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I
IBERT, Jacques. Fr. compr. b. Paris, 1890.
Pupil of the Cons. (Prix de Rome, 1919). This
admirable musician seems already to have fallen
under the influence of Maurice Ravel. His works.
have a delicate and refined sensibility and an
extremely able technique.
La Ballade de la Geble de Reading (1920); Persée et
Andromède (1921); Escales (1922); 4tet for wind
instrs. (1922); Le Jardinier de Samos
songs
with pf. La Verdure dorée (1924, Led. (1923); P.
IBSEN, Bergljot Björnson. Norwegian con-
cert-singer; daughter of the poet Björnstjerne
Björnson. Born Aulestad, Gausdal, 16 June,
1869. Pupil of Désirée Artôt, Paris. Extensive
concert-tours at home and abroad. Has of late
years given chiefly sacred concerts.-U. M.
IDELSOHN, A. Z. Ger. writer on music; b.
Filzburg, near Libau (Courland), 14 July, 1882.
Pupil of Stern's Cons. and of Jadassohn, Krehl,
and H. Zöllner at Leipzig Cons. Went to Johan-
nesburg, S. Africa, 1905, and to Jerusalem in
1907, devoting himself to study of Oriental music.
The Makamets of Arabian Music (Sammelb. d.
I.M.G. XV. i), Remains of Ancient Ilebrew Music
(Ost und West, 1912-13), Synagogal Singing in the
Light of Oriental Music (Monatsbl. des deutschen Kan-
loren-Verbandes, 1913), Parallel. M. IV, 9, 10, 1922);
between
coll, in several vols, of Hebrew-Oriental Treasury of
Melodies is being publ. by Breitkopf; 3 vols. publ. up
to 1923. Also publ. Songs of Zion (with pf.) (Jeru-
salem, 1908): Synagogal Music (Berlin, 1910); Song
Hebrew Home,
Berlin-Jerusalem, 1912); also Manual of European
and Oriental Music (Jerusalem, 1910).-A. E.
and Hebrew-Oriental Melodies
sidiary figures of accompaniment are much de-
veloped, often in rapid movement, the object
of which is to produce a general effect of timbre
rather than a clearly intelligible succession of
notes. Similar effects are also obtained by slow.
harmonies based on chords which an older
generation would have regarded as discords, but
which the present day regards as agreeable con-
sonances. The germs of "impressionism" can
be traced far back; they may be found in the
madrigals of Luca Marenzio and others; Torre-
franca finds them in the harpsichord sonatas of
Galuppi and Platti; Edward Carpenter has
pointed out similar tendencies in the pianoforte
sonatas of Beethoven. Liszt shows frequent
examples; among living composers Delius is one
of the most successful "impressionists."-E. J. D.
INCAGLIATI, Matteo. Ital. writer on music;
b. Salerno, 1873; graduate in law; devoted
himself to mus. criticism. Collaborated in Rome
in the periodical Musica; then founded and dir.
10 years) periodical Orf At present, is
mus. critic of Giornale d' Italia.
Has publ.
Storia del Teatro Costanzi (Rome, 1907).-D. A.
IKONEN, Lauri. Finnish compr. b. Mikkeli
(St. Michel), 10 Aug. 1888. Stud. in Helsingfors.
Univ.; Ph.M. 1910. Stud. music in Helsingfors
and Berlin (Paul Juon), 1910-12. Since 1923,
ed. of the mus. paper Suomen Musiikkilehti.
2 symphonics (No. I named Sinfonia inornata);
vn. sonata; choral works; songs.-T. H.
INDIA, MUSIC IN. Apart from the folk-
music (lullabies and songs of labour, etc.) and
from processional and wedding-music, the music
of India is either devotional or chamber-music.
The devotional music includes on the one hand
that of the ancient Saman chant, which has
probably come down essentially unchanged
during three millenniums, and on the other an
infinite variety of hymns addressed to the Deity
under various names. Chaitanya, in the xv
century, in effecting a revival of Vaishnava faith
by his impassioned hymns, was only repeating
the methods of the Buddhist Ashvaghosa 1400
years earlier. In the South the great collection
of Saiva hymns known as the Tevaram, and the
songs of Manikka Vacagar, are sung in temples,
and those who hear these songs are moved to
tears. Art-music remains almost entirely in the
hands of an hereditary profession, consisting of
ustads, or "masters" (of whom the most famous
was Tan Sen in the xvI century), and of dancing-
girls. These are maintained by aristocratic
patrons or engaged on special occasions. The
public concert is unknown, and music is a
professional art, not a social accomplishment;
nevertheless it may be said with truth that for
every person in Europe in whose life music is
an essential experience, there are, or have been.
until recently, ten in India. The masters are
often the composers of their own songs (poetry
and song are inseparable ideas). The words of
art-songs are short lyrical compositions depicting
a single emotional situation and always of high
literary merit; but words are used more as a
vehicle for the music than for their own sake-
words are composed to music rather than music
IMBERT, Hugues. Fr. musicologist; b. La
Nièvre, 1842; d. Paris, 1905. He had his hour
of celebrity, but to-day his works are of little
interest. He represented the old style of
criticism, anecdotal, incapable of synthetic views.
Profils de Musiciens, 3 vols. (1888-97); Portraits et
Etudes (1894); Médaillons contemporains (1902).-A.C.
IMPRESSIONISM. A term which has been
borrowed from the criticism of painting and
recently applied in a not very clearly defined
sense to music. The chief modern exponent of
musical "impressionism was Debussy, and the
term seems generally to be applied to music
intended to convey some suggestion of landscape,
or of a picture in which colour is more important
than outline, the melodic line in such cases
being ill-defined and fragmentary, while suh-
248
IGUMNOF, Constantine Nicolaievitch. Russ.
pianist; b. Liebedian, govt. of Tambof, 19 April/
1 May, 1873. Stud. under Zvieref, and at Moscow
Cons. under Siloti and Pabst; 1898-9, pf.
teacher at Tiflis music-school of Russ. Music Soc.
From 1899 till now, prof. at Moscow Cons.-V. B.
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INDIAN MUSIC
to words. In any case, every performance is in
some degree an improvisation; the musician
plays or sings in accordance with certain rules.
and in given modes, but not from a fixed score.
The nearest analogues for the psychic effects
of Indian music may be found in plain-song,
in troubadour music, medieval music generally,
and in Bach. The music is devoted to the utter-
ance of a given emotional experience, which is
analysed and dwelt upon with overpowering
intensity. But, however impassioned, it has
none of the Sturm und Drang of Beethoven, or
the romantic longings of Wagner; it is born of
a clear understanding of life. As Fox-Strangways
has said, writing from a Western point of view,
"we do not know what to make of music which
is dilatory without being sentimental, and utters
passion without vehemence."-A. K. C.
INDIAN MUSIC. The Indian scale consists
of 22 notes (16 only in the Southern system), of
which 7 correspond to the white notes of the
piano, if we imagine the piano tuned in a just
and not a tempered scale. The 7 notes are known
by the names Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa,
used in the same way as the syllabic names in the
Solfa system. The other notes are sharps or flats
of these, and are distinguished by qualifying
adjectives. All Indian music is modal, and only
a selection of not more than 7 of these notes can
be used in any one composition, except as grace.
notes. All Indian music melodic; without
actual or implied harmony, other than the tonic
note or drone which remains constant in all
modes, and is pitched to suit the singer's voice.
A characteristic use of grace-notes and sliding
progressions produces a colour-variation such as
is obtained in harmonised music only by varying
degrees of assonance.
INDIAN MUSICAL INSTRUMENTS
a speaking voice); and are therefore based on
quantity and not on accent (words are set to
music, rather than music to words). Over 100
Talas are known, but by no means all are in use.
All are combinations of 1, 2, 3, 5, 7 or 9 time-
units, each of which may be split up into
smaller component parts. The art of the drum-
mer is developed to a point unknown in the West.
Consult: A. H. Fox-Strangways, Music of Hindu-
Thirty
(London, 1913); E. Clemens, Introduction to the Study
of Indian Music (London, 1913); H. A. Popley, The
Music of India (Calcutta and London, 1921), and re-
ferences in art. on INDIAN MUS. INSTRS.-A. K. C.
The
INDIAN MUSICAL INSTRUMENTS.
voice, in India, is regarded as the chief and
noblest instruments: vocal music therefore
has a higher relative valuation than in the West,
and is more highly developed.
Next in importance to the voice is the classical
vina, a kind of lute with 7 long metal strings and
24 frets. Of these strings, 3 are placed on one
side and only used to make a drone accompani-
ment, and to mark time. A common tuning is
CGC, and GCG₁. The vind is a superb instr.
with a vibrant ringing tone, not very loud.
Equally with the human voice it is capable of
very subtle inflections and graces, inasmuch as
whole passages, especially the elaborate trills,
shakes and slides which are an essential part of
the melodic structure of Indian music and the
most obvious vehicle of its peculiar appeal, can
be played by a deflection of the long strings,
without fresh plucking. In these deflections a
range of as much as 4 semitones may be covered,
and they lend themselves especially to pp
effects. A Bengali instr., similar in principle
but deeper in tone, is the surbahar.
The tambura is a similar instr. without frets,
tuned GCCC₁. Pieces of silk are placed between the
bridge and the strings to produce the buzzing
tone, which is like a swarm of bees or the sound
of an electric fan. All of the strings are struck by
the fingers in rapid succession, so as to produce
a continuous drone; this continuous drone is
very rich in overtones, and sounds almost like a
combination of instrs., never becoming mono-
tonous. The tambura is used exclusively as the
background of song, with or without the drum.
The fundamental conception in Indian music
is that of Räga, a word meaning passion or
colouring. In the usual classification there are
6 Ragas, each with 5 Raginis, the Ragini being a
modification of the Räga. The term is best trans-
lated as "melody-mould "; this melody-mould
consists of a selection of 5, 6, or 7 notes dis-
tributed over the scale, employing certain charac-
teristic progressions, and laying particular stress
on one note, which however, is not to be re-
garded as a "key-note." Every song or com-
position must conform to and adhere to the
peculiarities of the Räga or Ragini in which it is
made. The form of the Räga being known, the
simple names Sa, Ri, etc., suffice for teaching or
notation. Notation is little used; singing or
playing is never from fixed scores, and every
performance is in part an improvisation within
the given limits. The Ragas are proper to par-
ticular seasons and hours, and have definite
emotional and ethical associations (ethos, as in
ancient Greek music). These associations are
described in sets of verse called Rägmäläs, and
illustrated in pictures.
The second essential in Indian music is Tala
or time-measure. These measures are inseparably
connected with the metres of verse (in the East,
all poetry is sung or chanted, and never read in
249
The instrs. played with a bow (sitär, esraj,
sārangī, etc.) though they have been in use for
many centuries, are mainly North Indian, and
probably of Persian origin. The sārangī is some-
thing like a viola in effect; but has from 15 to 20
sympathetic strings, and is mainly used to
accompany dancing, together with the drum.
The flut (venu, irali) is one of the most
ancient of Indian instrs., and has an important
place in literature in connection with the Krishna
legends, where its sound represents the call to
"leave all and to follow Me."
Drums are of very many kinds and uses. The
drum provides the tonic to which other instrs.
must be tuned. In certain varieties one or both
heads are loaded with special compositions to
produce the required tonal effects.
Ensemble consists as a rule of voice, tambura
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d'INDY
and drum, or of vina and drum. More numerous
orchestras in which wind instrs. (including the
oboe) and drums are conspicuous are used in
processional, wedding and martial music. Bands.
of this type are usually stationed at palace
gates, and play all day.
Consult: C. R. Day, Music and Musical Instrs.
of Southern India and the Deccan (London,
1891); C. Sachs, Die Musikinstr, Indiens und In-
donesiens (Berlin, 1914); A. M. Meerwarth, Guide to
the Collection of Musical Instrs. in the Indian
Museum (Calcutta, C.
1917), and references in art.
on INDIAN
d'INDY, Paul Marie Théodore Vincent. French
composer; b. Paris, 27 March, 1851. The fore-
most of César Franck's pupils, and the acknow-
ledged leader of the school often called "Franck-
ist," but which owes a good deal to the influ-
ence of his own music, personality, and teaching.
At an early age he began to study the piano-
forte under Diémer and Marmontel, and, a
little later, harmony under Lavignac. In 1872
or 1873 he was admitted into César Franck's
organ class at the Conservatoire, and it is under
Franck's guidance that he studied the classics
and the technique of composition. He completed
his professional education by practical work
as organist, choirmaster and timpani player
at the Concerts Colonne (1876-8).
As a composer he began to assert himself
early, with a variety of works, the first of which
was the Piccolomini Overture for orchestra
(performed in 1874) which ultimately became
the second part of his fine orchestral triptych
Wallenstein (the other two parts were played
in 1880). His tone-poem La Forêt Enchantée
was written in 1878. His Symphonie sur un
thème montagnard français, one of his greatest
achievements, appeared in 1886; in 1885 his
Chant de la Cloche was awarded the grand
prize of the city of Paris. In 1897, he accepted
the post of teacher of composition at the Schola
Cantorum (founded by himself, Ch. Bordes, and
Guilmant) which he still holds besides that of
Principal.
As a composer, he came very strongly under
the influence of Wagner and César Franck and
a little later under that of folk-song and Gre-
gorian chant. The degree of Wagner's influence,
(an influence mainly obvious in the early works
and especially in Le Chant de la Cloche) has been
emphasised, not without exaggeration, by various
writers, while others have maintained that the
adoption, in their general lines, of Wagner's
methods (e.g. in his lyric drama Fervaal) has
not interfered in the least with the display of
far-reaching originality. The influence of folk-
song is ever present, and discernible in the
quality of the motives, the rhythmic structure,
and the colours of his music. That of Gre-
gorian chant, more gradual, is noticeable in
parts of Fervaal and assumes a paramount
importance in La Légende de Saint Christophe.
He is typically French in his love of clarity.
logical order and definite outline. He revised
and systematised Franck's methods of construc-
tion and followed their logical development.
INGHELBRECHT
No French composer of to-day has been dis-
cussed more freely and more passionately; and
the time has not yet come when a measure of
agreement will decide how far his admirers
and his detractors (whose chief argument is
that his music is often remarkable more from
the point of view of science than from that of
inspiration) are right or wrong. But most
critics endorse Romain Rolland's view that he
is one of the master-musicians of contempo-
rary Europe as regards dramatic expression,
orchestral colour, and science of style." Issue
has chiefly been joined around Fervaal; and later,
around various points referring more to d'Indy's
theories, ideals, and utterances as a critic and
teacher, than to the actual quality of his music.
His teaching, essentially founded upon the
historical study and thorough analysis of art-
forms from their origin to the latest stages of
their evolution, is summed up in the Traité de
Composition (2 vols. publ.; Durand). His pupils
number many notable musicians: de Séverac,
Samazeuilh, Le Flem, M. Labey, Canteloube, etc.
He has also written a critical biography of
César Franck (Paris, 1906, Alcan), and a book
on Beethoven (Paris, 1902, Laurens). He is
(since 1890) president of the Société Nationale
de Musique. He has edited, or co-operated in
the editing of many classics of various schools
(Monteverdi's Orfeo and Incoronazione di Poppea
[Schola Cantorum]; Rameau's Dardanus and
Hippolyte et Aricie [Durand]).
Dramatic works: Le Chant de la Cloche, dramatic
legend (188elle); Fervaal, lyric drama (1895,
Durand);
lyric drama (1901, id.); La
Légende de St. Christophe (1915, Rouart, Lerolle).
Orch.: Symphonie sur un chant montagnard français
(called Symphonie cévenole) (1886, Hamelle); 2nd
symphony (1903, Durand); 3rd symphony (De Bello
Gallico) (1919, Rouart, Lerolle); Poème des Rivages
La Fort
enchantée (1878, Heugel); Saugefleurie (1882,
Hamelle); Istar, symph. variations (1896, Durand);
Jour d'élé à la
Souvenirs (1906,
id.). Chamber-mnene_(1905, id.as. Durand); 1st
Pt. 4tet
str. 4tet, in D (1890, Hamelle);
2nd, in E (1897,
Durand): trio, pf. cello, clar. (1887. Hame des
sonata, pf. and vn. (1904, Durand). Pf.:
montagnes (1881, Hamelle); Schumanniana (1887);
Tableaux de voyage (1889, Leduc); sonata (1907,
Durand). Songs church music, etc. Consult biblio-
graphy in Séré (q..), and: A. Sérieyx, V. d'I.; M. D.
Calvocoressi, V. d'i. (Mus. Times, Nov. 1912), and
The Dramatic Works of V. d'i. (id. May-Sept.
1921.-M. D. C.
INFANTE, Manuel. Span. compr. b. Osuna,
Seville. Since the 1st perf. of his clear and grace-
ful pf. works in Paris (1921) by the pianist José
Iturbi, his compns. have attained an immediate
and increasing success. Lives in Paris.
Pf.: El Vito; Variations sur un thème populaire et
danse originale; Sevillana; Guadalquivir, nocturne;
Gitanerias. For 2 pfs.: Trois c
andalmuses:
Ritmo; Gracia; Sentimiento. (A. Z. Mathot; H. Gregh.
Paris.) P. G.' M.
INGENHOVEN, Jan. Dutch compr. b. Breda
(N. Brabant), 19 May, 1876. Stud. under Lud-
wig Felix Brandts-Buys and Felix Mottl; cond.
orch. concerts in Munich, Mannheim, Paris, The
Hague, in Switzerland and Italy. Lives in
Paris. Comp. numerous works for orch. and
chamber-music (4 str. 4tets, etc.).-W. P.
INGHELBRECHT, D. E. French composer;
250
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INSTITUTES OF MUSIC
As
b. Paris, 17 Sept. 1880. One of the friends of
Debussy during the last period of his life.
orchestral conductor, Inghelbrecht was par-
ticularly distinguished in the production of
Debussy's works and in the revival of the
earlier ones. He is a distinguished composer.
His delicious albums for piano The Nursery
(Mathot), his sonata for flute and harp, his
Cantique
créatures de Saint François (chorus)
and orch.), especially his ballet El Greco (perf. by
the Swedish Ballet Troupe), reveal in him a
harmonic science, a sense of orchestral colour
and a remarkable melodic invention.-H. P.
INSTITUTES OF MUSIC. See ACADEMIES.
INSTRUMENTS INVENTED or modified since
1880. The period from 1880 has seen various
improvements in orchestral and military band
instrs., due to the unceasing ingenuity of makers
These,
in overcoming technical drawbacks.
however, are limited to minor details, and the
working out of sundry problems was, of course,
interrupted during the years of war. The orch.
has remained in its broad outlines unchanged.
The perfecting of valves of brass instrs. is perhaps
the most noticeable of the various improvements
in that department. While there is no type of
wind instr. that can properly be regarded as new,
there have been some changes in the customary
instrumentation of military music, notably in
growing rise of saxophones and B flat soprano
trumpet. With percussion instrs. the case is
slightly different. Various models of xylophones,
chimes, etc. are now in frequent use, and these
used to be regarded as quite exceptional. There
are also other so-called instrs., which are not
much more than noise-making contrivances, used
in the modern dance and "jazz" bands. In the
exclusive department of military bands, at a con-
ference held at Kneller Hall, 7 Dec. 1921, in deal-
ing with bands numbering from 21 to 50 players,
the following instrs. were declared obsolete: E
flat alto clar.; b.-c. (except in bands of 50 or
more); D flat flute (E flat military), the concert-
flute to be substituted; E flat tpt.; baritone;
circular bass (except in cavalry units). It was
further recommended that at least 25 per cent.
of clars. in a band should be of the Boehm
pattern. The extraordinary vogue of the saxo-
phone is quite a recent feature, although the
invention of the instr. dates back to days of
Adolphe Sax, who settled in Paris in 1842. It
achieved early acceptance in military bands,
and its sudden leap to popularity a few years
ago gave the impression in some quarters that it
was a new instr. It has actually obtained a very
limited footing in the orch., exemplified in some
of Joseph Holbrooke's compns. In America small
saxophone-bands are substitutes for an organ in a
few churches, but its use in dance music is the
chief feature of its revival. As regards the organ
and pf., the period since 1900 has produced many
improvements in the details of construction.
Perhaps the most interesting feature of the period
under review has been the rise of the pianola.
Although patented in America in 1897, its em-
ployment in England may be said to date from
INSTRUMENTS INVENTED
about 1903, and its manufacture on a large scale a
few years later. The value of the instr. was not
rated highly until, in 1912 at a concert at the
Albert Hall, cond. by Nikisch in conjunction with
London Symph. Orch., the piano-part in various
concertos was played by the pianola; and
another memorable event was the playing by
pianola of Harold Bauer's interpretation of
Saint-Saëns' concerto in G mi. by the Duo-Art
reproducing type of instr., with Queen's Hall
Orch. cond. by Sir Henry Wood. The player-
piano had in its early days received the support
of Chaminade, Leopold Godowsky, Josef Hof-
mann, Jan Kubelík, V. de Pachmann, Pader-
ewski, Hans Richter, and later of many world-
famous pianists. Works especially designed for
the instr. have been written by Stravinsky,
Casella, Howells, Malipiero and Goossens. The
conservative attitude taken up by musicians
with regard to the pianola has now largely given
way to a recognition of its capabilities; of course
with the reservation that the direct touch of an
artist must always remain supreme. The player-
piano has been fully treated of by Edward
Schaaf, M.D. of Newark, New Jersey, in a series
of arts. which appeared in The Music Trades
Review (July 1922 to Sept. 1923), followed by
another series by Sidney Grew. The idiom of
the instr. and its technical possibilities, freed
from the limitations of the hand, are therein
fully discussed. On 25 Nov. 1923, the Duo-Art
electrical reproducing piano was heard at Queen's
Hall, when records by Cortot and Hofmann,
taken the new process, acc. by London Sym-
phony Orch. under Felix Weingartner, were
heard. The programme included Variations on
a Beethoven theme, by Saint-Saëns, for two
pianos, one played by the Duo-Art from a Cor-
tot record on one instr., the other played by
Clara Evelyn. The gramophone had a much
harder battle to win the approval of musicians.
Its association with imperfect reproduction and
bad tone caused many musicians to hold aloof
from it; but improvements have brought about
its recognition as a useful medium for educational
purposes and a means of carrying music to people
who would otherwise be entirely deprived of
opportunity of hearing the best things. (See art.
GRAMOPHONE.) In 1921 the advent of a new pf.
invented by Emanuel Moór (a Hungarian by
descent but Eng. by nationality, residing at
Mont Pélerin, Switzerland) created much in-
terest among pianists. Up to the present its
acceptance is not very general. The forces of
conservatism have to be reckoned with, and the
possibilities of this means of simplifying pf.
technique and extending its range must be
further discussed and demonstrated.
The in-
vention was fully treated of by Prof. Donald
Tovey in Music and Letters (Jan. 1922; re-
printed by Eolian Co.). This instr., which claims
to give more adequate renderings of Bach,
Mozart, and Chopin, is worth attention. A second
For full detalls the specifications in the Patent.
Offlce, 161549, 1 Feb. 1922, and 180633, 17 Aug. 1922,
may be consulted.
251
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INTERNATIONAL
Keyboard with a duplex coupler, sounding an
ciave higher, constitutes its main principle,
and a contrivance is added which by prossing
a button converts the instr. into harpsichord
with a fuller tone than its prototype. (See also:
MENCRACA KEYBOARD; RENDANO INDEPENDENT
PEDAL: HANS; JANKÓ; MUSTEL; ORSI.)-F. A. II.
INTERNATIONAL SOCIETY FOR CONTEM-
PORARY MUSIC. Founded at Salzburg at
the end of the chamber-music fest. of Aug. 1922.
Has now nearly 20 branches, with its head-
quarters at the British Music Society's office, 3
Berners St. London. Chairman (1923-4) Edward
J. Dent. In 1923, there was a 6-day fest. of
chamber music at Salzburg; in 1924 an orch. fest.
was given at Prague (May) and a 2nd chamber-
music fest, at Salzburg in August.-E.-II.
INTERNATIONALE MUSIKGESELLSCHAFT.
See SOCIETIES.
INZENGA, J. Contemporary Span. musician
of the old school, author of Cantos y bailes
populares de España, an unfinished coll. of dances
and songs preceded by explanatory notes on
folk-lore of their respective provinces, and
Colección de aires populares para guitarra. Was
a prof. at the Real Cons. de Música, Madrid, and
Fellow of Real Acad. de Bellas Artes.
de
Womero; L. Castro y Campo, Madrid.) P. &ntonio
IPPOLITOF-IVANOF, Michael Michaelovitch
(accent 3rd syll.). Russ. compr. b. Gatchina, 7/19
Nov. 1839. A pupil of Rimsky-Korsakof at Petro-
grad Cons 1876-82; from 1882-93, dir. of music
school of Russ. Mus. Soc. at Tiflis and chief condr.
Tutis Opera House; from 1893 till present time,
prof. of compn. Moscow Cons.; from 1905-22
he was a dir. of it. In 1923, he celebrated his
40th artistic anniversary and received title of
People's Artist of Republic.
Operas: Ruth, op. 6; Asia, op. 30; Asra (1890);
Treachery (1909: The Spy (1912); Ole the
(1916). Orch. works: overture on Russ, themes, Ja
Kamel, op. 1; Symph. Scherzo, op. 2; suite, Caucasian
Strokes, op. 10; suite, Iveria, op. 42; symphony, E
si, op. 46; Armenian op.
gem. Mayri (after Lermontof), op. 54; pf. 4tet, op. 9;
str. 4tet, A mi. op. 13; vn. sonata, op. 8; Liturgy of
8. John Chrysostom, op. 37; songs, etc.-V. B.
IRELAND
orch. work, and that he had written a large
amount of concerted chamber - music. The
earliest works which he now acknowledges are
the Phantasy-Trio in A mi. (1908), and The Songs
of a Wayfarer (1910), after which there occurs a
break in his output, which is not resumed until
1913, when a marked advance in the compr.'s
style is immediately apparent. Except that he
spent a holiday during 1912 in Jersey, impres-
sions of which are recorded in The Island Spell
(Decorations) and in The Forgotten Rite, nothing
has transpired as to the reason of this interrup-
tion in his activities. For the rest, like most
comprs. he has to devote much time to other
than creative work, and he lives in Chelsea. In
the ordinary sense, his career has not been
eventful. Its most memorable day was in 1917
when Albert Sammons and William Murdoch
gave the 1st perf. of a work which had the
immediate effect of establishing his reputation,
the 2nd vn. sonata. The sequel was remarkable
for the times in which it occurred. Whereas
formerly violinists had fought shy of English
works, most of them now felt it incumbent upon
them to play this sonata, and even the convic-
tion of publishers that sonatas were white
elephants was shaken, for the first edition of
this one was sold out before it left the press.
Soon after the sonata, and before the latter was
performed, he composed a one-movement trio
in E mi. Since then, his most important works
have been the pf. sonata in E (1920), and the
Symphonic Rhapsody, Mai-Dun (1921). Mean-
while his shorter works for pf. and his songs have
attained a fairly large number, although his
output has not at any time been rapid. The
reason for this is his unusually severe self-
criticism. He has a passion for revision, and is
scrupulous almost to excess.
His style is diatonic as to its foundation, which
does not prevent it from having a chromatic
appearance, owing to his method of enriching
the harmonic texture. In form he stands closer
than most modern composers to the orthodox
tradition, but one has only to compare his work
with that of the epigoni to see to which camp he
belongs. Apart from a very characteristic har-
monic sense, the chief features in his work are
a feeling of austerity which has at times com-
mitted him to harshness, but has never impeded
lyrical beauty, and a robust sincerity of purpose,
both of which qualities proceed from that same
artistic probity which causes him to scrutinise
his work so closely before allowing it to go forth.
Modern as he is, he is proof against the tempta-
tion of employing a device for its own sake, or
inventing one as a "stunt." It is perhaps for
this reason that, except the vn. sonata, which
appeared to meet some psychological need of
the moment, his best works have been slow to
make their way in popular favour, though they
have generally won in the end. It is the same
with his songs, the most remarkable being rarely
sung in comparison to numerous lyrics which
have acquired popularity. Yet his most suc-
cessful song happens to be also one of his best,
IRELAND, John. Eng. compr. b. Inglewood,
Bowden, Cheshire, 13 Aug. 1879. Son of Alex-
ander Ireland, sometime ed. of the Manchester
Eraminer and Times, and author of The Book-
Lover's Enchiridion, who included among his
friends Carlyle, Leigh Hunt, and Emerson. The
family hails from Fifeshire. His mother belonged.
to a Cumberland family; so that he is of Nor-
thern descent on both sides. He was educated at
Leeds Grammar School, and entered the R.C.M.
London in 1893, where he stud. pf. for 4 years
soder Cliffe, and compn. for the 4 following years
ander Stanford, emerging from studentship in
1901. From that year to 1908, he was engaged.
in forming his style by means of a number of
compas, all of which he has since discarded as
being unrepresentative. It is, however, important.
to remember that the two well-known vn.
somatas had two predecessors, that The For
Alen Bide was a long way from being his 1st.
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IRISH FOLK-MUSIC
the setting of Masefield's Sea Fever (Augener).
He was elected Hon. Fellow of R.C.M. in 1924.
Orch.: Symph. Rhapsody (Augener, 1921); The
Forgotten Rite (id.). Chamber-music: Phantasy-trio,
pf. vn. cello (id.); trio No. II, in 1 movement (id.);
sonata No. I, vn. and pf. (id.); sonata No. II, in A
mi. vn. and pf. (W. Rogers). sonata, cello and pf.
1920); Rhapsody (W. Rogers); 5 preludes (id.);
Decorations: London Pieces: For Remembrance;
Amberley On Birthday
Morning (all Augener). Songs: Songs of a Wayfarer
(Boosey); Marigold, song-impression (W. Rogers);
The Land of Lost Content (6 songs from A Shropshire
Lad) (Augener); numerous songs publ. singly; part-
songs, etc.-E. E.
IRISH FOLK-MUSIC. See HUGHES, HERBERT;
PATTERSON, ANNIE; STANFORD, C. V.; WOOD,
CHARLES; also art. FOLK-SONG SOCIETIES.
ISAACS, Edward. Eng. pianist; b. Man-
chester, 14 July, 1881. Stud. at R. Manchester
Coll. of Music; then Berlin, Leipzig, Vienna;
appeared as soloist (under Richter) Manchester,
1905; has given over 60 "Midday Pf. Recitals "
in Manchester. Founder of Edward Isaacs
Chamber Concerts.
Pf. concerto (ms.; played under Richter; and Sir
Henry Wood); pf. trio (ms.); vn. sonata.-E.-H.
ISASI, Andrés. Span. compr. b. Bilbao, 1890.
Stud. compn. in Berlin under Humperdinck.
Lives
Bilbao. One of leading figures of modern
Span. school. Amongst his works, including pf.
sonatas, vn. and pf. sonatas, str. 4tets and Ger.
lieder, the following must be mentioned:
Zharufa, symph. poem (prize at International
Competition, Malmö, Sweden), 1914; Amor Dormido
Filarmónica, Madrid, 1919); Second Symphony (1st
perf. Orquesta Sinfónica, Madrid, 1918).-P. G. M.
ISTEL, Edgar. Ger. compr. and author; b.
Mayence, 23 Feb. 1880. Pupil of Fritz Vol-
bach; went to Munich, 1898, to finish his mus.
education under Thuille; at same time attended
Univ. Graduated Ph.D. 1900 (dissertation,
J. J. Rousseau as the Composer of "Pygmalion "
(I.M.G. Suppl. I, 1901). Removed to Berlin in
1913 as lecturer on music at Humboldt Acad.;
and in 1919 at Lessing High School. Has been
living in Madrid since 1920. Writings:
The German Christmas Play and its Rebirth
from the Spirit of Music (Langensalza, 1900) (Vol. I
of Rabich's Musikalisches Magazin); Richard Wagner
in the Light of a Contemporary's Correspondence (Esser
to Franz Schott, 1902): Peter Cornelius (1906, bio-
graphy); Origin of German Melodrama (1906); The
Comic Opera (historico-aesthetic study, 1906); The
Efflorescense of Musical Romanticism (1909; 1920);
The Libretto (1914); Richard Wagner's Art Work
(1910); Modern Opera since Wagner (Leipzig, 1914,
Teubner); Paganini (1919); Revolution and Opera
(1919); Book of the Opera (Hesse, 1919; 1920).
Also P. Cornelius' Collected Essays (1905); E, T. A.
Hoffmann's Musical Writings (1907, in Bücher der
1 Schönheit, also
1922, 2 vols.,
H.'s Musical Novels
Boeit und
burod and Com-
poser and Kreisleriana (1913); Dittersdorff's Auto-
biography (1909).
Songs; 4-part mixed choruses in canon form,
op. 12; Musical Comedy Overture, op. 17; 3
songs from Goethe with orch. op. 15; music to
Küssner's Magic Kettle (originally The Swineherd)
(Munich, 1908); Hymn to Zeus (chorus and orch.);
music to Goethe's Satyros (Munich,
adapta-
tion of Rousseau's
romantic comic opera, The Travelling Scholar (Carls-
ruhe, 1906); The Tribunal's Decree (Mayence, 1916);
romantic comio opera The Glamour of May and
Forbidden Love (Gora, 1919); romantio opera bur-
lesque, Alone at Last (Schwerin, 1920); musical
Pygmalion (910);"1904);
IVOGÜN
comedy, If Women Dream (Opéra Comique, Berlin,
1920); still in ms. romantic comic opera, Don
Toribio's Search for a a Wife.-A.. E.
ISTERDAEL, Charles van. Cellist; b. Bergen
(Belgium), 22 May, 1878. Stud. under Servais
and Jacobs; 1894, soloist at Fr. Opera, Brussels;
1903, went to Holland; soloist of Residentie
Orch. The Hague; teacher R. Cons. of Music.
Toured in France, Belgium, Germany, Spain;
1918, founded The Hague Str. Quartet (see
CHAMBER-MUSIC PLAYERS).-W. P.
ISTRATTY, E.
E. See RUMANIAN OPERA.
ITALIAN
FOLK-MUSIC. See ADAJEWSKI.
ELLA VON; ALALEONA, D.; FARA, G.; FAIR-
CHILD, BLAIR; FAVARA MISTRETTI, A.; ODDONE
SULLI-RAO, E.; SADERO, G.; SINIGAGLIA, L.
ITURBI, José. Span. pianist; b. Valencia, 1896.
Revealed himself as one of leading contem-
porary pianists at concerts of Colonne Orch.
under the condr. Pierné, and at Salle Gaveau,
Paris. He stud. at the Paris Cons., where he
obtained first prize. Former prof. of pf. at Geneva
Cons. Made his first appearance in England, with
unusual success, at Promenade Concerts, Q. H.
London, Sept. 1923. Lives in Paris.-P. G. M.
IVALDI, Filippo. Ital. pianist and compr.
b. of Ital. family in Alexandria, Egypt, 10
Dec. 1874; pupil of Giuseppe Martucci at Liceo
of Bologna. Having gained his diploma, he left
in 1908, but returned again in 1911 as prof. of pf.
Many concerts both in Italy and abroad.
Pr. pieces; songs (Ricordi); ed. pf. classics.-D. A.
IVANOF-BORETSKY, Michael Vladimirovitch
(accent 2nd sylls.). Russ. compr. and mus. his-
torian; b. Moscow, 14/26 June, 1874. Pupil
of Klenovsky (Moscow), A. Scontrino and
A. Falconi (Florence), and Rimsky-Korsakof
(Petrograd). Finished law course at Moscow
Univ. in 1896; stud. XVI and XVII century mus.
history in Ital. museums and libraries in 1901-2
and 1906. 1921, member and secretary of
scientific council of State Inst. of Mus. Science;
and, 1922, prof. of mus. history, Moscow Cons.
Operas: Aphrodite (after P. Louys); The Sorceress
(after Chirikof); str. 4tet, op. 16: str. trio, op. 2,
vn. sonata, op. 24; songs; choruses; pf. pieces.-V. B.
IVIMEY, John William. Eng. compr. and
orgt. b. Stratford, Essex, 12 Sept. 1868. Stud.
at Guildhall School of Music; mus. dir. S.W.
Polytechnic, 1896-1902; orgt. Dulwich Coll.
1906-10; L.C.C. lecturer on music, 1913; dir.
of music, Cheltenham Coll. 1915; Marlborough
Coll. 1915; Mus.Doc. Oxon. 1916.
Grand opera, The Rose of Lancaster; 20 light operas;
church and chamber-music, etc.-E.-H.
IVIMEY, Joseph. Eng. violinist and condr. b.
Stratford, Essex, 21 July, 1867. Stud. under
Alfred Gibson, 1882-92; prof. of vn. and condr.
at Guildhall School of Music and Trinity Coll.
London; condr. Strolling Players Amateur Orch.
Soc. and Great Western Railway Mus. Soc.-E.-H.
IVOGÜN, Maria. Hungarian coloratura singer;
b. Budapest, 1890. Pupil of Irene Schlemmer-
Ambros at Vienna Acad. from 16th year. Mem-
ber of Munich National Opera Company since
1913, also an important concert singer. Married
(1921) Karl Erb, the Munich t. singer.-A. E.
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JARECKI
then, others in Geneva, Paris and London have.
been opened. He is also one of most popular Swiss
composers and has written, besides his charming
and original songs, numerous compositions of
great value, interesting especially as regards
rhythm and melodic invention.
Festival Vaudois, chorus, soli and orch. (Lausanne,
Fetisch); Fete de Juin, chorus, soll and orch.
(id.); operas: Sancho (Paris, Jobert); Jumeaux
de Bergamo (Paris, Heugel); Bonhomme Jadis (id.);
Janie (Leipzig, Siegel); vn. concerto C ml. (Amster-
dam, Alsbach): 2nd vn. concerto (Simrock), played
under Sir Henry Way at Queen's Hall, London,
Wood: Kermesse, for orch. (Fotisch);
Poème alpestre, orch. (Geneva, Chouet & Gaden); str.
4tet (Paris, Enoch); numerous pieces for vn. and
pf. (Paris, Rouart; London, Augener); songs, partly
coll. in Chansons populaires romands (Foetisch) and
Chansons et Rondes pour enfants (id.).-F. II.
JARECKI, Henryk (phon. Yaretski). Compr.
condr. b. Warsaw, 1846; d. Lemberg, 1918.
Pupil of Stanislaw Moniuszko in Warsaw. Condr.
of opera in Lemberg, 1872; worked there till
1900. Composed and produced several operas:
Hedwiga; Barbara; Mindowe; The Father's
Return (after the ballad of Mickiewicz).
Many songs and choral works. An excellent orgt.,
his works are full of national feeling.-ZD. J.
JARECKI, Tadeusz. Polish composer; b.
Lemberg, 1889. Pupil of his father, Henryk J.;
then of Niewiadowski, Jaques-Dalcroze and
Tanéief in Moscow. Worked as teacher at Dal-
croze Inst. Moscow, 1912-13; went to America;
officer in Polish army in France (1918) and on
Polish-Russ. front (1919-20); went back to New
York and became naturalised Amer. citizen. Is
dir. of Chamber Ensemble of New York (Louise
Llewellyn-Jarecka and the Del Pulgar Trio).
Publ. songs with trio acc.; pf. sonata, op. 19;
3 str. 4tets, op. 12, 16, 21 (op. 16 received 1st
prize at Berkshire Fest. U.S.A. 1918, and from
Polish Acad. of Science, Cracow, 1923; publ.
by Soc. for Publication of Amer. Music); 3 trios,
op. 11, 22, 23; orch. preludes and sketches, op.
14, 26. J. belongs to the advanced school of
composers and makes free use (3 poems, op. 24)
of polytony and polyrhythm.-ZD. J.
JARNACH, Philipp. Compr. b. Noisy, France,
26 July, 1892, son of the Catalonian sculptor,
E. Jarnach. Educated at Nice and from 1907
received mus. training under Risler (pf.) and
Lavignac (harmony) in Paris; but mostly self-
taught. Lived in Switzerland from 1914. Teacher
Zurich Cons. 1918-21, since then in Berlin.
JEHIN
of the creators of Finnish national music, J. in
his works shows a smooth and skilful technique
and a lyrical character of Northern colouring."
Orch. symph. poem, Korsholm (1894, Breitkopf);
Heimatklang, symph. fantasy (1895); 2 suites; 2
overtures (Lyric and Fest.); Serenade; Präludium to
drama Det forlovade landet (The Promised Land);
Chorus and orch.: Laulu Vuoksella; Suomen synty:
Abo slott (Abo's Castle); Betlehems stjärna (Star of
Bethlehem); male choruses; songs; pf. pieces. T. II.
JÄRNEFELT, Liva (née Edstrom). Swedish
operatic singer (m.-sopr.); b. Vänersborg, 18
March, 1876. Stud. singing at R. Cons. Stock-
holm from 1894 (under J. Günther); then under
Köster and Gillis Bratt; début 1897-8, R. Opera,
Stockholm; then regularly engaged there.
Amongst her parts are Carmen, Azucena (Trova-
tore), Lola (Cavalleria), Venus, Ortrud, Mag-
dalena (Mastersingers), Brangäne, Erda, Fricka,
Isolde. Married Årmas Järnefelt, 1910.-P. V.
JÄRNEFELT-PALMGREN, Maikki. Finnish
operatic and concert-singer; Joensuu, 26
Aug. 1871. Stud. in Helsingfors, Paris and
Berlin; later in Italy. Since 1895, engagements
in opera in Breslau, Berlin (New R. Opera
House), Magdeburg and Düsseldorf. Opera
tours, Bremen, Vienna, Copenhagen and Stock-
holm, chiefly in Wagner rôles; 1899, in
Bayreuth. Later, concert-tours in Finland and
European music-centres. Took part in opera
perf. in conjunction with Armas Järnefelt at
Helsingfors; 1906, R. Opera, Turin; later at
Opera, Rimini. Married (1893) Armas Järnefelt,
(1910) Selim Palmgren (q.v.). Now living (1923)
with her husband in United States.-T. H.
JAVANESE MUSIC. See BRANDTS-BUYS,
JOHAN SEBASTIAN.
JAZZ MUSIC. A special kind of nigger dance
music of American origin, which lays great stress
on distorted rhythms. It is dance music with
an exaggerated syncopation.-E.-H.
JEAN-AUBRY, G. Fr. writer on music; b.
Havre in 1885. Writes works on contemporary
music: La Musique française d'aujourd'hui
(1915), Eng. transl. by E. Evans (Kegan
Paul, 1919); La Musique et les Nations (1922),
Eng. transl. Rosa Newmarch (Chester, 1923).
Has lectured in Scandinavia. Present editor of
the Chesterian (London). Some of his verses
I have been to music.-A.
JEHIN, Léon. Belgian condr. b. Spa, 17
July, 1853. Son of Antoine Jehin, dir. of Ecole
de Musique at Spa. Stud. vn. and compn. at
Liège and Brussels Cons.; assistant-prof. of
harmony, then prof. of orch. class at Brussels
Cons. Leader of orch. at La Monnaie Theatre,
1882-4; held same position to Soc. of Artistes
Musiciens; 1888, leader of orch. at Opéra,
Paris; at Casino, Royan (1889-93); at Covent
Garden, London (1891-2); at Aix-les-Bains
(1894-1911). Has cond. the theatre orch. at
Monte Carlo since 1914. Is naturalised French-
man. Married singer Mlle. Deschamps (b. Lyons,
1857; d. 1923; pupil at Lyons Cons.; sang
regularly at La Monnaie, Brussels; Opéra and
Opéra-Comique, Paris).
Lison, ballet: Marche jubilaire; Scherzetto sym-
phonique, etc.-E. C.
Songs; pf. plecos; ballad and sonata for pf, and
vn.; sonata for vn. alone (Munich, F. Zierfuss); fl.
sonata, op. 12; str. 4tet. In ms.: str. 4tet, op. 16;
sonatina for cello and pf.: Winter Scenes; Prologue
to a Tournament; Prelude to Prometheus; Sinfonia
brevis in 1 movement, orch. op. 14; Sinfonietta,
orch. op. 18: Prelude, Prayer and Sacred Dance
to Wandbild (orch, and female chorus).-A. E.
JÄRNEFELT, Edvard Armas. Finnish compr.
condr. b. Viipuri (Viborg), 14 Aug. 1869. Stud.
in Helsingfors (compn. Wegelius); Berlin (pf.
Busoni and Alb. Becker), and Paris (Massenet).
Korrepetitor, Stadttheater, Magdeburg, 1896;
Düsseldorf, 1897; and orch. condr. Viipuri,
1898-1903. Cond. Helsingfors Opera, 1904. Dir.
of Helsingfors Music Inst. 1906-7. Since 1907,
condr. of R. Opera, Stockholm; 1911, Hofkapell-
mästare, Stockholm, where he now lives. One
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JELMOLI
JELMOLI, Hans. Swiss pianist, compr. b.
Zurich, 17 Jan. 1877. Stud. at Cons. in Frank-
fort, under Ivan Knorr, B. Scholz and E. Hum-
perdinck (compn.) and E. Engesser (pf.). Became
opera-condr. at Mayence and Würzburg. Now
lives in Zurich, where he teaches compn. and is
known an excellent pianist. His works, in
the Brahms style, show a great depth of ex-
pression; he rose to fame especially with his
Swiss folk-songs Canti Ticinesi, for solo v. or
for unacc. chorus; mus. critic of Zürcher Post
and Schweizer Musikzeitung.
Marignano (C. Wiegales: Die Badenerfahrt; Das
Operas: Sein Vermächtnis, lyrical comedy: Prinz
Goldhaar
Die
Schweizer (Konrad Falke); Incidental muslo to
and to Am Lebensquell
(Bühler); mus.
Gespenst auf dem Petersturm (Aarau, Sauerländer);
cantata, Aus des Knaben Wunderhorn, for t., chorus
and orch.; pf. picces, unacc. choruses (Leipzig, Hug;
Geneva, Henn) and songs (Hug; Hüni, Zurich).
Has written Studien und Landschaften (Zurich,
(Schulthess).-. t blography by Franz Curti
JEMNITZ, Alexander. Hungarian compr. b.
Budapest, 9 Aug. 1890. Stud. at R. High School
for Music, Budapest (under H. Koessler) and
then in Leipzig (under Reger and Straube).
Korrepetitor at Bremen Opera; condr. Czerno-
witz Municipal Theatre; then lived in Berlin,
and now Budapest.
Prelude, passacaglia and fugue for organ, op. 1:
songs, op. 2, 6, 15; pf. Bagatelles, op. 5; pf. sonata,
op. 8; 2 sonatas, vn. and pf. op. 10: sonata, vn.
op. 18;
and orch, songsta, cello and pf. op. 17: chamber
an
organ 4tet; str. 4tet; str. trio; a fl. and an ob. trio;
orch. works (Wunderhorn Verlag).-B. B.
JENSEN, Adolf. Ger. compr. b. Königsberg
Prussia), 12 Jan. 1837; d. Baden-Baden, 23 Jan.
1879. Mainly self-taught; had only 2 years'
instruction from Ehlert, Marpurg and Liszt.
Music-teacher in Russia, 1856; condr. Stadttheater
Posen, 1857; went to Gade, Copenhagen, 1858,
returning to Königsberg, 1860; teacher at Tau-
sig's School for advanced pf. playing in Berlin,
1866. To Dresden in 1868; then Graz (1870);
spent last years of his life in Baden-Baden. A
sensitive compr. of songs and pf. pieces with a
somewhat feminine strain.
6 songs, op. 1; 7 songs, op. 11; Dolorosa (Chamisso's
Thränen), op. 30; Gaudeamus (12 songs by Scheffel),
op. 40; 2 books of songs from the Spanish Song Book
of Geibel and Hoyse (op. 4 and 21); Romances and
Ballads (Hamerling), op. 41, eto.; choral pieces, op.
28, 29; 2 choral pieces with 2 horns and harp (or pf.),
op. 10; pt. plecos: Inward Voices (op. 2); Roving
Sketches (op. 17); idylls (op. 43); Erotikon (op. 44);
Wedding-Music (op. 45, pf. duet); sonata, Fsharp
ml. (op. 25); German Suite (op. 8); studies (op. 32);
phantasies, dances, romances, nocturnes, etc.
Larger works: Jephtha's Daughter for soll, chorus,
and orch., and The Disciples' Journey to Emmaus,
(arr. by
chorus and onsult Niggll, A.
W. Kienzl).
and same author's blography of J. in
some of J.'s letters (1879).-A. E.
an opera, TZurich, 1895),
Celebrated Musicians (1900). P. Kuczinemann's
publ.
JEREMIÁŠ, Bohuslav. Czechoslovak compr.
b. Řestoky, 1859; d. Budějovice, 1918. Attended
Organ School; from 1887-1906, choirmaster;
later, condr. of choral society Gregora and dir.
of music-school in Písek. Dir. of music-school.
in Budějovice from 1906 to his death.
choral compositions (Urbánek).-V. ST.
JEREMIÁŠ, Jaroslav. Czechoslovak compr.
Chiefly
S
JINDŘICH
b. Písek (Bohemia), 1889; d. Budějovice
(Bohemia), 1919. Son of Bohuslav J. Stud. at
Prague Cons. (Stecker); later under Vit.
Novák. Condr. Lublanjá (Jugoslavia);
teacher at Budějovice and Prague; likewise
active as pianist. His fragmentary work is
proof of a great inventive talent and high
artistic conception. His style is based on the
Smetana tradition, and is hardly touched by
the new tendencies.
Symph. idyll, Letni den (A Summer Day); Jarni
romance (4 Spring Romance); sonata for vla.; opera,
Starý král (The Old King); mystery-play, Rimoni; a
number of songs, some with orch.; oratorio, Jan
Hus. (Publ. Hudební Matice.)-V. ST.
JEREMIÁŠ, Otakar. Czech compr. (son of
Bohuslav J.); b. Písek, 1892. Pupil of Prague
Cons, and of Vít. Novák. Dir. of Music School
at Budějovice. His music has a natural fresh-
ness, serious thought and a deliberate avoidance
of modern tendencies, going back to tradition
of Smetana.
2 symphonies; Spring, overture; Phantasy, orch.
and chorus; pf. 4tet: str. 5tet; song-cycle, Love, with
orch.; male chorus, The Wolf's Track (all Czech:
ms.). V. ST.
JERITZA, Marie. Austrian opera-singer; b.
Brünn. Roused public attention at Vienna
Volksoper by her uncommon singing; since
1913 at Hofoper; 1921, in America. Her s. voice
of high dramatic powers and great beauty, sup-
ported by recklessly passionate acting, best fits
the "adventuresses" amongst the female opera
characters: Carmen, Tosca, Violanta, the Dancer
(in Die tote Stadt). She is also a brilliant per-
former of Santuzza, Elsa (Lohengrin), Ariadne.
Autobiography, Sunlight and Song (Appleton, 1924).
Consult Wymetal, M. J., in coll. Die Wiedergabe,
Vienna, 1922.-P. ST.
JERVIS-READ, Harold Vincent. Eng. compr.
b. Powyke, Worcs, 14 March, 1883.
Prelude, Variations and Coda, vn. cello, orch.
(ms.); The Hound of Heaven, t.
t. boys' vs. chorus,
orch. organ (Weekes, 1923); Dream Trust, chorus
and: To the Daughter of Earth (id.); High Tide,
orch. (rev. ed. 1922, Ashdown); That
(id.);
and
contr. solo, chorus and orch. (Rogers); pt. pieces
songs (Elkin; Murdoch; Rogers; Weekes).-E.-H.
JILAIEF, Nicolas Sergevitch (accent on the A).
Russ, writer on music; b. 18 Nov (n.s.), 1881.
Pupil of S. I. Tanéief and Ippolitof-Ivanof at
Moscow Cons. (1904). Teacher of comprs. of
younger generation-Stanchinsky, Alexandrof,
Feinberg. Member of Russ. Acad. of Art-
Sciences and of State Inst. of Mus. Science. Has
written many essays.-V. B.
JIMÉNEZ, Jerónimo. Span. compr. b. Cadiz;
d. Madrid, 1923. Stud. comp. at Paris Cons.
Afterwards condr. for a time of Sociedad de
Conciertos (now Orquesta Filarmónica), Madrid.
His production consisted chiefly of mus. come-
dies, of which he wrote a great number. Frag-
ments from them are sometimes played at symph.
concerts, with unfailing success, owing to their
popularity. The most characteristic works of
the compr.'s graceful style are El Baile de Luis
Alonso and its sequel La Boda de Luis Alonso,
-P. G. M.
JINDŘICH, Jindřich. Czechoslovak compr.
b. Klenč, 1876. Compn. pupil of Vit. Novák;
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JIRÁK
is a schoolmaster in Domažlice (Bohemia).
Mostly vocal compn. under influence of Vit.
Novák, with a touch of sentimentality.
Song-cycles: Love Dreams, Spring, In Memoriam
Heyduk's
many choruses (Fr. A. Urbánck:Sora's Songs:
Mojmir
JOHNSTONE
Halir], Wirth, Hausmann). For many years
J. was the attraction of every London Season,
not only at the Crystal Palace Concerts but
also at those of the Philh. Soc. and at the
Saturday and Monday Popular Concerts.
3 vn. concertos: op. 3, G mi. (Breitkopf), op.
11, In the Hungarian Style (id.), and G ma. (1889,
Bote & Book); Variations for vn. and orch.;
Andantino and Allegro with orch. op. 1; 6 pieces
with pf., op. 2 and 5; Notturno for vn. and orch.
for vla. and
Variations on orig. theme for same, op. 10; overtures:
Hamlet, Demetrius, To the Memory of Kleist, to a
Comedy of Gozzi; 2 orch. marches; The Marfa Scene
(Schiller's Demetrius) for contr. solo and orch. A.
Moser publ. J.'s correspondence with Brahms (1908,
Deutsche Brahmsgesellschaft), and, in collab. with
Johannes Joachim, Letters to and from J. (3 vols.
Berlin, 1911-13, Bard Marquardt). Consult: Andreas
Moser, J. J. (1898, enlarged to 2 vols. 1907-10, also
in by L. Durham,
On J. Plaschke,
(1906);
Amalie J. (1889); Fuller-Maltland, Olga
L. Brieger-Wasservogel, Short Memoir of J. J. (1907);
A. Kohut, J. J. (1891).-A. E.
JIRÁK, K. Boleslav. Czechoslovak compr.
b. Prague, 1891. Stud. compn. at Univ. under
Novák and J. B. Foerster; 1915-8, condr. at
Hamburg Opera; later, in Brno and Ostrava
(Moravia); 1920-1, condr. of Hlahol Choir,
Prague, with which he made a successful tour
in Jugoslavia. From 1920, prof. of compn. at
Prague Cons. Occasional guest-condr. of Czech
Philh. Orch. The development of his work
began with a conscious traditionalism. His
music is characterised by a well-sounding poly.
phony, is closely built, occasionally rather bitter
in feeling, but more often strong, energetic. By
the extent and value of his best works he ranks
as one of the most important of the younger
generation.
Opera Apollonius of Tyana; 2 symphonies; overture
and orch.:
chorus
str. 6tet; str. 4tet; sonatas for cello
and vn.; 2 pf. suites and other pf. pieces. Song-
stesti (Short-lived flappiditace (Meditations): Mjivé
domiona
(3 Songs of Home); Veter a duše (Evening and the
Soul). V. ST.
JIRANEK, Josef. Czech pianist; b. Ledeč,
1855. Pupil of Smetana, 1866-73, and at
Prague Organ School; pf. prof. at Charkof
(Russia), 1877-91; since then prof. at Prague.
Conservatoire.
Instructive Double Scales: School of Chord-playing;
Ballade,
New Scale Manual; studies, etc. Publ.: Univ. Ed.,
Vienna; Bosworth, London.-V. ST.
JOHANNESSEN, Karl. Norwegian violinist;
b. Sarpsborg, 11 April, 1869; d. Ledbury
(Wores.), 5 Dec. 1904. When only 11, was
engaged as violinist at Opera House, Stockholm;
later made successful concert-tours in Germany
and Scandinavia; condr. of concerts in Bergen.
On Joachim's recommendation, appointed prof.
at Cons. in Leicester, England, where he won
for himself a distinguished position, amongst
other things, as leader of a str. quartet.-J. A.
JOHANSEN, David Monrad. Norwegian
compr. b. Vefsen, Nordland, 8 Nov. 1888. Pupil
of Karl Nissen (pf.), and of Catharinus Elling
(harmony); continued his studies at High School
in Berlin (Robert Kahn and E. Humperdinck).
First independent concert as pianist, 30 Jan.
1910; 15 Feb. 1915, concert of his own compns.
Concert-tours in Norway; took part in Northern
Mus. Fest. at Helsingfors in 1921. Ed. of Norsk
Musikerblad, 1918-19; critic on Norske Intel.
ligentsedler, 1916-18. J. is one of most talented
of younger Norwegian comprs.; has thoroughly
stud. not only classical music but also the various
phases of modern music. He aims at devel-
oping the typically national music on basis of
modern harmony, rhythm and treatment of
melody. His imaginative adaptation of Nor-
wegian folk-melody in his lyric works gives
them a charming poetic freshness and wealth
of colour.
JOACHIM, Joseph. Hungarian violinist and
compr. b. Kittsec, near Pressburg, 28 June, 1831;
d. Berlin, 15 Aug. 1907. Pupil of Serwaczinski, of
I. Böhm, 1838; Vienna Cons, and in Leipzig
from 1843. Appeared in London (on recom-
mendation of Mendelssohn) 1844, as he did
1847-9, and often afterwards. In 1849 he took
up the position of Konzertmeister at Weimar and
was long an intimate of the Liszt circle. In 1853
he gave up this position to take over that of
R. Konzertmeister in Hanover (1859, concert
dir.). There he married in 1863 the contr. con-
cert-singer Amalie Weiss (real name Schnee-
weiss; b. Marburg, Styria, 10 May, 1839; d.
Berlin. 3 Feb. 1898. Divorced 1884; later
teacher of singing at Klindworth-Scharwenka
Cons.). Soon after 1866 moved to Berlin,
where J. was placed in charge of the newly
formed High School for Music in 1868, an in-
stitution which grew to ever greater dimensions
from year to year. The organisation of this
institute was altered later and J. became
chairman of the board of directors and head of
orch. instr. department. Appointed R. prof. and
condr., member of the senate of the R. Acad. of
Arts, of which he became later on the vice-presi-
dent. He was a Dr. h.c. of the Univs. of Cam-
bridge, Glasgow, Oxford and Göttingen. After-
wards only came into public notice as leader of
his celebrated quartet (de Ahna [Kruse, 1897
JOHNSTONE, J. Alfred. British writer on
music; b. Co. Cork, Ireland, 1861. Educated
Dublin Univ.; went to Australia in 1882;
settled in Melbourne as pf. teacher; author of
a series of educational works on music.
The Art of Expression in Pf. Playing (Weekes);
258
Sonata, vn. and pf.; 13 songs (some of them to
words from old Norwegian folk-poems); 17 pf. pieces
(Suite No. I, Two Portraits from the Middle Ages,
8;
(Copenhagen No. 11, From Gudbrandsdalen, etc.)
Hansen); Draumkvædet (The Dream-
Song), for male chorus; Suite for orch.; adaptation
of Fr. troubadour-songs with harp and fl. acc.-J. A.
JOHNSON, Basil. Eng. orgt. b. Oxford, 5
April, 1861. Acad. clerkship in Magdalen choir,
Oxford; stud. R.C.M. London, under Sir Walter
Parratt (organ), Sir Charles Stanford (compn.);
mus. dir. Rugby School, 1886-1914; precentor
and orgt. Eton Coll. from 1914.-E.-H.
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JONAS
Rubato, or the Secret of Mus. Expression (Ashdown);
Hints on the Interpretation of Beethoven's Pf. Sonatas
(Allan, Melbourne); The Metronome and Bach
Pf. Playing (W.
Reeves); Phrasing in
Pf. Playing (Ashdown) Ho
to use the Pedal (id.); Muscular Relaxation, Weight
Touch, and Rotary Movement (Allan, Melbourne);
The Beginner's Harmony (J. Williams): Octave and
Wrist Technique (Ashdown); etc.-E.-II.
JONAS, Alberto. Amer. pianist; b. Madrid, 8
June, 1868. Stud. under Olave and Mendizabel
and at Madrid Cons. ; under Gevaert and De Greef
at Brussels Cons., winning 1st prize in pf.-play-
ing in 1888; and under Rubinstein in Petrograd
in 1890. Début in Brussels, 1880, and toured
extensively in Europe, England, U.S.A., Canada,
and Central America. 1894-8, head of pf. de-
partment at music-school of Univ. of Michigan;
1898-1904, dir. of Michigan Cons. of Music,
Detroit, Mich. Thereafter for 10 years a suc-
cessful teacher in Berlin. Since 1914, teacher
in New York.
Pf. pieces (Schirmer; Ditson; Wazaer & Levien,
Mexico
Book (Presser, 1918);
Master Sch); Pern Piano-Playing and Virtuosity
(Fischer, 1922); a transl. of Gevaert's Treatise on
Instrumentation into Spanish (1903).-J. M.
JONES, Dilys. Operatic and oratorio singer
of Welsh parentage. Début in Elijah, Royal
Choral Soc. London, 1908; in grand opera,
Covent Garden, 1911 (minor rôles in Ring); and
leading
eared in King Henry IV
(His Majesty's Theatre) 1914. Specialises in
Bach's works (St. Matthew Passion, Westminster
Abbey, 1913, etc).-E.-H.
JONES, Evlyn Howard. Eng. pianist; b. Lon-
don, 1877. Stud. R.C.M. and later in Germany
under Jedliczka and d'Albert; chiefly known
as a Brahms and Bach player. Took a leading
part in establishing the Federation of Music
Clubs in London. Prof. pf. R.C.M.-E.-H.
JONES, Sidney. Eng. compr. and condr. b.
Leeds, 1869. Comp. chiefly light operas and
burlesques; cond. at various theatres (Gaiety,
Empire, Prince of Wales's, Whitney, etc.).
A Gaiety Girl; The Geisha; My Lady Molly;
Persian Princess.-E.-II.
JONGEN, Joseph. Belgian composer; b.
Liège, 14 December, 1873. Studied at Liège
Conservatoire. As early as 1893, the Royal
Academy of Belgium awarded him a prize of
1000 francs for his first attempt at chamber-
music, string quartet. He competed twice
for Prix de Rome; won the first prize in 1897
for his cantata Comala. About the same time
he received a further prize from the Academy
of Belgium for a piano trio. Assistant-prof. of
counterpoint class, Liège Cons. 1891-8. After
obtaining his Prix de Rome, he travelled in
Germany, France and Italy. During this time
he composed his symphony and his quartet
for piano and strings, performed for the first
time at the Société Nationale, in Paris, 1903.
Having returned to his own country, he was
promoted to the rank of professor of harmony
at Liège Conservatoire. On the invasion of
Belgium by the Germans, he and his family
sought refuge in England, where he remained
for the duration of the war (1914-18). Returning
to Belgium in January 1919, he was appointed
JONSON
teacher of counterpoint and fugue at Brussels
Conservatoire (Oct. 1920).
With Guillaume Lekeu and Victor Vreuls,
Jongen represents, in most characteristic and
brilliant fashion, the generation of Belgian
artists born about 1870 and nourished on the
ideas of César Franck. From the time of his
first works, more especially the pianoforte.
quartet, he showed himself a thorough musician,
in whom an admirable technique is coupled
with sensibility as delicate as generous. All
his subsequent evolution tends in the direction
of a growing refinement. He is, indeed, in-
fluenced by the innovations of Debussy, more
especially as regards orchestration, whose
lightness and transparency he accepts with
whole-hearted joy; but he never falls into
that servile imitation, which transforms the
most spontaneous intuitions into "mannerisms."
Even when he yields himself to impressionism,
he never loses sight of the exigencies of musical
construction nor forgets that he is always a
fervent disciple of chamber-music. From the
purely expressive point of view, he soars, in
most of his work (especially in slow movements),
in an atmosphere of nostalgic reverie or cheerful
well-being, in full accord with his own char-
acter and with the idealism of his native soil.
Orch.: Symphony (Concerts Ysaye, Brussels,
1900); Fantaisie sur deux Noels wallons, op. 21
(Durand); Lallah-Rookh, op. 28 (Chester); Impres-
sions d'Ardenne, op. 44 (Chester); Pages intimes.
op. 56
(Chester). Chamber-musio: 1st str. 4tet, C mi.
pf. trio: pf. 4tet, op. 23 (Durand);
(Eulenonata, on. 27 (Schott); trio, pf. vn. and vla.
1st vn.
op. 30 (Durand); 2nd vn. sonata, op. 34 (Durand);
cello sonata, op. 39 (Durand); 2nd str. 4tet, A.
op. 50 (Chester); 2 serenades, str. 4tet, op. 61 (id.);
3rd str. 4tet (ms.); cello concerto, op. 18 (Durand);
1st Poème, cello and orch.; 2nd Poème, cello and
orch. op. 46 (Chester). Pf. pieces: Le Crépuscule au
lac Ogwen, op. 5
p. 52 (Chester); Suite en n forme de Sonate,
op. 60 (id.); a dozen songs (Brussels, Art Belge).-
C. V. B.
JONGEN, Léon. Belgian compr. b. Liège,
2 March, 1884. Younger brother of Joseph
(q.v.) from whom he received his first lessons in
music. Stud. at Liège Cons.; 2nd Prix de Rome,
1907, for cantata, Geneviève de Brabant; again
2nd prize, 1909, for La Légende de St. Hubert.
Finally, after a period of waiting, during which
he settled in Paris, gained 1st prize, 1913, for
Les Fiancés de Noël. During the war (1914-18),
served in Belgian army. Since then has devoted
himself preferably to dramatic composition. In
contrast to his brother Joseph, Léon has an
essentially dramatic temperament. His cantatas
for Prix de Rome already showed a nature fitted
for movement, colour, and active emotion. His
supreme mastery and high inspiration entitle
him to be ranked among the best Belgian
composers.
L'Ardennaise, 2-act opera; Le Rêve d'une Nuit de
Noël, a musical adaptation of war-drama by J. Fonson.
(Théâtre des Champs-Élysées, Paris, March 1918);
Thomas l'Agnelet, 4-act opera Claude Farrère);
many pf. pieces, songs, str. 4th B.
JONSON, George C. Ashton. Eng. lecturer on
mus. appreciation; b. London, 22 July, 1861.
For 30 years, a member of London Stock Ex-
change; first appeared as lecturer in 1893, and
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JONSSON
has since lectured in Gt. Britain and America.
Author of handbook on Chopin's works (Heine-
mann, 1895).-E.-H.
JONSSON, Josef Petrus. Swedish compr. b.
Enköping, 21 June, 1887. Self-taught; lives in
Norrköping as teacher and music critic.
Orch. Suite, op. 9 (1914-15); concert overture,
op. 12 (1916-17); symphony, Nordland, op. 23
(1919-22);
poem, Korallrevet, barit. chorus
and
· Stockholm, 1918; publ. Musik.
Konstföreningen). Cantata, male vs. and organ
(1919); Ballade, barit. and orch. (1919); cantata
(1920); The Dream and Life, barit. and oroh. (1921);
pf. 5tet: songs; pf. pieces.-P. V.
JORDAN, Albert D. Canadian orgt. and
condr. b. Seaforth, Ontario, 28 July, 1877. Stud.
under Dr. F. H. Torrington in Toronto. 1896-
1903, orgt. Brant Avenue Methodist Ch. Brant-
ford, Ontario. In 1903, went to live in London,
Ontario, where he now resides. Is condr. of Mus.
Art Soc. Choir and Orch.; founded London
Inst. of Mus. Art (sce ACADEMIES); also condr.
of Schubert Choir, Brantford, Ontario.-L. S.
JORDAN, Arthur. Eng. t. singer; b. Dudley,
Wores, 6 July, 1886. At first, a barit. singer;
stud. under Rutland Boughton. One of the
founders of Glastonbury School (q.v.); first
appeared there; stud. Wagnerian t. rôles under
Hermann Grünebaum. Sang Siegfried at Covent
Garden (B.N.O.C. 1922); in Mastersingers, 1922-
1923, and Twilight of the Gods, 1923.-E.-H.
JORDAN, E. B. R. Australian orgt.: b.
Brisbane, 1885. From 1897-1917 orgt. of St.
Paul's, East Brisbane: then of City Tabernacle,
and Ann St. Presbyterian Ch.: 1911, condr. of
Brisbane Operatic Soc.: 1913, condr. of Austral
Choir: 1913, accompanied John McCormack on
his Australian tour.-G. Y.
JORDAN, Jan. Pseudonym of Jan Droz-
dowzki (g.v.).
JUARRANZ LÓPEZ
his debut in Berlin, 21 Nov. 1871, with Chopin's
E mi. and Liszt's E flat concertos, he was hailed
as Tausig's successor. First appearance in
America, playing the same concertos with an
orch. under Leopold Damrosch in Chickering
Hall, New York, 13 Oct. 1879. Settled in
New York as concert-pianist and teacher. His
astounding technique and broad catholicity of
taste brought him an unusually large number
of engagements. Made a speciality of Chopin,
but was also one of 1st exponents of Brahms
in America. Had almost completed an ed. of
Chopin's pf. works for publ. house of Schirmer
when he died. As a teacher also, J. was in great
demand. From 1888 to 1906 was prof. of pf. at
National Cons. in New York. He exercised a
far-reaching influence on the present genera-
tion of American pianists.
School of Advanced Piano Playing (Schirmer, 1902;
Ger. transl. publ. Hofmeister). Many early pf.
pleces. Besides his Chopin, he ed. pf. studies by
Czerny, Henselt, Moscheles, Schumann, etc. Consult
Edwin Hughes, Rafael Joseffu's Contribution to Piano
Technic, in The Musical Quarterly, July, 1916.-O. K.
JORDAN, Sverre. Norwegian compr. pianist;
b. Bergen, 25 May, 1889. Stud. 1907-14 in Berlin
under W. Klatte, da Motta, Govtatowski and
Conrad Ansorge. Lives in Bergen. Choral condr.
for mus. soc. Harmonien; mus. critic on journal
Morgenavisen. His works include pf. pieces;
vn. pieces; vn. sonata; orch. suite Norwegiana;
melodrama, Feberdigte (Fever Poems), to poem-
cycle by Knut Hamsun; incidental music to
Björnson's play Halte-Hulda; 60 songs. These
latter have attained a wide circulation in Scandi-
navia, to some extent also in Germany, where
his orch. suite has been perf. with success in
Berlin and other cities. Besides Bergen and
Christiania, Feberdigte has been produced in
Finland, with declamation by compr.'s wife, the
talented actress Magda Blanc. J. combines a
bright and pure vein of melody with richly
coloured instrumentation. The influence of
Grieg is evident, but he reveals a quite individual
inspiration.-R. M.
JOSEFFY, Rafael. Amer. pianist; b. Hunfalu,
Hungary, 3 July, 1852; d. New York, 25 June,
1915. Son of a Jewish rabbi; pupil of Brauer at
Budapest, of Wenzel and Moscheles at Leipzig
Cons. (1866-8), of Karl Tausig in Berlin (1868-
1870), and in 1870-1 of Liszt in Weimar. After
JOTEYKO, Tadeusz. Polish compr. b. in
Ukraine, 1872. Stud. under Noskowski in War-
saw and Gevaert in Brussels. In 1895, publ. his
1st symphony (played in Berlin and Warsaw).
Now lives in Warsaw.
Sigismunale (The Phantom): couverture;
Operas: Grajek (The Player), perf. Warsaw, 1919;
Augustus and Fishermen, unperf.; can-
tata,
str. 4tet; pf. pieces. Has also written
works.-ZD. J.
theoretical
JOUHI-KANTELE. See KANTELE.
JOURET, Léon. Belgian compr. b. Ath,
17 Oct. 1828; d. Brussels, 6 June, 1905. Brother
of Théodore Jouret. Started as chorister and
orgt. in native town. Entered Brussels Cons.
1840, making a name compr. of songs,
male choruses, church music, and 2 comic.
operas, Quentin Metsys and Le Tricorne En-
chanté (Magic Three-cornered Hat), Brussels,
1865, 1868; 1873, prof. of part-singing at
Brussels Cons. Ed. a coll. Chants populaires
du pays d'Ath, the authenticity of which appears
doubtful.-E.
JOURET, Théodore. Belgian compr. mus.
critic; b. Ath, 11 Sept. 1821; d. Bad Kissingen,
16 July, 1887. Prof. of chemistry, Brussels
Military School. Comp. songs, male choruses,
and a comic opera, Le Médecin turc (1845),
collaborating with Meynne, then turned to
mus. criticism (Guide Musical, Revue Trime-
strielle.)-E. C.
JOURNALS, Musical. See PERIODICALS.
JUARRANZ LÓPEZ, Eduardo. Span. compr.
b. Madrid, 1844; d. 1897. Stud. compn. under
Arrieta at R. Cons. de Música, Madrid. Music
dir. of 3rd Regiment of R. Engineers from 1876-
1896, when he was appointed, after competition,
condr. of Banda del Real Cuerpo de Alabarderos
(see ALABARDEROS). Under his dir., the R.
Engineer's band won the 1st prize at interna-
tional competition in Paris, against some of
most famous military bands in Europe. As a
compr. he produced some religious music; but
is best known, both in Spain and abroad, for his
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JUHÁSZ
numerous works for military band, and as the
creator of the typical Span. marches, based on
melodies of Andalusian character, called paso-
dobles. Of these La Giralda, popular all over the
world, stands as model. (Unión Musical Espa-
ñola, Madrid.)-P. G. M.
JUHÁSZ, Aladár. Hungarian pianist; b.
Budapest. 1856; d. there in 1918. Pupil of
Liszt.-B. B.
JULLIEN, Adolphe. Fr. musicologist; b.
Paris, 1 June, 1845. Representative of old school
of mus. criticism, author of vivid and picturesque
works on the music of the XVIII century. One of
his chief merits is his recognition of Berlioz and
Wagner and his having prepared the way for
them. Among his innumerable works one may
cite: Hector Berlioz (1882); Richard Wagner, sa
vie et ses œuvres (1886); Musiciens d'aujourd'hui,
2 vols. (1891-4); Weber à Paris en 1826; La
musique et les philosophes du XVIIIe siècle
(1873); L'Opéra secret au XVIIIe siècle (1880);
Paris dilettante au commencement du siècle (1884).
Critic of Journal des Débats.-A. C.
JÜNGST, Hugo R. Ger. compr. b. Dresden, 26
Feb. 1853. Stud. Dresden Cons. (Rietz), 1871-7.
Founded Dresden Men's Choral Soc., which he
cond. till 1904. Also cond. Julius-Otto-Bund
from 1878. Dir. Erato Academical Choral Soc.,
1895; mus. dir. and prof.; condr. Ger. choral
soc. festivals, Dresden 1895, Weimar 1906, and
others.
Choral works, male and mixed choirs; choral
cycles; pf. and orch. works. Ed. of a coll. of national
songs of foreign countries arr. for chorus (op. 87,
about 80 numbers).-A. E.
261
JÜRGENS
JUON, Paul. Russ. compr. b. Moscow, 8 March,
1872. Stud. vn. playing under Johann Hrimaly
and compn. under Tanéief and Arensky in Mos-
cow, 1894 under Bargiel in Berlin. Theory
instructor Baku Cons. (on Caspian Sea); returned
to Berlin 1897, and has since lived there as
teacher of compn. at R. High School of Music
since 1906. Member of Berlin Acad. since March
1919.
3 str. 4tets (op. 5, D; op. 29, A mi.; op. 67,
C); vn. sonatas (op. 7, A: op. 69, F); vla.
sonata, op. 15, D; cello sonata, op. 54, A, mi.;
pf. trios (op. 17, A mi.; op. 60, G): Trio Caprice, A
ini. op. 39; Lisanice, pf. trio, op. 70; Trio Miniaturen,
op. 18, op. 24: Silhouettes, 2 vns. and pf. op. 9;
Divertimento for clar. and 2 vlas. op. 31; Rhapsody,
str. trio and pf. op. 37; pf. 6tet, C mi. op. 22; 8tet,
op. 27 (pf. vn. cello, vla. ob. clar. horn and bsn.);
also as 7tet (pf. and str. 6tet): pf. 5tet, op 33; pf.
4tet, op 50; 5 pieces for str. orch. op. 16; str. 5tet,
op. 44; vn. concertos, B mi, op. 42 and A ma, op. 49:
orch, phantasy, Wächterweise, on Danish
serenade, op. 40: orch. suite,
einem
from the dance-poem. Psyche;
14, 18, 20, 26, 30, 41 65, 74);
op. 31; orch, op. 35; 2 symph. ballet suites
pt. pieces (op. 1, 9, 12,
Publ.:
Practical Harmony Manual Songs, op. 21. on
(1901);
Harmony (1920); and Ger. transls. of Modeste
Tchaikovsky's biography of his brother (2 vols.
1904).-A. E.
JÜRGENS, Fritz. Ger. compr. b. Düsseldorf,
22 April, 1888; killed in action in Champagne,
25 Sept. 1915. Educated Düsseldorf, went to
Hamburg to enter business but soon turned to
mus. studies, mostly self-taught. His meeting
with Gustav Falke, the poet, was of decisive im-
portance. He was a promising compr. and set
45 songs of Falke, and 36 of Martin Greif to
music (Schott).-A. E.
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K
KAAN DE ALBÉST, Jindřich. Czechoslovak
compr. b. Tarnopol, Galicia, Poland, 1852;
son of an Austrian officer; pupil of V. Blodek
and Skuherský at Organ School in Prague.
Well known as a pianist; 1876-84, private
tutor in an aristocratic family; 1889, prof. of
pf. at Prague Cons. From 1907-18 he was dir.
of it, leading it along conservative lines. After
the revolution he was obliged to leave the
school, which was conducted from this time in
a new modern spirit. His compns., in which he
very often uses his experience as a pianist, are
derivative and eclectic.
Sakuntala; Eclogues of Spring for orch.; pf. trio
(prize of Mus. Soc. in Lyon); 3 vn. sonatas; organ
sonata; 3 pf. concertos; many studies; melodrama,
Toman and the Fairy; concert transcriptions from
Smetana's works; operas: On the Flight; Germinal
(1902); ballets: Bajaja (1888); Olim (1902). Publ.
mostly by Fr. A. Urbánek, Prague.-V. ST.
KABOS, Ilona (Zsigmondi). Hungarian pianist,
b. Budapest, 7 Dec. 1893.-B. B.
1890-3. Teacher of compn, at Berlin High School.
of Music from 1897. R. prof. 1903.
Str. 4tets, A ma. op. 8, A mi. op. 60; pf. 5tet, C mi.
op. 54; 3 pf. 5tets, op.
s, op. 14, 30, 41; trios, op. 19, 33,
35, 72: clar. trio, G mi. op. 45; Serenade, pf. ob. horn,
op. 73; 3 vn. sonatas, op. 5, 26, 50; vn and pf. suite,
op. 69: pf. pieces, op. 67; 2 cello sonatas, op. 37, 56
concerted plece for pf. and orch.; Mahomet's Chant,
op. 24, for chorus and orch.; Storm Song (for same);
(op. 2, 3, 6, 7, 12, 16, 20, 22, 23, 27, 31 [with
song 34, 38, 39, 40, 42, 46 [with trio acc.], 47, 48, 51,
52, 55, 57, 61); mus. comedy, Summer Evening, op. 28;
duets (op. 21 and 43); glees for female chorus (op. 10,
4-v. and orch.; op. 15, 4-v. a cappella; op. 17, 3-v.:
op. 70, 3-v. and pf.) and for mixed choir (a cappella,
op. 9, 49; op. 32, 71 with pf.) Consult E. Radecke,
R. K. (1894).-A. E.
KAJANUS, Robert. Finnish compr. condr.
b. Helsingfors, 2 Dec. 1856. After studying in
his native town, at Leipzig Cons. 1879-80, and
in Paris under the Norwegian compr. Svendsen,
K. founded in 1882 a new orch. in Helsingfors
(Orchesterföreningen, later Philh. Soc.), which
became of great importance for mus. life of Fin-
land, and which (since 1914 under name of
Municipal Orch.) has been in regular activity
with K. as condr., the repertoire being both
classical and modern. With this orch. were
amalgamated an Orch. School (1885) and a
Symphony Choir (1888). As compr. K. became
Finnish
the first important representative
national music, by taking (as J. F. von Schantz
had already done in his Kullervo Overture, 1860),
material from the Finnish folk-sagas and treat-
ing them in his orch. works, and also by arrang-
ing Finnish folk-music orchestrally. With his
orchestra's tour in West Europe in year of Paris
Exhibition, 1900, he did a great service in making
Finnish music known, especially the early works
of Jean Sibelius. K. frequently appeared abroad
as condr. Since 1897, music dir. in Helsingfors
Univ.; also professor.
18 of phony with final cholevala); 2 Finnish
Funeral march for orch. Kullervo (1st at Leipzig.
Aino (1885, for
Jubilee Finnish folk-epic
Rhapsodies (1882, Dresden; 1886, Helsingfors);
orch. sulte, Memories of Summer; symphonietta;
marssi (War ar choral works (among others Sota-
. H.
KALBECK, Max. Austrian musicologist; b.
Breslau, 4 Jan. 1850; d. Vienna, 4 May, 1921.
Stud. music at Munich. 1875, music critic of Schle-
sische Zeitung and assistant-dir. of museum of
Breslau. Came to Vienna in 1880, upon Hans-
lick's recommendation, first as critic of Allge
meine Zeitung; then, from 1886 to his death, of
Neue Wiener Tagblatt, where he acquired a most
influential position. Like Hanslick, he was a
bitter enemy of Richard Wagner (see his publs.
about the Nibelungen, Parsifal, the Bayreuth
music-festivals), of Bruckner and Hugo Wolf,
and an enthusiastic friend of Brahms, whose
biography he wrote (his chief work, 4 vols., the
KAĆANAUSKAS, A. See LITHUANIAN MUSIC.
KACSÓH, Pongrácz. Hungarian compr. b.
Budapest, 15 Dec. 1873. Songs, choral and
pedagogic works. His operetta János vitéz
(Knight John) has been given over 500 times in
Budapest.-B. B.
KAEHLER, Willibald. Ger. compr. b. Berlin,
2 Jan. 1866. Pupil Berlin High School for Music
(Kiel, Herzogenberg, Gustav Engel); condr. Han-
over, Freiburg-i-B., Basle, Regensburg, Rostock;
successor to Rezniček in Mannheim. Court
Orch. condr. Schwerin; prof. 1911. Was also
assist condr. at Bayreuth fest. 1896-1901.
and orch: symph. prologue to Kleist's Prince of
male
Homburg (1910); music to Goethe's Faust.-A. E.
KAEMPFERT, Max. Ger. condr. b. Berlin, 3
Jan. 1871. Trained in Paris and Munich, where
he was Konzertmeister and occasional condr. of
the Kaim Orch.; condr. Eisenach 1898; Frankfort
Palmengarten 1899; R. mus. dir. 1912.
Folk-opera, The Sultan's Treasure; 3 orch. rhap-
sodies; sonatas; trios; 4tets; songs; light orch.
pieces. His wife, Anna, is a s. oratorio singer (b.
Stuttgart, 25 May, 1877).-A. E.
KAHN, Esther. Compr. b. London; now
lives in Kensington, N.S.W., Australia. Comp.
a piece called Illuminations, a Fantasy
Polychrome, especially for A. B. Heeld's new
colour-instrument.
in
PL. pieces (many publ. Paling : Nicholson, Syd-
pf.; over 50 songs (Paling &
ney: Beale, London). Many are set to words by
Wrenn Sutton.-E.-H.
KAHN, Robert. Ger. compr. b. Mannheim, 21
July, 1865. Pupil of Vincenz Lachner, Mann-
heim; Kiel, Berlin (1882); and Rheinberger, in
Munich (1885); in Vienna with Brahms, then to
Berlin. Condr. of Ladies' Choral Soc. in Leipzig,
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KÁLIK
2nd and 4th in 2 parts each, 1904-14), which is
in spite of its partiality a very remarkable work.
K. also publ. several vols. of Brahms's Letters
and the Correspondence of Gottfried Keller
with Paul Heyse (1918). Colls. of his critical
essays: Wiener Opernabende (1885), Operna-
bende (2 vols. 1898). Many revisions and transl.
of opera-texts: Die verkaufte Braut (Smetana),
Falstaff (Verdi) and many others. All these are
written in an elegant and tasteful style, Kalbeck
being a poet himself. He wrote new texts to
Mozart's Bastien und Bastienne; Finta giar-
diniera; Gluck's Maienkönigin; revised and re-
adapted Don Giovanni and Figaro for Gustav
Mahler (Figaro: Bearbeitung des Wiener Hof-
Operntheaters [Peters]). He wrote some libretti
himself (Yabuka for Johann Strauss, etc.).
-P. ST.
KÁLIK, Václav. Czechoslovak compr. b.
Opava (Silesia), 1891. Pupil of Vit. Novák and
Jar. Novotný; was choirmaster of various
singing-clubs; now of the Singers' Club of South
Bohemian Teachers (Pěvecké sdružení jihočeských
učitelu).
Choruses (publ. by M. Urbánek); vn. sonata;
pf. suite; phantasy, vn. and pf.; 5tet with solo
voice.-V. ST.
KALINNIKOF, Vassily Sergevitch (accent 2nd
syll.). Russ. compr. b. Orel, 13 Jan. 1866; d.
Yalta, 29 Dec. 1900/11 Jan. 1901. Educated at
the Music School of the Moscow Philh. Soc.,
where his teachers were Ilyinsky and Blaremberg.
Consumption, following upon the hardships of
his early years, made his career a brief one; but
even during his short span of life he enjoyed a
measure of artistic success. His reputation rests
chiefly on his 1st symphony, which is a fine and
orig. work, with traces of Borodin's influence
soundly assimilated. The list of his works in-
cludes a 2nd symphony and a few other examples
of orch. music; a str. quartet; a few songs and
pf. pieces.-M. D. C.
KALISCH, Alfred. Eng. mus. critic; b. Lon-
don, 13 March, 1863. Educated King's Coll.
School and Balliol Coll. Oxford; critic for Daily
News and other papers; contributor to many
mus. journals; transl. libretti of Strauss's
Elektra, Rosenkavalier, Ariadne in Naxos, Mas-
cagni's Iris, etc., into Eng. for perfs. at R.
Opera, Covent Garden; revised Ger. text of
Strauss's Salome for Eng. perf.; wrote libretto
(both Eng. and Ger.) of Colson's opera She
Stoops to Conquer (Baden-Baden, Sept, 1923).
-E.-H.
KALISCH, Paul. Operatic tenor; b. Berlin,
6 May, 1855. Son of David K. the farce-writer.
Pupil of Leoni in Milan. Sang in Italy, then joined
Berlin Court Opera Company (1884-7). Sang
in New York, where he followed Lilli Lehmann
(q.v.), whom he married in 1888. Sang in Vienna,
Cologne and Wiesbaden and made "star" tours
through Europe and North America.-A. E.
KALLENBERG, Siegfried Garibaldi.
compr. b. Schachen, near Lindau, 3 Nov. 1867.
Stud. Stuttgart Cons. (Speidel, Faisst); 1890,
Munich Acad. of Music. Dir. of private cons.,
Ger.
KAMINSKI
Stettin, 1892, then in Königsberg, Hanover and
Munich. His works either strike a popular note
or are early evidences of the Ger. Expressionist
school.
Toccata for pf. (Tischer & Jagenberg); 6 song
albums. In ms.: 300 songs; choral works, mixed and
female choruses; 3 s. and t. duets; 2 duets with
small orch.; Dance Song; 6-v. female chorus with
orch; Requiem (Hebbel), mixed chorus and orch.;
Psalm XC for 8-v. choir and organ; Germania to her
Children (Kleist) for chorus, orch. and s. solo; 2
symphonies, C mi. and D mi.; orch. music on a
Tieck fairy-tale; 2 pf. sonatas; vn. and pf. sonata,
B ml.; . 5tet; str. 4tet; 2 pf. trios, B flat ma. and
pf.
(publ. 1918certo; pf. pleces.
A Kallen-
berg Soc. was formed in Munich in 1921, to popularise
his works.-A. E.
Golden Gate ( 901 Sun Liao
KALLSTENIUS, Edvin. Swedish compr. b.
Filipstad, 29 Aug. 1881. Stud. privately; passed
through theory course at Leipzig Cons. 1904-7.
His style is of the modern Impressionist order.
Lives in Stocksund, near Stockholm.
(1908: flat (1905; Leipzig, 1905); op. 3, 2 songs
Op. 1, str. 4tet, No. 1, G mi. (1904); op. 2, str. itet
Nord. Musikförlaget); op. 4a, Andante pas-
torale, organ; op. 4b, Scherzo, str. 4tet (1907); op. 5,
Allegro sinfonico, orch. (1907; Stockholm, 1916);
op. 6, sonata, pf. and cello, in D (1908); op. 7, sonata,
pf. and vn. in E mi. (1908); op. 8, str. 4tet No. III,
C ml. (1914); op. 9, 4 songs (Nord. Musikförlaget,
1921); op. 10, Summer Night, serenade, orch. (1916;
Gothenburg, 1920); op. 11, cantata (1919); op. 12,
pf. concerto in C (1922); songs, etc.-P. V.
KÁLMÁN, Emerich. Hungarian operetta
compr. b. Siófok, 24 Oct. 1882. Stud. compn. at
R. High School, Budapest, under Hans Koessler.
Chief works: Herbstmanöver; Der kleine König;
Zigeunerprimas; Csárdásfürstin; Faschingsfee;
Hollandweibchen; Die Bajadere. Lives in Vienna.
-B. B.
KALNINS, Alfreds. Latvian compr. and orgt.
b. Cesis (Latvia), 23rd Aug. 1879. Stud. (1897-
1901) Petrograd Cons. organ (Homilius), pf.
(Czerny) and compn. (Liadof and Solovief). His
works have the true national colouring, except,
perhaps, his latest ones, written in modern idiom.
Opera, Banula; orch.: Song of the Native Country;
Ouverture solennelle; symph. poem, Latvia; pf. and
organ pieces; 146 songs with pf. acc.; many part-
songs a cappella; 4-part arrs. of folk-tunes.-K. P.
KALVAITIS. See LITHUANIAN MUSIC.
KAMIEŃSKI, Lucjan. Polish writer and
compr. b. Gniezno, 7 Jan. 1885. Pupil of Filke and
Dercks at Breslau; then stud. in Berlin under
Kahn and Bruch (theory) and Kretzschmar and
Wolf (mus. science). Ph.D. 1910, with disserta-
tion Die Oratorien von Johann Adolf Hasse
(Leipzig, 1912). 1909-19, music critic of Königs-
berger Allgemeine Zeitung; 1920, 2nd dir. of
State Music Acad. in Posen (Poland); 1922,
prof.-extraordinary of history of music at Posen
Univ. Arts. in many periodicals. Has also
publ. 60 Labour Songs to his own words (Berlin,
1905-10); and brought out an operetta Tabu in
Königsberg, 1917. In 1923 published Fantaisie
sur des Noël Polonais, op. 17, a sonata for vn.
and pf. op, 18, and Polish Folk Songs.-Zv. J.
KAMINSKI, Heinrich. Ger. compr. b. Thien-
gen, near Waldshut, 4 July, 1886. Son of an Old
Catholic clergyman. Pupil of Wolfrum in Heidel-
berg and Klatte, Kaun and Juon in Berlin.
K. may be briefly described as a musician of
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KAMMERSINFONIE
the Neo-Bach "Gothic" stamp, one of the most
important musicians in Germany.
Motet, 8-v. and org.; Psalm CXXX, 4-v. op. 1a;
4tet for clar, vla. cello and pf.; str. 4tet (publ.);
str. 5tet, F
suite: sharp ml. (Munich, O. Halbreiter): orch.
osso, double-orch. (1923); music to
W. Schmidtbonn's imitation of an old Fr. passion-
play (Munich Künstlertheater, 1920); Psalm LXIX
for soli, chorus and orch.; Introit and Hymn for
orch., soli and small chorus.-A. E.
KAMMERSINFONIE (Chamber Symphony).
One of the chief works of Schönberg, marking the
transition from the enlarged classical form to
his new style. Written for 15 solo instrs. First
perf. Vienna, 1907, by Rosé Quartet, and the
Wind Instr. Association of the Opera. After-
wards Schönberg made a 2nd ed. for large con-
cert halls, with a doubling of the strings.-E. W.
KÄMPF, Karl. Ger. compr. b. Berlin, 31 Aug.
1874. Pupil of Frau Olbrich-Poppenhagen,
A. Sormann and Friedrich E. Koch in Berlin.
Symph. work, Eichendorff's Early Days; symph.
march, Neidhohle; symphony, The Power of Song,
male-chorus, contr, solo, orch. and organ; orch.
suites: Hiawatha (after Longfellow); From Baltic
Lands, Andersen's Fairy Tales; cycle, On the Lake of
orch.; Legende for cello and orch.;
for har
monium and str. orch.; A Sea Fable, From Life and
Nature, Gaudeamus Songs (after Adolf Jensen) for
male chorus and orch.; vn. sonata, E mi.; Pathetic
sonata, op. 62, for cello and pf.; songs; duets; male
and female choruses; cello and pf. pieces; compns.
Normal-Harmonium.-A. E.
KANÁSZTÜLÖK. See HUNGARIAN MUSICAL
INSTRUMENTS.
KANKLES. See LITHUANIAN MUSIC.
KANTELE. Finnish national instr. with three-
cornered sound-box, made of wood, the strings,
played with the finger-tips, being of wire, though
according to popular tradition originally of horse-
hair. The oldest models had 5 strings tuned as
follows: G, A, B (or B flat or an intermediate
note), C, D. The modern forms show a great in-
crease in number of strings. Essentially a folk.
instrument, it still found in East Finland,
Karelia and among the Finnish peoples in Russ.
territory. Even so late as XVIII century it was in
general use throughout Finland. Recently it has
been employed to some extent as a concert-instr.,
and of late a new invention (by P. Salminen), by
which all scales are easily played, has greatly
extended its possibilities. The Jouhi-Kantele is
an entirely different instr., similar to the pre-
cursors of the vn. It has 3 strings woven out of
hair and played with a bow. It shows close re-
lationship to the Welsh cruth; and is found now
only in certain outlying districts in Finland.
-T. H.
KAPELLMEISTER (Ger.). Condr. of an orch.
Not be confused with Konzertmeister, who is
the leading 1st vn. of an orchestra.-E.-H.
KAPP, Julius. Ger. writer on music; b. Stein-
bach, Baden, 1 Oct. 1883. Stud. Marburg, Berlin
and Munich; graduated Ph.D. 1906. Founded
(1904) and ed. (with Thyssen) till 1907 the Litera-
rische Anzeiger. Since then has written mus.
biography:
Richard Wagner and Franz Liszt (1908); Franz
Liszt (biography, 1909; illustrated ed. 1911); Liszt-
Breviary (1910); Catalogue of Liszt's Collected Writings
(1909); Richard Wagner (biography 1910); Wagner
KARG
as a Young Man (1910); Liszt and Women (1911);
Richard Wa and Women (1912); Nicolo Paganini
(biography D
3, Deutsche Verlags-Anstalt); Richard
Wagner's Collected Writings and Letters (computed at
24 vols, from 1914, 2 vols, of letters already publ.);
Hector Berlioz (Leipzig, 1914); The Triple Star,
Verlags-Anstalt); Franz Schreker (Munich, 1921, Drei
Masken Verlag) Present-day Opera (1922); Weber
(1922, Deutsche Verlags-Anstalt). A. E.
KAPRÁL, Václav. Czechoslovak compr. b.
Určice (Moravia), 1889. Pupil of Organ School
in Brno and of A. Mikeš; lives in Brno as pf.
teacher.
2 pf. sonatas (Pazdirek, Brno); a suite, Lullabies
of Spring, pl.-V. ST.
KARATIGUIN, Vacheslaf Gabrilovitch (accent
3rd syll.). Russ. compr. and writer on music;
b. 17 Sept. (n.s.), 1875. Well-known music critic
in general and mus. papers (Musical Contem-
porary, etc.). Ed. some posthumous songs of
Mussorgsky; is now prof. of mus. history at
Petrograd Cons. of Music. Has comp. a number
of songs.-V. B.
KAREL, Rudolf. Czech compr. b. Prague,
1881, where he studied at Univ. and also at
Cons., devoting himself later entirely to music.
He was Dvořák's last pupil in compn. He
lived in Prague till 1914. During the war
he was interned in Russia and was some time
teacher at the Taganrog Music School ther , and
at the Cons. in Rostof. After the Bolshevist
Revolution in 1917 he joined the Czech Legion,
in which he founded a Symphony Orch., con-
ducting it for a year and visiting the Czech
garrisons in Russia. In 1920 he returned to
Bohemia. Full of exuberant musicality, K. at-
tained a style of his own, characterised by great
wealth of expression, broadly elaborated themes,
condensed polyphony, and large, extended
forms, together with an earnest, manly energy
and a massive sonority. His starting-point is
Antonín Dvořák's classical formalism, Reger's
polyphony and Brahms's earnestness. His de-
velopment took the line of a continuous struggle
for the formal and intellectual control of his
own musical fecundity. Whenever he succeeds
in doing so-e.g. in the violin sonata and in
The Demon-he takes his place among the most
important individualities of modern Czech music.
Opera, Ilsea's Heart; song-cycle, In the Glow of the
Demon; str. 4tet; vn. sonata. Pf.: Notturno,
variations, sonata, valses, burlesque. Publ.: N. Sim-
(Third
rock, Berlin; Hudební Matice, Prague.
symphony, a pf. 4tet and a vn. concerto, as yet
unknown, remain in ms. in Russia.)-V. ST.
KARG (-ELERT), Sigfrid. Ger. compr. b.
Oberndorf-on-Neckar, 21 Nov. 1879. Attended
Teachers' Seminary at Grimma; then devoted
himself entirely to sic; became pupil
Leipzig Cons. (Reinecke, Jadassohn, Tamme,
Homeyer, Wendling, Reisenauer); teacher at
Madgeburg Cons.; then returned to Leipzig as
instructor for compn., theory and pf. at Cons. in
1919. He is a devotee of "Tone-impressionism."
A large number of his works have come from
Carl Simon's publishing house ("Harmonium-
haus," Berlin), and are intended more especially
for the Kunstharmonium. He was elected Hon.
Fellow of R.C.O. London in 1913. His music
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KARŁOWICZ
was much helped in England by Dr. Eaglefield.
Hull.
Theoretical and Practical Elementary Tutor; The
Art of Registering, op. 91 (for players of all kinds of
harmonlums): Advanced School of Legato Playing.
op. 94; First Fundamental Studies, op. 93; Technique
of Harmonium (Gradus ad Parnassum), op. 95. Orig.
compns.: 3 sonatinas, op. 14; 2 sonatas, B mi. op. 36,
and B flat mi. op. 46; Partita, op. 37; 8 pleces, op.
26; Aquarelles, op. 27; Scènes pittoresques, op. 31;
5 Monologues, op. 33; Improvisations, op. 34;
Madrigals, op. 42; orch. studies, op. 70; Intarsien, op.
76; duets for pf. and harmonium, op. 29 (Silhouettes),
op. 35 (Poems); also organ compns.: Passacaglia, op.
Phantasy and fugue, D ma.
for
25 (also fomonium) Choral Improvisations, op.
op.
65; 3 symph. chorals, op. 87; 20 preludes and post-
ludes, op. 78; Sanctus and Pastoral (with vn.), op. 78;
pf. pleces: sonata, F sharp mi. op. 50; 3 sonatinas,
op. 67; Travel Sketches, op. 7; From the North, op.
18; Scandinavian Airs, op. 28; Swabian Home, op.
op. 69;
op. 17 and 7
ma. for vn. alone,
Aphorisms, op. 51; 10 bagatelles,
sonata, E ml. op. 88; Partita, D
op. 89; sonata, E ml. vn. alon OD, 89, 1; vn.
duets, op. 90; cello sonata,
orch, suite,
op. 21 (Jeux d'enfants, after Bizet); sacred songs
with organ and vn. op. 66, 81, 82; pf. songs, op.
publs.: 3 Symph. Canzonas for organ (Leuckart);
Pastels (Augener); Sonata-Chaconne-Fugue trilogy
(quadruple fugue); choral with tpt. finale; 3 Im-
pressions (Novello); Impressions for harmonium, op.
102; Idylls, op. 104; Romantic Pieces, op. 105; for
the pf.: 2 sonatas, B flat mi. op. 80; concerto, D flat.
ma. op. 106; 28 preludes, op. 111 (Peters); pieces, op.
21-23 (Hofmeister); pieces, op. 16, 17, 45; Symph.
Legend for vn.; songs, op. 20 (Kistner), op. 19, 24,
52, 53 (Bote & Bock); 5tet for ob. clar. horn and
bsn. C mi. op. 30 (Kahnt); str. 4tet, op. 100, ms.;
Chamber Symphonietta, A ma. (prizi2 motets);
Dresden
1919), ms.; Christian Church Year
8-v. Whitsunday Hymn; 12-v. Requiem Eternam.
Consult: Hanus Avril, S. Karg(-Elert), a monographic
sketch; also articles by A. Eaglefield Hull, Mus.
Times (Feb., March, 1913).-A. E.
KARŁOWICZ, Mieczysław. Polish compr. b.
Wiszniewo (province of Vilna), 11 Dec. 1876; d.
in the Tatra mountains, near Zakopane (Galicia),
crushed by an avalanche, 10 Feb. 1909. Stud.
at Warsaw under Barcewicz (vn.) and Noskowski
(theory), 1890-5, and 1895-1900 in Berlin under
Urban. His first compns. (several songs, op. 1, 3,
4), did not reveal his future evolution as a compr.
Then followed larger and deeper works: pf.
sonata; Prelude and double fugue; Serenade
for str.; symphony in E mi. op. violin con-
certo, op. 8. He found his finest expressive force
in the form of the symph. poem, in which he
came right to the front. In the first, Returning
Waves, op. 9 (1904), he was still under the in-
fluence of Wagner (especially Tristan). Then he
came nearer to Richard Strauss. Subsequent
works in this form were Three Eternal Songs,
op. 10 (1907); A Lithuanian Rhapsody, op. 11;
Stanislaw and Anna Oswiecimowie, op. 12; A
Sorrowful Tale, op. 13; A Drama at a Masked
Ball (unfinished; completed by Grzegorz Fitel-
berg). These are distinguished by a great
of pathetic ideas and a variety of orchestral
colour.
K. began a new epoch in Polish music in the
sphere of the symphony, which had remained,
till his appearance, at a lower level than solo
instr. music and opera. From 1904-6 he was dir.
of the Warsaw Soc. of Music. Then he went to
Zakopane, where he remained till his death.
Publ. in 1903 The Hitherto Unknown Reminis-
cences of Chopin.-ZD. J.
KASKI
KARPATH, Ludwig. Hungarian musical author
and critic; b. Budapest, 4 April, 1866. Stud. at
Budapest Cons.; then went to America. Since
1894, music critic of Neue Wiener Tagblatt; con-
tributor to several musical periodicals (including
the Musical Courier); 1910-17, chief editor of
the Merker; president of Association of Music-
Critics of Vienna. His books are: Siegfried
Wagner (1902); Zu den Briefen Richard Wagners
an eine Putzmacherin (Notes on the Letters of
Richard Wagner to a Milliner), 1906; Richard
Wagner als Schuldenmacher (Wagner as Con-
tractor of Debts), 1914. K., a nephew of Gold-
mark, was one of the intimates of the Wahnfried
family and spent much time in the company of
Brahms, Richard Strauss and other important
musicians. He possesses many souvenirs and
letters of the last decades of Vienna. He is
now preparing his memoirs.-P. ST.
KASACHENKO, Gregory Alexeievich (accent
3rd syll.). Russ. compr. b. Petrograd, 3/15 March,
1858. Studied at Petrograd.
Operas: The Silver Prince; Pan Sotkin (both
produced at Petrograd, 1892); symphony; 2 orch.
suites.-M. D. C.
KASCHMANN, Giuseppe. Ital. barit. singer;
b. Lussinpiccolo (Istria), 14 July, 1850. From
boyhood, showed very marked ability for
singing. His parents set him to study law, but
he abandoned it in order to take up his favourite
career. Stud. in Milan under Giovannini. Début
in 1874-5 season at Regio Theatre, Turin, in
La Favorita. He rapidly gained high fame, and
sang in all the principal theatres of the world,
distinguishing himself as an intelligent inter-
preter, passing from one opera to another in a
very extensive repertoire. He sang in Ital., Fr.,
Ger. (Wagner Theatre, Bayreuth), Latin and
Serbian. Is a remarkable interpreter of Perosi's
oratorios. Of recent years, has devoted himself
especially to concert-work, frequently singing
at the Augusteo, and interesting himself in
revival of old music. Is now a celebrated singing
teacher.-D. A.
KASE, Alfred. Ger. barit. singer; b. Stettin,
28 Oct. 1877. Started as engraver in Munich,
where Em. Kroupa discovered his voice, and sent
him to Acad. of Music. After a first engagement
at Cassel, 1902-7, Volkner engaged him for
opera at
at Leipzig, to which he still belongs (since
1920, contract as visiting singer).-A. E.
KASKEL, Karl, Freiherr von.
Ger. compr.
b. Dresden, 10 Oct. 1866. Pupil of Reinecke and
Jadassohn in Leipzig, of Wüllner in Cologne.
Lives in Munich.
(Mun1910); The
(Dresden, 19
The Kentish Lock-
Night Dresden, 1916): operetta, The Station of
Operas: Wedding Morn (Hamburg, 1893): Sjul
(Cologne, 1895); pusle and Babeli
Beggar of the Pont des Arts
(Cassel, 1899);
The Prisoner of the Czarina
(Stuttgart, 1910);
smith
Fortune; also Ballad for orchestra.-A. E.
KASKI, Heino. Finnish compr. b. Pielis-
järvi, in 1885. Stud. at Orch. School, Helsing-
fors and (with a State scholarship) in Berlin
(pupil of Paul Juon).
Sultes for orch.; symphony; pf. pieces; songs,
etc.-T. H.
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KASTALSKY
KASTALSKY, Alexander Dmitrievitch (accent
2nd syll.). Russ. compr. b. Moscow, 16/28
Nov. 1856. Pupil of Tchaikovsky and Tanéief
(theory) at Moscow Cons. (1876-82). 1887, pf.
teacher in Moscow Synodal School of Church
Music, which became the People's Choral Acad.
in 1918, and was closed down in 1923. He was
dir. of this acad. from its foundation till its close.
He is the chief representative of the new line
of Russ, sacred music. He used the old church-
tunes, and the strictest ept. in accordance with
the style. His Requiem was given in England
by the Fest. Choral Soc. at Birmingham, under
Sir Henry Wood in 1921.
Very many unace. sacred choruses; secular
choruses; opera, Clara Militch (after Turgenief);
Georgian Suite. Ilis symphony From the Agricultural
Life, for orch. and solo vs. singing Russ, folk-songs
Ituss, in ms. The
State Music Publ. Dept. publ. in 1923, his im-
portant treatise on The Folk's Harmonisation of the
Russ. Folk-Songs.-V. B.
KATILA, Ewert. Finnish music critic; b.
16 Nov. 1872. At first, stud. geology at Hel-
singfors Univ., but later turned to music; was
student in Orch. School. Critic in Helsingfors
since 1899. Has also appeared as compr. of
choral works.-T. H.
KAUDER, Hugo. Austrian composer and
violinist; b. Tobitschau (Moravia), 9 June,
1888. Has lived since 1905 in Vienna. A
self-taught musician; 1910-17, first vn. then
vla. player in Viennese Konzertverein Orch.
Now devotes himself entirely to composing.
In his works we find resignation, economy of
effects and deep melancholy. He does not
belong to modern group of mus. innovators.
vn.
orch. (1917); cello concerto (1917); Gipsy Song (from
Goethe) for contr., chorus and orch. (1912); chamber-
music; sonatas; Passacaglia for organ; 24 pt. pieces;
80 songs acc. by orch. or str. 4tet.-P. P.
KAUN, Hugo. Ger. compr. b. Berlin, 21 March,
1863. Stud. under Grabau and Fr. Schulz at
R. High School, then under horn-player Karl
Raif and his son O. Raif (pf.), also compn. under
Fr. Kiel; 1887-1902, lived in Milwaukee as
teacher, dir. and compr.; since 1902 in Berlin;
member of R. Acad. of Arts; 1922, teacher of
compn. at Klindworth-Scharwenka Conservatoire.
4 str. 4tets, op. 40, 41, 74, 114; 1 str. 5tet, op. 28 (as a
pf. 5tet, op. 39); 2 pf. trios, B flat ma. op. 32, and C
ml. op. 58; Stet, F ma. op. 34; Stet for wind instrs.
op. 26; sonata for vn. and pf. op. 82; 3 symphonies
(To my Fatherland, D ma. op. 22; C ml. op. 85;
E mi. op. 96, 1914); overture, The Rhine, op. 90:
Märkische orch. suite, op. 92; Ceremonial Entrance
March, op. 99; several symph. poems (Minnehaha
and Hiawatha, op. 43); pf, concerto, E flat mi. op.
50; festival march, The Star-spangled Banner, op.
29 symph. prologue, Mary Magdalene, op. 11
orch. humoreske, Falstaff, op. 60: Hanne Nute for
orch. op. 107; choruses: The Norman's Farewell, op.
20, for male vs. and orch. with barit. solo; Mother
Earth for soll, chorus and orch.; pf. pieces and
songs; 3 operas: The Devotee (Oliver Brown) 1 act;
Sappho (Gera, 1917, under Lohse); The Stranger
(Dresden, 1920).-A. E.
KEEL, James Frederick. Eng. barit. singer
and compr. b. London, 8 May, 1871. Entered
choir of Wells Cath. as chief solo-boy, 1883; stud.
at R.A.M., singing under Frederic King and
Frederick Walker, compn. under Frederick Corder;
1896, went to Milan for singing-study under
KELLERMANN
Federico Blasco; 1897 at Munich, under Eugen
Gura. Début in London at Queen's Hall, 1898,
at one of William Carter's concerts. Has sung in
numerous concerts in London and the provinces,
and given many recitals. Has made a special
study of old and traditional songs; hon. secretary
Folk-Song Soc. 1911-19; ed. of the Society's
journal; lecturer and prof. of singing at R.A.M.
London. Has publ. some pieces for vn. and pf.
(Schott), songs, and ed. 2 books of Elizabethan
songs.-E.-II.
KEÉRI-SZÁNTÓ, Imre. Hungarian pianist;
b. Budapest, 15 Jan. 1884. Stud. at R. High
School under Stephan Thomán. Since 1918,
pf. prof. at same institution.-B. B.
KEFER, Louis. Belgian compr. and condr. b.
Jambes-lez-Namur in 1842. Stud. at Brussels
Cons. In 1873, on formation of École de Musique
at Verviers, was appointed dir., a post he held
for 45 years with admirable conscientiousness
and a most progressive spirit. As condr. of
Société d'Harmonie of Verviers, and Concerts
Populaires and the Nouveaux Concerts (founded
by him) in that town, he cond. in 35 years over
1400 concerts. The programmes show the most
clear-sighted eclecticism combined with a most
generous-minded proselytism. To him are due
the 1st perf. of the various works of Lekeu, a
personal friend for whom K.'s admiration
bordered on a fervent cult.
Cantata for inauguration of Barrage de la Gileppe
(1877-8); symphony in D (1889), crowned by
Belgian Acad. and rowritten since, a work full of life
and youthful
Caprice for oroh.; trio, pf.
vn. cello; Tantes, choir and orch.: male
choruses, etc.-C. V. B.
KEIGHLEY, Thomas. Eng. lecturer and writer
on music; b. Stalybridge, 15 Oct. 1869. Stud.
privately and at R. Manchester Coll. of Music
(1895-8). Mus.Doc. Manchester, 1901; orgt.
Albion Congregational Ch. Ashton-u-Lyne, from
1897; prof. of harmony, R. Manchester Coll. of
Music, from 1898; lecturer in compn. at Univ.;
condr. Stockport Vocal Union.
Rudiments of Music; 5 books of Graded Questions;
Harmony treatise; 5 books of Questions Manual
of Music (Longmans); Unfigured Basses (Stainer &
Bell); Harmony Exercises for Strings (W. Rogers);
numerous part-songs and
pf. pieces (Bayley
& Ferguson; Forsyth; anks, etc.).-E.-H.
KEIL, Alfredo. Portuguese compr. b. 1850;
d. 1907. One of the finest representatives of
modern Portuguese music. His operas met with
much success in Lisbon. His style is somewhat
daring and never banal, according to M. Lamber-
tini's extensive study of Portuguese music, in
Lavignac and Laurencie's Encyclopédie la
Musique, Vol. V, pp. 2401 seq. (Paris, 1920).
His song A Portugueza was adopted as
official national anthem by the new Republic.
Operas: Don Branca (22 perfs. at San Carlos
Theatre, Lisbon): Irene, 4-act lyric drama (Turin,
1803; San Carlos, Lisbon, 1896); Serrana (Turin.
1899, 1900: Colyseu, Lisbon, 1901); and his mus.
sketches India and Simão o o Ruivo.-E.-H.
KELLERMANN, Berthold. Ger. pianist; b.
Nuremberg, 5 March, 1853. Stud. under Ramann
in Nuremberg and during summer months of
1873-8 under Liszt in Weimar; 1875-9, teacher
at Kullak's Acad.; 1876-8 at Stern's Cons.; 1878
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KELLEY
in Bayreuth in Wagner's Nibelungen Bureau, and
teacher to Wagner's children. Till 1881 also dir.
of Bayreuth orch. concerts; teacher at R. Acad.
of Music, Munich, since 1882; 1893 4, also
cond. Academic Choral Society.-A. E.
KELLEY, Edgar Stillman. Amer, compr. and
author; b. Sparta, Wis., U.S.A., 14 April, 1857.
Stud. under F. W. Merriam (1870-4), then under
Clarence Eddy and Ledochowski in Chicago
(1874-6). From 1876-80, pupil at Stuttgart
Cons. of Krüger and Speidel (pf.), Finck (organ),
and Max Seifriz (compn.). After his return to
America, orgt. in Oakland and San Francisco,
Cal., and then came East as condr. with a comic-
opera company, 1890-1. From 1896-1900, lived
in New York, teaching at New York Coll. of
Music; 1896-7, lectured on music for Univ.
Extension of Univ. of New York. 1901-2, acting-
prof. of music at Yale Univ. From 1902-10,
teacher in Berlin. Since 1910, prof. of compn. at
Cincinnati (Ohio) Cons.; is holder of a fellow-
ship in compn. of Western Coll. for Women at
Oxford, Ohio. Degree of Litt.D. from Miami
Univ. 1916; LL.D. from Univ. of Cincinnati,
1917. First came into prominence with inci-
dental music to stage-production of Lew Wal-
lace's Ben Hur, 1899. Also written music to
Macbeth and to Prometheus Unbound. His 1st
symphony, a humorous compn. on Gulliver-His
Voyage to Lilliput, op. 15, is unpubl. His 2nd
symphony, New England, op. 33, was 1st perf.
at Norfolk (Conn.) Fest. 1913. His op. 37, The
Pilgrim's Progress, Miracle Play for soli, chorus
and orch., was given at Cincinnati May Fest.
1918. A pf. 5tet and a str 4tet have been
frequently played in U.S.A.
Aladdin, Chinese suite, orch. op. 10 (Schirmer,
1915); Puritania, comic opera, op. 11 (Church, 1893);
Ben Hur, op. 17 (New York, Towers & Curran, 1902);
5tet, pf. and str. op. 20 (Berlin, Stahl, 1907); str.
4tet, op. 25 (id. 1907); New England Symphony,
op. 33 (Schirmer, 191 his songs The Lady picking
Mulberries has been sung often (Schirmer, 1890).
Author of Chopin, the Composer (Schirmer, 1913).
0. K.
KELLY, Frederick Septimus. Australian com-
poser; b. Sydney, 29 May, 1881; killed in action,
Beaucourt, on the Ancre, France, 13 Nov. 1916.
At age of 5 played Mozart's pf. sonatas by heart;
educated at Eton and Balliol Coll. Oxford; stud.
music under Dr. C. H. Lloyd at Eton and under
Donald Tovey at Oxford; then at Hoch's Cons.
Frankfort-o-M., compn. under Ivan Knorr, pf.
under Eugesser. On his visit to Australia in 1911,
he gave some concerts in Sydney, and in 1912 he
gave a series of concerts in London at Eolian
Hall, and one with orch. A memorial concert of
his works was given at Wigmore Hall, 2 May,
1919. His brief career as a compr. was sufficient
to prove that here was a career cut short which
was destined to achieve something unique and
complete. The Elegy has a lofty, controlled ex-
pression that is Greek in spirit and truly inspired.
In the popular mind, he is associated with his
prowess as an athlete. He rowed in the Eton
eight in 1899; in Oxford eight 1903; won the
Diamond Sculls 3 times (1902-3-5) and rowed.
KENNEDY-FRASER
for England in the Leander eight at Olympic
Regatta, 1908.
Serenade, op. 7 (5 movements), for fl. horn, harp
with str. (Schott): Elegy, in memoriam Rupert
Brooke (comp. in hospital at Alexandria, 1915), str.
and harp (ms.); str. trio; sonata in G, vn. and pf. (1st
perf. Jelly d'Arányi and Leonard Borwick, Classical
Concert Soc. 3 Dec. 1919); prelude for organ (1915);
Cycle of Lyrics, pf. (1907-8); 5 Monographs, pf.
Allegro de Concert, pf. (Schott); Theme. Variations
and Fugue for 2 pfs. (id.); songs, etc.-E.-II.
KELTERBORN, Louis. Compr. and condr. b.
Boston (U.S.A.), 28 April, 1891. Stud. at Basle;
then at Geneva Cons. under Joseph Lauber (pf.
and compn.); teacher of theory and mus. history
at Wolff Cons. at Basle; Since 1918, condr. of
Oratorio Concerts and orgt. at Burgedorf;
author of important essay, Tonkunst und
Schweizer Bühne.
Amon (Kelterborn), mus. drama (publ. by compr.);
oratorio, Hiob (Job); Hérode, for barit., chorus and
orch.; Penthesilea and Sylvíus, m.-sopr. and orch.
(Genova, Henn); str. 4tet (Basle, Pohl); cello sonata
and sonatina for vn. and pf. (id.); numerous songs
(id.).-F. H.
KEMPFF, Wilhelm. Ger. pianist, orgt. and
compr. b. Júterborg, 25 Nov. 1895. Stud. pf. with
H. Barth, compn. with R. Kahn at Berlin High
School; 1917, gained both Mendelssohn prizes.
since 1916 has given organ and pf. recitals, some-
times as soloist, with Berlin Cath. Choir; in
Germany and Scandinavia, famous as impro-
visor on given themes.
Orch. suite, F sharp mi. (with 3 cembali); sym-
phony in E flat ma.; overture to Kleist's Hermann's
Battle, orch., 3 old Ger. trumpets, male chorus; pf.
concerto, B ilat ml. (Dies Ira); sonatas; variations:
fantasy for pf.; sonata for vn. C sharp ma.; female.
choruses; orch. songs.-A. E.
KENIG, Włodzimierz. Compr. and condr. b.
Suwalki, Poland, 1 April, 1883. In 1908, re-
ceived 1st prize at Warsaw Cons. as pupil of
Barcewicz (vn.) and Noskowski (theory). Then
stud. in Munich under Fr. Klose (theory) and
Bussmayer (conducting). In 1915-16, 1st condr.
of Warsaw Philh. Also known as condr. in
Germany.
3 symphonies (the 1st obtained a prize in Warsaw,
olymp. poems; many songs and vn. and
cello pieces.-ZD.
KENNEDY, Daisy. Australian violinist; b.
Burra-Burra, near Adelaide, of Scotch and Irish.
parentage. Three years Elder scholar at Ade-
laide Cons. Stud. for a year privately under
Ševčík in Vienna, then 2 years in the Meister-
Schule there. Has toured in Austria, Australia,
U.S.A. and England; married Benno Moisei-
witsch, the pianist.-E.-H.
KENNEDY, Margaret. Scottish contr. singer;
b. London, 27 March, 1865. Stud. at R.A.M. Lon-
don; sub-prof. of harmony; stud. interpreta-
tion of Fr. and Ger. songs under Raymond von
Zur Mühlen. Toured in U.S.A., Canada, Aus-
tralia, New Zealand, and Great Britain.
Specialises now in Hebridean songs.-J. P. D.
KENNEDY-FRASER, Marjory. Scottish singer
and folk-song collector; b. Perth, Scotland (of
Celtic parentage), 1 Oct. 1857; daughter of
David Kennedy, famous singer of Scots songs.
Childhood in Edinburgh and London.
toured with father as pf. accompanist. At 14,
sailed with him in a clipper ship round Cape of
At 12,
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KIRIAC
KIRIAC, Demetri, G. Compr. and condr. of
Rumanian Choir; b. Bucharest, 18 March, 1866.
Stud. first there; then at Cons. Paris under
Pessard (harmony), Dubois (cpt.); later, at
Schola Cantorum, Paris (under d'Indy). Prof.
at Cons, of Paris (under d'Indy). Prof. at Cons.
of Bucharest since 1900. Founder of choral
soc. Carmen (1900). An assiduous folk-lore.
collector.
Many religious choruses (5 vols. Bucharest, J.
Feder). Popular songs harmonised (Bucharest, Ed.
Margaritescu); Coronation Hymn, for Rumanlan
sovereigns Alba-Julia (Bucharest, 1922, Filip).
-C. BR.
KISTLER, Cyrill. Ger. compr. b. Gross-
Aitingen, near Augsburg, 12 March, 1848; d.
Kissingen, 1 Jan. 1907. Received his mus.
training at Munich (Rheinberger); 1878, teacher
at Sondershausen Cons.; 1885 at Kissingen as
music-master. Kistler was a devoted follower
of Wagner whom he popularised.
Romantic opera, Kunihild (Sondershausen, 1884);
comic opera, Eulenspiegel (Würzburg, 1889); Poor
Little Elsie (Schwerin, 1902); Rosebud in the Hedge
(Elberfeld, 1903); The Governor at Mühlstein (Düssel-
dorf, 1904); Baldur's Death (Düsseldorf, 1905); 3-act
opera, The German Provincial (publ. but
poem, Parti
Harmony Manual (1879, 2nd ed. 1903): Elementary
Musical Instructor (1880); Singing and Music Lessons
for Public Schools (1881); Simple Counterpoint and
Fugue (1904); Triple and Multiple Counterpoint
(1905); Choral Song Manual (2nd ed. 1908); Board
School Teachers' Music Dictionary (3rd ed. 1887);
independent monographs; Modern Musical Ques-
tions; The Passion-play at Oberammergau (1880);
Beyond the Music Drama (1888); Franz Fitt (1888);
Originality in Music (1894, 2nd ed. 1907).-A. E.
KITSON, Charles Herbert. Writer on music;
b. Leyburn, Yorks, 13 Nov. 1874. Organ scholar
Selwyn Coll. Cambridge; De Grey exhibitioner.
Mus. Doc. Oxon. (1901); late orgt. of Christ Ch.
Cath. Dublin; late prof. of music, Univ. Coll.
Dublin (Nat. Univ. of Ireland); prof. of music,
Dublin Univ. (from 1920); prof. of harmony,
R.C.M. London.
Art of Counterpoint (new ed. 1924): of
Harmony: Applied Strict Counterpoint;
Fugue; Elementary Harmony (3 parts); all publ. by
Oxford Univ. Press.-E.-II.
in
KLEINMICHEL
after Hans Chr. Andersen; Madamernes Jens
(The Missus's Tommy); Kreolerinden (The
Creole), etc.; music to several dramas, amongst
others Drachmann's Dansen paa Koldinghus
(The Dance at Koldinghus). He transl. Bell.
man's Swedish songs, Fredmans Epistles, into
Danish. A. H.
KLATTE, Wilhelm. Ger. author and teacher;
b. Bremen, 13 Feb. 1870. Stud. in Leipzig; went
to Weimar to Richard Strauss and worked at
theatre there; was dir. in different places; since
1897, first music critic for Berlin Lokalanzeiger;
and since 1904, teacher of theory at Stern's
Cons. (1919, prof.); in 1900, married contr.
singer, Clara Senfft of Pilsach. Since 1909, on
committee of General Soc. of Ger. Music.
With Arthur Seidl, K. wrote a character-sketch of
R. Strauss (1895). For R. Strauss's coll. Music, he
wroto History of Programme-Music (vol. 7) and Franz
Schubert (vols. 22-23, 1907); biographies; analyses of
modern mus. works; exercises simple cpt.; Grund-
lagen des mehrstimmingen Satzes (Course of Harmony)
1923.-A. E.
KLAUWELL, Otto. Ger. author and teacher;
b. Langensalza, 6-7 April, 1851; d. Cologne,
11-12 May, 1917. Nephew of music-teacher,
Adolf Klauwell (1818-79). Stud. mathematics
at Leipzig Univ.; turned to music, 1872. Pupil
at Leipzig Cons. under Reinecke and Richter
(theory and compn.); 1874, Ph.D. 1875, pf.
teacher Cologne Cons.; 1884, dir. of pf. training
classes arr. by Fr. Wüllner; 1895, deputy dir.
of Conservatoire.
Overture, Vision, op. 19 (str. orch.); pf. trio,
G ml. op. 20; Evening Peace (mixed chorus and
pieces; 2 operas, Lady of the Lake
(Cologne, 1899) and The Secret
1902): songs. Books: The Historical Develolberfeld,
Musical Canon (1874, dissertation; 1876 as indepen-
dent book); Musical Points of View (1881; 2nd ed. as
Musical Confessions, 1892); Expression in Music
(1883; Eng. 1892); Fingering in Pf. Playing (1885);
The Forms of Instr.
Niemann, 1918): Historie (1894: 2nd ed., ed. by W
of the Sonata (1899); Bed-
hoven and the Variation-Form (1901); Life and Works
Essays on Music (102); Studies and Recollections:
(1910, Breitkopf).-A. E.
KJELLSTRÖM, Sven. Swedish violinist; b.
Luleå, 30 March, 1875. Stud. R. Cons. Stock-
holm, 1889-92 (vn. under J. Lindberg); attached
to R. Chapel 1890-3. Stud. 3 years under Rémy
(Paris); 1st vn. Colonne Orch. 1900-5; member
of Viardot Str. Quartet, concerts in Paris, Lon-
don, etc.; also with the Swedish pianist Alfred
Roth (London). Living from 1909 in Stockholm
as teacher; some years leader of the Concert Soc.;
founded a well-known str. quartet and (together
with Erik Lidforss) the Chamber-Music Soc.
(1911). Member R.A.M. Stockholm, 1912.-P. V.
KJERULF, Charles. Danish mus. critic and
compr. b. Copenhagen, 22 March, 1858; d.
Elsinore, 22 Aug. 1919. His brilliant musical
critiques in Politiken, Copenhagen, gained
wide notice and influence; he wrote an excel-
lent biography of Niels W. Gade (1917), and
an Autobiography in 2 vols. (1916-17) which
gives a vivid description of mus. life in Copen-
hagen. His interest in the theatre gave impulse
to the compn. of several operettas: Keiserens
nye Klæder (The Emperor's New Robes), text
Eng.
KLEIN, Herman.
mus. critic and
teacher of singing; b. Norwich, 23 July, 1856.
Stud. singing under Manuel Garcia, 1874-7;
began journalism in 1875; critic of Sunday
Times, 1881-1901; Illustrated London News, etc.;
lived in New York, 1902-9; returned to London,
1909; mus. critic for Saturday Review, 1917-21.
Thirty Years of Musical Life in London (New York.
1903, Century Co.); Unmusical New I
York (Lowork.
1910, John Lane): The Reign of Patti (New
Canto
1923); co-ed. of Manuel Garcia's Hints on Singing
(1891, Ascherberg); Musical Notes 1886-9 (Novello).
Lieder in English, over 60 transls, of songs by Sch
bert, Schumann and Brahms (Metzler); etc.-E.-H.
KLEIN, Walter.
rian composer and writer
on music; b. Brünn (Moravia), 23 June, 1882.
Trained in law; lived since 1900 in Vienna, stud.
under Kitzler (teacher of Anton Bruckner).
Wrote a very sound manual of harmony (Inns.
bruck, 1922, Wagner). Songs with pf.; songs
with str. 4tet; Scherzo, pf. (all Breitkopf). Vn.
sonata (publ. by compr.). His works are very
artistic and sound in technique.-P. ST.
KLEINMICHEL, Richard. Ger. compr. and
pianist; b. Posen, 31 Dec. 1846; d, Charlotten-
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KLEMETTI
burg, 18 Aug. 1901. First pf. lessons with father.
(Friedr. Heinrich Hermann K. b. 26 May, 1817;
d. Hamburg, 29 May, 1894; military-band-
master, Posen, Potsdam, Hamburg; later dir.
of music at Stadttheater, Hamburg). 1863-6,
stud. at Leipzig Cons.; teacher of music in Ham-
burg; 1876, dir. of music at Stadttheater,
Leipzig, then at Magdeburg; lived finally in
Berlin. K. appeared several times as pianist,
but was best known as compr. He made many pf.
arrs. of Wagner's and Humperdinck's operas.
Works for pf. (excellent studies); sonata for cello,
Dma. op. 36; Spanish and Italian National Music (for
pf.); songs; chamber-music; 2 symphonies; 2 operas,
The Piper of Dusenbach (Hamburg, 1891); The Castle
of Lorme (Dantzig, 1885).-A. E.
KLEMETTI, Heikki. Finnish choral condr.
b. Kuortane, 14 Feb. 1876. Studied at Hel.
singfors Univ. (Ph.M. 1899), and in local Orch.
School; later at Stern's Cons, and Acad. for
Church Music, Berlin. As condr. of Finnish
Students' Choir (Ylioppilaskunnan Laulajat)
since 1898, and of choral soc. Suomen Laulu
(founded by him in 1900 first as a male choir;
since 1907 enlarged to mixed choir), K. has
greatly spread the art of choral singing in Fin-
land, especially by raising technique and ex-
pression to a very high level. In concerts given
by the Suomen Laulu, great choral works
(many in
Finnis translation) have been perf.
besides the native repertoire. The choir toured
abroad, in 1900-1, 1906 and 1913, visiting
Scandinavia, Germany, Holland, Belgium, Hun-
gary and England. K. is also a compr. (choral
songs, arr. of folk-songs and old music), a his-
torian and writer (Musiikin historia; as yet, 2
vols.), as well as a teacher of singing.-T. H.
KLEMPERER, Otto. Ger. condr. and compr.
b. Breslau, 15 May, 1885. Stud. at Hoch's Cons.
in Frankfurt-o-M., finishing in Berlin (Ph. Schar-
wenka and Pfitzner). 1907, condr. at Ger.
National Theatre in Prague (on Mahler's recom-
mendation); 1909, first condr. in Hamburg;
thence to Bremen, Strasburg, and (1917)
Cologne. Now dir. Grosse Volksoper, Berlin.
Missa Sacra in C, for soll, choir, children's choir,
organ and orch.; Psalm XLII, b. solo, organ and
orch.; Coloratura Aria, as extra number in Rossini's
Barber: songs.-A. E.'
KLENAU, Paul von. Danish compr. b.
Copenhagen, 11 Feb. 1883. Pupil of Hilmer (vn.)
and Otto Malling in Copenhagen; then of Halir
(vn.) and Max Bruch (compn.) in Berlin; and of
Ludwig Thuille in Munich. In 1907, stage-dir.
Freiburg-i-Br.; 1908 to Stuttgart, where he stud.
under Max Schillings; 1914, again to Freiburg
for short time as first condr.; since then, devoted
to compn. in Copenhagen. He is a musician with
a great feeling for harmony, and a strongly
developed sense of form.
3 symphonies; symph. poem, Paolo and Francesca
(Univ. Ed.); ballad, Ebbe Skammelsen (barit. and
orch.); Talks with Death (6 Munich, 1908; Univ.
for contr. with
Ed.): Pantomime-dance, Little Ida's Flowers (after
Gudrun) (Stuttgart, 1916): opera, Kjartan tet
(Mannheim,
E mi.; 9 pf. pieces, Stories of the Pour-year-old
(Schott); songs.-A. E.
KLENGEL, Julius. German cello-virtuoso; b.
Leipzig, 24 Sept. 1859. Brother of Paul Klengel;
271
KLOED
pupil of Emil Hegar and Jadassohn (theory);
1886, first cellist in Gewandhaus Orch., teacher
at Leipzig Cons.
3 cello concertos; 2 str. 4tets; Suite for 2 celli;
cello sonata; 3 cello suites; pf. trio; Serenade for
str. orch.; pieces for 2 and 4 celli; solo pieces for
cello; Practical Teaching Pieces in Expression.-A. E.
KLENGEL, Paul. Ger. violinist and compr.
b. Leipzig, 13 May, 1854. Graduated at Leipzig
Univ.; Ph.D. (dissertation, Esthetic in Music,
1876); 1881-6, condr. Euterpe Concerts at Leip-
zig; 1887-91, second Court-condr. Stuttgart;
1892-8, condr. of Arion and the Acad. of Singing,
Leipzig; 1898-1902, condr. Ger. Choral Union,
New York; returned to Leipzig as condr. of Arion.
Songs and pieces for pf.; 2 suites, vn and pf. op.
38, 40; pieces for vla. and pt. op. 46.-A. E.
KLEVEN, Arvid. Norwegian compr. flautist:
b. Trondhjem in 1900. Pupil of Gustav Lange,
Christiania (theory and compn.). Stud. in Paris,
1921-2. Flautist in National Theatre Orch. 1919;
then in Philh. Soc. Orch. Christiania. His early
talent for compn. has won recognition, especially
through his orch. works, which show a con-
siderable sense for form and a sure mastery of
modern orchestral expression. He is strongly
influenced by Fr. and Eng. Impressionism.
Lotusland,
for orch. (Christiania,
Norwegian C concert, 1922): To akaing
(Two Aquarelles) for orch. (perf. 1923); Poema, op. 3,
(Christiania, 1923).-J. A.
KLIČKA, Josef.
Czechoslovak compr. b.
Klatovy, 1855. Pupil of Skuherský at Organ
School. Was orgt. in Prague; 1876-81, condr.
at theatre; 1891-8, choirmaster of Hlahol,
Prague; 1906-20, public inspector of music in
Bohemia. Prof. at Cons. (first at Organ School)
since 1885; from 1920 prof. at its Master-School.
His compns. in a conservative style are well
adapted for instrs.; the best are for chorus and
organ.
Oratorios: Funeral on the Kank; The Czechs
Arrival at Rip; opera, The Beautiful Miller-girl;
mixed chorus: Hymn; Two Psalms; Ballad of
Bohemian Music; Polka comes; Lumir's Bequest
(with orch.); Our Pearls, etc.; 6 female choruses;
9 masses, 3 concert fantasies, organ; concert fantasia
on chorale St. Václav and Legenda (both in Les
Maltres contemporains d'orgueor harp: 2 str. Stets:
5tet for wind-Instrs. and pf.; 2 str. 4tets; trio;
Gtet.-V. ST.
KLINDWORTH, Karl. German pianist and
teacher; b. Hanover, 25 Sept. 1830; d. Stolpe,
near Oranienburg, 27 July, 1916. Pupil of Liszt
at Weimar; 1854-68, lived in London; 1861-2,
arranged orch. and chamber music concerts;
1868-84, pf. prof. at Moscow Cons.; moved to
Berlin to conduct Philh. Concerts with Jonchim
and Wüllner; opened (with Hans v. Bülow) a pf.
school; 1893, combined with Scharwenka Cons.
Pf. pieces and songs; pf. arr. of Wagner's Nibelun-
gen tetralogy: a compl Chopin Edition; Beet-
hoven's Sonatas, etc.-A. E.
KLINGENBERG, Alf. Norwegian-American
pianist; b. Trondhjem, 8 Sept. 1867. Pupil of
Erika Nissen in Christiania and of Hochschule
in Berlin. Début in Christiania, 1896. Went to
America in 1903. Since 1919, dir. of Eastman
School of Music at Univ. of Rochester.-U. M.
KLOED, Wilhelm Cappele. Norwegian tenor
singer; b. Christiania, 26 July, 1855. Matricu-
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KLOSE
lated in 1874. Pupil of Thv. Lammers in
Christiania. Afterwards stud. in Paris and
Munich. Début in 1879 in Stockholm; engaged
for several years in that city as singer and actor
at a number of theatres. In 1887, dir. of Vasa
Theatre. 1890-9, at Christiania Theatre as
opera-singer and actor; subsequently at National
Theatre. Leading rôles: Faust, Don José (Car-
men), Hoffmann (Tales of Hoffmann), Turiddu
(Cavalleria), etc. Has publ. a book on singing and
a number of pieces for v. and pf.-R. M.
Hugo/gesang Neros (Festal Song of Nero) (Victor
t. solo, chorus, orch, organ (Leipzig, Kahnt);
Prelude and double fugue for organ-4 tpts. 4 trom-
bones at end (Peters): Elegv. vn. and orch.; str.
4tet, E flat (1911, Peters); song-cycle; songs;
choruses (Hug; Kahnt; Leuckart; Univ. Ed.).
Consult his own Mein Künstlerischer
in Neue.
KLOSE, Friedrich. Swiss composer; b. Carls-
ruhe, Germany, 29 Nov. 1862. Studied com-
position under V. Lachner; then in Geneva
under A. Ruthardt; pupil of A. Bruckner in
Vienna (1886-9); returned to Geneva, where
he wrote many of his best works; engaged at
Basle Cons. 1906-7; soon after at R. Acad.
Munich (succeeding Thuille). Resigned 1920;
now lives at Thun, Switzerland. K. has achieved
his greatest successes in purely lyric and drama-
tic works. He may be classed as a Post-Romantic.
His works have been strongly influenced, not
only by Wagner, but by Berlioz and Liszt. He
resembles Bruckner in many ways, in rich
orchestration, and sincerity of expression; but
his music shows more sustained effort and a
more carefully constructed scheme than those of
Bruckner. Those passages of K. which sing in a
pure, classical vein, are most lovely and attrac-
tive. In his Mass, his str. 4tet, his oratorio Der
Sonne-Geist, his melody is superbly rich and
voluptuous.
Mass, op. 6, soll, chorus, orch., organ (Magdeburg.
Heinrichshofen); Elfenreigen, orch. (Leipzig, 1892,
Leuckart); Festzug, orch. (Univ. Ed.): Das Leben
ein Traum (Life a Dream), symph. poem, 3 parts, for
orch. organ, female vs. reciter, brass instrs. 1899
(Univ. Ed.); Ilsebill (The Fisher and his Wife)
symphony (or opera),
Verlag; perf.
oratorio, The Sun Spirit (Der
Ketlaar (Pilgrimage
organ, 1918
chorus, orch., organ (Leuckart);
to Munich, Drei Masken rom Hugo
Carlsruhe, 19030 vs. chorus,
(Univ. Ed.); Die
to Kerclaar) reciter,
Ein
enerusikzeitung, 6 June,
(Berlin,
von F. K. (Carlsruhe, 1907, H. Kuntz); F. K.
and his symph. poem Life a Dream (1905, G. Müller);
them, F. K. (Munich, 1921. Drei Masken
10
79; ob. concerto; vn. concerto;
cello concerto;
vn. Romance, G, ma.; 3 oratorios: The Burial of
Christ: The Destruction of Jerusalem, op. 75 (1899);
Judith (1901); The Holy Night: Pealm of (for chorus,
and orch.); Psalm LI
with
orch.). Operas:
Miriam (Weimar, 1871); Iwein (Neustrelitz, 1870);
Gudrune (Neustrelitz, 1882): The Monk's Wedding
(Dessau, 1886; then as Astorre, Prague, 1888). Fairy
Poems for female chorus, soll and pf., Bremen Town
Musicians and Cinderella; Schilflieder (fantasy
Love Song, op. 80).-A. E.
KNAPPERTSBUSCH, Hans. Ger. condr. b.
Elberfeld, 12 March, 1888.
Stud. philosophy
at Bonn; 1909, went to Cologne Cons. (Stein-
bach, Lohse). 1912-13, cond. Wagner Fest.
Plays in Holland; 1913-18, opera dir. at Elber-
feld; 1918, chief condr. at Leipzig Stadttheater;
1919, opera dir.; 1920, gen. mus. dir. at Dessau;
1922, opera and gen. mus. dir. Munich Opera
(in succession to Bruno Walter).-A. E.
KNITTL
KNEISEL, Franz. Violinist; b. Bucharest,
Rumania, 26 Jan. 1865. Son of a German band-
master in Bucharest; stud. under his father, and
at Bucharest Cons.; a 1st prize in vn.-playing
at 15 years. 1879-82, at Vienna Cons. under
Grün and Hellmesberger. Made début with
Vienna Philh. Orch. 31 Dec. 1882, playing
Joachim's Hungarian Concerto. After a year
as leading violinist in orch. of Hofburg Theatre,
then of Bilse Orch. in Berlin in 1884;
the next year went America as leading
violinist of Boston Symphony Orch. Remained
until 1903, acting as assistant-condr. for
many years; 1892-1908, associate-condr. of
Worcester (Mass.) fests. 1907, one of judges for
vn. class at annual competition of Paris Cons.
Since 1905, head of vn. department of Inst. of
Mus. Art. in New York. Received Mus. D. h.c.
from Yale Univ. 1911, and from Princeton, 1917.
His chief claim to fame rests on his organisa-
tion and direction of Kneisel Quartet (q.v.).
Grand Étude de Concert (Schirmer);
Exercises for vn. (Schirmer, 1910). Compiler
Kneisel Collection for Violin, 3 vols. (Church, 1900).
-0. K.
H. Reinhardt, F. K. Der Sonne-Geist,
guide (Univ. Ed.).-F. H.
KLUGHARDT, August Friedrich Martin.
Ger. compr. b. Köthen, 30 Nov. 1847; d. Dessau,
3 Aug. 1902. Pupil of Blassmann and Ad.
Reichel, Dresden, theatre mus. dir. at Posen,
Lübeck and Weimar. 1873, became Court mus.
dir. at Neustrelitz, 1882 at Dessau; 1900,
Ph.D. h.c. Erlangen University.
2 Festival Overtures (op. 54, A ma. and op.
Overture, op. 45; Victory Overture; 5 sym-
(78)
(Leonore, op. 27; Forest Life, D ma. op. 37;
KNEISEL QUARTET was organised in Bos-
ton, in 1885, by Franz Kneisel (q.v.). Orig.
members: Kneisel, E. Fiedler, Louis Svečenski,
and Fritz Giese. Kneisel was 1st vn. throughout
Its later 2nd
its entire existence of 32 years.
vns. were Otto Roth (1887-99), Karl Ondriček
(1899-1902), J. Theodorowicz (1902-7), Julius
Röntgen (1907-12), and Hans Letz (1912-17).
Svečenski was the only vla. Its later cellists
were Anton Hekking (1889-91), Alwin Schroeder
(1891-1907), Willem Willeke (1907-17). In 1903
the quartet transferred its headquarters to New
York. For many years the quartet was recog
nised as by far the best organisation of its kind
in America. It gave concerts in Europe, where
it was compared favourably with the most not-
able European quartets. Owing to the increased
demand made upon Kneisel's time by vn. pupils,
the quartet ceased its activity in 1917. Fare-
well concert in New York, 3 April.-0. K.
KNITTL, Karel. Czech music-teacher, con-
ductor; b. Polná, 1853; d. Prague, 1907.
Stud. at Organ School, Prague; since 1890,
prof. of Harmony at Prague Cons. 1878-90
5th and 6th C ml.); 2 sultes for orch. op. 40. A me
(6 parts) and op. 67 (Wandering); Capricolo,
and Tarantella for orch. op. 87; 3 pleces for str. orch.
op. 14: pf. 5tet, G ml. op. 43; pf. 4tet, D ma.;
trio, B flat ma. op. 47; str. 6tet, D ma. op. 68; 2 str.
4tets (F ma.; D ma.); 5tet for wood-wind, C ma. op.
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KNOCKER
and 1897-1901, condr. of Prague choral soc.
Hlahol; 1901, administrative dir. of Cons.;
reformed methods there by accentuating general
and theoretical training. Vocal works (all early)
publ. by F. A. Urbánek.-V. ST.
KNOCKER, Editha G. Eng. violinist; b.
Exmouth, 2 March, 1869. Persistent neuritis
broke off her concert-playing; spent several
years teaching in the N. of England; founded a
symphony orch. in York and one at Newcastle
(now cond. by H. Harty); now teaches in London.
Amongst her pupils are Rhoda Backhouse, Sybil
Eaton, Murray Lambert.
The Making of a Violinist (Goodwin & Tabb);
The Violin
(fest. booklet; Paterson, Glasgow. The
KNORR, Ivan. Russ. compr. and teacher; b.
Mewe, West Prussia, 3 Jan. 1853; d. Frankfort-
o-M. 22 Jan. 1916. Stud. at Leipzig Cons. (Rei-
necke, Richter); 1874, music-master at Charkof,
South Russia, and dir. of theoretical instruction
in department of Imperial Mus. Soc.; was called,
1883, to Hoch's Cons. Frankfort-o-M. as teacher
of theory and compn.; dir. 1908.
Exercises for Instruction in Harmony (1903); Text-
book of Fugue Composition (1911); Fugues of the
Well-tempered Clavier pictorially represented (1912);
Biography of Tchaikovsky (1900); and Analysis for
the Musikführer. Orch, and chamber-musle (pf. 4tet,
E flat ma. op. 3; pf. trio, op. 1); Variations on
an Ukraine national song for orch. op. 7 (greatly
esteemed by Brahms); 8 songs, mixed chorus, op. 11;
Ukraine Love Songs for mixed 4tet and pf. Operas:
Dunja, perf. Coblence, 1901; Through the Window,
Carlsruhe, 1908.
Consult: M. Bauer, K., Monthly Mus. Record
(Frankfort-o-M. 1916);
Scott,
(Sept. 1916); also C. Scott's My Years of Indiscretion
(Mills & Boon, 1924).-A. E.
KNOSP, Gaston. Belgian compr. musicologist;
b. Milan, 29 May, 1879. Pupil of Massenet and
Lavignac. 1898-1904, in charge of an official
mission for comparative study of music of the
Far East in Fr. Indo-China (report publ. at
Brill's, Leyden). Wrote art. and monographs on
music of Far East for Lavignac's Encyclopédie.
As compr. specialised in operatic works on
Oriental subjects:
Le Yakounine; La Jeune Fille d'Ohçaka; Les Amants
persan
Also Cydalise; Le Poète et sa Femme (incidental
music to play by F. Jammes, perf. Brussels, 1914).
-C. V. B.
KOCIÁN
KNUTZEN, Martin. Norwegian pianist; b.
Drammen, 24 May, 1863; d. Christiania, 9 Dec.
1909. Pupil of Chr. Cappelen, Drammen, Agathe
Gröndahl, Christiania; of Barth, Berlin, and
Leschetizky, Vienna. Début, Christiania Mus.
Soc. 1887. Gave concerts mainly in Scandinavia
and Germany. Regarded as finest Norwegian
male pianist of his time.-U. M.
KNOWLES, Charles. Eng. operatic barit. b.
Leeds. Stud. under Santley, Randegger and
Henry J. Wood; sang Leeds Fest. 1898, in
Elgar's Caractacus; London Mus. Fest. 1899;
since then, all the leading fests. Hagen in the
Eng. perf. of Ring under Richter, Covent Gar-
den, and Denhof, Beecham tours 1912-13;
toured S. Africa 1913; tours, from 1918.-E.-II.
KNUTSEN, Dagny. Norwegian pianist; b.
Christiania, 30 Nov. 1890. Pupil (pf.) of Anna
Olstad and Fridtjof Backer-Gröndahl, after-
wards of High School in Berlin (pf. Heinrich
Barth), as well as of Cortot and Lortat in Paris.
First independent concert in Christiania, 1914;
has since frequently given concerts there and
elsewhere in her own country, as well as in
Stockholm.
A gifted pianist, who, besides
Brahms and Reger, has especially ultivated
the French Impressionists.-J. A.
T
KOCH, Friedrich E. Ger. compr. b. Berlin, 3
July, 1862. 1883-91, cellist of R. Court Orch.;
mus. dir. Baden-Baden; 1901, member of Berlin
Acad.; 1917, dir. of department for theory at
R. High School of Music, Berlin.
2 symphonies (From the North Sea, op. 4; G ma.
op. 10); symph. fugue, C ml. op. 8; German Rhan-
sody, op. 31 (vn. concerto); Romantic Suite, op. 37,
for pf. and orch.; organ work, Gethsemane; madri-
4- to 6-v. mixed chorus, op. 45; Fantasy Pieces,
gals, of. vn. i
and cello; st
str. trio, op. 9; 4 songs,
barit. and orch.; songs, op. 6 and 38; oratorio, Daytime,
op. 29: The Flood, op. 32: 5 Schiller Poems, op. 39;
German Molets, op.
p. 34: The Prophecy The Cap-
chamber cantata, op. 42; choral works:
tivated Stream, op. 29; The German Fir Tree, op. 30:
symphonietta, Forest Idyll: 3 operas: Die Halliger;
Lea; The Mill on the Hill (Berlin, 1918, Ger. Opera
House).-A. E.
KOCH, Richert Sigurd Valdemar von. Swedish
compr. b. Ángnö (on island near Stockholm),
28 June, 1879; d. Stockholm, 16 March, 1919.
Stud. compn. under Johan Lindegren, and in
Berlin; pf. under Richard Andersson.
Orch.: Romance and Serenade, vn. and orch. (1914;
perf. 1915): Impressions of the Sea (1917: perf. 1918)
In the Fields of Pan, lyric phantasy (1917; perf.
1917); Ballade, pt. and orch.; sonata, vn. and pf.
(1913; perf. 1914); sonata, cello and pf. (1914;
perf. 1915); pf. 5tet (1916: perf. 1916): songs:
pf. pieces (publ. Elkan & Schildknecht; Nordiska
Musikförlaget; Wilh. Hansen).-P. V.
KOCHANSKA-SEMBRICH, Marcelina.
Polish coloratura singer; b. Wisniowczyk,
Galicia, 1858. Stud. pf. at Lemberg Cons. when
a little girl under W. Stengel (later her husband);
then under Epstein in Vienna. In 1875, began to
study singing under Rokitanski in Vienna, then
under Lamperti, at Milan. From 1877, appeared
as a singer and soon attained world-wide fame.
-ZD. J.
Polish violinist; b.
KOCHAŃSKI, Pawel.
Odessa, 1887. At 7 years, pupil of Emil Mlynar-
ski. In 1901, when 14, played 1st vn. in Warsaw
Philh. In 1903, went to Brussels Cons., where,
after four months, he received the Premier prix
avec la plus grande distinction. From this time he
gave concerts in all the chief cities of Europe.
In 1907, became prof. at Warsaw Cons. During
the war he played much in Russia. From 1919,
has been travelling in America, England and
France. (Paul K. should not be confused with the
other fine Polish violinist, Wacław K.).-Z. J.
KOCHAŃSKI, Wacław. Polish violinist; b. in
Has played much in
1884. Pupil of Ševčík.
Poland, Germany and elsewhere. Was first to
give vn. recitals without acc., playing the
solo works of Bach and Reger. Now lives in
Warsaw.-ZD. J.
KOCIÁN, Jaroslav. Czechoslovak violinist;
b. Ústí, near Orlicí, 1883. A pupil of O. Ševčík
After Kubelik he was first
at Prague Cons.
to draw the world's attention to the pedagogic
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KOCZALSKI
supremacy of his teacher. His numerous tours
led him to all parts of the civilised world.
His sweet, soft tone and eminent skill in all
problems of vn. technique are the most re-
markable features of his playing. Has composed
some orch., church and vn. pieces. Lives in
Prague.-V. ST.
KOCZALSKI, Raul. Polish pianist, compr. b.
Warsaw, 1885. Stud. under his father, and in
very early childhood began to give concerts. Is
well known in many countries. Has publ. more
than 70 pf. works of virtuoso character, of which
many are based on Polish national and popular
airs. He also brought out 2 operas on the Ger.
stage: Rymond (Elberfeld, 1902) and Die Sühne
(1909). Lives in Berlin.-ZD. J.
KOCZIRZ, Adolf. Music historian; b. Wiero-
wan (Moravia), 2 April, 1870. Stud. at Olmütz;
came to Vienna and took mus. degree at Univ.
in the Musikhistorische Institut of Guido Adler;
Ph.D. 1903. His special study is the lute and its
music. Ed. (in D.T.O.) Österreichische Lauten-
musik in 16 Jahrhundert (XXXVII) and Öster-
reichische Lautenmusik 1650-1720 (L). His
system of translating the lute-tablatures was
accepted by the International Lute Commission
at Congress of I.M.G. at Vienna.-EG. W.
KOEGLER
in the Hungarian Folk-Music of Zenei Szemle, 1st
year-book (Temesvár, 1917).
Consult: Hungarian Music of To-day (Monthly
Musical Record, Feb. 1922); Z. K. (Musical Times,
May 1922); Della Musica in Ungheria (Il Pianoforte,
July 1921); The Development of Music in Hungary
(Chesterian, Jan. 1922).-B. B.
KOEBERG, F. E. A. Dutch compr. b. The
Hague, 15 July, 1876. Stud. under Nicolai,
Viotta and, in Berlin, under Scharwenka and
Gernsheim. His choral works are in a pseudo-
classical style, but later he was somewhat
influenced by French Impressionism.
3 symphonies; symph. poems: Zeelandia; Avond-
muzick; Zotskap; Zevenzot; Lénore; Plato; over-
tures; triple fugue for str. 4tet; pleces for vn.; pf.;
ob.; a choral work with reciter, Alianora.-W. P
KOECHLIN, Charles. Fr. compr. b. of Alsatian
parents at Paris, 27 Nov. 1867. After receiving
the usual courses of classical and scientific
education, he entered the École Polytechnique.
In 1890 he renounced mathematics and entered
the Paris Cons., where he stud. cpt. under
Gédalge and compn. under Massenet and Fauré.
He did not enter the Prix de Rome competition,
and left the Cons. without diploma or award of
any sort. Since that time, his career has been
uneventful, marked only by hard work and
scant recognition. He is very retiring in dis-
position, and has never taken any steps to speed
the performance or publication of his numerous
works. It is only lately that some of these were
publ., and that a few critics began to call
attention to his music.
The works so far available in print are:
Pf.: 5 Sonatines (Mathot); Paysages et Marines,
12 pieces (id.); 4 books of short pieces (Senart).
Chamber: 1st vn. sonata (id.); sonata for fl. and pf.
(id.); sonata for 2 fls. (id.); 1st str. 4tet (id.).
sonata, cello and pf. (id.); sonata for 2 fls. (id.).
Vocal: songs. books (Rouart, Lerolle); rondels,
3 books (id.); L'Abbaye, solo vs. choir and organ
(Janin).
KODÁLY, Zoltán. Hungarian compr. folk-
song collector, and music critic; b. Kecskemét,
16 Dec. 1882. Stud. compn. (1900) at R. High
School for Music, Budapest, under Hans
Koessler. In 1905, turned his attention.
to the study of Hungarian folk-music, which
he has pursued to this day with enthusiasm,
and has founded a coll. of Hungarian pea-
sant-tunes (about 3500), some noted down
from the mouths of the peasants, others
recorded by phonograph. Most of them were
taken from regions on the confines of Hun-
gary most remote from urban culture, and
least influenced by it. A large number of these
are still in ms. Since 1906, teacher of compn.
at Royal High School for Music, Budapest,
acting as deputy-dir. from Feb. to Sept. 1919.
As critic, has been active on several Budapest
papers (Nyugat, Pesti Napló), and is at present
Hungarian correspondent for the Revue Musicale
(Paris), Musical Courier (New York), and Il
Pianoforte (Italy). His style of compn. owes much
of its character to the individual mus. idiom he
has created for himself out of the Hungarian
peasant-music he has personally collected.
Op. 1,
transl. (100-ongs with pf., Hungarian words, Eng.
Budapest, Rózsavölgyi); op. 2, 1st
str. 4tet (1908; id.); op. 3, 9 pf. pieces (1909, id.);
op. 4, sonata, pf. and cello (1909-10, Vienna, Univ.
Ed.); op. 5, 2 songs with orch. acc. (1912-13, id.);
op. 6, 7 songs with pf. acc. (1912-13, id.); op. 7.
cello (1914, 8, sonata,
solo (1915, id.); op. 3, songs with pf. acc. (1914-15,
id.); op. 10, 2nd str. 4tet (1916-17, id.); op. 11, 7
pt. pieces (1917-1
7-18, id.): op. 12, Serenade, 2 vns, and
vla. (1919-20, id.). Psalm LV, chorus, t. solo and
orch. (1923, d.). Without opus numbers (in collab.
with Bartók), 20 Hungarian folk-songs with pf. acc.
pf. acc. (Vienna, Univ. Ed.). Folk-lore publica-
tions: Ungarische Totenklagen (1924, Rózsavölgyi);
Transylvanian Hungarian Folk-Songs (with Eng. and
Fr. preface), publ. by Bartók and Kodály (Budapest,
1921, Popular Literary Soc.); The Pentatonic Scale
It is hardly possible to form an estimate of
his individuality without taking into account
his considerable orch. output and his unpubl.
chamber-music. The former especially, which
comprises big works such as Les Saisons, Etudes
Antiques, La Forêt Paienne, Chorales for orch.,
reveals aspects of his imagination which are not
to be known from his publ. works. But the
publ. works suffice to show the keenness and
versatility of his imagination, the loftiness of
his ideals, and the excellence of his technique.
The Sonatinas alone will show that he can be
no less original and eloquent while employing
an idiom which would have been found legiti-
mate in the days of Haydn, than he is when
resorting to the most daring polytonal com-
binations.
He contributes articles of mus. philosophy
and criticism to various Fr. periodicals. His
little book, Etude sur les Notes de Passage (Paris,
Monde Musical, 1922), is an invaluable contri-
bution to the study of cpt. and its harmonic
consequences.
Consult: E Vuillermoz, K. (Musiques d'aujour-
d'hui);
Quarterly, April, 1921); M. D. Calvocoress!.
Ch. K. (Mus. Times, Nov. 1921-Jan. 1922).-M. D. C.
KOEGLER, Hermann. Ger. compr. b. Lódź,
2 Feb. 1885. Pupil of Vienna Blind Institute
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KOEMMENICH
(Wotawa, Lafite); 1904-9 of Leipzig Cons.
(Teichmüller, Krehl, Richard Hofmann); lives
at Leipzig.
Pf. fantasy, op. 6; Romantic Serenade (pf, harmo-
nium and cello) op. 17; Easter Hymn (mixed chorus,
orch. and organ) op. 38; Whitsuntide Prayer (mixed
and organ) chorus
a cappella) op. 40; male and female choruses; songs;
the following in ms.: symphony, G ml.; concert
overture; vn. concerto; str. 4tet; pf. trlos; vn.,
cello and pf. sonatas; pf. suites and variations;
Ukraine Fantasy; Prelude and fugue, pf.; pf. pleces;
cantatas; songs, etc.-A. E.
KOEMMENICH, Louis. Amer. choral condr. b.
Elberfeld, Germany, 4 Oct. 1866; d. New York,
14 Aug. 1922. Stud. pf., vn., theory under Krause,
Kranzel and Blättermann in Barmen, and in
Berlin (1885-7) under Kullak, Bussler, Pfeiffer,
Hollaender and Tappert at Kullak's Acad.
Settled in U.S.A. 1890 as condr. of various
choral socs., among them the New York Oratorio
Soo. (1912-17) and the Mendelssohn Glee Club
(1913-19). Comp. male choruses, songs (Dieck-
man; Hug; Leuckart; Schuberth; Schirmer).
-J. M.
KOENNECKE, Fritz. Compr. b. New York,
19 June, 1876. Son of Ger. parents; went to
Munich at 16; devoted himself to music, 1896;
under Rheinberger, Schmidt-Lindner and Thuille.
Songs; duets; opera, Cagliostro (words by Albert
Sexauer, 1907); dramatic-mus. version of Shake-
speare's Tempest (1909, ms.); carnival play, The
Travelling Scholar in Paradise (from Hans Sachs;
Carlsruhe, 1913); 1-act pastoral play, Rococo (publ.
1919);
1915); 3-act opera Magdalena (Charloting Saul and
music to Max Reinhardt's fest. play
King David (1917, not performed).-A. E.
KOESSLER, Hans. Ger. compr. teacher; b.
Waldeck (Fichtelgebirge), 1 Jan. 1853. 1871,
orgt. at Neumarkt (Upper Palatinate); 1874-7,
pupil of Rheinberger at R. School of Music,
Munich; 1877, teacher at Dresden Cons. of
theory and choral singing, and condr. of Choral
Union; 1881, condr. at Cologne Stadttheater;
1882, called to National Mus. Acad. Budapest,
as teacher of organ and choral singing, and
after Robert Volkmann's death, 1883, took
compn. classes. Retired 1908; 1919, went to
Ansbach; 1920, dir. of advanced school for
compn. at Music Acad. Budapest.
Eve Bells (chorus, solo, orch, and organ); 2 str. 4tets;
str. 5tet; str. 6tet; vn. sonata; 2 symphonies;
symph. variations, orch.; vn. concerto, A mi. In
passacaglia form; Walls-Suite, pf.; 2 Psalms; Mass,
female vs. and organ; Hymn to Beauty, male chorus
and orch.; chamber-songs with ob. horn and str.
Stopern, Der Münzenfranz (Strasburg, 1902).
E.
KOHMANN, Antoni. Polish t. singer. b. in
Cracow, 1879. Stud. under Stockhausen, and later
under Horbowski. Lives in Frankfort-o-M. Well
known in Germany, France, Holland, Denmark,
Poland, and Sweden; particularly eminent in
oratorios and in songs.--Zo. J.
KOLAR, Victor. Amer. violinist, condr. b. Buda-
pest, Hungary, 12 Feb. 1888. Son of Bohemian
parents, stud. at Prague Cons. under Dvořák.
In 1904, went to America as violinist in Chicago
Orch.; 1905, joined Pittsburg Orch.; 1907-19,
member of New York Symphony Orch., acting
as assistant-condr. after 1915. Now assistant-
condr. of Detroit Symphony Orch. His symph.
KORESHTCHENKO
poem Hiawatha was perf. by Pittsburgh Orch.
31 Jan. 1908. A symph. poem, A Fairy Tale,
perf. by New York Symphony Orch. (16 Feb.
1913); symph. suite, Americana (25 Jan. 1914).
Symphony in D by the same orch. (28 Jan.
1916), and Slovakian Rhapsody for orch. at
Norfolk (Conn.) Music Fest. 7 June, 1922.
Americana, orch.pt. (id. 1914); 3 songs, op. 18
op. 20 (Schirmer, 1914); 3
vn. and 1
(C. Fischer, 1912).-0. K.
KOLDERUP, Amunda. Norwegian operatic s.
singer; b. Furnes, Hedemarken, 15 Dec. 1846;
d. Christiania, 28 Sept. 1882. Pupil of Baroness
A. Leuhusen (Stockholm), R. Levy (Vienna), and
San Giovanni (Milan). Début as concert-singer in
Stockholm, 1874; as opera-singer at Olmütz,
1875. Sang more than 20 leading rôles in Ger.
and Austrian opera houses (Elizabeth, Elsa,
Fidelio, Countess [Marriage of Figaro], Margaret,
Aida, etc.). One of most brilliant of Norwegian
vocalists.-U. M.
KOLLER, Oswald. Austrian music historian;
b. Brünn, 30 June, 1852; d. Klagenfurt, 10 June,
1910. Collab. of Guido Adler at Vienna Music and
Theatre Exhibition in 1892; worked especially
on medieval music. Ed. (in D.T.Ö.) the songs of
the Austrian troubadour Oswald von Wolken-
stein (IX, 1) and (in collab. with G. Adler) first
selection of the famous Music Codices of Trent
(South Tyrol, now Italy), one of the best sources
of music of xv century.-EG. W.
KONTA, Robert. Austrian compr. and writer
on music; b. Vienna, 12 Oct. 1880. Ph.D.
Vienna Univ.; pupil of Vítězslav Novák (famous
Czech compr.). Since 1911, teacher of music-
theory at New Vienna Cons. Critic of Mittags-
zeitung. As dramatic compr. tries to combine
folk-song style with a simple fairy-tale manner.
Writes his own opera-books.
Operas:, 1908: Der bucklige Geiger (The Hump-
Das kalle Herz (The Cold Heart), perf. at
backed Fiddler) perf. Prague, 1910; Kohlenpeler
(Charcoal-Burner) perf. Vienna, 1916; Jugunde, perf.
Prague,
not yet perf. Also sym-
phony (perf. Prague, 1909): vn, concerto; songs;
music to accompany recitation.-P. P.
KONUS. See CONUS.
KONZERTMEISTER (Ger.). The leading first
violinist in an orchestra.-E.-H.
KOPSCH, Julius. Ger. compr. b. Berlin, 6 Feb.
1887. Stud. law, at same time pupil (1905-11)
of W. Klatte (compn.) and Arno Kleffel (con-
ducting); 1911, mus. dir.; now dir. Landes-
orchester and chief mus. dir. National Theatre,
Oldenburg.
Tot, 1917: vn. and pf. sonata, 1919; symphony,
Comedians, 1914; str. 4tet, 1916 pf.
concerto,
1920; songs.-A. E.
KOPYLOF, Alexander Alexandrovitch (accent
3rd syll.). Russ. compr. b. Petrograd in 1854; d.
there 7/20 Feb. 1911. Pupil of Gunke, Liadof
and Rimsky-Korsakof.
Symphony; concert overture; 2 str. 4tets; choral
music; pf. pieces.-M. D. C.
Nicolaevitch.
KORESHTCHENKO, Arseny
Russ. compr. b. Moscow, 6/18 Dec. 1870. Pupil
of Tanéief and Arensky at Moscow Cons.
Operas: Balthazar's Feast (1892); The Angel of
Death (1895); The Ice Palace (1900); a symphony;
2 suites and other orch. pieces;
pf. music;
small quantity of chamber-msong. D. C.
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KÖRLING
KÖRLING, J. Felix A. Swedish compr. b.
Kristdala 17 Dec. 1864. Stud. R. Cons. Stock-
holm, 1884-6; orgt. and choirmaster in Halm-
stad from 1889; condr. of choral societies.
Well known as compr. of children's songs; songs
for male vs. and operettas: Guldgruvan (The
Gold-Mine) (Stockholm, 1912); Rubber (Gothen-
burg, 1917); Jockeyen (The Jockey) (Stockholm,
1918).-P. V.
KORNAUTH, Egon. German - Czechoslovak
compr. b. Olmütz, 14 May, 1891. Pupil in Vienna
of R. Fuchs and Fr. Schreker; 1900, accompanist
in N. America; 1912, won Austrian State prize
for vla. sonata, op. 3; 1915, Vienna, Ph.D.
under Guido Adler; 1917-18, solorepetitor
at R. Opera, Vienna; 1919, won the Gustav
Mahler Foundation. Since that time has been
travelling.
KOUBA
shaping of musical drama. Consult: Stefan,
Neue Musik und Wien; R. St. Hoffmann,
E. W. K. (Anbruch, IV, 5-6), and same author's
book about this composer (1923, Stephenson).
-P. ST.
KORNGOLD, Julius. Austrian musicologist; b.
Brünn, 24 Dec. 1860. Took law degree in Vienna.
Became a lawyer and music critic in his native
town. Was called in 1902 by Hanslick to Neue
Freie Presse; worked there first with Hanslick,
then as his successor. K. renounced the anti-
Wagnerian tendencies of his predecessor and
endeavoured to do justice to modern times,
supporting Gustav Mahler most enthusiastically.
His collected essays, Deutsches Opernschaffen,
Vol. I, appeared 1920; Die romanische Oper der
Gegenwart, 1922. Other colls. are in preparation.
His son is Erich Korngold, the compr.-P.
KORNSTEIN, Egon. Hungarian vla.-player
of the Hungarian Str. Quartet (led by Wald-
bauer). Pupil of Hubay, at R. High School for
Music, Budapest.-B. B.
Symphonietta G mi., orch.; Fest. Prelude, E flat ma.
full orch.; songs for orch.; str. Gtet, A mi.; pf. 4tet,
E mi.; pf. trio, B mi.; sonata, vla. and pf. C sharp
mi.; pf. sonata, A flat; sonata, clar, and pf. F ml.:
sonata, vn. and pf. E mi.; pf. fantasia, E flat mi.;
Fantastic Scherzo, fl. and pf.; Evening Music, str.:
songs with fl.-obbligato; pf. music; choruses.-E. S.
KORNGOLD, Erich Wolfgang. Composer;
b. Brünn, May 29, 1897. Son of well-known
music-critic (now on the Neue Freie Presse), Dr.
Julius Korngold. Showed precocious talent as
a composer. Pupil of Fuchs and Zemlinsky. All
his works (symphonic, chamber-music, songs
and 3 operas) have been given in the chief cities
of Europe and America in rapid succession and
have remained in the repertoire. Korngold
often conducted his operas and concerts him-
self with great ability, and was conductor in
Hamburg for a short time. He lives in Vienna
now, devoted entirely to composition.
His first works were the ingenuous pantomime
Der Schneemann (performed at Vienna Opera
House, 1908, with Zemlinksy's instrumentation)
(Univ. Ed.); piano trio, op. 1, and a few piano
pieces without opus number (Don Quixote).
Written at age of 11 years, they are very
remarkable for their vigorous melody and bold
harmony. His other works (Schott)-second
piano sonata, op. 2 (1910), Märchenbilder (pf.)
op. 3; Schauspiel-Ouvertüre, op. 4-show already
his orchestral mastery; also Sinfonietta, violin
sonata, op. 6, string sextet, op. 10. A string
quartet, op. 16, and a piano quintet, op. 15,
are in preparation. The symphonic overture,
Sursum Corda (orch.), Einfache Lieder, op. 9,
and Lieder des Abschieds, op. 14, are often per-
formed. His operas, Der Ring des Polycrates,
op. 7 (buffa) and Violanta, op. 8 (tragic, from
the Renaissance period), were_great stage suc-
cesses, yet eclipsed by Die Tote Stadt (after
Rodenbach's Bruges la morte). Korngold's
entire production holds to tonality. In his
operas he shows a quick and infallible percep-
tion for both stage and musical effects. His
dramatic accents are often enrapturing and his
recognition of the rights of the singing-voice
has a pleasing effect. Korngold is not only one
of the most remarkable phenomena in the
history of music, but, mature as he is now, he
may be of great importance to the future
KÖRNYEY, Béla. Hungarian t. singer; b.
Perőcsény, 18 May, 1875. Member of R. Hun-
garian Opera House, Budapest, with few inter-
ruptions, 1907-22.-B. B.
KOROLEWICZ-WAYDOWA, Janina. Polish
coloratura and dramatic s. singer; b. Warsaw,
1875. Pupil of Wysocki and Alexander Myszuga
in Lemberg. Appeared very early (1893) and
sang at Warsaw, Lemberg, Cracow, in Italy,
America, Australia, Russia; now sings chiefly in
concerts.-ZD. J.
KÓSA, Georg. Hungarian compr. b. Buda-
pest, 24 April, 1897.-B. B.
KÖSELITZ, Heinrich. Real name of Peter
Gast (q.v.).
KOTHE, Robert. Ger. lute-singer; b. 6 Feb.
1869. Stud. law and music at Munich; practised
as lawyer, but turned to music; stud. old Ger.
national songs and lute-playing; since 1903
appeared as lute-singer. Lives in Munich,
carrying on movement to revive national songs,
especially appreciated by the Ger. Wandervögel
students.
Poems: Trot, my Steed, trot (1910); Mother, give
me thy son (1915); 12 text-books of songs with lute
acc.; 1 for lute and viol da gamba; 1 with lute
and female chorus; Tutor for guitar- and lute-
playing (Magdeburg, Heinrichshofen). Consult Fritz
Jöde, R. K. (1916).-A. E.
KOTHEN, Axel, Baron von. Finnish barit.
singer; b. Hamina (Fredrikshamm), 15 Aug.
1871. Also teacher of singing and compr. Stud.
music in Rome, Petrograd, Vienna, Paris, Ber-
lin, Munich. Prof. at R. Liceo Mus. di Santa
Cecilia, Rome, 1900; teacher of singing at Hel-
singfors Music Inst. Has comp. cantatas, orch.
and choral works and songs.-T. II.
KOTILAINEN, Otto. Finnish compr. b.
Heinävesi, 5 Feb. 1868. Stud. at Helsingfors
Music Inst. and Orch. School; later abroad,
chiefly in Germany. Teacher at Helsingfors
Music Inst. Has comp. orch. works, stage-music,
choral works, and songs.-T. H.
KOUBA, Josef.
b. Prague, 1880.
Czech compr., violinist;
Stud. Prague Cons. under
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KOVÁCS
Ševčík and Bennewitz; Konzertmeister at
German Theatre, Prague. Took private lessons
in compn. from Vítězslav Novák.
Str. 4tet: vn. sonata, pf. and vn. pieces (publ.
Chadim; IIudební Matice, Prague).-V. ST.
KOVÁCS, Sándor. Hungarian pianist and
teacher; b. Budapest, 24 Jan. 1886; d. there,
Has written several books on music-
teaching.-B. B.
1917.
KOVAŘOVIC, Karel. Czechoslovak compr.
condr. b. Prague, 1862; d. there, 1920. Stud.
harp and clar. at Cons. there; up to 1885 mem-
ber of orch. at National Theatre, Prague. Pupil
in compn. of Zd. Fibich (1878-82); condr. to
theatres of Plzeň (Pilsen) and Brno (Brünn),
1886-8; 1895, condr. symphony concerts at
Ethnographic Exhibition, Prague. Appointed
chief condr. of opera at National Theatre in
1900, when its management was modernised.
He held this post till his death. In 1919 was
condr. of Czechoslovak Fest. in London, Paris,
and Switzerland. He created the ideal type for
perf. of Smetana's operas, did much for the stage-
works of Dvořák, helped Janáček's success,
besides giving Wagner's later operas, Strauss's
new works and French operas of the Massenet
type. He polished his orch. performances up to
chamber-music perfection. In his own works
there is a mixture of Smetana's cheerfulness
with French grace and the sentimentality of a
Massenet. His last two operas are simple,
melodious, eloquent and therefore popular.
Operas: Ženichové (The Bridegrooms) 1882; Cesta
oknem (The Way through the Window) 1885; The
Night of Simon and Jude (1891); Psohlavci (Dog-
heads), 1896, libretto by K. Sipek after Jirásek's
novel; Na starém bělidle (At the Old Bleaching-ground),
1900, libretto by Sipek after B. Němcová. Melo-
dramas: The Orphan; The Golden
7 ballets (3 under pseudonym Chinning Wheel;
KREHBIEL
Gurnemanz; 1908, singing-teacher at R. Acad.
of Music, Munich. His wife, Adrienne (b.
Buffalo, North America, 1873), pupil of Auguste
Götze and of her husband, is contr. opera- and
concert-singer.-A. E.
KRAUSE, Emil.
Ger. teacher and compr.
b. Hamburg, 30 July, 1840; d. there, 5 Sept.
1916. Stud. under Hauptmann, Rietz, Moscheles,
Plaidy and Richter at Leipzig Cons.; Ham-
burg 1860, teacher of pf. and theory; 1864
1907, music critic of Fremdenblatt; since 1885
teacher and prof. at Hamburg Conservatoire.
Contributions to Technique of Piano-playing, op. 38
and 57; New Gradus ad Parnassum, op. 95; Exercise-
Book for Harmony (1869, 8th ed. 1908; chamber-
music;
3 cantatas; Ave Maria, 6-v. double choir;
a Requiem, Den Heimgegangenen, chorus and orch.
op. 119 (Hebbel); songs; educational pamphlets;
Guide to Mus. History (1906).-A. E.
KREBS, Carl. Ger. musicologist; b. Hanse-
berg, near Königsberg, Neumark, 5 Feb. 1857.
Stud. natural science, then music at R. High
School of Music, Berlin, science of music at
Univ. (Spitta); Ph.D. Rostock, 1895, with
Girolamo Dirutas Transilvano (Vierteljahrs-
schrift für M.W., 1892); teacher of musical
history at R. High School of Music; critic
for Vossische Zeitung, Moderne Kunst, Deutsche
Rundschau and Tag.
Women in Music (1895); Haydn, Mozart, Beet-
hoven (1906, 3rd ed. 1920); Dittersdorfiana (1900);
Creation and Reproduction of Music (1902); Pre-
eminent Conductors (1920); Ph. E. Bach's Sonatas
for Connoisseurs and Lovers (1895); Beethoven's
Sonatas in Original Form (1898); Des jungen
Kreislers Schatzkästlein (1908, for Brahms Soc.).
-A. E.
KREHBIEL, Henry Edward. Amer. critic,
author; b. Ann Arbor, Mich., U.S.A., 10 March,
1854; d. New York, 20 March, 1923. The most
influential Amer. music critic of his time.
Educated in public schools of Michigan and
Ohio; stud. law in Cincinnati, 1872-4. Aban-
doned law for mus. journalism, writing (1874-
80) for Cincinatti Gazette. Then went to New
York as ed. of New York Musical Review and
critic New York Tribune. For this latter.
newspaper he wrote reviews and criticisms
up to the time of his death. Widely known as
lecturer on mus. topics, and no small part of
his educative influence was exerted through the
illuminating analytical notes which for many
years he provided for the programmes of Philh.
Soc., the Oratorio Soc., the Mus. Art Soc. and
other concert organisations. He was the chief
Amer. contributor to the revised ed. of Grove's
Dictionary.
Forgeron);
symph. poem, Persefona; 3 str. 4tets; vn. sonata;
pf. concerto. (Last 2 operas publ. by Hudební Matice;
other works by F. Urbánek, Prague.)-V. ST.
KRALIK, Heinrich von. Austrian mus. author
and critic; b. Vienna, 27 Jan. 1887. Son of Richard
Kralik, the well-known historian and poet. Stud.
mus. science at Vienna Univ. His dissertation
for Ph.D. degree was a treatise on Dittersdorf's
Symphonies. Mus. critic of Wiener Zeitung;
since 1918 of Neue Wiener Tagblatt.-P. ST.
KRAMER, Arthur Walter. Amer. compr. b.
New York, 23 Sept. 1890. Graduated A.B., Coll.
of City of New York, 1910. Stud. in New York
under Karl Hauser and Richard Arnold (vn.)
and James Abraham (pf.). Since 1910, on
staff of weekly journal Musical America. Two
Sketches for orch. op. 37a (ms.), were perf. by
New York Philh. Orch. 27 Feb. 1916.
Elegy, str. 4tet (Boston Music Co.); Eklog, vn.
(Schmidt); other vn. and pf. pieces and many songs
(C. Fischer; J. Fischer; Schirmer; Ditson; Boston
Music Co; Church): choruses (Ditson; Church;
J. Fischer); Concert Prelude, organ (Church).-O. K.
KRASA, Hans.
Ger.-Czechoslovak compr.
b. Prague, 1895. Pupil of A. Zemlinsky. Adopts
the atonal style of Stravinsky.
Songs with orch. to words by Christian Morgen-
stern. E. S.
KRAUS, Felix von. Austrian b. singer; b.
Vienna, 3 Oct. 1870. Stud. music Vienna (Ph.D.
1894); pupil of Stockhausen for 2 months, then
self-taught; 1899 at Bayreuth as Hagen and
277
An interested student of folk-music, an enthu-
siastic lover of the classics with a wide know-
ledge of older and newer music, K. was always
a carefully discriminating critic, ready to wel-
come what he considered good in new comprs.
and performers, and by his sane criticisms and
commentaries he did much for the growth of an
intelligently appreciative attitude on the part
of the Amer. mus. public. He was interested
in opera in English, and made perf. transl. of
Nicolai's Merry Wives, Paderewski's Manru,
and Wagner's Parsifal.
In 1900, was member of international jury at
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KREHL
Paris Exposition; awarded Cross of the Legion
of Honour 1901. In 1909, received degree of
A.M. h.c. from Yale University.
Notes on the Cultivation of Choral Music and the
Oratorio Soc. of New York (New York, E. Schubert
& Co. 1884); Studies in the We
Forper, 1891); The Philharmonerian Drama (N.Y.
of New
(N.Y. Novello, 1892); How to Listen to Music
(N.Y. Scribner, 1896); Music and Manners in the
Classic Period (N.Y. Scribner, 1898); Chapters of
Opera (N.Y. H. Holt & Co. 1908); A Book of Operas
(N.Y. Macmillan, 1909); The Pianoforte and its
Music (N.Y. Scribner, 1911); Afro-American Folk-
ONA
Macmillan, 1917); More Chapters of Opera
(N.Y. H. Holt & Co. 1919). Ed. of A. W. Thayer's
Life of Ludwig van Beethoven, ed., rev. and amended
from orig. Eng. ms. and Ger. ed., New York. Publ.
for Beethoven Association (G. Schirmer), 1921.
3 vols.-0. K.
KREHL, Stephan. Ger. compr. b. Leipzig.
5 July, 1864. Stud. Leipzig and Dresden Cons.;
1889, teacher of pf. and theory Carlsruhe Cons.;
1902, at Leipzig Cons.; 1907, member of educa-
tional council; 1910, professor.
Vn. sonata, A ma. op. 8; cello sonata, F ma. op.
20; str. 4tet, A ma. op. 17; clar. Stet, op. 19; pf.
trio, D ma. op. 32; symph. introduction to Haupt-
mann's Hannele, op. 15; cantata, Consolation (solo,
chorus and orch. op. 33); pf. pieces; songs. Wrote
for Göschen Coll. Practical Instruction in Form
(1902); General Music Instruction (1904, 1910);
Counterpoint (1908, 1912); Explanations for Fugal
(1909); Harmony Instructor in 3 parts;
Compos Mus. Art and Compn. Consult Fritz Reuter,
S. K. (1921).-A. E.
KREISLER, Fritz. Austrian violinist; b.
Vienna, 2 Feb. 1875. Stud. at Cons. there under
Hellmesberger; under Massart and Delibes in
Paris. In 1915, went to U.S.A. Wrote Four
Weeks in the Trenches (1918). From 1919, has
given concerts in Europe and America.
KŘIČKA
in study of music of Middle Ages and the de-
ciphering of neums, especially of the so-called
romaniens. He wrote an excellent work on the
Unifying Role of the Liturgical Organist.-C. V. B.
KRETZSCHMAR, A. F. Hermann. Ger. writer
on music; b. Olbernhau (Erzgebirge), 19 Jan.
1848; d. 10 May, 1924. Attended Kreuzschule,
Dresden; stud. philology at Leipzig; took docto-
rate with Latin essay Musical Signs before Guido
d'Arezzo, 1871; at same time pupil and teacher
at Leipzig Cons.; till 1876 condr. at Leipzig;
then theatre condr. at Metz; 1877, Univ. mus.
dir. Rostock; 1880, municipal mus. dir.; 1887,
at Leipzig Univ. mus. dir. and condr. of "St.
Paul's," and Univ. lecturer for mus. literature;
1888, condr. of Riedel Soc.; 1890, started Aca-
demical Orch. Concerts (with historical pro-
grammes) which lasted till 1895; 1898, owing
to ill-health, gave up positions, retaining only
academical lecturing post, and became lecturer
in mus. history at Cons.; 1904, given newly-
created degree of Prof.-in-ordinary of music at
Berlin Univ.; 1907-22, dir. of R. Inst. for
Church Music; 1909-20, dir. of R. High School.
K. was, with Riemann, Germany's leading
music researcher.
Concert Guide (Division I: symphony and suite,
1887, 5th ed. 1919; Division II: religious works,
1888, 4th ed. 1918; oratorios and choral works,
1890, 4th ed. 1920); last vol. (46th) Bach ed., J. S.
Bach's Handwriting in chronologically ordered 'repro-
duction. Essays in Musikalisches Wochenblatt, Grenz-
1903): Vierteljahrsschrift für Musikwissenschaft, and
Jahrbuch der Musikbibliothek Peters. Collection of
Essays appeared 1911 (Vol. I from Grenzboten; Vol.
II from Peters' Jahrbuch); 1st vol. History of New
Ger. Songs, 1912; History of Opera, 1919; Introduc-
tion to Mus.
1920 (Bach-Kolleg, 1923).
Ed. of Holzbatory: ther von Schwarzburg and
Operetta, Apfelblüten (New York, 1919); str.
4tet, A mi.; a large number of arrs. of classical
pieces for vu. and pf.-E.-H.
KREJČÍ, Miroslav. Czechoslovak compr.
b. Rychnov, near Kněžnou, 1891. Pupil of
Vítězslav Novák; prof. in Prague.
2 str. 4tets; 5tet
tycles; orch. suite, King Lad str.; choruses; pf.
Hudební Matice.) V. ST.
Lávra. (In ms. publ.
KŘENEK, Arnošt (Ernest).
Czechoslovak
compr. b. Vienna, 1900. Stud. under Fr. Schre-
ker in Vienna and Berlin; lives (since 1920) in
Berlin. His energetic music, formed by strictly
a linear part-writing, is guided more by the
musical idea and its development than by any
attempt at intensity of feeling. His free poly-
phony leads him to the atonal style.
3 symphonies; 2 str. 4teta (1st one, Univ. Ed.,
Vienna); pf. sonatas (Univ. Ed.); vn. sonata; Con-
certo Grosso for str. solo instrs. and str. orch.; symph.
music for 9 solo instrs.; dramatic cantata, Zwingburg.
-V. ST.
Vols. VIII and IX of D.d.T.:
of Ernst
Bach and Val. Herbing, D.d.T. XLII.-A. E.
KREUTZ, Edvard Sylou. Norwegian pianist;
b. Christiania, 7 May, 1881. Stud. under Agathe
Gröndahl, Iver Holter and Catharinus Elling in
Christiania; also for several years in Berlin and
Vienna. First concert in Christiania, 1910. Con-
cert-tours Norway. Has worked with zeal
for improvement of position of Norwegian
musicians, especially of music-teachers.-U. M.
KREYN, Alexander Abramovitch. Russ. cellist,
compr. b. Nijny-Novgorod, 1883. Stud. cello at
Moscow Cons. Self-taught as regards compn.
Symphony: Lyric Poem for orch.; pieces for pf.;
for vn.-M. D. C.
KREYN, Gregory Abramovitch. Russ. compr.
b. Nijny-Novgorod, 1880. Stud. cpt. under P.
Juon and fugue under Glière; but his compns.
show no trace of their influence.
Str. 4tet; pf. 4tet; pf. sonata; other pf. plecos;
songs. V. B.
KREPS, Joseph. Belgian orgt.; writer on
music; b. Antwerp, 23 May, 1886. Orgt. at
Mount César Abbey, Louvain; stud. music
under Léon Du Bois, Joseph Jongen, and
Lodewijk Mortelmans. Various organ pieces;
songs on Flemish texts. His most characteristic
work is that composed for ceremony of laying
foundation-stone of the new Louvain Univ.
Library, built by the U.S.A. (28 July, 1921).
There is in it a curious blending of Gregorian
chant with acc. of brass instrs., chimes and
military tpts. As a scholar he has specialised
KRIBEL-VANZO, Anna. Norwegian s. singer;
b. Trondhjem, 20 Aug. 1863.
Pupil of Mme.
Marchesi, Paris. Gave concerts with great suc-
cess in native land, in Paris and in Germany.
Married in 1891 Count Vittorio Vanzo, at that
time orch. condr. at La Scala, Milan.-U. M.
KŘIČKA, Jaroslav. Czechoslovak composer;
b. Kelč (Moravia), 1882. Stud. first at Univ.;
1902-5, Prague Cons. under Stecker for compn.
After a year's study in Berlin, he was (till 1909)
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KŘÍDLO
prof. of compn. in Ekaterinoslav (Russia); then
in Prague; first as choirmaster of Vinohradský
Hlahol (until 1911), then of Hlahol, Prague
(until 1920). His work as choirmaster was re-
markable for perfection of rendering, as well
as for novelty of programmes. 1920, prof. of
Cons. Prague. After having been eclectic in
his youth, K. inclined later to Russ. music;
later still, to V. Novák. His very own world is
that of a subjective lyricism, sometimes pas-
sionate and thrilling, sometimes smiling, and full
of mischievous humour. His simplicity and his
love for children are shown in his compns. for
children by their originality, expressiveness and
merriment. His later works show depth of
thought and feeling and a growing mastery of
climax.
Song cycles: Severní noci (Northern Nights); O
lásce a smrti (Love and Death); Pisně rozchodu
(Farewell Songs). Choral works: Zrození pramene
(The Birth of the Fountain); Slovensku (Slovakia);
Záblesky (Lightning); Pozdrav_(Greeting); Ve vý
chodní září (In Eastern Light). For orch.: Venkovské
scherzo (Idyllic Scherzo); Modrý pták (The Blue Bird,
overture); Adventus; Pokušeni (The Temptation, a
cantata for chorus, soli and orch.). Opera, Hippolyta
(Hippolita in the Hills; on Hewlett's story). Pf.
cycles: Intimní skladby (Intimate Pieces); Lyrická
suita (Lyrical Suite). For children: operetta, Ogari;
songs: Tři bajky (3 Fables); Jaro pacholátko (Fellow
Spring); Dětem (To Children). Mostly publ. by
N. Simrock, Berlin; Hudební Matice, Prague; Fr. A.
Urbánek; M. Urbánek, Prague.-V. ST.
KŘÍDLO, Bedřich. Czech compr. b. Kopid-
Ino, 1876; d. 1902. Stud. Prague Cons.; prof. at
Cons. in Kischenef.
Symph. poem, Arrival of Spring: str. 4tet; pf.
trio; pf. pieces; songs; choral works. (F. A. Urbá-
nek, Prague.V. ST.
KRIJANOVSKY, Ivan Ivanovitch (accent the
OV).
Russ. compr. b. 8 March (n.s.), 1867.
Pupil of Rimsky-Korsakof at Petrograd Cons.
Physician by profession. Imprisoned in Germany
during war. Now prof. at Medical Inst. Petro-
grad.
Pr. concerto; vn. concerto, op. 10; vn. sonata,
E mi. op. 4; cello sonata, op. 2; Ballade, vn, and pf.
op. 11; many songs; pieces for organ and for other
State (publ. by J. I. Zimmerman: Belaief; Russ.
Music B.
KRILOF, Paul Dmitrievitch (accent 2nd syll.).
Russian composer; b. Tver, 6/18 Feb. 1885.
Finished Moscow Univ. course, 1907; pupil of
Korestschenko in music-school of Moscow Philh.
Soc. (1909-12); 1920, appointed prof. at Moscow
Cons. His works are mostly unpublished.
Opera, The Fountain of Bakhchisaray; symphony
in C mi.; symph. poem, The Spring; 3 pf. sonatas
(D mi.; B flat mi.; D mi.); choruses, etc.-V. B.
Ed.
KŘÍŽKOVSKÝ, Pavel. Czechoslovak compr. b.
Holasovice (Silesia), 1820; d. Brno (Brünn), 1885;
priest in Brno and Olomouc (Moravia).
popular songs; Fr. Sušil pointed out his way to
the national music. K. wrote choruses on popular
words, wherein for the first time, even before
Smetana, the native tones are touched. He cond.
the Filharmonická Beseda (Philh. Soc.) in Brno,
which he founded.
Chief choruses: Utonulá (The Drowned Girl); Dar
za lásku (4 Gift of Love); Odpad felhodius, for choir
faithful); St.
and brass band. V. ST.
KROMOLICKI
of few Amer. musicians of note who have obtained
their whole mus. training in U.S.A. Stud. pf.
under Froelich, Malmene, and Kunkel; theory
under Malmene, Golder and Anton; vn. under
Spiering and orch. under L. Mayer, all in St.
Louis. Began giving concerts, including his
own works, in 1886. Has establ. a repertoire of
1000 pieces played from memory. Since 1887,
head of coll. of music of Forest Park Univ. (for
women), St. Louis. In 1904, also establ. a school
of his own. Has held a number of organ posi-
tions; at present (1922) orgt. of Delmar Baptist
Ch.
Cond. the Morning Choral Club (female
vs.) 1893-1903, and Amphion Club 1910-12.
His unpubl. overtures, Sardanapalus, Hia-
watha, Atala, Thanatopsis and Endymion, have
been perf. in America. His latest orch. work,
Festival Overture, to commemorate Missouri
Centennial, was perf. by St. Louis Symphony
Orch. 6 Nov. 1921. Pf. 4tet played Philadelphia,
1889; pf. 5tet, Detroit, 1890. These and 4 str.
4tets are in ms. In 1904 made Officier de l'Aca-
démie. Since 1915, member of National Inst.
of Arts and Letters.
12 Concert Études, pf. op. 30; vn. sonata, op. 32;
pf. sonata, op. 40 (all Breitkopf); Romance, pt.
op. 63, No. 3 (Willis). Many pf. pieces, songs,
choruses (Ditson; Schmidt; Church; Presser).-O. K.
KROGH, Erling. Norwegian dramatic t. singer;
b. Christiania, 12 Sept. 1888. Trained under Ellen
Schytte-Jacobson (Christiania), Peter Cornelius
(Copenhagen); also stud. (with a scholarship) in
Paris. Début at concert in 1915. From 1918-21,
was one of leading performers at the short-lived
theatre Opéra-Comique, Christiania. Chief
rôles in Tannhäuser; Pagliacci; Cavalleria Rusti-
cana; Samson and Delilah; The Jewess, etc.
Gave concerts in Copenhagen which won great
favour. Highly-esteemed concert - singer in
Christiania.-R. M.
KROHN, Ilmari. Finnish musicologist and
compr. b. Helsingfors, 8 Nov. 1867. Ph.M.; prof.
of science of music at Helsingfors Univ. As the
first representative of modern mus. science in
Finland, K. has specially devoted his studies
to folk-song and music theory. His chief scienti-
fic contributions are the systematised ed. of
Finnish folk-melodies (Suomen kansan sävelmiä,
I-III, 1893-1912), the dissertation Über die
Art und Entstehung der geistl. Volkamelodien
in Finnland. (The Nature and Origin of
Religious Folk-Song in Finland), and a large
compendium of theory of music, Musiikin
teorian oppijakso, of which 3 vols. have appeared:
Rytmioppi (Rhythm); Säveloppi (Melody); and
Harmoniaoppi (Harmony). K. was made foreign
member of R. Inst. for Music Research, Bücke-
Stud.,
burg, Germany. Is a fertile compr.
among other places, in Leipzig, 1886-90; collab.
with Mikael Nyberg and H. Klemetti in editing
church music.
Oratorio, Ikiaartehet (The Eternal Treasures), 1912;
opera, Tuhotulva (The Flood), 1919; songs; choral
works, secular and sacred; folk-songs and chorales;
a cantata, etc.-T. H.
KROMOLICKI, Józef. Polish music-historian
and church music dir. b. Posen, 16 Jan. 1882.
Pupil of Haberl and Haller in Ratisbon; then
KROEGER, Ernest Richard. Amer. pianist,
compr. b. St Louis, Mo., U.S.A.,10 Aug. 1862 One
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KRONKE
of Pfitzner, Kretzschmar and Wolf in Berlin.
1905, condr. of St. Michael's Ch. choir in Berlin;
1909, Ph.D. with treatise Die Practica artis
musica des Amerus. In 1910 dir. of a church-
music school in Berlin. He has publ. in D.d.T.
2 vols, of the compns, of J. W. Franck and J. E.
Bach. Lives in Berlin.-ZD. J.
KRONKE, Emil. Ger. pianist and compr. b.
Dantzig, 29 Nov. 1865. Pupil at Leipzig
(Reinecke, Piutti, Paul) and Dresden Cons.
(Nicodé, Th. Kirchner, Draeseke). 1917, be-
came prof. Lives in Dresden.
Pr. pieces; orch. and chamber-music; instructive
pf. pieces, op. 23; Chopin Studies, op. 17; Virtuoso
Arpeggio-Playing, op. 44; Modern Technique, op. 77:
Advanced Exercises for the Fourth and Fifth Fingers.
Ed. Chopin's works for Steingrüber.-A. E.
KROYER, Theodor. Ger. writer on music; b.
Munich, 9 Sept. 1873. Stud. theology at Munich,
then music (Sandberger) at R. Acad. of Music,
cpt. (Gluth, Rheinberger) and pf. (Lang).
Graduated Ph.D. at Univ. Munich, 1897; suc-
ceeded Max Zenger as mus. critic of Munich
Allgemeine Zeitung, 1897; 1900, teacher of mus.
history at Kaim's Music Inst.; 1902, honorary
lecturer on mus. science at Univ.; 1920, prof.
at Heidelberg; 1923, at Leipzig.
Beginning of Chromatics in Italian Madrigals
cappella
and Concerto (1918); The Speculative Music
of Master Erasmus Heritius (1918); 1st vol. of a
complete ed. of Ludwig Senft's works (D.T.B. III.
i, 1903); Select Works of Gr. Aichinger (D.T.B.
X, D.-A. E.
KRUG, Arnold. Ger. compr. b. Hamburg, 16
Oct. 1849; d. there, 4 Aug. 1904. Son and
pupil of Diedrich Krug (1821-80); 1868, pupil
at Leipzig Cons.; 1869, Mozart scholar; pupil
of Reinecke and Kiel (1871), pf. (Ernst Frank);
1872-7, pf. teacher at Stern's Cons. Berlin;
1877-8, won Meyerbeer scholarship and went
to Italy and France. Later resided at Hamburg,
cond. own Choral Soc.; since 1885 teacher at
Cons, and condr. of Altona Acad. of Singing.
Symphony; symph. prologue to Othello, op. 27;
in Prison (for faces for orch.; Love
Times of Travel; Roman Dances
News, op. 14; Italian Travel Sketches, op. 12, for
vns. and str. orch.; vn. concerto; str. 4tet, F ma.
op. 96; works
works with pf.; pl. 4tet, solo and orch.: choral
op. trio;
D ma. op. 68; duct; waltz for pf.; pt. pieces;
songs; choral songs; psalm.-A. E.
KUFFERATH
Næstved, 18 Sept. 1835; d. Copenhagen, 27
July, 1915. At desire of his parents he learned
a trade, but in his leisure he turned to his violin,
and as a violinist added to his means of susten-
ance. It was not till he was 32 that he succeeded
in entering the R. Cons. Copenhagen, though
he had already filled the position of orgt. at
Herlufsholm, the renowned boys' school at
Næstved. His contrapuntal gift soon asserted
itself and he became a most productive compr.
in both larger and smaller forms: an oratorio,
a Mass, a Requiem, organ works, chamber-
music (str. 4tets), opera, King Saul (never
staged). From 1880 till death, orgt. St. Mat-
thew's Ch. Copenhagen.
Organ (publ. Hansen, Copenhagen): Moll og Dur
(Minor and Major), 2
), 24 fugues in all the keys, op. 64;
sonata, op. 57; Toccata and fugue, op. 65; concerto,
op. 112; shorter pieces. Also songs with pf. His
mss. are placed in R. Library, Copenhagen.-A. H.
KUBA, Ludvík. Czech musician and painter;
b. Poděbrady, 1863. Stud. at Organ School,
Prague, and Teachers' Inst. Kutná Hora;
then became teacher. Next attended Acad. of
Painting, Prague, Paris and Munich, in which
town he lived for 6 years; now lives in Prague.
Chief mus. work, collection of folk-songs of all
Slavonic nations; his life-work is the collection
Slovantsvo ve svých zpěvech (Slavdom in its Songs;
Hudební Matice, Prague), of which 10 vols.
have appeared, containing many thousands of
folk-songs of the Russians, Ruthenians, Czechs,
Moravians, Slovenes, Slovaks, Serbs, Croats,
Montenegrins, etc.-V. ST.
KUBELÍK, Jan. Czechoslovak violinist; b.
Michle, 1880. Pupil of Ševčík, whose fame as a
teacher he establ. K.'s playing is the climax of
technical perfection; his tone is very noble and
full; his expression distinguished but not deep.
In 1914 he made a world-tour. After then he
has been less frequently heard, devoting himself
to compn. Has written 4 vn. concertos (Starý,
Prague). Lives on his estate in Slovakia.-V. ST.
KUDIRKA, Vincas. See LITHUANIAN MUSIC.
KUFFERATH, Hubert Ferdinand. Belgian
compr. b. Mülheim (Ruhr), 10 June, 1818;
d. Brussels, 23 June, 1896. At first a violinist;
stud. under his brother, Johann Hermann, then
at Cologne Cons.; finally at Leipzig under
David. From this moment, he turned more
towards pf. and compn., which he stud. under
Mendelssohn. Returning to Cologne, he there
directed (1841-4) the Männer - Gesang - Verein.
Settled in Brussels, 1844; 1872, teacher of cpt.
and fugue at Cons. there, an appointment he
held till his death. Comp. a symphony and
many works for chamber-music, pf. and v.,
written in learned, serious style. Author of
École pratique du choral.-E. C.
KUFFERATH, Maurice. Belgian musicologist,
theatrical manager; b. Brussels, 8 Jan. 1852;
d. there, 8 Dec. 1919. Son of preceding
(Hubert Ferdinand). Stud. cello under François
and Joseph Servais; but, destined for the bar,
he stud. law at Univ. of Brussels (1873) and
Leipzig (1874). Then returned to Brussels and
in 1875 joined staff of L'Indépendance Belge,
280
KRUG, Joseph (Krug-Waldsee). Ger. compr.
b. Waldsee (Oberschwaben), 8 Nov. 1858; d.
Magdeburg, 8 Oct. 1915. Stud. Stuttgart
Cons.; 1882-9, condr. of Stuttgart New Choral
Soc.; 1889-92, chorus-dir. at Hamburg Opera
House, then condr. at Stadttheater Brünn,
Augsburg; 1899, condr. of Privatkapelle at
Nuremberg; 1901 at Magdeburg, condr. of
symphony concerts and soc. concerts of town
orch.; also condr. of Teachers' Singing Club,
and a mixed choir; 1913, R. Prussian professor.
Choruses and songs; choral works: Harald, King
Violinist of Gmünd, Sea Views (1894), The
Buried Song, Icarus; symphony, C mi. op. 46; 4tet,
D ml. op. 56; pf. and vn. suite, A ma. op. 43; over-
ture to Schiller's Turandot; Symph. Prologue for
orch.; symph. poem, The Waves of the Sea and Love,
op. 4; operas: The Procurator of St. John (Mann-
heim, 1893, 1 act): Astorre (Stuttgart, 1896); The
Scarlet Cloak (Augsburg, 1898).-A. E.
KRYGELL, Johan Adam. Danish compr. b.
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KUILER
whose political bulletin he wrote for 25 years.
At the same time he wrote in the Guide Musical,
of which he soon undertook the management,
retaining it for 30 years, till moment when
war put an end to this, the principal mus.
review in Belgium. In 1900, assumed, with G.
Guidé, the management of Théâtre de la Mon-
naie, which he still held in 1914. Surprised
in Switzerland by war, he there busied himself
for 4 years in patriotic and philanthropic
work. Returned to Brussels in 1918 and, Guidé
having died, resumed with new colleagues the
management of La Monnaie, and held it till
death. He was a member of the Acad. from
1913. He was one of most active elements in
Belgian mus. life, in last third of XIX century.
A prolific writer, a remarkable stylist and
formidable controversialist, he produced great
quantity of arts. which were widely quoted as
authorities. Under his management the Théâtre
de la Monnaie attained its greatest brilliance.
His erudition enabled him to restore to the
productions of certain works their real character.
Several, like Fidelio, Magic Flute, and Parsifal,
were given in his translations. He inaugurated
cycles of Wagnerian productions (in Ger., with
Ger. rtists and condr.) K.'s name will remain
especially connected with the Wagnerian move-
ment, of which he was one of the most active
propagandists in Belgium and France, by his
excellent works of exegesis publ. under the
general title, Le Théâtre de R. W., de Tann-
häuser à Parsifal: La Walkyrie, Siegfried and
Lohengrin (1891); Parsifal (1893); Tristan et
Iseult (1894); Les Maîtres Chanteurs (1898).
Unfortunately Tannhäuser, Rhinegold, and the
Twilight of the Gods are missing. Other works:
R. W. et la neuvième symphonie,
Schumann (1879); H. Vieurtemps (1883); La I et
Walkyrie
(1887), a pamphlet for propaganda, distinct from the
l'orchestre (1891); Musiciens
1891 work; L'Abus de la Société des
adaptations mee above,
et philosophes
Auteurs (1897); Salomé de Strauss (1908); Fidelio
(1912). Also 2 vaudevilles, Les Potiches de Damoclès
and Le
par Amour: lighter worke
To the lyrical
such as Mikado (Sullivan), La Guerre Joyeuse and
L'Etudiant pauvre.
Consult L'Eventail (Brussels),
14 and la
Walkyrie de M. K. (3rd ed. Brussels, 1921).-E. C.
KUILER, Kor. Dutch condr. and compr.
b. Kinderdijk (S. Holland), 21 April, 1877. Stud.
at Amsterdam Cons. (Zweers and Röntgen);
1910, condr. of Groningen Symphony Orchestra.
Cantatas for children's vs.; numereces (publ. Noske,
for pf.: sonata, vn. and pf.; pf. pieces
The Hague: Alsbach, Amsterdam); educational
pf. music.-W. P.
sonata
KULLAK, Adolf. Ger. pianist and author;
b. Meseritz, 23 Feb. 1823; d. Berlin, 25 Dec.
1862. Brother of Theodor Kullak; stud.
philosophy at Berlin; then music under Agthe
and Marx; joined staff of Berlin Musikzeitung
and taught in his brother's acad. Besides pf.
works and songs, he publ. books:
The Beautiful in Music (1858) and Esthetics of Pf.
Playing (1861): 2nd and 3rd ed. by H. Bischoff, 1876
and 1890; 4th ed. revised by Walter Niemann, 1906;
5th ed. 1916 (Kahnt, Leipzig).-A. E.
KURTH
acad., after whose death he took over its direc-
tion (suddenly dissolved 1890); 1883, R. prof.;
made himself well known through careful cds.
of classical pf. concertos, instructive works.
First Pf. Lessons; Progress in Pf. Playing: Har
mony at the Pf.; songs: pf. pieces; Expression in
Overture; opera, Ines de Castro (Berlin, 1877).-A. E.
KULLAK, Theodor. Ger. pianist and teacher;
Berlin,
b. Krotoschin, Posen, 12 Sept. 1818;
1 March, 1882. Stud. under A. Agthe, Posen,
and at Berlin, where he also stud. harmony
(Dehn); 1842, continued mus. studies at Vienna
under Czerny, Sechter and O. Nicolai; 1843,
teacher at Berlin; 1850, establ. with J. Stern
and A. B. Marx the Berlin Stern Cons.; 1855,
withdrew and establ. the New Acad. of Music.
School of Octave Playing, op. 48 (Augener);
Materials for Elementary Teaching (3 books);
Fetis
(2 books); nearly 130 separate works, mostly for pf.
Consult: O. Reinsdorf, Th. K. and his New Acad.
of Music, Berlin (1870); H. Bischoff, In Remem-
brance of Th. K.-A. E.
KULLAK, Franz. Ger. compr. and author;
b. Berlin, 12 April, 1844; d. Berlin, 9 Dec. 1913.
Son of Theodor Kullak; trained at his father's
KUNC, Jan. Czechoslovak compr. b. Doubra-
vice (Moravia), 1883. Attended Teachers'
School; stud. music at Organ School in Brno,
and Cons. in Prague. Compn. pupil of L. Janáček
and V. Novák. Administrator of Cons. at Brno.
His compns. never lea the traditional line
and have a rich mus. foundation, sometimes
energetic, even aggressive, sometimes sweetly
lyrical. His choral works grew by the side
of Janáček's, but are nearer the virtuosity of
the Moravian Teachers' Choir.
desát tisic
2 str. 4tets; symph.
Pisen mládi (Song of
at the Danube). (Hudební
24
Fouth); ballad for a. and orch. Stála Matice;
Dunaja (Katherine ay. Novotný, Brno.)-V. ST.
M. Urbánek,
KUNITS, von. See VON KUNITS.
KUNNEKE, Eduard. Ger. compr. b. Emme-
rich-o-Rhine, 27 Jan. 1885. Stud. at R. High
School, Berlin (Bruch).
Suite for orch. op. 4. Operas: Robin's End (Mann-
heim, 1909); Ace of Hearts (Dresden, 1913); fest.
play, Circe (Munich, 1912, Artist Theatre); mus. play,
Village without Bells (1919); operetta, Love's Awaken-
ing (Berlin, 1920); The Well-beloved (1920); The
Cousin from Nowhere (1920; London, 1922); Mar-
in a Circle (1921); music for flm Pharaoh's
fe: operetta, Lovesick People (Berlin, 1922); all
publ. by Drei Masken Verlag.-A. E.
at
KUNWALD, Ernst. Austrian condr. b. Vienna,
14 April, 1868. Stud. for Bar at Vienna; then
turned entirely to music; attended Leipzig
Cons. (Jadassohn) took up condr.'s career as
Korrepetitor, Stadttheater Leipzig, Sonders-
hausen, Essen, Halle-o-S.; then condr.
Rostock; cond. 1900-1 The Ring at Madrid;
1902-5, acted as opera-condr. at Frankfort;
1905-6, cond. Kroll Summer Opera at Berlin;
1906 at Stadttheater, Nuremberg; 1907-12,
cond. Philh. Orch. Berlin; 1912, went to
Cincinnati as condr. of Symphony Orch. and
dir. of May Fest.; 1920, took over dir. of Sym-
phony Concerts at Königsberg (Prussia).-A. E.
KURTH, Ernst. Musicographer; b. Vienna,
1 June, 1886. Ph.D., Vienna, 1903; lecturer at
Univ. in Berne, 1912, where he founded and
281
Male choruses, 2 collections (the chief is Ostrava);
female chorus, cycle, The Garden. Many arrs. of
songs (Molinburkian, Slovakian); Sedm-
national serenty Th), chorus and orch.:
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KURZ
directs the Collegium Musicum and the Academic
Orch.; since 1920, has been prof.-in-ordinary.
He is famous in Switzerland and Germany, and
ranks amongst most outstanding writers on music
of our day; his book Grundlagen des linearen
Kontrapunkts is a most important work.
Die Jugendopern Glucks (dissertation, 1908); Zur
ara cantus mensurabilis des Franko von Köln (1907);
(Berne, , Paul Haupt); Grundlagen des linearen
Kontrapunkts (Berlin, 1922, Max Hesse): Bachs
melodische
(1917, Haupt); Romantische
Harmonik und ihre Krise in Wagners Tristan (1920,
Haupt; Berlin, 1923, Hesse).-F. II.
Die 1017. Pangen der theoretischen Harmonik
KURZ, Selma. Austrian coloratura singer; b.
Bielitz (Silesia). Frankfort-o-M. Opera House;
then Vienna Hofoper under Mahler, to whom
her great advance is largely due. Many star-
performances in Europe and America.-P. ST.
KURZ, Vilém. Czechoslovak pianist; b.
Německý Brod (Bohemia), 1872. Pupil of J.
Holfeld at Organ School, Prague; 1898-1919,
prof. of pf.-school at Cons., Lwów (Lemberg);
from 1919, prof. at Czech Cons. Brno (Brünn).
Made many tours in Czecho-Slovakia, Austria
Germany and Poland. Lives in Brno.-V. ST.
KURZOVÁ, Ilonka. Czech pianist; b. Lwów
(Lemberg), Poland, 1899. Daughter and pupil
of Vilém Kurz. Very successful from age of 10
in her pf.-recitals. Tours in Germany, Austria,
Poland, Holland, etc.-V. ST.
KVAPIL
La Dame de Pique. In 1921-4 he cond. in Lon-
don, Rome, Berlin, Paris; appointed condr.
Boston Symph. Orch. 1924. He is an artist of
the forceful, dynamic type. Gifted with a
strong artistic temperament, it is particularly
the active, impassioned side of music which he
throws into relief. His very searching inter-
pretations, fully detailed and highly coloured,
never imperil the unity and general outline.
They are very subjective, yet consequent,
logical and overflowing with life. He is both
lyrical and romantic, and in this respect
approaches Nikisch.-B. DE S.
Ger.
KUTZSCHBACH, Hermann Ludwig.
condr. b. Meissen, 30 Aug. 1875. Son of music.
master; stud. at Dresden Cons. (Kluge, E.
Krantz, Draeseke); 1895, Korrepetitor at
Dresden Court Theatre, to which he belonged
till 1906, except for short absences (1898,
Cologne and Berlin, New R. Opera House); from
1898, 3rd condr. (with Schuch and Hagen);
1906-9 at Mannheim as 1st condr.; returned
to Dresden, succeeding Hagen; 1913, 2nd condr.;
since Schuch's death, 1st condr. with Fritz Reiner;
then co-operated with Fritz Busch.-A. E.
KUULA, Alma. Finnish s. singer; b. Petro-
grad, 1884. Stud. at Helsingfors Music Inst.,
Milan and Paris. Concert and oratorio singer,
chiefly in Finland, also in Petrograd and recently
in Germany. In 1914, married Toivo Kuula
(q.v.). T. H.
KUSSEVITZKY, Serge Alexandrovitch. Rus-
sian conductor and contrabassist; b. Tver in
1864. His father, an orchestral musician, des-
tined him, from a child, for a musical career, and
at 9, he played in the local theatre orchestra,
making his first débuts there, two years later,
as conductor. In 1878, went to Moscow to pursue
his musical education, entering the Ecole Phil-
harmonique and studying the double-bass under
Rambauseck. His success as a contrabassist
dates from 1896. He gave in Russia and abroad
a series of concerts which established his reputa-
tion as a great virtuoso with a pure and noble
style, and an impeccable technique. But it was
the orchestra which attracted him. He was in
the conducting class at High School in Berlin
under Nikisch. In 1909 he realised his dream,
organising his own orchestra in Russia and
founding at the same time a music-publishing
house, the Russian Musical Edition, devoted
specially to the publication of compositions of
modern Russians (Scriabin, Stravinsky, Metner,
Rachmaninof, etc.). His symphony concerts in
Petrograd, Moscow, and later in the Russian
provinces, achieved very great success, and had
a deep influence on musical life in Russia, no
less through the novelty of the programmes than
by the excellence of the playing. The war,
followed by the revolution, scattered Kusse-
vitzky's orchestra, and his publishing house was
confiscated by the State. Placed by the Soviet
Government at the head of the State Orchestras
(the older, unworthy orchestras), Kussevitsky
succeeded finally in leaving Russia in 1922. He
cond. series of concerts in Paris at the Grand
Opera, then Mussorgsky's Boris Godunof (which
he also cond. at Barcelona), then Tchaikovsky's
KUULA, Toivo. Finnish compr. b. Vaasa,
7 July, 1883; died a tragic death (murdered)
during the Finnish War of Independence, 1918.
Stud. compn. at Helsingfors Music Inst., in
Bologna (Bossi), also in Paris, and proved in his
compns. to be one of the most intense person-
alities in Finnish music. His works evince strong
national character, solid contrapuntal construc-
tion and rich colouring; they are drawn for the
most part from the folk-music of his native
country in southern East Bothnia.
2 East Bothnian Suites for orch. (among which are
several admirable tone-paintings); vocal works with
orch.: Orjan poika (The Slave's Son), Merenkulpi
jäneidot (The Sea-Nymphs), Stabat Mater; magnificent
large unacc. choruses; trio, pf. vn. cello; sonata,
vn. and pf.; songs; pf. pieces.-T. H.
KUYPER, Elisabeth. Dutch compr. and condr.
b. Amsterdam, 13 Sept. 1877. Stud. High
School, Berlin, and under Max Bruch. Was
teacher at Stern's Cons. Berlin. She cond. her
ladies' orch. in Berlin and London. Now lives in
New York where she has also organised a ladies'
orch. As a compr. her orch. works are in the classi-
cal style, reflecting Brahms and Bruch.-W. P.
KVAPIL, Jaroslav.
Czechoslovak compr. b.
Fryštát (Moravia), 1892. Pupil of L. Janáček,
later in Leipzig of Max Reger and Teichmüller
(pf.); prof. of pf. and compn. at Cons. Brno;
condr. of choir Filharmonická Beseda (Philh.
Soc.). His compns. were at first strongly built
contrapuntally and architecturally; later on,
they are a kind of contemplative improvisation.
2658;
orch. variations and fugue; pf.
Matico, Prague, and Club of of Art,
str. 4tets; 36
cycles (bi
pf. variations (Barvič and Novotný, Brno): VD.
sonatas: collo sonata; pf. sonata; 2 pf. cycles.-V.ST.
trio
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LABAUCHI, Andrés José. Argentine singing-
master, compr. b. Naples in 1856. Stud. at Cons. of
Naples under Savoja, Correggio and Mercadante,
pf. under Cesi. For 6 years, dir. of chorus and
condr. at several theatres in Italy. Then devoted
himself to the art of singing, making special scien-
tific studies at the Univ. of Naples and at Lom-
bardini's famous school of singing. Founded
Primaria Scuola di Canto Italiano in 1880.
Publ. monograph Dell' arte del canto in Italia
(1880), and was music critic for several theatrical
papers. In 1911, went to Buenos Ayres, where
he establ. the Santa Cecilia Inst., his introduc-
tion of the Ital. school of singing into Argentina
being attended with complete success.
Del canto corale e della ginnastica nella scuola
popolare; Della laringologia, and other technical
works. Sacred pieces for pt. and vn.-A. M.
for voice-training;
chamber-music; pieces for
LABEY, Marcel. Fr. compr. b. Le Vésinet,
near Paris, 1875. Pf. pupil of Breitner and
Delaborde; for harmony of René Lenormand.
Entered Schola Cantorum in 1898 (cpt. under
d'Indy). Until 1914, prof. of higher pf. class
at Schola and tutor of orch. class. Member of
Société Nationale de Musique from 1902-14, and
since 1920.
Sonata, pf. and vn. (1901); sonata, vla. and pf.
(1904): pf. 4tet (1911); pf. suite (1914): str. 4tet
(1919);
pieces, fl. and pf. (1920); songs. Orch.:
Fantasia (1900); 2 symphonies (1903 and 1908);
Overture for a Drama (1920). Berengère de de Paris,
(3-act opera,
awarded prize at Concours de la
1921).-A. C.
LABIA, Maria. Ital. soprano singer; b.
Verona, 14 Feb. 1889. Stud. singing under her
mother, the Countess Cecilia Labia. First devoting
herself to concerts, made her debut on the stage
at the Teatro Filarmonico, Verona, with great
success. Subsequently went on a long concert-
tour in Russia; was engaged at the Opera,
Stockholm, where she remained 2 years; then
went to Komische Oper, Berlin, where she re-
mained for 5 years, gaining great success,
especially in La Tosca (Puccini) and in Tiefland
(d'Albert), and interpreting a wide reper-
toire in Ger., Fr. and Ital. Went to U.S.A.
and, on returning, toured again in Russia,
Germany, Hungary. Finally came back to Italy,
and took part in important seasons at principal
theatres; at La Scala, Milan, she interpreted
Salome; at Costanzi, Rome (1918-19 season),
she created the part of Giorgetta in Puccini's
Il Tabarro.-D. A.
LABOR, Josef. Ger.-Czechoslovak compr.
b. Horowitz, 29 June, 1842. He became blind;
stud. in Vienna; made European concert tours;
then became Court organist in Vienna.
L
LABROCA, Mario. Ital. compr. b. Rome,
22 Nov. 1896. Pupil of Respighi and Malipiero.
Compr. of interesting chamber-music (Suite and
Ritmi di marcia for pf.; sonatina, vn. and pf.;
Suite, vla. and pf.; str. 4tet). Musical critic for
the Roman newspaper L'Idea Nazionale.-D. A.
LABUŃSKI, Wiktor. Polish pianist; b. Petro-
grad, 1895. Stud. under Felix Blumenfeld (pf.)
and Wihtol (compn.) at State Cons. in Petrograd.
Began recitals in 1916. In 1919 received a prize
at pianists' competition in Lublin (Poland) and
became prof. at Cons. in Cracow, where he lives.
Plays much in Poland, Germany and in Vienna.
Appeared in Glasgow (Scottish Orch.) 1924.
-ZD. J.
LACERDA, Francisco de. Portuguese condr.
b. Lisbon, 1869; received a government grant
for tuition and stud. in Paris under d'Indy;
there he establ. a good reputation as orch.
conductor.-E.-H.
LACH, Robert. Austrian writer on music and
compr. b. Vienna, 29 Jan. 1874. Pupil of Robert
Fuchs at Cons.; 1902, Ph.D.; 1911, curator of
music coll. in Court Library (now National
Library); 1918 teacher, 1920 prof. of Vienna
Univ. and member of Acad. of Science. He
works especially at comparative and ethnological
music history and folk-lore (commended by
Prof. Wallaschek), and the style and melos of
the Wagner music-drama. A very productive
compr., but without pronounced individuality.
Author of many books.
Book, Studien zur Entwicklungsgechichte der orna-
symphony, D mi.
mentalen Melopoeie (1912: musio to Schönherr's
Königreich (1906); songs; chamber-music.-P. P.
(1895); 3 overtures;
LACHNER, Vincenz. Ger. condr. and compr.
b. Rain (Bavaria), 19 July, 1811; d. Carlsruhe,
22 Jan. 1893. Brother of Franz and Ignaz
Lachner; was for a time tutor at Posen; then
joined his brothers at Vienna; succeeded
Ignaz, 1831, as orgt. of Protestant church,
and Franz, 1836, as Court-condr., Mannheim,
where he officiated till 1873; 1884, taught at
Carlsruhe Conservatoire.
41;
Overtures to Turandot, op. 33, Demetrius, OD 4
op. 54,
male
Polish
LA CHOWSKA (LAHOVSKA), Aga.
m.-sopr. singer; b. Lemberg, 1886. Well known
and appreciated in Poland, Spain and Italy,
especially as heroine in Carmen and Samson and
Delilah. Also an excellent concert-singer.-ZD. J.
LACROIX, Eugène. Fr. orgt. and compr.
Pupil of Gigout; 1896-1914, chief orgt. at St.-
Merry, Paris, where he succeeded Paul Wachs.
Comp. many organ pieces of very fine style:
also chamber-music; symphony; mass; lyrical
drama, Nominoé.-F. R.
Instr. and vocal works. Ed. Cesti's Pomo d' Oro
and Biber's vn. sonatas for D.T.O. (q).-E. S
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LADMIRAULT
LADMIRAULT, Paul Émile. Fr. compr. b.
Nantes, 8 Dec. 1877. Began to study music in
his native city. At 15, comp. a 3-act opera,
Gilles de Retz, which was produced there. He
then entered the Paris Cons., where his teachers
were Taudou for harmony, Gédalge for ept., and
Fauré for compn. Among his chief publ. works
are the Esquisses for pf. (1909, Demets), Varia-
tions and Musiques Rustiques for pf. duet (1906-
1907, Demets), a Gaelic Rhapsody for pf. duet
(1909, Leduc), part-songs, songs, and instr.
excerpts from his lyric drama Myrdhin (Rouart).
The vocal score of this, his symphony (1910), and
his principal chamber-music works, are so far
unpubl. He is at his best in moods of poetical,
almost childlike, reverie, whose dictates he ex-
presses with delightful originality.
Consult Séré (q.v.).-M. D. C.
LAFITE, Carl. Austrian pianist, compr. b.
Vienna, 29 Oct. 1872. Son of a well-known
painter. Stud. Vienna Cons. (1st prize for
compn.). After concert touring returned to
Vienna; secretary of Gesellschaft der Musik-
freunde (1911-21). His compns. are well known
in Vienna, but have little artistic value. He likes
the operetta style and wrote Hannerl, using
melodies by Schubert, but accentuating the
Viennese note. Successful writer of choral
works and esteemed accompanist (especially for
Schubert).
Die Stunde (from Leo Feld), Fest. of Leipzig
krieg (written for 5th Centenary
Univ.): many popular songs.-P. P.
LA FORGE, Frank. Amer. pianist, song-writer;
b. Rockford, Ill., U.S.A., 22 Oct. 1879. Stud.
harmony and pf. under Harrison M. Wild,
Chicago, 1896-1900, and in 1900-4 pf. under
Leschetizky and compn. under Labor and
Navrátil, Vienna. As accompanist of Marcella
Sembrich, toured Germany, France, Russia and
U.S.A. for 6 years. Since then active as accom-
panist (Schumann-Heink, Alda, Matzenauer,
etc.).
Songs, To a Messenger, Sanctuary. Like the Rose-
hud, etc.
(Schir (Schirmer: Ditson; Flammer); pf. pieces
LALIBERTÉ
LAJTHA, László. Hungarian compr. and folk-
lorist; b. Budapest, 30 June, 1891. Stud. compn.
at R. Hungarian High School for Music under
Viktor Herzfeld. Soon after this, he turned to
study of Hungarian folk-lore, and coll. valuable
material for Ethnographical Department of
Hungarian National Museum. Now curator of
Folk-lore Department in Museum, and also
teacher of compn. at National Cons. Budapest.
Des écrits d'un Musicien, pt. (Budapest, 1912.
Rózsavölgyi): Contes, pt. (Budapest, Harmonia
Verlag); pf. sonata (id.). Consult: Modern Hun-
garian Composers (Musical Times, March
July 1921); The Development of Art-Music in Hun-
gary (Chesterian, Jan. 1922).-B. B.
LA LAURENCIE, Lionel de. Fr. musicologist;
b. Nantes, 24 July, 1861. Pupil of Reynier (vn.)
and of Bourgault-Ducoudray. Being related to
Vincent d'Indy, he has devoted himself to the
study of xvI century music on the one hand,
and the history of the vn. on the other. Con-
tributor to principal Fr. and foreign reviews.
At present ed.-in-chief of the Encyclopédie de
la Musique (Delagrave). Hon. President of the
Fr. Soc. of Musicology.
Histoire du goût musical en France (1905); L'Aca-
démie de musique et le concert de Nantes (1905);
Documents sur J. Ph. Rameau et sa famille (1907);
Rameau (1908); Les Bouffons (1912): Le Créateur de
l'Opéra français (1920);
française de violon
de Lully à Viotti (1922-3).-A. C.
LALEWICZ, Jerzy (George). Polish pianist; b.
Suwalki, 1877. Pupil of Annetta Essipova (pf.),
Rimsky-Korsakof and Liadof (theory) at Petro-
grad Cons. where he finished in 1901 with gold
medal. Was then pf. prof. at Odessa State Music
School; 1905-11, at Cracow Cons.; 1912, prof.
at State Acad. of Music in Vienna; 1918, re-
turned to Poland (Lemberg). Then went to
Paris and later to Buenos Ayres where he is now
prof. at Cons. Has played with great success in
Europe and America. Zn. J.
LALIBERTÉ, Alfred. Canadian pianist and
composer; b. St. Johns, Quebec, Canada, 10
Feb. 1882. Stud. in Montreal; later in Berlin,
under Lutzenke (pf.), Baeker (harmony), Klappe
(compn.). Won scholarship from Ger. Govern-
ment and played at Imperial Court, Berlin,
before Emperor Wilhelm II. In 1905, resumed
work in Montreal; in 1906 he met Scriabin, who
persuaded him to resume studies in Europe. He
stud. for a year under Teresa Carreño in Berlin,
after which he joined Scriabin in Brussels. De-
voting himself to the study of Scriabin's works,
he became imbued with their characteristics
and received many tokens of friendship from
that compr., including mss. of Poème de l'Extase,
the 5th Sonata, etc. He returned to Canada by
way of Paris and London, where he gave
recitals, being probably the first Canadian to
fulfil an entire programme in those cities. Since
1911, has been actively engaged in teaching in
Montreal and has devoted himself also to the
playing of Scriabin's music which was hitherto
scarcely known in Canada.
15 songs from Chansons d'Été; many folk-songs of
3-act opera, Sœur Béatrice (Maeterlinck); cycle of
Canada.-L. S.
LAGO, Pura. Span. pianist; b. Villaviciosa
(Asturias), 1894. Stud. with distinction at R.
Cons. de Música, Madrid. By her 1st perf. as a
solo pianist, in Sweden, Denmark, Germany,
Italy and South America, of works by Albeniz, de
Falla and Manén, she has rendered valuable ser
vice to the cause of modern Span. music.-P.G.M.
LA GYE, Paul. Belgian compr. b. St. Gilles
(Brussels), 8 June, 1883. Prof. of mus. science
at École Normale, Brussels. Many symphonies,
choral works, pf. pieces, songs, but specially
operas: Franchimont (1905), Le Chevalier
Maudit (1908), L'Apercevance (1908-9, Brussels,
Lauwerijns), Le Rédempteur (Bourse Theatre,
Brussels, 1916), La Victoire d'Aphrodite,
Madeleine, L'Ennemi, L'Imposteur, Aisha, La
Marquise de Fontenay, etc. He is a typically
eclectic musician, assimilating
influences
of his time (Wagner, d'Indy, Massenet, Puccini),
and utilises them, either singly or by com-
bination according to necessities of his varied
subjects.-C. V. B.
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LALO
He
LALO, Édouard. French composer; b. Lille,
17 Jan. 1823; d. Paris, 22 April, 1892.
settled in Paris about 1840 to continue his
work as a composer. He had already written
several pieces of chamber-music, but at the
period this type of music was out of favour
with the public who were only interested in the
operas of Meyerbeer and Halévy. It was not
until 1865 that he succeeded in attracting a
little public attention by an opera, Fiesque,
which was however refused by the judges
in an operatic competition. The work, which
was written on classic lines, was nevertheless
conceived in the style of symphonic music,
which scandalised the judges. Lalo then com-
posed a concerto in F, Le Divertissement, and
the dazzling Symphonie Espagnole, which were
well received at the Concerts Pasdeloup and at
the Société Nationale. At the same time he
was working on the Roi d' Ys. He encountered
enormous difficulties in trying to produce the
Roi d'Y's, but finally the manager at the Opéra
consented to find him a corps de ballet. Namouna,
another opera, had very few performances, but
yet remains Lalo's master-work. His music,
vivid, warm and colourful, full of fine, bold
harmonies and extraordinary novelty in orches-
tration, appeared uncouth to the spoilt audiences
of opera in 1882, but aroused great enthusiasm
among the younger musicians. Debussy, Paul
Dukas, and Vincent d'Indy knew the score of
Namouna by heart and played it unceasingly.
Lalo's influence on these three musicians was
very great; he contributed to the harmonies of
Debussy and to the orchestration of d'Indy and
Dukas. He nearly died while finishing Namouna.
When he had recovered from his illness, he
plunged again into composition and produced
successively the Russian Concerto (1883), and
symphony in G minor (1885). Then, at last,
the Roi d' Ys was performed, and, contrary to
all expectations, gained a unanimous approval.
Yet this work, in spite of some remarkable
passages, is far from possessing the musical
qualities of Namouna and certain orchestral
works (e.g. the Norwegian Rhapsody). Lalo was
the true precursor of the modern French School,
and his influence in the formation of Debussy
and Dukas is indubitable. His music is a delight
to the ear-however often repeated it remains
as vivid and colourful as when heard for the
first time.
LAMM
judgment, his articles always bear the impress
of genuine artistic and mus. understanding. A
well-chosen style and language make them very
attractive to read. He has publ. a coll. entitled
La Musique, 1898-9 (Paris, Rouart).-M. L. P.
LALOY, Louis. Fr. musicologist; b. Grey
(Haute Saône), 18 Feb. 1874. After a brilliant
university career and submitting his thesis for
Doctor of Letters (1904), abandoned education
to devote himself to history and criticism of
music. Contributed to Revue Musicale, 1901-3;
then founded (with Marnold) the Mercure Musi-
cal (1905), which was transformed into the
S.I.M. Bulletin (1907). In 1906, gave course of
lectures at Sorbonne in place of Romain Rol-
land, who was on leave. A writer of great talent
and vast culture, he was one of the first cham-
pions, in France, of Claude Debussy, to whom
he devoted a book (Dorbon) which is a master-
piece of penetrating and comprehensive criti-
cism. He has likewise published a remarkable
book in popular style on Rameau (Alcan, 1902).
but he has specialised, above all, in study of
Greek music (Aristoxène de Tarente, 1904), and
of music in the Far East, La Musique chinoise
(Laurens, Paris). Appointed, in 1921, to give
a course of lectures at the Sorbonne on Chinese
music. Also gen. sec. of Grand Opéra, Paris.
-H. P.
LA MARA. See LIPSIUS, MARIE.
LAMB, Carolina E. Scottish mezzo-s. singer;
b. Kirkpatrick Fleming, Dumfriesshire, 28 May,
1901. Trained under Ernesto Colli, Milan. Made
successful début as Azucena in Il Trovatore in
Edinburgh, Nov. 1922.-W. s.
LAMBETH DEGREES. The Archbishop of
Canterbury, by virtue of an old custom, bestows
Mus, Doc. Cantuar."
amongst other degrees,
honoris causa. The most recent mus. list is:
William Lemare, 1894; Henry Faulkner Hen-
niker, 1889; James Kendrick Pyne, Manchester,
1900; Thomas Barrow Dowling, Cape Town.
Cath. 1903; Alfred Herbert Brewer, Gloucester
Cath. 1905; Charles A. E. Harris, Montreal,
1906; Percival John Illsley, 1912; Percy
Clarke Hull, Hereford Cath. 1921; Charles H.
Moody, Ripon Cath. 1923; Rev. G. R. Woodward,
1924. The fees for this degree are estimated in
Grove's Dictionary at £63.-E.-H.
LAMBRINO, Télemaque. Pianist; b. Odessa,
27 Oct. 1878. Of Greek descent; pupil of
Klimof at Imperial School of Music, Odessa;
then at Munich Acad. of Music (Kellermann,
Anton Beer-Walbrunn, and Rheinberger), and
From 1900,
with Teresa Carreño in Berlin.
lived in Leipzig; 1908, teacher at Cons. Mosco
1909, back to Leipzig; whence he also directs
advanced class at Erfurt Cons. and (since 1914)
a class at Klindworth-Scharwenka Cons. Berlin.
For full list of works and bibliography, con-
sult Revue Musicale, March 1923, dedicated to
Lalo with articles by P. Dukas, Pierre Lalo,
etc.-H. P.
LALO, Pierre. Fr. music critic; b. Puteaux
(Seine), 6 Sept. 1866; son of Édouard Lalo (q.v.).
After contributing for several years to Journal
des Débats, made his first appearance in music
criticism with an article which attracted much
notice, on V. d'Indy's Fervaal. This article
(Revue de Paris, 15 May, 1898), procured for
him the succession to J. Weber (1818-1902), as
music critic to Le Temps (Oct. 1898). Endowed
with rare penetration and great rectitude of
285
-A. E.
LAMM, Paul Alexandrovitch. Russ. pianist:
Finished pf.
b. Moscow, 13/27 July 1882.
course, Moscow Cons. 1911; 1907-13, accom-
panist and colleague of famous Russ. singer,
Olenina d'Alheim (singer of Mussorgsky and
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LAMMERS
founder of House of Song); 1917-18, dir. of
Russischer Musik-Verlag of S. Kussovitsky).
After Russ. 1918 revolution, dir. of Russ. State
Music Publ. Dept. Since 1918, he has been the
centre of a group of contemporary Russ. comprs.
containing Miaskovsky, Goodicke, Feinberg,
Alexandrof, Borchman, Shenshin, Pavlof,
Evseief, and others. He has arr. symph. works
of Borodin, Glazunof, Stravinsky, S. I. Tanéief,
Goedicke, Miaskovsky, Scriabin, for 2 pfs., 8
hands. V. B.
LAMMERS, Mally (Maria Katarina), née Sars.
Norwegian singer; b. Mangor, 22 June, 1850.
Pupil in singing of C. A. Gröndahl, Thorvald
Lammers and Désirée Artôt de Padilla. Engaged
in teaching singing (for about 35 years). Took
part in oratorio perfs. in her native land; gave
together with her husband, the singer Thorvald
Lammers (q.v.), numerous song and folk-song
concerts at home and abroad. For about 15
years she was condr. of the choir of the Female
Teachers' Soc. Her vocal gifts and her fine
artistic personality have won for her a wide
recognition.-J. A.
LAMMERS, Thorvald Amund. Norwegian
b.-barit. singer, condr. compr. b. Modum, 15 Jan.
1841; d. Christiania, 8 Feb. 1922. Graduated in
law in 1865; practised as lawyer. In 1870
went over to music. Teachers: Fritz Arlberg,
Stockholm (1870-1); Francesco Lamperti, Milan
(1871-4). Was for short time attached to one
or two opera houses in Italy; came home and
gave in 1874 his first concert; 1874-7, attached
to Christiania Theatre; sang, amongst other
rôles: Leporello (Don Juan), Figaro (Marriage
of Figaro and Barber of Seville), Marcel
(Huguenots), Mephistopheles (Faust). After the
burning of the theatre in 1877, L. made several
concert-tours. Continued training in Leipzig,
especially song-singing. In 1879 founded Choral
Union in Christiania, which in 1902 took name
"Cæcilia Soc." Under his leadership (until 1911)
it became a most important factor in mus. life
of that city by its excellent perfs. of sacred and
secular choral works. L. also gave concerts at
home and abroad, sometimes together with his
gifted wife, the singer Mally Lammers, née Sars
(q.v.). For nearly a generation L. enjoyed
great reputation as Norway's most distinguished
singer, closely connected wth the first perform-
ances of Norwegian songs. In 1896 he gave his
1st folk-song concert in his native land, and
his brilliant rendering of the ancient folk-
poem Draumkvædet (The Dream Song) and
other folk-melodies marks a triumph for the
position of folk-song in Norwegian executive
music. Has frequently given concerts in Stock-
holm, Copenhagen, London (1878), Paris (1889),
Berlin (1885) etc. As teacher of singing, he has
been working for 35 years, and as writer on
music he has also been active (see the work
Great Musicians).
Oratorio, Fred (Peace) (words by Björnson); At
Akerhus, solo, chorus and orch.; mixed choruses;
male choruses; songs; Norwegian refrains; folk-
songs in adaptation, etc.-J. A.
LANDOWSKA
LAMOND, Frederic. British pianist; b. Glas-
gow, 28 Jan. 1868. Stud. in Glasgow, Frankfort-
o-M. under Schwarz, and under Bülow and Liszt;
début, Berlin and Vienna 1885, London 1886;
lived in Germany; London again, 1890-91; has
toured extensively; 1917, prof. of pf.
Hague Cons. Many tours. Renowned especially
as a Beethoven player.-E.-H.
The
LAMOTE DE GRIGNON, Mestre. Span. condr.
and compr. b. Barcelona, 1872. Condr. of the
Banda Municipal; condr. and founder of the
Orquesta Sinfónica, Barcelona.
Poema Romantic; Scherzo; Quatre cançons
Reverie
populars
orch.;
La Nit de Nadal; Andalusia, symph. ploture. (Unión
Musical Española.)-P. G. M.
LAMOUREUX CONCERTS, Paris. Founded
1881 by Charles Lamoureux (b. 1834) and cond.
by him until his death in 1899, when his son-
in-law Camille Chevillard (q.v.) succeeded him.
Chevillard died in 1923, and was succeeded by
Paul Paray (q.v.) who had been deputy-condr.
from 1921. The concerts were originally given in
theatre of Château d'Eau, then at the Eden,
later at the Cirque d'Été. The Association des
Nouveaux Concerts was formed in 1897 and the
concerts were again given at the Château d'Eau;
1900-6 at Nouveau Théâtre; then at Théâtre
Sarah Bernhardt; now they are settled at the
Salle Gaveau.-A. O.
LAMPE, Walter.
Ger. pianist and compr.
b. Leipzig, 28 April, 1872. Since 1920 teacher
of adv. pf.-playing at Acad. of Music, Munich.
Received training at Frankfort-o-M. (I. Knorr)
at Berlin (Herzogenberg and Humperdinck);
lived at Munich as compr. and pianist; then at
Weimar; now at Munich.
Trio, op. 3; cello sonata, op 4; str. 4tet, D ma.
(1923); Tragic tone-poem for orch. op. 6; Serenade
for 15 wind-instrs. op. 7; pf. pieces, op. 8.-A. E.
LANDORMY, Paul. Fr. musicologist and
compr. b. Issy-les-Moulineaux, 3 Jan. 1869.
Former pupil of École Normale Supérieure, Paris;
Agrégé des lettres. For music, pupil of Sbriglia
and of Plançon, whose niece, a perfect pianist, he
married. Ed.-in-chief of Collection des chefs-
d'œuvre de la musique for which he has written
a Faust, 1922. Also studies on Brahms (1921),
Bizet (1923), and numerous articles on modern
music. Has comp. many songs and pf. pieces
(En Alsace).-A. C.
LANDOWSKA, Wanda. Polish pianist; b.
Warsaw, 1877. An intelligent apostle and
finished performer of ancient clavicembalo works
on the orig. instr. Stud. under Michałowski and
Noskowski at Warsaw Cons. and completed her
studies under G. Urban in Berlin. 1900-13,
teacher of clavicembalo at the Schola Cantorum
(Vincent d'Indy) in Paris. Then went to Berlin
as prof. of that instr. at R. Music School, and
after the war returned to Paris. She has publ.
two books for the propaganda of clavicembalo-
playing and for the true interpretation of ancient
music, namely: Bach et ses interprètes (1906);
La Musique ancienne (1908). L. played at the
concerts of the Music Congress at Vienna in 1909,
and at the Bach Fest. of 1910.-ZD. J.
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LANDRÉ
LANDRÉ, Willem. Dutch music critic and
compr. b. Amsterdam, June 12, 1875. Pupil of
Bernard Zweers, Amsterdam; 1899, critic of
Oprecht Haarlemsche Courant (Haarlem); 1901,
critic of Nieuwe Courant (The Hague); since
1906, chief critic of Nieuwe Rotterdamsche
Courant.
Opera, De Roos van Dekama; Erklärung, barit. and
orch.: Nocturne, orch. (perf. Amsterdam, 1921, under
Mengelberg); Requiem for orch.; chamber-music;
stollo sonata; Stabat Mater for unaco. vs.:
pf.
LANDSHOFF, Ludwig. German writer and
condr. b. Stettin, 3 June, 1874. Stud. under
Thuille (Munich), Heinrich Urban (Berlin),
Max Reger (Munich), Sandberger, Friedlaender
and O. Fleischer; 1900, degree in philosophy
at Munich, with Study of Joh. Rud. Zumsteeg
(publ. 1902); temporary condr. at Kiel, Würz-
burg, Breslau, Hamburg; 1918, condr. Bach
Society, Munich.
Polyphonic Accomp. and Figured Bass (Sandberger
Number, of J. S. Bach with
Figured-Bass written out in full (Leipzig, Breitkopf
1905): 2 vols. Old Masters of Bel Canto (Leipzig,
1912 and 1915, Peters); Arias and Songs of J. Chr.
Bach and Jos. Haydn (Munich, 1923).-A. E.
LANE, Brand. Eng. choral condr. and teacher;
b. London, 1854. Settled in Manchester (1875)
as teacher of singing; founded Manchester
Philh. Choir 1880 (at first, in 3 graded sections);
of his long series of concerts at Free
gave
Trade Hall in 1881, and has introduced the
world's greatest artists to Manchester public.
In 1914, he divided his annual series into 12
vocal and instr. concerts and 12 orchestral,
engaging Sir Henry Wood as permanent condr.
Together they have done almost as much as the
Queen's Hall London Promenade Concerts, in
bringing popular orch. music to the people.-
E.-H.
LANG, Margaret Ruthven. Amer. compr. b.
Boston, Mass., U.S.A., 27 Nov. 1867. Daughter of
Benjamin J. Lang (1837-1909), noted Boston
musician. Stud. pf. under father and Ph. Schar-
wenka;
vn. under Louis Schmidt, Boston;
1886-7 under Drechsler and Abel, Munich;
compn. under Victor Gluth. Returning to America,
continued her studies under Paine, Chadwick
and J. C. D. Parker in Boston. Began composing
at 12 (5tet in 1 movement, pf., str.); several
larger works in ms.: overture, Witichis, orch.
op. 10, perf. by Thomas in Chicago, 1893;
Dramatic Overture, E mi. for orch. op. 12, perf.
Boston Symphony, 7 April, 1893; Sappho's
Prayer to Aphrodite, contr. and orch., New York,
1895; concert aria, Armida, op. 24, with Boston
Symphony, 10 Jan. 1896; overture, Totila;
Ballade, perf. in Baltimore (Md.) 1901; str. 4tet,
etc. Her songs have met with much success.
The Jumblies, cantata for barit. solo, male chorus
and 2 pfs.; Petit Roman en Six Chapitres, suite, pf.
op. 18; Rhapsody in E mi. pf. op. 21; 5 Norman
songs, op. 19; 6 Scotch songs, op. 20 (all by A. P.
Schmidt); about 50 songs (A. P. Schmidt; Church;
Schirmer; Ditson; Enoch). Consult R. Hughes and
A. Elson, American Composers (pp. 432-9, 520-1).
-J. M.
LANGAARD, Borghild Bryhn. Norwegian
concert and operatic s. singer; b. Kongsvinger,
23 July, 1883. Pupil of Oselio Björnson (Christi-
LANGE-MÜLLER
ania), Nina Grieg, Zur Mühlen (London). Début
as concert-singer at a Grieg concert in Christi-
ania in 1906, as opera-singer at Covent Garden,
London, in 1907. Numerous concerts, mainly in
Scandinavia and America; has sung in National
Theatre and Central Theatre, Christiania, at
Covent Garden and in the opera houses in Stock-
holm, Vienna and Chicago. Several Wagner-
rôles (Elizabeth, Venus, Elsa, Brünnhilde),
Carmen, Aida, Butterfly, Tosca, etc. Lives in
Christiania.-U. M.
LANGE, Daniel de. Dutch critic; b. Rotter-
dam, 11 July, 1841; d. Point Loma, California,
30 Jan. 1918. 1855-6, stud. cello under Ganz
and Servais (Brussels); 1859, played (with his
brother Samuel) in Galicia and Rumania; 1860-
1863, teacher Cons. Lemberg (Lwów); 1864,
teacher, Rotterdam; 1865, went to Paris; 1870,
returned to Holland; 1878-1911, the most.
authoritative Dutch mus. critic (Het Nieuws van
den Dag); 1895-1913, dir. of Amsterdam Cons. ;
1914, went to California.
2 symphonles (1865 and 1880); opera, De Val van
Kuilenburg; incidental muslo to Frederik van
Eeden's Lioba) 1905). Numerous songs (Dutch, Fr.,
Ger, and Ital. words). Consult pamphlets by Henry
Viotta, Onze hedendaagsche toonkunstenaars, D. d. L.
(Amsterdam, 1894, Van Holkema &
Ant.
1918, kamp, Levensberigt van de waarden
also the Theosophical Field, March
1918.-W. P.
LANGE, Gustav Fredrik. Norwegian violinist
and compr. b. Fredrikshald, 22 Feb. 1861. In
1878, pupil of Cons. in Stockholm; passed organ
examination there. Afterwards stud. vn. first
in Stockholm (under Lindberg), then in Paris
and Berlin (under Sauret). From 1890, violinist
in orch. of Christiania Theatre; from 1899,
concert-master in National Theatre's Orch.
Lange enjoys a great reputation as a violinist
in his native land. Since 1890, teacher of vn.,
ensemble-playing and harmony at Music Cons.
in Christiania. In 1899, establ. a str. quartet,
which has during a number of years given con-
certs in Norway. Since 1919, leading violinist
in Philh. Orch. in Christiania. Of his publ. pf.
pieces, songs, and vn. compns., many are intended
for teaching purposes; A Practical Violin-
Instructor (3 parts), the most widely-used
vn. instructor in Norway; technical studies;
Practical Instruction in Harmony (new ed.
1917).-J. A.
LANGE-MÜLLER, Peter Erasmus. Danish
compr. b. Copenhagen, 1 Dec. 1850. M.A. 1870.
Pupil of Gotfred Matthison-Hansen and Neu-
pert; also 1 year at Copenhagen R. Cons. He
himself declares he is essentially self-taught, re-
sembling in this regard his great countryman,
J. P. E. Hartmann. Received the Anker Stipen-
dium, 1879, and spent much time in study and
travel in Germany, Austria, France and Italy.
His début
compr. of song-cycle Sulamite and
Solomon (1874) and suite In Alhambra, revealed a
talent of great originality and purely national
character. These traits he has consistently pre-
served in his entire production. The wealth of
imagination and value of his mus. ideas has
constantly enriched Danish music with each new
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LAPARRA
work. He easily takes front rank and is the most
Danish of all his contemporaries. In his music
for the plays of contemporary Danish poets
(Kaalund, Holger Drachmann, Sophus Bauditz,
Ernst von der Recke, Einar Christiansen) he has
shown a peculiar gift of adapting himself with
the most sensitive mental flexibility to every
subtle phase. This is perhaps most plainly evident
in Holger Drachmann's medieval drama Der var
engang (Once upon a Time), a genuine national.
Danish play, given innumerable times at R.
Theatre, Copenhagen. Also each of his operas-
the Danish Tove, with its dreamy character,
Spanske Studenter (Spanish Students),
Jeanna (Madame Jeanne)-has its special mood;
and, not least, his most recent opera upon
an old Norse theme, Vikingeblod (Viking Blood).
All of them belong to repertoire of R. Theatre.
Some have been produced abroad.
Fru
A fine cantata was written for opening of Industrial
Exhibition, Copenhagen, 1888, another for festival of
Centenary of the Peasants' Freedom. Other choral
works are 3 Psalms (De profundis); Madonna Songs;
Agnete and the Merman; Niels Ebbesen; 2 symphonies;
pf. trio; vn. concerto; Romance, vn.; many pf.
pieces; finally a great number of songs in which ho
probably reaches the pinnacle of his art, the pecu-
nature. (Nordisk Musikforit of a highly poetic
LAPARRA, Raoul. Fr. compr. b. Bordeaux,
May, 1876; Prix de Rome in 1903. His music
is founded on Spanish and Basque folk-lore,
with a veristic technique.
, H.
Operas: Peau d'Ane (1899): La Habañera (1908);
La Jota (1911), Orch.: Danses basques, given at
Queen's Hall, London, 1921, with compr. at pf.;
stage-music for Amphitryon; a str. 4tet.-A. C.
LAPEYRETTE, Ketty. Fr. operatic m.-sopr.
b. Oloron (Basses-Pyrénées), 23 July, 1884.
Entered Cons. Paris, 1903, under Masson,
Hettich, and Bouvet. 1907, 1st prize for singing
in Sapho and also in Le Trouvère. Engaged at
Opéra by Messager and Broussau; début in
Samson et Dalila, 1908. Sang in 1st perf. of La
Forêt, 1910; Les Sept Chansons, 1919; Goyescas,
1919. Possesses a voice of very fine timbre,
particularly in the middle register.-A. R.
LARCHET, John F. Irish compr. condr. b.
Dublin, 1885. Stud. at R. Irish Acad. of Music.
After very successful career as student, obtained
diploma of Licentiate of Acad.; matriculated
at Trinity Coll. Dublin; 1915, Mus. Bac.; 1917,
Mus. Doc. During his Univ. career, was pupil of
Dr. Kitson. For past 15 years, dir. of orch. music
at Abbey Theatre, Dublin, and has made the
mus. interludes one of the features that
theatre. As condr. he has given choral and orch.
recitals of important modern works. He is un-
doubtedly the most promising of the younger
Irish comprs.; for he is adapting his native mus.
idiom to modern harmonic development. Since
his appointment to the Professorship of Music in
the National Univ. he has striven to encourage
mus. compn. based on folk-music. Many of his
songs (Padraic the Fiddler; An Ardglass Boat-
Song) are true evocations of the Irish spirit. His
tone-poem, A Lament for Youth, has been perf.
with great success in Dublin by an orch. under his
direction in 1923.
The Legend of Lough Rea (Lagerniensis), Stainer
LARWAY
& Bell; many songs to words by W. B. Yeats,
Shelley, Longfellow, Padric Gregory. Arr. of Irish
folk-tunes (Pigott, Dublin); coll. of Irish airs (for
str. orch.); Believe me, if all these endearing young
charms, unaco. femalo chorus; 4 Lament for Youth
(C. & E. Ed. Dublin).-W. ST.
LA ROTELLA, Pasquale. Ital. compr. and
condr. b. Bitonto, 28 Feb. 1880. Stud. compn.,
organ and pf. at Naples Cons. In 1902 won, by
competition, post of dir. of Schola Cantorum at
the Basilica di San Nicola, Bari, where he
remained until 1913, composing much sacred
music, and participating in movement for re-
form of sacred music taking place at that time.
His first opera, Ivan, gained great success at
Bari in 1900, and was immediately reproduced
in Milan. A second opera, Dea, was produced
in 1903 for opening perf. at new Teatro Petruz-
zelli at Bari. A third, Fasma (libretto by Arturo
Colautti, written at instance of publisher Son-
zogno), was perf. in Milan at Dal Verme Theatre,
1908. In the meantime, he gained a good repu-
tation as orch. condr.; in that capacity he
travelled successfully, appearing at most im-
portant theatres in Italy and abroad.-D. A.
LARREGLA, Joaquín. Span. pianist and
compr.
Lumbie (Navarra) in 1865. After
obtaining his B.A. degree at Pamplona, went to
Madrid, where he stud. pf. under Zabalza and
compn. under Arrieta, at R. Cons. de Música, in
which inst. he is now a prof. of pf. Member of
R. Acad. de Bellas Artes. Well known in Spain
as pf. soloist; author of a very large number
of pf. pieces; orch. works; mus. comedies; a
lyric drama in 3 acts, Miguel Andrés. (Unión
Musical Española, Madrid.)-P. G. M.
LARROCHA, Alfredo. Span. cellist and condr.
b. Granada, 1866. Started his mus. education
as a choir-boy (seise) at the Cath. of his native
town, under the choirmaster Celestino Vila.
After becoming an efficient player on vn., vla.,
cello and d. b., he devoted himself to cello-study.
under Mireski, at R. Cons. de Música. In 1888,
won a 1st prize and went to Paris, becoming a
pupil of Delsar. Lives in San Sebastian, where
he is dir. of Acad. de Música de la Sociedad de
Bellas Artes, and condr. of its orch. As teacher
of str. instrs. at Acad. Municipal, San Sebastian,
has contributed in great measure to the develop-
ment of mus. culture in that town, where he
holds (since 1904) also the position of perman-
ent condr. of the orch. of the Gran Casino.
-P. G. M.
LARSEN, Nils. Norwegian pianist; b. Christi-
ania, 7 June, 1888. Pupil of pianist Martin
Knutzen, of J. Vianna da Motta and Rudolph
Ganz. Since 1905, numerous concert-tours in
his native land, and concerts in Gothenburg,
Copenhagen and Danish provincial towns. Has
gained a reputation for refined, poetical pf.-
playing; has published pf. pieces, songs, an
adaptation of Christoph Graupner, 2 Norwegian
Dances, etc.-J. A.
LARWAY, Joseph H. Eng. publisher. His
first activities date back to about 1890 when he
personally began to build up his business by the
sale of the then popular religious song which the
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LARYNGOSTROBOSCOPE
public of that day greatly liked. The publication
of educational works and tutors for various
instrs. brought some added prosperity. In course
of time he began publishing popular ballads of a
rather intimate lyrical type. Personal love of
good music and keen interest in the difficult
careers of young British comprs. led him about
1907 to publish many works by Joseph Hol-
brooke, and later by Ernest Austin.-E.-H.
LARYNGOSTROBOSCOPE.
EDWARD W.
See SCRIPTURE,
LA SALVIA, Antonio Santos. Argentine pianist
and compr. b. Buenos Ayres, 1877. Toured
through Argentina, Uruguay, Chile. Founded
Cons. La Nación, Buenos Ayres. Pieces for orch.
and for vn. and pf. Also text-book Teoria de la
Música, a standard work in S. America.-S. G. S.
LASSALLE, José. Span. condr. b. Madrid,
1874. Ph.D. and D.Litt. Collab. with Benavente,
Azorín, Maeztu and others in the Revista Nueva,
herald of the Spanish intellectual upheaval of
to-day. In 1900, went to study music in Ger-
many. In 1903, made his début as condr. with the
Kaim Orch. Munich; travelled as condr. with the
Munich Tonkünstler Orch. in an extensive tour
through Europe. Lives in Madrid, where he
conducts an orch. founded by him, called
Orquesta Lassalle.-P. G. M.
LASSERRE, Pierre. Fr. musicologist; _b.
Pau, 1867. Enthusiastic writer on music. Has
also comp. some songs. Has written:
Les Idées de Nietzsche sur la Musique (1907);
L'Esprit de la Musique française (1919); Philosophie
du goût musical (1922).-A. C.
LASSON, Per. Norwegian compr. b. Christi-
ania, 18 April, 1859; d. there, 6 June, 1883. A
precocious talent. Stud. harmony for some time
under Svendsen. His works include half a score
pf. pieces and a vol.
songs (texts by Henrik
Wergeland and Björnstjerne Björnson). He died
at the age of 24; but the fresh melody and
sincerity of his compns. have preserved several
of them from oblivion. Thus, the pf. piece
Crescendo is played almost all over the world.
-R. M.
LATTO, David. Scottish pf. accompanist and
concert organiser; b. Edinburgh, 24 Jan. 1878.
Pupil of James A. Moonie and Nicol J. Affleck, in
Edinburgh. One of most accomplished, and most
unassuming, accompanists in Edinburgh. For
Messrs Paterson Sons & Co., for 30 years has
successfully organised more concerts than any
other concert-giver in Scotland.-W. S.
LATTUADA, Felice. Ital. compr. b. Caselle
di Morimondo (Milan province), Feb. 1882. Pupil
of Ferroni at Milan Cons.; author of a sonata,
vn. and pf.; a 4tet; vocal chamber-music;
opera, La Tempesta (from Shakespeare), perf.
Milan, 1922. His works are publ. by Ricordi.
-D. A.
LAVATER
1891. Spent some time studying in Italy. Leader
of national movement for restoration of the
old Danish folk-songs and church tunes to their
orig. form in rhythmic and tonal relations. His
literary works on these subjects are:
Om Kirkesang (Church Song), 1887; Luthersk
Kirkesang (Lutheran Church Song), 1891; Vore
Folkemelodiers Oprindelse (Origin of Our Folk-
1920. his ed.
Kirke (Music and the principal work, Musik og
of the old tunes in restored form: 80 rytmiske
Koraler (80 Rhythmic Chorals); Kirkemelodier (Church
in
Church Style); Danske Folkeviser med gamle Melodier
(Danish Folk-Songs with Old Tunes). He designed
the chimes of the Copenhagen City Hall.-A. H.
LAUBER, Joseph. Swiss compr. b. Lucerne,
25 Dec. 1864. Stud. pf. and compn. under Gustav
Weber, Rob. Freund and Fr. Hegar at Zurich,
and was pupil of Rheinberger at Munich and of
Massenet in Paris; teacher at Zurich Cons. for
a short time; then prof. of compn. at Cons. in
Geneva; also 1st condr. of opera there for
2 years; known as excellent teacher;
has
comp. many pieces, remarkable for construction
and orchestration, and full of real mus. imagina-
tion and temperament.
2 festspiele, Neuchâtel Suisse and Ode lyrique, soli,
and
Ad gloriam Dei; Te Deum, soll, chorus, orch.; 5 sym-
phonies; Humoresque for orch. (Swiss National Ed.);
symph. poems: Sur l'Alpe; Chant du Soir; Le
Vent et la Vague; 2 pf. concertos; 2 vn. concertos;
and
publ.
by Fetisch, Lausanne, and Hug, Leipzig. F. H
LAUNIS, Armas. Finnish musicologist and
compr. b. Hämeenlinna (Tavastehus), 22 April,
1884. Stud. Helsingfors Univ. (Ph.D. 1913) and
at Orch. School; made several journeys abroad.
in interests of art and science, and coll. folk-
songs (among other places, in Lapland). Scien-
tific works: Die Lappischen Juoigos-Melodien
(1908); Über Art, Entstehung und Verbreitung
der estnisch-finnischen Runenmelodien (1910);
Suomen kansan sävelmiä, IV (see KROHN). Later
devoted himself entirely to operatic compn. In
1922 L. founded People's Cons. in Helsingfors,
and in same year became dir. of Music Inst. there.
The chief characteristic of his operas consists in
the development of a Finnish recitative style
and in the artistic introduction of elements of
primitive folk-music. Perf. up to the present:
Seitsemän veljestä (The Seven from the Jochenhof)
after comedy by Aleksis Kivi (1st perf. 1910), and
Kullervo (subject from folk-eplo Kalevala), 1917,
Both operas are publ. in pf. ed. with Finnish and
Ger. text.-T. H.
LAURENS, Edmond. Fr. compr. and teacher.
Pupil of Duprato and Guiraud at Paris Cons.
Stage music for Sylvie (Abel Hermant): 4tets;
Mascarades. He has publ. a Cours d'Education musi
cale du pianiste; L'Art du Correcteur; Traité de
Notation musicale.-A. C.
LAVATER, Hans. Swiss compr. b. Zurich,
1885. Stud. at Cons. in Zurich and Cologne,
particularly under Fritz Steinbach.
Lives at
Zurich. His works written in an Neo-classical
style, attain great intensity of expression.
Bergpsalm (Scheffel), ballad for male chorus and
barit., orch. and
organ; Zauberleuchtturm,
orch.; pf. concerto; pf. 5tet; vn. sonata; numerous
songs and unacc. choruses.-F. H.
LAVATER, Louis. Australian pianist and
teacher: b. St. Kilda, Melbourne, 1867. Stud.
LAUB, Thomas Linnemann. Danish musician,
writer, orgt., Langaa, near Nyborg, 8 Dec.
1852. M.A. 1871. Pupil of R. Cons. Copenhagen
(1873-6); orgt. at Ch. of The Holy Ghost,
Copenhagen (1884-91) and at Holmens Ch. since
U
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LAVIGNAC
pf. under 0. Linden, theory under Pascal Need-
ham and Dr. McBurney, orchestration under
Hamilton Clarke. Now teaches in Melbourne.
Has comp. 2 short orch. pieces, and some chamber
music (4tet, trio), pieces for vn. and pf.-G. Y.
LAVIGNAC, Albert. Fr. musicologist and
teacher; b. Paris, 21 Jan. 1846; d. there, 28
May, 1916. Prof. at Cons. (after having been
a pupil there); has specialised in study of
Mus. Dictation (on which he has written a
Complete Theoretical and Practical Course (1882),
and of Solfeggio. His other works do not not
rise above the level of good popularisation. The
best-known is:
Le Voyage Artistique à Bayreuth (1897) (Eng. transl.
by E. Singleton, under title of The Music Dramas of
R. Wagner). Also La Musique et les Musiciens (1895);
L'Education musicale (1902); Notions scolaires de
musique (1905); Les Gaités du Conservatoire (1906).
Until his death, ed. the Encyclopédie de la Musique
(q.v.), now ed. by Lionel de la Laurencie.-A. C.
LAVINA, Facundo. Span. compr. Orch.:
Sierra de Gredos; Indith, symph. poems, etc.
(perf. Orquesta Filarmónica, Madrid).-P. G. M.
LAW OF THE NEAREST WAY (Gesetz des
nächsten Weges). A harmonic term, used by
Anton Bruckner and others, to describe the
method of part-writing which takes every note
to its nearest one, in order to produce the most
perfect connection of the chords. Arnold Schön-
berg adopts the term in his Harmonielehre (3rd
ed. 1922, page 44).-EG. W.
LÁZARO, Hipólito. Span. t. b. in Catalonia.
One of
of leading opera singers of present day.
Teatro Real, Madrid; Liceo, Barcelona; Metro-
politan Opera House, New York; La Scala,
Milan, etc.-P. G. M.
WA
LAZARUS, Daniel. Fr. compr. b. Paris, 1898.
Stud. at Cons.; 1st prize for pf. 1915. Shows
a precocious mastery of his art and a sureness
of touch that augur well; he does not hesitate
to strike out on new lines for himself.
Symph. poem; 3 ballets; pf. preludes; vn. and pf.
sonata; fantasy for cello and orch.-H. P.
LAZARUS, Gustav. Ger. compr. b. Cologne,
19 July, 1861; d. Berlin, June 1920. Pianist;
pupil at Cologne Cons. (Seiss, G. Jensen, Wüll-
ner); 1887, teacher at Scharwenka Cons. Berlin;
after death of Emil Breslaur, took over his
Music School.
Over 170 works of all kinds, especially agreeable
pf. pieces; many pieces with character-titles; sonatina,
op. 19: Modern Pianist (4 books); duets for 2 pfs.
op. 39 (Ländler; Wallz; Scherzo).-A. E.
LAZZARI, Sylvio. Compr. b. Bozen, 1 Jan.
1858. French naturalisation at a very early
age; entered (after studies in Bavaria and
Austria), Paris Cons., where he was a pupil
of Guiraud and of César Franck. His music,
which is founded on Wagnerism, preserves a
seductive personality which recalls its origin
on Adriatic shores. Until 1894, he was the
Wagnerian committee's representative in Paris.
Stage works: Armor (1898); La Lépreuse (1912):
Le Sauteriot (1921). Orch.: Ophélia; Effet de Nuit
(after Verlaine); Impressions d'Adriatique; Rap-
sodie Espagnole: Fantaisie (vn. and orch.); pf. con-
certo. Chamber-musle: vn. sonata; trio; 4tet;
Stet; choruses; ducts; songs.-A. C.
LEBRUN
LEANDER-FLODIN, Adée. Finnish s. singer;
b. 1873. Began studies in Helsingfors, continued
in Paris, 1893-8; appeared 1397-8 at Paris
Opéra-Comique. Toured in Norway and S.
America. Married the musical writer and compr.
Karl Flodin; since 1908, for some time, teacher
of singing in Buenos Ayres.-T. H.
LEBANO, Felix. Argentine harpist; b. Palermo.
in 1867; d. Buenos Ayres, 1916. Stud. under
Scotto at Cons. San Pietro a Maiella, Naples.
Succeeded to professorship on Scotto's death.
Concert tours throughout Europe. Decorated
by
Queen Isabel II, King Edward VII,
King Humbert I, and King Luis of Portugal.
His harp bears the autographs of many famous
musicians and painters. (Sardou wrote on it the
words: "C'est un corps sec et froid, sans chaleur
et sans flammes. Lebano sonne, et c'est une
âme.") Touring S. America, he came to Buenos
Ayres in 1887, and definitely settled down,
devoting himself to teaching. Organises an
annual series of concerts. In 1890 went to Paris
to give a concert there with Paderewski.-A. M.
LE BORNE, Fernand.
b.
Belgian compr.
Charleroi, 10 March, 1862. upil of Saint-
Saëns, Massenet and César Franck. Having
settled in Paris, he became mus. correspondent
of Le Soir, Brussels. Music critic of Petit Parisien.
et Chloé, pastoral drama
Stage works:
(Brussels, 1885):ms mus. drama (Berlin,
1899); Hedda, Scandinavian legend (Milan, 1898);
Fete bretonne, ballet (Nice, 1903); L'idole aux yeux
verts, ballet (1902): L'Absent, music for theatre
(Paris, 1904); La Catalane, lyric drama (Paris, 1907);
Les Girondins, lyric drama (Lyons, 1906); Cléopâtre,
et la
music for theatre (Paris, 1921); Néréa, lyric drama;
Les Borgia, mus. drama. V. and orch.: Patria,
inaugural cantata for Exhibition, 1900; Temps de
Guerre, symph. tableaux with choruses; L'Amour
de Myrto, poem, vs. and orch.; L'Amour trahi, and
L'Amour d'une Parisienne, id.; songs, vs. and orch.;
concerto, vn. and orch.; symphony with organ;
3 orchestral suites; 2 overtures; Aquarelles, small
orch. Féle bretonne; L'Invasion; Poème légendaire
and Reverie, vn. and orch. Chamber-music: str. 4tet;
Songs;
trio;
0;, V., E.
and cello, and pf. sonatas.
pf.
LEBRUN, Paul Henri Joseph. Belgian compr.
b. Ghent, 21 April, 1863; d. Louvain, 4 Nov.
1920. Was entering Univ. of Ghent as civil
engineer when he suddenly decided to give all
his time to music; entered Cons. at Ghent
(under Karel Miry and Adolphe Samuel);
obtained (1881-6) most brilliant distinctions.
Entered Rome Competition three times in
succession and gained a 1st Grand Prix in 1891
for cantata Andromède (his rival was Guillaume
Lekeu, who only obtained a 2nd prize). Prof.
of harmony at Ghent Cons., 1890, and of cham-
ber-music in 1892, and gained a reputation as
a devoted teacher of generous vision; 1913,
dir. of École de Musique, Louvain (until death).
His works show a very pure inspiration and
technique, also a tendency towards harmonic
originality in spite of a decided respect for
classical tradition.
Str. 4tet, D mi. (crowned by R. Acad. 1885);
Andromede, 1891; symphony, E mi. (crowned by
R. Acad. 1891); La Fiancée d'Abydos (2-act opera,
Ghent Theatre, 1896); Marche Jubilaire (full orch.),
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LECOCQ
1905: Sur la Montagne, symph. poem (1st perf.
Ostend, 1911); Ons Belgie vrij (Belgium Liberated)
lyrical poem celebrating liberation of Belgium, 1918
(Louvain, 1919).-C. V. B.
LECOCQ, Charles. Fr. operetta compr. b. Paris,
3 June, 1832; d. there, Oct. 1918. The most
fertile and cleverest representative of the Fr.
opérette. Pupil of Bazin, Halévy and Benoist at
Paris Cons. where he was for a long time prof.
himself. His music is always extremely carefully
written, orchestrated with taste, and of perfect
melodic grace. The rhythm sometimes lacks
variety. Has produced some songs, some pf.
pieces, an ed. of Rameau's Castor et Pollux;
but nearly the whole of his production (about
100 works) is composed of operettas. The first,
Le Docteur Miracle, carried off, at the same
time as Bizet, a prize offered by Offenbach
(1857). All the succeeding works, up to 1868,
had no success; nor were they of great interest.
But Fleur de Thé (1868) was a triumph, and
thenceforth most of L.'s operas were celebrated;
notably:
Le Testament de M. de Trac (1871); Les Cent
Vierges (1872); La Fille de Mme. Angot (1872);
Girofle-Girofla (1874); La Petite Mariée (1875); Le
Petit Duc (1878); Le Jour et la Nuit (1881); Le
Cœur et la Main (1882).
After this period of full flower, his works,
whilst being equally carefully written, did not
recapture the sprightliness of former days.-A. C.
LEDESMA, Father Dámaso. Span. orgt. and
compr. b. Ciudad Rodrigo (Salamanca), 3 Feb.
1868. Author of many choral works, religious
and secular. Has attained a great reputation
for his research work on national folk-music, a
branch of study much neglected in Spain up to
present. Of his several important works on this
subject, his Cancionero Salmantino has received
a special award from the R. Acad. de Bellas
Artes, Madrid. It is the only one published. He
lives at Salamanca.-P. G. M.
LEE, Ernest Markham. Eng. lecturer and
compr. b. Cambridge, 8 June, 1874. Organ
scholar, Emmanuel Coll. Cambridge; stud. under
Dr. Charles Wood and others; originator of
Woodford Green Chamber Concerts; Univ.
extension-lecturer of Oxford, Cambridge and
London. Has
educational composed much sound and tuneful
music.
The Story of Opera (Walter Scott Co.); The Story
of Symphony (id.); Tchaikovsky (John Lane); Grieg
Listening to A
(Bell); Tosky (id.); On Low): Musi
(Kegan
Brahms (Sampson
Theory and Knowledge (Lengnick, 1923); numerous
educational pieces and books of pieces for pr.;
preludes, Hesperis, Serapis, pf. (Murdoch); Modern
Suite, pf. (Lengnick); vn. pieces (J. Williams);
church music (Novello); songs (Chappell; Murdoch);
cantatas (Novello), etc.-E.-H.
LEE-WILLIAMS, Charles. Eng. orgt. b. Win-
chester, 1 May, 1853. Chorister New Coll. Ox-
ford; tutor and orgt. St. Columba's Coll. Ire-
land; orgt. Llandaff Cath.; Gloucester Cath.;
cond. 3 Choirs Fest. from 1882-97. Toured as
examiner for Associated Board of R.A.M. and
R.C.M. (Canada, Australia, etc.) 1897-1923.
Church music; short cantatas; part-songs (Novello).
Ed. Annals of the Three Choirs.-E.-H.
LEEDS MUSICAL FESTIVAL. The first
fest. formed part of opening of Leeds Town Hall
LEGGE
by Queen Victoria in 1858 (first perf. of Stern-
dale Bennett's May Queen); 2nd fest. in 1874
(Costa conducting); 1877 (Costa), Macfarren's
Joseph; 1880 (Sullivan), Martyr of Antioch;
1883 (Sullivan), Macfarren's King David; 1886
(Sullivan), Golden Legend, Mackenzie's Story of
Sayid, Stanford's Revenge, all 1st perf.; 1889
(Sullivan), Parry's St. Cecilia's Day, Corder's
Sword of Argantyr, Creser's Sacrifice of Freia,
Stanford's Voyage of Maeldune, all 1st perf.;
1892, Alan Gray's Arethusa, and symphony by
F. Cliffe; 1895, Parry's Invocation to Music,
Somervell's Forsaken Merman; 1898 (last one
cond. by Sullivan), Stanford's 60th Year, Queen
Victoria, Te Deum, Elgar's Caractacus, Cowen's
The Passions; 1901 (Stanford cond.), Coleridge-
Taylor's Blind Girl of Castél Cuillé; 1904 (Stan-
ford), new works by Mackenzie, Walford Davies,
Charles Wood, Holbrooke, Stanford (5 Songs of
the Sea); 1907 (Stanford cond.), Stanford's
Stabat Mater, Somervell's Intimations of Im-
mortality, Vaughan Williams's Towards the Un-
known Region, etc., Boughton's 2 Folk-Songs,
with Variations, Bantock's Sea Wanderers (all
1st perf.); 1910 (Stanford cond.), new works:
Vaughan Williams's Sea Symphony, Rachmani-
nof's symphony, Stanford's Songs of the Fleet;
1913 (condrs. Elgar, Nikisch, Allen), new works:
Elgar's Falstaff, Butterworth's A Shropshire Lad,
Harty's Mystic Trumpeter; 1916-19, no fests.;
1922 (condrs. Allen and Coates), new work,
Holst's Poem of Death. The choir is recruited
from Leeds, Huddersfield and other towns of
West Riding. Chorus-master, Dr. A. C. Tysoe;
succeeding H. A. Fricker (q.v.); secretary, Charles
F. Haigh.-E.-H.
LEFEBVRE, Charles. Fr. compr. b. Paris,
19 June, 1843; d. there, 1917. Prix de Rome
in 1870. Gained the Prix Chartier in 1884 and
1891. Prof. of elementary classes at Cons.
His art is Neo-classic.
Operas: Zaïre (1887); Le Trésor (1890); Djelma
(1894); Judith (chorus and orch.); Eloa (chorus and
orch.). Scènes lyriques: Toggenburg (after Schiller);
Dalila; La Messe du Fantóme. A symphony; some
chamber-music.-A. C.
LE FLEM, Paul. Fr. compr. b. Lézardieux
(Côtes-du-Nord), 1881. Commenced his studies
in music at Paris Cons.; finished them at
Schola Cantorum, where he is now prof. Stud.
harmony under Lavignac, cpt. under Albert
Roussel, compn. under Vincent d'Indy. Much
more cultured than the average of comprs.,
he is licencié-ès-lettres, and of a philosophic
turn of mind. His music, however, has nothing
intellectual about it, but draws its inspiration
deliberately the popular airs of Brittany.
Sonata, pf. and vn. (1905); symphony in 4 parts
(1906); Par Landes and Par Grèves, pf. (1907);
Aucassin et Nicolette, song-fable (1908); 5tet, pf. and
str. (1910); Les Voix du Large, symph. poem (1910);
songs; pf. pieces. Consult André Couroy, La
Musique française moderne.-A. C.
LEGGE, Robin Humphrey. Eng. music critic;
b. Bishop's Castle, Shropshire, 28 June, 1862.
Read law at Cambridge; stud. music and lan-
guages at Leipzig, Frankfort-o-M., Florence,
Munich; assistant music critic on Times for 15
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LEGINSKA
years; joined staff of Daily Telegraph, London,
1906; now mus. ed. therof. Has written Annals
of the Norwich Fests. and many biographies for
Dictionary of Nat. Biog., Grove's Dictionary of
Music, besides numerous articles.-E.-II.
LEGINSKA, Ethel (real name Liggins). Eng.
pianist; b. Hull, 13 April, 1890. Gave pf.
recitals at age of 7, proving herself no ordinary
child-prodigy by her improvisations on given
themes. In 1900, won a scholarship at Hoch's
Cons. Frankfort-o-M. Stud. there under Kwast
(pf.) and Sekles and Ivan Knorr (theory); then
for 3 years under Leschetizky. At age of 17,
made 1st of several European concert-tours,
later going to America. In New York, stud.
harmony under Rubin Goldmark and compn.
under Ernest Bloch. Her compns. are modern in
style. She gave a concert of her pf. works in
London, 8 July, 1922, and of her orch. music,
Queen's Hall, 22 Nov. 1922.
Symph, poem, Beyond the Fields we know, orch.;
fantasy, From a Life, for 2 fls. piccolo, ob. 2 clar.
bsn. str. 4tet and pf.: 4 Poems, str. 4tet; 6 Nursery
Rhymes, s. v. and small orch.; pf. pieces; songs.
-E.-H.
LEHÁR, Franz. Hungarian operetta compr.
b. Komarom, 30 April, 1870. Stud. partly
in Vienna, partly in Prague; then be-
came condr. of an Austrian military band.
Later he cond. Vienna Tonkünstler Orch., but
resigned and lives only for compn. He began
with serious works (opera Kukuska, perf. 1896,
Leipzig) but soon changed his style and is now
one of the most famous operetta-writers living.
His success is founded on his melodious material,
ideas, and ingenious orchestration. He was the
first to introduce special dancing parts for the
actors after each song or duet. Also the influ-
ence of South Slav folk song is felt. About
30 operettas; best-known is Die lustige Witwe
(The Merry Widow), 1905. His later pieces, by
curtailing the dialogue, approach more closely
to the comic opera.
Der Rastelbinder (1902); Der Göttergatte (1904):
Das Fürstenkind (1909); Der Graf van Luxemburg
(1909); Zigeunerliebe (1910); Eva (1911); Endlich
allein (1914); blaue Mazur, (1920); Frasquita
Lerche singt the Lark
(1918); Die
sings)
(1921); The Three Graces (London, 1921); Clo-Clo
(1924).-P. P.
LEHMANN, Lilli. Ger. s. singer; b. Würz-
burg, 24 Nov. 1842. From 1870, coloratura s.
on Berlin stage; 1878, became singer of R.
Chapel, but broke contract; went to America;
took up dramatic singing, and married the t.
Paul Kalisch (q.v.); 1890, returned to Germany,
accepted star engagements; 1892 in Berlin.
Has directed every summer the singing-courses
of the Salzburg Mozarteum. Famous Wagner
and Mozart singer, remarkable for her powerful
acting (Fidelio, Isolde).
Study of Fidelio (1904); by Edith Nagoli, 1910;
(1902; Eng.
by R. Aldrich 1903;
revised Eng. ed. Macmillan, 1922); My Way (1913).
(1906); L. Andro, L. (1908). Her sister, Marie,
b. 15 May, 1851, s. singer, was 1881-1902 member
of Vienna R. Opera; now living near Berlin.
A. E. & Eo. W.
LEKEU
stud. under her mother (Mrs. Rudolf Leh-
mann, who comp. songs and arr. others of a
classical type, under the initials "A. L."); then
under Randegger; compn. under Raunkilde at
Rome, Freudenberg at Wiesbaden, and Hamish
MacCunn in London. Made her début as a singer
at a Monday Popular Concert, St. James's Hall,
London, 23 Nov. 1885. Retired from concert-
platform on her marriage to Herbert Bedford in
1894. Her first great success was the song-
cycle In a Persian Garden (Metzler, 1896);
soon followed by The Daisy Chain.
Romantic light opera, The Vicar of Wakefield
(Boosey, 1906); morality play, Everyman (ms.):
stage-scenes: Good-night, Babette (Boosey); Secrets of
the Heart (id.); orch. works (ms.); Endymion (J.
Church Co.); Molly's Spinning Song, v. and orch.
(Boosey); Suite, vn. and pf. (Keith, Prowse); inci-
dental music (Chappell; Elkin; Boosey); song-
cycles and
Boosey; Schott;
Metzler, etc.)Cappell;
LEHMANN, Liza. Eng. song- compr. b.
London, 1862; d. there, 19 Sept. 1918. First
LEHNER, Eugen (Jenő). Hungarian violinist;
b. Szabadka, Hungary (now annexed by Jugo-
Slavia), 24 June, 1894. Stud. at R. High
School for Music, Budapest. Founder and leader
of Lehner Str. Quartet (Lehner, Smilovits,
Roth, Hartmann).-B. B.
LEICHTENTRITT, Hugo. Ger. musicologist
and compr. b. Pleschen (Posen), 1 Jan. 1874.
Lived in America from 1889; stud. under J. K.
Paine (Harvard Univ.); finished mus. training
1895-8 at Berlin High School; took Ph.D. 1901
Berlin (dissertation, Reinhard Keiser in his
Operas); joined staff of Klindworth-Scharwenka
Cons. Dr. Leichtentritt is the author of the article.
on BUSONI in this Dictionary.
Chopin blography (1905 in Reimann's Celebrated
Musicians, 2nd ed. 1913); short History of Music
(Hillger's Illustrated Popular Books); History of the
Mold (Leipzig, 1908, 20, Breitkopf); Erwin Lendvai
Form (1911, 2nd ed.
(1912); Ferruccio Busoni (1916); Analysis of Chopin's
Pf. Works, Verlags-Anstalt); Revision of th
(1920, Max Hesse); Handel
(1924, Deutsche
vol. of Ambros's Mus. History (1909); in D.d.T.,
he publ. Selected Works of Hieronymus Prætorius (vol.
23), and Selected Works of Andreas Hammerschmidt
(vol. 40); for the Soc. for Dutch Mus. History,
Amsterdam, revised the Scherzi Musicali of Johann
Schenk (100 pieces for the gamba with figured-bass);
in Masterpieces of Ger. Art, he publ. 35 part-songs of
old German masters (for practical use); 12 Madrigals
of Monteverdi (Peters); Ger. Home-Music of Four
Centuries (Berlin, Max Hesse, 1906, 2nd ed. 1922).
Publ. compns.: str. 4tet, F ma. op. 1; songs, op. 2; op. 3
(13 songs to old Ger. words); op. 4 (Chinese-German
Days and Seasons, Goethe). In ms.: Hymns and Songs
of Hölderlin; 20 songs, op. 8 (Richard Dehmel);
6 romantic songs, op. 9; symphony in A, op. 10;
symph. poem, Hero and Leander, op. 6; A Summer
Ďay, op. 11 (female chorus, s., chamber orch.); str.
Stet, op. 7; suite for cello solo, op. 12; vla. sonata,
op. 13; pf. 5tet, op. 14; vn. concerto, op. 15; play,
The Sicilian (with dances), from Molière (Freiburg-
i-Br. 1920).-A. E.
LEISNER, Emmy. Ger. contr. Appeared 1912
at Hellerau near Dresden as Orpheus; 1912-21,
member of Berlin National Opera, since then
prominent concert-singer (Brahms.)-A. E.
LEKEU, Guillaume. Belgian composer; b.
Heusy, near Verviers, 20 Jan. 1870; d. Angers,
of typhoid fever, 21 Jan. 1894. Until 9 years
old, lived in his native town, where he studied
solfeggio and violin. In 1879, he accompanied
his parents to Poitiers, where he attended the
high school till 1888, all the time continuing
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LEKEU
to study piano and violin. Coming into con-
tact with the works of Beethoven, he was
greatly attracted by musical composition, at
which he worked alone for some time. In 1888,
he settled with his family in Paris, where he
took the degree of Ph.D. Th. de Wyzewa dis-
suaded him from entering the Conservatoire
and brought him into touch with G. Vallin,
under whose direction Lekeu completed his
musical education. In 1888 he made the
acquaintance of César Franck who, captivated
by his exceptional gifts, took him as pupil.
This instruction had hardly begun when Franck
On
died and Lekeu put himself under d'Indy.
d'Indy's advice Lekeu took part, in 1891, in
the competition for Prix de Rome, in Brussels,
where he gained 2nd prize. After this period
Lekeu wrote the sonata for piano and violin
dedicated to Ysaye; the Trois Poèmes for
voice; the orchestral Fantaisie sur deux airs
populaires angevins. In 1892 he started a
pianoforte quartet which death did not allow
him to finish; it was completed by d'Indy.
The concert of his works held in Paris shortly
after his death was a revelation. Since then,
his works form part of the stock repertory.
A
Other works: Adagio, str. orch.; 2 symph.
studies on Hamlet; one on the second part of
Faust. The following works: Chant de triom-
phale délivrance, orch.; pf. trio; cello sonata;
pf. sonata; some pf. pieces and songs, are in
part youthful works and less interesting.
fairly large number of works remain in ms.
especially Epithalame for str. 5tet, 3 trombones
and organ; Introduction and Adagio for solo
tuba with brass band; a Chant Lyrique for
singers and orch.; fragments of a lyrical comedy
entitled Barberine, etc.
LENDVAI
weakness in his art was the form, which lacks
consistency and homogeneity. He was too
young to have mastered this superior element
of art. Franck was enraptured with the abundant
gifts of Lekeu, whom d'Indy calls
quasi-
genius." The undersigned is convinced that
Lekeu, had he lived, would have become an
artist superior to Franck himself and the greatest
master of the transition from the XIX to xx
centuries.
Chief works: Pf. sonata (1891, Rouart, Lerolle);
songs, 3 Poèmes (1892); L'Ombre plus dense (Liège,
1893); sonata, pf. and vn. (1892); sonata, pf. and
cello (finished by d'Indy); str. 4tet (finished by
d'Indy) (Rouart). 2 symph. Etudes (1889-90):
Introduction and Adagio, brass band with tuba solo
(1891); Fantaisie sur 2 airs populaires angevins
(1892, Rouart) perf. Queen's Hall, London, under Sir
Henry Wood, 18 Aug. 1903; Chant lyrique, chorus and
ms.
Sonneck, Miscellaneous Studies in History of Music
(1921); A. Tissier, G. L. (Verviers, 1906); Séré, French
of To-day (Paris, 1922): Lekeu's Letters
in Courrier Musical (1 Jan., 1 and 15 Feb., 1 and
15 March, 15 Sept., 1 and 15 Oct., 15 Dec. 1906):
Notes of Lekeu on 15th Quartet of Beethoren (Courrier
Musical of 15 Dec. 1906).-E. C.
LEMARE, Edwin Henry. Eng. orgt. compr.
b. Ventnor, Isle of Wight, 9 Sept. 1865. Stud.
organ under his father; 1876, won John Goss
Scholarship at R.A.M. where he stud. for 6 years
under G. and W. Macfarren, Steggall and Turpin.
1882-1903, orgt. successively at St. John's,
Finsbury Park, London; Parish Church and
Albert Hall, Sheffield; Holy Trinity, Sloane
Square, London; St. Margaret's Westminster,
establishing a great reputation as a concert-
orgt. In 1900 toured in U.S.A. and Canada;
orgt. of Carnegie Inst., Pittsburgh, Pa., from
1902-15. Recitals at the Panama-Pacific Exposi-
tion (San Francisco, 1915) and municipal orgt.
of San Francisco 1917-21. Since 1921, municipal
orgt. of Portland, Me. L. specialised for many
years on rendering Wagner's music on the organ,
and this originated a certain style of registering
and organ-scoring which had a marked influence
on his own compns, and arrs. He has done much
to develop the taste for the modern side of
organ tone-qualities.
Lekeu may be considered the chief of the
Belgian branch of the young French school.
His style shows the outward characteristics
of the style of Franck, but he adds to it an
entirely original personality, recognisable among
all others and all the more remarkable in that
it appeared to be already entirely independent
at the time of Lekeu's premature death, while
that of Franck only freed itself entirely when
old age was approaching. It is likewise interest-
ing, owing to the fact that Lekeu was a real
Walloon of the country of Liège, in contrast
to the Germanic origin of Franck. His music
bears the characteristic marks of the art and
poetry of Liège: dreaminess, gentle nostalgia,
an alternation of penetrating melancholy and
wild transports, of an ideal and immense aspi-
ration. If, in Franck, musical science seems
at times to have no other end but itself and
even shows a certain ostentation, in Lekeu it
is exclusively at the service of expression, which
reaches in him an intensity which was never
surpassed by any musician and which was
rarely attained. His inspiration is purely
melodic, his themes are striking, and, once heard,
are never forgotten. His favourite master was
Beethoven, whom he resembles at times in
A
depth of feeling and ardent spontaneity.
293
symphonies for organ, G mi. and op. 50, D mi.
(Novello); Sonata No. 1 in F, Toccata and fugue.
(both Schott), etc.; also many colls, of organ pieces
and transcriptions of modern orch. works (Schott;
Novello; Weekes; Augener; Gray).-J. M.
LEMMENS, Nicolas Jacques. Belgian orgt.
compr. b. Zoerle-Parwijs (near Westerloo), 3
Jan. 1823; d. at Château de Linterpoort sous
Sempst (near Malines), 30 Jan. 1881. Pupil of
Fétis at Brussels Cons, and of Herse at Breslau;
2nd Prix de Rome, 1847; prof. of organ, Brussels
Cons., 1849; founded School of Church Music
at Malines in 1878. Married (1857) the English
singer, Helen Sherrington (b. Preston, 4 Oct.
1834), who was appointed prof. of singing in 1881
at the Brussels Cons. and in 1891 at R.A.M.
London. From that time Lemmens frequently
resided in England.
Organ Tutor; Method for accompanying the Grego-
rian Chant; symphonics; many organ pieces; church
musio. Breitkopf issued 4 vols, of his unpubl. works
in 1883.-E. C.
LENDVAI, Erwin. Hungarian compr. and
teacher; b. Budapest, 4 June, 1882. Lives in
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LENEPVEU
Germany. Opera, Olga; 3 str. trios (Bote &
Bock); str. 4tet; choruses.-B. B.
LENEPVEU, Charles. Fr. compr. and teacher;
b. Rouen, 4 Oct. 1840; d. Paris, 16 Aug. 1910.
Turned his attention somewhat late towards
music. Prix de Rome, 1866; Membre de l'Institut,
1880. Has written little, and always in classic
style; but was an excellent teacher and trained
numerous Prix de Rome winners. Having suc-
ceeded Guiraud as prof. of harmony, then of
comp., he publ. in 1898 some Leçons d' Harmonie.
Le Florentin (1874), opéra-comique; Velléda (1882),
opera; and a Requiem.-A. C.
LÉNER. See LEHNER.
LENORMAND, René. Fr. compr. b. Elbeuf,
1846. Up to 14 he received from his mother
an extensive mus. education; but, destined
for a commercial career, he had to renounce
music only in appearance, however; for at
night a little harmonium, enveloped in coverings,
permitted him to work. His essays in compn.
reached the coterie formed by Berlioz, Damcke
and Stephen Heller, who brought him to Paris
in 1868. He has specialised in the lied, and
belongs to that little group of artists which
constitutes the modern French lied school.
Founded and directs the soc. Le Lied en tous
pays. Publ. an Etude sur l'harmonie moderne
(Paris, Monde Musical, 1913; Eng. Joseph
Williams, 1915).
sonatas
About 150 songs; p. Lamoureux
vn. pieces 1903);
trio; 5tet; pf. concerto
Le Lahn de Mabed (Dresden, 1901); Le Voyage
imaginaire (tableaux symphoniques) (Monte Carlo); Le
Cachet Rouge, lyric drama (in collab, with his son, the
dramatic author); La Nuit de juillet, mimodrama by
Pierre Veber.-A. C.
LEON, Claudio Arrau. Chilean pianist; b.
Chillan, 1903. After perf. at concert in Santiago
before President of Republic, he was sent to
Germany to study, where he worked under
Martin Krause in Berlin. When he returned
to Chile, he was most successful as a concert-
player.-A. M.
LEONCAVALLO, Ruggero. Italian opera-
composer; b. Naples, 8 March, 1858; d. Bagni
di Montecatini, 9 Aug. 1919. One of the
principal representatives of what was called the
"young school " of Ital. opera-comprs., together
with Mascagni, Puccini, and Giordano. Owes
his popularity chiefly to a 2-act opera (own
libretto), Pagliacci, whch was first produced at
Dal Verme Theatre, Milan, 17 May, 1892, under
the direction of Toscanini.
He made his mus. studies at Naples Cons.
and his literary studies at Univ. of Bologna
(during time of Giosuè Carducci), obtaining a
degree in Letters. The first part of his life was
adventurous; he toured abroad as a pianist;
was music-master at the Egyptian Court; lived
in the atmosphere of the café-concert. To the
interest of the celebrated baritone Maurel, he
owed his introduction to the Milanese publish-
ing world. The clamorous success of Pagliacci
made him famous; from that time onwards,
his operas easily made their way. At the Dal
Verme Theatre, Milan, on 10 Nov. 1893, I
Medici was perf.; on 10 March, 1896, Chatterton
LERT
at the Nazionale Theatre, Rome. At the instance
of Emperor William II of Germany, he wrote
Rolando di Berlino (perf. at Court Theatre,
Berlin, 13 Dec. 1904). These operas did not meet
with much success. More fortunate were: La
Bohème (Venice, 6 May, 1897); Zazà (Milan,
10 Nov. 1900); also Maià (Costanzi Theatre,
Rome, 1910); Zingari (Hippodrome, London,
1912); and the operettas, Malbruk (Rome,
1910); La Reginetta delle rose (Rome, 1912);
Are you there? (London, 1913); La Candidata
(Rome, 1915); Prestami tua moglie (Montecatini,
1916); A chi la giarrettiera? (Rome, 1919). He
also wrote Goffredo Mameli (Carlo Felice Theatre,
Genoa, 1916). He left an Edipo Re, and an un-
finished 3-act opera, Tormenta, on a Sardinian
subject. Also comp. some chamber and concert
works. (Sonzogno, Milan.)
Consult Onorato Roux, R. L., in Memorie gio-
vanili autobiografiche; also study of his opera I
Medici, publ. in the Rivista Musicale Italiana, 1894.
-D. A.
LEONHARDT, Karl. Ger. condr. b. Coburg,
2 Feb. 1886. Stud. Coburg (August Langert),
1903
at Cons. (Nikisch, Pembaur, Sitt,
Krehl, Noë, Seidl) and Univ. Leipzig (Riemann,
Schering); 1907-20, solo-repetitor, since 1912
condr. at Hanover; 1909, 1911-12, assistant at
Bayreuth Fest.; 1920-2, principal condr. Ger.
National Theatre, Weimar; 1921, prof.; 1922,
gen. mus. dir. of Würtemberg National Theatre,
Stuttgart.-A. E.
LEONHARDT, Otto. Ger. compr. b. Hildes-
heim, 8 Oct. 1881. Stud. under Max Reger
(theory and compn.) and Alois Reckendorf at
Leipzig Cons.; now living at Hanover.
Symphony, Cmi.; symph. poem (words of Clemens
Brentano); 3 pieces for full orch.; str. 4tet, B mi.;
pf. and vn. sonata, A ma.; songs.-A. E.
LEROUX, Xavier. b. Valletri, 11 Oct. 1863;
d. Paris, 2 Feb. 1919. Fr. compr. though born
in the Papal States. Pupil of Massenet at Paris
Cons. Prix de Rome, 1885. From Massenet, he
acquired his passionate and exuberant mus.
language. His numerous operas are designedly
grandiloquent and "written for effect":
Evangeline (1895); Astarté (1900); La Reine
Fiammelle (1903); Vénus et Adonis (1905); William
Ratcliff (1906): Theodora (1906); Le Chemine
Le Carillonneur (1913); La Fille de
(1914). A dramatic overture, Harald; a cantata,
Endymion. Stage-music for The Perse (Æschylus),
1896; Plutus (Aristophanes), 1898; La Sorcière
(Sardou), 1903; Xantho chez les Courtisanes (1910).
-A. C.
LE ROY, René. Fr. flautist; b. Paris, 4 March,
1898. Pupil at Cons. of Hennebains and Gaubert;
succeeded latter as leader of Société des Instru-
ments à Vent. This young soloist is recognised
as the most brilliant flautist of the present
generation in France, and earns this place
through the exceptional purity and fullness
of his tone.-H. P.
LERT, Ernst Joseph Maria. Austrian Opera
Intendant; b. Vienna, 12 May, 1883. Stud. mus.
history at Univ. under Guido Adler, and history
of the theatre. Powerfully stimulated by mise-en-
scène of Gustav Mahler and Roller. 1909, started
as a régisseur and dramaturg (q.v.) at Breslau;
1912, régisseur at Leipzig, working with Otto
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LESCHETIZKY
Lohse at Opera and at the Stadttheater; 1919,
dir. of Stadttheater, Basle; 1920-3, worked
at Frankfort as Intendant of Opera. Became
famous by perf. new operas and by his excellent
mise-en-scène of Gluck and Mozart. His chief
work is a profound study on the mise-en-scène
of Mozart's operas, Mozart auf dem Theater
(1918; 3rd and 4th ed. 1921). Has also written
a biography of Otto Lohse (1918, Breitkopf).
-Eo. W.
LESCHETIZKY, Theodore. Pianist and
piano teacher; b. Lançut, Poland, 22 June,
1830; d. Dresden, 14 Nov. 1915. Pupil of his
father (an eminent Vienna teacher), of Carl
Czerny and Simon Sechter. Went to Petrograd
in 1852. One of founders of Imperial Russ.
Music Soc. Prof. at Cons. there till 1878, when
he settled at Vienna as a teacher of pf. and
achieved a world-wide reputation by his new
method, based on the principle of the "rounded
hand" (Kugelhand). Paderewski was his most
famous pupil. L. was married four times: (1)
concert-singer Friedeburg, (2) Annette Essipoff,
(3) Donimirska Benislavska, (4) Marie Gabr. Roz-
borska. Publ. pf. music, mostly elegant, effec-
tive little pieces, and a comic opera Die erste
Falle (The First Wrinkle), 1st perf. Prague, 1867.
Biographics: Comtesse Angélo Potocka (1903):
Annette Hullah (John Lane, 1906). Consult also
Mary Unschuld von Melasfeld, Die Hand (1901), and
Malvine Brée, Die Grundlage der Methode Leschetizkys
(1902).-H. B. & ZD. J.
LETOCART, Henri. Fr. orgt. b. Courbevoie
(Seine), 6 Feb. 1866. Pupil of C. Franck and
Ernest Guiraud. Since 1900, orgt. at St.-
Founded a soc.
Pierre, Neuilly-sur-Seine.
Amis des Cathédrales, which he conducts. Among
his compns. are 4 colls, of organ pieces; motets;
songs (with pf.); suites for orch., all fine symph.
works. Has also rev. many old compns. of M. A.
Charpentier, Lulli, and La Lande (played at
historic concerts given by Amis des Cathé-
drales).-F. R.
LETOREY, Ernest. Fr. compr. b. Rouen,
2 Nov. 1867. Pupil of Pessard; Prix de Rome,
1895. Compr. of instr. works for orch. Numerous
songs. Has been an orch. conductor.-A. C.
LETT, Phyllis. Eng. contr. singer; b. Red-
bourne, Lincs. Stud. at R.C.M. London, 1903-6
under Visetti; début 1 Nov. 1906, R. Albert Hall,
(Elijah, R. Choral Soc.); since then, at all the
chief festivals.-E.-H.
LETZ QUARTET. See CHAMBER - MUSIC
PLAYERS (U.S.A).
LEVADÉ, Charles. Fr. compr. b. Paris, 3 Jan.
1869. Prix de Rome, 1899; Pupil of Massenet,
and has his languorous melody, but relieved
by a certain irony.
Several orch. suites; Cœur de Margot (panto-
mime); furniture-removers); L'Amour d'
for Hortense couche-toi of Courteline
(chorus of
dore (opera, 1903); Les Hérétiques (opera, 1905); La
Rotisserie de la Reine Pédauque (after Anatole France,
opéra-comique, 1919).-A. C.
LEVEY, Richard Michael (real name,
O'Shaughnessy). Irish condr. b. Dublin, 1811;
d. 1899. Member of Theatre Royal Orch. 1826;
for many years, set the music to pantomimes;
LEY
was a great friend of Balfe and Wallace; cond.
1st perf. of some of Balfe's operas. Sir Robert
Stewart and Sir Charles V. Stanford were
amongst his pupils. The R. Irish Acad. in its
early years owed much to him. He did much
to encourage ensemble-music in Dublin, by his
formation of quartet societies (especially the
Monthly Popular Concerts, 1868-71). His book,
Annals of the Theatre Royal, contains many
anecdotes about artists who came to Dublin.
In 1880, the old Theatre Royal was burnt, and
L. lived to see the opening of the new one in
1897.-W. ST.
LEVIEN, John Mewburn. Eng. barit. singer;
teacher. Stud. under H. C. Deacon and Manuel
Garcia; also under Vannuccini and Salzédo;
sang at Crystal Palace under Manns; has taught
many well-known singers; is hon. secretary of
R. Philh. Soc. London. Has contributed to many
periodicals on theory and practice of old Ital.
school of singing. Contributed art. on SANTLEY
to this Dictionary.-E.-H.
LEVITZKI, Mischi. Amer. pianist; b. Krement-
schug, Russia, 25 May, 1898. Pf. lessons as a
child from A. Michałowski in Warsaw (1905-6).
At 8, came to New York. 1907-11, pupil at
Inst. of Mus. Art, New York, where his pf.
master was Sigismund Stojowski. 1911-15 at
Hochschule, Berlin, studying under Ernst von
Dohnányi. 1913, 2nd Mendelssohn Prize; 1914
the 1st. In March 1914, appeared as recitalist.
in Berlin, and gave concerts in several Belgian
towns. 1915-16, appeared in Germany, Austria-
Hungary and Norway. Made his New York
début, 17 Oct. 1916. Toured Australia, 1921.
-0. K.
LEVY, Ernst. Swiss pianist, compr. b. Basle,
18 Nov. 1895. Eminent pianist; began mus.
studies at Cons. Basle, under Hans Huber; also.
under Raoul Pugno at Paris. Became prof. of
master-classes for pf. at Basle Cons. 1916,
succeeding Hans Huber. Since 1921 has lived in
Paris; plays in concerts in all European towns.
Publ. numerous songs (Leipzig, Hug), and a small
Ger.-Fr. and Fr.-Ger. Dictionary of musical-
technical terms (id.).-F. H.
LEVY, Michel Maurice. Fr. compr. b. Ville-
d'Avray, in 1883. Stud. pf. and compn. with
Lavignac, Leroux, Ch. René; medallist at
Paris Cons. 1898. Was tutor of singing-classes
at Opéra-Comique and Opéra; then dir. of
singing at Gaîté-Lyrique and at Châtelet.
Among his works, rather limited, but carefully
done:
Collections of songs. Stage-music for Le Clottre
(Verhaeren); for La Grève des femmes (Jacques Riche-
pin); for La Courtisane (Arnyvelde, his brother).
He is now appearing in music-halls under the
name of Betove.-A. C.
LEY, Henry George. Eng. orgt. b. Chagford,
Devon, 30 Dec. 1887. Chorister, St. George's
Chapel, Windsor Castle; mus. scholar, Upping-
ham School (P. David; W. Greatorex); ex-
hibitioner, R.C.M. London (under Sir W. Parratt,
Sir Charles Stanford, Dr. Charles Wood, Marma-
duke Barton; organ scholar, Keble Coll. Oxford;
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LEZETYCKI
Precentor, Radley Coll.; orgt. Christ Church
Cath. Oxford; Choragus, Oxford Univ.; prof. of
organ R.C.M. London. Mus. Doc. Oxon. 1914.
He is one of the finest of organists,
Orch. variations on theme of Handel (ms.); str.
4tet in F mi, (ms.); sonata, vn. and pf. in C mi.
(ms.): church music (Faith Press; Novello, etc.);
songs (Acott, Oxford; Stainer & Bell); part-songs
(Year-Book Press; Oxford Univ. Press; E. Arnold;
J. Williams; Stainer & Bell; Novello).-E.-II.
LEZETYCKI. Polish spelling of Leschetizky
(q.v.).
LIADOF, Anatol Constatinovitch (accent 2nd
syll. A). Russ compr. b. Petrograd, 29 April/
10 May, 1855; d. there, Aug. 1914. Received his
mus. education from his father and (at the Petro-
grad Cons.) from Rimsky-Korsakof. He was
appointed assistant-teacher at this inst. in 1878
and, later, prof. He may be described, in many
respects, as a minor poet of the National Russ.
school, endowed with genuine and genial imagi-
nation, who wisely refrained from over-ambitious.
efforts, and wrote the charming music which he
was intended by nature to write. His most.
characteristic works are brief tone-poems such
as Kikimora and Baba-Yaga, a number of pf.
pieces, songs, and a few choral compns. But in
the last years of his life he wrote a tone-poem
entitled From the Book of Revelation which
appears to betoken a remarkable change of out-
look, its tone being more grim and more intro-
spective than that of any of his previously
known works.-M. D. C.
LIAPUNOF, Serge Michaelovitch (accent 4th
syll. OF). Russ. compr. b. Yaroslav, 18/30 Nov.
1859. A pupil of the Moscow Cons. and nowadays
(1923) the foremost living representative of
nationalist tendencies as exemplified in the works
of Balakiref (whose close friend he was) and his
contemporaries. He devoted much of his time to
collecting folk-songs in various parts of the Russ.
Empire, of which he has publ, a valuable coll.
in 3 vols. (Imperial Geographical Soc.). His pf.
music is often of unusual interest, technically
and artistically (especially his 12 Études d'Exè
cution Transcendante).-M. D. C.
Orch.: Symphony, B ml. op. 12; Ballade, op. 2;
Solemn Overture on Russ. folk-tunes, op. 7; symph.
Telazova Vola (in mem. of Chopin), op. 37;
symph. poem, Hashish, op. 53; 1st pf. con-
certo, op. 4: 2nd, op. 38; Rhapsody on Little Russ.
folk-tunes, pf. and orch.; vn. concerto; pf. 6tet; pf.
pieces; songs, etc.-V. B.
LIBERT, Henri. Fr. orgt. and pianist; b.
Paris, 15 Dec. 1869. Titular orgt. to R. Basilica
of St.-Denis; prof. of organ at Amer. Cons.
Fontainebleau. Pupil of Marmontel and Diémer
for pf., of C. Franck and Ch. M. Widor for
organ. First in France to popularise Bach's
Chorales. With Widor at Cons. as prof. of cpt.
and fugue, he was instrumental in training
Gabriel Dupont. Has comp. for both pf. and
organ (Variations Symphoniques, Chorales, Pre.
ludes et fugues). In style he revives and de-
velops the older constructional forms and adds
thereto his own picturesque method of ex-
pression.-F. R.
LIBRARIES OF MUSIC. AUSTRIA.-Vienna:
LIBRARIES OF MUSIC
based
For the Library of the Gesellschaft der Musik-
freunde see special article under G.
GREAT BRITAIN. London: (i) The
British Museum houses the enormous collection
of music deposited there under the Copy-
right Act. It is also rich in mss. The famous
musical library of Buckingham Palace (con-
taining 87 vols. of Handel autographs) is
now housed at the British Museum. (ii)
The Library of the Royal College of Music,
the nucleus of the Sacred Harmonic
Society, is almost equally valuable. It includes
the Library of the Concerts Antient Music.
(given by Queen Victoria), hundreds of dupli-
cates from the British Museum, about 300 from
the Victoria and Albert Museum, chamber-music
from Ferdinand Ries' library, etc. (iii) The
Royal Academy of Music Library. (iv) The Royal
Philharmonic Society's Library. (v) The Library
of the Royal Society of Musicians, Gerrard St.
Cambridge: (i) The Fitzwilliam Museum has a
fine musical library, including the famous Fitz-
william Virginal Book. (ii) St. Peter's College
and Magdalen have also valuable collections.
Oxford: (i) The Bodleian Library contains inter-
esting collections of early music. (ii) The
library at Christ Church College is rich in early
music, English and foreign. Manchester: The
Henry Watson Library contains 38,000 volumes,
with 100,000 part-songs, anthems, etc. (See
special article, WATSON MUSIC LIBRARY.)
Leeds: The Leeds Public Library possesses some
rare works from the Taphouse and other col-
lections. Other Cities: Birmingham, Liverpool,
Sheffield, Huddersfield, Newcastle on Tyne
possess large music departments in their Public
Libraries. Tenbury: St. Michael's College
possesses the library of its founder, Sir F. A.
Gore Ouseley. Over 2000 volumes. Bourne-
mouth: The library bequeathed by J. C. Camm
is very serviceable and of considerable size, con-
taining many orchestral scores. Edinburgh: (i)
Library of the University contains bequests by
General Reid, Professor Thompson and others, a
full collection of modern scores and some old
printed music. (ii) The Advocates' Library con-
tains a music collection. Glasgow: The Library
of the University was founded on W. Ewing's
collection of ancient music and T. L. Stillie's
collection of modern works. Aberdeen: The
University Library contains over 2500 musical.
works. Aberystwyth: The National Library is
of comparatively recent foundation. It specialises
in Welsh and other Celtic works, and also benefits
by the Copyright Act.
FRANCE. Paris: (i) The most remarkable
collection is that of the Bibliothèque Nationale,
consisting of the old Bibliothèque du Roi to
which numerous bequests and purchases have
been added. Since time of Revolution it has
received all publ. compns. There is a catalogue
in 8 vols. (see ÉCORCHEVILLE). (ii) The Biblio-
thèque Ste.-Geneviève and (iii) the Biblio-
thèque Mazarine contain precious old mss.
Of exclusively musical libraries, there are (iv)
the Bibliothèque du Conservatoire, the in-
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LICHTENBERG
estimable riches of which are almost inaccessible,
owing to the lack of a printed catalogue, and (v)
the Bibliothèque de l'Opéra, founded by Nuittier,
containing opera scores from the XVII century.
onward. (vi) The Sorbonne possesses works from
the libraries of Pierre Aubry and Guilmant.
Versailles: The library contains some valuable
old mss.
IRISH FREE STATE.-Dublin: (i) Trinity
College receives all music entered at Stationers'
Hall. (ii) The Irish Academy of Music has
valuable mss. and printed works.
U.S.A.-Washington: Music Division of the
Library of Congress. See SONNECK. New York:
The Public Library contains a valuable Beet-
hoven collection. See BAUER.-E.-H.
LICHTENBERG, Emil. Hungarian condr. b.
Budapest, 2 April, 1877. Dir. of Choral and of
Orchestral Soc. Has cond. the Oratorio Con-
certs for many years.-B. B.
LICHTENBERGER, Henri. French musico-
grapher; b. Mulhouse (Haut-Rhin), 1864. Prof.
in Faculty of Letters, Nancy, 1887; prof. of
Ger. language and literature in Univ. of Paris,
since 1905. For several years taught history
of music at Nancy Cons. (then dir. by J. Guy
Ropartz). Until 1914 wrote mus. criticism in
L'Opinion. His work is a valuable contribution
to the music of Wagner, to whom he devoted a
detailed study (crowned by Académie Française),
called Richard Wagner poète et penseur (Paris,
1898, Alcan), and a vol. Wagner (1909, id.).
-M. L. P.
LIE, Sigurd. Norwegian compr. condr.
violinist; b. Drammen, 23 May, 1871; d. 30
Sept. 1904. Pupil of Gudbr. Böhn (vn.) and Iver
Holter (compn.). Matriculated in 1889; after-
wards stud. at Cons. in Leipzig (Arno Hilf, Rust
and Reinecke) and under Heinrich Urban (Berlin).
1895-8, leader of orch. to Harmonien in Bergen;
condr. of Mus. Soc. and of several choirs in same
city. Leader of Central Theatre Orch. in Christi-
ania, 1898-99; stud. in Berlin (scholarship from
Houen's Bequest) from 1902; condr. of Mer-
cantile Association's Choral Union, 1902-4.
LIERHAMMER
main points he nevertheless preserves his own
original style, without being estranged from the
new tendencies.
Symphony, A ml. (1st perf. Bergen, 1901); Oriental
Suite for orch.; choral work, Erling Skjalgsön; pf.
Stet; str. 4tet; concert-piece for vn.; vn. sonata;
pf. pieces; songs; male-v. choruses, etc.-J. A.
LIEBICH, Frank. British pianist; b. London,
1860; d. there 1922. Stud. at Cologne Cons.
under F. Hiller and Isidore Seiss; then at Dres-
den under E. Kretschmer and Bülow; début
1867, R. Pavilion, Brighton; many recitals and
chamber-concerts; specialised on modern music,
especially Debussy's.-E.-H.
LIEBLING, Georg. Ger. pianist and compr. b.
Berlin, 22 Jan. 1865. Stud. under Kullak and
Liszt; theory under Würst, Albert Becker,
Urban; début, 1884; travelled till 1893; 1894-7,
School, Berlin; came to England
(1898), teacher at Guildhall School of Music;
1890, Ducal Court-pianist (Coburg); from 1908,
own School of Music at Munich; now lives in
Switzerland.
own
Pf. pieces; concertos, op. 22; vn. sonatas, op. 281
and op. 63; pieces for pf. and vn., and pf. and cello;
songs; orch. works, ms.; opera, The Wager (1908,
Dessau); a mystery, Saint Katharine (1908,
Cologne).-A. E.
LIED (Ger.). The German word Lied signifies
a song in every sense of the Eng. word, but since
Ger. songs at the beginning of the XIX century
developed into a highly artistic form in the hands
of Schubert and others, the Ger. word has been
used in other countries, especially in England
and France, to signify songs of an artistic type,
as opposed to the "ballads," "romances" and
"mélodies" of a simpler and more popular kind,
although the Ger. word still implies naturally the
most elementary form of song. The normal Lied
is the folk-song of which the tune remains the
same in all verses; the song in which different
verses are set to different music is called a durch-
komponiertes Lied. Many songs by Brahms and
others are called Gesänge to distinguish them from
their more simple Lieder. The word Lied-form
was used by certain theorists to designate simple
ternary form (A-B-A); but it was found unsatis-
factory and is now seldom used. Eng. journalism
often uses the expression "Lieder-singer" to
denote a singer of what are unpleasantly called
"art-songs." E. J. D.
LIEDERTAFEL (Ger.). A choral society for
male voices.-E.-H.
LIEPE, Emil. Singer and compr. b. Potsdam,
16 Jan. 1860. Stud. at Schwantzer Cons. Ber-
lin; 1878, Leipzig Univ.; 1879-82, Leipzig
Cons. (Rebling, Jadassohn, Reinecke); 1882-3
at Vienna Cons. (Gänsbacher) as singer (barit.);
1884, engaged at different theatres as b.-barit.
(1891-2, Bayreuth); from 1902, concert-work;
1903-7, singing-master Cons. Sondershausen;
(1904, Kammersänger); since 1907 at Berlin.
Songs; overture and entractes to Narciss (Regens-
burg, 1895); symph. poem, Fate (1891); 1-act opera,
Colomba (Dantzig, 1894), own words; symph. poem,
Looking Back (1905); symphony. O ml. (1913);
publ. Wagner albums (songs and pf.); new ed. of
Erk's Treasury of Song.-A. E.
L. was one of ablest talents in Norwegian music
in latter part of last century. Already, at 25,
a fully-trained musician, a highly cultivated
violinist, a mature contrapuntist and an expert
condr. of choir and orch. His activities as a
practising musician made such demands upon
his powers that his rich gifts as compr. had not
before his early death attained that individual
maturity which characterised his mus. labours
otherwise. L. has produced, in the most widely-
differing classes of music, good and interesting
works; all reveal a highly-developed sense of
sonority, a rare capacity for original characterisa-
tion (to which especially his songs and male-v.
choruses bear witness) and a considerable con-
structive and orch. ability in the larger works
(symphony, chamber music, etc.). In the
purely technical use of the national element in
harmonic and rhythmic construction, he is to
some extent dependent upon Grieg; but in the
297
LIERHAMMER, Theo. Baritone singer; b.
Lwów, Poland, 18 Nov. 1866. Stud. medicine in
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LILJEBLAD
Vienna; then music at Cons. there; later under
Padilla in Paris and Stockhausen in Frankfort;
début in joint recital with Hubermann, 1896;
toured Germany, Russia, Poland, France, 1898-
1900; London début, 20 Nov. 1900; prof. R.A.M.
London, 1903-14; 1914-15, prof. Cons. Berlin;
served as a doctor in Galicia, 1915-18; on resur-
rection of Poland, became Polish citizen; 1918-
1920, tours through Austria, Czecho-Slovakia,
Jugo-Slavia; resumed concerts and teaching in
London from 1922.-E.-H.
LILJEBLAD, Ingeborg. Finnish m.-sopr. and
contr. singer; b. Helsingfors, 1887. Stud. in
Berlin and Paris.
Engaged Court Theatre,
Mannheim, 1911-13; at New Opera, Hamburg,
till 1914. Also appeared as concert-singer.-T. H.
LILJEFORS, Ruben Mattias. Swedish compr.
condr. b. Upsala, 30 Sept. 1871. Stud. Leipzig
Cons. 1895-6, 1897-9; condr. Students' Glee
Soc. Upsala, 1902; and of glee-club in Gothen-
burg, 1902-9; stud. under Draeseke, Max Reger
and H. Kutzchbach, 1909-11; condr. of Orch.
Soc. of Gäfle (Sweden) from 1912; member
R.A.M. Stockholm, 1908.
2 pf. 1922 (Raabo & Plothow); The (1903);
Symphony, E flat (1905-6; Gothenburg, 1906);
pf. concerto, F ml. (1899;
), publ. for
music to drama Fritiof and Ingeborg (Norrköping,
1908); Summer Suite (1920); Festival Overture (1922)
Romance, vn. and orch.; cantatas; songs with orch.
and with pf.; sonata, vn. and pf. (1896; publ. 1897,
Abr. Hirsch); songs for male vs.; pf. pieces, etc.
-P. V.
LINDBERG, Helge. Finnish barit. singer; b.
1 Oct. 1887. At first, stud. vn. at Helsingfors
Music Inst.; from 1907 singing, in Munich and
in Florence; later settled in Stuttgart as teacher
of singing, finally proceeding to Vienna. For
the last 5 years L., who in the meantime had
furthered his studies as a singer, has been
appearing with marked success as an artistic
singer in Austria, Hungary, Germany, and the
countries of the North, attracting attention
as much by his magnificent voice and highly
developed vocal technique, as by his deep power
of expression. Has specialised in the old classical
repertoire of Handel and Bach. 1923, concert-
tours in France, England, etc.-T. H.
LINDBERG, Oskar Fredrik. Swedish compr.
b. Gagnef (Dalarne), 23 Feb. 1887. Stud. R.
Cons. Stockholm (compn. under E. Ellberg and
Andr. Hallén), then in Sondershausen (under
Corbach and Grabowsky); from 1914, orgt. at
Engelbrekt Ch. Stockholm; from 1919, teacher
at Royal Conservatoire.
Vildmark
Flor and Blancheflor (1914): From the
Orch.: 3 Dalamålningar (Pictures from Dalarne)
1908; 3 concert overtures (E flat, 1909; B mi., 1911;
ness) (1912) symph.
Great Forests (1917); symphony in F (1916); suite,
Färdeminnen (Travel Memories) (1919); cantata,
chorus, soll and orch. (text by H.R.H. Prince Wil
helm of Sweden) (1918): Requiem, chorus, soli and
orch. (1922); songs with orch. and with pf.; pf.
pieces.-P. V.
LINDEGREN, Johan. Swedish composer; b.
Ullared, 7 Jan. 1842; d. Stockholm, 8 June,
1908. Stud. at R. Cons. Stockholm, 1860-5;
from 1884, choirmaster Nicolai Ch. Stockholm.
Among his pupils were Hugo Alfvén, Bror
LINDEN
Beckman, Harald Fryklöf, S. von Koch.
Member R.A.M. Stockholm, 1903.
Pf. sonata; fugue, pf.; str. 5tet (Stockholm, 1906);
church hymn-book (1905); Journal of Church-Music.
-P. V.
LINDEMAN, Ludvig Mathias. Norwegian
compr. and orgt. b. Trondhjem, 28 Nov. 1812;
d. Christiania, 23 May, 1887. Matriculated in
1835. Began to study theology, but went over
to study of music. 1840, orgt. of Our Saviours'
Ch. in Christiania; 1849, teacher of church-
singing at Univ. Theological Seminary. Together
with his son, Peter Lindeman (q.v.), he establ.
in 1883 a music school which afterwards de-
veloped into Christiania Cons. In 1871 he
visited London on an invitation to take part in
the inauguration of the new organ in the Albert
Hall, and gave on that occasion a number of
concerts.
Lindeman has done great service for Nor-
wegian music. He was one of the principal col-
lectors of folk-melodies. Already in 1840 he had
publ. a large coll. harmonised for the pf. And
from 1848 onwards, he made regular journeys
in this connection over the whole country. He
publ. over 600 of these melodies in the monu-
mental work Older and Newer Norwegian Moun-
tain Melodies, for pf. with accompanying text.
this source our comprs., including Grieg,
Svendsen, etc., have been able to derive much
material. But L. was also a distinguished compr.
equipped with deep learning, and highly gifted
as a melodist. His fugues on the theme B.A.C.H.
are masterly. The same applies to the superb
mixed chorus Draumkvædet (Dream Chant), with
themes from folk-tunes. His chief work is the
Chorale Book for the Norwegian Church, intro-
duced in 1877 and still used in Norwegian
churches. In this we find a number of his own
melodies, of which Kirken den er et gammelt hus
(The Church is it an ancient house) is one of the
finest of Norwegian hymn-tunes.-O. M. S.
LINDEMAN, Peter. Norwegian orgt., dir. of
Christiania Music Cons. b. Christiania in 1858.
Matriculated in 1877. Took in 1880 organists'
examination at Stockholm Cons.; stud. further
in Dresden, 1884-5. Since 1880, orgt. to Uranien-
borg Ch. Christiania. In 1883, he founded,
together with his father, Ludvig L. (q.v.) a
Cons. in Christiania, which still exists and which
was 1st important inst. of the kind in Christiania.
Pieces for organ, v., pf., vn.; organ tutor;
manual on Modulation.-R. M.
LINDEMANN, Fritz. Ger. pianist; b. Wehlau
(East Prussia), 22 July, 1876. Stud. Berlin
(Xaver and Philipp Scharwenka, Wilhelm
Beyer); acted there, after temporary conductor-
ship, as accompanist at Berlin Opera House
(among others, from 1903, of Lilli Lehmann);
chamber-music player.-A. E.
LINDEN, Cornelis van der. Dutch opera-condr.
b. Dordrecht, 24 Aug. 1839; d. 28 May, 1918.
Founded 1888 the first Dutch national opera
(1888-1904).
Cantatas; many songs; 7 overtures for full orch.;
2 operas; part-
choirs; pt. ploccator male, female and mixed
298
P.
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F
LINDHOLM
LINDHOLM, Eino. Finnish pianist; b. 16
Oct. 1890. Stud. at Helsingfors Music Inst. and
in Germany (Breithaupt; Carreño). Has given
recitals in Finland and abroad. Pf. teacher
at Helsingfors Music Inst. 1912-18 and since
1920. T. II.
LINDNER, Edwin. Moravian condr. b. Brünn,
29 Oct. 1884. Stud. under P. de Conne
and H. Grädener, (Vienna Cons.); and Reise-
nauer and Nikisch (Leipzig). After acting as
pianist and condr. in Holland and Belgium,
took charge, 1913, of Robert Schumann Acad.
of Singing, Dresden, which he changed, 1914,
by combining it, together with several other
societies establ. by him, into Dresden Acad.
of Singing. He founded the Dresden Philh.
Orch. in 1915.-A. E.
LINKO, Ernst. Finnish pianist and compr. b.
Tampere (Tammerfors), 14 July, 1889. Stud. at
Helsingfors Music Inst. 1909-11; in Berlin,
1911-13; and in Petrograd, 1914-15. Teacher
of pf. at Helsingfors Music Inst. since 1915. In
summer of 1920, toured with the Finnish
operatic t., Väinö Sola, in the U.S.A., visiting
the districts inhabited by Finns.
2 pf. concertos; pf. trio; pf. pieces; songs.-T. H.
LIONCOURT, Guy de. Fr. compr. b. Caen,
1 Dec. 1887. Stud. at Schola Cantorum under
Vincent d'Indy. Has been prof. of cpt. at Schola
since 1914 and gen. secretary since 1915; former
member of Committee of the Société Nationale
de Musique. Gained in 1918 the Grand Prix
Lasserre for his mus. fairy-play in 3 tableaux:
La Belle au Bois dormant. Other works:
Hyalis (lyric tale, after Samain); Jean de la Lune
Lépreuz; several choral and instrumental works.
drama
-A. C.
LIPPS, Theodor. Ger. psychologist and aes-
theticist; b. Wallhalben (Palatinate), 28 July,
First stud.
1851; d. Munich, 17 Oct. 1914.
theology, then natural science and philosophy
at Erlangen, Tübingen, Utrecht, Bonn; settled
at Bonn, 1877; 1889, became prof.-extraordinary
for philosophy, Bonn; 1890, prof.-in-ordinary,
Breslau; 1894, Munich. Lipps made Einfühlung
the basis of his æsthetic system.
Psychologie, 1901);
Theory of Melody (Zeitscature of Musical H
Psychological Studies, II; .
(1885, 2nd ed. 1905): Affinity and
ing of Tone (1899, in Zeitschrift für Psychologie und
Physiologie); Ästhetik, 2 vols, 1903-6.-A. E.
LIPSIUS, Marie ("La Mara"). Ger. mus.
authoress; b. Leipzig, 30 Dec. 1837.
Heads of Musicians, sketched (1868-82, 5 vols.,
several times reprinted, since 1911 publ. singly);
Polyphonie, collection of sayings of
Mus. Gedanksicians about their art (1873); Beet-
celebrated
hoven (1870, 2nd ed. 1873); Bayreuth Festivals (1877);
Pauline Viardot-Garcia (1882); Musicians' Letters of
Five Centuries (1886, 2 vols.); Classic and Romantic
in the Mus. World (1892); Beethoven and the Bruns-
wick Family (1920); Liszt's I
of Celebrated Contenders (1893-1905, 8 vols.),
(904, 3(1898); Letters from H. Berlioz to
of Franz Liszt
3 vols.); Letters between Franz Liszt and
Hans v.
Princess Weimar-Altenburg Period-photographs
Karolyne of Sayn-Wittgenstein (1903); The
and letters from life of Princess K. Sayn-Wittgenstein
(1906): Letters from Marie of Mouchanow-Kalergis,
Nesselrode, to her Daughter (1907, 2nd ed.
LISZT
Letters from
Liszt to
Saxony
fother (1913); autobiography, Through Music and
Life, in promotion of the Ideal (1917).-A. E.
née Duches and Women (1911); Exchange of Letters
1911);
between Franz Liszt and Grand-Duke Karl Alexander
LIPSKI, Stanisław. Polish pianist and compr.
b. Warsaw, 9 April, 1880. From 1892, stud. pf.
and theory under Zeleński. In 1900, went to
Berlin to study pf. under Jedliczka and cpt.
under Leichtentritt. Later, was pupil of Lesche-
tizky and Robert Fuchs in Vienna. In 1910,
became teacher of pf at Cracow Cons. Has publ.
many songs and pf. pieces in an elegant style,
and several works for male chorus. L.'s music is
of a charming simplicity.-ZD. J.
LISSENKO, Nicolas (accent 1st syll.). Russ.
compr. b. Grinky, 10/22 March, 1842; d. Kief,
29 Oct./11 Nov. 1912. Brought up in the very
centre of Ukraine, he began to study the coun-
try's folk-music, even before taking up music as
a profession. Later he stud. theory at Leipzig
under E. F. Richter. In 1874 he received lessons
in orch. from Rimsky-Korsakof at Petrograd
Cons. In 1876 he settled at Kief. His output
comprises, besides his invaluable coll. of Ukrai-
nian songs (6 vols., 1869-95) and choral arrs., 2
operettas, 3 operas, a Ukrainian Rhapsody for
vn. and orch.; songs and a quantity of pf. music,
mostly on Ukrainian themes. Hardly any work
of his has yet crossed the borders of his native
country. Consult his autobiography in Russkaya
Muzykalnaya Gazeta, 1912, No. 48.-M. D. C.
LISZT, Franz. Hungarian composer and
pianist; b. Raiding, near Sopron (Oedenburg),
Hungary, 22 October 1811; d. Bayreuth,
21 July, 1886. It is well-nigh impossible ade-
quately to set forth, within the limits of this
article, the importance of the part played by
Liszt as a pianist, a composer, a conductor, a
propagandist and educator whose sympathies
and understanding were keen and wide, and
whose tireless activities were for ever at the
service of all causes which needed them.
All works of reference show the division of his
life into three periods. From his early childhood
to 1847 his career was that of a pianist. He
acquired world-wide fame, and began to write
not only music of the kind expected from a
virtuoso, but music in which the greater crea-
tions of the Weimar period were i many respects
foreshadowed. This Weimar period (1848-51)
was entirely devoted to composition and to
propaganda of the finest order by which practi-
cally all Liszt's great contemporaries benefited.
After 1861 he lived for some years in Rome,
and after that divided his time between Rome,
Weimar and Budapest, besides visiting Paris,
London and other cities. During this third
period he continued to devote his activities to
composition and to education.
He received his first piano lessons from his
father, Adam Liszt, appeared in public at the
age of nine, studied the piano under Czerny and
theory under Salieri in Vienna, and later re-
ceived lessons from Paer and Reicha in Paris.
He appeared as a pianist in that city in 1824.
and the following year his opera Don Sanche
was performed there. From 1830 onwards he
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LISZT
devoted himself to piano-playing and to com-
position. Enthusiasm for the music of Beet-
hoven, Berlioz and Chopin led him to study it
with fruitful results, and Paganini's violin music
further stimulated him to researches in the
domain of technique. Towards 1837, with the
Etudes d'Exécution Transcendante, the Paganini
Études and the Fantasia quasi Sonata, his in-
dividuality as a composer stood clearly revealed.
His transcriptions of orchestral works by Berlioz
and Beethoven were the first carnest of his zeal
for artistic propaganda. In 1843, the orchestral
concerts, which he conducted at Weimar,
heralded his activities during the years 1848-61
when he introduced Lohengrin, Tannhäuser,
Schumann's Genoveva and Manfred, Berlioz's
Cellini, Cornelius's Barber of Baghdad, and
numerous classical operas, as well as many
important symphonic works old and new.
This was the time when he wrote most of his
masterpieces; the twelve tone-poems, the Faust
Symphony, the Dante Symphony, the Graner
Messe, etc. From 1861 to 1870 he lived in Rome,
writing Christus, St. Elizabeth of Hungary and other
works of religious inspiration. He was heard in
public as pianist for the last time in 1877. In
April 1886 he visited London and Paris. He died
at Bayreuth, where he lies buried.
All biographers and critics have paid due
tribute to his genius as a pianist and to the bene-
ficial result of his activities as a propagandist.
On the value of his compositions, opinions.
vary far more than in the case of any other
composer; and nearly two-score years after
his death, the question is still debated,
Some people consider that his creative genius
was of the highest order; others would admit
no single work of his among the masterpieces of
musical art; and many hold that he heralded a
good deal and opened many new paths, but
fell short in actual achievement. That he
heralded a good deal
unquestionable.
He stands at the fountain-head of all the
new developments which the second half of the
XIX century brought. As regards form, idiom, and
workmanship, his influence was universal. We
see it chiefly upon Wagner and Strauss, upon
practically all the best of the French school, from
Franck and Saint-Saëns to Ravel, upon all the
Russians (beginning with Balakiref and Borodin)
and upon the Hungarian school of to-day.
He entered the field of composition at a time
when the need for some new principle in musical
architecture had already asserted itself, to a
degree in Beethoven's music, and more defi-
nitely in that of Berlioz. Wagner's utterances
upon the strife between the dictates of poetic
imagination and those of formal practice appar-
ent in the third Leonore overture will be re-
membered. But Beethoven rested content with
outlining the struggle. Berlioz threw all old
conventions aside, but without any definite
attempt towards rebuilding. But, as Saint-
Saëns wrote: "Liszt understood that in order
to invent new forms, it was imperative to make
it felt that they were needed. He boldly entered
LISZT
the path which Beethoven and Berlioz had
shown but hardly entered, and he created the
symphonic poem." This creation was rendered
possible by his conception of motives as plastic
units capable of undergoing endless transforma-
tions in the course of a work whose general
form is, in Wagner's words, "in every instance
that which is necessary.
Meanwhile his contributions to the extension
of the technical resources and colour-range of
his art (a field in which Schubert, Weber and
Chopin had been, with or before Berlioz, the
first modern pioneers), considerable from the
outset
his career, assumed an ever-increasing
importance. One reason why his actual achieve-
ments are often underrated may be the enormous
quantity of indifferent and bad music which hel
has left, and which is far better known than his
fine works. Another is that (as pointed out by
the French critic, Jean Marnold) his apologists
and foes agree in considering him as a champion
of programme-music. The alleged distinction-
or rather opposition-between programme "
music and "pure " music has always been a
stumbling-block, and has created a good deal of
confusion either way. The matter can hardly
be dealt with here; but to show the disturbing
effect of the idea upon certain types of mind, one
may adduce on one hand all the arguments piled
up to show that the Scherzo, storm-music and
finale of Beethoven's Pastoral Symphony are
not real programme-music, and on the other,
assertions such as Klauwell's (Geschichte der
Progr. Musik, p. 79) that in Beethoven's op. 81a
(Les Adieux sonata) "the encounter of the Tonic
sixth (G-E flat) and the Dominant fifth (B
flat-F) can be understood only in the light of a
programme."
Should that initial cause of misconception be
done away with, it is possible-especially given
the present period's tendency towards a re-
vision of art-values and tenets-that a sense of
that greatness of Liszt as a pure musician which
his admirers are steadfastly proclaiming will
become more general.
Religious, choral, and vocal: Missa quatuor vocum
Ungarische Krönungs-1 (Schuberth); Requiem
(Kahnt); Missa Choralis (id.): Christus, oratorio
(id.); St. Elizabeth, oratorio (id.); 57 songs (id.).
Orch.: 12 symph. poems: Héroide funèbre; Tasso;
Les Préludes; Hungaria; Ce qu'on entend sur
la montagne; Mazeppa; Prometheus; Festklänge;
Orphée; Die
Eine Faust-Suice (Sai: Die Ideale (Breitkopf);
(Schuberth); Symphonie zu
Dantes Divina Commedia (Breitkopf); Zwei Episoden
aus Lenaus "Faust" (Schuberth); pf. concerto No.
I (Haslinger); No. II (Schott); Totentans for pt. and
orch. (Siegel).
PI: Harmonies poétiques et religieuses (Kistner);
Années de Pèlerinage (3 vols. (Schott); Album d'un
voyageur (3 vols.) (Haslinger); Etudes d'exécution
Rhapsodies (various); Two Legends (Rózsavölgyi).
Hungarian
Organ: Fantasia and fugue on the chorale Ad nos
salutarem undam (Breitkopf); Prelude and fugue on
the name B.A.C.H. (Schuberth); Variations on Bach's
theme Weinen, Klagen (Peters).
Bibliography: L.'s complete works publ. by the
Liszt-Stiftung are procurable at Breitkopf's, Leipzig.
The same firm has publ. his coll. writings on music
and musicians in 6 vols. and his correspondence in
15 vols.
Consult: L. Ramann, Fr. L. 3 vols. (Breitkopf);
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LITHUANIAN MUSIC
J. Kapp, Fr. L. (Berlin, Schuster & Löffler) (con-
tains an extensive bibliography); R. Louls, Fr. L.
(Berlin, Bondi); M. D. Calvocoressi, Fr. L. (Paris,
Laurens); F. Niecks, Programme Music (London,
Novello); O. Klauwell, Geschichte der Programm-
Musik (Breitkopf).: II. F. Chorley,
Music (London, Smith, Elder); E. N
Musical
Studies (John Lane, 1905). Also L. Rellstab, Fr. L.
(1883);
y Mode..
(1842); Richard P1885), Eng. transi. Rosa New-
Borodin
march (Digby, Long); Aug. Göllerich, Fr. L. (Berlin,
K.
Römische Briefe (1864-9)
2.
013); B. Schrader, Fr.
Schle (Leipzig, 1911); E. Reuss,
Fr. L. ein Lebensbild (1898) and Fr. L.'s Lieder
(1907).-M. D. C.
LITHUANIAN MUSIC. From the earliest times
the Lithuanians have been renowned for their
songs (dainos) and dances, the instr. acc. for
which was furnished by the trimitas (trumpet)
ragas (horn), birbyne (pipe), skudutis (a kind of
fife), and kankles (a kind of harp). The birbyne
and ragas, in heathen days, served as altar
accessories; the trimitas was used in war; the
skudutis by shepherds, and the kankles as an
accompaniment of song and story. The kankles
was most frequently played by wandering old
men who visited the estates of the great mag-
nates and attended popular gatherings. Most of
these ceremonies have now perished; the kankles
players have disappeared, but the immortal
dainos still remain.
In the xvI and xvII centuries, we find the
kanklininkas (kankles-player) predominant, in
close association with the daina, which was kept
alive by aural transmission. Very little music
has been committed to paper in Lithuania itself;
but there are few important libraries in Europe
which do not possess Lithuanian dainos in ms.
form, or museums without Lithuanian musical
instruments. Unfortunately this labour has been
carried out not by Lithuanians but by foreigners,
because the serfdom conditions of national life
in Lithuania, under Poles or Russians, have not
permitted the people in the past to become
literate. But in 1883 the national voice again
made itself heard. The cultural movement,
whose spokesman was the famous periodical
Ausra (Dawn), laid the first serious foundations
of the coming renascence. After the Lutheran
chorales (printed in Lithuanian) and the XVII
century church melodies, the first Mass, written
in Lithuanian, appeared in 1886 with music by
Kalvaitis, a former orgt. of Kaunas (Kovno)
Cathedral.
Nearly 10 years later, Vincas Kudirka publ.
2 male-chorus books containing over 50 dainos,
chiefly popular songs harmonised by Polish
comprs. They included the air now used as the
Lithuanian national hymn, Lietuva Tevyne musu,
together with the famous waltz Varpelis (The
Bell). This was probably the 1st appearance of
the national hymn in print.
A little later, Eremiñas publ. his collection of
choral songs, which only contained a few purely
Lithuanian, all the rest being from German
words and music. About the same time, songs.
by an unknown compr. in blue hectograph
printing, for mixed chorus, were disseminated.
Amongst them were Miskas užia (The Forest
rustles), Sudiev Lietuva (Farewell, Lithuania),
LITHUANIAN MUSIC
Eina garsas nuo rubežiaus (The Sound comes
from the Border). These were in great vogue up
to the war in 1914.
Juozas Naujalis (q.v.) published 8, and later
15 songs for chorus, several solos, and ducts
with pf. acc. Some of his songs appeared in
Lithuanian and Esperanto. He was the first
amongst Lithuanians to acquire a higher mus.
education and to spread the Gregorian chant
amongst Lithuanian churches. Ceslovas Sas-
nauskas (q.v.) was the second during this period
to acquire a higher mus. training. He lived in
Petrograd. Mikas Petrauskas (q.v.), the third
Lithuanian to graduate from the Petrograd
Cons., has won fame in America where to-day
Lithuanian-Americans owe their choir-leaders
and singers solely to his propaganda. These
three men, scattered over the world, constitute
a famous triad in Lithuanian music from which
has arisen an entire series of trained comprs.
Stankevičius, a military band-condr. at Riga,
has comp. many pieces. A. Kacanauskas has
publ. pf. pieces. In 1921 the Svyturys Publ. Co.
issued his unacc. choral works and songs, and in
1922 the Dirva Co. publ. his choral coll. Lietuvos
garsai (Sounds of Lithuania).
Stasys Šimkus (q.v.) began to publish popular
oral songs and orig. compns. whilst still at the
Cons. Juozas Talat-Kelpsa (q.v.) issued Lithu-
anian music in his Cons. days. Early in xx
century, Julius Starka publ. a Solemn Mass for
1 v. with organ. Theodore Brazys (q.v.) played.
a great part in developing musical culture.
J. Žilevičius publ. choruses. The most solid
symph. and pf. works of Ciurlionis remain
in ms. Vidunas has publ. school collections for
2, 3 and 4 vs. J. Gudavičius, a military band-
condr., has also publ. choruses and songs, with
material from Zemaitia sources. J. Gruodis
brought out in 1921 orig. compns. based on
popular melodies for pf. and chorus. These have
a distinctly modern tendency which differen-
tiates him sharply from other Lithuanian comprs.
Great importance must be attached to Sas-
nauskas's cantata Broliai, Simkus's Sudiev Lie-
tuva, Gruodis's pf. variations and the operettas
of M. Petrauskas.
Choral societies are thriving; there are good
music-classes in all the towns. Bell-music was
instituted in the Military Museum tower in 1922.
The free public lectures on music, illustrated
by a symphony orch. in the Military Museum,
attract three or four thousand listeners.
About 1883, Prince Bagdonas Oginski at
Rietavas, in order to have his own symphony
orch, and choir, took the children of poor parents
and had them taught to play orch. instruments.
A similar school was establ. by his brother,
Nicholas Oginski, at Plunge. At Rokiški, there
was the Limanas Organ School, from which a
number of fairly well-trained orgts. graduated.
J. Naujalis at Kaunas (Kovno) Cath. had dozens
of organ pupils who went as far afield as America
and Russia. Recently his school was taken over
by the State, and to-day has arisen therefrom
the State Music School, Naujalis himself as
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LIUZZI
director. In April 1923 a music school for chil-
dren, the head of which is E. Gailevičius, began
to function under the St. Cecilia Association.
The most prominent writers on music are
V. Zadeikas, a really serious critic, and J. Zile-
vičius, the mus. historian.
Opera was founded on 31 Dec. 1920, through
the efforts of a council of four members of the
Association of Lithuanian Art Promoters-
Kipras Petrauskas (former soloist of Russ.
Imperial Marie Theatre, Petrograd, and brother
to M. Petrauskas), Stasys Silingas (ex-President of
Lithuanian State Council); Juozas Talat-Kelpsa
(dir.) and Juozas Žilevičius (administrator).
They conducted the opera until it passed under
government jurisdiction (20 Feb. 1922) as the
Lithuanian State Opera. A symphony orch.
(organised 1923) is maintained by J. Zilevičius.
-H. R.
LIUZZI, Ferdinando. Ital. compr. b. Bologna,
in 1884. Stud. pf. and compn. at Bologna, then
perfected himself at Munich under Reger and
Mottl. Now prof. of harmony and cpt. at the
Music Inst., Florence. Compr. of various vocal
and instr. works; a sonata for vn. and pf.; a
fairy opera L'Augellin bel verde, perf. Rome,
Teatro dei Piccoli. Also writer and critic.-D. A.
LIVENS, Leo. Eng. pianist and compr. b.
Beckenham, Kent, 24 May, 1896. Pf. prof.
R.A.M. London, 1922. His music is interesting
and effective.
Pf. works (Anglo-Fr. Music Co.; Rogers; J. Wil-
liams, London) include sets of Impressions, preludes,
studies, nature suites, Egyptian Phantasies, pf.
in C,
orch. poems; a ballet in 1 movement on Arabian
Nights talo Alnaschar; pf. 5tet; str. 4tets, etc.
-E.-H.
LJUNGBERG, Göta. Swedish operatic s.
singer; b. Sundsvall, 4 Oct. 1893. Stud. in
Stockholm. Chief parts: Elizabeth, Elsa,
Sieglinde, Eva, Venus, Gudrune; Tosca,
Santuzza, Margaret (Faust), Myrtoclo (Die toten
Augen), Eurydice (Orphée aux enfers). Married
H. Stangenberg, the operatic producer, 1912.
Sang in Ring and Salome, perfs. R. Opera,
Covent Garden, London, May 1924.-P. V.
LLACER, Maria. Contemporary Span. operatic
s. singer; Valencia. Besides her success at
many European and Amer. opera houses, she
has given, in provincial towns of Spain, with the
Orquesta Sinfónica, the first performances of
Parsifal and other Wagnerian operas.-P. G. M.
LLEÓ, Vincente. Span. compr. of light mus.
comedies. He hailed from Valencia and, after a
long stay in S. America, died in Madrid at the
end 1922. By the piquant character his
works he enjoyed great popularity, attaining the
highest mark of his fame with the zarzuela La
Corte de Faraón.-P. G. M.
LOEFFLER
The admiration and friendship for him of Vin-
cent d'Indy, Debussy, Ravel, Dukas, de Falla,
the late Granados and Albeniz and many other
leading modern comprs, is not only due to his
technical ability but also to his talent as in-
terpreter of all styles of music. De Falla's
Homenaje, for the Tombeau de Debussy, was
specially written for him.-P. G. M.
LLOYD, Charles Harford. Eng. orgt. b. Thorn-
bury, Glos; d. Eton, 16 Oct. 1919. Orgt.
Gloucester Cath. 1876 (following S. S. Wesley);
cond. Three Choirs Fest. 1877, 1880; orgt.
Christ Church Cath. Oxford, 1882; prof. of organ,
R.C.M. London, 1887-92; precentor at Eton,
1892 till death (succeeding Sir George Barnby).
Cantatas: Hero and Leander (1884); Andromeda
(1886); Song of Judgment (1891); church music,
organ pieces, madrigals, etc. (mostly Novello).-E.-II.
LLOBET, Miguel. Span. guitarist; b. Bar-
celona, 18 Oct. 1878. Started life as a painter,
but the call of the Span. national instr. made
him abandon his former profession; became the
favourite pupil of the great Tárrega. He is recog-
nised as the most eminent player of the present
day, being called the "Casals of the guitar."
LLOYD, David de. Welsh compr. condr. b.
Skewen, S. Wales, 1883. Educated at Univ.
Coll. of Wales, Aberystwyth; graduated B.A.
(1903) and B.Mus. (1905), being the first mus.
graduate of Univ. of Wales; later took degrees
of Mus.B. (1913) and Mus.Doc. (1914) at Dub-
lin Univ.; continued mus. education at Leipzig
Cons.; compn. under Zöllner, Schreef and Hoff-
mann. Held post on staff of Woolwich Poly-
technic Secondary School; orgt. and condr. Zion
Chapel, Llanelly; cond. several modern choral
works; assistant-master at Llanelly County Inter-
mediate School; 1919, lecturer in music at Univ.
Coll. Aberstwyth. He is a firm believer in the
Tonic Solfa system, and holds the marked dis-
tinction of being appointed, when a boy of 11,
to accompany late J. Spencer Curwen on his
lecture-tours in British Isles for public demon-
strations of higher development of the Tonic
Solfa system. He has played, from Tonic Solfa,
short pf. pieces by Scriabin which he himself
transcribed for benefit of a class of students, to
illustrate the possibilities of the system for orch.
purposes; has also transcribed 3 movements of
Ravel's Mother Goose suite. Was one of principal
contributors to a tune-book ed. by Haydn
Jones, M.P.
Part-songs for 8.8.a.; anthems; dramatic chorus
for male voices.-D. V. T.
LLOYD, Edward. Eng. t. singer; b. 1845.
Chorister at Westminster Abbey; member of
both Trinity and Kings' Coll. chapels, Cam-
bridge, 1866; St. Andrew's, Wells St. (under
Barnby), 1869; then Chapel Royal, 1869-71; in
1871, sang at Gloucester Fest. and in following
years created many t. parts in oratorios of
Gounod, Sullivan and Elgar; retired in 1900.
-E.-H.
LOEFFLER, Charles Martin Tornov. Amer.
composer, violinist; b. Mülhausen (Alsace), 30 Jan.
1861. Studied violin under Léonard and Massart
in Paris; under Joachim in Berlin; composition
under Guiraud in Paris and Kiel in Berlin. After
playing for a time in Pasdeloup's Orchestra in
Paris, joined private orchestra of Baron de
Dervies in Nice and Lugano; 1881, went to
America; second principal violin in Boston Sym-
phony Orchestra, often appearing as soloist at
its concerts. 1903, devoted himself to teaching
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LOESCHHORN
and composing, living since then in or near
Boston.
With his orchestral compositions Loeffler holds
a prominent place among modern American
composers, being one of the earliest exponents.
in America of the "Impressionist" style. First
appearance as orchestral composer 21 Nov. 1891,
playing solo-part in his Suite for violin and
orchestra Les Veillées de l'Ukraine at Boston
Symphony concert. This was followed in 1894
by a Fantastic Concerto for cello. In these he
clearly displayed traces of the striking har-
monic originality which was to become more
marked in his later works. With the Divertisse-
ment in A minor, for violin and orchestra, first
performed in Boston in 1895 (composer as soloist),
his style had become fairly well crystallised. It
is characterised by its harmonic freedom, by a
fascinating play of orchestral colour and unusual
rhythmical invention. As a colourist Loeffler
is prominent among the older generation of
American composers. A symphonic poem, La
Mort de Tintagiles (after Maeterlinck), was origi-
nally written with two obbligato viole d'amour,
and was 1st performed thus, 1897. A later ver-
sion uses only one viola d'amour. His fondness
for unusual combinations is further evinced in
his two Rhapsodies for oboe, viola and piano
(produced 1901). His best-known work is prob-
ably the Villanelle du Diable, composed with
another orchestral piece, La Bonne Chanson, in
1901, first performed in Boston, 12 April, 1902.
A Pagan Poem (after Virgil) was originally a
chamber-work, performed in Boston, 1901. The
orchestral version was brought out by Boston
Orchestra in 1907. Of his latest works, Five Irish
Fantasies for voice and orchestra (poems by
Yeats), three were sung for first time by John
McCormack at a Boston Symphony concert, 10
March, 1922. Loeffler is an Officier de l'Académie
and an Officier d'Instruction Publique.
Psalm for female
La Mort de Tintagiles, symph. poem, orch. and
viole d'amour (1905); La Villanelle du Diable, orch.
(1905); 4 Pagan Poem, o
oop. 14 (1909); 2 Rhap-
sodles, ob. via. and pf.
chorus with organ, harp, 2 fls. and cello obblig. op. 3
(1907); Ode for One who fell in Battle, 8-v. mixed
chorus unaco. (1911): 4 Poèmes, v. vla. and pf. op. 5
(1904) all publ. by Schirmer; music for 4 str. instra.
(Soc. for Publ. of Amer. Mus. 1923); many songs.
-0. K.
LOESCHHORN, Albert. Ger. pianist and
teacher; b. Berlin, 27 June, 1819; d. there, 4
June, 1905. Pupil of Ludwig Berger; then at R.
Inst for Church Music; teacher there from 1851.
Pf. studies; sonatas; sonatinas; suites; brilliant
salon pieces; pf. Stet. Wrote Guide to Pf. Literature
(1862; 2nd ed. 1885).-A. E.
LONGO
de Chile; 1906, with Ysaye in Berlin; remained
in Germany till 1914 (Loevensohn's Modern.
Chamber-music Concerts in Berlin); 1914-16, in
Belgian army; 1916, became soloist of Concert-
gebouw Orch. Amsterdam; 1920, appointed 1st
prof. of cello at Brussels R. Cons.; now holding
the two positions at Amsterdam and Brussels.
Belongs also to Amsterdam Str. Quartet (see
CHAMBER-MUSIC PLAYERS). Many comprs. have
dedicated works to him, e.g., Flora Joutard's
Concerto; Henriette Bosmans' Concerto; Scharrès'
Poème, Granville Bantock's Elegiac Poem; sonatas
cello and pf. by Bosmans, Pijper, Dusch, Skau-
wen, Brusselmans. He lives in Amsterdam.
Many works for cello; about 50 songs (ms.); wrote
.
Open Weg, Amsterdamusic of Belgian Masters (publ.
LOEWENGARD, Max Julius. Ger. critic and
teacher; b. Frankfort-o-M., 2 Oct. 1860; d.
Hamburg, 19 Nov. 1915. Pupil of Raff, Frank-
fort; acted as condr.; 1890-1, teacher at
Cons. Wiesbaden; then at Scharwenka Cons.,
Berlin (till 1904), and at same time mus. ed. of
Borsenzeitung; 1904, succeeded Sittard as mus.
ed. of Correspondent, Hamburg; till 1908,
teacher at Hamburg Conservatoire.
LOEVENSOHN, Marix. Belgian cellist; b.
Courtrai, 31 March, 1880. Stud. at Brussels
Cons. (Jacobs); 1st prize 1898. Début in
London same year; toured through England
with Adelina Patti, Albani, Katherine Goodson.
Became successively cellist of Wilhelmj, Marsick,
Ysaye and Thomson Quartets; played in Paris,
Rome, Madrid, Lisbon, Vienna, Amsterdam,
Bucharest, Athens, Constantinople; toured as
soloist with Colonne Orch. in 1905, visiting Rio
de Janeiro, Montevideo, Buenos Ayres, Santiago
Text-book on Harmony (1892, 6th ed. 1906; Eng.
ed. Peacock, 1904; Liebing, 1907; Th. Baker, New
York, 1910); Lessons in Harmony (1902, also Eng.):
Canon and Fugue and Lessons in Form (1904); Prac-
tical Instructions for Figured-Bass Playing, Harmony,
Transposition and Modulation (1913). He comp.
songs and a comic opera Die 14 Nothelfer (The
14 Rescuers), Theater des Westens, Berlin.-A. E.
LÖHR, Hermann Frederic. Eng. song-compr.
b. Plymouth, 16 Oct. 1872. Many songs, best-
known being Little Grey Home in the West and
Where my Caravan has rested.-E. H.
LOHSE, Otto. Ger. condr. b. Dresden, 21 Sept.
1858. Pupil of Draeseke, Wüllner, H. J. Richter
(pf.) and Fr. Grützmacher (cello); 1877-9 in
Dresden Court Orch.; 1880-2, pf. teacher at
Imperial School of Music, Vilna; 1882-9, cond.
Wagner Soc. and Imperial Russian Mus. Soc.,
Riga, also 1st condr. of Stadttheater, 1889-93;
1893-5, chief condr. Hamburg Opera House;
1894, manager of London opera season; 1895-7,
cond. Ger. Opera (Damrosch Company) America;
1897-1904, principal condr. of Strasburg Stadt-
theater; 1901-4, manager of Ger. Opera season,
Covent Garden, London; 1902, visiting condr.
Symphony Concerts, R. Theatre, Madrid; opera
dir. of combined Stadttheater, Cologne, 1904;
1911, opera dir. Brussels; 1912-23, opera dir.
at Stadttheater, Leipzig; 1916, R. professor.
Consult E. Lert, O. L.
1890); numerous songs.
(1918, Breitkopf).-A. E.
LONGO, Alessandro. Italian pianist and
composer; b. Amante (Cosenza), 30 Dec.
1864. Stud. pf. at Cons. di San Pietro
a Maiella, Naples, under Beniamino Cesi,
and compn. under Paolo Serrao. His first
post was to deputise for Cesi as pf. prof. at the
Cons.; in 1897 he succeeded him, and still
occupies that position. Founded and dir. in
Naples some important mus. insts.; played in
the Ferni Quartet. Has gained a high reputa-
tion as concert-pianist. Since 1914, has dir. a
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LUNN
16 orch. pieces are more lyrical than symphonic
in form and design, but they reveal solid theoreti-
cal knowledge and a capacity for effective instru-
mentation. Lives in Christiania, where he is
much in demand as an accompanist.-J. A.
LUNN, Louise Kirkby. Eng. operatic contr.
singer; b. Manchester. Stud. R.C.M. London,
under Visetti; début there; 1st appearance
Opéra - Comique, London (Nora in Shamus
O'Brien; on tour with Augustus Harris in grand
opera, 1896; Carl Rosa Co. 1896-99; Covent
Garden, 1901; Queen's Hall orch. concerts
from 1899. R. Opera 1902-1915 (Wagnerian and
other rôles). Dalila (Samson), Carmen and Orfeo
(Gluck) are her best parts. Has sung at Budapest
and Metropolitan, New York, for many seasons.
First to sing Kundry in English in U.S.A.
-E.-H.
LUNSSENS, Martin. Belgian composer; b.
Brussels, 16 April, 1871. Stud. Brussels Cons.
under J. Dupont, Huberti, F. Kufferath,
Gevaert. Prix de Rome, 1895. Travelled for
3 years in France, Italy, Germany. Leader of
orch. in Lyric Theatre, Antwerp (1901-2).
Prof. of harmony at Brussels Cons. (1911).
Dir. of École de Musique, Louvain (1921).
Appointed dir, of Ghent Cons. Jan. 1924, in
succession to Matthieu.
Stage works: Colette et Lucas, incidental music for
play by Prince de Ligne (Beloeil, 1914); Saint-Amand,
incidental music for play of Delbeke. V. and orch.:
Callirhoé, cantata, Priz de Rome; Cantate Jubilaire
(1905); Ode to Music; Marche inaugurale (Antwerp
Exhibition, 1894); songs, orch. acc. Orch.: 4 sym-
phonics; symph. poems (Roméo et Julietle; Timon
d'Athènes, Jules César, Le Cid); overtures: Ouver-
ture de Concert; Phèdre. Chamber-music.-E. C.
LURE. A large, curved, ancient Scandinavian
bronze horn found through archeological ex-
cavations in Scandinavia and the countries
bordering upon southern shores of Baltic Sea,
especially upon the Danish Islands. The origin
lies in remote days of later Bronze Age (about
1000 B.C.). Quite a number of them are per-
fectly preserved and in condition to be played
upon to-day, which gives them an interest alto-
gether unique. They represent an isolated
voice from the distant past which, so far as music
is concerned, is otherwise silent. The most re-
markable find was made at a little village called
Lynge, about 29 kilometres north of Copenhagen.
A little over 100 years ago 6 large beautiful
lures were dug up out of a bog at one time. They
are in splendid condition and may with a little
practice be played upon; these lures are in
the National Museum, Copenhagen, and from
the balcony of this building it has been the
custom in recent years to celebrate Midsummer
LÜTSCHG
Day by playing upon them, whilst thousands
crowd the adjoining streets to listen in awe and
respect to these mighty, resounding tones from
the past. In Denmark, about 30 specimens have
been found; the majority of these are also in the
National Museum, Copenhagen.
Their length ranges from 2-38 metres to 1.51
metres. The tube shows remarkable dexterity of
working. It is conical in shape; consists of sec-
tions, each fitting accurately into its extension;
smooth inside and out; so thin (1 to 1 mm.) that
present-day foundries cannot produce this result;
the mouthpiece is similar to our trombone; the
finish and ornamentation is remarkable. The
compass of notes is extensive, including all the
first 12 natural open-tones, thus ranging over 3
octaves besides the 10 pedal-tones. The tube
responds easily to a ringing ff, or soft caressing
tones, the lower tones being clear and metallic,
whilst the upper notes approximate to the French
horn. They are invariably discovered in pairs,
tuned in unison.
Consult: Angul Hammerich, Bronze lurerne i
Nationalmuseet i København (Aarbog for Nordisk
Oldkyndighed, Copenhagen, 1893; Ger. ed. in Vier-
teljahrsschrift für Musikwissenschaft, Vol. X, Leipzig,
1894; Fr. ed. in Mémoire de la Société des antiquités
: also Hubert Schmidt,
Prähistoriches
Zeitschrift,
du Nord, Copennerkow (
Die Luren von
No. VII, Berlin, 1915).-A. H.
LUSTGARTEN, Egon. Austrian compr. b.
Vienna, 17 Aug. 1887. Stud. at Vienna Cons.
Now teacher of theory at New Vienna Cons.
A lyrical compr., he attracts attention by his
broadly conceived al fresco songs and his peculiar
manner of treating the chamber-orchestra, which
he prefers in his works, without showing any
other reforms in style.
Symphony for soli, chorus and orch. (1921); 4tet.
str. and pf.; Sonata-capricciosa, vn. Many songs,
mostly in cycles (acc. by str. and wind orch.).-P. P.
LUTE MUSIC and Players. See BATKA,
RICHARD; BRENET, MICHEL; BRONDI, MARIA;
CHILESOTTI, OSCAR; KOCZIRZ, ADOLF; KOTHE,
ROBERT; QUITTARD, HENRI; SCHMID, H. K.;
VIEUX, MAURICE.
Condr. orgt.
LUTKIN, Peter Christian.
compr. b. Thompsonville, Wis., U.S.A., 27
March, 1858. Stud. at Chicago under Eddy
(organ) and Gleason (theory); 1881-3 at Hoch-
schule, Berlin, under Raif (pf.), Haupt (organ)
and Bargiel (theory); at Leschetizky School,
Vienna 1883, and under M. Moszkowski in Paris.
(1884). Orgt. of Cath. of St. Peter and St. Paul,
Chicago, 1871-81; of St. Clement's, Chicago,
1884-91; of St. James's, 1891-96; 1888-95, head
of theory department of Amer. Cons. Chicago;
1891, prof. of music and (1897) dean of school
of music at North Western Univ. (Evanston, Ill.),
which position he still holds. Since 1909,
regular condr. at Chicago North Shore music
fests. held at Evanston. In 1900 Mus. D. h.c.
Syracuse Univ. Church music (Gray; Novello;
Summy). Author of Music in the Church (Mil-
waukee, The Young Churchman, 1910).-0. K.
LÜTSCHG, Waldemar. Russ. pianist; b.
Petrograd, 16 May, 1877. Son and pupil of Karl
Lütschg (pf. teacher 1839-99); first lived in Ber-
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LUTZ
lin; then till 1906 teacher at Mus. College,
Chicago; returned to Germany; 1st pf. teacher
at Cons. Strasburg; now in Berlin; since 1920,
teacher at Public High School for Music.-A. E.
LUTZ, Ernst. Ger.-Czechoslovak compr. b.
Schönbach, 1887.
Symph.
Märchensuite S.
In Memoriam; Symph. Prologue;
LYELL-TAYLOR, H. Eng. condr. b. London,
28 March, 1872. 1st vn. Carl Rosa Co. and
Covent Garden Opera; leader of 2nd vns.
Queen's Hall Orch.; later condr. of 2nd part of
Promenade concerts there; condr. Colwyn Bay
orch. (till 1907); then Buxton orch.; Derby
orch.; Wolverhampton fest. choir; Nat. Sun-
day League concerts; Birmingham Symphony
orch.; then condr. to corporation of Brighton;
now Durban orch. S. Africa.-E.-H.
LYON, James. Eng. compr. b. Manchester,
25 Oct. 1872. Self-taught, except for a few organ
LYON
lessons from Dr. T. W. Dodds, when an under-
graduate at Queen's Coll. Oxford; Mus. Doc.
Oxon. 1905. A fertile compr. with a strong
feeling for the stage, and a Neo-Romantic style.
He has also written much educational music.
Has done much examining in Ireland. In 1924,
visited Canada as adjudicator, with Herbert
Fryer.
Operas: The Palace of Cards, op. 56; Stormurack,
1-act, op. 64; Fiametta, 3-act, op. 77: La Sirena,
4-act, op. 79. Melomimes: Toinette,
The Necklace, op. 74
71. Madame D. 70:
op. 79.
Orch.: 4 suites, op. 14, 27, 32, 42: Welsh poem,
Gwalia; Poem on Manx tunes; prelude, Aucassin
and Nicolette, op. 53; Idyll, str. orch. (W. Rogers);
Ballade, vn. and orch. op. 38 (Stainer & Bell):
cantatas (W. Rogers); Fantasy itet, op. 46; trio
etc. (Don Augener: Stainer & Bell: W.
Rogers: Larway): pt. pleces (Legnick: Novello
Ashdown); organ pieces, 3 sonatas, 2 suites, albums,
Rogers):
for vn. and pf. (Stainer & Bell);
part-songs (Weekes; Ashdown; Stainer &
Novello); educational works, sight-reading
etc. (Ashdown; Weekes; Stainer & Bell).-E.-H.
Bell;
tests,
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MAASALO, Armas. Finnish choral condr.
compr. b. Rautavaara, 28 Aug. 1885. Stud. at
Helsingfors Univ. (Ph.M. 1911), and at Music.
Inst.; 1919-20 (with State scholarship) in Paris.
At present, teacher of music at Finnish Normal
Lyceum; since 1923 dir. of Helsingfors Church
Music Inst.; orgt. and condr. of mixed choir
Kansallis-Kuoro in Helsingfors.
Orch. Suite; Karelian Rhapsody, orch.; works for
chorus and orch.; choral works, songs, etc.-T. II.
MACAN, Karel Emanuel. Czechoslovak
compr. b. Pardubice, 1858; stud. at Organ
School; compn. under Fibich. Became blind when
22. From 1891, teacher at Blind Asylum in
Prague; then chief organiser of the printing
for blind.
Str. 4tet; 2 masses; melodrama, Amarus; many
choruses, chiefly male (Prague); songs (publ. Fr. A.
and M. Urbánek: Otto); children's songs (publ.
Kotrba; Storch, Prague).-V. ST.
MACCARTHY, Maud. British violinist, writer,
lecturer; b. Clonmel, Co. Tipperary, Ireland,
4 July, 1882. Stud. under Arbós; appeared as
a child at Crystal Palace, and Queen's Hall with
Beethoven, Tchaikovsky and Brahms concertos;
many appearances on Continent; toured U.S.A.
with Boston Symphony Orch. twice; numerous
London recitals. At 23, owing to neuritis, she
gave up solo-playing and went to India with
Mrs. Annie Besant, where she stud. metaphysics
and Indian music, on which subjects she has
lectured widely. She has appeared in theatrical
productions. In 1915, she married the compr.
J. H. Foulds (q.v.).-E.-H.
MACCUNN, Hamish. Scottish compr. and
condr. b. Greenock, 22 March, 1868; d. London,
2 Aug. 1916. Stud. under Sir Hubert Parry at
R.C.M. Condr. with Carl Rosa Opera Co. 1898-9;
Moody Manners Opera Co. 1900-1; Savoy,
1902-4; Lyric, 1904-7. Assisted Beecham at
Covent Garden and His Majesty's from 1910,
and at Shaftesbury Theatre from 1915; in 1912,
prof. of compn, and dir. of opera-class at Guild-
hall School of Music. He was the most Scottish of
the Scots comprs. His 4-act opera Jeanie Deans
was produced in Edinburgh in 1894; his Diarmid
in London in 1897. His concert-overtures The
Land of the Mountain and the Flood, The Dowie
Dens o Yarrow, and The Ship o' the Fiend are
his best works. His mus. comedy The Golden
Girl was produced in Birmingham in 1905.
Jeanie Deans (Joseph Bennett), grand opera in
4 acts (Augener): Diarmid (Duke of Argyll), grand
opera in 4 acts (Boosey); Breast of Light (Duke of
Argyll), grand opera (unfinished), ms.; The Golden
Girl (Captain Basil Hood), light opera, 2 acts (Chap-
pell); Prue (Chas. Taylor), light opera, 3 acts (un-
The of
N. Parker) (Sir II. Beerbohm Tree, 1900); The
Pageant of Darkness and Light (John
stage pageant in 6 episodes (Weekes).
cantatas and ballads for chorus and orch.: The Lay
of the Last Minstrel (Scott-J. MacCunn) (Novello,
1888): Lord Ullin's Daughter (Campbell)
Bonny Kilmeny (Hogg-J. MacCunn (id. 1888);
the
1888): The Cameronian's Dream (Hyslop) (id. 1890);
Queen Ilynde of Caledon (Hogg-J. MacCunn) (Chap-
poll, 1892); The Wreck of the Hesperus (Long-
fellow) (Novello, 1905); The Death of Parcy Reed
(traditional), male chorus and orch. (Weekes); Kin-
mont Willie (traditional) (id.); Lambkin (traditional)
(id.); The Jolly Goshawk (traditional) (id.), produced
by Sheffield Amateur Mus. Soc. under Sir Henry
Horne) (id.): Psalm
Orch.: Cior
Mhor, overture (ms.); The Land of the Mountain
and the Flood, overture (Novello); ballad, The
Ship o' the Fiend (Augener); ballad, The Dowie
Dens o' Yarrow (id.); suite, Highland Memories
(By the Burnside; On the Loch; Harvest Dance);
dances (ms.): Entente Cordiale; Mazurka: Har
lequin; Columbine; Hornpipe. Str. 5tet (ms.);
pf. pieces (Augener); 3 pieces, cello and pf. (id.);
songs (Augener; Chappell;
Wood. 1920: Livingstoneelgrim (Sylvester
very maello: Cramer; J. Williams; Pater...
Beal;
Methyen Simpson; Weekes); part-songs (Augener;
Novello).-E.-II.
MACDOWELL, Edward Alexander. Amer.
compr. pianist; b. New York, 18 Dec. 1861; d.
there, 23 Jan. 1908. Remains up to the present day
the most striking figure among native American
composers. Although his position as a world-
composer has been greatly overrated by some
and underrated by others, his contribution to
the art as a whole, and his services to the cause
of the American composer as such, cannot be
dimmed or forgotten. He was first native
American musician to receive the unhesitating
recognition and admiration of his European
colleagues, both as a composer and as an
executant.
He was of Scotch-Irish-Quaker descent. His
early training in piano-playing he received from
Juan Buitrago, P. Desvernine and Teresa Car-
reño in New York. The last-named remained
his staunch supporter to the end of her days.
She was one of the first virtuosos to play his
piano compositions in American recitals, and
often played his second piano concerto in
America and Europe.
From 1876-8 MacDowell studied at the Paris
Conservatoire, the piano under Marmontel and
theory under Savard. In 1878 he went to Ger-
many and after studying the piano for a time
under Louis Ehlert, he became the pupil of Karl
Heymann on the piano and of Raff in composi-
tion. The latter became his warm personal friend
and exercised a great influence upon the de-
velopment of MacDowell's art.
MacDowell's talent as a pianist was recognised,
secured an appointment as teacher of
piano-playing at the Darmstadt Conservatoire,
where he stayed from 1881-2. In 1882 he was
introduced by Raff to Franz Liszt, who became
interested in his compositions and through whose
influence he was given an opportunity to play
his first piano suite on 11 July, 1882, at the 19th
annual festival of the Allgemeine Deutsche
Musikverein held in Zurich.
and
With an interruption in 1884 for a short visit
to America, where he married a former pupil,
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MACDOWELL
Miss Marion Nevins, he remained in Germany
until 1888, living until 1885 in Frankfort, and
after that in Wiesbaden, where he devoted himself
chiefly to composition. The works of this period
reached the opus number 35, including two piano
concertos and three tone-poems for orchestra.
His name had already been made known in
America and England. On 8 March, 1884,
Teresa Carreño played his second piano suite
at a recital in New York. In March 1885 two
movements from the first suite were heard at
an "American Concert" in Prince's Hall, Lon-
don. On 30 March, 1885, the second and third
movements of his first piano concerto were
played in New York at one of Frank van der
Stucken's "Novelty Concerts."
In the autumn of 1888 MacDowell returned to
America and settled in Boston. His first public
appearance as a pianist in America was with the
Kneisel Quartet in Boston, 19 November, 1888.
At this concert he also played three movements.
from his own first piano suite. On 5 March,
1889, Theodore Thomas brought out his second
piano concerto (D minor, written 1884-5) in
New York with the composer as soloist. On
11 January, 1890 the Boston Symphony Orches-
tra played his symphonic poem, Lancelot and
Elaine. From this time on, his larger composi-
tions were played in Boston under Nikisch or
Emil Paur as soon as they were completed.
His most popular orchestral work, the second
(Indian) suite for orchestra, was first performed
by the Boston Orchestra at a concert in New
York, 23 January, 1896.
In 1896 he was called to Columbia University
in New York to take charge of the newly
organised department of music. This was an
entirely new field of work for MacDowell. Al-
though not a gifted pedagogue, MacDowell's
sincerity, his love and respect for his art, his
high ideals and frank enthusiasm communicated
themselves with lasting effect to all his students.
His activity as a piano virtuoso and recitalist
was restricted, but the next five or six years saw
the production of his ripest and most important
piano compositions. Much of his composing he
did at his summer home in Peterboro, New
Hampshire. From 1897-9 he also conducted
the Mendelssohn Glee Club (male chorus) in
New York.
In 1902 his health began to fail. A vacation
year made no change in his condition. He re-
signed from his University position in 1904. In
the autumn of 1905 undoubted signs of mental
derangement manifested themselves. This sad
condition grew worse and ended in his death
three years later.
As a composer MacDowell did his best work
for the piano and for the orchestra. As with
Robert Schumann, his groups of shorter piano
pieces exhibit his romantic spirit with all its
intimate tenderness and his fine, thoroughly
original harmonic sense at their best, while the
depth and strength of his larger conceptions are
exhibited with increasing force and conviction in
the succession of four piano sonatas.
MACKENZIE
MacDowell was honoured during his lifetime.
by the degree of Mus.D. h.c. from Princeton
University, 1896, and from the University of
Pennsylvania, 1902. In 1904 he was elected to
the American Academy of Arts and Letters.
Op. 42, first suite, orch. (Schmidt, 1891); op. 48.
second (Indian) suite, orch. (Breitkopf, 1897); op. 22,
Hamlet Ophelia, tone-poem for orch. (Hainauer,
1885); op. 25, Lancelot and Elaine, symph. poem
(id. 1888); op. 30, Die Sarazenen-Die schöne Alda, 2
fragments for orch. (Breitkopf, 1891); op. 15. pf.
23, con-
certo, D mi. (id. 1907); op. 10, Erste Moderne Suite,
op. 14, Zweite Moderne Suite, pf. (id.
35,
PAR
883
Sonata Eroica, pf. (id. 1895); op. 57, third sonata
(Norse), pf. (Schmidt, 1900); op. 59, fourth sonata
(Kellic), pf. (id. 1901); op. 51, Woodland Sketches, pf.
(Jung, 1896); op. 55, Sea Pieces, pf. (id. 1898); op.
61, Fireside Tales, pt. (Schmidt, 1902); op. 62, New
England Idyls, pf. (id. 1902).
Of his smaller earlier pf. pieces, the Hezentanz,
op. 17, No. 2, and Twelre Etudes, op. 39 (Schmidt,
1890), are best known. The works originally publ.
by Jung are now publ. by A. P. Schmidt of Boston.
An excellent bibliography of MacDowell's compns.
.by the Library of Congress under the
title Catalogue of the First Editions of E. M
3. MacD. by
0. G. Sonneck (Washington, 1917). Consult also:
L. Gilman, E. MacD.: a Study (New York, 1909,
John
the
same author in the series Living Masters of .
(London, 1906); E. F. Page, E. MacD.: his Work
and Ideals; Jondon, 1922, Kegan Paul).-O. K.
A Great American Tone Poet,
E.
MACH, Ernst. Austrian prof. of physics; b.
Turras (Moravia), 18 Feb. 1838; d. Haar, near
Munich, 22 Feb. 1916. Stud. at Vienna Univ.;
elected prof. of physics in 1861. Famous by
his works on acoustics.
Einleitung in die Helmholtzsche Theorie der Musik
(1866): Zur Theorie des Gehörorgans (1872); Beitrag
zur Geschichte der Musik (1892); Die Analyse der
Empfindungen und das Verhältnis des Physischen cum
Psychischen (very valuable aesthetically).-EQ. W.
MACHADO, Augusto. Portuguese compr.; dir.
of Cons. at Lisbon; b. Lisbon in 1845. Stud.
under E. Lami and J. G. Daddi for pf. and
M. d'Almeida for compn.; in 1867, took a few
lessons from A. Lavignac in Paris; appointed
administrative and artistic dir. of San Carlos
Theatre, Lisbon; dir. of the Lisbon Cons.
where he also taught singing. He was one of
most interesting of Portuguese musicians. His
operas are frankly in the style of Massenet; but
it was with his operettas (over 20) that he was
most successful. His first was O sol de Navarra,
3 acts, 1870; his last O Espadachim do Outeiro,
which had many representations at Theatre
Trindade in 1910. See art. PORTUGUESE OPERA.
Operas: (San Vicente,
1883); Os Dorias, 4 acts (ib. 1887); Paola
4 acts; Triste Viurinha, 3 acts; Rosas de toda o anno,
1 act; many operettas and mus. farces; a ballet,
Zeffiretto (Lisbon, 1869); a symph. ode, Camões e os
Luziadas (Milan, 1881); numerous smaller works.-
E.-H.
MACKENZIE, Sir Alexander Campbell. Scot-
tish compr. b. Edinburgh, 22 Aug. 1847. Came of
a mus. family; his forbears for several genera-
His
tions having been professional musicians.
great-grandfather is known to have belonged to
the Forfarshire military band, his grandfather
was a violinist in Aberdeen and Edinburgh and
his father was a popular Edinburgh musician,
leader of the orch. of the Theatre Royal, Edin-
burgh, and a successful song-writer. Alexander
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MACKENZIE
Campbell's early education was received at Hun-
ter's School, and he learnt the vn. as soon as he
was big enough to hold the instrument. By the
advice of a musical friend, a cellist named
Günther Bartel, the boy was sent, at the age of
10, to the care of Bartel's parents in Germany.
M. sen. took his son to Schwarzburg-Sonders-
hausen, a town near Weimar, and returned to
Edinburgh, dying soon afterwards at the early
age of 38. The young Alexander remained in
Sondershausen about 5 years, learning vn. from
K. W. Ulrich and harmony from Ed. Stein. In
his 4th year of stay he was allowed to play 2nd
vn. in the Ducal orch., thus forming a valuable
acquaintanceship with the works of Wagner,
Liszt and Berlioz. In 1862, ambition drove him
to London with the view of obtaining instruction
from his father's old teacher, Prosper Sainton.
This worthy, upon seeing the lad's attempts at
compn. recommended him to enter for one of the
King's scholarships at the R.A.M. This he won
and thus his mus. education was assured at the
capable hands of Sainton, Charles Lucas and F.
B. Jewson, these last two teaching him harmony
and pf. respectively. Like most of his fellow-
students he helped to maintain himself by occa-
sional engagements in theatre bands, a rough
but very valuable experience. In 1865, at the
age of 18, he was considered sufficiently equipped
and returned to his native city with the view
of following in his father's footsteps. Then
ensued 14 years of arduous professional work,
including solo-playing, the giving of chamber
concerts, pf. teaching at schools and conduct-
ing choirs-the routine labour of the British
compr.-during which he yet found time to comp.
songs and pf. pieces, besides 2 Scottish Rhap-
sodies for orch., works of marked originality.
The first compn. to bring him fame was the pf.
4tet, op. 11, which he publ. Germany at his
own expense. The orch. pieces were introduced
to the public by the ever generous August
Manns, who did so much for British art. In 1879,
Mackenzie, finding himself in a position to resign
the uncongenial drudgery of his profession, re-
treated to Florence, where he lived for some
years in peace, devoting himself to compn. Here
his earliest and freshest works of importance
were written, the cantata The Bride (Worcester
Fest. 1881), Jason (Bristol Fest. 1882), and the
opera Colomba, libretto by Franz Hueffer
(Drury Lane, Carl Rosa Co. 1883), the latter
placing its compr. in the forefront of British
comprs. Thenceforward not a year has passed
without a considerable work from this pro-
lific and tireless pen. A beautiful and rarely-
heard work is the orch. ballad, La Belle Dame
sans Merci; another is The Dream of Jubal.
MACKENZIE
same untiring hand that conducted the orch. and
choral classes of the Acad. directed the Novello
Choir and the R. Choral Soc., the R. Philh.
(1892-99) and other important bodies; the pen,
busy with The Pibroch (1889), the Britannia
overture and the Scottish concerto (1897) found
time to write numerous lectures and mono-
graphs on mus. subjects, and all this has gone
on with scarcely any intermission for 35 years.
In 1903 M. undertook a concert-tour in Canada,
giving orch. concerts of British music in all the
important towns of the Dominion, sometimes
two in one day. In 1911 he saw the result of his
able direction of the R.A.M. culminate in the
rebuilding of that inst. on an imposing scale at
York Gate. In the spring of 1924 he retired
from the Principalship, and was succeeded by
J. B. McEwen (q.v.).
By 1888 his position was such that, on the
Principalship of the R.A.M. becoming vacant.
through the death of Sir George Macfarren, he
was appointed to the post, and then only was
the strength of his personality revealed to the
world. Under his able control, the inst. pro-
gressed by leaps and bounds. Still the composer
never faltered or slackened in his output; the
Scholar, Ronours
Principal
decorations: 1862, King's
1884,
Science, Ilesse Darmstadt; 1886, Mus. Doc. h.c. St.
Andrews; 1890, Mus.Doc. h.c. Edinburgh; 1893,
member of Order of Art and Selence, Saxe-Coburg
and Gotha; 1893, Pencerdd Alban (Welsh Bard);
1893-7, President, R. Coll. of Orgts.; 1895, Knight
Bachelor of Great Britain; 1898, member of R.
Swedish Acad.; 1901, D.C.L. Glasgow; 1903, D.C.L.
McGill Univ.; 1903, Mus. Doc. Toronto Univ.; 1904,
LL.D. Leeds; 1908-12, Gen. President, International
Mus. Soc. (including Congresses, Vienna, 1909,
London, 1911): 1913, hon. member, Accademia
Santa Cecilia, Rome; 1914-16, President, R. Coll.
of Orgts.; 1922, K.C.V.O.
Publ. compns. (chiefly Novello; J. Williams; Auge-
ner; Ricordi; Bosworth): op. 1-7, songs and pf.
pieces: op. 8, 7 part-songs; op. 9, Rustic Scenes, pf.;
op. 10, Larghetto and Allegretto, cello; op. 11, 4tet,
pf. and str. E flat (Classical Chamber Concerts,
op. 13, 5 pf. pieces (Novello); op. 14, 3 songs by fi
Heine (Kahnt, Leipzig); op. 15, 3 morceaux, pt.
(Novello); op. 16, 3 songs; op. 17, 3 songs by
Christina Rossetti; op. 18, 3 songs; op. 19, 3 anthems;
op. 20, 6 pf. pieces; op. 21, Scottish Rhapsody No. 1,
orch. (Glasgow, under Manns, Jan. 1880); op. 22,
3 vocal trios; op. 23, In the Scottish Highlands, pf.;
op. 24, Burns, Scottish Rhapsody No. 2 (Glasgow,
under Manns, 1881); op. 25, cantata, The Bride,
transl. from Ger. of R. Hamerling (Worcester Fest.
1881); op. 26, cantata, Jason (Bristol Fest.
(Drury Lane, Carl Rosa Co. 1883); op. 29, orch.
ballad, La Belle Dame sans Merci (Philh. 1883);
op. 30, oratorio, The Rose of Sharon (Norwich Fest.
1884); op. 31, 5 songs; op. 32, vn. concerto (Bir-
mingham Fest. 1885, by Sarasate); op. 33, opera,
The Troubadour (Drury Lane, Carl
Co. 8 June,
1886); op. 34, cantata, The Story
Fest. 1886); op. 35, 3 songs of Shakespeare; op. 36,
Jubilee Ode (Crystal Palace, 1887); op. 37, 6 pieces,
vn. (including Benedictus) (Monday F Pop. Concerts,
1888, by Lady Hallé); op. 38, ode, The New Covenant
(Glasgow Exhib. 1888); op. 39, The Cottar's Saturday
Night, chorus and orch.; op. 40, overture, Twelfth
Night (Richter Concerts, 1888); op. 41, cantata, The
Dream of Jubal (Liverpool Philh. 1889); op. 42,
suite for vn. Pibroch (Leeds Fest., by Sarasate, 1889);
op. 43, prelude, entr'actes and songs for
r Marmion
(Glasgow, 1889; songs only publ.); op. 44, Spring
Songs; op. 45, music to Ravenswood (Lyceum Theatre.
1890); op. 46, Veni Creator, chorus, soll and orch,
(Birmingham Fest. 1891); op. 47a, Highland Ballad.
vn. and orch. (Westminster Orch. Soc. 1893); op. 47b,
Barcarolle and Villanelle, vn.; op. 48, 2 choral odes
(from Buchanan's Bride of Love) (1893); op. 49,
oratorio, Bethlehem (R. Choral Soc. 1894); op. 50,
Shakespeare sonnets; op. 51, Phoebe, comic opera
(B. C. Stephenson) (not perf.); op. 52, overture,
Britannia (R.A.M. commemoration concert, 17 May,
1894); op. 53, From the 1 . 9 pieces, vn. and pf.;
op. 54, 3 songs; op. 55, Scottish Concerto, pf. and orch.
(Philh. 1897, by Paderewski); op. 56, comic opera,
His Majesty (F. C. Burnand and R. C. Lehmann)
(Savoy, 20 Feb. 1897); op. 57, overture, entr'actes
and incidental music The Little Minister (Haymarket
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MACLEAN
heatre, 6 Nov. 1897); op. 58, 3 preludes and vocal
to Manfred but not
roduced; Nos. 2 and 3, Pastoral and Flight of Spirits,
ondon Mus. Fest. 1889; No. 1, Astarte, perf. at
Arthur Newstead's concert, 12 Dec. 1904); op. 59,
recitations with pf. acc. (J. Williams); op. 60.
Rustic Songs; op. 61, incidental musio, Coriolanus
Lyceum, 15 April, 1901); op. 62, opera, The Cricket
On the Hearth, 3 acts (overture at Philh., 2 July, 1902;
Opera, R.A.M. 6 June, 1914); op. 63, Coronation
002);
64,
orch. suite, London Day by Day (Norwich
op. 65, operetta, The Knights of the Road (Palace
Theatre, 27 Feb. 1905); op. 66, cantata, The Witch's
Daughter (Leeds Fest. 1904); op. 67, Canadian Rhap-
sody, orch. (Philh. 1905); op. 68, Suite, vn. and orch.
(L.S.O. 18 Feb. 1897, by Mischa Elman); op. 69.
cantata, The Sun-God's Return (Cardiff Fest. 1910;
Vienna Singakademie, 1911); op. 70, Fantasia, pf.;
baile, orch.; op. 73, 3 trios, female vs.; op. 74,
Tam o' Shanter, Scottish Rhapsody No. 3 (Inter-
national Mus. Congress, London, 30 May, 1911);
op. 75, An English Joy-Peal, orch. (Coronation,
Westminster Abbey, 22 June, 1911); op. 76, Invo-
cation, orch. (Philh. 21 March, 1912); op. 77, Per-
fection, part-song; op. 78, The Walker of the Snow,
song op. songs
tions, pf.; op. 82, Ancient Scots Tunottings, pl.;
op. 83, Odds and Ends, pf.; op. 84,
dance-measures, vn.; op. 81, English dir with varia-
str. orch.;
op. 85, 3 school part-songs; op. 86, 6 easy impromptus,
vn.; op. 87, 1-act opery in 1924); op. 88, Varying
St. John's Eve (Ascherberg:
B.N.O.C. Liverpool, early
Moods, pf. (J. Williams); op. 89, Distant Chimes,
vn. and pf. (Overture (J. Williams), for R.A.M.
(Novello, 1921); op. 90, Sport,
orch.
centenary, 1922.
At the Royal Institution, the R.A.M., and other
places, he has delivered lectures on following subjects;
the figures showing the number of lectures, where
a series:
The Overture Progress of Instrumentation (4);
The Historical Elements of Music (4); Hansel and
Gretel; Verdi's Falstaffic The Bohemian School of
(transl. into Ital.) (3); 4
National School of Music;
Music (3); Russian Music; Franz Liszt (3); Tchai
kovsky; Brahms; Arthur Sullivan (3); Mendelssohn
(also in Ger.) (2); Chamber Music (3); The Latest
Phases of Music (3): Form, or the Want of it (2);
The Beginnings of the Orchestra; A Revival of Chamber-
Music (2); War-Music, Past and Present (3); Hubert
Hastings Parry, his Work and Place among British
Composers (Royal Institution); Beethoven (2) (Royal
Institution). There have also been 2 monographs on
Liszt and Verdi (Jack's Masterpieces of a
of Music), and
many
MACLEAN, Alick (Alexander Morvaren). Eng.
compr. and condr. b. Eton, 20 July, 1872. Son
of Charles Donald Maclean. Educated at Eton,
destined for army; comp. 3-act comic opera
Crichton at age of 20; and 3-act opera Quentin
Durward at 21; in 1912, mus. dir. Spa Co. at
Scarborough; 1915-23, condr. Queen's
Light Orch. which played at the Chappell
Ballad Concerts; dir. and condr. Scarborough
Mus, Fest. 1920.
Hall
MACPHERSON
orgt. b. Cambridge, 27 March, 1843; d. London,
23 June, 1916. Orgt. Exeter Coll. Oxford; stud.
at Cologne under Hiller; Mus. Doc. Oxon. 1865;
music dir. at Eton Coll. 1871-5; concert-orgt.
in London; 22 years' residence in India as a
civil servant; from 1893 in London. From 1899,
Eng. ed. of I.M.G.; from 1908, gen. secretary of
that soc.; in 1912, ed. their polyglot "Report
Volume"; in 1914, wrote History of Modern
Eng. Music for Paris Encyclopédie de la Musique
(Delagrave, not publ. till 1921), a summary
which is by no means satisfactory.
Pageant march, orch.; pf. concerto in F; symph.
poems: Laodameia; Songs of Selma; Penthesilea;
Iona; character-piece from Bavaria; oratorio, Noah
Gaelic cantata, Salmalla; trio, pf. vn. cello, in B,
etc.-E.-H.
MACMILLAN, Ernest. Canadian orgt. compr.
b. Mimico, Ontario, Canada, 18 Aug. 1893. Began
his mus. studies in Toronto, but afterwards went
to Edinburgh to study organ under Alfred
Hollins and theory under Prof. Niecks. His 1st
appointment was orgt. of Knox Ch. Toronto.
In 1911, F.R.C.O. and Mus. Bac. Oxon.; 1911-14,
student at Univ. Toronto. In 1914, he left for
a course of study in Europe, but, being in
Bayreuth when war broke out, was interned,
first at Nuremberg and afterwards at Ruhleben.
Whilst in Ruhleben, he wrote setting of Swin-
burne's England which was approved by the
Univ. of Oxford for degree of Mus. Doc. Returned
to Canada (1919) and became orgt. of Eaton
Memorial Ch. In 1920, appointed member of
advisory board of Canadian Acad. of Music.
His ode England was perf. by Toronto Mendels-
sohn Choir in 1920. His other compns., already
numerous, are not yet published.-L. S.
Operas: Petruccio (Moody-Manners Prize), pro-
duced June 1895, at Covent Garden (Wilcocks): Die
Liebesgeige (produced Easter Sunday, 1906, Mayence);
Mattre Seiler (produced 20 Aug. 1909, Lyric Theatre,
London, Moody-Manners Co.); Die Waldidylle (Ger.
version; produced April 1913, Mayence); Quentin
Durward (produced 13 Jan. 1920, Theatre Royal,
Newcastle-on-Tyne, Carl Rosa Opera Co.); The
of Cremona (awaiting production). Choral:
The Annunciation (produced 15 Feb. 1909, at Richter
Concert, Sheffleld Choral Union) (Novello); Choral
Song (poem by Louis N. Parker); Lament (Alfred
Hyatt, from Saad the Eastern Gate (produced by
Sheffield Choral
under Coward, at Sheffleld,
March 1923; publ. by Ascherberg); incidental music
to The Jest (Louis N. Parker); to The Mayflower
at
Concerts under Howard Carr, 1923); to Cyrano de
Bergerac (Sir Charles Wyndham's production); songs;
choruses; orch. suites, etc.-E.-H.
MACLEAN, Charles Donald. Eng. compr. and
311
MACPHERSON, Charles. Organist of St. Paul's
Cathedral, London; Scottish composer; b. Edin-
burgh, 10 May, 1870. Early education mostly at
St. Paul's Choir School (1879-87); the mus.
side being under late Sir George C. Martin. For
latter half of 1887, trained boys at St. Clement's,
Eastcheap, and stud. cpt. under Dr. C. W.
Pearce, then orgt. of church; stud. organ under
Sir George Martin. Became orgt. at St. David's,
Weem, Aberfeldy, Perthshire, end of 1887 till
beginning of 1889; orgt. at private chapel of
Luton Hoo, Beds (the late Mme. de Falbe);
student at R.A.M. 1890-5, Charles Lucas Medal
for compn. 1893; sub-orgt. St. Paul's Cath.
1895; orgt. in 1916. Mus. Doc. Dunelm. h.c.;
cond. London Church Choirs Association from
1913.
Orch. overture, Cridhe an Ghaidhil (ms.); Highland
Suite, orch. (ms.); 6tet for wind instrs. (ms.); Suite,
military band (ms); Hallowe'en, orch. (Novello); pf.
4tet, E flat (ms); Prelude and fugue, A flat, organ
(J. Williams); 144 accs. to Scots songs (Pentland,
Edinburgh, 8 books publ.); By the Waters of Babylon,
chorus, organ and orch.; Thanksgiving Te Deum for
church
music, organ pieces and arrs., part-songs, etc.
vello). Book, Short History of Harmony (Kegan Paul,
1917).-E.-H.
MACPHERSON, Stewart. British mus. educa-
tionist, compr. b. Liverpool, 29 March, 1865. En-
tered R.A.M. London as Sterndale Bennett
scholar in 1880; stud. compn. under Sir G. A.
Macfarren, pf. under Walter Macfarren, vn.
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MACRAN
under W. Frye Parker. During his studentship,
cond. the newly-formed Westminster Orch. Soc.
(until 1902). Ultimately became prof. of harmony
and compn. in R.A.M., an appointment he still
holds. Was created Associate of the Acad. in
1887 and Fellow in 1892. Is an examiner for the
Associated Board of the R.A.M. and R.C.M., in
which capacity he has visited Canada, Australia,
New Zealand and S. Africa. Prof. of compn. at
R. Normal Coll. for Blind 1903-20; member of
board of musical studies in Univ. of London.
Was instrumental in founding (1908) Music
Teachers' Association, the first body of its kind
to insist (i) upon the fact that aural training
must be the basis of all mus. education worthy
of the name, (ii) the need for definite training in
teaching for those who intend to follow the
teacher's career. Has been a pioneer in this
country of the "Appreciation " movement in
mus, education, and has devoted much of his
time to its propagation, by means of lecturing
and writing. His book Music and its Appreciation
was the first work on the subject to be issued
in England.
Practical
Ballade, orch. (Novello); Notturno, orch. (Williams);
Mass in D, s. solo, chorus and orch. (id.); Romance,
ob. and pf. (Rudall, Carte); Suite de Valses, pf. (Ash-
down); part-songs, services, etc. (Novello;
6 Scotch songs and 6 Iroquois songs (Will
Harmony (transl. Into Ger.); Appendix to stica
Rudiments of Music; Practical Counterpoint; Form
in Music (1908); Music and its Appreciation (1910);
Ernest Read) Part I (1912), Part
II (1914), Part III,
(1918): Studies in Phrasing and Form (1911); Musical
Education of the Child (1915); Melody and Harmony
(1920): The Appreciation Class (1923), etc. (all publ.
by Williams). Has ed. (J. Williams) a complete
Analytical Ed. of Beethoven's pf. sonatas; is ed.
an important
music
usic (id.).E--Ies of educational handbooks on
of
MACRAN, Henry Stewart. Irish writer on
music. Educated at Wesley Coll., Trinity Coll.
Dublin, and Balliol Coll. Oxford; Fellow of
Trinity Coll. in 1892. In 1901, prof. of moral
philosophy; has done research work on Greek
music (see his art. on Greek music in Grove's
Dictionary). In 1902, publ. a critical ed. of The
Harmonics of Aristoxenus in which he develops
his theories on Greek music.-W. ST.
MCALPIN, Colin. Brit. compr. and author; b.
Leicester, 9 April, 1870. Stud. R.A.M. London;
and privately under Sir George Henschel, Sir
F. Bridge and Prof. Prout; gained prize for
best British opera 1903 with The Cross and
the Crescent (Covent Garden, London, and
provinces). Wrote a remarkable study in
comparative resthetics, Hermaia (J. M. Dent).
Operas: The Cross and the Crescent: King Arthur
(Leicester, 1896); The Vow (Nottingham, 1916);
other operas
produced; cantata, The Prince
of Peace (Cary); songs (id.); arts. in journals.-E.-H,
McCORMACK, John. Irish t. singer; b. Athlone,
1884. Won gold medal for t. solo at Feis Ceoil
(Irish Music Fest.), 1903; member of Dublin
Catholic Pro-Cath. (under direction of Vincent
O'Brien); toured in America with this choir in
1904; went to Milan and stud. under Sabbatini.
In 1907, sang at Ballad Concerts in London and
made his debut in opera as Turiddu in Cavalleria
Rusticana. Appeared with great success in sub-
MCGUCKIN
sequent seasons at Covent Garden, especially
with Totrazzini; also sang in oratorio in London
and provinces. After singing at San Carlo, Naples,
went to America where his success was immediate.
Went on a world-tour, taking with him Vincent
O'Brien as acc. His voice is not unusually big,
but is of a very beautiful quality. His singing of
Irish folk-songs has made him famous all over
the world.-W. Sr.
MCEWEN, John Blackwood. Scots compr. b.
Hawick, Roxburghshire, 13 April, 1868. M.A.
Glasgow Univ.; stud. music at R.C.M. London;
prof. of harmony and compn. R.A.M. London,
1898-1924; appointed Principal on Sir Alexan-
der Mackenzie's retirement, 1924. His compns.
are of the Neo-Romantic order, very soundly
constructed, and Scottish characteristics are
at times strongly marked. His chamber-music
has great value. His Solway symphony was
given at the R. Philh. Soc. concert, 22 Feb. 1923.
Orch. Symphonics: I, C mi.; II, F mi; III,
sharp mi.; IV, A mi.; V, C sharp mi. (Solway);
2 overtures, Comedy, Tragedy (Anglo-Fr. Co): Con-
F
-Lover, Grey Galloway) (Anglo-Fr.); Comala,
symph. poem; Suites: I in F: II in E, small orch.;
vla. concerto; 3 Highland Dances, str. orch.
Chamber-music: Phantasie-5tet, E mi. str.; str.
4tets: No. I in G; II, C mi.; III, G mi.; IV, A;
V, F mi.; VI, F; VII, E flat; VIII, A mi. (Novello);
IX, 2 studies; X, E mi. (Ricordi); XI, C mi.
(Hawkes); XII, Nuga, bagatelles (Hawkes); XIII,
in A, Biscay (Anglo-Fr. XIV, E flat,
pt.:
Threnody
(Anglo-Fr. Co.); III, G; IV, A (Anglo-Fr. Co);
6 Highland Dances (Novello).
Cantatas: Hymn on the Morning of Christ's
Nativity (Milton); scene from Hellas (Shelley), s.
solo, female chorus, orch.; The Victim (Tennyson);
The Last Chantey (Kipling); Psalm XXIV, chorus,
organ, pf.; Psalm CXXX, chorus and organ; inci-
dental music for Empire Pageant (3 scenes), chorus
and military band (Crystal Palace, 1910).
Pf.: Sonata in E mi. (Novello); 4 sketches
(Ricordi); Vignettes from La Côte d'Argent (Anglo-
Fr. Co.); sonatina (id.): 3 preludes (id.);
The Rebel;
comic
Game-
The
keeper: acc. for Graik my Mree drama,
e (str. 4tet, pf., drums);
musio for Romney's Remorse; songs (Avison Ed.;
Ricordi; Chappell; J. Williams; Anglo-Fr. Co.).
Books: Text-Book of Harmony and Counterpoint
(Ricordi); Elements of Music (id.); Primer of Har-
mony (id.); Exercises on Phrasing in Piano-playing
(id.); The Thought in Music: an inquiry into the
principles of musical rhythm, phrasing and expres-
sion (Macmillan); Principles of Phrasing and Articu-
lation in Music (Augener).-E.-H.
McGUCKIN, Barton. Irish t. singer; b. Dublin,
28 July, 1852; d. 17 April, 1913. Choir-boy in
Armagh Cath. Received instruction there in
singing, organ, vn. and pf.; 1st t. at St. Patrick's
Cath. Dublin, 1871; pupil of Sir Joseph Robin-
son. Made début at Crystal Palace Concerts,
1875; stud. at Milan under Trevulsi; first
appeared in opera under Carl Rosa, Birmingham,
1880; remained in Rosa's company
London
and provinces until 87, and achieved great
success both for his brilliant singing and acting.
Sang opera in America 1887-8, and returned
to Carl Rosa Co. 1889, remaining until 1896.
Chief parts: Lohengrin, Faust, Don José, Des
Grieux (Manon), Eleazer (La Juive); also well
known as oratorio and concert-singer; sang at
Philh., Monday Popular, and Handel and pro-
vincial fests. In 1905, dir. of an amateur operatic
soc. in Dublin; condr. of orch. concerts at Irish
Exhibition, 1908.-W. ST.
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MCLEOD
MCLEOD, Robert. Scottish teacher, musical
organiser and compr. b. Glasgow, 20 June, 1879.
Completed full qualifying course as an ordinary
teacher under the Scottish Education Depart-
ment, before he commenced giving instruction
in music. He stud. the theory of music privately;
later, organ under Dr. Peace. In 1903, decided
to devote his whole time to music, and soon
began to give evidence of possessing a high
degree of originality in his methods. He was one
of the joint-discoverers of the value of teaching
mus. appreciation, and a pioneer of its use in
Scotland, as a special course; 1907, Mus. Bac.
Univ. of Durham; the same year was promoted
by Edinburgh School Board from teacher of
singing in 4 schools to post of superintendent
and organiser of mus. instruction in large schools;
in 1912, became dir. of music, with 4 assistants.
Is now dir. of mus. studies for teachers, under
National Committee for the Training of Teachers.
He is a most stimulating lecturer and adjudi-
cator. Is a Fellow of the Tonic Solfa College.
Pictures in Song (2 vols.); numerous songs and
part-songs (Novello; Curwen; Stainer & Bell; West
& Co.; Ascherberg; Bayley & Fergusson); many
arts. in educational and mus. journals.-W. S.
McNAUGHT, William Gray. Eng. writer on
music; b. Mile End, London, E. 30 March, 1849;
d. London, 13 Oct. 1918. Stud. R.A.M 1872-6;
Mus. Doc. Cantuar.; assistant-inspector in music
to Board of Education, 1883-1901; ed. Novello's
School Music Review; mus. dir. Bow and
Bromley Inst. 1876-1900; well-known adjudi-
cator at choral competitions; ed. of Musical
Times (Novello) 1910-18.-E.-H.
MADEIRA, Joaquim d'Azevedo. Portuguese
pianist and teacher; b. Lisbon, 1851; d. 1891.
His chief pupil is José Vianna da Motta.-E.-H.
MADETOJA, Leevi. Finnish compr. b. Oulu
(Uleåborg), 17 Feb. 1887. Stud. at Helsingfors
Univ. (Ph.M. 1910) and at Music Inst. under
Järnefelt and Sibelius; later in Paris (d'Indy)
and Vienna (Fuchs). 1912-14, 2nd condr. Philh.
Orch. Helsingfors; 1914-16, condr. of orch.
Viipuri (Viborg); since 1916, teacher of compn.
and later also member of directorate at Hel-
singfors Music Inst. M. is one of most gifted
of younger Finnish comprs., having remarkable
feeling for orch. and vocal compn. and pro-
nounced individuality as a symphony writer.
2 symphonies (1915 and 1918); symph. poems:
Kullervo; Dance Visions; overtures; cantatas;
Sammon ryöstö (Conquest of Sampo), male chorus and
orch.; Stabat Mater, female chorus, str. orch. and
organ; Väinämöisen kylvö (Väinämöinen sows), solo v.
and orch.; choral songs for male chorus; for mixed
chorus; songs; pf. trio; Lyric Suite, cello solo; sonatina,
vn. and pf.; pt. pieces; pieces, vn. and pf.-T. II.
MAESTRO-AL-PIANO (Ital.). The pianist
retained by an opera company to rehearse with
the solo singers at the piano.-E.-H.
MAGELSSEN, Ida Basilier. Finnish-Nor-
wegian s. singer; b. Uleåborg, Finland, 10 Sept.
1846. Stud. at Paris Cons. 1867-70; under
Mme. Nissen-Saloman in Petrograd, 1871. Début
in Stockholm Opera House, 1871. Concert-tours
throughout Europe, especially in Finland; has
sung in many opera houses, chiefly in North
Europe (Rosina, Philine, Lucia, etc.). Attached
MAGNETTE
to Christiania Theatre, 1875-7. Married in 1878
in Christiania, where she is still active as a teacher
of singing.-U. M.
MAGNANI, Aurelio. Clarinettist and compr.
b. Longiano (Romagna), 26 Feb. 1856; d. Rome,
25 Jan. 1921. Gained diploma for clar. and.
compn. at Liceo Mus. at Bologna. After having
for some years taught clar. at Liceo Mus.
Benedetto Marcello, Venice, in 1888 he occupied
a similar position at R. Liceo Mus. di Santa
Cecilia, Rome, where he remained until his
death. All the best living Ital. clarinettists.
have come from his school. He played in chief
European and Amer. orchs.; also as soloist in
Court Quintet of Queen Margherita. As compr.,
besides numerous pieces for his own instr., he
has left several orch. works. His 2 operas are
not yet published.-D. A.
MAGNARD, Albéric. French compr. b. Paris,
9 June, 1865; killed at Baron (Oise), 3 Sept.
1914. Stud. for a time at Paris Cons.; later,
privately with Vincent d'Indy. From the
outset of his career, he concentrated upon his
work, courting neither success nor even pub-
licity. He was never known to more than a
small fraction of the mus. public in France and
Belgium. In other countries he remains prac-
tically unknown. His mus. ideals were lofty and
uncompromising. In instr. music he devoted his
utmost attention to forms, aiming at achieving
new forms without infringing any of the tradi-
tional principles in which he steadfastly believed.
He attempted to introduce into dramatic music
something of the logic and restraint inherent in
the principles of the symphony. In either order,
his style and aims reveal a spirit of impassioned
austerity and of unflagging earnestness. And it
is likely that in proportion as his works become
better known, the number of his admirers
will increase.
4 symphonies (op. 4, 1890; op. 6, 1893; op. 11,
1896; op. 21, 1913); orch. pieces: Chant Funebre,
op. 9: Hymne à la Justice, op. 14; Hymne à Vénus,
op. 17: dramatic scores: Yolande, op. 5 (1891);
Guercœur, op. 12 (1900); Bérénice, op. 19 (1909)
5tet, wood-wind and pf. op. 8 (1894); vn. sonata,
op. 13 (1901); str. 4tet, op. 16 (1903); pf. trio,
op. 18 (1905); cello sonata, op. 20 (1910); songs,
op. 3 and 15. (Publ. Rouart & Lerolle.) Consult
Gaston Carraud, La Vie, l'Euvre et la Mort d'Albéric
Magnard (Paris, 1921,
1, Lerolle), a review of which,
with additional remarks, appeared in Mus. Times,
London, Oct. 1921.-M. D. C.
MAGNETTE, Paul. Belgian writer on music;
b. Liège, 16 Jan. 1888; d. Paris, Oct. 1918.
Stud. in native town and in Leipzig under
Hugo Riemann; was expelled from Univ. of
Leipzig for Germanophobia in 1912; in 1913,
prof. of history and mus, aesthetics at Acad. of
Music, Liège; was deported to Germany during
the war (1914-18) but escaped and died in
France, during a lecture tour. He left a number
of small works of minor importance:
Les Grandes Etapes dans l'oeuvre de H. Berlioz:
I. La Symphonie fantastique (1908); Contribution à
l'histoire de la symphonie post-beethovénienne (1909);
A. Bruckner (1910); Glazunof (1911); Litolff (1914).
He has publ. also a Fr. transl. of autobiography of
Dittersdorf (1910) and a curtailed and annotated ed.
of Grétry's Mémoires ou essais sur la musique (1915)
Die
Contrib. to
Musik, Rivista Musicale Italiana, etc.-C. V. B.
3¹3
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MAGRI
MAGRI, Pietro. Ital. priest and compr. b.
Vigarano Mainarda (Ferrara), 1873. Known
by his 2 oratorios, La Regina dei Pirenei and
La Regina delle Alpi, which have been perf.
successfully. Author of church music. Was
choirmaster first at Venice, then at Bari,
Lecce, Molfetta and Vercelli. Since 1919 chief
orgt. at Basilica del Santuario, Oropa.-D. A.
MAGRINI, Giuseppe. Ital. cellist; b. Milan,
6 Sept. 1857. Since 1880, prof. of cello at R.
Cons. Giuseppe Verdi, Milan. For 25 years,
1st cellist at La Scala. A very skilful concert-
artist; compr. of several works for his own
instrument.-D. A.
MAHILLON, Victor Charles. Belgian musico-
logist; b. Brussels, 10 March, 1841; d. St.-Jean
Cap Ferrat (France), 17 June, 1924. Director
of Mahillon and Co., mus. instr. makers, a firm
founded by his father. Chief curator of Museum
of Brussels Cons., which he initiated in 1877.
The Cons. Museum coll. is the most remarkable
of its kind, not only on account of the number
of the exhibits (over 3,500 at end of 1922), but
also by their judicious selection. There is a com-
plete coll. of old models of every type of instr.,
showing evolution from the remotest prototype.
Space is also given to exotic instrs., especially
of primitive races. This coll. has been brought
together as the result of gifts and of very
advantageous purchases. M. also rendered the
greatest service to musicology by publ. the
Catalogue descriptif et analytique du Musée.
This work, a truly scientific achievement, is
marked by its objective and positive char-
acter. The author is not satisfied with book-
learning, but analyses the instr. itself. By this
process he has modified this branch of musicology
and has founded the objective science of mus.
instrs. The documentary side is less extensive,
but is characterised by severity and exactness.
servatoire Royal de Musique de B Vols, I-V
(Ghent and Brussels, 1880-1922);
Elements of Musical Acoustics (Brussels, 1874);
Catalogue descriptif et analytique de Musée du Con-
sur le doigté
de la flûte Boehm (Brussels, 1882; transl. into Eng.);
Amsterdam Exhibition, 1883, Mus. Instrs. Class, Report
(Brussels, 1883); Le Matériel sonore des orchestres de
Etudes, harmonie et de fanfare (Brussels, 1897);
expérimentales
d'air (extract from Vol. III of above catalo
Ghent, 1900; transl. into Eng.): Quelques expériences
sur la vibration des tuyaur à bouche, à anche et à
embouchure (Brussels, 1910); Notes théoriques et
pratiques sur la résonance des colonnes d'air (Beau-
lieu, 1921); Les Instruments de musique du Musée
du Conservatoire Royal de musique de Bruxelles :
I. Le Trombone; 11. Le Cor; III. La
(Brussels, n.d.); Guide pour l'accord des instruelle
à pistons (id.).-E. C.
MAHLER
The
age of six. In 1875 he came to Vienna Con-
servatoire (piano under T. Epstein; harmony
under R. Fuchs; composition under Th. Krenn).
Having carried off the Conservatoire prize in
1873, he attended the University for philosophy,
general and musical history for 2 years.
works of this period (quintet for strings and
piano; violin sonata; opera Ernst von Schwaben)
were destroyed later on by the composer. He
came into close contact with Anton Bruckner,
who influenced his style more than any other
composer. Mahler made an excellent piano
arrangement of Bruckner's 3rd symphony. In
the summer of 1880, he took his first engagement
as conductor at Hall and finished his first work
Das Klagende Lied, for soli, chorus and orchestra
(revised 1898, published 1899). The orchestral
score was rewritten after 1900. The poem of
this cantata was written by Mahler in 1878.
The first part is not published; the ms. is in
possession of Mahler's sister, Justine, who
married Arnold Rosé. This work shows already
a fully developed style and technique. It marks
the beginning of his first period, literary ten-
dencies influenced by romantic poems, especially
by the Lieder aus des Knaben Wunderhorn.
This period ends 1900 with the composition of
the 4th symphony.
During the winter season 1881-2 Mahler con-
ducted at Laibach. An opera The Argonauts
(written and composed 1880) was unfinished
and finally destroyed, also a fairy-tale Rübezahl
(1882) and a Northern Symphony. 1882-3, con-
ducted at Olmütz Theatre, then chorus-master
of an Italian season at Vienna. 1883 he com-
posed his first volume of songs (published 1885).
In the summer went to Bayreuth to hear
Parsifal and went for the season 1883-4 to the
Cassel opera. In Dec. 1883, composed Lieder
eines fahrenden Gesellen and began his 1st sym-
phony. In 1885 he was 2nd conductor at
German Theatre, Prague, and in summer of 1886
was with Nikisch at Leipzig Opera. He adapted
and completed Weber's opera-fragment The Three
Pintos (1st performance, Leipzig, 1888). In 1888
was director of Royal Opera in Budapest
and finished his 1st symphony (1st performance
Budapest, 1889; published 1898). Began com-
position of songs from Des Knaben Wunderhorn.
În 1891 he was 1st conductor, Hamburg Opera.
In summer 1892, conductor of German opera
performances at Drury Lane, London.
finished 2nd symphony in 1894 (1st performance
Berlin, 1895; published 1896). In 1896 finished
3rd symphony (1st performance of the 3rd
movement 1896, erlin; publ. 1898; 1st com-
plete performance 1902). 1897, director of
Vienna Opera; began a great reformation of
the repertoire; new mise-en-scène of operas of
Gluck, Mozart, Wagner. This was the greatest
period of the Vienna Opera House. 1899-1900,
composed 4th symphony (1st performance
Munich, 1902; published 1900).
He
The second period began in 1900 with songs
of Rückert, Kindertotenlieder (all songs with
chamber-orchestra), 1900-1902.
Five Songs,
MAHLER, Alma Maria (née Schindler). Austrian
compr. b. Vienna. Daughter of the painter Emil
Jakob Schindler. Stud. compn. under J. Labor;
married Gustav Mahler in 1902. Five songs
(Vienna, Univ. Ed.) witness to the strong
nature of her art. She is preparing an ed. of
Gustav Mahler's Letters.-P. ST.
MAHLER, Gustav. Austrian composer and
conductor; b. Kalischt, 7 July, 1860; d. Vienna,
18 May, 1911. A few months after his birth
(in Dec. 1860) the family removed to Iglau,
where he received his first music lessons at the
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MAILLY
1901-2 (publication and 1st performance 1905);
1902, 5th symphony finished (1st performance
Cologne, 1904; published 1905). Whereas these
2nd, 3rd and 4th symphonies have solo or chorus
in the last movement, the symphonies of second
period (except 8th symphony) are entirely
instrumental. In 1904 he married Alma Maria
Schindler. 1903-4, composed 6th symphony
(published 1905, 1st performance Essen, 1906);
1904-6, 7th symphony (published 1908; 1st
performance Prague, 1908). 1906-7, 8th sym-
phony, in 2 parts (with soli and double chorus);
1st part, Hymn Veni, Creator Spiritus as a
sonata first movement with double fugue; 2nd
part, the last scenes of Part II of Faust in form
of an Adagio, Scherzo and Finale (published 1908;
1st performance Munich, 12 Sept. 1908, as
Symphony of the Thousand).
After a period of 10 years' work he left his
post as director of Vienna Opera in 1907 and
went to America where he conducted (in New
York) operas of Mozart and Wagner, and many
concerts. During summer 1908 he finished Lied
von der Erde (1st performance Munich, 1911,
under Bruno Walter. This work is for alto and
tenor voice with orchestra, after Chinese poems.
It marks the beginning of a third period. 1908-
1919, concerts in America; composition of 9th
symphony (published 1912, 1st performance
Vienna 1912, under Bruno Walter). 1909-10,
sketches of 10th symphony (unfinished). 1910-
1911, last season in America (21 Feb. conducted
last concert); attacked by fatal malady; re-
turned to Vienna, where he died. His fame
increased rapidly after his death. He is the last
in the line of Viennese "classical" composers.
He completes the Romantic symphony form,
handed on to him by Schubert and Bruckner.
(See AUSTRIAN ORCH. MUSIC; GERMAN MUSIC;
CHORALE-SYMPHONIE.) All 9 symphonies (except
5th, Peters, Leipzig) and many songs
orch. are publ. in Univ. Ed. The 10th was 1st
perf. 6 June, 1924 (Prague) under Zemlinsky.
with
There is a portrait in bronze by Rodin. Con-
sult books on Mahler by R. Specht, P. Stefan
(Eng. Schirmer, 1913), G. Adler. A large work
by P. Bekker (Mahler's Symphonies).-EG. W.
MAILLY, Alphonse Jean Ernest. Belgian
orgt. b. Brussels, 27 Nov. 1833; d. there, Jan.
1918. Prof. organ at Brussels Cons. from 1861.
An orgt. of the very first order, he rapidly
acquired an international reputation both as
a virtuoso and a teacher and trained a number
of excellent pupils, following the sound and
high-minded traditions of Lemmens, his pre-
decessor in the organ class Brussels Cons.
His talent as compr. is entirely overshadowed
by his merits as teacher and virtuoso.-C. V. B.
MAINARDI, Enrico. Ital. cellist; b. Milan,
19 May, 1897. Pupil in Milan of Prof. Magrini;
perfected himself at Berlin under Becker. Also
gained his diploma in compn. Has acquired a
wide renown as concert-player.-D. A.
MAITLAND, Robert. Eng. opera and concert
singer; b. Ulverstone, Lancs, 22 Nov. 1875.
Stud. at Edinburgh under T. H. Collinson,
MALHERBE
1895-9; then in Paris under E. Delle Sedie.
Wagner concerts, Queen's Hall, under Wood;
Ring, Covent Garden, under Richter; recitals
Berlin, Hamburg, Brussels, Antwerp, Holland,
Manchester London, America, France, Italy,
etc.-E.-H.
MAITRES MUSICIENS (Les) de la Renais-
sance française. A Fr. mus. collection, dir. since
1894 by Henry Expert, librarian of Paris Cons.
comprising about 30 vols. It includes the Mes-
langes of Orlando de Lassus, Psalms of Goudimel,
and works by Costeley, Jannequin, Brumel,
Mouton, Fevin, Mauduit, Le Jeune, Gervais,
du Tertre, Caurroy, Sermisy, Courtois, etc.-A. C.
MALAMBO. See SOUTH AMER. DANCES.
MALÁT, Jan. Czechoslovak compr. singing-
teacher; b. Starý Bydžov, 1843; d. Prague, 1915.
Publ. (with Fibich) a Piano School (1884);
a Violin School; a manual of harmony and
a musical dictionary. Harmonised Bohemian
national songs in a simple, tasteful way.
Cesky národní poklad (Bohemian National Treasure)
containing 700 songs; Zlatá pokladnice (The Golden
Treasure Book) 200; Perly českého zpěru (Pearls of
Czechoslovak National Songs) and Ruže stolistá (The
Hundred-leaved Rose) each 100 songs. Original works:
operas Stáña (1899); Veselé námlury (Merry Wooing)
1908. Orch.: Maličkosti (Miniaturesečni
(The Dancing Roundelay);
vocal, choral and pf. pieces; Bohemian 4tets; Mora-
vian 4tets. (Fr. A. Urbánek, Prague.)-V. ST.
Mrej
MALÁTS, Joaquín. Span. pianist, b. in Cata-
lonia. Stud. at Barcelona under J. B. Pujol, and
at Paris Cons. under de Bériot. One of the first
exponents of Albeniz's latest works. Died in
Barcelona at the end of the XIX century.-P. G. M.
MALCOLM, Philip. Scottish barit. singer; b.
Edinburgh, 29 July, 1884. Stud. singing under
Vittorio Ricci, an Ital. who taught with marked
success in Edinburgh for about 15 years. M. has
sung oratorio rôles for all the leading Scottish.
societies; has lately appeared with conspicuous.
success in Edinburgh opera-Faust, Trovatore,
Pagliacci, and Cavalleria Rusticana. Has a voice
of exceptional range.-W. S.
MALEINGREAU. See DE MALEINGREAU.
MALHERBE, Charles Théodore. Fr. music
critic and historian; b. Paris, 21 April, 1853;
d. Cormeil (Eure), 1911. Stud. under Dan-
hauser, Wormser and Massenet. 1896, appointed
archiviste-adjoint to Paris Opéra, and in 1899
succeeded Nuitter (1895-11) as archivist. He
definitely completed the organising of the Opéra
Museum. His private collection of mus. auto-
graphs was one of the richest in the world. This
he left to the Paris Conservatoire.
Catalogue bibliographique des oeuvres de Donizetti
R. Wagner (with
(1897); L'Euvre dramatique de
A. Soubies;
Salle Favart
Comique (1881); Histoire de la se
(2 vols. 1892-3; crowned by the Institut). Collab.
with Saint-Saëns in complete ed. of Rameau's works
(Durand). Comp. several opéras-comiques inci-
1886): Précis de de l'Opéra-
MALHERBE, Edmond. Fr. compr. b. Paris,
1870. Pupil of Massenet and G. Fauré at Cons.
Prix de Rome, 1899.
Str. 4tet; 6tet for, wind Instrs.; Wedding March;
Etudes à de Chopin;
Pièces enfantines: Danses anciennes (Paris, Heugel).
-M. L. P.
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MALINOWSKI
MALINOWSKI, Stefan. Polish compr. b.
Warsaw, 1890. Publ. several pf. pieces and songs.
Obtained a prize at the Smit competition in
Paris, 1923. His operetta Fernflower was suc-
cessful in Warsaw and Cracow.-ZD. J.
MALIPIERO, Gian Francesco. Ital. compr.
b. Venice, 18 March, 1882. A cultured, combative
musician of fertile inspiration. His name is
better known in intellectual mus. circles abroad
than in Italy, where his music has met with
but scant success. Stud. at Liceo Mus. at
Bologna, where he had Bossi as master; then.
went to Germany, studying under Max Bruch.
At present, is teacher of compn. at Parma Cons.
An intellectual artist, whose opinions have also
been expressed in various articles. As compr.
he has tried all kinds of music, from vocal and
instr. chamber-music, to symph. and operatic
poems.
For theatre: Canossa, 1-act opera, perf. without
success at Costanzi, Rome, 1914; Pantea, symph.
ama; Sette canzoni; Baruffe Chiozzotte, 1-act
1. comedy; Orfeo, 1-act mus. scene. (These works,
except first, are publ. by Chester, London.) For orch.:
Sinfonie del silenzio e della morte (Rahter, Cheste
Pt. 3, Prague, 1921); Pause del silenzio (Pizzi,
Bologna); Ditirambo tragico (Chester); Armenia
(Senart); Per una favola cavalleresca (Ricordi, Milan);
Oriente immaginario, small orch. (Chester). For pf.:
Six Pieces (Carisch, Milan); Poemetti lunari (Senart,
Paris); Preludi autunnali (Rouart, Lerolle, Paris);
Poemi asolani, Barlumi, Maschere che passano,
Omaggi, La Siesta (Chester); Risonanze (Pizzi). For
voice and pf.: I sonetti delle fate (Carisch, Milan);
Cinque poesie francesi (Senart, Paris); Tre poesie
del
For str. 4tet: Rispetti e strambotti (Coolidge Prize,
America; Chester, London); Stornelli e ballate. Various:
Sonata for cello and pf. (Schmidl, Trieste); San Fran-
cesco, mystery, (perf. New York, 1922). Booklet, The
Orchestra (Chester); The Theatre (Bologna, Zani-
chelli, 1920); and various arts. in Rivista Musicale
coll. publ. by Istituto Editoriale Italiano, Milan
M. has ed. some ancient Ital. music for the
Consult: Guido M. Gatti, in Modern Musicians
Quarterly, New York, July 1920; Mercure de France,
May 1919. There is also a booklet on him publ. by
Chester. R. F.
MALISHEFSKY, Vitold Josephovitch. Russ.
compr. b. Moghilef-Podolsk, 8 Sept. 1873. Stud.
under Rimsky-Korsakof at Petrograd Cons.
For some time, principal of Odessa Cons. Now
lives in Poland. His music, in its main features,
is of the eclectic order.
3 symphonies; 4 str. 4tets; vn. sonata; songs.
-M. D. C.
MANCINELLI
into his native city, an effort that for a time was
successful. Later he resided in Sweden, then
settled in South Germany where for many years
he taught and composed. Besides shorter pieces
there are several chamber-works; a concert-
piece Tonernes Sejr (The Triumph of Tones);
Küwala (from Ossian), and the operas Frithiof
and Lisinka.-A. II.
Lieder (Mirza Schaffy's Sonas). For orch
symphony; concert overtur Chamber-music: str. 4tet;
2 suites; pf.
2 fantasies for vn. and orch.
str. Stet; pf. trio; pf. 5tet. His organ suites Christus,
Jomfru Marie (The Virgin Mary) and Kirkeaarets
Festdage (The Festivals of the Church Year) have also
made their way into the outside world. Most of his
works are publ. by Wilhelm Hansen, Copenhagen.
He also wrote an educational work on Instrumentation
in the Danish language (1884).-A. H.
Eng. song-
MALLINSON, James Albert.
compr. b. Leeds, 13 Nov. 1870. Choirboy under
Dr. Creser at Chapel Royal, St. James's; orgt.
St. Chad's, Leeds; his health necessitated change
-Australia 1891; there he married the Danish
soprano Anna Steinhauer; 1896, toured Europe;
London recitals of songs, 1900-2-6-7; 1908,
toured Australia and New Zealand; since 1914,
have lived in Denmark, where they have given
many recitals. His songs are soundly written
and very effective, in late-Romantic style.
Cantata, Tegner's Drapa (Melbourne Male Choir;
Sydney Philh.); Battle of the Baltic, solo and male
chorus (perf. Melbourne Metropolitan Choir): pf.
4tet in D mi.; pf. trio in G mi. (Leeds); sonata, E
vn. and publ. by
John Church Co.).-E.-H.
MALISZEWSKI, Witold.
Polish compr.
condr. b. Mohylow Podolski, 8 July, 1873. In
1898, began to study theory under Rimsky-
Korsakof at Petrograd Cons.; 1908-21, dir. of
Imperial Music School, Odessa; at present lives
in Warsaw. In 1923 received a prize for cello
pieces at Smit competition in Paris.
3 symphonies; Lustige Ouvertüre; 3 str. 4tets (all
publ. Belaief, Moscow). Has also written a Manual
of Modulation (1905).-ZD. J.
MALLING, Jörgen Henrik. Danish compr. b.
Copenhagen, 31 Oct. 1836; d. there, 12 July,
1905. With his op. 2, Melodier til skotske Folke-
sange (Tunes to Scotch Folk-Songs), he aroused
attention as a compr. while quite young, received
a stipendium and went abroad for study. In
Paris he became interested in Chevé's method of
singing, and warmly advocated its introduction
MALLING, Otto Valdemar. Danish composer,
organist; b. Copenhagen, 1 June, 1848; d. 5 Oct.
1915. Brother of Jörgen Malling. Master of
Arts, 1866. He took the course at Royal Con-
servatoire, Copenhagen. Director of University
Students' Singing Society, 1871-84; at same
time dir. of the Koncertforening (Concert Society)
where newer music found a hearing. Orgt.
from 1878, succeeded to the post at the
Church of Our Lady, Copenhagen, following the
death of the elder Hartmann. Appointed pro-
fessor at the Royal Conservatoire of Music,
Copenhagen, 1885, later its director. His com-
positions cover nearly every form except opera.
Larger works for soli, chorus and orch.: Prolog til
Den gyldne Legende (Prologue to The Golden Legend);
Snefald (Snowfall); Det hellige Land (The Holy Land);
Knud den helliges Död (The Death of St. Canule);
Absalon; Folkeviser (Folk-Songs). For solo vs. and
orch.: Kvindens Skabelse (The Creation of Woman);
Mirza
Red Allehelgenstid (All S
MALTEN (real name Müller), Therese. Ger.
operatic singer; b. Insterburg, East Prussia,
21 June, 1855. Pupil of Gustav Engel, Berlin;
1873, 1st appearance Dresden; immediately
engaged for principal rôles; 1882, sang first
Kundry at Bayreuth. Till 1903, belonged to
Dresden R. Opera; now lives at Neu-Zschieren,
near Dresden.-A. E.
MANACOR, Capella de. See NOGUERA,
ANTONIO.
MANCINELLI, Luigi. Ital. compr. and condr.
b. Orvieto, 5 Feb. 1848; d. Rome, 2 Feb.
1921. One of greatest and most popular Ital.
condrs. of recent times; known all over the
world. At first he was a cellist (studied cello
at Florence under Sbolci and compn. under
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MANDL
Mabellini); in 1875, at Apollo Theatre, Rome,
he began his career as condr., rapidly passing
on to Spain, Paris and elsewhere, obtaining
great successes both as a theatre dir., and
concert condr. In 1881 he was entrusted with
direction of Liceo Mus. at Bologna, in which
city he succeeded Angelo Mariani as dir. of
Teatro Comunale; at same time he occupied
post of choirmaster of San Petronio. He also
founded in that city the Società del Quartetto
(Quartet Soc.); the Bologna Orch., under his
conductorship, gained a high degree of per-
fection and a great reputation. He left Bologna
in 1886 and went to London, where from
1887 to 1905 he was condr. of Covent Garden
Opera, where he conducted some memorable
performances of Wagner's operas. From 1886
to 1893 he also spent much time in Madrid,
where he was condr. of Teatro Real and of
Sociedad de Conciertos. From 1893 to 1901
he conducted, in addition to the London
seasons, the Metropolitan Theatre of New
York, which was inaugurated by him. He also
inaugurated the Teatro Colón in Buenos Ayres,
where he cond. from 1907 to 1911. In 1892,
at San Carlo Felice Theatre in Genoa, he pro-
duced for the first time Franchetti's Cristoforo.
As a concert condr. he appeared at the Augusteo,
Rome; Philh., London; in Vienna, Hamburg,
and the principal cities of all countries, always
with great success. As compr. he occupies a
conspicuous place amongst Italians of second
half of XIX century. His music, although always
leaning towards modern progress, has a clearness
of line, and a vigour of style which are purely
Italian; it embraces all branches, from opera,
orch. concert-music, to oratorio, cantata, sacred
music and vocal chamber-music.
Overture to Messalina of Pietro Cossa (1876);
overture and intermezzi to Cleopatra of same author
(1877): Inno a Guido Monaco, to words by Bolto
(1882); Tizianello, short melodrama (1882); Isora
di Provenza, 3-act opera (Bologna, 1884); Isaias,
sacred cantata, words by Giuseppe Albini (Norwich
Fest. 1887); Scene veneziane for orch. (1890); Ero e
Leandro, 3-act opera, book by Boito (perf. as oratorio
at Norwich Fest. 1896; on stage, Teatro Real, Madrid,
1897); 4 songs, v. and pt.; Sancta Agnes, cantata,
words by G. Albini (Norwich Fest. 1905); Paolo e Fran-
1907); Ouverture romantica, written for Philh. London
(1908); 6 songs, v. and pf. (1912); Prière des oiseaux,
from Rostand's Chantecler, for contr., female chorus
and orch. (Rome, at Augusteo, 1916); Frate Sole,
oratorio, orch. and chorus, for cinematograph repro-
sentation (1918); Giuliano l'Apostata, vocal and
instr. poem, for cinematograph perf. (1920); Sogno
una notte d'estate (Summer Night's Dream), 3-act
opera on book by Fausto Salvatori (publ. but not
perf.). Mostly publ. by Ricordl, Milan; Isaias is
publ, by Chappell, London: Ero e Leandro, Novello,
London; Sogno di una notte d'estate by Pizzi, Bologna.
Consu Giacomo Orefice, L. M. (Rome, 1921,
Ausonia).-D. A.
MANKELL
agile manner of writing and precise harmonies
of the Fr. comprs. His orch. works reveal a
special instrumental refinement.
Comic opera, Rencontre imprévue (Nächtliche Wer-
bung), Rouen, 1888 (Prague, The Hague); opera,
Parthenia; symph. poem, Griseldis (1909); overture
for Gascony Tournament (1910); Hymn to the Rising
Sun (given in 1917, Queen's Hall, London, under Sir
Henry Wood); str. 5tet, G ma.; songs.-P. P.
MANDYCZEWSKI, Eusebius. Austrian writer
on music; b. Czernowitz (Rumania), 18 Aug. 1857.
Stud. under Nottebohm and Fuchs at Vienna
Cons. 1887; condr. of Vienna Singakademie and
archivist of Soc. of Friends of Music. 1897, prof.
of music history and scientific knowledge of mus.
instrs. at Acad. 1916, privy councillor. One
of best experts of mus. literature. His scientific
works are distinguished by solidity and accuracy.
Complete ed. of Schubert's works (1897); of
Haydn's (Breitkopf); trios from J. S. Bach (with
instrs.) (publ. by Bach Soc.); cadenzas to Mozart's
pf. concertos; Haydn's Scotch Songs (1922, Univ. Ed.)
Supplement to History of Viennese Soc. of Friends of
Music P.
MANEN, Juan. Span. violinist and compr. b.
Barcelona, 14 March, 1883. His is one of the
not too frequent cases in which a child-prodigy
develops into a great artist. Revealing his re-
markable facility as pianist at 6, as compr. at 13,
and being recognised as a great master of the vn.
at 20, he has gradually attained the universal
reputation he enjoys to-day as a virtuoso and
compr.
In both subjects he may be con-
sidered self-taught. A natural disposition of
the scientific type, so much in evidence in his
most representative works, has always enabled
him to learn from the work of others. The in-
tellectuality he reveals as a compr. is not the
characteristic of his style as an interpreter, the
outstanding feature of his playing being the
purity and perfection of a vn. technique which
baffles all expectations.
The publication of his works dates as far back
as 1899, when he was only 16; as a minor he had
no say in the matter of publ. of the numerous
pieces produced for the next five years. It was
not until he was 22 that he was able to protest
against it, sparing no effort or expense to with-
draw from circulation what he considered im-
mature. For this reason, he has since adopted
the device of marking, with the letter A in
front of the opus number, those works which
have his approval. Since early youth he has
travelled throughout the world as virtuoso,
having his fixed residence in Berlin.
Operas (own libretti, orig. in Catalan dialect):
Neron y Acte (perf. over 80 times at Le
Leipzig, Dresden,
Cologne, Wiesbaden, etc.); Camino del Sol, stage
symphony (prologue, 3 acts and epilogue). Sym-
phony, Nova Catalonia (Orquesta Sinfónica, Madrid;
Philh. Orch. Berlin, under Fritz Reiner): Spanish
Concerto, vn. and orch.: 4 Caprices, vn. and orch.;
Juventus, concerto grosso, 2 vns. pf. and orch. (perf.
Wiesbaden under Otto Lohse; Vienna, Weingartner;
Amsterdam and The Hague, Mengelberg); Suite, pf.
and vn. with orch.; Pequeña suite española (Little
Spanish Suite), vn. and pf. Rev. ed. (with new pf.
parts) of Paganini's complete works; transcriptions.
for vn. from old masters. (Univ. Ed. Vienna; Sim-
rock; Bote & Bock; Zimmermann.)-P. G. M.
MANDL, Richard. Ger.-Czechoslovak compr.
b. Prossnitz, 9 May, 1859; d. Vienna, 31 March,
1918. Stud. at Vienna Cons.; then under Delibes
in Paris, where he lived for over ten years. 1900,
returned to Vienna in bad health; died there
after illness of many years, without having
obtained recognition. In his music we find deep
and sincere feeling, and a remarkable combina-
tion of the style of Brahms's successors and the
317
MANKELL, Henning. Swedish compr. b.
Härnösand, 3 June, 1868. Stud. R. Cons.
Stockholm (1889-95); then pf. under Lennart
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MANN
Lundberg, 1895-9; many years musical critic on
Stockholm papers; from 1899, pf. teacher in
Stockholm. Member R.A.M. Stockholm, 1917.
Among his 50 works in modern style are:
Pt. concerto, op. 30; ballad with orch. Flor and
Blancheflor, op. 13; Legende, op. 14; pf. Stet, op. 22;
pf. trio, op. 23; str. 4tets, op. 21, op. 48: sonatas,
pf. and vn. op. 2; vla. and pf. op. 28; Andante and
op. 32; many pieces:
Ballades (Breitkopf); Intermezzi; Preludes (Nord.
Musikförlaget), etc.-P. V.
MANN, Arthur Henry. Eng. orgt. and choir-
master; b. Norwich 16 May, 1850; chorister
there under Dr. Zachariah Buck; orgt. St.
Peter's, Wolverhampton 1870, Tettenhall 1871,
Beverley Minster 1875; orgt. and dir. of choir,
King's Coll. Cambridge, from 1876 till present
time. He made the King's Coll. Chapel services
famous for their music. He was choirmaster
of Norwich Fest. for some years, from 1902.
With Ebenezer Prout he recovered the orig.
wind-instr. parts of Handel's Messiah at the
Foundling Hospital and used them at King's
Coll. in the same year (1894). Mus. Doc. Oxon.
1882. Elected Fellow of King's Coll. 1922.
Church music,
services, etc. Edited
England Hymnal (1895); edit. Tallis' Motet
for: co.-edit. (with Fuller-Maitland) of the
Fitzwilliam Music Catalogue.-E.-H.
MANN, Josef. Polish t. singer; b. Lemberg,
1879; d. 5 Sept. 1921, during his last appearance
in the Berlin State Opera House, after 2nd act
of Aida, in which he sang as Radamès. After
his univ. training at Lemberg he became a judge.
Began singing as barit.; but his teacher (Dr.
Kicki in Lemberg) discovered t. qualities. Sang
at Lemberg Opera. In 1910 went to Milan to
finish his studies; 1912-16, sang in Vienna at
the Volksoper, and then to Berlin as member
of Imperial Opera House. He was an artist of
highest rank, both as singer and musician.-
ZD.
MANNERS, Charles (real name, Southcote
Mansergh). Opera bass singer and manager; b.
London, son of Col. J. C. Mansergh, R.H.A. and
J.P. for Tipperary and Cork. Stud. at R.A.M.
London; then in Florence; created parts in
comic opera (Willis in Iolanthe, Savoy); for 2
years principal bass, Carl Rosa Opera Co.; 4.
years in Sir Augustus Harris's Ital. opera seasons,
Covent Garden; managing dir. Moody-Manners
Opera Co. (founded 1807, dissolved 1913);
gave £100 for best opera (without chorus) by a
British compr. 1895; £250 and 5 per cent.
takings for grand opera with chorus. Married
Fanny Moody (g.v.).-E.-II.
MANOYLOVITCH, Kosta P. Serbian compr.
condr. b. Krnjevo, 3 Dec. 1890. Stud. music
at Munich, Belgrade and Oxford (England)
where he took Mus. Bac. degree in 1919. Condr.
of the Belgrade Choral Soc.; prof. at School of
Music in that city.
By the Waters of Babylon (Eng. and Serbian
words) for barit. solo, double chorus and orch.; str.
Stet; Danse Fantastique, pf.; several songs and pf.
pieces of shorter character.-T. F. D.
MAORI MUSIC
R. Marines, where he now holds rank of briga-
dier-gen. Took part, with great distinction, in
the war with U.S.A., for which he volunteered
in 1898, and in Morocco, at the head of a regi-
ment from 1918 to 1922. Devotes considerable.
time to literary and folk-lore research, having
collected over 200,000 verses and more than 500
melodies of traditional Span. ballads, amongst
the Jewish communities of Morocco, Greece,
Asia Minor, Palestine and Egypt. Began
his musical studies at 20, having only one
master, the great compr. Ruperto Chapí, who,
in his turn, had no other pupil in his whole life.
An ardent pioneer of Wagnerism in Spain, his
attitude is that of the orthodox Ger. pro-
gressivist. Member of the R. Acad. de Bellas
Artes de San Fernando, Madrid. Awarded many
civil and military decorations.
La Orestiada, mus. trilogy (1st perf. Sociedad de
Conciertos, Madrid, 1890); symphony in E mi. (1st
perf. Orquesta Sinfónica, Madrid, 1915, under Saco
del Valle); str. 4tet. E flat; El Ciudadano Simón.
3-act
symph. fragment, from his opera El Cid
(own libretto; perf. Orquesta Sinfóníca, Madrid,
under Fernández Arbós).-P. G. M.
MANTECÓN, Juan José. Span. contem-
porary critic and lecturer on modern music.
Writes for La Voz, one of most important news-
papers in Madrid, where he lives.-P. G. M.
MANTICA, Francesco. Italian composer; b.
Reggio Calabria, 23 Dec. 1875. Dir. of Regia
Biblioteca Musicale di Santa Cecilia, Rome.
Stud. compn. at R. Liceo Mus. di Santa Cecilia
under Stanislao Falchi; became favourably
known by various compns. of instr. and vocal
music; has also written several operas (ms.).
A distinguished writer and student of mus.
history. To him we owe the publ. of facsimile
of orig. ed. of the Rappresentazione di Anima e
Corpo by Emilio de' Cavalieri (1600).-D. A.
MANTOVANI, Tancredi. Italian historian,
musical critic; b. Ferrara, 27 Sept. 1865. Stud.
at Bologna under Busi and Torchi. In 1904,
prof. of history and aesthetics of music at Liceo
Mus. Rossini at Pesaro. Then went to Rome;
since 1919, prof. of poetic and dramatic literature
at R. Liceo Mus. di Santa Cecilia.
Estetica della musica (Trieste, 1892, Schmidl);
Carlo Pedrotti (Pesaro, 1894, Nobili); Orlando di
Lasso (Milan, 1895, Ricordi); Rossini a Lugo (Pesaro,
1902, Federici); Cristoforo Gluck (Rome, 1914, For-
miggini); Angelo Mariani (Rome, 1921, Ausonla);
"
(Milan, 1923, Caddeo)ion of Faust" by Berlioz
MANUEL, Roland (real name, Lévy). Fr.
compr. b. Paris, 22 March, 1891. Stud. under
Albert Roussel and Maurice Ravel.
Pr. trio (1917, Senart); Idylles, pf. (1918, Durand);
comic opera, Isabelle et Pantalon (perf. 1922, Paris
Trianon-Lyrique; publ. Heugel); a book of songs,
Farizade au sourire de rose (Durand). Mus. critic,
Paris Éclair; has
an excellent little book
on Maurice Ravel C.
MANZIARLY, Marcelle de. Compr. b. 15 Oct.
1899. One of most highly-gifted of young Fr.
musicians. Since age of 12, has been a pupil of
Nadia Boulanger. Has comp. a sonata for pf.
and vn. (1918) in classical form and a trio (1922)
which is highly individual.-A. C.
MAORI MUSIC. See HILL, ALFRED.
MANRIQUE DE LARA Y BERRY, Manuel.
Span. compr., soldier and writer; b. Cartagena,
24 Oct. 1863. At 16, was gazetted lieutenant in
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"MAPLE LEAF FOR EVER"
"MAPLE LEAF FOR EVER." The popular
song of Canada. Words and music by Alexander
Muir, a native of Scotland, and publ. in 1860. Has
been taught and sung in the public schools of
Ontario since 1887; is regarded as
national
song of Canada by that section of population
which dislikes O Canada on account of its
The
French and Roman Catholic sentiment.
words have been altered since its first appearance,
but inasmuch as they glorify the Eng. general,
Wolfe, there is little hope that the song will ever
be acceptable to Fr. Canadians. Another set of
words, written by one Godfrey, was used for
some time and is interesting because the writer
depicted Canada as the antithesis of Rudyard
Kipling's "Our Lady of the Snows." The version
now used in Ontario schools is revised one by
Muir. In a discussion on the merits of the compn.
which appeared in the Toronto Empire in 1890,
it was pointed out that the tune suffered a little
owing to its reminiscence of the Scottish air Low
Down in the Broom, used by Burns in his My
Love is like a Red, Red Rose, also to the fact that
the words were somewhat suggestive of The
Land of Cakes for Ever.-L. S.
MARCHESI, Blanche. Operatic and concert
singer; b. Paris. Came of an old Sicilian family
named Castrone, both father and mother being
famous singers, and both pupils of Manuel
Garcia II. M. has lived for 25 years in England;
now devoted to teaching; her best rôles were
Isolde (Tristan) and Leonore (Il Trovatore).
As an interpreter of songs in many languages
she has few rivals. She has written her reminis-
cences, Singer's Pilgrimage (Grant Richards,
1923).-E.-H.
MARCHETTI, Filippo. Italian compr. of
operas and vocal chamber-music; b. Bolo-
gnola (Camerino), 26 Feb. 1835; d. Rome, 18
Jan. 1902. Principally known for his opera
Ruy Blas (Milan, Scala, 1869). Other works are:
Giulietta e Romeo; Gustavo Wasa; Don Giovanni
d'Austria. In 1881, was appointed dir. of Liceo
di Santa Cecilia, Rome, a post he occupied until
his death. Publ. (Ricordi) a series of popular
songs.-D. A.
MARCHISIO, Barbara. Ital. contr. b. Turin,
6 Dec. 1833; d. Mira, 19 April, 1919. Together
with her sister, Carlotta (1835-72), B. M. was
one of most famous Ital. singers of second
half of XIX century. Began with concerts;
immediately afterwards, appeared on opera
stage, where she gained great successes in
Il Barbiere; Il Trovatore; Cenerentola; Linda;
Norma; Lucrezia Borgia, and, in company with
William
her sister, in Matilde of Shabran,
Tell and in Semiramide. Rossini wrote especially
for the Marchisio sisters the Petite Messe
Solennelle, given in Paris in the salon of Count
Pillet-Will, under dir. of the compr., 14 March,
1864. The career of B. M. continued trium-
phantly for many years at all the principal
European theatres. After death of her sister,
she almost completely retired from her pro-
fession. From 1892 to 1914, she occupied a
special post as teacher of singing at R. Cons.
MAREK
of Naples, where she trained some excellent.
pupils.-D. A.
MARCILLY, Paul. Fr. compr. and orgt. b.
Paris in 1890. Has been maître de chapelle (pre-
centor) at Church of St.-Gervais, Paris.
Prières, organ; Rayons intérieurs, pt.; Suite
pastorale, pf. trio: Etude symphonique, 3 parts.-A. C.
MARCONI, Francesco. Ital. t. singer; b. Rome,
14 May, 1855; d. there 5 Feb. 1916. One of
most renowned and esteemed singers of last
fifty years; noted for beauty of his voice and
spontaneity of his talent. Of humble origin,
in his early youth he became a carpenter.
Ottavio Bartolini, an esteemed singing-master,
whose attention was drawn to him, educated him
in singing. M. made his début at Teatro Real,
Madrid, in Faust. His interpretations of I
Puritani, Stabat (Rossini), Lucrezia Borgia,
Ballo in Maschera, Rigoletto, Traviata, Aida,
Requiem (Verdi), L'Africana, Huguenots and
Lohengrin will not easily be forgotten.
triumphantly visited all the greatest theatres
of the world. He always retained his original
simplicity, and remained attached to his native
city, where he sang innumerable times.
He
Consult Giorgio Barini, In Morte di Fr. M. (in
review La Nuova Antologia, Rome, 1916).-D. A.
MARCZEWSKI, Lucyan. Polish compr. b.
Warsaw, 1879. Pupil of Noskowski. Publ.
several charming songs. Has lived in Warsaw as
proprietor and dir. of a music school.-ZD. J.
MARÉCHAL, Henri. Fr. compr. b. Paris, 22
Jan. 1842. Pupil of Paris Cons.; Prix de Rome,
1871. His style is Neo-classic. Has written his
Memoirs under the titles: Rome (1904), Paris
(1907), Lettres et Souvenirs (1921).
Comic operas: Les Amoureux de Catherine (1876);
La Taverne des Trabans (1881); L'Etoile (1889);
Daphnis et Chloé (1899). Operas: Deidamie (1893);
Calendal (1894). Ballet, Le Lac des aulnes (1907).
Oratorio, Le Miracle de Nain (1887).-A. C.
MARÉCHAL, Maurice. Fr. cellist; b. Dijon,
3 Oct. 1892. Scarcely had he left the Paris
Cons. (1st prize, 1911) before commenced
one of the most rapid and brilliant careers in
musical history. 1912, soloist for summer season
at Lamoureux Concerts; 1919, regular soloist;
soloist at Cons. 1920; Société Philharmonique
in 1921; then member of Cons. board of
examiners. His tours abroad have justified
the judgment of the Fr. public. His talent is
characterised by a very rare vigour and fullness
of tone which, joined to his deep musical feeling,
has won for him the honour of giving 1st perf.
of many works (e.g. Duo of Maurice Ravel;
Trio of Guy Ropartz) at the Société Nationale.
Was chosen by Jacques Thibaut and Alfred
Cortot, in their last
3.-M. P.
trio
MAREK, Czesław. Polish compr. and pianist;
b. Przemysl, Galicia, 1891. Pupil of Niewia-
dowski, Lemberg; of Leschetizky, Vienna, and
finally of Hans Pfitzner, Strasburg. 1914, prof.
Lemberg Cons. Then went to Zurich, where he
now teaches pf. and theory. Is much esteemed
as pianist. His compns. are modern in character.
3 fugues, pf. op. 2; Italian Serenade, orch. op, 7:
op. 4; many
songs and pieces for male chorus.-ZD.
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MARGULIES TRIO
MARGULIES TRIO. Founded in 1890 by
Adele Margulies (b. Vienna, 7 March, 1863), a
concert-pianist and teacher of high standing in
New York. Leopold Lichtenberg was vn. and
Victor Herbert, cello. The trio in this form
lasted several years. It was revived in 1904
with Leo Schultz as cellist. Schultz was replaced
by Alwin Schroeder in 1915. The trio has intro-
duced much new chamber-music. It has given
no concerts for the past 5 years.-0. K.
MARIANI GONZÁLEZ, Luis Leandro. Span.
compr. b. Seville, 1868. Stud. there under the
choirmaster of the Cath. Don Evaristo García
de Torres, receiving also his literary edu-
cation from his uncle, the philologist Don
Emigdio Mariani. At 20, publ. Un Nuevo
Acorde, a study in the theory of harmony which
provoked at the time a good deal of controversy,
bringing on the author the disapproval of Verdi,
Massenet, Ponchielli, Gevaert, Gounod and Saint-
Saëns, who considered him a daring revolu-
tionist against the orthodox science of harmony
of the period. Such a disposition of mind is
hardly detected in his early works, the popular
pf. pieces Al pié de la reja, Claveles Rojos, Noche
de luna, etc., which have to be considered as
productions detached from the author's mus.
output of later stages of his career. Lives in
Seville, where he is orgt. at the Cath. and
conducts a school of music.
Operettas: Aurora, 3 acts; Agustina de Aragón,
2 acts; Los Dragones, 2 acts; El talismán de la
suerte; El corral de la Pacheca; Picci; Diamantito;
Chicharra; and El Joven de las Trinitarias, 1 act.
Orch. Año Nuevo, overture; Suite infantil, orch.
and 4
str. 4tet: Tres Preludios y Fugas, organ. Pf.: sonata
Alma Andaluza (5 pieces); Tres Tonadillas; many
smaller works. (Publ.: Unión Musical Española;
Ildefonso Alier, Madrid; Mundial Música, Valencia;
Música Sacro-Hispana, Comillas; Z. du Wast, Paris;
Schott).-P. G. M.
MARINI MURILLO, María. Contemporary
Span. m.-sopr. (concert and operatic). Toured
in Italy, Portugal, Spain.-P. G. M.
MARINUZZI, Gino. Ital. compr. and condr.
b. Palermo, 24 March, 1882. One of best living
Ital. condrs. Début at the Massimo, in Catania;
rapidly rose to high reputation, conducting at
Teatro Real, Madrid; at Opéra-Comique, Paris;
and at Scala, Milan, where he remained for three
years. He then went to South America. For
three years he occupied post of dir. of Liceo Mus.
at Bologna, which position he gave up in 1918
in order to devote himself more freely to his
career as condr. In 1919 he was at the Costanzi
in Rome; in 1920 succeeded Cleofonte Campanini
in artistic direction of Chicago Opera Associa-
tion, which he continued until 1921. He then
returned to South America, and thence went to
the Regio Theatre, Turin. He is also an esteemed
compr., having written the operas Barberina
(Palermo, 1903) and Jacquerie (Buenos Ayres,
1918), also various instr. and vocal concert-
works.-D. A.
MARTEAU
Schola Cantorum, Paris. Since 1920, dir. of
School of Music, Orléans. Chief stage-works:
Salomé (Lyons, 1908; Paris, 1910); Le Vieux Roi
(Lyons, 1913); Nele Dooryn; Gargantua; Esther.
A. C.
MARNOLD, Jean. Fr. writer on music; b.
Paris, 1859. Music critic for Mercure de France
from 1902 onwards. Founder and ed. (1905-7)
of Mercure Musical.
Les Sons inférieurs et la Théorie de M. Hugo Rie-
mann; Les Fondements naturels de la musique grecque
antique (I.M.G. 1909; Leipzig, Breitkopf); Musique
d'autrefois et d'aujourd'hui (Paris, 1911, Dorbon);
Le Cas Wagner (Paris, 1918, Crès); Nature et Evo-
lution de l'art musical (publ. Rivista Musicale
Italiana); also a Fr. transl. of Nietzsche's Origin of
Tragedy in Music (Mercure de France, 1881).-
M. L. P.
MARRACO, Sancho. Contemporary Span.
compr. of the Catalonian group. Lives in Bar-
celona, where he is choirmaster of San Agustín
Church. Author of many religious, choral and
orch. works, mostly based on Catalonian folk-
music: Ballet de Solsona, Tres Cançons Populars;
and Tres Gloses de Cançons Populars.-P. M.
MARSCHALK, Max. Ger. critic and compr. b.
Berlin, 7 April, 1863. Pupil of Heinrich Urban;
1895, mus. critic of Vossische Zeitung, Berlin.
1-act, opera, In Flames (Gotha, 1896); song-ballad,
Aucassin and Nicolette (Stuttgart, 1907); operas:
Lobetanz; The Hero of Oggers-plame Little Fellow;
The Adventurer;
music to
The Naughty
Reuter); to Gerhard
The
Bell; And Pippa dances (Berlin, 1906); Schluck and
Jau; The White Saviour (Berlin, 1920); dramatic
legend, Sister Beatrice (Berlin, 1904; Maeterlinck);
orch. works and songs.-A. E.
Princess (1904, after Guzel
Hauptmann's Hannele
MARSCHALKÓ, Rózsi (Székelyhidy). Hun-
garian m.-sopr. operatic singer; b. Nagyszombat,
Hungary (now annexed by Czecho-Slovakia),
23 Aug. 1887. Stud. in Budapest. Since 1912,
member of R. Hungarian Opera House.-B. B.
MARSOP, Paul. Ger. writer on music; b.
Berlin, 6 Oct. 1856. Pupil of Ehrlich and Bülow;
since 1881 at Munich. Founded Popular Musical
Libraries, which operate splendidly; first one
was opened at Munich, 1902; up to the present
about 20 exist in the country and abroad.
Pamphlets: New Ger. Kapellmeister-music; Pros-
pects of Wagnerian Art in France: Fundamental
Water Questions: The
Thought in Ger
(1905); Why are we in need of the Reform-Stage?
(1907); Socialisation of Music and Musicians (1919);
Musical Essays (1899); Essays of a Musician (1903,
2nd ed. New Struggles, 1913).-A. E.
MARTENS, Frederick Herman. Amer. writer
on music; b. New York, 6 July, 1874. Stud.
pf. in New York under H. C. Timm and Wm.
Barker, and theory under Max Spicker. Since
1907 a writer on mus. topics, translator of
libretti, choral works and songs into Eng. and
author of lyrics.
Leo Ornstein: the Man-his Ideas-his Work (New
York, 1918, Breitkopf); Violin Mastery: Talks with
Master-Violinists and Teachers (1919,
Art of the Prima Donna and Concert Singer i. The
(Apple-
ton, 1923); String Mastery: Talks with master violin-
ists, viola players and violoncellists (Stokes, 1923); and
Little Biographies of Handel, Mendelssohn, Paganini,
(1922, Breitkopfy Korsakof and Rubinstein
M.
MARIOTTE, Antoine. Fr. compr. b. Avignon
in 1875. Destined for navy; but retired with
rank of midshipman in 1897. Entered the
320
MARTEAU, Henri. Violinist and compr. b.
Rheims (France), 31 March, 1874. Stud. vn. under
Léonard and Sivori; then under Garcin (Paris
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MARTIN
Cons., 1st prize, 1892), and compn. under Th.
Dubois. As soloist and ensemble-player, M. is
one of most important artists of to-day. Tours
over all Europe and America; 1900, teacher at
Cons. of Geneva; 1908, succeeded Joachim at
High School of Music, Berlin; 1921, head of
the master-class at the Ger. Acad. of Music in
Prague. As compr. shows modern influences.
After the 1914-18 war he became a naturalised
Swede. Member R.A.M. Stockholm, 1900.
Symphony; Serenade, wind Instrs.; vn. concerto;
Suite, vn. and orch.; mus. comedy Meister Schwalbe;
str. 5tet (with clar.): 3 str. 4tets; str. trio; 3 fugues
and
2 Capacaglia, organ; organ
vn. (with pf.); vn. pleces and studies;
songs (pubí. Steingräber; Simrock; Slegel; Harting).
-P. V.
MARTIN, Frank. Swiss compr. b. Geneva in
1890. Stud. compn. under Joseph Lauber at
Geneva. He is one of most talented of young
Swiss composers.
Les Dithyrambes (Pierro Martin), chorus, soll, orch.
(1918): Sulte, orchias National Ed.). Pavane
Esquisse, small orch.
(1920); (Swiss
couleur du temps, str. orch. (Geneva, Henn); vn.
sonata (Leipzig, Hug); numerous songs.-F. H.
MARTIN, Friedrich. Ger. compr. b. Wies-
baden, 18 Jan. 1888. Stud. at Leipzig Cons.
(Straube, Paul, Reger), 1916; town-orgt. at
Weimar; teacher of organ, theory and mus.
history at State School of Music. Since 1922,
custodian of Max Reger archives at Weimar.
Popular Short Songs (1913); From the Little Garden
of Roses (Hermann Lóns, 1915); Nursery Songs (1915);
ms. songs for contr. (Hesse); songs from Max Dau-
thendey's poems; Ger. Songs to Virgin Mary (s., organ
and harp); male chorus; organ compns.; religious
works.-A. E.
Great
MARTIN, Sir George Clement. Eng. orgt. and
compr. b. Lambourn, Berks, 11 Sept. 1844; d.
London, 23 Feb. 1916. Stud. under Sir John
Stainer; Mus. Doc. Cantuar. 1883; Oxon. h.c.
1912; orgt. St. Paul's Cath. London, 1888-1916;
prof. of organ, R.C.M. 1883; at R.A.M. 1895.
Knighted in 1897, having cond. the Diamond
Jubilee service at St. Paul's, for which he comp. a
special Te Deum. This was perf. outside the
western entrance; the Cath. F bell
Paul" was used to form part of the orchestra-
tion. M. was solely a church musician; he wrote
no secular music at all. A new style of church
accompaniment came into being with him. His
way of treating tone in huge masses evidently
grew out of the acoustics of the vast edifice in
which he worked. It had a special effect on his
compns., too; of these he left a large number:
services, anthems, hymns (nearly all publ. by
Novello.) See arts. by various musicians in Mus.
Times, April 1916, and also July 1897; by A.
Eaglefield Hull, in Monthly Mus. Record, July
1916.-E.-II.
MARTINELLI, Giovanni. Ital. tenor singer;
b. Montagnana (Padua), 1888. Début in
Ernani, and immediately after was engaged by
Toscanini and Puccini for the first perf. of the
Fanciulla del West (Girl of the Golden West)
at Costanzi in Rome, 1911. Has sung with
continued success in Paris, Monte Carlo, Covent
Garden, London, and New York.-D. A.
MARTÍNEZ DEL CASTILLO, Rafael. Span.
MARX
violinist; b. La Almunia de Doña Godina (Sara-
gossa), 5 April, 1896. Pupil of Hierro at R. Cons.
de Música, Madrid, 1920, appointed prof. of vn.
at Escuela Municipal de Música, Saragossa. Solo
vn. of Orquesta Filarmónica, Madrid. Has given.
many recitals in Spain.-P. G. M.
MARTUCCI, Giuseppe. Ital. compr. pianist,
condr. b. Capua, 6 Jan. 1856; d. Naples, 1 June,
1909. One of noblest and most conspicuous
figures in Ital. mus. life of last period.
Took large part in propaganda of higher mus.
forms, and in education of public taste for
symph. music, at a time when Italy seemed to
be turning all her musical attention to opera.
After leaving the Naples Cons. he was, from
1886, dir. of Liceo Mus. at Bologna; in 1902
became dir. of the historic Neapolitan Cons.
where he had been a student. He occupied
this office until his death. His activities as
pianist, teacher and condr. (he was a profound
interpreter of Wagner's works) were most
stimulating, and met with continuous success.
He also reaped effective results from his pro-
paganda. He introduced the music of Parry
and Stanford to Italy. As a compr. he devoted
himself exclusively to concert and chamber
music. He was, with Sgambati and then Bossi,
amongst the first in XIX century to cultivate
this branch of music in Italy.
D mi. op. 75 (1895), and F, op. 81
2 sympo, a dat mi., for pf. op. 66; pf. Stet,
(1901);
op. 45; a large number of other minor instr. works
(especially for pf.); also vocal chamber-musle (publ.
Consult a study by Luigi Torchi,
partly by usicale Italiana (XVI, p. 660). Tore
also publ., in same review, two articles on the 2
2nd, c-1st Symphony, III, p. 128;
p. 151.-D. A.
MARTY, Georges. Fr. compr. b. Paris, 16 May,
1860; d. there, 11 Oct. 1908. Pupil of Massenet.
Prix de Rome, 1882, with cantata Edith; dir.
of ensemble classes at Cons. 1892; successor of
Taffanel as cond. of Cons. concerts (1903). He
died without having shown his fullest measure.
Orch. works: L'Enchanteur Merlin; overture,
Balthazar; Les Saisons; Suite romantique; Ballade
d'hiver; Matin de Printemps; pantomime, Lysis
(1888);
(1905). C, Le Duc de Ferrare (1599) and Daria
MARTYN, Edward. Irish dramatist; b.
Masonbrook, Co. Galway, 31 Jan. 1857; d. Dec.
1923. Educated in Dublin, and at Christ Church,
Oxford. One of founders of the Irish dramatic
movement of 1899; one of chief patrons of music
in Ireland; founded Palestrina Choir (men and
boys at Dublin) with object of reforming
liturgical music. (This choir in 1903 became the
Schola Cantorum of the Archdiocese, in Dublin.)
A prominent patron of the Feis Ceoil (Irish Music
Fest.) and the Dublin Orch. Society.-W. Sr.
MARX, Joseph. Austrian compr. b. Graz
(Styria), 11 May, 1882. Pupil of Degner;
then
stud. history of fine arts,
music;
Ph.D. (dissertation, The Functions of Intervals
in Harmony and Melody for the Compre-
hension of Time-complexes), 1st prize, Faculty
of Philosophy. Lived till 1914 in Graz, since
then in Vienna, as prof. at State Acad. of Music.
In 1922 became dir. of the Acad. (succeeding
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MASCAGNI
Ferdinand Löwe). Between 1900-11 publ. about
100 songs. His music started with popular
manner (like Robert Franz's), then was in-
fluenced by Hugo Wolf. Later he found his
own style, which characterised by the free
treatment of the voices, and, by his melodies,
which stand between long-drawn cantilena and
recitativo. Later, he wrote chiefly absolute music
-chamber-music and orchestral works. All his
compns. have a clearly marked local colour (e.g.
Styrian scenery and popular elements), bold
part-writing, polyphony, abundant feeling and
richly coloured orchestral sound. The harmony
is complicated and interesting, but not novel.
His style belongs to the transition-period be-
tween Brahms, Wolf, and Schönberg. He may
well be called a pure Romanticist.
Orch.: Romantic Concerto, pf. (1919); Herbst-
symphonie (Autumn Symphony), perf. Vienna, 1922,
at Phil. Concerts with great disturbance; then at
Graz with great success. Chamber-music: pf. 4tet
(Ballade, Rhapsody and Scherzo), 1911; Trio Fantasie
vn. sonata; pf.
pieces. Choral: Herbstchor an Pan (Chorus to Pan in
Autumn), 1911; Abendweise (Evening Song), 1910;
Morgengesang (Morning Song); Neujahrshymnus
(Hymn for the New Year); 120 songs (also Italian
Song-book, from Paul Heyse), acc. by pf. or str. and
wind (Kammermusiklieder).-P. P.
MASCAGNI, Pietro. Ital. opera compr.
Leghorn, 7 Dec.
He is a very
popular musician; his activities are numerous
and fervid, having not only devoted himself
to compn. but also, no less successfully, to con-
ducting and teaching. Born in humble circum-
stances, he began his mus. studies in his native
city under Pratesi and Soffredini. Through the
liberal patronage of Baron de Lardarel, of Leg-
horn (to whom M. dedicated Cavalleria), he was
enabled to go to Milan Cons., having as teachers
Saladino and Ponchielli. But he abandoned
the Cons, before completing his studies, in order
to take up a wandering life as condr. of an
operetta company. He then went to Cerignola,
in Apulia, where he establ. himself, giving
lessons in pf. and conducting the band. In the
meantime, he had set to music Guglielmo Rat-
cliff and Cavalleria Rusticana. The latter was
perf. at one of the opera competitions arranged
by Sonzogno (q.v.) and was successful. On 1
May, 1890, it was given at the Costanzi Theatre,
Rome, and gained a memorable success, through
which it started on its triumphant course
through all the theatres of the world, suddenly
raising the name of Mascagni to great celebrity.
Cavalleria was followed by the operas, L'Amico
Fritz (Costanzi, Rome, 31 Oct. 1891); I Rantzau,
(Teatro della Pergola, Florence, 1892); Guglielmo
Ratcliff (Scala, Milan, 1895); Silvano (same
theatre and year); Zanetto (Pesaro, 1896); Iris
(Costanzi, Rome, 1898); Le Maschere (perf.
simultaneously in 7 Ital. theatres on evening of
17 Jan. 1901); L'Amica (Monte Carlo, 1905);
Isabeau (Teatro Coliseo, Buenos Ayres, 1911);
Sl, operetta in 3 acts (Teatro Quirino, Rome,
1919); Il piccolo Marat (Costanzi, Rome, 1921).
His operas (except Iris which belongs to Ricordi,
and 'Amica, publ. by Choudens,
all been publ. by Sonzogno of Milan.
Paris) have
MASINI-PIERALLI
Apart from opera, M. has written interludes
for Hall Caine's drama, The Eternal City (Lon-
don, 1902); also a Messa funebre, in memory
of King Humbert (Pantheon, Rome, 1900);
Rapsodia Satanica for cinematographic perf.
(Rome, 1915); A Giacomo Leopardi, cantata
for orch. and s. solo, written for centenary of
Leopardi (Recanati, 1898); and some chamber-
music.
Mascagni's music in his first period had popu.
lar, genial and spontaneous characteristics; in
later years it acquired high harmonic interest,
especially in the opera Iris.
As condr. he is very skilful, and directed
some important opera seasons and concerts.
He was also a teacher and dir. of mus. insti-
tutes. From 1895 he held for several years the
direction of Liceo Mus. Rossini, Pesaro; then
became dir. of Scuola Nazionale di Musica,
Rome. In latter Inst. he taught compn. and
trained some excellent pupils. Amongst his
many activities, M. also includes that of writer
and lecturer. He took part in important com-
missions; was member of the permanent mus.
commission attached to Ministry of Education.
Consult: Giannotto Bastianelli, P. M. (Naples,
1910, Ricciardi); Edoardo Pompei, P. M. nella vita
e nell'arte (Rome, 1912); and numberless publi
publications.
of a controversial character, and arts. in newspapers
and reviews.-D. A.
MASCHERONI, Edoardo. Ital. condr. b. Milan,
4 Sept. 1859. Began his career in 1883 at Goldoni
Theatre, Leghorn. For twelve years, dir. perfs.
in the two foremost theatres in Rome, the
Argentina and the Apollo. In 1885, President
of Società Musicale Romana, for which he cond.
concert perf. of Spontini's Olimpia. He then
went to La Scala, Milan, where he succeeded
Franco Faccio, remaining there for four years.
M. enjoyed the esteem and friendship of Verdi,
whose opera Falstaff he cond. at its 1st perf.,
then taking it on a triumphal tour through
Italy. Verdi called him "the third author of
Falstaff." M. has also cond. at principal theatres
abroad, Madrid, Lisbon, Barcelona, Buenos
Ayres, etc. Is, in addition, a distinguished
compr. having written two operas-Lorenza, in
3 acts, book by Luigi Illica (Costanzi, Rome,
1901) and La Perugina, 4 acts, book also by
Illica (San Carlo Theatre, Naples, 1909) (both
publ. by Ricordi). Also several masses, and
works for orch., pf. and voice.-D. A.
MASINI, Angelo. Ital. t. singer; b. Terra
del Sole (Forli), 1845. Début at Finale (Modena)
in 1867 in Norma. His fame began to grow by
his interpretation of Verdi's Aida and Requiem
Mass, completing a triumphal tour in latter
work under direction of the compr. He then
sang at principal theatres of Russia, France and
England. Had a very extensive repertoire, and
into every opera he infused the marks of his own
personality and the great beauty of his voice.
-D. A.
MASINI-PIERALLI, Angelo. Ital. b. singer;
b. San Giovanni Valdarno, Tuscany, 1877. Début
at Sesto Fiorentino in 1898 in La Sonnambula.
Rapidly rose to principal theatres of Europe
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MÁSLO
and America. During Verdi Centenary com-
memoration season, he gained special successes
in Don Carlos and in Oberto, Conte di San Boni-
facio. Is an excellent interpreter of part of
Mefistofele.-D. A.
MÁSLO, Jindřich. Czechoslovak compr. b.
Čistá, 1875. Pupil of B. Vendler and B. Křídlo.
Educ. works for pf. (F. Chadim; A. Neubert);
symphony; pf. trio; 2 str. 4tets (all ms.).-V. ST.
MASON, Daniel Gregory. Amer. compr. b.
Brookline, Mass., U.S.A., 20 Nov. 1873. Grand-
son of Lowell Mason; nephew of noted Amer.
pianist William Mason. A.B. Harvard, 1895.
Stud. music at Harvard under Paine. A pupil
in Boston with C. Johns and E. Nevin, later of
A. Whiting (pf.), Goetschius (theory) and Chad-
wick (compn.), also in Paris of d'Indy (compn.).
Since 1900, teacher and lecturer in New York.
Has lectured for Amer. Univ. Extension Soc.;
delivered over 250 lectures for Board of Educa-
tion of New York. Since 1910, connected with
music department of Columbia Univ. in New
York; associate-prof. since 1914.
In his compns., grounded in Brahms, d'Indy
and the classics, M. displays a solid technique
and a marked formal talent. Never reactionary,
he has gone his own way without allowing him-
self to be unduly influenced by the extremes of
modern innovators. His books also are charac-
terised by calm judgment, thorough mastery and
a sane, forcible presentation of his subjects. His
op. 11, a symphony in C mi., was brought out by
Philadelphia Orch. on 18 Feb. 1916. A song-
cycle, Russians, op. 18, barit. and orch., was 1st
sung by Werrenrath at New York Symphony
concert, 25 Jan. 1920. A string 4tet on negro
themes was 1st perf. by Flonzaley Quartet in
New York, 20 Jan. 1920.
4tet, str. and pf. op. 7 (comp. 1914) (Schirmer,
1917);
pf. vn. and clar. op. 8 (Mathot,
1913ta, pf, and vn. op. 5 (comp. 1913) (Schir-
mer, 1913); sonata, clar. and pf. op. 14 (Soc. for
Publ. of Amer. Music; Ditson, 1920); 3 pieces, op.
13, fl. harp and str. 4tet (Soc. for Publ. Amer. Music
1923); Elégie in free variation form, pf. op. 2
(Metzler, 1902); other pf. pieces (Church; Breitkopf;
Ditson); Passacaglia and fugue, organ, op. 10 (Gray,
1913); Russians, song-cycle, barit. and pf. op. 18
(Schirmer, 1920); other songs (Ditson; Church;
Schirmer; Boston Music Co.). Author of: From
Grieg to
(Outlook Co. Beethoven
is Forerunners (Macmillan, 1904): The Romantic
Composers (id, 1906); The Appreciation of Music,
Vol. I (with T. W. Surette) (Baker-Taylor, 1908);
Vol. II, Great Modern Composers (Gray, 1916); Vol.
III, Short Studies of Great Masterpieces (id. 1918);
Vol. IV, Music as a Humanity (id. 1921); Con-
temporary Composers (Macmillan, 1918). Ed.-in-chief
of The Art of Music, 14 vols. (National Soc. of Music,
1915-17).-O. K.
MASSENET
compr. of interesting pieces for v. and pf. (Pizzi,
Bologna; Ricordi); and of an Intermezzo, Bianco
e nero, perf. in Rome, Teatro dei Piccoli, 1923.
M. is musical critic for the Roman newspaper
L'Impero.-D. A.
MASSAU, Alfred. Belgian cellist; b. Verviers,
12 Sept. 1847. Pupil at Liège Cons. of Léon
Massart (cello), elder Massart (cpt.), H. Léonard
(quartet-playing). Prof. at Verviers Cons.
1873-1920; ex-prof. of Liège Cons. and the
School of Music at Maestricht. Author of
Méthode de Violoncelle, widely used in Europe
and America. Some of his many pupils are of
first rank (Jean Gérardy, Jacques Gaillard,
L. Reuland, J. d'Archambeau, P. Kéfer, Jean
Schwiller, etc.).-C. V. B.
MASSÉ, Victor. Fr. compr. b. Lorient, 7
March, 1822; d. Paris, 5 July, 1884. Priz de
Rome, 1846 (with cantata, Le Renégat de Tanger),
after studying with Zimmermann for pf. and
Halévy for compn. Celebrated during the Second
Empire for his romances, then for his opéras-
comiques, of which the following are still played:
Les Noces de Jeannette (1853); Galatée (1852),
and sometimes Paul et Virginie (1876). He was
an agreeable melodist who aroused the interest
of Saint-Saëns. In 1872 he succeeded Auber at
the Institut.-A. C.
MASSENET, Jules. French opera-composer;
b. Montaud, near St.-Etienne (Loire), 12 May,
1842; d. Paris, 13 August, 1912. The case of
this composer is very strange. His originality
at first sight does not seem very striking.
He appears rather to be an eclectic, skilled
in turning to his own account all that happens.
around him. Nevertheless he has created for
himself a style that is very characteristic, since
he is imitated unceasingly even to this day.
He studied harmony at the Paris Conserva-
toire under Bazin and Reber, and composition
under Ambroise Thomas. After his Prix de Rome
in 1863, he met with some difficulties in ob-
taining recognition, but the success of Marie-
Magdeleine (1873) opened all doors to him.
Five years later, at 36, he entered the Institut
the Conservatoire,
and taught composition
where he was to have among his numerous pupils
the young Claude Debussy. Massenet had a very
feminine sensibility. Possessed with the necessity
of fascinating, he delighted in easy lyrical effu-
sions whose success with the great public was
immense. His very voluptuous music has not
the nobility of Gounod's, from which, however,
it is derived. It is redolent of perfumes and
powder of indifferent quality. One quickly tires.
of those transports, of those avowals, of those
embraces, of those artificial swoons. However,
one cannot without injustice deny to his melody
qualities of grace and arresting charm. Debussy
was indulgent to him; besides, did he not him-
self yield in his youth to the seduction of this
charming master? We find traces of this,
even in Pelléas.
A lover of the theatre, Massenet excelled in
composing a dramatic scene or a love-duet. He
MASON, Edward. Eng. cellist and condr. b.
Coventry, 24 June, 1878; killed in action 9 May,
1915. Stud. at R.C.M. under W. E. Whitehouse,
Dr. Charles Wood and Dr. Walford Davies;
London début cellist, Bechstein Hall, 1900;
cond. New Symphony Orch. on their 1st appear
ance at Queen's Hall, 1906; condr. Edward
Mason Choir; member Grimson Str. Quartet.
Married the violinist Jessie Grimson (q.v.).-E.-H.
MASSARANI, Renzo. Ital. compr. b. Man-
tua, 26 March, 1898. Stud. R. Liceo Mus. di
Santa Cecilia, Rome, under Respighi. He is
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MASSON
never allowed the action to be overwhelmed by
the music. It may be said that of their class
Manon, Werther, Le Jongleur de Notre Dame are
masterpieces. In them, he practises the art of
half-tints, light and fine, transparent and volup-
tuous, in which he excels. Unfortunately,
towards the end of his life he wished to vie with
the composers of Germany and especially with
the Italian Verists, and his last operas, from
Ariane (1906) onwards, are noisy, vulgar and
pretentious and had no lasting success.
Massenet was often handicapped by his in-
sufficient knowledge of the orchestra. The works.
of this rival and contemporary of Lalo, Saint-
Saëns, Bizet and Chabrier are subdued; the
crescendos never result in the expected out-
burst. He had, however, a very fine harmonic
sensibility; but it is his melody, sinuous and
caressing, with languorous inflections, which is
characteristic of his style.
It is in reality to the school of Massenet, more.
than to any other, that we owe this sickliness
of melodic taste, this music of thrills, all this
basely sensual art which has triumphed in the
theatre as in the café-concert. It would, how-
ever, be unjust to hold him responsible for the
excesses of his imitators. Rather let us salute
in him a distinguished musician and acknov
ledge that he was able to find accents capable
of throwing hearts into a delightful agitation.
He was professor of composition at the Paris
Conservatoire from 1878 to 1896. His chief
pupils were Alfred Bruneau, G. Charpentier,
G. Pierné, X. Leroux, P. Vidal, G. Marty,
L. Hillemacher, and A. Savard.
Chief operas: Hérodiade (Brussels, 1881); Manon
(Opéra-Comique, 1884); Le Cid (Paris, Grand Opéra,
1885); Werther (Vienna, 1892); Thais (Paris, 1894);
Sapho (Opéra-Comique, 1897); Le Jongleur de Notre
Dame (Monte Carlo, 1902). His orch. Scènes pit-
toresques were written in 1874 (Heugel). Consult:
L. Schneider, M. 1908; René Brancour, M. (Alcan,
and
jourd'hui (Mercure de France, 1911), for complete
catalogue of his works.-H. P.
MASSON, Paul Marie. Fr. writer on music;
b. Cette (Hérault), 1882. Pupil at École Nor-
male Supérieure, then member of the Fondation
Thiers. Devoted himself to mus. history and
aesthetics under Romain Rolland; also stud.
compn. under V. d'Indy at Schola Cantorum.
Prof. at Institut Français, Florence, 1910; dir.
of Institut Français, Naples, 1919. Most of his
works on music have appeared in various
musical reviews.
Les Odes d'Horace en musique au XVIe siècle
(Revue Musicale, 1906); Les Brunelles (Sammel-
bände der I.M.G. 17th year); Lullistes et Ramistes
(Année Musicale, 1912), etc. He re-ed. Florentine
Carnival Songs of the time of Lorenzo the Magnificent;
publ. a vol. on Berlioz (Paris, 1923, Alcan). A study
in historical criticism, L'Opéra de Rameau, is in
preparation. Comp. Marche à la Justice (perf. 1917);
pf. pieces.-M. L. P.
MASZYŃSKI, Piotr. Polish compr. condr. b.
Warsaw, 1855. Stud. pf. in Warsaw under
Michalowski and Noskowski. Went to Con-
stance, Switzerland, in 1878, becoming 2nd
condr. of choral soc. Bodan. In 1886, returned
to Warsaw and founded famous choral soc.
Lutnia; 1890, prof. at Cons. Besides some pf.
MATTHEWS
pieces and mus. illustrations of dramatic scenes,
he writes chiefly songs and very effective choral
compns. Ed. of popular music editions and transl.
of opera libretti. Is one of the most active music-
organisers and pioneers of musical culture in
Warsaw.-ZD. J.
MATERNA, Amalia. Austrian opera singer; b.
St. Georgen (Styria), 10 July, 1845; d. Vienna,
18 Jan. 1918. 1865, opera-soubrette at Graz
(Styria); principal operetta-singer at Carl
Theatre, Vienna; 1869-97 at Court-Opera.
Since 1902, well-known singing teacher. A
famous Wagner-singer, highly esteemed by
Wagner himself. The first Brünnhilde at Bay-
reuth Fests. 1875. In 1882 was the first Kundry
there.-P. ST.
MATHIEU, Émile Louis Victor. Compr. b.
Lille (of Belgian parents), 18 Oct. 1844. 2nd
Prix de Rome, 1869 and 1871; prof. Louvain.
School of Music, 1867; dir. of same, 1881.
Dir. Ghent Cons. 1896; retired Jan. 1924. Mem-
ber of Belgian R. Acad. and of Commission for
publ. of works of old Belgian masters. His
musical style is very conservative.
Stage works: L'Echange, opéra-comique (own words)
(Liège, 1863); music to V. Séjour's drama Cromwell
(Paris, 1874); Les Fumeurs de Kiff, ballet (Brussels,
1876); Georges Dandin, comic opera (Brussels, 1877);
La Bernoise, comic opera (Brussels, 1880); Richilde,
lyric tragedy (also text) (Brussels, 1888); Bathyle,
opera
opera (also text) (Brussels, 1895); La Reine Vasthi,
biblical opera (also text). Chorus and orch.: La
Dernière Nuit de Faust (1869); Le Songe de Colomb
(1871), Torquato Tasso's Death (1873), cantatas for
Prix de Rome; Te Deum; Debout, peuple! (inaugural
cantata); Le Hoyouz, Freyhir, and Le Sorbier, lyric
and symph, poems (also text). Orch.: Noces féodales,
Le Lac, Sous bois (symph. poems); vn. con-
certos; Paysages d'automne, pf. and orch. 6 songs
on André Van Hasselt's poems; 6 Goethe ballads;
3 Heine ballads; Le Roi Harald Harfagar (Heine),
etc. Choruses for female, male, and mixed choirs.
-E. C.
MATTHAY, Tobias. Eng. pf. teacher, writer
and lecturer; b. Clapham, London, 19 Feb 1858.
Stud. at R.C.M. under Sterndale Bennett, Arthur
Sullivan, E. Prout and W. Macfarren. Prof. of
pf. at R.A.M. 1880 to present time; founded the
Matthay School, 1900. He was the first to elu-
cidate the laws underlying good and bad pf.
technique, and to demonstrate the nature of
mus. rhythm as "progressional movement."
Amongst his pupils are Gertrude Peppercorn,
Harriet Cohen, Myra Hess, Irene Scharrer,
Désirée MacEwan, Arthur Alexander, York
Bowen, Vivian Langrish, Felix Swinstead, Percy
Waller.
Concert-piece No. I, A mi. op. 23 (Ricordi); 4tet,
Mono
including Love-Phases, op. 12 (J. Williams);
themes, op. 13 (Forsyth); Lyrics (Paterson); Prelude,
op. 16 (Weekes); Bravura, op. 16 (Ricordi); Elves
(Weekes); Sketch-books, op. 24, 26 (Anglo-Fr. Co.).
31 variations on orig. theme, op. 28 (Augener); On
Surrey Hills, op. 30 (Anglo-Fr. Co.); 3 Lyric Studies,
op. 33 (id.). Books: The Act of Touch (Longmans,
Musical Interpretation (J. Williams, 1913);
Method
Studies (Bosworth, 1907): First Principles (Long-
mans, 1905); The Child's First Steps in Pf.-playing
(J Williams): Pianist's First Music Making, 3 bks.
(Anglo-Fr. Co.).-E.-H.
MATTHEWS, Thomas Appleby. Eng. condr.
b. Tamworth, 30 Aug., 1884. Stud. Birmingham
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MATTHEY
and Inst. under J. D. Davis and Gran-
tock; dir. and condr. City of Birming-
1. since foundation Jan. 1920 (succeeded
1924); dir. and condr. Birmingham
y Theatre's operatic productions, includ-
ralleled success of Boughton's Immortal
egent Theatre, London.-E.-II.
CHEY, Ulisse.
Ital. orgt. b. Turin,
tud. organ at Turin at Liceo Mus.; then
and compn. with Prof. Ferroni in Milan.
ed himself in organ-playing under Guil-
From 1902, orgt. Basilica of
Has given many concerts with success.
Paris.
THISON - HANSEN, Gotfred. Danish
orgt. b. Roskilde, 1 Nov. 1832; d. Copen-
14 Oct. 1909. Belonged to one of Den-
best-known musical families (his father,
M.-H., was the noted orgt. of Roskilde
M.A. 1850; stud. law at Univ. Copen-
for 3 years. After a successful début in
s orgt. he decided in favour of music as
ession. In 1859, orgt. at Frederiks Ch.
hagen; later advanced successively to
at St. John's and Trinity, Copenhagen.
-7, prof. at R. Cons.; 1900, member of its
of governors. Extensive concert-tours.
andinavia and Germany, where he made
a name for himself, as also in Copen-
through his regular organ recitals at
y Ch. In his own music (principally organ
hamber-music) he manifests an interesting
nality.
trio, op. 5: Novellettes, pf. and cello, op. 12
zig, Breitkopf); sonata, pf. and vn. op. 11;
a, pf. and cello, op. 16; numerous pf. pieces
, 2, 6, 10, 13, 14); organ pieces; sacred songs
organ acc. (Copenhagen, Hansen). There are a
tet, a pf. 5tet, a pf. sonata and Drapa for
in ms.-A. H.
ATTIESEN, Emil. Ger. song compr. b.
Dat, 24 Jan. 1875. Stud. philosophy and
ral sciences at Dorpat and Leipzig, 1892-6;
, Ph.D.; 1898-1903, travelled in Asia and
erica; 1904-8, scientific work at Cambridge,
and; 1908-15, in Berlin; till 1922 at Ros-
Through inducement of Karl Muck and
Müller he has appeared as compr. since 1910.
illads to the Dead (op. 1); songs and ballads, op.
(Peters). His compns, have been made known
ugh a Mattiesen Soc. (establ. 1921).-A. E.
ATTIOLI, Guglielmo. Italian compr. b.
gio Emilia, 14 Oct. 1859. Stud. at Bologna
Her Busi; took diploma for organ at Liceo
of that city. Specially devoted himself
teaching. After having occupied various
itions, he settled in 1908 in Bologna as prof.
cpt. compn. and organ in the Liceo
re. Is author of several operas, and much
cal and instrumental music.-D. A.
MAUGUÉ, Fernand. Fr. compr. b. at Nancy.
pil of Cons. of Nancy and of Paris. Lauréat
the Institut.
Le Sphinx, orch.; Site agreste, orch.; str. 4tet;
ible 5tet for wind instrs.; sonata, pf. and vn.;
eme, ob. and orch.-A. C.
MAUS
Basle, and 1892-3 at Munich Acad. of Music.
Mus. critic, till 1919 opera reporter at Munich,
finally of Münchner Zeitung.
Songs and hymns; symph. poems: Solitude, op. 4
(after Nietzsche); Liliencron, op. 54; Sursum corda,
op. 59; Ora pro nobis, op. 62 (dramatic scena for s.
and orch.); Romantic Symphony, op. 63; symphony
with chorus and solo, Gold; oratorio, Expulsion from
Paradise, op. 78: opera, The Good-f
od-for-Nothing (after
Eichendorff, 1905); operettas: The Virtuous Prince
(Munich, 1907); Fanfrcluche (Munich, 1912); The
Last Mask (mimodrama, Carlsruhe, 1917); Laurin's
Garden of Roses (romantic opera); Festival of Life
op. 76
(tragic opera, op. 73): Thamar, M. (1919) ttgart,
1922). Consult Wilibald
Nagel,
MAUREL, Victor. Fr. operatic barit. singer;
b. Marseilles, 17 June, 1848; d. New York, Oct.
1923. Stud. at Paris Cons. under Faure; début,
at age of 20, at Paris Opéra, as Nevers in
Huguenots; first London appearance at Covent
Garden, 21 April, 1873, as Renato in Ballo in
Maschera. In 1875 he sang Telramund (Lohen-
grin) and in 1876 Wolfram (Tannhäuser) at first
perfs. in England of those works. He created the
part of Amonasro in Aida, Cairo, 1880. In 1883-4
he managed an opera season at Théatre des
Nations, Paris, producing Massenet's Hérodiade.
His most famous creations were Iago in Otello
(Milan, 1887; Lyceum Theatre, London, 1889)
and Falstaff in Verdi's last opera (Milan, 1893).
In his later years he devoted himself to teaching.
M. had a fine stage-presence and a powerful
voice, and his performances were remarkable
for their intense dramatic force. In 1897 he
publ. a book of reminiscences, Diz Ans de
Carrière.-C. L.
MAURICE, Pierre. Swiss compr. b. Allaman,
13 Nov. 1868. Stud. compn. at Paris Cons. under
A. Gédalge, Massenet and G. Fauré (1890-8);
lived in Munich, 1899-1917; now at Allaman
(on Lake of Geneva). His music, finely orches-
trated and very poetically conceived, shows
relationship to Massenet and Fauré, and his
works are greatly appreciated in Germany and
Switzerland.
4 operas (Fr. and Ger. text): La Fille de Jephté,
biblical drama (Paris, Enoch); Le Drapeau blanc,
lyric drama (Stuttgart, Feuchtinger); Misé Brun,
lyrlo drama (Berlin, Bote & Bock); Lanval, 3 acts.
founded on poem by Marie de France (Leipzig):
Arambel (J. Ravina), mimodrama, 4 acts; symph.
poem, Françoise de Ri (Munich, II. Léwy):
Pecheur d'Islande (Pierre
Gorm
Grymme (Th. Fontane), barit, chorus, orch.; fugues
for 2 pts. (New York, Ditson); unacc. choruses
(Geneva, Henn); songs (publ. Rouart; Hachette;
Henn; Fetisch).-F. H.
MAUS, Octave. Belgian musicologist; b.
Brussels, 12 June, 1856; d. Lausanne, 26 Nov.
1919. LL.D. Univ. Brussels; first practised at
the bar, later devoted himself entirely to his
love of art and propaganda of new ideas in
Belgium. 1881, founded weekly review L'Art
Moderne; 1884, with an advanced group of
painters and sculptors, the Cercle des XX and
La Libre Esthétique (1894). A staunch admirer
of Wagner from the first, he was present at the
public rehearsals at Bayreuth in 1876 (see his
booklet Le Théâtre de Bayreuth [Brussels, 1888],
and his charming work Les Préludes [Brussels
1921, Sand, publ. posthumously]). From 1888
onwards he brought to the notice of the public
MAUKE, Wilhelm. Ger. compr. and critic;
Hamburg, 25 Feb. 1867. First stud. medicine,
en music under Hans Huber and Löw at
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MAWET
of works
the works of César Franck and of the modern
Fr. school at the Concerts des XX and the
Concerts de la Libre Esthétique. Thus he was
responsible for 1st perf. in Brussels of César
Franck's sonata (played by Eugène Ysaye), also
Fauré, d'Indy, Chausson, and
sonata of Lekeu, 1892; 1894, devoted concert
to Debussy; 1905 to Cyril Scott; 1910 to
Poldowski, etc. Music lectures and many
arts. in L'Art Moderne (up to 1914). He was
wholly artistic, yet human, eminently fitted
to undertake the aesthetic regeneration of
Belgium with lasting results.-C. V. B.
MAWET, Fernand.
Belgian composer; b.
Vaux-sous-Chèvremont, near Liège, 7 April,
1870. Stud. pf., organ at Liège Cons.; orgt.
and teacher there.
Religious compns., organ pieces, choruses for male
vs., songs, works in Fr. and in dialect of Liège,
notably Li Fordjeu (Liège, 1908), Noël sanglant
(1910), Colas Boncour (1911). Theoretic works:
Théorie analytique des accords; Tableaux synoptiques
des intervalles.-E. C.
MAYER, Max. Pianist and compr. b. Vechta,
Oldenburg, Germany, 31 May, 1859. Stud. pf.
and compn. in Stuttgart; later under Liszt
in Weimar; settled in Manchester, April 1883;
for 25 years gave regular chamber-concerts there;
1908, one of chief pf. profs. at R. Manchester
Coll. of Music, which post he still holds. Became
a naturalised British subject in 1900; his compns.
include pf. pieces for 2 and 4 hands and a great
number of songs (mostly Schott & Co.).-E.-H.
MELARTIN
tics and mus. physiology. He was entirely
opposed to idea of physical laws interfering
with physical effects of music, which he claims
to be entirely result of psychology. Also in-
ventor of a metronome, based on oscillation of
a pendulum, and of system of notation in which
he replaced the clefs by the order-number of
different octaves. Also questioned acceptance
of 870 vibrations for normal diapason, prefer-
ring the number 864. His ideas only attracted
temporary attention and are entirely disregarded
to-day. Publ. booklets, mainly extracts from
his articles:
The Metronome (1859); Elementary Instruction in
Calculation (1864);
Phenomena (1868); Tribute to
usico-psychological
Memory of M.
Delezenne (1869); Diapason and Musical Notation
Simplified (1873); Notes on Diapason (1877); Ed-
mond Van der Straeten, biog. (1877); The Musical
Octare, Major and Minor (1890); Musical Acoustics
(1892); Real Relationships of Musical Sounds (1894);
of
Care of Musical Instruments of César Snoeck;
1 Science (1894); Scheibler's Tono-
metre (1895): On the Old Melopoeia in Singing in the
Latin Church of Gevaert (1896); Handbook for Rapid
Instruction in Music and Pianoforte (all publ. Brus-
sels). Also wrote for the Guide Musical and the
Fédération Artistique.-E. C.
MEES, Arthur. Amer. condr. b. Columbus,
Ohio, U.S.A., 13 Feb. 1850; d. New York, 26
April 1923. Stud. under Kullak (pf.), Weitz-
mann (theory) and H. Dorn (cond.) in Berlin,
1873-6. Condr. of Cincinnati (O.) May Fests.
1880-6; Worcester (Mass.) Fests. 1908-19, Nor-
folk (Conn.) Fest. from 1900 to 1921. Assis-
tant-condr. of Amer. Opera Co., 1888-1911, and
to Theodore Thomas with Chicago Symphony
Orch. 1896-8. Wrote analytical programmes of
New York Philh. Soc. 1887-96, and Chicago
Symphony Orch. 1896-8, Worcester Fest. 1908-
1921. Author of Choirs and Choral Music
(Scribner, 1911). Received Mus. Doc. h.c. Alfred
Univ., Alfred, N.Y.-J. M.
MAYR, Richard. Austrian singer; b. Henndorf,
near Salzburg. As student was heard by Gustav
Mahler in 1902 and appointed to Vienna Opera
House, where he has sung ever since. One of
the best b.-barits. of Ger. stage and brilliant
and original actor, an excellent King Mark,
Hans Sachs, Leporello, Figaro, Ochs von
Lerchenau. Also a fine concert-singer. Consult
biography by H. J. Holz (1923, Wila).-P. ST.
MAZZOLENI, Ester. Operatic s. singer;
b. Sebenico (Dalmatia). Début at Costanzi in
Rome in Il Trovatore; rapidly gained high
reputation, visiting principal theatres of Europe
and America. A great interpreter of Bellini's
Norma.-D. A.
MEALE, John Arthur. Eng. orgt. b. Slaith-
waite, Huddersfield, 18 Dec. 1880. Mus. dir. and
orgt. Central Hall, Westminster, from 1912.
Numerous songs; anthems; and organ pieces.
-E.-II.
MEDINS, Janis. Latvian compr. b. Riga,
27 Feb. 1890. Self-taught; fairly modern in
tendency. The most talented of the younger
generation of Latvian comprs.
2 operas; a symphony; a str. 4tet; 2 trios; a cello
concerto; pf. pieces; vn. and pf, works; many solo
songs and 4-pt. unacc. songs.-K. P.
MEDTNER, Nicolas. See METNER.
MEERENS, Charles. Belgian acoustician,
musicologist; b. Bruges, 26 Dec. 1831; d.
there, 14 Jan. 1909. Stud. cello privately
at Bruges and Antwerp (where he founded a
mus. soc. and also dir. a publishing firm for some
time). Stud. also at Brussels Cons. Then gave up
playing in order to devote whole time to acous-
326
MELANI, Pedro. Argentine violinist; b. Salerno,
Naples, 1854; d. Buenos Ayres in 1900. Stud.
under Lambiase and Pinto at Naples. After con-
cert tour through Italy, was 1st vn. at R. Theatre,
Cairo. Thence to Berlin, where he stud. under
Joachim for 3 years. Returning to Naples, he
set out upon a brilliant career, which (acting
under mistaken advice) he renounced in 1880 to
establish himself in Buenos Ayres. Argentina
was at that time no country for an artist of his
talents. He gave many concerts, and then
joined, as 1st vn., the Primer Cuarteto (First
Quartet) of Buenos Ayres, which soon became
famous. In 1888 he founded a Cons., but the
artist's child-like and simple nature was unable
to cope with the necessary business administra-
he closed it at the end of the year.
He then joined the Buenos Ayres Cons., but
his health began to fail, and he died in
1900.-A. M.
MELARTIN, Erkki. Finnish compr. b. Käki-
salmi, 7 Feb. 1875. Stud. at Helsingfors Music
Inst. and abroad (Vienna, Rome, Berlin);
1908-10, condr. in Viipuri (Viborg); 1911-22,
dir. of Helsingfors Mus. Inst. One of the most
prominent Finnish comprs.; has produced repre-
sentative works in almost every department of
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MELBA
c. Characteristic of his music is an emo-
I lyricism which often draws on folk-song
dy; his style shows modern Impressionist
Expressionist tendencies. M. has appeared
ondr. in Stockholm, Copenhagen, Riga,
ograd, Moscow, etc.
symphonies; symph. poems (Dream Visions,
3 orch. ata
etc.);
concerto; 4 str. 4tets; vn. sonata; pf. s
pieces; cantatas with orch. (Vardträdet); stage
ic (Topellus's Prinsessan, Törnrosa, Haupt-
n's Hannele, etc.); an opera, Aino (a Kalevala
tery); about 200 songs; choral works, etc. (publ.
Telsingfors, Leipzig, Copenhagen, London).-T. H.
HELBA, Dame Nellie. Operatic s. singer; b.
bourne, Australia. Daughter of a Scotch
Onist; in 1885, sang at concert of Melbourne
e Choir, and was so greatly successful, that
proceeded to England for study (1886).
lhelm Ganz arr. for her to sing at a con-
t in Prince's Hall, London; she then stud.
der Mathilde Marchesi in Paris. Made her
ge début at La Monnaie, Brussels (Gilda in
goletto), 12 Oct. 1887, with immense success;
st London appearance, 1 June, 1888, as heroine
Lucia di Lammermoor, a rôle which became her
vourite one; then Paris Opéra in Ambroise
omas's Hamlet; heroine in Gounod's Roméo
Juliette, Covent Garden (with Jean de Reszke,
ne 1889); then Paris again (Marguerite,
liette, Ophélie, Lucia, Gilda); also in Russia,
veden, Italy, Holland. She appeared in special
erformances of the B.N.O.C. London, 1922-3.
Cer career has been one of the most brilliant in
he history of opera. Of late years, she has taken
reat interest in mus. education in Melbourne,
here she is president of the Conservatoire.
-E.-H.
Polish
MELCER-SZCZAWIŃSKI, Henryk.
Dianist, compr. b. Kalisz, 21 Sept. 1869.
Stud. under Strobl (pf.) and Noskowski (theory)
at Warsaw Cons., and under Leschetizky in
Vienna. 1895, prof. at Lemberg Cons.; in 1900
not having obtained the position of dir.) left.
Lemberg for a short time; 1901-2, condr. of
Lemberg Philh.; 1903-6, prof. at Vienna Cons.
From 1908, has lived in Warsaw where he first
cond. the Philh. Concerts, and then became prof.
at State Cons. In 1922 was appointed dir. of
Warsaw Cons. M. is one of the best Polish
pianists.
Opera, Maria (after Malczewski), perf. Warsaw,
1904; 2 pf. concertos, E mi. (1st Rubinstein Prize,
Vienna, 1895) and C mi. (Paderowski Prize, Leipzig,
1898); sonata, vn. and pf. G ma.; songs (in modern
style); pf. transcriptions of Moniusko's songs.
-ZD. J.
MELCHERS, H. Melcher. Swedish compr. b.
Stockholm, 30 May, 1882. Stud. R. Cons. Stock-
holm, 1896-1902; then compn. under Johan
Lindegren, 1904-5; stud. further at Cons. at
Paris, 1908-12; taught in Paris, 1905-19. Gave
teaching courses in Brussels and Sondershausen,
1921. Lives now in Stockholm, as private
teacher.
MENCHACA KEYBOARD
MELIS, Carmen. Italian soprano singer;
b. Cagliari, 14 Aug. 1885. Pupil of An-
tonio Cotogni. Début at Novara in Iris in
1905; immediately after, started on a brilliant
career. Amongst her best parts are the Fan-
ciulla del West and Madama Butterfly (Puccini)
and Manon and Thais (Massenet).-D. A.
Russ.
MELKIKH, Dmitry Michaelovitch.
compr. b. Moscow, 31 Jan./11 Feb. 1885; pupil
of B. L. Javorsky at People's Cons. Moscow.
Symph, sketches: By the Sea, op. 1; The Contrasts,
op. 7, orch.; Sonata Nocturne, pf. (Russ. State Mus.
..P.D.): pt. pieces. V.
ki.... sorte songs (op. 1, Jurgenson;
MELLING, Einar. Norwegian orgt. compr.
b. Lindaas, near Bergen, 16 Jan. 1880. Pupil
of Music Cons. in Christiania and of Cons. in
Leipzig. Appeared in 1900 as compr. and
pianist at own concert in Christiania. From
1903, orgt. of Ullern Ch. near Christiania; since
1910, at different churches in Christiania, where
he frequently gives organ-recitals. compr.
M. has only cultivated the minor forms of music,
pf. pieces, male choruses and songs. These
exhibit a bright and charming lyrical quality,
influenced (in later works) by modern Impres-
sionism. In spite of his being blind from birth,
his exceptional mus. talent has raised him to a
high artistic level.-J. A.
Publ.
others.
MELSA, Daniel. Polish violinist; b. Warsaw,
14 Aug. 1892. Stud. under Carl Flesch in Berlin;
début at Lódź, Feb. 1901; in London, 15 Jan.
1913; since then has played in nearly every
capital in Europe and toured extensively (Aus-
tralia, New Zealand, Canada, U.S.A.).-E.-H.
MENCHACA, Angel. Argentine writer on music;
b. Asunción del Paraguay, 1855. Stud. law and
was a pioneer in stenography in Argentina.
First dir. of government organ, El Boletín Oficial.
His love for music drew him to scientific study of
mus. notation. This resulted in publ. of his
widely known work Nuevo Sistema teórico-
gráfico de la Música, printed in 1904 by the
Buenos Ayres provincial government (Pleyel,
Lyon & Co.), who sent him to Europe to
disseminate his new system, and to lecture on
emigration (London, Madrid, Paris, Barcelona,
Genoa, Milan, Berlin). Returning to Buenos
Ayres, he started a series of courses on his new
notation and the new keyboard connected with
it. M. was the first to lecture and write ex-
tensively on the inconsistencies of the present
notation, especially of the sharps and flats. He
took the first steps towards a real dodecuple
notation (see art. on NOTATIONS). At present, he
occupies the chairs of history and literature in the
National Coll. Mariano Moreno. Has publ. many
comedies, songs and school choruses.-S. G. S.
8 Zigeunerlieder, m.-sopr. and orch. (1910; W.
Hansen); cantata (1913); Swedish Rhapsody, orch.
(Stockholm, 1914); symph. poems: The Nixie (1916);
La Kermesse (1191): songs with orch.; Poem, vn.
1920); Elégie (1920;
and orch. (1922).-P. V.
MENCHACA KEYBOARD, for pf., organ,
harmonium, etc.; termed Continuous; formed of
white and black keys in regular sequence. The
black keys are on a slightly inclined plane and
2 mm. narrower at their extremities, the greater
space thus given to the white keys making the
fingering easier. The white keys go to the same
level as the black at their ends in a width of 2
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MENDELSSOHN
cm.; this allows of chromatic glissando which is
of all sounds the most brilliant.
The keyboard facilitates fingering. Was ex-
hibited some years ago in Paris by its inventor,
GENERAL VIEW
Angel Menchaca; and is in use to-day in Buenos
Ayres, La Plata and Montevideo. See also art.
NOTATIONS.-E.-H.
MENDELSSOHN, Arnold. Ger. compr. b.
Ratibor, 26 Dec. 1855. Son of cousin of Felix
Mendelssohn; stud. jurisprudence at Tübingen,
then music in Berlin, under Haupt (organ),
Grell, Wilsing, Kiel, Taubert, Loeschhorn;
1880-3, orgt. and Univ. teacher at Bonn; mus.
dir. Bielefeld; 1885, teacher at Cologne Cons.;
1890, church choir-master, Darmstadt; 1899,
Grand-Ducal Prof.; 1917, Ph.D. h.c. Heidelberg
Univ.; 1919, member of Berlin Acad. of Art.
He is a compr. of late-Romantic tendencies,
his works being of delicate feeling and perfect
in form; has distinguished himself by improving
Protestant church music.
For mixed chorus, soll and orch.: Evening cantata
(1881); Der Hagestolz (1890); Spring Festival
(1891): Paria (1905); for male chorus, solo and orch.:
(0) Need Descent into Hell (1897);
cantata, Deepest Need (s., mixed chorus and
orch.). 3 5-v. madrigals, words from Goethe's
acc. choirs, op. 14, 32, 33, 42, 44, 59, 69, 81, 87, 89,
90 6-v. Zur Beherzigung (Goethe); 8-v. Funeral
Song (Shakespeare) and God and the World (Goethe);
n.
ma. op. 85; vn. concerto, op. 88; sonatas, op.
21 and 66; str. 4tets, op. 67 and op. 83; cello
Fonata, op. 70 (1916); vn. sonata, op. 71; trio for
2 vns. and pf. op. 76; Modern Suite for pf. op. 77.
-A. E.
MENGELBERG, Willem. Dutch conductor;
b. Utrecht, 28 March, 1871. Started musical
education at very early age; studied under Rich.
Hol and M. W. Petri at Utrecht Music School;
1888-1891, in Cologne under Franz Wüllner and
Isidor Seiss; conductor Lucerne (Switzerland),
1892-5; returned to Amsterdam, from 27
October, 1895. Conductor of Concertgebouw
Orchestra, the chief orchestra of Holland (about
100 members).
M. cond. concerts at Bergen (Norway), 1898,
Belgium (1900), London (1903), Frankfort (Museum
Concerts) (1907-17), France (1907), New York, Rome,
Milan, Petrograd, Moscow, Berlin, Vienna; 1913-14,
condr, of Royal Philh. Soc. London; 1898, condr. of
Toonkunst, Amsterdam (choral soc.); his perfs, of
the Mahler symphonies are noteworthy (sce Mahler
biography by R. Specht, 1921).-W. P.
MERRICK
London was on 4 Feb. 1913, with Lyell-Taylor's
Brighton Municipal Orch. Tours widely in
Europe and America.-E.-II.
MENTER, Sophie. Ger. pianist; b. Munich,
29 July, 1846; d. Stockdorf, near Munich, 23
Feb. 1918. Pupil of Fr. Niest (Munich), Tausig,
Bülow and Liszt; 1872, married cellist Popper
(1886 divorced); 1883-7, prof. at Petrograd
Cons.; lived finally (undertaking occasional
concert-engagements) at her country seat, Itter
in the Tirol, or at Stockdorf, near Munich.
Comp. Gipsy Songs, pf. and orch. Her sister
and pupil, Eugénie Menter (b. Munich, 19 May,
1853), stud. under Bülow.-A. E.
MENU, Pierre. Fr. compr. b. Paris, 1896; d.
there, 16 Oct. 1919. Pupil of Roger-Ducasse at
Paris Cons. Promised much for the young Fr.
school. Left important works:
Pf. 4tet; sonatina for 4tet; fantasia for chromatic
harp, Dans l'ambiance espagnole (1917); songs.-A. C.
MERIKANTO, Aarre. Finnish compr. b.
Helsingfors, 29 June, 1893. Son of Oskar M.
Stud. at Leipzig Cons. 1912-14 and in Moscow
1916-17. His compns., which have lately shown
a marked colouristic tendency, include 2 sym-
phonies, a pf. concerto, and symph. poems,
etc. T. II.
MERIKANTO, Oskar.
Finnish orgt. opera-
condr. compr. prof. b. Helsingfors, 5 Aug.
1868; d. there, 17 Feb. 1924. Stud. at Leipzig
Cons. and in Berlin. Orgt. of St. John's Ch.
Helsingfors, from 1892. As condr. of the Finnish
Opera (1911-22) and opera compr. did much for
development of operatic art in Finland.
abundant production of songs contains some of
the most popular in Finnish music. He was
noted as an unusually fine accompanist.
His
3 operas: Pohjan neiti (The Daughter of Pohja),
taken from Kalevala (1899); Elinan surma (The
Death of Elina; from a national ballad); Queen of
Emmeritz (from drama by Topelius); several ex-
amples of popular singspiel; pieces for organ; for
pf.; for vn.; choral works; numerous songs.-T. H.
MERKEL, Gustav Adolf. Ger. orgt. and
compr. b. Oberoderwitz, near Zittau, 12 Nov.
1827; d. Dresden, 30 Oct. 1885. Pupil of J.
Otto (cpt.) and J. Schneider (organ) at Dresden;
indebted to K. Reissiger and R. Schumann for
further help. Teacher at Dresden School, then
orgt. at Orphanage Church; Church of the Cross;
1864, R. orgt. at Catholic Court Church; 1867-
73, condr. of Dreyssig Acad. of Singing; 1861,
teacher at Dresden Conservatoire.
9 organ sonatas: op. 30 (organ duet with double-
pedal), 42, 80, 115, 118, 137,140, 178, 183; Organ
Tutor
pedal studies; '3 organ fantasias;
many choral, fugues, etc; pf. pieces; songs;
motots. Consult P. Janssen, G. M. (1886).-A. E.
MERKEL, Johannes Gottfried. Ger. teacher
and compr. b. Leipzig, 25 Sept. 1860. Pupil
at Cons. and Univ. Leipzig, and of Franz
Liszt; 1888-92, pf. teacher at School of Music,
Riga; 1892, at Berlin, Eichelberg Cons.; 1898,
at Leipzig R. Cons.; 1918, R. professor.
Pr. sonata; vols. of pf. pieces; Course of Instruction
in Cpt. (1917); ms.: pf. concerto, symphony, concert
overture, str. 4tet., also fugues, canons and other
contrapuntal pieces for pf.-A. E
MERRICK, Frank. Pianist, compr. and
teacher; b. Clifton, Bristol, 30 April, 1886, of
MENGES, Isolde. Violinist; b. 1894. Stud.
under her father, and later under Leopold Auer
in Petrograd (1909); her first orch. concert in
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MERSMANN
father and Irish mother. Stud. pf. under
parents, and compn. under father (Frank
rick, Mus. Doc. Dublin); pf. under Lesche-
y in Vienna 1898-1901, and again in 1905.
public appearance, recital in Clifton, Bristol,
. 1895.; 1st London appearance, recital
chstein Hall, March 1903. Married (1911)
pe Squire, compr., pianist and teacher. Stud.
h her many little-known works for 2 pfs.,
ich have made up the programmes of their
nt concerts. 1911, prof. of pf. at R. Manchester
1. of Music.
Symphony, D mi. (ms.): Celtic Suite, small orch.
ackburn, 1923); 4 Drea
Dream
Pageant, str. orch.
s.); trio, Fsharp mi., pf. vn. cello (ms.); Chorus
Echoes for unace, choir (Shelley's Prometheus Un-
ind) ms.; pf.: An Ocean Lullaby: Variations on
Somerset folk-song, The Bonnie Bluebell; Rhap-
y in C ml.; paraphrase (in the Bach style) on a
merset folk-song. Hares on the Mountains; pf.
. in contemporary style to sonatas for vn. and
ured bass, in D mi. and E mi. by Veracini and G
.. by Purcell. The works starred in list above.
rmed a programme of orig. compns, which gained a
ploma of honour at International Rubinstein Com-
tition, Petrograd, Aug. 1910.-E.-II.
MERSMANN, Hans. Ger. musicologist; b.
otsdam, 6 Oct. 1891. Stud. philology at
Cunich; then went to Leipzig and Berlin
Kretzschmar) where he passed through compn.
ad condr. classes at Stern's Cons.; 1915,
esistant at mus. history training - college of
Ferlin Univ.; at same time teacher at Stern's
Fons. and critic for Allgemeine Musikzeitung;
921, settled at Technical High School, Berlin;
917, was entrusted with arrangement and
-dministration of a department by Prussian
National Song Commission, which was to collect
nd make scientific use of all Ger. folk-songs.
The result of this labour has laid the founda-
ion for mus. folk-song research (A.f.M. IV,
1922). He also wrote The Phenomenology of
Music.
Beiträge zur Ansbacher Musikgeschichte (1916);
Kulturgeschichte der Musik in Einzeldarstellungen
1922). A. E.
b.
MERTENS, Joseph.
Belgian compr.
Antwerp, 17 Feb. 1834; d. Brussels 30 June,
1901. Prof. of vn. Antwerp Cons.; 1st solo
vn. in orchs., especially at Rhenish festivals.
1882, settled in Brussels as inspector of State
Schools of Music. Of his numerous operas
(Flemish and Fr.) in an old-fashioned style,
not one survives.
Stage works: De Vrijer in de strop (Antwerp,
1866); De Vergissing (ib. 1869); Thecla (ib. 1874);
Le Capitaine Robert (ib. 1875); Liederik (ib. 1875);
Le Capitaine noir (The Hague, 1877), his principal
work, played also in Hamburg. An oratorio, Angelus;
instr. music and choruses.-E. C.
MERZ, Victor. Ger.-Czechoslovak compr.
b. Brünn, 1891.
METZGER-FROITZHEIM
Dragons de l'Impératrice (1905), Fortunio (1907),
L'Amour masqué (1923), are justly celebrated.
He has been able to preserve a moderation, an
aristocratic distinction, in treating the most com-
monplace subjects. His melodies charm by their
agreeable and sparkling grace. He seems to be
the last of the composers of comic operas accord-
ing to the pure French tradition made illustrious
by Auber, Audran and Lecocq. He conducted
the orchestra at Covent Garden, London (where
he was chief director for several seasons), and
made numerous tours in America and Europe.
Although his tastes are entirely classic, he is
sympathetic to the new school and helped to
bring about the acceptance the Opéra-
Comique of the score of Pelléas et Mélisande,
which he was the first to conduct and which is
dedicated to him by Debussy. From 1907 to
1914 he was artistic director of the Opéra in
Paris.-H. P.
MESSCHAERT, Johannes. Dutch baritone;
b. Hoorn, 22 Aug. 1856; d. Zurich, 9 Sept. 1922.
Stud. vn. at Arnhem; 1877, took singing as
principal study at Cologne Cons. (Karl Schneider);
1879, at Frankfort under Julius Stockhausen;
1881, returned to Holland; rose suddenly to
fame with Schubert songs and Bach cantatas.
His part of Ch in Bach's St. Matthew Passion
was incomparable. Consult brochure by Franziska
Martienszen, Die echte Gesangskunst, dargestellt
durch J. M. (Berlin, Behrs).-W. P.
MESTDAGH, Karel. Belgian composer; b.
St.-Pierre, near Bruges, 23 Oct. 1850. Pupil of
Waelput, Van Gheluwe and Gevaert. Dir. of
Bruges Cons. since 1900. Member of R. Belgian
Acad., of committee of mus. art instituted by
Government, of council for perfecting teaching
of music in Belgium, and of commission for
publ. of old Belgian masters.
Jubilee Cantatas for chorus and orch.; marches;
overtures; popular episodes for orch.; a 2-v. mass;
motets; a prelude and other organ pieces; Diver-
tissements and Ballades, pf.; many songs and poems
for v. and orch, and with pf.-E. C.
METNER, Nicolas Razlovitch (accent 1st syll.).
Russ. compr. b. Moscow, 1879. Stud. pf. under
Safonof at Moscow Cons.; but as regards compn.
is chiefly self-taught. Prof. of pf. at Moscow.
Has written a quantity of pf. music and songs,
as well as a few works for vn. and pf. and a pf.
concerto. He is one of the chief exponents in
Russia of the traditional classical tendency, and
his music owes nothing to the influence either of
the Nationalist movement or of more modern
tendencies such as Scriabin's. His affinities with
Brahms have often been commented upon. Con-
sult arts, in Russ. by Sabaneief (Muzyka, 1912,
No. 63), and by Miaskovsky (id. 1913, No. 119);
in Eng. by Alfred Swan (Mus. Times, Sept.
1922).
Orch. and chamber-musio; songs.-E. S.
MESSAGER, André. French operetta com-
poser; b. Montluçon (Allier), 30 Dec. 1853.
He may be regarded as the only pupil whom
Saint-Saëns completely moulded. His master
developed in him the taste for an impeccable
style. Although an organist of talent and author
of a symphony, he has become famous through
his light music. His operettas and comic operas,
Les P'tites Michu (1897), Véronique (1898), Les
329
Pt. concerto, C mi. op. 33; pf. sonata, F mi. op. 5;
Sonaten-Triade, pf. A flat ma., D mi., C mi. op. 11; pf.
sonata, G mi, op. 22; 2 pf. sonatas, C mi., E mi. op.
25; Sonata-Ballade, F sharp ma. pf. op. 27: pf.
sonata, A mi. op. 30; vn. sonata, B mi. op. 21; many
pf. pieces (Improvisations, Arabesken, Dithyramben,
Märchen, Novelles, etc.); songs; vla. pieces.-M. D. C.
METZGER-FROITZHEIM, Ottilie. Ger. contr.
singer; b. Frankfort-o-M. 15 June, 1878. Pupil
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MEULEMANS
of Mme. Nicklass Kempner, Georg Vogel,
Emanuel Reicher, Berlin; 1st engagements
Halle-o-S. and Cologne; 1903, at Hamburg
Opera House; 1902, married author Clemens
Froitzheim (1908 divorced); 1910, married
Theodor Lattermann, b.-barit. Hamburg. Gave
concerts in America.-A. E.
MEULEMANS, Arthur. Belgian compr. b.
Aerschot, 19 May, 1884. Pupil of Tinel; prof.
of harmony at School of Religious Music,
Malines; at the present time, principal of Lim-
burg Organ and Singing School at Tongres.
Has comp. many works, some romantic in
tendency, others modern.
Opera, Vikings; oratorios: Sacrum Misterium;
De Zeven Wezen; cantatas: Verheen Aan
Beatrijs, legend for solo, chorus and
4 mass
religious choral works; orch. overture, De Kerels van
Vlaanderen; preludes, small orch.; Esquisses, symph.
poem in 3 parts; organ sonata; fl. sonata; pieces
for vn., cello, pf.; songs (including 2 cycles Zonnes-
luimer and Verlangen).-E. C.
MEXICAN AND CUBAN OPERA. The chief
Mexican opera-comprs. are Melesio Morales
(q.v.), Ildegonda; Aniceto Ortega (Guatimozin,
1867); Ricardo Castro (Atizzamba, 1900); Carlos
Samaniego (Netzahuacoyotl); Julián Carillo
(numerous operas). In Cuba, Eduardo Sanchez
Fuentes's Doreya was produced in Havana in
1918.-F. II. M.
MEYER-OLBERSLEBEN, Max. Ger. compr.
b. Olbersleben, near Weimar, 5 April, 1850.
Pupil of Weimar Grand-Ducal School of Music
and of Munich Acad. (P. Cornelius, Rheinberger,
Wüllner). 1876, for short time teacher of theory,
Weimar; teacher at R. School of Music, Würz-
burg, and condr. of Würzburg Choral Union;
1907, dir. of R. School of Music; 1920, retired;
R. councillor.
Choral works: The Buried Song, op. 40; An Old
Story, op. 65; songs; male choruses; pf. pieces;
chamber-music; operas, Clare Dettin and The Battle
of Bonnets at Würzburg (Munich, 1902).-A. E.
MEYROWITZ, Selmar. German condr. b.
Bartenstein, East Prussia, 18 April, 1875. Pupil
at Leipzig Cons. (Reinecke, Jadassohn) and
Berlin Acad. School (Max Bruch); 1896, engaged
for Carlsruhe by Felix Mottl; taken by him
to Metropolitan Opera House, New York;
travelled all over America with Gadski as con-
cert-accompanist; 1905, went to Prague, Ger.
Public Theatre; then to Berlin Komische Oper;
after short engagement at Munich Court Theatre,
1st condr. of Hamburg Stadttheater, 1913;
since 1917 wholly devoted to concert-work,
especially concerts of Berlin Philh. Orch.; 1920-
1921, condr. of Blüthner Orch. Berlin.-A. E.
MIDLAND FESTIVAL
masterly form, deep feeling and dramatic vigour.
It has been perf. outside Russia (Berlin, New
York, London) as well as Petrograd and Moscow.
It is publ. by Russ. Music Co. Berlin, by Jurgen-
son and by Russ. State Music Publ. Dept.
Moscow.
MIASKOVSKY, Nicolas Jacovlevitch (accent
the OV). Russ. compr. b. at the fortress Novo-
georgievsk (now in Poland), 8/20 April, 1881.
Son of a general of engineers of Russ. army.
Pupil of Glière and Krijanovsky and of Rimsky-
Korsakof and Liadof in Petrograd Cons. (1906-
1911). Before this he was trained for an army
career. In 1914 he was mobilised and fought on
Austrian front; left army in 1920. From 1921,
prof. of compn. at Moscow Cons. of Music. He is
the greatest of living Russ. symphonists after
Glazunof. His music shows profound skill,
revised by co, unpubl.); IV, E mi. (1917, un-
7 symphonies: I, C mi. (1908, unpubl. but recently
sharp mi.
publ.); V, D ma. (1918) perf. Q. H. London under Sir
Henry Wood, 8 March, 1924; IVI, E flat ma. (1922-3,
unpubl.); VII, B ini. (1922, unpubl.). Symph. poem,
The Silence (after E. A. Poe, 1909-11, unpubl.);
Alastor (after Shelley, 1912-13), perf. Q. H. Prom.
Concert, London, 1923; cello sonata, D
(1911); 3 pf. sonatas, D mi. (1907-10), Fsharp mi.
(1912), C mi, (1920); many fino songs; pf. pleces.
Many essays in Musika on Russ. mus. events (publ.
by Derjanovsky, Moscow, 1910-16). V. J
. B.
ma.
MICHAŁOWSKI, Alexander. Polish pianist,
teacher, compr. b. Kamieniec Podolski, 17
May, 1851. From 1867, pupil of Moscheles,
Coccius and Reinecke at Leipzig Cons.; 1869,
went to Berlin to study under Tausig; 1870,
went to Warsaw, where he now lives; 1891-1918,
prof. of concert pianists' class, Warsaw Cons.
Is celebrated both as teacher and player, having
a powerful technique; 35 pf. works (short pieces
of brilliant character); also an instructive ed.
of Chopin's works.-ZD. J.
MIDDELSCHULTE, Wilhelm. Amer. orgt. b.
Werne, near Dortmund, Germany, 3 April, 1863.
Stud. at Academic Inst. for Church Music in Ber-
lin under Haupt, Loeschhorn, Alsleben, Commer
and Schröder. Orgt. (1888-91) of Lukaskirche
in Berlin. 1891-5, orgt. at Cath. of the Holy
Name, Chicago. Since 1899, orgt. of St. James's
Ch. 1894-1918, orgt. of Thomas Orch. in Chicago
and since 1918 prof. of organ at Wisconsin Cons.
Milwaukee. Has given many recitals; is a
specialist in Bach.
Organ: Kanonische Fantasie_on_B.A.C.H. and
Fugue on 4 themes of J. S. Bach (Kahnt);
Toccata on 4 Stronghold Sure; concerto on a theme
by Bach (Kahnt); Passacaglia in D mi. (Siegel).
-0. K.
MIDGLEY, Samuel. Eng. pianist; b. Brad-
ford, 22 Dec. 1849. Apart from one year at
Leipzig (1873-4) was self-taught. Made a
special feature of chamber concerts in Brad-
ford at which the works of living Eng. comprs.
have been given-e.g.: vn. concerto (G. A.
Macfarren), 1877; pf. 4tet (A. C. Mackenzie),
1878; trio in E mi. (C. H. H. Parry), 1879;
cello sonata, op. 9 (C. V. Stanford), 1880. Insti-
tuted, through the generosity of private friends
in 1911, an annual series of six Free Chamber
Concerts at which only the finest chamber-
music of all countries is given entirely by local
professionals, all performers to be paid the
same fee. Admission to be entirely free (no seats
reserved, room seating 1100, always full).
Handbook to Beethoven's Sonatas for Pf. and Vn.;
Scales and Arpeggios fully explained, etc.; 4 Future
for British Music; Music and the Municipality;
Russian and other Operas, etc. Lectured on Beet-
hoven's Sonatas and a 5-octave Keyboard.--E.-H.
MIDLAND MUSICAL COMPETITION FESTI-
VAL. Instituted 1912; instantly sprang into
front rank of such organisations; nearly 7000
entries in first year. Held biennially in Birming-
ham, as the focus of the Midland area. The move-
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MIELCK
ment has grown steadily in spite of suspension
during the war. At 1922 fest. entries numbered
11,000 and included 161 children's choirs-a
record for the country. Began with competitions
occupying an entire week, but now extends to a
full fortnight. Classes for organ, pf. vn. orch.
instrs. chamber-music, vocal solos, duets, quar-
tets, choirs (male, female and mixed), elocution,
drama, opera, folk-dances, dances in rhythmic
expression, theory, and compn. An intermediate,
or children's fest., taking 3 days, is held in in-
tervening years. The Univ. of Birmingham offers
an entrance scholarship in music to the competi-
tor who is judged worthy of distinction.-G. B.
MIELCK, Ernest. See FINNISH ORCH. MUSIC.
MIGNONE, Francesco. Young Brazilian compr.
Has written an opera, The Diamond Contractor,
based on historic XVIII-century exploitation of
the Brazilian diamond-mines.-F. H. M.
MIGOT, Georges. Fr. compr. b. Paris, 27 Feb.
1891. A pupil of Widor at the Paris Cons.
He displays a most versatile activity as a compr.
as a painter, and as a writer on aesthetics, musical
and general. His works and views are giving
rise to heated discussion in his native country.
He has been awarded various important prizes
for his pf. trio (1918), his pf. 5tet (1919) and
other compns. In 1922 were perf. at Paris his
Paravent de Laque aux Cing Images (for 2 vns.
vla. and pf.), his Mouvements d'Eau (for str.
4tet), his Dialogue (cello and pf.) and his Agres-
tides (orch.); at Monte Carlo, his ballet Hago-
romo (Senart). His Essais pour une Esthétique
Générale (Paris, 1919), and his Apoggiatures non
résolues (ib. 1921) throw interesting lights upon
his views on art.-M. D. C.
MIHALOVICH, Ödön. Hungarian compr. b.
Feričance (Slavonia), 13 Sept. 1842. Stud. in
Leipzig under Hauptmann and Jadassohn. Was
in close intimacy with Bülow, Liszt and Wagner;
zealous propagandist for the latter, whom he
took as model in his operas; 1887-1919, dir. R.
High School for Music, Budapest. Operas:
Toldi; Eliana.-B. B.
MIKOREY, Franz. Ger. condr. b. Munich,
3 June, 1873. Son of the Munich tenor, Max M.;
pupil of H. Schwartz, L. Thuille, Levi (Munich),
and of Herzogenberg (Berlin); 1894, assistant-
condr. Bayreuth and Munich; then condr.
at Prague, German Theatre; at Regensburg,
Elberfeld and at Vienna R. Opera; 1902-19,
succeeded Klughardt as Court condr. Dessau;
1912, gen. mus. dir.; 1919, opera condr.
at Helsingfors.
Pt. concerto (A ma.); Songs to Spring, for t. and
orch.; Sinfonia Engiadina, orch., chorus, soli and
organ:
operas: King of Samarkand (Dessau, 1910);
Phryne; Echo of Wilhelmstal.-A. E.
MILHAUD
with him Bayreuth and the Wagner Theatre
(1912; Eng. transl. T. W. Makepeace). Recently
publ. her Memoirs. Settled in Munich as a
singing prof. and régisseur of the Opera. Consult
biography by Dr. Paul Stefan (Vienna, 1922,
Wila).-Ea. W.
MILES, Philip Napier. Eng. compr. b. Shire-
hampton, Glos, 21 Jan. 1865. Stud. under
Draeseke, Schreyer (compn.), Roth (pf.); also in
England privately under Sir Hubert Parry
(compn.), Dannreuther (pf.).
Operas: Westward Ho grand opera in 3 acts,
op. 4 (E. F. Benson, on Kingsley's novel); Queen
Rosamond,
Firefties,
1-act, op. 10 (on story by R. L. Stevenson);
1-act (1923); lyric overture in G, From the West
Country, orch. operidge), barit. solo, chorus and
2; Fantasia, orch. op. 15; Hymn
orch. op. 1 (Boosey); 2 songs, barit. with orch. op. 3;
choral
(Glastanee, Music Comes (John Freeman), op. 11
7 Fest.; publ. Boosey); Ode on a Grecian
Urn, 5-v. chorus and orch. op. 14; v. and pf.: Battle
Songs, 1st set, op. 7 (Acott); 2nd set, op. 9 (ms.);
West Wind
All
(Stainer & op. 8 (Acott); part-songs
MILHAUD, Darius. French composer; b.
Aix-en-Provence, 4 Sept. 1892.
Although he
belonged to a Jewish Provençal family, he
pursued all his musical studies from 1910 to
1919 at the Paris Conservatoire, taking composi-
tion and fugue with Gédalge. He is, without
dou
of the most interesting and most
gifted musicians of the young French school.
He has an extraordinary creative energy and
began to compose when very young. At 30,
his works comprise several lyrical dramas,
scores for dramatic performance, symphonic
works, 5 quartets, pieces for violin, for piano,
and for wind instruments, and songs.
these works are of very unequal value and he
often pays the penalty of his facility, by falling
into vulgarity; but alongside of indifferent or
poor compositions, are found works which give
evidence of valuable qualities of vigour and
boldness. We must mention especially the
Euménides (ms.), Protée, the 4th quartet (Du-
rand), the Poèmes juifs (Demets). He has under-
gone contradictory influences. He is connected
to a certain degree with the contrapuntal
tendency of the Schola Cantorum, especially
with Albéric Magnard; but that he has not
escaped the attraction of Debussy is shown in
Alissa. Stravinsky, Schönberg, Béla Bartók,
opened to him other paths. He sought new means
of expression in the superpositions of melodic
lines, each working in different tonality.
His "polytonal" works have caused great
offence to many people. In our opinion there
is room for distinguishing between those which
show signs of purely intellectual activity (like
the 5th quartet), and those preserving the
qualities of life, vigour, and spontaneity which
form the real value of his best compositions,
whatever system of writing he may adopt.
The momentary influence exercised on him.
by the aesthetic theories of the poet Jean Coc-
teau must not deceive us as to the real nature
of Milhaud's inspiration. He is a follower of the
romantic tradition, and his music often ex-
presses a serious and religious feeling which
MILDENBURG, Anna von. Austrian operatic
singer; b. Vienna, 29 Nov. 1872. Pupil of
Rosa Papier, Vienna. Started as dramatic s.
at Hamburg. 1908-17, one of best singers
the Mahler
at Vienna Opera, especially in
epoch. Chief rôles: Brünnhilde, Isolde, Leo-
Married in
nore, Kundry, Klytemnestra.
1909 the Austrian writer Hermann Bahr. Ed.
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MILLÁN
is likewise found in Honegger, but which is
entirely foreign to the preoccupations of the
other musicians of the so-called "Group of
Six" (q.v.). His most recent production (May
1924) is a ballet, Le Train Bleu.
Dicunt:
Darius Milhaud. Polytonalité et Atonalité
Musicale, Paris, 1923); Henry Prunlères,
D. M. (Nouvelle Revue Française, 1920); André
Couroy (q.v.).-II. P.
MILLAN, Rafael. Contemporary Span. compr.
of zarzuelas, having a certain affinity with the
traditional style of the operetta. His most
famous works are La Dogaresa and El Pájaro
Azul (libretti by Antonio López Monís) (Unión
Musical Española).-P. G. M.
MILLAR, Charles Webster. Eng. singer; b.
Manchester; d. London, 23 June, 1924. Studied
at R.M.C.M. under John Acton; later under.
Santley, William Shakespeare and Victor Maurel;
1st appeared at Hallé Concerts under Richter,
1902 (Bach's B mi. Mass); then Sir Henry J. Wood
secured him many appearances until 1910; then
in mus, comedy under George Edwardes; in 1915
joined the Opera Commonwealth at the Shaftes-
bury, afterwards taken over by Sir Thomas
Beecham; sang for him till 1920.-E.-II.
MILLENKOVICH, Max von.
Max Morold
(q.v.).
MILLET, Luis.
Span. compr. condr. and
musical scholar. One of the leading forces in
the mus, progress of Catalonia, his native land.
Lives in Barcelona, where he is the condr. of
the Orfeó Catalá (see CHORAL SOCIETIES). His
compns. include choral works of religious and -
secular character, pf. pieces, songs, and Cata-
lanescas and Eglogue, for orchestra.-P. G. M.
Real name of
MILLS, Robert Watkin. Eng. barit. singer;
b. Painswick, Gloucestershire, 4 March, 1856.
Began as boy-chorister and attracted attention
of Dr. Samuel Wesley. Subsequently stud. in
London under Sig. Randegger and Sir Joseph
Barnby, and in Italy under Sig. Blasco. Début
Jan. 1885 (in Messiah with Patti and Edward
Lloyd). After that he sang in opera and oratorios
and made frequent appearances at chief fests.
Visited U.S.A. and Canada many times and, a
few years ago, settled in Winnipeg, where he
was actively engaged as teacher and concert-
singer until 1922, when he went to Toronto
where he now lives.-L. S.
MILNER, Augustus. Irish barit. singer; b.
Cork. First trained for medecine; then stud.
singing in Prague and Zurich for 4 years; in
Zurich appeared as John the Baptist (Strauss's
Salome) under the compr. Sang in Beecham
Opera Co. (Iago, Boris, Amfortas) and later
with B.N.O.C. London (in Aida and title-rôle in
The Goldsmith of Toledo; gave a remarkable
rendering of Shylock in Adrian Beecham's boy-
hood opera The Merchant of Venice.-E.-H.
MILONGA. See SOUTH AMER. DANCES.
MILOYEVITCH, Miloye.
condr., music critic; b. Belgrade, 15
1884. Stud. in Belgrade; later in Munich (at
the Acad.; also at Musikwissenschaft Univ.).
Serbian compr.
Oct.
MITJANA Y GORDON
Is assistant-prof. of mus. science at Belgrade
University.
Antique Legend (Creation of Man) in 4 movements,
3 solo vs., chorus and orch. symph. poem,
Smrt Majke Jugovica (Death of the Mother of Jugo-
vitch), orch.; muslo to drama Kraljeva Jesen (The
King's Autumn); Sulto for str. 4tet; National
Melodies of Serbia, v. and pf. (also for pf. solo);
Serbian Dance, vn. and pf.; Legende, cello and pf.;
numerous part-songs and smaller pf. works.-T. F. D.
MINGARDI, Vittorio. Ital. condr. b. Bologna,
1860; d. Milan, 25 Nov. 1918. Pupil of Luigi
Mancinelli. Establ. himself by conducting im-
portant seasons at leading theatres-Costanzi
in Rome; San Carlo in Naples; at Barcelona
and Buenos Ayres. Then for some years, held
the directorship, both artistic and administra-
tive, of La Scala, Milan, where he promoted im-
portant revivals of Ital. operas, such as Spon-
tini's La Vestale and Cherubini's Medea.-D. A.
MIRY, Karel. Belgian compr. b. Ghent,
14 Aug. 1823; d. there, 5 Oct. 1889. Stud.
at Ghent Cons., where he became prof. Wrote
numerous operas and operettas on Fr. and
Flemish libretti: Bouchard d'Avesnes, 1864,
Le Mariage de Marguerite, 1867; Le Poète et
son Idéal, etc. Also songs, one of which, De
Vlaamsche Leeuw, has become the national
hymn of the Flemish.-C. V. B.
MISCHA-LÉON, Harry Haurcwitz. Danish t.
operatic and concert-singer; b. Copenhagen,
9 Dec. 1889. Stud. Cons. there (singing, pf.,
literature, history, organ, harmony); singing
under V. Lincke (Copenhagen), A. Heinemann
(Berlin), E. Duvernoy (Paris), Jean de Reszke
(Nice), Sir George Henschel (London); stud.
stage-science and plastics, R. Opera School,
Copenhagen; début there in Fra Diavolo and
Carmen (Don José); chosen by Puccini to create
t. rôle of Dick Johnson in The Girl of the Golden
West (New York); extensive tours in U.S.A.,
Canada and Mexico; later leading t. Canadian
National Opera, and in Boston, Chicago, San
Francisco, and Spain; 1914, at Charlottenburg
Opera, Berlin, Havana Opera (Cuba); 1915,
prof, of singing at Minnesota Univ.; 1917,
leading t. at Monte Carlo and Grand Opéra,
Paris. Chief rôles: Don José; Romeo; Samson;
Hoffmann; Werther; Lohengrin; Loge; Walther
v. Stolzingen.
Sings regularly in London at
recitals. Since 1919, continuously touring Great
Britain, Ireland and Continent (National Opera,
Prague, 1923, etc.). Trans American tour,
1924-5. Married Pauline Donalda (q.v.).
Numerous songs (Augener; Elkin).-E.-II.
MITJANA Y GORDON, Rafael. Span. musico-
logist, scholar and diplomatist; 6. Málaga, 6
Dec. 1869; d. Stockholm, 15 Aug. 1921. As a
member of the diplomatic corps, he held im-
portant positions in Sweden, Russia, Turkey and
Morocco. Pupil of Eduardo Ocón (Málaga), Felipe
Pedrell (Madrid), and Saint-Saëns (Paris). He
wrote some works for theatre and for the orch.
amongst them an opera, La Buena Guarda, with
words from Lope de Vega, Zorrilla and Verlaine.
His importance lies mainly in his critical and
historical works, amongst which (besides his con-
tributions to the Encyclopédie du Cons. de Paris,
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MJÖEN
and many Span. and foreign periodicals) are the
following:
de
Rhapsody for orch. (Hallé concert, Manchester,
by Hamilton Harty, 1924) (Chester); str. 4tet (id.):
sonata, vn. and pf. (id.); Toccata and Stalham River,
pf. (id.); songs v. and pf. (id.); Variations, pf.
3 books of pf. pleces (id.); 6 folk-songs from
Norfolk, ms.:
str. 4tets; 2 vn. sonatas; 2 trios for pf. vn. and
cello; Serenade-Trio for str.; Cushinsheean, symph.
Impression for orch.; Lonely Waters,
I orch.:
a large number of songs and pf. pleces.-E.-II.
Critica Musical: Discantes y Contrapuntos;
Bagreb-el-Aska (journey through Morocco); L'Orien-
talisme musical et la musique arabe; Cancionero de
de
sobre el arte musical contemporáneo en España; Lettres
de Prosper Mérimée à Estébanez Calderón; Catalogue
critique et descriptif des imprimes de musique des
XVI et XVII siècle de la Bibliothèque de l'Université
d'Upsala; Claudio Monteverdi y los orígenes de la
opera italiana; Mozart y la psicologia sentimental
Francisco Soto de Langa; Don Fernando de las I
teólogo y músico; Estudios sobre algunos músicos
Academiska Bokforlaget, Upsala; Centro de Estudios
Históricos, Málaga; F. Samper & Co. Madrid.)
-P. G. M.
MJÖEN, Reidar. Norwegian musical critic; b.
Gjövik, 6 July, 1871. Engaged on Dagbladet,
Christiania. Writer of several of the Norwegian
articles in this Dictionary.-E.-H.
MŁYNARSKI, Emil. Polish conductor,
violinist, compr. b. Kibarty, 18 July, 1870.
Stud. vn. under Auer and theory under Rimsky-
Korsakof at Petrograd Cons.; gave a recital
in London (Prince's Hall), 1890; 1893, condr. at
Warsaw Opera; 1894-7, vn. teacher at Music
School of Imperial Russ. Mus. Soc. in Odessa;
1899-1903, 1st condr. Warsaw Opera. From that
time he co-operated in founding Warsaw Philh.,
becoming its 1st dir. and condr. 1901-5. In 1907,
went to England to cond. symphony concerts in
London and other towns. In 1910, became dir.
of the Glasgow Orch. Union (Scottish Orch.);
gave symphony concerts in London, June
1914, and a concert of British comprs. in 1915.
In 1915, returned to the Continent and during the
war lived in Russia. In 1919, became dir. of
State Opera and Cons. in Warsaw. He re-
linquished the latter position in 1922, after
having introduced some important innovations
in the curriculum. He may be counted among the
best conductors of our time.
Symphony in F, op. 14, with many Polish national
themes (e.g. the ancient religious Polish song Boga
Rodzica); vn. concerto in D mi. (1st prize, Paderewski
competition, Leipzig, 1898. In 1923 his opera 4
Summer Night was perf. in Warsaw. Consult art.
in Mus. Times, May 1915.-ZD. J.
MÖCKEL, Paul Otto. Ger. pianist; b. Stras-
burg, Alsace, 14 April, 1890. First lessons from
M. J. Erb; stud. at Cons. Strasburg and Cologne;
won Ibach Prize, 1908; distinguished himself
afterwards as concert-pianist specialising on
modern pf. music; 1912, married violinist
Catharina van Bosch; dir. of training-classes
at Zurich Cons.; 1922, called to Würtemberg
High School of Music, Stuttgart.-A. E.
MOISEIWITSCH
journal, 1922. Gave a concert of his works at
Wigmore Hall, London, 1923.
MOCQUEREAU, (Dom) André. See SOLESMES.
MOERAN, Ernest John. English compr. b.
Osterley, near London, 31 Dec. 1894. Comes of
an Irish family, but has lived much in Nor-
folk since his childhood. Educated at Upping-
ham where he began to compose at age of 17.
Practically self-taught as regards music, but
spent 18 months at the R.C.M. London, 1913-14.
Served in the army, 1914-19. Has collected a
large number of folk-songs in Norfolk, some of
which were publ. in the Folk-Song Society's
MOESTUE, Marie. Norwegian writer on
music and teacher of singing; b. Nes, Romerike,
28 July, 1869. Stud. singing under Mally
Lammers, Wilma Monti and Désirée Artôt de
Padilla; compn. under Sigurd Lie and Prof.
Grunicke. 1911-14, stud. history of music in
German libraries. Amongst her musico-historical
works may be mentioned Sangkunstens historie
(History of Art of Singing) (Christiania, 1917,
Aschehoug), as well as numerous arts. in Nor-
wegian periodicals. As compr. she has publ.
pf. pieces, songs and female choruses. Repre-
sented Norwegian Music Teacher's Association
at 1st International Congress of Music-Teachers,
held in Berlin 1913, which subsequently led to
establishment of Norwegian Music-Teachers'
National Union, of which she was President
until 1918.-J. A.
MOFFAT, Alfred. Scots compr. and arranger;
b. Edinburgh, 4 Dec. 1866. Stud. in Berlin
under Bussler, 1884-9; resided there, working
for Ger. publ. firms, 1889-99; came to London.
1899. An indefatigable arranger and editor. His
work in editing and issuing old violin music,
especially old Eng. pieces, is of great importance.
His Meister-Schule der alten Zeit (Simrock) con-
tains 36 vn. sonatas, unknown before, including
many Eng. ones. Indeed he discovered a genuine
school of XVII and XVIII century Eng. comprs.
for vn. His Kammersonaten (Schott) contains 26
vn. sonatas. Schott's also publ. 24 XVIII century
Eng. pieces, and Novello's, 14 works.
Pt. 4tet, C mi. (perf. Berlin, 15 Nov. 1886); many
colls. of folk-songs, and arrs. of old music (Schott;
Augener, etc).-E.-H.
MOGER, Gladys. Eng. s. singer; b. Bath, 17
Sept. 1889. Stud. R.C.M., privately, and in Paris.
Has large repertoire of standard and modern
works. Many recitals in England and on Con-
tinent. Created leading rôles in the Eng. operas:
The Tempest, N. Gatty (Ariel); The Two Sisters,
C. Rootham (Ellen); Prince Ferelon, N. Gatty
(the Princess).-E.-H.
MOHAUPT, Franz. Ger.-Czechoslovak compr.
b. Friedland, 1854.
Operas; orch. works; chamber-music; songs.
E.
MOISEIWITSCH, Benno. Russ. pianist; b.
Odessa, 22 Feb. 1890. Stud. at Imperial Mus.
Acad. Odessa, and at age of 9 won Rubinstein
Prize; when 14, stud. under Leschetizky for
4 years; début in England, Town Hall, Reading,
1908; in London in spring of 1909 at Queen's
Hall, when he achieved an instantaneous success.
Has made 3 tours of U.S.A. and Canada; 2 of
Australia and New Zealand, and many through
United Kingdom, France, Belgium, Austria and
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MOLIN
Germany. In 1914, married Daisy Kennedy,
the Australian violinist (q.v.).-E.-H.
MOLIN, Georg Conny Hjalmar. Swedish barit.
operatic singer; b. Norra Sandsjö, 9 Nov. 1885.
Stud. R. Cons. Stockholm; then under F.
Boyer (Paris) and von Zur Mühlen (London),
1912-13; from 1914, attached to R. Opera,
Stockholm, where he has successfully perf. rôles
of Wolfram, Kurvenal, Gunther, Amfortas, Luna,
Germont, Escamillo, Amonasro, Arnljot.
voice has great volume, a pleasing quality, and
a wide compass.-P. V.
His
MOLINARI, Bernardino. Italian condr. b.
Rome, 11 April, 1880. From 1912, artistic dir.
at Augusteo (q.v.) in Rome, where he has dis-
tinguished himself as a very able condr. There he
has cond. important concerts; also in principal
Ital. cities; and at Paris, Prague, and Liver-
pool. Also successful as a theatre-condr. Was
pupil of R. Liceo Mus. di Santa Cecilia, Rome,
where he stud. harmony and organ under
Remigio Renzi, and compn. under Falchi. M.
has made several interesting transcriptions of
old Ital. music, for modern perf., amongst
which we mention the Sonata sopra Sancta
Maria of Monteverdi (publ. by Ricordi).-D. A.
MÖLLER, Peder. Danish violinist; b. Brön-
derslev, a small village in Jutland, 28 Feb. 1877;
showed a pronounced talent for vn. while quite
a young child. At 12, was sent to Copenhagen,
where he stud. under Fr. Hilmer. When 18,
made his début as violinist under the happiest
auspices and, shortly after, left for Paris to
study under Marsick and Berthelier. Engaged in
solo and orch. work in Paris for a period of 15
years. In 1910, returned to native land, and was,
for short time, member of orch. of R. Opera,
Copenhagen. However, it is as a brilliant and
temperamental solo-violinist that he has become
famed through his numerous concert-tours in
Germany, Sweden and Denmark. In 1918, was
appointed Musician of the R. Chamber. He is
the violinist of the noted Copenhagen Trio
(Agnes Adler, pf.; Louis Jensen, cello).-A. H.
MOLNÁR, Anton. Hungarian compr. music
writer; b. 7 Jan. 1890. From 1910-13, was
vla.-player in Hungarian Str. Quartet (Wald-
bauer-Kerpely).-B. B.
MOMPOU, Federico. Span. compr. b. Barce-
lona, 1895. Stud. at one time under F. Motte
Lacroix, but has evolved by himself an individual
style of music, free from bar-divisions, key-signa-
tures and cadences, described by compr.'s own
term, primitivista. His ideal is apparently a
return to the Primitives, taking the present-day
conditions point of departure. He aims at
the utmost simplicity of means of expression
and, according to a Fr. critic, some of his music
could be dictated in words without making use
of any conventional music-writing method. He
has a great number of admirers and followers in
Paris. His works, which are all written for the
pf. are, with one or two exceptions, in the suite-
form.
MONASTERIO Y AGÜEROS
yanes: Carmes; Trois variations. (Unión Musical
Española, Barcelona; Senart, Paris.) P. G. M.
Canço i Dança; Impressions intimes; Cants Magics;
Scènes d'enfants; Suburbis; Pessebres; Festes Llun-
MONALDI, Gino. Ital. historian and music
critic; b. Perugia, 2 Dec. 1847. Stud. at R.
Cons. Milan, under Mazzuccato and Fumagalli.
He then devoted himself to mus. criticism in
newspapers and reviews, and to publications
about historical subjects and mus. anecdotes,
recording in them the rich and interesting
memories of his past life. He participated
(as an impresario also) in the most important
events of Ital. mus. life of his time, in connection
with the most famous musicians.
Verdi: la vita e le opere (Turin, Bocca): Memorie
d'un suggeritore (id.); Le prime rappresentazioni
celebri (Milan, 1910, Treves); Le Regine della danza
nel secolo XIX (Bocca); Cantanti celebri (id.);
Impresari celebri del secolo XIX (Rocca San Casciano,
1918, Cappelli); Cantanti evirati celebri del teatro
italiano (Rome, 1920, Ausonia).-D. A.
MONASTERIO Y AGÜEROS, Jesús. Span.
violinist; b. Potes (Santander), 21 March, 1836.
Received his 1st lessons on vn. from his father;
completed his artistic education at the Brussels.
Cons. under the famous violinist Ch. de Bériot;
under Lemmens, Fétis and Gevaert for theory
and compn. In 1852, awarded the Prix d'Honneur,
against rules of Cons. on account of his tender
age. On his way back to Spain he was introduced.
to Gounod in Paris, who acquainted him with
a Meditation for vn. on Bach's First Prelude
(which later on became the popular Ave Maria).
In 1854, was elected hon. member of R. Chapel,
Madrid, as well as hon. member of Accad. Ponti-
ficia, Rome. Toured with great success as a
virtuoso in England and Scotland. In 1856,
member of R. Chapel and prof. of vn. at R. Cons.
Madrid, where he remained until 1861, when he
left for a concert-tour in Belgium, Holland and
Germany. During this tour the Grand-Duke of
Weimar offered him the position of 1st vn. and
condr. of the Court concerts, in collab. with
Lassen and Liszt. On his visit to Brussels, Fétis
asked him to take up de Bériot's vacated post
at the Cons. M. declined in both cases, feeling
that his duty was to give to his country the bene-
fit of his experience and knowledge. He began
his task immediately, creating at his class at the
Cons., Madrid, an admirable school of vn.-play-
ing, the tradition of which has been continued to
the present day by José Hierro, Julio Francés
and his pupil Fernández Bordas. As condr.
(1869-76) of Sociedad de Conciertos, Madrid
(now Orquesta Sinfónica), he establ. an orch.
discipline till then unknown in Spain. In 1863,
founded the Sociedad de Cuartetos to educate
the public taste in the masterpieces of Beethoven,
Haydn, and Mozart,
which even the educated
classes of Madrid had at the time a very incom-
plete and imperfect knowledge. He laid the
foundation of the mus. culture and efficient orch.
playing so noticeable to-day. Was for some time
dir. of the R. Cons. de Música, a position he
resigned. He died in Madrid at the end of XIX
century.
Orch. Scherzo fantástico; Marcha Fúnebre; An-
dante religioso, str. orch.; vn. concerto in B mi.
Grand Fantasia on popular Spanish airs, vn. and
orch.; Estudio de Concierto, harp, ob. clar. horn
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MONCKTON
and str.; piece for vn. and pf. Adiós a la Alhambra,
once very popular; 20 Artistic Concert Etudes for vn.,
adopted in 1878, and still in use, in curriculum of
Brussels Cons. (Schott, Brussels; Unión Musical
Española, Madrid.)-P. G. M.
MONCKTON, Lionel Eng. compr. of light
operas; b. London, 1862; d. there, 15 Feb.
1924. A prominent amateur actor of Oxford
Univ. Dramatic Soc. His first compns. were
heard at the Gaiety under George Edwardes.
Contributed many songs to The Shop Girl, The
Greek Slave, San Toy. The Cingalee. Part-compr.
of 2
Chicken (1905),
(1901), The
The New or (190906), The Girls of Gottenburg
(1907), Our Miss Gibbs (1909), The Arcadians (1909),
The Mousmé (1911). Sole compr. of The Quaker Girl
(1910); The Dancing Mistress (1912). Married the
operetta singer, Gertie Millar.-E.-II.
MONK, Cyril. Australian violinist: b. Sydney,
1882. Stud. in London under Guido Papini.
Toured Australia and New Zealand. Settled in
Sydney: founded Australian String Quartet,
which introduced modern Fr. music to Australia
(Franck, Debussy, Ravel, Lekeu, Michaud,
Ropartz). Prof. at New South Wales State
Cons. and leader of State Orchestra.-G. Y.
MONRAD, Cally. Norwegian s. singer; b.
Sande, Romsdal, 31 July, 1879. Taught by
Wilhelm Kloed, Christiania. Début there, 1898,
at concert given by pianist Martin Knutzsen;
aroused attention by her not especially powerful
but exceptionally beautiful voice and her soul-
ful interpretation; continued her studies under
Frau Schuch-Proska, Dresden; 1st appearance
as operatic singer in Christiania, 1903 (Hänsel
and Gretel). Has since sung at Opera Houses
in Stockholm and Berlin; was for some years
permanently attached to last-named opera
house. Her rôles were: Carmen, Orpheus, Tosca,
Butterfly, Mimi (La Bohème), Nedda (Pagliacci),
etc. Her highest art is displayed in song.
She has made concert-tours in Norway, Den-
mark and Sweden; is author of 2 vols. of poems
and a novel.-R. M.
MONTEFIORE, Tommaso. Ital. compr. and
critic; b. Leghorn, 1855. Has comp. several
operas-Un bacio al portatore (Florence, 1884),
Cecilia (Ravenna, 1905); has gained a wide
reputation as a critic, contributing to news-
papers
pers and reviews, interesting himself in the
greatest problems of Ital. mus. life.-D. A.
MONTEMEZZI, Italo. Ital. opera compr. b.
Vigasio (Verona) 31 May, 1875. Pupil of Ferroni
and Saladino at Milan Cons.; made 1st appearance
at Regio Theatre, Turin, with his opera Giovanni
Gallurese in Jan. 1905. This was followed by
Hellera (same theatre, 1910) and then L'Amore
dei tre re (Scala, Milan, 1913) which had a very
great success, and is the opera to which M.
owes most of his reputation. It has been given
at all the great theatres of Europe and N.
America. His last work is La Nave, written on
tragedy by d'Annunzio, and perf. at La Scala,
Milan, 3 Nov. 1918. There also a Cantico dei
cantici for chorus and orch. (Milan, 1900). He is
one of the most esteemed amongst Ital. opera
comprs. of the years following the Mascagni-
Puccini period-D. A.
MOODY
MONTES, Juan de. Span. orgt. compr. b.
Lugo. He remained unknown until Pedrell's
campaign in favour of national folk-lore brought
forward the importance of his compns. in re-
lation to the popular music of Galicia, his native
country. He sank again into obscurity and died
unnoticed. Held at one time the position of
music-master of Lugo Seminary, of which he had
been a pupil in his youth. He wrote a Te Deum for
orch, and a Requiem Mass, vs. and orch. His most
representative work, in spite of its simplicity, is
his Seis Baladas Gallegas, v. and pf. (The folk-
lore of Galicia is, of all Span. popular music, the
richest and least-known abroad.) About 1900
there was a move to erect at Lugo a monument to
his memory. Other works are: Fantasía sobre
aires populares gallegos, for orch. and Sonata
descriptiva, for str. 4tet.-P. G. M.
MONTESANTO, Luigi. Ital. barit. b. Palermo,
23 Nov. 1887. A very capable singer and inter-
preter. Début at Conegliano Veneto in 1909 in
Carmen. Since then, has appeared with con-
tinued success at principal theatres of the world.
At La Scala, Milan, he interpreted Schumann's
Faust.-D. A.
MONTEUX, Pierre. French conductor; b.
Paris, 4 April, 1875. Stud. at Cons. Paris; 1st
prize for vn. 1896. Belonged to orchs. of Opéra-
Comique and the Concerts Colonne (2nd leader
of vlas.). Condr. to Russ. Ballet of Diaghilef,
where he gained fame by producing Daphnis et
Chloé (Ravel, 1912), the Jeuz (Debussy, 1913),
and the Sacre du Printemps and the Rossignol
(Stravinsky, 1913-14). He noticed the indif-
ferent place held by modern Fr. and foreign
music in the programmes of Paris symph. con-
certs; to remedy this, founded in Feb. 1914, at
Casino de Paris, the Société des Concerts Popu-
laires, to which his name is still attached. Here
he gave the first full concert-perf. of Stravinsky's
Petrushka. On 5 and 26 April, 1914, he had the
courage to include in his programme the Sacre
du Printemps, scarcely a year after the scandal
caused by that work at the Ballets russes; these
two dates are celebrated in annals of Parisian
music. During the war, he was recalled from the
front, and sent to U.S.A. to carry on a mus.
propaganda in favour of the Allied nations. He
has now definitely settled there and conducts
the Boston Symphony Orch. in that town or in
New York. His programmes are still a model
of eclecticism. His interpretations still gain in
delicacy of detail-those of Debussy especially
benefit by a fine gradation of nuances and a
sensitive appreciation of the value of each group
of instruments.-A. S.
MOODY, Fanny. Eng. operatic s. singer; b.
Redruth. 1881, stud. in London under Mme.
Sainton-Dolby; appeared 4 years later at a
concert given by her; joined Carl Rosa Co. 1887
(début as Arline [Bohemian Girl]); in London
as Micaela (Carmen). Her favourite rôle was
Butterfly; sang Marguerite (Faust) under Lago
at Covent Garden; many Wagner rôles; at
Drury Lane and Covent Garden under Sir
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MOONIE
Augustus Harris, In 1894, formed with her
husband Charles Manners (q..) the Moody-
Manners Opera Co. In 1896-7, toured Canada
and S. Africa.-E.-II.
MOONIE, James Anderson. Scottish condr.
teacher, compr. b. Edinburgh, 17 July, 1853; d.
South of France, March 1923. Has probably done
more to influence and develop the mus. life of
Edinburgh than anyone else. His influence as
a teacher has filtered into every corner of
Scotland. He stud. under William Townsend
in Edinburgh and attended classes of late Prof.
Oakeley of the Univ. for 2 sessions. He then
proceeded to London where he stud, under Alberto
Randegger, J. B. Walsh, and Stanley Rivers. Re-
turning to Edinburgh, he held successive posts
as orgt. in Trinity College, St. Leonard's, and
Hope Park U.F. churches; also cond. Hope
Park Mus. Association; Moonie's Male-V. Choir;
Univ. of Edinburgh Mus. Association, and
Moonie's Choir, which he continued to conduct
till his death. Introduced many choral works
to Edinburgh-Beatitudes (César Franck); Re-
quiem (Verdi); The Blessed Damozel (Debussy);
the Hiawatha trilogy, Bon-Bon Suite, and A Tale
of Old Japan (Coleridge-Taylor); The Water
Lily, The Sleeping Beauty, Ode to the Passions,
and John Gilpin (Cowen); The Revenge, Songs of
the Fleet, and Songs of the Sea (Stanford); The
Mystic Trumpeter (Harty); Hymns from the Rig
Veda (Holst); Atalanta in Calydon (Bantock).
Has given perfs. of works by Palestrina, di Lasso,
Astorga, Leo, Elgar, Max Bruch, Goring Thomas,
Rimsky-Korsakof, Gernsheim, and W. B.
Moonie, as well as standard classical works.
For many years singing-master, Edinburgh
Ladies' Coll., George Watson's Coll., George
Heriot's School, Daniel Stewart's Coll., James
Gillespie's School, Normal School, and John
Watson's Inst. Thus practically every secondary-
school boy and girl in Edinburgh for years, came
under his care. He was also lecturer in music to
Provincial Coll. for Training of Teachers. Re-
tired from educational work under the Govern-
ment superannuation scheme in 1919. Was one
of founders of Edinburgh Soc. of Musicians and
its president for a number of years. Also one of
founders of Competitive Fest. movement in
Edinburgh.
Cantatas: Killiecrankie; A Woodland Dream;
Precept and Practice (all Novello); Gems of Highland
Song (Paterson). Many part-songs and arrs. Ed. of
Concert Edition of Scots songs (Bruco Clements
& Co.).-W. S.
MOONIE, William B. Scottish compr. b.
Stobo, Peeblesshire, 29 May, 1883. Stud. pf.
under A. W. Dace, and compn. under Prof.
Niecks at Univ. of Edinburgh. In 1905, gained
Bucher Scholarship there, and proceeded to
Hoch's Cons. Frankfort-o-M., where he stud.
under Ivan Knorr (compn.) and Uzielli (pf.); had
several works produced with some success. Re-
turning to Edinburgh 1908, took up music-
teaching. Is at present engaged upon an opera
on a Scottish subject. He generally affects the
Scottish idiom, although he does not restrict
himself to that. As a condr. also he is rapidly
MORALES
attaining an assured position. On the death of
his father, appointed condr. of Moonie's Choir.
Chorus and orch.: Caledonia, ode, Burns (Pater-
son); Glenara, ballad (TowDeeside Memories, etc.);
& Thomson); pf.
pieces (Perthshire Echoes,
Highland Suite, vn. and pf.; songs (Finland Love-
Song; The Lads that were, etc.).-W. S.
MOOR, Emanuel. Compr. b. Hungary, 1862.
Stud. in Budapest and in Vienna; toured U.S.A.
as dir. of Concerts Artistiques; played his own
pf. music in London 1894; invented the Duplex-
Coupler piano on which recitals and lectures
were given in London by Tovey, Winifred
Christie, and Max Pirani in 1921. (See art.
INSTRUMENTS INVENTED.)
Operas: Die Pompadour (Cologne, 1902): Andreas
Hofer (ib. 1902): Hochzeitglocken (Cassel, 1908); Der
Goldschmid von Paris; 7 symphonics (D mi, op. 45;
VI, E mi. op. 65; VII, C ma. op. 67): RConcert:
vn. and orch. op. 84; pf. concerto, op. 85:
stück, pf. and orch, op. 113; Rhapsody, orch. op. 93;
chamber-music; pf.
songs (all Mathot,
Paris).-E.-H.
pieces;
MOOR, Karel.
1873.
Czech compr. b. Bělohrad,
Stud. Prague Cons. and in Vienna.
Music-teacher, critic and condr. in Prague; with
Czech Philh. 1902; then condr. at several
theatres in Bohemia, Trieste and Jugo-Slavia.
Operas: Hjördis (1899); Vij (1901); William
Rateliff; Cesky Honza. Operetta, The Professor in
Hades. Overture to Hauptmann's ramequiem.
Polonia; The
Life:
works: melodrama, Maryčka Magdonora;
itet:
pf. pleces (publ. V. Kotrba, Prague). Wrote a Czech
novel on musical life, Karel Martens (1905).-V. ST.
MOORE, Bertha. Eng. s. singer and teacher;
Stud. R.A.M.
b. Brighton, 10 Jan. 1862.
London, under W. H. Cummings, and later under
Florence Lancia. Has sung and lectured widely.
Was honoured with O.B.E. for organisation of
a very large number of war-concerts.-E.-II.
MOORE, Frederick. Eng. pianist; b. London,
27 Feb. 1876. Prof. and lecturer at R.A.M.
London; pf. recitalist.-E.-H.
MOOS, Paul. Ger. music aesthetician; b. Buchau,
Oberschwaben, 22 March, 1863. Stud. at R.
Acad. of Music, Munich (Thuille, Rheinberger,
Giehrl, Bussmayer, Hieber, Abel); then lived
at Berlin as writer on music; 1899, settled at
Ulm after a long sojourn in Italy.
Modern Musical Esthetics in Germany to Hart-
(1902): 2nd
ed.: The Philosophy of Music
mann (1922): Richard Wagner as Esthetician (1906):
Ger. Contemporary Esthetics
special consideration
of Musical Esthetics (1909) S
MORALES, Melesio. Mexican compr. b. 1838;
d. 1908. Founded Mexican Cons. Comp. the
opera Ildegonda.-F. H. M.
MORALES, Olallo Juan Magnus. Compr. b.
Almeria (Spain), 15 Oct. 1874. Stud. R. Cons.
Stockholm; then in Berlin, 1899-1901 (Urban;
Teresa Carreño); condr. of Orch. Soc. of Gothen-
burg, 1905-9; then music critic in Stockholm;
teacher at R. Cons. there, and secretary of
R.A.M. there from 1918; member 1910; prof.
1921; 1921, publ. (with Tobias Norlind) com-
memorative essay on 150-years'Jubilee of R.A.M.
Symphony, G ml.; concert overture, Försommar
(Early Summer); Andante lugubre and Serenade, orch.;
str. 4tet in D: pf. sonata, D flat; Suite, pf.; vn.
plecos; songs.P. V.
MORALES, Pedro García. Span. compr. poet
and critic; b. Huelva, 1879. B.A. Seville Univ.
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MORAVIAN FOLK-MUSIC
Stud. R.C.M. London. Of a non-prolific, over-
critical artistio disposition, he devotes his
activities as a musician to the creation of the
Span. art-song, the least cultivated type of
compn. in his country, and advocates the use of
the Span. language in singing, being opposed to
translations in general, as essentially detrimental
to colour and rhythm. He works for the cause
of modern Span. music outside his country,
being responsible for the first concerts (orchestral
and chamber-music) in England, entirely of
Span. comprs., at which he appeared as
condr., vn. and vla. player (London, Cambridge,
Birmingham, 1918-20). Contributor to Span.
and Eng. publications on music, literature and
art. As a poet he is acknowledged a true repre-
sentative of the modern Span. literary renais-
sance (Cambridge Readings in Spanish Literature,
J. Fitzmaurice-Kelly). In his music, as well as
in his poems, he shows himself possessed of the
introspective rather than the external char-
acteristics of the Andalusian (Van Vechten's
Music of Spain, Eng. ed.). Mr. Morales is
responsible for all the Spanish articles in this
Dictionary.
Songs with orch. or pf.: Span.: Mañana de prima-
vera; El sol en sus ojos arde; Hoy la tierra y el cielo
me sonrien; Por una mirada un mundo; Ven aqut tu,
pastor lindo; Cuando las penas miro; Canzonetta;
Porque cuaja en el aire la dulzura de Abril; Tus ojos.
Eng. You call me still, my Life: This is the place.
Ital.: Quando cadran le foglie; O florellin di siepe;
Nell' aria della sera; Un organetto suona per la via.
Vn. and orch.: Esquisse Andalouse (1st perf. Fritz
Kreisler, London, 1911). Vn. and pf.: Bagatelle (1st
perf. Fritz Kreisler, London, 1912). (Publ. Schott,
Mayence; Pueyo, Madrid.)-E.-H.
MORAVIAN FOLK-MUSIC. See BARTOŠ,
FRANTIŠEK; JANAČEK, LEOŠ; KUBA, LUDVÍK.
MORAWSKI, Eugeniusz. Polish compr. b.
Warsaw, 1 Nov. 1876. Pupil of Noskowski at
Warsaw Cons. Since 1908, has lived in Paris.
His orch. compns. appear in programmes of
Colonne-Lamoureux Concerts in Paris. At the
outset, he composed under the influence of R.
Strauss; but to-day he shows a character and
style of his own.
Promethean Symphony (with choruses); symph.
poem, Va victis (1910); Fleurs du Mal (after Baude-
laire); Don Quixote (perf. 1912); Nevermore and
Ulalume (1918, after Poe).-ZD. J.
MORCMAN, Oscar. Norwegian composer; b.
Bergen in 1892. Engaged in business until a few
years ago; developed his mus. gifts by his own
efforts alone. Début in Christiania, 1921, with
symph. overture Euripides, an astonishingly
mature and technically sound work. The great
expectations it aroused were not disappointed
by his next work, a symph. poem King Lear, a
broadly designed, powerful and characteristic
work, produced in 1923 by Philh. Soc. in
Christiania.-R. M.
MORELLI, Alfredo. Ital. condr. b. Rome,
1885. Stud. at R. Liceo Mus. di Santa Cecilia,
Rome, under Stanislao Falchi; gained high
reputation as condr. both in theatre and at
concerts (San Carlo Theatre, Naples; Augusteo,
Rome). He is also a good composer.
Symph. impression, Consalvo lon poem by Leo-
pardi); Réverie; Novelletta all' antica (str. orch.);
numerous songs.-D. A.
Z
MORIN
MORENA, Berta (real name Meyer). Ger. s.
singer; b. Mannheim, 27 Jan. 1878. Dramatic
singer, especially of Wagner rôles; pupil of
Sophie Röhr-Brajnin and of Orgeni; 1898,
joined Munich Opera, to which she belonged
till 1923, with short visits to America, England
and Spain.-A. E.
MORENO TORROBA, Federico. Span. compr.
b. Madrid, March 1891. Received his mus. edu-
cation at R. Cons. de Música and stud. compn.
under Conrado del Campo. His works bear the
mark of the progressive schools of mus. art. Like
Manuel de Falla, he advocates the re-establish-
ment of the guitar as a national instr. He has
written some pieces for it.
Orch.: La Ajorca de Oro: Capricho Romántico:
Loraida; Cuadros Castellanos (perf. by Orquesta Sin-
fónica and Orquesta Filarmónica, Madrid; publ.
Schott).
Guitar: Fandanguillo; Arada; Danza.-
P. G. M.
MORERA, Enrique. Span. compr. and critic;
b. in Catalonia. The favourite pupil of Pedrell
and one of the best technicians in the country.
His music gives evidence of a close acquaintance.
with the modern Fr. and Belgian schools.
Emporium, Bruniselda; La
Zarzuelas: La canción del naufrago
Fada.
pasa. Symph. poems: La Vesta; La Alegria que
Danzas españolas. Songs: Am Tu; Ausencia;
Vetlla d'Amor: Enter Musical Española, Madrid.
Rouart, Paris; Unión
P. G. M.
(Publ.:
MORGAN, Robert Orlando. English pianist,
compr. b. Manchester, 16 March, 1865. Stud. at
Guildhall School of Music, London, under J. F.
Barnett, Henry Gadsby, Dr. Warwick Jordan;
1st prize and gold medal in Grand Concours
International de Composition Musicale, Brussels,
1894; prof. of pf., harmony and compn. at
Guildhall School of Music from 1887. As a compr.
has a refined and graceful piano style.
Comic opera, Two Merry Monarchs (Savoy Theatre,
London, 1910); cantatas, female vs.: Zilella (Curwen);
The Legend of Eloisa (Augener); song-cycle, 4 solo vs.,
In Fairyland (id.); pt. sonata (Ashdown); Modern
6 vols. (id.); book, The
savor of Pf.
of Harmo) numerous songs, pf.
pieces, part-songs, etc. Annotated editions of
Beethoven's pf. sonatas; of Bach's 48 Preludes and
Fugues, Italian Concerto, and Chromatic Fantasia
and Fugue (Ashdown).-E.-H.
MÖRIKE, Eduard. Ger. condr. b. Stuttgart,
16 Aug. 1877. Grand-nephew of poet E. M.;
stud. at Leipzig Cons. (Ruthardt, Piutti, Sitt);
theatre condr. in America, at Rostock, Kiel,
Stettin, Halle; also assisted at Bayreuth Fest.
and at Paris Salome performance, 1907; cond.
Halberstadt Fest.; till 1923 condr. at Ger. Opera
House; Univ. teacher at Lessing High School;
pianist at Charlottenburg.-A. E.
MORIN, Henri. Fr. condr. b. Grenoble, 17
Aug. 1883. Stud. under Riemann at Leipzig;
dir. orch. at special school there; also passed
through the Schola Cantorum; at 26, condr. at
Cologne; then 1st condr. at theatre in Nantes,
at same time directing there the Concerts Henri-
Morin, and those of the Nantes Schola Cantorum;
engaged by Diaghilef to conduct his ballets on
tour; afterwards condr. of Filarmonica, Bucha-
rest; then dir. of Fr. repertoire at Chicago
Opera (1920-1), at New York and in Brazil
(1922).-M. L. P.
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MORITZ
MORITZ, Edward. Compr. b. Hamburg, 23
June, 1891. First violinist; received training
as compr. at Paris and Berlin (Paul Juon);
now wholly devoted to composition.
Choral suite, Conception; vn. and pf, sonata; str.
4tet with 8.
s. solo, op. 10; Burlesque (often perf.) for
orch. op. 9; symphony, C ml.; Gitanjali, symphony
for contr. and orch.; pf. and vn. works; numerous
songs (Schott).-A. E.
MÖRK, Ulrik. Norwegian writer on music;
b. Trondhjem, 6 Oct. 1865. Graduate in philo-
logy; senior master at Christiania School of
Navigation; stenographic revisor in Parliament
House. Stud. vn. under Gudbrand Böhn and
Severin Svensen, Christiania; singing under
Thorvald Lammers, Christiania. Mus. critic on
Trondhjems Adresseavis, 1885-6; on Örebladet,
Christiania, since 1900. Has written numer-
ous articles in Norwegian journals on mus.
fests., male-choir meetings and tours. Wrote
Musical Life in Christiania from the 'Eighties
to our own Day in Norges Musikhistorie (1921).
Writer of several of the Norwegian articles in
this Dictionary.-R. M.
MOROLD, Max (real name Max von Millen-
kovich). Austrian musicologist; b. Vienna, 16
March, 1866. Lately a high official of Ministry of
Education; 1918-19, dir. of Vienna Burgtheater;
music critic of several Viennese newspapers.
Wrote libretto to Reiter's opera Der Bund-
schuh (1895), a monograph on Reiter (1903),
short pamphlets on Bruckner and Hugo Wolf
for Breitkopf's collection (1912).-P. ST.
MORPHY, Conde de. Span. musicologist;
descended from an old Irish family; author of
Los Vihuelistas españoles del siglo XVI (Breit-
kopf, Leipzig). Tutor of King Alfonso XII
before he was enthroned, when he became his
private secretary, in which capacity he was of
great assistance to the cause of music. Died
Madrid at advanced age, at end of XIX century.
-P. G. M.
MOSER
set to music the poem En allant vers la ville by
Henri de Régnier (perf. at own theatre). A singer
told story at side of stage, dancers also singing
in places. Since then,
(unfin.).
In 1920, founder
school for general
education and study of arts in relation to one
another.-E.-H.
songs and ballets
MORROW, Walter. Eng. tpt.-player; b. 15
June, 1850. Stud. at R.A.M. under Thomas Har-
per. Played with all the leading orchs.-E.-H.
MORRIS, Margaret. Eng. dancer and mus.
educationist; b. London, 1891, of Welsh, Irish
and Eng. descent. Lived in France till 5 years
old; 1st engagement on the stage at 8 as principal
fairy in pantomime at Plymouth; joined the Ben
Greet Co., playing such parts as Puck, Boy in
Henry V, and dancing. At 17 met Raymond
Duncan, stud. his reconstruction of Greek
dancing, and finally gave up the Ital. ballet
technique, finding the Greek technique funda-
mentally sound, and a far better basis for the
development of dancing. First ballets produced
were for Marie Brema's production of Orpheus
at Savoy Theatre, 1910. In 1912, founded Dancing
School and the Margaret Morris Theatre, giving
seasons of 2 and 3 weeks from time to time, in-
cluding Children's Christmas Seasons with all
parts played by children. 1915, first produced
songs by Debussy, Ravel, Stravinsky and others.
with dance interpretations. Started the Mar-
garet Morris Club for artists, musicians, and
writers, for perfs. of orig. work. About 1915, first
began to comp. music; 1st ballet Angkorr, in
3 movements, fl. ob. drums, and 2 vns. (pro-
duced at own theatre; later at Coliseum). 1917,
3.38
MORS, Richard. Ger. compr. b. Mannheim,
18 Aug. 1873. Stud. law; became pupil of
Ludwig Thuille, Munich; 1898-1906, condr.
at different theatres; since then at Munich as
compr. teacher and critic; 1907-8, temporary
condr. of Bach Soc. Nuremberg.
Symph. poem, Give Grief its Right (1905); And
Pippa dances; str. 4tet; vn. sonata; Requiem, chorus
and orch.; many songs.-A. E.
MORTELMANS, Lodewijk. Belgian compr. b.
Antwerp, 5 Feb. 1868. Stud. at Ecole de Musique,
Antwerp, under Peter Benoit. 1st prize R. Acad.
of Belgium, 1891 (for symphony). and in 1893,
1st Prix de Rome for cantata Lady Macbeth.
Now prof. of cpt. at Vlaamsch Koninklijk
Conservatorium (R. Flemish Cons.) at Antwerp
(since 1902); also president of Soc. of Flemish
Comprs.; member of council for advancement
of music at Ministry of Science and Arts.
His tendencies are mainly towards tradition
and Romanticism; but he exercises an exquisite
and natural taste, rather rare among Belgian
comprs. His style is truly lyrical and his in-
spiration, always restrained by severe self-criti-
cism, never runs to vulgarity or extravagance.
Many songs, mostly to words of Guido Gezelle
(Flemish poet): symph. poems, notably Hélios (1894)
and Mythe du Printemps (1895);
(cantatas, Jong Vlaanderen me!
children's e
3 Elegies, orch. (In Memoriam, 1917; Éléva-
Kinderen der Zee (The Children of the Sea), produced
at Lyrle Theatre, Antwerp, 27 March, 1920; pf.
pieces, etc.-C. V. B.
MOSER, Andreas. Violinist and author;
b. Semlin-on-Danube, 29 Nov. 1859. Pupil of
Joachim at Berlin R. High School; then
Joachim's assistant; 1888, prof. at R. High
School.
Wrote blography of Jos. Joachim (1899, enlarged
1908, 2 vols., publ. by Brahms Soc.); Correspon
ence of Brahms and Joachim (1908): In
with Johannes Joachim, Letters from and to Joseph
Joachim (1911-12, 3 vols.); publ. with Joachim a vn.
tutor in 3 vols. (Fr. by Marteau; Eng. by Moffat);
Method of Violin-playing (2 vols.). Ed. ancient vn.
MOSER, Hans Joachim. Ger. writer on music;
singer; compr. 6. Berlin, 25 May, 1889. Son
and pupil of Andreas Moser; also pupil of
H. van Eyken, G. Jenner, Robert Kahn, of
Oskar Noé and Felix Schmidt (singing); 1907,
stud. music, Germanics and history at Mar-
burg, Berlin, Leipzig; graduated Ph.D. Rostock,
1910 (dissertation, Musical Associations in
German Middle Ages); 1919, lecturer for music
and theory at Halle; 1923, professor.
In collab. with Oskar Noé: Technique of Ger. Art
of Song (Göschen Coll., 1911); History of Ger. Music
(2 vols. 1920, 2nd ed. 1922); a little Dictionary
of Music (1923, T
Taubner). New arr. of Weber's
Euryanthe, with new text, The Seven Ravens, by
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MOSER
Moser, was perf. at Berlin, 1915. Comp, a scena, Song
of Vestal Virgin (contr. and orch., Berlin, 1912); publ.
(1913) 5 books of songs (op. 1-5); male choruses, op.
8; 5-v. motets, op. 10.-A. E.
MOSER, Rudolf. Compr. b. Niedernzwil
(Switzerland), 7 Jan. 1892. Stud. first theology,
since 1912 devoted himself entirely to music;
stud. under Max Reger (compn.) and H. Sitt (vn.)
at Leipzig Cons. (1912-14); since 1921 leader of
Vereinshauschor and teacher of cpt. at Basle.
3 str. 4tets; vn. sonata; songs (Leipzig, Hug) and
unaco, choruses (Stuttgart, Missions Verlag); Prelude
and fugue, fantasy and rhapsody for organ.-F. H.
MOSSEL, Isaac. Dutch cellist; b. Rotterdam,
22 April, 1870; d. Dec. 1923. Started vn. study
when 3 years old; soon took cello as principal
study; 1885, cellist Philh. Orch. Berlin; 1888-
1904, soloist Concertgebouw, Amsterdam; from
1890 teacher at Conservatoire, Amsterdam; and
had many famous pupils.-W. P.
MOULAERT, Raymond. Belgian compr. b.
Brussels, 4 Feb. 1875. Stud. at Cons. Brussels.
1898-1912, pianist, orgt. and assistant condr.
at La Monnaie Theatre. Teacher at Ecole de
Musique at St.-Josse, then dir. at École de
Musique, St. Gilles (near Brussels), 1913;
teacher of harmony Brussels Cons. (since 1896).
Organ sonata; Variazioni quasi sonata, pf.; sonata,
F yet
many songs, including Poems of Old France (2 vols.);
20 Mélodies et Poèmes; 4 Chinese Poems.-E. C.
MRACZEK, Joseph Gustav. German-Czechc-
slovak compr. b. Brünn, 12 March, 1878. Stud.
at School of Music, Brünn, and Cons. at Vienna
(Hellmesberger, Löwe). Dir. of Munich Künstler
Theater, Stadttheater, Leipzig, Dresden
Philh. Orch. Lives in Dresden.
MOSSEL, Max. Violinist; b. Rotterdam, 25
July, 1871. Stud. under Willy Hess and Sara-
sate; début Oct. 1876, at Bommel (Holland)
Orch Soc.; in England, Crystal Palace Sat.
concerts, 5 July, 1892; numerous wide tours;
dir. of Max Mossel Concerts in chief cities of Gt.
Britain; prof. Guildhall School of Music, London.
-E.-H.
MOSZKOWSKI, Moritz. Polish pianist and
compr. b. Breslau, 23 Aug. 1854. Stud. at
Breslau and Dresden; then at Stern's Cons.
and Kullak's Cons., Berlin; later, teacher at
latter; 1873, concert-pianist; 1897, left Berlin
for Paris; 1899, became member of Berlin Acad.;
now lives in Paris. His characteristic pieces once
had a very great vogue, and his ballet music is
still frequently played.
2 concert pieces and Scherzo for vn. and pf.; 3 pf.
and cello concert-pieces; pf. eoncerto, E ma. op. 59
(1898); 2 orch. suites (op. 39 and 47); Fantastic
Procession for orch.; orch, sulte, Aus aller Herren
Länder, op. 23; 6 orch. pieces to Grabbe's Don Juan
and Faust, op. 56; symph. poem, Joan of Arc, op. 19;
Prelude and fugue, op. 85 (str. orch.); vn. concerto
(op. 30); pf. pieces (especially Spanish Dances);
3 concert-studies; concert-waltz; gavotte, etc; songs.
Opera, Boabdil (Berlin, 1892); ballet, Laurin (1896).
-A. E.
MOTE, Arnold R. Australian compr. Lives in
Sydney, N.S.W.
Orch.: March of Triumph, op. 68, prize-march
(Curwen); The Triumph of Liberty, op. 55; overture,
On the Blue Mountains, op. 57 (ms.); pieces for small
orch.; Stet, str. fl. clar. bsn. horn; str. 4tet, C mi.
(New South Wales prize); trio, C. mi. pf. vn. cello;
choruses (Novello; Curwen); organ pieces; pf.
pieces; cantatas; songs; book, Examples in How
to Score" (Ambrose Abbott, London).-E.-II.
MUGNONE
MOTU PROPRIO. The decree issued by Pope
Pius X on 22 Nov. 1903 for the purification of
music in R.C. churches all over the world. It
enforced the restoration of the Gregorian chant
and the rejection of all music not specially com-
posed for the Church. In 1910, a special school of
church music was opened in Rome, and in 1912
it was given the title of Pontifical School of
Church Music. This movement of purification
had already been started by Leo XIII in his
Regolamento per la Musica Sacra in 1884. See
arts. AMELLI, GHIGNONI. Consult art. in The
Month, Sept. 1919.-E.-H.
MOTTA, Vianna da. Portuguese pianist; b. in
African island of St. Thomas in 1868, and taken
to Lisbon a year later; stud. at Cons. there, and
at 14, sent by King Ferdinand to study in Ger-
many (under Sophie Menter and Xaver Schar-
wenka [pf.], and Philipp Scharwenka [compn.];
then under Liszt at Weimar [1885], Karl Schäffer
at Berlin [1886] and Bülow in Frankfort [1887]).
In 1902 toured Europe and S. America with
great success. Lived in Berlin for some time as
Court-pianist; 1915-17 as successor of Staven-
hagen at Acad. at Geneva, and since then, has
been dir. of National Cons. and Symph. Orch.
at Lisbon.-E.-H.
Operas: The Glass Slipper (Brünn, 1902); The
Dream (Berlin, 1912); debelo (Breslau, 1915); The
Love Council; Ikdar; music for Kismet (Oriental
sketches for chamber orch.). Symph. poems: Maz
and Moritz; Eva. Pf. 5tet; Instr. music; songs.
-V. ST.
MUCK, Carl. Ger. condr. b. Darmstadt,
22 Oct. 1859. Stud. philology at Heidelberg
and Leipzig, at same time attending Cons.;
1880 Ph.D., also first appearance as pianist at
Gewandhaus; condr. theatres at Zurich, Salz-
burg, Brünn, Graz; 1886, engaged by Angelo
Neumann as first condr. of Prague Ger. Public
Theatre; cond. the Nibelungen there, at Petro-
grad and Moscow, 1889; and summer season
at Lessing Theatre, Berlin, 1891; became
condr. of Berlin R. Opera House, 1892; music
dir. 1908. M. very often cond. Symph. Con-
certs of R. Orch.; 1894-1911, Schleswig Music
Fests.; 1899, Ger. Opera, London (Covent
Garden); 1903-6, Philh. Concerts of Court
Opera Orch., Vienna (alternately with Mottl);
Seasons 1906-8, the Symph. Concerts, Boston,
U.S.A.; 1912, definitely gave up Berlin engage-
ment and accepted conductorship of Boston Sym-
phony Orch.; 1919, returned to Europe; first
engaged as visiting condr. (Munich, Amster-
dam, etc.); 1922, cond. Philh. concerts, Ham-
burg. Muck is a brilliant condr., possessing
rhythmic certainty and powerful constructive
ability.-A. E.
MUGNONE, Leopoldo. Ital. condr. b. Naples, 29
Sept. 1858. Stud. there at R. Cons. di San Pietro
a Maiella under Serrao and Cesi. He rapidly
and
establ. himself, as an artist full of the
impetuosity of the South, and visited the prin-
cipal theatres in Italy and abroad. He cond.
a tour with the famous d.b.-player Bottesini.
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MÜHLFELD
During exhibition of 1899, he dir. a Grand
Ital. Season in Paris. Was first to cond. Mas-
cagni's Cavalleria Rusticana at the Costanzi
in Rome (1890). He also acquired fame for his
excellent revivals of important operas, Orfeo
of Gluck, Guglielmo Tell of Rossini, The Damna-
tion of Faust of Berlioz in its orig. form of
oratorio. A very fine interpreter of Falstaff,
having the esteem and admiration of Verdi.
In the Verdi centenary year, he cond. at La
Scala, Milan, important perfs. of Verdi's operas
including Nabucco. He is one of most esteemed
and famous Ital. condrs.-especially of opera-of
the period 1900-20. As a capable concert-condr.
he has gained important successes at Augusteo
in Rome, and elsewhere. Amongst his works
are the operas Il Biricchino, 1-act (Venice,
1892) and Vita brettona (Naples, 1905).-D. A.
MÜHLFELD, Richard. Ger. clarinettist;
b. Salzungen, 28 Feb. 1856; d. Meiningen,
1 June, 1907. Stud. theory under Emil Büchner;
1873, member of Meiningen Court Orch.; then
violinist; 1876, 1st clarinettist (self-taught).
He was 1st clarinettist at Bayreuth Fest. 1884-
1896. His playing induced Brahms to compose
his opp. 114, 115 and 120.-A. E.
MUKLE, May Henrietta. Eng. cellist; b. Lon-
don, 14 May, 1880. One of a large mus. family;
stud. at R.A.M. under Pezze. Started on career
as soloist at age of 9; has toured British Isles,
France, Belgium, Italy, Germany, Austria, Hun-
gary, Canada, S. Africa, Australia, U.S.A. and
Hawaiian Islands. Has publ. 2 fancies for cello
and pf. (Schirmer, New York).-E.-H.
MULE, Giuseppe. Ital. compr. b. Termini
Imerese, 28 June, 1885. Pupil of R. Cons.
Palermo, of which he is at present the dir.
He is an appreciated compr. of various operas:
La Baronessa di Carini (perf. Teatro Massimo,
Palermo, 1912); Al lupo (Teatro Nazionale,
Rome, 1919); La Monacella alla fontana
(Trieste, 1923). These are publ. by Ricordi.
He has also written symph. works, and the music
for the Bacchae of Euripides, perf. on revival of
that tragedy at Greek theatre of Syracuse in
1922.-D. A.
MULET, Henri. Fr. orgt. b. Paris (Mont-
martre), 17 Oct. 1878; lauréat of the organ class
of Guilmant at Cons. Paris; now prof. of organ
at École Niedermeyer and orgt. at Saint-Philippe
du Roule. Comp. a vol. of organ pieces, Esquisses
byzantines, and 5 symph. poems of solid con-
struction and richly original orchestration.-F. R.
MÜLLER-BORGSTRÖM, Harriet Amalie. Nor-
wegian pianist; b. Trondhjem, 2 June, 1868;
d. Christiania, 19 Sept. 1913. Pupil of Martin
Ursin, Christiania, 1881-90; of Erika Nissen,
same city, 1890-2; afterwards of Hollaender
and Barth, Berlin. Début in Christiania, 1897.
Married, 1904, the compr. Hjalmar Borgström.
-U. M.
MÜLLER-HARTMANN, Robert. Ger. compr.
and critic; b. Hamburg, 11 Oct. 1884. Stud.
at Stern's Cons. and with Eduard Behm, Berlin:
engaged as teacher of theory, Bernuth Cons.
MURDOCH
Hamburg; 1923, lecturer Hamburg Univ. Several
years mus. critic for Hamburg Correspondenten;
later on for Hamburger Fremdenblatt.
Variations and fugue on own theme, orch. (Simrock);
songs, op. 4 sketches for pf. op. 6 (Rahter); vn.
sonata, op. 5; pf. pieces, op. 8; songs, op. 12. In ms.:
str. 4tet, D mi.; symph. overtures; orch. variations
on pastoral theme; and overture to Leonce und
Lena.-A. E.
MÜLLER-REUTER, Theodor. Ger. condr.
and compr. b. Dresden, 1 Sept. 1858; d. there,
14 Aug. 1919. Pupil of Friedrich and Alwin Wieck
(pf.) and L. Meinardus, Julius Otto, Bargiel
(compn.); 1878-9 at Hoch's Cons. Frankfort-o-
M. (Clara Schumann, J. Stockhausen, Raff);
1879, pf. teacher at Strasburg Cons.; 1887,
went to Dresden; 1888, condr. of Orpheus Male
Choral Union; 1889, of orch. soc. and of Drey-
sing's Acad. of Singing; 1892, teacher at R.
Cons.; 1893-1918, condr. of Concert Soc.
Crefeld; 1902, dir. of Town Cons.; 1897, R. mus.
dir.; 1907, professor.
Songs; female choruses (op. 15) with pf.; male
choruses; 2 operas: Ondolina (Strasburg, 1882);
The Angry Earl (Nuremberg. 1887); choral works:
Ruth; Song of the Storm, op. 23 (double chorus and
In trlo D
19; pf. pieces (op. 6, 8, 18, 25; studies, op. 20). Wrote:
Study on Beethoven's C mi. Symphony; 50 Years' Mus.
on
"Legend of St. Elizabeth" (1905): Dictionary of Ger.
Concert-Literature (1 vol. 1909).-A. E.
MULLINGS, Frank. Eng. t. singer; b. Walsall,
10 May, 1881. Trained at the Birmingham and
Midland Inst. Début in 1907 at Coventry
(Gounod's Faust); Queen's Hall, London, 1911.
In 1913, one of principal ts. in Denhof Opera
tour (Tristan, etc.); British National Opera,
Covent Garden, 1922-24. One of the finest of
Eng. tenors.-E.-H.
MUNTHE-KAAS SANDVIK, Elisabeth. Nor-
wegian concert-singer (s.); b. Havre, 12 June,
1883. Stud. singing in Christiania (Gina Hille),
Berlin, Munich, London. Début in Christiania,
1906; numerous concerts at home and abroad,
including many great cities of Europe. Has
frequently sung in England (London and else-
where. Lives in Christiania.-U. M.
MUNZINGER, Carl. Swiss condr. compr. b.
Balsthal, 23 Sept. 1842; d. Berne, 16 Aug. 1911.
Stud. Basle under A. Walther, then at Leipzig
Cons. (1854-60); dir. of Liedertafel (male choir)
at Soluthurn; in 1869 of Berne Liedertafel;
1884-1909, also cond. Symphony and Oratorio
Concerts at Berne. Ph.D. h.c. Berne Univ.
2 cantatas, Murtenschlacht and Natur und Mensch;
Die Freischarbuben, male chorus and orch.; songs
and unacc. choruses.-F. II.
MURALI. See INDIAN MUS. INSTRUMENTS.
MURDOCH, MURDOCH & CO. London. The
mus. department was establ. about 40 years ago.
15 years later they added the publishing of
elementary school songs and easy music for small
orch. and pf. In 1915 they began to issue music
of a more important character, beginning with
Mayfair Classics, about 200 pf. and vocal selec-
tions, from old masters (ed. by F. Corder and F.
Swinstead). Since then, they have become noted.
for their comprehensive list of works of Arnold
Bax, including large orch. works (The Garden of
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MURDOCH
Fand; November Woods; symphony in E flat;
vla. concerto); pf. 5tet in G mi.; str. 4tet in G;
5tet, str. and harp, etc.-E.-H.
MURDOCH, William Daniel. Australian
pianist; b. Bendigo, Victoria, 10 Feb. 1888. First
recitals in London, end of 1910 and beginning of
1911; toured S. Africa 1911; Australia and New
Zealand, 1912-13; United States and Canada,
1914; Scandinavia twice in 1918 and once in
1919. Writer of article on PIANOFORTE MUSIC in
this Dictionary.-E.-H.
MUSICAL APPRECIATION. See APPRECIA-
MUSICAL COMPETITION FESTIVALS. About
200 are held annually throughout the British
Isles and Dominions. These do not include the
Welsh Eisteddfodau, which embrace many things
besides music and demonstrate national char-
acteristics. No other mus. movement has grown
so rapidly or has shown such widespread mus.
enthusiasm. First fest. was that begun at Strat-
ford, London, by late J. Spencer Curwen in 1882.
Miss A. M. Wakefield, in 1885, began the rural
or county type of fest. which brought village-
choirs together to compete and to unite in per-
forming large works which singly they never.
would have heard. Other fests. endeavour to
cover all branches of music and conclude with
a perf. of the chief prize-winners. The fests.
seek to raise the standard of perf. and choice of
music in the home, the school, the church and
the choir or orch. Adjudicators criticise and
advise the performers. The promoting workers
and the listening audiences encourage the com-
petitors. Talent is discovered, and in other ways
the country is being made musical in the most
practical and permanent fashion.
The move-
ment now has headquarters at 3 Central Build-
ings, Westminster, and issues a Year Book and
other literature, which can be had from the
Secretary, British Federation of Musical Com-
petition Festivals. A central board looks after
the interests of the affiliated fests. and ad-
ministers grants in aid from a fund subscribed
by the Carnegie Music Trust. The following
are a few of the larger fests. (with year of
foundation):
TION.
Bedfordshire Eisteddfod Competitive Mus. Fest.
Bedford (1920); Belfast M.C.F. (1908); Berks, Bucks
and Oxon C.M.F. (1903), held alternately in cach
unty: Blackpool M. F. (1901), one of the largest
Bristol Eisteddfod (1903); Buxton (revived in
1922); Carlisle and District M.C.F. (1895); Coventry
M.F. (1922); Edinburgh M.C.F. Association (1920);
Feis Ceoil
(q.v.); G48sociation (1897); Irish Mus. Fest. Dublin
M.F. Association (1911) for West
Scotland; Leamington and County Open C.M.F.
(1911); Leeds C.M.F. (1922); London M.C.F. (1905)
held at Central Hall, Westminster; Lytham M.F.
(1901); Manx
Douglas (1892); Mary
Wakefield (Westmorland) Fest. Kendal (1885),
biennial; Midland M.C.F. Birmingham (1912)-a
Mrs. Sunderland Competition,
Huddersfield (1889); Mid-Somerset M.C. Bath
great
(1901); Morecambe M.F. (1892), focuses Lancashire
and York Inverness (1921); North London M.F.
(1920), held at Holloway; North of England Mus.
Newcastle-on-Tyne (1919); Notting-
People's Palace M.F. London
choirs; Scot-
Fest.
Tournament (1902). Perthshire Mus. (Competition)
MUSSORGSKY
M.C.F. (1923); Renfrewshire M.C.F. (1913), Greenock;
Stirlingshiro Mus. (Competition) Fest. Association
(1920); South-East London M.F. (1920), held at
Bermondsey: Southern Area M.F. (1922), held at
Wandsworth; Stratford and East London M.F.
(1882), held at Stratford; Wharfedale Competition
(1896); Canadian fests. for
Alberta, Sas-
katchewan and Ontario; Australia and New Zealand
have many fests.; National Eisteddfod Association,
London, directs Welsh national eisteddfodau.-J. G.
M.F. (1907), held at Ilkies: norcestershire M.C.
MUSICAL CRITICISM. See CRITICISM.
MUSSORGSKY, Modest Petrovitch (accent 1st
syll.). Russian composer; b. Karevo, 16/28
March, 1839; d. Petrograd, 16/28 March, 1881.
As a child, he was taught the pianoforte first
by his mother, and afterwards by a teacher
named Herke, and achieved proficiency as a
pianist. He started composing at an early date,
without preliminary training. An autograph ms.
book (now in the library of the Paris Conserva-
toire), containing original, unrevised versions of
15 songs, written by him between 1857 and 1866,
shows him from the very outset making giant
strides towards the independence and pregnancy
of musical idiom, the intensity and directness of
expression, which characterise his later master-
pieces. Towards the end of 1857 César Cui in-
troduced him to Balakiref, with whom he began.
to study theory and technique. He had pre-
viously become acquainted with Dargomisky,
whose creed that "the object of music was truth
in expression rather than formal beauty" he
promptly made his own.
He devoted himself chiefly to the writing of
songs and of operas and lyric comedies or dramas.
The songs, about sixty in number, comprise
examples of purely lyric order among which a
few are of slight interest, but others, such as
the set Sunless, are of supreme beauty. When
he aims at characterisation as well as at poetic
expression-as he does in most of his peasants'
childrens' songs-he achieves wonderful results
in the vein of tragedy as well as in that of comedy.
His first attempts at opera-writing were purely
tentative; but in 1863 he began to write a
Salammbó (after Flaubert's novel) which he
relinquished after having written many scenes
(some of the music partly utilised in Boris
Godunof). In 1868 he started setting to music
Gogol's comedy The Marriage Broker, but gave
up the notion after having written one act
341
ham
(1908), mainly
Fest.
Association, Perth (1920); Plymouth M.F.
(1914), open to Devon and Cornwall; Portsmouth
MUSICAL FESTIVALS. See BAYREUTH,
BIRMINGHAM, DONAUESCHINGEN, FEIS CROIL.,
GLASTONBURY, LEEDS, OIREACHTAS, SALZBURG,
THREE CHOIRS, U.S.A. Mus. FESTS., etc.
MUSICAL JOURNALS. See PERIODICALS.
MUSICAL PITCH. See PITCH.
MUSIN, Ovide. Belgian violinist; b. Naudrin
(Liège), 22 Sept. 1854. Graduated R Cons.
at Liège, 1868. Pupil of Léonard in Liège
and in Paris. In 1883, toured with own con-
cert company in U.S.A., Canada and Mexico;
1899 to 1908, prof. at Liège Cons.
founded a vn. school in New York.
In 1908
Vn. pieces (Fischer); The Belgian School of Violin,
vols. (Musin Publ. Co. 1916) (contains studies by
Léonard and Musin); author of My Memories
(Musin Publ. Co. 1920).-O. K.
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MUSSORGSKY
(which is delightfully racy and original), and
began a first draft of Boris Godunof. The final
draft of this work, considerably longer, was
completed in 1872, and produced at Petrograd
in Jan. 1874. Despite its success, Boris Godunof
was withdrawn after a score of performances.
Long after Mussorgsky's death, a
revised "
edition, in which all the alleged instances of
"irregularity and clumsiness" had been severely
dealt with by Rimsky-Korsakof, appeared; and
until 1923, when a reprint of the genuine edition
began to be issued in London (Chester), it was
extremely difficult to know Boris Godunof as
Mussorgsky had written it (the original orchestral
score was never published).¹
After having contributed a few scenes to an
opera-ballet, Mlada, which was to be written by
several composers jointly (the scheme eventually
collapsed), he began, upon Stassof's suggestion,
to write Khovanshtchina, at which he worked,
somewhat fitfully, until the end of his life. In
1875, he started writing another work, this time
of humorous character, The Fair at Sorotchinsi
(after a tale by Gogol). He gave up this scheme
after having written several scenes (some of
which are now published) and he concentrated
on Khovanshtchina. But at his death, he had
only completed a provisional version in a rough
draft, which was overhauled and finished by
Rimsky-Korsakof.
Mussorgsky's instrumental works are few,
and by far the least significant in his output.
The principal are the tone-poem A Night on the
Bare Mountain (very much overhauled by Rim-
sky-Korsakof) and the pf. suite Pictures from
an Exhibition.
The much-debated questions, how far Mus-
sorgsky's alleged technical shortcomings are to
be accounted for by his very conception of his
art (summed up in this excerpt from a letter of
of his to Stassof: "The quest of mere beauty of
shape and matter is a crude and childish stage
of art; the true task of the artist is to aim at
disengaging the subtle features which char-
acterise individuals and masses "); and how far
the "revisions" of his works were justified in
principle or may lead to misconceptions as
1 The first to protest was Pierre d'Alheim in his
epoch-making book. In 1908, when Boris Godunof
was produced in Paris, many French critics followed
sult. See also an article by R. Godet in the Revue
Musicale, 1922, No. 6.
MUZICESCU
regards his capacities and achievements, are still
under discussion.
Songs: 7 publ. by Belaief, 1 by Gutheil, all the
rest by Bessel
Pf. music: Pictures from an Exhibition for pf.
ilenry Wood, and Maurice Ravel respectively,
by Sir
have been written)
Various pieces (Bessel, Jurgence)
scores: The Marriage
(Bessel)
(1 act only)
Boris Godunof, original version (Bessel, 1875;
now reprinting Chester, 1923)
Boris Godunof, revised versions (Bessel, 1896
and 1908)
Khovanshtchina (Bessel). New version of the
final chorus, after M.'s rough draft, by
I. Stravinsky (id.)
The Fair at Sorotchinsi, fragments, ed. by
V. Karatyghin (id.).
Orch. music: A Night on the Bare Mountain (id.)
Choral music: The Defeat of Sennacherib (1867)
(Belaief)
Joshua Navin (1877) (id.)
Female chorus from Salammbo (1866) (id.)
Mixed chorus from Edipus (1860) (id.)
Four unacc. part-songs on folk-tunes, for male
vs. (Jurgenson)
Consult P. d'Alheim, M. (Paris, 1896, Mercure de
France); M. Olénine d'Alheim, Le Legs de M. (ib.
1908, Rey); M. D. Calvocoressi, M. (ib. 1908, Alcan;
, 1913,
Kegan Paul); M. D. Calvocoressi, The Unknown M.
(Music and Letters, July, 1922); M.'s Letters to his
Friends (Mus. Quarterly, July 1923); R. Godet, Les
Deux Boris (Revue Musicale, April, 1922). Further
bibliography is to be found in aforenamed books and
articles.-M. D. C.
342
MUSTEL, Alphonse. Fr. mus. instr. inventor;
b. in 1873. Dir. of the famous factory of organs
with "double expression," founded in Paris in
1853 by Victor Mustel (1815-90); later directed
by his sons Charles (1840-93) and Auguste, who
invented the Celesta (pf. with steel plates) which
added a new and valuable element of sonority
to modern instrumentation. The Celesta made
its 1st appearance at the Opéra-Comique, Paris,
in 1886; since then many comprs. have used it.
A. Mustel, son of Auguste, invented in 1894 the
Prolongement or pedal-point, and in 1907 the
Concertal, a model of Swell organ with electric
bellows which can be operated either by the
fingers of the player or by an automatic system
of perforated rollers. A. Mustel is also the
author of a large work, Méthode d'orgue expressive
(1902) which treats the instr. from all points
of view-history, description, and instruction
in playing.-F. R.
MUZICESCU, G. See RUMANIA under art.
ACADEMIES.
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N
In 1907, the city commemorated the jubilee of
his first concert there. He comp. over 90 works
(pf. fantasias, songs, hymns, marches, studies,
etc.); also a lyric drama O remorso vivo.-E.-H.
NACHEZ, Tivadar. Hungarian violinist; b.
Budapest, 1 May, 1859. Stud. there under
Sabathiel, leader of Opera orch.; won the
approval of Liszt; then stud. under Joachim in
Berlin; afterwards Léonard in Paris; played at
foundation of Bayreuth theatre; appeared Ham-
burg 1881; first appeared England, Crystal
Palace, 9 April, 1881; after that, continuous
concerts and tours, England and elsewhere.
Played his 2nd vn. concerto London Philh.
17 April, 1907; again at Landon Ronald's New
Symphony Orch. concert, 27 Jan. 1910; lives
in London.
Zigeunertänze; vn. concerto, E mi. op. 30; Polo-
naise, op. 26; ed. 2 vn. concertos of Vivaldi (A mi.,
G mí.).-E.-H.
NAGEL, Wilibald. Ger. musicologist; b.
Mülheim-o-Ruhr, 12 Jan. 1863. Son of lieder- and
oratorio-singer Siegfried Nagel (d. 1874); stud.
Germanics and music (Ehrlich, Karl Treibs,
Spitta, Bellermann), Berlin; Univ. teacher of
mus. literature, Zurich; then went to England
where he stud. old Eng. music; 1896, returned
to Germany; 1898-1913, Univ. teacher of mus.
theory and science at Technical High School,
Darmstadt; 1917-21, ed. of Neue Musik-Zeitung,
Stuttgart.
History of Music in England (2 vols. 1894 and 1897,
Strasburg, Trübner); On the Dramatico-musical Arr.
of Genoveva Legen
(1888); Johannes Brahms;
and his Pf. Sonatas (2 vols. Langensalza,
1903-5); Chr. Graupner as Symphonist (1912): Pf.
Sonatas of Joh. Brahms; Esthetico-technical Analyses
(Stuttgart, 1915); Wilhelm Mauke (1919).-A. E.
NANI, Enrico. Ital. barit. b. Parma, 4 Nov.
1873. Known at all the principal theatres in
Europe and America. Stud. in Rome under
Antonio Cotogni, and made his debut in 1909.
His repertoire extends from L'Africana to
L'Elisir d'amore; is a good interpreter of Verdi
and Wagner operas.-D. A.
NANNY, Édouard. Fr. d.b. soloist; b. St.-
Germain-en-Laye in 1872. Has taught at Cons.
Paris since 1920. Author of Method of Double-
Bass (2 parts) (used at Cons.). Also wrote 60
Studies for same. Has given concerts throughout
Europe.-F. R.
NANSEN, Eva Helene (née Sars). Norwegian
singer; b. Christiania, 7 Dec. 1858; d. Lysaker,
near Christiania, 9 Dec. 1907. Stud. under
Thorva
Lammers Désirée Artôt de Padilla.
Concert-tours in her native land; also sang at
Stockholm, Upsala, Gothenburg, Copenhagen and
Helsingfors. Won great recognition for her soul-
ful interpretations, especially in oratorio; highly.
esteemed teacher of singing. In 1889 she married
famous explorer Fridtjof Nansen.-J. A.
NAPOLEÃO, Arthur. Portuguese pianist; b.
Oporto, 1843. Toured Europe and N. and S.
America as brilliant pianist; then settled in Rio
de Janeiro as proprietor of a pianoforte business.
NAPOLI, Gennaro. Ital. compr. b. Naples,
19 May, 1881. After having gained his diploma
in compn. at R. Cons. Naples, he won in 1906 in
Rome the Pensionato Nazionale per la Musica.
He then returned to Naples; became teacher
at Liceo Mus.; then at R. Cons. Of his compns.,
there must be mentioned a str. 4tet, a symphony,
cantatas, songs and pf. pieces (Ricordi) and a
3-act opera Jacopo Ortis; also a theoretical
work, Bassi imitati e fugati for ept. (Ricordi,
1915).-D. A.
NAPPI, Giovanni Battista. Ital. music critic;
b. Milan, 15 Jan. 1857. He has occupied for
many years the post vacated in 1885 by the
illustrious Filippo Filippi on newspaper La
Perseveranza of Milan. Amongst his publica-
tions may be mentioned: Cinquanta anni di
musica drammatica (1861-1911), for the book
Mezzo secolo di vita italiana (Milan, Vallardi);
Della necessità di una biblioteca popolare di cul-
tura musicale, in Records of the Educational
Musical Congress held on centenary of Cons. of
Milan. (1908).-D. A.
NAPRAVNÍK, Eduard F. (accent 2nd syll.).
Russ. compr. of Czech origin; b. Bejšt (Bohemia),
1839; d. Petrograd, 28 Oct./10 Nov. 1915. Stud.
1852-4 at Organ School, Prague, where he was
next a music-teacher. In Russia from 1861, first
as dir. of Prince Yussipof's orch.; then as
2nd, and from 1869 1st, condr. Court Opera
House, Petrograd. From 1869 to 1887 cond.
the concerts of the Russ. Mus. Soc., of Red
Cross and of Patriotic Soc., enjoying great
esteem in Russia both as compr. and condr. His
whole bent and his inclinations place him among
the Russ. comprs., his less important works
belonging to the Czech period.
Operas: Ničegorodci (1868); Harold (1886); Du-
brovsky (1895); Francesca di Rimini (1903); 4
symphonies; symph. works: Damon; Orient;
Ouverture Solennelle; suite, dances and marches for
orch. 3 str. 4tets; 2 trios; pf. 4tet; vn. sonata;
2 suites, cello and pf.: pf. concerto; 2 phantasies on
Russian folk themes for pf. and id. for vn.
and orch.; suite, vocal pieces with orch.;__ songs;
, etc. Consult: Weymarn, E. F. Nap-
choral works, indeisen, E. F. N. (1895), both in
ravnik
Russian (Petrograd). Most of his works are publ.
by Jurgenson.-V. ST.
NAT, Yves. Fr. pianist; b. Beziers in 1890;
lauréat in Diémer's class at Cons. Paris, 1906.
Has comp. pf. preludes, and a sonatina in which
he revolutionises pf. technique, and gives it an
added grandeur and force.-F. R.
NATIONAL COUNCIL OF MUSIC FOR WALES.
In Feb. 1918, the Royal Commission on
Univ. Education recommended that the Univ.
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NAUJALIS
should (a) establish a music directorship, (b) set
up a National Council of Music, to act as the
supreme consultative body on all matters con-
cerned with mus, education in Wales, (c) make an
annual grant to the Council funds. Within 3
months of issue of report, an endowment fund,
placed at disposal of Univ. by anonymous bene-
factors, enabled the Univ. to proceed at once to
appoint a dir. of music. The first appointment
was accepted by Dr. H. Walford Davies (now Sir
Walford Davies), who was concurrently appointed
prof. of music at Univ. Coll. Aberystwyth. The
dir. took up his duties in April 1919, and first
meeting of Council was held in June 1919. The
consists of the dir. (chairman ex-officio),
the profs. of music at constituent colleges of Univ.,
representatives of various educational bodies,
with a limited number of co-opted members.
The work already accomplished by the Council
includes the compilation and issue of a coll. of
Welsh hymns and tunes, a school and college
hymnal with anthems and carols, church
festival books, memorandum on music-teaching,
and music in secondary schools; the organisa-
tion of illustrated lectures on chamber-music
(mainly for secondary schools), of first-class
orch. fests, and of a summer school in music; the
placing of gramophones and records of lectures
and illustrations in elementary and secondary
schools; the establishment of weekly college
concerts at the colleges of Univ., and the general
stimulation of musical activity throughout the
Principality. For the illustrated lectures on
chamber-music, a trio of instrumentalists is made
available at each of Univ. colleges for paying
visits to surrounding schools, etc. The trio is
accompanied by a lecturer. Already some 400
visits have been paid by the trios to schools
in all parts of Wales. A gramophone scheme
ensures that a good instr. shall be placed in every
elementary and secondary school in Wales. In
addition to the director's lectures on melody,
the schools are encouraged to obtain records
selected by Council for their educational value.
The dir. holds frequent conferences with teachers,
directors of education, local education authorities,
and inspectors of schools, for the discussion of
the recognition of music as essential subject in
curricula of schools. Inquiries respecting Council
should be addressed: Sec., Welsh National Council
of Music, Music House, Aberystwyth.-J. C. McL.
NAUJALIS, Juozas. Lithuanian compr. b.
Raudondvaris, Kaunas district, 1869. In 1889,
graduated at Warsaw Mus. Inst. Then orgt. at
Vabalininkas, at Rietavas, and at Kaunas
(Kovno). In 1894, he went to Ratisbon to the
Higher Church Music School. Returned to
Kaunas as cath. orgt. and lecturer at theological
seminary. Formed a large choir, which sang
Palestrina's and other music. From 1898, held
secret practices with his Lithuanian choir (all
Lithuanian gatherings being forbidden under
Russian régime). Since 1919, he dir. the Kaunas
Music School and now dir. of State Music School.
NEBUSKA
Schrann); Requiem Mass, for 4 v. and organ (Mon-
iuszko Prízo, Warsaw); Tres Cantus Sacri (mixed vs.);
Solemn Mass (for 1 v.). His first compn. The Slav
Lands have risen (1892), sung at Petrograd Theological
Acad., was destroyed during a police search. From
the Lithuanian pross, he issued popular dainos for
mixed
male vs. and for solo v. and pf.;
Lithuanian Church Hymn; pf. duets; organ trio;
6 vols of Mattres contemporains de l'orgue (Warsaw,
Polish coll.); etc.-II. R.
NAVARRINI, Francesco. Ital. singer; b. Citta.
della (Veneto), 1858; d. Milan, 1923. One of
most renowned basses of recent times. Stud. in
his native city and in Milan; début at Treviso
in 1880; appeared at all principal theatres of
Europe and N. and S. America. His repertoire
was very extensive. At La Scala in Milan he
was first interpreter of Ponchielli's Marion
Delorme, of Gomez's Condor, and of Verdi's
Otello.-D. A.
Mass St. Casimir, for 4-v. male cholr (1895,
Pustet); Mass for Virgin Mary, for 2 v. (Düsseldorf,
NAYLOR, Edward Woodall. Eng. compr. and
orgt. b. Scarborough, 9 Feb. 1867. Stud. with his
father, who was orgt. of York Minster; organ-
scholar, Emmanuel Coll. Cambridge, 1884-8;
Mus.Doc. Cantab. 1898 (the first to take the
degree under the new regulations which required
residence, abolished examination and substituted
orig. compn.); orgt. various London churches; re-
turned to Cambridge where he has been orgt. and
mus. lecturer Emmanuel Coll. from 1897 on-
wards. Has written much church music for men's
voices; Hon. Fellow of the Coll. 1920; first ap-
peared as compr. July 1892, solo-cantata Merlin
and the Gleam (St. James's Hall, London). His
opera The Angelus won the Ricordi Prize and was
produced at Covent Garden in Jan. 1909, re-
peated in Feb., and was also perf. 10 times by
Carl Rosa Opera Co. 1921-2.
Operas: The Angelus (Ricordi); Slaves of Liberty,
comie (ms.). Pax Dei, requiem (Cambridge, 27 Feb.
1913) (Novello); Arthur the King, cantata (Harro-
gate, 1902; publ. Vincent); The Merry Bells of Yule
(Novello, 1898); Magnificat, double choir, comp.
1903 (Curwen, 1918); 8-v. motet, Vox dicentis, comp.
1911 (Curwen, 1919); orch.: Variations on theme
in B flat; Tokugawa overture in D (Tokyo, 1919);
5tet, trio, and other chamber-music (ms.). Books:
Shakespeare and Music (J. M. Dent & Sons); Eliza-
bethan Virginal Book (id.); Eng. version of Bio's.
History of the Piano (idOxford Univ. Press, April
and
in
Lon-
1910); Shakespeare Music (used by Mr. Poel in
don production of Hamlet, and Ital. production of
Twelfth Night in Milan; also in Weimar) (Curwen);
essays on Verdi and Wagner, H. Schütz, Jac. Handl
(Proceedings of Mus. Association, Novello); various
P12).
April 1912; Beethoven's IX Symphony,
-E.-H.
NEAL, Heinrich. Ger. compr. and teacher;
b. Munich, 1870. Son of Amer. painter David
Neal; pupil of Rheinberger (Munich) and
Draeseke (Dresden); 1894, founder, manager
and dir. of own Cons., Heidelberg. Generally
publishes his own works.
Studies for teaching: 24 Studies in all Ma. and Mi.
Keys as Introduction to Modern Music, op. 75; Pieces
for the Y
Young: Alpine Summer, op. 9; Children's Over-
ture for 2 pf. op. 36; studies in expression; sonata, op.
30; In a Castle, op. 58; Consolations, op. 70; Retrospect,
pf. (several sets); songs;
female and male c
mi.).-A. E.
op. 74; Ger. Rhapsodi. 3 str. 4tets (E flat; A; C
NEBUŠKA, Otakar. Czechoslovak music
critic and organiser; b. Mladá Boleslav, 1875.
Devoted himself first to compn. (songs, choruses
publ. by Fr. A. and M. Urbánek); afterwards to
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NEDBAL
critical work. One of the founders of Hudební
Revue. Some essays were publ. in Dalibor. His
chief efforts are given to Hudební Matice
Umělecké Besedy (see SOCIETIES) which chiefly
through his guidance acquired great importance
for modern Czechoslovak music.-V. ST.
NEDBAL, Karel. Czechoslovak compr. condr.
b. Králové Dvůr, 1888. Pupil of V. Novák and
J. B. Foerster; condr. of Amateurs' Symph.
Orch. Prague; then at Plzeň and Vinohrady
theatres; condr. of Vinohradský Hlahol; since
1921, condr. and director of Opera in Olomouc.
Scenic pantomimes, Bruncvik (book by A. Wenig)
and The Last Laugh (Raymann), both performed at
Vinohrady Theatre, Prague. Cello sonata (Chadim);
songs.-V. ST.
NEDBAL, Oskar. Czechoslovak compr. condr.
b. Tábor, 1874. Stud. at Cons. in Prague (Benne-
witz, Stecker, Dvořák); 1892, one of founders
of Bohemian Quartet, in which he played vla.
until 1906, and influenced their playing no little
by his temperament. After moving to Vienna
he cond. the new Tonkünstlerorchester very
successfully until 1918. He had already cond.
Philh. Concerts in Prague. Since 1918 N. has
cond. occasionally in Prague (1920-21 in Suk's
Philh.) and abroad. He possesses a remarkable
temperament, strength, rhythm, a brilliant
tone-mixture and a keen sense of gradation. In
compn. N. began in an eclectic but serious manner
(suite; vn. sonata; Scherzo-Caprice for orch.; pf.
pieces), but after the success of a fine ballet,
Pohádka o Honzovi (The Lazy John), Prague
1902, he sank to the operetta level, Vinobraní
(Vintager's Bride), Polská krev (Polish Blood),
and flimsily made ballets, Princess Hyacinte, Des
Teufels Grossmutter (The Devil's Grandmother)
(Andersen). His latest work, a comic opera
Sedlák Jakub (Peasant Jack), shows a more
serious tendency. Publ. Fr. A. and M. Urbánek;
Simrock. V. ST.
NEEDHAM, Alicia Adelaide. Eng. song-
compr. b. near Dublin. Stud. R.A.M. London
under Arthur O'Leary (pf.), Prout and Daven-
port (harmony); won song-compn. prize for 6
successive years at Irish Mus. Fest.; also £100
for best song in celebration of Coronation of
King Edward VII (1902). Has publ. over 600
songs (Boosey; Chappell, etc.).-E.-H.
NEF, Albert. Condr. and compr. b. St. Gall,
30 Oct. 1882. St Cons. in Leipzig and Ber-
lin, under Kretzschmar (compn.); Ph.D. 1906.
Since 1907, opera-condr. at Lübeck, Neustrelitz
and Rostock, where he also cond. the Singaka-
demie; cond., since 1913, Opera at Berne.
Wrote Das Volkstümliche Lied in der Schweiz im
letzten Drittel des 18 de I am Anfang des 19 Jahrhun-
(Zurich, Hug).-F. H.
NEFF, Fritz.
Ger. compr. b. Durlach, 20
Nov. 1873; d. Munich, 3 Oct. 1904. Pupil of
Mottl and of Thuille; talented compr. of Munich
School.
Songs; Polish Inn (b. and orch.); Chorus of the
Dead, op. 5, mixed chorus with orch.; mixed choruses;
Schmied Schmerz (op. 6); Weihe der Nacht.-A. E.
NEGRO SPIRITUALS. These Amer. planta-
tion-songs are spontaneous outbursts of intense
NEJEDLÝ
religious fervour, which had their origin chiefly
in camp-meetings and religious revivals. As the
simple utterance of untutored minds, they are
practically the only music in America which
meets the scientific definition of Folk-Song. They
must be sung reverently and impressively, for
they breathe a hope and a faith in the ultimate
justice and brotherhood of man. The two finest
singers of Negro Spirituals are H. T. Burleigh
(barit.) and Roland Hayes (t.). See arts. on them;
and, for Negro music generally, see CURTIS,
NATALIE; DETT, R. N.; FARWELL, ARTHUR;
KREHBIEL, H. E.-H. T. B. & E.-H.
NEITZEL, Otto. Ger. compr. and author; b.
Falkenburg, Pomerania, 6 July, 1852; d.
Cologne, 10 March, 1920. Pupil of Kullak's
Cons. and Univ., Berlin; acc. Pauline Lucca
and Sarasate on concert-tour; 1878, dir. of
Strasburg Mus. Soc.; 1879-81, mus. dir at
Strasburg Stadttheater; also teacher at Cons.;
teacher at Moscow Cons.; 1885, at Cologne
Cons.; 1887, critic of Kölnische Zeitung.
Operas: Angela (Halle, 1887); Dido (Weimar,
1888); The Old Man of Dessau (Wiesbaden, 1889);
Barbarina (Wiesbaden, 1904; Leipzig, 1913); The
Judge of Kaschau (Darmstadt, 1916, own libretto);
satirical play, Valhalla in Distress
1905);
pf. concerto, op. 26; pf. pieces, op. 36., 19.
4th ed. 1908); Camille Saint-Saens (1898); Beethoven's
Symphonies explained according to their Stimmung"
(1898); (with Ludwig Riemann) Explanations, for
Hupfeld's Phonola and Dea-Künstler roll repertory
(1909); From my Music Folio (1913). Consult A.
Dette, Barbarina (with biography of N.).-A. E.
NEJDANOVA, Antonina Vassilievna (accent
2nd syll.AN). Russ. singer; b. Odessa, 1875. Pupil
of Mazetti at Moscow Cons. Gold medallist, 1902;
attached to Grand Opera House, Moscow. Sang
at Grand Opera, Paris (1913), and elsewhere. In
1918, received degree of People's Artist of Russ.
Republic. Repertoire of about 30 operas, Russ.
and foreign.-V. B.
NEJEDLÝ, Zdeněk. Czech music critic and
historian; b. Litomyšl, 1878. Stud. at Prague
and abroad; graduated Ph.D. Prague Univ.;
prof. of mus. science and aesthetics there in
1905. His intelligence in every direction, his
indefatigable industry and his passionate interest
in all cultural matters led him away from the
purely musical sphere into that of general
literature, history, and political journalism.
At first he contributed to various daily and
musical periodicals; since, 1910 he has written
for his own musical journal, the Smetana, which
he founded. As a pupil of the aesthetician Otakar
Hostinský (q.v.) he has introduced scientific
methods into Czech musical criticism, as well as
the zeal for progress, the endeavour to grasp
the main essence of each problem, and a demand
for a moral basis in art. The open way he goes
to work, his temporary inability to distinguish
the ideal intentions of work criticised from the
actual artistic realisation, together with his
often aggressive disposition, called forth justifi-
As
able opposition to his critical activities.
musical historian, he concentrated at first on
Hussite period: History of Pre-Hussite Vocal
Music in Bohemia (1904); Beginnings of Hussite
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NĚMEČEK
Vocal Music (1907); History of Hussite Vocal
Music during the Hussite War (1913). The person-
ality of Bedřich Smetana was the second subject
on which his research work concentrated. He
dedicated some preliminary works to this sub-
ject (Smetana's Operas, 1908; Smetaniana, I,
1922); critical editions of opera texts; and
is editing a complete ed. of S.'s works, in order
to write a definitive biography of this master
(planned in 5 vols.; Vol. I, 1923). In addition
to the books mentioned above, there are the
following works (all in Czech):
Zdenko Fibich, 1901; Catechism of History of Czech
Music, 1903; Catechism of Esthetics, 1902; Modern
Czech Opera from Smetana onwards, 1911; J. B.
7, 1910; Gustav Mahler, I; Richard Wagner, 1;
Foerster,
Vitězslav Novák, 1921; General History of Music,
1921. Publ.: Hejda & Tuček; J. Otto; M. Urbánek;
mus. review Smetana (all in Prague).-V. ST.
NĚMEČEK, Emil. Czechoslovak compr. b.
Příbram, 1902. Pupil of Cons. in Prague; wrote
some remarkably clever early compns. When
twelve years, old wrote opera Three Kisses
(Vrchlický); later on Lucerna (Jirásek); finally
(1917-18) The Queen's Error, one act, perf.
at National Theatre, Prague, 1922. Also
sonatas for vla.; for cello; songs, choruses
(ms.).-V. ST.
He
NERUDA, Franz Xaver. Cellist, condr.
compr. teacher; b. Brünn, 3 Dec. 1843; d.
Copenhagen, 20 March, 1915. A descendant of
an old and well-known mus. family Bohemia.
Upon a concert-tour with his sisters (one of these
being Wilma Neruda, "die Geigenfee," after-
wards Lady Hallé) he came to Copenhagen,
where he settled. He soon became a popular
teacher and one of leading factors in mus.
life of Danish capital during, and just after,
the Gade period. Member of R. Chapel 1864-76.
In 1868, founded the Chamber Music Soc.,
which still holds its leading position.
was later one of founders of R. Chapel Soirées
and founded, for his private pleasure, what later
became famous as the Neruda Quartet (1st vn.
Anton Svendsen), which did much to advance
the cause of chamber-music in Denmark. After
his sister Wilma (Lady Hallé) settled in London,
he frequently visited her there and assisted in
her chamber-music concerts. He was also closely
allied to the mus. life of Stockholm as condr. of
the leading mus. soc. there. However, he had
his home in Copenhagen, and after Niels W.
Gade's death he was chosen to succeed him in
the leadership of the Musikforening (Music
Soc.). His works, which reached op. 70, have
been publ., partly by Danish firms, partly in
Germany and Bohemia.
NEUPERT
op. 74 (id.); str. 4tet, op. 35 (Hansen); Musikal
Märchen, clar. vla. cello, op. 31 (id.).-A. H.
NEŠVERA, Josef. Czechoslovak compr. b.
Praskolesy, 1842; d. 1914. First a teacher; then
choirmaster, Olomouc Cath. (1884 till death).
His style is eclectic, influenced by German
Romanticism, by Smetana, and even by salon
music.
Hansen);
Böhmerwald, orch. suite, op. 42 (Copenhagen,
Rahter); ade, vn. and orch. op. 43 (Hamburg,
Nordisk Musikforlag); Berceuse slave, vn. pf. (ib.
hongroise, vn. op. 44 (Copenhagen,
Hansen); cello
p. 59 (Prague, U Urbánek):
op.
NEUPERT, Carl Fredrik Edmund. Norwegian
pianist; b. Christiania, 1 April, 1842; d. New
York, 22 June, 1888. Pupil of father, Herman
Neupert, who had come from Schleswig to Nor-
way; 1858-64, pupil of Theodor Kullak, Berlin
(pf.) and of Kiel (compn.). After some concerts
in Germany, the critics placed him on a level
with Liszt, Rubinstein and Tausig, and his sub-
sequent concert-tours increased his fame as a
virtuoso; 1866-8 pf.-teacher at Stern's Cons.
Berlin; 1868-80, at Copenhagen Cons. (establ.
by Gade). In 1880, prof. at Imperial Cons. in
Moscow; gave successful concerts in that city
and in Petrograd, where he played, inter alia,
Grieg's pf. concerto. After Rubinstein's death in
1881, N. gave up his post in Moscow, and re-
turned to Norway, where he started a pf.-school;
but the conditions were too restricted to enable
him to make a permanent living at home. In
1882 he left Norway, gave several concerts in
America (New York and Boston, 1882; in Cali-
fornia, 1883); from 1883 prof. at newly-started
Cons. in New York. As virtuoso, player of
chamber-music and pf.-teacher N. enjoyed a
constantly increasing reputation in the New
World. N. was in his life time undoubtedly Nor-
way's greatest pianist, a virtuoso of really in-
ternational dimensions, representative of the
grand style, which aimed first and foremost at
clearness, strength, objectivity (as regards mus.
subject-matter), and a brilliant technical equip-
ment. As a teacher he was famed for his logically
developed pf.-tuition, the "Neupert Method,
which became the leading method in the North,
and still forms the basis for pf.-instruction there.
In a number of excellent educational works N.
embodied the results of his wide experience and
rare capabilities. As a compr. he also won a
respected name with his pf. pieces. There is,
in several of his ballades, character-pieces and
studies, a touch of the romantic spirit of the
51
cello and pf.: 3 op. 39, and 3 Stücke, op. 41
(Leipzig, Kistner): Andante and Allegro de Concert
(with orch.); op. 40 (Nordisk Musikforlag); Mazurka,
op. 64 (Rahter); pf.: sonata, op. 19 (Breitkopf);
Theme and variations, op. 49 (Nordisk Musikforlag)
6 Etudes, op. 53 (id.); Theme and variations, op. 62
(Hansen); 5 pieces, c
fugues, op. 78 (12 op. 65 (Urbánek); preludes and
seta; Rahter);
variations, op. 62 (Hansen); Theme and variations,
op. 72 (Ralter); Introduction, Andante and Fugue,
346
Operas: Perdita (1897); Lesní vzduch (Woodland
Air); Radhošt (1906); oratorio, Job; De profundis
(1889, well known); series of cyclic and smaller
pieces for orch.; chamber-music; pf. pieces: Old-
fashioned Songs; Love Songs; 40 masses.-V. ST.
NEUHAUS. See NEWHAUS.
NEUMANN, František. Czechoslovak compr.
b. Přerov, 1874. Stud. at Cons. in Leipzig
(Jadassohn; Reinecke). For 15 years condr.
of Frankfort Opera; from 1919 chief of Brno
Opera, which rose quickly under his guidance,
competing with Prague Opera in repertory and
standard of performance. Conducts symphony
His style of compn. is eclectic with
Wagnerian and veristic elements.
concerts.
Operas: Námluvy (Wooing) 1901, Linz; Milkování
(Loving) on Schnitzler's Liebelei (Schott); Equinoc
tium (Berlin, Harmonie Verlag); Beatrice Caracci
(Brno, Barvič). Cantata, Boufe (The Storm), soll,
chorus, orch.-V. ST.
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NEVADA
North. He frequently made use of Norwegian
folk-music, but otherwise he was chiefly in-
fluenced by Schumann, Chopin and Liszt.
Norwegian Ballade, op. 58; musle-picture, Before
the Battle: 6 Imations on Norwegian themes;
Funeral March for Nicolas
characteristic
Rubinstein; concert studies; technical studies, etc.
(publ. Hansen, Copenhagen).-J. A.
NEVADA, Mignon. Soprano singer; b. Paris.
Daughter of Emma Nevada, celebrated opera
singer; début at Costanzi Theatre, Rome, as
Rosina in Barber of Seville; then a whole season
at San Carlos Theatre, Lisbon; Pergola Theatre,
Florence; Covent Garden (autumn, 1910);
Rome; Florence; Antwerp, 1912-13-14; 3
seasons under Sir Thomas Beecham's manage-
ment, creating La Jolie Fille de Perth (Bizet);
1920, sang at Opéra-Comique, Paris.-E.-H.
NEVILLE, Charles. Eng. t. singer; b. Roch-
dale, 14 Aug. 1872. Stud. R. Manchester
Coll. of Music, under John Acton, and with
Ernesto Baraldi and Francis Korbay; has sung
with O'Mara, Empire, J. W. Turner, Denhof,
and Carl Rosa opera companies. Many song-
recitals, especially Hugo Wolf's songs, which he
has sung more frequently than any other Eng.
singer.-E.-H.
NEVIN, Arthur Finley. Amer. compr. Edge-
worth, Pa., U.S.A., 27 April, 1871. Brother of
Ethelbert. Stud. from 1891-3 at New England
Cons. in Boston under Bendix (pf.), Nobbs (v.),
Goetschius (theory); 1893-7 in Berlin under
Klindworth and Jedliczka (pf.) and Humper-
dinck (compn.). From 1915-20, prof. at Univ. of
Kansas. Since 1920, dir. of municipal music and
dramatic art in Memphis, Tenn. His Indian
opera Poia was produced in Berlin, 23 April,
1910. A 1-act opera, A Daughter of the Forest,
was brought out in Chicago on 5 Jan. 1918.
Two orch. suites, Lorna Doone and Love Dreams
(ms.); pf. trio and a str. 4tet.
NEY
A Sketchbook, songs and pf. pieces, op. 2 (Boston
Music Co. 1893); Un Giorno in Venezia, pt. op. 25
(Church, 1898): Water Scenes, pf. op. 13 (No. 4 is
Narcissus) (Boston Music Co. 1891). Many vn.
pieces and songs (Church; Boston Music Co; Ditson;
Schirmer).-O. K.
Russ.
NEWHAUS, Heinrich Gustavovitch.
pianist; b. Elisavetgrad, 12 April (n.s.), 1890.
Pupil of Godowsky in Vienna Acad. of Music
(master-school) 1912-13; won the State prize;
1916-17, teacher at Tiflis (music school of Russ.
Music Soc.); 1919-22, prof. at Kief Cons.; now
(from 1922) prof. at Moscow Cons. A very gifted
performer of Scriabin, Szymanowski, and other
contemporary composers.-V. B.
NEWMAN, Ernest. Eng. writer on music; b.
Liverpool, 30 Nov. 1868. Originally intended for
Indian civil service; diverted into business at
Liverpool by ill-health; 1903-5, taught music in
Midland Inst. in Birmingham; 1905-6, music
critic for Manchester Guardian; 1906-19, Bir-
mingham Post; 1919-20, London Observer; from
March 1920, Sunday Times, London; also
weekly writer for Glasgow Herald, from Nov.
1923. He ed. the monthly Piano-Player Review
from its foundation, Sept. 1912, till May 1914.
N. has the largest following of all the Eng.
music-critics. A deeply-read musician with a
profound knowledge of orch. scores, his intense
admiration of the Ger. classical and Romantic
comprs. and his thorough-going study of them,
makes him a severe judge of contemporary
schools. His book on Hugo Wolf is one of the
finest studies made of any composer; though
his placing of Wolf "at the head of the song.
writers of the world" (p. 153) has received
little, if any endorsement.
Poia, 3-act opera (Fürstner, 1910); A Daughter of
the Forest, 1-act
The Djinns, cantata (vocal score Church, 1917);
(Schirmer, 1913); From Edge-
worth Hills, pf. (Church, 1903); 2 numbers from
(id. 1903); Toccatella, pt. (id. 1920). Many songs
(id.).-O. K.
NEVIN, Ethelbert Woodbridge. Amer. compr.
b. Edgeworth, Pa., U.S.A., 25 Nov. 1862; d. New
Haven, Conn., 17 Feb. 1901. Stud. pf. under
Von der Heide and Günther in Pittsburgh;
1877-8, pupil in singing of Boehme in Dresden.
Continued stud. under Lang (pf.) and Emery
(theory) in Boston. 1884-6, stud. in Berlin under
v. Bülow, Klindworth and Karl Bial. After that,
lived chiefly in Boston, Paris, Italy and New
York, devoting himself to compn. and concert
work. His compns. consist almost entirely of pf.
pieces and songs, all written in the simple style
that found a ready acceptance with a wide circle
of admirers. His pf. piece Narcissus (Boston
Music Co.) attained world-wide popularity.
Of his songs The Rosary (id. 1898) almost
equalled Narcissus in popularity, and Mighty
Lak' a Rose (John Church) also became well
known. A choral work, The Quest, was orches-
trated by Horatio Parker after N.'s death (vocal
score J. Church, 1902). Also:
Gluck and the Opera (Dobell, 1895); A Study of
Wagner (Dobell, 1899); Wagner ("The Music of the
Masters") (Wellby, 1904); Musical Studies (J. Lane,
1905); Elgar (id. 1906); Hugo Wolf (Methuen, 1907);
Richard Strauss (J. Lane, 1908); Wagner as Man and
Artist (J. M. Dent & Sons, 1914); 4 Musical Motley
(J. Lane,
The Piano-Player and its Music
(Grant Richards).
opera-texts; of Schweitzer's J. S. Bach; Weingart-
ner's On Conducting, etc.-E.-H.
NEWMARCH, Rosa. Eng. writer on music;
b. Leamington Spa. Stud. painting for a time;
from 1880-3, engaged in journalistic work in
London; in 1897, visited Russia and came into
personal contact with many of the chief Russ.
comprs. (Rimsky-Korsakof, Glazunof, the critic
Stassof); she has since visited Russia many
times; writer of analytical notes for the Queen's
Hall Promenade programmes, over a long period.
Henry J. Wood (J. Lane, 1904): The Russian
Opera (H.
1916). Transl.: Deiter's Johannes Brahms (1887):
Habet's Borodin and Liszt (Digby, Long
blography (J. Lane, 1900); V. d'Indy's César
Peter Ilich Tchaikovsky, from his brother № 1890
(id.): many arts, on of Music and in various
Biog. in Grove's
journals.-E.-H.
Russ, music in Dict.
NEY, Elly. Pianist; b. Düsseldorf, 27 Sept.
1882. Stud. at Cologne Cons. (Isidor Seiss, K.
Böttcher), in Vienna (Leschetizky, Sauer); won
Mendelssohn and Ibach prizes; teacher at
Cologne Cons.; 1911, married Dutch violinist
and condr. Willy von Hoogstraten (who was till
1919 in Crefeld; now condr. in New York).-A. E.
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NICASTRO
In
NICASTRO, Miguel M. Argentine violinist; b.
Montevideo, 1888. Stud. under Massi, Scarabelli
and Melani. In 1901, went to Naples to study.
First violinist in several orchs. in Italy. D'Albert,
at one of whose concerts he played, sent him to
Berlin to perfect himself under Joachim.
1908, N. began concert-touring in Germany and
Italy. Went to Buenos Ayres in 1909, where he
gave successful concerts, returning to Germany
to complete his contract. Returned to S. America
in 1910, settling down definitely in Buenos
Ayres in 1912, to devote himself to teaching.
Among his 8 famous violins are a Stradivarius
and a Guarnerius del Gesù.-A. M.
NICHOLL, Horace Wadham. Eng. compr. and
orgt. b. Tipton, near Birmingham, 17 March,
1848; d. New York, 10 March, 1922. Taught
by his father and Samuel Prince; orgt. Dudley
1867-70; Stoke-on-Trent 1868-70; orgt. St.
Pauls' Cath. Pittsburg, and later at a Pres-
byterian church there (1870-8); from 1878,
has lived in New York; from 1883, reader for
Messrs. Schirmer there; 1888-95, taught at
Farmington, Conn. His organ preludes and
fugues are amongst the finest written for the
organ during the last hundred years. They
are diatonic in the Bach
and show
a treatment of the instr. which was very
advanced at the time of their composition.
He was chiefly a contrapuntal compr. infusing
modern harmonic feeling into the Bach style.
In his choral and orch. works, he followed Liszt
and Wagner.
Orch. 2 symphonies (G ml. op. 8; C, op. 12);
2 symph. fantasias (op. 5, 7); 2 symph. poems
(Tartarus,
op. 11; Hamlet, op. 14); Suite, op. 3;
concerto, D ml. op. 10; Scherzo-Fugue, small
pf.
The
Golden Legend); Mass in E flat: 4 Cloister Scene;
sonata, cello and pf. op. 13; sonata, vn. and pf.
op. 21. Organ: 12 symph. preludes and fugues
(Breitkopf): 12 short preludes and fugues (Peters);
sonata, A mi. op. 42); symph. poem, Life (id.);
6 short melodious pieces (id.); fantasia on Psalm
CXXX (id.); Die Pleiaden, op. 40 (id.); 6 peda]
studies, op. 47 (id.), etc.; 12 concert-preludes and
fugues for organ (publ. posthumously by Schirmer,
1924); pf. pieces; songs; text-book on harmony.
-E.-H.
NICHOLL, Joseph Weston. Eng. compr. and
condr. b. Halifax, Yorks, 7 May, 1875. Stud. vn.
compn. pf. organ at Berlin Cons.; then organ
under Rheinberger in Munich; played R.'s con-
certo in F at celebration concert there in 1900;
then stud. under Guilmant for a year; in 1906,
condr. Yorkshire Military Band; shortly after-
wards, of the Black Dyke Brass Band. In 1922,
he inaugurated Halifax Competition Mus. Fest.
and in 1923, Halifax Brass Band Fest.
Concert overture, organ and orch. (prize, Dover
Fest. 1904); symph. poem, Alastor; tone-poem, In
English Seas; Eclogue, orch.; 1-act music-drama,
Comala; Festival-Overture, military band (Crystal
Palace contest, 1913); tone-picture, The Viking,
brass band (1923); choral pieces, songs, etc.-E.-H.
NICHOLLS, Agnes Harty. See HARTY,
AGNES.
NICOLAU
considerable success in 1892. His pf. writing
is refined.
3 orch. suites (ms.); 3 cantatas (ms.); wood-wind
5tet; 2 4tets, pf. and str. (op. 24; op. 37, The Four
Winds); 2 tríos (all ms.); over 60 songs (Cary;
Curwen; Stainer & Bell); over 50 pf. pieces (Bayley
& Ferguson; Curwen; Breitkopf; Larway; Wood;
Weekes); The Technique of the Pf. Pedals (Stainer
& Bell). E.-H.
NICHOLLS, Frederick. Eng. compr. b. Bir-
mingham, 8 Jan. 1871. Stud. at Liverpool Coll.
of Music; now teaches in Liverpool. His Love-
Songs of Tennyson, op. 5 (Stainer & Bell) had a
348
NICHOLSON, Sydney H. Eng. orgt. b. London,
9 Feb. 1875. Stud. at Rugby School under Dr.
Basil Johnson; R.C.M. under Sir Walter Parratt
and Sir Charles Stanford; Frankfort-o-M. under
Ivan Knorr; orgt. and choirmaster Carlisle Cath.
1904; Manchester Cath. 1908-18; Westminster
Abbey from 1918, where his mus. work is char-
acterised by a high standard and the purest
Anglican tradition, which he elects to follow.
British Songs for British Boys (Macmillan); 3
children's cantatas (Curwen); church music (Cur-
wen; Novello; Faith Press); cantata, "1914"
(Curwen); part-songs (Year Book Press); pamphlets
(Church Music Soc.).-E.-H.
NICKSON, A. E. H. Australian orgt. and
teacher: b. Melbourne. Clarke Organ Scholar,
R.C.M. London, under Sir W. Parratt: orgt.
St. Peter's, Melbourne, 1902: lecturer on har-
mony, etc. in Univ. of Melbourne. Examiner on
Australian Univ. Exam. Board.-G. Y.
NICODÉ, Jean
Ger. compr. b. Jersitz,
near Posen, 12 Aug. 1853; d. Langebrück,
5 Oct. 1919. 1869, stud. at New Acad. of Music,
with Kullak (pf.) and Würst (theory), Kiel
(cpt. and free compn.) in Berlin. After several
years as teacher and pianist in Berlin, and
concert-tour through Galicia and Rumania
with Mme. Artôt, went (1878) as pf. teacher
to Dresden Cons.; 1885, took over manage-
ment of Philh. Concerts; resigned same, 1888;
estab. (1893) Nicodé Concerts, for which he
trained Chemnitz Town Orch.; 1896, establ.
the Nicodé Choir, combined it with Town Orch.,
thereby able to produce new and rarely heard
works; 1900, retired to Langebruck, near
Dresden; 1919, Member of Berlin Acad.
for Art.
Symph. poems: Mary Stuart: The Search for Luck;
Glory (with chorus, 1904); symph. variations; 2 orch.
suites (Pictures of the South); symphony (male chorus,
Wanderings in the Mountai, Op. 31, 1888; Early
(unaco. symphony for
male chorus); After Sunset (symph. picture for male
chorus unacc.); Requiem (from Hebbel, for male
chorus unacc.); Carnival Pictures; sonatas for cello,
op. 23 and 25; pf. sonata, op. 19; pf. studies, op. 20
and 21; songs. N.'s works are rather superficially
effective. Consult Th. Schäfer's J. L. N. (1917).-
A. E.
NICOLAU, Antonio. Span. compr. of the
Catalonian group, of which he shares the leader-
ship with his colleague Luis Millet. He is one
of the veteran champions of mus. culture in
Spain. A former dir. of Sociedad de Conciertos
de Barcelona, in which capacity he gave the 1st
perf. in Spain of Berlioz's Damnation de Faust.
Teacher of Lamote de Grignon and other leading
musicians of present generation. His symph.
poem in 3 parts, El Triunfo de Venus, received
its first perf. in Paris in 1882. His importance as
a compr. of choral music remains unsuspected
outside Spain, his best-known work in this style
being La Mort del Escolá, a piece that ought
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NIECKS
to be in the repertoire of every choral soc.
throughout the world. He lives in Barcelona.
El Rapto, comic opera (Madrid, 1887); Constanza
(Liceo, Barcelona); La Tempestad, dramatic scena
(ib.), sung by Tamagno; several songs; symph.
poems, Enhora and Spes.-P. G. M.
NIECKS, Frederick. Univ. prof. and author;
b. Düsseldorf, 3 Feb. 1845; d. Edinburgh, 24
June, 1924. Studied violin under his father,
Dr. Langhans, Grünwald, and Auer; pf. and
compn. under Tausch; played in Düsseldorf
orch. under Tausch (Schumann's successor); in
Cologne Gürzenich orch. under Hiller; played
vla. in quartet of Auer and De Swert. Career as
vn. virtuoso abandoned on account of health.
In 1868, made acquaintance of young A. C.
Mackenzie (Sir Alexander) then visiting Düssel-
dorf, who suggested his going to Scotland as
member of his quartet. Settled in Dumfries in
1868, removing to Edinburgh a few years later,
but returning to Dumfries on medical advice;
remained there teaching, writing, and travelling,
until 1891 when appointed Reid Professor of
Music at Edinburgh Univ. There he inst. a
complete music curriculum for degrees of
Mus. Bac. and Mus. Doc., personally lecturing on
harmony, opt., compn., form, history, æsthetics,
instrumentation, acoustics, etc. Gave every year
a series of historical concerts. Retired from chair,
May 1914. Mus. Doc. Dublin h.c. 1898; LL.D.
Edinburgh h.c. 1915. He contributed monthly
articles to the Monthly Musical Record from 1876
up to 1924. Naturalised British subject, 1880.
Concise Dictionary of Musical
Terms
1884); Frederick Chopin as a Man and Muner,
2 vols. (Novello, 1889, 1890; Ger. ed. 1890); Pro-
gramme Music in the last 4 Centuries: A Contribution
to the History of Mus. Expression (Novello, 1907).
Especially notable is his series of arts. Supplementary
and Corrective to Biography of Schumann (Monthly
Musical Record 1921-3).-E.-H.
NIELSEN, Carl August. Danish composer;
b. in a village near Odense, 9 June, 1865. His
father was the county fiddler, and when his
young son, Carl, showed a decided taste for music
he was put to play the bugle in an infantry
battalion in Odense, where he made his first
efforts as a composer. Amongst these was a little
string quartet, which he took with him to Copen-
hagen, and showed to Niels W. Gade, who at
once recognised his talent and arranged for him
to enter the Royal Conservatoire as pupil, where
he acquitted himself brilliantly, and became a
violinist of Royal Chapel (1889-1905). His first
ripe works date from this period. His first sym-
phony and a string quartet at once disclosed a
rising star in the Danish musical firmament.
For 2 years, he was also conductor of the Opera;
later, member of board of governors of Royal
Conservatoire; 1915, succeeded Neruda as direc-
tor of the Musikforening (Music Society).
NIETZSCHE
5 symphonies (of which No. III, Espansiva, and No.
IV, L'Inestinguibile, made sensational successes); con-
cert overture, Helios; choral work, Hymnus Amoris;
2 operas, Saul and David and Mascarade (the latter
a comic opera, based upon an old Holberg text),
both produced at R. Opera, Copenhagen; music to
Oehlenschläger's drama Aladdin; vn. concerto; 4
many songs and ballads
str. 4tets; 2 vn. sonatas H.
(Copenhagen,
NIELSON, Ludolf.
Danish compr. b. Nörre
Tvede, near Næstved, Zealand, 29 Jan. 1876.
Pupil of R. Cons. Copenhagen. Until 1909
vice-dir. of Tivoli and Palace popular orch. con-
certs, where he also played the vla. Talented
compr. of symph. and dramatic works.
As a composer, he stands to-day in every way
among the very first Scandinavian composers of
our time. He is absolutely modern, but without
allying himself with any special coterie or trend.
Upon a solid contrapuntal basis he builds his
tonal structures that are filled with artistic
spirit and an intellectual atmosphere peculiarly
his own.
2 symphonies; 2 suites; 3 symph. poems; concert
overture; 2 str. 4tets; pf. pieces; songs; 2 operas,
Uhret (The Clock) and Isbella; ballet, Lakschmi. The
last two have been produced at R. Theatre, Copen-
hagen.-A. H.
NIEMANN, Walter. Ger. author and compr.
b. Hamburg, 10 Oct. 1876. Son of pianist and
compr. Rudolf Niemann; pupil of father and
of Humperdinck, 1897; 1898, entered Univ.
and Cons. Leipzig (Reinecke, Riemann); 1906-7,
temporary engagement at Hamburg Cons.;
1907-17, mus. critic of Leipzig Neueste Nach-
richten.
Music and Musicians of XIX Century (1905;
of Pf. Man Music (1906); Short Outline of History
tury (1911);
(1907, 9th to 12th ed. 1921); Grieg (with
-Dictionary for Pf. Players (1912,
4th ed. as pf. dictionary 1918); Music of Present Day
(since Richard Wagner) (1913, 13th to 17th ed. 1921);
Jean Sibelius Northern Music (1918);
Virginal Music (1913); Masters of the P. (1919, 9th
to 14th ed. 1921); Brahms (1st to 8th ed. 1920).
Altered entirely 4th ed. of Ad. Kullak's Esthetic of
Pf. Playing (1905, 8th ed. 1920) and 2nd ed. of Otto
Klauwell's Forms of Instrumental Music (1918); publ.
Ph. Em. Bach's Versuch über die wahre Art des Clavier
zu spielen (1906, 3rd ed. 1920); also ancient organ
music: Frobergeriana (with expression signs); rev.
ancient and modern pf. works; devoting himself now
to
Travelling Pictures, op. 10 Dresden China, op. 6:
Coloured Leaves, op. 13;
Variations, op. 20 (after Fehrs), and op. 25 (after
suites (after Hebbel, Claus Groth, Theo-
Camoens) Jacobsen, Hesse): Holstein Idylls, op. 9;
dor
Black Forest Idylls, op. 21; German Country and
Round Dances, op. 26; sonatinas, op. 24; nocturnes,
op. 28 and 30: Romantic Miniatures from Jacobsen
and Storm, op. 33 and 47; Pompeii, Romantic Minia-
tures in Mosaic, op. 48; 24 preludes, op. 55; Dres-
den China (after P. Claudel, op. 63); 20 Masks, op. 59;
melodrama, op. 27; pf. sonatas, op. 60, 75, 83, 88
pf. and vn. sonata, op. 70; Tone-pictures, op. 71;
Preludes, Intermezzi and Fugue, op. 73; The Garden
rends (10 impressions), op. 76, etc.; Rhine
str. orch. and horns; Anakreon, str. orch.
op. 50.-A. E.
NIETO, Ofelia. Contemporary Span. dramatic
singer; b. Madrid. Perf. Teatro Real, Madrid;
Liceo, Barcelona, La Scala, Milan; Metropolitan
Opera House, New York, etc.-P. G. M.
NIETZSCHE, Friedrich. Polish philosopher; b.
Röcken, 15 Oct. 1844; d. eimar, 25 Aug. 1900.
1869-79, prof. of classical philology, Basle;
then, I his mental derangement (1889), resided
in Engadine or Italy. At first, most spirited
adherent of Wagner. Writings: Birth of Tragedy
from the Spirit of Music, 1872; Richard Wagner
at Bayreuth, 1876 (Thoughts out of Season).
Nietzsche later became an adversary of Wagner,
showing distate for Catholic-ascetic tendency
of Parsifal (Der Fall Wagner, 1888; Nietzsche
contra Wagner, 1889), and championed Southern
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NIEWIADOWSKI
dances, and anti-Romantic music. Comp. songs,
pf. pieces, choral works.
Consult: II.
F. N. and R. Wagner (1907);
W. Dahma, Bélartion of Music: an Apotheosis of
F. N. (Munich, 1922); L. Griesser, N. and Wagner,
(1923); see particularly Nietzsche Letters to Peter
Gast (1908).-A. E.
NIEWIADOWSKI, Stanisław. Polish compr.
music critic; b. Soposzryn, Galicia, 4 Nov. 1859.
Stud. theory under Karol Mikuli (pupil of Chopin)
at Lemberg; then in Vienna under Krenn;
1886-7, manager of Lemberg Opera; 1888-1914,
teacher of theory, Lemberg Cons.; 1918-19,
again manager of Lemberg Opera. Since 1919,
he has remained at Warsaw as prof. of aesthetics
and history of music at State Cons. Has written
mus. criticism in several newspapers since 1890.
Translated into Polish Hanslick's treatise Vom
Musikalisch-Schönen. Very popular and beloved
in Poland as a song-compr. His works are also
publ. in foreign countries.-ZD. J.
NIGGLI, Friedrich. Pianist, compr. b. Aar-
burg (Switzerland), 15 Dec. 1875. Son of Swiss
musicographer Arnold N.; stud pf. and compn. at
Zurich Cons. under Rob. Freund, L. Kemptner
and Fr. Hegar (1893-6), and 1 year at Odeon
in Munich, under Rheinberger. Won the Mozart
Scholarship in pf. competition at Frankfort,
where he became pupil of
Knorr and B.
Scholz; in 1899 stud. under Sgambati in Rome;
1900 under Fauré in Paris; 1901 in Berlin under
Urban. Since 1901, teacher at Cons. in Zurich
for pf. and compn. His mus. style is founded on
Swiss folk-song; he has written a great number
of charming dialect-songs.
Cello sonata, op. 6; vn. sonata, op. 7; Lasst hören
aus aller Zeit (O. v. Greyerz), Swiss folk-song play,
for soli, chorus and small orch. op. 17; numerous
unaco. choruses and songs (Leipzig, Hug).-F. H.
NIKISCH, Artur. Hungarian condr. b. Lébény
Szent Miklos, 12 Oct. 1855; d. Leipzig, 23 Jan.
1922. Stud. Vienna Cons. In 1874, violinist, Vi-
enna Hofkapelle; 1878, Korrepetitor, Leipzig
Opera; 1879-89, 1st condr. there; 1889, Boston
(Mass.) Orch.; 1893, Hofkapellmeister, Budapest
Opera; 1895 (till death) condr. Gewandhaus Orch.
Leipzig; also condr. Berlin Philh. Orch. One
of the most brilliant condrs.; specially great in
Wagner's music.-E.-H.
NIKOLAEF, Leonid Vladimirovitch (accent the
A). Russ. compr. and pianist; b. Kief, 1 Aug.
(o.s.), 1878. Stud. pf. under Safonof at Mos-
cow Cons. (till 1903); lived in Moscow from 1900,
taking part in the Russ. Music-lovers' Concerts,
founded by the Kerzin family. In 1909, prof. at
Petrograd Cons., a post he still holds, being also
dean of pf. faculty there.
Orch.: Serenade (ms.); Nocturne (ms.); The Poem
(1922, ms.); Scherzo (1922, r cello sonata, D mi.
(1922); Tarantella, pt. a vn. sonata, op. 11;
Suite, 2 pfs. 4 hands, op. 13; Variations, id, op. 14;
songs; pf. pieces; transcriptions for pf. of Buxte-
hude's and Pachelbel's organ works. (Jurgenson.)
-V. B.
NOELTE
similar distinction at the Univ. Nouvelle, Brus.
sels. Founded a concert soc. and a mus. review
at Havana in 1910. As a solo-pianist, has toured
the whole of Europe. Contributor to many pub.
lications on mus. subjects. Lives in Paris.
Pour l'Art, publ. in Ger. Span. and Eng. (Reeves);
Idées et Commentaires (Span.); set of lectures, Las
Tres Grandes Escuelas. Has comp. pf. pieces and a
3-act mimodrama.-P. G. M.
NISSEN, Erika (neé Lie). Norwegian pianist;
b. Kongsvinger, 17 Jan. 1845; d. Christiania,
27 Oct. 1903. Stud. pf. under sister, the noted
pf.-teacher Ida Lie, and under Halfdan Kjerulf.
Early in career, took part in one of Ole Bull's
concerts; 1861-3, pupil of Kullak's Acad. in
Berlin. Continued her studies in Paris in 1868;
gave concerts in 1868-9 in London. She appeared
with increasing success in Northern countries,
and Germany, Holland, and Switzerland; for a
short time, teacher at Cons. in Copenhagen. Sub-
sequently she lived chiefly in Christiania as
teacher. In 1889, concert with Grieg in Berlin
and played his pf. concerto. In 1874, married
Oscar Nissen, Christiania. The pianist Karl
Nissen (q.v.) was her son.-J. A.
NISSEN, Karl. Norwegian pianist and condr.
b. Christiania, 27 Feb. 1879; d. 14 May, 1920.
Stud. pf. under mother, Erika Nissen, and
Busoni (from 1898); theory under Ole Olsen and
van Eycken (Berlin). Was highly-gifted pianist,
in command of brilliant technique, and his mus.
interpretation was stamped with taste and in-
telligence. From autumn of 1911 till his death,
was leader of Cæcilia Soc.; from 1919 of Mer-
cantile Choral Soc. Christiania. His most im-
portant work as condr. was with the Mus. Soc.
Orch. 1913-18.-J. A.
NOBLE, Thomas Tertius. Eng. orgt. compr.
b. Bath, England, 5 May, 1867. Stud. organ
under E. Nunn in Ipswich. Orgt. of All Saints',
Colchester, 1881-9, meanwhile completing his
studies at R.C.M. London, under Parratt (organ)
Bridge (theory) and Stanford (compn.) 1884-9.
Assistant-orgt. Trinity Coll., Cambridge, 1890-2;
orgt. Ely Cath. 1892-8. Went to York in
1898, founded York Symphony Orch. of which
he was condr. until 1912, revived the York Fests.
after a lapse of 75 years and was orgt. of York
Minister from 1898-1913. In 1913 gave recitals
in U.S.A. and Canada and since then orgt. of
St. Thomas's, New York. Among his larger
compns., some still in ms., are a suite for vn. and
orch., a Communion Service for chorus, organ,
horns, tps., trombones and drums (1891), music
to Aristophanes' Wasps (1897), the York Pageant
(1909), a comic opera Killibegs, perf. in York,
1911, etc.
Potter and ener: A
Anthems and services (Novello; Vincent: Gray):
of English
a
Vincent) Relig (with
Song (Schirner, 1915).-J. M.
NOELTE, A. Albert. Ger. critic and compr. b.
Starnberg, Bavaria, 10 March, 1885. When 16,
went to America; stud. literature and music at
Boston; critic on Boston Advertiser 2 years;
1908, returned to Munich; 1st critic of Augs-
burger Abend-Zeitung, Munich.
Songs with orch.; Prelude and fugue for str. orch.;
symph. poems; Hector's Farewell and Death; Lucifer;
NIN Y CASTELLANO, Joaquín. Span. pianist
and publicist; b. Havana (Cuba), 1883. Pupil of
Vidiella (Barcelona) and Moszkowski (Paris),
where he also attended classes at Schola Can-
torum, in which inst. he taught pf. in 1906, being
elected afterwards hon. prof. In 1909, received a
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NOETZEL
of
Rhapsody, dramatic song-scene; libretto and music
Untre operas: Francois Fillon (Carlsruhe, 1920.
Ed.); The E.
NOETZEL, Hermann. Ger. compr. b. Wies-
baden, 10 April, 1880. Pupil of Ivan Knorr,
Frankfort-o-M.; then of Schröder at Sonders-
hausen Cons.; condr. at Merseberg and Coblence
short time; now devoting himself to compn.
at Munich.
Symphony; orch. suite; 3 concert-overtures; pf.
and orch. songs; comic opera, Master Guido (Carls-
ruhe, 1918).-A. E.
NOGUERA, Antonio. Span. compr. critic and
musicologist; b. Mallorca (Balearic Isles). Dis-
tinguished pioneer of the religious musical re-
form
country. A founder of the Capella
Manacor, Mallorca, a choral inst. to encourage
the exclusive use of vocal polyphony in church
music. In 1887 publ. an ed. of the Misas Corales
(choral masses) by Fray Juan Auli (b. Felanitx,
Mallorca, 1797), preceded by a critical and bio-
graphical study. Author of Memorias sobre los
cantos, bailes y tocatas populares de la Isla de
Mallorca (1893) (an essay on folk songs and
dances of Island of Mallorca), and Música
Religiosa, a paper read at Capella Manacor (1889).
Choral works: La Sesta; Hibernenca. Pf.: Trois
danses sur des airs de l'ile de Majorque: Danse des
Cossies, Danse de la Saint-Jean, Danse triste. Songs,
etc. (Publ.: Unión Musical Española, Madrid;
Victor Berdos, Barcelona; Felipe Guasp, Palma de
Mallorca.)-P. G. M.
NOLTHENIUS, Hugo. Dutch critic and compr.
b. Amsterdam, 20 Dec. 1848. Chiefly self-taught;
1881-1915, teacher of literature at Grammar
School, Utrecht; 1894-1910, mus. critic of
Utrechtsch Dagblad; a pioneer of Wagner's music.
Many,
with
dam, Alsbach; Ghent, Willemsfonds); stage-music
for Joost van den Vondel's Lucifer (1901) and Sopho-
cles Philoctetes (1910).-W. P.
British condr.;
NOORDEN, Walter van.
manager of Carl Rosa Opera Co. (1902-16);
b. Bedford Square, London, 7 Nov. 1865; d.
Halifax, Yorks, 14 April, 1916. Stud. at Guild-
hall School of Music. His best conducting was in
Mozart's Figaro and Beethoven's Fidelio.-E.-H.
NOORDEWIER-REDDINGIUS, Aaltje. Dutch
Bach-singer; b. Deurne (North
soprano
Famous in Bach's St.
Brabant), 1 Sept. 1868.
has sung in Holland,
Matthew Passion;
Berlin, Munich, Cologne, Frankfort, Leipzig,
Vienna, Zurich, Basle, Paris, London, Leeds,
etc. Her voice had unusual clearness and range;
She has sung also the greater part of Diepen-
brock's vocal works.-W. P.
Swedish violinist; b.
NORDBERGER, Carl.
Bollnäs, 22 Nov. 1885. Stud. R. Cons. Stock-
holm, 1903-6; Prague and Vienna under Ševčík,
1907-10; then short time under Leopold Auer.
Début Stockholm, 1910; then concerts in Sweden,
Norway, Denmark, Czecho-Slovakia and Austria;
orch. leader in Hälsingborg and Malmö, 1912-14;
Stockholm (Concert Soc.) 1915-16; musical critic
in Stockholm many years; from 1919, manager
of a concert bureau in Stockholm. Has comp.
for vn. 3 Swedish dances (Copenhagen, 1913);
Alt-Wiener-Improvisation; Menuet; Airs russes;
vn. transcriptions and arrangements.-P. V.
NOTATIONS
NORDQVIST, Gustaf.
Swedish compr. b.
Stockholm, 12 Feb. 1886. Stud. R. Cons. Stock-
holm, 1901-10; then in Berlin, 1913. Orgt. at
Adolf Fredriks Ch. Stockholm, from 1914; pf.
teacher at pf. inst. of S. Carlheim-Gyllensköld
from 1922. One of chief accompanists for singers.
Sonata, vn. and pf. (1916); pf. sonata; pf. suite,
and other pieces; organ-pieces; hymns; choruses,
etc.; about 100 songs (Abr. Lundqvist; Nord.
Musikförlaget; Emil Carellus, etc.).-P. V."
NOREN, Heinrich Gottlieb. Austrian compr.;
violinist; b. Graz, 6 Jan. 1861. Stud. vn. under
Massart, Paris; Konzertmeister in Belgium,
Spain, Russia and Germany; stud. compn. under
Gernsheim; 1896, settled at Crefeld, founded
Cons.; stud. cpt. under Klauwell, Cologne;
1902, gave up directorship of Cons.; joined
Stern's Cons. as teacher. Now lives at Rottach,
Tegernsee.
His music is of a virtuoso and
clear-cut nature.
Orch. variations, Kaleidoskop, op. 30 (Dresden,
1907); symphony, Vita; vn. concerto, A mi. op. 38
(Dantzig Fest. 1912); cello pieces, op. 11; male
choruses and songs; pf. pieces, op. 20; pieces for
harmonium and vn. op. 18; pastoral sketches for har-
monium, vn. and cello, op. 26; suite, E mi. vn. and
pf. op. 16; pf. trio, mt. op. 28; vn. sonata, op.
33; cello sonata; Serenade for orch. op. 35; Diverti-
mento for 2 vns. and pf. op. 42; vn. pieces, op. 43 and
44; Symph. Serenade, op. 48; opera, Beatrice's Veil.
-A. E.
See
NORTH AMERICAN INDIAN MUSIC.
ABRAHAM, OTTO; BAKER, THEODORE; CADMAN,
C. W.; CURTIS, NATALIE; DENSMORE; FARWELL,
ARTHUR; FLETCHER, ALICE C.; GILBERT, H. F.
B.; HORNBOSTEL, E. M. V.; SKILTON, C. S.;
WA-WAN PRESS.
NORWEGIAN FOLK-MUSIC. See ELLING,
CATHERINUS; GRIEG, EDVARD; HEYERDAHL,
ANDERS; LAMMERS, THORVALD; LINDEMAN,
LUDVIG; SANDVIK, OLE.
NOSKOWSKI, Zygmunt. Polish composer,
teacher of theory; b. Warsaw, 2 May, 1846; d.
Wiesbaden, 23 July, 1909. From 1864, pupil of
Stanisław Moniuszko in Warsaw. After Moni-
uszko's death (1872), went to Berlin to study
under Kiel and soon brought out his 1st sym-
phony there. In 1876, became condr. of choral
society Bodan in Constance. In 1881, returned
to Warsaw as dir. of Music Soc.; 1888, prof.
of theory at State Cons. Since 1904, has
cond. symphony concerts of Philh. and (1906)
the operas. Reveals a vigorous productive
talent in all branches and forms of music. His
best-known orch. work From the Life, which
is widely played by symphony orchs. He was
also a master of the polyphonic forms.
2 symphonies (the 2nd represents a programme
From Spring to Spring, based on Polish customs);
2 concert overtures (symph. poems): Morskie Oko
(Tatra Lake) and The Steppe; a Variations-Cycle,
From the Life (on Chopin's Prelude in A ma. with a
patriotic programme); 3_operas: Livia Quintilla
(Lemberg, 1901); The Verdict (Warsaw, 1907);
Vengeance (mus. comedy based on Al. Fredro's master-
piece of same name) (Warsaw, 1909); ballet, The
Fire Festival (Warsaw, 1902). Also several vaude-
villes, 4 4tets, several cantatas with orch., many pf.
pieces (his numerous Krakowiaks-Polish dances
are well known); about 100 songs and choral compns.
Also publ. in 1901 a Manual of counterpoint.-ZD. J.
NOTATIONS, Musical. Ever since Bach
established the system of "equal temperament"
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NOTATIONS
(tuning all keys alike, and dividing the octave
into 12 equal parts) there have been restless
attempts at a new notation which will get rid
of that back-lying C-major feeling which per-
vades the present stave-notation. These attempts
have followed one of two paths, either the im-
provement of the present pentagram (5-lined
stave) or its complete abolition.
The most sweeping of all notational reforms
is that of Angel Menchaca, an Argentine mus.
theorist. In the Menchaca system the sign
represents the sound Si. The short and long
perpendicular strokes
1
express high and low notes. The point deter-
mines the length. The notation does away with
the pentagram (stave), keys, ledger-lines, note-
lengths, etc. The musical alphabet is:
Sc Si Do Du
Re
= 0 -1
3
4
5
6
2
These signs represent the central dozen; there
are 8 dozen more; 4 ascending, 4 descending:
요
The length of a note is represented by a point.
applied thus:
0 = 0
Menchaca system:
For comparison, take the high B flat, in the
present system:
NOTATIONS
replacing them by a single C clef on the 6th line
of his 10-line stave.
The system is based upon the 3 fundamental
units which the stave system now used lacks-
the graphic unit, the unit of time-length, the
unit of pitch. It is written on one line only, and
dispenses with the numerous auxiliary signs,
staves, octaves, ledger-lines, dots, triplets, etc.
It is better adapted to the dodecuple system and
harmony is simplified. The notation is alike for
all instrs. The routine of the bar is suppressed
and replaced by rational rules of punctuation
and accentuation. It gives absolute precision
to all sounds and lengths.
Hermann Stephani (q.v.) introduced a unified
notation (Einheitspartitur) by using the treble
G clef only, with octave signs.
Walter Hampton Thelwall (q.v.), in his Thelwall
Notation, uses 2 staves of 7 lines each. A great
advantage of this is that the 2 staves read alike.
But his invention is far more sweeping than this.
It is a full acknowledgement of the dodecuple
system the complete merging of the sharp and
flat into one sound to which it is desirable to
give a new name. The sounds of the equal
temperament series, and their mutual relations,
are very simple. There are 12 notes in an octave,
or, if we include, as is usual, the repetition of the
1st note at the upper end of the octave, 13 notes.
It should however be remembered that this 13th
note is really the 1st note of another similar
octave. These notes are all of equal value and
importance, and each is separated from the next
Mi Fa
Ro
0-0²
The Spanish compr. José María Guervós (g.v.)
has united the bass and treble pentagrams into
one stave of 10 lines which he calls the Deca-
grama. He dispenses with the G and F clefs,
Fe Sol
7
8
9
10
by the same interval, the mean semitone, or, as
BINARY
11
Thelwall calls it, the sem. The sem is the
1200
J=
Nu
12
unit
IN
of mus. intervals, and there are 12 sems in an
octave, in much the same way that there are
12
TERNARY
inches in a foot. The 12 sounds may be con-
veniently called by the roman numbers: I, II,
III, IV, V, VI, VII, VIII, IX, X, XI, XII, (I);
and these numbers are adopted in the Thelwall
"Note for Note" system to take the place of the
alphabetical names, and signs for the sharp, flat,
etc., in the old notation.
The very idea of sharps, flats, naturals, etc.
has disappeared, and each note has its own name
and is quite independent of its neighbours. Thel-
wall takes note I as equivalent to F sharp (equals
G flat) in the old notation. Note VII is therefore
C. The notation consists of a single stave of 7
lines and 6 spaces. The lowest line is note I, the
first space, note II; the second line, note III;
and so on. Note VII (C) is the middle line, and,
to facilitate reading, this line is made a
thicker. This stave is repeated for every
octave. When two or more octaves are used
one above the other, they are written alter-
nately with 7 full lines and 5 dotted lines, the
dotted lines being drawn only where notes occur
on them.
The octaves are all numbered, with arabic
numbers, the bass octave being 4, the tenor 5,
the treble 6, and su un, and these numbers can
be used, not only L number the staves, but also
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NOTATIONS
to indicate, when desirable, individual notes.
Thus, the lowest note on the piano keyboard is
IV2, middle C is VIII5; the highest note on a
seven-octave piano is IVO.
The inventor appears to hedge a little, when
he assumes that in music the diatonic major
scale of C is the starting-point of all things, and,
in order to indicate this scale in the notation,
determines to adopt two new note-heads, namely
an open quaver and crotchet head and a closed.
minim and semibreve head, and to use the open
crotchet and minim heads where white notes
occur and the closed or black notes where black.
notes on the keyboard occur; but it is only fair
to say that he does this, without sacrificing the
principle of equal temperament.
The illustration below shows a passage from
Chopin's prelude in C sharp mi. op. 45 in the old
notation, and in the Thelwall system.
From Prelude Op. 45-in the Old Notation.
pe
-
tette
▬▬▬
-De
TE
instead of
-
▬▬▬▬▬▬▬
faceret.
Prz
The same-in the New Notation.
In the Thelwall notation the lowest and highest
full lines of the stave are always note I (F sharp
G flat). The thick middle line is always note
VII (C), whether the line is continuous or
dotted. The open notes are white notes on
keyboard, the black notes are black notes
on keyboard.
The system involves the rewriting of the theory
of harmony in accordance with the principle of
equal temperament. Harmony thus become
correspondingly simplified.
Others have dealt with the actual signs for
the sharp and flat. H. Orsmond Anderton in his
Simplified Notation uses the following:
sug
The Belgian compr. Jean Hautstont (q.v.)
bases his Notation Autonome (1921) on classi-
fication of sounds according to number of their
vibrations and the physiological development of
the ear. The Russ. compr. Nicolas Obukhof (g.v).
2 A
NOTATIONS
invented a notation in 1915 which also democra-
tises the notes of keyboard. He likewise abolishes
the sharps and flats, christening the black notes
by syllables taken from the same hymn of Guido
d'Arezzo which was used for baptising our scale:
Do, Lo (C sharp), Re, Te (D sharp), Mi, Fa,
Ra (F sharp), Sol, Tu (G sharp), La, Bi (A sharp),
Si. This led him to the reform of notation. In
his system, the sharps are represented by the
sign X (either in the oval, as in 2nd stave, or
alone, as in top stave). Flats are unnecessary.
Lo
te
ra
tu
bi
la
do
re
ML
fa
501
si
For an art. on Obukhof, see Revue Musicale,
Paris, Nov. 1921.
similar notation was discussed in the
chapter on Dodecuple Scale in Eaglefield-Hull's
Modern Harmony (London, 1913, Augener). The
plan suggested there, does away much more
effectively with the back-lying C-major feeling,
which still pervades Obukhof's system.
With the advent of tertia-tones, a new nota-
tion, or some addition to the older one, is neces-
sary. John H. Foulds, who has used thirds of a
tone in several of his works, writes thus, in his
orch. Music-Pictures (group 3) op. 33, produced
in London, 1913. (See music ex. on next page.
Foulds used tertia-tones again in parts of his
Requiem, op. 60, 1923.)
Alois Hába in his str. 4tet in the quarter-tone
system, op. 7, uses the sign > before a note to be
raised a quarter-tone, and the sign before a
note to be lowered a quarter - tone.
demonstrated at Prague on 3 June, 1924, with
a quarter-tone piano and quarter-tone wind-
instruments.
Hába
The right way of reform undoubtedly lies
in the direction of a completely new notation,
but the great obstacle in the way is the cost of
reprinting all the best of the existing music in
the new notation, when the most advantageous
has been found.-E.-H.
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Wood-wind.
(Sounds.)
Vio. 10
Vio. 20
Viole.
Celli.
IN THE
NOTÉ
Lento.
Clar. 1 e 2.
J
Cor. Ing.
Fag. 1,
Sordino.
Basso.
Sording.
Sordino.
Div. Sordino.
P #P
NOTÉ, Jean.
Belgian operatic singer; b.
Tournai, 6 May, 1859; d. Brussels, 1 April,
1922. At first a railway clerk; stud. at Cons. at
Ghent; prize in 1887. Début at Lille; sang in
Antwerp, Lyons and Marseilles; entered Paris
Opéra in 1893, where he stayed until his death.
He possessed the Légion d'Honneur for prevent-
ing a railway catastrophe, and also 4 medals
for saving life.-M. B.
NOTE-NAMES IN VARIOUS LANGUAGES.
Eng. Ital.
Fr.
Ger.
Do
C
с
Ut
с
Cis
Do diesis
Do bemolle
Re
Ut dièse
Ut bémol
Ré
Ré dièse
Ces
D
Dis
C sharp
C flat
D
D sharp Re diesis
354
Eng.
D flat
E
E sharp
E flat
F
F sharp
F flat
G
G sharp
G flat
A
A sharp
A flat
B
B sharp
B flat
NOVÁK
Ital.
Re bemolle
Mi
Mi diesis
Mi bemolle
Fa
Fa diesis
Fa bemolle
Sol
Sol diesis
Sol bemolle
La
La diesis
La bemolle
Si
Si diesis
Si bemolle
Fr.
Ré bémol
Mi
Mi dièse
Mi bémol
Fa
Fa dièse
Fa bémol
Sol
Sol dièse
Sol bémol
La
La dièse
La bémol
Si
Si dièse
Si bémol
Ger.
Des
E
Eis
Es
F
Fis
Fes
G
Gis
Ges
A
Ais
As
H
His
B
NOTTEBOHM, Martin
Gustav. Ger. musicol-
ogist; b. Lüdenscheid, Westphalia, 12 Nov.
1817; d. Graz, 29 Oct. 1882. 1838-9 stud. under
L. Berger and Dehn in Berlin; 1840, in Leipzig,
stud. under Mendelssohn and Schumann; 1845,
in Vienna, cpt. with S. Sechter, then private
music-master, Vienna. Nottebohm was closely
associated with Brahms, and specially noted as
Beethoven researcher. First discovered the
importance of Beethoven's sketch-books.
Beethoven's Sketch-book (1865); Thematic Cala-
logue of Beethoven's Printed Works (1864, 2nd ed.
1868, reprint with Nottebohm's biography by E.
Kastner, Leipzig, 1913); Beethoveniana (1872); 2nd
vol. 1887, publ. by Mandyczewzki; Beethoven's
Studies (1 vol. Beethoven's lessons with Haydn,
Albrechtsberger, Salieri, from original mss. 1873);
Thematic Catalogue of Franz Schubert's Printed Com-
positions (1874); Mozartiana (1880); A Sketch-book
of Beethoven from 1803 (1880). Comp.: pf. 4tet;
several trios and pf. pieces-17 works in all.-A. E.
NOUGUÈS, Jean. Fr. compr. b. Bordeaux,
1876. Seeks only to write "successful" operas,
thanks to commonplace formulas and a "verist"
conception of musical aesthetics. His most
popular opera is Quo Vadis (1909). He now
writes music for cinematograph films, and seems
thus to have found the mode of expression best
suited to his temperament.
Yanna (Bourdeaux, 1897); Le Roy du Papagey
(1901); Thamyris (Bordeaux, 1904); La Mort de
Tintagiles (Paris, 1905); Chiquito (1909); Quo Vadis
(Nice and Paris, 1909; Berlin, 1912); L'Auberge
Rouge (Nice, 1910); La Vendetta (Marseilles, 1911);
L'Aigle (Rouen, 1912): L'Eclaircie (Paris, 1914);
ballet, La Danseuse de Pompéi (Paris, 1912); Narkiss
(Deauville and London, 1913).-A. C.
NOVÁK, Vítězslav. Czechoslovak com-
poser; b. Kamenice, near Lípou (Bohemia),
1870. He studied at the Conservatoire in
Prague (under Knittl, Stecker and chiefly
Antonín Dvořák), attending at the same time.
the Prague University. Until 1909 he was a
private teacher of composition; afterwards
lectured at Conservatoire in Prague. He refused
position of professor at the Conservatoire in
Vienna; in 1919 appointed professor of composi-
tion at Master-School of Prague Conservatoire,
where he was rector 1919-22. He lives in
Prague.
His first compositions, influenced by Liszt,
Brahms and Dvořák, show Novák's chief
qualities: energy, passion, love for nature-
motives, an inclination to psychological sub-
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NOVELLO & CO.
jectivism. He is sound in formal construction,
without falling into traditional formulas. His
second stage is marked by a deep study of
the Slovakian folk-music. He does not use the
actual folk-tunes, though his music is full of
Slovakian spirit. Characteristics: periodicity of
5 bars, church modes, striking melodic curves,
harmonic relations and accented syncopations.
The inner contents show quick changes from
nostalgic sadness to wild joy. Novák here
pictures Slovak people and nature as he sees
them, or else depicts his own psychical con-
flicts. In his third and greatest period he stands
no longer under folklore influence. His style
is refined and more complicated, especially in
the harmony, without breaking the line of the
tradition. The form is now always dictated by
the inner contents and is carefully built up.
His subjectivism at times reaches real loftiness;
at others the effect is achieved through tone-
painting and naturalism. Not till 1914 did he
start to produce dramatic works. In addition he
has lately written occasional pieces in patriotic
vein, and piano-music in easy style for children.
Orch.: Slovakian Suite, op. 32; symph. poems: Tatra,
26 (Queen's Hall, London, 1920); O věčné touze
op.
(Eternal Longing), op. 33; Toman a lesni panna (Toman
and the Wood-Fairy), op. 40; Godiva, op. 41 (Queen's
Hall, London, 1920); Serenade, op. 36. Chorus and
orch. 4 ballads, op. 19 and 23; The Storm, p. 42;
Wedding
Operas
Zvikovský rarášek (The Castle-Rogue), op. 49; Karl-
steyn, op. 50; Lucerna, op. 56. 2 pf. trios, op. 1 and 27;
Vzpom,
22 and
(Recollection), op. 6; Múj máj (My May),
op. 20; Sonata eroica, op. 24; Winter-night Songs, op.
Song
-cycles on
words from Moravlan national
Melancholy, op. 25; 2 ballads, op. 28; Udoli nového
království (The Valley of a New Kingdom), op. 31;
Melancholické
of Love),
Erotikon, op. 45; Jaro
(Spring), op. 51. Publ.: Simrock, Berlin; Univ.
Ed. Vienna; M. Urbánek, Prague; Breitkopf,
Leipzig: Hudební Matice, Prague. Consult Zd.
Nejedlý, Vit. N. (Prague, 1921).-V. ST.
30: Pan, op. 42; sonatinas, Poetry, op. 16, 17 21:
Op. 38; Noth, Pisně o lásce (Melancholy Songs of
NOVELLO & CO. Ltd. Publishers, founded in
1811 by Vincent Novello (b. 240 Oxford Street,
London, 6 Sept. 1781). His son, Joseph Alfred
(b. 12 Aug. 1810), carried business until 1861,
when he took into partnership Henry Littleton
(b. 1823) who had been in his employ since boy-
hood, and had for some years prior to 1861 been
practically sole director. Henry Littleton pur-
chased the business in 1866, and in 1867 acquired
copyrights of Ewer & Co. Henry Littleton died
in 1888, leaving two sons as successors-Alfred
(d. 1914), and Augustus, the present chairman.
Alfred Novello discovered that music could be
published cheaply and at a profit; Henry Little-
ton, with great energy and enterprise, developed
the idea regard to church, choral, and school
music; and to these two men is due very largely
the steady growth of mus. activity in this coun-
try during past 50 years. In 1837 the piano-
vocal score of Messiah cost a guinea; in 1887 it
could be bought for a shilling! The firm has
played its part, too, in the renascence of British
compn.; many pages in its catalogue are de-
voted to important works by Parry, Stanford,
Mackenzie, Sullivan, Cowen, Elgar, Walford
Davies, Edward German, Benjamin Dale,
NYIREGYHÁZI
Gustav Holst, etc. They have done much, too,
in the re-issue of neglected native work; 23
splendid volumes have been publ. for the Purcell
Soc.-fine examples of their work as engravers
and publishers.-H. G.
Czechoslovak compr.
NOVOTNÝ, Jaroslav.
b. Jičín, 1886; killed in 1918 in the Ural in a
fight with Bolshevista. Stud. compn. under
Vítězslav Novák, besides studies at Univ. He
was a music-teacher and chorus-leader of several
singing-clubs in Prague. The war forced him to
become first an Austrian officer; then he was
captured by Russians and entered the Czecho-
slovak legions in Russia. The fragility, graceful
freshness, and abundance of musical ideas
which characterise his first compns. gave way
afterwards to his bold attempt at new expres-
sive methods. He arrived at polytonality and
atonality, but still preserved melodious fluency
and strictness of form. He died just at the
moment when his spontaneity of sentiment
showed itself in full strength (in the choruses
written in Russia).
Song-cyclos: The Eternal Wedding; The Ballads
of the Soul (Hudební Matice); Children's Songs (ins.).
A str. 4tet; pf. sonata; choruses will be publ. in
Hudební Matice.-V. ST.
NOVOTNÝ, Václav Juda. Czechoslovak writer
on music; b. Vesec, 1849; d. Prague, 1922. Stud.
at Univ. and Organ School, Prague; ed. of mus.
review Dalibor (1873-80); later, critic of
papers. After opening National Theatre, transl.
many
over 100 libretti. Collected national songs
(Bechyňské; Libické; Řečické).-V. ST.
NOWOWIEJSKI, Feliks. Polish compr. condr.
orgt. b. 7 Feb. 1877. Pupil of Bussler and Beller-
mann in Berlin, and of Haberl and Haller in
Ratisbon. Gained several prizes at international
competitions. Stayed in Berlin from 1900 to
1909. In 1909, dir. of Cracow Music Soc. Left
that position in 1914 to return to Berlin. Since
1920, prof. of church-music and organ at Posen
State Conservatoire.
D
and Quo Vadis (1907),covery of the Holy Cross (1906)
after
novel. Opera, The Compass; symph. poem, The
Funeral of a Hero; symphonies, A ma. and A. mi.
(the latter on a devotional basis). Several songs,
choral works and organ pieces.-ZD. J.
NUNN, Edward Cuthbert. Eng. compr. b.
Bristol, 23 Nov. 1868; d. London 26 Nov. 1914.
Stud. R.A.M. London under Sir George Mac-
farren, Tobias Matthay and H. R. Rose; début
as compr. in July 1889 with orch. Romance at
Old St. James's Hall, Piccadilly; cond. Leyton-
stone Orch. Soc. and Ilford Operatic Soc. N.
was a composer of great merit.
Orch.: symphony in D (1 movement only); Fete-
Champêtre, suite de ballet; 3 little pieces (Marche:
Berceuse; Valse); Petile Suite (Withers). Fairy
opera, Kamar-al-Zaman (Reld Bros.); children's
operas: The Fairy-Slipper (Novello); The Shep-
herdess and the Sweep (Ambrose Abbott); mus.
fairy-tale, The Garden of Paradise; 1-act mytho-
logical opera, Sappho; operatio burlesque, William
The Wooden Bowl (Curwen);
Tell; fairy-operarman (Ambrose Abbott): a
church-cantata,
devotion, Via Dolorosa (Novello); Psalm C; vn.
pieces (Abbot, Withers); pf. pieces (Ascherberg;
Lengnick; Reid; Hopwood & Crew: Stainer &
Bell):
NYIREGYHÁZI, Erwin. Hungarian pianist;
b. Budapest, 19 Jan. 1903. Lives in U.S.A.-B. B.
355
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O
the conical bore tapering from about inch
at reed-end to 12 inch at lower end where it
terminates in a slightly flaring bell. The compass
is from
OBERHOFFER, Emil. Amer. condr. b. near
Munich, 10 Aug. 1867. Stud. pf. and compn. under
Cyril Kistler; later pf. under Philipp in Paris. Went
to America and after short period in New York
to St. Paul, Minnesota, as condr. of Apollo Club
in 1897. In 1901, condr. of Philh. Club (choral).
The orch. recruited from local musicians, which
played in the club concerts, he developed into
an endowed orch., the Minneapolis Symphony
Orch. (50 members), which gave its 1st concert
5 Nov. 1903. At present, giving over 200 con-
certs annually with a personnel of over 85
players, it is a factor of recognised worth in the
mus. life of America. In the autumn of 1923 0.
was succeeded as condr. by Henri Verbruggen.
-0. K.
OBERLEITHNER, Max von. Ger.-Czecho-
slovak compr. b. Schönberg (Moravia), 11 July,
1868. Pupil of Bruckner; lives mostly in Vienna.
Erlöst (Düsseldorf, 1899); Ghitana (Cologne, 1901):
Abbé Mouret (Magdeburg, 1908; Berlin, 1910);
Aphrodite (Vienna, 1912); La Vallière (Brünn, 1916);
The Iron Saviour (Vienna, 1917); Cecilia (Hamburg,
3 symphonies;
OBERSTADT, Carolus. Dutch pianist and
compr. b. Tilburg (N. Brabant), 23 June, 1871.
Stud. pf. under Clara Schumann, theory under
Bargiel; 1894, teacher Cons., The Hague.
Numerous songs and pf. pieces; pf. concertos, cello
concerto; overtures; chamber-music: pf. 5tet; str.
4tet; trio; sonatas, vn. and pf.; cello and pf.-W. P.
A
OBOE FAMILY of mus. instrs., one of most
important in modern orch., includes 6 members:
oboe, oboe d'amore, cor anglais, oboe da caccia,
bass-oboe, and heckelphone. All are wood-wind
and have certain points of similarity in con-
struction and method of tone-production.
wooden tube contains a conical air-column
which is set into vibration by means of a double-
reed held between the lips of the player. The
instrs, usually appear in the score immediately
below the flutes. Two oboes and a cor anglais
are usual, the other instruments being more used
for special effects. Each has a compass of about
2 octaves and a fifth, with all chromatic notes.
The instrs. are all fingered in the same way, and
all, except the oboe, therefore, are transposing
instra. The oboe family is evolved from the
family of schalmeys used in the XVII century.
The distinctive developments which the modern
instrs. have undergone have been directed chiefly
to (i) improvement of the intonation; (ii) re-
finement and ease of production of tone, largely
by the use of narrower reeds than formerly;
(iii) provision of a key mechanism and a system
of fingering adequate for the performance of the
difficult passages abounding in modern orch.
music.
bu
with chromatic notes, though the upper G is
obtained by some players. The entire range is
found in modern scores. The instr. is usually
provided with about 18 keys and rings, arranged
on the system introduced by Barret. The tone
of the modern oboe is largely the result of use of
a narrow reed, as opposed coarser, trumpet-
like quality produced in the older instrs. by a
wide reed. The lower notes are full, but a little
hard; from low D to the C above the stave the
tone is sweet, expressive, and well suited to
cantabile passages. The upper notes are bright,
but rather thin. Though best suited to melodic
legato phrases, the oboe is capable of consider.
able execution, best displayed in rapid staccato
passages. The modern compr. makes use of the
instr. in both these ways, and also takes advan-
tage of the differing tone-colour of the various
parts of the compass in the production of special
tonal effects. In the earlier oboes the intonation
was far from true because the sound-holes were
placed with reference to the convenience of the
fingers rather than to their true acoustical posi-
tions. Boehm (1794-1881) revolutionised the
construction of the flute by using large sound-
holes in their correct acoustical positions and
by arranging a system of rings and plates by
which these holes could be brought under control
of fingers. Various attempts were made, notably
by Brod, by Buffet, and by Lavigne, to apply
Boehm's system to the oboe, but with rather
unsatisfactory results. Boehm oboes lack the
distinctive oboe-tone and are rarely heard nowa-
days, though their intonation is nearly perfect.
The oboe most used now is that designed by
Barret (1804-79) and originally made by the
brothers Triébert. This, with certain minor
alterations, is now adopted as the Paris Cons.
model. Barret, an eminent Eng. player, is chiefly
responsible for (i) abolition of double finger-
holes; (ii) use of tone-holes of a size proportioned
to that of bore and set in acoustically correct
positions, holes not being so large as to destroy
characteristic timbre; (iii) the provision of a
plate for left-hand thumb and a system of rings
for fingers, to give middle B flat and C; (iv)
double-action octave-keys; (v) additional keys
and alternative fingerings for trills and passages
hitherto extremely difficult or impracticable.
(1) The modern Oboe is a conical pipe of rose-
wood, blackwood, or ebonite about 2 feet long,
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OBOE FAMILY
The Barret-system oboe as made by Triébert.
has for years been considered standard instr. for
artists. Since the death of the Triébert brothers,
their high traditions have been maintained by
special manufacturers, notably by MM. Lorée
and Cabart, whose oboes are widely used all
over the world. The oboes of Adler and Heckel
in Germany, and several makers in England are
also considered excellent.
(2) The Oboe d'Amore is pitched a minor third
lower than oboe. It is fingered in the same way
and its mechanism is similar, its tube somewhat
longer, its reed slightly larger. The reed is
attached to a short metal crook inserted in
upper end of tube; lower end of tube is expanded
to form a small globular bell. The tone is rather
less bright than that of oboe, the globular end
modifying the tone to a rich, veiled sweetness,
a little tinged with melancholy, in character
suited to legato solos. The compass is from
written notes, sounding
The instr. in its ancient form, was known in time
of Bach, who writes for it freely. At the present
day it is used in rendering Bach scores and also
has an important part in modern masters,
notably Strauss who writes for it in Salome and
Sinfonia Domestica.
(3) The Cor Anglais has been increasingly used
since the time of Wagner, and is now a regular
constituent of orch. In construction it resembles
the oboe d'amore, in that it has a globular bell
and a short crook to which the reed is attached.
It is, however, larger in size (tube about 2 feet
8 inches long exclusive of crook) and is played
with a larger reed. Owing to its greater length
it emits sounds a fifth below those of oboe, to
which its mechanism and fingering are similar;
so that it is a transposing instr., the part for it
being written a fifth above the sounded notes.
It is frequently played by one of the oboists,
though its modern use in combination with two
oboes usually demands a third player. The com-
pass is from
written notes, sounding
OBUKHOF
the whole compass; it is suited to the per-
formance of slow solo passages.
(4) The Oboe da Caccia in its modern form is
practically a cor anglais with globular end re-
placed by a flaring bell of the kind used on oboe.
The instr. is, in effect, an oboe a fifth lower and
has a similar tone-quality. Its use is not very
firmly established, but the instr. is occasionally
used in the perf. of early scores in which the
name of the instr., but little indication of its
exact nature, appears. There is evidence to show
that the old oboe da caccia was really a tenor
bassoon, the cor anglais being the true tenor
oboe. This latter instr. is supposed to derive its
name from the corruption of the Fr. cor anglé,
referring to the bent form of some of the earlier
instruments.
though in solo-work the upper notes are seldom
used owing to their thinness. The tone is rich,
veiled, and mournful, of a uniform quality over
scores.
(5) The Bass-Oboe and Heckelphone are both
of relatively rare occurrence, even in modern.
Both stand an octave below the oboe
and have corresponding relative compass. In
construction they resemble a large cor anglais
with suitable modifications of the mechanism
to bring the tone-holes under control of the
fingers. The original bass or baritone oboe was.
made by Triébert, though Lorée has also manu-
factured the instr. Strauss, requiring a true
bass for the oboe, became sensible of the im-
perfections of the bass-oboe. At his suggestion
Heckel constructed the heckelphone in which,
by careful attention to boring, accurate placing
of holes with suitable mechanism, he produced
a tone of good quality, louder and richer than
that of the bass-oboe. Other modern comprs.
have written for the heckelphone but, as yet, it
is rarely heard. Heckel has also made a piccolo-
heckelphone standing a fourth above the oboe.
This instrument is intended for use in some of
Wagner's works, and also to replace the modern
trumpet in the more accurate tonal rendering
of some of Bach's high trumpet parts.-J. M'D.
O'BRIEN, Charles H. F. Scottish compr. b.
Edinburgh, 6 Sept. 1882. Pupil of late Hamish
MacCunn. Is now singing-master and lecturer in
mus. appreciation to R. High School, Edinburgh;
examiner in theory and sight-singing to Edin-
burgh R. Choral Union. He early acquired in
compn. a decidedly Scottish idiom, flavoured
strongly with classicism; he is entirely un-
sympathetic to the recent new trends of mus.
compn. There are few Scottish comprs. whose
work is so distinctive. His recent symphony in
F mi. op. 23 should mark an epoch in Scottish
music.
Concert overtures, To Spring and Ellangowan
(both perf. Bournemouth); The Minstrel's Curse
(Edinburgh Amateur Orch. Soc.); pf. ta, in E mi.
op. 14; Arabesque (both Ricordi, London).-W. 8.
OBUKHOF, Nicolas (accent 2nd syll.). Russ.
compr. and theorist; b. Moscow in 1892. Stud.
compn. at Petrograd Cons. under Tchérepnin and
Steinberg; and (after 1919) orch, under Maurice
Ravel in Paris. Has publ. (Rouart & Lerolle)
settings of texts by Balmont, which are parts of
a vast oratorio, The Book of Life, which reveal
the essentially religious trend of his mind. He
is, to a degree, influenced by Scriabin. His music
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"O CANADA"
proceeds by harmonic complexes founded upon
the 12 notes of the tempered scale. In the third
of his publ. fragments he gives up using sharps
and flats and ascribes new names to the 5 notes
to which the black keys of the keyboard corres-
pond, in order to emphasise the final character
of equal temperament. He avoids duplication of
notes, and in the vocal parts he frequently re-
sorts to glissandi which come into strong con-
1 character of the
trast with the strictly NOTATIONS.-B. DE S.
instr. parts.
parts. See art.
First
"O CANADA" (National song).
appeared in Quebec, about 40 years ago, as a
Fr.-Canadian folk-song in honour of St. John
the Baptist. Composed by Calixa Lavallée, a
well-known Fr.-Canadian pianist and composer
of that period. Lavallée only agreed to compose
the music on condition that his music should
appear first and the text be adapted to it later.
Original poem (in French) by the late Judge
Routhier, a well-known writer and jurist. The
air was in use for many years throughout the
Dominion by regimental bands, as one of five
official tunes authorised by the Government,
and frequently played at important military
and civil functions. An arrangement by the
writer (for 8-v. chorus and orch.), first produced
a few years ago by the Mendelssohn Choir with
Pittsburg Orch. in Massey Hall, Toronto, created
a profound impression. Unhappily, the allusion,
in the translation, to the Holy Cross, gave rise
to considerable discussion and strong sectarian
feeling, with the result that over 100" arrange-
ments" of the text were made, in the attempt
to avoid this pitfall. At the present time the
song (in so far as the English-speaking section
of the country is concerned) bids fair to be-
come a national confusion, instead of a "chant
national."-P. B. R.
OCHS, Siegfried. Ger. choral condr. b. Frank-
fort-o-M., 19 April, 1858. Stud. chemistry at
Polytechnic, Darmstadt, and Univ. Heidelberg;
then music at R. High School, Berlin (Schulze,
Rudorff, Kiel, Urban). O. was founder and condr.
of Philh. Choral Soc., Berlin, which he brought
to quite extraordinary prominence, but had to
dissolve in summer 1920 owing to unfavourable
conditions; now conducting the choral class
of the Berlin High School. He did much to
introduce British music (Stanford especially) in
Berlin.
Comic opera, In the Name of the Law (Hamburg,
1888); songs; duets, etc. Consult his autobiography
Geschehenes, geschenes (Things acted and seen).
Berlin 1922.-A. E.
OCÓN Y RIVAS, Eduardo. Span. compr. b.
Malaga, 12 Jan. 1834; d. Feb. 1901. Stud. organ
under Benoit at Cons. in Paris. Founder and dir.
of the Málaga Cons. Distinguished himself as
an educationist, folk-lorist and compr. of many
religious works, besides some secular compns.
(publ. by Zozaya, Madrid), which attained
popularity in Spain and abroad. His Bolero de
Concierto, originally written for pf., was tran-
scribed for orch. His coll. of Cantos Españoles
(publ. Breitkopf, Leipzig), is a valuable contri-
OLDROYD
bution to the history of the folk-lore of Spain.
-P. G. M.
Italian
ODDONE SULLI-RAO, Elisabetta.
Pupil
composer; b. Milan, 13 Aug. 1878.
of R. Cons. in Milan. Has written 2 str.
4tets, operas. Her chief merit lies in her
activity as a collector and propagandist of Ital.
folk-songs. She publ. a Canzoniere popolare
italiano, in which she brought together the
beautiful melodies found and collected by her
in the various regions of Italy. She herself
has given perfs. of these songs, and has toured
through the Ital. cities with great success. She
has also devoted herself to music for children:
her collection of Canzoncine per bimbi has
been publ. by Ricordi; and Cantilene populari
dei bimbi d' Italia by Arti Grafiche, Bergamo.
She has publ. an excellent monograph on
her master Gaetano Coronaro (Rome, 1921,
Ausonia).-D. A.
OETTINGEN, Arthur Joachim von. Physicist
and musical theorist; b. Dorpat, 28 March, 1836;
d. Leipzig, 6 Sept. 1920. First stud. astronomy,
then physics at Dorpat Univ. 1853-9; continued
physical, physiological and mathematical studies
in Paris and Berlin, 1859-62; became honorary
lecturer in physics at Dorpat Univ.; 1865,
prof.; 1894, retired, owing to Dorpat Univ.
becoming Russian; resided at Leipzig, where
he became prof. Founder of so-called "dual
system of harmony and defender of "natural
temperament."
Harmony System in dual development (1866; 1913,
2nd ed. entitled Dual System of Harmony, Leipzig.
Siegel): Principles of the Science of Music (Leipzig.
1916, Teubner).-A. E.
OHE, aus der, Adele. Ger. pianist and compr.
b. Hanover, 11 Dec. 1864. 1872, pupil of Franz
Kullak at New Acad. of Music, Berlin; then
Theodor Kullak; 1876-86, pupil of Liszt,
Weimar.
Undertook extensive concert-tours
in America, in 1892 over all Europe.
Suites and pf. pieces; sonata, pf. ând vn.; songs.
-A. E.
OHLSSON, J. Richard. Swedish violinist and
compr. b. Stockholm, 9 March, 1874. Stud. vn.
at R. Cons. Stockholm, and (1896) vn. and compn.
at R.A.M. London; member R.Á.M. Stockholm,
1915.
Elégie and False Carnaval, vn. and orch. (1897;
str. No.
in D (1899); No. II In A flat (1914): concert plece,
vn. and orch. (1918); pleces for vn. and orch.-P. V.
Held
OIREACHTAS, The (Irish Festival).
annually and devoted to competitions in various
subjects. The fest. was started in 1896 by
Gaelic League, to demonstrate the Irish Revival.
In the mus. part, prizes are given for solo and
choral singing, only Irish words being allowed.
Prizes are also offered for vn. harp and pipes. It
was a good means of bringing the folk-singers
from distant parts, and it is a pity that in later
years this element has diminished.-W. S.
OLDROYD, George. Eng. orgt. and compr.
b. Healey, near Batley, Yorks, 1 Dec. 1886.
Stud. as articled pupil of Dr. Eaglefield-Hull;
vn. under Johan Rasch and Frank Arnold; 1915,
orgt. George's Eng. Ch., Paris; 1919, St.
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O'LEARY
Alban's, Holborn; 1921, St. Michael's, Croydon;
prof. of organ and harmony, Trinity Coll. of
Music. Mus. Doc. London, 1917.
Organ pieces (Augener); songs (Elkin); church
music (Falth Press); singing-class musle (E. Arnold).
-E-H.
O'LEARY, Arthur. Born Tralee, Co. Kerry,
15 March, 1834. Entered Cons. at Leipzig, 1847
(stud. under Moscheles); came under influence
of Robert and Clara Schumann. In 1852, stud.
under Sterndale Bennott at R.A.M. London;
prof. there 1856-1903; ed. Sterndale Bennett's
pf. works and masses by Hummel and Schubert.
-W. ST.
OLENIN, Alexander Alexeievitch (accent 2nd
syll.). Russ. compr. b. 1865; brother of well-
known Mussorgsky-singer Olenina d'Alheim.
Comp. opera, Kudejar (perf. Moscow); many
songs and pf. pieces on Russ, folk-tunes.-V. B.
OLIVIERI SANGIACOMO-RESPIGHI, Elsa.
Ital. compr. b. Rome, 24 March, 1894. Pupil
of R. Liceo Mus. di Santa Cecilia, where she
stud. pf. under Sgambati, harmony and ept.
under Remigio Renzi, and compn. under Ottorino
Respighi, whom she afterwards married. She
has publ., through Ricordi, numerous songs
and other compositions.-D. A.
d'OLLONE, Max. Fr. compr. b. Besançon,
13 June, 1875. Pupil at Paris Cons. under
Lavignac, Lenepveu and chiefly Massenet,
in whose memory he has written some articles.
Prix de Rome in 1897. Now dir. of Amer. Cons.
in Fontainebleau.
Trio, pf. vn. cello (1921); Frédégonde (cantata);
Jeanne d'Arc à Domrémy (scène lyrique); Saint Fran-
çois d'Assises (oratorio); Les Amants de Rimini
(drame lyrique): Le Retour (opera; Angers, 1913;
Paris, 1919): Les Uns et les Autres (1-act, after
Verlaine, 1923); Bacchus el Silene (pantomime, 1901).
-A. C.
O'MARA
4 symphonles; symph. poem, Paratso Perdido
(Paradise Lost); Oda, for str. orch.; Salve Regina, v.
and orch.; str. 4tet in E flat (1891); pf.: 32 Rimas,
Inspired by the poetical work of Becquer with same
title (1890-1); sonntas; Misa de Gloria; Nocturno.
(Publ. Daniel Pérez Cecilla, Burgos.)-P. G. M.
OLSEN, Ole. Norwegian compr. condr. b.
Hammerfest, 4 July, 1850. Stud. music in Trond-
hjem, 1865-7; 1868, assistant-orgt. in that city.
Stud. at Cons. in Leipzig, 1870-4, where he
completed his nationally-tinged symphony in
G. Under the influence of Wagner's music, he
applied himself to production of music-dramas;
during the following decades wrote numerous
operas. Was condr. of Mus. Soc. in Christiania,
1878-81; choral instructor; music-instructor at
Military School, 1887-1903; inspector of music
to army, 1899-1919. He has given many con-
certs abroad; has conducted his own compns.
in Stockholm, Copenhagen, Berlin, Hamburg,
Leipzig, Cologne, Vienna. A very versatile
compr., his symph. poems, operas and pf. pieces
often bear a strongly national stamp, being in
that respect influenced by Grieg and Svendsen;
his amiable personality gives his works a charm-
ing touch of humour and feeling. Their tune-
fulness is ingratiating and taking. Warmly-
coloured instrumentation and felicity of form
characterise most of his orchestral works.
Operas: Lajla (perf. National Theatre, 1908); Stig
Hvide; Klippederne (The Rock-girt Isles); Stallo (all
to own words); musle to Nordahl Rolfsen's fairy-
comedy Srein Urad (perf. many times in the nine-
ties); musle to Wellen's drama Erik XIV; symphony
in G; symph. poem. Aasgaardsreien; Alfedans
(Fairy Dance); oratorio, Nidaros; cantatas; male-
volce choruses; pf. pleces; songs; adaptations of
folk-melodies, etc.-J. A.
OLMEDA DE SAN JOSÉ, Father Federico.
Span. musicologist, orgt. and compr. b. Burgo
de Osma, 1865; d. Madrid, 11 Feb. 1909. Orgt.
at Tudela Cath. (1887); Burgos Cath. (1888);
and from 1903 to end of life choirmaster at
Convent of Descalzas Reales, Madrid. Ed. of
review La Voz de la Música (Madrid). Started
his career as choirboy; stud. first under Don
Damián Sanz and later on under Don León
Lobera, who instructed him in harmony, cpt.
and vn. vla. cello and d.b. Among contemporary
Span. theorists he ranks next in importance to
Pedrell for his research work on the art of poly.
phony from its early stages and his conclusions
as to its relation to modern music and the origin
of dissonance. This he traces (in the implied
form of the chord of 7th) over 400 years
before Monteverdi in the Codex attributed to
Calixtus II (XII century), which is preserved at
Santiago de Galicia and which nobody had
thoroughly analysed before Olmeda (see BAR-
BIERI). He anticipated many of the ideas em-
bodied in the Motu Proprio of Pius X (1903), the
interpretation of which was for him a favourite
study. He possessed a valuable library on music
and liturgy, acquired at his death by the book-
seller Karl Hiersemann of Leipzig. His compns.
numbering 350, include:
OLSSON, Otto Emanuel. Swedish orgt. compr.
b. Stockholm, 19 Dec. 1879. Stud. R. Cons.
Stockholm, 1894-1901; compn. under Josef
Dente; orgt. Gustavus Vasa Ch. from 1908;
teacher (harmony) R. Cons. 1908; prof.-in-
ordinary, 1919; member of R. Committee for
new hymn-book for the Swedish Church, 1916;
well known as an organ recitalist; member
R.A.M. Stockholm, 1915. As a compr. O. has
a very fine polyphonic style.
Pt.: Fire klaverstykker (Copenhagen, Nord. For-
lag); Vid juletid (Al
5 pleces (Elkan &
Schlidknecht): Aquarelles (id.); Ur Skizzboken
(Sketchbook), 8 pieces (Th. Dahlström); 7 Elegiska
danser (id.). Organ: Meditation (Elkan & Schild-
knecht); Adagio (id.); 5 pedal-studles (Hofmeister):
5 canons (Junne); Fantasla and fugue (own ed.);
7 Miniatures (W. Hansen); Prelude and fugue,
C sharp mi. (id.); Prelude and fugue, F sharp mi.
pr
melodies (Abr. Hirsch); 10 variations on
plainsong: Ave Maris Stella, and other organ pieces
organ Augener); Te Deum, chorus, str. harp and
(Musik. Konstföreningen): 6 Latin hymns a
cappella (id.); 6 a cappella choruses; mixed choruses
with organ; 3 cantatas; str. 4tet II in G (id.); songs
for v. vn. and organ; songs with pf.; about male
choruses; Sulte for harmonium (Dahlström).-P. V.
O'MARA, Joseph. Irish t. singer; b. Limerick,
16 July, 1866. In 1889, went to Milan to study
singing under Moretti. In 1891, opera début in
London; 1892, sang at the Popular Concerts;
1894, sang in Eng. and Ital. at Drury Lane and
Covent Garden. On production of Stanford's
Shamus O'Brien in 1896, made great impression
in Mike's part; joined Moody-Manners Opera
Co. and sang in London and provinces; successful
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OMNITONALITY
in such widely different parts as Rodolphe (La
Bohème) and Tannhäuser; founded an opera
company which, has, for some years, toured the
with success.-W. Sr.
"ONALITY. See art. on HARMONY.
ONDŘIČEK, František. Czech violinist; b.
Prague, 1859; d. Milan (when on a concert tour),
1922. Stud. at Cons. Prague and Paris (Massart).
Concert tours took him all over Europe and
America and made him celebrated. He has a
passionate and expressive temperament, and
intense rhythmic feeling. Till 1918 his per-
manent home was Vienna, where he cond. his
own music school, and (from 1908) acted as
leader of his Quartet. From 1919 prof. of vn.
classes at Cons. of Prague.
Publ. (with Dr. S. Mittelmann) New Methods in
Advanced Technique of Vn. Playing (2 vol. 1908).
Comp. str. 4tet; Czech Rhapsody: many
arrangements. V. ST.
vn.
ONEGIN-HOFFMANN, Sigrid. Contr. singer;
b. Stockholm, about 1885, of Ger. parents; pupil
of Eugen Robert Weiss and di Raniero, Milan;
1912, concert-singer; married same year Eugen
B. Onegin (compr. 1883-1919); engaged for
Stuttgart and Munich Opera Houses; since
1922, concert-touring in U.S.A.-A. E.
O'NEILL, Julia A. Eng. pianist and teacher;
b. London. Prof. of pf. Borough Polytechnic.
Guide to Theory of Music (Novello): Exercises for
Weaker Fingers (id.); Melodious Technique (2 books)
Novello; Picturesque Technique (Stainer & Bell, 1923).
-E.-H.
O'NEILL, Norman. Eng. compr. and condr.
b. Kensington, 14 March, 1875. Stud. under Dr.
Arthur Somervell in London and Ivan Knorr at
Frankfort. He has acted as mus. dir. of several
London theatres (notably The Haymarket Th.)
and excels as a writer of incidental music.
Amongst his best music for plays are his Blue
Bird music (1909), and his Mary Rose music
(April 1920).
Scotch Rhapsody,
Orch.: 3 overtures (In Autumn, op. 8; Hamlet,
op. 11; In Springtime, op. 21): Miniature Suite,
op. 13: Miniatures, op. 25: Variations, op. 29;
Hornpipe; Overture Ifumor
esque; scena for barit, and orch. La Belle Dame sans
merci. Incidental music: A Lonely Queen, op. 22:
A Tragedy of Truth, op. 23: The Last Heir, op. 28;
King Le r. op. 34; Hamlet (1905); The Blue Bird, op.
37 (Elkin); The Gods of the Mountain, op. 41; Free-
dom (New York, 1918); Mary Rose (1920, Schott);
Macbeth (Nov. 1920); Julius Caesar (1920): The
Snow Queen (Kingsway, 1921): The Merchant of
Venice (New York, 1922; H. Gray & Co.); Stigmata
(1922); Success (Laymarket, June 1923); Prisoner
of Zenda (id. Aug. 1923; Cramer); Before Dawn, a
1 move-
Swinburne ballet, chorus and orch.; trío in 1
ment, vn. cello, pf. op. 26 (Schott): variations for 2
pfs. (Schott); pf. pieces it Prowse; Cramer; II.
Forsyth;
Anglo-Fr. songs (Keith,
Gray: Forsyth: Ricordi; Weekes; Novello; Boo-
sey); ed. Golden Treasury of ong (Boosey): Song
Garden for Children (E. Arnold).-E.-II.
OPERA in Belgium, England, Germany,
Hungary, etc. See under headings of various
countries-BELGIAN OPERA, ENGLISH, etc.
OPERA HOUSES
spersed their farces with couplets on well-known
airs or songs specially composed. This was the
origin of the type of opera composed by Philidor,
Monsigny, Duny, Grétry, Boieldieu, Auber-the
type which produced Bizet's Carmen.
The present building was constructed by
Bernier in 1898 on the site of the Salle Favart
burnt down in 1887. Repertory opéras-comiques
are occasionally given there, but mostly lyric
dramas such as Louise, Pelléas, Werther, etc. are
presented. The Opéra-Comique now gives with
great taste the same repertoire as the Grand
Opéra, and is content to avoid the more elaborate
vocal works which its stage renders impossible.
It receives a subsidy from the State. The mana-
gers (1924) are Albert Carré and the brothers
Isola.-H. P.
OPERA HOUSES. ARGENTINA.-Buenos
Ayres: (i) Opera. (ii) Teatro Colón. (iii) Teatro
Politeama.
AUSTRIA.-Vienna: (i) State Grand Opera
House (see special art. under V). (ii) Volksoper,
condrs. Felix Weingartner and Franz Schalk.
Weingartner resigned in 1924, and was succeeded
by Fritz Stiedry. (iii) Konzerthaus, dir. Dr.
Botstiber.
BELGIUM.-Brussels: Theatre de la Mon-
naie (see special art. under B). Antwerp: Lyrisch
Vlaamsch Tooneel. Cultivates especially Flemish
comprs. (Blockx, Du Bois, P. Gilson, etc.); also
Wagner, Smetana, etc.
CZECHO-SLOVAKIA.-Prague: The Bo-
hemian nation built the National Theatre with-
out help from Austrian state. It was burnt down
in 1881, rebuilt by collected funds, and re-
opened in 1883. Both drama and opera are
cultivated. Dir.-condrs. 1883-1900, Adolf Čech,
1900-20, Karel
Moritz Auger, Adolf Vyskočil.
Kavořovic (q.v.) and now O. Ostrčil (7.v.). The
Kavořovic period was most flourishing. It in-
cluded model-perfs. of Smetana and Dvořák,
Wagner, Strauss and many new Fr. and Russ.
works. Since 1920, it comprises 2 buildings, the
new large theatre, no longer suited to modern
opera, and the former Ständetheater (built 1789)
now of insufficient capacity. The present condrs.
include F. Picka, R. Zamrzla, V. Brzobohotý, V.
Maixmer and J. Winkler. Brno (Brünn): Mo-
ravian Opera House, condr. Fr. Neumann (q.v.).
DENMARK.-Copenhagen: Royal Opera.
ENGLAND. London: (i) Royal Covent
Garden Opera House (orig. R. Italian Opera)
See special art. The British National Opera Co.
now gives a summer season and a winter one.
The lessees are the Grand Opera Syndicate. (ii)
Operas are very occasionally given at His
Majesty's Theatre, the Shaftesbury, the Aldwych,
etc. (iii) Boughton's The Immortal Hour has
recently had a very long run at the Regent. (iv)
Operas are given 3 times a week from Sept. to
May at the Old Vic."
OPÉRA-COMIQUE, THÉÂTRE DE L', Paris.
The beginnings of the Opéra-Comique in Paris
were very modest. The comedians of the Théâtre
de la Foire, wishing to profit by the fashion for
music and being hindered, by Lully's privilege,
from performing entirely musical pieces, inter-
FINLAND. - Helsingfors: Opera House.
Condr. up to 1922, O. Merikanto; then T.
Hannikainen. (See FINNISH OPERA.)
FRANCE. Paris: (i) Théâtre National de
l'Opéra (q.v.). (ii) Opéra-Comique (q.v.) Operas
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OPERA HOUSES
are also given at Marseilles, Lyons, Nancy, Lille,
Nice, Monte Carlo, Cannes, etc.
GERMANY.-The German opera houses
have no "seasons" (except Bayreuth), but
are permanent companies with fixed staff,
changing slowly and continually replenished.
Berlin: (i) Staatsoper, condrs. Schillings, Kleiber.
(ii) Deutsches Opernhaus; the last dir. Georg
Hartmann was succeeded in 1923 by Leo
Blech, who is now both gen. and artistic dir.
(iii) Grosse Volksoper, dir. Otto Klemperer.
Darmstadt: Landestheater, dir. Michael Balling.
Dresden: Sächsisches Staatstheater (Saxon State
Theatre), dir. Fritz Busch. Frankfort-o-M.:
Stadttheater, dir. Ernst Lert. Hamburg: (i)
Stadttheater, dir. Siegfried Jelenko. (ii) Volksoper,
dir. Carl Richter. Hanover: Opernhaus, dir.
R. Levy. Carlsruhe: Badisches Landestheater
(Baden National Theatre), dir. Fritz Cortolezis.
Cologne: Vereinigte Stadttheater, dir. Eugen Szen-
kar. Leipzig: Städtische Theater, dir. O. Lohse.
Mannheim: Nationaltheater, condr. Richard Lert.
Munich Operas are given in Nationaltheater,
in Residenztheater (especially Mozart), and in
Prinzregententheater (generally only in summer).
Opera-dir. Hans Knappertsbusch. Stuttgart:
Württemburgisches Landestheater, dir. C. Leonardt.
Weimar: Deutsches Nationaltheater, cond. vacant.
Wiesbaden: Staatstheater, condr. F. Mannstädt.
HOLLAND.-The Hague: National Opera
House, founded 1916 by G. H. Koopman (dir.
1916-19); dir. W. van Korlaar, jun. 1919-22;
from 1922, Jan Heythekker. 1st condr. Albert
van Raalte, 1916-22. Classical operas, Wagner,
d'Albert, Wolf-Ferrari, etc.
HUNGARY.-Budapest: Royal Opera House.
Opened 1881. Before that time, operas were
given two or three times weekly in National
Theatre (opened 1837). In this opera-house all
the most important Hungarian operas and stage
mus. works had their first perf., among them
Erkel's operas and the stage-music of Mihalo-
vich, Hubay, Dohnányi, Bartók, etc. Gustav
Mahler was dir. 1888-91; Arthur Nikisch
1893-5. Well-known condrs. included Stephan
Kerner (q.v.) (since 1896), and the Italian,
Egisto Tango (1913-19). Among the singers.
have been Takács Mihály (barit.); Béla Környei
(t.); Ludwig Rózsa (b.) (qq.v.). Best-known of
present day: Ferenc Székelyhidy (t.), Erzsi
Sándor (coloratura-s.), Olga Haselbeck (m.-sopr.),
Rózsi Marschalkó (m.-sopr.) (qq.v.).
ITALY.-Rome: (i) Teatro Costanzi (see
special art.). (ii) Teatro Adriano; very vast; re-
cently built; privately owned; spring and
autumn seasons. Milan: (i) Scala (Teatro alla),
dir. Arturo Toscanini (see special art.). (ii)
Teatro Dal Verme, named after the family who
recently built it, and own it. Venice: (i) Fenice
(Teatro la), well-known house, built 1792; dir.
Mario Terni. (ii) Teatro Malibran, dir. G. Zuc-
cani. Turin: Teatro Regio, a leading opera-
house; built 1738. Entrusted by municipality
to private enterprises. Seasons Carnival and
Lent. Manon Lescaut (1 Feb. 1893) and La
Bohème (1 Feb. 1896) were first produced
OPIEŃSKI
there. Bologna: Teatro Comunale, a renowned
theatre, opened 1763; autumn and winter
seasons. Naples: Teatro San Carlo; one of
largest; built 1737; rebuilt several times; pro-
perty of city, who entrust it to private enter-
prise. Intended for great stage spectacles.
Genoa: Teatro Carlo Felice. One of best-known
in Italy; built 1826; Carnival and Lent
seasons.
LITHUANIA.-See LITHUANIAN MUSIC.
NORWAY-Christiania has possessed a
permanent opera house only during the 3
years from 1916 to 1921. The theatre was named.
Opéra Comique, and was started by a syn-
dicate headed by Benno Singer, with Alexander
Varnay as artistic leader. As Norway possesses a
superfluity of brilliant vocalists, a number of the
leading works, both classical and modern, were
able to receive an excellent performance in this
theatre, the more so because several of the most
famous European artists gave "guest" per-
formances there. The opera house ceased to
exist in 1921. The various dramatic stages in
Christiania, National Theatre, Central Theatre,
Christiania Theatre, etc., have occasionally pro-
duced operas in addition to dramatic pieces. On
initiative of the journal Dagbladet a fund of about
1 million kroner has been collected for estab-
lishing in the future a permanent Norwegian
opera-house. In the dramatic theatres in Bergen,
Stavanger and Trondhjem, operas and operettas
are occasionally performed.
POLAND. Warsaw: State Opera House,
chief condr. Emil Mlynarski. Opera is also perf.
at Lwów (Lemberg), Cracow and Posen.
PORTUGAL.-Lisbon: (i) San Carlos Theatre.
(ii) Trinidade Theatre. (iii) Colyseu.
RUMANIA.-Bucharest: State Opera House;
dir. Georges Georgescu; 1st condr. J. N. Otescu.
(See RUMANIAN OPERA.)
RUSSIA. Petrograd: State Opera House
(formerly Imperial Opera House). Moscow:
Grand Opera House, condr. N. S. Golovanof.
SERBIA.-Belgrade: National Theatre (New
Opera House).
House).
SPAIN.-Madrid: Teatro Real (Royal Opera-
Barcelona: Liceo (Opera House).
SWEDEN. Stockholm: Royal Opera.
U.S.A.-New York: (i) Metropolitan Opera
House. Dir. (from 1908) Giulio Gatti-Casazza.
(ii) Century Opera House (from 1913-15). Boston:
Opera House, built 1909. Chicago: Opera House,
managed by an association formed in 1911.-E. II.
OPIEŃSKI, Henryk. Polish compr. violinist,
condr. writer; b. Cracow, 13 Jan. 1870. Became
an engineer in 1892. Soon left that career and
began in 1894 to study music under Żeleński in
Cracow; then under Stojowski and Paderewski
in Paris; under Urban in Berlin, and under V.
d'Indy in Paris. Was a violinist of Colonne Orch.
in Paris; then in Warsaw Philh.; 1904-6, stud.
musicology under Riemann in Leipzig. Ph.D.
1914. In 1911, founded in Warsaw a scientific
musical review, Kwartalnik Muzyczny, which
appeared for 2 years. During the war, O.
founded in Switzerland a Madrigal Soc. to
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OPPEL
perform ancient vocal music. Since 1919, dir.
of the State Conservatoire at Posen.
Symph. poems: Lilla Weneda, 1908 (on the
tragedy of Stowacki); Sigismund Augustus and Bar-
bara
pieces. Historical works: La Musique Polonaise,
Essai historique sur le développement de l'art musical
Polish music in the Ital. review L'Eroica (special
number, Polonia, 1916); and his doctor's thesis on
the ancient lutenist Valentin Greff-Bacfart.-ZD, J.
OPPEL, Reinhard. Ger. compr. b. Grünberg
(Upper Hessia), 13 Nov. 1878. Pupil of Hoch's
Cons. Frankfort-o-M.; 1903-9, orgt. at Bonn;
1911, graduated at Munich with Study on Jacob
Meiland; 1911, teacher of compn. at Cons. Kiel.
Female and male choruses; church music; sonata
pf. pieces, op. 21, 26, 27, 28; songs.
to for vn.:
In ms.: Serenade (flute, ob. clar. horn and bsn.), F
mito
ma. op. 30; str. trio; two 2 str. 4tets; pf. and vn.
sonata; pf. sonata, A mi.; organ works.
Since 1922
Oppel Soc. has been engaged in popularising his
music.-A. E.
And
ORCHARD, W. Arundel. British compr. b.
London; now living in Sydney, N.S.W. Dir.
New South Wales State Cons. from 1923.
Music-drama, 3 acts, Dorian Gray (from Oscar
Wilde), ms.; dramatic poem, Ullen the Bowman,
chorus and orch. (Laudy & Co. London); The Silent
Land, male chorus and orch.; orch. music; str. 5tet,
C mi.; str. 4tet. F mi.; part-songs (Laudy; Paling
& Co. Sydney).-E.-H.
ORCHESTRAL COLOUR AND VALUES.
Orchestral colour, which is vital to orchestral
music, is difficult to treat in a short article, not
only because it is at once an intricate and a very
large subject but also because it has an indefinite-
ness. The parallelism with painting implied by
its name is incomplete. The painter's primary
material consists of three colours, red, blue and
yellow. When he mixes them a thousand
varieties of hue result, but, for all their variety,
they result definitely and in obedience to fixed
rules. The maker of orchestral music may be
said to work with four primaries, the strings and
harp, the wood-wind instruments, the brass and
the percussion instruments, these last including
bells. But when he blends his primaries his
results are not definite. The spacing of a chord,
its doubling and its distribution among the
classes of instruments can be so endlessly modi-
fied that to reach a fixed result regularly is
hopeless. It is well known that some of our
most experienced writers for the modern orches-
tra cannot hear what they write with the mind's
ear. Hence the so frequent remark, "I had no
idea it would sound so well."
ORCHESTRAL COLOUR
individual emotion and expression of the com-
poser and belong thereto. In every period, from
Monteverdi to Stravinsky, each composer has
impressed his own idiom upon the orchestra he
has employed. We hear much of the greyness of
Brahms's orchestration, the vermilion quality of
Berlioz's dazzling brilliancy, the ethereal blue of
Debussy's gossamer spinning. As we study each
of these composers we find that his colour, even
his lack of colour, is proper to his special lan-
guage. Every note a great composer sets down is
essential: its heaviness, its lightness, its very
emptiness is moulded to his thought. Yet it is
impossible fully to analyse his individual use of
orchestral combinations, so infinitely various are
they in their degrees of light and shade and in
their registers of tone-quality.
It has been suggested that orchestral colour
covers a multitudinous poverty of thematic and
musical ideas. This is sometimes all too true,
yet it cannot be admitted that all compositions
for the orchestra should stand or fall by the
so-called black-and-white test. The orchestral.
works of the older masters do indeed sound well.
on the pianoforte, which is a colourless instru-
ment, because their significance is mainly a
matter of form and design. It is these which are
essential to them and not the orchestral colour
of their simple and straightforward harmonies,
and therefore their essential qualities can be
rendered on the piano. This holds in spite of that
rightness of colour, timbre and atmosphere which
sounds in orchestral productions of the works
of great classical masters, masterly adapters of
the orchestras at their disposal to the idiom of
their ideas.
But it cannot be fairly disputed that some of
the most beautiful modern orchestral composi-
tions convey nothing, or worse than nothing,
when they are arranged as four-handed pieces
for the pianoforte. The fact is that the colour,
obtained from the orchestra but not from the
piano, can entirely change harmonic ideas. Thus
on the modern orchestra the most violent har-
monic clashes, the juxtaposition of several keys
at once, can give perfect aesthetic pleasure.
Therefore the black-and-white test is discredited.
As well judge a modern painting by a pencil
sketch of it! How poor and trivial, even ugly,
might the drawing be of a painting that was
luminous, scintillating, ethereal by the wonder
of its colour! Its whole emotional, and therefore
artistic, effect may have depended upon colour.
Modern orchestral composition, like modern
painting, does not have form and design for its
only essential elements, but is, on the contrary,
mainly a matter of colour.
While, then, orchestral colour must never
cover up poverty of ideas and invention, to
neglect it is to incur a real and grave loss.
Composers must abandon the old view that if
the harmonic structure of their works be sound.
and the musical ideas interesting, it is impossible
to have colourless orchestration. On the con-
trary, the subject of colour deserves special
study. If one looks over modern scores, the
It is impossible to make fixed rules for the
blending of orchestral colour. We may, for
instance, feel that strings and brass never blend,
or, more forcibly, that the pianoforte and the
organ do not blend with the other instruments
of an orchestra. The persistently individual tone
of the piano is indeed partly responsible for the
continued success of the pianoforte concerto
with the concert-going public. But all these and
similar generalisations may at any point break
down; not one of them can be erected into a
rule. Skilful composers have, for instance, used
organ tones, in particular the pedal tones of
the organ, to the great colour-advantage of the
orchestra. All combinations are part of the
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ORCHESTRAL COLOUR
entable lack of variety of colour obtained by
posers without the colour-sense, even from
strings, is repeatedly apparent, and the im-
Ovement that a real orchestral colourist could.
ng to many of these works would surprise
eir authors.
ORCHESTRAL COLOUR
know the Wagnerian hervortretend and Debussy's
dehors, but there are composers who expect too
much of conductors in this direction and who
waste the time given to the preparation of new
works because they will not mark their scores.
with judgment. Orchestral intensity is often far
too conventionally marked.
Too much stress cannot be laid on the fact
that chordal spacing greatly helps variety of
colour. High registers always tend to give a
brilliant, luminous effect; low registers, one
which is heavier and gloomier.
It is also important to remember that the
string colour palls least of all, and the colour of
the percussion instruments very quickly. A
well-known arrangement of God Save the King
is a devilish example of what not to do. The
grosse caisse and cymbals are struck on every
note of the melody, instead of once only, at the
place which every conductor should know is
their one right place, namely, the summit of
the melody.
We pass to the fascinating subject of possible
future developments. New technique for the
orchestra offers a far wider field than the new
technique for keyed instruments which attracts.
so much interest. It must not for a moment be
imagined that Wagner and Berlioz exhausted
orchestral effects and colours. The contrary is
proved by Strauss and Elgar, and by Ravel,
Malipiero, Stravinsky and other moderns. Ravel
in his Rapsodie espagnole, and his later La Valse,
uses with a masterly brush, a colour scheme
which is really distinctive and subtle. In May
1924 this master's orchestral version of Mussorg-
sky's Pictures from an Exhibition was first pro-
duced in Paris. The dreamy languor and sunlit.
sleepiness which Debussy put into his short but.
immortal masterpiece, L'Après-midi d'un Faune,
gives a quite wonderful example of truthful
orchestral colouring. Yet, even by Debussy the
suave, velvety, dreamy and languorous colours
obtainable, for instance, from the flutes and the
clarinets, have not yet been fully discovered, any
more than have the dramatic, harsh, metallic and
sinister hues of the orchestra by any composer.
Another modern master of orchestral colour is
Delius, whose Sea-Drift, a work for soli, chorus
and orchestra, is unique in the colour of its vari-
ous musical combinations which truly reflect the
elusiveness of Walt Whitman's poem. But the
outstanding example of what the colourist can
do is given by Richard Strauss in Don Quixote.
He obtains humorous and bizarre effects,
essential to his characterisation, by using the
colour of the various instruments, particularly
the middle sonorities and the lower brass.
Richard Strauss richly clothes his musical
thought with the enormous number of com-
binations of timbres and the wealth of glowing
colour obtainable from the modern orchestra.
No composer has drawn more colour than he
from each individual instrument. We need only
instance the viola-solo phrases in which Sancho
Panza begs for more money, or the three notes
on the piccolo when he scratches his head. It
363
The conclusion is, then, that while orchestral
Slouring follows rules which cannot be exactly
aid down, it is a part of his work which no com-
oser can in conscience disregard. Those of our
younger composers who have no intuitive gift
for orchestral tone-colour and values would be
wise to hear an orchestra every day, and also
to learn two or three orchestral instruments, if
possible one in each of the three main groups of
strings, wood-wind and brass; they should at
least be able to play them in a student's orches-
tra. Only by thus living in a sea of orchestral
sound can a musician feel and learn the varied
harmonic, rhythmic and thematic sonorities.
Too many of our composers still do not think
their symphonic creations upon the orchestra;
instead they orchestrate their musical ideas.
We want orchestral thoughts, not pianistic
thoughts transcribed for orchestral instruments.
We want also fewer solos for wind instruments
accompanied by the strings. The wood-wind
has been called the flower-garden of the orchestra
and the clarinet the queen thereof, but in certain
works, even by composers of the last twenty
years, nothing palls so much as the long-winded,
barren and monotonous clarinet solos. So far,
no composer has shown an intuitive grasp and a
knowledge of the individual technique of every
instrument of the orchestra in so masterly a
way as Hector Berlioz, who died over a half
century ago.
In default of fixed rules for orchestral colouring
some general, guiding statements may be made.
In future instrumentation, importance will
probably be given to bringing out the essential
note or notes of various chordal effects. This has
been neglected in many works of the great
masters. Far too little attention has been paid
to the balance between the vertical and the
horizontal musical line.
The possibilities of doubling the three primary
constituents of the orchestra-the strings, wood-
wind and brass-have been far too much dis-
regarded. In all "doubling-up" of so-called
themes, the highest registers will always tell to
the hearers, whereas doubling in the unison,
even upon two different instruments, tends to
merge the tone but gives warmer colour. It is
a pity to find quite a number of modern com-
posers employing the celesta and the pianoforte
in ignorance of the fact that the tones of these
instruments are very easily covered. Like harps,
they only tell when they are lightly surrounded
by orchestral tone.
Insufficient advantage has been taken of the
possibilities of showing up a particular line of
thought, or a passage, or a harmonic combina-
tion, by nuances which are often contradictory;
for instance, by several fortes against a back-
ground of mezzo-pianos, and vice versa. We
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ORCHESTRAL COLOUR
is by the shape of his themes and his use of
colour that Strauss reaches the grotesque. He
gives an orchestral picture which may be called
Goyesque. His orchestral voices seem to take
on tangible form.
There is no doubt that Stravinsky, in his three
important ballets, discovers many new streaks
of orchestral colour. He paints from a luminous,
flaring pallet, like nothing anyone else has used,
but one on which the colours are vivid rather
than strident and are exceptionally few, so that
an elastic flexibility is maintained. His L'Oiseau
de Feu will always remain a masterpiece of
modern orchestration.
ORCHESTRAL COLOUR
ness.
and which tend to produce heaviness and muddi-
A certain tendency towards too much
economy of orchestral material, no doubt en-
couraged by the wish to keep the pecuniary
costs of orchestras down, should however be
resisted. It is true that nothing is more educative
than to draw the last breath of life out of the
so-called chamber orchestra, but for further
progress courage and adventure are necessary.
It is well that composers should throw away the
old fossilised palette, and such experiments as the
recent employment of an entire band of flutes
are to be welcomed. It is, moreover, a mistake
to think that a very large orchestra is necessarily
a noisy instrument on which to play or to which
to listen. Its degree of noisiness depends not on
the number of its players but on the size and
acoustics of the hall in which it performs and
the capacity of its conductor. Two cornets can
be brassier and more blatant than the full comple-
ment of Wagnerian brass as used in The Ring.
We look for the composer who will possess an
orchestral colour-vision wider than any known
to us hitherto, as well as a musical idiom worthy
of his instrument and his material. The rules of
academic harmony are so out of date that they
have come to seem childish, and the modern
orchestra will so develop that, as advantage is
taken of rhythmic possibilities, the composer
will be able completely to change the organism
of music. British composers have in the past
entirely lacked the orchestral colour-sense, but
there is no reason why some of the younger of
the living men should not come to equal Ravel
or Roussel. They are working in a colour-
medium which deserves none of the old con-
demnatory epithets-monotonous, too massive,
too thick and muddy. Of the progress of the
orchestra it is difficult to prophesy definitely.
But it may become so mighty and so varied as
to inspire golden colour-visions. Since more than
half a century ago, at the end of his Grand Traité
de l'instrumentation et d'orchestration, Berlioz
amused himself by imagining an ideal orchestra
of 467 performers, we have indeed travelled a
long way. The ideal festival orchestra of the
present day should indeed inspire music which
It would, we
would be a wonder of colour.
suggest, include the following players:
30 1st Violin
30 2nd
20 Violas
20 Violoncellos
16 Double-Basses
2 Piccolos
3 Flutes
1 Alto Flute (Bass Flute)
3 Oboes
2 Oboes d'Amore
An interesting new colour effect has lately been
obtained by introducing into the orchestra the
human voice without words, as in Scriabin's
Prometheus, Ravel's ballet Daphnis et Chloé,
Delius's Song of the High Hills and the single
vocal line in Casella's Couvent sur l'eau. Apart
from the use of this and other new instruments,
there is no doubt that orchestral values are
changing. Our wood-wind players have refined
their tone-quality to such an extent, and the
tone of the strings has been so much enlarged,
that it has become difficult to make wood-wind
solos In England and France the oboes and
bassoons, with their beautiful scales of even
quality, have almost lost their "bite." The
wood-wind colour of the orchestra does not "get
through," as it once did. Hence, when we go to
Germany, the first thing which strikes us is the
"bite of the oboes and bassoons, even while
we dislike their "throaty" quality.
The composer of the future must not only use
the orchestra in its present state of development
but must expect that it will be further changed;
for there is much room for improvement. The
most perfectly disposed concert orchestra still
has some very nasty holes in it. There is no
strong tenor voice in the strings; the brass-bass
needs reinforcement, the quality of the bass
tuba is clumsy and hooty and does not blend
with the trombone timbre. It is to be hoped
that someone will shortly invent a bright, clear-
toned brass-bass instrument of good intonation
which will carry down the bass-trombone scale
chromatically, and which will blend perfectly
with the trombone quality in chordal work.
There is at present a great difficulty in carrying
one streak or seam of colour up and down a
long range.
The younger composers should go on experi-
menting with orchestral colour. Thinking always
orchestrally, they should try to put new life into
the old, and create life in the new instrumen
and combinations of the modern orchestra.
In spite of all that is written about orchestral
effects and colours we are still only on the fringe
of possibilities. The modern harmonic experi-
ments may evolve an entirely new and yet
natural system. The endeavour should be to
fill up orchestral gaps and to carry oneness of
tone-quality through a larger range of pitches,
rather than to work with massed orchestras
which thicken while they strengthen the tone
364
2 Cors Anglais
1 Heckelphone (Baritone Oboe)
2 Small Clarinets
3 Ordinary Clarinets
2 Alto Clarinets (Bassett-Horns)
1 Bass Clarinet
1 Pedal-Clarinet
3 Bassoons
2 Double Bassoons and perhaps 4 Saxophones
(S.A.T.B.)
8 Horns
4 Wagner Tubas
Trumpets
4
i Bass Trumpet
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ORCHESTRAL MUSIC
Alto Trumpet
Alto Trombone
1
3
1 Base Trombones
Trombone
1 Contra-Bass Trombone
1 Eupenba in F
1
Bass
1 BB flat Military Brass-Bass
3 Side-Drums
1 Tenor Drum
1 Bass Drum
1 Tambourine
1 Triangle
1 pair of large Cymbals
1 very large Gong
6 Kettle-Drums
An Octave of Tu
Tubular Bella
An Octave of Mushroom Bells
A Military Glockenspiel
A Celesta
A Xylophone
Harps
6
Organ
H. J. W.
ORCHESTRAL MUSIC in Austria, Britain,
Germany, etc. See under headings of the various
countries AUSTRIAN ORCH. MUSIC, BRITISH, etc.
ORCHESTRAS. AUSTRIA.- Vienna: (i)
Phil. Concerts (see special art. under V). (ii)
Orchesterverein Haydn; condr. Camillo Horn.
(iii) Orchesterverein of Ges. der Musikfreunde.
(iv) Konzertverein Orch.; condr. Ferd. Löwe, to
end of 1924 season.
BELGIUM.-Brussels: (i) Cone du Con.
servatoire; condr. Léon du Bois (4 concerts a
year). (ii) Concerts populaires; dir. Henry Le
Boeuf; condr. M. Rühlmann. A grand concert
every month during winter; others with smaller
orch. and partly devoted to older music. (iii)
Houdred Orch. Antwerp: Two symphony orchs.,
one cond. by Alpaerts de Vocht, the other by
Mortelmans. See also art. BELGIUM, ORCH.
CONCERTS IN.
CANADA.-Toronto: New Symphony Orch.
condr. L. von Kunits. Ottawa: Symphony
Orch. condr. F. D. Heins.
CZECHO-SLOVAKIA.-Prague: Czechische
Filharmonie, founded 1901. Original condrs.
L. V. Čelanský, K. Moor, Fr. Spilka, Oskar
Nedbal (qq.v.); 1904-18, Vilém Zemánek; then
Čelanský again, for short time; now (from 1919)
Václav Talich (q.r.).
DENMARK. Copenhagen: (i) Musik-
forening (Mus. Soc.), (see HAMMERICH, ANGUL;
HORNEMANN, C. F. E.; and MALLING, OTTO).
(ii) Dansk Koncert forening (see HELSTED, C. G.).
(iii) Tivoli Concerts. (iv) Folkekoncerterne
(Popular Concerts).
ENGLAND.-London: (i) Royal Philhar-
monic Society, founded 1813; 8 to 12 orch. con-
certs annually (see special art.). (ii) Queen's Hall
Orch. founded 1895 (see special art.); condr.
Sir Henry Wood. (iii) London Symphony Orch.
founded in 1904, on co-operative principles.
Famous visiting condrs. (iv) R. Albert Hall Orch.
(v) Goossens' Orch. Manchester: Hallé Orch.
founded 1857-8; present condr. Harty (see
special art.). Liverpool: Philharmonic Soc.
founded 1840; 8 to 10 concerts a year, under
visiting condrs. Chorus-master, Dr. A. W. Pollitt.
Bournemouth: Municipal Orch. condr. Sir Dan
Godfrey (see art. on SIR DAN GODFREY).
ORCHESTRAS
FINLAND. - Helsingfors: (i) Municipal
Orch.; condr. R. Kajanus; 2nd condr. L.
Madetoja. (ii) Konsertföreningen (Concert Assoc.)
condr. G. Schnéevoigt (g.v.).
FRANCE. Paris: (i) Société des Concerts du
Conservatoire, founded 1792; condr, from 1909,
André Messager (see SOCIETIES). (ii) Colonne
Orch., founded 1873 by E. Colonne; condr. from
1910, Gabriel Pierné (see special art.).
Lamoureux Orch., founded 1881 by C. Lamou-
reux; condr. from 1923, Paul Paray (see special
art.). (iv) Pasdeloup Orch., founded 1861; re-
establ. 1920 under Rhené-Baton (see special art.).
(v) Concerts Touche (small orch.), There are also
the orchs. of the Soc. Haydn-Mozart-Beethoven,
founded 1895; Soc. Bach, 1906; Concerts spiri-
tuels de la Sorbonne, 1900; Concerts populaires
de l'orch. 1905; Concerts de la Schola, 1903;
Concerts Sechiari, 1906; Concerts Hasselmans,
1908; Concerts Chaigneau, 1911; Concerts Mon-
teux, 1914; Concerts Rouge (see special art.);
Concerts Golschmann, 1919 (see GOLSCHMANN).
The Russ. condr. Kussevitzky gives series of
orch. concerts at Opera House with his own orch.
Bordeaux: Soc. Ste.-Cécile, founded 1843.
Rennes: Soc. des Concerts, founded 1874. There
are also Concerts populaires at Angers; Lille,
1876; Nancy, 1885; Havre, 1891; Marseilles,
1887; Toulouse, 1902; Lyons, 1904; Nantes,
1904; Dijon, 1920, etc.
GERMANY.-Leipzig: Gewandhaus Orch.
condr. Wilhelm Furtwängler. Berlin: (i) Orch.
der Staatsoper; condrs. Fritz Stiedry, Carl
Ehrenberg, Otto Urack. (ii) Philh. Orch.
condr. Hagel. (iii) Blüthner Orch. condr. Camillo
Hildebrand. Dresden: (i) Orch. der Staatsoper;
condrs. Fritz Busch and Kutzschbach. (ii)
Philh. Orch. condr. Edwin Lindner. Munich:
(i) Orch. des Nationaltheaters; condrs. Hans
Knappertsbusch, R. Heger, H. Rohn. (ii) Kon-
zertverein Orch. condrs. Hausegger and Grosz.
Stuttgart: Orch. des Württemburg Landestheaters;
condr. Leonhardt. Carlsruhe: Orch. des Badi-
schen Landestheaters; condr. Fritz Cortolezis.
Sondershausen: Loh Orch. condr. Corbach. Bres-
lau: Orch. des Stadttheaters; condr. Pruwer.
Weimar: Orch. des Deutschen Nationaltheaters
(condr. vacant). Cologne: Orch. des Stadttheaters
and Gürzenich Orch. condr. Abendroth.
Wiesbaden, Hamburg, Bremen, Lübeck elle. Cre-
There are also permanent orchs. in Mannheim,
Darmstadt, Frankfort, Hanover, Cassel, Schwerin,
Mayence
Elberfeld, Essen, Magdeburg, Aix-la-
feld, Dortmund, Duisburg, Bochum, Düsseldorf,
Chemnitz, Nuremberg.
HOLLAND. Amsterdam: Concertgebouw
Orch. founded 1883; condr. 1888-95, Willem
Kes; from 1895, Willem Mengelberg.
leading orchestra (100 players) of Holland.
The
Gives between Oct. and May 2 symph. concerts
weekly at Amsterdam (Thursday and Sunday), be
sides 5 popular concerts in the season, and, between
May and July, 10
also concerts at The ar concerts. In winter season
Hague (15); Rotterdam (13);
Utrecht (4); Haarlem, Arnhem, Nijmegen and Ley-
den. R. Strauss, Mahler, Debussy, Ravel, Casella,
etc., have cond. it in their own works. Since 1920 it
is cond, from Jan. to March by Dr. Karl Muck; while
Mengelberg is cond. the New York Philh. The 2nd
condr. is Cornelis Dopper. This orch. played in Ber-
gen, Norway, 1898; London, R. Strauss Fest. 1903;
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ORCHESTRAS
Brussels, Antwerp, Paris, Frankfort, Hamburg, Ber-
In. The soe. Het Concertgebouw has also given (from
1920) chamber-muste perfs., and (1922) united with
the Wagnervereeniging in opera-performances.
The Hague: Residentie Orkest; 80 members;
condr. Peter van Anrooy. Utrecht: Stedelijk
Orkest; 65 members; condr. Evert Cornelis.
Arnhem: Stedelijk Orkest; 50 members; condr.
M. Spanjaard. Groningen: Orkestvereeniging;
50 members; condr. Kor Kuiler.
HUNGARY.-Budapest: Philharmonic Soc.
founded 1853 by Franz Erkel (q.v.); after him,
came his son Alexander Erkel as leader and dir.;
later Stephan Kerner. Since 1917 under Ernst
von Dohnányi's dir. it arranges annually at least
10 orch. concerts in Budapest.
SWITZERLAND.-Zurich: Tonhalle-Gesell-
schaft, founded 1868, with Dr. Fr. Hegar as
condr, of the orch. Reconstituted 1895 (in-
auguration of new concert hall). Hegar remained
condr. till 1906. Dr. Volkmar Andreae succeeded
him. Gives 12 symphony concerts, a number of
popular ones and 8 chamber-music recitals every
winter. Consists of 70 members; 48 of them
(engaged for the whole year with title to pension)
are bound to play also in the theatre (opera and
operetta) and in the summer concerts (cond. by
Carl Wenz). The quartet of the soc. consists of
W. de Boer, H. Schroer, P. Essek, Fr. Reitz.
Basle: Allgemeine Musikgesellschaft, founded
in 1876. First condr. of orch. Dr. Alfred Volk-
land; from 1902 Dr. Hermann Suter. Gives 11
symphony concerts, a number of popular ones
and chamber-music recitals. Consists of 68 mem-
bers. The str. quartet of the orch. consists of
Fritz Hizt, Ernst Krüger, F. Kuchler, W.
Treichler. Geneva: (i) Orchestre de la Suisse Ro-
mande, founded 1918; condr. E. Ansermet; 72
members. Gives 12 symphony concerts at
Geneva, 8 at Lausanne and Neuchâtel, and
numerous popular concerts. (ii) Société de Musique
Symphonique; condr. A. Paychère.
U.S.A. The cultivation of symph. music in
U.S.A. has received a decided impetus within
the last few decades. Many new orchs. have been
establ. in large cities. Of these many have suc-
cumbed after a few years' struggle. Others have
survived. In spite of the increased numbers of
concert-goers, and of a real desire on the part of
the mus. public to hear good orch. music, the
supply of orch. concerts in some cities (notably
New York) has exceeded the demand. Few, if
any, existing organisations are wholly self-sup-
porting. The newer organisations owe their
continued existence to the guarantee either of a
consortium of financial backers, or the munifi-
cence of a single individual who offers to make
up the annual deficit or provides an endowment
outright. The oldest, the New York Philh., was
aided by a bequest in 1912 of $1,000,000 from
Joseph Pullitzer; while the New York Symphony
Soc. has received an annual donation from Mr.
H. H. Flagler who has also provided an adequate
endowment for the future. The Boston Sym-
phony Orch. was for many years the only orch.
in America wholly independent of the box-office.
Its members were not required to add to their
income by outside work. Financial security was
guaranteed by the founder, Henry Lee Higgin-
son. In 1918 Higginson relinquished the actual
366
ITALY.-Rome: (i) Augusteo Orch.; various
condrs. See special art. (ii) Unione Nazionale
Concerti gives a large number of concerts each
season. Milan: Società dei Concerti Sinfonici,
founded 1912; cond. mostly by Toscanini.
Palermo: Associazione Palermitana Concerti
Sinfonici, founded 1922.
NORWAY.-Christiania. The Orch. Soc.
(Musikföreningen) was founded by Grieg in
1871; it dissolved in 1919. Svendsen, Selmer,
Holter, and lastly Karl Nissen, were its condrs.
The Nat. Theatre's Orch. also dissolved in 1919.
Both were succeeded by the Philh. Soc. endowed
by the shipowner A. F. Klaveness; it also
receives a municipal_grant. Gives about 20
concerts a month. Permanent condrs. Georg
Schnéevoigt, J. Halvorsen, I. Neumark, J.
Eibenschütz. Bergen. The mus. soc. Harmonien
(founded 1755) secured Grieg for condr. in 1880.
Since then, it has been cond. by I. Holter, P.
Winge, Washington-Magnus, J. Halvorsen, and
now H. Heide. Supported by municipal grant
in addition to F. Sundt's endowment and Grieg
Fund support. 42 players, 8 concerts a year.
POLAND. Warsaw: Philharmonic Orch.
100 members; gives usually 4 concerts weekly
in Warsaw, in hall holding 2000 people. Dir.
Roman Chojnacki; condr. Jósef Ozimiński.
SCOTLAND. Scottish Orch. founded 1887;
4 to 8 concerts a week during the season. Various
condrs. (See special art.).
SOUTH AFRICA.-Cape Town: Municipal
Orch. founded 1912; 45 players; subsidy of
£8000 annually from municipality; condr. Leslie
H. Heward. Ďurban: Municipal Orch. founded
1921; condr. Lyell-Taylor.
ORCHESTRAS
founded 1902 (Tor Aulin). Newly organised
1914; condr. from 1922 Georg Schnéevoigt.
Gothenburg: G.'s Orkesterförening, founded
1905; present condr. Ture Rangström. Gälle.
With State-subsidy from 1912; condr. Ruben
Liljefors. Norrköping. With State-subsidy from
1913; condr. Ivar Hellman. Falun. Condr.
Joel Olsson. Helsingborg: Nordvestra Skånes
Orkesterförening. With State-subsidy from 1912;
condr. Olaf Lidner. Boras. Condrs. V. E. Lund.
qvist and Knut Håkansson. And at Malmö and
other towns.
SPAIN. Madrid: (i) Orquesta Filarmonica,
founded 1914; condr. Bartolomé Pérez Casas
(q.v.). (ii) Orquesta Sinfonica; condr. E. F.
Arbós (g.v.). (iii) Orquestra Pau Casals,
founded in 1919 by its condr. the famous
cellist Pablo Casals. Barcelona: Orquesta
Sinfonica de Barcelona, founded 1910 by Mestre
Lamote de Grignon, its condr. The number
of concerts given up to 1923 exceed 200; at
every concert there must be at least one work
by an Iberian compr. By this means, and through
provincial tours, this Catalonian inst. is one of
the most important elements of mus. culture in
Spain. Saragossa: Filarmonica.
SWEDEN.-Stockholm: Konsertföreningen,
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ORCHESTRAS
control of the orch. to a board of directors.
Since his death in 1919, the orch. has had to
rely partly on a guarantee fund raised by its
directors. The Minneapolis, Philadelphia and
Detroit orchestras have also made active cam-
paigns for guarantee or endowment funds. It
should be noted that almost all of these orchestras
extend their activity beyond their home cities,
giving concerts in larger and smaller cities in
their vicinity, and sometimes making tours to
more distant points. In May and June, 1920, the
New York Symphony Orch. made a European
tour, playing in France, Italy, Belgium, Holland
and England. The more important symphony
orchs. active since 1900 are:
ORNSTEIN
David Stanley Smith. Philadelphia: Philadelphia
Orch, organised in 1900; condrs. Fritz Scheel
(1900-7), Karl Pohlig (1907-12), Leopold Stokowski
(from 1912). Pittsburgh: Pittsburgh Symphony Orch.
organised 1896; condrs. Frederic Archer (1896-8),
Victor Herbert (1898-1904), Emil Paur (1904-10).
Disbanded in 1910. San Francisco: San Francisco
Symphony Orch. organised 1909; condrs. Henry K.
Hadley (1909-15), Alfred Hertz (from 1915). St. Louis:
St. Louis Symphony Orch. founded 1907; condrs, Max
Zach (1907-21), Rudolf Ganz (from 1921).-E.-H.
ORDENSTEIN, Heinrich. Ger. pianist and
teacher; b. Worms, 7 Jan. 1856; d. Carlsruhe,
22 March, 1921. 1871-5, pupil of Leipzig Cons.
(Wenzel, Coccius, Reinecke, Jadassohn, Richter,
Paul); after concert-tour with Mme. Peschka-
Leutner and Leopold Grützmacher, stud. at
Paris; 1879-81, music-master at Countess
Rehbinder's School, Carlsruhe; 1881-2, teacher
at Kullak's Acad. Berlin; 1884, establ. Grand-
Ducal Cons. Carlsruhe, which he dir. till
his death.
New York: Philh. Soc. of New York, founded in
1842. Its recent condrs. have been Theodore Thomas
(1877-91), Anton Seidl (1891-8), Emil Paur (1898-
1902), a series of guest-condrs. (1902-4), Safonof
(1905-9), Mahler (1909-11), Josef Stransky (1911-
1923), Willem von Hoogstraten (from 1923). Con-
sult H. E. Krehbiel, The Philh. Soc. of New York
(Novello, 1892) and J. G. Huneker, The Philh. Soc.
of New York, and its 75th Anniversary (The Soo. 1917).
New York Symphony Orch., active under this name.
since 1878, although its founder Dr. Leopold Dam-
rosch had begun his regular work with this orch. with
two series of subscription concerts in 1877. On death
of founder in 1885, his son, Walter Damrosch, suc-
ceeded him and has conducted ever since. National
Symphony Orch. gave its first concerts under the name
of New Symphony Orch. 11 April, 1919, with Edgar
Varese as condr. In the autumn of 1919 the new
was adopted and Artur Bodanzky became condr. In
Jan. 1912, Mengelberg came as guest-condr. After
the season of 1920-21 the orch. was merged with the
New York Philh. Russ. Symphony Orch. began its
activity in 1903. It was founded for the special
cultivation of Russ. music, and introduced many
works of Russ. comprs. in America. It gave the 1st
complete perf. of Scriabin's Prometheus with colour-
keyboard on March 20, 1915, and played Stravinsky's
symphony in E flat for 1st time in America in 1916.
In 1919 it ceased its regular concert activity in New
York. Modest Altschuler cond. from beginning.
Boston: Boston Symphony Orch. founded in 1881 by
Henry Lee Higginson. First condr. was George
Henschel, followed by Wilhelm Gericke (1884-9),
Arthur Nikisch (1889-93), Emil Paur (1893-8), Wi-
helm Gericke (1898-1906), Carl Muck (1906-8), Max
Fiedler (1908-12), Carl Muck (1912-18), Henri Ra-
baud (1918-19), Pierre Monteux (from 1919). Chi-
cago: Theodore Thomas Orch. organised by Theodore
Thomas in 1891. On the death of Thomas in 1905,
he was succeeded by Frederick A. Stock, who has
cond. ever since except during a short interregnum in
1918-19, when the assistant-condr. Eric Delamater
directed. American Symphony Orch. founded in 1915
by its condr. Glenn Dillard Gunn, for the express
purpose of cultivating orch. music by Amer. compra.
Cincinnati: Cincinnati Symphony Orch. founded in
1895. After a short series of concerts conducted by
F. Van der Stucken, Anton Seidl and Henry Schra-
dieck, Van der Stucken was the sole condr. until 1907.
After a 2 years' pause, Leopold Stokowski was condr.
from 1909-12. He was followed by Ernst Kunmald
(1913-17), Eugène Ysaye (1918-22) and Fritz Reiner
(from 1922). Cleveland: Cleveland Symphony Orch.
organised in 1918; condr. Nikolal Sokolof (from 1918).
Detroit: Detroit Symphony Orch. founded 1914;
condrs. Weston Gales (1914-18), Ossip Gabrilowitsch
(from 1918). Hartford: Hartford Philh. Orch. founded
1900; condrs. Richmond P. Paine (1900-2), John
S. Camp (1902-11). Robert H. Prutting (1911-21).
Henry Schmitt (from 1921). Los Angeles: Los Angeles
Symphony Orch. founded 1897; condrs. Harvey
Hamilton (1897-1913), Adolf Tandler (1913-20). Dis-
banded 1920. The Philh. Orch. founded 1919 by
W. F. Clark; condr., Walter H. Rothwell (1919).
Minneapolis: Minneapolis Symphony Orch. organised
1903 by Emil Oberhoffer (q.v.) who cond. until
1923, when he was succeeded by Henri Verbruggen.
New Haven: New Haven Symphony Orch. grew out
of student-orch. organised by Horatio Parker at
Yale Univ., and began giving regular public concerts
in 1896.
Parker cond. until 1919; succeeded by
367
Guide to Pf. Literature (Leipzig, 1912); History of
Music at Carlsruhe (1916).-A. E.
OREFICE, Giacomo. Ital. compr. and critic;
b. Vicenza, 27 Aug. 1865; d. Milan, 22 Dec.
1922. Gained diploma in 1885 at Liceo Mus. at
Bologna where he was a pupil of Luigi Mancinelli
and Alessandro Busi. În 1909, prof. of compn.
at Cons. of Milan, which position he occupied
until his death. From 1920, mus. critic of Il
Secolo.
As a compr. one must mention his
operas: Mariska (Turin, 1889); Consuelo,
(Bologna, 1895); Il Gladiatore (publ. by Tede-
schi, Milan; perf. Madrid, 1898); Chopin
(a discussed work, interwoven with melodies of
Chopin; produced at Teatro Lirico, Milan,
1901); Cecilia (Vicenza, 1902); Mosè (Genoa,
1905); Pane altrui (Venice, 1907); Radda
(Milan, 1913). Nearly all these are publ. by
Sonzogno, Milan. O. has also left much symph.
and chamber music: symphonies, sonatas,
orch. pieces, pf. music, songs, etc. He was a
very cultured musician (had gained his degree
in jurisprudence), and did excellent work as
a teacher, propagandist, lecturer, and writer.
He helped materially to elevate Ital. mus.
culture. To him we are indebted for an ed.
of Monteverdi's Orfeo, and the revival of other
old Ital. music. As a writer, we mention his
monograph on Luigi Mancinelli (Rome, 1921,
Ausonia), and various important arts. in the
Rivista Musicale Italiana.-D. A.
OREL, Dobroslav. Czechoslovak writer on
music; b. Ronov, 1870. Ph.D.; music-teacher
at a Prague school which has a fine children's
choir; prof. of mus. science at Bratislava
(Pressburg) Univ.; writer on Czech Middle Ages
and church music.-V. ST.
ORNSTEIN, Leo. Amer. pianist, compr. b. Kre-
mentchug, Russia, 11 Dec. 1895. Stud. at Petro-
grad Cons. Went to New York 1906; stud. pf.
under Mrs. Thomas Tapper at Inst. of Mus. Art.
Début as pianist in New York at New Amsterdam
Theatre, 5 March, 1911. Gave recitals in Chris-
tiania, Paris and London. Attracted much atten-
tion with a series of recitals of modern and
futurist pf.-music in London in 1914 and in New
York, 1915. Toured U.S.A. from 1915 to 1917.
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ORREGO
A pianist of quite unusual ability, O. has also
composed much music, chiefly for pf. Among his
unpubl. works are a pf. concerto, op. 44; a
symph. poem, The Fog, op. 47; an orch. suite,
The Life of Man. A futurist pf. piece often 1
played by the compr. in his pf. recitals is a
Danse Sauvage (Wild Man's Dance). His op.
numbers rise to over 80. He has allied himself
with the ultra-modernists, rivalling Schönberg
and Stravinsky in the boldness of his tonal con-
ceptions, and in the heaping up of dissonances,
as well as in his repudiation of all canons of
form. His later pieces, however, are more simple.
Vn. sonata, op. 31 (C. Fischer, 1915); Three Russian
Impressions, vn. and pf. op. 37 (Ditson, 1916); cello
sonata, op. 52 (C. Fischer, 1918); 7 Moments Musi-
cals, pf. op. 8 (Norsk Musikforlag, 1913); 6 Luric
Fancies, pt. op. 10 (A. P. Schmidt, 1911); 2 pf.
pieces, op 13: No. 1. Impression de la Tamise;
No. 2. Danse Sauvage (Wild Man's Dance) (London,
Schott,
1920,
6 Water Colours, pt. op. 80
(C. Fischer, 1921); other pf. pieces: op. 4 (Ditson,
1912); op. 5, and without opus numbers (New York,
Breitkopf, 1918); op. 7 (C. Fischer, 1915); op. 41
(C. Fischer, 1918); op. 11, 16, 20 (London, Schott,
1915, 1914); songs (C. Fischer, 1915). Consult
F. H. Martens, Leo Ornstein: the Man-his Ideas
his Works (New York, Breitkopf, 1918), and C. L.
Buchanan in The Musical Quarterly, April 1918.
-0. K.
ORREGO, M. A. Chilean compr. Has utilised
the forms of the national tonados and zamacueca,
a species of Cordillerean fandango, in his music.
-F. H. M.
ORSI, Romeo.
18 Oct. 1843;
Ital. clarinettist; b. Como,
Milan, 11 June, 1918. For
many years, from 1873, prof. at Milan Cons.
where he had been a pupil. He enjoyed great
celebrity as concert-player, both in Italy and
abroad. One of founders, and for 11 years vice-
president, of Società Orchestrale della Scala.
He founded in Milan a large mus, instr. factory,
to which he gave his name. He invented and
constructed new types of instrs., such as a bass
clarinet in A, a bass flute, and various charac-
teristic percussion instrs. of which modern
composers have taken advantage. He publ.
instructive methods and several pieces for his
own instrument.-D. A.
OSELIO, Gina. Norwegian m.-sopr. singer;
b. Christiania, 19 Nov. 1858. Stud. under Mrs.
Stenhammer and Fritz Arlberg in Stockholm;
under Mme. Marchesi in Paris. Début 1879 at
R. Opera House, Stockholm, as Leonora in La
Favorita; sang in 1882 at Padua, as Azucena
in Il Trovatore, in a manner which made her
famous in Italy. Appeared in Florence, Palermo,
Rome, Venice. Concerts in Paris, 1882 and 1897;
appeared 1885 and 1887, in R. Opera House in
Budapest. Has since sung in large number of
European theatres, at Her Majesty's Theatre in
London, at the opera houses in Berlin, Leipzig,
Milan, Copenhagen, Stockholm and Petrograd.
Besides above rôles, she has sung Marguerite
in Faust, in Mefistofele (Boito), Carmen in
Bizet's opera, Elizabeth in Tannhäuser, Des-
demona in Otello, Brünnhilde in Valkyrie, etc.
Gave concerts in the Nobles' Hall in Moscow and
in other cities. In Christiania, she appeared in
1891 and following years as Marguerite, Carmen,
ÖSTVIG
Azucena and other rôles, and was received with
enormous enthusiasm. Married in 1893 Björn
Björnson, a son of the famous poet, and dir. of
National Theatre in Christiania. King Oscar II
conferred on her the distinction Litteris et
Artibus, and she also holds one or two foreign
orders. Since the dissolution of her marriage in
1908, she has withdrawn herself more and more
from public life, and now lives in Paris. She is
the most eminent vocalist Norway has hitherto
possessed. At its best her voice was of unique
power, brilliance and beauty, while her technique
and vocalisation, as well as her histrionic abili-
ties, were exceptionally fine. Amongst Northern
vocalists she is surpassed only by the "Swedish
nightingales," Jenny Lind and Christina Nilsson.
-R. M.
OSTRČIL, Otakar. Czech compr. condr. b.
Smíchov, 1879. Stud. compn. under Zdenko
Fibich, 1895-1900; attended Univ. of Prague.
at same time; prof. at Commercial Acad.
Prague, 1901; condr. (1909) of amateur orch.
Orchestrální Sdružení (till 1922); 1914, opera
dir. Vinohrady Theatre, Prague, and when this
closed in 1919, dramaturg at National Theatre,
Prague; on the death of Karel Kovařovic (1920)
became, and is still, opera dir. Condr. Smetanal
Festival, Prague 1924. In his earlier works he
seems to have sought his whole inspiration in
Fibich. Later on the progressive modernising of
the expression rendered his individuality more
independent. Since his opera Poupě, this de-
velopment has been completed. Under Mahler's
influence his polyphony especially became
more complicated, and this, in conjunction with
the independent melodic writing for all voices
and their atonality, has resulted in great
harmonic intrepidity. We find in his works
more of manly energy than of delicate ex-
pression of feeling. There is something
objectivising about his instr. music-his feel
ings are sternly held in check. Among younger
Czech writers he belongs to those in whom
the intellectual elements play the largest part.
2 orch, suites (op. 2, 14); tone-poem, Fairy-Tale;
2 melodramas (op. 6, 8); ballad, Osiřelo ditě, v. and
I. Urbánek); str. 4tet;
symphonietta;
Death; Kunala's Eyes; Poupé (The Bud); Legend of
Erin (publ.
Společnost). Choral works:
orch. (all publ. byromptu, orch. Operas de
Czech Christmas va S Legend of St. Zita; The
Stranger Guest; 3 songs (all publ. by Hudební Matice).
Consult O. Payer, O. O. (1912).-V. ST.
ÖSTVIG, Karl Aagard. Norwegian dramatic
t. singer; b. Christiania, 17 May, 1889. Matricu-
lated 1908; attended Military School; stud.
singing under W. Kloed; afterwards trained for 4
years in Cologne under Steinbach and Walter.
Début 1914 at Opera House in Stuttgart, where he
afterwards took an engagement for 5 years. Was
offered in 1919 an engagement on generous
terms at the State Opera House in Vienna, and
is still working there. In Norway O. made his
début in 1915 as concert-singer; appeared at
National Theatre as Don José in Carmen; sub-
sequently one or two rôles at short-lived Opéra-
Comique. Every summer he visits his native
land and gives concerts. Chief rôles: Lohengrin,
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O'SULLIVAN
Parsifal and other Wagnerian heroes, Don José,
Manrico, Pinkerton, etc.-R. M.
O'SULLIVAN, Denis. Barit. singer; b. San
Francisco, 1868; d. 1908. Stud. singing under
Vannuccini (Florence) and Santley (London)
In 1895, 1st appearance, in London concerts.
In opera, made his debut in Dublin, with Carl
Rosa Opera Co. As an operatic singer, was suc-
cessful in Wagnerian parts as well as in Ital.
opera. The success of Stanford's Shamus O'Brien
was in great measure due to his fine singing and
acting of the hero's part. He was an excellent
musician, a subtle interpreter and a fine actor,
and has been called "Erin's best-beloved singer."
His fortune was involved in the San Francisco
earthquake of 1906, and he started off on an
Amer. tour, but died suddenly. In England and
Ireland he was best appreciated in his vocal
recitals.-W. ST.
OTAÑO, P. Nemesio. Span. compr. orgt. and
scholar; b. Azcoitia (Guipuzcoa) in 1880. Mem-
ber of Jesuit Order. Pupil in compn. of Vicente
Arregui. Founder of the Schola Cantorum of
Comillas, the publ. house Orfeo and the review
Música Sacro-Hispana. Publ. the Antología de
Organistas Españoles, a remarkable coll. of both
early and modern Span. organ music. He is one
of leading Span. folk-lorists; and a recognised
authority on the old and modern religious music
of Spain.
Pf.: Las Cavaducas; Remembranzas. Chorus:
Basa Chorichu; La Montaña; Canción Montañesa;
Negra Sombra; Canción del Carretero. Songs for v.
and pf. A folk-lore essay El Canto Popular Mon-
Madrid; Lazcano & Mared, Bilbao.) P. G. d
Edition,
2 B
OZIMIŃSKI
OTESCU, J. Norma. Rumanian compr. and
condr. b. Bucharest in 1888. Pupil at Cons.
there (under Kiriak and Castaldi), then Paris
Cons. (Widor), and Schola Cantorum (under
d'Indy). Dir. of Bucharest Cons. since 1918.
A founder of the Lyric Soc. of Opera, and its
president until 1922. When this soc. became a
State inst., he was appointed 1st condr. of the
Rumanian Opera (q.v.). Took Enescu Composi-
tion Prize in 1912.
All his compns, remain in ms. There are several
symph. poems, three of which (Le Temple de Gnide,
1907; Narcisse, 1909; Din batrani) are founded on
themes. Also Poem for vn. and
popular Rumantements d'Armide, music for a scene
orch. Les
of L'Ilderim (by Queen Marie of Rumania); a ballet,
Ileana Corinzeana; many songs.-C. BR.
OTHEGRAVEN, August von. Ger. compr.
b. Cologne, 2 June, 1864. Pupil of Cologne
Cons.; scholar at Mozart Inst.; 1889, teacher
of pf., choral and opera ensemble, Cologne Cons.
Fairy-play, The Sleeping Princess (Cologne, 1907);
operettas: Poldi's Wedding (Cologne, 1912): My
Goddess, op. 21 (barit..
of Mary (Cologne, 1919) orch.); oratorio, Life
many songs; choral
works.-A. E.
OUDRID Y SEGURA, Cristóbal. Span. compr.
b. Badajoz, 7 Feb. 1829. Contemporary and
follower of Gaztambide. Wrote many stage-
works. His El Molinero de Subiza is one of most
representative works of last period of Span. mus.
decadence.-P. G. M.
OZIMIŃSKI, Józef. Polish violinist, orch.
condr. b. Warsaw, 1877. Pupil of Stiller and
Barcewicz (vn.) and Noskowski (theory) at
Warsaw Cons. From 1901, 1st violinist of War-
saw Philh., of which he became conductor
in 1910.-ZD. J.
369