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P
PABLO, Vicente. Uruguay pianist; b. Monte-
video, 1880. Stud. in Cons. La Lira, Montevideo,
completing his training in Europe under Busoni
and Vianna da Motta. Returning to Montevideo,
he founded Cons. Uruguay (with Avelino Beños,
cellist, and Edouard Fabini, violinist). This Cons.
was immediately successful and to-day has 14
branches throughout Uruguay. Under initiative
of P. and his associates, the Soc. of Chamber-
Music was founded, a notable factor in mus.
culture of the country; first concert 1910;
since then over 120 perfs. (1 given at Wagnerian
Association of Buenos Ayres).-A. M.
PACHECO, José Fernández. Span. compr. b.
Madrid, 1874. Ex-assistant-condr. Teatro Real,
Madrid; music-master, San Antonio de los
Alemanes Ch.; chief reader for Unión Musical
Española. He excels in Span. music of a light
character, having to his credit some of the best
and most mus. productions in that particular
style.
Has also written zarzuelas and some
church music. (Unión Musical Española, Madrid;
Enoch, London, etc.).-P. G. M.
PACHMANN, Vladimir de. Russ. pianist; b.
Odessa, 27 July, 1848. First stud. under his father
(prof. of Roman law at Vienna Univ. amateur
violinist and author of a manual on harmony);
then pf. and theory under Dachs and Bruckner
at Vienna Cons. Début, Odessa 1869; toured
Russia that year; then withdrew himself for 8
years' further study, appearing at Leipzig and
Berlin, withdrawing himself again for yet an-
other 2 years. Then appeared in Vienna, Paris
and London (1882) and in U.S.A. 1892.
toured continuously since then. Order of Dane-
brog from King of Denmark, 1885; R. Philh.
Soc. Medal, London, 1916. Married Eng. pianist,
Maggie Oakey, 1884, since divorced. His fame is
due chiefly to his playing of Chopin's music,
which is transfigured under his fingers by his
exceptional temperament and unbridled individ-
uality. His mastery of nuance in soft playing
is unrivalled.-E.-H.
Has
PACHULSKI, Henryk. Polish compr. pf..
teacher; b. Lazy, 4 Oct. 1859. Stud. pf. under
Strobl and theory under Moniuszko and Żeleński
at Warsaw Cons.; afterwards under Nicolas
Rubinstein and Pabst in Moscow. In 1886, prof.
of pf. Moscow Cons. until 1917. Has publ. many
pf. works, sonatas, variations, fantasias, orch.
compns. and pieces for cello and pf.-ZD. J.
PADEREWSKI,
Ignacy Józef. Polish
pianist and composer; eminent statesman ;
b. Kuryłówka (Podolien), 6 Nov. 1860. In
1872, pupil of Janota, Strobl and Żeleński at
Warsaw Conservatoire. In 1879, became teacher
of piano there. In 1881, studied under Kiel and
Urban in Berlin; in 1884, went to Leschetizky in
Vienna.
Paderewski's renown began with his
first Vienna concert in 1887. Since 1893 he has
been the best-known and most highly remuner-
ated pianist in the world. In 1910, he raised in
Cracow great monument in remembrance of the
Polish victory over the Prussians in 1410. From
the beginning of the war, he gave up playing at
concerts and devoted himself to philanthropy
and politics. He worked hard to turn public
opinion and the attention of the governments of
the Allied and Associated Powers to the necessity
of restoring Poland. In 1919, he became Presi-
dent of the Polish Republic and sat at the Peace
Conference at Versailles. In 1922-3, appeared
again as pianist in America, Paris and London.
Opera, Manru (llbretto by Alfred Nossig, founded
on Kraszewski's romance The Hut behind the Village),
1901; symphony in A mi. Poland, with patriotic,
symbolle programme, op. 20; Polish Fantasia, pt.
and orch.: op. 19; pf. concerto, A mi., op. 17;
sonata, vn. and pf. op. 13; pf. sonata, E ml. op. 21;
Variations in E ml. (with a splendid final fugue),
op. 23; Variations in A mi. op. 14. Many short pf.
pieces and about 30 songs.-ZD. J.
PAGOLA GOYA, Beltrán. Span. compr. b.
San Sebastian (Guipuzcoa), 28 Feb. 1878.
Lecturer on modern Fr. music; adherent of folk.
lore school. Lives at San Sebastian, where he
is a prof. at the Acad. Municipal.
Sinfonia Vasca, orch.; sonata, pf. and cello; pf.
sonata on Basque popular airs; E Erexia, elegia-za
-zorzico,
left-hand study for pr.; pf. suite, Humoradas Vascas.
-P. G. M.
PAHISA, Jaime. Contemporary Span. compr.
of the Catalonian group. He represents a modern
tendency based on polyphony, opposed to the
Neo-Russ. school. Some of his symph. works
have been perf. in Germany as well as Spain.
Lives and works in Barcelona, his native town.
Orch. De las profundidades a las alturas; El
Combate; En las Costas Mediterráneas; Estudio
sinfónico; Overture on a popular theme. V. and
orch.: Balada. Str. orch.:
La Morisma; Gala Plácidiandante. Lyric dramas:
La de
Cañigó. Pf.: Seis pequeñas fugas a dos voces;
Preludio y grandes fugas a dos voces; Seis pequeñas
Balades. (Unión Musical Española.) P. d. f. Tres
G. M.
PALADILHE, Émile. Fr. compr. b. Mont-
pellier, 3 June, 1844. A child-prodigy; entered
Paris Cons. at 9. Prix de Rome, 1860 (with
cantata Ivan IV). Member of Committee of
Studies of Cons.; has a seat in the Institut.
His music sometimes recalls Meyerbeer.
Symphony; 2 masses. For stage: Le Passant
(1-act, 1872), from which is taken the Sérénade (well-
(1875); Suzanne (1878); Patrie (1886).-A. C.
title Mandolinata); L'Amour africain
PALLEMAERTS, Edmundo. Argentine pianist,
compr. b. Malines, 1867. Stud. at R. Cons. Brus-
sels, under Kufferath and De Greef. Went to
Buenos Ayres in 1889, and in 1894 founded the
Argentino Cons. of Music, which he directs.
Symphony in D; suite, Fantasia Argentina; can-
tata, Bognoguat (given at Brussels); many songs.
pf. and str. pieces.-A. M.
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PALMER
PALMER, Sir Samuel Ernest, Bart. Eng.
music patron; b. 28 March, 1858. Educated
Malvern Coll. and in Germany; founder of the
R.C.M. Patron's Fund; donor of two scholarships
to the Musicians' Company at the Guildhall
School of Music, besides many other gifts towards
the encouragement of British comprs. and
executants. Member of Council of R.C.M. and
of R. Choral Soc. Committee of Management.
Was presented with Honorary Freedom of
Worshipful Company of Musicians, recogni-
tion of his services to music.-E.-H.
PALMGREN, Maikki. See JÄRNEFELT-PALM-
GREN.
PALMGREN, Selim. Finnish compr. pianist;
b. Pori (Björneborg), 16 Feb. 1878. Stud. at
Helsingfors Music Inst. 1895-9; later in Ger-
many (Ansorge, Berger, Busoni) and Italy.
Gave concerts in Finland and abroad. 1909-12,
condr. in Turku. Now (1923) teacher of compn.
at Eastman Cons., Rochester, New York. His
compns, are noteworthy for their flowing melody
and harmonic invention, as well as for their
effective colouring. His themes are often
taken from folk-music. The impressionistic pf.
pieces and the fine male choruses are the
outstanding features of his productivity.
Opera, Daniel Hjort (River and Metamorphoses
(after
2 pf. concertos,
numerous pf. pieces
op. 6;
2 sonatas; 24 preludes, Op. 3; Fric: Spring,
Finnish
eto.); orch. sultes: The Seasons (From Finland);
Pastorale; stage music to Larin Kyösti's fairy-play
Tuhkimo (Cinderella); male choruses with orch.;
numerous songs; choral works.-T. H.
PALUMBO, Costantino. Ital. pianist; b.
Torre Annunziata (Naples), 30 Nov. 1843.
Stud. at Naples Cons., taking pf. under Lanza
and compn. under Mercadante. Gained much
success as pianist in Italy, France and England.
In 1873, appointed prof. of pf. at Cons. of
Naples, and he has brought out some excellent
pupils. Author of several operas, amongst
which we mention Pierluigi Farnese, (book by
Boito), a symphony, a str. 4tet, a concerto,
various orch, pieces and much elegant pf.
music.-D. A.
PANDER, Oskar von. Ger. condr. and compr.
b. Agershof, Livonia, 31 March, 1883. Stud.
economy and philosophy; 1908-11, theory
of music at Munich (Rudolf Louis); 1911-
1912, compn. under Gernsheim at Acad. for
Art, Berlin; 1912-13, Korrepetitor at Ger.
Opera House, Charlottenburg; 1913-14, condr.
at Mayence Stadttheater; 1915, Lübeck;
1915-16, 1st condr. at Kiel; 1916-19 at
Halle-o-S.; 1919-22 at Darmstadt; since 1921,
condr. of Rühl Choral Soc. Frankfort-o-M.;
since 1920 of Choral Union and Concert Soc.
Offenbach.
Ballad, mi. pf. (Breitkopf); orch. arr. of
Mussorgsky's Songs and Dances of Death. Of numerous
unpubl. compns., the songs and pf. trio in A ma. have
been most performed.-A. E.
PÂQUE
to other leading Ital. theatres, and to La Scala,
Milan. Also went to Spain, Paris and London
for important seasons. Is a very capable concert
condr.
He has written 3 operas: Medio evo
latino (Genoa, 1900) publ. by Ricordi; Aurora
(Buenos Ayres, 1908); Bisanzio (not yet perf.);
also some symph. and chamber music. We also
are indebted to him for a new ed. of Berlioz's
Treatise of Orchestration, with an appendix
(Ricordi).-D. A.
PANZNER, Karl. Ger.-Czechoslovak condr.
R. prof. b. Teplitz-Schönau, 2 March, 1866.
Stud. in Dresden; condr. at Sondershausen,
Elberfeld, Bremen, Leipzig, Berlin, Hamburg,
Düsseldorf, at which last-named place he
followed Buths and cond. the Mus. Fest. of the
Ger. Soc. of Music (Allg. Deutscher Musik-
verein) in 1922.-E. 9.
PAOLANTONIO, Francisco. Argentine compr.
and condr. b. Buenos Ayres, 1885. Stud. at Rome
and Naples. Orch. condr. at theatres in Italy. Now
at La Scala, Milan. Is a sympathetic and imagi-
native compr. Symph. Prelude in D; many
songs and pf. pieces.-A. M.
PAPIER-PAUMGARTNER, Rosa. Austrian
opera singer and teacher; b. Baden, near Vienna,
18 Sept. 1858. The best singer at the Vienna
Opera, which she left in 1891, when appointed
prof. at Cons. To her, Mahler owed his call
to Vienna (cf. his letter to P., in coll. publ. by
Tal, Vienna). Married Hans Paumgartner,
pianist and critic, in 1881. Her son, Bernhard
Paumgartner, Mus.D., is dir. of the Mozarteum
at Salzburg and comp. the opera Das heisse
Eisen (The Hot Iron), perf. 1922.-P. ST.
PAPINI, Guido. Violinist; b. Camagiore,
near Florence, 1 Aug. 1847. Pupil of Gior-
getti; début under his direction at Florence,
1860; then leader of a chamber-music soc.;
1874, appeared in London at Mus. Union,
the Crystal Palace, the Old and New Philh. etc.
In 1876, played at Pasdeloup Concerts and at the
Bordeaux Philh. In 1893, chief vn. prof. at R.
Irish Acad. of Music, Dublin. With Esposito,
he did much for chamber-music in Dublin,
especially at the classical recitals of the R. Dub-
lin Soc. His influence as teacher at the Acad.
was very great in bringing forward new talent.
In 1896 he resigned his post owing to ill-health,
and returned to London, devoting most of his
time to compn. His works include an excellent
Violin School, transcriptions and smaller pieces
for vn. and cello, distinguished by facile flow of
melody.-W. ST.
PÂQUE, Marie Joseph Léon Désiré. Belgian
compr. b. Liège, 21 May, 1867. Stud. Liège
Cons., where he became assistant-prof. Then
went abroad; taught pf., organ and compn. at
Sofia, Athens, Lisbon, and later gave concerts
and lectures in Switzerland, Italy, France and
Germany. Settled in Paris, 1914, to compose.
P. is a "musician who thinks." He is the
exponent of "rational music," based on the
principle of "constant joining on," a form of
development in opposition to thematic unity,
PANIZZA, Ettore. Condr. b. (of Ital. parents)
at Buenos Ayres, 12 Aug. 1875. Stud. at Milan
Cons., compn. under Saladino and Ferroni, and
pf. under Frugatta. He began his career as
orch. condr. at the Costanzi in Rome, passing on
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PARAY
display of themes followed by development in
sections. His music, which is very independent.
in character, tends towards an almost atonal
polyphony in which the parts each follow their
own path freely. The mus. theories which
govern the compn. of his works do not however
detract from their spontaneous charm. Few
of his works are published:
2 symphonies; 2 overtures; pf. 5tet and 4tet;
sonatas, via. and pf. (op. 27), vn. and pf. (op. 32), pf.
69, organ concerto;
Vaima, lyrical drama, etc. CC. Requiem (op. 41);
PARAY, Paul. Fr. compr. and condr. b.
Tréport, 24 May, 1886. Stud. at Cons. Paris;
Prix de Rome, 1911; since the death of Chevil-
lard (1923) 1st condr. of Concerts Lamoureux.
Sonata for pf, and vn.; str. 4tet; symph. poems,
La Mort d'Adonis and Artémis troublée (1922).-A. C.
PARELLI, Attilio. Ital. compr. and condr.
b. Monteleone d'Orvieto (Perugia), 31 May,
1874. Gained diploma in 1899 at R. Liceo
Mus. di Santa Cecilia, Rome (school of Del
Sanctis), and devoted himself at once to orch.
conducting, giving excellent proofs of his
capacity in principal Ital. cities and in Paris.
He then went to America, where he was a
colleague of Campanini, Manhattan Opera
House; then Chicago, Philadelphia, and
principal cities of United States with the Chicago
Grand Opera Company. He also cond. successful
symphony concerts. As a compr. he gained
great success with his 1-act opera I dispettosi
amanti, first perf. Philadelphia, 1912, then
played at many other theatres (Covent Garden,
London, 10 March, 1924) (publ. by Schirmer,
New York). He has also comp. the operas
Hermes (Genoa, 1906); Fanfulla (Trieste,
1921), and several orch. works.-D. A.
PARENT, Armand. Violinist; b. Liège,
5 Feb. 1863. Naturalised Fr. First prize,
Liège Cons. Solo vn. Bilse Orch. after Thomson
and Ysaye. Particularly well known in France
as founder of str. quartet that bears his name.
He has done much for popularisation of modern
music. Gave 1st perf. of 2nd quartet and pf.
and vn. sonata of Vincent d'Indy (dedicated to
Parent), pf. quartet of Chausson, Magnard's
trio, trios of Albert Roussel (dedicated to him)
and Lekeu, and many works of Vreuls, Turina,
Guy Ropartz, and Le Flem. For years, one of
the very few to play the works of d'Indy,
Chausson, Magnard, Ravel and Brahms. A
compr. of great merit, he has written a str.
4tet; a pf. and vn. sonata; pf. compns.; songs.
As a master, he gives in his Schola Cantorum
class-instruction which combines happily classic
formula with an appreciation of modern
music.-M. P.
PARETTO, Graciela. Contemporary leading
operatic s. singer; b. Barcelona, Spain. Excels
in coloratura stylo. Perf. at Metropolitan Opera
House, New York; Teatro Real, Madrid; Liceo,
Barcelona; San Carlo, Naples, and all principal
opera houses. First appeared in London in La
Traviata, Covent Garden, 1919.-P. G. M.
PARKER
in arts at R. Univ. of Rome; diploma in compn.
at R. Liceo Mus. di Santa Cecilia. Began career
as condr.; then (1911-15) undertook the artistic
dir. of the firm of Sonzogno in Milan. Since 1914,
teacher of harmony and cpt. at R. Cons. in Milan.
Compr. of several symph. works, also sacred
and chamber-music (some publ. by Sonzogno).
Amongst his books are a Storia e teoria della
antica musica greca, (Milan, 1912, Sonzogno),
and an interesting monograph on Muzio Clementi
(Milan, 1922, Il Primato).-D. A.
PARIGI, Luigi. Ital. writer on music; b.
Settimello (Florence), 14 July, 1883. Founded.
in Florence the review La Critica Musicale.
Author of Index to first 20 years of Rivista
Musicale Italiana (Ital. Mus. Review) (see
PERIODICALS); of a vol. on Il momento italiano
(Florence, 1921, Vallecchi), and numerous arts.
in newspapers and reviews.-D. A.
PARIS, NATIONAL OPERA HOUSE. See
THÉÂTRE NATIONAL.
PARKER, Denne.
Scottish contr. singer;
b. Edinburgh, 22 June, 1889. Stud. at R.A.M.
London, and later under Sir George Henschel.
Sang at Gloucester Mus. Fest. 1922; Birmingham
Univ. Song-Recitals, 1922; Edinburgh Reid
Orch. Concerts, 1921-3; toured America and
Canada, 1923; has lectured and given frequent
recitals for the Franco-Scottish Soc., the Edin.
burgh Bach Soc., the British Ital. League, etc.;
and adjudicated at Londonderry Feis, Dublin
Feis, Plymouth, Buxton, Mansfield, Cleethorpes,
and other Eng. festivals.-G. B.
PARIBENI, Giulio Cesare. Ital. compr. and
writer; b. Rome, 27 May, 1881. Took degreo
372
PARKER, George. Eng. barit. singer; b.
Leeds, 24 Nov. 1882. Choirboy in Leeds Parish
Ch.; then trained as mining engineer and held
positions as colliery manager, singing during this
time as an amateur; appointed to choir at Eton
Coll. (6 months); then Manchester Cath. choir
(1 year); Westminster Abbey as lay-vicar; later
a Gentleman of His Majesty's Chapels Royal
(resigned 1920); appeared at London Coliseum
and in provincial music-halls as leading singer in
Elgar's Fringes of the Fleet, the compr. conduct-
ing; created and played part of Desert Lover in
Oscar Asche's Chu Chin Chow at His Majesty's;
appeared at Hereford Fest. and leading concerts,
1921; Gloucester Fest. 1922; sang opera with
Carl Rosa Co., H. B. Phillips Co. and with
National Opera Co. (Amfortas and Kurwenal).
A singer of great intelligence with a very even
voice of good tone.-E.-II.
PARKER, Henry Taylor. Amer. journalist; b.
Boston, 29 April, 1867. Stud. at Harvard 1886-9.
From 1892-1904, correspondent and critic of
various New York and Boston newspapers.
Sinco 1905, music critic of Boston Transcript.
Author of Eighth Notes, essays on music (Dodd,
Mead, 1922).-J. M.
PARKER, Horatio William. Amer. compr. b.
Auburndale, near Boston, Mass., U.S.A., 15
Sept. 1863; d. Cedarhurst, N.Y., 18 Dec. 1919.
Son of an architect; first mus. education from
his mother. Then stud. theory under Stephen
Emery and G. W. Chadwick in Boston. For a
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PARKER
time was orgt. in Dedham, Mass.; 1881-4, stud.
in Munich under Rheinberger; 1885-7, orgt.
and music-master at Cath. School of St. Paul's in
Garden City, Long Island, New York. After a
short period as orgt. of St. Andrew's in New
York, was orgt. of Holy Trinity Ch. in the same
city (1888-93), teaching at the same time at
National Cons.; 1893-1901, orgt. of Trinity Ch.
Boston. 1894, prof. of music at Yale Univ., New
Haven, Conn. Under his guidance the music.
department of this univ. developed into one of
the best in U.S.A. From the beginning, Parker
laid great stress on the cultivation of symph.
music among the students. He conducted regular
concerts of the student orch. himself. It grew
into the New Haven Symphony Orch. which,
in 1917, was organised as a permanent concert
organisation, giving regular concerts. In 1919,
surrendered the bâton to his assistant and former
pupil, David Stanley Smith, who also succeeded
his master as head of music department of Univ.
when Parker died in 1919.
PARRY
degrees of A.M. h.c. from Yale, 1894, and Mus. D.
h.c. from Cambridge, England, 1902.
King Trojan, soli, chorus, orch. (Schmidt, 1886); op.
30, Hora Norissima, soll,
his
1893); op. 31. The Dream King and roh. (Novello,
chorus and orch. (Schirmer, 1893); op. 40, Cahal Mór
of the Wine-red Hand, rhapsody for barit. and orch.
(Gray, 1910); op. 43. The Legend of St. Christopher,
oratorio (Novello, 1898); op. 45. Adstant Angelorum
Chori (a cappella) (Schirmer, 1899); op. 50, A Wan-
derer's Psalm for soll, chorus and orch. (Novello,
1900) (written for Hereford Fest. 1900); op. 64, King
Gorm the Grim, ballad for chorus and orch. (Schirmer,
1908); op. 79, Morven and the Grail,
(Boston Music Co. 1915); op. 82, The Dream of.
a morality (Gray,
(Schleovello, 16918): op. 55, concerto, organ and
orch. ()
op. 65, sonata in E flat, organ
1908); op. 35, Suite, pf. vn. and cello (id.
1904). Operas, Mona and
numerous songs (A. P. Schmid (id., 1911, 1915);
Schirmer; John
Church Co.).-O. K.
senet.
PARODI, Lorenzo. Ital. critic and compr.
b. Genoa, 10 Aug. 1856. Stud. first in his native
city; then in Paris under Guiraud and Mas-
Settled in Genoa, where he teaches
history and aesthetics of music at Civico Istituto
di Musica, and directs a private mus. acad.
Has comp. operas, concert and sacred music.
Amongst his books is Musicologia, tecnica e
psicologia dell' arte dei suoni, (Genoa, 1909,
Libreria Moderna).-D. A.
Parker was an industrious compr. His op. 1,
The Shepherd Boy, chorus for male vs., was
written in the 'eighties. His last published work,
"A.D. 1919," op. 84, for mixed vs. and orch., was
written for Yale Univ. centennial celebration.
He has comp. little orch. music (op. 12, 13, 46,
56; none publ.), some chamber-music; also pf.
and organ pieces and songs; but his best work
was done in music for the church and in choral.
compns. in the larger forms. In these he rose to
a height not hitherto reached by any Amer.
compr. His cantata, The Dream King and his
Love, op. 31, won prize of the New York National
Cons. 1893. An a cappella motet, Adstant Angelo-
rum Chori, op. 45, won prize of Mus. Art Soc.,
New York, 1898. His Morning and Evening Ser-
vices in E, op. 19, have been frequently sung in
England as well as America. But his greatest
work, on which his international reputation
rests, is his Hora Novissima, op. 30, for soli,
chorus and orch., first perf. by Church Choral
Soc. of New York in 1893 and sung at the
Three Choirs Fest. at Worcester, England,
in 1899, and in 1900 at Chester, the first
Amer. work of this calibre ever performed in
England.
P.'s style is characterised by a serious and
well-balanced loftiness, and a skill in handling
vocal masses in contrapuntal design, which lends
unusual depth and dignity to his larger choral
works. At times he evinces an almost ascetic
self-restraint, which explains why the two operas
comp. in his later years, although a considerable
advance over his earlier works in dramatic struc-
ture and appeal, have not held the stage, in spite
of their intrinsic mus. excellence. Mona, op. 71,
won the $10,000 prize offered by the Metro-
politan Opera of New York for an Amer. opera.
It was first perf. 14 March, 1912, at Metro-
politan Opera House. Fairyland, op. 77, won an
equally large prize of the National Federation of
It was brought out at Los
Angeles, Cal., July 1, 1915. P. was member of
National Inst. of Arts and Letters. Received
PARRATT, Sir Walter. English orgt. b.
Huddersfield, 10 Feb. 1841; d. Windsor,
27 March 1924. Educated at Huddersfield
College School; organist and choirmaster suc-
cessively of Armitage Bridge Church, of Great
Witley, Wigan Parish Ch., Magdalen Coll. Ox-
ford, St. George's Chapel Royal, Windsor; Prof.
of Music at Oxford Univ. 1908-18; Honorary
Fellow of Magdalen Coll. Oxford; Dean of
Faculty of Music, London Univ. (1916-20);
Master of the King's Music; prof. at R.C.M.
London. Knighted in 1892; M.V.O. 1901;
C.V.O. 1917; K.C.V.O. 1921. A musician of the
soundly classical, inflexible type, with a widely
cultivated mind, a phenomenal musical memory
and great skill in organ-playing. With his
natural rise to positions of great influence in
church music, he was able to do (and did) more
than any other musician in raising the standard
of organ-playing and the status of the organist in
the period from 1860-1910. He only wrote
a few short occasional pieces.-H.
A.
PARRY, Sir Charles Hubert Hastings, Bart.
English composer and author; b. Bournemouth,
27 Feb. 1848; d. Rustington, 7 Oct. 1918. He
spent his early life in surroundings which have
rarely produced a great musician, but he showed
very early in life strong musical predilections. He
inherited the artistic temperament from his
father, Gambier Parry, whose decorative work
on the nave ceilings of Ely and Gloucester cathe-
drals is well known.
At 8 he started on his career as a composer,
with chants and hymn-tunes. When at a private
school at Twyford near Winchester, he got to
know Samuel Sebastian Wesley, the organist of
the cathedral, and often sat with him in the organ
loft. The influence of Wesley was an abiding one.
Parry went to Eton in 1861, where he was re-
garded as a real musical prodigy. Whilst there,
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PARRY
he was the musical leader of the school and the
chief supporter of the Eton College Musical
Society. A few of his compositions were pub-
lished whilst he was at school, and his Service in
D soon after. He took his Mus. Bac. degree at
Oxford, whilst still at Eton. When he went to
Exeter College, Oxford, he at once took a leading
part in the college life, especially in music and
games, excelling in swimming, skating, cricket
and football. He was one of a set of very ardent
musical enthusiasts, including Harford Lloyd,
who were responsible for the founding of the
Oxford University Musical Club. He some
composition lessons while he was at Oxford from
G. A. Macfarren, and spent one long vacation
in Stuttgart, studying there under the English
composer Henry Hugo Pierson.
When he left Oxford he wanted to devote him.
self entirely to music; but his father opposed the
wish and he entered Lloyd's in 1871, and worked
there for about 3 years. About the age of 26,
however, he was able to devote himself altogether
to music and studied with tremendous enthu-
siasm under Edward G. Dannreuther, at whose
concerts at 12 Orme Square most of his com-
positions of that period were first performed.
The first work which brought Parry into
prominence was the cantata Prometheus Un-
bound, produced at Gloucester in 1880, and from
that date to the end of his life, he composed a
vast amount of choral music, 12 volumes of
songs, a quantity of chamber-music, 5 sym-
phonies and other orchestral works, 2 delightful
string suites (the Lady Radnor Suite and the
English Suite), a large number of organ works,
some pf. pieces and the music to 5 Greek plays.
PARRY
on the Nativity (Hereford, 1912), containing some
of his most beautiful writing.
At the other end of the scale, Parry's incidental
music to the Greek comedies of Aristophanes
is without a rival in its own kind. Parry was
a master of musical fun, and the "musical
larks" are as laughter-begetting as the comedies
themselves.
In 1883 Parry was appointed professor of
composition and lecturer in musical history at
the Royal College of Music, London, then just
opened. In the same year he was made Choragus
of the University of Oxford, and in 1898 he
succeeded Sir John Stainer as Professor of Music
there. In 1894 he followed Sir George Grove as
Director of the Royal College of Music. He was
created a Knight in 1898 and a Baronet in 1903.
He was given the honorary degree of Mus. Doc.
by Cambridge in 1883, Oxford in 1884, and
Dublin in 1891. His funeral at St. Paul's Cathe-
dral, where he was buried, was attended by a
huge congregation which contained many nota-
bilities from every walk of life.
In the last years of his life he wrote a set of
motets called The Songs of Farewell for un-
accompanied choirs of from 4 to 8 parts. In
these, especially in There is an old belief, we hear
Parry at his greatest. Lastly, in the song called.
Jerusalem to Blake's words "And did those
feet," Parry has written a new National Anthem,
which has already taken deep root in Britain.
In addition to all this, he found time to write
some of the best books about music which we
possess, for he had above all others the mind.
which saw things in their true relation. It was
through this and because he realised in music as
in life there must be organic unity, that he was
able to write such books as The Art of Music, his
volume on the XVII century in the Oxford
History of Music, his volume on Style in Musical
Art, and his book on Bach. His College Addresses,
published under the editorship of H. C. Colles,
reveal the secret of his power with young people
and his views on life in general. His favourite
word was Initiative. His teaching and influence,
throbbing with infectious energy, was almost
miraculous. He carried the stimulus of sunshine
wherever he went.
songs,
2nd str.
Works, with publishers and date of 1st perf.:
(Published by Novello unless otherwise stated.
There are no opus numbers except in a few early
fugues,
ins858-65, anthems, part-ingu
chiefly written while studying under Sir George
Elvey at Eton. 1865, anthems: Blessed is he;
Prevent us, O Lord (Eton Coll. Mus. Soc. 9 Dec.).
Coll. Mus. Soc. 8 Dec.) (Lamborn Cock); song. 22
1866, cantata, O Lord, Thou hast cast us out (Eton
Why
does azure deck the sky? (Eton Coll. Mus.
March) ( (Lamborn Cock): 5-pt. madrigal, Fair
Daffodils (Royal Glee and Madrigal Union, Windsor,
12 Feb.) (Lamborn Cock). 1867, songs: Autumn
(Lamborn Cock), Angel hosts, sweet love, befriend thee
(Lamborn Cock); Allegretto scherzando, orch. (ms.):
1st str. 4tet G mi. (ms.). 1868, Te Deum and Bene-
dictus from Service in D; Sonnets and Songs without
set, pf.
Fest of Service in D:
religioso, orch. (Gloucestborn Cock); Intermezzo
4tet, C mi. (ms.). 1869, remainder o
songs, Three Odes of Anacreon (Augener, 1880).
1870, song. The river of Life (Lamborn Cock). 1872, 7
Charakterbilder, pf. (Augener). 1873, 15 variations on
an air by Bach (4 Carlton Gardens, 1 April) (ms.); over-
ture, Vivien, orch. (ms.); 3 songs: The Poet's Song,
More fond than cushat dove, Music (Lamborn Cock).
1874, song, Twilight (Lamborn Cock); song, A Christ-
mas Carol; A Garland of old-fashioned Songs (Lamborn
Cock; later, Boosey). 1875, Sonnets and Songs with
out words, 2nd set, pf. (La Cock): 3 trios for
Hymn to Diana, Take
1877, Grosses
O take those lips away (Lamborn Cock). 1877, .
in
pfs. (12 Orme Square, 11 April, 1873)
(Breitkopf): nonet in B flat for wind instrs. (ms.);
sonata in F, pf. (Lamborn Cock); Sonnets and Songs
without words, 3rd set, pf. (Lamborn Cock). 1878,
pf. trio, E mi. (12 O. Sq. 30 Jan.) (Breitkopf, 1879):
sonata in A, pf. (Stanley Lucas; later, Augener);
Fantasie Sonala, B mi. in one movt., vn. and pf. (12
0. Sq. 30 Jan. 1879)
1879, overture, Guillem
de Cabestanh, orch.
female voices: Hymn to.
His setting of Shirley's poem, The glories of our
blood and state (1883), was his first mature work.
Four years later he produced Blest pair of Sirens,
in which we have Parry at his best, from every
point of view-in his selection of words, in his
faithfulness of accentuation in setting them to
music as great, producing a work in which words
and music go hand in hand. The high-water-mark
of Parry's use of great choral masses with the
finest effect is found in De Profundis (Out of the
deep have I called unto Thee). The oratorio Job
shows Parry in a new light, for it has a dramatic
significance and a range of emotion greater than
any other of his works. Altogether he wrote 24
choral works on a large scale, the last one, An Ode
9) (ms.); palace, 15 March) (ms.);
pf. 4tet in A flat (4 Carlton Gardens, 1 April). 1880,
3rd str. 4tet in G (12 O. Sq. 26 Feb.) (ms.); concerto,
pf. and orch. (Crystal Palace, 3 April) (ms.); Scenes
from Prometheus Unbound, s.a.t.b. soll, chorus and
374
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PÁRTOS
4 unison songs (Y.B.P.): 1910, 7 part-songs for
male-v. chorus. 1911, Te Deum in D (Coronation,
Westminster Abbey); 3 school songs (Y.B.P.), 1912,
An ode on the Nativity, s. solo, chorus and orch.
(Hereford Fest.); Soliloquy from Browning's Saul, b.
voice and organ (Browning Centenary, Westminster
Abbey, 7 May) (ms.); Incidental music to Proserpine,
s. solo, female-v. chorus and orch. (Kents-Shelley
Fest., St. James's Theatre) (ms.); Symphonic Fantasia
"1912," orch. (Philh. Soo. 5 Dec.) (Goodwin & Tabb);
7 Chorale Preludes for organ, 1st set. 1913, Psalm
xlvi, God is our hope, bass solo, double choir and orch.
(Fest. of Sons of Clergy, St. Paul's Cath.); Fantasia
and fugue in G, for organ; 3 unison songs (Y.B.P.);
Elegy in A flat, org. (Wilton, 7 April); Te Deum in F
(Eng. words) (Gloucester Fest.). 1914, music to The
Acharnians (O.U.D.S. Oxford) (Breitkopf); 2 school
songs (Y.B.P.); symphonic poem in 2 linked movts.
Via Mortis, Via Vita, orch. (Brighton Fest. 12 Nov.)
(ms.); Shulbrede Tunes (Augener). 1915, 3 Chorale
Fantasias, organ; 5-pt. madrigal, La belle dame sans
merci (Bristol, Jan.) (ms.); song, A Hymn for Aviators
(Albert Hall, 13 May) (Boosey): carol, IFhen Christ
was born (R. Choral Soc. Albert Hall, Dec.); West
Downs School Song. 1916, naval ode, The chiralry
of the sea, 5-part chorus and orch. (Bach Choir, Albert
Hall, 12 Dec.); 7 Chorale Preludes for organ, 2nd
set; 4 motets from Songs of Farewell (Bach Choir,
R.C.M. 22 May) (Y.B.P.); 3 songs from Kookoorookoo
Book (Y.B.P.); choral song, Jerusalem ("Fight for
Right Meeting, Queen's Hall, 28 March) (Curwen).
1917, 7-pt. motet, from Songs of Farewell, At the
round earth's imagined corners (Bach Choir, R.C.M.
22 May) (Y.B.P.): 2 carols, Welcome Yule and I sing
the birth (Albert Hall, Dec.). 1918, 8-pt. motet from
Songs of Farewell, Lord, let me know mine end (New
Coll. Oxford, 17 June) (Y.B.P.): English Lyrics,
10th set (Bechstein Hall, 16 Nov.); suite, lands
across the Centuries, pf. (Augener): 3 school songs
Arnold). 1919, choral song, England (Oxford,
(Ed. A
July) (Y.B.P.). 1920, English
1920, English Lyrics, 11th and
12th sets. 1921, The Wanderer (toccata and fugue in
G ma. and E mi. for org.): An English Suite, str.
orch. (Bach Choir "Parry Concert," R.C.M., 10 May).
Also a large number of compositions in ms.: songs,
part-songs, short pieces for pf., org., vn., etc.-to
which no dates can be assigned; and numerous
hymn-tunes, many of which are published in
Hymns A. and M., The Westminster Abbey Hymn
Book, Methodist Hymn Book, etc.
Books: Studies of Great Composers (1886, Kegan
Paul); The Art of Music (1893, ibid.); enlarged ed.
as The Evolution of the Art of Music (1896); The XVII
Century (Vol. III of the Orford History of Music,
Oxford Univ. Press, 1902); Summary of Musical
History (Novello's Primers); Johann Sebastian Bach
(1909, G. P. Putnam); Style in Musical Art (1911,
Macmillan). College Addresses (1921. Macmillan,
edited H. C. Colles); Instinct and Character (typed
copies, only); and a large number of lectures, articles,
poems, pamphlets, etc., published and in ms.
A biography by C. L. Graves is in preparation.
H. P. A. & E. R. D.
PARRY
orch. (Gloucester Fest.); sonata in A, cello and pf.
(12 0. Sq. 12 Feb.). 1881, Evening Service in D.
(M.S.) 1882, 1st symphony in G (Birmingham Fest.)
1883, music to The Birds (Cambridge.
Amateur Dramatic Club, Nov.) (Stanley Lucas;
later, Univ. Press, Cambridge); 2nd symphony,
in F (Cambridge Univ. Mus. Soc. 11 June); ode,
The glories of our blood and state, chorus and orch.
(Gloucester Fest.). 1884, str. 5tet in E flat (12 O. Sq.
18 March); pf. trio in B ml. (12 0. Sq. 25 Nov.).
1885, Theme and 19 variations, pf. (12 O. Sq. 10 Feb.)
(Stanley, Lucas); English Lyrics, 1st set (Stanley
Lucas; later, Novello). 1886, Suite Moderne, orch.
(Gloucester Fest.) (ms.); Partita for vn. and pf.
(12 O. Sq. 2 Dec.) (Czerny; later, Chanot); English
Lyrics, 2nd set (Stanley Lucas; later, Novello).
1887, Characteristic Popular Tunes of the British
Isles, pf. 2 books (Stanley Lucas; later, Augener);
Four Sonnets of Shakespeare (Eng. and Ger. words)
(Stanley Lucas); opera, Guinevere (ms.); ode, Blest
pair of sirens, 8-pt. chorus and orch. (Bach Choir, 17
May). 1888, oratorio, Judith, s. a. t. b. soll, chorus
and orch. (Birmingham Fest.). 1889, sonata in D,
vn. and pf. (12 O. Sq. 14 Feb.) (ms.); 3rd symphony.
in C (Philh. Soc. June); 4th symphony, in E mi.
(Richter Concert, St. James's Hall, 1 July); Ode on St.
Cecilia's Day, s. and barit. soll, chorus and orch.
(Leeds Fest.). 1890, pf. trio in G (12 O. Sq. 13 Feb.)
(ms.); L'Allegro ed il Pensieroso, s. and b. soli, chorus
and orch. (Norwich Fest.). 1891, ode, Eton, chorus
and orch. (Eton Celebration, 28 Juno); Psalm exxx,
De Profundis, s. solo, 12 pt. chorus and orch. (Here-
ford Fest.); song. The Maid of Elsinore (Leadenhall
Press). 1892. music to The Frogs (O.U.D.S. Oxford,
24 Feb.); Choric song from The Lotos-eaters, s. solo,
chorus and orch. (Cambridge, June); oratorio, Job,
8. t. barit. and b. soll, chorus and orch. (Gloucester
Fest.). 1893, incidental music to Hypatia (Haymarket
Theatre, Jan.) (ms.); overture, To an unwritten
Tragedy, orch. (Worcester Fest.); song. Rock-a-bye.
1891, Lady Radnor's Suite, str. orch. (Lady R.'s
orchestra, 29 June); anthem, chorus and orch. Hear
my words ye people (Fest. Salisbury Diocesan Choral
Association, 10 May); oratorio, King Saul, s. a. t.
barit. and b. soli, chorus and orch. (Birmingham
Fest.): 1895, English Lyrics, 3rd set; Invocation to
Music, s. t. and b. soli, chorus and orch. (Leeds Fest.);
song, Land to the leeward, Ho!; 12 short pieces, vn.
and pf. (3 books). 1896, Romance in F. vn. and pf.
(R. Maver, Glasgow). 1897, English Lyrics, 4th set;
Elegy for Brahms (R.C.M. 8 Nov. 1918) (ms.); 6
Lyrics from an Elizabethan Song-Book (part-songs);
6 Modern Lyrics (part-songs); Symphonic Variations,
orch. (Phil. Soc. 3 June); Magnificat, s. solo, chorus
and orch. (Hereford Fest.). 1898, 8 4-part songs
(Windsor, 10 Dec.); A Song of Darkness and Light,
s. solo, chorus and orch. (Gloucester Fest.). 1899,
song, barit. and orch. The North Wind (New Brighton,
9 July) (ms.); incidental music to 4 Repentance (St.
James's Theatre, Feb.) (ms.). 1900, 5-part song, Who
can dwell with greatness? (Windsor, 29 May); Te Deum
in F (Latin words), s. and b. soli, chorus and orch.
(Hereford Fest.); scena, b. solo and orch., The
Soldier's Tent (Birmingham Fest.); music to Agamem-
non (Cambridge A.D.C.); song, Von edler Art (Magpie
Madrigal Concert, 30 May) (Boosey). 1901, Ode to
Music, s. t. and b. soli, chorus and orch. (R.C.M.
opening of Concert Hall, 13 June). 1902, English
Lyrics, 5th and 6th sets. 1903, War and Peace,
8. a. t. b. soli, chorus and orch. (R. Choral Soc.,
Albert Hall, 30 April); anthem, I was glad, and pro-
cessional music (Coronation Service, Westminster
Abbey, 9 Aug.); motet, Voces Clamantium, s. and b.
soli, chorus and orch. (Hereford Fest.). 1904, sin-
fonía sacra, The Love that casteth out fear, a. and b.
sin-
soli, chorus and orch. (Gloucester Fest.); song, New-
foundland (written for Sir Cavendish Boyle); 8-part
song, In Praise of Song (B. B. and O. Mus. Fest.
Oxford); 1905, music to The Clouds (O.U.D.S.
Oxford, March) (Breitkopf); song, Fear no more the
heat of the sun (Ditson Co. U.S.A.); The Pied Piper of
Hamelin, t. and b. soli, chorus and orch. (Norwich
Fest.). 1906, sinfonia sacra, The Soul's Ransom, s. and
b. soll, chorus and orch. (Hereford Fest.). 1907,
symphonic poem, The Vision of Life, s. and b. soli,
chorus and orch. (Cardiff Fest.); Suítes in D and in F,
vn. and pf.; English Lyrics, 7th and 8th sets; barit.
song, The Laird o' Cockpen (30 Nov. 1906). 1908,
motet, Beyond these voices there is peace, s. and b. soli,
chorus and orch. (Worcester Fest.); Eton Memorial
Ode, chorus and orch. (Eton, 18 Nov.); song. The best
school of all (Clifton Coll. 21 Dec.) (Year Book Press,
1916). 1909, 6 4-part songs; English Lyrics, 9th set;
375
PARSONS, Albert Ross. Amer. pianist, teacher;
b. Sandusky, Ohio, U.S.A., 16 Sept. 1847. The
doyen of Amer. pf.-teachers. After some years
as church orgt. in his youth, stud. under Ritter
in New York, 1863; from 1867-9 in Leipzig
under Moscheles, Reinecke, Paul, Papperitz and
Richter; 1870-2, in Berlin under Tausig, Kullak
and Weitzman. Since 1872, teaching in New
York and orgt. at several New York churches
(Holy Trinity, Fifth Avenue Presbyterian);
1893, President of Amer. Coll. of Musicians.
From 1885, for many years, head of pf.-depart-
ment of Metropolitan Coll. of Music (later the
Amer. Inst. of Applied Music). One of the early
apostles of Wagner in America.
Pr. pieces, studies, songs (Schirmer, Silver); The
Virtuoso's Handling of the Pianoforte (New York,
Schroeder, 1917). Wrote: Parsifal, or Finding Christ
through Music (Putnam, 1890); The Science of Piano
Practice (Schirmer, 1886); transl. of Wagner's
Beethoven (Boston, Lee & Sheppard, 1872; 3rd ed.
Schirmer, 1883).-0. K.
PÁRTOS, Stephan. Hungarian violinist; b.
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PÂRVESCU
Budapest, 1 March, 1903; d. in Holland, 1919.
Pupil of Hubay.-B. B.
PARVESCU, Pompiliu. See RUMANIAN FOLK-
MUSIC.
PASDELOUP CONCERTS, Paris. Founded
1861 by the orch. condr. of this name (b. 1819,
d. 1887); had an enormous vogue up to 1873,
when the Concerts Colonne competed with them.
Pasdoloup introduced Berlioz, Gounod, Saint-
Saëns, Massonet, Bizet, Lalo, Brahms, Glinka,
Tchaikovsky, and especially Wagner, to the
Paris public. The concerts were re-established
in 1920 at the Cirque d'Hiver under dir. of
Rhené-Baton. In 1921 they were installed at
the Opéra and in 1922 at Théâtre des Champs-
Élysées, with André Caplet as 2nd condr. (for a
short time), and in 1924 at the Trocadéro.-A. C.
PASINI, Laura. Ital. soprano singer; b.
Gallarate (Milan), 28 Jan. 1894. After having
completed her pf. studies at Cons. in Milan,
under Appiani, and having given successful
concerts as a pianist, she devoted herself to study
of singing at R. Liceo Mus. di Santa Cecilia in
Rome, under Di Pietro, gaining her diploma in
1921. She immediately establ. herself as a con-
cert singer with first-class qualities; in 1922,
made her début at the Costanzi in Falstaff,
scoring great success, thus beginning a very
successful operatic career.-D. A.
PASODOBLES. See JUARRANZ LÓPEZ.
PASTOR, Father J. B. Span. musician. Choir-
master at Valencia Cath. from 1912.-P. G. M.
PATERSON, Robert Edward Sterling. Scottish
cellist, music-seller, publisher; b. Edinburgh,
1872. Stud. music and painting in Berlin, where
he attended the Art School; stud. cello at same
time under Robert Hausmann. Then went to
Paris, cello under Loeb, painting at Life School
there. The death of his brother brought him
back to his father's business. He is J.P. for City
of Edinburgh; member of several mus. clubs.
there and in Glasgow.-W. S.
PATERSON, Robert Roy. Scottish compr. b.
Edinburgh, 16 July, 1830; d. there, Dec. 1903.
Stud. music in Leipzig under Moscheles, Men-
delssohn and Richter; also pf.-making with
Broadwood and with Collard, London. Second
son of John Walker P. and grandson of Robert
P. who founded famous firm of Paterson Sons &
Co., Edinburgh and Glasgow. He had a genius
for organising. Founded the Paterson Orch. Con-
certs given by the Scottish Orch. (then under
August Manns). Has publ. some of finest colls.
of Scottish songs ever compiled. Comp. many
songs and pf. pieces under pen-names of "Alfred
Stella," and "Pierre Pierrot."-W. S.
PATTERSON, Annie. Writer on music; b. Lur-
gan, Co. Armagh. Of Fr. Huguenot descent;
received her mus. education at R. Irish
Acad. of Music; Mus. Doc. Trinity Coll. Dublin;
examiner in music at R. Univ. of Ireland
1892-5; re-elected in 1900; examiner in music.
to Irish Intermediate Board of Education,
1900-1; orgt. in some Dublin churches
between 1887 and 1897, later at St. Anne's.
PAVLOF
Ch., Shandon, Cork. The idea of a na-
tional music fest. for Ireland owes its origin
to her, and, under her influence, the first Feis
Ceoil was held in Dublin, 1897. All her life she
has striven to further the cause of Irish folk.
music.
Series: Dent); Chats with Music-Lovers;
Minds in Music: How to Listen to an Orchestra;
Beautiful Song and the Singer: The Music of Ireland.
6 Original Gaelic Songs. Ivernin series of Irish mus.
arrangements.-W. ST.
PATTI, Adelina (Baroness Rolf Cederström).
Operatic soprano singer; b. of Ital. parents, in
Madrid, 19 Feb. 1843; d. Craig-y-Nos Castle,
S. Wales, 27 Sept. 1919. Sang for first time in
public (1850) at age of 7; withdrawn from public
at age of 12 for 3 years; at 15 reappeared (rôle
of Lucia, 24 Nov. 1859 New York), achieving a
tremendous success, singing rôles in Bellini and
Donizetti for 18 months. In spring of 1861,
engaged by Frederick Gye, R. Ital. Opera
House, London, where she appeared as Amina
in Sonnambula, 14 May, 1861; she repeated this
part 8 times that season and appeared also as
Lucia, Violetta, Zerlina, Marta, and Rosina.
Italian début at Turin in 1876. Created rôle of
Dinorah in Vienna and London; sang at Covent
Garden for over 20 years; her earnings between
averaged £35,000 a year; in
1888, visited Argentina; 1889, London (for Sir
Augustus Harris); sang also at many concerts
and festivals. Retired from stage in 1906, but
continued to sing occasionally at charity con-
certs, her last appearance being at Albert Hall,
London, in 1911.-E.-H.
1861 and
PAUER, Max. Ger. pianist; b. London, 31
Oct. 1866. Son and pupil of pianist Ernst Pauer;
stud. theory with Vincenz Lachner, Carlsruhe,
1881-5; after 1st concert-tours, settled in Lon-
don; 1887, went to Cologne Cons. as teacher;
soon became celebrated as pianist of noble
execution and brilliant technique; 1897, Stutt-
gart Cons. (teacher of advanced school); 1908,
succeeded De Lange as dir. of Inst.; decorated
with a title of High Order of Merit.
Pf. pleces; new ed. of Lebert and Stark's Pf.
Tutor (1904).-A. E.
PAULUS, Olaf. Norwegian compr. orgt. b.
Christiania in 1859; d. Stavanger, 29 June, 1912.
Pupil of Christian Cappelen (organ) and Johan
Svendsen (compn.); afterwards stud. several
years at Cons. in Leipzig. From 1889, orgt. at
Cath. Ch., Stavanger. For many years leader of
Stavanger Mus. Soc.; was of great service for
development of music in that city. As compr.
P. won great esteem in his native land, through
his numerous works for male chorus, of which
may be mentioned Vestanveir and Finshaugen,
portrayals in music of the West of Norway,
instinct with Norwegian mus. feeling. In 1902
P. visited America, where he cond. concerts in
Minneapolis and St. Paul.
Cantatas; compns. for male chorus; songs; pf.
pleces; preludes for organ. Publ. in 1888 (collab.
with Cappelen) De tusind hjems sange (Songs for "The
Thousand Homes").-J. A.
PAVLOF, Eugene Pavlovitch (accent 1st
syll.). Russ. compr. b. Moscow, 8 Feb. 1894,
376
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PAYNE
Son of well-known actor; pupil of Ilinsky,
Sokolovsky, and Javorsky (theory). Finished
course at State School of Moscow Theatre
as ballet-dancer. As compr. is a follower of
Scriabin, showing both talent and power. His
first compositions were written in 1912.
Symph. étude, The Sea, op. 4; pt. preludes, op. 1, 3:
1st pf. sonata (Heroic), op. 5; 2nd pf. sonata, op. 8.
V. B.
PAYNE, Arthur W. Eng. violinist and condr.
b. London 1863. Stud. R.A.M. under Weist
Hill and H. C. Banister; condr. Stock Exchange
Orch. Soc. 11 years; led L.S.O. for 8 years and
R. Choral Soc. orch. from 1898; leader Queen's
Hall Orch. for 7 years and, for some time, of
London Symphony Orch. on its foundation;
condr. Llandudno Pavilion Orch. (from 1900).
-E.-H.
PEACAN DEL SAR, Rafael. Argentine compr.
b. Buenos Ayres, 1884. Stud. there under
Sorreus Boqui; 1910, art dir. of Centenary
Exhibition; later, organised fine symphony
concerts. Politeama Theatre in 1914.
8 symph.
Mass; oratorio, La Conversión de
Longino; Japanese opera,
Crisantheme; many pf.
pieces; songs.-A. M.
PEARCE, Charles William. Eng. orgt. and
compr. b. Salisbury, 5 Dec. 1856. Stud. there
under C. J. Read and T. E. Aylward; organ
under W. S. Hoyte and Dr. E. J. Hopkins in
London; Mus. Doc. Cantab. 1884; M.A. Dunelm.
h.c. 1921; has had over 43 years' connection with
R.C.O. and with Trinity Coll. of Music, where he
has been dir. of studies from 1916. Was one of
the editors (with E. J. Hopkins and C. Vincent)
of The Organist and Choirmaster. His best
qualities have been most evident on the academic
side of music.
Voice-training Studies and Exercises (with late
E. Behnke) (Chappell); Voice Training Primer (with
Behnke) (id.); textbooks of
ammond); The Art of the Piancal
TeacherARO
Rogers): Students' Counterpoint; Composers' Coun-
terpoint (id.): Modern Academic Counterpoint (id.).
The Priest's Part in Anglican Liturgy (Faith Press).
Numerous organ pieces, pf. pieces, songs, pieces for
vn. and pf., vn. and organ (Rogers, Weekes, Elkin,
J.
Banks, Hammond); church services, anthems, part-
songs, school-songs; Organ Acc. to Plainsong (with
George Oldroyd) (Curwen); 80 hymn-tunes in various
colls.; numerous lectures, papers, arts. and reviews.
-E.-H.
PECSKAI, Louis. Hungarian violinist; b.
Fiume. Stud. R. School of Music, Budapest;
début 1886 at Fiume; has played with leading
European orchs. and has toured widely. Lives
in London. Has given many concerts with the
London Trio (see GOODWIN, AMINA, and WHITE-
HOUSE, W. E.).-E.-II.
PEDRELL
musicologist; b. Tortosa, 1841; d. there, 1922.
Began as choir-boy at Cath. of native town;
learnt elementary harmony with Antonio Nin y
Serra, and subsequently acquired his vast know-
ledge of music and other subjects by himself.
In 1873, light opera condr. at Circo Barcelonés;
taught history of music and aesthetics at Real
Cons. Madrid; lecturer at Escuela de Estudios
Superiores, Ateneo, Madrid; Fellow of Real
Acad. de Bellas Artes, a distinction unjustly
withdrawn from him in 1904 on his leaving the
capital owing to bad health. Founder of the
Capilla Isidoriana, the periodicals Salterio Sacro-
Hispano, Notas Musicales y Literarias (1881), La
Música Religiosa en España (1896) and Ilustra-
ción Musical Hispano-Americana. Contributed
important series of arts. to Sammelb. der I.M.G.
etc. The publication in 1894 of his 3-act opera
Los Pirineos (finished 1892) and a Fr. transl. of
his pamphlet Por nuestra música (on creation
of a national school of mus. art) gave prominence
his name in the rest of Europe, before he ob-
tained recognition from his countrymen. The
advent of a Spanish reformer provided ample
scope for the pens of such authorities as
Albert Soubies, de Casembroot, R. Berger,
César Cui, Arthur Hervey, C. Kobs, Van
der Straeten, aldini, Amintore Galli,
Camille Bellaigue, Mascagni and Moszkowski,
who, in the Berliner Tageblatt, hailed Pedrell
as the Spanish Wagner. This outburst of
enthusiasm abroad resounded in Spain; two
bands, partisans and opponents, were soon
formed, giving vent to the most exaggerated
views about the master. This diversity of
opinion was limited to professional circles, for
Pedrell, who suffered all his life the disdain of
the official world, always remained an obscure
figure for the public in general. According to
some, the musical progress in Spain during the
last 40 years, is all due to Pedrell; others hold
that he was nothing but a plagiarist of Wagner's
writings who failed as a practical musician. Even
if Por nuestra música were but an adaptation of
Wagner's Opera and Drama (as often suggested),
Pedrell, in doing so, rendered a great service to
Spain. Por nuestra música was a call to the
genius of the race.
Forced by unfortunate circumstances to work
under great pressure, Pedrell, too prolific with
his pen, was not always a model of style, origin-
ality or accuracy; but five of his works, Antología
de organistas clásicos españoles, Teatro lírico
español anterior al siglo XIX, Cancionero popular
español, Hispania Schola Musica Sacra and
Toma Ludovici Victoria Opera Omnia, stitute
a monumental achievement. Their transcen-
dental value, in a universal sense, places him not
only as the first and foremost figure in the mus.
renaissance of Spain, but as one of the leaders
of aesthetic progress in the history of the world.
His music in the pf. editions (the form in which
it is mostly available) does not afford a chance
for fair judgment. Sporadic and mostly frag-
mentary perfs. of opera Los Pirineos and less
important works, give the impression that its
PEDRELL, Carlos. Compr. b. in Uruguay,
1878. Stud. at Barcelona and Paris. Returned
to Buenos Ayres as inspector of music to Board
of Education, and was entrusted with the work
of verifying and establishing the true mus. form of
the Argentine National Anthem, which had been
subject to many unwarranted modifications.
Has comp. several orch. pieces and a very large
number of songs with Fr. words. His style admits
of simple melody.-A. M.
PEDRELL, Felipe. Spanish composer and
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PEDRELL
The
merit lies mainly in the intention of the compr.
Demanding a certain knowledge of mus. history
for its full comprehension, his work lacks in some
measure those qualities necessary to maintain
an uninterrupted current of sympathy between
creator and public. For all practical purposes,
Pedrell remains unknown as a compr.
unpubl. opera La Celestina is described by his
pupil, Rafael Mitjana, as a revelation destined to
astonish the world. It is the sequel to Los
Pirineos and the second part of a trilogy (the
third part, Raimundo Lulio, is also unpubl.)
evolved from the motto of the Provençal trou-
badours, the upholders of the gaya ciencia or
gayo saber: Patria-Amor-Fides. The book is
an adaptation by compr. from the Tragicomedia
de Calixto y Melibea, in 21 acts, by Fernando
de Rojas (1497).
Many claim the privilege of being Pedrell's
pupils; yet most of them (Albeniz included)
were or are but disciples who felt the spell of his
inspiring influence. Manuel de Falla is to be
counted among those who studied systematically
under his direction. He asserts that he owes to
Pedrell all he knows. There is not a trace of
Pedrell's style in de Falla's works; nevertheless
the formación espiritual of de Falla gives ample
evidence of his close association with Pedrell,
who directed all his efforts to realising the
fundamental principle in music of that master-
mind of the XVII century-the Jesuit Antonio
Eximeno: Sobre la base del canto nacional debía
construir cada pueblo su sistema ("On the basis
of its native song, every country should build
its own system of musical art").
The regenerating influence of Pedrell is an
undeniable fact. Spain had become the most.
servile slave to the Ital. school of the day. The
glorious Spanish traditions were forgotten; the
Ger. classics and Romantics were unknown. The
disastrous effects that the theories of the pedant.
Pietro Cerone, and his proselyte, the blind
organist of Saragossa, Fray Pablo de Nasarre
(1683-1724) had in the country; the favouritism
enjoyed by the singer Farinelli in the Court of
Fernando VI; the long stay in Spain of Mer-
cadante; the advent of an Ital. queen, the fourth
wife of Fernando VII, to the throne; these are
some of the causes which had prepared and con-
solidated the Ital. invasion. Pedrell, the direct
successor of Bartolomé Ramos de Pareja (1500),
the Benedictine Benito Jerónimo Feijóo (1600),
and Fathers Antonio Eximeno and Rodríguez
de Hita (1700), was the guiding light in that
moment of mus. obscurantism. He investigated
the past and the present, gave life to a national
ideal and spread in his country the knowledge of
mus. science. He has been called the Spanish
Wagner, a title that hardly befits him; for
Wagner was above all a compr. and secondly a
theorist. Pedrell was the reverse. The inade-
quacy of the comparison serves only to enhance
the distinct personality of the Catalonian master.
Operas: El Último Abencerraje (perf. Liceo, Barce-
lona, 1874); Quasimodo (Lieco, Barcelona, 1875);
Cleopatra (awarded prize, Frankfort, 1878); Los
Pirineos (poem by Victor Balaguer; perf. [the com-
378
PEDROTTI
plete work] Liceo, Barcelona, 1902; Teatro Colón,
Buenos Ayres, 1910; [prologueague (Bevordering der
The
Toonkunst] 1907; Paris, Schola Cantorum; Mont-
pellier and Toulouse [Félibres fests.] under Charles
Bordes; Pablo Casals, Conciertos Sinfónicos, Barce-
lona): La Celestina; El Conde Arnau; Visión de
Rada (Raimundo Lulio). Light operas Secuestradores.
Eda, Little Carmen: Mara;
Lyric poems and cantatas: Mazeppa; Il Tasso a
Ferrara, (Madrid, 1881); La
Llatina; In capti-
vitatem comploratio; Glosa (sio Latar).
Religious music: Misa de Gloria, 3 vs, solo, chorus,
orch. and organ; Te Deum, 4 vs. orch. organ and
harps; Requiem, 4 vs. unacc.
Orch.: Festa; Lo cant de les montanyes; El Rey
Lear (incidental music); Excelsior; I Trionf. Symph.
poems: Marcha de la Coronación a Mistral (1st perf.
Madrid 1881); Matinada; Olger (marcha fúnebre).
Songs: Orientales;
Pl.: Escenas de niños. 4. A str. 4tet.
Consolations;
Canciones
Literature: Cartas un amigo sobre la música de
Wagner: Por nuestra música: Teatro lirico español
caste-
anterior al siglo XIX, 5 vols.; Folk-lore muspañol, 4
llano del siglo XVI; Cancionero popular
vols; unfinished: Los músicos españoles antiguos y
modernos en sus libros, unfinished; Diccionario his
tórico y biográfico de músicos y escritores de música
españoles; Tomás Luis de Victoria; Thomas Ludovici
Victoria, Abulensis, Opera Omnia; Hispania Schola
Musica Sacra (4 vols, on Morales, Guerrero, Victoria,
Cabezón, Ginez Pérez and Diego Ortiz); P. Antonio
e histórico de
La Festa
organografia musical antiqua
d'Elche; Indigenismo musical español del teatro del
Erimeno (Glosario); Emporio cien añola;
siglo XVII:alizado de organistas clásicos españoles;
Jornadas
Lirica
studies on musical folk-lore;
Catalech de la Biblioteca Musical de la Diputación de
Barcelona; Músicos contemporáneos y de otros tiempos:
Orientaciones: Musiquerias; Quincenas musicales
(publ. in J La Vanguardia, Barcelona); Musichs vells de
la terra (contributions to Revista prácticas prepara-
de Arte, 3 vols.; Gramática musical;
torias de instrumentación: Educación musical
of Lavignac's work); Tratado de Armonia (transl.
of Richter's work); Diccionario técnico de la música.
Publ.: Juan Bautista Pujol, Barcelona; Breitkopf,
Leipzig: Ollendorf, Paris; Ildefonso Alier, Madrid:
Unión Musical Española, Madrid; Eduardo Castells,
Valls, Cataluña; Canuto Berea y Cia., La Coruña.
art. on him by Edgar Ístel, in Mus. Quar-
lew York. April, 1924.-P. G. M.
PEDROLLO, Arrigo. Ital. compr. b. Monte-
bello Vicentino, 5 Dec. 1878. Stud. at Milan
Cons. under Mapelli and Coronaro; gained
diploma in 1900. He devoted himself at first
to orch. conducting. Compr. of several operas,
perf. with success: Terra promessa (Cremona,
1908); Juana (Vicenza, 1914); La Veglia
(Milan, 1920); L'Uomo che ride (Rome, 1920);
also a ballet Giuditta; some symph. and cham-
ber-music. Sonzogno, Milan, publ. the operas.
-D. A.
PEDROTTI, Carlo. Ital. compr. and condr.
b. Verona, 12 Nov. 1817; d. by his own hand, 16
Oct. 1892. This conspicuous figure musician,
teacher, compr. and condr.-took an important
part in the Ital. mus. revival which occurred
during 2nd half of xIx century. After having
been dir. of the Ital. Opera of Amsterdam,
he went in 1869 to Regio Theatre, Turin, where
he was also dir. of the Mus. Acad. He left
an indelible impression as founder and 1st
dir. of the Popular Concerts, which marked
beginning of movement in Italy, between 1850.
and 1900, in favour of symph. and concert
music. P. gave up these posts in order to assume
dir. of the Liceo Mus. at Pesaro. Amongst his
many stage works, the best-known is Tutti in
Maschera (first perf. Verona, 1869).-D. A.
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PEEL
PEEL, Gerald Graham. Eng. compr. b. near
Manchester, 9 Aug. 1877. Educated at Harrow
and Univ. Coll. Oxford; stud. under Dr. Ernest
Walker; has written a large number of very suc-
cessful songs (In Summertime on Bredon; Almond,
Wild Almond), and song-cycles, The Country
Lover, The Shropshire Lad, etc.-E.-H.
PEMBAUR, Joseph. Ger. pianist; b. Inns-
bruck, 20 April, 1875. Pupil of his father,
Joseph Pembaur sen.; 1893-6, of Munich
R. School for Music (Rheinberger, Thuille);
1897-1900, teacher of pf. R. School of Music,
Munich; 1901-2, stud. at Leipzig Cons. (Reise-
nauer); afterwards teacher there; since 1921,
master at Acad. of Music, Munich.
The Poetry of Pf.-Playing (1910, 1912); L. van
Beethoven's Sonatas, op. 31 ii. and op. 57 (1915).
Comp. songs (Tischer & Jagenberg).-A. E.
PEMBAUR, Karl. Ger. condr. and compr.
b. Innsbruck, 24 Aug. 1876. Son and pupil of
Joseph Pembaur sen.; and at Munich R.
School of Music (Rheinberger, Werner, Lang);
1901, went to Dresden as Court-orgt. and
solo-repetitor, at Court Theatre; since 1903,
also condr. of Choral Union; 1909, title of R.
mus. dir.; 1913, 2nd condr. of Court Orch.;
1910-13, cond. Robert Schumann Acad. of
Singing.
Mass, G ma. op. 10 (mixed chorus, str. orch. and
organ); mass, F mi.; Serenade, op. 11, for
chorus and orch.; humor, and wind instrs.; songs,
male
male choruses, op. 15
and 16; suite,
op. 25 and 26; mus. comedy, Be Careful, op. 17.
-A. E.
PEÑA Y GOÑI, Antonio. Spanish critic; b.
San Sebastian, 2 Nov. 1846; d. end of XIX
century. Author of a large number of writings
on topical mus. subjects. His most im-
portant work is La Opera Española y la
Música Dramática en el siglo XIX (The Span.
Opera and Dramatic Music in XIX Century),
publ. in 1885, containing historical and bio-
graphical information on comprs. and on de-
velopment of Span. opera, meaning by this term
the lyric stage-works called zarzuelas.-P. G. M.
PENILLION SINGING, also called CANU GYDA'S
TANNAU, i.e. "singing with the [harp] strings."
A peculiar mode of singing, for several centuries
widely practised in North Wales, but, until its
revival within recent years, hardly known in
South Wales. While the harpist played a Welsh
melody, the singer sang his verses, not in the notes
of the air, but in a simple counterpoint to it. It
was not permissible to start with the tune, but
the verse had to be so fitted as to finish exactly
with its last note, or, in the case of a long tune,
with the close of its first section. As stanzas of very
different metres, varying
mber and length
of lines, were sung to the same tune, the place
of commencing, and rhythm of vocal part, had
to vary; and as the verse, once commenced, had
to run on without pause or slur, it required an
extensive and accurate knowledge of the Welsh
tunes and metres to secure compliance with the
rules. The ability to "set" the stanzas was
technically called gosod; and was regarded as
the most important requirement for successful
penillion-singing. Furthermore, a good singer
PENTAFONIA
was able to vary the voice part in different verses,
and to sing three-time against two-time; or
three-four against six-eight time.
The repertoire of harp-tunes was a very ex-
tensive one. Leathart (1825) gives a very in-
complete list of 67. As the choice of a melody
did not lie with the singer but with the harpist
or, in competitions, with the judges, the singer
had of necessity to be familiar with all the tunes.
The verses, when not extemporised, had to be
sung from memory. Whether in the convivial
winter evening gatherings (Noson Lawen), so
frequent in the farmhouses, or in the competi-
tions, the singers sang in rotation, and whoever
made a mistake, or failed to follow with a penill,
had to drop out. The result was that people's
memories were well stocked with Welsh poetry.
In 1789 we read of a competition which lasted
all night; and in 1790 a blacksmith at St. Asaph
won after a contest of 13 hours!
It is probable that this custom originated in
the practice of the official bards of the Middle
Ages of chanting their compositions to the
accompaniment of a harp. Even to this day
much of the poetry sung belongs to the elaborate
Kynghanedd metres. (For Eng. transl. of such
verse, see Welsh Folk-Song Journal, Vol. II, Nos.
2, 3.) In addition, there were the traditional
penillion, comprising hundreds of short discon-
nected verses, or groups of verses, brimful of
homely philosophy and of wit, almost like ex-
tended proverbs; all couched in direct and
appealing phrases, their lines easy and natural
and often full of euphony.
During the XVII century and first half of XIX
this mode of singing was exceedingly popular.
Leathart in 1825 advertises eight houses in
London where weekly penillion-singing gather-
ings were held, besides two societies meeting
once a month for the same purpose. During last
20 years there has been a renewal of interest in
this singing and it has been introduced into many
secondary and elementary schools. Though
artistically it does not seem capable of a much
higher development, it possesses distinct advan-
tages as an instr. of culture. The simplicity of
its vocal passages allows of an effective declama-
tion of the words; the minds of the singers.
are benefited by the poetry treasured in their
memories; at the same time the harp supplies a
charming mus. undercurrent to the whole. In
ordinary song there is always the temptation to
show off the voice and to neglect the words.
Here, on the contrary, the danger is to disregard
good mus. vocalisation, and to rest satisfied with
mechanical accuracy in the gosod of the verses.
-J. LL. W.
PENNICUICK, Ramsay.
Australian compr.
and teacher; b. Goulburn, N.S.W., 1892. Now
prof. State Cons. Sydney, N.S.W. Has comp.
songs to poems of Yeats, Symons, Masefield,
etc.-E.-H.
PENTAFONIA. New tonal effect, conceived
and fixed by Domenico Alaleona (q.v.) in
his arts. on modern harmony (Rivista Musicale
Italiana, 1911). It is based on division of octave
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PENTLAND
into 5 equal parts. He was incited to seek out
this scale from the necessity, in his compns., for
a tonality which should represent something
still more transcendental (as compared with the
normal diatonic system) than those of "neuter
tonality," the sounds of which coincide with
those of tempered scale, and can therefore be
related to diatonic scales. Alaleona has intro-
duced a melody in the
pentaphonic" scale
in his opera Mirra, to express a state of
complete prostration of spirit. See score of
opera and (in order to observe the notation
adopted) the score of the intermezzo (Ricordi).
This scale must not be confused with the penta-
tonic, which is represented by the black notes of
the piano-keyboard. Consult also The Penta-
phonic Mode, by Eaglefield-Hull, in Monthly
Musical Record, Sept. 1922.-E.-H.
PENTLAND, Robert W. Scottish pianist; b.
Shawlands, Glasgow, 5 June, 1865. Entirely
self-taught in music. Church-orgt. at 14; and
since in three of principal city churches in Edin-
burgh. As an accompanist he has seldom been.
excelled. Associated in that capacity for 26
years with late John Kirkhope's famous Edin-
burgh Choir. Commenced business as music-
seller in 1881 with James Graha Start
business of his own in 1893, now one of most
extensive in Scotland. Has publ. coll. of Scottish
songs (notably 10 books of folk-songs, ed. by
Charles Macpherson).-W. S.
a
PEPPERCORN, Gertrude. Eng. pianist; b.
West Horsley, Surrey. Stud. under Tobias.
Matthay at R.A.M.; début at age of 18 with
great success; toured frequently in Great
Britain, Holland, Germany and America.-E.-H.
PÉREZ CASAS, Bartolomé. Span. condr. and
compr. b. Lorca (Murcia). 1897-1911, mus. dir.
of Banda del Real Cuerpo de Alabarderos (see
ALABARDEROS). Prof. of harmony at R. Cons.
de Música, Madrid. Condr. at Kursaal, San
Sebastian, and of Orquesta Filarmónica, Madrid.
Since foundation of latter (1914) he has cond.
over 400 concerts in Spain, besides tours in
Portugal and his collab. with the Russ. Ballet
in Madrid. With the exception of Antar, excerpts
from Scheherazade and some minor pieces, he is
responsible for the introduction of Russ. music
in Spain (including Scriabin's Divine Poem and
Glazunof's symphonies). He has also given the
1st perf. in Madrid of:
Iberia, La Mer, Danses, Le Marture de Saint
Sébastien (Debussy); La Valse (Ravel); In the South
(Elgar); A London Symphony (R. Vaughan Williams);
and amongst others, the following works by Span.
compra. Salamanca, Tomás Bretón; Sierra de
Gredos, Laviña; Elegía, E. Serrano; Goyescas (Inter-
mezzo), Granados; Una Aventura de Don Quijote,
Guridi; Fantasia Gitana, A. Bretón; Boceto Andaluz,
P. G. Morales; Suite, J. Gómez; Amor Dormido,
Isasi; Impresión Sinfónica, Maria Rodrigo; Escenas
Populares, R. Villar; Danzas Fantásticas, Turina;
Una Kassida, C. del Campo.
PERIODICALS
ciana, a work revealing a mastery in mus. con-
struction and orch. technique high above the
standard of the country at the time it was
written, though the author had never been
abroad. It still stands by itself for its scholastic
character. Awarded a prize in a competition
by the R. Acad. de Bellas Artes, it has been
perf. in Paris, Rome, Petrograd and Moscow.
He has also written a pf. 4tet, songs, and a
Poem for military band.-P. G. M.
PERFORMING RIGHT SOCIETIES. See,
under SOCIETIES, ENGLAND (xvi), FRANCE
(xix), GERMANY (ix); also CHAPÍ.
At
PERICON. See SOUTH AMER. DANCES.
PÉRIER, Jean. Fr. t. singer; b. Paris, 2 Feb.
1869, of a Belgian family of musicians.
first employed in a bank, but, attracted by
theatre, presented himself at Cons. and was
accepted as pupil; carried off two 1st prizes
for singing, and for opéra-comique. Début in
Magic Flute, Opéra-Comique; he left in
1895 to play at Folies-Dramatiques; then at
Bouffes-Parisiennes. After 5 years, returned
to Opéra-Comique and sang with triumphant
success in La Basoche and La Fille de Tabarin.
From that time he has been classed as a singer
of exceptional ability and a comedian of great
distinction. Among his most characteristic
creations are: Pelléas et Mélisande, La Reine
Fiamette, Miarka, Madama Butterfly, Fortunio,
L'Heure Espagnole, Marouf, La Rotisserie de la
Reine Pédauque. In each he astonishes by his
resource and his power of transformation. He has
several times left the Opéra-Comique to play
comedies as an actor, with very great success.
The principal merit of the creator of Pelléas
is to have been not only an incomparable actor,
but to have adapted to disputable vocal abilities
a unique method of singing. Having entered
the Cons, as b. and left it as t., he was able to
grapple with the most varied rôles without
troubling about the compass. It is the mus.
characterisation which he gives to the most
insignificant phrases which permits him to
signalise in an unforgettable way the char-
acters which he creates.-M. B.
He is considered the leading condr. in Spain,
in which capacity he can claim to have rendered
the greatest service in his country to the national
school and the cause of modern music i general.
As a compr. he is more conscientious than prolific,
being specially known for his orch. Suite Mur-
PERINELLO, Carlo. Ital. compr. b. Trieste,
13 Feb. 1877. Stud. first in his native city;
1904-14,
then in Leipzig under Jadassohn.
taught compn. at Cons. in Trieste; then went
to Milan Cons. Has publ. a str. 5tet in B mi.
(Schmidl, Trieste), a 4tet in C ma. (same publ.)
and songs and pf. pieces.-D. A.
PERIODICALS, Musical. AUSTRIA.-(i)
Der Merker, Vienna, half-monthly mus. and
theatrical review, founded 1909 by R. Specht
and R. Batka, later ed. by L. Karpath, lastly
from 1918 by Jul. Bittner and D. J. Bach. (ii)
Musikblätter des Anbruch, half-monthly review
for modern music, founded 1918 by Otto Schnei-
der, publ. by Univ. Ed. Vienna. From 1922 ed.
by Paul Stefan (with Paul A. Pisk). Cultivates.
international relationships between young con-
temporary comprs. Devotes special numbers to
the Salzburg International Fests. (iii) Musica
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PERIODICALS
Divina (Univ. Ed. Vienna), Austrian journal for
church music, founded 1913. Ed. by Franz
Moirdl. Publ. monthly until 1922.
BELGIUM.-Le Guide Musical, founded 1854
(Schott Frères, Brussels). Ceased publication
during the 1914-18 war.
CZECHO-SLOVAKIA (Prague).-The oldest,
Dalibor, has lost much of its importance lately.
There are also publ.: Smetana (Hub. Doležil);
Listy Hudební Matice (Boleslav Vomáčka);
Hudební Výchova; Věstník Pěvecký, etc. Among
those which have ceased publication the most
important was the monthly Hudební Revue
(1908-20; K. Strecker and K. Hofmeister). The
new monthly Der Auftakt (Prague), ed. by Dr.
Erich Steinhard, gives much attention to con-
temporary music.
Editors:
ENGLAND (London).-(i) Musical Times,
monthly, founded 1844, ed. and publ. by No-
vello. Since then, ed. by Henry C. Lunn, 1863;
W. A. Barrett, 1887; E. F. Jacques, 1891;
F. G. Edwards, 1897; Dr. W. G. McNaught,
Jan. 1910; Harvey Grace from 1918. (ii) Musical
Standard, founded 1862, first appeared fort-
nightly; now weekly (publ. by W. Reeves). Its
editors have included T. L. Southgate, Wallace
J. Crowdy, Broadhouse, Dr. Turpin, E. A.
Baughan. (iii) Monthly Musical Record, founded
by George Augener, Jan. 1871.
Ebenezer Prout, 1871; Charles Ainslie Barry,
1875; John South Shedlock, 1879; Eaglefield-
Hull, 1913 till present time. (iv) Musical Opinion
and Music Trades Review, monthly, founded
1877; now ed. by A. W. Fitzsimmons. (v)
Musical News, at first a monthly; soon became
weekly; founded by Dr. E. H. Turpin and T. L.
Southgate in 1891. Acquired by Curwen &
Sons in 1920, absorbing the monthly Musical
Herald (founded as Tonic Sol-fa Reporter 1851,
changing its name to M.H. 1899); ed. for a year
(1921) by Edwin Evans; from then until 1924 by
Kenneth Curwen; then by Sir R. R. Terry. (vi)
Music Teacher (at first Music Student, founded
1906, ed. by Percy A. Scholes), ed. by W. R.
Anderson, and publ. by Evans Bros.
Organist and Choirmaster, founded 1894, ed.
by Dr. E. J. Hopkins, C. W. Pearce and Charles
Vincent; became (viii) The Sackbut 1920,
ed. by Philip Heseltine until 1921, when it
was acquired by Curwen & Sons and ed. by
Ursula Greville. (ix) The Chesterian, founded
Nov. 1915, ed. by G. Jean-Aubry, appears 8
times a year, publ. by Chester & Co. (x) British
Music Bulletin, monthly, founded and ed. by Dr.
Eaglefield-Hull in 1919; 1922, ed. by Dr. C. E.
Wheeler; 1923, became Music Bulletin, ed. by
Violet Balkwill; from 1924 by A. R. Reade.
(xi) National Union of Organists' Associa-
tions Quarterly Record, founded 1916, ed. by
John Brook. (xii) Music and Letters, a quar-
terly review, comparing very favourably with the
Mus. Quarterly (New York) and La Revue Musi-
cale (Paris). Founded Jan. 1920, ed. by A. H.
Fox-Strangways. (xiii) The Organ, quarterly re-
view, first publ. 1921 (office of Mus. Opinion).
(xiv) The Performing Right Gazette, quarterly,
(vii)
PERIODICALS
founded 1922, ed. by James M. Glover. (xv) Fan-
fare, ed. by Leigh Henry, a monthly devoting
itself entirely to ultra-modern music, only ran
for 6 numbers (Goodwin & Tabb). (xvi) The
Gramophone, founded 1923, ed. by Compton
Mackenzie.
FINLAND.-(i) Säveleitä, founded (1887) and
edited by P. J. Hannikainen. (ii) Suomen
Musiikkilehti, edited by L. Ikonen.
FRANCE. (i) La Revue Musicale, Paris, one
of leading mus. reviews of the world. Has ro-
vived the title used by Fétis in 1826 for his
journal. Founded 1918; appears 11 times a
year. Dir. by Henry Prunières. (ii) Courrier
Musical, Paris, largest Fr. fortnightly. (iii) La
Semaine Musicale, Paris, a small weekly brochure.
(iv) Le Guide du Concert, Paris, founded 1914.
GERMANY.-(i) Neue Zeitschrift für Musik,
Leipzig, founded 1834 by Robert Schumann;
1844-68, ed. by Franz Brendel, then (till 1892)
by publisher of the journal of the Allgemeiner
deutscher Musikverein; 1903-6, ed. by Arn.
Schering and W. Niemann; 1906, combined with
the Musikalische Wochenblatt; from Jan. 1910,
appeared under old title; 1911-19, ed. by Fr.
Brandes; 1919-20, by Max Unger; 1920, ap-
peared under title Zeitschrift für Musik (publ. by
Steingräber), first edited by Wolfgang Lenk;
1921, by Alfred Heusz. (ii) Signale für die
Musikalische Welt, founded 1843 by Bartholf
Senff in Leipzig; from 1908, publ. by Simrock,
Berlin; from 1920, ed. by Max Chop. (iii) Musik-
alische Wochenblatt, founded 1870 by O. Paul,
but after a few numbers ed. by E. W. Fritzsch in
Leipzig; 1902-6, ed. by K. Kikpe; from 1907
by L. Frankenstein. (iv) Allgemeine Deutsche
Musikzeitung, founded 1874 by Fr. Luckhardt
in Cassel; 1878-80, ed. by W. Tappert; from
1883, ed. by P. Schwers as Allgemeine Musik-
zeitung. (v) Blätter für Haus und Kirchenmusik
(Beyer & Sons, Langensalza), founded 1897,
monthly, ed. by E. Rabich; discontinued since
1914. (vi) Die Musik, Berlin, 1901-15, a very
modern fortnightly paper with portraits and
mus. illustrations; ed. by Bernhard Schuster;
1922, re-appeared as monthly paper, much en-
larged (Deutsche Verlags-Anstalt). (vii) Die
Musikwelt, Hamburg, 1920; ed. by H. Chevalleh.
(viii) Rheinische Musik und Theaterzeitung,
Cologne, ed. R. Wolff from 1900; 1908-11, W.
Thomas-San Galli; then G. Tischer. (ix) Neue
Musikzeitung, Cologne, J. Tonger, 1880-6; ed.
by Reiser; since then publ. by Grüninger in
Stuttgart, ed. by A. Swoboda and E. Rasch-
dorff; from 1915, Osw. Kühn; 1917-21, W.
Nagel; then Dr. H. Holle. (x) Melos (Berlin,
Neuendorff & Moll), ed. from Feb. 1920 by
Hermann Scherchen, since 1921 by Fritz Win-
disch. (xi) Feuer, 1918, ed. by Guido Bagier.
(xii) Deutsche Musikerzeitung, founded 1870, ed.
by H. Mendel till 1876; then by W. Lackowitz;
1897-1905 by P. Ertel; since then by H. Schaub.
(xiii) Zeitschrift (monthly) and Sammelbände
(quarterly) der I.M.G., from 1899 to Oct. 1914
(Leipzig, Breitkopf & Härtel); ed. by O.
Fleischer and Joh. Wolf; the Zeitschrift from
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PENTLAND
into 5 equal parts. He was incited to seek out
this scale from the necessity, in his compns., for
a tonality which should represent something
still more transcendental (as compared with the
normal diatonic system) than those of "neuter
tonality," the sounds of which coincide with
those of tempered scale, and can therefore be
related to diatonic scales. Alaleona has intro-
duced a melody in the "pentaphonio" scale
in his opera Mirra, to express a state of
complete prostration of spirit. See score of
opera and (in order to observe the notation
adopted) the score of the intermezzo (Ricordi).
This scale must not be confused with the penta-
tonic, which is represented by the black notes of
the piano-keyboard. Consult also The Penta-
phonic Mode, by Eaglefield-Hull, in Monthly
Musical Record, Sept. 1922.-E.-H.
PENTLAND, Robert W. Scottish pianist; b.
Shawlands, Glasgow, 5 June, 1865. Entirely
self-taught in music. Church-orgt. at 14; and
since in three of principal city churches in Edin-
burgh. As an accompanist he has seldom been
excelled. Associated in that capacity for 26
years with late John Kirkhope's famous Edin-
burgh Choir. Commenced business as music.
seller in 1881 with James Graham. Started a
business of his own in 1893, now one of most
extensive in Scotland. Has publ. coll, of Scottish
songs (notably 10 books of folk-songs, ed. by
Charles Macpherson).-W. S.
Great
PEPPERCORN, Gertrude. Eng. pianist; b.
West Horsley, Surrey. Stud. under Tobias
Matthay at R.A.M.; début at age of 18 with
great success; toured frequently in
Britain, Holland, Germany and America.-E.-H.
PÉREZ CASAS, Bartolomé. Span. condr. and
compr. b. Lorca (Murcia). 1897-1911, mus. dir.
of Banda del Real Cuerpo de Alabarderos (see
ALABARDEROS). Prof. of harmony at R. Cons.
de Música, Madrid. Condr. at Kursaal, San
Sebastian, and of Orquesta Filarmónica, Madrid.
Since foundation of latter (1914) he has cond.
over 400 concerts in Spain, besides tours in
Portugal and his collab. with the Russ. Ballet
in Madrid. With the exception of Antar, excerpts
from Scheherazade and some minor pieces, he is
responsible for the introduction of Russ. music
in Spain (including Scriabin's Divine Poem and
Glazunof's symphonies). He has also given the
1st perf. in Madrid of:
Iberia, La Mer, Danses, Le Marture de Saint
Sébastien (Debussy); La Valse (Ravel); In the South
(Elgar); 4 London Symphony (R. Vaughan Williams);
and amongst others, the following works by Span.
Salamanca, de
Gredos, Laviña; Elegia, E. Serrano; Goyescas (Inter-
mezzo), Granados: Una Aventura de Don Quijote,
Guridi; Fantasia Gitana, A. Bretón; Boceto Andaluz,
P. G.
Suite, J. Gómez; Amor Dormido,
PERIODICALS
ciana, a work revealing a mastery in mus. con-
struction and orch. technique high above the
standard of the country at the time it was
written, though the author had never been.
abroad. It still stands by itself for its scholastic
character. Awarded a prize in a competition
by the R. Acad. de Bellas Artes, it has been
perf. in Paris, Rome, Petrograd and Moscow.
He has also written a pf. 4tet, songs, and a
Poem for military band.-P. G. M.
Isasi: Imale; sinfónica, Maria Rodrigo; Escenas
Populares, R. Villar: Danzas Fantásticas, Turina;
Una Kassida, C. del Campo.
He is considered the leading condr. in Spain,
in which capacity he can claim have rendered
the greatest service in his country to the national
school and the cause of modern music in general.
As a compr. he is more conscientious than prolific,
being specially known for his orch. Suite Mur-
See,
PERFORMING RIGHT SOCIETIES.
under SOCIETIES, ENGLAND (xvi), FRANCE
(xix), GERMANY (ix); also CHAPÍ.
At
Début in
PERICON. See SOUTH AMER. DANCES.
PÉRIER, Jean. Fr. t. singer; b. Paris, 2 Feb.
1869, of a Belgian family of musicians.
first employed in a bank, but, attracted by
theatre, presented himself at Cons. and was
accepted as pupil; carried off two 1st prizes
for singing, and for opéra-comique.
Magic Flute, Opéra-Comique; he left in
1895 to play at Folies-Dramatiques; then at
Bouffes-Parisiennes. After 5 years, returned
to Opéra-Comique and sang with triumphant
success in La Basoche and La Fille de Tabarin.
From that time he has been classed as a singer
of exceptional ability and a comedian of great
distinction. Among his most characteristic
creations are:
Pelléas et Mélisande, La Reine
Fiamette, Miarka, Madama Butterfly, Fortunio,
L'Heure Espagnole, Marouf, La Rotisserie de la
Reine Pédauque. In each he astonishes by his
resource and his power of transformation. He has
several times left the Opéra-Comique to play
comedies as an actor, with very great success.
The principal merit of the creator of Pelléas
is to have been not only an incomparable actor,
but to have adapted to disputable vocal abilities
a unique method of singing. Having entered
the Cons. as b. and left it as t., he was able to
grapple with the most varied rôles without
troubling about the compass. It is the mus.
characterisation which he gives to the most
insignificant phrases which permits him to
signalise in an unforgettable way the char-
acters which he creates.-M. B.
PERINELLO, Carlo. Ital. compr. b. Trieste,
13 Feb. 1877. Stud. first in his native city;
1904-14,
then in Leipzig under Jadassohn.
taught compn. at Cons. in Trieste; then went
to Milan Cons. Has publ. a str. 5tet in B mi.
(Schmidl, Trieste), a 4tet in C ma. (same publ.)
and songs and pf. pieces.-D. A.
PERIODICALS, Musical. AUSTRIA.-(i)
Der Merker, Vienna, half-monthly mus. and
theatrical review, founded 1909 by R. Specht
and R. Batka, later ed. by L. Karpath, lastly
from 1918 by Jul. Bittner and D. J. Bach. (ii)
Musikblätter des Anbruch, half-monthly review
for modern music, founded 1918 by Otto Schnei-
der, publ. by Univ. Ed. Vienna. From 1922 ed.
by Paul Stefan (with Paul A. Pisk). Cultivates
international relationships between young con-
temporary comprs. Devotes special numbers to
the Salzburg International Fests. (iii) Musica
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PERIODICALS
Divina (Univ. Ed. Vienna), Austrian journal for
church music, founded 1913. Ed. by Franz
Moirdl. Publ. monthly until 1922.
BELGIUM-Le Guide Musical, founded 1854
(Schott Frères, Brussels). Ceased publication
during the 1914-18 war.
CZECHO-SLOVAKIA (Prague).-The oldest,
Dalibor, has lost much of its importance lately.
There are also publ.: Smetana (Hub. Doležil);
Listy Hudební Matice (Boleslav Vomáčka);
Hudební Výchova; Věstník Pěvecký, etc. Among
those which have ceased publication the most
important was the monthly Hudební Revue
(1908-20; K. Strecker and K. Hofmeister). The
new monthly Der Auftakt (Prague), ed. by Dr.
Erich Steinhard, gives much attention to con-
temporary music.
ENGLAND (London).-(i) Musical Times,
monthly, founded 1844, ed. and publ. by No-
vello. Since then, ed. by Henry C. Lunn, 1863;
W. A. Barrett, 1887; E. F. Jacques, 1891;
F. G. Edwards, 1897; Dr. W. G. McNaught,
Jan. 1910; Harvey Grace from 1918. (ii) Musical
Standard, founded 1862, first appeared fort-
nightly; now weekly (publ. by W. Reeves). Its
editors have included T. L. Southgate, Wallace
J. Crowdy, Broadhouse, Dr. Turpin, E. A.
Baughan. (i) Monthly Musical Record, founded
by George Augener, Jan. 1871.
Editors:
PERIODICALS
founded 1922, ed. by James M. Glover. (xv) Fan-
fare, ed. by Leigh Henry, a monthly devoting
itself entirely to ultra-modern music, only ran
for 6 numbers (Goodwin & Tabb). (xvi) The
Gramophone, founded 1923, ed. by Compton
Mackenzie.
d. by
quar-
FINLAND.-(i) Säveleitä, founded (1887) and
edited by P. J. Hannikainen. (ii) Suomen
Musiikkilehti, edited by L. Ikonen.
FRANCE.-(i) La Revue Musicale, Paris, one
of leading mus. reviews of the world. Has re-
vived the title used by Fétis in 1826 for his
journal. Founded 1918; appears 11 times a
year. Dir. by Henry Prunières.
(ii) Courrier
Musical, Paris, largest Fr. fortnightly. (iii) La
Semaine Musicale, Paris, a small weekly brochure.
(iv) Le Guide du Concert, Paris, founded 1914.
GERMANY.-(i) Neue Zeitschrift für Musik,
Leipzig,
founded 1834 by Robert Schumann;
1844-68, ed. by Franz Brendel, then (till 1892)
by publisher of the journal of the Allgemeiner
deutscher Musikverein; 1903-6, ed. by Arn.
Schering and W. Niemann; 1906, combined with
the Musikalische Wochenblatt; from Jan. 1910,
appeared under old title; 1911-19, ed. by Fr.
Brandes; 1919-20, by Max Unger; 1920, ap-
peared under title Zeitschrift für Musik (publ. by
Steingräber), first edited by Wolfgang Lenk;
1921, by Alfred Heusz. (ii) Signale für die
Musikalische Welt, founded 1843 by Bartholf
Senff in Leipzig; from 1908, publ. by Simrock,
Berlin; from 1920, ed. by Max Chop. (iii) Musik-
alische Wochenblatt, founded 1870 by O. Paul,
but after a few numbers ed. by E. W. Fritzsch in
Leipzig; 1902-6, ed. by K. Kikpe; from 1907
by L. Frankenstein. (iv) Allgemeine Deutsche
Musikzeitung, founded 1874 by Fr. Luckhardt
in Cassel; 1878-80, ed. by W. Tappert; from
1883, ed. by P. Schwers as Allgemeine Musik-
zeitung. (v) Blätter für Haus und Kirchenmusik
(Beyer & Sons, Langensalza), founded 1997,
monthly, ed. by E. Rabich; discontinued since
1914. (vi) Die Musik, Berlin, 1901-15, a very
modern fortnightly paper with portraits and
nus. illustrations; ed. by Bernhard Schuster;
1922, re-appeared as monthly paper, much en-
larged (Deutsche Verlags-Anstalt).
(vii) Die
Musikwelt, Hamburg, 1920; ed. by H. Chevalleh.
(viii) Rheinische Musik und Theaterzeitung,
Cologne, ed. R. Wolff from 1900; 1908-11, W.
Thomas-San Galli; then G. Tischer. (ix) Neue
Musikzeitung, Cologne, J. Tonger, 1880-6; ed.
by Reiser; since then publ. by Grüninger in
Stuttgart, ed. by A. Swoboda and E. Rasch-
dorff; from 1915, Osw. Kühn; 1917-21, W.
Nagel; then Dr. H. Holle, (x) Melos (Berlin,
Neuendorff & Moll), ed. from Feb. 1920 by
Hermann Scherchen, since 1921 by Fritz Win-
disch. (xi) Feuer, 1918, ed. by Guido Baglet
(xii) Deutsche Musikerzeituny, founded 1870, ed.
by H. Mendel till 1876; then by W. Lackowitz;
1897-1905 by P. Ertel, since then by H. Schaub.
Zeitschrift
and Sammelbände
1809 to Oct. 1914
l); d. by 0.
Zeitschrift from
(vii)
Ebenezer Prout, 1871; Charles Ainslie Barry,
1875; John South Shedlock, 1879; Eaglefield-
Hull, 1913 till present time. (iv) Musical Opinion
and Music Trades Review, monthly, founded
1877; now ed. by A. W. Fitzsimmons.
Musical News, at first a monthly; soon became
(v)
weekly; founded by Dr. E. H. Turpin and T. L.
Southgate in 1891. Acquired by Curwen &
Sons in 1920, absorbing the monthly Musical
Herald (founded as Tonic Sol-fa Reporter 1851,
changing its name to M.H. 1899); ed. for a year
(1921) by Edwin Evans; from then until 1924 by
Kenneth Curwen; then by Sir R. R. Terry. (vi)
Music Teacher (at first Music Student, founded
1906, ed. by Percy A. Scholes), ed. by W. K.
Anderson, and publ. by Evans Bros.
Organist and Choirmaster, founded 1894, ed.
by Dr. E. J. Hopkins, C. W. Pearce and Charles
Vincent; became (viii) The Sackbut in 1920,
ed. by Philip Heseltine until 1921, when it
was acquired by Curwen & Sons and d. by
Ursula Greville. (ix) The Chesterun, founded
Nov. 1915, ed. by G. Jean-Aubry, appears 8
times a year, publ. by Chester & Co. (x) British
Music Bulletin, mouthly, founded and d. by Dr.
Eaglefield-Hull in 1919;
Wheeler; 1923, became Music Bullen. ed. by
922, ed by Dr. C. E.
Violet Balkwill, from 1924 by A. R. Reade
(xi) National Union of Organists
tions Quarterly Record, founded 1916,
John Brook. (ii) Mr and Letters,
terly review, comparing very favourably with the
Mus. Quarterly (New York) and La Revue Mun
cale (Paris) Founded Jan. 1920. ed. by 4. H
Fox-Strangwaya. (ii) The Organ,
view, first publ. 1921 (office of M
(xiv) The Perfor
Associa
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PERIODICALS
1904, ed. by Alfr. Heusz; the Sammelbände
from 1904, ed. by Max Seiffert; given up in
1914. Its German successor (xiv) Zeitschrift für
Musikwissenschaft (from Oct. 1918), ed. by
Alfred Einstein; and (xv) Archiv für Musik-
wissenschaft (from Oct. 1918), ed. by Max
Seiffert, J. Wolf and M. Schneider. (xvi) The
Jahrbuch der Musikbibliothek Peters, from 1895-
1900, ed. by Emil Vogel; since then by Rud.
Schwarz.
HOLLAND.-Caecilia en het Muziekcollege,
Rotterdam; Caecilia founded 1844 by Dr. J. C
Kist, and Het Muziekcollege 1913 by Emil Wege-
lin; amalgamated Nov. 1917. Ed. committee:
W. Andriessen, P. van Anrooy, S. Dresden, J.
van Gilse, W. Landré, P. A. van Westrheene.
Monthly in the summer season, fortnightly
Oct.-May; no concert notices, but gives popular
scientific arts. and propagates Dutch-Flemish
musical union.
ITALY.-(i) Rivista Musicale Italiana, the
most authoritative review in Italy; founded in
Turin in 1898 by Giuseppe Bocca, the publisher,
who edits it. An index of the 1st 20 years, com-
piled by L. Parigi, has been publ. (ii) Musica,
publ. in Rome, founded 1907. (iii) Il Pianoforte,
monthly, founded 1920; publ. by Fabbrica
Italiana di Pianoforti (F.I.P.) of Turin. (iv)
La Cultura Musicale, founded 1922, ed. by
Francesco Vatielli, Bologna. (v) L'Arte Piani-
stica, Naples; ed. by Alessandro Longo (q.v.). (vi)
Musica d'Oggi, publ. by Ricordi, Milan. (vii)
Santa Cecilia, for sacred music, founded 1899,
publ. by Soc. Tipografica Editrice Nazionale,
Turin. (viii) La Critica Musicale, Florence, ed.
by Luigi Parigi. (ix) La Prora, Rome, founded
1924, ed. by Alfredo Casella; organ the
Corporazione delle Nuove Musiche. (x) Rivista
Nazionale di Musica, founded (1920) and dir.
by Vito Raeli.
JAPAN.-Ongakukai (Musical Japan), Tokio,
founded 1902; in 1923 ed. by Y. Yamamoto.
(Partly in English, partly in Japanese.)
RUSSIA. A number of journals, such as
Russky Muzykalny Viestnik (1880-2) and
Muzykalny Mir (1882-3) have appeared in
Russia only to vanish after a short span of exis-
tence, and a list of them would be practically
useless. The earliest to appear were the Sankt-
Petersburgsky Muzykalnye Magazin (1795-6) and
the Moscow Muzykalny Jurnal (1810). For the
investigator's practical purposes, the following
list will prove sufficient: (i) Muzykalny Sviet,
Petrograd (1847-78). (ii) Muzykalny Listok, ib.
(1872-7). (iii) Muzykalnoe Obozrenie, ib. (1885-9)
(iv) Bayan, ib. (1888-1900). (v) Russkaya
Muzykalnaya Gazela, ib. (1894-1917), publ. and
ed. by N. Findeisen. Appeared as a monthly
until 1899 and thenceforth as a weekly. Is in all
respects extremely useful. (vi) Muzyka, Moscow
(1910-17), ed. by V. Derjanovsky. A small
weekly, giving a good deal of information on
contemporary Russ. musicians. (vii) Muzykalny
Sovremennik, Petrograd (1915-17). A high-class
monthly, publ. by Andrei Rimsky-Korsakof and
replete with useful materials.
382
PERKINS
SCOTLAND.-Scottish Musical Magazine,
monthly, founded Sept. 1919; publ. by Paterson
Sons, Edinburgh; ed. by William Saunders.
SPAIN.-(i) Harmonía, mus, review (Madrid).
See SAN MIGUEL. (ii) Revista Música Sacro-
Hispana, Madrid. See OTAÑO.
U.S.A.-The rapid growth and the broad ex-
tension of mus. culture, or at any rate of mus.
interest, in the U.S.A. within the last few de-
cades can be very well traced in the number and
the variety of mus. journals and periodicals
which have grown to maturity or come into being
during this period. Hardly a single special field
of mus. activity has been left without its official
organ or its journalistic medium.
(1) At the head of the list of serious and dignified
publications stands the Musical Quarterly, founded
1915,
and publ. by G. Schirmer in New York. (i) The
Chicago monthly journal Music, ed. by W. S. B.
Mathews, which ran through 22 vols (1891-1902), was
the nearest approach to the standard and quality of
Musical Quarterly before this time. (iii) Church Music
Review, begun in 1901, broadened its field and
changed its name to The New Music Review in 1904.
of Amer. Guild of Orgts. Although
It is official organ c
not a mus. journal in ordinary sense of word, the
Proceedings of Music Teachers' National Association
cannot be overlooked here. The Association has held
with but few omissions.
annual meetings since
Since 1906, the Proceedings have been publ. under
and
title of Studies in Musical Education,
Esthetics, ed. by Waldo Selden Pratt until 1915,
Charles N. Boyd 1916, Karl W. Gehrkens since 1917.
(iv) Dissemination of mus. news and information in
most energetic Amer. fashion, with porMusical Courier
comprs.
and is by
Coast Musician (monthly, or monthly,
(weekly, New York; founded 1880), and (v) Musical
America (weekly, founded 1904). (vi) The Middle
Western field has its special organ in Musical Leader
Chicago; founded 1895). (vii) Pacific
Los Angeles; founded
Chicago
1912). (viii) Musical
(beginning 1911 as Musical World and changing
its name in 1913), was until 1922 official organ of
National Federation of Mus. Clubs; publ. since 1917
in New York. With less space devoted to music
and concert news, the following contain instructive
arts, and essays of a more po usic Review:
nature than those
of New M
Music
(ix) The
Musician, monthly, founded by Hatch
Co.
Boston, 1896; publ. by Oliver Ditson 1904-18, ed.
by Thomas Tapper (until 1907) and W. J. Baltzell
(until 1918); now publ. and ed. by Paul Kempf, New
(x) The Etude, monthly, publ. by Theodore
ork. started in Lynchburg, Va. 1883; since 1884
(xi)
in Philadelphia; present J. F. Cooke.
Musical Observer, monthly, publ. since 1907 by Carl
Fischer, New York, ed. by Gustave Saenger. (xii)
Musical Digest, weekly, New York, founded 1921,
ed. by Pierre V. Key. Among the periodicals which
a special field: (xiii) The Diapason, monthly,
cover founded 1910 by S. E
Chicago,
E. Gruenstein, is official
organ of National Association of Orgts. and of the
Organ Builders' Association of America. Gruenstein
still its ed. and publ.
The American Organist,
on
New York, founded lase by T. Scott Buhrmanent
behalf of Amer. Guild of Orgts., became
0
Bneriodical in The Flutist, monthly, begun harpists
after its foundation. (xv) Flute-players had
in 1920 by
Emil Medicus in Asheville, N.C., and
are represented by the Eolian Review, ed. by Carlos
Salzedo, 3 times a year (first num) Dec. 1921).
(xvii) The largest association of organised musicians,
has for its
the American Federation of
official journal the monthly sal Musician,
publ. Newark, N.J., by W. J. Kerngood. The musio
trades are represented by 3 weeklies, (xviii) Presto,
Chicago, founded 1884, (xix) Music Trade Review,
New York, founded 1879, and (xx) The Music Trades,
New York, founded 1890.
WALES Y Cerrdor Newydd, monthly, ed.
by W. S. Gwynn Williams.
PERKINS, Charles William. Eng. orgt. b.
Birmingham, 4 Oct. 1855. Stud. under Andrew
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PEROSI
Deakin and Dr. Swinnerton Heap; various
church appointments; orgt. Town Hall, Bir-
mingham, 1887-1923; recitals all over Great
Britain; orgt. Blenheim Palace (for the Duke
of Marlborough) from 1894. An outstanding
recital-player.-E.-H.
PEROSI, Lorenzo. Ital. priest and compr.
b. Tortona, 20 Dec. 1872. One of most genial
and fertile contemporary Ital. composers; has
risen to high fame, particularly with his oratorios.
Stud. first under his father, and very early gave
proofs of great mus. aptitude and facility.
Stud. for time at Milan Cons. and at Ratisbon
(Regensburg) school, conducted by Haberl.
Returning to Italy, P. was nominated choir-
master of Duomo at Imola, whence he passed.
on to Basilica of San Marco, Venice. In 1898,
was appointed by Pope Leo XIII mus. dir.
of Sistine Chapel. He retired from musical
activies 1915, on account of his health. In
1923 he again began conducting concerts, in
which some of his new works were performed:
Psalms of David (written in memory of his
mother).
Oratorios: La Passione di Gesù Cristo, secondo San
Marco (1897): La Trasfigurazione di N. S.
(March, di
Gesis
(June, 1998); La risurrezione di Cristo (November,
1898); Il Natale del Redentore (Birth of the Redeemer)
(1899); L'Entrata di Cristo in Gerusalemme (1900);
La strage degli innocenti (The Massacre of the Inno-
cents) (1900).
Also: Mosè, symphonic-vocal poem (1901); Il
Giudizio universale, poem (1904); Transitus anima
(1907); O padre nostro (from Divina
(1907); Stabat Mater (1904); Dies ista G
can variazioni e Scherzo, for orch. (1902); In
patris memoriam (1910).
mag 8 orch, suites, called by names of principal
has written much sacred music, including
20
Ital. cities. Various other works are still un-
publ. The majority of P.'s compns. have been publ.
by Ricordi; some by Capra, Turin; Bertarelli,
Milan; Schwann, Düsseldorf; and Novello, London.
Consult: Romain Rolland, Don L. P., in Musiciens
d'aujourd'hui (Paris, 1908, Hachette); Agostino
Cameroni, L. P. ei suoi primi quattro oratorii (Ber-
gamo, 1899, Bolis); besides many arts. in reviews,
including one by Adelmo Damerini in Il Pianoforte
(Turin, April 1923).-D. A.
PERRIN, Henry Crane. Eng. orgt. compr.
b. Wallingborough, in 1865. Mus.Doc. Dublin;
stud. in England and on Continent. His
first appointment was orgt. and choirmaster
of St. Columba's Coll. Dublin.
1888-92, St.
John's Ch. Lowestoft; then St. Michael's,
Coventry, until 1898, when he was elected orgt.
and master of choristers at Canterbury Cath.
He remained there for 10 years, exercising also
a valuable influence as chairman and chief
organiser of Kent Competitive Mus. Fests. In
1908 he accepted position of prof. and dir. of
music at McGill Univ. Montreal; in 1920 the
Governors of Univ. constituted
of
Music with Dr. Perrin Dean of the Faculty.
A number of his songs are publ. by Breitkopf;
Stainer & Bell, etc; 2 cantatas (Breitkopf);
church music (Vincent; John Church).-L. S.
PERSFELT, Bror. Swedish cellist; b. Stock-
holm, 27 May, 1881. Stud. R. Cons. Stockholm,
1894-99; then at Frankfort-o-M. under Hugo
Becker and Bernh. Cossmann; on staff of Music
Inst. at Helsingfors, 1904-9 as cello teacher;
PETERSON-BERGER
also leading cellist of Symphony Orch. there; 2
years in Berlin as concert-player. During 1922-3
season, solo-cellist member of R. Chapel (Opera
Orch.), Stockholm.
cello alone; 8 concert-études; cello tutor.-P.
PERTILE, Aureliano. Ital. t. singer; b.
Montagnana, Padua, 3 Nov. 1885. He has
sung at principal European and Amer. theatres.
In recent years, he has establ. a reputation for
himself in Italy at La Scala, Milan. He is
one of the most esteemed Ital. t. singers living.
-D. A.
PERUTZ, Robert. Polish violinist; b. Lem-
berg, 1886. Pupil of Wolfsthal, Marteau and
Flesch. In 1910, went to Valparaiso in Chile,
where he became prof. at Cons.; returned to
Europe in 1914; spent the war-years in giving
concerts in Russia; in 1920 went to N. America
and is living in Cleveland as prof. at the Cons.
and travelling as a brilliant violinist.-ZD. J.
PESTALOZZI, Heinrich. Swiss singer, compr.
b. Wädenswil, Aug. 1878. Stud. compn. under
R. Kahn and E. Behm and singing under Kam-
mersänger A. Heinemann in Berlin, where he
taught singing for 10 years. Since 1918, has
taught singing at Cons. in Zurich. Has written
over 100 songs which have become very popular
in Switzerland, being extremely melodious and
well written; also publ. an important essay,
Individuelle Stimmbildung.
Songs for children (Berlin, O. Wernthal; Zurich,
Orell Füssli); songs (Zurich, Hüni); 18 unacc.
choruses (Zurich, Hug); vn. sonata, op. 38 (Hug);
Requiem, soli, chorus, organ, orch.; symph. poem
Das Lied von der Sehnsucht; chamber-music; pf.
pieces.-F. H.
PETERS, Guido. Austrian pianist and compr.
b. Graz, 29 Nov. 1866. Stud. Vienna Cons.;
1901-3 in Munich; from 1905 in Vienna.
3 symphonies (I, Ländliche in E; II, E mi; II,
F sharp mi.); 2 str. 4tets (C mi.; A); Stet (Nolturno)
in D, cello sonata, F mi.; songs.-A. E.
PETERS, Rudolf.
Ger. compr. b. Gelsen-
kirchen, 21 Feb. 1902. Son and pupil of city
mus. dir. H. Peters; then of Hugo Grüters in
Bonn; since 1920 of Pauer and Haas, Stutt-
and talented
Sonafa for vn. and pf. C ma, op. 1; 5 fantasias for
pf. op. 2; sonata for cello, C mi. op. 3; character-
istio pieces for pf. op. 4; Stimmungsbilder, pf. op.
6;
op
fantasia, C sharp mi. op. 7; str. 4tet, A ml.
PETERSEN, Wilhelm. Ger. compr. b. Athens,
15 March, 1880. Stud. at Acad. of Music, Munich
(Mottl and Klose); privately under Rud. Louis.
1913-14, for a short time at Stadttheater,
Lubeck, but now devotes himself to compn. in
Munich and Darmstadt.
Variations for pf. op. 1; pf. sonatas, op. 3 and 5;
sonata, vn. and pf. op. 11; 4tet, G ma.
op. 9; Hymn, 8. and orch. op. 10: op. 7; songs,
orch. op. 12; symph. fantasy, op. 2; Eine Trauer-
musik, op. 4; 2 symphonies, op. 6 and 8.-A. E.
str.
PETERSON-BERGER, O. Wilhelm. Swedish
compr. b. Ullånger, 27 Feb. 1867. Stud. at R.
Cons. Stockholm, 1886-9; then in Dresden
under E. Kretschmar and H. Scholtz; teacher
at Ulmeå, 1890-2; and at Dresden, School of
Music, 1892-4; returned to Stockholm, 1895;
music critic on Dagens Nyheter, 1896-1908, and
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PETRAUSKAS
from 1910; 1908-10, 1st régisseur of R. Opera,
Stockholm; member R.A.M. Stockholm, 1921.
Operas (all 1st perf. Stockholm): Sveagaldrar
(1903); Ran (1903); Arnljot (1910);
medagsprofeterna (1919). Orch.: Carnival in Stock-
holm (1909); Symphony No. 1, Baneret (The Banner)
(1904); No. 11, Sunnanfärd (1913); No. III, Same
tnam; suite, Italiana (1922). 2 sonatas, vn, and pf.:
No, I, C mi. (1887); No. II, G
Suite, vn. and
pf. op. 15 (1896); cantatas, soll, chorus, orch., for
Jubilees in Umen and Luleå (1921). Songs to words
by Swedish poets (Swedish Lyrics) and by Nietzsche;
ballad, Flor and Blancheflor; pf. pieces, Frösö-
Also
blomster (se culture in Sweden (1911) and trans-
a book on
lated into Swedish some works by Wagner (1913) and
Nietzsche (1902).-P. V.
PETRAUSKAS, Miskas. Lithuanian compr.
Stud. at Petrograd Cons. Won fame in America,
where he establ. a Lithuanian Music School and
publ. his own compns. His printed compns. are
more numerous than those of any other Lith-
uanian compr., but unfortunately they are not
widely diffused in his native country, being
almost unknown except for the operettas Birute,
Consilium Facultatis, and The Lithuanian Mil-
lionaire. To him Lithuanian-Americans owe their
choirs, choir-leaders, and song-amateurs.-H. R.
PETRŽELKA, Vilém. Czechoslovak compr.
b. Králové Pole (Moravia), 1889. Stud. compn.
under L. Janáček and V. Novák; theatre-condr.
(Pardubice, Bohemia); later at Brno (Brünn)
as teacher; since 1919 prof. of compn. at Cons.
in Brno.
2 str. 4tets; cycle of male choruses, Zivot (Life);
songs: Zivly (The Elements), and Samoty duše (Lone-
liness of Soul); for pf.: Písně poezie a prozy (Songs
in Poetry and Prose); for vn. and pf. Z intimnich chvil
(In Intimate Hours); mixed choir and orch. Modlitba
k slunci (Prayer to the Sun); arr. of national songs
(Hudební Matice, Prague).-V. ST.
PETSCHNIKOF, Alexander. Russian violin-
virtuoso; b. Jeletz (Orel Govt.), 8 Feb. 1873.
Stud. at Moscow Cons. (Hrimaly); lived in
Berlin; made R. prof. 1910; teacher at R.
Acad. Munich, 1913 till 1921. Gave many
concerts with his wife, Mme. Lili (violinist),
now divorced.-A. E.
PFEIFFER, Theodor. Ger. pianist; b. Heidel-
berg, 20 Oct. 1853. Stud. philology, then be-
came music-seller, Stuttgart, and pupil of
Seidel, Stuttgart Cons.; 1884-6, summer-pupil
of Bülow at Raff Cons. Frankfort-o-M.; 1889,
music-master at Baden-Baden; 1899, also
teacher at Mannheim Cons.; 1905, professor.
Virtuoso Studies and Elementary Studies to Bülow's
Editions (Berlin, Luckhardt); Studies from Hans
da Motta, 1895). Comp.welt-German Mass;
Bülow (1894, 6th ed. 1909; supplement by Vianna
Dryaden-spiel; Martellato Etude;
choruses, etc.-A. E.
solos;
PFITZNER, Hans. Composer; b. Moscow, 5
May, 1869. Son of German parents; pupil of
father (music director and violinist at Stadt-
theater, Frankfort-on-Main) and of Hoch's
Conservatoire there (Kwast, Knorr); 1892-3,
teacher at Conservatoire, Coblenz; 1893, gave
concert (own compositions) in Berlin; 1894-5,
honorary conductor at Mayence Stadttheater;
1896, salaried second conductor; 1897, teacher
of composition and conducting at Stern's Con-
servatoire, Berlin; 1903, also conductor of
Theater des Westens; 1907, conducted Munich
PFOHL
Subscription Concerts with Kaim Orchestra
till dissolution; 1908, succeeded Fr. Stock-
hausen as city music director, director of
Pfitzner
Conservatoire and opera manager.
recognised that his real value lay in opera
production (six books on "production" partly
published by E. Mehler). Withdrew from
management of Strasburg Opera, 1916;
1919-20, conducted concerts of Munich Con
cert Society; taught advanced classes at Berlin
High School; 1913, Royal professor; Strasburg
Univ. bestowed on him Ph.D.; March 1919,
member of Berlin Academy for Art; 1920,
Bavarian general music director. Pfitzner resides
at Schöndorf on the Ammersee. He is to be
accepted as one of the last disciples of that
Romanticism which has its roots in Schumann's
music, and in all Wagner's works, especially the
earlier; in that which finds its intellectual ex.
pression in Schopenhauer and its poetical ex-
pression in Eichendorff. Pfitzner is a musician
in whose ecstatic and meditative composition
that spiritual tendency still lingers on.
Stage works: Der arme Heinrich, mus. drama in
2 (3) acts, words from legend of Middle Ages by
J. Grün (Brockhaus); The Rose in the Garden of Love,
romantic opera in 2 acts, with prelude and epilogue,
words by J. Grün (Brockhaus); Palestrina, mus.
own libretto c
legend, lay-opera restner): The Christmas Fairy,
free, sometimes literal,
op.
use of text of Ilse v. Stach's Christmas Fairy-Tale
(Fürstner).
Stage music: Music to Ibsen's Festival at Solhaug
(Brockhaus); music to H. v. Kleist's Käthchen of
Heilbronn, op. 17 (Ries & Erler).
For orch.: Scherzo (Brockhaus); pf. concerto, E flat
ma. op. 31 (Fürstner); vn. concerto (1923); songs with
orch. Master Oluf, op. 12; ballads from Herder for
barit. (Bote & Bock); The Goblins, op. 14, b. and
The Trumpeter, Lamentation (Brockhaus); The
Flower's Revenge, female chorus, contr. solo and
orch. (Ries & Erler).
Chamber-music: Sonata for cello and pf., F sharp
mi. op. 1 (Breitkopf); pf. vn. and cello sonata, F ma.
op. 8 (Simrock); str. 4tet, D ma. op. 13 (Brockhaus);
pf. 5tet, C ma. op. 23 (Peters); pf. and vn. sonata,
E mi. op. 27 (Peters).
Songs with pf.: op. 2 (Brock: op. 6
op. 3 (Firn-
berg); op. 4 (Firnberg); op. 5
(Fürstner); op. 7 (Ries & Erler); op. 9 (Brockhaus);
op. 10 (Brockhaus); op. 11 (Brockhaus); op. 15
the Moon, op. 18 (Brockhaus);
op. 21 (Kahnt); op. 22,
op. 19 (Brockhaus
(Brockhaus),
32 ( (Fürstner).
Other works: Columbus (Schiller), 8-v. chorus
unace. op. 16 (Ries & Erler); Roundelay to New
Year's Festival, 1901, b., mixed or male chorus and
pf. (Brockhaus): Song of the Bards from Hermann's
Faithlessness and Consolation, Ger.
by Kleist;
Battle Song (Brockhaus); 8 female choruses by
Robert Schumann with instr. acc., 1 vol. (Univ. Ed.);
Undine (E. T. A. Hoffmann), pf. score arr. from full
score (Peters); The Knight-Templar and the Jewess,
(H. Marschner), newly rev. and publ. in full and
Ocean
short score (Brockhaus); Erl King; Odin's
Ride; ballads by Carl Löwe, arr. for full orch.
Brockhaus).
Literary works: On Musical Drama (1915); col-
lection of essays containing Stage Tradition, I, II, III:
E. T. A. Hoffmann's Undine; First
Opera, I, II, III: Weber's Freischütnciples fal
in
Futurist Dangers, a
Material ani's Esthetics: Die neue Aesthetik der
its Formation;
musikalischen Impotens (1919).
reply to
(1921); C. Wher, Mus (1922); Erwin Kroll, Pf.
(1924); R.
Consult: R. Louis, II. Pf. (1909); A. Seidl, H. Pf.
Quarterly, Jan. 1924.-A. E.
PFOHL, Ferdinand. Ger.-Czechoslovak author,
compr. b. Elbogen, 12 Oct. 1863. Stud. law at
Prague; 1885, at Leipzig, philosophy and music
(Oskar Paul); 1892, joined editorial staff Ham-
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PHILIP
burger Nachrichten; 1908, co-dir. of Vogt Cons.
(prof. of theory, aesthetics, technique, style);
1913, R. prof.; 1923, Dr. h.c.
Höllenbreughel as Tutor; Bayreuth Fanfarons; The
Nibelungen in Bayreuth (1896); Modern
A. Nikisch (1900 and 1922); Through a (1894):
(1891):
Travels West to East (1902); Richard Wagner, his
Life and Work (Berlin, 1911); Karl Grammann, an
Artist's Life (Berlin, 1910). Songs: Moon-Rondeau,
op. 4; Siren Songs, op. 9; Tower Ballads, op. 14;
symph. poems: Pierrot lunaire; The Sunken Bell;
Frau
TIMAL Dallet-scene, op. 13; choral work,
op. 10 (male chorus, s. orch.); symph.
fantasy (5 movements), The Sea; pf. picces: Strand-
bilder; Elegiac Suite.-A. E.
du
PHILIP, Achille. Fr. orgt. and compr. b.
Arles, 12 Oct. 1878. Pupil of Alex. Guilmant,
Lenepveu and d'Indy; 1st prize for cpt. and
fugue, 1904; now orgt. at St.-Jacques
Haut-Pas (Paris) and prof. at Schola Cantorum.
Symph. poems for orch.: Au pays basque (1909);
Les Djinns (1913); Dans un pare enchanté (1917);
5 Etudes lyriques (v. and orch. 1919); Fantaisie
orchestrale (1919); Nymphes et Naiades (1920); Messe
solennelle; Poème des Saisons; L'Or du Menhir (lyric
drama, 2 acts). Also sonata, pf. and vn.; pt. pieces;
30 songs; Psalm; motets; madrigals.-A. O.
PHILIPP, Franz. Ger. compr. b. Freiburg-i-
Breisgau, 24 Aug. 1890. Stud. music (organ
under Adolf Hamm, Basle), literature and philo-
sophy at Freiburg Univ. From 1914, devoted
himself to compn. Teacher of organ, theory and
mus. history and condr. of male choral soc.
Concordia at Freiburg.
Publ.: War-Songs, op. 5; songs, op. 7: pf. ballad,
op. 6; Germany's Hour, chorus and orch. (Berlin,
tr'actes and incidental musio A. E.
1916). In ms.: Mass for Peace; symph. prelude, en-
o to Hermann Burte's.
Samson; pf. 4tet, C ml. op. 1
PHILIPP, Isidore. Fr. pf.-teacher and compr.
b. 2 Sept. 1863. Pupil of Georges Mathias
(Paris Cons.), of Stephen Heller, Théodore Ritter,
and Saint-Saëns. Founded (with Rémy, Berthe-
lier and Loeb) a Soc. of Chamber-Music, which
amalgamated with the Soc. of Wind Instru-
mentalists, on the death of Taffanel.
Philipp
has been prof. at Paris Cons. since 1903. His
educational work is considerable:
Exercices journaliers (preface by Saint-Saëns);
Exercices et Etudes: Exercices de Tenues (4 vols.);
Etudes techniques (2 vols.); Anthologie des traits de
Chopin: Problèmes techniques et leur solution: 300
studies for teaching (under titles Noureau Gradus
Has comp. some original suites:
and Anthologie). Valses, Caprices, Fantasmagories,
Pastels,
Féerie.-A. C.
PHILIPPI, Maria Cäcilia. Swiss contr. singer;
b. Basle, 26 July, 1875. Stud. singing under
Stockhausen at Frankfort and Mme. Viardot-
Garcia in Paris; one of the eminent singers of
our day, possessing a strong aud admirably
trained voice, and fine musicianship. Known also
as founder of a special Bach style, all her own.
She appeared at Prom. Concerts, Queen's Hall,
London, 19 Oct. 1904.
Consult: Steinitzer, Berühmte Gesangsmeister
Stuttgart); articles in Jahrbuch der Schweiz (1921)
ad in Goldene Buch der Musik (Berlin, Spemann).
-F. H.
PIANOFORTE MUSIC
symphony in C ml.; 2 overtures (Heroic; Boadicea);
Symph. Scherzo, orch.: Dance Suite (Chappell)
Irish Idyll (id.); pf. concertos: No. 1, F sharp
mi; No. 2. Ema: Phantasy for vn. and orch.
(Schott); The Death of Admiral Blake (Newbolt),
barit, solo, chorus and orch. (Chappell); The Song of
Rosamund, scena for s. and orch. (id.); Prelude and
fugue in G mi. for organ (Stainer & Bell); str. 4tet,
D ma.: pf. pleces (Augener); song cycles and
separate songs (Chappell).-E.-II.
PIAGGIO, Celestino. Argentine pianist, compr.
b. Concordia, in 1886. Stud. at Buenos Ayres
Cons., going to Paris in 1908 to complete.
training at the Schola Cantorum. Has already
publ. many pf. pieces and 3 songs. Is con-
sidered to be opening a new road in Argentine
art.-A. M.
PIANOFORTE MUSIC FROM 1880. The tech-
nique of piano-playing has developed so fast and
thoroughly during the last few decades that it
seems almost impossible for any one person to
discover all the causes of development. From
1850 until 1890, certainly, the music written for
the piano was mainly Chopinesque. This is only
natural, seeing the tremendous new ground
Chopin had opened, and the immense difference
ho had insisted upon in the treatment of the
piano. Until his advent, it had been used mainly
as a percussive instrument, and most of the music
written for it either demanded harsh noises from
it, or else should have been written for another
instr. or collection of instrs. He was the first
compr. to think of the beauty that it contained,
and the most emphatic in desiring it to express
the poetical side of music, so it was obvious that
until another genius was born he would have
hundreds of imitators. Claude Debussy was this
genius, and to him entirely is due the tremendous
change in the outlook of the pianist and compr.
in the way of technique. In 1890 Debussy pub.
lished the Suite Bergamasque, a collection of 4
pieces, which, though not very startling to our
trained eyes nowadays, must have created some
stir then. The third one, Clair de Lune, shows us
the beginning of the use of piano-colour, which
Debussy developed so much in his later work.
In 1903 appeared another set of pieces, Estampes.
These are a distinct advance on all his previous
pieces. Pagodes, the first of the three, though
perhaps puzzling to the listener, will always be
interesting to the pianist because of the subtle
use of both pedals, particularly with the sus-
taining pedal in the long holdings of arpeggio-
seventh passages, almost producing the effect
of overtones. This becomes a feature in De-
bussy's pianism, and has certainly demanded
greater elasticity and freedom of arm-movement,
and prevented us from always thinking that a
note must be "struck." It is not quantity of
sound any longer; it is quality. All this is so
conclusively proved by the non-success of old-
time favourite pianists who have come back.
after some years of absence and played in the
old way. The old days of percussive playing are
over. Anyone with either finger, wrist or arm-
power can produce a big tone when necessary,
but he has so many tones to think of in the in-
terpretation of modern music, and sees so many
PHILLIPS, Montague Fawcett. Eng. compr.
London, 13 Nov. 1885. Stud. at R.A.M. under
ederick Corder. He is best known by his
npns. on the lighter side of music. Married
ra Butterworth, singer and actress.
The Rebel Maid, romantic light opera in 3 acts.
appell) Empire Theatre, London, 12 March, 1921;
2 Ç
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PIANOFORTE MUSIC
new channels of intimate expression in the oldor
masters, that he cannot bring himself to con-
centrate on just strengthening the various
muscles so as to strike the note with a bigger
blow. After all, the modern piano is capable of
producing nearly every possible colour in musical
expression, and the fully equipped modern
pianist has to see that he has command of this
tone-colour, before he can hope to win fame.
This is mainly due to Debussy, and not to the
excellence. f the present-day piano, which, after
all, we have to thank Liszt for, and is very little
better now than forty years ago. In this same.
set are two more remarkable pieces: La Soirée
dans Grenade, a most attractive piece of colour-
writing suggesting the glamour of a warm Medi-
terranean evening; and Jardins sous la pluie,
where we find the pedal just as necessary, but
used in exactly the opposite way to the previous
two compositions. Here it is the percussive pedal,
sharpening the short, incisive tone which is so
vitally necessary to the interpretation, and
enhancing the rhythmic accent. The next year
we had L'Isle joyeuse, that wonderful example
of music so befitting its title. It is a new tech-
nique that is being employed here, and yet it
is mainly built on the five-finger exercise! Re-
flets dans l'eau is a superb example of Debussy's
art in demanding the last atom of tone-colour.
Hommage à Rameau is a big building-up of over-
tones (another favourite device of his) and
Mouvement, with its suggestion of thousands of
wheels revolving at break-neck speed, is clearly
a proof of the tremendous rapidity of finger-
movement which is so compulsory in the make-
up of contemporary pianism. The 2 books of
Preludes, 24 in all, continue this enormous de-
velopment. In La Cathédrale engloutie, the pedal
is such an important factor in the rendering
that, without a special study of it, the effect
is void. Here is another big stride. One has to
live practically on the pedal, and on both of
them. To pedal harmonically or melodically
is of little use. It is used in every imaginable
way. You have to pick out the important notes
in chords or passages which have to stand out,
although the dampers are up, and many notes
are sounding. You have to hold on notes or
chords through, sometimes, great numbers of
different harmonies, yet never allow them to be
blurred. So the pedal has come into its own
kingdom-it is as important as the fingers them-
selves. Maurice Ravel in his Jeux d'eaux (publ.
in 1915) has assumed quite an individuality of
his own. Here is the movement of water most
ideally depicted. It has to be so clear, yet so
smooth. If one played it with the same technical
equipment as employed in a composition of as
late a period oven as Liszt, the result would
be laughable. Yet it is for the selfsame
instrument! It is the absence of the percussive
touch, the smoothness of arm - movement,
and the thorough understanding of all that
the pedal is capable of, that marks the
difference between old and new technique.
Ondine, by the same compr., is another example
PIANOFORTE MUSIC
of this great improvement. His Le Gibet could
never have been dreamt of by Beethoven, great
genius though he was. A most remarkable piece
is Déodat de Séverac's Baigneuses au soleil. In
many respects this is one of the finest pianistic
pieces ever written. It is scintillating, buoyant,
full of fresh air and vitality. One can imagine
the exhilaration of the surf-bather! Did you ever
think of these effects in any pre-Debussy com-
position? It would have been impossible. The
great pianists in the past could never have pro.
duced the tone-colour necessary for this type
of music. During the same period, about 1906,
Isaac Albeniz, a Spaniard, who lived most of his
life in England, suddenly dropped the yoke of
being a salon-music composer, and published 4
books, each containing 3 pieces, which he called
Iberia. Like all modern Spanish music, they are
entirely built up on the dance-rhythms of his
country; but they are a very important addition
to the literature of modern music. They are
unaffected by any idioms of the Fr. school, yet
are harmonically very modern. As legitimate
pianism they are not the equal of the French
works referred to above. They require greater
power, are more emotional, and, not being so
subtle, are more direct in their appeal. Their
notation is very difficult, and one sadly misses,
in their complexity. the pruning-knife of the
Frenchmen. The Goyescas of Granados are par.
ticularly pianistic, for their compr. was an excel-
lent player, but they say nothing new. Turina
has written some excellent pieces also, but the
one we expect most from in this school is Manuel
de Falla, still in the prime of life. His set of
Pièces Espagnoles (1906) established him as a
man with fresh ideas, one who had the gift of
expressing himself on the piano.
important point. There have been many fine.
works composed for the piano, which would
have sounded equally well on another instru-
ment, or even orchestrated. There are a great
number of pieces which look wonderful on paper,
but fail miserably in performance. Unless the
sound of the piano can be heard in the
composition, the literature of piano music can
do very well without it. The Russian school is
chiefly represented by Scriabin. He undoubtedly
was too slavish a disciple of Chopin in his earlier
works. Delightful as these are, they do not
figure very much in this remarkable change in
technical outlook. He was a revolutionary in
all things. His ideas were big, but the piano
could not stand up to what he asked of it, and
his sense of pianism gradually declined. His
later works cannot be labelled as true piano-
music. Therefore, I not be ded our
list of comprs, responsible for the change in pf.
technique. Rachmaninof's goodly number of
pieces are extremely effective, but they are cast
in the old mould, and offer no new ideas. Metner
has been spoken of as the Russian Brahms-
a safe assertion. The enormous sense of detail
of the Russian is too apparent in all his work,
and though it is all excellent piano-writing, it
can "" played in the old, straightforward
This is an
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PIANOFORTE MUSIC
manner, and does not need the application of
any new technique in performance. Prokofief
and several others whom one encounters have as
yet shown us nothing original in what we are
seeking. In fact, since Balakiref, there have
been no pioneers in Russian music. The modern.
Italian composers as yet are too keen imitators of
the ultra-modern Frenchmen to count, though
undoubtedly an Ital. school is in the making.
Germany has given us nothing since Brahms
and we are beyond that period. It is curious that
this nation appears so far behind all the other
European countries in modern piano - music.
Béla Bartók seems to be the only other repre-
sentative outside France and England who is
striking a new sound. Hungarian by birth, he
is intensely national in his work. One is inclined
to think that here is the weakness, because
original music and thought cannot emanate from
folk-song and folk-dance. To realise his self-
expression he uses the cimbalom as the back-
ground of his writings, and naturally the piano
is only thought of as an instrument to be hit.
Scale-passages do not exist in any form whatso-
ever, whether diatonic or chromatic-all his
effects are written in some form of chord. Very
rarely is a passage of single notes seen, and this
hardly seems fair on an instrument whose best
sound is a rippling one. There is at first a sug-
gestion of originality in his work, but when you
pause to think of its foundation, you are immedi-
ately convinced that it is just a higher develop-
ment of another instrument, not a new technique
for the piano. The only school left for discussion
is the English, which during the last 20 years has
made a great bid for supremacy. Of the piano
composers Cyril Scott has by far the greatest
knack and facility for piano-writing, but his
mould is usually so small that it is difficult to
place him in any exalted position as a maker
of modern technique. His earlier pieces gave
promise of rare possibilities, but the French
idiom had apparently too much attraction for
him and his ideas were never large enough to
carry a really broad phrasing. The next in im-
portance is John Ireland, who has much less
facility but much more to say. His drawback
pianistically is that he is too thick in expressing
himself. Fewer notes and less harsh chords would
have suited his instrument better and perhaps a
freer use of fast-moving passages, the import-
ance of which Debussy so deftly proved, would
have lighted up the whole scheme of piano-
colour, and made them more grateful both to
listen to and to play. However, we must include
Ireland in the list of composers who count in
our scheme of technical development, and as he
is still in the prime of life, doubtless he will
become a still greater figure. Eugène Goossens,
a young man of very great gifts, has certainly
the facility of piano technique at his finger-
tips, and in every other department of music-
but one imagines him as enjoying himself in
seeing how much the modern pianist can actually.
do in the mere playing of notes, rather than aim-
ing at a technical development of the instru.
PICK-MANGIAGALLI
ment. Our literature suffered a great loss by the
death, at such an early age, of William Baines.
Unmistakably he had a very great talent for
piano writing. There was the influence of Chopin
and Scriabin in his work, but he was only a
boy when he died. He certainly showed great
promise. In conclusion, modern piano technique
has reached its very high standard mostly
through Debussy and his contemporary com-
patriots. He proved that the piano can be an
instrument of beauty, and he changed the
methods of playing that instrument, by dis-
carding nearly altogether the use of percussive
action, and by compelling the player to think of
the pedals as a component part of the piano, not
just as an adjunct. Whether further develop-
ment is possible on his lines, or whether a new
idea of technique will have to be evolved by
another original genius, time alone will prove-
probably the latter, for Debussy's style was too
intimate to bear imitation.
Chief books on pf.-playing since 1860: _In Eng.:
William Mason, Touch and Technic; Townsend,
Balance of Touch in all its Diversity; C. A. Ehren-
in Piano Technique; T. Matthay,
The Act
fechter, Technical Study (Deppe Method): George
Woodhouse, Creative Technique; Jacob Eisenberg,
Weight and Relaxation; Mark Hambourg, How to
Become a Pianist; Josef Hofmann, Piano Playing.
In Ger.: Adolf Kullak,
des Klavierspiels;
Clark-Steiniger, Die Lehre des einheitlichen Kunst-
mittels beim Klavierspiel; Tony, Bandmann, Die
Gewichtstviertechnik; Breithaupt, Die natürliche
Steinhausen. Die Physiologischen
Klaviertechnik; M. Brée, Die Grundlage der Methode
Leschetizky. In Fr.: Marie Jaell, Le Mecanisme du
toucherel, Conseils sur l'enseignement technique et
A. Tasset, La Main et l'Ame au piano; A.
l'esthétique du piano.-W. M.
PIATTI, Alfredo. Italian cellist; b. Bergamo,
8 Jan. 1822; d. 18 July, 1901. Pupil of Merighi
at Milan Cons. Was soloist of great renown;
visited all principal European cities, winning
great successes everywhere. Passed greater part
of his life in London, where he was a leading
figure of the mus. life of the time. His influence
in England may well be compared with that of
Joachim. His genius influenced all living cellists
of his time-Hausmann, Becker, Whitehouse,
Ludwig, etc. He played for many years at
Monday and Saturday Popular Concerts, St.
James's Hall. Publ. interesting transcriptions of
ancient music for cello.-D. A.
PIAZZINI, Edmundo. Argentine pianist; b. Mis-
saglia, Milan, in 1857. Stud. under Angeleri at R.
Cons. of Milan. In 1876, gave concerts in Milan;
went to Buenos Ayres in 1878 and founded Quar-
tet Soc. Remained on concert-platform there until
1887. In 1904, founded Cons. Thibaud-Piazzini
(in collab. with Alfonso Thibaud). Has comp.
several pf. pieces, an album of songs, and a
Piano Method.-A. M.
PICCOLI (Teatro dei). See PODRECCA, VIT-
TORIO; also CARABELLA, EZIO; LIUZZI, FERDI-
NANDO; LUALDI, ADRIANO; MASSARANI, RENZO;
RESPIGHI, OTTORINO.
PICCOLO-HECKELPHONE. See art. on OBOE
FAMILY.
PICK-MANGIAGALLI, Riccardo. Ital. compr.
b. Strakonitz (Bohemia), 10 July, 1882. Was a
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PICKA
pupil of the Milan Cons. (pf. under Appiani;
compn. under Ferroni), and took his diploma in
1903. He gained fame as a pianist and a compr.
His ballets and music-dramas, Il salice d'oro
(Scala, Milan, 1913), Il carillon magico (Scala,
Milan, 1918), Sumitra (1917), have met with
great success. Has also set to music the 3-act
lyric comedy in Venetian dialect, Basi e bote,
of Arrigo Boito, but it has not yet been perf.
Has comp. much orch. and pf. music, publ.
(as also his stage works) almost entirely by
Ricordi, Milan. We mention the Notturno e
Rondo fantastico, and the poem Sortilegi for pf.
and orch. A str. 4tet in G mi. is publ. by Univ.
Ed. Vienna.
Consult a sketch of P. M. by G. M. Gatti (in
review La Critica Musicale, Florence, Nos. 10 and 11)
and Mus. Times (London), May 1921.-D. A.
PICKA, František. Czechoslovak compr. b.
Lochovice, 1873; d. Prague, 1918. Stud. in
Prague, Organ School and Cons. He was choir-
master in Prague; from 1900 to his death condr.
at National Theatre, Prague; he was also a writer.
Comp. songs and church music (publ. Leuckart,
Leipzig; Böhm, Augsburg; Fr. A. Urbánek,
Prague).-V. ST.
PIDOLL, Carl von. Ger. compr. and condr.
b. Luxemburg, Oct. 1888. Son of painter
Carl v. Pidoll; stud. music under Ed. Monod
and Paul Juon, Berlin; 1907, stud. under
Friedrich Klose, Felix Mottl, August Schmidt-
Lindner at Munich; 1919, short time condr.
of Augsburg Oratorio Society.
Str. Stet; pf. concorto; vn. sonata; str. 4tet;
symphony.-A. E.
PIEDRA, Antonio. Span. violinist; b. Jaén,
1890. Stud. in Madrid under Hierro, and at
R.C.M. London under Arbós. Has appeared with
Orquesta Sinfónica, Madrid, as leader and soloist;
also in tours with the choir of the Sistine
Chapel.-P. G. M.
PIERNÉ, Henri Constant Gabriel. Fr. compr.
and condr. b. Metz, 16 Aug. 1863. Entered
Paris Cons. at the early age of 8, and stud. pf.
under Marmontel, organ under César Franck, and
compn. under Massenet. He obtained the Prix
de Rome in 1882, simultaneously with 1st prize
for organ-playing, having previously obtained
1st prize for pf. playing (1879). In 1890 he
succeeded César Franck at the organ of Ste.-
Clotilde. In 1903 he was appointed assistant-
condr. of the Concerts Colonne, and at Colonne's
death (1910) he took sole charge of this associa-
tion. His publ. works are numerous and comprise
practically all orders of music. Ease and effici-
ency, purity and grace, characterise his writing.
It is perhaps in his oratorios La Croisade des
Enfants, Les Enfants à Bethléem, Saint François
d'Assises and Les Cathédrales, that his poetic
imagination reaches its loftiest levels, and his
music assumes its most telling and original
aspects.
La Coupe enchantée (1-act opéra-comique; new
form,
Leduc); La Croisade des Enfants, mus. legend
(Heugel, 1902); Les Enfants à Bethléem, mystery
(Heugel, 1907); On ne badine pas avec l'amour
(opéra-comique, Paris, 1910, Heugel); stage music
for La Princesse Lointaine, La Samaritaine, Fran-
388
PINELLI
Ballets: Bouton d'Or; Le
cesca de Rimini, Hamlet.
Docteur Blanc; Cydalise et le Chèvre-pied (1923).
Pf. works; organ pieces: Cgel, etc.).-M. D. C.
r-music; songs.
(Paris: Ledue;
Choudens;
PIERNÉ, Paul. Fr. compr. b. Metz (Moselle),
30 June, 1874.
Cousin of the orch. condr.
Gabriel. Pupil at Paris Cons.; Prix de l'Institut
(Fondation Finette) for general work in 1906.
2 symphonies; symph. poems: Daphné; Andante
symphonique
Heures héroique De l'ombre à la lumière (1912);
Also a str. 4tet: sonata, cello
and pf.: Mass for vs. and 2 organs; Le Diable galant
t'opera pieces for
rinai (ballet, 3 acts). Numerous songs a
different instruments.-A. C.
Emilie
Le
Ital. compr. b. Sant'I
PIETRI, Giuseppe.
lario (Island of Elba), 6 May, 1886. Stud. in
Milan at R. Cons. under Galli and Coronaro.
Principally known for his successful operettas:
Addio giovinezza (Leghorn, 1915); La Modella
(Rome, 1917); Lucciola (Leghorn, 1918); Acqua
cheta (Rome, 1920).-D. A.
PIJPER, Willem. Dutch compr. and pianist;
b. Zeist (Utrecht), 8 Sept. 1894. Stud. theory
(Joh. Wagenaar) and pf. (Mme. van Lunteren)
mus. critic Utrechtsch
at Utrecht, 1911-16;
Dagblad, 1918-23; condr. Utrecht Sextet (wind
instrs.), 1922; 1918-21, teacher (harmony) at
Amsterdam Music School. One of the most pro-
gressive composers of the young Dutch school.
1st symphony (Pan), 1917, perf. 1918, Amsterdam
Concertgebouw Orch. under Mengelberg: Rhapsody,
Hutschen-
Inf. and orch. (1915), perf. Utrechtstr., 1st perf.
Fuyter, 1916, Divertime with orch. (Fetes galantes
pf. and
Utrecht,
[Verlaine], 1916; Romance sans paroles [Verlaine],
1918), perf. Amsterdam, Concertgebouw, 1917-18-19;
numerous songs with pt. (Fr. and Dutch popular songs
publ, by De Haan, Utrecht); 1st vn. sonata and cello
(1919) (London, Chester), perf. London, Salz-
SOD (1922): 7tet for wind instrs., d.b. and Mad 0),
burg
perf. Amsterdam and Utrecht, 1921;
(ancient Dutch words) for 8 vs. (1920); 1st str. 4tet
(1914); 2nd str. 4tet (1920), perf. Haarlem, 1922;
1st trio (1913); 2nd trio (1921); stage-music (melo-
(v. and small orch.),
drama) for Sophocles' Antigone Italy; perf. 1922,
100002; 2: 2nd sonata, vn. and pf. (1922); 6tet
for wind instrs, and pf.; 3rd str. 4tet (1923).
2nd symphony
Mr. Pijper is responsible for all the Dutch arts.
in this Dictionary.-E.-H.
PILLOIS, Jacques. Fr. compr. b. in 1877.
Pupil of Vierne and Widor; lauréat of Soc. of
Composers (1907) and of Institut (1917). His
writing is classic but supple in form and de-
He is fairly
signedly rustic in character.
successful in the pastiche. Has written many
vocal works and some Bucoliques for pf. and
flute.-A. C.
PINCHERLE, Marc. French musicologist; b.
Paris in 1891. Disciple of Lionel de la Laurencie;
has specialised in the history of instrs. and
principally of the vn. Publ. in 1912 a remarkable
analysis of the technique of the vn. among the
foremost Fr. sonatists, and in 1922 Les Violonistes
Compositeurs et Virtuoses. Writer of the articles
on Fr. violinists and cellists in this Dictionary.
-A. C.
PINELLI, Ettore. Ital. violinist and condr.
b. Rome, 17 Oct. 1843; d. there, 17 Sept. 1915.
Was one of most esteemed Ital. musicians, for
his propaganda work in spreading concert and
chamber music in Rome and Italy, and in mus.
education of Ital. public. To this end, he
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successfully devoted his long and strenuous
activities as violinist, condr. and teacher. Was
a pupil of Ramacciotti in Rome, and of Joachim
in Hanover. In 1866 he founded in Rome the
Society for Chamber-Music. In 1869, with
Sgambati, he organised a school of vn. and pf.
at R. Accademia di Santa Cecilia, which school
constituted the beginning of present R. Liceo
Mus. di Santa Cecilia. In 1867 he founded the
Società Orchestrale Romana, which he cond.
for many years, giving large number of concerts
in Rome and elsewhere, making known the
masterpieces of classical symph. art, which,
until then, had been almost unknown to the
public in Italy.-D. A.
PINELLI, Oreste. Ital. pianist; Rome,
1844; d. there, 17 March, 1924. For many years
pf. prof. at R. Liceo Mus. di Santa Cecilia, Rome.
Trained some excellent pupils.-D. A.
PITT
Düsseldorf Musio Fest. 1922); songs with str. 4tet
(perf. Sal Fest. 1922); Orchesterlieder, op. 4
(perf.
orch. suite, op. 10; Kleine Suite.
op. 11.-P. ST.
Pr. pieces, op. 3 (Univ. Ed.); 3 books of songs to
words by Stefan Georgo (id.); vn. sonata (perf.
PISKÁČEK, Adolf. Czechoslovak compr. b.
Prague, 1873, where he died in 1919. Attended
Cons.; critic and writer; condr. of Hlahol,
Prague (1903-11).
Symph. poem Scanda dadák; oratorio St. Adalbert;
operas: Dívà Bára (Wild Bara); Ughlu; Král a sedlák
(King and Peasant). Str. 4tet.-V. ST.
PIRRO, André. French musicologist; b. 12
Feb. 1869, St.-Dizier (Haute-Marne) where his
father was orgt. Having stud. law and letters,
he made mus. studies at Paris Cons. under Widor.
Began the series of his remarkable works on
J. S. Bach by writing L'Orgue de J. S. Bach
(1894), with preface by Ch. M. Widor, crowned
by the Institut (Paris, 1895, Fischbacher;
Eng. transl. 1902). Member of directing com-
mittee of Schola Cantorum (inaugurated 15 Oct.
1896); taught history of music and the organ
there, being second to Guilmant. For the latter's
Archives of the Organ he undertook biographies
of Fr. orgts. of XVI to XVIII centuries (Titelouze,
A. Raison, Du Mage, etc.) Lectured at École des
Hautes Études Sociales since 1904, and contributed
to mus. periodicals. His second work on Bach
was his Doctorate thesis L'Esthétique de J. S.
Bach (1907), a leading work, followed by a com-
plementary thesis, Descartes et la Musique (Paris,
1907, Fischbacher). The same year appeared
a volume on J. S. Bach (Paris, Alcan); then on
Schütz (1913, Alcan). Finally came a very
important work on Dietrich Buxtehude (Fisch-
bacher, 1913), the first attempted on this
musician. The historic and artistic value of
his works, and the spirit animating them,
reveal him as one of the most striking per-
sonalities amongst musicologists. He is prof.
of mus. history at the Faculty of Letters of the
Univ. of Paris (following Romain Rolland).
Thanks to his efforts, a special course of musico-
logy for students was opened in 1920.-M. L. P.
PISK, Paul Amadeus. Austrian compr. music-
ologist; b. Vienna, 16 May, 1893. Pupil of
Schreker and Schönberg; Ph.D. (musicology)
of Vienna Univ.; condr. at some smaller Ger.
theatres; then ed. of the Anbruch (together
with Paul Stefan); music-critic of the Arbeiter-
zeitung (Vienna), working zealously for the
people's mus. education. A compr. of great
talents, of radical tendencies. His works are
distinguished by clear form, impressive melody,
and a very elaborate technique. As critic, he
has an esteemed position.
PITCH, Musical. The relative height or depth
of a sound. Standard Pitch is the exact vibration
number for a given note. The note A is taken fcr
orchestras; the note C for piano-tuning. The pre-
sumptive pitch of the Middle Ages (Guido of
Arezzo) was between C-480 and C-532. The
classical pitch from Purcell to Beethoven, and
partly to Spohr, Mendelssohn and Rossini, was
somewhere between C-498 and C-515. The
French Normal Diapason is A-435, C=522, at
the usual temperature of 59 degrees Fahrenheit.
Their standard fork was intended to be A-435
but as a matter of fact it is a little sharper, 435-4.
This is the pitch adopted now by the leading
orchestras in England, Europe and America. The
highest pitch ever known was that in New York
in 1881 (C-548). At the present time in Britain
the military bands all play up to the absurdly
high pitch of Kneller Hall Army Regulations,
C-538. The Philosophical pitch, for working
out abstruse problems, is C=512. The ordinary
steel tuning-fork varies very slightly with changes
of temperature up to the 90 degrees Fahrenheit
possible in certain countries. M. Guillaume, the
director of the Bureau Internationale des Poids
et Mésures, states that a special alloy of nickel
and steel would be quite free from temperature
variation over a range of more than 300 degrees
Fahrenheit.-E.-H.
PITCH, UNIVERSAL. As great inconvenience
was still being felt all over Great Britain in 1920,
when the British Music Soc. was holding its
annual conference, a whole day was given up
to the discussion of this subject (24 May). A unan-
imous resolution was passed that the Queen's
Hall Orch. pitch-A = 435-4 at 59 degrees Fahr.
-should be the one for universal adoption. This
accords with the prevailing orch. pitch on the
Continent. The chairman, Col. J. G. Somerville,
C.M.G., C.B.E., Commandant of Kneller Hall
(the training school for all the British army
bands), pledged himself to do everything possible
to bring the army bands, the chief offenders,
down from their high pitch to the desirable
one.-E.-H.
PITT, Percy. Eng. compr. and opera condr.
b. London, 4 Jan. 1870. Stud. in Paris and at
Leipzig and Munich under Carl Reinecke, S.
Jadassohn, and Rheinberger; returned to
England in 1893; chorus-master for the Mottl
concerts, 1895; orgt. Queen's Hall orch. con-
certs, 1896; maestro-al-piano, R. Opera, Covent.
Garden, 1902; later mus. adviser to the Syndi-
cate; 1906, assist.-condr. summer and autumn
seasons there; followed Messager in 1907 as mus.
dir. Covent Garden Grand Opera Syndicate;
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condr. Beecham Opera Co. (1915-18); then
artistic dir. British National Opera Co. 1920-4;
chief mus. director to British Broadcasting Co.
1922; also mus. dir. Covent Garden Syndicate
again in 1924. His compns., whilst not revealing
any marked individuality, are pleasant and
refined, and romantically coloured in harmony.
Symphony, G mi. (Birmingham Fest. 1906);
Le
Ballad, vn. and oroh. (1900); orch, suite (1895)
Fetes galantes (after Verlaine), orch. (1896); Cin-
derella (1899); Dance Rhythms (1901); clar. concerto
(1897); Coronation March, orch.; Serenade, small
orch. symph. poem, Anactoria, vla. and orch.;
English Rhapsody (on folk-songs), orch.; Oriental
Rhapsody, all produced under
henry Wood; Sakurd, ballet-pantomime; Hohen-
linden, male chorus and orch. (1899); 5 poems,
barit. and and
orch. (1904); incidental music to Stephen Phillips's
Paolo and Francesca (1902); to Alfred Austin's
Flodden Field and to King Richard II; 5tet; trio;
pf. pieces (Augener); songs (Novello, Boosey, etc.).
-E.-II.
PIZZETTI, Ildebrando. Italian composer; b.
Parma, 20 Sept. 1880. Was a pupil of Gio-
vanni Tebaldini at Royal Conservatoire of his
native city. In 1908 he was appointed teacher
of composition there. From there he went to
the Istituto Musicale of Florence, as teacher of
harmony and counterpoint. In 1918, he became
director of that Institute, which post he still
occupies. He is one of the most remarkable
and illustrious contemporary Italian composers.
His production as a composer is individual,
of noble quality, and of high value.
activity is not limited to composition, but
extends to teaching, lecturing and writing.
In addition to various articles (in Rivista Musi-
cale Italiana and elsewhere) he has written the
books: La musica dei greci (Rome, Musica ed.);
Musicisti contemporanei (Milan, 1914, Treves);
La musica italiana (Florence, 1921, Vallecchi).
He has given lectures on Il dramma musicale
dell' avvenire, and La musica nella vita italiana
contemporanea.
His
In 1914, together with Giannotto Bastianelli,
he founded in Florence the periodical Disso-
nanza, intended for the publication of modern
Italian compositions. He was co-director of the
Raccolta nazionale delle musiche italiane (pub-
lished in Milan by Istituto Editoriale Italiano),
of which collection he undertook several sec-
tions. In 1910 he was music critic of newspaper
Il Secolo, Milan; for some years he has been
critic of newspaper La Nazione, Florence.
1924 he was appointed dir. of Milan Cons.
Operas: Fedra, on tragedy by d'Annunzio (Scala,
Milan, 1915; Sonzogno); Debora e Jaéle (Scala,
Milan, 1922; Ricordi).
In
Symph. concert work: Ouverture per una farsa
tragica (Milan, 1918).
Staze musie: 3 Intermezzi for Edipo Re of Sopho-
cles (Milan, 1901); musio for La Nave of d'Annunzio;
music for La Pisanella of d'Annunzio (1913), from
which P. has also taken a suite; Dance antiche,
orchestrated for perf. of Aminta of Tasso at Fiesole
(1914); Sinfonia
for of Cabiria by
d'Annunzio (1915); musio for Abraam ed Isaac of
Feo Belcari
1917).
Chamber-tr. 4tet, (Bologna, Pizzi); sonata
for vn. and pf. (London, Chester); sonata for cello
and pf. (Ricordi); many songs, amongst which we
mention I Pastori, La madre al figlio lontano, Due
canti popolari greci (Florence, Forlivesi), Tre Sonetti
di Petrarca (Ricordi); pf. pieces. Choral music:
PODRECCA
Tre canzoni; Funeral Mass, perf. at Pantheon, Rome,
1923, in memory of King Humbert I.
Consult: Renato Fondi, I. P. e il dramma musicale
italiano (Rome, 1919); G. M. Gatti, in Musicisti
d' Italia e fuori (Bologna, 1920, Plzzi).
contemporanei
The Turin review Il Pianoforte entirely devoted one
number (15 Aug. 1921) to Pizzetti.-D. A.
PLANAL HARMONY. See art on HARMONY.
PLANCHET, D. C. Fr. compr. b. 25 Dec.
1857. Stud. at École Niedermeyer; is choir-
master at Sainte-Trinité, Paris; lauréat of the
Institut; has comp. symph. poems; oratorio,
Les Mystères douloureux; numerous motets;
2 lyrical dramas in 3 acts (Le Grand Ferré and
Ildis).-F.
PLANQUETTE, Robert. Fr. operetta compr.
b. Paris, 21 July, 1840; d. there, 28 Jan. 1903.
Has written about 20 operettas, from 1873
onwards. Before that, he had written romances.
In 1877, Les Cloches de Corneville obtained an
The work has already
unprecedented success.
had more than 2000 perfs. in Paris alone. The
next best-known are Rip (1882) and Surcouf
(1887). His orchestration is always very finished.
His style is allied to that of Audran. Also:
Le Serment de Mme. Grégoire (1873); Paille d'Avoine
(1875); Le Chevalier Gaston (1879); The Old Guard
(London, 1887); Panurge (1895); Le Paradis de
Mahomet (posthumous, 1906).-A. C.
PLANTÉ, Francis. Fr. pianist; b. Orthy,
in 1839. At 4, he showed an astonishing gift
for music and began to study with a lady pupil
of Liszt. He soon made amazing progress. At
7 he played for the first time in public; entered
the Cons. in 1849; left it the following year
with 1st prize for piano. He was then 11 years
old. He is said to have astounded his hearers.
by the ease with which he read at sight the
most complicated orch. scores. Eventually he
gave numerous concerts in France and abroad,
everywhere arousing enthusiasm by his tech-
nique, his delicacy and his interpretation. He
was one of the first who dared to play Schu-
mann in France; eventually he included in his
programmes diverse composers, even moderns,
like Debussy, without ever forgetting his two
favourite masters, Chopin and Liszt.
having for many years ceased to play in public,
he returned, for purely patriotic purposes, dur-
ing the war to give recitals, which proved that
he had lost nothing of his great powers.-D. L.
After
PLATEN, Horst. Ger. compr. and condr.
b. Magdeburg, 14 April, 1884. Stud. music in
Brussels; 1903-8, pupil of Paul Gilson (theory
and compn.) and César Thomson (vn.); condr.
at Magdeburg Stadttheater and Grand Opera
House, Cincinnati; now lives at Hamburg.
Stage works: Holy Morning (Schwerin, 1918):
music to Strindberg's Folkungersage (Hamburg, 1915);
Dance of Death (Hamburg, 1916); Bossdorf's De
Fährkrog (Hamburg, 1916); fairy play, Young
390
Wings of Song (Hamburg, National Opera, 1920);
comic opera, Love-Chains; dance-legend, Enchanted
Rose; opera, The Ligh Memish Rhapsody: symph.
(1922). For orch.:
Prelude to
poem for orch. and organ, Pelleas and Melisande;
sonata, C sharp mi.; Andante and Scherzo for vn.
and pf.; pf. pieces; songs, etc.-A. E.
PODRECCA, Guido. Ital. music critic; b.
Vimercate (Milan), 5 Dec. 1865; d. Auburn (New
York), April 1923. For 15 years, critic of
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PODRECCA
newspaper Avanti; then joined paper Il Popolo
d'Italia. Has given many propagandist lectures
in Italy and America. Founded in Milan the mus.
and art review Il Primato, with its own pub-
ishing house. The latter has publ. important
works of mus. history and literature.-D. A.
PODRECCA, Vittorio. Ital. music critic; b.
Cividale del Friuli, 26 April, 1883. Brother of
Guido. He also is a devoted patron of mus. art.
Was secretary to R. Liceo Mus. di Santa Cecilia
in Rome. Founded and directs the Teatro dei
Piccoli (Marionette Players) with which he has
effected some most successful mus. perfs., re-
viving old operas, and having new works comp.
specially for this marionette-theatre. The Teatro
dei Piccoli gave their first London season at the
New Scala Theatre in April, May, June, 1923,
giving Respighi's Sleeping Beauty, Rossini's La
Gazza Ladra (The Magpie), Cui's Puss in Boots,
amongst many other pieces.-D. A.
POGGI, Alberto Santiago. Argentine violinist,
compr. b. Buenos Ayres in 1881. Stud. under Gal-
vani and Troiani. In 1904, organised a series of
sacred concerts. Now devotes himself to teaching
and compn. Chief works: Gavotte and Minuet for
orch., Berceuse and some Serenatas for vn., many
sacred pieces for pf. and numerous songs. His
works are very popular on concert-platform in
Argentina. His repertoire of Argentine national
music has often been played in Europe.-A. M.
POHLIG, Carl. Ger. condr. b. Teplitz, 10 Feb.
1864. Pupil of Liszt at Budapest and Rome;
condr. at Graz, Hamburg, London (Covent
Garden), Coburg, Stuttgart (1900-7); 1907,
condr. of Philadelphia Symphony Orch.; 1913,
condr. of Hamburg Stadttheater; 1914, Court-
condr. at Brunswick.
Songs and choral songs; orch. works (symph.
poem, Per aspera ad astra).-A. E.
POIRÉE, Élie. Fr. musicologist; b. Villeneuve
Saint-Georges, 9 Oct. 1850. Custodian of the
Ste.-Geneviève Library, Paris.
L'Evolution de la 2
(1884); Essais de tech-
Inique et d'esthétique musicales (2 vols. 1898-9); Chopin
(1907); Richard Wagner. L'Homme: le Poète : le
Musicien (1922).-A. C.
POISOT, Charles. Fr. musicologist; b. Dijon,
in 1822; d. there in 1904. Pupil of Thalberg;
founder of Dijon Cons. Has publ. an estimable
Essai sur les musiciens bourguignons; a Histoire
de la Musique en France 1860; a Traité d'harmonie;
a Traité de contrepoint. Has comp. masses and
cantatas (Jeanne d'Arc).-A. C.
POLISH OPERA
still more characteristic in his fascinating pf.
pieces (Ricordi; Augener; Lengnick, etc.). His
Swineherd and the Princess was produced at
Covent Garden, London. He lives in Switzer-
land.-E.-H.
POL DAX. See PCUGIN.
POLACCO, Giorgio. Ital. condr. b. Venice,
12 April, 1875. Began his career in Brazil; then
went to Argentina, Mexico and Havana. Cond.
with great success at Metropolitan in New York,
Covent Garden, London; La Monnaie, Brussels,
and principal Ital. theatres. Now in U.S.A.
-D. A.
POLIŃSKI, Alexander. Polish critic and
music historian; b. Wlostow, 4 June, 1845; d.
1915. Published many arts. on ancient Polish
music in periodical Echo Muzyczne (Warsaw)
and other reviews. His most important work is
Dzieje muzyki polskiej w zarysie (A Sketch of the
History of Polish Music), Lemberg, 1907. In
1904, a treatise on the oldest Polish church-
song Boga Rodzica, and in 1914 2 short studies
on Chopin and Moniuszko. 1881-99, music critic
of the Kuryer Poranny; thence till his death, of
the Kuryer Warszawski (Warsaw). Contributor
to the Polish Grand Illustrated Encyclopaedia.
Since 1905, prof. of mus. history, Warsaw Cons.
By his research work, P. contributed very much
to the knowledge of ancient mus. monuments
in Poland.-ZD. J.
POLI-RANDACCIO, Ernestina. Ital. s. singer;
b. Ferrara. Stud. at Liceo Rossini, Pesaro. Her
fame began in 1908, when Mascagni asked her
to sing in his opera Amica. She then appeared
principal tres in Italy and other countries,
distinguishing herself as an interpreter of
dramatic operas, such as Aida, Gioconda, and
Fanciulla del West. She was first to interpret
Mascagni's La Parisina at La Scala, Milan.
-D. A.
POLISH OPERA. Although the beginning
of Polish opera dates from 1635, we must con-
sider the pieces of Mathias Kamieński of 1778
and later (Misery made Happy and others) as the
first national works of this kind. The principal
compr. of light dramatic operas and operettas
for national theatre in Warsaw for first 15 years
of the XIX century was Joseph Elsner (1769-
1854). His successor for about 30 years was
Karol Kurpiński (1785-1857), condr. of the
Warsaw Opera, whose mus. style (in over 20
operas and vaudevilles) was an imitation of
Rossini. Two of Kurpiński's most appreciated
works (Queen Hedwiga, 1814, and The Castle of
Czorsztyn, opera buffa, 1819) were still perf. at
end of xIx and in xx century at Lemberg and
Warsaw. After this preparatory epoch followed
a period of evolution, thanks to the rich drama-
tic productiveness of Stanislaus Moniuszko (1819-
1872). In his chief works, as Halka (1849-59),
The Countess (1860), Verbum nobile (1861) and
The Terrible Court (1865), Poland possesses its
chief national operas. The extraordinary rich-
ness of his melodic invention, the national char-
acter and mus. feeling of his works, have kept
them popular in Poland till the present day.
None of Moniuszko's contemporary opera comprs.
in Poland (as F. T. Dobrzynski, 1807-67) could
be compared to him.
POLDINI, Eduard. Composer; b. Budapest,
13 June, 1869. Stud. R. Hungarian Cons. and
later under Mandyczewski in Vienna, and with
others in France and Germany. His operettas
and ballets have met with success; and he is
391
After Moniuszko the chief opera compra. in
Poland were: Wladisław Żeleński (1837-1921).
who wrote 4 romantic works: Konrad Wallenrod
(1883); Goplana (1890); Janek (1900); Stara
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POLÍVKA
Baśn (The Old Tale) (1907); and Sigismund Nos.
kowski (1846-1909), whose 3 later works were im-
portant: Livia Quintilla (1900); The Verdict
(1907); and Vengeance (1909). Besides these,
Louis Grossmann and Adam Münchheimer belong
to this period. In the last 20 years the opera pro-
ductiveness in Poland has increased greatly.
After I. Paderewski's only opera Manru (1901), 2
valuable works by Roman Statkowski, Marya
and Philonis, were perf. in 1905 and 1906. Then
appeared the operas of Dłuski, Melcer, Sołtys and
Gużewski. The strongest dramatic compr. of the
younger generation, Ludomir Różycki, began
compn. for the stage in 1909 with opera Boleslas
the Bold, followed in 1911 by Medusa, in 1917.
by Eros and Psyche, and in 1923 by Casanova.
Being of an eclectic spirit, his works approximate
somewhat to the mus. drama of Wagner and also
to style of Debussy and R. Strauss. A. Wieniaw-
ski's opera Megae (1913), F. Szopski's Lilies
(1917), Joteyko's The Player (1919), B. Wallek-
Walewski's Fortune (1919) and especially the
first opera of the most progressive Polish compr.
of to-day, Karol Szymanowski, Hagith (1922,
written in 1912) are an expression of different
currents in modern Polish dramatic music of
to-day which does not restrict itself to national
themes, but endeavours to place itsel in line.
with the mus. productiveness of other Western
peoples.-ZD. J.
POLÍVKA, Vladimír. Czechoslovak compr.
b. Prague, 1896. Pupil of Vítězslav Novák at
Cons. in Prague. He is known as a pianist.
2 sonatas, vn. and pf.; symph. poem, Spring; the
Little Symphony (ms.).-V. ST.
POLLAIN, Fernand. Fr. cellist; b. Rheims,
7 Oct. 1879. Began studies at Nancy Cons.;
finished them in Paris, where he obtained a
1st prize in 1896 (same year as Thibaut, and
Alfred Cortot). Almost from beginning of career,
was partner with Pugno and Ysaye, and soloist
in all chief Fr. orchs. Very popular in America,
where, after the war (in which he was seriously
wounded) he made two tours, one with Mary
Garden; other with Eugène Ysaye. Gave 1st
perf. of many works (several dedicated to him):
Cinquième Poème of Ysaye; 2nd sonata of
Guy Ropartz. Has also ed. large number of
old works, including a charming concerto of
Boccherini. Although an extremely brilliant
soloist, is at same time most scrupulous in his
interpretations; a worthy partner of Ysaye,
Thibaut and Cortot in chamber-music. Since
1919 he has been playing a Strad. of 1701, which
formerly belonged to Servais (1807-66).-M. P.
POLLITT, Arthur Wormald. Eng. orgt. and
lecturer; b. Crompton, near Manchester, 27 Nov.
1878. Stud. R. Manchester Coll. of Music; sub-
orgt. Manchester Cath. (under Dr. Kendrick
Pyne); Liverpool Church and School for the
Blind, 1900-17; chorus-master, Liverpool Philh.
Soc. 1918; lecturer in music, Univ. of Liverpool,
1919.
Organ: Sonata in C mi. (Schott); many other
organ pieces and arrs. (Schott: Augener; Stainer &
Bell: Rogers; Novello; Elkin); part-songs (Stainer
& Bell); Exercises in Transposition (Augener). Books:
POLYTONALITY
The Necessity of Music in a School Curriculum (New
Temple Press); The Self-reliant Musician (Sherratt
& Hughes, Manchester); The Enjoyment of Music
(Methuen).-E.-H.
"POLLY." A sequel to The Beggar's Opera.
Owing to great success of latter work, Gay con-
sidered he was justified in taking Polly Peachum
as heroine of a new piece. While in rehearsal,
in 1729, he was informed by the Duke of Grafton
(then Lord Chamberlain) that pieces in rehearsal
must be submitted to him. This was done with
the result that Polly was prohibited from being
performed. No reason was assigned, but it is
assumed that Gay's political enemies were at the
back of this prohibition. The Duchess of Queens-
berry took the matter in hand and Gay, by her
influence, sold the book of the play with higher
profit to himself than if the piece had been per-
formed. It was first acted in June 1777, and re-
mained unacted after this until its recent revival
on 30 Dec. 1922 (Kingsway Theatre, London).
The original plot laid the scene in the West Indies,
to which place Polly goes to seek her husband
Macheath, who in The Beggar's Opera escaped
hanging. He has been transported to the West
Indies, but having escaped from the master to
whom he has been sold, has become the leader
of a band of pirates, having disguised himself as
a negro and changed his name to Morano. The
other characters from The Beggar's Opera are
Jenny Diver and Mrs. Trapes. In the course of
the play Polly dresses herself in male costume.
The airs are of the same character as those in
the
The Beggar's Opera, and number 71.
1922-3 revival they were reduced to about 50
and the play was largely reconstructed. It was
produced by Nigel Playfair and the music arr.
and composed by Frederic Austin.-F. K.
POLO, Enrico. Ital. violinist; b. at Parma,
1868. Stud. at Cons. in Parma; then at Hoch-
Was first a
schule, Berlin, under Joachim.
teacher at Liceo Mus. at Turin; then in 1903
at Cons. of Milan. In that city he founded the
quartet which bears his name, and which gained
a high reputation during its tours through Ital.
cities. P. has also given very successful con-
certs as a soloist in Germany, Spain and Switzer-
land. Publ. an excellent ed. of old Ital. vn.
works and 4tets by Boccherini, Tartini, Viotti
(Ricordi); also some original compns. and
estimable teaching works.-D. A.
392
POLSTERER, Rudolf. Compr. b. Tattendorf
(Lower Austria), 3 June, 1879. Stud. engineer-
ing; then cpt. under Joseph Schöpfleuthner,
who interested him in organ-playing; till 1914,
pupil of Otto Müller, Vienna, especially for
strict vocal style. Now devoting full time to
composition.
Publ. by Brockhaus, Leipzig: Prelude for organ;
pf. 4tet; 12 symph. songs (Michelangelo); 7 songs
Of Eternal Life; 6 songs to Virgin Mary; Three
Chinese Songs; Three Rückert Songs; 3 duets; trio
for vn. horn and pf.; 6tet (ob. 2 vns. vla. cello,
pf.). In ms.: 2 masses (ono vocal; one instr.); 8
motets for mixed chorus; songs; 6tet (fl. clar.
2 horns, bsn. and pf.).-A. E.
POLYPHONY. See COUNTERPOINT.
POLYTONALITY. Several voices, parts, or
streams of harmony moving simultaneously in
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POPOF
different keys. The term is somewhat loosely
used. Polytonic procedure, according to Viller-
min in his Traité d' Harmonie Ultramoderne (1911)
consists of melodic polyphonic procedure,
derived from a composite chord. The usual
meaning is the effect produced by the use of 2
or more keys (tonalities, scales) being used at
one and the same time. See art. on HARMONY.
Consult art. on La Musique Polytonale in La
Revue Musicale, Oct. 1921; also Chap. XI in
Englefield- Hull's Modern Harmony (Augener,
1913).-E.-H.
POPOF, Serge Sergevitch (accent 2nd syll.).
Russ. writer on music; b. Moscow, 2 Dec. 1887.
Son of a merchant; pupil of Zolotaref and
Gretchaninof. Chief curator of Russ. State
Music Publ. Dept. The ablest connoisseur of
Russ. mus. archives, mus. literature, and ms.
music. V. B.
POPPER, David. Cellist and compr. b. Prague,
18 June, 1876; d. Baden (Austria), 1913. Stud.
at Prague Cons. Travelled throughout Europe
as cello virtuoso, 1868-73. Solo cellist, Court
Opera, Vienna. From 1886 till death, prof. of
cello, R. High School for Music, Budapest, and
became Hungarian citizen. Establ. with Jenó
Hubay (q.v.) the Hubay-Popper Str. Quartet.
Wrote numerous virtuoso pieces for cello. Best-
known: Gavotte; Spinning Song; Elf Dance.-B.B.
PORTA, José. Span. vn. virtuoso; b. Huesca,
1890. Pupil of César Thomson. Prof. of vn. at
Lausanne Cons. Tours in Switzerland, Germany,
Spain, etc.-P. G. M.
The
PORTUGUESE OPERA SINCE 1880.
following works by Portuguese comprs. of grand
opera have been given at the Theatre San
Carlos since 1880: Guimarães's Beatrice (1882);
Machado's Laureana (1884, 1885); V. do Arnei-
ro's La Derelitta (1885); Machado's I Doria
(1887); Keil's Don Branca (1888, 1889); Freitas
Gazul's Fra Luigi di Sousa (1891); Keil's Irène
(1896); Machada's Maria Vetter (1898); Keil's
Serrana (1899, 1900, at Colyseu in 1901); Oscar
da Silva's Don Mecia (Colyseu, 1901); Keil's
Serrano (Oporto, 1902); Machado's Venus (Th.
D. Amelia, 1905); Arroyo's Amor de perdicão
(1907, 1908); Machado's La Borghesina (1909);
his O Espadachim do Outeiro (Th. Trindade, 1910).
-E.-H.
POTHIER, (Dom) Joseph. See SOLESMES.
POTTGIESSER, Karl. Ger. compr. b. Dort-
mund, 8 Aug. 1861. Stud. for bar; then for
music under Hugo Riemann (Hamburg 1887-
1890). Since 1890 at Munich, devoting himself
to composition.
For orch.: Symph. poem, Brand (from Ibsen);
symph.
h. prologue to Hebbel's Guges and his Ring;
orch. variations on O sanctissima and Weber's
Nursery Song; chamber-music; opera, Heimkehr
(Cologne,
Kriemhild (1892); Chapter Fified of Xanten and
of
St. Paul to Corinthians, for barit., mixed chorus with
organ and orch.; oratorio, God is Love; mus, comedy,
Aldergrever's Heirs; male chorus, Drinking Song
(Uhland) with orch.; songs (Hebbel series); choral
songs, etc.-A. E.
POULET
of Paris Cons. under Caussade and Lenepveu.
His music is based on the folk-lore of his native
country. He critic of L'Ere Nouvelle. His
habitual harshness in criticism has involved him
in numerous lawsuits.
Lyric drama, Le Meneur de Louves; ballet, Frivo-
suite,
folk-songs, Author on; several colls, of Languedoc
of Musiciens français d'aujourd'hui
(2nd ed. 1921, Mercure de France) under pen-name
of Octave Séré (q.v.).-A. C.
POUGIN, Arthur (pseudonym "Pol Dax").
Fr. writer on music; b. Chateauroux (Indre),
6 Aug. 1834; d. Paris, 8 Aug. 1921. Pupil of
Paris Cons.; devoted himself early to mus.
history and criticism; ed.-in-chief of the
Ménestrel from 1885. During his long life,
publ. considerable number of studies, articles,
pamphlets and works of all sorts. Among those
written from 1890 onwards, are:
Mehul, sa vie, son génie, son caractère (1889-93);
L'Opéra-comique pendant la Révolution (1891); Essai
historique sur la Musique en Russie (1897-1904);
J.J.
Laurensseau, musicien (1901): Hérold (1908, Paris,
Gras-
POUEIGH, Jean. Fr. compr. b. Toulouse,
24 Feb. 1876. Pupil of Toulouse Cons.; then
sini (Paris, 1920, Fischbacher).-M.
POUISHNOF, Lef. Russ. pianist, compr.
b. 11 Oct. 1891. Stud. at Petrograd Cons..
finishing in 1910 with 1st class diploma and
Gold Medal, Rubinstein Prize (concert grand
piano) and £120 for a voyage to Europe. His
teachers were Mme. Essipof (pf.); Rimsky-
Korsakof, Liadof and Glazunof (compn.);
Tchérepnin (conducting). His first appearance
in London took place 2 Feb. 1921 at Wigmore
Hall. Numerous orch. appearances: London
Symphony Orch., Queen's Hall Orch., Albert
Hall Orch., Hallé Orch., Scottish Orch., etc.
Many compns. for orch. v.
pieces (Enoch, 1922-3-1).-E-Hd pf. (ms.); 5 pf.
POULENC, Francis. French composer; b.
Paris, in 1899. He appears to be one of the most
gifted composers of the new generation. His
bent is fantastic; he does not seek sentimental
expression, but delights in the picturesque.
According to the wish of his friend, the poet
Cocteau, he has tried to express the gaiety and
the melancholy of public festivals. His composi-
tions for a small orchestra of wind instruments
are very singular in that they give the im-
pression of vulgarity, without ever descending
to it. There is much charm and freshness
inspiration in his Rapsodie nègre, his Bestiaire
(voice and pf. London, Chester), and the
humorous pieces composed for the Mariés
de la Tour Eiffel. His piano compositions owe
much to Ravel and to Erik Satie, but present
also sonorous effects which are charming and
very individual: Mouvements perpétuels (Chester),
Promenades. He is justly reproached with his
rather clumsy processes of construction and his
continual repetitions; but these are defects
of youth, and we must wait some time before
passing judgment. His ballet Les Biches was
prod. June 1924. He was one of the French
group formerly known as "The Six."-H. P.
POULET, Gaston. Fr. violinist; b. Paris,
7 April, 1892; 1st prize under Lefort, at Cons. in
1910; then stud. under Maurice Hayot. Started
as soloist very young at Colonne, Lamoureux
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POWELL
and Pasdeloup Concerts. The Poulet Quartet
(Poulet, Giraud, Le Guillard, L. Ruyssen) is
one of the best-known. Pierné, V. d'Indy,
Florent Schmitt, entrusted it with first perf. of
important works. P. faithfully interprets works
of all periods and schools, but excels in rendering
the Romantics, particularly Schumann.-M. P.
POWELL, John. Amer. pianist, compr. b. Rich-
mond, Va., U.S.A., 6 Sept. 1882. B.A. Univ. of
Virginia, 1901. Stud. pf. under his sister and
F. C. Hahr in Richmond; 1902-7, stud. under
Leschetizky; 1904-7 compn. under Navrátil in
Vienna. Début with Tonkünstler Orch. Vienna,
Nov. 1907. Played in Berlin 1908; Paris and
London, 1909. Toured Great Britain and Con-
tinent; 1st appearance (after his return to
America) at Richmond (Va.) Fest. May 1912.
A str. 4tet, op. 19, was played by Ševčík Quartet,
London, 1910. In 1912 the compr. played his
Sonate Psychologique, op. 15, and Moiseiwitsch
played his Sonata Teutonica for pf. op. 24, in
London. In 1912 Zimbalist played his vn. con-
certo in E ma. op. 23, in New York and London.
In 1919, Zimbalist and the compr. first perf.
his vn. sonata. His Rapsodie Nègre, pf. and orch.,
was first perf. by Russ. Symphony Orch., 23
March, 1918 (compr. at piano). An overture,
In Old Virginia, was brought out in 1921. In
style and technique his works are highly modern;
in many he makes effective use of negro themes.
Rapsodie Nègre, for orch. and pf. (Schirmer, 1921);
Sonate Virginianesque, vn. and pf. op. 7, 1st perf.
the
of American Fun, pf.( Schott, 1912); Suite Sudiste,
pf. op. 16 (Mathot, 1910); Sonate Noble, pf. op. 21
(Schirmer, 1921); songs, op. 8 and 15 (Schirmer).
-0. K.
POWELL, Lloyd. Pianist of Welsh extraction;
b. Ironbridge, Salop, 22 Aug. 1888. Stud. R.C.M.;
awarded grant from Patron's Fund for study
abroad; went to Berlin; later to Basle (under
Busoni). In 1920, played Delius's pf. concerto
at Welsh fest. with L.S.O. In 1921, gave concert
of British music in Paris (with Gladys Moger);
and later in the year, introduced John Ireland's
pf. sonata in Melbourne, Australia; concerts
in Java and Ceylon; 1919, pf. prof. R.C.M.
London.-E.-H.
POWELL, Maud (Mrs. H. Godfrey Turner).
Amer. violinist; b. Peru, Ill. U.S.A., 22 Aug. 1868;
d. Uniontown, Pa., 8 Jan. 1920. Stud. vn. under
William Lewis in Chicago, Schradieck in Leipzig,
Dancla in Paris and Joachim in Berlin. First
played in London, 1883. In 1885 appeared with
Philh. Orch. Berlin, and same year with Philh.
New York. After many Amer. tours she visited
Germany and Austria again in 1892 with New
York-Arion Soc. (male chorus); 1894, organised
the Maud Powell Str. Quartet, which gave con-
certs until disbanded in 1898. Between 1899 and
1905 toured British Isles, and Continent re-
peatedly. In 1905 visited South Africa with
concert company of her own. Death overtook
her unexpectedly on one of her tours.
PRATT
Huss, H. R. Shelley), and was the first to play
in America the concertos of Arensky, Bruch
(D mi.), Dvořák, Saint-Saëns (No. 2), Rimsky-
Korsakof (Fantaisie), Sibelius and Coleridge-
Taylor. A number of her excellent transcrip.
tions were publ. by Breitkopf, Schirmer, Ditson,
Carl Fischer and Schuberth.-0. K.
One of the most notable, world-famed vir-
tuosi that America has produced, she procured
a first hearing for several Amer. comprs. (H. H.
394
PRATELLA, Francesco Balilla. Ital. compr.
b. Lugo (Romagna), 1 Feb. 1880. Stud. first
under Ricci-Signorini, then at Liceo, Pesaro,
under Mascagni and Cicognani. In Sonzogno 1903
Competition his opera Lilia was mentioned,
and then successfully perf. at theatre in his
native city. In 1909 he won the Baruzzi Com-
petition in Bologna with opera, La Sina d'Var.
goun (Rosellina dei Vergoni), which is full of
the atmosphere of his native Romagna. This
opera was then successfully perf. in Bologna
at Comunale Theatre. P. directs the Istituto
A third opera,
Musicale in his native city.
L'Aviatore Dro, was perf. at the Teatro Comunale,
Lugo, in 1920. He is also the author of orch.,
vocal and instr. works (chamber-music) publ.
by Fantuzzi; Bongiovanni; and Pizzi of Bologna.
P. has been the representative of the "futurist"
movement in music in Italy, and has comp. and
perf. futurist music and publ. manifestos. This
does not prevent him from still being attached
to the Ital. tradition and to the musicality of
Amongst his literary
his native Romagna.
publications and eds. of old music, we mention:
Musica italiana: per la cultura della sensibilità
musicale italiana (Bologna, 1915. Bongiovanni);
Evoluzione della musica; 2 small vols.: Breviari
Istituto Ed. Italiano);
intellettuali (Milan, 1918-19, (reprint of music of
Il terry), 1916, Bongiovanni; Oratorii at
libro delle laudi
Gia-
XVI
como Carissimi (Giona, Il giudizio di Salomone,
Jefte), in the Raccolta Nazionale delle Musiche
italiane (Milan, 1919, Istituto Ed. Italiano); Saggio
di gridi, canzoni, cori e danze del popolo italiano
(1919, Bongiovanni).
of F. B. P.
Consult: Alceo Toni. La Sina d'Varg M. Gatti, in
(Rivista Musuri aasta Musicisti d'oggi e di
1920
Musicisti
Pizzi);
ieri (in chapters on La musica futurista).-D. A.
Giannotto
Italiana, 1910):
e fuori (Bologna,
PRATT, Waldo Seldon. Amer. author, hymn-
ologist; b. Philadelphia, U.S.A., 10 Nov. 1857.
A.B. Williams Coll. 1878. Stud. classical philo-
logy, archæology and aesthetics at Johns Hopkins
Univ. Baltimore (1878-80). A.M. Williams Coll.
1881. Assistant-dir. of Metropolitan Museum of
Art, New York (1880-2). In 1882, member of
faculty of Hartford Theological Seminary; since
1889, prof. of music and hymnology; 1882-91,
conducted various mus. societies in Hartford.
1895-1905, lectured on music at Smith Coll.,
Northampton, Mass.; 1905-20 at Inst. of Mus.
Art, New York. 1906-15, ed. Proceedings of the
Music Teachers' National Association; 1906-8,
President of this Association; 1912-6, President
of Amer. Section International Mus. Soc.
With C. N. Boyd, publ. a valuable Amer. Supple-
ment to Grove's Dictionary of Music (Mac-
millan, 1920), the first attempt to produce a
specifically Amer. work of this kind and scope,
on a sound historical basis. Received Mus.D.
h.c. from Syracuse Univ. 1898.
Musical Ministries of the Church (Revell, 1901;
enlarged ed. Schirmer, 1915); The Church Music
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PRILL
Problem (Century Co. 188T) History of Music
(Schirmer, 1907): The Music of the Pilgrims (Ditson,
1921); ed. of St. Nicholas Songs (Century Co. 1885);
mus. ed. for Century Dictionary (1892)-0. K.
PRILL, Emil. Ger. flautist; b. Stettin, 10 May,
1867. Pupil of father, Gantenberg, and Joachim
Andersen: undertook concert-tour with brothers,
before he finished studying at R. High School,
Berlin, 1881-3; 1888, teacher at Charkof Music
School; then 1st flautist, Hamburg (Laube
Orch. and Philh.); 1892, 1st flautist at Berlin
R. Opera; 1903, teacher R. High School for
Music; 1908, R. virtuoso; 1912, professor.
Transcriptions; studies for 1 -players, op. 12;
orch. studies and instructors for f. (old system and
Boehm system); Guide to Flute Literature.-A. E.
PRILL, Karl. Ger. violinist; b. Berlin, 22 Oct.
1864. Stud. under father (mus. dir.), Helmich,
Wirth, and Joachim (at R. High School); solo
violinist in Brenner, afterwards in Laub Orch.;
1883-5, Konzertmeister Bilse's Orch.; 1885,
Konzertmeister and condr. Magdeburg; 1891,
Konzertmeister Leipzig Gewandhaus Orch.;
1897, Konzertmeister Vienna R. Opera and
Philh.; vn. prof. at Imperial Acad.; founder
of str. quartet.-A. E.
PRILL, Paul. Ger. condr. b. Berlin, 1 Oct. 1860.
Pupil of father, of W. Handwerg (pf.), Sturm
(theory), Manecke (cello); 1879, of R. High
School and Academical Meisterschule (Bargiel),
Berlin; toured with brothers as cellist; 1882-5,
solo cellist in Bilse's Orch.; condr. at Wallner
and Belle-Alliance Theatre, Berlin; 1886-9,
opera condr. Rotterdam; 1889-92, Hamburg;
1892-1901, Nuremberg; 1901-6, R. condr.
Schwerin; cond. Schwerin Mus. Fest. 1903;
1906-8, Mozart Orch. Berlin; 1908-15, condr.
of Concert Soc. Orch. Munich (formerly Kaim
Orch.); then official condr. Cottbus; since
1922, lives at Munich.-A. E.
PRIMITIVISTA. See MoMPOU, F.
PRINGSHEIM, Heinz. German compr. and
author; b. Munich, 7 April, 1882. Son of Alfred
P. (mathematician and zealous champion of
Wagner); first archæologist (Ph.D.); 1900,
musician, pupil of Louis (theory), Schmidt-
Lindner (pf.); Korrepetitor at Munich and
Dresden R. operas; operatic condr.; now critic
(on Allgemeine Musik-Zeitung) in Berlin.
In ms.: vn. sonata; str. 4tet; songs; Psalm 111,
barit. solo and orch.; Rondeau, small orch.; Seven
Dances of Life (dance-play by Mary Wigmann,
Frankfort-o-M. 1921).-A. E.
PROCHAZKA
PRIX DE ROME. A scholarship awarded every
year to the pupil of the Paris Cons. whose can-
tata, prescribed by a jury, has been judged the
most satisfactory. It permits the winner to
spend 3 years at Rome, at the Villa Médicis. The
system is deprecated by some who consider that
it confines young talent to an academical train-
ing, without which they might have been more
interesting. As will be seen by the table below,
since 1880, many really good Fr. musicians have
not had the Prix,
1880. Lucien Hillemacher; 1882, Marty; 1883,
Paul Vidal; 1884, Debussy: 1885, Xavler Leroux;
1886, Savard; 1887, G. Charpentier; 1889, Erlanger
1890, Gaston Carraud; 1891, Silver; 1993, A. Bloch:
1894, Rabaud; 1895, Letorey: 1896, Mouquet;
1897. Max d'Ollone; 1899, Levadé: 1900, Florent
Schmitt; 1901, André Caplet: 1902, A. Kune; 1903,
1907, Le Boucher; 1908, A. Gallhard: 1909,
Mazel
lier; 1910, Gallon; 1911, Paul Paray; 1913, Lill Bou-
langer and Claude Delvincourt; 1914, Marcel Dupré;
1919, Mare Delmas and Jacques Ibert; 1920, Mar-
PRINGSHEIM, Klaus. Ger. dramatist; compr.
b. Munich, 24 July, 1883. Brother of Heinz P.;
pupil of Thuille and Stavenhagen, Munich, and
Gustav Mahler, Vienna; 1906, repetitor Vienna
R. Opera; 1907, operatic condr. Grand Theatre,
Geneva; 1909, Ger. National Theatre, Prague;
1911, operatic stage-manager and dramatist
there; 1914, same position Stadttheater,
Breslau; 1915, Stadttheater, Bremen; 1918,
engaged by Max Reinhardt as mus. condr. of
Grosses Schauspielhaus, Berlin. P. is a successful
concert-conductor.
Dramatic music for Reinhardt stage; opera, Lojko
Sobar; songs with pf. and orch.; Venice, vs. and
orch.; author of many periodical articles; Modern
Wagner Problems (Regensburg, Bosse). Lectured at
Univ. on musical social questions. A. E.
1923, Jeanne Leleu. The Priz was not awarded
in 1881, 1889, 1892, 1898, 1912, nor during the
war.-A. C.
PRIX MUSICAUX (Musical Awards in France).
Besides the Prix de Rome (q.v.) there exist in
France numerous prizes for the encouragement
of music. These prizes are of two sorts; one for
comprs., other for writers on music. Amongst
the former the most sought after are: Priz de la
Ville de Paris, awarded since 1877 for an unpubl.
opera, or a symph. poem with choruses. This
prize has been gained by Théodore Dubois,
Vincent d'Indy, Albert Doyen, Jean Cras, and
others. Priz Verley, awarded since 1920, for an
orch. work of modern tendency and for a song
with orch. acc. It was gained by Arthur Honeg-
ger for his Pastoral d'Eté in 1921. Prix Blumen-
thal, since 1920, a purse of 12,000 francs; one of
the winners was Georges Migot. Priz Cressent,
for a dramatic work; Prix Monbinne, for a comic
opera; Priz Chartier, for a chamber-music work;
Priz Lepaulle, also for a chamber-music work;
Prix Halphen, for the whole of a compr.'s works.
Different prizes founded by musicians: Prix
Rossini, Prix Ambroise Thomas, Prix Lili
Boulanger, for encouraging young musicians.
Among the prizes awarded for works of criticism
and mus. history, the most important are the
Prix Bordin, Kastner-Boursault, Charles Blanc
and J. J Weiss.-A. C.
PROCHÁZKA, Ladislav. Real name of Lad.
Prokop (q..).
PROCHAZKA, Rudolf von, Baron. German.
Czechoslovak author, compr. b. Prague, 23 Feb.
1864. Lawyer; pupil of Fibich and Grünberger;
ministerial councillor at Prague; national
reporter on music; president of Ger. State
Examination Commission; was prominently
active at foundation of Ger. Acad. of Music
and Descriptive Art.
The Music Schools of Bohemia (1890); Robert
Franz (1884); Mozart in Prague (in 3 parts, 1914);
Arpeggios (1897); Johann Strauss (1900); New
Arrangement of Kothe's History of
Fire Centuries (Catalogue of Exhinausic (1909);
of Musle,
1911); The Romantic Music of Prague (1914);
also a book on Don Giovanni. Comp.: opera, Das Glück
(Prosperity), Vienna, 1898; mystery, Christus; symph.
395
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PROD'HOMME
songs: Haffner Variations, orch. (on theme of Mozart);
In Memoriam str. 4tet; choruses; songs; pf. pieces.
Consult K. Hunnius's R. von P. (1903).-E. S.
PROD'HOMME, Jacques Gabriel. Fr. musico-
logist; b. Paris, 28 Nov. 1871. Music critic
for several newspapers. Has contributed since
1895 to a large number of reviews and periodi-
cals, Lauréat of Fr. Acad. and of Acad. of
Fine Arts (1907-1917), foreign member of R.
Acad. of Archaeology of Antwerp (1919). He
has contributed to the Berlioz literature:
Le Cucle Berlioz (Damnation de Faust, 1896; L'En-
fance du Christ, 1898); H. Berlioz, sa vie et ses oeuvres
(1904; 2nd ed. 1913; Paris, Delagrave). Has also
written: Les Symphonies de Beethoven (1920, Dela-
grave) and a remarkable book on La Jeunesse de
Beethoven (1920, Payot). We owe to him the
Fr. transl. of prose-works of Wagner, 13 vols. 1907-
1923 (in collab. with Dr. Holl, Fr. Caillé and van
Vassenhoven); a work on Gounod (with A. Dandelot),
(Paris, Delagrave); Ecrits de Musiciens (from
to XVIII centuries) (1912); a transl. of the Magic
Flute, etc.-M. L. P.
xv
PROGRAMME MUSIC. A term applied to
music which is descriptive of something outside
the music itself, and therefore requires a synopsis.
or programme in words to explain its significance.
Composers have from the earliest times at
tempted musical descriptions of actions and
events, as well as the reproduction in music of
sounds of nature. Notable examples of old
programme-music are Jannequin's madrigals
(battles and birds' cries), the battle and weather
pieces of Elizabethan virginalists, Kuhnau's
Biblical Sonatas for the harpsichord, Ditters-
dorf's symphonies on the Metamorphoses of Ovid,
Beethoven's Battle of Vittoria and Kotzwara's
Battle of Prague. A different type of programme
music begins with the symphonies of Berlioz
and the symphonic poems of Liszt, in which
emotional and psychological description is more
important than representation of physical action.
Liszt's system was continued by Richard Strauss
in his symphonic poems. It should be pointed
out that the symphonic poems of Strauss, as
well as a great deal of earlier programme-music,
can be analysed on purely formal lines. Many
composers as a matter of fact, are inconsistent
in their utterances, on the one hand professing
that their music is to be listened to as music
alone, and on the other issuing, or allowing
others to issue for them, explanations of their
music which are purely literary and descriptive.
Modern composers, after passing through a
phase of so-called "Impressionism" (Debussy,
etc.), have rebelled violently against the senti-
mentalism of the older psychological programme-
music, and have turned more to the reproduc.
tion and artistic treatment of purely natural
physical sounds; this is naturally connected.
with the modern desire to avoid the emotional
and associational element in music and to con-
centrate more upon the direct physical impres-
sion produced by musical sounds (Stravinsky,
etc.).-E. J. D.
PROHASKA, Carl. Austrian compr. pianist;
b. Mödling, near Vienna, 25 April, 1869. Stud.
pf. under Eugen d'Albert, compn. under Mandy-
czewski and Herzogenburg; 1894-5, prof. at
396
PROUT
Strasburg Cons.; 1901-5, condr. Philh. Orch.
at Warsaw; since 1908, pf. prof. Vienna Acad.;
publ. chamber-music, songs, works for male,
female and mixed chorus. His cantata Früh-
lingsfeier gained Jubilee prize of Soc. of Friends
of Music, Vienna.-H. B.
PROKOFIEF, Serge Sergevitch (accent 2nd
syll.). Russ. compr. b. Solnzevo, in the Ekaterin-
oslaf government, 11/23 April, 1891. Received
his education at Petrograd Cons. where his
teachers were Liadof, Wihtol, and Rimsky-
Korsakof (theory and compn.), Mme. Essipof
(pf.). In 1910 he won the Rubinstein Prize with
his 1st pf. concerto, op. 10. Left Russia in 1918;
was for some years in Japan; then spent about
3 years in U.S.A.; now lives at Ettal, near
Oberammergau, Bavaria.
The chief feature of his music, especially up
to his op. 20 or so, is that it asserts a firm will:
no passion, but a uniform terseness, continuous
and almost mechanical. No shadows, no vague-
ness, but definite lines, sharp contours, clearly
defined planes. The rhythms are always well-
marked. P. invents no new rhythmic formula,
but proceeds by constant repetition of a figure.
The themes are usually short, but pregnant and
plastic. The harmonies are crude and at times.
brutal (e.g. in Sarcasmes, his most daring work);
he uses polytonality systematically. His form is
clear and logical. In many respects, his mus.
temperament comes near to that of the classics
-especially of Scarlatti. Of late his style has
become more mellow, his melodies are more
abundant and broader. His Visions Fugitives
and Granny's Tales reveal him in the light of a
tender dreamy lyricist. He is gradually reverting
to a more diatonic conception of music. He is
an excellent pianist whose playing is somewhat
dry, but clear, brilliant, and alive.
Operas: Madalena (unperf.): The Gambler (after
Dostolevsky's novel); The Loves of the Three Oranges
(after Carlo Gozzi) (Chicago, 1921); ballet, Chout
(Paris, 1921); Sinfonietta; Scythian Suite; 2 tone-
poems (one of which, They are Seven, is choral);
3 pf. concertos (all perf. at Q. II. L London, with com-
poser at piano, the 3rd on 24 April, 1922); vn.
concerto; 4 pf. sonatas; various instr. pieces, and
songs.-B. DE S.
PROKOP, Ladislav (real name Lad. Pro-
cházka). Czechoslovak compr. b. Litomyšl, 1872.
Pupil of Vít. Novák; lives in Prague practising
as a physician.
3 symph. poems on Svatopluk Čech's cycle Ve
stinu lipy (In the Limetree's Shadow); pf. 5tet; str.
4tet; opera, Sen lesa (The Dream of the Wood), Prague,
1907; Otázka (The Question) Prague, 1910; overture,
Osud (Fate); cantata, Staroměstský Rynk.-V. ST.
PROLONGEMENT. See MUSTEL.
PROTHEROE, Daniel. Welsh compr. condr.
and teacher; b. Ystradgynlais, S. Wales. Stud.
under Dr. Joseph Parry. Adjudicator in princi-
pal Amer. comp. fests. and National Eisteddfodau
in Wales. Mus. Doc. (New York). His compns.
include many cantatas, orch. tone-poems, male-
voice choruses of a high order and volumes of
art-songs. He is well known in America as an
experienced lecturer. Resides in Chicago. U.S.A.
-D. V. T.
PROUT, Ebenezer. Distinguished English
theorist and writer; b. Oundle, 1 March, 1835;
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PROUT
d. London 5 Dec. 1909. Stud. pf. under Charles
Salaman; but otherwise was self-taught. Gradu-
ated at London Univ., being intended for
scholastic profession; but inspired by his love
for music, he followed it as a profession. In 1861,
became orgt. of Union Chapel, Islington, London,
where he remained until 1873. In 1862, Soc. of
British Musicians awarded him 1st prize for a
str. 4tet, and in 1865 for a pf. 4tet. 1871-4, ed.
of Monthly Mus. Record; music critic of Academy
In 1879,
(1874-9) and Athenaeum (1879-89).
prof. of harmony and compn. at R.A.M. London,
and in 1884 at Guildhall School of Music. His
compns. were never popular on account of their
stilted style and lack of melodic invention,
though the str. 4tet in B flat, op. 15, has some
effective writing. Far more famous were his
theoretical works, which have been transl. into
many languages. His Harmony, its Theory and
Practice reached 20 eds. by 1903. In 1894 he
was appointed prof. of music in the Univ. of
Dublin and received an honorary Mus.Doc. in
1895. During his tenure of the professorship
down to his death he not only devoted himself
to his music students but gave very interesting
public lectures, especially the course on the
Bach cantatas illustrated by the energetic
professor with the co-operation of singers
trained by him. He devoted much time to
editing the classics, providing additional accs.
for the Handel oratorios. In 1902 he intro-
duced to the R. Soc. of Musicians a new full
score and a vocal one of Messiah.
2 symphonies; cantatas; organ concerto; cham-
ber-music; church music; sonata, pf. and clar.;
organ arrangements.
Educational works: Harmony (1889; rev. ed.
1901); Counterpoint (1890); Double Counterpoint and
Canon (1891); Fugue Forms (1895) Orchestra,
Applied
Vol. I (1898); Vol. II (1899). They have been
transl. into many languages.-W. S.
The
PROUT, Louis B. Eng. writer on mus. theory;
b. Hackney, London, 14 Sept. 1864. Son of
Ebenezer P. under whose guidance he stud. at
R.A.M.; prof. of Guildhall School of Music. His
chief work is Harmonic Analysis (Augener).
Psalm XCIII, chorus and orch.;. Sidelights on
songs, etc.;
Analysis of Bach's 48 Fugues
Harmony (Augener); Time, Rhythm and Expression
(id.).-E.-H.
PRÜFER, Arthur. Ger. musicologist; b. Leip-
zig, 7 July, 1860. Pupil of Friedrich Stade; stud.
for Bar at Jena, Leipzig, Heidelberg, Berlin;
1886, took Dr.'s degree; then turned to music;
1887-8, at Leipzig Cons. and Univ. (Paul and
Kretzschmar); 1888-9, Berlin (Spitta and
Bargiel); 1890, Ph.D.; 1895, settled as Univ.
teacher in science of music at Leipzig.
Publ. J. H. Schein's Complete Works (6 vols.,
Breitkopf). Wrote: Johann Hermann Schein and
Secular German Song of XVII Century (1908);
Richard Wagner in Bayreuth (publ. 1910): Introduc
tion to Richard Wagner's Opera "Die Feen."-A. E.
PRÜMERS, Adolf. Ger. choral condr. b.
Burgsteinfurt, Westphalia, 1 Sept. 1877. Stud.
music at Weimar, Cologne, Berlin (Müller-
Hartung, Kleffel, Heinrich Urban); 1903-10,
opera-condr. at Basle, Metz, Bad Kreutznach
and other places; 1911, condr. of male choral
PRÜWER
soc. Harmonia; condr. of East Prussian Pro-
vincial Singers' League, Tilsit. Well known as
compr. of male choruses. Wrote Biography of
Friedrich Silcher (1910).-A. E.
PRUNIÈRES, Henry. Fr. musicologist; b.
Paris, 24 May, 1886. Pupil of Roman Rolland;
quickly obtained his degrees, ending in a doctor-
ate 1913, his thesis being L'Opéra italien en
France avant Lully. He upholds the theory,
too long neglected, that erudition is worth very
little unless it is put to the service of general
ideas and views-in short, unless it is combined
with a sense of history and philosophy. It is
for this last quality, no less than for the abund-
ance of unpubl. documents they contain, that
his works are remarkable. They deal mainly
with the XVII and XVIII centuries. In 1910 he
publ. the first critical study on Lully (Laurens);
he succeeded in reconstructing the life of the
great musician by the use of documents for the
most part unpubl. With the intention of de-
veloping this subject further, he publ. two works
on the origins of Fr. opera: L'Opéra italien
en France avant Lully (Paris, 1913, Champion),
and Le Ballet de cour en France avant Benserade
et Lully (Paris, 1914, Laurens). He publ. a
popular book on Monteverdi (Alcan, 1923), and
in 1924 a more detailed work on the same sub-
ject (J. M. Dent & Sons). Has also publ. a
critical ed. (with preface and notes) of Vie de
Rossini by Stendhal (Coll. Champion). In 1914
he was secretary to Congress of S.I.M. in Paris.
He took an active part in organisation of Inter-
national Congress in History of Art, at the Sor-
bonne in 1921. In 1920, founded the Revue
Musicale (see PERIODICALS), which he made one
of the keenest and richest in musical docu-
ments of the world's musical periodicals.
P. is
well-informed on modern music as
on classical, and by his articles has very largely
contributed to the fame of young foreign
musicians in France-G. Francesco Malipiero,
Béla Bartók and Szymanowski. He founded
at the Théâtre du Vieux Colombier in Paris, the
Revue Musicale Concerts (1921), and was one of
the founders of Fr. section of S.I.M.C., 1923. His
solid erudition, breadth of view and extra-
ordinary energy assure him a prominent place
among Fr. musicologists of this generation.
Dr. Prunières is the Chairman of the Committee
for the French articles in this Dictionary.
La Musique de Chambre et de l'Ecurie sous le règne
Musicale, 1911, Alcan); Jean
Ier
de
de François surintendant de la Musique de la Chambre
du Roy (Année Musicale, 1912, Alcan): Notes sur les
origines de l'ouverture française (Sammelbände der
I.M.G. 12th year, No. 4): Lecerf de la Viéville et le
classicisme musical (S.I.M. 1908); Les Véridiques
(Revue de
La Fontaine et Lully (Revue Musicale, Dec. 1921); Le
Chorégraphe Salvatore Vigano (Revue Musicale, Dec.
1921); Paolo Lorenzani à la Cour de France (Revue
Musicale, Aug. 1922), and a great number of arts.
on the early years of Lully which are summarised
in L'Opéra italien en France.-A. C.
PRÜWER, Julius. Austrian condr. b. Vienna,
20 Feb. 1874. Pupil of Arthur Friedheim and
Moritz Rosenthal (pf.), of Robert Fuchs, Franz
Krenn and Joh. Brahms (theory), of Richter
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PUBLISHERS
(conducting) whom he followed to Bayreuth;
condr. at Bielitz; 1894, operatic condr. at
Cologne; 1896, Stadttheater, Breslau; 1923,
Weimar.-A. E.
PUBLISHERS. ARGENTINA.-(i) The most
important firm is Breyer Brothers; founded in
1882. (ii) Albert S. Poggi does some publishing;
founded 1860.
AUSTRIA.-(i) Universal Edition (q.v.). (ii)
Artaria, Ital. mus. publ. and art-dealers; settled
in Vienna about 1750; publ. works of Beethoven
and Schubert. (iii) Wiener Philharmonischer
Verlag. (iv) E. P. Tal & Co., founded 1919;
publ. literary works on music, especially contem-
porary composers. (v) Doblinger, Vienna.
BELGIUM.-Schott Frères, Brussels, founded
orig, at Antwerp early in XIX century, later re-
moved to Brussels. Now owned and dir. by Otto
Junne. Publ. the journal Le Guide Musical
from its foundation in 1854 to its extinction
during the war.
CZECHO-SLOVAKIA.-(i) Hudební Matice
(see SOCIETIES). (ii) Fr. A. Urbánek, founded.
1872; his ed. includes 5000 nos. Most of Sme-
tana's works and all Fibich's (Prague, Národní
třída 1369). (iii) Mojmír Urbánek, b. 1873;
separated from his father's business (see ii) and
establ. his own which is now the largest and most
important in Czecho-Slovakia. Publ. works of
Novák, Foerster, Suk, etc.; owns Mozarteum
concert-hall (seating 400). Address, Prague,
Jungmannova 34. (iv) Em. Starý (Prague). (v)
E. Wetzler (ib.). (vi) J. Hoffmanns (ib.). (vii)
Fr. Chadím (ib.). (viii) Bravič & Novotný (Brno).
(ix) O. Pozdírek (Brno).
DENMARK.-(i) Wilhelm Hansen, Danish
publ. firm. Copenhagen. Founded 1857 by Jens.
Wilhelm H. (1821-1904); later on, through con-
solidation with other firms became the greatest
in Scandinavia. In 1904 it was continued by his
two sons, Jonas Wilhelm (d. 1919) and Alfred
Wilhelm (d. 1923). The two sons of the latter,
Asger and Svend Wilhelm, are the present dirs.
There is a branch house in Leipzig. (ii) Nordisk
Musikforlag, Copenhagen.
PUBLISHERS
Stewart & Co. 3 Little Marlborough Street, W.;
(xix) Elkin & Co. (q.v.), 8 & 10 Beak Street,
Regent Street, W.; (xx) Enoch & Sons, 58 Great
Marlborough Street, W. 1; (xxi) Escott & Co. 64
Newman Street, W.; (xxii) Faith Press (church-
music), 22 Buckingham Street, W.C.; (xxiii)
Forsyth Bros. (q.v.), 36 Great Titchfield Street,
Oxford Street, W.; (xxiv) Frederick Harris Co.
40 Berners Street, W. 1; (xxv) Goodwin, F. & B.
(modern contemporary music), 34 Percy Street,
W.; amalgamated with Curwen & Sons, Jan.
1924; (xxvi) Hammond & Co. (educational
music), 6 Kingly Street, Regent Street, W.;
(xxvii) Hawkes & Son (orch. & military band
music), Denman Street, Piccadilly, W.; (xxviii)
Hutchings & Romer, 28 Castle Street East,
Oxford Street, W.; (xxix) John Church Co. 45
Wigmore Street, W.; (xxx) Larway, J. H. (q.v.),
14 Wells Street, Oxford Street; (xxxi) Laudy &
Co. 8 Newman Street, W.; (xxxii) Lengnick & Co.
(educational music), 14 Berners Street, W.;
(xxxiii) Metzler & Co. 42 Great Marlborough
Street, W.; (xxxiv) Moutrie, Collard, 52 South-
ampton Row, Russell Square, W.C.; (xxxv)
Murdoch & Co. (q.v.), 23 Princes St. Oxford
Circus, W. 1; (xxxvi) Novello & Co (g.v.),
160 Wardour Street, W.; (xxxvii) Paxton, W.,
& Co. 95 New Oxford Street, W.C.; (xxxviii)
Reeves, W. (mostly books; publ. of weekly Mus.
Standard), 83 Charing Cross Road, W.C.; (xxxix)
Reid Bros. 26 Castle Street, Oxford Circus, W.;
(xl) Reynolds & Co. 62a Berners Street, W.;
(xli) Ricordi & Co. 265 Regent Street, W.; (xlii)
Rogers, Winthrop (q.v.), 18 Berners Street, W. 1;
(xliii) Rudall, Carte & Co. (military band music,
and Mus. Directory), 23 Berners Street, W.;
(xliv) Schott & Co. 63 Conduit Street, W.; (xlv)
Stainer & Bell (also publ. for the Carnegie Music
Trust), 58 Berners Street, W.; (xlvi) Swan &
Co. 288 Regent Street, W.; (xlvii) Weekes &
Co. (q.v.), 14 Hanover Street, Regent Street, W.;
(xlviii) Williams, Joseph (q.v.), 32 Portland
Street, W.
FRANCE. PARIS: (i) P. de Choudens, 30
boul. des Capucines; (ii) Costallat et Cie. 60 r.
de la Chaussée-d'Antin; (iii) Ch. Delagrave. 15
r. Soufflot; (iv) E. Demets, 2 r. de Louvois;
(v) Durand et Cie. 4 place de la Madeleine;
St.
(vi) Édition Mutuelle (q.v.), 269 r.
Jacques; (vii) Enoch et Cie. 27 boul. des
Italiens; (viii) Max Eschig, 13 r. Lafitte; (ix)
Foetisch Frères, 28 r. de Bondy; (x) Fromont,
44 r. du Colisée; (xi) H. Gaillard, 18 r. Saint-
Sulpice; (xii) L. Grus et Cie. 65bis r. de Miro-
mesnil; (xiii) J. Hamelle, 22 boul. Malesherbes;
(xiv) Hayet, 11bis boul. Haussmann; (xv) H.
Heugel, 2bis r. Vivienne; (xvi) E. Leduc, P.
Bertrand et Cie. 3 r. de Grammont; (xvii)
Lemoine fils, 17 r. Pigalle; (xviii) A. Z. Mathot,
11 r. Bergère; (xix) G. Ricordi et Cie. 18 r. de
la Pépinière; (xx) Rouart, Lerolle et Cie. 29 r.
d'Astorg; (xxi) M. Senart et Cie. 20 r. du Dragon;
(xxii) A. de Smit, 187 faub. Poissonnière.
GERMANY.-(i) Bote & Bock, Berlin,
founded 1838; from 1847-96, publ. journal
Neue Berliner Musikzeitung; one of first firms
ENGLAND. LONDON: (i) Abbott, Ambrose,
& Co. 31 Newgate Street, E.C.; (ii) Anglo-French
Music Co. 31 York Place, Baker Street, W.; (iii)
Ascherberg, Hopwood & Crew, 16 Mortimer
Street, Regent Street, W.; (iv) Ashdown, Edwin
(q.v.), 19 Hanover Square, W.; (v) Augener (q.v.),
18 Great Marlborough Street, W.; (vi) Banks &
Sons, London and York. (vii) Bayley & Fergu-
son, 2 Great Marlborough Street, W.; (viii) Beal,
Stuttard & Co. Oxford Circus Ave., 231 Oxford
Street, W.; (ix) Boosey & Co. (q.v.), 295 Regent
Street, W.; (x) Bosworth & Co. (q.v.), 8 Heddon
Street, Regent Street, W., (xi) Burns & Oates,
28 Orchard Street, W.; (xii) Cary & Co. 13-15
Mortimer Street, W.; (xiii) Chappell & Co.
(q.v.), 50 New Bond Street, W.; (xiv) Chester,
J & W. (q.v.), 11 Great Marlborough Street, W.;
(xv) Clowes, Wm., & Sons (church-music), 31
Haymarket, S.W. 1; (xvi) Cramer, J. B., & Co.
139 New Bond Street, W.; (xvii) Curwen, J.,
& Sons (q.v.), 24 Berners Street, W.; (xviii) Duff,
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PUBLISHERS
to introduce cheap editions of classics. (ii)
Breitkopf & Härtel, Leipzig, founded 1719, still
the most important publishers in Germany. (iii)
Drei Masken Verlag, Munich, founded 1910,
music dept. soon settled in Berlin. The Munich
dept. publ. works on science and literature of
music. (iv) Ernst Eulenburg, founded 1874.
(v) Robert Forberg, Leipzig, founded 1862.
(vi) Adolph Fürstner, Berlin, founded 1868;
publ. many operas of Richard Strauss, and
Pfitzner's Palestrina and Von Deutscher Seele.
(vii) Heinrichshofer Musikverlag, Berlin, founded
1806; specialises on educational music and
books. (viii) Hesse Verlag, founded Leipzig,
1880, now in Berlin. Specialises on Riemann's
small handbooks and Ernst Kurth's books. (ix)
Friedrich Hofmeister, Leipzig, founded 1807.
Its monthly journal, started 1830, Musikalisch-
literarisches Monatsbericht, is still well-known.
(x) Leuckart Verlag, founded in Breslau, 1782;
removed to Leipzig 1870; present owner is
Martin Sander. Publ. Rheinberger, R. Strauss,
Reger, Bossi, Bantock, Delius, Klose, Huber,
etc. (xi) Litolff & Co. establ. by pianist H. C.
Litolff, managed by his stepson Henry L. who
entered the firm 1853 and establ. in 1864 the
famous Litolff Edition of classics. (xii) C. F.
Peters, Leipzig. The world-famous Peters
Edition was started in 1867, by Dr. Abraham
(then dir.). In 1893 they opened a free public
music library in Leipzig. (xiii) Rahter Verlag,
Hamburg, establ. by Daniel Rath (1828-91),
former chief of Petrograd house of A. Bueltner;
acquired works of Tchaikovsky, Arensky, Boro-
din, Strauss, Busoni, etc. (xiv) Kahnt Verlag,
founded by Christian Friedrich K. (1823-97).
Many important works by Liszt; large catalogue
of books on music. (xv) Kistner Verlag, Leipzig,
founded 1831. (xvi) B. Schott's Söhne, Mayence,
founded 1773; orig. publ. of Wagner's Ring,
Parsifal; now represent the modern German
school well. (xvii) Schuberth Verlag, Leipzig,
founded in Hamburg, 1826. There is still a
branch there, and also in New York. (xviii)
Siegel Verlag, Leipzig, establ. by C. F. W. Siegel,
1846; music and books on music. (xix) Sim-
rock Verlag, Berlin, establ. 1790. Publ. Beet-
hoven's op. 17, 31, 816, 102, 107; chief publ. of
Brahms and Dvořák. (xx) Carl Simon, Berlin.
(xxi) Tischer & Jagenberg, Cologne (see TISCHER,
GERHARD).
HOLLAND.-(i) Alsbach, Amsterdam. (ii)
Nieuwe Muziekhandel, Amsterdam. (iii) Noske,
The Hague.
PUBLISHERS
(iii) Bárd & Sons, Budapest (Kossuth utca. 4).
Establ. 1893. Among their publications are
Mihalovich's opera Eliana; chamber-music by
Leo Weiner, etc.
HUNGARY.-(i) Rözsavölgyi & Co. Budapest
(Szervita-tér, 5). Establ. 1850. Important older
publications: Liszt's Two Legendes for pf.;
Goldmark's Sakuntala overture and pf. pieces;
Volkmann's Visegrád, 2 pf. trios, and pf. pieces.
Since 1906 the firm has publ. many works
younger Hungarian comprs. (ii) Charles Rozs-
nyai, Budapest (Muzeum-Körut 15). Establ. 1889.
Since 1905, almost all the more important
classical pf. and vn. works have been issued by
this firm in a critical Hungarian edition. Publ.
of works of Hungarian comprs. (Bartók, etc.).
IRISH FREE STATE.-C. & E. Publ. Co.
Dublin, founded by Sir Stanley Cochrane and
Michele Esposito.
ITALY. (i) G. Ricordi & Co. Milan. The
greatest music-publ. house in Italy; founded
1808 (see special art.) (ii) Eduardo Sonzogno,
Milan, founded 1874 (see special art.). (iii)
Ausonia Publ. Co. Rome; issue monographs on
music. (iv) Carisch (formerly Carisch & Jani-
chen), Milan. (v) Pizzi, recently establ. firm,
specially devoted to contemporary Ital. music.
(vi) Bongiovanni, Bologna. (vii) Marcello Capra,
Turin; specially church and organ music. Has
publ. journal for sacred music Santa Cecilia,
from 1889 onwards. (See art. SOCIETÀ TIPO-
GRAFICA, S.T.E.N.). (viii) Giuseppe Bocca,
founded 1894; first in Italy to direct attention
to books about music. Bocca himself (b. Turin,
1867) transl. Wolzogen's Wagner books and
Kufferath's work on Tristan. (ix) Izzo, Naples.
(x) Curci Fratelli, Naples. (xi) Forlivesi, Florence.
(xii) Zanibon, Padua.
NORWAY.-Norsk Musikforlag, Christiania.
RUSSIA. (i) M. P. Belaief, Moscow. (ii)
Jurgenson, Moscow. (iii) Bessel & Co. Moscow.
(iv) Russian Music Publ. Co. Moscow. (v) Gu-
theil & Co. All these have disappeared from
Russia; but have centres in London, Paris, and
Berlin. (vi) Russian State Music Publishing
Dept. founded under the Soviet government.
Publ. the works of contemporary Russ. comprs.
The dir. is Paul A. Lamm (q.v.); the chief
librarian is Serge S. Popof (q.v.) and the secretary
V. Belaief (q.v.).
SCOTLAND.-(i) Paterson & Sons, Edin-
burgh and Glasgow. (ii) J. Pentland, Edin-
burgh. Both publish, amongst other music,
collections of Scottish folk-songs.
SPAIN. (i) Unión Musical Española (late
Dotesio), leading Span. publishers. Head office
in Madrid. (ii) Ildefonso Alier, Madrid. Pub-
lishes the reviews Arte Musical and Biblioteca
Sacro-Musical. (iii) A. Matamala, Madrid. (iv)
Faustino Fuentes, Madrid. (v) J. B. Pujol &
Co. Barcelona.
SWEDEN. (i) Abr. Lundqvist. (ii) Elkan &
Schildknecht (now taken over by Emil Carelius).
(iii) Abr. Hirsch. (iv) Julius Wibergh. (v) Carl
Gehrman. (vi) M. Th. Dahlström. (vii) Carl
Johnn. (viii) Musikaliska Konstföreningen.
(ix) Nordiska Musikförlaget, affiliated with
Nordisk Musikforlag, Wilhelm Hansen, Copen-
hagen.
SWITZERLAND.-(i) Foetisch, Lausanne.
(ii) Hüni, Zurich. (iii) Hug (Swiss National Ed.),
Zurich (and Leipzig). (iv) Henn, Geneva. (v)
Rötschy, Geneva. (vi) Chouet & Gaden, Geneva.
(vii) Pohl, Basle. (viii) Verlag des Bern. Organ-
istenverbands, Berne.
U.S.A.-(i) G. Schirmer Inc. (q.v.), New York.
(ii) J. Fischer & Brother, New York. (iii) H. W.
Gray Co. New York (g.v.). (iv) Carl Fischer, New
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PUCCINI
York. (v) Composers' Music Corporation, for
works by young modernists. (vi) Boston Music
Co. Boston. (vii) Oliver Ditson Co. (q.v.), Boston.
(viii) Theo Presser Co. Philadelphia. (ix) Clayton
F. Summy Co. Chicago. (x) John Church Co.
Cincinnati. (xi) Wa-Wan Press, Newton Centre,
Mass. (see FARWELL, ARTHUR).
PUCCINI, Giacomo. Ital. opera composer; b.
Lucca, 23 Dec. 1858. His operas are amongst
those which are most performed in theatres.
throughout the world. He was born from
a family of musicians, and was started on
his musical career by his father, Michele.
He completed his studies in harmony and
cpt. in his native city under the esteemed
master, Angeloni. After a few first attempts at
compn., he was enabled (through the generosity
of Queen Margherita) to go to Milan, where he
completed his studies with Bazzini and Pon-
chielli. A Capriccio sinfonico, written as a final
test, revealed his extraordinary qualitics. The
work was publ. by the Casa Lucca, in an
adaptation for two pfs. The first opera written
by Puccini was Le Villi (libretto by Ferdinando
Fontana) which was perf. with much success at
Teatro Dal Verme, Milan, in May 1884. It was
followed by Edgar (Scala, Milan, 1889). But the
fullest success came to him through Manon
Lescaut (Regio Theatre, Turin, 1893) and especi-
ally through La Bohème (same theatre, 1896)
From that time onwards, P.'s fame continued
steadily to consolidate itself, and every new
opera has been regarded as an event. At
present, he is working on a opera, Turandot, the
subject taken from the fable of Carlo Gozzi.
P. generally lives in retirement in his villa,
Torre del Lago, near Lucca, or in Viareggio.
He takes part in the most important Ital. mus.
meetings, including the permanent commission
of Ministry of Education.
Tosca (Costanzi, Rome, 1904); Madama Butterfly,
a Japanese tragedy, which met with a hostile recep-
tion at La Scala in Feb. 1904, had afterwards (in a
new ed. in 3 acts) a lasting success at Brescia, in
May of same year; La Fanciulla del West (The Girl
of the Golden Vest) (Metropolitan, New York, 1910);
La Rondine (Monte Carlo, 1917); Il Tabarro, Suor
Angelica and Gianni Schicchi, a triptych of 1-act
operas, of contrasted subjects, tragic, mystic, and
comio (Metropolitan, New York, 14 Dec. 1918; then
at Costanzi, Rome, 11 Jan. 1919; Covent Garden,
London, 1920). Apart from the theatre, he has
written very little. We mention two Minuets for
strings, and the Inno a Roma (1919), written for
the pupils of the Roman schools, and first perf.
at the Stadio in Rome.
His works have all been publ. by Ricordi, Milan
(except La Rondine and the Inno a Roma, which
are publ. by Sonzogno).
Consult: Fausto Torrefranca, P. e l'opera inter-
1913, Bocca); Giacomo Setaccioli,
Il contenuto musicale del Gianni Schicchi (Rome, 1920,
De Sanctis); Wakoling Dry, G. P. (London, John
Lane); and numerous studies and articles in papers
and reviews.-D. A.
PULVER
PUCHAT, Max. Ger. compr. b. Breslau,
8 Jan. 1859; killed accidentally at Karwendel,
Bavaria, 12 Aug. 1919. Pupil of Friedrich
Kiel, Berlin; 1885, of Liszt; Mendelssohn
Prize, 1884; 1886, town mus. dir. Hamm;
1896, condr. of oratorio soc. Paderborn; 1903,
cond. Ger. Mus. Soc. Milwaukee; 1905, re-
turned to Europe; 1906, dir. of Vienna Acad.
of Singing; 1910, dir. Cons. Breslau.
Songs;
overture; Fuga Solemnis for orch.:
symph. poems: Euphorion (1888); Life and Ideals;
Tragedy of an Artist (1894) (5 movements); chamber
musio.-A. E.
PUDDICOMBE, Henry. Canadian pianist; b.
London, Ontario, in 1871. Trained in Leipzig,
under Krause (pf.) and Quasdorf (harmony). After
5 years there, returned to Canada and (1897)
started teaching in Ottawa. In 1903 founded
Canadian Cons. of Music, Ottawa, of which he
is Principal. Under his régime the Cons. has
achieved recognition as one of principal mus.
colleges of Ontario (see ACADEMIES).-L. S.
PUJMAN, Ferdinand.
Czech mus. critic,
opera régisseur; b. Viškov, 1889. Became an
engineer; as theatre régisseur in Prague and
Brno, he displayed his modern views on the
relations of music to gesture; prof. at Cons. for
the same subject.
Liszt's Views; Smetana's Breviary; Remarks on the
Dramaturgy of Smetana's Operas; Osudnice lásky
(all in Czech).-V. ST.
PUJOL, Emilio. Contemporary Span. guitarist;
pupil of Francisco Tárrega. Concert-tours in
U.S.A., Spain, S. America, etc.-P. G. M.
Contemporary Span.
PUJOL, Francesch.
compr. and musicologist of the Catalonian group.
Pupil of Luis Millet. He advocates nationalism
in music. Lives in Barcelona. One of his best-
known works is Festa for orch. (Unión Musical
Española).-P. G. M.
Marteau
PULVER, Jeffrey. Eng. violinist and writer;
b. London, 22 June, 1884. Stud. under Ševčík
(Prague), Heermann (Frankfort),
(Geneva), and Moser (Berlin). Gave vn. recitals
at Steinway Hall, Broadwood's, etc., besides
lecturing at various places. At present chiefly
engaged in research work in old Eng. music in
which he has specialised. Also plays viole
d'amour and xvII century tenor viol (6 str.); is
an authority on obsolete instruments.
Dictionary of Old English Music and Musical
Instruments (Kegan Paul, 1923); A Dictionary of
Musical Terms (Cassell, 1913); papers read before
Mus, Assoc. and printed in the Proceedings: The
Ancient Dance Forms (1st paper, 1912): The Ancient
Dance Forms (2nd paper, 1914); The Intermezzi of the
Opera (1917): The Viols in England (1920); The
Music of Ancient Egypt (1921); arts. (biographical,
bibliographical, historical, technical) in Mus. Times,
Mus. Opinion, Monthly Mus. Record, Mus. News,
Sackbut, Strad, Schoolmaster, Mus. Quarterly, etc.
--E.-H.
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QUARTER-TONES. See BAGLIONI, SILVESTRO;
FOULDS, J. H.; HABA, ALOIS; STEIN, R. H.
QUARTETS, STRING. See CHAMBER-MUSIC
PLAYERS.
QUARTETTINO. A quartet retaining many
features of the classical quartet, but having the
movements much more concise, often tele-
scoped," so to speak, as regards their form and
construction. See arts. WEIDIG, WHITHORNE,
etc.-E.-II.
QUEEN'S HALL ORCHESTRA. Founded
and managed by Robert Newman in 1895, when
first season of Queen's Hall Promenade Concerts
took place.
Frederic Cowen conducted the
Queen's Hall Choral Soc. in 1893 at the opening
of the Hall, and was followed by Randegger.
Henry J. Wood was then orgt. The first condr.
of the Queen's Hall Orch. was Randegger, before
Wood became permanent condr. and gave unity,
solidarity and character to the whole scheme.
There were 49 Promenade concerts in the first
season and the week was mapped out as follows:
Monday, Wagner; Tuesday, Sullivan; Wednes-
day, "Classical"; Thursday, Schubert; Friday,
"Classical"; Saturday, "Popular." From Aug.
to Oct. 1896 there were 62 concerts; 1897, 43;
1898, 42; 1901-2, 106 each year. The first policy
was to set apart one night a week for novelties.
The Promenade Concerts had the result of form-
ing and training a first-class orch. and creating
a large Eng. public for the best orch. music. The
public thronged so thickly that the term "pro-
menade" was a delusion. In Jan. 1897, Robert.
Newman commenced a short series of Symphony
Concerts with the orch. increased to 103, under
Wood. Newman engaged the Lamoureux Orch.
from Paris for a week at Queen's Hall from 13.
April, 1896, again from 16 Nov. 1896, and, for
the 3rd time within 12 months, from 22 March,
1897; Lamoureux cond. the Queen's Hall Orch.
for the whole season (3 Nov. 1897 to 21 May,
1898), and greatly improved the standard of
"bowing" in the strings. In May 1897, Robert
Newman promoted the first London Festival
with the Lamoureux Orch. in addition to his
own. The 2 orchs. were heard alternately, dir.
by their respective condrs. finishing with a con-
cert of the 2 combined bands. At this concert,
Lamoureux introduced the plan of seating the
2nd violins on his left, next to the firsts. Before
the return of the Fr. orch. in 1900, Lamoureux
died, and his son-in-law Chevillard took his
place at the Queen's Hall second London Festival
when the bands played frequently together under
Wood and Chevillard alternately.
In 1901 season, the condrs. included Colonne,
Ysaye, Saint-Saëns, Weingartner and Wood,
2 D
the Eng. condr. easily holding his own. In 1902
the condrs. were Weingartner, Ysaye, Saint-
Saëns, Nikisch and Wood. The sensation made
by Nikisch's interpretation of Tchaikovsky's
5th symphony was enormous. Henry J. Wood
introduced 5 tone-poems of Strauss during the
Promenade season 1902-3. At the 5th London
Fest. (1911), Henry J. Wood was the principal
condr. Elgar's Gerontius was given, and the 1st
perf. of his 2nd symphony was played under his
bâton (24 May, 1911). Besides the Promenades
and the Symphony concerts, the Sunday after-
noon and evening concerts were also undertaken
by this orch. The evening concerts were ora-
torios, and have been discontinued. The Sunday
concerts were orig. run by Robert Newman alone;
from 11 Dec. 1898 they were under the Sunday
Concert Society.
Sir Edward Speyer was chairman of the
Queen's Hal
from 1902 till 1915, when
both hall and orch. were taken over by Messrs.
Chappell & Co. The prestige of the orch. at
present greater than ever.- -E.-H.
QUEF, Charles. Fr. orgt. b. Lille, 1873.
Lauréat of Guilmant class at Paris Cons. 1898;
succeeded his master as orgt. at La Trinité,
Paris, in 1901.
Sonata, pf. and vn.; trio; Fantaisie, pt. and orch.;
Funeral Prelude, organ and orch.; numerous pieces
for the organ (Durand; Augener; J. Williams).
-F. R.
QUILTER, Roger. Eng. compr. b. Brighton,
1 Nov. 1877. Educated at Eton; afterwards
stud. at Frankfort-o-M. under Ivan Knorr. His
Shakespearean and other song-settings have a
great vogue. His song-cycle To Julia was first
sung by Gervase Elwes in 1905; his 7 Eliza-
bethan Lyrics by Elwes in 1908. He wrote
music for the fairy-play Where the Rainbow
ends (Savoy, 21 Dec. 1911); also for As You
Like It (1922).
Orch: Serenade, op. 9 (ms.); 3 English Dances,
small orch. op. 11 (Boosey); Children's Overture, orch.
op. 17 (Rogers); fairy-play suite, Where the Rainbow
ends (Elkin); suite from As You Like It (Boosey);
song-cycles and songs (Boosey; Forsyth; Chappell;
Rogers; Elkin); pf. pieces (Rogers; Elkin); pieces,
vn. and pf. (Rogers; Boosey); part-songs (Forsyth;
Boosey); 5 old Eng. songs (arr.), 1921 (Rogers).
-E.-H.
QUINET, Fernand. Compr. b. Charleroi,
29 Jan. 1898. Stud. at Brussels Cons., holder
of prize for cello, 1911 and 1914. Stud. compn.
under Biarent at Charleroi, and Léon Du Bois
at Brussels Cons. Priz de Rome, 1921. For a
time, one of Pro Arte Str. Quartet (Onnou,
Halleux, Prévost, Quinet).
Le Conte d'Eté, incidental music; La Guerre
(cantata, gained
3 clars.; songs i de Rome); 4tets; Suite for
QUIROGA, Manuel. Span. violinist; b. Ponte-
vedra in 1890. Stud. at R. Cons. de Música,
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QUITTARD
Madrid, and at Cons., Paris, winning the highest
prizes. Recognised in England, France, America
and Spain, as one of the contemporary virtuosi.
First appearance in London, 1920.-P. G. M.
QUITTARD, Henri. Fr. musicologist; b.
Clermont-Ferrand (Puy de Dôme) 13 May,
1864; d. Paris, 21 July, 1919. One of the
historians whose names stand on the highest
level of Fr. musicology. licencié-ès-lettres
at 24, he came to Paris, where he stud. under
César Franck, on advice of Emmanuel Chabrier.
He soon devoted himself to the history of music.
Mus. critic for Le Matin and then for Le Figaro
(from 1909). From 1 Jan. 1912, keeper of
archives at Opéra. His first works appeared
about 1898. While he was more especially
interested in Fr. musicians of XVI and XVII
centuries, he investigated whole domains of Fr.
music since XIII century. He was also (with
QUITTARD
Michel Brenet) one of first to point out the merits
of the Fr. lutenists. Lecturer at the Écoles des
Hautes Études Soc. An indefatigable worker,
he has unfortunately left only a few publ.
works:
Un Musicien en France au XVIIe siècle, Ilenri du
Mont (Paris, 1906, Mercure de France); G. Bou
Mélanges divers remis au jour (Paris, Schola);
Trésor d'Orphée, par Antoine Francique (transcription
lute, Paris, etc.
La Revue
supplied many valuable arts. to rep until his death,
Internationale e Musique, La Tribune de St.-Gervais,
of Music, review S.I.M. (cf. Bulletin of Fr. Soc. of
Musicology, 1919, No. 5, H. Q., by L. de la Laurencle).
His remarkable collection, which he himself built up
by copying and transcribing entire works like the
Hortus Musarum, the pieces of J. Gallot, the airs of
Lambert, Mauduit, Guédron, etc., is at present in
Library of Cons. of Paris. He left (in preparation) a
de of
which he has given fragments to the Bulletin of 'Fr.
Soc. of Musicology (1918), and an ed. of the Pièces de
Louis Couperin pour le clavecin.-M. L. P.
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R
as an excellent pf.-teacher. His compns. have
attracted attention by their sound construction,
and his lyric works possess much feeling and
delicacy. He has comp. a vn. sonata (op. 1),
songs (op. 2 and 3), as well as pf. pieces.-J. A.
RAABE, Peter. Ger. condr. b. Frankfort-on-
Oder, 27 Nov. 1872. Nephew of actress Hedwig
Niemann-Raabe; pupil of R. High School,
Berlin (Bargiel); 1894-9, opera condr. at
Königsberg, Zwickau, Elberfeld; 1899, 1st
condr. of Dutch Opera, Amsterdam;
1903,
in Munich cond. Kaim Orch.; 1906, in Mann-
heim as head of newly establ. Kaim Orch.;
1909, 1st R. condr. Weimar; 1910, custodian
of Liszt Museum; chairman of revision-com-
mittee for a complete ed. of Liszt's works;
publ. of Liszt's songs; 1920, condr. of town
orch. Aix-la-Chapelle; title of Gen. Mus. Dir.;
cond. in England, Belgium, Holland; 1916,
graduated (Ph.D.) at Jena (dissertation, Origin
of Liszt's Orchestral Compositions), Comp. songs
and pf. pieces.-A. E.
RAALTE, Albert van. Dutch opera condr.
b. Amsterdam, 21 May, 1890. Stud. at Amster-
dam Music School and Cologne Cons.; Was vla.-
player in Gürzenich Orch.; stud. under Stein-
bach, Eldering, von Baussnern and, at Leipzig,
under Arthur Nikisch and Max Reger. Started
condr.'s career 1911 (Brussels, Théâtre de la
Monnaie); 1912, became 2nd condr. Leipzig;
1916, returned to Holland, 1st condr. National
Dutch Opera 1916-22.-W. P.
RABAUD, Henri. Fr. compr. b. Paris, 10
Oct. 1873. Son of a cellist. Pupil of Massenet.
Prix de Rome, 1895. His music, which does not
disdain eloquence, is very adroitly composed
and always in the movement." Although
dir. of Paris Cons. (since 1919), he associates
himself with modern tendencies of Fr. music.
His opéra comique Marouf (1911) was played with
great success in all countries.
Symph. poems: La Procession nocturne (1899);
Direrent sur des airs russes; Eglogue; oratorio,
Job
operas: La Fille de Roland (1904);
Marouf (1911). Consult André Couroy, La Musique
française moderne (1922, Delagrave).-A. C.
RABICH, Ernst. Ger. choral condr. publ. and
compr. b. Herda, Valley of Werra, 5 May, 1856.
Pupil of Thureau, Milde, Sophie Breymann;
music-master at training college; R. orgt. and
condr. at Gotha; 1889, Ducal music dir. and
R. cantor.
Choral work, Martinswand (soll, chorus, orch.);
Spring Celebrations (contr. chorus, orch.); Das hohe
Lied der Arbeit (male chorus, orch.); Columbus
(barit. male chorus, orch.); Dornröschen (s. chorus,
orch.); publ. motet coll. Psaltery and Harps (5 books);
the male-chorus coll. Thuringian Choral Union; 1897-
1915, Journal for Home and Church Music (Langen-
salza, Beyer & Sons).-A. E.
RACHLEW, Anders. Norwegian pianist and
compr. b. Drammen, 26 Aug. 1882. His mus.
training was completed in Germany (Xaver
Scharwenka, Carreño and others). As pianist,
numerous concerts in Norway and Denmark;
lives in Copenhagen, where he enjoys esteem
RACHMANINOF, Serge Vassilievitch (accent
2nd syll.). Russ. compr. and pianist; b. Onega,
19 March/1 April, 1873. Stud. pf. first at Petro-
grad Cons., and later under Zvieref and Siloti,
at Moscow, where his compn. teachers were S.
Tanéief and Arensky. In 1892 he won the gold
medal at the Cons. for composition. Has toured
Europe and America. His 3 pf. concertos in
F sharp mi., D mi. and C mi. are welcome addi-
tions to the repertory of concert pianists, being
grateful to the soloist, and very effectively scored
for orch. His style is essentially melodious, and
he makes frequent use of the national idioms in
his music. His music, classical in spirit and in
technique, reveals a cle defined and attrac-
tive personality. As a song-writer, R. is in the
front rank of Russ. comprs. and his songs cover
a wide and varied range of expression. The
Harvest of Sorrow is frequently heard at Eng.
concerts and fests. His first symphony, op. 13,
was heard first in England under Nikisch at R.
Philh. Soc. London, 19 May, 1909; his second
symphony (E mi. op. 27) was perf. at 1910 Leeds
Fest. under the composer.
His
orch.; 2 symphonies; 2 of Capri Op. 12,
The Morks comprise opera Aleko (Moscow, 1892);
Knight (Moscow, about 1900); Francesca
da Rimini (1906); Bells (chorus)
rus and orch.), perf.
and Liverpool
Philh. Soc. 1922, Choral Soc. 1
both under Sir Henry Wood; The
Rock, orch. fantasia, op. 7; Gipsy
Caprice
Bohémienne for orch.; 2 suites for pf. op. 5 and 17;
6 pieces for 4 hands, op. 11; 5 pieces for 2 hands, op. 3
(including C sharp mi. preludeVariations on theme
6 Moments Musicaux, op. 16;
of Chopin's Prelude in C mi. op. 22; Elegiac Trio
(in memory of Tchaikovsky), pf. vn. and cello, op. 9
(1893); sonata, cello and pf. op. 19; pieces for vn.
and pf. op. 6; 2 pieces, cello and pf. op. 2; 6 choruses
for female vs., op. 15; cantata, Spring, for chorus, b.
solo and orch. op. 20; Fate, chorus (to Beethoven's
Fifth Symphony), op. 17: 2 pf. sonatas; many songs.
Consult J. Lipaief, S. W. R. (1913, Russ.).-G. B.
10;
RADFORD, Robert. Eng. bass singer; b.
Nottingham, 13 May, 1874. Stud. R.A.M. under
Frederic King, Alberto Randegger, Battison
Haynes; début 1899 (Norwich Mus. Fest.); since
then, all the leading Eng. fests., and bass rôles in
Ger., Ital., Fr. and Eng. opera at Covent Gar-
den and elsewhere. Principal b. soloist at all
the Handel Fests., Crystal Palace, since 1906.
A founder and a dir. of the British National
Has made
successes in
widely diversified rôles-Boris, Ivan the Terrible,
Mephistopheles, Sarastro, Osmin, The Father
(Louise), and the Wagnerian bass parts. In
oratorio his voice is best suited to the bass parts in
The Creation and the Handel oratorios.-E.-H.
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RADICIOTTI
RADICIOTTI, Giuseppe. Ital. music critic
and historian; b. Jesi, 25 Jan. 1858. Teacher
of history at the R. Liceo-ginnasio at Tivoli;
devoted himself very ardently to researches in
mus. history. Some important works are:
Vita di G. B. Pergolesi (Rome, 1910, Musica ed.);
n Sinigaglia (Milan, 1893,
Teatro, musica e musicisti in S
Ricordi); Contributo alla storia del teatro e della
1899, Tipografia Nobili);
musica in Urbino
Teatro, musica e main Recanati (1904, Tipo-
grafia Simboll); L'Arte musicale in Tivoli nei secoli
XVI, XVII e XVIII (Tivoll, 1907); I musicisti
marchigiani dal secolo XVI al XIX (Rome, 1909,
scher); A.
sketch of Rossini (Genoa, 1914, For-
b.
RADNAI, Miklós. Hungarian compr.
Budapest, 1892. Stud. at R. High School for
Music, Budapest; teacher of theory there since
1919.-B. B.
RADÓ, Aladár. Hungarian compr. b. Buda-
pest, 26 Dec. 1882; fell in action, 1914.-B. B.
RADOUX, Charles Jean Édouard Firmin Paul.
Belgian compr. b. Liège, 30 July, 1877. Stud.
at Liège Cons. under his father Théodore Radoux.
In 1907, 1st Grand Prix de Rome for cantata
Geneviève de Brabant. Assistant-prof. Liège
Cons. 1905; prof. since 1911. A serious musician,
sacrificing no ideals to suit banal, popular taste.
Orch.: Symphony, Cmi.; La Hebe Heureuse
Deum;
tures d'un Papillon et d'une Béte à Bon Dieu; Te
Cantata in honour of Grétry: Adieux, absence, retour,
(vn.);
solo and orch.:
Variations (pf.); Scènes grecques and Choral varie
(cello); Dans les Fagnes (vn.), etc. Opera: Oudelette
(4 acts, Monnaie Theatre, 1912) (Brussels, Schott);
Le Poème de Roseclaire (1 act); Le Sanglier des
Ardennes (incidental music). Many songs, pf. pieces,
ete.-C. V. B.
RADOUX, Jean Théodore. Belgian compr.
b. Liège, 9 Nov. 1835; d. there, 20 March, 1911.
Pupil of Daussoigne-Méhul, Liège; of Halévy,
Paris. In 1859, won the Grand Prix de Rome
for a cantata, Le Juif Errant. In 1872, succeeded
Étienne Soubre as principal of Liège Cons.
(where he taught bsn. from 1855 onwards) until
his death.
Also possessed fine literary talent, which
enabled him to write an excellent monograph
on Henri Vieuxtemps (Liège, 1891, Bénard).
A posthumous perf. of his Godefroid de
Bouillon, 1920, at Brussels Cons. showed that
time had detracted nothing from value of this
symph. poem, written according to traditions
of Liszt and Saint-Saëns.
Operas: Le Béarnais (1868); La Coupe Enchantée
(1871); André Doria (unfinished); Cain, lyric poem
(publ. Brussels, Schott); Patria (id.): Godefroid de
Bouillon, symph. poem; Te Deum (Brussels, 1901,
Schott). Also choral works, songs.-C. V. B.
RAELI, Vito. Ital. pianist and critic; b.
Tricase, 8 July, 1880. After completing pf. and
compn. studies, devoted himself specially to
historical research, criticism and propaganda.
Since 1920 has dir. the Rivista Nazionale di
Musica, founded by him.
RANGSTRÖM
RAITIO, Väinö. Finnish compr. b. Sortavala,
15 April, 1891. Stud. at Helsingfors Music Inst., in
Moscow (1916-17), and in Germany. Particularly
in his later broadly-conceived orch. works R.,
with a huge orch. apparatus, has developed in
the direction of modern Expressionism.
Nocturne, Fantasia estatica, Antigone (afterer: Poem,
Symphony; tone-poems for orch.-among them
r Sophocles'
Collezioni e archivi romani di stampe e manoscritti
musicali (Tricase, 1919, Tipografia vista Musicale
La
Corsini di antichi codici musicali
Italiana, 1918-19). Also publ. the results of his
researches in the archives of the Basilica Liberiana
in Rome (Rome, 1920, Tipografia Artigianelli).-D. A.
RAGAS. See LITHUANIAN MUSIC.
tragedy; in 3 parts), Moonshine in
cello and orch. op. 7: pf. concerto; pf. Stet; str.
4tet: vn. sonata, op. 2.-T. H.
RALF, Oscar G. Swedish operatic t. singer;
b. Malmö, 3 Oct. 1881. Stud. under John Forsell,
G. Bratt, and Ger. and Ital. masters. Began in
operetta, 1905; engaged at R. Opera, Stock.
holm from 1915, where he has successfully perf.
many important rôles, specially those of Wagner:
Lohengrin, Tannhäuser, Erik (Dutchman), Sieg.
mund, Siegfried, Tristan; also Otello, Canio,
Florestan, Samson, etc. He has transl. about 50
operas, operettas and plays into Swedish.-P. v.
Irish barit.
RANALOW, Frederick Baring.
singer; b. Kingstown, Ireland, 7 Nov. 1873.
Stud. R.A.M. under Randegger; has appeared
regularly at important concerts and in opera.
Created part of Macheath in record run of
Beggar's Opera (q.v.).-E.-H.
RANDEGGER, Alberto. Ital. singing teacher;
b. Trieste, 13 Apr. 1832; d. London, 18 Dec. 1911.
Cond. opera at Fiume, Venice, etc., 1852-1;
came to London about 1854; prof. of singing,
R.A.M. 1868; later R.C.M. also; condr. Carl
Rosa Co. 1879-85; Norwich Fest. 1881-1905;
grand opera, Drury Lane and Covent Garden;
Queen's Hall Choral Soc. 1895-7.
Comp. over 600 works, now forgotten. His Primer
on Singing (Novello) is still well-known. Consult
Mus. Times, Oct. 1899.-E.-II.
Ital. compr.
RANDEGGER, Alberto Iginio.
b. Trieste, 3 Aug. 1880; d. Milan, 7 Oct. 1918.
Began as vio-
Nephew of condr. of that name.
linist, under his uncle. Then condr. for Kubelík.
Comp. operettas: Il ragno azzurro (Milan, 1916);
Sua Eccellenza Belzebu (Rome, 1919); Il frutto
proibito (Turin, 1919). Publ. by Ricordi.-D. A.
RANDOLPH, Harold. Amer. pianist, teacher;
b. Richmond, Va., U.S.A., 31 Oct. 1861. Stud.
pf. under Nanette Falk-Auerbach and C. Faelten;
compn. under Asger Hamerik at Peabody Cons.
Baltimore, Md., where he made his debut as
pianist in 1885. Orgt. of Roman Catholic Cath.
Baltimore, 1885-90; of Emmanuel Episcopal
Ch. Baltimore, 1890-1906. Since 1898, dir. of
Peabody Cons., succeeding Hamerik.-J. M
RÄNGMAN-BJÖRLIN, Elli. Finnish pianist;
b. Ylistaro, 21 April, 1882. Stud. at Helsingfors
Music Inst. (1898-1900), at Leipzig Cons. (1900-3)
and Vienna (1905). She has appeared in Finland
and abroad with much success; recently again
in Berlin. For a time, teacher of pf. at Hel-
singfors Music Inst.; 1909, married the lawyer
Ilmari Björlin; now living in Helsingfors.-T. II.
RANGSTRÖM, Ture. Swedish compr. condr.
b. Stockholm, 30 Nov. 1884. Stud. singing under
Julius Hey (Berlin, Munich) 1905-7; musical
critic for Stockholm journals, 1907-14 and
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RANZATO
1920-1. 1st condr. of Orch. Soc. Gothenburg,
from 1922. As compr. was mostly self-taught;
is also author of poems to many of his songs, and
of the text to cantata for 150-years' Jubileo of
R.A.M. Stockholm (1921; music by Wilh. Sten-
hammar). Member R.A.M. Stockholm, 1919.
Operas: Kronbruden (The Crown-Bride, drama by
Strindberg), 1915; perf. Stuttgart, 1919; Stockholm,
1922-3; Middelalderlig (Medeltida (Middle Ages).
drama by Holger Drachmann), 1918: perf. Stock-
holm, 1921. Symphonies: No. I. August Strindberg.
In Memoriam (Stockholm, 1915, Abr. Hirsch);
No. II, Mitt land (My Country), 1919 (Copenhagen,
Hansen). Symph. poems: Dithyramb (1909): Ett
Midsommarstycke (A Midsummer Piece), 1910; En
höstsång (An Autumn Song), 1911; Havet sjunger
sultes: Intermezzo dram-
(The sea sings), 1913ivertimento elegiaco, str. orch.
matico (1916-18):
(1920); Melodier (Melodies), 1919; Scenbilder
(Country Pictures), 1920; Ballade, pf. and orch.
(1909); Ein Nachtstück, str. 4tet
pf. and vn.: pf. pieces. More than 100 209): 2 suites,
songs (Hansen;
Nord. Musikförlaget: Lundqvist). Songs with orch.:
2 Ballades; The Dutchman (Aug. Strindberg); Not-
turno (Rangström): King Eric's Songs (G. Fröding);
part-songs, etc.-P. V.
RANZATO, Virgilio. Italian violinist and
compr. b. Venice, 7 May, 1883. Stud. at Cons.
Milan, vn. under Rampazzini, compn. under
Ferroni. Several compns. were perf. successfully
at concerts of Milan Cons. As violinist, has given
good concerts in Italy and abroad, and was
Ist violinist in important orchs. Together with
Berti (cello) and Moroni (pianist), he founded
the Trio Italiano. Has written various operettas:
Velivolo (Turin, 1911); La leggenda delle arancie
(Milan, 1916); Quel che manca a Sua Altezza
(Rome, 1919).-D. A.
RAPPOLDI, Adrian. Ger. violinist; b. Berlin,
13 Sept. 1876. Son of Eduard and Laura R.
Pupil of his father, Joachim and Wilhelmj;
Konzertmeister of Bilse Orch. Berlin; later
at Teplitz, Chemnitz, Helsingfors; now vn.-
teacher at Dresden Cons.; since 1917, member
of Board of Directors.-A. E.
RAPPOLDI, Eduard. Austrian violinist; b.
Vienna, 21 Feb. 1831; d. Dresden, 16 May, 1903.
Stud. under L. Jansa and J. Böhm (vn.), S. Sech-
ter (theory) at Vienna Cons.; 1854-61, violinist
in Vienna R. Opera orch.; 1861-6, Konzert-
meister Rotterdam; 1866-70, operatic condr.
Lübeck, Stettin, Prague; 1871-7, teacher at
R. High School for Music, Berlin; member of
Joachim Quartet; chief Konzertmeister, Dres-
den (till 1898); prof. of vn. at Conservatoire.
Orch. and chamber-musto; songs (Simrock).-A.E.
RAPPOLDI, Laura (née Kahrer). Austrian
pianist; b. Mistelbach (Lower Austria), 14 Jan.
1853. Pupil of Dachs, Dessoff (Vienna Cons.), and
of Liszt, Henselt, Bülow; 1890, teacher at Dres-
den Cons.; R. Saxon virtuoso; 1911, prof.-A.E.
RASCH, Hugo. Ger. author and compr. b.
Munich, 7 May, 1873. Son of painter Heinrich
R.; first stud. painting, then music. Stud.
singing under Resz, Garso, Sabatini (Milan);
compn. under Frank Limbert (Düsseldorf),
Knetsch (Berlin). Singing-master. Since 1911,
permanent critic of Allgemeine Zeitung, Berlin,
and collaborator on several other papers.
Pf. trio; Variations sur un thème obligé; 10 books
of songs, op. 11 and 13, to words by Wilhelm
Busch).-A. E.
RAUGEL
RASCH, Johan Christoffel. Dutch violinist; b.
Padang, Dutch East Indies, 20 April, 1882. Stud.
High School of Music, Berlin, under Wirth and
Joachim; led orchs. in Germany and Holland;
settled in Leeds, 1905-13, where he founded the
Rasch Quartet which gave many concerts in
the provinces and in Ireland. In 1914 principal
prof. vn. Dortmund Cons.; then settled at The
Hague. Toured widely as soloist and appeared
at Richter's last concert in England (at Hudders-
field).-E.-H.
RASSE, François. Belgian compr. b. Helchin
(Tournaisis), 27 Jan. 1873. Did not begin
music until 20, but made rapid progress and
obtained the vn. prize at Brussels Cons. under
E. Ysaye, 1896. Stud. compn. under Huberti;
obtained Prix de Rome, 1899. Leader of orch.
first at La Monnaie Theatre, Brussels, then at
Toulouse. Cond. at Amsterdam and Spa. From
1910, prof. of harmony at Brussels Cons, and
principal of the important School of Music at
St.-Josse-den-Noode and Schaerbeek (suburbs
of Brussels), from 1910. Also cond. Winter
Concerts at Ghent and is leader of orch. at
Ostend Kursaal. Many compns. with tendency
towards Modernism in a moderate form.
Operas: Déidamia (Brussels, 1906); 1914"
1909
V. and orch.: La Légende du Chevrier: Le
Réveil, etc. Orch.: 3 symphonies; 3
pf. and orch.: several suites; an overture Poème,
muslo: 2 str. 4tets; 2 trios; pf. 4tet; pf. Stet:
Chamber-
sonatas for vn.; for cello; for pf. Many songs.-E. C.
RATEZ, Émile. Fr. compr. b. Besançon,
5 Nov. 1851. Pupil of Bazin and Massenet
at the Cons. Paris; since 1891, dir. of Cons.,
Lille. From 1893 till 1906, orch. condr. of
Société des Concerts Populaires de Lille. An
eminent teacher, he has published:
Traité d'Harmonie: Traité de Contrepoint et de
Fugue (Leduc). Also chamber-music, a grand
cantata Scènes héroïques (Leduc); 3 operas: Lyderic
(4 acts, Lille, 1895); Le Dragon rert (2 acts, Lille,
1907); Paula (4 acts, Besançon).-F. R.
RATH, Felix vom. Ger. compr. b. Cologne,
17 June, 1866; d. Munich, 25 Aug. 1905. Trained
as pianist under Max Pauer (Cologne) and
Reinecke (Leipzig); studied for Bar; then
pupil of Thuille; became acquainted with Max
Schillings and Richard Strauss; finally settled
at Munich.
Vn. sonata; pf. 4tet; pf. concerto, B flat ml.;
books of songs; pf. pieces.-A. E.
RATHBONE, George. English compr. and
pianist; b. Manchester 5 Jan. 1874. Stud.
privately and at R.C.M. London. In 1911 he
played Macdowell's pf. concerto for 1st time
in London, at a Promenade concert under Sir
Henry Wood. He was for some time orgt. at
Cartmel Priory Church. His cantata Vogel-
weid was given in Chicago in 1920 by a children's
choir of 1500. His part-music is of a high order.
Cantatas for children's vs. in 2 parts: Vogelweid;
Singing Leaves (Novello, 1913); Orpheus; The Pied
Piper of Hamelin (Novello, 1923); part-songs for 2
parts; for 4 parts (Novello); unison songs (Novello;
Curwen; Evans); anthems (Novello).-E.-II.
RAUGEL, Felix. Fr. choral condr. and writer
on church music; b. Saint-Quentin, 27 Nov.
1881. Studied at Conservatoire, Lille; later at
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RAUNAY
RAVEL
tions and ideas. Chabrier, Fauré and Satie were
the musicians who exercised a greater influence
in the formation of his genius than did Debussy,
In 1901, Ravel carried off the 2nd Prix de Rome
with his cantata Myrrha, which he had treated
in operetta style-a piece of irony which his
judges failed to appreciate. In the same year
he introduced a perfectly new style of piano-
forte composition in the Jeux d'Eaux, whose
capricious arabesques and dazzling scales are
joy to the ear. In 1904, a quartet in F defi-
nitely brought Ravel to public notice. It is a
real masterpiece on account of its combination
of classical form with purely modern harmony;
its emotion is delicate, and one melodic theme
arises out of another without the slightest sense
of mechanical effort. In the same year Ravel
gained another success with his three melodies
for voice and orchestra, Schéhérazade, a miracle
of musical impressionism. In 1905, the decision
of the Institut in pronouncing Ravel ineligible
for the Prix de Rome contest, aroused the in-
dignation of the younger musicians and their
partisans, but not that of the victim, who con-
tinued to create works of increasing value:
Sonatine and Les Miroirs, 1906; Gaspard de la
Nuit, 1908; and lastly the audacious Valses
Nobles et Sentimentales-all notable additions
to pianoforte music.
In the Histoires Naturelles, 1907, he intro-
duced a new humorous style in which irony and
lyrical feeling, malice and emotion, alternate
and combine in the most unexpected fashion.
The Rapsodie Espagnole revealed his gift for
producing local colour; he put the entire science
of orchestration at the service of an inspiration
Ma
sometimes gay, sometimes home-sick.
Mère l'Oye (1908) was a collection of musical
interpretations of fairy tales, written first of all
as pianoforte duets, and in 1919 remodelled in
ballet form for the Théâtre des Arts. Mean-
while the Opéra-Comique produced the Heure
Espagnole. Ravel revived in this work the old
opéra-bouffe. The recitative follows the slightest
inflection
the speaking voice, whilst the
orchestra emphasises in an irresistibly comic
Although
manner the meaning of the words.
incomprehensible to the public at first, this
work achieved a triumph in 1921 at the Monnaie
Theatre, Brussels, and in 1922 at the Opéra in
Paris.
Paris, under Albert Roussel, Henri Libert,
and Vincent d'Indy; 1908, started (with the
violinist E. Borrel) La Société G. F. Haendel,
to popularise not only the oratorios of Handel,
but also instrumental and vocal works of French,
Italian, English and German musicians from
XVII to end of XVIII century. Choir-master at
St.-Eustache Church, Paris, since 1911; in 1912,
elected head of the Chorale Française. Has pub.
lished works on history of organ in France:
Les Orgues de l'Abbaye de Saint-Mihiel,
1919; Les Organistes (1923, Edition Musiciens
Célèbres), and many works on the oratorios of
Handel. As a conductor he excels in resuscitat-
ing the works of the past. The performances of
Handel's oratorios under his bâton have been
some of the best ever heard.-II. P.
RAUNAY, Jeanne. Fr. operatic singer; b.
Paris. Début at Opéra, 1888. Left stage to be
married in 1889, but returned when a widow in
1896. At La Monnaie, Brussels, created rôle of
Guillen in Fervaal (d'Indy); sang in same rôle
at Opéra-Comique, 1898. Gained a great reputa-
tion both on concert-platform and on stage
for her noble style of expression.-M. B.
RAVANELLO, Oreste. Ital. orgt. and compr
b. Venice, 25 Aug. 1871. One of the most capable
orgts. in Italy; played a great part in revival of
art of organ-playing in that country. In 1893,
orgt. at Basilica of San Marco, Venice; 1897,
dir. of Cappella Antoniana at Padua, also
dir. of Istituto Mus. Pollini. As compr. he has
a rich and estimable production of sacred
music (27 masses), organ music, pf. works and
Author of some esteemed teaching
songs.
manuals.-D. A.
RAVASENGA, Carlo. Ital. compr. b. Turin,
17 Dec. 1891. In addition to an opera, Una
tragedia fiorentina (perf. Turin, 1916), has
written many meritorious pieces for voice, pf.,
vn. and cello (publ. by Allione, Turin).-D. A.
b.
RAVEL, Maurice. French composer;
Ciboure (Pyrénées), 7 March, 1875. Educated
in Paris, where his family settled. At the Con-
servatoire he studied piano under De Bériot
and harmony under Pessard. His individuality
was apparent from the outset, particularly in
the dainty Habanera (1895), later included in
the Rapsodie Espagnole. In 1897, he began to
work at counterpoint and composition with
Gédalge and Gabriel Fauré. He owed to the
former his unfailing firmness in technique, and
to the latter much excellent advice. In fact
he resembles G. Fauré in his ability to combine
respect for classical formula with the most
extraordinary liberty of invention in harmony
and rhythm. 1898 he produced his Sites
Auriculaires (duet for 4 hands, 2 pianos) at the
Société Nationale; in 1899 the Ouverture de
Schéhérazade (unpublished) and a charming
Pavane pour une Infante défunte, in which
one easily discerns the double influence of
Gabriel Fauré and Chabrier. About this time
Ravel was very much attracted by the works
of Erik Satie, and found therein many sugges-
The
On 8 March, 1921, the Russian Ballet of
Diaghilef gave a first performance of Daphnis
et Chloé (choreography by Fokine) a work which
may be considered as Ravel's masterpiece.
vigour of its rhythm, its beautiful melodies,
and the force of expression in its harmonies,
overcame even the most prejudiced minds.
From 1912 onwards its victory was complete,
and the revival of Daphnis at the Opéra in 1921
was a great success. About 1912, Ravel formed
a friendship with Igor Stravinsky whose works
Petrushka and Le Sacre du Printemps had
just staggered the musical world. He also
studied with curiosity Schönberg's Pierrot
lunair. These works did not actually exercise
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RAVEL
any influence over him, but opened up to him
new points of view. One sees the general trend
of his ideas at this time in his Trois Poèmes de
Mallarmé, for voice and small orchestra, each
instrument of which (string quartet, 2 flutes,
2 clarinets and piano) is treated as a soloist.
Ravel was one of the first among the younger
school of musicians to sense the danger of Im-
pressionism and those flimsy methods of con-
struction which the genius of a Debussy alone.
could make stable. Ravel's admirable trio,
played for the first time in 1915, marks a decided.
return towards more solid construction and
simpler outlines. The work is absolutely classical
in form, in spite of the boldness of its harmonics;
but this classicism has nothing pedantic about it.
It is a work vibrant with life and emotion,
tenderness and intelligence.
The Great War checked the creative activities
of Ravel just as he had finished his trio and the
Tombeau de Couperin (pianoforte). The musician
was determined to share the dangers and dis-
comforts of his friends, but his frail health soon
collapsed under the rigours of army discipline.
After his recovery, he orchestrated the delicate
harmonies of the Tombeau de Couperin, and in
1920 wrote La Valse. This work interprets,
with that mixture of irony and lyrical feeling
which is charact
of the composer, the
dizzy, whirling intoxication of a Viennese waltz.
During the summer of 1920 Ravel wrote the
first part of his sonata for violin and cello for
the Tombeau de Debussy which the Revue Musi-
cale published in the month of December. He
did not finish this work until 1922-it is in
reality a whole symphonic cycle reduced to
miniature proportions. In 1922 he wrote a
charming work for piano, violin and orchestra,
dedicated to Gabriel Fauré, for a special number
of the Revue Musicale and at the request of M.
Kussevitzky he scored the Tableaux d'une Ex-
position of Mussorgsky (first prod. 8 May, 1924,
Paris).
It is difficult to speak of the evolution of his
genius. What he was at twenty in the Habanera,
he still remains-witty, subtle, restrained in
his emotion, always seeking to mask his deeper
feelings under an ironic smile. The genius of
Ravel is like some beautiful French garden
where nature has been trained to the human
will, where all is well-ordered, where even the
most original fancy is not allowed to run riot,
where the pulsing of the sap is always under
control. Ravel is a French musician par excel-
lence; born of the soil that produced Couperin
and Rameau, like the latter he excels in using
art itself to disguise art.
He visited London in 1921 to direct an
orchestral concert which included La Valse and
Ma Mère l'Oye; and later on for chamber con-
certs of his works.
(1901); Miroirs (130inuet on name of Haydn (1909,
Pf.: Menuet antique (1895, Enoch); Pavane pour
une Infante défunte (1899, Demets); Jeux d'Eaux
Sonatine
Gaspard
de la
Durand); Valses nobles et sentimentales (1911). Pt.
4 hands, Ma Mère l'Oye (Mother Goose, suite, 1908).
Vn. and pf.. Tzigane (1st perf. London, 27 April, 1924).
RAWAY
V. and pf.: Schéhérazade (1903); Histoires naturelles
(1906);
nera (aur l'herbe (1907); Focalise, en forme d'Haba-
5 Greek Folk-songs (1907). 3 Poemes
(pf. str. 4tet, 2 fl. 2 clar.), 1913. Str. 4tet (1902-3);
sonata, cello and vn. (1922); Introduction and Allegro
(harp, str. fl. clar.), 1906. Orch. Schéhérazade
(1898): Rapsodie espagnole (1907); La Valse (1922).
Ballet, Daphnis et Chloé (1906-11; perf. Paris, 1912).
Mus. comedy, 1-act, L'Heure espagnole (1907;
perf.
Paris, 1911). Consult: R., brochure by Roland-
Manuel (Durand); L'Euvre de M. R. (by
author, Revue Muscale, April 1921); André Cauroy,
Le Musique française
M. D.
samo
R. O. Focoressi, M Rderne (Delagrave, 1922);
Times, Dec. 1913);
M. R. (Music and Letters, July 1921).
-H. P.
RAVENNA, Pia (Hjördis Tilgmann). Finnish
coloratura singer; b. Helsingfors, 1894. Pupil of
Alma Fohström and others. Has had much
success in opera and concerts both in Finland
and abroad.-T. H.
RAVN, Vilhelm Carl. Danish music historian;
b. Elsinore, 19 Sept. 1838; d. Copenhagen, 17
May, 1905. M.A. 1857; LL.D. 1865; vice-dir.
of police in Copenhagen, 1887. Besides his legal
activities he assiduously cultivated musico-
historical studies, and especially deserves
credit for recording unprinted sources of
Danish mus. history. His treatises are un-
fortunately not collected, but are scattered in
papers and magazines. A valuable article
on Scandinavian Music appeared in Mendel-
Reissmann's Musik-Lexicon supplement, 1883.
A comprehensive treatise upon Concerts and
Musical Societies of the Past (Koncerter og musi-
kalske Selskaber i ældre Tid) was publ. in 1886 for
the Musikforening (Music Soc.) Jubilee cele-
bration. The Vierteljahrsschrift des I.M.G. (Vol.
VII, pp. 550-63), printed his interesting essay on
English Instrumentalists at the Danish Court in
the Time of Shakespeare, treating amongst others
of Shakespeare's friend and associate William
Kemp, and of the engagement in 1586 of Kemp
and his troupe of actors at Kronborg Castle,
Elsinore, which engagement most probably gave
Shakespeare (possibly even present) the idea of
laying the scene of Hamlet at that place.-A. H.
RAWAY, Érasme. Belgian compr. b. Liège,
2 June, 1850; d. Brussels in 1918. Began music
at age of 6; later took up philosophy at Grand
Seminary at Liège. After he became an abbé,
he taught music and ancient geography at Coll.
of St.-Trond until 1880; then choirmaster in
Liège Cath. Later, became converted to ration-
alist philosophy, left the Church, and from that
time devoted himself entirely to mus. compn.,
writing slowly, but gradually maturing until he
reached that perfection of form which was his aim.
The great ambition of his life was to produce
his lyrical drama, Freya, unfortunately never
finished; it is only known to the public in the
fragment La Fête Romaine, which had a great
success. Raway is an independent type in music;
he goes straight forward, heedless of all save
his own inspiration. Nevertheless he keeps his
respect for old traditions, as may be seen in his
enthusiasm for Weber and Schubert. Thanks
to this independence of spirit, he may be re-
garded as one of the founders of modern music
in Belgium-his songs and his Scènes Hindoues
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RAWLINS
(1885) struck out quite a new path in this
country.
Néon, melodrama (1877); Scènes hindoues for
orch. (pf. duct transcription, publ. Muraille, Liège);
Les Adieur, symph. tableau (1882); Symphonie Libre
(1885); Schermphonique (pf. version, Breitkond
for orch. (pf. version, Breit-
kopf); Ode
some beautiful songs, of rare perfection of form and
depth of emotion.
Consult G. Dwelshauvers, E. R. (Revue de l'Uni-
versité de Bruxelles, May-June 1905).-C. V. B.
RAWLINS, Bessie. Eng. violinist; b. London,
1898. Stud. there under W. Sachse; recitals
London, 1919-23; toured Sweden, Denmark,
Holland, Switzerland, Germany, 1923. A gifted
interpreter of modern as well as classical
music.-E.-II.
RÉALTOR, Olivier. See CAROL-BÉRARD.
RÉBIKOF, Vladimir Ivanovitch (accent 1st
syll.). Russ. compr. b. Krasnoyarsk, Siberia, 19
May/1 June, 1866; d. Yalta, Crimea, Dec.
1920. Began lessons in theory at Moscow Cons.
under Klenovsky; later, stud. in Berlin under
Mühler; 1894-8, lived in Odessa where he
founded in 1897 a branch of the Soc. of Russ.
Comprs. In 1898 he moved to Kishinef in
S. Russia, opening a branch of the Russ. Mus.
Soc. there; then he taught in Berlin, and
Vienna for a time. In 1901, he was in Moscow
when his The Storm and The Christmas Tree
were produced at the Aquarium Theatre, 1903.
The latter work went the round of Charkof,
Saratof (1905), Prague, Berlin, Brünn (1906),
Kief, Kazan, Laibach (1907), Novgorod, Jaro-
slavl, Tiflis (1908), etc. R. has been called "the
father of Russ. Modernism," but this term
can only refer to his new forms and novel har-
monic styles, many of them frankly experi-
mental. Occasionally he underlines melodies in
fourths, in fifths, in ninths, etc. He was the first
to use the "whole-tone scale" in a thorough-
going fashion (see his Satans Vergnügen;
Moments d'allégresse; Une Fête, etc.). His
Melomimics (small scenes without words, or
music and miming, op. 11, 15, 17) or his songs
with miming (op. 1, 16, 19, 20) and his Dramatic
Fables (after Krilof), show an art somewhat
parallel to that of the Überbrettl (g.v.). His
early works, up to op. 10, are in the Tchaikovsky
manner. He transl. into Russ. Gevaert's manual
on orchestration and R. Mayrberger's The
Harmony of Wagner.
2-act opera, The Storm (Odessa, 1904); The Christ-
mas Tree, op. 21, fairy-play in 1 act and 4 scenes, 3
solo vs. and acting groups (Moscow, 17 Oct.
Musico-psychological dramas: The Abyss
1903).
(on
and Omega (2 scenes), 1911 (all
Jurgenson).
There is also a psychological drama, The Woman with
the Dagger, op. 41, and an opera, Narcissus, op. 45.
A number of sacred compns, including a Liturgy of
St. John Chrysostom. A very large number of pf.
14 b
pieces (all publ. by Jurgenson); books of pieces,
op. 2, 5, 6, 7; Reveries d'automne, op. 8; Autour du
Monde, op. 9: Melomimics, op. 11; Suite from
ballet Mila et Nolli, op. 14: Les Reves, 5 melomimies,
op. 15: 3 musico-psychologics, op. 22, 24, 25: chil-
dren's pics, fristesse, etc.; Fables, v. and pf. on
37; Petite Suite de ballet; Tabatière
Krilof texts, etc.-E.-II.
REGER
Frankfort-o-M. as 1st. vn.-master at Hoch's
Cons.; succeeded Hugo Heermann as 1st
violinist in Heermann Str. Quartet; Konzert-
meister at Frankfort Opera; member of Museum
Quartet.-A. E.
REBNER, Adolf. Austrian violinist; b.
Vienna, 21 Nov. 1876. Stud. at Vienna Cons.
(Grün); finished in Paris (Marsick); 1896 at
Eng. violinist; b.
Stud. R.A.M. under
REED, William Henry.
Frome, 29 July 1876.
Émile Sauret, E. Prout, F. Corder and H. R.
Rose; leader of London Symphony Orchestra.
Orch. Suite Venetienne (Novello); Scenes from a
Ballet (id.); symph, poem, Caliban (id.): The Lincoln
vn. concerto (Augener); suite, str. orch.
Sovelle 5th str. 4tet (Augener); vn. pieces
(Augener: Novello); songs, part-songs (id.)-E-H.
REFICE, Licinio. Ital. compr. b. Patrica
(Rome), 12 Feb. 1885. Priest; dir. of Cappella
Musicale of the Basilica Liberiana in Rome. Stud.
at the R. Liceo Mus.di Santa Cecilia under Falchi;
diploma in 1910. Since then has been teacher
in the Pontificia Scuola Superiore di Musica
Sacra.
Comp. church music, and oratorios:
Maria Maddalena (Augusteo, Rome, 1917);
Il martirio di Sant' Agnese (Augusteo, Rome,
1919). For the Dante Centenary in 1921, he
wrote mus. poem, Dantis poeta transitus, perf. at
Ravenna and then in Rome.-D. A.
REGER, Max. German composer; b. Brand
(Bavaria) 19 March, 1873; d. Leipzig, 11 May,
1916. Son of schoolmaster, who was trans.
ferred to Weiden, 1874; first musical training
from father and the Weiden organist, Adalbert
Lindner, who taught him extensively from
editions;
Riemann's instruction - books and
studied under Riemann five years at Sonders.
hausen (1890) and at Wiesbaden (1891-5);
acted till 1896 as teacher at Wiesbaden Conser-
vatoire; then served his military year. After
recovering from severe illness, he removed in
1898 to his native home; 1901 to Munich;
married Elsa von Bagenski; became teacher
of counterpoint (1905-6) at Royal Academy;
1907 called to Leipzig as University Music-
Director and teacher of composition at Con-
servatoire; 1908, Royal Professor (of Saxony)
and Ph.D. h.c. of Jena and Heidelberg Univer-
sities; Berlin University gave him title of M.D.
h.c.; 1908, withdrew from University; 1911,
Royal conductor and Hofrat (councillor); 1913,
general music-director at Meiningen; at same
time continued teaching at Leipzig Conser-
vatoire; 1914, gave up Meiningen engagement
and went to Jena. Characteristic of Reger's
composition is firstly the exuberant richness
of harmony, which stamped him as a "minia-
turist" even in those compositions which de-
manded a huge apparatus and which neces-
sarily resulted in a style of rhythmic atrophy,
yet, with all his boldness harmony and
modulation, Reger never abandoned the
of logic and tonality, although he expand
toote
to an extraordinary degree all possible effects,
the archaic as well as the modern. His second
characteristic is his increased polyphony; his
simplest ideas are polyphonically conceived.
He has kept to the system of sonata-form; only
it is filled with melodious "prosa" that is
to say, it renounces the uniform rhythmical
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REGER
development of a movement. He is happiest
where a certain form forces him in a definite
direction and to a natural climax (variation,
fugue, choral pieces--forms he liked best to
use). Particularly noticeable are his wealth of
inventive power and his eminently polyphonic
nature.
Always remaining the
"absolute"
musician, he advanced from an initial depen-
dence on Brahms, from leanings towards the
archaic, to the individual freedom of works
such as the C major violin sonata, D minor
quartet, Hiller Variations, op. 100; he reached
in his last compositions, after a brief inclina-
tion to Impressionism (Eichendorff Suite), a
form of clearness and simplicity. (See arts. on
GERMAN ORCH. MUSIC and GERMAN SONG).
Reger visited England in May 1909, giving 2
concerts at Bechstein Hall, London.
REHBERG
mi. (id.); op. 85, 4 preludes and fugues, organ (Peters);
op. 86, Variations and fugue on Beethoven theme,
2 pts. (Bote & Bock); op. 87, 2 pleces, vn. and pf.
(Forberg); op. 88, 4 songs (Simrock); op. 89, 2
sonatinas, f. (Bote & Bock); op. 90, Symphonietta,
orch. (id.): op. 91, 7 sonatas, vn. solo (id.); op. 92,
suite, organ (Forberg); op. 93, vn. and pf. suite in old
style (id.); op. 94, 6 pt. pieces (Peters); op. 95,
Serenade in G, orch. (Bote & Bock); op. 96, Intro-
duction, passacaglia and fugue, 2 pfs. (id.); op. 97,
4 songs (id.); op. 98, 5 songs (Simrock); op. 99,
6 preludes and fugues, pf. (Bote & Bock); op. 100,
Variations and fugue on a merry theme of Hiller's,
orch. (id.); op. 101, vn. concerto (Peters); op. 102,
trio, vn. cello and pf. (Bote & Bock); op. 103a,
6 3 pieces, vn. and pf. (id.); op. 103b, 2 sonatinas, vn.
and pf. (id.); op. 104, 6 songs, mezzo v. (Forberg);
op. 105, 2 sacred songs, mezzo v. (Leuckart); op. 106,
Psalm C, chorus and orch. (Peters); op. 107, sonata,
B flat, clar, and pf. (Bote & Bock); op. 108, Symph.
Prologue, orch. (Peters); op.
(Bote & Bock); op. 110, 2100, str. 4tet, E flat
songs with organ
(Leuckart); op. 111a, 3 duets, s. and contr, with pf.
(Bote & Bock); op. 111b, 4-v. female choruses (id.);
op. 111e, 3-v. female choruses (id.); op. 112, The
Nuns, mixed chorus and orch. (id.); op. 113, pf. 4tet,
D ml. (id.); op. 114, pf. concerto, Fml. (id.): op. 115,
Episodes, pt. (id.); op. 116, cello and pf. sonata, A mi.
(Peters); op. 117, preludes and fugues, vn. alone.
(Boto & Bock); op. 118, str. 6tet, F ma. (id.); op. 119,
The Consecration of the Night, contr. male chorus,
orch. (id.); op. 120, Comedy Overture, orch. (id.);
op. 121, str. 4tet, F sharp ml. (Peters); op. 122, vn.
and pf. sonata, E ml. (Bote & Bock): op. 123, con-
certo in olden style, orch. (id.); op. 124, To Hope,
contr. solo and orch. (Peters); op. 125, Romantic
Suite, orch. (Bote & Bock); op. 126, Roman
phal Chant, male chorus and orch. (id.); op. 127,
Introduction, passacaglia and fugue, organ (id.);
op. 128, 4 mus, poems, orch. (after A. Böcklin (id.);
op. 129, 9 pieces, organ (id.); op. 130, Ballet-Suite,
orch. (Peter); op. 131a, preludes and fugues, vn.
alone (Simrock); op. 1316, 3 duos, canons and fugues
In old style, 2 vns. (id.); op. 131c, 3 suites, cello alone
(id.): op. 131d, 3 suites, vla. alone (id.); op. 132,
Variations and fugue on Mozart theme, orch. (id.);
op. 133, 1
33, pf. 4tet, A ml. (id.); op. 134, Variations and
(id.);
135a, 30 short choral preludes, organ (id.); op. 130;
Fantasy and fugue, D mi., organ (id.); op. 136.
Hymn of Love, barit. and orch. (id.); op. 137, 12
sacred songs, v. and
Op. 1. vn. and pf. sonata, D ml. (Schott); op. 2.
trio, B ml. pf. vn. vla. (id.); op. 3, sonata, F mi.
cello and pf. (id.); op. 4, 6 songs (id.); op. 5, sonata,
F ml. cello and pf. (id.); op. 6, mixed choruses with
pf. acc. (id.); op. 7, 3 organ pieces (id.); op. 8, songs
(id.); op. 9, 12 waltz-caprices (id.); op. 10, 10 German
op. 12, 5 songs (id.); op. 13, Loose Leaves, pt. (id.):
s. and contr. (Augener);
op. 15, 10
op. 14, 5
songs for duets (Schott); op. 16, suite, E mi. organ
(id.); op. 17, From Youth, pf. (id.); op. 18, Impro-
visations, pt. (id.); op. 19, 2 sacred songs with organ
(Univ. Ed.); op. 20, 5.
Ode to Song,
(sic!)
6 v
omale chaumoresques, pf. (id.); op. 21,
with orch. (id.); op. 21
Cmi. (published 1923): op. 22,
pf. duet (id.); op. 23, 4 songs, v. and pf.
Galt 24, 6 pt. pleces (Forberg); op. 25,.
pf. (Schott); op. 26, 7 Fantasy-Pieces, neguar):
op. 27, Fantasia on 4 Stronghold Sure, organ (id.);
op. 28, cello and pf. sonata, G mi. (Univ. Ed.):
op. 29, short pieces, pf. organ and v. (Beyer); op. 30,
Fantasia on Be joyful, O my Soul, organ (Univ. Ed.):
op. 31, 6 poems, v. and pf. (id.); op. 32, 7 characteristic
pieces, pf. (id.): op. 33, 1st organ sonata, F sharp mi.
(id.); op. 34, 5 picturesque
op. 35, 6 songs
(td.); op. 37, 5 songs (id); op. 38, 1 male choruses
3 pieces, pf. duets (id.);
unace. (id.); op. 39, 3 6-v. choruses (id.); op. 40,
songs, mixed chorus (Simo); op. 138, 8 sacred
op. 139, vn. and pf.
sonata, C ml. (id.); op. 140, Patriotic Overture (to the
German army), orch. (id.); op. 141a, Serenade, G ma.
str. trio (Peters); op. 141b, str. trio, D. mi. (id.);
op. 142, 5 new nursery rhymes for high v. (id.);
op. 143, Dreams by Fireside, 12 short pf. pieces
(Simrock); op. 144, 2 songs, mixed chorus and orch.
(id.): op. 145, 7 pleces, organ (No. 7, Reger's last
compn.) (Oppenheimer); op. 146, 5tet, A ma. for
clar. and str. (Simrock); op. 147, Andante and
Rondo Capriccioso, vn. and orch. (unfinished)
(Peters). Consult Adalbert Lindner, M. R. (Stutt
gart, 1922, Engelhorn); M. Hehemann, M. R. (Munich,
2 1917,
1921, Siegel); G. Bagler, R. (Stuttgart, 1923, Deutsche
Verlags-Anstalt).-A. E.
2 fantasias on chorals, organ (id.); op. 41, 3rd vn. and
(id.); op. 43, 8(id); op. 42, 4 sonatas, solo vn.
pf.
ma.
pieces (id.); op. 45, 6 Interme i organ (id.); op.
songs pf.
Fantasia and fugue on B.
op. 46,
47,6 trios, organ (id.); op. 48, 7 songs (id.); op. 49,
(id.);
and C, vn. and small orch. (id.); op. 51, 12 songs
50, 2
G
(id.); op. 52, 3 choral fantasies, organ (id.); op. 53,
7 Silhou. Pl. (id.); op. 54, str. 4tets, G mi.,
op. 55, 15 songs (id.); op. 56, 5 easy
Fantasy and fugus, organ (id.); op. 57.
pf. duet (Simrock); op. 59, 12 pleces, organ (Peters):
op. 60, 2nd organ s
A ma.
organ (id.); op. 58, 6 mp
choral pieces for divine D mi. (id.); op. 61, easy
songs (Univ. Ed.); op. 63, 12 pieces, organ (id.);
service (Slegel); op. 62, 16
op. 64, 5tet, C mi. pf. and str. (Peters): op. 65,
12 pieces.
(Bote & Hogan (id.); op. 66, 12 songs, mezzo V.
pf.
68, 6 songs, mezzo v. (id.); op. 69, 10 pieces, organ
op. 67, 52 preludes, organ (id): op.
(id.): op. 70, 17 songs for high v. (id.); op. 71.
Song of the Glorifted, 5-v. chorus and orch. (Siegel);
op. 72, vn.
op. 73, Variations and fugue on original theme,
ta, C ma. (Bote & Bock):
organ (id.); op. 74, str. 4tet, D ml. (id.); op. 75,
18 songs (id.); op. 76, simple melodies, v. with pf..
6 books (id.); op. 77a, Serenade, fl. vn. and vla. (id.):
op. 77b, str. trio (id.); op. 78, sonata, F ma., cello
and pf. (id.); op. 79a, pt. pieces, 5 books (
(Beyer);
op. 796, organ compns., 2 books (id.); op. 79c, pieces
for v. and pf., 2 books (id.): op. 79d, pieces for vn.
and pf., 2 books (id.); op. 79e, cello and pf. pieces,
2 books (id.); op. 79, 14 choral arrs., mixed chorus
(id.); 790,3 choral arrs. for 3-v. female chorus (id.):
and fugue on a theme of Bach, pf. (Bote & Bock);
op. 82, From my Diary, pf (id.); op. 83, 10 male
choruses (id.); op. 84, vn. and pf. eonata, I sharp
RÉGISSEUR (Fr.). The producer of an opera.
The same title is used in Germany. In Ital.
direttore di scena, or sovrintendente dello spet-
lacolo.-E.-H.
REHBERG, Walter. Ger. compr. b. Geneva,
14 May, 1900. Son of Willy R.; pupil of father
at Hoch's Cons., Frankfort-o-M., and at High
School for Music, Mannheim; later of Eugen
d'Albert. Comp. pf. sonatas; vn. sonata;
pf. pieces.-A. E.
REHBERG, Willy. Swiss pianist and compr.
b. Morges, 2 Sept. 1863. Son of excellent pianist
Friedrich R.; stud. at Zurich Cons. (1879-1891)
under Rob. Freund, Fr. Hegar and Gustav
Weber, and at Leipzig Cons. (1881-4) under
Reinecke and Jadassohn. Immediately after
final examinations, engaged at Leipzig Cons.;
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REHFELD
1890, principal prof. of Cons. at Geneva, where
he also cond. Symphony Concerts; 1908, prof.
at Frankfort Cons.; 1917, dir of Mannheim Cons.
Since 1921, dir. and prof. of master-classes for
pf. at Basle Cons. He is especially famous as
a Brahms interpreter, and is a remarkable
teacher. Delivered many courses of lectures on
mus. education, and on evolution of mus. style.
His son Walter (b. 1900 at Geneva) ranks already
amongst best pianists of the younger generation.
Str.
numerous and
pieces (Breitkopf; Kistner; Siegel). Ed. of classical
pf. works (Steingräber).-F. H.
REHFELD, Fabian. Ger. violinist; b. Tuchel,
West Prussia, 23 Jan. 1842; d. Berlin, Nov.
1920. Pupil of Zimmermann and Grünwald,
Berlin; 1868, Court-musician, Berlin; 1873-98,
Konzertmeister; 1903, R. prof.; also vn.
compr.; publ. 3 vols. of well-known collection
Sang und Klang.-A. E.
REICHENBERGER, Hugo. German condr. b.
Munich, 28 July, 1873. Stud. at Munich under
V. Gluth, H. Schwartz, Eugenie Menter, Mayer,
L. Thuille; condr. at Kissingen (1894), Breslau,
Aix-la-Chapelle, Bremen, Stuttgart (1898-1903),
Munich (1903-5), Frankfort, Vienna (since
1905); also much engaged as star conductor.
Pr. pieces; songs (3 Marienlieder with orch.);
orch. works; chamber-music; pf. concerto; songs;
opera, Herenfang (Capture of Witches).-A. E.
REICHERT, Johannes. German compr. b.
Dresden, 19 June, 1876. Stud. music under
Draeseke, 1894-8 under Nicodé and Buchmayer;
1896-1906, condr. of orch. class of Dresden
School of Music; 1902-6, repetitor at R.
Theatre; since 1899, cond. People's Acad. of
Singing (mixed chorus from among working
class), founded by him. Since 1906, town music
dir. at Teplitz-Schönau.
Orch works: Concert Overture, E ma. op. 5; Sere-
nade, op. 25: Merry Suite, op. 30; vocal work,
Helge's Dream, op. 11 (soli, mixed chorus, orch.);
Traumsommernacht, op. 18 (6-v. chorus and orch.);
Musical Art, op. 20 (Rhapsody (Herder] for barit.
unacc. works for mixed chorus,
mixed chorus, ochorus: pf. pieces (sonata, A mi.
male and female
op. 1).-A. E.
REICHMANN, Theodor. German baritone
opera-singer; b. Rostock, 15 March, 1849;
d. Marbach-on-Bodensee, 22 May, 1903. Sang
at various Ger. theatres, 1882-9. In 1893
re-engaged at Vienna Court Opera. Best parts
were Hans Heiling, Dutchman, Hans Sachs.
The first Amfortas at Bayreuth (1882) where
he sang often.-P. ST.
REISS
gen and Christiania. Music critic for Tidens Tegn.
Condr. of Stavanger Theatre Orch. which on his
initiative was transformed into a municipal orch.
(1918). Has held scholarships from State and
from Houen's Bequest. Much esteemed for his
beautiful songs.
As critic, R. combats with
earnest conviction and incisive style the newest
radical tendencies in music in favour of what he
considers a sounder development, based upon
melody and natural feeling.
Chorus with orch.: Havet (The Sea): Haakon den
godes dod (Death of Haakon the Good): orch.: Nordic
Overture; Norwegian Rhapsody; Hymne: song-play,
Sommereventyr (Summer Fairy-Tale). All produced
REIFNER, Vincenz.
German-Czechoslovak
compr. b. Theresienstadt, 25 Oct. 1878; d. Dres-
den, 3 Dec. 1922. Stud. Prague (Ph.D.) and at
Kissingen under C. Kistler; was publ. of music
in Dresden.
3 From
Symph. poem, Sprintended for first of a cycle
German Fairy Tales
Dornröschen (Sleeping Beauty); Bremer
Schreckenstein (The Stone of Terror). National opera,
Maria; choruses; songs.-E. S.
andtmeten (Town Musicians of Bremen); Der
REINACH, Théodore. Fr. historian; b. St.-
Germain-en-Laye (Seine et Oise). Barrister and
later exclusively a historian; member of Institut;
one of most active savants in domain of Hellenism.
Important contributor to study of Greek music.
(1892-
In Revue des Etudes grecques he has
REICHWEIN, Leopold. German condr. and
compr. b. Breslau, 16 May, 1878. Condr. at
Mannheim; 1909, R. Opera, Carlsruhe; 1913,
cond. Vienna R. Opera; 1921, succeeded
Schalk as concert-dir. of Soc. of Friends of
Music and condr. of Choral Union (Singverein);
1924, succeeded Löwe as condr. of Konzertverein
Orchestra.
Operas: Fasantasena (Breslau, 1903); Lovers of
Kandahar (Breslau, 1907); operetia, Hazard (Vienna,
1919); music to Faust (Mannheim, 1909).-A. E.
REIDARSON, Per. Norwegian compr. condr.
b. Bergen in 1879. Pupil in vn., harmony and
cpt. of Sigurd Lie, Cath. Elling and A. Gédalge
(Paris). First violinist in leading orchs. in Ber-
410
1901) Notes sur quatre problèmes d'Awith
d'Eichthal, 1894); La Guitare dans l'Art grec (1896);
Deux
in Dictionnats de musique grec (1897), etc. Collab.
l'hymne à Apollon; 1911, Les Fouilles que (1893-1)
e des Antiquités grecques ura, Musica,
de Delphes).
etc.), in L'Ami des Monuments (1894, Note
The Bulletin de Correspondance
Hymnes La
contains the arts.: Delphes: Un Nouvel Hymne
de
delphique. Contributor to Revue Musicale (1901-22):
Has publ.
Revue Critique: Revue de Paris, etc.
Plutarque De la Musique" (transl. with H. Weil)
(Paris, 1900, Leroux); is preparing a little book on
of
La Musique grecque (Paris, 1923, Payot). Author
a lyric drama (after Perse of of a comedy-ballet,
Salamine
(music by M. Emmanuel), and
La Naissance de la Lyre (after Sophocles), music by
Albert Roussel.-M. L. P.
REINER, Fritz. Hungarian condr. b. Buda-
pest, 19 Dec. 1888. Stud. at R. High School for
Music, Budapest. Up to 1921, condr. at Dresden
State Opera. Since 1922, Ysaye's successor in
Cincinnati.-B. B.
REISENAUER, Alfred. German pianist; b.
Königsberg, 1 Nov. 1863; d. Libau, 3 Oct. 1907;
pupil of Louis Köhler and Liszt; 1881, appeared
as pianist; then stud. for Bar at Leipzig; 1886,
concert-career again; 1900-6, prof. of pf. at
Leipzig Cons.
Comp. pf. picces (Reisebilder); over 100 songs:
Varlations for orch. Consult: J. Schwerin, Erin-
nerungen an A. R. (1909); Felix Weingartner,
Lebenserinnerungen (1923).-A. E.
REISS, Georg Michael Döderlein. Norwegian
mus. researcher; b. Christiania, 12 Aug. 1861;
d. there, 25 Jan. 1914. Graduated in law at
Christiania Univ. in 1886; obtained his mus.
education at home under Ludv. M. Lindeman
and Otto Winter-Hjelm; from 1892 at High
School in Berlin (organ under Rob. Radecke;
compn. under R. Succo). From 1893 till death,
orgt. at Petrus Ch. in Christiania. His songs,
motets, church-choruses, a cappella pieces for
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REISS
male chorus and organ works show fine melodic
inventiveness and solid construction.
R.'s principal significance for Norwegian music
lies in field of musico-historical research. He
was an exceedingly well-informed investigator,
with keen critical powers; justly enjoyed a high
reputation as an eminent scholar. He devoted
himself to the study of Norwegian music in the
the Middle Ages and made an extremely valu-
able contribution to older mus. history of the
North, by his treatises Musiken ved den mid-
delalderlige Olavsdyrkelse i Norden (Music in
Relation to the Medieval Cult of St. Olav in the
North) (1912) and Tvo norröne latinske kvæde med
melodiar (Two Norse-Latin Lays with Melodies)
(1913). The first-named treatise obtained for
R. the degree of doctor in 1913; he was thus
the first in Norway to attain the dignity of
Doctor of Mus. History. Of his other writings
may be mentioned: Riksarkivets middelalderlige
musikhaandskrifter (Mediaval Music Manu-
scripts in the State Records) (1908) and
To sekvenser for St. Olav (Two Sequences in
Honour of St. Olav) (1910). R. was also a
musical critic (inter alia, in Nordisk Musikrevy).
-J. A.
REISS, Józef Władysław. Polish mus. his-
torian and theorist; b. Dębica, Galicia, 1879.
1901, teacher of the classical State School in
Cracow; 1910, Ph.D. at Vienna Univ., for his
thesis Nicolas Gomolka and his Psalms of 1580.
Became in 1911, prof. at Cracow Cons.; in 1922,
unsalaried lecturer on musicology at the Univ.
there. He is music critic of the Nowa Reforma in
Cracow.
The Musical Forms (Polish, Breitkopf, 1917);
Beethoven (1920); manual of History of Music (1920;
best and largest in Pollsh; 2nd ed. 1922); Harmony
(1922). Has also written several very conscientious
treatises on history of
of Sciences, Cracow).sh music (publ. by Acad.
REISSIGER, Friedrich August. Norwegian
compr. condr. b. Belzig, near Wittenberg,
Germany, 26 July, 1809; d. Fredrikshald,
Norway, 2 March, 1883. Began to study
theology; soon went over to music. Pupil,
chiefly, of Dehn, Berlin. 1840, condr. at
Christiania Theatre (till 1850). Lived after-
wards in Fredrikshald as orgt. Comp. over-
tures, cantatas, chamber-music, etc. Only his
songs for 4-v. male chorus or quartets still live.
Several of these belong to finest of their kind in
the North and are still often heard at choral
concerts
Scandinavia and Scandinavian
America; notably, Olav Trygvason; Havet er
skjönt (Fair
the Sea); En sangers bön (A
Singer's Prayer); Höstandagt (Autumn Devotion);
Se hist ved Östersaltets vove (See yonder by the
Baltic's waves); Höiest löfter jeg da guld pokalen
(Highest lift I then the golden cup).-U. M.
RENDANO
orchestrated numerous works by Handel for
modern orchestra.
Opera, Der Bundschuh (perf., Vienna, 1892):
Requiem; many male-chorus and chamber-musie
pieces.
Consult Max Morold-Millenkovich, J. R.
(Vienna, 1895, 1904).-P. P.
REITLER, Josef. Austrian musicologist; b.
Vienna, 25 Dec. 1883. Stud. in Vienna and
Berlin. From 1905-7, Paris theatrical corres-
pondent for Vossische Zeitung; 1907 (with
Korngold), critic on Neue Freie Presse; 1915,
dir. of New Vienna Cons. On commission of
the former Austrian Ministry of Education,
he ed. the Musikbuch aus Österreich for a few
years. Also wrote opera libretti.-P. ST.
REMMERT, Marta. Ger. pianist; b. Gross-
schwein, near Glogau, 4 Aug. 1864. Pupil of
Liszt at Weimar; extensive concert-tours;
1900, establ. Franz Liszt Acad. Berlin, which
she managed.-A. E.
REMY, Alfred. Amer. musicologist; b. Elber-
feld, Germany, 16 March, 1870. A.M. Columbia
Univ. 1905. Stud. pf. under Bruno Oscar Klein in
New York (1890-6). 1895-7, music critic for
Vogue and The Looker-On. 1896-8, lectured on
history of music at New York Coll. of Music. Hast
also been a teacher of Greek (Seton Hall Coll.,
Orange, N.J., 1897-8), and of modern languages.
(Commercial High hool, Brooklyn, 1899-1911);
1906-15, extension-lecturer at Columbia Univ.
His 3rd ed. of Baker's Biographical Dictionary of
Musicians (Schirmer, 1919) is the most compre-
hensive and thorough work of this kind hitherto
written in English.-0. K.
RENARD, Marie (real name Pölzl). Austrian
opera singer; b. Graz (Styria), 18 Jan. 1863. Graz
Theatre; then Prague and Berlin Opera (1885-8);
Vienna Court Opera (1880-1901);
a great
favourite with public, for her inimitable charm
and beautiful voice. Her Manon, Mignon, Lotte
(Werther) will live long in the memory. In 1901
she left stage and married Count Rudolf
Kinsky.-P. ST.
RENARD, Rosita. Chilean pianist; b. 1898.
Stud. under Krause in Germany; returning to
Chile, gave a series of concerts; then made a suc-
cessful tour through N. America in 1917.-A. M.
RENDANO, Alfonso. Ital. pianist and compr.
b. Carolei (Cosenza), 5 April, 1853. Enjoyed
great renown as concert-player in Italy and
abroad; at present lives in Rome, and is
engaged in teaching. After studying at Naples
Cons. for short time, began touring as a player
whilst still very young; went to Paris, where
(introduced by Thalberg, who took him under
his protection), he met Rossini, who assisted
him considerably. In Paris he gained great
success as a concert-player, then at Baden and
in London, where, in 1867, he played at a Philh.
Soc. concert. He returned to London again,
after having spent some years in Leipzig, where
he stud. under Paul, Richter and Reinecke.
Went back to Italy in 1874, and gave a trium-
phant series of concerts, rivalling Rubinstein,
who was in Italy at that time. In 1880, went to
Vienna, where he became the friend of Bülow
REITER, Josef. Austrian composer; b.
Braunau, 19 Jan. 1862. Self-taught musician.
Dir. of Mozarteum at Salzburg, 1908-11. Then
lived in Vienna and Linz, composing. About
1890 he was considered as great hope in
dramatic music, but remained too conservative.
Now only esteemed as choral compr. He
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RENDANO PEDAL
and Liszt. For some time, teacher in Naples
Cons. As compr. Rendano has written an opera,
Consuelo, perf. first at Turin 1902, and played
in various theatres in Germany; also a sonata,
a concerto and pf. music; a 5tet, and several
orch. pieces. We owe to him the invention
of the Independent Pedal for pf., to which he
name (see below).-D. A.
gave his
RENDANO
INDEPENDENT PEDAL. A third
to the
and made
known by the Ital. pianist, Alfonso Rendano.
Placed between the two ordinary pedals, it is
furnished with a curved extension to the left, so
that i
at it can be manipulated 1 by the heel of the left
foot. Its use is to isolate one or more sounds from
the rest of the strings. If one presses the key or
the rest
keys of which one desires the isolated vibration,
and then lowers the third pedal, it prevents the
dampers of these keys from falling back on the
strings. All the other dampers can be made to
function normally, either by striking the keys or
by putting down the right pedal. The name
Independent" originates from the fact that
this pedal (as distinct from the well-known
Steinway "Tonal" pedal) can, thanks to its
particular construction, function whilst the right
pedal also is in use.-D. A.
RENIÉ, Henriette.
Fr. harpist and compr.
b. Paris, 18 Sept. 1875. Undisputed head of Fr.
school of harpists since death of Hasselmans.
First came to public notice as infant prodigy;
1st prize at Cons. at age of 11; soon after, took
prizes for harmony and compn. Soloist to all
chief orchs. (Cons.; Colonne; Lamoureux;
Sechiari, etc). First to emphasise harp as solo
instr. with acc. (A timid attempt had been made
in XVIII century, but had not been repeated
by modern orchestras.) Numerous tours abroad.
As compr. she prod. a concerto for harp and
orch., at request of C. Chevillard in 1901. This
work, based on a short rhythmic theme, rises
far above usual level of harp concertos. Wrote
Elegy and Caprice for harp and orch.: a trio for
vn. cello and harp; sonata for cello and pf.
and many characteristic pieces for harp alone.
Numerous transcriptions for harp from old
harpischord pieces, eminently suited to harp.
The Institut awarded her the Prix Chartier. Her
lectures on virtuoso concert-playing, open to all
professional artists, have been largely respon-
sible for such harpists as Grandjany, Mme.
Pignal-Régnier, Mlle. Le Dentu, and Bertile
Robet.-M. P.
RENNER, Joseph. Ger. compr. of church
music; b. Regensburg (Ratisbon), 17 Feb. 1868.
Son of music-teacher Joseph R. (1832-95);
pupil of Joseph Rheinberger; 1893, orgt. at
Cath. Regensburg; 1896, also teacher of organ
at School of Church Music; 1912, R. professor.
14 Requiems; 10 masses; offertories; religious
songs, op. 55; motets; organ pieces: 2 sonatas,
3 suites, 12 trios, 20 easy preludes, etc.; secular
songs; male choruses; serenades for pf, and vn.;
Josef I
Music and the audn, etc. Wrote Modern Church
(Church Music Annual).-A. E.
Masses
RENNER, Willy. Ger. pianist and compr. b.
Oldisleben, Saxony, 28 May, 1883. Pupil Hoch's
RESZKE
412
Cons. (Ivan Knorr), Frankfort-o-M
training-class he has cond. since 1913,
short engagements as solo repetitor at D
stadt R. Theatre.
Pf. musie: Prelude and fugue, B flat m
op. 36: Bach-Prelude, op. 6: Impressions, a
9: Vn.
pt. pieces, op. 2 and 3; Variatets p
op. 14: cello sonata, op. 12:
solo v.
13;
for 2 pfs. op. 14; songs and nursery rhymnes
Dutch compr
RENNES, Catharina van.
Utrecht, 2 Aug. 1858. Comp. more than
works, children's songs and cantatas, well know
in Holland.-W. P.
RENZI, Remigio. Ital. orgt. and compr.
Rome, 1 Oct. 1857. Is orgt. of Cappella Giul
in St. Peter's, Rome, going there from the
Basilica Lateranense; since 1887, has bee
teacher of organ, harmony and cpt. at the P
Liceo Mus. di Santa Cecilia. As executant, co
cert-player and musician he is held in high
esteem. As a compr. has written church music,
sonatas, and organ music.-D. A.
R
RÉPÉTITEUR (Fr.). Maestro-al-pianoforte
(Ital.). Solorepetitor (Ger.). The pianist who re-
hearses at the piano with the soloists of an opera
Often he is one of the junior condrs. The trainer
and rehearser of the opera-chorus is called
Korrepetitor in Germany.-E.-II.
RESPIGHI, Ottorino. Ital. compr. b. Bologna,
9 July, 1879. Is one of most remarkable of
Completed studies at
modern Ital. comprs.
the Liceo in his native city (vn. under Federico
under Martucci). Then went
Sarti, and where he stud. under Rimsky
to Russia,
Korsakof, and in Berlin under Bruch. Since
1913 been teacher of compn. at the R. Liceo
Mus. di Santa Cecilia, Rome; and in Nov. 1923
was appointed its director. His orch. music is
frequently perf. at Queen's Hall, London.
Bologna,
Operas: Re Enzo (Teatro del Cons, 1910),
1923)
1905); Semirama (Comunale Theatre, I
o del Piccoll-see
Sonzogno, Milan; Belfagor
Also Sleeping
(for Teatrala, Milan,
PODRECCA, 10).
poem for and
symprammatica (Augu-
orch. (Bologna, 1911); Sinfonia
steo, Rome, 1915): Le Fontane di Roma, symph.
Ballata
poem (Augusteo, Rome, Rome, 1920); Antiche Arie
e Danze italiane.
Chamber-musie: sonata, B mi. vn. and pf. (1919);
Dma. (1920); also many songs: Concerto
4oriano, for vn. and orch. (Augusteo, Rome, 1922);
Poom Primavera, for solo vs. chorus and orch.
1923).
R.'s music is publ. by
(Augustoo, Rome,
Ricordi, Milan; Bongiovanni, Bologna; Univ. Ed.
Vienna.-D. A.
RESTANO, Antonio. Argentine compr. b.
Buenos Ayres in 1866. Stud. in Argentina and
then at Cons. of Milan under Saladino, Dominiceti
and Ponchielli. Obtained first success in Turin
with opera Un Milioncino (3 acts), and later his
Margherita d'Orléans (3 acts) firmly establ. his
reputation. Now directs Weber Mus. Inst.,
Buenos Ayres, which he founded. First Argen-
tine compr. whose operas were produced in
European theatres.
Another opera, Moroveldo; orch. works: Himno
mezco andro overturo in E flat: Preludio, Inter-
Danza
M.
RESZKE (phon. Reshke), Edouard de. Polish b.
singer; b. Warsaw, 23 Dec. 1855; d. Gureck,
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RESZKE
Poland, 25 May, 1917. Brother of Jean de Reszke.
Début in Warsaw; Ital. Theatre, Paris, 1876-8;
London, 1884; Paris Grand Opéra, 1885-98. Up
to 1906, sang in all the largest opera houses of
Europe. ZD. J.
RESZKE (phon. Reshke), Jean de. Polish
t. singer; b. Warsaw, 4 Jan. 1850. Began singing
as barit, in 1874; then developed into a t.
Has perf. since 1885 at the Paris Grand Opera,
and as a guest in London, Petrograd, Warsaw,
New York and elsewhere. His finest rôles were
Faust and Romeo (Gounod); Tristan, Tann-
häuser, Lohengrin and Siegfried (Wagner);
Sigurd (Reyer); Samson (Saint-Saëns) and
others. In 1905, he founded in Paris an operatio
singing-school and soon became a celebrated
teacher.-ZD. J.
REUSS, August. Ger. compr. b. Liliendorf,
near Znaim, 6 March, 1871. Pupil of Thuille,
Munich, where he settled 1903; 1906-7, cond.
theatres at Augsburg and Magdeburg; gave
up career through ill-health; lived at Charlotten-
burg as teacher; now at Gräfelfing, near Munich.
As compr. his first works are typical representa-
tives of Munich (Thuille) School; shows in
later works a more personal form of harmony
and melody, and more clearness in form.
Many songs; some with orch. (June Night, op. 8;
Warm Spring, op. 9; ballad, Ratbod, op. 15); male
Horses:
Gotea carol for mixed chorus, op. 6;
op. 5; Waldlied (solo and orch.),
ducts; 2 melodramas (recitation and orch.), op. 21;
symph. prologue, The Fool and Death, op. 10
(H. v. Houtschal); symph. poems, Judith,
(after
and Midsummer Night, op. 19
Journey (Graz, 1909); pf. 5tet, F mi. op. 12:
str.
itets, D mi. op. 25, and D ma. op. 31 (Spring); pt.
trio, op. 30; Stet for wind instrs., B ma. op. 37;
vn. sonatas, op. 26 and 35 (Romantic Sonata); Bar-
carolle, cello and pf.; pf. sonata, C ml. op. 27: Sere-
nade, small orch.; vn. concerto; several pf. pieces
(op. 22).-A. E.
RHEINBERGER
(1858); La Statue, 3-act opéra-comique (1861); Chant
des paysans, for Sardon's drama Les Volontaires de
1851 (1861); Erostrate, 2-act opera (1862); L'Hymne
du Rhin, cantata (1865); La Madeleine de désert,
scena for b. and orch. (1874); Sigurd, 4-act opera
(1884); Salammbo, 5-act opera, after Flaubert (1890);
Marche Trigane, orch.; 2 collections of songs. A.C.
REYES, Juan. Chilean pianist; b. Santiago,
1899. Commenced playing at 4; later went
to Europe, stud. under Desgranges in Paris,
Gonzalez in Genoa, and Gutmann in Vienna,
where he stayed till 1917, when he received the
State diploma and the Austrian grand prize
awarded to foreign students. After numerous
concerts in Europe, returned to Chile, where
he has been giving concerts with continuous
success.-A M.
German
RHEINBERGER, Joseph Gabriel.
compr. and teacher; b. Vaduz, Lichtenstein,
17 March, 1839; d. Munich, 25 Nov. 1901.
Pupil of Ph. Schmutzer in Feldkirch; 1851-4,
R. Music School; 1865-7, repetitor, Court
Theatre; 1867, prof. of R. Music School; from
1877, R. Court condr. Teacher of an inter-
national reputation in counterpoint. As compr.
R. is an epigone of the late-Romantic; he is at
his best in the exquisite counterpoint of his
organ compositions.
REYER, Ernest. Fr. compr. b. Marseilles,
1 Dec. 1823; d. Lavandou (Hyères), 15 Jan.
1909. His real name was Ernest Rey; but he
added the ending -er to give it a German sound
as he was in every way a convinced partisan of
Wagner. Self-taught, but gifted with the most
vivid mus. sense. Received lessons in pf. and
harmony from his aunt, Mme. Farrenc, while
devoting himself to his career as official in
Algiers. After the 1848 Revolution, which caused
him to lose his post, he stud. music in Paris, and
became the friend and declared defender of
Berlioz. In 1850 his first public work, Le Sélam
(symph. ode on text of Théophile Gautier),
was played. Apart from this, wrote entirely for
theatre. Had strong orchestral sense, but his
harmonic writing is poor. Became ritic for
Journal des Débats, succeeding d'Ortigue, the
successor of Berlioz. His critiques have been
coll. under the title Notes de Musique (1875) and
Quarante Ans de Musique (1910). He was
librarian of the Opéra, and became member of
the Institut in 1876 in place of Félicien David.
l'Arrivée du Duc d'Aumale à Alger
pour
Recueil de 10 chansons ancient opéra-comique (1851);
Le parts,
Messe
1850);
Sacountala, 2-act ballet-pantomime, after Th. Gautier
Orch, and chamber works: Symphonische Tonge-
milde, Wallenstein, op. 10; Symph. Fantasia, op. 19;
overtures to Demetrius (op. 110) and Taming of the
Shrew (op. 18); Academical
(1908); pf. concerto, A flat, op. 94; 4 sonatas
Overture, op. 195
(among them Symph. Sonata, op. 47); pt.
duet, op. 122; duo for 2 pfs., op. 15; for
for
str. 4tet, op. 61 and 93; str. Stet, A mi, op. 82 (2 vns.
2 vlas, cello); pf. Stet, C, op. 114; pf. 4tet, E
op. 38; nonet for fl. ob. clar. ben. horn, vn. via cello
flat,
and d.b. op. 139; 2 str. 4tets (C ml. op. 89; F. op.
147); 2 vn. sonatas (E flat, op. 77; E ml. op. 105);
cello sonata in C, op. 92: horn sonata, op. 178.
Organ works 20 organ sonatas: C, op. 27
A flat, op. 65; G (Pastoral), op. 88; A ml. op. 98;
F sharp ml. op. 111; E flat, op. 119; E. op. 127;
F mi. op. 132 (from which is derived the Passacaglia
for orch. op. 1326); B flat mi. op. 142: B mi. op. 116;
D ml. op.
D flat, op. 154; E flat, op. 161; Cma.
op. 165: D ma, op. 168: G sharp mi. op. 175; B ma
op. 181: A ma. op. 188; G ml. op. 193: F ma
op. 196; 2 organ concertos with orch, op. 137 (F ma.)
and 177 (G ml.); suite for organ, vn. and cello with
orch. op. 149; pieces for
12 trios, op. 49;
teristio pieces, op. 156: 12 meditations, op. 167;
6 pieces for organ and vn. (ob.
12 trios, op. 189; 12 organ. 123; 12 charac
Choral works: Legend, Christo), op. 150.
(chorus, soll,
orch.), op. 120, one of his best compns.; Montfort
(chorus, soll, orch.), op. 145; Star of Bethlehem
(Christmas cantata, chorus, soli, orch.), op. 164;
music to Wundertätigen Magus (El Mágico Prodigioso)
by Calderón, op. 30; Hymn to Art (male chorus and
Eberstein, op. 97; Valley of Espingo (male chorus and
orch.), op. 50: Midsummer Night (inalo chorus and
orch.), op. 91; Wittekind (male chorus and orch.).
op. 102; 12 masses; a grand Requiem, op. 60; a
second unace., op. 84; a third for chorus and organ,
op. 194; 2 Stabat Maters; 9 Advent motets, op. 176;
songs (Songs of old Itallan poets, op. 129); vocal
4tets with pf.: Water-Nymph, 4-v. with pf. op. 21;
Lockung, op. 25; Love-Garden, op. 80: Dead Bride,
with solo and orch or pf. op. 81; 3-v. female chorus
with organ, op. 96; 2-v. hymns for female chorus
with organ, op. 118; malo choruses: Roaming, op.
160: Turkish lyrical play From the Golden Horn,
op. 182; pf. pieces, op. 13 (Tarantella), 14 (preludes),
19 (toccatina), etc., etc. Romantic opera, The Seven
Ravens, op. (Munich, 1896); c comic opera, The
Little Daughter of the Tower, op. 70 (Munich, 1873);
mus. comedy, Das Zauberwort, op. 153.
Consult: R. Molitor, J. Rh. and his Organ Compo
sitions (1901); Th. Kroyer, J. Rh. (Regensburg,
1916, Pustet).-A. E.
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RHENÉ-BATON
RHENÉ-BATON (real name René Baton). Fr.
compr. condr. b. Courseulles-sur-Mer (Calvados),
5 Sept. 1879. Pupil at Paris Cons. for pf. Stud.
compn. under André Bloch and André Gédalge.
Chorus-condr. at Opéra-Comique, Paris; then
condr. of Société des Concerts Populaires
d'Angers; of Concerts de la Société Ste.-Cécile
de Bordeaux; 2nd condr. of Lamoureux Con-
certs, Paris, Since 1916, condr. of orch. of
l'Association des Concerts Pasdeloup.
Orch, suite, Fresques antiques; Prelude and fugue,
orch several songs, pf pieces (Durand), a lyric
drama, ballot P.
RICART MATAS, José. Span. cellist, b. 27
Oct. 1893. Stud. under his mother, Carmen
Matas de Ricart, and under L. Millet, A. Nicolau
and J. Soler at Barcelona. Tours Spain, France,
Belgium and England. First appeared in London
1921, and now lives there.-P. G. M.
RICCI, Corrado. Ital. writer and critic; b.
Ravenna, 18 April, 1858. A writer and critic
of figurative art; in Rome was general dir. of
Antiquities and Fine Arts; now dir. of the
Istituto Archeologico. With mus. art he has
a close interest and an ardent sympathy, and is
author of many publications regarding history
of Italian lyric theatre, and of several libretti
for music, of which one is Isora di Provenza for
Luigi Mancinelli. Among books on music:
I teatri di Bologna nei secoli XVII e XVIII
(Bologna, 1888, Monti ed.); Arrigo Boito
(Milan, 1919, Treves); Figure e figuri del mondo
teatrale (Milan, 1920, Treves). Also many
arts. in newspapers and reviews.-D. A.
RICCI-SIGNORINI, Antonio. Ital. compr. b.
Massa Lombarda, 22 Feb. 1867. Stud. at Liceo
of Bologna, under Martucci and Busi. Author
of some distinguished symph. works, and instr.
and vocal chamber-music, publ. mostly by
Ricordi, Carisch and Jänichen of Milan. His
Rapsodie italiane for orch. are amongst his most
successful works.-D. A.
RICCITELLI, Primo. Ital. compr. b. Bel-
lante (Abruzzo), 10 August, 1880. Pupil of
Pietro Mascagni at the Liceo di Pesaro. In
1916 his opera Maria sul Monte was perf. in
Milan. In 1923, his I Compagnacci, comic opera
in one act, at the Costanzi in Rome, met with
great success.-D. A.
RICHARDS, Henry William. Eng. orgt. b. Not-
ting Hill, London, 16 April, 1865. Prof. of organ,
R.A.M.; lecturer and member of committee of
management R.A.M.; Mus. Doc. Dunelm.; orgt.
and choirmaster Christ Ch., Lancaster Gate,
London, 1886-1921; representative for Music-
Teachers Registration Council.
Organ Accompaniment of the Church Services (J.
Williams); Choir-Training (id.); small vocal and
instr. pieces; lectures (R.C.O. Calendar).-E.-H.
Choral Soc., and others. In 1909 became orgt.
at St. Paul's, Baltimore, U.S.A. Since 1912,
instructor in theory at Inst. of Mus. Art, New
York. His Southwark Psalter (Longmans, 1905)
created a new epoch in Psalm chanting.
Choir Training (Vincent Music Co. 1899); Church
Music (Longmans, 1904); Modern Organ Accom
paniment (id. 1907); The Choir-trainer's Art (Schir
mer, 1914); Ertempore Playing (id. 1922). Also
church music, services, anthems, part-songs-J. M
RICHEZ, Céliny. See CHAILLEY, MARCEL
RICHTER, Hans. Hungarian conductor; b
Györ (Raab) 4 April, 1843; d. Bayreuth,
5 Dec. 1916. Boy-chorister at Hofkapelle,
Vienna; stud. at Acad. there 1860-5, and
was horn-player of the Grand Opera orch.
1862-6. Then with Richard Wagner at Lucerne,
copying for him the score of Mastersingers. Upon
Wagner's recommendation, he went as chorus.
dir. to Munich Opera (1868-9). In 1870 went
to Brussels where he cond. the rehearsals for
Lohengrin. 1871-5, was orch. condr. at Budapest
(National Theatre). 1875-98, condr. at Hofoper,
Vienna, and also of Soc. of Friends of Music and
Philh. Concerts and, since 1878, of the Hofka-
pelle also; 1876, conducted the Ring at Bay.
reuth and frequently since then; being one of
the most intimate members of the Bayreuth
circle. Cond. Budapest Phil. concerts 1896-
1897. Worked from 1897-1910 in England,
where he had already cond., in association
with Wagner himself, the Wagner Concerts in
1877. He dir. the Hallé Concerts at Manchester
from 1900 to 1911, the music fests. at Bir-
mingham (from 1885), the German Opera at
Covent Garden and the Richter Concerts
in London. From 1912 he lived at Bayreuth.
brilliant Wagner
Richter was not only a
condr. His masterly manner, well founded on
a deep knowledge of the score, was always bent
on preserving the grand traditions from Mozart
and Beethoven to the Romanticists as far as
Brahms. He never was a "Wagnerian," but
only a convinced adherent of Richard Wagner
the man. His niche has not been filled, up to
this day.-P. ST.
RICORDI, G. & CO. The greatest music-publ.
house in Italy; owners of works of Rossini,
Bellini, Donizetti, Verdi, Ponchielli and Puccini,
that is to say, of nearly whole of Ital. operatic
repertoire in vogue nowadays. Founded 1808
on a very modest basis by Giovanni Ricordi,
who from being prompter at La Scala, became
copyist and printer of music. The founder died
in 1858, leaving his business to his son Tito. The
latter died in 1888, leaving as heir his son.
Giulio (d. 1912), who was an outstanding figure
not only as a publ. but also as an artist. A
capable musician, he comp. some elegant music,
particularly for pf., under pseudonym of Burg-
mein. Giulio enjoyed a bond of deep friendship
with Giuseppe Verdi (as did also his father).
His house became the meeting place of all
the principal Ital. musicians: Boito, Ponchielli,
Catalani, Puccini, Perosi. Of younger musicians,
the Casa Ricordi has publ. works by Zandonai,
Montemezzi, Alfano, AĴalcona, Pizzetti, Respighi,
RICHARDSON, Alfred Madeley. Eng. orgt.
compr. and writer; b. Southend-on-Sea, Essex, 1
June, 1868. Educated at Keble College, Oxford.
Stud. music at R.C.M. under Parry, Parratt and
Pauer. Mus. Doc. Oxon, 1897. Orgt. at South-
wark Cath. London, 1897-1908. Founder and
condr. of Worcester Orch. Soc., Southwark
RICORDI
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RIDOLFI
Casella, Malipiero, and many others. The firm
also publ. concert and chamber-music, vocal and
instr., in addition to educational works and
literature. The catalogue contains about 120,000
nos. The firm is a private company, managed by
Carlo Clausetti (q.v.) and Renzo Valcarenghi.
There are branches in Rome, Naples, Palermo,
London, Paris, Leipzig, Buenos Ayres and
New York. -D.
A.
RIDOLFI, Vico. Ital. pianist; b. Ancona,
10 April, 1863; d. Rome, 31 March, 1920.
Esteemed concert-player and teacher. Stud. at
Cons. of Milan under Carlo Andreoli; went to
Rome, where he enjoyed the esteem of Giovanni
Sgambati, and gained high reputation as perfect
executant and very fine interpreter.-D. A.
ŘÍHOVSKÝ
Opera-Handbook (1884-93); Catechism of Musical
History (2 parts, 1888, 7th ed. 1920; also in Eng.);
Notation Written and Printed (1896): History
of Music Theory from IX to XIX Century (1898);
Eras and Heroes of Musical History (Stuttgart, 1900)
History of Music since Beethoren (Stuttgart, 1901);
Handbook of Musical History (Leipzig, Breitkopf);
1. 1, Ancient (1901), II. 1. Renaissance (1300-1600)
(1907), 11. 2, Figured-Bass Era (1600-1700) (1911),
11. 3. The Great German Masters (1913); Small
Handbook o Musical History (Leipzig, 1908); Byzan-
tine Script from X to XV Century (1909); Folklorist
Study of Tonality (1916).
Eds. of older works: Old Chamber-music (4 vols.,
Augener); Illustrations of Musical History: Round
Period (circa 1618);
RIEMANN, Hugo. German musicologist; b.
Grossmehlra, near Sondershausen, 18 July,
1849; d. Leipzig, 10 July, 1919.
for bar at Berlin and Tubingen; later philo-
First stud.
sophy and history; not till after return from
campaign 1870-1 did he turn to music; then
stud. at Leipzig, besides law, music at Cons.;
1873, Ph.D. Göttingen.
condr. and instructor at Bielefeld, 1878 became
After many years as
hon. lecturer for music at Leipzig Univ.; 1880,
music-master at Bromberg; 1881-90, teacher at
Cons. Hamburg; after short time at Cons.
Sondershausen, 1890-5 at Cons. Wiesbaden;
1895, returned Leipzig and resumed Univ.
lectures; 1901, prof.-extraordinary; 1905, prof.-
in-ordinary; 1908, dir. of newly-establ. Inst. of
Mus. Science (Collegium musicum); 1911, prof.-
in-ordinary, h.c.; 1914, dir. of newly-establ.
State Inst. for investigation of mus. science.
Theoretical works:
ing (Musical
On Musical Hear-
Nature of
sertasical Syntax (1877):
Dances of Emperor Mathias of Abaco's works;
Rococo (circa 1725);
Symphonies of Bavarian Palatinate School: Mann-
heim Chamber music of XVIII Century; Stage Com-
positions of Agostino Steffani.
Collected works as Preludes and Studies (3 vols.
1895-1900); How do we hear Music? (1886; 2 eds, as
Catiam of Musical Esthetics, 1903, also in Eng.);
of Acoustics (1891); Elements of Musical
Esthetics (Stuttgart, 1900); Sketches of Musical
Science (1908); Ideas for Study of Tone-conception and
New Contributions for Study of Tone-conception (Peters'
Annual, 1914-15 and 1916).
Consult the Riemann Festival Book (written by
Mennicke (1909). All the Eng. eds, of R.'s works
are publ. by Augener.-A. E.
Eng. 1906);
Elements of Mus. Esthetics
Riemann's most extensive work is
(Leipzig, 1888, Rhy ou
Manual or farmonies (1882; Eng. by Fillmore);
Calvocoress, 1902; Ital. by Settaccioli, 1906);
(1887, 8th ed. 1920; Fr. by
Systematic Instruction in Modulation
(1890);
by I. Engel, 1896); Catechism of Harm7; Rus
Dua Bewerunge, 1895): (1893; Eng. by
Elementary
Problem of
Simplified Harmony
Dualism
1906); Ele); usic
Tutor (Hesse,
(1882); New
School of Melody
and Imitation
by Lovewell, 1904); Catechism of 1888: Eng.
Cal of Composition
Double Coun -book for Simple
(1888);
Catechism of Fugue
of Bach's Wohltemperirtes Klavier and Art
of Fugue, 3 parts, 1890-1; Eng. by Shedlock);
Csm of Song-composition (1891); Composition
(1902-3; 1. Homophonic Movement, II.
Polyphonic Movement, III. Orchestral Movement
and
Analamatio Vocal Style);
Musical Instruments (1 Sonothetic and Formal
7 Beethoven's E
(3 vols. 1915-19);
Figured-Bass (1889);
also in Eng.); Organ
Formation of Orchestra (190cal Principles
(1880);
(1889) (4th ed.
(5th ed.
since
Shedlock, 1893; also in several pirated eds. in
9th ed., ed. by Alfred Einstein; Eng. by
the one of Music (1st ed. 1882, 8th ed. 1914-15;
Pf. educational works: Pf. Tutor (1883); Expres-
sion in Music (1883); Musical Dynamics and Agogy
(1884); Practical Instructions in Phrasing (1886);
Catechism of Pf Playing (1888; also Eng., Russ.
Technical Studies for Organ (with K.
and
Playing; Preliminary Studies for Polyphonic
(Augener); System of
RIGA, François. Belgian compr. b. Liège,
21 Jan. 1831; d. Brussels, 18 Jan. 1892. Began
as chorister at Liège; stud. Brussels Cons.
under Bosselet, Fétis and Lemmens. After-
wards orch. under Hanssens. He was for some
time choirmaster of Church of the Minimes,
and then devoted himself to teaching and compn.
His numerous male-v. choruses, cleverly written,
but mediocre in style and conceived especially
for effect, belong to the already extinct period
of choral virtuosity. They were used widely, as
were also his many religious works (Brussels,
Schott He married the pianist, Clotilde Florer
(d. 1893).-E. C.
ŘÍHOVSKÝ, Vojtěch. Czechoslovak compr.
b. Dub (Moravia), 1871. Pupil of Skuherský at
Organ School; then orgt. at different places;
1914, orgt. in Prague; later ed. to publs. Mojmir
Urbánek, Prague. His speciality is church-music,
melodious and easy to perform. Also instructive
works. Many masses (some of them Czecho-
slovakian) and harmonisations of popular
songs (Mojmír Urbánek, Prague).-V. Sr.
(1903) Normal Pf. Tutor (Hesse, 1903); eds.
of
works with
Historical works; Studies in the Histor
lion (1877 Development of our Notation (1881);
Nota-
4¹5
Co
RIETI, Vittorio. Ital. compr. b. Alexandria
(Egypt), of Ital. parents, 1898. Stud. pf. and
compn. in Milan under Frugatta, then in Rome
under Respighi; has comp. an interesting piece
of chamber-music.-D. A.
Pf. Tutor
and Metre
RIETSCH, Heinrich. Ger.-Czechoslovak writer
on music, compr. b. Falkenon, 22 Sept. 1860.
Stud. in Vienna under Hanslick and Adler
(compn. Krenn, Mandyczewski, R. Fuchs).
LL.D. 1895, private teacher of music in Vienna;
1900, prof. at Ger. Univ. Prague. His aesthetico-
technical treatise on music in second half of
XIX century is of great value.
The Mondsee-Vienna Song- MSS. and the Monk of
Salzburg (in conjunction with F. A. Mayer, 1896);
Half of XIX Century (1900,
German Song (1904): Fundamentals of Music (1907).
etc. In D.T.O. he republ.: George Muffat's Flori-
legium, I, II; J. J. Fux's Concentus instrumentalis;
Vienna Minnesänger Fragment 2701. Comp.: Symph.
poem, Münchausen; Tauferer Serenade, orch.; Sere-
nade, orch.; opera, Walter von der Vogelweide; 3-tr.
4tets; pf. Stet; pf. musie; choruses; songs.-E. S.
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RIJNBERGEN
RIJNBERGEN, Hendrik. Dutch violinist;
b. Utrecht, 3 Feb. 1886. Mado his first public
appearance at Utrecht, when 12 years old (with
Mozart and Mendelssohn concertos). Stud. at
Utrecht Music School under G. Veerman (1898-
1904); Carl Flesch, Berlin; Eugène Ysaye (1905)
and Marsick (Paris, 1906-8); 2nd soloist in Ber-
lin, Blüthner Orch.; State Theatre, Basle; 1911,
Frankfort, soloist at Opera House and Museum
Concerts; later returned to Holland; became
1st soloist at Utrecht and Amsterdam, Con-
certgebouw Orch. A very fine Mozart-player;
moreover a pioneer of modern music (gave with
Willem Pijper, first perfs. in Holland of vn.
sonatas of Debussy, Darius Milhaud [second]
and Willem Pijper, Feb. 1920).-W. P.
RIMSKY-KORSAKOF, Nicolas Andreievitch.
Russian composer; b. Tikhvin, 6/18 March,
1844; d. Liubensk, 8/21 June, 1908. Received
his first lessons in composition from his pf.
teacher, Fedor Kanille, and later came under the
influence of Balakiref. He served several years in
the Russian navy before devoting himself to
music professionally. In 1865 appeared his first
symphony (the first symphony written by a
Russian), which was followed by the tone-poem
Sadka (1867), the programme-symphony Antar
and various works of similar order. In 1871 he
was appointed professor of instrumentation at
the Petrograd Conservatoire. From 1874 to 1881
he was the head of the Free School of Music,
and from 1886 to 1900 conductor of the Belaief
Symphony Concerts. In 1872 he wrote his first
opera, The Maid of Pskof. Shortly afterwards,
considering his technical equipment inadequate,
he renounced for a time composition in order to
improve his capacities and specially to practise
counterpoint. His first big work after this period
of study was the opera The Night in May, and
henceforth he directed his creative activities -
chiefly towards the lyric stage, without how-
ever relinquishing instrumental composition until
a comparatively later date.
He has often been described, quite rightly, as
a magician of the orchestra; and his fame rests
chiefly upon the works in which he displays in
richest array the outcome of his picturesque
fancy and rare sense of colour. The more earnest
moods of his imagination are revealed in Antar,
in The Maid of Pskof, and in certain of the songs.
The operas Sadko and Mlada contain some of the
finest and raciest music he has written; and The
Snow-Maiden and The Golden Cockerel, the
former essentially lyrical, the latter humorous,
illustrate in their best aspects the lighter veins
of his imagination.
His influence, direct and indirect, has been
considerable. Among Russian composers of
repute, the following have been his pupils:
Glazunof, Liadof, Arensky, Gretchaninof, A.
Tanéief, Ippolitof-Ivanof, Blumenfeld, Steinberg,
Wihtol, Tchérepnin, and Stravinsky.
Operas: The Maid of Pskof (1872, rev. 1894, Bessel).
The Night in May (1878, Belalef)
The Snow Maiden (1881, Bessel)
Mlada (1893, Belaief).
Christmas Eve (1874, id.)
RISELEY
Sadko (1896, id.)
The Tsar's Bride (1898, id.)
The Legend of the Tsar Saltan (1900, Bessel)
Servilia (1901, id.)
Kashtches the Deathless (1901, íd.)
Pan the Voyerod (1902, id.).
The Legelief)
of the Invisible City of Kitej
(1904,
The Golden Cockerel (1907, Jurgenson)
Orch.: First Symphony. Antar (1874, rev. 1893,
E ml.
Second
Bessel)
Third Symphony (C mi. 1873, Belaief)
Sinfonietta, A ini. (1880, id)
Spanish Capriccio (1887, id.)
Fairy-Tale, tone-poem (1887, id.)
Scheherazade, suite (1888, id.)
Easter Overture (1888, id)
Sadko, tone-poem (1867, rev. 1891, Bessel)
Pf. Concerto (1887, Belaief)
He also wrote about 100 songs, a few choral
works, and a small amount of chamber-music,
and pf. music. His fine coll. of folk-songs ap
After his death appeared his
peared in 1877.
My Musical Life (Petrograd, 1909; Eng. transl.
1924, Secker), a vol. of essays on music (ib. 1911),
and his Treatise of Orchestration, completed and
edited by Maximilian Steinberg (Petrograd,
1913; Eng. transl. 1922).
Consult: N. 1
. Findeisen, R. K. (Petrograd, 1908, In
Russ.); V. Karatyghin, R. K. (ib. 1909, id); I
Lapshin, Philosophical Themes in It.-K.'s Works
(ib. n.d. id.); M. Montague-Nathan, R.-K. (London,
1917); N. Van Gilse van der Pals, R.-K. (Leipzig,
Vastrebtsef, R.-K. (Petrograd, 1908,
1911. D. C.
in
RINGNES, Inge Rolf. Norwegian pianist; b.
Christiania, 25 Feb. 1894. Pf. pupil of Dagmar
Walle-Hansen and Arthur Schnabel. First con-
cert in Christiania in 1917; has since given
concerts annually in that city. In 1923, success-
ful concerts in Gothenburg, Copenhagen, Berlin,
Dresden and Vienna. He is a gifted pianist and
has done good service by producing many
modern works.-J. A.
Ger. orgt. compr. b.
RINKENS, Wilhelm.
Röhn, near Eschweiler (Rhineland), 1879. Stud.
at Cologne Cons. (pf. Pauer, Neitzel; compn.
F. Wüllner; organ, Francke); after several
years at Cologne (orgt. and teacher) became
R. cantor, orgt., teacher of college and condr.
of Mus. Soc. Eisenach; 1922, dir. of Train-
ing College for Music-Teachers at Thuringian
National Cons. Erfurt.
Chamber-music; songs; melodrame; pf. pieces.
-A. E.
RIPOLLÉS, Father Vicente. Span. compr. b.
Valencia, 1867, where he holds the position of
choirmaster at Cath. He is noted for his poly-
phonic works.-P. G. M.
416
RIPPER, Alice. Pianist; b. Budapest, 23
March, 1889. Stud. at National Cons. there,
under Stephan Tomka and Sophie Menter
Lives at Munich.-A. E.
RISELEY, George. Eng. orgt. and condr. b.
Bristol, 1844. Stud. under Dr. J. Corfe at the
cath. there; orgt. of the cath. 1876-99; orgt.
Colston Hall from its foundation; condr. of
Bristol Mus. Fests.; was for many years condr.
of the old Queen's Hall Choral Soc. and dir.
of music at the Alexandra Palace. Lives in
Bristol.-E.-H.
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RISLER
RISLER, Édouard. Fr. pianist; b. Baden-
Baden, 23 Feb. 1873, of Alsatian parents who
had chosen to remain Fr. citizens; came to
Paris when very young; stud. pf. at Paris Cons.
under Decombes and then Louis Diémer; 1st
prize for pf., 1889; after completing studies
with Albert Lavignac and Théodore Dubois,
spent some years in Germany, especially in
circle of Cosima Wagner. He was for some time
singing teacher in Bayreuth. Then he returned
to Paris, where he gave series of concerts which
placed him at once in the front rank of inter-
preters of the great classic masters. He crowned
his first series by playing in full the 32 sonatas
of Beethoven. To-day he has attained a tech-
nique of wonderful power and brilliance. His
interpretation, always of a magnificent restraint,
makes the audience forget the pianist in the work.
While very eclectic and often including modern
works (Chabrier, Dukas and Ravel are favour-
ites), he is in complete sympathy with Beet-
hoven, whom he interprets with unequalled
loftiness, power and intimate feeling.-D. L.
RITTER, Alexander. Ger. compr. b. Narva
(Russia), 27 June, 1833; d. Munich, 12 April,
1896. 1841, his mother Julie Ritter, patroness
of Richard Wagner (cf. Wagner's letters to
her, publ. by Siegmund v. Hausegger, Munich,
1920) moved to Dresden, where R. became
school-comrade and friend of Hans v. Bülow.
R. stud. there under Franz Schubert (vn.);
1849-51, visited Leipzig Cons. (David, Richter);
1854, married actress Franziska Wagner, niece
of Richard Wagner. In same year went to
Weimar; Bülow, Liszt, Peter Cornelius, Bron-
sart and Raff as friends; became compr.; 1856,
condr. of Stadttheater, Stettin; 1856-60, at
Dresden; 1860-62 at Schwerin, occupied with
compn.; from 1863, permanently at Würzburg;
1875, establ. music-shop; 1885, sold it, having
joined Bülow's Meiningen Orch. as violinist.
After Bülow's departure (1886), went to Munich.
R. was one of the independent partisans of
North Ger. School; his symph. poems are a
further development, on individual lines, of
Liszt's symph. poems. His most valuable works
perhaps are his short songs, which have an
individual declamatory style, and are strong and
masculine in feeling.
Str. 4tet, op. 1 (written 1865); 2 operas: The Idle
Hans, and Whose Crown?, 1890; symph.
Wedding-Dance; Good Friday and Corpus-Christi;
Fantasy; Erotic Legend; Olafa
Sursum corda; Emperor Rudolf's Ride to the Grave.
Consult Siegmund V. Hausegger, Al. R. (Leipzig,
1907, Siegel).-A. E.
RITTER-CIAMPI, Gabrielle. Fr. operatic s.
singer; b. Paris, 2 Nov. 1886, of Ital. father
and Fr. mother, both musical. Stud. pf. and
gave concerts at 16; at same time was training
as singer. Début on operatic stage in 1917, at
Trianon-Lyrique (the part in Paul et Virginie
which her mother had created). Then sang
successively in Pré aux Clercs; Le Barbier de
Seville; La Traviata; L'Impresario (Mozart).
At request of Paul Vidal the compr. she sang
in Nozze di Figaro (1919) at Opéra-Comique.
Then in Così fan tutte, Les Contes d'Hoffmann,
2 E
ROBERTSON
Mignon, etc. With Battistini she gave 2 perfs.
in Ital. of Rigoletto at Opéra, where she was
engaged in 1921; also sang in Faust, William
Tell, Thais, etc. In 1921 she revived L'Enlève-
ment au Sérail (Mozart); in 1922 Castor et
Pollur, Magic Flute. Her voice is well-
balanced, of very clear timbre, and easy delivery.
Her remarkable style is particularly suited to
s. parts in classical opera, more especially that
of Mozart.-A. R.
RIVERA Y MANEJA, Antonio. Span. condr.
b. Barcelona, 3 May, 1873. Artistic dir. of Socie-
dad Wagneriana, Barcelona (1901-4). Transl. of
Wagner's operas into Span. and Catalonian.
Formerly assistant-condr. at Bayreuth Fests.
Pupil of Felix Mottl and Hugo Riemann. Has
appeared as condr. at concerts and opera, Barce-
lona, Bayreuth, Nuremberg, Lemberg, Rome,
and Lisbon. Gave first perf. in Spain of Boris
Godunof, Mastersingers, and The Marriage of
Figaro. Condr. of Orquesta d'Estudis Sinfonics,
Barcelona.-P. G. M.
ROBERT, Richard. Austrian pl. teacher,
writer on music; b. Vienna, 25 March, 1861.
Stud. at Vienna Cons.; became pf. teacher
there, and critic (Sonn- und Montags Zeitung).
In 1909 dir. of New Vienna Cons, but
soon resigned. President of Tonkünstlerverein
(founded by Brahms). His well-known_pupils
include Vera Schapira, Rudolf Serkin, Therese
Slottko, Wilhelm Grosz, Hans Gál, Georg
Szell (chief condr. Düsseldorf), Alfred Rosé
(Korrepetitor at Vienna State Opera) and
many young condrs. engaged in different Ger.
towns.-P. P.
ROBERTON, Hugh S. Scottish choral condr.
b. Glasgow. Self-taught; began as a church-
choir trainer; then condr. Toynbee House
Choir, Glasgow, a small body of singers, who met
weekly at Toynbee Men's Social Club. He used
this as nucleus for a more ambitious choir, which
ultimately became the world-famous Glasgow
Orpheus. R. was one of originators and pioneers
of the Competition Fest. movement in Scotland,
and is a frequent adjudicator both in England
and Scotland. He has arr. many songs and vocal
pieces for choir, including The Red Flag; and
has written two plays.-W. S.
ROBERTS, Caradog. Welsh compr. orgt. b.
Rhosllanerchrugog, N. Wales, 31 Oct. 1878.
Stud. under Johannes Weingärtner and others;
Mus. Doc. Oxon. Ed. of Caniedydd Cynulleid-
faol Newydd, 1921; dir. of music at Univ. Coll.
of N. Wales, Bangor, 1914-20. Adjudicator at
National Eisteddfodau and Eng. fests.; holds a
leading position in Wales as an orgt. and condr.
In his literary contributions on music, is a strong
advocate of establishing a Welsh school of
music. His compns. include anthems; songs, etc.
-D. V. T.
ROBERTSON, Alec. Eng. lecturer in music;
b. Portsmouth, 3 June, 1892. Stud. R.A.M.
London under Stewart Macpherson, Dr. H. W.
Richards and Frederick Moore (1911-14); 1919,
lecturer in mus. appreciation, London County
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ROMANTIC
critics, of Bülow. In 1896, went under contract
to Buenos Ayres, where he settled to devote
himself to teaching, opening a Cons, which soon
became famous. The Ital. Government made.
him Knight of the Crown of Italy. Comp. 2
symphonies, and pieces for pf. and orch.; many
pieces for pf. and also vn. pieces. His technical
work, Tecnica Pianistica (Buenos Ayres, Breyer)
is well known. He wrote many reviews.-A. M.
ROMANTIC. A term which began to be
applied to music early in the 19th century. The
Romantic movement in literature and the other
arts, to which the initial impulse is generally
held to have come from England (Ossian,
Chatterton, Percy's Reliques, etc.), had its
counterpart in the music of Méhul, Lesueur,
Weber, Berlioz, Schumann, Chopin and Liszt.
It was a revolt against the formalism of the
XVIII century; in music it sought the extreme
expression of emotion and the introduction of
the picturesque element. Through literary in-
fluences, especially in Germany, the Romantic
comprs. came to pay much attention to the
supernatural, and it has been suggested that this
led to modern orchestral developments, because
the orchestra was required to paint the elemental
forces of nature against which humanity had to
struggle. The chief examples of this style are
Weber, Liszt and Wagner; but it was fore-
shadowed in the operas of Rameau and in much
of the English theatre-music of the XVII century.
The xx century has brought about a violent re-
action against Romanticism, which, during the
XIX, was predominantly German in character,
although Romanticism is eminently characteris-
tic of the English and Celtic temperaments.
Romanticism is really not confined to any one.
age or nation; the function of art is to strike a
balance between the "romantic" and "classic"
sides of every human personality-what common
parlance calls "heart" and "head."-E. J. D.
RORICH
Norway, England, Austria; played in Vienna
with Johannes Brahms; at Copenhagen and
Christiania with Edvard Grieg; 1878, went to
Amsterdam, pf. teacher Music School; dir. of
concerts Feliz Meritis, 1888-98; 1913, dir. of
Cons. Amsterdam (succeeding Daniel de Lange).
Symphonies; 2 operas, Agnete (1914) and The
Cavalier (1920);
Laughing folk-musie, etc. (mostly Breitkopf, Leip
London; Noske, The
RONALD, Sir Landon. Eng. condr. b. 7 June,
1873. Son of Henry Russell (formerly a well-
known teacher of singing and compr. of songs).
First appeared as solo pianist in Wormser's
mus. play without words L'Enfant Prodigue;
maestro-al-piano and condr. for Sir Aug. Harris
at Covent Garden, 1891; cond. there, 1894; went
to America with Melba, 1894; condr. Lyric
Theatre, 1890; of Birmingham Promenade Con-
certs; Blackpool Symph. Concerts; of Albert
Hall Sunday Concerts; New Symphony Orch.
concerts (later called R. Albert Hall Orch.);
Scottish Orch.; Albert Hall Saturday Promenade
concerts (1923). Principal, Guildhall School of
Music, London, from 1910. Elected a Fellow
of the R.C.M. March 1924.
Orch. works (ms.); dram and orch.): about 300
scenes, Adonais and
Lament of Shah Jehan (v.
songs; pf. pieces (Enoch); incidental music to
Garden of Allah (1921).-E.-H.
RÖNTGEN, Julius. Compr. and pianist; b.
Leipzig, 9 May, 1855. Pupil of Louis Plaidy,
Carl Reinecke and Franz Lachner. Concert-
tours with singer Julius Stockhausen in Ger-
many, Austria, Switzerland; with Johannes
Messchaert in Holland, Germany, Denmark,
old
zig:
Simrock:
Hague; Alsbach, Amer).-W. P.
ROOTHAM, Cyril Bradley. Eng. condr. compr.
and orgt. b. Bristol, 5 Oct. 1875. Son of D.W.R.
(see below). Stud. St. John's Coll. Cambridge,
and R.C.M. London, 1901; St. Asaph Cath.
1901; St. John's Coll. Camb. from 1901; Mus,
Cond. Magic Flute (Camb.
Doc. Cantab. 1910
Theatre) 1911; condr. Camb. Univ. Mus. Soc.
1912; univ. lecturer, 1913; Fellowship, 1914.
Binnorie
The Twa Sisters of Bi
Orch.: rhapsody, Pan; Procession in S
Miniature Suite in G ma, pt. and
(Passacaglia,
Opera, The Two Sisters, founded wirlet (Chan-
on folk-ballad,
& Tabb),
cellor's Goodwin & Tabb Suite str. 4tet in
Fallen
str. 5tet
Saraband, Jig), 11. and pf.
C (Murdoch); Andromeda, soli, chorus and orch.
Coronach, barit.
(Novello); In Highland and
chorus and orch. (Stainer & Meadow, 3 songs for
chorus (t.b.) and orch, (id.); For the
solo. aurence Binyon), e
and orch. (a Car-
& Bell); Helen of Kirkconnell,
negle award;
v. pf.
t. v. and orch. (Stainer & Bell); 4 dramatic songs,
15th Idyll of
str. 4tet (id.); song f
(Chester;
(in Greek), high v. harp and str. 4tet; numerous
with pf. acc.; vn. and pf.
Curwen; Stainer
for Choirs
part-songs (Weekes;
and Schools
Brown Earth. cer sem orch. (Novello):
high v. and orch. (NOVE 4. Vignette, critus
pieces (ses & Bell);
songs Bosworth); organice-training.
& Bell); Univ.
work,
ROOTHAM, Daniel W. Eng. barit. singer and
condr. b. Cambridge, 1837; d. April 1922. Lay.
clerk (bass) Bristol Cath. 1852; orgt. St. Peter's,
Clifton, 1866. Played an important part in the
mus. development of Bristol. Condr. of Bristol
Madrigal Soc. from 1865 till 1915; of Bristol
Clara Butt began as a
Fest. Choir, 1878-96.
singer in his choir.-E.-H.
ROPARTZ, Guy. Fr. compr. b. Guingamp
Pupil of
(Côtes-du-Nord), 15 June, 1864.
César Franck and Massenet; dir. of Nancy
Cons. since 1894; called to Strasburg in 1919 to
directorship of Cons. and Concerts, where he
entirely re-organised the teaching, according
Very cultured, has publ.
to Fr. methods.
His
comedy.
some vols. of poems and a
music is allied to the popular songs of Brittany
as well as to religious inspiration.
Orch. works: Les Landes (1888); Dimanche breton
(1894); 4 symphonies (1895, 1900, 1906, 1910);
Psalm CAR (1897); Fantasia in D (1897); La
(1902); A Marie endormie (1912);
Soir sur les
La Chasse du Prince Arthur (1915). Stage-works:
Cloche des
(1912);
chaumes (1913);
Pêcheur d'Islande (1891); Le Miracle de Saint-Nicolas
(1905);
str.
itets; 2 sonatas, pf. and cello; 2 sonatas, vn. and pt.:
trio, vn. pf. and cello. Pf. pieces: Overture; Varia
Finale; 3 Dans de la
Montagne; Scherzo; Musiques au jardin; Croquis
d'été. Many organ piecea Musique française moderne
and religious pieces.
Consult André Couroy, La
(Delagrave, 1922).-A. C.
RORICH, Karl. Ger. compr. and teacher;
b. Nuremberg, 27 Feb. 1869. Stud. at Würzburg
R. Music School; 1892, teacher Grand-Ducal
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ROSA
Music School, Weimar; 1897, mus. dir.; 1911,
member of mus. expert committee; 1904-9,
cond. Philh.; 1913, dir. of Municipal Music
School, Nuremberg.
ROSING
Long Prize, R.A.M. Club Prize, Macfarren.
Gold Medal, and Sterndale Bennett Scholarship
(compn. and pf.); sub-prof. there 1907-10. First
works publ. by Chappell in 1910, and first recital
given the same year at Eolian Hall. First appear-
ance as soloist, Chappell Ballad Concerts 1911,
and Promenade Concerts at Queen's Hall 1913;
has played at Manchester and Liverpool (with
Dr. Brodsky), Birmingham, and with orch. at
Bournemouth, Eastbourne, Buxton, Harrogate,
etc. Prof. Blackheath Cons. 1911-16. Military
First
service, France and Belgium, 1916-19.
concert of own compns. May 1919, Wigmore
Hall (assisted by Moiseiwitsch, Daisy Kennedy,
and Herbert Heyner); went to South Africa in
1920;
appointed prof. Harrison Cons. of Music,
Johannesburg, March 1921; 1922-4, 3rd com-
plete tour of the Union.
Suite for 2 vns, and str. orch. op. 18 (1st perf.
21 Nov. 1922, Johannesburg Town Hall, by Durban
Orch. under Lyell-Taylor); Variations and fugue for
2 pfs. op. 16 (Augener); vn. and pf. pieces (Chappell;
Augener; Bosworth); pf. pieces (Augener; Ricordi;
Rogers: Bosworth; Chappell); songs (W. Rogers).
1908 she again made a tour through Europe, Copenhagen, 21 July, 1850; d. there, 19 July
ROSENFELD, Leopold. Danish compr. b.
-E.-H.
finally to in Ayres in
1911. Prof. of vn. at Buenos Ayres Cons. In
1924, toured in U.S.A.-A. M.
1909.
talented and prolific song-compr., and
a popular singing-teacher in
gen. His
30-odd publ. groups of songs are instinct with
feeling, character and culture. They are closely
allied to the Ger. Romantic school. In larger
forms there are: Henrik og Else (Henry and
Elsie), soli, chorus, orch. (text by Danish poet
Christian Winther). He publ. a treatise Om
Textsang (Text-Singing), 1887; ed. the Uge-
skrift for Teater og Musik (Theatrical and Musical
Weekly), 1881; was a prominent mus. critic on
Copenhagen Press. Founded Dansk Koncert-
forening, Copenhagen, a mus. association de-
voted exclusively to performing older and newer
works of Danish composers.-
H.
Symphony,
str. orch. Academical Festival March; flymnus
Introduction and Allegro for
solemnis: Fairy Overture; Carnival Overture; over-
tures for Grillparnachtsbilder:
Waldleben;
Weh dem der lügt: suites:
Chamber Songs for contr. with str. itet: Stet for
fairy-play, Ilsa;
wind instrs. E mi.; str. 4tet, B mi.; str. 6tet; sulte
for 2 fls.:
Stet for w. Chorus: Mass, 3-v.; pf. pleces; songs:
and
Theory Lessons (1908). P. op. 58; Material for
E.
ROSA, Alba. Argentine violinist; b. Milan in
1889. Stud. at R. Cons. of Milan under Rampaz-
zini, having to interrupt her training when 12
years old to go to Uruguay with her family. There
she attracted the attention of César Thomson,
on his concert-tour through S. America, and on
his advice was sent to R. Cons. of Brussels.
After 2 years there under Thomson, she under-
took a concert-tour through France, Spain,
Portugal, and Italy, being everywhere enthusi-
astically received. In 1907 she came to Argentina,
where she gave a series of successful concerts. In
ROSATI, Enrico.
Ital. teacher of singing;
b. Rome, 9 June, 1874. Stud. compn. under
Cesare De Sanctis in Rome, at R. Liceo Mus.
di Santa Cecilia; devoted himself particularly
to teaching of singing at Liceo at Pesaro, in
Milan, and at R. Liceo Mus. di Santa Cecilia,
Rome, where he has trained some excellent
pupils, amongst whom were Beniamino Gigli
and Benvenuto Franci. Now teaching in New
York.-D. A.
ROSATI, Tito. Ital. cellist; b. Sant' Elpidio
a Mare, in 1883. Stud. under Cremonini (cello),
Pietro Mascagni (compn.) at Liceo at Pesaro.
First cellist in orch. of the Augusteo since the
foundation of the concerts there. After having
belonged to various groups chamber-music,
at present takes part in the quartet formed at
the R. Liceo Mus. di Santa Cecilia. Also much
esteemed soloist, playing at the Augusteo and
elsewhere.-D. A.
ROSENBERG, Hilding C. Swedish compr. b.
Bosjökloster, 21 June, 1892. Stud. pf. under
Rich. Andersson and compn. at R. Cons. Stock-
holm and in Dresden (pf. under Buchmayer and
conducting under K. Striegler). As compr. is
a modern Expressionist. Lives in Stockholm.
Symphony (1917; perf. Gothenburg, 1921); 3
Phantasy-pieces (Passacaglla, orch. (1922); 5.
ib. 1919); pf. concerto (1919);
vn. alone (1922); trio, fl. vn. and vla. (1921); str.
itet (1920); songs; pf. pieces.-P. V.
ROSENBLOOM, Sydney. British compr. and
pianist, b. Edinburgh, 25 June, 1889. Came to
London in 1897; stud. under Charles F. Reddie,
1901; entered Blackheath Cons. with scholarship
in 1902, gaining Erard Gold Medal whilst there;
entered R.A.M. 1904 with Erard Centenary
Scholarship, and while there, studying under
Charles F. Reddie (pf.) and Frederic Corder
(compn.), gained Anal awards, Heathcote
ROSENSTOCK, Józef. Polish pianist, compr.
b. Cracow, 1895. Pupil of Lalewicz (pf.) and
Jachimecki (theory), then of Schreker in Vienna
at State Acad. of Music. Numerous concerts as
pianist and condr. 1917-20. Became prof. of
pf. and theory at Akademische Hochschule für
Musik in Charlottenburg (Berlin) in 1920. Condr.
at Stuttgart Opera, 1921.
Fugue for 2 pfs.; Variations on Chopin's Prelude
in C mi.; sonata in D mi. for pf.; concerto, pt. and
orch.; Lustige Ouvertüre (played 1922 in Berlin);
several songs.-ZD. J.
ROSENTHAL, Maurycy (Moritz). Polish
pianist; Lemberg (Galicia), 18 Dec. 1862.
Pupil of Karol Mikuli in Lemberg, Joseffy in
Vienna, Liszt in Weimar (1877). His playing
always evokes the highest admiration on account
of his incomparable technique and deep expres-
sion. One of the greatest potentates of the
keyboard. Lives in Vienna.-ZD. J.
ROSING, Vladimir. Russ. t. singer; b. Petro-
grad, 23 Jan. (n.s.) 1890. Stud. under Marie
Rosing, Sir George Power, Jean de Reszke,
Kartgeva and Sbriglia; stud. for the Bar;
married (1909) Marie Falle in London; 1912,
leading t. Art-Opera, Petrograd, début (Lensky
in Onegin) Dec. 1912; 1st appearance in London,
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ROSLAVETS
May 1913, in Albert Hall; 1913-14, Russia
and Switzerland; Imperial Opera, Vienna, June
1914; settled in England in 1915, and gave an
opera-season in London Opera House; created,
in London, Herman in Tchaikovsky's Queen of
Spades; in 1916 commenced his series of famous
song-recitals London, and repeated them
yearly till 1921; toured Great Britain, March
1921; gave his 100th London recital, at Albert
Hall; Ist Paris recital, 2 May, 1921; autumn,
1921, England, Belgium, Paris; 15 Nov. 1921, 1st
recital in Madrid; 1922, Amer. tour; 1923, head
of opera school at Eastman School of Music,
Rochester, U.S.A. R. exercises the same mag-
netic force on his audiences as Nikisch did on his
orch. players. He is at his very best in character
songs. He was the first to reveal the full beauty,
power and wide range of the Russ. art-songs,
and one of the first to reveal the art of pro-
gramme-making per se.-E.-H.
ROSLAVETS, Nicolai Andréivitch (accent 1st
syll.). Russ. compr. b. Surai (govt. of Chernigof),
24 Dec. 1880/5 Jan. 1881. Son of a Russ.
peasant; pupil of Hjimaly (vn.), Ilinsky and
Vassilenko (theory) at Moscow Cons., finishing
with a silver medal for his dramatic cantata
Heaven and arth (after Byron). One of
representatives of the "extreme left" group of
Russian composers.
Symphony (1922); symph. poems: The Man and
the Sea (1921) after Baudelaire; On the Earth's Death
(Paul Lafargue); 5tet for harp, ob. 2 vlas. cello;
5 str. 4tets; 2 pf. trios; 5 vn. sonatas; 2 cello
sonatas (1921; 1922);
3 pf. sonatas; many songs.
Some of are publ. by compr. himself. V. B.
ROSS, Hugh Cuthbert Melville. Eng. condr.
orgt. 6. Langport, Somerset, 21 Aug. 1898.
Educated at Clifton Coll.; R.C.M., and New
Coll. Oxon.; President of Oxford Univ. Mus.
Club. 1921. Went to Canada in 1921 as condr.
of Winnipeg Male Choir and orgt. Holy Trinity
Church. As choral condr. he has achieved re-
markable success. In 1922, founded the Winnipeg
Philh. (mixed chorus) which eminent English
musicians have acclaimed as among the finest
of its kind. The choir has toured in Eastern
Canada and U.S.A. See art. A Trip to the
Canadian Festivals, by H. Plunket Greene in
Music and Letters, Oct. 1923.-L. S.
ROSSOMANDI, Florestano. Ital. pianist and
compr. b. Bovino (Foggia), 22 Aug. 1867. Since
1889, prof. of pf. at the R. Cons. di San Pietro
a Maiella, Naples; has brought out some
brilliant pupils. Was pupil of same Cons. for
pf. (Cesi school), compn. (Serrao school). Condr.
also, at important concerts in Naples. He
founded, and dir. for nearly 20 years, the
Associazione Scuola Rossomandi, instituted to
train young people for public perf. Compr.
of much pf. music (Naples, Izzo).-D. A.
ROTERS, Ernst. Ger. compr. b. Oldenburg,
6 July, 1892. Pupil of Georg Schumann (compn.),
Meyer-Mahr (pf.); 1914-15, cond. training and
seminary classes of West Prussian Cons. Dant-
zig. Condr. Hamburg Chamber-Plays (Kammer-
spiele).
3 Capricci for pf. op. 1; 6 songs, op. 2; symph.
ROUARD
sulte, pf. and orch. op. 3; 6 variations and fugue on
Breton theme for pf. op. 4 (Berlin, Simrock); Nacht-
stück, str. 4tet, op. 5 (Simrock);
Rhapsody for full orch. op. 6: Ithapsody, vn. cello
Dance-
op. Prelude fugue, str.
orch. op. 8; chamber-symphony, small orch. op 9;
4 song, v. and pf. op. 10; Legende, full orch. op. 11;
choral variations and fugue, Meergarten (The Happy
berg); music to Der glückselige
Sea-garden) (1 14: 3 songs, op. 15: 5 songs,
(R. Walter); music to Ein Sommer-
(from Bible);
12
nachtstraum,
op. 16; pf. suite, op. 17: An Ord8.-A. E.
symphony, soli, chorus, orch. op.
422
ROTH, Bertrand. Ger. pianist; b. Degers.
1875-7, stud.
heim (St. Gallen), 12 Feb. 1855.
at
Leipzig Cons. (pf. Wenzel, Jadassohn,
Reinecke); student of philosophy; 1877-80,
pupil of Liszt; 1880-4, pf. teacher Hoch's
Cons. Frankfort-o-M.; 1882, establ. there
(with Schwarz and Fleisch) the Raff Cons.;
1884, teacher at Dresden Cons. Among pupils
are Percy Sherwood, Emil Kronke, Karl Pratzsch,
Joh. Thamm. Comp. pf. pieces (op. 20, Varia-
tions on own theme); songs (op. 16-19).-A. E.
ROTH, Herman. Ger. musicologist and
publ. b. Hornberg, Baden, 15 Feb. 1882. Stud.
philology and philosophy; 1902-3, pupil of
Wolfrum, Heidelberg; 1905, pupil of Riemann,
Leipzig; 1907-10, concert critic, Leipzig; 1910-
1921, Munich; 1921, teacher at Carlsruhe, at
Baden Conservatoire.
Publ. (with pf. extracts) Bach's Works (Magni-
ficat, 1
, 10 cantatas, 25 songs from Schemelli's Book of
Songs, Hymns from Small Hymn-book of Anna Mag
dalena Bach; Choralgesängen and Capriccios); 30
of Handel (Munich, 1920); 30
sacred songs
Kaspar Schmid (Munich, 1921).-A. E.
songs (Ger. arias) Em. Bach. Wrote IIeinrich
ROTHSTEIN, James. Ger. compr. b. Königs-
Stud. under
berg, Prussia, 23 Nov. 1871.
Leimer and K. Berneker; 1893, under Bargiel
and Bruch at Academical Meisterschule, Berlin.
Choral works (The Grave in Busento, with orch.);
chamber-music; songs; about 200 hymns, pieces for
pf. and cello; double vn. and cello concerto; lyric-
opera, Ariadne auf Naxos (1903); 1-act mus.
Die
Zarenbraut (Czar's Bride).-A. E.
ROTTENBERG, Ludwig. Condr. and compr.
b. Czernowitz (Bukowina), 11 Oct. 1864. Pupil
of Hrimaly; of Robert Fuchs, Mandyczewski,
Vienna; concert-acc. of G. Walter, H. Spies
and A. Barbi; 1888, condr. of Orch. Union of
Soc. of Friends of Music, Vienna; 1891-22, 1st
condr. of Stadttheater, Brünn (Brno); engaged
for Opera House, Frankfort-o-M.; paid special
attention to modern style (notably Schreker).
Publ. a coll. of 30 songs (1914); opera, Die Ge-
schwister (Brother and Sister), after Goethe (Frank-
fort-o-M. 1916): pf. and vn. sonata, 1919.-A. E.
ROUARD, Édouard. Fr. operatic barit. b.
Nice, 22 Nov. 1876. Stud. at Marseilles under
Début at
Boudouresque (b. of Opéra, Paris).
Opéra, Nice, 1900. Appeared at Opera Houses,
Lyons (1903), Liège (1904-5), Geneva (1906-7),
and returned to Nice (1910-11). For 3 years at
La Monnaie, Brussels, where he sang in Parsifal,
and Les Joyaux de la Madone (Wolf-Ferrari).
Returned to France at outbreak of war and was
mobilised until 1919. In 1920, début at Opéra,
Paris in La Légende de St. Christophe; sang in
La Mégère apprivoisée, 1921; Antar, Hérodiade,
1922; La Fille de Roland, 1922. Possesses a
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ROUSSEAU
beautiful voice of clear timbre and good range,
capable of nuances and skilfully used.-A. R.
ROUSSEAU, Samuel. Fr. compr. b. Neuve-
maison, 11 June, 1853; d. Paris, 1 Oct. 1904.
Pupil at Cons. of César Franck; Prix de Rome,
1878; precentor at Ste.-Clotilde; gained Prix
de la Ville de Paris for opera Merowig (1891).
His style recalls at the same time Gounod and
Lalo, with more elegance and correctness than
depth. A prolific compr. Has been music critic
of L'Eclair.
ROYAL ACADEMY OF MUSIC
ardour, which sometimes bursts violently forth.
The symphony in G minor is a vast symphonic
fresco whose final scene gives one the impression
of a mob in full rebellion; the music is of such
power and audacity that it disconcerted many
of the composer's friends, but finally won their
applause as a true masterpiece. The Paris
Opéra, in May, 1923, performed his Padmavati,
an opera-ballet on an Indian subject (poem by
Louis Laloy). It was finished five years before,
and contains passages of arresting grandeur.
Roussel has always employed a contrapuntal
technique of very original style; for some years
he has worked unrestricted by any scruple for
tonal construction. This evolution took place
unconsciously, and Roussel appears in some
respects to be intuitive, like Berlioz and De-
bussy, creating novelties by seeking a sincere
expression, without the slightest premeditated
effort to create novelties. His works are pub-
lished by Durand.
From
Pr. pieces: chamber-music; songs; Messe de
Pâques; Messe de Noel; Requiem; a Libera; motets;
pieces for organ; for harmonium; operas: La Cloche
du Rhin (1898); Milia (1901); Leone (1910).-A. C.
ROUSSEL, Albert. French composer; b.
Tourcoing, 1869. Began to devote himself to
music at 25. Was formerly a naval officer, and
came to recognise his true vocation during
lengthy cruises under Eastern skies.
them he brought back, like Baudelaire, a passion
for the sea and sunlit lands, which pervades
all his music. He learnt composition and
harmony under Eugène Gigout, and followed
the courses of V. d'Indy at the Schola Cantorum.
His individuality is extraordinarily marked;
he can scarcely be placed in any school. He is
as original as Paul Dukas; yet contradictory
influences (Debussy and d'Indy) helped to form
him. There is a tendency to overlaud the
sensuous charm and refined elegance of his
ballet, Le Festin de l'Araignée (Feast of the
Spider) (1912), and the charming Rustiques and
Jardin Mouillé. The real Roussel is not to be
found in these, or at least only one aspect of
his genius, and that not the most important.
Neither does he reveal himself in the violin
sonata in D minor (1903; dedicated to d'Indy),
showing signs of scholastic restrictions usually
foreign to him; but he springs into full being
in the marvellous Divertissement (piano and
wind-instruments, 1906), which by the hard-
ness of its harmony already foreshadows
Stravinsky's Sacre du Printemps; especially
does he reveal himself in the Evocations (chorus
and orchestra, 1919), in the prelude Pour une
Fête de Printemps (1921), and in the symphony
in G minor, 1922.
Roussel is a poet. He seizes the multiple and
mysterious echoes which nature evokes in the
human soul and clothes them in the magic of
music. His Poème de la Forêt is redolent with
the scent of trees; his Evocations are a mirage
in which one espies cities of the Far East,
crimsoning beneath a sky of gold. His tempera-
ment is sincere, virile, sometimes harsh, but
never ascetic; on the contrary, it is distinctly
sensuous. But it is a straightforward sensuous-
ness that is robust and healthy.
He loves
beauty of line, harmony of rhythm, life and
teeming nature, and the fauns whose woodland
gambols he was so apt in portraying. His
whole work is impregnated with pantheism.
Unlike Ravel, Roussel does not consider
music as an end in itself. He looks upon it
merely as a means of expression; but he has
within him some secret force, some passionate
Consult Roland-Manuel, 4. R.
Nov. 1922); André Couroy (q.v.) H. Pue Musicale,
ROWLEY, Alec. Eng. compr. and orgt. b.
Shepherd's Bush, London, 13 March, 1892. Stud.
at R.A.M. under F. Corder, Dr. H. W. Richards,
Herbert Lake. His compns. are of a romantic
order, and he has written much for children.
Pf. music (W. Rogers; Swan;
Williams); organ (Ashdown, Paxton, Non; J.
vn.
(Ashdown): cantatas, vocal works (Novello; Arnold;
Rogers).-E.-H.
ROYAL ACADEMY OF MUSIC, London.
Founded 12 July, 1822, by Lord Burghersh
(afterwards Earl of Westmorland) and a party
of aristocratic amateurs of music. An imposing
array of directors and patrons was drawn up,
with the king at their head.
Premises were
taken at 4 Tenterden St., Hanover Square, and
work commenced, on a very modest scale, in
March 1823.
Dr. W. Crotch was nominated
"Principal Professor," but had little share, if
any, in the direction of the school. Artistic
results were quickly obtained, but pecuniary
support was not forthcoming from the outside
for upwards of 40 years, in spite of a Royal
Charter, conferred in 1830. Dr. Crotch was
succeeded in 1832 by Cipriani Potter, who held
office till death of the earl in 1859. In 1853 the
boarding and internal residence of students was
discontinued; in 1865 a Government grant of
£500 per annum was obtained, and after some
time made permanent. Charles Lucas succeeded
Potter as Principal and was followed, in 1866,
by William Sterndale Bennett. In 1868, on with-
drawal of the grant, endeavours were made to
wind up the School; but this was found to be
a practical impossibility. Under the manage-
ment of the professors the crisis was surmounted
and the fortunes of the Acad. gradually improved.
Bennett died in 1875, and was succeeded by
G.A. Macfarren. In 1876, it was found necessary
to enlarge and re-model the premises, a proper
concert-room being added. The studentship was
then 300 and the numbers steadily increased,
being about 500 from 1896 till end of lease in
1911. In 1888 Alexander C. Mackenzie became
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ROYAL COLLEGE OF MUSIC
Principal. By this time the Acad. comprised
6 houses more or less adjacent and was wholly
unsuited to the needs of a modern school. A
site in the Marylebone Road was secured and the
present handsome building erected, with every
regard to requirements. After the necessary set-
back of the war, the studentship sprang to 730,
this being the limit of its accommodation. The
Acad. possesses now an elaborate system of
examinations, as well as a scheme of systematic
training for would-be teachers of any mus. sub-
ject. Upwards of 70 scholarships and exhibi-
tions are in operation and 65 special prizes for
students. All branches of music, as well as
elocution, drama and kindred arts are taught
in this inst., which in 1922 celebrated the cen-
tenary of its foundation with great pomp. Sir
Alexander Mackenzie retired from the director-
ship in 1924 and was succeeded by John
McEwen.-F. C.
ROYAL COLLEGE OF MUSIC. Had its
beginning in the National Training School for
Music, founded in 1873, on a site near the Albert
Hall, South Kensington (now occupied by the
Royal College of Organists). Opened at Easter
1876. First Principal, Sir Arthur Sullivan. 82
free 5-year scholarships of £40 a year each,
obtained by competitive examination. 1882,
this institution was taken over by the Royal
College of Music, and formally opened by the
Prince of Wales, 7 May, 1883. Principals: Sir
George Grove from 1882; Sir Hubert Parry from
1894; Sir Hugh Allen from 1918. Its first pro-
fessors were Parry, Parratt, Stanford, Pauer,
Franklin-Taylor, Arabella Goddard, Jenny
Lind(-Goldschmidt). In 1924 the staff numbered
36 teachers of singing, 18 pf., 4 organ, 6 vn.,
1 cello, 6 compn., 12 harmony, classes in con-
ducting, choir-training, dictation, opera and
musical appreciation. A Patron's Fund (£27,000)
was instituted by Sir Ernest Palmer in 1903,
for the encouragement of composition by the
younger British composers. Rehearsals and
performances of their works are held in connec-
tion with this fund, and are open to the public.
The College bestows Associateship (A.R.C.M.)
by examination (open to students and non-
students), and gives Fellowship h.c. In 1889
it joined the R.A.M. in forming the Associated
Board, which examines locally all over the
British Empire.-E.-H.
ROYAL COLLEGE OF ORGANISTS. The re-
presentative institution of the organist's pro-
fession; consists of Fellows, Associates and mem-
bers, all of whom are either actively engaged in,
or interested in the work of the orgt. The chief
work has been the holding of examinations by
means of which orgts. may qualify for diplomas
of Associateship and Fellowship. The first step
towards the formation of the Coll. was taken by
R. D. Limpus, orgt. of St. Michael's Ch. Cornhill,
in 1863, but the definite founding of it dates
from 12 March, 1864. Limpus was elected the
first hon. sec.; on his death in 1875 he was suc-
ceeded by Edmund Hart Turpin, who held
office until 1907. During Dr. Turpin's secretary-
The most
ROYAL OPERA HOUSE
ship the Coll. made great strides.
eminent orgts. have been and are members of
the council and also of the examining boards
For many years the high value of the diplomas
has been recognised all over the English-speaking
world. A Royal Charter was granted in 1893.
The Coll. was formerly situated in Hart Street,
Bloomsbury, but in 1904 the Commissioners of
the 1851 Exhibition granted the use of the fine
building which it now occupies at Kensington
Gore. On the death of Dr. Turpin, Dr. J. F.
Sawyer became the hon. sec., but he only lived
to hold the office for a few months when he was
succeeded by Dr. H. A. Harding, the present
hon. secretary.-F. G. S.
ROYAL DUBLIN SOCIETY. Since 1886 this
society's recitals have been the most consistent
effort made to educate the Dublin public in
serious music. In 1866 when the art school,
which the Soc. had maintained for over 130
years, had been transferred to the Government,
the council decided that their energies should
be directed towards encouraging serious music.
Weekly recitals of the best chamber-music were
held, in order that music might be systematically
brought before the public as effectively as paint-
The co-
ing and sculpture in the galleries.
operation of the Instrumental Music Club of
Dublin was obtained. In the early years the
recitals were entrusted to the same musicians
engaged for a whole season. It was thus possible
for the public to hear the same trio or quartet
perform a complete set of chamber-music works.
Another feature was the practice of giving
gratuitously to the audience programmes an-
notated by musicians such as Sir Robert Stewart
or Dr. Prout. This custom has disappeared.
In 1900 the Soc. began to engage more famous
trios and quartets from England and the Con-
tinent as well the best local talent, in the
Soc.'s theatre (built 1896) which has conditions.
well-nigh ideal for ensemble music. The hall
has organ constructed by Messrs. Henry
Willis.-W. ST.
ROYAL OPERA HOUSE, Covent Garden,
London. The modern musical history of Covent
Garden Theatre, if it be extended backwards for
a period of 40 years, takes us to the time when
Mr. Ernest Gye was in control for a brief space.
Albani and Patti were the bright particular stars,
the former still in her zenith, the latter already on
the wane. It has been called, by a well-known
writer, the period of the decline and fall of
Italian opera in London. For another year or two
things were just kept going by the joint efforts of
Mapleson and Signor Lago. The latter impresario
gave distinction to a brief season in 1887 by pro-
ducing Glinka's La Vie pour le Czar. In 1888,
however, a new and glorious era began, with the
management of Augustus Harris, and the power-
ful influence of many distinguished
in
persons
Society, headed by the Prince and Princess of
Wales (afterwards King Edward and Queen
Alexandra). A remarkable company of star
artists, new to London, was engaged, notably the
Polish tenor Jean de Reszke and Melba, In 1889
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ROYER
Gounod's Romeo and Juliet was produced in
French with a superb cast. In July The Master-
singers was performed by a company of many
mixed nationalities, in Italian! In 1890 most of
the great nights were reserved for opera per-
formed in French, even Favorita, and the Ravogli
sisters made their début in Orfeo. In 1891, during
a season of 16 weeks, 20 different operas were
heard, and £80,000 taken in receipts. 1892 saw
the great Bayreuth artists, Alvary and Rosa
Sucher, as Siegfried and Brünnhilde. In 1893,
Mascagni and Leoncavallo were first given a
hearing, and we are cheered to find the name of a
British composer, Sir Charles Stanford, attached
to the production of an opera, The Veiled
Prophet, though even that was produced in
Italian. In 1894, several new productions were
heard, by Bruneau, Massenet, Cowen, Puccini
and the veteran Verdi whose amazingly fine.
opera, Falstaff, showed no weakening of his
genius. In 1896 the theatre suffered a heavy
loss by the sudden death of Harris, who had
worn his life to a thread in its service. The fol-
lowing year the lease was granted to the Royal
Opera Syndicate, who were content to follow
a safe policy of presenting familiar works by
artists of high repute, year by year. 1900-1 saw
a greatly needed reco ruction of the stage and
yet another season of well-tried productions. In
1902, it may be noted, Mary Garden made a
highly successful début as Manon, and among
English composers, Herbert Bunning's Princess
Osra and Ethel Smyth's Der Wald were heard.
During these seasons, 1903 and onwards, the
genius of Hans Richter dominated the great
performances of the Ring at Covent Garden. In
1904 Ternina and Destinn were prominent and
Saint-Saëns visited the theatre to witness his new
opera Hélène. 1905 is memorable as the year
which first witnessed the never-to-be-forgotten
Pinkerton of Caruso. In 1906 Tchaikovsky's
Eugene Onegin was sung in Italian and Gluck's
Armide was added to the repertoire. The 1907
autumn season introduced Tetrazzini to London
as Lucia di Lammermoor, but nothing else note-
worthy occurred until 1909 when Samson and
Delilah, Pelléas et Mélisande and Louise were
first produced. 1910 saw Richter absent from the
opera and the first advent of Thomas Beecham
with an ambitious programme of novelties in-
cluding the much-discussed Salome of Strauss.
1911 saw the Russian Ballet engaged in addition
to the opera company, and a first presentation in
England of The Girl of the Golden West and Mas-
senet's Thais. 1912 lacked any special interest,
but 1913 brought Nikisch to conduct German
opera, and the return of Caruso after 6 years'
absence. During the war years, Covent Garden
Theatre was destitute of opera, and was utilised
by the Government as a furniture store. In March
1919, it was released from war service and the
B.N.O.C. became responsible for the perform-
ances there. In 1924, the R. Opera Synd. resumed
its international policy.-H. S. W.
ROYER, Étienne. Fr. compr. b. Paris, 1880.
Pupil of Schola Cantorum; is (with André
RUBIO
George) music critic of the Catholic review Les
Lettres. His compns., confined almost entirely
to chamber-music, are of lofty inspiration. In
his poems for str. 4tet on the Seasons (Pour le
temps de la Maison; Pour les Fêtes de Mai)
he uses Fr. folk-song motives.-A. C.
ROZKOŠNÝ, Josef Richard. Czechoslovak
compr. b. Prague, 1833; d. 1913. Stud. music
privately; lived in Prague as bank clerk. His
music is eclectic, first a copy of the Romanticists,
later of Smetana, and then even of the Verists;
not deep, but cleverly constructed and theatrical.
Operas: Svatojánské proudy
Popelka
derella),
1885;
jezero (The Stoja (1894); Satanella (1898) (Cin
Sea), 1906; brilliant pf. pleces;
songs. V. ST.
RÓZSA, Ludwig. Hungarian operatic singer
(b.); b. 1877; d. Detroit, Jan. 1923. Member of
R. Hungarian Opera House until 1920.-B. B.
RÓŻYCKI, Ludomir (phon. Roojytski). Polish
composer; b. Warsaw, 1884. Studied first
with his father, Alexander Różycki. 1903,
finished at Warsaw Conservatoire with gold
medal, as pupil of Noskowski; 1904-8, studied
under Humperdinck in Berlin; 1908-12, was
professor at Lemberg Conservatoire. Then lived
in Berlin till 1919. Since 1920, has remained in
Warsaw. Różycki's appearance as composer (in
1904) together with Szymanowski, Szeluta and
Fitelberg began the period of the new school
known as Young Musical Poland. In his first
works his vigorous talent was revealed, especially
in the field of symphonic music and opera. His
power is particularly shown in his characteristic
themes and great variety of instrumental colour.
Operas: Boleslas the Bold (libretto by Al. Ban-
drowski: Lemberg, 1909); Medusa (libretto by
C. Jellenta, on a tale from life of Leonardo da
Vinci); Eros and Psyche (libretto after drama of
Symph. poems: Stanczyk;
(1908,
Anhelli
after
Stowacki): Boleslas the Bold (1909): Pan' Twar-
dowski; Mona Lisa; Warszawianka; King Cophetua.
Pt. concerto, op. 43; pf. 5tet, op. 35. Numerous pf.
pieces; chamber works; about 40 songs. R. is now
working on his 5th opera, Beatriz Cenci (libretto
founded on the tragedies by Shelley and Stowacki).
-ZD. J.
RUBENS, Paul A. Eng. operetta compr. and
librettist; b. 1876; d. Falmouth, Feb. 1917.
Trained law; contributed songs to Flora-
dora (Lyric, 1899); comp. parts of Great Caesar
(1900), of A Country Girl (1903); sole compr.
of Lady Madcap (1904); Miss Hook of Holland
(1907); My Mimosa Maid (1908); The Balkan
Princess (1910); The Sunshine Girl (1912),
etc.-E.-H.
RUBINSTEIN, Arthur. Polish pianist; b.
Lódź, 1886. When a child, was pupil of R. M.
Breithaupt in Berlin; then was self-taught to
a large extent. One of the most celebrated
pianists of our time. Has made extensive tours
in Europe and America. Is particularly fine in
contemporary music.-ZD. J.
RUBINSTEIN, Erna. Hungarian violinist;
b. Nagyszeben, Hungary (now annexed by
Rumania), 2 March, 1903. Stud. under Hubay
at R. High School for Music, Budapest.-B. B.
RUBIO, Agustín. Span. cellist; b. in Murcia,
17 Feb. 1856. Stud. at Real Cons. de Música,
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RUMANIAN FOLK-MUSIC
Variations;
Orch works: 3 symphonies (op. 31, B flat ma.;
op. 40, G mi.: op. 50, B mi.); 3 overtures (to Tieck's
Märchen vom blonden Ekbert, op. 8, to Otto der
op. and op.
2 serenades Choral works with orch.: Hymn to the
. 20, A ma., and op. 21, Gina.):
Stars; Autumn Song, op. 43 (6-v. chorus); choral
songs; pf. pieces (Variations, op. 55, ducts, op. 51);
songs, etc. Publ. Letters of C. M. v. Weber to Heinrich
Mozart
and
Lichtenstein (1900);
sonatas; interested in Brahms-Chopin ed.; 1866,
Weber's Euryanthe for full score. W., Altmann
ed. with
His exchange of letters with Joachim publ. in 3 vols.,
Letters from and to Joseph Joachim (1912).-A. E.
rev
RUE, A. Span. musician of the Catalonian
group. Active in restoring Gregorian chant in
Spain. Author of Cooperació a la Editió Vaticana
dels Llibres de Cant Liturgich (a study of Vatican
ed. of liturgical song), 1904-5 (publ. in the
Revista Catalana).-P. G. M.
RÜCKAUF
Madrid, under Castellanos and Miresky; later,
at Hoch's Cons. Berlin, under Haussmann,
chamber-music under Joachim. With Tragó and
Arbós he toured Spain, the Balearic Islands and
Portugal in a series of chamber-music concerts,
at which works of Schumann, Schubert and other
classics were first perf. in the country. Similar
tours with Albeniz; also in Germany with
Vianna da Motta. In 1895, first appeared in
London, touring England and Ireland several
times. Was supported in his youth by King
Alfonso XII at recommendation of Joachim and
Sarasate. Holds several Span. and Portuguese
decorations. Lives in London.
Concerto in D mi.; pieces for 2 cellos, etc. (Simrock,
Ries, Berlin; Giraud, Paris; Stanley Lucas, London).
-P. G. M.
RÜCKAUF, Anton. Pianist and compr. b.
Prague, 13 March, 1855; d. Schloss Alt-Erlaa,
19 Sept. 1903. Pupil of Proksch, and Prague
Organ School; teacher at Proksch's Inst.;
State Scholarship for further studies at Vienna,
Nottebohm and Navrátil (cpt.) Friend of lyric-
singer Gustav Walter, who influenced his song-
writing.
Songs, op. 1, 2, 3, 6 (ballads), 9, 12 (5 love-songs of
Walter von der Vogelweide), 14, 15, 16, 17 (Gipsy songs)
18; duets, op. 11; choral songs with pf. op. 8 (Russ.
folk-poetry); vn. sonata, op. 7; pf. 5tet, F ma.
and
op. 13; pf. pieces, op. 10 and op. 4 (prelude erin
dance-tunes, pf. duet); opera, Die
(Dresden, 1897).-A. E.
RÜDINGER, Gottfried. Ger. compr. b. Lindau
(Bavaria), 23 Aug. 1886. Pupil of Music School,
Lindau; stud. philosophy and theology at
Lyceum, Eichstätt, and Munich Univ.; 1907,
turned to music; till July 1909, stud. under
Max Reger (compn.), Leipzig Cons.; since 1916,
at Berg-on-Laim, near Munich, as condr. Pales-
trina Soc. (a cappella).
3 der Dachstube,
5
Greif, 4-v. mixed chorus, op. 2; Aus
pieces for 2 vns. op. 3; 6 epigrams of Angelus Silesius,
v. and pf.
female
op. 6; Heimliche Idyllen, pt. and vn. op. 7; 6 short
pieces, pf. and cello, op. 8; Romantic Serenade, str.
orch. op. 9 (Essen, 1914); 7 casy pieces, pf. duet,
op. 10; symphony, cello and orch. op. 11; pf.
sonatas, op. 12 and 28: Martial Tunes, op. 13;
Heldentotenlieder (Heroic Death-Songs, low v. op. 16;
Spätblatt (song-cycle), op. 30; Truderinger Kirchweih,
pl. op. 39; Haidl
(nursery folk-song for
children's chorus); 11 national songs, 2-v. children's
chorus; Puck, for pf. op. 38, ms.: Kriegslieder (war-
songs), 4-v. female chorus, op. 15: vn, CoPubl
Mass, s. contr. barit. and organ, op. 32.
Tischer & Jagenberg.)-A. E.
RUMANIAN FOLK-MUSIC. A scientific col-
lection of this material has been confined almost
entirely to those Rumanian provinces which
formerly belonged to Hungary, i.e. Transylvania
and neighbouring parts. From 1909 to 1917 the
folk-music of these regions has been assiduously
collected, whereas the former kingdom of Ru-
mania is all but terra incognita in this respect.
The collection of Béla Bartók (q.v.) contains
about 3500 phonographed melodies which have
been put into mus. notation. Some of these
records are in the possession of the Ethno-
graphical Department of the National Museum,
Budapest; others are in private hands. Out of
the collected material the following have been
published: Bartók, Chansons populaires rou-
maines du département Bihar (Hongrie) (publ.
by Academia Română, Bucharest, 1913; con-
tains 371 melodies); Die Volkmusik der Rumänen
von Maramures, (Archin für vergleichende Musik-
426
RUDNICKI, Marjan T. Polish condr. compr.
b. Cracow, 1888. 1916, condr. of the Operetta
Theatre in Cracow; 1919, passed to Warsaw
State Opera. Has written many delightful songs,
choral works, pf. pieces, and several orch. suites
for film-dramas and theatrical pieces, such as
Antony and Cleopatra, The Return of Ulysses and
Caligula (Karol Rostworowski).-ZD. J.
RÜFER, Philippe Bartholomé. Ger. pianist
and compr. b. Liège, 7 June, 1844; d. Berlin,
5 Sept. 1919. Son of Philipp R. (orgt. b. Rum-
penheim, Hessen, 3 May, 1810; d. Liège, 30
Jan. 1891); stud. at Liège Cons.; 1867, chief
condr. at Essen; 1871, in Berlin; 1871-2, pf.
teacher at Stern's Cons.; later at Kullak's Cons.
(till 1875); from Oct. 1881, teacher of pf. and
Member of senate
score-reading Stern's Cons.
of Berlin R. Academy.
Symphony (F ma. op. 23); 3 overtures; orch.
Scherzo, G mi. op. 28; str. 4tets (op. 20 and 31, E flat);
yn. sonata, op. 1; trio; 2 suites for pf. and cello
(op. 8, 13); organ sonata (op. 16); songs; pf. pieces,
Operas: Merlin (Berlin, 1887); Ingo (Berlin,
1896).-A. E.
RUDORFF, Ernst. Ger. compr. b. Berlin, 18
Jan. 1840; d. there, 31 Dec. 1916. 1852-7, pupil
of Bargiel (pf.), then Leipzig Cons. (Moscheles,
Plaidy, Rietz), then Moritz Hauptmann (compn.)
and Karl Reinecke (pf.); 1865, teacher Cologne
Cons.; 1869-1910, dir. of pf. at R. High School,
Berlin; 1880, successor to Max Bruch as condr.
Stern's Choral Union (till 1890).
RUFFO, Titta. See TITTA.
RUHLMANN, Frans. Belgian conductor; b.
Brussels, 11 Jan. 1868. Stud. at Brussels Cons.
where he worked at ob. under Plétinckx and
Guidé, and harmony under Dupont. For 7 years
member of orch. of Théâtre de la Monnaie,
Brussels, as oboe. Début as condr. in Rouen; then
Liège, Antwerp, Brussels (La Monnaie), and
Antwerp again. 1905-14, cond. at Opéra-
Comique, Paris; 1914-20, at Opéra; 1920-1, at
La Monnaie, Brussels; from 1922 at Opéra-
Comique, Paris. Since 1920 Ruhlmann has also
been the greatly appreciated condr. of the
Popular Concerts in Brussels.-E. C.
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RUMANIAN OPERA
issenschaft, Vol. IV, Munich, 1923, Drei Masken
erlag; contains about 450 melodies). Material
llected in Rumania proper is contained in a
ook Hora din Cartal by Pompiliu Pârvescu
Subl. by Academia Română, Bucharest, 1908),
hich includes 63 dance-melodies.
Rumanian folk-music, especially the vocal
elodies, has almost invariably a very ancient
haracter. Apparently, with the exception of
faramureş and neighbouring districts, none of
hese regions has produced any new melodies.
or centuries past. The vocal melodies fall into
everal groups, quite different. character,
ccording to the occasion on which they are
ung. The most important are: (a) so-called
olind (Christmas songs); and (b) those not
-ung on special occasions and called doina (in
many places called hora). The first are in strict
ime and rhythm, and the verses are of 3 or 4
nes, mostly of equal metre. The lines are
Oreponderantly of 8 syllables, sometimes of 6.
The scales vary considerably.
The second, or doina, melodies fall into 2 sub-
livisions: (1) those from the district of Mara-
mureş, and (2) those from the other districts of
Transylvania. The latter group is the more
Characteristic for Rumanian territory. Special
Ceatures of the latter groups include: a parlando-
-ubato style of performance; a verse-form of 3
-syllable lines; scales in which the 3rd from
the final note varies between major and minor,
the long final note of the melody being
the long final note of the second line of the
melody generally being
3
In many districts (Banat) the melodies, which
are of similar construction, are of 4 lines.
The third important group (c) comprises
dance-tunes, which are almost exclusively played
by instrs. (vn., bagpipes, shepherd's fl., etc.; ac-
cording to the different districts). For the most
part they have no text and therefore cannot be
sung. This group is less intact than the two pre-
ceeding, and presents types of varied character,
which betray a good deal of foreign and modern
influence; for instance, in the southern provinces
Jugo-Slav influence is predominant.-B. B.
RUNG
its part, however, Rumania gave to foreign
stages more than one famous singer: Euphrosine
Popescovlasta (who created at Milan Meyerbeer's
L'Etoile du Nord), the tenor Gabrielescu, Hélène
Teodorini. Nuovika, Darclée.
Four attempts were made to found a national.
opera. The honour of the first three efforts.
belongs to the compr. Stefănescu and the teacher
Wachmann (1886, 1893, 1896). The last attempt
was made by a committee of students in 1913.
State support not being forthcoming, they closed
down finally after a maximum of 18 performances
for the season.
Finally in 1919 the compr. Nonna Otescu,
the condr. Massini and several singers (Mme.
Drăgulinescu-Stinghe (s.), Folescu (b.), Vră-
biescu (t.), Atanasiu (barit.), Istratty (b.),
founded the Lyric Soc. of the Opera, whose
activity, patronised by Queen Marie and helped
by the State, has been uninterrupted till the
present time (1923). Now the State has entire
charge of the Soc. and appoints the chief officers.
Scarlat Cocorascu was the first gen. dir.;
then (1920) G. Georgescu. Otescu, Alfred
Alessandrescu and Tango were the first condrs.
Apart from Massini, who has resigned, the
artisti personnel still remains as at the
foundation.-C. N. B.
RUMFORD, R. Kennerley. Eng. barit. singer;
b. London, 2 Sept. 1870. Stud. in Paris under
Sbriglia and Bouhy; later under Henschel,
Blume, Lierhammer and Jean de Rezske. Has
toured all over the world. Married Clara Butt,
the famous contr. song-singer, 1900.-E.-H.
RUMMEL, Walter Morse. Pianist and compr.
b. Berlin (of British father), 19 July, 1887. On
death of his father, he went to America with
his mother; but returned to Berlin in 1904 to
study compn. under Hugo Kaun and pf. under
Godowsky (till 1909). First appeared in 1913
in Paris where he became a close friend of De-
bussy. Since 1913 he has played in Germany,
Holland, Belgium and in London. His readings
are distinguished by subtle intuition and a strong
creative power. He is also a charming compr.
with a delicate, restrained expression.
Poem, vn. and orch.; str. 4tet; From the Depths,
sonata, vn. and pf.; pf. pieces; about 40 Eng. song
Augener); has arr. some old Fr. songs of
XII XVIII centuries and transcribed for pt.
several Bach pieces.-E.-II
RUNG, Frederik. Danish compr. and condr.
b. Copenhagen, 14 June, 1854; d. there, 22 Jan.
1914. Son of Henrik Rung (d. 1871), also an ex-
cellent compr. and founder of Coeciliaforening
(Cecilia Soc.) Copenhagen. Frederik's natural
talent was thus nurtured under his father's in-
struction. Later he was a pupil of Niels W. Gade
and Hartmann at R. Cons. Already as a youth he
began to assist at R. Opera, Copenhagen, where
he was regularly engaged later as répétiteur, and
from 1884 as 2nd condr. On death of Johan
Svendsen he became chief condr., and also (on
death of his father) condr. of Coeciliaforening,
which produces music from XVI-XIX centuries.
Under his dir. the Madrigal Choir (the pick of the
Coeciliaforening Choir) gained international fame
RUMANIAN OPERA. The first operatic per-
formances in Rumania were given by a foreign
troupe at Bucharest in 1847; but it was only
from 1870 that operas have been given there,
season by season, the year 1895 and the period
1910-14 excepted. The companies were generally
Ital., rarely Fr. or Ger. They included
stars as Patti, Tetrazzini, Battistini, Tita Ruffo,
and the condrs. Mascagni and Leoncavallo. For
such
427
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RUNNQVIST
through its concerts in Paris, Berlin, Leipzig,
Hamburg, Stockholm, Gothenburg.
Selskab
(2
1888; Den trekantede Hat The (The Secret Society),
Cocked Hat), 1894;
ballets: Aditi; En Karnevalspög i Venedig (A Carni-
val Jest in Venice); symphony, D mi. op. 28; Suite
for str. and tpt.; nonet for wood-wind; 2 str. 4tets;
pf. 5tet on a Danish folk-song; vn. sonata; cantata
pieces; songs
(Hansen; Nordisk Musikforlag).-A.
RUNNQVIST, Axel C. E. Swedish violinist;
b. Stockholm, 30 Oct. 1880. Stud. at R. Cons.
Stockholm, 1893-8; then under H. Marteau at
Cons. of Geneva. Taught there, 1902-4; from
1904, concert-player and teacher in Stockholm,
especially in chamber-music (trio-ensemble with
Martha Ohlson [pf.] and Carl Lindhe [cello]);
1911, vn. teacher at Andersson's pf. school.
From 1915, prof. of vla. at R. Cons. Stockholm.
-P. V.
RUSS CERRI, Giannina. Ital. s. singer; b.
Lodi (Milan), 1878. Dramatic s. of great re-
nown, known at all the principal theatres of
Europe and America. Stud. at R. Cons. of
Milan; début in 1903, rapidly making her name.
Her repertoire is very extensive and varied,
and extends from Norma and La Gioconda to
Rigoletto and Le Nozze di Figaro.-D. A.
RUSSIAN BALLET Seasons in London. See
MAS; DIAGHILEF, SERGE.
BEECHAM, SIR
RUSSIAN FOLK-MUSIC. See BALAKIREF,
M.A.; BORODIN, A.P.; CUI, C.A.; KUBA, LUDVÍK;
LIAPUNOF, SERGE; LISSENKO, NICOLAS; MUS-
SORGSKY, M.P.; RIMSKY-KORSAKOF; SCHINDLER,
KURT: STRAVINSKY, IGOR.
RUST, Wilhelm. Ger. orgt., teacher and ed.
b. Dessau, 15 Aug. 1822; d. Leipzig, 2 May,
1892. Pupil of his uncle Wilhelm Karl Rust;
1843-6, pupil of Fr. Schneider. Private teacher
at house of Hungarian magnate; Hungarian
revolt, 1848, caused his return to Dessau; 1849,
music-teacher in Berlin; member of Berlin
Acad. of Singing; 1850, member of Leipzig
Bach Soc.; 1861, orgt. St. Luke's Ch.; 1862,
condr. of Berlin Bach Soc.; 1864, R. chief-
condr.; 1868, Ph.D. h.c., Marburg; 1870,
teacher of theory at Stern's Cons.; 1878,
orgt. of St. Thomas' Ch. Leipzig and teacher
at Cons.; 1880, Cantor at St. Thomas's School.
Has done great service by his publication of
J. S. Bach's Works (Bach Soc.), for ten years.
Composed sacred choral pieces.-A. E.
RUTHSTRÖM, Bror Olaf Julius. Swedish
violinist; b. Sundsvall, 30 Dec. 1877. Stud.
under Johan Lindberg at R. Cons. Stockholm,
1894-9; under Willy Burmester, 1900; and
(1901-3) at High School for Music, Berlin, as
pupil of J. Joachim. Introduced Max Reger's
sonatas for vn. alone, op. 42, at his concerts in
Germany, Denmark, Norway, Finland and in
Sweden (1905-6). Also introduced Swedish
works (vn. concerto by Kurt Atterberg) in Ber-
lin, 1917; from 1912, vn. prof. at R. Cons.,
Stockholm. Condr. (leader) of a well-known str.
quartet in Stockholm. Member R.A.M. Stock-
holm, 1912.
RYCHNOWSKI
RUTZ, Ottmar. Ger. musicologist; b. Fürth,
15 July, 1881. Lawyer; carried out ideas which
his father (singer and singing-master, Josef
Rutz), first put into practice at Munich and
utilised in his teaching profession, viz. the
different positions of trunk-muscles in singing,
according to typical character of the song.
New Discoveries of Human Voice (Munich, 1911);
of Feeling
Passagespelets mekanik (Mechanics of Passage-
playing) (publ. Emil Carellus, 1914); Strakföringens
konst (Art of Bowing) (id. 1921).-P. V.
(Leipzig, 1911, Breitkopf); Types of V
and New Art of
for Stage and Concert
Music, Words and Body as Erpresstonice-training,
Platforms (with hison Clara Rutz, 1920);
Types of Humanity and Art (1921).-A. E.
RUYNEMAN, Daniel. Dutch compr. and
pianist; b. Amsterdam, 8 Aug. 1886. Originally
intended for marine service, and went to India;
Began his mus. career when 18; principally self-
taught; but stud. for short time at Cons. of
Amsterdam. His development was influenced by
Javanese music and the young Fr. school. In
1918 he took part in founding the Soc. of Modern
Dutch Composers-Vereeniging tot Bevordering
der Moderne Scheppende Toonkunst (now de-
funct). R. lives in Groningen.
manierolyphs, 3 fls. harp, cup-bells, celesta, pf. 2
guitars (London, Chester); symphony
for small orch., fl. ob. clar. bsn. saxophone, horn,
electrophone, cup-bells, harp, v. 2 mandolínes, 2
guitars (in prepa); L'Appel (Le Chant des
voyelles) 8-v. (
pf. (id.); L'Absolu, for
Alsbach);
du Mamelouk, n. sonatina, pt. (id.); Lamenta
Dutch i
contr. (id.); Tagore Sonds (id). Consult: Le Monde
Chinese
Nouveau (Paris, Bérard); Arthur
et son œuvre (Liège,
The Musical Journey (in Dutch; id.): The Chesterian
(Turin); Schweizer Musik-
ato Modern
An Introdetronio, D. R.
Music (in Dutch: edam, Constant van Wessem);
(London); Il Pian W. P.
pädagogische
RYBNER, Peter Martin Cornelius. Compr. b.
Copenhagen, 26 Oct. 1855. Stud. at R. Cons.
in Copenhagen under Gade, Hartmann and E.
Neupert, winning 1st prize in pf., vn. and compn.;
at 18 went to Leipzig, pupil of Reinecke and
Ferdinand David. After tours in Europe, settled
at Baden-Baden as Court pianist. Subsequently
dir. of Cons. at Carlsruhe and assistant to Felix
Mottl, whom he succeeded as condr. of Philh.
Choral Soc., a position he held for 8 years; 1904,
went to America as successor of Edward Mac-
Dowell at Columbia Univ. N. Y., resigning (1919)
to devote himself to teaching and compn. Has
also appeared in America as condr. and concert-
pianist (with Boston Symphony Orch. 24 March,
1905). His larger compns. include a fairy ballet
in 3 acts, Prinz Ador (Carlsruhe, 8 March, 1903),
a vn. concerto, G mi. (played by Florian Zajič
under compr.'s direction in Berlin, 1903).
daughter, Dagmar de Corval Rybner (b. 1890),
has comp. and publ. songs (Ditson; Schirmer).
His
Symph. poem, Friede, Kampf und Sieg (Oertel
1889); pf. trio, op. 9 (Kahr
Ouverture, c
(Oertel, 1899); Festival Cantata, op. 32 (Novello);
songs and pf. pieces (Schott; Hansen; Kahnt).-J.M.
RYCHNOWSKI, Ernst. German-Czechoslovak
writer; b. Janowitz, 25 June, 1879. LL.D. 1903,
Prague, where he stud. music under Rietsch;
1905, under Tappert in Berlin. Was mus. critic
in Prague.
Descriptive Catalogue of Donebauer Collection of
Musical and Theatrical Autographs (1900); Catalogue
of Exhibition of Music at Prague (1906, W. Batka);
The Petschau School of Music (1902); Ludwig Spohr
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RYELANDT
and Friedrich Rochlitz (1904); Joh. Friedrich Kitll
(1901-5); Leo Blech (1905); Joseph Haydn (1909);
R. Schumann (1910); Franz Liszt (1911); Smetana
(1924); new ed. of F. Niemetschek's Biography of
Mozart (1905).-E. S.
RYELANDT, Joseph. Belgian composer; b.
Bruges, 7 April, 1870. First stud. at Univ.
(philosophy); later devoted himself entirely to
music, which he stud. under Tinel. Did not
study at Cons., nor enter for Prix de Rome. He
is a compr. of worth, particularly in oratorio.
His style is similar to that of Tinel, only more
modern.
Opera, Sainte Cécile (Antwerp, 1907). Oratorios: La
Heeren (The Comines Purgatorium; De Komst des
of the
Novello);
Maria;
Bon Pasteur. Dei; Christus Rer. Cantatas: Le
phonies; Gethsemane, mustique. Orch.: 4 sym-
poem; overtures:
RYTEL
Patrie; Jeanne d'Arc. Church musie: Mass, Are
Maria, Audi Filia (4-v.); Les Béatitudes (3-v. and
organ). Chamber-music: 8 pf. sonatas; 5 for vn.
and pf.; 4 respectively for vla., clar., horn, ob.-
with pf.: 2 sonatas and a nocturne, cello, pf.; 1 5tet
and 2 trios, str. and pf.; 4 str. 4tets. Many songs.
-E. C.
RYTEL, Piotr. Polish compr., music critic;
b. Wilna, 1884. Stud. at Warsaw Cons. under
Noskowski (theory) and Michalowski (pf.).
Appointed prof. at Warsaw State Cons. in 1911.
Since 1920, has written music critiques in the
Gazeta Warszawska. R. occupies an important
position among Polish composers.
Opera,
Ijola (on Zulawski's drama); symphony,
A mi.; symph. poems: Grazyna (1908, after Mickie-
wicz): The Corsair (1910, after Byron); Dante's
Dream; The Sacred Grove; Legend of St. George (on
traditional life of England's patron saint).-ZD. J.
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SAAR, Louis Victor. Compr. b. Rotterdam,
10 Dec. 1868. Son of a musician who cond. opera
at Covent Garden, London, and at Metropolitan,
New York.
After graduating from Strasburg
Gymnasium in 1884, and hearing lectures on
literature and history at Univ. of Strasburg,
continued study of music at Munich Acad. under
Rheinberger, Abell and Bussmeyer from 1886-9.
In Vienna he came contact with Brahms.
In 1890-1, stud. in Berlin, winning Mendelssohn
Prize in 1891. In 1892, won Tonkünstler Prize
in Vienna. In 1894, engaged in New York as
coach at Metropolitan Opera House. Music
critic of the Staatszeitung and of New York
Review; 1906-17, head of theory department
and dir. of chorus at Cincinnati Coll. of Music.
Since 1917, head of theory department at Chicago
Mus. Coll. His compns. exceed 100. His Gany-
mede for contr. and orch. was brought out by the
New York Philh. Soc. 26 Jan. 1900. His Rococo
Suite, orig. comp. for pf. 4 hands (1898), was arr.
for small orch. and played by Barrère Ensemble.
Re-orchestrated for large orch. in 1915, it was
first perf. by Cincinnati Symphony Soc. 19
March, 1916.
orch.
27
1899); Wechselgesang for 6 vs. with orch. op. 41
(Rieter-Biedermann); 4tet for pf. and str. op. 39
(Siegel, 1904); vn. sonata, op. 44 (Siegel, 1904);
male choruses (by above publ. and by Hug; Leuck-
art; Rohlfing); pf. pieces (Schmidt: Leuckart;
Schirmer; Ditson; C. Fischer); songs (Breitkopf;
Ries & Erler; Rieter-Biedermann; Simrock).-O. K.
SABANÉIEF, Leonid Leonidovitch (accent the
E). Russ. compr. and writer on music; b. Mos-
cow, 1871. Pupil S. I. Tanéief at Moscow
Cons. (1899); finished a mathematical course at
Moscow Univ. 1908, and received degree, Master
of Maths. Writer for many Moscow papers and
periodicals. Author of a fine book on Scriabin
(2nd ed. 1922), a short Debussy and a Ravel bio-
graphy. After Scriabin's death, S. revised (with
Rosenof and Goldenweiser) the unpubl. works of
Scriabin (still in ms.). Member of Russ. Acad. of
Art-Sciences and State Inst. of Mus. Science.
As a compr. is much influenced by music of
Scriabin, whose follower he is.
Pf. trio; pf. sonata; vn. sonata; pf. pieces, songs,
etc. V. B.
SACHS, Curt. Ger. music research scholar;
b. Berlin, 29 June, 1881. Stud. pf. and compn.
under L. Schrattenholz, clar. under Rausch;
under Fleischer (at Univ.), history of music;
1904, graduated Ph.D. at Berlin; spent several
years as art historian; then devoted himself
to science of music and stud. again under H.
Kretzschmar and J. Wolf, prof. at Berlin Univ.
Musical History of Berlin up to 1800 (Berlin, 1908);
Music and Opera at Electoral Court of Brandenburg
(Berlin, 1910); Modern Scientific Dictionary of Musi
cal Instruments (1920); Musical Instruments of India
and the East; Introduction to Science of Instrument
of
Egypt (Royal Museum Hand-book). Songs (Rics &
Erler).-A. E.
-
S
SACHS, Leo. Fr. compr. b. Alsace, 1868. Vice-
President of Société Musicale Indépendante
(with Ravel and Florent Schmitt). His work
is very varied, and recalls Schumann.
Retour des Cloches; Sur
Symph. poems: a: trio; 3 sonatas, pf. and vn.;
l'eau; 5tet; 3 str.
cello 60ères: Invocalmant et la Mort; some vocal
24 preludes for pf.: v. and orch.: Les
au Soleil; Silence; duos:
Trois
Le Jour et la Nuit;
4tets.-A. C.
SADERO, Geni. Soprano singer; b. Trieste, 12
May, 1890. Has devoted herself passionately
and successfully, both as a collector and execu-
tant, to the propaganda of Ital. folk-songs.
Completed in Italy and abroad numerous
Publ., through the
successful artistic tours.
Istituto Editoriale of Milan, an Album of 25
Ital. regional songs, coll. and harmonised by
herself.-D. A.
SAERCHINGER, César. Amer. writer; editor;
b. Aix-la-Chapelle, 23 Oct. 1884. Stud. under
Benjamin Lambord, New York; but largely
self-taught. Ed. (with Daniel Gregory Mason)
The Art of Music (New York, 1915-18; 12 vols.
and 2 vols. music examples). Author of The
Opera in above series. Ed. The International
Who's Who in Music (New York, 1918).
Founded Modern Music Soc. of New York,
1913. Associate-ed. of The International maga-
zine, 1913-15; of Current Opinion (N.Y.),
1915-19. Special correspondent New York
Evening Post since 1919; European ed. Musical
Courier (N.Y.) since 1919.-E.-H.
SÆVERUD, Harald. Norwegian compr. b.
Bergen, 17 April, 1897. Stud. compn. under
Borghild Holmsen in Bergen and at High School
in Berlin. Début 1920 in Christiania with a
symph. poem for full orch. Its successful pro-
duction in Berlin and Gothenburg has drawn
attention to his exceptionally promising talent.
-R.
SAINT-FOIX, Marie Olivier Georges du Parc
Poullain de. Fr. musicologist; b. Paris, 1874.
Stud. music at Schola Cantorum. Collab. with
T. de Wyzewa in an important book: W. A.
Mozart: sa vie musicale et son œuvre, de l'en-
fance à la pleine maturité (2 vols. Paris, 1912,
Perrin). This book, to which he devoted 15
years' work, and which takes reader up to M.'s
21st year (1777) is foremost among all works on
Mozart. Additions are still being made to it.
Among important studies on XVIII century (publ.
in reviews) are: Contribution à l'histoire de la
symphonie française vers 1750 (joint-author
with L. de la Laurencie) (Année Musicale,
1911, Paris, Alcan); La chronologie de l'ouvre
instrumental de J. B. Sammartini (I.M.G., 1914);
Muzio Clementi; Un quatuor d'Airs Dialogués
de Mozart; Mozart, Disciple de Bach et Haendel
(Bulletin de la Société française de Musicologie,
1918, 1920, 1921, Paris, Alcan; Fischbacher);
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SAINT-SAËNS
Mozart et le jeune Beethoven (1919); Les Débuts
de Gluck à Milan. In 1922, he started in Revue
Musicale a series of articles on foremost Parisian
pianists (beginning with Jean Schobert), very
important to history of pre-Mozart period.
-M. L. P.
SAINT-SAËNS, Charles Camille. French com-
poser; b. Paris, 9 Oct. 1835; d. Algiers, 16
Dec. 1922.
Studied at Paris Conservatoire
under Stamitz (pianoforte), Maleden (theory),
Benoist (organ), Halévy and Reber (com-
position), and private pupil of Gounod; tried
twice for Prix de Rome without success; 1885,
organist of St.-Merry; 1858-77, organist at the
Madeleine; from that time, pianist, organist,
touring condr.; composed his first symphony
at 16; two operas (La Princesse jaune, 1872,
and Le Timbre d'argent, 1877) were unsuccessful
before he produced Samson et Dalila (Weimar,
1877).
SAINT-SAËNS
was
considered it detrimental to French art, but
Saint-Saëns attacked him merely because he
German. The violent polemics which he
directed against Wagner did him much more
harm in the eyes of the general public than did
the bitterness with which he attacked all young
artists suspected of modern tendencies in music.
These foibles, excusable even on account of his
age, must not be allowed to blind one to the
fact that here was a great man who in his youth
possessed a lucid and enthusiastic intelligence,
a musician who, like his master Liszt, was always
ready to sacrifice himself for fellow-musicians
whom he admired.
When still young he had an extraordinary
gift of fresh spontaneity, as is seen in his trio
in F (op. 18). As he advanced in age his style
gained in purity but lost in feeling-his last
compositions are of a most chilling correct-
ness. Moreover Saint-Saëns was always inclined
to write with excessive facility; the flowing
ease of his pen obliterated all other considera-
tions. For this reason, out of his enormous
work there survive to-day only a few gems of
the first water-his symphonic poems, the
3rd symphony with organ and Samson et
Dalila.
When Impressionism first made its appear-
ance, Saint-Saëns had already written his
masterpieces. As a musician he had always put
reason before sentiment-it is natural, then,
that he should stand aloof from this new form
of art which gave senses a primary place.
The new school never felt his influence, or rather
the few who did, like Henri Rabaud, were
fundamentally classic, and were content to
make a few minor concessions to the fashion
of the day. It is possible, however, to discern
the slender thread that binds Saint-Saëns,
through the intervening link of his disciple
Gabriel Fauré, to such an innovator in music
as Maurice Ravel-both have the same faith
in art for art's sake, both have a love of con-
structions that are delicate yet virile, while
nothing can be more profound that the gulf
between these two men in temperament and
emotion.
In spite of the fact that his death is of recent
date, he is too intimately bound to the past
for any place to be given, in this Dictionary, to
his long and active life, and to his enormous
work. We limit ourselves to a few remarks
on his rôle in musical history, as far as it may
be judged thus near his death. The sources
that produced his style are complex. From his
earliest youth he was an insatiable reader; he
had heard everything and knew exactly how
to draw inspiration from
Berlioz or from a
Liszt. He came under all the influences that
acted so potently on the men of his generation,
and yet was able to retain his own personality.
His style, precise, nervous and clear-cut, is
absolutely characteristic and also essentially
French; it recalls that of the XVIII century
French writers, particularly of Voltaire-no-
thing is superfluous, everything has its place.
Order and clarity are supreme. Yet this com-
poser, although a classic by temperament and
choice, is no pedant; he is often cold and empty
of sentiment, but he is never heavy or pre-
tentious. In this respect he differs completely
from Brahms, with whom he is often compared.
To those young musicians who escaped the
influence of the Impressionists, Saint-Saëns and
César Franck appear as models worthy of imita-
tion; some who are fearful even of the senti-
mental effusions of the Walloon musician look.
to Saint-Saëns alone for the secrets of faultless
construction. But the influence of Saint-Saëns
on the present generation is confined to these
minor details of construction, whereas César
Franck arouses it to mystic enthusiasm and
Debussy's art has invisible threads that bind
it enthralled to some enchanted island from
which there is no escape.
Saint-Saëns admirably represents one of the
many aspects of the French temperament-
that in which the mind and intelligence supplant
sentiment and even sometimes feeling, as in the
case of a Voltaire or Rameau. On the other
hand we have the sensuous, sensitive art of a
Debussy, akin to that of La Fontaine, Racine,
Claude Lorrain and Lully.
Operas: La Princesse
(1872); Le Timbre
d'Argent (1877); Samson et Dalila (Weimar, 1877);
Etienne Marcel (Lyons, 1879); Henry VIII (1883);
Proserpine (1887); Ascanio (Benvenuto Cellini, 1890):
Les Barbares
Hélène (1-act lyric poem; Monte Carlo, 1904); music
to many plays. Orch. tone-poems: Le Rouet d'Om-
phale (1871); Phaeton, op. 37; La Jeunesse
For the greater part of his life Saint-Saëns
showed a most subtle and intelligent apprecia-
tion of the compositions of others, never hesitat
ing to throw down the gauntlet in defence of
Liszt, Berlioz and Wagner. But towards the
end of his life he allowed himself to be dominated
by his patriotic sentiments. Debussy fought
against the influence of Wagner because he
431
E flat, op. 2; A mi. op. 55; C mi. op. 78 (1886);
F mi. (1856); D (1859). Suite Algérienne, op. 49;
Jota Aragonese, op. 64; Coronation March, Edward
VII of England: 5 pt. concertos: op. 17, D (1858);
22, G ml.; 29, E flat; 44, C mi.; 109, F; 3 vn.
concertos; 2 cello concertos; chamber works; pf.
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SALAGHI
pieces; songs; chorus luge, op. 45; Psalm CL.
church musie; oratorios:
De Noel, op. 12;
Many books and articles: Materialism and Music
(1882); Notes on Theatre Decoration with the Ancient
Romans (1886); Harmony and Melody (1885; 1902;
1905); Portraits and Souvenirs (1900). Consult:
0. Neitzel, S.-S. (1899); E. Baumann, S.-S. (Paris,
1905); L. A. Lassus, S.-S. (1914); J. Bonnerot, S.-S.
(1914); O. Séré, Musiciens français d'aujourd'hui
(1911); A. Hervey, S.-S. (John Lane, 1921); A.
Couroy, S.-S. (Larousse mensuel, June 1923);
G. Servières, S.-S. (1923).-II. P.
SALAGHI, Salvatore Emanuele. Ital. physio-
logist; b. Forli, 1850. Prof. of physical therapy
at Univ. of Bologna; also devoted himself to
mus. studies; publ. important arts. on mus.
physiology:
Per la fisiologia musicale dell' organo uditivo (Con-
cerning the Musical Physiology of the Auditory Organs)
(Bologna, 1917, Gamberini & Parmeggiani); Una
fonte ignorata di temi melodici (An Ignored Source of
Melodic Themes) (Bologna, 1918, Pizzi); Problemi di
acustica ical Acoustics solved musically) (Bologna,
fisiologica risoluti musicalmente (Problems of
1921, Cappelli).-D. A.
SALAZAR, Adolfo. Span. critic and compr.;
one of founders of Sociedad Nacional de Música
(see SOCIETIES); contributor on mus. and literary
subjects to Span., Fr. and Eng. reviews; mus.
critic of leading Span. newspaper El Sol. Has
translated into Span. Eaglefield-Hull's Modern
Harmony. Through his writings and activity
he has contributed very prominently to the
advancement in Spain of all modern tendencies
in art. Lives in Madrid.
Trois Préludes pour le piano; Trois Chansons de
Paul Verlaine (Chester, London).-P. G. M.
SALSBURY, Janet Mary. Eng. orgt. compr.
b. Pershore, Wores., 13 May, 1881. Prof. of
music and hon. orgt. at Ladies' Coll. Cheltenham;
prof. of music (by correspondence) and examiner
(theoretical) Trinity Coll. of Music, London;
Mus.Doc. Dunelm. 1910.
A Ballad of Evesham for chorus (Weekes); Christmas
Carols (Stainer & Bell); song-cycle, From Shake-
speare's Garden (J. Williams); Analysis of Mozart's
Pf. Sonatas (Weekes); Staff-Sight-Singing Tests,
Books I & II (J. Williams).-E.-H.
SALZBURG FESTIVAL (Salzburger Fest-
spiele). The summer mus. fests. at Salzburg
(Tyrol) originated in perf. of Mozart's operas
there under Richter and Mahler, and in founda-
tion of the Mozarteum edifice with its rich col-
lection of Mozart books and music. But plan of
regular annual fests. was started by F. Geh-
macher of Salzburg and H. Damisch of Vienna,
who founded (1917) the Salzburger Festspielhaus
Gemeinde, intending to build a stage in Salzburg.
Strauss, Max Reinhardt, Schalk, Hugo von Hof-
mannsthal and Alfred Roller were elected on
committee. The peasants of this district have a
long tradition of mystery-plays; so in Aug.
1920, the fest. opened with Hofmannsthal's
Jedermann (Everyman) played in open air, before
the cathedral. In following winter, the peasants
perf. this play in several places; it was repeated
at 1921 fest. by Reinhardt. In 1922, the fest.
broadened out. Chief perf. was Hofmannsthal's
Salzburger Grosses Welttheater (given in old
Kollegium Church by Reinhardt) and Mozart
operas by members of Vienna Opera, under
Strauss, Schalk and Alwin. In combination with
the 1922 fest. the first meetings of the Inter-
SAMPSON
national Chamber-Music Concerts took place
(founded by H. Damisch, Rudolf Réti, Paul
Stefan, E. Wellesz). In 1923, the latter move-
ment developed into the International Soc. for
Contemporary Music (q.v.).-EG. W.
SALZEDO, Carlos. Amer. harpist; b. Arcachon,
France, 6 April, 1885. Stud. pf. at Bordeaux
Cons. 1892-4; then at Paris Cons. Began study
of harp under Alphonse Hasselmans, continuing
pf. under Charles de Bériot and obtaining 1st
prize for both in 1901. Toured France, Spain,
Portugal and Switzerland as pianist and harpist.
1909-13, harpist at Metropolitan Opera House,
New York. Extended tours in U.S.A. President
of National Association of Harpists, Jan. 1920.
Since Oct. 1920, ed. of Eolian Review. Has
developed technical resources of harp according
to modernist tendencies and comp. many works
for one or more harps, including a symph.
poem, Enchanted Isles, perf. by Chicago Sym-
phony Orch. 24 Nov. 1919.
For harp: Variations on an old-style theme (Leduc,
1913); Ballade (id. 1913); 5 Poetical Studies (Schir
mer, 19 choruses in old sonata-form for 3 male vs.
pieces for cello and pf. (Costallat, 1908,
1918);
(Gray, 1918). Wrote Modern Study of the Harp
(Schirmer, 1921).-J. M.
SAMAZEUILH, Gustave. Fr. compr. b. Bor-
deaux, 2 June, 1877. Pupil of Chausson and
d'Indy; has been member of Société Nationale;
music critic of La Republique Française. Writes
with elegance and facility for orch. and chamber-
music:
Symph. poem, Nuit; Le Sommeil de Canope;
Poème, vn. and orch.; pf. suite La Mer; organ
v.
on
str. 4tet; songs.-A. C.
SAMMARCO, Mario. Ital. barit. b. Palermo,
13 Dec. 1873. Début at Palermo in Faust. In
1894 at La Scala, Milan; since then known to
the principal audiences in Europe and America.
At La Scala, created part of Gerard in Andrea
Chénier (Giordano).-D. A.
SAMMONS, Albert Edward. Eng. violinist; b.
London, 23 Feb. 1886. Commenced study under
his father, an amateur musician; received about
a dozen lessons from F. Weist Hill and John
Saunders; otherwise self-taught. After 7 years
of theatre, hotel-orchestras and private bands,
he became leader of Beecham's Orch.; also
of R. Philh. Soc. Orch. London, and of London
Str. Quartet (the latter he abandoned, after
9 years' ensemble, on account of military duties
1916-18); led Russ. Ballet orch. in Berlin; then
Dieppe Symphony Orch. (1913), after which he
left orch.
soloist. He to devote himself to work as
made a very great reputation for
concerto-playing, especially Elgar's. He is the
finest solo-player amongst contemporary Eng
violinists.
Virtuosic Studies (2 books); The Secret of Fine
Technique; Phantasy, str. 4tet; many vn. solos (all
publ. by Hawkes & Sons, London).-E.-H.
SAMPER, Baltasar. Span. pianist; native of
Catalonia; pupil of Granados. His recitals in
Barcelona included the 1st public perf. in Spain
of Cyril Scott's pf. music.-P. G. M.
SAMPSON, George, British compr. and author.
Now cath. orgt. Brisbane, Australia. Condr. of
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SAMUEL
Sampson Orch. Representative of Univ. of
Queensland on Australian Univ. Exam. Board.
Berceuse, str. and organ (Schott, London); church-
music (Chester, London) a communion-service and
an evening service are on the repertory at St. Paul's
Cath. London: Romance, vn. and pf. (Chester);
(id.):
Elements of Music (id.); Queensland Manual of Music
for Teachers (Novello).-E.-H.
SAMUEL, Adolphe Abraham. Belgian compr.
b. Liège, 11 July, 1824; d. Ghent, 14 Sept. 1898.
Stud. Liège, then Brussels. 1st Prix de Rome,
1845, for cantata Vendetta. After his stay in
Rome, returned to Brussels in 1848 and besides
composing became music critic. As such he went
to hear concerts in London, where he met
Berlioz. Harmony teacher at Brussels Cons.
1860. In 1865, founded Popular Concerts of
Classical Music, which still play important part
in educating popular taste in music in Belgium.
Dir. of R. Cons. at Ghent, 1871. Member of
R. Acad. of Belgium; dir. class of Fine Arts in
1893. S. is a musician of high culture and
tendencies which were revolutionary in his time.
Berlioz, Liszt and Wagner strongly influenced
him without overshadowing his own charac-
Ceristics.
Several operas (only one perf. Brussels, 1849: Made-
eine, op. 11 [opéra-comique)). Of the 7 symphonies,
ast two have definite p
arts (Genesis, Edee programme, i.e. 6th, op. 44, in 1
Leipzig; and 7th, Christical works include Course
Lux Lucent), publ. Junne,
op. 48. Cantatas; choral
vorks: songs, etc.
Practical Harmony, very popular. Consult brochure
A. S. by Ad. Mathieu (Brussels, 1922, Hayez).-
V. B.
SANDVIK
directs. Many songs, pf. and orch. pieces, mostly
of a light type. His Waltz for full orch., Lettres
à Emilie, had a wide vogue.-S. G. S.
Un Vendredi-Saint en Zélande, 3-act opera: Te
reum; A la tombe anonyme, etc.-C. V. B.
SANDBERG, Oscar T. Swedish choral condr.
compr. b. Kristianstad, 1 Dec. 1870. Stud. R.
Cons. Stockholm, 1893-9; choirmaster at Oscar
Ch. from 1903; condr. of several male-v. choral
societies. Founded (with colleague Patrik Vret-
blad, orgt. of Oscar Ch.) the "Motet Evenings,"
1909. 1906-10, music critic of Aftonbladet. Has
comp. church music in modern style (choruses,
cantatas); ed. Musica sacra, anthems for mixed
vs. (1915). Member R.A.M. Stockholm, 1921.
His wife Hilma (née Munthe) stud. vn. under
Lindberg and Lady Hallé; member of Konsert-
föreningen Orchestra.-P. V.
SANDBERGER, Adolf. Ger. writer on music;
b. Würzburg, 19 Dec. 1864. 1881-7, stud. compn.
at R. School of Music, Würzburg, and Munich;
1883-7, science of music, Univs. of Munich and
of Berlin (Ph. Spitta); 1889, curator of mus.
department of R. Court and State Library,
Munich; 1894, hon. lecturer in science of music,
Munich Univ.; 1900, prof.-extraordinary; 1909,
prof.-in-ordinary. Directed the publication of
Monuments of Bavarian Music (Denkmäler der
Tonkunst in Bayern).
Songs; pf. pieces; mixed choruses, op. 3; male
choruses, op. 19; trio sonata, op. 4; pf. trio, op. 20;
vn. sonata, op. 10; 2 str. 4tets, D mi. op. 9 and E mi.
op. 15; symph. prologue,
op. 21; opera, Ludwig der Springer,
op. 17 (suggestio, op. 16: symph.
by
SAMUEL, Harold. Eng. pianist; b. London,
23 May, 1879. Stud. R.C.M. under Dannreuther
and Stanford; début, St. James's Hall, 1894;
Orof. of pf. R.C.M. Specialises on Bach's
nusic.-E.-H.
SAMUEL, Léopold. Belgian composer; b.
Brussels, 5 May, 1883. Stud. at Brussels Cons.;
Supil of Edgar Tinel. Prix de Rome, 1911. In
920 appointed Inspector of Mus. Education in
niddle and high schools of Belgium.
Ilka, lyric drama; Tycho Brahé, cantata (Priz de
Rome): Fleurs d'après-midi, songs with orch. acc.;
mph. poem for orch.; str. 5tet; trio.-E. C.
SAMUEL-HOLEMAN, Eugène. Belgian compr.
Schaerbeck, near Brussels, 3 Nov. 1863. Son
f Adolphe Samuel; stud. philosophy and litera-
ure at Ghent; but soon followed music entirely;
n 1894, pianist Concerts Lamoureux, Paris;
895, municipal-condr. at Grasse; 1897, choral
ondr. at Monte Carlo Theatre. As a compr.
is an isolated figure, whose art is marked
ith great independence. His researches into
echnical expression have often the character
veritable anticipations. His La Jeune Fille
la Fenêtre (Breitkopf), written in Belgium in
304, but not perf. till 1914 (Théâtre des Arts,
aris), is unusually daring and in certain respects
nite remarkable.
Königsmarsch,
op. 12 (own text; Coburg, 1895).
Publ.: Life and Works of Poel-Musician Peler
Cornelius (1887); Contributions to History of Bavarian
Court Orch. under Orlando di Lasso (3 vols., 1894-5,
Vol. 2 unpubl.); Selected Essays on History of Music,
2 vols. (Munich di Lasso (Breitkopf).-A. E.
1921 and 1924). Complete eds. of
works of
SANDERS, Herbert. Brit. orgt. condr. compr.
writer on music; b. Wolverhampton, England,
1878. Mus.Doc. McGill Univ.; orgt. Dominion
Methodist Ch. Ottawa; condr. Ottawa Oratorio
Soc. Is well known as compr. of anthems, songs
and organ pieces (W. H. Gray; Ditson; Boston
Music Co.) and on two occasions was awarded the
Clemson Gold Medal for compns. by the Amer.
Guild of Orgts. Is associate-ed. of the new
Canadian Methodist Hymnal. Lives in Ottawa.
-L. S.
SÁNDOR, Erzsi (Bosnyák). Hungarian
coloratura s. singer; b. Kolozsvár (now annexed
by Rumania), 28 Aug. 1883. Member of R.
Hungarian Opera House since 1906.-B. B.
SANDVIK, Ingeborg. Norwegian singer; b.
Hamar, 4 Dec. 1886. Pupil of Gina Hille, Emilie
Kaula (Munich) and Grace Morris (London and
Berlin). First independent concert in Chris.
tiania, 1913; frequent concerts in Christiania and
elsewhere in Norway. She has won great recog-
nition by her poetic and delicate rendering,
especially in Norwegian lyric music (Kjerulf,
Nordraak, Grieg, Sinding). Lives in Christiania.
-J. A.
SANCHEZ-DEYA, Domingo. Argentine vio
nist, compr. b. Barcelona in 1852. Trained at
ons. there. Appeared as prodigy. Taught at
ons. for 18 years. Went to Buenos Ayres in 1909;
unded an Acad. of Music there, which he now
2 F
433
SANDVIK, Ole Mörk. Norwegian music-his-
torian; b. Hedemarken, 9 May, 1875. Graduated
in theology in 1902; afterwards master in higher
schools. Took in 1922 Ph.D. with treatise,
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SANDVIK
Norwegian Folk-Music, especially Eastland Music.
In this work he upholds new views with respect
to Norwegian folk-music. Other publications:
Norwegian Church-Music and its Sources (1918)
Folk-Music in Gudbranddalen (1919). He has
supplied contributions to Norway's Musical
History (1921), of which he was chief ed. together
with Gerhard Schjelderup. Dr. Sandvik is the
author of the article on GRIEG in this Dictionary.
-R. M.
SANDVIK, P. Norwegian orgt. and inspector
of schools; b. Söndmör in 1847. From 1869,
resident at Hamar, where he founded the Hamar
Choral Soc. His efforts for promotion of school-
singing in Norway have been of fundamental
importance.-R. M.
SANJUÁN NORTES, Pedro. Span. compr. b.
San Sebastian (Guipuzcoa), 15 Nov. 1886.
Started career as violinist; belonged to the
Orquesta Sinfónica, Madrid, from his 20th to
28th year, when he won a position of regimental
bandmaster. Stud. under Bartolomé Pérez Casas
and Joaquín Turina, under whose influence he
became a decided follower of modern tendencies.
He writes mainly for orchestra. In Feb. 1924,
he was appointed condr. of the Orquesta
Sinfónica, Havana, Cuba.
El Dragón de Fuego, overture, inspired by Jacinto
Benavente's dramatic work of same title: Afrodita,
, Orquesta Filarmónica, Madrid); Poema pastoral,
words by Juan Ramón Jiménez; Suleika, based on
a tale from the Thousand and One Nights; Cam-
pesina, rondo, 1st perf. Feb. 1920, Orquesta Filar-
y lugares, 3 poems for
mónica, Madrid; Paisajest. (Antonio Matamala,
pf.: Aires del Campo, v.
Madrid: Schott.-P. G. M.
SANKEY, Ira David. Amer. evangelist-singer
and composer of hymns; b. Edinburgh, Pa.,
U.S.A., 28 Aug. 1840; d. Brooklyn, N.Y., 13 Aug.
1908. Began career as choir-singer and leader in
Methodist Ch., Newcastle, Pa. 1871, resigned
position as collector of internal revenue and
joined Dwight L. Moody as an evangelistic singer.
Toured extensively in U.S.A., Canada and Great
Britain (1st visit to England 1873). With Philip
P. Bliss, James McGranahan and others, deve-
loped a particular type of Amer. hymnody, known
as "gospel hymns."
Sankey's Story of the Gospel Hymns (Philadelphia,
1906, Sunday School Times Co.): My Life and the
whe
Story of the Gospel Ilumns (Philadelphia, 1907, P.
Ziegler); Sacred Songs and Solos (1873, Biglow &
Main; London, 1875, Morgan & Scott); Hallowed
Hymns (1908, Biglow & Main); many contributions
to Gospel Hymns, 6 vols. (1875-91, Biglow & Main;
many later eds.). Consult J. H. Hall, Biography of
Gospel Song and Hymn Writers, pp. 197-201; and
his autobiography.-J. M.
SANTLEY
to his initiative is due the institution of orch
concerts, first in the Sala Accademica, later at
Teatro Argentina, and finally at the Auguste
(1908). In 1911, appointed Senator. Amonget
his most interesting publications on music are:
Saggio sopra alcune cause della decadenza della
XIX (Tipografia
della Pace, Rome, 1898); La
nel secolo XIX (Tipografia della Pace, Rome, 1900);
Sulle belle arti (Tipografia del Senato, 1914): Note
ricordi del Presidente (in publ. Venti Anni di Concerti,
of R. Accad. di Santa Cecilia) (Rome, 1915).-D. A
musica italiana alla fine del soluzione della musion
SAN MIGUEL, Mariano. Span. clarinettist
and compr. b. Oñate (Guipuzcoa). Clar. soloist
of Banda del Real Cuerpo de Alabarderos (see
ALABARDEROS). Former soloist, Soc. de Con
ciertos, Orquesta Sinfónica, Madrid. Member of
R. Chapel Orch. Founder of Soc. de Instr. de
Viento (Wind Instr. Chamber-Music Soc.), 1910,
Recognised as one of the contemporary clar. vir-
tuosi. Author of over 200 popular works for
Founder of the mus. review
military band.
Harmonía, Madrid.-P. G. M.
SAN SEBASTIÁN, Father José Antonio de.
Span. compr. b. San Sebastian (Guipuzcoa),
from which town he takes his name, following the
custom of the Capuchin order to which he be-
longs. Stud. compn. under Granados and at
Schola Cantorum, his best-known work being
Trois Préludes Basques (Unión Musical Espa-
ñola).-P. G. M.
SANTA CECILIA (Regia Accademia di), Rome.
The most important mus. inst. in Italy. Founded
1584 by Pope Gregory XIII, under title of Vir-
tuosa Compagnia dei musici di Roma; later,
assumed name of Congregazione di Santa Cecilia
fra i musici di Roma; only recently that of
Academy.
In 1870 it obtained title of Royal
had formerly
and lost the religious character
preserved. One of its original features was that
of mutual help" amongst the members; re-
cently it has developed its artistic activity and
is now the chief Ital. mus. centre, taking the
initiative in mus. culture and conferring degrees.
To it belongs the merit of having founded
(1876) the Liceo Musicale di Santa Cecilia (see
ACADEMIES) which, after having been for several
now become an
years dependent on it, has
It has also
independent State institution.
promoted in Rome the symphony concerts,
which took place at first in the beautiful academic
hall, and subsequently at the Augusteo (q.v.).
For the older history of the Acad., see a pamphlet
Its more
-very rare of the Abbot Tosti.
recent events are illustrated in the vol. Twenty
Years of Concerts and the Annuari of the Acad.
itself (Via Vittoria 6).-D. A.
SANTLEY, Charles. English opera, oratorio
and concert singer; b. Liverpool, 28 Feb. 1834;
d.
SAN MARTINO DI VALPERGA, Enrico
(Count). Born rin, March, 186 ince
1905 has been President of the R. Accademia
di Santa Cecilia in Rome, of which he became
a member in 1891. Is passionately devoted
to music, which he studied from boyhood in
Turin (pf. under Rossaro, cello under Forneris,
harmony under Bellardi). In 1888, went to
Rome, where he was President of Accademia
Filarmonica and of Circolo dei Musicisti. During
his presidency, the R. Accademia di Santa
Cecilia has achieved great development, and
434
22 Sept. 1922. Son of William Santley,
orgt. and oboe-player. Educated at Liverpool
Inst. As boy, sang alto in church choirs and
played vn. in orchs. His voice having broken,
he joined choir of Liverpool Philh. Soc.
as 2nd t. on his 15th birthday, taking part
in the opening concerts of the Philh. Hall,
when he heard Viardot. Lablache and others.
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SANTLEY
After working as an accountant for a time, his
voice having settled down into a fine barit.,
he went to Milan in 1855, and placed himself
under Gaetano Nava, who eventually left him
his library. In Jan. 1857, operatic début in
Traviata at Pavia. On his return to England
in Nov. 1857, he sang Adam in The Creation,
under John Hullah, at St. Martin's Hall, London.
He pursued his studies under Manuel Garcia,
and proceeded to engage in the longest, most
distinguished and most versatile vocal career
which history records. Most notable appearances:
Feb. 1858, 1st appearance in title-part of Elijah
in London at Exeter Hall. (He remained identified
with the part of Elijah for upwards of 50 years.) At
this period he was singing with Sims Reeves, Clara
Novello, Mario and Grist. Sept. 1859, in Pyne and
Harrison Eng. Opera Co. at Covent Garden. 1861.
1st appearance at Birmingham Festival.
1st appearance at Handel Fest. at Crystal
1862,
also created part of Danny Man in Lily of Killarney:
Palace;
had such great success in Il Trovatore that he was
then engaged by Mapleson for Her Majesty's Theatre,
singing in Eng. opera at Covent Garden and Ital. at
Her Majesty's. 1863, 1st appearance at Worcester
and Norwich Fests.; had great success as Valentine,
in 1st production in England of Gounod's Faust.
SĀRANGI
Student and Singer, Reminiscences of My Life,
and a book on The Art of Singing. As a man,
he was simple in his tastes, very downright.
and along with a certain native dignity, had a
humorous and very human outlook on life. Pope
Leo XIII created him a Knight-Commander of
Order of St. Gregory in 1887. He had joined
the Church of Rome in 1880.-J. M. L.
SANTLEY, Edith. Daughter of Sir Charles
Santley; had a successful career as a s. concert-
singer, before her marriage in 1884 with the Hon.
R. H. Lyttelton.-J. M. L.
SANTOLIQUIDO, Francesco. Ital. compr. b.
San Giorgio a Cremano, Naples, 6 Aug. 1883.
He studied in Rome at R. Liceo di Santa Cecilia,
under Falchi. He now lives in Tunis for the
greater part of each year.
Operas: La Favola di Helga (Teatro Dal Verme,
Milan, 1910; Ricordi); Ferhuda (Tunis, 1919);
L'Ignota (unpubl.); La bajadera dalla maschera
gialla (Rome, 1923). Orch. works: I morte di
Tintagiles; Paesaggi; Il profumo delle oasi sahariane;
Acquarelle; songs; pf. pieces (Ricordi, Milan; Forll-
vesi, Florence; Durazzano,
1909, dopo Wagner: Debuss Writings about
e Strauss (Rome,
A.
SAPELLNIKOF, Vassily. Russ. pianist; b.
Odessa, 21 Oct. 1872. First stud. music under
his parents, and appeared in public as a violinist
at age of 7; stud. vn. and pf. till he met Rubin-
stein, who persuaded him to devote himself to
the pf.; then stud. for 5 years at Petrograd
Cons., next appearing at Hamburg under con-
ductorship of Tchaikovsky, and scored an im-
mediate success. Engagements in the principal
countries in Europe. In London he introduced
the Tchaikovsky concerto, under the compr.
himself (R. Philh. Soc.); has played for this Soc.
15 times; was chief prof. at Moscow Cons.,
for 2 years, but resigned this post to pursue
concert work. In 1916, returned to Odessa on
family matters and was caught later by the
revolution, and detained in the country until he
managed to escape in summer of 1922. He has
comp. a number of pf. works, the most popular
being 2 gavottes and a valse.-E.-H.
1864,
perf. especially for S. In the cast with S. were
d wrote Even Bravest Heart for the Eng.
Lemmens-
Reeves; at the gton, Lucia, Marchesi and Sims
e Ital. Opera, the cast included Tietjens,
Trebelli, Giuglini, Gassier and S. Winter of 1864-5,
at Liceo in Barcelona, playing Rigoletto for 1st time.
Dec. 1865-March 1866, at La Scala in Milan. Sang
Don Giovanni in Manchester, 1st time in 1865. Later
on, appeared as Caspar in Der Freischütz, in London.
In 1869, sang in Ambroise Thomas' Hamlet (with
Christine Nilsson as Ophelia); in Gazza Ladra, at
Covent Garden with Adelina Patti.
Czar und Z appeared Eng. at Gaiety).
anderen in Flying Dutchman (with he sang
then
Irma di
in Zampa, Fra Diavolo and
successful
in America; autumn
1871,
Eng. provinces for 3 months: then dropped into
toured
concert and oratorio routine, singing in ballad con-
certs under
opera was in 1876 in Carl Rosa Co. (Flying Dutch-
His last regular appearance in
man). He made tours in Australia, New Zealand,
Africa and Canada. During his career he was offered
engagements at Paris, Vienna, Naples and Petrograd,
which he was unable to accept owing to pre-engage-
ments. He sang at Monday Popular Concerts, appear-
ing with the Joachim Quartet and Mme. Schumann.
In 1907, S. celebrated his jubilee, by concert at
Albert Hall; same year, received knighthood. Took
his farewell at Covent Garden in 1911; at matinée
given for his benefit, appearing as Tom Tug in The
Waterman (Dibdin's ballad-opera) in which he had
sung more than half century In Feb.
1915, at request of the Lady Mayoress, S. sang at
House concert for Belgian refugees. On that
ansion he sang with perfect intonation and an
astonishing amount of his old quality of voice and
rigour of style.
His voice was of singularly bright, carrying
quality, with a noble silvery resonance.
compass was from the low E flat to the high G
His
barit.), and every note was of fine scientific
uality; there was perfect evenness throughout
he whole compass. A marvellous command of
ocal technique, grand elocution, remarkable
ift of observation, exhaustive understanding
nd appreciation of men and things, with a
triking power of presentation, gave him a range
f style, which enabled him to hold the foremost
lace in every branch of singing both in opera-
ouse and on concert-platform. He sang in
Our languages equally well; was moreover a
aster of Scots and Irish enunciation in national
nd humorous songs.
Santley publ. 2 vols of autobiography:
SARADIEF, Constantine Solomonovitch (ac-
cent 2nd syll.). Russ. condr. and violinist; b.
Derbent (Darguestan district, Caucasus), 26.
Sept. 1877. Son of a physician; pupil of
Hrimaly (vn.) and S. I. Tanéief (theory) at Mos-
cow Cons. (1889-98); then of Nikisch (Leipzig,
1905-6) and Sevčík (Prague, 1900-2, 1904).
Vn. teacher at Synodal Music School, Moscow,
1898-1907; chairman of Moscow Soc. of Orch.
Players (1908-11); chief condr. of Moscow City
Symph. Concerts in the Sokolniky, 1908, 1910,
1911; chief condr. People's Opera, Moscow, 1911,
1912. One of organisers and chief condr. of Mos-
cow Free Theatre (1913-14). Now dir. of State.
Inst. of Theatre Art in Moscow (formerly Musico-
dramatic School of Philh.); and prof. at Moscow
Cons. At his City Symph. Concerts he gave many
1st perfs, of works by Russ. and foreign comprs.
(Stravinsky, Miaskovsky, Prokofief, Ravel, De-
bussy, Fl. Schmitt, Cyril Scott, Loeffler).-V. B.
SARANGI. See INDIAN MUS. INSTRUMENTS.
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SARASATE Y NAVASCUÉS
SARASATE Y NAVASCUÉS, Pablo de. Span.
violinist; b. Pamplona (Navarra), 10 March,
1844; d. at Villa Navarra, Biarritz, 20 Sept.
1908. Buried at his native town. Honours:
Grand Crosses of Isabel la Católica and Alfonso
XII, Carlos III, Christo de Portugal, Albrecht
of Saxony, Leopold of Belgium, the Prussian
Crown, Red Eagle of Prussia, the Crown of f Italy,
Wendische Krone of Schwerin, Zäringen-Löwe
of Baden, White Falcon of Weimar, Danebrog
of Denmark, Frederick of Würtemburg, Bene-
merentia of Rumania, Commander of the Crown
of Rumania, and of Isabel
Católica, and
Medals of Merit of Mecklenburg-Schwerin, Art
and Science of Russia and Dessau, Officer of
Légion d'Honneur; Hon. Member of Royal
Philharmonic Soc. London.
Made his first appearance on concert platform
in Coruña at age of 8. His father, Don Miguel de
Sarasate, a military band-master, gave him first
instruction on the violin. The Countess of Espoz
y Mina helped him to go to Madrid 1854, where
he took lessons under Manuel Rodríguez, leader
of Teatro de la Zarzuela. In 1856, played before
the Span. Royal Family and gave his first con-
cert at the R. Opera House. In same year, he
left for Paris accompanied by his mother, who
died on the way, at Bayonne. The Span. Consul
and banker, Don Ignacio García Echevarría,
a native of Pamplona, adopted the stranded
boy of 12, and took him to Paris, leaving him
under the direction of Alard for his studies and
the personal care of M. and Mme. de Lasabathić,
who looked after his general education and
regarded him as their own child. Besides Señor
García's protection, Sarasate had grants from
the Countess of Espoz y Mina, the Diputación
de Navarra and Queen Isabel II, amounting in
all to about £150 a year.
But a few months elapsed before he appeared
with his master Alard at a concert at Bayonne
and created a sensation. By that time he had
played to Rossini, who wrote of him as "a giant
in talent whose modesty doubles his charm."
In 1857 he obtained 1st prize for vn. at Paris
Cons, and in 1858, 1st prize for harmony. His
remark in a letter to his father in 1857: "Har-
mony will be very easy for me; I have it all in
my head already," recalls his deficiency in that
branch of music, so much in evidence in his
compns. In 1861 he went to Spain, receiving
from the Royal Family the Cross of Carlos III.
In that year he made his first appearance in
England (Crystal Palace), a country he visited
annually almost to the end of his life. In 1867
he toured with Adelina Patti in Brazil, Chile,
Argentina and Peru. It was not until 1876 that
he appeared in Germany. In 1889 he returned for
second and last time to U.S.A. and S. America.
His public career constitutes a record of 32 years.
of triumphant tours, during which he received
every conceivable honour and amassed a large
fortune, in spite of his charitable and hospitable
disposition. He possessed 2 famous Stradivarius
violins: one dated 1724, known as the "Boissier
de Genève," for which he paid 5000 francs
SARNECKA
in 1866; the other dated 1713, called, on account
of its brand-new red colour, "le rouge," acquired
in 1888 for 20,000 francs. These he bequeathed
in his will: the "Boissier" (the only one be
played in public) to the Paris Cons., and the
"red" to Real Cons, de Música, Madrid.
The violin in his hands was not an instrument
of masculine or feminine character to give expres
sion to human pathos, but a wand to conjure
As revealed
up ravishing fantasies of sound.
in his music he had not the diabolical daring of
Paganini, nor the temperamental exuberance of
the Belgian school. He was not a violinist,
musician and artist like Kreisler, nor violinist
and musician like Joachim. He was purely a
fiddler, but one with an unprecedented per-
sonality. He excelled in Schubert, Mendelssohn,
Raff, Saint-Saëns and Lalo, besides his own
music.
Bach's unaccompanied sonatas only
appeared in his programmes in the last years of
his life, with no particular advantage to estab-
lished traditions. As a tribute to the memory of
the great virtuoso, Sarasate's compns, should be
passed uncriticised. Nevertheless, the vn. part
of his numerous works can always be stud. with
benefit, being the only traces left to posterity
from which to draw an idea of the æolian and
fluid quality of his playing.
Vn. and pt. (or orch.): Le Sommeil: Moscowienne;
La forza del destino: Homenage a Rossini; Serenata
Dame blanche; Récerie:
Les Adieuz Romeo y Julieta; Frei
andaluza;
Fantasia sobre el Fausto;
Mireille; Con Mosaique
schütz; Caprice
Españoles; Sour de Domont;
Prière igeunerweisen; El
de
Berceuse;
Mignon-Garota;
V
Habanera; Jola Aragonesa;
Senff,
canto del ruiseñor; eto. (Publ.: Choudens, Durand,
Leipzig; Simrock,
Paris: Zimmermann,
Berlin.) P. G. M.
SARI, Ada (Szajerówna, Jadwiga). Polish
b. Stary Sącz,
coloratura soprano singer;
Galicia, in 1888. Celebrated in rôles of Rosina,
Gilda, Lakmé, Violetta, Queen of the Night,
etc., in Italy, Spain, France, England, Poland
and America.-ZD. J.
SARLY, Henry.
Belgian compr. b. Tirle-
mont, 28 Dec. 1884. Stud. music under his
father, who dir. a school of music at Tirlemont.
Later under Léon Du Bois at École de Musique,
Louvain. Then at Brussels Cons.: organ under
Mailly; harmony under Huberti and Paul Gil-
son; cpt. under Tinel; compn. under Léon Du
Bois. Obtained Ière mention in Prix de Rome com-
petition, 1907. Now in charge of a harmony class
at Brussels Cons. and (from 1921) inspector of
mus. education to middle and high schools of
Belgium. S. is one of most gifted of Belgium's
young composers. His art has a solid technical
basis; is more modern than classical in tendency.
Vn. and pf. sonata; 5tet, str. and pf.; about 10
songs (Schott;_Chester);
pf. vn. and cello
1 orch.; Scènes
brabançonnes, orch, saatmar, y. and
SARNECKA, Jadwiga. Polish pianist, compr.
b. Sławuta, Wolhynia, 1878; d. Cracow, 1913.
Stud. under Szopski in Cracow, Melcer and
Leschetizky in Vienna. In several songs to her
own words and in many pf. pieces she tried to
express the suffering and sorrow which filled
her life.-ZD. J.
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SASNAUSKAS
SASNAUSKAS, Česlovas. Lithuanian compr.
b. at Kapčiamiestis, in Seinai district. Stud.
under his father, who was an orgt., and his uncle,
Rizauskis, a well known orgt. of Naumiestis.
He then graduated (1889) in organ class of Prof.
Kaluzinski at Warsaw; and in that year was
appointed orgt. at Vilkaviškis; later at Dvinsk;
then at Petrograd (1891) in which city he had
already passed through the singing section of
Cons. in 1898. Subsequently he stud. harmony
and fugue under J. Drozdov. For the investiga-
tion of mus. sources, he stud. palæography
and semeiography at the Archaeological Inst. of
which he was made an active member in 1904.
In 1905 he was sent by Archbishop Count Sem-
bek to study Gregorian chant and worked at
Benedictine monasteries of Prague, Würtem-
berg, Rome, and in Switzerland. From 1892 till
his death, S. was connected with chief Catholic
ch. in Petrograd, St. Catherine, Nevsky Prospect,
at first as assistant orgt., and as chief orgt. from
1896. First in Petrograd to organise a Lithuanian
choir; first in Russia to introduce a model Bene-
dictine choral service. His secular compns. drawn
from Lithuanian motifs, laid the foundations of
Lithuanian national music.
Cantata, Broliai (Brethren), solo, chorus and orch.;
(Pranian Dainos; church choral works; Requiem
organ fugtunne; Paris, Senart).-II. R.
perath; Leipzig, Otto
SATIE, Eric (Erik) Leslie. Fr. compr. (mother
English); b. Honfleur, 17 May, 1866. One of the
most original characters in modern music. After
studying for some years at the Paris Conserva-
toire, where he made the acquaintance of Paul
Dukas, Satie, in his passion for Gregorian music,
sought original effects from the use of ancient
forms, and ventured to risk harmonic combina-
tions and sequences which the boldest of his
contemporaries, even a Chabrier or a Lalo,
would not have dared to write. Les Sarabandes
(1887), Les Gymnopédies, Les Gnossiennes (1889),
introduce the harmonic style which definitely
took its legitimate rank in music in the master-
pieces of Debussy.
SAUNDERS
Satie, who to a certain extent had foretold
the coming of musical Impressionism, realised
in 1913 that music was to follow an evolution.
similar to that of painting, and that subtleties
of notation and fugitive nuances were to give way
to strong outlines and poise. He himself com-
posed an original work in this style, Socrate (La
Sirène, 1918) consisting of fragments of Platonic
dialogue in music. It is the chief work of his
late period. The melody which consists of a
very simple theme, rises clear above an accom-
paniment which is obstinately repeated. The
total impression is strangely archaic. In spite of
some pages of great beauty, his work has never
been appreciated at its true worth, because the
public insists on seeing Satie merely as a
humorist. He has been adopted as a "totem "
by the younger French musicians, but only
Poulenc and Auric have really shown signs of
his influence. In Parade and various orchestral
works, Satie tries, as they do, to draw his
inspiration from jazz and café-chantant music;
but his last compositions in this style are very
mediocre.
A.
La
(Paris, 1922): J. Cocteau Musique française moderne
Coq et l'Arlequin (Eng.
transl. London, Egoist Press).-II. P.
SAUER, Emil. Ger. pianist; b. Hamburg,
8 Oct. 1862.
es, Gauss-Cop-
Pupil of Nicolas Rubinstein,
Moscow Cons. (1879-81); stud. under Liszt,
1884-5; concert work since 1882; 1901-7,
and from 1915, dir. of Advanced Pf. School at
Vienna Cons.; 1917, ennobled; 1918, Kgl.
Hofrat. An elegant player, somewhat feminine
in style.
2 pr. concertos (E mi., C mi.); 2 pf. sonatas (D ma.,
F ma.); 24 concert-studies (1900); ed. pf. educational
works of Pischna, Plaidy, Kullak,
latti and Brahms (Peters). Wrote Meine Welt car-
A. E.
(1901).
SAUL, Felix. Choral condr. b. Preussisch
Stargard (Germany), 22 Dec. 1883. Stud. at
seminary of Münster; choirmaster at synagogue
at Düsseldorf, 1904; at synagogue in Stockholm,
1909. Naturalised Swede, 1919. Professor of
theory (Riemann's method) in music schools of
Richard Andersson and Karl Wohlfart. Founded
Stockholm Madrigal Soc. 1917. Music critic on
Dagens Nyheter and continental journals (Sig-
nale; Allgemeine Musikzeitung).-P. V.
SAUNDERS, William. Scottish writer on
music; b. Kirkcaldy, Fifeshire, 22 May, 1877.
Educated Edinburgh Univ.; specialised in
history and principles of criticism, whilst taking
full course in arts and law. Took many prizes
(Gray Essay; prox. accessit Lord Rector's Prize).
Ed. U. of E. students' magazine, The Gambolier,
which he owned for 5 years. Stud. fl., vn., pf.,
singing and mus. history. Came intimately
under influence of Prof. Niecks and later of Prof.
Tovey. In 1918, founded The Scottish Musical
Magazine, which he edits and for which he has
written many articles. He is a good linguist, and
his chief mus. interests lie in the study of opera
and folk-songs of all nations. He is a regular
contributor to Eng. mus. journals, and the
writer of many of the Scottish articles in this
Dictionary.-E.-H.
Debussy made the acquaintance of Satie about
1890 in a Montmartre cabaret where the latter
was pianist. At a time when Debussy was still
wavering, Satie saw clearly that Wagnerianism
was dead, and that the rhetoric of the leit-motiv
incidental music
must be abandoned. In
to the Fils des Étoiles, he endeavoured to create
sonorous atmosphere and background. His
deas, much more than his music, seem to have
helped Debussy to find himself.
Satie has remained poor and obscure all his
fe. Ravel, who came very much under his
nfluence during his youth, did his utmost to
cure just recognition for him, but the public
-fused to take him seriously. One must admit
at Satie, with his whimsical humour, seemed
make mock of the public with his absurd
-les, which often disguised pianoforte pieces
rare charm and originality; e.g. Pièces froides
old Pieces), Morceaux en forme de poires (Pear-
ped Pieces), Préludes flasques (Limp Preludes
o a dog) (Rouart, Lerolle), etc.
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SAURET
SAURET, Émile. French violinist; b. Dun-
le-Roi, 22 May, 1852.
Pupil of Charles de
Bériot; brilliant career as soloist abroad. Toured
in England, U.S.A. and Germany; his home is
in Geneva. As soloist, is remarkable for the
elegance of his technique. Is also a compr. and
has publ. many vn. arrangements. Has had
many pupils in Berlin, London and Chicago.
The essence of his teaching is contained in an
excellent Violin Manual.-M. P.
SAUVREZIS, Alice. Fr. compr. b. Nantes.
Pupil of César Franck; then of P. Vidal.
President of Société artistique et littéraire de
r'Ouest. Without closely uniting itself to folk-
lore, her music yet seeks a Celtic character.
Sonata, pf. and vn.; sonata for 2 pfs.; 50 songs;
2 symph.poems; lyric legend, Francen-ar-Mor.-A.C.
SAVASTA, Antonio. Ital. compr. b. Catania,
22 Aug. 1874. Prof. of compn. at R. Cons. di
San Pietro a Maiella, Naples, where he was a
pupil. An esteemed compr. of several operas,
and symph. and chamber-music.-D. A.
SCALA (Teatro alla), Milan. This magnificent
Milanese theatre, built to the design of the
architect Piermarini di Foligno, was inaugurated
3 Aug. 1778. Without recording the important
events in virtue of which its name has acquired
historic importance, we will dwell merely on
the outstanding facts of the last 40 years. One
of the largest and most beautiful theatres in
Italy, it is used exclusively for operas and sym-
phony concerts. Since 1870, the theatre, which
formerly belonged to the State, has been pro-
perty of municipality of Milan, which has ceded
it now to one, now to another private manage-
ment, sometimes with considerable endowments.
Discussions about these endowments never
ceased until, after a period of enforced closing,
it was re-opened in recent years, securing
lease of life under the management of an auto-
nomous body. Amongst important first per-
formances at La Scala during last 40 years, are
Verdi's Otello, 5 Feb. 1887, and Falstaff, 9 Feb.
1893; Catalani's Dejanire (1885), Edmea (1886),
La Wally (1893); Puccini's Le Villi (1884),
Edgar (1889), Butterfly (1904); Mascagni's Rat-
cliff (1895), Silvano (1895), Le Maschere (1901,
and simultaneously at other theatres), Parisina
(1913); Boito's Nerone (1924); also many 1st
perfs. in Italy of the more important works pro-
duced in other countries. Present artistic dir. is
Arturo Toscanini. Other condrs., V. Gui and
A. Lucon.
new
For history of La Scala, consult the valuable
work of Pompeo Cambiasi, completed and brought
book of Carlo Vanbianchi and
the
up to date
Guido Marangoni (publ. by Istituto Italiano di
Arti Grafiche, Bergamo).-D. A.
SCALERO, Rosario. Ital. violinist, compr.
b. Moncalieri, 24 Dec. 1870. Stud. at Liceo
Musicale, Turin, then at Genoa under Camillo
Sivori, and in Germany under Wilhelmj. After
a series of concerts in principal European cities,
settled in Rome, where in 1913 he founded the
Società del Quartetto. 1919, went to New York,
Pieces for vn.,
joining staff of Mannes Cons.
pf., orch., songs (Breitkopf; Simrock).-D. A.
SCHALK
SCALESE, Lorenzo. Dir. of Beethoven Con
Buenos Ayres; b. Serrastretta, Calabria, in
1867. Went to Argentina as a boy. Is now &
well-known pf. teacher. Publ. a suite and sym
phony
for orch. many songs and pieces for va
and pf.-S. G. S.
SCANDINAVIAN (Northern) MUSICAL FESTI.
VALS. Organised in Copenhagen, 1919, and in
Helsingfors, 1921, the performers being drawn
from Finland, Sweden, Norway and Denmark.
-E.-H.
SCHACHTEBECK, Heinrich. Ger. violinist;
b. Diemarden, near Göttingen, 6 Aug. 1887.
Stud. in Göttingen Town Orch.; 1905, pupil at
Leipzig Cons. (Arno Hilf), then Walter Haus.
mann; 1908, member of Gewandhaus Orch.;
1909, Konzertmeister, Stadttheater Orch.; 1911-
1914, soloist in Philh. (Winderstein) Orch.; 1915,
founded str. quartet with Albert Patzak, A.
Witter, Alfred Patzak.-A. E.
SCHADEWITZ, Carl. Ger. compr. b. St.
Ingbert, 23 Jan. 1887. Pupil at Würzburg Cons.
where he is now engaged as condr., choir-
master and teacher of piano.
second one, s. fl. horn, vla. and pf., stet, A mni.
sonata 3 suites, op. 10, 14 and 18: Symph. Poem,
Songs: Liedsinfonie, s. barit. vn. fl. and pf.; a
vn. and pf.
4; cello sonata, op. 9;
op. 16;
op. 15, orch.; Prelude and fugue, str. orch. op. 3;
stage fairy-play, Midsummer. 15; opera, Laurenca.
Night, op. 8:
to Calderón's Zenobia,
-A. E.
SCHÄFER, Dirk. Dutch pianist and compr.
b. Rotterdam, 25 Nov. 1873. Stud. 1887-90 at
Rotterdam Cons.; 1890-94 Cologne; 1894,
Mendelssohn Prize, Berlin; 1894-1904, settled
at The Hague, giving many concerts in Holland
and Belgium; 1904, produced his pf. 5tet at
Frankfort Fest.; 1910, his vn. sonata (with
Carl Flesch) and cello sonata (with Gérard
Hekking) in Berlin; 1913, began series of 11
historical concerts, playing most important
works of whole piano literature (from Byrd and
John Bull to Ravel and Schönberg); 1921,
played in Vienna, Berlin, London and Paris.
Since 1904 has lived in Amsterdam.
2 Lieder, mixed vs. and orch. op. 1 (Leipzig, Leuck-
sonatas for vn.
art); 8 Etudes, pf. op. 3 (Breitkopf); Noske); No.
and pf.: No. I, op. 4 (The Hague,
II, op. 6
and 1900Breitkopf); Nos. III and IV in op. 11 (1904
5tet for pf. and str. op. 5;
Javanese Rhapsody for orch. op.tkopf); Pas-
, cello and
toral Suite for orch. op. 8 (Noske);
pf. op. 13 (1909; str. 4tet, op. 14. For pt.: Sonate
inaugurale, op. 9; 3 pieces, op. 10; 6 pieces, op. 72;
8 pieces, op. 15 (Noske); Waltz (Copenhagen, Han-
sen); Barcarolle; Prelude and fugue (Leuckart);
4 little pieces (Strasburg, Süddeche Musikverlag);
Variations on a sequence
Kahnt); Scherzo,
Repromptu and Valse di bravura (Noske). Consult:
Musicale (July 1921); Arts Gazelle (March
enlarged
Chesterian; Niemann's Klavierbuch
ed.). W. P.
SCHALIT, Heinrich. Austrian pianist, compr.
b. Vienna, 2 Jan. 1886. Pupil of Josef Labor and
Robert Fuchs at Vienna Cons.; now private
teacher in Munich.
Lyrical pf. pieces; songs; chamber-music (pf.
5tet, 4tet, vn. sonata); Konzertstück, pf. and orch.
-A. E.
Austrian condr., dir. of
Vienna Opera House; b. Vienna, 27 May,
1863. Stud. vn. under Hellmesberger, compn.
438
SCHALK, Franz.
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SCHARRER
under Bruckner. Together with his brother.
Josef, he conducted a zealous propaganda for
Anton Bruckner and also for Hugo Wolf. 1888,
condr. at Reichenberg (Bohemia); 1889-95
at Graz (where in 1894 dir. 1st perf. of Bruck-
ner's 5th symphony). Then Prague till 1898. In
spring of 1898, guest-condr. Covent Garden
Opera, London; 1898-9, condr. Metropolitan
Opera House, New York (succeeding Anton
Seidl.) There he first cond. the Ring des
Nibelungen (without cuts). In 1899 (in place of
Josef Sucher) he was with Muck and R. Strauss
as condr. of the Comic-Opera House in Berlin.
In 1900, called by Mahler to Vienna Opera,
where he has been dir. (with R. Strauss) since
Director of Gesellschaftskonzerte,
Oct. 1918.
1904-21. In 1911 he cond. the winter season
at Covent Garden, London, in place of Hans
Richter, with Hallé concerts at Manchester,
etc. Cond. in Vienna the 1st perf. of Tiefland;
Rosenkavalier; Die Gezeichneten; Palestrina;
Ariadne; Salome; Schatzgräber. In 1919, 1st
perf. of Frau ohne Schatten. His indefatigable
work at the Vienna Opera House has recalled
the days of its greatest glory.-P. ST.
SCHARRER, Irene. British pianist; b. Lon-
don. Trained at R.A.M. under Tobias Matthay
(as an Associate Board scholar at age of 12);
gained Potter and Erard scholarships; 1st recital
Bechstein Hall at age of 16; since then, she has
toured Great Britain and played with all the
leading British orchs., as well as with Nikisch
and with the Berlin Philh. Orch. Her style has
all the beauty and finish of the Matthay school.
-E.-H.
SCHELLING
SCHARWENKA, Ludwig Philipp. Ger. compr.
b. Samter (Posen), 16 Feb. 1847; d. Bad Nau-
heim, 16 July, 1917. 1865, pupil of Kullak's
New Acad. of Music, Berlin (Würst and H.
Dorn); 1870, teacher of theory at Kullak's Acad.;
1881, teacher of compn. at brother's Cons.; then
dir. with Hugo Goldschmidt; Member of Berlin
Acad. of Art; finally senator.
pf. teachers' seminary attached; Member-in-
ordinary of R. Acad. of Art: 1911, senator.
A mi, op. 42); pf. trios
4 pt. concertos (B flat mi. op. 32; C mi. op. 56;
C sharp mi, op. 80; F mi. op. 82
(F sharp mi, op. 1;
itet, F ma.
op. 37: vn. sonata, D mi. op. 3; cello sonata, G mi.
op. 40 2 pf, sonatas (C sharp mi. op. 6: Edat ma.
Go
op. 83 symphony, Omi, op. short pf. pieces
(Polish Dances, op. 3, 9, 29, 31, ás; Polish thapsody,
op. 76: Polonaises, op. 7, 16); songs (op. 88); Studies
for pt. (op, 77, 78); opera, Malaswintha (Berlin, 1891).
Publ. System of Ff. playing (1908). Consuit his auto-
biography Klange aus meinem Leben, 1932.-A. E.
SCHATTMANN, Alfred. Compr. b. Rytwi-
any, Radom govt., 11 June, 1876. Son of Ger.
parents; stud. law; after 2 years' commercial
activity turned to music; pupil of Julius
Schaeffer, Breslau. Compr. and mus, author
in Berlin, also 1st mus, critic of Die Zeit there.
Songs: pf. piccos; opera, Frithjof; mus. play,
Die Freier (The Suidor) (Stuttgart, 1911); comic
opera, Des Teufels Pergament (Devil's Parchment)
(Weimar, 1913); burlesque opera, Die Geister von
Kranichenstein: tragic opera, Die Hochzeit des
Mönchs (Monk's Wedding).-A. E.
SCHEIDEMANTEL, Karl. Ger. stage and con-
cert-singer (barit.); b. Weimar, 21 Jan. 1859; d.
there, 26 June, 1923. Attended Weimar Train-
ing College for Teachers (private pupil of Bodo
Borchers); 1878-86, at Weimar Court Theatre;
1881-3, stud. under J. Stockhausen; 1886,
sang at Bayreuth; 1886-1911, Dresden
Court Opera House; then teacher at Grand-
Ducal Music School, Weimar; 1920-2, dir. of
State Opera House (Landesoper), Dresden.
Stimmbildung (Voice Production) (1907; 7th ed.
1920); Training of Singing (1913; Eng. by Carlyle,
2nd ed. 1913); words to E.
Eldena and
Pittrich's Pechvogel und Lachtauh 1914, won prize
of
Ger. Stage Soc. for transl. of Don Juan. Publ.
a vol. of songs, Master Melodies (1914, 6 parts).
Consult P. Tredé, K. Sch. (1911).-A. E.
SCHEINPFLUG, Paul. Ger. compr. b. Losch-
witz, near Dresden, 10 Sept. 1875. 1890-4 stud. at
Dresden Cons. (Draeseke, Braunroth, Rappoldi);
1897-8, private tutor in South Russia; 1898,
Konzertmeister of Philh., Bremen; condr. of
Choral Union of Teachers' Choral Soc., and of
St. Michael's Ch. choir; 1909, went to Königs-
berg as condr. of Mus. Soc.; 1910, condr. of
Acad. of Music; 1914, condr. of Blüthner
Orch. Berlin; 1920, town mus. dir. Duisburg;
1921, gen. mus. dir. there.
Brother of
Choral work, Harvest Celebration, soli and orch.;
Sakuntala, dramatic legend arr. for stage; Arcadian
Suite for orch.; symphSpring Waves; Dramatic Fan-
D Sinfonia Brevis,
E flat; symph. poem,
tasy, B flat mi.; tone-poem, Dreams and Reality;
Orch. Serenade, E flat; Festival Overture; vn. con-
certo; 2 pf. trios (C sharp, op. 100; G ma. op.
D ma, op. 122);
112); 2 str. 4tets (D mi. op. 117;
pf. 5tet, B mi. op. 118; trio, pf. vn. and vla. op. 121;
duet, vn. and vla. with pf. op. 105; 2 vn. sonatas;
pf. and vla. sonata; male and female choruses; songs:
short pieces for orch.; pf. and vn. duets.-A. E.
SCHARWENKA, Xaver. Pianist and compr.
b. Samter (Posen), 6 Jan. 1850.
Philipp Sch., pupil of Kullak's Acad. (Th. Kullak
and R. Würst); 1868, teacher at Kullak's Acad.;
1869, début as pianist at Acad. of Singing;
1874, gave up teaching; concert-player in almost
every European country; 1881, opened own
Cons., Berlin; 1891, invited to New York as
dir. of Cons. (named after him) there; 1893,
Berlin Scharwenka Cons. united to Klindworth
Cons.; 1898, returned from New York, and
took over the directorship again; 1914 (with
W. Petzet), opened School of Music with
Pt. 4tet, E ma. op. 4; Worpswede (v. vn. horn and
pf.),
95
orch,
op. vn. sonata, F ma. op. 13; str. 4tet, Cmi. op.
16; songs; 2 male choruses with vn. solo, op. 10; Die
(The
male chorus, op. 12; Christmas Carol of Angels
(female chorus and organ); light opera, Das Hof-
konzert (The Court Concert) (Berlin, 1922).-A. E.
SCHELLING, Ernest Henry. Amer. pianist,
compr. b. Belvedere, N.J., 26 July, 1876. First
instruction from his father. Appeared as infant
prodigy at 4 years at Acad. of Music, Phila-
delphia, 1880. At 6, taken to Europe and taught
by Mathias and Moszkowski at Paris Cons.; after-
wards by Pruckner, Huber (Basle, 1890), Barth,
J. Pfitzner, Leschetizky. In his youth played in
London, Paris, Germany, Switzerland, Sweden,
Denmark. From 1898-1902, completed his studies
under Paderewski at Morges, Switzerland. Since
1903, toured extensively in Europe, including
Spain and Russia; since 1905 in America.
439
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SCHENKER
As compr. S. has produced a number of larger
works. Best-known is op. 7, Suite fantastique, pf.
and orch. (1st perf. Amsterdam, 1907). Still in
ms. are a suite for orch., a vn. concerto (played
by Kreisler with Boston Symphony Orch. 17 Oct.
1916, in Providence, R.I.), Impressions of an
Artist's Life, variations, pf. and orch. (perf. by
Boston Symphony Orch. 31 Dec. 1916), a vn.
sonata, and The Victory Ball, symph. poem, perf.
by Philadelphia Orch., 23 Feb. 1923.
Légende
1907), perf.
in Warsaw, 1903 uile,
10 fantastique, pf. and orch.
op. 7 (Raliter, 1908); Thème et variations and other
pf. pieces; songs (Schirmer).-J. M.
Austrian writer on
SCHENKER, Heinrich.
music; b. Wisniowszyk, Poland, 19 June, 1868.
Pupil of Anton Bruckner at Vienna Cons.
Toured as accompanist to Messchaert. Then
critic, voluminous writer on music.
Many pf. piecos, songs. Books (Univ. Ed.): New
Musical Theories and Phantasies, Vol. I, Harmony
II, Counterpoint (1910), III, Counterpoint,
ation (1921); Analysis of Beethoven If.
Sonatas (text and new, ed. of music), 191mentaten-
cerning Beethoven's 9th Symphony:"
Also publ. new ed. of pf. concerto of Ph. E. Bach;
Chromatic Fantasia;
cantatas of J. S. Bach; bacertos for piano, etc.
arrangements of
-P. P.
SCHERCHEN, Hermann. Ger. condr. and
Self-taught
compr. b. Berlin, 21 June, 1891.
musician; 1907-10, vla. player Blüthner and
Philh. Orch. Berlin; 1911-12, concert tour
with Max Schönberg; 1914, condr. of Symph.
Orch. Riga. On return from Russian imprison-
ment (1918), founded and cond. New Mus.
Soc. Berlin; 1920-1, publ. fortnightly paper
for ultra-modern music called Melos; became
lecturer for modern music at State High School
for Music; 1921, condr. of newly-establ.
1922,
Grotrian-Steinweg Orch. in Leipzig;
condr. of Frankfort Museum Concerts. Is one
of most energetic pioneers of the new mus. styles.
Songs (op. 2, alune (contr. and vn., Jatho); pf.
songs; Berlin, Jatho Verjag);
Le dans
sonata, op. 5 (Jatho); str. 4tet, E ma. (Steingráber);
pf. trio, A mi.-A. E.
SCHERING, Arnold. Ger. musicologist; b.
Breslau, 2 April, 1877. Stud. at Berlin and Leip-
zig Univ. (vn. under Joachim and compn. under
Succo); 1902, graduated Leipzig as Ph.D.;
1907, Univ. teacher at Leipzig in history and
aesthetics of music; 1915, made prof.-extra-
ordinary; 1920, prof.-in-ordinary (succeeded
Abert) at Univ. Halle-o-S. Since 1904 has
publ. Bach Annual of New Bach Soc.
History of Instrumental Concerto (1905); History
of Oratorio (1911); Musical Training and the Educa
tion of a Musical Ear (1911, 3rd ed. 1919); Outline of
German Musical History (1917); Public Musical
Training Method in Gutch Organ Mass in Josquin's
of
time (1912); Study of Musical History in the Early
Renaissance (1914); revised A. von Dommer's Hand-
book of Musical History (1914); Hasse's oratorio, Con-
(D.d.T. XX); Instrumental
Leipzig Cons. (1918);
version of St. Augustine (1700-60)(xxx
3 at
Concertos of German I
LIX); Church Cantatas of pre-Bach
eig (D.d.T. LVIII, LIX); Old Chamber Music; Old
Flute Instructor
Masters of Vn.-playing:
(1907): 1908, Schering die uantz at Upsala, Hein-
rich Schütz's Christmas Oratorio, long given up as
lost (1909, printed as supplement to Spitta Complete
sonata for
Ed.). S. comp. music to Goethe's Faust; of St.
solo vn.; 2 dramatic plays: The Cantor
Thomas (Bach Annual, 1916) and The Young Handel
(1918).-A. E.
SCHILLINGS
CHIAVAZZI, Pietro. Italian t. singer; b
Cagliari in 1878. Stud. at Liceo at Pesars,
where Mascagni took a deep interest in him, and
successfully launched him in perf. of his (Maa
cagni's) most popular operas.
Was first inter
preter of L'Amica; also of t. part in La Conchita
(Zandonai). His repertoire is very extensive,
ranging from dramatic (Gioconda, Pagliacci,
Cavalleria) to lyric (Rigoletto, Bohème, Som
nambula).-D. A.
the
History
of XVIII and XIX Century (Simon Mayr) (Vol. I.
1906; Vol. II, 1910); Bayreuth
(1908); Introduction to Study of Musical Plays
in the Age of Absolutism (1918): Mozart (Munich, 1922)
Mozart's Letters to his Family (5 vols., Munich, 1914.
George Müller).-A. E.
b.
SCHILLINGS, Max von. Ger. compr.
Duren ineland), 19 April, 1868. Pupil of
K. J. Brambach and O. von Königslöw (Bonn);
stud. 3 years at Munich; settled there; 1903,
R. prof.; 1892, acted as dir. of rehearsals for
Bayreuth perf.; 1908, mus. assistant to the
Intendant of Stuttgart Court Theatre; condr.
of Court Orch. and Opera; then gen. mus. dir.
1911-18; Ph.D. h.c. Univs. of Tübingen and
Heidelberg; 1912, King of Würtemberg knighted
him; 1919, dir. of Prussian State Opera,
Berlin. As compr. he is a tasteful follower of the
modern German direction. His opera Mona Lisa
was perf. at the Metropolitan, New York, 1924.
Op. 1, Abenddämmerung (Twilight) (Bote & Bock);
op. 16, str. 4tet, E mi.
op. 2, 4 songs
(Bote & Bock); op. 3.de, 3-act opera, 1895
(Leipzig, Schuberth); op. 4, 3 songs (Fürstner);
op. 5, Improvisation, pf. and vn. (Fürstner); op. 6.
Ocean Greeting and Sea Morning, 2 symph, fantasies,
orch. (Fürstner); op 7, 4 songs (Schuberth); op. 8,
Dialogue, small orch., vn. and cello solos (Ries &
Das Eleusische Fest
Erler); op. 9, Kassandra, Pleifertag (Piper's Day).
3-act comic opera (Bote & Bock); op. 11, symph.
prologue to Sophoclschylus Orestes (Felix Bloch)
King Edipus, orch. (id.);
&
to
op. 13, 5 songs (Bote & Bock); op. 14, 3 songs of
Anacreon
(Last Request);
op. 14c, Intermezzo (Munich, Bauer); op. 15, Das
Ilexenlied (Forberg); op. 16, Erntelieder (Bote &
Bock); op. 17, 4 songs (id.); op. 18, 3 simple
melodies for vn. and pf. (id.); op. 19, 4 songs (For-
berg); op. 20, Moloch, mus. tragedy (Bote & Bock);
op. 21, Dem Verklärten (To the Transfigured), hymn-
rhapsody (Schiller), mixed chorus, barit. and orch.
(Forberg); Autunn Scene (Hebbel), for v.
(Kahnt); op. 22, Glockenlieder (Bell Songs) (Forberg);
Einem Heimgegangenen (To a Departed One) (in mem.
Ludwig Thuille) (C. A. Challier); op. 23, Der Huf-
schmied (The Farrier) (Forberg); op. 24, music to
Goethe's I. (ms.); op. 25, vn. concerto
rock): op. 26, Hochzeitslied (Wedding Song), chorus,
soli, orch. (Simrock); op. 27, Festival March, mili-
tary band (Simrock) Wedding Tunes, waltz for pf.
(Drei Masken Verlag); op. 28, Young Olaf (Wilden-
bruch; orch, or pf., Forberg); op. 29, 2 male choruses.
unacc. (Forberg); op. 31, Mona Lisa, 2-act_opera
(Dowsky
y: Univ. Ed.); op. 32, 5tet for 2 vns. 2 vlas.
cello (id.); op. 33, The Pearl (Goethe), s. t. orch.
(Jatho Verlag); op. 34, singing dialogues from
44⁰
SCHIEDERMAIR, Ludwig. Ger. musicologist;
b. Regensburg, 7 Dec. 1876. Stud. at Munich,
history, Germanic philology under Sandberger,
science of music; 1901, Ph.D.; 1899 and 1903,
passed exams. in philological history; stud.
theory of music under Riemann and Kretz-
schmar at Leipzig and Berlin; after a long
sojourn in Italy, became (1906) hon. lecturer
for theory of music at Marburg Univ.; 1912,
went to Bonn Univ.; 1920, professor.
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SCHINDLER
Goethe's Westöstliche Diran (id.); op. 35, Am
p. and vn. (Forberg); about 40 songs with
pr.; produced condensed ed. of Berlioz', Trojans in
Stuttgart: set to music the dialogues in Mozart's
I
glio (Simrock).
August Richard's Maz Sch. (Munich,
1922) A. E.
SCHINDLER, Kurt. Amer. compr. and choral
condr. b. Berlin, 17 Feb. 1882. Stud. pf. under An-
sorge, compn. under Bussler, Gernsheim, Thuille
and L. C. Wolf, and philosophy and history of
art and music at Univs. of Berlin and Munich.
1902-4, condr. of Court theatres at Stuttgart
and Würzburg and assistant-condr. to R. Strauss
in Berlin. Went to America as assistant-condr.
at Metropolitan Opera, New York, 1905-8. In
1908 founded the MacDowell Club Chorus (known
since 1910 as the Schola Cantorum) of which he
is still condr., producing many new and un-
familiar works. S. has done much mus. editorial
work, specialising in Russ. and Span. vocal music.
Ed. of many valuable colls. of Russ. songs and
Russ. folk-songs (Schirmer; Ditson), also Finnish
folk-songs (Gray).-J. M.
Ital. t. singer; b. Lecce, 2
SCHIPA, Tito.
Jan. 1889. One of best living Ital. lyric tenors.
Début 1911 at Vercelli; slowly gained front
rank, singing at leading theatres of Italy,
Europe and America.-D. A.
SCHIRMER, Friedrich. German condr. and
compr. b. Bonn, 27 Oct. 1881. Stud. at Cologne
and Leipzig Cons.; pupil of Humperdinck, R.
Acad. of Art, Berlin; Meyerbeer Prize, 1912;
orch. condr. of Miracle (Vollmöller-Humper-
dinck) with Max Reinhardt's company in
London, Paris, Vienna, Prague, etc. Condr. and
chamber-musician (cello), Königsberg.
Orch. suite; overture, On the thine; symphony,
B flat ml.: Elegy and Hymn, mixed chorus, t. and
I of the Dead and
Other: 4 German Hymn,
symph. poems, Festle chorus and orch.;
Festkantate (male chorus and orch.); 6tet for wind
Instruments.-A. E.
American music
SCHIRMER, G., Inc.
publishing firm, founded by Gustav Schirmer
(b. Königsee, Saxony, 19 Sept. 1829; d. Eisenach,
6 Aug. 1893) who came to New York in 1837.
In 1861 with B. Beer he took over business of
Kerksieg & Breusing under name of Beer &
Schirmer. From 1866 Schirmer was sole pro-
prietor. After his death in 1893, the firm was
incorporated by heirs and managed by the two
sons, Rudolph E. (b. New York, 22 July, 1859:
d. Santa Barbara, Cal., 20 Aug. 1919) and
1907). In
Gustave (b. 18 Feb. 1864; d. 15 July,
1885 the Boston Music Co. was formed as
branch of the New York firm. In 1894 began
the publ. of an inexpensive but excellently ed.
and printed series of classical comprs. and
studies, Library of Musical Classics. Another
series, The Golden Treasury, was begun in 1905.
Since 1915 (under the editorship of O. G. Son-
neck) this firm has publ. America's best mus.
periodical, The Musical Quarterly.-0. K.
SCHJELDERUP, Dagny. Norwegian lyric-
dramatic s. singer; b. Christiania. Appeared in
1919 at R. Opera House, Stockholm. In 1921,
soloist with Philh. Orchs. in Berlin and Warsaw.
Gave concerts (chiefly with Norwegian songs)
SCHMALSTICH
in Copenhagen, Helsingfors, Vienna, Paris (1920).
-R. M.
SCHJELDERUP, Gerhard Rosenkrone. Nor-
wegian compr. b. Kristiansand, 17 Nov. 1859.
Stud. philology. Went to Paris Cons. where
Massenet was one of his teachers. Début as
cellist; gave concerts in Norway together with
his gifted sisters. Wrote some choral works,
one of which, Höifjeldsliv (Mountain Life), has
been perf. several times in Christiania and
Dresden. Heard some Wagner perfs. in Carlsruhe
under Mottl and wakened to his call as a compr.
of music-drama. S. has written half a score of
operas and stands as the most eminent music-
dramatist Norway has produced. Owing to the
unsettled mus. conditions, only 3 of his music-
dramas have been perf. in his native land: the
delicate and deeply felt 1-act opera Vaarnat
(Spring Night), the boldly-conceived piece
Bruderovet (The Abduction of the Bride), from
Norwegian peasant life, and the Christmas drama
En Hellig Aften (The Holy Eve). In Dresden,
Prague, Munich and Dessau, most of his works
have been perf. with great success. He writes his
own words. S. receives a compr.-pension from
the Norwegian State.
441
Also symph. poem Brand (from Ibsen's drama);
ballads for chorus and orch.; and a number of songs.
-R. M.
SCHJELDERUP, Mon (Marie Gustava). Nor-
wegian compr. b. 16 June, 1870.
Stud. pf.
under Agathe Backer-Gröndahl, theory under
Raif Succo and Bargiel (Berlin) and Massenet
(Paris). First concert in Christiania, 1894.
Prelude to Ibsen's play Vildanden (The Wild Duck)
(Christiania Theatre, 1891); vn.
son own compas. in Salle Erard, Paris, 185concert of
1895).
songs; 4-v. male M.
Nor-
SCHJELDERUP-PETZOLD, Hanka.
wegian pianist; also trained as singer; b. at
Christiansand, 1865. Pupil of Massenet and
Liszt. Has given numerous concerts in Europe,
America and East Asia. At present, resident
in Tokio, where she is leader of the largsst
music school in Japan and, as such, is a
Japanese official.-U. M.
SCHLOEZER, Boris de. Russ. critic and writer
on music; b. Vitebsk in 1884. Received his
education (classics and philosophy) at Paris
and Brussels; stud. music at Brussels Cons.
Contributor to the Apollon and Muzykalny
Sovremmenik (Petrograd) and to various Russ.
Settled in Paris, 1920; assistant-ed.
of, and contributor to, Revue Musicale. Author
of a critical study (in Russ.) of Scriabin's works
(Berlin, 1922, Grassi, 2 vols.). Contributor of
various articles on Russ. comprs. in this
dailies.
Dictionary.-E.-H.
SCHLUMA, Alfredo. Argentine compr. b.
Buenos Ayres in 1885. Stud. under Romanelo.
A very
fertile compr. and busy concert organiser.
Comp. 3 operas (Biancofiore, 1913; Amy Rob-
sart, 1918; La Sirocchia, 1920); 5 symph.
poems; many chamber-music pieces.-A. M.
SCHMALSTICH, Clemens. Pianist, teacher
and compr. b. Posen, 8 Oct. 1880. Stud. philo-
sophy Bonn, music Berlin R. High School
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SCHMEDES
(pf. Rudorff, compn. Humperdinck); 1906-9,
condr. New Playhouse (Neue Schauspielhaus),
Berlin; R. Opera House, Berlin. Comp. pf.
music of a bright, taking order (Suite de Carneval,
op. 27; Liebeswalzer, pf. duet; etc.).-A. E.
SCHMEDES, Erik. Danish t. opera-singer; b.
Copenhagen, 27 Aug. 1866. Went abroad when
quite young, first studying as pianist; then under
Rothmühl (Berlin) and Resz (Vienna) as barit.
and sang at Wiesbaden (1891), Nuremburg
(1894), Hamburg operas; then stud. under
Issert, Dresden, as t. and sang in 1899 at Bay-
reuth, as Siegfried and Parsifal. Now one of
leading singers of Vienna Opera.-A. H.
Ger. compr. b.
1884-9, choir-
SCHMID, Heinrich Kaspar.
Landau-on-Isar, 11 Sept. 1874.
boy at Regensburg (Ratisbon) Cath.; 1899-
1903, Munich Acad. (Thuille, Kellermann,
Becht, Bussmeyer); 1903, teacher at Cons.,
Athens (Odeon); 1905, returned to Munich,
after a concert-tour (pianist) through Austria,
Scandinavia, Russia; teacher at Munich Acad.;
1919, prof.; 1921, dir. of Carlsruhe Cons.
Many songs and song-cycles; 2 books, children's
songs; Turkish Song-book, op. 19 (Tischer & Jagen-
berg); Liederspiel for Lute (Dehmel and Rückert),
op. 31; 5 pieces for wind-instrs. op. 34 (Schott);
choruses, op. 23; children's choruses, 21;
pieces: op. 2, 3, 5 (Variations on a theme of
Variations for 2 pfs.
on Liszt theme, op. 30
4 hands, op. 36 (id.); Capriccio (The Dancer), op. 39
. 4tet, G ma. op. 26 (id.); vn. sonata, A mi.
. 16 (Forest Fanthott); Waltzes for 2 and
(id.) (id.): Stet, wind instrs. op. 28 (id.); pf. trio, D
op. 27
mi. op. 38 (id.); 3 songs, organ acc., op. 29 (id.).
Consult Herman Roth, H. K. Sch. (Munich, 1921,
Drei Masken Verlag).-A. E.
SCHMID-LINDNER, August. Ger. pianist; b.
Augsburg, 15 July, 1870. 1886-90, stud. at
Munich Acad. of Music (Bussmeyer, Rhein-
berger); Berlin Mendelssohn scholarship (1889);
also pupil of Sophie Menter; 1893, teacher at
Acad.; 1903, prof.; pianist and chamber-
musician, Munich; one of first champions of
Reger's art, as also of contemporary pf. music.
Ed. Bach's pf. clavier music (first with Reger,
then alone) and of Liszt's works (Schott).-A. E.
SCHMIDT, Franz. Austrian compr. b. Brati-
slava (Pressburg), 22 Dec. 1874. Stud. cello
under Ferdinand Hellmesberger, cellist in orch.
of Vienna Court Opera. 1907, prof. cello, Vienna
Cons.; 1910, prof. of pf. there. His works are
few but remarkable. 1st symphony, in
gained the prize of Soc. of Friends of Music
(1900). The 2nd, in E flat, was publ. 1913.
One opera, Notre-Dame, made a big success at
Vienna Opera, 1914. The second, Fredegundis,
perf. Berlin (1923), Vienna (1924), was a failure.
E,
-H. B.
SCHMIDT, Leopold. Ger. writer on music; b.
Berlin, 2 Aug. 1860. Stud. music at R. High
School for music; 1887, condr. Heidelberg;
1888-9, Berlin (Friedrich Wilhelm City Theatre);
1891, at Zurich (Stadttheater); 1895-7, at
Halle-o-S.; 1895, Ph.D. at Rostock; from
1897, mus. critic of Berlin Tageblatt; 1900-15,
prof. of mus. history Stern's Cons.; 1912, also
at Klindworth-Scharwenka Conservatoire.
History of the Fairy-Opera (1895); Meyerbeer (1898);
SCHNABEL
Haydn (1898, 3rd ed. 1914); Mozart (1909, 2nd ed
1920); History of Music of XIX Century (191)
Masters of Musical Art and Science of XIX Century
(biographical sketches, 1908, 3rd ed. 1921); ex of
criticisms, Vol. I, Musical Life of Present Day (1992
1922) Experiences and Reflections (1913; VOL III,
442
SCHMITT, Florent. Fr. compr. b. Blamont,
28 Sept. 1870. Began his mus. education at
Nancy and continued it (from 1889) at Paris
Cons. where his teachers were Dubois and Lavi
gnac (harmony), Massenet and Fauré (comp.).
He won the Prix de Rome in 1900, and in 1922
was appointed dir. of Lyons Cons. Between these
two dates the only important facts are the per-
formance and publication of his works. These
are many, and so varied in character, that at
first sight his individuality, although striking
and distinctive, may seem difficult to define.
He has been more directly influenced by Ger.
Romanticism than any other Fr. compr. of his
generation. He owes much to the Russians
(especially Balakiref and the early Glazunof)
and to Chabrier. Fullness and energy are the
chief characteristics of his music.
These qualities are apparent in works such as
his Psalm XLVI (1904, Mathot), the tone-poem,
The Haunted Palace (1904, Durand), the pf. 5tet,
(1908, Mathot) and La Tragédie de Salomé (1911,
Durand); the incidental music for Antony and
Cleopatra (1919, Durand). With the Musiques
de plein air for orch. (1900-8, Mathot), the
Musiques intimes for pf. (1st set 1897, Heugel;
2nd set 1903, Mathot) and the Nuits romaines
for pf. (1901, Hamelle) he is nearer the Impres-
sionistic Fr. tendencies of the period to which
these works belong. He has also written a vn.
sonata, songs, part-songs, a Chant de Guerre, an
orch. suite Mirages (1924), and pf. pieces.
A.
1922): M. D. Care Musicale, April 1924).-M. D. C.
Consult bibliography in Séré (q.v.), and further:
Cœuroy, La Musique française moderne (Paris,
(New Music Review, 1911);
P. O. Ferroud
SCHMITZ, Eugen. Ger. writer on music; b.
Neuburg, on the Danube, 12 July, 1882. Stud.
music at Munich (Beer-Walbrunn) and at Univ.
(Sandberger and Kroyer); 1905, graduated;
resided some time Leipzig; then at Munich
(Starnberg) as mus. reporter of Münchner
Allgemeine Zeitung; 1908, of Münchner Zeitung,
and ed. of Neue Musikalische Rundschau; 1909,
hon. lecturer at Munich Univ.; 1914, dir. of
the Mozarteum, Salzburg, which position he
soon resigned; 1915, went to Dresden as critic
and mus. ed, of Dresdener Nachrichten; 1916,
Univ. teacher mus. science at Dresden
Technical High School; 1918, professor.
Publ. Selected Works of Johann Staden as Vols.
i new ed.
Musical History, 1908 and 1918; new ed. of Marx's
Instruction for playing Beethoven's Pf. Compositions
Richard Strauss as Mus. Dramatist (1907);
Reclam);
Kahnt);
d Wagner
Reger's Sympa (1905): Karl von Kaskel (1907,
"Boheme"
(1908); Richard
(1909 and 1918); Theory of Harmony Instruction
(1911); History of Secular Solo-Cantata (1914):
Palestrina (1914); Manual of Music Esthetics (1915);
Madonna Ideal in Art (1919); The Pf. and Pf
playing (1919).-A. E.
SCHNABEL, Alexander Maria. Ger. compr. b.
Riga, 17 Dec. 1890. 1907-12, pupil of Payr at
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SCHNABEL
also of Ohnesorg: member of board
of directors of German - Baltic Music Teachers'
Lives at Riga.
PT. sonatas, C, op. 1: 6 dat ml. op. 8; pf. and cello
Csharp ml. op. 4; vn. and pf. sonata, G.
3. pr. tria, C mi. ep 10: Gorm Grimme (melo-
fa ms: 3 pf. sonatas, op. 19;
pe suite, Pn, op. 14: str. 4tet,
op. 18; chambersymphony. 12 solo inst
Symps Round Dance, fall orch, op. 15; Babylonian
Fredy fall orch op, Berlin.FA. E.
; songs, op. 13 17.
(Publ. & Plothow,
SCHNABEL, Arthur.
German-Czechoslovak
pianist and compr. 6. Lipnik, 17 April, 1889.
Pupil of Hans Schmitt (pf.); 1SSS-97, at Vienna
ander Leschetizky; devoted himself to virtuoso-
career with great success (especially as a Brahms-
player); 1919, prof.; married Therese (née
Behr), highly esteemed contr. concert-singer. Ed.
(with Carl Flesch) Mozart's Vn. Sonatas (Peters).
As a composer he belongs to the Expressionist
Str. (tet; Dance Suite, pf.; sonata for vn. alone.
<-E. S.
SCHNÉEVOIGT, Georg. Finnish cellist, orch.
condr. b. Viipuri (Viborg), 8 Nov. 1872. Stud.
at Orch. School, Helsingfors, and abroad (Son-
dershausen, Leipzig, Brussels, Dresden, Vienna).
8 years solo cellist in Philh. Orch. Helsingfors;
gave concerts in Finland and abroad. Later
took up conducting. Condr. in Riga (1901-9 and
Riga Symphony
1912-13) where he founded i
Orch.; 1904-8, condr. of Kaim Orch. Munich. In
1912 he founded in Helsingfors a new symphony
orch., which amalgamated with Philh. Orch. in
1914 and was taken over by the municipality
1914-16, condr. of the new
(see KAJANUS).
Municipal Orch.; since 1914, also condr. of
the Concert Association (Konsertföreningen) in
Stockholm and later in Christiania and Scheven-
S. has acquired a reputation as a
ingen.
condr. of great technical ability and ardent
temperament; has appeared with much success
in many European music centres, Berlin, London,
Rome, Holland, Belgium, Switzerland.-T. H.
SCHNÉEVOIGT, Sigrid (neé Sundgren). Finnish
Stud. at Helsingfors Music
pianist; b. 1878.
Inst. 1886-94, and for 3 years with Busoni in
Berlin. Has given successful concerts in part
together with her husband, the orch. condr.
Georg Schnéevoigt in Finland, Sweden, Den-
mark, Germany, Russia, and Italy. Since 1910,
teacher of pf. at Helsingfors Music Inst.-T. H.
SCHNEIDER, Max. Ger. writer on music; b.
Eisleben, 20 July, 1875. 1895, stud. at Leipzig
Univ. (Paul, Riemann, Kretzschmar); compn.
under Jadassohn; 1897-1901, operatic condr.
at Stadttheater, Halle, and at Theater des
Westens, Berlin; 1904, librarian of Music-history
College, Berlin Univ.; 1907-14, assistant to
Kopfermann, music department R. Library;
1909, teacher at Acad. Inst. for Church Music;
1913, prof.; 1915, prof.-extraordinary at Univ.
and teacher R. Inst. for Church Music, Breslau;
1920, prof.-in-ordinary.
Register of Literature on J. S. Bach (Bach Annual,
1905); Catalogue of Printed Works of Joh. Seb. Bach
(Bach Annual, 1906); Thematic Register of Musical
Works of Bach Family (Part I, Bach Annual, 1907);
n D mi. of
The Concerto known as "Organ Concerto in
443
SCHOECK
I. Fr Bach" (Bach Annual, 1911); New Edi
fon of Afatheson's "Ehrenpforte" (tireitkopf): Diego
Ortis Traduto de plosas sobre clausulas with transl.:
(with it. Springer and W. Wolttheim) Miscellanea
Music Biobiographica (since 1912); 1918, publ.
The Beginnings of Basso Continuo (Figured-Bass)
mann Judgment Lay and fos
XXXVII and
XXXVIII. Keiser's Crosus and L'Inganno fedele.
A.E.
SCHNEIDER-TRNAVSKÝ, Mikuláš. Slovak
compr. b. Trnava, 1881. Stud. at Cons. Prague.
Music Inspector. Trnava. The most modern of
the compra, of liberated Slovakia. Publ. coll. of
Slovak folk-songs (Prague, 1908, Fr. Chadim).
Collections of songs: Slay a úsměvy: Zo srdca;
choral works: vn. sonata: pf. 5tet: symph. piece,
Patatranská Idylla.-V. ST.
Austrian timpanist
Constructed kettle-
SCHNELLAR, Johann.
of Vienna Philh. Orch.
drums with a hole in the middle of the skin,
by which equality of sound, wherever the
Famous
stick touches the skin, is obtained.
teacher of timpani-playing.-Eo. W.
SCHNERICH, Alfred.
Austrian musicologist;
b. Tarvis, 22 Oct. 1859. Ph.D. Vienna Univ.
1888. Since 1889, engaged at Library there,
his speciality being the church music of the
last 2 centuries.
von Haydn bis Schubert (1892);
Der
Die essentyform der Katholischen Kirchenmusik
(1909); Messe und Requiem seit Haydn und Mozart
(1909): Unsere Kirchenmusik (1911); Wiens Kirchen
und Kapellen (1920); Josef Haydn (1922). A notable
essay of his, Das Kirchenmusikwesen in Wien,
appeared in Die Musik (1915). Made a facsimile ed.
of Mozart's Requiem.-P. Sr.
SCHNITZLER, Louis. The best-known Dutch
accompanist; b. Rotterdam, 28 Nov. 1869.
Stud. under Gernsheim, Rotterdam. Has also
composed some songs.-W. P.
SCHOECK, Othmar. Swiss compr. b. Brun-
nen, 1 Sept. 1886. Stud. pf. and compn.
at Zurich Cons. (1905-7) under F. Niggli and
Robert Freund, and one year in Leipzig under
Max Reger. Lives in Zurich, where he cond. the
Männerchor Aussersihl (1909-15) and the Lehrer-
gesangverein (1911-17). Condr. of Symphony
Concerts in St. Gall since 1917. Comp. many
songs, most of them superior in melody and
imaginative beauty to anything that had been
written before in Switzerland; he is often called
the "Swiss Schubert." His compns. show a cer-
tain relationship to Schubert in their richness
and melodic charm; and they also recall
Mozart in their perfect structure and Hugo
Wolf in expression and excellent diction. He is,
above all else, a singer, and in the direction of
song he rises to his best. In many of his passages
there is an ecstasy that soars until lost, as it were,
in the empyrean of transcendental melody. S.
is the most outstanding figure amongst the
younger Swiss composers.
Serenade, small orch. op. 1; vn. concerto, op. 21;
Der Postillon (Lenau), male chorus and orch. op. 18;
Dithyrambe (Goethe), mixed chorus and orch. op. 22:
Wegelied (Keller), male chorus and orch. op. 24;
chorus I orch. op. 26 (Breitkopf). Operas: Erwin
und Elmire (Goethe), singspiel, op. 25 (Breitkopf);
Don Ranudo (Armin Rüger), comic opera, op. 27
(Breitkopf); Das Wandbild (Busoni), pantomime,
op. 28 (Breitkopf); Venus (Rüger) op. 32; vn.
sonata, op. 16; str. 4tet in D, op. 23; over 100
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SCHOLA CANTORUM
songs, op. 2 to 17 (Hug), op. 19 to 34 (Breitkopf).
The majority of his works are publ. by Hug, Leipzig.
Consult: Dr. H. Corrodi in periodicals Der Kunst-
wart (Munich, July 1922), Die Schweiz (Zurich, June
1919), Neue Musikzeitung (Stuttgart, 18 July, 1918),
and an article in Sunday Times (London, 21 May,
1922), on his opera Venus, perf. at International
Fest. in Zurich.-F. H.
SCHOLA CANTORUM, Paris. Founded in
1896 by Vincent d'Indy, Charles Bordes and
Guilmant; really an enlargement of Association
des Chanteurs de Saint-Gervais (see CHORAL
SOCIETIES). It gives a complete mus. education
and constitutes a small Cons, which perpetuates
the teaching of César Franck. This teaching has
a moral and even religious character. It is gener-
ally reproached with dogmatism and artistic
intransigeance. The personal ascendancy exer-
cised by Vincent d'Indy over the pupils is enor-
mous. Instruction in plain-chant holds a con-
siderable place in the curriculum;. in the same
way, the study of the classics follows the peda-
gogic system of textual explanation.--A. C.
SCHOLES, Percy Alfred. Eng. journalist and
author; b. Leeds, 24 July, 1877. Formerly
music critic Evening Standard; now of The
Observer, London (from March 1920); founder
and ed. of The Music Student (now ed. by W.
R. Anderson as The Music Teacher); founder
and former ed. of Music and Youth; musical
critic to British Broadcasting Company (from
June 1923).
Everyma to British Music (Cecil Palmer, 1918);
and his Music (Kegan Paul, 1917): An
the Gramo-
The Listener's Guide to Music (H. Milford, 1919)
The Book of the Great Musicians (id. 1922): The
Beginner's Why and How? (id.): Listener's History
Guide to Harmony (id.); Musical
of Music, Vol. I (id. 1923); First Book of th
phone.
Record (id. 1923); Crotchets (J. Lane, 1924).
SCHOLTZ, Hermann. Ger. pianist and compr.
b. Breslau, 9 June, 1845; d. Dresden, 13 July,
1918. Pupil of Brosig; stud. Leipzig, 1865
(Plaidy, Karl Riedel and Schulz-Beuthen);
1867, on Liszt's advice stud. at Munich R.
School of Music (Bülow and Rheinberger);
teacher there 6 years; 1880, title of R. Saxonian
chamber-virtuoso; 1910, R. professor.
Pf. concerto, E mi.; trio, F ii. op. 51; sonata,
op. 44; 5 books of variations; pf. pieces, op. 60;
Ländler, op. 64; Balladen, op. 66 and 78; Passa-
caglia, op. 74; Scherzo, op. 79; Variations on own
He rev.
theme, 2 pfs. op. 77; many lyrical pieces.
Chopin ed. for Peters; ed. of Heller's Studies, op. 47,
46, 45; and Brahms's pf. concerto, op. 15 (London,
Augener).-A. E.
1916.
SCHOLZ, Bernhard E. German compr. b.
Mayence, 30 March, 1835; d. Munich, 26 Dec.
Stud. under Ernst Pauer (pf.); 1855,
S. W. Dehn (theory); 1856, teacher of theory
at R. School of Music, Munich; 1859-65, Court-
condr. at Hanover; 1871, at Breslau as condr.
of Orch. Soc. Concerts; 1883, dir. Hoch's Cons.
Frankfort-o-M.; 1884, also condr. of Rühl's
Choral Soc.; 1908, retired and lived at Florence;
1914, at Munich. Ph.D. Breslau h.c. and prof.
SCHÖNBERG
the Bell (id.); Sylvesterglocken (New Year's Eve Bells)
(Breslau, 186uremberg,
Freien (In the Open Air), op. 21; Requiem; operas:
Zielensche Husaren
Carlo Rosa (Munich, 1858);
1875);
Morgiane (Munich, 1870); Golo
Säckingen (Wiesbaden, 1877);
vornehmen
Wirte (Fashionable Hosts) (Leipzig, 1863); Ingo
(Frankfort-o-M. 1898); Anno 1757 (Berlin, 1903);
Mirandolina (Darmstadt, 1907).-A. E.
SCHÖNBERG, Arnold. Austrian composer
and theorist; b. Vienna, 13 Sept. 1874. Began
when quite young to compose chamber-music; at
early age studied violin and cello; self-taught
in musical theory, only having a few months'
tuition from Zemlinsky, through whom he came
into contact with musicians. In 1893 made a
piano arrangement of Zemlinsky's opera Sarema.
At that period he wrote a quartet in D minor,
which was performed with some alterations
in the following season (1898-9) by the Fitzner
Quartet. This work is lost. In 1898 he wrote
many songs (of which two are published as
op. 1). Others, written 1898-1900 (now op. 2
and 3), were first performed by Gärtner in
Vienna, in Dec. 1900. In the summer of 1899
he composed the string sextet Verklärte Nacht,
op. 4, in the manner of a symphonic poem.
In March 1900, he began the Gurrelieder, a
ballad-cycle for 5 soli, 3 male choruses with
4 voices, mixed chorus for 8 voices and full
orchestra. The wor Iconsists of 3 parts. Com-
position in 1900-1 was interrupted by the
necessity of scoring operettas; though the
instrumentation of the 1st, 2nd and beginning
of the 3rd part was finished. In 1901 he married
Mathilde Zemlinsky, sister of Alexander Zem-
linsky, and removed to Berlin, as conductor
at the Überbrettl, a literary variety theatre. He
again scored operettas for many now famous
In 1902-3, composed
operetta-composers.
He
symphonic poem, Pelléas and Mélisande.
returned to Vienna in 1903 and began his
career as a teacher of theory. His name was
now known to a select circle of young musicians;
and he formed a close friendship with Rosé
and Gustav Mahler. The end of the Wagnerian
line and the beginning of Schönberg's second
period show a return to a new classical style,
seen in the six songs with orchestra, op. 8
(1904). The summers of 1904-5 were occupied
with the string quartet in D minor, op. 7,
at Gmunden. During the winter 1904-5 the
first performance of Pelléas and Mélisande was
given by the Society of Creative Musicians in
Vienna with Schönberg as conductor. In 1905,
eight songs, op. 6; 1906-7, two ballads, op.
12; 1906, Kammersinfonie (q.v.), op. 9, and part
of a second one (unfinished); 1907, 2nd string
quartet, op. 10 (with voice) (1st performance
Dec. 1908, Rosé Quartet, Vienna). This work
marks the end of the second period.
The transition from the classical to the new
period is seen in some of the Stefan George
Lieder, op. 15. The years 1907-10 were astonish-
ingly productive, not only in music, for Schön-
berg, inspired by the new movement in painting
(notably the Exhibition of the Kunstschau in
Vienna, with works oft and Kokoschka),
Instruction in Counterpoint and Imitation (1897);
Whither are we drifting (1904); Musical and Per
sonal (1899); Memories of Past Melodies (1911).
Songs (op. 11, 22); pf. sonatinas, op. 41: chamber-
music: str. 4tets, G ma. op. 46 and A mi. op. 48;
Stet, op. 47; pf. concerto, B ma, op. 57; symphony,
B flat ma. op. 60; Malinconia, orch.; Das Siegesfest
Victory Festival) (soli, chorus and orch.); Song of
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SCHÖNBERG
began to paint himself. A collection of Por-
traits and Visions dating from this period was
exhibited in Vienna in 1901. The new musical
style is fully expressed in the three piano
pieces, op. 11 (composed early in 1909), in the
five orchestral pieces, op. 16, the monodrama
Erwartung, op. 17, a modern form of solo-cantata
for the stage (with a single acting part; adapted
from a book by Mary Pappenheim). Immedi-
ately after this work Schönberg began another
dramatic work, for which he wrote his own
book, Die glückliche Hand, op. 18, finished in
1913. In 1910-11 he wrote his famous manual
Harmonielehre and finished scoring the Gurre-
lieder. In the autumn of 1911 he again removed
to Berlin, lectured on composition and began
the Pierrot lunaire, op. 21-a cycle of 21 tiny
poems recited to music. This work, (performed
by Albertine Zehme in Berlin, autumn 1912)
made his name famous. It is a chamber-work
for recitation, with piano, flute, clarinet, violin,
cello. During the 1912-13 season he undertook
a tour with Pierrot lunaire party, and conducted
his own works in Amsterdam, Petrograd and
Prague. The first Vienna performance of the
Gurrelieder was due to Franz Schreker, then
condr. of the Philharmonic Choir. In 1913-14
he composed four songs with orchestra, op.
22. In Feb. 1914 he conducted his five orchestral
pieces, op. 16, in London (first performance in
London, Sept. 3, 1912, under Sir Henry Wood;
1922, under Goossens). In 1915-17 he began a
grand oratorio, Jakobsleiter (Jacob's Ladder).
In 1918, he founded the Society for Private
Musical Performances (known as Schönberg
Verein) in Vienna. 1920-21 he lectured on
composition in Amsterdam. He then returned
to Mödling, near Vienna, began to teach again,
to write a work on musical composition (not
yet finished) and resumed teaching and com-
position. In 1922 he issued a new and revised
edition of his Manual of Harmony. In 1923 he
comp. a cycle of pf. pieces, a 5tet and a 7tet for
various instrs. These works seem to be the be-
ginning of a new period of his evolution.
Works (publ. by Univ. Ed. Vienna, unless
otherwise marked):
Op. 1. 2 songs, barit. (Thanks, Parting)
2.4 songs (Expectation, Give me, Exaltation,
Forest Sun)
3. 6 songs (From the Youth's Magic Horn, The
Excited Ones, Warning, Wedding-song, A
Skilled Heart, Freihold)
Nacht
4. Str. 6tet, Verklarende, symph. poem for orch.
5. Pelléas and
6. 8 songs
7. Str. 4tet in D mi.
8. 6 songs with orch.
9. Chamber-symphony, E flat
10. Str. 4tet in F'sharp mi. (with v.)
11. 3 pf. pieces
12. 2 ballads (Jane Grey, Deathbound Squad)
13. Friede auf Erden (Tischer & Jagenberg)
14. 2 songs (I may not, In Vinter Days)
15. 15 songs from Stefan George
16. 5 orch. pieces (Peters)
17. Erwartung (monodrama)
18. The Lucky Hand (drama with music)
19. 6 little pf. pieces
20. Herzgewächse (s., celesta, organ, harp)
21. Pierrot lunaire (London perf. 20 Nov. 1923)
22. Get instruments)
23.
24. Pf. suite
SCHREKER
Consult:
and friend)
(Munich, 1912, Piper & Co.); E. Wellesz, A. Sch
Vienna, 1921, Tal: E. Wellesz, 4. Sch. (J. M. Dent
& Sons, London, 1924); art. by Cecil Gray, in Muric
and Letters, Jan. 1922-Eo. W.
SCHOOLS OF MUSIC. See ACADEMIES.
SCHRAMMEL, Johann.
Austrian compr.
b. Vienna, 22 May, 1850; d. there, 17 June,
1897. The last Old Viennese musician, of a long
line of musicians. Stud. at Cons., and founded in
1877 the famous Quartet D'Schrammeln with
his brother Josef, the clarinettist Danzer and
the guitarist Strohmayer. Later on, the ac-
cordion, a typical street-player's instr., replaced
the clar. By his songs (over 150), acc. by 2 vns.,
guitar and accordion, he became so famous
that to-day nearly all the compns. of popular
Viennese comprs., especially operetta-compra.
are arr. for this combination which is called
Schrammel quartet.-EG. W.
SCHREIBER, Adolf. German-Czechoslovak
compr. b. Prague, 1883; d. by his own hand,
1 Sept. 1920, in Berlin. Stud. at Prague Cons.
(under Dvořák); condr. in many Austrian and
German cities; teacher at Mary Hahn's New
Opera School, Berlin; and for one season, Kor-
repetitor at Ger. Opera House in Charlottenburg.
Over 200 songs; a chorus with orch. (Lenore); a
song-cycle, Marienleben, for v. clar. and vla.; a song-
words by Christian Morgenstein; sonata for
to
cand clar.; pf. pieces; stage music to 2 dramas of
vn. a
Max Brod. Consult Max Brod, 4. S.: Ein Musiker-
schicksal (A Musician's Fate) (1921).-E. S.
SCHREKER, Franz. Composer; b. Monaco,
Riviera, 23 March, 1878. Pupil of Robert
Fuchs, Vienna; founder (1911) and conductor
of Philharmonic Choral Society, and since
1911 teacher of composition at Royal and
Imperial Academy, Vienna; 1920, director of
Academical High School of Music, Berlin.
The material of the dramatist Schreker is either
half cinema style, and half E. T. A. Hoffmann's
style, or pseudo-Renaissance art-drama (Der
ferne Klang; Die Gezeichneten), or mystic, sym-
bolic fairy-tale (Spielwerk; Die Schatzgräber).
Common to all these works is the purely erotic
movement of all the motives and figures, which
even has its roots in sexual psychology and
pathology; common is the less well-chosen,
but sure theatrical effect. The musician Schreker
proceeds by contrasts, by fascination of tone,
without scorning the working-out of motives
or a style of romantically coloured sensuous
melody. Schreker is very influential as a master
and a model.
Ed., Vienna. Op. 1 missing; op. intra and
All works, not otherwise marked, publ. in Univ.
op. 4,
pf.: op. 3, 5 Poems, v. and pf. (
of a Child: op. 6, Psao Songs on the Death
I
7, 3-v.
(Robitschek); Orchesterstück, str. orch. and harp
(lost; perf. London, 1896); Andante for Orch. (un-
publ., perf. at Cons. 1900); Ave Maria, v. and organ
(Der Merker, I, 2); Eight Songs, v. and pf.; op. 8,
Intermezzo, str. orch. (Bosworth); op. 10, Flammen
(Flames), 1-act opera (printed privately); op. 11,
Swan Song, mixed chorus and orch.; op. 12, Ekke-
hard, symph. overture, orch.; Romantic Suite, orch.;
Fantastic Overture, orch.; Der Geburtstag der Infantin,
music to dance-pantomime (after O. Wilde) rev.
1923: The Wind, dance-allegory, orch.; Dance Suite,
full orch. (ms.); Der ferne Klang (Far-off Tone), opera,
Frankfort-o-M. 1912; Fire Songs, v. and pf.: Ent
führung (Elopement), for v. and pf. (Der Merker,
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SCHREYER
III. 4): Das Spielwerk und die Prinzessin (The Musical
Box and the Princess), opera, Vienna, 1913 (rev. 1915
1920);
to 1-act setting. Das Spieler Die Gezeichneten
(The
Red Death (E. A. Poe);
Branded), opera, Frankfort-o-M, 1918; Die tönenden
Sphären (The Sounding Spheres), opera-poem, 1915
(ms.); Chamber-Symphony for
solo instr
Schatzgräber (The Treasure-Seeker), opera,
o-M. 1920: Memnon, operatic poem: Irrelohe (Fitful
,1924. Has publ. 2 books.
of his Poems for Music
iv. Ed.). Consult:
Paul Bekker, F. Schr.: Study in Criticism of Modern
R. St. F.
Flames), opera-poem, 1920. Univ.
Operaal & Co.): Jul. Kapp, F. Schr. (Munich, 1921,
Drei Masken Verlag).-A. E.
SCHREYER, Johannes. Ger. ed. and teacher;
b. Possendorf, near Dresden, 20 June, 1856.
Stud. at Leipzig Cons. and R. Acad. of Art,
Berlin (compn.); 1881, music-master at Dresden.
Ed. selection of Bach's organ works with phrase-
marks; theoretical work, From Bach to Wagner:
Contributions to Psychology of Musical Hearing
(1903, rev. as Instruction in Harmony, 1905;
1911); Contributions to Bach Criticism
(1911-12, 2 vols.).-A.E.
SCHRÖDER, Edmund. Ger. compr. b. Berlin,
1882. Pupil of Ph. Scharwenka; then of R.
High School (H. v. Eyken); finally of Reger
and Storck.
Over 100 songs; 3 pf. trios:
pf.; 7 duets, vn. and pf. 3 pieces,
suite, cello and
n. and pf.-A. E.
SCHROEDER, Alwin. Ger. cellist; b. Neu-
haldensleben, 15 June, 1855. Brother of Karl,
pianist, pupil of father and of brother, Hermann;
later of J. B. André at Ballenstedt; also violinist
(pupil of de Ahna at Berlin R. High School);
stud. theory under W. Tappert; taught himself
the cello; 1875, 1st cellist in Liebig's Concert
Orch.; 1880, Leipzig Gewandhaus Orch. (suc-
cessor to his brother Karl); cello-teacher at
Cons.; cellist in Petri's Str. Quartet; 1886,
cellist in Kneisel Quartet, Boston, U.S.A.; 1907,
succeeded Hugo Becker at Frankfort; 1908, acc.
Felix Berber to Geneva; returned to Boston
same year as cellist in Hess Quartet.-A. E.
SCHROEDER, Karl. Ger. cellist and condr. b.
Quedlinburg, 18 Dec. 1848. Pupil of Drechsler
at Dessau; 1862, member of Court Orch.
Sondershausen; 1871, formed touring str.
quartet with three brothers, Hermann (1st vn.),
Franz (2nd vn.), and Alwin (vla.); 1872, condr.
Kroll's Theatre; 1873, 1st cellist of Court
Theatre, Brunswick; 1874, solo-cellist, Gewand-
haus; teacher at Cons. Leipzig; 1881, Court-
condr. Sondershausen; establ. Cons. there;
sold same, 1866; condr. Ger. Opera at Rotter-
dam one season; chief condr. Berlin Court
Opera House; 1888, succeeded Sucher at
Hamburg; 1890, returned to Sondershausen
as Court-condr. and dir. of Cons.; 1907, retired;
1908, Frankenhausen; Dresden; since 1911 at
Berlin, teacher at Stern's Conservatoire.
For cello: concertos, op. 32, D mi. and op. 36, A mi.;
Capriccios, op. 26; studies, op. 48; cello tutor, op. 34
(4 parts): 2 str. 4tets, op. 88 and 89; str. trio; songs;
pf. pieces; operas: Aspasia (1892, rev. as Die
1893). Elementary books: Time-keeping
and Conducting; Cello-playing; Violin-playing
(Berlin, Max Hesse).-A. E.
eipzig, 180, 1905); Der Asket (The Ascetic)
SCHUBERT, Kurt. Pianist and compr. b.
Berlin, 1891. Pf. pupil of father and of Xaver
Scharwenka; 1918, teacher of pf. training
class Klindworth-Scharwenka Cons.; 1921,
SCHULZ
teacher at State Acad. Inst. for Church Music;
1921, also vice-chairman of Berlin Tonkünst-
lerverein; 1922, made prof. Wrote a 5tet in
1 movement for pf. and strings.-A. E.
SCHUCH, Ernst von. Austrian condr. b. Graz
(Steiermark), 23 Nov. 1847; d. Dresden, 10 May,
1914. First stud. law at Graz; finally turned
to music; trained by E. Stoltz and (for short
time) by O. Dessoff; 1867, chief condr. at
Lobe's Theatre, Breslau; later at Würzburg,
Graz and at Basle (1871); 1872 (after conduct.
ing Pollini's Ital. Opera), engaged as chief condr.
at Dresden Court Opera House; 1873, R.
condr. with Rietz; 1878, R. prof.; 1882 (after
Rietz's death) 1st condr. Dresden Opera (for
a short time); 1889, gen. mus. dir.; 1899,
privy-councillor; 1875, married operatic singer,
Klementine Proska (real name, Procházka),
Vienna. Their daughter, Lisel, was engaged at
Dresden Court Opera House as coloratura singer,
1914. Schuch was an especially sensitive condr.
of Ital. opera; he cond. 1st perfs. of most of
R. Strauss's operas. Consult P. Sakolowsky,
E. Schuch (1901).-A. E.
Pianist and compr.
SCHULHOFF, Erwin.
b. Prague, 8 June, 1894. Stud. pf. under Jindřich
Kaàn de Albést; 1902-4, attended Prague Cons.;
1904-8, pupil of Willy Thern, Vienna; 1908-10,
of Leipzig Cons. (Teichmüller, Krehl, Reger);
1910-14, of Cologne Cons. (Uzielli, Friedberg,
Steinbach, Bölsche); 1913, gained Mendelssohn
Prize for pf.; 1918, same prize for compn. at
Berlin High School. An excellent pianist, making
propaganda for the most modern music of
all countries. In his compns. he aims at natural
Expressionism and the grotesque. His style is
between Schönberg's and Stravinsky's.
Pf. pieces (Jatho, Berlin):
ventions: variations; 2 pf. sonatudes; fugues; in-
Six Ironies, pf.
duet; suites, and pf. Divertimento, str.
; sonata, vn. and pf.; sonat
cello and pf.; str.
3 pieces for double-bsn. alone; pf. concerto; 32
variations on original 8-bar theme (orch.):dschaf-
Seren-
ade (orch.); Lustige Ouvertüre, orch.;
ten symphony: Menschheit (Humanity) symphony,
E. S.
orch.; 5 Expressions for voice and pf.; songs.-
Swiss composer; b.
SCHULTHESS, Walter.
Zurich, 24 July, 1894. Stud. compn. under Volk-
mar Andreae, pf. under P. Moeckel at Zurich;
at Munich Cons. (1915), pupil of Courvoisier and
Schmid-Lindner; 1916, in Berlin, under An-
Lives at Zurich. His music shows the
influence of Max Reger, and reveals great
originality and strong invention.
sorge.
Vn. sonata; str. 4tet; str. trio; concertino, vn.
and orch. (all by Schott); pf. pieces; songs (Zurich,
Hug).-F. H.
SCHULTS, Ulfert. Dutch pianist and compr.
b. Amsterdam, 19 Nov. 1871. Dir. of Music
School, Amsterdam; mus. critic of Het Nieuws
van den Dag, 1911-22.
Pr. pieces: Aquarellen; Andante and Scherzo;
Valse; Papillons; Scherzo; Tambourin; 20 smaller
pieces; Valses, op. 13 (Amsterdam, Alsbach); Theme
and variations for 2 pfs. op. 10 (Leipzig, Rieter-
Biederman); many songs.-W. P.
SCHULZ, Heinrich (Schulz-Beuthen). Compr.
b. Beuthen (Upper Silesia), 19 June, 1838;
d. Dresden, 12 March, 1915. 1862-5, attended
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SCHUMANN
Leipzig Cons.; private lessons from Karl
Riedel; 1866, went to Zurich. Illness pre-
vented him for considerable time from com-
posing; 1881, settled at Dresden; 1893-5 at
Vienna; since at Dresden again; 1911, R.
prof. Compns. mostly in ms.; 8 symphonies;
symph. poems; choral works; chamber-music;
operas.-A. E.
SCHUMANN, Elisabeth. Austrian opera singer;
b. Merseburg (Thuringia). Since 1919 at Vienna
Opera (formerly at Hamburg). Her fine, easily
produced s. voice is specially suited to Mozart
(best parts, Susanna and Zerlina); but in other
parts also she has proved an excellent soubrette
and coloratura singer. Many tours (last with R.
Strauss in America, 1921). Fine singer of Strauss's
songs. Married the condr. Karl Alwin.-P. ST.
SCHUMANN, Georg Alfred. Ger. compr. and
condr. b. Königstein, Saxony, 25 Oct. 1866.
Pupil of C. A. Fischer, B. Rollfuss and Fr.
Baumfelder at Dresden; 1882-8, of Leipzig
Cons.; 1890-6, condr. Dantzig Choral Union;
1896-9, condr. of Philh. Orch. Bremen; 1900,
R. prof.; succeeded Blumner as condr. Berlin
Acad. of Singing; 1913, chairman of advanced
school of compn. (successor to Bruch); 1916,
Ph.D. Berlin Univ. h.c.
Choral works with orch.: Amor and Psyche, op. 3:
Song of Praise and Thanksgiving; Ruth (1908):
Death Lament from The Bride of Messina, op. 33;
op. 40; Das Thränenkruglein (The Lachru-
, op. 57 (soll, chorus, pf. harp, harmonium);
and Absalona, t. and contr, soli and orch. Darid
burlesque
Symphony, B mi.; 2nd symphony, mi. op. 42;
Serenade (Uhland), op. 70; Prize
overtures Spring of Love (Liebesfrühling); For a
Drama, op. 45; Joys of Life (Lebensfreude), op. 54;
Serenade, op. 32; Symph. Variations on Wer nur den
lieben Gott läszt
orch. suite, 4t Carnicni on. 24 (organ and orch.);
Time, orch. varia-
tions and double fugue on a merry theme, op.
30; orch. variations and fugue on a Bach theme,
op. 59; Variations and fugue on a Beethoven
theme, 2 pfs.; organ Passacaglia on
op. 39; pf. 5tets, op. 18, E
B.A.C.H.,
pf. 4tet, F mi. op. 29: . and op. 49, F. ma.;
Fma. op. 62; 2 vn. sonatas, op. 12; 55; cello sonata,
F ma. op. 25 and
op. 19; pf. pieces; songs.-A. E.
SCHUMANN, Maria.
delphia. Began studies at G.S.M. London, con-
Violinist; b. Phila-
tinued under Brodsky and Joachim in Germany,
later in Brussels and Budapest. Concert tours in
U.S.A. Prof. of vn. Buenos Ayres Cons. 1893-
1902. Returned to concert platform, touring
in Mexico and Chile; 1909, prof. of vn. Thibaud-
Piazzini Cons. Buenos Ayres.-S. G. S.
SCHURICHT
Came to
at the Royal Opera, Berlin, 1898.
America, and appeared for 1st time in Chicago,
7 Nov. 1898, as Ortrud; in New York at Metro-
politan Opera, in same rôle, 9 Jan. 1899. 1903-4,
and again in 1904-5, undertook wide tours of
U.S.A. in comic opera, Love's Lottery, specially
written for her by Julian Edwards. In 1909 she
created the part of Klytemnestra in Strauss's
Elektra. Since then, occasional appearances in
opera. Begins (1923-4) her 47th concert season.
She was at her best in the great Wagnerian
contralto parts, Brangane, Erda, Waltraute,
Ortrud, etc.
SCHUMANN-HEINK, Ernestine (née Rossler).
Amer. contr. singer; b. Lieben, near Prague, 15
July, 1861. Received her education at Ursuline
Convent, Prague, and in 1874 her training in sing-
ing from Marietta von Leclair at Graz, where she
made her 1st public appearance 2 years later in
contr. solo in Ninth Symphony. Immediately
engaged for the Dresden Hofoper; début as
Azucena, 13 Oct. 1878, meanwhile continuing
her vocal studies under Krebs and Wüllner.
Went to Berlin in 1882; appeared next year at
Hamburg Stadttheater, and thereafter sang in
concert, oratorio and at fests. in principal Ger.
cities. Made English début as Erda at Covent
Garden, 8 June, 1892; sang at Bayreuth, 1896;
Married (1) Ernest Heink, (2) the actor, Paul
Schumann, (3) the Chicago lawyer, William
Rapp, jun. Became an Amer. citizen in 1908.
-J. M.
SCHÜNEMANN, Georg. Ger. writer on music;
b. Berlin, 13 March, 1884. Stud. at Stern's
Cons. under Löwengard, Klatte (compn.), Schön-
berger (pf.), Pfitzner (cond.), Emil Prill (fl.);
stud. science of music at Univ.; 1907, Ph.D.;
from that time teacher and writer; 1920,
deputy-dir. High School of Music, Berlin; at
same time (1920) lecturer at Univ. Berlin;
1923, prof. extraordinary.
Mozart as Eight-year-old Composer (1908, Sketch-
book of 1764); History of Conducting (1913, Breit-
kopf); Berlin Soc. of Musicians (Tonkünstlerverein),
1919. Publ. in D.d.T. (Vol. LVI) 2 oratorios of
J. Chr. Fr. Bach, of whom he had written a com-
prehensive biography in the Bach Annual, 1914. As
mus. authority of Phonographical Commission he
made a large coll. of songs, other than European,
from prisoners in the Ger. war camps. One result
of this study is Kasantatarische Lieder (A.J.M. I);
he graduated at Berlin Univ. with a second work on
this subject, The Songs of German Colonials in
Russia (publ. as Vol. III of Sammelbände für verglei-
chende Musik-Wissenschaft, Munich, 1922.-A. E.
SCHURÉ, Édouard. Fr. poet, philosopher and
dramatic critic; b. Strasburg, 1841. Pursued
in his native town classical and law studies,
which he completed in Germany. There he
became familiar with the popular Ger. songs,
the subject of his first book: Histoire du Lied
ou la Chanson Populaire en Allemagne (1868,
Paris, Perrin; Ger. ed. 1870). Admirer and com-
mentator of Richard Wagner, with whom he
was closely connected from 1865, he was able
to resist that master's supremacy and preserve
his independence.
Le Drame musical. Richard Wagner (1875; 5th ed.
1902; Paris, Perrin); Histoire du Drame musical
(1876); Souvenirs sur Richard Wagner, la première de
lettre à
Tristan et Iseult (1900, Perrin); Tame à Bayreuth
M. de Wolzogen sur l'execution du c
en 1891 (Paris, 1892, Fischbacher), etc.-M. L. P.
SCHURICHT, Karl. Ger. condr. b. Dantzig,
3 July, 1880. Stud. at Berlin R. High School
for Music (R. Rudorff, E. Humperdinck);
voluntary condr. at Mayence; gained at Berlin
compn. scholarships of Franz v. Mendelssohn
and Paul Kuczynski Foundations. Choral and
orchestral condr.; theatre condr. at Zwickau,
Dortmund, Kreuznach, Goslar; succeeded Sieg-
fried Ochs as condr. of Rühl Choral Union,
Frankfort-o-M.; 1912, also chief town-condr.
and condr. of Symph. Concerts, Wiesbaden.
Comp. pf. sonata, op. 1; preludes, op. 4;
Herbststücke, orchestra.-A. E.
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SCHUSTER
SCHUSTER, Bernhard. Ger. compr. and ed.
b. Berlin, 26 March, 1870. Pupil of Ludwig
Gentz (pf. and vn.), Stolzenberg and Bussler
(theory). Many years operatic condr. at Mag-
deburg and Berlin.
Songs; 3-act romantic opera, Der Jungbrunnen
(Leipzig and Basle, 1920). in ms.: songs; str. 4tet;
suite, small orch.; symphony; 2 choral works with
orch, and organ; 3-act comperf. Wiesbaden 1923;
Der des
of Happiness)
1901, ed. Die Musik (Berlin, Deutsche Verlags-
Anstalt): discontinued 1915; revived 1922.-A. E.
SCHWARTZ, Alexander. Compr. b. Petro-
grad, 7 July, 1874. Stud. law at Petrograd;
1899, pupil of Leipzig Cons.; 1902, went to
Berlin to hear lectures on mus. science; dir.
of rehearsals at R. Opera House for one year;
devoted himself to composition.
Songs: op. 6 (Nietzsche); 10 (Arno Holz); 11
(Richard Dehmel); 12 (Gustav Falke); 13 (Carmen
Sylva): ducts, op. 15; Christmas carol for 2 chil-
dren's vs. and pf.; trio; Picture-Book without Pic-
tures (Andersen), recitation and pf.-A. E.
SCHWARTZ, Heinrich. Ger. pianist; b.
Stud.
Dietenhofen (Ansbach), 30 Oct. 1861.
music in Munich (Rheinberger and K. Bär-
mann); 1885, teacher of pf. at Munich Acad.;
1891, prof.; 1900, Bavarian Court-pianist.
Wrote Aus meinen Klavierunterrichte (From my
Pf. Teaching) (1917; 2nd ed. 1920).-A. E.
CHWARTZ, Rudolf. Ger. writer on music; b.
Berlin, 20 Jan. 1859. Stud: philosophy in Berlin;
1882-7, science of music under Spitta; 1887,
condr. of students' glee-club, Greifswald; 1897,
went to Leipzig; 1901, succeeded Emil Vogel
as librarian of Peters' Music Library and ed.
of their annual periodicals; 1907, professor.
Works of Philipp Dulichius (1st pt. as Vol. XXXI,
2nd pt. as Vol. XLI of D.d.T.); and, as Vol. IV ii of
(Canzonet von
D.T.B., publ. compns. of H. L. Hasler wrote Die
1590, Neye teutsche Gesang von
Tonkunst im XIX Jahrhundert (1900).-A. E.
SCHWEITZER, Albert. Orgt. writer on music,
theologian, medical missionary; b. Kayserberg,
Alsace, 14 Jan. 1875. Stud. organ under Widor
in Paris. Wrote J. S. Bach, le Musicien-Poète,
1905; enlarged ed. in Ger. 1908; Eng. transl.
by Ernest Newman, 1911 (Breitkopf). The work
is based on the pictorial realism of Bach's music.
Ed. (with Widor) Bach's complete organ works
for Schirmer (6 vols. only publ.). Orgt. Paris
Bach Society till 1913, when he went to Equa-
torial Africa to establish his medical mission.
After 4 years returned to Europe to raise funds.
by his Bach organ recitals, and went back to
Africa in 1924.-E.-II.
SCHWERS, Paul. Ger. ed. b. Spandau, 22
Feb. 1874. Pupil of R. High School, Berlin,
and advanced pupil in compn. of Martin Blumner
and Ludwig Bussler; 1895, orgt. and choir-
master, Berlin; 1898-1905, mus. reporter of
newspaper Germania; 1907, ed. Allgemeine
Musikzeitung; comp. masses; religious and
secular choruses; chamber-music; about 25
books of songs and ballads.-A. E.
SCONTRINO
and A. Bruckner; returned to Cologne; 1882-7,
cond. a large unacc. choral soc., also small
soc. for sacred music; teacher at Cons.; 1887,
chief town-condr. at Aix-la-Chapelle for 25
years. Cond. several Lower Rhine mus. fests.;
successful condr. of unacc. choruses, establ
such a choral soc. at Aix-la-Chapelle; 1912,
dir. of Munich R. Acad. of Art; condr. of choral
class; cond. (till 1923) Concert Soc. for Choral
Singing.-A. E.
SCHYTTE, Anna. Danish pianist; b. Copen-
hagen, 20 Nov. 1881; daughter of Ludvig
Schytte; pupil of J. Röntgen and Reisenauer-
A. H.
SCHYTTE, Frida. Danish violinist; b. Copen-
hagen, 31 March, 1871. Pupil of F. Stockmarr
and V. Tofte, Copenhagen, and Massart and
Berthelier, Paris. Début 1889 in Copenhagen.
Concert tours included Stockholm, Paris, Berlin,
Dresden, Munich, Vienna, Budapest, London,
Edinburgh, Glasgow, Petrograd, where (under
professional name of Frida Scotta) she won high
rank as a gifted artist. Her last appearance was
in Copenhagen in 1897, in which year she married
Fr. Aug. Kaulbach, the noted Ger. painter of
Munich, and retired from concert platform.-
A. H.
Danish cellist,
SCHYTTE, Henrik Vissing.
music critic; b. Aarhus, Jutland, 4 May, 1827;
d. Copenhagen, 22 Feb. 1903; brother of Ludvig
Schytte; 1884-93, ed. Musikbladet; critic on
Dagens Nyheder, Dagbladet, Berlingske Tidende,
-A. H.
SCHWICKERATH, Eberhard. Ger. condr. b.
Solingen, 4 June, 1856. Stud. law at Bonn and
Leipzig; 1876-9, barrister at Cologne; music
pupil of Seiss and G. Jensen; abandoned law;
finished mus. studies at Vienna under A. Door
448
SCHYTTE, Ludvig. Danish compr. b. Aarhus,
28 April, 1848; d. Berlin, 10 Nov. 1909. Fol.
lowed pharmacy for a time until music finally
gained the ascendancy. Pupil of Edmund Neu-
His unusual pianistic
pert in Copenhagen.
talent was supplemented by one equally great
for compn., and he rapidly developed both under
Liszt in Weimar and later in Berlin. His real
début took place at Carlsruhe Mus. Fest. 1885,
when his pf. concerto was perf. with Arthur
Friedheim as soloist. After this he settled in
Vienna, as a teacher at both Horák's and
Urban's Cons., composing a great deal.
latter years of his life (from 1907) he spent in
Berlin, teaching at Stern's Cons. It was especi-
His
ally as pf. compr. that he won renown.
compns., great and small, bear witness to a
sure intuition of
fluency of mus. ideas, a
sonorities, and an intimate knowledge and
appreciation of his instrument.
The
Pr. concerto, op. 28, perf. Queen's Hall, London, 21
Jan. 1902; pf. sonata, op. 23; Pantomimes, pf.
op. 30; Suite facile for pf. trio, op. 132; Pièces
lyrigues, op. 15: Promenades musicales, op. 26;
3 Etudes de Concert, op. 48; Piano School; Pedal
Studies, op. 104; pf. technical studies; scale studies;
Etudes (all Nordisk Musikforlag, Copenhagen); Chil-
dren's Symphony, op. 31 (Berlin, Simrock); Hero,
dramatic scena for v. (Copenhagen, Hansen).-A. II.
SCONTRINO, Antonio. Italian composer; b.
Trapani, 17 May, 1850; d. Florence, 7 Jan.
1922. Began as d.b player; devoted himself
to compn. at Palermo under Platania; then in
Munich; 1891, prof. of compn. at Cons. of
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SCOTT
Palermo; then at Istituto Musicale of Florence,
until his death.
SCOZZI
obvious in melody, harmony and even in orches-
tration. Occasionally, this becomes a pose; but
more than any other British compr. in the late
'nineties and first decades of the xx century, S.
stood almost alone in pf. music and songs for
what was then vaguely termed "modernism.
He has a very original way of treating the pf.;
and has contributed largely to the pianist's
repertory. His skill in pictorial writing (Jungle
Book; Rainbow-Trout, etc.) is very considerable;
and he is always sure of his expression, even in
such hazardous impressionistic pieces as Poems,
Vistas, etc.; some things (the pf. 5tet, the str.
4tet, etc.) have a strong masculino grip, and a
vigour not unlike that of Strauss or Reger;
albeit he always retains a distinct personality.
Opera, The Alchemist (Schott); ballet, The Incom-
petent Apothecary, ms.; Nativity Hymn, soll, chorus,
orch. (Stainer & Bell): Aubade, orch. (Schott); 2
Passacaglias on Irish themes, orch. (id.); pt. con-
corto (id.); 5tet, pf. and str., (1911-12); trio, vn.
cello, pf. (id.); vn. sonata (id.); str. 4tet (Elkin);
Idyllic Phantasy, m.-sopr. v. ob. and cello (id.); pt.
sonata (id.); The Ecstatic Shepherd, fl. alone (Schott);
Scotch Pastoral, fl. and pf. (Hansen, Stockholm);
Pierrot amoureux, cello and pf. (Schott); for pf.:
2nd Sulte (Schott); Ballad; Handelian Rhapsody;
Prélude solennelle (Elkin); Equpt; Poems; Jungle
Book Impressions (Schott); 2 songs without words:
2 4tets for male vs. The Emir's Serenade and The
Operas: Matelda (Milan, 1879); Il progettista
(Rome, 1882): Sortilegio (Turin, 1882); Gringoire
(Milazzos for Francesca da Rimini (d'Annunzio);
1890) Cortigiana (Milan, 1896). Orch.:
a symphony; much vocal and instr. chamber-
music.-D.
SCOTT, Charles Kennedy. Eng. choral condr.
b. Romsey, 16 Nov. 1876. Stud. Brussels Cons.
(vn. under Cornélis, organ under Alphonse
Mailly, compn. under F. Kufferath and, later,
Tinel); 1st prize for organ-playing 1897; settled
in London 1898. Founded Oriana Madrigal Soc.
in 1904; Philh. Choir in 1919; Euterpe Str.
Players in 1922. Has played an important part
in choral music in London, cultivating both
old and new music, especially of Eng. schools.
Songs (Breitkopf); eds. of old carols and XVI
vocal
Singing (Breitkopf). Eter); manual of Madrigal
SCOTT, Cyril Meir. Eng. compr. and poet; b.
Oxton, Cheshire, 27 Sept. 1879. Stud. at Hoch's
Cons. Frankfort-o-M., compn. under Ivan Knorr,
pf. under Lazarro Uzielli; at age of 20, S. went
back to Liverpool, playing and teaching for
some years. His Heroic Suite was played both
there and at Manchester under Richter; his
Pelléas and Mélisande shortly afterwards at
Frankfort; Kreisler played vn. in the pf. 4tet
at a Broadwood concert in St. James's Hall.
His early pf. pieces were first publ. by Boosey,
and then Forsyth; but he soon found his most
enterprising publ. in Mr. W. A. Elkin, for whom
he has written regularly ever since. Sir Henry
Wood perf. his 2nd symphony in A mi. op. 22
at the Promenades, London, 25 Aug. 1903; his
Rhapsody No. I, op. 32, 10 Sept. 1904; his
overture Princess Maleine, 22 Aug. 1907; his
2 Poems for orch. 26 Aug. 1913; Britain's War
March, 23 Oct. 1914. His 2nd symphony later
on became Three Symph. Dances, one of which
was perf. at a Balfour Gardiner concert in the
Queen's Hall.
His 2 Passacaglias on Irish
themes were given by Beecham at a R. Philh.
concert, London. His vn. sonata was played by
Rosé in Vienna, when his Overture was also given
under Schreker. S. is best known in England for
his songs and pf. pieces; but abroad he is known
for his orch, and chamber-music, which represent
him more fully; and his position in music must
be decided by his larger and more serious works,
as yet too little heard. Whereas many comprs.
are mainly influenced by music itself, S. has
found his moulding forces outside music. His
friendships with the Fr. poet, Bonnier, at Liver-
pool, with the Ger. mystic poet, Stefan George,
and with the painter-designer, Melchior Lechter,
all had an important bearing on his music.
So, too, did his close reading of science, philo-
sophy and especially occultism and Eastern
mysticism. Under this latter influence, he began
to rid himself of "key-tonality," time-signatures,
bar-lines, etc. He was not only a pioneer in Eng-
land in this technical way; but stood in the van
of tendencies which have since then become
firmly established. Much of his music has a
strangely exotic charm, he has a horror of the
2 G
449
Ratcatcher (Boosey); British folk-songs reschott).
numerous pf. pleces and many songs (Elkin;
Book. My Years of Indiscretion (1921).-E.-II.
SCOTTISH FOLK-MUSIC. See BURNETT,
ROBERT; PENTLAND, R. W.; also art. FOLK-
SONG SOCIETIES.
SCOTTISH ORCHESTRA. During the season
1887-8, the well-known music-selling firm of
Messrs Paterson & Son, Edinburgh, inaugurated
a series of orch. concerts to be run in conjunc.
tion with the Glasgow Choral Union under
August Manns. Four concerts were given during
that season, and six during each of the four
immediately succeeding seasons. The orch.
at this time was, however, of a very fluid char-
acter, and in order to place it upon a more per-
manent basis, the Scottish Orch. Co. was formed
in Glasgow with a capital of about £30,000. The
chief personality associated with this was James
A. Allan, the Glasgow shipowner. From that
time till the middle of the late war, the orch.
prospered exceedingly, but then the body
suffered eclipse owing to the large number of its
members which was taken for active service. It
has since been resuscitated, but since 1919, its
troubles have not so far been overcome, and a
process of reorganisation is now (1923) in pro-
gress. Its permanent condrs. have been August
Manns (1887-93), George Henschel (1893-5),
Willem Kes (1895-8), Max Bruch (1898-1900),
Frederick Cowen (1900-10), Młynarski (1910-
1916), Landon Ronald (1919-23), and Julius.
Harrison (1920-23), after which, the plan of
varying the condrs. was adopted.-w. s.
SCOZZI, Riccardo. Ital. oboist; b. Venice,
27 July, 1878. Teacher at R. Liceo Mus. di
Santa Cecilia; 1st oboist in Augusteo Orch.
An artist of exceptional merit, both as regards
softness and beauty of sound and perfect
musicianship; author of several compns. and
studies for own instr. (Milan, Fantuzzi).-D. A.
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SCRIABIN
SCRIABIN, Alexander Nicolaevitch (accent
the A). Russian composer; b. Moscow, 1871;
d. 1/14 April, 1915. Evinced his inclination
towards music at an early age, and entered
the Moscow Conservatoire, where he studied com-
position and piano under S. Tanéief, Arensky,
and Safonof. He afterwards toured Europe,
giving pianoforte recitals devoted solely to his
own works. In 1898, he was appointed professor
of piano at Moscow. Resigning the post in 1904,
he went to live abroad and devoted himself
solely to composition, returning to Moscow in
1910.
His work is unified. One idea inspires it and
gives it being. The whole of his activities, from his
first symphony in E op. 26 (1900-1) onwards, con-
stitutes a series of attempts to achieve the em-
bodiment of that idea. The unique work towards
which he strives, and of which his symphonies
and sonatas are but sketches or fragments, he
used to call "The Mystery." It was to be a
liturgy constituting a synthesis of all arts and in
which the whole of humanity and nature would
take part. In his mind, art was but a means of
achieving a higher form of life-a purely roman-
tic conception. The vast metaphysical and
religious system created by him is analogous to
Indian mysticism. It is symbolised in L'Acte
Préalable, a cantata which was to serve as an
introduction to the Mystery, but of which we
possess the text only (Propylées, Moscow, 1920)
and a few musical fragments.
His evolution followed a regular course. He
was influenced by Wagner, Liszt, and Chopin,
but from these joint influences derived from the
very outset an idiom typically his own and of
powerful originality. Glinka and the "Five
did not influence him in the least, and folk-
music plays no part in his style. But the spirit
of his music, European, mystical, impassioned,
joyous, ecstatically lyrical, and enthusiastic, is
altogether Russian. Its form is altogether
classical.
His output can
divided into three groups.
The first will include the opp. 1 to 25, comprising
among other things the pf. sonatas, op. 6, 19,
and 23, the first two symphonies (E and C,
op. 26 and 29), the Etudes, op. 8; the Preludes,
op. 11, 15, 17, in which the keen ardour, the
wistful reverie, and graceful, aerial sensuousness
which characterise his later works are already
asserted. The second group comprises the fourth
pf. sonata (F sharp, op. 30), the Poème Satanique
for pf. op. 34; the eight Etudes, op. 42; the fifth
sonata, op. 53, countless Miniatures, Preludes,
and Poems (written from 1903 to 1909); the
third symphony (in C); Le Divin Poème, op. 43,
and Le Poème de l'Extase, op. 54. It is an alto-
gether new world that Scriabin reveals us here.
For him Art has become a feast, a transfiguration.
Here all is pure ecstatic joy, light playing and
dancing. Nothing is stable or solid; all runs,
leaps and flies. The orchestral style, which in
the earlier works showed many affinities with
Wagner's, becomes very individual in Le Divin
Poème and reaches its full individuality in Le
45⁰
SCRIPTURE
Poème de l'Extase, although its derivation from
Tristan remains obvious.
Prometheus, the Poem of the Fire, op. 60,
for orchestra, piano, organ, chorus and colour.
keyboard; five piano sonatas, op. 62, 64, 66, 68
and 70; the Poème Nocturne for piano, op. 61;
two dances (Guirlandes and Flammes Sombres),
op. 73; Vers la Flamme, op. 72; Trois Etudes
(in fifths, in sevenths and in ninths respec-
tively), op. 65, and numerous miniatures for
piano, constitute the output of the third period.
All these works are founded on a new har.
monic basis, a chord of seven sounds ("syn-
thetic chord"), generally distributed in fourths:
C, F sharp, B flat, E, A, D, G. This chord,
a "thirteenth" with minor seventh and aug.
mented ninth, reflects in its structure the series.
of the upper partials 8, 9, 10, 11, 12, 13, 14; so
that Scriabin appears to open the way to ultra-
chromaticism. But at this point, art acquires for
him a mystical religious significance: it is a
means of occult action, and the artist is an
Orpheus who deeply modifies the nature of beings
and of things.
In Prometheus he has attempted to achieve
the synthetic art he was dreaming of. And simul-
taneously with his sonorous visions, he attempted
to incarnate his luminous visions by means of a
colour-keyboard, in accordance with a system of
correspondences which he had established be-
tween colours and sounds. But the results of
attempts made with this contrivance in Russia
and in America proved disappointing.
Scriabin's art has exercised in Russia a pro-
found influence, which made itself felt from 1915
onwards upon all the younger composers. It
extended to arts other than the musical.
Prometheus was first given in Moscow, 2 March,
1911, under Kussevitzky. The first London
perf. took place at Queen's Hall under Sir Henry
Wood, who gave it twice at one concert (1 Feb.
1913). It was repeated there the following year
(14 March) with the compr. at the piano.
Karatyguin (Petrograd) Gunst (number of the
Consult the monographs by Sabanéief (Moscow),
B. de
Schloezer (Berlin), and the special
Muzykalny Sovremmenik (Petrograd, 1915, Nos.
4, 5); A. Eaglefield-Hull, 4 Russian Tone-Poet (Lon-
don, Kegan Paul; 1st ed. 1916; 3rd ed. 1922).
gives full analyses of all works.-B. DE S.
SCRIPTURE, Edward Wheeler. Amer. phone-
tician, investigator of the voice; b. Mason, N.H.,
U.S.A. 21 May, 1864. Ph.D. (Leipzig); M.D.
(Munich); formerly prof. of experimental
psychology at Yale Univ. U.S.A. In the Yale
Laboratory he devised an apparatus for tracing
off the curves from gramophone discs (the only
one ever made) with an enlargement of 500. The
tracing of Caruso's Madre infelice, etc., shows
quite unexpected peculiarities in the mechanism
of his voice which gave it its special character;
these were quite unknown to Caruso himself.
S. has devised apparatus for registering speech
and song so that the details can be studied
under the microscope; has invented the strobi-
lion, an instr. that shows to the eye just the pitch
of the tone being sung and even the minutest
variation in pitch; has also developed the
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11
SEGOVIA
laryngostroboscope, an instr. by which a single
vibration of the vocal cords can be seen and
followed by the eye. In addition to his post at
King's Coll. Univ. of London, he has lately been
called to Univ. of Vienna as prof. of experimental
phonetics.
Pressan Co.); The Study of English Speech by New
Elements of Experimental Phonetics (Yale Univ.
Stuttering, Lisping and the Voices of the Deaf
Methods of
Press); Shakespeare's Investigation (Oxford Univ.
Versification in the Light of
Experimental Phonetics; The Curves of Caruso (1924),
etc.-E.-H.
SEGOVIA, Andrés.
b. Jaén in 1894. His art represents a link
Span. guitar player;
between the Romantic school of XIX century
(Carnicer, Arcas, Tárrega) and the modern style.
Tours in France, Spain, Germany and America.
-P. G. M.
SEIDL, Anton. Hungarian condr. b. Budapest,
7 May, 1850; d. New York, 28 March, 1898.
1870-2, pupil at Leipzig Cons.; then assistant
to Richard Wagner, Bayreuth; 1875, through
Wagner's recommendation, engaged by Angelo
Neumann as condr. at Leipzig; acc. Neumann
to Bremen; 1885, accepted appointment at
the head of Ger. Opera, New York, and soon
made orch. which he cond. popular;
1886,
at Bayreuth Fest.; 1897, cond. London Wagner
operas (Grau's season).
Consult H. C. Krehbiel, 4. S. (1898); also 4. S.: a
Memorial by his Friends (1899, a magnificent work,
in English).-A. E.
SELMER
Leopold
Tunder; J. G. Walther's organ works; organ works of
M. Weekmann and Chr. Bernhard; works of Zachow;
sacred music of Joh. Philipp Krieger; Joh. and
W. II. Pachelbel's pf. works; works of
Mozart (1909); collected pf. and organ works of
Johann Krieger, Murschhauser and I. Ph. Krieger;
Anthony van Noort's Tabulature Book and C. Bos
koop's Psalms of David; eds. of Bach and Handel.
1904-14, ed. vols, of I.M.G. and, since 1918, of 4.f.M.
Publ. bibliographical catalogue in the prefaces to
the works of Joh. Philipp and Joh. Krieger (1916
and 1919).-A. E.
SEITZ, Ernest. Canadian pianist; b. Hamilton,
Ontario, 29 Feb. 1892. Stud. pf. under A. S. Vogt
at Toronto Cons, and later for 4 years under Josef
Lhévinne, Berlin. On returning to America,
stud. under Ernest Hutcheson, New York. In
1916, joined staff of Toronto Cons. as teacher
and examiner. As concert-pianist he is becoming
well known in U.S.A. and Canada. In 1922,
accompanied Mendelssohn Choir 0.8 soloist
during their American tour.-L. S.
SEIDL, Arthur.
Ger. author; b. Munich,
8 June, 1863. Stud. philosophy and history
of literature at Munich, Tübingen, Berlin
and Leipzig: practical music and mus. science
under O. Paul, Fritz Stade, Ferdinand Langer,
Ph. Spitta and H. Bellermann; 1887, doctor's
degree with On the Sublime in Music, pro-
legomena to mus. aesthetics (2nd ed. 1907;
critic at Dresden and Hamburg; 1898-9, at
Weimar (Nietzsche Archives, engaged in
publ. of Nietzsche's works [Vols. I-VIII]
and letters [Vol. I with Peter Gast]); later at
Munich (as feuilleton-writer and edit. of
periodical Die Gesellschaft); 1903-19, mus.
manager at Dessau Court Theatre. Since 1904,
teacher at Leipzig Cons.; lecturer in mus.
history, literature and aesthetics. Since 1919,
conducts private courses in mus. science, Dessau.
Has Richard Wagner left a School ? (1892); Rich
Ideas of the Sublime since Kant (1889);
Strauss, character-study (1895 with W. Klatte);
Modern Spirit in German Musical Art (1900, new
ed. 1913); What is Modern? (1900); Wagneriana
(3 vols. 1901-2), Modern Conductors (1902); Art and
Culture (1902); Festival Writings for Jubilee of
General German Musical Society (1911): The Hellerau
School Festivals and Training Institute of Jaques-
Dalcroze (1912); Straussiana (1913); Ascania (10
years at Anhalt) (1913); R. Wagner's "Parsifal"
(1914); New Wagneriana (3 vols. 1914); Hans
Pfitzner (1921).-A. E.
SEIFFERT, Max. Ger. writer on music; b.
Beeskow-on-Spree, 9 Feb. 1868. 1886, stud. in
Berlin classical philology, science of music
(Spitta); 1891, doctor's degree, Berlin, with
J.P. Sweelinck and his Direct German Scholars;
1907, R. prof.; 1914, member of Acad. of Berlin.
of Swee story of Pf. Music (1899); arr. complete ed.
Wrote H
8 works (12 vols.); ed. in the D.d.T. S.
Scheidt's Tabulatura nova; Selected Works of Franz
SEKLES, Bernhard. Ger. compr. b. Frank-
fort-o-M., 20 June, 1872. Stud. at Hoch's Cons.
(Uzielli, Knorr, Scholz), 1893-4, theatre condr.
at Heidelberg; 1894-5 at Mayence; 1896,
teacher of theory at Hoch's Cons.; 1923,
director.
Serenade for 11 solo instrs, op. 14; symph. poem,
From the Gardens of Semiramis; Passacaglla and
fugue for full orch, and organ (1919); Short Suite for
orch., op. 21; Temperaments for orch., op. 25; Phan-
tastic Miniatures for small orch.: 15 little chamber-
pieces, fl. clar. vla. cello and percussion instr.; Passa-
caglia and fugue for str. 4tet, op. 23; sonata in D.
cello and pf.; dance-play, Der Zwerg und die Infantin
(Frankfort-o-M. 1913); opera, Schahrazade (Mann-
heim, 1917); burlesque dream-play, Die Hochzeil des
Faun (The Faun's Wedding) (den, 1921); pf.
pieces, op. 4, 5, 10; songs (s. op. 15; t. op. 13;
barit. op. 1, 7, 11); female choruses, op. 6; male
choruses, op. 12 (s. solo). Wrote Musical Dictation.
-A. E.
SELIN, Yrjö. Finnish cellist; b. Vaasa, 1897.
Pupil of O. Fohström in Helsingfors, and
Hekking and Casals in Paris. Has appeared
with success in Finland and Norway. Since 1922,
member of the A. Arvesen Quartet, Christiania,
Norway.-T. H.
SELMER, Johan Peter. Norwegian compr. b.
Christiania, 20 Jan. 1844; d. Venice, 22 July,
1910. First stud. law; but in order to overcome
a chest affection he went for a long sea-voyage.
The many and varied impressions he received,
during his two years' wanderings, awakened his
slumbering artistic temperament and he devoted
himself to music. Went to Paris in 1869 and stud.
there under C. Alexis Chauvet and Ambroise
Thomas. As early as 1870 he made his début
with his op. 1, Chanson de Fortunio (t. and orch.).
He remained in Paris during the siege, joined
the revolutionaries (the Commune) and even
became one of their orch. condrs. His ex-
periences in this stirring time left deep traces on
his susceptible mind. The first musical fruit of
this experience was the impressive orch. work
Scène funèbre (op. 4) In 1871-3 he stud. in
Leipzig under Friedrich Richter, Jadassohn and
Oscar Paul. Here he wrote music to parts of
Victor Hugo's Les Orientales (The Turks March
on Athens, orch. male chorus and solo, op. 7;
La Captive, contr. solo with orch. op. 6, etc.).
A half-year's stay in Italy for reasons of health
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SELVA
gave him a wealth of new impressions. In 1878
his orch, work Nordic Festal Pageant was perf.
with great success in Leipzig, Berlin and (cond.
by himself) at Mus. Fest. at Erfurt. In spring
of 1879 he gave a concert of his own compns. in
Christiania, and Parliament granted him a com-
poser's pension, as in the case of Grieg and
Svendsen. In 1883 he wrote a magnificent
cantata, Greeting to Nidaros (op. 23), for choral
fest. in Trondhjem. From 1883 to 1886 he was.
leader of Mus. Soc. in Christiania. Subsequently
he resided mostly abroad, but constantly visited
his native land and gave many concerts there.
At first Nordic Mus. Fest. in Copenhagen in 1888.
he cond. his op. 5, the short but forceful Nordens
Aand (Spirit of the North), male chorus and
orch. At his last concert in his native country
(Christiania, 1898) he produced his finest orch.
work, Prometheus (op. 50). Altogether he has
written about 60 works for orch.; orch. with
chorus and solo; songs with orch. or pf.; male
choruses; mixed and 3-part female choruses;
duets, etc. S. holds an exceptional position
amongst Northern comprs. of the last century.
He is Norway's Berlioz, the pioneer in the field
of programme-music.
In the 'seventies and
'eighties he suffered on account of the "radi-
calism of his peculiarly bluff, often bizarre
harmonisation. His style is strongly individual;
he paints with a broad and powerful brush and
does not shrink from the fantastic or even the
grotesque (see orch. work Carnival in Flanders).
In his best moments he is absolutely sublime;
for example, in Prometheus, when depicting the
flight of Mercury and the eagle through space.
His talent was so adaptive that he could, with
equal felicity of characterisation, write "Nor-
wegian" in the famous song Tollekniven (The
Sheath-Knife); "Finnish "-in the orch. work
Finnish Festal Notes; "Nordic "-in The Spirit
of the North; "Spanish "-in La Captive; and
Turkish "-in The Turks' March on Athens. In
SENIOR
pretation, e.g.: La Sonate (Paris, 1913, Rouart);
Quelques Mots sur la Sonate (Paris, Mellotée);
L'Enseignement musical de la technique du Piano
(2 vols., Rouart); Preparatory Book to same
(Rouart, 1922).-M. L. P.
SELZ, Gaston. Fr. compr. b. Boulogne-sur-
Seine, 1873. Pupil of Paris Cons. Charged with
organisation of the singing competitions in
schools of Department of Seine, 1921. Operettas:
La Nuit de Mai; Amour marié; Joie d'Italie
(poème-dansé); songs.-A. C.
SEM, Arne van Erpekum. Norwegian teacher
of singing and musical critic; b. Christiania,
1 May, 1873. Stud. theology, but soon devoted
himself to music. Owing to an injury to his hand,
gave up intention of being pianist and became
singer (t.). Trained in Paris and Vienna. En-
gaged at Stadttheater in Bremen; afterwards at
Opera House, Stuttgart. Appeared also in other
Ger. theatres. Concerts in many great cities of
Europe. Since 1914, resident in Christiania.
Mus. critic on Tidens Tegn (since 1918). Leader
of Opéra-Comique opera school, 1918-19. For
Bach Fest. in Christiania, 1921, he wrote some
very full annotations.-U. M.
SEMBRICH, Marcelina. See KOCHANSKA-
SEMBRICH.
SENGER, Hugo von. Condr. and compr. b.
Munich, 13 Sept. 1835; d. Geneva, 18 Jan. 1892.
After having studied philosophy at Munich,
devoted himself entirely to music; orch.
leader at St. Gall; then condr. of opera at
Zurich; prof. at Cons. and condr. of Symphony
Concerts and the Société de Chant Sacré (mixed
choir) at Geneva, remaining there till 1891. An
eminent teacher and an excellent condr. His
compns., recalling Schubert, attain great depth
of expression.
2 festspiele, Féte des Vignerons and Féle de la
Jeunesse; cantata, Général Dufour; Marche funebre;
choruses;
Prelude; Airs de ballet, orch.; unacc.
songs (publ. by Foetisch, Lausanne; Rötschy,
Geneva).-F. H.
SENILOF, Vladimir Alexeievitch (accent 2nd
syll.). Russ. compr. b. 27 June/9 July, 1875;
d. Petrograd, 1920. Stud. mus. theory under
Hugo Riemann at Leipzig (1899-1901) and
compn. at Petrograd Cons. under Rimsky-Kor-
sakof, Liadof, and Glazunof. At the beginning
of his career, he was strongly under Ger. in-
fluences; but has since succeeded in disengag.
ing his individuality. This is shown clearly
enough by some of his publ. works (Jurgenson),
such as the settings for v. and pf. (or orch.) of
poems by Sologub, Remizof, Balmont, etc.; his
Poem for cello and pf.; his Variations upon a
song of the Flagellants for pf. (Jurgenson). His
chief works, such as the tone-poems (The Wild
Geese; Pan; The Scythians), are unpubl. and not
available for study at the present time. The
last-named is described as particularly interest-
ing-M. D. C.
his songs he strictly follows the principle that the
music shall illustrate the words; but in this respect
he cannot be acquitted of considerable exaggera-
tion. Of his 4-v. male choruses, Norway, Norway
(words by Björnstjerne Björnson) has attained
exceptional popularity; and Ulabrand is a monu-
mental work amongst Norwegian male-chorus
music. Most of his larger works are publ. by C.
Warmuth, Christiania, Wilhelm Hansen, Copen-
hagen, or C. F. W. Siegel, Leipzig. His choruses
have been publ. by himself.-U. M.
SELVA, Blanche. French pianist; b. Brive,
29 Jan. 1884. Attended Paris Cons. between
age of 9 and 11; entered Schola Cantorum as
pupil of V. d'Indy. Began her career as pianist
at 13. At 20, perf. all Bach's works in 17 con-
certs. She has, since 1902, placed her remarkable
talent at the service of all the modern Fr. works,
of which she has played a large number, princi-
pally at Société Nationale (Paris) and at Libre
Esthétique de Bruxelles. Has taught the pf. at
Schola Cantorum for many years; now prof. at
Cous. Strasburg, and Prague. Has written some
wurks relating to pf. teaching and mus. inter-
452
SENIOR, Wilfred Edward. Scottish pianist;
b. Tillicoultry, 20 Aug. 1880. Stud. pf., vn.,
conducting at Dresden Cons. 1894-1900; also
singing under Lamperti, privately; gained con-
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SERAFIN
cert-pianist diploma; also diploma as condr.;
appointed Korrepetitor at Dresden R. Opera
House, 1902. Settled in Glasgow, 1904, as teacher
of pf. and singing. Condr. of Glasgow Choral
Union. His arrs. of old Scottish songs are publ.
by James Kerr, Glasgow.-J. P. D.
SERAFIN, Tullio. Ital. condr. b. Rottanova
di Cavarzere (Venice), 8 Dec. 1878. One of best
and most brilliant of living Ital. condrs. Stud.
vn. and compn. at R. Cons. Milan. At first, vn.
and vla.-player in orch. at La Scala. Condr.
there (deputy to Toscanini); rose to front rank
as condr., both in theatre and on concert-
platform. Many important seasons at Regio
Theatre, Turin; La Scala, Milan (for 4 years);
at Paris Opéra; Covent Garden, London;
Colón, Buenos Ayres, etc.-D. A.
SERATO, Arrigo. Ital. violinist; b. Bologna,
7 Feb. 1877. Son of distinguished cellist, Fran-
cesco (prof. at Mus. Acad. Bologna); pupil
of Federico Sarti at same Acad. Whilst very
young began concert-tours, gaining fame as
one of most brilliant Ital. concert-players;
toured triumphantly through Europe and
America. In Germany, took part in Joachim
Quartet, and enjoyed the friendship of that re-
nowned master; taught for several years in
Berlin; 1914, prof. at R. Liceo Mus. di Santa
Cecilia, Rome. In 1921 took up again career
of concert-player very successfully.-D. A.
SERATO, Francesco. Ital. cellist; b. Castel-
franco Veneto, 17 Sept. 1843; d. Bologna, 24
Dec. 1919.
From 1871 until his death, was
most esteemed prof. of cello at Mus. Acad. at
Bologna; many of most illustrious of living Ital.
cellists have been his pupils. First cellist in
orch. of La Scala, Milan, and Teatro Comunale,
Bologna. As concert artist, gained enthusiastic
success. Took part in famous Trio Bolognese
(with Sarti and Tofano); was one of founders
of Società del Quartetto of Bologna; with
Giuseppe Martucci, was one of inspirers of the
Quartetto Bolognese (Serato, Sarti, Consolini
and Massarenti), which gained a European
reputation.-D. A.
SÉRÉ, Octave. Fr. writer on music. Pseudo-
nym under which Jean Poueigh (q.v.) wrote the
book Musiciens français d'aujourdhui (Paris,
1911, Mercure de France) which so far as it
goes, is invaluable for the biographical data,
excerpts of criticisms by various authors, and
bibliography which it contains.-M. D. C.
SERIEYX, Auguste. Fr. compr. and musico-
logist; b. Amiens, 14 June, 1865. Pupil of
Barthe (harmony) and Gédalge (cpt.); then of
V. d'Indy. He counts among the first members
of the Schola Cantorum. Collab. with d'Indy in
the Cours de Composition (Durand, Vol. I, 1900;
Vol. II, 1909), and wrote the Trois Etats de la
Tonalité; a study on Vincent d'Indy, etc. Has
cond. compn. class at the Schola. His pieces
include a vn. sonata; pieces for pf.; for organ; for
v. and orch. notably La Voie lactée (1911).-A. C.
SEROEN, Berthe. Belgian singer; b. Mechlin,
27 Nov. 1882. Stud. pf. in Brussels under
SERVAIS
gave
Gevaerts, singing under Dina Beumer and
Seguin; début at Mechlin, 1900; 1907, soloist
of Flemish Opera, Antwerp, and Théâtre de la
Monnaie, Brussels; 1914, went to Holland and
with Evert Cornelis concerts of modern Fr.
music. She introduced in Holland the songs of
Debussy, Ravel, Roussel, Castelnuovo-Tedesco,
Pizzetti, Mussorgsky, Stravinsky (Pribaoutki).
Gilson, Jongen, Mortelmans, Diepenbrock, Zag-
wijn, Matthijs Vermeulen, Alex. Voormolen,
Willem Pijper, Brucken-Fock, etc.-W. P.
SERRANO, José. Span. compr. b. Sueca
(Valencia), 14 Oct. 1873. Writes for the stage,
in a light vein, being one of the most successful
and popular comprs. of mus. comedies (zarzuelas),
in spite of unevenness of style and idiom, which
are either typically Span. or strikingly Ital., as
plainly manifest in his best-known work La
Canción del Olvido. Lives in Madrid.
La Mazorca Roja; Alma de Dios; El Molele; La
Mala Sombra; El Amigo Melquiades; La Reina
del
Mata-
mala; Unión Musical Española, Madrid), P. O.
SERRANO Y RUIZ, Emilio. Span. compr..
and pianist; b. Vittoria (Alava), 15 March, 1850.
Stud. at R. Cons. de Música, Madrid, where ho
has taught at different times theory, pf., and
compn. (1870-1920). Counts among his pupils
the modern Span. comprs. Julio Gómez, María
Rodrigo, Ricardo Villa and Conrado del Campo.
Music-master to H.R.H. the Infanta Doña Isabel.
Member of R. Acad. de San Fernando. Founder
of Círculo de Bellas Artes symph. concerts. Dir.
of R. Opera House, Madrid, 1895-8.
Operas: Mitridates, Ital. text (R. Opera House,
Madrid, 1882); Giovanna la Pazza (R. Opera House,
Echegaray (R. Opera House, Madrid, 1871); Gon-
zalo de Córdora, book by compr. (R. Opera House,
Madrid, 1888); La Maja de Rumbo (Teatro Colón,
Buenos Ayres, 1910). Other works: pf. concerto;
str. 4tet; La Primera Salida de Don Quijote, symph.
poem; Elegia; Canciones del Hogar, v. and orch.
(Luca, Milan, later Ricordi; Unión Musical Española;
Faustino Fuentes, Madrid.)-P. G. M.
SERRAO, Paolo. Ital. compr. b. Filadelfia
(Catanzaro), 1830; d. Naples, 17 March, 1907.
Was for many years prof. of compn. at Naples
Cons.; from his school came many excellent
pupils: Martucci, Giordano, Mugnone, Cilen,
Vessella. His opera Pergolesi was successful. He
also wrote some good concert and sacred
music.-D. A.
SERVAIS, Franz Mathieu. Belgian compr. b.
Petrograd in 1846; d. Asnières, near Paris,
13 Jan. 1901. Eldest son of François Servais,
the great cellist. Pupil of Ferdinand Kufferath.
Obtained Prix de Rome, 1873, for cantata Le
Tasse. Travelled in Italy, and Germany; lived
for some time at Weimar as intimate friend of
Liszt, who gave him much encouragement.
S. was determined to create a big lyrical work;
chose a poem of Leconte de Lisle, L'Apollonide.
The libretto had to be altered many times, and
he revised his score more than 25 times. His
extremely artistic and dreamy character, melan-
choly and rather lacking in firmness, coupled
with consistent ill-luck, seemed to doom all
his enterprises to failure. L'Apollonide was
produced at Carlsruhe (in Ger.) in 1899
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SERVAIS
under the title Ion; its success was only
moderate. S. founded a Concert Soc. (Winter
Concerts) in Brussels in 1887, producing most
interesting but unsuccessful programmes. Also
temporarily engaged at La Monnaie as condr.
for Wagnerian works (1889-91). Cond. Flying
Dutchman, and 1st perf. of Siegfried in Fr.
(1891). Consult Au Souvenir de Fr. S. (Nicholte,
1907).-E. C.
SERVAIS, Joseph. Belgian cellist; b. Hal
(Brabant), 23 Nov. 1850; d. there, 29 April,
1885. Son of cellist Adrien François Servais
(1807-66); his father's pupil at Brussels Cons.
Acc. his father to Russia 1866; numerous
tours in different European countries;
attached for some time to the choir of Duke
of Saxe-Weimar (1869-70); appointed cello
prof. at Brussels Cons. 1872. A virtuoso of
very high standing, universally acclaimed by
European Press.-C. V. B.
was
SERVIÈRES, Georges. Fr. musicologist; b.
Fréjus, 13 Oct. 1858. Has written:
harà l'Opéra en 1861 (1895); e que francaise
Richard Wagner jugé en France (1887); Le Tann-
(1887); Weber (1906);
(1911);
Episodes d'histoire musicale (1914); Saint-Saens (1923),
etc.-A. C.
SETACCIOLI, Giacomo. Ital. compr. b.
Corneto Tarquinia, 8 Dec. 1868. Teacher of
harmony and cpt. and, from 1922, of compn.
at R. Liceo Mus. di Santa Cecilia, Rome. There
completed studies in compn. under Cesare De
Sanctis; flute under Franceschini. Many years
1st flautist in orch. of Costanzi and Augusteo.
Compr. of several operatie works; symphony
(perf. at Augusteo); symph. poems; 4tet (Florence,
Salonoff); Requiem Mass, perf. at Pantheon in
memory of King Humbert; many vocal and instr.
chamber-works. Has written: Claudio Debussy:
E un innovatore? (Claude Debussy: Is he an Inno-
vator ?) (Rome, 1910, Musica); numerous critical
articles and
ŠEVČÍK, Otakar. Czech vn. teacher; b. Horaž-
dovice, 22 March, 1852. Pupil of Ben-
newitz; 1870-3, Konzertmeister of Mozarteum,
Salzburg; later in Vienna; 1874-92 in Russia,
finally as prof. at Cons. Kief.; 1802, called to
Prague Cons., where he had control of vn.
department till 1901; in 1909, Vienna Cons.;
1919, again at Prague Cons. After Kubelík's and
Kocián's successes, his pupils gathered in large
numbers, forming a veritable colony at S.'s
residence, Písek. His method is based on the
semitone system, the fingers remaining at equal
distances on all the strings during the technical
studies. This leads to absolute safety, precision
and remarkable fluency. Other famous pupils are
Štěpán Suchý, Marie Hall, Mary Dickenson,
Reznikov.
School of Vn. Technique (1st ed. 1880, 4 vols.);
School of Bowing (1893: contains 4,000 different
n. Playing Prep.
bowings); Elements of Vn.
(Eng. publ. Bos-
School of Vn. Technique (1896).
worth: Chappell.)-V. ST.
SHARP
compn. under d'Indy. His principal works
(publ. Rouart) are: Le Chant de la Terre (1903),
En Languedoc (1905), Baigneuses au soleil (1908)
and Cerdana (1910) for pf.; the lyric stage-
piece Le Cœur du Moulin (Paris, 1909), Hélioga-
bale (Béziers, 1910) and Les Antibel; songs,
and a few books of collected folk-songs. A
number of other works remain unpubl.
It
is perhaps in his pf. music that he has given
the best of himself. His musical imagination,
although somewhat limited in scope, is of a
rare quality, and he derived particularly
felicitous inspirations from the rural scenes
which he often elected to translate into music.
Roberts
Consult bibliography in Séré (q.v.) and further:
articles by Eugène Rouart (Revue Mus., Oct. 1921)
Leigh Hefusic and Letters, April 1922); obituary
Times, July 1919); W. W.
noticos in Fr. mus. periodicals (April 1921) and
A. Cauroy (Larousse mensuel, Nov. 1923).-M. D. C.
SGAMBATI, Giovanni. Italian pianist and
composer; b. Rome, 28 May, 1841; d. there,
14 Dec. 1914. One of outstanding figures in
Italian musical life of his time. Having com-
pleted studies under Barberi, Natalucci and
Aldega, immediately gained fame in Rome by
his qualities as a pianist to such an extent as
to attract the attention of Franz Liszt, who
took Sgambati under his protection. Through
Liszt, S. came to know Wagner also, and
became acquainted with the publisher Schott,
who subsequently publ. nearly all his composi-
tions. His career as a pianist was a very glorious
one. In Rome and throughout Italy, he was
a worthy propagandist of classical works, both
as soloist, and by taking part in such combina-
tions as the famous Quintetto di Corte (Sgam-
bati, Monachesi, Masi [whom De Sanctis after-
wards succeeded], Jacobacci and Ferdinando
Forino). During his tours in Italy, France,
England, Germany and Russia, he gained
triumphant successes. In Rome, he was one of
the founders of the Liceo Musicale di Santa
Cecilia (see ACADEMIES), in which, from its
foundation until his death, he was prof. of pf.,
training a large number of excellent and devoted
pupils. During the last period of his life, Sgam-
bati hardly ever left Rome, where he devoted
himself almost exclusively to teaching.
production as a composer is striking and of
the highest value. He stands in the very
front rank of modern Ital. comprs. of chamber
and symph. music, of which he was one of
the leading promoters in the XIX century.
His
2 symphonies (D ma.; E flat, unpubl.); 2 5tets;
4tet; Requiem, barit, solo, chorus, orch. (1906, in
commemoration of King Victor Emmanuel II);
many pf. pieces (nocturnes studies, lyric pieces);
songs. Consult a study by Alberto De Angelis, in
Rivista Musicale Italiana (1912).-D. A.
SHAPOSHNIKOF, Adrian Gregorievitch (accent
1st syll.). Russ. compr. b. Petrograd, 10 June
(n.s.), 1888. Pupil of N. Sokolof and Glazunof,
Petrograd Cons. (1913).
(book, King's Feast; ballets, The Poisoned Garden
Nymphs); pf. sonatina; songs (publ. Jurson:
by Sologub); symph. poem, Charuzsa (Marsh-
Russ. State Music Publ. Dept.; operas ms.).
SHARP, Cecil James. Eng. collector and
arranger of Eng. folk-songs and dances, lecturer;
Fr.
SÉVERAC, Joseph Marie Déodat de.
compr. b. St.-Félix de Caraman, 20 July, 1873;
d. Céret (East Pyrenees), 27 March, 1921. Stud.
music firstly at Toulouse Cons., and in 1896,
came to Paris, where he entered the Schola
Cantorum, studying cpt. under Magnard and
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SHARPE
b. Denmark Hill, London, 22 Nov. 1859; d.
London, 22 June, 1924. Mainly self-taught.
Mus.M. Cantab. h.c. 1923. He did very valuable
work in collecting, publishing, and lecturing on
Eng. folk-music. The revival of interest in folk-
songs and dances is due chiefly to his work. He
also collected in Appalachia.
wen); Children's Folk Songs for use in Schools,
A Book of British Song (John Murray); English
Folk Song: Some Conclusions (Simpkin & Co.):
Foll: Songs from Somerset (with Rev. Charles Marson)
Serles 1-5 (Schott); English Folk-Carols (Novello):
English Folk-Chanteys (Schott); English Folk Songs
for Schools (with Rev. Sabine Baring-Gould) (Cur
Singing Games (with Allco B.
Gomme).
Sets I-X (id.); Folk Songs from the
Appa-
lachians (with Dame Campbell) (Putnam's Sons);
Folk Songs collected in the Appalachian Mountains,
Series 1 and 2 (Novello); Nursery Songs from the
Appalachian Mountains, illustrated by E. Mackinnon
dances musie
summer Night's Dream (id.): 4 folk-airs, vn. and pf.
Country
worth and Maud Karpeles), Parts 1-6 (id.): Country
Book (with George
Dance Tunes, Sets I-XI (id.); The Morris Book
(with Herbert Macllwaine and George Butterworth),
Parts 1-5 (id.); Morris Dance Tunes, Scts I-X (id.);
The Sword Dances of Northern England, Parts 1-3
(id.): Sword-Dance Songs and Tunes, Seta I-III (id.);
Folk Songs of England, selected ed., 2 vols. (id.), etc.,
etc.-E.-H.
SHEDLOCK
Educated at St. Paul's Choir Cath. School
(Sir George Martin); Derby School (J. R.
Sterndale-Bennett and S. Neville Cox); Caius
Coll. Cambridge (organ scholar); Univ. Stewart
of Rannoch scholar; stud. at Cambridge under
Dr. Charles Wood and Sir Charles Stanford. Has
worked hard to help the revival of Eng. musio
and in the reform of church music, and to
provide music for ordinary people.
3 Hymns to Pan, chorus and orch. (Novello);
Shakespeare Choruses with orch. (J. Williams); part-
songs and church muste, school songs (E. Arnold;
Press) Year Book
pf. music (Winthrop Rogers: J. Williams);
vn. musle (Ashdown); numerous hymn-tunes.-E.-H.
SHAW, George Bernard. Author, playwright,
and formerly mus. critic; b. Dublin, 26 July,
1856. Wrote weekly arts. in The Star, signed
Corno di Bassetto, from 1888 to 1890. Wrote
the musical feuilleton in The World from 1890
to 1894. Also wrote The Perfect Wagnerite
(1898; 4th ed. 1922). Since 1898, he has
written a few occasional arts, on music (notably
for the British Music Bulletin, June 1919,
and Music and Letters on Elgar, Jan. 1920);
but he retired from regular practice as a critic
in 1898, in which year his book The Perfect
Wagnerite appeared. He played a prominent
part in the formation of the British Music Soc.
(q.v.), frequently appearing as speaker and
lecturer at its public meetings and conferences,
-E.-II.
SHARPE, Cedric. Eng. cellist; b. London,
13 April, 1891. Son of Herbert S. (q.v.). Stud.
first under Tennyson Werge, from age of 7; later
at R.C.M. under W. H. Squire; gained scholar-
ship there, 1907; left in 1912. Has a fine tone
and good style; does valuable work as chamber-
music player, especially in the Philh. Str.
Quartet.-E.-H.
SHARPE, Ethel (Mrs. Hobday). Irish pianist;
b. Dublin, 28 Nov. 1872. Pupil of R. Irish Acad.
of Music; subsequently went to R.C.M. Lon-
don, under Franklin Taylor; 1st recital in
Prince's Hall, Nov. 1891. Received silver medal
of Musicians' Company. In 1894, gave a recital
at Vienna. Reappeared in London, 1895. Wife
of Alfred Hobday (q.v.). She has given many
interesting chamber-music recitals.-W. ST.
SHARPE, Herbert Francis. Eng. pianist and
compr. b. Halifax, 1 March, 1861. Gained a pf.
scholarship at National Training School (now
R.C.M.), South Kensington, in 1876; succeeded
Eugen d'Albert as Queen's scholar there; stud.
under Sir Arthur Sullivan, Ebenezer Prout,
J. F. Barnett and Sir F. Bridge. Appointed prof.
at R.C.M. in 1884.
3-act light opera, ms.; Concert Overture (ms.);
Variations for 2 pts. (Cary); pf. pieces (Eng. F
tasias;
2 preludes, etc.) (Cary:
Beale: Rof. duets (3 symph. pieces [Leonard];
5 character-pieces [Cary]); Idyll, fl. and pf. (Cary);
Suite, fl. and pf. (Rudall. C
part-songs (Augener; Bayley & Fumerous songs and
SHATTUCI Arthur. Amer. pianist; b. Neenah,
Wis., U.S.A., 19 April, 1881. Pupil of Lesche-
tizky in Vienna for 7 years. In 1901, soloist with
Philh. Orch. Copenhagen. Lived in Paris until
1911. Toured Europe, and (1911-12) America.
1912-15, again in Europe. Has appeared with
many large orchs. in Europe and America. Since
1916, playing in U.S.A.-o. K.
SHAW, Martin. Eng. compr. b. London, 9
March 1876. Brother of Geoffrey Shaw. Stud.
at R.C.M. London under Sir Charles Stanford.
Has worked hard to establish a stronger Eng.
national feeling in music. Has done much to
cultivate community singing; to free Eng.
church music from a load of sentimentality.
He has written many fine church hymn-tunes
and school songs. Comp. the simple direct little
operas Brer Rabbit and Fools and Fairies for
the League of Arts, who perf. them in Hyde
Park. His music has a bold, tuneful and manly
ring.
SHAW, Geoffrey Turton. H.M. Inspector of
Music; Eng. compr. and singer; brother of
Martin Shaw; b. Clapham, 14 Nov. 1879.
Ballad-opera, Mr. Pepus; light opera, Brer Rabbit
(J. Williams); mus, plays: The Soul of the World
(vocal score, J. Williams); The Pedlar (Evans);
Fools and Fairies (id.); The Cockyolly Bird (overture
publ. Goodwin); The Vikings; The Dreamer; Inci-
dental music to The Lord of Death (L. N. Parker;
Plymouth, 1923); F
A mi, for str. 4tet (pt. and orch.: Suite,
: pf. trio; pf. album, Brer
Rabbit (Williams); 6 Songs of War (Rogers); Sing
Song (Curwen); Kipling Songs (Curwen); many
other songs (Boosey; Curwet songs (Curwen); part-
Enoch); Pastorals, etc., 2-part songs
songs (Novello: J. Williams; Curwen; Arnold);
(Evans;
Funeral March, arr. organ (Curwen); British Marches,
arr. (Evans): 100 Songs of Britain (Boosey): Song-
1922)
selected Songs of Britain, arr. (Boosey,
League of Nations Song-book (Stainer & Bell);
Motherland Song-book, Vol. II (with G. Shaw) (id.).
English
Book, The Principles
position (Mus. Opinion Office, 1921).-ic Com-
SHEDLOCK, John South. Eng. mus. critic
and writer; b. Reading, 29 Sept. 1843; d. Lon-
don, 9 Jan. 1919. Educ. partly in France, and
then in London; B.A. London Univ.; stud. pf.
in Paris under Ernst Lübeck, compn. under
Édouard Lalo; began as a pianist and teacher
in London; produced a 4tet for str. and pf. in
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SHELDON
1886, 1879, mus. critic for the Academy; in
1901 for the Athenarum; editor Monthly Musical
Record, 1902-12, continuing to contribute valu-
able articles to it until Jan. 1918.
Transl. of Beethoven's Letters, from Kalischer's
collection (2 vols. J. M. Dent, 1909); The Pianoforte
Sonata (Methuen, 1895); Beethoven (Bell, 1903);
Beethoven's Pianoforte Sonatas and
Readings
(Augener, 1918): transl. of Ricmous:
with additions (Augener, 1892); arts, on Beethoven
and Bach in M.M.R. and Mus. Times.-E.-II.
SHELDON, A. J. Brit. musical critic; b. Liver-
pool, 20 Aug. 1874. Educated at Glasgow; mus.
amateur for 20 years; occasional critical work,
1912-13. Musical critic Manchester Courier,
1913-16. Regular contributor to Mus. Opinion
from 1915. Musical critic Birmingham Daily
Post from 1919; writer of analytical notes,
City of Birmingham Orch. programmes.-E.-II.
SHELLEY, Harry Rowe. Amer. orgt. compr. b.
New Haven, Conn., 2 June, 1858. Stud. music
under Gustav J. Stocckel at Yale Coll. and in
New York under Dudley Buck and Max Vogrich.
In youth, orgt. of Centre Ch. New Haven; then
of Plymouth Ch. Brooklyn, N.Y. In 1887 visited
Europe, stud. under Dvořák; returning to
America same year, became orgt. of Church of
the Pilgrims, Brooklyn, N.Y. Since 1899, orgt.
of Fifth Avenue Baptist Ch. New York. His larger
works have been an opera Leila (ms.), a vn.
concerto (perf. 1891), 2 symphonies (the first,
E flat, perf. New York, 1897), symph. poem,
The Crusaders; an overture, Francesca da
Rimini. Member of National Inst. of Arts.
and Letters.
SIBELIUS
SHISHOF, Ivan Petrovitch (accent 2nd syll.).
Russ. compr. b. Novocherkask (district of Don
Cossacks), 26 Sept./8 Oct. 1888. Pupil of Kastal.
sky and A. Koreschenko, at music school of
Moscow Philh. Soc. (finished courses in 1916).
Symphony, orch. (1923); overture, orch. (1915);
songs, some with text, some wordless (Russ. State
Music Publ. Dept.).-V. B.
acealm XCI (Schirmer, 1921). Many pf.
Romeo and Juliet, lyric drama (Schuberth); can-
tatas: The Inheritance Divine (Schirmer, 1895);
Life (id. 1898); Vezilla Regis (Novello,
1893);
and seenlar) (Curwen;
pieces, songs, choruses
Schirmer).-J. M.
SHENSHIN, Alexander Alexeievitch (accent 2nd
syll.). Russ. compr. b. 19 Nov. 1890. Pupil of
Kruglikof, Gretchaninof, Glière and Javorsky
(1907-15); 1922, prof. at Moscow State Cons.;
1920, member of Russ. Acad. of Art-Sciences;
from 1920, compr. Moscow Theatre for Children.
The Poem, orcli. op. 5 (ms.); pf. 5tet, D mi. (ms.);
many fine songs, op. 1, 2, 4, 6, 7, 8, 9 (Jurgenson;
Russ. State Music Publ. Dept.): pf. pieces; music for
children's plays.V. B.
SHERA, F. H. Eng. compr. b. 1882. Dir. of
music, The College, Malvern; M.A. and Mus. M.
Cantab.
Held
Alfred
SHORE, Samuel Royle. Eng. orgt. compr.
lecturer; b. Edgbaston, Birmingham, 12 April,
1856. Solicitor by prof.; stud. music under
Gaul; self-taught in compn.
various posts as orgt.; appointed (by Bishop
Gore) instructor in plain-chant for Diocese of
Birmingham, 1911-13; lecturer in ecclesiastical
music, Birmingham Cath. 1912-13; to South-
wark Dioceso Plain-song Association from 1915.
Between 1906 and 1913 (in conjunction with late
Edwin Stephenson, then orgt. Birmingham Cath.)
publ. and perf. a series of Palestrina, Tudor and
Jacobean classics. Has lectured widely on plain-
chant, making a large use of modern notation
and popular manuals. Has written many church
services in a new form which contrasts con-
gregational singing with that of the skilled choir.
Missa Sanctorum Meritis, op. 9, in 4- and 5-part
Missa
Stabat Mater (id.); Requiem (id.);
modern vocal polyphony (Eng. Novello) 8 vs.
Phrygian mode (y, Birmingham); Madrigal,
6 vs. Hypo-collan (Novello); Te Deum for 2
choirs (one in unison leading the congregation),
Novello. Ed. The Cathedral Series of XVI and
century comprs., Mundy, Causton, Tallis, Ward,
Gibbons, Anerio; The Sarum Litany (plain-chant and
faux-bourdon), etc.; The Diocesan Music Series,
handy manuals of church services in modern notation
for the people (Novello).-E.-H.
SIAMESE MUSIC. See GRASSI, E. C.
SIBELIUS, Jean. Finnish compr. b. Tavaste-
hus, 8 Dec. 1865. He soon abandoned legal
studies for music; stud. under Wegelius at Hel-
singfors Music Institute, and later in Berlin (under
Becker) and Vienna (under Fuchs and Goldmark).
A life State grant from 1897 enabled him to
devote himself to composition. Consequently
his production is very considerable. His
strong individuality made itself felt from the
beginning, sometimes weird and wild, some-
times of a mysterious, penetrating sweetness,
often majestic, bold, and infinitely sad. His
compositions are messages from the land of a
thousand lakes and islets with their manifold
and changing tones of colour. They
have,
like
their country, their force in beauty of shading.
CHO
Miniature symphony; 2 orch. pieces; pf. 5tet;
songs (ms.); book, Musical Groundwork, a short
course of aural training (Milford, 1923).-E.-H.
SHINN, Frederick George. Eng. orgt. and
educationist; b. London, 23 Dec. 1867. Stud.
at R.C.M. under Sir. Hubert Parry, Sir Walter
Parratt and Sir F. Bridge; orgt. St. Bartholo-
mew's Ch. Sydenham, since 1893. Prof. at
R.A.M. and R. Normal Coll. for the Blind.
Has done much fine work in advancing the
cause of mus. appreciation, by means of aural
training of students and sight-reading.
To penetrate a composer's message fully we
must know the atmosphere he breathes, the
racial and social influences which have moulded
him. In the case of Sibelius the deep melancholy
of nature in Finland, and the impression of
the Russian iron grip, have produced a
strong, original and full-blooded. He has con-
genius,
tributed to almost every branch of music except
opera; but his most important compositions
in the form of tone-poem, symphony, and song.
The six symphonies represent the true char.
acter of his development. The tone-poems are
full of the folk-song spirit, though not our
draws on actual folk-tunes. Or
pieces, The Occanides (writter.
his lates
echost
are
Mus. Memory and its Cultivation (Vincent; now
Melodic; Part 11.
(formerly publ. by Vin-
cent; now Augener); Method of teaching Harmony
based on Ear-training, Part I, Diatonic; Part II,
Chromatic (Augener).-E.-H.
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SIEBEN
of 120) is a very personal work. It is a magnifi-
cent piece of colouring the sea in various
moods. It awakens, stirring under the dawn-
wind's cold caressing; echoes to unseen voices
proclaiming the breaking of light on the deep;
Oceanus stretches his night-benumbed limbs,
tingling with full remembrance of their potency,
and rises to a grand tidal climax.
Sibelius ranks among the foremost living
composers of to-day. He has been wholly un-
affected by the work of his predecessors and con-
temporaries. He is concerned, first and last, in
giving his own message to the world in a form
that appears austere and forbidding on a first
acquaintance, but which holds the attention
throughout. His method of thematic develop-
ment is peculiarly original. As a general rule,
his symphonic movements are built up from
fragmentary germs, or groups of notes, which
grow and expand until the climax is reached
with the complete presentation of the theme in
its full splendour. He draws his inspiration direct
from nature, and, though essentially a composer
of absolute music, he has not neglected to make
use of the opportunities afforded him by various
episodes from the Kalevala and other legendary
myths of Finland. A new orch. work, Fantasia
Symphonica, was produced at Stockholm,
March 1924.
SILVA
Berlin, 12 April, 1878. Turned to music after law
studies (LL.D.). Pupil of Thiel, Humperdinck,
Berlin; L. Thuille, Munich; 1910-11, cond.
Concert Soc. for choral singing, Munich; Ist
perf. of Pfitzner's Poor Heinrich (Arme Hein-
rich) at Prince Regent Theatre, Munich; 1914-
1917, dir. of Mus, Acad. Königsberg; 1918-19,
opera stage-manager at Mannheim; 1919, chief
town-condr. and condr. of Concert Soc.; 1922,
gen. mus, dir. at Crefeld,
6 symphonies:, No. I, in E mi. (1899); II, D ma.
(1902); III, C ma. (1907); IV, A mi. (prod. Bir-
mingham Fest. 1912); V, E flat ma. (prod. Hel-
singfors on compr.'s birthday (1915); VI (1923)
Symph. poems: En Saga, op. 9; Spring Song, op.
16; The Swan of Tuonela, and Lemminkäinen (Home-
ward Bound) from Lemminkäinen Sulte, op. 22:
Finlandia, op. 26: Pohjola's Daughter, op. 49: The
Night-Ride and Sunrise op. 54; The Bard, op. 64;
and Oceanides, op. 72; Karelia Overture, op. 10;
Karelia Suite, op. 11; Rakastara (The Lover); Suite
for str. orch.; Scènes historiques, op. 25 and 66, both
sultes: King Christian II (suite from stage-music to
Adolf Paul's drama); Valse triste (trom stage-musie
to Arvid Järnefelt's Kuolema);
Stane Pelléas et Mélisande, Belsac-music to Maeter-
Svanehvil (Strindberg); also smaller orch. compus.:
(Procopé) and
The Dryads; Dance Intermezzo; Pan and Echo;
Canzonetta; and In Memoriam. Vn. concerto, op. 47;
2 sonatas, vn. and orch. op. 69; Devotion and Can-
tique, cello and orch.; Kullervo symphony (on episode
from Kalevala), orch, and final chorus (1892); Snofrid,
chorus and orch.; Origin of Fire (Ukko the Fire-maker),
for dedication of Finnish National Theatre, 1902
(barit. male chorus and orch.); The Ferry-man's
Brides (ballad by Oksanen), v. and
tured Queen, choir and orch.;
Jordens san
virsi (Hymn to Earth); Oma maa (Native Land),
chorus and orch. Str. 4tet, Voces intima, op. 56; pt.
sonatas and sonatinas; songs (Trust: Black Roses;
Jubal; Spring is flying: Little Lassie; But my Bird
is long in homing; Erening; Astray; First Kiss;
etc., etc.); choruses; also the fine Athenian Hymn
for boy's v. and orch. (See also articles on FINNISH
MUSIC).-M.-L.
Heroische Tondichtung for orch. (Mus. Fost. Essen,
1906); opera, Herr Dandolo (Essen, 1914); Apo-
statenmarsch (G. Keller, male chorus and orch.);
12 Ger. national songs for pf. (3 hands); Der Ein-
siedler (Elchendorff), barit. and orch-A. E.
SIEMS, Margarete. Ger. s. singer; b. Breslau,
30 Dec. 1881. Pupil of Mme. A. Orgeni (Dres-
den); 1902, member of Ger. Theatre, Prague;
1908-20, coloratura-s., Dresden Court Opera
House; 1920, teacher at Stern's Cons. Berlin.
-A. E.
SIEWERS, V. W. H. H. Norwegian jurist and
music critio; b. in 1855. Degree in law, 1879.
Since 1889, judge in Christiania Town Court.
Besides publishing a juridical work in several
vols., S. has done great service for Norwegian
mus. history by his contributions to various
dictionaries and periodicals, and especially
by many years' activity as mus. critic to
Morgenbladet in Christiania.-R. M.
SIGTENHORST MEYER, van den. Dutch
compr. and pianist; b. Amsterdam, 17 June,
1888. Stud. at Amsterdam Cons. under De
Pauw, pf., Dan. de Lange and B. Zweers,
theory.
2 str. 4tets: No. 1, 1919, perf. 10 April, Paris
(Amsterdam, Alsbach); No. II, 1921, perf. 1922,
The Hague); oratorio, De verzoeking van Boeddha
(Temptation of Buddha), 1018, perf. The Hague, Oct.
1921 (Alsbach); Stabat Mater, unace, choir (1918),
perf. The Hague (same year) by the Madrigaalver-
eeniging (Alsbach); De bron van Badrah, 1-act opera
(1917), perf. The Hague; many songs (Dutch words
of P. C. Hooft, Rient van Santen, Noto Soeroto); pf.
works (Alsbach).-W. P.
SIGWART, Botho (Count of Eulenburg).
Ger. compr. b. Berlin, 10 Jan. 1884; fell in
action (Galicia), 2 June, 1915. Son of Count
Philipp of Eulenburg; 1909, married concert-
singer Helene Staegemann. Lived at Dresden.
Melodrams, Hector's Burial, op. 15; Ode to Sappho,
op. 18; str. 4tet, B ml. op. 13; vn. sonata, op. 6;
pf. sonatas, op. 14 and 19; sonata for vla. d'amore
and pf. op. 16; symphony, organ and orch. C mi.
op. 12; songs; opera, Songs of Euripides (Stutt-
gart, 1915).-A. E.
SIKLÓS, Albert. Hungarian compr. b. Buda-
pest, 26 June, 1878; prof. of compn. at
Budapest High School for Music.-B. B.
SILK, Dorothy. Eng. s. singer; b. Moseley,
ingham. Stud. singing under Mme. Mina-
dieu there; then in Vienna for 2 years under
Ress. Has a particularly clear and sweet voice.
of pure quality and good range; specialises
in Bach's music and famous old comprs.; is
at her best as a chamber-music singer; is well
known both in London and the provinces.-E.-H.
SILVA, Giulio. Ital. teacher of singing; b.
Parma, 22 Dec. 1875. Whilst studying medi-
cine (later abandoned) took a course in compn.
at R. Liceo Mus. di Santa Cecilia (De Sanctis
SIEBEN, Wilhelm. Ger. condr. b. Landau,
Palatinate, 29 April, 1881. In 1898, entered
Munich Univ. as law-student; turned to music;
pupil of Rheinberger and Thuille (theory),
later of Ševčík (Prague) and Fel. Berber (vn.);
1905, vn. teacher at Munich Acad. of Music
(1916, prof.); leader of a str. quartet; especially
ultivated contemporary chamber-music; 1918,
needed Brode as condr. of Symphony Con-
and of Singakademie at Königsberg; 1920,
dr. at Dortmund.-A. E.
GEL, Rudolf Ger. compr. and condr. b.
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SILVA
school); first devoted himself successfully to
conducting; 1913, won by competition post
of singing teacher at R. Cons. at Parma;
from there to Licco di Santa Cecilia, Rome
(succeeding Antonio Cotogni). 1920, went to
New York as teacher of singing in Mannes
Cons. Wrote book, Il Canto (Turin, Bocca),
and many arts. for Rivista Musicale Italiana
and other periodicals.-D. A.
SILVA, Oscar da. Portuguese pianist and
teacher; b. Lisbon, 1872. Stud. there under
Timotheo da Silveira and others; later at Leip-
zig under Reinecke and Clara Schumann. Toured
widely as pianist. Now lives at Lisbon. One of
the best of Portuguese comprs. See art. PORTU-
GUESE OPERA.
Opera Don Mecia (produced Colyseu dos Recreios,
1901); numerous pf. pieces (Bilder: Rapsodie portu-
gaise; Mazurkas; Dolorosas, etc.); Mélodie and a Suite,
vn. and pf.; many songs.-E.-H.
SILVER, Charles. Fr. compr. b. Paris, 16
Feb. 1868. Pupil of Massenet at Cons.; Prix
de Rome 1891, with cantata L'Interdit; prof. at
Paris Cons. Writes almost entirely for theatre,
following a rather conventional æsthetic formula;
but what he writes is carefully finished.
La Belle au bois dormant (1902); Le Clos (1906);
Myriane (1913); La Mégère apprivoisée (1922);
Neigilde (ballet,
some orch. pieces. 3. Tobie (oratorio, 1902); and
S.I.M. See SOCIETIES.
ŠIMKUS, Stasys.
Lithuanian compr. b.
Motiskiai, Seredžius district, 23 Jan. 1887.
Stud. under J. Naujalis at Kaunas. At 13, played
organ at Ciebeskis, Kidokelaukys, and Skirsne-
mune. In 1905 entered Vilna Music School; in
autumn of same year, joined Warsaw Mus. Inst.,
graduating in 1908, in organ section. He then
entered Petrograd Cons. where he finished his
course in 1914. At outbreak of war, he was sent
to America to collect donations for Lithuanian
war-sufferers. He stayed there 5 years. In 1917,
he began to publ. there his journal Muzika (in
Lithuanian). Returned home in 1920. When
the war with Poles arose, he entered army as a
volunteer and organised concerts at the front.
At Lithuanian Scientific Association at Vilna,
1000 folk-songs, coll. by him, await publication.
2 music-dramas: Cigonai (The Gypsies), Iseivis (The
Emigrant); pf. sonata; trio (pf. vn. cello); str. 4tet
hundreds of songs, duets, 4tets, choruses. Best-
known choruses are Kur bakule samanola (Where the
moss-grown hut): Plaukia sau laivelis (The Gliding
Boat); Vakarine daina (Evening Song).-H. R.
SIMON, James. Ger. author, compr. pianist;
b. Berlin, 29 Sept. 1880. Pupil of Conrad Ansorge
(pf.) and of Max Bruch (compn.) at R. High
School of Music and advanced class at Acad.;
1904, Ph.D. Munich; 1907, teacher at Klind-
worth-Scharwenka Cons. Berlin. Wrote Faust
in Music (1906, in R. Strauss's coll. Musik).
Many songs; pf. concerto, F ma. (ms.);
Urworte
Goethe's
B flat ma.; hapsody and songan); symphony,
Suite in 5 movements
(orch.); trio, A ma.; str. 4tet in E; pt. and vn.
sonata, E mí. op. 20; 6-v. motet, Die Tod ist gros8
(Great is Death) (Rilke), with organ.-A. E.
SINCLAIR
fluence which formed his playing style came
from Camillo Sivori, under whom he stud. at
Genoa. S. assimilated many qualities of this
great pupil of Paganini-brilliant left-hand
agility, facility for double-stops and a clear,
unaffected cantabile. In 1880, toured through
France and played in Pasdeloup Concerts;
1881, entered Paris Cons, where he stud. vn. under
Charles Dancla and compn. under Massenet;
1883, went to Nice, where he establ. a quartet
with D'Ambrosio; 1887, went to London where
he speedily became a favourite. His first visit
to Ireland was with Bottesini, the famous d.b.
player. He formed the well-known London.
Trio with Amina Goodwin and W. E. White-
house and toured abroad with them. After many
years' touring in Europe, became vn. prof. at
R. Irish Acad. of Music in 1912. With Esposito
(pf.) and Clydo Twelvetrees (cello), gave many
trio-recitals and led the Dublin Orch. Soc. con-
certs; 1919, resigned his professorship and went
to France. Has comp. some works distinguished
by melodic charm and thought.
2 str. 4tets: 2 sonatas, vn. and pf.; vn. pieces
(Madrigal; Spinning-Wheel; Le Nocturne japonais,
etc.).-W. ST.
SIMONETTI, Achille. Violinist, composer; b.
Turin, 1857. Stud. first under Francesco Bianchi;
then in Milan Cons. 1872, under Giuseppe
Gamba, a pupil of Polledro. The strongest in-
SIMPLIFIED SCORE (Vereinfachte Partitur).
Arnold Schönberg publ. his 4 songs with orch. op.
22 in a simplified score for the use of condrs. It is
easier to study and conduct from this score. The
full score only serves the purpose of copy for the
copyist of the parts. The beginnings and ends of
the leading parts are marked and 7; princi-
pal parts with the sign H (Hauptstimme); sub-
ordinate parts N (Nebenstimmen).-EG. W.
SINCLAIR, George Robertson. Eng. organist,
master of the choristers and succentor at Here-
ford Cath.; condr. of the Three Choirs Fests. at
Hereford; b. Croydon, 28 Oct. 1863; d. suddenly
at Birmingham, shortly after conducting a re-
hearsal of Verdi's Requiem, 7 Feb. 1917. At age
of 8, entered the R. Irish Acad. of Music, where
he stud. under Sir Robert Stewart. At 10, choral
scholar, St. Michael's Coll. Tenbury; was the
favourite pupil of its founder, the Rev. Sir
Frederick Goro Ouseley. In 1879, went to
Gloucester as assistant to Dr. C. Harford Lloyd,
orgt. of the cath. At 17, orgt. of Truro Cath. In
1889, succeeded Dr. Langdon Colborne as orgt.
of Hereford Cath. where he soon brought the
music up to a high standard. Through his efforts
the magnificent organ was rebuilt by Willis.
The success of the Three Choirs Fests., 8 of which
he conducted, is largely due to him. In 1889 the
degree of Mus. Doc. h.c. was conferred on him by
the Archbishop of Canterbury. After his death
a memorial fund was raised for the benefit of
old Hereford choristers wishing to take up music
as a profession.-P. C. H.
458
ŠÍN, Otakar. Czech compr. b. Fryšava
(Moravia), 1881. Stud. at Cons. Prague; since
1920 prof. and since 1922 administrative dir.
of Cons. His compns. show serious endeavour and
modern harmonic colour.
Symph. poem, Tilottama; King Menkera; str.
4tet; 2
PST.
pieces (Fr. Chadim; Hudební
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SINDING
SITT
optimistic and cosmopolitan tendency, has won
friends in the widest circles. During a great
part of his life, he lived in Berlin; has often
conducted his own works both at home and
abroad; was elected an honorary member of the
Akademie der Künste in Berlin. Of late years
he has been living in Christiania, except during
1921-2, when he was professor of composition
at the Eastman Conservatoire of Music in
Rochester, U.S.A.
SINDING, Christian. Norwegian composer; b.
Kongsberg, 11 Jan. 1856. Studied violin under
Gustav Böhn, Christiania; afterwards began
to study the piano, but soon realised that
the career of a virtuoso did not suit him. In
theory, he was a pupil of Ludv. M. Lindeman;
studied at Conservatoire in Leipzig, 1874-7
(teachers: Reinecke, Jadassohn, Schradieck and
Kretzschmar). Returned to Norway, 1877;
went again to Leipzig in 1879. Up to that time
he had composed a piano sonata (F minor), a
string quartet and a violin sonata (the last was
played at a soirée at the Conservatoire). His
studies at the Conservatoire did not seem to
bring him an entirely satisfactory result. There-
fore, when in 1880-2 he visited Dresden, Munich
and Berlin (with a scholarship from the State)
he pursued his musical studies on his own
account. From this time on, his compositions
display that freedom in form and expression
which he had striven after, but not found at the
Conservatoire in Leipzig. In 1882-4 Sinding
was engaged upon the work with which he first
made a name, the piano quintet in E minor
(op. 5). After having been played, for first time
in Christiania, in 1885 by Erika Nissen and
Böhn's Quartet, it was performed in 1888 in
Leipzig by the Brodsky Quartet with Busoni.
It provoked a bitter discussion in the German
Press, some critics being exasperated at the
daring "parallel fifths" in the last movement,
while his defenders maintained that the work
was the expression of a self-reliant individuality.
On the next performance of the quintet (1889)
the feeling was entirely in Sinding's favour, and
the work was soon being performed in all lands.
This quintet inaugurated a new period, not only
in Sinding's life, but also for Norwegian music.
It was a fruit of the Neo-Romantic tendency,
and with its combination of national tone and
colouring with Wagnerian rhythm and struc-
ture, it contains elements which are afterwards
frequently met with in Sinding's works. It
gave the signal-note for Norwegian musical
progress in those years.
After this first success the composer created a
number of works, which belong to his best and
most characteristic productions: the piano con-
certo in D major, dedicated to Erika Nissen
(perf. first time Christiania Musical Society,
1890) and the 1st symphony (D minor, op. 21;
performed in Christiania same year; afterwards
revised and produced at symphony concert in
Berlin, 1892, under Weingartner). These two
works confirmed his reputation both at home and
abroad, and after the publishing firm of Peters
in Leipzig had in 1892 taken over publication
of his works he soon won great renown. In
his later production, lyric compositions take up
a large space (over 200 songs, choral works,
cantatas, etc.), but he has also produced many
works for orchestra and for piano. Sinding's
music has, like Grieg's, won its way to all parts
of the world. It has little or nothing in common
with the bright, ingratiating tone of Grieg's
works; yet Sinding's broad, epic style, with its
As a composer Sinding is independent of any
school. His style has often a Scandinavian
strain, without its being always possible to
characterise it as specifically Norwegian; but
its sharp-cut rhythms, bold harmonies and
vigorous tendency are characteristic of his
Norwegian temperament. He finds himself more.
at home in the broader forms of composition
than did his compatriot, Grieg. Sinding's muse
is more epic than dramatic. He favours an
heroic al fresco style which is manly and passion-
ate in its form of expression. Side by side with
the typical Sinding characteristics (restless
modulation, violent harmonic movements, rhyth-
mic monotony) we see the influence of Wagner,
especially as regards melody and harmonisa-
tion. His lyrical compositions are often more.
Norwegian in their tone than his symphonic
great contrast.
works; they supplement Grieg's works by their
Opera, Det Hellige Bjerg (The Holy Mount) (Dessau,
1914): symphonies: No. 1, D mi.; No. II, D ma
(1st perf. Berlin, 1907); No. III, F ma. (1st perf.
Leipzig, 1921, under Arthur Nikisch); symph. poem,
Rondo infinito; Episodes chevaleresques for orch.; pf.
concerto, D flat, op. 35 (pubi. Hansen, Copenhagen);
2 vn. concertos (A, op. 15; D, op. 60); Legende, vn.
and orch.; 2 romances, va.; 2 pt. trios; 2 vn.
sonatas; pf. 4tet: Stet; str. itet; 3 suites, vn. and
pf.; Serenade, 2 vns. and pf.; pf. pleces; songs;
cantatas; choral work (To Molde), etc. A number of
his pf. pieces a
ces and songs are publ. by the Norsk Musik-
forlag and Wilh. Hansen, Copenhagen; but most by
Peters in Leipzig.-J. A.
SINIGAGLIA, Leone. Ital. compr. b. Turin,
14 Aug. 1868. Stud. at Turin under Giovanni
Bolzoni; then Vienna under Mandyczewski. In
Vienna, became acquainted with Goldmark and
Dvořák, who had some influence on his artistic
tendencies. Widely known and appreciated for
his orch. works, inspired by songs and dances of
his native Piedmont. His Danze piemontesi,
orch. op. 31; Rapsodia piemontese, vn. and orch.
op. 26; Piemonte, suite for orch.; Vecchie can-
zoni popolari del Piemonte (Old Folk-Songs of
Piedmont), v. and pf., have been perf. in prin-
cipal European concert-halls; also overture,
Le baruffe chiozzotte, op. 32. In addition to above,
much other instr. and vocal chamber-music
(leading Ital. and Ger. publishers).-D. A.
SITT, Hans. Hungarian compr. b. Prague, 21
Sept. 1850; d. Leipzig, 10 March, 1922. Son
of vn.-maker Anton Sitt; stud. at Prague
Cons. (Bennewitz, Mildner, Kittl and Krejčí);
1867, Konzertmeister, Breslau; 1870-3, theatre
condr. Breslau and Prague; 1873-80, town
condr. Chemnitz; cond. Baron P. v. Dervies'
private orch., Nice; inaugurated popular con-
certs Crystal Palace, Leipzig: 1883, teacher
R. Cons. Leipzig (retired 1921); member of
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SITTARD
Brodsky Quartet (vla.); 1885-1903, condr.
Bach Society.
Songs (op. 18, 36); pf. pieces; 3 vn. concortos
(op. 11, D mi.; op. 21, A ml.; op. 111, D mi.);
Concertino, op. 28, A mi.; Polonaise, op. 29, A ma.;
Romance, op. 52 (vn. and orch.);
2 cello concertos (op. 34, A ml.; op. 38 d.):
concerto, op. 68, A
mi.;
vla.
Konzertstücke for vla.
117 and 118; pf. piccos,
op. 46, G ml.: vn. due toverture to
op. 10; orch. works
è ma.);
Juan of Austria, Festival March, op. 51, E flat Don
op. 55 (malo chorus and orch.;
Festival Hymn Orarit, male chorus and
Hohenzollern
60, 85, 86).-A. E.
orch.); male choruses
SITTARD, Alfred. Ger. organ-virtuoso and
condr. b. Stuttgart, 4 Nov. 1878. Pupil of father
(mus. writer Josef Sittard), of Karl Armbrust
and W. Köhler; 1896-7, orgt. of St. Petri
Ch. Hamburg; 1897-1901, pupil at Cologne
Cons. (Wüllner, Franke, Seiss); hon. condr.
Hamburg Opera House; Mendelssohn Prize,
1902; 1903, orgt. of Kreuzkirche, Dresden;
1912, orgt. of St. Michael's Ch. Hamburg;
establ. a large church choir; 1920, condr. of
Hamburg Teachers' Singing Union.
Choral studies for organ; Psalm I for 8-v. chorus
unacc.; religious and secular unaco. choral works.
-A. E.
SIX (Groupe des Six). By this name is denoted
the friendly group formed in 1918 by Darius
Milhaud, Arthur Honegger, Francis Poulenc,
Germaine Taillefère, Georges Auric and Louis
Durey. It is a popular error to attribute to
"the Six" a common ideal and common tastes.
These artists follow very different paths, and
have nothing in common but their friendly
feeling. Poulenc and Auric have a conception.
of music as far removed as possible from that
of Honegger or of Milhaud. In practice the
constitution of this group made possible the
organisation of concerts in France and abroad
which rapidly made known the works of these
young musicians, works of very unequal value.
-H. P.
SJÖBERG, Svante Leonard. Swedish compr.
orgt. b. Karlskrona, 28 Aug. 1873. Stud. under
Joseph Dente (compr.) at R. Cons. Stockholm,
1893-7; then under Max Bruch and Rob. Haus-
mann in Berlin, 1900-2. From 1902, condr. of
Music Soc. and Orch. Soc. at Karlskrona. Orgt.
from 1902 at chief church there.
Sonata, vn. and pf. op. 2 (1898; Musikaliska
fWasa, op. 5 (1901; 1904, Breitkopf); cantatas;
songs.-P. V.
fattningen); concert overtures, op. 3 (1899),
SJÖGREN, J. G. Emil. Swedish compr. orgt.
b. Stockholm, 16 June, 1853; d. there, I March,
1918. Stud. R. Cons. Stockholm, and then
(1879-80) in Berlin (compn. under Fr. Kiel; organ
under Haupt). Orgt. at Fr. Reformed Ch.
Stockholm, 1880-4; from 1891 at Johannes.
1886, also teacher at Richard Andersson's pf.
school. As compr., was a genial follower of the
Romantic school. His songs belong to the best
(in this style) of the period 1880-1900. His vn.
sonatas and pf. pieces are much admired.
Songs with orch. op. 18, 25; nearly 100 songs with
pf.; many pf. pieces (op. 10, Eroticon; 14, Novellettes;
35, 1st sonata; 44, 2nd sonata); 5 sonatas for vn.
and pf.; also 2 Fantasiestücke, op. 27; Poème, op, 40;
Morceau de concert, op. 45; sonata, cello and pf.;
organ pieces, op. 4 and 49; cantatas; trios; duets;
male-v. choruses.-P. V.
SLOVAK FOLK-MUSIC
SKILTON, Charles Sanford. Amer. compr. b.
Northampton, Mass., U.S.A., 16 Aug. 1868. A.B.
Yale Univ. 1889. From 1891-3, stud. in Berlin
under Bargiel and Boise (compn.) and Heintz
(organ). From 1893-6, instructor in music in
Salem (N.C.) Acad. 1897-8, stud. under Shelley
and Dudley Buck in New York. 1898 to 1903,
taught pf. and theory at State Normal School,
Trenton, N.J. Since 1903, prof. of organ, theory
and history of music at Univ. of Kansas. 1903-15,
also Dean of the School of Fine Arts of this Univ.
A
As early as 1889 his incidental music to
Sophocles' Electra was perf. at Smith College,
Northampton, Mass. In 1897 a vn. sonata won
a prize of Music Teachers' National Assoc.
number of orch. works are still unpubl. (over-
ture, Mount Oread; symph. poem, A Carolina
Legend; a suite, East and West). Lately he has
devoted much attention to compn. based on
Indian music. Two Indian Dances were played
in str. 4tet form by Zoellner Quartet, 1915-6.
In orch. form they have been given repeatedly
in America and by Queen's Hall Orch. in London.
Suite Primeval on tribal Indian melodies (1921), of
which Nos. 1 and 2 are orch. arr. of Two Indian
Dances for str. 4tet (1917); The Witch's Daughter,
cantata for soll, s and orch. (1918); 3
Sketches, pf. (1919) (all publ. by C. Fischer, New
York).-O. K.
SKUDUTIS. See LITHUANIAN MUSIC.
SKUHERSKÝ, František. Czechoslovak theor-
ist, compr. b. Opočno, 1830; d. Budějovice,
1902. Stud. in Prague; 1854-65, dir. of Mus.
Soc. in Innsbruck (Tyrol), then dir. of Organ
School, Prague. From 1879 lecturer at Univ.
Prague. His Theory of Musical Composition
(1881), Musical Forms (1879) and Theory of
Harmony (1885) are, for their time, quite revolu-
tionary and advanced. His principles of harmony
lead directly to atonality. He helped the reform
of church music. Publ. an Organ School.
Operas: Vladimir (1863); Lora (1868); Rector and
General (1873); symph. poem, May; pf. trio, etc.
-V. ST.
SLAVONIC FOLK-MUSIC. See KUBA, LUDVÍK.
SLEZAK, Leo. Austrian opera singer; b. Schön-
berg, Moravia, 8 Aug. 1875. Pupil of Adolf Robin-
son at Brünn; appeared there (1896) as Lohen-
grin; brilliant stage-career in Olmütz, Breslau and
Berlin; then Vienna Court Opera, since 1901.
Tours all over Europe and America. Heroic t.
with bright voice and fine stage appearance.
Especially good singer of Wagner (all parts,
Tristan and Parsifal excepted), of Verdi's Otello,
etc. His autobiography Meine sämtlichen Werke
is one of the most amusing books written by
a musician (Berlin, 1921). Consult biography
by Klinenberger (1910).-P. ST.
SLIWIŃSKI, Józef. Polish pianist; b. War-
saw, 15 Dec. 1865. Stud. under Leschetizky
in Vienna and Anton Rubinstein in Petrograd.
For many years, pf. prof. at Riga Cons. Has
lived in Warsaw since 1918. His poetic playing
is especially suited to the execution of Chopin,
Schumann and Liszt.-ZD. J.
SLOVAK FOLK-MUSIC. The Slovaks, num-
bering about 2 millions, are a Slav people closely
related to the Czechs. They live in the eastern
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SMAREGLIA
half of Czecho-Slovakia, which formerly repre-
sented North Hungary. The extant Slovak folk-
lore material, which consists almost entirely of
vocal melody, has appeared in the following
important publications: Slovenské Spevy, 3 vols.
(publ. in Turčiansky-Svätý-Martin, Slovakia,
1880, 1890, 1899), contains nearly 1,800 melo-
dies; Bartók's Slovakian Folk-Tunes (Slovak
soc. Matica in Turčiansky-Svätý-Martin; to
appear 1924-5). This later coll. contains about
2,500 melodies (many recorded by phonograph)
and also a Preface and notes, in Slovak, French,
English, German.
The Slovak melodies fall into three groups:
(a) Apparently the oldest melodies, with two
sub-divisions: (i) so-called valašské (shepherd)
melodies; (ii) Cradle, Harvest, Mowing, Wed-
ding and St. John's Eve songs. The first have
an improvised character and are in no particular
form. They generally consist of melodies which
consist of 4, 5 or 6 6-syllable lines in rubato-
parlando rhythm and in the Mixolydian mode,
with the compass of at least an octave. The
latter consist of 4 6-syllable lines, with rubato-
parlando rhythm; the compass does not exceed
a fifth, very often even a fourth or third. The
mode or scale varies. Often the augmented 4th
follows the major 3rd. Group a forms by far
the most original and oldest portion of Slovak
folk-music.
SMETANA, Bedřich (accent 1st syll.). Czecho.
slovak composer, founder of modern Czechoslovak
music; b. Litomyšl, 2 April, 1824; d. Prague,
12 May, 1884. Son of a brewer. Whilst attend.
ing grammar-schools in several provincial towns,
especially in Plzeň (Pilsen), he became more and
more fond of music and from 1843 devoted
himself entirely to it. Studied piano and theory
at Jos. Proksch's Music School in Prague,
becoming an excellent pianist, giving many
concerts at home and making several tours
abroad. In 1848, founded a private music-school
of his own in Prague, directing it until 1856:
then went to Gothenburg (Sweden) as conductor
of its Philharmonic Society. After five years
abroad he settled definitely in Prague. In
this period he proclaims himself a follower of
Liszt, and certainly he is so in his first three
symphonic poems and the piano study Na břehu
mořském (At the Sea-Coast), but even then his
personality is strongly penetrated by the national
element, although the idea of Bohemian art had
not then awaked with him to its full grandeur.
(See piano polkas, which are idealised Czech
national dances, and the orchestral Valdštynův
tábor-Wallenstein's Camp.) His full aim only
came to him after his return to Prague, where
he found a lively national cultural and political
movement. In 1860 Smetana became chair-
man of Umělecké Beseda, trainer of the choir
Hlahol; music-critic to daily paper Národní
Listy; proprietor of a music-school; conductor
of National Theatre (1866-74). But he chiefly
concentrated on composition, and from that
time followed the way which made him the
greatest national Bohemian composer. Then the
first five operas were composed, his Prodaná
nevěstá (The Bartered Bride) immediately be.
coming the most popular work of Czechoslovak
music. It is a village idyll, merry, simple and
national without using or imitating the folk-
songs. In Dalibor and Libuše another trait
appears a sense of bigness, and a heroism
full of ardour and love. Libuše was dedicated
to the great national festivals. In Dvě vdory
(Two Widows) he is full of cheerfulness and fun
in an aristocratic milieu. In 1874 he became
deaf and had to give up all musical work, removing
from Prague to Jabkenice, a little village in the
valley of the Labe (Elbe). But his creative power
did not lessen either in volume or value. În the
two new comic operas Hubička (The Kiss) and
Tajemství (The Secret) the humour is founded on
a greater artistic maturity, which, together with
their varied dramatic expression, puts them on
an even higher plane than The Bartered Bride.
In symphonic music Smetana created his
standard work Má Vlast (My Country), a cycle
of six symphonic poems, celebrating Czech
461
(b) Melodies of unequal metre and form. They
show extraordinary variety in both form and
scale; specially characteristic of Slovak folk-
music is the use of the Lydian mode. The rhythm
is nearly always tempo giusto, 2-4, and the
notes are nearly always crotchets and quavers;
frequent rhythmic forms are:
J
The phrases often group themselves into three.
This group contains fewer ancient melodies. It
has many common types and melodies similar to
the Moravian and even the Czech folk-songs. It
stands also in close relation to group cof
the Hungarian folk-songs (q.v.).
(c) Modern melodies. They betray the strong
influence of Hungarian new folk-melody. The
influence is shown either in a faithful assimila-
tion of modern Hungarian melodies, or in the
formation of new tunes which have been merely
influenced, generally in the rhythm, by Hun-
garian prototypes.-B. B.
SMETANA
S. united in his technique the characteristics
of Ital. with Ger. (Wagnerian) influences. About
1900, as result of an illness, he completely
lost his sight. In 1921, head of school of ept.
and compn. at Tartini Cons. at Trieste.
SMAREGLIA, Antonio. Italian composer; b.
Pola, 5 May, 1854. Esteemed opera compr.
Stud. at Milan Cons. under Franco Faccio, who
was much attached to him. After writing some
concert-music, he devoted himself to opera:
Preziosa, Milan, 1879; Bianca di Cervia, Milan,
1882; Re Nala, Milan, 1883 (all publ. Casa
Lucca); Il Vassallo di Szigeth, Weimar, 1889
(Vienna, Weinberger); Cornelio Schult, Prague,
1893 (Hofbauer); Nozze istriane, Prague, 1895
(same publ.); La Falena, Venice, 1895 (Vienna,
Herberle); Oceana, Scala, Milan, 1902 (Herzmen-
sky); Abisso, Scala, Milan, 1914 (Heberle).
Consult Adriano Lualdi, Il musicista cieco: A. 8m.
(in review Emporium, Bergamo, Oct. 1919).-D. A.
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SMITH
nature and history, giving an insight into the
soul of the nation, being chiefly a manifestation
of faith in a better future. Thus this work
has always been understood and esteemed by
the nation. An intimate confession is his
string quartet Z mého života (From my Life).
For the piano he wrote six Rêves, ten Czech
Dances, which are really miniature symphonic
poems in dance rhythm. His last opera, Čer-
tova stěna (The Devil's Rock), suffers from the
weakness of its libretto. The works of 1882 to
1884 showed traces of the mental disease which
set sad end to his life in 1884,
Though he was a partisan of Wagner's views,
only Libuše was consequently composed upon
Wagnerian lines. In comic opera he comes nearer
to Mozart's dramatic type. His significance for
Czechoslovakian music is epoch-making. He was
the first musician to elevate native art, after its
national reawakening, by his genius and the
expanding of his thought to the European level.
His music is national not by the use of folk-songs
but by its intuitive penetration into the national
soul, reaching from rustic merriment and idyll
up to the monumental tragedy of myth and
history. The portrayal of his race through
a series of tone-pictures and moods is not his
aim, but merely a way to the great conception
of his thought. The Czechs see in his art the
symbolised national idea cherished alike in
periods of national oppression and in the later
time of freedom. A Smetana Fest. was held in
Prague, May 1924.
Operas: Braniboři v Čechách (The Brandenburgians
in Bohemia; first perf. 1866); Prodaná nevěstá (Bar-
tered Bride; 1866); Dalibor (1868); Libuše (1881;
Smetana waited for the 1974): Hubička (The Kiss
of National Theatre);
Dvě vdovy (Two Widows
1876); Tajemství (The Secret; 1878); Certova stěna
(The Devil's Rock; 1882). Symph. poems: Richard
III; Valdštýnův tábor (Wallenstein's Camp; 1858);
Haakon Jari ( (1861); the cycle My Country (in six
parts: Vyšehrad, Vitava [1874), Sárka, In Bohemian
Meadows and Forests [1875), Tábor, Blanik, [1878-71).
4tets duos for
vn. and pf. Z domoviny (At Home, 1880); polkas for
pf. (from 1855, 1861, 1877); Réves
SMYTH
quently perf. and favourably received, but few
publ. His op. 11, Ouverture Joyeuse, was first
perf. by New Haven Orch. 1904. His 1st str.
4tet, F mi. op. 1 was played by Kneisel Quartet,
Chicago (1912) and elsewhere. The Fallen Star,
for chorus and orch, op. 26, won Paderewski
Prize 1909. His 1st symphony, A mi. op. 28, was
brought out by Chicago Symphony Orch. 13
Dec. 1912. In same month New Haven Orch.
first played his overture Prince Hal. A 2nd str.
4tet, in A, op. 37, was played by Kneisel Quartet,
1915. A 2nd symphony, D ma. op. 42, was
first perf. at Norfolk (Conn.) Fest. 3 June, 1918.
A 3rd str. 4tet, C ma. op. 46, was produced
at Berkshire Chamber-Music Fest., Pittsfield,
Mass., Sept. 1921. A Poem of Youth, op. 47, was
first perf. by Boston Symphony Orch., 11 Nov.
1921. Also:
Overture, Prince Hal, op. 31 (Schirmer, 1915);
Rhapsody of St. Bernard, chorus and orch. op. 3
(1st perf. Chicago North Shore Fest. 1918) (Schirmer,
1918); 3rd 4tet in C, op. 46 (Soc. for Publ. of Amer.
Musie; Schirmer, 1922); Fete Galante, orch. with
il. obbligato, op. 48; Symphony in Miniature, for
solo-orch. op. 49; anthems, part-songs (Novello;
Schirmer; Ditson).-O. K.
SMITH, Leo. Brit. cellist; writer on music; b.
Birmingham, 26 Nov. 1881; stud. there under
A.
Priestley, and later at R. Manchester Coll.
of Music and at Owen's Coll., under Carl Fuchs
(cello), Adolph Brodsky (ensemble) and Henry
Hiles (harmony).
After taking degree of Mus.
Bac. at Manchester Univ. became a member of
Hallé Orch. 1905-9, member of Covent Garden
Orch. In 1909, came to Toronto, and, in 1911,
joined staff of Toronto Cons. of Music as prof.
of cello and harmony, becoming lecturer in mus.
history. A member of Toronto Str. Quartet and
also for some time of Canadian Acad. Quartet.
Contributing editor of Toronto Cons. Quarterly
Review since its inception in 1918. His compns.
include numerous songs, part-songs and cello
pieces (Schirmer); is author of text-book on
Musical Rudiments (Boston Music Co.). In
1922-3 compiled the Canadian articles for this
Dictionary.-A. S. V.
mian dances (1879); 8 vols, of Da874-5); Bohe-
pleces;
chorus and orch., Česká píseň (Bohemian Song; 1868);
male chorus, Rolnická (The Peasant's Song; 1868);
Piseň na moři (A Song of the Sea; 1877).
Consult: Ger.: Bronislaw Wellek, Friedrich Sme-
tana (Prague, 1895); Ernst Rychnovsky, Smetana
(Deutsche Verlags-Anstalt, 1924); Fr.: William Ritter,
Smetana Krejčí (1900); K. Hoffmeister (Prague, 1915;
Library Zlatoroh); Zd. Nejedly, Smetaniana (1922),
a preparation to a great blogmelecké Besedy; Fr. A.
Urbánek, Prague; Univ. Ed. Vienna).-V. ST.
Matice U
SMITH, David Stanley. Amer. compr. b. Toledo,
Ohio, U.S.A., 6 July, 1877. Stud. compn. under
Horatio Parker at Yale Univ. Graduated A.B.
in 1900, at which time his Commencement Ode
for barit., male chorus and orch. was perf. From
1901-3, stud. in Europe, under Thuille in Munich,
d'Indy in Paris. Returning to Yale to receive
degree of Mus. Bac. in 1903, was appointed in-
structor in theory in music department; 1909,
assistant-prof.; 1916, prof. In 1919, relieved
Parker as condr. of New Haven Symph. Orch.;
after Parker's death made Dean of School of
Music, 1920. Has composed many orch. and
chamber-music works of recognised worth, fre-
462
SMULDERS, Carl.
Belgian pianist and
compr. b. Maestricht, 8 May, 1863. Naturalised
in Belgium. Entered Liège Cons. as early as
1873; stud. pf., organ, compn. Teacher of har-
mony there, 1887. Once entered, in 1889, the
Rome competition, and obtained 2nd prize.
As virtuoso, occupied himself especially in mak-
ing known the Hans keyboard (see HANS).
Engaged also in mus. criticism and literature
(3 novels in Belgique artistique et littéraire.)
Cantata, Andromede (for Priz de Rome); symph.
poems: Adieu, Absence et Retour; Chant d'amour;
orch.; Rosh-
Aurore, Jour, Crépusculely perf, work) and You
Hashana (his most frequently
Kippur, 2 pieces, cello and orch.; pf. concerto, A mi.;
Cantilena, vn. and orch.; Solemn March, orch.;
male choruses unacc.: La Mer; La Route; Pater
Noster; vn. and pf. sonata; songs; pf. pieces.-E. C.
SMYTH, Dame Ethel. Compr. b. London,
23 April, 1858. Stud. Leipzig Cons., later
under Heinrich von Herzogenberg. Her first
perf. works were chamber music at the
Abonnement
her
concerts, Leipzig, 1884;
orch. works, Serenade in D and overture
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SOBINOF
Antony and Cleopatra, at G. Henschel's
Symphony concerts and at the Crystal Palace.
Her first opera, Fantasio, was produced at
Weimar in 1898 and later at Carlsruhe under
Mottl. Der Wald was produced at Dresden in
1901 and Berlin in 1902. The opera Strandrecht
was produced at Leipzig and Prague 1906,
Vienna 1908, as The Wreckers (under Beecham)
in 1909 and 1910. Her 2-act opera The Boat-
swain's Mate was produced at the Shaftesbury
Theatre, London on 28 Jan. 1916, conducting
it herself.
She was a militant suffragist, and comp.
amongst other suffrage music The March of the
Women, the battle-song of the W.S.P.U. Re-
ceived Mus.Doc. Dunelm. 1910. In 1921 she re-
orchestrated The Boatswain's Mate for small
orch. Her 1-act opera Fête Galante-a Dance-
Dream (Vienna, Univ. Ed.) was produced at the
Repertory Theatre, Birmingham, on 4 June, 1923,
and a week later by the British National Opera
Co. at Covent Garden.
SOCIETIES
SOBRINO, Carlos. Span. píanist; b. Ponte-
vedra, 25 Feb. 1861. In his youth, combined
study of architecture and music; finally devoted
himself to pf. on which he had always shown,
since a child, exceptional ability. Received his
first music-lessons from his sister and a local
age
Ed.); songs (Breitkopf: Novello);
vn. and pf. (1887), etc.
teacher, at of 8. When 11, he app,
a concert in co-operation with Isaac.
Her mus. personality is dual; there are scores
of austere works which follow Brahms so closely
(the str. 4tets and 5tets, the polyphonic overture
to Act II of The Boatswain's Mate, for instance)
that only here and there, if at all, does her own
personality come through. The 4 de Régnier
songs (Novello) appear to stand by themselves
between the two styles. On the other hand we
have the vigorous writing of The Wreckers
(especially in the closing scene), The Boatswain's
Mate, and such things as the dashing Hey
Nonny No, that show the same abundant
virility, combined with warm geniality, that
we find in her spirited memoirs, Impressions
that Remained (Longmans, 1919) and Streaks of
Life (id. 1921). Historically, as a compr. she is
important. She suffered inuch neglect by reason
of the many political drawbacks of the period in
which her main work was done.
Operas: Fantasio (1898); Der Wald (1901, Breit-
kopf): The Wreckers (1906, id.): The Boatswain's
Mate (W. W. Jacobs; London, 1918). Orch.: Sere-
nade in 4 movements (London, 1890); oven.
Chorus and pass in D (London, 1893; next
(id.); March of the
Antony and
pert, at Birmingham under Adrian Boult, Feb. 1924);
sonatas;
80 Consult art. E. S. by Rutland Boughton in Music
Bulletin, Feb. 1923; by R. Capell on the operas,
Monthly Mus. Record, July, 1923.-E.-H.
that time also a child. After some time at R.
Cons. de Música, Madrid, he went abroad and
became a friend and pupil of Anton Rubinstein.
Has toured throughout world as concert-player,
alone and in association with Ysaye (America)
and Sarasate (England, France, Germany,
Austria and Poland) with whom he appeared on
his last European tours. Lives and works in
London, his residence since the outbreak (1898)
of the war between Spain and America, where
he had been successfully establ. as teacher and
soloist. Prof. of pf. at Guildhall School of Music,
London, since 1905. Married in 1889 the well-
known Wagnerian singer Luisa Sobrino, née
Schmitz (Düsseldorf).-P. G. M.
SOBOLEWSKI, Cyrus Marjan. Polish compr.
b. Cracow, 1884. Pupil of Zeleński. Is LL.D.
SOBINOF, Leonid Vitalievitch (accent 1st
syll.). Russ. t. singer; b. Jaroslavl, 26 May (o.s.),
1872. Finished law course at Moscow Univ. 1894;
stud. singing under Dodonof and Mme. Santa-
gano-Gortschakova at music school of Moscow
Philh. Soc. (1892-7); from then till now, singer
at Moscow Opera House. Celebrated his 25th
anniversary as artist in 1922. Has degree of
People's Artist of Republic. Is best in lyric
parts. V. B.
4tet for str.; 5tet with fl.; sonata for cello and pf.;
sonata for via. etc.; songs; symph. poem (pro-
good manual of orc Polish Silesia, 1923). Publ. also a
orchestration (Polish, 1923).-ZD. J.
SOCIETÀ POLIFONICA ROMANA. Choral
group organised and directed in Rome by Raf-
faele Casimiri (q.v.). It is composed of male
voices, and choir-boys for s. and contr. parts.
There are nearly 60 singers, belonging mostly to
Cath. choirs and those of principal Roman
churches. The Soc. has devoted itself to revival
of masterpieces of sacred polyphonic vocal music
of XVI century.
It has given very successful
concerts, not only in Rome and other Ital cities,
but also in the various countries of Europe and
North America.-D. A.
SOCIETÀ TIPOGRAFICA EDITRICE NAZIO-
NALE (S.T.E.N.). Italian publishing house,
established in Turin. It has an important
section devoted to music, of which the director
is Marcello Capra (q.v.). Publishes sacred music
and educational works.-D. A.
SOCIÉTÉ MODERNE D'INSTRUMENTS A
VENT, Paris. Founded 1895 by Georges Barrère,
flautist at the Cons. The Soc. then included
Louis Aubert (pf.) Foucault (ob.), Vionne (clar.),
Bultian (bsn.), Servat (horn). In 1901, there was
a strengthening of ensemble by second parts
for wind instrs. After Barrère went to America
(1905), conductorship was entrusted to Louis
Fleury (q.v.). Subsided by State, and having
opened wide its doors to young comprs., it was
able to place on its programmes over 120 works,
of which it gave 1st perf. It has toured in France,
and abroad. Present members: Louis Fleury,
Bauduin (fls.); Gaudard, Lamorlette (obs.);
Cahuzac, Delacroix (clars.); Entraigue, Levasseur
(horns); Hermans, Dhérin (bsns.); Garès (pf.).
-M. L. P.
SOCIETIES, CONCERT INSTITUTIONS, etc.
ARGENTINA. Wagnerian Association of
Buenos Ayres, founded 1913; 2000 members;
general mus. culture; 4 concerts a month; presi-
dent, Carlos López Buchardo.
AUSTRIA. (i) Gesellschaft der Musikfreunde,
founded 1812. (See special art.). (ii) Wiener
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SOCIETIES
Tonkünstler verein, founded by Johannes Brahms;
regular concerts of modern works; now dir. by
R. Robert and Julius Bittner. (iii) Akademischer
Verband für Literatur und Musik; students'
association at Vienna Univ.; did good work,
especially 1911-14 by first perfs. of modern music
(Schönberg, Webern, Berg, etc.). It took up the
work of the Vienna Ansorge-Verein, which also
cultivated Schönberg, Zemlinsky and Max Reger.
Both are now dissolved. (iv) Verein für Musi-
kalische Privat-Aufführungen (often called Schön-
berg-Verein after its founder [1918]). Contem-
porary music is rehearsed several times. In 1922,
Erwin Stein dir. it on to broader lines. (v) Schola
austriaca, founded 1913 at Klosterneuburg mon-
astery, near Vienna; for specialists
church-
music, on lines on Pontifical Motu Proprio of 22
Nov. 1903. It publ. periodical Musica Divina and
the Masterworks of Sacred Music in Austria
(Univ. Ed.).
CZECHO-SLOVAKIA.-(i) Hudební Matice
Umělecké Besedy (the Mus. Section of the Art
Soc.), founded in Prague in 1908 to assist the
publ. of Czechoslovak comprs. Publ. all Dvořák;
operas of Smetana, Kovařovic, etc. (ii) Hudební
Klub (recitals). (iii) Klub der czechischen Kom-
ponisten. (iv) Ochranné.
SOCIETIES
and to collect fees for their performance in public
in Great Britain and throughout the British
Empire.
DENMARK.-(i) Chamber-Music Soc. Copen-
hagen. See NERUDA, FRANZ XAVER. (ii) Dansk
Komponistsamfund (Danish Composers' Club).
See HELSTED and TOFFT.
(ii) Finnish
FINLAND.-(i) Finnish Music Soc. (Suomen
musiikkitieteellinen seura- - Musikvetenskaplig
sällskapet i Finnland), founded 1916 in Helsing.
fors, in place of former section of Internationale
Musikgesellschaft (meetings, lectures, addresses
and performances of ancient music). President
and founder, Dr. Ilmari Krohn.
Musicians' Union (Finnisches Musikerverband
Suomen Muusikeriliitle-Finnlands Musikerför.
Local
bund), founded in Helsingfors, 1917.
branches were founded in 1923 in Turku (Åbo),
Tampere (Tammerfors) and Viipuri (Viborg).
The society joined the Northern Musicians'
Union in 1920, which now embraces the Musi.
cians' Unions of Denmark, Sweden, Norway and
Finland. President, Lepo Laurila. (iii) Finnish
Musicians' Association (Suomen Säveltaiteilijain
Liitte-Tonkonstnärsbundet i Finnland-Finni.
sches Tonkünstlerverein), organised in Helsingfors
in 1917, for stimulating mus. life in Finland; it
includes almost all the creative and executive
musicians. President, Prof. R. Kajanus.
ENGLAND.-(i) Philharmonic Soc. (London)
(see ORCH.). (ii) Royal Choral Soc. (see CHORAL).
(iii) Incorporated Soc. of Musicians, founded
1882 (at first, in Manchester) to protect profes-
sional interests, (chiefly teachers at present).
(iv) Soc. of British Composers, founded in June
1905 by a small group of comprs. of the younger
generation. Publ. new compositions in their own
Avison Edition. Disbanded in 1913. (v) British
Music Soc. founded by Dr. Eaglefield Hull 1918,
for furtherance of music in Britain. (See special
art.). (vi) Music Publishers' Association. (vii)
Music-Teachers' Association, founded 1908. (viii)
Musical Association, founded 1874 for lectures on
musical science and art. Publ. its proceedings
annually (Novello). (ix) The Musicians' Com-
pany, an old guild instituted by Edward IV in
9th year of his reign. (x) The Musicians' Union
(including the National Orch. Union and Amalga-
mated Musicians' Union) for protecting interests
of orch. players. (xi) Tonic Solfa Association,
founded 1853. (xii) Union of Graduates in Music,
for protection of Univ. graduates. (xiii) Royal
Soc. of Musicians, a benevolent league founded
1738. (xiv) Organists' Benevolent League, founded
by Sir Frederick Bridge in 1910. (xv) Soc. of
Women Musicians, founded 1911 to encourage
serious mus. compn. amongst women, and to co-
operate in matters of women's mus. interests.
First president, Liza Lehmann; second, Cécile
Chaminade. (xvi) Performing Right Soc. Ltd.
An association of authors, composers, publishers
and other owners of musical, literary or dramatic
copyrights, establ. to protect and enforce their
rights, to restrain unauthorised use of their works
FRANCE.-(i) Société Nationale de Musique,
founded in Paris, 25 Feb. 1871, by Romain Bas-
sine (1830-99), singing prof. at Cons., and Saint-
Saëns (1835-1921). Performs works of living Fr.
comprs. This soc. is the laboratory where genera-
tions of Fr. musicians were fashioned. First
concert, 25 Nov. 1871; first work, trio of César
Franck. Since then, 9 or 10 concerts annually
for 50 years. (See Société Mus. Indépendante.)
(ii) Société Musicale Indépendante (S.M.I.), Paris.
Founded 1910 by a committee, G. Fauré (presi-
dent), Ravel, Caplet, Schmitt, Roger-Ducasse
and others. Same aims as S.N. de M. which it
judged too conservative. Gives monthly con-
certs from Dec. to May, devoted to first perfor-
mances of contemporary works, not exclusively
of Fr. comprs. (iii) Société des Concerts du Con-
servatoire. Sprang from same organisation as the
Cons. (q.v.). Has existed from 1792. Produced
Beethoven's works in 1810; given a definite
constitution in 1828. Conservative in its choice.
of works. Condrs.: Habeneck, 1820; Girard,
1849; Tilmant, 1860; Haine, 1864; Deldevez,
1872; Garain, 1885; Taffanel, 1892; Marty, 1903;
Messager from 1909. (iv) Société Philharmonique
de Paris, founded 1902; dir. from 1905 by E.
Rey. 12 chamber-music concerts a year. (v)
La Trompette. A soc. founded in 1865 by Émile
Lemoine; for perfect interpretation of original
works before a select audience. Saint-Saëns
wrote his septuor with tpts. for it. (vi) Société
Moderne d'Instruments à Vent, Paris, founded
1895 by the flautist Georges Barrère. (See art. on
this soc. under S.) (vii) Cercle Musical Universi-
taire. Univ. of Paris, club for students interested.
in music; founded 1919. (viii) L'Euvre Inédite.
Concerts of unpubl. chamber-music; founded in
Paris, 1920, by the Office Musical Français (G.
Bender and J. Baudry). It aims also at assisting
publication. (ix) Société des Instruments Anciens,
founded 1900 by Henri Casadesus, for the perf.
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SOCIETIES
Rösch. (ii) Allgemeiner deutscher Musikerverband,
founded 1872 by H. Thadewaldt (dir. now by G.
Fauth, P. Blanschewiski, A. Prietzel and O. Mai)
to protect the interests of professional musicians.
Journal of soc. is Deutsche Musiker-Zeitung. (iii)
Deutsche Sängerbund, founded 1862. Its journal
is Deutsche Sängerbund-Zeitung. (iv) Genossen-
schaft deutscher Bühnenangehörigen, founded
1871. (v) Cäcilienverein für alle Länder deutscher
Zunge, founded 1867 by Franz X. Witt. Its
journal is Cäcilienvereinsorgan. (vi) Allgemeiner
Richard Wagner Verein, founded 1883 from the
Bayreuther Patronatsverein. (vii) Gewandhaus-
konzerte, a Leipzig concert inst. founded 1781,
in the Leipzig Cloth-Hall, by Burgomaster
K. W. Müller. New Gew. building opened 11
Dec. 1884. Condrs.: J. A. Hiller (1781), Schicht,
Schulz, Pohlenz, Mendelssohn, F. Hiller, Gade,
Rietz, Reinecke, Nikisch; and from 1922,
Furtwängler. Consult A. Dörifel's Festschrift
(1881); E. Kneschke's Die 150 jährige Geschichte
der Leipziger Gewandhauskonzerte 1743-1893
(1893). (viii) Deutsche Musik-Gesellschaft (Ger.
Mus. Soc.), founded 20 Jan. 1918 in Berlin
by Dr. Hermann Kretzschmar, as a partial
substitute for the International Soc. of Music
(dispersed its German centre in 1914). It has
a monthly journal publ. by Breitkopf and ed.
by Dr. Alfred Einstein from Oct. 1918. (ix) Genos-
senschaft deutscher Tonsetzer, founded by Richard.
Strauss, Max Schillings, Fr. Rösch and Hans
Sommer, for securing the performing rights of
the music of its members.
SOCIETIES
of ancient music: viols, lutes, clavecin, etc. (x)
La Chorale Française, Paris, founded by the
singer Charlotte Danner in 1921, for encourage.
ment of choral singing, ancient and modern. Pre-
sent condr. Félix Raugel. (xi) Société J. S. Bach,
founded in Paris 1904 by G. Bret (q.v.). Regular
choral and instr. perfs. of Bach's works (Pade-
rewski, Cortot, Selva, Landowska and others).
Suspended 1914. (xii) Société Haendel, founded.
1909 by E. Borrel and F. Raugel; ceased in 1914;
a choral and orch. soc. giving 4 concerts a year
of Handel's works. (xiii) Manécanterie des Petits
Chanteurs à la Croix de Bois, founded at Paris in
1907; school of liturgical chant and centre of
Christian education; dir. l'Abbé Rebufat. (xiv)
La Cantoria. Similar to above. Cond. by choir-
master of Ste.-Clotilde. Gives concerts and
takes part in fests. (xv) Chanteurs de Saint-
Gervais (Association des), formed in Paris, 1892,
by Charles Bordes for perf. choral masterpieces
from xv century to our own day. In develop-
ing, it brought the Schola Cantorum into being.
(See ACADEMIES.) (xvi) Chorale des Franciscains.
A soc. founded in 1906 by Canon Clément Besse
at Saint-Germain-en-Laye, near Paris, for the
improvement of Gregorian Chant, according to
the principles laid down by Georges Houdard.
The orgt. is Albert Alain. This and the Maîtrise
of Canon Moissenet at Dijon are the two finest
groups of Gregorian singers in France. (xvii) Fêtes
du Peuple. Association founded in Paris, 1918,
by Albert Doyen. Aims at establishing a closer
contact between the people and the arts. Gives
regular concerts. (xviii) Société Française de
Musicologie, founded Paris, 1904, by Lionel
Dauriac (q.v.). Publ. periodical Bulletin de la
S.F. de M.; since 1922, Revue de Musicologie
(Fischbacher). The soc. brings together musi-
cologists, publishers, and enlightened amateurs.
(xix) Union Syndicale des Compositeurs de
Musique, formed in Paris, 1920, for defending
the interests of Fr. comprs. President, Vincent
d'Indy; secretary, Carol Bérard. (For Concerts
Colonne, etc., see articles.)
HOLLAND.-(i) Maatschappij tot bevordering
der Toonkunst (generally called the Toonkunst),
founded by A. C. G. Vermeulen, 1829. (See
special art. TOONKUNST.) (ii) Wagner-vereeniging,
founded by Henri Viotta in 1883. From then till
1920 perf. Wagner, Berlioz, Liszt, Strauss,
Humperdinck, etc. In 1922, amalgamated with
Concertgebouw (see ORCHESTRAS, HOLLAND).
IRELAND.-(i) Royal Dublin Society,
founded 1886. (See special art.). (ii) Dublin
Orch. Soc. founded 1898 by M. Esposito to form
a permanent orch. in Dublin. Started with a
fund of £2500 and gave regular concerts up to
1914, when it disbanded.
GERMANY.-(i) Allgemeiner deutscher Musik-
verein, founded 1859 by F. Brenzel, L. Köhler
and others under patronage of Liszt, for annual
mus. fests. for producing new works, at different
places every year (Tonkünstlerversammlungen). It
has championed Wagner, Liszt, R. Strauss, M.
Schillings, Mahler, 1st perf. of operas and orch.
works. From 1880, Baden-Baden; 1881 Magde-
burg; 1882 Zurich; 1883 Leipzig; 1884 Weimar;
1885 Karlsruhe; 1886 Sondershausen; 1887
Cologne; 1888 Dessau; 1889 Wiesbaden; 1890
Eisenach; 1891 Berlin; none in 1892; 1893
Munich; 1894 Weimar; 1895 Brunswick; 1896
Leipzig; 1897 Mannheim; 1898 Mayence; 1899
Dortmund; 1900 Bremen; 1901 Heidelberg;
1902 Crefeld; 1903 Basle; 1904 Frankfort-o-M.;
1905 Graz; 1906 Essen; 1907 Dresden; 1908.
Munich; 1909 Stuttgart; 1910 Zurich; 1911
Heidelberg; 1912 Dantzig; 1913 Jena; 1914
Essen; 1919 Berlin; 1920 Weimar; 1921 Nurem-
berg; 1922 Düsseldorf; 1923 Cassel. Journal of
Soc. is Neue Zeitschrift für Musik. Present dir. F.
2 H
465
ITALY.-(i) Santa Cecilia (Regia Accademia
di), Rome. The most important mus. soc. in Italy.
(See special art.). (ii) Filarmonica (Reale Acca-
demia), Rome. Important mus. acad., founded
1821. Had a glorious past during the struggles
for Ital. independence, and was once dissolved
for political reasons. In recent years it has again
flourished, giving annually interesting series of
concerts in its own hall, named after Giovanni
Sgambati. (iii) Amici della Musica. A soc. in
Rome for giving concerts and promoting music.
It possesses its own str. quartet: Sandri, Zerti,
Raffaelli, Albini. (iv) Unione Nazionale Concerti.
A body constituted in Rome by Regia Accademia
di Santa Cecilia (q.v.) in 1922, for confederating
all the concert-insts. of Italy, and co-ordinating
their activity. During its first year of life, it
organised some important concert tours. (v)
Gruppo Universitario Musicale (G.U.M.). An
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SOCIETIES
inst. which sprang up in 1909 in Rome, and then
spread through all the Ital. Univs. for promoting
cult of music amongst the students, and organis-
ing concerts. The headquarters are in Rome.
Domenico Alaleona (artistic adviser), Dr. Gino
Rosi (sec.). There are branches in Milan, Turin,
Genoa, Florence, Naples, Bologna and Padua.
(vi) Società del Quartetto (Milan), founded 1864 by
Count Lurani, for concerts of chamber-music.
It is still very flourishing, over 1000 members.
(vii) Casa di Riposo per Musicisti, Home of Rest
for Musicians in Milan (Piazzale Buonarroti),
founded by bequest of Giuseppe Verdi, and
maintained exclusively by funds which he ap-
pointed for that purpose, and of which he speaks
a great deal in his will. Verdi is buried next to
his wife in this "Casa di Riposo." (viii) Associa-
zione Italiana degli Amici della Musica (Milan),
founded 1902 by Orefice (q.v.). It promotes per-
formance and publication. (ix) Società del
Quartetto di Bologna, founded in 1877 by the
Marchese Camillo Pizzardi.
At first a private
soc. for chamber-music; in 1879 it became a
public one. Artistic directors in the past have
been Luigi Mancinelli, Giuseppe Martucci,
Marco Enrico Bossi; now dir. by a committee.
(x) Risveglio Musicale (Bologna); for promoting
musical art, and organising concerts. (xi)
Società dei Concerti (Turin), founded 1896, taking
up traditions of the noteworthy Società torinese
per i Concerti popolari. Its promoters were
Giuseppe Martucci and Arturo Toscanini, who
cond. the first 4 concerts. The Soc. possesses a
rich library of symph. music. (xii) Società degli
Amici della Musica (Turin), founded 1913 by
Ferraria, who directs it. Shows great concert
activity. (xiii) Società pro Cultura Femminile,
Sezione Musicale Autonoma (Turin), founded
1918 by Dr. Lisetta Motta Ciaccio; numerous
concerts, especially chamber-music. 1100 mem-
bers. (xiv) Società Corale Stefano Tempia-
Palestrina (Turin), founded 1923 by fusion of
two choral societies, Stefano Tempia and
Palestrina. The dir. is the Rev. Giuseppe
Ippolito Rostagno. About 150 performers (men
and women). (xv) Società Bufaletti per Concerti
di Musica da Camera (Turin), founded by the
musician whose name it bears (see BUFALETTI).
(xvi) Società Filarmonica Fiorentina, founded in
Florence, 1830. (xvii) Società di Concerti "Amici
della Musica" (Naples), founded 1915 by Oreste
De Rubertis; at present dir. by Florestano Ros-
somandi. Chamber and orch. music, divided
into annual series. (xviii) Società del Quartetto
(Naples), founded 1915 Alessandro Longo.
Gives concerts of chamber-music and soloists.
(xix) Associazione Alessandro Scarlatti (Naples),
founded 1919 by Signorine Maria De Sanna and
Emilia Gubitosi, for the revival and spreading of
old mus. masterpieces, and the presentation of
the work of younger Ital. school. Concerts,
mostly choral, and lectures and competitions.
Present dir. Franco Michele Napolitano.
NORWAY-(i) Norwegian Musicians' Assoc.
founded 1912. Present chairman, Alf. Hurum.
(ii) Norwegian Composers' Union, founded 1916.
SOKOLOF
(iii) Nor-
Present chairman, Eyvind Alnes.
wegian Music Teachers' Assoc. See M. MOESTUE.
See J. W.
(iv) Christiania Organists' Assoc.
HUUS-HANSEN.
posers.
POLAND.-(i) Soc. of Young Polish Com-
See FITELBERG. (ii) Syndicate of
Musicians and Music Teachers, Cracow. There
are Musical Societies at Warsaw and Lwów
(Lemberg).
SPAIN.-(i) Academia de Bellas Artes de San
Fernando (Real), founded by Philip V (1701-46),
though its scheme dated from Philip IV (1621-
65). Originally included all fine arts except music,
a new section for this not being sanctioned until
1873. Formerly it consisted of 12 academicians
elected by the Government (now elected by
(ii) Sociedad
the Academicians themselves).
Nacional de Música, founded in Madrid, 1915
(disbanded about 1922), in place of the Sociedad
Wagneriana, to foster the national revival and
modern musical art in general. (iii) Sociedad
de Compositores, etc. See CHAPÍ.
SWEDEN.-Soc. of Swedish Composers,
founded 1918. See BERG, NATANAEL.
SWITZERLAND.-(i) Swiss Music Soc. (ii)
Association of Swiss Musicians. See COMBE.
U.S.A.-(i)
usic Teachers' National Associa-
tion, founded 1876 at Delaware, by Theodore
Poesser. (ii) National Federation of Music
(iii)
Clubs. President, Mrs. John F. Lyons.
Beethoven Association, New York. Šee BAUER,
HAROLD. (iv) Amer. Guild of Orgts. founded
1896. (v) New York Chamber-Music Soc. (vi)
Manuscript Soc.; gives concerts of new works.
(vii) Composers Music Corporation (Boston
Music Co. New York). (viii) The Musical Alliance
of America, founded 1917 by John C. Freund
of New York, for the recognition of music in
national, civic and domestic life. (ix) Amer.
Federation of Musicians. (x) National Asso-
ciation of Organists.
[See also CHORAL SOCIETIES.]-E. H.
SOHLBERG, Thorleif. Norwegian operatic
singer (t.-barit.); b. Christiania, 11 July, 1878.
Trained in Christiania and Stockholm. Attached
to National Theatre, Christiania, since 1906.
Best rôles: Goro Makodo (Butterfly); Amonasro
(Aida); Sebastiano (Tiefland); Figaro (Barber of
Seville). Has sung at many concerts in Norway
Sweden and Denmark.-U. M.
SOHY, Ch. (Mme. Marcel Labey). Fr. compr.
b. Paris, 1887. Stud. harmony under Georges
Marty; cpt. and compn. under V. d'Indy; organ
under Guilmant. The Société Nationale has
already produced 3 of her works-a pf. sonata
(1910), Poème, solo, chorus and orch. (1912),
Thémé Varié, pf. and vn. (1922). She has also
publ. songs and pf. compns. (Senart; Rouart,
Lerolle) and still has in ms. a symphony in C
sharp (1916); Astrid, a 3-act lyrical drama on
Scandinavian legend of Selma Lagerlöf, etc.
-M. L. P.
SOKOLOF, Nicolas Alexandrovitch (accent 3rd
syll.). Russ. compr. b. Petrograd, 14/26 March,
1859; d. there, 1922. Stud. at Petrograd
Cons. under Rimsky-Korsakof and Johansen.
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SOLESMES
In 1896, was appointed teacher of theory. His
works (Belaief) comprise 3 str. 4tets; ballet.
The Wild Swans; incidental music to The
Winter's Tale; songs.-M. D. C.
SOLESMES. Benedictine abbey in Le Mans
diocese (France), founded 1010; restored by
Dom Guéranger in 1837; famous for its school
of Gregorian chant. As a result of restoration of
Roman liturgy in France by Dom Guéranger,
and under influence of the abbot, several monks
dedicated themselves to restoration of the Gre-
gorian chant, then in full decline. Dom Joseph
Pothier (b. 7 Dec. 1835; d. Jan. 1924) publ. in
1880 Les Mélodies grégoriennes, and, in 1883, the
Liber Gradualis. Later on he was appointed
President of Pontifical Commission establ. by
Pius X, for the official Vatican ed. of the chant-
books. Soon after this, one Dom Pothier's
pupils, Dom André Mocquereau, improved the
work of his teacher. He founded in 1890, and
supervises since that time, the Paléographie
Musicale, for publ. of the most important mss. of
Gregorian chant, and for providing archeological
musicians, palaeographers and liturgists with in-
valuable documents and authentic works. All
lovers
Gregorian chant may now follow for
themselves the processes used for reading neums,
melodically and rhythmically. Dom Mocquereau
has discovered the ancient and authentic inter-
pretation of the Gregorian melodies; and he is
now able to affirm that, in the Middle Ages, all
peoples were singing in the same way in the whole
Occidental Church: Una fides unus cantus. And
he is able, with some special signs, to give the
most important rules of interpretation in what is
called The Rhythmic Editions by the Benedictines
of Solesmes (publ. Desclée, Tournai, Belgium).
He has expounded his principles in several vols.
of the Paléographie Musicale (Books VII, X, XI),
and also in his other work Le Nombre Musical
grégorien. Dom Mocquereau must be regarded as
the real founder of the Solesmes School, which is
not a school, but the school of Gregorian Chant.
At Solesmes Abbey, the monks' choir, trained
by him, sings according to his principles the
art-treasure which is Gregorian chant, the sung
prayer of the Roman Church. The school was
moved to Quarr Abbey, Isle of Wight, for some
years, after the passing of the Fr. associations law.
Consult: La Paléographie Musicale, ed. by the
Le Nombre Musical grégorien
Dom
Gatard,
La Musique gregorienne (Paris Dom
1913. Laurens);
N. Rousseau, L'Ecole grégorienne de Solesmes 1833-
1910 (Desclée); C. Bellaigue, A
(Revue des Deux Mondes, 15 N08): Revue
de Solesmes
under the
Benedictines (Desclée).J. Bervision of the Solesmes
SOLOMON. Eng. pianist; b. 1903 in East-
End of London. Début 30 June, 1911, as boy
of 8, playing Tchaikovsky's concerto, etc., with
Q.H. Orch. under Müller-Reuter; stud. under
Mathilde Verne. Has toured widely and appeared
with the chief orchestras.-E.-II.
SOMERVELL
tpt. of R. Philh. Soc., R. Choral Soc.; Fellow
R.A.M. A founder and dir. of London Symphony
Orch. S. has a brilliant record as a player.-E.-H.
SOLOMON, John. Famous Eng. trumpeter;
b. London, 2 Aug. 1856. Prof. R.A.M. London.
Principal tpt. Leeds, Birmingham, Sheffield,
Bristol, Three Choirs, Fests. etc. Late principal
SOLOMON, Mirrie. Australian pianist and
teacher; b. Sydney, 1893. Stud. under Ben-
nicke Hart; is now prof. at State Cona. of Music,
Sydney.
Suite (5 impressions of The Little Dream, Gals
worthy), orch.; Rhapsody, pf. and orch.; itet in
trio in vn.
provisation, vn. and pf.; many pl. pieces (Nichol
son & Co., Sydney); many songs (id.).-E.-11.
SOŁTYS, Adam. Polish writer, compr. condr.
b. Lemberg, 4 July, 1890. Stud. theory under his
father, then under Kahn, K. L. Wolf and G.
Schumann Berlin. Ph.D. Berlin (1921), as a
pupil in musicology of Kretzschmar, Stumpf and
J. Wolf. His thesis for Doctorate, Georg Oester-
reich und seine Werke, was publ. in A.f.M., 1922.
Prof. of theory and history of music at Lemberg
Cons.; condr. of symphony concerts.
2 symphonies (D ma. and D mi.); 2 overtures;
pf. sonata; vn. sonata; many songs and pf. pieces
in modern style.-ZD. J.
SOŁTYS, Mieczysław. Polish compr. condr..
theorist; Lemberg, 1863. Graduated Lemberg
Univ. (philology); stud. theory and pf. under
fikuli there. Then under Krenn in Vienna and
Saint-Saëns and Gigout in Paris. Since 1800,
dir. of Lemberg Cons. Prof. of theory and condr.
of symphony concerts of Musical Society.
Oratorios: The Vows of John Casimir (words by
Duchinska); The Queen Poland (text by Lucyan
Rydel); both perf. many times in Lemberg, Warsaw
and Berlin. Operas: Republika Babinska; Opowicac
(on
chanku; Jezioro Dusza; L'Inferna) Panie Ko
2 symphonies;
numerous pf., organ and choral works.-ZD. J
SOMERVELL, Arthur. Eng. compr. b. Win-
dermere, 5 June, 1863. Educated at Uppingham
and King's Coll. Cambridge; stud. compn. under
Sir Charles Stanford; and at High School for
Music, Berlin (1883-5); R.C.M. London, 1885-7
(under Sir H. Parry); prof. R.C.M. 1894; cond.
his own works at Leeds and Birmingham fests.
(1895-1897); appointed inspector of music to
Board of Education and Scottish Educational
Dept. 1901; Mus. Doc. Cantab.; cond. his In-
timations on Immortality, Leeds Fest. 1907; be-
came Principal Inspector of Music for Board of
Education 1920. S. is one of the most successful
of Eng. song-writers. His best song-cycles are
James Lee's Wife (1906) and Maud (1898), and
his most widely popular song is The Shepherd's
Cradle Song.
Operettas: The Enchanted Palace: Princess Zara:
King Thrushbeard; Knave of Hearts (Novello):
Golden Straw (Curwen); Thomas the Rhymer; Tha-
lassa Symphony, orch. (Boosey); Helen of Kirkconnel,
orch. (Novello); In Arcady, suite for small orch.
(Donajowski); Mass; Power of Sound; The Charge of
the Light Brigade; Elegy, chorus and orch. (Novello);
Praise, and the
Vanguard; Passion of Christ, chorus and orch.
(Boosey); Mass in D mi. (Ricordi); Concertstück, vn.
and orch.
Aix-la-Chapelle, 1913 (Augener);
symph. varia Normandy, 1911, pf. and orch.
(Augener); Highland Concerto, pt. and orch. (1920,
ms.); 5tet, clar, and str. (ms.); sultes, studies,
Variations, 2 pfs. (Augener); pieces, pt. (Angener:
Williams; Leonard; Lucas; Hatzfeld; Ashdown;
Boosey; Bosworth; Weekes). Song-cycles: Maud;
Shropshire Lad; James Lee's Wife; Love in Spring-
time (Boosey); Windflowers, cycle for vocal itet, or
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SOMERVILLE
female vs. (id.); part-songs (Boosey: Ashdown;
Novello); songs (Boosey; Moore; Lucas; Leonard;
Dunn; Gill; Ascherberg: Ashdown; Enoch; For-
syth); Rhythmic Gradus for pf. (Bosworth); exer-
cises in sight-reading, etc. (Curwen); Sight-reading,
6 vols. (Swan); sight-reading exercises (Augener);
charts of the rules of Harmony and Counterpoint
(Clarendon Press).-E.-H.
SOMERVILLE, John Arthur Coghill. Com-
mandant, R. Military School of Music; b. Dris-
hane, Skibbereen, Co. Cork, 26 March, 1872.
Stud. singing under Francis Harford and then
J. Campbell McInnes; appointed Commandant
at Kneller Hall, R.M. School of Music, 31 Jan.
1920, where he did much to raise the standard
of military band-music, to induce comprs. to
take the military band seriously, to establ. con-
certed vocal music amongst all ranks in the
army, and to bring about co-operation between
musicians in civil life and in the army. A massed
band perf. of works expressly comp. for military
band in Albert Hall in 1922 (under auspices of
British Music Soc.) made a deep impression on
the leading composers present.-E.-H.
SÖMME, Johanne Margrethe. Norwegian
pianist; b. Stavanger; niece of famous Nor-
wegian writer Alexander Kielland. Pupil of
Dohnányi in Berlin. Made her début, 1912, in
Christiania. Since 1921, living in New York, as
teacher and soloist.-R. M.
SOMMER, Hans (real name Hans Friedrich
August Zincke.) Ger. compr. b. Brunswick,
20 July, 1837; d. there, April, 1922.
Stud. mathematics; 1858, Ph.D. Göttingen;
1859-84, teacher at Technical High School,
Brunswick; establ. there Soc. for concert-
music; 1885, in Berlin; 1888, in Weimar,
1898, returned to Brunswick.
About 200 songs, among them the series: Pied
Piper of Hamelin, The Wild Hunter,
Eliland,
Sappho's Songs, Tannhäuser, Last Bloomingu
operas: Night Watchman
Univ.
Thus Hebridean music may be said not only
to add a number of fine airs to the world's
melodic heritage but to bring also an individually
strong, fresh contribution to the common stock
of melodic formula. This it seems to have
inherited from different races-Iberian, Celtic,
Scandinavian and one has there the rare oppor-
tunity of studying ancient melody in the living
specimen, groping one's way back through long
ages to possible Oriental sources.-M. K.-F.
Amer.
SONNECK, Oscar George Theodore.
musicologist, librarian, music publ. b. Jersey
City, N.J., U.S.A., 6 Oct. 1873. Educated at
Gymnasium, Frankfort-o-M. (1883-93). Stud.
at Heidelberg Univ. 1893; Munich
1893-7, under Sandberger (mus. history),
Stumpf, Riehl, Lipps (philosophy), M. E. Sachs
(compn.); 1898, stud. at Cons. Sondershausen;
then at Frankfort under Kwast (pf.) and
Knorr (orch.). After a visit to Italy (1899),
returned to America and devoted himself
to thorough and painstaking research on
which
early mus. history of United States,
subject he has become the foremost authority in
that country. 1902, called to organise a Music
Division at Library of Congress in Washington,
D.C. By his energetic and far-sighted methods
of acquisition and organisation and with liberal
support of the Library administration, S. has
made this one of the most important colls. of
its kind in the world. At the Library, compiled
and ed. a series of catalogues, bibliographies,
some of which, like the magnificent 1674-page
catalogue of opera-libretti, are monuments of
scientific research and extremely valuable source-
books of historical information. In 1917, re-
468
(Brunswick, 1865). ley (1891); St. Foiz (1-act,
Weimar, 1896);
Munich, 1894); Rübezahl und der Sackpfeifer von
Neisse (Brunswick, mit dem Schopf (Brunswick,
1904); Der Meermann (1-act,
Atünchhausen
symph.
Augustin: Castle of Hearts; Festival
work for orch.; male chorus, op. 37, 43; 13 Soldier
Songs with orch. Establ. (with Richard Strauss,
M. Schillings and Fr. Rösch) the Soc. of Ger. Comprs.
(Genossenschaft deutscher Tonsetzer) for securing
performing rights.-A. E.
Norwegian.
SOMMERFELDT, Waldemar.
compr. b. 5 June, 1885; d. in 1919. Stud. pf.
under Agathe Backer-Gröndahl, theory under
His very
Gerhard Schjelderup in Dresden.
talented lyrically-conceived works include a pf.
concerto and an orch. piece (both produced with
great success in Christiania) and a couple of
vols. of pf. pieces.-R. M.
SONNECK
But the professional musician of the Isles having
disappeared generations ago with the passing of
the Clan régime, the survivals of that melodic
art have been preserved by the folk. So strong a
love of their own music do they evince that every
scrap of the ancient melody is cherished by them.
The scales or modes, on which the airs were con-
structed, are of that quasi-universal order that
obtained before the harmonic music of the last
300 years narrowed down the scale-choice to
major and minor. But, as modern music has
richer field of tonality,
opened wide its gates to
Hebridean music is once more coming into its
own. In using the many modes of pre-XVI cen-
tury days, however, the music of the Gael had
its own peculiar way. And just as Celtic line and
colour art used Oriental spirals, vines and inter.
laced work, in its own unmistakable fashion, so
Hebridean music deals with these many tonal-
ities after its own fashion, stressing its own
favourite intervals and peculiar cadences. So
peculiar to itself, indeed, are its own ways of
stepping about among the notes, that even the
most experienced singers are apt in reading out
and studying the airs to sing the wrong intervals,
taking for granted, say a 5th, where Hebridean
music insists on its favourite 6th; and substi-
tuting a half-tone passing-note or leading-note
where Hebridean music demands a leading
whole-tone.
SONG in England, Finland, France, Germany,
etc. See under headings of various countries
ENGLISH SONG, FINNISH SONG, etc.
Hebridean
SONGS OF THE HEBRIDES.
music is racially traditional, but only a section
of it, say perhaps the labour lilts, can be truly
termed folk-music. Music was pursued seriously
for centuries by the Gaels of the Hebrides. Not
committed to notation (at a time when notation
itself was in the making), it was passed on orally.
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SONS
signed from Library of Congress to become the
head of the publ. department of house of Schir-
mer in New York. Since 1921, Vice-President of
this corporation.
The results of his researches in early Amer.
music history, laid down in the 4 vols. named
below, cast an entirely new light on this hitherto
uncultivated field. His numerous contributions
to mus. and musicological journals have been
publ. in book form. Besides these he has publ.
two early booklets of verse in Ger. (Seufzer, 1895,
and Eine Todtenmesse, 1898). Since 1915, ed.
of Musical Quarterly. In 1911 was official
representative of United States Government at
mus. congresses held in Rome and in London.
Bibliography of Early American Secular Music
(privately printed, 1905); Francis Hopkinson and
James Lyon (privately printed, 1905); Early Concert
Life in America (Breltkopf, 1907); Early Opera in
America (Schirmer, 1915); Suum Cuique (essays)
(Schirmer, 1916); Miscellaneous Studies in the History
of Music (Macmillan, 1921); and following Library,
of Congress publications: Classification of Music and
Literature of Music (1901; rev. ed. 1917); Report on
"The Star-spangled Banner," "Iail Columbia,"
"America," "Yankee Doodle" (1909); "The Star-
spangled Banner" (rev. and enlarged from Report)
(1914). Dramatic Music in the Library of Congress:
Catalogue of Full Scores (1908); Catalogue of Orchestral
Music (1912); Catalogue of First Editions of Edward
MacDowell (1917); Catalogue of Opera Libretto
printed before 1800, 2 vols. (1914); (with W. R.
Whittlesey) Catalogue of First Editions of Stephen
C. Foster (1915). Has comp. pieces for pf. and vn.
op. 8; songs, op. 9, and pf. pieces, op. 11 (Frankfort,
Firnberg, 1899-1900); also songs, op. 16 (Schirmer,
1917); op. 17, 18 (Univ. Ed. 1922); others (C.
Fischer, 1922).-0. K.
SONS, Maurice. Violinist; b. Amsterdam,
13 Sept. 1857. First appeared as soloist at
orch. concert at age of 11; stud. later at
Brussels under Wieniawski; afterwards sent by
late King of Holland, for further study, to Dres-
den. After a few years in Switzerland, came to
England as leader of orch. season in Scotland
under August Manns. Later, leader of Scottish
Orch. under its first condr. Sir George Henschel;
1903, prof. at R.C.M.; soon after, leader of
Queen's Hall Orch. under Sir Henry Wood. Has
frequently appeared as soloist in concertos of
Mozart, Beethoven, Brahms, Dvořák, Bruch,
Vieuxtemps, Mendelssohn.-E.-H.
SORABJI
Ricordi. S. directed his energies to propaganda,
and was an impresario in various Ital. cities,
at Paris, Vienna and elsewhere; in Milan in 1894,
he dir. La Scala; then, having restored the old
Canobbiana theatre, he inaugurated it as the
"Teatro lirico internazionale," making it the
centre of a fruitful activity. At present the firm
is a limited company.-D. A.
SOOMER, Walter. Ger. b. singer; b. Liegnitz,
12 March, 1878. Stud. philosophy, Breslau and
Berlin; then singing under Hermann Stoeckert,
Josef Wolf and Mme. Anna Uhlig. Engaged
1902-3, Colmar; 1903-6, Halle-o-S.; 1906,
Leipzig and Bayreuth (Kurwenal, Donner,
Wotan, Wanderer, Sachs); 1909-11, 4 to 6
months' yearly absence in America (Metro-
politan Opera House, New York); 1911, Dres-
den Court Opera House. Now at Leipzig
again.-A. E.
SORABJI, Kaikhosru. Compr. b. in Essex, 14
Aug. 1895. Father Parsi, mother Spanish. Has
lived in London all his life. Practically self-
taught as regards music. Began composing in
1915, but has discarded all works prior to 1918.
Since that date he has written 3 pf. sonatas, 2
concertos for pf. and orch., a symphony for
chorus, pf. and orch., a 5tet for pf. and str. and
some songs and shorter pf. pieces, all of which
are, or will shortly be, available in print. He
played his 1st pf. sonata at a "Sackbut"
concert in London, Nov. 1920, and gave a
recital in Vienna, Jan. 1922, the programme
comprising his 1st and 2nd pf. sonatas. He
also acc. Mme. Marthe Martine in a group of
his songs at a concert of the Société Musicale
Indépendant in Paris, June 1921. Otherwise
no public perfs. of his work have yet been given,
though Cortot has expressed desire to take
up one of the concertos, and the 1st pf. sonata
aroused the interest of Busoni who wrote of the
compr. as "un talent naissant d'une espèce encore
nouvelle qui donne à penser et à espérer." S.'s
work is not for the amateur. The technical diffi-
culties of his extremely individual style of pf.
writing are insurmountable by any but first-
rate pianists. His compns, are of great length
and complexity, and when an orch. is employed
it is usually of Gargantuan proportions. It is
of interest to note that they are written straight
down in fair copy-in the case of the orch.
works, in full score. No sketches are made,
nor is even the figuration of the piano music
determined at the keyboard. One is reminded
of Blake's meth in composing the Prophetic
Books; but these, we are told, were dictated by
angels. If we are to say the same of S.'s music
we must use the word in its literal sense of
"messenger" without its usual connotation of
celestial origin and moral intent.
The
SONZOGNO, Edoardo. Music publisher; b.
Milan, 21 April, 1836; d. there 15 March, 1920.
Founder and dir. of celebrated music-publ. firm.
The "Casa editrice Sonzogno," restricted to
literary productions, already existed in Milan.
Edoardo added in 1874 a music section, which
rapidly developed to great importance.
importation into Italy of large part of modern
Fr. repertoire (Bizet, Thomas, Saint-Saëns, Mas-
senet, etc., is due to him; at same time, he was
one of leaders and patrons of so-called "giovane
scuola" (young school) of Ital. operatic comprs.,
which flourished towards end of XIX century.
Mascagni owed his recognition to S. through
the famous "Concorso " (competition) for Ital.
operas, instituted by S. in 1883, and repeated
several years. In second competition, 1890,
Mascagni was winner with Cavalleria Rusti-
cana. Mascagni remained faithful to his publ.
for all his works except Iris, which belongs to
469
Symphony, pf, orch. chorus and organ (ms.);
Prelude, interlude and fugue, pf. (ms.); 3rd pt.
sonata (m.); 1st and 2nd pf. sonatas (London &
Co.); 3 pastiches (on Chopin Valse; on
in Carmen; on Hindoo Song in Sadko) (id.);
Fantaisie Espagnole, pt. (id.); pf. concerto (id.):
5tet, pf. and str. (id.); songs to poems of Baudelaire
and Verlaine.-P. H.
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SÖRBY
SÖRBY, O. J. Norwegian jurist and music-
publ. b. Christiania in 1867. Degree in law in
1890; 1903-9, manager of Carl Warmuth's
music-publishing establishment in Christiania.
Since 1909, manager of the Norwegian Music
Publishing Co. in same city. Concert-critic for
different newspapers in Christiania. Has written
a number of minor compns, and transl. several
opera-texts into Norwegian.-R. M.
SORO-BARRIGA, Enrique. Chilean compr. b.
Concepción, 1884. Began study at Santiago;
then Verdi Cons. Milan. Before returning to
Chile in 1905, gave concerts in Italy, France and
Switzerland. Has cond. his own works in N. and
S. America. Has comp. a large number of pieces
for pf.; for pf. and vn.; several suites and
symph. works for orch. His best-known work is
the Gran Concierto en Re Mayor (pf. concerto in
D).-A. M.
SOUTH AFRICA
theatrical companies, composing incidental
music, publishing arr. of light operas and pro-
ducing an unsuccessful comic opera The Smugglers
(1879), followed by a second, Katherine, never
produced. 1880, condr. of U.S. Marine Band, a
position held, with growing fame, for 12 years.
He organised his subsequently famous Sousa's
Band (1st concert, Plainfield, N.J., 26 Sept. 1892).
With this band S. achieved great success, tour-
ing extensively and playing at principal exhibi-
tions at home and abroad since 1893; 1910-11,
undertook a tour of world. Honoured with
Victorian Order by Edward VII; and com-
missioned lieut., senior grade, of U.S. Naval
Reserve Force in 1917. His larger works
Of his dozen comic
for orch. are still in ms.
operas 3 attained popularity: El Capitan (1896),
The Charlatan (1897) (both also produced suc
cessfully in London, the 2nd as The Mystical
Miss, 1898); The Bride Elect (1898).
marches, numbering nearly 100, display his
talent at his best, most popular being The
Washington Post (Coleman, 1889).-J. M.
His
SOUTH AFRICA, MUSIC IN. The develop-
ment of music in S. Africa has always been con-
ditioned by two important factors, the sparseness
of the population (to-day there are only one and
a half million white people scattered over a con-
tinent of the size of Europe) and the great dis-
tance, 5000 miles, that separates it from Europe.
This means that at first all mus. effort was con-
centrated in Cape Town, which till the discovery
of gold on the Witwatersrand and the subsequent
extraordinary growth of Johannesburg, was the
only city large enough to support any sustained
musical effort. Till 12 years ago, therefore, the
music of the country was in a decidedly back-
ward state, though excellent pioneer work was
being done by men like Dr. Barrow Dowling of
Cape Town, Percy Ould in Grahamstown and
others in Durban, Johannesburg and Port Eliza-
beth, with amateur orchs. and choral societies.
SOUBIES, Albert. Fr. musicologist; b. Paris,
10 May, 1846; d. 1918. Pupil of Guilmant at
Cons. Devoted himself to rapid, and somewhat
shallow description of music in different coun-
tries. His books abound in information, but do
not offer a single general idea.
German Music (1896); histories of music in Russia
(1897); Hungary, Bohemia, Portugal (1898); Swit
zerland (1899); Spain (1900); Belgium, Holland,
Denmark, Sweden (1901); Norway (1903); British
1902) L'Almanach des Spectacles. Also Histoire
l'Opéra-Comique (with Malherbe); Documents inédits
sur le Faust de Gounod (with de Curzon); Massenet,
historien; Histoire du Théatre-Lyrique.-A. C.
SOULACROIX, Gabriel Valentin. Fr. operatic
barit. b. Fumel (Lot et Garonne), 1855; d. Paris,
1906. Stud. at Cons. at Toulouse, then in Paris;
two 2nd prizes, 1878; sang for 15 years at
Opéra-Comique, where he created some import-
ant rôles, e.g. Villon in La Basoche (André
Messager), and Falstaff in Verdi's opera. Was
a singer of very sound style; also a good actor.
-M. B.
SOULAGE, Marcelle. Compr. b. Lima (Peru),
12 Dec. 1894, of Fr. parents. Stud. at Paris
Cons. where she obtained various prizes.
Suite in mind cello (Prix des Amis de la
vn. vla. and pf. (Prix Lepaulle,
1918); sonata, pf.
Musique, 1920); sonata, pf. and vn.; sonatas
and pf.; Variations, pr.; pieces for harp;
en Egypte (female chorus); sonata, pf. and fl.;
str. 4tet; songs.-A. C.
ŠOUREK, Otakar. Czechoslovak mus. writer;
b. Prague, 1883. Contributor to many reviews,
especially Hudební Revue (1908-1919); critic to
newspapers Samostatnost, Lidové Noviny, Venkov
(from 1919). His chief interest is centred in
the work of Dvořák; published many analytical
ice);
studies on Dvořák's orch. (Hudební
The Works of Dvořák, a chronological, thematic
and systematic register (Simrock); especially
Life and Work of Antonín Dvořák (2 vols. publ.
Hudební Matice; 3rd vol. not yet publ.).-V. Sr.
SOUSA, John Philip. Amer. band-master; b.
Washington, D.C., U.S.A., 6 Nov. 1854. Of
Span.-Ger. parentage; 1864-7, stud. vn. under
John Esputa; harmony under George Benkert.
At 16 became condr. of orch. in variety-theatre;
for few years led varied existence with itinerant
The first attempt to achieve more than this was
the foundation in 1909 of S. African Coll. of Music
(see ACADEMIES) in Cape Town, and its recog-
nition by Government at the end of 1911. Up to
this time all tuition in music had been confined
to private teaching, and to the necessarily limited,
but excellent work, done at insts. like Cons. at
Stellenbosch (dir. by Janasch and Hans Endler),
or the music departments of larger schools like
the Diocesan Coll. at Grahamstown under Percy
Ould, and afterwards under Charles Wilby. Men-
tion should also be made of the excellent work
being done by Miss Maud Harrison at her large
Cons. at Johannesburg. Touch with the outside
mus.world was kept very loosely by the very occa-
sional visits of first-class musicians from Europe.
In 1912 the Quinlan Opera Co. visited S. Africa,
and made such an impression that the Cape
orch.
Town municipality resolved to have its own
and in Feb. 1914 a professional orch. of at first
30 performers called the Cape Town Municipal
Orch. (see ORCHESTRAS) was formed with Theo
Wendt as its condr. Durban followed suit with
the formation of an orch. in 1921 with Lyell-
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SOUTH AMERICAN DANCES
Taylor as its condr. The people of S. Africa, with
those of Eng. and those of Dutch extraction,
are undoubtedly passionately attached to music.
This is testified by enthusiasm aroused by annual
tours of Cape Town Orch. in small country towns
as well as by large audiences (700 to 1000) who
attend weekly symphony concerts in Cape Town;
while the 600-odd students on roll of S. African
Coll. of Music (at least 200 going through a prof.
course), are drawn not only from Cape Town, but
from all over the country. Great attention to
music is also given in the large secondary schools
in every town, while the Univ. of Cape Town
founded a chair of music in 1918, and the Univ.
of Johannesburg in 1921.-W. H. B.
SOUTH AMERICAN DANCES. (i) Zamba, or
Zamacueca. This dance originated in Chile
among the country people. Now quite a popular
ball-room dance in northern Argentine provinces.
It is danced by a single couple who, handkerchief
in hand, face one another, making a series of
slow graceful steps and waving their handker-
chiefs in time to the music. (ii) Malambo. A
national dance of the Argentine gauchos, that has
now practically disappeared. Of quick rhyth-
mic movements, accompanied by guitar. The
dancers, who were men, also sang. (iii) Pericon.
This has always been the chief national country-
dance of Argentina. It is danced by four couples,
facing one another, standing in formation of
cross. It consists of various movements, the last
being the grand chain as danced in the Lancers.
Invariably accompanied by guitar; dancers sing
different verses for each movement. (iv) Gato.
Argentine dance that has disappeared with the
gauchos. It was a quick and lively measure,
danced by one couple only; consisted of a series
of different step-dances. (v) Habanera. A slow
graceful dance, somewhat voluptuous, which
has come to Argentina from Havana. (vi) Tango.
This original Argentine dance is now well known
throughout Europe. It is a degenerate form of
the Habanera. The rhythm is elegant and attrac-
tive, although not free from vulgarity. The num-
ber of Tango pieces is extremely large. (vii)
Milonga. A dance accompanied by song, popular
among lower classes; danced to guitar and
accordion.-A. M.
SPANISH ORCHESTRAL MUSIC
voice-part left out). A str. 4tet, played by Berk-
shire Quartet, March 1918; 5tet for wood-wind
instrs. perf. by New York Chamber Music Soc.
13 Jan. 1920. Pf.-soloist at Norfolk (Conn.)
Music Fest. (1917), and with Chicago Symphony
Orch. 5 March, 1920.
S. is one of most promising of younger genera-
tion of Amer. comprs. He has followed modern
tendencies, though not to the latest extremes.
He himself "claims affinity with the Franck-
d'Indy school."
Overture, Comes Autumn Time (Boston Musle Co.
1918); Serenade, str. 4tet (Soc. for Publ. of Amer.
Muste; Schirmer, 1921); Suite, vn. and pt. (Boston
Music 1918).-0. K.
SPAIN, MODERN ART-SONG IN. See
MORALES; FALLA; TURINA; VIVES; GRANA-
DOS CAMPINA; ALBENIZ; BAUTISTA; GUER-
vós, JOSÉ MARÍA; MONTES; FONT Y DE ANTA,
José. Most of the art-songs of Spain remain
unpublished up to the present time.-P. G. M.
SPALDING, Albert. Amer. violinist; b. Chicago,
Ill., 15 Aug. 1888. Stud. vn. at 7 under Chiti
in Florence and Juan Buitrago in New York;
then 2 years in Paris under Lefort. Début as
professional player at Théâtre Nouveau, Paris,
6 June, 1905. Thereafter concertised in Europe,
including Russia and Egypt, and U.S.A. (Amer.
début, New York, 8 Nov. 1908, with New York
Symphony). Among his unpubl. works for vn.
are a concerto in F mi., a Concerto quasi Fantasia,
a sonata with pf. acc., a str. 4tet (1922).
Sulte for vn. and pf. (C. Fischer, 1916); Etchings,
theme and variations, op. 5 (Comprs. Musto Corp.).
and other pieces (Hansen; Schirmer; C. Fischer;
Comprs. Musle Corp.).-J. M.
SPALDING, Walter Raymond. Amer. orgt.
and educator; b. Northampton, Mass., U.S.A.,
25 May, 1865. 1892, went to Europe; for 3 years
stud. under Guilmant and Widor in Paris and
Rheinberger and Thuille in Munich. 1895, in-
structor of music at Harvard Univ., Cambridge,
Mass., and Radcliff Coll. (for women) at same
time; assistant-prof. Harvard, 1903; succeed-
ing Paine as head of music department in 1906;
associate-prof. 1912; prof. 1921.
Tonal Counterpoint (A. P. Schmidt, 1904); (with
Foote)
Practice (id. 1905dern Harmony in its Theory and
Music, an Art and a Language
(id. 1920).-J. M.
SOWERBY, Leo. Amer. compr. b. Grand
Rapids, Mich., U.S.A., 1 May, 1895. Went to
Chicago at 14; stud. at Amer. Cons. under
Lampert and Grainger (pf.), and Anderson
(theory). 1918-19, bandmaster in U.S. army;
then teacher of theory, Amer. Cons. Chicago.
In Nov. 1921, went to Rome as holder.
of first fellowship in music of Amer. Acad.
in Rome (an Amer. Prix de Rome). His
vn. concerto was perf. by Gunn's Amer.
Symphony Orch., Chicago, 18 Nov. 1913. On
18 Jan. 1917, gave concert of own works, in-
cluding an overture, Comes Autumn Time (often
played by Amer. orchs.; orig. an organ piece);
tone-poem, The Sorrows of Mydath (after Mase-
field); The Irish Washerwoman, concerto for
cello; Three Somerset Tunes, orch.; and pf.-
concerto with a part for a s. v. (revised 1919 and
SPANISH CHAMBER-MUSIC. See MONAS-
TERIO; ARBÓS; RUBIO; CHAPÍ; TRAGO; CAMPO
Y ZABALETA, CONRADO DEL; TURINA; GUERVOS,
José; CASALS, PABLO; FRANCES; also
CHAMBER MUSIC PLAYERS.
SPANISH FOLK-MUSIC. See ALIO, FRAN-
CISCO; BARBIERI, FRANCISCO; CALLEJA, G. R.;
INZENGA, J.; MANRIQUE DE LARA; MONTES,
JUAN DE; NOGUERA, ANTONIO; OcóN Y RIVAS,
E.; OTAÑO, P. N.; PEDRELL, FELIPE; TORNER,
E. M.
SPANISH OPERA. See ZARZUELA; PED-
RELL; BRETON, TOMÁS; GURIDI; USANDIZAGA;
also, CAMPO Y ZABALETA, CONRADO DEL; ALBE-
NIZ; GRANADOS CAMPINA; FALLA; MANEN;
ARREGUI; MORERA; MANRIQUE DE LARA;
TURINA; BARRIOS; CHAPÍ.
SPANISH ORCHESTRAL MUSIC FROM 1880.
See MONASTERIO; BARBIERI; ARBÓS; PÉREZ
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1
SPANUTH
CASAS; CASALS, PABLO; LAMOTE DE GRIG-
NON; NICOLAU; LASSALLE; RIVERA Y MANEJA;
CAMPO Y ZABALETA, CONRADO DEL; ESPLÁ;
FALLA; MANEN; PAHISA; MORERA; GURIDI;
ISASI; ARREGUI ; TURINA; BACARISSE;
BAUTISTA; MARIANI GONZÁLEZ; FONT Y DE
ANTA, MANUEL; LAVINA; SANJUÁN NORTES;
MORENO TORROBA; MANRIQUE DE LARA;
ZAMACOIS; RODRIGO; BRETÓN, ABELARDO;
CASSADO, JOAQUÍN; MARRACO; MILLET;
TELLERÍA Y ARRIZABALAGA.
SPANUTH, August. Ger. author and ed. b.
Brinkum (Hanover), 15 March, 1857; d. Berlin,
9 Jan. 1920. Stud. at Hoch's Cons. Frank-
fort-o-M. (Heymann, Raff); then Coblence and
Bremen; 1886, to America as concert-pianist;
temporary teacher at Chicago Cons.; 1903-6,
mus. reporter; 1906, returned to Berlin;
teacher at Stern's Cons.; since 1907, wrote and
edited the Signale (Simrock).
Ed.: Preparatory Pf. Exercises; Pf. Technique;
Lisat's
Ger. Caruso's (3 vols. by Ditson). Transl. into
How to sing (1914); and wrote (with
Xaver Scharwenka) Method of Pf.-playing (1907).
-A. E.
SPEAIGHT, Joseph. Eng. compr. and pianist;
b. London, 24 Oct. 1868. Stud. at Guildhall
School of Music,
under R. Orlando Mor-
gan, pf. under Ernst Pauer; prof. at G.S.M.
1894; at Trinity Coll. of Music, 1919. He made
a striking success in chamber-works with his
Shakespeare Fairy Characters for str. 4tet
(Hawkes).
Pt.
throp works; cello pieces: vn. pieces: songs (Win-
Rogers: Stainer & Bell: Ascherberg; Anglo-
Fr. Co.): part-songs (Curwen).-E.-H.
SPECHT, Richard. Austrian musicologist; b.
Vienna, 7 Dec. 1870. First stud. architecture,
but, having become acquainted with Brahms,
Goldmark, Brüll and their circle, was encouraged
by them to take up mus. and theatrical criticism
on the Vienna daily papers Die Zeit and Extra-
blatt, and the review Die Musik. He also founded
and ed. the Merker (1909). His criticisms show
a kindly disposition towards the new genera-
tion and their aims. Book on Gustav Mahler is
well known (smaller book 1906, larger mono-
graph 1913, 16th ed. 1922). Also wrote:
Kritisches Skizzenbuch (1900); Johann Strauss
(1909); Das Wiener Operntheater: Erinnerung aus
fünfzig
d sein
(detailed (1919); Richard Strauss und
analysis, 2 vols. 1921); Julius Bittner
(1921); Furtwängler (in coll. Die Wiedergabe, 1922);
E. N. von Reznicek (1923); Arthur Schnitzler (1922);
ed. of Hebbel's works (Cotta); new transl. of libretto
of Verdi's Trovatore (Univ. Ed. 1921); analytical
comments on Mahler's Symphonies (id.); introduc-
tion to Strauss's Die Frau ohne Schatten (1919).
S. is also the originator of a new Opera-text Library
(Univ. Ed.).-P. ST.
SPIERING
His str. 4tet in B flat was perf. at British Cham-
ber Music Concerts, St. Martin's Hall, 1894. His
cantata Lay of St. Cuthbert was perf. at Queen's
Hall, London, by the Edward Mason Choir, 1912.
His Jackdaw of Rheims has been repeatedly perf.;
his symphony in E flat over a dozen times; his
latest work is Impressions (given Hastings,
Bournemouth, Guildford, etc. 1922).
The Jackdaw of Rheims, chorus and small orch.
(Novello); The Lay of St. Cuthbert, chorus and orch.
(id.): In the Garden, soll, female chorus and orch.
for str. (Stainer & Bell): str. 4tet, B
pf. and vn. (Stainer & Bell);
kopf); The Children's Hour,
ner); other pf. pieces;
(Simrock);
sonata in D (Breit-
9 easy pf. pieces (Auge-
sonata, F mi. (Augener);
SPEER, William Henry. Eng. orgt. and compr.
b. London, 9 Nov. 1863. Stud. harmony under
William Haynes of Priory Church, Malvern; his
oratorio Jonah, comp. at age of 16, was given
in Malvern in 1880; played Prout's organ con-
certo in E mi. twice at Shire Hall, Gloucester, in
1880; next 3 years, pupil of Dr. Harford Lloyd;
later of Sir Walter Parratt, E. Pauer and Sir
C. V. Stanford at R.C.M.; graduated Trinity
Coll. Cambridge; Mus. Doc. 1006; cond. choral
Bieties, St. Albans, N.W. London, Bexhill.
14 songs (various pui, organ H.
SPENA, Lorenzo. Argentine compr. b. Naples
in 1874. Went to Buenos Ayres, 1901; opened
Cons. Clementi, 1907. Many chamber-music and
symph. works. Pf. and vn.-pf. works, publ. by
Breyer.-S. G. S.
SPENDIAROF, Alexander (accent on the A).
Russ, compr. b. Kakhof, 1871. Pupil of Rimsky-
Korsakof, and one of the followers of New Russ.
school, in whose works the Oriental character,
made familiar by many Russ. works of the XIX
century, plays the chief part. He now lives in
Almast.
Crimea and is working on
Concert overture, or Crimean Sketches, op. 9
(2 series); tone-picture, The Three Palm-Trees; many
songs (Belaief).-V. B.
SPICKER, Max.
Ger. condr. and teacher;
b. Königsberg, 16 Aug. 1858; d. New York,
Oct. 15, 1912. Pupil of Louis Köhler and of
Leipzig Cons. (Wenzel, Richter); theatre condr.
at Heidelberg, Ghent, etc.; 1882-8, cond.
Beethoven Male Choir, New York; till 1895
dir. of Brooklyn Cons.; then teacher of theory
National Cons. New York. Comp. many pf.
pieces and songs; ed. educational pf. works.
-A. E.
SPIELGELD (Ger.). (Ital. Paga.) Singers'
salaries at Ger. opera-houses are usually divided
into so much a month down and so much a per-
formance, the number of performances a month
being stipulated. They are paid for a certain
number whether they sing or not, and any per-
formances over or above this number are paid
the
for in addition. This extra payment
Spielgeld. Three days' absence from the cast
through illness, even though one may be sche-
duled to sing only once during those days, is
counted as one Spielgeld.-E.-H.
SPIERING, Theodore. Amer. violinist, condr.
teacher; b. St. Louis, 5 Sept. 1871. Pupil of
father, Ernst Spiering; 1886-8 of Schradieck,
Cincinnati; till 1892, Berlin, R. High School
(Joachim); also private pupil of G. Vierling;
1892-6, member of Thomas's Orch. Chicago;
1893, organised str. quartet which for 12 years
toured U.S.A. and Canada, introducing works by
Fr. comprs.; 1898-9, teacher at Chicago Cons.;
1899-1902, managed own Vn. School; till
1905, co-dir. of Chicago Mus. Coll.; also orch.
and operatic condr.; 1905, Berlin, teacher
at Stern's Cons.; 1909, America, leader of
New York Philh. Soc. (under Mahler); 1912-
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SPILKA
1914, condr. and artistic adviser of the Neue
Freie Volksbühne, Berlin; 1914-16, prof. at
the New York Coll. of Music and condr. of the
Woman's Orchestral Club of Brooklyn.
Songs; vn. studies, op. 4; 5 impressions for pf.
op. 5.-A. E.
(Verband deutscher Musikkritiker). He paid
special attention to history of music-typography
and to Ital. mus. literature.
C. and
da Battello (with Edwin Buhle; Leipzig,
C.
Werner Wolffheim, Miscellanea musica bio-biblio-
graphica.-A. E.
SPILKA, František. Czechoslovak compr.
condr. b. Štěkěn, 1877. Stud. at Prague Cons.;
then choirmaster and (for short time) condr. of
Czech Philh. Till 1922 teacher of choral song
and theory at Prague Cons., being (from 1918) also
its administrative manager. In this function he
took a leading part in its reorganisation. In 1908
he founded (on the model of Moravian Teachers'
Choir) Singers' Society of Prague Teachers,
and brought them up to the same level. In
France and England they were as successful
as the older Moravian Club.
Songs: choruses; pf. sonata (Fr. A. Urbánek);
opera, Selská práva (The Peasants' Rights).-V. ST.
SPINDLER, Fritz. Ger. pianist and compr.
b. Wurzbach, near Lobenstein, 24 Nov. 1817;
d. Lössnitz, near Dresden, 26 Dec. 1905. Pupil
of Fr. Schneider (Dessau); settled at Dresden,
1841, as teacher. Comp. over 300 works, mostly
brilliant salon-pieces for pf.; 2 symphonies,
pf. concerto, sonatinas for teaching, str. 4tet
op. 62, C mi., pf. 4tet, trios, etc.-A. E.
SPITTA, Friedrich. Ger. writer on music;
b. Wittingen (Hanover), 10 Jan. 1852. Brother
of Philipp Spitta; 1887, prof.-in-ordinary of
theology at Strasburg; 1919, at Göttingen;
1896, publ. (with J. Smend) Monatsschrift für
Gottesdienst und kirchliche Kunst (monthly
magazine for church music), containing many
of his studies; interested in Evangelical liturgy
of Heinrich Schütz and H. v. Herzogenberg.
President of Evangelical Church Singers' Soc.,
Alsace-Lorraine, since 1898.-A. E.
SPITTA, J. August Philipp. Ger. writer on
music; b. Wechold, near Hoya, Hanover, 27
Dec. 1841; d. Berlin, 13 April, 1894. Stud.
philology at Göttingen; teacher at Ritter
School and Cath. School, Reval (1864-6); at
Grammar School, Sondershausen (till 1874);
at Nicolai Grammar School, Leipzig; 1875,
called to Berlin as prof. of mus. history and
permanent secretary of R. Acad. of Art; teacher
at R. High School of Music; administrative
dir. of same; 1891, member of Governing Board.
Biography of J. S. Bach (1873-80, 2 vols., Breit-
kopf); ed. Organ Works of Dietrich Buxtehude (1875-
1876, 2 vols.); Complete Ed. of Works of Heinrich
Schütz (16 vols.); Musical Works of Frederick the
Great (1889); Zur Music (16 essays,
on Musical History (1894).
Edited with: Essays
and
Chrysander
Guido Adler, 1885-94, Quarterly Journal for
Musical Science (Vierteljahrsschrift für Musik-W
schaft). Spitta's
was publ. by the Ger. Brahms Soc. (Vol. 15). Spitta
ange of letters with Brahms
and Chrysander are the Old Masters of Ger. musico-
historical research.-A. E.
SPRINGER, Hermann. Ger. writer on music;
b. Döbeln (Saxony), 9 May, 1872. Stud. Romance
philology and mus. history in Leipzig, Berlin
and Paris; 1894, took doctor's degree; 1899
in Prussian Library, now head librarian in
Prussian State Library; 1914, R. prof.; 1895,
also mus. reporter Deutsche Allgemeine Zeitung;
member of board of Association of Ger. Critics
STAATSTHEATER
SPRINGER, Max. Compr. critic; b. Schwendi,
Würtemberg, 19 Dec. 1877. Stud. under Schach-
leitner (abbot of Benedictine monastery of
Emaus, near Prague), Dvořák, Klička and Fibich.
Orgt. at Emaus, excellent organ-player (extem-
poriser). His manual Kunst der Orgelbegleitung
(in Eng., New York) treats of the Gregorian
chant and its acc. Also Der Liturgische Choral
in Hochamt und Vesper, Choralsolfeggien, Orgel-
schule. Since 1910, prof. of sacred music, Vienna
State Acad. (Klosterneuburg, near Vienna) for
organ and composition.
Sacred music: Missa resurreri, op. 27, and Missa
puer natus est, op. 30, both in a new style, influenced
by the rhythmic recitation of Gregorian chant and
modern.
other masses; 2 Psalms; Abend
auf Golgatha; Auferstehung; stage-music for Cal-
derón's Welttheater: Graduale Parvum (a rhythmic
organ arr. for practical use); songs; chamber-
music; 2 symphonies.-P. ST.
SPURLING, Clement Michael. Eng. dir. of
music, Oundle School, Northants; b. London,
28 Sept. 1870. Stud. Guildhall School of Music
under J. F. Barnett; R.C.M. under Stanford,
Bridge, Cliffe, Gladstone, Higgs. He has raised
the music of Oundle School to a unique state,
one which enables the whole school to perform
Handel's Messiah, Bach's B mi. Mass, etc.
Stately Dance, small orch. (Ashdown); easy edu-
cational pf. pieces (Augener; Novello; Arnold);
songs; carols (Boosey; Novello).-E.-H.
SQUIRE, William Barclay. Eng. mus. research
scholar; b. 1855. Librarian R.C.M. London.
Educated in Germany and at Pembroke Coll.
Cambridge; in charge of Printed Music, British
Museum, 1885-1920; mus. critic, Saturday Re-
view, 1888-94; Westminster Gazette, 1893; Globe,
1894-1901. Writer of many historical arts. in
Grove's Dictionary of Music, Dictionary of Nat.
Biogr., Encyc. Brit., etc. Became sec. of the
Purcell Soc. in 1888 (till 1923) and his untiring
labour has done much for the revival of interest
in Purcell in recent years. His generous help
in all matters of mus. research has earned him
the gratitude of scholars throughout the world.
Catalogue of Printed Music in R.C.M. 1909; of Old
Printed Music in Brit. Museum, 2 vols. 1912; ed.
Palestrina's Stabat Mater; Purcell's harpsichord
music, 4 vols, 1918; Byrd's Masses; Fitzwilliam
Virginal Book (with J. A. Fuller-Maitland) 1894-9
(Breitkopf); R. Jones's Muses' Garden for Delights;
Ausgewählte Madrigali (30 nos.), etc.-E. J. D.
SRB, Josef (pseudonym, Debrnov). Czech
writer on music, b. Prague, 1836; d. there,
1904. Devoted himself to organisation of mus.
life in Prague. Maintained a constant inter-
course with Smetana, whose diary he partly
publ. in 1902. Chief works (all in Czech):
Short History of the Prague Conservatorium (1877):
Instrumentation (1883); History of Music in Bohemia
and Moravia, (1891).-V. ST.
STAATSTHEATER. A theatre or opera in Ger-
many subsidised by the State. Not to be con-
fused with Stadttheater, one subsidised by the
municipality.-E.-H.
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Mariens fud, bant, & Palermo,
Trinity, Bat Cambridge meant more than thie
It offered him and his extraordinary abilitie
made it possible for him to accept-rare oppe
Whe
tunities for distinctive musical work,
Dr. J. L. Hopkins resigned the Trinity organie
ship, Stanford succeeded him (1873); and
was in Cambridge that his influence was firm
felt along one of the main lines of his activities
that of conducting through his leadership of
Cambridge Univ. Mus. Soc. (1874). Against the
dull coloured background of British music in
these days, Stanford's work as composer and
conductor was already providing one of the
very few high-lighta. Thoroughly alive, he le
nothing as he found it. Neglected works were
revived (Astorga's Stabat Mater for instance, in
1878); he looked abroad for important works,
sometimes for one not well-enough known here
Schumann's Faud, Part III), sometimes for one
quite new (Brahms's Alto Rhapsody); he gave
the second English performance of Brahms's
Requiem.
In line with another
"live" young
British composer-Hubert Parry-he scorned
the reactionary critics with a prompt second
performance of Prometheus Unbound (1881). He
was sanely modernist. From his early teachers
in Dublin he learned to respect the traditional
beat; out of his own progressive spirit he looked
for the newest; by his travels on the Continent
in search of further education (he was with
Reinecke in Leipzig, and Kiel in Berlin, at
intervals during 1874-6) he acquired a cosmo-
English music
politan outlook. At a time when
was on almost every foreign lip,
his first opera, The Veiled Prophet of Khorassan,
was produced at Hanover (1881); when the
Macfarrens and Davisons and Joseph Bennetts
in this country still were ridiculing the messages
from Bayreuth, he was openly espousing the
cause of Wagner and showing instructed enthu-
siasm for his operas. As a young man he pro-
duced a new work (Festival Overture) for Glouces-
ter in 1877, and another (Serenade in G) for Bir-
mingham, in 1882, and by these and other early
a publicity
choral and orchestral works won
which has grown ever since.
From Cambridge his influence was felt in-
creasingly, and in more directions than one. His
conducting meant practical leadership there, and
this sphere of his activity became widened by
his appointment as conductor of the Bach Choir
(1885), of the R.C.M. Orchestra (1887), and later
His work as a
(1901) of the Leeds Festival.
teacher, beginning in Cambridge and leading to
the Professorship of Music in the University
(1887) spread enormously through his being given
charge over composition at the R.C.M. (1887),
where there came to study with him a great
many of the most promising scholars in Britain.
the re-
It is as difficult to over-emphasise
sponsibility of the post which he filled at the
Royal College as it is to stress too much the
importance of his influence over the work
of his pupils. No other creative musician
music
point
in the history of British
to anything like as significant a record of
can
Mindful Fat forje aptita; men
l
in Futstiff In Ble, Milan, Created
there the sheet Terater in Kepp's pa
Hefpupper WA
opere in Germany died by the munis
pality, Not to be condused wit
STAROPMANN, Max Gerber dinger, b
Freienwaldem tider, May 10, 1842, d. Sergan
en, 1905, Bad Come an
Bremen we weten 1887, Hanover, bars 1876,
dir Kongeborg Biter 1879, went to
Tanz, die Leipzig Stadttheater, Married
Hildegard Kirchner ( 16 June, 1912)
em, Waldemar, originally member of V. Play.
hones, Berlin, became (1912) member (barit.)
of Dresden Court Opera House, Wix daughter,
Helene, is concert singer (₂)
the compr. Botho Bigwart (Count of Kalen
STAGIONE. A yearly visitor & vesen,
STAGNO BELLINCIONI, Bianca.
singer 6. Budapest, 23 Jan. 1888. Daughter of
two famous artista, Gemma Pellincioni sod
Roberto Stagno (one of most famous Ital, tenors
at end of xix century), she inherited from her
mother, under whom she stad., her high qualities
an artist and interpreter. Dat in Florence at
the Pergola; has appeared at leading theatres
in Italy and in Europe. Amongst her chief parts
we mention those of Conchita (Zandonai) and of
Pelleas et Mélisande (Detry)-D. &
STANFORD
STANCHINSKY, Alexei Vladimirovitch (accent
2nd syll.). Russ, compr. 6. 1888; d. 25 Sept/
6 Oct. 1914. Pupil of Jilaief and 8. L. Tankiet.
A very highly gifted musician who died before his
talent was fully revealed. He left a pi. sonata,
and several pt. pieces. Only op. 1 (Sketches)
for pf. is publ. (Jurgenson, Moscow)-Y. B.
STANFORD, Sir Charles Villiers. Irish com-
poser; b. Dublin, 30 Sept. 1852; d. London.
29 March, 1924. The son of John Stanford
(an amateur singer, devoted to the Law as
profession but to music as recreation), be
heard and assimilated good music from his
earliest days, and became a pupil of Arthur
O'Leary and Sir Robert Stewart. As 10 years
he had heard one of his youthful efforts at com-
position played in the Theatre Royal, and his
later career showed many more pronounced
points of contact with the Theatre. One can
think of his life up to now as having roughly
three phases, dominated by three spheres of
activity: Dublin (1852-70), Cambridge (1870-92)
and London (1892 onwards). To musicians, his
earliest significance must date from his entry into
Cambridge as an undergraduate. He went there.
ordinarily, in search of a classical education, and
he took honours in his stride (1874) while at
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STANFORD
composer-pupils as his. His other (and chief)
activity, as composer, can be only referred to
here in the briefest way. From his earliest
Cambridge days his output was remarkable.
The early festival compositions mentioned
above were the first of a long line of works
richly varied and interesting. An unusually
complete technique enabled Sir Charles Stan-
ford to handle surely very diverse forms of com-
position. His operas number seven, of which
The Travelling Companion (1917) still awaits
performance in its own country. In allied works
for the theatre must be noticed incidental music.
for Tennyson's Queen Mary and Becket, and for
Greek plays at Cambridge. In purely orchestral
music there are seven symphonies, with the
Irish for the most characteristic; the four Irish
Rhapsodies, and many other large-scale works,
Among concertos, that for the clarinet (ms.) is
an epitome of felicitous writing for that instru.
ment. The chamber-music is of relative import-
ance with the rest of his output, though less
fully known.
STARCZEWSKI
certo, pf. and orch. (Stainer & Bell); 10 dano, pf.
and orch. (Boowy); Variations on an Eng. theme,
pf. and orch. (d) Chamber mude: 1st and th
str. Stets (Stainer & Bell); 1st and 2nd str. 4teta
(Eulenburg); 3rd str. 4tet (Augener); pl. sint
(Novello); pf. 4tet (Bote & Bock); 3 pf trion
(Novello; Bosworth; Augener); sonata, vn. and p.
(Ries); Irish Fantasies, vn. and pf. (Boosy); plense,
vn. and pf. (id); easy pleces, vn. and pf.
f. (Williams);
2 sonatas, cello and pf. (Bote & Boek; imrock
Intermezzi, olar, and pf. (Novelloj; sonata, clar. (or
and
Boosey; Stainer & Beil; Williams; Augener
cocks); 6 Regimental Marches (Novello); March.
military band or organ (Stainer & Bell); org
sonatas & Bell: Schirner): organ intermenti
& Bell; Augener); organ pieces
(Stainer
(Novello): 3 preiades and fugues, organ (id.): Siz
Eng. Songs, 2
Moure's
Irish Melodies 50 Songs of Old Ireland;
Songs of Erin, and others (all
Boosey); Cushendall; Four Songs, 2 sets; Biblical
Songs Leinster Songs, ete, (all stainer & Bell);
Songs of Heine (Augener); Songs of Bridges (id)
songs from The Spaniah Gypsy (Novello); 30 Irish
Songs and Ballada (Novello); many other song
unison and part-songs (Year-Book Press); part
songs (Novello; Boosey: Stainer & Bell); Calson
Church Service in D (Oxford
In me.
to
Attila the Hun;
Drake; 2 masses; symphonies; overtures; rhap-
sodies; orch. marches; concertos for elar. and oreli..
pf. and orch., vn. and orch.; 2 str. Stets; Serenade,
str. and wind; pf. Itet; sonatas, vn. and pf.; pf.
pieces. Books: Studies and Memories (1908); Musical
Composition (1911); Pages from an Unwritten Diary
(1914); Interludes (1922).-11. H.
opera; Incidental music to Unlv, Pr).
More than any of his other works, those which
are mainly choral must have contributed to
making their composer's fame so wide. They
have been in (roughly) two classes: those actu-
ally concerned with or closely allied to the
church services, or for the great festivals; and
those others which are secular. In each class
there are conspicuous examples. His early
B flat Service brought a new outlook to the
choristers' world. The Stabat Mater (Leeds Fest.
1907) is on the high plane of religious musical
expression. The Songs of the Sea and Songs of
the Fleet are everywhere popular; and the short
cantatas Phaudrig Crohoore and the early Re-
venge are remarkable examples of works that
make strong appeal to diverse tastes, and do it
with the utmost economy of means.
other important sphere also that of song-he
made himself one of the outstanding figures in
British music; and the very significant revival
of interest in native folk-music in recent years
found in him a powerful champion.
In one
Sir Charles Stanford held the honorary degree
of Doctor of Music in the Universities of Oxford
and Cambridge, and received the honour of
knighthood in 1901.
Operas: The Veiled Prophet of Khorassan; Savona-
rola; The Canterbury Pilgrims; Shamus O'Brien;
Much Ado About Nothing; The Critic (all Boosey);
The Travelling Companion (Carnegie award; Stainer
& Bell); incidental music to Queen Mary (Augener);
to The Eumenides and (Edipus Rex (Stalner & Bell).
Choral works: Psalm XLVI; The Revenge; Carmen
Sæculare; The Voyage of Maeldune; Eden (oratorio);
The Battle of the Baltic; Mass in G; East to West (all
Novello); Cavalier Songs; Elegiac Ode; Three Holy
Children; The Bard; Phaudrig Crohoore; Requiem;
Last Post; The Lord of Might; Songs of the Sea;
Stabat Mater; Wellington; Welcome Song: Ode to
Discord; Magnificat; Mass; Via Victrix (all Boosey);
Ave atque Vale; Songs of the Fleet; Fairy Day:
Thanksgiving Te Deum; Merlin and the Gleam (all
Stainer & Bell); The Resurrection (Chappell); Psalm
CL (Forsyth). 4 publ. symphonies: Irish (Novello);
No. IV (id.); L'Allegro ed il Pensieroso (Carnegie
award; Stainer & Bell); No. VII (id.). Irish Rhap-
sody, No. I, orch. (id.); IV, orch (id.); VI, vn. and
orch. (Boosey); Serenade, oroh. (id.); 4 Irish dances,
orch. (Stainer & Bell); concerto, vn. and orch.
(Breitkopf); Sulte, vn. and orch. (Novello); con-
475
STANGENBERG, Harry. Swedish opera.
producer; b. Stockholm, 27 April, 1893. Stud.
under Reinhardt, Berlin, 1914-15; and at Court
Opera in Munich, 1915-16. Ist régisseur, R.
Opera, Stockholm. Married Göta Ljungberg
(q.v.), 1922. Produced:
In Berne: Tales from Hoffmann, Tristan and Isolde,
Tannhäuser, Valkyrie, Don Juan, Otello, Rigoletto,
of Windsor,
Frauenlist, Venezia, Barber of Serille, Traviata; in
Riga: Magic Flute, Figaro's Vedding, Carmen, ete
Stockholm: Harvard Harpolelcare, Iphigenia in
Tauris, Rosenkavalier, Die loten Augen, Manteln,
Angelica, Gianni Schicchi (Puccini), Medellida (Rang-
(N. Berg), Kronbruden (Langstrom),
in
ström), Alcoding.
Figaro's
STANKEVICIUS. See LITHUANIAN MUSIC.
STANLEY, Albert Augustus. Amer. educator;
b. Manville, R.I., U.S.A., 25 May, 1851. Stud.
(1871-5) Leipzig Cons. (Richter, Wenzel, Paul,
Papperitz). Orgt. of Grace Ch., Providence,
R.I., 1876-88. Prof. of music, Univ. of Michigan,
since 1888; dir. of Univ. of Michigan School of
Music since 1903. Cond. Ann Arbor May Fests.
since 1893. Retired from all these positions,
1921. Symph. and choral works; symphony,
The Awakening of the Soul (1896); symph. poem,
Altis (1898); perf. in Ann Arbor and elsewhere.
M.A. h.c. of Univ. of Michigan, 1889; Mus.D.
h.c. of Northwestern Univ., 1916. Author of
Greek Themes in Modern Musical Sellings (Univ.
of Michigan Humanistic Studies, Vols. XV,
XVII, 1920).-0. K.
STARCZEWSKI, Feliks. Polish compr. and
mus. writer; b. Warsaw, 27 May, 1868. Stud.
in Warsaw, Berlin and Paris. Since 1894,
teacher, organiser and writer in Warsaw. Now
prof. of pf. at Warsaw State Conservatoire.
2 pf. sonatas; Variations, pf.; vn. sonata; music
to vaudevilles and national dances; many songs.
es treatise
Has written a
e on Polish Dances (Sammelb.
d. I.M.G. 1901), and, in Warsaw reviews, The Schola
Cantorum and Vincent d'Indy (1905) and Jan Kar
lowicz.-ZD. J.
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STARMER
STARMER, William Wooding. Eng. orgt.,
expert on bells, lecturer; b. Wellingborough, 4
Nov. 1866. Stud. at R.A.M. London; lecturer
on Campanology, Birmingham Univ. 1924; has
publ. church and organ music and part-songs.
Lectures: Bells and Bell Tones; Carillons and
Bell Music; Choruses and Chime Tunes (Eng.);
Chimes (continental); Clock Jacks of England
(all publ. in Proceedings of Mus. Association).
Has contributed arts. on BELLS, etc., to this
Dictionary.-E.-H.
STATKOWSKI, Roman. Polish compr. b.
Szczypiorno, 24 Dec. 1859. Pupil of Żeleński
in Warsaw, and of Solovief in Petrograd. Since
1906, prof. of mus. history and instrumentation
at Warsaw Cons. and also its vice-dir. His
works are distinguished by exceeding purity of
style.
Operas: Philanis (libretto by H. Erler; 1st prize,
International
Competition, Londost prize,
Marua (on 1. Opera's romantic poem;
Warsaw, 1905); 3 str. 4tets; several orch. compns.;
11 pf. pieces and 5 for vn.-ZD. J.
STAVENHAGEN, Bernhard. Ger. pianist;
b. Greiz (Reuss), 25 Nov. 1862; d. Geneva,
26 Dec. 1914. Pupil of Kiel, Rudorff and Liszt;
1880, Mendelssohn Prize; 1885, in Berlin; then
Weimar (pupil Liszt); 1890, Grand-Ducal
Court-pianist; 1885, Court-condr.; 1898, Court-
condr. Munich; 1901, dir. of Acad. of Mus.
Art; 1904, resigned; 1907, condr. of Subscrip-
tion Concerts at Geneva. Comp. 2 pf. concertos
(No. 1, op. 4, in B mi.; and No. 2 in A, 1912); pf.
pieces. Many pf. recital tours.-A. E.
STCHERBACHEF, Vladimir Vladimirovitch
(accent 3rd syll.). Russ, compr. b. 24 Jan. (n.8.),
1889. Pupil of M. Steinberg at Petrograd Cons.
of Music.
2 symphonies; 2 pf. sonatas; nonet for str. 4tet,
harp, pf. solo v. solo dance and Light; some pf.
pieces and songs. Some of his pieces are publ. (Russ.
State Music Publ. Dept.).-V. B.
STEIN
and books on Mahler, whose importance he was
G. Mahlers Erbe
one of the first to assert.
STEFĂNESCU, G. See RUMANIAN OPERA.
STEGGALL, Reginald. Eng. compr. and orgt.
b. London, 17 April, 1867. Stud. R.A.M. (compn.
under Sir G. A. Macfarren and E. Prout; pf.
under H. R. Eyers and O. Beringer; organ under
his father, Dr. Charles Steggall); Balfe R.A.M.
Scholar for compn. 1887; organ prof. R.A.M.
1895 up to the present; succeeded his father as
orgt. Lincoln's Inn Chapel, London, in 1905;
has produced many choral works there (Parry,
Elgar, Brahms, Schumann [Requiem), Holst).
Hon. Fellow, R.C.O. 1920. As a compr. his
works between 1899 and 1907 show the influence
of Wagner; but since then, that influence can
hardly be traced. His 1st Suite and the contr.
scena Alcestis were produced at Crystal Palace
under Manns; Elaine at Queen's Hall at Gran-
ville Bantock's concert, Dec. 1896 (since then,
frequently in Germany and elsewhere); Concert
stück, orch. and organ, at Leipzig and at Paris
(1911). Of the later works, the best are the
Variations for orch. (1908; Bournemouth) and
Phantasy-Overture (1914; ib.). The 5tet for wood.
wind and horn has not yet been performed.
STECKER, Karel. Czechoslovak compr. writer;
b. Kosmonos, 22 Jan. 1861; d. Prague, 15 Oct.
1918. From 1885 prof. at Organ School; from
1889 prof. of history of music, compn. and organ
at Cons. Prague, where most of Czechoslovak
comprs. were both his and Dvořák's pupils.
Wrote Musical Forms (1905); General History
of Music (2 vols. 1892-1903); Thematic Im-
provisation (all in Czech). 1908-18, ed. Hudební
Revue. From 1888, mus. lecturer at Univ. There
are some songs by him-Květy lásky (Flowers
of Love); Písně milostné (Love Songs)-but
his church works are more significant: Missa
solemnis; 16 motets for the chief festivals,
etc. (Fr. A. Urbánek.)-V. ST.
STEFAN, Paul. Austrian writer on music; b.
Brünn, 25 Nov. 1879. Since 1898 has lived in
Vienna. Writer on music, with great zeal for the
propaganda of modern music. Co-founder of
Verein für Kunst und Kultur. President of
Akademische Verband für Literatur und Musik.
Organised at Vienna the first concerts at which
Reger, Mahler, Zemlinsky, Schönberg have been
played. Now chief ed. of Musikblätter des Anbruch
(see PERIODICALS). Of Stefan's works dealing
with music, the most famous are the essays
bio.
(polemic against Weingartner, 1908); Dedica
tions to Mahler's 50th Birthday (1910);
graphy of Mahler (1st ed. 1910; 7th ed. 1920.
Eng. trans. 1913); study on Oskar Fried (1911);
History of the Vienna Opera (1922). Very in
teresting is his chronicle Das Grab in Wien (1913)
dealing with the period 1903-11 and its artistic
events. St. is an excellent writer, who always
fights for new talent with great vivacity and
energy. He has written many of the Austrian
articles in this Dictionary.-EG. W.
Concertstück, organ and orch. (Breitkopf); Elaine,
scena for contr. and orch. or pf. (id.); Magnificat and
Nune Dimittis, solo, chorus, orch, and organ (Novello);
3 pieces, pf. (Rogers); 5 pieces, pf. (Stainer & Bell):
Suite, organ (Schott); 4 Shakespeare songs; Lullaby
(Novello). In ms.: Dramatic Prelude; Variations,
orch.; 2 suites; symphony; overture; symph. poem,
orch.: Agnus Dei, 8. pf. vn. harp; scena, contr. and
orch.; Festival Te Deum, vs. and orch.; wind 5tet;
str. 4tet: pf. trio (produced by London Trio in
1920).-E.-H.
STEIN, Erwin. Austrian condr. theorist; b.
Vienna, 7 Nov. 1885. Pupil of Arnold Schönberg
in 1905; then condr. at various Ger. theatres.
Lives now in Vienna; first coach of Verein
für musikalische Privataufführungen (Soc. for
Private Mus. Perfs.). Condr. of Schönberg's
Pierrot lunaire (alternately with Sch. himself).
Publ. an Introduction (Leitfaden) to Schön-
berg's Harmony (for teaching use) (1923, Univ.
Ed.). Also arts. on Schönberg for the Merker
(Vienna), on Alban Berg and Webern in Ches-
terian (London, 1922).-P. ST.
STEIN, Fritz. Ger. condr. and writer on
music; b. Gerlachsheim, Baden, 17 Dec. 1879.
Stud. theology and science of music; 1902, music
exclusively; assistant to Philipp Wolfrum,
Heidelberg; then stud. at Leipzig Cons. and
privately under Straube; 1906, successor to
Ernst Naumann as dir of mus. Jena Univ.;
1910, doctor's degree at Heidelberg; 1913,
prof.; 1914, succeeded Max Reger as Court-
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STEIN
condr. at Meiningen, till dissolution of orch.;
1918, orgt. of St. Nicolai Ch. Kiel; prof.-extra-
ordinary of mus. science at Univ. Condr. orch.
concerts of Soc. of Friends of Music and Oratorio
Soc. there. Discovered the orch. parts of a
symphony which he attributed to the young
Beethoven and publ. as Jena Symphony, for
which consult Stein's explanation in I.M.G.,
Vol. XIII: An Unknown Youthful Symphony of
Beethoven. Publ. History of Music in Heidelberg,
1912; new ed. (1921) as History of Musical Life
at Heidelberg up to end of XVIII Century.-A. E.
STEIN, Richard H. Ger. author and compr.
b. Halle-o-S., 28 Feb. 1882. Stud. law in Berlin;
then music at R. High School; graduated at
Erlangen, 1911, with Psychological Foundations
of Ethics; wrote pamphlet La Musica Moderna
(Barcelona, 1918, Ger.-Span.); monograph on
Grieg (1921, Deutsche Verlags-Anstalt); one
on Tchaikovsky in preparation. Composed
numerous pf. pieces and songs; endeavoured
to introduce quarter-tone intervals in music;
wrote on this subject in mus. journals; publ.
compns. on this system (op. 26, 2 pieces for cello
and pf.); has had a quarter-tone clar. and a
small quarter-tone pf. constructed for his
experiments.-A. E.
STEINBACH, Emil. Ger. condr. b. Lengen-
rieden (Baden), 14 Nov. 1849; d. Mayence,
6 Dec. 1919. 1867-9, pupil of Leipzig Cons.;
1869-71, of Hermann Levi, Carlsruhe; 1871-4,
2nd condr. Mannheim, temporary 1st condr.
Hamburg; till 1877, Court-condr. at Darmstadt;
town condr. at Mayence; 1899, condr. of Stadt-
theater; 1893 at Covent Garden, London;
1910, retired from conducting. Comp. chamber-
music, orch. works (several symph. poems and
overtures), and songs.-A. E.
ŠTĚPÁN
songs, etc. (Belalet; Jurgenson). Has completed
Rimsky-Korsakof's Handbook of Orchestration and
seen it through the press (Eng. transl. by Agate;
London, 1922, Russ. Music Co.).-M. D. C.
STEINHARD, Erich. German-Czechoslovak
compr. b. Prague, 26 May, 1886. Stud. music
under dir. of Cons. (Knittl) and Vítězslav Novák
in Prague; science of musio under Rietsch
(Prague), Kretschmar, Friedlaender, Wolf (Ber-
lin); 1911, Ph.D. (for treatise on Organum);
resides in Prague. 1911, Univ. librarian; 1918,
member of Ger. State Commission for music
examinations; 1920, prof. of history of music and
resthetics at Ger. Acad. of Music and Descriptive
Art; 1921, chief ed. of Auftakt (a mus. journal
for the Czechoslovak republic, dedicated in the
first place to modern music). Dr. Steinhard is
responsible, with Dr. Václav Štěpán, for the
Czechoslovak articles in this Dictionary.
STEINBACH, Fritz. Ger. condr. b. Grünsfeld
(Baden), 17 June, 1855; d. Munich, 13 Aug.
1916. Brother of Emil St.; pupil of brother and
of Leipzig Cons. (1873), of Lachner, Carlsruhe,
and of Nottebohm, Vienna; gained Mozart
scholarship; 1880-6, second condr. Mayence;
1886, Court-condr. Meiningen; 1902, succeeded
Wüllner at Cologne as town-condr. and dir. of
Cons. As condr. of Meiningen Court Orch.,
Steinbach undertook numerous concert-tours;
was a celebrated Brahms condr.; 1914, resigned
Cologne position and went to Munich. Comp.
7tet (op. 7), cello sonata, songs, etc.-A. E.
STEINBERG, Maximilian Osseievitch.
compr. b. 7 July (n.s.), 1883. Pupil of Rimsky-
Korsakof at Petrograd Cons. (1908); now prof.
there (from 1908). His early works show the
influence of Glazunof, even more strongly than
that of Rimsky-Korsakof, and a great technical
ability combined with a not unoriginal but
essentially classical temperament.
Russ.
The Early History of Part-Singing Archives of
Science of Music, 1921); Report of First Congress of
Esthetics and Gen. Science of Art (Archives of Psycho-
logy, 1914): Andreas Hammerschmidt (Prague, 1914);
Studies of Modern Music: Schönberg, Keussler, Finke,
Zemlinsky;
1912, 1916, 1915ressionism (Neue Musikzeitung,
1922); Auftakt (1921, 1922); Mus.
Almanac of Czechoslovak Republic, 1922; Die Musik
(1922), etc.-V. ST.
STENHAMMAR, K. Wilhelm E. Swedish
compr. pianist, condr. b. Stockholm, 7 Feb.
1871. Stud. under Richard Andersson (pf.), Emil
Sjögren, Dente, Hallén and at R. Cons. Stock-
holm; was orgt. at Fr. Reformed Ch. in Stock-
holm, 1890-2; then stud. pf. under Barth (Ber-
lin, 1892-3). Début with his first pf. concerto in
Stockholm, 1893; then distinguished himself as
solo-pianist and chamber-music player. Mem-
ber of Tor Aulin Str. Quartet. As compr.,
appeared (1892) with cantata Prinsessan och
svennen (Princess and Page); 1897-1900, condr.
of Philh. Soc. Stockholm; 1900-1, of R. Theatre
(Opera); 1904-6, of New Philh. Soc.; stud. in
Italy, 1906-7; from 1907, 1st. condr. of Gothen-
burg Orch. Soc. Member R.A.M. Stockholm,
1900. Ph.D. h.c. Gothenburg, 1916. His 2nd pf.
concerto was perf. at Queen's Hall, London,
under Sir Henry Wood in 1924.
overture,
Operas: Tirfing (Stockholm, 1898); Gildet på
Solhaug (Stuttgart, 1899; Stockholm, 1902). Sym-
phonies: No. I in F (1903), No. II, G mi. (1915)
pf. concertos: No. 1,
B mi. (1894)-or
II, D mi. (1909); cantatas and
songs with orch.: Prinsessan och svennen (1892);
Flor and Blancheflor (1895); Snöfrid (1896); cantata
for Stookholm Exhibition, 1897: Ett folk (including
popular song Sverige), 1905; Ithaka (1905); Mid-
vinter (1909); vn. sonata (1901); 5 str. 4tets; pf.
sonata; pf. pieces; Songs.-P. V.
ŠTĚPÁN, Václav. Czechoslovak compr.
pianist; b. Pečky, 1889. Stud. Univ. Prague;
Ph.D; also privately, pf. with J. Čermak,
compn. with Vít. Novák. Further studies in
Berlin and Paris; 1919-22, prof. of aesthetics,
Cons. Prague; writer of essays and criticism in
Hudební Revue; Naše Doba; Revue Musicale,
etc. As a pianist, has given first performances of
many Czech compns. Has played in Germany,
Austria, England, and chiefly in France. Author
of The Musical Symbolism in Programme Music
(1914). Dr. Štěpán is responsible, with Dr.
Steinhard, for the Czechoslovak articles in this
Dictionary.
Pf. 5tet, První jara (First Springs); pf. trio; pf.
Op. 2, Variations, orch. (1906); op. 3, 1st sym-
phony, D, (1906); op. 4, Russalka (Water-Numph),
cantata, solo, female chorus, orch. (poem by Lermon-
tof); op. 5, str, 4tet, A; op. 8, 2nd symphony, B
flat mi. (1910); op. 9, Dramatic Fantasy, orch. (1911);
op. 10, ballet, Metamorphoses (after Ovid), perf. by
Diaghilef troupe, Paris, London; oratorio, Heaven
and Earth, on themes written for it by Rimsky-
Korsakof, text by Bielsky after Byron (1916), ms.;
477
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STEPHAN
fantasy, Teslliré any (Glowing Dreams); str. 6tet;
Pohoda firota (Harmony of Life), pf. and cello; 5 vols.
free arrs, of national songs (publ. Ronart, Lerolle,
Paris; Univ. Ed. Vienna; Hudební Matice, Prague).
E. S.
STEPHAN, Rudi.
Ger. compr. b. Worms,
29 July, 1887; killed in action, 29 Sept. 1915.
Pupil of Karl Kiebitz; later of Bernard Sekles
(at Frankfort-o-M.) and Heinrich Schwartz
and Rudolf Louis (at Munich), in which city
he settled. Stephan was a forerunner of German
"Expressionism" in music.
Music for 7 str. instrs, (pf. harp, 5 strs.), Dantzig
Fest.
Fest.
orch.
1913); Liebeszauber (Love Magic), barit, and
(words by Hebbel); Music for Vn. and Orch.; pt.
pieces; opera, Die ersten Menschen
Franko. 1920).
(The First
erotic mystery (perf
Schott. Consult Karl
Holl,
monthly journal Feuer, Vol. I, Nos.
9-12 (1920); also publ. separately (1921).-A. E.
STEPHANI, Hermann. Ger. writer on music,
compr.
Grimma, Saxony, 23 June, 1877.
Stud. jurisprudence; turned to music, private
pupil of Ad. Hempel, Munich; then of Leip-
zig Cons. (Jadassohn, Reinecke, Homeyer,
Reckendorff); took Ph.D. Munich, 1902 (dis-
sertation, The Sublime, particularly in Music,
and the Problem of Form in the musically Beauti-
ful and Sublime, new ed. 1907). In 1903, establ.
Oratorio Soc. at Sonderburg; condr. of Teachers'
Singing and Orch. Soc., Flensburg, 1905; orgt.
of St. Andrew's Ch.; condr. of Town Choral
Union and Bach Soc. Eisleben, 1906; 1913-14,
condr. of Philh. Choral Soc. Leipzig; 1921,
mus. condr. of Marburg Univ. Publ. compns.,
choruses, songs, etc.; since 1905 he has been
endeavouring to limit mus. notation to the
treble G clef as the only clef, by using octave-
signs; as example of which he publ. the Over-
ture to Schumann's Manfred, in Einheitsparti-
tur (unit-score) (g.v.), 1905,-A. E.
STEPHEN, David. Scottish compr. and
teacher; b. Dundee. The most representative
Scottish musician of first decades of xx century.
His work has been accomplished entirely in his
own country and his creative spirit is really
Scottish. He began as assistant-teacher of music
in Dundee schools; held various posts as orgt.;
cond. Arbroath and Dundee Choral Unions;
gave many organ recitals. When in 1905 the
Carnegie Trust of Scotland instituted their Music
School in Dunfermline, S. was appointed its dir.
and still holds the post. He is a prolific compr.:
Mass; cantatas; chamber-music; part-songs,
etc.-W. S.
STOCK
Trios, pf. and str.: No. I, op. III, op. 104 (
No. II, op. 79 (Leuckart, 1898); 2
105 (id. 1912).
1912); Aus
Italien, er:
Rohlfing;
(Dieckmann;
Simon;
69 (Junne, 1895):
Pr. pieces
Schuberth:
Auther,
Ditson; Pond;
1917): Tempo Icubalo, and Other Essays (id. 1920);
Ethics and Esthetics of poehinpuying
Piano Music, 2 vols. (Ditson,
ed. Modern.
1915).-J. M.
STEWART, Humphrey John. Amer. compr.
b. London, 22 May, 1856. Received his mus.
instruction there. Orgt. in San Francisco from
1886 to 1901; later at Trinity Ch. Boston; St
Dominic's, San Francisco; 1915-6, official orgt.
Panama-California Exposition, San Diego, Cal.,
where under favourable climatic conditions the
experiment was made of giving open-air organ
recitals. Appointed permanently to this posi
tion in 1917 and has since given a long series of
recitals with an unusually large repertoire. Has
written romantic opera Bluff King Hal (J.
Fischer), 2 comic operas (produced San Fran
cisco), His Majesty (1890) and The Conspirators
(1900). For Bohemian Club of San Francisco,
wrote music for open-air perf. in famous Red.
wood Groves: Montezuma (1903), The Crema-
tion of Care (1906) and Gold (1916).-o. K.
Irish compr.
d. there, 24
STERNBERG, Constantine Ivanovitch von.
Amer. compr. pianist; b. Petrograd, 9 July,
1852. Stud. 1865-7 Leipzig Cons. under
Moscheles, Reinecke, Brendel, Richter. 1867,
condr. Brühl Theatre, assistant chorus-master,
Stadttheater, Leipzig; subsequently condr. in
Ger. opera houses; 1872-4, resumed studies as
a pupil of Kullak and Dorn in Berlin and, for a
short time, of Liszt. 1875, Court-pianist and
dir. of music-school at Mecklenburg-Schwerin;
1877, dir. of Coll. of Music, Atlanta, Ga., U.S.A.;
1885, toured Germany, Russia, Asia Minor,
Central Asia and U.S.A. In 1890, establ. own
Cons. in Philadelphia.
STOCK, Frederick August. Amer. condr.
compr. b. Jülich, Germany, 11 Nov. 1872. Son
of a bandmaster from whom he received his
early training; 1886-90, attended Cologne Cons. ;
vn. under Japha, and compn. under H. Zoellner,
Humperdinck, F. Wüllner; 1891-5, member of
municipal orch. Cologne; 1896, went to America
as Ist vla. in Thomas Orch., Chicago; 1901-5
was Thomas' assistant. When Thomas died in
1905, S. was chosen as successor. His methods
of systematic training and conscientious drill
have maintained the orch. (now known as
Chicago Symphony Orch.) on the high plane of
excellence to which Thomas raised it. S. has
comp. works for orch. (2 symphonies; varia-
478
of
STEWART, Robert Prescot.
condr. b. Dublin, 16 Dec. 1825;
March, 1894. Son of librarian to King's Inns,
Dublin. Appointed orgt. (1844) of Christ Church
Cath. and Trinity Coll., Dublin; 1846, condr.
of Trinity Coll. Choral Soc. Vicar-choral at St.
Patrick's Cath. in 1852; in 1861, prof. of music,
Trinity Coll.; also prof. of theory at R. Irish Acad.
of Music; his boundless energy and enthusiasm
did much to raise mus. standard there. For the
Cork 1852 Exhibition he wrote a special ode; at
1870 Birmingham Fest. his Ode on Shakespeare
was given. In 1876, ed. Irish Church Hymnal.
Few musicians of XIX century in Ireland were of
such commanding personality. In Trinity Coll.
it was his influence that raised the value of
the mus. degrees, and imposed a literary test.
Knighted in 1872; Mus.Doc. 1851.
Consult biography by O. J. Vignoles (1898) and
J. C. Culwick's Works of R. P. S. (Dublin, 1902).
W. ST.
Ger.-Czechoslovak compr.
STNIBER, Paul.
6. Nepomuk, 1887. Stud. in Leipzig, and worked
in Germany as condr. at several theatres; now
condr. of Ger. Choral Soc. in Prague.
Str. 4tet, A ma.; vn. and pf. sonata, F' ma.; songs.
with orchestra.-E. S.
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STOCKHAUSEN
tions; symph. poem, Life; 3 overtures); a vn.
concerto; chamber-music for str. (4tet, 5tet,
6tet); songs, vn. and piano pieces. His 1st
symphony (written 1906-8) was 1st perf. by
Chicago Orch. 31 Dec. 1909. On 3 June, 1915, at
Litchfield County Choral Union Fest. in Nor-
folk, Conn., Zimbalist played S.'s vn. concerto
written for this festival. His work, Psalmodic
Rhapsody, for solo, chorus and orch., was perf.
at North Shore Music Fest., Evanston., Ill.,
1921. 1915, Mus.D. h.c. from North Western
Univ.; 1918, member of National Inst. of Arts
and Letters.
Str. 4tet, op. 6 (Rahter, 1910); symph. variations,
orch, and organ, op. 7 (id. 1910); symphony, op. 18
(Breitkopf, 1912).-O. K.
STOCKHAUSEN, Franz. Ger. choral condr.
b. Gebweiler, 30 Jan. 1839. Brother of Julius.
Stockhausen; pupil of Alkan, Paris; 1860-2,
of Leipzig Cons. (Moscheles, Richter, Haupt-
mann); 1863-6, chief condr. at Thann, Alsace;
1866-8 at Hamburg (with brother);
condr. of Société de Chant Sacré and of Strasburg
Cath.; 1871, dir. Strasburg Cons. and Town
Concerts; 1879, gave up direction of Church
Choral Soc.; 1892, R. prof.; 1907, retired from
public life.-A. E.
1868,
STOCKHAUSEN, Julius. Singer and teacher
of singing; b. Paris, 22 July, 1826; d. Frankfort-
o-M., 22 Sept. 1906. Son of harp virtuoso
Franz St.; pupil of Paris Cons. and of Manuel
Garcia, London; 1862-7, cond. Philh. Con-
certs and Singakademie, Hamburg; 1869-70,
Kammersänger, Stuttgart; 1874, dir. Stern
Choral Union, Berlin; 1878-9, singing-master
at Hoch's Cons. Frankfort-o-M.; then dir. of
own school of singing there. Publ. Method of
teaching Singing (2 vols. 1886-7; Eng. Novello).
St. was one of the first interpreters of Brahms'
songs.-A. E.
STOKOWSKI
recitalist and as soloist under Edvard Grieg,
Henry J. Wood and Hans Richter in London,
Manchester and the provinces. She has been
decorated with the Danish Ingenio et Arti, the
Mecklenburg Gold Medal of Merit, etc.-A. H.
STOESSEL, Albert Frederic. Amer. violinist,
condr. b. St. Louis, Mo., U.S.A., 11 Oct. 1894.
Stud. vn. under Willy Hess and Emanuel Wirth
at Hochschule, Berlin. Afterwards member of
Willy Hess Str. Quartet. First appeared in
America, 19 Nov. 1915, with St. Louis Symphony
Orch. During European war was teacher of con-
ducting at Amer. Expeditionary Force Band-
masters' and Musicians' School, Chaumont,
France. Since 1921, condr. of Oratorio Soc.
New York. Head of mus. dept. New York
Univ. in 1923. Officier de l'Académie.
Sonata in G, vn. and pf. (Boston Muslo Co. 1921);
Hispania, sulte for pt. (C. Fischer, 192Unpubl.: str.
pleces
vn. (C. (perf. Berlin, 18 May, 1914): str. 5to.
4tet, D ma.
Author of
C mi. (perf. Amsterdam, 10 July, 1915).
The Technic of the Bâton (C. Fischer, 1920).-J. M.
STOCKMAN, David G. Swedish t. operatic
singer; b. Gothenburg, 30 Nov. 1879. Stud.
under H. Hoffmann in Breslau; début R. Opera,
Stockholm (1906-7), as Wilhelm Meister (Mignon)
Lionel (Marthe) and Fernando (La Favorita);
then engaged regularly. S. has a very clear,
high lyric t. voice, much intelligence and a
large repertoire: Romeo, Faust, Raoul,
Lohengrin, Walther, Tristan, Parsifal, Tamino,
Fra Diavolo, Alfredo (La Traviata). He created
in Stockholm the parts of Marouf, André Chénier,
Herman (Pique-Dame) and Gennaro (Jewels of
the Madonna).-P. V.
STÖHR, Richard. Austrian compr. b. Vienna,
11 June, 1874. Graduated Doctor of Medicine
in 1898. Then followed a mus. career. Stud.
under Robert Fuchs. Assistant-teacher (1901),
prof. (1904) at Cons. (now Acad. of Music) for
harmony and compn. Many pf. works; chamber-
music, songs; symph. choruses; fairy-operas
and instruction-books.
Belongs to the old
classical school.-H. B.
STOJOWSKY, Sigismund Denis Antoine.
Polish pianist; b. Strzelce, 14 May, 1870. Stud.
pf. under Żeleński in Cracow. 1887-9 at Paris
Cons. under Diémer (pf.) and Dubois and
Delibes (compn.). Later a pupil of Paderewski;
1891, gave concert of own compns. with Colonne
Orch. in Paris, producing pf. concerto in F sharp
mi. and Ballade for orch. Thereafter lived
chiefly in Paris; recitals in France, Belgium,
England and Poland; 1905, went to New York
where, until 1911, was head of pf. department of
Inst. of Mus. Art; 1911-17, taught at Von Ende
School. 1913, an extended tour in Europe,
performing his own works (playing his 2nd pf.
concerto under Nikisch in London).
Symphonique, p. 3 (S. Lucas, 1893); Rapsodie
Suite in E flat, orch. op. 9 (Stanley Lucas, 1893);
symphony in D mi. op. 21 (Peters, 1901); 1st pf.
concerto, F
pt. and orch. op. 23 (Peters, 1907);
Prologue, Scherzo and Variations, pf. and orch. op. 32
(2nd pf. concerto) (Heugel, 1914); vn. concerto in G,
op. 22 i
1908); Variations and fugue, str.
4tet, an Schicas, 1891); vn. sonata in G, op. 13
(id. 1894); 2nd vn. sonata in E, op. 37 (Heugel, 1912);
cello sonata, op. 18 (Schott, 1898); Le Printemps
STOCKMARR, Johanne. Pianist to Danish
Court; b. Copenhagen, 21 April, 1869. Comes of
well-known Danish mus. family; pupil of Edvard
Helsted and R. Cons. of Music, Copenhagen.
Later stud. under Fissot (Paris), and Fr. Neruda
(Copenhagen). Début 1889, at chamber-music
concert given by R. Danish Chapel, Copenhagen;
at once secured a position amongst the fore-
most pianists by her great technical ability and
beauty and purity of style. Has played often
in England (with Lady Hallé, London, 1900;
also the Monday Popular Concerts, London).
Subsequently numerous concerts in London as
479
Lucas, 1895), and
vocal score [Eng.), Novello, 1905);
Prayer for Poland, chorus and orch. op. 40 (Schirmer,
1916); Euphonies, 6 songs, op. 33 (id. 1921). Many
pf. pleoes (Heugel; Petera; Lucas; Schmidt).-O. K.
STOKOWSKI, Leopold Anton Stanisław.
Condr. b. London, 18 April, 1882, of Polish
parentage. Stud. vn., pf. and organ in England,
France and Germany. From 1905-8, orgt. St.
Bartholomew's, New York. Condr. of Cin-
cinnati (O.) Orch. 1909-12. Since 1912, condr. of
Philadelphia Orch., introducing many new works:
Mahler's 8th symphony and Das Lied von der
Erde, Rabaud's 2nd symphony, Schönberg's
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STORCHIO
Kammersinfonie and Fünf Orchesterstücke, etc.
His own Dithyrambe, for fl. cello, harp, was
played in Philadelphia, 15 Nov. 1917. Married
pianist Olga Samarof in 1911. Mus. Bac. Oxon. ;
Mus. Doc. h.e. Univ. of Pennsylvania 1917;
F.R.C.M. A.c. 1924.-J. M.
STRAUS
(1892); vn. concerto, D ma. op. 36; symphonies
(G ma. op. 22: D mi. op. 27; A ma.; G ma, op. 46):
orch. suite, Spring, op. 28: pf. suite, D ma. op. 23
Rhapsody, op. 21: pf. and vn. sonata, op. 32: .
trio, D ma.; works for pf. and for str. Instrs.; female
choruses op. 21; songs op 13b, 20, etc.-A. E.
STRANGWAYS.-See Fox-STRANGWAYS.
STRANSKY, Josef. Condr. b. Humpoléč,
Bohemia, 9 Sept. 1872. Stud. medicine at Univs.
of Prague, Vienna and Leipzig. Pursued music
contemporaneously under Fibich and Dvořák
in Prague, Jadassohn in Leipzig, Fuchs and
Bruckner in Vienna. Qualified in medicine,
1896; but thereafter devoted himself wholly
to music; 1898, condr. in Angelo Neumann's
Ger. opera in Prague; 1900, went to Stadt-
theater, Hamburg; 1909, cond. concerts of
Blüthner Orch. in Berlin; 1910-11, of Verein
der Musikfreunde, Dresden. 1911, called to
succeed Mahler as condr. of New York Philh. Soc.
Resigned 1923 and became condr. of State
Symphony Orch. in New York.
2 Symph. Songs for medium voice and full orch.
(Simrock,
songs (Simrock, 1896; Harmonie-
verlag, 1908).-0. K.
STRAUBE, Karl. Ger. orgt. and condr. b.
Berlin, 6 Jan. 1873. Pupil of Heinrich Reimann
(organ), Ph. Rüfer and Albert Becker; 1894,
appeared as organ-virtuoso; 1897, orgt. at St.
Willibrord's Cath. Wesel; 1902, orgt. St. Thomas'
Ch. Leipzig; 1903, dir. of Bach Soc. Leipzig;
1904, cond. 2nd Ger. Bach Fest.; 1908, Leipzig
Bach Fest, as well as later Bach Fests. (1911,
at Cons.;
1914, 1920); 1907, organ-teacher
1908, R. Saxonian prof.; 1918, Precentor of
St. Thomas' School; 1919, brought about union
One of
of Gewandhaus Choir and Bach Soc.
first to produce Max Reger's organ works.
Publ. (all by
works (arr. by Sters): New ed. of Liszt's organ
Old Orgun Masters (1904);
45 Choral Preludes of the Old Masters (1907): Bach's
Magnificat (1909); Handel's Deltingen Te Deum
(1913); new ed. of Bach's organ works (only partly
publ.). Consult G. Robert-Tornow, Max Reger and
K. Str. (1907).-A. E.
STRAUS, Oscar. Austrian compr. b. Vienna,
6 April, 1870. Pupil of Grädener (Vienna) and
Max Bruch (Berlin); condr. of many provincial
theatres from 1895 to 1900. Chief condr. and
compr. at the cabaret Überbrettl (q.v.), founded
by E v. Wolzogen, whose members included
the famous poets, Frank Wedekind and O. J.
Bierbaum. For their stage-pieces, St. wrote many
musical numbers. Formerly a serious compr.
(orch. works) he turned to light compn., and is
now one of the most widely known operetta-
composers. His style is different from that of
Lehár and Fall. He began with satirical stories
in the Offenbach manner, where he makes fun
of the classical music-tragedies; then he wrote
some Viennese waltz operettas; now he makes
much use of the modern dances (shimmy, fox-
trot). His work is pleasing and artistic.
Serious works: Overture to Grillparzer's Der
Traum ein Leben (orch.); Serenade (str. orch.); vn.
sonata, op. 33 (A mi.). Comic
Mann (The Black Man), 1903: Dis: Der Schwarze
gräfin (1919). Serious opera, Colombine, perf. Berlin,
1904. Operettas (parody (Berlin, 1905); Hugdie
Doblinger, Vienna): Die
lustigen Nibelungen,
trichs Brautfahrt (Vienna, 1906); Ein Walzertraum
(A Walls Dream), his best work (1907); Der tapfere
Soldat (Vienna, 1908); Rund um die Liebe (1914).
480
STORCHIO, Rosina, Ital. s. singer; b.
Mantua, 19 May, 1876. One of most esteemed
living Ital. lyric sopranos. Pupil of Cons. of
Milan. Début in Milan at the Dal Verme Theatre
in Carmen. Has sung at the principal theatres
in Italy and America (for 10 seasons at La Scala).
Repertoire is very extensive, ranging from Son-
nambula
La Traviata, Mignon and Don
Giovanni.-D. A.
STORM, Katinka. Norwegian operatic and
concert-singer (m.-sopr.); b. Nes, Upper Rome-
rike, 18 Nov. 1887. Pupil of W. Kloed and Ellen
Gulbranson, Christiania. Stud. in winter 1913-14
under C. Kittel, Bayreuth; afterwards under
Wilhelm Herold, Copenhagen. Début on stage
at Bayreuth Fest., summer of 1914 (Ortlinde in
Valkyrie); first concert, autumn of 1914 in
Christiania. Has sung several Wagnerian parts
at Stuttgart Opera House, Carmen in National
Theatre, Christiania; was engaged at Opéra-
Comique in that city, 1918-20. Best rôles:
Recha (The Jewess), Venus (Tannhäuser), and
Fidelio. Married in 1920 Arthur Squire Foxall.
Lives at Hartlepool, England.-U. M.
STORM, Nanne. Norwegian pianist; b. Hor-
ten, 31 Aug. 1873. Pupil of Copenhagen Cons.;
of Agathe Backer-Gröndahl, Christiania; of
Busoni, Berlin; of Delaborde, Paris. Début-
concert in Christiania, 1900. Concerts in Nor-
wegian cities, in Paris, London, Copenhagen and
Stockholm. A zealous worker for improvement
of position of Norwegian music-teachers.-U. M.
STORTI, Riccardo. Ital. compr. b. Warsaw
(Poland), 26 Jan. 1873. Pupil of Milan Cons.;
teacher of compn. in Rome at Istituto Nazionale
di Musica. Compr. of operas, Venezia (Palermo,
1907); Sobeys; and Leonardo (not yet perf.);
much symph. and chamber-music.-D. A.
STRACCIARI, Riccardo. Italian baritone; b.
Bologna in 1875. One of best-known living Ital.
baritones. Stud. at Liceo at Bologna. Has sung
at all principal theatres of the world, and has a
very extensive repertoire. Created the barit.
part in Il Segreto di Susanna (Wolf-Ferrari).
-D. A.
STRADAL, August. Ger.-Czechoslovak pianist
and compr. b. Teplitz, 1860. Pupil of Bruckner
and Liszt; teacher; resides at Schönlinde
(North Bohemia).
Pf. arr. of Liszt's orch. works, and clavier music
of Bach, Handel, Buxtehude, Frescobaldi, etc. Songs;
pf. pieces. Biography of Liszt (in preparation).-E. S.
STRAESSER, Ewald. Ger. compr. b. Bur-
scheid, 27 June, 1867. Pupil of Wüllner, Cologne
Cons.; teacher of cpt. at Inst.; 1918, R. prof.;
1921, teacher at Cologne Univ.; 1921, teacher
of compn. at Stuttgart Acad. As compr. he be-
longs to the Brahms school.
Str. 4tets (op. 12 [I, II, 15, 42); pf. 5tet, F sharp
mi. op. 18; clar. 5tet, G ma, op. 34; symph. fantasy
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STRAUSS
Modern:
Liebeszauber (Berlin, 1916): Der letzte
Waltzer (Vienna, 1920; as The Last Waltz, London,
1922-3); Nirchen (Berlin, 1921), and many others.
Ballet, Die Prinzessin von Tragant (1912).-P. P.
STRAUSS, Edmund von. Ger.-Czechoslovak
musician; b. Olmütz, 1869. Musician in orch. of
Royal Opera, Berlin.-E. S.
Until
STRAUSS, Eduard. Austrian composer; b.
Vienna, 15 March 1835; d. there 28 Dec. 1916.
Son of Johann Strauss, sen. Stud. under Sechter
(theory) and Parish-Álvars (harp). Began as
condr. 1859 at a triple ball, where 3 bands
played, each conducted by a Strauss.
1870 cond. the orch, together with his brother
Josef, after whose death he carried on alone;
but dissolved the famous Strauss-Kapelle in
1901, and in 1906 burned the valuable orch.
material, containing the special arrs. of the
Strauss family written for their own band-an
immeasurable loss the historian of dance-
music in XIX century Vienna. Eduard was the
least talented of the family, and with him the
tradition ended.-Eo. W.
STRAUSS, Johann, jun. Austrian compr. b.
Vienna, 25 Oct. 1825; d. Vienna, 3 June, 1899.
Son of Johann Strauss, sen., who created (with
Josef Lanner) modern Viennese dance-music.
Johann Strauss, jun., with his brothers Josef
and Eduard, continued this tradition and made
the Viennese waltz world-famous. On his father's
death (1849) he took charge of his orch, and
visited Berlin, London, Paris, America, con-
ducting his own works. Stimulated by Offen-
bach, he comp. an operetta in 1871 (Indigo;
1st perf. 10 Feb. 1871, Vienna, Theater an der
Wien; new libretto, 1901, under the name
Thousand and One Nights). It failed on account
of its poor book. Fledermaus (1874; revised
as La Tsigane, Paris, 1877) succeeded. 1876,
went to America. Perf. Donauwellen Valse in
Boston with chorus of 20,000 singers. Next
great operetta success, Der Zigeunerbaron (1885;
libretto by Schnitzer). In 1892, Ritter Pasman,
an opera which failed on account of its book.
Fürstin Ninetta (1893), Jabuka (1894), Wald-
meister (1895) Die Göttin der Vernunft (1897)
had little success, though the dances from them
became popular.
479 waltzes, polkas and quadrilles. Op. 1 was Sinnge-
dichte Valse (1844); the most famous are: Windsor-
Klänge, op. 104 (dedicated to Queen Victoria, 1851);
An der schönen blauen Donau (Blue Danube), op.
Wein, Weib, und Gesang, op. 333 (1869);
214 (1867immen, op. 410 (1881); Klänge aus der
Raimundzeit, op. 479 (1898). Consult, biographies
by Eisenberg (Leipzig, 1894), Procházka (1900),
E. Decsey (Stuttgart, 1922).-EG. W.
STRAUSS, Josef. Austrian compr. b. Vienna,
22 Aug. 1827; d. there, 21 July, 1870. Brother
of Johann Strauss, jun. Started as an engineer,
but left that calling for music. His first waltz,
1853. From 1863, cond. his brother's band
during the latter's absences from Vienna. As
a compr. he is not inferior to Johann, only his
waltzes are more sentimental and romantic. An
operetta, Frühlingsluft, with music arr. from his
tunes, was produced in Vienna, 1905.-EG. W.
STRAUSS, Richard.
Munich, 11 June, 1864.
21
German composer; b.
Son of Franz Strauss
STRAUSS
(b. 26 Feb. 1822; d. 31 May, 1905), Royal
Kammermusikus (horn-player) in Munich Court
Orchestra. Pupil of Benno Walter (violin),
Court Kapellmeister F. W. Meyer in Munich.
In 1885, Hans von Bülow brought him as Court
music director to Meiningen, where Alexander
Ritter won him over to the ideals of the "Music
of the Future." When Bülow left (end of 1885),
Strauss himself took over the orchestra; but
1886, he was called to Munich as 3rd Kapell-
meister (Hofmusikdirektor), going, 1889, to
Weimar as Court conductor (along with Lassen).
1894, went as Court conductor to Munich, and
in the same capacity to Berlin in the autumn
of 1898, becoming, 1908, general music director,
and, 1917-20, director of an academic advanced
school of composition at the Royal High School
for Music. 1919, was called to Vienna as director
of the State Opera. In 1894, Strauss married
the s. singer Pauline de Ahna, who created the
rôle of Freihild in Guntram. Richard Strauss
is, in a certain objective sense, the most repre-
sentative composer of latter times. He is one
of the most natural and fertile musicians that
ever lived-an artist who discovered for music
quite new artistic means, and whose far-re-
nowned and eminent skill in instrumentation
is simply the natural expression for his poly-
melodic, harmonic, rhythmic ventures. Above
all, Strauss has raised the art of thematic de-
velopment to the very highest virtuosity, with-
out ever in principle forsaking the basis of
tonality, or rational principles generally.
Strauss's limitations lie in the sphere of the
psychological. He is in the finest and highest
sense of the word a composer depending on
externals. His development passed from a
classical beginning (Mendelssohn, Brahms) to
a neo-Wagnerian style (Guntram), while in
his programme-music he raised the Berlioz-
Liszt to still further heights. In opera Strauss
proceeds from the orchestral opera (Feuersnot,
Salome, Elektra) via musical comedy to his
fairy-opera, The Woman without a Shadow. His
best works are those in which intellect and wit,
rather than pure sentiment, are pre-eminent,
as in the symphonic poem Till Eulenspiegel,
sparkling with wit; and in the field of opera, the
fine, artistic musical parody Ariadne in Naxos.
(Univ. Ed. unless otherwise indicated.)
Fest.
March, E op.
ma. op. 2;
Do ml. symphony (ms): str. 4tet, A flat m
5 pt. pieces, op. 3; pf.
sonata, op. 5 (B ml.); Stimmungsbilder for pf. op. 9;
fugue, A mi. for pf. (without op.); Burlesque,
sonata,
F
ma, op. 8; horn concerto, op. 11; Wanderers
Sturmlied, op. 14 (for 6-v. mixed chorus with orch.);
Taillefer, soll, chorus and orch. (1903); pf. 4tet,
op. 13; overture, C mi. op. 4, orch.
Symph. poems: Don Juan, op. 20 (1889); Death
and Transfiguration, op. 23 (1890); Macbeth, op. 24
(1891); Till Eulenspiegel, op. 28 (1895); Thus spake
Zarathustra, op. 30 (1896): Don Quixote, op. 35
1898); Ein Heldenleben, op. 40 (1899; 1st perf. in
England, Queen's Hall Symph. Cop. 12: programme-
1902,
under compr.); symphony, F mi.
symphony in 4 movements, Aus Italien, op. 16;
Sinfonia Domestica, F ma. op. 53 (1904); and
Alpine Symphony, op. 64 (1915; 1st perf. in England,
1923).
Operas: Guntram, op. 25 (Weimar, 1894); Feuers-
not, op. 50 (Dresden, 1901); Salome, op. 54 (1-act,
Dresden, 1909; text by Oscar Wilde); Elektra, op. 58
481
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STRAVINSKY
(Dresden, 1909; text after Sophocles by Hugo von
Hofmannsthal, who thenceforward collaborated with
Strauss as librettist); The Rosenkavalier,
(Dresden, 1911); Ariadne in Nazos (Interlude to
Mollère's Bourgeois Gentilhomme), op. 60 (Stuttgart,
1912; re-arr. 1917, Dresden); Joseph Legend, op. 63
(pantomime, Paris, 1914; 1st Ger. perf. Berlin, 1921);
The Woman without a Shadow, op. 65 (Vienna, 1919);
comic play-opera, Intermezzo (text by Strauss); ballet-
pantom. Schlagobers (Whipped Cream; Vienna, 1924).
2 songs for 16-part mixed chorus unacc. (op. 34);
2 military marches, op. 57 (Peters); Festival Prelude
for orch. op. 61: German Motets, op. 62: songs,
op. 10, 15, 17, 19, 21, 26, 27, 32, 36, 37, 67, 68, 69, 71,
Der Krämerspiegel (1921 publ.). Str. also ed. Gluck's
Iphigenia in Tauris, and co-ed, with H. Rüdel 2 vols.
of his father's posthumous works (Studies for horn,
Leipzig, Eulentalogue of the works of Str. has
STRING QUARTET
occurring simultaneously are made clear by an
element of contact which is endowed with all
the virtues of a tonic, fulfilling the function of a
pole from which the harmonies radiate" (E.
Ansermet in Revue Musicale, July 1921). Prob.
lems of this or similar order arise from the study
of other contemporary composers such as Schön-
berg, Bartók, etc. There is no doubt that Stra-
vinsky has undergone Schönberg's influence, but
only in a very general manner. His recent in-
novations are described by certain writers as
extremely pregnant; by others (e.g. Ernest New.
man, Musical Times, Nov. 1920, and in various
other articles) as transparent and devoid of
further significance.
Besides the aforementioned works, Stravinsky
has written:
symphony, E flat
(1911); The
Shepherdess, suite, pf. and v.: 3 Japanese songs for
v. piccolo, fl. clar, str. pf.: Rag-Time for 11 instrs.;
Les Noces villageoises, divertimento for soli, chorus,
orch.; a 1-act comic opera Mavra (on a novel of
Pushkin): Stet for wind instrs.
Pulcinella (ballet with v.-part
(1906, ms.); pieces for str.
for str. 4tet (1920); Astral C915); Concertino
D. C.
concerto (Paris, May 1924), Paris. Oct. 1923); pf.
STREICHER, Theodor. Austrian compr. b.
Vienna, 7 June, 1874, of an old family of
musicians. An ancestor of his helped Schiller to
fly from the Karlsschule after having written his
play Die Räuber, and afterwards founded a pf.
He stud. acting at first;
factory at Vienna.
then singing; did not begin his theoretical
education till 1896, at Dresden, and afterwards
at Vienna. In the beginning of a
new mus.
era in Vienna (about 1900) he attracted atten-
tion by his songs and choruses, which have a
personal character and show a rich but un-
cultivated talent. They lack technique. All
publ. by Breitkopf.-EG. W.
A complete
been publ. by R. Specht (1911), the author of the
most comprehensive appreciation of Str.-R. Str.
and his Work (2 vols, Vienna, 1920, E. P. Tal).
Consult: A. Seidl and W. Klatte, R. Str. (1896):
G. Brecher, R. Str. (1900); E. Urban, Str. contra
1911), and R. Str. and his Time (Leipzig, 1914);
R. S
O. Bie, Modern Music and R. Str. (1906 and
(1907); H. W. von Waltershausen, R. Str.
(Munich, 1921); E. Newman, R. Str. (London, 1908),
and his Musical Studies (London, J. Lane).-A. E.,
STRAVINSKY, Igor Fedorovitch (accent 2nd
syll.). Russian composer; b. Oranienbaum,
5/17 June, 1882. Son of a bass singer in the
Imperial Opera, Petrograd. Studied composition
as a private pupil of Rimsky-Korsakof. His first
work, a symphony (1906), was followed by a Fan-
tastic Scherzo, the tone-picture Fireworks, and a
Dirge in Memory of Rimsky-Korsakof, all three for
orchestra (1908). In 1910 his first ballet, The
Fire-Bird, was successfully produced at Paris by
Diaghilef's Russian company; Petrushka (1912),
the opera The Nightingale (1912), and The Rite of
Spring (1913) followed, the last-named giving
rise, by its extraordinary novelty, to enthusiastic
praises and vehement protests. (In 1915-16 he
visited America.) Similar has been the fate of all
Stravinsky's later works, among which should be
named, especially, Renard (1915), L'Histoire du
Soldat (1917) the Symphonies d'Instruments à
Vent à la mémoire de Claude Debussy (1920),
Mavra (1921) and Noces (1923). It is difficult to
describe here Stravinsky's evolution, and to give
even the substance of the debate which is still
raging around his works from The Rite of Spring
onwards. In the early music, in The Fire-Bird, in
Petrushka, his fundamental originality rests con-
tent with means of expression in which there is
nothing which can be described as incompatible
with the traditions of Russian music as exempli-
fied in the works of Rimsky-Korsakof, Borodin,
and Mussorgsky; therefore, nothing which calls
for particular argument. Even in The Rite of
Spring, despite certain peculiarities of structure.
of idiom, and of colour, there is nothing to render
a revision of the current standards-or more sim-
ply, customs-imperative (e.g. compare this work
with the finale of Borodin's second symphony).
But it is precisely for a revision of this kind that
the enthusiastic partisans of his later manner
call, explaining, for instance, that unity be-
tween metres which have no common measure
resides in a certain rhythmical unit which re-
mains understood," or that when his music is
no longer tonal, nor modal, "different harmonies
STRIEGLER, Kurt. Ger. compr. b. Dresden,
7 Jan. 1886. The son of a Court musician of
Dresden Opera; at 8, choir-boy at Catholic
Court Church Inst.; then stud. at Dresden
Cons. (under Draeseke, Urbach, Kutzschbach);
orch. condr. and teacher of conducting at High
School; succeeded Draeseke as dir. of theatrical
dept. and master of compn. classes. Began career
as condr. under Schuch; 1912, condr. of Dresden
Opera; for 5 years also condr. of Dresden
People's Singakademie.
Symphonies: A mi. op. 12; B mi. op. 16; C sharp
mi. op. 44: chamber-symphony, op. 14; vn. concerto,
op. 15: vn. op.
organ,
Symph. Prelude, full orch. op. 30: Scherzo for 6 solo
tpi. with orch. op.
symphony, G
op 31; pf. and vn. sonata, E mi. op. 5; Theme and
variations, A mi. for pf. and vn. op. 13; pf. 5tet,
op. 28; str. 4tet, op. 38; sonata, pf. and fl. op. 47;
pieces;
many songs and ballads; choral works; 20: music
. op.
The
to Hebbel's Herod and Mariameart (after Änzen-
Cantor of St. Thomas; Hande
gruber).-A. E.
STRIFFLING, Louis. Fr. musicologist; b.
Dijon, 1886; d. 1915. Promised to become one
of best historians of music in young Fr. school.
Quelques musiciens français
Rameau, Berlioz,
musical
Franck (1910); Esquisse d'une histoire du gousique et
en France au dix-huitième siècle (1912);
musiciens de France (posthumous, 1921).-A. C.
STRING QUARTET (Players). See CHAMBER-
MUSIC PLAYERS.
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STROBILION
STROBILION. See SCRIPTURE, EDWARD W.
STRUVE, Carl. Norwegian t. singer; b. Fred-
rikshald, 12 April, 1887. Pupil of Wilhelm Kloed,
Christiania. Début in that city in 1908. Scholar-
ships from State and from Henrichsen's Bequest.
Stud. in 1911 under F. H. von Dülong in Berlin;
in 1914 under von Zur Mühlen in London; after-
wards under N. Bratt in Stockholm. For several
years attached to National Theatre in Christi-
ania as one of its leading vocalists. Principal
rôles: Faust; Don José (Carmen); Wilhelm
Meister (Mignon), and the leading parts in
Rigoletto, Tosca, Madame Butterfly, Lakmé, etc.
Has appeared with success in R. Opera House in
Stockholm, as well as in Bergen, Stavanger and
Trondhjem. His voice is a lyric t. of considerable
power and brilliancy.-R. M.
STRUVER, Paul. Ger. compr. b. Hamburg,
12 Feb. 1896. Pupil of R. High School (under
Juon), and Univ. of Berlin; 1915-17, military
service; later, pupil of W. Courvoisier for compn.
and Hugo Röhr for conducting, in Munich.
Songs; pf. sonata (1919); str. 4tet, E flat, op. 25
(Weimar Mus. Feet. 1920); 1-act opera, Diana's
Wedding (text by O. Spengler).-A. E.
STUART, Elsa Marianne. Swedish musico-
logist; b. Stockholm, 26 April, 1889. B.A. 1909;
stud. history of arts at Stockholm Coll.; history
of music at R. Cons.; pf. under Lundberg
and K. Strömberg. Musical critic on Dagligt
Allehanda, etc. Publ. in Swedish, monographs on
J. S. Bach (1922) and K. Atterberg (1924).-P. V.
STUMPF, Carl. Ger. music-investigator and
psychologist; b. Wiesentheid in Unterfranken,
21 April, 1848. Stud. at Würzburg and Göttin-
gen; 1870, private tutor of philosophy; prof.
at Würzburg, 1873; at Prague 1879; at Halle-
o-S. 1884; at Munich 1889; in Berlin from
1893 till present day.
Psychology of Sound (2 vols. 1883, 1896): The
Problems (1897); History of the
Pseudo-Aristotence in Antiquity (1897); contribu-
(Vol. VI, Consonances): The Beginnings of Music
1898, et seq.
and Con: VIII, New
Researches in
(Leipzig, 1911). Shorter studies include those in
collab. with E. M. v. Hornbostel (Extracts for Com-
parative Science of Music (Munich, Drei Masken
Verlag, 1921).A. E.
of
to Acoustics and Science of a
STYHR, Magnhild. Norwegian pianist; b.
Kristiansand. Made her début at Christiania,
1915. Has since given numerous concerts
throughout country. Is specially interested in
modern French music.-R. M.
SUK
SUCHÝ, Štěpán. Czech violinist; b. Arad'
1872; d. Prague, 1920. Took private lessons and
was member of several orchs. (including one at
Kimberley in 1892). In 1893 joined Prague
Cons. under Prof. Ševčík, being the best teacher
of all his pupils. Prof. there in 1897 until his
death. From 1899 for several years a member
of Czech Trio.-v. ST.
SUDA, Stanislav. Czech compr. b. Plzeňec,
30 April, 1865. Trained for music at Blind
Institute, Prague; is music-teacher at Plzeň.
Operas: U Botich muk (1897); Leketinský kord
(The Smith of Lešetin) (1903, Fr. A. Urbánek); Bar
Kochba (1905), perf. at Plzen and Prague.-V. ST.
SUGGIA, Guilhermina. Cellist. Of Portuguese
and Ital. descent; b Oporto, 27 June, 1888.
First lessons from age of 5 to 15, from father,
Augusto S. In 1904 stud. Leipzig under Klengel
(by the patronage of Queen Amélie). Début at 17
at Leipzig Gewandhaus concerts (under Nikisch).
Then played in every European country in
various kinds of mus. activity. In 1900 (at ago
of 12) was leading cellist of Oporto Orch. and in
local str. 4tet. In 1906, married Pablo Casals
(from whom she received some lessons) and gave
up concert-playing for 7 years. Resumed her
prof. career in 1912 and toured widely. The
perfection of her playing of works of the old
masters has never been equalled. She possesses
two magnificent cellos, one by Montagnana, the
other by Stradivarius. A remarkable portrait
of her was painted by Augustus John in 1923.
In May of the same year, the Govt. of Portugal
conferred the highest order of Santiago da
Espada on her. Resides in London.-E.-H.
SUCHER, Joseph. Condr. b. Döbör, Hungary,
23 Nov. 1843; d. Berlin, 4 April, 1908. Origin-
ally stud. law (Vienna), but changed to music;
Korrepetitor of Court Opera, Vienna and dir.
of Acad. Choral Soc.; later condr. of Comic
Opera; 1876, went to Leipzig Stadttheater
as condr.; married Rosa Hasselbeck (really
Haslbeck; b. Velburg in Oberpfalz, 23 Feb.
1849), and was engaged with her for Hamburg
in 1878.
In 1888, engaged as chief. condr.
Berlin, and Frau Sucher as prima-donna;
retired in 1899. Both were excellent interpreters
of Wagner. Frau Sucher wrote her reminiscences
in 1914. Since 1909 she had taught singing
in Vienna.-A. E.
SUK, Josef.
Czechoslovak composer; b.
Křečovice, 4 Jan. 1874. Studied violin and com-
position at Prague Conservatoire under Benne-
witz, Stecker, Dvořák. One of founders of
Bohemian Quartet (2nd vn.), remaining with
it until now; since 1922 professor at Master-
School for Composition at Prague Conservatoire.
In his early works his expression is based on
Dvořák, though there is a greater gentleness, a
softer sentiment and richer rhythm. He has
a great fund of melody, a sense for beauty of
sonority and an uncommon technical maturity.
His own joys and troubles are reflected oftener
and more clearly than in most authors; the
chief trend of his work is a kind of poetical
autobiography. His love for Dvořák's daughter,
his marriage and early artistic success, im-
parted for a long time a happy, cheerful,
loving, mischievous tone to Suk's music. From
the death of his wife, and then of his father-
in-law, the world of Suk's creation became
quite changed. Deeper thoughts and a higher
spontaneity set in. The majesty and dread of
death and elegiac meditations then inspired his
music. Gradually there is a slow recovery, again
new susceptibilities arise; Nature consoles; his
love of mankind deepens, and all this is comprised
in his last works. In this period Suk's melody
is free from periodicity and symmetry of bars.
The rhythm is enriched by a free elaboration of
each voice, partly by the diverse functioning
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SULLIVAN
of polyrhythm. The harmony escapes all tonality,
develops itself very quickly, the polyphony of
several different harmonic progressions afford-
ing further enrichment.
The instrumentation
is finely cut in chamber-music manner; the
form, though free from all set scheme, is
monumental and logical.
First period: Serenade, str. op. 6; pf. 5tet, op. 8;
str. 4tet, op. 11; music to scenic fairy-tales Raduz
and Mahulena, op. 13; Under the Apple-tree, op. 20:
symphony, op. 14: Fantasy, vn. and orch, op. 24
Q. H. London); Fantastic Scherzo, op. 25, and
choral cycles. Second period: for orch: Asrael, op.
27 Pohádka léta (A Summer Tale), op. Mothe
29
(The Ripening), op. 35. Pf.: O matince
op. 28: Zivotem a snem (Through Life and Dream),
op. 30: Ukolébavky (Lullabies), on. 33: Meditation,
str. 4tet: 2nd str. 4tet, op. 31.-V. ST.
SULLIVAN, Arthur Seymour. Eng. compr. b.
London, 13 May, 1842; d there, 22 Nov. 1900.
Buried in St. Paul's Cath. Chorister, Chapel
Royal, under Helmore in 1854. Publ. a song as
early as 1855. Was the first Mendelssohn scholar
elected, 1856. Stud. at R.A.M. under Bennett
and Goss from 1857, and Leipzig Cons. under
Moscheles, Hauptmann, Richter, Plaidy 1858-61.
Amongst his fellow-students were J. F. Barnett,
Franklin Taylor, Carl Rosa, Dannreuther and
Grieg. The production of Kenilworth at Birming-
ham Fest. 1864, in spite of its poor libretto, was
received very enthusiastically, the interpolated
scene from The Merchant of Venice, "How Sweet
the Moonlight," taking a firm place in the
repertoire of all glee-societies. The overture to
Lalla Rookh was perf. in Leipzig in 1860; that
to The Tempest at Crystal Palace in 1862. He
cond. many series of concerts, the London Philh.
1885-7; Leeds Fest. from 1880. Was principal
of the National Training School for Music (1876-
1881) which afterwards became the R.C.M. Lon-
don. Received Mus.Doc. h.c. from Cambridge
(1876) and from Oxford (1879); Chevalier of the
Legion of Honour, 1878; knighted by Queen
Victoria in 1883.
The genius of Arthur Sullivan was unique. It
may well be questioned if attributes of such rare
quality and a versatility so extraordinary will
ever again be found in combination. Especially
remarkable was the eternal spring of melody
of which he was the creator. It was as un-
failing as the fine sense of humour-often
subtle but always sure which distinguished
so much of his lighter work. Oratorio, opera,
church music, orchestral and dramatic music,
ballads all came fluently from his pen-all
were marked by clarity of expression. In
everything he wrote he betrayed no foreign
influence; he was essentially a British composer
with an individuality that was unmistakable.
Many musicians hold that his finest music is
contained in the big and serious choral works;
others take the view that it is to be found
in his purely orchestral works and dramatic
music. That he was a master in both branches of
the art is an acknowledged fact, and he is re-
spected accordingly. Probably, however, it was
those sparkling, refined, irresistible and entirely
inspired melodies from his comic operas that
484
SUPPÉ
established him firmly in public esteem and en-
deared him to the great majority of music lovers.
Here was art quite as sincere as in the more.
severe works; for there is all the difference
between light good music and light bdd music!
His melodies were beloved by the people, and
he created for them an almost bewildering num.
ber. They accepted him as their leader, and he
never betrayed the trust; on the contrary, he
consistently raised their appreciation for pure,
artistic and refreshing melody. Moreover, it
was melody so deftly woven and wedded to such
delightful harmony that public appreciation
remains to-day more real than ever. As in our
own country, so it is throughout most of the
civilised world.
How is this enduring popularity to be ac
counted for? It is by the fact that Sullivan pos-
sessed so complete and unassailable an equip.
ment. An inspired melodist, a master of har
mony, counterpoint, orchestration and choral
writing in every form-aided by a resolute
application of his genius, Sullivan accomplished
where lesser men merely attempted. Another
gift was his almost uncanny sense of rhythm: it
enabled him, when he willed, to turn into a
swinging melody a lyric, the novel or complex
rhythm of which would have
other composer to despair. This unquestionably
is one of the secrets connected with the living
success of the great Gilbert and Sullivan series.
iven any an-
Sullivan has left an imperishable memory for
all that is healthy, masterly and inspired in the
art of music.
Dramatic works: Coz and Boz; The Contraban-
dista; Thespis; Trial by Jury: The Zoo; The
Sorcerer; H.M.S. Pinafore; The Pirates of Penzance;
Patience The Yeomen of the Guard: The Gondoliers;
Iolanthe: Princess Ida: The Mikado
Ivanhoe (grand on contrabandista); The Grand
Haddon Hall; Utopia; The
Chieftain (revision
L'Ile enchantée;
Duke; The Beauty-Stone;
I music to The Tempest, The Mer
Victoria: inciderry Wives of Windsor, Henry VIII.
of Venice,
Milworth; The Prodigal Son; On Shore and Sea;
The Light of the Wwestival Te Deum; ode. I wish to
and King Arthur. Oratorios and cantatas:
The Martyr of Antioch: The
Golden Legend; a
tune my
Lyre, barit.
with orch. For
in E: overtures: In Memoriam;
orch, eiv in the Sapphire Necklace; cello
K
Marmion; Di
con Also a Te Deum. Jubilate and Kyrie in D:
and hymn-tunes; pf. pieces; songs.-E. G.
SUÑOL, Father Gregorio María. Contemporary
Span. musician; b. in Catalonia. One of leaders
of movement for restoration of Gregorian chant
in Spain. Author of a Méthode Complète de Chant
Grégorien; Analecta Montserratensia (1917), a
transcription of the xIv century codex called
Llibre Vermell.-P. G. M.
SUOMEN LAULU (Finland's Song). An im-
portant Finnish choral soc. founded in 1900 by
H. Klemetti (q.v.).-T. H.
SUPER-HARMONICS. Those overtones of a
note which are furthest out of tune with the
tempered system of tuning. They start with
number 11 of the harmonic series of overtones.
See arts. on HARMONY and HARMONICS.-E.-H.
SUPPÉ, Franz von. Austrian compr. b. Spalato
(Illyria), 18 April, 1819; d. Vienna 21 May,
1895. Stud. at Vienna Cons. (Sechter, Seyfried).
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SURETTE
Wrote about
Condr. Theater in der Josefstadt; then Theater
an der Wien and Carl-Theater.
200 short operettas (1-act) and overtures to
comedies, perf. in the theatre. Also a symph.
Mass, Requiem and well-known overture to
Dichter und Bauer (Poet and Peasant). At the
Carl-Theater he had great success with his 3-act
operettas. He transmitted the Offenbach style.
to the Viennese, and his gay and merry tunes
and rhythmic marches caught the ear of the
man in the street. All the later operettas show
his influence. He has a monument in Vienna
and a fine street is named after him.
"Paragraph 3" (1858); Zehn
1-act opd kein Mann (Ten Girls and no Man)
Boys) (1863); Piqué
89 Flotte Bursche (Galathée (Charming Galatea)
Dame (1864); Die schöne e
(1865); and 175 more. 3-act operettas: Boccaccio
(with local colour of his
(1879); Donna Juanila to native country)
(1880); Die Jagd nach dem Glück (1888); and 28
burlesque music)
others. Consult O. Keller, Fr. e. S. (Vienna, 1905).
-P. P.
SVENDSEN
the most eminent Swiss condr. His oratorio
performances have justly become famous; he
is a real pioneer of modern music. Strauss and
Reger have dedicated to him several of their
best works. In 1912, the Univ. of Basle honoured
him with the Doctorate h.c. His compns., showing
relationship to Brahms, are admirably written as
regards construction and depth of invention.
His most attractive and charming unacc.
choruses figure in repertoire of every male choir
of Switzerland and Germany.
2 str. 4tets (2nd publ. in Swiss National Ed);
str. 6tet: Swiss Symphony (S.N.E.);
, orch.;
Walpurgisnacht, chorus and orch. Numerous songs
and unace. choruses. Mostly publ. by Hug, Leipzig.
-F. H.
SURZYŃSKI, Mieczysław.
Polish organ
compr. and theorist; b. Sroda, 1886. Since 1904,
prof. of organ, Warsaw Cons. Much appreciated
as organ virtuoso; 1909, orgt. of Warsaw Cath.
Has publ. compositions for organ.-ZD. J.
SVENDSEN, Anton Plum. Danish violinist;
b. Copenhagen, 23 June, 1846. Pupil of Fritz
Schram and Valdemar Tofte (Copenhagen),
Lauterbach and Joachim (Berlin), and Massart
(Paris). 1868, member of R. Chapel, Copen-
hagen; from 1895-1910 its leader; 1st vn.
in Neruda Quartet; 1904, prof. at R. Cons.;
dir. 1915; chairman of Chamber-Music Associa-
tion; vice-chairman of Musikforening (Music
Soc.). Has appeared in Sweden and Russia
(Petrograd). His excellent technique and fine
feeling for style has given him a leading role in
Copenhagen musical life.-A. H.
SURETTE, Thomas Whitney. Amer. lecturer;
b. Concord, Mass., U.S.A., 7 Sept. 1862. A.B.,
Harvard, 1891. Stud. under Arthur Foote (pf.),
and J. K. Paine (theory). Held several church
organ posts, 1883-96; thereafter devoted him-
self to lecturing on music. Dir. of music at
Bryn Mawr Coll. 21. A 2-act operetta,
Priscilla (Schirmer), often perf. A romantic
opera, Cascabel, 1st perf. Pittsburgh, 1899.
The Eve of Saint Agnes, dramatic ballad, soli,
chorus, orch., produced 1899 (Novello).
Course of Study on the Development of Symphonic
Music Fed. of Mus. Clubs, 1915); Music and
Life (Houghton Mifflin, 1917); (with D. G. Mason)
The Appreciation of Music (Gray, 1907).-O. K.
SURZYŃSKI, Józef (phon. Soojynski). Polish
music-historian, ed. and compr. of church music;
b. Srem, 15 March, 1851; d. at Koscian as parish
priest and prelate in 1918. In 1879, became
Catholic priest and Doctor of Theology in Rome;
then stud. church music in Ratisbon. In 1881,
condr. of church music in Posen Cath. In 1884,
ed. of the review Muzyka Koscielna (Church
Music), in which he publ. an immense number
of arts. and compns. In 1885, began to publ.
Monumenta musices sacræ in Polonia, contain-
ing most valuable works of Polish comprs. of
XVI and XVII centuries. Publ. in 1891 an im-
portant book on Polish Songs of the Catholic
Church. Also publ. Magister Choralis; Direc-
torium Chori; Cantionale Ecclesiasticum ad
Normam; Ritualis Sacramentorum Petricoviensis
(1897). His compns. are among the best modern
Polish church music.-ZD. J.
SVENDSEN, Johan Severin. Norwegian com-
poser and conductor; b. Christiania, 30 Sept.
1840; d. Copenhagen, 15 June, 1911. Received
his first musical instruction from his father, the
violinist and military musician Gudbrand Svend-
sen. From 1855, earned his own living as military
musician and orchestral player (flute, clarinet
and violin); made concert-tours as violinist in
Sweden and North Germany, 1861-2. In 1863-7,
pupil of Conservatoire in Leipzig (Hauptmann,
David, Reinecke and Richter), where he com-
posed his string quartet in A minor, the octet,
the D major symphony and the quintet, all of
which attracted general attention. In 1867 he
gave a concert of his own compositions in
Christiania; then went abroad again; in 1868,
violinist at Odéon Theatre, Paris; continued.
work as composer. Conducted in 1870-1 his D
minor symphony at Gewandhaus, Leipzig, and
won a brilliant success; 1871, conductor of Eu-
terpe Concerts, Leipzig; made in 1872 Wagner's
acquaintance at Bayreuth, where he composed
his fanciful music-picture Carneval de Paris;
1872, returned to Norway. In 1872-7 and 1880-3
he and Grieg alternately conducted the Musical
Society's concerts; in this period he displayed
a rich productivity; 1877-80, conducted his
new works in Leipzig, London and Paris; gave
in 1882 two concerts in Copenhagen. These
aroused so much attention that in summer of
1883 he was appointed conductor of orchestra at
Royal Theatre, Copenhagen. He settled per-
manently in that city, where he was until 1908.
conductor of the Court Orchestra and of
Philharmonic Concerts.
Svendsen is not only the greatest conductor
Norway has produced, but, next to Grieg and
Sinding, the most eminent Norwegian composer.
SUTER, Hermann. Swiss condr. compr. b.
Kaiserstuhl, 28 April, 1870. Stud. organ, pf.
and compn. at Stuttgart and Leipzig; 1894, orgt.
and condr. at Zurich; since 1902, condr. of
Symphony Concerts, the Liedertafel (male choir)
and the Gesangverein (mixed choir) at Basle.
Dir. of Cons. at Basle, 1918-21. Without doubt
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SVERÉNUS
His productions embrace all fields except opera,
and they have already become quite classic, his
art (in spite of the national elements and the
personal characteristics it contains) having re-
ceived the impression of the form and style of
his time. The school in which Svendsen was
trained, set its stamp upon his musical form,
which does not, like Grieg's, represent any
awakening of the new Norwegian tone-feeling
based upon the lyrical note of the folk-music.
The national element in Svendsen finds stronger
expression in his rhythm and harmony than in
his melody. Svendsen cultivated pre-eminently
the larger forms (symphony and chamber-music)
and is inclined to let the lyrical give place to the
epic style, chiselling out clear and pure-lined
themes in a classically simple form. His luxur-
iant melody suits his breezy joy of life, charming
naturalness and sound realism; he never trans-
gresses the established rules of traditional form,
finding a harmonious balance between content
and form. His orchestral treatment is masterly
and especially charming in its sonorous clang.
He often emphasises the cosmopolitan spirit;
then there may frequently be traced the influence
of Mendelssohn, Wagner and Schumann, and, in
his symphonic poems Zorahayda and Romeo
Juliet, of Berlioz and New-German tendencies.
Symphonies: No. 1 in D, op. 4; No. 2 in B, op. 15;
orch. legend, Zorahayda, op. 11; orch. fantasy,
Norwegian liet, op. 18; Carneval de Paris, op.
op.
Romeo
symph. introduction to Sigurd Slembe; vn. concerto,
op. 6: cello concerto, op. 7; Roma, 20); Stet, op. 3;
and orch.
op. 26;
5tet, op. 5; male chorus, op. 2; 2 vols. of songs,
op. 23, 24; 4 Norwegian Rhapsodies, orch. op. 17,
adaptations of folk-songs for str. orch.
op. 1; 0)
10, 21, 22, A Grönvold, Norwegian Musicians;
O. M. Sandvik
Musical
and Gerh. Schjelderup, Norway's
tidning (S, Vol. II, pp. 1
Musical Journal, Svensk Musik
1883,
1911: Tidningen för Musik (Journal of Music), 1910.
Letters from Sv. were publ. by G. Hauch in Tils-
kueren (The Spectator) in 1913.-J. A.
SVERÉNUS, Olav. Norwegian t.-barit. singer;
b. Christiania, 6 April, 1883. Pupil of Jens Bernt-
sen, Christiania; of Armin, Berlin; of Clutsam,
London; and of Moritz's Opera School, Berlin.
Début as concert-singer, Berlin, 1913; appeared in
Dresden Opera House, 1914. Concerts in own
country, in Copenhagen, Stockholm, Gothen-
burg and Paris. Lives in Christiania.-U. M.
SWAAP, Sam. Dutch violinist; b. Amster-
dam, 15 Oct. 1888. Stud. under Hofmeester and
Carl Flesch at Amsterdam Cons.; 1908-12,
violinist Concertgebouw Orch.; 1913-17, soloist
and 2nd condr. Symph. Orch. Abo (Finland);
1917, soloist Residentic Orch., The Hague. 1st
violinist of The Hague Str. Quartet.-W. P.
SWAN & CO. Music-publ. firm, founded in
London in 1849; present managing-dir. W.
Bowker Andrews. Publ. of the Magnus Pf
Albums (100 vols.), Swan Ed. of art-songs, and
other works chiefly by British comprs.-G. B.
SWIERZYŃSKI, Michał. Polish compr. b.
Cracow, 25 Oct. 1868. Pupil of Żeleński. Since
1916, teacher of theory in Cracow Cons.
Numerous short light pieces for pf.; about 200
486
SZELUTA
songs; also small operas and easy symphonies
for students. His melodious operettas had suc-
cess in Cracow, Warsaw and Lemberg.-ZD. J.
SWINSTEAD, Felix Gerald. Eng. pianist and
compr. b. London, 25 June, 1880. Stud. at
R.A.M. London under Matthay and F. Corder.
Successful compr. of pf. music, especially easy
teaching-pieces and studies.
Easy (Anglo-Fr. Co. London; Ashdown; Augener;
Ricordi: Murdoch); mod. difficult: 6 studies after
Scarlatti, etc. (Augener; J. Williams; Anglo-Fr.
Co.); difficult: Polonaise, op. 46; Concert-Study,
op. 21 (J. Williams); Fan B flat ml.; Variations
on theme by Concone
Fr. Co.).-E.-II.
SYCHRA, Josef Cyril.
b. Ústí, near Orlicí, 1859.
master in Ml. Boleslav.
Church compns.: 30 masses;
Golgotha.-V. ST.
Czechoslovak compr.
From 1889 choir-
oratorios: Messias;
Hungarian compr. b.
SZABADOS, Béla.
Budapest, 3 June, 1867. Prof. at R. High School
for Music, Budapest.-B. B.
SZÁNTÓ, Theodor. Hungarian pianist and
compr. b. Vienna, 3 June, 1877. Entered Vienna
Cons. as pupil of Dachs (pf.), and Fuchs (compn.);
1893-7, stud. at R. High School for Music,
Budapest, under K. Chován (pf.) and Koessler
(compn.). 1898-1901, had finishing lessons with
Busoni in Berlin. 1901-4, gave concerts, mostly
in Germany; settled (1905) in Paris, where he
soon won recognition. At Liszt Fest., 1911, was
pianist with Colonne and Cons. Orch. in Paris.
Delius' pf. concerto (dedicated to him) was
played by him in England, Germany and Hun-
gary. 1914-21, lived in Switzerland; since 1921
in Budapest.
Orch.:
(with mymphony, Land and Sea, in 2 movements
1908-9 (ms.): Symph. Rhapsody
in 4 movements (with male chorus), 1916-17 (ms.).
Pf. and orch.: Carmen Paraphrase, 1905 (ms.). Vn.
g, concert sonata, 1905-6 (Berlin,
and pf.: Magyarorszalo and pf.: Suite (also with
Harmonie Verlag).
harp, small orch. and organ), 1910 (Paris, Hamelle);
Poème religieuz, 1910 (id.). Pf.: 2 Lamentations,
1903 (Leipzig, Kahnt); Ballade, 1903 (id.); Dramatic
1910 (ms.);
1901 (id.); Berceuse of Death, 1910 (Paris,
Contrastes, 4 pieces, 1911 (Paris,
tions and Finale on a Hungarian folk-song, 1915
Demets); Choral Phantasy and Fand); 17 Varia-
(Vienna, Univ. Ed.): Essays in Japan antus choralis,
Elkin). Organ:
1912 (Paris,
Corel Transcriptions of works of
choral preludes, 1905 Ed.); Prelude, fugue with
Bach: Prelude and fugue, G mi. 1902 (Leipzig,
Kahnt); Fantasia and fugue, G mi. 1904 (id.); 4
(id.); Prelude and fugue, A mi.
1911 (Vienna,
andante, 1906 (Berlin, Harmonie); Prelude and
mi. 1922 ( 1.312 (Demets, Paris): Passacaglia in C
of works of Stravinsky: Chinese
March, 1915; Petrouchka Suite, 1922 (Russischer
Musikverlag).-Z. K.
SZÉKELYHIDY, Franz. Hungarian t. singer;
b. Tövis, Hungary (now annexed by Rumania),
4 April, 1885. Member of R. Hungarian Opera
House since July 1909.-B. B.
SZELUTA, Apolinary. Polish compr. b. in
1884. Pupil of Noskowski at Warsaw Cons.
Began to publ. his compns. in 1905, together
with Szymanowski and Rózycki, and showed
He then
considerable promise as a compr.
passed more than 10 years in the depths of
Russia (Ufa). In his works publ. there, he has
not attained the high level of his first compns.
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118 Entries P–S, 118 |
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Ocr'd Text:
SZENDY
He now lives in Warsaw and has some new
works, including an opera, in preparation.
Variations in E, op. 2; pf. sonata in A, op. 3; cello
sonata in F, op. 4; many fugues; several songs.
-ZD. J.
SZENDY, Árpád. Hungarian pianist and
compr. b. Szarvas, 1863; d. Budapest, 10
Sept. 1922.
Stud. under Liszt in Budapest.
From 1890, teacher of pf. at R. High School
for Music, Budapest.-B. B.
SZIGETI,
b.
Josef. Hungarian violinist;
Budapest, 2 Sept. 1892. Pupil of
Hubay; début in Berlin, Dresden and London
(1905-6). Toured and lived in England, 1906-
1913. Hamilton Harty dedicated his D mi.
concerto to him; S. did a great deal toward
popularising Busoni's vn. concerto and other
modern works. Is constantly touring in Europe.
Since 1917, prof. of master-classes at Geneva
Conservatoire.-F. H.
SZYMANOWSKI
any Polish
commenced his studies under Noskowski in
Warsaw (1903). These preludes announced
the most beautiful inventive power in the field
of instrumental music shown by
composer since Chopin. Besides several songs
and the piano Etudes, op. 4, Szymanowski's
succeeding works up to op. 9 were mostly scho-
lastic elaborations, but none the less interesting
and valuable (Variations for piano, op. 3; piano
sonata, op. 8; violin sonata, op. 9). Quite per-
sonal and valuable from every point of view were
his Variations for piano, op. 10 in A minor (after
a popular Polish melody of the Tatra mountains)
and his songs, op. 13. In 1907 he wrote in Ber-
lin his 12 songs, op. 17, which were at that date
the proof of an exceedingly bold evolution of
his musical tongue. From them it was seen that
the conventional limits would not suffice for
his aims. Similar signs were found in his orches-
tral composition with an obbligato vocal part
to Wyspianski's words, Penthesilea, written in
1909. The most perfect works of his early period
are the second symphony in B major, op. 18,
and the piano sonata, op. 21, in A major. Both
these compositions have the same form: first,
a sonata form; then a theme and variations;
at the end a great fugue (in the symphony, with
five subjects). Also a Romance for violin in D
major, op. 23. The Songs of Many Colours, op.
22, and six songs to words by the Persian poet,
Hafiz, make a splendid end to the first period.
A transitional work is the opera Hagith to a
libretto by Felix Dörmann. It was written in
1912, and performed in Warsaw in 1922 and 1923
in Dortmund. In style it is an evolution of
Richard Strauss's Salome and Elektra; but
Szymanowski's personality shines forth in the
most beautiful parts of the work. In all these
works the talent of Szymanowski is recognised
not only in the beauty and depth of his lyrical
themes, but also by the incomparable mastery of
his polyphonic and instrumental technique.
In his latest works (written since 1914) Szy-
manowski shows a new aspect; the harmony is
quite atonal and its character is descriptive. He
stands to-day in the first rank of the pioneers
of musical progress, where he holds a place of
his own. His chief compositions of this period
are: Third symphony, with chorus and tenor
solo, op. 27; violin concerto, op. 35; Demeter,
for alto solo, female chorus and orchestra, op.
38; Agave, cantata for soprano solo, chorus and
orchestra, op. 41; Myths (The Fountains of
Arethusa; Narcissus; Pan and the Dryads), for
violin and piano, op. 30; Masques, for piano,
op. 34; third piano sonata, op. 36; The Songs of
the Mad Muezzin, op. 42; songs to Rabindranath
Tagore's words, op. 41, etc.
article on Szymanowski by Jachimecki
appeared in the Musical Quarterly, New York,
Jan. 1922; and one by Alex. Tansman in the
Revue Musicale, Paris, May 1922.-ZD. J.
SZIRMAI, Albert. Hungarian operetta compr.
b. Budapest, 2 July, 1880.-B. B.
SZOPSKI, Felicjan. Polish compr. b. Krzeszo
wice, Galicia, 5 June, 1865. Pupil of Żeleński
(1885-92); then of Urban in Berlin. From 1894.
to 1908, teacher of pf. and harmony in Cracow
Cons. and music critic of the Czas. Since 1908,
has lived in Warsaw. Teacher of theory
Music School of Mus. Soc. Critic for various
newspapers. Since 1918, has been mus. adviser
at Ministry of Public Instruction. His chief
work is opera Lilies (after ballad by Mickiewicz),
written 1900-12, in which he follows Wagner's
methods. It was produced in Warsaw in 1916.
Several pf. pieces; melodious songs; coll. of
transcriptions of Polish popular songs, all in easy
and simple style. In the latest works (songs, orch.
compns, etc.) his style is quite modern.-ZD. J.
SZULC, Bronisław (phon. Shults). Polish
condr. compr. b. Warsaw, 24 Dec. 1881. Pupil
of Noskowski at Warsaw Cons.; then stud. in
Berlin. 1899-1908, 1st trumpeter at Warsaw
Opera; 1909-11, stud. under Riemann (theory)
and Nikisch (conducting). Since 1911, has cond.
symphony concerts in Warsaw and Lódź, and
in England (Liverpool Philh. Soc.). Much
esteemed as condr. Has written 2 symph. poems
and several pieces for vn. and cello.-ZD. J.
SZYMANOWSKA-BARTOSZEWICZ, Stanis-
ława.
Polish soprano operatic and song-
singer; sister of the compr. Szymanowski; b. in
Ukraine, 1887. Stud. under Kozłowska in Lem-
berg. Since 1907, singing in Polish operas, also
in Italy, Vienna, Berlin, Prague and Paris. Is a
gifted interpreter of modern vocal music, especi-
ally of the songs of her brother; also very
brilliant as Violetta, Gilda, Lakmé. Lives in
Warsaw.-ZD. J.
SZYMANOWSKI, Karol. The most eminent
Polish composer of the present time; b. Tymo-
szówka, Ukraine, 1882. He began to write his
first piano pieces and songs in 1901 (op. 1, Nine
Preludes, and op. 2, Four Songs), before he
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