Birds (Aristophanes);
Electra (Sophocles). Numerous songs. His works are
publ. chlefly by Noske (The Hague).-W. P.
DIEREN, Bernard van. Compr. b. in Holland,
27 Dec. 1884. Father Dutch, mother Fr. Stud.
science, but began to devote himself exclusively
to music about his 20th year. In 1909, came
to England as mus. correspondent to the
Nieuwe Rotterdamsche Courant and has con-
tinued to reside in London.
His position in the musical world is somewhat
paradoxical; for while his methods of expression
are sufficiently novel to earn him the title of
"revolutionary" from those who must needs
find a label and a category for every composer,
his art is too firmly based upon the best tradi-
tions of the past to win him a welcome in those
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DIMA
circles where the term iconoclast is considered the
highest possible compliment. The letter of his mu-
sic offends neo-classicists, while its spirit repels
some "ultra-moderns." Those whose conception
of personal style in art demands the reappearance
in each new work of the same elements that were
apparent in its predecessors will certainly be
baffled by the apparent multiplicity of van
Dieren's methods. He has not, like Schönberg or
Debussy, evolved a strictly personal system of
expression only to become himself enslaved by
it. He adapts his style to his conceptions, or
rather each fresh conception conditions and
creates its own appropriate style. Pre-eminently
a contrapuntal writer whose methods are the
reverse of impressionistic, his harmonic basis
has become gradually simpler; and all his works
reveal a concentration upon organic develop-
ment and unity. The compns. of his maturity
include:
Six Sketches for Piano (1911; Univ. Ed. Vienna);
4 str. 4tets (1912, 1917, 1919 and 1923 respectively, of
which the 2nd was perf. at a "Sackbut" concert in
London, Oct. 1920, by the Pennington Str. Quartet,
and at the Donaueschingen Mus. Fest. 1922); a
symphony for soli, chorus and orch., based on
Chinese poems (1914); a Diaphony for chamber-
orch. and barit. solo, on 3 sonnets of Shakespeare
(Nos. 28, 30 and 43), and an overture to an imaginary
comedy for chamber-orch. (1916; these 2 works
were perf. under the compr.'s direction at a concert
in London by Ceell Gray, Feb. 1917); The
cilor, an opera buffa in 3 acts (scored for sma
orch.) to a libretto by Robert Nichols (1917);
Propous des Beureurs, introit for full orch., after
Rabelais (Promenade Concerts, 1921); several songs,
of which the most important are These are the
the Sorrows
(from De Quincey's Levana) and False Friend (from
Shelley's The Cenci) for v. and str. 4tet, Fair Eyes
7 of Spenser's Amoretti) for v. and chamber-
orch., and Verlaine's Spleen for v. and pf., and two
recitations with str. 4fet-a Ballade of Villon and
a Sonnet of Baudelaire. All these works, except the
pf. pieces, are still in ms. Van D. has also written a
book on the sculpture of Jacob Epstein (J. Lane).
(NO
-P. H.
DIMA, G. Rumanian compr. b. 1847. Dir.
of Cons. of Cluj (formerly Klausenburg). See
RUMANIA in art. ACADEMIES.
Has comp.
many songs, religious and secular choruses,
masses, etc. (Leipzig, Kahnt; Bucharest, Feder).
-C. BR.
D'INDY, Vincent. See D'INDY.
DI PIETRO, Pio. Ital. compr. and teacher
of singing; b. Rome, 3 Aug. 1862.
Stud. in
Rome under Eugenio Terziani. In 1889, won a
competition organised by Ministry for Interior,
with a Requiem Mass (soli, chorus and orch.).
This Mass was performed in 1891 at Pantheon
in Rome, in commemoration of King Victor
Emmanuel II. Di P. is the author also of a few
operas, some esteemed songs and vocal studies
(Ricordi). Since 1914, prof. of
at R.
Liceo Mus. di Santa Cecilia. Some of the
very best pupils have come from his school.
-D. A.
DÖBBER
Parker, under the name of Parker and Ditson.
In 1842 Parker was bought out by Ditson who
continued under his own name. In 1857 the
firm became Oliver Ditson and Co., by the admis-
On
sion to partnership of John C. Haynes.
death of founder in 1888 the firm was incor-
porated with Haynes as president. In 1907,
Haynes died and Charles H. Ditson, son of
Oliver, became president. A New York branch,
which still exists, was establ. in 1867 under name
of Charles H. Ditson and
The firm of Ditson has publ. various mus.
periodicals. In 1858 it took over Dwight's Journal
of Music, which it continued until 1878. This
was followed immediately by The Monthly
Musical Record, which changed its name in 1898
to The Musical Record. From 1903 until 1918
The Musician was publ. by Ditson's. Its most
notable recent achievement is the publication
(beginning in 1903) of an admirably selected and
edited series of newer classic vocal and instr.
compns. under the general title of The Musician's
Library.
Consult William Arms Fischer, Notes on Music in
Old Boston (Ditson, 1918).-0. K.
DI VEROLI, Manlio. Ital. pianist and compr.
b. Rome, 12 April, 1888. Stud. pf. under Sgam-
bati at R. Liceo Mus. di Santa Cecilia, Rome.
In 1911 settled in London, where he became a
well-known as accompanist at concerts. Comp.
instr. pieces and songs.-D. A.
DIXTUOR A CORDES LÉO SIR. An ensemble
of 10 str. instrs. created by Léo Sir, vn.-maker
at Marmande (France) o constitute a complete
family of str. instrs. with new timbres. Besides
the four usual ones, we find: (1) the Sursoprano
(tuned a fourth above the vn.); (2) the Mezzo-
soprano (tuned like the vn. but of the sonority of
a vla.); (3) the Contralto or Haute-contre (a new
timbre, and playing an octave below the written
note); (4) the Tenor and (5) the Baryton (both
tuned an octave below the vla.); (6) the Sous-
basse (below the cello, tuned 2 octaves lower than
the vn., and playing a fourth higher than the
written note). The timbre of this last is very
touching and mournful. It is the only one which
appears to present a real acquisition to chamber-
music. Several young comprs. (A. Honegger,
Darius Milhaud, Ö. Ygouw) have written suites
for diatuor.-A. C.
DŁUSKI, Erazm. Polish compr. b. Podolien,
1858; d. Warsaw, 1922. In 1877, pupil of
Solovief and Rimsky-Korsakof at Petrograd
Cons. First prize, 1882. Remained in Petro-
grad till 1920, teaching theory, singing and
compn. In 1920, became prof. of opera classes
at Warsaw Conservatoire.
Operas: Romano, 4 acts; Urwasi, 2 acts (perf.
1902, Lemberg and Warsaw); The Bride of Corinth.
Has also publ. 63 popular songs; 2 sonatas for pf.
(played by Anton Rubinstein); pieces for cello;
symph. works.-ZD. J.
DÖBBER, Johannes. Ger. compr. b. Berlin,
28 March, 1866; d. Berlin, 26 Jan. 1921. Pupil
Stern's Cons.; concert pianist at first, then
theatre orch. condr. in Berlin (Kroll), Darmstadt,
Coburg and Hanover. In Berlin since 1908 as
DITSON COMPANY, OLIVER. The oldest of
the still existing music publishing firms of
America. Its founder, Oliver Ditson (b. Boston,
20 Oct. 1811; d. 21 Dec. 1888), began copy-
righting and publishing under his own name in
1835. The next year, however, he joined in part-
nership with an older Boston publ., Samuel H.
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DOBICI
compr., teacher of singing, music critic to Volks-
zeitung.
Dolzetta; The Blacksmith of Gretna Green (Berlin.
1893); The Rose of Genzano (Gotha, 1895): Die
Grille (Leipzig,
The Three Roses (Coburg,
1902); Der Z1897) (Brunswick, 1907); fairy
ballet, Der verlorene Groschen (Hamburg, 1904);
operetta, Die Millionen-Braut (Magdeburg, 1913).
After Fritz Reuter), awaits performance; also sym-
Die Franzosenzeit (text by Ad. Döbber
phony, op. 34, and a great number of songs.-A. E.
DOBICI, Cesare. Ital. compr. and teacher;
b. Viterbo, 11 Dec. 1873. A capable contrapun-
tist and compr. of polyphonic music. Several
masses, str. 4tets, pf. pieces, songs, an un-
publ. opera Cola di Rienzo. Teacher of harmony
and fugue at R. Liceo Mus. di Santa Cecilia,
Rome.-D. A.
DODECAFONIA. A tonal effect, expounded
by Domenico Alaleona (q.v.) in his arts. on
modern harmony (Rivista Musicale Italiana,
1911). Compare art. DODECUPLE SCALE.-E.-H.
DODECUPLE SCALE. A name invented by
A. Eaglefield Hull, for a scale which divides the
octave into 12 equal parts. The name is now
widely adopted in European treatises. See art.
on HARMONY.-G. B.
DOHNÁNYI, Ernst von (Ernő). Hungarian
composer, pianist and conductor; b. Pozsony,
Hungary (now Bratislava, annexed by Czecho-
Slovakia), 27 July, 1877. Studied piano when six
years old under his father (Friedrich), professor at
Gymnasium; and began to compose soon after.
His training was continued under the Cathedral
organist, Karl Förstner. On presenting himself
at the Royal High School for Music, Budapest,
in 1893, he already brought with him 3 string
quartets, 1 string sextet, a Mass (written for the
pupils of the Gymnasium), a large number of
piano pieces, and a piano quintet (perf. in
Vienna, 1893, with compr. as pianist). 1893-7,
studied in Budapest (composition, Hans Koessler;
piano, Stefan Thomán). In summer 1897, re-
ceived some instruction from Eugen d'Albert.
In autumn of the same year began his travels as
concert-pianist, visiting Austria, Hungary, Ger-
many, England, North America; later, Scandi-
navia, France, Spain, Italy and Russia, winning
success everywhere. 1905, appointed piano pro-
fessor, Royal High School for Music, Berlin.
Engaged thus till 1915, since which time he has
lived in Budapest. From 1916 till 1919, piano
professor at High School for Music, acting for a
time as director. Since 1919, president and con-
ductor of Philharmonic Society; 1922, Ph.D.
h.c. University of Kolozsvár. His orch. Varia-
tions in F sharp mi. are in the permanent
of Hall London.
5tet, op. 1; 4 pf. pieces, op. 2; valses for pf.
duet, op. 3; Variations and fugue for pf. op. 4; pf.
concerto, op. 5 (Bösendorfer Prize, 1899); Passacaglia
for pr. op. 6: 1st str. 4tet, op. 7 (all publ. Doblinger,
op. 9 (Schott); Serenade for vn., vla. and cello, op.
(Doblinger); 4 Rhapsodies for pf. op. 11 (id.); Con-
certstück, cello and orch. op. 12 (id.) perf. Q.H. London,
with Hugo Becker as cellist; Winterreigen for
pf. op. 13 (id.); songs with pf. op. 14 (
4 (id.); 2nd str.
itet, op. 15 (Simrock); songs with pf. op. 16 (Dob-
linger); 5 I
for pf, op. 17 (Simrock); The
Veil of nummetomime in 3 scenes, op. 18, text
by Arthur Schnitzler (Doblinger), 1st perí. Dresden,
DOŁZYCKI
1910; Suite for orch. op.19(Doblinger), Q. II. London,
9 Oct. 1913; Aunt Simona, 1-act comic opera, text by
Victor Heindl, op. 20 (Simrock), 1st perf. Dresden, 1912;
sonata for vn. and pf. op. 21(Simrock); 2 songs for barit.
with orch. op. 22 (id.), 3 pieces for pf. op. 23 (id.); pt.
suite in olden style, op. 24 (id.); Variations on
a child's song, for pt. and orch. op. 25 (id.), perf.
Q. H. Symph. Concert, in 1922 with compr. at pf.; 2nd
pi. 5tet op. 26 (id.): vn. concerto, op. 27 (Alberti,
Berlin): 6 concert studies, op. 28 (Rózsavölgyi,
Budapest); Variations on a Hungarian folk-song for
pf. op. 29 (id.). The grand opera The Castle of Woi-
woden (text by II. II. Ewers), op. 30, 1st perf. Buda-
pest, 1922, is still in ms. Fest-
on a comic opera,
The Tenor (text by E. Goth).-Z. K.
21 (ms.). At present D. is working re, for orch. op.
124
DOHRN, Georg. Ger. condr. b. Bahrendorf,
near Magdeburg, 23 May, 1867. Educated at
Magdeburg and Leipzig, where he stud. law, also
in Munich and Berlin, taking LL.D. Took up
music, attending Cons. Cologne, 1891-5. First
engagement Munich (Korrepetitor Court Opera,
1897); Flensburg (condr. Stadttheater); Wei-
mar (deputy assistant condr. 1898); Munich
(assistant dir. Kaim Orch.); now dir. Orch. Soc.
and Acad. of Singing in Breslau (1901).-A. E.
D'OISLY, Maurice. Operatic t. singer; b.
Tunbridge Wells, Kent, 2 Nov. 1882. Stud.
under Maurice Noël at Blois; and at R.A.M.
under Tobias Matthay (pf.), Fred. King (sing-
ing); début Covent Garden 1909 as David in
Die Meistersinger; appeared there 1910-11-12
seasons; principal t. Quinlan Opera Co. world-
tour (1913-14); favourite part Rudolfo (La
Bohème). Married (1920) Rosina Buckman,
operatic soprano.-E.-H.
DOLCI, Alessandro. Ital. t. singer; b.
Bergamo in 1888. Capable dramatic t., known
in Italy and America. One of his best inter-
pretations is that of Rossini's Mosè.-D. A.
DOLEŽIL, Method. See CZECHO-SLOVAKIA in
art. CHORAL SOCIETIES.
DOLMETSCH, Arnold. Fr. export on old
instrs. and their music; b. Le Mans, 1858.
Stud. vn. under Vieuxtemps in Brussels, also at
R.C.M. London; then became a teacher, Dul-
wich Coll. London; became interested in old
instrs., collected and repaired them and learned
to play them; was at Chickering factory in
Boston, U.S.A., 1902-9; had a department in
Gaveau factory, Paris, 1911-14; returned to
London 1914; has installed a workshop at
Haslemerc, Surrey.
Select English Songs and Dialogues of XVI and
XVII Centuries (2 books, Boosey, 1912); The Inter-
pretation of the Music of the XVII and XVIII
Centuries (Novello, 1915).-E.-H.
DOLMETSCH, Hélène. Fr. cellist and viol-da-
gamba player; b. Nancy, 14 April, 1880.
Stud. in London and in Germany; début 1887
as child-cellist.-E.-H.
DOŁZYCKI, Adam (phon. Doljitski). Polish
condr. b. Lemberg, 1886. Stud. first at Lemberg
Cons.; then in Berlin. In 1912, worked at War-
saw Opera; 1915-17, in Russia; then again at
Warsaw, and in 1919 became dir. of opera at
Posen (Poland). Resigned this post, Feb. 1922.
Distinguished by an extraordinary temperament
and the greatest refinement. Is equally brilliant
both in opera and symphony.-ZD. J.
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DOMANIEWSKI
DOMANIEWSKI, Bolesław. Polish pianist and
teacher; b. Gronowek, 1857. Stud. under Lorer.
and Jozef Wieniawski at Warsaw Cons.; then
at Petrograd under Liadof and Solovief. 1878-
1887, travelled as pf.-virtuoso; then for over 10
years prof. Cracow Cons. In 1900, went to War-
saw, where
teaches at the school of the Music
Soc., of which he became dir. in 1906. Has publ.
a few pf. pieces.-ZD. J.
DOMSELAER, Jacob van. Dutch compr. b.
Nijkerk (Veluwe), 15 April, 1890. Pupil of Joh.
Wagenaar. Comp. (1913-16) Proeven van Stijl-
kunst (modern harmonic studies) for pf. (publ.
De Nieuwe Kring, Amsterdam); (1916-22) 6
sonatas for pf.; also a symphony (ms.).-W. P.
DONALDA, Pauline (real name, Lightstone).
Canadian operatic and lyric s. singer; b. Mon-
treal, 5 March, 1884. Stud R. Victoria Coll.
there; won Strathcona Scholarship of Montreal;
stud. under Edmond Duvernoy at Paris Cons.;
début at Nice, 30 Dec. 1904 (title-rôle in Manon);
then at Théâtre de la Monnaie, Brussels; R.
Opera, Covent Garden; Manhattan, New York
(début there, May 1905, Micaela in Carmen);
Opéra-Comique, Paris, 1907, etc. In addition,
has toured nearly all the European countries.
-E.-H.
DONAUDY, Stefano. Ital. compr. b. Palermo,
21 Feb. 1879. Known for his operas Sperduti
nel buio (Palermo, 1907), Ramuntcho (Milan,
1921), and La Fiamminga (Naples, 1922); also
for some vocal and instr. chamber-pieces, all
publ. by Ricordi, Milan.-D. A.
DONAUESCHINGEN FESTIVAL. The castle-
residence of the Princes of Fürstenberg in the
Black Forest has ancient and celebrated mus.
traditions. Chamber music fests. have been
held there annually in Aug. since 1921 under the
patronage of the prince, for encouragement of
contemporary music.-A. E.
DONIZETTI, Alfredo. Compr. b. Smyrna in
1867. Stud. at Cons. of Milan. His first work,
Namà, 1-act opera, was given at Philodramatic
Theatre, Milan, obtaining a great success. His
symph. works were given at Ital. orch. concerts
in Berlin. In 1896, obtained a greater success
with his 1-act opera, Dopo l' Ave Maria, pro-
duced in Milan and many other towns in Italy.
Went to Mexico, Havana and Brazil
condr. and to Buenos Ayres in 1901. Then
returned to Europe; cond. in Vienna, Egypt,
London, Italy. In 1906, returned to Argentina
and establ. the Cons. Donizetti at Rosario. His
Nozze delle Tindáridi for children's vs. obtained
diploma of honour at Rome Exhibition.-A. M.
ONOSTÍA, Fray José Antonio de. Span.
musician and folk-lorist of Basque nationalist
group. Author of Euskel Eres-Sorta, a work on
Basque folk-music, awarded a prize in 1912.
Member of the Capuchin Order. Publ. Unión
Musical Española, Madrid.-P. G. M.
DOPPER, Cornelis. Dutch compr. b. Stads-
kanaal (Friesland), 7 Feb. 1870. Self-taught for
the greater part; stud. some years at Leipzig
Cons.; chorus-master; opera-condr.; travelled
MINEA
DRAESEKE
for 2 years in U.S.A. and Canada; from 1908,
2nd condr. Concertgebouw Orch. Amsterdam.
His compositions are well known in Holland.
4 operas: The Blind Girl of Castell-Cuille: Feith-
jof; Het Eerekruis (perf. Amsterdam, 1891, 1896 and
1910); William Ratcliff (perf. Weimur, 1912). 7 me
phonies, very often perf. Concertgebouw, Anisterdan
under Mengelberg (No. 5, choral symphony on 1-4
book of Homer's Iliad, perf. 1916: No. 6, Amsterdam
very often played-also in Berlin under R. Strauss,
1918, and in San Francisco, 1920; No. 7, Zuider
(1st perf. 1919); concerto, cello and orch. introduced
by Gérard Hekking); concerto for 3 ti, tpt. and
orch., very often played, Amsterdam; overtur
Paans, 1918: Chaconna gothica (1920), played
Amsterdam and New York. Many choral songs and
works for children's vs. and orch. Numerous songs;
chamber-music, pf. pieces; sonatas for pf, and vn.;
pf. and cello; a str. 4tet (1st prize of Toonkunst
1914, but never perf.). D. is now (1922) at work on
his 8th symphony and a rhapsody, Paris. W. P.
DORET, Gustave. Swiss compr. b. Aigle.
20 Sept. 1866. First stud. medicine; soon took
up music entirely; stud. at Paris Cons. 1888,
under Dubois and Massenet (compn.) and Mar-
sick (vn.); 1893-4, cond. Concerts d'Harcourt
and Concerts de la Société Nationale de Musique
in Paris. Now lives in Switzerland (Lausanne),
where he ranks amongst best Swiss comprs. of
our day. His compns. show relationship with the
Fr. school, but possess a distinctly personal style.
Extremely melodious, poetically conceived and
finely orchestrated, his works are greatly ap-
preciated in France, Italy and Switzerland. Is
also a well-known essayist, whose books on music
and musicians are widely circulated.
Oratorio, Les Sept Paroles du Christ (Paris, Rouart):
Festspiele, La Fête des vignerons (1505), Le Peuple
(Lausanne, Foctisch); cantata, Voiz de la
Patrie (id.); operas: Les Armaillis,
alpestre
(Paris, 20); Le Nain de Hasli me ape La
Loiys
Tisseuse
(drame lyrique); incidental
music to Tell and La Nuit des Quatre-temps from
Morax (Fantisch), Julius Caesar (Shakespeare) and
Aliénor
in Chanouart). Choruses and songs, partly coll.
airs, couleurs du temps (Rouart) and
Ailleurs et jadis (Foetisch).-F. H.
2
DOUŠA, Karel. Czech compr. b. Zlonice,
1876. Stud. Prague Cons.; prof. there; choir-
master, St. Veit's Cathedral, Prague. Comp.
church music; pf. pieces; songs.-V. St.
AL
DRAESEKE, Felix. Ger. compr. b. Coburg,
7 Oct. 1835; d. Dresden, 26 Feb. 1913. Pupil
Leipzig Cons., especially of Rietz (compn.); first
lived in Leipzig, Berlin and Dresden. Adherent
of Liszt in Weimar and friend of H. v. Bülow.
Teacher Lausanne Cons. 1864-74. with
orch.
break, 1868-9, undertaking in the latter year a
long tour in France, Spain and Italy. After a
stay in Geneva, moved to Dresden, 1876, where
he succeeded Wüllner as teacher of compa, at
Cons. 1884; prof. 1892; 1898, Hofrat; 1906,
Geheimer Hofrat; 1912, Ph.D. h.c. of Berlin
Univ. From a partisan at first of the "New
German School," he later developed into an
opponent.
op. 50;
symphonics: op. 12, G ma. op. 25, I'ma.; op.
40, C mi. (S. tragica) and E ml. (S. comica); Serenade
for orch. op. 49, D ma. (1912); symph. prelu.
to Das Leben ein Traum, op. 45, and Penthesilen
Overture (1898); Funeral March,
op. 79; ets, C mi., E mi. and C sharp mi.; jf.
concerto, op. 36; pf. 5tet, op. 48 with horn; 2 str. 5téts
(ono, the Stelzner Quintet with vla., remained in ms.,
2 clar.
sonate, op. 38; cello sonata, op. 51; pf. sonata, op.
6; smaller pf. pieces (op. 14 Twilight Dreams; op. 21
125
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DRĂGULINESCU-STINGHE
What the Swallow Sang; op. 43 Looking Back; op. 44
The Setting Sun); also some in legato style (Ghaselen,
op. 13; fugue, op. 15; canons for 2 hands, op. 37;
canons for 4 hands, op. 37, 42); also large vocal
works: op. 60, Mass in F sharp ma.; op. 85, Missa a
op.
B 30,
for soli, chorus and orch.; op. 60, mystery play Christus
(Prologue [The Lord's Birth] and three oratorios
[I. Dedication of Christ, II. Christ the Prophet, III.
The Lord's Death and Victory].
Easter
solo, and
op. 55;
from Faust (for barit. 1905); op. 39,
mes); op. 52, cantata Columbus (solo, mixed
chorus and orch.). Many songs and ballads, Pausanias
Sarit, and orch.). Male, female and mixed chorales
Salvum fac regem,
6, 4 and 8 v., op. 56; Offertory, 4-v., and graduals
for 6, 5 and 4 v., op. 57; also operas Gudrun (Han-
over, 1884); Herrat (Dresden, 1892); fragments of
an older opera Sigurd, given at Meiningen, 1867.
As ms. there remained: 3-act opera, Bertrand de
Born: 1-act, Fisher and Caliph: Merlin (upon
Immermann's myth, produced in Gotha, 1913), and
an orch. piece Der Thuner See. Theoretical works:
Directions for Artistic Modulation (1876); The Re-
moval of the Tritone (1878); Humorous Lecture on
Harmony, in Verse (1884, 2nd ed. 1892); Der ge-
bundene Stil, text-book on counterpoint and fugue
(1902, 2 vols.), and a polemic, Confusion in Music
(1907).-A. E.
DRĂGULINESCU-STINGHE. See RUMANIAN
OPERA.
DRAMATURG. A special member of the
staff in a Ger. theatre who, amongst other things,
chooses the plays, acts as literary adviser, reads
mss., and frequently co-operates with, and
advises the producer in actual rehearsal.
-W. H. K.
DRANGOSCH, Ernesto. Argentine pianist; b.
Buenos Ayres in 1862. Stud. at Buenos Ayres
Cons.; afterwards in Berlin under Bruch and
Humperdinck. Gave several concerts there (play-
ing at Philh. Concerts) and also at Stettin. In
1905, became prof. at Buenos Ayres Cons. An en-
thusiastic supporter of music of his native land.
Pf. concerto; a sonata; 2 Spanish Sonatas; Fan-
tasia, and many, A. M and studies; 2 sets of
songs (Ger.
DRDLA, Frans. Hungarian violinist; compr.
b. Saar, 28 Sept. 1868. Stud. under Hellmes-
berger at Vienna Cons.; in Vienna Opera orch.
3 years; then leader of orch. Theater an der
Wien; then condr. Carl Theatre; then concert
tours. Now lives in New York.
Many vn. pieces and songs (Schott, etc.).-E.-H.
DRESDEN, Sem. Dutch compr. condr. and
pianist; b. Amsterdam, 20 April, 1881. Stud.
harmony under Bernard Zweers (Amsterdam)
and Pfitzner (Berlin). 1905-14, choirmaster at
Laren, Amsterdam and Tiel; 1914, founded the
Madrigaalvereeniging a cappella choir of 9 solo-
singers (see CHORAL SOCIETIES). From 1915
has lectured on mus. subjects in Holland and
Belgium; 1918, founded (with Daniel Ruyneman
and Henri Zagwijn) the Soc. of Modern Dutch
Composers (now defunct); 1921, lectured at
Art Congress, Paris; 1919, teacher of compn.
Amsterdam Cons. Writes for many periodicals.
Wrote an extensive brochure, Het muziekleven
in Nederland sinds 1880 (Dutch Music since
1880) (Amsterdam, 1923). The most authorita-
tive pioneer of modern Dutch music. His later
style, in the sonata for fl. and harp and 3rd
sextet, is both original and progressive.
DRYSDALE
(perf. June, 1911, Amsterdam); 3 6tets for wind
Instrs, and pf. (perf. 1912, 1914, Amsterdam); trio
for 2 ob. and c. a. (1912, Amsterdam); Duo for
2 pf. (perf. 31 Jan. 1914, Amsterdam, Sisters Roll);
Variations for full orch. (perf. 29 March, 1914,
Concertgebouw Orch., Amsterdam, under 'Willemi
Mengelberg); sonata, cello and pf., perf. Jan. 11.
1918, Arnliem, Thomas Canivez and the compr.
1918, The Hague, Rosa Spier and perf. 6 Nov.
Klasen (Paris,
Senart); Wachterlied, unacc. chorus, perf. 27 Oct.
1919, Amsterdam, Madrigaalvereeniging (The Hague,
Noske); 2 songs with pf. or
(The
and
songs with pf., and pf. pieces (Noske). Now
working on Suite for full orchestra.
Consult Arthur Petronio, Un Compositeur Moderne
(De Kroniek, Dec. 1918), and in La Revue Musicale
(Paris, Jan. 1922).-W. P.
Sonata, vn, and pf. (Carl Flesch, violinist, and the
compr., Amsterdam, 1905); 6tet for str. and pf.
126
DROZDOWSKI, Jan. Polish pf.-teacher; b.
Cracow, 1857; d. in 1916. Began mus. studies.
under Plachecki at Cracow; then under Dachs,
Epstein and Anton Bruckner at Vienna Cons.
1889, became prof. Cracow Cons. Remained in
this post till end of his life. Publ. practical works
on pf. pedagogy, in which he developed his own
observations, based on physiological facts:
Systematic School of Piano Technique (Polish
and Ger.; 2nd ed. 1899, Munich (under pseudonym
of Jan Jordan); a General Music Instruction (1897),
and a popular History of Music (2nd ed. 1913).
-ZD. J.
DRYSDALE, Learmont. Scottish compr. b.
Edinburgh, 3 Oct. 1866; d. there 18 June, 1909.
One of most representative Scottish comprs. He
I could trace his lineage on both sides back to
early Middle Ages. His mother, a Learmont who
claimed descent from Scottish poet and seer of
XIII century, Sir Thomas Learmont of Ercil-
doune, better known as "Thomas the Rhymer,"
was a lady of the old school, who had always at
her command a perfect mine of old Scots songs
and fairy-tales, and she it was who constituted
the greatest formative influence upon his life.
D. was educated at Edinburgh R. High School,
and for some years after leaving it, stud. archi-
tecture. During this period he was orgt. in
Greenside Parish Ch. At Edinburgh Industrial
Exhibition of 1886 he gave organ recitals, and in
1887 became sub-orgt. of All Saints', Kensing.
ton, when he finally abandoned architecture, and
took up music. In Sept. 1888, entered R.A.M.
London, taking compn. and pf. as his principal
subjects. He also stud. most of the orch. instrs.
His first orch. work, The Spirit of the Glen, was
successfully perf. in St. James's Hall, in 1889.
In his 2nd year at R.A.M. he won Charles Lucas
Medal with an overture to a comedy, which he
wrote in 4 days. With another concert-overture,
written in less than a week, he won prize of 30
guineas offered by Glasgow Soc. of Musicians,
1890.
This was the famous Tam o' Shanter
which under August Manns had quite a vogue,
both in Glasgow and London. A dramatic can-
tata, The Kelpie, followed (perf. Dec. 1894, at
a Paterson Orch. Concert in Edinburgh, by the
late Mr. Kirkhope's choir and the Scottish
Orch.). This was succeeded by several cantatas,
operas, and orch. pieces, all of them more or
less permeated with Scottish idiom. For one
season (1906-7), was condr. of famous Glasgow
Select Choir for which he comp. 2 choral ballads.
He collab. with late Duke of Argyll in an ode,
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DRZEWIECKI
and an opera, Fionn and Tera; comp. and arr.
many Scottish songs; mus. ed. of well-known
Dunedin Coll. Most of his best work (including
10 operas) remains unpubl., and many of his
most important mss. have been lost trace of.
The Kelpie, dramatic cantata; Tamlane, chorus
and orch.; Barbara Allan, choral ballad; many pf.
DRZEWIECKI, Zbigniew (phon. Jevyelski).
Polish pianist; b. Warsaw, 8 April, 1890. Began
study under his father; then stud. under Ober-
feldt and Pilecki at Warsaw. After matricula-
tion, went to Vienna, where he remained 1909-
1914, studying under Mme. Prentner, assistant
of Leschetizky. In 1916, became prof. of ad-
vanced pf.-classes at Warsaw Cons. Has given
many recitals in Polish towns, in Vienna, Prague
and Berlin.-ZD. J.
DU BOIS, Léon. Belgian compr. b. Brussels,
9 Jan. 1859. Stud. at Brussels Cons. under
Mailly (organ), J. Dupont (harmony), F.
Kufferath (cpt.) and Gevaert (compn.). Prix de
Rome, 1885. Leader of orch. in Nantes theatre
(1889-90); also at La Monnaie Theatre (1890-
1891), Liège (1891-2), Brussels (1892-7).
Principal of Ecole de Musique, Louvain, 1899;
succeeded Tinel as principal of Brussels Cons.
1912. His usic is rela
school,
showing only a slight tendency towards the
Modernist school. Most characteristic is Le Mort,
a mimodrama (based on celebrated novel of
Lemonnier, written in a mus. form rarely
cultivated).
to the
Operas: Son Excellence ma femme, 1884; La
Revanche de Sganarelle, comic opera (Nantes, 1890);
Smulis, ballet (Brussels, 1891); Le Mort, mimo-
drama (id. 1894); Edénie, lyrical tragedy (Antwerp,
1912): Vers la Gloire, dramatic ode (Brussels, 1919).
L'Aveugle-né, oratorio (1922), male vs.; songs, etc.
-E. C.
DUBOIS, Théodore. Fr. compr. b. Rosnay,
24 Aug. 1837; d. Paris, June 1924. Two years
younger than Saint-Saëns, he stud. at Rheims;
then at Paris Cons.; Prix de Rome, 1861; then
orgt. of Ste. -Clotilde and of Madeleine. At
Cons. he occupied post of prof. of harmony,
then of compn.; became finally dir. (1895-
1905) in succession to Ambroise Thomas. He
is known chiefly by his completion of the
Harmony Course of Reber; but his orch. and
dramatic works are
numerous. The correctness
of their style is irreproachable. It is excellent
professorial music.
Opéras comiques: La Guzla de l'émir (1873);
La Lilloise ou le Pain bis (1879); Xavière (1895).
Operas: Aben Hamet (1884); Fritjof (1892). Ballets:
de.
Farandole
Orator Proserpine; La
ot Paroles du Christ; Le Paradis
perdu. Orch.: Adonis; Notre Dame de la Mer;
Symphonie française. Pr. pieces; songs; masses,
etc.-A. C.
DUCASSE. See ROGER-DUCASSE.
DUDA. See HUNGARIAN MUS. INSTRS.
DUKAS, Paul. Fr. composer; b. Paris, 1 Oct.
1865. He studied at the Conservatoire under
Guiraud; gained a 2nd Prix de Rome, 1888.
Produced (Lamoureux Concerts) an Overture
for Corneille's Polyeucte in which he depicts
the agony and triumph of the martyr. It shows
evidences of the influence of Wagner who at
127
DUKAS
that time fascinated the young musicians of
Europe. Dukas, however, understood the
dangers of the Wagnerian cult and submitted
himself to the rigour of classical form. In 1896
he composed his symphony in C, then a sonata
in E flat, of gigantic proportions. At this period
he reached the zenith of his powers, producing
his dazzling symphonic scherzo on Goethe's
ballad, L'Apprenti Sorcier (1897). For 10 years
after this he devoted himself to his lyrical
drama Ariane et Barbe-Bleue (Opéra-Comique,
1907). This work shares with Debussy's Pelléas
the honour of ranking as the masterpiece of
contemporary French opera. But the concep-
tion of Dukas is very different from that of
Debussy. There is no longer a perfect balance
between music and poetry (as in Debussy)-
here music resolutely usurps the first place.
Each act is constructed symphonically, like a
grand finale of Mozart. The melodic ideas, of
a rare plastic beauty, are developed as the
drama progresses, according to the method of
variations peculiar to Dukas, excellently ex-
emplified in his Variations, Interlude et Finale
for piano on a theme of Rameau (1903).
In 1911, Dukas published La Péri, a ballet
interpreted in 1912 by Mlle. Trouhanowa at the
Châtelet Theatre. It is not a ballet, but a
symphonic poem. The music creates around
the mime an atmosphere of voluptuous languor.
The conclusion, which expresses the distress
of the Hero in the face of Night and Death who
surround him, is profoundly moving.
Besides these great works, he published
practically nothing except a charming Villanelle
for horn (1906), and a very beautiful piano-
forte composition La Plainte au loin du Faune
for the Tombeau de Debussy (published by
Revue Musicale, 1920). For some years he has
been working on a great symphony in 3 parts
on Shakespeare's Tempest. He is also engaged
in revising the works of Rameau and Scarlatti
(Durand) and has shown himself an able critic
in the Revue Hebdomadaire and the Gazette des
Beaux Arts, and, after an interruption of 20 years,
in the Revue Musicale and the Quotidien. He has
become more and more exacting as far as his own
composition is concerned. Always discontented
with what he has written, he only consents to
give it to the public when he realises that he is
incapable of making it more perfect. This con-
scientiousness and honesty in his art have made
of Dukas one of the noblest figures in contem-
porary music. He has never sought official
honours or popularity. He lives a solitary life,
surrounded by a small circle of affectionate and
devoted friends, avoiding salons, coteries, and
concert-halls. He has never begrudged either his
advice or his services to those who may appeal to
him. One can hardly judge the degree to which
Albeniz is indebted to him-Dukas was cer-
tainly the mentor to his budding genius. Dukas'
influence on the modern school is great, because
his works have revealed to them the rarest
secrets of instrumentation. His music dazz-
ling; the most delicate tones and the rarest
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DUMAS
shades are contrasted with vigorous and warm
brush-work-it is an irresistible wizardry of
colour. But he is also a great artist who knows
how to create in the hearts of his audience that
delightful unrest, that total abandonment to
music's sway, which is the hall-mark of real
creative genius.
Consult Samazeuilh's Dukas
(Durand), O. Séré (q.v.) and A. Couroy (q.v.).
-H. P.
DUMAS, Louis. Fr. compr. b. Paris, 1877.
Pupil of Leroux, Caussade and Lenepveu;
Prix de Rome, 1906, with cantata Ismail. Since
1919, dir. of Cons. at Dijon. Since 1920, orch.
condr. of Concert Soc. of Dijon Conservatoire.
Symphonie (orch.); overture and incidental
music to
La Vision de Mona (2-act opera);
fantasia, pf. and vn.; sonata, pf. and vn.; str.
4tet. A. C.
DUNHILL, Thomas Frederick. Eng. compr.
b. Hampstead, London, 1 Feb. 1877. Entered
R C.M. London, in 1893 (pf. under Franklin
Taylor, compn. under Sir Charles Stanford). Won
open scholarship for compn. in 1897; for several
years a music-master at Eton Coll.; prof. at
R.C.M. in 1905; gave concerts of chamber-
music, The Thomas Dunhill Concerts, in London
for 12 years from 1907, at which prominent
chamber-mu British comprs. was perf. He
has written fine chamber-music and some widely-
known songs; his music is pleasant and opti-
mistic, always scholarly, and frequently on
educational lines; he gave a concert of music by
British comprs. in Belgrade in 1922; and has
contributed several arts. on Serbian musicians
to this Dictionary.
Orch.: The Wind among the Reeds, t. v. and orch.
Philh. 1912); overture, King's Threshold; Dance
Suite for str. (Curwen) (perf. Promenades, Queen's
Hall); Variations on an old English tune, cello
and
Muklech.
Queenin & Tabb) (produced by May
Hall); The Chiddingfold Suite, str.
orch. (Novello); Elegíac Variations, in memory of
Parry (ns.) (Gloucester Fest. 1922); symphony in
A mi. (ms.) (produced under compr., Belgrade,
Serbia, 28 Dec. 1922). Chamber-music: 4tet in B mi..
pf. and str. (Novello); 5tet in E flat, pf., wind and
str. (Rudall, Carte); Phantasy-trio, pf. vn. and vla.
(Stainer & Bell); Phantasy str. Stet (Cramer);
sonatas, vn. and pf.: No. 1 in D (Stainer & Bell);
No. 2 in F (Augener); numerous songs and part-
3
Fairies:dren's cantatas (John Gilpin; Sea
Masque
publ. Year-
Book Press); many pf. pieces, mostly for children
(J. Williams; Lengnick; Curwen; Anglo-Fr. Co.;
Ashdown; Augener, etc.); pieces for vn.; for cello,
etc.; a book, Chamber Music, for students (1913,
Macmillan).-E.-H.
DUNN, John. Eng. violinist; b. Hull, 10 Feb.
1866. Started playing at 8; stud. Leipzig Cons.
when 12; after 3 years there under Henry
Schradieck and others, appeared at age of 16 at
Intro-
Promenade concerts, Covent Garden.
duced Gade's concerto at Crystal Palace in 1887;
first to play Tchaikovsky's concerto in London
(1900); first Eng. player to perf. Elgar's concerto
(Queen's Hall, London, spring 1911). D. has a
fine tone, a superlative technique, and is gener-
ally regarded as one of the finest violinists Eng.
land has produced.
Soliloquy, vn. and pf. (Hawkes); Berceuse, VD. and
sonatina in D, pf. (Lengnick); manua),
r. (Schott);
pr.
Vn. Playing (Strad Library, 2 Duncan St. E.C.).
-E.-H.
DUPIN
DUNN, John Petrie. Scottish pianist and
author; b. Edinburgh, 26 Oct, 1878. Stud. theory
under F. Niecks at Univ. of Edinburgh; awarded
Bucher Scholarship in 1899; pupil of Max Pauer
and S. de Lange at Stuttgart Cons.; 1902,
teacher of pf. there; 1909-14, principal pianist
and latterly vice-dir. of Cons. of Kiel; 1920,
appointed lecturer on music at Univ. of Edin-
burgh. Numerous concert-tours, including one.
with Kubelik in West Germany. Educational
works: Das Geheimnis der Handführung beim
Klavierspiel (Leipzig, Kahnt); Ornamentation
in the Works of Frederick Chopin (London,
Novello). Has contributed some of the Scottish
articles to this Dictionary.-E.-H.
DUNSTAN, Ralph. Eng. writer and compr.
b. Carnon Downs, Truro, 17 Nov. 1857. Self-
taught; Mus. Doc. Cantab. 1892; has done
valuable work in spreading sight-singing; as a
compr. adheres mainly to the older classical
methods.
school songs,
etc. (various publs.); 21 patatas; settings of
Services; anthems; school
plainsong masses; Missa de Angelis for female vs.
(Curwen). Treatises and textbooks: Basses and
Melodies
(id.); 4 Manual of Diatonic Modal Counterpoint
(13rd ed. 1918); Cyclo-
padic Dict. of Music; Composer's Handbook; Organ-
ist's First Book; ABC of Musical Theory: Voice
Production Exercises; First Steps in Harmony (all
Curwen). Sight-Singing through Song (6 books,
ed., and
additional songs);M Cape Union Ed. with 200
Music Reader (4 books)
(all Schofield & Sims, Huddersfield).-E.-H.
DUPARC, Henri Fouques. Fr. compr. b. Paris,
21 Jan. 1848. One of the best pupils of César
Franck; mingled, at an early age, in Fr.
mus. life. Closely connected with almost all
the musicians of his generation; contributed to
foundation of Societé Nationale de Musique; but
from 1855 his health obliged him to abandon
mus. compn. He is celebrated for his songs
(16 in number), written 1868-77, in his early
youth. They illustrate clearly César Franck's
saying of Dupare, that he was the best-
organised of his generation as "discoverer of
musical ideas." The songs have made a name
through their musical virtues alone.
Songs: La Romance de Mignon; Sérénade; Extase;
au voyage; et la
Cloche; Le Manoir de Rosamonde; Phidylé; Lamento;
Elégie; La Vie antérieure; Au pays où se fait la
guerre; Galop; Sérénade florentine; Testament; Chan-
son triste. Other works: Symph. poem (Wagnerian),
Lénore (1875); Aux étoiles (short nocturne for orch);
Feuilles volants (pf.). Duparc has destroyed a sonata
for pf. and cello, a Poème nocturne, and a suite of
Ländler for orch. (Publ. Rouart, Lerolle; Demets.)
Consult O. Séré, Musiciens français d'aujourd'hui
(Mercure de France); A. Coeuroy (q.v.).-A. C.
DUPÉRIER, Jean. Swiss compr. b. Geneva,
1896. Stud. compn. at Cons. Geneva, where he
teaches harmony. His works show influence of
modern Fr. school by their sensitiveness and
form, but are full of original ideas.
Vn. sonata (Paris, Ed. Mutuelle); Le Mignard
Luth, v. and pf. (Paris, Demets); 3 Sonnets pour
Hélène, s. and orch. (Geneva, Henn); Musique à
deux sous, suite for small orch. and pf. (id.); Concert
pour Ninette ou Ninon, full orch. (id.); Concert pour
le mois de Marie, full orch.; Concert pour le Roi,
full orchestra.-F. H.
DUPIN, Paul. Fr. compr. b. Roubaix, 14
Aug. 1865. Son of a musician of Ypres and of a
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DUPONT
There
poetess of Rennes; pupil at Coll. Roubaix 1873-
1876; at Inst. Mell-lès-Gand, Belgium, 1876-81;
at Arts et Métiers, Tournai (1882-85).
he took up work with a builder. In Aug. 1887,
set out for Paris, where he worked alone, study-
ing the treatises of Bazin, Reber and Gevaert.
Driven by need, was an accountant from 1894
to 1911, when he was enabled by friends to give
his whole time to mus. study. The music of
Dupin strikes popular taste. It is free, and flows
from the fountain-head; it does not ally itself
to any school. His production is extremely
abundant, but few works are published.
Canons (370, 3- to 12-v., partly publ. by Durand,
Paris): 40 Poèmes, str. 4tet; sonata, pf. and vn.;
sonata, sonatina, pf.; Esquisses fuguées; lyrical
stage-plece, Marcelle (4-act); a Symphonie populaire
(dedicated to King and Queen of the Belglans).
Musique français
Consult: André Coeuroy, La
moderne; Ch. Koechlin, Dupin in Revue Musicale,
Jan. 1923.-E. C.
DUPONT, Auguste. Belgian compr. pianist;
b. Ensival, 9 Feb. 1827; d. Brussels, 17 Dec.
1890. Stud. under father, orgt. at Ensival;
entered Liège Cons. 1838 (pf. under Jalheau).
Concert tours in foreign countries; but his
inclination drew him teaching. In 1852,
prof. for pf. Brussels Cons. (together with
Mme. Pleyel). At first in charge of men's course,
but when Brassin was appointed (1869), D.
became prof. of ladies' course. He carried out
his duties with passionate zeal for 30 years,
and considerably influenced Belgian school of
pianists. His pf. compns. are to-day somewhat
out-moded, as belonging to Romantic school;
but are well written and reveal an exceptional
melodic gift. The Chanson de jeune fille, Chan-
son hongroise, Toccata, Marche nocturne, enjoyed
a long popularity. His ed. of the classics (with
Gevaert and Sandré) is excellent.
DUPRÉ
his heart. He dreamt of seeing it produced, but
in August, 1914, the war interrupted the re-
hearsals. Completely crushed, Dupont resigned
himself to die. Antar was produced in 1921
with real success. It is a courageous, brilliant,
sumptuous work, full of life and colour. It has
the defects of its species of opera, but it may
be said that it is perhaps the best modern
"opéra" produced in France since Samson et
Dalila.-H. P.
DUPONT, Joseph. Belgian condr. b. Ensival,
3 Jan. 1838; d. Brussels, 21 Dec. 1899. Brother
of Auguste Dupont. Stud. at Liège and Brussels
Cons. Prix de Rome, 1863; at once took up
conducting; engaged with an Ital. opera com-
pany, which he dir. in Warsaw, 1867, and at
Imperial Theatre, Moscow, 1871. Returned to
Brussels, 1872, prof. of harmony at Cons. and
condr. at La Monnaie Theatre. 1872-6, cond.
under successive dir. of Avrillon, Campotasto,
Stoumon and Calabresi; dir. La Monnaie,
1886-9 (with Lapissida), retaining his position
of condr. Followed Vieuxtemps as condr. of
Concerts Populaires (1873 till death, 26 years
in all). Cond. concerts of Association des
Artistes Musiciens; was engaged for several
seasons at Covent Garden, London. If as a
condr. he was not gifted with exceptional
talent or marked personality, he had experi-
ence, and enjoyed a great prestige. In Belgium
he was the most active propagandist of Wagner's
works. In 1873 he cond. at La Monnaie the
1st perf. (after its set-back in Paris, 1861) of Fr.
version of Tannhäuser, and in (1885) of Master-
singers. He organised (1887) 1st perf. of Valkyrie
on Bayreuth lines (darkened house, submerged
orch.) which created an enormous sensation.
His success at the Concerts Populaires was even
greater, and this institution had a most valuable
educational influence; it is to him the Belgian
public owes in great measure its recognised
characteristics of artistic receptivity. He it
was who introduced them to Brahms, the young
Russ. school, Richard Strauss and many Belgian
comprs., besides securing visits from Richter,
Mottl, Lévy, and others. As a compr. he was
hardly gifted, and none of his works has
survived him.
Cromwell, opera (unfinished); Brussels R. Cons.
Pf. Tutor (Polonaise,
. Breitkopf); 4 concertos (best-
known, mi.);
e, pt. and orch.; Rondes
ardennaises, pf. duets; Fantaisies concertantes;
studies; pf. pieces; songs.-E. C.
DUPONT, Gabriel. French composer; b. 1878;
d. 1914. His destiny was tragic. When quite
young he tasted success and almost fame,
when his first opera La Cabrera carried off the
Sonzogno Prize in Italy. But then the lung
disease which was to cause his death made its
appearance.
From that time he waged a
desperate battle against death. Gabriel Dupont
who in La Cabrera (Milan, 1904) and once
more in La Glu (Cannes, 1910), showed himself
above all pre-occupied with external effects,
retired within himself. He wrote a collection
of piano pieces, Les Heures dolentes, where he
clearly showed his obsession about the death
which prowled around him. He scored four of
these and had them performed at the Concert
Colonne, where they were hissed on account of
their daring experiments in instrumentation.
A symphonic poem, Le Chant de la Destinée,
was not much better received by the public at
large. His health improving, he wrote a comic
opera, the Farce du Cuvier (Brussels, 1912),
but soon the malady reappeared. He then
composed Antar, an opera into which he put all
K
129
Ribeiro Pinto, opera (Liège, 1858); Paul et Virginie
(cantata, Prix de Rome); Hector, overture; sacred
music.-E. O.
DUPRÉ, Marcel. Fr. organ virtuoso and
compr. b. Rouen, 3 May, 1886, of a family of
musicians and organists. Pupil of his father,
Albert Dupré, chief orgt. at St.-Ouen, Rouen;
later stud. under Guilmant, Diémer and Widor.
Carried off innumerable 1st prizes at Paris Cons.;
pf. (1905); organ (1907); fugue (1909); Grand
Prix de Rome (1914). Succeeded Widor as orgt.
at St.-Sulpice and Louis Vierne at Notre-Dame.
His inexhaustible imagination in polyphonic
compn. makes him one of the greatest impro-
visators that have existed; his power of
memory is no less extraordinary than his gifts
as a virtuoso. In 1920 he gave a series of 10
organ recitals at the Paris Cons., devoted to
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works of J. S. Bach, all played from memory-
a performance without precedent. He has toured
frequently in England and America.
Sonata B ml. (pf. and vn.); 3 preludes and fugues
(organ) of very curious composition both technically
and musically: Fantaisie (pt. and orch.); motets;
psalms: a magnificent collection of 16
Préludes for organ. See Mus. Times, London, Dec.
Versets-
1920; Mus. News, 18 Dec. 1920.-F. R.
DUPUIS, Albert. Belgian compr. b. Verviers,
1 March, 1877. An infant prodigy. At first
attended the pf., vn. and fl. courses at Verviers
School of Music; then entered Paris Schola
Cantorum (compn. under d'Indy; organ under
Guilmant). Prix de Rome, 1903. Successive
posts were: choirmaster at d'Harcourt Con-
certs, Paris; precentor St. Quentin; dir. of
Verviers School of Music, a position which he
holds to-day. As compr. devoted more especially
to lyric stage. He belongs really to modern
Walloon school, but, at same time, has a share.
in Belgian group of young Fr. school (C. Franck
tradition); he is more cclectic than anything
else.
Stage-works:.
(Verviers, 1896); Bilitis (Ver-
viers, 1899); Jean-Michel (Brussels, 1903, his
work): Martille (Brussels, 1906); Fidelaine (Liège,
best
adaptation for stage of Frie de Rome cantata); že
Chateau de la Brettche (Nice, 1914); La Passion
Le
(Monte Carlo, 1915); La Délivrance (Lille, 1921);
Victor biblical drama.
(Brussels, 1923).
La
Unperf.: La Capties
Various: Les
nuptiales (Wedding Bells), Priz de Rome cantata;
Edipe à Colone, lyric cortège; symph. pieces;
symphony; concertos for cello; vn.; horn; pf.;
str. 4tet; trio;
songs.-E. C.
sonata;
DUPUIS, Sylvain. Belgian compr. condr. b.
Liège, 9 Oct. 1856. Comes from a family of
musicians. Pupil of Liège Cons. Priz de Rome,
1881; prof. of harmony, Liège Cons. 1886;
dir. of celebrated La Legia choral soc. 1887;
1888, founded Société des Nouveaux Concerts
at Liège; condr. of Théâtre de la Monnaie and
of Concerts Populaires, Brussels, 1900, continuing
these until made dir. of Liège Cons. 1911.
Member of Belgian Acad. and of Commission
for publ. works of old Belgian compra.
compns. do not belong to any specific school,
and are of a temperate modernism..
His
Stage-works: Cour d'Oignon (Walloon regional
o Priz de Rome), La Cloche Roland, Camoëns;
Moina. Cantatas: Chant de la Creation
Judas (lyric episode). Orch.: an overture; 2 sultes;
Macbeth
symph.
Le Relour,
du Cugne, Les Cloches, etc.;
songs; pf. pieces; pieces for vn.; cello; organ; an
ob. concertino.-E. C.
DUREY, Louis. Fr. compr. b. Paris, 1888.
Pupil of Léon Saint-Réquier. Formerly one of
group of young comprs. called "Les Six." Since
1914, his compns. number 30, of which 7 have
been publ.:
Carillons; Neige; Romance sans paroles for pf.
(4 and 2 hands) (Paris, 1920, La Sirène Press; 1919,
Demets). For v. and pf. or orch.: Images à Crusoé;
Inscriptions sur un oranger; Le Bestiaire (London,
Poèmes de Pétrone (Paris, 1919, Durand). Among hist
of Verlaine, Francis Jammes, André Gide, Tagoro,
etc. Is preparing a 5-act opera, Judith (F. Hebbel)
and Le Chant de la Nuit (Nietzsche). Has written for
Musical, Courrier Musical, Chesterian, etc.-
M. L. P.
DURIGO, Ilona (Kasics). Hungarian m.-sopr.
DVOŘÁK
concert and oratorio singer; b. Budapest,
13 May, 1881. Stud. at R. High School for
Music, Budapest. At present teacher of singing
at Zurich Conservatoire.-B. B.
DUSCH, Alphons. Dutch orgt. pianist and
compr. b. Zutphen (Guelderland), 13 July, 1895.
Started pf. study at very early age; then stud.
at Aix-la-Chapelle Cons.; later at Amsterdam and
Utrecht under Wagenaar, Röntgen and Evert
Cornelis; 1913-14, lived in New York; 1918,
pf.-teacher Rotterdam Cons. His mus. style is
influenced by César Franck and the Schola
Cantorum.
Songs; sonata, vn. and pf. (1915); 2 sonatas, cello
Marix Loevensohn and compr.; str. 4tet
and fugue for organ
and pf. (1917, 1919), perf. Amsterdam (1918
In 1918): Jeux fantasques, for pf. (Amersfoort,
smaller
pf. p
L.
Klein); Hymnus, for vn. and pf. (1919); choral
works, and Mass with organ.-W. P.
DUTCH FOLK-MUSIC.
See ANTCLIFFE,
HERBERT; RÖNTGEN, JULIUS; VAN DUYSE,
FLORIMOND.
DUX, Claire. Ger. s. stage and concert singer;
Member of Berlin State Opera; chamber-
concert singer. In America, 1921.-A. E.
DVOŘÁK, Antonín. Czech composer; born
of humble parents Nelahozeves, 8 Sept.
1841; died at Prague, 1 May, 1904. Like
his father he was to have become a butcher,
but extraordinary talent for music so im-
pressed his first teacher that he was sent to the
Organ School at Prague, where he stud. 1857-9.
Later he became viola-player in the orchestra
of the Czech Theatre, Prague, 1862-73, and
organist at the church of St. Adalbert, 1873-6.
Already during this period Dvořák was diligently
composing, and for a time was under the strong
influence of Richard Wagner. However, his
works were not performed, and it was not until
the year 1873 that the attention of the Czech
public was drawn to him, when he had great
success with his Hymnus for chorus and orch-
estra, the text by Vítězslav Hálek. Other
countries first heard of him through the influence
of Brahms and Hanslick, who, as members of
the Viennese jury for State music subsidies,
had become acquainted with his compositions.
They recommended him to the editor Simrock,
and through the publication of his Moravian
Duets, and especially of his Slav Dances (1878),
Dvořák's fame became world-wide. Well-known
conductors, like Richter and Bülow, the famous
quartet-players, Joachim, Becker and Hellmes-
berger, later also the Bohemian String Quartet,
acted as propagandists for his ever-increasing
works, which Simrock and other editors rapidly
published. reover, responsible critics like
Hanslick and Ehlert spread abroad his fame.
Thus, of all Czech composers, Dvořák became
the best-known in foreign countries. From 1884
to 1887 he visited England five times in order
to conduct The Spectre's Bride, St. Ludmila and
the Requiem, at the several music festivals then
being given. In 1890 he became professor of com-
position at the Prague Conservatoire. In 1892
he was called to New York as director of the,
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National Conservatoire. From this time dates
the influence of negro folk-music on the melodic
and rhythmic structure of his themes. On his
return to Prague he became professor once more,
and in 1901, director of the Conservatoire. In his
later years Dvořák turned more to the symphonic
poem and opera, whereas before his abundant
activity had been concentrated on symphony
and chamber music. His music is simple in
the sense that it reveals the feelings of a simple-
hearted man. His love for God, mankind and all
creation, his fundamental joyousness, his bliss-
ful confidence, openheartedness and purity are
the finest sides to his character. His work owed.
nothing to reflection on the ways and means of
musical development, on his own position in that
development, or on the idea of Art as such. It had
its origin in the exuberant creative wealth of his
own personality and was guided by artistic in-
tuition. His music is not simple if by simplicity
we mean a superficial outlook on life and a
lack of seriousness. On the contrary, in his
music is often to be found the expression of
a certain melancholy, which sometimes deepens
into indefinable pain and suffering. His genuine
religious fervour was remarkable among the
music of his day. Since intellectual control was
a subordinate element all his creative activity,
it occasionally happens that his naïve, elemental
joyousness leads him to the very borders of
triviality, or causes him to lose the balance
between fidelity to his programme and unity of
form and purpose-in the symphonic poems,
for instance. Yet in the enormous range of his
works these slight blemishes form but a small
part which in no way diminishes the value of
the whole.
DWELSHAUVERS
symphonic poems, for his chief faculty, spon-
taneous musicality, often tempted him to exceed
the necessary dramatic and architectonic concise-
ness.
Nevertheless, through the depth and
earnestness of his feelings and through his
luxuriant inventive power, he has succeeded.
in creating, even in these departments, works
that are quite extraordinary-the operas The
Jacobin and Rusalka. Smetana and Dvořák
represent in modern Czech music the typically
national-classical generation. Smetana added
glory to the Czech nation, for which and
about which he wrote; Dvořák created his
works out of the inmost feelings of the
nation, of which he was just a simple mem-
ber. Thus he conquered, for Czech music, pro-
vinces hitherto neglected, i.e., chamber-music,
symphonies, etc., into which he infused the new
characteristic folk-element.
(1893); A flat ma. op. 105 (1895), ma, op.
Chamber-music. Str. 4tets: A mi. op. 16 (1874);
E ma. op. 80 (1876); D mi. op. 34 (1877); E flat
ma. op. 51 C op. 61
96
Gma. op. 106
(1895). Pf. trios: B flat ma. op. 21 (1875); G mi.
op. 26 (1876); F mi. op. 65 (1883); Dumky Trio, op.
90 (1890-1). Pr. 4tets: D ma. op. 23 (1875); E flat
ma. op. 87 (1889). Pf. 5tet, A ma. op. 81 (1887).
Str. 5tet, E flat ma. op. 97 (1893). Str. 6tet, op. 48.
(1878). Vn. sonatas: F ma. op. 57 (1880); G ma.
op. 100 (1893).
Orch. works. Symphonies: E flat ma. (1873);
D 60 (1880); D
op. 70 (1884); F ma. op. 76 (1885); G ma. op.
88 (1889); E mi. From the New World, op. 95
(1893); overtures, Husitska, op. 67 (1883); Nature;
Carnival; Othello, op. 91-93 (1891); Scherzo cap-
riccioso, op. 66 (1883); 3 Slav rhapsodies, op. 45
op. 59 (7%.P. 46 and 72 (1878:
Sympl
(1878); Slav dances (2
Legends, op.
Symph. Varia-
tions, op. 78 (1877); Suite, op. 39 (1879); 2 serenades.
Symph. poems: The Waterman; The Noon-day
The Song of the Spinning-wheel: The Forest Dove,
e Hero, op. 107-111 (1896). Concertos:
Vn., op. 53 (1879-80); pf., op. 33 (1876); cello,
op. 104 (1894-5).
Pf. works: Poetic Tone-pictures (1889); humo-
reskes (1894); valses (1879-80); mazurkas (1880).
Voice and pl.: Moravian Duets (1876); Biblical
Songs Songs (1880);
(1865); Folk Songs (1886): Four Songs (1887).
Songs
Cantatas, oratorios: Hymnus (1872); Stabat Mater
(1876-7); The Spectre's Bride (1884); St. Ludmila
(1885-6): Requiem (1890). Operas:
coal-burner (1874); Wanda (1875). The and ads
The spirit of his creative activity, unlike that
of the neo-romantic Smetana, had leanings to-
wards the classical school. In the sixties of
the XIX century he passed through a Wagner.
period, but soon found that the tender melo-
diousness of Schubert, the grace of Haydn,
the architectonics of Beethoven and the strict
logic of Brahms were much closer akin to his
personality, and therefore he tended more
and more in that direction. In oratorio the
monumental simplicity of Handel was his
model. The form of his instrumental music.
is strictly classical, though the content is
new, not alone in the matter of the com-
poser's personal qualities, but also on account
of its national individuality and the rigorous,
conscious accentuation of it. Along with Smetana,
Dvořák belongs to that generation for which
nationality means the striving after the creation.
of a national style, distinguishing himself also
externally from the others. Although his concep-
tion does not extend to the prophetic power of
Smetana, nevertheless his racial freshness is en-
riched by other Slav influences. In many works
he combines harmoniously his own national feeling
with the melodic and rhythmic characteristics of
other Slav nations (opera Dimitrij, Slav Dances,
Rhapsodies, Dumky, etc.). Dvořák had his
hardest struggle in dramatic music and in the
131
(1874); The Peasant-Rogue (1877): Dimitrij (1882);
Jacobin (1887-8); The Devil and Kate (1898-9);
Chief publishers: N. Simrock, Berlin; F. A. Urbánek,
E. Starý, Hudební Matice, Prague; Bote & Bock,
Berlin; Novello, Lengnick, London; Schlesinger,
Hainauer, Hofmeister, etc.
Consult O. Šourek, Life and Work of Dvořák
(Czech), 2 vols. so far, Hudební
and
Also: Dvořák's
o Works: Thematic Catalonice, Prague.
Czech), Simrock, 1917; Bartos, A. D. (Prague);
A. D.: Collection of Studies (Prague, Hudební Matice,
1912).-V. ST.
DWELSHAUVERS, Victor Felix. Belgian
writer on music; b. Liège, 20 Feb. 1869; d.
there, 22 Feb. 1915. Pupil Liège Cons.;
Ph.D. Leipzig Univ. (1891). Author of various
researches, which, if of limited dimension,
nevertheless reveal an undeniable scientific
spirit and aesthetic sensibility.
Monographs on R. Wagner (1889); Tannhäuser
(1892): The Flying De Beethoven (1901); Contribution
Les Précurseurs de la
à l'étude du Tempo" musical (1907); A propos de
l'op. 1 de Hamal (1908); La Symphonie pré-hayd-
nienne (1908); Bach's St. John Passion (1908),
etc.-C. V. B.'
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DYCK
DYCK, Ernest van. See VAN DYCK.
DYCK, Felix. Ger. pianist; b. Bremen,
14 Jan. 1893. Stud. under Mayer-Mahr, Berlin,
and Diémer, Paris. Awarded Blüthner Prize,
1909, and first prize Paris Cons. 1912. Pianist
and compr. in Berlin.-A. E.
DYGAS, Ignacy. Polish heroic t. singer; b.
Warsaw, 28 July, 1881. Began study as barit.
His teacher, Prof. Alexandrowicz, discovered t.
qualities and developed them accordingly. In
1905, made 1st appearance in Moniuszko's
opera Halka at the Warsaw Opera. In 1907,
began to sing in Italy (Turin, Padua, Genoa,
Milan, Rome, Naples); then in Spain, Russia
and America.
Also sang often in Warsaw.
During the war, sang at Moscow. Since 1919,
1st dramatic t. at Warsaw Opera House.-Zn. J.
DYGAT, Zygmunt. Polish pianist; b. Cracow,
1894. Stud. under Mme. Czopp-Umlaufowa at
Cracow; then under Jerzy Lalewicz at Vienna
Cons. From 1919, has given recitals in Poland,
and France (especially Paris and Monte Carlo),
where he is well known.-ZD. J.
DYKE, Spencer. Eng. violinist; b. St. Austell,
22 July, 1880. At age of 17 won the Dove
Scholarship at R.A.M. London; prof. there
from 1907; chiefly occupied with chamber-
music, teaching and editing; leads the well-
known quartet bearing his name.
Vn. pieces; studies; eds. of classics and a book of
Scales (Boosey;: Bosworth; J. Williams).-E.-H.
132
DYSTHE
DYMMEK, Zbigniew. Polish pianist, compr.
b. Warsaw, 29 March, 1896. Pupil of Michalowski
and Melcer at Warsaw; then of Mme. Zurmüh-
len at Petrograd. Stud. theory under Paul
Graener at Leipzig. In 1919, 1st prize at Pader-
ewski competition for pianists at Lublin (Poland).
A serious talent and splendid technique balanced
with earnest endeavours in compn. Has publ.
some well-written works for pf. and orch. and
many songs.-ZD. J.
DYSON, George. Eng. compr. b. Halifax,
Yorks, 28 May, 1883. Scholar R.C.M.; then
Mendelssohn Scholar; dir. of music, R. Naval
Coll. Osborne; then Marlborough Coll.; later
Rugby School, and now dir. of music, Welling-
ton College. Mus. Doc. Oxon. 1918. Lectures on
modern harmony (publ. in Music and Letters,
1923). His 3 rhapsodies for str. 4tet won a
Carnegie award, 1920.
Suite for small orch. Won't you look out of your
Window (ms.); 3 Rhapsodies, str. 4tet (Stainer &
pf. (Schott); songs; part-songs;
Bell); Epigramsal pleces (Curwen; Arnold; Stainer
services; e
& Bell, etc.); book, The New Music (H. Milford, 1924).
-E.-H.
DYSTHE, Carl Schoyen. Norwegian merchant
and author; b. Ostre Toten, 20 July, 1871.
Publ. (1897) historical account of Christiania
Mercantile Association's Choral Unio from
1847 to 1897. In 1907, an account of same
union's activities at home and abroad from 1897
to 1907. In 1914, an historical review of male-
choir singing in Norway.-U. M.
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EAMES, Emma. Operatic s. singer; b. Shang-
hai, 13 Aug. 1867, of Amer. parentage. Stud. in
Paris under Mathilde Marchesi; appeared at
Grand Opéra, Paris, 13 March, 1889 (heroine in
Gounod's Romeo and Juliet); first appeared as
Marguerite (Faust), R. Covent Garden Opera,
7 April, 1891; later in that year, appeared in
grand opera, New York (under Messrs. Abbey
and Grace), with the brothers de Reszke. Her
triumphs in America were great. London season
1892 (De Lara's The Light of Asia, etc.) and
regularly after that in London and America.
Has lately resided in Rome.-E.-H.
EBEL, Arnold. Ger. compr. b. Heide (Schles-
wig), 15 Aug. 1883. Teacher and orgt. at
Tingleff (N. Schleswig); went to R. High School
of Music and the Advanced School of Max
Bruch for further study from 1906-9. Since
then, orgt. and choirmaster of Knights of St.
John, Berlin; President Soc. of Berlin Musicians.
since 1920; also of Amalgamated Pedagogic
Unions; in 1921 succeeded Egidi as orgt. to
Paul Gerhardt Ch., Berlin-Schöneberg.
Songs; duets; choral songs, op. 3, 10 (men's)
and op. 9 (mixed); Requiem, op. 17, for s. solo,
chorus and orch. (after Hebbel); Weihe der
op.
ECCARIUS-SIEBER, Artur. Ger. pf. teacher;
b. Gotha, 23 May, 1864; d. Berlin, 30 June, 1919.
Pupil Gotha Cons. (Patzig); music teacher in
Zug, 1886; Zurich, 1888, where he founded
Swiss Acad. of Music, 1891. Moved to Düssel-
dorf, 1916, and lived in Berlin from 1916 as
pf. teacher and music critic to Signale. Ed.
Kammermusik from 1897 to 1901 (Heilbronn,
C. F. Schmidt), and a number of educational
works for pf. and vn.:.
Vn. Method, 1891; Vn. Positions, 1892; Sonatal
Album (vn., 2 vols.); Album of S
of Studies (vn., 3 vols.);
New Elementary Method for Pf. (1897, Simrock);
Course of Instruction. for Pf.; also one for vn. (both
by Simrock); Master System for Pf. (Litolff); Hand.
book of Pf. Teaching (Vieweg); Pf. Teaching as it
should be (1895) (1896); Musical Ear-Training (1898)
(1902); Handbook of Vn. Teaching (1903); Guide
through Vn. Literature. Also ed. Moscheles'' Etudes,
op. 95 (Steingräber).-A. E.
ÉCOLE CLASSIQUE D'ORGUE. A coll. of
ancient and classical pieces for the organ ed. by
Alexandre Guilmant. It comprises 25 books,
including works of d'Englebert, S. Bach, Ph.
E. Bach, W. R. Buxtehude, 1 uhns, Czern-
okocsky, Frescobaldi, Handel, Kerll, Krebs,
Kopriwa, Martini, Muffat, Murschhauser, Rober-
day, Pachelbel, Sweelinck, Scheidt, Walther,
Zipoli.-A. C.
E
past. After literary studies in Paris, he studied
music under César Franck, and later under Hugo
Riemann at Leipzig. In 1904 he joined Lionel
Dauriac and J. G. Prod'homme in founding the
French section of the International Society of
Music (S.I.M.). His great energy and power of
organisation enabled him to bring into contact
musicologists who up to that time had worked
in ignorance of each other. He helped to circu-
late among them modern methods of research in
In
archives, publication of manuscripts, etc.
1907 he founded the Bulletin français de la Société
Internationale de Musique which before long
absorbed the Mercure Musical, the Courrier
Musical and the Revue Musicale. The S.I.M.
was from 1907 to 1914 the most up-to-date and
interesting organ of musical criticism in Paris.
In 1905 he wrote a brilliant thesis (for Doctorate),
De Lully à Rameau, l'Esthétique musicale; also
Vingt Suites d'orchestre du XVIIe siècle français.
Was preparing various works on lute music,
history of the sonata, and musical iconography,
and editing an enormous catalogue of the musical
contents of the Bibliothèque Nationale, Paris.
The catalogue appeared in 8 vols. just after the
war, but without the 2 vols. of supplements and
errata which were to complete it."
As President of the S.I.M. he was really the
soul of the congress in Paris in 1914 of nearly
600 musicologists of all nations. Some months
after this manifestation of international co-
operation the war broke out and, as an officer
in the Reserves, Écorcheville fell while leading
his company in an assault in Champagne.-H. P.
EDDY, Hiram Clarence. Amer. organ virtuoso;
b. Greenfield, Mass., U.S.A., 23 June, 1851. Pupil
of Dudley Buck in Hartford. Went to Berlin,
1871; pupil of Haupt (organ) and Loeschhorn
(pf.). Settled in Chicago 1874. Orgt. of various
churches. The oldest and, until late in life, one
of the most active concert-orgts. of America.
After playing at Vienna Exhibition of 1875 he
has played at almost all Amer. exhibitions up to
present day; also at Paris Exhibition 1889.
Head of organ department of Chicago Mus. Coll.
Hon. member of R. Accad. di Santa Cecilia in
Rome. One of founders of Amer. Guild of Orgts.
1896. Has comp. and ed. many organ pieces;
transl. Haupt's Theory of Counterpoint and Fugue
(Schirmer, 1876).-0. K.
ÉDITION MUTUELLE. A Fr. publ. society,
founded in 1902 at the Schola Cantorum, Paris,
to publ. at small expense the greater part of the
works of pupils, disciples and friends of the
Schola. It has publ. works of Albeniz (which
form the most important part of its coll.), of
Bret, Bordes, P. de Bréville, Chausson, Castéra,
Dupuis, Jongen, Magnard, de Polignac, Sérieyx,
ÉCORCHEVILLE, Jules. Fr. musicologist; b.
Paris, 17 March, 1872; fell in battle, 19 Feb.
1915. One of finest of contemporary French
musicologists, who has done more than any other
to interest the general public in works of the
133
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EDSTRÖM
Le Flem, de Séverac, Ryelandt, Vreuls, Blanche
Selva, L. Saint-Réquier, Tournemire. Since the
1914 war, the Soc. has ceased to work.-A. C.
EDSTRÖM, Liva. See JARNEFELT, LIVA.
EDVINA, Marie Louise. Operatic s. singer; b.
Quebec of Fr. Canadian parentage. Stud. under
Jean de Reszke, Paris, 1904-8; début Covent
Garden, London, as Marguerite (Faust), 15 July,
1908; also title-rôles in Debussy's Pelléas et
Mélisande; Charpentier's Louise, etc. Married
(1914) the Hon. Cecil Edwardes; in 1919,
N. Rothesay Stuart-Wortley.-E.-H.
EGGAR, Katharine E. Eng. compr. and
pianist; b. London.
pf.
Two Sketches, idyll, fl. and pf. (Rudall, Carte)
& Bell);
Dear,
Curtsey to the Moon (id.); Wolfram's Dirge (Avison
Ed.): a considerable amount of chamber-music;
songs; trios, etc., in ms.-E.-H.
EGGELING, Georg. Ger. compr. and teacher;
b. Brunswick, 24 Sept. 1866. Son of Duke of
Brunswick's Konzertmeister, Theodor Eggeling.
Attended Prof. Emil Breslaur's Piano Seminary
(Kalischer, Wilhelm Wolf, Grunicke, Frank),
1885-90; private pupil of Eduard Frank,
1889-91; teacher at Breslaur's school (pf., theory
and method), 1890-1900. Since 1900 Inst. of
his own in Berlin.
Studies for Pf. (2), op. 21; op. 58 (100 Modulations);
op. 90 (18 Studies in Octaves); op. 122 (50 Studies in
all the Major and Minor Keys); op. 170 (25 Melodious
Studies); op. 172 (7 Exercises for practising Extended
Chords); op. 175 (10 Melodious
(35 Tuneful Studies for Young People); op. 184 (7
op. 176
Studies in
op. 185 (12 Tuneful Studies for
Lower In Octavesass); 12 Tuneful Studies for Grace
instractive pf. pieces; octaves; largo number of
and Rapidity; studies in
books, Musician's Lericon and Young People's
in Lighter Vein; and
Musical Reference Book.-A. E.
EGGEN, Arne. Norwegian compr. orgt.
condr. b. Trondhjem, 28 Aug. 1881. Stud. at
Cons. in Christiania and in Leipzig. Obtained
a State scholarship in 1909. 1908, orgt. Brager-
naes Ch. Drammen. Has given numerous con-
certs of church music throughout the country,
and in Sweden. Condr. of Drammen Symphony
Orch. Gave in 1910 and 1915, successful con-
certs of his own compns. in Christiania. They
have a national tinge, and yet are stamped with
individuality. They are characterised by com-
bination of broad, manly strength with tender,
lyrical feeling.-R. M.
Symphony, G mi.; choral work, Mjösen; incidental
music to fairy-play Liti Kirsti (text by Hulda Gar-
borg); 2 vn. sonatas; Chaconne for organ; numerous
songs.-R. M.
EGGEN, Erik. Norwegian music research
scholar; b. Trondhjem, 17 Nov. 1877. Matricu-
lated in 1904; graduated in philology 1914;
eadmaster since 1917; went to England for
study in 1903, to Denmark in 1908. Has written
numerous studies on national music. Has publ.
a biography of Edvard Grieg in Norwegian
peasant-dialect. Lives at Voss, near Bergen.
-J. A.
EGIDI, Arthur. Ger. compr. and organ-
recitalist; b. Berlin, 9 Aug. 1859. Attended R.
High School and Kiel and Taubert's Acad.
Advanced School. Teacher Hoch's Cons. Frank-
EISDELL
fort, 1885-92; orgt. of St. Paul's Ch. Berlin,
1913-21, of the Paul Gerhardt Ch., and teacher
at Inst. for Church Music.
Psalm
LXXXIV for 6-v. choir; songs and
choruses; organ pieces; orch. and stage works.-A.E.
EHRENBERG, Carl E. Th. Ger. compr. and
mus. dir. b. Dresden, 6 April, 1878. 1894-8, pupil
Dresden Cons. (Rischbieter, Draeseke); condr.
Stadttheater, Dortmund, 1898; Würzburg, 1899;
Posen, 1905; Augsburg, 1907; Metz, 1908;
Korrepetitor, Court Theatre, and condr. Orch.
Soc. Munich, 1900-4; 1909-14, dir. Symphony
Orch. Lausanne; dir. of Opera and Municipal
Orch. Augsburg, 1915-18; Homburg, 1918;
condr. Berlin State Opera, 1922.
Tone-poem Youth, op. 19; Nachflied, for vn. and
d'Orchestre
No. 1 F German Legends (1900); No. 2 (1914);
2 pieces for str. band, op. 15; Prologue, Melodrama
and Epilogue for National Memorial Play (1916);
Sunrise for
and orch. (1901); sonata for vn. and pf. (1906);
str. 4tot in E mi. (1912); songs with pt. aco,
op. 3. 7, 9, 10; Songs of Heine, op. 12;
Liebesleben, for v., vn. and pf. op. 13; 4 songs with
orch. op. 16 (Leuokart); Liebeshymnen, s. and
orch. op. 17 (id.); Ernste Gesänge, contr. and
opera,
Musicians' Fest 1822); pt. pieces. Early works:
2 str. 4tets; 2 symphonies; overture to María Stuart;
symph, bagatelles; pf. trio; pf. pieces, op. 6, 8;
opera, "Und selig sind..., etc.-A. E.
134
EIDE, Kaja Hansen, Norwegian concert- and
opera-singer (s.); b. Horten, 26 April, 1884.
Pupil of Ellen Gulbranson, Christiania, and Zur
Mühlen, London. Has given many concerts in
Norway and appeared in many operas at
National Theatre, Christiania (Mignon; Madame
Butterfly; Barber of Seville; Onegin; Lakmé,
etc.).-U. M.
EINHEITSPARTITUR. An attempt made
by Hermann Stephani (q.v.) to introduce a uni-
fied notation, by using the treble G clef only, with
octave signs.-E.-H.
EINSTEIN, Alfred. Ger. musicologist; b.
Munich, Dec. 1880. Stud. science of music
(Sandberger) and compn. (A. Beer-Walbrunn)
in Munich; study-tours in Italy, 1901, 1905,
1908, 1909; in London, 1905; critic in Munich
(on Münchener Post since 1917). Ed. of Hugo
Riemann's Musik-Lexikon from 1919; ed. of
Zeitschrift für Musik-Wissenschaft from 1918.
His principal field for research is the vocal and
instr. music of the XVI and XVII centuries.
(madrigals, cantatas, sonatas), on which he
has publ. a large number of works.
1905,
On German Literatography of Agostino Steffani f
the Vla. da Gamba (Leipzig,
(Kirchenmusikalisches Jahrbuch, 1910); History of
Music (1917; 2nd ed. 1920, Leipzig, B. G. Teubner);
(Munich, 1917, G. Mülleratro alla Moda," Ger. transl.
Ed.: Selected Chamber Duesiadne Steffani
Benda's
VI, ): 1
by
(D.T.B.
(Leipzig,
C. F. W. Siegel); Lives of German Musicians: Hiller,
Neefe, Gyrowetz (Leipzig, 1914, C. F. W. Siegel):
Palestrina, Missa Papa Marcelli (Munich, 1920, Drei
Masken Verlag).
Dr. Einstein is responsible for nearly all the
German articles in this Dictionary.-E.-H.
EISDELL, Hubert Mortimer. Eng. tenor
singer; b. Hampstead, London, 21 Sept. 1882.
Exhibitioner, Caius Coll. Cambridge; stud. sing-
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EISENBERGER
ing under Victor Beigel; has appeared at R.
Philh., Hallé Orch. concerts, Queen's Hall, etc.;
toured U.S.A., Canada and Australasia.-E.-H.
EISENBERGER, Seweryn. Polish pianist; b.
Cracow, 1876. Pupil of Leschetizky in Vienna.
From 1914-21, prof. Cracow Cons. In 1922,
moved to Vienna. One of the finest pianists of
the day. As interpreter of Schumann and Brahms
few can be compared to him.-ZD. J.
EITNER, Robert. Ger. musicographer; b.
Breslau, 22 Oct. 1832; d. Templin, 2 Feb. 1905.
Pupil of M. Brosig, Breslau, music-teacher in
Berlin from 1853; founder and dir. of music
school, 1863; founder of the Gesellschaft für
Musikforschung, for publishing older music, and
a journal, Monatshefte für Musikgeschichte (1869-
1904). Lived at Templin from 1882. Prof. 1902.
of Musical Compilations of the XVI
and XVII
conjunction with Haberl, Lagerberg and Pohl); Die
of Biographical and Bibliographical Sources in
reference to musicians and mus, research scholars,
10 vols. (Leipzig, 1899-1904, Breitkopf).-A. E.
EITZ, Carl A. Ger. teacher of music; b.
Wehrstedt, 25 June, 1848. Lives at Eisleben;
inventor of the Tonwortmethode, which uses
intelligently conceived syllabic notation as
basis of elementary teaching of singing, and
which has met with as much violent opposition
as it has found support from ever-increasing
numbers during the last few years. His method
has been introduced into Bavaria and lately
(1922) into Prussia.
Bausteine zum Schulgesangunterricht im Sinne
der Tonwortmethode (Foundations for teaching
Singing in Schools by the Tonwort"
(Leipzig, 1911): Teaching of Singing as Foundation
of Musical Education (Leipzig, 1914).
Method)
G. Borchers, C. Eitz (Würzburg, 1908);
Conser, C. Eitz' Tonwortmethode (Würzburg,
1911); Frank Bennedik, Historical, Psychological
and Musical Investigations in relation to the Eilz
Tonwort Method (Langensalza, 1914).-A. E.
EKMAN, Ida (née Mordauch). Finnish con-
cert-singer; b. Helsingfors, 22 April, 1875. Stud.
Helsingfors Music Inst. 1891-2; Vienna, 1892-5;
and (with a State scholarship) in Paris, 1898-9.
Nuremberg Stadttheater, 1896-7; soloist in
Paris tour of Helsingfors Philh. Orch. 1900;
concerts with her husband, Karl Ekman (q.v.)
in Finland and abroad. Famous as a singer
of songs. Now living in Helsingfors as a teacher
of singing.-T. H.
EKMAN, Karl. Finnish pianist, condr. b.
Kaarina (St. Karins), 18 Dec. 1869. Stud. Hel-
singfors Univ. and Music Inst. 1889-92; (with
State stipend) in Berlin and Vienna 1892-5;
later in Paris and Rome. Dir. of Helsingfors
Music Inst. 1907-11; condr. of orch. at Abo
(Turku), 1912-20. For many years, has arranged
chamber-music concerts in Helsingfors; critic
and teacher and condr. in Helsingfors. Arr. of
folk-music. Married the singer Ida Ekman in
1895.-T. H.
ELGAR
ELECTROPHONE. An instr. consisting of
various electric bells, giving a rapid, trembling
sound. Also effect of a heavy shower of gold and
silver. The instr. can be played from a key-
board. Was invented by the Dutch compr.
Daniel Ruyneman (q.v.).-E.-H.
ELGAR, Sir Edward. English composer; b.
Broadheath, near Worcester, 2 June, 1857; son
of W. H. Elgar (orgt. R.C. church, and music-
seller of Worcester); educated in close touch
with the Three Choirs festivals, the glee clubs
and local chamber-music. In 1877 he visited Lon-
don for a few violin lessons with Pollitzer, the last
actual lessons he ever had. For 5 years (1879-84)
he was a bandmaster at the County Lunatic
Asylum, and member of Stockloy's orch. at Bir-
mingham, when an Intermezzo of his was played
in 1883. In 1882 he visited Leipzig for a few
weeks. On his marriage in 1889 he came to Lon-
don but withdrew to Malvern two years later,
removing to Hereford in 1904. His first really
characteristic work, Scenes from the Saga of King
Olaf, was produced at the N. Staffordshire Fest.
in 1896. A short oratorio, The Light of Life, was
given at the Worcester Fest. 1896. Two of his
best works, the Enigma orch. variations (Richter
concerts, 19 June) and his Sea Pictures (Clara
Butt, Norwich), were perf. in the year of their
completion, 1899. His finest and most individual
work, Gerontius, was produced at Birmingham in
1900; it had taken him years to compose. He did
not, however rise to general importance until this
work had received the honour of a German per-
formance (Lower Rhine Fest. Düsseldorf, May
1902, under Julius Buths) when Strauss publicly
praised the rising English composer. The work
has since been more frequently performed in
England than any other oratorio save Messiah
and Elijah. In March 1904, Covent Garden
Theatre was taken for a 3-days Elgar festival
(Gerontius, Apostles, a new overture In the
South, etc.). The Coronation of King Edward
VII (1902) inspired Elgar's 2 military marches,
Pomp and Circumstance, and the Coronation Ode
(A. C. Benson). The tune Land of Hope and
Glory which occurs in the Ode, as well as in the
second march, became so popular that for years
it has ranked next to God Save the King as a
national song. The Apostles (B'ham Fest. 1903)
was followed by its sequel The Kingdom (B'ham
Fest. Oct. 1906). The 1st symphony, A flat, was
produced by Richter at Manchester in 1908, the
2nd symphony, E flat, in 1911 and the tone-
poem Falstaff at Leeds in 1913. In 1916 his
Spirit of England, To Women and For the
Fallen revealed the same touching and con-
soling power. Indeed, the highly individual art
of the early Serenade for str. orch. op. 20 is still
135
ELDERING, Bram. Dutch vn.-virtuoso; b.
Groningen, 8 July, 1865. Pupil of Christian
Poortman (Groningen), Jenő Hubay (Brussels),
and Joseph Joachim (Berlin); 1887-8, vn.
teacher, Budapest; vla.-player, Hubay-Popper
Quartet; 1891-4, Konzertmeister of Berlin
Philh.; 1895-9, R. Konzertmeister at Meiningen;
1899-1903, teacher Amsterdam Cons.; 1903,
at Cologne Cons.; Konzertmeister of Gürzenich
Orch. and leader of the excellent Gürzenich Quar-
tet. He was personally closely acquainted with
Brahms and excels in Brahms' chamber-music.
-A. E.
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ELGAR
as strongly in evidence as ever in the later vn.
concerto, op. 61 (Kreisler, 1910), and cello con-
certo, op. 85 (Queen's Hall, 1919). This individ-
uality is remarkable enough to shine through a
technique already fully developed by the great
German masters.
In 1919 he produced some chamber-music, a
sonata for vn. and pf. a str. 4tet and a 5tet in
A mi. for pf. and strings; but he is not at his
best in these works and, although one of the
greatest living orchestrators, he never writes
with a real understanding of the piano.
Elgar is the most widely known of all English
composers. He has received many orders and
decorations, the chief being the O.M. in 1911.
He was knighted in 1904. Received Mus. Doc.
h.c. Cantab. 1900; Dunelm. 1904; Oxon, 1905;
Yale, U.S.A. 1905. F.R.C.M. h.c. 1924. In Nov.
1923, he left England for a South American tour,
journeying to Manaos, 1000 miles up the river
Amazon. He conducted the massed choirs and
bands at State opening of British Empire Exhibi-
tion at Wembley, 23 April, 1924, when his Imperial
March and Land of Hope and Glory were performed
before King George V and an audience of 100,000.
Appointed Master of the King's Music, May 1924.
Op. 1, Romance, vn. and orch.; op. 2, Motets, 1
publ. (Ave Verum); op. 3, Allegretto, vn. and pf.;
op. 4, 2 pieces, vn. and pf.; op. 5, 2 songs; op. 6,
wind 5tet (ms.); op. 7, Sevillana, orch.; op. 8, str.
4tet (ms.); op. 9, sonata, vn. and pf. (ms.); op. 10,
3 pieces for orch. (Mazurka; Sérénade Mauresque;
Contrasts the Gavotte, 1700 and 1900); op. 11,
Sursum Corda, for str. brass and organ; op. 12,
Salut d'amour, vn. and pf.; op. 13, 2 pieces, vn. and pf.;
op. 14, organ voluntaries (easy); op. 15, 2 pieces
(Chanson de Nuit and Chanson de Matin) for vn. and
for small orch.; op. 16, 3
pf., subsequently scricieuse, morceau de genre for
songs; op. 17 La
vn.; op. 18, O Happy Eyes, part-song; op. 19,
Froissart, concert-overture; op. 20, Serenade for str.
op. 23, Spanish Serene for pt.; op. 22, missing:
chorus
missing; op. 25, The Black Knight, cantata; op. 26,
2 3-v. songs, female chorus, with vn. obbligato,
orchestrated in 1904; op. 27, Scenes from the Bavarian
Highlands, for chorus and orch.; op. 28, organ sonata
in G; op. 29, The Light of Life (Lux Christi), oratorio;
op. 30, Scenes from the Saga of 7 Olaf, soll, chorus
and orch.; op. 3
p. 31, missing: on 29. Imperial March
(Diamond Jubilee, 1897); op. 33, The Banner of St.
George, cantata; op. 34, Te Deum and Benedictus, in
F: op. 35, Caractacus, cantata; op. 36, Variations
for orch.; op. 37, Sea Pictures, contr. solo and orch;
op. 38, The Dream of Gerontius, oratorio; op. 39, 2
military marches, Pomp and Circumstance; op. 40,
Cockaigne (In London Town), concert-overture; op.
41, missing; op. 42, incidental music and funeral
march for Grania and Diarmid (by George Moore and
W. B. Yeats); op. 43, Dream Children, 2 pieces for
small orch.; op. 44, Coronation Ode, 1902; op. 45,
5 part-songs. male vs. from the Greek Anthology;
songs, A
ELMAN
(1915); op. 77, Une Voix dans le Désert, recitation
with muslo; op. 78, suite, The Starlight Express,
for pf. (1915); op. 79, The Belgian Flag, recitation
with musio; op. 80, choruses. The Spirit of England
(To Women; For the Fallen) (1916); op. 81, The Fan
ballet, only for a private charity performance; op. 82,
sonata for vn. and pf. (1919); op. 83, str. 4tet (1919);
op. 84, 5tet in A ml. pt. and str.
Consult: E. Newman, Elgar (J. Lane, 1906); R. J.
Buckley, Sir Edward Elgar (J. Lane, 1912); J. F.
Love's Tempest; Serenade); op. 74, anthem,
Give unto the Lord; op. 75, The Carillon, recitation
with orch. (1914); op. 76, symph. poem, Polonia
ELKIN & CO. Ltd. Publishers, founded 1903 in
London, by W. W. A. Elkin. Its publications
consisted, for a time, mainly of popular "
music; but works of more serious scope, especi-
ally by Eng. comprs. soon began to be included,
and the "popular" side of output is now negli.
gible. Elgar, Cyril Scott, Bantock, Quilter,
Albert Coates, William Baines have all con-
tributed to the firm's catalogue. It also owns
copyright for Great Britain and Colonies of
majority of works of Edward MacDowell.-E.-H.
ELLBERG, Ernst Henrik. Swedish compr.
b. Söderhamn, 11 Dec. 1868. Stud. R. Cons.
Stockholm, 1886-92; attached as violinist to
R. Chapel 1887-1905; from 1904, teacher of
compn. at R. Cons.; 1916, prof.; member R.A.M.
Stockholm, 1912.
ELLING, Catharinus. Norwegian compr. and
folk-music collector; b. Christiania, 13 Sept.
1858. Took his examination in philology in 1883.
Stud. music in Leipzig (1877) and Berlin (1886
and following years). Teacher of theory and
compn. at Lindeman's Cons. Christiania. Has
had since 1899 a State grant for collection and
adaptation of Norwegian folk-music.
Opera, Kosakkerne (The Cossacks) (Eldorado Theatre,
Christiania, 1897); modern oratorio, Den forlorne
Sön (Prodigal Son) (Christiania, 1897); choral work,
Gregorius Dagssön (ib. 1898); symphony; chamber
about 200 solo and
songs; pf. and vn. pieces. Treatises: Our Folk-
Melodies (1909); Our Ancient Lays regarded from a
Musical Point of View (1914); Our Tunes (1915);
Norwegian Folk-Music (1922), etc.-U. M.
ELLINGFORD, Herbert Frederick. Eng. con-
cert orgt. b. London, 8 Feb. 1876. Stud. at
R.C.M. under Sir Walter Parratt, Dr. F. E.
Gladstone, Sir J. F. Bridge, M. Barton; exhibi-
tioner, 1894; open scholar, 1895. A.R.C.M.;
F.R.C.O.; Mus. Bac. Oxon. Orgt. St. George's
Hall, Liverpool.
op. 54,
A Primer of Scales and Arpeggios, systematised
Organi
its principles and technique,
(id. 1919);
for W.
1922).
Comp.: songs; choral works; organ pieces and
arrs.; pf. pleces.-E.-H.
in A flat (1908,
for str. orus and Go, Sonar); on. 56, 57, part-
and II; op. 50, overture, In the South, for orch.;
op. 51, The Kingdom; op. 52,
Greeting, for mixed vs.; op. 68, 4-songs, 4 Christmas
part-song, Reveillé, for male vs.; op. 55, symphony
of Mine; op. 58, Elegy,
op. 59, 6 songs; op. 60, 2 songs; op. 61,
concerto in B mi. for vn. (1910); op. 62, Romance for
ELMAN, Mischa. Russ. violinist; b. Stalnoje,
bsn. and orch.; op. 63, symphony II, in 1
South Russia, 20 Jan. 1892.
n E flat (1911);
op. 64, 65, Coronation Offertorium and March (1911);
First lessons on vn.
op. 66, masque, The Crown of India (1912); op. 67,
from his father, a schoolmaster. Played in public
Psalm XLVIII, Great is the Lord; op. 68, symph. study,
Falstaff (1913); op. 69, ode, The Music-Makers, for
at 6. Stud. under Fidelman at Odessa until 10.
contr. chorus and orch. (1912, Birmingham); op. 70,
Then Leopold Auer, hearing his phenomenal
Sospiri, adagio for -, harp and organ; op. 71-3,
playing, procured for him a dispensation from
prohibition which forbade enrolment of Jews at
Petrograd Cons., and here taught him from 1902
to 1904. He appeared in public, Petrograd
choral s
the Hings (The Shower; The Fountain; Death on
136
Opera, Rassa; Askungen (Cinderella), pantomime-
ballet (1906; perf. 1907); En sommaridyll (Summer
Idyll), ballet (1898); concert overture, Farbrytning
(Breath of Spring), perf. 1906; symphony in D (1897);
overture
str. 5tet (180); Introduction and fugue, str. orch.;
str. 4tet, E flat (1890); male 4tets;
choruses for malo volees.-P. V.
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ELSON
1904, and 15 Oct. 1904 in Berlin. After playing
in Dresden, Copenhagen and other cities, was
heard in London, 21 March, 1905. Amer. début
with Russ. Symphony Orch. 10 Dec. 1908,
Toured Far East and Orient, 1920-1. Has publ.
a series of excellent vn. transcriptions of older
and more modern pieces. (Schirmer; Carl
Fischer).-O. K.
ELSON, Louis Charles. Amer. author, lecturer
and teacher; b. Boston, Mass., U.S.A., 17 April,
Stud. singing
1848; d. there, 14 Feb. 1920.
under Kreissmann in Boston and theory under
Gloggner-Castelli in Leipzig. In 1880 ed. of
organ-journal, Vox Humana, also ed. of Musical
Herald at this time. For several years, mus. ed.
of Boston Courier; after 1888 of Advertiser.
From 1881 until death, prof. of mus. theory
and history of music at New England and Cons.
For 7 years city lecturer on music in Boston
(240 lectures). Delivered two series of Lowell
Inst. lectures. Comp. operettas and songs, transl.
and arr. over 2,000 pieces.
of
Curiosities New England Cons. 1888); The Realm
German Song
(essays) (id. 1892); Great Composers of
and
of Works (Page, 1898); The National
their
(id. 1900); Shakespeare in
America and its Sources of Americantson, 1905);
Music (Mac-
Music (id. 1901);
millan, 1904); Music Dictionary
Mistakes and Disputed Points in Music (Presser,
1910); Woman in Music (Univ. Soc. Inc. 1918);
Children in Music (Univ. Soc. 1918). Folk-Songs
of Many Nations (Church, 1905); University Ency-
clopaedia of Music, 10 vols. (Univ. Soc. 1912).-0. K.
ELWES, Gervase. Eng. t. singer; b Billing
Hall, Northants, 15 Nov. 1866. Killed in train
accident at Boston, U.S.A., 13 Jan. 1921.
Trained for the diplomatic service, in which he
served 1891-5. Whilst in Vienna, stud. harmony
under Mandyczewski. Stud. singing in Paris
under Bouhy, and in London under Henry Rus-
sell and Victor Beigel. He made his 1st public.
appearance with the Handel Soc. in Humper-
dinck's Pilgrimage to Kevelaar at Westmorland
Festival, Kendal, in May, 1903, and rose
suddenly to fame with Elgar's Gerontius, the
chief part of which he sang over 100 times.
He was equally fine in Bach's St. Matthew Pas-
sion, and sang in these two works in Britain,
Germany, Holland and America. His voice had
no unusual strength, but was managed with
superb skill. His chief virtue lay in his perfect
musicianship and intensely sympathetic render-
ings. These qualities were especially revealed
in his singing of Brahms' lieder as well as of
English songs. Several of the more serious of
the Eng. song-composers of his time owe much
to him for the introduction of their songs.
After his death a memorial fund was started.
for the benefit of needy musicians. A tablet
and bust have been erected to his memory in
Queen's Hall, London.-E.-H.
ENESCU
Vn. sonata; 2 str. 4tets; 6tet, Airs rythmés à
l'antique; Oriental Suite, pf. and vn.; Prométhée;
Pierrot peintre; songs; choruses.
His work in musicology is much more important:
The Greek Orchestra History of Musical Language
(1911); Treatise on the Modal Accompaniment of the
Psalms (1912). Many articles in the reviews: The
Conservatoires of Germany and Austria (Revue de Paris,
1898); Le Chant à l'Ecole (Grande Revue, 1910);
Music at the German Universities (Revue de Paris,
1910); Treatise on Greek Music (in Lavignac's
Encyclopédie).-A. C.
ENARMONIUM. See BAGLIONI, SILVESTRO.
ENCYCLOPÉDIE DE LA MUSIQUE. This
Fr. work, which bears as sub-title, "Diction-
naire du Conservatoire," was begun in 1912. Its
direction was entrusted by the Government to
Albert Lavignac; then, on the death of the latter,
to Lionel de la Laurencie. The work will contain
3 parts, each consisting of several vols. The first
part treats of l'Histoire de la Musique; the 2nd
will treat of Technique, Pédagogie et Esthétique;
the third, a Dictionnaire, will recapitulate the two
first in alphabetical order. The authors of the
principal contributions are: Maurice Emmanuel
(Ancient Greece); Amédée Gastoué (Byzantine.
music and Gregorian chant); Henry Expert and
P. M. Masson (xvI century); R. Rolland and
André Pirro (XVII century); de la Laurencie
(XVIII century); J Rouanet (Arabian music), etc.
The first part only has appeared so far (5 vols.
Delagrave).-A. C.
ENEHJELM, Alexis af. Finnish opera-singer
(t.); b. Hämeenlinna (Tavastehus), 2 Oct. 1886.
Stud. at Helsingfors Univ.; music and singing
in Munich (1908) and Vienna (1909-13); teacher
at Helsingfors Music Inst. 1914-18; engaged at
Finnish Opera House until 1921, when he went
to Darmstadt Opera House. Is much admired
as an excellent singer and artist; has sung in
Vienna, Petrograd, and other places; also fre-
quently at concerts in Finland. Has publ. songs
and a collection of tales.-T. H.
ENESCU, George. Rumanian violinist, com-
poser and conductor; b. Liveni (Moldau,
Rumania), 19 Aug. 1881. From 7th to 11th
year, studied at Vienna Conservatoire, at first
under Bachrich, later under Hellmesberger;
composition under Robert Fuchs. On leaving
the Conservatoire in his 11th year, received the
highest award-the Gesellschafts-medaille. When
13, went to Paris under the patronage of Queen
Elizabeth of Rumania. At the Paris Conserva-
toire, studied violin under Marsick, composition
under Gédalge, Massenet and finally Fauré. In
1899, 1st prize for violin-playing. When 16, made
his first public appearance as composer with
Poema Româna (Rumanian Poem) performed
in Paris by Colonne, who also performed Enescu's
1st Suite for orchestra in 1903, and his 1st sym-
phony (E flat, op. 13) in 1906 (pub. Enoch,
Paris). Enescu then travelled through Europe
as violin virtuoso. In order to encourage music
in his native land, he founded in 1912 a National
Prize for works by younger Rumanian com-
posers (awarded successively to Otescu, Cuctin,
Alessandrescu, Tora, Enacovici and Stan Gole-
stan). As conductor Enescu has appeared chiefly
137
EMMANUEL, Maurice. Fr. compr. musico-
logist; b. Bar-sur-Aube, 2 May, 1862. Pupil (at
Paris Cons.) of Bourgault-Ducoudray, Delibes,
Savard, and (at Brussels) of Gevaert. Was mus.
dir. of Ste.-Clotilde. Since 1909, has taught mus.
history at Cons. in chair of Bourgault-Ducoudray.
Has composed:
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ENGEL
in Bucharest, where during recent years he has
given many orchestral concerts of modern works.
His first Suite was first given in Queen's Hall in
1911, and his Orch. Rhapsody was given there in
1921. His 2 Rumanian Rhapsodies (No. 1 in A,
No. 2 in D) are in the permanent repertoire of
the Queen's Hall Orch. He visited London in
1922, playing Lalo's Symphonie Espagnole and
conducting his own 2nd Rhapsody with great
success,
Important works, besides those mentioned,
include:
fo
1st and 2nd sonatas, pf. and vn., ops. 2 and 6;
str. 4tet, op. 7; str. Stet, op. 7. Symphonie Concer-
tante, cello and 'orch, op. 8; 2 pf.
Variations for 2 pfs. op. 5; Chane, op
, op. 3 and 10;
Marot for v. and pf. op. 15 (all Enoch, Paris). Some
de Clément
later works-2nd symphony in A, op. 17 (1905),
orch. op. 1 e not yet publ., as the
2nd Suhe political ca are found their way to
Moscow,
since
two works are 3rd symphony in C, orch. pf. organ,
1920) (Bucharest, 1919; Paris under Pierné,
and a str. 4tet. He has in hand a lyric drama
Edipus (poem by Edmond Fleg).-C. BR.
ENGEL, Carl. Amer. compr. librarian; b. Paris,
21 July, 1883. Stud. at Univs. of Strasburg and
Munich. Pupil in compn. of Thuille in Munich.
Went to America in 1905 and from 1909-21 was
ed. and mus. adviser for Boston Music Co. Since
Jan. 1922, chief of music division of Library of
Congress, Washington, D.C.
Triptych, vn. and pf. (Boston Music Co. 1920);
pf. pieces and songs (Boston Music Co.; Schirmer;
Fischer); author of Alla Breve, from Bach to
Debussy (Schirmer, 1921).-0. K.
ENGLISH CHORAL MUSIC FROM 1880. In
the year 1880, musical England was still largely
under the sway of the Handelian and Mendels-
sohnian traditions. In sacred music, the legacy
left behind by Spohr (Last Judgment, Norwich,
1830; Calvary, ib. 1839) still lingered in a taste
for sugary chromatics, despite the fact that two
delightfully English works Sterndale Bennett's
May Queen (1858) and his Woman of Samaria
(1867) had shown the way to better things. In
1882, French operatic taste had been imported
into English oratorio with Gounod's Redemption
(written for the Birmingham Fest.); and even in
1898, Sullivan could not banish the secular stage
feeling from his sacred music (Golden Legend,
Leeds Fest.). Yet it was the year 1880 in which
was first heard a cantata sounding again the
real English note. This was Parry's Prometheus
Unbound, produced at the Gloucester Three
Choirs Fest. Parry's long and regular series of
festival oratorios and cantatas, from Prometheus
onwards, slowly but surely established a tho-
roughly English choral type, one which bowed
less and less to Handel and Mendelssohn, and was
only slightly touched at times by Wagner (Saul,
1894). Parry's broad sweep, his mastery of choral
effect and his skill in building up huge climaxes
are all seen at their best in his 8-part chorus,
Blest Pair of Sirens (1887), and in Job.
It must be remembered that the great choral
festivals (Birmingham, Leeds, Sheffield, The
Three Choirs, Norwich, etc.) then offered the only
field open to British composers. All Stanford's
choral works were written for these meetings
(The Revenge, Leeds 1886; Eden, Birmingham
138
ENGLISH FOLK-MUSIC
1891; Phaudrig Crohoore, Norwich 1896; Stabat
Mater, Leeds 1907). Mackenzie wrote his Rose of
Sharon for Norwich 1884, his Story of Sayid for
Leeds 1886; his cantata with reciter, The Dream
of Jubal, which contains some of his best work,
was produced a Liverpool Philh. concert
1889. Cowen's Rose Maiden was written in 1870:
but his St. John's Eve of 1899, written for Mel
bourne, is of stronger material most skilfully
orchestrated and his Ruth is a charming work.
The choral works of Delius include Appalachia
(Lower Rhine Fest. 1905), Sea-Drift (1906), A
Mass of Life (London, 1909), Song of the High
Hills (London, 1912) and his Requiem (produced
London, 1920).
Since Parry, the outstanding figure in oratorio
is Elgar. After several prentice works (The Black
Knight, The Light of Life, Caractacus, etc.) came
Gerontius (1902), produced in England and,
shortly after, in Germany. It was an epoch-
making work in the sense that no one had ever
made the complex mass of modern chorus and
orchestra the vehicle for so strong an expression
of personal faith and feeling. He followed it
up with The Apostles (Birmingham, 1903), The
Kingdom (ib. 1906), and in 1916 produced his
intensely felt Spirit of England to Laurence
Binyon's war-poems.
Granville Bantock in his Omar Khayyám (an
epoch-making work in its way, like Gerontius),
his Atalanta in Calydon, his Vanity of Vanities
(both for unacc. chorus) and The Great God Pan,
carried the banner of progress and enrichment
still further. Other landmarks were Walford
Davies's The Temple (Worcester Fest. 1902) in
which he tried the effects of chamber-music inter-
spersed amongst the orch. portions, and his
Everyman (Leeds Fest. 1904), Coleridge-Taylor's
Hiawatha (1906), and Vaughan Williams's Sea-
Symphony (Leeds, 1910). John H. Foulds's A
World Requiem (Albert Hall, London, 11 Nov.
1923) was conceived on so colossal a scale, and
in so sincere yet austere a mood, that it could
hardly be fully appreciated at a first hearing.
The taste seems now to be turning in the
direction of shorter works and a greater variety of
subjects and treatments. Chief amongst these is
Holst's Hymn of Jesus (London, 25 March, 1920,
R. Philh. Soc. concert). His Choral Hymns from
the Rig Veda (1908-12), his Two Psalms, his Ode
to Death, his choruses to Alkestis, and his choral
peroration to the orch. suite The Planets, are
all remarkable.
Amongst prominent writers of shorter choral
pieces are Arnold Bax, Herbert
ergal
Brian, B. J. Dale, Balfour Gardiner, Hamilton
Harty, Cyril Rootham, Peter Warlock, W. J.
Whittaker and others.
The choral bodies of the country have never
been in a more efficient state and, in consequence,
many new fields are being opened to the choral
composers. For this healthy state of things, the
growing mus. competition movement is largely
responsible.-E.-H.
ENGLISH FOLK-MUSIC. See BUTTERWORTH,
GEORGE; CAREY, FRANCIS; CHAPLIN, NELLIE;
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ENGLISH OPERA
GEORGE
RUPERT; GRAINGER,
ERLEBACH,
PERCY; KIDSON, FRANK; MOERAN, E. J.;
SHARP, CECIL; VAUGHAN WILLIAMS, RALPH;
also art. FOLK-SONG SOCIETIES.
ENGLISH OPERA FROM 1880. The year 1880.
found Balfe's Bohemian Girl (written 1843) and
Wallace's Maritana (written 1845) still in the
field of popular favour, whilst Sullivan had just
commenced his brilliant series of comic operas,
with Pinafore in 1878. The successful revival in
1920 of the early Eng. Beggar's Opera (1727) has
revealed a distinct link with Sullivan's work.
Mackenzie made a beginning with Colomba in
1883 and followed it with The Troubadour
(Drury Lane, Carl Rosa, 1886) and The Cricket on
the Hearth (R.A.M. 1914). Like Hamish MacCunn's
Jeannie Deans (Edinburgh, 1894) and Diarmid
(London, 1897), though melodious, they were
too old-fashioned in form to gain a firm hold on
the boards. The operas of Cowen (Pauline, 1876;
Thorgrim, 1890; Signa, Milan, 1893, Covent
Garden, 1894; Harold, 1895) had only a fleeting
Stanford's works were of stronger
material. The first two were produced in Ger-
many-The Veiled Prophet of Khorassan (Han-
over, 1881) and Savonarola (Stadttheater, Ham-
burg, 1882). The latter was given at Covent
Garden under Richter with the Ger. Opera Co.
in 1884. His Canterbury Pilgrims was produced
by the Carl Rosa Co. at Covent Garden in 1884,
and Shamus O'Brien at the old Opéra-Comique,
London, in 1896. His Much Ado About Nothing
deserves mention. The Critic (produced by
Beecham at Shaftesbury Theatre, Jan. 1916)
shows considerable knowledge of stage-craft. His
last opera, The Travelling Companion (written
1918-19), still awaits performance.
success,
Ethel Smyth's Der Wald was produced at
Dresden in 1901 and Berlin in 1902. Her Strand-
recht (The Wreckers) produced at Leipzig in
1906, sounded old-fashioned when first heard
in England (under Beecham) in Jan. 1909.
Her Boatswain's Mate is more characteristic.
It was produced by Beecham in Jan. 1916. Her
1-act Fête Galante (British National Opera Co.
1923) proved an unequal work. Delius found a
keen supporter in Beecham, who produced his
Village Romeo and Juliet in 1910. It had already
been given in Berlin in 1907. His Koanga (pro-
duced Elberfeld, 1904) and his Fennimore and
Gerda (Frankfort, 1919) have not yet reached
the English boards. Isidore de Lara, whose Amy
Robsart had been given at Covent Garden in
1893, had his Nail given there in 1919. It was
originally written to French words, and derives
largely from the school of Massenet. His Messa-
line has been given several times, and his Three
Musketeers, prod. by the Carl Rosa Co. in 1923,
was given in London in May 1924. Edward W.
Naylor's The Angelus secured the Ricordi Prize
in 1910 and was produced several times at
Covent Garden. It was written avowedly on
Italian lines.
The only composer in the light opera lineage of
Sullivan was Edward German. He turned the
balance more on to the musical side in Merrie
ENGLISH OPERA
England, Princess of Kensington, Tom Jones,
and Fallen Fairies.
In 1904, Richter had taken charge of the
Wagner performances Covent Garden, and
his influence on English composers cannot be
ignored. The two, on whom Wagner's spell is
most deeply shown were Holbrooke and Bough-
ton. Both are romantic. Holbrooke's The Children
of Don was given at Hammerstein's ill-fated
London Opera House in 1912 under Nikisch,
and his Dylan at Drury Lane Theatre in 1913
under Beecham. Bronwen, which completes the
trilogy, still awaits performance. Debussy's
Pelléas et Mélisande (1902) had been given at
Covent Garden in 1909, without any direct
influence on English opera. Richard Strauss's
operas (Salome, Elektra, Rosenkavalier, Ariadne,
Feuersnot) also made a strong impression on
English composers, which was strengthened
by the brilliant seasons of Russian opera and
ballet which Sir Joseph Beecham organised
in 1913 and 1914 (Mussorgsky's Boris, and
Khovanstchina; Rimsky-Korsakof's Coq d'Or
and Ivan the Terrible; Stravinsky's Petrushka,
Sacre de printemps, etc.).
Meanwhile Rutland Boughton had been organ-
ising his Festival School at Glastonbury, a tiny
town in Somerset; and had brought his players
up to the "Old Vic." London, with his Im-
mortal Hour. It was not, however, till this
opera was presented at the Regent Theatre
by Barry Jackson, that it scored the longest
run of any romantic opera in England. His
Bethlehem was also successful at the same
theatre in 1923-4. An unfortunate first per-
formance of his Alkestis (28 Jan. 1924) by the
British National Co. did not give the work a fair
start; but they performed it in the provinces.
with considerable success. It is an earlier work
than The Immortal Hour. The chief figure of
the "nineteen-twenties," next to Boughton,
is Gustav Holst. His Perfect Fool, a one-act
piece, a light-hearted mixture of the romantic
and the parodic, made a decisive success for
English opera, which is bound to bear fruit
in the future. His Savitri, an opera da
camera (written 1908) was too intimate for
Covent Garden, but is a great favourite in the
British National Opera Co.'s provincial tours.
Nicholas Gatty has produced 4 of his operas at
minor theatres-Greysteel (Sheffield, 1906), Duke
or Devil (Manchester, 1909), The Tempest (Surrey
Theatre, London, 1920), Prince Ferelon (Old Vic.
London, 1921), of which the last was the most
successful. He is one of the very few English
composers with a real sense of the stage. Reginald
Somerville's David Garrick (Carl Rosa, 1920)
inclined more to the form of the light opera,
lyrical in design and tuneful in expression.
Cyril B. Rootham's The Two Sisters (produced
Cambridge, 1921) is founded on folk themes.
James Lyon's Sea-Wrack, given by the Carl Rosa
Co. in Liverpool in 1921, revealed considerable
dramatic power.
Altogether the period from 1900 to 1920 did.
not contain so many or such weighty works as
139
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ENGLISH ORCHESTRAL MUSIC
the period from 1880 to 1900. This can only be
explained by the diminished opportunities for
native works in this period. With the foundation
of the British National Opera Company in 1921
the door was immediately opened again to native
composition, and composers were not slow to
avail themselves of the chance.-E.-H.
ENGLISH ORCHESTRAL MUSIC. See BRITISH
ORCHESTRAL MUSIC.
ENGLISH SINGERS, The. A vocal sextet party
in London, which has specialised on the Tudor
madrigalian music: Flora Mann, Winifred
Whelen, Lillian Berger, Steuart Wilson, Clive
Carey and Cuthbert Kelly. Many recitals in
London and provinces. Sang in Prague, 1920;
Vienna and Berlin, 1922-3.-E.-H.
ENGLISH SONG FROM 1880. The Mid-
Victorian period produced singularly few English
songs of any value. A few names, such as Loder
and Macfarren, are mentioned with respect by
historians, but Hatton's To Anthea is practically
the only song of those days which is still admitted
to serious singers' programmes.
Bennett wrote a small number of songs which
Sterndale
show his invariably polished craftsmanship, but
they are more German than English in style.
Sullivan might have become a great song-writer,
but generally speaking his songs are addressed,
like those of his forgotten contemporaries, to a
much lower standard of musical intelligence than
his other works. The English song, even at
its best, was a mere drawing-room amusement.
Parry and Stanford, prolific in other branches of
composition, wrote few songs compared with the
song-output of Schumann and Brahms; and in
their earlier days their songs were little known
or appreciated. Maude Valérie White, starting
from the drawing-room level, set out to raise the
standard gradually. Her songs are in no case
great works of art, but she chose words with
discrimination and set them with something
more than mere refinement. Almost up to the
end of the XIX century the songs of Schubert,
Schumann and Brahms formed the main reper-
tory of self-respecting English singers, and there
were few English singers indeed to whom this
epithet could be applied. Except for the songs
of Maude Valérie White, there was a clear line of
cleavage between the popular drawing-room
song, called in the music-trade a "ballad," and
the "classical" song, to which even the best
English composers contributed but few examples.
Towards the end of the century, Arthur Somer-
vell, a disciple of Stanford and Parry, began to
make a name as a writer of English songs that
were both artistic and attractive. About the
same time he published Songs of the Four Nations,
a collection of English, Scottish, Irish and Welsh
traditional songs, to which he supplied scholarly
accompaniments in the artistic idiom of the day.
This volume, which at once obtained immense
popularity, paved the way, along with the equally
scholarly Irish collections of Stanford and Charles
Wood, for the folk-song revival (see FOLK-SONG
SOCIETIES), the influence of which on contem-
ΕΝΝΑ
porary English song-composition has been far.
reaching. Parry's output of songs became more
copious, as singers became more willing to sing
English songs, and a younger generation of com
posers carried the tradition further. Vaughan
Williams, heart and soul in the folk-song move.
ment, edited collections of East Anglian songs
with daring harmonic treatment, besides pro-
ducing many original songs (The House of Life
[Rossetti], Songs of Travel [Stevenson], and On
Wenlock Edge [A. E. Housman]) of singular
beauty. More in the line of Maude Valérie White
is Roger Quilter, a song-writer of very individual
grace and charm. French influences of the older
school made themselves felt on Goring Thomas
and Amherst Webber; the later influence of
Debussy brought not merely new harmonic ideas
but a more supple and delicate declamation of
English. The composers who thus raised English
song to an artistic level were all men and women
of real literary culture. It is safe to say nowadays
that no English song is worth looking at at all
unless the words of it can claim respect as poetry;
unfortunately it cannot always be said that a
good poem guarantees an equally good musical
setting. Various composers who are distinguished
in instrumental music are hopelessly betrayed in
their songs by their want of literary feeling.
Among contemporary song-writers of note may
be named, in addition to those already men-
tioned, John Ireland, Arthur Bliss, "Peter
Warlock," Armstrong Gibbs, R. O. Morris, Clive
Carey, Malcolm Davidson, Martin Shaw, Cyril
Rootham, and the late W. Denis Browne.-
E. J. D.
140
From an editorial point of view, in order to
complete the survey of contemporary English
song, many other names must be mentioned:
Granville Bantock, for his Sappho set, the
Browning Songs, his Eastern songs, etc.; Ernest
Walker for such highly finished works as Dia-
phenia, Bluebells from the Clearings, etc.; William
Wallace (Freebooter Songs, etc.); Sir Edward
Elgar (Sea Songs, etc.); Cyril Scott, Hamilton
Harty, Joseph Holbrooke, Julius Harrison,
Donald Tovey, Arnold Bax, E. Bristow Farrar
and George Butterworth. The latter, during his
short career, wrote some English songs of the
finest order.-E.-H.
ENNA, August. Danish compr. b. 13 May,
1860. Of Ital. descent, his grandfather, a soldier
of Napoleonic period, having emigrated to Den-
mark. E. learned the shoemaker's trade; then
engaged in business; stud. music unaided in his
free time. At 20, went to Finland, where he was
engaged in an orch. as violinist and drummer.
Later returned to Denmark and joined a travel-
ling theatrical company, for whose performances
he furnished the necessary incidental music.
He then wrote several operettas, which fore-
shadow his later development. The successful
production of an orch. suite at the Tivoli, Copen-
hagen, drew attention of Niels W. Gade, who
assisted Enna in procuring a government stipen-
dium to help him continue his studies abroad.
Upon his return, his opera Hexen (The Witch)
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EPSTEIN
was produced at R. Theatre, Copenhagen, 1892.
This speedily obtained a hearing in Prague,
Berlin, Magdeburg, Weimar, Hanover, Königs-
berg, Stockholm, Amsterdam, etc. He followed
up this first success by a whole series of operas:
Cleopatra: Aucassin and Nicolette: Lamia: Prin-
sessen paa Arten (The Princess and the Peat): Not-
tergalen (The Nightingale): Den lille Pige med
Svovlstikkerne (The Little Match-Girl) (last 3 texts
from Hans Chr. Andersen); Gloria Arsena (subject
from Fr. Revolution); Komedianter (The Comedians),
libretto from Victor Hugo's L'Homme qui rit. Also
ballets, Hyrdinden og Skorstensfejeren (Shepherdess
and St. Cecilias Guldsko (St.
and Chimney-S Slippers); The Story of a Mother
Cecilia's
as Chr. Andersen) for chorus; 2 symphonies; vn.
certo; pf. pieces; songs; incidental music to
Strindberg's Kronebruden (The Crown-Bride) and to
a couple of pantomimes.
Of his voluminous productions, the dramatic
works rank highest, his Ital. blood finding full
vent in these forms, both vocally and instru-
mentally. He has kept well abreast of the times,
his 1st opera, The Witch, following Verdi tradi-
tions; the latest, The Comedians, follows
"Verism."-A. H.
EPSTEIN, Richard. Austrian pianist; b.
Vienna, 26 Jan, 1869; d. New York, 1921.
Stud there under his father at Cons.; then for
2 years in Berlin and Dresden; prof. at Vienna.
Cons.; settled in London, 1905; later lived in
America.-E.-H.
A method of
EQUAL TEMPERAMENT.
tuning by slightly flattening the naturally pure
"fifth," which leaves all the 12 keys equally
tuned. It is the tuning now universally adopted
for all keyboard instrs., and the harp. Compare
UNEQUAL TEMPERAMENT.-E.-H.
ERB, Joseph Marie. Fr. compr. b. Strasburg,
23 Oct. 1860. Pupil at Ecole Niedermeyer; later
under Widor; now prof. of organ and compn.
at Cons. Strasburg; orgt. at Church of St.-Jean.
Has publ. organ sonatas and suites which rank
among masterpieces of modern organ compns.;
also numerous motets and masses which present
a new ideal in church music; 4 operas (produced
at Strasburg); symph. poems; many choral
works.-F. R.
Pianist and compr. b.
ERDMANN, Eduard.
Wenden (Latvia), 5 March, 1896. Stud. under
Bror Möllersten (pf.), Jean de Chastain (pf.)
and Harald Creutzburg (harmony and cpt.), in
Riga. Removed to Berlin, 1914; stud. compn.
under Heinz Tiessen and pf.-playing under
Conrad Ansorge. As compr. he is an exception-
ally daring, temperamental and high-spirited
artist; but in spite of enterprising flights into
harmonic realms, he still keeps to a tonal basis.
As pianist he is a pioneer of the little-heard
works of the older, as well as of the more recent
composers.
1 (Ries & Erler);
songs (id.): pieces; Rondo, orch. op. 9 (Jatho
Verlag); symphony, op. 10, (Steingräber); sonata
for vn. alone, op. 12 (Jatho Verlag).-A. E.
An den nf nie vn. op.
EREMINAS. See LITHUANIAN MUSIC.
ERGO, Émile. Belgian theorist, teacher; b.
Selzaete, 20 Aug. 1853. Acc. parents to Holland,
to Terneuzen; returned to Belgium, 1883, to
Antwerp. Cond. choral soc. (1898-1900 Ant-
ERNST
werpia, a Ger. soc.; 1900-3 Antwerpener
Rubenskring). Taught for some time in School
of Music at Ixelles. As a musicographer, he
became the representative in Belgium of the
theory of harmonic dualism of von Öttingen-
Riemann, on which he wrote a pamphlet. The
works of V. Mahillon had likewise some in-
fluence on his book Dans les propylées de l'instru-
mentation. Contributor to mus. reviews, especi-
ally Weekblad voor Muziek (Amsterdam). His
writings are characterised by their very enthusi-
astic, sometimes aggressive tone.
He gave
numerous lectures.
Eene ingrijpende Hervorming op musikaal Gebied
(1887); Le
diktaat (1890); harmonique (1891); Muziek
of
of Riemann (1894); Leerboek voor het contrapunkt
(1896-1902); Themaboek voor contrapunkt (1897),
Verhandeling over de Sequenzen (1898); Elementaar-
muziekleer (1903); Leerboek voor het muzieklezen
(1905-6); Dans les propylées de l'instrumentation
(1908); Uber R. Wagners IIarmonik und Melodik
(1914).-E. C.
ERIKSSON, Josef. Swedish compr. b. Söder-
fors, 8 Dec. 1872. Stud. R. Cons. Stockholm;
then compn. under Ruben Liljefors. Choirmaster
and orgt. in Upsala, where he lives as composer.
Songs with pt. (13 nos.); male-v. choruses; pf.
pieces
cos (op. 22, Sonatine); organ (op. 1, 7); Air, vn.
and pf. op. 15; suite, Bukolika, str. 4tet, op. 27.
(Publ. Lundqvist; Elkan & Sohildkneclit [Emil
Carellus]; Hansen Dahlström.) P. V.
ERKEL, Franz. Hungarian opera compr.
condr. b. Békésgyula, 7 Nov. 1810; d. 15 June,
1893. Stud. in Pozsony (now Bratislava,
Czecho-Slovakia). From 1837, opera-condr. at
Hungarian National Theatre, Budapest. 1853,
founded Budapest Philh. Soc. (dir. until 1875).
Dir. and pf. prof., R. High School, Budapest,
1875-89. Operas: Hunyadi László (1st perf.
1844); Bánk bán (1st perf. 1861), both still
favourite repertoire-pieces of R. Hungarian
Opera House. Last operas: Névtelen Hősök
(1st perf. 1880); István király (1st perf. 1885).
Comp. melody of Hungarian National Anthem,
1875.-B. B.
ERLANGER, Camille. Fr. compr. b. Paris,
1863; d. 1919. Pupil of Delibes. Grand Prix de
Rome 1888, with cantata Velléda. His music is
derived from Massenet and from Italian verism.
Chiefly for stage.
Le Juif polonais, 1900; Le Fils de l'Etoile, 1901;
Aphrodite, 1906; Forfaiture (posthumous work, un-
worthy of his talent, 1920); La Chasse fantastique,
orch.
St. Julien l'Hospitalier, 1894; some
songg..
ERLEBACH, Rupert. Eng. compr. pianist; b.
Islington, London, 16 Nov. 1894. Stud. R.C.M.
under Sir Charles Stanford and Vaughan
Williams (compn.); Franklin Taylor and Howard-
Jones (pf.); has comp. in all forms, and believes
in making the fullest use of folk-songs.
Orch. Before Dawn, op. 22 (1922); A Memory,
op. 25 (1923); 2 Folk-song Poems for small str.
orch. op. 24; Rhapsody, fl. ob. (c.a.) vn. vla. cello,
op. 17 a
str. 4tet, op. 19; 2 Legends, vn. and pf. (Curwen);
Bonata, cello and pf. (folk-song) in C, op. 8, No. 1
(id.); Mystic Pieces, pf. op. 21 (Goodwin); Folk-
Suite, Set I, op.
organ (1923, id.); songs;
choruses; cto. (Goodwin; Curwen).-E.-II.
all-Carol Suite. op. 29, organ (Stainer & Bell);
ERNST, Alfred. Fr. musicologist; b. Péri-
gueux, 9 April, 1860; d. Paris, 15 May, 1898.
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ERSHOF
Helped considerably Wagner's fame in France;
produced transl. of his works.
L'Euvre dramatique d'Hector Berlioz, 1884; Richard
Wagner et le drame contemporain, 1887; L'Art de
R. Wagner, 2 vols. 1893.-A. C.
ERSHOF, Ivan Vassilievitch (accent 2nd syll.).
Russ. t. singer; b. district of Don Cossacks, 1868.
Stud. Petrograd Cons.; later in Italy. In 1894-5,
sang in opera co. at Charkof; from 1895, at
Maryinsky Opera House, Petrograd; a brilliant
heroic t., especially in Wagner's works.-V. B.
ERTEL, J. Paul. Ger. compr. b. Posen, 22 Jan.
1865. Pupil of Ed. Tauwitz, Posen; stud. pf.
under Louis Brassin, later with Liszt; came out
as pianist. Stud. law in Berlin from 1886; after
State exam. devoted himself to compn. LL.D.
1898; teaches music in Berlin (Born's Pada-
gogium and Petersen's Acad.). Music critic to
Berlin Lokalanzeiger. From 1897 to 1905 ed.
Deutsche Musikerzeitung.
Symphony,
op. 1 (1896); Bel op. 12; Pompeji, Die nächt
symph. poems: Maria Stuart,
Mensch, op. 9 (with organ, 1905);
op. 16,
op. 20 (1909); double fugue for orch, and organ; vn.
and Leander,
concerto; str.
D mi.; 2 suites for vn, and pf. op. 38; and La
on Hebrew melodies, op. 14,
Suisse (olden style); sonata for pf. and vn. O mi. op.
50; ballads for barit. and organ and str. 4tet,
Die Wallfahrt nach Kerlaar and Des
(The
caglias (D mi., C ml.), for organ; prelude and double
2 Passa-
fugue on Wachet auf, organ; operas, Gudrun and Die
heilige Agathe; pf. pieces; songs.-A. E.
Curse); harmonium 4tet; 2 uch
ESAFONIA. New tonal effect, obtained by
dividing the octave into 6 perfectly equal parts,
expounded by Domenico Alaleona (q.v.) in his
I moderni Orizzonti della Tecnica Musicale (Turin,
1911, Bocca).-E.-H.
ESLAVA Y ELIZONDO, Father Hilarión.
Span. compr. b. Burlada (Navarra), 21 Oct. 1807;
d. Madrid, 23 July, 1878. Choir-boy at Pam-
plona Cath. (1816); violinist of Chapel orch.
there (1824). Choir-master at Cath. of Burgo de
Osma (1828) and at Seville Cath. (1832). Mus.
dir. at Royal Chapel, Madrid (1844). In 1854,
prof. of compn. at Real Cons. de Música, Madrid;
later, dir. of same. Knight of Gran Cruz de
Isabel la Católica, and María Victoria; Com-
mander of Order of Carlos III; founder of the
Gaceta Musical de Madrid (1855). Stud. under
Sebastián Prieto and Francisco Secanilla.
A hard Northerner, lacking imagination and
artistic sensibility, Eslava, the most influential
musician his country during the 3rd quarter of
XIX century, used his activities in contradictory
directions, indifferent to aesthetic ideals. He
joins the Church in Seville and writes operas that
raise an uproar of protest among the clergy. He
introduces Span. numbers of the flamenco style
in his Ital. operas, to please all sections of the
public; founds the Gaceta Musical de Madrid and
publishes the Lyra Sacro-Hispana and the Museo
Orgánico Español to encourage the development
of a national school, and at the same time.
flatters the perverted taste of the public with his
operas, his religious music and even his edu-
cational works, all conceived after the pattern
of the dominating Ital. school, of which he was
the staunchest upholder. Had he not absorbed,
142
ESPLÁ
through his master Secanilla, the teachings, so
fatal for Spanish religious music, of Francisco
Javier Garcia, known in Naples as "Lo Spagno-
letto"? (b. 1750).
Eslava's operas were failures; but his church.
music, which he produced in profusion, was in
his days accepted by all as beyond criticism. He
establ. a wrong tradition. Some of his Motetes a
cappella are not devoid of merit, but the rest do
not offer any point of technical interest and in
their very essence are the negation of mysticism.
The most representative specimen is the theatri-
cal Miserere (vs. and orch.) known as Miserere
Grande. The t. part demands a singer with
exceptional compass and dexterity. It is cus-
tomary, since the days of Gayarre, to engage at a
big fee a leading operatic tenor for its perf. at
Seville Cath. during Holy Week. The importance
of Eslava in public life was so great that numer-
ous theatres, cafés, piano factories and editorial
enterprises were, and still are, named after him
throughout the country. It is curious to note, as
a sign of the ill fate of the Span. school, that
Eslava followed as mus. dir. of the R. Chapel,
Madrid, an enlighted man who never exercised
any influence among his contemporaries-the
compr., condr. and singer Don Mariano Rodrí-
de sma (b. Saragossa, 1779). Ledesma
was the herald in Spain of modern music and
the antithesis of the unromantic, anti-pro-
gressivist, utilitarian Eslava, who, in point of
character, was but a shrewd, hard-working,
practical-minded man who would have suc-
ceeded in any profession he might have
chosen. With the publication of the Lyra
Sacro-Hispana he atoned in a certain measure
for his artistic sins. His music to-day is the
exclusive patrimony of an old-fashioned set of
church-goers and an unprofessional section of
the clergy, mostly in the south. The brilliant
church comprs. and musicologists belonging to
the Valencian, Catalonian and Basque groups,
owe but little to him. They participate more of
the spirit of Pedrell and Olmeda, and many of
them have learned César Franck's gospel at
the Schola Cantorum.
Lyra Sacro-Hispana, 7 vols.; Museo Orgánico
Español y Breve Memoria Histórica de los Organistas
Españoles; Memoria Histórica de la Música en
España. Text-books. Escuela de Armonía y Composi-
ción; Método Completo de Solfeo. Operas: Il Solitario
(Cadiz, 1841); La Tregua de Ptolomaida (Cadiz, 1842);
Pietro il Crudele (Seville, 1843).
Mass; Te
sereres: in 4; motets: Bailes de Seises, etc.
Lamentations: Requierch musto: 2
(Publ. Unión Musical Española, Madrid.)-P. G. M.
ESNAOLA, Secundino. Span. prof. of singing
and condr. Ex-music-master of Seminario,
Salamanca. Since 1902, condr. of Orfeón Donos-
tiarra, a choral soc. of San Sebastian which
under his direction has attained great efficiency
(see CHORAL SOCIETIES). His activities as a
pioneer of mus. culture in Spain, have been re-
warded with the Cross of Alfonso XII, the
highest distinction conferred for literary and
artistic merit in the country.-P. G. M.
ESPLÁ, Oscar. Span. compr. b. Alicante,
Aug. 1886. Stud. engineering and philosophy in
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ESPOSITO
Spain; stud. music, very early in life, in
his native town; though later he stud. music in
Germany under various masters, he may still be
considered a self-taught compr. His training in
abstract and exact science is not without in-
fluence on his mus. output, which gives evidence,
at every stage of his progress, of his high in-
tellectual qualities. He is one of the three.
leading Span. comprs., with Conrado del Campo
and de Falla, representing the three different and
well-defined tendencies in Span. modern school,
since the advent of Pedrell and Albeniz. He is
not a colourist, nor a Romantic. He has for basis.
the characteristic features of the popular music
of Eastern Spain (región levantina), which has
nothing in common with the current notions [so-
called Oriental music, but he deals only incident-
ally with folk-lore picturesqueness in his music.
He speaks with native feeling, in a universal
language. This attitude led him to adopt a scale
of his own formation, from which he evolves the
harmonic system that gives to the texture of his
music its regional character, without using any
definite folk-melody. The scale is as follows:
This technical device appears in his works
gradually, starting from op. 15, Crepúsculo and
other works composed after his residence in
Germany, reaching its full development in his 3
latest orch. works, Ambito de la Danza, Ciclopes
de Ifach and Las Cumbres, and the pf. Confines.
These exhibit the same time his highest
technical achievement and mastery in the ex-
pression of his personality. Another aspect
of his aesthetic principle is the tendency to
use the elements of Impressionism within the
broader boundaries of classical lines. He lectures
and writes on music and philosophical subjects.
His two most important literary works are El Arte
y la Musicalidad and Las actividades del espíritu
y su fundamento estético (Barcelona, Ed. Minerva).
Opera, Bella Durmiente (The Sleeping Beauty).
Orch.: Suite (1st prize International Competition
for Symph. Works, Vienna, 1909); symph. poem,
El sueño de Eros, perf. Munich,and Madrid; Poema
de niños; fantasia-scherzo, Ámbito de la danza;
symph. poem, Las Cumbres; choreographic poem,
Ciclopes de Ifach. Chamber-music: pf. 5tet; sonata,
vn. and pf. (1st perf. in England at concert of modern
Span, music under Pedro G. Morales; Birmingham,
March 1920); Preludio, organ and pf. Pf.: Estudio
fugado; Impresiones musicales; Cantos sin palabras
(Songs without Words); Scherzo; Crepúsculo, os):
op. Confines (2
Choral work, Coral religioso. (Unión Musical Española,
Madrid; Iberia Musical, Barcelona.)-P. G. M.
ESPOSITO, Michele. Compr. and pianist; b.
Castellamare, near Naples, 29 Sept. 1855.
Entered Cons. of Naples as pf. pupil of Cesi; and
stud. compn. under Serrao for 8 years there; 1878,
went to Paris for some years; 1882, chief pf.
prof. R. Irish Acad. of Music. In his 40 years'
residence in Dublin, he has devoted his energies
to the encouragement of classical music in Dub-
lin. Through his organisation, the R. Dublin
Soc. chamber-music recitals were successful
from the first. He has given pf. recitals for it.
every year. In 1899, he establ. Dublin Orch.
EVANS
Soc. and cond. till its disbandment in 1914; also
condr. of Sunday Orch. concerts (discontinued
1914). When the L.S.O. visited Woodbrook in
1913 and 1914, E. cond. some of concerts, and
(under Hamilton Harty), played solo-part of
his new pf. concerto. His cantata Deirdre, his
Irish Symphony and his str. 4tet in D were
awarded prizes by the Feis Ceoil (Irish Music
Fest.). His sonata in D, cello and pf., was
awarded a prize by the Incorporated Soc. of
Musicians, London, 1899. His sonata in E mi.,
vn. and pf., gained prize in 1907 offered by La
Société Nouvelle, Paris. His str. 4tet in C mi.
gained prize offered by the Accademia Filar-
monica, Bologna. With Sir Stanley Cochrane,
he founded the "C. & E. Edition" for publishing
music.
by T.
chorus and orch. (Breitkopston), cantata for soli,
The Tinker the
Fairy (book by Douglas Hyde), 1-act opera (Dublin,
C. & E. ed.); The Post Bag (book by A. P. Graves),
1-act
Irish
(1902); Poem for orch. op. 44 (1899); Irish
Suite, orch. op. 55 (C. & E. ed.); Neapolitan Suile,
str. orch. op. 60 (id.); str. 4tet in D, op. 33 (Breitkopf,
1899); str. 4tet in C mi. op. 60 (C. & E. ed.); sonata
in G, vn. and pf. op. 32 (Schott); sonata in E mi. vn.
and pf. op. 46 (Paris, 1907, Astruc); sonata, vn.
pt. op: Sonata in D, cello and pf. op. 43
and
67
7. ST.
ESSIPOVA, Anna Nicolaievna. Russ. pianist;
b. Petrograd, 19 Jan./1 Feb. 1851; d. there, 17
Aug. (n.s.), 1914. Stud. under Van Ark and
Leschetizky at Petrograd Cons. Gold medallist
1870. Appeared in London 1874; Paris 1875;
America 1876, etc. Married her former teacher,
Leschetizky, in 1880; divorced 1892. From 1893.
till death, prof. of pf. Petrograd Cons. She
created her own school of playing; amongst its
younger representatives are S. Prokofief and A.
Borovsky. -V. B.
ETTINGER, Max. Compr. b. Lemberg, 27
Dec. 1874. Prevented from studying music
early in life owing to ill-health. Received first
instruction in harmony in Berlin in 1899.
Passed through Cons. Munich, where he has
since been living.
Vn. sonata, op. 10; cello sonata, op. 19; 5tet
English masters for full op. 20; Suite after old
30;
3 songs without words, full orch. op. 31; Wisdom of
the East (Omar Khayyam), for soli, chorus and orch.
(Nuremberg Fest. 1921); many songs: 1-act tragi-
comedy (from Boccaccio) Der eifersüchtiger Trinker
(The Jealous Drinker); tragio opera in 3 acts, Judith,
op. 28 (after Hebbel; Nuremberg, 1921; publ. Die
Schmiede, Berlin).-A. E.
EVANS, David. Welsh compr. and adjudi-
cator; b. Resolven, Glamorganshire, 1874.
Educated Arnold Coll. Swansea; Univ. Coll.
Cardiff, and privately under late Prof. Ebenezer
Prout. Graduated Mus. Bac. at Oxford, 1895;
and later Mus. Doc. Orgt. Jewin
terian Ch., London, 1900-3; lecturer in music
and head of department, Univ. Coll. of S. Wales
and Monmouthshire, 1903. Prof. of music, Univ.
Coll. Cardiff, 1909; examiner Central Welsh
Board, 1908-20; ed. Y Cerddor (The Musician),
Jan. 1916 to Dec. 1921. Condr. of Psalmody
Fest. (Cymanfaoedd Canu) and of the Eryri Mus.
Fest., Carnarvonshire.
Orch. suite (prize, Merthyr National Eisteddfod,
1901); orch. overture (Carnarvon National Eistedd-
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EVANS
for (Rejoice in the Lord) (Carnarvon National Eistedd
fod Concerts, 1906); dramatic cantata, The Coming
of Arthur (Breitkopf) (Cardiff Triennial Mus. Fest.
1907); ode, chorus and orch., Deffro, mae'n ddydd
(opening of Coll. Buildings,
wyth and Carron Nationardiff: and at Aberyst-
Eisteddfodau); ode,
chorus and
Carmen (1909); operetta for
children, Bro y bugeiliaid (Dewi Sant concert, Cardiff;
Barry National Eisteddfod concert, etc.). Ed. of
Moliant
church cenedl; part-songs; choruses; anthems;
services, V. T.
EVANS, Edwin, sen. Eng. orgt. and writer;
b. 1844; d. London, 21 Dec. 1923. Trained as an
organist; best known as a writer. Nearly all his
works are publ. by W. Reeves, London.
Beethoven's 9 Symphonies, Vol. I, 1923;
1924: to Br
Modal Accompaniment of Plainchant; Wagner's
Brahms;
Teachings by Analogy: How to compose; How to
accompany at the Piano; transl. of Wagner's Opera
and He
overtures for the arranged a large number of opera
EVANS, Edwin, jun. Eng. writer on music, lec-
turer; b. London, 1 Sept. 1874. Son of Edwin E.
sen.; general education at Lille, 1883-5; Echter-
nach, Grand Duchy of Luxemburg, 1885-9;
musically self-taught, except elementary lessons
from E. E. sen.; followed many occupations be-
fore returning to music; cable telegraphy, 1889-
1893; Stock Exchange and banking, 1895-1908;
financial journalism, 1908-13; since then, music
solely; began writing on music from 1901; series
of arts. on modern Russ. comprs. 1902; on
modern British comprs. 1902-3; subsequently
lectured extensively on modern Fr. music; among
the first in this country to draw attention to
Debussy; lectured at R.A.M. on eve of 1st perf.
of Pelléas et Mélisande in London. May 1914 to
Nov. 1923, critic of Pall Mall Gazette; another
series on modern British comprs., Mus. Times,
1919-20. Ed. of Mus. News and Herald, 1921-2;
transl. several operas (Louise, Pelléas et Méli-
sande); intimately associated with Russ. Ballet;
produced Barrie's fantasy The Truth about the
Russian Dancers at Coliseum with music by
Arnold Bax and mise-en-scène by Paul Nash;
took part (1922) in discussions at Salzburg which
led to creation of new International Soc. for
Contemporary Music; has contributed copiously
to leading Eng. reviews and also to mus. journals.
As a critic E. E. combats claims to exclusive
authority for any one kind of music; he admires
both old and new music; confesses to a feeling
of surfeit for the giants of the XIX century, but
turns with great affection to XVIII century (Bach;
Scarlatti; Mozart) and with great sympathy and
curiosity to the xx century. In Jan. 1923, he
was presented with his portrait by a group of
young British comprs. and, in Dec. of same year,
received the Palmes Académiques for his services
to French music.
Tchaikovsky (J. M. Dent & Sons, 1921); transl.
Jean-Aubry's French Music of To-day (Kegan Paul,
1919).-E.-H.
EVANS, Harry. Welsh choral condr. b. Dow-
lais, Glam., Wales, 1 May, 1873; d. Liverpool,
23 July, 1914. Resigned school-teaching for
music in 1893, training choruses; chief choral
prize, Welsh Nat. Eisteddfod, 1905; for male-v.
choir, Liverpool Nat. Eist. 1900; acted fre
144
EXPERT
quently as adjudicator; in 1902 became condr.
of Liverpool Welsh Choral Union; 1906, orgt.
Gt. George St. Congregational Ch., Liverpool.
His Victory of St. Garmon was produced at Car-
diff 1904 Fest. He was condr. of Liverpool Univ.
Choral Soc.; dir. of music at Bangor Univ.;
choral condr. of Liverpool Philh. Soc. With the
Welsh Choral Union, perf. many modern works-
Elgar's Gerontius, Apostles; Bantock's Omar,
Atalanta, Vanity of Vanities, etc. Consult Mus.
Times, Aug. 1907.-E.-H.
EVANS, Lindley. Compr. b. Cape Town, 1895.
Now living in Sydney, N.S.W.
Trio, pf. vn. cello; sonata in old style, vn. and pf.;
pf. pieces; many songs.-E.-H.
EVANS, T. Hopkin. Welsh condr. adjudicator,
lecturer and compr. b. Resolven, Glamorgan-
shire, 1879. Stud. under Dr. David Evans
(Cardiff), Dr. Kitson and Granville Bantock;
one of the most prominent of Welsh choral and
orch. condrs.; condr. Neath Choral Soc., Liver-
pool Welsh Choral Union (successor of late Harry
Evans), and Wrexham Choral and Orch. Soc.;
graduated Mus. Bac. at Oxford, in 1913. Adjudi-
cator at National Eisteddfodau and Eng. fests.
2 str. 4tets (prize); orch. overture, Brythonic;
cantatas: Cynon (a tale of the Gododin), soli, chorus
and orch.; Ode to the Passions, soli, chorus and
orch; choral song, Fleur-de-lys, s.m.-sopr.c.t.b.b.i
Ingeborg, solo and 6 songs,
Dryden; many part-songs; choruses; songs; pf.
pieces.-D. V. T.
EVENEPOEL, Edmond. Belgian musico-
grapher, b. Brussels, 23 March, 1846. An official
at Ministry of Interior, now on retired list.
1880-1914, music critic of La Flandre Libérale
(Ghent).
Contributed to Revue Wagnérienne
and to Guide Musical; wrote Le Wagnérisme
hors d'Allemagne (Brussels, 1891).-E. C.
EVETTS, Edgar Thomas. Eng. singer, compr.
b. Oxford, 20 Dec. 1864. Solo-boy at Cowley St.
John's there; in 1879 went to America as solo-
boy, St. Clement's, Philadelphia; 1882-5, in
India; 1884-85, orgt. St. Peter's, Mazagon,
Bombay; stud. singing at R.A.M. London,
1885-90; choirmaster at Holy Trinity, Sloane
Sq., St. Mary's, The Boltons, S. Kensington, and
Berkeley Chapel, Mayfair, 1889 (all 3 simul-
taneously); lecturer, London Acad. of Music,
from 1910; founded operatic class there, 1920,
in which year he became a dir. of the academy.
Songs (Augener; Lengnick); ed. Sieber's Sol-
fegglos (18 books); Marchesi's; Panofka's; Vaccai's;
etc. (Augener).-E.-H.
EVSEIEF, Serge Vassilievitch (accent 2nd syll.).
Russ. compr. and pianist; b. Moscow, 25 Jan.
(n.s.), 1894. Pupil of L. Conus (pf.), N. Metner
(theory) and at Moscow Cons. under Golden-
weiser (pf.), G. Catoire and S. I. Tanéief (theory).
From 1922, teacher of theory at Moscow Cons.
Symphony, F sharp mi. op. 4; pf. trio, Heroic
Poem, op. 7; pf. sonata, G mi. op. 2; 3 Russ. folk-
songs with pf. op. 6; pf. pieces, op. 3, 5;
1 (op. 1, 2, 3, 5, 6, Russ. State Music Publ. 5, p.
Dept.).
B.
EXPERT, Henry. Fr. musicologist; b.
Bordeaux, 12 May, 1863. Pupil of École Nieder-
meyer; advised by Reyer, César Franck and
Gigout. In 1909 2nd librarian of Paris Cons.;
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EXPRESSIONISM
senior librarian since 1920. Prof., for a time, at
École des Hautes Études Sociales. Since 1894, has
publ. the magnificent coll. of Maitres Musiciens
de la Renaissance française, 23 vols. (q.v.);
Bibliographie thématique; Anthologie Chorale; Les
Théoriciens de la Musique de la Renaissance;
Sources du Corps de l'Art de Musique franco-
flamande des XVe et XVIe siècles; Commen-
taires; Extraits des Maîtres Musiciens. Also:
The Huguenot Psalter of XVI Century; The Songs
of France and Italy; The Harpsichord Masters of
XVII and XVIII Centuries; The Diversions of the
French Musicians of XVIII Century; Repertoire of
Religious and Spiritual Music. Has ed. the ana-
lytical notes in the Edition Nationale (Senart).-A. C.
EXPRESSIONISM. A term given to a new
form of pictorial or mus. art, the chief exponent
in painting being Kandinsky the Munich painter
and, in music, Schönberg the Viennese compr.
Consult The Art of Spiritual Harmony by Wassily
Kandinsky (transl. by M. T. H. Sadler; Con-
stable, 1914), and Egon Wellesz's book, Arnold
Schönberg (J. M. Dent & Sons, 1924).-E.-H.
EYKEN, Heinrich. Ger. compr. b. Elberfeld,
EYSLER
19 July 1861; d. Berlin, 28 Aug. 1908. Pupil
of Papperitz at Leipzig Cons., then of Herzogen-
berg at Berlin Acad. Teacher of theory at R.
High School, 1902. As compr. became chiefly
known through effective songs.
Judith's Song of Victory, contr. and orch.; Icarus,
barit. and orch.; Schmied Schmerz; Song of the
Valkyrie; Stille Tröstung (Silent Consolation);
male choruses; a Psalm; Serenade. His chief work
is the
Liliencron's
(4 vois. with 324 choral numbers in the strict style).
A Harmony Tutor in ms. was publ. posthumously
by H. Leichtentritt and O. Wappenschmidt in
1911.-A. E.
EYSLER, Edmund. Austrian operetta compr.
b. Vienna, 12 March, 1874. Stud. a short time
at Vienna Cons.; wrote many stage works,
with a pronounced local note. He had a great
success, chiefly because Girardi, the great Vien-
nese actor, played the principal characters in
his operettas.
Frauenfchatz (1918); Pufferl:
(1912)
Der berühmte Gabriel (tra
Bruder
binger, 1901 (his best work); Vera Violetta (1906).
P. P.
Der
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F
FABERT, Henri, (really Fabre). Fr. operatic t.
b. 1881, of commercial family of Drôme; trained
for business. Stud. law at Marseilles; then came
to Paris. Attracted by the stage, played comic
rôles in revues at music halls, and took up study
of singing. Début in La Fille de Madame Angot
at Gaîté-Lyrique; then sang in La Vivandière
and L'Attaque du Moulin. Went to Opera-
House, Monte Carlo, then to Opéra, Paris, where
he gave brilliant perf. (Mime; Loge) in Wagner's
Ring cycle. Also sang in operetta in Lyons,
Brussels, Paris, Marigny. Formally engaged at
Opéra, 1921, he sang in L'Heure Espagnole,
Rhinegold (1922), Falstaff, Magic Flute and
Padmavati. Began as 2nd t., later became 1st t.
He excels as an actor. Gives fine renderings of
songs of Schubert, Schumann and Mussorgsky,
Ravel and Debussy.-A. R.
FACCIO, Franco. Ital. condr. b. Verona,
8 March, 1840; d. Monza, 21 July, 1891. After
death of Angelo Mariani, F. was considered the
foremost Ital. condr. Stud. at Milan Cons.
(Mazzuccato School), where he was fellow-pupil
with Arrigo Boito; F. was prof. in same Cons.
from 1868. Comp. operas, I Profughi fiamminghi
and Amleto (the latter on Boito's libretto); also a
symphony and a 4tet. As a condr. he had a very
grand style; during last years of his life, left
impress his personality on the seasons at La
Scala, Milan, and at other theatres which com-
peted for his services.-D. A.
FACH. The proper range of parts in Ger.
theatres and operas. The chief Fachen are the
Heldentenor (heroic tenor) corresponding to the
Young Hero of the drama; High Dramatic
Soprano, a Young Dramatic, a Coloratura-
singer, and Opera Soubrette (all sopranos);
Leading Contralto, a Second Contralto, a "Comic
Old Woman," a volunteer Soprano to do Pages,
etc.; the Heroic Tenor, the Lyric Tenor, a Tenor-
buffo, with sometimes a special Operetta Tenor;
two baritones, Heldenbariton and Lyric; a serious
and a comic Bass.-E.-H.
a
FÄHRMANN, E. Hans. Ger. orgt. and compr.
b. Beicha, 17 Dec. 1860. Pupil of C. A. Fischer,
Hermann Scholtz and J. L. Nicodé in Dresden;
cantor and orgt. at Johanniskirche, Dresden,
1890; teacher of organ at Cons. Married Julie
Bächi, contr. singer.
11 organ sonatas; organ concerto with orch., op. 20;
other organ pieces; a symphony, C ma. op. 47;
mi.); pf. sonata, op. 6; songs.-A. E.
FAIRCHILD, Blair. Amer. compr. b. Belmont,
Mass., U.S.A., 23 June, 1877. Stud. at Harvard
Univ. (A.B. 1899); mus. instruction from J. K.
Paine and W. R. Spalding.
Then went to
Florence, studying pf. under Buonamici. After
short business career, entered U.S. diplomatic
service, and between 1901 and 1903 was stationed
at Constantinople and in Persia. Many of his
Eastern impressions bore fruit in his later compns.
1903, settled in Paris to devote himself entirely
to music, studying under Widor and Ganaye.
Since then, has resided alternately in Paris and
in New York. Has comp. much in all forms,
following, on the whole, classic models.
symph. poem Zal, op. 38, perf. in Paris, 1918.
The ballet-pantomime Dame Libellule, op. 44,
had its première at Opéra-Comique, Paris, 7 Dec.
1908); str. 4tet, op. 27 (Demets, 19 gener, 1912);
Concert de
His
1921.
FACHIRI, Adila (née Arányi de Hunyadvár).
Hungarian violinist; b. Budapest, 26 Feb. 1889.
Early mus. education at R. Acad. of Music,
Budapest. Began vn. at 10 under Hubay; at 17,
artists' diploma, the highest distinction in Hun-
gary; then stud. in Berlin under Joachim, her
great-uncle (until his death), being the only
private pupil he ever accepted. He left her one
of his Stradivarius violins. She has played in
public in chief cities of Hungary, Austria, Ger-
many, Italy, France and Holland. First came to
England in 1909. In 1915, married Alexander
Fachiri, an Eng. barrister, living in London.
Appears regularly at London concerts.-E.-H.
Chambre, vn. pf. and str. 4tet, op. 26
2 Bible Lyrics for chorus, s. solo and orch. op. 29:
I. From the Song of Songs; II, David's Lament
(H. W. Gray, 1911); Tamineh, sketch for orch. after
a Persian legend
mus, picture for ora gener, 1913); Shah Féridoûn,
39 (id. 1915); sonata, vn.
and pf. op. 43 (Durand, 1919); Dame Libellule,
ballet-pantomime, op. 44 (pf. score Paris, Ricordi,
1919: full score id. 1921); Etude symphonique, vn.
and orch. op. 45 (Durand, 1922); Canti popolari
italiani (Tuscan stornelli) (Boston, W. C. Thompson,
1901-7). Op. 26 and op. 45 also publ. for vn. and
pf.-O. K.
FAIRLESS, Margaret. Eng. violinist; b. New-
castle-on-Tyne, 10 Nov. 1901. Stud. at Vienna
Acad. under Ševčík (vn.), Rosé (chamber-music);
London début at R. Albert Hall Sunday concerts
followed by R. Philh. Soc. concerts and Queen's
Hall Orch. concerts.-E.-H.
FALCHI, Stanislao. Ital. compr. b. Terni,
29 Jan. 1851; d. Rome, 17 Nov. 1922. 1902-15,
dir. of R. Liceo Mus. di Santa Cecilia, Rome,
which grew and flourished under his leader-
ship; he had previously filled, in same Inst., the
posts of teacher of choral singing and of compn.
His output as a compr., inspired by a fine yet
severe taste, includes the operas Lorhélia (Argen-
tina Theatre, Rome, 1877), Giuditta (Apollo
Theatre, Rome, 1887), Il Trillo del Diavolo
(Argentina Theatre, Rome, 1899); a Requiem,
an overture to Shakespeare's Julius Caesar and
much vocal and instr. chamber-music (publ. by
Lucca; and Ricordi, Milan).-D. A.
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FALCONER
FALCONER, Frederick James. Scottish
violinist; b. Edinburgh, 2 May, 1885. Stud.
under Prof. Wünsch in Brunswick in 1904; at the
Prague Cons. in 1904; and at R.A.M. London,
1906-8. Has given successful recitals in Edin-
burgh, where he is now settled as a teacher.
Fantaisie for 4 vns.; pieces for pf.; and for vn.
and pf.-W. S.
FALENI, Arturo. Argentine compr. b. Chieti,
Italy, in 1877. Stud. at Genoa. Went to Buenos
Ayres in 1897 and founded Verdi Inst. of Music.
Practically self-trained, his compns. have been
highly praised by Puccini, Mancinelli, Toscanini,
and Mugnone.
lamber c
El F
la
cians (2nd ed. 1911): Teoria de sica (5th
Overture in D; Fantasia; Romance sans paroles;
Fugue; music-poem, Il Terremoto (The Earthquake);
works!
Compendio de historia de la música
(3rd ed. 1910); Estética y psicologia musical (1907);
Biographical Notes of the Great
and Musi-
ed.
1912; awarded diplomas at Exhibitions of St. Louis,
U.S.A. 1904, and Milan, 1906).-A. M.
FALL, Leo.
Operetta compr. b. Olmütz
(Moravia), 2 Feb. 1873. Stud. at Vienna
Cons. under Fuchs. Was 1st condr. at
theatres in Berlin, Cologne and Hamburg.
Comp. various operas. 1904, returned to Vienna
and became one of most successful operetta
writ
aining and pleasing inven-
tion place him on a level with Lehár.
His sound
Famous operettas (all publ. by Doblinger, Vienna):
Bauer
Mann-
Der fidele: Die Dollarprinzessin (The Dollar-Princess)
heim, 1
Vienna, 1907 (600 perf.); Die geschiedene Frau (The
Girl in the Tari) Vienna, 1908: Das Puppenmädel (Doll-
Girl) Vienna, 1910; Der liebe Augustin, Vienna, 1911;
The Night Express, Vienna, 1913; The Student-
Duchess, Berlin, 1913; Young England, Berlin, 1914;
Der künstliche Mensch (The Artificial Man), 1915;
Der goldene Vogel (The Golden Bird), 1920; Brüderlein
fein (1-act); and (for London) The Eternal Wallz,
1912. P. P.
FALLA, Manuel de. Spanish composer; b.
Cadiz, 23 Nov. 1876. Received first music les-
sons from his mother, an accomplished pianist.
Lessons from Eloisa Galluzzo, Alejandro Odero
and Broca, the well-known bandmaster, followed,
until he went to Madrid and studied piano under
José Tragó and composition under Felipe Pe-
drell, winning a special prize for piano-playing
at the Real Conservatorio de Música. In 1905,
he won the prize in a national opera-competition
organised by the Real Academia de Bellas Artes,
with La Vida Breve, the work destined to be the
foundation of his world-wide fame. Previously
he had composed, against his natural inclina-
tion, other works of a lighter character for the
Spanish stage, which never provided him with
the much-needed financial help and have been
withdrawn by the author. La Vida Breve was
not staged at the time, although this was
stipulated in the competition conditions, and so
remained unknown until 2 April, 1913, when it
was produced with great success at the Municipal
Casino, Nice; subsequently at Opéra-Comique,
Paris, 29 Jan. 1914; Madrid, 1915, etc.
In 1907 he went to Paris, where he lived
several years, devoted to the study of his art,
with no other aid than his meagre earnings as
an obscure music-teacher. It was then, whilst
living under such discouraging circumstances,
FALLA
that he refused the tempting offer from one of
the most influential operatic concerns in Europe,
to write Spanish operas after the conventional
pattern, with libretti selected for him. It was
then, too, that he declined the invitation from
certain quarters in Paris to adopt French nation-
ality as the sure means of finding there the
facilities for producing his works, denied to him
in his own country. Almost immediately on his
arrival in Paris he was favoured by Debussy,
Ravel, Dukas and other famous composers,
with friendship, advice and encouragement,
distinction he always appreciated, and for
which, as in the case of Albeniz, Turina and
others, Spain will always be indebted to France.
On the outbreak of the 1914-18 war, he had
to leave France for Spain, taking up residence.
at Granada. There, near the Alhambra, his
contemplative character and modesty found
suitable surroundings for an existence entirely
ruled by the ethical and aesthetic principles
which form his philosophical system. For de
Falla is a philosopher, though, as often with
Southern minds, his philosophy arises from
emotions of different character, and has ex-
enclose the
pression in some form of art. "God, Art and
Country are the words which
philosophical synthesis of his life. From this
principle, he not only derives his inspiration,
but even evolves his technique. But de Falla,
though already considered the foremost figure
in the modern Spanish school, and one of the
torch-bearers of musical progress in the world,
has not yet fully revealed himself.
He is fastidious and painstaking to an extreme.
To the demands of his subtle feelings and æs-
thetic sensibility he willingly sacrifices all natural
gift and facility. His works are criticised, put
away, recast over and over again, before being
given to the public. He imposes upon the im-
pulse of his mind a discipline which seems to
follow in inverse order the motto we have
attributed to him. In other words: a discipline
meant to start from the popular (El Amor Brujo,
The Three-cornered Hat, etc.), then to attain the
aesthetic ideal, and rise finally to the meta-
physical. Noches en los jardines de España
(Nights in the Gardens of Spain), is already a
manifestation of high achievement in the second
stage of his life's programme. Of his possi-
bilities in a higher order of thought we can only
conjecture, from dim indications in his known
works, and an intimate knowledge of his per-
sonality. Though he is not the artist from whom
a powerful creation of passionate or heroic char-
acter may be logically expected, yet he is one
gifted to elevate himself to the supreme sphere
of an intense musical mysticism.
How his feelings and ideas on religion and
patriotism can form the basic elements of his
music will be better understood by some of his
written and verbal public declarations:
"The wonderful musical treasure previous to J. S.
Bach is systematically ignored and despised as if the
art of sound had not had a worthy existence until
the arrival of the great Cantor. Beethoven employs
the Lydian mode in his Canzona to give it a religious
character, since it is written as a thanksgiving to
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FALLA
Divinity. Wagner also makes use of modal formulee,
and even themes from the Catholic liturgy, in Parsi-
fal. Yet he does not abandon the Protestant tradi-
tion-that tradition of ill omen which has been the
principal, if not the only, cause of the contempt that
the music of the so-called classical period had for
that of the XVII century. ... In spite of narrow
conservatism, music continues to detach itself from
academical routine, false rhetoric, obsolete formule,
and the forthcoming composers will follow the steps
of those who have forced their way on the road of
truth and liberty that leads to the domains of pure
beauty, where musio will triumph by itself, redeemed
at last by the work and even martyrdom of some men
of good will.... Mussorgsky was the true initiator
of the new era in music; and, thanks to him, Rimsky-
Korsakof, Balakiref and Borodin, the melodle forms
and ancient seales that, despised by the composers,
had taken refuge in the church and the people, were
restored 1 to musical art... It is a widespread error,
the belief that modernity in music depends on a
prodigality of harmonic dissonancos. This is to such
an extent untrue that I make bold to declare that the
modern spirit in music can subsist in a work in which
only consonant chords are used, and, what is more,
in music consisting only of an undulating melodic
line. The modern spirit resides mostly in the
three fundamental elements of music, rhythm,
modality and melody, used as a means of evocation.
This does not mean that the harmonic discoveries
have only a relative value; their valueo is absolute
and great, but not unique; so much so that Debussy,
from whom has arisen in a definite manner the
innovating movement, has a distinct predilection for
consonant chords. This, like every innovating move-
ment recorded in the history of humanity, had been
prepared gradually, not by technical treatises but
by the work of other composers. Nevertheless, the
spirit, the mosthetics and technique of modern music
were not established in a precise, lasting and definite
manner until the appearance of the Nocturnes, the
G minor quartet, L'Après-midi d'un Faune, Pelléas
et Mélisande... The music of Schönberg particu-
larly is atonal' (keyless), and to this grave error is
due the unpleasant effect produced by some of his
music. But, fortunately, the majority of modern
musicians observe the laws of tonality, considering
them rightly as immutable.... Glinka made a
journey to Spain in 1847, stopping specially in
Granada. There he knew the celebrated guitarist,
Francisco Rodríguez (El Murciano), with whose
assistance he tried in vain to write, in musical nota-
tion, some of the popular songs typical of the style
called cante jondo or flamenco, in which he found no
end of interest and delight. Then, influenced by the
music of Spain, he wrote his Souvenir d'une nuit
d'été à Madrid and Caprice brillant sur la jota ara-
gonesa, in which he arrived at certain new orchestral
effects. On his return to Russia, he blended what he
had learned in Spain with the elements of the Russian
folk-songs, thus giving origin to the style that later
on was taken up and developed by Rimsky-Korsakof
and the other members of the well-known group,
The Five.... Stravinsky has also been so
interested in Andalusian popular music as a possible
source of original devices, that he has announced his
intention of composing a work in which all the values.
of the said popular style will be used. The influence
of the Andalusian cante is also to be found in
Debussy, since he became acquainted with it at
two world-exhibitions held in Paris. This shows the
importance of the cante jondo as an aesthetic value,
for Debussy's work represents the foundation-stone
of the greatest revolution in modern musical art.
There is ground to believe that we have to look
to Glinka's journey to Spain for the origin of the
modern orchestra."
How far the set of laws implied in these
declarations will take the composer, no one can
predict. The danger might lie in his giving un-
due importance to the folk-lore element.
The following is a complete list of de Falla's
published works:
FANO
clar. vn. and cello. Pf.: Pièces espagnoles; Fantasia
Batica. V. and pf.: Trois mélodies (Fr. text, Théo-
phile Gautier): Siete canciones populares españolas.
Guitar: Homenaje, pour le tombeau de Claude Debussy.
(Chester, London; Max Eschig: Durand; Rouart,
Lerolle, Paris.) For a description of El Retablo, see
Chesterian, London, Oct. 1923.-P. G. M..
Ballets: El Sombrero de Tres Picos (The Three-
cornered Hat); El Amor Brujo (Love the Magician).
Operas: La Vida Breve; El Retablo de Maese Pedro
(first perf. in Seville and shortly after at Princess Ed.
Polignac's, Paris, 25 July, 1923). Pf. and orch. :
Noches en los jardines de España, impresiones sin-
fónicas. Concerto for clavicembalo (or pf.), fl. ob.
FALTIN, Richard. Ger.-Finnish compr. b.
Dantzig in 1835; d. Helsingfors in 1918. Stud.
in native town, later in Dresden and Leipzig.
In his youth, settled in Finland, beginning at
Viipuri (Viborg); 1869, went to Helsingfors as
successor to Frederick Pacius (1809-91; like-
wise a Ger.-born promoter of mus. life in Fin-
land), thus becoming mus. dir. at Helsingfors
Univ., orgt. of St. Nicholas Ch., and orch.
condr. A skilled compr., ed. of a hymn-book,
condr. of large choral works, and of the Finnish
Opera House, teacher and arranger of Finnish
folk-songs, he was a worthy successor to Pacius;
became leader in Finnish mus. life, especially up
to the 'eighties, when a movement rose in favour
of native talent and the development of modern
Finnish music.-T. H.
FALTIS, Evelyn. Ger.-Czechoslovak compr.
b. at Trautenau. Her ancestors. immi-
grated in XIX century from Bilbao (Spain).
She stud. in Florence, Rome, Paris, Vienna (Rob.
Fuchs, Mandyczewski), Dresden (Draeseke),
Munich (Sophie Menter); became repetitor of
solo parts at Stadttheater, Nuremberg, and at
Theatre Royal, Darmstadt; in 1914 she was
assistant at Bayreuth Festival.
Op. 1, pf. trio, D ma.; op. 2 (a) fantastic sym-
phony, (b) Hamlel, symph, poem (orch.), (c) songs; op.
3, pf. concerto; op. 4, pf. trio, G mi.; op. 5, vn. and
pf. sonata; op. 6, Andanto and Slav dance, vn. pf.;
op. 7, 3 songs; op. 8, 7 songs; op. 9, Invocation,
4-part mixed chorus (unaco.); op. 10, 6 songs; op. 11,
2 sacred songs, v., organ; op. 12, Fantasy and double
fugue, with Dies Irae, organ; op. 12(a), Gipsy Songs;
op. 13(a) str. 4tet, (b) mass for organ.-E. S.
FANELLI, Ernest. Fr. compr. b. Paris, 27
June, 1860; d. there, 1919. This musician had a
sad destiny. Although a pupil of Alkan and
Delibes at the Cons. he worked almost entirely
alone. Very poor and without relations, he had to
earn his living as a drummer in an orch., without
hope of ever being heard as a compr. In 1912 at
age of 52 he had the joy of hearing perf. his
Tableaux Symphoniques, comp. in 1882. The
critics were unanimous in appreciating the
orchestral colouring of this work, which, had it
been performed at the time of composition,
would have astonished by its novelty. In 1914
the Colonne Concerts produced his Impressions
pastorales. Fanelli died a little after the Armis-
tice, without having succeeded in revealing to
the public his finest work, part of which remains
in ms. This work is particularly interesting for
the orchestral feeling which it reveals, a feature
which made Fanelli a true precursor.
Tableaux Symphoniques, 6 suites for orch. _on
Théophile Gautier's Roman de la Momie (1882); Im-
pressions Pastorales: Suite rabelaisienne;
Humoresques; str. 5tet, etc.-H. P.
Les
FANO, Guido Alberto. Ital. compr. and
pianist; b. Padua, 18 May, 1875. In 1912
elected dir. of Parma Cons., whence he passed.
in same year to directorship of Cons. San Pietro
a Maiella, Naples; subsequently to Palermo
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FARA
Cons. As compr. he is known for a symph.
poem, The Temptation of Jesus; an Introduc-
tion, Lento Fugato e Allegro Appassionato for
orch., perf. at Augusteo, Rome; also two pf.
sonatas; author of a still unpubl. operatic
trilogy inspired by the origins of Rome. As
pianist, became known through several tours
in Italy and abroad. Publ. books dealing with
mus. subjects: Thoughts on Music (Bologna,
1913, Beltrami & Cappelli); The Life of Rhythm
(Naples, 1916, Ricciardi). Resigned direction
of Palermo Cons, and is now pf. teacher at Milan
Conservatoire.-D. A.
FARA, Giulio. Ital. folk-lorist; b. Cagliari,
4 Dec. 1880. Noted for his studies in mus.
history and criticism; and especially in the
folk-lore dealing with popular songs and instrs.
of his native Sardinia, a most interesting country
in this respect and one which has been very
little studied. His writings are publ. mainly in
the Rivista Musicale Italiana, Turin, in the
Cronaca Musicale, Pesaro, in the Critica Musi-
cale, Florence. Books: G. Rossini: Genio e
ingegno musicale (Turin, 1915, Bocca); L'anima
musicale d'Italia: La canzone del popolo (Rome,
1921, Ausonia). Compr. of some Sardinian Songs
(Rome, 1917, Tusica
and of opera
Elia (unpublished).-D. A.
FARJEON, Harry. Compr. b. Hohokus, New
Jersey (of Eng. parents), 6 May, 1878. Stud.
under Landon Ronald 1892; Storer 1893; at
R.A.M. London under Haynes, F. Corder, S.
Webbe, 1895-1901. F. is chiefly a compr. for pf.
Most of his pieces have a sweet, refined sentiment.
Into his later works has crept a desire for a
freer melodic material and a greater elasticity of
rhythmic outline, with a freer barring. Most of
his earlier pf. pieces are publ. Augener.
Orch. works (ms.): 2 tone-poems, 2 pf. concertos,
2 suites, variations; 2 str. 4teta; pf. trio;
choral works: Mass, St. Dominio's, Carnegie award
(Stainer & Bell); Singing Game for children (unison)
(Augener); organ pieces; pf.: sonata in E (Ash-
down, 1923); variations; tone-pictures; suites;
2 free fugues (Bosworth); idylls, etc.; Album-leaves,
pf. duet; vn. pleces (Boosey; Augener; Schott; Good-
win); vla. pieces (Schott); 2 cello sonatas (ms.); songs
(Chappell; Goodwin; Augener; Booaey); 2 Chap-
books of Rounds (J. M. Dent & Sons); reelt. music,
La Belle Dame sans Merci, and Christ's Eve (Augener);
The Art of Pf. Pedalling (J. Williams, 1923).-E.-H.
FARNAM, Lynnwood. Canadian orgt. b. Sutton,
Quebec, 13 Jan. 1885. Received his early mus.
training at Dunham, Quebec. In 1900, won
Montreal Scholarship given by Lord Strathcona
and Lord Mount Stephen which gave him 4 years
of study at R.C.M. London, under Franklin
Taylor and Herbert Sharpe (pf.), and James
Higgs, F. A. Sewell and W. S. Hoyte (organ).
Returning to Canada in 1904, became orgt. at
St. James's Methodist Ch., Montreal, and after-
wards at St. James the Apostle in same city.
Subsequent organ appointments: Christ Ch.
Cath. Montreal (5 years), Emmanuel Ch.
Boston (5 years), Fifth Avenue Presbyterian
Ch. New York (1 year). In 1920, orgt. at Ch. of
Holy Communion, New York. His organ recitals,
given in U.S.A. (especially those at the Panama-
Pacific Exposition, San Francisco, in 1915), have
149
FARWELL
proved him a brilliant player and a fine inter-
preter of the best organ music.-L. S.
FARNETI, Maria. Ital. s. singer; b. at
Forli. One of most celebrated contemporary
Ital. operatic artists, known at all principal
theatres of Europe and N. and S. America.
Has a very extensive repertoire; amongst her
most admired creations we mention Iris and
Isabeau (Mascagni), and Madama Butterfly
(Puccini). Pupil of Licco at Pesaro, where she
stud. under Boccabadati.-D. A.
FARRAR, Ernest Bristow. Eng. compr. b.
Blackheath, 7 July, 1885; killed in action, 1918.
His orch. suite, English Pastoral Impressions, re-
ceived a Carnegie award. He inclined strongly
to national subjects.
Orch.: Rhapsody I, The Open Road, op. 9 (ms.);
II, Lavengro, op. 15 (ms.); symph. poem, The
Forsaken Merman, op. 20 (ms.); English Pastoral
Impressions, op. 28 (Stainer & Bell); Heroic Elegy,
op. 36 (ms.); prelude on the Angelus, str. orch.
op. 27 (Goodwin & Tabb); 3 spiritual studies, str.
op. 33 (ms.); cantatas: The Blessed Damozel, solo
v. chorus and orch. op. 6 (Stainer &
Out of
Doors, chorus and orch, op. 14 (Stainer & Bell);
Vagabond Songs, barit. v. and orch., op. 10
(Stainer & Bell);"
Choral Suite with orch. on 8. v. and orch. op. 35;
14; Variations on an old
British sea-song, pf. and orch, op. 25; Celtic Im-
pressions, str. 4tet, op. 31; organ pieces (Stainer
& Bell; Augener; W. Rogers); yn. and pf. (ms.);
Celtic Suile, vn. and pf. op. 11 (Novello); pf.
pieces (Augener;
Chester; Ashdown);
songs (Novello; An: Williams: Arnold); part-songs
(J. Williams; Stainer & Bell).-E.-II.
FARRAR, Geraldine. Operatic s. singer; b.
Melrose, U.S.A., 1882. Stud. under Trabadello
in Paris and Lilli Lehmann in Berlin; début as
Marguerite in Faust, R. Opera, Berlin, 15 Oct.
1901; since then has sung in all principal cities;
engaged regularly at Metropolitan Opera House,
New York.-E.-H.
FARRE, William. Norwegian musician; b.
Trondhjem, 1 Aug. 1874. Took initiative in
1901 in establ. of first boys' band at the elemen-
tary schools in Christiania. Has since started
similar bands in elementary schools in many
Norwegian towns.-U. M.
FARWELL, Arthur. Amer. compr. b. St. Paul,
Minn., U.S.A., 23 April, 1872. Graduated 1893
in electrical engineering from Massachusetts Inst.
of Technology. Stud. music under Homer Norris
in Boston, Humperdinck and Hans Pfitzner in
Germany and Guilmant in Paris. From 1899
to 1901, lectured on music at Cornell Univ.
(Ithaca, N.Y.). In 1901, establ. the Wa-Wan
Press at Newton Centre, Mass., for publication of
works of Amer, comprs., giving special promin-
ence to works founded on, or inspired by, the
music of the Amer. Indian, the Amer. negro.
and Amer. folk-lore. The series, continuing until
1908, included 54 works by about 25 Amer.
comprs. (J. F. Beach, H. F. Gilbert, L. Gilman,
E. B. Hill, E. Stillman Kelley, H. W. Loomis,
C. Troyer and others). The publications are now
issued by G. Schirmer of New York. From
1903 to 1904 F. travelled extensively in the
Western states, studying music of Indians. 1909
to 1915, was on staff of weekly journal Musical
America in New York; 1915-18, dir. of Music
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FASSBÄNDER
School Settlement in that city; 1918 and 1919,
acting head of mus. department of Univ. of Cali-
fornia; 1921-2, holder of a compr.'s fellowship
of Pasadena (Cal.) Music and Art Association.
Since 1916 he has devoted himself much to
compn. of music for masques (Caliban for Shake-
speare Centenary, 1916; The Evergreen Tree,
1917; A Pilgrimage Play, 1921); and music for
community choruses. An orch. arr. of the
Indian piece, The Domain of Hurakan (orig.
pf.) was played by San Francisco Symphony
Orch., Los Angeles, Cal., 30 July, 1922.
P..(publ. Wa-Wan Press); American Indian
Melodies (1901);
South,
Negro, Cowboy and Spanish of the I
Californian (1905); From
Mesa and Plain: Indian, Cowboy and Negro Sketches
(1905); Impressions of the Wa-Wan Ceremony of
the Omahas (1906); Ichibuzzhi, op. 13 (1902); The
Domain of Hu
Hurakan, op. 15 (1902). The Evergreen
Tree: a Christmas Community Masque of the Tree of
Light for Community
(Ditson); community
choruses and songs (Church).-O. K.
Church Co. 1917). Songs and Acting (John
FASSBÄNDER, Peter. Ger. compr. b. Aix-la-
Chapelle, 28 Jan. 1869; d. Zurich, 27 Feb.
1920. Pupil of Cologne Cons. From 1890, choir.
master in Saarbruck; from 1895 town mus.
dir.; condr. and head of music school in Lucerne;
1911, condr. of choral soc. in Zurich. His daughter
Hedwig is a violinist.
cello
4 concerto. E.
8 symphonies; 3 pt. concertos; 2 vn. concertos:
chamber-music; songs; choral works;
FATTORINI, Roberto. Ital. violinist; b.
Rome, 1 Nov. 1870. First-class performer and
teacher. Took part in important quartets and
quintets in Rome, with Giovanni Sgambati and
Luigi Gulli; for a long time leading violinist in
foremost Roman orchs. Teacher at Istituto
Nazionale di Musica; member of R. Acad. of
Santa Cecilia.-D. A.
FAURÉ, Gabriel Urbain. French composer;
b. Pamiers (Ariège), 13 May, 1845. In 1854
he was sent to Paris to study music at École
Niedermeyer, where his teachers were Nieder-
meyer, Dietsch, and Saint-Saëns (who exercised
a great influence upon him). In 1866 he accepted
a post as organist at Rennes in Brittany. In
1870 he returned to Paris. While continuing to
exercise similar functions at various churches,
from Notre-Dame de Clignancourt to the Made-
leine, he was successively professor at the École
Niedermeyer, professor of composition at the
Conservatoire (1896) and principal of the latter
institution (1905). Countless official distinctions
have been conferred upon him, culminating in
the altogether unusual honour of an "Hom-
mage National" which was paid to him at the
Sorbonne, October 1922.
the 'seventies, various works of
his were performed at Paris: the Cantique de
Racine (1873), the Lamento (1873) and an
Orchestral Suite (1874; unpublished), among
others. In 1876, his violin sonata in A inaug-
urated the series of his significant chamber-
music works; and his first pianoforte quartet
appeared in 1879.
Since then he has continued writing leisurely,
but steadily, evincing a marked preference for
expressing himself in the media of song and
FAVARA MISTRETTA
chamber-music, but sometimes producing orches-
tral works, such as the incidental music to
Dumas's Caligula (1888) and Haraucourt's Shy-
lock (1883), the suite Pelléas et Mélisande (1898),
the Ballade (1881) and the Fantaisie for piano
and orchestra (1919), and a certain quantity of
piano music. In 1900 appeared the important
score of Prométhée, written for performance on
the open-air stage of Béziers, and in 1913 the lyric
drama Pénélope, performed at Monte Carlo and
Paris. His beautiful Requiem is dated 1887.
Opinions as to the importance of his achieve-
ments vary far more than might be expected,
considering the perspicuity of his music. But
in France he is unanimously acknowledged not
only as one of the greatest composers of to-day,
but as a pioneer and leader. All that could be
said on this point is summed up as follows in
an article by the French critic Vuillermoz (Revue
Musicale, Oct. 1922):
Some day people will wonder why, at a time when
a Charpentier or a Bruneau were denounced as
musical anarchists, Fauré escaped the ire of the con-
servatively-minded orities. For long before any
other, he spoke a prophetic language. He created an
altogether modern, logical, well-out style.
but steadily
never sacrificing to passing
tending towards greater serenity and simplicity. The
easy grace of his art is deceptive: never did
creative artist present us with subtler and more.
powerful achievements.
Measure and balance, exquisite finish, quiet-
ness and purity of utterance, these essentially
"classical features of Fauré's music, contri-
bute to render his most daring innovations.
unobtrusive; but this is no reason why the
intenso originality and eloquence of his music
should be denied. They are fundamental charac-
teristics of the ideals which he never ceased to
assert during his evolution which, from the
earliest songs to La Bonne Chanson and thence
to the beautiful set L'Horizon chimérique (pub-
lished 1922) or from the violin sonata of 1876
to the second quartet and to the quintet of
1921, affords a wonderful example of continuity
and consistency.
As a teacher, Fauré has rendered no lesser
services; the list of his pupils comprises, among
others, Ravel, Koechlin, Florent Schmitt, Louis
Aubert, Ladmirault, and Roger-Ducasse.
Orch. Ballade, pf. and orch. op. 19 (Hamelle);
e
incidental music for Shylla (Dumas), op. 52 (id.)
(Haraucourt), op. 57 (id.);
Sulte, Pelléas et Mélisande, op. 80 (id.); Fantasia, pf.
and orch. op. 111 (Durand). Chamber-musio: 1st
yn. sonata, op. 13 (Breitkopf); 1st pf. 4tet, op. 15
(Hamelle); 2nd pf. 4tet, op. 45 (id.); 1st pf. 5tet, op.
89 (Schirmer); 2nd vn. sonata, op. 108 (Durand);
1st cello sonata, op. 109 (id.); 2nd pf. 5tet, op. 115
(id.); 2nd collo sonata, op. 117 (id.). Pf.: 6 im-
promptus; 13 nocturnes; 13 barcarolles; Theme and
variations, 73 (Hamelle);
84 (id.); Neuf Préludes, op.it Pièces Brèves, op.
3 (Heugel).
music: Prométhée (3 acts), op. 82 (Hamelle); Péné
lope (3 acts) (Heugel). Choral: Cantique, op. 11
(Hamelle); Les Djinns, op. 12 (id.); La Naissance de
Son(d.):
4
books of songs (id.); La Bonne Chanson, op. 61 (
La Chanson d'Eve, op. 95 (Heugel); Le Jardin clos,
op. 106 (Durand); L'Horizon chimérique, op. 118 (id.).
Consult bibliography in Séré (q.u.), and special
Fauré-number of La Revue Musicale (Paris, Oct. 1922)
containing articles by the aforenamed pupils of his,
Cortot, and others.-M. D. C.
FAVARA MISTRETTA, Alberto. Ital. compr.
b. Salemi (Trapani), 1 March, 1863; d. Palermo,
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FAZER
1923. Teacher of compn. at R. Cons. Palermo.
Operatic work, Marcellina, won a prize in the
Sonzogno Competition 1884, and was perf. in
that year in Milan; another, Urania, was given
at Scala Theatre in 1918. Has also comp. secular
and sacred music; gained reputation specially
for his efforts in revival of Sicilian song. His
Land and Sea Songs of Sicily (coll. by him and
publ. Ricordi, Milan) are most interesting; also
Traditional Tunes of the Valley of Mazzara
(lecture at International Congress of Historical
Sciences).-D. A.
FAZER, Edward. See FINNISH OPERA.
FEDELI, Vito. Ital. compr. and writer; b.
Foligno, 19 June, 1866. Since 1904, dir. of
Brera Mus. Inst. at Novara. Compr. of several
operas and sacred music; is better known as
writer of publications on history and propa-
ganda. Has been active at various congresses
of music, both Ital. and international. In 1911,
commissioned by Government to represent Italy
at International Mus. Soc. Congress in London.
-D. A.
FEINBERG, Samuel Eugenievitch. Russian
compr. and pianist; b. Ödessa, 14/26 May,
1890. Pupil of Jensen and Goldenweiser (pf.)
and Jilaief (theory); graduated Moscow Cons.
as pianist in 1911, as compr. has had no systema-
tio tuition. With Miaskovsky and Alexandrof,
F. is a representative of the foremost group
of Russ. comprs. One of the most remarkable
pf. compra. after Scriabin, whose follower he is,
without being an imitator. He acquired first
rank as compr. and pianist in a very short time,
from 1915 onwards.
6 pf. sonatas, op. 1 (ms.), 2, 3 (ms.), 6, 10 (ms.).
13 (ms.); 2 pf. fantasias, op. 5, 9 pf. pieces, op. 8.
11. V. B.
songs, op. 4, 7 (Russ. State Music Publ.
FEINHALS, Fritz. Ger. barit. singer; b.
Cologne, 14 Dec. 1869. At first a mechanical
engineer; pupil of Alb. Giovannini and Alb.
Selva in Milan; after engagements in Essen
and Mainz engaged since 1898 as barit. (Sachs,
Wotan, Dutchman, Telramund, Amonasro),
Munich Court Opera; Court chamber-singer.
-A. E.
FEIS CEOIL (Irish Music Festival). Inaug-
urated in 1897 at Dublin. Started by Dr. Annie
Patterson; originally intended that only Irish
music should be performed. Owing to enter-
prise of Miss Edith Oldham (Mrs. Best), one of
first secretaries, the fest. was extended to include
all music. It takes place annually in May and
occupies one week. There are competitions in
choral and solo singing, in ensemble and solo
instr. playing which are judged by well-known
musicians. There are special competitions for
playing traditional airs on the Irish pipes. The
association has endeavoured to collect and
publ. the ancient music of Ireland. Competi-
tions are also held in mus. compn. and works by
Esposito and Hamilton Harty have been awarded.
prizes. The fest. has been one of the strongest
forces towards improving mus. conditions in
Ireland. There is a separate Feis Ceoil at Lon-
FERNÁNDEZ
donderry and one at Sligo, both modelled on the
Dublin Feis.-W. S.
FELLOWES, Rev. Edmund Horace. Eng.
writer, editor; b. London, 11 Nov. 1870. Stud.
vn. under Charles Fletcher and Ludwig Straus;
harmony and cpt. under Dr. Percy C. Buck and
F. Cunningham Woods. Mus.Doc. h.c. Trinity
Coll. Dublin, 1917; precentor of Bristol Cath.
1897-1900; minor-canon, St. George's Chapel,
Windsor Castle, 1900 to present day. Librarian
St. Michael's Coll. Tenbury, 1918. Dr. Fellowes
has perf. a great national service in editing and
publishing, entirely on his own responsibility, the
whole of the works of the Eng. madrigal comprs.
He is also co-editor of the Carnegie Ed. of Tudor
Church Music (Vols. I, II and III, Taverner and
Byrd only published).
English Madrigal Composers ( L. 1921); W. Byrd (id.
1923); The English Madrigal School: the complete
John Wilbye, John Farmer, Thomas Weelkes, William
Byrd, Henry Lichfild, Henry Ward, Thomas Tom-
kins, Giles Farnaby, Thomas Bateson, John
Bennet, George Kirby vols: The English School of
eto.
1913
onwards), complete in
Lutenist Song-writers: complete works of John
Thomas Campion, Thomas Ford, Francis
2
Pilkington, etc. (Winthrop Rogers, 1920 onwards):
The 3 Masses of William Byrd (Stainer & Bell, 1922);
for str. (Byrd; id. 1922).-E.-H.
FELLOWES, Horace V. British violinist; b.
Wolverhampton, 26 May, 1876. Stud. at Cons.
of Cologne under Willy Hess and Fritz Stein-
bach; 1913, leader of Beecham Orch. in Russ.
ballet and opera-season; 1915, leader of Scottish
Orch. Has frequently cond. both in Germany
and Great Britain. Gives chamber-concerts in
Glasgow and surrounding districts. Principal
teacher of vn. at Carnegie School of Music, Dum-
fermline; condr. of Atheneum Orch. Glasgow;
leader of Horace Fellowes Quartet.-J. P. D.
Hands-
FENNEY, William J. Eng. compr.
worth, Birmingham, 1891. Self-taught; then
for some years a student at Midland Inst. Bir-
mingham, under Granville Bantock.
In Early Spring, suite for small orch. (Chester);
Prelude, Aria and Tarentella, suite for str.; pf. trio
(Stainor & Bell; Curwen); pf. pieces (Chester;
Swan & Co).-G. B.
FENNINGS, Sarah. Eng. violinist; b. Essex.
Stud. under Hollaender, Wilhelmj, Ševčík; re-
cital St. James's Hall, 1891; toured with Foli
and Emma Nevada; prof. Trin. Coll. of Music,
London.-E.-H.
Span.
FERNÁNDEZ BORDAS, Antonio.
violinist; b. Orense, 1870, where he stud.
law and music simultaneously. At 10, won a
vn. prize, under the adjudication of Sarasate;
at 23, obtained LL.D.; and after a post in
Civil Service, he devoted himself to mus. career.
As a vn. virtuoso he attained great success;
perf. frequently with Sarasate, Monasterio,
Casals, Saint-Saëns, Bauer, Hekking, Malats,
Granados and many others. He deputised for
his famous master, Don Jesús de Monasterio,
as leader of R. Chapel orch. Madrid, as well
as senior vn. prof. at R. Cons. de Música.
To fill this position, he sacrificed his career
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FERRARI
as a concert-giver abroad. Officier d'Instruction
Publique; Légion d'Honneur (France); many Span.
honours; Knight of the Order of Carlos III;
member of R. Acad. de Bellas Artes, Madrid.
Dir. of R. Cons. de Música since retirement
of famous compr. Tomás Bretón.-P. G. M.
FERRARI, Rodolfo. Ital. condr. b. Staggia
(Modena), 1865; d. Rome, 10 Jan. 1919. En-
joyed a high reputation amongst Ital. condrs.
of recent times. After studying at Bologna
Acad. under Busi, immediately devoted him-
self to career of condr. and distinguished himself
both in opera and on concert-platform. In 1891,
he created the Amico Fritz of Mascagni in Rome;
was engaged as condr. at the Comunale Theatre,
Bologna, for 11 seasons. Dir. many orch. con-
certs in N. America and in chief Ital. cities, and
at Augusteo, Rome.-D. A.
FERRARI FONTANA, Edoardo. Ital. t.
singer; b. Rome, 8 July, 1878. Début at Regio
Theatre, Turin, in 1910 with Tristan and Rat-
cliff; then gained a high reputation especially
as Wagnerian tenor; his interpretations of Tann-
häuser and Tristan are famous. In Pesaro he
created the opera Aura (Zanella); at La Scala,
L'amore dei tre re (Montemezzi). Has appeared
at principal theatres of Europe and N. and
S. America. Is also an esteemed concert-
singer. D. A.
FERRARI-TRECATE, Luigi. Ital. compr.
orgt. b. Alessandria (Piedmont), 25 Aug. 1884.
Was orgt.
Loreto; then at Basilica of Valle
di Pompei. Subsequently pf. teacher at Scuola
Musicale Comunale, Rimini; at present, prof. of
organ and compn. for organ in R. Cons. Parma,
Author of various operas (Il piccolo montanaro;
Pierozzo; Ciottolino; Belinda e il mostro), and
many sacred and chamber-music works.-D. A.
FERRERO, Willy. Ital. condr. b. Portland
(Maine), U.S.A. of Ital. parents, 21 May, 1906.
Has interested people for several years and
obtained great successes as prodigy-conductor.
He started at age of six: in 1912 gave his first
concert at Costanzi Theatre, Rome, immediately
winning public favour; subsequently, several
times cond. difficult programmes in Rome at
the Augusteo itself, also in other cities of Italy
and abroad. Later, gave up touring (in which he
had been accompanied by his father, a musician
who taught and advised him) and has devoted
himself to regular mus. studies. In addition
to obtaining, as an infant prodigy, enthusiastic
success with the public, for his memory, clear-
ness and style, and for his facility and instinctive
also imed the interest of the
critics, musical and psychological, who devoted
much attention to him. He now lives in Turin.
sureness,
-D. A.
FIBICH
1905, Desclée); The Metric Flow and Rhythm of
Gregorian Melodies, 1913 (Tipografia del Senato).
Has taken active part in reform of sacred music
in Italy, both by his writings and by his public
speeches.-D. A.
FERRETTI, Paolo. A Benedictine monk,
and a profound scholar in Gregorian studies;
b. Subiaco, 3 Dec. 1866. Called to Rome by
Pope Pius X to take up the teaching of Gregorian
chant in Higher Pontifical School of Sacred
Music. Amongst his works are: Theoretical and
Practical Principles of Gregorian Chant (Rome,
FERRONI, Vincenzo. Ital. compr. and
teacher; b. Tramutola (Potenza), 17 Feb. 1858.
Since 1888, prof. of compn. at R. Cons. Milan,
where he succeeded Ponchielli. He made his
name as a compr. in 1889, when he was one of
the 3 winners of the Sonzogno Competition
with his opera Rudello; this contest also brought
to light Mascagni's Cavalleria Rusticana, and the
third winner was Spinelli with his opera Labilia.
Whereas Cavalleria had a world-wide success,
the other two operas, although favourably re-
ceived, were very soon forgotten. Nor did either
of Ferroni's successive operas, Ettore Fiera-
mosca (Como, 1896) and Il Carbonaro (Lyric,
Milan, 1900), meet with better success. F. is
the compr. of much concert music (symphonies,
symph. poems) and chamber-music (a 4tet,
2 trios, sonatas, vn. concerto, vocal and pf.
music).-D. A.
FEST, Max G. Ger. orgt. b. Altenburg,
7 Jan. 1872. Pupil Leipzig Cons.; orgt. of
Nathanael Ch. Leipzig-Lindenau, from 1897;
singing - master at Oberrealschule; concert
organist.-A. E.
FÉVRIER, Henri. Fr. compr. b. Paris, 1876.
Not to be confused with Henri Louis Février,
of Abbeville, who publ. (in XVIII century) 2 books
of harpsichord pieces. The present musician,
the son of an architect, has specialised in drama-
tic music to good purpose. He is mus. critic of
La Renaissance.
Comic operas: Le Roi aveugle (1906); Agnès dame
galante (1912); Carmosine (1913). Operas: Monna
Vanna (1909); Chismonda (1918).-A. C.
FIBICH, Zdeněk. Czech composer; b. Všebo-
řice, 21 Dec. 1850; d. Prague, 15 Oct. 1900. Son
of a forest ranger. Studied at a gymnasium;
Leipzig Conservatorium, 1865-7 (Moscheles,
Richter, Jadassohn); one year in Paris, and in
Mannheim under Lachner, 1869-70. Except for
two years, 1873-4 (in Vilna), he lived in Prague
from 1871. Second conductor National Theatre,
1875-8; conductor at Russian Church, Prague,
1878-81. With these exceptions he occupied no
public position but devoted himself to com-
position and private instruction. Towards end
of his life, he filled position of dramaturg to
the National Theatre.
Fibich is the first cosmopolitan among Czech
musicians, after the typically national genera-
tion (Smetana-Dvořák). He forms the inter-
mediate link between them and the more modern
composers, Suk and Novák. A romanticist by dis-
position, he inclined to the style of Weber and
Schumann, and the works of his first period are in
the spirit of these masters. He did not, however,
sink to the level of an epigonistic imitator;
the trend of his ideas and his musical ex-
pression always preserve their independence.
His predilection for the ballad style has its
origin in this romanticism, which also influenced
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FIEBACH
his stage works. After his first two operas he
found an outlet for his tragic expression in the
Bride of Messina, for which Otakar Hostinský
(q.v.) wrote the libretto after Schiller. Wagner's
principles and declamatory style are consis-
tently embodied in this work, though not with-
out clearly restraining the melodic freshness.
The final consequence of those principles was
to draw him into scenic melodrama, a spoken
tragedy, accompanied by a symphonically con-
ceived orchestra. This form was realised in his
trilogy Hippodamia, on three dramas by Jaroslav
Vrchlický. The difficulties of a good production
and the dramatic faults of the libretto prevented
the wider dissemination of this work, to which
its music is undoubtedly entitled. His meeting
with Anežka Schulzová, the authoress, and their
artistic collaboration meant a sudden change,
manifested in a preponderance of subjec-
tivity, a more intimate susceptibility and an
extremely rich and flowing melodic inven.
tiveness, as against the objectivity of expression
hitherto apparent. During this period he makes
entries in his musical diary in the form of short
piano pieces, these inspirations being also intro-
duced into his larger works. (376 compositions.
under the heading of Moods, Impressions and
Reminiscences.) In the music-dramas of this
epoch his principal interest is a passionate
eroticism both happy and tragic, and to this he
gives full expression, thus reaching his highest
development. Born in the midst of a forest, to
the forest he always reverts with new variations
in his instrumental music. Fibich has not the
racial outspoken peculiarites nor the directness
of Smetana or Dvořák; he is more of a cosmo-
politan and an aristocrat, and for that reason
he is not so celebrated as either of them. Never-
theless, his importance for the development of
Czech music is in no way second to that of those
two masters.
Operas: Bukovin (1871); Blanik (1877); The
Bride of Messina (1888); Storm (1894); Hedy (1895);
Šárka (1896); Pád Arkuna (Arcona's End, 1890);
melodramatic trilogy: Pelops Wooing(1889); Tantalu
Reconciliation (1890);
(1891).
Orch.: 3 symphonies; tone-poems, overtures: Othello;
Záboj, Slavoj i Luděk; Toman a panna (Toman
The Spring:
Vigilia; A Night on Karlštejn (given Queen's Hall,
London, under Sir Henry Wood); Oldřich a Božena;
Komenski: Dojmy s venkova (Rural Impressions,
suite). Cantatas: Melusine; The Romance of Spring.
Chamber-music: vn. sonatina; pf. trio; str. 4tet;
pf. 4tet; wind instr. 5t
hor (From the
and the Wood Fairu); Storm; en: 1
Mountains); sonata for
for pf. duet; Moods, Impres
sions and Reminiscences; Studies on Pictures; con-
cert melodramas (Stedrý den; Vodnik; Věčnost;
Hal
(all publ. by F. A. Urbánek, Prague, mostly
with Czech and Ger. texts).
Chief publishers: Fr. A. Urbánek:
ánek;
Hudební Matice; E. Stary; Univ. Ed.; Bosworth;
Schott, etc.
Consult: C. L. Richter, Z. F. (Ger., Prague, 1900);
Josef Bartoš, Z. F. (Prague, 1914): 0. Hostinský,
Reminiscences of 2. F. (Prague, 1909, both in
Czech).-V. ST.
FILKE
(Dantzig, 1886);
Bei Frommen Hirten (Dresden,
Q); Robert and Berntzig, 1903); The
(Dresden,
The Duchess of Marl-
borough, and an oratorio, The Nine Muses.-A. E.
FIEDLER, A. Max. Ger. condr. b. Zittau,
31 Dec. 1859. Stud. Leipzig Cons. as sti
pendiary of Holstein Foundation. From 1882
teacher; 1903, dir. Hamburg Cons.; also condr.
of Philh. Concerts, 1904; in 1908 accepted invi-
tation to Boston as dir. of Symphony Concerts.
Returned to Germany, 1912, taking up residence
in Berlin. Has been mus. dir. in Essen since
1916. Has undertaken short tours as conductor.
FIEBACH, Otto. Compr. b. Ohlau (Silesin),
9 Feb. 1851. Orgt. and mus. dir. at Univ.
Königsberg, and dir. of an Inst. of Music; R.
mus. dir. Wrote Physiology of Music (1891) and
Theory of Strict Counterpoint (1921).
Operas: Prince Dominic (Dantzig, 1885); Loreley
Pf. 5tet; str. 4tot; symphony, D mi. (1886);
Comedy Overture (1914); songs; pf. pieces.-A. E.
FIELITZ, Alexander von. Condr. and
compr. b. Leipzig, 28 Dec. 1860. Of Polish
descent. Pupil of Julius Schulhoff, K. Banck and
Edm. Kretschmer in Dresden; condr. at theatres,
Zurich, Lübeck and Leipzig; for his health's sake
lived for a time at Capri; then for some time
teacher at Stern's Cons. Berlin. In 1905 went to
Chicago as teacher at Siegfeld's Cons.; 1906,
condr. Chicago Symphony Orch.; 1908, returned
to Germany, teaching at Stern's Cons., in the
directorship of which he succeeded Gustav
Hollaender at end of 1915.
Operas: Vendetta (Lübeck, 1891); The Silent
Village (Hamburg, 1900); songs.-A. E.
FIGUŠ-BYSTRÝ, Viliam. Slovak compr. b.
Báňská Bystrica, Slovakia, 1875, where he is orgt.
Collected and harmonised Slovak folk-songs.
(publ. by V. Kotrba, Prague); comp. a series of
songs and choral works; pieces for vn. and pf.;
a pf. 4tet, etc. Chief work, cantata Slovenská
pieseň (The Slovak Hymn) for soli, chorus,
orch. (1913).-V. ST.
FILIASI, Lorenzo. Ital. compr. b. Naples,
25 Aug. 1878. In 1902 won the Sonzogno Com-
petition with his opera Manuel Menendez, perf.
at Lyric Theatre, Milan, 1904, with great
success. A second opera, Fior di neve, perf. at
Scala, Milan, 1911, met with little success. F. is
also compr. of orch. works and of vocal chamber-
music.-D. A.
FILIPPI, Filippo. Ital. mus. critic; b. Vicenza,
13 Jan. 1830; d. Milan, 25 June, 1887. For 28
years on Milan newspaper La Perseveranza. Was
one of Wagner's apostles in Italy. Also publ.
some books of mus. culture and some small
pieces.--D. A.
FILKE, Max. Compr. b. Steubendorf-Leob-
schütz (Silesia), 5 Oct. 1855; d. Breslau, 8
Oct. 1911. Chorister Breslau Cath.; pupil of
Brosig. In 1877 attended Regensburg (Ratisbon)
Church Music School (Haberl); cantor in Duder-
stadt, 1878-9; then pupil of Leipzig Cons.
(Piutti); choir-master at Straubing, 1881; dir.
of Singers' Circle, Cologne, 1890; cath. choir-
master in Breslau, 1891; from 1893 also teacher
R. Acad. Inst. for Church Music; R. mus. dir.
153
Italian
FILIPPONE SINISCALCHI, Tina.
pianist; b. Naples, Feb. 1903. A clever perf.,
well known for important concerts given at the
Augusteo in Rome, and in other cities in Italy
and abroad. Was pupil of Ernesto Marciano in
Naples.-D. A.
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FINCK
1899. An influential compr. of Catholic Church
music with progressive ideas.
Masses with orch.: op. 47 (B.V.M., 4-v.); E flat
ma. op. 58 (4-v.); E mi. op. 55 (4-v.); G ma.
op. 80 (4-v.); F ma. op. 87 (Lou
D ma. op. 90 (Sti. Antonii de Padua,
ex allo, op. 106 (a., choir and orch.); Requiem, op. 111:
Te Deum, op. 101; Lauretanian Litany, op. 98;
4 Corpus Christi hymns and Pange Lingua, op. 79;
Regina cali and Salve Regina, op. 102; Are maris
stella, op. 88, and others.-A. E.
Ori
FINCK, Henry Theophilus. Amer. author, critic;
b. Bethel, Mo., U.S.A., 22 Sept. 1854. Lived during
youth in Oregon. Graduated A.B. at Harvard in
1876 with highest honours in philosophy and
a fellowship for European study. While at Har-
vard, attended mus. history and theory classes
of J. K. Paine. Was present at 1st Bayreuth
fest. 1876. From 1878-81, stud. at Univs. of
Berlin, Heidelberg and Vienna, chiefly compara-
tive psychology, writing meanwhile for Amer.
journals (The Nation; New York World; Atlantic
Monthly) on various subjects including music. In
1881, returned to America and joined staff of
New York Evening Post, with which he has been
connected ever since as mus. critic and editorial
writer. One of most advanced critics of day,
quick to recognise and proclaim progressive re-
presentatives of the art. A warm advocate of
Wagner, the German transl. of his excellent
biography has found great favour in Wagner's
native land. Did much for appreciation of
Grieg in America and was one of MacDowell's
earliest champions. Besides books, has written
on Foods and Flavours, Romantic Love and Per-
sonal Beauty, and gardening.
Chopin and other Musical Essays (Scribner, 1889);
Wagner and his Works, 2 vols. (id. 1893); Anton
Seidl (id. 1899); Songs and Song-Writers (id. 1900);
Grieg and his Music (J. Lane Co. 1909); Success in
Music and how it is won (Scribner, 1909); Massenet
and his Operas (J. Lane Co. 1910); Richard Strauss
(Little, Brown & Co. 1917); ed. of selections of
Schubert songs, Grieg songs and One Hundred
Songs by Ten Composers in The Musician's Library
(Ditson).-O. K.
FINKE, Fidelio. Ger. - Czechoslovak compr.
b. Josefsthal, near Gablons, 22 Oct. 1891; pupil
of Vítězslav Novák at Prague; dir. of School
of Comprs. and prof. at Ger. Acad. of Music and
Art, Prague; inspector of music. His technical
development follows on from Brahms to Reger
and finally to Schönberg (Expressionism). Many
prizes have been awarded to his works. His latest
works attain a supreme height of expression,
and notwithstanding their "atonality" (q.v.) are
never lacking in feeling, and are always strictly
logical in construction.
Poetic symphony, Pan; operatie fragment, Die
versunkene Glocke (The Sunken Bell, from Gerhard
Hauptmann); orch. song-cycle, Spring (with Franz
Werfel's Farewell as finale); Variations and fugue for
chamber-orch.; suite for str. orch.; pf. 5tet, D ma.;
4tet for orch. D. ma. (1st perf. 2nd fest. of cham-
ber-music, Donaueschingen, 1922); 7 str. trios;
songs.-E. S.
FINNISH CHAMBER-MUSIC. Chief works are
the str. 4tet Voces Intima, op. 56, of Sibelius, the
4 str. 4tets and vn. sonata of Melartin, pf. trio
in A ma. of Kuula, pf. 5tet of Furuhjelm, pf.
5tet and str. 4tet of Raitio, sonata for vn. and pf.
of Madetoja, pf. 4tet of J. Hannikainen, and the
trio of Linko.-T. H.
FINNISH OPERA
FINNISH CHORAL MUSIC. The chorus,
especially for male-v. choirs, is a characteristic
Finnish mus. form. Amongst the chief comprs.
are Kajanus, Sibelius (words by Kivi, from folk-
lore poetry, etc.), Järnefelt, Palmgren (of out-
standing merit), Kuula (e.g. Song of Kullervo, of
orch. grandeur), Madetoja, Melartin, Ikonen,
Kotilainen, Klemetti. Excellent male-v. choruses
have also been written by Emil Genetz, Axel
Törnudd (compr. and successful teacher, b. 1874;
d. 1923), and P. J. Hannikainen. Pieces for mixed
choir have been written by Kuula (large unacc.
works), Madetoja, Krohn, Klemetti (also excel-
lent arrs. of historical and folk-music), Maasalo,
Ikonen, and many others. (See arts. on these
comprs.).-T. H.
FINNISH FOLK-MUSIC. See KAJANUS,
ROBERT; KROHN, ILMARI; LAUNIS, ARMAS;
SCHINDLER, KURT.
FINNISH OPERA. The first period falls into
years 1873-9, when, under dir. of Dr. K. Berg-
bom, creator of Finnish National Theatre, about
30 of best-known operas were given in Finnish,
for the most part with Finnish artists (Emmy
Strömer Achté, Ida Basilier - Magelsen, Alma
Fohström and others). For some time after, only
occasional perfs. were given. Of these, worthy
of special mention, are those of Emmy Achte,
Maikki and Armas Järnefelt, as also those of the
opera-condr. Arturo Vigna. In 1911, the annual
opera fest. perfs. were founded in Savonlinna
(Nyslott) by Aino Ackté, and in the same year
Edward Fazer, Aino Ackté and others founded a
"Native Opera," which had continued its acti-
vity since 1914 under dir. of Edward Fazer and
under name of Finnish Opera (Suomalainen
Ooppera-Finska Operan). Since 1918, when an
opera-house (the former Alexanderstheater) was
given by Finnish State to the opera com-
pany, its activity has been greatly extended and
the repertoire much enlarged (through Wagner.
perfs. etc.). Opera is given 4 or 5 times a week.
The dir. is Edward Fazer (b. 1861); condrs.,
Oskar Merikanto (1911-22), the Ger. gen. mus.
dir. Franz Mikorey, since 1919, and recently
also Tauno Hannikainen; producer, Hermann
Gura. Artists, Väinö Sola (t. and producer),
A. af Enehjelm (q.v.), William Hammer, Eino
Rautavaara and Oiva Soini (barit.), Y. Somer-
salmi (b.); also Erna Gräsbeck, Jennie Costi-
ander (s.), Greta von Haartman, Lahja Linko
(m.-sopr.), Elbe Nissinen (contr.).
The first native compns. were the operas of
Fredrik Pacius(King Charles's Chase was produced
1852 in Helsingfors with great enthusiasm by an
amateur company), and the fairy song-play, The
Princess of Cyprus (texts by Z. Topelius). The
folk-epic Kalevala had provided material for the
latter work, and it has often inspired subsequent
comprs. of opera. Oskar Merikanto's Pohjan
neiti, Erkki Melartin's Aino (a Kalevala mystery)
and Armas Launis's Kullervo are based on stories
from the Kalevala. Of a romantic and historical
character are Palmgren's Daniel Hjort (on drama
of J. J. Wecksell), and Merikanto's Queen of
Emmeritz. Merikanto's Elinan surma is based
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FINNISH ORCHESTRAL MUSIC
on a folk-ballad. A comedy by Aleksis Kivi has
been drawn upon for Launis's Seitsemän veljestä.
As yet unperf. (1924) are the biblical scene
Tuhotulva (The Flood) by Ilmari Krohn, the
opera Aslak Hetta by Launis (based on a Lap-
land story), the Pohjalaisia (East Bothnian folk-
life) by Levi Madetoja, and others. Mention
must also be made of Krohn's oratorio Jkiaar-
tehet. (See arts. on these composers).-T. H.
FINNISH ORCHESTRAL MUSIC. J. F. von
Schantz was the pioneer of modern Finnish orch.
music. His Kullervo Overture (1860) was the first
to treat a national theme orchestrally. R.
Kajanus appeared in 1880, and later, with some
folk-song rhapsodies and other works of national
content (Aino Symphony; Kullervo Funeral
March). After the 'nineties, when Jan Sibelius
comp. his first important works, Finnish music
began to make great strides. A large part of
Sibelius' orch. works, especially that part in-
spired by the old Finnish sagas, consists of
symph. poems. Whereas up to the beginning of
this century his creative activity was concen-
trated chiefly on national music and patriotic
tone-poems, his tendency since that time has
been towards absolute instr. music, including his
last symphony (No. 6). At the same time the
elemental power of his music, which rises to its
greatest height in the 2nd symphony (1902),
becomes more tranquil in character and gives
place to an introspective art. The six sym-
phonies of Sibelius represent the true char-
acteristics of his development. In his works an
important place is taken by the vocal works
with orch. Besides Sibelius, other comprs., con-
temporaries and younger writers, have produced
music in which national as well as individual
characteristics are reflected, influenced more or
less by the lines upon which contemporary music
has developed: Ernst Mielck (a talented compr.
who died young, 1877-99), Melartin (5 sym-
phonies), Madetoja (2 symphonies), Furuhjelm
(symphony), Ikonen (2 symphonies), Raitio
(symphony), A. Merikanto (symphony), Kaski
(symphony) also the Symphonietta by
Kajanus, a later work. Symph. poems have
been written by Järnefelt (Korsholm), Melartin
(Siikajoki [Dream-vision]), Kuula (Will-o'-the-
Wisp from East Bothnian Suite, etc.), Made-
toja (Kullervo), Raitio (Fantasia estatica; Anti-
gone, etc.). Suites and smaller orch. works:
Järnefelt, Kajanus (Lyric Suite; overture),
Melartin (3 suites, etc.), Palmgren (From Fin-
land, etc.), Kuula (2 East Bothnian Suites),
Madetoja (East Bothnian Rhapsody; several
suites), Furuhjelm (Romantic Overture). Solo
works with orch.: Palmgren (pf. concertos, The
River and Metamorphosis), Melartin (vn. con-
certo), Linko, Hannikainen, Merikanto (pf. con-
certo), and others. Comprs. of vocal works with
orch.: Kuula, Melartin, Madetoja, Krohn,
Ikonen, Maasalo. (Consult arts. on these comprs.)
-T. H.
FISHER
Runeberg, Weeksell, Tavaststjerna, Fröding,
Josephson, and others), which are most valuable,
sometimes rising to the height of classic beauty;
the inspiring lyrics of Armas Järnefelt; the pro-
lific songs of Erkki Melartin; the expressive
songs of Toivo Kuula; the refined songs of
Palmgren and Madetoja; the original and ex-
pressive lyrics of Kilpinen; the popular folk-
song production of Merikanto, and the songs of
Hannikainen and Kotilainen.-T. II.
FINO, Giocondo. Ital. compr. b. Turin,
2 May, 1867. Is a priest; but has devoted him-
self more to operatic than to church music,
gaining considerable success with his opera Il
Battista, perf. Turin, 1906, and later in various
theatres. His successive operas, La festa del
grano, Debora, Campane a gloria, did not gain
lasting success. Also comp. a biblical cantata,
Ruth and Naomi; a str. 4tet and various orch.
works.-D. A.
FISCHER, Edwin. Swiss pianist; b. Basle,
6 Oct. 1886. Pupil at Basle and at Stern's Cons.
Berlin, where he has been teacher since 1905.
He is one of most distinguished present-day
musicians, combining elementary force with
delicate feeling; prominent as a Bach and
Beethoven player.-A. E.
FISCHER, Emil. Ger.-Czechoslovak compr.
b. Wteln, near Brno (Brünn), 1872; pupil of
Dvořák.
Symph. poem, Indian Legend (from Rabindranath
Tagore); Vision; pf. 5tet. Forest Tales; symphony,
E mi.; songs to words by Vietzsch.-E. S.
FISCHER, Wilhelm. Austrian music historian;
b. Vienna, 19 April, 1886. Stud. theory under
Hermann Graedener and Guido Adler; Mus.D.
1912. Chief librarian of Inst.; now prof. in
Univ. for mus. history; member of commission
for Austrian State music examinations. Most
accurate in scientific research, especially in
history of different styles and mus. forms.
Publ. many little brochures and scientific arts.
in newspapers. Ed. some vols. of the D.T.Ö.
(Viennese Instr. Music, about 1750, Vol. XIX, 2).
working on compendium of music
history.-P. P.
Is
FISCHER, William Arms. Amer. compr. ed. b.
San Francisco, Cal., U.S.A., 27 April, 1861. Stud.
pf., organ and theory under J. P. Morgan in
Oakland. Later stud. singing in New York and
(1892) under Shakespeare in London. After this
a pupil in New York of Horatio Parker (theory)
and Dvořák (compn.). In 1895 became ed. and
publication-manager for Oliver Ditson Co., Bos-
ton. Many songs, choruses (Ditson; Schirmer).
Author of Noles on Music in Old Boston (Ditson,
1918).-0. K.
FISHER, Edward. Orgt. choral condr. mus.
dir. b. Jaimaca, Vermont, U.S.A., 11 Jan. 1848;
d. Toronto, 31 May, 1913. Student of Boston
Cons.; occupied at early age many organ posi-
tions in that city. In 1874, went to Berlin,
studying under Haupt and Loeschhorn. On re-
turning to America, was offered mus. director-
ship at Ottawa Ladies' Coll. which he held for
several years. 1879, came to Toronto as orgt.
FINNISH SONG. Nearly all Finnish comprs.
have shown special affection for songs. Among
chief songs are those of Sibelius (to words by
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FITELBERG
and choirmaster at St. Andrew's Ch. Organised
Toronto Choral Soc. in 1878. In 1886, began the
work with which his name is now so closely asso-
ciated the founding of Toronto Cons. of Music
(see ACADEMIES), of which he remained mus.
dir. until his death in 1913. His successes very
materially helped to give to Toronto its pre-
eminent position as the educational centre,
musically speaking, of the Dominion.-L. S.
FITELBERG, Grzegorz. Polish compr. condr.
b. Dinaburg (Livonia, formerly a Russ. province),
18 Oct. 1879. Son of a Russ. army bandmaster;
pupil of Barcewicz (vn.) and Noskowski (theory);
became by residence and culture completely
identified with the Polish nation. In 1896, won
1st prize in international competition at Leipzig
for sonata for vn. and pf., and in 1901 Count
Zamoyski's prize for trio at Warsaw. Became
solo-player at Warsaw Philh. in 1902, and was
condr. 1907-11. In 1912, cond. concerts of Polish
music (especially Karol Szymanowski), and be-
came condr. of Imperial Opera House at Vienna.
but soon gave up, and returned to Warsaw; and
was in Petrograd during the war and revolution,
working as condr. of opera and symphony.
Worked also as condr. of Russ. ballet company,
and Fokin.
with
A pioneer of modern Polish music and a bold
progressive, his works show the evolution from
pseudo-classical decay to Impressionism, the
best exhibiting bold and complicated harmony
and richly-coloured orchestration. In 1905,
founded, with Karol Szymanowski, Ludomir
Rózycki and Apolinary Szeluta, the Soc. of
Young Polish Comprs. which has issued many
remarkable compositions.
Symphony, E mi. op. 16; symph. poems: The
Song of the Falcon (from
, op. 18; Protesilaus
and Laodamia (from Worky), op. 24; vn. con-
certo, op. 13; two overtures, op. 14, 17; pf. trio,
op. 12; 2 vn. sonatas, op. 2, 13; songs, op. 19, 21,
22, 23.-ZD. J.
FLAMENT, Édouard. Fr. compr.; also pf.
and bsn. virtuoso; b. Paris, 1888. Ex-condr. of
Concerts Rouges, of Trianon-Lyrique; of opera
houses of Algiers and of Lille. Has comp. symph.
poems, chamber-music, and songs.-A. C.
FLECK, Fritz. Ger. compr. b. Schwetz (W.
Prussia), 24 Oct. 1880. Pupil of Arno Kleffel,
Paul Geisler and Hans Pfitzner; lives in
Cologne.
Songs (some with vn., others with orch.); chamber-
mus 1918); pantomime, Aischa (Elberfeld, 1920);
fairy opera, 1
a the Pea-stalk
The Princess
Prince Labakan; symbolic story,
mus. comedy,
Psyche.-A. E.
FLEISCHER, Oskar. Ger. musicographer; b.
Zörbig (Saxony), 2 Nov. 1856. Stud. philology
at Halle, 1878-83; then till 1885, under Spitta,
science of music, and, after some years' travel
for study, was entrusted with the installation,
the preparation of catalogues, and direction of
R. Collection of Ancient Musical Instruments,
Berlin. In 1892 lector in mus. science, Berlin
Univ.; in 1899 founded International Music
Soc. (Internationale Musik-Gesellschaft) (q.v.),
whose journal and compilations he ed. till
1904 (with Joh. Wolf).
Notker's Accentuation System in his "Boëthius"
FLETCHER
(1883); Denis Gaultier (a study of lute music) in
Vierteljahrsschrift für Musik-Wissenschaft (1886);
Guide to Royal Collection of Ancient Musical Instr
ments (1892); The Importance of the International
Music and Theatre Exhibition (1892) in Vienna (1893);
Byzantine notation);
1923, Vol. 4 under title Die germanischen Neumen
als Schlüssel zum altchristlichen und gregorianischen
Gesang (
latter with facsimiles of
Geistesheldenography of Mozart (1899, Moderne
Vol. 33); Guide to the Bach Exhibition
(Berlin, 1901).-A. E.
FLEMING, W. P. Scottish pianist; b. Dundee.
Commenced pf. study under John Kinross and
Henry Nagel in Dundee. In 1883, stud. in Leip-
zig, pf. under Zwintscher, organ under Pappertz,
harmony under Jadassohn, singing under Fräu-
lein Heinemeyer. Was one of soloists at Bach
Ges.; was influenced by Carl Reinecke, in study
of ensemble-playing. Returned to London in
1885, and continued pf. studies under Miss
Fanny Davies. Returned to Dundee as teacher,
No one has exercised greater influence on music
in Dundee than he has done. Was condr. of
Dundee Choral Union, and of Newport Orch.
Soc. for several years, and has been the means of
bringing to Dundee most of the world's greatest
string quartets.--W. S.
FLEMISH FOLK-MUSIC. See FRIENDENTHAL,
ALBERT; VAN DUYSE, FLORIMOND.
FLESCH, Carl. Violinist; b. Moson, Hungary,
9 Oct. 1873. Began vn. when 6 years old; 1886-0,
pupil of Grün, Vienna Cons.; 1890-4, pupil of
Sauzy, Paris Cons.; also of Marsick, to whose
school he professes to belong. Unanimously
awarded 1st prize, 1894; 1896-1901, prof. R.
Cons. Bucharest, and led the Queen of Rumania's
Quartet. 1902, left Rumania; 1903-8, prof.
Amsterdam Cons. Since 1908 has lived in Ber-
lin. Dir. of special courses, State High School
of Music, Berlin, since 1921. Joined Hugo
Becker and Arthur Schnabel (now Carl Friedberg)
to form an eminent Pf. Trio. Publ. First Studies
and an extensive educational work, The Art of
Violin-Playing. Ed. Kreutzer's Studies (Simrock),
20 Studies from Paganini (Kahnt) and (with
Schnabel) Mozart's Vn. Sonatas. Pupils: Alma
Moode, Willem de Boer, Josef Wolfsthal and
others.-A. E.
FLETA, Miguel.
singer; b. in Aragón.
Leading Span. operatic t.
After singing in Italy,
Austria and Hungary, attained position he holds
to-day by his début at Madrid R. Opera House in
1920. Has sung at La Scala, Milan; Metro-
politan Opera House, New York; Liceo, Barce-
lona.-P. G. M.
FLETCHER, Alice Cunningham. Writer on
Amer. Indian music; b. Boston, Mass., U.S.A., in
1845. Active in Indian welfare work and special
agent of the U.S. government to the Omaha,
Winnebago and Nez Percés tribes. Since 1882
assistant in ethnology, Peabody Museum of
Amer. Archæology and Ethnology; holder of the
Thaw fellowship since 1891.
The Study of Omaha Indian Music (Peabody
Museum, 1803); Indian Story and Song from North
America (Small, Maynard. 1900); Indian Games and
Dances
can Ethnochard, 1915); papers in Bureau of Ameri-
(Peabody Museum), American Anthro-
pologist, Journal of American Folk-Lore.-J. M.
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FLEURY
FLEURY, Louis. Fr. flautist; b. Lyons, 1878;
was pupil of P. Taflanel at Paris Cons.; 1st prize,
1900; dir. (since 1905) Société Moderne d'Instru-
ments à Vent, and of Société des Concerts d'Autre-
fois (1906); displays great activity and travels
incessantly over Europe as soloist or with one of
his societies. Frequent visits to England; has
devoted himself particularly to spreading know-
ledge of Eng. music on the Continent. Stud. as-
siduously the ancient music of the flute; has
produced remarkable editions of the sonatas and
other ancient pieces of Blavet, Naudat, Purcell,
J. Stanley and other masters of XVIII century.
Has contributed to Fr. and British mus. re-
views. The article on modern Flute-Music in
this Dictionary is by him.-M. L. P.
FLOCCO, Armando.
Pianist, compr. b.
Naples in 1885. Stud. at Naples Cons. Was
orch. condr. at San Carlo and Bellini Theatres,
being asked by Mugnone to cond. the opera
Salome at the Costanzi Theatre, Rome, on its
1st production. Went to Buenos Ayres (under
contract with Opera Theatre there) in 1908.
Now devotes himself to teaching and choral
singing. Has comp. some chamber- and pf.-
music.-A. M.
FLODIN, Carl. Finnish writer on music and
compr. b. in 1858. Stud. under Faltin and Jadas.
sohn; also at Univ. (Ph.M. 1886). A much
esteemed critic, working in Helsingfors until
1908, when he settled in Buenos Ayres. His
two chief literary works are Finska musiker and
a large biography, Martin Wegelius (1922). Has
again been living in Finland for some years.
F. has comp. mostly songs and pf. pieces;
also cantatas and a lyric scene with orch.
Helena.-T. H.
FLONZALEY QUARTET was the creation of
Eduard J. de Coppet of New York, who in 1902
engaged Adolfo Betti, Alfred Pochon, Ugo Ara
and Ivan d'Archambeau, to devote themselves
entirely to quartet-playing, not originally with
a view to giving regular concerts in public. Re-
hearsals began at de Coppet's summer residence,
"Flonzaley," near Lausanne, Switzerland. After
several years of practice, the quartet ventured
upon a European tour and aroused great admira-
tion by the perfection of its ensemble and the
artistic finish of its work. In the autumn of 1904
it was heard in private in New York and at
several charity concerts. Its first official public
concert in America was given in New York on
5 Dec. 1905. Since then the quartet has appeared
regularly in Europe and in America. Its mem-
bers, adhering to the orig. principle of devoting
themselves wholly to their quartet, accepting
no outside engagements and no pupils, have
made for this unique organisation a position of
acknowledged superiority among the chamber-
music ensembles of the world. In 1917 the vla..
player, Ara, who joined the Ital. army, was re-
placed by Louis Bailly. Since the death of
Eduard de Coppet in 1916, the quartet has been
maintained by his son, André.-O. K.
FLOOD, William Henry Grattan. Irish compr.
FLUTE AND FLUTE-PLAYING
and writer; b. Lismore, Co. Waterford, 1 Nov.
1859. Educated at Mt. Malhray, All Hallows,
Catholic Univ., St. Kieran's Coll. and Carlow
Coll. (Ireland). Self-taught in music, save for
some lessons by mother and aunt and Sir Robert
Stewart. Mus. prodigy at 9, when he played
before H.R.H. Duke of Connaught. At various
times, school-teacher, condr. of provincial oper-
atic companies; bandmaster of Old 104th Regt.;
condr. of many choral and orch. socs. in Eng-
land and Ireland. Took minor orders for R.C.
priesthood, but relinquished through scruples.
Mus. Doc. h.c. National Univ. of Ireland (1907);
Knight of the Order of St. Gregory. Cross pro
Ecclesia et Pontifice; orgt. and choirmaster of
Thurles Cath.; of Monaghan Cath.; and of
Enniscorthy Cath. since 1895. Aims at a high
standard in church music and making known
best polyphonic compositions.
Numerous masses, motets, part-songs, solo-songs,
pf. and orch. arr. Author of: History of Irish Music
(1900; 3rd ed. 1913); Story of the Harp (1908);
Story of the Bagpipe (1911); Memoir of W. Vincent
Wallace (1912); Memoir of John Field (1919); Intro-
ductory Sketch of Irish Mus. History (1921). Ed. of:
Moore's Irish Melodies (1910); Spirit of the Nation
(1911); Armagh Hymnal (1918); Selected Songs and
Airs of O'Carolan (1923). Contributor to
continental, Eng. and Amer. mus. magazines;
Grove's Dictionary; to Dictionary of National
ography, etc.-W. ST.
FLORIDIA, Pietro, hereditary Barone Napolino
di San Silvestro. Compr. condr. teacher; b.
Modica, Sicily, 5 March, 1860. Stud. at Liceo di
San Pietro a Maiella, Naples, 1873-9, under B.
Cesi (piano), Paolo Serrao and Lauro Rossi
(theory), and Polidori (aesthetics and history);
later pf. with Hans v. Bülow. Produced Naples
(7 May, 1882), successful comic opera, Carlotta
Clepier, the score of which he destroyed. For
a time 1st prof. of pf. at Palermo Cons.; 1885-90,
toured as concert-pianist. For 3 years, with
Boito and Toscanini, member of commission of
three on Conservatoire diplomas. In 1889 won
1st prize, Società del Quartetto, Milan, with a
symphony. Settled in U.S.A., 1904. Teacher at
Cincinnati (O.) Coll. of Music, 1906-8. Now
living in New York.
Operas: Maruzza (Ricordi), Venice, 23 Aug. 1894;
Colonia Libera (Ricordi), Rome, 7 May, 1899; Paoletta
(Feist, N.Y.), Cincinnati, 29 Aug. 1910. Suite in
olden style, op. 8, and other pf. pieces (Ricordi;
Carl Fischer). Songs (Ditson; Schirmer); ed. of Early
Italian Songs and Airs (Ditson, 1923, 2 vols.).-J. M.
FLUTE AND FLUTE-PLAYING. The flute,
more than any other instrument, appears to be
in its definitive state. From end of XVII to middle
of XVIII century, artists and manufacturers have
sought constantly to improve it. The happy dis-
covery of Boehm (1831) perfected the instrument.
During the last 40 years especially no further
development has taken place. The majority of
the Eng. flautists use the "1867" system; else-
where, especially in France, the so-called Boehm.
system is adopted. All the researches since that
time have only led to the addition of super-
fluous keys which complicate the mechanism
without appreciable advantages. Great Britain,
Germany and Northern Europe remain faithful
to the wood flute. In Belgium and the Latin
countries, the silver flute is nearly exclusively
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FLUTE AND FLUTE-PLAYING
used. In the U.S.A. also; many artists who
have settled there, have establ. the use of the
metal flute. The use of the bass-flute in the orch.,
though rare, is growing. Of the various forms,
the best is the one in G. The technique of the
flute certainly reached its highest point at the be-
ginning of the XIX century, although the flautists
sought only success in virtuosity, often indeed
at the expense of the music. If the harmonic
complexities of modern music demand more
purely mus. qualities (especially more speed in
reading), it is not that they demand more
technically than they were able to accomplish
before. The difficulties have merely changed
their form. Let us mention however, on the
score of curiosity, the introduction into the
technique of the flatterzunge (flutter-tongue, an
innovation of R. Strauss), a kind of rolling of
the tongue on the palate, and Ravel's very
frequent use of "harmonic" notes (they can be
obtained in the third octave, playing then a fifth
lower, and even in certain cases 2 octaves lower),
although these two innovations can only be used
very exceptionally. What characterises the
modern methods of treating the flute is the more
frequent use of the low octave. This is explained
by the revival of the interest in the flute music of
the XVIII century, the golden age of the flute. A
study of the works of Bach, Handel, Blavet, etc.,
shows that these masters never used the flute
above gå and made large use of the first (lowest)
octave, the sonority of which was so rich and full.
Modern comprs. have attempted to restore to
the flute pastoral character, so tender and
pathetic, and to avoid the embellishments of the
chief works of the XIX century. The great con-
certos of the rococo period have completely gone
out of fashion. Besides, this literature was
entirely virtuoso-work. Outside of Germany,
where this tradition is preserved, the flautists,
instead of composing themselves, appear to
have inspired and encouraged the comprs. to
enrich the flute literature, which has, during the
last 40 years, reached notable proportions.
Musicographers have brought many neglected
treasures of the XVIII century to the light again,
notably the sonatas and pieces of Blavet, Naudot,
La Barre, Quantz, Marcello, Stanley, Vinci, etc.
On the other hand, at the suggestion of the vir-
tuosi in search of new music, contemporary
comprs. have written important works for flute
and pf. and for flute in combination with other
instruments. The following necessarily incom-
plete list only indicates a few of the more char-
acteristic of these works:
Reinecke's sonata, Undine, fl. and pf.; Gernsheim's
on a
of Gluck, fl. and str.; Cyril Scott's Scotch Pastoral,
fl. and pf. (Hansen); F. S. Kelly's Sérénade, fl. and
small
ll orch. (Schott); Peter Benoit's Suite, (Schott);
Debussy's La Flûte de Pan, fl. a
. alone (ms.); Saint-
Saëns's Romance (Durand); Widor's Suite (Hamelle);
Hahn's Variations; Hue's Nocturne and Gigue;
Henschel's Variations (Ledue); pieces by Gaubert,
Chaminade, Fauré, Casella, Enesco, Mouquet, Bré-
ville, Milhaud, Koechlin; Debussy's sonata, fl. vla.
harp; Goossens' trio; Bax's trio; Charles Bordes's
Suite basque, fl. and str. (Bornemann).
In accordance with the new developments,
there has been an important output of tutors,
158
FOERSTER
studies, etc. Especially notable are several
books of studies by Andersen (Zimmermann,
Hansen, Cranz), Moijse (Leduc), P. Camus
(Senart), a Tutor by Prill (Berlin), and the very
important Méthode by Taffanel-Gaubert (Leduc,
1923).
In modern orchestration the quality of agility
of the flute cannot be ignored. Rimsky-Korsakof
has made great use of it in cadenzas (Grand
Pâque russe; Capriccio espagnol); R. Strauss
has raised it to the role of chief soloist in the
Dance of the Veils in Salome. The airs de ballet in
Saint-Saëns's Ascanio and Lalo's Namouna are
veritable acrobatic solos. Ravel in La Flate
enchantée (Schéhérazade) has given a new impulse
to the song with flute obbligato. But it is perhaps
Debussy (in L'Après-midi d'un Faune) who has
defined for this generation the ideal use of the
flute in orchestration, and brought into full light
its special qualities of expressive and penetrating
charm.-L. F.
FOERSTER, Josef. Czechoslovak_compr. b.
Osenice, 1833; d. Prague, 3 Jan. 1907.
Stud. at Organ School in Prague; choir-
master in several churches; from 1866 at
St. Adalbert's; since 1886 St. Veit's Cath.,
Prague; prof. at Organ School, later at Cons.
(harmony). Successful in propagating classical
reform of ecclesiastical song in Bohemia, though
in his own works he followed more modern ways.
Wrote Theory of Harmony-well developed but
rather mechanical.
Missa de Beata; Sti. Adalberti; Jubilei Solemnis;
2 Te Deums; 2 Requiems, Collection of Pange lingua,
The Catholic Organist. Publ. J. Hoffmann; Fr. A.
Urbánek, Prague.-V. ST.
FOERSTER, Josef Bohuslav. Czech compr.
b. Prague, 30 Dec. 1859. Son of Josef F.
(q.v.). He first stud. mechanics, but turned to
music; trained in Organ School, Prague. Till
1893 orgt. and choir-master in Prague, when
he accompanied his wife, the celebrated
singer Bertha Foerster-Lauterer, to Hamburg,
and again to Vienna in 1903. He re-
mained there until 1918, returning to Prague
after the political overthrow. 1918, prof. at
Cons.; 1920 at Master-School of Compn.; 1922,
dir. of Cons. Besides working at compn., he
also taught compn. in Hamburg Cons. (1901-3),
Vienna Acad. of Music (1904-18); music critic
for Národni listy, Prague (1884-93); also in
Ger. later on (Die Zeit), when living in Hamburg
and in Vienna. He lives in Prague and is at the
head of several mus. organisations. In technique
F. belongs to transition period between the
national classical (Smetana, Dvořák) and the
modern (Novák, Suk) generation, hence by the
side of Fibich (q.v.). On the other hand the funda-
mental ideas and the content of his music, his
melody and harmony, especially during the last
10 to 15 years, have been permeated by the
elements of a modern style. Subjectivism and
psychological interest are the salient features
of his works. We find a tender and delicate
lyricism, sympathy, a spiritual conception of
love in which erotic passion plays no part,
devotion and humility, not force or daring, a
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FOGG
tendency to melancholy which sometimes reaches
actual pessimism, discreet and soft nuances.
He does not always escape the danger of one-
sidedness in mood or of a certain lack of colour,
especially as his rhythmic and melodic types are
often very similar. He opposes this danger with
other characteristics. In the first place comes
his inclination for nationality, not in the colourist
folk-lore sense but as an expression of the deep
significance of country life. This quality lends
to his choral works a special, sometimes tragic,
beauty, and for that reason these compns. are
among his finest and best known. In his chief
works his religious temperament finds expression,
not in the ecclesiastical sense, but in the sense
of a metaphysical deepening of thought and
conception. In the operas the subjective point
of departure threatens to obscure the individuali-
sation of the characters and of the milieu, but
the expressive power is all the warmer and more
intimate wherever the scene reflects the author's
own mood. His art was for a long time disputed
by Czech critics; now the attitude towards F.
is beginning to take the form universal
esteem for his work, which is neither revolu-
tionary nor advanced, but pure, noble and
deeply conceived.
Operas: Deborah (1891), Eva (1897), Jessica (1904).
(The
1922); 4 symphonies. Symph. works.: Mé
Mládi (My Youth); Jaro a Touha (Spring and Yearn-
ing); suites: Cyrano de Bergerac; Shakespeare Suite;
Spring; Legend of Happiness; choir and
Angel's
cello and vn. sonata; 5tet for windon:
Bridge of Sighs; To the Dead Brethren; Four Heroes
(all Czech). Chamber-music: 3 str. 4tets; 3 pf. trios;
instra.; 2 vn.
Remem-
concertos. Song-collections:
brances; Songs of Twilight: Love; Spring Evening's
Dream; ballads; Passiflora; Demon Love; Tagore
cycle: The Story of the Long Desire; Clear Morning
eto. Faustulus, etc.
pieces including the collections: Reveries; Roses of
Remembrance; And the Apple-trees are in bloom;
s, etc.; incidental music to Princess
Pampeliška; Trilogy of Samson; The Fool and
Death; much choral music. Publ.: Fr. A. Urbánek;
M. Urbánek; Hudební Matice; E. Starý: Foersterova
Společnost; Univ. Ed.; Bosworth; Schott, etc.
Eros
Consult: Zdeněk Nejedlý, J. B. F. (Urbánek,
1910), Josef Bartoš, J. B. F. (Manes, 1923), both
FOGG, Eric. Eng. compr. b. Manchester, 21
Feb. 1903. Chorister at Manchester Cath. 1912-
1917; orgt. St. John's Ch. Manchester, 1917-19;
stud. under his father, C. H. F. (35 years' orgt.
Hallé Soc.); in 1920, stud. under Granville
Bantock. The very free, modern style of the
works with which he first came before the public,
when quite young, has lately been simplified
and the individuality has become clearer in
consequence.
Sea-Sheen, small orch. (Ascherberg); The Hillside
(Tagore) s. and barit. soli, chorus, orch. (ms. 1921);
overture to Comedy of Errors (ms. 1922); orchestra-
tion of Schumann's Eludes in form of a canon
(1922); str. 4tet, A flat; Poem, cello and pf. (Elkin,
1922): Phantasy, cello and pf. (BURT,
vn. cello and harp (or pf.) (London &
Songs of Life and Life (Tagore) (Elkin, 1921); The
song-cycle (Leigh Henry) (Bosworth);
Little Folk, Songs (Leigh Henry) (Curwen); also
Three Chinese
other songs (Elkin; Ourwen; London & Continental;
Bosworth); pf. pieces (Bosworth; Elkin; Murdoch);
part-songs (Curwen; Novello).-E.-H.
FOHSTRÖM, Alma, Finnish coloratura
singer; b. Helsingfors, 2 Jan. 1856. Stud.
FOLK-SONG SOCIETIES
in Helsingfors, Petrograd under Nissen-Saloman,
and in Italy under Lamperti and Della Valle.
First attracted attention in Helsingfors, particu-
larly in opera, as well as in Petrograd; 1878,
engaged at Kroll Theatre, Berlin, where she
appeared for some time with great success.
Then followed concert and opera tours in Scandi-
navia, Italy, Russia, Finland, Rumania, Eng-
land, Austria, Switzerland, Germany, N. and S.
America. After her marriage with Basil von
Rode, captain of Russ. Gen. Staff (later Division-
Gen.), she undertook an extensive concert-tour
throughout Russia; engaged in 1890 as prima-
donna at Imper. Court Opera, Moscow, where
she remained till 1904. 1909, prof. at Petrograd
Cons. After the Russ. revolution in 1917 she
lived for a time in Helsingfors. Is now at
Stern's Cons. Berlin.-T. H.
FOHSTRÖM, Ossian. Finnish cellist; b. Hel-
singfors, 21 Nov. 1870. Stud. at Helsingfors.
Music Inst. and (1894-5) at Brussels Cons.;
later (with a State scholarship) in Belgium and
Germany. Solo cellist in Helsingfors Philh.
Orch. 1898-1903; and in the Municipal Orch.
since 1914. Teacher at Helsingfors Orch. School
1899-1908, 1911-14, and Music Inst. 1895-6, and
(since 1914) at these two amalgamated institu-
tions. Soloist at concerts in Finland, Russia,
Germany and England. Was condr. 1908-11 of
orch. in Vasa, and has cond. concerts and opera
performances.-T. H.
FÖLDESI, Arnold.
Hungarian cellist; b.
Budapest, 20 Sept. 1882. Stud. under David
Popper.-B. B.
FOLESCU, G. See RUMANIAN OPERA.
FOLEY, Allan James. Irish b. singer; b.
Cahir, Tipperary, 7 Aug. 1835; d. Southport,
1899. Stud. singing at Naples under Bisaccia;
then sang in northern cities of Italy and in Paris.
In 1865, début London in The Huguenots. For
many years, a great favourite in London, where
he sang in Ital. or in Eng., and was famous for
his rendering of parts of Il Commendatore,
Sparafucile, and Daland; appeared also in
oratorio at the principal fests.; sang in opera
and at concerts in America, Austria, Russia.
His voice was powerful, but of beautiful quality
and great compass. He was always known as
Signor Foli."-W. ST.
FOLK-MUSIC.
various countries.
See arts. under headings of
FOLK-SONG SOCIETIES.-The English Folk-
Song Society was establ. 16 June, 1898, for publ.
of Eng. traditional song; commenced with 110
members and now numbers 230; has publ. 26
journals, consisting of folk-songs gathered by its
members in different parts of country; has done
much to draw attention to great wealth of Eng.
melody which exists, but which has hitherto
been unnoticed. The success of Eng. Folk-Song
Soc. led to establishment of Irish Folk-Song
Soc. May 1904, which has issued a similar class
of journal. The Welsh Folk-Song Soc. was formed
at Llangollen, Sept. 1908. Up to present it has
publ. 7 journals. In Scotland there are several
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FOLVILLE
societies which make the publ. of folk-music
part of their programme the Rymour Club,
Edinburgh; the Buchan Field Club has devoted
at least one of its Transactions to folk-song in
Buchan.-F. K.
FOLVILLE, Juliette. Belgian compr. b.
Liège, 5 Jan. 1870. First stud. under her father;
then worked at vn. under Musin and César
Thomson; at compn. under Th. Radoux. Came
forward in triple rôle of pianist, harpsichord
player and orch. condr. 1898-1914, pf. teacher
in Liège Cons. At beginning of war, she settled
in Bournemouth, England, where she devoted
herself to teaching. Her music is skilfully
written and in good style.
Opera, Atala (Lille, 1892); Noce au village, solo,
chorus and orch.;
poem, Oceano Noz; 3 orch.
suites; Esquisse mp. Some: vn. concerto; Mor-
ceau de
cello; pf. concerto (perf. Bournemouth
Fest. April 1924); pf. 4tet; Poème, cello and pf.;
Suile poétique, vn. and pf.; church music with orch.
and
pf.; 2 pf. sonatas; 24 organ pieces; songs.-E.
FONDI, Enrico. Ital. musicologist; b. Rocca
di Papa, 20 June, 1881. Wrote La vita e l'opera
letteraria del musicista Benedetto Marcello (1909)
and publ. a new ed. of Marcello's Teatro alla
moda (1913).-D. A.
FONDI, Renato.
.writer and music-critic;
b. at Pistoia. Contributor to newspapers and
reviews, showing uncommon qualities of perspi-
cacity and competence. Has publ. a vol. on
Ildebrando Pizzetti e il dramma musicale italia-
no d' oggi (Rome, 1919, Biblioteca dell' Orfeo).
-D. A.
FONT Y DE ANTA, José. Span. violinist;
b. Soville, 1898. First lessons from his father,
(violinist and bandmaster); on recommendation
of Sarasate, received a grant from Seville County
Council to continue his studies in Brussels,
where he became a distinguished pupil of César
Thomson; 1914, won highest prize at competi-
tions at Brussels Cons. Author of En el Jardín
del Misterio, book of art-songs, a form of compn.
very little cultivated up to present by Span.
comprs. Has given concerts in Belgium, Ger-
many and Spain. Lives and teaches in Madrid.
-P. G. M.
FONT Y DE ANTA, Manuel. Span. compr.
and opera-condr. b. Seville, 1895. Stud. under
his father and Don Vicente Ripollés; also compn.
under Joaquín Turina in Madrid, and Sibelius
in America. As condr., has toured S. America
for several years, with opera companies. He is a
compr. with a dual personality. Those who know
him as the author of hundreds of examples of
that style of popular song in Spain called cuplés,
as well as many delightful, piquant numbers
of dance-music, could hardly reconcile him with
the compr. of chamber-music and symph. works.
He is equally important in both aspects; for
while in some of his serious works, modern and
Franck-like in style, he reaches a degree of depth
and intensity alien to the Southern tempera-
ment, his light works entitle him to be saluted
as a reformer. In fact, his cuplés, devoid of the
illiteracy traditional in every country, and bear-
FOOTE
ing often the mark of the author's technical
efficiency, coupled with an exceptional sense of
the popular touch in music, have created a new
genre. For this, he enjoys wide fame and
popularity.
nes Andalucia, suite for
Misa Coral Unisona, with organ acc.; vn. and pf.
sonata;
scherzo, Impresio-
Perchel, symph. variations, orch.
Light operas: La Viuda Astuta (2 acts, based on a
play of Goldoni's); El Preceptor (3 a
popular
many
Unión Music marches,
(Ildefonso Alier;
Española, Madrid.-P. G. M.
FONTOVA, Conrado. Argentine compr. b.
Barcelona in 1865; d. Buenos Ayres, 1923.
Brother of violinist León Fontova. Stud.
in Brussels under Van Dam and De Greef.
Cond. the Blankenbergen orch. concerts. In
1888 the massed military band played his symph.
ode Austria-España at Universal Exhibition of
Barcelona. Decorated with Cross of Isabel la
Católica for this work. Put aside his own art for
some years to act as accompanist to his brother.
Establ. the Inst. which they jointly direct.
Then again devoted himself to compn. Publ.
La Caixeta de las Animas, many songs, pf. and
choral pieces.-A. M.
FONTOVA, León. Argentine violinist; b. Barce-
lona in 1875. Son of the well-known artist. Was
a mus. prodigy, giving his Ist concert, in Liceo
Theatre, Barcelona, when 6 years old. In 1888 the
Queen Regent, Maria Cristina, heard him play at
Universal Exhibition, Barcelona, and took upon
herself the cost of his training for 5 years.
Entered R. Cons. Brussels, where he stud. under
Colyns, gaining Grand Prix when 15 years old.
Returning to Spain, was appointed Musician of
the Queen's Chamber. For next few years, gave
concerts in Spain and abroad, being applauded
for his marvellous execution. At 21, went to
Argentina, repeating his triumphs at various
concerts. In 1905, founded, with his brother
Conrado, the Fontova Inst. and recently establ.
the successful Argentine Soc. of Chamber-Music,
which he dir. in collab. with the violinist López
Naguil.-A. M.
FOOTE, Arthur William. Amer. compr. b.
Salem, Mass., U.S.A., 5 March, 1853. Educated
at Harvard Univ. (A.B. 1874). Granted degree
of M.A. for work in music in 1875. Stud. pf. under
B. J. Lang and theory under S. A. Emery and
J. K. Paine. He received his whole mus.
training in U.S.A. 1878-1910, orgt. of First
Unitarian Ch. Boston; 1909-12, President of
Amer. Guild of Orgts. First notable appearance
as orch. compr. was in a popular concert of Bos-
ton Symphony Orch. 15 May, 1886, with his
first Suite for str. in D, op. 15. Since then his
orch. works have found their way into pro-
grammes of all larger Amer. orchs. Among later
orch. works may be noted the Four Character
Pieces after Omar Khayyám (transcription made
in 1900, of 4 of 5 Poems for pf. after Omar
Khayyám),. first perf. Chicago Orch. under
Frederick Stock, 20 Dec, 1907. Third Suite for
str. in E, op. 63 (written in 1907-8), first perf.
Boston Symphony Orch., 7 April, 1909, was
played Queen's Hall, London, 25 Aug. 1910
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FORCHHAMMER
His chamber-music has been even more suc-
cessful. Pf. 5tet, op. 38 (first perf. Kneisel
Quartet in 1898) has been played often in
America. He has produced works in all vocal
and instr. forms except opera.
F. is the Nestor of that group of living New
England comprs., which includes G. W. Chad-
wick, Mrs. H. H. A. Beach, and the somewhat
younger F. S. Converse, which represents the
classic, conservative or academic element in
present-day Amer. mus. life. Refined and digni-
fied in every respect, his music is characterised
by originality and an imaginative quality which
have done much to sustain its popularity. Is
member of National Inst. of Arts and Letters;
1919, Mus.D. h.c. Trinity Coll. Hartford.
Overture, In the Mountains, op. 14 (1887); pro-
logue, Francesca da Rimini, oroh. op. 24 (1892);
Serenade in E, str. op. 25 (1892); Suite in D, str.
op. 21 (1886); Sulte in D mi., orch. op. 36 (1896);
Suite in E, str. op. 63 (1909); Four
after Omar Khayydm, orch. op. 48 (1racter Pieces
pf. Stet,
op. 38; Tema con Variazioni for str. 4tet, op. 32
(1901); str. 4tet, op. 70 (1911). About 100 songs
(op. 13, No. 2, I'm wearing awa' and Irish Folk-Song);
about 30 sacred vocal works (best-known anthems
Still, still with Thee and God is our Refuge); about
20 organ works (Festival March, op. 29, No. 1); many
pf. works (2 suites, op. 15 and op. 3). Almost all
publ. by A. P. Sohmidt, Boston. Author of: _Modu-
lation and related Harmonic Questions (Boston,
Schmidt, 1919): Some Practical Things in Piano-
playing (id. 1909);
hor (with W. R. Spalding)
author
of Modern Harmony in its Theory and Practice
(id. 1905).-O. K.
FORCHHAMMER, Einar. Danish t. opera.
singer; b. 19 July, 1868. B.A. Début 1895 in
Lübeck (Lohengrin); 1896-1902, connected with
Dresden Opera; later with Operas of Frankfort-
o-M. and Wiesbaden, where he sang the leading
rôles in Wagner's music-dramas.-A. H.
FORD, Walter. Eng. lecturer and singing-
teacher; b. London, 20 March, 1861. Scholar
King's Coll. Cambridge, 1st class in Classical
Tripos, 1883; stud. under H. C. Deacon in Lon-
don, Sieber in Berlin, and Ronzi in Milan;
numerous recitals in London and elsewhere;
author of art. on Song and Folk-Song in Encyclo-
pædia Britannica.-E.-H.
FORGERON, Charles. Pseudonym of Karel
Kovařovic (q.v.).
FORINO, Ferdinando. Ital. cellist; b. Naples,
1837; d. Rome, 7 July, 1905. Stud. at Naples
Cons. (in Ciandelli's class); in 1863 was called
to Rome by the violinist Tullio Ramacciotti,
to take part in concerts of chamber-music.
From 1867, 1st cellist in Orchestra Romana;
from 1875 to 1901, prof. at R. Liceo Mus, di
Santa Cecilia, in which post he was succeeded
by his son. He took part in the Court Quintet,
with Sgambati, Monachesi, Masi (then De Sanc-
tis) and Jacobacci. F. a robust tone and
a facile, graceful execution. Wrote a Method
for cello, and many pieces for that instr.,
amongst which a Tarantella (Andrè) is particu-
larly well known.-D. A.
FORSELL
gave a series of successful concerts there. Made
the Santa Cecilia Cons. one of the most im-
portant schools of music in Argentina; then
directed it in collab. with Galvani and Troiani.
In 1906, Ital. Government bestowed on him titlo
of Knight of Crown of Italy.-A. M.
FORINO, Luigi. Ital. cellist; b. Rome, 20
Aug. 1868. Prof. of cello at the R. Liceo Mus.
di Santa Cecilia, Rome, having succeeded to
that post after his father Ferdinando, of whom
he was a pupil. From his youth ho played in
in the Consolo Quartet in Rome; then went to
Buenos Ayres, where he taught harmony, cpt.
and cello at National Cons. of Music; and then
became dir. of Cons. of Santa Cecilia at Buenos
Ayres.
From 1901-6, played in the Reginal
Margherita Quintet in Rome. Compr. of several
works for cello and for orch., and following
educational publications: La tecnica razionale e
progressiva del violoncellista, 3 vols. (Ricordi,
Milan); Il violoncello, il violoncellista ed i violon-
cellisti (Hocpli, Milan).-D. A.
FORNEROD, Aloys. Swiss compr. b. Montet-
Coudrefin, 16 Nov. 1890. Stud. vn. and compn.
at Cons. in Lausanne and at Schola Cantorum in
Paris; ed. of Feuillets de pédagogie musicale and
mus. critic of Tribune de Lausanne and Semaine
Littéraire de Genève. Teaches opt. at Cons. in
Montreux and at Institut de Ribaupierre,
Lausanne.
2 symphonies (op. 1 and 8); 6 motets (Geneva,
Henn); 4 Interludes dans les tons grégoriena, organ
(Paris, Roudanez); La Nuit, chorus (Henn).-F. H.
FORRESTER, James Cliffe. Eng. compr. b.
Burslem, Staffs, 10 May, 1860. Stud. at National
Training School with Minton Campbell Scholar-
ship, 5 years; pf. under A. O'Leary; organ
under Sir E. Bridge; for 20 years, condr. of
Ealing Choral Society.
Cantatas: England, my England, barlt. solo, chorus
and orch. (Cary); The Kalendar, foralo vs. (Novello);
fantasy-trio, pf. vn. cello (1st prize, Cobbett com-
petition, 1917) (id.); pf. pieces (Novello; Cary;
Murdoch; Stanley Lucas); vn. pieces (Lucas; Cary);
song-cycles (Cary; Lucas; Novello); numerous
single songs; part-songs (Novello; Stainor & Bell;
Forsyth); Anthems Ancient and Modern (Novello);
numerous anthems (id.).-E.-H.
FORSELL, C. John J. Swedish barit. and
concert-singer; b. Stockholm, Nov. 1868;
entered army 1888; stud. R. Cons. Stockholm,
1892-4 (under Julius Günther); début at R.
Opera, Stockholm, 1896; engaged there 1896-
1909; Metropolitan, New York, 1909-10; then
appeared as opera-singer in London, Berlin,
Vienna, and chief Ger. cities, Stockholm, Copen-
hagen, Christiania, Helsingfors, Amsterdam. As
concert-singer, toured Europe and America.
His voice is a high barit. finely modulated and
very flexible. He is also an excellent actor and
has done great work as pioneer for Swedish song-
comprs. Lives in Stockholm as teacher; mem-
ber R.A.M. Stockholm, 1906; R. Court singer,
1909. Chief opera-rôles:
Don Giovanni; Almaviva; Figaro; William
Tell; Luna; Rigoletto; Iago; Amonasro; Dutch-
man; Wolfram; Telramund; Sachs; Beckmesser;
Tonio; Scarpía; Escamillo;
Jochanaan
Wotan; Alome); Sebastiano: Nevers; Menhi
stopheles; Onegin; Hans Heiling; Francesco (Schil.
lings' Mona Lisa); also in Swedish operas, Tirfing
Valdemarsskatten, Arnljot, etc.-P. V.
FORINO, Hector. Pianist; b. Rome in
1875; d. Buenos Ayres, 1917. Stud. under
Sgambati. Went to Buenos Ayres in 1899
to assist his brother Luigi in Cons. Santa
Cecilia, which the latter founded in 1894. He
M
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FORSYTH
FORSYTH, Wesley Octavius. Canadian pianist;
b. near Toronto in 1863. Stud. in Toronto,
Leipzig and Vienna, under Zwintscher, Krause,
Jadassohn and Julius Epstein. Since 1902, has
lived in Toronto where he was some time dir. of
Metropolitan School of Music; now member of
advisory board of Canadian Acad. of Music. Is
widely known as a teacher throughout Ontario;
has publ. 60 pieces and many songs; has con-
tributed to numerous magazines; mus. critic for
many years of The Week. He has done much in
moulding public opinion towards a better under-
standing of modern works.-L. S.
FORSYTH BROTHERS, Ltd. Publishers,
establ. in Manchester in 1857; shortly afterwards
a publ. branch was opened in London. Specialise
in educational music, under editing of Sir Charles
Hallé; later of Dr. Carroll.-E.-II.
FOSS, Hubert James. Eng. music critic; b.
Croydon, 2 May, 1899. Mus. critic New Witness,
1922-3; Daily Graphic, 1923; mus. ed. Oxford
Univ. Press (H. Milford), from March, 1921;
contributor to Music and Letters, Mus. Times,
Daily Telegraph, Manchester Guardian, etc.-E.-H.
FÖSTER, Ivor. British barit. singer; b.
Pontypridd, S. Wales, 1 March, 1870. Won barit.
competition National Eisteddfod, Carnarvon,
1894; stud. 4 years at R.C.M. London, under
Henry Blower and Sir Charles Stanford;
sung for all the chief choral societies and at the
Boosey Ballad Concerts for 25 consec. seasons;
created Don Pedro in Stanford's opera Much Ado
(Covent Garden). His daughter, Megan, made
a successful début as singer in 1920.-E.-H.
has
FOSTER, Muriel. Eng. contr. singer. Stud.
R.C.M. London. Frankfort Museum concert,
1901; Düsseldorf, 1902; Lower Rhine Fest.
(Gerontius in Ger.; Bach's B mi. Mass), 1902;
Worcester Fest. (Gerontius, etc), 1902; Dresden;
Zurich, Berlin, Cologne, Holland with Mengel-
berg orch.), 1903; in that year, created part of
Mary Magdalene (Elgar's Apostles) at Birming-
ham Fest.; 1904, Leeds Fest. and 1st U.S.A.
tour; 1905, Worcester Fest. and 2nd U.S.A.
tour; 1906, Hereford and Birmingham Fests.;
in concerts continuously; in 1906 married
Ludovic G. Foster (Goetz, afterwards Foster)
and retired from public life, save for a few occas-
ional recitals in London. Has a voice of beautiful
quality and a highly finished style.-E.-H.
FOSTER, Myles Birket. Eng. compr. b.
London, 29 Nov. 1851; d. 18 Dec. 1922. Stud.
under J. Hamilton Clarke; and then at R.A.M.
under Sullivan and E. Prout; pf. under West-
lake; cello, Pettitt; ob. Horton; clar. Lazarus.
Founded R.A.M. Club in 1889; orgt. at various
churches; dir. of music, Foundling Hospital,
Hospital, 1880-93; composed chiefly church
music and children's music.
Cantatas: Ode to Music; Eudora, male chorus,
Beauty and the Beast; Lampblack for children (Weeks)
Agincourt; Golden Slippers (Hammond); Children's
Summer Day and Winter Day; Snow Fairies; Fisher
Maidens; Coming of the King (Novello); Elsa's
Fairy (Boosey); Anthems of all Nations (Boosey);
duets, pf. (Weekes); vocal duets (Hammond); 2- and
4-part songs (Boosey; Weekes; Hammond; Metzler;
FOX-STRANGWAYS
Novello; Curwen; Cramer; Rogers; Williams); unison.
songs (Novello; Weekes); songs (Weekes; Novello;
Moutrle;
Children's Christmas (Weekes).
Child's Life:down: Cary; Boosey); 4 Day in a
-E.-H.
FOULDS, John Herbert. Eng. compr. and
condr. b. Manchester, 2 Nov. 1880. Son of F. F.
(member of Hallé Orch. for many years); in
theatre-orch. at 14; member of Hallé Orch. at
20 (till 30); then condr. of stage-music, under
Richter, regularly visiting continental cities for
opera experience; compd. much music for stage-
production; during war, gave weekly concerts at
Ciro's Club for the forces; 1918, mus. dir. Lon-
don Central Y.M.C.A. (Saturday orch. concerts,
lectures, etc.); 1921, condr. Univ. of London
Mus. Soc. His Vision of Dante, op. 7, completed
in 1904, still awaits perf. It is for solo, chorus
and orch. and is described as a concert-opera;
the narrative and lyrical portions are set and
sung, interspersed with purely orch. passages (in
the manner of a symph. poem) descriptive of the
poet's journeying through the various spheres,
His Epithalamium, op. 10, and other "music-
poems" are constructed in stanzas like a poem.
In several works, particularly in his orch. Music
Pictures, op. 33, he secures new shades of mus.
colour by the use of quarter-tones for this
very effective programme - music (see article
on NOTATIONS). His choral work, A World
Requiem, op. 60, was produced (on the re-
commendation of the British Music Soc.) at
the Albert Hall, on Armistice Day, 11 Nov.
1923, with the Prince of Wales present. It is a
musician's commentary on the war; laid out
for soli, chorus, boy's choir, orch. and organ;
in 2 parts, each of 10 numbers, each part taking
about an hour in performance.
Chief serious works: Music-Pictures, op. 1; Varia-
zione, op. 4 (Novello, 1905); Epithalamium, op.
10 (perf. Sir H. J. Wood, 1906); cello concerto,
concert, Manchester, 1911); Music Pictures (group 3),
op. 33, orch. (Sir Henry Wood, 1913); Mood Pictures
(3 songs, v. and pf. op. 51 (Curwen); 12 essays in the
modes, pf. op, 78; 4 World i
op. 60 (Paxton)
(see above); Music Pictures (group 1), op. 30, pf.
trio. Also muslo for stage-productions: Wonderful
Grandmamma, op. 34; The Whispering Well, op. 35;
Julius Caesar, op. 39; Sakuntala, op. 64; The Trojan
Women, op. 65; Deburau, op. 72: The Fires Divine,
op. 76. Lighter works: Holiday Sketches, suite,
small orch. op. 16 (Bosworth, 1908); Suite Française,
small oroh. op. 22 (Hawkes); cello pieces, op. 25 (id.):
The Eastern Lover, soena, contr. v. and orch. (Enoch);
Keltic Suite, oroh. op. 29 (Hawkes); vn. pieces, op. 40
(id.); Idyll, str. orch. op. 42 (id.); Music-P Pictures
(group 4), str. orch. op. 55 (Hawkes); Gaelic Dream-
Song, small orch. op. 68 (id.); Suite Fantastique,
from musle to Pierrot play Deburau, op. 72 (id.).-
E.-H.
FOURDRAIN, Félix.
Fr. compr. b. Nice,
1880. Succeeds more easily in a light, clever
style than in serious opera.
La Légende du Pont d'Argenton (1907); Echo
(1907); La Glaneuse (1909); Vercingetoria (1913):
Madame Roland (1913); Les Contes de Perrault (1913):
Les Folies amoureuses (1920); Dolly (1922). Also
some pf. pieces and songs.-A. C.
FOX-STRANGWAYS, Arthur Henry. Eng.
mus. journalist and writer; b. Norwich, 14 Sept.
1859. Educated at Wellington Coll. and Balliol,
Oxford; stud. pf. and opt. at High School of
Music, Berlin, 1882-4; assistant-master Wel-
lington Coll. 1887-1910; dir, of music there,
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FRACASSI
1893-1901; two visits to India, 1901 and 1910,
spent in studying Indian music; publ. The Music
of Hindustan (Clarendon Press, 1914); founded
the Eng. quarterly Music and Letters in 1920,
which he still edits. With the Revue Musicale
(Paris) and the Musical Quarterly (New York),
it is one of the 3 finest mus. quarterlies in the
world. On the mus. staff of The Times. Con-
tributor to The London Mercury.-E.-H.
FRACASSI, Almérico. Argentine compr. b.
Lucito, Campobasso, Italy. Went to Buenos
Ayres as a child. In 1890, went to Naples Cons.
under Rossomandi and D'Arienzo. Began con-
cert-work in 1896, at Milan, Naples and Monte
Carlo. In 1899, returned to Buenos Ayres;
obtained a great success as pianist. In 1890,
concerts in Europe. Returning to Buenos Ayres.
in 1903, devoted himself to compn. and teaching,
taking over Cons. of Almagro (on death of
founder, Bagnati). He now directs it with the
Cavaliere Gennaro d'Andrea. An able teacher,
he brought to Argentina the taste and technique
of Cesi's school.
5 pf. studies; Suite and concerto for pf. and orch.;
sonata for pf. and vn.; 4 Argentine Anthems, of
which the Himno al Centenario obtained the gold
medal awarded in open competition by the Argentine
Goverment.-A. M.
FRANCÉS, Julio. Span. violinist, compr. and
condr. Pupil of Ysaye; prof. of vn. at R. Cons.
de Música; leader of R. Theatre orch., of
Orquesta Sinfónica and of the Quinteto de
Madrid; founder of Quarteto Francés; condr. of
Sociedad Coral del Palacio de la Música; founder
and condr. of Orquesta de Cuerda, Madrid.
2 orch. sultes: Chiquilladas; Escenas Madrileñas,
Balada, s., t., mixed chorus and orch. (Unión Musical
Española).-P. G. M.
FRANCHETTI, Alberto. Ital. compr. b. Turin,
18 Sept. 1860. One of most renowned contem-
porary comprs., both in operatic and instr.
fields. Belongs to a very prominent and gifted
family, being the son of Baron Raimondo
Franchetti and Baroness Luisa Rothschild. He
had to struggle against his father's wishes in
order to be able to follow his mus. inclinations;
stud. first under obscure masters in Venice and
Padua; then perfected himself in Germany, at
Munich under Rheinberger and at Dresden under
Draeseke and Rieschbieter. Wrote symph.
poem The Loreley; Variations for str. 4tet and
various overtures; became known by his sym-
phony in E mi., perf. first in Dresden, 1886,
then in many other cities.
Operatic works: Asrael (subject taken from
Flemish legend of the xIv century and from an
Reggi
Emilia, 1888); Christopher Columbus, written
for Municipality of Genoa on 4th centenary of dis-
covery of America (1st perf. Genoa, 1892); Fior
d'Alpe (Scala, Milan, 1894); Il Signor di Pourceau-
gnae (Scala, Milan, 1897); Germania (Scala, Milan,
1902); La figlia di Jorio (Scala, Milan, 1906); Notte
di leggenda (Scala, Milan, 1915); Glauco (San Carlo,
Naples, 1922). Also operetta, Giove a Pompei, written
in collab. with Glordano (perf. Rome, 1920); symph.
bes. Nella selva nera; and biblical idyll,
Nearly all these are publ. by Ricordi,
A.
FRANCHETTI, Luigi. Ital. pianist; nephew
of Alberto. Educated at Eton and Oxford;
now lives at Munich.-E.-II.
FRANCK
FRANCK, César August. Belgian composer; b.
Liège, 10 Dec. 1822; d. Paris, 8 Nov. 1890.
César Franck came, on his father's side, of a
family which had lived for generations at Gem-
menich, in that corner of Belgium which is
formed by the junction of the provinces of Liège,
Dutch Limburg and the Prussian Rhineland.
His mother was German and came from Aix-
la-Chapelle. Both had settled in Liège before
the birth of César in 1822. He studied first of
all at the Liège Conservatoire. In 1835 his
parents settled in Paris, where he received
private lessons from Reicha (d. 1836). He
entered the Conservatoire in 1837 and gained
in succession the Grand Prix d'honneur for
pianoforte (1839), a 1st prize for fugue (1840)
and a 2nd prize for organ (1841). As his father
had decided that his career was to be that of a
virtuoso pianist, he left the Conservatoire in
1842, spent in Belgium two years (of which we
have little information) and returned to Paris in
From thenceforth he led an extremely
laborious life, mainly in giving lessons in order
to support himself and his parents; his brother
Joseph, also a musician, followed the same
occupation. But in the meantime César was
composing. On 4 Jan. 1846, his biblical eclogue
Ruth was first performed in public and attracted
some notice. On 22 Feb. 1848, in mid-Revolu-
tion, he married an actress, daughter of the
tragedian Desmousseaux, and left his father's
house. He now devoted himself even more
assiduously to the teaching of music, without,
however, losing sight of the necessity for culti-
vating his own mental powers, for "reserving a
thought-period" (according to the fine expres-
sion which Vincent d'Indy attributed to him).
1844.
He was organist at Notre-Dame de Lorette,
then at St.-Jean-St.-François, finally at Ste.-
Clotilde (where he had been choirmaster since
1858) thus gradually he saw his financial posi-
tion becoming more secure and his reputation
as a soloist established. His improvisations on
the organ left on those who had the good fortune
to hear them the impression of something
absolutely unique and profoundly moving.
From 1850 to 1870 he composed practically
nothing he seems to have been concentrating
and crystallising his forces in preparation for
the final blossoming of his genius.
Between
1869 and 1879 he composed the Béatitudes, his
most famous work, of which only a fragment
was produced during his lifetime (1887). In
1872 he was appointed organ-professor at the
Paris Conservatoire, where his modest class
soon became the nucleus of the and talent
of the modern French school. The infinite
kindliness, breadth of vision and skill of Franck,
together with his generosity in instruction,
gathered round him, whether at the Conserva-
toire or in the privacy of his home, a regular
constellation of young enthusiasts whose names
alone suffice to show that his efforts were not
fruitless: Duparo, de Castillon, d'Indy, Chaus-
son, de Bréville, Ropartz, Bordes, Lekeu . . .
In 1873 he became a naturalised Frenchman.
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FRANCK
The same year marks the first performance of
the Rédemption. The last ten years of his life
(1880-90) produced an almost uninterrupted
succession of masterpieces-the Variations Sym-
phoniques, the violin and piano sonata, Psyché,
the symphony, the string quartet, and three
great organ Chorals. This extraordinary creative
activity was interrupted at its very height by
a fatal attack of pleurisy, which caused his
death on 8 Nov. 1890.
During his lifetime Franck was very little
appreciated except by a select public who
divined his genius and instinctively realised
how many fresh beauties he was adding to the
aesthetic patrimony of Europe. In official circles
he was regarded merely as one teacher among
many thousands of his kind. At the present
time that opinion is absolutely reversed and he
is venerated as one of those inspired master-
minds who have inaugurated fresh eras in the
history of music. No one wishes to assert that
all of Franck's work is perfect-he took a con-
siderable time to realise himself and educate his
style. It is obvious that during the first part of
his career (1840-70) he responded, albeit rather
passively, to the detestable musical atmosphere
in which he lived. Again, if later on during his
prime, one or two of his works show occasional
weakness, one must attribute this fact to a certain
lack of critical judgment which allowed him to
accept as subjects for inspiration, literary texts
that are sometimes worse than mediocre. His
operas, Hulda and Ghiselle, suffered most in this
respect, and the Béatitudes and Rédemption do not
wholly escape any more than some of his songs.
On the other hand, one cannot fail to recognise
that the genius of Franck restricts itself to the ex-
pression of a limited order of sentiment. His in-
ability to depict evil has often been commented
upon-when his music is forced to interpret
such, owing to the character of the libretto, it
becomes conventional, sometimes almost vulgar.
One freely admits this fact, in order to point out
that his genius is not suitable for human drama
and for purely objective psychology as repre-
sented on the stage. His own domain is lyri-
cism pure and simple, the outward projection
of his own innermost dreams. In this he is
without equal, and it is because he succeeded in
clothing this inward idealism in new forms of
music that he occupies so elevated a position
among the great ones of musical evolution. No
one in the XIX century expressed better than he
the sense of communion between man and God;
no one has interpreted as he the agony of the
modern soul beset by the tormenting problems
of life, and seeking its deliverance in ardent
faith, and confidence in an absolute ideal of
beauty and perfection. The critics of the past
have not sufficiently appreciated the delicacy
of his interpretations of nature, nor realised
that certain of his works, such as Les Eolides,
Psyché, and parts of Hulda, by the subtlety of
their harmonic colouring were already paving the
way for the Impressionist school.
The principal method employed by Franck
FRANCK
in order to realise his ideal of musical lyricism
consists in the use of a melodio form of very
delicate contour whose force of expression
increased by a characteristic harmony based on
a system of figuration capable of the most
exquisite nuances. César Franck develops
chromatic modulation, already in embryo in
classical harmony, to its fullest extent-so
that to proceed further it was necessary to
contradict the principles laid down by Rameau
and consider that discords no longer existed, in
fact that there were only concords. This last
step was accomplished by Debussy. On the
other hand, Franck re-established the rights of
polyphony which had been neglected in the
XIX century, particularly in France. Lastly, he
was the first to produce systematically the
"cyclic form " in pure music. This procedure,
which consists of unifying a symphony or piece
of chamber-music by reuniting all the principal
themes at the end, has been rather abused
of late. But his merits in the pursuit of
homogeneity in purely musical works do not
stop there. The manner in which he conceives
the thematic work contributes in a large part
to the cohesion between the different move-
ments, a cohesion which Beethoven himself
only achieved in a limited measure: By
combining in a hundred different ways his
themes and his counter-themes, by preparing
their chief entries by fugitive suggestions and
bringing them back later on under the form
of reminiscences which echo them in the most
delicate manner possible, Franck introduces into
the veins of the old sonata form, an art of in-
finitely free and subtle variations which renews
its substance completely. Thanks to this absolute
equilibrium between the substance and the form,
he has carried, so it seems, the symphony and
chamber-music to the point of perfection, in
such a way that it may be asked, as was asked
by Wagner apropos of Beethoven, "if he
has not exhausted all their resources." The
future alone will show if this thesis is sound.
In orchestration he was no innovator, and the
ideas, which give an illusion of originality, he
borrows from organ composition alone.
3 concert trios (1841); 4th trio (1842); Ruth
(1843-6); 2 masses
1860-2: Panis angeli58 and 1860); 6 organ pieces,
72): Les Eolides (1876); 3 organ pieces (1878); 5tet
(1872); Rédemption (1871-
(1878-9); Les Béatitudes (1869-79) Hunter), 1882;
Rébecca (1881);
Le
Les
Chasseur maudit (The
Djinns (1884); Prélude, choral et fugue, pf.
(1884); Hulda, opera (1882-5, perf. at Monte Carlo,
1894): Symph. Variations (1886-7) Psyché (1887-
vn. sonata
Prélude,
38); symphony, 5 ml. (1886-8): 4tet, D ma. (1889);
Ghiselle, lyrical drama (1888-90; produced at Monte
Carlo, 1896); 3 chorals for organ (1890).
The principal work on C. F. is that of Vincent
d'Indy (Paris, Alcan).
bibliographical
It contains all necessary
Consult also the art.
on F. In J. Tiersormation.
française (Paris, Alcan).-C. V. B.
Un Demi-siècle de musique
164
FRANCK, Richard. Ger. compr. b. Cologne, 3
Jan. 1858. The son of compr. Eduard Frank
(1817-93). Pupil of Stern's Cons. Berlin, R. Cons.
and Univ. Leipzig. 1880-3 teacher General Music
School, Basle; Kullak's Acad. Berlin, and
Magdeburg. Again in Basle, 1887-1900; then
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FRANCKENSTEIN
(1900-9) dir. of Teachers' Choral Soc. Cassel.
Now living in Heidelberg. R. mus. dir. 1903.
Overture (Waves of the Sea and of Love), orch.,
op. 21; Dramatic Overture, op. 37; Symphonic Phan
tasy, 31; , 40,
tone-poem, full orch.; Fords of Love (chorus and orch):
2 pf. trios, op. 20 and 32; pf. tets, op. 33 and 41;
vn. sonatas, op. 14 and 35; vn. concerto, op. 43;
pf. concerto, op. 50; pf. sonata, op. 51; over 50 pf.
pleces; some songs; male choruses, eto.-A. E.
FRANCKENSTEIN, Clemens, Freiherr von.
Ger. compr. b. Wiesentheid (Lower Fran-
conia), 14 July, 1875. Whilst a student at
Munich, was pupil of Thuille, then of Knorr at the
Frankfort-o.-M. Cons. Next went to America.
Condr. in London, 1902-7; Wiesbaden Court
Theatre 1907; from there R. Theatre Berlin. In
1912-18 Court mus. dir., Munich; gen. mus.
dir. 1914 until the Revolution.
Numerous songs and orch, works. Festival Music,
op. 35; Variations for full orch. on a theme of
Meyerbeer; 4 orch. pieces (1922). Operas: Griseldis
(Troppau, 1898); Fortunatus (Pesthel (Li-Tai-Pe).
Rahab
text by Rud. Lothar, Hamburg, 1920; pantomime,
Die Biene, op. 37.-A. E.
FRANCMESNIL, Roger de. Fr. compr. pianist;
b. Paris, 2 Dec. 1884; d. there, 1 Jan. 1921.
Pupil of Diémer at Paris Cons. 1st prize, pf.
1905.
Chant de la Victoire (orch.); Evocation symphonique
(orch.); chambe music for vn., fl. and cello; str.
4tet; a collection of songs.-A. C.
FRANCO Y DE BORDONS, José María. Span.
compr. and pianist; b. Irun, 1893. One of
leading accompanists in Madrid; compr. of art-
songs.
Rimas de Becquer: De un jardin de Andalucía;
Rimas de Consuelo Gil Roessel; Pequeños poemas de
R. Tagore, etc.; pieces for pf.; for vn.; for guitar
(Romero & Fernández, Buenos Ayres).-P. G. M.
FRANKO, Sam. Amer. violinist, condr. b. New
Orleans, La., U.S.A., 20 Jan. 1857. Stud. vn.
under Blecha in Breslau and de Ahna in Berlin.
At 10 appeared in public with orch. in Breslau.
At 12 gave 1st concert in America at Steinway
Hall, New York; 1876-8, stud. in Berlin under
Joachim (vn.) and A. Hollaender (compn.);
1878-80, pupil of Vieuxtemps and Léonard (vn.)
in Paris; 1880, member of Thomas Orch. in
New York, leading violinist 1884-91; 1891-7,
principal vla. New York Philh. Orch. In 1883,
toured U.S.A. and Canada as solo-vn. of Mendels-
sohn Quintet Club of Boston; 1893-1901, gave
concerts in New York with his own chamber-
music organisation; 1894, organised the Amer.
Symphony Orch. (65 native players); 1900-9,
attracted much attention in New York with his
Concerts of Old Music (xvII and XVIII centuries).
These he continued after 1909 in Berlin where at
Stern's Cons. he also taught advanced vn. pupils
and cond. the orch. class. Returned to New
York in 1915 for further concerts of old music,
also series of chamber-music concerts for People's
Inst. (1919-20) and cond. perfs. of Soc of Amer.
Singers (Mozart's Bastien and Bastienne, and
The Impresario. Has publ. vn. transcriptions
and arr. of older orch. works (Jungnickel; C.
Fischer; Ries & Erler), notably Pergolesi and
Vivaldi Concerti Grossi (Schirmer, 1909, 1916).
Many pieces for vn. and pf.-0. K.
FRANQUIN, Merri. Fr. tpt. soloist; b. Lançon
FRENCH CHAMBER-MUSIC
(Bouches du Rhône), 17 Oct. 1848; prof. of
class of tpt.-playing at Cons. Paris. Author of
Grande Méthode de Trompette et de Cornet à
Pistons (used at Cons.); also invented the new
modern tpt. with 5 pistons.-F. R.
FRANSELLA, Albert. Solo flautist; b. Amster-
dam of Dutch parentage, but Ital. extraction.
Son of a flautist; trained by his father and de
Jong; appeared in public at 15; played under
Brahms at 16; first appeared in London under
Rivièro at promenade concerts; principal fl.
Scottish Orch. and at Crystal Palace under
Manns; R. Philh. and Queen's Hall Orch.; prof.
at Trinity College of Music, London.-E.-H.
FRANZ (real name Franz Gautier). Fr. heroic
tenor, b. Paris, 1876. Started as railway clerk;
Made many unsuccessful attempts to pass
entrance exam. for Cons. In 1908 the news-
paper Comedia organised a competition for ts.;
he entered under name of Franz, and gained
1st prize with aria from La Juive. After many
trials, Messager and Broussan (then managers
of Opéra) engaged him in 1909.
Début in
Lohengrin; thereafter sang in all the repertoire.
Principal rôles in Parsifal, 1914; La Légende
de St. Christophe, 1920; Antar, 1921; Les
Troyens, 1921; La Fille de Roland, 1922. Has
also sung in London, Italy and South America.
A very rich t. voice, especially strong in middle
register; for this reason, is one of finest singers
of Wagnerian and modern opera.-A. R.
FREDERIKSEN, Tenna. Danish opera-singer
(8.); b. Copenhagen, 16 May, 1887. Prima donna
of R. Theatre, Copenhagen; Court-singer;
trained under opera-singer J. L. Nyrop and Osta
Schottländer (Copenhagen), Padilla and Jean de
Reszke (Paris). Début (Elsa in Lohengrin), 4
April, 1906. Principal rôles: Tosca; Traviata
Margaret (Faust); Madame Butterfly; Musette
(Bohème); Tatjana (Eugene Onegin); Iolanthe
(Tchaikovsky); Fidelio; Myrtocle (Die toten
Augen); Louise (Charpentier).-A. H.
FREMSTAD, Olive. Norwegian-Amer. drama-
tic s. singer; b. Stockholm in 1872 of Nor-
wegian father and Swedish mother. Went to
Norway when 3 years old; to America when
12. Pupil of Lilli Lehmann, Berlin. Début in
Berlin, 1895; sang in Bayreuth, 1896; Vienna,
1897; subsequently in Munich and at Covent
Garden, London. Engaged at Metropolitan,
New York, 1903-14, and from 1917. Has there
sung most of leading parts in Wagner's operas,
as well as Santuzza, Salome, etc.-U. M.
FRENCH CHAMBER-MUSIC FROM 1880.
Saint-Saëns (trio in F, 1865), Gabriel Fauré (1st
4tet, 1878) and César Franck (sonata for pf. and
vn. 1886; 4tet, 1889) were the pioneers of modern
French chamber-music. Since the end of the
XVIII century in France, as in Italy, the forms of
pure music were disdained and could only be
applied at the Opera. Only the great German
classics were played at concerts, which for various
reasons were few in number and reserved for the
élite. These three musicians succeeded from the
very first in supplying models truly French in
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FRENCH CHAMBER-MUSIC
style. Saint-Saëns with his eclectic talent and
his incomparable constructive ability, Franck
with his science and eloquent lyricism, Gabriel
Fauré with his charming sensibility and delicate
poesy, are the real creators of the French school
of chamber-music.
César Franck's disciples-Vincent d'Indy
(4tet; trio with clar.; sonata for pf. and vn.),
Ernest Chausson (4tet; concerto)-claimed their
freedom from the beginning. Chausson at the end
of his life, which was very short (he died in 1899),
felt himself drawn towards an ideal very close to
that of Debussy. On the contrary, the tendencies
of the "Scholistes" were manifested forcefully in
the works of Albéric Magnard (trio, 1904; 4tet;
5tet for pf. and wind instrs.; vn. and pf. sonatas;
sonata for cello and pf.), of which the tumultuous
force bears witness to chivalrous generous feeling
and full-blooded emotion.
Guy Ropartz's trio, Albert Roussel's trio and
vn. sonata, and Witkowski's 4tet, are amongst
the best productions of the "Scholistes," with
whom we must rank Gabriel Pierné, in spite of
the fact that in his latest works (5tet; trio) he
seems to be influenced more by the school of
Fauré. The influence of Fauré is indeed very
considerable on all the French school, and it
counteracts that of César Franck. We must not
forget that although Fauré was one of the first in
France to compose chamber-music (about 1880),
he continues to produce, even now, works of
astonishing freedom and extreme sensibility
(5tet, 1921; trio, 1923; 2nd sonata for cello,
1921).
Debussy's influence is also considerable, and
the day when his str. 4tet was first played is a
landmark in the history of French music (1893).
He completely renovated the style of the str.
4tet, arriving at the point of transforming it into
a veritable orchestra, writing for the instruments.
with marvellous freedom and constructive know-
ledge. Towards the end of his life Debussy re-
turned to chamber-music and wrote his vn. and pf.
sonata, his cello and pf. sonata, and his charming
trio for fl. vla. and harp, which is one of the most
perfect of his compositions.
Although not entirely escaping the influence.
of Debussy, it is to Fauré and Saint-Saëns that
we must attach Maurice Ravel in his str. 4tet,
his pf. trio, and his sonata for vn. and cello. He
has dared to open up new ways, albeit preserving
a cyclic plan of surprising severity.
Florent Schmitt's 5tet, of immense cyclic con-
struction, and his vn. and pf. sonata in two
linked parts, bear witness to the power of this
vigorous musician. The combined influence of
Fauré and Debussy is felt in the works of Louis
Aubert, Charles Koechlin, André Caplet, Jean
Huré, and other excellent musicians.
Relatively neglected by the musicians of the
previous generation, who preferred the orchestra,
chamber-music is now strongly in favour with
the younger French composers, who very fre-
quently find it a suitable vehicle for their
experiences. Darius Milhaud has already com-
posed five 4tets and numerous instr. sonatas of
FRENCH CHORAL MUSIC
very daring material; Arthur Honegger, several
sonatas for vn. vla. and cello, and str. 4tet;
Germaine Tailleferre, a 4tet, a delicious vn.
sonata; Durey, a 4tet; Poulenc, some pieces for
wind instrs. and Georges Migot, several instr.
pieces, very original in form.
In the music for piano is to be found one of the
richest treasures of the French school. Whereas
César Franck started to apply the colours of the
organ to the piano, Gabriel Fauré and Chabrier
gave the first models of those new pianistic effects
of precious sonorities of harmony and subtleties
of texture which seem to characterise the tech-
nique called "impressionist." Satie, in his
Gymnopédies (1883) and his Sarabandes, had
already made use of clusters of notes inexplicable
according to scholastic rules. Already before
Debussy, Ravel in his first piano works (1901)
revealed models of the new pianistic style,
derived from Chabrier, Fauré and Satie. In an
analogous language, but with characteristic pro-
cedures, Debussy wrote, from the year 1902, his
masterpieces. One can say that the school of
modern French piano composition is related to
Fauré, Debussy and Ravel, if we except the
"Scholistes," who continue to compose sonatas
according to traditional rules. Lately Darius
Milhaud and Poulenc have applied their polytonal
innovations to piano composition and have ob-
tained some very interesting results.-H. P.
FRENCH CHORAL MUSIC FROM 1880. The
difficulty of forming choirs in France is such that
choral works are rarely performed, notwithstand-
ing they have such a wonderful work as the
Beatitudes by César Franck. Amongst modern
French composers Saint-Saëns has assiduously
cultivated this form under the most varied
aspects: 4-part choruses; double choruses; soli
and mixed chorus; unacc. mixed choruses;
canons for children's voices, etc., and especially
his cantatas for soli, chorus and orch.: Le
Déluge, La Lyre et la Harpe, Nuit Persane, La
Gloire de Corneille, etc. Massenet has competed
with him in numerous 4-part male choruses (La
Caravane perdue, Moines et Forbans, Le Sylphe,
Alerte, etc.), 2-part female choruses (Aux étoiles,
La Chevrière, Chansons des Bois d'Amaranthe,
Poème des fleurs, etc.) and some cantatas (Nar-
cisse, Biblis). Gabriel Fauré about 1880 made use
of this form, but has renounced it since. We may
mention his Cantique de Racine and Les Djinns
for 4-part chorus; Madrigal for vocal 4tet; La
Naissance de Vénus, soli, chorus and orch. Bizet,
whose music still lives, wrote a 4-part chorus,
Saint Jean de Pathmos, and various solos with
chorus: Chanson du rouet, Le Golfe de Baia. One
of the best-known works of 1890 period is the
celebrated Ode à la Musique by Chausson (poem
by Edmond Rostand) for female voices with solo
and orch. It followed his La Sulamite (1884) on a
poem by Jean Richepin. The choruses with soli
by Gustave Charpentier (Poèmes chantés, Im-
pressions fausses) are now little heard, no more
than the choruses of Chausson (Hymne védique,
Chant nuptial, Chant funèbre). The predominance
of intimate lyrics and of the delicately chiselled
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FRENCH DRAMATIC MUSIC
lied adds to the difficulty of choruses for modern
composition. Debussy has only written for
chorus Trois chansons (Charles d'Orléans) for
4-part mixed unacc. voices. The third of his
Nocturnes called Sirènes, which requires some
singers, is hardly ever played, and the Damoiselle
élue (on Rossetti's poem) for female voices, chorus
and orch. is not often given. Of the choruses
which Paul Ladmirault has written (Les Berceaux,
Printemps, Ames de la forêt, Hymne de la Saint-
Jean d'Eté) only the last is published. Roussel
has written 2 madrigals for 4 voices, but neither
Ravel, Duparc nor Dukas has written any
choral music. The only contemporary composers
who have seriously cultivated this form are
Florent Schmitt and Gabriel Pierné, the former
with excellent four-part songs, unacc. choruses,
some choruses with orch. (Danse des Devadasi,
Chant de guerre, Hymne à l'Eté), the latter with
some choruses for female voices in 2, 3 and 4
parts (Le Printemps, Hymne à la Vierge, Le
Repos en Egypte, Rondes des fées, etc.). Some
composers who act as inspectors of music in
schools have written for children's voices for
instance Roger-Ducasse and his Joli Jeu de furet,
but this is an exception. Choral music is not in
decay in France, only resting. The
younger
composers use it intermittently and with great
caution, like Darius Milhaud in some passages
in L'Homme et son désir.-A. C.
The
FRENCH DRAMATIC MUSIC FROM 1880.
French dramatic music has not known the dis-
credit which paralysed symphonic music in
France during the last half-century.
"Grand Opéra" was completely devoted to
following the models of Rossini, Meyerbeer and
Halévy, producing works both banal and stereo-
typed. Gounod alone wrote living music of a
captivating charm. He must be considered the
point of departure for modern French dramatic
school and his influence on his successors was
considerable. The revival started with Bizet's
Carmen (1875) and Saint-Saëns's Samson and
Dalila (1877). After that it had to wait till 1884
for the birth of two truly interesting works,
Massenet's Manon and Reyer's Sigurd. Massenet
gave in Manon a perfectly successful example of a
melodic style, caressing, voluptuous, facile, with
a very sure hold on the public. He became the
chief of a whole school and his influence was
immense. One traces it again in the work of
Bruneau, Charpentier, Xavier Leroux, Henri
Rabaud, Laparra, Levadé, etc. His Werther
(1886) and his Jongleur de Notre Dame (1902) are
living models of the type which he created.
One of his disciples, Alfred Bruneau, distin-
guished himself by seeking out popular and
homely subjects. His first work, Le Rêve (1891),
viewed from the point of harmonic style, gave an
admirable promise which unfortunately was not
fulfilled. Charpentier derived directly from Mas-
senet and Bruneau. An admirably gifted musi-
cian, without critical spirit and without depth, he
really wrote only one great work, Louise (1900).
One can even attach to this school the very in-
teresting works of Gabriel Dupont (Antar, 1922),
FRENCH ORCHESTRAL MUSIC
of Laparra (La Habanera, 1903), and Henri
Rabaud's charming Marouf (1913) which re-
newed the traditional type of the Opéra-Comique.
All these musicians are essentially men of the
theatre; but one can state without paradox that
the most original and most interesting theatre
works have been composed by musicians who
only approached it, as it were, accidentally.
This was the case with Chabrier, whose opern
Gwendoline, produced in 1886, is from the har-
monic and orchestral point of view of singular
novelty, although touched with Wagnerism;
and with Lalo, whose Roi d'Ys was staged in
1888, ten years after it was finished. In 1897,
Vincent d'Indy, who had already composed Le
Chant de la cloche, gave Fervaal, followed in 1903
by L'Etranger and in 1900 by La Légende de St.
Christophe. This musician, essentially symphonic,
remained faithful to the Wagnerian conception
of the lyric drama, but proved himself truly
French by his clarity and lyricism. Two other
disciples of Franck, Albéric Magnard and Guy
Ropartz, conceived their works (Bérénice, 1911;
Le Pays, 1913) in the same spirit.
In 1902 Claude Debussy had brought about,
with his Pelléas et Mélisande, a veritable dra-
matic revolution, and created a finished model of
a French opera in which music and poetry were
perfectly balanced. No longer a laborious
development of the leit-motiv, with its far-
fetched relationship of themes, was needed to
secure unity of the drama. The result of this
revolution was considerable, even on those
theatre musicians whose habits were set and who
wrote for a public which cared little for innova-
tions, no less than on the younger composers. In
1907 Paul Dukas produced his Ariane et Barbe-
Bleue, which presented another solution of the
dramatic problem, one in which music prevails
over poetry. In 1911 Ravel revived the opéra-
bouffe with his striking Heure Espagnole. Gabriel
Fauré, who always kept aloof from the theatre,
gave in 1913 his Pénélope, a masterpiece of
feeling, nobility, and simple grandeur.
The younger musicians appear to take no
interest in the theatre. The form of the lyric
drama appears to them worn out. They seek
another way which they have not found yet and,
whilst waiting, prefer to compose for the ballet, a
more musical and supple form. In 1923 Albert
Roussel gave at the Opéra, his Padmavati, a
ballet-opera, a work essentially symphonic and
choral, where the soloists play a very insignifi-
cant part. It is the most interesting attempt at
revival which has occurred in France during the
unquiet and tortured years since 1914.-H. P.
FRENCH FOLK-MUSIC. See CLOSSON, ERNEST;
TIERSOT, JULIEN; WECKERLIN, J. B.; and arts.
on BRETON MUSIO and FRENCH SONG.
FRENCH ORCHESTRAL MUSIC SINCE 1880.
Under this general title we must speak of two
rival schools, one of classical and conservative
tendency, which has cultivated the symphony;
the other, newer in tendency, following the way
opened up by Berlioz and Liszt, and seeking
freer and more varied constructive procedures.
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FRENCH SONG
After
Saint-Saëns' C mi. symphony with organ (1886)
and César Franck's D mi. symphony (1887) mark
the point of departure of the contemporary
French symphonic school. In 1886, the best
disciple of Franck, Vincent d'Indy, appeared
with his luminous Symphonie cévenole.
him, Ernest Chausson, Albéric Magnard, Paul
Dukas, Guilmant, Witkowski, who reveal crea-
tive power, sincere lyric feeling and constructive
science. The school called "Scholiste" or
"Franckist" has played a considerable part in
French musical evolution. It prepared the public,
in which it developed the taste for pure music, to
understand and appreciate the infinitely more
subtle art of Debussy and Ravel. It preserved
the cult of counterpoint, despite the attacks of
the "Impressionists," in such a way that it is
with them that the majority of the musicians of
the vanguard, who use a contrapuntal rather
than a harmonic language, seem to be connected.
Following a parallel route, and connecting them-
selves more with Saint-Saëns than with Franck,
the Neo-classic school has produced a number of
interesting works (Widor, Rabaud, Vierne, etc.).
The school called "Impressionist'
rived from Berlioz through Lalo and Chabrier.
Lalo's Namouna (1882) and Chabrier's España
(1883) exercised a deep influence on the newer
generation in revealing a beautifully coloured
art, brilliant and full of nuance. This music cor-
responds very closely to Manet's pictorial art. In
1894, Debussy produced his Prélude à l'Après-
midi d'un Faune which brought a completely
new vision to the universe of sound.
was de-
Amongst the classicists, Florent Schmitt
(Tragédie de Salomé, 1911), Louis Aubert, Roger-
Ducasse, André Caplet, Charles Koechlin, Inghel-
brecht, Ladmirault,, Grovlez, Jacques Ibert and
others, with their different temperaments, are
related more or less directly to this school. After
the 1914-18 war, a desire for reaction against the
procedures of the school of Debussy and Ravel
was manifested. The poet Cocteau exclaimed,
"Après la musique à l'estompe, la musique à
l'emporte-pièce!" Apparently musicians had
grown tired of a too-refined and subtle art, and
felt the need for stronger colours, and something
even of brutality. Their harmonies were disposed
in the systematic manner of superimposed
tonalities, or remained completely atonal. These
new tendencies appear in the latest works of
Albert Roussel (Prélude pour une Fête de Prin-
temps, and symphony in G mi.). They are force-
fully revealed in the works of Arthur Honegger
(Horace Victorieux, 1921), Darius Milhaud
(Protée, 1920), Auric (Les Fâcheux, 195
Francis Poulenc, Daniel Lazarus and others.-
H. P.
FREY
with Henri Duparc, fixes a decisive stage in
literary development as well as in musical taste.
Dupare is the initiator. Although a pupil of
Franck, his music retains a characteristic origin-
ality. His production has been very restricted,
but his 16 songs, each one a little masterpiece (the
best are settings of Baudelaire) have helped, with
those of Fauré, to create in modern French music
a kind which is only comparable in Germany with
the romantic lieder.
If Duparo is more lyrical, Fauré is more sensi-
tive. Melody has been the chief source of inspi-
ration for him. He made for the song a complete,
definite, and perfect form. He has selected his
poems exquisitely and surrounded them with
the musical atmosphere which best suits them.
They are miracles of balance between musical
and literary inspiration.
The success which rewarded Dupare and Fauré
caused composers to follow on their lines. The
more the musician cultivated and felt the poem,
the nearer the result approached perfection.
Debussy is the most convincing example of this
with his Ariettes oubliées by Verlaine, the 5
Poèmes by Baudelaire, the Chansons de France
by Charles d'Orléans or the Trois Ballades by
François Vill He himself wrote the words of
four Proses lyriques. Chausson has made use of
Leconte de Lisle (Le Colibri), Verlaine (Apaise-
ment), and Maeterlinck (Serres chaudes). Folk-
songs also claimed attention. Here the re-
searches of Charles Bordes in the Basque pro-
vinces and of Vincent d'Indy in the Vivarais
have borne fruit. The lieder of Bordes constitute
the best part of his work. He makes use of Ver-
laine and of Francis Jammes. D'Indy has
composed very few songs, but his books of folk-
songs collected in the Vivarais and the Vercors
have had a happy influence. Paul Ladmirault
followed his example, and collected some Breton
and Vendean songs which have influenced his
own lieder for which Verlaine has provided the
words. The songs of Languedoc inspired Déodat
de Séverac, notably in Flors d'Occitania to
Languedocian words.
For that refinement and musical delicacy
which reveals high culture, the songs of Ravel
to poems by Clement Marot, Mallarmé and Jules
Renard, of Roussel to poems by Henri de
Régnier, of Florent Schmitt, of André Caplet,
are notable.
The younger French musicians continue along
the lines of the delicate and refined lied of Saint-
Saëns, Massenet, Honegger, Milhaud, Poulenc,
Auric. Roland Manuel has set some subtle har-
monies to poems not less subtle, by Mallarmé,
Kahn and XVI century poets.-A. C.
FRENCH SONG FROM 1880. The renaissance
of the mélodie (song with pf. or orch. acc.) was
established in France after the dawn of literary
symbolism. The symbolists inspired by musical
principles enriched French poetry. Intellectual
intercourse of musicians and poets followed. The
intimate communion of music and poetry which
began the magnificent renaissance of the lied
FREY, Emil. Pianist and compr. b. Baden,
8 April, 1889. Stud. music in Basle, Zurich and
Geneva; entered Paris Cons. 1904; pupil of
Louis Diémer (pf.) and Ch. M. Widor (compn.);
1st prize, 1906, for pf.; settled in Berlin. Gave
series of concerts in Germany, Rumania, Austria,
France, Belgium, Russia, Finland. In 1910 won
1st prize in the Rubinstein Competition at Petro-
grad, and obtained honorary degree as pianist.
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FRICKER
Engaged (1912) at Imperial Cons. in Moscow,
where he stayed till 1917. Now living in Zurich,
where he is leader of the master-classes for pf.
at the Cons. Frey is considered to be one of the
great pianists of our day.
Cello sonata, op. 8, and vn. sonata, op. 22 (Berlin,
Simrock); Sonata dramatica, pf. op. 27; 2nd sonata,
pf. op. 36 (Swiss National Ed.); pf. pieces, op. 1, 33,
38
op.
sanne, Fetisch), op. 14 (Paris, Hougel), op. 20 (Berlin,
Ries & Erler); Bongs, op. 15 (Foetisch), 45, 46 and
49 (Simrock).-F. H.
FRICKER, Herbert Austin. Eng. condr. orgt.
b. Canterbury, 12 Feb. 1868. Educated at
Cath. Choir School, Canterbury. At 16 deputy-
orgt. of Canterbury Cath.; 1891, orgt. and choir-
master, Holy Trinity Ch. Folkestone. Between
1898 and 1917 he lived at Leeds, becoming
successively city-orgt., orgt. and chorus-
master of the Leeds Mus. Fest.; founder and
condr. of the Leeds Symphony Orch. and condr.
of choral soc. at Bradford, Halifax and Morley.
He exercised great influence on the appreciation.
of fine music in the West Riding of Yorkshire
and introduced many notable new works. In
1917, went to Toronto as orgt. to Metropolitan
Ch. and condr. of the Mendelssohn Choir (see
CHORAL SOCIETIES). Holds the degrees of M.A.
Leeds; Mus. Bac. Durham; Mus. Doo. h.c.
Toronto, and F.R.C.O. In Toronto his influence
has been very important, and, since visit of
Mendelssohn Choir to U.S.A., his reputation has
increased materially as a choral condr. He has
publ. many organ arrs. from orch. scores.
Organ works: Concacle Overture,
Oml.; Cantilène
in
Nuptiale; Adagio
G mi.; cantatas: The Shield of Faith; A Song of
Thanksgiving; The Hermit; church music: anthems;
Magnificat and N.D. in G, etc. (Novello).-L. S.
FRIED, Oscar. Ger. condr. and compr. b.
Berlin, 10 Aug. 1871. Pupil of Humperdinck and
Philipp Scharwenka; dir. of Stern Choral Soo.
1904-10; condr. also of Soc. of Friends of Music,
Berlin, from 1907.
Choral piece, Song of Intoxication (Nietzsche),
op. 11; Harvest Song (Dehmel), op. 15; preludes and
double fugues for large str. orch., op. 10; piece for
13 wind instrs, and 2 harps, op. 2; songs (op. 1, 3, 4,
5, 7, 13); Radiant Night, soli and oroh. (Dehmel), op.
9; female choruses, op. 12, 14. Consult Paul Bekker's
O. F. (1907), and Paul Stefan's O. F. (1911, transl.
into Eng.). A. E.
FRIEDMAN
Music, Dancing and Poetry amongst the American
Creoles (1913, with musical examples); The Flemish
Folk-Song (Berlin, 1918, 5 parts and (6) supple-
ment).-A. E.
FRIEDHEIM, Arthur. Pianist, condr. compr.
b. Petrograd, 26 Oct. 1859. Appeared in public
at 9; pupil of Anton Rubinstein; then pupil
and close friend of Liszt, in the interpretation of
whose music he excels. From 1894, teacher and
player in N. America; then London (from 1889;
later pf. prof. R.C.M. Manchester (till 1904);
toured Europe. His opera Die Tänzerin was
perf. by Carl Lohse at Cologne (1904) and by
Nikisch in Leipzig (1907). In 1908-10, conduct-
ing in Munich; took part in many Liszt
Centenary perfs. (1911). In 1921 went to
Toronto as pf. prof. Canadian Acad. Music.
As a player, leans toward xIxX century comprs.
rather than modern Fr. or Russ. with whom he
has little sympathy. Is engaged on a psycho-
logical study of Liszt. Decorated by Pres. Taft
at White House in 1912. Now lives in New York.
Pf. concerto, B flat (1890); American March
Die
Has
E Pluribus Unum (1894); operas: unfin.).;
The Christians (unfin.); Giulia Gonzaga
orch. 4 Hungarian Portrait-Sketches (Liszt) and
arrd. Liszt's 2nd Rhapsody for pf. and orch.-L. 8.
FRIEDLAENDER, Max. Ger. b. singer and
musicographer; b. Brieg (Silesia), 12 Oct. 1852.
Stud. singing under Manuel Garcia in London,
and J. Stockhausen in Frankfort-o.-M. Début
at Monday Popular Concerts, London, 1880.
Resided in Frankfort, 1881-3; since then in
Berlin, where under Spitta's direction he devoted
himself more and more to historical studies.
Obtained his Ph.D. at Rostock and submitted
Contributions to Franz Schubert's Biography as
his thesis. In 1914 acad. lecturer on music,
Berlin Univ.; prof. and acad. dir. of music,
1903; Geheimer Regierungsrat, 1908; prof.-in-
ordinary, 1918. In 1911 he went as an exchange
prof. to Harvard Univ., giving lectures at 20
American universities; granted LL.D. h.c. at
Madison (Wisc.). Made important biographical
discoveries about Schubert; publ. a series of
unprinted Schubert songs. After Rochus v.
Liliencron's death became President of Editorial
Commission for the Book of National Songs for
Men's Choirs, suggested by Emperor William II;
also ed. Book of National Songs for Mixed Choirs.
Together with Joh. Bolte and Joh. Meier, is at
present collecting all the German folk-songs.
still existing.
FRIEDBERG, Carl. Ger. pianist; b. Bingen-on-
Rhine, 18 Sept. 1872. Pupil of Louwerse (Bingen),
Kwast, Knorr, Scholz and Clara Schumann at
Hoch's Cons., Frankfort-o-M.; also attended
Heidelberg Univ. Gave successful concerts as
pianist in both solo and chamber music. From
1904 advanced teacher for pf. Cologne Cons.;
went to America in 1914, but since 1918 has
lived in Munich. He is pianist in a trio with
Flesch and Becker. His wife, Frau Gerda
Friedberg, is a concert singer.-A. E.
FRIEDENTHAL, Albert. Ger. pianist and
writer; b. Bromberg, 25 Sept. 1862; d. Batavia,
17 Jan. 1921. Pupil of Th. Kullak, Berlin.
Travelled as a pianist in Europe, N. and S.
America, Africa, Australia, the Far East, etc.,
finally taking up residence in Berlin. As a compr.,
produced only songs and pf. music. Author of:
Voices of the Nations (Berlin, Schlesinger, 5 parts);
Woman in the Life of the Nations (2 vols., 1911);
169
New eds. of the songs of Schubert, Schumann
and Mendelssohn, and of Beethoven's Scotch songs.
Also critically revised Students' Song Book: Choral
Manual; Collection of hitherto unpublished Folk Songs.
He contributed to Stockhausen's Technique of Sing-
of
history in the Goethe Annual, the Vierteljahrsschrift für
, and also independently: Goethe's
Musik891): Poems of Goethe in the Com-
Poems in
positions of his Contemporaries (1896 and 1916, the
latter under the title of Poems of Goethe in Musical
Lieder 1922). His
Compositions);
work is the German Song in the XVIII Century
(2 vols., Stuttgart, 1902, J. G. Cotta).-A. E.
FRIEDMAN, Ignacy. Polish pianist, compr.
b. Cracow, 14 Feb. 1882. While studying at
State school, learned pf. under Mme. Grzywinska
in Cracow. In 1900, stud. theory under Hugo
Riemann at Leipzig; then proceeded to Vienna
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FRISKIN
to study under Leschetizky. Began to give con-
certs in 1904; soon made himself known in
Europe and America as a most brilliant pianist.
A fertile compr. for pf., his works amounting to
over 90. Some of his works are very popular,
notably:
Elle danse and Tabatière à musique; Passacaglia,
op. 44; Fantasiestücke, op. 45; Studies on a theme
of Paganini's, op. 47; Polnische Iurik, op. 53, 60,
72: Sulte, op. 70; Tema con variazioni. Transcrip-
tions of Rameau, Grazioli, Dandrieu, Beethoven,
Scarlatti, Dalayrac, etc. D. lives in Berlin.-ZD. J.
FRISKIN, James. Scottish compr. and pianist;
b. Glasgow, 3 March, 1886. Stud. pf. there under
Alfred Heap until 1900; at R.C.M. London
under Dannreuther (pf.) and Sir Charles Stan-
ford (compn.), 1900-7; settled in New York,
Oct. 1914.
5tet, pf. and str. (Stainer & Bell); 5tet-Phantasy
in F mi. (id.): Phantasy in E mi. pf. vn. cello
(Novello); Ballade in C, pf. (Stainer & Bell); Noc-
turne (id.); sonata in G. vn. and pf. (id.); a pf. sonata
in ms.-E.-II.
FROMM-MICHAELS, Ilse. Ger. pianist and
compr. b. Hamburg, 30 Dec. 1888. Stud.
Berlin, R. High School of Music, and with
J. Kwast, Berlin, and Carl Friedberg, Cologne;
compn. under Hans Pfitzner and Steinbach.
Married a judge at Cuxhaven, 1915, and lives at
Bergedorf, near Hamburg.
Round Dance Waltzes; Sonata Sketches; pf.
variations.-A. E.
FRUGATTA, Giuseppe. Ital. pianist and
compr. b. Bergamo, 26 May, 1860. From 1891,
pf. teacher at R. Cons. Milan, succeeding his
master, Carlo Andreoli. Many distinguished
pupils have come from his school. Compr. of
many pf. pieces and some chamber-music for
str. His educational works (Ricordi) are held
in high esteem.-D. A.
FRYER, George Herbert. Eng. pianist; b.
Hampstead, London, 21 May, 1877. Stud.
R.A.M. under O. Beringer, 1893-5; R.C.M.
under Franklin Taylor, 1895-1900; compn. under
Walford Davies and Sir Charles Stanford;
under Busoni in Weimar, summer 1900; in
Berlin, 1901. Since then he has toured con-
siderably; teaches at R.C.M. London; in 1924
he visited Canada (with Dr. James Lyon) ad-
judicating at four festivals.
Pf.: Suite in old forms (Schott): Country-Side
Suite (id.); Country Life Suite (Bosworth); Tunes
for T
Totola (id.); 6 little variations on a Rigadoon of
Purcell (Schott); Purcell transcriptions (id.); 4
transcriptions of old Eng. melodies (Boosey);
5
English" Love Lyrics (Schirmor); Virgin's Cradle
Hymn (Schott); book, Hints on Piano Practice
(Schirmer).-E.-H.
FRYKLÖF, Harald Leonard. Swedish compr.
b. Upsala, 14 Sept. 1882; d. Stockholm, 11 March,
1919. Stud. R. Cons. Stockholm; compn. under
Johan Lindegren (1901-5), pf. under Rich.
Andersson, 1904. Teacher at Andersson's pf.
school, 1905. Stud. under Philipp Scharwenka
(Berlin), 1905. Sub-prof. 1908, and from 1911
prof. (harmony) at the R. Cons. Stockholm.
From 1908, orgt. Nicolai Ch. Stockholm. Mem-
ber R.A.M., Stockholm, 1915.
Concert overture (1907); songs with orch.; pieces.
for organ and for pt.; Sonata à la Legenda, vn. and
pf. (publ. Musik.
Konstföreningen) eh anthems.
Publ. a book: F
(Chorale-Harmony: Church Tones), 1915.-P. V.
FUGÈRE
FUCHS, Carl.
Cellist; b. Offenbach-o-M., 3.
June, 1865. Stud. at Frankfort-o-M. under
Riedel and B. Cossmann; played the Schumann
concerto at his farewell perf. (in presence of
Clara Schumann) ; went to Petrograd at
Davidof's invitation to take lessons with him;
after many concert-tours, settled in Man-
chester; 1st cello-prof. at R. Manchester Coll.
of Music; one of founders of Brodsky Quartet;
for many years, principal cellist, Hallé Orch.
(under Halle, and Richter); frequently played
at Saturday Popular Concerts, St. James's Hall,
London; prof. of cello, in addition to R. Man-
chester Coll., at the Huddersfield and Newcastle
Colleges of Music.
Violoncello Method
41 series of standard
works for concert and educational purposes (id.);
easy cello pieces (Augener).-E.-H.
FUCHS, Carl D. J. Ger. pianist and writer; b.
Potsdam, 22 Oct. 1838; d. Dantzig, 27 Aug. 1922.
Stud. theology in Berlin, 1859; at same time.
pupil of Hans v. Bülow, Weitzmann and Kiel;
teacher at Kullak's Acad., 1868; orgt. in
Stralsund, 1869; pianist in Berlin, 1871; condr.
in Hirschberg, Silesia, 1875; pianist, critic and
condr. in Dantzig from 1879. Championed Rie-
mann's aspirations in phrasing and rhythmics.
Preliminaries to a Criticism of Music (1870); The
uture of Musical Expres on (1884); The Freedom of
Musical Expression; Artists and Critics (1898); Time
and Rhythm in Chorales (1911); The Correctly-barred
Chorale (1923).-A. E.
FUCHS, Robert. Austrian compr. b. Frauenthal
(Styria), 15 Feb. 1847. Stud. at Vienna Cons.;
orgt. at Imperial Chapel and prof. of compn.
at Vienna Cons. His many pupils included
Gustav Mahler, Alexander Zemlínsky and Franz
Schreker. He belonged to the circle around
Brahms, who was very fond of his Serenades.
Many chamber-works; Mass; 2 symphonies; 5
serenades for str. orch. and 2 horns (one on themes
by Johann Strauss); several other pieces for orch.;
for chorus; for pf.; 2 operas (Die Königsbraut and
Die Teufelsglocken).-H. B.
FUČÍK, Julius. Czechoslovak compr. b. Prague,
1872; d. during Great War in Berlin. Pupil of
Dvořák; bandmaster of Austrian 86th and
92nd regiments. Author of 240 compns. of a
light kind, chiefly dances, marches, notably
Gladiators.-V. ST.
FUENTES, Eduardo Sanchez. See MEXICAN
AND CUBAN OPERA.
170.
FUGÈRE, Lucien. Fr, operatic barit. b. Paris,
22 July, 1848. Stud. first as sculptor, with his
elder brothers, then went to Cons. but failed at
his examination. Finally made début at Ba-ta-
clan, 27 Feb. 1870, with two songs, Au gué
la marjolaine and Vendanges; remained there
for 2 years; then (1873) at Bouffes-Parisiens
(in La ache cassée). Sang chief rôle in La
Jolie Parfumeuse (1874); Les Mules de Suzette
(1875); Le Moulin du Vert-Galant (1876);
La Boîte au Lait (1876); revived Madame
l'Archiduc. Début at Opéra-Comique, 8 Sept.
1877, Les Noces de Jeannette; and afterwards
sang regular repertoire. Created parts in
L'Amour médecin (1883); Le Roi malgré lui
(1887); La Basoche (1893); Les Folies amoureuses
(1891); Les Troyens (1892); Phryné (1893);
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FUGÈRES
La Vivandière (1894); La Vie de Bohème (1898);
Louise (1900); Griseldis (1901); Le Jongleur
de Notre Dame (1904); Le Bonhomme Jadis
(1906). Then went to Gaîté-Lyrique for chief
rôles in Don Quichotte (1910); Carmosine (1912);
returned to Opéra-Comique in La Basoche. On
8 March, 1920, the Opéra-Comique gave a gala
performance to celebrate 50th anniversary of
his début. Consult H. Curzon, Croquis d'artistes.
F. is an example of one of the longest and
most successful careers in operatic singing.
Naturally gifted with a fine semi-barit. voice. he
gradually increased his possibilities, both as an
operatic barit. and bass and also in the creation
of comic characters, for which he evolved a
variety of methods of voice-production which
were called Fugères after him.-A. R.
FUGÈRES. Various comical methods of
voice-production, invented by Lucien Fugère
(q.v.) A. R.
FULLER-MAITLAND, J. A. Critic and writer
on music; b. 1856. Chief music critic for The
Times (1889-1911).
Life of Robert Schumann (1884); Masters of German
(1894);
sician's Birnarols of XV Century; The
(1899); English Music of XIX
Century (1902): The Age of Bach and Handel (for
Oxford History of Music) 1902; Johannes Brahms
(1911); The Consort of Music (1915). Editor of
Grove's Dictionary of Music, 2nd ed. (1904-10); transl.
(with Mrs. C. Bell) of Spitta's Life of Bach; English
Country Songs (with Lucy Broadwood); The Fitz
william Virginal Book, 2 vols., with W. Barclay
Squire (Breitkopf, 1899).-E.-H.
FUMET, Victor. Fr. compr. Pupil of Guiraud.
Orgt. of Ste. Anne's Church, Paris. Writes
symph. music with a spiritualistic tendency,
all very carefully composed.
L'Ame du Feu; L'Ame des Conciliabule des
Fleurs; Cantique du Firmament.-A. C.
FURLOTTI, Ricardo. Argentine condr. b.
Parma. Stud. cello at R. School of Music, Parma,
then at Milan. Leader of orch. at many theatres.
in Italy, Germany and England. In 1885, went
to Buenos Ayres to conduct orch. at former Colón
Theatre. Settled down as music-teacher in Nor-
mal Schools. Founded the Popular Concerts
FURULYA
which have been a great success in Buenos
Ayres.-A. M.
FURTER VIRTO, Francisco. Span. pianist
and compr. b. Valencia, 5 March, 1887. Stud.
at Cons. de Música, Valencia, and R. Cons. de
Música, Madrid, where he stud. under famous
pianist, José Tragó; 1st prizes for pf. and compn.;
gold medal in mus. competition, Valencia, Ex-
posición Regional, for his Oberturas para Orquesta;
now senior pf. prof. at Cons. de Música, Bilbao.
-P. G. M.
FURTWÄNGLER, Wilhelm. Ger. condr. b.
Berlin, 25 Jan. 1886. Son of univ. prof. (archæo.
logist), Adolf Furtwängler; in Munich from his
8th year. Stud. under A. Beer-Walbrunn, chiefly
under Rheinberger, later under M. Schillings.
Condr. at several theatres, Zurich, Strasburg,
Lübeck (4 years; succeeded Abendroth); in 1915
succeeded Bodansky in Mannheim; also dir.
Viennese Musical Artists' Orch. from 1919; dir.
of symphony concerts of Berlin State Opera Orch.
as successor to Richard Strauss, 1920; in 1922
also, for a time, of Frankfort Museum Concerts
(in succession to W. Mengelberg) and of concerts
of Friends of Music Soc. Succeeded Nikisch as
condr. of Gewandhaus Concerts, Leipzig (1922)
and of Berlin Philh. Concerts. Has appeared in
Berlin, Hamburg, Frankfort, Vienna, etc., as
visiting condr. Only two of his compositions have
been given as yet-a symphony and a Te Deum
(mixed choir, soli, orch. and organ). First cond.
in England in Jan. 1924 at R. Philh. Soc. and
London Symphony Orch. concert. Consult
R. Specht, W. F. (Vienna, 1922).-A. E.
FURUHJELM, Erik. Finnish compr. b.
Helsingfors, 6 July, 1883. Stud. in Helsingfors,
Vienna (with a State scholarship) under Robert
Fuchs, Munich and Paris. Since 1907, theory
and compn. teacher, and later, member of
directorate of Helsingfors Music Inst. Critic
and writer on music; has written a monograph
on Jean Sibelius.
Stet symphony; Romantic Overture, orch., etc.
FURULYA. See HUNGARIAN MUS. INSTRS.
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GABIOLA, Fernando de. Spanish organist;
b. Durango, 1880. Pupil of Mailly and Edgar
Tinel at Brussels Cons., where he obtained 1st
prize for organ. In 1906 mus. dir. to County
Council, San Sebastian.-P. G. M.
GABRILOWITSCH, Ossip Salomonowitsch.
Russ. pianist, condr. b. Petrograd, 7 Feb.
1878. Stud. pf. under Tolstof and Rubinstein
at Petrograd Cons. (1888-94); compn. under
Liadof and Glazunof. Winner of Rubinstein
Prize, 1894; 1894-6, stud. at Vienna under
Leschetizky (pf.), Navrátil (compn.). Début in
Berlin, Oct. 1896; then toured Germany, Austria,
Russia, France and England. In 1900, 1901, 1906
and 1909 visited U.S.A.; 1909, married Clara
Clemens (contr.), the daughter of Mark Twain,
with whom he has since often given joint-recitals.
1909-14, lived in Munich where he cond. con-
certs of Konzertverein. His recital-tours in
Europe, 1912-13, with a series of historical pro.
grammes attracted considerable attention. After
leaving Europe for America in 1914, a similar
series in Boston, New York and Chicago was
equally successful. In 1917 he cond. orch. con-
certs in New York, and the same year was
chosen condr. of Detroit Symphony Orch. Has
comp. songs (Bote; Zimmerman; Rózsavölgyi);
Elégie, cello and pf. (Zimmerman); pf. pieces
(Rózsavölgyi).-0. K.
GADE, Axel. Danish violinist, compr. b.
Copenhagen, 28 May, 1860; d. there 9 Nov.
1921. Son of the compr. Niels W. Gade; pupil
of Danish R. Cons., and of Valdemar Tofte
(Copenhagen), and Joseph Joachim (Berlin).
From 1884, member of R. Chapel (Copenhagen);
from 1910, leading violinist of same; vn. prof. at
R. Cons. of Music; later one of its directors.
Opera, Venezias Nat (Venetian Night), perf. R.
Theatre, Copenhagen, 1919; 3 vn. concertos;
GAGLIARDI, Cecilia. Ital. s. singer; b.
Rome; stud. at R. Liceo Mus. di Santa
Cecilia. Enjoys high reputation amongst Ital.
dramatic soprani; has appeared at principal
European and Amer. opera-houses. Took part in
the Verdi season (1913) at La Scala, Milan, sing-
ing Aida, Nabucco and the Requiem Mass. She
created rôle of Vanna in Franchetti's Notte di
Leggenda.-D. A.
GAGNEBIN, Henri. Compr. orgt. b. Liège
(Belgium), 13 March, 1886. Stud. organ and
compn. in Berlin, Geneva and at Schola Cantorum,
Paris (under Vincent d'Indy, Louis Vierne and
Blanche Selva). Became orgt. at Church of
Redemption, Paris; since 1916 at St. John's
Ch. Lausanne, where he is also lecturer on mus.
history at Cons. His works show relationship
to the modern Fr. school, and are full of out-
spoken originality.
G
Symphony in F; Les Vierges folles, symph. poem:
str. 4tet (Swiss National Ed.); vn. sonata; cello
sonata; pf. sonata; Pastorale, harp and wood-
wind.-F. H.
GAILLARD, Frits. Dutch cellist; b. The
Hague in 1875. From 1905-20, 1st solo cellist
of Amsterdam Concertgebouw. His playing in
R. Strauss's Don Quixote is very fine. Lives in
Los Angeles, U.S.A.-W. P.
GAILLARD, Jacques. Belgian cellist; b.
Ensival, 4 April, 1875. Stud. Verviers School
of Music, and Brussels Cons. Lived in Paris
and Geneva, where he was prof. of solfeggio at
Cons. (1896-7); prof. of cello at Mons Cons.
(1898-1902). Member and founder of Schörg
Quartet (Brussels Quartet: F. Schörg, H.
Daucher, P. Miry, J. Gaillard), which toured
in Europe and America for 15 years; also
toured as soloist. Prof. of cello at Liège Cons.
(1912-21), and chamber-music, Brussels Cons.
(1922). Now embe of Zimmer Quartet
(A. Zimmer, F. Ghigo, L. Baroen, J. G.).-E. C.
172
GAILLARD, Marius François. Fr. pianist;
b. Paris, 1900. Pf. prize at Paris Cons. 1916.
Specialises on Debussy's music.-A. C.
GAITO, Cayetano. Argentine violinist; b. Naples
in 1852. Stud. at Naples Cons. under Fernando
Pinto. 1874, went to Buenos Ayres, where he
founded the first str. quartet in Argentina, with
Bellucci, Ghignatti and Bomon. This quartet
played with Bottesini on his famous tour in
S. America in 1879. After giving concerts in
Montevideo, he now dir. (with his son) the
Gaito Conservatoire.-A. M.
GAITO, Constantino. Argentine compr. b.
Buenos Ayres in 1878. Publ. 1st compn. when 11;
two further vn. pieces, written 2 years later, were
played with great success. Showed such promise
that he was sent to the Cons. of Naples, where he
stud. under Platania. Made a successful concert-
tour through Italy. Returning to Buenos Ayres
in 1900, devoted himself to compn. and dir. of
Gaito Institute.
Operas: Strapas in 1 act (libretto by Ferruccio);
Doria, in 3 acts (libretto by Crucinio); Cajo Petronio
in 3 acts (libretto by Romanelli). Overture in D;
Suite for orch.; many songs and pf. pieces.-A. M.
GAL, Hans. Austrian compr. b. Brünn, 5 Aug.
1890. Pupil of Mandyczewski (theory) and Robert
(pf.); Ph.D. (music history) 1913; 1915, govern-
ment prize for 1st symphony. From 1918,
teacher of harmony and cpt. at Vienna Univ.
A voluminous compr. who combines a slightly
modern harmonic equipment with the Brahms
style, and finds much success through his
pleasant melodies.
Operas: Der Arzt der Sobeide (The Physician of S.)
pert, Breslau, 1910; Die heilige Ente (The Sacred
Düsseldorf, 1922;
(Levetzof) perf. Vienna, 1920: overto to Ruth
Duck)
parzer's Weh' dem der lügt!; Serenade; Symph.
to Grill-
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GALEFFI
Phantasy: Overture to a tragedy; chorus, Von
ewiger Freude (Eternal Jou); Phantasy on poems
from Rabindr. Tagore; chamber-music; songs; pf.
(15 Tischer,
Cologne; Simrock, Berlin; Univ. Ed. Vienna).-P. P.
GALEFFI, Carlo. Ital. barit. operatic singer;
b. in Rome. An able and esteemed singer; re-
markable for beauty of voice, striking figure and
artistic qualities. Known at principal opera-
houses in Europe and America. Created parts
of Rinaldo in Mascagni's L'Amica and title-rôle
in Puccini's Gianni Schicchi at Costanzi Theatre,
Rome.-D. A.
GALL, Jan (phon. Gahl). Polish compr. b.
Warsaw, 1856; d. Lemberg, 1912. Stud. theory
under Franz Krenn in Vienna; then under
Rheinberger at Munich. After a long tour
through Italy, became condr. of the choral soc.
Andante, and music critic at Leipzig. In his later
travels in Italy, was pupil of Mustafa at Rome
and Lamperti, sen., at Cernobbio. Finally, settled
at Lemberg and became dir. of choral soc. Echo,
besides writing music criticism.
His compns.
are almost entirely vocal. His songs are widely
popular in Poland and in Germany.
Amongst his 300 choral compns. (mostly for male
chorus), 40 are orig. pieces, the others being tran-
scriptions of the songs of Moniuszko and of popular
Polish, Ruthenian, Ital., Span., Rumanian and
Slovakian songs. His numerous solo-songs (about 70)
represent the best qualities of the Polish song-style
in the period from Moniuszko's death (1872) till
1905.-ZD. J.
GALL, Yvonne Irma (real name Galle). Fr.
operatic first s. b. Paris, 6 March, 1885. In 1904
came out first of 300 candidates for entrance to
Cons. Stud. under Dubulle; in 1907 1st prize
for singing in Freischütz; 2nd operatic prize in
Iphigénie en Tauride. Début at Opéra (1908) in
William Tell. Sang in 1st perf. of Hippolyte et
Aricie, 1908; also in Twilight of the Gods, 1908;
Déjanire, 1911; Parsifal, 1914; Scemo, 1914.
Toured in Spain (1917), South America (1918),
and United States where she sang in Le Chemi-
neau, L'Heure Espagnole, Le Tabarro and La
Jacquerie at Chicago Opera House. Engaged
at Opéra-Comique, Paris, 1921; sang in Les
Noces Corinthiennes (1st perf.) 1922.-A. R.
GALLON
teacher of history and aesthetics of music at R.
Cons. Mus. G. Verdi, and as critic for news-
paper Il Secolo.
Compns.: David, opera, on own libretto_(perf.
Milan, 1901); Stabat Mater: 2 masses: Stet, E mi.;
dei
of the
Workers), words by fil lavoratori (Hymn
popular hymn of the Ital. Socialists.
which
G. also completed several Fr.
the
originally in prose-dialogue to mas, setting parts
as recitatives.
He also translated into Ital. many libretti.
Books: Storia e teoria del sistema musicale moderno
(History and Theory of Modern Musical System)
(Ricordi, Milan); Piccolo lessico d del musicista (Little
Lexicon for the Musician) (id., 1891); Trattato di
contrappunto e on and
Fugue) (id.): Strumenti e strumentazione (Instruments
and Instrumentation) (Sonzogno, Milan); Estetica della
musica (Esthetics of Music) (Bocca, Turin).-D. A.
GALLICO, Paolo. Amer. pianist; b. Trieste,
13 May 1868. Stud. at the Vienna Cons. under
Julius Epstein; at 18 1st prize (gold medal) and
Gesellschafts medal. Toured Italy, Austria, Ger-
many. Since 1892, teacher and mus. cd. in New
York. Won the $5,000 prize of National Federa-
tion of Music Clubs with his dramatio oratorio,
The Apocalypse (Schirmer, 1922), first sung at
their 12th biennial convention, Rock Island, Ill.,
7 June, 1921. Also an operetta, Johannistraum,
and an opera, Harlekin. Pf. pieces, studies
(Schirmer).-J. M.
GALLI-CURCI, Amelita. Ital. coloratura
singer; b. Milan, 18 Nov. 1890. Educated as
pianist under Appiani at Milan Cons.; self-
taught in singing; début at Costanzi Theatre,
Rome, as Gilda (Rigoletto) 1910; sang at various
European and S. Amer. opera-houses; U.S.A.
début 18 Nov. 1916 (Chicago Opera Co. under
Campanini). Since then, opera chiefly in New
York and Chicago. Toured Ct. Britain, 1924-5.
Has a remarkable vocal range rising to G in alt.
Chief rôles: Butterfly, Gilda, Juliette, Lucio,
Mimi, Rosina, Violetta, and Manon Lescaut
(Massenet).-E.-H.
GALLIGNANI, Giuseppe. Ital. compr. b.
Faenza, 9 Jan. 1851; d. Milan, 14 Dec. 1923. Stud.
at R. Cons. Milan; first part of his career was
passed as condr.; 1884, won by competition,
post of Master of the Choir, Milan Cath., where,
1886-94, he dir. periodical Musica Sacra;
1891, became dir. of R. Cons. at Parma; 1897
till death, dir. of Cons. at Milan. Has made
notable contribution to development of this
Inst., giving its large concert-hall, inaugurated
1908, on occasion of centenary fest. of Cons.
promoted by himself. Has written much sacred
and vocal chamber-music; also several operas,
amongst which are: Il grillo del focolare (The
Cricket on the Hearth) (Genoa, 1873); Atala
(Milan, 1876); Nestorio (Scala, Milan, 1886);
Quare? (Scala, Milan, 1903); In alto! (Trieste,
1921). G. gave particular care to improving
singing methods in his Conservatoire.-D. A.
GALLARDO, Javier Rengifo. Chilean compr.
b. Santiago, 1879. Stud. in Chile; publ. his first
piece, Amor Plebeyo, in 1896. Was attached to
Chilean Legation in Belgium in 1904, where he
seized the opportunity to continue his studies.
His works have been highly appreciated both
in France and Belgium, and he has frequently
cond. them himself. Has publ. many pf. pieces
and several waltzes. His Pastoral Poem (pro-
duced in Paris), is his best-known work.-A. M.
GALLI, Amintore.
Ital. compr. historian.
and criti Talamello (Rimini), 12 Oct. 1845;
d. Rimini, 8 Dec. 1919. One of the musicians
who, during the last 50 years, have contributed
most to the progress and propaganda of mus.
culture in Italy. Stud. at Milan Cons. under
Mazzuccato; after some years as bandmaster in
a provincial town, settled in Milan, where he
showed indefatigable energy as compr., teacher,
historian and critic. Entered the firm of Son-
zogno (q.v.). Also exercised good influence as
173
GALLOIS, Victor. Fr. compr. b. Douai,
1880. Prix de Rome, 1905; dir. of Douai Cons.;
condr. of Grands Concerts at Lille. Has comp.
chamber-musico, amongst which is a seriously
written 4tet for pf. and str. (1906).-A. C.
GALLON, Jean. Fr. condr. and compr. b.
26 June, 1878. Condr. of Concert Soc. at
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GALEFFI
Overture to a tragedy; chorus, Fon
Phantude (Eternal Joy); Phantasy on poems
Rabindr, Tagore: chamber-music; songs; pf.
pions (15 works publ. Leuckart, Leipzig; Tischer,
Cologne; Simrock, Berlin; Univ. Ed. Vieuna).-P. P.
GALEFFI, Carlo. Ital. barit. operatie singer;
& in Rome. An able and esteemed singer; re-
markable for beauty of voice, striking figure and
artistic qualities. Known at principal opera-
houses in Europe and America. Created parts
of Rinaldo in Mascagni's L'Amica and title-rôle
in Puccini's Gianni Schicchi at Costanzi Theatre,
Rome.-D. A.
GALL, Jan (phon. Gahl). Polish compr. b.
Warsaw, 1856; d. Lemberg, 1912. Stud. theory
under Franz Krenn in Vienna; then under
Rheinberger at Munich. After a long tour
through Italy, became condr. of the choral soc.
Andante, and music critic at Leipzig. In his later
travels in Italy, was pupil of Mustafa at Rome
and Lamperti, sen., at Cernobbio. Finally, settled
at Lemberg and became dir. of choral soc. Echo,
besides writing music criticism.
His compns.
are almost entirely vocal. His songs are widely
popular in Poland and in Germany.
Amongst his 300 choral compns. (mostly for male
chorus), 40 are orig. pieces, the others being tran-
f Moniuszko and of popular
scriptions of the songtal, Span., Rumanian and
Polish,
Slovakian songs. His numerous solo-songs (about 70)
represent the t
e best qualities of the Polish song-style
in the period from Moniuszko's death (1872) till
1905.-ZD. J.
GALL, Yvonne Irma (real name Galle). Fr.
operatic first s. b. Paris, 6 March, 1885. In 1904
came out first of 300 candidates for entrance to
Cons. Stud. under Dubulle; in 1907 1st prize
for singing in Freischütz; 2nd operatic prize in
Iphigénie en Tauride. Début at Opéra (1908) in
William Tell. Sang in 1st perf. of Hippolyte et
Aricie, 1908; also in Twilight of the Gods, 1908;
Dejanire, 1911; Parsifal, 1914; Scemo, 1914.
Toured in Spain (1917), South America (1918),
and United States where she sang in Le Chemi-
neau, L'Heure Espagnole, Le Tabarro and La
Jacquerie at Chicago Opera House. Engaged
at Opéra-Comique, Paris, 1921; sang in Les
Noces Corinthiennes (1st perf.) 1922.-A. R.
GALLARDO, Javier Rengifo. Chilean compr.
b. Santiago, 1879. Stud. in Chile; publ. his first
piece, Amor Plebeyo, in 1896. Was attached to
Chilean Legation in Belgium in 1904, where he
seized the opportunity to continue his studies.
His works have been highly appreciated both
in France and Belgium, and he has frequently
cond. them himself. Has publ. many pf. pieces
and several waltzes. His Pastoral Poem (pro-
duced in Paris), is his best-known work.-A. M.
GALLON
teacher of history and aesthetics of music at R.
Cons. Mus. G. Verdi, and as critic for news-
paper Il Secolo.
Compns.: David, opera, on own libretto (perf.
Milan, 1901); Stabat Mater; 2 masses; 5tet, E ml.:
2 overtures; Inno dei lavoratori (Hymn of the
Workers), words by Filippo Turati, which became
the popular hymn of the Ital. Socialists.
G. also completed several Fr. operas, setting parts
originally in prose-dialogue to music as recltatives.
He also translated into Ital. many libretti.
Books: Storia e teoria del sistema musicale moderno
(History and Theory of Modern Musical System)
(Ricordi, Milan); Piccolo lessico del musicista (Little
Lexicon for the Musician) (id., 1891); Trattato di
contrappunto e fuga (Treatise on Counterpoint and
Fugue) (id.); Strumenti e strumentazione (Instruments
and Instrumentation) (Sonzogno, Milan);
musica (Esthetics of Music) (Bocca, Turin).-D. A.
della
GALLICO, Paolo. Amer. pianist; b. Trieste,
13 May 1868. Stud. at the Vienna Cons. under
Julius Epstein; at 18 1st prize (gold medal) and
Gesellschafts medal. Toured Italy, Austria, Ger-
many. Since 1892, teacher and mus. ed. in New
York. Won the $5,000 prize of National Federa-
tion of Music Clubs with his dramatic oratorio,
The Apocalypse (Schirmer, 1922), first sung at
their 12th biennial convention, Rock Island, Ill.,
7 June, 1921. Also an operetta, Johannistraum,
and an opera, Harlekin. Pf. pieces, studies
(Schirmer).-J. M.
GALLI-CURCI, Amelita. Ital. coloratura
singer; b. Milan, 18 Nov. 1890. Educated as
pianist under Appiani at Milan Cons.; self-
taught in singing; début at Costanzi Theatre,
Rome, as Gilda (Rigoletto) 1910; sang at various
European and S. Amer. opera-houses; U.S.A.
début 18 Nov. 1916 (Chicago Opera Co. under
Campanini). Since then, opera chiefly in New
York and Chicago. Toured Gt. Britain, 1924-5.
Has a remarkable vocal range rising to G in alt.
Chief rôles: Butterfly, Gilda, Juliette, Lucio,
Mimi, Rosina, Violetta, and Manon Lescaut
(Massenet).-E.-H.
GALLIGNANI, Giuseppe. Ital. compr. b.
Faenza, 9 Jan. 1851; d. Milan, 14 Dec. 1923. Stud.
at R. Cons. Milan; first part of his career was
passed as condr.; 1884, won by competition,
post of Master of the Choir, Milan Cath., where,
1886-94, he dir. periodical Musica Sacra;
1891, became dir. of R. Cons. at Parma; 1897
till death, dir. of Cons. at Milan. Has made
notable contribution to development of this
Inst., giving its large concert-hall, inaugurated
1908, on occasion of centenary fest. of Cons.
promoted by himself. Has written much sacred
and vocal chamber-music; also several operas,
amongst which are: Il grillo del focolare (The
Cricket on the Hearth) (Genoa, 1873); Atala
(Milan, 1876); Nestorio (Scala, Milan, 1886);
Quare? (Scala, Milan, 1903); alto!
1921). G. gave particular care to improving
singing methods in his Conservatoire.-D. A.
GALLI, Amintore. Ital. compr. historian
and critic; b. Talamello (Rimini), 12 Oct. 1845;
d. Rimini, 8 Dec. 1919. One of the musicians.
who, during the last 50 years, have contributed
most to the progress and propaganda of mus.
culture in Italy. Stud. at Milan Cons. under
Mazzuccato; after some years as bandmaster in
a provincial town, settled in Milan, where he
showed indefatigable energy as compr., teacher,
historian and critic. Entered the firm of Son-
zogno (g..). Also exercised good influence as
GALLON, Jean. Fr. condr. and compr. b.
26 June, 1878. Condr. of Concert Soc. at
173
GALLOIS, Victor. Fr. compr. b. Douai,
1880. Prix de Rome, 1905; dir. of Douai Cons.;
condr. of Grands Concerts at Lille. Has comp.
chamber-music, amongst which is a seriously
written 4tet for pf. and str. (1906).-A. C.
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GALLON
Cons. (1906-14), at Opéra (1909-14); prof. of
harmony at Cons. 1919. Has comp. songs, a
Mass, motets, ballet Hansli le Bossu, (perf.
Opéra, 1914), written in collab. with his brother,
Noël Gallon.-F. R.
GALLON, Noël. Fr. compr. b. Paris, 11 Sept.
1891. Stud. at Cons.; 1st prize, pf. 1909; Grand
Prix de Rome, 1910. Produced (Gaieté Theatre,
Paris) lyrical drama, Paysans et Soldats (1911);
a ballet (at Opéra) Hansli le Bossu (1914),
written in collab. with his brother, Jean.-F. R.
GALLOTTI, Salvatore. Ital. compr. of sacred
music; dir. of choir of Milan Cath.; b. Gallarate
(Milan), 19 April, 1856. Diploma at Milan Cons.
in 1878. For several years choirmaster of
Church of San Carlo; in 1884, vice-dir. of choir
of Milan Cath., succeeding Gallignani as dir.
in 1892. In addition to an opera and symph.
works, has written much sacred music-Masses,
Hymns, Vespers. Specially noteworthy is his
Funeral Mass (6-v.) in memory of King Humbert
(perf. at Rome, 1911).-D. A.
GALPIN, Rev. Canon Francis William. Eng.
mus. antiquary; orch. performer and collector;
b. Dorchester, 25 Dec. 1858. Stud. organ under
Prof. Sterndale Bennett and at Trin. Coll. Cam-
bridge, under Dr. rrett; librarian of Univ.
Mus. Soc. and 1st clar. Univ. Orch. under Sir
Charles Stanford; canon of Chelmsford Cath.
1917; president of Essex Archeological Soc.
1921. Particularly interested in history, evolu-
tion and mechanism of all mus. instrs. En-
courages orch. and vocal music in village life,
and specialises on the music of Elizabethan age.
Descriptive catalogue of the
mus. instrs.
in Metropolitan Museum of Art, New York (1902);
The Mus. Instrs. of the Amer. Indians of N.-W. Coast
(1903): Notes on a Roman Hydraulus (1904); The
Evolution of the Sackbut (1907); Old Engl. Instrs. of
Music
1910); ed. new ed. of Stainer's
Music vible (Novello, 1914); arts. in Grove's
Dictionary, The Times, etc.-E.-H.
GALVANI, Hercules. Argentine violinist; b.
Bologna in 1863. Stud. at Liceo Rossini, Bologna,
under Verardi. When 13, formed a quartet with
the brothers Rondini and Turli, which had a not-
able success. After playing as solo and 1st vn. at
several theatres in Italy, went to Vienna, to
study under Hellmesberger at R. Cons. for 18
months. Returned to Italy and gave concerts
at Trieste, Paris and Barcelona. Went to Buenos
Ayres in 1883, where he organised concerts. In
1886, founded the Buenos Ayres Quartet with
Forino, Bonfiglioli and Scarabelli. Now devotes
himself to teaching, being co-dir. with Forino
and Troiani of Santa Cecilia Inst., one of leading
conservatoires of Argentina. Has trained a
students' orch. (the first establ. in Buenos
Ayres), with remarkable success.-A. M.
GANZ, Rudolph. Amer. pianist, condr. compr.
b. Zurich, Switzerland, 24 Feb. 1877. Stud. "at
Zurich Cons. under R. Freund (pf.), Joh. Hegar
(cello); at Lausanne under his uncle, Eschmann-
Dumur (pf.) and Blanchet (compn.); later under
Blumer (pf.) in Strasburg and Busoni (pf.) and
Urban (compn.) in Berlin. At 10, appeared in
Zurich as cellist, at 12 as pianist. 1901-5, head
174
GARDEN
of pf. department, Chicago Mus. Coll. Played
in concert with the leading orchs. In America,
he introduced many Fr. pf. works (Debussy,
Ravel, d'Indy). Since 1921, condr. of St. Louis
Symphony Orch. Has comp. a symphony, a
Konzertstück for pf. and orch. (written 1902, 1st
played at a commencement-concert of Chicago
Mus. Coll. 17 June, 1902, and by Theodore
Thomas Orch. in Chicago, 29 Dec. 1911).
posers' Music Corp. 1921): 2 concert-ple 1 (Com
Konzertstück, arr. 2 pianos (Schmidt, 1902); Symph.
Variations on theme by Brahms for pf. op.
s for pf.
Musio Corp. 1922). Over 200
songs: op. 2. 6. 11, 17, 20 (Schmidt, 1908); op. 13
(Schlesinger, 1910); op. 7, 8 (Summy, 1904, 1903).
op. 29
-0. K.
GARBIN, Edoardo. Ital. tenor; b. Padua. One.
of best singers of his time; known at all princi-
pal opera-houses of the world. Created part
of Guevara in Franchetti's Cristoforo Colombo,
and that of Loewe in same compr.'s Germania.
By Verdi's wish, he was the 1st interpreter of
Falstaff at La Scala. He took part in perf. of
Falstaff and La Traviata at Busseto, under Tosca-
nini, in the Verdi centenary year (1913).-D. A.
GARBUSIŃSKI, Kazimierz. Polish orgt.
compr. b. Opatowiec, 25 Feb. 1883. From
1904-8, he was pupil of Władysław Żeleński at
Cracow Cons. In 1909, became orgt. and dir. of
choir of St. Anne's Church.
5 masses for male choir, 100 preludes for organ
Zala
(publ. Zalewsky, Chicago) and some other pieces, of
which 2 received prizes. The Oratorio Soc. at Cracow
(founded by him) perf. his Seven Words of Christ and
Pastoral Suite.-ZD. J.
GARCIA, Albert. Eng. barit. singer; teacher;
b. London. Son of Gustave G.; grandson of
Manuel G.; stud. at R.C.M. London under his
father; then in Paris under his great-aunt,
Viardot G., and Edmond Duvernoy, and Paul
Lhérie; has sung at Covent Garden Opera and
chief London concerts; also in Germany and
France; prof. at Guildhall School of Music and
R.C.M. London.-E.-H.
GARCIA MANSILLA, Eduardo. Argentine
compr. Chargé d'affaires for Argentina in Petro-
grad. Stud. under Massenet in Paris, and under
Rimsky-Korsakof in Petrograd.
Chant Hivernal and other symph. works; 34 songs
with Fr. words; Fugue for 3 vs.; Heure Matinale for
vn.; several pf. pieces.-A. M.
GARDEN, Mary. Amer. operatic s. singer; b.
Aberdeen, Scotland, 20 Feb. 1877. Went to U.S.A.
at age of 6. After living in Chicopee, Mass., and
Hartford, Conn., her family settled in Chicago in
1888. At the age of 6 she began studying the
vn., at 12 the pf. At 16 took part in an amateur
perf. of Trial by Jury; 1896, in Paris where she
stud. singing under Trabadello, Chevallier and
Fugère. First appeared on stage at Opéra-
Comique, when on 12 April, 1900, although she
had had only a day's warning, she was called
upon to relieve Mlle. Rioton, who was ill, in the
3rd act of Charpentier's Louise, singing the title-
rôle, a part in which she has been very successful
since. Later sang in London, Brussels and Paris.
Her Amer. début she made in Thais at Man-
hattan Opera House, New York, 25 Nov. 1907.
Since 1910, member of Chicago Opera Company,
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GARDINER
her most successful rôles, besides Thais and
Louise, being Mélisande and Salome. 1921-2,
gen. dir. of Chicago Opera.-O. K.
GARDINER, H. Balfour. Eng. compr. b.
London, 7 Nov. 1877. Began to play at 5 and
to compose at 9; at 17 stud. for 1 year at Hoch's
Cons. Frankfort-o-M. under Ivan Knorr (compn.)
and Uzielli (pf.); 1895, New Coll. Oxford; back
to Frankfort; then Sondershausen; music-
master at Winchester Coll. for a short time. Now
lives principally in the country. His Shepherd
Fennel's Dance has a wide vogue with orchestras.
In 1912 he gave a series of orch. concerts de-
voted to the works of British comprs. He has a
bold, masculine touch in composition.
Symphony; orch. suite in A ma. overture, orch.;
str. 5tet; str. 4tet; pf. pleces (Forsyth); songs;
choral works, eto.-E.-H.
GARIEL, Eduardo. Mexican compr. b. 1860.
Prominent as an educator and writer on music.
His New System of Harmony is based on four
fundamental chords.-F. H. M.
GARRATT, Percival. Eng. compr. and pianist;
b. Little Tew Grange, Oxon, Whit-Monday,
May 1877. Stud. in Vienna under Louis Rée and
in Berlin under Klindworth. Was a foundation-
scholar at
rough Coll.
given pf.
recitals in Bösendorfer and Ehrbar Halls,
Vienna; Mus. Acad. Stockholm; Salle Gaveau,
Paris; and chief London halls. 80 concerts in
S. Africa; many tours with Clara Butt, Elman,
Maaskof, Zacharewitsch, Louis Godowsky. Mar-
ried Eve Lechmere, violinist, pupil of César
Thomson. As a compr. his works show true Eng.
national characteristics, with a strongly indi-
vidual strain.
Pf.: sonata in A mi. op. 6; Scherzo op. 7; 4
Bagatelles, op. 9; Waltz-Idyll, op. 12; Pageant
op.
2 Lyric Fancies, op. 18; Tempo di Ballo, 19:
Momento Giocoso, op. 20; 2 Miniatures, op. 22;
Toccatina, op. 23; Hunting-Piece, op. 29; Night-
Piece and Musette, op. 31; Arabesque and Grotesque.
Helston Furry Dance; 2 Epigrams, op. 46 (1923),
etc. Vn. and pt.: Arietta, op. 2; Minuet, op. 17;
Pastoral Song, op. 24; Prayer, G str. melody, op. 26
Duo Barocco, op. 47: Preludio Fugato, op. 48. V. and
pf.: songs, op. 8, 10, 21; 3 Punjab Lyrics, op. 16;
2 Serbian songs; 2 Southern Slav songs; Lullaby.
op. 30; Infantile Conceits, op. 45; 8 songs; 4 Cart-
load of Villains, pantomime, 3 acts; Cherry-stones,
mus. play for children. (Chief publ. Ashdown;
Ascherberg; Boosey; Chappell; Cary; Chester;
Curwen;
Rogers; Weekes; arway: Leonard; Novello;
Musio Co.)-E.-H.
GÄRTNER, Eduard. Austrian barit. singer;
b. Vienna, 15 Jan. 1862; d. there 2 July, 1918.
Singing pupil of Sattler; also and pf. player.
Originally a provincial opera-singer; only later
became recital and oratorio singer.
Notable
for helping many new Vienna comprs. to a
hearing. First to sing songs by Hugo Wolf,
Arnold Schönberg and Joseph Marx in public.
Stöhr, Lafite, Braun, were also first perf. by him.
As well known in Germany as in Austria. With
Dr. Heinrich Schenker he ed. cantatas by J. S.
Bach. Comp. a lyric opera (perf. 1900, Vienna)
and many songs. Pupils: Leone Fumagalli,
Alex. Varnay (Copenhagen), Lucy Weidt
(Vienna Opera House), Béla Környey (t.
GAST
Budapest), Mizzi Günther (operetta singer),
Hedy Iracema Brügelmann, Lorle Meissner,
Dr. Lothar Riedinger.-P. P.
GASCO, Alberto. Ital. compr. and music.
critic; b. Naples, 3 Oct. 1879. Graduate in law;
completed mus. studies in Rome under Raf-
faele Terziani. Is a clear and simple compr.,
noted for opera La leggenda della sette torri
(libretto by Ottone Schanzer) perf. success-
fully at the Costanzi, 1913 (Sonzogno, Milan).
Author of several estimable works for v., pf.
and vn. Songs, the Poemi della notte e del-
l'aurora; pf. works, Le danzatrici di Jodhpur,
Primavera fiorentina; vn. music, La visione
di Sant' Orsola, La vergine alla culla, Maria
di Magdala; str. 4tet, La Venere dormente,
inspired by the famous picture by Giorgione;
several of his other works were inspired by
pictures.
Orch works: Scherzo orgiasti co
poem, Alle fonti del Clitunno; prelude, Buffal-
macco, all perf. with success in Rome, at Augus-
teo and elsewhere (Ricordi, Milan). As critic,
G. has nobly exercised his activities for many
years, writing for La Tribuna. He spoke at
Turin Mus. Congress, Oct. 1921, on The Lyric
Theatre. Consult Alberto De Angelis, A. G., in
Corriere del Teatro ilan, 1916.-D
GASCÚE, F. Span. musicologist and civil
engineer; author of Las gamas célticas y las
melodías populares euskaras (The Celtic Scales and
Basque Folk-Tunes), 1919, Madrid; Origen de la
música popular vasca (Origin of Basque Popular
Music), publ. in Revue Internationale des Etudes
Basques, 7th year. Died at Bilbao, 1920.-P. G. M.
GASPERINI, Guido. Ital. historian and
palæographer of music; b. Florence, 7 June,
1865. Stud. in Florence under Sbolci (cello)
and Tacchinardi (compn.). Then devoted himself
to study of mus. history, and to holding con-
ferences and auditions. Since 1902, has been
librarian and prof. of mus. history at R. Cons.
Parma. Founder and inspirer of the Associa-
zione dei Musicologi Italiani, over which
he presided. It undertook publication of the
General Catalogue of Ancient Music in existence
in the Libraries of Italy, and of interesting eds.
of old Ital. musical masterpieces.
Storia della musica (History of Music). Lectures
(Florence, 1899, Lastrucci); Dell'arte di interpretare
le scrittura della musica vocale nel cinquecento (On the
Art t of I
Interpreting Writings of Vocal Music in XVI
Century) (Florence, 1902, Seeber); Storia della semio-
grafia musicale (Milan, 1905, Hoepli); I caratteri
peculiari del melodramma italiano nell' opera dei
predecessori e in quella di Giuseppe Verdi (The Pecu-
liar Characteristics of Ital. Melodrama in Works of
Predecessors of Giuseppe Verdi and of Verdi himself)
(Parma, 1913); Cenni storici sul Conservatorio musicale
di Parma (Historical Notes on Cons. Musicale of
Parma) (Parma, 1913).-D. A.
GAST, Peter. Pseudonym of Heinrich Köse-
litz. Ger. compr. b. Annaberg (Saxony), 10
Jan. 1854; d. there, 15 Aug. 1918. Private
pupil of E. Fr. Richter in Leipzig and of Fried-
rich Nietzsche at Basle Univ. During this
period he assisted Richter by reading to him
and writing from dictation, remaining later
as Nietszche's most faithful friend. From 1878,
was mostly travelling, chiefly in Italy; 1900-8
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GASTALDON
in Weimar (occupied with Nietszche Archives);
finally in Annaberg.
Operas: Willram (1879); König Wencel (1888);
Orpheus and Dionysus; The Secret Marriage (Dantzig,
1891, publ. 1901 in pf. ed. as The
Walnuto's, Scher Mountain Theatre on Witches'
List und Rache (1881 of Venice)
str. 4tet; overtures; choral works; songs, etc.
songs, op. 1-9, were publ. by Hofmeister; op. 3,
Lethe (poem by C. Ferd. Meyer), barit. and orch.;
duet, Nachfeier, s, and b. Gast (with A. S
..Seidl) ed.
Vol. I oft Correspondence with Hans v.
Letters; and, with Frau Förster-
Nietzsche,
Bülow (1905, Ges. Ausg. [Complete Ed.], Vol. III, ii);
Vol. IV of Nietzsche's correspondence gives his letters
to Peter Gast (1908).-A. E.
GASTALDON, Stanislao. Ital. compr. b.
Turin, 7 April, 1861. Famous as author of ballad
which met with great success (200,000 copies),
called La musica proibita. Other ballads also
had large sale. Compr. of 10 stage works; one
of them, Mala Pasqua (on same subject as
Mascagni's Cavalleria Rusticana), perf. at Co-
stanzi, Rome, in 1890, then in other theatres.
For a time, mus. critic of the Nuovo Giornale,
Florence.-D. A.
GASTOUÉ, Amédée. Fr. musicologist; b.
Paris, 13 March, 1873. Pupil of A. Deslandres;
attended lectures on harmony at Cons. in Paris.
Early attracted by study of liturgical chant,
and music of Middle Ages, devoted himself
entirely to those studies. Precentor, orgt.,
and teacher of Gregorian chant at Schola
Cantorum, and at Catholic Inst. Appointed
in 1904 to take part in Pontifical Gregorian
Commission; engaged on Vatican ed. of Gre-
gorian Chant. His works, which are of the
greatest importance on this subject, are in
correlation with all those undertaken in France,
during last 30 years, for renovation of plain-
chant.
Histoire de Chant Liturgique à Paris (1904), Cours
théorique et pratique de Plain-Chant Romain Grégorien
hola Cantorum, 1904);
): Les Origines du Chant
(crowned by Acad. of Inscriptions and Belles-
Lettres) (1907); Les Anciens Chants liturgiques des
églises d'Apt et du Comtat, Catalogue des manuscrits de
musique byzantine (1908); L'Art
1910,
Alcan): Le Graduel et l'Antiphérien (Paris,
(Lyon, 1913); Les Primitifs de la musique française
(Paris, 1922, Laurens), etc. Educational works on
and a
Method for
(Paris,
1917).
l'honneur de Jeanne d'Arc, etc., harmonisations of
ancient Christmas carols, etc.-M. L. P.
plain-chan motets, Missa Pascha esse en
GASTSPIEL. In German theatres, where
there is a permanent company, a visiting per-
former is called a "guest" (Gast), hence the words
Gastspiel (performance of a guest) and gastieren
(to perform as a guest). The nearest ordinary
Eng. equivalent is the word "star"; but Gast
includes many performers who are in no sense
"stars" and it does not necessarily imply the less
reputable associations of the Eng. word. Gast-
spiel also covers visits of an entire company or
orchestra.-E. J. D.
GAUTHIER-VILLARS
editor of Turin review La Riforma Musicale;
recently (at the instance of the Fabbrica Italiana
di Pianoforti) founded the review Il Pianoforte,
and directs the publication of it. Contributes
to principal Ital., Fr. and Eng. reviews. Amongst
his publications are a Guida musicale (Musical
Guide) to Bossi's Giovanna d' Arco; monograph
on Bizet (Turin, 1915, Riforma Musicale); vol.
on Musicisti moderni d'Italia e di fuori (Modern
Musicians in Italy and Abroad) (Bologna, 1920,
Pizzi). Has also organised interesting concerta
of modern music.-D. A.
GATTI-CASAZZA, Giulio. Ital. opera dir. b.
Ferrara, 3 Feb. 1869; completed studies at
Univ. in his native city and at R. Scuola
Superiore Navale in Genoa. Leaving as graduate
in engineering, devoted himself enthusiastically
and successfully to organisation of opera perfs.
From 1898 to 1908, was artistic dir. of Scala
Theatre, Milan. In 1908, was nominated general
dir. of Metropolitan Theatre, New York, which
position he still occupies. Has acquired a high
reputation for the results obtained in his various
managements.-D. A.
GATTY, Nicholas Comyn. Eng. opera compr.
b. Bradfield, Sheffield, 13 Sept. 1874. Educated
Downing ambridge; and R.C
(compn.
under Sir Charles Stanford, Dr. Charles Wood);
orgt. Duke of York's R. Military School, Chelsea,
for some years; mus. critic Pall Mall Gazette,
1907-14; In compn. works chiefly in opera. His
Greysteel was produced by Moody-Manners Co.
Sheffield, 1906; his Duke or Devil by the same
company, at Manchester, 1909; The Tempest by
Fairbairn-Milne Co. Surrey Theatre, London,
1920; Prince Ferelon, at Old Vic. London,
1921.
Duke or Devil (Cary): Prince Ferelon (Stainer &
Bell; a Carnegie award); Macbeth, tragio opera, 4
acts, ms. Chorus and orch.: Milton's ode On Time
(Forsyth); 3 Short Odes (Novello); orch. variations
on Old King Cole. Vn. and pf.: sonata in G (Cary):
Variations (Novello); Romance (Stainer & Bell);
2 sots of pf. waltzes (Cary); songs (Cary; Novello).
-E.-H.
GAUBERT, Philippe. Fr. compr. flautist,
condr. b. Paris, 1879; pupil of Taffanel. Condr.
of Soc. Concerts of Cons, and of the Opéra. He
writes almost entirely for orch. and chamber
combinations. His music is neo-classic, but
threatened with modernism.
Rhapsody on Popular Themes (1909); Philotis
(ballet), 1914;
d'A
l'Amphitrite (1911);
Poème Pastorale Cours tragiques et glorieux
(1917);
(with choruses). His only work for
stage is Sonia (1913). Chamber-music: Légende
(harp); Lamento (collo and pf.); sonata, vn. and pf.
(1917); some songs.-A. C.
GAUTHIER-VILLARS, Henry (called Willy).
b. Villiers-sur-Orge (S. et O.), 1859.
witty musical chronicler, who played an import-
A very
ant part in diffusion of Wagnerism in France.
Afterwards interested himself in young French
school and defended Debussy and Ravel. His
criticisms, where technical terms are in close
proximity to puns and allusions to events of
day, have entertained several generations of
music-lovers and of musicians. They have been
collected in volumes: Lettres de l'Ouvreuse, Bains
GATO. See SOUTH AMER. DANCES.
GATTI, Guido Maria. Ital, writer on music;
b. Chieti, 1893. Stud. the vn. and pf. and, at
same time, completed studies as engineer;
devoted himself to mus. criticism and literature,
especially contemporary music. 1913-15, chief
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GAUTHIEZ
de Son, Accords perdus, etc. He has also written
a book on Bizet (Musiciens Célèbres, Laurens).
-H. P.
GAUTHIEZ, Cécile. Fr. compr. b. Paris, 1873.
Stud. under Léon Saint-Réquier, G. Bret and
especially under V. d'Indy in compn. at Schola
Cantorum, where she has been prof. of har-
mony since 1920. Writes mainly religious music.
Mass, Ancilla Domini, 2-part children's voices
(Paris, 1917, Schola Bureau d'édition); motets,
Communione calicis, Benedicta es tu (Schola), In me
gratia omnis vice, Hodie Christus natus est (Paris,
chemins; songs; choral works'; str. 4tet, etc.- Sur les
GAVET, André. Fr. compr. b. Saint-Jean de
Losnes, 1887. Pupil of Cons. of Dijon, of Nancy,
and of Paris.
Stage music for Pulcinella; and for Les Heures
Blanches; Suite rapsodique on Serbian airs; Elégie
funebre (orch.); coll. of old French songs harmo-
GAWROŃSKI, Wojciech. Polish compr.
condr. b. Sejmony, 27 June, 1868; d. 1913.
Stud. under Strobl (pf.) and Noskowski (theory)
at Warsaw Cons. Was condr. in Vilna; after-
wards dir. of Music School in Orel, Russia.
From 1903, lived in Warsaw.
Operas: Marya (one of several Polish operas based
on subject of Malczewski's romantic poem; libretto
by well-known author Stan. Przybyszewski); Pojata.
Symphony; 4 str. 4tets (the 1st received prize in
Paderewski competition, Leipzig, 1892; the 2nd, at
Moscow competition, 1903); 20 pf. pieces; 30 songs.
-ZD. J.
GAY, María. Span. contr. singer; b. Barce-
lona. A leading contemporary opera-singer,
specially famous for renderings of Orfeo and Car-
men. Metropolitan Opera House, New York;
Covent Garden, London; Teatro Colón, Buenos
Ayres; Liceo, Barcelona; also Madrid, Milan,
Paris, etc.-P. G. M.
GAYARRE, Julián Sebastián. Span. t. singer;
b. Roncal (Navarra), 9 Jan. 1844; d. at end of
XIX century. Formerly a blacksmith. Whilst
singing in amateur chorus, his exceptional
voice was detected by compr., Father Hilarión
Eslava. Entered R. Cons. de Música 1869;
début at Teatro Varese (Lombardy), Italy,
with opera Elixir de amore. Thus began
an ever-increasing success till his death, whilst
in full possession of his wonderful faculties. He
was the Caruso of his day; sang in every great
opera house in Europe. The authorities of the
Grand Opéra, Paris, felt justified in making an
exception to the rule of the inst. concerning the
Fr. language, and engaged Gayarre to sing in
Ital. His renderings of Il Trovatore and La
Favorita are always referred to as unequalled
achievements in the art of singing.-P. G. M.
GENETZ
libretti), the music being a compromise between
Fr. and Ital. influences. For this purpose, on
the initiative of G., and in view of the success
of his play La Mensajera (1849), the Teatro de la
Zarzuela was constructed in 1856.
He wrote
many plays for the stage in 1, 2, 3 and 4 acts,
amongst which the most representative are En
las astas del toro (1 act); El Valle de Andorra,
Catalina, El Juramento, Las Hijas de Eva (3
acts); Los Magiares (4 acts).-P. G. M.
GAZUL, Freitas. See PORTUGUESE OPERA
GÉDALGE, André. Fr. compr. b. Paris, 27
Dec. 1856. An estimable composer, an incompar-
able teacher. From his counterpoint class at the
Paris Conservatoire have come forth the best
musicians of the young French school. It is
thanks to his instruction that they have acquired
that virtuosity of writing, which is one of their
characteristics. Ravel and Florent Schmitt, like
Honegger and Darius Milhaud, learned their
métier under his direction. He was rather late
in devoting himself to music. He entered the
Conservatoire in 1884 and studied composition
with Guiraud. Two symphonies, an orchestral
suite, a quartet and an opéra-comique reveal his
skill as a contrapuntist and his art of construc-
tion rather than his natural gifts. His principal
work is his Traité de la Fugue (1904).-II. P.
GEEHL, Henry Ernest. Eng. compr. pianist
and condr. b. London, 28 Sept. 1881. Chiefly
educated in music by his father; also under R.
Orlando Morgan. As a compr. G. is chiefly
known for his educational pf. music and songs
(Augener; Ashdown; Gould). Some music for
various other instrs. is publ. by Rudall, Carte,
and Hawkes & Co.
2 operas (ms.); symphony in D mi. (ms.); yn.
concerto; pf. concerto; 3 orch. suites (Novello;
Boosey; Ashdown); Cromwell, military band.-E.-H.
GEISLER, Paul. Ger. compr. b. Stolp (Pomer-
ania), 10 Aug. 1856; d. Posen, 3 April, 1919.
Pupil of his grandfather, mus. dir. in Marienburg;
also for a time of Konstantin Decker. Kor-
repetitor Leipzig Stadttheater, 1881-2; at Angelo
Neumann's Wander-Theater, 1882-3; condr. in
Bremen (with Anton Seidl), 1883-5; then resided
in Leipzig and Berlin; finally in Posen, where
he establ. a Cons. and cond. concerts of Posen
Orch. Association; dir. of choral soc. of the
province, 1899-1903; R. mus. dir. 1902.
Operas: Ingeborg (Bremen, 1884); Die Marianer
(The Knights of Marienburg) (Hamburg, 1891);
Hertha (Hamburg, 1894); Psalm (Lübeck, 1893);
Berlin, Theater des Westens, 1899; Princess Lise
(Posen, 1903); Wikingertod (Death of a Viking),
dramatic episode with music; publ.: The Piper
of Hamelin (perf. by Allgemeine Deutsche Musikverein
of Magdeburg, 1880), and Till Eulenspiegel; also cycles
for soll, chorus and Monologue, and Episodes):
Sansara Golgotha;
also songs;
4 symphonies (Symphonic Frescoes), ms.-A. E.
GENETZ, Emil. Finnish compr. b. Impilahti,
24 Oct. 1852. Stud. at Helsingfors Univ.; later
both music and dramatic art at Dresden Cons.
Subsequently teacher of languages in several
towns in Finland; afterwards head of Theatre
School at Finnish National Theatre. His
patriotic male choruses Herää Suomi (Awake,
GAZTAMBIDE Joaquín. Span. compr.
Tudela (Navarra), 7 Feb. 1822; d. about
the end of XIX century. In 1847, went to
Paris as condr. of troupe of Span. actors, singers
and dancers. Impressed by the characteristics
of the Fr. light opera, he conceived the idea of
creating a similar genre in the Span. language.
This led to the complete development of the
lyric plays known in Spain as zarzuela grande
(see ZARZUELA), which for a long period bore
the mark of its Fr. origin (specially in the
N
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GEORGE
Finland), Karjala (Karelia), and Terve Suomeni
maa (Hail to thee, Finland /) have secured a
prominent place among patriotic Finnish songs
for male voices.-T. H.
GEORGE, André. Fr. musicologist; b. Algiers,
1890; mus. critic of Catholic review, Les Lettres.
Has written studies on modern music in La
Nouvelle Journée and the Revue Musicale; he
collab. in the standard Fr. transl. of Richard
Wagner's My Life.-A. C.
GEORGES, Alexandre. Fr. compr. b. Arras,
25 Feb. 1890. Former pupil of Ecole Nieder-
meyer; then prof. there; has devoted himself
principally to operatic and vocal music, of super-
ficial effect and purposely grandiloquent. Espe-
cially well-known are the songs taken from
Miarka la Fille à l'Ours (1905) (words by Jean
Richepin). Also:
Le Printemps (1890); Poèmes d'amour (1992);
Charlotte Corday (1901); La Passion (1902); Myrrha
(1909); Sang et Soleil (1912).-A. C.
GEORGESCU, Georges. Rumanian condr. b.
Sulina in 1887; first stud. cello at Cons. of
Bucharest, taking a 1st prize; then in Berlin,
under Hugo Becker; for 3 years, member of the
Marteau Quartet. In 1918, on account of left-
arm trouble, G. became condr. after studying
under Arnold Teleffel. After having, in that year,
cond. a series of concerts at Berlin with the
Philh. and also the Blüthner Orch., he returned
in 1919 to Bucharest and was appointed condr.
of the newly-created Filarmonica Orch. In 1922,
was appointed gen. dir. of the Rumanian Opera
House (see RUMANIAN OPERA).-C. BR.
GEORGII, Walter. Ger. pianist; b. Stuttgart
in 1887. Pupil Stuttgart Cons. (Max Pauer);
teacher (1910-13) Imperial Russ. School of
Music, Woronesch. Obtained Ph.D. at Halle,
1914 (with dissertation C. M. v. Weber as a Pf.
Composer). Ed. Weber's D mi. sonata (1920),
and since 1911 has secured recognition in Ger-
many as a pianist who makes a special feature of
modern South Ger. music. Teacher Cologne
Cons. since 1914.-A. E.
GERHARD, Robert. Compr. and pianist;
b. Vals (Tarragona), Spain, 1896. Stud. compn.
in Barcelona under late Felipe Pedrell, being last
pupil of this famous master. always con-
sidered, in spite of his Swiss descent, as belong-
ing to the modern Span. school, with which he is
identified as well by temperament as by affection.
voice
Schaharazada; El Verger de les Galanies: Amour et
Paysage; 2 pf. trios; Dos apuntes, pf. (Unión Musical
Española, Madrid; Senart, Paris).-P. G. M.
GERHARDT, Elena. Ger. s. singer; b.
Leipzig, 11 Nov. 1883. Pupil at Leipzig Cons.,
especially of Madame Hedmondt; from 1903
much helped by Arthur Nikisch; 1912, accom-
panied him to America. One of the most sensitive
concert-singers in Germany; above all, unsur-
passed as a singer of Brahms' songs. Well known
in England and America for her classical song-
recitals.-A. E.
GERMAN, Edward. Eng. compr. b. Whit-
church, Shropshire, 17 Feb. 1862. In 1880
entered R.A.M. London, taking organ as chief
178
GERMAN CHAMBER-MUSIC
study, under Dr. Steggall. In 1881, took vn. as
chief study under Weist Hill and Alfred Burnett.
(Henry Wood and E. H. Lemare were fellow-
students with G. at the R.A.M.) In 1885, won
Charles Lucas Medal with Te Deum for chorus
and organ. Whilst at Acad., wrote operetta The
Rival Pocts (perf. St. George's Hall, 1886). Left
the R.A.M. in 1887, playing as 2nd vn. in
theatres (in Sullivan's Pirates of Penzance and
Princess Ida); 1888, mus. dir. of Globe Theatre,
with band of 30. When Richard Mansfield pro-
duced Shakespeare's Richard III there, G. wrote
the overture, entr'actes and incidental music.
This, far above the standard of theatre music of
the time, proved most successful. The overture
was perf. shortly afterwards at Norwich Fest.,
Leeds Fest., Crystal Palace, and Philh. Concerts.
In 1890, produced his symphony in E mi. at the
Crystal Palace. In 1892, wrote the music for
Sir Henry Irving's Henry VIII at Lyceum. The
3 dances perf. during Wolsey's reception at York
Place (Act I) became immensely popular. Since
then he has written:
Gipsy Suile (1892); musto for Romeo and Juliet
(Lyceum, 1895); As Fou like It (St. James's,
(Haymarkot, 1893); Duchess of Sutherland's The
Conqueror (Scala, 1915); Anthony Hope's Nell
Gwynn (Prince of Wales's, 1900). His orch. works
include Symphony No. I ín E mi. (Crystal Palace);
No. II in A mi. (Norwich Fest.); Symph. Sulte in
D mi. (Leeds Fest.); Fantasia on march-themes
(Philh. London, 1897); symph. poem, Hamlet
(Birmingham Fest. 1897); symph. suite, The Seasons
(Norwich, 1899); Welsh Rhapsody (Cardiff, 1904);
March Rhapsody (Brighton); Coronation March and
Hymn (King George V, Westminster Abbey, 1911);
Theme and 6 Diversions (R. Philh. Soc., 1919); The
Willow Song (R.A.M. Centonary, London, 1922).
In 1901, he collab. in music of The Emerald
Isle (Savoy). Sullivan had left only 2 com-
pleted numbers, and for many others nothing but
melodies without basses, while 13 numbers were
untouched. Then followed light operas from
German's own pen, Merrie England, A Princess
of Kensington, Tom Jones, Fallen Fairies (lib-
retto by W. S. Gilbert). He has also written
a large number of songs and part-songs. In
Edward German, the molodist and the scholar
are happily combined. His music has a character
all its own, albeit it stands in the direct lineage
of Sullivan, and apart from his symph. works,
has a strong old-English flavour in its melodic
turn, its sprightly rhythms and its straight-
forward diction.-E.-H.
GERMAN CHAMBER-MUSIC FROM 1880.
The development of Ger. chamber-music has
been accomplished with far greater ease and
more directness than was the case with the
opera or symphony. Neo-Romanticism leaves
chamber-music to the domain of the classicists,
under which head Johannes Brahms is regarded;
He comp. a succession of important chamber-
works in his last 15 years: pf. trios, op. 87 and
101; 5tets, op. 88 and 111; the 2 last vn. sonatas,
op. 100 and 108; 2nd sonata for cello, op. 99; and
the last and most mature works: op. 114 (clar.
trio), 115 (clar. 5tet) and 120 (clar. sonatas) in
which he has brought his utterance to the purest
formula, his brooding view of life to the clearest
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GERMAN FOLK-MUSIC
expression. Only a few musicians of the New
German" branch have occupied themselves with
chamber-music. Richard Strauss only con-
sidered it in a few youthful works, of which the
vn. sonata, op. 18, and the pf. 4tet, op. 13, are
the most important. Of Hugo Wolf, there is only
the D mi. str. 4tet, a youthful work; of Heinrich
Klose a str. 4tet in E flat ma.; of Schillings a
str. 4tet and str. 5tet; whilst a musician like
Walter Braunfels has completely ignored cham-
ber-music in its real sense. Only Hans Pfitzner
of this group has not merely importance, but
deep significance for chamber-music; he begins
the list of his works with a sonata for cello, and
his str. 4tet, pf. trio, pf. 5tet (not so, his vn.
sonata) belong to his strongest lyrical utterance.
Besides Pfitzner, the Neo-Romanticists who
chiefly belong to the Munich school must be
mentioned: Ludwig Thuille, August Reuss
(4tet, 8tet), Julius Weismann, Heinrich Kaspar
Schmid (4tet, vn. sonata, wind 5tet). The re-
maining Ger. chamber-music comprs. join on to
Brahms and fill the classical form with more or
less romantic subject-matter. It must suffice to
mention the most prolific: Heinrich Herzogen-
berg, Arnold Mendelssohn, Robert Kahn. There
are not only strict followers of Brahms, like
Ewald Straesser, but also others who combine
intimate expression with free impressionistic
elements, like Paul Graener and Hermann
Zilcher (pf. 5tet). One could divide these epigoni
according to their regional origin: a Ger. group
which would also include the Ger.-Swiss with
their important master H. Suter, a S. Ger.
Rhenish, Saxon-Thuringian, N. Ger., with their
various relationships to Slav music. The most
important master, who has gone farthest away
from Brahms, Max Reger; one can say that
chamber-music is the apex of his music, not so
much from the number of works (5 str. 4tets.
str. 6tet, 2 pf. trios, 2 pf. 4tets, 7 sonatas for vn.
and pf., 11 sonatas for vn. solo, etc.), as from
their harmonic sensitiveness and audacity.
chamber-music is the dividing point for modern
comprs., a testimony to absolute music (not in-
spired by poetry or exterior impulses), as well
as the boundary line of atonal expression (even
when his tonality is fixed). Reger has a number
of direct disciples, of whom some lead back into
the romantic style (Josef Haas), some step over
all boundary lines (H. Grabner). Besides Reger,
Arnold Schönberg and also Ferruccio Busoni
lead modern chamber-music along the same roads
of spirituality, abstraction and "expressionism,"
as do contemporary comprs, of modern chamber-
music in Russia, England and France. Naturally
such followers belong to the younger schools:
Heinrich Kaminski, (who in his 4tet and 5tet has
followed Bruckner), Arthur Schnabel, Hermann
Scherchen, Max Butting, Eduard Erdmann,
Ludwig Weber, Frank Wohlfahrt, Paul Hinde-
mith, and others.-A. E.
His
GERMAN FOLK-MUSIC. See FRIEDLAENDER,
MAX; JANIEZEK, JULIUS; MEERSMAN, HANS.
GERMAN OPERA (since Wagner). It is natural
that so extraordinary a phenomenon as Wagner
GERMAN OPERA
should at first compel practically the whole of
Ger. opera-production to be dominated by him.
The very content of Ger. opera became, in part
at least, dependent on Wagner; hence numbers
of post-Wagnerians have written dramas of
redemption," making the mistake of adopting
the style of Wagner's third period (Tristan,
Parsifal) with a display of pathos and the
employment of orchestral, harmonic, and poly-
phonic means commensurate with the greatness
of Wagner's own creations, and justifiable in
their case alone. One of the most elegant, if not
the most original, of these composers is Max
Schillings. One of the most individual and
logical is Hans Pfitzner, who in his first legend-
opera, Der arme Heinrich, despite its obvious
derivation from the Tristan style, was able to
strike a note of his own; thus passing by way of
his extremely musical fairy-play, The Rose from
the Garden of Love, to the ascetic style of his
essentially individual artist-legend, Palestrina.
Another path leads from Wagner to the fairy-
opera, whose most fecund representative is
Wagner's own son, Siegfried Wagner, the most
successful representative being Engelbert Hum-
perdinck. All these works, however, are loaded
with a heavy ballast of modulation and instru-
mentation out of harmony with their material
content. Another branch of these fairy-operas
takes on character of the "adolescent style "
(Thuille's Lobetanz; Gugeline), and becomes in-
volved in mawkish ornamental sentimentality.
To this group belongs the Feuersnot of Richard
Strauss, which is derived from Ernst v. Wolzo-
gen's Überbrettl (q.v.) and combines the comedy-
style with the Wagnerian. Alexander Ritter has
written some of the most individual of these
post-Wagnerian comedies.
theme.
Yet another branch of opera, imitative of
Wagner, attaches especially to the Mastersingers;
e.g. Hugo Wolf's Corregidor, despite its Spanish
Another stream, arising from the
Mastersingers, leads to the Volksoper, which
adopts a human strain (Kienzl's Evangelimann),
and also to Julius Bittner (Der Musikant, Der
Bergsee), though the ideal of strength and dignity
striven after is not attained.
Besides the Wagner operas, those of the
Italian Verists have also had their imitators.
The most successful is Eugen d'Albert with his
The Lowlands (Tiefland). He writes the most
natural and easy-going theatre-music in Ger-
many, without always troubling much about the
artistic level it attains. To his school belong
musicians like Ermanno Wolf-Ferrari, who, like
d'Albert, devotes part of his creative ability to
the lighter form of opera derived from the
Italian Intermezzo, and part to the Verist music-
drama. Of such kind also is E. W. Korngold
(The Ring of Polycrates; The Dead City). Strauss
goes his own way. Proceeding from his symph.
poems, which allow of his painting the most
detailed "programmes," he writes his orchestral
operas (Salome; Elektra) to ready-made libretti,
passing by way of the melodious comedy (Rosen-
kavalier) to a synthesis of orchestra and melody
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GERMAN ORCHESTRAL MUSIC
in opera, e.g. The Woman without a Shadow. His
fine parody-opera, Ariadne, may be regarded as
a progressivo work, embodying the music of
the future." Along with Strauss, there stands
Schreker, who imparts, to some extent, to the
fairy-opera erotic, sexual, psycho-analytical in-
tensity, makes a kaleidoscopic "sound-vision "
the central point of his creative activity. Walter
Braunfels has struck a side-path and an outlet,
with his fantastic, Neo-Romantic opera The
Birds, without however producing anything of
outstanding musical originality.
In contradistinction to all this music, which
in some way proceeds either with or counter to
Wagner, there is to be reckoned that of a group
of musicians entirely independent of Wagner.
Its most mature representative is Busoni, who
turns into music the combination of ordinary
practical life and fantasy to be found in E. T. A.
Hoffmann's creations. The latest disciple is
probably Paul Hindemith with his three one-act
plays, which present types for expressionist and
burlesque stage-plays with music.-A. E.
GERMAN ORCHESTRAL MUSIC FROM 1880.
The development of Ger. orch. music of the last
40 years may be characterised best as the com-
plete triumph, later the complete decline, of
programme music. The music of the Neo-Roman-
tics, the modern Germans in particular, prepared
the way for the triumph of programme music.
Berlioz, with his symph. and semi-dramatic
works, exercised an influence in Germany rather
than in France. In another department, the
music-drama, Wagner had created the mightiest
instrument yet known for symph. work, an en-
tirely new orch. language, and an entirely new
world of expression. Finally, it was Franz Liszt
who found for the poetic and philosophical
ideas that had invaded the music of his time the
right setting, which in each case was quite free
and variable though none the less true to formal
principles. No contemporaneous musician re-
presents the triumph of programme music in
the form of the symph. poem more completely
than Richard Strauss, the most successful of
them all. Brought up on classic ideals, proof of
which are his two symphonies and an overture,
he was early won over to programme music and
freedom of form by Alexander Ritter, a nephew
of Wagner, and himself a compr. of six estimable
symph. poems. His first effort was a half-impres-
sionist, half-sentimental symphony or suite,
Aus Italien, in the old form; this was followed by
a series of symph. poems from Don Juan (1889)
up to the Alpine Symphony (1915), in which the
orch. skill of Berlioz, Liszt's constructive facility,
and Wagner's leit-motiv idiom are combined with
much temperament, sensuous charm, and extra-
ordinary talent, superior to that of all three; in
which also the prevailing ideas of the time (cer-
tainly nothing more exalted than the ideas of
that time) are expressed with much boldness and
vigour. Musicians who found a place beside
Strauss moved in the same direction-Hugo Wolf
(Penthesilea), Siegmund von Hausegger (Bar-
barossa; Wieland der Schmied), Rezniček (one
180
GERMAN ORCHESTRAL MUSIC
of the most orig. of them all), Gustav Brecher,
the Swiss V. Andreae, K. Bleyle, E. Boehe, H. G.
Noren, C. Ehrenberg, P. Ertel, August Reuss, G.
Mraczek, O. Besch, and a hundred other Ger.
comprs. of overtures and symph. poems. In the
last 20 years, however, comprs. while taking full
advantage of the orch, and artistic achievements
of the Neo-Germans, have not utilised them to
illustrate naturalistic and programme music, or
the problems of philosophy. Comprs. of orch.
music like Engelbert Humperdinck, Nicodé,
Sekles, Kämpf, Braunfels, Hans Tiessen, P.
Scheinpflug, Max Trapp, are more or less Strauss-
ian in the means they employ, but not in their
thought and feeling. Their orch. music is pictur-
esque and often inclined to impressionism, but
it has a deeper and more expressive intellectual
value. It is concerned neither with sensuous
feeling, pathos and rhetoric, nor with the solving
of problems that stand outside music.
In marked contrast to the music of the "pro-
gressive" comprs., who hail chiefly from S. Ger-
many, is the symphony of Johannes Brahms, the
classical nature of which tends to "classicism."
Brahms's influence, which has steadily increased
even in S. Germany, has almost completely
paralysed the influence of the symph. writer
Liszt. Progressing in the opposite direction to
Richard Strauss, Felix Draeseke, and also Felix
Weingartner, originally Neo-Germans, have be
come more and more conservative. Of similar
tendencies are the many N. Ger. "academic'
comprs.: Rudorff, Bruch, Gernsheim, Koch,
Berger, Schumann, Kaun, Juon, and Straesser.
Only Felix Woyrsch, Hermann Zilcher and,
above all, Max Reger have struck out on inde-
pendent lines for themselves. In his orch. works
(Sinfonietta, Hiller, Mozart and Beethoven
variations, overtures, suites, concertos, etc.),
Reger has attempted a new synthesis of "abso-
lute" music in classic form, but with the most
daring devices of modern harmony and poly-
phony. In a later but short period of creative
activity Reger, through his Böcklin and Eichen-
dorff suites, gave evidence of a leaning towards
Impressionism, which phase of art, however,
never gained a devoted band of followers in
Germany. Paul Graener (in a few of his works)
might described as a disciple of the Impres-
sionists. With Reger there arose a new and
original school, including imitators (H. Unger)
and also symphonic writers of individual char-
acter. Among the latter are the Romanticist,
Josef Haas, the gifted Gottfried Rüdinger, Her-
mann Grabner and others. Reger, who could no
longer create in "large form," and who was really
a miniaturist, and the destroyer of expression as
such, has naturally much in common with those
who are in search of new means of expression.
Although only part of his creative activity
falls within the last forty years, Anton Bruckner
himself exercised a great influence during that
period. In Bruckner's symphonies it seemed,
and still seems, as if the mus. aspirations of the
time had been fulfilled-absolute music, having
religious faith as its source and folk-music as its
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GERMAN SONG
basis, modern yet classical, the unity of which
has found many zealous defenders. The talented
imitators of Bruckner in Germany include H.
Bischoff, Richard Wetz, Paul Büttner, Wilhelm
Petersen. Friedrich Klose, a personal pupil of
Bruckner, has been more strongly influenced
by Berlioz and Wagner. Gustav Mahler is also,
to a certain extent, a disciple of Bruckner.
Mahler's symphonic writing, which was at first
miscalled " programme-music," employs the ex-
pressive power of voice and chorus to the utmost
possibility. In Bruckner this striving to ex-
pression leads to unity; but whereas Bruckner's.
religious and mus. feeling do ultimately find this.
unity, Mahler is unable o overcome the dualism
that affects both man and artist, and the dis-
cord in his personality cannot be harmonised.
With Reger it is the same.
Mahler, in his 9th symphony, as well as in the
technical sense, is the father of the "modern
German" comprs. The "moderns" vigorously
oppose all Romanticism; they are antagonistic
to programme-music; they are intent on pure
music alone, and they hold in horror all excessive
orch. means, contenting themselves, as is the
case all over Europe, with the "chamber orch."
The foremost of these in Germany is R. Stephan
(music for orch., music for vn. and orch.). Such
music strives beyond pathos towards pure ex-
pression, and endeavours to pass beyond duality
to unity, and beyond the artificial to what is
truly natural. It reflects the spirit of the age with
fanatical, self-destructive, and contemptuous
fury (E. Erdmann, Symphony; Hindemith,
Music in 1921). It seeks inspiration from times
of greater stylistic power, as in the case of Busoni,
who draws on Bach and the masters of the
Rococo period; it hopes with still moro poly-
phony to realise the new Gothic style, e.g. Hein-
rich Kaminski and Ernst Křenek. But these
musicians have not yet discovered the unity
after which they are striving, nor is this unity to
be discovered along the side-track of Impres-
sionism, Neo-classicism or parody, as attempts in
other countries have shown.-A. E.
GERMAN SONG FROM 1880. The develop-
ment may be considered under two aspects-the
cultural and social, and the musical and formal.
Under either aspect the songs of Brahms form
the central point; since they are to a certain
extent the continuation of the great Romantic.
heritage of Schubert and Schumann, which by no
means came to a sudden end in 1880. Brahms's
songs from op. 84 up to the Vier ernste Gesänge,
op. 121, actually fall in this later period. They
are the songs of concentration, of sustained feel-
ing, of inwardness, of home life and particularly
of intimate and small circles. It is highly signi-
ficant that Brahms, through his German Folk-
Songs published in 1894, and through his pf.
accompaniments, made popular as household
music the simple Ger. folk-song, which had
hitherto had its natural setting either as unacc.
song or as chorus. Thus arose two types of
song with characteristics strongly differentiating
them from the Brahms song of sentiment:
GERMAN SONG
(1) songs of companionship and open air, and
(2) songs for the concert-hall. There are many
points of connection between these two types;
and numerous songs stand midway. The type
we have called songs of companionship, which
is sung by groups of people on excursion in
the open air, is a specific phenomenon of last
30 years. Arising out of Ger. folk-song, it has
become the lute or guitar song, and primarily
the song of young people. Along with the re-
production and adaptation of old masters, there
has arisen a body of orig. song by such comprs.
as Robert Kothe and Fritz Jöde. The chief
feature is its simple, national character. In this
connection should be mentioned Ger. choral
music, both for mixed and male vs. Music for
mixed vs., in so far as it is not the reproduction
of XVI and XVII century works, or of the Romantic
school (Mendelssohn, Schumann, Silcher), has in
latter times been cultivated by only a small
number of minor compra. (Arnold Mendelssohn;
Erwin Lendvai). Male-voice choruses cultivate
partly the simple form of song; partly also (as
a consequence of institution of singing competi-
tions), the more elaborate and picturesque choral
ballad, of which the Ger. Swiss, Friedrich Hegar,
has written the best-known examples. The whole
repertoire of choral music, sung in Germany to-
day, has been compiled in the so-called Kaiser-
Liederbücher (Emperor Song Books) for male
chorus (1906), and for mixed chorus (1915). The
concert-song approximated more to the Brahms
song of sentiment. Its first great representative
was Hugo Wolf. The lyrical intimacy suffers
somewhat through the consideration for drama-
tic characterisation, which demands declama-
tion and requires a public. The song with orch.
acc., which began with Hugo Wolf who himself
orchestrated a number of his songs, strives for
greater lyrical or pseudo-dramatic expansion,
and to it almost all the Ger. symphony-writers
have turned their attention (Mahler, Strauss,
Hausegger, Pfitzner, Braunfels). Quite recently
a preference for lyrical expression with chamber-
music acc. and in cyclic form has shown itself.
The feeling and desire for a new intimacy have
reasserted themselves.
From the mus. and formal standpoint the
contrast between Brahms and Wolf is as inter-
esting and instructive as the contrast between
Brahms and Liszt. Brahms's songs are on the
basis of song in verses, with a clear-cut melody
intimately connected with the bass; the accom-
paniment, while giving character, is not unduly
prominent. In Wolf also a clear-cut melody and
the verse-form are to be found; but in his hands
the accompaniment is as worthy and important
as the melody. It is conceived symphonically
and constructed on "motives," and its function
is to provide characterisation and tonal paint-
ing. The clear-cut nature of the song is preserved,
not so much through the melody as through the
motival" unity in the accompaniment. Wag-
ner's influence even penetrates to Ger. song: in
its declamatory and harmonic tendency nearly
every one of Wolf's songs, although Wolf himself
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GERMAN SONG
did not write the words, became a musico-poetic
work of "combined" art, which attained "re-
demption" in a six-four chord. In marked con-
trast to Brahms was Franz Liszt; for he rejected
the song-form, and adopted a rhapsodic freedom
for his song which recognised as its only law the
lyrical declamation that went hand in hand with
the text.
All three tendencies have further developed
in the Ger. song, but they have not preserved
their original independence, having largely in-
termingled Wolf alone has found direct imita-
tors, among them Joseph Marx, Theodor
Streicher, Otto Vrieslander. On the other hand,
the individuality of the Liszt song, transmitted
by Alexander Ritter, who has written some
highly original songs, despite their declamatory
and motival simplicity, has been entirely trans-
formed by Richard Strauss. In addition to the
passionate swing of his melody and the wealth
of colour and motive in his accompaniment,
Strauss in his later works has sought to pro-
duce songs of a coloratura style. In com-
pany with Strauss stands the founder of the
Munich school, Ludwig Thuille, in whose train
as song-comprs. are to be found Beer-Walbrunn,
Schillings, Boehe, Walter Courvoisier, and H. K.
Schmid. Max Reger stands quite apart; for he
despises a directly illustrative accompaniment,
preferring an organic one, frequently overloaded,
and allowing the melody to dissolve into melodic
"prose." Hans Pfitzner likewise stands by
himself. He goes back to the intimate form of
lyric associated with Schumann, only he pushes
it to the extreme of romantic and introspective
ecstasy. The Swiss compr. Othmar Schoeck even
goes back to the Schubert style of song. A kind
of protest against the harmonic and motival
over-refinement and complexity of the post-
Wagnerian song is to be observed in the deliber-
ate return to the verse-song and its simplicity,
as manifested by Alfred Heuss, Armin Knab,
Hermann Bischoff, and to a certain degree
by Gustav Mahler. Occupying an intermediate
position are the countless song-writers - -and
there is no Ger. musician who has not written
songs who have chiefly cultivated the declama-
tory song, the most prolific and talented among
them being Paul Graener, Felix Weingartner,
Hermann Zilcher, Julius Weissmann, Richard
Wetz, Erich J. Wolff, Hans Hermann, Robert
Kahn, H. Kaun.
Characteristic of modern Ger. song is its atti-
tude towards modern Ger. poetry. Hugo Wolf,
in contrast to Brahms, who, with exquisite
taste, culled from the garden of the whole of
Ger. literature, turned to a few favourite poets
alone among them, Mörike, Goethe, Eichen-
dorff-and also to Span. and Ital. folk-song.
The mus. generation of Richard Strauss "dis-
covered" the modern lyric as represented by
Richard Dehmel, Mackay and others, whereas
Reger exercised no taste in his selection. The
ultra-modern group of poets such as Mombert,
R. M. Rilke, Stefan George, Werfel and Trakl
correspond once again to the modern song-
GESAMTAUSGABEN
writers, the best representatives of which are
Conrad Ansorge, the late Rudi Stefan, and
Arnold Schönberg. In such songs, little account.
is taken of depth of feeling, or of that kind of
atmosphere which may be created by picturesque
and illustrative means of harmony, melody and
rhythm; direct connection with the text is dis-
carded. Indeed, the text serves as stimulus to
a kind of "absolute" musical activity. Hence
arises a fusion of lyric with chamber music.
As example may be cited the song-cycle Die
junge Magd by Paul Hindemith.-A. E.
GERNSHEIM, Friedrich. Compr. b. Worms,
17 July, 1839; d. Berlin, 11 Sept. 1916. Pupil
Leipzig Cons. 1852; went to Paris for further
instruction, 1855; mus. dir. Saarbrücken, 1861;
teacher Cologne Cons. 1865-74; appointed
prof. by Duke of Saxe-Coburg-Gotha, 1872;
dir. Maatschappij Concerts, Rotterdam, 1874;
teacher Stern's Cons. 1890-7; till 1904 dir. of
Stern Choral Soc. Berlin, and also condr. of
Eruditio Musica, Rotterdam, from 1897. Member
of Senate of R. Acad. of Arts, Berlin, 1897;
President of an academical advanced school
for composition, 1901.
(C mi., Mdfahrt (op. 13), and Zu einem Drama
Chamber-music: 3 pf. 4tets, op. 6, 20, 47;
2 pf. Stets, op. 35 and 63; trios, op, 28, 37; 3 vn.
sonatas, op. 4, 50, 64; 2 cello sonatas, op. 12, 79:
str. 4teta, op. 25, 31, 51, 66, 83; str. 5tet, op. 9;
4 symphonies, op. 32 (G mi.), op. 46 (E flat), op. 54
op. 62 (B flat); overtures, Wald-
meisters
(op. 82); pf. concerto, op. 16; 2 vn. concertos (op.
42,
and Allegro,
op. 38; cello concerto, E mi. op. 78; choral works:
Salamis (male chorus, barit. and orch.); Northern
Summer Night, op. 21 (soli, chorus, orch.); Hafis (soli,
chorus, orch); Odin's Sea Ride (barit., male chorus,
1200 (male
and orch.); The Grave in Busento
(male chorus, orch.): Prise Song, op. 58 (Biblical
text, for soli, chorus and orch.); Norn's Lullaby.
op. 65 (chorus, orch.); Phoebus Apollo (for same);
Agrippina, op. 45 (scena for contr. solo, chorus,
orch.).-A. E.
GEROLD, Théodore. Fr. musicologist; b.
Strasburg, 1866; pursued his mus. studies at
municipal Cons. there; attended Univ. lectures
of Prof. Jacobsthal on musicology. Received
lessons from Stockhausen in singing, Humper-
dinck and A. Urspruch in compn. In 1892, came
to Paris to work with R. Bussine, A. Giraudet and
Ch. Bordes. Ph.D. of Ger. Univ. of Strasburg
(1909); appointed lecturer on musicology at
Univ. of Basle (1914-18). Having sustained his
thesis for D.Litt. (1921), he now teaches mus.
history at Univ. of Strasburg and also in Faculty
of Protestant Theology. He has supplied an
important contribution to history of ancient song.
1620 (Frankfortes: Les Psaumes de Clément Marot
Kleine Sängerfibel (Mayence, 1908, 1912, Schott);
Das Liederbuch einer französischen Provinzdame um
t-o-M. 1912); Chansons populaires des
XV et
et leurs mélodies, with
(Bibliotheca romanica, Soduction and critical notes
L'Art du Chant en France au XVIIe siècle (1921):
1913, 1919, Heitz);
Le Manuscrit de Bayeux, chansons du XVe siècle
(1921) (Publications of Faculty of Letters, Strasburg).
Schubert is in preparation (Alean).-M. L. A vol. on
GESAMTAUSGABEN (Complete Editions). Of
the comprs, who come within the scope of this
Dictionary, complete editions have been issued
as follows: Johann Strauss (sen.) 1887; Berlioz,
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GESELLSCHAFT
1900; Cornelius, 1905; Liszt, 1907 (unfinished);
Wagner, 1914.-A. E.
GESELLSCHAFT DER MUSIKFREUNDE
(Soc. of Friends of Music). The most important
and oldest mus. corporation of Vienna. Founded
at instigation of Ignaz v. Sonnleithner, Burg-
theater dir. in 1812. First president was Prince
Josef Lobkowitz; protector, Archduke Rudolph.
This union created (1817) the Cons. for mus.
study (now the State Acad. of Music) whose first
dir. was the famous Salieri. The second institu-
tion of the Soc. was the Singverein, a mixed
amateur chorus (now the best in Vienna),
founded 1859; and the orch. of the Soc. (amateur
too, but afterwards replaced by professionals).
These concerts started in 1840; regularly held
only from 1859. The present condr. is Leopold
Reichwein. The orch, now named Orchester-
verein still exists and is cond. by Julius Lehnert.
(1) Concerts. 1880-4, condr. Wilhelm Gericke
(1st perf. Liszt's Dante Symphony; Berlioz's
Requiem). In 1884 Gericke was called to Boston.
His place was taken by Hans Richter (1885-90)
(1st perf. Bach's B mi. Mass and Xmas Oratorio;
Weber Centenary Fest. 1886; Handel's Theo-
dora). In 1890 Gericke returned and was re-
engaged till 1895 (Mozart Fest. 1891; great
music and theatre exhibition in Vienna, 1892;
1st perf. Bruckner's F mi. Mass). Succeeded by
R. v. Perger, the Rotterdam condr. who preferred
mixed programmes. He cond. the memorial con-
certs for Brahms, Bruckner, Joh. Strauss and
the Empress Elizabeth. Ferdinand Löwe cond.
1900-4; then Franz Schalk till 1921 (Centenary
Fest. of Soc. 1912, Beethoven Fest. 1920, etc.).
In 1922 Leopold Reichwein and Wilhelm Furt-
wängler cond.; the latter with Schubert Fest.
Nov. 1922. The new building, raised by Theophil
Hansen in 1870, was damaged by fire in 1885. In
1902 the organ was renovated; in 1907 a new one
was built by Rieger (Jägerndorf). In 1912 the
architect Richter enlarged the concert hall.
There are also 2 small halls for chamber-music.
GEVAERT
books and mss. of Beethoven, 43 mss. of Brahms,
pieces by Haydn, Mozart, Schubert and Schu-
mann. The present curator is Eusebius Mandy-
czowski.-P. P.
Consult: C. F. Pohl, Die Gesellschaft der Musik-
freunde (1871); A. v. Böhm, Geschichte der G.d.M.fr.
(1908): R. v. Perger and R. Hirschfeld, Die G.d.M.fr.
(1909); E. Mandyozewski, Die 100 jährige
(1912); Zusatzband für G.d.M.fr. (1912).
(2) Other Activities. In 1885 the Soc. con-
vened an International Tuning Conference, at
which the Vienna normal tuning (A equals
435) was accepted. 1880, the monument of
Beethoven (erected by the Soc.) was unveiled;
1888, the body of Beethoven was oxhumed and
buried in the new central churchyard. The
monument of Brahms was also due to the Soc.
The library of the music-historian Gerber was
bought in 1819; the Spann-Witteczek Schubert
coll, and Köchel's Mozart mss. were added in
1877. Brahms left his library to the Soc. (1897);
and Nikolaus Dumba, the autographs of Schu-
bert's symphonies (1900). The archive has
35,000 vols. (printed works of XVI and XVII
centuries, etc.). The library has 8000 vols.; the
museum has colls, of mus. autographs, letters,
pictures and mus. instrs. The autographs in-
clude some fragments by J. S. Bach, sketch-
GEVAERT, François Auguste. Belgian musi-
cologist, compr. b. Huysse (near Oudenarde),
31 July, 1828; d. Brussels, 24 Dec. 1908.
Of very humble origin. His father was a baker
with 10 children; and when quite a child, G.
tended cattle. His first mus. education was
obtained at church; to this he attributed
great importance for his special comprehension
of liturgic chant. At 9, he tried his hand at
mus. compn. At 10, was sent to Ghent Cons.
to study pf. When 15, settled in Ghent as pf.
teacher and orgt. 1841, appointed orgt. of
Jesuit Church; 1847, obtained successively
prize for compn. from Société des Beaux-Arts
of Ghent, and Prix de Rome. Was allowed to
postpone journey prescribed by conditions,
and wrote his first two operas. 1859-61, lived
in Paris, then a year in Spain, travelled through
Italy and Germany, returning in 1862 to Ghent,
but soon settled down in Paris. There devoted
himself to compn. of several comic operas, which
brought him into notice immediately. 1867,
repetitor at Grand Opéra (a post created for
him and suppressed after his departure). At
same time, began to handle mus. literature
(theory, history, aesthetics), and soon devoted
himself to it exclusively. The war of 1870
caused his return to Belgium, and Fétis having
died the following year, he succeeded him as
dir. of Brussels Cons., a post which he held till
his death (for he had made permanency a
condition of acceptance). G. is certainly the
man who exercised the preponderating influence
on the development of music in Belgium in
XIX century. As compr. his rôle was not very
great. Most of his works belong to the old Fr.
comic opera. He is remarkable, less for inspira-
tion, which in him is not abundant, than for
soundness of compn. based on study of classics
superior to average of contemporary Fr. works.
His happiest mus. idea consisted in develop-
ment of a popular Franco-Netherlandish melody
of XVI century, which he utilised successively
in cantata Jakob Van Artevelde, in overture to
Capitaine Henriot and hymn Vers l'Avenir.
But the importance of G. lics, above all, in his
activities as musicologist, organiser of mus.
instruction, publ. of ancient works, and finally
as orch. conductor. He reorganised tuition in
Brussels Cons., and was able to gather round
himself a teaching staff of first rank. Thanks.
to him, the fame of the establishment spread
through the whole world. His musicological
activity is not less important, and its significance
is naturally more durable. To the hypothetical
assertions and bold, venturesome conclusions
of Fétis, he opposes documentary conscientious-
ness and compact reasoning. In contrast to
Fétis he knew how to restrict the object of his
labours and busied himself especially with
ancient music and liturgic chant. His works.
on ancient music may have proved to be
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GEVAERT
erroneous on points of detail, but he had the
merit of being the first to transfer these studies
from the purely literary and documentary
domain, to the firm ground of facts and experi-
ment. In his studies on liturgic chant his domin-
ant idea was to show in Christian art a direct
emanation from Greco-Roman music. After
Traité d'Orchestration of Berlioz, which is rather
of an aesthetic character, G.'s is the first work of
its kind, drawn up in a really practical way. All
the same, his Traité d'Harmonie is rather
historical and resthetic than really practical,
and the absence of exercises, as well as its
novelty, prevent its extensive use. All his
writings are to be commended also on account
of conciseness, precision and elegance of style,
which gives them a real literary value. He
brought to light numerous forgotten or un-
appreciated works. His practical editions of an-
cient works, with figured-bass parts worked out,
hints on expression and performance, historical
prefaces, etc., are distinguished by exactness,
ingenuity and taste, but disfigured by arbitrari-
ness and by audacious liberties taken with the
originals. The effect obtained was more im-
portant in his eyes than fidelity to text. The
same characteristics
fantasy and arbitrari-
ness naturally marked the concerts of Brussels
Cons. under his direction. They were not
any the less remarkable from the point of
material perfection and expressive warmth of
interpretation. Through these concerts (a
continuation of Fétis's work) the public of
Brussels was brought into contact with all the
great works. As a man, G. was distinguished
by exceptional intelligence, a prodigious
memory and faculty for work (which age could
not weaken), by coolness, clear judgment,
diplomatic skill, opportunism, inflexible firm-
ness of purpose, implacable will and tyrannical
despotism. No other Belgian musician wielded
such a power. G. was member of the Acad.;
bore the title of Precentor to the Court; in 1907
he was made a Baron.
Orig, compns.: Stage-works (where no indication
to contrary, opéra-comique is to be
Comédie de
e understood): La
(1818); Georgette (Paris, 1853); Le Billet de Mar-
guerile and Les Lavandières de Santarem (Paris,
1855): Quentin Durward, opera (Paris Le Diable
au Moulin (Paris, 1859); Le
(Paris, 1860); La Poutarde de Cauz (in collab., Paris,
Trompette
1861); Le Capitaine Henriot (Paris, 1869). Vs. and
oreli. Belgie: Le Retour de l'Armée (for fest. of
Super Flumina; Requiem; Mass, children's vs.,
and other religious works. About 30 male choruses,
unaco, Fantaisie espagnole, orch., and Flandre au
Lion
band).
Chorals
1 francais, a vast
Trabande
orch. (Dura.: Transcris classiques,
4-v. unace. (Lemoine); Les Gloires de l'Italie, choral
et français,
pieces of XVII and XVIII centuries, transcribed with
acc.; Répertoire classique du chant
collection of Fr., Ger, and Ital. a (Lemoine);
scores
from Gluck; Bach's St. Matthew Passion,
with acc.
Thcoretical and other works: Vade Mecum de
den
rigenschen
(Ghent, 1858); Méthode pour l'en-
seignement du plain-chant et la manière de l'accom-
pagner (Ghent, 1857); Traité général d'instrumentation
(Paris, 1863), which became later on the Nouveau
Traité d'instrumentation (1886); 1 Histoire et théorie
de la musique de l'antiquité (Ghent, 1875-81); Les
184
GIEBUROWSKI
Origines du chant liturgique de l'Eglise latine (ib. 1890);
La Mélopée antique dans le chant de l'Eglise latine
(ib. 1895) Id. Appendice (1896); Les Problèmes
musicaux d'Aristote (Paris, 1899); Traité d'harmonie
(Paris, 1905-7); reports, memoirs, prefaces, addresses
and articles.-E. C.
GEWANDHAUS CONCERTS, Leipzig. See
SOCIETIES.
GEYER, Stefi (Schulthess). Hungarian violinist;
b. Budapest, 23 June, 1888. Stud. under
Hubay at R. High School for Music, Buda-
pest. B. B.
GHIGNONI, Alessandro. Ital. church-
musician; a Barnabite monk; b. Rome, 1857;
graduated in 1885 at Univ. in that city. A
scholar in matters relating to sacred music,
he took an important part in reform move-
ment which led to new direction marked by the
Motu Proprio of Pope Pius X. G. assisted by
first founding in Genoa a for that purpose,
and then by starting in Florence a periodical
entitled Palestrina. Many publications by G.
relating to music in general, and to sacred
music in particular.-D. A.
GIANNEO, Miguel. Violinist; b. Buenos Ayres
in 1888. Stud. at Cons. there. Founded (with
Carabelli and Schirmi) the first genuine Argen-
tine trio, now a famous one.-9. G. S.
GIBBS, Cecil Armstrong. Eng. compr. b.
Great Baddow, Essex, 10 Aug. 1889. Educated
Winchester Coll. and Trin. Coll. Cambridge.
Stud. under Edward J. Dent and Dr. Charles
Wood at Cambridge; later, under Dr. Vaughan
Williams and Dr. Adrian Boult at R.C.M. Lon-
don. G.'s music is pleasing, scholarly and well-
finished. It has sensitiveness and delicate
imagination; is obviously out of sympathy with
the revolutionary tendencies of many contem-
porary comprs.; in spirit it shows a curious.
similarity to the work of Howells (q.v.) who has
done for chamber-music what G. has done for
song (especially with de la Mare's poems).
Music to Aschylus' Oresteian Trilogy (Cambridge,
Maeterlinck's The Betrothal
Jan.-April,
1921: Goodwin & Tabb); inoleheatre, London,
to
B. Feldman
Co.); music to
Crossings, to by de la Mare, 1919; The Blue
Peter, comio opora, op. 50, book by A. P. Herbert
(Carnegie award, 1924); Midsummer Madness, op.
51, a mus. play by Clifford Bax, 1923; 4 Vision of
Night, symph. poem, orch. (ms. 1922); concerto, ob.
and orch. op. 48 (1923); Before Dawn (de la Mare),
chorus, str. orch. organ (Boosey, 1923); The En-
Pastorale, 1920);
. (1916); Dance Rhapsody, str. and pl.
(Cobbett Prize, 1920); 5 str. 4tets: G mi. (1
ment); A mi. (both 8.): E ma. (Goodwin); C
(Pastoral), ms.
(Goodwin, 1923); Phantasy, vn. and pf. (1915,
Magic, vn. cello, pf.
Goodwin); vn. sonata (1919). Pr.:
(ms.); Everyday Doings (Stainer & Essex Rhapsody
Many part-songs; over 40 songswers Walter de
(Elkin): Five o'clock and Cuckoo
; 3 Sketches
(Goodwin).
la Mare). (Publ. Curwen, Elkin, Enoch, Goodwin,
Boosey.-E.-H.
GIBERT, Vincens María de. Span. orgt. and
compr. b. Barcelona, 1879. Stud. under. Luis
Millet, Barcelona, and at Schola Cantorum,
Paris. Prof. of Orfeó Catalá; author of church
music, songs, Marines (full orch.).-P. G. M.
GIEBUROWSKI, Wacław. Church musician
and writer; b. Bydgoszcz, Poland (formerly
Bromberg in province of Posen, Germany), 6
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GIESEKING
Feb. 1876. Becoming a priest, stud. church.
music in Ratisbon under Haberl and Haller, and
afterwards history of music in Berlin under Wolf
and Kretzschmar and in Breslau under Otto
Kinkeldey. Ph.D. 1914. In 1914, condr. of the
Cath. choir in Posen and prof. of church music
at the Theological Seminary there, and also
condr. of the Oratorio Society.
Musica Magistri Seydlovite, a Polish mus. treatise
of xv century (1915, Ger.); Gregorian Chorals
in Poland in the XVI and XVII Centuries, with
special reference to the Medicean, Vatican and
Piotrkov choral eds. (1922). Comp. motets and
cantatas for church use. ZD. J.
GIESEKING, Walter. Pianist; b. Lyons, 5 Nov.
1895. Son of a German medical practitioner;
was brought up on Fr. and Ital., Rivieras;
received first systematic instruction in pf. from
Karl Leimer at Hanover Cons., his parents hav-
ing removed to town in 1911, in which he
now lives as a highly gifted concert-pianist and
especially as an interpreter of modern Impres-
sionist and Expressionist composers. First Lon-
don appearance, Oct. 1923. His songs, pf. pieces
and a 5tet for pf. and wind instrs. are in ms.
-A. E.
GIGLI, Beniamino. Ital. tenor singer; b.
Recanati, 20 March, 1890. Pupil of R. Liceo
Mus. di Santa Cecilia, Rome, under Enrico
Rosati and Antonio Cotogni. Début at Rovigo,
1914, in Gioconda; then went to La Scala,
Milan; thence to principal theatres in Europe
and America. One of best and most noted of
living Ital. tenors. At present, his activities
are chiefly centred in U.S.A.-D. A.
GIGOUT, Eugène. Fr. orgt. and compr. b.
Nancy, 23 March, 1844. Pupil of École Nieder-
meyer, where he knew Saint-Saëns, who became
his organ-teacher. Having married the daughter
of Niedermeyer, he became prof. in the latter's
Inst. At the same time, became titular orgt.
of church of St.-Augustin (1862). 1886, founded
a school of organists, subsidised by the State.
Has publ. a large number of organ works for
concert use and for church service, notably
Album Grégorien (300 interludes) and 100 pieces
in the old modes for service use.-A. C.
GILBERT, Henry Franklin Belknap. Amer.
compr. b. Somerville, Mass., U.S.A.,26 Sept. 1868.
Stud. in Boston in 1888 under Mollenhauer (vn.),
Howard and Whiting (theory); 1869-93 under
MacDowell (compn.). Engaged for some years in
business and foreign travel; returned to more
serious mus. activity about 1901, following in
his compns. the national folk-music movement,
inaugurated by the projectors of the Wa-Wan
Press, making use Indian and still more of
negro themes. G. has frankly and avowedly
adopted "rag-time" rhythm as a medium of
art expression. The Dance in Place Congo, a
ballet-pantomime of old New Orleans, was pro-
duced at Metropolitan Opera, New York, 23
March, 1819. His orch. suite Six Indian Sketches,
1st perf. by Boston Symphony Orch., 4 March,
1921. Also:
2 Episodes for orch. op. 2
GILSE
oroh. with pf. (Boston Mus. Co. 1919); symph.
prologue, Riders to the Sea (1st perf. Peterboro
IN.H.] Fost., 20 Aug. 1914) (Schirmer, 1919); Comedy
Overture on negro themes (comp. 1906; revised, 1909,
1st perf. by Kaltenborn at Central Park, Now York,
minstrel tunes for orch. (id. 1913);
o
Negro
Dances for pf. (id. 1914); songs (Wa-Wan Press).
-0. K.
on
Rhapsody (1st pettorfolk [Conn.) 1897): Negro
(Gray, 1915);
GILBERT, Jean. Pseudonym of Max Winter-
feld. Ger. operetta compr. b. Hamburg, 11 Feb.
1879. Pupil of Xaver Scharwenka; condr.
Bremerhaven, 1897; Hamburg, 1899; later
Apollo Theatre, Berlin. Since 1910 has devoted
himself entirely to composing operettas and bur-
lesques, many of which have been extensively
perf. (Polnische Wirtschaft, Berlin, 1911). His
Lady of the Rose had a long run at Daly's,
London, 1922-3.-A. E.
GILL, Allen. Eng. condr. b. Devonport. Stud.
cello at R.A.M. London; now prof. there; condr.
Alexandra Palace Choral and Orch. Soc.; Not-
tingham Sacred Harmonic Soc.; prof. of singing.
Has done much fine work with choruses and
orchestras in and around London.-E.-II.
GILLES, Constantin. Fr. compr. Pupil of
Xavier Leroux and Paul Vidal; finished his
studies at Schola Cantorum.
Orch. Suite pastorale (1899); Titania (1903);
Funérailles d'Imogène; La Tempele (after Shake-
speare); La Revue Nocturne (after Zedlitz); opera,
La Mort du Duc d'Enghien; sonata, vn. and pf.
(1909); songs.-A. C.
GILMAN, Lawrence. Amer. author, critic; b.
Flushing, New York, 5 July, 1878. Self-taught in
mus. theory, history, pf., organ and compn. Music
critic of Harper's Weekly, 1901-13; its manag-
ing ed. 1911-13. Since 1913, connected with
North American Review first as mus. and drama-
tic critic, later as associate-ed., replacing its ed.
Col. George Harvey, when the latter went to
England as ambassador of the United States in
1921. In April 1923, appointed mus. critic to
New York Tribune (in succession to late H. E.
Krehbiel). In addition to his books, G. has
written attractive and illuminating programme
notes for the concerts f Soc. of Friends of Music,
New York, for National Symphony Orch. (1919-
1921); since 1921 for Philadelphia Orch. and
from 1922 for Philh. Orch. in New York as well.
Member of National Inst. of Arts and Letters.
Phases of Modern Music (Harper, 1904); The
Music of Tomorrow (Lane, 1907); Stories of Sum-
phonic Music (Harper, 1907); Guide to Debussy's
Pelléas and Mélisande (Schirmer, 1907); Aspects of
Modern Opera (Lane, 1908); Life of Edward Mac-
Dowell (Lane, 1909), an expansion of his vol. in
Lane's series; Living Masters of Music (1906);
Nature in Music (Lane, 1914).-O. K.
GIL-MARCHEX, Henri. Fr. pianist; b. Saint-
Georges di Espéranche (Isère), 1895. The chief
hope of the younger school of Fr. pianism. Stud.
at Paris Cons.; pupil of Diémer and Cortot.
After an Amer. tour in 1913, appeared as
soloist at Lamoureux and at Pasdeloup con-
certs, Paris, and at Queen's Hall, London.
Was the interpreter of Fr. works at Salzburg
International Festival of Chamber-music, 1923.
--A. C.
Fest., June 1913)
GILSE, Jan van. Dutch compr. b. Rotterdam,
Remus, American dance for 11 May, 1881. Stud. under Franz Wüllner in
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GILSON
Cologne, 1897-1902; 1902, prize of Beethoven-
Haus, Bonn, with his 1st symphony; 1902, stud.
in Berlin under Humperdinck; 1905-8, condr.
of Opera House, Bremen; 1908-9, condr. at
Amsterdam; 1909, won Michael Beer Prize,
Acad. of Arts, Berlin, with 3rd symphony.
Lived in Rome, Munich, Amsterdam, Utrecht
(1917-22, condr. of Utrecht Symph. Orch.).
5 symphonies: No. I, comp. 1900 (perf. Cologne,
No. 1903
bouw, 1904); No. III, 1905-6 sterdam, Concertge-
No. IV, 1914 (perf. Amsterdam, 1915; publ. Kistner
(perf.
Leipzig); No. V (1922-3): 00091 Sulamith (The
Sulamite),
chorus and orch.
1903; Eine Lebensmesse (R. Dehmel), 19ariations
perf. Arnhem,
Arnhem, 1911 (publ. Kistner, Leipzig);
on a St. Nicholas song, orch. (1909), perf. Amsterdam,
1910
perf. Cologne; opera, The Widow of Stavern (1911-13);
nonet for str. and wind (1916)roblem of a National
with orch.; 2 small studies,
Dutch Opera and Holland and Correct Performances.
-W. P.
songs and
GILSON, Paul. Belgian composer; b. Brussels,
15 June, 1865. His parents then removed to
village of Ruysbroek, near Brussels, where he
learnt elements of music from the village
organist, coming under the tuition of Duyck,
a teacher of the Fétis school, with whom he
completed his theoretical studies. In 1886
Gevaert undertook his final tuition. Awarded
1st Prix de Rome, 1889.
dates from the performance of his symphonic
His real popularity
poem, La Mer, in 1892. Appointed professor
of practical harmony at the Brussels Conser-
vatoire, 1899, and of harmony at the Antwerp
Conservatoire in 1904, resigning both (1909),
to become inspector of musical education in
Belgium. Musical critic of Soir (1906-14) and
musical review Le Diapason. One of the most
distinctive personalities of the Flemish school
of the present day. During one period his work
showed signs of the dual influence of the Neo-
Russian school (La Mer) and of Wagner (oratorio,
Francesca da Rimini). Since then he has affirmed
his right to be considered a truly Flemish
artist, by the vigour of his expression and
the richness of his polyphony, as also by a
certain reserve, which distinguishes the Flemish
musicians from their Walloon contemporaries, in
their relation to musical modernism, especially
as regards form and harmony. A distinctive
feature of Gilson's art is the skilful and
sumptuous orchestration.
Melode (Antwerp,
Stage-works: Prinses Zonneschijn (Antwerp, 1903);
Zeevolk (Antwerp,
1906);
Mater Doloros);
Liefdebloed;
Ballet: La Captive (Brussels, 1904); Légende
Rhénane. Soli, chorus, orch.: Sinai (Prix de Rome
cantata, 1889);
lumière soit (1896ancesca da Rimini (1892); Que la
Inaugural Cantata (1897); Can-
tata for 50th aniv. of Brussels Cercle artistique (1889),
Orch. Scotch Dance and Rhapsody; Andante and
Presto on Brabant theme; Canadian Rhapsody;
La Mer (symph. sketches), 1890; Inaugural fanfare;
3 overtures; 8 suites; Italia, La
(symph.
poems): Festival March; Slavonica (2 dances);
Cavatine; Ballet Suite; Rustic Suite; Variations;
Symphony (1912).
Symph. Variations; Indies; Pizzicati; Zabava;
Str. orch.: 3 Scotch
Sérénade de Torcello; 2 Flemish melodies; Prelude
and Scherzo; Elegy; Alla Marcia (rhapsody). Many
works for brass Instrs. (fanfare) or military band
(several for combined brass instr. classes of Brussels
Cons.); Fantasia in Gavotte form; Scherzo Fan-
tastique; Variations; Fackelzug (Torch-light Proces-
sion); 2 str. 4tots; Rural Scenes, str. 4tet; Les
GLASENAPP
Saisons; trio. Recitations with orch. or pf.: Chris-
tine; Le Feu du Ciel; De Harpspeelster (Harp-
player): Wie klopt aan de deur? (Who knocks at the
door?); Wiegenlied (Cradle-song). Chorus and orch.:
Chant de la Forge; Derniers rayons; Clairières;
6 Fr. ballads. Unace, choruses: Marine: French
Ballad. Many songs. Pf.: Rustic Suite; Suite noc
turne; sonatina, etc. Pleces for vn. and pf.; cello
monium; Norwegian Melody and 2 Humo scherzo in
and pf.; sulte for harp: 2 books of preludes, har-
for
wood-wind and horns; Concertstück et
form of a trio for
saxophone and orch.; Concertino and
8. alone; 2 concertinos for
fl. and orch. Educational works: Les
tpta.
Le Tutti orchestral (studies in the dyna Jaluca,
Quintes et Octaves; Trailé d'harmonie (2 vols.);
of the
orch.);
Traité de lecture musicale (4 vols.).-E. C.
GINER Y VIDAL, Salvador. Span. compr. b.
Valencia, 19 Jan. 1832; d. there, 3 Nov. 1911.
Prof. and founder (1880) of Valencia Cons.;
later, director of same.-P. G. M.
GIORDANO, Umberto. One of most noted
Ital. comprs. of operas of last generation; b.
Foggia, 27 Aug. 1867. Stud. at Naples Cons.
under Paolo Serrao. Whilst still young, gave
proofs uncommon aptitude; in Sonzogno
Competition, 1888, received mention for an
opera called Marina. Afterwards there followed
the opera Mala Vita (perf. in Rome, 21 Feb.
1892); then Regina Diaz (Naples, 1894). But
it was Andrea Chénier (libretto by Luigi Illica)
which completely revealed the master; this
work had great success at La Scala, Milan,
26 March, 1896, and from that time began his
successful round of theatres all over the world.
Fedora succeeded Andrea Chénier in 1898;
Siberia, 1903; Marcella, 1907; Mese Mariano,
1910; Madame Sans-Gêne, 1915. Finally, in
collab. with Franchetti, G. wrote an operetta
of the mythological parodical kind, called
Giove a Pompei (Rome, 1921). His music is
publ. by Sonzogno, Milan. In 1924, he com-
pleted an opera on La Cena delle beffe by Sem
Benelli.
Consult: A. Galli, G. Macchi, G. C. Paribeni,
Umberto
nell' arte e nella vita (Milan,
Sonzogno)ordane Corte, Madame Sans - Gene
di U. G., in the Rivista Musicale Italiana, Turin,
1915.--D. A.
GIRALDONI, Eugenio. Ital. barit. singer;
b. Marseilles, 1871, of parents who were both
celebrated singers. For his father, Leone, Verdi
wrote Boccanegra and Un Ballo in Maschera;
his mother, Carolina Ferni, was first interpreter
in Italy of L'Africana. Début at Barcelona,
1891, in Carmen; subsequently gained well-
deserved fame as one of most skilful and in-
telligent Ital. actor-singers. Created part of
Scarpia in Puccini's La Tosca, and that of
Lazaro di Roio in Franchetti's Figlia di Jorio.
-D. A.
GLASENAPP, Karl Friedrich. Ger. Wagnerian
author; b. Riga, 3 Oct. 1847; d. there, 14
April, 1915. Stud. philology and comparative
philology at Dorpat; lecturer on German
language and literature at Riga Polytechnikum.
Richard Wagner's Life and Work, 2 vols. 1876-7;
3rd ed. under title, Life of Richard Wagner: presented
in Sir Books I. 1813-43 (1894); 11. 1843-53 (1896);
III, 1853-62 (1899): IV, 1862-72 (1904); V, 1872-7
(1907); VI, 1877-83 (1911); in English by W. A. Ellis
(1900 onwards).
Fundamental Ideas on R. Wagner's Art and View of
He also wrote Wagner Lexicon,
Life (with H. v. Stein, 1883); Wagner Encyclopædia,
186
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GLÄSER
Chief Events in History of Art and Culture in the Light
Fritzsch); Siegfried Wagner (1906); Siegfried Wagner
and
I his Art (1911); new
Schwarzschwanen-
reich (1913); new sequel 777,ammen (1919):
also Letters of Wagner (Bayreuther Briefe, 1871-83),
1907: Family Letters to R. Wagner, 1832-74 (1907).
Glasenapp was a contributor to the Bayreuther
Blätter.-A. E.
GLÄSER, Paul. Ger. compr. b. Untermarx-
grün (Vogtland), 22 March, 1871. Pupil of his
father (cantor in Erlbach near Markneukirchen);
at first scholar of Markneukirchen Advanced
School of Music under dir. Carl Sachse; then of
seminary in Plauen (Lohse and Reissmann);
teacher for 3 years in Schöneck; then attended
the Leipzig Cons. (Reinecke, Piutti, Homeyer,
Zwintscher and Wendling); returned to teaching
at Unterlauterbach (Vogtland); since 1901
cantor at Grossenhain (Saxony); has become
favourably known by a largely-planned oratorio
in a prologue and 4 parts, Jesus (soli, chorus,
orch. and organ). Also:
OF
3 numbers Schlichte fromme Weisen (s. and organ):
some numbers of choral preludes and some motets
for mixed choirs. A 3-act opera, The Little Church on
the Lake, was perf. in Altenburg, 1922.-A. E.
GLASGOW ATHENÆUM SCHOOL
MUSIC. Establ. 1890; the first school of music in
cotland, and is yet the only school in the country
under the management of a public board of
governors, with the single exception of the Car-
negie School in Dunfermline. The curriculum
provides a high-class mus. education for those
who study the art for pleasure, as well as for
those desirous of following it as a profession.
While the school has no endowments, it has a
number of scholarships, including the Mary Jane
Murray Scholarship, which entitles two students
to a grant of £100 per annum. A scheme of
examinations has been established, on the results
of which diplomas and certificates of various
grades are awarded. The school is in close
association with the R.A.M. London, which co-
operates in the appointment of examiners. There
is a staff of over 70, and 2436 students matri-
culated in session 1922-3.-8. S. F.
GLASS, Louis Christian August. Danish compr.
and condr. b. Copenhagen, 23 March, 1864.
Pupil of his father, who was an excellent
musician and compr.; later of Niels W. Gade
and Cons. Brussels under Zarembski and Ser
vais. A fertile and versatile compr. in all fields
of music-chamber, orch., dramatic, besides being
an eminent pianist. As compr. he belongs to
the conservative wing of modern school, follow-
ing Bruckner and César Franck. His later
works show a strong and vigorous development.
They have been given in Stockholm,
ania, Helsingfors, Berlin, Petrograd (Safonof),
Wiesbaden as well as in Copenhagen. He was
condr. of Dansk Koncertforening (Danish Con-
cert Association), Copenhagen, 1914-17; chair-
man of Danish Mus. Artists' Soc. and of
Music Teachers' Soc. Copenhagen.
Orch.: Sinfonia avastica, op. 57; sulte, Sommerliv
(Summer Life), op. 27; fantasy, Ilavets Sang (Song
of the Sea), op. 54; str. 6tet, op. 15; str 4tet, op. 36;
29; pl.
8
sonatas, op. 6, 25, 35; music to poem of J.
sen, op. 16; numerous pf. pieces and songs (all publ.
GLAZUNOF
Hansen, Copenhagen). Also 4 symphonios; Fantasy,
pf. and orch.; 3 str. 4tets (unpubl.).-A. II.
GLASTONBURY FESTIVAL. Founded by
Rutland Boughton (q.v.), Aug. 1914, in Somerset
village of this name. From the inauguration to
the end of 1922 311 stage perfs. have been given
in addition to concerts and lectures, the greater
number of the latter having been on Sunday.
evenings and without charge for admission. The
stage productions have included the following:
1914: The Immortal Hour (Fiona Macleod-
Rutland Boughton) (3); The Travelling Man (Lady
Gregory) (2) The Night-Shift (Wilfred Gibson) (2).
1915: Dido and Eneas (Purcell) (7); Oithona
(Edgar L. Bainton) (4); The Immortal Hour (7);
Bethlehem (Rutland Boughton) (4). 1916: Iphi-
genia in Tauris (Gluck) (6) Everyman (5); The
Boughton) (4);
Gibbo Venu
1920:
Immortal Hour (3); The Round Table (Reginald
Buckley Rutland Boughton) (3); The Sumida
River (Marie Stopes-Clarence Raybould) (3). (School
closed from Sept. 1916 to Feb. 1919.) 1919: The Im-
mortal Hour (6); The Moon-Maiden (choral bailet
by Rutland Boughton) (7); The Round Table (3);
The Sumida River (3); Everyman (4); Cupid and
Death (mask by Matthew Locke and Christopher
Bethlehem (11); Snow-White (4).
and Adonis (mask by John Blow)
(7); The Immortal Hour (12): The Round Table
(4); The Birth of Arthur (Buckley-Boughton)
(4) Dido and Eneas (6): Music Comes (choral
ballet by P. Napler Miles) (10); The Moon-Maiden
(4); The Children of Lir (ballet by Adela Maddi-
son) (6); Bethlehem (13). 1921: Dido and Eneas (14);
Music Comes (14); The Moon Maiden (16); The Im-
mortal Hour (16); All Fools' Day (Baretti-Carey)
(3); The Fairy (Housman) (3): The Death of
Columbine (Boughton) (3); Spreading the News
(Gregory) (3); Bethlehem (7). 1922: The Trachinia
(Sophocles) (2); Alcestis (Boughton) (6); Venus
and 4
d Adonis (3); Bethlehem (adicates number of perfs.
The figure in parentheses
The asterisk (*) shows the 1st porf, of the work.-E.-H.
GLAZUNOF, Alexander Constantinovitch (accent
3rd syll.). Russ. compr. b. Petrograd, 29 July/10
Aug. 1865. Became in 1879, upon Balakiref's re-
commendation, a pupil of Rimsky-Korsakof, and
during the first period of his studies and creative.
activities (for Glazunof, one of the most pre-
cocious comprs. that ever lived, began to write
music, and music of a kind which compelled.
attention, almost as soon as he began to study
the theory and practice of his art) he received
a good deal of advice from Balakiref himself. In
1882 Balakiref cond. at Petrograd the 1st perf.
of his symphony in E (op. 5); at that time he
had already written a str. 4tet, a pf. suite (op. 2)
and an orch. overture on Greek folk-tunes (op. 3;
a second, op. 5, was written in 1883), all of which
evince an extraordinary maturity of technique
and outlook. Three years later, he had com-
pleted his tone-poem Stenka Razin (op. 13), a
suite and several other orch. works, a second
str. 4tet, and an overture for Shakespeare's
Tempest, besides other things which were publ.
later only. His splendid second symphony (op.
16) was finished in 1886; and among his other
early works, special mention should be given to
his Oriental Rhapsody (op. 29).
In all these works G. is seen subscribing to the
ideals of the school of Glinka and Balakiref,
strongly influenced by Borodin, and at times not
a little by Wagner (as shown for instance, by his
tone-picture The Sea [op. 28]). Later, he came
under various influences, among them, perhaps,
that of the Ger. school of "pure " symphoniste.
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GLEBOF
The result is that there exists a marked
difference of character between the early part
of his output and the later. He evinces a grow-
ing interest in the possibilities of "working-out,"
at which he was from the outset an adept, as
shown by his early symphonies and by Stenka
Razin, for instance; and, almost alone among
Russ. comprs., he likes to exploit, at least occa-
sionally, the "cyclic form " (e.g. in his 2nd pf.
sonata). He no longer writes tone-poems, but
chiefly symphonies (of which 8 exist), and
chamber-music. Instr. music of all kinds (in-
cluding 3 ballets, Raymonda [op. 57], Ruse
d'Amour [op. 61] and Les Saisons [op. 67], and
incidental music to Wilde's Salome and to The
King of the Jews, play by the Grand Duke
Constantine) occupy the chief place in his output.
In 1900 he was appointed prof. at Petrograd
Cons., and in 1906 dir. of that inst. His works
are publ. by Belaief. Consult V. Belaief's
A. C. G. (Russian, 1923).-M. D. C.
GLEBOF, Igor (accent 1st syll.). Pen-name
of Boris Vladimirovitch Assafief. Russ. mus.
writer and compr. b. 29 July (n.s.), 1887. Pupil
of Liadof. Stud. history and philology at Petro-
grad Univ. and art history under V. Stassof. G.
is most brilliant mus. writer in contemporary
Russia, and has a deep philosophical foundation.
Librarian at music library of State Opera House,
Petrograd; dean of mus. faculty of Art History
Inst.; lecturer on mus. history, Petrograd Univ.
Symphonic Etudes (coll. of essays on Russ. operas,
on; Tchaikovsky; Chopin; Rimsky-
many booklets for opera and concert
perfs. (State Petrograd Opera House and Philh.)
Contributor to Muzika: Mus. Contemporaru; Melos
of which he was ed.: Towards New
incidental music for plays.-V. B.
(Petrogradas comp. a ballet, White Lily; songs:
GLEESON-WHITE, Cicely. Eng. operatic s.
singer; b. Christchurch, Hants. Stud. under
Anna Williams at R.C.M.; sang in 1st perfs. in
Edinburgh and Glasgow in Apostles at Elgar's
recommendation; Three Choirs fests. 6 years
in succession; R. Opera, Covent Garden,
1906-7 (Wagner; Gluck); chief choral fests.;
R. Carl Rosa season; Covent Garden, 1909;
Beecham season, 1910; Denhof tour, 1911; Quin-
lan opera, 1912; Beecham tour, 1913 (Kundry in
Parsifal under Balling at Manchester). Chief
rôles: Isolde, Brünnhilde, Elektra, Princess
(Rosenkavalier), Senta (Flying Dutchman), Eliza-
beth, Fidelio, Donna Anna. Married Lieut.
George Miller (dir. mus. Grenadier Guards).
-E.-H.
GLENCK, Hermann von. Compr. condr. b.
Zurich in 1883. Stud. compn. at High School for
Music, Berlin, under R. Kahn. After a short
activity as opera-condr. at Weimar and Metz,
devoted himself entirely to compn. Lives at
Zurich. His works show relationship to Strauss
and Reger, are finely orchestrated, and give
proof of great musical imagination.
Variationen-Suite, full orch.; symph. poem; yn.
concerto; str. 4tet; numerous songs and pieces for
vn. and pf.-F. H.'
GLIÈRE, Reinhold Moritzovitch (accent on E).
Russ. compr. b. Kief, 30 Dec. 1874/11 Jan.
188
GNECCHI
For
1875. Pupil S. I. Tanéief and Ippolitof-Ivanof,
Moscow Cons. (1894-1900); gold medal.
some years, dir. of Kief Cons.; now prof. of
compn. Moscow Cons. His str. 6tet, op. 1; The
Sirens, op. 33; 3rd symphony, op. 42, Ilia
Murometz, episodes from Vladimir cycle of Russ.
ballads (perf. Bournemouth, Sir Dan Godfrey),
won Glinka prizes. He is one of the outstanding
representatives of the "New Russian" school."
1st s
op. 42;
op. 25mphony, E flat, op. 8; 2nd symphony, C mi.
symph. poems: The Sirens, op. 33, Triena (Old-Slav
Funeral-Feast); op. 54, Zaporojai (on Repin's picture);
1st 2nd str.
Stet, Bop:7; 3rd str. 6tet, C ma, op. 11; 1st
str. 4tet, A ma. op. 2; 2nd str. 4tet, G mi. op. 20;
many widely-known songs; pf. pieces. Now at work
on ballet The Sheep's Spring (after Lope de Vega's
Fuente ovechuna). (Mostly publ. by Belaief, or Jur-
genson.) V. B.
GLIŃSKI, Mateusz. Polish condr. compr. b.
Warsaw, 1892. From 1909 to 1913, pupil of
Barcewicz (vn.) and of Statkowski and Surzynski
(theory) at Warsaw Cons.; 1913-14, under Rie-
mann and Schering in Leipzig; 1914-16, under
Glazunof and Tohérepnin in Petrograd. Has
worked as condr. in Petrograd and Warsaw.
Finished Liszt's ballad The Blind Singer.
Numerous songs and pf. pieces. Now lives in
Warsaw.-ZD. J.
GLOVER, James Mackey. Condr. b. Dublin,
18 June, 1861. Deputy-orgt. Dublin Cath.; in
France, 1879; mus. dir, at Olympic Theatre,
London, 1881; Empire Music-hall, 1885; Palace,
1893; engaged at Drury Lane, and Covent Gar-
den (under Sir Augustus Harris); subsequently
condr. Drury Lane for 30 years, and wrote 2
ballets for the Alhambra; comp. and arr. all
the Drury Lane pantomimes; now ed. of The
Performing Right Gazette, Theatrical Managers'
Journal and The Concert World.-E.-H.
GLYN, Margaret Henrietta. Eng. research
scholar and writer on music; b. Ewell, Surrey,
28 Feb. 1865. Stud. under Dr. C. J. Frost and
Dr. Yorke Trotter (compn.; organ; vn., vla.);
has done good work along the lines of natural
intuitive rhythmic growth, and also in popu-
larising the Elizabethan virginal music, which
she claims as best foundation for school of
instrumental composition. She is one of the
best authorities on Tudor keyboard music.
Music (1907); The Evolution of M 1924). Pf. ed.:
Theoretical works: The Rhythmical Form (1999):
About Virginal Music (
Simple
Classics (Lengnick); Elizabethan Vir-
ginal Composers (I, Gibbons; II, Bull) (J. Williams,
Byrd Organ Book, 2 vols. (Reeves, 1923).-E.-H.
Rogers,
GNECCHI,
of
Musical
Vittorio.
Italian compr. b.
17 July, 1876. Stud. privately in that
city under Saladino, Coronaro and others.
Operas: Virtù d'Amore (1896); Cassandra,
(perf. 1905, Comunale Theatre, Bologna, under
Toscanini); Rosiera, publ. like the others, by
Ricordi; not yet perf. There are interesting
discussions about Cassandra, in connection
with several striking similarities between many
of the mus. themes in it, and the themes of
Strauss's Elektra, which was posterior to it.
Giovanni Tebaldini publ. in Rivista Musicale
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GODOWSKY
symphony and classical concerts given, 1588;
works perf. 4428; works by British comprs.
1350, a large proportion being 1st perfs. The
foregoing figures relate only to works perf. at the
symphony and classical concerts which cover the
winter season. Flat pitch was adopted in 1912.
Visits of British comprs. to conduct perfs. of
own works have been a feature since 1897,
when Edward German was first to do so. The
Municipal Orch, now numbers 39 permanent
members, increased to 50 for special perfs. In
May 1911 the Municipal Orch. gave a 1st Lon-
don concert at the Crystal Palace in the Fest.
of Empire. On the same day Sir Dan was
entertained at public dinner in London,
GNIESSIN
Italiana an interesting art. about this, which
stirred up much controversy.-D. A.
GNIESSIN, Michael Fabianovitch (accent 2nd
syll. ES). Russ. compr. b. 1883. After studying
music at Petrograd Cons. he settled at Rostof-
on-the-Don. Then he was for some time at
Palestrina and Berlin; now living in Moscow.
His earliest works-and especially the orch. tone-
poem From Shelley, which bears as epigraph
5 lines from Prometheus Unbound-displayed
forthwith his sense of style and the strong roman-
tic turn of his imagination. Among the publ.
works (Jurgenson) some of the songs and the
Sonate-Ballade for cello and pf. are very char-
acteristic. V. B.
GODFREY, Sir Dan. Eng. condr., dir. of music
to Bournemouth Corporation since 1893; b.
London, 20 June, 1868. The Godfrey tradition
has been intimately associated with British music
for 4 generations. It began with Charles Godfrey,
bandmaster Coldstream Guards (1825-63), who
left 3 musician sons: the eldest, Dan, bandmaster
of Grenadier Guards (1856-96), was the first army
bandmaster to receive a commission. The 2nd
son, Fred, was bandmaster Coldstream Guards
(1863-82). The 3rd son, Charles, was band-
master Scots Fusilier Guards (1859-68), R.
Horse Guards (1868-1904; M.V.O. 1902), 2nd
army bandmaster to receive a commission. Dan
left 2 sons, the elder, Dan (the subject of this
art.), and Harry, bandmaster West Kent Yeo-
manry. The Godfrey tradition may be said to
have culminated in Sir Dan, who was knighted
in July 1922 for his services to British music.
Sir Dan was educated at King's Coll. School,
completing his course in Germany. Entered
R.C.M. London in 1884; stud. under Lazarus
(clar.), Alfred Caldicott (harmony); remained 3
years. He also had the advantage of his father's
tuition, and stud. under John Hartmann, an
expert in military band-orchestration. In 1890,
gained bandmastership diploma at R.A.M.
Appointed condr. of London Military Band and
Corps of Commissionaires Band (appointments
held simultaneously). Toured S. Africa in 1891 as
mus. dir. to the Standard Opera Co.; later, condr.
Globe Theatre, Johannesburg. Returned to Eng-
land, providing orch. for
Venice in London."
1892. Mus. adviser to Olympia, Ltd., 1893. Con-
tracted with Bournemouth Corporation to supply
band of 30 performers for summer and winter
season of 1893. Appointed resident mus. adviser
and dir. of music, Bournemouth, 1894. Munici-
pality took over control of music in 1896 when
Dan Godfrey's Band" was converted into the
Bournemouth Municipal Orch., the first of its
kind establ. in England. His permanent settle-
ment in Bournemouth severed his extensive
London connection with exception of Covent
Garden balls and military band-arrs. for London
publishers. The mus. reputation of Bournemouth
is based mainly on the high standard of his
Symphony Concerts, establ. in 1895. These have
been continued together with a series of classical
and Popular Concerts, for 28 consecutive seasons
(to May 1923) without a break. Total number of
GODOWSKY, Leopold. Polish pianist; b.
Vilna, 13 Feb. 1870. Stud. pf. in his native
city, and, at the age of 9, appeared in public.
After brief tour of Russia and Poland, stud.
from 1881-4 under Rudorff at Hochschule, Ber-
lin. Toured in U.S.A. 1884-5; went to Paris
in 1886 and stud. under Saint-Saëns 1887-90.
From 1890 to 1900 teacher and concert-pianist
in U.S.A.; then for 9 years in Berlin and, in
189
annum.
given by British composers, Sir Alexander
Mackenzie presiding, supported by Sir Hubert
The re-
Parry and Sir Charles Stanford.
pertoire of the Bournemouth Orch. contains
practically every classical symphony, overture,
and concerto, with a completely representative
selection of modern works. Sir Dan, who
is responsible for the complete administration
of municipal music in the county borough,
controls an expenditure of some £30,000 per
In addition to the Municipal Orch.
there is also a military band of 22 which plays
in the gardens and on the pier. The most
ambitious undertaking was the Easter Fest.,
1922, when a most important series of concerts
resulted in a substantial financial profit. Sir
Dan is widely known as a lecturer on music and
is an acknowledged authority on military band-
transcription. By the long and consistent sup-
port given to native comprs., he has done much
towards building up the modern renaissance of
music in England. During 30 years' work in
Bournemouth, has been consistently sympa-
thetic towards British compra. In 1924, elected
Hon. Fellow of R.C.M., and publ. his Memories
and Music (Hutchinson). An account of 1st 21
years of municipal music in Bournemouth was
publ. by the writer of this article in 1914.-H. W.
GODFREY, Gavin. Scottish orgt., condr. b.
Edinburgh, 1870. Orgt. and acc. to Edinburgh
R. Choral Union; teacher of its theory classes
which have over 1100 enrolments annually. Ed.
of Victorian Ed. of pf. music, and of Edinburgh
Ed. of Scottish part-songs.-W. s.
GODFREY, Percy. Eng. compr. b. Derby-
shire, 1859. Stud. under Macfarren and Prout;
gained Lesley Alexander Prize for pf. 5tet, 1900;
Musicians' Company Prize for Coronation March,
1902; prize choral ballad, Dover Fest. 1904; mili-
tary band suite, played by Souza; music-master
King's School, Canterbury.-E.-H.
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GOEDICKE
1909, dir. of Klaviermeisterschule, Vienna. Since
1912 in U.S.A.
3 concert studies, pf. op. 11 (Schirmer); Studies
on Chopin's Etudes
(id. 1911); Renaissance, singer, 1904); pr. sonata
.free transcriptions of old
music for pt. (id.); Triakontameron (30 Moods and
Scenes), pf. (Schirmer, 1920); 3 Symphonic Meta-
morphoses of Themes of Johann Strauss, pt. (Cranz);
24
Adalzermasken (Schlesinger). Ed. of Educational
Soc.).-J. M.
for Pf. (St. Louls, 1915, Art Publication
GOEDICKE, Alexander Fedorovitch. Russ.
compr. pianist, orgt. b. Moscow, 20 Feb./3 March,
1877. Son of pf. teacher at Moscow Cons. and
orgt. of Fr. Ch.; pupil of Pabst and Safonof (pf.),
Moscow Cons. (1892-8), gold medal; 1900,
Rubinstein Prize, Vienna, for his Concertstück
for pf. and orch. From 1907, pf. prof. Moscow
Cons. His music follows classical lines, but
reveals a new pathos and concentration of
thought.
Opera, Virinea (4 acts, ms.). Orch.: 4 pieces, op. 4
(ms.); dramatic overture, C mi. op. 7; 1st symphony,
op. 15; 2nd symphony, op. 16; 3rd symphony, op.
30 (ms.); 6 Improvisations, op. 26 (ms.). Pf. 5tet
in C, op. 21 (ms.); pf. trio, G mi. op. 14; vn.
sonata in A, op. 10; 12 Russ. folk-songs for v.
pf. vn. cello, op. 29; many pf. pieces; songs; pieces
for various instrs.-V. B.
GOEPP, Philip Henry. Amer. author; b. New
York, 23 June, 1864. Early schooling and pf.
instruction in Würtemberg, Germany. Organ and
theory under P. B. Sparks in New York. Gradu-
ated A.B. Harvard, 1884, where he took all of
Paine's courses in music; and LL.B. Univ. of
Pennsylvania, 1887. Since 1892, teacher and
orgt. in Philadelphia: 1892, a founder of Phila-
delphia Manuscript Soc.; 1900-21, wrote pro-
gramme notes for Philadelphia Orch. A vn.
sonata, organ and pf. pieces are still in ms.
Fairy opera, The Lost Prince (1910); songs (Presser).
Author of Symphonies and their Meaning, 3 vols.
Annals Madeira's
of Music in Philadelphia (Lippincott, 1896).
-0. K.
GOETSCHIUS, Percy. Amer. author; b. Pater-
son, N.J., U.S.A., 30 Aug. 1853. From 1873-8.
stud. under Lebert and Pruckner (pf.), Faisst
and Doppler (theory) at Stuttgart Cons., where
he taught harmony (1876-85) and history and
theory (1885-90). Returning to America, prof.
of history, theory and pf. at Coll. of Fine Arts
of Syracuse (N.Y.) Univ. 1890-2. Teacher of
compn. at New England Cons. Boston, 1892-6.
Private teacher in Boston, 1896-1905, and orgt.
First Parish Ch., Brookline, Mass., 1897. Since
1905, teacher of compn. at Inst. of Mus. Art,
New York. As a teacher he enjoys a well-
deserved reputation. His books are works of a
conscientious, painstaking thinker, and embody
original thought and research. Received title
of R. Würtemberg Prof. 1885; and Mus. Doc.
h.c. Syracuse Univ. 1892.
Sonata in B, pf. (Schirmer, 1908); preludes and
fugues, pf. op. 3 and 12 (Bosworth); anthems and
Te Deums (Schirmer; Woolhouse). Author of: The
Material Used in Musical Composition (Schirmer,
revised
phonic Forms of larged ed. 1913); The Homo
(id. 1898);
Exercises in Melody Writing (id. 1900); The Larger
Forms of Musical Composition (id. 1915); and other
works on opt., tone-relations, etc. (Schirmer; Boston
Music Co.).-J. M.
GOETZE, Marie. Ger. operatic m.-sopr. b.
Berlin, 2 Nov. 1865; d. there, 16 Dec. 1922.
190
GOLDMARK
Pupil of Jenny Meyer at Stern's Cons.
Sang at Kroll Opera House and
at R.
Opera House in Berlin; later in Hamburg, New
York, Vienna; returning in 1892 to Berlin
R. Opera House, to which she belonged till
1920. R. Prussian Court singer.-A. E.
GOETZL, Anselm. Ger.-Czechoslovak compr.
b. Prague, 20 Aug. 1876; pupil of Fibich in
Prague; of Schalk and Adler in Vienna; Ph.D.;
since 1912 resident in America.
Opera, The Ornamental Dolls (Prague, 1907);
operetta, Madame Flirt (Prague, 1909); str. 4tet;
pf. 4tet; songs.-E. S.
GÖHLER, K. Georg. Ger. compr. condr. and
music critic; b. Zwickau, 29 July, 1874. Attend-
ed Univ. Leipzig, and Cons.; graduated Ph.D.
with study on Cornelius Freundt the composer
(c. 1535-91). Deputy-condr. 1897; condr. 1898
of Riedel Soc. In 1903 succeeded W. Stade as
Court Orch. condr. Altenburg; 1907-9, Court
condr. Carlsruhe; 1909, returned to conductor-
ship of Riedel Soc. and of orch. concerts of
newly-founded mus. soc. Leipzig; 1913,
went to Hamburg as dir. to New Opera House
and as dir. of Teachers' Choral Union. Condr.
symphony concerts of Philh. Choir, Lübeck;
1922, went to Altenburg as opera condr. at
Stadttheater.
2 symphonics; orch. suite (G ma.); 3-act comic
opera, Prince Night-Watchman (1918); many songs;
male-voice choruses.-A. E.
GOLDENBERG, Franciszek. Pianist; b.
Medan-Deli, Sumatra, of Polish parents, 7 Nov.
1896. Stud. under Hans Hermanns, Hamburg,
and Arthur Schnabel, Berlin; later, under
Demetrius de Messyng, Poland. Début 1915,
under Mengelberg; concerts in Holland and Ger-
many; in England 1922-3.-E.-H.
GOLDENWEISER, Alexander Borisovitch.
Russ. pianist and compr.
Kishinef, 26 Feb.
1875. Pupil (1889-97) of Pabst and Siloti (pf.),
Arensky, S. I. Tanéief, and Ippolitof-Ivanof
(theory); 1904-6, prof. at music-school of Mos-
cow Philh. Soc. From 1906 till now, prof. at
Moscow Cons.; from 1922, its director. Was a
friend of Leo Tolstoy; has written a diary of
days spent with him; has publ. many songs.
-V. B.
GOLDMARK, Karl. Austrian compr. b. Kesz-
thely, 18 May, 1830; d. Vienna, 2 Jan. 1915.
Started in Vienna as a violinist; attracted atten-
tion with an overture, Sakuntala (1865). His great
success was the opera The Queen of Sheba (1875),
great in melodic qualities and remarkable for
its independent style and exotic colour. Not
so free from influences of the time (especially
Wagner) was the next opera Merlin (Vienna,
1886), nor the later operas, which had no suc-
A symphony, Ländliche Hochzeit (1887),
and some of his overtures (Penthesilea; In the
Spring; In Italy) have had a great vogue.-Eo. W.
cess.
GOLDMARK, Rubin. Amer. compr. b. New
York, 15 Aug. 1872. Nephew of Karl Goldmark.
Attended Coll. of City of New York for 3 years.
Then went to Vienna, where he heard (1889-91)
lectures philosophy at the Univ. and stud.
music under Door (pf.) and Fuchs (compn.).
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GOLDSCHMIDT
After his return to New York was a pupil of
Joseffy (pf.) and Dvořák (compn.) at National
Cons. (1891-3), also teaching pf. and theory at
the school. In 1895, went to Colorado Springs
for his health, and until 1901 was dir. of Cons.
of Colorado Coll. Since 1902, composing and
teaching in New York.
His overture Hiawatha, comp. 1896, was 1st.
perf. by Boston Symphony Orch. 12 Jan. 1900.
A symph. poem, Samson (completed 1913), was
also brought out in Boston, 14 March, 1914
(Schirmer, 1916). Another symph. poem, The
Gettysburg Requiem, was 1st perf. by New York
Philh. Orch., 30 Jan. 1919. His latest work, a
Negro Rhapsody for orch., was produced by New
York Philh. Orch., Dec. 1922. In 1910, won Pade-
rewski Prize for chamber-music with pf. 4tet.
Address) for orch. (Schirmer, 1921); 4tet in A for
pf. vn. vla. cello, op. 12 (id. 1912); trio, D mi., pf,
vn. cello, op. 1 (Breitkopf, 1896); vn. sonata, op. 4
(id. 1900); pf. pieces (Ditson, 1904, 1908; Schirmer,
1915); songs (Breitkopf, 1900; Ditson, 1904).-O. K.
GOLDSCHMIDT, Adalbert von. Austrian
compr. b. Vienna, 5 May, 1848; d. there, 21
Dec. 1906. The most famous of the Wagner
followers, who imitated the exact structure
of the music-dramas of that master and achieved
great success in the period of the strongest
musico-dramatic trilogy Gãa, perf. at Vienna
Opera House in 1888. One of his last scenic
works was Die fromme Helene, comic opera
(after W. Busch), perf. Hamburg, 1897. Consult
E. Friedegg, Briefe an einen Komponisten
(A. G.), 1909.-P. P.
GOLDSCHMIDT, Hugo. Ger. writer on music;
b. Breslau, 19 Sept. 1859; d. Wiesbaden, 26
Dec. 1920. Stud. jurisprudence, graduated 1884;
but left State service same year. Took sing-
ing lessons from Stockhausen in Frankfort, after
which he gave himself up to studies in music
history under dir. of E. Bohn in Breslau. 1903-5,
assoc. dir. of Scharwenka-Klindworth Cons.,
Berlin. R. prof. 1918. Spent his last years
in Nice, on Lake Geneva, and finally Wiesbaden.
Was one of the foremost authorities on history
of opera in XVII and XVIII centuries.
Italian Vocal Methods of XVII Century (Breslau,
1892); Vowel System of New High German Profes
sional
book of German Singing Pedagog (1892); Hand.
(1st part, 1896);
Studies for the History of Italian Opera in XVII
Century (1901-4, Breitkopf), in 2 vols.; Monte-
verdi's Incoronazione di Poppea; The Theory of Vowel
Ornamentation,
and centuries to
time of Gluck (Charlottenburg, 1907, P. Lehsten);
Wilhelm Heinse as Musical Asthetician (1909, in
Bism
Riemann Fest. Publ.); History of cher);
in XVIII Century (Zurich, 1915,
in mus, journals: Cavalli as a Dramatic Composer
(Monatsch. für M. Ges., 1893, Nos. 4-6); The Cem-
balo in the Orchestra of the Italian Opera of Second Half
of XVIII Century (1910, in Lilleneron Fest. Publ.);
Introduction of Church Melodies in the Middle Parts of
J. S. Bach's Cantalas (Z.J.M. 1920). Also edit.
selections of T. Traetta's operas (D.T.B. XIV, 1,
1914, and XVII, 1917).-A. E.
GÓMEZ
syll.). Russ. compr. and condr. b. 9 Jan. 1891.
Stud. at Moscow Synodal School of Music; and
at Moscow Cons. (under Vassilenko; gold medal
and prize of 1000 roubles for his cantata The
Princess Yurata; as condr. of Synodal Choir,
appeared in Moscow, Berlin and Warsaw; from
1915, chorus-master of Moscow Grand Theatre;
from 1819 condr. Over 32 compositions.
2 operas; symphony, B mi.; symph. works; songs;
choruses; church music.--V. B.
GOLESTAN, Stan. Rumanian compr. and
condr. Winner of the National Prize founded by
George Enescu and awarded annually to young
Rumanian composers.-C. BR.
GOLOVANOF, Nicolas Semenovitch (accent 3rd
GOLSCHMANN, Vladimir. One of the youngest
Fr. condrs. b. Paris, 16 Dcc. 1893, of Russ.
parentage. Stud. in Paris (pf., vn., harmony,
cpt.); belonged to various orchs. as violinist.
In 1919, founded the Concerts Golschmann
which have popularised most modern works of
Fr. school at the Salle des Agriculteurs, at Salle
Gaveau, and at Champs-Élysées Theatre. He
came to public notice by producing Milhaud's
Bauf sur le Toit (1920) and by his masterly ren-
dering of polytonal music. He cond. perf. in
Paris of the Ballets russes of Diaghilef (revival
of Sacre du Printemps, 1920), of Pavlova and of
Loie Fuller. Conducts an orch. class at the
Sorbonne. A. S.
GOLTHER, Wolfgang. German Wagnerian
author; b. Stuttgart, 25 May, 1863. Prof.-in-
ordinary of German philology in Rostock. Be-
sides works on history of literature, he wrote:
The Legend of Tristan and Isolde (1887); Legendary
Groundwork of Richard Wagner's "King" Poem
(1904); Bayreuth (1904); R. Wagner as a Poet (1904.
English by Haynes, 1907); Tristan and Isolde in
Medieval Poems and in those of more recent times
(Berlin, 1904, A. Duncker), and to Otto Wesendonk
(1905); Correspondence between Robert Franz and
Senfft von Pilsach (Berlin, 1907, A.
uncker.)-A. E.
GOMEZ, Antonio Carlos. Brazilian compr. b
1839; d. 1896. Amazon-Indian tunes are used.
in his opera, Il Guaraney (Milan, 1870); also
comp. opera O Condor (Milan, 1891), the national
hymn Il saluto di Bresile and a cantata Colombo
(for Rio de Janeiro Columbus Fest. 1892).
-F. H. M.
GÓMEZ, Julio. Span. compr. and musico-
logist; b. Madrid, 20 Dec. 1886. Stud. at R. Cons.
de Música; former dir. of Museo Arqueológico,
Toledo, and Music Department of Biblioteca
Nacional. Librarian at R. Cons. de Música,
Madrid. Author of historical essays on Span.
music of XVI, XVII, and XVIII centuries.
Songs: Tres melodías: Keranza; Coplas de
Orch.: Suite
Amores; Esperanza; Corazón
in A. (Ildefonso Alier; Faustino Fuentes; Harmonia;
Imprenta Clásica; Unión Musical Española, Madrid.)
-P. G. M.
GÓMEZ, Manuel. Span. clarinettist; b.
Seville about 1860; d. London, 1920. Stud. his
instr. in Seville under Antonio Palatin. Pen-
sioned by Diputación Provincial to continue
studies at Paris Cons. Early in his career, took
up residence in London. First clarinettist for
many years in Covent Garden and Queen's Hall
orchs.; also in London Symphony Orch, of which
he was a founder. Taught clar. Guildhall
School of Music and elsewhere. He always used
a B-flat clar. specially constructed for him, with
an extra key (his own device) which, by means of
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GOMNES
transposition, enabled him to dispense with the
other clarinets in playing.-P. G. M.
GOMNES, Fredrik Wilhelm. Norwegian
compr. condr. b. Ringerike, 4 April, 1868.
Cello pupil of Hennum (Christiania); harmony
of Iver Holter, High School in Berlin (Haus-
mann and Härtel). For several years, cellist in
Christiania Theatre Orch.; 1898, bandmaster
in Hamar; 1911, bandmaster (rank of lieutenant)
4th Division, Bergen; 1920, to 2nd Division,
Christiania. G. has been instructor of male-v.
choral societies (Hamar, Gjövik and Bergen);
in 1921, condr. of Christiania Craftsmen's Choral
Union.
Symphony, A mi. (National Theatre, 1908); pieces,
Tord Foleson; Aasgaardsreien, etc., for male chorus;
songs; fugues for organ; military marches. Has
also coll. Norwegian folk-melodies, and his compns.
have frequently a national tinge.-J. A.
GONZÁLEZ, Odón. Span. violinist; b. Pobla-
ción de Campos (Palencia), 1849. Stud. under
José Hierro at R. Cons. de Música, Madrid. Mem-
ber and founder of Quinteto de Madrid and
Cuarteto Francés. Lives and teaches in Madrid.
-P. G. M.
GONZÁLEZ AGEJAS, L. Span. musicologist,
author of a study on The Seven Species of Greek
Octaves (Las Siete Especies de Octavas Griegas),
(Madrid, 1908).-P. G. M.
GOODHART, Arthur Murray. Eng. compr.
b. Wimbledon, 14 June, 1866. A classical
assistant-master and House Master at Eton
Coll. stud. music under Sir Joseph Barnby,
Dr. G. M. Garratt, W. S. Rockstro, Dr. C. W.
Pearce; Cecil Forsyth, Frank Bridge. Works for
mus. appreciation amongst boys, by adopting
methods of training to capacity, talent and future
career of the individual. Believes in the extensive
use of gramophone and pianola at school recitals.
His music has a fine, manly swing and an easy
and good melodic flow. His organ pieces, in
particular, are marked by a highly individual
taste in tone-qualities and their blending, and he
leans towards unusual time-signatures.
Orch.:
Elegy; Greek March; Concert-Wallz;
Barley.
Daughter; Arethusa; Sir Andrew Barton (all Novello);
ode, Founder's Day (id.); many part-songs (Novello;
Chappell); anthems; carols; hymns; 25 organ
pieces (mostly Novello; some by Augener); pf.:
2 sets of variations on
The Good-bye of the Rentals; 7 variations on
works for military
band; school songs; solo-songs; etc.-E.-II.
GOODRICH, John Wallace. Amer. orgt. b.
Newton, Mass., U.S.A., 27 May, 1871. Stud. pf.
under Petersilyea in Boston, then at New England
Cons. under Dunham (organ) and Chadwick
(compn.), then under Rheinberger and Abel at
Acad. in Munich, 1894-5. From 1895-6, stud.
under Widor Paris, and from 1896-7 was
coach and ballet-condr. at Stadttheater, Leipzig.
Returning to America, organ-teacher at New
England Cons. Since 1907 Dean of the Faculty,
and since 1919 Chadwick's successor as condr.
of the excellent orch. of this school. Orgt. of
Boston Symphony Orch. 1897-1909, appearing
as soloist at its concerts; 1902-9, orgt. Trinity
Ch. Boston. 1902-7, chorus-condr. at Worcester
(Mass.) fests. Founded Choral Art Soc. of Bos-
192
GOOSSENS
ton, 1901, and cond. it until 1907. From 1907-10,
condr. of Cecilia Soc.; 1909-12, regular condr.
of Boston Opera Co.
The
France
transl. of A. Pirro's J. S. Bach (Schirmer, 1902); and
of Niedermayer and
paniment (Novello, 1905 tigues Gregorian Accom-
GOODSON, Katharine. Eng. pianist; b. Wat-
ford. Stud. R.A.M. London, under O. Beringer;
later 4 years under Loschetizky in Vienna;
début 16 Jan. 1897, at Saturday Popular Con-
certs; at Richter's London concert, 20 May,
1901 (Tchaikovsky concerto); numerous highly
successful tours in Europe and America. Is one
of the finest Eng. pianists. She married the
compr. Arthur Hinton in 1903.-E.-H.
GOODWIN, Amina Beatrice. Eng. pianist; b.
Manchester, 1867. Stud. at Leipzig Cons. and
with Liszt as a child; later won a scholarship at
Paris Cons.; finally under Clara Schumann, be-
coming a strong disciple of her school; début
Crystal Palace concert under Manns; toured
Italy, England, Holland, Germany with great
success; founded the London Trio in 1904 (vn.
Pecskai; cello, Whitehouse). A remarkable
pianist with a powerful technique.
Book, Practical Hints on Technique and Touch in
Pf.-Playing (Augener).-E.-II.
GOODWIN, F. & B. Ltd. Publishers. See
CURWEN & SONS.
GOOSSENS, Eugène. Belgian condr. b. Bor-
deaux, France, 1867. Early in his career, he
settled in England and became well known as
an operatic condr. notably for the Carl Rosa
Opera Co. In 1922-3 he took The Beggar's
Opera on tour; in 1924, Polly.-E.-H.
GOOSSENS, Eugène. Eng. condr. and compr.
b. London, 26 May, 1893. The son of a condr.
(see above) who, though of Belgian origin, was
actually born in France, and settled long ago in
England, where all his children were born. He
entered the Bruges Conservatoire in 1903, and
the Liverpool College of Music in 1906. There
he won a scholarship which brought him to
the Royal College of Music in London, where
his masters were Sir Charles Stanford, Dr.
Wood, Rivarde and Dykes. From 1911 to
1915 he was a member of Sir Henry Wood's
orchestra. He also played in the Philhar-
monic String Quartet, and has dedicated his
Op. 14 to his three colleagues. In 1915 began
his close association with Sir Thomas Beecham
which continued until the interruption of the
latter's musical enterprises in 1920. One of his
first appearances as conductor was in January
1916, when he directed Stanford's The Critic,
in the character of Mr. Linley of Bath. In the
summer of 1921 he formed his own orchestra of
carefully picked players, with whom he gave a
concert of modern music which established his
reputation among the foremost conductors of
the day, arousing so much interest that the pro-
gramme was repeated at the following concert.
Since then his services have been in constant
demand. He has conducted the British National
and Carl Rosa Opera Companies, the Russian
Ballet, the London Symphony Orchestra, and
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GOOSSENS
many other organisations. He made his first
visit to U.S.A. in autumn of 1923, when he
conducted the newly formed Symphony Orch. at
Rochester. As conductor he combines clarity and
precision with brilliance, and his best efforts are
produced constructively rather than by impetus.
This gives him a wide range of styles. In the
spring of 1924, he organised a series of chamber
concerts in London.
As a composer his evolution has been remark-
ably rapid. His first works were performed in
1912 and 1913, but of this early period little
remains. He first attracted attention in 1915,
chiefly with two trios, one a suite for flute,
violin and harp, the other, Five Impressions of
a Holiday, for piano, flute and cello, both com-
posed during the two preceding years, and
already then less representative of him than the
Fantasy for string quartet of 1923.
The following year (1916) appeared in rapid
succession the Rhapsody for cello and piano,
the string quartet in C, the two sketches, By
the Tarn and Jack o' Lantern, which have re-
mained his most frequently played works, and
a number of songs. Then followed a change of
style which was more apparent than real, for
the Kaleidoscope and Four Conceits (1918) were
an amplification of one aspect of his previous
work rather than a departure from it, and the
violin sonata and piano quintet (1919) which
followed them proved that other aspects had
been merely in abeyance. With the symphonic
poem The Eternal Rhythm (1920) this stage may
be said to have reached its culmination. Its
rapid transitions were only in part due to the
throwing off of various early influences.
Like
all young composers of his generation he ab-
sorbed what his seniors, of all schools, had to
teach him, but he quickly gave it a personal
expressiveness. The apparent vacillation of
style had more to do with temperament than
with method. Compressed within an unusually
short period, the process of finding himself
naturally presented sharper effects of action and
reaction. His recent works, however, suggest
that this process is ended for the present, and
that his progress is taking a definite direction.
They also refute the charge sometimes made
against him that the cold brilliance of some of
his earlier works indicated an absence of deep
emotion. It was inevitable, and it showed
discernment on his part, that he was at first
deterred by the turgid emotionalism which had
run riot in music, and cautious to avoid its pit-
falls, but once sure of himself he soon gave
lyrical expression to a vein of personal emotion.
His harmonic sense is very keen, and he favours
alike a chromatic texture, and the broad strokes
of harmonic colouring obtained by the copious.
use of parallels. Though such works as the
sonata reveal a strain of lyrical melody, in most
of his songs he subordinates this to the de-
clamatory values of the text, which are enhanced
by the accompaniment. His style is at least as
much European as it is English, but the humour
of such works as Kaleidoscope has a national
0
GORDON-WOODHOUSE
quality. Though distinctly modern in his musical
outlook, he is no revolutionary: or, if he is one,
he favours constitutional in preference to sub-
vorsive methods. Consequently he has found
no "ism nor is he likely to found one; but
without inventing special theories he handles his
material of sound with a wealth of ingenious
resource. His latest works comprise a Sinfo-
nietta whose first movements reveals a leaning
towards personal interpretation of Neo-
classicism, and a sextet for strings, commissioned
for and performed at the Berkshire (U.S.A.)
Festival of 1923. Some new pf. pieces, harp
pieces and a work for wind instrs. and pf. were
produced at his London concerts in April and
May, 1924.
Orch.: Variations on a Chinese theme, op. 1 (ms.);
Perseus, op. 8 (ms.); Symph. Prelude on a poem of
Ossian, op. 11 (ms.); Tam o' Shanter, op. 17a; Four
Conceits; Philip II Prelude; The Eternal Rhythm
(m.); for T. v. and harp, op. 6: Five Impres
and
sions of a Holiday, pf., fl. or vn. and cello; Fantasy,
str. 4tet; str. 4tet, op. 14; 2 sketches for str. 4tet
(By the Tarn and Jack o' Lantern); 5tet for pf.
2 vns. vla. and cello; 3 songs for medium v. and
str. 4tet; sonata, vn. and pf.: Lyric Poem, vn. and
Kaleidos, cello and pf. Pf.: Concert Study:
Four Nature Hom-
mage à Debussy; L'Ecole en Crinoline (ballet). Songs:
Deux Chansons, op. 9; Deux Proses Lyriques, op. 16;
Persian Idylls, op. 17h.; Afternoon; Epigram; Tea-
Time; The Curse; The Appeal; Melancholy; Philo
mel. Arr. of folk-songs: Variation sur Cadet f
et fousselle:
Behave yourself before folk; I'm oure young to marry
yet. (Nearly all publ. Chester.) E. E.
GOOVAERTS, Alphonse Jean Marie André.
Belgian compr. writer on music; b. Antwerp,
27 May, 1847; d. Brussels, 25 Dec. 1922.
Intended for a commercial career, which he
soon abandoned for music. Librarian to City
of Antwerp, 1866; and Keeper of the State
Archives at Brussels, 1887. His compns. are
thrown into the shade by his musicological
works, especially by his Histoire et Biblio-
graphie de la Typographie musicale dans les
Pays-Bas (1880). Though not quite perfect
in some respects, this work, and the records it
embodies, are very valuable. Other works:
La Musique d'Eglise (1876); De muziekdrukkers
(music publishers) Phalesius en Bellerus (1882); Un
Opéra français composé en 1770 pour le Théâtre de la
Monnaie (1891); Le Chevalier L. de Burbure (1891),
etc.-C. V. B.
GORDON-WOODHOUSE, Violet (née Gwynne).
Eng. harpsichordist and clavecinist; b. in Sussex.
Stud. pf. under O. Beringer and Schönberger;
but gave it up on becaming acquainted through
Arnold Dolmetsch with the harpsichord and
realising its possibilities in shades and com-
binations of tone. Played on the instruments
for which they wrote, her renderings ako the
Elizabethan comprs.-Bull, Byrd, Morley-live
again. Purcell, Couperin, Rameau, Scarlatti
acquire with her a new meaning; but it is
as an interpreter of J. S. Bach that she par-
ticularly excels. She possesses an XVIII century
harpsichord, restored by Dolmetsch; but she
plays either on one made by him for Gaveau of
Paris, or on an equally fine one by him belonging
to Lord Howard de Walden. Her 3 clavichords
were all made by Dolmetsch.-E.-H.
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GOSPEL HYMNS
GOSPEL HYMNS. See SANKEY.
GOSS-CUSTARD, Reginald. Eng. organ re-
citalist; b. St. Leonards-on-Sea, 29 March,
1877. Stud. under his father, Walter G.-C.
Followed Edwin H. Lemare as orgt. St. Mar-
garet's, Westminster, 1902, and carried on his
organ-recitals; resigned 1914; orgt. Bishopsgate
Foundation same year; toured widely; appointed
to St. Michael's, Chester Square, London, Nov.
1922. Toured America 1916. Is one of the
most brilliant and finished of concert-orgts.
-E.-H.
GOSS-CUSTARD, Walter Henry. Eng. orgt.
b. St. Leonards-on-Sea, 7 Feb. 1871. Stud. for
a short time under E. H. Lemare; orgt. Liver-
pool Cathedral from 1917.-E.-H.
GOUDOEVER, H. D. van. Dutch cellist and
compr. b. Utrecht, 12 Nov. 1898. Stud. at
Utrecht Music School (1907-17) under J. Wage-
naar (theory), E. Ferrée (cello); in Paris under
Gérard Hekking (1918-21). Became soloist at
Amsterdam Concertgebouw, 1922.
Allegro for orch. (1916); La Fête bleue, cello and
orch. (1917);
(all pert. Utrechtse less songs, s. and orch. (1917)
Gilse); Sphynz, nocturne for orch. (1919); Impres-
Stedelijk Orch. under Jan Van
sion, orch. (perf. Amsterdam Concertgebouw Orch.
under Mengelberg, 1920);
(1922; t perf. New York Philh. Soc. under Mengel-
cello and orch.
berg: solo played by compr.).-W. P.
GOULA, Juan. Condr. compr. b. San Felin
de Guixols, Barcelona, in 1843; d. Buenos
Ayres, 1915. Commenced his career as choir-
trainer and orch. condr. in Barcelona, and later
in principal theatres of Germany, and at Petro-
grad and Moscow. Prof. at R. Court of Lisbon.
Dir. the choral soc. Enterpenses de Barcelona
(600 choristers) which he conducted with
brilliant success during a tour through Spain.
Went in 1902 to Buenos Ayres, and establ. a
now famous school of singing. Has publ. a
Catalan opera, A la voreta del Mar, perf. at
Teatro Principal, Barcelona.-A. M.
GOUNOD, Charles. Fr. compr. b. Paris,
17 June, 1818; d. St.-Cloud, 18 Oct. 1893. A
pupil of Halévy, Paër, and Lesueur at Paris
Cons.
In 1839 he won Prix de Rome, and in
1851 inaugurated his career as opera-compr.
with Sapho. La Nonne Sanglante followed (1854),
and in 1859 came Faust. Mireille (on Provençal
poem by Mistral) was produced in 1864, and
Roméo et Juliette in 1867.
Although he has written church music and
other works of religious character (among which
are the oratorios Redemption and Mors et Vita,
composed with a special view to the British
public and first perf. at Birmingham, 1882, 1885),
his fame rests chiefly upon a few operas, and
especially Faust. But other works of his-the
songs, for instance-are equally characteristic
of the highly original trend of his musical
imagination. This imagination is essentially
lyric; and, although somewhat narrow in out-
look and, in a measure, subject to surrounding
influences which made for certain trivialities of
style and encouraged his tendency towards senti-
mentality, it led to happy results by virtue of
GRABNER
which his influence played a leading part in the
further evolution of French music. It is notice-
able not only in the music of Fauré and Saint-
Saëns, but in many a feature of Debussy's.
This originality of Gounod, indeed, proved
too much for some of his contemporaries. It is
instructive to note that in 1862, the critic of
the Revue des Deux-Mondes branded him as "a
composer who, in company with all the bad
musicians of modern Germany, be they Liszt,
Wagner, Schumann, or even (for certain equi-
vocal things in his style) Mendelssohn, have
drunk at the tainted spring of Beethoven's
last quartets."
Operas: Faust (1859); La Reine de Saba (in London
as Irene), 1862; Mireille (1864); La Colombe, opéra-
Polyeucte (1878); Le Tribut de Zamora (1881).
Oratorios: Gallia; Tobias; The Redemption (Eng.),
1882; Mors et Vita (1885). Messe solennelle Ste.
Cécile (1882). Symphony, La Reine des Apôtres;
Marche funèbre d'une marionnette, etc.-M. D. C.
GOW, George Coleman. Amer. teacher, author;
b. Ayer Junction, Mass., U.S.A., 27 Nov. 1860.
Graduated A.B. Brown Univ. 1884, and in 1889
from Newton Theological Seminary. Stud. music
in Pittsfield under B. C. Blodgett, and in Wor
cester (Mass.) under E. B. Story. From 1889,
taught harmony and pf. at Smith Coll., North-
ampton, Mass.; 1892-3, under Bussler in Ber-
lin. Since 1895, prof. of music at Vassar Coll.
(for women) at Poughkeepsie, N.Y. Spent his
vacation year 1922-3 in Europe. Received
degree of Mus.Doc. h.c. 1903, from Brown Univ.
Author of The Structure of Music (Schirmer,
1895).-0. K.
GRAARUD, Gunnar. Norwegian tenor singer;
b. Holmestrand in 1888. Matriculated in 1906.
Stud. singing mainly in Germany. Début in
Christiania, 1920. Appeared in several foreign
opera-houses, at Dresden as Parsifal (Wagner),
and in various leading parts at Grosse Volksoper,
Berlin.-R. M.
GRABERT, Martin. Ger. orgt. and compr. b.
Arnswalde (Neumark), 15 May, 1868. Pupil of R.
Inst. for Church Music, Berlin, (under H. Beller-
mann, Bargiel); Meyerbeer Stipendium, 1891;
Mendelssohn Stipendium, 1894; condr. theatre
orch. in Rostock, 1894-5. Has since lived in Berlin
as orgt., first at Kaiser-Wilhelm-Gedächnis-
Kirche, then (1898) at Dorotheenstädtischen
Kirche.
Sacred choral music; organ phantasy, C mi. op. 44.
organ variations, E mi. op. 40: pf. 4tet, op. 22; sonata
for ob. and pf., G mi. op. 52.-A. E.
GRABNER, Hermann. Austrian compr. b.
Graz, 12 May, 1886. Stud. in his native town at
Cons. of the Steiermark Mus. Soc. At his father's
desire, also stud. jurisprudence, passing in
1909. In 1910 went to Leipzig Cons. as pupil of
Max Reger (compn.) and Hans Sitt (conducting).
Received Nikisch Prize for his test-works (a
str. trio and a concerto for vn. vla. orch.). In
1912, removed to Meiningen as Reger's assistant;
1913, head-teacher of theory at Strasburg
Cons. After the war and his expulsion from
Alsace, he settled in Heidelberg, as head-teacher
of theory and compa. at Music Acad. and at
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GRACE
High School of Music, Mannheim. He also takes
part in concerts as vla.-player.
Numerous songs and choral works; concerto in
olden style for 3 violins; Prelude and fugue for organ;
a great choral work, Psalm CIII; Funeral Cantata;
Prelude for orch.; 5 vn. and pr. pieces: Variations.
and fugue on a Bach theme, for orch.; Prelude
and fugue, str. 4 tet; trio-sonata, vn. vla. and pf.
Also wrote essay, Regers Harmonik (Munich. 1920,
Halbreiter) and Die Funktionstheorie Hugo Riemann's
(1923).-A. E.
GRACE, Harvey. Eng. orgt., writer, etc. b.
Romsey, 25 Jan. 1874. Stud. under Dr. Madeley
Richardson, Southwark Cath. Ed. of Mus.
Times (Novello) from 1918 (succeeding Dr.
McNaught). His organ music has a strong style,
free from sentimentality, without dispensing
with poetic sensitiveness.
Organ pieces (2_books, Schott, 1922; Novello;
Stainer & Bell; Reid); songs (Stainer & Bell;
Reid); part-songs (Novello; Stainer & Bell; E.
books:
Achards, 1921); French Organ Music, Past and
Present (H. W. Gray, New York, 1919); The Organ
Works of Bach (Novello, 1922).-E.-H.
GRÄDENER, Hermann. Ger. compr. b. Kiel,
8 May, 1844. Pupil of father, Karl G. P. Grädener
(1812-83) and of Vienna Cons. Orgt. at
Gumpendorf, 1862; violinist in Vienna Court
orch. 1864; teacher of harmony at Horák's
Pf. School, 1873; from 1877 at Cons. of the
Friends of Music; condr. Viennese Acad. of
Singing and of Orch. Soc. for Classical Music,
1892-6; lector in harmony and cpt. at Univ.,
1899; pensioned in 1913 as prof. of the Acad.
Capriccio and Sinfonietta, op. 14, orch.; Varia
tions, organ, strs., tpt. (1898); vn. concerto, D ma.;
cello concerto, E mi. op. 45; pf. concerto, D mi.:
str. Stet: 2 pf. 5teta; str. 4tets, op. 33, 39; 2 trios,
op. 16, 19; pieces for trio, and for pf. and vn.;
sonata for 2 pfs.; pf. piecos; songs; rhapsody, The
Minstrel (soli, chorus, orch., 1905); Saint Zita (Vienna,
1918), etc.-A. E.
GRAINGER
as
1914 (and often elsewhere); Theophano, op. 48
(Munich, Drei Masken Schirin und Gertraude, op. 51
Byzans, Leipzig, 1922)
(Berlin, Verlag), Dresden, 1920. Consult Georg
Gracner's P. G. (Leipzig, 1922).-A. E.
GRAF, Ernst. Swiss orgt. compr. b. Schön-
holzersvilen, Canton Thurgau, Switzerland,
26 June, 1886. Stud. (1904-7) modern philology
and history at Basle Univ. At same time stud.
pf. under Hans Huber, theory under Edgar
Munzinger and Georg Häser, organ under Adolf
Hamm at Basle Cons., later (1912) under Karl
Straube (Leipzig). Since 1912 has given in Berne
regular organ recitals with historical programmes;
since 1920 has given perfs. of brass instr. music
on the Cath. tower, thus reviving the media.
val custom of the Turmmusiken; 1917, founded
a scientific music library (Students' Library of
the Berne Music Soc.). 1922, President of the
Vereinigte Ortsgruppe Bern-Friburg-Solothurn
of the New Swiss Music Soc. Lecturer on church
music to Evangel. Theol. faculty, Berne.
Unacc. choruses (Latin and Ger.) (Leipzig, Leur
works: Principles of Organ Technique, 1916-22;
Elementary Tutor of Trio-playing, 1921 (Verlag des
Bern. Organistenverbands, Berne).-F. H.
GRAF, Max.
Austrian writer on music; b.
Vienna, 1 Oct. 1873. Teacher of mus. aesthetics
at Acad. of Music, Vienna; LL.D.; critic of
many Viennese newspapers, Neue Wiener
Journal, Die Zeit, Allegemeine Zeitung, Der Tag,
since 1900. His arts. are marked by an acute
and witty style and by a special emphasis of the
Viennese note in music. Introduced the psycho-
analysis of Freud into mus. aesthetics in his
study on Wagner's Flying Dutchman.
Publ. books: Deutsche Musik im 19 Jahrhundert
(German Music in XIX Century), 1898; Wagner Prob-
leme und andere Studien (Wagner Problems and other
Essays), 1900; Die Musik in Zeitalter der Renaissance
(Music at Renaissance Period), 1905; R. Wagner im
Fliegenden Holländer (Wagner in his "Flying Dutch-
Die des
(The Inner Workshop of the Musician), 1904. Publ.
transls.: Romain Rolland's Paris musical (1905);
Bruneau's Musiciens françaises (1904); La
de Russie (1904).-P. P.
GRAENER, Paul. Ger. compr. b. Berlin, 11
Jan. 1872. Sang as boy in R. Cath. Choir. Passed
Askanische Gymnasium leaving-examination and
entered the Univ., but went over to music.
Condr. of theatre orchs. (Bremerhaven, Königs-
berg, Berlin; London, Haymarket, 1896). Was
for some years on staff of R.A.M. in London;
then went to New Cons. in Vienna; dir. of
the Mozarteum in Salzburg, 1910-13. Next
lived in Munich, being appointed prof. in 1920,
in which year he succeeded Reger at Leipzig
Conservatoire.
Symphony, D mi. op. 39 (Schmied Schmers).
orch. (Vienna, Univ. Ed.); Sinfonietta, op. 27,
str.-band and harp (Vienna, Univ. Ed.); From
Pan's Domain, op. 22: suite for orch (Leipzig.
Kistner); string 4tets, op. 33 (Vienna, Univ.
Ed.) and 54 (Bote & Bock); Music at Eve, 3 pieces
for orch. op. 44 (Berlin, Eos Verlag); Romantische
orch., op. 41 (Copenhagen, Wilhelm Han-
sen): Kammermusikdichtung, op. 20, for pf. trio, after
W. Raabe's Hungerpastor (Leipzig, Kistner): pf. trio,
op. 61 (Peters); pf. pieces (3 Impressionem; Aus dem
Reiche des Pan; Wilhelm Raabe-Musik, op. 58 (Berlin,
Bote & Book]); songs, op. 3, 4, 6, 11, 12, 15, 16, 21, 29,
30, 40. 43a, 436
i Songs), 45, 46, 47, 49, 52, 57;
choral songs (Notturno, op. 37); Rhapsody for contr.,
str. and pf., op. 53 (Berlin, Bote & Bock); sonata
for vn. and pf. op. 56 (Bote & Bock); Variations on
Russian folk song, orch., op. 55 (Bote & Bock).
Graener has been most successful as an opera compr.
1.
Music
was never
A mus. comedy, Der Vierjährige Posten, op. 1
performed (London,
An opera, I
Narrengericht (Fool's Tribunal), op. 38
(Munich, Drei Masken Verlag), was perf. Jan. 1913,
at Volksoper, Vienna. Don Juan's Last Adven
lure, op. 42 (Drei Masken Verlag), Leipzig, June
195
GRAINGER, George Percy (uses name Percy
Aldridge G. as compr.). Australian pianist,
compr. b. Brighton, Victoria, 8 July, 1882.
Stud. pf. 5 years under his mother,
profes-
sional teacher; then under Louis Pabst in
Melbourne, J. Kwast in Frankfort-o-M. and
afterwards under Busoni. First public appear.
ance in recital at 11 in Melbourne. Concertised
in Germany during 1900; went to London and
appeared there and in other Eng. towns from
1901 onwards in recitals and with orchs. Be-
came an intimate friend of Grieg whom he met
in London in 1906; visited Copenhagen in the
same year and played Grieg's concerto at Leeds
Fest., Oct. 1907, at compr. 's request. Toured in
Europe, New Zealand and South Africa. Ap-
peared in America for 1st time, New York, 11
Feb. 1915, and since then has been identified
with Amer. mus. activities.
As a compr. and pianist G. introduced many
of his own works at the Balfour Gardiner and
Queen's Hall Concerts (London) and elsewhere,
as well as in America, and also did much to
spread the works of Debussy, Ravel, Cyril Scott,
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GRAMOPHONE
Röntgen, Albeniz and other modern comprs.
The rhythmic exuberance of his brilliant pf.
playing finds a counterpart in the sincere and
hearty character of his compns. Grieg's enthu-
siasm for national music stimulated G.'s interest
in the subject, and he publ. in the Journal of
the Folk-Song Soc. (No. 12, May 1908) a coll. of
27 British folk-tunes which have become the
bases of many of his compns. He has always
turned to small groups of instrs, rather than to
the orch. which, he considers, suppresses the
individuality of the separate players too much.
On the other hand, he has never composed
directly for solo instr. His inclinations
towards irregularly-barred music of 1899, et seq.
have now developed into the desire for a "beat-
less" music of no standard pulse-the same kind.
of liberation as Schönberg has brought to har-
mony.
Orch. She shore (id.); Colonial Song (Schott.
In a Nutshell (Schirmer, 1916);
Molly on
London, 1913); Shepherd's Hey (id.).
(rish Tune from County Derry (id. Mock orch.
Morris
(id. 1911). Pf. and str. orch.: Clog Dance," Handel
in the Strand" (id. 1912); Stet: My Robin is to
Greenwood gone (id.). Wind stet: Walking Tune (id.).
on the Flower Waltz from Tchaf-
Pf.: Nutcracker Suite (id.); Hill Songs for 2 pfs.
of Democracy (Schirmer, 1916); The Marching Song
(Ditson,
1, 1916);
kovsky's
(Schirmer, 1922). Chorus and orch.:
Wedding
and Daughter (Schott, Lon-
don); Sir Eglamore (id.): The Camp (id.); The
March of the Men of H Harlech (id.): The Hunter in his
Career (id.); The Bride's Tragedy (id. 1914). Chorus
and brass band: I'm Seventeen come Sunday (Schir-
mer); We have fed our Seas for a Thousand Years
(Schott, London, 1912); Marching Tune (id.). Chorus
unace. (all Schott, London): Brigg Fair;
Morning Song in the Jungle;
Vermland;
4 Song of The Inuit
At Twilight; Tiger, Tiger, oto. Also pleces for cello
and pf. and songs.
Consult: D. Parker, A.
Study
mer, 1918); Cyrill Scott, P. G.: the Music and the
Man (Mus. Quarterly, 1916, Vol. II, pp. 425-33).
-E.-H.
GRAMOPHONE. An instrument for repro-
ducing, from discs of a reasonably hard and
durable material, sounds of any nature which
have been recorded. It is distinguished from the
phonograph through the latter having become
generally known as an instr. reproducing sound
recorded on a wax-like cylinder. Thomas A.
Edison, the orig. inventor of the phonograph,
mentioned in his earlier patents the possibility
of recording sounds on wax discs as well as on
wax cylinders, but at that period there was no
suggestion of means for multiplying the record
so made. This essential of the modern gramo-
phone originated with Emile Berliner of Washing-
ton, D.C., U.S.A., who in 1887 invented a process
whereby the orig. record was made in zine by
etching. From this zinc a copper matrix was
obtained by electrolysis, and this copper matrix
used to press records in almost unlimited
quantities.
GRAMOPHONE
eaten out by the acid, and in 1896 Eldridge R.
Johnson, of Camden, N.J., U.S.A., turned his
attention to the perfection of the gramophone,
and invented a process of recording on a wax
plate from which an electrolytic copy was
obtained. It is this process, perfected from time
to time, which is universally used. Johnson's
improvements included the perfection of the
spring motor, as well as the tone-arm and the
enclosed horn, which so radically changed the
aspect of the instr., the present-day gramophone
having few points of similarity with that origin.
ally built by Berliner. The gramophone has
enabled permanent records to be made of Their
Majesties the King and the Queen, as well as of
every great mus. artist, and copies are now held
in the British Museum and the Museum of the
Opéra in Paris, for the use of future generations.
-A. CL.
Berliner was prominent during the seventies
and eighties of the last century in research work
on the then infant telephone, and after his inven-
tion of the gramophone, which name he himself
gave to the instr., he did little to perfect it, turn-
ing his attention to other fields of research. His
etching process proved to be not entirely satis-
factory, as many of the fine sound-waves were
GRAMOPHONE IN MUSICAL CULTURE
will contribute as much to mus. education as
the printing-press has contributed to the spread
of knowledge. The effect of putting such a work
as Beethoven's Emperor Concerto complete in
the hands of an amateur, and thereby making
great music an incident of his daily life, is
incalculable. Moreover, the average man is
becoming familiar with the sound of an orchestra
through his gramophone. It must be remembered
that such a one begins by disliking the sound of
an orchestra. Music, as he understands it, is
represented by the cornet, the piano, or the
violin played with an exaggerated tremolo. Let
him grow accustomed to the sound
chestra, and he is as willing to listen to a sym-
phony of Beethoven as to a cheap waltz. One
hesitates to suggest that the recording com-
panies should issue records of the cornet in such
melodies as the Andante from the C mi. sym-
phony of Beethoven; but there is no doubt that
by such a trap a still larger public as yet unmoved
might be caught in the spell of great music.
Meanwhile, let musicians pay as much attention
to the gramophone as a wise mother pays to her
children's nurse.
an or
The greatest success of the gramophone is
with the human voice, the flute and the violin;
but the public should beware of composition
diaphragms which often turn strings into wood-
wind. Mica is the best. The greatest failure of
the gramophone is with the timpani. The piano
was atrocious until lately, but the recording of
it is improving every month. The cor anglais
is usually flat, and the B-flat clarinet is liable to
drown the rest of the orch.; but the horns, until
recently execrable, are now splendid, which gives
one hope for some of the other instrs. The brass,
as might be expected, is most successful, but
many orchestral records are spoilt by using tubas
instead of double-basses. The following may be
taken as examples of the gramophone at its best:
for orch., Elgar's Enigma Variations (Gramo-
phone Co.); for the violin any record of Huber-
mann's (Brunswick Cliftophone Co.); for the
piano Moiseiwitsch playing Chopin's nocturne
in E mi.; and for chamber-music any of the
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GRANADOS
Flonzaley Quartet's excerpts (Gramophone Co.).
on
C. M.
GRANADOS, Eduardo. Spanish composer; b.
Barcelona, 28 July, 1894. Stud. compn. at Acad.
founded in 1900 by his father, the famous and
ill-fated pianist and compr. Enrique Granados;
later on under Conrado del Campo, Madrid. Gave
pf. lessons for 6 years at the Granados Acad.;
dir. there 1916-19. Conducted occasional concerts
of his father's and his own orch. works in Spain
and France.
Bufón y Hostelero, 2-act zarzuela (Teatro Victoria,
Barcelona, 1917); La Princesita de los Sueños Locos,
1 aot (Teatro Cómico, Barcelona, June 1918); Los
Fanfarrones, 1 act (Teatro Tivoli, Barcelona, Nov.
1920); La Niña se pone tonta, 1 act (Teatro Ruzafa,
Valencia, May 1921); La Ciudad Eterna, 2 acts
(Teatro Cervantes, Madrid, 1921);
for Catalonian version of Iphigenia incidental music
Tauris; minor
works for vn. and for v. with pf. (Unión Musical
Española.-P. G. M.
GRANFELT
origin, Catalonia. Albeniz's extreme sensitiveness
for the music of the South has its parallel in Gra-
nados' assimilation of the Castilian temperament,
as shown in the piano Goyescas, his best-known
and by far his most important works. In these,
he has illustrated in musical terms that pictur-
esque period of Madrid life, perpetuated on canvas
by the genius of Francisco Goya. (The opera
Goyescas, an afterthought, is a dramatic version
of the piano works of the same title with some
new material.) His deficiency in part-writing is
particularly in evidence in his orchestral works,
in which, as in his production in general, the
melodic interest is superior to that of harmony
and form. The Spanish composers' peculiar
tendency (of folk-lore origin) to abuse the
upper register of the human voice, appears
specially accentuated in his case. As with
Albeniz and certain Russian musicians, many
of his piano pieces are a constant source of
attraction for orchestrators and dancers. The
great asset and redeeming point of Granados, as
a composer, is his undeniable personality, even
when dealing with borrowed materials, the grace
and elegance of his piano-writing and the faculty
of reaching at times a moving intensity of
emotion. Rarely has the Spanish soul mani-
fested itself so clearly in cultured music as in the
initial theme of Quejas o la Maja y el Ruiseñor
(Goyescas), an original melody, almost classic
in character.
GRANADOS CAMPINA, Enrique. Spanish
pianist and composer; b. Lerida, 29 July, 1867;
à. 24 March, 1916. Son of an army officer, he
received as a child his first musical tuition
from bandmaster, Captain Junceda. After-
wards studied piano under Francisco Jurnet
and the celebrated Catalonian master, Juan
Bautista Pujol, Barcelona; composition under
Felipe Pedrell. Later on, he studied the
piano under de Bériot in Paris. Founder
and conductor (1900) of the Sociedad de Con-
ciertos Clásicos, and of the Academia Grana-
dos (1901). Knight of the Spanish Order of
Carlos III; Légion d'Honneur and Officer of
Public Instruction in France. The tragic cir-
cumstances of his death, in the sinking of the
Sussex by a German submarine in the English
Channel (24 March, 1916), after the production
of his opera Goyescas at the Metropolitan Opera
House, New York, gave universal prominence
to his name; but more in reference to his talent
as a composer than as a pianist. Yet it was in
the latter capacity that he could be counted
amongst the greatest virtuosi of any country.
Owing to certain circumstances of temperament
and environment, he limited his activities as
concert-player mostly to France and Spain.
In New York in 1915, his rare merits and unique
personality, as a pianist, obtained prompt and
complete recognition. Possessor of a fine tech-
nique, he only used it as a means, his real object
being neatness, elegance and depth of expression,
three distinctive features which are in evidence
in his works. In general his prolific output,
which must be studied in two groups, is free
from French and German influence. In those.
works previous to the Goyescas (pf.), marking his
first period, Grieg and Chopin seem to be the
models. In the second period the influence of
Albeniz is evident, though the similarity to these
composers is to be found only in details of ex-
ternal order. In another direction, Granados
has, in common with Albeniz, that special gift
of excelling in the expression of the musical
idiom and feeling of Spanish provinces that are
quite distinct in character from that of their own
197
ticas, 6 pieces; Escenas poética: Valses de amor;
horas, 3 pieces; Valses
militares,
4
Pt.: Danzas Españolas (12 dances in 4 vols.);
Danza Gitana; Danzas para cantar y bailar; A la
cubana; Seis piezas sobre cantos populares españoles;
Rapsodia Aragonesa; Capricho Español; Morisca;
Canción Arabe; Miel de la Alcarria; Escenas román-
3 pleces; Libro de
Carezza; Paisaje; Allegro de Concierto; Improntu;
Romeo y Julieta; Fantasia; Marcha militar; Dos
senda (El Jardin): hands; Bocetos, 5 pieces: Eli-
estudios expresivos; Cuentos
para la juventud, 10 pieces; Goyescas, 1st part: Los
requiebros, Coloquio en la reja (dúo de amor), El
fandango del candil, Quejas o la Maja y el Ruiseñor;
2nd part: El Amor y la Muerte (balada), Epilogo
(Serenata del espectro); El Pelele (escena goyesca).
Sonatas inéditas de Domenico Scarlatti (26 transcrip-
tions). Two vns, and pf.: Serenala. Cello and pf.:
Madrigal; Elisenda, little suite; Trova. Ob. and strs.:
Oriental. Pt. and orch.: Re-orchestration of Chopin's
F minor concerto. Chorus, organ and pf.: Cant de
les estrelles. Songs with pt.: Colección de canciones
amatorias (7); Colección de tonadillas (10); Elegia
elerna; La Boira; L'Ocell profeta. Pr. trio. Orch.:
Dante, poem; Elisenda, suite; Navidad, suite; Suite
Arabe: Suite Gallega; Marcha de los vencidos; La
Nit del Mort, symph. poem; Serenata; Tres danzas
españoles (conet; Maria del Carmen, 3 acts: Goyescas
. Lamote de Grignon). Operas:
Follet;
3 scenes. Zarzuelas: Picarol; Gaziel; Liliana;
Ovillejos, 2 acts; Miel de la Alcarria. (Unión Musical
Española, Madrid; Schirmer, New York.) P. G. M.
GRANDE, Angel. Span. violinist; b. Madrid,
1894. Stud. at R. Cons. de Música, Madrid, and
at Brussels Cons. under César Thomson. Con-
cert tours in Spain, Belgium, England and
Germany.-P. G. M.
GRANFELT, Lillian Hanna von. Finnish
singer; b. Sakkola, 2 June, 1884. After studying
in Helsingfors and Paris (Duvernoy), was en-
gaged as prima-donna at Mannheim Court
Theatre, 1909, and at Imper. Theatre (now State
Opera) Berlin (since 1915). She adds to a fine
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GRANDJANY
voice, highly skilled technique and expressive
interpretation. Her tours include:
1909, Bulgarian and Rumanian Court Operas;
1913, Covent Garden Opera, London (title-role in
Raymond Roze's Joan of Arc); . Mozart tours,
cond. by Richard Strauss, in Switzerland; 1921,
National Opera, Barcelona; 1923, Holland, (Amster-
dam, Rotterdam, The
Dordrecht).
are Elsa (Lohengrin),
Her bost role, Haarlem,
Elizabeth (Tannhäuser), Countess (Figaro), Donna
Anna (Don Giovanni), Pamina (Magic Flute), Octa-
vian, Marschallin (Rosenkavalier); Salome, Ariadne,
Empress (The Woman without a Shadow) in the
Strauss operas; Mona Lisa (Schillings), Blanchefleur
(Kienzl's Kuhreigen),
(Il Trovatore), Mar-
guerite (Faust), etc. Örates: Judas Maccabaus,
Messiah (Handel), Stabat Mater (Schubert), Requiem
(Brahms). As concert-singer has appeared frequently
in Finland, Germany and Scandinavia.-T. H.
GRANDJANY, Marcel. Fr. harpist; b. Paris,
3 Sept. 1891. Stud. at Paris Cons. where he
obtained a 1st prize for harp and harmony. He
now teaches harp-playing at American Cons.
at Fontainebleau. Has written many songs, and
harp pieces; his style of compn. is modern in
sentiment and very delicate in tone.-F. R.
GRASSI, E. C. Fr. compr. b. Bangkok (Siam),
5 July, 1887. Having come to France when
young, he stud. literature at the Sorbonne and
music under Vincent d'Indy (1905) and Bour-
gault-Ducoudray (1910). Returned to Siam
(1910-13) to study the folk-lore, on which his
musical inspiration is principally founded. Has
lived in Paris since 1913. His Cinq mélodies
siamoises (written for pf. 1910) have attained
popularity in their orch. form (1919). His art, at
once subtle and direct, makes use of the exotic
only so far as it expresses an inward thought.
By the union of Siamese orientalism with most
modern processes of Fr. school, his music dis-
plays an originality which is very rare. All his
works are a "Siamese Confession and by
means a virtuoso display of local colour.
Trois poèmes bouddhiques (1918), for vs. and orch.;
(1919), orch.; Les Equinoxes
(1921), pf.;
also a masque for theatre (La Fête du Zamkoukon)
for Bernstein's tragedy, Judith (1922).-A. O.
Poème de letters nostalgique (1921), vs. and pf.;
GRASSOT DE GOULA, Isabel. S. singer; b.
Barcelona. After studying at Liceo Cons.,
Barcelona, made her début as dramatic s. at San
Carlos Theatre, Lisbon (Elizabeth and Venus in
Tannhäuser). At Barcelona created part of the
Condesa de Foix in Pedrell's opera Los Pirineos.
On her marriage with Goula (q.v.) she completely
renounced her artistic career.-A. M.
GRAY, Alan. Eng. orgt., compr. b. York,
23 Dec. 1855. Educated St. Peter's School,
York, and Trinity Coll. Cambridge. Stud. under
Dr. E. G. Monk; mus. dir. Wellington Coll.
1883-92; orgt. Trinity Coll. Cambridge from
1892; condr. C.U.M.S. 1893-1912; Mus. Doc.
Cantab. 1889; President R.C.O. London, 1922-3.
His music is of a refined and lofty order. His
organ pieces are among his best works. He is one
of the finest of organists. Several of his lectures
on organ construction and organ-playing appear
in the R.C.O. Calendars.
GREENE
Augener; W. Rogers); part-songs, etc. (Novello;
Laudy; Stainer & Bell); sonata, vn. and pt.
National Airs with Descants (Woodall,
Minshall, Thomas & Co.).-E.-H.
Press); OlaBook of Descants (Cambridge Univ.
GRAY, Herbert Willard. Music publ. b.
Brighton, England, 3 Sept. 1868. Amer. repre-
sentative (New York) of Novello and Co., Lon-
don, since 1894; founder of the H. W. Gray
Co., New York (sole agents for Novello), 1906.
Publ. of New Music Review, and since Sept.
1921 of the American Organ Monthly.-J. M.
Cantatas: Arethusa; The Rock Buoy Bell, 1914
(Novello); Odysseus in Phæacia (out of print) (Rior-
den); church music, many anthems and services
(Novello; Stainer & Bell; Laudy); organ music:
4 sonatas and many pieces (Novello; Stainer & Bell;
198
GRAY, Isabel Winton. Scottish pianist and
teacher; b. Dundee, 14 Sept. 1898. Pupil of
W. P. Fleming, Dundee, till 17, when she went
to R.A.M. London. There she stud. pf. under
Claude Pollard, compn. under J. B. McEwen;
singing under Mme. Clara Samuel. Left Acad.
in 1918; gave 1st recital in Wigmore Hall, Nov.
1918. Has since given several recitals there,
and in Queen's Hall with Sir Henry Wood's orch.
Elected to prof. staff of R.A.M. in 1920. Has
played at Queen's Hall Promenades annually,
Edinburgh, Glasgow and Dundee. Recently
perf. Sir A. C. Mackenzie's Scottish Concerto at
R.A.M. Centenary orch. concert in Queen's
Hall.-W. S.
GRAY, William Craig. Scottish condr., orgt.
b. Dalkeith, 10 April, 1861. Both his father
and grandfather were precentors of old Scottish
Presbyterian type. At 8, he became a choir-
boy, and an orgt. at 14. Orgt. of Congregational
Ch. Dalkeith for over 20 years; afterwards at
West Parish Ch. of that town. It is as a producer
and condr. of Gilbert and Sullivan operas that
he will continue to be remembered. În 1905 he
produced The Pirates of Penzance in Dalkeith,
and has gone on producing both in his native
town and in Edinburgh with great success ever
since. Lives in Edinburgh.-W. S.
GREEN, Gertrude Huntley. Canadian pianist;
b. St. Thomas, Ontario, July, 1889. Stud. at
Detroit, London (Ontario), and Paris (France)
under Paul Viardot and Albert Geloso (vn.);
Moszkowski and Leopold Godowsky (pf.). She
has lived latterly in Victoria, B.C., where she
has given many pf. recitals, and very materially
helped the growth of mus. appreciation in
Western Canada.-L. S.
GREEN, L. Dunton. Music critic; b. Amster-
dam, 22 Dec. 1872. Stud. under C. Armbrust
in Hamburg (harmony); Mangin, and Bondon
(singing, pf.) in Paris; mus. ed. Arts Gazette;
contributor to Chesterian; Revue Musicale
(Paris); Il Pianoforte (Turin).-E.-H.
Irish
barit.
GREENE, Harry Plunket.
singer; b. Dublin, 24 June, 1865. Stud. under
Arthur Barraclough in Dublin; then at Stutt-
gart Cons. for 2 years; later at Florence; but
singing chiefly under Alfred Blume in London.
Début in London, 1888 (Messiah). Appeared
at Covent Garden, 1890; but was always more
attracted to recital-singing. In his recitals with
Leonard Borwick, he rose to fame with the great
songs of Schumann and Brahms. Many of Sir
Hubert Parry's lyrical works were written for
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GREGOIR
him. He has done great service to British folk-
music by his illustrated song-lectures. His voice.
is not big, but is used with admirable taste, and
his interpretations are most musicianly. With
Granville Bantock as co-adjudicator, he visited
Canada in 1923 and started the musical com-
petition movement on sound lines there. Married
Sir Hubert Parry's daughter. Author of Inter-
pretation in Song (Macmillan).-W. ST.
GREGOIR, Édouard Georges Jacques. Belgian
compr. writer on music; b. Turnhout, 7 Nov.
1822; d. Wyneghem, near Antwerp, 28 June,
1890. Stud. pf. under Chr. Rummel at the same
time as his brother, Jacques Mathieu Joseph.
After touring as virtuoso, settled in Antwerp,
where he devoted himself to compn. and musico-
logical work. Only in latter field has he left
any lasting works. He was an indefatigable
compiler, but of mediocre intelligence and utterly
lacking in scientific intuition. He brought
together, in a whole series of volumes, innumer-
able facts and details about present and past
musicians. Unfortunately, he omits to quote
the sources of such information.
Biographie des artistes néerlandais (Netherlands)
des XVIIIe et XIXe siècles et des artistes étrangers
résidant ou ayant résidé en Néerlande à la même
époque (1864) Histoire de la facture et des facteurs
d'orgue
Building Builders),
ments historiques relatifs à l'art musical et aux artistes
musiciens (4 vols. 1872-6); Panthéon musical popu
laire (6 vols. 1876-7); Bibliothèque musicale populaire
(3 vols. 1877-9); Des gloires de l'Opéra, et la musique
à Paris (3 vols. 1819Art musical en Belgique
sous les règnes de t'rer et de Léopold II (1879);
Grétry (1883); Souvenirs artistiques (3 vols. 1888-9);
Les Artistes musiciens belges au XVIIIe et au XIXe
siècles (3 vols. 1885-90).-C. V. B.
GREGORIAN CHANT.
"The chant proper
to the Roman Church, the only chant she has
inherited from the Ancient Fathers, which she
has jealously guarded for centuries in her
liturgical codices, which she directly proposes
the faithful as her own, which she prescribes
exclusively for some parts of the Liturgy, and
which the most recent studies have so happily
restored to their integrity and purity" (Pope
Pius X, from Motu Proprio on Sacred Music,
22 Nov. 1903). This chant was already in use.
in the early days of Christianity and was fixed.
in its definitive form under the Pontificate of St.
Gregory the Great, from which it took its name.
The Gregorian chant is distinguished from
modern music by its essentially religious char-
acter arising from its purely diatonic tonality,
and its natural rhythm. Admirably expressive,
it contains wonders of the highest quality, and
many musicians do not hesitate to place it in
the first rank of mus. art. After a long period of
decline, it has recovered its authentic and ancient
form, and its full beauty, thanks to the works
and researches of the Solesmes Benedictines.
In 1904, Pius X established a commission to
give an official ed. which was called The Vatican
Edition. The Gradual, the Antiphonary, the
Matins of Holy Week have already appeared.
All these books, publ. in Rome at the Vatican
Press, have been reproduced by the Solesmes
Benedictines in their rhythmic editions. (See
SOLESMES.)
GREVILLIUS
See also:
AMELLI, GUERRINO; BAS, GIULIO;
BESSE, CLEMENT;, DE SANTI, ANGELO; FERRETTI,
PAOLO: GASTOUE, AMEDEE; GEVAERT, F. A.;
GIEBUROWSKI, W.; HOUDARD, GEORGES: MOTU
PROPRIO; RUE, A.; SHORE, S. A.; SPRINGER, MAX;
SUÑOL, GREGORIO; TINEL, EDOAR; URIARTE;
WEINMANN, CARL.-J. B.
GRESSE, André. Fr. b. singer; b. Lyons, 23
March, 1868, son of an operatic singer. First of
all took up painting, although his father wished
him to be an engineer. While doing military
service he sang at a concert, and the success he
obtained gave him the idea of going on the
stage. Stud. at Cons. under Taskin, Ďuvernoy
and Melchissédec; 1896, 2nd prize, opéra-
comique, and honourable mention for singing and
opera. Engaged by Carvalho at Opéra-Comique
where he made début (1896) in Don Juan. He
created rôles in Le Spahi and Sapho in 1897-8;
in Fervaal, Beaucoup de bruit pour rien (1900)
and in Juif Polonais. Engaged at Opéra, 1900;
created rôles in L'Enlèvement au sérail (1903),
Tristan et Isolde (1904), Hippolyte et Aricie (1908),
Bacchus (1909), L'Or du Rhin (Rhinegold) (1909),
Don Quichotte (1910), Le Miracle (1910), Parsifal
(1914), Scemo (1914), Mademoiselle de Nantes
(1915), Iphigénie en Tauride (1916), Briseis
(1916), Prométhée (1917), Castor et Pollux (1918),
Le Retour, and Boris Godunof (1919). Possesses
a voice of great range, which allows him to add
to his repertoire some of the b. rôles which made
his father famous. Has been a famous member
of the Paris Opéra company for 23 years.-A. R.
GRETCHANINOF, Alexander Tikhonovitch
(accent 3rd syll.). Russ. compr. b. Moscow,
13/25 Oct. 1864. Pupil of Safonof (pf.) at Mos-
cow Cons. 1890; of Rimsky-Korsakof (theory)
Petrograd Cons. 1893. Essentially a compr. of
vocal music, as versatile as he is prolific. The
main characteristics of his songs are refinement,
easy grace, and sentiment which at its best owes
little to sentimentality. He won a prize of Petro-
grad Chamber-Music Soc. for his Ist str. 4tet in
1894 and 2 Glinka prizes (establ. by M.P. Belaief)
for his 2nd (1914) and 3rd (1916) str. 4tets.
Operas: Dobrynia Nikititch, 3 acts, op. 22; Sister
Beatrice (after Maeterlinck), op. 50; music to Ostrov-
sky's Snow Maiden, op. 23; 1st symphony, B mi.
op. 6 2nd symphony (Pastorale,
(1923, ms.).
symphony (1921-2, ms.); 4th 4 mi.), op. 27; 3rd
3 str. 4tets (I, G ma. op. 2; II, D mi. op. 70; III,
C mi, op. 75); 1st pf. trlo, C mi. op. 38; 2nd pf. trio,
op. 60; sonata, op. 87; cello concerto, op. 28 (ms.)
3 Liturgies of St. John Chrysostom (I, op. 13; II, op.
29; III, id. [on old Russ. sacred melodies], op. 79);
many songs; very many choruses; pf. pieces.-M. D. C.
GREVILLE, Ursula. Eng. singer. Stud. from
age of 6 under many masters; further study in
Italy, 1923; concert début, Æolian Hall, 4 March,
1920; operatic début, Covent Garden (Queen of
Night, Magic Flute), 29 March, 1920. Her vocal
range is from D in bass stave to G in alt; started.
with Ger. lieder and coloratura rôles; at present
specialises in songs of young school of British
comprs, with which she has toured the Continent
and America. Editor of The Sackbut from Aug.
1921.-E.-H.
GREVILLIUS, Nils. Swedish condr. b. Stock-
holm, 7 March, 1893. Played vn. from 6 years
of age; stud. vn. at R. Cons. Stockholm (under
Book) and at Cons. of Sondershausen. First
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GREW
violinist of R. Chapel (opera-orch.), Stock-
holm, 1911-14; 2nd condr. of Konsertföreningen,
1914-20; continued studies as condr. in Ger-
many, Austria, England, France, Italy and
Belgium. Guest-condr. at concerts in Paris,
Berlin, Vienna, Prague, etc. In the 1922-3
season, attached as condr. to R. Opera, Stock-
holm; also guest-condr. of Konsertföreningen,
and at symphony concerts of Tonkünstler Orch.
Vienna.-P. V.
GREW, Sydney. Eng. writer on music; b.
Birmingham, 13 Aug. 1879. Engaged variously
in business, and in farming in Manitoba, 1890-
1900; stud. music at Birmingham and Midland
Inst. 1899-1910, under Granville Bantock,
George Halford, C. W. Perkins, W. F. Newey,
and Joseph Morris; expenses of study borne in
part by Earl Beauchamp from 1903-6; teacher
of music and church orgt. 1902-10; mus.
journalist from 1909; contributor to Eng. and
Amer. monthly and quarterly periodicals.
Art of the Player-Piano (Kegan Paul, 1921); Our
Favourite Musicians from Stanford to Holbrooke
(T. N. Foulis, 1922); Our Favourite Musicians from
John Coates to Albert Sammons (id. 1923); 4 Book
of English Prosody (Grant Richards, 1924); Poly-
metric Ed. of XVI century vocal music (Curwen,
1922).-E.-H.
GRIEG, Edvard. Norwegian composer; b.
Bergen, 15 June, 1843; d. there, 4 Sept. 1907.
His musically gifted mother, Gesine (née Hage-
rup), gave him instruction in piano-playing from
his sixth year. On the advice of Ole Bull he was
sent to the Conservatoire in Leipzig in 1858,
where he studied diligently until 1862. His opus
1, Four Piano Pieces (written during his last
years in Leipzig), shows clearly that Schumann
and Chopin were his ideals. These charmingly
fashioned pieces reveal the unfolding of a singular
individuality. It was, however, the study of Nor-
wegian folk-music that first awakened his youth-
ful genius, and the Humoresques (op. 6) already
show that he had found himself. It is especially
the character-peculiarities of the "Hardanger-
violin," that he here tries to transfer to the
piano. In quick succession now follow several of
Grieg's masterpieces; in 1865 the piano sonata
(op. 7) and the violin sonata in F (op. 8). In 1867
he married his cousin, Nina Hagerup (see below),
a brilliant vocalist, who with consummate art
has interpreted his songs. Already in op. 5 we
find such gems as To brune öine (A Pair of Brown
Eyes) and Jeg elsker dig (I Love Thee).
Christiania, Grieg worked with the greatest
energy as pianist, conductor of the Philharmonic
Society and choral leader. In 1868 during a
summer holiday in Denmark he wrote his piano
concerto in A minor (op. 16). This work is
instinct with inspiration, with beautiful themes,
characteristic rhythm, original harmony and
warmly-coloured instrumentation. In 1871 he
founded the Musical Society in Christiania, of
which he was condr. for four years. The first
Lyrical Pieces, the violin sonata in G (op. 13),
the chorus Landkjending and the music to
Björnson's Sigurd Jorsalfar also saw the light
in this Christiania period. In 1874, Grieg was
commissioned by Ibsen to write music to Peer
In
200
GRIEG
Gynt. Two years later, this music was performed
for the first time in Christiania (24 Feb. 1876).
The work was performed 36 times during the
first year. At the same time as the Peer Gynt
music, he wrote his second great piano work,
the Ballade in G minor (op. 24). This is in the
form variations on a Norwegian folk-melody
which Grieg found in L. M. Lindeman's collec
tion. These works were written in Bergen. After-
wards he went to live at Lofthus in Hardanger.
Here he created four new masterpieces, the
string quartet in G minor (op. 27), Album for
male voices (op. 30), Den Bergtekne (op. 32) and
Vinje Songs (op. 33). The quartet is partly built
upon a theme which we also find in the first song
of op. 25. This work like the Ballade, belongs
to the most passionate and expressive of Grieg's
compositions. Not less thrilling is Den Bergtekne,
for baritone solo with string orchestra and 2
horns. The songs to texts by the poet A. O.
Vinje mark perhaps the highest development of
Grieg's capacity as a song-composer. The Album
for male voices showed Grieg to be one of the
finest composers in the North for male-voice
choirs. Norwegian folk-melodies form the basis
of these songs. The cello sonata in A minor
dates from the same period.
musical
In 1880-82 Grieg was leader of
society Harmonien in Bergen and was responsible
for the production of a number of great works.
The Holberg Suite and his 3rd violin sonata in
C minor (op. 45) date from the 'eighties. The
suite is a portrayal, instinct with character, of
the rococo period.
Of dramatic works Grieg has, besides the
Peer Gynt music, written Scener av Olav Tryg-
vason (op. 50), to an uncompleted work by
Björnson, as well as the melodrama Bergliot
(op. 42), to words by the same author. This
latter piece contains a fine funeral march.
By the 'eighties, Greig had become a world-
renowned master. To this result the great
interest taken in him and his work by his pub-
lisher Dr. Abraham (C. F. Peters, Leipzig)
contributed to an essential degree. As an ex-
cellent pianist and an inspiring conductor,
Grieg was frequently engaged in concert-tours
in Scandinavia, Germany, Austria, England,
France, Poland, etc. In 1888 he conducted for
the first time in London and Birmingham; in
1889 at Colonne's in Paris. The Peer Gynt music
doubtless opened the way for him, but the
fact that he has won such favour in homes
far and wide is due to his long series of
Lyrical Pieces and to his delightful songs. The
Lyrical Pieces are character-sketches in the
spirit of Schumann, concise graphic, esh
in melody and characteristic in sonorous ring.
They are often distinctively Norwegian in effect.
As examples may be mentioned op. 12 (with
Folk-Song), op. 43 (with Erotik), op. 57 (with
Nostalgy), op. 68 (with Evening in the Mountains).
Of the same character is op. 19, with Brudefölget
drager forbi (The Bridal Procession goes by). By
degrees Grieg lost courage to pursue the greater
forms of composition. His health had always
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GRIEG
been feeble; ever since he had had an attack of
pleurisy in his youth, he had to exist with only
one lung. Of works produced in his later years we
may point to some that stand on a level with
his best productions. The songs to texts by
Garborg, The Haugtussa Songs (op. 67), can
undoubtedly be compared with op. 33. Deeply
moving is his last work, Four Hymns for mixed
chorus, a cappella (op. 74). Finally may be
mentioned Slaatter (Folk-Tunes), op. 72, for
piano, adaptations of Norwegian Hardanger-
violin pieces collected by Johan Halvorsen, in
which Grieg's keen vision has transferred to the
piano all the strange rhythmic subtleties of these
melodies, their peculiar intervals and their
luxuriance of embellishment.
Thus it was Norwegian folk-melodies that
finally occupied Grieg's mind, and his art cannot
be sundered from this, its fountain-head. From
them he drew his deepest inspirations, and none
can, like Grieg, illumine Norwegian folk-music.
Almost everything that has been created in this
field under the name of "transcriptions " pales
in comparison with Grieg's treatment. He
penetrates into the core of the melody and draws
out all that is most essential in it. Characteristic
is op. 66 (19 Folk-Songs), which is based upon col-
lections made by Frants Beyer, but which to
some extent has become more Grieg than folk-
music, the melodies being so absorbed by the
composer's harmonisation. What renders him
the naturally-appointed interpreter of Norwegian
folk-music is his close kinship with the Norwe-
gian national character. His own original
melodies are of the same mould.
A new element of tunefulness has been con-
tributed to music by the melodies of Grieg.
Something similar may be said of his harmony,
which is undoubtedly strongly influenced by the
Norwegian Hardanger-violin. Grieg fashions his
own rules, guided by a sense of tone that is both
refined and richly coloured, and instinct with
noble austerity. This combination of magnificent,
semi-archaic melody with refined harmonisation
has also influenced foreign masters of music.
Grieg's importance must be designated as
international.
Consult: Ernest Closson, Edvard Grieg et la
Musique Scandinave (1892); Gerhard Schjelderup,
Edvard Grieg og hans Værker (Copenhagen, 1903);
H. T. Finck, Edvard Grieg (London and New York,
1906); G. Schjelderup and Walter Niemann, Edvard
Grieg (Leipzig, 1908); Erik Eggen, Edvard Grieg i
Norges Musikhistorie (Christiania, 1921); Richard
H. Stein, Grieg (Berlin, 1921).-O. M. S.
GRIEG, Nina (née Hagerup). Norwegian singer;
b. Bergen, 24 Nov. 1848. Stud. singing under Karl
Helsted in Copenhagen, where she lived with her
parents until she married her cousin the compr.
Edvard Grieg in 1867. Since the latter's death in
1907 she has chiefly lived in Copenhagen. Nina
Grieg won a name for herself as interpreter of
her husband's songs. Many of Grieg's best
songs were composed for her.-R. M.
GRIFFES, Charles Tomlinson. Amer. compr.
b. Elmira, N.Y., U.S.A., 17 Sept. 1884; d. New
York, 8 April, 1920. One of the most promising
of the younger Amer. comprs., who had just
GRÖNDAHL
begun to come into his own, when his career
was cut short by his untimely death. Educated
at Elmira Acad. and stud. pf. under Mary S.
Broughton in Elmira, then for 4 years under
Jedlicka and Gottfried Galston in Berlin. In
theory he was a pupil of Klatte and Loewen-
gard, and in compn. of Ph. Rüfer and Humper-
dinck in Berlin. For a time, gave lessons in
Berlin, and in 1904 appeared there in a pf.
recital, playing among other things an unpubl.
pf. sonata. Returned to America in 1907 and
became music-master at the Hackley School for
boys at Tarrytown, N.Y., also giving private
lessons in New York.
His earlier works (several sets of songs (Schir-
mer, 1909 and 1910) were written in the style
to which he had been brought up. This he
abandoned and adopted the new idiom, in
which, without going to extremes, he struck a
distinctly personal note.
A dance-drama The Kairn of Koridwen, for
5 wind instrs., celesta, harp and pf. (unpubl.),
was brought out at Neighbourhood Playhouse
in New York, 10 Feb. 1917. The same year saw
the production of Shojo, a Japanese mime-play
for 4 wind instrs., 4 muted str., harp, tam-tam,
Chinese drum and tpi., by A. Bolm's Ballet
Intime at Booth Theatre, New York. His repu-
tation as an orch. compr. of high rank was
establ. by the perf. of his symph. poem The
Pleasure-Dome of Kubla Khan (after Coleridge)
by Boston Symphony Orch. 28 Nov. 1919.
Three songs for s. with orch. had been perf. at
concert of Philadelphia Orch. 24 March, 1919.
pr. op. 6 (1915); Four Roman
Fantasy Piafter poems by William Sharp), op. 7
Sketches for pf. (a
(1917); Five Poems of Ancient China and Japan, for
v. and pf. op. 10 (1917); The Pleasure-Dome of Kubla
Khan, symph. poem (1920); sonata for pf.
2 Sketches for str. 4tet, based on Indian 20);
(1922). All publ. by Schirmer.
Consult art. by W. T. Upton in Mus. Quarterly,
July, 1923. 0. K.
GRIFFITH, Morgan William. Welsh compr.
and orgt. b. Clydach, near Swansea, 1855. Stud.
at Univ. Coll. of Wales, Aberystwyth, under the
late Dr. Joseph Parry (1876); music-master at
Dr. Williams School, Dolgelley, from 1879;
orgt. and choirmaster, parish ch. Dolgelley, 1885.
Has comp. anthems, part-songs and several
Welsh songs.-D. V. T.
GRIMSON, Annie. Eng. pianist; b. London.
Stud. at R.C.M. (gold medal); then under Tobias
Matthay; début Covent Garden Promenade Con-
certs, 1899.
Nocturne, cello and pf. (Augener); waltz, full orch.
(Phillips); pf. pieces (Goodwin & Tabb).-E.-H.
GRIMSON, Jessie. Eng. violinist. Stud. under
her father, S. Dean G. (member of Holmes Str.
Quartet, one of 1st permanent parties to tou:
England); open scholarship, R.C.M. London;
début at Crystal Palace under Manns; founded
Grimson Str. Quartet (Monday and Saturday
Popular Concerts, Broadwood Concerts, pro-
vinces).-E.-H.
201
GRÖNDAHL, Olaus Andreas. Norwegian
singing-master, condr. compr. b. Christiania,
6 Nov. 1847. Matriculated in 1866; pupil of
Cons. in Leipzig 1870-3. In 1873, pupil of
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GRÖNVOLD
Lindhult in Cologne. In 1890, teacher of singing
at Military School; in 1899 at Univ. in Chris-
tiania. Founded in 1878 Gröndahl's Choir, which
has given masterly performances of ecclesiastical
and secular works for mixed choir. Condr. of
Craftsmen's Choral Soc. 1884-90; of Students'
Choral Soc. 1888-1912; of Merchants' Choral
Soc. 1888-1902. Has conducted concert-tours at
home and abroad (Students' Choral Soc. Amer.
tour, 1905; combined choir of different societies,
Paris, 1900, etc.). As leader of male choirs and
as instructor in singing his name is known all
over the country. He was State Inspector of
Singing. Married the pianist and compr. Agathe
Backer-Gröndahl.
Foran Sydens Kloster (Before a Southern Cloister),
for soli, chorus and orch. (text by Björnson); compus.
for male choirs (including the poetical Young Mag-
nus).-J. A.
GRÖNVOLD, Hans Aimar Mow. Norwegian
writer on music; b. Saude (Telemark), 26 June,
1846. Under-Secretary of State (Department
of Public Works) 1885-1905; from 1905 cabinet
secretary to King Haakon VII. Mus. critic to
Christiania journals Aftenbladet, 1867-81, and
Aftenposten, 1881-6. Has written Frederic
Chopin (Christiania, 1878); Norwegian Musicians
(Christiania, 1883) and the section on Norwegian
music in Norway in the XIX Century (1900-2).
-U. M.
GROSZ, Wilhelm. Austrian compr. b.
Vienna in 1894. Ph.D. (musicology) at Vienna
Univ. 1920. Pupil of Franz Schreker at Acad.
of Vienna 1920-1; condr. at National Theatre,
Mannheim. Now lives in Vienna. A musician
of great knowledge, with conservative leanings
and a marked tendency towards the grotesque.
Many songs; pf. pieces (Symphonische Variationen,
op. 9, and a very pleasing Dance-Suite); orch.:
Serenade, op. 5, and a Dance, op i made into Sulte,
7. Scenic music for
Werfel's Spiegelmensch
op. 12). All publ. in Univ. Ed.-P. ST.
GROVLEZ, Gabriel. Fr. compr. b. Lille,
4 April, 1879. Stud. at Paris Cons. 1st prize
for pf. 1899 (Diémer's class); harmony with
Lavignac; cpt. and fugue with Gédalge; compn.
with Gabriel Fauré. Started his career as pf.
virtuoso; prof. for 10 years, of advanced pf.
course at Schola Cantorum; chorus-master and
condr. at Opéra-Comique; then mus. dir.
Théâtre des Arts for mus. plays of Jacques
Rouché; condr. at Paris Opéra since 1914;
in 1921 spent a season as condr. of Chicago opera.
Symph. works: Madrigal lyrique; La Vengeance
workeus: Le Reposoir des Amants.
Cour de Rubis; La Princesse au jardin (1920);
Maimouna (ballet, 1921); Au vrai arbre de Robinson
(ballet, 1921, Chicago); Le
Carabas
opéra-bouffe); Peyche lyric dramarquis de C
Sonatas for pf.
and vn.; many pt. pieces (L'Almanach aux images;
London Voluntaries [Augener]); songs.-A. C.
GROZ, Albert. Fr. compr. b. Lyons, 1873.
Was pupil of Eugène Gigout and V. d'Indy at
Schola Cantorum, where he taught cpt. (1905-13).
From 1905-10, produced 5 works at Société
Nationale.
Heures d'été, 6 preludes and melodies (1902-3;
Cantique des Créatures de St. François d'Assise (b. voice
and orch.), produced under V. d'Indy (Paris, Rouart
& Lerolle); Epithalame, pf. sonata (Paris, Demets,
1905); pf. and vn. sonata; Les Amours de Marie,
6 songs (Rouart & Lerolle).-M. L. P.
202
GUDEHUS
GRÜNFELD, Alfred. Hungarian pianist; b.
Prague, 4 July, 1852; d. Jan. 1924. Taught in
Prague and Berlin before settling down in Vienna,
and becoming one of the most Viennese of artists.
Many concert-tours. Some pf. compns.; operetta,
Der Lebemann (Vienna, 1903); comic opera,
Die Schönen von Fogaras (perf. 1907).
charm of touch and poetical rendering showed
best in Schubert, Liszt, and Schumann. On his
70th birthday he was publicly fêted.-P. ST.
His
GRUODIS, J. See LITHUANIAN MUSIC,
GRUSZCZYŃSKI, Stanisław (phon. Groosh-
chynski). T. singer; b. Warsaw, 1890. Till 1915
he was a waiter in a hotel-restaurant in Warsaw.
His voice was discovered by chance; 1 year later,
was enabled to appear as Lohengrin and Canio
at Warsaw, Berlin and Hamburg. Became an
eminent singer, and appeared in Milan, Madrid,
and other citics.-ZD. J.
GUARNIERI, Antonio. Ital. condr. b. Venice,
1881. Was condr. with Arturo Toscanini at La
Scala, Milan. Came from a family of musicians
and, whilst very young, completed his studies
in cello, pf. and cpt. in his native city. First
part of career was that of cellist; gave numerous
concerts in Italy and abroad; also belonged to
Martucci Quartet. Having gained a footing
subsequently as one of the best of the younger
condrs., he rapidly won a high reputation both
in the theatre and concert world. Is also good
compr.; some of his vocal chamber-music has
been publ. by Ricordi.-D. A.
GUARNIERI, Francesco. Ital. violinist; b.
Venice, 1867. Brother of Antonio Guarnieri.
Before being appointed prof. in Liceo Mus.
Benedetto Marcello, Venice, he resided for a
long time in France, where he had stud. at
Paris Cons. under César Franck; also lived in
England and Russia, making successful concert
tours and taking part in quartets. In Paris,
founded the International Soc. of Chamber-
music. Comp. 2 operas, a sonata and vn. con-
certo. Undertook for Ricordi the editing of
classical vn. works.-D. A.
GUDAVIČIUS, J. See LITHUANIAN MUSIC.
GUDEHUS, Heinrich. Ger. operatic t. b. Al-
tenhagen, near Celle (Hanover), 30 March, 1845;
d. Dresden, 9 Oct. 1909. At first a school-
teacher in Kleinlehnen, Celle and Goslar, in
which
town he was also orgt. at St. Mark's
Ch. When at Goslar he took singing lessons from
Frau Schnorr von Carolsfeld in Brunswick, by
whom he was recommended to von Hülsen,
gen. manager of Berlin R. Opera House, who
engaged him in 1870 for that theatre. He made
a successful début as Nadori (Jessonda), but left
stage after 6 months, to study further under
Luise Resz in Berlin. Not till 1875 did he again
appear, when he sang successively in Riga,
Lübeck, Freiburg-i-Br., Bremen (1878). From
1880 to 1890 member of Court Opera Company
(Court chamber singer), Dresden; at the German
opera in New York, winter of 1891; appeared
(1895-6) at Court Opera, Berlin. Latterly he
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GUERRERO
lived in retirement in Dresden. He created the
part of Parsifal in Bayreuth (1882).-A. E.
GUERRERO, Alberto Garcia. Chilean pianist.
and compr. b. Serena, 1886. Self-taught; has
a marvellous technique; toured U.S.A. (New
York, New Orleans, Philadelphia, etc.).
His
pieces are mostly for pf. His Valse triste is
known throughout N. and S. America. In 1918,
he accepted invitation of Jan Hambourg, dir.
of Toronto Cons. to take charge of pf. section
there, where he continues to work.-A. M.
GUERRINI, Paolo. Ital. priest, and patron
of studies in sacred music; b. Bagnolo Mella,
near Brescia, 18 Nov. 1880. In review Santa
Cecilia of Turin, he has publ. important studies
of liturgical and mus. history; an Ital. ed., with
index, of Cardinal Katschthaler's History of
Sacred Music; biographical studies of Luca
Marenzio, Gregorio, Francesco and Giulio Cesare
Turini and other composers of Brescia.-D. A.
GUERVÓS, José María. Span. pianist and
compr. b. Granada. First lessons from his
father (orgt. and compr.), continuing studies
at R. Cons. de Música, Madrid; 1st prize for pf.
1899. Founder, in collab. with famous cellist
Pablo Casals, of chamber-music soc. in 1895.
Pianist of the Cuarteto Francés in 1909. Has
attained great distinction as an accompanist and
soloist in concert-tours with Gayarre, Sarasate,
Antonio F. Bordas and others. Since his 22nd
year, prof. at R. Cons. Madrid, teaching vocal
ensemble, opera and pf. Since 1917, prof. of pf.
acc. there. Author of a new system of mus.
notation in which the two staves, used for pf.
and organ music, are united in one of ten lines
called decagrama. The treble and bass staves
are unified by one C clef on the 6th line. The full
system, which extends to new classification of
scales, key-signatures, etc., would demand a
lengthy exposition. As a compr. he is specially
noted for refinement of style in songs and pf.
pieces previous to the Albeniz period.
Musical comedies: Piquito de Oro, 1 act; Aretino
(both in collab. with the compr. Tomás Barrera);
La Buenaventura, 1 act (in collab. with compr.
Amadeo Vives); A estudiar a Salamanca; El Lagar,
1 act (in collab. with the compr. Carbonell). For pf.:
Allegro de Concierto; Pensamientos, in 3 books.
(Unión Musical Española, Madrid.)-P. G. M.
GUERVÓS, Manuel. Span. pianist and compr.
b. Granada, 1863; d. 1902. Like his brother
José María, received first lessons from his father;
stud. later at R. Cons. de Música, Madrid, where
he obtained 1st prize for pf.-playing. Started
career as soloist at 12, touring afterwards with
Isaac Albeniz and with Sarasate, of whom he was
the favourite accompanist. Wrote many pf.
pieces (influenced by Albeniz's early works);
coll. of mazurkas in Chopin's style.
Span. pieces show a delightful ingenuity and
spontaneity which accounts for their lasting
popularity. (Unión Musical Española, Madrid.)
-P. G. M.
His
GUGLIELMI, Filippo. Ital. compr. b. Ceprano,
15 June, 1859. Stud. at Naples under D'Arienzo,
then in Rome under Eugenio Terziani; in his
youth, enjoyed friendly intercourse with Liszt.
GUILDHALL SCHOOL OF MUSIC
His
Made himself known by several symph. works,
passing then to the theatre with his operas
Atala, Pergolese, Matelda, and I figli della gleba.
His most noted opera is Le Eumenidi (libretto by
Fausto Salvatori; perf. Treviso, 1905).
symph. poems, Pellegrinaggio a Monte Autore
and Tibur, have been perf. at the Augusteo,
Rome. A study on G. was publ. by A. De
Angelis in review La Nuova Antologia, Aug.
1912.-D. A.
GUI, Vittorio. Ital. condr. and compr. b.
Rome, 14 Sept. 1885. Completed his literary
studies, and at the same time went through his
mus. studies at the R. Liceo Mus. di Santa
Cecilia. Started his career as condr. 1907 at
Teatro Adriano, Rome, whence he went on
immediately to the Regio Theatre, Parma, the
Regio at Turin and the San Carlo at Naples.
Début as concert-condr. at the Augusteo, where
he returned many times. 1922-3 was engaged
at Costanzi Theatre, Rome. G. is an admired
compr. of orch. works and vocal chamber-music,
an able writer and critic, as well as one of most
esteemed of the younger Ital. condrs.-D. A.
Ombre Cinesi (Rome, Casa
Musicale It Quattro Canti della morte, Com-
miato, Ritorno (Bologna, Pizzi).-D. A.
Scherzo
GUIDÉ, Guillaume. Belgian oboist; b. Liège,
7 April, 1859; d. Brussels, 19 July, 1917.
Pupil of Liège Cons.; prof. of ob. at Brussels
Cons. from 1885. Dir. of Théâtre de la Mon-
naie (with Maurice Kufferath) from 1900 to
death. A first-class oboist (V. d'Indy dedicated
to him his Fantasia for orch. and ob.), he
occupied a leading place in Belgian mus. life
from 1890 to 1914.-C. V. B.
GUILDHALL SCHOOL OF MUSIC, London.
In 1879 an orchestral and choral society, chiefly
amateur, gave occasional concerts in the Guild-
hall. From these beginnings in Sept. 1880, the
G.S.M. commenced operations in an empty wool
warehouse in Aldermanbury, with Weist Hill,
Principal, and 62 students; at end of that year
there were 216 pupils, taught by 29 professors.
In 1885 the scholars had increased to a surprising
extent, and it became absolutely necessary to
provide a building specially adapted for music-
teaching purposes. In July 1885, the Chairman
of the Music Committee laid the foundation-
stone of the present school in Tallis Street. It
was opened for students in 1887. It contains 42
class-rooms, a concert-room, necessary offices,
and a suite of 5 rooms, now used by the pro-
fessors as a club. From 1892-96 Sir Joseph
Barnby was Principal. In the latter year Dr.
Cummings was appointed on the death of
Barnby. Sir Landon Ronald was appointed in
1910. In 1898 a further increase of students
rendered yet more accommodation necessary,
and the Music Committee obtained permission
from the Corporation to build an annexe on
land in John Carpenter Street, adjoining the old
building. This includes a theatre, fitted with
stage. There are over 100 professors on the staff
which during the last 40 years has included many
famous musicians: Prout, Stainer, Cusins,
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GUERRERO
lived in retirement in Dresden. He created the
part of Parsifal in Bayreuth (1882).-A. E.
GUERRERO, Alberto Garcia. Chilean pianist
and compr. b. Serena, 1886. Self-taught; has
a marvellous technique toured U.S.A. (New
York, New Orleans, Philadelphia, etc.). His
pieces are mostly for pf. His Valse triste is
known throughout N. and S. America. In 1918,
he accepted invitation of Jan Hambourg, dir.
of Toronto Cons. to take charge of pf. section
there, where he continues to work.-A. M.
GUERRINI, Paolo. Ital. priest, and patron
of studies in sacred music; b. Bagnolo Mella,
near Brescin, 18 Nov. 1880. In review Santa
Cecilia of Turin, he has publ. important studies
of liturgical and mus. history; an Ital. ed., with
index, of Cardinal Katschthaler's History of
Sacred Music; biographical studies of Luca
Marenzio, Gregorio, Francesco and Giulio Cesare
Turini and other composers of Brescia.-D. A.
GUERVÓS, José María. Span. pianist and
compr. b. Granada. First lessons from his
father (orgt. and compr.), continuing studies
at R. Cons. de Música, Madrid; 1st prize for pf.
1899. Founder, in collab, with famous cellist
Pablo Casals, of chamber-music soc. in 1895.
Pianist of the Cuarteto Fran
1909. Has
attained great distinction as an accompanist and
soloist in concert-tours with Gayarre, Sarasate,
Antonio F. Bordas and others. Since his 22nd
year, prof. at R. Cons. Madrid, teaching vocal
ensemble, opera and pf. Since 1917, prof. of pf.
acc. there. Author of a new system of mus.
notation in which the two staves, used for pf.
and organ music, are united in one of ten lines
called decagrama. The treble and bass staves.
are unified by one C clef on the 6th line. The full
system, which extends to new classification of
scales, key-signatures, etc., would demand a
lengthy exposition. As a compr. he is specially
noted for refinement of style in songs and pf.
pieces previous to the Albeniz period.
Musical comedies: Piquito de Oro, 1 act; Aretino
(both in collab. with the compr. Tomás Barrera);
La Buenaventura, 1 act (in collab. with compr.
Amadeo Vives); A estudiar a Salamanca; El Lagar,
1 act (in collab. with the compr. Carbonell). For pf.:
Allegro de Concierto; Pensamientos, in 3 books.
(Unión Musical Española, Madrid.)-P. . M.
GUERVÓS, Manuel. Span. pianist and compr.
b. Granada, 1863; d. 1902. Like his brother
José María, received first lessons from his father;
stud. later at R. Cons. de Música, Madrid, where
he obtained 1st prize for pf.-playing. Started
career as soloist at 12, touring afterwards with
Isaac Albeniz and with Sarasate, of whom he was
the favourite accompanist. Wrote many pf.
pieces (influenced by Albeniz's early works);
coll. of mazurkas in Chopin's style.
Span. pieces show a delightful ingenuity and
spontaneity which accounts for their lasting
popularity. (Unión Musical Española, Madrid.)
His
--P. G. M.
GUGLIELMI, Filippo. Ital. compr. b. Ceprano,
15 June, 1859. Stud. at Naples under D'Arienzo,
then in Rome under Eugenio Terziani; in his
youth, enjoyed friendly intercourse with Liszt.
GUILDHALL SCHOOL OF MUSIC
Made himself known by several symph. works,
passing then to the theatre with his operas
Atala, Pergolese, Matelda, and I figli della gleba.
His most noted opera is Le Eumenidi (libretto by
His
Fausto Salvatori; perf. Treviso, 1905).
symph. poems, Pellegrinaggio a Monte Autore
and Tibur, have been perf. at the Augusteo,
Rome. A study on G. was publ. by A. De
Angelis in review La Nuova Antologia, Aug.
1912.-D. A.
GUI, Vittorio. Ital. condr. and compr. b.
Rome, 14 Sept. 1885. Completed his literary
studies, and at the same time went through his
mus. studies at the R. Liceo Mus. di Santa
Cecilia. Started his career as condr. 1907 at
Teatro Adriano, Rome, whence he went on
immediately to the Regio Theatre, Parma, the
Regio at Turin and the San Carlo at Naples.
Début as concert-condr. at the Augusteo, where
he returned many times. 1922-3 was engaged
at Costanzi Theatre, Rome. G. is an admired
compr. of orch. works and vocal chamber-music,
an able writer and critic, as well as one of most
esteemed of the younger Ital. condrs.-D. A.
Scherzo fantastico, Ombre Cinesi (Rome, Casa
Musicale Italiana); Quattro Canti della morte, Com-
miato, Ritorno (Bologna, Pizzi).-D. A.
GUIDÉ, Guillaume. Belgian oboist; b. Liège,
7 April, 1859; d. Brussels, 19 July, 1917.
Pupil of Liège Cons.; prof. of ob. at Brussels
Cons. from 1885. Dir. of Théâtre de la Mon-
naie (with Maurice Kufferath) from 1900 to
death. A first-class oboist (V. d'Indy dedicated
to him his Fantasia for orch. and ob.), he
occupied a leading place in Belgian mus. life
from 1890 to 1914.-C. V. B.
GUILDHALL SCHOOL OF MUSIC, London.-
In 1879 an orchestral and choral society, chiefly
amateur, gave occasional concerts in the Guild-
hall. From these beginnings in Sept. 1880, the
G.S.M. commenced operations in an empty wool
warehouse in Aldermanbury, with Weist Hill,
Principal, and 62 students; at end of that year
there were 216 pupils, taught by 29 professors.
In 1885 the scholars had increased to a surprising
extent, and it became absolutely necessary to
provide a building specially adapted for music-
teaching purposes. In July 1885, the Chairman
of the Music Committee laid the foundation-
stone of the present school in Tallis Street. It
was opened for students in 1887. It contains 42
class-rooms, a concert-room, necessary offices,
and a suite of 5 rooms, now used by the pro-
fessors as a club. From 1892-96 Sir Joseph
Barnby was Principal. In the latter year Dr.
Cummings was appointed on the death of
Barnby. Sir Landon Ronald was appointed in
1910. In 1898 a further increase of students
rendered yet more accommodation necessary,
and the Music Committee obtained permission
from the Corporation to build an annexe on
land in John Carpenter Street, adjoining the old
building. This includes a theatre, fitted with a
stage. There are over 100 professors on the staff
which during the last 40 years has included many
famous musicians: Prout, Stainer, Cusins,
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GUILMANT
Barnett, Gadsby, Sauret, Wolff, Sims Reeves,
Cowen, and others. A large number of students
are received for a complete musical education,
though the bulk of the students are amateur.
Among the most famous pupils have been Myra
Hess, Carrie Tubb, Gladys Ancrum, Thorpe
Bates, Sybil Thorndike and Edna Best. There
are about 120 scholarships vacated annually.
-H. S. W.
GUILMANT, Alexandre. French organist
and composer; b. Boulogne-sur-Mer, 12
March, 1837; d. Meudon, near Paris, 20
March, 1911. Son of organist of St. Nicholas'
Ch., Boulogne. Alexandre cultivated organ-
playing at an early age, and in 1857 he took
his father's place, after having had a short
term of office at St. Joseph's. The greater
part of his vocal and religious compositions
date from this period. He spent part of his time
in teaching in schools and privately, and in
organising classical concerts, playing violin
or viola therein. But the organ attracted him,
and in 1860 a journey to Paris enabled him to
meet Lemmens, the celebrated organ-teacher
of the Brussels Conservatoire who had come
to France to open the organ at Rouen Cathedral.
Lemmens heard Guilmant play, and suggested
that Guilmant should study under him at
Brussels. He did this and after a month's work
of 6 to 8 hours a day, he was able, to use Lem-
mens's expression, "to fly with his own wings."
His course was now quite plain. Between 1862
and 1870 no new organ, however unimportant,
was inaugurated without the Boulogne organist.
Amongst these instruments, two, without peers,
gave him the opportunity of displaying his
talent in all its fullness, the organ of St.-Sulpice,
and of Notre-Dame, Paris. On the death of
Chauvet, Guilmant was called to succeed him
at La Trinité, and his talent entered on a new
phase. Admiration for the old masters took
a complete hold of him. The year 1878, in which
the immense organ of the Trocadéro was built,
saw him still more renowned. He was appointed
member of the Exhibition Commission, and in-
augurated the great organ concerts at which
all the chief organists agreed to play, and for
which, César Franck wrote his three well-known
pieces: Fantaisie in A, Cantabile, Pièce héroïque.
It was intended that the Trocadéro should be
demolished at the end of the Exhibition, but
Guilmant took steps to preserve the organ
and retain the half to carry on the concerts
alone, He popularised good music there for
many years. He toured widely; but England
and America attracted him most. He was
received for several days by Queen Victoria
at Windsor Castle; in Rome, he was received
by Leo XIII and decorated with the Order
of St. Gregory the Great. He was created
Chevalier of the Legion of Honour, Correspond-
ing Member of the Royal Academy of Stock-
holm, and Mus.Doc. (h.c.) of Manchester Univer-
sity. Besides the recitals already mentioned,
he was heard at the Concerts Lamoureux, in
Russia at Riga Cathedral, in Belgium at Laeken
204
GULBRANSON
(before the King of the Belgians) at Barcelona,
Spain; in Italy, etc. In Paris, he founded,
together with Charles Bordes and Vincent
d'Indy, the Schola Cantorum, where he accepted
the post of organ professor. He occupied a
similar post at the Paris Conservatoire (1896).
Amongst his most famous pupils were A.
Decaux, G. Jacob, J. Bonnet, Poillot, M. Dupré,
Achille Philip, Alex. Cellier, and in America,
William Carl and J. H. Loud.
As composer, he added to organ music many
unsuspected and valuable qualities.
2 symphonies, org. and orch.; 25 books of pieces
in different styles; 12 parts of the Practical Organist;
10 parts of Liturgical Organist; 8 sonatas (2 with
orch.) He ed. a repertoire of the Trocadéro Concerts,
the Historical Organ Concerts, the Ecole Classique de
l'Orgue, and the Archives des Mattres de l'orque, which
latter (with the prefaces and notes by André Pirro)
will be his chief glory. In it, he brought to light the
great masters whose music Bach so much admired
and copied out with his own hand. Messrs. Schott
& Co., London, now publ. all Guilmant's works,
many of them in a new ed. Consult A. Eaglefield-
Hull, The Organ Works of Guilmant (Monthly Mus.
Record, Sept. Oct. Nov. 1914).-J. B.
GUIMARAES. See PORTUGUESE OPERA.
GUIRAUD, Ernest. Fr. compr. and teacher;
b. New Orleans, 23 June, 1837; d. Paris, 6 May,
1892.
A compr. too little remembered, who
gained the Prix de Come at 22. His music,
picturesque and full of colour, has had some
influence on the generation of the eighteen-
eighties. His best-known work is the ballet
Gretna Green (1873). But he has written many
other dramatic works, especially some opéras-
comiques:
Sylvie (1864); Le Kobold (1870); Madame Turlupin
(1872); Piccolino (1876); La Galante Aventure (1882).
Saint-Saëns d perf. 1895). For orch.: Suite; over-
ture; Caprice for vn. Practical Treatise on Instru
mentation (posthumous) has summed up the lessons.
which he gave at the Cons. from 1876, when he was
prof. of harmony class, and afterwards (1880) of
compn. class, in succession to Victor Massé.-A. C.
GUITAR MUSIC and Players. See BARRIOS,
ANGEL; BRONDI, MARIA; FALLA, MANUEL DE;
MORENO TORROBA; PUJOL, EMILIO; SEGOVIA,
ANDRÉS; TÁRREGA, FRANCISCO.
GULBRANSON, Ellen. Norwegian dramatic
m.-sopr. singer; b. Stockholm, 8 March, 1863.
Since 1890, living in Christiania, being married
to Major Hans P. Gulbranson. Trained at Cons.
in Stockholm, afterwards under Mme. Marchesi
in Paris. Début in 1886 in Paris at a concert of
her own. Her 1st appearance in Scandinavia
was at chamber-music soirée given by Grieg in
Christiania in 1888. As an operatic singer, she
appeared for first time at R. Opera House in
Stockholm as Amneris in Aida. Appeared in
following years in Stockholm and Copenhagen
as Ortrud (Lohengrin), Elizabeth (Tannhäuser),
Brünnhilde (Valkyrie) and other roles. Her real
fame as a star of the first magnitude was won in
1896 and following years, when she for the first
time sang Wagner at the Bayreuth Fest., after
having stud. the parts under Cosima Wagner
herself. Became permanently attached to this
theatre as one of its best performers. By degrees
her powers of impersonation became more and
more concentrated upon the commanding figure
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GUND
of Brünnhilde, a rôle which she filled with all
the power and greatness of her personality, both
vocally and histrionically. In this character
from the ancient Norse saga she won her world-
wide fame. Twenty years ago she was regarded
as the most successful Brünnhilde of the day.
In Bayreuth she appeared for last time in 1914.
As a Wagnerian singer she has won triumphs in
Berlin, Vienna, London, Paris, etc. Owing to the
unsatisfactory state of affairs as regards opera
in Norway, she has had no opportunity of
appearing in her chief rôles in that country; but
in the concert-halls in Christiania and all over
the country, she has been greatly appreciated.
-R. M.
GUND, Robert. Compr. b. Seckenheim (Ger-
many), 18 Nov. 1865. Stud. at Leipzig Cons.,
then Vienna Cons.; pianist and teacher of
singing, Vienna, till 1913; Switzerland till
1922; then returned to Vienna. His style is
unpretentious yet melodious. His wife, Eliza-
beth Gund-Lauterburg, gave many concerts
of his songs in Germany and Austria. One of
his pupils is Ernst Kurth, the famous Swiss
writer on music.
Romantic Suite, pf. and vn.; 4tet, pf. vn. vla.
cello; str. 4tet; many songs; collection of Swiss
folk-songs (Univ. Ed. 1921).-P. P.
GURICKX, Camille. Belgian pianist; b.
Brussels, 29 Dec. 1848. Pupil of Auguste
Dupont at Brussels Cons.
His first appear-
ances as a pianist were so brilliant that the
Belgian Government granted him a subsidy,
with which he was to visit Germany. In Weimar
Édouard Lassen presented him to Liszt, who
took a liking to him, called him "mon petit
Belge," and continually advised him.
Début
in Paris in Vieuxtemps' salons, 1874.
After
several concerts in that city, made a tour in
Russia. In 1876 Rubinstein invited him to give
a recital at his house, which led to his giving a
whole series of concerts in England. He next
worked at compn. in Paris under Saint-Saëns.
Appointed prof. of pf. at Mons Cons. Played
in New York at Philh. Soc. On death of Auguste
Dupont, succeeded him as prof. of pf. at
Brussels Cons. A pianist of the best school,
a high-class teacher, giving equal attention to
interpretation and technique, he trained several
Amélie
of the best lady Belgian pianists:
Pardon, Swaels-Wauters, Claire Preumont,
Tambuyser, Van Neste and Simonard.-C. V. B.
GURIDI, Jesús. Span. compr., orgt.; b.
Vitoria, 25 Sept. 1886. Prof. of organ at Acad.
de Música Vizcaína, also at Cons. Vizcaíno
(organ and compn.). Orgt. at the Basílica
Señor, Santiago, and condr. of the Soc. Coral de
Bilbao. Amongst his ancestry is to be found a
prominent figure in the history of Span. mus.
decadence of XIX century- his great-grand-
father, the compr. and orgt. Don Nicolás Le-
desma, who died in 1883 at the advanced age of
92. Jesús G. made his début as a compr. at 13.
His real career did not commence until he re-
ceived serious tuition from Maestro Basabe, of
Bilbao; in 1904, he left Spain, under the patron-
GUSTAVSON
age of the Count of Zubiria, to study succes-
sively with d'Indy at the Schola Cantorum, Paris,
Joseph Jongen at Brussels, and Otto Neitzel at
Cologne. This diversity of influences did not
eradicate from him the characteristic faith of his
native province in the traditional ideals of the
Basque country. Foreign influence is only
detected in his technique-on which the Schola
Cantorum has left the deepest mark-his music
being mostly based on Basque themes or inspired
by Basque legends. This is perhaps why, in
association with Isasi and the late Usandizaga,
he is hailed by some as one of the founders of
a modern Basque school, as distinct from the
rest of Span. comprs. Whether or not the mere
difference in choice of thematic material affords
solid ground to establish that distinction, the
fact remains that G. is one of the chief figures.
amongst contemporary Spanish symphonists.
For pt.: Ocho cantos vascos; Tres piezas breves;
for v. and pt.: Nere Maitia; Melodias populares;
Paysage; Tres miniaturas; Canción de niño. Vs.
unaco. Tres series de cantos populares scos, 4, 6
vs.
Principe
triste; Dia de campo. Children's chorus and orch.:
Así cantan los chicos. Solo v. and orch.: Saison des
semailles.
ludio; Fantasia antasia: Improvisación; Pre
Villancico.
Orch.: Egloga, Leyenda Vasca, Una Aventura de Don
luijote. Or
and corps de ballet: Esceng
vasca. Operas: Mirentxu, 2 acts; Amaya, 3 acts and
epilogue, first perf. Bilbao, 22 May. 1920; Madrid,
1923. (Unión Musical Española; Revista Sacro-
Hispana, Madrid; Maison Beethoven, Brussels;
Schott.) P. G. M.
GURLITT, Willibald. Ger. writer music; b.
Dresden, 1 March, 1889. Son of fine-art historian,
Cornelius Gurlitt, he passed out of the Annen-
schule, Dresden, to Leipzig Univ., where he stud.
mus, science (Riemann), and graduated Ph.D.
(biography and bibliography) with first part
of a comprehensive work on Michael Pratorius
(Leipzig, Breitkopf). Assistant of Mus. Science
Inst. of Univ. Leipzig. Wounded at Battle of
the Marne, Aug. 1914; prisoner of war in
France till 1919. In the autumn, 1919, lector
in mus. science at Univ. of Freiburg-i-Br.; 1920,
prof. in ordinary and dir. of seminary of
mus. science. Latterly he has devoted himself
specially to study of medieval (Gothic) music.
-A. E.
GURNEY, Ivor Bertie. Eng. compr. b.
Gloucester, 28 Aug. 1890. Choir-boy at Cath.
there; scholar R.C.M. London, under Sir
Charles Stanford, Herbert Sharpe, W. G.
Alcock and Vaughan Williams. As compr. G.
cultivates the smaller forms and achieves a
fine, clear, English style, which is marked by
an absence of the set-phrase thraldom, as well
as by a respect for the classical school.
G. is a keen student of the Elizabethan drama.
Orch. Gloucester Rhapsody; War Elegy; str.
4tets: I, D mi. (1911-12); II, A mi. (1922): III, E
(1922); pf. preludes; Ludlow and Teme, v. and str.
song-cycle on works by
Housman (Carnegie
award, 1924).-E.-H.
GUSTAVSON, Oscar, Norwegian violinist; b.
Horten, 3 Jan. 1877. Pupil of Gudbrand Böhn
(Christiania), Anton Witek (Berlin). 1st violinist
at National Theatre, Christiania, 1899-1907.
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GUTHEIL-SCHODER
Has lived for some years in Switzerland as
teacher and concert-giver.-U. M.
GUTHEIL-SCHODER, Marie. Opera-singer;
b. Weimar, 10 Feb. 1874. 1891-1900 at Hof-
theater, Weimar; since then at Vienna Opera.
Much influenced by Mahler. Together with
Anna Bahr-Mildenburg she is the chief re-
presentative of his style. A brilliant singer of
Mozart (Elvira, Susanna, Cherubino). Excels
in all kinds of parts (Iphigenia in Aulis, Carmen,
Manon, Nedda, Marie, Der Waffenschmied),
Frau Fluth, Rote Gred (Bittner), Salome, Elektra,
Octavian (Der Rosenkavalier), Potiphar (Joseph's
Legend). Her husband was Gustav Gutheil
(1868-1914), compr. and condr. at Weimar
and Vienna (1900-1910) and popular concerts.
of Konzert-Verein. Consult L. Andro, Marie
Gutheil-Schoder, in coll. Die Wiedergabe (Vienna,
1923).-P. ST.
GUZEWSKI, Adolf. Polish compr. b. Dyr-
wiany, Kovno; d. in Russia, 1917. Stud. at
Milan and Riga, then at Petrograd Cons. under
Solovief (theory) and under Dubassof (pf.).
After 1900, completed his studies under Nos-
kowski in Warsaw, Prof. at Warsaw Cons.
1906-15.
200
GYLDENKRONE
Operas: The Maiden of the Glaciers (Andersen's
tale); Atlantide. 2 sonatas for pf.;
vn.; Polish Rhapsody for orch.: Variatione & pf. and
orch.;
symphony in A ma. (the 2 last works received prizes
at Warsaw competitions); numerous songs. Has
publ. practical manual of orchestration.-ZD. J.
GUZMÁN, Father Juan Bautista. Span. orgt.
and compr. b. Aldaya (Valencia), 19 Jan. 1846;
d. 18 March, 1909. Pupil of José María Ubeda,
In 1872 orgt. at Cath. of Salamanca and later in
same year of Real Colegiata de Nuestra Señora
de Covadonga. In 1875, choirmaster at Avila
Cath.; 1876, held same position at Valladolid,
and in 1877 at Valencia. In 1889 became a
Benedictine, adopting name of Father Manuel de
Guzmán. He comp. religious music of slight
value. In 1889 publ. an annotated full-score ed.
of Obras musicales del insigne maestro español del
siglo XVII, J. B. Comes.-P. G. M.
GYLDENKRONE, Lona Gulowsen (Baroness
of Gyldenkrone). Norwegian operatic and con-
cert-singer (s.); b. Christiania, 30 Jan. 1848.
Pupil of Henrik Meyer, Christiania, and Pauline
Viardot, Paris. Début, Stockholm, 1876. Won
great recognition for her artistic singing and
intelligent interpretation. Since her marriage
in 1882 has lived in Copenhagen.-U. M.
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HAALAND, Ingebret. Norwegian violinist;
b. Stavanger, 8 Aug. 1878. Became in 1892 pupil
of Music Cons. in Christiania; took in 1896 the
organ examination; scholarship from Houen's
Bequest; stud. vn. under Florian Zajič in Berlin.
Became leading violinist in orch. of National
Theatre in Christiania, where he worked for 15
years; besides being orgt. at Akershus Slots-
kirke, and teacher of vn. at Music Cons. in
Christiania. Repeated concert-tours as violinist;
violinist in Arvesen Quartet at concerts in
Copenhagen, Stockholm and Paris. Has comp.
pieces for pf., pf. and vn., mixed and male
chorus.-J. A.
H
HAAPANEN, Toivo. Finnish musicologist;
b. 1889. Stud. in Helsingfors Univ. (Ph.M. 1918)
and Orch. School; and 1921 as scholar in Ger-
many. Has made researches in medieval Finnish
music. Publ. Verzeichnis der mittelalterlichen
Handschriftenfragmente in der Univ. Bibl. zu
Helsingfors, I, Missalia (1922). A musical critic
by profession, he has appeared as orch. condr.
in Helsingfors and other towns in Finland. Dr.
Haapanen is responsible for all the Finnish
articles in this Dictionary.-E.-H.
HAARKLOU, Johannes. Norwegian compr.
and orgt. b. Förde, Söndfjord, 13 May, 1847.
Pupil of Cappelen (organ), Ludv. M. Lindeman
(cpt.). Stud. at Cons. in Leipzig 1873-6, in Ber-
lin 1877-8 (Kiel, Bungert and Haupt); orgt. at
Gamle Akers Ch. Christiania, 1880-1920. Cond.
(1883 and 1885-8) symphony concerts at popu-
lar prices, first of kind in Norway, partly with
support of grants from State. The Parliament
granted him in 1889 a travelling scholarship; in
same year cond. his symphony in B ma. in Leip-
zig. His orch. works have frequently been perf.
in Christiania and Leipzig. A clever contra-
puntist; 1895-6, teacher at Music Cons. in
Christiania. Music critic for many years on daily
press. Granted a composer's pension by Parlia-
ment; member of the Commemorative Council
for Culture.
As a compr. his rare polyphonic endowment
has found expression in symphony, sonata and
oratorio. Also as a music-dramatist he holds a
prominent place. Like so many other Norwegian
musicians
Leipzig school, in his works
he bridges the romantic and the classical, while
emphasising the national element. In the minor
forms the specifically Norwegian has unfolded
itself most freely; for example the fine male-
choruses Varde and Fenrir.
cantatas; male choruses; vn. Fonata; pf. pieces:
Mostly publ. by
Leipzig.-J. A.
HAAS, Joseph. Ger. compr. b. Maihingen (Ba-
varia), 19 March, 1879. Pupil of Max Reger in
Munich and of Leipzig Cons. From 1911, teach-
ing compn. at Stuttgart Cons. (prof. 1916). At
Music Acad. Munich, since 1921. An excellent
compr., and his reliance on Reger brought.
him individuality, a true musical humour and
the cultivation of Post-Romantic feeling.
5 operas (From Olden Days; The Varangians in
Miklagaard; The Emigrant; Marisagnet (The Marian
Legend); Turfing); 3 symphonies (B ma., D mi.,
C ma.); oratorio, Skabelsen (The Creation): vn.
concerto; pf. concerto; orch. sulte, In Westminster
Abbey; Legend of St. Olav; minor orch. pieces;
Eulen-
Pf. works: op. 2 (Boto & Bock); op. 9 (Boston,
A. P. Schmidt); op. 10, Kinderlust (Louckart):
op. 16, Loose Leaves, 10 pieces (Rahter); Joyous
Moods (Rahter); op. 27, The Little Hobgoblin (Tischer
& Jagenberg); op. 35, Home Fairy Tales (Tischer);
op. 36, Joys of Youth (Forberg); op. 39, 7
spiegel Medley (Tischer); op. 42, Nameless Days of
op. 43, Home Fairy Tales (Tischer):
op. 46, i
A mi. (Lenckart); op. 51, German
Ring Dances and Romances (Tischer); op. 55, Farces
and Idylls (Mayence, Schott); op. 61, i and i.
sonatas. Organ works: op. 3, 10 choral preludes
(Forberg); op. 11, 3 preludes and fugues (For-
berg); op. 12, sonata, C mi. (Forberg); op. 15,
8 organ pieces (London, Augener); op. 20, suite,
D mi. (Robt. Forberg); op. 25, suite, A ma.
(Leuckart); op. 31, Variations on original theme
(Regensburg, Coppenrath). Also 2 sonatinas, v.
and pf. op. 4 (Bote & Bock); sonata, vn. anil
pf. B mi. op. 21 (Rahter): 2 grotesques, cello
and pf. o
f, op. 28 (4 Ghostly Hour, Piry Freakishness)
(Tischer); suite, vn. and pf. op. 40, The Blue Devils
(Tischer); Divertimento, str. trio, op. 22 (Kistner):
suite, ob, and pf., A Little Garland (Tischer); sonata
for horn and pf. op. 29 (Tischer): chamber trio for
2 vns. and pf., op. 38 (Tischer); str. 4tet, Diverti-
mento, op. 32 (Tischor); str. 4tet, A ma., op. 50
(Tischer); Serenade for orch., op. 41 (Tischer); Varia-
tions and rondo on old German folk-song, orch..
op. 45 (Louckart). Songs: op. 1 (Boto & Bock);
op. 5 (Forberg); op. 7 (Berlin, Dr. Heinrich Lewy);
op. 13, sacred songs for v. and organ (Leuckert);
op. 24 (Louckart); op. 33, Rum-bi-di-bum, 10 chil-
dren's songs on texts by Hoffmann v. Fallersleben.
(Tischer); op. 37, 5 Cuckoo Songs (Tischer); op. 47,
Trali-Trala, 12 children's songs (Fischer); op. 49.
6 songs on of
6 Christmas songs; symph. suite, v. and orch., Day
and Night, op. 58; choruses, op. 4, 7. 18, 26, 44.
-A. E.
HAAS, Robert Maria. Ger. Czechoslovaki
compr. b. Prague, 15 Aug. 1886; stud. under
Kretzschmar, Riemann, Adler, Rietsch; condr.
in Münster (Westphalia), Erfurt, Constance;
1911, Korrepetitor at R. Opera, Dresden; then
secretary of Corpus Scriptorum de Musica and of
D.T.Ö. in Vienna. Curator of music collection
at National Library, Vienna.
A new ed. of I
Bergknappen; B. L. Gass-
mann's" ning "in D.T.O.; F. L. Gassmann
in Adler's Studies in the Science of Music (in collab.
with G. Donath); in New Archives of Saxon History
1913 in volume
of I.M.G. for its 3rd Congress: trio-suite; str. 4tets;
pf. 5tets; vn. sonata; cello sonata; songs. -E. S.
HÁBA, Alois. Czechoslovak compr. b.
Vyzovice (Moravia), 1893. Stud. compn. at
Prague Cons. under Vítězslav Novák; at Mus.
Acad. in Vienna; at High School, Berlin, under
Franz Schreker. Stud. acoustics in Berlin Univ,
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HADLEY
In 1921 took Mendelssohn Prize. Is now living in
Prague. His first compus. attracted attention in
Germany, his Symphonic Phantasy for pf. and
orch. being played at Düsseldorf Fest. 1921. He
has lately become interested in the theory of
quarter-tones, and in this system he is com-
posing now. His pamphlet The Theory of
Quarter-tones in Harmony is publ. by Hudební
Matice Umělecké Besedy. He uses the quarter-
tones both melodically and harmonically.
ones
Pf. sonata; 3 str. 4tets (the second and
in quarter-tones); orch. overture; Symph. Phantasy,
pf. and orch.; phantasy for vn. solo; symph. music for
tone harmonium. (Publ. mostly in Univ. Ed.
Vienna; some by Hudební Matice, Prague.)-V. ST.
He
HADLEY, Henry Kimball. Amer. compr. b.
Somerville, Mass., U.S.A.,20 Dec. 1871. Educated
in the Somerville public schools. His father,
musician, gave him his first lessons on pf. and
vn. Later he was student at New England Cons.
in Boston under Stephen Emery and G. W.
Chadwick. In 1893-4 he toured America with
Schirmer-Mapleson Opera Co. as condr.
made his debut as an orchestral compr. in 1894,
when an overture, Hector and Andromache, was
perf. for the Manuscript Soc. in New York under
bâton of Walter Damrosch. The same year he
went to Tienna to study cpt. under Mandy-
czewski. In 1895 he returned to America and
was engaged as music-master at Cath. School
of St. Paul's in Garden City, Long Island, N.Y.
Here he taught pf. and vn. and was orgt. and
choirmaster as well. He remained in Garden
City until 1902, composing much church music
and some orch. works. His 1st symphony,
Youth and Life, op. 25 (unpubl.), was perf. at
a concert of the Manuscript Soc. in New York
by an orch. cond. by Anton Seidl, 16 Dec. 1897.
In 1901 his 2nd symphony, The Seasons, op 30,
won 2 prizes, the Paderewski Prize and the Prize
of the New England Cons. of Music. In 1899 his
cantata In Music's Praise gained a prize offered
by the publ. house of 0. Ditson in Boston, and
was produced by the People's Choral Union of
New York under Frank Damrosch.
The years 1904-9 were spent in Germany,
where he gave concerts in many cities, per-
forming his own works. In 1908-9 he was a
condr. at the Stadttheater in Mayence, where
he brought out his 1-act opera Safie. He
returned to America in 1909 to conduct the
1st perf. in Chicago of his Rhapsody for orch.,
The Culprit Fay, which had won the $1000
prize of the National Federation of Women's
Clubs. Then from 1909-11 he cond. the Sym-
phony Orch. in Seattle, Washington, and from
1911-15 he held a similar position in San Fran-
cisco. After this he returned to the East. On
18 Dec. 1917, his opera Azora was produced by
Chicago Opera Co. In 1918 his 1-act opera
Bianca won prize of $1000 offered by Mr.
Wade Hinshaw, by whose Soc. of Amer. Singers
the work was first sung in New York, 18 Oct.
1918. On 31 Jan. 1920, the Metropolitan Opera
in New York produced his op. 90, Cleopatra's
Night, an opera in 2 acts. A symph. poem, The
Ocean (op. 99), was first perf. by the Philh.
HÄGG
Orch. in New York, 17 Nov. 1920, and a Christ-
mas cantata, Prophecy and Fulfilment, was sung
at a children's concert of Philadelphia Orch. in
Dec. 1921. His Resurgam (op. 98) for soli, chorus
and orch. was perf. at Cincinnati Mus. Fest. 1923,
and by London Choral Soc. at Queen's Hall,
8 April, 1924, when The Ocean was also given
under the compr. Since 1920 he has been
associate-condr. of New York Philh. Soc.
H. is one of the most active and prolific of living
Amer. comprs. He has cultivated all the large
and small forms. His style, though showing a
natural evolution and development as the years.
went by, has been remarkably consistent and
unified. He has made no violent attempt to
borrow new or startling effects from the repre-
sentatives of revolutionary tendencies in art.
Fertile melodic invention, freshness and manly
straightforward expression in the idiom in which
he had been brought up and solid technical
acquirements mark his work from beginning
to end.
Symphonies: No. II, The Seasons, op. 30 (A. P.
Schmidt, 1902); No. IV, North, East, South, West,
Symph. Fantasia for orch. op. 46 (id. )
tone-poem for orch. op. 55 (Berlin, Ries & Erler,
1906); rhapsody, The Culprit Fay, op. 62 (Schirmer,
1910); overture, Othello, op. 96 (id. 1921); 5tet in
A mi. for pt. and str. (id. 1919); concert-piece for
collo and orch. op. 61 (id. 1909); Azora, 3-act opera,
op. 80 (id. 1917); Bianca, 1-act opera (New York,
Flammer, 1918); Cleopatra's Night, 2-act opera
(Ditson, 1920); In Music's Praise, cantata, op. 21
Ode to drama for
and orch. op. 75, 1st perf. Worcester (Mass.)
Fest. 1917 (Schirmer, 1917); The New Earth, ode
for soli, chorus and orch. 85 (Ditson, 1919);
2 picces for vn. and pf. op. 36 (Schirmer, 1909);
A Prayer, vn. and pf. op. 86 (C. Fischer, 1920).
Resurgam, op. 98 (Ditson, 1922). About 150 songs.
-0. K.
HADOW, Sir William Henry. Eng. writer and
lecturer on music; Vice-Chancellor, Sheffield
Univ. (from 1919); b. Ebrington, Glos, 1859.
Educated at Worcester Coll. Oxford, of which he
became Fellow; ed. Oxford History of Music.
Knight 1918; C.B.E. 1920; Mus. Doc. of Oxford,
Durham and Wales; LL.D. St. Andrews. His
books on music rank with the finest critical
literature. He is also an able lecturer on music.
Pt. sonata (1884); str. 4tet (1885); song-albums
(1897; 1889; 1903; 1912); incidental music to Robert
Bridges' Demeter (1905); etc. Books: Studies in
Modern Music (Seeley & Co.), 1st series 1894; 2nd,
1895; Sonata-Form (Novello, 1896); A Croatian
Composer (J. Haydn), 1897; The Viennese Period
(Oxford History of Music),
Report, for the Carnegie 4 British Music, a
United Kingdom Trust,
HAGELSTAM, Anna (née Silfverberg). Fin-
nish singer; b. Abo, 20 Nov. 1883. Stud. singing
in Berlin (1907-10) and Paris (1911-16). Since
1911, has toured successfully in Finland, Paris,
Monte Carlo, Denmark, Norway and Sweden;
1919-20, appeared at Finnish Opera House.
Married the writer Wenzel Hagelstam in 1913.
-T. H.
HÄGG, Gustav W. Swedish orgt. compr. b.
Visby (Gottland), 28 Nov. 1867. Stud. R.
Cons. Stockholm, 1884-90; compn. under Joseph
Dente. In 1898, stud. in Germany and France;
1893, orgt. at St. Clara, Stockholm; 1904, sub-
prof. (harmony), R. Cons.; from 1908, prof.
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HÄGG
(organ). Has given many organ-recitals and also
played with orch. Member R.A.M. Stockholm,
1906.
op. 2
Meditation, op. 16 (Gehrman): 5 pieces,
(Univ. Ed.). Pf.: 6 pieces (1890; Hirsch): sonata,
op. 19, etc. Pf. trio. Vn. and pf.: Romances, op. 23,
E mi. (Hofmeister): E ma. (Gehrman): Liebeslied,
op. 27 (Hofmeister); Adagio with organ, op. 34
(Junne). Harmonium piecus; songs; Swedish folk-
tunes for pf.; choruses. In ms.: symphony in D;
str. 6tet; str. 4tet; 2 cantatas, soli, chorus, orch.
(1906; 1907).-P. V.
HÄGG, Jakob. Swedish compr. b. Östergarn,
Orch.
Stud. at R. Cons.
Gottland, 27 June, 1850.
Stockholm; orgt. dipl. 1867; member R.A.M.
Stockholm, 1917. Lives in Hudiksvall (Sweden).
Orch.: Suite, op. 3; concert-overtures, op. 26, 28;
Concert- Allegro, op. 52; 3 pieces, op. 62 (all comp.
1871): sonata, vn. and pf. (Dresden, 1872); sonata,
cello and pf. op. 1 (1871); pf. trio, op. 15; str. 4tet;
songs; pf. pieces.-P. V.
HAGMAN, Carl. Norwegian operatic t. singer;
b. Larvik, 16 Sept. 1874. Pupil of Fritz Arlberg
and John Forsell, Stockholm. Début in 897.
Engaged at various opera houses; amongst
others, National Theatre, Christiania, 1900-4,
1908-12 (Il Trovatore, Don José, Pinkerton,
Lohengrin, Radamès, etc.).-U. M.
HAHN, Reynaldo. Fr. composer; b. Caracas
(Venezuela), 9 Aug. 1874. Having come to
France at age of 3 he belongs to the French
school. At the Paris Conservatoire he was
pupil of Massenet and Lavignac. In his early
youth it might have been believed that he would
one day be an amazing musical genius, so
extraordinary were the signs which he gave of
artistic precocity, composing sonatas and sym-
phonies with astonishing harmonic accuracy
at an age when his fellow-pupils were toiling
over exercises on figured-bass. Unfortunately,
these precocious gifts did not develop with age
and he remained a fine musician, very culti-
vated, profoundly artistic, but without great
originality. Hahn has a most enthusiastic
admiration for Mozart and has revived on the
stage at the opera several of the master's operas
-Seraglio, Magic Flute. During the winter he
directs the opera in Cannes.
Opéra-comique, La Carmélite, 1902; balleta: Le Bal
de Béatrice d'Este (1909); Le Dieu Bleu (1911); music
songs of great charm, admirably written for voice, of
which several are deservedly popular: Chansons
grises, Idylles latines, etc. (Heugel).-H. P.
HÅKANSON, Knut Algot. Swedish compr. b.
Kinna, 4 Nov. 1887. Stud. compn. under Johan
Lindegren in Stockholm, 1906-8; under Ruben
Liljefors, 1913-14; pf. under Knut Bäck.
Condr. of Orch. Soc. of Borås; lives in Rydbo-
holm, near Borås.
Orch.: Sérénade dramatique, with vn. solo, op. 2
(1913); 2 festival marches, op. 3 (1915); concert
overture, op. 9 (1917); music to ballet Mylilla
1918); Romance, with vn. solo (1918);
gen. 12 (1921); Suite, op. 14 (1922).
Y
Songs with pf. and with orch.; pf. pieces; choruses;
chamber-music, etc. Publ. a remarkable arr. of the
songs of C. J. L. Almqvist (Ad. Bonnier, 1916).-P. V.
HALE, Philip. Amer, author, critic; b. Nor-
wich, Vt., U.S.A., 5 March, 1854. Admitted to
the Bar at Albany, N.Y., 1880. Had stud. music
under Dudley Buck and in 1882 abandoned law,
going to Germany, where he was pupil of Haupt,
Faisst and Rheinberger (organ) of Raif and
Scholz (pf.), and of Urban, Bargiel and Rhein-
berger (compn.). After this, stud. organ and
compn. under Guilmant in Paris. Returning to
America in 1887, he was orgt. of St. John's,
Troy, N.Y. In 1889, settled in Boston and was
orgt. of the First Religious Soc., in Roxbury,
Mass., from 1889-1905; and music critic for
Boston Post (1890-1), for the Journal (1891-
1903) and since 1903 for the Herald. Since 1901,
has ed. the programmes of Boston Symphony
These programmes form annual vols.
that run from 1400 to almost 2000 pages, and
contain, beside the annotations on the compns.
and the biographical sketches of the comprs.
and the soloists, a great many Entractes, essays
on topics of general mus. interest. They have
become a veritable cyclopædia of music and a
perfect treasure-house of information on Amer.
concert-life of the past 30 or 40 years. They
have furnished valuable data for the Amer.
articles of this Dictionary.-0. K.
HALEY, Olga. Eng. m.-sopr. singer; b.
Huddersfield, 10 Nov. 1898. First stud. under
parents, both musicians; then at R.C.M.
London and in Switzerland (1912-13); début
Albert Hall, London, 30 Sept. 1916; almost
immediately came to front rank as a singer of
the finest songs, especially those of contemporary
Fr. and Eng. comprs.; also made her first
appearance in opera as Carmen, Covent Garden,
B.N.O.C., June 1922.-E.-H.
HALL
HALFFTER ESCRICHE, Ernesto. Spanish
compr. b. Madrid, 16 Jan. 1905. Pupil of the
critic Adolfo Salazar, Oscar Esplá and Manuel de
Falla. With the perf. of some of his works in
1922-3 he revealed himself as a promising
artist of the school of Ravel and Stravinsky.
Chamber-music: str. 4tet (1923); Sonatina-fan-
tasia (1923); Dos bocetos (1923);
str. 4tet; 10 pieces, pf. vn. and cello, pes (1923),
Crépus
cules (1918); Trois pièces enfantines (1922); Marche
4 hands (1922). 5 by Heine
(1918) Automne Malade (Apollinairs), 1923; 3 pre-
ludes, pf. and v. without words (1923). Suite ancienne,
wind instrs. (1919). Orch.: Dos bocetos; Dos retratos
For stage. El amor alicorto. (All unpubl.
HALFFTER ESCRICHE, Rodolfo. Spanish
compr. b. Madrid, 30 Oct. 1900. According to
the critic Adolfo Salazar, he differs from his
brother Ernesto in revealing Schönbergian
tendencies.
Natures mortes (1922), for pf.; Piezas, for str. 4tet.
(1923). P. G. M.
HALL, G. W. L. Marshall. Eng. compr. b.
London, 1862; d. 19 July, 1915. Educated.
King's College London and at Oxford; stud.
at R.C.M. and in Germany and Switzerland;
condr. in London Organ School; Ormond Prof.
of Music, Melbourne Univ. Australia; resigned
later, but reappointed in 1914; founded Cons.
of Music in Melbourne; and in 1903 the Marshall
Hall Symphony Orch. His opera Stella was
produced in London in June 1914 at the Pal-
ladium.
3 operas; orch. works; str. 4tets; songs; etc.
-E.-H.
HALL, Marie. Eng. violinist; b. Newcastle-
on-Tyne, 8 April, 1884. First lessons by her
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HALL
father (harpist in Carl Rosa Opera Co.); ap-
peared as child-artist; heard by Sauret, he
recommended her to go to R.A.M. London, but
the project failed; later she had some lessons.
from Wilhelmj in London; and Max Mossel
in 1898; in 1901, under Ševčík in Prague; début
in Prague, Nov. 1902; Vienna, Jan. 1903; Lon-
don, St. James's Hall, 16 Feb. 1903; has toured
Great Britain and the Continent repeatedly;
also U.S.A., Canada, Australia, New Zealand,
India and S. Africa.-E.-H.
Her
HALL, Pauline. Norwegian compr. b. Hamar
in 1890. Pupil of Cath. Elling, Christiania.
Stud. in Paris, 1912-13; in Dresden, 1913-14,
under E. Kauffmann-Jassoy (harmony).
chief work, Suite for orch. (to poem by Ver-
laine), produced in Christiania, 1920, displays,
like her pf.-pieces and songs, a fine and dainty
artistry, somewhat influenced by the Fr. Neo-
Impressionists.-R. M.
HALL, Walter Henry. Amer. choral condr. b.
London, 25 April, 1862. Pupil of Harold Thomas
(pf.), Steggall (organ) and Banister (theory), for
4 years, at R.A.M. London. Went to America
1883; orgt. St. Luke's, Germantown, Pa., 1884-
90; St. Peter's, Albany, N.Y., 1890; St. James's,
New York, 1896-1913. In 1893 founded Brook-
(N.Y.) Oratorio Soc., of which he is still
condr. Since 1901, lecturer on music at Columbia
Univ., N.Y.; since 1913, prof. of church and
choral music and condr. of the Univ. chorus.
Author of Essentials of Choir-boy Training
(Novello, 1906).-J. M.
HALLÉ ORCHESTRA. Owed its inception to
intelligent anticipation of Committee of Art
Treasures Exhibition, Manchester 1857, when
they invited the late Sir Charles Hallé (then Mr.
Hallé), and invested him with plenary powers to
form an orch. to give perfs. of best music in hall
of Exhibition Buildings. The venture (in those
far-off days a very remarkable one) proved such
a success that Hallé was encouraged to take up
his permanent residence in Manchester, and to
give a series of orch. concerts on his own account
in the Free Trade Hall. Thus there came into
being "Mr. Charles Hallé's Grand Orchestral
Concerts," which were continued by him with-
out interruption until his death on 25 Oct. 1895,
after having completed his 37th annual series
of weekly orch. concerts (20 each season). It is
on record that at the conclusion of the first
season the business-manager presented Hallé
with ten threepenny-bits, this sum being the
net profit of the winter's work. Hallé died sud-
denly a few days before the first concert of the
1895-6 season. Fortunately for orch. music in
the north of England a committee of 3 public-
minded citizens determined to carry on Hallé's
work, and the Hallé Concert Soc. was formed.
This Soc. is a limited company, and as such
is registered at Somerset House, with guarantors.
instead of shareholders. Each guarantee is for
£100, the liability of which is terminated by
death of guarantor. Calls are made only in case
of loss, and by the vote of a majority of the
guarantors. By this unique and excellent scheme
210
HALLER
the Soc. has at call a large sum of money, the list
of guarantors being kept up to about 200. Fol-
lowing the death of their founder, the concerts
wore at first cond. by guest-condrs. (Sir Arthur
Sullivan, Sir Charles Stanford, Sir Joseph Barnby,
Sir Frederick Bridge, Sir Frederick Cowen, Sir
Alexander Mackenzie, Dr. Brodsky, Sir George
Henschel). During 1896-9 Sir Frederick Cowen
cond., after which Dr. Hans Richter was ap-
pointed resident-condr., and remained in charge
11 years, retiring eventually in 1911 owing to
ill-health. During Richter's régime the orch.
attained a high pitch of perfection, and a reputa-
tion travelling as far afield as Scotland and Ire-
land. It visited most of the large towns in the
north of England. Even London was invaded,
and a most successful fest. of Elgar's works was
given. Richter's successor was Michael Balling,
and he remained condr. until outbreak of war,
1914. Another season of guest-condrs. followed,
and in 1915 Sir Thomas Beecham became artistic
adviser and condr. On his resignation in 1920,
owing to his many other activities, Sir Thomas
was succeeded as permanent condr. by Hamilton
Harty. During each winter season, the orch.
gives, in addition to some 30 concerts at its
headquarters, Manchester, between 40 and 50
concerts in other towns including Bradford,
Bolton, Middlesbrough, Newcastle, Hull, Derby,
Hanley, Leicester, Leeds, Belfast and Dublin.
-J. A. F.
HALLEN, Johan Andréas. Swedish compr.
and condr. b. Gothenburg, 22 Dec. 1846. Stud.
there, also Leipzig (1866-8), Munich (1869),
Dresden (1870-2); singing-master and music
critic in Berlin, 1880-3; condr. of Philh. Soc.
Stockholm, 1885-95; at R. Opera, 1892-7; of
South-Swedish Philh. (Malmö) 1902-7; teacher
of compn. at R. Cons. Stockholm, from 1909;
prof. 1915; music critic, from 1909, to Nya
Dagligt Allehanda. H. is one of most important
Swedish comprs. in last decade of XIX century.
His orch. works and operas show dramatic
power, with a tuneful and harmonic flow. He
is considered a follower of Wagner but has his
own style. As condr. he has given in Sweden.
many great choral works of Bach, Mendels-
sohn, etc.
Operas: Harald Viking (Leipzig, 1881; Stock-
holm, 1884); Härfällan (Stockholm, 1896); Valde-
marsskallen (ib. 1899); Valborgsmassa (ib. 1902).
Stage-music to Saga of Gustavus Vasa (1896; arr. as
suite), Over Evne, etc. For orch.: 2 concert over-
tures; 2 rhapsodies; 4 suites; symph. poems:
A Summer-Saga; In the Autumn; Toteninsel; Sphä-
renklänge. Chorus and orch.: 4 ballades; cantatas:
Trollslottet;
Dion Christmas Oratorio (1904) Ballade and
Sverige; Requiescat;
songs with small orch, or pf.; pf. 4tet, op. 3; Album-
blätter for pf. Wrote a book, Musical Causeries
(1904).-P. V.
HALLER, Michael. Ger. compr. b. Neusaat
(Bav. Upper Palatinate), 13 Jan. 1840; d.
Regensburg, 4 Jan. 1915. Entered seminary for
priests at Regensburg Cath. Canonry (choir-boys'
Inst.); stud. church music under Schrems. In
1867, inspector of R. Inst., taking over the orch.
at same; 1899, elected to a capitular canonry.
Haller was an excellent compr. and wrote:
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HALM
4 5-v. masses; 6-v. Missa solemnis; 8-v. mass,
op. 92; 8 4-v. masses; 5-v. Lamentations; sev-
eral volumes 4-to 8-v, motets, psalıns, litanies,
offertories, Ave Maria, Te Deum. Some
secular music (Youth's Garland of Songs, Youth's
Treasure, etc.); songs
melodramas; str.
4 tets, etc. Essays for Kirchenmusikali
sches Jahrbuch; Composition Manual for Polyphonic
Church Singing (1891); Vademecum for Vocal In-
struction (1876, 12th ed. 1910): Modulations
Church Modes; collection of Exempla polyphonia
ecclesiastica.-A. E.
in
HALM, August. Ger. author, compr. b. Gross-
Theo-
Altdorf (Würtemberg), 26 Oct. 1869.
logical student at Univ. of Tübingen; then
to R. School of Music, Munich (Rheinberger,
Bruckner, Abel, Hieber, Lang); teacher of
music at Landerziehungshiem Haubinda (1903-6);
then Free School of Wickersdorf till 1910. Dir.
of male choral soc. of Ulm, 1910-11; teacher
of music at Higher City Schools there, 1912.
In 1913 held similar position in Stuttgart. In
Ulm during the war; now back at Wickersdorf.
Text-book, Harmonielehre (No. 120, Göschen Coll.)
vn. manual; pf. tutor, and the able works: On Two
Cultures of Music (Munich, 1913, Georg Müller); The
Symphonies of A. Bruckner (ib. 1914): The Frontiers
and Countries f Music (ib. 1916) J. S. Bach's
Concerto Form (Bach Year-Book, 1919). Pf. pleces;
str. 4tet, B flat ma.; 3 serenades, str. trio; 3 sonatas,
vn. alone; a symphony str. orch.; one for full
E.
orch.; pf. concerto,
HALSTEAD, Philip. Eng. pianist; b. Blackburn,
23 May, 1866. Stud. at Leipzig, 1885-8, under
Zwintscher, Carl Reinecke, Jadassohn. Awarded
bursary and Mozart Prize. Played at opening
concert of new Cons. Leipzig. Further studies in
Paris and Weimar (under Stavenhagen). Settled
in Glasgow. Played frequently with orch. under
Manns, and with Scottish Orch. Founded series
of chamber-music concerts for Art Inst. in Glas-
gow, 1913 (still successful). Teacher at Glasgow
Atheneum School of Music; Carnegie School in
Dunfermline. As performer, his chief successes
are in Mozart and other classics.-J. P. D.
HALVORSEN, Haldis. Norwegian singer; b.
Dale, Söndfjord, 22 Sept. 1889. Stud. singing at
home under Marie Irgens, Ellen Gulbranson and
Grace Morris, and abroad under Mme. Reuss-
Belce and Louis Bachner. After having given.
concerts in Christiania and Bergen, made
repeated concert-tours in her native country;
1918-21, s. in grand opera at Opéra-Comique,
Christiania. Her most important rôles are:
Elisabeth (Tannhäuser), Recha (The Jewess),
Delilah (Samson and Delilah). In 1922, gave
concerts in Berlin. Married the violinist and
conductor, Leif Halvorsen.-J. A.
HALVORSEN, Johan. Norwegian compr. b.
Drammen, 15 March, 1864. Trained as violinist
at Cons. in Stockholm and Leipzig, also under
César Thomson in Liège. Numerous concerts
in Norway and abroad; teacher of violin with
Philh. Soc. in Aberdeen and at Cons. in Hel-
singfors; leading violinist for Norwegian and
Swedish orchestras. 1893-9, condr. of orch. at
theatre in Bergen and leader of concerts of mus.
soc. Harmonien; 1899, condr. at new National
Theatre in Christiania, a position he still holds.
As leader of the symphony concerts in this
theatre, he has for many years occupied a pro-
HAMBOURG
minent position in the mus. world in Christiania.
Has occasionally cond. abroad, in Petrograd,
Helsingfors, Stockholm, Copenhagen, Berlin,
His orch. suite founded on Vasantasena
Paris.
was produced at Queen's Hall, London, by Sir
Henry Wood in 1898.
His compns, consist for the most part of theatre-
music, written for varlous Norwegian and foreign
plays that have been produced at National Theatre.
Arranged for concert performance, this music has won
recognition far beyond his own country (music to
play Gurre [Holger Drachmann), especially music to
anolent Indian play Vasantasena). There is also a
large number of works for orch., for male chorus, for
v. and vn. A work of his youth, Bojarernes indlogs-
marsch (Entrance-March of the Boyards (1893), is
played as march-music all over the world.
concert-pieces are Suite ancienne and the PaFourite
for vn. and vla. Two Norwegian Rhapsodies (1920 and
1921) have also been produced with success in
Christiania.
H.'s music shows some influence from hist
great compatriots, Grieg and Svendsen, but
nevertheless maintains its personal and national
character side by side with these compra. By
his compilations and adaptations of folk-songs
and dances, he has done good service.-R. M.
HALVORSEN, Leif. Norwegian violinist and
compr. b. Christiania, 26 July, 1887. Pupil of
Cons. in Christiania; scholarships for study in
Berlin, Paris and Petrograd (under Witek and
Leopold Auer). Concerts in Scandinavia. Leader
at Opéra-Comique, Christiania, 1918-21. Since
1920, condr. Cecilia Soc., Christiania; since
1921, condr. of Mercantile Association's Choral
Union in same city. As compr. attracted atten-
tion with his songs, pf. pieces and a couple of
orch. works (Légende rustique), as well as music to
Knut Hamsun's Growth of the Soil.-J. A.
211
HAM, Albert. British orgt. condr. compr.
b. Bath, England, in 1858. Boy-chorister and
assistant orgt. St. John's Ch.; later orgt. All
Saints', Bath; of Ilminster Parish Ch.; of St.
John's, Taunton. In 1898, went to Toronto to
be dir. of music at St. James's Cath.; also
lecturer and examiner in Toronto Univ. Founded
National Chorus of Toronto, which he has cond.
for 21 years (see CHORAL SOCIETIES). He is also
examiner in Univ. of Bishop's College, Lennox-
ville, Quebec; ex-president of Empire Club;
holds degrees of Mus.Doc. Trinity Coll. Dublin;
Mus.D. h.c. Toronto.
Cantata, Solitudes of the Passion; part-songs;
anthems; organ pieces (Novello); Pedal and Arpeggio
Studies; text-books: Musical Rudiments; Elementary
Harmony; Graces and Embellishments of the Bach-
Handel period.-L. S.
HAMBOURG, Boris. Russ. cellist; b. Voronez,
S. Russia, in 1884. Third son of late Michael.
Hambourg and brother to Mark, distinguished
pianist, and Jan, distinguished violinist. Began
his studies in London when 8 years old. After
devoting some time to piano, decided to make
cello his chief study, and took lessons from
Herbert Walenn and later from Hugo Becker.
In 1903, made concert tour in Australia and New
Zealand; 1904, appeared in Pyrmont, Germany,
at first Tchaikovsky Fest. held in that country.
1904-5 in Belgium as guest of Eugène Ysaye,
from whom he received valuable hints in inter-
pretation and style. London début, 1905. In
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HAMBOURG
1910, came to America, and, after appearing as
soloist in many cities, made his headquarters in
Toronto, taking part in founding the Hambourg
Cons. of Music of which he is now mus. dir. Has
appeared as soloist with Queen's Hall and Lon-
don Symphony Orch, besides many leading orchs.
in Europe and U.S.A.-L. S.
HAMBOURG, Jan. Violinist; b. Voronez, S.
Russia, 27 Aug. 1882. Brother of Mark H.;
stud. London (Wilhelmj, Sauret), Frankfort
(Hikeerman), Prague (Sevčík), Brussels (Ysaye);
début Berlin, 1905; has toured widely.-E.-H.
HAMBOURG, Mark. Pianist; b. Bogutchar,
S. Russia, 1 June, 1879. Stud. under his father
in London and in 1895 under Leschetizky in
Vienna; début Moscow Philh. March 1888;
since then, with all leading orchs.; several tours.
to America, Canada, S. Africa, and one world-
tour. One of the best-known of contemporary
pianists.-E.-H.
HAMERIK, Asger. Danish composer; b.
Copenhagen, 8 April, 1843; d. Frederiksburg,
Denmark, 13 July, 1923. Stud. under Gade and
Haberbier, subsequently (1860-3) under Bülow
and (1863-7) under Berlioz. In 1872, became
dir. of Peabody Cons. of Music, Baltimore,
U.S.A., holding post till 1898, founding a fine
orch. there. Retired to Copenhagen in 1898,
being knighted by King of Denmark in 1890.
His opera La Vendetta was perf. Milan in 1870.
7 symphonies; 2 choral trilogies; 4 operas;
Requiem; much chamber-music, including a pf.
4tet.-E.-H.
HAMILTON, Clarence Grant. Amer. educator;
b. Providence, R.I., U.S.A., 9 June, 1865. Edu-
cated at Brown Univ.; A.B. 1888; A.M. 1890.
Stud. music under Edward Hoffman, H. C.
MacDougall, Foote, Chadwick, Edward Dann-
reuther and Tobias Matthay. 1889-1904, orgt.
and teacher in his native city; 1904, associate-
prof. of music at Wellesley (Mass.) Coll.; since
1918, prof. During 1917-18 also lectured at
Boston University.
Piano Teaching, its Principles and Problems (Dit-
son, 1910); Sound, and its Relation to Music (id. 1912);
Outlines of Musical History (id. 1913); Music Appre-
ciation, based upon Literary Criticism (id. 1920);
9 chapters in Baltzell's History of Music (Pressor,
1905); ed. of The School Credit Piano Course (Ditson,
1918-19).-J. M.
HAMM, Adolf. Orgt. b. Strasburg in 1882.
Stud. organ under Prof. Münch, Strasburg,
and Karl Straube, Leipzig. Since 1906, orgt. of
Basle Cath., where he cond. the Bach Choir
(1911-22, founded by him) and the Basler
Männerchor (1915-20). One of best orgts. in
Switzerland and is also greatly appreciated in
Germany.-F. H.
HAMMER as mus. instr. Used by Mahler at
climax of Finale to his 6th (Tragic) symphony.
The effect is generally carried out there by a
blow of a wooden hammer on a kind of large
drum.-EG.
HAMMER, Birger. Norwegian pianist; b.
Bergen, 6 March, 1883. Pupil of Martin Knut-
zen, Christiania, Arthur Schnabel and Wilhelm
Klatte, Berlin. Début-concert, Christiania 1902.
Extensive concert-tours, especially in Central
HAMMERSTEIN
Europe. Teacher at J. Petersen's Pf. Acad.
Berlin.-U. M.
212
HAMMERICH, Angul. Danish mus. historian;
b. Copenhagen, 25 Nov. 1848. Brother of Asger
H. (who spells his name-Hamerik). While
pursuing cello study from youth, he was pre-
pared for an official career, and took degree
in political science at Univ. Copenhagen;
abandoned this calling to devote himself to
mus. criticism and mus. history. In 1880 be-
came member of editorial staff of the great daily
Nationaltidende, Copenhagen, and is still the
leading critic of that journal. But mus. history
gradually became his absorbing interest. He
wrote (with V. C. Ravn) the monograph com-
memorating Jubilee of the Musikforening (Music
Soc.) in 1886; in 1892, similar work upon
Jubilee of R. Cons. Copenhagen. In 1892, he
published his exhaustive and fundamental work
upon Music at the Court of Christian IV, and re-
ceived degree of Ph.D. at Univ. Copenhagen.
Extracts from this work (transl. into Ger. by
C. Elling) appeared in 1893 in Vierteljahrsschrift
für Musik-Wissenschaft. In 1896, was appointed
prof.-extraordinary in mus. history at Copen-
hagen Univ. He founded the Musico-Historical
Museum in Copenhagen, 1898, of which he issued
an illustrated catalogue (in Danish and Ger.).
Besides a long list of critical essays in Danish,
Swedish, Ger. and other foreign magazines, and
his important treatises on the famous ancient
Danish Lures (horns) of the Bronze Age, the old
historical organ at Frederiksborg Castle, the
sojourn of Gluck in Copenhagen, there are the
following books: Medieval Musical Relics of
Denmark, copiously illustrated with facsimiles of
mss. (1912; Eng. transl. by Margaret Williams
Hamerik; Leipzig, Breitkopf); J. P. E. Hart-
mann, biography (1916), and Danish Musical
History until about 1700 (1921), the first
exhaustive scientific history of earlier period
of Danish music. His pioneer work has been
most significant for the progress of mus. re-
search in Denmark. Dr. Hammerich is the
chief contributor of Danish articles (including
the one on LURES) for this Dictionary.-W. B.
HAMMERSTEIN, Oscar. Amer. impresario; b.
Berlin, in 1847; d. New York, 1 Aug. 1919. The
most industrious entrepreneur and builder of
large opera-houses known in the history of
opera. Came to New York penniless in 1863
and gained his livelihood as a cigar-maker, an
inventor of cigar- manufacturing machinery,
and as ed. of a tobacco-trade journal. Began
theatrical career in 1870, but did not build his
1st theatre until 1888 (Harlem Opera House).
For next 20 years his activities as a manager
were combined with those of a builder of theatres
(Columbus Theatre, Harlem Music Hall, Murray
Hill Theatre, the [1st] Manhattan Opera House,
Olympia, Victoria, Republic and Harris, all built
in New York). The second Manhattan Opera
House, a large theatre still used from time to
time for opera perfs., was built in 1906. Here
for 4 years H. was a dangerous rival of the
Metropolitan Opera, laying stress on Fr. opera,
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HANFSTÄNGL
and introducing a number of works not known
in America (Thais, Pelléas and Mélisande, Louise;
also Strauss's Elektra). In 1908 he built and
managed the Philadelphia Opera House. In
April 1910, he sold his interests to his rivals.
for $2,000,000, agreeing not to produce opera
in the cities in which the Metropolitan Opera
was accustomed to giving performances. There-
upon he built the London Opera House, which
opened on 13 Nov. 1911, with Nouguès's Quo
Vadis and where he also produced Holbrooke's
Children of Don. The season ended in disaster,
and he sold the theatre. Returning to America,
he built Amer. Opera House (now Lexington
Opera House), New York. His company had
been engaged and the opening announced, when
the Metropolitan secured an injunction and
performances were not begun. Was planning
resumption of activities when death interfered.
Consult H. E.
Chapters of Opera and
More Chapters Are 0. K.
HANFSTÄNGL, Marie (née Schröder). Ger. s.
singer; b. Breslau, 30 April, 1848; d. Munich,
5 Sept. 1917. Operatic singer, pupil of Viardot-
Garcia in Baden-Baden. At Théâtre Lyrique,
Paris, 1866; returned to Germany on outbreak
of war in 1870; engaged at Court Opera House,
Stuttgart, 1871. Married the photographer
Hanfstängl in 1873. In 1878 stud. further under
Vannucini in Florence; engaged at Stadt-
theater, Frankfort-o-M. In 1895 teacher of
singing at Hoch's Cons. there. Retired 1897,
spending her last years in Munich. Wrote My
System of Teaching Singing (1902).-A. E.
HANNIKAINEN, Ilmari. Finnish pianist;
b. Jyväskylä, 19 Oct. 1893. Son of P. J. Hanni-
kainen. Stud. at Helsingfors Univ. and Music
Inst. 1911-13; continued studies at Musik-
akademie, Vienna (Paul de Conne and Franz
Schreker), 1913-14; and under Siloti in Petro-
grad, 1915-17; principal pf. teacher Hel-
singfors Music Inst. 1917-19, and again since
1922. Has appeared with much success at con-
certs in Finland, Vienna, Paris, London, Copen-
hagen, Petrograd, Stockholm, and Riga. Has
comp. pf. concerto; pf. 4tet; pf. pieces; songs.
-T. H.
HANNIKAINEN, Pekka Juhani. Finnish
compr. b. Nurmes, 9 Dec. 1854. Until 1917,
music-lecturer at Seminary, Jyväskylä. 1st
condr. of Finnish students' choir Ylioppilas-
kunnan Laulajat, 1882-5; ed. of 1st Finnish mus.
paper, Säveleitä, 1887-91. Compr. of choruses
and songs. Lives at Helsingfors. T. H.
HANNIKAINEN, Tauno. Finnish cellist,
condr. b. Jyväskylä, 1896, Son of . Hanni-
kainen. Stud. in Helsingfors and abroad. Since
1922, 2nd condr. Finnish Opera House, Hel-
singfors.-T. H.
HANSLICK
other. The first is an ordinary keyboard. The
second is the same in construction, but is tuned
a semitone higher than first. The aim is to
simplify pf. technique. The black notes of first
keyboard may be substituted in playing for
white notes of second keyboard and vice
versa. (See BARBIER; SMULDERS.)-E. C.
HANSEN, Robert Emil. Danish cellist, compr.
b. Copenhagen, 25 Feb. 1860. Made his début as
cellist at age of 11. At 14 became a pupil of
R. Cons. Copenhagen; at 17 a member of R.
Chapel. Here he remained until called to Ge-
wandhaus Orch. Leipzig, where he soon advanced
to solo cellist and became known as talented.
compr. of symph. works in larger forms and orch.
condr. Returned to Denmark during the war;
at present dir. of Philh. Concerts, Aarhus
(Jutland).
Sonata, pf. and vn. op. 1; Deutsche Lurik, op. 2;
fantasy-pieces, ob. and pf. op. 3; cello concerto,
op. 5; Suite, str. and 2 horns (Copenhagen, Hansen);
trio, fl. vn. and cello, op. 13 (Leipzig, Zimmermann);
Johannesrosen, s. solo, male chorus and pf. op. 11
(Leipzig, Kahnt); cello pieces; songs.-A. H.
HANSLICK, Eduard. Austrian musicologist; b.
Prague, 11 Sept. 1825; d. Vienna, 6 Aug. 1904.
Stud. music in Prague under Tomaschek, and law
at Vienna Univ.; took LL.D. degree 1849; became
state official and at same time (1848) music-
critic (Wiener Zeitung; Presse, and, from 1864
to death, of Neue Freie Presse). From 1856
also private lecturer in aesthetics and history
of music, Univ. of Vienna; 1870-95, regular
prof.; since 1886 an aulic councillor, with title
Hofrat. His book Vom Musikalisch Schönen:
ein Beitrag zur Revision der Asthetik der Ton-
kunst (1854), repeatedly re-ed. and transl. into
several languages (1891 into English), quickly
made him known. In it, conforming to the ideas
of his time (especially those of Zeller and F.
Th. Vischer), he has thrown into relief the
formal elements. Turning entirely away from
the mus. aesthetics of the Romanticists (Wagner,
Liszt), music was for him intrinsically the
"art of beautiful sounds." Against him were
ranged F. v. Hausegger (Musik als Ausdruck)
and many others. His Geschichte des Konzert-
wesens in Wien, 2 vols., appeared in 1869-70;
his autobiography, Aus meinen Leben, in 1894.
As critic of the Neue Freie Presse, which at once
became the most influential paper, Hanslick
made for himself a position quite unique of its
kind-Der Musikpapst. The success of Brahms,
as well as the humiliation of Hugo Wolf and
Anton Bruckner for many years, were chiefly
due to him. He fought bitterly against Richard
Wagner, and the atter's Beckmesser was
originally to have been called Hans Lick. But
Hanslick was the ideal of his readers a well-
trained, clear, witty, often brilliant, stylist;
never too deep, always amusing, especially
when indulging in satire. His criticisms and
essays, interesting even now, were publ. in
colls.: Aus dem Konzertsaal 1848-68 (1870);
Konzertvirtuosen und Komponisten der letzten
Jahre (1870-85); Die moderne Oper, 9 vols.
(period 1878-1900); Suite (1884).-P. ST.
HANS, Pierre. Mus. instr. inventor; b.
Wasmuel, near Mons, Belgium, 14 Feb. 1886.
Stud. various instrs. Pupil of C. Smulders for
compn. Electrical and chemical engineering
at Liège Univ. Invented clavier-Hans (Hans
keyboard). This consists of an attachment to
pf. of 2 keyboards situated one behind the
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HARBURGER
HARBURGER, Walter. Ger. compr. and
writer on music; b. Munich, 26 Aug. 1888. Lives
in Munich,
Symphony, F mi.; mass, F mi.; Stabat Mater,
Harmonic series.
2
3
5
G 7
8
8-v., a cappella; 3 str. 4tets; pf. trio; sonata, vn.
and pf.; sonata, cello and pf.; 3 sonatas and 2
suites, pt.; suite for clavichord; sonatina for pf.;
4 inventions and fugues; 3, scherzi; Variations and
fugue, G ml.: WePhantasy (concert-piece), pf.;
organ pieces:
and fugue, C mi.;
Intro-
duction, adagio and triple fugue, D ma. Als
music to 2 pantomimes, The Magician and his
Shadow, The Decline of the West (ms.). As a musical
theorist, he attempted an a-priorístic derivation
of the laws of harmony, which partly encroaches
upon the domains of r
Outline of Musical Form (hematics and logic. Publ.:
(Munich, 1912); Metalogics:
Logic in Music as a Separate Section of an Exact
Phenomenology (Munich, 1919, Verlag für Kultur
und Politik); also an essay on political economy, The
State without a Rudder (1919).-A. E.
d'HARCOURT, Eugène. Fr. compr. condr.
b. Paris, 1861; d. March 1918. After his
studies at Cons. in Paris, attended lectures at
R. Acad. of Music in Berlin, till 1890. Having
devoted himself to mus. copaganda, which
he cond. with tireless energy, his object being
to educate the public, he built in 1892 a concert-
hall in Paris, which bore his name. He there
directed the Concerts éclectiques populaires,
which continued for nearly 3 years, and there
the public could hear the works of the great
masters for 50 centimes. Resumed in 1900,
under another form, Les Grands Oratorios à
l'église St.-Eustache in Paris. Their career did
not last long. Was planning the foundation
of Concerts Populaires du Jeu de Paume, when
he died. First appeared as compr. with a Mass
(Brussels, 1876).
3 symphonies, of which one, La Symphonie néo-
classique (Paris, Durdilly), while badly received in
Paris, had a certain success abroad (Antwerp, Wies-
baden, 1907, 1910). His opera Le T'asse (Durdilly),
was played in Monte Carlo (1903), Bordeaux, Ant-
werp, Ghent, etc. Has written 2 4tets, some songs,
cantatas, 2 ballets, etc., and unpubl. lyrical drama,
Severo Torelli.-M. L. P.
HARDING, Harry Alfred. Eng. orgt. b.
Salisbury, 25 July, 1855.. Stud. under Drs.
Corfe, Iliffe, Haydn Keeton; Mus.Doc. Oxon.
1882; borough orgt. Bedford; dir. of music,
Bedford School; hon. secretary of Royal
College of Organists (q.v.).
Church music; songs; cantata, Mucius Scavola
(Weekes) etc. Books: Analysis of Form in Beethoven's
Pf. Sonatas (Novello); Musical Ornaments (Weekes);
Allusiveness in Mus. Compn. (R.C.O. Calendar, 1908).
-E.-H.
HAREIDE, Olaf. Norwegian compr. and orgt.
b. Brunlanas, 24 Oct. 1880. Matriculated at
Univ. in Christiania 1900; pupil of Music Cons.
Christiania; stud. under Catharinus Elling; after-
wards at High School in Berlin. H. is working
as a pianist and music-teacher in Skien. A fine
lyrical talent is revealed in his pf. pieces, op. 1-3
(Norsk Musikforlag).-J. A.
HARMONICS (Overtones). Those sounds
resulting from the vibration of the string, pipe,
HARMONY
etc. fractions of its length, halves, thirds,
quarters, fifths, etc. They exist simultaneously
with the ground tone. The following shows the
series up to the sixteenth harmonic:
ble be
te O
9 10
11 12
13 14
15 16
HARMONY. (A) HISTORICAL INTRODUCTION.
The science of harmony seeks to discover the
principles which order the artistic relations of
successive groups of simultaneously sounded
notes.
The first step towards harmony was the simul-
taneous singing of the same melody by voices of
different range. Melodies were reduplicated at
the octave and also at the fourth and fifth; but
this cannot properly be called "harmonisation."
Nor can the singing of a melody against a single
sustained note be considered as "harmonisation,"
though the principle holds a certain place in
harmonic practice. Artistic harmony arose from
the combined singing of different melodies,
through which certain intervals came to be
recognise having various degrees of pleasant-
ness, by which certain emotional values might
be expressed.
Intervals having once been distinguished as
consonant or dissonant, it was felt that disson-
ances required "resolution" by being followed by
the nearest available consonance. It was found.
that when a dissonance was approached from a
consonance by oblique motion, and followed by
another consonance (preparation-percussion-
resolution) an effect of stress was created. Hence
the adoption of the term "percussion."
In medieval music, which was mainly in quan-
titative rhythms, the suspension produced a
new kind of rhythmic value, or stress, which
was therefore used especially at cadences. The
change which took place in Western music about
1600 (though it may be traced back at least a
century before) was in the first place a change in
rhythmical outlook. The development of instru-
ments (more especially those with plucked
strings, the tone of which caused them to approx-
imate to instruments of percussion) led to the
habitual assumption of stress at recurrent
periods, indicated in writing by bar-lines, the
first beat of a bar being strongly accented.
Simultaneously there grew up the habit of
placing the principal melody in the upper-
most part.
1600 to
The system prevalent from
1900, basing music on the major or minor modes
of a single scale that can be presented in a
number of different transpositions, depends on
the assumption of periodic stresses. The key-
system as exemplified in the works of J. S. Bach
is unthinkable apart from a system of equal bars,
with a strong beat at the beginning of each. This
rhythmical system once adopted, dissonances
ceased gradually to have stress values, since
the percussive stress of instruments, imitated by
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HARMONY
voices with the help of consonants when singing
words, was much stronger. In this way, there
developed an elaborate sense of the emotional
value of dissonances. Hence the gradual aban-
donment of the system of "preparation"; for
dissonances needed none as they became familiar.
But the more familiar they became, the more
their emotional value declined. One by one, they
passed into the category of consonances, and
newer and harsher dissonances had to be in-
vented. Noticeable landmarks are the use of the
"diminished 7th" as an unprepared chord, for
the sake of emotional colour, about 1700 (see
Alessandro Scarlatti's works), the use of the
"augmented 5th" in the same way about 1850
(Liszt and Wagner), and the use of the "aug-
mented 4th" about 1910 (Scriabin and Debussy).
The diminished 7th, once regarded as an intense
emotional thrill, has now lost all emotional value
and is practically obsolete.
The rhythmical key-systom established in the
time of J. S. Bach not merely disregarded the
stress values of dissonances, but regarded the
rhythmic beat as sufficiently powerful to justify
dissonances which earlier composers would have
thought necessary to prepare, provided that they
arose out of the melodic line. (Cf. the rules for
dissonances on 1st beat in counterpoint, and use.
of dissonances in sequence, in the text-books of
Cherubini's time.)
By Beethoven's time, the key-system is so
completely established that emotional effects can
be obtained by deliberate attempts to destroy
(See also art. on ARTE DI STUPORE.) Certain
chords, such as "diminished 7th" and "aug-
mented 5th," destroy the sense of key, because
they can belong to any key (cf. Liszt's Faust
Symphony). This effect is allied to Atonality
which will be discussed later.
HARMONY
Debussy, who is the most outstanding figure in
the history of the new movement, is more fun-
damentally rhythmical. Modern music tends to
break down the old symmetry of rhythm, though
we may note that German music, on the whole,
clings more closely to regular 4-4 rhythm than
that of France, Italy or England. Plain-song,
non-European influences in melody, and a cer-
tain reaction towards the music of the Middle
Ages, are amongst the many causes which make
for freer rhythms.
If chords are to be considered by themselves,
apart from all rhythm, then any chord, whether
major common chord or extreme modern discord,
is an arbitrary selection of notes producing a
single blend of colour (Klangfarbe, timbre). Reso-
lution of a discord implies movement of parts,
that is, counterpoint. To many listeners at the
present day certain "discords" used by them-
selves in modern music still suggest imaginary
resolutions remembered from older music,
though withheld by the modern composer; but
in many cases, probably increasing as time goes
on, it would be unsafe to assume that the com-
poser intended these chords to be so interpreted.
The "juxtaposition of unrelated sonorities," as
some modern theorists call it, seems to imply a
franker recognition of the purely physical effects
of sounds than theorists of the school of Hanslick
would have been willing to countenance.-E. J. D.
(B) GENERAL PROCEDURE. Definitions. (1)
Harmony is the simultaneous sounding of two or
more musical sounds. (2) Counterpoint (Poly-
phony) is the bringing together of two or more
melodic lines. (3) A Scale is a series of notes
arranged in ascending or descending sequence.
(4) The term Mode should apply to the arrange-
ment of intervals tones and semitones in the
scale. (5) Enharmonic Modulation is of two
kinds real and false. In real enharmonic
modulation, there is a change of pitch. False
enharmony only exists on paper, and is a matter
merely of musical spelling. (6) Atonality is a
style of music which abolishes the tonic or key-
note, either temporarily, or throughout an entire
movement or composition. (7) Temperament is
the method of tuning; the manner in which the
distance between a sound and its octave is
divided.
Modern music has concentrated more and
more attention on the values of single chords
for the sake of their emotional colour (in Grieg
and Delius, for instance). The "added 6th,"
originally reached by purely contrapuntal means,
regarded later on as an unprepared discord, has
now come to be regarded as a positive consonance
(cf. Gounod's Dodelinette, and Borodin's Berceuse,
for the pleasurable colour of the major 2nd).
The beginnings of this feeling may be seen as
far back as Domenico Scarlatti (see his sonatas,
Longo's edition, Ricordi), though the curious dis-
sonances are no doubt often acciaccature written
as if they were part of the main chord.
Under the classical key-system, chords vary
in æsthetic value according to their rhythmical
osition. In the previo
prep:
dis-
cord created a strong beat; in the classical period
an unprepared dominant discord often comes on
a weak beat and by its dissonance intensifies the
elan of the arsis. A theory of harmony which
ignores rhythm is useless. The change which
took place in the general musical outlook about
1900, was like the change of 1600, largely a
rhythmical one. The new harmonisation of old
rhythms, begun mainly under the influence of
Grieg, is only a small part of it; the influence of
215
Preliminary. Some system of explaining the
practice of modern harmony is desirable, not only
for the student who would compose, but also for
a proper appreciation of music by the listener.
The theories of most of the current text-books.
stop with Wagner's music, not even attempting
to explain all that is found there. A proper
system of harmony should claim no more than to
be an observation and generalisation of the facts.
It should not lay down a priori rules and
prohibitions.
Contemporary harmony is the logical outcome
of the practice of preceding generations. When
we are: dealing with the highly developed and
specialised technique of any particular instru-
ment, harmony and counterpoint are practically
the same thing; but one of the modern phases
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HARMONY
of harmonic development seems to have occupied
itself more with the harmonic (perpendicular)
view than with the contrapuntal (horizontal)
one.
Temperament. Whereas the majority of com-
posers now adopt the equal temperament unre-
servedly with all that it involves, yet there are
some (Bantock, Tovey and others) who claim
that the chief system of modern harmony should
be based on the practice of voices or strings,
understanding thereby Just Intonation. Whilst
recognising the usefulness of the pianoforte, they
do not choose to forget its imperfections of
tuning. (See the definition of Enharmonic
Modulation above.)
Scales. The number of Scales to which con-
temporary music is referred is very much larger
than the number used by the preceding genera-
tion, and the number is continually increasing.
There is, indeed, no limit to the variety of scales,
upon which modern music may be founded,
provided that the composer can hear them him-
self and can correct them in performance if
played or sung falsely.
Amongst the scales in use, a few are shown
here, has been used as the starting-point
or keynote.
Ex. 1.
All
Ex. 2 (a).
(oft
Ad
DIATONIC
DODECUPLE
▬▬▬
#
&c.
216
or this:
Ex. 2 (b).
Athbd be be
be bd be
Ex. 3. 18-NOTE SCALE (Tertia-tonal)
2.2
Ex. 4.
The
OF
HARMONY
D
21-NOTE SCALE
Ayba
(See also art. on HÁBA).
A more multiplex scale would give several forms
to each of our alphabetical notes: thus, C flat, D
double-flat, Cnatural, C sharp, C double-sharp; or
Ex. 5.
T
CHEE
tr
&c.
Dodecuple Scale. In consequence of the wide
acceptance of the Equal Temperament, the so-
called Chromatic Scale is now nearly always dealt
with as a Dodecuple Scale; that is, as one which
divides the octave into 12 perfectly equal parts
(in just the same way as a foot-measure is
divided into 12 inches). In this scale, cach note
exists by its own right, having no derivation by
chromatic inflection from a contiguous sound, and
therefore no special duties towards it. It is
indifferent whether the notes be written with
sharps or flats. A much simpler notation is badly
wanted. In this connection, it is not generally
known that Beethoven followed the practice
shown in the following extract from the auto-
graph score of his F sharp ma. sonata, op. 78:
Ex. 6.
D
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HARMONY
Nearly all editions print the bass part thus:
Ex. 7.
And the same applies to the return of this subject
in the recapitulation. A similar case may be seen
in Mozart's Don Giovanni, Act I, No. 2, bars
72-74, at the words Cor mio deh senti (vocal
score).
II.
The dodecuple scale is generally used with a
definite keynote, that is, along the lines of a fixed
tonality. When the system of harmony used with
it abandons a fixed keynote entirely, the proce-
dure is called Atonality. There is nothing to
prevent Atonality being used with other scales;
but the only published examples at present occur
in whole-tone practice.
Whole-Tone Scale. The Whole-Tone Scales fall
only into two groups, the one group beginning,
say, on C, and the other on C sharp. In each of
these groups, all the scales consist of the same
notes. The two groups, being a semitone apart,
never coincide.
Ex. 8.
L
or
Ex. 9.
Vivo..
or
or
tht.
P.
-
fast!
tr
2
This scale is sometimes used with a note defi-
nitely selected as tonic or keynote. The following
dance takes C as its central note:
RÉBIKOF, Féle, No. 6.
Often, the effect is atonal, or keyless. In either
case, the same scale is seldom used for whole pieces.
Rébikof has done so; but Debussy rarely remains
in any one whole-tone scale, as in Cloches à travers
les feuilles. In his Voiles from the second book of
Préludes, he flies for relief, near the end of the
piece, to a pentatonic scale. Modulation from
one group of the whole-tone scales to the other
group is of course available, and any note may be
freely used as a "pedal-note."
Ex. 10.
Presto.
-et.
&c.
BANTOCK, Pan.
Chord-Construction. In harmonic analysis, al-
though the classification of chords built up by
thirds predominates in the older practice, chords
may be constructed by 4ths, 5ths (perfect, aug.
mented, diminished), 2nds (major or minor), etc.
The following extract from Debussy's Pour le
piano set makes great use of the "second" in
chord-formation:
Ex. 11.
pp
HARMONY
217
Ex. 13.
Ex. 14.
G
Ped.
Ped.
Ped.
Erik Satie seems to have been the pioneer in this
direction. The following extract shows chords
built up by 4ths:
Ex. 12.
2
2
DEBUSSY.
Ped.
Scriabin's 6th pf. sonata, op. 62, is built up on
the following chord of 4ths:
--=(1)=
&c
SATIE.
N
&c.
and for the harmonic foundation of his 9th
sonata, op. 68, he takes the following structure.
of 5ths:
La
&c.
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HARMONY
(See also art. on SCRIABIN, where the "synthe-
tic chord" is discussed.)
The following chord from Stravinsky's Le Sacre
du Printemps is interesting:
Ex. 15.
be
H
Ex. 16.
•
The practice of teaching "inversions" of chords
is referable only to the older system. The teach-
ing of harmony by "figured-bass" is not in
accordance with modern practice; for harmony
may be built upwards on a bass, downwards
from the uppermost part, or around an inside
part.
VIOLIN.
T▬▬▬E
Part-Writing. In part-writing, there are no
forbidden progressions, but all progressions must
be justified by their suitability. The only accept-
able definition of "resolution" is that of the
behaviour of a chord being justified either
aesthetically, emotionally, or logically. There is
no fundamental difference between a concord and
a discord; it is merely a difference of degree.
Finality is only a relative term; a piece may
end on any combination of notes. Puccini's
opera, Madame Butterfly (1910), finishes with an
"added 6th" chord. The first act of Debussy's
Pélleas ends with this cadence:
pp presque plus rien.
PIANOFORTE
boe
STRAVINSKY.
(p. 71, pf. duet arr.)
OR R
PT
छ
EFFE
The modern practice of over-lining or under-
lining a melody at various intervals is simply a
matter of duplication.
Ex. 17.
f
Allegro vivace.
M
DEBUSSY,
BAX, Vn. Sonata in E.
n
Sca....
S
e..
Ex. 18.
218
10 dolce.
Ex. 19.
□
€
pp
HARMONY
ח חו
Anime,
très marque.
ח
++
E
++6
-TH
SCRIABIS,
Etudes, Op. 65, No. 2.
&
+F
&c.
SCRIABIN,
8 Études, Op. 65, No. 1.
(Progression by 7ths is no new thing. We find
it in the vocal music of Machault in the XIV
century. In the XIX century it created an outcry,
when Hermann Goetz's Frühlings-Ouvertüre was
played in London at the Philharmonic, and it
occurs again in the music of Stravinsky, Scriabin
and others.)
From this, it is but a step to outlining by
whole chords. This may be of 3 kinds: (a) exact
as to intervals (major, or minor, etc.):
Ex. 20.
RAVEL, Sonatine.
&c.
▬▬▬▬▬▬▬CAN
Se
A
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HARMONY
(b) diatonic as to intervals:
Ex. 21.
DEBUSSY,
La Soirée dans Granade.
Ex. 23.
(See also the Choral in La Cathédrale engloutie.)
(c) mixed:
Ex. 22.
GOOSSENS,
Nature Poems II, p. 14.
saf dim,
&c.
In the first case, it has some analogy to the
"mixture-stop" of the organ; and in the second
case, to the medieval "diaphony." Here is the
same kind of thing, applied as it were on two
tonal planes:
STRAUSS,
Electra, p. 23, Voc. Sc.
4
=
===
J
Omnitonality. This term is used to express a
more fluid way of moving amongst the various
keys than is afforded by the usual modulating
methods of older classical procedure. The follow-
ing extract from César Franck's Prélude, Aria et
Finale (Prélude, bars 79-83) is a good example
of this:
Ex. 24.
Risoluto.
219
ETTO
ppi
hoc ==
IP
116.
=
_
Lento.
HARMONY
and
..
e. De
* +42053
18
C. FRANCK.
It is difficult to say what key the passage is in at
any given point. This stage of harmonic develop.
ment is a step towards Atonality.
Polytonality. This name was given by French
theorists to the device of making more than one
key heard simultaneously. The superimposition
of one key on another was probably arrived at
through 3 channels: (a) through the use of super-
imposed streams of highly coloured diaphony, in
other words, a counterpoint of harmonic streams:
BERNERS, Un Soupir.
Ex. 25.
2=13:
B
1
9-100
ככןן
(b) through empirical means in counterpoint:
Ex. 26.
STRAVINSKY,
Les Cinq Doigts.
J. Leroux in the Revue Musicale for Oct. 1921
debates the suitability of the term.
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Ex. 27.
Ex. 28.
--
mf
Sostenuto.
or (c) from a pedal chord sustained. The primi-
tive "drone" led to the pedals, further to
elaborated pedals, then to a whole chord sus-
tained as a pedal-sound, whilst the parts move
on different lines.
Poco lento.
Ex. 29.
HARMONY
BARTÓK,
Bagatellen, No. 6.
MALIPIERO, Ballata.
KODÁLY,
7 Pieces, Op. 11, No. 5.
This device when elaborated on structures of
basso ostinato (ground-bass) may produce double.
tonality (see Debussy's Jardins sous la pluie,
Busoni's Berceuse élégiaque, etc.). From two
simultaneous keys (bi-planal harmony) to three
(tri-planal) is a simple step:
220
Ex. 30.
PIANO.
II
Ex. 31.
and so on to four planes:
Andantino,
121
pp
HARMONY
-
DEBUSSY, Préludes, Bk. II, No. 2.
(Feuilles mortes.)
-
ppp.
G pedal.
m
M
Fres
CASELLA,
Berceuse Puppazetti, p. 6.
R
-
7-02
-
Or even more, as in this example:
B
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Ex. 32.
TEX.
I
TEN.
11
0
Sra.
HARMONY
0
-
STRAVINBEY, Renaud,
Voc. Sc., p. 28.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
▬▬▬▬▬▬▬
Eth:
To
But planal harmony can be indulged in without
superimposed keys:
Ex. 33.
STRAVINSKY, Le Sacre du Printemps.
Pf. Duet arr. p. 24.
Ex. 31.
Ex. 35.
221
Poco più mosso.
Str. sord, div.
cres.
HARMONY
cres.
--
R. VAUGHAN WILLIAMS,
On Wenlock Edge (No. 5),
Pf. arr. p. 28.
Hn, 1,
Tpt. II.
HOLST, Hymn of Jesus,
Full Sc. p. 45.
T
·S
&c.
&c.
Tpt. I.
sord.
Example 36 (on p. 222) from Arnold Bax's
Garden of Fand illustrates two different points,
(a) superimposition of unrelated harmonies and
(b) superimposition of various triads. It will be
seen that the three "diminished 7ths" are
grouped together (with the exception of the A
flat in the second. The harshness of the combina-
tion of the first and second is, in actual effect on
the ear, mitigated by the "ictus" of the third
which distracts the attention until the resolution
of the second and third on the first, which has
predominated throughout, owing to the insis-
tence of the figure on the strings.
Elision. There is no doubt that some special
chords were suggested in the older harmonic
technique, by leaving discords as it were "in
the air," i.e. without their expected resolu-
tion. But the theory that the newer chords of
modern harmonic technique are accounted for in
this way only arose from habits formed by lis-
teners thoroughly inured to the older technique.
The idea of its acceptance as an explanation of
the newer kinds of harmony is scouted by the
contemporary composers themselves.
Super-Harmonics. A more acceptable explana-
tion of many of these chords, is the use of the
higher and lesser-known harmonics. For their
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Ex. 36.
WIND.
TR.
HORNS.
TROMBONES.
VIOLINS.
VIOLA
'CELLO
and BASSES.
B CLAR.
FAG.
Allegro molto.
Sta......
+
opp
sf
of p
I II
1:00 103
FROM THE GARDEN OF FAND"
8m
so
--
--
pj
thes
mf cres.
—
--
THE
be
SA
--3-b
bo
DLL
-
222
cres.
cres.
ahoo.
▬▬▬▬▬▬▬ H
cres.
--
100 -
the web
cres.
mf cres.
ee.
HE
——
pote lie
ha
ARNOLD BAX.
DE
Leebe- fte the e
T
-FF
beha
-Beta
12
▬▬▬▬
#
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HARMONY
best effect they must be widely spaced from
the ground-tone. The following treble chords
show such a relationship to the deep bass
D flat:
Ex. 37.
Moderato.
Ex. 38.
ppp
jp
smorzando.
J. IRELAND, Island Spell.
&c.
It is even conceivable that the following
extract from Strauss's Elektra (page 78, vocal
score) may be explained in this way. Here the
spacing has been reduced in order to increase the
strangeness of effect:
STRAUSS, Elektra,
Voc. Sc., p. 78.
t
Atonality. The harmonic method which dis-
penses with the hold on a definite tonality (as
the term is at present understood) has attracted
numerous composers in all countries. Its in-
vention has been wrongly attributed to Arnold
Schönberg. It is far older and more universal
than this; but it certainly seems to be the most
suitable technique for the particular style of
"Expressionism" adopted by Schönberg and
his pupils.
Ex. 39.
223
1
(44) +-1²3
pr
Ex. 40.
CLAR.
IN A.
VOICE.
Sehr langsam
mit Dampfer.
Pr. <
be
Langsam.
Fad
HARMONY
pp
'pp
A. WEBERN, Op. 7.
(4 Stücke), Vn. & Pf.
Be
ppp
&c.
paz
SCHÖNBERG, Pierrot Lunaire,
Op. 21 (No. 3).
-HE
the
TO -boo-
D-7
-Ma
Schwei-gen-den Dan-dys von Ber- ga-mo
Spacing and Tone-Colour. This brings us to
the questions of spacing the notes, the balance
of the relative strengths of the various sounds,
and the arrangement of the tone-qualities in
orchestration, all of which have a most important
bearing on harmony, a bearing, however, for the
discussion of which there is no room here.
General Principles. Certain principles will be
found which are fundamental to all Western
music from the Middle Ages up to the present
day. These are the principles of rhythm, shape
and construction in the first instance, and they
affect harmony more and more as time goes on.
Consult: D. Alaleona, I moderní orizzonti della
tecnica musicale (Bocca, Turin, 1911); E. Lechter
Bacon, Our Musical Idiom (Chicago, 1917); F.
Busoni, Entwurf einer neuer Asthetik der Tonkunst
(Schmidl, Trieste, 1907); A. Cauroy, La musique
française moderne (Delagrave, Paris, 1922); H.
Walford Davies, art. Some New Scales and Chords in
Mus. Times, Nov. 1922; E. Goossens, Modern Ten-
dencies in Music (Arts League of Service Lecture,
1919); A. Eaglefield-Hull, Modern Harmony: its
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HARRIS
explanation and application (Augener, London, 1913).
and arts. in Mus. Opinion, London, 1922 and 1923;
E. Kurth, Romantische Harmonik (Max Hesse, 1923);
L. Laloy, The Future of Music (Reeves, Eng. transl.
1915); R. Lenormand, L'Harmonie Moderne (Fr.
comprs.
a pamphl); A. Potter, Modern Chords Explained,
(Reeves, 1910); A. Schönberg, Harmo-
very little altered); A. Vinée, Principes du système
ik in der Weltkrise (Eng. transl. by Pilster, J. M.
Dent & Sons, 1924); Egon Wellesz, Arnold Schönberg
(Eng. transl. by W. H. Kerridge, J. M. Dent & Sons,
1924). Also the double number of Melos (Berlin,
Aug. 1922) and arts. by A. Hába in Der Auftakt
(Prague). See also arts. in this
ATONALITY,
TONE SCALE, PRESSO PENTAFONIA. ry on
WHOLE-
. B., B. B., D. T., EU. G.,
E.-H., E. J. D., H. P. A., R. V. W.
HARRIS, Clement Antrobus. Eng. orgt. and
writer; b. York, 2 April, 1862. Stud. under Dr.
E. G. Monk there; for many years, orgt. and
choirmaster in Scotland; has contributed widely
to reviews, magazines, mus. journals, etc.; in
1921, left Scotland for Australia where he now
resides in Blackwood, near Adelaide, occupied
in teaching, conducting and writing.
A Chronological Chart of Mus. History
How to Write Music (mus.
Curios of Mus. History (Vinalligraphy) (
now W. Rogera);
The Story of British Music (Kegan Paul,1919).-E.-H.
HARRIS, William Henry. Eng. orgt. b. Lon-
don, 28 March, 1883. Early mus. education, St.
David's Cath.; organ scho R.C.M. London,
under Sir Walter Parratt (organ), Sir Walford
Davies (compn.); orgt. and accpt. London Bach
Choir, 6 seasons; assistant-orgt. Lichfield Cath.;
teacher of harmony Birmingham and Midland
Inst.; orgt. New Coll. Oxford, 1919; Mus.Doc.
Oxon. 1910.
The Hound of Heaven, fantasy for barit. solo,
chorus and orch. (Stainer & Bell; a Carnegie award,
1919); Fantasy on Campion's tune Babylon's Streams,
organ (id.); church-music; songs; part-songs (Stainer
& Bell; Faith Press).-E.-H.
HARRISON, Beatrice. British cellist; b.
Roorkee, N.W. India. Stud. at R.C.M. London;
then under Hugo Becker and at High School of
Music, Berlin; 1910, Mendelssohn Prize; début,
Bechstein Hall, Berlin; played Elgar's cello con-
certo, 1921 (Hereford Three Choirs Fest.), the
1st perf. after its production in London; is one
of leading British cellists; has toured in Europe
and America; first to play Delius's concerto.
---E.-H.
HARRISON, Julius. Eng. compr. and condr.
b. Stourport, Worcestershire, 26 March, 1885.
Stud. under Granville Bantock at Birmingham
Midland Inst., having won a Worcester County
Council scholarship. One of condrs. of Beecham
Opera Co. for 5 years. Cond. the Scottish Orch.
(q.v.) for 3 seasons. Is one of condrs. of British
National Opera Co. Folk-song and folk-theme
have played a part in his mus. compn. though he
never allows them to interfere with real inven-
tion. He has drawn his inspiration from Wor-
cestershire scenery and fairy-lore, and turns.
more naturally to the cheerful than to the tragic.
Orch.: Variations, Down among the Dead Men (ms.);
(1919; pf. score, W. Rogers).
Rapunzel, poem (1917, ms.); W Choruaire Pieces
Cleopatra dream-poem (1912, ms.): Requiem of
and orch.:
dramatic cantata (1907, Breitkopf);
Archangels (1919, Curwen). Chamber-music: Widdi
combe Fair, str. 4tet (Hawkes); 5tet, harp and str. in
G flat (1912); str. 4tet. D mi. (1910, ms.). Two
HARTY
Many songs (Rogers;
pf. pieces (Rogers:
organ (Rogers;
Lengnick); part-songs
Williams; Novello;
Curwen; Rogers). An opera, The Canterbury Pilgrims,
is partly composed.-E.-H.
Derg);
church cantatas (Novello).
Boosey; Enoch; Curwen);
Enochi;
Elkin;
HARRISON, May. Brit. violinist; b. Roorkee,
N.W. India. Stud. R.C.M. London, under Arbós
and Rivarde; then under Leopold Auer, Petro-
grad; début St. James's Hall, London, when 13
years old; has played in all the chief European
cities.-E.-H.
HART, F. Bennicke (Fritz Hart). Eng. compr.
b. Brockley, Kent, 1874. Now Dir. of Cons, of
Music, Albert St. Melbourne, Australia. A con-
cert devoted entirely to his music was given in
London in Oct. 1923. F.R.C.M. h.c. 1924.
Operas: Pierrette; Malvolio (from Shakespeare
(Syngo); The Fantasticks (Roster The Travelling
Twelfth Night); The Land of Heart's Desire
Riders to the Sea (Synge);
of the Sorrows
Man (Lady Gregory); Ruth, a biblical opera. For
Blue
orch. Suite; Impressions from Madernicky
Bird (Melbourne, Verbruggen's
overture,
the West Country; 3 ballads, cho
and orch.; To a Primrose (Herrick), 8. v. and
3 vols. of Herrick songs; 3 vols. of Blake's songs
(7 in each); 3 vols, 20 Henley songs; many other
vols. (Flona Macleod; Hubert Church (George
Russell]); many separate songs (Stainer & Bell;
Curwen; Boston Music Co.: Elkin); pf. pieces (5
folk-song fantasies; 14 Miniatures; Old English
Suite; 3 books of folk-song settings (Stainer
Bell), sonata for vn. and pf.: Suite, vn. and pf.
-E.-H.
HARTMAN, Thomas Alexandrovitch. Russ.
compr. b. 1883. Pupil of Arensky and Essipof.
Worked also with Mottl in Munich, where H.
cond. the opera for a time. In 1907, he prod. at
Imperial Opera, Petrograd, his ballet La Petite
Fleur Rouge, which has a great success. The
ideas of the dancer, Alexander Sakharof, whom
he knew in Munich, had a great influence on
him, and turned his researches towards a closer
union of music and gesture which he attempted
in
his 2nd ballet, Fra Mino (after Anatole
France's story St. Satyre). The Russ. revolution
caused H. to fly to Constantinople. He settled
in Paris in 1921, teaching music and rhythmics
at Gurdjief's choreographic institute.-B. DE S.
HARTY, Agnes (née Nicholls). Eng. oratorio
and operatic s. singer; b. Cheltenham, 14 July,
1877. Stud. R.C.M. London, under Alberto
Visetti; afterwards under the late John Acton.
Has appeared at all the principal fests., at the
R. Covent Garden Opera, the Beecham Opera,
Denhof Opera Co. and Quinlan Opera Co.'s
world tour. She was the first Brit. artist to sing
Brünnhilde in all the 3 sections of The Ring.
Created the part of Mary in Elgar's Kingdom.
One of the finest oratorio and operatic singers
of the present time. Honoured with the O.B.E.
1923. Married Hamilton Harty, the orch.
conductor.-E.-H.
HARTY, Hamilton. Irish compr. and condr.
b. Hillsborough, Co. Down, Ireland (where his
father was orgt.), 1880. He was mainly self-
taught. At 12, he was appointed orgt. at Mag-
heracoll Ch. Co. Antrim. At a later date he came
down to Dublin and came under the influence
of Signor Esposito at the R. Irish Acad. of Music.
On his arrival in London in 1900 he speedily
224
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HARWOOD
became famous as an accompanist. The success
which he obtained in the composers' competi-
tions at the Feis Ceoil (Irish music fest.) en-
couraged him to continue producing works, and
it was not long before he was generally recog-
nised as one of the most individual of the younger
comprs. His wife, Mme. Agnes Nicholls, was
chiefly instrumental in making his songs popular.
His setting of Keats's Ode to a Nightingale was
sung by her with great success at the Cardiff
Fest. 1907. In 1909, the production of his vn.
concerto at Queen's Hall, London, when Josef
Szigeti took the solo part, aroused great en-
thusiasm. He has also written a good deal of
chamber-music.
H.'s works at first showed
strong influences of Irish folk-melodies, especially
in his Irish Symphony and The Wild Geese;
but in later years there is a tendency towards the
cosmopolitan ideas of modern music. His chief
energies have been taken up lately by conduct-
ing. His concerts with the London Symphony
Orch. proved him one of the most brilliant
condrs. in England. Since his appointment
as permanent conductor of the Hallé Orch. at
Manchester, he has done much to bring him into
the front rank of European condrs. A notable
feature has been his encouragement of ensemble
for wind instrs. For the past few years he has
given recitals in Dublin and other cities, devoting
the programme to works for pf. and wind instrs.
He is also one of the condrs. of the B.N.O.C.
He was elected F.R.C.M. h.c. 1924.
Irish Symphony, oroh.; Comedy Overture, orch.
(Schott); Ode to a Nightingale, 8. v. and orch.
(Breitkopf); vn. concerto in D mi. (C. & E. Publ. Co.
Dublin); pf. concerto (id.); Fantasy Scenes, orch.
(id.); The Mystic Trumpeter, barit, solo, chorus and
orch. (Novello); With the Wild Geese, symph. poem.
(id.); Water-Music of Handel, transcribed for modern
(Murdoch); Romance and Scherzo, cello solo
pf., vn., cello and harp solos (Augener; Schott;
Novello); Rhapsody, fl. and pf. ms. (1924); numerous
songs (Boosey, Novello).-W. ST.
HARWOOD, Basil. Eng. orgt. and compr. b.
Woodhouse, Glos, 11 April, 1859. Stud. pf.
under J. L. Roeckel; organ under G. Riseley;
theory under Dr. C. W. Corfe; fugue under
Jadassohn and compn. under C. Reinecke at
Leipzig; orgt. Ely Cath. 1887-92; Christ Ch.
Cath. Oxford, 1802-1907; precentor of Keble
Coll. 1892-1903; condr. of Oxford Bach Choir,
1896-1900; Choragus of Univ. of Oxford,
1900-9; mus. ed. Oxford Hymn Book, 1908.
Most widely known through his organ works
and church services.
2 organ sonatas: No. 1, C. sharp mi. op. 5 (Schott);
No. 2, F sharp mi. op. 26 (Novello); many organ
pieces (fantasía, Christmastide, op. 34; Rhapsody,
op. 38 [Novello, 1922]); organ concerto in D, op. 24
ing, cantata, op. 27 (Leeds Fest. 1913; Novello);
Inclina Domine, op 9 (Gloucester 3 3 Choirs Fest. 1898);
songs; part-songs; church musio (mostly Novello).
-E.-H.
HASELBECK, Olga. Hungarian m.-sopr.
operatic singer; b. 1884. Stud. at R. High School
for Music, Budapest. Since 1908, member of
R. Hungarian Opera House.-B. B.
HASSE, Karl. Ger. compr. condr. b. Dohna,
(Saxony), 20 March, 1883. Attended Thomas
School, Leipzig; stud. at Univ. there (Kretz-
2
HAUER
at
schmar, Riemann) and at Cons. (Krehl, Nikisch,
Straube, Ruthardt); then at Munich Acad.
(Reger and Mottl). Ph. Wolfrum's assistant
Heidelberg; condr. of acad. choral soc.
and str. orch. (Collegium Musicum); orgt. and
cantor of Johannis Ch. Chemnitz, 1909; from
1910 condr. of mus. soc. and teachers' choral
soc. in Osnabrück, where, on 1 Feb. 1919, he
instituted that town's Cons. with a High School
for Music. Mus. dir. Univ. of Tübingen, 1919.
Variations for 2 pianos, op. 1; 3 elegies, pf. op. 2;
Romantic Suite, pf. op. 26; choral preludes, organ,
op. 4, 7, 13; Serenade, str. orch. op. 5; 3 phantasies
and fugues, organ, op. 6; 6 organ pieces, op. 9; suite,
organ, op. 10; Missa brevis, 8-v. choir a cappella
and 4 solo vs., op. 8; Suite in Olden Form, orch.
op. 11; pf trio, op. 15; 2 organ preludes on 4 Strong-
hold Sure, op. 14; Little Sacred Songs, 4 vs.
a
solo
orch, op. 24; Psalm LXXX, chorus and
orch. symph. variations (full orch.) on song,
Prince Eugen the Noble Knight; vn. sonata; 2 organ
sonatas o overture, From Courland, op. 20; a mono-
graph, Mar Reger (Leipzig, 1921, C. F. W. Siegel).
-A. E.
HASSE, Max. Ger. author and ed. b. Buttel-
stedt, near Weimar, 24 Nov. 1860. Music critic,
Magdeburger Zeitung, since 1904.
Peter Cornelius and his "Barber of Bagdad"
Mottl and Levi's arrangement); The
(1904, agai
1st part, 1922, 2nd
part, 1923 (Rer Cornelius, complete series of
P. Cornelius' works (Breitkopf), 5 vols.: I, Songs;
II, Choruses; III, The Barber of Bagdad; IV, The
Cid; V, Gunlöd (completed and scored by W. v.
Baussnern).-A. E.
HASSELMANS, Louis. Fr. cellist; b. Paris,
1878. 1st prize Paris Cons. 1893. At first, cellist
of Concerts Lamoureux; afterwards successful
as condr. Engaged in Paris and abroad, notably
U.S.A.
Now attached to Opéra-Comique,
Paris.-M. L. P.
HAST, Harry Gregory. Eng. singer; b. London,
21 Nov. 1862. One of founders of the Meister
Glee-Singers (1890); sang with them till 1898,
when he gave his 1st recital in May at Queen's
Hall; toured U.K., Continent and U.S.A. many
times; now teaches.-E.-H.
HATCHARD, Caroline. Eng. operatic and
concert s. singer; b. Portsmouth. Stud. at
R.A.M. under Agnes Larkcom; début at R.
Opera, Covent Garden (1907), in Eng. perf. of
Wagner's Ring; created parts of Madame Hertz
in Mozart's Impresario (His Majesty's, London,
1911); Sophie in Strauss's Rosenkavalier for
1st perfs. in Eng. (Denhof and Beecham, 1913),
and Tilburina in Stanford's The Critic, Shaftes-
bury Theatre, 1916. A notable singer of ora-
torio.-E.-H.
HAUDEBERT, Louis. Fr. compr. b. in
Brittany, 1877. Pupil of J. Pillois. His music is
of an intimate nature, animated with a religious
spirit.
Collections of songs; Dans la Maison (words by
his wife); pieces for vn. and pf.-A. C.
HAUER, Josef Matthias. Austrian compr.
and musical theorist; b. Wiener Neustadt,
19 March, 1883. Has lived in Vienna since
1914, occupied with compn. and with elaboration
of his system of atonal music. Starting with
Goethe's Farbenlehre, he is constructing tone-
colour pictures, and from these comes the
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HAUG
All
purely atonal melos, neither consonant nor
dissonant, which he entrusts to the human
voice or to the "tempered " instrs, alone (such
as pf. and harmonium). Str. and wind-instrs.
he considers unsuitable for the purpose. The
atonal melody is the result of the working of
the Bausteine (building-materials), which char-
acterise each type of melodic experience.
Their logical, strictly lawful and impersonal
development results in a composition.
possible combinations of the 12 sounds of our
scale can be divided into groups (Tropen).
The latent forces of an interval lie within each
Tropus and cause the further development of
the latter as regards sound and rhythm. This
sole kind of perfectly and absolutely atonal
melody can only be reproduced by means of
homophony. Hauer rejects every kind of poly-
phony. Yet his recent works (such Barock-
studie publ. in the periodical Anbruch, IV,
5-6) seem to admit a certain modification
concerning this point. Hauer thus intends to
return to the music of Eastern nations, especi-
ally of the Chinese. To him the development
of European music seems to have been an error.
His theories are demonstrated in the three
pamphlets: Über die Klangfarbe, Vom Wesen
des Musikalischen (Vienna, 1920, Waldheim
& Eberle), and Deutung des Melos (1923, Tal).
Whatever may be the opinion concerning
Hauer's theories, some of his compns. certainly
make a strong impression. Amongst these
are Nomoi for piano, an Apocalyptic Fantasia
for Kammerorchester (which means a com-
bination of pf. and several harmoniums, ac-
cording to needs), the Hölderlin-Lieder (sung
by Anna Bahr-Mildenburg), choruses out of
Sophocles' tragedies. Most of these works have
been publ. by Goll, Vienna. The compr. uses a
special kind of atonal notation in some of them.
The Barockstudien, 12 new Hölderlin songs and
20 atonal pieces for piano are in ms. Interesting
essays (Melos und Rhythmus and Sphärenmusik)
by him have been publ. in the periodical Melos.
Consult: Stefan, Neue Musik und Wien; M.
Marton, in Anbruch, IV, 5-6.-P. ST.
In
HAUG, Gustav. Ger. compr. b. Strasburg, 30
Nov. 1871. Pupil of Cons. in Strasburg.
Switzerland since 1895, first as music teacher
in Rorschach; orgt. and choirmaster in Gais;
since 1904 in St. Gallen, where he is orgt.
at St. Leonhard's, condr. of the Herisau Orch.
Soc., and of male choral soc. Harmonie. He
has made a name chiefly as prolific compr. of
choral works:
Swiss Prayer, op. 50, male chorus, s. solo and
orch.; The Infinite, op. 57, male chorus, 8., orch.
and organ: Divico, op. 64, ballad, malo cho barit.
solo and full orch. (Zurich, Hug & Co.).-A. E.
HAUSEGGER, Friedrich von. Austrian writer
on music; b. St. Andrä (Carinthia), 26 April,
1837; d. Graz, 23 Feb. 1899. Stud. law at
Vienna. One of the most enthusiastic
propagandists of Wagner.
Wagner and Schopenhauer
Richard
Jenseits des Künstlers (1893); Unsere deutschen
Meister (1901).-EG. W.
HAWLEY
HAUSEGGER, Siegmund von. Austrian compr.
b. Graz, 16 Aug. 1872. His first works, a Mass
(1899), an opera Helfrid, perf. at Graz; his
second opera, Zinnober (1898), at Munich. His
first great success was Dionysische Phantasie, a
symph. poem in Liszt style, finely orchestrated,
perf. with Kaim Orch. at Munich.
His best
work is the symph. poem Barbarossa (1900), one
of most inspired works of South-Ger. school of
this epoch. In his later works-Wieland der
Schmied (1904), his choruses, the Natursym-
phonie (1911) and Aufklänge (1919), variations.
on a simple folk-tune-he shows no further
evolution. Hausegger is an excellent condr. He
started 1895-6 at Graz, and has cond. especially
at Munich, Frankfort, Berlin and Hamburg.
-EG. W.
HAUSER, Emil. Hungarian violinist; b.
Budapest, 17 May, 1893. Stud. at R. High
School, Budapest. Founder and leader of Buda-
pest Str. Quartet (Hauser, Pogány, Ipolyi, Son).
-B. B.
HAUSMANN, Robert. Ger. cellist; b. Rott-
leberode (Harz), 13 Aug. 1852; d. Vienna, 18
Jan. 1909. Pupil of Theodor Müller (cellist of
old-establ. Müller Quartet) till 1869; Berlin High
School till 1871; then pupil of Piatti, London;
since then teacher at R. High School, Berlin;
also a member of the Joachim Quartet (from
1879 till Joachim's death in 1907).-A. E.
HAUTSTONT, Jean. Belgian compr., theorist;
b. Brussels, 13 Dec. 1867. Devoted himself to
compn. and reform in notation. Invented new
system of notation which he uses in his works,
the Notation Autonome (Paris, 1907), and which
he explains in his Solfège, publ. 1913. Sum-
moned to China in 1912-13 to found a Cons.
based on his reformed system, but civil wars
interfered. In 1921 founded in Brussels a soc.
for publ. music with this notation. The system
is based on the classification of sounds according
to the number of their vibrations, and the
state of physiological development of the ear.
It avoids all the difficulties of diatonic notation
which are mainly the result (according to H.)
of the increasing accumulation of chromatic
accidentals in contemportel, Brussels); Humne
Lidia, lyrical drama
national de la République chinoise (Chinese National
Anthem), comp. at request of Sun-Ya-
ment and perf. in Pekin at official openine Govern-
of Parlia-
ment 1913 (publ. at Monaco by Institut Professionel);
Hymne triomphal et prophétique de la Commune Mon-
diale (under pseudonym of Ivan Bourlé-Vestnik; the
ed. in autonomous and diatonic notation was seized
by the Fr. Government in 1922).-C. V. B.
HAVEMANN, Gustav. Ger. violinist; b. Gü-
strow, 15 March, 1882. Pupil of father of
brother-in-law, Parlow, and of Bruno hner;
then of Berlin High School of Music (Markees
and Joachim). Hofkonzertmeister Darmstadt,
1905; teacher Leipzig Cons., 1911; Konzert-
meister of Saxon State Orch. Dresden, from 1
Nov. 1915. Is now in Berlin at High School
and leader of a str. quartet (H., Kniestädt,
Mahlke, Steiner).-A. E.
HAWLEY, Stanley. Eng. compr. and pianist;
b. Ilkeston, Derbyshire, 17 May, 1867; d. there, 13
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HAY
June, 1916. Stud. at R.A.M. London, 1884-92;
début St. James's Hall (1887) with Grieg's con-
certo; from then appeared frequently both as
pianist and accompanist.
Hon. sec. R. Philh.
Soc. till his death. Wrote much music for recita-
tion and piano.
Music to E. A. Poe's The Bells (1894); The Raven
(1896); Elizabethan Love-Lyrics, etc. (Bosworth, 1903)
1903); Dramatic Poems (Novello); recitation music
series, 25 nos. (Bosworth).-E.-H.
HAY, Edward Norman. Irish compr. and orgt.
b. Faversham, 19 April, 1889. His father was a
native of Coleraine; stud. under Dr. F. Koeller
(condr. Belfast Philh.) 1904-11; Mus. Doc. Oxon.
1919 (qualified 1915); orgt. and choirmaster
Coleraine parish ch. 1914-16; now of Bangor
Abbey, Co. Down. His compns. are classical in
style, and show a refined and poetic individuality.
Folk-song Phantasy, str. 4tet (Cobbett prize, 1916);
str. 4tet in A; (Carnegie award, 1918) Stainer &
Bell); overture, The Gilly of Christ (ms.); tone-poem,
Dunluce (ms.); organ pieco (Augener).-E.-H.
HAY, Frederick Charles. Condr. and compr.
b. Basle, 18 Sept. 1888. First stud. medicine.
(till 1908), but soon devoted himself entirely to
music; pupil of Hans Huber at Basle, of Ch.
M. Widor and Debussy in Paris and of R. Fuchs
and Schalk in Vienna. Condr. of Opera at Berne
in 1912, where he also cond. symphony concerts
and numerous choirs. Since 1920, dir. of Société
de Chant du Conservatoire (oratorio concerts)
and of Orchestre de l'Université at Geneva;
lecturer on mus. history at Univ. His compns.
show relationship to the modern Fr. school
(Debussy) as well as to the Brahms-Reger type;
are finely orchestrated and attain a great height
of intensity and expression.
Mr. Hay has been responsible for all the
Swiss arts. in this Dictionary.
Symph. poem, Heaven and Earth (Byron); Psalm
CXXI, mixed chorus and orch.; Hymne (Tagore),
female chorus, orch. and organ; str. 4tet; pf. con-
certo; songs with orch. and with pf.-E.-H.
HAYDON, Claude M. Australian compr. b.
South Yarra, Melbourne, 8 Nov. 1884. His 5-act
opera Paolo and Francesca (book by compr.)
was produced at the Playhouse, Melbourne,
6 and 7 May, 1920. It was written in 1919. Now
resides in Wellington, New Zealand.
Incidental music for Aristophanes' The Wasps
(for Melbourne Univ. Jubilee) 1906); Serenade, pt.
and str. orch. (1915); Phantasie-trio, pf. vn. cello
(1907); str. 4tet, D mi. (1914); str. trio suite (6)
pieces), 1918; pieces for cello and pf.; sonata, vn.
and pf.; pf. pieces; many songs.-E.-H.
Stud.
HAYE, R. de la. Brit. orgt. condr. b. Brecon,
South Wales, in 1878. A notable person-
ality in the mus. life of Edinburgh.
under J. Roper of Collegiate Ch. Wolverhamp-
ton (a pupil of S. S. Wesley), and in 1893, at
the age of 13, became assistant there; stud.
vn. under Henry Hayward, Wolverhampton,
and T. M. Abbot, of Birmingham; orchestration
and orch. playing at Birmingham and Midland
School of Music, under Dr. Iliffe and George
Halford; later, pf. under Fred Westlake, and
vn. under Gompertz. Appointed orgt. and
choirmaster at West Parish Ch. Galashiels, in
1897, at age of 19; 1900, orgt. and choirmaster
at Lauriston Place U.F. Ch. Edinburgh. Condr.
HEATH
of St. Andrew Amateur Orch. Soc. (1908),
Southern Light Opera Co., Edinburgh (1910),
Edinburgh (Grand) Opera Co. (since its founda-
tion in 1920).-W. s.
HAYES, Roland. Tenor singer; b. Curryville,
Georgia, U.S.A., 3 June, 1887. One of foremost
t. concert-singers of day; has toured in classical
concerts, America, England, France, Germany,
Italy, Austria, Czecho-Slovakia; stud. under W.
A. Colhoun (a Negro) for 9 months and then
under Miss Jennie Robinson (Fisk Univ. Nash-
ville, Tenn., U.S.A.) for 4 years; and under
Arthur J. Hubbard (Boston, U.S.A.) for 8 years;
has specialised in negro music, particularly the
Spirituals. Has a very pleasing voice of real
tenor quality and is a thoroughly finished artist.
-E.-H.
227
HAYNE, Eric. Australian violinist: b. Ipswich,
Queensland. Stud. at High School of Music,
Berlin, and later privately under Willy Hess.
Played for 2 years in Boston Symphony Orch.
under Carl Muck: toured U.S.A. with Evelyn
Scotney: now teaches in Brisbane.-G. Y.
HAYOT, Maurice. Fr. violinist; b. Provins,
8 Nov. 1862. Took a brilliant 1st prize at Paris
Cons. (1883) where he was pupil of Massart.
Made successful tours in France and abroad;
appointed vn. prof. at Paris Cons. 1893.
Founder of one of most famous Fr. quartets, his
partners being F. Touche (since replaced by
M. André), Denayez and Salmon. This quartet
was a regular collaborator in the famous soirées
of La Trompette (see SOCIETIES), a private society
which did much during the last century for the
popularisation of chamber-music.-M. P.
HAYWARD, Marjorie. Eng. violinist; b.
Greenwich, 14 Aug. 1885. Stud. under Jessic
Grimson; then at R.A.M. London, under Émile
Sauret (1897-3) and Otakar Ševčík (1903-6).
She has a very powerful style; now leads the
English String Quartet.-E.-H.
HAZLEHURST, Cecil. Eng. compr. b. Higher
Runcorn, May, 1880. Stud. Liverpool Coll.
of Music; exhibitioner, Victoria Univ. Man-
chester; Mus.Doc. Manchester, 1906. Lives in
London. Has a neat, tuneful style, founded on
Romanticist models.
4tet.
1-act opera, Cleopatra, op. 18; comie opera, The
Prince Elect, op. 1; children's operetta, The
op. 15; orch. pieces; choral ballad; str. 4 mi.
op. 23; str. 4tet on folk-songs, op. 40; pf. Stet, The
Masque of Fear, op. 47 (Cobbett bracketed-prize,
op. 36; pf.
1920); organ fugue on theme of ages, op. Evans;
pieces (Elkin; Lengnick); songs
Enoch; Curwen; Cramer; Novello).-E.-H.
HEATH, John Rippiner. Eng. compr. b.
Edgbaston, Birmingham, 4 Jan. 1887. Mainly
self-taught; a medical practitioner at Barmouth,
Wales; condr. Barmouth Choral Union; writes for
small combinations of instrs. in a modern style
which eliminates all literary and philosophical
interest and relies on the purely musical appeal.
Orch. 3 Characteristic Dances, str. and tpi.
(Goodwin &
3 Picturesque Pieces, orch.
(ms.). Cham Tabbac: Serbian str. 4tet (Chester);
3 Macedonian Sketches, vn. and pf. (id.); poem, In
the Heart of the Country, vn. and pf. (id.); The Lamps,
chamber music-drama (id.); Il Bosco Sacro, 3-part
female vs., str. 4tet and harp (id.). Pf: 6 Inventions
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(W. Rogers); Reflexions (id.); 4
(Enoch); suite, 4 Child's Night (id.); 4 Rune (id.).
Humoresques
Songs: 3 Welsh Landscapes;
4 Summer Song (Robert Nicholls); The Enchanted
3 Short Love-Songs;
lour, etc. (mostly Enoch).-E.-H.
HEBER, Judith. Norwegian compr. pianist;
b. Gol, Hallingdal, 27 June, 1880; d. Christiania,
7 Oct. 1919. Pupil of Agathe Gröndahl and
Dagmar Walle-Hansen, Christiania, and of Jed-
liczka and Scharwenka, Berlin. Début as pianist
in Christiania, 1907; as compr. in same city,
1911. Best known for her songs.-U. M.
HEBREW MUSIC. See IDELSOHN, A. Z.
HEBRIDEAN MUSIC. See SONGS OF THE
HEBRIDES.
HECKELPHONE. See art. on OBOE FAMILY.
HEERMANN, Hugo. Ger. vn. virtuoso; b.
Heilbronn, 3 March, 1844. Attended Brussels
Cons. for 5 years under Meerts, de Bériot and
Fétis; then 3 years in Paris for further study.
After some concert tours, was called to Frankfort-
o-M. as Konzertmeister and became first teacher
of vn. engaged at Hoch's Cons. since its founda-
tion (1878); also leader of Frankfort Str. Quartet
(with Bassermann, Naret-Koning, Hugo Becker).
In 1904 gave up position at Cons. and founded
his own vn. school. Edited new ed. of Bériot's
Vn. Tutor (1896).-A. E.
HEGAR, Friedrich. Swiss conductor, com-
poser; b. Basle, 11 Oct. 1841. Studied in Leip-
zig, violin and theory (1857-61), pupil of David,
Hauptmann, Rietz and Plaidy. For a short time
1st violinist Bilse's Orchestra, Berlin, and con-
ductor in Gebweiler (Alsace); then engaged as
leading violinist at opera-house in Zurich (1863); 2
years later, conductor of Symphony and Oratorio
Concerts. During his 40 years of artistic activity,
he founded in 1875 the Conservatoire, which he
directed till 1915. A friend of Brahms, he did
much to popularise the work of the German
master. 1889, Ph.D. h.c. Zurich University;
elected Hon. President of Association of Swiss
Musicians. 1907, director of Royal Academy
of Music, Berlin (as successor of Joachim).
Hegar assured himself a name in the history
of music by his numerous compositions for male
chorus. He was the first to employ voices in the
"tone-painting " manner, producing original
orchestral effects. His choruses show an inven-
tion of great intensity, much character and
excellent word-setting. His instrumental pieces,
too, are of considerable importance. His oratorio
Manasse, and his ballad The Heart of Douglas
(tenor and baritone soli, chorus and orchestra),
rank amongst the best compositions of his time.
an
Male choruses, unacc.: Morgen im Walde, op. 4;
In den Alpen, op. 11; Rudolph von Werdenberg, op. 15;
den Gesang, op. 20; oratorio, Manasse (J. V.
Festa
Cantata, for inauguration of new building of
(Zurich, 1914); Festal Overture, full orch.; vn.
concerto; cello concerto; str. 4tet, F sharp mi.
op. 46; numerous songs (Leipzig, Hug).-F. H.
HEGEDUS, Ferencz. Violinist; b. Fünfkir-
chen, Hungary, 26 Feb. 1881, of Hungarian
father and Span. mother. Stud. at Budapest
Cons.; later at R. Hungarian Acad. of Music;
condr. Lustspiel Theatre, Budapest, 1899;
HEISE
visited London, 1900; has toured all chief
European cities.-E.-H.
HEGER, Robert. Condr. and compr. b. Stras-
burg (Alsace), 19 Aug. 1886. Stud. at Town
Cons. Strasburg (Franz Stockhausen); then in
Zurich (L. Kempter); lastly in Munich (Max
Schillings). Engagements as condr.: 1907,
Strasburg; 1908, Ulm; 1909, Barmen; 1911,
Vienna Volksoper; 1913, Nuremberg, where he
also cond. Philh. concerts; 1921, Munich.
The Jewess of Worms (melodrama); pf. trio,
op. 14; songs; 3-act opera, A Festival at
leadersler
Leander, symph. drama, full orch., op. 12; vn.
concerto, D ma. op. 16; symphony, D mi.; a choral
work, A Song of Peace, soli, chorus, orch. and
organ.-A. E.
HEGGE, Odd Grüner. Norwegian pianist,
compr. b. Christiania, 23 Sept. 1899. Pupil of
Music Cons. in Christiania, of Nils Larsen and
Backer-Gröndahl (pf.) and of Gustav Lange
(compn.). As compr. he has attracted attention
by his marked polyphonic talent and strong
creative powers. His chamber-music works are
distinguished by pleasing melodious invention
and modern harmony. Member of committee of
Norwegian Composers' Association.
Sonata for vn. and pf.; pf. suite; trio for vn.
cello and piano.-J. A.
HEIDE, Harald. Norwegian violinist and
condr. b. Fredrikstad, 8 March, 1876. Trained
as violinist under Gudbrand Böhn (Christiania),
César Thomson (Brussels), and Zajič (Berlin).
Has given concerts in N. America and England.
Orch. condr. to the theatre Den Nationale Scene,
and to the mus. soc. Harmonien in Bergen.
Has comp. a large number of works, especially
for theatre.-U. M.
HEINS, Francis Donaldson. Brit. violinist; b.
Hereford, England, 19 Feb. 1878. Stud. at Leipzig
Cons. under Hans Sitt (vn.), Carl Bering (pf.),
Gustav Schreck (harmony), Richard Hoffmann
(orch.). In 1897, began work as teacher and player
in Hereford, continuing his vn. studies under
Wilhelmj. 1902, went to Ottawa, Canada, where
he now resides. Condr. of Ottawa Symphony
Orch. since 1903. Though not entirely a profes-
sional orch. its concerts have become a prominent
feature of Ottawa mus. life. The Earl Grey
Trophy offered for best orch. playing has been
won 4 years in succession by this orch.-L. S.
HEISE, Peter Arnold. Danish compr. b.
Copenhagen, 11 Feb. 1830; d. Taarbäk, suburb
of Copenhagen, 12 Sept. 1879. B.A. 1847. Stud.
music in Copenhagen under A. P. Berggreen, and
under Hauptmann, Leipzig. His speciality as a
compr. was in the romance form, for which he had
a peculiar gift. The complete collection of his
romances and songs fill 3 vols. in the new ed. and
stand as a noble monument to the high develop-
ment of Danish music in latter half of XIX cen-
tury. This essentially lyric compr. in his last
years turned to dramatic forms in his 2 operas,
Paschaens Datter (The Pasha's Daughter), 1869,
and Drot og Marsk (King and Marshal), 1878.
The latter is a Danish-historical work of the
grand opera type, and its appearance gave
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HEKKING
promise of rich development, the fulfilment of
which was, however, prevented by his premature
death.-A. II.
HEKKING, André. Fr. cellist; b. Bordeaux,
30 July, 1866. Stud. solely under his uncle,
Charles Hekking, himself a remarkable artist.
Début, when very young, as soloist to all the
chief Fr. Symphony Concerts-Cons., Colonne,
Lamoureux. În 1919, became teacher at Cons.
at École Normale de Musique and at Amer.
Cons. at Fontainebleau. He is remarkable for
the firmness and power of his tone, especially
in those passages of a concerto of Lalo or Brahms
where the soloist had to sustain his part against
a full orchestra.-M. P.
HEKKING, Gérard. Fr. cellist; b. Nancy, 1879,
One of the foremost cellists of modern Fr. school.
1st prize, Paris Cons. 1899; after short proba-
tion at the Opéra, began brilliant career as
soloist and 4tet-player. Has played as soloist
with all chief Paris orchs.; at Cons.; Colonne
and Lamoureux Concerts; and Société Nationale.
Has often appeared abroad in Belgium, Holland,
Russia, Spain and Germany under Eugène
Ysaye, Safonof, Mengelberg and Mahler.
has often been chosen to perform formerly
unsuccessful works, such as 2nd sonata of J.
Fauré, the 2nd quintet (Fauré), trio of J.
Pierné, sonata of Paul Paray, many works of
A. Cellier, J. Boulnois, Thirion, Dirk Schäffer,
etc. His extremely versatile talent, coupled
with a rare technique, permits him to essay
works of widely diverging schools with in-
comparable confidence of style.-M. P.
He
HELFERT, Vladimír. Czechoslovak music
critic, historian; b. 1886. Pupil of O. Hostinský
at Prague Univ.; Ph.D.; from 1921 teacher of
mus. science, Brno Univ. Great historical works:
The Musical Baroque at Bohemian Castles (Hudební
barok na českých zámcích), 1916; Music at the Castle
of Jaroměřice (Hudba na zámku jaroměřickém).
Even his smaller works are chiefly about Czech
music in the XVIII century. Esthetic works:
Smetanovské kapitoly (Essays on Smetana); Naše
hudba a český stát (Our Music and the Czecho-
slovak State). He is critic of several reviews and
papers. V. ST.
HELLER, Gordon. Eng. barit. singer and
writer; b. Bradley, Yorks, 18 June, 1857. Stud.
under Santley, J. Rubini, Henry Blower, Fred
Walker, Hugo Heinz; Fräulein Keller. Prof. of
singing at Huddersfield Coll. of Music, from
1908. Author of The Voice in Song and Speech
(Kegan Paul, 1917).-E.-H.
HELLMESBERGER, Joseph, sen.
violinist; b. Vienna, 3 Nov. 1828; d. there,
24 Oct. 1893. Son of Georg Hellmesberger, the
teacher of Joachim; dir. of Ges. des Musik-
freunde in Österreich (Soc. of Friends of Music in
Austria); condr. of Soc. concerts and of Cons.
Since 1851, prof. of vn. at Cons. In 1860,
leader of Opera orch.; 1863, solo vn. of Hof-
kapelle; 1877, Hofkapellmeister. A famous
teacher of generations of violinists.-EG. W.
HELLMESBERGER, Joseph, jun. Austrian
HENDERSON
violinist; b. Vienna, 9 April, 1885; d. there,
26 April, 1907. From 1870, member of his
father's quartet; 1878, solo vn. of Opera orch. ;
prof. of vn. at Cons.; condr. of comic opera;
also of ballet-music at Opera. 1900-2, 1st
Hofkapellmeister; 1902-5, condr. at Stuttgart.
Comp. various operettas (perf. 1880-1906 at
Vienna, Munich and Hamburg), of which Das
Veilchenmädel is best known.-EG. W.
von.
HELMHOLTZ, Hermann Ludwig Ferdinand
Ger. physicist; b. Potsdam, 31 Aug.
1821; d. Charlottenburg (Berlin), 8 Sept. 1894.
Stud. medicine in Berlin; assistant at Charité
Hospital, 1842; army surgeon at Potsdam, 1843;
teacher of anatomy for artists, and assistant in
anatomical museum, 1848; prof. of physiology,
Königsberg, 1849; prof. of anatomy and phy-
siology, Bonn, 1855; prof. of physiology,
Heidelberg, 1858; prof. of physics, Berlin,
1871.
Sensations of Tone as a Physiological Basis for
Theory of Music, a work of the greatest importance
for the mathematical, physical and physiological
foundation for the theory of music (1863; 6th ed.
1913; Fr. by Guéroult, 1868 [1874]; Eng. by Ellis, 1875
(1885]). Consult: E. Mach, Introduction to Helmhollz's
Theory of Music (1866, popular ed. for musicians); J.
Broadhouse, The Student's Helmholtz (1890); Ludwig
tion to Music
S. Epstein, Helmholtz as Man
and as Scientist (1897); Leo Königsberger, Hermann v.
Helmholtz (1903, 3 vols.; popular ed. in 1 vol. 1911);
E. Waetzmann, On Helmholtz's Resonance, Theory
(Breslau, 1907); Sedley Taylor, Sound and Music.
Helmholtz's lectures on The Mathematical Principles
of Acoustics were publ. by A. Könitz and L. Runge
(1888).-A. E.
Riemann. ovo Outline of Acoustics in their Rela-
HELSTED, Gustav Carl. Danish compr. and
orgt. b. Copenhagen, 30 Jan. 1857. Comes of a
well-known family of musicians; pupil of R.
Cons. of Music, Copenhagen; also stud. later on
Continent. Prominent orgt.; at present filling
the position at Vor Frue Kirke (Church of Our
Lady), Copenhagen. Prof. of cpt. at R. Cons.
Copenhagen. His numerous chamber music
pieces, larger orch. and choral works, all reveal
talent of high order and great originality. Chair-
man of Dansk Koncertforening (Danish Concert
Soc.) and of Dansk Komponistsamfund (Danish
Composers' Club), Copenhagen.
Pf. trio, op. 6; str. 4tet, op. 33; 2 sonatas, pf. and
vn. op. 13, 20; cello concerto, op. 5; Romance, vn.
and orch. op. 11; vn. concerto, op. 27; Our Father-
land, soli, chorus, orch. op. 30; Dance-Music, female
chorus and pf. op. 28: pf. pieces; songs (Copen-
hagen, Hansen).-A. H.
HELY-HUTCHINSON, C. V. Born Cape Town,
S.A. Educated at Eton and Balliol Coll. Oxford
(Nettleship Scholarship in music) and R.C.M.
London; lecturer in music, S. African Coll. of
Music and Cape Town Univ. 1922.
sonata; Blake's Songs of Innocence, female chorus
and str. orch.; songs.-W. H. B.
HEMPEL, Frieda. Ger. dramatic and colora
tura operatic s. b. Leipzig, 26 June, 1885. Pupil
of Leipzig Cons. and of Stern's Cons. Berlin;
pupil of Frau Nicklass Kempner. Début,
1905; engaged Schwerin, 1905-7; R. Court
Opera, Berlin, 1907-12; Metropolitan Opera
House, New York, since 1912.-A. E.
HENDERSON, Archibald Martin. Scottish
orgt. condr. b. Glasgow, 1879. One of the
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HENDERSON
most notable mus. personalities in West Scot-
land, and a dynamic force in artistic life of Glas-
gow.
Stud. at Klindworth-Scharwenka Cons.
Berlin; later at Paris under Pugno, Widor, and
Cortot. At present orgt. to Univ. of Glasgow,
and condr. Glasgow Bach Choir. Lectures on
modern music, chiefly Russian. Glasgow corres-
pondent for Scottish Musical Magazine till 1923;
has ed. 5 vols. of Russ. pf. music; 5 vols. of
standard organ classics; 3 vols of pf. tran-
scriptions from Bach; and 2 vols of old Eng.
classics for pf. Has also transl. and ed. a series
of Russ. church compns. for English choirs
(Bayley & Ferguson).-W. S.
HENDERSON, William James. Amer. critic
and author; b. Newark, N.J., U.S.A., 4 Dec. 1855.
Graduated A.B. Princeton, 1876; A.M. 1886.
Pupil at Princeton of Carl Langlotz (pf.) 1868-73.
Stud. singing under A. Torriani, 1876-7. Began
as journalist in 1883; from 1887-92 music critic
of New York Times; since 1902, of Sun (now
The Herald). 1899-1902, lectured on music his-
tory at New York Coll. of Music; since 1904,
on development of vocal art at Inst. of Mus.
Art. Author of libretto of Damrosch's Cyrano
and several light operas. Besides his numerous
and widely-read books on music, has written
on the subject of navigation. Member of National
Institute of Arts and Letters.
The Story of Music (Longmans, 1889, and many
later eds.): Preludes and Studies (id. 1891): How
Music Developed (Stokes, 1898); What is Good Music?
(Scribner, 1899); The Orchestra and Orchestral Music
(id. 1899); Richard Wagner, his life and Dramas
(id. 1901); Modern Musical
The Art of the Singer (Scrit.rift (Longmans, 1904):
1906): Some Fore
runners of Italian Opera (Holt, 1911): Early listory
of Singing a vol. of
and Timbrel (Badger, 1905), and a musical novel,
The Soul of a Tenor (Holt, 1912).-0. K.
HENKEL, Lily. Eng. pianist; b. Nottingham.
Stud. in England and abroad; finally under
Mme. Schumann at Frankfort; debut in Notting-
ham; has played with chief orchs. and toured
in France, Germany, Holland, Spain; 1910,
founded Henkel Quartet (pf. and str.) (A.
Beckwith, R. Jeremy, J. Mundy).-E.-H.
HENNEBERG, C. V. A. Richard. Swedish
condr. compr. pianist; b. Berlin 5 Aug. 1853.
Stud. under W. Rust; acc. for Malinger and de
Swert, 1870; for Conrad Behrens (Norway and
Sweden); condr. in Berlin; of Harmonie, Ber-
gen, 1873; attached to Covent Garden Opera,
London, 1875; then at theatres in Stockholm;
condr. R. Theatre (opera), 1885; R. Court Music-
master, 1894; dir. of orch. in Berne saloons,
1907-12; condr. popular concerts at Malmö,
1912; retired on pension; lives in Malmö.
Member R.A.M. Stockholm, 1885. Introduced
Wagner's operas in Sweden.
Opéra-comique, Droteningens vallfart (The Queen's
Pilgrimage) 1882; music for Ibsen's Brand, and for
Shakespeare plays; to ballet Undina; pf. 5tet and
other chamber-music;
songs; choruses; pf. music
and orchestrations of various works.-P. V.
HENNERBERG, Carl Fredrik. R. Swedish
Court orgt. b. Älgarás (Sweden), 27 Jan. 1871.
Stud. R. Cons. Stockholm, 1899-1907; teacher
of harmony at Cons. from 1904; also of pf.
from 1905; choirmaster at Chapel of R. Castle,
HENRY
1906-8; orgt. there from 1909; librarian of
R.A.M. Stockholm from 1908, where he systema-
tised and catalogued the library._ Made travel.
studies in Germany, Switzerland, France (1910);
England and France (1911). Member R.A.M.
Stockholm, 1915.
Orgelns byggnad och rård (Structure and Care of the
Organ (1912). List of compns. of
Wennerberg
(1918) for many foreign musie-journals: Mus. Nes
transl. of Carl Locker's Oister. H. has
(London); Zeitschrift der I.M.G.; Bulletin de la Soc.
française de musicologie; and Kongressberichte der
1.M.G. (Vienna, 1909; London, 1911).-P. V.
HENNUM, Johan. Norwegian cellist, condr.
b. Christiania, 26 Aug. 1836; d. there, 13 Sept.
1894. Pupil of the chamber-musician Kuhlau,
Copenhagen (1854-6) and of Servais, Brussels
(1859-60). Orch. condr. at Christiania Theatre,
1866-94. For a time also condr. of popular con-
certs. Both as an eminent condr. and a fine
player of chamber-music he was, during a
generation, one of the corner-stones of mus. life
in Christiania.-U. M.
230
HENRIQUES, Fini Valdemar. Danish compr.
violinist; b. Copenhagen, 20 Dec, 1867. Pupil of
Valdemar Tofte (Copenhagen), of Joachim (Ber-
lin) and in compn. of Johan Svendsen (Copen-
hagen). Member of R. Chapel, 1892-6. His
talent, exuberant and full of temperament, has
found expression in nearly every form-songs,
chamber-music, orch. pieces, symphonies, drama-
tic works. Of these, special mention must be
made of Völund Smed (Holger Drachmann's text)
and the ballet Den lille Havfrue (The Little Mer-
maid), based upon Hans Chr. Andersen's tale.
These two works were produced at R. Opera,
Copenhagen.
Suite for ob. and orch. op. 13; Romance, vn. and
orch, op. 12;, pf. trio, op. 31; sonata, pf. and vn.
op. 10; pf. pieces, op. 1, 4, 6, 7, 11, 15, 19, 21, 28
30 32 romances and songs, op. 2, 3, 8, 9, 18, 22,
23, 29, 33 (Copenhagen, Hansen).-A. H.
HENRY, Leigh Vaughan. Eng. compr. and
critic; b. Liverpool, 23 Sept. 1889. Son of
John Henry (compr., barit. soloist of Covent
Garden and voice specialist); showed early in-
terest in music, commencing to study pf. at age
of 7. Destined for profession of architect, but
always continued music as a side-study. At 13,
became pupil of Charles Ross, ex-prof. of Leipzig
Cons. (pf.) and of A. W. Locke (harmony); later
of Walter Bridson, Liverpool (harmony and cpt.).
At 16, some of his work attracted attention of
Granville Bantock, to whose advice he attributes
greater part of his mus. development. At 23,
was appointed dir. of music in Gordon Craig's
School for the Art of the Theatre, Florence. In
that city, gave numerous lectures at the Fenzi
Palace, together with recitals of modern music,
and cond. Anglo-Ital. Choral. Invited to Ger-
many, arrived there to be interned at commence-
ment of war. At cessation of hostilities, returned
to England, and contributed to several mus.
publications. In 1921, created and became ed. of
Fanfare, a mus, review of advanced tendencies,
which ran for only six months; has lectured in
France, Italy, Germany and Russia.
The Rogueries of Corviello, comedy-ballet after the
Commedia dell' arte (1914; revised 1920-1) (New York
Composers' Music Corp.); 3 pieces for fl. clar. and
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HENSCHEL
bsn. (id.); Catawba: plaisanteries pour piano (1910)
(id.); Les Heures intimes: préludes pour piano
(1911-12) (id.); A Celtic Poem, male chiorus a cap-
pella (1911) (Goodwin); choric poems for solo speak-
ing-voice and declamation chorus (1914-15) (Cur-
wen); _songs: Mousmé no O-dori (poem by compr.
from Japanese text), 1911 (id.); Spring Morning
(P. H. Evans), 1910 (id.); Pleasaunces, fl. ob. vn, yla.
cello (ms.); Cymric Poem, small orch. (from Mabino-
gion) (ms.); Sheen of Waters, pf. and orch. (ms.).
Books: Music: Its growth in Form and Significance
(Oxford Culture Manuals); Music: What it means and
how to understand it (Curwen); Stravinsky, mono-
graph, authorised by composer (Chester).-E.-H.
HENSCHEL, Isidor Georg (Sir George). Concert
barit. and compr. b. Breslau, 18 Feb. 1850.
Of Polish descent. Pupil of Franz Götze
(singing) and Richter (theory) at Leipzig Cons.
(1867-70); continuation studies from Ad.
Schulze (singing) and Kiel (compn.) in Berlin.
Cond. symphony concerts in Boston, 1881-4;
went to London, 1885, where he directed London
Symphony Concerts till 1886; first condr. of
Scottish Orch., Glasgow; teacher of singing at
R.C.M., 1886-8; naturalised in Britain, 1890;
knighted by King George V in 1914. His first
wife was a s. concert singer, Miss Lillian Bailey
(b. 17 Jan. 1860, in Ohio; d. 5 Nov. 1901, in
London), pupil of her uncle, Charles Hayden,
of Mme. Viardot, and lastly of Georg Henschel
himself, whom she married in 1881, and ac-
companied from that time on his concert-tours.
Canon suite for str. orch.; Psalm CIII, chorus,
soli and orch.; Stabat Mater (Birmingham Fest.,
1894); Hamlet music (London,
); operas: 4
1899); Requiem, op. 59
(1903); str. 4tet, E flat ma. op. 55; many songs
(from Scheffel's Trompeter von Säckingentions of
Fair and Nubia (Dresden,
Sea Change (Love's Stowaway. Frederick the
choral songs,
Brahms (1907); and his own reminiscences, Musings
and Memories of a Musician (Macmillan, 1918). Has
resided for many years in Scotland at Allt-na-Criche,
Aviemore.-A. E.
HENSEL, Walter.
Janiczek (q.v.).
Pseudonym of Julius
HENSELT, Adolf von. Ger. pianist and compr.
b. Schwabach (Bavaria), 12 May, 1814; d. Warm-
brunn (Silesia), 10 Oct. 1889. Stud. some time
as R. Stipendiary, under Hummel, Weimar, and
2 years (theory) under Sechter, Vienna, where he
lived for some years. First concert tour was to
Berlin in 1836. Married in Breslau in 1837,
and in 1838 took up his residence in Petrograd,
where he was appointed Court virtuoso to
Emperor and music-master to the princes.
Appointed inspector of mus. instruction at the
girls' schools of the empire, and honoured with
the Order of Vladimir; Imperial Russian
Councillor of State.
op. 31; concert paraphrases. Second-
Pf. concerto, F mi.; concert studies, op. 2,
op. 5, La Gondola, op. 13; Poème d'Amour, op. 3
Song of Spring, op. 15;
op. 17; Ballade,
Piano" arr. for Cramer's Etudes; in all 39 works
with opus numbers, and 15 unnumbered. Ed. an
excellent ed. of Weber's pf. works (with variants);
also wrote Exercises préparatoires, etc.-A. E.
HERBERT, Victor. Amer. compr. condr. and
cellist; b. Dublin, 1 Feb. 1859. A grandson
of Samuel Lover. Was sent to Germany at the
age of 7 to study music. Stud. cello particu-
larly under B. Cossmann (1876-8). After appear-
ing as a soloist in Germany, France and Italy,
was 1st cellist of Strauss's Orch. in Vienna
HEROLD
(1882) and then of Court Orch. in Stuttgart
(1883-6). In Stuttgart, stud. compn. under M.
Scifriz; wrote a Suite for cello and orch. op. 3,
(Zumsteeg, 1884), and a still unpubl. cello con-
certo. Went to America, 1886, as 1st cellist of
Metropolitan Opera in New York; later in
Theodore Thomas's orch. and with Anton Seidl;
also acted as assistant-condr. to Seidl. Played
solo-part in 1st perf. of his 2nd concerto for
cello, with Philh. Orch. in New York, 10 March,
1894. In 1889-91, associate-condr. at Worcester
(Mass.) fests. and for these fests. wrote a cantata
for soli, chorus and orch. The Captive. After
being bandmaster of 22nd Regiment, New York
National Guard, for 4 years, he cond. Pittsburg
Symphony Orch. 1898-1904. After 1894, de-
voted himself more to the compn. of light operas,
of which he has produced more than 35. A
serious opera in 3 acts, Natoma (Philadelphia,
21 Feb. 1911), and another in 1 act, Madeleine
(Metropolitan Opera, New York, 24 Jan. 1914),
have not held the stage. An unpubl. symph.
poem, Hero and Leander, op. 33 (1st perf. by
New York Philh. Orch. 30 Jan. 1904), and an
orch. suite, Woodland Fancies (1st perf. Pitts-
burg, 1902), have been frequently played in
America. Member of National Inst. of Arts
and Letters.
Serenade for str. oreh. op. 12 (Leuckart, 1889);
2nd cello concerto, op. 30 (Schuberth, 1898); Suite
Romantique for orch. op. 31 (Simrock, 1901); Irish
Rhapsody for orch. (Schirmer, 1910). Operas:
Natoma (Schirmer, 1911); Madeleine (id. 1914).
Comic operas: Prince Ananias (Schuberth, 1894);
The Wizard of the Nile (id. 1895); The Serenade
(id. 1897); The Idol's Eye (id. 1897); and many later
ones (publ. by Witmark; some by 'Schirmer). Also
pf. pieces and songs.-O. K.
HERMAN, Jan. Czechoslovak pianist; b.
Neveklov (Bohemia), 1886. Pupil of A. Mikeš
in Prague. As a young man, toured in America
with violinist Miss M. Herites. For some years
teacher of piano in Russia; from 1914 prof. at
Cons. of Prague. Has played in Paris and
London. Together with K. Hoffmann he is
systematically cultivating the perf. of vn.
sonatas. V. ST.
HERMANN, E. Hans G. Ger. compr. b. Leip-
zig, 17 Aug. 1870. Pupil of W. Rust, E. Kret-
schmer and H. v. Herzogenberg; contrabassist
in several orchs. 1888-93; teacher at Klind-
worth-Scharwenka Cons. Berlin, 1901-7; now
living in Berlin as compr. Is above all a song
writer.
Ballads; songs, op. 64; songs in popular strain
(Löns); Solomon's Great Song in Minnelieder, op. 61:
17 songs, op. 63; Christmas Songs; Wisdom of Omar
Khayyam, op. 60, barit. and pf.; 2 mus. comedies,
and The Scarlet Pimpernel;
Judgment of Midas (Life's Episodes); 2 str. 4tets
vn.;
in D mi.
(Gmi.: C ma.); suite (sonata), pf. and
4 pf. duets; clar. and pf. pieces; pieces for cello
and pf., and for vn. and pf.-A. E.
HEROLD, Vilhelm. Danish opera-singer (t.);
b. Hasle, Isle Bornholm, 19 March, 1865. After
his studies in Copenhagen and Paris (Devillier)
made début at R. Theatre, Copenhagen (Gounod's
Faust); later sang Tristan in Tchaikovsky's
Iolanthe; pursued this success in Carmen, Caval-
leria Rusticana, Pagliacci, Werther, Bohème,
Tiefland, Lohengrin, Mastersingers etc., not
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HERSENT
alone on Danish, but also international stages
(Covent Garden, London, Berlin, Prague, Chi-
cago). Dramatic energy, refinement, the pos-
session of a finely trained voice of exquisite
quality, made him the popular idol of the Danish
R. Opera until his retirement in 1915. He re-
sumed his relations with that inst. in 1922 as
dir. In his leisure he has cultivated with success
a considerable talent as sculptor.-A. H.
HERSENT, Simone, Fr. violinist;
b. St.
Jean d'Angély, 18 Aug. 1895. Prix d'honneur
for vn., Paris Cons. 1917. One of the best hopes
of vn.-playing in France.-A. C.
HERTZ, Alfred. Amer. condr. b. Frankfort-
o-M., 15 July, 1872. Stud. in Frankfort under
Max Schwartz (pf.) and Anton Urspruch (theory).
Assistant-condr. at Halle Stadttheater, 1891-2,
and condr. at various Ger. theatres until 1902,
when he came to New York as condr. of Ger.
and Eng. opera at Metropolitan Opera House.
Here he cond. the 1st scenic production of
Parsifal outside of Bayreuth (1903) and 1st
perf. of Parker's Mona (1912), Damrosch's
Cyrano (1913) and Parker's Fairyland (Los
Angeles, Cal., 1915). Cond. at Covent Garden,
London, 1910; since 1915, condr. of San Fran-
cisco Symphony Orch. Received Order of Art
and Science from King of Saxony.-J. M.
HERWEGH, Marcel. Virtuoso violinist; b.
Zurich, 1860. A naturalised Frenchman; pur-
sued his mus. studies at Stuttgart Cons. under
E. Singer, the Hungarian violinist. Founded
in 1896 the Société des Petites Auditions. Has
ed. the Concertos of Leclair and written (with
Élie Poirée) a psychological analysis of Beet-
hoven's Sonatas.-A. C.
HERZFELD, Conrado. Argentine pianist and
compr. b. Berlin in 1845. Stud. under Brest and
Feschner. After touring in America, settled in
Buenos Ayres in 1866 as teacher. Founded the
Cons. La Capital in 1899. Has publ. pieces for
orch. several marches (one, a funeral march,
highly praised by Chrysander). His song (poem
by Stecchetti) Quando tu sarai vecchia is a truly
inspired work.-A. M.
HESELTINE, Philip. Eng. compr. critic and
writer; b. 30 Oct. 1894. Stud. under Colin
Taylor at Eton and informally under F. Delius
and Bernard van Dieren. Founded the Sackbut
(May 1920) and edited it until May 1921. Has
written a book on Delius and has arr. many of
the orch. works of Delius for pf. (Augener
and Univ. Ed.). Composes under the pen-
name of Peter Warlock. His songs are amongst
the finest written since 1900. Contributor of
several articles to this Dictionary.
An Old Song, fl. ob. clar. horn and divided
str. (Chester); Serenade for str. orch. (id.); The
Curlew, song- cycle, t. v. fl. c.a. str. 4tet (a
Carnegie award, 1923: Stainer & Bell); Folke-song
Preludes,
Lillygay
(Chester): Saudader): song-cycles:
(id.); Peterisms (id.): Candle-
light, 12 nursery jingles (Augener); Corpus Christi,
unace. chorus (Curwen); numerous separate
(Augener; W. Rogers: Boosey; Curwen F
Engs
II. Milford); editions of 150 c
Wilson) (Enoch; Novello; Chester; H. Milford;
Eng. airs (with Philip
Reeves). Books: F. Delius (J. Lane, 1923);
The English Ayre (II. Milford).-E.-H.
HEUSS
HESS, Ludwig.
Ger. t. singer and compr.
b. Marburg, 23 March, 1877. From 1895 to
1900, pupil of Berlin High School of Music
(R. Otto, Bargiel, Wolf, Heymann) and of Melch.
Vidal in Milan (1901), after which he made a
name as a concert singer. In Munich, 1907-10, as
condr. of concert soc. for choral singing; then in
Frankfort-o-M. as music teacher. Concert tour
in U.S.A., Mexico and Canada, 1912-14; settled
in Berlin as concert and oratorio singer, teacher
and compr. From 1917 to 1920 condr. of mus.
acad. of Königsberg Teachers' Choral Soc., and
of symphony concerts of Königsberg Concert
Soc., after which he returned to Berlin.
232
2 symphonies (Hans Memling's King of Heaven,
mi.); pf.
Ariadne; choruses: Joyous Harvest, 4 Fresh Morning,
Pirates, Summer Evening Rest, Burial Hymn, Mid-
summer Night, Newly-Found Happiness, In the
Evening, Of Undying Love (sacred chorus); vocal
pieces for female chorus, op. 61; many songs with
pf. (Songs of Hafiz). Also wrote a lively comic opera,
Abu und Nu (Dantzig, 1919).-A. E.
HESS, Myra. Eng. pianist; b. London. Stud.
at R.A.M. under Tobias Matthay; has toured Gt.
Britain, France, Belgium, Holland, and (1922-3)
America and Canada.-E.-H.
HESS, Willy. Ger. violinist; b. Mannheim, 14
July, 1859. Stud. (after having travelled several
years) with Joachim in Berlin (1876-8). Engaged
as Konzertmeister in Frankfort-o-M.; 1886, in
Rotterdam; 1888, in Hallé Orch. Manchester;
1895, condr. of Gürzenich Orch. and vn.-teacher
at Cons. in Cologne; 1903, succeeded Sauret
as vn.-teacher, R.A.M. London; 1904, went to
Boston as dir. of Symphony Orch., and leader of
str. quartet of which Alwin Schröder was cellist.
In 1910 followed Halir as teacher at R. High
School, Berlin, and first violinist of Halir
Quartet; also a member of the Schumann
Trio.-A. E.
HESSE - LILIENBERG, Davida Augusta.
Swedish s. operatic and concert - singer; b.
Gäfle, 29 Jan. 1877. Stud. R. Cons. Stock-
holm (under J. Günther) 1897-1901; début as
Zerlina, R. Opera, Stockholm, 1904; regularly
engaged there, 1904-9; stud. in Berlin (Frau
Emmerich), 1909; then appeared in operas and
concerts in Stockholm. Chief parts: Mimi,
Butterfly, Gilda, Iolanthe, Eurydice, Mignon,
Rosina (Il Barbiere), Marcellina (Fidelio), Greta.
Married Erik Lilienberg, Kristianstad, Sweden.
-P. V.
HESSLER, Gustaf Emil. Swedish clarinettist
and military band condr. b. Stockholm, 23 Feb.
1873. Stud. R. Cons. there, 1888-97; solo-clar.
R. Chapel from 1894; prof. of clar. and ensemble
R. Cons. from 1904; condr. of 1st Guards (Svea
Lifgarde) military band; captain, 1922; mem-
ber R.A.M. Stockholm, 1921. Comp. 15 marches
for band.-P. V.
HEUSS, Alfred Valentin. Ger, musicographer
and compr. b. Chur, 27 Jan. 1877. 1896,
pupil Stuttgart Cons.; 1898, at Munich Acad.
and stud. philosophy at Univ. Finished univ.
course under Kretzschmar in Leipzig, 1899-
1903; Ph.D. 1903, with a thesis The Instru-
mental Parts of "Orfeo" and the Venetian
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HEWLETT
Opera Symphonies. Ed. Journal of the Inter-
national Soc. of Music (1904-14), contributing
many spirited articles to it; compiled new ed.
of Adam Krieger's Arien in D.d.T. (Vol. XIX);
wrote valuable programme-books for Bach Fest.
in Leipzig (1904, 1907, 1908, 1914); also J. S.
Bach's Passion according to St. Matthew (1909);
Beethoven: a Delineation (1921); The Dynamics
of the Mannheim School (1909, in Riemann Fest.
Journal). The explanatory comments, prepared
for People's Chamber-Music Concerts arranged
to take place in Albert Hall, Leipzig, he publ.
in 1919 under title Chamber-Music Evenings.
Took part in formation of Union of German
Music Critics, and was its first president. Con-
cert reporter to Signale (1902-5); opera and
concert reporter to Leipziger Volkszeitung;
1912-18, held same position on staff of Leipziger
Zeitung. In 1921 took over chief editorship of
Zeitschrift für Musik.
His analyses of the works of Bach, Handel, Per-
golesi, Beethoven, Liszt and Bruckner appeared in
the Kleine Konzertführer, publ. by him and Breitkopf.
Since 1915, has shown marked preference for musical
Songs (op. 2-5, op. 7-15); Chorus of the Dead,
Op. 6;
HEWLETT, William Henry. Canadian orgt.
teacher, choral condr. b. Bath, England, in 1873.
Stud. pf. and organ under Dr. A. S. Vogt in
Toronto; theory under Arthur Fisher, Albert
Ham and Sig. D'Auria. Later, went to Berlin
and London, being pupil successively of Ernest
Jedliczka, Hans Pfitzner and Vladimir Cernikof.
Returning to Canada, took degree of Mus. Bac.
(Trinity), Toronto; appointed orgt. Carlton Street
Methodist Church. 1903, orgt. Centenary Ch.
Hamilton, which position he now holds. Has been
associated for some years with Hamilton Cons. of
Music, of which he has been Principal since 1918.
In 1922, condr. of Elgar Choir (see CHORAL
SOCIETIES) in succession to Bruce Carey.-L. S.
HEY, Julius. Ger. teacher of singing; b.
Irmelshausen (Lower Franconia), 29 April, 1832;
d. Munich, 22 April, 1909. Attended Munich
Acad. of Painters, but turned to music and stud.
harmony under Franz Lachner and singing
under Friedrich Schmitt. Through King
Ludwig II, became acquainted with Wagner,
who suggested to him the reform of singers'
training, by imparting to it a German national
character. He worked for this idea as first
teacher of singing at R. Music School, Munich,
which had been founded in 1867 on Wagner's
plan, and was placed under the dir. of H. v.
Bülow. He resigned his appointment in 1883;
removed to Berlin in 1887; in 1906 returned
to Munich.
German Singing Instruction, 4 parts, 1886 (I,
Phonetic; II, Tone and Voice Formation of Women's
Voices; III, V.F. of Men's Voices; IV, Textual Ex-
planations). He publ. songs and duets (some comic);
also a favourite collection of 16 Children's Songs for
first instruction. Wrote R. Wagner as a Teacher
of Elocution, 1911, publ. by his son, Hans Erwin
Hey.-A. E.
HEYDRICH, R. Bruno. Ger, singer and
compr. b. Leuben (Saxony), 23 Feb. 1863.
Pupil of Dresden Cons. (1879-82). Contra-
bassist, Dresden and Meiningen Court Orch.
On Wüllner's advice, took singing-lessons from
HILDACH
Scharfe in Dresden, Hey in Berlin, Feodor
v. Milde in Weimar, and Schultz-Dornburg in
Cologne. First appearance in Sondershausen,
1887. Engaged as lyric t. or tenore robusto at
Weimar, Stettin, Aix-la-Chapelle, Cologne, Mag-
deburg and Brunswick. Now living in Halle-o-
S. as dir. of Music Cons., which he founded.
Songs; ducts; trios; choruses; solfeggi; also orch.
and chamber musie (symphony, D, op. 57; pf. trio,
op. 2; clar. sonata, op. 14; str. 4tet, op. 3; pf.
stet, op. 5). Pf. pieces; choruses with orch.; operas:
Amen (1-act, Cologne, 1895); Peace (4-act, Mayence,
1907); Chance (1-aot, Halle, 1914); folk-opera, The
Hurdy-gurdy Girl (not yet perf.).-A. E.
HEYERDAHL, Anders. Norwegian compr.
b. Urskog, 29 Oct. 1832; d. 18 Aug. 1918. For
many years violinist in the Norwegian Theatre,
Christiania, but was compelled, owing to a
nervous affection, to give up music for a con-
siderable time. Has won recognition as a collector
of Norwegian folk-tunes; publ. a coll. entitled
Slaalter (Folk-Songs). The national element also
plays an important part in his compns., which
include a symph. overture, 2 str. 4tets, a pf. 5tet,
Huldre-eventyr (A Fairy Tale), etc.-J. A.
HEYERSCHES MUSIKHISTORISCHES
MUSEUM (Heyer's History of Music Museum),
Cologne. Founded 1906 by Wilhelm Heyer (b.
Cologne, 30 March, 1849; d. there, 20 March,
1913; founder of firm of Poensgen & Heyer,
wholesale paper-merchants). The museum con-
tains over 2600 instrs. and accessories (the chief
constituents being the second De Wits coll., the
Krauss coll. [Florence] and von Ibach's in Bar-
men), the autographs of nearly 20,000 musicians,
3500 portraits, and specialised mus. library
containing numerous rare prints. The present
curator (since 1909) is Georg Kinsky (q.v.), who
edits the comprehensive catalogue of which 3
vols. have already appeared.-A. E.
HEYNER, Herbert. Eng. barit. singer; b. Lon-
don, 28 June, 1882. Stud. singing under Frederick
King and opera rôles under Victor Maurel; first
important London appearance at Promenade
Concerts, Queen's Hall, 1907; sings at leading
festivals.-E.-H.
HIDALGO, Elvira. Span. coloratura s. singer.
Teatro Real, Madrid; Liceo, Barcelona; La Scala,
Milan; Metropolitan Opera House, New York.
First appeared in England, Covent Garden,
B.N.O.C. Feb. 1924.-P. G. M.
HIERRO, José. Span. violinist; b. Cadiz.
Stud. with great distinction at the Cons.; played
in Paris; then establ. himself in Madrid, where he
appeared occasionally as soloist and in quartets
with Sarasate. Ex-leader of Soc. de Conciertos.
(now Orquesta Sinfónica). First vn. of R. Chapel
Orch.; prof. of vn. at R. Cons. de Música, in which
capacity he has contributed in great measure to
the recognised high standard of the Madrid orchs.
Amongst his pupils are Antonio Piedra, Rafael
Martínez and Manuel Quiroga.-P. G. M.
HILDACH, Eugen. Ger. barit. singer; b.
It was
Wittemberge-o-Elbe, 20 Nov. 1849.
only when 24 that he was able to enter on his
training as singer. In 1878 married Anna
Schubert (b. Polkitten, E. Prussia, 5 Oct. 1852,
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HILDEBRAND
a fellow-pupil of his under Frau El. Dreyschock|
in Berlin). Went to live in Breslau; but in
1880 Fr. Wüllner invited them both to join
teaching staff of Dresden Cons., where they
remained till 1886. They then devoted themselves
entirely to concert platform; in 1904 opened
school of singing in Frankfort-o-M. In 1909
H. was appointed a R. prof.
Anna Hildach
possessed a rich m.-sopr. Comp. songs, duets
and choruses.-A. E.
HILDEBRAND, Camillo. Condr. and compr.
5. Prague, 31 Jan. 1876. Pupil of Prague
Cons., under Bennewitz. Teacher of opera class,
Hoch's Cons., Frankfort-o-M., then condr. of
theatre orchs. in Heidelberg, Mayence, Aix-la-
Chapelle and Mannheim. Condr. 1912-19, Berlin
Philh. Orch.; 1919-20, dir. of opera, condr.
town symphony concerts and choral soc. Freiburg-
i-Br. Since 1921, condr. of Blüthner Orch. Berlin.
Married operatic singer, Henni Linkenbach.
Songs; choruses; pf. pieces; orch. works: opera,
Promise (Rostock, 1909); fairy-play, Firlefanz
(Freiburg, 1919).-A.
HILL, Alfred. Australian compr. b. Mel-
bourne, 1869. Now prof. State Cons. of Music,
Sydney, N.S.W.
Operas: 4 Moorish Maid, comic-romantic (perf.
Australia and New
(id.); The Weird Flute, short Tapa, a Maori opera
The Rajah of Shinapore (perf. Australia); Don
Maori opera (no chorus);
Quixote; Giovanni, short grand opera (perf. Aus-
tralia); Auster, a spectacular fantasy, grand opera.
Cantatas on Maori legends: Hineoma (perf. Australia
and New Zealand); Tawhaki. For orch.: 4 Maori
Symphony (perf. London under Cowen, Empire con-
cert); sonata for tpt. and orch. in B flat; Maori
4tets (I, Maori, in B flat; II, Maori, in G mi.;
III, The Carnival, in A mi.; IV,
the first two are publ. by Breitkopf, Leipzig); 5tet,
, C mi.; V, E flat;
E flat, for str. and pf. (with 8 solo vs.); 3 sonatas,
and a sonatina, vn. and pf. (Aug. Wild); vn. solos
(Paling. Sydney:
Boosen, Sydnicholson, Sydney); pf. pieces
Maori Songs (Chappell;
London; Meindol, Dunedin, N.Z.); many
other songs.-E.-H.
HILL, Carmen. Scottish m.-sopr. singer; b.
Aberdeen, 5 May, 1883. Stud. R.C.M. under
Frederick King; début St. James's Hall, Dec.
1903; has sung widely at ballad concerts.-E.-H.
HJELLEMO
House of Usher, op. 26 (after Poe), was brought
out by Boston Symphony Orch. 29 Oct. 1920.
His orch. compns. have remained in ms. H. is
a member of National Inst. of Arts and
Letters.-0. K.
HILLEMACHER, Lucien and Paul. Fr.
comprs. Lucien, b. Paris, 10 June, 1860; d.
2 June, 1909; Paul, b. Paris, 29 Nov. 1852.
Two brothers, both Prix de Rome winners, who
have always collab. and signed their works
with the single name P. L. Hillemacher. Paul
had the prize for his cantata Judith (1876),
Lucien, for his cantata Fingal (1880). In collab.
they had, in 1882, the Prix de la Ville de Paris
for their Légende symphonique, Loreley. Chief
works in common:
Orch.: La Cinquantaine, 1898; One for two, 1894;
Héro et Léandre, 1894. For theatre: Le Drac (3-act,
1886); Circé (3-act, 1907); Saint Mégrin (4-act,
1886); Aventure d'Arlequin (1888); Le Régiment qui
passe (1886): Orsola (1902). Oratorios: La Passion;
Sainte Geneviève (1887).-A. C.
HINDEMITH, Paul. Ger. vla.-player and
compr. b. Hanau, 16 Nov. 1895. Devoted
himself to music from his 11th year, more espec-
ially to vn.-playing. His teachers in compn. were
Arnold Mendelssohn and Bernhard Sekles at
Hoch's Cons. Frankfort-o-M. Since 1905 has
been chief condr. of Opera House Orch. in
Frankfort. As a compr. he is one of the freshest.
and most earnest of Young Germany's talented
musicians. Messrs. Schott, Mayence, have publ.
the following works:
2 vn. sonatas, op. 11 (E flat; D); sonata for vla.
and pf. op. 11, iv; str. 4tet, F mi., op. 10; sonata
for cello and pf. op. 11, ill; song-cycle (Melancholy)
for contr, and str. 4tet; ballad-cycle, The Young
; & Kammermusik, op.
Maiden (G. Trakl) op. 230; a
i; 3 other str. 4tets; pf. 5tet; 5tet for wind
instr. op. 24, ii; sonata, vla. alone, op. 11, v; cello
alone, op. 26, iii; 2nd
iv; ballad-cycle, Das Marienleber, and pt. op. 26,
op. 27; 5tet, clar.
and str.,
Also three 1-aot operas: Murderer,
Women's Hope (text by Oskar Kokoschka); The
Nusch Nuschi
Blei); Sancta Susanna
(Stramm). The two were produced Stuttgart,
three in Frankfort-o-M., 1922.-A. 1.
HINTON, Arthur. Eng. compr. b. Beckenham,
Kent, 20 Nov. 1869. Stud. vn. under Prosper
Sainton and Sauret at R.A.M. London; then
at Munich under Rheinberger; then Vienna
and Rome; Eng. provincial tours; has visited
Australia and New Zealand twice. Married
Katharine Goodson, pianist (q.v.).
HILL, Edward Burlingame. Amer. compr. b.
Cambridge, Mass., U.S.A., 9 Sept. 1872. Son of a
Harvard prof., he stud. at Harvard, and was
graduated A.B. in 1894 with highest honours in
music, having attended Paine's classes in music
during his coll. course. Stud. compn. under F. F.
Bullard in Boston and Widor in Paris; then
orch. under Chadwick in Boston. 1908-18, in-
structor in music at Harvard; since 1918,
assistant prof. In 1920 lectured on music for
Lowell Inst. in Boston. His Op. 18, The Nuns
of the Perpetual Adoration Boston, Mu Co.
1909), cantata for female vs. and orch. (1st perf.
in Boston, 1908) was sung in Birmingham, Eng-
land, in 1911. A pantomime for full orch., Jack
Frost in Midsummer, was played by Chicago
Orch. in 1908. A similar compn., Pan and the
Star, op. 19, was produced at MacDowell Fest.,
Peterboro, N.H., 1914. A symph. poem, The
Parting of Lancelot and Guinevere, op. 21, was
first played by St. Louis Orch. 1915. His latest
larger work, a symph. poem, The Fall of the
Symphony in E ma. (National Theatre, 1912);
Suite for orch. (The Young Composers' concert in
1920); Springleik; Sang: Slaat; military music.
-J. A.
234
2 symphonies (ms.); dramatic romance, Por
phyria's Lover (Patron's Fund concert, Queen's Hall;
ms.); orch. suite, Endymion
York);
pf. concerto (id.); scena, Epipher, N v. and
perf. and
(ms.); scena, Semele, m.-sopr. and orch. (ms.).
(J. Williams); pf. 5tet (
(Rahter); vn. sonata (Chester): trio, pf. vn. cello
While Roses song-cycle (Schmidt, Munich);
suite, vn. and pf.
ovellonge (2 bks., Ries & Erler); songs, part-
songs (Breitkopf: Fischer); vn. and pf. pieces
(Fischer); operettas: The Disagreeable Princess
(Bayley & Ferguson); St. Elizabeth's Roses (Curwen).
-E.-H.
HJELLEMO, Ole. Norwegian compr. b.
Dovre, 22 March, 1873. Pupil of Böhn (vn.),
Ole Olsen and Iver Holter (compn.); teacher of
vn., harmony and compn. at Music Cons. in
Christiania.
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HOBDAY
HOBDAY, Alfred Charles. Eng. vla.-player;
b. Faversham, 19 April, 1870. Stud. R.A.M.
London; has played in leading quartets (St.
James's Hall, with Joachim, Lady Hallé, Ries,
Strauss, Piatti; has given many vla. recitals
with his wife, Ethel Sharpe; solo vla. R. Covent
Garden Opera, 1900-14; leading vla. R. Philh.,
Goossens Orch., L.S.O. (since its inception,
1905) and chief festivals.-E.-H.
HOBDAY, Claude. Eng. d.b.-player; b.
Faversham, Kent, 12 May, 1872. Stud. R.C.M.
(1888-92); has played in leading orchs. (R. Eng.
Opera under Sullivan; Glasgow Choral Union
under Manns; Scottish Orch. under Henschel;
Richter Concerts, London; London Symphony
Orch.; R. Philh. Soc.); prof. of d.b. at R.C.M.
from 1902.-E.-H.
HÖBER, Lorenz. Ger. vla.-player, compr. b.
Frankfort-o-M., 30 Dec. 1888. Pupil Hoch's
Cons. (vn. Anna Hegner and Ad. Rebner; compn.
I. Knorr); afterwards of Willy Hess, Berlin High
School. Solo vla. Philh. Orch. Berlin. As compr.
has principally distinguished himself in chamber-
music: a flute trio; 2 str. 4tets.-A. E.
HÖEBERG, Georg. Danish compr. violinist,
condr. of the R. Chapel; b. Copenhagen, 27 Dec.
1872. Stud. R. Cons. Copenhagen. Stipendium,
1898. Prof. of vn. at R. Cons. 1900-14; condr.
of Dansk Koncertforening (Danish Concert Soc.)
1910-14. Since 1914, condr. of R. Opera, Copen-
bagen, and from 1915 chief dir. of the united
Danish Choral Society.
Opera, Bryllup i Katakomberne (The Wedding in
the Catacombs), R. Opera, Copenhagen, 1909; ballet,
Paris Dom (The Judgment of Paris), op. 17; sonata,
pf. and vn. op. 1; Romance, vn. op. 3; songs; pf.
pieces (Copenhagen, Hansen).-A. H.
HOEHN, Alfred. Ger. pianist; b. Oberellen
near Eisenach, 20 Oct. 1887. Pupil of Hoch's
Cons. (Prof. Uzielli), Frankfort-o-M. Secured
Rubinstein Prize, 1910. An energetic and virile
player. Also known as compr. of a str. 4tet
and a Psalm for barit. and full orch.-A. E.
HOESICK, Ferdynand. Polish writer; b. War-
saw, 1869. Publ. in 1911 a most conscientious
biography of Chopin (Polish, in 3 vols., Warsaw)
and in 1912 Chopin's Correspondence.-ZD. J.
HOESSLIN, Franz von. German condr.
and compr. b. Munich, 31 Dec. 1885. Pupil
of Max Reger and Felix Mottl. Condr. since
1907; Opera, Dantzig; St. Gall; condr. Riga,
1912-14; 1919-20, concert-dir. Lübeck; orch.
condr. Mannheim National Theatre, 1920-2;
condr. of Berlin People's Opera; since 1923
condr. of opera at Dessau. Comp. 3 Kam-
merstücke for orch. (Berlin, Bote & Bock).
-A. E.
HOFFMANN, Karel. Czechoslovak violinist;
b. Smíchov, 1872. Pupil of Bennewitz, Prague
Cons. In 1892 founded, with fellow-pupils,
the Bohemian Quartet (see CHAMBER-MUSIC
PLAYERS); from 1922, vn. prof. at Prague Cons.
He has remarkable personality, a strongly ex-
pressive tone and a fine classical style.-V. ST.
HOFFMANN, Rudolf Stephan. Austrian com-
poser and critic; b. Vienna, 21 Aug. 1878.
HOHENEMSER
Degree as doctor of medicine in 1902; combines
medical work with music. Pupil of Zemlinsky.
Many songs and an opera (none publ.); transl.
opera-texts of Manen, Respighi, Ethel Smyth.
Widely known as clever and spirited critic
(Merker; Anbruch; Neue Musikzeitung). Mono-
graphs on Franz Schreker (1920) and E. W.
Korngold (1923).-P. ST.
HOFFMEISTER, Karel. Czechoslovak pianist
and writer; b. Libice, 1868. Stud. at Univ. and
Cons., Prague (pupil of J. Káan); 1890-98 prof.
in Ljubljana; then at Cons. Prague. Has given
concerts (Bohemian Trio), comp. songs and pf.
pieces (Urbánek, Prague) and written critiques
and analyses of modern Czechoslovak music;
works on piano method and on Bach's clavier
pieces. Chief works: Bedřich Smetana (Prague,
1915, Zlatoroh); The Piano: Its Methods and
Masters (Prague, 1923, Hudební Matice). With
Stecker, ed. Hudební Revue, 1908-20.-V. ST.
His
HOFMANN, Josef Casimir. Polish pianist;
b. Podgorze, near Cracow, 20 Jan. 1876.
His father, a pf.-teacher and orch. condr., was
his first instructor. Toured Europe as a child-
prodigy and went to America in 1887.
public concert career was interrupted by the
Soc. for the Prevention of Cruelty to Children.
In 1888 the family settled in Berlin, where Josef
continued his pf. studies under his father and
M. Moszkowski, and stud. compn. under H.
Urban; 1892-4 under A. Rubinstein in Dres-
den. Resumed his brilliant concert career in
1894, returning to America in 1899, since which
date he has spent much of his time in America.
He is now one of the profoundest and most
powerful of pianists. Eng. tour, 1924.
Is credited with 5 early unpubl. pf. concertos.
Under the name of Michel Dvorsky he produced
Chromaticon, a symph. duologue for pf. and orch., at
(Schir Ouestions Answered (Demauer). 1909) and
a symph. narrative, Haunted Castle, Philadelphia
Orch. 7 Nov. 1919, and Three Impressions for pf.
Early pf. pieces
Author of
Piano
Piano Playing, with Piano Questions Answered
(Presser, 1920).-O. K.
HOFOPER, HOFTHEATER (Ger.). A Court
theatre or opera-house, i.e. one subsidised by the
sovereign and forming part of the Court estab-
lishment. Up to the Ger. Revolution of 1918, the
King of Prussia subsidised 12 opera-houses, some
of which belonged to States, such as Hanover,
which were annexed by Prussia. Since the Revo-
lution the numerous Court theatres of Germany
have been taken over by States or municipalities,
and the name of Hofoper, with all the subsidiary
titles derived from it, has become extinct.
-E. J. D.
HOHENEMSER, Richard. Ger. writer on
music; b. Frankfort-o-M., 10 Aug. 1870. Stud.
1892-6, Berlin (history of music, Ph. Spitta, H.
Bellermann and O. Fleischer more especially);
then philosophy in Munich, 1896-9 (psychology
and aesthetics, Lipps; mus. science, Sandberger).
Here he graduated Ph.D. (thesis: What effect
did the Revival of the older Music in the XIX
Century have upon German Composers?, Leipzig,
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HOLBROOKE
Breitkopf). Lived in Berlin from 1905; since
1919 in Frankfort-o-M.
Luigi Cherubini, His Life and Works (Leipzig,
Breitkopf, 1913).-A. E.
HOLBROOKE, Joseph. Eng. compr. b. Croy-
don, 5 July, 1878. Prepared for the mus. pro-
fession by his father; later at R.A.M. London;
1st appeared St. James's Hall as solo pianist,
June, 1896; toured with Arthur Lloyd, 1898;
pantomime condr. on tour, 1899; condr. Wood-
hall Spa Orch. 1900; has since appeared regu-
larly at leading concerts as pianist or condr.
His orch. tone-poems have always provoked great
interest. The one entitled Apollo and the Seaman,
to Herbert Trench's words, was given with the
words thrown on to a lantern sheet, section by
section. His opera Pierrot was given 5 times at
His Majesty's in May 1909. His opera-trilogy,
The Cauldron of Anwyn, to words by T. E. Ellis
(Lord Howard de Walden) consists of: I, The
Children of Don; II, Dylan; III, Bronwen. The
Children of Don was first given at the London
Opera House (Hammerstein), 12, 14, 18 June
1912, under Nikisch and Holbrooke; Dylan at
Drury Lane Theatre, 15, 18, 23 June 1913,
under Beecham; Don was perf. at Volksoper,
Vienna, imes in April 1923 under Weingartner,
and at Salzburg 3 times in 1923 under Kaiser.
Bronwen has not yet been produced. Some of his
chamber-music is amongst his finest work. He
has always been a great champion of the British
composer, both at his own concerts, on his many
tours (Continent, U.S.A., Jamaica, etc.) and in
the Press. He is a writer of great vigour, and
regularly and fearlessly engages in exposing
the futility of newspaper criticism as at present
practised. His music is unequal, often rising
to heights of great inspiration, but at times
dropping near to the commonplace. On the whole,
it has the grand manner well sustained, and it
is always finely orchestrated. His work is more
closely allied to the older schools than to the
newer ones. His early style showed relationship
to Wagner; his middle to Richard Strauss; this
does not detract from his originality, as he has
a remarkable fertility of ideas.
Operas: The Children of Don; Dylan; Bronwen;
Pierrot and Pierrette, op. 36 (His
1-act comic
P.
The Wizard (Chicago, 1915): The Snob, 8, 1909);
(not yet perf.). Tone-poems: Byron,
chorus and orch. op. 39 (Leeds Choral Union,
1906: Novello); Queen Mab, orch, and chorus, op.
45 (Leeds Fest. 1906); dramatle choral symphony,
Hommage to E. A. Poe, chorus and orch. op. 48 (Leeds
Choral Union, 1908); The Bells, chorus and orch.
op. 50 (Birmingham Fest. 1907; Chester); Apollo
and the Seaman, a dramatic symphony with choral
ending (Queen's Hall, London, 1909; Novello).
Marino Faliero, barit. and orch. (Chester); Annobe
Lee,
tone-pood, t. or barit, and orch. (Boosey). Orch.
The Raven, op. 25 (Crystal Palace,
1901); The Viking: Ulalume (Queen's Hall, 1904);
Masque of the Red Death: variations on Three Blind
Mice; on The Girl I left behind me, op. 37; on Auld
Lang Syne, op. 60; Les Hommages (3rd sulte), op.
40; ballets: The Moth, op. 62; Coramanthe, op. 61:
ballet-suite. Pierrot, str. orch. op. 36; Pontorewin
(Welsh suite), small orch, op. 17 (Chester); pf. con-
certo (Song of Gwyn ap Nudd), op. 52 (Chester); vn.
concerto, op. 66 (Ricordi); military-band arrs.: The
Girl I left; Sérénade Sicilienne; brass-band
Scherzo, A Hero's Dream; A Fantasie; vn. concerto.
pieces:
Chamber-music: trio, pf. vn. horn, op. 36 (Rudall,
Fairyland, pf. vla. ob. d'amore, op. 57
236
HOLLINS
(Chester); str. 4tet, in 1 movement, op. 17b; str.
4tet, No. 2, Impressions, op. 59; No. 3, The Pickwick
Club, in 2 parts, op. 69; pf. 4tets; I, G mi. op. 21;
II, D ml. op. 31; 2 5tets, str. and clar. op. 27, i and il
5tet, pf. and str., Diabolique (Novello); miniature
suite for 5 wind instrs, op. 336 (Rudall, Carte); 6tets:
I, 4 dances, op. 20 (Ricordi); II, str. op. 43; III, pf.
and wind, op. 33a; IV, pf. str. d.b. In Memoriam,
op. 46 (Chester). Serenade for 5 saxophones, s.
clar. vla. harp, op. 52a (Rudall, Carte); Nocturne,
pf. vla. clar. (Chester); numerous songs (Boosey
Enoch;
Leonard; Novello; Cramer); pf.
Chester); Prelude and fugue, organ
and pf. pieces
pieces (way: Weekes; Enoch; Schirmer;
clar, and pf. (Haway; Boosey; Novell); vn.
etc.);
Ricordi); part-
songs (Novello; Cary; Bosworth, etc.).-E.-H.
Novello;
HOLLAENDER, Alexis. Ger. pianist and
compr. b. Ratibor (Silesia), 25 Feb. 1840. Pupil
of R. Acad. Berlin, and privately of K. Böhmer.
Teacher, Kullak's Acad. 1861; condr. of Cäci-
lienverein, 1870; teacher of singing at the
Victoria School, 1877; prof. 1888. Lecturer
at Humboldt Acad. 1903.
Pf. 5tet, G mi. op. 24; pf. pieces;
songs; a cappella 5-v. choruses.-A. F3; choral
HOLLAENDER, Gustav. Ger. violinist; b.
Leobschütz (Upper Silesia), 15 Feb. 1855; d. Ber-
lin, 4 Dec. 1915. Pupil of Leipzig Cons. (David),
1867-9; and of R. High School, Berlin (Joachim
and Kiel), 1869-74. Appointed to Court Opera
orch., 1874, as a R. chamber-musician; and at
same time, head vn. teacher at Kullak's Acad.
Accompanied Carlotta Patti on concert tour
in Austria in 1874. Establ. subscription concerts
for chamber-music with X. Scharwenka and H.
Grünfeld in Berlin, 1878-81; condr. of Gürze-
nich Concerts and teacher at Cologne Cons., 1881;
and also leading condr. at Stadttheater. On
the retirement of Japha, led the "Professors'
Str. Quartet," to which he had already belonged,
taking 1st vn. alternately with Japha. Dir. of
Stern's Cons. Berlin, from 1895.
4 vn, concertos; suite;
and orch.
Romanza, vn.
67: str. o. 19; pf. and vn. pieces, op. 15, 20, 22,
orch. pieces, op. 3, 38a.-A. E.
HOLLAENDER, Viktor. Ger. compr. b. Leob-
schütz (Upper Silesia), 20 April, 1866. Gustav
Hollaender's brother; pupil of Kullak; condr.
Metropol Theatre; 1908, Neues Operetten
Theatre, Berlin, where he now lives as a compr.
Mus, comedy, Schneider Fips (Weimar, 1908);
operettas: Carmosinalba; The Sun Bird (1907);
vaudeville, The Regiment's Papa (Dresden, 1914):
operas: San Lin and Trilby. Pf. pieces.-A. E.
HOLLINS, Alfred. Eng. orgt. and compr. b.
Hull, 11 Sept. 1865. Though blind from his
birth, H. is one of finest organ recitalists of the
present time; his facility in extemporising is very
great; stud. at the R. Normal Coll. for the
Blind, Norwood, pf. under Frits Hartvigson and
and organ under Dr. E. J. Hopkins. At age of
13, he played Beethoven's "Emperor" pf. con-
certo under Manns at Crystal Palace; stud. for
a year in Berlin under Bülow; held various organ
posts in London; toured America in 1886 and
1888, playing with leading orchs. In 1904, went
to Australia to give recitals on the Sydney Town
Hall organ; toured S. Africa in 1907 and 1909;
and in 1916 opened the large instr. in Town Hall,
Johannesburg. For many years past has been
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HOLMES
orgt. and choirmaster of St. George's Free Ch.
Edinburgh. Mus. Doc. h.c. Edinburgh Univ.
Concert-overt Fmi. (id.); a large
organ: I, C ma.
(Weekber of
C mi.
other popular organ picces (Novello; Stainer &
Bell); pf. pieces (id.).-E.-H.
HOLMES (HOLMÈS), Augusta Mary. Compr.
b. Paris, 16 Dec. 1847; d there, 28 Jan. 1903.
Came of well-known Irish family; began as mus.
prodigy; stud. compn. at Versailles, when she
lived, under Henry Lambert, orgt. of Cath.;
1875, pupil of César Franck and, under his
magnetic influence, began to compose; 1877,
produced at Concerts du Châtelet an Andante
Pastorale from a symphony called Orlando
Furioso. In 1878, at mus. competition of city
of Paris, she was placed next to the winners,
Dubois and Godard. In 1880, Les Argonautes
received honourable mention at a competition
and was perf. by Pasdeloup in 1881. In 1882,
at the Concerts Populaires, she produced
symph. poem called L'Irlande, on which her chief
claim to fame rests. Her music is characterised.
by great virility and passion. She was more
influenced by the ideas of Wagner than by those
of César Franck and her fault lay always in over-
loading her orchestration. In L'Irlande, her
most complete work, we get faint reminiscences
of melodies of her native race. At Paris Exhibi-
tion 1889, Triumphal Ode for soli, choruses and
orch. was perf. At Florence in 1890, in honour
of Dante Fest., her Hymn to Peace was given with
great
success. In 1895, her opera La Montagne
Noire was given at Grand Opéra, Paris.-W. ST.
a
HOLMSEN, Borghild. Norwegian compr. and
pianist; b. Christiania, 22 Oct. 1865. Pupil of
Reinecke and Jadassohn in Leipzig, of Albert
Becker in Berlin. Début with concert of her own
compns. in Christiania, 1890. Has comp. pf.
pieces; a vn. sonata, many songs. Teacher at
Acad. of Music in Bergen.-U. M.
HOLST
trombonist, and was for some years a member
of the Scottish Orchestra. Never was a decision
more lucky, because Holst is essentially an
orchestral composer, and this experience of the
orchestra from the inside helped to give him that
sure touch which distinguishes all his orchestral.
writings. This lasted till 1903, when a new phase
opened, and he became music-master at Edward
Alleyn School, Dulwich, 1903-19, Passmore Ed-
wards Inst. 1904-7, St. Paul's Girls' School
from 1905, Morley Coll. from 1907, Reading Coll.
1919-23, and compn. teacher R.C.M. from 1919.
He visited America in 1923. In 1924 he was
elected Fellow of R.C.M. h.c. In spite (or perhaps
because) of his busy life Holst has never ceased
to compose; but he has had to wait many years
for recognition and this recognition has coincided
with the full maturity of his powers. The Planets,
the Hymn of Jesus, the Ode to Death and The
Perfect Fool are the culmination of a long series
of strivings after the same ideal, often in early
years not reached, but never lost sight of, and
now come at last to complete fruition. (See also
arts. on BRITISH ORCH. MUSIC; ENG. CHORAL
MUSIC; and ENG. OPERA.)
1895 The Revoke, 1-act opera, op. 1. t
1896 Fantasiestücke, ob. and str. op. 2* †; 5tet, pf,
and str. op. 3*t: songs, op. 4: Soft, Soft
Wind; Margaret's Slumber Song
Soft and Gently; Awake, my Heart (Schmidt,
Boston).
1897 Clear and Cool, 5-part chorus and orch. op. 5.
1898 Ornults Drapa, scena for barit, and orch. op. 6**
1899 Walt Whitman overture, op. 7.* t
1900 5 part-songs: Love is Enough; Sylvia (Novello);
Autumn; Come away, Death; Love Song
Laudy); Ave Maria, 8-part female vs.
(Laudy); Cotswolds symphony, op. 8 (perf.
Bournemouth, 1902); Suite in E flat, op. 10
(Patron's Fund), called Ballet Suite (Novello).
1902 The Youth's Choice, opera, op. 11t; part-
songs, op. 12: Ye Little Birds; Dream
Trust (Novello); Her Eyes the Glow-worm lend
Thee; Now is the Month.
6 barit. songs, op. 15: Invocation to Dawn;
Sergeants' Song; Fain would I; In a Wood;
I will not let thee go; Between us now; 6 s.
songs, op. 16: Calm is the Morn; My True
Love Weep no more (Stainer & Bell);
Lovely, Kind; Cradle Song; Peace.
1903 Indra, symph. poem, op. 13t; 5tet for wind,
op. 14.* †
King
HOLST, Gustav Theodore. English composer;
b. Cheltenham, 21 Sept. 1874. Of Swedish ex-
traction on his father's side, English on his
mother's. The Holst family migrated from
Sweden to Russia early in the xvIII century,
and a member of the family (the great-grand-
father of the composer) came to England about
1808. Holst was originally intended for the
career of a pianist, but symptoms of neuritis in
early youth prevented this possibility. His
father then decided to make him an organist
(as he was himself) and before he was 18,
he became organist and choirmaster at Wyck
Rissington in Gloucestershire. Here he laid
the foundations of his knowledge of choral effect,
and of his powers as a teacher; for Holst is a
great teacher as well as a great composer.
In 1893 he went to R.C.M. London as a student
and in 1895 obtained a scholarship in composi-
tion. By a lucky accident he added the trombone
to his other studies while at the College. His
teachers there were Stanford (compn.), Sharpe
(piano), Case (trombone), Hoyte (organ) and
Rockstro (theory). On leaving the College in
1898, Holst decided to take up the career of a
237
(Novello), ballad, chorus and orch. op. 17
1904 The Mystic Trumpeler, s. solo and orch. op. 18
(Patron's Fund).
1905 Song of the Night, vn. and orch. op. 19, No. 1. t
1906 Songs without words, op. 22: Marching Song;
Country Song, small orch. (Novello); Sila,
3-act opera, op. 23.*
1907
Songs of the West, orch. op. 21a (selection of
West Country songs); Somerset Rhapsody,
orch. op 21b (produced by Edward Mason), *
Hymns from the Rig-Veda for solo v. op. 24:
Dawn; Varuna; Creation; Indra; Maruts;
Frogs: Faith; Vac; Varuna (11) (Chester);
8. song (Stainer & Bell).
The Heart worshera, on 25 (produced 1916)
1908 Savitri, opera di
(Curwen).
1908-12 Choral Hymns from the Rig-Veda, op. 26
(Stainer & Bell):
Group 1, mixed chorus and orch. (1908).
Group 2, female vs. and orch. (1909).
Group 3, female vs. and harp (1910).
Group 4, male vs. and orch. (produced in
London by Edward Mason) (1912).
1909 Incidental music to A Vision of Dame Christian
(a masque at St. Paul's Girls' School), op.
27a Incidental music to Stepney Pageant
(for children) op. 27b; First Suite, military
band, op. 28a (Boosey).
• ms. t not performed.
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HOLTER
1910 Oriental
Suite in E
(produced at Balfour Gardiner
concerts) (Curwen).
The Cloud Messenger, ode for chorus and orch.
op. 30 (Balfour Gardiner concerts) (Stainer
& Bell); Christmas Day, chorus and orch.
(Novello); 4 Whittier songs, Part-Songs for
1911 tren (id.).
cello and orch. op. 19, No. 2 (May
Mukle, Queen's Hall, 1911); songs from The
Princess for female vs. op. 20a (Novello);
4 carols, mixed vs. op. 20b (Bayley & Fergu-
son).
Second Suite, military band, op. 28b † (Boosey).
Two Eastern Pictures, part-songs, female vs.
and harp (Stainer & Bell); Hecuba's
Lament, from The Trojan Women, op. 31
No. 1; a. solo, female chorus and orch. (id.).
No. 20 Suite for orch. Phantastes, op. 29,
2 (Patron's Fund concert)..
1912 2 Psalms, chorus, str. and organ (Augener).
1913 Hymn to
op. Dionysus, 8. and a. chorus and orch.
2 (Balfour Gardiner Concerts)
(Stainer & Bell).
St. Paul's Suite for str. orch. (Curwen).
1914 Dirge for Two Veterans, part-song, male vs. and
brass (Curwen).
Mars
Venus
Mercury
Jupiter
Saturn
1915
and
1916
The Planets, suite for large orch.
op. 32 (produced at R. Philh.
concert, 1919, with the excep-
tion of Venus and Neptune)
(Goodwin & Tabb).
HONEGGER, Arthur. Composer; b. Le
Havre, 1892. Studied under Gédalge and
Widor in Paris; thus belongs to French school,
although he kept the nationality of his Swiss
parents, Zurich merchants, who had settled in
Normandy. Was at first violently attracted by
Debussy, and later by Florent Schmitt. Wagner,
Richard Strauss and Schönberg also influenced
him; but he soon found out how to develop,
from these widely-diverging influences, an
aesthetic style peculiar to himself. In him
(as in Florent Schmitt whom he resembles
somewhat) the best qualities of the French
and German schools meet and blend. His music,
which is wholly atonal, is based entirely on
counterpoint. Simple melodies, with natural
inflections, develop one from another. Each
instrument his chamber-music, and each
group of instruments in his orchestral scores,
seems to have its individual life, and speak its
own language. There sometimes result dis-
sonances that are rather painful, a harshness
that is cruel but never useless. One does not
feel in this music, as in that of Darius Milhaud,
any a priori system or arbitrary technique.
The only reproach against it is that it verges
sometimes on scholastic pedantry. Perhaps
as a necessary reaction against the airy, but
forceful, constructions of Debussy and Ravel,
Honegger naturally uses classical forms. At
times he seems to introduce fugue into subjects
that hardly seem to call for it. This use of
antiquated forms is in strange contrast to the
boldness of his contrapuntal inspiration.
He has already composed many works of
value: Sonatas for violin, for viola, and for cello;
str. 4tet (Senart); compositions for wind instru-
ments; for pianoforte; and songs (Chester).
One of his first orchestral pieces, Le Chant de
Nigamon, testifies to his precocious talent and
knowledge of instrumentation. The promise
contained in it was fully justified in the Pastorale
d'Eté (Senart), in his incidental music to Dit des
Jeux du Monde (Vieux Colombier, 1918), in Ste.
Alméenne (Max Jacob), in a magnificent oratorio
Le Roi David (publ. Fatisch, Lausanne), given
at Mézières in 1921, and especially in his "mimed
238
1916 Japanese Suite for orch. op. 33 (produced at
Coliseum, 1916, and Queen's Hall Prome-
. 1919) (Hawkes).
Part-songs for mixed vs. op
shall be my Dancing Day
. op. 34: To-morrow
(Curwen); Bring us in Good Aler); Lullay
(id.); Terly
Terlou (Stainer and Bell)..
4 songs for v. and vn. op. 35: Jesu Sweet; 1
sing of a Maid; My Soul has Nought; My
Leman is so True of Love (Chester).
Cses from Alcestis for female vs., harp and
(Augener).
3 hymns for chorus and orch. op. 36 (Stainer
& Bell):
(1) Let all Mortal Flesh keep Silence; (2)
Turn back, 0 Man; (3) 4 Festival Chime.
6 choral folk-songs, op. 36 ii (Curwen):
The Seeds of Love: The Blacksmith; I love
my Love; Matthew, Mark; Swansea Town;
There was a Tree.
1917 Hymn of Jesus for 2 choruses and semi-chorus,
orch. pf. and organ, op. 37 i (Stainer & Bell,
for the Carnegie Trust).
HONEGGER
which he led until 1921. Has appeared as condr.
in Stockholm, 1897; Paris, 1900; Helsingfors,
1908; Antwerp, 1910; Rouen, 1911. He was
teacher of theory at Music Cons. Christiania,
1887-91; critic on Dagbladet, 1881-2; ed. the
Nordisk Musikrevy, 1900-6; committee-member
for administration of bequests and member of a
departmental committee for regulation of teach-
ing of singing in schools.
Greatly occupied as H. has been in prac.
tical fields, he has not developed any great.
productivity as compr. His versatile and
sterling works have their roots in the romantic
and classical ideals. They are firmly moulded,
but more cosmopolitan than national in tone.
1882; Leipzig, 1885);
Part-songs for children, op. 37 ii: A Dream of
Christmas
(Curwen); The Corn Song (Arnold);
Song of the Lumbermen (id.).
1918 Ballet for orch. to opera The Perfect Fool.
(Novello).
1919 Ode to
Leeds 1921
spring, 1923.
1922
Whitman, Chorus and orch. (words by Walt
1921 The Perfect Fool, opera (Novello). Produced
B.N.O.C. Covent Garden, s
1923 Fue Overture, orch. op. 40 i (Novello).
concerto, fl. and ob. with str. acc. op. 40 li
(Novello); Prom. concerts, 1923; choral sym-
phony, op. 41.
R. V. W.
HOLTER, Iver Paul Fredrik.
Norwegian
compr. condr. b. Östre Gausdal, 13 Dec. 1850.
Matriculated in 1869. Passed medical examina-
tion and at same time played vn. or vla. in Mus.
Soc. Orch. under Grieg and Svendsen; stud.
theory of music under Svendsen. Broke off
medical studies in 1876; became pupil of Cons.
in Leipzig. Gave in 1882 his first independent
concert; became same year condr. of Harmonien
(Bergen); 1886, condr. of Mus. Soc. in Chris-
tiania until 1911. A highly appreciated condr.
of male-v. choirs: 1890-5, leader of Artisans'
Choral Union; 1905-19, of Mercantile Choral
Soc. Founded in 1897 Holter's Choral Soc.
• ms. t not performed.
Symphony in F (Chrierlichingen; cantatas; vn.
orch. suite, Götz von
concerto (Christiania, 1920; Helsingfors, 1921); str.
4tet (Leipzig, 1877): St. John's Eve (idyll for str.
orch.);
vn.; male-v. choruses; pf. pieces;
songs with pf., etc.-J. A.
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HOPEKIRK
symphony " Horace Victorieux (Composers'
Music Corporation, New York, 1922), which is of
epic inspiration. All his works leave an impres.
sion of assured power, of seriousness without
austerity and of a healthy balance, that leads one
to expect much of this young musician.
Consult: Chalupt, in Revue Musicale, Jan. 1922;
André Cœuroy, La Musique française moderne.
-H. P.
HOPEKIRK, Helen. Scottish pianist, compr.
b. Edinburgh, 1868. Stud. there under Lichten-
stein and Sir A. C. Mackenzie, and in Vienna
under Leschetizky. She also spent 2 years at
Leipzig Cons., where she made her debut as a
pianist, 28 Nov. 1878. For some years after,
played with great success throughout England
and Scotland. In 1882, she married a well-
known Scottish merchant, Mr. William Wilson,
and with him emigrated to America in 1883.
Her success there as pianist exceeded even that
of her early days in Britain. From 1887-91, she
resided in Vienna, whence she made several
tours throughout Germany. From 1891-7, she
toured U.S.A., Canada, France, and Britain;
in latter year, settled in Boston, U.S.A., where
she has since won a phenomenal success as
teacher, first in North-East Cons. of that city,
and afterwards as private teacher. Her compns.
are very numerous, and consist chiefly of s
songs
and pf. pieces, some of which are in the larger
forms.-W. S.
HORÁK, Antonín V. Czechoslovak compr.
b. Prague, 1875; d. Belgrade, Serbia, 1910.
Condr. in Bohemia and Jugo-Slavia.
Operas: Na večer bilé soboty (On Easter Eve) 1898;
Babička (Grandmother) 1900: melodrama, Nosáček
noc Night in
May). V. ST.
HORBOWSKI, Mieczysław. Singer and
teacher; b. Warsaw, 1850. He has worked many
years at Moscow Cons.; later in Cracow; Milan;
lastly in Vienna. Has introduced many eminent
singers.-ZD. J.
HORN, Camillo. Compr. and writer on music;
b. Reichenberg (Bohemia), 29 Dec. 1860. Stud.
in Vienna under Anton Bruckner. Condr. of
Orchesterverein Haydn; prof. of harmony at
State Acad.; critic of the Deutsches Volksblatt.
In Vienna and Graz the Camillo Horn Soc. was
founded, which produces his works. His style
is rather conservative, dwelling in the lower
territories of the old Romanticism (Ger.
national song). Chief works (publ. by Kahnt,
Leipzig):
Symphony, F mi. (perf. 25 times). Chamber-music:
5tet for 3 vns. vla. cello; Phantasy for vn.; sonata
for horn and pf.; many songs and ducts; male
choruses: (Deutsches Festlied; Golenzug: Teufel und
Engel; melodrama, Graf Waller. Also a book of his
own poems (Vienna, 1922).-P. P.
HORNBOSTEL, Erich M. von. Austrian music
researcher; b. Vienna, 25 Feb. 1877. Stud.
chemistry, physics and philosophy, Vienna and
Heidelberg; Ph.D. Vienna, 1900; then went to
Berlin, where he devoted himself exclusively
to psychological and mus. science, especially
mus. psychology. In 1905-6 was Stumpf's
assistant at Psychological Inst., and travelled
in N. America in 1908 for purpose of making
HOSTINSKÝ
psychological and musico-scientific studies of
Indian races, more especially the Pawnees.
Professor, 1917.
He is publishing (from 1922) Sammelbünde für
(1922)
239
die vergl. Wissenschaft, in the first on the
he contributes his
Musical Scales of Vanslation of A. J.
Various Races, and collects a series
of his studies already published by him since 1903
(Munich, Drei Masken Verlag).-A. E.
HORNEMAN, Christian Frederik Emil. Danish
compr. b. Copenhagen, 17 Dec. 1841; d. there, 8
June, 1906. He and his friend, Edvard Grieg,
stud. together at Leipzig Cons. under Moscheles.
Plaidy, Hauptmann and Jul. Rietz. Upon his
return to native city, he shared in the mus. life
there with an ardour that never diminished,
founding (together with Grieg and Godfred
Matthison-Hansen) the mus. soc. Euterpe. Later,
was leading spirit in weekly popular Saturday
Soirées; when after some years this had fulfilled
its mission, he and Otto Malling formed a new
and larger soc. the Koncertforening (Concert.
Soc.). Later, also founded a Cons. (1879) which
bore his name He still found time to achieve a
position as one of the most important of con-
temporary Danish comprs. He possessed great
originality and a fiery temperament, coupled
with rare productive ability, of which his later
works especially bear ample witness. Prominent
among these stand:
Opera, Aladdin (text by Oehlenschläger), R.
Theatre, Copenhagen (1888) in celebration of Jubilee
of Christian IX; University Cantata, in memoriam
of the same king (1906); music for
War with the
drama Kampen med Muserne (The up's antique
Muses), perf. in 1908 (R. Opera, Copenhagen)
after compr.'s death. Also the dramas Esther
(Drachmann); Kalanus (Paludan-Müller); pf. pieces;
songs (Copenhagen, Hansen).-A. H.
HORVÁTH, Attila. Hungarian compr. b.
Nustár, 11 Aug. 1862; d. Budapest, 1920.-B. B.
HORWITZ, Carl. Austrian compr. b. Vienna,
1 Jan. 1884. Stud. music history at Vienna
Univ. (Ph.D. 1906). Pupil of Arnold Schönberg
(1904-8). Until 1914, condr. at various theatres,
Trier, Breslau, Prague. Now lives in Vienna.
His mus. style was formerly influenced much by
Schönberg. He is now finding his own expression
and style. We find solid technical ability and a
refinement of mood-painting.
Symph. overture, for orch. (perf. Düsseldorf Fest.
1922); Vom Tode (Death) an overture and 3 orch.
songs for barit.; 2 str. 4tets; many songs, the latter
perf, at Donaueschingen Fest. 1921; Salzburg Fest.
1922.-P. P.
HOSTINSKÝ, Otakar. Czechoslovak musico-
grapher; b. Martinoves, 1847; d. Prague, 1910.
Stud. at Prague Univ. Tutor in aristocratic
families. After much travelling, became lecturer
in mus. history and aesthetics at Prague Univ.;
prof. from 1892. Lecturer at Painting Acad. and
Art Industrial School; from 1894, history of art
at Univ. Chairman of committee for Czech folk-
songs; also of Philosophers' Club, etc. In
aesthetics he built on Herbart's and Hanslick's
formalism, but only as regards instr. music. In
dramatic music he refutes Hanslick and in-
clines to Wagner (see Das musikalische Schöne
vom Standpunkte der formalen Ästhetik, 1877,
Ger.). He influenced the Czech school by his
admiration for Gluck and Wagner and by his
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HOUDARD
friendship for Smetana and Fibich. For Fibich
he wrote a libretto from Schiller's Bride of Mes-
sina; for Roškozný's Cinderella. He espoused
Smetana's cause when his art was only slowly
finding its way to Bohemia. At that time H. was
solving the pressing problems arising in the
national music. He wrote On the present Position
and Tendency of Bohemian Music, 1885; On
Czech Musical Declamation, 1886 (Czech). His
studies on Smetana have been publ. under the
title Bed. Smetana a jeho boj o moderní českou
hudbu (Frederick Smetana and his Fight for
Modern Czech Music, 1901). He not only
directed Fibich to a pure declamatory style,
but also to the scenic melodrama. H.'s sig-
nificance is not only in his founding of Czech
mus. criticism, but also in his deeply influencing
the development of Czech music itself.-V. ST.
HOUDARD, Georges. Fr. musicologist and
compr. b. Neuilly, 30 March, 1860; d. Paris, 28
Feb. 1913. Pupil of L. Hillemacher and Massenet.
Specialised in study of neumes (plain-chant
notation), and advocated the theory of neume-
temps. Each neume, whatever its melodic con-
tent, is equal to one beat. His doctrine has been
taken up by Canon Clément Besse. It has been
violently opposed by the Benedictine School,
notably by Père Mocquereau. But certain
authors (e.g. Laloy) make between the two
theses a difference of degree only and not of
nature. As compr. H. has written religious
works (masses, offertories). His theoretical
work is considerable:
L'Art dit grégorien d'après la notation neumatique
(1897); Le Rythme du chant dit grégorien (1898);
L'Evolution de l'Art musical et l'Art grégorien (1902);
La Richesse rythmique musicale de l'antiquité (1903):
La Question grégorienne en 1904 (1904); La Cantilène
romaine (1905); La Science musicale traditionnelle
(1906); La Rythmique intuitive (1906); Vademecum
de la rythmique grégorienne des Xe et XIe siècles
(1912).-A. C.
HOWELL, Dorothy. Eng. compr. and pianist;
b. Handsworth, 25 Feb. 1898. Stud. at R.A.M.
London under Percy Waller and Tobias Matthay
(pf.) and J. B. McEwen (compn.) 1914-19. Her
symph. poem Lamia was played at the Queen's
Hall, 10 Sept. 1919. An orch. Ballet was pro-
duced at Queen's Hall Promenades.
Pf. concerto, D mi. (1923, ms.); Lamia (Novello);
orch. ballet, Koong Shee (1921); Rosalind, vn. and pf.
(Anglo-Fr. Music Co.); pf. pieces (id.); songs (Boosey;
Curwen; Cramer).-E.-H.
HOWELLS, Herbert. Eng. compr. b. Lydney,
Gloucestershire, 17 Oct. 1892. 1905, pupil of
Dr. Herbert Brewer, Gloucester; 1909, articled
pupil at Gloucester Cath. until 1911; May 1912,
open scholarship, R.C.M. London (compn. under
Sir Charles Stanford; organ under Sir Walter
Parratt; other subjects under Sir Hubert Parry,
Sir Walford Davies, and Dr. Charles Wood). Left
the Coll. 1917; appointed to staff of R.C.M.
1920; became ed. of R.O.M. Magazine in that
year.
He has a remarkable facility and a sure touch
in all forms (except the opera, which he has not
attempted); his muse is best suited to the
more intimate forms, chamber-music and songs.
He has written some very fine organ music and
some unacc. church pieces in the old modes.
HUBER
Skelches
songs (Stainer & Bell, 1912); op. 6, Sarum (1915):
Op. 1, organ sonata in C ml. (1911); op. 2,
Missa sine nomine (for Westminster Cath.) (1912);
op. 3, Variations for 11 solo instrs. (1914); op. 4,
pf. concerto in C mi. (1913): op. 5, 5 male-v. part
(Augener, 1917); op. 7, 3 dances, vn. and orch. I
op. 8, Comedy Suite, clar.
Anthems of the B.V.M. (1915); op. 10, 5 songs, high
pf. (1913); op. 9,4
v. and orch. (1915); op. 11, 5 part-songs (Curwen,
1916); op. 12, 3 rondeaux, v. and pf. (Stainer &
Bell, 1913); op. 13, The B's, orch suite (1915); op.
14, 3 pieces for pf. (Ascherberg, 1919); op. 15, Elegy
for strs. (Goodwin, 1917); op. 16, 2
(1917); op. 17, 3 rhapsodies, organ (Augener, 1913);
pieces, str. orch.
op. 18, 1st sonata in E, vn. and pf. (W.
Rogers, 1917)
op. 10, str. 4tet, Ladu ove Suite Novello, 1918)
20a, Puck's Minuet, Merry Eye, orch. (Good-
win & Tabb, 1918); op. 21, 4tet in A mi. pf. vn.
vla. & songs,
(W. Rogers, 1915); op. 23, Sir Patrick Spens, chorai
ballad with orch. (1916), publ. by Stainer & Bell; op,
3
str. 4tet (Goodwin, 1916); op. 26, 2nd sonata, E flat,
vn. and pf. (1918); op. 27, Phantasy Minuet, for
pianola (Eolian Co. 1919); op. 28, 3 pieces (Stainer &
Bell, 1919); op. 29, 4 French chansons (Chester,
1919); op. 30, Snapshots, pf. (Swan & Co. 1919); op.
31, Rhapsodio 5tet, clar and str. (Stainer & Bell,
1920); op. 33, Peac psalm-preludes, organ (Novello,
Peacock Pie, songs, medium v. and pf.
(Goodwin, 1919); op. 34, str. 4tet, In Gloucestershire
(1922); op. 35,
op. 36, Sine on, orch. (Ascherberg, 1922);
phantasy, 2 solo vs. chorus,
organ and orch. (Gloucester Fest. 1922); op. 37, 3rd
sonata, vn. and pf. (1923); op. 38, Pastoral Rhapsody,
orch. (1923); op. 39, pf. concerto in C (1923).-E.-H.
HOYER, Karl. German orgt. and compr.
b. Weissenfels-o-S., 9 Jan. 1891. Stud. Leipzig
Cons. under Reger, Straube, Krehl and Pem-
baur; went to Reval in 1911 as orgt. of
Cath.; in 1912 chief orgt. of St. James's
Church, Chemnitz.
Introduction and chaconne, orch. and organ; organ
sonata, D mi. op. 19; Concertino in olden style,
organ and str. orch.; Introduction and double fugue
for 2 pfs.; sonata, vla. and pf. A ma. op. 30; a large
number of organ, pf. and choral works.-A. E.
HŘÍMALÝ, Vojtěch. Czechoslovak compr.
b. Prague, 1842; d. Vienna, 1908. Worked in
Rotterdam, Gothenburg, Prague; from 1874 in
Černovice.
Opera, Zakletý princ (The Enchanted Prince), 1872;
Svanda dudák (1885), etc.-V. ST.
HUBAY, Eugen (Jen6). Hungarian violinist,
compr. and vn. teacher; b. Budapest, 15 Sept.
1858. 1871-5, stud. under Joachim. 1882, be-
came Wieniawski's successor at Brussels Cons.
In 1866, called to Budapest as teacher of vn. at
R. High School for Music, which post he still
holds, becoming dir. Oct. 1919. Nearly all the
most important Hungarian violinists of the
present day have been his pupils; among them:
Stefi Geyer; Franz Vecsey; Emil Telmányi;
Jelly d'Arányi; Josef Szigeti; Emerich Wald-
bauer; Erna Rubinstein.
2-act opera, The Violin-maker of Cremona, perf.
Budapest, 1894; then on many foreign stages.
Scènes de
for vn.-B. B.
HUBER, Hans. Swiss composer, conductor;
b. Schönenwerd, 28 June, 1852; d. Locarno,
25 Dec. 1921. An excellent pianist when 10
years old. Studied at Conservatoire, Leipzig
(1870-74); for 2 years piano-teacher in Wesser-
ling (Alsace); since 1876 at Conservatoire in
Basle, of which he was director till 1918. One
of most eminent musicians, Huber was no doubt
the master-spirit in the evolution of Swiss music
during the last 50 years (i.e. from 1870
to 1920 broadly). A splendid teacher of
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HUBERMANN
piano and composition, an excellent conductor
of large choruses (his Festspiele including about
1000 executants) and an extraordinarily active
musician, he did everything possible to develop
musical education in his country. In 1892, the
University of Basle honoured him with the
Doctorate h.c. A prolific composer, many of
his compositions have become very popular in
Switzerland. Influenced by Schumann and
Brahms, his works (particularly the two Fest-
spiele) contain passages of real originality and
although his music is not very deep, it gives
proof of great musical imagination and tem-
perament.
Der Basler Bund 1501, festspiel, chorus, soli, orch,
(Leipzig, Hug): Klein-Balser Gedenkfeiteilige Hain,
for mixed chorus, soli, orch. (id.); Der
oratorio (id.); Weissagung und Erfüllung, oratorio
(id.);
(id.): ohnung, oratorio. Operas: Kudrun
(id.); Wellfrühling (id.); Die
schöne Bellinda (id.); Frutta di mare; 7 symphonies:
I, Tell; II, Böcklin, op. 115 (id.); III, Heroic,
118 (id.); IV, Der Geiger von Gmünd; V,
VII,
National Ed.); 2 serenades for orch.; 2 overtures;
2 pf. 4tets; 2 pf. 5tets; 5 trios; 11 vn. sonatas;
o sonatas; 4 pf. concertos; vn. concerto; 3 pf.
sonatas; songs
Mostly publ. by Hug or Breitkopf.
Consult: E. Refardt, H. H. (Zurich, Hug); W.
Merian,
Lichtenhass Musikleben (Basle, 1920, Helbing &
Kretzschmar, Führer durch den Kon-
I and II; E. Segnitz, Asthetisch-analytische
in die Symphonic op. 115 (Hug).-F. II.
HUBERMANN, Bronisław. Polish violinist;
b. Czestochowa, near Warsaw, 19 Dec. 1882.
Pupil of Michałowicz in Warsaw, and of Lotto
in Paris; 1892, stud. under Joachim in Berlin;
1893, concert-tour as esteemed virtuoso. Lives
in Berlin. Wrote Aus der Werkstatt des Virtuosen
(From the Virtuoso's Workshop).-E.-H.
HUBERTI, Gustave. Belgian composer; b.
Brussels, 14 April, 1843; d. Schaerbeek
(Brussels), 28 June, 1910. Son of painter
Édouard Huberti; stud. at Cons. Brussels.
Obtained four 1st prizes in 1858-pf., organ,
chamber-music and harmony; 1859, 1st prize,
compn.; 1865, 1st Prix de Rome for cantata La
Fille de Jephté. Then travelled 3 years in Ger-
many and one in Italy. Coming back to Belgium,
was attracted by ideas and works of chief
Flemish compr., Peter Benoit; although Fr.
by education, H. collab. with poet Emmanuel
Hiel in a whole series of works on Flemish
libretti. An ardent admirer of Wagner, he took
an active part in the Wagnerian controversy.
Dir. of Acad. de Musique, Mons, 1874; resigned
in 1877 in consequence of a conflict with muni-
cipal administration of town which involved
his artistic honour and conscience; 1879-88,
inspector of singing to schools of Antwerp.
1888, returned to Brussels where he taught
harmony at Cons. In 1893, dir. of School of
Music at St.-Josse-den-Noode-Schaerbeek (2
suburbs of Brussels). Member of R. Acad. of
Belgium, 1891. Huberti's hatred of conser-
vatism was shown in his speech on Routine,
before the Acad. in 1903. His first songs, a
delightful Meilied and Sonnet de Ronsard (comp.
at beginning of his career) betray the healthy
influence of Ger. Romanticism. Later, he be-
HUGHES
came disciple of young Flemish school with
its freshness of inspiration; towards end of
life he fell under sway of modern Fr. school,
manifested in 6 remarkable songs (Brussels,
Imprimerie Nationale de Musique), and an
orch. work of great delicacy which he comp.
as mélodrame to poem Christine by Leconte
de Lisle. However, he was not especially
241
apt at expressing anything save the pictur-
esque and graceful, and, generally speaking,
the half-tones of emotion. Where he is more.
ambitious (as in Symphonie funèbre) he becomes
tedious and pompous.
Chorus, solf and orch.: Een laatste Zonnestraal;
Kinderlust en Leed; Bloemardinne; Cantate inaugurale
du
Christine, melodrama; many songs. Consult pamph
let on G. H. by Lucien Solvay (Brussels, 1919,
Hayez.) C. V. B.
HUË, Georges. Fr. compr. b. Versailles,
5 May, 1858. Pupil of Reber and Paladilhe.
Prix de Rome, 1879. His music has always an
elevated and limpid style.
Stage works: Les Pantins (1882); Titania (1903);
Le Roi de Paris (1901); Le Miracle (1910); Dans
l'Ombre de la Cathédrale (1922). Orch.: Rubezahl
(1887); Résurrection (1893); Jeunesse (1893); Scènes
de Ballet (1897). Theme varié for vla.; Fantasia, vn.
and pf. Some songs, of which certain have been
very successful.-A. C.
HUGHES, Edwin. Amer. pianist; b. Washing-
ton, D.C., U.S.A., 15 Aug. 1884. Stud. pf. under
Joseffy in New York, 1905-6, and Leschetizky
in Vienna, 1907-10, becoming his assistant in
1909. Début as concert-pianist, Knabe Hall,
Baltimore, 16 Feb. 1903, and toured Germany
and America. Head of pf. department of Gana-
pol School of Music, Detroit, Mich., 1911-12.
Settled in Munich 1912, but returned to U.S.A.
1916. From 1919-22, teacher at Inst. of Mus. Art,
N.Y. Songs and pf. pieces (Schirmer).-J. M.
HUGHES, Herbert. Irish compr. and critic; b.
Belfast, 16 March, 1882. Orgt. of St. Peter's,
Belfast, 1896; entered R.C.M. London, 1901,
studying under Sir Walter Parratt, Gustave
Garcia, Herbert Sharpe, Dr. Charles Wood. H.
was one of founders of Irish Folk-song Soc. 1904;
co-editor (with late Mrs. Milligan Fox) of its
early journals. After contributing for some
years, on mus. subjects to The New Age and
various Irish journals, joined music-staff of Daily
Telegraph, London, 1911. Has contributed
largely by direct research to present-day know-
ledge of Irish folk-song; songs from his own
coll. were introduced to Britain by Plunket
Greene and into America by John McCormack.
He ed. Irish Country Songs (2 vols. Boosey);
and Historical Songs and Ballads of Ireland
(Metzler). He visited America in 1922 and con-
tributed special arts. on music in U.S.A. to Daily
Telegraph. 1924, gen. ed. Boosey's Modern Festi-
val Series of unison and choral songs. Married
at Jersey City, N.J., Suzanne McKernan of the
Irish Players from the Abbey Theatre.
Songs from Connacht (Padraic Colum), v. and pf.
(Boosey); Rhymes, studies in imitation (2 vols. id.);
three XVIII century songs (ed. and arr.; id.); Parodies,
8. and orch. (2 vols. Metzler); Shockheaded Peter,
song-cycle, s., barit. and pf. (id.); Brian Boru's
March, pf. (id.); 3 Satirical Songs, vn. fl. clar. bsn.
(Enoch); many other songs.-E.-H.
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HUGHES
HUGHES, Rupert. Amer. author; b. Lancaster,
Mo., U.S.A., 21 Jan. 1872. A.B. Adelbert Coll.
(Western Reserve Univ., Cleveland, O.), 1892;
A.M. 1894; A.M. Yale, 1899. Stud. compn. under
Wilson G. Smith in Cleveland, 1890-2, under
E. S. Kelley in New York, 1899, and under
C. W. Pearce in London, 1901-2. Has been
music critic and assistant-ed. of several Amer.
magazines (Godey's Current Literature, The
Criterion); also on the New York staff of En-
cyclopædia Britannica. Has comp. a number of
songs, and has written numerous novels and
plays. Is now engaged in the production of
moving-pictures.
Cain, vocal scena for barit. and pf. (Schirmer,
American
Composers (Page, 1900); enlarged e
.by Arthur
by
Elson (1914); Love
of Great Musicians (Page,
rev. ed. with title Music Lover's Cyclopaedia (Double
(McClure,
day, Page, 1913); Zal, a mus, novel (Century, 1905);
ed. of Songs by Thirty Americans (in Ditson's
Musician's Library, 1904).-O. K.
HULL, Arthur Eaglefield-. Eng. writer on
music, recital-organist, lecturer and musical
organiser; b. Market Harborough, 10 March,
1876. Trained under Dr. C. W. Pearce (theory)
and Tobias Matthay (pf.) London; Mus. Doc.
Oxon. 1903; study-tours in France, Germany,
Italy, Russia, etc.; choirmaster and condr. in
London and Hertfordshire; founded Hudders-
field Coll. of Music (for advanced musical training
in Yorkshire) in 1908; has given many first perfs.
there by leading continental 4tets, etc.; founded
Huddersfield Chamber-Music Soc. in 1900 (now
the H. Music Club); founded British Music Soc.
1918, and was its hon. dir. 1918-21, personally
founding over 20 of its chief branches; founded
Advisory Board for Composers, 1920 (disbanded.
1923); founded and ed. British Music Bulletin
(now Music Bulletin); ed. first British Music
Catalogue (400 pp. 1920); organised the Three
Arts Conference, May, 1921, in which leading
painters, musicians and writers discussed con-
temporary art-activities; editor of the Monthly
Musical Record (Augener) from 1912. Ed. the
complete organ works of Bach for the Augener
Edition. Ed. Music Lovers' Library (Kegan
Paul). General Editor of this Dictionary.
His book Modern Harmony: its Explanation
and Application is a valuable contribution to
the literature of musical theory in its recent
developments; it was the first serious effort in
this country to examine this complex subject in
a practical manner. H. has a forceful personality
with power of initiative and a talent for organisa-
tion. His wide knowledge, his broad sympathies
and sound judgment make him a successful
editor and critic. He has contributed articles to
all the leading Eng. dailies and musical journals,
and is also widely known as a lecturer.
Overture in A, orch. (ms.); 3 Shakespeare Songs,
v. and str. 4tet (Augener);
(Augener, 1923).
transl. into Span, and Russ.); Organ-
Playing: Its Technique and Expression (id. 1st ed.
1911; 6th ed. 1923); Scriabin (Kegan Paul; 1st ed.
1916; 3rd ed. 1923); Cyril Scott (id. 1914): Students'
1914), (Augener,
numerous translations, etc.-G. B.
(Augener; Lengnick); organ tutor and pf. pieces
3rd. ed. 1992 Harmony (Augener; 1st ed. 1914;
Books:
HUMPERDINCK
HULL, Percy Clarke. Eng. orgt. b. Hereford,
27 Oct. 1878. Stud. under Dr. G. R. Sinclair; orgt.
and choirmaster Hereford Cath. from 1918:
Mus.Doc. Cantuar. 1921; condr. Hereford Three
Choirs Festival, 1921, 1924.-E.-H.
HULLEBROECK, Émile. Belgian compr. b.
Gentbrugge (near Ghent), 20 Feb. 1878. Stud.
at Ghent Cons. under Ad. Samuel. Comp.
Flemish oratorio Kunstvisioen; several symph.
choral works and pieces for various instrs,
Widely known for his Flemish folk-songs.
Toured in Europe, Asia and Africa as singer.
and composer.-E. C.
HUMBERT, Georges. Swiss writer on music;
b. Ste.-Croix (Vaud), 10 Aug. 1870. Known by
his Fr. transl. of Riemann's Music Lexicon,
the Simplified Harmony and the Elements of
Musical Esthetics. Was dir. of numerous choirs
in Geneva and Lausanne (1892-1918); cond.
symphony concerts in Lausanne (1893-1901);
orgt. at Notre-Dame Ch., Geneva (1892-6); and
at the Temple, Morges (1898-1918). In 1918,
organised and directed the Cons. at Neuchâtel,
and brought it to a position of great esteem.-F. H.
HUMMEL, Ferdinand. Ger. pianist and compr.
b. Berlin, 6 Sept. 1855. Stud. 1868-71 at Kullak's
Acad. and then till 1875 at R. High School of
Music and at the Compn. School of the Acad.
(Rudorff and Grabau, Kiel and Bargiel). R.
mus. dir. 1897.
4 cello sonatas; pf. 5tet; pf. 4tet; vn. sonata;
horn sonata; suite for pf. duet; overture, op. 17;
symphony, D ma. op. 105; the choral works:
Columbus: The New Master Olaf; ballads: Young
Olaf: March of the Teulons; The Phantom Army;
malo choruses; female choruses; Tuscan Songs;
Konzertstück, pf., op. 1; pf. concerto, B flat mi.
op. 35; many pf. solos; also
other instrs.;
a series of unpretentious works for stage.-A. E.
HUMPERDINCK, Engelbert. German com-
poser; b. Siegburg (Rhineland), 1 Sept. 1854;
d. Neustrelitz, 27 Sept. 1921. Pupil of
Cologne Conservatoire; Mozart Stipendiary,
1876, and, as such, pupil of Royal Music
School, Munich; Mendelssohn Stipendiary,
1879, enabling him to study in Italy till 1881,
in which year he gained the Meyerbeer Stipen-
dium. Teacher at Barcelona Conservatoire,
1885-7, when he returned to Cologne; 1890,
teacher at Hoch's Conservatoire, Frankfort-o-
Maine; title of Royal Prussian Professor, 1896.
Lived for some time at Boppard on Rhine, com-
posing; 1900, head of an academical school (ex
officio member of Senate of Royal Academy of
Arts; 1913, deputy-president of same). Retired
1920. He obtained his greatest success with his
fairy opera, Hänsel and Gretel, which clothes
the
est-known German children's story half
in homely folk-song melodies, and half in
the somewhat pretentious garb of Wagnerian
orchestration. Its success is not to be explained
away by its forming such a contrast to real-
istic operas of Mascagni and Leoncavallo, which
were at the time filling the stages of every
country, even Germany, since it still meets with
universal acceptation. Artistically Hansel and
Gretel is surpassed by The King's Children (text
by Elsa Bernstein, pseudonym Ernst Rosmer,
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HUNEKER
the Munich poetess). H. is in any case one.
of the most charming of post-Wagnerians, and
possessed of the greatest wealth of technique
in composition.
Choral ballads: Luck of Edenhall: The Pilgrimage
to Kevelaar; orch, work, Moorish Rhapsody (Leeds
Fest. 1898); orch. and choral pieces; str. 4tet,
O ma. Moro especially works for stage: Hänsel
and Gretel in
by
dinck's sister, Frau Adelheid Wette, Weimar, 23 Dec.
1893); The King's Children (melodrama, 1898, text
by Ernst Rosmer; retouched 1908 and converted
into tuneful complete opera, which has met with
increasing estimation since its presentation in New
York, 1910, and in Berlin, 1911); fairy play, The
Sleeping Beauty (Frankfort-o-M., 1902); 2-act opera,
The Canteen Girl (Cologne, 1914); ballad-opera
Gaudeamus (Darmstadt, March 1919); comic opera,
Aristophanes' Lysistrata (Berlin, 1905); Shakespeare's
Winter's Tale, The Tempest (Berlin, 1906), Twelfth
Night (1907), Merchant of Venice (1905); Maeter-
linck's Blue Bird (1910); Volimöller's Miracle
(1911).-A. E.
HUNEKER, James Gibbons. Amer. author,
critic; b. Philadelphia, Pa., U.S.A., 31 Jan. 1860;
d. Brooklyn, N.Y., 9 Feb. 1921. Graduate of
Roth's Military Acad. Philadelphia. Stud. law
for some time; pf. pupil of Michael Cross in
Philadelphia. In 1878 went to Paris where he
stud. pf. and theory under Leopold Doutreleau.
Later he stud. at the National Cons. in New
York under Joseffy. As the assistant of Joseffy,
taught pf. at Natio Cons. 1888-98. From
1891-5, mus. and dramatic critic of New York
Recorder; 1895-7, of Morning Advertiser; 1900-
1912, wrote on music, drama and art for New
York Sun. 1912, mus. critic of New York Times;
1919 until his death he again wrote for the Sun.
H. was one of the most brilliant and most
popular writers on music, literature and art that
America has produced. To his mus. interests
he added an intimate acquaintance with modern
Fr. literature and with modern art in general.
Gifted with an unusually facile pen and a ready
wit, he sometimes (particularly in his later
writings) sacrificed his more sober judgment in
the interest of his fascinating style.
The following works are all with one exception
publ. by Scribner, New York:
Mezzotints in Modern Music, 1899; Chopin: the
Man and his Music, 1900; Melomaniacs, 1902; Over-
tones Music and Literature, 1904; Iconoclasts: a
Book of Dramatists, 1905; Visionaries: Fantasies and
Fiction, 1905; Egoists: a Book of Supermen, 1909;
Promenades of an Impressionist: Studies in Art, 1910;
Franz Liszt: a Study, 1911; The Pathos of Distance.
and Gro-
tesques (Philadelphia, Presser), 1913;
New Cosmopolis.
1915; Ivory, Apes and Peacocks, 1915; Unicorns.
1917; Bedouins, 1920; Steeplejack (II.'s memoirs,
2 vols.), 1921; Letters, 1922. Also The Philharmonic
Society of New York and its 75th Anniversary (New
York, the Society, 1917). Ed. several vols. of songs
and pf. pieces in Ditson's Musician's Library.-O.K.
HUNGARIAN FOLK-MUSIC. The expert
investigation and study of this subject did not
begin until the latter years of the XIX century,
for the earlier collections had been made by
dilettanti and were unsatisfactory from a scien-
tific point of view. The more important collectors.
include: Béla Vikár, folk-lorist, 1500 melodies
(1898-1910); Zoltán Kodály (q.v.), compr., 3500
melodies (1904-22); Béla Bartók (q.v.), compr.,
2700 melodies (1904-1918); László Lajtha,
compr., 500 melodies.
HUNGARIAN INSTRUMENTS
The whole material, about 8200 melodies,
mostly unpubl., falls into three main groups:
cent.
(a) Melodies of the older style (about 10 per
Chief characteristic: 4-lined isometric
strophes (the majority 8- or 11-syllable lines,
also 6-. 7-, 10-, 12-syllable lines). Rhythm mostly
parlando-rubato; scale pentatonic:
or Eolian or Dorian scales derived from the
pentatonic (major and minor excluded). Not
architectonically constructed (the lines of the
strophe can be represented by ABCD). Appar-
ently many centuries old; only known by old
people.
(6) Melodies quite new in style, having arisen
within the last 70 years (about 30 per cent.).
Chief characteristic: 4-lined isometric, or hetero-
metric derived from isometric, strophes (gener-
ally 11 and 12-syllable lines, sometimes also
6-22 syllables). Rhythm mostly tempo giusto:
||
or more elaborate formulæ derived from the
former. Scales, mostly major, Eolian, Dorian,
also Mixolydian (seldom minor, nover Lydian).
Architectonic construction: AA5A5A, ABBA,
AA5BA, AABA. Cultivated only by the younger
generation.
(c) Melodies with no uniform characteristics
(about 60 per cent.). Whereas the two preceding
groups comprise melodies specifically Hungarian
in formation, this group contains elements that
have arisen under different, possibly foreign,
influences. Of actual common characteristics
there are none. Heterometric strophe-construc-
tion is frequent; also the use of major and minor
scales. Of the larger colls. already in print there
are only the following: Transylvanian IIun-
garian Folk-Songs, publ. by Béla Bartók and Z.
Kodály (Budapest, 1923, Popular Literary Soc.),
150 melodies with Eng. and Fr. preface; Bartók,
Hungarian Folk-music, 340 melodies and critical
notes (Oxford Univ. Press, 1924).
Consult also: Bartók, La Musique populaire hon-
groise, in Revue Musicale, Paris, 1 Nov. 1920
Music
(Ungarische Bauermusik), in Musikblätter, Vienna,
June, 1920, Nos. 1 and 2 (with 26 examples).-B. B.
HUNGARIAN MUSICAL INSTRUMENTS
(a) ART INSTRUMENTS
1. Cimbalom. In early times and in its primi-
tive form this instr. was in use in many different
countries, but it became localised in Hungary
and neighbouring districts during the last two
or three hundred years. On a horizontal board,
the steel wires are spread out like the strings on
a piano; but they are not all placed in order of
pitch. The compass is one of 50 notes:
from F sharp onwards in chromatic succession.
The wires are struck with two wooden sticks,
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HUNGARIAN INSTRUMENTS
the striking end being covered with cloth. In
1874 Josef Schunda, a manufacturer of these
instrs., invented a pedal-damper for the cim-
balom, similar to the right pedal on a modern
piano, and since that time it has been attached
to the instr. Until comparatively recently, the
cimbalom was used exclusively by gipsies; but
latterly many Hungarian comprs. have used it,
even in serious orch. music, in order to give local
colour to their works. (The Russ. compr.
Igor Stravinsky used it in his stage-work Le
Renard, 1917).
2. Tárogató. A wood-wind instr. with double
reed, originally found all over Hungary; prob-
ably of rustic origin, but now entirely dis-
appeared from among the people. On models
of the old instr., W. T. Schunda constructed
(1900) a new form with only one reed, so that
it now belongs to the clarinet family. Its tone
resembles the cor anglais. Its compass:
generally used in B flat, sounding a major second
lower. Often used as an orch. instr. by Hun-
garian comprs., and occasionally used
stitute for cor anglais. (Mahler used it at Vienna
and Budapest for shepherd-boy's tune in 3rd
act of Tristan.)
(b) POPULAR (PEASANT) INSTRUMENTS
There are no special Hungarian instrs. of this
kind; those used by the peasant-folk now, as
well as formerly, are of international character,
Those mentioned below are, and were, played
by peasant country-folk (never by gipsies).
1. Duda (bag-pipe). The bag is made of goat-
or dog-skin. 3 pipes; the lowest gives the drone:
The two other pipes form practically a double
pipe, made out of one piece of wood, of which
lower pipe has only one finger-hole, and can thus
. produce only two notes:
The chanter has 6 finger-holes of normal size,
pierced in upper side of pipe, operated by
4th, 3rd, 2nd fingers of both hands. There is
also a hole for highest note, placed on under
side of pipe, played by thumb of right hand.
With this arrangement it is possible, even in
rapidest passages, to make frequent use of the
highest note as a kind of acciaccatura. The
scale of this chanter is:
-po
be
Nevertheless the pitch of the intervals does
not correspond exactly to that of diatonic scale;
e.g. the 3rd and 6th on many instruments are
considerably flatter, the 4th somewhat sharper.
244
HUNGARIAN INSTRUMENTS
The 3 pipes have each a single reed. The piquant
tone of the 2 higher pipes is reminiscent of oboe,
Formerly known all over the country, the duda
is now only found in northern districts, where
Hungarian is spoken (recently become Czecho-
slovak territory). Apparently the duda was
confined to dance-music. Hungarian bagpipe.
music, taken unaltered from a phonograph record
and provided with an accompaniment, is to be
found in Bartók's 15th Peasant Song.
Has a
2. Furulya (a kind of shepherd's flute). A
long wooden pipe, about 30-35 cm.
mouth-piece, sound-hole and 6 finger-holes
Compass (with similar deviations as in case
of duda):
20
be
be
Natural
blowing.
8
he
Sea......
10
2.
1st overblow.
2nd overblow.
Is not used for dances, but chiefly among shep-
herd folk. Furulya music, recorded unaltered
by phonograph and provided with acc., is to be
found in Bartók's 42nd piece, A gyermekeknek,
and in Chansons populaires hongroises, arr. for pf.
3. Tilinkó. A long wooden pipe about 50-60
cm. in length. Has neither sound- nor finger-
holes; hence only notes of the natural scale can
be played on it. Apparently in use only among
the Szekler Hungarians in Transylvania (since
annexed by Rumania). Now obsolete.
4. Kanásztülök. The hollowed-out horn of the
so-called Hungarian or Russian ox, about 70-80
cm. long. Thus a kind of trumpet, capable of pro-
ducing only notes of natural scale, of which only
ठं
are possible. The fundamental note invariably
sounds out of tune (lower, generally about F.
It is used exclusively by cowherds and shepherds
to call their herds and flocks together, etc.
They produce extraordinary effects, blowing
short motives in rubato rhythm.
5. Tekerő. Corresponds exactly to the hurdy-
gurdy (Fr. vielle) formerly spread all over Europe.
An instr. with a sound-box like a cello, without
neck and somewhat smaller. Has 4 strings, set
in vibration a disc turned by a handle.
I
II
III
IV
Wooden keys are attached to the 4th string,
whereby the notes of chromatic scale can be
produced. Compass about 2 octaves. Formerly
in general use; in the last decade confined to
Szentes (Hungary). Was used to accompany
dancing.-B. B.
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HUNGARIAN INSTRUMENTS
the striking end being covered with cloth. In
1874 Josef Schunda, a manufacturer of these
instrs., invented a pedal-damper for the cim-
balom, similar to the right pedal on a modern
piano, and since that time it has been attached
to the instr. Until comparatively recently, the
cimbalom was used exclusively by gipsies; but
latterly many Hungarian comprs. have used it,
even in serious orch. music, in order to give local
colour to their works. (The Russ. compr.
Igor Stravinsky used it in his stage-work Le
Renard, 1917).
2. Tárogató. A wood-wind instr. with double.
reed, originally found all over Hungary; prob-
ably of rustic origin, but now entirely dis-
appeared from among the people. On models
of the old instr., W. T. Schunda constructed
(1900) a new form with only one reed, so that
it now belongs to the clarinet family. Its tone
resembles the cor anglais. Its compass:
generally used in B flat, sounding a major second
lower. Often used as an orch. instr. by Hun-
garian comprs., and occas ally used as sub-
stitute for cor anglais. (Mahler used it at Vienna
and Budapest for shepherd-boy's tune in 3rd
act of Tristan.)
(b) POPULAR (PEASANT) INSTRUMENTS
There are no special Hungarian instrs. of this
kind; those used by the peasant-folk now, as
well as formerly, are of international character,
Those mentioned below are, and were, played
by peasant country-folk (never by gipsies).
1. Duda (bag-pipe). The bag is made of goat-
or dog-skin. 3 pipes; the lowest gives the drone:
OF
The two other pipes form practically a double
pipe, made out of one piece of wood, of which
lower pipe has only one finger-hole, and can thus
. produce only two notes:
The chanter has 6 finger-holes of normal size,
pierced in upper side of pipe, operated by
4th, 3rd, 2nd fingers of both hands. There is
also a hole for highest note, placed on under
side of pipe, played by thumb of right hand.
With this arrangement it is possible, even in
rapidest passages, to make frequent use of the
highest note as a kind of acciaccatura. The
scale of this chanter is:
bo
Nevertheless the pitch of the intervals does
not correspond exactly to that of diatonic scale;
e.g. the 3rd and 6th on many instruments are
considerably flatter, the 4th somewhat sharper.
244
HUNGARIAN INSTRUMENTS
The 3 pipes have each a single reed. The piquant
tone of the 2 higher pipes is reminiscent of oboe,
Formerly known all over the country, the duda
is now only found in northern districts, where
Hungarian is spoken (recently become Czecho
slovak territory). Apparently the duda was
confined to dance-music. Hungarian bagpipe.
music, taken unaltered from a phonograph record
and provided with an accompaniment, is to be
found in Bartók's 15th Peasant Song.
2. Furulya (a kind of shepherd's flute). A
long wooden pipe, about 30-35 cm.
Has a
mouth-piece, sound-hole and 6 finger-holes
Compass (with similar deviations as in case
of duda):
Sea
be ba. he
Natural
blowing.
Sea
12
~
1st overblow. 2nd overblow.
and in
Is not used for dances, but chiefly among shep.
herd folk. Furulya music, recorded unaltered
by phonograph and provided with acc., is to be
found in Bartók's 42nd piece, A gyermekeknek,
ansons populaires hongroises, arr. for pf.
3. Tilinkó. A long wooden pipe about 50-60
cm. in length. Has neither sound- nor finger-
holes; hence only notes of the natural scale can
be played on it. Apparently in use only among
the Szekler Hungarians in Transylvania (since
annexed by Rumania). Now obsolete.
4. Kanásztülök. The hollowed-out horn of the
so-called Hungarian or Russian ox, about 70-80
cm. long. Thus a kind of trumpet, capable of pro-
ducing only notes of natural scale, of which only
are possible. The fundamental note invariably
sounds out of tune (lower, generally about F.
It is used exclusively by cowherds and shepherds
to call their herds and flocks together, etc.
They produce extraordinary effects, blowing
short motives in rubato rhythm.
5. Tekerő. Corresponds exactly to the hurdy-
gurdy (Fr. vielle) formerly spread all over Europe.
An instr. with a sound-box like a cello, without
neck and somewhat smaller. Has 4 strings, set
in vibration by a disc turned by
handle.
I
II III
IV
Wooden keys are attached to the 4th string,
whereby the notes of chromatic scale can be
produced. Compass about 2 octaves. Formerly
in general use; in the last decade confined to
Szentes (Hungary). Was used to accompany
dancing.-B. B.
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HUNGARIAN OPERA
HUNGARIAN OPERA, PANTOMIME AND
BALLET. After the attempts of Franz Erkel
to create a national opera, little was done in this
direction for a long time. Operas (mostly on
Wagnerian lines) were perf. at Budapest Opera
House in the latter years of the last century,
among them Mihalovich's (q.v.) Toldi szerelme
and Hubay's (q.v.) The Violin-maker of Cremona
(1894), also Mihalovich's Eliana (1908). Later
were perf. Dohnányi's (q.v.) pantomime, The
Veil of Pierrette; Bartók's (q.v.) fairy ballet, The
Wooden Prince (1917), and his 1-act opera, Duke
Bluebeard's Castle (1918), and Dohnányi's grand
opera, The Castle of Woiwoden (1922).-B. B.
HURÉ, Jean. Fr. compr. b. Gien (Loiret), 17
Sept. 1877. Pursued his mus. studies in Angers.
(Maine et Loire). Went to Paris in 1898. A re-
markable pianist, he gave many concerts there,
in the provinces, and in Austria, Rumania, etc.
Founded Normal School of Music for training
of pianists, orgts. and comprs. His music has
sincerity and force, showing also tendencies.
towards the investigation of modern forms and
harmonies. Many educational works:
La Technique du Piano, La Technique de l'Orgue,
l'Esthétique de l'Orgue, etc. A compr. of talent, the
Odéon and the Opéra-Comique have produced his
Fantasio, Le Bois Sacré. Has Wett tets; Sérénade
pf.
(1907-8); 2 str.
for pf. vn. and cello; 2 pf. and cello sonatas (1903,
1906) (Paris, Mathot; Senart), etc.-M. L. P.
HURLSTONE, William Yeates. Eng. pianist
and compr. b. London, 7 Jan. 1876; d. there,
30 May, 1906. Hardly any early instruction;
yet at 9 he publ. a set of 5 pf. valses and at 18
gained an R.C.M. scholarship. There he stud.
under Stanford (compn.), A. Ashton and E.
Dannreuther (pf). Ill-health prevented an
active pianist's career. In May 1904 his Fantasie.
Variations on a Swedish Air were produced at
the first R.C.M. Patron's Fund concert (just
then founded by Sir Ernest Palmer). His pf.
concerto in D was played by himself, at St.
James's Hall in 1896. His chamber-music is
important, as it stands on the threshold of the
renaissance of the Eng. chamber-music school
(Bridge, Dale, Ireland, York Bowen, McEwen,
etc.). In it, he did not completely free himself
from undue foreign influences (notably Dvořák);
but he gave impetus to the new movement, and
his early death was greatly deplored. Many of
his chamber works were produced at the British
Chamber Concerts in St. James's Hall, 1897-8-9.
Ballad, Alfred the Great, chorus and orch.; orch.
variations (1904); fairy-suite, The Magic Mirror; pf.
concerto (1896); 5tet, pf, and wind instrs.; 4tet,
pf. and str. (Patron's Fund concert, 1904): str. 4tet,
A mi.; pf. trio in G;, sonata in F, vn. and pf.; 4.
Eng. sketches, vn. and pf.; 2 sonatas, cello and pf.
in
suite, clar, and pf.; pf. pieces (Capriccio, B mi.;
5 Miniatures, etc.); many songs.-E.-II.
HUTCHENS
HURUM, Alf. Norwegian compr. b. Christi-
ania, 21 Sept. 1882. Pupil of Martin Knutzen
(pf.), Iver Holter (harmony). Stud. 4 years at
High School in Berlin (Rob. Kahn, Max Bruch
and José Vianna da Motta); afterwards in Paris
and Petrograd (orch. under Maximilian Stein-
berg). 1916, concert-tour in his own country;
concerts in Stockholm in 1914. Début as condr.
in 1921 in Harmonien, Bergen. Is secretary
and chairman of committee of Norwegian Musi-
cians' Association.
H. has won recognition as one the most
talented younger Norwegian comprs. belonging
to a modern tendency which seeks to deepen
the national mus. elements through a restrained
and yet individual employment of the modern.
means of expression. His melodic talent is
conspicuous, his harmonisation is daring, full
of imagination and rich in colour, with its
frequently quite impressionistic mode of expres-
sion, and he has a masterly control of the orch.
2 sonatas, yn. and pf. (op. 2, D mi., 1st perf. 1911;
op. 8, A mi., 1st perf. Bergen, 1916); str. 4tet
(Christiania, 1914); male-chorus work, Lilja, op. 15
(after Norse poem; partly
191
Suite for orch. op. 9 (1st perhjem, 1921);
Christiania,
orch. suite, Fairyland, op. 16 (Christiania,
1921); minor orch. pieces; songs with pf. op. 11-14;
pf. pleces: Impressions, op. ; suites, op. 3, 10;
Aquarelles, op. 5; Gothic Pictures, op. 17 Norae
Suite, op. 18. symph. poem, Bendik and Aarolilja
(Bergen, Christiania, 1923). All his works have been
issued by his own publ. firm in Christiania.-J. A.
HUSS, Henry Holden. Amer. compr. b. Newark,
N.J., U.S.A., 21 June, 1862. Stud. theory under
Boise; 1882-5 in Munich under Giehrl (pf.) and
Rheinberger (organ and theory). His gradua-
tion exercise, Rhapsody for pf. and orch., perf.
after his return to America Boston Sym-
HUSSLA, Victor. Portuguese teacher, violinist
and condr. b. 1857; d. 1899. In 1887 appointed
condr. of the orch. of Academia de Amadores de
Musica (founded 1884 by a group of music-lovers).
He taught many brilliant vn. pupils, both pri-
vately, at the Acad. and also at the Cons. With
Colaço and others he made known in Portugal
the masterpieces of chamber-music. Composed
many works for his orch. of amateurs, notably
the Rapsodies portugaises.-E.-II.
HUTCHENS, Frank. New Zealand pianist and
compr. b. Christchurch, N.Z. in 1892. Prof.
State Cons. of Music, Sydney, N.S.W. Gave
successful pf. recitals in London, 1922.
Psalm
Orch. overture, Song of Victory (ms.); cantata,
XXIII (Novello); trio in 1 movement, F sharp
mi. vn. cello, pf.; Elegy, vn. and pf.-E.-H.
245
phony Orch., 30 Oct. 1886 (compr. at pf.).
First pf. concerto with same orch. 29 Dec. 1894.
It has often been played in other cities. A
dramatic scene (s. with orch.), Cleopatra's Death,
was first perf. New York Philh. 1 April, 1898.
His chamber-music has also been frequently
perf. by notable artists (Kneisel Quartet, Ham-
bourg, May Mukle and others). His Seven
Ages of Man for barit. and orch. (still in ms.)
was effectively sung by Bispham. H. has been
a successful teacher and concert-pianist in New
York, and since 1905 has given many joint-
recitals with his wife (Hildegard Hoffmann),
a soprano singer.
Concerto in B, op. 10 (Schirmer, 1898); str. 4tet,
op. 31 (Soc. for Publication of Amer. Music, Schirmer,
1912); vn. sonata, op. 19 (Schirmer, 1903; 2nd ed.
1920) Ave Maria for female chorus, solo and orch.
op. 4 (Novello, 1890). Many pf. pieces and songs
(Schirmer; Schmidt; Ditson).-O. K.
HUSSEY, Dyneley. Eng. music critic; b.
Deolali, India, 27 Feb. 1893. Educated Corpus
Christi Coll. Oxford; writes for The Times and
Saturday Review.-E.-H.
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HUTCHESON
HUTCHESON, Ernest. Australian pianist; b.
Melbourne, 20 July, 1871. First pf. lessons
from Vogrich and Torrance in Australia, where
he appeared as child-prodigy. At 14, went
to Leipzig, stud. pf. under Reinecke and Zwint-
scher, compn. under Jadassohn. 1890, went to
Stavenhagen in Weimar. In 1898, appeared in
Berlin as a pianist, also as condr. and compr.
Went in 1900 to America as head of pf. depart-
ment of Peabody Inst. in Baltimore. Resigned
in 1912 to devote himself to concert work. 1912-
1914 in Europe. Settled in New York, 1914. Has
been heard as concert-pianist in England and
Russia as well as in Australia, and has played in
America with almost all the large orchs.
comp. several orch. pieces, a pf.concerto, concerto
for two pfs. and a vn. concerto (all ms.). Several
pf. pieces (Composers' Music Corporation).
Author of Elektra by Richard Strauss: a Guide
to the Opera (Schirmer, 1910).-0. K.
Has
HUTSCHENRUYTER, Wouter. Dutch condr.
b. Rotterdam, 15 Aug. 1859. 2nd condr. Concert-
gebouw, Amsterdam (1890-2), then condr.
Symph. Orch. Utrecht; resigned 1917 and be-
came dir. of Music School, Rotterdam, which
post he still occupies. During his Utrecht con-
ductorship he was a pioneer of Dutch and little-
known foreign music.
Op. 1 and 2, pf. duets; op. 3, sonata, pf. and vn.
(Schott); op. 4, sonata for pf. and cello (Hamburg,
Cranz); op. 5, concerto pf. and orch. (given fre-
quently by Willem Andriessen); op. 6, overture
Evelle & Schoeffer); op. 8, Suite in Ancient Style,
orch.; pf. works (2 and 4 hands). Wrote biographical
studies on Mozart, Strauss, Weingartner, etc.-W. P.
HUUS-HANSEN, John Wilhelm. Norwegian
orgt. b. Christiania, 23 Sept. 1894. Stud. organ-
playing under Eyvind Alnes, theory under
Gustav Lange and Iver Holter. Début as orgt. in
Christiania in 1915; regular concerts in that
city and in provinces. Chairman of Christiania
Organists' Association since 1919.-J. A.
HVIID, Mimi. Norwegian singer and teacher;
b. Christiania. Appeared in 1906 as Mimi in
La Bohème; 1907 Santuzza in Cavalleria at
National Theatre. From 1910, one of Christi-
ania's most valued teachers.-R. M.
HVOSLEF, Agnes Eveline Hanson. Norwegian
m.-sopr. singer; b. Christiania, 4 April, 1883.
Pupil of Ellen Gulbranson, Christiania, and
Mme. Materna, Vienna. Début as concert-
singer, Christiania, 1905; as operatic singer in
National Theatre, Christiania, 1909. Engaged
at Hofoper in Dessau, 1913; sang at Bayreuth
in 1914. Lives at Drammen.-U. M.
HWYL, Welsh. Ordinarily, hwyl means.
eloquence and fervour public speaking. In
a more restricted sense it denotes the musical
cadences employed by many Welsh speakers,
particularly certain Nonconformist preachers,
when speaking under the influence of deep emo-
tion, or of intense conviction. This interesting.
phenomenon is not peculiar to Wales, but, to
a greater or less degree, is common in other
countries; and the reason for it is partly physical,
246
HWYL
partly psychological. Military commands and
street cries, for instance, tend to become musi-
cal tones, because regular vibrations are more
resonant, and carry further, and are produced,
with less effort than the irregular vibrations of
ordinary speech. On the psychological side is the
well-known fact that a dignified poetical passage
or an emotional appeal cannot be recited without
employing
non-conversational "tone"; and
this often resolves itself into cadences which are
almost, if not quite, musical.
The tendency towards this kind of quasi-
musical speech is very strong in the Welsh
people, but it has been accentuated by the
religious movements of the close of XVIII century,
and beginning of XIX. The hwyl tradition has
persisted to the present day. In many cases it
is quite spontaneous, the transition into it being
so gradual and natural that neither speaker nor
listener is conscious of it.
Hwyl, when genuine, reveals some interesting
features that have a bearing on the early history
of music. The most striking is the mode, which,
instead of being minor, as is generally supposed,
is invariably Dorian. Though the development
of the hwyl, from its initiation to its climax,
varies, the following is typical of the majority
of cases. Firstly, the sounds seem to crystallise
into a note of a definite pitch on which all the
emphatic words are delivered, the others form-
ing indeterminate inflections above or below.
As the feeling intensifies another declamatory
note appears, generally a minor third above,
but sometimes below. In any case the lower note
becomes the "final" of the mode. The inter-
mediate note is at first vague in tonality and only
employed as a kind of passing-note. When the
fourth makes its appearance it often does so with
thrilling effect, completing a well-defined tetra.
chord, to which the fifth is soon added. Should the
sixth be introduced, the interval between it and
the note below, though not well defined, is always
greater than a semitone. The same is also true
of the interval below the tonic. Both these notes
are mainly used for non-emphatic words, the
declamatory notes being the tonic, third, fourth
and fifth; and the choice of notes and the con-
sequent colour and effect of the musical cadences
depends on the personality of the speakers.
The octave above is never reached; occasionally
the fourth below may be lightly touched but not
so as to justify one in regarding the mode as
Hypo-Dorian. The Amen cadence invariably
descends from the supertonic to the tonic.
Some writers maintain that hwyl represents
fragments of ancient church music traditionally
handed down. It is, however, difficult to under-
stand how people unversed in the niceties of the
modes, and who hardly ever hear any music
other than major and minor, should, in their
hwyl, strictly confine themselves to the Dorian
mode. It is probably more correct to regard it
as having all originated from a psychological
source. We may regard the steps in develop-
ment of hwyl, from its commencement as a
monotone to its full compass of about a sixth, as
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HWYL
recapitulating the earlier stages in the evolution
of the scale (tetrachord, hexachord, etc.); of mus.
notation (one line, three lines, etc.), and of the
chant. The melodies of many old Welsh hymn
tunes and anthems are full of hwyl formula.
A genuine hwyl, when judiciously introduced,
is very effective; but were attempts made to
systematise it and to teach it from printed
records according to formulated rules, it would
probably degenerate into a mechanical exercise,
sung in strict time, and there would be the same
difficulty in securing a "live" rendering, as is
now so frequently experienced in plain-song and
the chant.-J. LL. W.
HYDE
HYDE, Walter. Eng. operatic t. singer; b.
Birmingham, 6 Feb. 1875. Stud. at R.C.M.
London under Gustave Garcia, Sir Walter
Parratt and Sir Charles Stanford; elocution
under Cairns James; début in light opera, My
Lady Molly (Terry's Theatre, 1905); concert work
and another light opera; then Siegmund in
Valkyrie, Covent Garden, Eng. Ring under
Richter; since then in nearly all Wagnerian
t. roles; first Eng. t to sing Pinkerton in Butter-
fly at Covent Garden; toured U.S.A.; sang at
Opera, Budapest; 1921-3, British National
Opera, London and provinces. H. is one of the
very finest of operatic tenors.-E.-H.
247