TAFALL, Santiago. Span. orgt. and compr.; member of the Church; b. Santiago de Com- postela (1858); orgt. at Cath. of his native town, and in 1895 choir-master. Lives at Santiago, where in 1899 he was raised to the dignity of Canon. He is one of the pioneers of the religious music risorgimento initiated by Villalba, Otaño, Monasterio, Pedrell, etc. His works are un- published, as is generally the case with religious music in Spain.-P. G. M. TAFFANEL, Paul. Fr. flautist and condr. b. Bordeaux, 16 Sept. 1844; d. Paris, 22 Nov. 1908. Flautist without an equal; pupil in class of Dorus at Paris Cons.; 1st prize, 1865; stud. harmony with Reber; played in Opéra orch. from 1861. Solo flautist there 1864-90, as well as Société des Concerts (from 1867). Renounced career of virtuoso for that of condr., and dir. (in accordance with tradition) the two orchs. of Opéra and Cons. from 1890. Founded Soc. of Chamber-music for Wind Instrs. (1879); prof. at Cons. (1893) where his class became a nursery from which issued a generation of excellent French flautists: Gaubert, Fleury, Blancard, and others.-M. L. P. TAGLIACOZZO, Riccardo. Italian violinist; b. Naples, 28 Dec. 1878. Stud. at Naples Cons. under Angelo Ferni; teacher of vn. at Istituto Musicale, Florence; author of several compns. and revisions of vn. works.-D. A. TAILLEFÈRE, Germaine. French compr. b. Pau St.-Maur, near Paris, 19 April, 1892. A bril- liant student of harmony and counterpoint at the Paris Conservatoire. Her Pastorale, Les Jeux de plein air (Chester, London); her quartet (Durand), her Ballade for piano and orchestra. (Chester, 1923), her ballet Le Marchand d'Oiseaux (Ballets suédois, Paris, 1923) and especially her sonata for violin and piano (Durand) (played 1922 by Thibaut and Cortot at Revue Musicale concerts), give proof of an exquisite feminine. sensibility and rare good taste. Although she be- longs to the "Group of Six" (q.v.), she has no revolutionary tendency; but follows the tradi- tion of Gabriel Fauré, Debussy and Ravel, and can write harmonies full of savour, without outraging the ears.-H. P. TAKÁCS, Mihály. Hungarian barit. singer; b. Nagybánya, Hungary (now annexed by Rumania), 1861; d. Keszthely, Hungary, Aug. 1913. Stud. at R. High School for Music, Budapest. Since 1884, member of R. Hun- garian Opera House. In response to Cosima Wagner's invitation, appeared in 1894 and succeeding years at Bayreuth festivals.-B. B. T at Ylakiai, where his father payed the organ alternately with him. Stud. under Rudolf Limon (a Czech, who dir. the Tyzenhausus School at Rokiškis); later at Treskin Music School in Vilna, where he played at St. Michael's Ch. When the Vilna Kankles Association staged Fromas' Egle, žalčiu karaliene (Egle, Queen of the Vipers), T.-K., then only 17, wrote the music for it. Father Tumas immediately gave him a 2-year scholarship and sent him to Petrograd Cons. where he matriculated in the compn. section in 1916. Whilst still at the Cons. he brought out his song Ne margi sakaleliai (The Falcons) in 3 languages. During the war, he issued a coll. Lakstute (The Nightingale) on folk-tunes adapted for schools; also a coll. of soldiers' songs, Karia- gos Aidai. In 1919, he entered the Berlin Acad., where he comp. his Variations on the daina Oi, griezle (O Corncrake) and an orch. suite. In 1920, dir. of Naujalis Music School (now Music School of Lithuanian Art Producers), where he worked hard for the staging of the first Lithuanian opera. He now conducts at the Opera. In 1921, the Švyturys Publ. Co. brought out several of his choruses (Song of Regret; Asperges, etc.). (See also LITHUANIAN MUSIC.) H. R. TALAT-KELPŠA, Juozas. Lithuanian compr. condr. b. Kalnukai, 20 Dec. 1888. Educated TALEN, Björn. Norwegian lyric and dramatic t. singer; b. Christiania, 8 Sept. 1890. Matricu- lated 1908. 1st-lieut. 1913. Stud. singing in Milan and Naples; also in London and Copen- hagen. Début in autumn 1914 at concert in Christiania; in opera as Radamès (Aida) at National Theatre. Has since appeared in lead- ing theatres in Stockholm, Milan, Madrid. En- gaged in 1921 as 1st t. at the State Opera House, Berlin. Chief rôles: Tannhäuser; Faust; Cavaradossi (Tosca); Pinkerton (Butterfly); Canio (Pagliacci); Alfred (Traviata); the Duke (Rigoletto), etc.-R. M. TALICH, Václav. Czechoslovak condr. b. Kroměříž (Moravia), 1883. Stud. vn. at Cons. Prague; Leipzig (Reger, Nikisch); Milan. Vio- linist at Philh. Orch. Berlin; Konzertmeister in Odessa; prof. in Tiflis (Russia), where he began to conduct; for some time choirmaster and condr. in Prague; 1908-12, cond. at theatres in Lub- lanjá (Laibach, Jugoslavia); 1912-15 in Plzeň (Bohemia). 1918, chief condr. of Czech Philh. Orch. Prague, with which he made a tour in Italy (1921), Vienna, London, Liverpool, etc. T. is one of best Czech condrs. Under his guidance the Czech Philh. became a first-rate orchestra.-V. ST. TAMBURA. See INDIAN MUS. INSTRUMENTS. TANÉIEF, Alexander Sergeievitch (accent the E). Russ. compr. b. Petrograd, 5/17 Jan. 1850. Stud. music at Dresden under Reichel; at a later 488

TANÉIEF date received advice from Balakiref; in 1886 became a pupil of Rimsky-Korsakof. 3 symphonies; 2 suites for orch.; 1-act opera, Cupid's Pranks; 3 str. 4tets; songs; choruses; various instr. pieces.-M. D. C. TANÉIEF, Serge Ivanovitch (accent the E). Russ. compr. b. 13/25 Nov. 1856; d. Moscow, 5/18 June, 1915. Stud. at the Moscow Cons., where his teachers were Hubert and Tchaikovsky. Later he became prof. and ultimately dir, of this inst. His works comprise a good deal of cham- ber-music, songs, 3 symphonies, the music to trilogy Orestes (after Æschylus), and a remark- able treatise on Counter point. He was one of the greatest of theorists and teachers. The list of his pupils comprises the names of Scriabin, Rachmaninof, and many other Russ. comprs. -V. B. TANGO. See SOUTH AMER. DANCES. TA TANSMAN, Alexander. Polish compr. b. Lódz, 1900. Has publ. pf. pieces and orch. compns. in a bold modern style. Contributes to Revue Musicale. Lives in Paris.-ZD. J. TAPPERT, Wilhem. Ger. musicologist; b. Upper Thomaswaldau, near Bunzlau, 19 Feb. 1830; d. Berlin, 27 Oct. 1907. First a school- master; turned to music in 1856; stud. at Kallak's School of Music (theory); 1858, went to Glogau as teacher and critic. From 1866, teacher and mus. writer in Berlin; ed. the Allgemeine deutsche Musikzeitung (1870-80). Music and Musical Education (1866); Musical Studies (1868); The Law against Consecutive Fifths (1869); R. Wagner (1883); Wagner-Lexicon: Dic tionary of the Impolite... (1887, 2nd ed. 1903); Wandering Melodies (1890); 54 Erl-king Composi- 2nd Catalogue Times (100 lute pieces, 1906) and Sound of Olden Exhibition Development of Music Script from A.D. 800 to Present Time (1898).-A. E. TARNAY, Alajos. Hungarian compr. b. Jászberény, 22 Oct. 1870. Prof. R. High School for Music, Budapest. Has written many songs.-B. B. TAROGATÓ. See HUNGARIAN MUS. INSTRS. TÁRREGA, Francisco. Span. guitarist and compr. b. Villarreal (Castellón), 29 Nov. 1852; d. 1909. Head figure of the modern school of guitar-playing; continued classical tradition of XVIII century players, Costa, Ferrer and the old masters Aguado, Sors (1778), etc. Author of many compns, and adaptations of classical works for guitar. Prof. of guitar at R. Cons. de Música, Madrid, and at Barcelona.-P. G. M. TARTAGLIA, Lydia. Ital. pianist; b. Rome, 20 Oct. 1898. Capable concert-artist; pupil of R. Liceo Mus. di Santa Cecilia, Rome, under Sgambati and Casella. Has given good concerts in Rome at Augusteo, in various Ital. cities, and in Germany and London.-D. A. TCHAIKOVSKY The Dreams of Diaz, Australian myth-operetta; Dawn, orch. rhapsody, symbolising discovery of 11 Inspiration, romantie ballet, orch, and dancers; str. itet in D ml.; sonata, vn. and pf. (developed from a call of the Australian thrush): Tragic Study, and The Australian (cycle of 16 pieces) for pf.; several Australian songs.-G. Y. TATE, Henry. Australian compr. b. Prahran. Australia, 1873. Stud. under G. W. L. Marshall- Hall at Melbourne. Contributor to Australian journals, The Argus, The Herald, Australian Mus. News, Theatre Magazine, New Outlook, etc., on the subject of a distinctive Australian music, on which he publ. a pamphlet in 1917 entitled Australian Musical Resources. TAUBMANN, Otto. Ger. compr. b. Hamburg, 8 March, 1859. At first commercial training. then scholar at Dresden School of Music (Wall- ner, Rischbieter, Nicodé, Blassmann); theatre- condr.; 1886-9, dir. of Wiesbaden School of Music, after which he went to Berlin; 1891-2, theatre-condr. Petrograd; 1895, dir. of Cäcilien- verein in Ludwigshafen; 1920, compn. teacher at Berlin High School of Music; R. prof. 1910. Psalm XIII (solo, choir, orch.); German Mass (solo, choir, orch. and organ, 1898); Tauwetter (male chorus and orch.); 2 poems for 6-v. chorus; Sänger- wreihe (Songs of Inspiration) (choral drams, Elber- feld 1904); cantata, War and Peace; symphony, A mi.; opera, Porzia (1916, Frankfort-o-M.).-A. É. TAWSE, William. Scottish t. singer; b. Aberdeen, 29 March, 1889. Stud. under late Alfred C. Young, later under Frederick King, London. Gold medal in open competition for all vs. 1st Edinburgh Mus. Fest. Has sung with conspicuous success in Edinburgh Opera Co.'s Trovatore, Cavalleria Rusticana, Pagliacci; Daughter of the Regiment; Ernani. Widely popular in oratorios and songs.-W. S. TAYLOR, COLERIDGE-. See COLERIDGE- TAYLOR. TAYLOR, Colin. Eng. compr. pianist; b. Oxford, 21 Feb, 1881. Stud. R.C.M. London, 1900-4. Assistant music master, Eton College, 1904-14; war service 1914-19; joined staff of South African Coll. of Music, Cape Town, 1920. Publ. compns. are chiefly songs, pf. music and part-songs.-E.-II. TAYLOR, Joseph Deems. Amer. compr. b. New York, 22 Dec. 1885. B.A. New York Univ. 1906. Stud. harmony under Oscar Coon, New York, 1908-9 and 1913; 1917-19, associate-ed. of Collier's Weekly. Since 1921, mus. critic of New York World. His op. 2, a symph. poem, The Siren Song, won prize of National Federa- tion of Mus. Clubs, 1912. This, as well as op. 12, Through the Looking Glass, suite for str., wind and pf. (1918), is still unpubl. The Chambered Nautilus, cantata with orch. (Ditson, 1914), 1st perf. by Schola Cantorum in New York 1915. Cantata, The Highwayman, (Ditson) was pro- duced at Peterboro (N.H.) Fest. 1914. Many excellent transl. of Russ., Fr., Ger., and Ital. songs.-0. K. TCHAIKOVSKY, Peter (accent syll. OV). Russian composer; b. Kamsko Votinsk, 25 April/7 May, 1840; d. Petrograd, 25 Oct./7 Nov. 1893. Began to study theory in 1859, and in 1862 entered the newly-founded Conservatoire of Petrograd, where he studied counterpoint and form under Zaremba and orchestration under Anton Rubinstein. In 1866 he was appointed professor of theory at the Moscow Conservatoire, where he received much aid and encouragement from Nicholas Rubinstein. He also came into contact with Balakiref, and for a time underwent 489

TCHÉREPNIN his influence. It is at Moscow that he composed his first opera, The Voyevod (the score of which he afterwards suppressed), and his first sym- phony, which bore the title Winter Dreams. In 1877 his health failed him, and a few months later he resigned his professional post. He found himself able, owing to the readiness of the pub- lisher Jurgenson to publish all his works, and to the generosity of his admirer Nadejda von Meck, who made him an allowance, to devote himself entirely to composition. From that time on, he spent his life partly in Russia, and partly abroad, and became famous as a conductor as well as a composer. He died of cholera at Petro- grad, a few days after conducting the first performance of his Pathetic Symphony. As a composer Tchaikovsky has enjoyed, from the very outset of his career, far greater success at home and abroad than any other Russian. Even nowadays, many writers, and by far the greater part of the musical public of most countries, agree in considering him as one of Russia's greatest composers. A balance has not yet been struck between his many admirers and the few who determinedly go to the other ex- treme, objecting to what they describe as his facile emotionalism, lack of self-criticism, and looseness of style. Midway, however, stand writers such as César Cui, who in his book La Musique en Russie (Paris, 1880) considers that "Tchaikovsky excels in the domain of chamber- music and symphony, but fails in that of opera and the lyric drama." 10 operas, of which the best-known are Evghen Onieghín (Eugene Onegin), The Queen of Spades and The Oprichnik (The Body-Guard); ballets: The Nut- cracker; The Swan's Lake; 6 symphonies; pro- gramme-symphony, Manfred; tone-poems: Fran- cesca da Rimini; The Tempest; Hamlet; Romeo and Juliet; overture,"1812"; 3 pf. concertos; 3 str. 4tets; trio; 6tet; songs; pf. pieces; a small quantity of church music. Consult: M. Tchaikovsky, Life and Lellers of P. Tch. (Moscow, 1900; Eng. transl. by R. Newmarch, London, 1906); R. Newmarch, Tch. (London, 1 1, 1900); E. Markham Lee, Tch. (ib. 1905), and all standard books on Russ. music.-M. D. C. TCHÉREPNIN, Alexander Nicholaievitch (accent 3rd syll.). Son of Nicolas (q.v.). Russ. Stud. compr. pianist; b. Petrograd, 1899. compn. under his father, Liadof, Sokolof; pf. under Mme. Essipof. In 1921, settled in Paris, continuing his stud. under Gédalge (compn.) Philippe (pf.). An orch. overture was perf. in London by Goossens. There is also a pf. concerto; vn. and pf. sonata; several pf. pieces (Toccata; Petite Suite; Danse et Nocturne; Etude de con- cert; Novellettes; Bagatelles). His ballet Ajanta was perf. in London in 1923. His personality is not yet completely free from the influence of others, especially Prokofief. His works, fre spontaneous, and sure in style, contain brilliant promise. B. DE S. TCHÉREPNIN, Nicolas Nicolaevitch (accent 3rd syll.). Russ. compr. and condr. b. Petrograd, 2/15 May, 1873. Stud. music under Van Arck (pf.) and Rimsky-Korsakof (compn.) at Petrograd Cons. 1895-98. Whilst still at the Cons. he gave numerous concerts in the city and pro- vinces; 1907, cond. the Cons, orch. class and was 49⁰ TEBALDINI also condr. at the Marinsky Opera. 1908, went to Paris to direct the perfs. of Rimsky-Korsakof's Snegourotchka (Snow-Maiden) at the Opéra- Comique. From 1909-14, dir. the works of the Diaghilef Russ. troupe in Paris, London, etc. 1918, left Petrograd and went to Tiflis as dir of the Cons. there. 1921, settled in Paris. His first works, the 1st symphony, the over- ture for La Princesse lointaine (Rostand), Fan- taisie dramatique, and the songs to words by Tioutchef, show the influence of Rimsky-Korsa- kof, and even of Tchaikovsky. His own person- ality began to emerge in 1904 with his ballet- scores, Le Pavillon d'Armide, op. 29, which fol- lowed the piano concerto, op. 30, and a series of songs on words by Hafiz and others. Tch. is lyrical, but is guided by a sure taste which pre- serves him from the occasional banalitics and sen- timentality of Tchaikovsky, from whom he is distinguished by a strong decorative and pic- torial feeling derived from Rimsky-Korsakof. He also came under the Fr. Impressionist influences. (Debussy, Ravel), thus freeing himself from the academical formulæ. This new style is seen in the ballets Narcisse, The Masque of the Red Death; the fable of the princess Oulyba; the Sinfoniette (in memory of Rimsky-Korsakof); the symph. poem, Le Royaume enchanté (The Enchanted Kingdom); the Contes de fée (songs on Balmont's poems); 2 masses; Le Poisson d'or-6 sketches for orch. on a poem by Pushkin, etc. There are also the ballets Dionysius (1921), Russian Fairy- Tale (1923); the symph. poem Macbeth; dramatic fantasy From Land to Land, op. 17; str. 4tet in A mi. etc. His melodic writing is inspired by Russ. folk-songs, without any direct use of them. The last works, the symphony and some unpubl. songs, reveal both a national and mystical feel- ing at the same time.-B. DE S. TCHERNOF, Michael (accent 2nd syll.). Russ. compr. b. 10/22 April, 1879. Pupil of Rimsky- Korsakof and Glazunof at Petrograd Cons.; now a professor at that institution. Symphony; 2 overtures; a few other orch. works, including incidental music to plays by Raffalovich and Julavsky; operetta, Topsy, the Black Maid; songs: pf. pieces.-M. D. C. TCHESNOKOF, Alexander. Russ. compr. b. in 1877. Stud. under Rimsky-Korsakof at Petrograd Cons.; has written a number of works in which he evinces ingenuity rather than actual originality.-M. D. C. TEBALDINI, Giovanni. One of most cultured Ital. musicians living, and one of the most praise- worthy contributors to mus. progress in Italy; b. Brescia, 7 Sept. 1864. Stud. at Cons. Milan, under Ponchielli. Was obliged to abandon studies owing to journalistic controversies, and took to a wandering life; orgt. in Sicily, then travelled to the Wagnerian perfs. at Bayreuth, subsequently went to Kirchenmusikschule, Re gensburg, stud. under Haberl and Haller; 1889, elected master of the Schola Cantorum attached to the choir of St. Mark, Venice; 1894, dir. of Cappella Antoniana, Padua; 1897, appointed by competition, dir. of R. Cons. at Parma; 1902. became choirmaster at Loreto, which position

TEDESCHI he still occupies. T. has been one of most ener- getic and combative promoters of reform of sacred music in Italy. Has comp. much sacred music (principal Ital. and European publ.). Praiseworthy are his revivals of old Ital. music: Rappresentazione di Anima e di Corpo of Emilio del Cavalieri (Turin, S.T.E.N.). Has cond. revivals of this music at important concerts in Rome (Augusteo and elsewhere). Has written: L'Archivio della Cappella An- toniana di Padova (Padua, 1895); L'Archivio musicale della Santa Casa di Loreto (Loreto, 1920); many articles in the Rivista Musicale Italiana and other reviews. Also a Metodo di studio per l'organo moderno, in collab. with M. E. Bossi (Milan, Carisch). As a lecturer, he has helped greatly in spreading musical appreciation.-D. A. TEDESCHI, Luigi Maurizio. Ital. harpist; b. Turin, 7 June, 1867. Stud. at R. Cons. Milan, where he is at present an esteemed teacher. Successfully completed many concert-tours in Italy and through Europe; author of important revisions of didactic works, compr. of an opera, Jocelyn (perf. with success at San Remo in 1908), and pieces for his own instrument.-D. A. TEICHMÜLLER, Robert. Ger. pf. teacher; b. Brunswick, 4 May, 1863. Stud. at Leipzig Cons. (Zwintscher, Reinecke, O. Paul, Jadas- sohn); 1907, dir. of training-classes at Leipzig Cons.; 1908, prof. Publ. revisions of pf. works (Rubinstein). Consult A. Baresel, R. T. as Man and Artist (Leipzig, 1922).-A. E. TEILMAN, Christian. Norwegian compr. orgt. b. Tomgaard, Smaalenene, 31 July 1845; d. Christiania in Dec. 1909. Pupil of Arnold, Christiania, and Berens, Stockholm. From 1870 music-teacher in Christiania; afterwards orgt. at Garrison Ch. there. An enormously produc- tive compr. His pieces in the lighter style have become extremely popular on account of their catching melody (pf. pieces, dances, paraphrases, etc.).-J. A. TEKERŐ. See HUNGARIAN MUS. INSTRS. TELLERÍA Y ARRIZABALAGA, Juan. Con- temporary Span. compr. b. Zegama (Guipuzcoa), 1895. Pupil of Conrado del Campo, Madrid. Best known for his symph. poem, in two parts, La Dama de Aitzgorry (1st perf. Orquesta Sin- fónica, Madrid, Nov. 1917.)-P. G. M. TERRY "classics" and modern Span. compra. Tours in Spain, Portugal, France, S. and N. America. -P. G. M. TERRASSE, Claude. Fr. compr. b. La Côte St. André, 1866; d. Paris, 30 June, 1923. Specialised in operetta and opéra-bouffe. His mus. invention, less fine than Lecocq's, had more buffoonery, and was more directly comic. If his melodic imagination had been more varied he would have been one of the most remarkable representatives of humorous music. Most of his librettos were written by de Flers and Cail- lavet, some, such as La Fiancée du Scaphandrier, by Franc-Nohain, the librettist of L'Heure Espagnole of Ravel. As opéras-bouffes of mytho- logical times or the Middle Ages, Les Travaux d'Hercule (1901), Le Sire de Vergy (1903), Mr. de la Palisse (1904), Le Mariage de Télémaque (1910) are worthy of special mention.-A. C. TERRY, Charles Sanford. Eng. writer on music; b. Newport Pagnell, Bucks, 1864. Educ. at St. Paul's Cath. choir-school, London, King's Coll. School, Lancing Coll. and Clare Coll. Cam- bridge. Litt.D. Cantab.; specialises in history in which he has attained great eminence; lecture- ships at Newcastle-on-Tyne; Cambridge; from 1903, Burnett-Fletcher prof. Univ. of Aberdeen. Inaugurated first mus. (competitive) fest. in Scotland, 1909 (in Aberdeen). Mus.Doc. Edin- burgh h.c. 1921. Bach Chorales, Part I, Hymns and Hymn-Melodies of Passions and Oratorios (Cambridge Univ. Press, 1915); Part II, H. and H.-M. of Cantatas and Molets: Part of (id. 1921). J. S. Bach's Original Hymn-Tunes for Congregational Use (Oxford Univ. Press, 1922); a Bach Hymnbook of XVI century Melodies (Stainer & Bell, 1923). Has transl. Forkel's book on J. S. Bach into English (Constable, 1920).-E.-H. TERRY, Sir Richard Runciman. Eng. orgt., choir-dir. and researcher; b. Ellington, North- umberland, 1865. Educated at Oxford and Cambridge (choral scholarship, King's Coll.); orgt. and choirmaster Elstow School (1890), St. John's Cath., Antigua, West Indies (1892), and Downside Abbey (1896); then orgt. and dir. of music, Westminster Cath. (1901-24). There he raised the choral music to a unique position. He systematically revived whole schools of for- gotten church compns.-masses, services, motets, carols, etc. of the xvI century polyphonic com- posers, chiefly England (Byrd, Taverner, Tye, Tallis, Munday, Morley, White, Philips, Deering, Parsons, Fayrfax, Shepherd and others). This work was inaugurated two years before the issue of the famous Motu Proprio demanding the purification of church music. He has always en- couraged modern compn. in the modal style (Howells, Oldroyd). He was, for some time, Chairman of the Tudor Church Music Publica- tion under the Carnegie Trust. He has lectured widely and also examined in music at Univs. of Dublin and Birmingham. He received the Mus. Doc. h.c. from Durham Univ. in 1911 and was knighted in 1922. Now devotes himself to writing and research work. Editor of Musical News, 1924. TELMÁNYI, Emil. Violinist; b. Arad, Hun- gary (now annexed by Rumania), 22 June, 1922. Stud. under Hubay, R. High School for Music, Budapest. Lives now at Copenhagen.-B. B. TEMESVÁRY, János. Hungarian violinist; b. 12 Dec. 1891. Pupil of Hubay at R. High School for Music, Budapest. Second vn. in Hungarian Str. Quartet (Waldbauer, Kornstein, Kerpely).-B. B. TERÁN, Tomás. Span. pianist; b. Valencia, 1895. Pupil of José M. Guervós. In 1909, 1st prize at R. Cons. de Música, Madrid, obtaining a great success at San Sebastian the same year, at a concert in which he played Chopin's E mi. concerto Excels as an interpreter of Bach, the 491 5 masses; a Requiem; many motets; a book on Catholic Church Music; Old Rhymes with New Tunes

TERTIS (Curwen). Besides being mus. ed. of Westminster Hymnal, the official Catholic hymn-book for England, he has ed. a large number of editions of early Eng. church music, and a Shanty Book (Curwen. 1920). Consult art. in Mus. Opinion, Jan. 1920.-E.-H. TERTIS, Lionel. Eng. vla.-player; b. West Hartlepool, 29 Dec. 1876. Brought to London when 3 years old. Started pf.-study at a very early age. Later, took up vn. as principal study at Leipzig. Continued at R.A.M. London. Str. quartet music drew his attention to vla. One of the finest vla.-players; lives in London; has inspired many comprs. York Bowen, J. B. McEwen, A. Carse, A. Bax, B. J. Dale have written concertos for him. The following works for vla. and pf. were also inspired by his fine playing: sonatas (York Bowen); sonatas by E. Walker, W. H. Bell and A. Bax; a Suite and Phantasy by B. J. Dale: Fantasia by Cyril Scott; 2 pieces by Frank Bridge; 2 by Farjeon; concert piece by Bax; Arab Love Song by W. H. Bell. Other works: duet for vlas. (Fr. Bridge), Romance for vla, and organ (York Bowen), Poem for vla, harp and organ (York Bowen), Fantasy-4tet for 4 vlas. (York Bowen), 6tet for 6 vlas. (B. J. Dale), Nocturne for vla. ob. d'amore and pf. (Holbrooke).-E.-H. TERVANI (ACHTÉ), Irma. Finnish contr. singer; b. Helsingfors, 4 June, 1887. Sister of Aino Achté. At first, stud. under her mother, the opera-singer, Emmy Strömer-Achté; later in Paris, 1904-6 (Duvernoy), and in Dresden, 1907. Since 1907, engaged at Dresden Court Theatre (now State Theatre). Numerous tours. as operatic and concert-singer in Germany and Scandinavia. Has frequently appeared in con- certs and operas in Finland. She has a magnifi- cent voice and a highly individual style. Her most noted rôle is Carmen. Married (1916) the theatre-dir. Paul Wiecke; lives in Dresden.-T. H. TERZIANI, Raffaele. Ital. compr. teacher; b. Rome, 23 April, 1860. Son of celebrated compr. and condr., Eugenio Terziani. For many years has been teacher, and is now vice-dir. of R. Liceo Mus. di Santa Cecilia, Rome, where he dir. important concerts. Comp. a Messa da Requiem, perf. at the Pantheon, 1896, and vocal and instrumental works.-D. A. TETRAFONIA. New tonal effect obtained by dividing the octave into 4 perfectly equal parts, expounded by Domenico Alaleona (q.v.) in his I moderni Orizzonti della Tecnica Musicale (Turin, 1911, Bocca).-E.-H. TETRAZZINI, Eva. Ital. s. singer; b. Milan, March 1862. Sister to Luisa T. (q.v.). Stud. in Florence; début there in 1882, singing Margherita in Faust; then principal opera houses of Europe and America. 1890, married Cleofonte Campanini and settled in New York. Her repertoire ex- tended from Aida and Norma to Mefistofele and L'Africana.-D. A. TETRAZZINI, Luisa. Italian operatic s. singer; b. Florence, 29 June, 1871. On com- pleting studies in Florence, made début 1890 in L'Africana. In 1898, in Buenos Ayres, entered lyric and comic opera company of Raffaele Tomba; became one of its most admired mem- bers. She gained memorable successes in Lucia, La Sonnambula, I Puritani and others. On 492 THELWALL returning to Italy, her successes continued, and grew still further when, in 1905, she went to North America, which became the chief field of her triumphs and monetary successes. Also appeared in London at Covent Garden. Now lives in Rome. In 1921, publ. in London a book of reminiscences entitled My Life of Song.-D. A. TEYTE, Maggie. Eng. s. singer; b. Wolver. hampton, Staffs, 17 April, 1890. Stud. under Jean de Reszke at age of 15 and made her debut as Mélisande in Debussy's opera in May 1908, Opéra-Comique, Paris; 1st London appearance, Oct. 1909, Queen's Hall; 1910, sang in Beecham season at His Majesty's and Covent Garden (Cherubino, Marguerite, Mélisande, Antonia); 1911-13, seasons in America; 1913, Eng. tour and Riviera; Oct. 1913-March 1914, Amer. season; 1914-22, Paris, etc.; created the Prin- cess in Holst's Perfect Fool (B.N.O.C. Covent Garden, May 1923).-E.-H. THÉÂTRE NATIONAL DE L'OPÉRA (Paris Grand Opera House). The first public theatre for opera was opened in Paris, 19 March, 1671, by the poet Pierre Perrin, who was assisted by the musician Cambert. In the following year he sold the privilege he had obtained from the King, to Lully, who must be considered the true founder of French opera. The royal privilege of present- ing grand opera was completely reserved for this theatre up to the second part of the XVIII century. It had then to compete with the Bouffons italiens who were much assisted by the Queen and the Encyclopédistes. The privilege dis- appeared after the Revolution, but the Académie Nationale de Musique, being subsidised by the State, preserved its official character. It includes a free dancing school where the tradition of the classic dance is preserved. From 1874 the Académie Nationale de Musique has been housed in the sumptuous edifice built by the architect Charles Garnier. From 1914, under the manager, Jacques Rouché, who has introduced many happy innovations, it has enriched its repertoire with many important modern works.-H. P. THEIL, Fritz. Ger. condr. and compr. b. Altenburg, Saxony, 6 Oct. 1886. Stud. at Leipzig Cons. (Nikisch, Sitt, Quasdorf and v. Bose); Kapellmeister of former Court Theatre, Altenburg; also of theatre, Sondershausen, and of Stadttheater, Plauen (Vogtland), Thorn and Würzburg. Recently has devoted himself exclusively to concert-work (condr., Hamburg, Hanover, Cologne, Chemnitz, Weimar, Wiesbaden, Magdeburg, etc.). Lives in Magde- burg. Tone-poems for full orch.: King Lear: Judith; Triumph of Life; Struggle of Life; Intermezzo for str. orch.; vn. concerto; 2 songs for barit. and orch.: The Fight (text by Schiller), and The Gravediggers (text by Karl Mehnert).-A. E. THELWALL, Walter Hampden. Eng. en- gineer; b. London. M.Inst.C.E.; his education and life-work as a civil engineer disposed him to study the scientific as well as the artistic branch of music. In 1893, 2 arts. written by him on the subject of "Descriptive Music" appeared in

THIBAUD Macmillan's Magazine. In these, certain general principles as to the province and capabilities of music were laid down, and these arts. led to a further study of Helmholtz and other acoustical authorities, and led him to the inevitable con- clusion that the whole of modern music is based on the facts of Equal Temperament so strongly insisted on by Bach, facts which T. enunciated in these terms: Let Vthe vibration number of any musical note we please. Then 2V= the vibration num- ber of its octave. Between these 2 notes there are 11 intermediate notes used in music, making 13 notes in all in the octave (including the 13th note, which is the octave to the 1st, and is really the 1st note of a second precisely similar octave). All these notes are of equal value and importance, and all are separated, each from each, as Euclid would have said, by a common ratio, which we may call R. The series of vibration numbers is then VxRº, VXR¹, VxR², VXR³, VxR4, VXR5, VXR6, VXR7, VXRS, VXR, VXR¹0, VXR¹ VXR¹2. But VXR¹2= 2V; Hence R 2. By means of this formula every succession and combination of mus. sounds can be expressed in terms of the vibration ratios of the notes. R is the ratio of the mean semitone. From this series he derived the "Note for Note" system of music, which for the first time, truly represents to the eye, and through the eye to the mind, the sounds really used in modern music. It aims at the simplification of notation and theory (see art. NOTATIONS).-E.-H. THIBAUD, Alfonso. Argentine pianist; b. Paris in 1867. Appeared as prodigy; stud. Paris Cons. Toured France, England, Belgium, Holland. Joined Piazzini (q.v.) in founding the Cons. at Buenos Ayres, which bears their names, in 1903. Marmontel, in his Histoire du Piano, numbers him amongst the brilliant players of our day.-S. G. S. THOMAS peculiar charm and distinction which is his characteristic. His style, formerly criticised as being slightly effeminate, has for years been a model of firmness, accuracy and eloquence. His recent rendering, with Alfred Cortot, of Ger. maine Taillefère's Sonata is a proof that the young Fr. school has no more able or virile an advocate.-M. P. THIEBAUT, Henri. Belgian compr. b. Brus- sels, 4 Feb. 1865. Stud. at Brussels Cons. vn. and compn. under Kufferath. Received the advice of Blockx. In 1893, gave harmony lectures at Cons.; 1894, founded School of Music and Declamation at Ixelles (suburb of Brussels), a first attempt in Belgium in mus. teaching accom- panied by general culture. In 1899, retired from Cons. in order to devote himself entirely to his school, where he started (1809) most interesting courses of literary and mus. lectures. He also introduced into Belgium the Dalcroze system of Eurhythmics. 1907, founded an Institut des hautes études musicales et dramatiques at Ixelles, an annexe of the School of Music. La Passion du Christ, sacred mus, drama; Le Juré, lyrical monodrama on words of Edm. Picard; Le Bourgeois Gentilhomme, mus. comedy on Molière's play: cantatas for solo, chorus and orch. Fantaisie orientale, orch.; str. 4tets; pf. pieces.-E. C. THIEL, Karl. Choral condr. b. Klein-Öls, Silesia, 9 July, 1862. Stud. at R. Inst. for Sacred Music, Berlin, and W. Bargiel's Acad. class; travelled in Italy with a public scholar- ship; received Mendelssohn Prize 1894; orgt. at Sebastian Ch. Berlin; master at R. Inst. for Sacred Music, whose a cappella choir he brought to a high standard; 1903, R. prof.; 1922, Ph.D. h.c. Breslau Univ.; successor to Kretzschmar as dir. of High School for Sacred Music. Penitential Psalms (choir and orch.); cantata Maria (solo, chorus, orch.), etc.; new publ. of old unace. music.-A. E. THIESSEN, Karl. Ger. compr. b. Kiel, 5. May, 1867. Stud. at the Weimar and Würzburg Schools of Music; condr. of the Ostfriesland (Emden, Aurich) Choir; teacher and compr. in Zittau (Saxony). THIBAUT, Jacques. Fr. violinist; b. Bordeaux, 27 Sept. 1880. The most representative of the Fr. school of living violinists. Stud. first under his father, then at Paris Cons., where he obtained 1st prize in 1896 after brilliant studies under Marsick. T. was discovered playing in the Café Rouge by Ed. Colonne, who engaged him for his orch. During winter of 1898, T. appeared at these concerts 54 times as solo violin. His rise to fame from this date was very rapid, and he soon devoted himself entirely to a virtuoso's career. Made numerous tours and seemed more and more attracted towards America, where he spent nearly a year. Returned to Europe and gave, at Ecole Normale de Musique in Paris, a series of courses in advanced mus. interpretation. In technique he represents, not the almost acrobatic virtuosity of a Kubelik, to which he could easily have laid claim, but rather the wide and pure technique of the great classical school, passed down to him through Marsick and Ysaye, themselves disciples of Léonard and Vieuxtemps and thus linked up with Baillot- Rode, Viotti, Pugnani, Somis and Corelli. His tone has gained in power without losing that 493 Pf. solos and duets; choruses, male and female vs.; pieces for cello, and for vn.; Suite for stra., op. 9; symph. poem, King Fyalar, orch. op. 11: Romance, str. orch, and horn 4tet, op. 38; Suite in Olden Style, vn. and pf. op. 43.-A. E. THIRION, Louis. Fr. compr. b. Baccarat (Meurthe et Moselle), 18 Feb. 1879. Teacher of organ and pf. at Nancy Cons. since 1898. All his work shows solid and brilliant workmanship, with a great wealth of harmony and rhythm. Several sonatas; trio; str. 4tet; 2 symphonies (perf. Concerts Colonne).-F. R. THOMÁN, Stephan. Hungarian pianist; b. Homonna, Hungary (now annexed by Czecho- Slovakia), 4 Nov. 1862. Stud. 1881-5 under Liszt. Pf. prof. R. High School for Music, Budapest, 1881-1906. Amongst pupils were Ernst v. Dohnányi, Béla Bartók and Imre Keéri-Szántó.-B. B. THOMAS, David Vaughan. Welsh compr. condr. and teacher; b. Ystalyfera, Glamorgan- shire, 15 March, 1873; educated Llandovery

THOMPSON have Coll. and Exeter Coll. Oxford; M.A.; Mus.Doc. Oxon.; scholastic posts United Services Coll. Westward Ho, Devon; Monkton Combe School, Bath; Harrow School; specialist inspector in music under Central Welsh Board. His compns. fine individual quantity and are beauti- fully finished. He is a most effective lecturer on music and well known as an adjudicator and condr. Lives in Swansea. Dr. Vaughan Thomas has contributed some of the Welsh arts. for this Dictionary. Cantatas, soli, chorus, orch.: The Bard (Breit- kopf); A Song for St. Cecilia's Day (Curwen); Llyn y Fan (The Van Lake) (Novello). Settings of poems by George Meredith, solo v. and orch.: Enter these En chanted Woods; Dirge in Woods; Song in the Songless; When I would image her Features. Settings of Welsh for str.: many part-songs; anthems; songs, etc. (Swan Co., London; Snell, Swansca.)-E.-H. THOMPSON, Herbert. Eng. music critic; b. Hunslet, Leeds, 11 Aug. 1856. Educated at Wiesbaden (private school); St. John's Coll. Cambridge; M.A., LL.M.; Inner Temple, barrister-at-law (1879); critic of music and art, Yorkshire Post (Leeds) from 1886. More than any other writer he has consistently over a long period exercised a strong influence on the improvement of musical taste in the North of England.-E.-H. THOMSON, César. Belgian violinist, teacher; b. Liège, 18 March, 1857. Stud. at Liège Cons. when 7-vn. under Léonard; finished brilliantly with Gold Medal. Solo vn. at private chapel of Baron von Dervies, then in orch. of the Bilse Philh. in Berlin. Prof. of vn. Liège Cons. 1882, and at Brussels Cons. 1897. Various tours in Europe, North and South America. In Italy he was called "Paganini redivivus." He has comp. very little; is responsible for practical eds. of great musicians of XVII and XVIII cen- turies, especially Ital. masters for whom he had a special affection. He upholds by active example the high traditions of greatest Belgian violinists, men like Léonard and Vieuxtemps.-C. V. B. THUREN centuries. Weyses Minde (In Commemoration of Weyse), 1916; treatises on Napoleon og Musiken (Napoleon and Music), 1897; Fra Klavikordiets Tid (From the Time of the Clavichord), 1898, must be mentioned. An interesting article by him (in Ger.) upon Sarti in Copenhagen may be found in Sammelbände der I.M.G. III (Leipzig, 1902).-A. H. THRANE, Carl. Danish music historian; b. Fredericia, 2 Sept. 1837; d. Copenhagen, 19 June, 1916. Stud. law at Univ. Copenhagen; took degree in 1863; Secretary of Justice in the Supreme Court, Copenhagen, 1878. His mus. interests brought him into musico-literary field; already when young he attracted notice as critic on the fashionable Copenhagen weekly, Illustreret Tidende (Illustrated News). His first book, Danske Komponister (Danish Composers), 1875, gave vivid biographical sketches of C. E. F. Weyse, Fr. Kuhlau, J. P. E. Hartmann and Niels W. Gade. It was followed in 1885 by Rossini og Operaen (Rossini and the Opera) where the Ital. master is viewed in a new and interesting light. Also his work Cæciliaforeningen og dens Stifter (Cecilia Soc. and its Founder), 1901, deals with H. Rung and his services to music in Copenhagen in middle of XIX century. T.'s chief work is his book on history of R. Chapel of Copenhagen from 1648-1848, called Fra Hofviolonernes Tid (1908), where he makes an important contribu- tion to the mus. history of Denmark during 2 494 THREE CHOIRS FESTIVALS. A combined festival of Gloucester, Worcester and Hereford choruses, held at these 3 cathedrals in rotation. Secular concerts are given in the Shire Halls. First held 1724. The fests. were suspended in 1914 at the outbreak of war, and resumed in 1920 at Worcester. Hereford followed in 1921, Gloucester in 1922, and the rotation is now. again fully established. For many years they have been cond. by the respective orgts. Dr. Herbert Brewer (Gloucester), Sir Ivor Atkins (Worcester) and (since Dr. Sinclair's death) by Dr. Percy Hull (Hereford).-E.-H. Début After- THUE, Hildur Fjord. Norwegian operatic and concert-singer (s.); b. Christiania, 26 Jan. 1870. Pupil of Barbara Larssen, Christiania. as concert-singer in Christiania, 1892. wards stud. in Paris under Artôt, Viardot, etc. At Figaro concert in 1895 she introduced Nor- wegian songs in Paris. Subsequently gave many concerts throughout France. Appeared in operas at Covent Garden, London. From 1907 to 1917 she lived in Shanghai, in the mus. life of which city she took a great part. Now living in Christiania.-U. M. THUILLE, Ludwig. Ger. compr. b. Bozen (Tyrol), 30 Nov. 1861; d. Munich, 5 Feb. 1907. Pupil of his father, 1871-9 of Joseph Pembaur, Innsbruck, and of Rheinberger, Munich. Mozart Scholar, 1883, and in the same year teacher of pf. and theory at Munich School of Music, where he exerted remarkable influence on a number of young and talented students, the so-called "Munich Tonschule "; 1890, R. prof. Consult F. Munter, A. Th. (Munich, 1922). 6tet for pf. and wind instrs. B flat ma. op. 6; organ sonata: romantic overture for orch., Mid- summer Night's Dream; male choruses; 5tet, E flat ma. for pf. and strs. op. 20; 2 vn. sonatas (op. 1 and op. 30); cello sonata, op. 22; organ Feuer op. 2; songs; operas: dank (awarded a prizo at Munich, 1897); Lobe- tanz (Carlsruhe, 1898); Gugeline 1901); made pf. arr. of Peter Cornelius' Cid. Publ. with R. Louis Text-book on Harmony (Stuttgart, 1907, Grüninger).-A. E. THUREN, Hjalmar. Danish music historian; b. Copenhagen, 10 Sept. 1873; d. there 13 Jan. 1912. Took his theological degree at Copenhagen Univ.; studies of Danish mus. history and folk-lore; wrote interesting treatises upon his research work, namely: Dans og Kvaddigtining paa Faeröerne (Dances and Poetical Lays of the Faroese), 1901; Folk-Song in the Faroe Islands (with excerpt in Ger.), his principal work, 337 pages (F. F. Publ., Northern Series No. 2, Copenhagen, 1908); The Eskimo Folk-Lore (collab. with W. Thalbitzer), Eskimo language phonetically investigated on a journey in North Greenland 1900-1 (In Eng.; printed in Meddelelser om Grönland, Vol. XXXI, Copenhagen, 1904); Vore Sanglege (Our Song-Games) in Danske Studier, Copenhagen, 1908; Museum, Copenhagen, 1909" (in Fra Arkiv og

TIBETAN MUSIC TIBETAN MUSIC. Is of two kinds: the folk- music and the developed music of the Lamas (priests). Both kinds are entirely founded on the pentatonic scale. See chapter XIV in Hon. C. G. Bruce's The Assault on Mount Everest (E. Arnold, 1923) and art. by T. H. Somervell in Mus. Times, London, Feb. 1923: also chapter I, sect. 4 of Jacques Bacot's Le Tibet Révolté (1912), pages 44-49.-E.-H. TIERSOT, Julien. Fr. musicologist and compr. b. Bourg (Ain), 5 July, 1857. Pupil of Paris Cons. in 1877, under Massenet, Franck and Savard. Librarian of the Cons. 1883-1919. President of the Société Française de Musicologie (see SOCIETIES). His Histoire de la Chanson populaire en France (1885) took the Prix Bordin. It was publ. in 1889. Rouget de Lisle (1892); Chansons populaires (from the Vivarais and Vercors districts), with d'Indy (1892); Les types mélodiques dans la chanson populaire fran- çaise (1894); Les Fêtes et les chants de la Révolution francaise (1908); Jacques Rousseau (Alcan, 1912, Notes on (1905); Jean 1918); History of the Marseillaise (Delagrave, 1915); Correspondence of Berlioz; Les Années romantiques; Le Musicien errant: La Musique dans la Comédie de Molière (Paris, 1922). Mélodies populaires des pro- vinces de France has extended to 8 series; also 45 French Folk-songs (Schirmer, New York); 60 Folk- songs of France (Ditson, Boston). Collab. with Saint- Saëns for Pelletan Ed. of Gluck's works. Compns.: Rhapsody on Folk-tunes of La Bresse (orch.); Hellas (after Shelley: chorus and orch.); symph. legend, Sir Halewyn (1897); orch. suite; songs, choruses, etc.-M. L. P. TISCHER entirely. Priz de Rome in 1877, and from that moment his works multiplied. 1881, director of School of Religious Music, Malines (suc- ceeding Lemmens); 1896, succeeded F. Kuffe- rath as professor of counterpoint at Brussels Con- servatoire. Finally, in 1909, became director of the Conservatoire (succeeding Gevaert). He was a member of the Royal Academy. He was an ardent spirit, highly cultivated, with a great conscientiousness. His boyhood had been extremely hard. In his early student years in Brussels, he had lodged in a garret, subject to privations of every kind, singing in churches and teaching to provide his own wants and those of a younger brother with him. His works are distinguished by a perfect musical science, but their style is resolutely conservative and a little antiquated. In form, melody and bold development, they might be compared to the classic Romanticists. The choral writing is excellent; the orchestration somewhat massive. The influences (even reminiscences) of Mendels- sohn, Schumann and Brahms appear clearly in his works. Their chief characteristics are ardour, conviction, and religious fervour, in which there is no genuine mysticism, but rather a kind of solidity which is very Flemish. On account of its character, and the excellent choruses, his Franciscus (St. Francis) may be considered the best oratorio written since Mendelssohn, thus possessing historical signifi- TIESSEN, Heinz. Ger. compr. b. Königsberg, 10 April, 1887. Stud. law in Berlin and attended scientific, literary and philosophical lectures; 1906-9, pupil of Ph. Rüfer, and of W. Klatte. Now works in Berlin as critic and compr. Tiessen a modern, full-blooded and sturdy East-Prussian composer. 2 symphonies (op. 15, C ma.; op. 17, F mi. Death pf. op. 18; 7tet, G ma. str. 4tet, A. and horn, op. 20; songs, op. 8 10, 22-23; Songs of the Gallows (Morning Star), op. 24; orch, plece, Eine Ibsenfeier, op. 7: Rondo, orch. op. 21; Love Song, orch. op. 25; Death Dance Melody, vn. and pf. (from music of Cari Hauptmann's The Poor Broom-maker); music for Immermann's Merlin (Berlin, 1918); 3 orch. pieces, 1920); (from music to Shakespeare's Hamlet) (Berlin, (1914).-A. E. TILINKÓ. See HUNGARIAN MUS. INSTRS. TILMAN, Alfred. Belgian compr. b. Brussels, 3 Feb. 1848; d. Brussels, 20 Feb. 1895. Stud. at Cons. 1866-70. Was given charge by Gevaert of a course of harmony based on a new principle, but retired as his official nomination was delayed. In 1873 obtained 2nd Prix de Rome. Comp. many choral works, religious music, songs. His male-v. pieces enjoyed a great vogue during period of greatest choral activity in Belgium.-E. C. TINEL, Edgar. Belgian composer; b. Sinay (East Flanders), 27 March, 1854; d. Brussels, 28 Oct. 1912. First music lessons from father, an organist in Sinay. 1863, entered Brussels Conservatoire under Fétis, Brassin, F. Kuffe- rath, Mailly, Ad. Samuel and Gevaert. At first destined for a career as pianist, and played with success in London, 1876. Soon attracted by composition, to which he devoted himself cance. The religious operas Godelieve and Katharina are of same character, but inspira- tion is not sufficiently sustained. We must also note the cantata Kollebloemen, a charming youthful work; Adventlieder (mixed chorus); the organ sonata and the Te Deum. Stage works: Godelieve (Brussels, 1897), and Katharina (id. 1909). Vs. and orch.: De Drie Ridders, ballad, solo barit., chorus and ore Deum; Mease lyrie poem; Franciscus (1888); Te (1898). Orch.: Overture and 2 symph. sketches for Polyeucte. Vs., organ: Alleluia, Te Deum, sundry motets, Psalm CL. Va.. Va., pt.: Adventlieder. sonata; pf. pieces. Wrote Le Chant grégorien, théorie sommaire de son exécution (1890). Consult E. T. by Paul Tinel (1922).-E. C. TIRINDELLI, Pier Adolfo. Ital. violinist, compr. b. Conegliano, Veneto, 5 May, 1858. Stud. vn. under V. Corbellini; compn. under Boniforti at Milan Cons. 1870-6; under Grün in Vienna; and (1881-3) under Massart in Paris; 1883, toured Italy; 1884, prof. of vn. at Liceo Benedetto Marcello, Venice, and dir. in 1893. Appeared in U.S.A. as soloist with Boston Sym- phony Orch. 16 Dec. 1895; settled in Cincinnati as vn. teacher at Cons. 1895-1922. Two operas: Atenaide (Venice, 19 Nov. 1892); Blanc et Noir, (Cincinnati, 15 Dec. 1897). Chevalier of the Crown of Italy. Concerto, vn. and orch. (Schmidt, 1900); pleces and songs (Ricordi; Brocco; Mariani; J. M. TISCHER, Gerhard. Ger. ed. and publ. b. Lübnitz, near Belzig (Brandenburg), 10 Nov. 1877. Stud. philosophy and theory in Berlin; 1903, Ph.D. (thesis, Aristotelian Mus. Problems); 1904, teacher of history, Handel High School, Cologne; 1906, ed. of Rheinische Musik- und 495

TITTA Theater-Zeitung, and head of publ. firm Tischer & Jagenberg, Cologne, which acquired, in 1921, the Wunderhorn Verlag (Munich) copy- rights.-A. E. TITTA, Ruffo. Ital. operatic barit. b. Pisa, 9 June, 1877. One of most celebrated living Ital. singers. Of humble origin; stud. in Rome at R. Liceo Mus. di Santa Cecilia, under Persi- chini. Then went to Milan, and, after a difficult period, made his début in Rome as the Herald in Lohengrin in 1898. His fame grew rapidly, and very soon was sought after by the most important opera houses in Europe and America. He is also a capable interpreter, and his render- ings of Amleto, Barbiere di Siviglia, Rigoletto and other leading barit. parts are famous.-D. A. TOCH, Ernst. Austrian accompanist (pf.); b. Vienna, 7 Dec. 1887. Stud. medicine and philo- sophy; self-taught musician; won Mozart Exhi- bition, 1909; Mendelssohn Exhibition, 1909; Austrian State prize for compn. four times. Until 1909, lived at Frankfort-o-M.; stud. pf. under Willy Rehberg; 1913, teacher at High School of Music, Mannheim. 12 str. 4tets; chamber-symphony; sonatas, for various instrs, pl. concerto; pf. pieces; vn. picces To my Fatherland (soli, organ): stage-piece, The Children's New-Year Dream.-A. E. TOFFT, Alfred. Danish compr. b. Copenhagen, 2 Jan. 1865. Destined for business, but taught himself mus. compn. His pf. pieces and songs enjoy widespread popularity (Augener; Breit- kopf; Wilhelm Hansen); also organ compns. and pieces for ob. and vn. His opera Vifandaka (an Indian subject arranged by compr.), was perf. with great success at R. Theatre, Copen- hagen (publ. Wilhelm Hansen). Wrote music to Drachmann's play Bonifacius Skaret (The Reef of St. Boniface), given at Dagmar Theatre, Copenhagen; mus. critic of leading Copenhagen paper, Berlingske Tidende; inspector of military music in Denmark; chairman of Danish Com- posers' Club and of Soc. for Publ. of Danish Music.-A. H. TOMÁŠEK, Jaroslav. Czechoslovak compr. b. Koryčany (Moravia), 1896. Pupil of Vit. Novák, studying mus. science at Prague Univ. A rich invention and a quite new accent of eroticism distinguished him from the first. Chorus and orch.: Stědrovečerni romance (Romance of Christmas Eve); a str. 4tet; song-cycles: Žene (To Woman); Prosté srdce (4 Simple Heart) (Hudební Matice, Prague).-V. ST. TOONKUNST chamber compns. Has publ. various articles in the Rivista Musicale Italiana. Consult art, by G. Gatti in Mus. Times (London) Nov. 1921, -D. A. TOMMASINI, Vincenzo. Italian composer; b. Rome, 17 Sept. 1880. Stud. in Rome, under Ettore Pinelli (vn.) and Stanislao Falchi (compn.), then in Germany under Max Bruch. One of the most notable young Ital. comprs. Comp. several operas: Medea (Trieste, 1906); Uguale fortuna (Costanzi, Rome, 1913; publ. Milan, Sonzogno); Le donne di buon umore (The Good-humoured Ladies), 1-act choreographic comedy on motifs of Domenico Scarlatti, written for Diaghilef's Russ. Ballet (London, 1919, Chester). Also various orch. works, amongst which Chiari di luna (Ricordi), successfully perf. at the Augusteo and elsewhere, and instr. and vocal TONALITÀ NEUTRE (Neutral Tonalities). Ex- pression adopted by Domenico Alaleona (q.v.) in his arts. on modern harmony (publ. in Rivista Musicale Italiana in 1911) to indicate certain new tonal directions of an indefinite and sus- pended nature; and, in particular, certain aesthe- tic effects of the grouping of sounds resulting from division of octave into equal parts. (See ARTE DI STUPORE.) E.-H. TONWORTMETHODE. See EITZ, CARL A. TOONKUNST, Maatschappij tot bevordering der. This, the greatest Dutch mus. society, founded 1829 by A. C. G. Vermeulen, had in 1924, 37 independent local departments in 37 cities; altogether 8000 members. All depart- ments have local choral societies (Amsterdam Toonkunstkoor of 600 voices, dir. by W. Mengel- berg, is famous); some of them music-schools too (Amsterdam, dir. Ulfert Schults; Rotter- dam, dir. Wouter Hutschenruyter; Utrecht, dir. Ant. Averkamp). The Amsterdam Toonkunst has since 1884 had, besides the music-school, a well-known Cons. (dir. 1884-95, Frans Coenen; 1895-1913, Daniel de Lange; from 1913 till 1924, Julius Röntgen, sen.). The company has a con- siderable library and examines music-students yearly (at Utrecht). United with this Soc. are the Nederlandsche Koorvereeniging (ed. of popular choral works), 1865, and the Vereeinging voor Nederlandsche Muziekgeschiedenis (ed. of ancient Dutch masterpieces of Sweelinck, Obrecht, Josquin des Prés, etc.), 1868. The Soc. formerly gave frequent music-fests. (famous Rotterdam fest. 1864). Last Toonkunst fest. took place 496 TONER, Jean Baptiste. Scottish pianist; b. Glasgow, 11 June, 1891. Displayed marked gifts of improvisation at an early age; stud. in Lon- don and Germany; came under influence of Pachmann, who predicted a brilliant career. Specialises in Chopin.-J. P. D. TONI, Alceo. Ital. compr. and writer; b. at Lugo (Romagna), 22 May, 1884. Pupil of Went to Milan, Pratella (q.v.) at Lugo. where he successfully devoted himself to composition, conducting and to mus. revivals. In 1921 cond. a series of concerts of Ital. music. at Bucharest, and also dir. other important the concerts at Comp. Augusteo, Rome. much vocal and instr. chamber music (2 sonatas, a 4tet, a 5tet, songs, etc.), sacred His activity in reviving music, and operas. old music is important. Has held the tech- nical direction of the Raccolta nazionale delle musiche italiane, publ. by Istituto ed. Milan; many sections of this collection being under. taken by him. Has also publ. other inter- esting eds. of old Ital. music through Ricordi (the principal concertos of Corelli), and some interesting studies in the Rivista Musicale Italiana. Now mus. critic of Il Popolo d' Italia, Milan.-D. A.

TORCHI 1912, Amsterdam, cond. by Willem Mengelberg. -W. P. TORCHI, Luigi. Ital. compr. and critic; b. Mondano (Bologna), 7 Nov, 1858; d. Bologna, 18 Sept. 1920. One of most praiseworthy musicians and writers of the last period. Stud. in his native city, and then at Naples Cons. under Serrao (compn.). Then went on some important journeys through Germany and France, for the purpose of study. 1885, was appointed teacher of history and aesthetics of music at Liceo at Pesaro; 1891, went to the Liceo at Bologna, where he was librarian and prof. of compn., which post he held until the last few years of his life. T. was the first trans- lator and propagator in Italy of the literary works of Wagner. L'Arte musicale in Italia, a national coll., in 7 large. vols., of unpubl. and little-known Ital. mus. works from XIV to XVII century cordi); Eleganti canconi ed arie italiane del s (id.); 4 Collection of Pieces for the Violin, composed by Italian Masters of the XVII and XVIII Centuries, harmonised and arranged with pianoforte accompaniment (London, Boosey & Co.). His writings have mostly been publ. in the Rivista Musicale Italiana; some are of a historle character, and others critical, dealing with contemporary mus. productions; also a monograph on Richard Wagner (Bologna, 1890, Zanichelli). As a compr. he has left several operas and some symph. and sacred music. Consult Francesco Vatielli, L. T. (Rivista Musicale Italiana, 1920, No. IV).-D. A. TORJUSSEN, Trygve. Norwegian compr. and music critic; b. Drammen, 14 Nov. 1885. Stud. pf. under Rosati in Rome; under Wiehmayer in Stuttgart; compn. at Cons. in latter city. Pf.. teacher at Cons. in Christiania. From 1913-23 music critic on Verdens Gang. He has won great popularity with his charming, tuneful lyrics and his pf. pieces, as well as his orch. pieces with their clever instrumentation. Suite for orch. (1st perf. Christiania, 1920); Nor- wegian Poems for organ; vn. sonatas; pf. pieces (about songs (including the charming Silent Snow).-J. A. TORNER, Eduardo Martínez. Span. pianist and compr. b. Oviedo. Best-known for his Cancionero musical de la lírica popular asturiana (1919), one of the finest works on folk-lore pro- duced in Spain. He stud. at Schola Cantorum under d'Indy, returning to Spain in 1914. -P. G. M. TOSCANINI special reference to Ital. music of XVIII century, showing the Ital. origin of the sonata and of the symphony; particularly noteworthy are studies on Venetian cembalo-players, Giovanni Platti and Baldassare Galuppi. His theoretical studies concerned with mus. alliteration and development of tonality; his critical studies with various modern operas, amongst them Strauss's Elektra, Rosenkavalier and Ariadne auf Naxos.-D. A. TORRES, Father Eduardo. Span. compr. b. Albaida (Valencia), 1872. In 1897, choirmaster of Tortosa Cath. Since 1910, choirmaster of Cath. of Seville; devotes much time to the study of modern Russ. music. Amongst his publ. works are to be found more than 100 pieces for organ, a mass and several choral (Editorial Orfeo; Unión Musical Española, Madrid; Senart; Rouart, Paris).- works. P. G. M. TORRINGTON, Herbert Frederic. Brit. orgt. violinist, condr. b. Dudley, Worcestershire, in 1837; d. Toronto, 20 Nov. 1917. His first appointments were at Bewdley and Kidder- minster as orgt. and violinist. In 1858, went to Montreal, Canada, as orgt. of St. James's Street Methodist Ch., till 1869, when he went to Boston as teacher at New England Cons. of Music, and condr. of various societies, orgt. of King's Chapel, and violinist in Harvard Sym- phony Orch. In 1873 went to Toronto as orgt. of Metropolitan Ch. and condr. of Toronto Philh. Soc. In 1886 he organised the Toronto Mus. Fest., one of the landmarks in history of the mus. life of the city. The chorus consisted of 1000 and the orch. numbered 100 (Gounod's Mors et Vita; Handel's Israel in Egypt, etc.). In 1888 he organised and founded the Toronto Coll. of Music, which became affiliated with Univ. of Toronto and became known not only as a teach- ing coll. but also as examining body (see ACADEMIES) until its absorption by Canadian Acad. of Music. Torrington's work was of the kind known as mus. pioneering and as such it was of great importance to Canada. ceived Mus.Doc. h.c. from Trinity (Toronto) University.-L. S. He re- TÖRNUDD, Axel. See FINNISH CHORAL MUSIC. TORREFRANCA, Fausto. Ital. critic and music historian; b. Monteleone Calabro, 1 Feb. 1883. Graduated as an engineer in 1905; subsequently devoted himself to the history and aesthetics of music; stud. harmony and cpt. in Turin under Cesare Lena; 1915, be- came reader of mus. history at Rome Univ.; 1914, won by competition post of prof. of mus. history in the R. Cons., Naples; 1915, librarian there. Has been mus. critic of L'Idea Nazionale, Rome; is contributor to many Ital. and foreign reviews. Has publ. La vita musicale dello spirito (Turin, 1910, Bocca); Giacomo Puccini e l'opera internazionale (Turin, 1912, Bocca); also a rich series of studies in the Rivista Musi- cale Italiana and other reviews, on subjects. of theory, criticism and mus. history with 2 K 497 TOSCANINI, Arturo. Ital. condr. b. Parma, 25 March, 1867. Stud. at the Parma Cons. where he gained his diploma in cello and compn. in 1885. After a first period of activity as a cellist, began his career as a condr. in 1886 at Rio de Janeiro, suddenly being called upon to replace another condr. in opera Aida. His reputation rapidly gained ground. In Turin, where he remained for several years, he dir. the 1st perf. in 1886 of Catalani's Edmea (of which compr. Toscanini was a fervent apostle), and founded and cond. the municipal orch. reviving again the popular concerts instituted by Pedrotti (q.v.). During the Exhibition of 1898, he cond. in Turin a long and memorable series of concerts. In same year, was appointed to La Scala, Milan, where he effected an artistic reform, remaining there until 1907, in which

TOSTI year he was nominated condr. of the Metropoli- tan, New York. He returned to La Scala in 1921, and is now the artistic dir. The concerts cond. by him the Augusteo in Rome have become memorable. In 1920, toured in North America, with triumphant success. Many operatic seasons were cond. by him at principal opera houses all over the world: especially the Costanzi, Rome, in 1911, and at Busseto (Verdi's native place) in the year of the Verdi Centenary, 1913. Many new Ital. operas were presented for first time by Toscanini, amongst them Pagliacci and Zazà (Leoncavallo), La Bohème and Fanciulla del West (The Girl of the Golden West) (Puccini), Germania (Franchetti), Gloria (Cilea). Consult G. M. Ciampelli, A. T. (Milan, 1923, Modernissima ed.).-D. A. TOSTI, Francesco Paolo. Ital. compr. b. Ortona a Mare (Abruzzi), 9 April, 1846; d. Rome, 2 Dec. 1916. Popular all over the world for his songs. Until 11 years old, he stud. in his native city; afterwards at Cons. San Pietro a Maiella, Naples. When about 30 years old, he went to London, where he gained great renown; for many years held the position of singing teacher at R.A.M. and became one of Queen Victoria's favourite comprs.; he was knighted by her in 1885. His songs to Ital., Fr. and Eng. words are counted by hundreds. His early compns. recalled the folk-songs of his native Abruzzo. Afterwards his music became richer and somewhat more elaborate.-D. A. TOURNEMIRE, Charles. Fr. compr. and orgt. b. Bordeaux, 22 Jan. 1870. Pupil of César Franck, but more independent in style than his other pupils (e.g. P. de Bréville, Samuel Rous- seau). Orgt. Šte.-Clotilde, Paris, since 1898; has given recitals in France, Berlin, Moscow, Switzerland, Brussels, Turin, Holland, etc. Gained Prix de la Ville de Paris for dramatic legend Le Sang de la Sirène. Prof. of chamber- music class, Paris Conservatoire. Organ works: op. 2, 3, 10, 16, 19, 24 (Leduc; "Noël," Paris); notably Triple Choral, op. 41 (Janin). Chamber-music: pf. 4tet; pf. trio; 6tet, pf. and wind instrs.; pieces for cello, for horn, for vla., for ob., etc.; coll, of songs; 2 poems, v. and' pf.; Sagesse, v. and pf.; Triptyque, op. 39; 5 symphonies.-A. C. TOURNIER, Marcel. Fr. harpist; b. Paris, 5 June, 1879. Prof. of harp at Paris Cons., where he gained 1st prize for harp in 1899; Prix de Rome in 1909; lauréat of Institut. Succeeded his master Hasselmans in 1912. Is author of many pieces for harp; and also of a 2-act ballet.-F. R. TOVEY, Donald Francis. Eng. compr. pianist, condr. b. Eton (Berks), 17 July, 1875. Reid Prof. of Music Edinburgh Univ. since 1914; B.A. Oxon.; M.Mus. Birmingham, h.c.; Mus. Doc. Oxon. by decree. Second son of the Rev. D. C. Tovey, rector of Worplestone, Surrey. Trained at home by Miss Weisse. Stud. compn. under Sir Walter Parratt, Higgs, and Sir Hubert Parry. Entered Balliol Coll. Oxford, 1894. First holder of Lewis Nettleship Memorial Scholarship in Music. From early childhood was associated with Joachim, who took a great personal interest in his mus. education. In 1900, gave chamber- TOWNSEND music concerts in London, Berlin and Vienna. At various later dates, gave a series of 6 his. torical pf. recitals of the works of Beethoven. Author of some 40 arts. on music and musicians in Encyclopædia Britannica (11th ed.); also of numerous essays and pamphlets on mus. analysis, issued in connection with concerts. In 1917, he founded the Reid Orch. of local orch, players and students, as a concert-giving organi- sation and an essential part of the course for degrees in music at Edinburgh University. In 1924, he was elected Hon. Fellow of R.C.M. T.'s music is distinguished by high and serious aims. Though he shows marked regard for classic form and style, he is also an earnest and success- ful explorer of new forms, abundant evidence of which fact is to be found in his chamber- music. He is most happy in his treatment of the variation form. His pf. and str. 4tets have not yet received the attention they deserve. Personal acquaintance with the music is desir able; and actual performance leads to a deeper appreciation of the compr.'s style and method, revealing a sympathetic and highly organised imagination that disdains any sensational appeal. Those who seek for truth and beauty in musical expression will find much reward in a close study his work. As a pianist, T. must be placed in the front rank. His interpretations of Bach, Beethoven and Brahms are of great value, and exhibit not only remarkable powers of memory and physical endurance, but illuminate the music with à noble and lofty understanding. His technique is sure and virile, and shows a rare intelligence. As condr. of the Reid Orch. at Edinburgh, he has obtained very gratifying results. Starting with raw, unpromising material, he has, within a few years, trained the players to a state of efficiency which enables him to produce, with highly creditable results, such works as Beet- hoven's Choral Symphony, and standard works of classical and modern composers. But it is as a teacher, and an exponent of his art, that T. is perhaps regarded with the greatest esteem and affection. Tall and striking in appear- ance, he often seems to be treading the earth with his head in the clouds. He has a keen sense of humour, a deep reverence for the classics and a broad generous mind capable of inspiring others with enthusiasm. He is ever tolerant of adverse opinions, and sympathetic to all who are devoted sincerely to their art. Opera: The Bride of Dionysus (Schott); symphony in 1 (ms.); pf. concerto in A (Schott); 5tet in C, pf. and str. (Schott); 4tet in E ml. pf. and str. (Schott); 3 str. 4tets; 4 pf. trios (2 with wind instrs.); sonata in G for 2 cellos; sonata in B flat, pf. and clar.; sonata in F, pf. and cello; and sonatas for solo instrs. (all Schott); songs and rounds (Augener; J. Williams).-G. B. TOWNSEND, William. Scottish pianist; author; b. Edinburgh, 26 Nov. 1847. Stud. at R.A.M. London, and Cons. of Leipzig, 1865-72. Since domiciled in Edinburgh. One of most successful and progressive artists. Books: The Pianoforte; Balance of Arm in Pf. Technique; Piano Exercises; Modern Pianoforte Teaching.-J. P. D. 498

TOYE TOYE, John Francis. Eng. musical critic and writer; b. Winchester, 27 Jan. 1883. Educated Winchester and Trinity Coll. Cambridge. Stud. under S. P. Waddington and Edward J. Dent; musical critic for various papers; visited, for purpose of comparative study, Germany, France, Italy, Austria and America, 1923-4. Diana and Two Symphonies, a musical novel (Heinemann, 1913); 6 songs (Elkin, 1919); 2 songs (Curwen, 1921).-E.-H. TRAGÓ Y ARANA, José. Span. pianist; b. Madrid, 25 Sept. 1856. At the age of 14, as a pupil at R. Cons. de Música under Eduardo Compta (one of Isaac Albeniz's teachers), obtained 1st prize for pf.-playing. Entered the Paris Cons. at 1875, obtaining also the highest distinction. In 1880, made his début in public at the Salle Pleyel, Paris. Indifferent to the opportunities he has devoted his lined to him as a virtuoso, mostly to imparting his knowledge to others. His appearances in public have always constituted a mus. event in the Span. capital, where he is senior pf. teacher at R. Cons. de Música, and member of R. Acad. de Bellas Artes.-P. G. M. TRAPP, Max. Ger. compr. b. Berlin, 1 Nov. 1887. Pupil of Paul Juon (compn.) and Ernst von Dohnányi (pf.); pf. teacher and condr. in Benda Acad. Berlin. Str. 4tet. D mi. op. 1; pf. pleces, op. 2; pf. 4tet. op. pf. 4tet, songs, op. 6; pf. 4tet, F ma. op. 7: Sinfonia giocosa, op. 8; pf. 4tet op. 9; Rhapsody, pf. op. 14; Nocturne, small orch. (for Shakespeare's Timon of Athens); music for magic-lantern play by Mörike, Last King of E. TREE, Charles. Eng. barit. singer and lecturer; b. Exmouth, 22 Aug. 1868. Has sung with most of the chief choral societies; has a repertoire of 80 oratorios, etc.; also specialises on folk- songs and lectures on singing. How to acquire Ease of Voice-production (own publ.); Exercises in the Bel Canto (1922).-E.-H. TRÉGLER, Eduard, Czechoslovak organist, compr. b. Louny (Bohemia), 1868. Stud. in Prague, where 1890-8 he was choirmaster; 1898-1901, court-orgt. in Dresden; afterwards gave concerts all over Europe, often as pianist in chamber-music. Now prof. at Cons. Brno. Church (Fr. A. Uompns.; organ pieces; choruses; songs. M. Urbánek, Prague.)-V. ST. TREND, John Brande. Eng. writer; b. Southampton, 17 Dec. 1887. Educated at Charterhouse and Cambridge; assistant-ed. Country Life, 1910-12; travelled in Germany, Italy, Austria, Hungary, Scandinavia and Spain; served in army in Belgium and France, 1914-17; correspondent of The Athenaeum in Spain, 1919. The Mystery of Elche (Music and Letters, 1920, I, 2); The Dance of the Seises (ib. 1921, II, 1); Modern Spain: Men and Music (Constable, 1921): Manuel de Falla (Music and Letters, 1922, 111, 2); The Music of On stor Galicia (ib. 1924, V, 1) and other papers of Spanish music.-E.-H. TRIFONIA. New tonal effect obtained by dividing the octave into 3 perfectly equal parts, expounded by Domenico Alaleona (q.v.) in his I moderni Orizzonti della Tecnica Musicale (Turin, 1911, Bocca).-E.-H. TRIMITAS. See LITHUANIAN MUSIC. TROTTER TRNEČEK, Hanul. Czechoslovak composer; b. Prague, 1858; d. there, 1914. 1882-8, in Schwerin, Germany; 1888, prof. of pl. and harp, Prague Conservatoire. Operas: The Violin-makers of Cremona; Amaranda; or different wind-instra; pt. itet; sonata, va and p harp compne; many transcriptions for harp Smetana); ipf.; Piano School (together with Hofmeister)-V.ST TROIANI, Cayetano. Argentine pianist,compr. b. Castiglione Marino (Abruzzi), in 1873. Went to Buenos Ayres na child. Stud. Naples Cons., returning to Buenos Ayres giving concerts of his own works. Prof. pf. Santa Cecilia Inst. there; then co-dir. with Hector and Hercules Galvani. Several orch. and pf. pieces-his latest, Impressioni, publ. by Ricordi.-8. G. 8. TROMBONE FLUTTER" or Tongueing (Ger. Flatterzunge). Used for first time by A. Schönberg in his 5 Orchestral Pieces (1909). See full score (Peters), page 11: con sord, JV. Tba, Used later by R. Strauss, in opera Die ohne Schatten.-Eo. W. TROMBONE GLISSANDO. Used for 1st time by A. Schönberg in his symph. poem Pelléas and Mélisande (1902), full score, p. 51: gliss. 1, 2 TEN. BASS. CS ex 3 con sord. ppp Here the note E and its octave are fixed as basis of 6th position by the lips, and the tube is pushed through all the positions in such a way that the intervals of half- and quarter-tones can be clearly heard.-EG. W. TROMPETTE, LA, See SOCIETIES. 499 TRONITZ, Jo (Phillip Jonas). Norwegian pianist; b. Christiania, 1 Aug. 1879. Stud. pf. under Christian Johnson, Erika Nissen and Martin Knutzen, Christiania, and J. Kwast, Berlin; theory under Gustav Lange and Otto Winter-Hjelm, Christiania. Début in Christi- ania in 1902; 1906-15, head-teacher of pf. at Cons. in Sherman, Texas; 1915-19, had his own pf.-school in Dallas, Texas. Numerous concerts throughout Norway; has perf. at concerts in New York, Brooklyn, Chicago, etc.-U. M. TROTTER, Thomas Henry York Eng. teacher and writer on music; b. 6 Nov. 1854. M.A. New Coll. Oxford, 1887; Mus.Doc. 1892; stud. under Dr. F. E. Gladstone and Sir Frederick Bridge; cond. 1st perf. of Schumann's Manfred and Mendelssohn's Athalie in England; principal of Incorp. London Acad. of Music, from 1915. Has specialised on a new teaching of music, founded on ear-training and rhythmic culture. Constructive Harmony Rhythmic Gradus (id.): Ear-training and Sight-reading Gradus (Bosworth) 1922); The Music and Mind (Methuen, 1924).-E.-H.

TROWELL TROWELL, Arnold. Eng. cellist and compr. b. Wellington, New Zealand, 25 June, 1887. First stud. there under his father; then under Hugo Becker in Frankfort-o-M. and later at Brussels Cons. where he won the prize for cello- playing. Début in Brussels; first appearance in London 1907, in a series of recitals; has specialised on old-time masterpieces, and has toured extensively. His cello concerto in D mi. op. 33, was first perf. at Liverpool Symph. March 1909 (London, Crystal Palace, July 1911). He plays a Domenico Montagnana cello (1720). A large number of orch. works and cello pieces (Schott, London).-E.-II. TRUMAN, Ernest. British orgt. and compr. b. Weston-super-Mare, England, 29 Dec. 1869. Now city-orgt. Town Hall, Sydney, Australia. Magnificat (Latin words), soli, chorus, orch. (Paling & Co. Sydney); cantata-grotesque, The Pied Piper, soli, chorus, orch. (id.); Song of Tribute, barit. v. (id.); Concert Prelude and Fugue, organ (id.); much chamber and solo music, ms.-E.-H. TRUNK, Richard. Ger. compr. b. Tauber- bischofsheim, Baden, 10 Feb. 1879. 1894-5, stud. at Hoch's Cons. Frankfort-o-M. (pf. and theory under Knorr); 1896-9, pupil of Rhein- berger, Kellermann, Bach, Günzburg, Buss- meyer and Erdmannsdörffer at Munich Acad. Accompanist Eugen Gura; 1907, condr. of Munich Citizen Singers' Guild and of People's Choral Union; 1912, condr. of choral and orch. soc. Arion, New York; condr. of Arion at Newark at same time; 1914, returned to Munich; 1918, condr. Citizen Singers' Guild again. Songs, 16, 22, 26, poems by Paul Verlaine); male choruses; mixed choruses (also with full orch.); orchestral grotesque, Walpurgis Night; vn. and pf. pieces; pf. 5tet; operetta, Herzdame (Queen of Heartslunich. A. E. mostly publ. by Otto Halbreiter, TUA, Teresina. Ital. violinist; b. Turin, 24 May, 1867. Of humble origin; after a wandering life with her parents, who were travelling musicians, her unusual talent was so striking that she found help and protec- tion which enabled her to enter the Paris Cons. to study under Massart. The results were very brilliant; Tua became one of most admired of European violinists. After several triumphant tours through Europe, she settled in Italy in 1889, where she married the music critic, Count Franchi Verney (1848-1911), not, however, giving up her career. In Berlin she had the support and praise of Joachim. Her concert activity continued, especially in Rome, where she had taken up her residence. After Franchi-Verney died, she contracted a second marriage in 1914 with Count Emilio Quadrio De Maria Ponteschielli. She also took the post of teacher at the Cons. in Milan.-D. A. TURCZYŃSKI, Jósef. Polish pianist; b. Zytomierz, Wolhynia, 1884. Pupil of his father, then (1907-8) of Busoni in Vienna. Début in 1908. In 1911, 1st prize at pf. competition in Petrograd. Has played in all the European capitals; 1915-19, prof. at Kief Cons. Since 1920, prof. of the concert-pianists' class at Warsaw State Conservatoire.-ZD. J. TURINA TURICCHIA, Giovanni. Ital. violinist; b. Alfonsine (Ravenna), 21 May, 1886. Stud. under his uncle Antonio T. (orch. leader at Monte Carlo); then at Liceo Mus. di Bologna. Concerts in Italy. 1907-11, teacher at Cons. of Malmö (Sweden); co-founder of Malmö Chamber-Music Soc.; 1911-12, orch. leader in Helsingborg; 1912, orch. leader at R. Chapel in Stockholm. Wrote Contributo alla tecnica del violino (ms., diploma at Copenhagen, 1909).-P. V. TURINA, Joaquín. Spanish composer and Began his pianist; b. Seville, 9 Dec. 1882. studies early in life in his native town under Don Evaristo García Torres, choirmaster of Cath. (harmony and counterpoint), and Don Enrique Rodríguez (piano); also studied piano under Tragó, Madrid, and Moszkowski, Paris, where he lived 1905-14, studying composition under d'Indy at Schola Cantorum. His name is often associated with that of de Falla (compare the case of Albeniz and Granados), no doubt because for a number of years they were the two representatives of the young generation of Spanish musicians who became most prominent in the artistic circles of Paris. Their progress was very keenly followed by Debussy, Ravel, d'Indy, Florent Schmitt and others from whom they received great encouragement and valuable advice; also, their return to Spain in 1914, when the Spanish people became properly acquainted with the modern tendencies of their works (otherwise quite distinct from each other), was Another bond of union almost simultaneous. between these two composers is their Andalusian origin, which accounts for a certain affinity of colour, but not of construction, in their earliest works. Turina has a distinct and unmistakable personality of his own. His works vibrate with the vigorous picturesqueness of the landscape, the city and even the spirit of domestic life of Seville. He is a pianist of uncommon ability, and appears often as a soloist, being the pianist of the Quinteto de Madrid (also known as Quin- teto Turina), of which he is one of the founders. Was for a time one of the conductors of the Russian Ballet in Spain, and on special occasions has acted in the same capacity at some of the Madrid theatres and symphony concerts. Lives and teaches in Madrid. Through his unselfish and unsparing efforts to displace obsolete routine in teaching theory and composition, he is acknow- ledged, with Conrado del Campo, as a regenerating influence in Spanish musical education. Stage works: Margot, lyric comedy, book by Martínez Sierra (prod. Teatro de la Zarzuela, , Madrid, Oct. 1914); Navidad, book by Martinez Sierra (Teatro Eslava, Madrid, Dec. 1916); La Adultera Penitente, Martinez Sierra's adaptation of Moreto's work (Teatro Novedades, Barcelona, June 1917); Jardin de Oriente (first p t perf. Madrid, 1923). For orch.: La Procesión del Rocío, symph. picture (perf. Orquesta Sinfónica, Madrid, March 1913; 1st perf. in England under Sir Henry Wood, Queen's Hall, and Pedro G. Morales, Wigmore Hall, 1918); Evangelio de Navidad, symph. poem (Orquesta Sin- fónica, Madrid, April 1915); Sinfonia S awarded a prize in a competition at Gran San Sebastian, Sept. 1920; Danzas Fantásticas (Orquesta Filarmónica, Madrid, Feb. 1920; 1st perf. in England under Sir Henry Wood, Queen's Hall, 1922). 500

TURNER Chamber-music: pf. 5tet (1st perf. Quatuor Parent, Salle Eolian, Paris, May 1907; 1st perf. in England, Cambridge Univ. Mus. Soc. concert of Span. music under P. G. Morales, 1919); str. 4tet (Quatuor Touche, Société National, Paris, March 1911; 1st perf. in England, London Str. Quartet) , for vla, pf. and str. 4tet (Société National Innt, Paris, Feb. 1912; 1st perf. in England Cambridge Univ. Mus. Sot, Soloist Lionel Tertis); of music G. Morales, 1919, Poema de una Sanluquena, suite for vn. and pf. (1st perf. London, 24 June, 1924, Angel Grande's recital). Vocal: Rima de Becquer (Eolian Hall, London, May 1911); Poema en forma de canciones (Teatro de la Republica, Lisbon, March 1918); Tres Arias. Pf. (1st Sevilla, picturesque suite (Quatuor perf. by compr.): Paris, 1909); Sonata Romántica Parent (Salon d'Automne, Paris, Oct. 1909); Rincones Sevillanos (Ateneo. Seville Jan. 1911); Tres Re- Danzas Andaluzas (Filarmónica, cuerdos de mi Rincón, tragi-comedy (Ateneo de Madrid, Jan. 1915); Album de Viaje (Sociedad Nacional, Madrid, May 1916); Cuentos de España (Sociedad Nacional Filarmónica, Malaga, Nov. 1918); Niñerias; Sanlúcar de Barrameda (Sanlúcar de Barra- meda, Spain, Sept. 1922); Mujeres Españolas (Sociedad Nacional, Madrid, Dec. 1917, soloist Ricardo Viñés). Books: Enciclopedia abreviada de Música, 2 vols.; Colección de La Tribulos y Criticismos (Revista Musical, Binión Musical Española; Biblioteca Renaci- miento, Madrid; E. Demets; Rouart, Lerolle; A. Z. Mathot; Ed. Mutuelle, Paris; Schott.) P. G. M. TURNER, Walter James. Eng. poet and music- critic; b. Shanghai, China, 13 Oct. 1889. Stud. under his father W. J. T. (orgt. of St. Paul's Cath. Melbourne, Australia); and privately in Dresden, Munich and Vienna. Music critic for The New Statesman. His views on music appear to rule out the Romantic school which intro- duced literary and other external influences into the tonal art. From Bach and Mozart, he seems. thus to leap to Debussy, Ravel and the moderns, TYSOE regarding the Romantic school (Beethoven, Schumann, Wagner) as a side-track from the genuine of musical evolution. Several books of poems; Murie and Life, coll, of essays (Methnen, 1921); Variations on the theme of Music (Heinemann, 1924)-E-IL TUSCH (Ger.). The term is related to Tucket. A flourish for tpts, on State occasions Weber wrote one of 4 bars for 20 tpts. The term is now used for the custom in Ger, orchs, of giving on special occasions, at rehearsals or concerta, a welcome to a condr. or compr. to whom they desire to show honour. When the enthusiasm of the audience has reached certain pitch, the tpts, horns and trombones blow a Tusch-E.-II. TYRER, Anderson. English pianist; b. 17 Nov. 1893. Stud. R. Manchester Coll, of Music, winning a County Council 4 years' scholarship; served in the army 1914-18; début at Beecham Promenade concert in 1919 (Rachmaninof con- certo No. 2); gave a series of orch, concerts in Queen's Hall, London, and played concertos by Beethoven, Rachmaninof, Grieg, Tchaikovsky. Arensky, Liszt, and Mackenzie. Has played the pf. part in Scriabin's Prometheus several times.-E.-H. TYRWHITT, Gerald. See BERVERS. TYSOE, Albert Charles. Eng. orgt. b. North- ampton, 12 Jan. 1884. Stud. under C. J. King there; later under Dr. Cuthbert Harris and Dr. Iggulden; Mus.Doc. Dunelm. 1915. Orgt. Leeds Parish Ch. from 1920; chorus-master Leeds Mus. Fest. 1922; condr. Halifax Choral Soc. 1923.-E.-H. 501

UBEDA, José María. Span. orgt. b. Gandía. Orgt. at the Real Colegio Corpus Christi, Valen- cia. Dir. of Valencia Cons. (founded 1880). The best Span. orgt. of his time. Author of Psalmodie organica; Estudios Progresivos and other works on organ technique.-P. G. M. ÜBERBRETTL. A series of scenic miniatures brought out in beginning of 1901 by the poet and author Ernst von Wolzogen, with object of raising artistic standard of variety and speciality theatre. Besides Wolzogen, O. J. Bierbaum and Franz Wedekind were active representatives of Überbrettl, while Oscar Straus undertook the mus. arrangements. This movement had a last- ing effect on the literary cabaret in Germany.. A. E. UDBYE, Martin Andreas. Norwegian compr. b. Trondhjem, 18 June, 1820; d. there, 10 Jan. 1889. As compr. was at first self-taught, but in the beginning of the 'fifties he went to Leipzig and stud. theory under Hauptmann, organ under C. F. Becker. On returning home, became orgt. in Trondhjem; afterwards also head- master of an elementary school and singing- master at the Cath. School. Has written about 50 works. Of his chief work, Fredkulla (The Maid of Peace), only fragments have been perf. The overture was played at the Musical Fest. in Christiania, 1914. The work was taken up for production at Christiania Theatre and the re- hearsals were in full swing, when the burning down of the theatre in 1877 put a sudden end to all opera productions. Operetta, Junkeren og Flubergrosen (perf. in Chris- tiania); 2 mus. plays; 3 str. 4tets (2 printed); cantatas; organ preludes, op. 37; works for cello and pf.; songs; chorales. Fragments of the last and most important cantata (Music Fest. Trondhjem, 1883) are still heard. A book of school-songs with 166 songs arr. for 3 vs. enjoyed in its time considerable popularity.-U. M. UGARTE, Floro M. Argentine compr. b. Buenos Ayres in 1885. Stud. at Paris Cons. under F. Fourdrain. His chief work is the ballet Sigolene (in collab. with Fourdrain), given at Tolosa Variety Theatre. Also prod. in Argentina Entre las Montañas, a symph. poem, and 2 orch. suites (Paisajes de Estio; Escenas in- fantiles). An operetta Saika (Colón Theatre, July 1920) was very successful. Also many songs, and chamber-music pieces.-A. M. UIMONEN-JÄNNES, Annikki. Finnish m.- sopr. singer; b. Kuopio in 1891. Stud. at Hel- singfors Music Inst., and in Vienna. Opera singer in Czernowitz, 1912-13; guest-singer at opera houses of Prague, Weimar and Hamburg; 1914-17 at the Finnish Opera. Has given con- certs in Finland, Stockholm, Copenhagen and Petrograd.-T. H. U ULVESTAD, Marius Moaritz. Norwegian compr. b. Aalesund, 11 Sept. 1890. Pupil of Cons. in Christiania. Afterwards went for study to Germany, France and Italy. Gave in 1919 in Christiania a successful concert of his own works, in which his original lyrical qualities won great appreciation. Started in 1921 in Christiania a music-acad. in which he himself teaches theory and compn. Musical critic on Arbeiderpolitiken, 1921; on Morgenposten from 1922. Cantatas; 2 orch. suites; 52 songs and ballads; a choral work with solo and orch.; male-v. choruses; 110 songs for mixed and male chorus.-J. A. 502 UNEQUAL TEMPERAMENT. A method of tuning which leaves a few keys perfectly tuned (with the intervals free from "beats"); that is, in Just Intonation; but leaving the other, more remote, keys badly out of tune. This method is also called the Mean-tone System. It has now been superseded by the Equal Temperament.- E.-H. UNGER, Hermann. Ger. compr. and author; b. Kamenz (Saxony), 26 Oct. 1886. Stud. Ger- manic and classical philology, Freiburg, Leipzig and Munich; music with Edgar Istel and Joseph Haas at Munich; 1911-13 with Max Reger at Meiningen. Music critic of Rheinische Musik- zeitung, Cologne. Pl. miniatures and other works; songs; Humn of Life (Verhaere Totenfeier, unace. chorus, op. 12 , barit. solo, chorus, orch. op. 25; songs, op. : Ancient German Songs, mixed chorus, op. 30; for orch.: Night, 3 sketches, op. 8; German Dances, op. 16; Pictures from the East, op. 18; Levantine Rondo, op. 22; Country Scene, op. 24; symph. In ms.: Jester's trio; vn. and vla. trio; str. str. 4tet; Variations on originata Night orch.; Goethe operetta, mixed chorus and full barit. (Bierbaum); pf. clar. theme, 2 pfs.; Divertimento, God and Bayadere, recitation, chorus and full orch.; stage-music to Hofmannsthal's The Jester and Death and Schnabel's Return; songs for Books: The Musical Layman's Breviary (1920); The Layman's Primer of Music Theory (1922); Maz Reger (1921).-A. E. The most UNIVERSAL EDITION, Vienna. important of Austrian music-publishing firms. Founded 1901 for editing classical and standard. mus. compns. independent of the Ger. market. In 1904 the firm acquired Munich publ. house of J. Aibl, comprising many works of R. Strauss and Reger, as well as von Bülow's arrs. The U.E. acquired the complete works of Bruckner and Mahler; later of Schönberg, Marx, Schreker, Bittner, Zemlinsky. Also publ. works of con- temporary comprs.: Wellesz, Hába, Křenek, Petyrek, Webern, Pisk; Paul Graener, Braunfels, Kaminsky; Bartók and Kodály; Delius, Ethel Smyth; Milhaud; Casella, Malipiero and Re- spighi; Szymanowski, etc. Also publ. new Catholic church music (Springer, Goller, Wöss)

UNIVERSITIES. and periodical Musica Divina. Their Denkmäler der Tonkunst in Österreich (ed. by Guido Adler) numbers 56 vols. The modern mus. journal Musikblätter des Anbruch (ed. by Paul Stefan) is also their publication. Their stage works com- prise the operas of Schreker, Bartók, Bittner, Braunfels, Delius, Rezniček, Zemlinsky, etc. The total output of the U.E. numbers over 7000 vols. Thanks to the circumspection and energy of its managing dir., Emil Hertzka, the firm plays an important role in the development of contemporary music.-Eo. W. UNIVERSITIES. AUSTRALIA.-Adelaide: Prof. Dr. Harold E. Davies. The ENGLAND. - Birmingham: The Richard Peyton Chair of Music was founded by donor in 1905, first holder being Sir Edward Elgar, who resigned in 1908. His successor was Gran- ville Bantock, who initiated the present course for the degrees of B.Mus. and M.Mus. course, after matriculation, includes study of all branches of theory; and special attention to particular subjects, such as development of the art-song, folk and national music, early Greek music, the Elizabethan period, the organ works of Bach, the pf. works of Beethoven and Cho the orchestra, choral music, opera, etc. The first B.Mus. was admitted to degree, after a 3-year course, in July 1912. Since then, an Honours School in Music has been instituted, and music has been constituted a subsidiary sub- ject for B.A. degree, and Honours School of Mathematics. As a new development in require- ments for Honours School of B.Mus. and as alternative to compn., candidates may submit, at the third year's examination: (a) A literary thesis on one of the following subjects: (i) an important mus. work; (ii) an historical period of music; (iii) the theoretical development of music; or (b) Research work in transcription, editing, and rendering available for public use, important mss. in an Eng. or foreign library. Cambridge: Originally gave degrees, B.Mus. and D.Mus. (1st Bac. given in 1463, 1st Doctor 1463 or earlier). In 1893 (with 5 and 7 years' grace), residence was required, and the degree of Master of Music (M.Mus.) instituted in order to qualify mus. graduates for membership of Senate. Only one person has taken it by examination during the 30-odd years since its institution (F. H. Shera). It has been given as an hon. degree to P. P. David (Uppingham) and to Cecil J. Sharp (1923). The Mus.D's under the old Regulations since 1893 are G. J. Bennett 1893, G. F. Huntley 1894, Laurence Walker 1897, H. Walford Davies 1898, J. Eaton Faning 1900 (all these non-resident); and still on the old regulations, though they resided: C. Wood 1894, E. Markham Lee 1899, R. Vaughan Williams 1901. Only seven have passed under the New Regulations (1893): E. W. Naylor 1899, A. Somervell 1904, W. H. Speer and H. Blair 1906, C. B. Rootham 1910, F. W. Wadeley 1915, H. D. Statham 1923. The Univ. bestowed hon. Mus.D.'s in 1893 on Saint-Saëns, Max Bruch, Tchaikovsky and Boito; in 1894 on Grieg; 1900 on Cowen and Elgar, 1902 on UNIVERSITIES Horatio Parker, 1907 on Glazunof, 1910 on Sir Walter Parratt. There was a non-resident Prof. of Music, Sir Charles Stanford, from 1887 (suc- ceeding Macfarren) until 1924, when he resigned. Dr. Charles Wood was appointed Professor under new conditions in June 1924. London: First degree in Music, 1879. Candidates required to pass Matriculation. The professorship dates from 1902. In 1924, the King Edward Prof. of Music was Sir Frederick Bridge. The examiners were Dr. C. W. Pearce and Prof. C. H. Kitson. Instruction courses are recognised at R.C.M., R.A.M., Trinity Coll. of Music, Battersea Poly- technic, Chelsea Polytechnic. T. F. Dunhill is Dean of the Faculty of Music. Manchester: A lectureship in harmony was founded in Owen's Coll. in 1880. The Faculty of Music was in- stituted in connection with federation of Univs. of Manchester, Leeds, Liverpool, in 1891, Dr. Hiles being then appointed. He was retained in this position when the Faculty was incorporated in new charter in 1903. The present holder (1924) is Dr. Brodsky, Principal of R. Man- chester Coll. of Music. The present lecturer in harmony is Dr. Keighley (appointed 1920); in history of music, Dr. Wilcock; in acoustics, Prof. W. Bragg, M.A., F.R.S., Nobel Prize- man. Students are required to have passed matri- culation some recognised equivalent. The lectures and practical work all take place at R. Manchester Coll. of Music, and cover the usual subjects. Up to 1922 the Univ. admitted 16 Doctors and 22 Bachelors in Music. Oxford: Gives degrees of B.Mus. and D.Mus. First Bac. was R. Widow (1499); first Doctor, Robert Fair- fax (1511). In 1862, Sir F. Gore Ouseley reformed the faculty and instituted formal examinations for both degrees. In 1870, candidates were required to matriculate, and in 1877 to pass Responsions or a recognised equivalent. In 1890, this was reduced to a special Prelim. Exam. for Students in Music. In 1890, Sir J. Stainer in- stituted various lectures in music; these were continued by Sir Hubert Parry (Prof. 1901-8), Sir Walter Parratt (1908-18) and the present Prof. Sir Hugh Allen (from 1918). Sheffield: There is no Chair of Music, but there is a lecture- ship (present holder, G. E. Linfoot). The work carried on in day and evening courses does not cover the more advanced aspects of the art, and the Univ. does not, therefore, award a degree or diploma. Southampton: A Chair of Music was founded in 1920. The present holder is F. J. Leake, B.Mus. SOUTH AFRICA.-Cape Town: Chair of Music founded in 1918. Arts course in Music (I and II), Mus. Bac. and Mus. Doc. degrees instituted 1921. Prof. W.H. Bell. Lecturer, V. Hely-Hutchin- son. (S.A. Coll. of Music incorp. 1923.) Johannes- burg: Arts course and Mus. Bac. degree instit. 1921. Prof. Percival Kirby (formerly mus. adviser to educational department of Natal). WALES.-The Univ. of Wales was con- stituted in 1894. There are now 4 constituent colleges, and music has played its part as an educational factor in each. Aberystwyth: 5°3

URBACH The senior coll., opened Oct. 1872; two years later Dr. Joseph Parry came over from Danville in America to Aberystwyth as Prof. of Music. This was probably the first attempt in Wales to put mus. education on a recognised basis. Dr. Parry continued for ses- sions 1874-8. Prof. David Jenkins succeeded him and held post till his death in 1914. Dr. D. J. de Lloyd, present lecturer in music, was his pupil, and the first mus. graduate of Univ. For a short time a str. quartet from Paris under Mme. Barbier was connected with the Coll. Cardiff: When the Coll. was opened in 1883, Clement Templeton M.A. was appointed lecturer in music. In session 1885-6 a mus. soc. was formed, and chamber-music concerts instituted. In 1888 Dr. Joseph Parry was appointed lecturer, and the music course extended. In 1903 Dr. David Evans succeeded Dr. Parry, and in 1908 a Chair of Music was founded and Dr. David Evans appointed Prof. As a result of report of a Royal Commission on Univ. Education in Wales, the National Council of Music was formed, and the acceptance by Sir Walford Davies in 1919 of the dual posts of Dir. of Music for Univ. and Prof. of Music at Aberystwyth Coll. marked a new era. Since advent of National Council of Music (q.v.), the aim and policy have been to concentrate not so much on granting degrees, as upon making music a vital factor in Univ. life, giving facilities to students of arts, science, law and agriculture constantly to hear, and study good music. In this policy the Council of Music include the permanent institution of weekly college concerts throughout each session; college choral unions; college orch. unions; open lec- tures weekly. Special facilities are offered to students becoming teachers, to learn an instr. A feature of college mus. life at Aberystwyth has been the annual 3-days orch. fest. Bangor: The music has been at various times under dir. of Dr. Roland Rogers, Dr. J. Lloyd Williams, Mr. Harry Evans and Dr. Caradog Roberts. There was no music department formed until Mr. T. E. Davis was appointed, and the sessions 1921-2 gave Bangor the first experience of a fairly complete music department. Swansea: There is as yet no complete music department in this the youngest of the colleges, but the Dir. of Music visits the Coll. to lecture, and weekly concerts are run by Coll. Mus. Club. Degrees and diplomas in music are granted at Aberystwyth and Cardiff Colleges; residence is required for both. At Bangor, diplomas are granted but not degrees, All 3 colleges have an efficient staff to provide tuition in various branches of mus. education. U.S.A.-The Univs. of Michigan, Wisconsin, Illinois, Kansas, and Oklahoma have been foremost in musical development. Pennsylvania, Indiana, California, and Colorado have very thoroughly organised departments for musical theory.-E.-II URBACH, Otto. Ger. compr. b. Eisenach, 6 Feb. 1871. Pupil of Müller-Hartung and Stavenhagen in Weimar; Bernhard Scholz, URLUS Knorr and Humperdinck in Frankfort; Drae. seke in Dresden and Klindworth in Berlin. Liszt scholar, 1890; Mozart scholar, 1893; 1898, pf. teacher at Dresden Cons.; 1911, professor. Comic opera, The Miller of Sans-Souci (Frankfort, 1896); overture, Mountain Excursion (Bergfahrt) str. 4tet, Horsila; 7tet for wind instrs.; Suite for vn.; pf. pieces and songs.-A. E. URBAN, Heinrich. Ger. compr.; pf. teacher; b. Berlin, 27 Aug. 1837; d. there, 24 Nov. 1901. Pupil of Hubert Ries, Laub, Hellmann; since 1881, teacher at Kullak's Acad. Among his pupils were Siegfried Ochs, Arthur Bird, Pade- rewski and others. Fiesko, c Scheherezade, op. 14, and To a Carnival Play: fantasy-piece, The Pied Piper of Hamelin; vn. concerto; vn. pieces; songs, etc.-A. E. 504 URETA, Rojo Osvaldo. Chilean pianist; b. Quilpué, 1897. Stud. in Chile; in 1913 his 1st concert at Valparaiso obtained an immediate success.-A. M. succes URIARTE, Father Eustaquio de (O.S.A.). Span. musical scholar; b. Durango (Vizcaya), 2 Nov. 1863; d. Motrico, 17 Sept. 1900. Joined Augus- tinian order in Colegio de Agustinos Filipinos, Valladolid, 1878. In 1888, sent to the Abbey of Silos (Burgos), then in charge of a community of Fr. Benedictines, with a view to mastering the Fr. language. There, impressed by the way in which liturgical music was sung by those monks who had learned Gregorian chant in the school of Solesmes (France), he conceived the idea of restoring the Gregorian chant to its original purity. To this end, he devoted all the efforts of his life, doing much valuable writing and con- gress work. Started his career as a writer in the Revista Agustiniana. His most important arts. were written, later on, for review La Ciudad de Dios, publ. by the community of the R. Monas- terio de San Lorenzo, Escorial, Madrid. He made himself prominent as pioneer of his cause at the Congreso Católico Español, held in Madrid in 1888; he helped materially in the creation in Spain of the Asociación Isidoriana de la Reforma de la Música Religiosa. In 1891 appeared his most important work, the Tratado teórico- práctico de canto gregoriano, según la verdadera tradición (Imprenta de Don Luis Aguado, Madrid). He never saw the ambition of his life fulfilled.-P. G. M. URIBE, Guillermo. Columbian compr. Pupil of Vincent d'Indy in Paris; dir. of National Cons. in Bogotá. Comp. songs; sonata, vn. and pf.; str. 4tet; and other pieces with a decidedly modern flavour.-F. H. M. URLUS, Jac. Dutch t. singer; b. Herckenrath, Limburg, in 1867. His unusually fino voice was accidentally discovered by the opera-director De Groot. He stud. singing in Utrecht under Averkamp, Nolthenius and Cornelis van Zanten, 1888-94; engaged at Dutch Opera, 1894-1900; went to Germany in 1900 and rose suddenly to fame with Wagnerian parts; sang in Lied von der Erde at Mahler Festival, Amsterdam, 1920.-W. P.

URSPRUCH URSPRUCH, Anton. Ger. compr. and pf. teacher; b. Frankfort-o-M. 17 Feb. 1850; d. there, 11 Jan. 1907. Pupil of Ignaz Lachner and M. Wallenstein; later of Liszt and Raff; some- time pf. teacher in Frankfort Acad.; then at Raff Acad. since 1887. Pt. sonata for 4 hands; pf. concerto; Variations and fugue on a theme of Bach, for 2 pfs.i symphony; operas: The Storm (²lot; 1888): The Most flat ma. op. choral 2 Impossible of All (Carlsruhe, 1897). He wrote a work on the Gregorian Choral (1901).-A. E. URTEAGA, Luis. Span. orgt. and compr. of religious music; b. at Villafranca (Guipuzcoa), 1882. Lives at Zumaya.-P. G. M. U.S.A. MUSICAL FESTIVALS. Although the U.S.A. can boast of no such insts. as great choral fests. of England or Lower Rhine Fests. or fests. of Allgemeiner Deutscher Musikverein in Ger- many, there are some sufficiently regular to establish a tradition, which have not failed to exercise a wholesome influence. Emphasis is laid on choral part, but orch. side is not neg- lected. The orch. is generally professional, sym- phony orch. of seat of fest. or of some near-by city. In many cases the regular condr. of sym- phony orch. directs purely instr. part of fest. Some of more important are: (1) Worcester Musical Festival, annually at Wor- cester, Mass. No fest. In 1918, because of an influenza epidemic. First was held 1858. Condrs.: Carl Zerrahn (1866-97), George W. Chadwick (1898-1901), Wallace Goodrich (1902-7), Arthur Mces (1908-19), Nelson P. Coffin (from 1920). (ii) Cincindore Thomas who cond. until 1904. i May Festivals, biennial. Begun 1873 by Followed by Frank Van der Stucken (1906-12), Ernst Kunwald (1914-16), Eugène Ysaye (1918-20). No fest. in 1922. as (ii) Springfield Music Festival of Hampden County Mus. Association, started 1889. George W. Chad- wick cond. 1889-99. Then, after interval of a year, C. S. Cornell cond. 1901, 1902. 1 In 1903 the tion was reorganised and with John J. Bishcia- condr. has held its reunions ever since. (iv) Ann Arbor F Festival at Univ. of Michigan in 1893 and cond. by Albert A. Ann Arbor, founded 1 Stanley 1893-1921. In 1922 Earl V. Moore was condr. (v) NoNorfolk, Conn, beguthur Mees (1900-21), Festival of Litchfield County Choral in at P. Paine (1899-1915), Union R. no R. P. Paine and H. P. Schmidt (1922). There is admission fee and the entire expenses are borne by Mr. and Mrs. Carl Streckel of Norfolk, who in 1904 erected the Music Shed" seating over 1400. Con- sult J. H. Valll, Litchfield County Choral Union, 2 vols. (Norfolk, 1912, privately (vi) Bach Festivals or lehem Bach Choir, held in old Moravian town of Bethlehem, Penn.; organised in present form by J. Fred Wolle in 1900. Suspended 1905; resumed on a grander scale with the financial support of steel-magnate, Charles M. Schwab, in 1912. Wolle is still condr. Consult Raymond Walter's The Bethlehem Bach Choir (Boston, 1918, Houghton Mifflin). nasium (vii) Chicago North Shore Festivals, held in gym- at Evanston, begun 1999, P. C. Lutkin, Dean of Music School of Northwestern Univ. being chief condr. from be- ginning. (viii) Peterboro Festival of MacDowell Colony at Peterboro, N.H., dating from 1910, is gradually be- coming a regular inst., although it has hitherto varied from elaborate pageants (1910 and 1919) to simple outdoor perfs. of miscellaneous programmes composed mostly by members of colony. (ix) Berkshire Festivals of Chamber-Music, Pitts- field, Mass., in Berkshire Hills, are the creation of Mrs. Elizabeth Coolidge who, beginning in 1918, has. USIGLIO annually engaged chamber-musie organisations of repute, European as well as Amer., and eminent soloists, to give a series of chamber-music concerta for 3 days, before an audience of invited guests. An annual prize of $1000 has been offered for a chamber- music compn., which was won in 1918 by Tade Jarecki, in 1919 by Ernst Bloch, in 1920, by cesco Malipiero, in 1921 by Waldo Warner, and in 1922 by Leo Weiner.-O. K. USANDIZAGA, José María. Span. compr. b. San Sebastian (Guipuzcoa), 31 March, 1887; d. Oct. 1915. Stud. pf. under Planté, and compn. under d'Indy, at Schola Cantorum, Paris. The long-standing and unfulfilled ambition to create and establish Basque opera, as a regional institu- tion, had reached its climax in 1910, when Usandizaga, on his return from Paris, gave to the newly-born Basque stage his opera Mendy- Mendiyan (Bilbao, May 1910). The occasion proved a complete success. Yet it was not long before U. turned his attention to Madrid as a national centre in which he could work to more advantage, without necessarily deserting the Basque opera ideal. On 5 Feb. 1914, his opera Las Golondrinas (The Swallows), the libretto (by Martínez Sierra) founded on the story of Pierrot, with its universal appeal, was produced at Teatro Price, Madrid. The outburst of enthu- siasm it raised has seldom been equalled in the history of the Span. theatre. In 24 hours the young compr. became not only a celebrity but a national hero. His province acclaimed him as the greatest hope for the definite establishment of regional opera, and the whole country, forgetting with characteristic Latin impetuosity, its old idols and more than one illustrious name, hailed him as the long expected reformer of Span. lyric art. The analysis of the score of Las Golondrinas would show that its compr. was fully equipped as a modern musician and knew how certain emotional elements, found in Wagner, Franck and mostly Puccini, could be blended with national folk-lore to suit the public taste. Но had the gift of melody and, above all, an inborn sense of the theatre. These talents might have led him very far, but he died at 28. His native town, San Sebastian, has erected in the Plaza de Guipúzcoa a monument to his memory. He has a well-deserved place amongst the modern Span. symphonists. Operas: Mendy-Mendiyan; Las Golondrinas; La Zurtza. Orch.: Pantomime (from Las Golondrinas); Fantasia Danza. Str. 4tet; pf. pieces. (Unión Musical Española, Madrid.) P. G. M. USIGLIO, Emilio. Ital. compr. and condr. b. Parma, 8 Jan. 1841; d. Milan, 8 July, 1910. One of most esteemed condrs. of his time; besides being a well-known compr. especially of comic operas. Among these, Le educande di Sorrento and Le donne curiose were very successful, and are still in the opera repertoire. Other operas are: La locandiera; L'eredità in Corsica; La scom- messa; Le nozze in prigione; La secchia rapita. In Parma an Usiglio Prize for a comic opera was instituted by his will, in memory of him.-D. A. 5°5

VACH, Ferdinand. Czechoslovak choirmaster; b. Jažlovice, 1860. Stud. at Organ School, Prague; then condr. at Brno theatre; from 1886 condr. of choir Moravan in Kroměříž, which became famous by giving Dvořák's oratorios. He also taught singing at Pedagogium, and from among his pupils formed the Moravian Teachers' Choir (Pěvecké sdružení Moravských učitelů) (see CHORAL SOCIETIES) in 1903, with which he has ever since been connected. Since 1905, prof. at Teachers' School in Brno; prof. at Organ School; dir. of Philh. Soc. in Brno (one year), and prof. at Cons. Brno. Has written many choruses and church compositions.-V. ST. VALDERRAMA, Carlos. Peruvian compr. Has given concerts in U.S.A. His florid pf. elaborations of Inca and Quichua melodies in form of Inca Rhapsodies, Cashuas, Inca Dances, are based on his 5-tone scale.-F. H. M. GOICOECHEA, Father Julio. Span. musician of the Basque nationalist group; compr. of religious music; b. Vittoria, 1877; d. 1916 at Valladolid, where he was a canon. Requiem; Miserere; Te Deum, etc.-P. G. M. VALEN, Fartein Olav. Norwegian compr. b. Stavanger, 25 Aug. 1887. Matriculated at Christi- ania Univ. 1906. In 1908 began his mus. studies at Christiania Cons. under Catharinus Elling (compn.) and 1909-11 stud. at R. High School, Berlin. Received in 1913 a scholarship from Houen's Bequest. One of the most talented Norwegian representatives of the newest ten- dencies. His works show original harmonic feeling, polyphonic talent and mastery of form. Legend for pt., op. 1 (1909); sonata pt. op. 2 (1914); sonata, vn. and pf. op. 3 (1920); Ave Maria (v. and orch.).-J. A. Uses VALLE-RIESTRA, José. Peruvian compr. b. Lima, 1859. Pupil of Gédalge, Paris. old Inca themes in his operas (Ollanta, Lima, 1901; Atahualpa) as well as in his numerous pf. pieces.-F. H. M. VALLOMBROSA, Amédée de. Fr. orgt. b. Cannes, 24 March, 1880; pupil of Ch. M. Widor, Louis Vierne and Henri Libert. In 1910, orgt. at St.-Leu, Paris. Compr. of motets and a coll. of organ pieces.-F. R. VALLON, Paul. Singer and teacher; b. South- port, Lancs, 21 June, 1862. Educated at Rossall School, and Oxford Univ.; stud. singing in Lon- don, Sweden, Dresden, Milan, Florence, Brussels, and Paris. From 1915, prof. of singing at R. Manchester Coll. of Music.-E.-H. V VALVERDE, Joaquín, jun. Span. compr. of zarzuelas and light music. Usually known as Quinito Valverde. Establ. himself in Paris where he cultivated with great success the Span. genre. Died at the beginning of xx century.-P. G. M. VAN AERDE, Raymond Joseph Justin. Belgian musicologist; b. Malines, 6 June, 1876. Secretary, librarian and teacher of mus. history at Malines Cons. Author of works on local history which show a very scientific outlook: Life and Works of Cyprien de Rore (Malines, 1909, Godenne); Public Minstrels and Instrumentalists either itinerant or attached to Malines from 1311 to 1790 (Malines, 1911, Godenne); brochure, Carillon in Belgium and particularly that of Malines (Malines, 1910, Dierickx-Beke); The Tuerlinckx Family, Lute makers of Malines (Malines, 1914, Godenne).-C. V. B. VAN DEN BORREN, Charles Jean Eugène. Belgian musicologist; b. Ixelles, near Brussels, 17 Nov. 1874. Began by studying law. After obtaining his LL.D. in 1897, entered the Bar at Brussels and practised as barrister for 8. years. Then abandoned law to devote himself entirely to music and musicology. Took up music criticism and gave courses of lectures on history of music, principally at Université Nouvelle de Bruxelles (from 1919 Institut des Hautes Études de Belgique.) Dramatic Work of César Franck (Brussels, 1907, Schott); Les Origines de la Musique de Clavier en Angleterre (Brussels, 1912, Groenveldt) (The Sources of Keyboard Music in England, London, 1913, Novello, a rev. ed., transl. by James E. Matthew); Belgian Musicians in England at the time of the naissance (Brussels, 1913, Groenveldt); Orlande (Coll. Les Mattres de la Musique, Paris, 1920, Alcan). Appointed librarian to Brussels Cons. in 1920 and honorary member of Mus. Association, London, in 1921. Before 1914 he contributed to the Guide Musical, the Art Moderne, the S.I.M., the Z. der I.M.G.; from 1918 onwards wrote for the Revue Musicale, the Musical Quarterly (New York), Musical Times (London), Rivista. Bulletin de l'Union Musicologique (The Hague). the Dr. Van den Borren is responsible (with Dr. E. Closson) for the Belgian articles in this Dictionary.-E. C. VAN DEN EEDEN, Jean. Belgian compr. b. Ghent, 26 Dec. 1842; d. Mons, in 1917. Began studies at Ghent Cons.; finished at Brussels under Fétis. 1st Grand Prix de Rome (1869) for cantata Faust'laatste nacht. Later travelled in Germany, Austria, Italy and France. 1878 succeeded Gustave Huberti as dir. of Mons Cons., a post he occupied until his death. In Oratorios: Jacqueline de Bavière; Brutus; Le Jugement Dernier; symph. poem, La Lutte au XVIe siècle; opera, Rhena (Paris, 1912, Enoch), produced at La Monnaie Theatre, Brussels, 15 Feb. 1912, and enjoyed a long success owing to excellent libretto of Michel Carré and also to sane, fresh and distinguished character of music.-C. V. B. VALVERDE, Joaquín. Spanish composer of zarzuelas; his name is always associated with the famous Chueca, his collaborator, the com- bination being known as Chueca y Valverde (see CHUECA). Died at end of XIX century.-P. G. M. VAN DER STRAETEN, Edmond. Belgian musical critic, musicologist; b. Oudenarde, 3 Dec. 1826; d. there, 25 Nov. 1895. Stud, 506

VAN DER STUCKEN philosophy at Ghent Univ.; settled in Brussels, 1857. Wrote mus. criticism and was attached to department of National Archives. Made various tours abroad, making researches in documents relating to old Belgian musicians. His works on music and musicians, numerous and varied in character, give evidence of great correctness of detail, but are unfortunately sometimes lacking in order and method, so that they are difficult to use. Music of the Netherlands before the XIX Century (S vols. 1867-88, and a 9th vol, in ms, belonging to library of Brussels Cons. The 6th vol. publ. under title of Netherland Musicians in Italy [Les Musiciens Néerlandais en Italie]; vols. 7 and 8 as Netherland Musicians in Spain). Also wrote Voltaire as a Musician (1878); Minstrels of the Netherlands (1878); and The Village Drama in Flanders (1881). The library of Brussels Cons. contains a coll. of bibliographical notes by him.-C. V. B. VAN DER STUCKEN, Frank Valentin. Amer. compr. condr. b. Fredericksburg, Texas, U.S.A., 15 Oct. 1858. In 1866 settled with his family in Antwerp where he stud. under Benoit. 1876-8, stud. in Leipzig under Reinecke, Grieg, Langer. 1881-2, condr. Stadttheater, Breslau. 1883, lived in Rudolstadt where he again came in contact with Grieg; in Nov. 1883, gave concert of own works. in Weimar under Liszt's protection. 1884, re- turned to America, condr. of New York Arion (male chorus) until 1895. Gave orch. concerts, with special prominence to works of Amer. comprs. Also gave similar concerts in Germany, and (12 July, 1889) an Amer. programme at Paris Exposition. 1895-1901, dir. of Cincinnati Coll. of Music; 1895-7, condr. of Cincinnati Symphony Orch. 1906-12, succeeding Theodore Thomas, cond. biennial Cincinnati May Fests. Since 1908, has lived mostly in Europe (Han- over; Copenhagen). Opera, Vlasda, and Symph. Prologue to Heine's tragedy William Ratcliff (Oertel, 1899), were produced Weimar 1883. Member of National Inst. of Arts and Letters. Orch.: Prelude Act II of Flasda, op. 9 (Leuckart, 1891); Pagina d'Amore, op. 10 (id. 1891); Festzug, march, op. 12 (id. 1891); symph. fest. prologue, Par Triumphans, op. 26 (Oertel, 1902) (1st perf. Brooklyn Fest. 1900); Souvenir, op. 39 (id. 1911); 2 songs with orch. (Feuchtinger, 1912). Male choruses; songs (Kistner; Breitkopf).-0. K. VAN ELEWYCK literature at Univ. of Ghent, and music at Cons. (under K. Miry). Took his degree as LL.D. in 1867, practised at Bar. Clerk of Bar to Court of Appeal at Ghent, 1860-76; military auditor of Hainaut (Mons), 1879, and of East Flanders at Ghent, 1882. Elected corresponding member of Classe des Beaux Arts of R. Acad. of Belgium, 1894; acting member, 1905. His light duties as magistrate left him leisure for compn. and for musicological works which are among the most remarkable written in Belgium. In his numerous works on folk-song in the Netherlands, he is a specialist of first rank, by reason of the severity of his scientific mind and his vast general culture. Het eenstemmig fransch en nederlandsch wereldlifk lied in de belgische gewesten, van de Xie eeuw tot heden (Ghent, 1896, Vuylsteke); De melodie van het nederlandsche lied en hare rythmische vormen (The 1902, Boeck naar de uitgave van 1572 in partituur gebracht (Amster- dam, 1903, Müller); Het oude nederlandsche lied (The Hague, 1903-8, Nijhoff). This last work, of nearly 3000 pages, is a veritable encyclopaedia of Netherland songs, with complete history of words and muste of 714 songs. VAN DOORSLAER, Georges. Belgian musi- cologist; b. Malines, 27 Sept. 1864. Although actively pursuing his profession as doctor, he has always taken a great part in the mus. life of Malines; he ransacked its archives with indefatigable curiosity and thus discovered a quantity of seemingly unimportant facts. which have contributed to the progress of mus. science. He is responsible for a series of arts. on the carillon and carillonneurs, rood-screens, choir-schools and organ-makers of Malines; also of old Malines musicians, which are of the greatest interest. The most important are: Life and Works of Philippe de Monte (Brussels, 1921); René del Mel (Antwerp, 1922).- C. V. B. VAN DUYSE, Florimond. Belgian compr. and musicologist; b. Ghent, 4 Aug. 1843; d. there, 18 May, 1910. Son of Flemish poet, Prudens Van Duyse (d. 1859). Stud. law, philosophy, Comp.: Various cantatas: a Feest-Cantate (comp. on visit of English Riflemen to Ghent in 1872); Torquato Tasso's dood (2nd Priz de Rome, 1873); 11 dramatio works, all perf, at Antwerp or Ghent; choral works; songs in Fr. and Flemish, etc. V. B. VAN DYCK, Ernest Marie Hubert. T. singer; b. Antwerp, 2 April, 1861; Berlaer-lez-Lierre (Antwerp) 31 Aug. 1923. First stud. at Univs. of Louvain and Brussels; later made a name as journalist in Paris. Began as singer at Lamou- reux Concerts in Paris, where he sang 1883-7. In 1887 he sang Lohengrin (title-rôle) in Paris in one memorable perf. Engaged same year at Bayreuth. Sang in Parsifal (1888-1912) and in Lohengrin. Later became attached to Imperial Opera House, Vienna, where he remained 11 years (chief rôles in Werther, Manon, Paillasse, Evangelimann, La Navarraise, etc). Since 1901, returned each spring to Paris to sing in Wag- nerian opera, Lohengrin, Valkyrie, etc. Also belonged for 4 years to Metropolitan Opera, New York. 1891-1907, sang at Covent Garden, London, and was manager for a short winter season there. Also manager of Champs- Élysées Theatre, Paris. Numerous engagements in all principal European countries. Retired from opera in 1914 after singing Parsifal at Opéra, Paris. Then devoted himself to teaching. Recently was giving singing courses at Brussels and Antwerp Cons. The extraordinary beauty of his t. v., his power of emotional interpreta- tion and his gifts as an actor made him one of foremost singers of his time, and his name is inseparably connected with the history of Wagnerian opera. As an author, he was re- sponsible for a new transl. of Lohengrin (Chou- dens) and several dramas, Matteo Falcone (Volkstheater, Vienna) and Carillon, (ballet, music by Massenet, produced at Opera House, Vienna).-E. C. VAN ELEWYCK, le Chevalier Xavier Victor. Belgian writer on music; b. Ixelles, near Brussels, 24 April, 1825; d. Louvain, 28 April, 1888. Although an amateur, he fulfilled the 507

VAN GHELUWE duties of choirmaster at St. Peter's Ch. Louvain (from 1868). Discours sur la musique religieuse en Belgique (Louvain, 1861); Matthias Van den Gheyn (Paris, 1862): De l'état actuel de la musique en Italie, report for Belgian Govt. (Paris, 1875, Heugel). Colls. of works for organ and harpsichord, by Belgian compra. of XVIII century: Collection d'œuvres... de clave- cinistes ceaux fugués de M. Van den (id.); Recueil de productions légères pour clavecin composées par M. Van den Gheyn (id.). The library of Brussels Cons. con- tains ms. coll. of works of M. Van den Gheyn, copied by Van Elewyck, of which an important part is for carillon (see CARILLON MUSIC).-C. V. B. VAN GHELUWE, Léon. Belgian compr. b. Wanneghem-Lede, near Oudenarde, 15 Sept. 1835; d. Ghent, 20 July, 1914. Stud. at Ghent; appointed National Inspector of Schools of Music. 1870, principal of Bruges Cons. (succeeding Waelput). Cantatas: De Wind; Het Woud; Van Eyck- Cantate; Callia; Hulde aan Laurent; Venise sauvée. Also a Treatise on Harmony (in Flemish) and a Flemish solfeggio of folk-songs.-E. C. VAN HOUT, Léon. Belgian vla.-player; b. Liège, 28 Nov. 1864. Stud. Liège Cons. In 1886, Gold Medal for vla. Since 1889, solo vla. at La Monnaie Theatre, Brussels. 1888-94, one of famous Ysaye Quartet; 1893, prof. of vla. at Brussels Cons. Best vla.-player in Belgium. Has publ. some sonatas of old Ital. masters for vla. or vla. d'amour (Brussels, Oertel).-C. V. B. VAN MALDEGHEM, Robert Julien. Belgian musicologist; b. Denterghem, 1810; d. Ixelles (Brussels), 13 Nov. 1893. Famous for his Trésor musical, a vast compilation of poly- phonic vocal works of Belgian comprs. of Renaissance (publ. by him 1865-93). In spite of its incontestable worth, this coll. shows a complete lack of scientific method; the absence of any indication of source and misrepre- sentation of some texts. so serious that it should be used with caution.-C. V. B. VANZO, Vittorio Maria. Italian compr. b. Padua, 29 April, 1862. Having completed studies in compn. at the R. Cons. at Milan, gained high reputation as a condr. Settled then in Milan, and devoted himself especially to teaching of singing. Comp. songs and pf. music. (publ. Ricordi, Lucca and Fantuzzi).-D. A. VÁRKONYI, Béla. Hungarian compr. b. Budapest, 5 July, 1878. Prof. at R. High School for Music, Budapest.-B. B. VAUGHAN WILLIAMS Le Petit Parisien (1882); Madame Cartouche (1887); La Famille Vénus (1891). Founded Théâtre Nouveau Lyrique (1879), which failed almost immediately. Has also written works for organ; for pf.; masses; offertories, etc.-A. C. VARNEY, Louis. Fr. compr. b. Paris, 1844; d. Cauterets, 19 Aug. 1908. Son and pupil of author of Chant des Girondins; founded his reputation, compr. of operettas, on Les Mous- quetaires au Couvent (1880). His style approaches the opéra-comique of the XVIII century. Among his operettas, the chief are: Fanfan la Tulipe (1882): L'Amour mouillé (1887); Riquet à la louppe (1887); Le Papa de Fran- eine (1896). He produced some ballets (La Princesse Idéa, 1895).-A. C. VASSEUR, Léon. Fr. compr. b. Bapaume, 28 May, 1844. Pupil of École Niedermeyer; has turned principally to operetta, of which most popular and best written has been La Timbale d'argent (1872). Then: Le Roi d'Yvetot (1873); La Cruche Cassée (1878); 508 VAUGHAN English WILLIAMS, Ralph. composer; b. Down Ampney, near Cirencester, 12 Oct. 1872. Educated at Cambridge (Trinity Coll.) where he took the degrees of Mus. Bac. in 1894, B.A. in Mus.Doc. in 1901. He stud. music under a number of teachers of widely different schools, but those who look for any traces of their influence in his mature work will look in vain, for the only influences that have appreciably contributed to the formation of his peculiarly individual style are those of Eng. folk- song and of old Eng. music from the Tudor period to that of Purcell. He joined the R.A.M.C. at the outbreak of war in 1914, and later obtained a commission in the artillery. He now holds a position as professor of composition at the R.C.M. London. Apart from his compositions, he has done very valuable work in collecting folk-songs and carols, chiefly in East Anglia and in Here- fordshire, and arranging them for publication. His first big success as a compr. was achieved by his setting of Walt Whitman's Toward the Unknown Region (Leeds Fest. 1907). This was followed 3 years later by A Sea Sym- phony, also based on poems by Walt Whitman, which placed V.-W. definitely in the front rank of living British comprs. The London Symphony (for orch. alone) was produced in London in 1914 at a concert given by the late F. B. Ellis, Geoffrey Toye conducting. Like many another work of this compr., it was withdrawn for revision after the 1st perf. and reappeared in 1920 in a con- siderably altered form. The string quartet in G minor was comp. in 1909 and revised in 1921. The Pastoral Symphony, undoubtedly V.-W.'s greatest achievement up to the present time, was first perf. at a Philh. concert under the direction of Adrian Boult, in 1922. The Mass, for unacc. vs., was given at West- minster Cath. by Sir Richard Terry in Holy Week 1923. In the same year it was sung in Toledo Cath., and at the Thomaskirche, Leipzig. London, VASSILENKO, Serge Nikiforovitch (accent 3rd syll.). Russ. compr. b. Moscow, 1872. Pupil of S. I. Tanéief and Ippolitof-Ivanof, Moscow Cons. (1896-1901); at first, stud. law at Moscow Univ. (till 1896); 1903-4, condr. of Private Opera House, Moscow. For some years, organiser and condr. of Historic Concerts of Russ. Mus. Soc. Now prof. at Moscow Cons. An earnest compr., whose work reveals a strong tendency towards mysticism, and deserves to be better known than it is outside Russia. Opera, Tale of the Great City of Kitej, op. 5; 1st symphony, E mi. op. 10; 2nd symphony, F ma. op. 22 Epic Poem, orch. op. 4; symph. poems: Garden of Wood, op: 15; Au Soleil, op. 17 (perf. London, Sir II. 1913); vn. concerto, op. 14;, str. 4tet op. 1, ms.; songs; incidental music for plays. Is now working on ballet Noia (from Arapof). (Mostly publ. by Jurgenson.)-M. D. C. All V.-W.'s works are characterised by strong melodic invention (often traceable to folk-song

VAURABOURG sources), and a most original fund of contra- puntal resource in which there is nothing even faintly reminiscent of scholasticism. With the purely harmonic developments of the XX century V.-W. shows but little sympathy in his work. We certainly find extremely novel combinations of sounds in some of his later compositions, but they are almost invariably conditioned by the movement of individual parts, of which the line is often seen in a higher dimensional aspect, so to speak, through the addition to each note of the two other notes necessary to complete the com- mon chord. It is easy to realise that lines of 5-3 or 6-3 chords handled contrapuntally as though they were lines of single notes may lead logically to what seem to be most surprising harmonic combinations, though the methods by which such chords are arrived at are radically different from those of the deliberate harmonist. The influence of V.-W. is much in evidence in the. work of several British comprs., notably in that of Gustav Holst. Chorus and orch.: Towards the Unknown Region (Breitkopf); Willow-wood (id.); 4 Sea Symphony (Stainer & Bell); Mystical Songs (id.): Fantasia on Christmas carols (id.). Unace. chorus: Mass (1920, Curwen); arrs. of folk-songs (Stainer & Bell). Orch. A London Symphony (id.); Pastoral Symphony (F. & B. Goodwin); Fanta Fantasia for str. on a theme by Tallis (id.): music to The Wasps of Aristophanes, Cambridge 1909; suite, The Wasps. Chamber-music: Phantasy 5tet for str. (Stainer & Bell); str. 4tet. Organ: 3 preludes on Welsh hymn-tunes (Stainer & Bell). Songs: On Wenlock Edge, song-cycle for v. str. 4tet and pf.; 3 rondels of Chaucer for v. and str. trio (1920, Curwen); The House of Life, cycle of sonnets by Rossetti for v. and pf. (Boosey); Songs of Travel t by v. and pf. (id.); numerous arrs. of folk-songs for v. and pf. (Novello). In ms.: 2 music-dramas, Hugh the Drover (based on Eng. folk-songs) and The Shep- herds of the Delectable Mountains, described as "a pastoral episode-after Bunyan"; a ballet, Old King Cole, and a suite for military band, both based on Eng. folk-songs; 3 Norfolk Rhapsodies and a symph. impression In the Fen Country, for orch.; The Lark Ascending, for vn. and orch. This list does not include certain early works which have been discarded by the composer. Consult arts. by Edwin Evans in Modern British Composers (Kegan Paul) originally publ. in Mus. Times, 1919, and by A. H. Fox-Strangways and Her- bert Howells in Music and Letters, April 1920 and April 1922 (on the Pastoral Symphony).-P. H. VAURABOURG, Andrée. French composer and pianist; b. Toulouse, 1894. Commenced her mus. studies at Toulouse Cons. 1st prize for pf. (1902); came to Paris where she was pupil of Raoul Pugno (1908-13); entered Cons. for compn. and gained (1919) a prize for cpt. Pupil of Nadia Boulanger, Caussade, Dallier and Widor. She belongs to the group of young modern revolutionary comprs. Her music shows a delicate sensibility and at the same time a power uncommon in a feminine temperament. As pianist, she specialises in interpretation of modern music. For orch. Intérieur; and an important Prélude. Little pieces for 4tet; also for pf.; sonata for pf. and vn.; songs.-A. C. VECSEY, Ferencz. Hungarian violinist and compr. b. Budapest, 23 March, 1893. Stud. under Jenő Hubay at R. High School for Music, Budapest. As 10-year-old prodigy aroused the interest of Joachim. Travelled through the whole VERDI civilised world on innumerable concert tours. Has composed many virtuoso vn. pieces.-B. B. VEGA MANZANO, Luis. Span. compr. and condr. b. Madrid, 25 March, 1877. In 1905, bandmaster of Ciudad Real County Council's Band. 1907, condr. of Valencia Municipal Band, one of most important in Spain; 1911, music- dir. of Real Cuerpo de Alabarderos, the King's Private Guard (see ALABARDEROS). Credo, 6-v, for the Capilla Isidoriana; Rapsodias de la Mancha, (perf. Orquesta Sinfónica and many Floren. Madrid); Serenata. military-band transcriptions of classicaega: modern works.-P. G. M. VEGGETTI, Alberto. Italian flautist; b. Bologna, 23 April, 1874. Teacher of fl. at R. Liceo Mus. di Santa Cecilia, Rome; first flautist in the Augusteo orch. Pupil of the Liceo at Bologna. Revised studies for his own instr., for which he has also written educational works and original compns. in addition to a historical monograph.-D. A. VENDLER, Bohumil. Czechoslovak compr. b. Rokycany, 1865. Pupil of Fibich; lives in Prague. His compns. are influenced by Dvořák and national motives; chiefly successful in choruses. Májová; Vernd milá (Truthful Sweetheart); Koleda; Modlitba Ripu (Prayer); choral arr. of national songs. (Fr. A. Urbánek, Prague.)-V. ST. and VENEZIANI, Vittore. Ital. chorus-master; b. Ferrara, 25 May, 1878. Pupil of Liceo di Bologna; for 9 years, teacher of choral-singing at Liceo Mus. Benedetto Marcello, Venice; then at Scuola Corale Municipale, Turin; now chorus-master at La Scala, Milan. Is also a good compr., having written operas, melologhi (poems by Domenico Tumiati), choruses, ballads, etc. -D. A. VENTURI, Aristide. Ital. chorus-master; b. Finale (Emilia). Pupil of Liceo Mus. di Bologna. In chorus training he is considered one of leading Ital. professionals. Engaged in principal opera houses; for many years at La Scala, Milan.-D. A. VENU. See INDIAN MUSICAL INSTRUMENTS. VERBRUGGEN, Henri. Belgian violinist and condr. b. Brussels, 1874. Stud. under Hubay and Ysaye at Cons. there; compn. under Gevaert. Led Scottish Orch. (under Henschel) 1893; Lamoureux Orch. Paris, 1894; mus. dir. Colwyn Bay for some time; returned to Scottish Orch. as leading vn. 1902; led Queen's Hall Prom. con- certs for 4 years; taught Glasgow Athenæum; succeeded Coward as condr. Glasgow Choral Union; leader of a str. quartet in Scotland, 1914; Principal of Cons. of Music, Sydney, Australia, 1918; condr. of first Australian State Orch. there; condr. Minneapolis Symphony Orch. U.S.A. from 1923.-E.-H. VERDI, Giuseppe. Italian opera-composer; b. Roncole, near Busseto, 1 Oct. 1813; d. Milan, 27 Jan. 1901. The greater part of Verdi's life lies outside the period of this Dic- tionary; but his last works, Otello (Milan, 5 Feb. 1887), Falstaff (Milan, 9 Feb. 1893) and the Quattro Pezzi Sacri (Paris, 7 April, 1898) are 509

VEREINFACHTE PARTITUR But Verdi among the most important landmarks in the history of XIX century music. They have even converted those who, regarding all opera from the Wagnerian standpoint, would not deign to acknowledge the earlier Verdi. must not be judged only by his later works; his whole development must be taken into account. In the very banality which is often betrayed in Nabucco, Lombardi, Ernani and others, there is at times a power containing the germ of what was to follow. Verdi the rough youth, but absolutely sincere and passionately impelled to express himself through the medium of the stage, is the necessary forerunner of Verdi the accomplished musician. The works of the middle period, Rigoletto, Trovatore, Traviata (1851-3) are still hampered by the inheritance of Rossini, Bellini and Donizetti. The change which came later was due largely to the influence of Arrigo Boito, whom Verdi first met in Paris in 1862. In the mind of this self-critical man, who kept sharp watch-indeed too sharp a watch-upon himself as a composer, Shakespeare and Wagner had already taken deep root. Verdi greatly admired Wagner, but found his own independent dramatic style. In Otello, dramatic expression reaches the highest degree of emotional truth uller of and the orchestra acquires a speech. Falstaff is the greatest of modern comic operas. The sensuousness of Italian melody is no longer dominant, but every kind of recita- tive is developed to the utmost. Verdi there assimilates all the technical and structural achievements of European music of the time and yet by virtue of his marvellous creative vitality, even in old age, remains absolutely individual, absolutely Italian. These latest works of Verdi have exercised a profound influence on con- temporary and foreign operatic composers; in- deed it is clear that Falstaff can still teach something to composers who have definitely abandoned the school of Wagner. Verdi spent the last years of his life partly at his country house at St. Agata, where he devoted himself to the pursuit of agriculture, and partly at Milan. The Casa di riposo (Home for destitute musicians) which he founded and endowed in his will is a lasting memorial to his noble humanity. Consult: Biographies by Gino Monaldi, Ant. Giulio Barrill, Arthur Pougin, Camillo Bellaigue, Carlo Perinello Arnaldo Bonaventura, Andrea D'Angeli, Bragagnola and Eugenio Checchi. Oscar Cettazzi, Michel Brenet, Clément, Colom- bani, Filippi, Franchi-Verney, Jullien, Abramo Basevi, Studio sulle opere di G. V.; facsimile letters of G. V., publ. and illustrated Michele Scherillo); and Alessandro Luzio (preface by Italo Pizzi, Ricordi_ verdiani inediti; Nino Perfetti, Giuseppe Verdi a Como; Alessandro Pascolato, Re Lear e Ballo in Maschera; Ildebrando Pizzetti, Musicisti contemporani; Gino Monaldi, Saggio icono- grafia verdiana; Domenico Alaleona, G. V. l'artista, l'uomo, il cittadino, and L'evoluzione della partitura ver- diana in Nuova Antologia, 16th Oct. 1913. Essays by Edgar Istel and Richard Specht (in Verdi numbers. of Musik [1913]); Falstaff number of Illustrazione Italiana (1893); Verdi number of Gazette Musicale Antologia, and by Eduard Hanslick in Salon. Also in Italiana, in Nuova Adolf Weissmann, Verdi (1922).-A. W. & D. A. VEREINFACHTE PARTITUR. See SIMPLIFIED SCORE. VIDAL VERMEULEN, Matthijs. Dutch music critic and compr. b. Helmond, N. Brabant, 1888 Critic of De Amsterdammer, 1909-13; of De Telegraaf, 1913-20. Now lives in Paris. 3 sonata (perf. Amsterdam, 1919). W 1917); cello VESELÝ, Roman. Czech pianist; b. Chrudim, 1879. Stud. at Organ School, Prague; at Leipzig (Jadassohn); pf. at Prague (Adolf Mikeš); for long time bank-official at Prague; since 1919 prof. at Cons. there. One of best pf. arrangers of modern Czech operas and symph. works. V. ST. VESSELLA, Alessandro. Italian compr. and band-master; b. Piedimonte d' Alife (Caserta), 31 March, 1869. An outstanding musical figure, to whom we owe the creation in Italy of a true modern art in military bands. On leaving Naples Cons., where he stud. compn. under Serrao and pf. under Palumbo, V. began his career as a compr. and pianist. In 1885 won post of condr. of Banda Municipale of Rome, with which his name has since been indissolubly linked; he carried it to such a pitch of technical development and artistic perfection as to create for it the reputation of a "model" band, one of the best in the world. With this band, he carried out in Rome a lengthy and memorable. work of popular propaganda for good music, especially in the classics and in Wagner. this task, he met many obstacles, which he successfully overcame; and he took a large part in the organisation of the Italian military bands. His band transcriptions are models of their kind, just as the assemblage of instrs. adopted by him is also considered an ideal one. In V. is also a teacher of band-orchestration at R. Liceo Mus. di Santa Cecilia; has publ. (Ricordi) a much appreciated Trattato di istru- mentazione per banda (Treatise of Instrumentation for Bands). From 1905-7 he cond. popular orch. con- certs, instituted by the Commune of Rome. These concerts formed the foundation for the present magnificent institution, the Augusteo. V.'s band-transcriptions (numbering about 50) are publ. in an ed. of his own (Beethoven's symphonies and sonatas, and famous pieces of Bach, Chopin, etc.). He also composes many pieces for band, for chorus, and for orchestra. Consult: A. De Angelis, 4. V. (Rivista Romana, Nov. 1914); A. De Gubernatis, Dizionario dei con temporanei; G. Biagi, Annuario biografico.-D. A. 510 VEUVE, Adolphe. Swiss pianist, compr. b. Neuchâtel in 1872. Stud. first at Hochschule in Berlin, later under Leschetizky (pf.) and K. Navrátil (compn.) in Vienna. One of best Swiss pianists; possesses an excellent tech- nique and a fluent tone; has given many con- certs, particularly in Paris, Brussels and Berlin. Pf. sonata; numerous pieces for pf. (Lausanne, Fetisch; Leipzig, Hug); songs (Geneva, Henn). -F. H. VIDAL, Paul. Fr. compr. b. Toulouse, 16 June, 1863. Prix de Rome, 1883; condr. at Paris Opéra; at Opéra-Comique; prof. at Paris Cons. Eclectic and flexible in spirit; particu-

VIDALITA larly happy in songs (Le Jeu du Sabot; La Meneuse du Jeu); less original as a symphonist (La Vision de Jeanne d'Arc), and as compr. for stage: Fierrot assassin (ballet, 1888) Dévotion à Saint La Maladetta (ballet, on Pyrenees airs, 1893); André (mystery, 1894); Guernica (opéra-comique, 1895); La Burgonde (opene, to old music.-A. C. 1898); Ramsès (opera, 1908). Also pf. and orch. acc. VIDALITA (sometimes called VIDALA). A slow melancholy Argentine part-song with acc. of pf. and guitar, the theme being either "absence or "past loves." For a fine modern setting of one, for solo v. and pf., see Vicente Forte's Vidalita (Buenos Ayres, N. H. Pirovano, 1923).-E.-H. VIEIRA, José Antonio. Portuguese pianist; b. Lisbon, 1852; d. there, 1894. Was pf. teacher at Cons. Lisbon from 1882.-E.-H. PHILHARMONIC CONCERTS. VIENNA Founded 1842. Name given by Dr. August Schmidt (ed. of Wiener Allgemeine Musikzeitung) who announced 1st concert of opera-orch. (under cond. of Otto Nicolai, compr. of The Merry Wives of Windsor) as Philharmonic Academy. The concert took place 28 March, 1842, in Grossen Redoutensaal of Imperial Palace. One of Nicolai's first achievements was a fine, elaborate perf. of Beethoven's 9th Symphony. The concerts did not become permanent until 1860 when a subscription was opened (Carl Eckert, dir. of Imperial Opera House as condr.). Fortunately he was soon replaced by the gifted Otto Dessoff, who brought concerts to their high fame, in Kärnthnerthor-Theater. In 1870, they were removed to new building of Gesell- schaft der Musikfreunde, where they are held to this day. Dessoff's successor was Hans Richter. For splendour and warmth of tone as well as for brilliancy of execution the Vienna Philh. Orch. (same as Vienna opera-orch.) has probably no rival. Complete list of condrs.: Otto Nicolai (1842-7), Georg Hellmesberger (1847-8), Wil- helm Reuling (1849), Heinrich Proch (1850), Carl Eckert (1854-7 and 1860), Otto Dessoff (1860-75), Hans Richter (1875-82, 1883-98), Wilhelm Jahn (1882-3), Gustav Mahler (1898- 1901), Josef Hellmesberger (1901-3), Franz Schalk (1903, 1905-8), Ernst v. Schuch (1903), W. J. Safonof (1903), Arthur Nikisch (1903), Karl Muck (1904-6), Felix Mottl (1904-7), Richard Strauss (1906-8), and Felix Weingartner (since 1908).-H. B. VIENNESE OPERETTA Wagner, shows a rising Fr. school (Manon, Werther), rise of Verdi, and some veristic Ital. operas (Cavalleria, Pagliacci). 1896-1907, its most glorious period; Gustav Mahler as dir. built up a real repertory, a fine ensemble, including many young artists (Anna Mildenburg, Marie Gutheil, Selma Kurz, Lucy Weidt, Edyth Walker, Erik Schmedes, Leo Slezak). As condrs. he engaged Bruno Walter, Franz Schalk. Created Wagner cycle (3 or 4 times a year), Mozart cycle, and most new operas. With Alfred Roller, created new style of scenery for Mozart's operas. The orch. rose to high a standard. 1907, followed by Weingartner, very different in temperament; much of M.'s reform destroyed; took in new works, Bittner's Rote Gred, Strauss's Elektra. 1911, Hans Gregor dir. (Debussy's Pelléas; R. Strauss's Salome, Ariadne, Rosenkavalier). The last Imperial Intendant of Hoftheater was Baron Andrian, whose chief merit was the engagement of R. Strauss after cycle of his works perf. in spring 1918. Strauss and Franz Schalk have since been the leaders of the Opera. Chief events. of their régime: 50th anniversary, spring, 1919; opera fest. 1920; Strauss's Josephs Legende and Frau ohne Schatten; Pfitzner's Palestrina; Schreker's Die Gezeichneten, and Der Schatz- graber; Korngold's Die Tote Stadt; Bittner's Kohlhaymerin; Strauss's Schlagobers (1924). Consult R. Wallaschek, Die Theater Wiens; R. Specht, Das Wiener Operntheater (1919); P. Stefan, Die Wiener Oper (1922).-EG. W. VIENNESE OPERETTA. The development of this form of music comedy, since 1880, proceeds from two sources: the Parisian operetta founded by Offenbach, and the Viennese local mus. farce. This latter sprang from the old Singspiel, which had degenerated in a rude, farcical manner. The oldest operatic compr. of this period, Franz von Suppé (q.v.), did not achieve real success until he approximated his style to that of the parodic and satirical forms of the Offenbach burlesque. The manner of Johann Strauss with his winning tunes and rhythmic dances was thrown aside. After that, many local dances (especially the Waltz) were inserted between the action, regard- less of plot. The followers of Strauss emphasised local colour and the dance element; but there are also many who continue the Offenbach manner. Since 1900, national melodies (especially Hungarian and Slavonic) have assumed promin- ence, and Amer. dances (Shimmy and Fox-trot) have been imported into the Viennese operettas. The latest developments proceed in two direc- tions. The first (Lehár, Kalman, Fall, etc.), by its finer instrumentation, broader ensem more developed songs, attaches this genre to the comic and lyric operas (despite the poor sentimental manner). The second (Eysler, Granichstädten, Stolz, Benatzky) prefers short songs and dances and is really a musical drollery. The last embers of the old Viennese dancing operetta are also to be seen in Ziehrer's and Reinhardt's works. and VIENNA STATE OPERA HOUSE. The new opera-house, built by Siccardsburg and Van der Nüll, was finished 1869. The orch. (mainly the Philh. orch.) was increased to 111, the chorus to 80. In addition to operas, they give 8 concerts a year (12.30, Sundays). A 9th one is usually given to opera pension fund (Beethoven's 9th Symphony usually included). 1870-5, Herbeck as dir. of K.K. Hofoper; 1875-80, Franz Jauner dir.; Richter cond. orch. 1880-96, Wilhelm Jahn dir.; Richter became more and more the leading force (Wagner, Gluck, Mozart) with ensemble of exquisite singers (Winkelmann, Reichmann, Materna, Scaria, Schläger, Renard, Van Dyck, Dippel). This period, dominated by 511 In the first class, it was Emerich Kalman (a Hun- garian who stud. at Budapest Cons. with Kessler) who inspired the new national manner. He had

VIERLING great success in Vienna, since 1908, with Herbatman- The över, Zigeunerprimas, Czardasfürstin, Bajad909) be- Crostian Fellz Albint's Madame Troubadener (1 to the same order. The morry, cabaret element, with many couplets and rag-timee, is represented by Ralph Henatzky (Liebe im Hchnee, 1016: Die tansende Maske, 1014; Die Verliebten, 1919; Apachen, 1920) Bruno Granichstädten (Der Kriegsberichter- statter and especially Robert Stolz (Lang ist's her; Du liebes Wien, 1913; Die Liebe geht um, 1921). The local plece, Sperraechnert, pert, hundreds of times, is the best example of folk-buffoonery. Viennese local colour was emphasised before Eysler end Ziehrer (gq..) by Heinrich Reinhardt, eritio on New Viennese Journal, In his operetta, L Dan süsse Mädel. Between 1900-1, Carl Zeller (Der Vogelhändler; Vagabund; Kellermeister), Herrmann Dostal (Der Wein- berger are in this rank. Lately a new method has been airs to an operetta (woven round Incidents in Brus bert's life) called Dreimdderlhaus, 1915 (produced in London na Lilac Time, 1922). This was followed by O. Lanta's Hannerl (on Schubert's tunes), 1917; and Josef Kloin's Die Siegerin, 1922, (on Tchaikovsky's). The Berlin operetta type of Jean Gilbert came to Vienna in 1920. (He charming The Lady of the Rose was produced in London in 1922.) Much of the attrac- tion of the Viennese operettas came from the won- actors and ander Girardi (d. 1916: the original comie Alex- Carl Blasel, Wilhelm Gottsle- ben. Later, Max Pallenberg, Josef König, Ernst Max Brod. 3: Karl Streitmann, Mizzi Tauteumann, Hubert ors: Soprani and Louls Zwerenz, Itosy Werginz, Louise Kartuscher, Mizzi VIERLING, Georg. Ger. compr. b. Franken- thal (Palatinate), 5 Sept. 1820; d. Wiesbaden, 1 May, 1901. Son of orgt. Jacob V. (1796-1867); pupil of father and H. Neeb, Frankfort-o-M. (pf.); organ pupil of J. H. Chr. Rinck, Darmstadt; 1842-5, compn. pupil of A. B. Marx, Berlin; 1847, orgt. of Upper Ch. Frankfort-on-Oder; dir. of Singakademie; establ. subscription concerts; 1852-3, cond. Glee-Club, Mayence; then went to Berlin, founded Bach Soc.; cond. it for 6 years and at same time subscription concerts at Frankfort-on-Oder and concert-soc. at Potsdam; 1882, prof. and member of Berlin Acad. Later, devoted himself entirely to compn. and teaching. Songs, duets; for female, male and CXXXVII (t. solo, chorus and orch.); Drinking Cantata and Zur Weinlese (Vintage) (chorus and orch.); choral works: Hero and Leander: The Rape of the Sabines: Alaric's Death; Constantine, op. 64. Instr. works: Symphony, C ma. op. 33; overtures: The Tempest (Shakespeare); Mary Stuart; In Spring, op. to Fitger's Hexe, op. 61; Capriccio, pf. and orch.; pf. trio; 2 str. 4tets, op. 56 and 76: Fantasiestücke, pf. and cello; Fantasiestücke and a grand Fantasia, pf. and vn.; pf. solo pieces.-A. E. mixed choruses; not songs 19C, unacc.; Psalm VIERNE, Louis Victor Jules. Fr. orgt. and compr. b. Poitiers, 8 Oct. 1870. Stud. at Paris Cons. under César Franck and Widor, and has proved active both as orgt. (Notre-Dame Cath., Paris) and compr. His symphonies and other works for organ are well known, but his choral and chamber-music works have not yet attracted the attention which they deserve. His poems. for v. and orch. also deserve notice. His music, earnest and substantial, lacks neither poetic feeling nor originality in conception and treat- ment. He played in England first in Jan. 1924. 4 symphonies, organ, op. 14, 20, 28, 32; 24 Pièces en style libre, organ, op. 31; Tantum Ergo, chorus and orch, op. 4; Missa Solemnis, chorus and orch. op. 16; Prazinoé, soll, female chorus and orch. op. 22; 3 poems, v. and orch.: Psyché, op. 36; Les Djinns, op. 37; Eros, op. 31; str. 4tet, op. 12; sonata, vn. 512 VILLA and pf. op. 23; sonata, cello and st. p. 27: 1 Chants de la Danse, pt-M. D. C VIERNE, René (not to be confused v Louis Vierne). Fr. orgt. &. Lile, 1876, pa of Guilmant; was orgt. at Notre-Dame-d Champs, Paris, when war broke out in 1914 he died for his country on 29 May, 1918. Ha left numerous organ pieces, which show delica of feeling and magnificent composition; s an excellent Méthode d'harmoniam which ha already become a classic.-F. R. VIEUILLE, Felix. Fr. operatie b. minger, b. Saugeon (Charente-inférieure), 15 Oct. 1872 On leaving school, was engaged in chorus at Opéra-Comique, and obtained a small part in Egmont. Entered Cons. in 1894 under Achard and Giraudet. Ist prize, opéra-comique, 1867 (in Don Juan). Engaged at Opéra-Comique; sang in Beaucoup de bruit pour rien (1900), Louise, Le Juif Polonais, Pelléas et Mélisande (1902), La Fille de Roland (1904), Le Pécheur de St.-Jeas (1905), Le Clos (1906), Chiquito (1909), Macbeth (1910), La Jota (1911), La Lépreuse, and L Danseuse de Pompei (1912), Bérénice, Le Pays, Le Carillonneur (1913), Marouf (1314) and Dans l'ombre de la Cathédrale (1921). He posscases an extraordinary range and timbre, a perfect dic. tion, and a natural gift for acting. Has been associated with productions at Opéra-Comique for last quarter of century, particularly with Pelléas et Mélisande in which he took the orig. part of Arkel.-A. R. VIEUX, Maurice. Fr. vla.-player; b. Savy. Berlett, 14 April, 1884. 1st prize at Cons. 1902; soloist at Opéra and at Cons. Concerte. Is re- markable as a virtuoso. His tone is similar to that of Casals the cellist, and his style extremely pure. Takes great interest in history of lute; possesses some very fine violas and a viol of historic value.-M. P. Italian VIGLIONE BORGHESE, Domenico. barit.; b. Mondovi (Piedmont), 3 July, 1877. Stud. at the Liceo Rossini, Pesaro. After an early adventurous period of life, his triumphal career began in 1907 at the Regio Theatre, Parma, in Aida. Since then, has risen to the position of one of the best Ital. baritones living, and has appeared at all principal European and Amer. opera houses.-D. A. VILLA, Luis. Span. cellist; b. Madrid, 1874. Stud. at R. Cons. de Música, where he was pupil for chamber-music, with his fellow-student Pablo Casals, of Don Jesús de Monasterio. Member and founder of Soc. de Conciertos de Madrid (now Orquesta Sinfónica) and of the Cuarteto Francés and Quinteto de Madrid.-P. G. M. VILLA, Ricardo. Span. condr. and compr. b. Madrid, 23 Oct. 1873. Stud. at R. Cons. de Música, Madrid. Began as violinist, but abandoned that instr. to become one of condrs. at R. Opera House, Madrid, a position he still holds, as well as condr. of Madrid Municipal Band organised by him in 1909 (see BANDA MUNICIPAL, MADRID). Misa Solemne, 4 v. and orch.; La Visión de Fray Martin, symph. poem (1st perf. R. Opera House,

VILLALBA MUÑOZ Madrid, condr. Campanini); Escenas montañesas, male chorus: Impresiones sinfónicas, orch.; El Cristo de la Span. opera (see ZARZUELA); EL licht opera. All these are in ms. The following are publ.: Cantos Regionales Asturianos, suite for orch. (1st prize, Soc. de Conciertos, Madrid); Raimundo Lulio, opera in 3 acts and an epilogue (1st Teatro Lirico, Madrid, cond. by compr.); Rapsod Asturiana, vn. and orch. (1st perf. Pamplona, soloist Sarasate, cond. by compr.); Fantasia Española, pt. and orch. (1st perf. Berthe Marx Goldschmidt, Saragossa). (Faustino Fuentes; Mariano San Miguel; Unión Jul. Heinz Zimmermasical Española, Mad Leipzig).P. VILLALBA MUÑOZ, Father Antonio. Span. compr. b. Valladolid. Comp. Oraciones and El Poema de la Noche, two lengthy works in 1 move- ment for pf. (26 and 44 pages respectively), very ambitious in scope (publ. E. Neumann, Lima). In them he exhibits a style of untraceable origin. Lives in Lima (Peru); belongs to Augustinian order.-P. G. M. VILLALBA MUÑOZ, Father Luis. Span. mus. scholar, critic and compr. b. Valladolid in 1873. d. Madrid, 9 Jan. 1921. Is the best-known mem- ber of a family of musicians, being the son of Alvaro Villalba, a music-teacher, and brother of compr. of light and religious music, Marcelino Villalba, and the Fathers Alberto and Enrique Villalba, both members of the Church and comprs. Luis entered at 14 the Order of St. Augustine. Ph.D., D.Litt. at Univ. Central, Madrid. 1898-1917, choirmaster of Chapel at Real Monasterio del Escorial; prof. of history and rhetoric, Colegio de Alfonso XII, Escorial; ed. of Augustinian literary and scientific review La Ciudad de Dios and the Biblioteca Sacro- musical (religious music-periodical), Madrid, and, for a time, of Ilustración Española y Americana. Member of Corpus Scriptorum, Germany. He abandoned the Augustinian order but remained always a priest, and at the time of his death was a candidate for the R. Acad. de Bellas Artes and for the chair of history and aesthetics of the R. Cons. de Madrid. La Música de Cámara en España, set of lectures; Oltimos Músicos Españoles del siglo XIX: Enrique Granados; Cuentos de La Música en Solfa Histoidad Cosas de la Vida: del Rey Reyes, 3 vols.: El P. Honorato del Val: La Inocentada José María Usandizaga; Felipe Pedrell; Historia del Piano: El Organo, su invención e historia y su cultivo en España por los organistas del siglo XV y primera mitad d del siglo XVI; La Educación Artística; Pro- grama explicativo y a la música; Programario de estética general aplicada explicativo e indice sumario de general de la música; Lo Bello. Compns.: Canciones españolas (10) de los siglos XV U XVI, v. pf. (Span. and Fr.): Cantiga X de clásio el Sabio, v. and organ; Antologia de organistas españoles: Repertorio de los organistas, 2 VIÑÉS author of a number of books and pamphlets as well as lecturer on musical subjects. Str. 4tets: works for orch.; pf. sonatas; vn. and pf. soor 'ongs with pf.: symph. poems; pleces, for cello, for vn., for military band. (Ilde- fonso Alier; Antonio Matamala; Unión Musical Española, Madrid.)-P. G. M. (No. I in F; No. II in C). This is only a small selec- tion from a prolifie list of transcriptions of old music, masses, motets, carols, religious hymns, secular songs, entr'actes, military-band and dance music, including pasodobles toreros, one-steps and a fox-trot, The Best Charming (sic). (Ildefonso Alier; Imprenta Helenica; Viuda de Villalba, Segovia.) P. Pueyo, Madrid; Enrique M. VILLERMIN, Louis. Fr. compr. and theorist; b. Baccarat, 16 July 1877. Stud at Schola Can- torum, Paris; after having written some works in the classical style, he devoted himself to the research of ultra-modern harmonic coloration, and later classified the modes, neuter, unitonic and polytonic and their relationships. compns. are very clear and neat, and the har- niony is never overcharged. His Oreh.: La Coupe enchantée (Paris, 1914); La Danse des Sirènes (Concerts Lamoureux, 1916): Estampe (Théâtre Mogador, May 1922); Première Rhapsodie Chinoise (Havre, June 1911): Méditation polonaises y band: book, Traité d'Harmonie ultramoderne marches for(Rouhier, Paris).-E.-II. VINĀ. See INDIAN MUS. INSTRUMENTS. VINCENT, Charles J. Eng. compr. and publ.; b. Houghton-le-Spring, Durham, 19 Sept. 1852. Chorister Durham Cath. 1863-8; pupil of Dr. Philip Armes 1870-3; stud. Leipzig Cons. under Reinecke, Richter and Maas, 1876-7; Mus. Doc. Oxon. 1884; orgt. Christ Ch. Hampstead, 1883- 1892; joint-ed. (for 25 years), Organist and Choirmaster; joint-ed. new ed. Hymnal Com- panion; founder of firm Vincent Music Publ. Co. (later Schirmer & Co.; later still, Winthrop Rogers). Overture, The Storm; numerous songs, part-songs, anthems, services, cantatas, organ music and pf. pieces. Author of: Harmony: Diatonic and Chromatic (W. Rogers); Scoring for an Orchestra (id.): The Brass Band and how to write for it (id.): Form and Design (id.). Ed. of: Fifty Songs by Shakspear (Dit- son); Reliquary of English (Schirmer); books; Trinity 6 vols. (Schirmer).-E.-II. Coll. Song-bookcalisation Studien Series & VINÉE, Anselme. Fr. theorist and compr. Pupil of Guiraud in Paris; compr. of: 2 orch. suites wind; Trio-Serenade, pf Bretagne); 6tet for pf, and . (or harp), fl. and c.a. (or ob.); Lamento, cello and orch.; vn. sonata; clar, sonata; cello sonata; sonata, vn. alone; duets for str.; Varia- tions, pf. and tpt.; songs. Wrote Essai d'un système général al de musique (1901); and Principes du système musical (Paris, 1909, Hamelle), a very valuable work.-A. C. VINES, Ricardo. Span. pianist, b. Lérida, 5 Feb. 1875. Stud. under orgt. Terraza; later at the Barcelona Cons. as pupil of Pujol; obtained 1st prize for pf. at 12. In 1894 obtained a similar distinction at the Paris Cons, as pupil of Charles. de Bériot, Lavignac and Benjamin Godard. His success at concerts of Société National de Musique, Schola Cantorum, Salon d'Automne, Société des Concerts du Cons. and at Lamoureux and Colonne Concerts, was only the beginning of his brilliant career as solo-pianist in all European countries. The prominence of his name in the history of modern music cannot be sufficiently emphasised. He was the first virtuoso who placed his art at the service of the new school of Debussy, Ravel, Séverac and others who were to be acknowledged later as the leaders of an universal mus. revolution. He was one of the first to understand, and make others understand, VILLAR, Rogelio. Span. compr. and critic, b. León, 1875. Stud. at R. Cons. de Música, where he is now a prof. of chamber-music. Mus. critic to the review Illustración Española y Americana; ed. of several mus. periodicals and 2 L 513

VIOLOTTA the new Fr. school, through his wonderful exposition of its pf. works which for a long period he monopolised. The new school of Spain and, to a great extent, that of Russia, owe him a similar debt. He lives in Paris.-P. G. M. VIOLOTTA. A large kind of viola with strings tuned G-d-a-e constructed by Alfred Stelzner (d. Dresden, 1906). It is used in some German opera- orchestras. (See BEHM, E.).-A. E. VIOTTA, Henri. Dutch condr. b. Amsterdam, 16 July, 1848. Stud. under Hol, Merlen and Hiller (Cologne); stud. law at Leyden and graduated in 1877. Founded, 1883, Wagner- vereeniging (see SOCIETIES); 1903-17, condr. Symph. Orch., The Hague (Residentie Orch.). Songs; concerto, cello and orch.; Mass. Wrote numerous studies on different comprs.; Handbook of mus. history; a Wagner biography.-W. P. VITALE, Edoardo. Ital. condr. b. Naples, 1872. Stud. at R. Liceo Mus. di Santa Cecilia under Eugenio Terziani (compn.), and was prof. of harmony there for seven years. His growing successes as a condr. led him to abandon teaching in order to devote himself completely to a career of conducting; occupied very im- portant positions in the leading European and Amer. opera houses (La Scala, Milan; Costanzi, Rome; San Carlo, Naples; Colón, Buenos Ayres; Municipale, Rio de Janeiro, etc.). Has success- fully godfathered" very many operas, such as La Via della Finestra (Zandonai), Mirra (Alaleona), and many other modern operas which have been produced in Italy for the first time under his direction.-D. A. VITALI, Mario. Ital. pianist; b. Pausula (Macerata), 29 Jan. 1866. Stud. at R. Cons. Naples, under Palumbo (pf.) and D'Arienzo (compn.). Whilst still very young, was appointed pf. teacher at Liceo Rossini at Pesaro where he has remained, training some excellent pupils. With Frontali and Cremonini, he formed a trio, which has become famous. Has given numerous concerts, which have been much ap. preciated. Is compr. of an opera, La bella del bosco dormente (The Sleeping Beauty), mentioned in one of the Sonzogno competitions. Has also written several orch. pieces, also vocal and instr. chamber-music, in addition to some accurate revisions of pf. works.-D. A. nella miniatures, etc.; many choral songs, a and with orch.; songs for v. and pf.-K. P. VITTADINI, Franco. Ital. compr. b. Pavia, April 1884. Stud. at Milan Cons. (under Galli and Ferroni (compn.) and Andreoli (pf.). Choir- master at Varese; has composed various masses and other sacred music (Milan, Bertarelli; Monza, Centemeri). His reputation is due to his opera Anima allegra (Costanzi, Rome, 1921), Another opera, Il Mare publ. by Ricordi. di Tiberiade (in 4 acts, libretto by Illica), he had written earlier for Sonzogno.-D. A. VIVES, Amadeo. Span. compr., native of Catalonia. Successor of famous compr. Tomás Bretón as prof. of compn. at R. Cons. de Música, Madrid. Has attained great reputation and popularity as writer and lecturer, as well as one of leading contemporary comprs. for Span. stage. The outstanding feature of his music is clearness of construction and melody. Balada de la Luz Duquesito; El Pepe Conde o el ramharacter P. G. M. Zarzuelas: La Don Pretendiente; El Parque de Sevintes: Maruza, lyric mentir de las estrellas; Lola comedy in 2 acts (v. and pf.: Canciones (perf. R. Liceo, Barcelona, a coll, of 13 mus. settings to poems of by Span. classics. (Unión Musical Belgian harmonist VIVIER, Albert Joseph. and acoustician; b. Huy, 16 Dec. 1816; d. Brussels, 3 Jan. 1903. Stud. under Fétis at Brussels Cons. (1842). His 1-act comic opera, Padillo le Tavernier, was perf. at La Monnaie. Two other operas in ms. Later on, he inclined towards mus. theory and publ. a treatise on har- mony. Then he busied himself with acoustics. The Museum of the Brussels Cons. possesses two instrs. constructed according to his directions, a sonometer with 13 strings, which he called duodédicorde (Catal. No. 2256) and a harmonium in which are united two stops tuned a fifth of a tone from each other (No. 2408). Traité d'harmonie théorique et pratique (reprinted. 5 times, 1862-90): Mémoire sur les vrais rapports des sons musicauz ments à cordes (1803);, Transformations des instru- "Elémenes d'acoustique musicale (1899); Questions (1897); Acoustique d'acoustique musicale (n.d.).-E. C. VOGEL, Emil. Ger. music historian and bibliographer; b. Wriezen-on-Oder, 21 Jan. 1859 d. Nikolassee, near Berlin, 18 June, 1908. Stud philology at Berlin and Greifswald Univ.; mus history in Berlin (Spitta); 1883, scholarshi from Prussian Government, which enabled hin VITERBINI, Sergio. Ital. cellist; b. Viterbo (Rome), 30 1890. Stud. at the R. Cons. Naples; gained diploma in 1906; then teacher, which position he still occupies. He perfected himself in Berlin under Hugo Becker. Is a concert artist who is much appreciated, and is 1st cello in the orch. of the Teatro San Carlo. Recently founded and conducts a string orchestra for the diffusion of string music.-D. A. VOGEL Russ. province), 26 June, 1863. Stud. (1880-6) compn. under Johansen and Rimsky-Korsakof at Petrograd Cons. In 1886, prof. of theory there, and after death of Rimsky-Korsakof (1908) took place of latter as prof. of mus compn. After the proclamation of independent Latvia (1918), V. was entrusted with organi sation and direction of the State-supported Cons. at Riga. He excels in nearly all branches of music, except opera. His compns. are refined, exquisite works, but have little national character. Orch.: Symphony, E mi.; Ligo, op. 4: Ouverture dramatique, op. 21; overture, Spriditis; Suite of Latvian folk-tunes, op. 29; suite, Princesse Gundega, D. 42; vn. and orch.: Fantaisie, op. c VITOLS, Jozefs. Latvian compr.; dir. of Cons. in Riga; b. Valmiera (Livonia, formerly a 514 op. 54 sonata; variations; arrs. of folk-tunes; many str. 4tet; pf.: Variations, op. 6; Psody, op. 39; popular Española,

VOGL to accompany (as assistant) Fr. X. Haberl on his Palestrina study-tour to Italy. After return to Germany, graduated Ph.D. at Berlin Univ. 1887. In Vierteljahrsschrift f. M.-W., 1887, monograph Claudio Monteverdi: 1889, Marco da Gagliano and Musical Life at Florence from 1570 to 1600; 1890, Works Department of Ducal Library at Wolfenbüttel; 1892, 2 vols. Library of Printed Secular Vocal Music of Pet from 1500 to 1700, 1893-1901, V. was librarian also publ. the Annual of this library. He was hon. member Acad. E. VOGL, Heinrich. Ger. t. singer; b. Au, suburb of Munich, 15 Jan. 1845; d. Munich, 21 April, 1900. Schoolmaster at Ebersberg (1862-5); 1865, member of Munich R. Opera; was especi ally a Wagner singer; after death of Schnorr of Carolsfeld, for long time, the only Tristan avail- able. With own opera The Stranger (Munich, 1899) he had no luck. Also comp. songs and ballads. Consult H. v. der Pfordten, H. V. (1900).-A. E. 1897, VOGLER, Carl. Swiss orgt. compr. b. Ober- rohrdorf, 26 Feb. 1874. Stud. organ under F. T. Breitenbach at Lucerne; then under Fr. Hegar and L. Kemptner (compn.) at Zurich, 1893; 1895, entered R. Acad. of Music at Munich; orgt. and condr. of mixed choir (Oratorio Con- certs) at Baden; since 1915, has taught theory at Zurich Cons.; co-dir. there since 1919 with Volkmar Andreae; 1908, president of the Swiss Music-Pedagogical Society. orch.: (Loewenberg), fairy-opera; Fest- marsch, orch.: 22 preludes for organ: numerous songs and unacc. choruses (Leipzig, Hug).-F. H. VOGRICH, Max. Ger. compr. b. Hermann- stadt, 24 Jan. 1852; d. New York, 10 June, 1916. 1866-9, stud. at Leipzig Cons. (pupil of Wenzel, Reinecke, Moscheles, Hauptmann and Richter). 1870-8, toured widely as pianist; 1878 in New York; 1882-6 in Australia. 1886- 1902 he resided in New York as compr., then lived in Weimar till 1908 and in London till 1914; then returned to New York. Operas: Wanda (Florence, 1875): King Arthur (Leipzig. 1893); The Buddha (Weimar, 1904); music to Wildenbruch's Song of Euripides (Weimar, 1905). Pf. concerto, E mi.; vn. concerto, E pur si muore (1913); cantatas. Ed. Schumann's complete pf. works and Clementi's Gradus ad Parnassum (Schirmer). -A. E. VOMÁČKA tinction of making Canada, musically speaking, an "exporting " country; for the visita of the Mendelssohn Choir to the US.A. showed for the first time in the history of Canada that a home-made product could equal or of older countries. As Principal of Cons, he has aurpass that brought about a much closer union between mus. education and the Univ. His tutor, Modern Pianoforte Technique, is now in its 20th ed.: choral works; songs, church music-L. 8. VOLBACH, Fritz. Ger, compe, and writer on music; b. Wipperführt, Rhineland, 17 Dee. 1861. Stud. at Cologne Cons; stul, philosophy at Heidelberg and Bonn, 1886, pupil of R. Inst, for Church Music, Berlin; also pupil of Grell (compn.); 1887, teacher at Inst, for Church Music; conde. Acad. Glee-Club and Klindworth chorus; 1892, condr. of Glee-Club and Ladies' Singing Soe, Mayence; 1907, acad. mus, dir, at Tubingen; 1919, prof. at Univ. Münster, Westphalia. Symph, poems: Easter (organ and oreb; Tuo Children; Old Heidelberg, thou leutiful; Royal B ml.: Stet for wind instra, and pf. E flat (1901); pf. Stet, D mi, op. 36 (1912); Vom P'agen und der orch, organ); At Gnigstochter; Raffad, (chorus, Fountain, male chorus and orch.; King Laurin's Rose Garden, barit. chorus, orch. op. 38; Hymn to chorus, solo instrs, organ (irgin Mary (Dan (Düsseldorf, 1919), ete, Wrote Tertbooks for Accompaniment of Gregorian Chant; Handel (1898); Orchestral Instruments (Letpzig, 1915, 2nd ed. 1921) Development of Modern Orchestra (Leipzig, 1910, 2nd ed. 1919); Beethoven (1905); German Mume in XIX Century (Kempten, 1909). Consult G. Schwake, Fr V.'s Works (1921).-A. E. VOLLERTHUN, Georg. German compr. b. Fürstenau (district of Elbing), 29 Sept. 1876. Pupil of Tappert, R. Radecke, Gernsheim; 1899-1905, theatre condr. at Prague, Berlin (Theater des Westens), Barmen and Mayence. Since then (1908-10 at Paris) teacher of singing in Berlin; also musical critic. Songs: 4 duets, op. 11; opera, Veeds, words by G. Kiesau (Cassel, 1916).-A. E. VOLPE, Arnold. Amer. condr. compr. b. Kov- no, Russia, 9 July, 1869. Stud. vn. 1884-7 in War- saw under Isidor Lotto; Petrograd Cons. 1887- 1891 under Leopold Auer; 1893-7, compn. under Nicholas Solofief. Went to America in 1898; 1904, founded Volpe Symphony Soc., New York, an expansion of his Young Men's Symphony Orch. (organised 1902). For many years regular symph. concerts, and open-air symphony con- certs at City College Stadium, New York, 1918- 19, etc. 1916, opened Volpe Inst. of Music, New York; 1922, called to Kansas City (Mo.) Cons, as director. Songs; vn. pieces (Schirmer; Leuckart; C. Fischer).-J. M. VOGT, Augustus Stephen. Canadian organist and conductor; b. Washington, Ontario, 14 Aug. 1861; stud. music at New England Cons. Boston, and at Leipzig Cons. After holding the position of orgt. and choir- master at First Methodist Ch., St. Thomas, he came to Toronto to Jarvis Street Baptist Ch. In 1888, joined staff of Toronto Coll. of Music as teacher of organ and pf., but in 1892 severed his connection in order to become associated with Toronto Cons. of Music. In 1894, he founded the Mendelssohn Choir (see CHORAL SOCIETIES) and remained condr. of this until 1917. In 1906 received Mus.Doc. h.c. from Toronto Univ.; became Dean of the Faculty of Music there, 1919. In 1913, Principal of Toronto Cons. of Music, which position he now holds. He was the first to achieve the dis- 515 VOLPILAURI, Giacomo. Ital. lyric t. singer; b. at Rome. Stud. at the R. Liceo Mus. di Santa Cecilia, Rome, under Antonio Cotogni. Début at Viterbo in I Puritani, and definitely establ. himself in 1920 at the Costanzi, Rome, in Massenet's Manon. Since then his services have been sought after by the principal Euro- pean and American opera houses-D. A. VOMÁČKA, Boleslav. Czechoslovak compr. b. Mladá Boleslav, 1887. Stud. compn. at Cons. Prague, under Stecker and Novák. For several

VON KUNITS years a solicitor in Czech provinces; since 1919 Social Welfare Ministry official in Prague. Mus. critic of newspapers Čas and Lidové Noviny. His own music has energetic features, occasionally reaching a stubborn hardness. Feeling is rare but very intense when present. Humour and high spirits are his charac- teristics. His first works approach the second- period style of Schönberg; but afterwards he became less complicated and nearer to tradition. This development is based on his critical views, maintaining that the period of an extremely subjective music is finished and that the new expression must be universal in content. Symph. poem, Mládi (Youth); sonata, vn. and pf.; pf. sonata; pf. cycles, Hledání (The Quest); song- cycle, "1914"; choruses (all Hudební Matice, Prague).-V. ST. VON KUNITS, Luigi. Violinist, compr. writer on music, condr. b. Vienna, Austria, in 1870. Stud. vn. under J. M. Kräl and O. Ševčík; compn. under Anton Bruckner, mus. history under Edward Hanslick. Graduated at Univ. of Vienna in jurisprudence and philosophy; 1893, came to America, residing in Chicago until 1896. In 1897, leading violinist of Pittsburgh Symphony Orch.; prof. at Cons. In 1910 re- turned to Europe for 2 years' extensive concert tours. In 1912, came to Toronto as head of vn.. dept. of Canadian Acad. of Music, which posi- tion he now holds, exercising a profound in- fluence as player and teacher, becoming widely known through his scholarly articles in Canadian Journal of Music, as leader of a str. quartet, condr. of New Symph. Orch. Toronto and by his chamber-music compns. During his sojourn in Vienna he appeared in many notable chamber- music perfs. with Johannes Brahms.-L. S. VOORMOLEN, Alex. Dutch compr. b. Rotter- dam, 3 March, 1895. Stud. in Holland under Wagenaar, Paris under Maurice Ravel, Albert Roussel and Rhené-Baton. The Fr. Impression- ists and the Symbolists have influenced his style considerably. V. lives at The Hague. Symphonietta for orch. in 3 movements, perf. Amsterdam, under Mengelberg, 1920; Scène et danse by Boutens), v. and pf., often perf. (The Hague, 1920, Van Eck); 30 songs, Dutch and Fr. words (Paris, Rouart, Lerolle), including 2 Moralités (words by Ch. Perrault), and 3 Poèmes (René Chalupt); 1st pf. suite (Rouart, Lerolle); Falbalas (3 dance m e movements (id.); étude (id.); 3 Tableaux des Pays Bas (id.); de clavecin (Amsterdam, Als- Offrandes (id.); . bach); Le Souper clandestin (Brussels, Ysaye). Cham- ber-music (all publ. Rouart, Lerolle): Suite, cello and pf.: sonatina, cello and piano; sonata, vn. and pf.; Sicilienne et Rigaudon, vn. and pf.; trio, pf. vn. cello: str. 4tet.-W. P. VRĂBIESCU, R. See RUMANIAN OPERA. VRETBLAD, Viktor Patrik. Swedish compr. orgt. and music critic; b. Svartnäs (Dalarne), 5 April, 1876. Stud. at R. Cons. Stockholm, 1895-1900 (compn. under Joseph Dente and pf. under Hilda Thegerström); and in Germany, 1901. Orgt. at Fr. Reformed Ch. of Stockholm, 1900-7; and of Oscar Ch. from 1907. Has given many organ-recitals in this church and (together with his colleague, Dr. O. Sandberg [q.v.], condr.) many Motet Evenings" with national and historical programmes. Music critic for Social- VUILLEMIN Demokraten. Secretary of Soc. of Swedish Comprs. from its foundation, 1918. Member R.A.M. Stockholm, 1921. Ph.D. 1922. Publ. in 1914, Johan Helmich Roman, svenska musikens fader (J. H. R., the Father of Swedish Music) and (1918) Konsertlivet i Stockholm, 1700-talet (Concert-life in S. during XVIII Century). Con- tributor to music journals (Musik, Copenhagen; Ménestrel, Paris). Pf. pieces (op. 3, 5, 8, 10, 12, 13); songs with pf. (op. 4, 6, 7. 17, 20); organ picces (op. 11, 14, 16); Phantasy, cello and pf.; pieces, vn. and pf.; cantata, soli, chorus and orch. (1909) (publ. Abr. Lundqvist, Elkan & Schildknecht, M. Th. Dahlström). Publ works by J. H. Roman (2 sonatas for vn. and pf.; Nord. Musikförlaget), Beethoven (Adagio, vn. and plano, not publ. before) and Berwald (symph. poem). His wife, Karin Bodman-Vretblad (b. Stock- holm, 29 Dec. 1883) stud. vn. at R. Cons. Stock. holm (under F. Book), 1895-1901; then under L. Zetterqvist, and (1903-5) under H. Marteau at Cons. of Geneva; member of Gothenburg Orch. Soc. and (from 1914) of Stockholm Concert Soc. (Konsertföreningen). Dr. Vretblad is responsible for the Swedish articles in this Dictionary.-E.-H. VREULS, Victor. Belgian, compr. b. Ver- viers, 4 Feb. 1876. Stud. at Ecole de Musique, Verviers, and at Liège Cons. under Th. Radoux and Dupuis. 1896, on advice of V. d'Indy, went For to Paris and finished studies under him. several years prof. of solfeggio, harmony and vla. at Schola Cantorum, Paris; also cond. the Parisian soc. La Chanterie. Since 1906, dir. of Luxembourg Cons. He has cond. concerts in Belgium, France and Germany. As compr. belongs to Belgian group of that French school which follows César Franck. Olivier le Simple, lyric drama (Brussels, 1921); orch.: Werther; Jour de Fête, symph, poems; Cortège vn.; Poème, héroique orch. pf. itet; trio: vn. cello La Guirlande des dunes, songs on poems of Verhaeren. -E. C. symphony, orch, and sond pf, sonata; German compr. b. VRIESLANDER, Otto. Music- Münster, Westphalia, 18 July, 1880. seller; then pupil of C. Steinhauer (1891-4), Julius Buth (1896-1900), Düsseldorf; 1901-2, pupil of Cologne Cons. (Klauwell, M. van der Sandt); 1904, in Munich; 1911-12, in Vienna, pupil of Heinrich Schenker; 1912 at Ebersberg, near Munich. Des Songs: Pierrot lunaire (46 poems by Conrad Fer- dinand Meyer, 4 vols.); 12 Goethe Songs (1905); 12 songs and ballads (1910-11): 22 songs from Knaben Wunderhorn (The Boy's Magic Horn) (1905). Essay and monograph on Ph. Em. Bach (Munich, 1923); ed. works of Ph. Em. Bach.-A. E. VUIDL, Theodore. Ger.-Czechoslovak compr. author; b. Wysotschan, near Saaz, 28 Oct. 1876. Ph.D. Stud. under Stecken, Proksch and Rietsch in Prague, where he now lives. Comic opera, Rural Love-Oracle (1-act, words by Batka); opera, Brothers and Sisters (from Goethe, arr. by Paul Schiller); symphony, E ma.; song-cycle with orchestra.-E. S. VUILLEMIN, Louis. Fr. compr. b. Nantes, 1873. His art is based on Breton folk-lore. Is music critic of La Lanterne. Compr. of stage- music for Double Voile and Scylla; Danses, pf. 4 hands; Soirs armoricains.-A. C. 516

VUILLERMOZ VUILLERMOZ, Émile. Born at Lyons in 1879. Undoubtedly one of the most remarkable of French musical critics at the present time. I Studied music at Lyons, also literature and law; pf. and organ, under Daniel Fleuret. Later, at Paris Conservatoire, in the class of Gabriel Fauré, where he studied with Ravel and Florent Schmitt. Although he gave ample proof of his powers as a composer (by writing songs of a delicate charm, by harmonising old folk songs with exquisite taste, and by producing operettas and light music of extraordinary fineness under various noms de plume) he abandoned com- position for criticism. He was a vigorous cham- pion of the modern school and fought for Fauré, Debussy, Ravel and Schmitt. He was one of the first in France to appreciate the works of Stravinsky, Schönberg, Bartók, Malipiero, and Szymanowski. V. wrote articles for the Mercure Musical; also for Revue Musicale S.I.M. (of which he became the chief editor in 1911); for Comedia and the Éclair. Now writes regularly for the Temps, Excelsior and the Revue Musicale. VYCPÁLEK A number of his arta, have been collected in a book, Musiques d'aujourd'hui (Crès, 1923),-1, P VYCPÁLEK, Ladislav, Czechoslovak compr b. Vršovice, 1882. Doctor of philology. Stad compn. under Vit. Novák; secretary of Univ, Library, Prague. Is also a critic. His compos. (chiefly vocal), though small in quantity, are, by reason of their depth of thought, originality and seriousness, amongat most important by living Czechoslovak compra. At first, he was slightly influenced by Impressionism; but soon became independent. His style is consistently polyphonic, thematic, never shrinking from any harmonic hardness resulting from the linear ept. His moods are of a soft and discreet sensibility, inclining towards religious themes. Cantata, soll, chorus, orch., O posledních cech Clověka (Of Man's Last Things). Song-cycles: Hetla (Divination and Vision); V Hot dan (In God's Hand); Moravské balady (very free harmonisations of Moravian national songs); Vojna (The War), Choruses (for male and mixed chorus): Tuláci (Trampa): Sirotek (The Orphan); Hoj nyněje (The Struggle of the Present). Publ.: Hudebni Matice Umělecké Besedy; Chadim (Prague)-V, Sr. 517

W but is resolutely progressive. He was the only Belgian musician of this period who ventured into the domain of "absolute" music. La Ferme du diable, comle opera (Ghent, 1865); Stella, lyrical drama (Brussels, 1881); Berken de diamantslijper, opera (unpubl.); cantatas: Id Woud (1867); Memling-Cantale (1871);: De Zegen der Wapens (1872): De Pacificatie van Gent (1876) male-v. choruses with brass band: 5 symphonies, 3 overtures; suite for orch.; str. 5tet; male-v. b unacc.; many songs: also a series not. , but of which proof-sheets have been kept: pf. pieces. Consult P. Bergmans, II. W. (1886).-E. C. WAGENAAR, Bernard. Dutch violinist and compr. b. Arnhem, 18 Aug. 1894. Stud. vn. under Veerman (Utrecht), theory under Dr. Joh. Wagenaar; 1920, went to New York, where he is violinist in New York Philh. Orchestra. Numerous songs (Amsterdam, De Nieuwe Muziek- handel); pieces for vn. and pf.; for cello and pf.; Serenade, str. and pf, le gind of 2 melo- Fallersleben) and De blinden (Schürman); symph. poem, N vn. sonata; cello stück, cello and orch.; trio; 4tet: von Niobe; choral vorks; s with fl., harp and pf. (Bethge, Chinesische flöte, 1919).-W. P. Dutch composer; b. WAGENAAR, Johan. Utrecht, 1 Nov. 1862. Stud. under Hol (Utrecht) and Herzogenberg (Berlin); 1888, orgt. of Utrecht Cath.; 1904, dir. of Music School, Utrecht; choral condr. Utrecht (1904), Arnhem (1908), Leyden (1910); 1919, dir. of R.A.M., The Hague; 1916, Doctorate h.c. from Utrecht University. De Romance (1901); overture, Cyrano de Ber- Frithjof's Meerfahrt, overture for orch. (1886); Schipbreuk (The Shipwreck), humorous cantata Intermezzo for orch. (1894); opera, The Doge of 1 gerac (Rostand), publ. Leuckart, Leipzig (1905); ture, The Taming : The Fortune Bor, vaudeville the Shrew (Shakespeare), 1909; over- opera, The Cid ( (1916) (pf. score J. A. H. Wagenaar, Utrecht); mad- rigal for 5 v. (1916); Sinfoniella for orch. (1917); Avondfeest (Evening Feast) for orch. (1922); songs, etc. Consult: Eigen Haard, 1906 (No. 30); 1912 (No. 44); 1916, (No. 17); Elseviers Geillustreerd Maand- schrift, 1913 (No. 3); Revue Musicale, 1921 (No. 1). W. P. WACHMANN. See RUMANIAN OPERA. WACHTMEISTER, Axel Raoul (Count). Swedish compr. b. in London, 2 April, 1865. Stud. Schola Cantorum, Paris, in which city he lives. Symphony, D mi.; cantata, Sappho (New York); sonata, vn. and pf. (Novello); for cello and pf. (John Church Co.); Fantasietta, vn. and pf. (id.); Redowa (cello and pf.); choruses; songs, etc.-P. V. WADDINGTON, Sidney Peine. Eng. compr. b. Leicester, 1869. Stud. R.C.M. London, 1883-8; also in Germany and Vienna; Mendels- sohn scholar, 1890-92; prof. of harmony at R.C.M.; completed the score of Goring Thomas's Golden Web. John Gilpin, cantata, orch. and chorus (Novello); Whimland, operetta for children (id.); chamber- music; pf. music, etc.-E.-H. WAELPUT, Henri. Belgian compr. b. Ghent, 26 Oct. 1845; d. there, 8 July, 1885. When quite ild, the precocity to compose quantity of pieces, even for orch. Was entrusted to Karel Miry, who gave him lessons in har- mony. About the age of 15, he had already written a series of pieces (especially under pseudonym of Lubner). His parents intended him for the Bar; he gained at Univ. diploma in philosophy and literature. However, he had decided to become a musician and entered the Brussels Cons., working under Fétis and Hans- sens. In 1865, his comic opera La Ferme du Diable was perf. in Ghent. În 1866-7 he cond. orch. of Flemish Theatre in Brussels and intro- duced some of his own works. 1867, gained Prix de Rome. After spending a year and half in Germany, he accepted (1869) the office of dir. of Bruges Cons. 1870, founded in Brussels popular classical concerts and became dir. of orch. of theatre. Vigorously attacked for political reasons, he gave up (1871) his various posts and (1872-5) travelled as orch. condr. (The Hague, Dijon, Ghent, Liège, Antwerp), without neglect- ing mus. compn. In 1876, commissioned by city of Ghent to compose cantata for celebration of 3rd centenary of Peace of Ghent, he produced his best work. 1879, teacher of harmony at School of Music, Antwerp. Was entrusted with compn. of important works for special occasions. His works were unanimously praised and became known abroad. However, he did not obtain the official recognition to which he aspired, and he was affected to such a degree that his health failed. From 1884-85, he again cond. the theatre- orch. at Ghent, but this was his last engagement. His numerous works, in spite of something reminiscent of other comprs., show a vigorous personality and abundant inspiration. The har- mony, polyphony and orchestration are masterly. The style is connected with Ger. Romanticism, WAGHALTER, Ignaz. Ger. composer. 1910, condr. at Komische Oper, Berlin; since 1912, condr. at Ger. Opera House, Charlottenburg. Operas: Der Teufelsweg (The Devil's Road) Mandragola (Charlottenburg, 1914); (Berlin, Youth) (words froDer späte Gast (The Max Halbe by R. Late Weinhoeppel; Berlin, 1917); . Guest) (Berlin, 1912 and 1922); To Whom does Helene belong? (Berlin, 1914); Satani (P. Milo), Charlottenburg, 1923. Vn. concerto, op. 15; str. 4tet, op. 3; vn. sonata, op. 5.-A. E. WAGNER, Erika von. Actress and singer; b. Zabern (Courland), 23 March, 1890. In 1907, Hoftheater, Meiningen; 1910, Burgtheater; afterwards in Berlin. Since 1912 a popular heroine at Deutsches Volkstheater, Vienna. From 1919 she has appeared in public as a con- cert singer also, and sings almost exclusively. contemporary songs. Her most renowned appear. ance was in the recitative part of Schönberg's 518

WAGNER Pierrot lunaire. She has made concert-tours with the Pierrot lunaire party (cond. by the composer) since 1921.-P. Sr. WAGNER, Wilhelm Richard. German com poser-poet; b. Leipzig, 22 May, 1813; d. Venice, 13 Feb. 1883. Nominally the son of the Leipzig police-actuary, Friedrich Wagner, but actually son of the Dresden Court actor Ludwig Geyer (who later became his stepfather) and of Johanna Rosine, née Bätz; spent his youth in Dresden, where his parents settled in 1814. After a short stay in Eisleben attended 1822 the Kreuz Schule, Dresden. During this period his first attempts at poetry were made (Leubald), and from 1817 onwards, he received from C. M. von Weber his first serious impressions of opera. Towards the end of 1827 the family again settled in Leipzig, where he entered the Nikolaischule. The local theatre, at which his sister Rosalie was engaged as actress, exercised a strong influence on him, and in particular the intercourse with his uncle, the noted philologist, Adolf Wagner. From the Nikolaischule he went in 1830 to the Thomas- schule, and six months later to the University. Hitherto self-taught, he now received regular instruction in music from the Thomaskirche Cantor, Theodor Weinlig (1780-1842). Prior to this, he had produced an overture in B flat (unsuccessfully performed at the Gewandhaus), four piano works (sonata, B flat; polonaise, D ma.; sonata, A ma.; fantasy, F sharp mi.); concert overtures, D mi. and C ma., an overture to Raupach's King Enzio; seven compositions to Goethe's Faust; and a symphony, C ma. A journey to Vienna and Prague occasioned the sketch of an opera, Die Hochzeit, of which some fragments remain. In 1833, Wagner began his career as conductor, by going as chorus- master to Würzburg Stadttheater, where his brother Albert was already engaged as singer and producer. Here he finished his first opera, Die Feen (taken from Gozzi's La Donna Serpente), a work in the style of Marschner and of Weber's Euryanthe, in which already the "redemption " motive had been clearly treated (first perform- ance 29 July, 1888, Munich). Returning to Leipzig (1834) Wagner soon fell under the influence of the so-called "Young Germany" (Laube, Heine, Gutzkow); the fruit of this was the opera Das Liebesverbot, after Shakespeare's Measure for Measure, which had one perform- ance, Magdeburg (1836), where he had been conductor since 1834. In Magdeburg Wagner made the acquaintance of his future wife, Minna Planer (b. 5 Sept. 1809), with whom he entered on a fateful marriage, 24 Nov. 1836, at Königs- berg. During the Magdeburg period appeared a New Year's Cantata and an overture to Apel's drama Columbus. After brief activity in Königs- berg (1837) and a summer visit to Dresden, during which Wagner secured divorce from his wife, he proceeded in the autumn to Riga, where he developed a serious and zealous activity as opera and concert conductor, and performed as his own compositions the overtures Rule Britan- nia and Polonia. The sketch of an opera-text WAGNER (later completed for Wagner's friend, J. F. Kittl, the director of the Prague Conservatoire), Die hohe Brauf, and the writing of a second libretto, Die glückliche Bärenfamilie, belong to the Riga period; also the libretto and the beginning of the composition of his grand opera Rienzi, which Wagner had already proposed to perform in Paris. Wagner left Riga for Paris, 1839, and broke his sea-voyage for three weeks in London and several weeks in Boulogne, where he met Meyerbeer. Wagner's three years in Paris belong to the most trying and difficult of his whole life. All hopes of a performance of Das Liebesverbot came to nothing. In order to live he had to under- take all kinds of humble musical work; but necessity made of him a writer. He finished. Rienzi (Nov. 1840) and began at Meudon (spring and summer 1841) the text of his first character- istic Wagner opera: The Flying Dutchman, wherein he inwardly finds the way back to national German art. In 1840 appeared his first mature orchestral work, Faust Overture (1855 slightly altered and performed). Wagner left Paris 7 April, 1842, proceeding to Dresden, where his Rienzi has been accepted and was performed 20 Oct. Its huge success procured Wagner the post of Court conductor, a post which he accepted 2 Feb. 1843, after his Flying Dutchman had its first performance on 2 Jan. As early as the summer of 1842, Wagner had sketched the Tannhäuser Saga for an opera libretto. Text and music of this work was completed in the spring of 1845, and the first performance was on 19 Oct. Lohengrin followed on Tannhäuser, but Wagner was not to hear it in Dresden. His activity as Hofkapellmeister was remarkable for a series of noteworthy successes, among them performances of Gluck's Iphigenia in Aulis, which he arranged in a form somewhat question- able for modern ideas, and Beethoven's 9th Symphony. He was also instrumental in bring- ing over Weber's remains from London to Dresden. Composed a biblical scene for male choir and orch. Das Liebesmahl der Apostel (specially for the Dresden Liedertafel). In spite of this successful activity, Wagner belonged to the political malcontents of the time. He longed for political revolution which at the same. time promised him the fulfilment of artistic reforms. Heavily involved in the Dresden May disturbances of 1849, he was in danger of merci- less punishment on the part of the victorious reactionary party. He fled first to Franz Liszt at Weimar, and later to Zurich, where he was to remain in exile for the next nine years. These Zurich years, broken only by two journeys to Paris, were devoted to theoretical self-reflection, to which we are indebted for Wagner's aesthetic formulation of a national combined art-work. (Gesamtkunstwerk): Art and Revolution; The Art-work of the Future; Art and Climate; Juda- ism in Music; Opera and Drama (his most important work); A Communication to my Friends. But after this phase of theoretical activity came a new period of creative energy. Wagner pro- duced Siegfried's Death, a drama already begun 519

WAGNER in 1848, which gradually developed into the tetralogy when, through the Young Siegfried, Valkyrie and Rhinegold he had given it the necessary dramatic and philosophical founda- tion. The complete poem of the Nibelung Ring was finished in Nov. 1852. A deep love-affair with Mathilde Wesendonk (the wife of a friend. and patron) resulted in the poem and music of Tristan and Isolde (1857-9). This episode led to the separation from his wife Minna, who died 17 Jan. 1866. Wagner then went to Venice (1858) and later to Lucerne, from which town he made a second journey to Paris. Here the first per- formance of Tannhäuser was given (24 March, 1861) with such ill-success that Wagner was forced to look for fresh sources of assistance. Following the general amnesty, Wagner then went to Biebrich near Mayence, taking with him the Mastersingers of Nuremburg, on the compo- sition of which he had been engaged in Paris (1861-2). Later, after a short stay in his native country, he proceeded to Vienna. The accumu- lation of pressing debts again drove him to Switzerland (Mariafeld). Then he went to Stutt- gart, where he received an invitation from the young Bavarian king, Ludwig II, to proceed to Munich and there realise his artistic projects. In Munich, Wagner elaborated his plan of a Festival Theatre (Festspielhaus), which was designed by Gottfried Semper; he gathered together friends like Hans von Bülow, Peter Cornelius and others, wrote articles on reform, and pursued the composition of Siegfried. Tris- tan was first performed 10 June, 1865. However, already towards the end of 1865, Wagner, as the result of Bavarian intrigues, was driven out of Munich. After travelling about for a time, he took up residence in Triebschen near Lucerne, where he completed the Mastersingers (first per- formance Munich, 23 June, 1868). Here he wrote German Art and Politics and Beethoven, and be- came intimate with the wife of his friend, Cosima von Bülow, née Liszt (b. 25 Dec. 1835), whom he married later. To this period belong also the Siegfried Idyll (1870) and the Kaiser- marsch. In 1871 Wagner definitely settled in Bayreuth, where at Whitsuntide 1872 the foundation stone of the Festival Playhouse was laid. The Nibelung Ring, now completed, was first performed, 13-30 Aug. 1876. The financial loss on these first festival perfor- mances forced Wagner to renew his journeys and seek fresh means of livelihood. In the meantime his last work, Parsifal, was completed (13 Jan. 1882) and was first performed in the summer of 1882. As an artist Wagner represents the culmina- tion of German romanticism-he became the creator of romantic "combined art" (Gesamt- kunstwerk). After his early romantic operas, Die Feen, Das Liebesverbot, and the great historical opera, Rienzi, he wrote The Flying Dutchman, Tannhäuser and Lohengrin works in which he first gives evidence of the unity of music and drama, and in which the opera evolves more and more into music-drama. WAGNER Formal melody gradually becomes a freely. flowing melos over an orchestra held together by a texture of "motives." This development finds its completion in works of the post-Zurich period. The old opera divided the melodic and dramatic elements: it chose the former for the full music of arias and ensembles, and the latter for the half-music of the recitatives. In Wagner's treatment of the two elements there lie both musical expansion and dramatic movement. He brought his "spoken song" (Sprechgesang) into a new relation with his symphonic orchestra, which he endeavoured to elevate to a significance not merely musical, but symbolical and meta- physical as well. Hence Wagner, however great a musician, is not to be estimated only as a musician: he represents a whole spiritual, intel. lectual and artistic epoch. No other artist has exerted such influence on the musico-dramatic as well as on the purely musical productivity and Even general cultural outlook of his time. to-day many artistic phenomena are determined, directly or indirectly, by that influence. Literature (in Ger.): Wagner's own works (Schrif- 1871-83; his auto- ten und Dichtungen) in 10 volstransl. My Life biography Mein Leben (1911) (Constable, 1911); his Letters (to Uhlig, Fischer and Heine, 1888; to Th. Apel, 1910); the Corres- pondence with Liszt (1900). Mathilde Wesendonk (1901), Minna Wagner (1908), Otto We-endonk (1898), Eliza Wille (1894), August Röckel (1894), Hans Cor (1907)ce with his publs. (1911); family letters See W. Aliends and contemporaries (1908) Bayreuth letters (1907); letters to artists ), etc. to R. W.'s Letters in chronolo order and classified (1905). A complete ed. of the Mastner) letters (undertaken by J. Kapp and E. C. F. never went beyond 2 vols. Glasenapp (6 vols., Lopers, 1911); H. S. Cham- Monographs: Guido bler, Wagner IV. (1904 and 1922); P. Moos, W.'s Esthetics 1906; O. Walzel, R. W. in (R. W. als Asthetiker). W in seiner Zeit und nach his Time and After R. seiner Zeit), 113; Friedrich Nietzsche, writings Bayreuth (1876): also Nietzsche's on W. Bibliography: N. Oesterlein, Catalogue of a agner (in Eng.): F. Library, 4 vols. 1882-95. R. W. and the Music of the Future (London, 1891); F. Studies in the Was London, 1874): H. E. Krehbiel. Dramadon, 1892); H. T. Praeger, W. as . as I knew him Finck, W. and his Works (2 vols. New York, 1893); Hon. Mrs. Burrell, R. W.'s Life and Works, 1813-34 (London, 1898); G. B. Shaw, The Perfect Wagnerite (London, 1898); E. Newman, A Study of W. (London, 1899); W. Ashton Ellis, Life of R. W. (London, 1902- r (Music of the Masters, E. Newman, Wagner eMaster-works London, 1904); G. D. Gribble. The of R. W. (Everett, 1913); C. A. Lidgey, Wagner (Dent, into Letters Liszt's Symph. Poems (transi. by Hueffer, London, 1881); The Music of the Future (transl. by E. Dann- reuther, London, 1873); R. IV. on Beethoven (id. 1880); On Conducting (id. 1885); H. S. Chamber- 1900); Opera and Drama lain's R. W. (London, London, 1910); My Life E. Evans, , 1911). (Lore (in Fr.): A. Jullien, R. W. (Paris, 1886); Voyage artistique à Bayreuth (2nd ed. 1901); E. Ed. Schuré, Le Drame musical (5th ed. 1903); A. Le (1897); H. Lichten- berger, R. W. poète el Poirée, R. W. (1922).-A. E. WAGNER, Siegfried. Ger. compr. b. Trieb- Son of schen, near Lucerne, 6 June, 1869. Richard Wagner; stud. at Charlottenburg and Carlsruhe for career of architect; trained finally under Engelbert Humperdinck and J. Kniese for music; 1894, assistant-condr. Bayreuth; 1896, became associate-condr. of Bayreuth 520

WALDBAUER Fests. He cultivates the folk-element, taking material for operas from Ger. myths and fairy-tales. As musician, he is an epigone of his father. In 1924, cond. in U.S.A. Symph, poem, Longing (1895); concerto for fl. and small orch. (1913); vn. concerto (1915); male orus with orch, and organ, Der Fahner Oath e Colours), 1914: operas: Der (Lazy Fellow) (Munich, 1899); Herzog Wildfang (Duke (Munich, 1901); Der KoBrother Merry) (The (Hamburg, 1901); Bruder Lusti (1905); Sternengebot (Star Offering) (Hamburg, 1908): Banadietrich (Carlsruhe, 1910); Schwarz- schwanenreich (Kingdom of the Black Swans) (Carls- ruhe, 1918); Sonnenflammen (Sun-Glow) (Darmstadt, 1918). Ready for performance: Der Heidenkönig (King of Heathens) (1915): Der Friedensengel (Angel of Peace) (1915); An allen ist Hutchen Schuld (It is all the fault of Ilutchen) (1916); Der Schmied von Marienberg (1920). Wrote his own libretti. Consult: Glasenapp, Siegfried Wagner and his Art (1911), new series, I and II, on Kingdom of Black Swans, and Sun-Glow (1914 and 1919); B. Götz, Siegfried Wagner's Banadietrich (1912); Paul Pretzsch, Siegfried Wagner's Art (1919).-A. E. WALDBAUER, Emerich. Hungarian violinist; b. Budapest, 12 April, 1892. Stud. under Jenő Hubay, R. High School for Music, Budapest. Founder and leader of Hungarian Str. Quartet (Temesváry, Kornstein, Kerpely), 1909.-B. B. WALENN, Arthur. Eng. barit. singer and teacher; b London. Stud. at R.A.M.; then singing under Santley and Henschel; début 28 Nov. 1905, Q. H.; has toured widely.-E.-H. WALENN, Herbert. Eng. cellist; b. London. Stud. at R.A.M. and R.C.M. and privately under Hugo Becker in Frankfort; appeared as solo cellist in 1902, Monday Popular Concerts; for 4 years, cellist of Kruse Quartet; founder of the Walenn Quartet; prof. at R.A.M.; dir. of London Violoncello School.-E.-H. WALES, National Council of Music for. See under N. WALKER, Edyth. Amer. operatic s. singer; b. New York, 1870. Stud. there and at Dresden; début, R. Opera House, Vienna; then Metro- politan Opera House, New York; played Kundry and Ortrud at Bayreuth; in 1912 at Munich; the title-rôle in Strauss's Elektra is one of her most notable parts. She appeared again in it at Covent Garden when it was produced.-E.-H. WALLACE sonata in Fr cello and pf. (ms.); Prelude and fugue for organ (Stainer & Bell) songs and part-songs (Acott Elkin: Boozey J. Williams Stainer & Bell Curwen); Variations on a Norwegian air, pf, (J. Williams). Books: History of Music in England (Clarendon Press, Oxford, 1907 2nd ed. 1923) Beethoven (J. Lane, 1913, Und ed. 1920) part author of Recent Developments in European Thought (Oxford Univ. Press, 1920); arts. in dictionaries, periodicals and analytical programmes.-E-11 WALL, Alfred Michael. Eng. violinist and compr. b. London, 29 Sept. 1875. Stud. at R.C.M.; member of chief London orchs.; prof. Newcastle Cons. of Music; dir. chamber-con- certs in Newcastle for 12 years. Overture, Thanet, orch. (Bournemouth Mus. Fest. 1922): Bagatelles, orch. (ms.), 1922: Two (ms.; 1923); tone-poem, Lucretius (Eastbourne Fest. 1923); vn. concerto (Newcastle Philh. 1920), ms.; str. 4tet (ms.), 1922; 4tet, pf. and str. 1921 (Stainer & Bell, a Carnegie award); trio in B Blat, pf. vn. cello (Goodwin); sonata in A, vn. and pf. (ns.), 1921; choruses, songs, etc.-E.-H. WALKER, Ernest. Eng. compr. and writer on music; b. Bombay, India, 15 July, 1870. Educated Balliol Coll. Oxford; Mus. Doc. 1898; chiefly self-taught in music; now lecturer in harmony, Univ. of Oxford, and dir. of music, Balliol Coll. His music has a singularly pure Eng. feeling, though it is mostly formed on the models of the XIX century classics. It is scholarly, sound, individual and restrained. His fine conceived and outspoken History of Music in England is a very valuable contribution to musical literature. WALLACE, William. Scottish compr. b. Greenock, 3 July, 1860. Educated at Fettes Coll. Edinburgh; exhibitioner to Edinburgh Univ. which exhibition he resigned and entered Glasgow Univ.; graduated M.D. with honours for re- search work in department of ophthalmology which at the time had been little explored; con- tinued studies in ophthalmology in Glasgow, Vienna, Paris and was on staff of eye-hospitals in Glasgow and London. For private reasons, abandoned this work and entered the R.A.M. London, where he was elected successively A.R.A.M. and F.R.A.M. From the first, a writer of orch. music. His Passing of Beatrice (1892) was the first "symphonic poem " by a British compr. It was perf. by Manns at Crystal Palace and was followed by other orchestral works. Was occa- sional condr. at New Brighton during Granville Bantock's seasons, with one programme devoted to his own works. Cond. his 5th symph. poem, Villon, at its 1st perf. by New Symphony Orch., and later at Leeds Fest. It has been given at all the important orch. concerts in the country, at Boston and New York, and by most orchs. in U.S.A. and on the Continent. Was hon. sec. of Soc. of British Comprs. and of R. Philh. Soc. During his term of office with the latter, the Soc. obtained the Royal designation. Was active on behalf of the legal position of comprs, and was a witness before the R. Commission on Copy- right. Also served on composers' sub-committee of Soc. of Authors. Has publ. works on the development of the art of music and on its psychological aspects-The Threshold of Music and The Musical Faculty (Macmillan). Transl. operas, Muguette (Missa); Le Chemineau (Leroux), Feuersnot (Strauss), Faust (Berlioz), cantatas and about 50 songs. Served in the war from August 1914, first as medical officer to British Red Cross Soc., then as lieut. R.A.M.C. 1915-16, capt. 1916-1919, entirely as specialist and inspector of ophthalmic centres, and on the War Office Board. Orch.: Concert overture (ms.); Intermezzo, str., clars, and pf. (Rogers); Hymn to Dionysus (Euripides) chorus and orch. (Novello); Ode to Nightingale (Keats), barit. solo, chorus and orch. (id.); Nep- tune's Empire, chorus and orch. (ms.); Stabat Mater, soli, 8-v. chorus and orch. (ms.). Chamber-musio (ali ms.); 5tet in A, pf. and str.; 5tet in B flat mi. horn and str.; 4tet in C mi. pf. and str.; a second one in D ma.; Fantasia in D ma. str. 4tet (Fischer); trio, C mi. pf. and str.; sonata, A mi, op. 8, vn. and pf. (J. Williams); sonata in C, op. 29, vla. and pf. (Schott); Orch. Symphony No. I, The Creation; symph. poems: I, The Passing of Beatrice (Schott); II, Anvil or Hammer (on Goethe's Kophthisches Lied); III, Sister Helen (on Rossetti); IV, To the New Century (Philh. Soc.); V, Wallace, A.D. 1305-1905; VI, Villon (Schott); suite, The Lady of the Sea (on Ibsen); suite, A Scots Fantasy; suite, Moidart; 521

WALLASCHEK overture, In Praise of Scottish Poesy; symph. prelude to Eschylus' Eumenides; The Rhapsody of Mary Magdalene; 2 suites in olden style, small orch. (Ash do pieces for solo v. and orch. Many songs (The O Hie Honour, str. and organ (Schott); 4 Jacobite; Creation Hymn; Villon's Prayer); song- cycle, Freebooter Songs; 3 songs by Blake; Spanish Improvisations, s.a.t.b. and pf. The Massacre of the Macpherson, male chorus and orch. (Publ. Cramer, Boosey, Stainer & Bell; Paterson, Bosworth, Schott, Ricordi, Enoch, Elkin, etc.)-E.-H. WALLASCHEK, Richard. Austrian writer on music; b. Brünn, 16 Nov. 1860; d. Vienna, 14. April, 1917. Doctor of law, then of arts; 1886, private lecturer in philosophy, Freiburg Univ. (Baden). In that year he turned to the aesthetics and psychology of music. 1890-5, stud. mus. coll. at British Museum, London. Private lecturer in music, Vienna Univ. 1896; and in rhetoric, 1908; also at Cons. (aesthetics). Mus. critic on Die Zeit. Aphasie für die Musikvorstell); Die Bedeutung der (1893, Z. für Physi- ologie und Psychologie); The Origin of Music (Lon- don, 1891); Natural Selection and Music (London 1892); Difference of Time and Rhythm in Music (London, 1893); How we think of Tones and Music (London, Contemporary Review, 1894); Primitive Music (London, 1893; Ger. amplified ed. Anfänge der Tonkunst, 1903); Musikalische Ergebnisse des Studiums der Ethnologie (1895, Globus); Anfänge unseres Musiksystems (1897); Urgeschichte der Saiteninstrumente (1898); Entstehung der Skala (1899); Psychologie und Pathologie der Vorstellung (Vienna, 1905); Geschichte der Wiener Hofoper (1907-8).-W. F. WALLE HANSEN, Dagmar. Norwegian pianist; b. Christiania, 24 Aug. 1871. Trained under Otto Winter-Hjelm and Agathe Grön- dahl, Christiania, and for 4 years under Lesche- tizky, Vienna. From 1893 to 1914 she was the latter's assistant; 1914, again living in Christi- ania. Numerous concerts in Scandinavia and Central Europe.-U. M. WALLEK - WALEWSKI, Bolesław. Polish compr. and condr. b. Lemberg, 1885. Pupil of Soltys and Niewiadowski in Lemberg, then of Żeleński in Cracow and later of Riemann in Leipzig. Has been condr. of the Univ. Students' Choir in Cracow, of the choral soc. Echo, and of the Opera in Cracow. For 1 year (1918) was also condr. at Warsaw Opera. Has written and publ. many excellent choral works, several songs and 3 symph. poems. In 1919, his opera Dola (Fortune), to his own libretto, was perf. in Cracow, later in Warsaw.-ZD. J. WALLGREN, Åke. Swedish barit. operatic singer; b. Resteröd (Bohuslän), 9 Nov. 1873. Stud. under Julius Günther at R. Cons. Stock- holm 1896-8; début in Gothenburg (Tonio, Pagliacci) 1898; engaged R. Opera, Stockholm, from 1900, where he is one of the most important artists. His b.-barit. is of a charming quality and great volume. Repertoire: Wotan, Wanderer, Gunther, Hans Sachs, Pogner, the Landgrave (Tannhäuser), King (Lohengrin), King Mark (Tristan), Gurnemanz, William Tell, Saint Bris, Escamillo, Ramphis (Aida), etc.-P. V. WALLNÖFER, Adolf. Austrian singer and compr. b. Vienna, 26 April, 1854. Pupil of Wald- müller, Krenn and O. Dessoff, (compn.), Roki- tansky (singing); b.-barit, concert singer at Vienna; 1880, became t. at Stadttheater, WALTHEW Olmütz; 1882, toured with Neumann's Wagner Company; settled at Stadttheater, Bremen, under Neumann; 1885, Prague; 1895, dir. of Stettin Theatre; 1896, toured in America; Russia (1896-7), etc.; long time at Nuremberg: 1906, Vienna Volksoper; now at Munich. Songs and ballads: Earl Eberstein; Overseer of Tenneberg; Schön Rothtraut; pt. pieces: choral works with orch.: Die Grenzen der Menschheit (Limits op. 25; The 522 of Humanity), op. 10; Cersal choruservice. Flower's Revenge, op. 31: op. (eoll, chorus, orch, organ, female 106, 107); opera, Eddystone (Prague, 1889).-A. E. WALTER, Bruno. Ger. condr. and operatic manager; b. Berlin, 15 Sept. 1876. Pupil at Stern's Cons. (Ehrlich, Bussler, Rob. Radeke); operatic condr. at Cologne, Hamburg, Breslau, Pressburg, Riga, Berlin (R. Opera House), Vienna (Court Opera, 1901-12); 1911, condr. of Singakademie, Vienna; 1913-22, gen. mus. dir. Cond. Ring Munich; now independent condr. and Rosenkavalier, Covent Garden, London, May 1924. Pupil and friend of Gustav Mahler. 2 symphonies; Das Siegesfest (Victory Festival) (chorus, soll, orch.); str. 4tet.; pf. 5tet; pf. trio; vn. sonata; songs.-A. E. Hermann Wolfgang, WALTERSHAUSEN, Baron. Ger. compr. b. Göttingen, 12 Oct. 1882. Pupil of M. J. Erb, Strasburg; 1900 of Ludwig Thuille, Munich, at which town W. settled; 1917, establ. Practical Seminary for Advanced Music. students, where he gave lectures on music, aesthetics, opera, etc.; 1920, representative dir. of Munich Acad. of Mus. Art; 1923, director. (Carls19); songs: song-cycles (all 1913): 3 Else Klapperzehen, 2-act mus. comedy (Dresden, 1909); Colonel Chabert, 3-act mus. tragedy (Frank- fort-o-M., 1912); Richardis, 3-act romantic opera 1915); The Rauenstein Wedding (Carls- : 8 songs with orch.; 7 songs 13 (all Drei Masken Weltgeistliche Lieder, op. 1 Verlag): Sinfonia apocalyptica, full orch. (1923). Wrote: Style in Individual Interpretation (up to now, 4 vols. on Magic Flute, Siegfried Idyll, Freischütz) (1920); Gluck's Orpheus and Eurydice (1922); monograph on Richard Strauss (1921).-A.E. WALTHEW, Richard Henry. Eng. compr. b. Islington, London, 4 Nov. 1872. Stud. R.C.M. under Sir Hubert Parry and Sir Charles Stan- ford; his cantata Pied Piper was perf. by High- bury Philh. in 1893, and repeated at Crystal The Strolling Players Palace and elsewhere. He was mus. gave his pf. concerto in 1894. dir. of Passmore Edwards Settlement 1900-4; prof. at Queen's Coll., later condr. of Univ. of London Mus. Soc.; cond. opera class at Guild- hall School of Music, 1905; in 1909, condr. His chamber- South Place Orch. Finsbury. music is amongst his best work. Orch.: Variations in B flat: 3 Night Scenes; 2 entr'actes and overture to Aladdin; overture to E flat; Caprice Friend Fritz (all ms.); pf. concerto cantatas: Impromptu, vn. and orch. e Pied Piper Ode to a Nightingale (Boosey): (Novello); The Fair Maids of February (J. Williams); John-a-Dreams (Boosey); operettas: The Enchanted chamber-music: Island; The Gardeners (Boosey); Stet, F mi. pf. and str.; 5tet, pf. vn. vla. cello and d.b. (Stainer & Bell); Stet, clar. and str.: 4tet, G pf. str.; str. I B flat; III in E flat; 6 Lyrical Picces, str. 4tet; trio in C mi. pf. vn. clar. (Boosey); trio in G, pf. vn. cello (id.); Prelude and fugue for 2 clars, and bsn.; 5 Diversions, Sonata, vn. and pf.; sonata, cello and pf.; pieces, clar. and pf. (Boosey); Idyll, f. and pf. (Stainer & Bell); cantatas (Novello); vocal duets str. trio; sonata in A flat, pf. and vn.; Serceral ruhe, from Ricarda

WALTON (Boosey; Stainer & Bell); songs and part-songs (Novello; Stainer & Bell; Curwen; Boosey; Chap- pell; ms; Laudy); pf. (Augener; hey; Anglo-Fr. Co.; Bell); The Development of Chamber Music (Boosey, 1909) E.-H WALTON, Herbert. Eng. orgt. b. Thirsk, York- shire, 1869. Stud. at R.C.M. London, under Sir Walter Parratt, Sir Hubert Parry, and Frederick Cliffe. Until 1897, private orgt. to Earl of Aber- deen, at St. Mark's Ch. Leeds; 1897, became orgt. of Glasgow Cath. where his recitals have created a new epoch in mus. appreciation in that city. Much organ music, including Rhapsodic Variations (Bayley & Ferguson).-W. S. WALTON, William Turner. Eng. compr. b. Oldham, Lancs, 29 March, 1902. Won a pro- bationership at age of 10, in Christ Ch. Cath. Ox- ford; at 16 became an undergraduate of Christ Ch.; passed first two examinations for Mus. Bac. at ages of 16 and 17; stud. under Sir Hugh Allen and E. J. Dent; but latterly has worked almost entirely by himself. His Façade to a series of poems by Edith Sitwell was perf. with the poet as reciter at Eolian Hall, 12 June, 1923. His str. 4tet was given at Salzburg International Music Fest. Aug. 1923. His present style is complex and atonal and is marked in the str. 4tet by deep seriousness. Dr. Syntar, a pedagogie overture, full orch. (1921); 4tet, pf. and str. (1918); str. 4tet, 1920-2 (Salzburg Fest. 1923; Carnegie award, 1924); Toccata, vn. and pf. (1921-2); The Passionate Shepherd, t. v. and small orch. (1920); Façade, recitation, fl. clar. saxophone, tpt. cello, percussion (1922-3) (all in ms.). His songs The Winds and Tritons are publ. by Curwen. -E.-H WEBER WARWICK-EVANS, Charles. Eng. cellist; b. Bayswater, London, 26 April, 1885. Stud. 6 years at R.C.M.; then principal cello in Beecham Opera Co.; later, leading cello in Queen's Hall Orch. a position he resigned to devote himself to rôle of cello in London Str. Quartet.-E.-II. WATSON MUSIC LIBRARY, Manchester. Pre- sented to City of Manchester, Libraries Committee in 1899 by Henry Watson, Mus D. Cantab. (1846- 1911). Originally numbering 16,700, the Library now contained some 40,000 vols, 16,000 copies of sheet music, 118,000 part-songs and anthems. The literature, 5000 vols, includes almost every standard work in Eng. and many foreign. Other sections of the Library contain complete eds. of the great masters (Denkmäler Tonkunst, and Society publications), 2000 full scores, 1000 vols. of periodicals, 800 operas, 6500 pf. works, cham- ber-music, etc. In many cases duplication is resorted to. The inst. is a lending library, with reservations in the case of rare and valuable works, and has 7000 borrowers in Manchester and district. The issues increased from 59,000 in 1911 to 168,229 in 1923. Chief librarian, L. Stanley Jast; music librarian, John F. Russell.-J. F. R. WAMBACH, Émile. Belgian compr. b. Arlon, 26 Nov. 1857; d. Antwerp, 6 May, 1924. Stud. under his father (prof. at Antwerp, School of Music), then Brussels Cons., again at Antwerp Music School; finally stud. compn. under Gevaert and Tinel. Inspector of Music Schools for Walloon provinces, 1902. Succeeded Jan Blockx as Dir. of Antwerp Cons. 1913. Operas, Quinten Matsys (Antwerp 1900), Melusina; Kinderoan of Are; cantatas, Rubens, Vader- oratorio, Moise sur le Nil; légende lyrique, Yolande; songs; pf. pleces.-E. C. WARLOCK, Peter. Pen-name of Philip Heseltine (q.v.). mel WARNER, H. Waldo. Eng. vla.-player and compr. b. Northampton, 4 Jan. 1874. Stud. at Guildhall School of Music, London, under Alfred Gibson (vn.) and Orlando Morgan (pf.). Whilst there, he wrote an opera, The Royal Vagrants, which was perf. by the opera class. A pf. trio of his gained a Cobbett Prize. After a few vn. recitals, took up vla. and joined in 1907 the London Str. Quartet, with which he toured Holland, France, Spain (2), Scandinavia (3), U.S.A. and Honolulu. Another pf. trio gained the Coolidge (Pittsfield Fest.) Prize of $1000 in 1921. Now devotes all his time to the L.S.Q. WATTS, Winter. Amer. compr. b. Cincinnati, Ohio, U.S.A., 14 March, 1886. Stud. painting and architecture in Cincinnati; singing in Florence, Italy. In mus. theory, pupil of Goetschius in New York. A tone-pageant for orch., Young Blood, won Morris Loeb Prize ($1000) 1919. Two Etchings for orch, were perf. at Stadium Concerts, New York, under Hadley, 9 July, 1922. In- cidental music for Alice in Wonderland, produced at Little Theatre, New York, April 1920. Dramatic ballads and songs with orchestra. About 50 songs (Schirmer; Ditson), best-known being a cycle, Vignettes of Italy: Wings of Night; Like Music on the Water.-O. K. in 4tet Orch. suite, 3 Elfin Dances (Chappell); Phantasy (Cary); str. 4tet in C mi. (Ricordi); Folk-song Phan- tasy, str. 4tet (id.); fairy-suite, The Piry Ring, str. 4tet (id.); trio, pf., vn. and cello (Coolidge Prize) (id.); Elégie and Scherzo, Lullaby, Serenade, Intermezzo, vn. and pf. (Ashdown); and pf. (Novello); numerous songs and part-songs (Ricordi; Novello; Boosey; Schmidt (U.S.A.), etc.).-E.-H. WEATHERILL, Nellie G. Australian compr. b. Geelong, Victoria, 11 May, 1878. Numerous songs and pf. pieces (some publ. Paling & Co. Sydney); pt. teaching pieces (Allan & Co. Melbourne).-E.-H. WEBB, Dorothea. Eng. singer; b. Hammer- smith, 6 July, 1886. Stud. R.A.M. under Theo Lierhammer and Stewart Macpherson; prof. of singing, R.C.M. from Jan. 1921; elected Fellow of R.A.M. 1922; many song-recitals; also sings unace. songs. A very musicianly and interesting interpreter.-E.-H. WEBER, Carl. Pianist; b. in St. James's Palace, London, 10 Dec. 1860. Stud. under Leschetizky; has played and taught in London from 1884. Dir. of Hampstead Cons. from 1904; condr. of orch. there. Now a dir. of Incorp. London Acad. of Music. Cantata, Rival Queens (W. Rogers): A Practical WEBER, Ludwig. Ger. compr. b. Nuremberg, 13 Oct. 1891. Principally self-taught, receiving valuable advice from Courvoisier and Abendroth; one of most talented of modern composers. Symphony, B ml.; Hymn to Night (chorus with orch.); 2 str. 4tets; 5tet for wind instrs; 12 female choruses, some unacc.; pf. and organ pieces; songs with various accs. New arr. of national songs; 1-act opera, Midas.-A. E. 523

WEBERN WEBERN, Anton von. Austrian compr. b. Vienna, Dec. 3, 1883. Disciple of Guido Adler; took his degree as Ph.D. (musicology), Vienna Univ. at the same time as Carl Horwitz. The first disciple of Schönberg, in whose immediate neighbourhood at Mödling near Vienna he now devotes himself to compn., after having been for a few years condr. of various theatres. From the end of his apprenticeship dates his Op. 1- Passacaglia for large orch., perf. 1921 at Bochum and 1922 at Düsseldorf Fest. Peculiarity of melody and harmony, strictness of form, and profound knowledge are already characteristics of this first work. Op. 2 is a mixed unacc. chorus (Entflicht auf leichten Kähnen). It is followed by songs, some (op. 8 and op. 13) with orch. acc.; others, op. 14-16, for v. 2 clar. vn. and cello. Op. 16 is 5 Geistliche Lieder for s. Also fl. clar. tpt. harp and double- bass, 4 Stücke for vn. and pf. op. 7; 5 Stücke for cello and pf. op. 11; 2 str. 4tets, op. 5 and 9; and 5 Stücke for orch. op. 10. The name Stücke für (Pieces for ..) is characteristic of Webern's style. His ideas are very short, sometimes a few bars only; but with all their seemingly reckless shaping of harmony and form, they give, when heard, a strong impression. He is the compr. of the pianissimo espressivo. His infinitely delicate instrumentation makes his music glide by, as if by magic-the very shadow of a tune. Of present-day Viennese comprs. Webern is the one endowed with the strongest and noblest gifts. Of his works op. 1-3 and 5-7 are publ. (Univ. Ed.). Consult Stein's art. in Chesterian No. 26; also Paul Stefan's Neue Musik und Wien (Tal).-P. ST. WECKERLIN, Jean Baptiste. Fr. compr. and musicologist; b. Alsace, 9 Nov. 1821; d. Geb- weiler, 10 March, 1910. At first a chemist; then. pupil of Paris Cons. under Halévy; prof. of singing and librarian of Cons. in 1876; also archivist of Soc. of Music Composers. Dramatic works: L'Organiste dans l'embarras, dialect: Die dreifache Hochzeit, 1867; D'r te ver Fontenoy, 1877. Some in Alsatian Herbst, 1868. Symph. works; Les Poèmes de la. (1860); L'Inde; Symphonie de la Forêt. Coll. of folk- songs (Echos du 3 Echos d'Angle- terre (1877), Rondes populaires: Les Poètes français mis en musique; Chansons populaires des provinces de France (in collab. with Champfleury); La Chanson populaire (1886); Musical Curiositics (Musiciana, 3 vols.); Histoire des Instruments.-A. C. WEEKES & CO. Ltd. Publishers, founded in London, Sept. 1869, by Amos T. Weekes who served an apprenticeship with Cramer, Beale & Wood; in 1870, joined by Frederick Watt as partner, who took over the publishing. Two sons were admitted later, Robert Weekes in 1900, Eric Watt 1905. Specialises in educational works, church-music, modern pf. music, ballads.-E.-H. WEGELIUS, Martin. Finnish compr. teacher; b. 1846; d. 1906. As organiser of the Hel singfors Music Inst. (Conservatoire), of which until his death he was dir., W. developed an activity of the highest importance for mus. life of Finland. Stud. for many years in Vienna and Leipzig; already in the 'seventies he was well known in Helsingfors as a versatile and highly WEIGL cultured musician. The foundation of the Music Inst., which was his real life's work, took place in 1882. W. publ. many serviceable educational and historical textbooks on music. Comp. cantatas (Runeberg Cantata, 1878), and some highly artistic choral works and songs. Many contemporary comprs. and musicians in Fin- land were his pupils among them Sibelius, Järnefelt, Melartin, Kuula and others.-T. II. WEHRLI, Werner. Swiss compr. condr. & Aarau in 1892. Stud. at Cons. of Zurich and Frankfort under C. Kemptner, Fr. Hegar and Ivan Knorr; won Mozart Prize with his str. 4tet at Leipzig; cond. Cäcilienverein (Oratorio Con- certs) at Aarau. One of most talented Swiss comprs. of younger generation. His works are very poetically conceived and skilfully written. Das heisse Eisen (H. Sachs), comie opera; vn. Chil- bizite, fantasy for orch.; 2 str. 4tets; vla. and fl.; numerous songs (Leipzig, Hug).-F. H. WEIDIG, Adolf. Amer. compr. b. Hamburg, 28 Nov. 1867. Stud. at Cons. in Hamburg under Bargheer (vn.) and Riemann (theory). Won a Mozart Stipend in Frankfort, 1888, with str. 4tet. Stud. until 1891 at Munich Acad. under Abel (vn.) and Rheinberger (compn.). 1892, settled in Chicago; 1892-6, member of Chicago Orch.; 1892-1901, played 2nd vn. in Spiering Quartet. 1898, assistant-dir. of Amer. Cons. of Music, Chicago. Cond. concerts (including own works) Chicago and Minneapolis; also (1908-9) Ham- burg, Berlin, Munich and Frankfort. Besides works listed below, has comp. 2 symphonies, a symph. poem Semiramis, a symph. suite, 3 overtures, a str. 5tet, 3 4tets. 1897); Quartellino, , str. 4tet, op. 11 (Sendes, orch. Capriccio, orch. op. 13 (id. 1913); 3 op. 38 (id. 1910); concert overture, op. 65 (Summy, (id. 1899); trio, Serenade, str. 4tet, op. 1 pf. vn. via. op. 9 (Augener, 1902; Schott, 1911); p. 22 (Schott, 1902); Italian Suite, vn. and pf. op. Suite, vn. and pf. op. 40 (Summy, 1914): A Little unto the Suite, pt. op. 60 (Schirmer, 1921). songs (Summy; Ditson).-O. K. Lord, motet, mixed vs. op. 120my, 1900); Ger.-Czechoslovak compr. WEIGL, Bruno. and author; b. Brünn, 16 June, 1881. Mandragola (3-act mus. farce); compns. for organ; Psalm CXLIV, male chorus and organ; Serenade for orch.; songs for orch.; Handbook of Cello Litera- ture.-E. S. WEIGL, Karl. Austrian compr. b. Vienna, 6 Feb. 1881. Stud. under Zemlinsky. 1899- 1902, pupil of the Cons. (Door, Fuchs). Prize and silver medal of Music Society. Mus. Doc. 1903. From 1904 to 1906, repetitor of the soloists in Opera House, assistant of Gustav Mahler, with whom he worked till M.'s death. 1910, Beethoven Prize of Music Soc. for str. 4tet (A ma.). Since 1918, teacher at New Cons.; 1922, prize of Philadelphia Mendelssohn Choir for unace. church chorus. He prefers linear cpt. and large dimensions. Despite a certain dryness in harmonic development, he is one of best known of younger comprs. of Vienna. Symph. phantasy; 2 atfeier.es (E ma, and cycles of orch. D mi.); symph. cantata, songs; '3 str. 4tets 11 with vla. d'amour), C mi., E ma., A ma.; str. 6tet (D mi.); many songs; duets; vocal 4tets; Stelldichein for v. and str. 6tet. Some mixed es and some for unace. female vs.; pf. pieces: choruses Geschichten (Pictures and Tales) (also in an Bilder 524

WEIS Serenade for str. orch.; vn. concerto, G ma. op. 52: cello concerto, A mi. op. 60; overture, dus ernster Zeit, op. 56; Stet, op. 40 (2 vns. 2 obs. cello); 4 str. 4tets; pf. 6tet, op. 20; pf. 5tet, G. ma. op. 50 (with clar. vla. pf. cello); 2 vn. sonatas; Traumnacht and Sturmmythus, 8-v. mixed chorus and orch., op. 38; songs with pf. and with orch.; song-play, t. and pf. op. 63: pt. pieces; operas: Sakuntala (Welmar, 1884); Malavika (Munich, 1886); Genesius (Berlin, 1892); Orestes, a musico-dramatic trilogy after Eschylus (I, Agamemnon; II, Das Totenopfer; play and opera, Die Erinnyen, Leipzig, 1902); Spring Fairy- Darmstadt, 1914): music to Faust (Weimar, 1908; new arr. Chemnitz, 1917); to Shakespeare's Tempest (op. 65); comic opera, Dame Cobold (Darmstadt, 1916, own text); Meister Andrea, op. 66, and Terakoya (The Village School), op. 64 (both Vienna, 1920). (Publ. mostly by Breitkopf.) 1908, he publ. a poem, Golgatha (drama in 2 parts). Works on music include: The Doctrine of Renascence and the Music Drama 1876-96 (1896, 2nd ed. 1901): The Sym- (1895); On Conducting (1895, 4th ed. 1913); WEINBERGER Death); Nachtphantasien; 28 Variations on an 8-bar theme.-P. P. WEINBERGER, Jaromir. Czech composer; b. Prague, 1896. Pupil of Jaroslav Křička and Karel Hofmeister; since 1922, prof. of compn. at Cons, at Ithaca, U.S.A. After a promising start, devoted himself more to immediate effect than to inner musical content. Don panto- nime, Abduction of Ereline (1917); pf. sonata (M. Ur- bánek); Colloque sentimental, pt. (Univ. Ed.).-V. ST. WEINER, Leo. Hungarian compr. b. Buda- pest, 16 April, 1885. Stud. compn. under Hans Koessler at R. High School for Music, Budapest. His Serenade for small orch., written when 21 (publ. Bote & Bock) was awarded Budapest Lipótvárosi Kaszinó prize. Through this work, his name became known in Hungary and other European countries. His second string quartet (Budapest, Bárd & Sons), won the Coolidge Prize in 1922. Since 1907, teacher of harmony and compn. R. High School for Music, Budapest. Op. 4. 1st str. 4tet (Berlin, Bote & Bock); op. 5, Fasching, overture for small c Nocturne and Scherzo for pt. (id (d.); op. 7, Prelude, for pf. and vn. (Rózsavölgyi); op. 11, 2nd sonata for (id.); op. 9, 1st sonata pf. and vn. (Bárd & Sons). Consult: Della Musica in Ungheria (Il Pianoforte. Musical Record, Feb. The relopment of Art-Music in Hungary, 1922): Jan. 1922).-B. B. WEINGARTEN, Paul. Austrian pianist; b. Brünn, 20 April, 1886. Stud. theory at Vienna Acad. under Fuchs, pf. under Sauer. Nicolas Rubinstein Prize. Ph.D. Vienna Univ. Gained (musicology). Since 1921, pf. prof. at Vienna Music Acad. Extensive concert-tours in Germany, France, Spain and Holland, performing modern pf. music, (especially Debussy, Ravel, de Falla). -P. ST. phony since Beethoren (1897, 2nd ed. 1901); Sugges- tions for Performances of Beethoven's Symphonies (1906, Eng. 1908); a similar work for Schubert and Schumann (1918): Musical Walpurgis-Night (1907); Akkorde, ed. of Berection of essays, 1912. W. ed. complete works; also Méhul's Joseph with recitatives (1909), and ed. Weber's Oberon. Consult: Emil Krause, W. as Creative Artist (1904); P. Raabe, IV. as Creative Artist (Musik, Jan. 1908); J. L. Lusstig, F. W. (1908); Felix Günther, F. e. W. (1918). W. began the publ. of his recollections (Lebenserinnerungen) in Neues Wiener Journal, 1919; publ. book-form 1923.-A. E. WEINMANN, Carl. Ger. musicologist; b. Vohenstrauss (Oberpfalz), 22 Dec, 1873. Stud. music at Cath. School at Regensburg (Ratisbon). where he attended High School and the School of Church Music (Haberl, Haller); choirmaster (Magister Choralis) at Theological College, Inns- bruck. After completion of Univ. studies at Innsbruck and Berlin, ordained priest, 1899; graduated under Peter Wagner at Freiburg, Switzerland, Ph.D.; went to Collegiate Ch. Regensburg, as condr. and teacher of history of music and aesthetics at School of Church Music. 1908, dean of Cath.; 1909, dir. of the Bishop's (late Proske's) Library at Regensburg. 1910 succeeded Haberl as dir. of School of Church Music; 1918, Th.D. and professor. Hymnarium Parisiense (dissertation, 1905); A Small History of Church Music (1906, 2nd ed. 1913). transl. into Ital. (1908), Eng. (Bewerunge, 1910); Pollsh (Chybinski, 1911), Fr. (Landormy, 1912), and Hungarian (Hackl, 1914); monographs on Leonhard, Paminger all in coll. Church 1907), and Karl Proske (1908), (Regensburg, by Pustet), ed. by W.; Stille Nacht, Heilige Nacht (history of hymn, on its centenary), 1918, 1920; WEINGARTNER, Felix. German condr. and compr. b. Zara (Dalmatia), 2 June, 1863. Brought up in Graz (compn. pupil of A. W. Remy); 1881, went to Leipzig (student of philosophy); soon devoted himself entirely to music; pupil of Cons. until 1883. Then went to Weimar under Liszt; subsequently Kapell- meister in Königsberg (1884), Dantzig (1885-7), Hamburg (1887-9), Court Kapellmeister Mann- heim (1889-91); 1891, Kapellmeister R. Opera and condr. of Symphony Concerts, Berlin; resigned post at Opera, though remaining condr. of Symphony Concerts, and settled in Munich as condr. of Kaim Concerts. 1908, succeeded Mahler as condr. of Vienna Opera, resigning in March, 1911, retaining conduc- torship of the concerts. 1912, became 1st Kapellmeister, Stadttheater, Hamburg; signed early in 1914 and went to Darmstadt as Court Kapellmeister (gen. mus. dir.). 1919-20, dir. of Vienna Volksoper. 1891, married Marie Juillerat; 1903, second marriage with Baroness Feodora von Dreifus; 1912, married the m.-sopr. Lucile Marcel (d. Vienna, 25 June, 1921); 1922, married the actress Kalisch. As compr. W. is eclectic. re- ed. Trent and Church Music (Breitkopf, 1919) of Year-book of Church Music, 1908-11, when it ceased; from 1911 Musica Sacra; ed. new eds. (Pustet, after Editio Vaticana) of Roman Gradual (1909); Kyrie (1911): Office for the Dead (1912); Graduale Pareum (1913); Roman Vespers with Psalms (1914).-A. E. WEIS, Karel. Czech compr. b. Prague, 13 Feb. 1862. Stud. at Organ School and under Zdenko Fibich. At first teacher and condr., but devoted almost exclusively to compn. since 1888. His operatic work is marked by a keen sense of dramatic situation and external effects, but his music is entirely eclectic. Since 1904 he has turned to operetta. Symphonator; a popular scene, Prástky, chorus sonata; str. 4tet; symph. poem, The and orch. some folk-song collections, Blatácké. Operas: Viola (rev. as The Twins, 1892); The Polish Jew (1901), which also had a great success abroad; The Storm at the Mill (1912). Operetta, The Revisor (1907). Publ.: F. A. Urbánek; Brockhaus; Simrock.-V. ST. Symph. poems: King Lear: The Abode of the Blessed; 4 symphonies (I, G; II, E flat; III, E; IV, F); 525

WEISMANN WEISMANN, Julius. Ger. pianist and compr. b. Freiburg (Breisgau), 26 Dec. 1879. Pupil of E. H. Seyffart (1888-91); 1891-2 of Rhein- berger and Bussmeyer, Munich; 1893-6 of H. Dimmler, Freiburg; 1898-9 of Herzogen- berg, Berlin; 1899-1902 of Thuille, Munich. Now at Freiburg as compr. He is a very sensitive, romantic miniaturist. Symphony, B mi. (op. 19); 3 orch. fantasies, op. 57; vn. concerto, D. mi. op. 36; pf. concerto; Variations and fugue on an old Ave Maria for pf. and vn., op. 37; cello and pf. sonata; str. 4tet, F ma. op. 14: pf. trios, D mi. op 27 and op. 77: vn. sonatas, F ma. op. 28, and F sharp mi. op. 47; sonata for vn. alone, D mi. op. 30; Variations, ob. and pf. op. 39; songs (op. 67 with trio ace); short c works Reapers' op. 10: 4 Grare, op. 11; Fingerhütchen (Little female cantata, Macht hoch die Tür (Open the Gate cred 8. mixed chorus, orch. op. 34; male choruses, op. 31; female choruses, op. 65; pf. pieces, op. 17, 21 (Variations and fugue), 25 (Passacaglia), 27, 32, 35 (Dance-fantasy, also for orch.), 48; Variations for 2 pfs. A ma. op. 64.-A. E. WEISSMANN, Adolf. Critic and musicologist; b. Rosenberg (Upper Silesia), 15 Aug. 1873. Ph.D.; 1914, prof.; trained in Berlin; also stud. Breslau, Innsbruck, Florence, Berne; now residing in Berlin; music critic for Berliner Tageblatt, 1900; for Roland von Berlin, 1904-10; since then, for Montags-Zeitung, B.Z. am Mittag and Vossische Zeitung. His Music in the World Crisis is a fine survey of the art. Berlin as a Musical City, 1740-1911 (1911); G. Bizet (1907, in R. Strauss's coll. Music); Chopin (Berlin, 1912, 3rd ed. 1919); The Virtuoso (1918); Die Primadonna (1919); Der Klingende Garten (Impressions on the Erotic in Music) (1920); Giacomo WENDEL not only the dramatic pieces. Here is tragic accent, but also ascetic renunciation of outer means, with a new classical effect. The ballets, deriving from the Russ, comprs., con- tain dance-forms, later also transcendental prevailing expression. The latest works show a expressionism, a turning away from Roman- ticism, with a baroque tendency, and a more objective approach to the subject. Dr. Wellesz is the Chairman of the Committee for the Austrian articles in this Dictionary. in the World Crisis (Stuttgart, 1922; Eng. J. M. Dent & Sons, 1924); Verdi (1922, Deutsche Verlags-Anstalt).-A. E. Operas: Prinzessin Girnara, from Jakob Wasser- mann (1918-19; perf. 1921, Alkestis, from Hugo v. Homankfort and Hanover); (1922), Ballets Diana (1914); Persian Ballet (1920); Achilles at Scyros (1921). Orch.: Girls praying to the Virgin Mary (with Chamber-musie: 4 str. 4tets; numerous pf. pieces (1909-17): Wie ein Bild (Like a Picture) prose words from Peter Altenberg (1906); Sacred Song (1917) for str. and pf.: Aurora, song without words for colora- tura voice (1922). P. P. WELLS, Paul. Amer. pianist; b. Carthage, Mo., U.S.A., 22 July, 1888; stud. pf. at Peabody Cons. of Music, Baltimore, under Ernest Hutche- son; later in Berlin under Josef Lhévinne, appearing as soloist with Berlin Philh. Orch. From there, went to Vienna to study under Leopold Godowsky. On returning to America, toured as soloist in U.S.A. (played Liszt E flat concerto with Emil Oberhoffer at Minneapolis, and with Symphony Orch. Baltimore). In 1913, came to Toronto, joining staff of Toronto Cons. of Music. Here he has become known as an eminent teacher, besides a brilliant concert- pianist.-L. S. was asso- WELSH SONG. See HwYL; PENILLION. Canadian pianist WELSMAN, Frank S. 20 Toronto, Dec. 1873. and condr. b. Stud. pf. in native city, afterwards in Ger- many under Martin Krause, Gustav Schreck and Richard Hofmann. Later, again visited Europe for lessons under Arnold Mendels- sohn. On return to Toronto, ciated with Toronto Coll. of Music; afterwards with Toronto Cons. of Music, and toured exten- sively through Canada giving recitals. 1906, condr. of Toronto Symphony Orch., an organi- sation which he was largely instrumental in founding. Under his dir. the orch. played a prominent part in mus. life of city, until the war curtailed and finally ended its activities. In 1918, joined staff of Canadian Acad. of Music; 1922, appointed mus. dir. of that inst., which position he now holds. The Toronto Symphony Orch., while not perhaps of the standard of the great American orchs., yet must be regarded as the first real attempt to establish a professional orch. in Canada. Over 100 concerts were given in Toronto, besides many elsewhere.-L. S. WELLESZ, Egon. Austrian compr. writer on music; b. Vienna, 21 Oct. 1885. Stud. under G. Adler at Vienna Univ. (mus. science), Arnold Schönberg (cpt.) and Bruno Walter (compn.). In 1908 received degree of Mus. Doc.; in 1913 Univ. lecturer on history of music. Has publ. many scientific works, especially on the art of the baroque and rococo style (opera of XVII and XVIII century) and the old-Byzantine church music. His chief work in this little- known sphere is Problems of Oriental Church Music (1922). He lectured in London in 1922 on Modern Austrian Music. The chief virtue of Wellesz lies in his compns. His different periods and changes of style show a clear development to a new form of expression. His first songs are in the style of Reger, Mahler and especially Pfitzner. Then his harmony grows independent (diatessaron harmonies), approaching the style of Schönberg's middle period. But Wellesz soon forsakes this path entirely. In his chamber- music he attains a new mosaic-like knitting of individual themes, joined by inner continuity. In his pf. pieces (publ. before those of Schönberg) he prefers short, pregnant rhythmic forms, often resembling dance-rhythms. His lyric works were first influenced by the style of the young Fr. comprs. (followers of Debussy); then turned to an increasing concentration and religious- cosmic expression, which deepens in the WENDEL, Ernst. Ger. condr. b. Breslau, 1876. Stud. vn. in Berlin (Wirth and Joachim); theory (Succo and Bargiel); 1896, on Joachim's recommendation, joined the Thomas Orch. in Chicago; 1898 (likewise at Joachim's sugges- tion) went to Königsberg as condr. of concerts of Soc. of Music; 1909, succeeded Panzner as dir. of Philh. Soc. Bremen; 1922, gen. mus. 526

WENDLAND dir.; also dir. of Musikalische Gesellschaft, Berlin. Male-v. choruses Lied, op. 11 op. 9; Das with orch: Das Grab im Busento, WENDLAND, Waldemar. Ger. compr. b. Lieg- nitz, 10 May 1873. Stud. medicine; obliged to take up bank-work. Musically, for a long time self-taught; then (on Schuch's recommenda- tion) became a free pupil of Humperdinck; was temporary Korrepetitor and condr. at theatre. Now devotes himself entirely to compn. in Berlin. Songs; 2 pantomimes (The Two Pierrots. The Dancing Fairy); operas: The Tailor of Malta (Leipzig, 19 (The Fool). Married the 1912): tragie opera, Peter Sukoff Olga Wohlbrück.-A. E. WENDT, Theo. Condr. b. 1874. Stud. Cologne and R.A.M. London; appointed condr. of Cape Town Municipal Orch. in 1914; retired in 1924. His perfs. are marked by musicianly insight and the power of getting the maximum of effect with minimum of fuss. Has a wide catho- licity of taste-as excellent an interpreter of Brahms and the classics, as he is of the most modern compns. A compr. of much music of a lighter order which shows considerable charm, though his duties as a condr. have precluded compn. during the last few years.-W. H. B. WENSE, Hans Jürgen von der. Ger. compr. b. Ortelsburg, E. Prussia, 10 Nov. 1894. Son of an army-officer; stud. engineering; self-taught musician; is Neo-Primitive in his art; lives in Warnemünde. Comp. 5 Klavierstücke; songs from the Edda; Span. songs; Ger. songs (Novalis).-A. E. WETZLER Soc. of Arnhem; since 1904 condr. of Bach Soc. Arnhem. A symphony; choral works; ed. Bach cantatas and an old Dutch opera (De triompheerende Min); numerous songs.-W. P. WETTON, Henry Davan. Eng. orgt. and condr. Stud. under Sir Frederick Bridge; prof. of organ R.C.M. and Guildhall School of Music; assistant-orgt. Westminster Abbey, 1881-96; head of mus, dept. Battersea Polytechnic, 1909; orgt. and dir. of music. Foundling Hospital, from 1892. Mus. Doc. Dunelm. WENTZEL, Norbert. Australian compr. b. Sydney, 1891. Now teaches in Sydney. Elegy, orch.; Scherzo, small orch.; Allegro and Andante, str. 4tet; Fugue in E flat (id.); Scherzo in F (id.); Scotch Airs, vn. cello, pf.; Scotch Fan- tasia, vn. and pf.; cantata, The Ware (Tiedge-Long- fellow), chorus and orch.; sonata in C, vla. and pf.; many part-songs and songs.-E.-H. Much church and organ music; sacred cantata, The Fulfilment, soll, chorus, orch. (Curwen, 1921); Marche Triomphale in E flat (3rd prize Royal Air Force march competition) (Paxton, overture; Suite for str. orch. (ms.).-E.-11. orch. WETZ, Richard. Ger. compr. b. Gleiwitz (Silesia), 26 Feb. 1875. Stud. at Cons. Leipzig; private pupil of Alfred Apel and Richard Hof- mann; 1899, continued studies in Munich with Thuille. After 2 years as theatre-condr. retired to Leipzig. 1906, condr. of Soc. of Music, Singaka- demie, later of other societies in Erfurt; 1911-21, teacher of compn. and history of music at National Cons. of Music in Erfurt. For 2 winters guest-condr. of Mus. Soc. in Gotha. 1913, elected dir. of Riedel Soc. Leipzig; retired 1915. 1913, teacher of compn. and history of music, Weimar; 1920, prof.; 1918, dir. of Engelbrecht Madrigal Chorus. Songs; choruses (some with orch. acc.); str. 4tet, op. 43; sonatas; 3 symphonies (C ml., A, B flat); Judith (3 acts). Works (1922). Consult: E. L. Anton Bruckner, his Life and R. Querner, R. W. als L Schellenberg, R. W.; (Leipzig, Kistner); G. Arnim, Die Lieder von R. W.-A. E. WETZEL, Hermann. Condr. compr. b. Bedlin (Pomerania), 23 Sept. 1858. Solo clari- nettist of Symphony Orch. and condr. of popular Symphony Concerts at Basle, since 1905. His works, written in the style of Johann Strauss, are full of charming melodies and rhythms and finely orchestrated. (Basle, Pohl); Die Wallfahrt nach Mekka, WERTHEIM, Julius. Polish compr. pianist; b. Warsaw, 1880. Pupil of Moszkowski and Sli- wiński (pf.) and of Noskowski (theory), 1901, gold medal, Warsaw Cons. For some years, was prof. of instrumentation at Warsaw Cons. Now lives independently as compr. in Berlin. He has written 4 symphonies, many works for pf. in large forms (sonatas, variations, etc.), and a great number of songs. A considerable quantity of them were publ. in 1923 by Simrock, Berlin. -ZD. J. WESTRHEENE, P. A. van. Dutch writer on music, critic; b. Roosendaal (Guelderland), 2 Oct. 1862. Editor of Dutch mus. review Caecilia en het Muziekcollege. Stud. pf. at Arn- hem (under Gerbrands and Meyroos) and at Leyden (under Enderlé) where he also stud. classical philology. Was 5 years preceptor at Tiel (Guelderland) Grammar School; 1897, mus. critic of Nieuwe Arnhemsche Courant; cond. several choirs at Arnhem; 1919, secretary of Klokkenspel-vereeniging (soc. for development of tower-carillon playing); 1921, member of Soc. for Netherlands Mus. History. Has written a Grieg biography; a short history of Cecilia Humorous Serenade for peretta (D(Hanover, Ortel); Serenade, vn. and pf. (Leipzig, Hug); numerous songs.-F. II. WETZEL, Justus Hermann. Ger. author and compr. b. Kyritz (Brandenburg), 11 March, 1879. Stud. natural history, philosophy and history of the arts; graduated Ph.D. 1901; took up music exclusively; 1905-7, teacher at Riemann Cons. Stettin; removed to Potsdam; in Berlin since 1910. Pr. and other chamber-music; about 300 songs. of which song-cycle (57 songs in 10 books) has been publ. Publ. selected songs by J. Fr. Reichardt; wrote aesthetic and critical essays; publ. Elementary Theory of Music (Leipzig, 1911).-A. E WETZLER, Hermann Hans. Ger. compr. b. Frankfort-o-M., 8 Sept. 1870. 1885-92, pupil at Hoch's Cons. (Clara Schumann, Heermann, B. Scholz, Knorr, Humperdinck); 1892, settled in New York; 1897-1901 orgt. at Trinity Ch.; 1902, organised concerts in Carnegie Hall; 1903, started the Wetzler Symphony Concerts, which concluded with the Richard Strauss Fest. in 1904; 1905-8, condr. Stadttheater, Hamburg; 1908, dir. several concerts at Imperial Opera, Petrograd; 1908, chief condr. at Stadttheater, 527

WHITE Elberfeld; 1909-13 at the Stadttheater, Riga; 1913-15, Stadttheater. in Halle; thence to Lübeck; since 1919, Cologne Opera House. Songs (op. 1 ballad, Fairy Queen, op. 2, 3, 8); pf. pieces; concert overture; Symph. Phantasy, op. 10 (Simrock); music for Shakespeare's As You Like It (also as orch, suite in 5 parts); organ sonata of Bach rearranged for orchestra.-A. E. WHITE, Felix Harold. Eng. compr. b. Lon- don, 27 April, 1884. At 5, started learning pf. under his mother's guidance; in all other mus. respects, is self-taught. His 1st work heard in public was an overture, Shylock, produced by Sir Henry Wood at Queen's Hall Promenades, 26 Sept. 1907. Is one of most characteristic of the Eng. comprs, of the ten years, 1913-23. The Mermaid Tavern, a revel for orch. (ms. 1921); The Deserted Village, tone-poem, orch. (ms. 1923); 2 idylls, Indoor, Outdoor, small orch. (ms. 1923); To Miranda, serenade for str. orch. (ms. 1921); Astarte Syriaca, orch. tone-poem (ms.); Suite (4 movements), (ms.). Chamber-music: 4 Japanese Proverbs, study 12 cellos (ms.); Arietta, vn. vla. cello (Curwen); of E Andrew Marvell), ob. (or vn.) via. pf. (Stainer & Bell a Carnegie award, 1922); Sweet Thoughts in a Dream, vn. and pf. (Curwen); sonata, vn. and pf. (ms.); 5 pieces, vn. and pf. (ms.); sonata, cello and pf. (ms.), The Deep Dirge of the Sunset, cello and pf. (ms.). Pf. pieces (Curwen; Novello; Stainer & Bell; Keith, Prowse; Ascherberg); 40 ms. pf. pieces; 24 part-songs (6 publ. Curwen); about 250 songs (25 with orch.; 2 with vn. alone), 50 publ. (Curw ; Murdoch; Novello; Boosey; Larway; Chappell; Ricordi; Elkin; J. Church; Boston Music Co.); 4 unaco. songs (Curwen); operetta for children, The Cockle-Boat (id.); songs for children (Curwen; J. Williams; Cramer; Stainer & Bell).-E.-H. WHITE, Mary Louisa. Eng. compr. b. Shef- field, 2 Sept. 1866. Showed marked mus. talent from her earliest years; in Dec. 1885, came to London to study under John Farmer; publ. her 1st compns. in 1887 (Minuet and Scherzo in A flat); evolved the Letterless Method for teaching music to beginners; has given frequent concerts of her own works in London and Paris. Fairy opefettas: Beauty and the Beast, op. 41; The Babes in the Wood, op. 42; songa; pf. pleces; pf. duets; part-songs (mostly J. Williams).-E.-H. WHITEHEAD, Percy Algernon. Eng. compr. b. Sevenoaks, Kent, 4 Feb. 1874. Educated at Chichester Cath. under Dr. F. J. Read and Sir Hugh Allen; at R.C.M. under Dr. Charles Wood, E Dannreuther, Sir Charles Stanford; stud. pf. under Tobias Matthay; prof. of pf. R.C.M. London; teacher, Matthay Pf. School. f pf. pieces (Forsyth; Stainer & Bell); Albums of p song-albums (Cramer; Boosey); book, The Apprecia tion of Music (Sidgwick & Jackson).-E.-H. WHITTAKER Has appeared in Wagner Festspiele, Bayreuth and Munich. Particularly successful in Wagner rôles. Sang for B.N.O.C. at Covent Garden in spring 1922.-0. K. WHITHORNE, Emerson. Amer. compr. b. Cleveland, O., U.S.A., 6 Sept. 1884. Stud. pf. and harmony under Joseph Hartmann and James H. Rogers in Cleveland; Leschetizky and Fuchs in Vienna; Schnabel in Berlin, and Tchérepnin. 1906-14, teacher, compr. and writer in London. Returned to U.S.A. 1914. Since then, for a time, executive ed. of Art Publication Soc., St. Louis, Mo.; now (1923) residing in New York. Among his larger works (unpubl.) are symph. fan- tasy In the Court of Pomegranates: on. 26, perf. 2 tone-poems by New and 2 suites for orch.; 2 str. 4tets, Greek Impressions, perf. by International Composers' Guild. 19 Feb. 1922, and a quartettino, played by Kneisel Quartet, etc.; songs; pf. pieces (C. Fischer, Schirmer; Ricordi; Compra. Mus. Corp.; Metzler; Elkin).-J. M. WHITING, Arthur Battelle. Amer. pianist, compr. b. Cambridge, Mass., U.S.A., 20 June, 1861. Stud. at New England Cons. under Sher- wood (pf.) and Chadwick and Maas (theory); 1883-5, in Munich under Rheinberger, Buss- meyer, Abel. Lived in Boston until 1895; then settled in New York. 1907, began series of annual "University Concerts" at Harvard, Yale and Princeton. Since 1911 devoted himself to old music, playing harpsichord himself, often assisted by a small select ensemble using old instruments. Concert overture, op. 3, 1st perf. Boston Symphony Orch., 6 Feb. 1886; pf. concerto, D mi. op, 6, New York, 1887 (pro- duced by Van der Stucken). The Boston Orch. played his Suite for str. and 4 horns, op. 8, 14 March, 1891; Fantasy, pf. and orch. op. 11, by same orch. in Cambridge, 12 March, 1896. Member of National Inst. of Arts and Letters. Rubaiyat, op. 18 (1901); Cycle of Old be Fantasy, pf. and orch. op. 11 (1897): songs, The Melodies, 4 solo vs. with pf. (1917); many works; Pianoforte Pedal Studies, 2 vols. (1901; many pf. pieces, songs. (All publ. Schirmer.)-0. K. WHITTAKER, William Gillies. Eng. compr. and condr. b. Newcastle-on-Tyne, 23 July, 1876. Stud. privately: pf. under John Nicholson and Dr. W. Rea; organ, C. F. Bowes; singing, Miss K. E. Behnke, Sir Charles Santley, Frederic Austin; theory, Dr. G. F. Huntley. W. is condr. of choral and orch. classes at Armstrong Coll. Newcastle-on-Tyne; and condr. Choral Union; also of Newcastle Bach Choir, which has spe- cialised on modern British comprs, as well as Bach's works, and gave a 3-day Bach fest. in London, 1922. Mus. Doc. Dunelm. h.c. 1921; ed. of Oxford Choral Songs (H. Milford). W.'s pf. 528 WHITEHILL, Clarence Eugene. Amer. operatic barit. b. Marengo, Ia., U.S.A., 5 Nov. 1871. Stud. music under L. A. Phelps in Chicago; Giraudet and Sbriglia in Paris (1896). First appeared in opera at Théâtre de la Monnaie, Brussels, as Friar Lawrence in Gounod's Romeo and Juliet, Nov. 1899. Engaged at Opéra- Comique, Paris, and sang for short time in New York. Returned to Europe to study under Stockhausen. Sang at Cologne Stadttheater, 1903-8; at Metropolitan Opera, New York, 1909-11; with Chicago Opera, 1911-15; then member of Metropolitan Opera, New York. Sang at Covent Garden, 1905-9, and took Wotan in Brit. Nat. Opera Co.'s season there in 1922. WHITEHOUSE, William Edward. Eng. cellist; b. London, 20 May, 1859. Stud. under Piatti and Pezze at R.A.M.; cellist Saturday and Monday Popular concerts; the Josef Ludwig Str. Quartet; R. Philh. Soc. concerts (series at Albert Hall cond. by Wagner); toured with Joachim; in France and Italy with the London Trio (Amina Goodwin pf.; Simonetti vn.), and in Gt. Britain with Amina Goodwin and Pecskai: prof. of cello R.C.M. London; has edit. many old Italian sonatas.-E.-II.

WHOLE-TONE SCALE pieces are of an advanced harmonic order (he has specialised on contemporary Fr. music); and his orig. vocal works show the influence of what has been called "modern choralism." He is one of the most alive of choral condrs. of the present day. Among the Northumbrian Hills, pt. 5tet (Carnegie award; Stainer & Bell); pf. pieces (Rogers); choruses from the Choephora of schylus, female chorus and orch. (Curwen); unace. settings of North Country and other folk-songs, mixed vs. (Stainer & Bell); male vs. (Stainer & Bell; Curwen; Williams); female vs. (Curwen); mixed vs. (Bayley & Ferguson); (Curwen; Rogers); ed. arias and duets from Bach's cantatas, female vs. (Stainer & Bell); Tune Exercises for planista (Curwen). In ms.: Prelude to the Choephora of Eschylus, Lyke Wake orch. (Carnegie award, 1924). Book, chorus and Fugitive Notes on Church Cantatas and Motets of J. S. Bach (Oxford Univ. Press).-E.-H. WHOLE-TONE SCALE. Sometimes called TONAL SCALE. It divides the octave into 6 whole The first use of it is often wrongly as cribed to Debussy. In point of fact it is an old Chinese scale. In Europe, it was used before. Debussy's time, by the fathers of the Russ. school-Glinka, Dargomisky and others. In the latter's An Eastern Song, he secures Oriental feeling in this way: tones. Adagio. DARGOMISKY. WIKLUND works (especially 7 sympho moderne (Eng. choruses); pf. concerto; vn. concerto. Str. 4tet; pf. trio; pleces for cello and pf.; numerous organ Publ. 1901 (new ed. 1920) La Technique de J. Williams). Consult E. Rupp, C. M. W. (1912). -A. C. WIEHMAYER, Theodor. German teacher; b. Marienfeld (Westphalia), 7 Jan. 1870. 1886-9, stud. at Leipzig Cons. (Coccius, Reinecke, Jadas- sohn); 1890, visited Sweden and Norway as pianist; 1902-6, teacher at Leipzig Cons.; 1908, teacher at Cons. at Stuttgart; 1909, prof. Preludes and fugues for organ; mixed choruses; works for pf. Instructive Studies, School of Fical Rhythm and Metre. New Technique, School of Scales, Universal Studies, ed. Czerny's Virtuoso School; Tausig's Daily Studies; New and Instructive Edition of Classical Works.-A. E. WIENIAWSKI, Adam. Polish compr. b. War- saw, 1876. Pupil of Noskowski in Warsaw, Bargiel in Berlin and of Fauré in Paris. WIDOR, Charles Marie. French organist, compr. and teacher; b. Lyons, 24 Feb. 1845. Pupil of Fétis père and of Lemmens. Devoted himself early to the organ. In 1870, orgt, of St.- Sulpice, Paris; then succeeded César Franck as prof. of organ at Paris Cons. In 1896, prof. of compn. at Cons. Is permanent secretary of the Académie des Beaux-Arts. Opera, Megae (Warsaw, 1913; Petrograd, 1916; 1920); 2 symph. (Lamoureux, 1910) and Prince, Kamaralmazan Boudour; Polish Suite; 2 str. 4tets; choral works; songs and trans- criptions of popular Polish melodies.-ZD. J. Debussy made a special use of the scale and exploited its possibilities considerably in Pelléas et Mélisande; but he did not use the scale for whole pieces as Rébikof (q.v.) did in Une Fête, Les Rêves, etc. See art. on HARMONY.-E.-H. WIBERGH, Johan Olof. Swedish pianist; b. Stockholm, 29 Dec. 1890. Stud. R. Cons. Stock- holm under Lennart Lundberg, 1906-13; then in Germany, Austria (Emil Sauer, Vienna), France and Italy. Has given concerts in Sweden, Berlin, Vienna, Prague and Dresden.-P. V. WIDEEN, K. Ivar N. Swedish compr. and orgt. b. near Bello, 21 March, 1871. Stud. R. Cons. Stockholm, 1889-92 (compn. under J. Dente); 1892, orgt. in Laholm, and from 1900 at Skara Cath. From 1901, condr. of Music Soc. of Skara. Member R.A.M. Stockholm, 1921; member of committee for the New Hymnal. Songs; male choruses; anthems (54); organ preludes, etc.-P. V. WIHAN, Hanuš. Czech cellist; b. Polic, 5 June, 1855; d. Prague, 3 May 1920. Stud. at Prague Cons.; engaged in France, Italy and Germany; cellist of chamber quartet of Lud- wig II in Munich; prof. Prague Cons. 1888. Out of his class was formed the Czech Str. Quartet, which he himself joined after Berger's death in 1894, and which he dir. till 1913. The strain of the journeys compelled him to leave this quartet and resume his teaching at the Cons. and at the Master-School in his latter years.-V. Sr. WIHTOL, Joseph. Latvian compr. b. Volmar, 14/26 July, 1863. Stud. under Johansen and Rimsky-Korsakof at Petrograd Cons. 1880-5; from 1886 till Russ, revolution, prof. there; now dir, of Riga Cons. From 1897, he was critic on the daily St. Petersburger Zeitung. Many of his works are founded on Latvian folk-tunes. Symph. 1. poem, The Feast of Liho, op. 4: Dramatic Overture, orch. op. 21: Bard of Becerin, chorus and orch. op. 28; overture to Lettish fairy-tale Spriditis, op. 37; Northern Lights, solo, chorus, orch, op. 45; music to Lettish dramatic tale The King Brusuband and the Princess Hundega, op. 46; str. 4tet, G ma, op. 27; pf. sonata, B mi. op. 1; songs; choruses; har- monisations of Lettish folk-songs, etc.-V. B. WIKLUND, Adolf. Swedish compr. condr. pianist; b. Långserud, 5 June, 1879. Brother of Victor W. Stud. at R. Cons. Stockholm from 1876; then under Joh. Lindegren (compn.), in Paris, and in Berlin (1905-7); student-condr. in Carlsruhe, 1907; Repetitor at R. Opera in Berlin, 1908; from 1911, 2nd condr. at R. Opera, Stock- holm. Member R.A.M. Stockholm, 1915. Is a fine concert pianist. Concert piece, pf. and orch, (1903); concert over- symp. No. poem, Sommar (1918): symphony (1922); str. 4tet; 2 sonatas, vn. and pf.; pf. pieces (Cari Gehrman); songs (id.).-P. V. WIKLUND, Victor. Swedish condr. and pianist; b. Animskog, 1 March, 1874. Brother of Adolf W. Stud. R. Cons. Stockholm, 1891-4; then pf. under Rich. Andersson; teacher at Andersson's pf. school for many years; 1904, pf. prof. at R. Cons. Member R.A.M. Stock- holm, 1916. Well known as pf. accompanist; Stage-works: La Korrigane (ballet); Nerto (opera); Maitre Ambros (opéra-comique); Les Pécheurs de Saint-Jean (1905, lyric drama); Jeanne d'Arc (scènes mimées); Conte d'Avril and Les Jacobiles (stage- music). Orch.: symphonies with organ: Symphonie antique; Une Nuit de Valpurgis (symph. poem with 2 M 529

WILDER 1915, succeeded Neruda as condr. of choral soc. Musikföreningen, where he has given: Handel's Samson, and Alexander's Feast; Mozart's Mass in C mi. and Requiem; Bruckner's Mass: Bossi's Paradise Lost; César Franck's Béatitudes; Kiel's Christus; Elgar's King Olaf; Brahms's Requiem; Mendelssohn's Elijah; Bach's St. Matthew Passion; Verdi's Requiem; J. II. Roman's Psalm C. Verberg's Requiem; WILDER, Victor. Belgian writer on music; b. Ghent, 21 Aug. 1835; d. Paris, 8 Sept. 1892. Stud. philosophy and law, Univ. of Ghent. 1860, settled in Paris as mus. critic and song- translator. One of the most active authors of revival of mus. life in France, notably in triumph of Wagnerism and advent of young Fr. school. Adapted into Fr. much foreign vocal music, and thus brought a large part of modern Ger. music within reach of Fr. public (songs of Schubert, Schumann, Brahms and Grieg); was the first translator of works of Wagner. In this kind of work, so thankless, because neces- sarily always imperfect, he displayed remarkable ingenuity, artistic feeling and inspiration. The qualities of his translations are elegance, prosodic accuracy, and ease in singing. In con- trast to Alfred Ernst, who laid greatest stress on literal rendering of meaning and exact rhythmic conformity (resulting in strange language, difficult sing), W. turned over the original in his own mind, expressed it in his own way and was not afraid to modify the original rhythmic values to suit the Fr. language. His transl. of the Valkyrie is a real model. Except for this score, his adaptations are re- placed to-day, in practice, by those of Ernst. W. publ. a book on Mozart (Paris, 1880), and one on Beethoven (ib. 1889; Eng. transl. 1908), works in popular style.-E. C. Dutch WILHELMI, Johan Tobias Jakob. violinist and compr. b. Amsterdam, 7 April, 1885. Stud. in Amsterdam and Cologne; orch. leader in Leipzig, Riga, at Concert Soc. Stock- holm, and (from 1921) at R. Chapel in Stock- holm. A fine chamber-music player. Ballade, v. and orch. (1913; perf. Stockholm, 1919); Berceuse, vn, and pf. (1920; Elkan & Schild- knecht); yn. concerto (1921); symphony in C WILLIAMS Music in London. In 1903 Novello publ. the 1st part of his Modern School for Vn.; he was also active as an editor of vn. classics. Chief compns.: str. 4tet, op. 162; Variations on theme of Schubert for str. 4tet.-A. E. WILHELMJ, August. German violinist; b. Usingen, Nassau, 21 Sept. 1845; d. London, 22 Jan. 1908. First vn. lessons with K. Fischer in Wiesbaden; 1861-4, stud. at Leipzig Cons. under David; theory under Hauptmann, Rich- ter, and later in Wiesbaden under Raff. Appeared at concerts at the Gewandhaus, Leipzig, 1862; when his studies were completed, he started on the wandering life of the virtuoso; went to Switzerland (1865), Holland, England (1866), France, Italy (1867), Russia (1868), back to Switzerland, France, Belgium (1869), etc. In 1872 he appeared in Berlin; 1873 in Vienna; 1878-82, travelled round the world (North and South America, Australia, Asia). At the festi- vals in Bayreuth, leading 1st vn.; 1871, R. prof. Lived for some time at Biebrich-on- Rhine, where founded a School for Violinists; 1886-94, lived at Blasewitz, near Dresden; from there went as vn.-teacher to Guildhall School of 53⁰ WILKES, Josué. Argentine compr. b. Buenos Ayres in 1883. Stud. Buenos Ayres and Paris, Then settled in Buenos Ayres. Publ. several songs, and 2 orch. pieces: Los Espiritus de la Selva (suite in 3 movements) and a Fugue.-S. G. 8. WILKS, Norman. Eng. pianist; b. Birching. ton, Kent, 9 June, 1885. Stud. pf. under Michaal Hambourg and Frederic Lamond; compn. under Louis Prout and Joseph Holbrooke. A pianist of a modern order, who has given many recitals in England, Holland, Belgium and Germany. In 1913 he played in U.S.A. 5 times with Boston Symphony Orch. under Muck. W. was awarded Military Cross for valour in action.-E.-H. WILLAN, Healey. Eng. compr. and orgt. b. Balham, Surrey, in 1880. Mus.Doc. h.c. Toronto. Entered St. Saviour's Choir School, Eastbourne, 1889; stud. organ, pf., harmony, under Dr. Sang- ster. First appointment, orgt. St. Saviour's Ch. St. Albans. Successive posts: Christ Ch., Wan- stead; St. John Baptist, Kensington. In 1913, went to Toronto as head of the theory dept. of Toronto Cons. of Music, and orgt. and choir- master St. Paul's Ch. In 1914, examiner and lecturer to Univ. of Toronto; 1919, mus. dir. to Hart House Players' Club for which he has comp. incidental music for plays by Euripides, Shakespeare, Ben Jonson and others. In 1920, Vice-Principal Toronto Cons., which position he now holds. His compns. already number over a hundred. Much of his choral work is in the repertoire of the Toronto Mendelssohn Choir and the Toronto Orpheus Soc. His church music is becoming well known in U.S.A. The fine Intro- duction, Passacaglia and Fugue for organ (Schirmer) deserves special mention. An Cantata, England, my England; motets: Apostrophe to the Heavenly Host: The Dead; sonata, vn. and pf. in E; organ pieces: Prelude and fugue, B mi.; Prelude and fugue, C mi. (Schirmer; Novello). -L. S. WILLIAMS, Albert Edward. Brit. military bandmaster and compr. b. Newport, Mon. 6 March, 1864. Stud. harmony under Karl Barth- mann, bandmaster (a pupil of Spohr); later under Dr. John Naylor in York and Dr. C. W. Pearce in London. Bandmaster Grenadier Guards, 1897; mus. dir. 1906 (retired Oct. 1921); Mus. Doc. Oxon. M.V.O. 1908. The most highly trained military bandmaster of his day; one of the first military bandmasters to realise the potency of the military band in exercising a good influence on Eng. public taste. Arranged the chief modern orch. works (Beethoven's sym- phonies, Bach's fugues, Debussy) for it. marches (Ich Dien; Parade, etc.), patrols Calendar, Overtures: Heloise and Abelard (Boosey); Sancho Panza (id.); Heinrich von Meissen (id.); various and songs. A lecture on Military Band Inst. 1909-10).-E.-H. WILLIAMS, Alberto. Argentine compr. and poet; b. Buenos Ayres in 1862. Began studies in Argentina, completing them at Cons. of Paris,

WILLIAMS under Georges Mathias, Charles de Bériot fils, Guiraud, Franck, and Godard. Returned to Buenos Ayres in 1899, where he gave several pf. re- citals. In 1900, gave orch. concert of his works in Berlin. Founded the Cons. of Music of Buenos Ayres, which has had a wonderful success, and now has 92 branches throughout Argentina, all under the able dir. of this master, who has in- troduced into his native land the school of Chopin and Franck. His compns. have been placed by good critics between Schumann's and Grieg's. He has also obtained fame as a poet. Symph. works: 2 overtures, 3 suites; 3 symphonies; a March. Chamber-music: 3 sonatas, vn. and pf.; sonata, cello and pf.; sonata, fl. and pf.; trio, vn.. cello and pf. Vocal (words by compr.): 10 choruses 4 mixed 146 pt. pieces; many technical studies.-A. M. WILLIAMS, C. F. Abdy. Eng. writer on music; b. Dawlish, 16 July, 1855; d. Milford, Lyming- ton, 27 Feb. 1923. Educated Trinity Hall, Cam- bridge; stud. Leipzig Cons. while orgt. of Eng. church there; comp. music in Greek modes for Greek plays at Bradfield Coll. 1895, 1898, 1900. WILSON by his two sons, Florian and Ralph. The cata- logues to over 15,000 publications-songs, choral works, part-songs, pl. music, etc. Many text-books and much educational music.-E.-I. WILLIAMS, Vaughan. SeeVAUORAN WILLIAMS WILLIAMSON, Arthur. Australian compr. Now lives at Adelaide. Some pt. and organ pleees; mostly songs (some pabl. Breitkopf, Leipzig).-E.-II. Opera, Kate, the Cabin-Boy, ballad-opera, 2 acts, based on old tunes (1923, ms.); comic operetta for children, The Story of the Willow-Pattern Plate, 1921 Curwen). Orch.: 3 Miniatures (after Shelley), 1918 (Chester); Pot-Pourri, 1st str. 4tet (1915, ms.); a cycle of fragments (orch. WILLNER, Arthur. Ger.-Czechoslovak compr. b. Teplitz-Schönau, 5 March, 1881. Pupil of Rheinberger and Thuille. Deputy dir. of Stern's Cons. Berlin, and also teacher of composition. Symph. poems: Longing: Days in Munich; symphony, ma.; An den Tod (barit. solo, chorus, orch.); 6tet for wind instrs, and pf.; 3 str. 4teta; 3 sonatas, vn. and pf.; pf. concerto; 3 pf. sonatas; Variations for 2 pianos; Day and Night (24 fugues); 2 sonatas for 2 vns. alone; Dances and New Dances, pf.; organ voluntaries; songs.-E. 8. WILM, Nicolai von. Ger. compr. b. Riga, 4 March, 1834; d. Wiesbaden, 20 Feb. 1911. Stud. Leipzig Cons. (1851-6); 1857, 2nd condr. at Stadttheater, Riga; 1860 (on Henselt's recom- mendation), teacher of pf. and theory, Nicolai Inst. Petrograd; 1875, retired to Dresden; 1878, settled in Wiesbaden. Books: Historical Account of Degrees in Music at Oxford and Cambridge (Novello); Life of J. S. Bach (J. M. Dent & Sons, 1900); Life of Handel (id. 1900); the Organ of Notation (id. 1903): The Rhythm of Modern Music (Macmillan); The Aristoxenian Theory of Musical Rhythm (Cambridge Univ. Song (Methuen, 1924).-E.-H. Press); The Rhythm of WILLIAMS, Gerrard. Eng. compr. b. London, 10 Dec. 1888. Self-taught by means of singing in choral societies, playing in orchs, and chamber- music and studying printed music at home and at concerts; with exception of a few criticisms" from Richard Walthew in 1913. Began trying to compose about 1911, and, being in architect's profession, continued music and comp. in spare time until beginning of 1920. Since then, has made compn. his profession, and has had over 70 works publ. Numerous perfs. of orch., chamber and choral music, pf. works and songs in London, provinces and abroad. First recital of own compns. (chamber and pf. music and songs) Eolian Hall, London, 27 March, 1922. His music is mostly on intimate and chamber-music lines, with complete freedom of idiom, harmony and form, though it stands well the test of sound. Rhythmic developments attract him more than melody, pure and simple. His pf. music resembles Ravel's in texture. from pf. score) 2nd str. 4tet (1919, Curwen): 3 Miniatures, pt. pf. songs (1918, Chester); P., Pf. (1919, Novello); 3 Preludes. mg side-sl many choral works (Curwers, 1922); Paxton; Rogers; Chappell; Stainer & Bell).-E.-H. Novello; WILLIAMS, Joseph, Ltd. Publishers, London. Founded by Lucy Williams, in Fountain Court, of old Cheapside, in 1808. The activities of this British house were at first solely concerned with music-printing; Muzio Clementi was among the firm's early customers. Joseph W. (brother of Benjamin W. another well-known music- publ.) was succeeded by his son, Joseph Ben- jamin (d. 1923). The business is now controlled Str. 6tet, B. mi, op. 27; 2 vn. sonatas, op. 83, 92; str. 4tet, C mi, op. 4; cello sonata, op 111; 2 pt. and vn. suites, op. 88, 95; pf. pieces, 2 and 4 hands; Characteristic Pieces; instructive works, etc.-A. E. WILSON, Archibald Wayet. Eng. orgt. b. Pinchbeck, Lines, 9 Dec. 1869. Stud. at R.C.M. London under Sir W. Parratt, Sir F. Bridge and Algernon Ashton; organ scholar, Keblo Coll. Oxford, 1890-4; orgt. St. Asaph Cath. 1898- 1901; Ely Cath. 1901-19; then Manchester Cath. Before the Beginning of Years, ballad for chorus and orch. (Stainer & Beil): church music, part-songs (Novello, etc.) book, The Chorales: their Origin and Influence (Faith Press, 1920); The Organs and Orgts. of Ely Cath. (Tyndal, Ely, 1911).-E-I. WILSON, James Steuart. Eng. t. singer; b. Clifton, 22 July, 1889. Educated Winchester Coll. King's Coll. Cambridge. Member of The English Singers (q.v.).-E.-H. WILSON, Mortimer. Amer. compr. b. Chari- ton, Iowa, U.S.A., 6 Aug. 1876. Stud. in Chicago from 1894 to 1900. Instructor in theory, 1901-8, at Univ. of Nebraska. Then spent 3 years in Leipzig, studying part of time under Sitt and Reger; 1912-15, cond. orch. in Atlanta, Ga.; 1913-14, dir. of a Cons. in that city; 1915-16, prof. of mus. theory at Brenau Coll., Gainesville, Ga.; 1917-18, at the Malkin School, New York. Bagatelles, pf. op. 12 (1920); 1st vn. sonata, op. 14 (Boston Music Co. 1915); pf. trio, op. 15 (1920); 2nd vn. sonata, op. 16 (Boston Music Co. 1914); organ sonata, op. 17 (1920); Suite Petite, vn. and pf. op. 57 (1919); 4 songs, op. 59 (1920). (Mostly publ. by Composers' Music Corporation, New York.) In ms.: 6 symph. works for orch.; several trios and 4tets; 4 vn. sonatas, etc. Book, The Rhetoric of Music (Lincoln (Nebr.), Univ. Publ. Co. 1907).-0. K. WILSON, Philip. Eng. t. singer; b. Hove, Sussex, 29 Nov. 1886. Originally intended for the Church. Went to Australia, 1913. Prof. of singing at State Cons. Sydney, 1915-20. Re- turned to England, 1920. Gave 3 historical recitals of Eng, song at Wigmore Hall, 1921, and a recital celebrating the tercentenary of Philip Rosseter (an Elizabethan compr.) 5 May, 1923, at Steinway Hall, London. Joint-editor, with Peter 53⁰

WINDERSTEIN Warlock, of 150 English Ayres of the period 1598-1622 (publ. Enoch, Chester, Novello, Harold Reeves and Oxford Univ. Press). Has lectured on old Eng. music (with vocal illustra- tions) at all principal stations of British Broad- casting Co.-P. II. WINDERSTEIN, Hans. Ger. condr. b. Lüne- burg, 29 Oct. 1856. Stud. at Leipzig Cons. (1877-80); member of Baron v. Dervies' Orch. (under Sitt) at Nice; 1884, master at School of Music and condr. of Town Orch. Winterthur; 1887, condr. of former Lenk Orch. Nuremberg; establ. Philh. Soc. there (1890-3); 1893, cond. Kaim Orch. Munich; 1896, condr. of Winder- stein Orch. and of Philh. Concerts, Leipzig; 1910, prof.; 1917, councillor; 1898-9, dir. of Leipzig Acad. of Singing. Symph. suite (5 movements); orch. pieces; vn. solos, etc.-A. E. WINDING, August. Danish compr. pianist; b. on island of Lolland, 24 March, 1835; d. Copenhagen, 16 June, 1899. Pupil of Carl Reinecke, Dreyschoek, Anton Rée and Niels W. Gade. M.A. 1855. Real début took place in 1857 at a Musikforening Concert under Gade's dir. in Copenhagen; later also at Gewandhaus, Leipzig, under Reinecke as condr. As pianist, nited high technical attainments with an equally high general culture. Prof. at R. Cons. of Music, Copenhagen, and member of its board of governors. Also talented and productive compr. of Romantic school with impress of Danish character. Vn. sonata, C mi. op. 5; Nordisk Overture, op. 7 (Leipzig, Cranz); pf. concerto, op. 16 (Leipzig, Fritzch); concert overture, op. 14; str. 5tet, op. 23: sonata, F op. 35 to Fjeldstuen (Norwegian Mountain Station) by Bournon- ville, R. Theatre, Copenhagen; cadenzas to Beet- hoven's and Mozart's pf. concertos; 26 preludes in all keys (Copenhagen, Hansen; Leipzig, Steingräber); sacred songs to words by Grundtvig and Ingemann. -A. H. WINDISCH, Fritz. Ger. editor and_compr. b. Niederschönhausen, 20 Dec. 1897. Pupil of Hugo Venus (vn.), Richard Francke (pf. and cpt.), Hugo Riemann and Max Friedlaender (mus. science). His compns. are characterised by pure melodic line and free harmonic part- writing. Since 1921 he has been ed. of the internationally organised periodical Melos, as well as artistic manager of Melos Union for cultivation of contemporary music (Berlin). 3 pieces for str. 4tet; songs with acc. by solo is duets for str. and wood-wind instrs.); Terzette for and solo instrs, and male vs.; pf. pieces; unacc. choruses. -A. E. WINDSPERGER, Lothar. German compr. b. Ampfing, Upper Bavaria, 22 Oct, 1885. Son of orgt.; trained at Munich by J. Rheinberger and Rudolf Louis; lives at Mayence. WINTERNITZ WINGE, Per. Norwegian compr. and condr. b. Christiania, 27 Aug. 1858. Stud. pf. under Otto Winter-Hjelm and Edmund Neupert, Christiania; theory under Johan Svendsen, Christiania. Stud. in Leipzig, 1883-4; in Ber- lin, 1884-6. Condr. at Christiania Theatre, Concert overture; symphony, A mi.; symph. fantasy (Lumen Amoris, No. 1) for full orch.; pf. sonata, C sharp mi.; s .: series of 12 fantasan anta ettes, Lumen Amoris; bagatelles; Rhapsody polonaise; sonata, A ma. for vn. alone; 2 sonatas, D mi. and D. ma. for cello alone; Ode for vla. alone; and pf. pieces (sonata, D ma.); short concert suite, D mi. cello and pf.; pf. trio, B mi.; str. 4tet, G mi.; pieces for organ; vn. and organ sonata, F sharp mi.; cello and organ sonata. E ma.; songs, op. 24, 25. (Publ. Schott, Mayence.)-A. E.' 1894-9; leader of Female Students' Choral Soc. from 1912; leader of the Norwegian (male) Students' Choral Soc. 1915-18. Teacher of pf. at Lindeman's Music Cons. from 1895; singing. master at Cath. School, Christiania, since 1913. Trio, pf., vn. and cello (Christiania, 1894); music to several plays; about 60 songs; several compns. for female, male, and mixed chorus; pieces for pf.; for vn.; a well-known pf. Tutor for children. Warmuth; Norsk Musikforlag, Christiania; Wilhelm WINKELMANN, Herrmann. Austrian t. singer; b. Brunswick, 8 March, 1849; d. Vienna, 18 Jan. 1912. One of the best heroic ts. of Vienna Court Opera House. Excelled especially as a pathetic hero (Florestan, Tristan). Preserved the char- acteristic brightness of his voice till his last years. His admirers formed the Herrmann League which often disturbed the perfs. by tumultuous acclamations of their idol.-P. Sr. Russ. WINKLER, Alexander Adolphovitch. compr. and pianist; b. Charkof, 19 Feb./3 March, 1865. Finished students' course at Univ. there in 1887, having completed his pf. cour the Music School in 1886 (pf. pupil of Slatin). Then stud. pf. under Leschetizky in Vienna and theory under Navrátil. From 1890-6 prof. of pf. class at Charkof Music School. From 1896 till present day, pf. prof. at Petrograd Cons. His works follow the classical tendencies. As compr. he belongs to the older school and his works derive from the classic comprs., but frequently reveal a lyrical quality akin to the Romanticists and the national spirit. Cantatas; symphonies in B ma. and B mi.; str. 4tet; male-v. choruses; pf. pieces; songs; organ folk- pf. tutor; organ tutor; arrs, of Norwegian ordbog (Technical Dictionary of pieces, etc. Theoretical works: Musikalsk Real- Musiklære (Elementary Music Tusc. A. Elementar WINTERNITZ, Arnold. Ger. compr.; condr. b. Linz-on-Danube, 1874. 1898-1917, operatic condr, at Linz, Graz, Vienna, Hamburg, Chicago; lately devoting himself more to compn. Married the soprano, Marthe Dorda; lives at Hamburg. 532 Orch.: In Brittany, overture, op. 13; Variations on Russ. theme op. 16; Variations on Finnish theme, vn. and orch. op. 18; str. 5tet, op. 11; str. 4tets, op. 7 in C, op. 9 in D, op. 14 in B flat; pf. 4tet, op. 8; pf. trio, op. 17; vla. sonata, op. 10; cello sonata; Varia tions and fugue 2 pfs. 4 hands, etc. (Belaief).V. B. WINTER-HJELM, Otto. Norwegian compr. condr. orgt. b. Christiania, 8 Oct. 1837. Stud. music in Christiania, Leipzig and Berlin (Kullak) and wrote in latter city (1857) his 1st symphony (in B), the first Norwegian symphony (pro- duced Christiania, 1862). Condr. of Philh. Soc. Orch. Christiania 1863-5; afterwards gave orch. concerts of his own. Establ. in 1866 (together with Grieg) the first Norwegian Acad. of Music, which, however, existed only a short time. Orgt. at Trinity Ch. in Christiania from 1874, teacher of singing at Cath. School; musical critic on Aftenposten from 1886 (for over 20 years). An eminent teacher of theory and piano.

WINTZER songs Comle opera, Meister Grobian (Hamburg, 1918); melodrama, The Nightingale (from Ander Der Fluch (series; ne rhymes); melodrama, der Kröte ( e Toad's Curse) (from Gustav Meyrink); pt. pieces: dance-play, Galante Pantomime (Ham- burg, E. WINTZER, Richard. Ger. compr. and painter; b. Nauendorf, near Halle-o-S., 9 March, 1866. Stud. painting at Acad. of Art, Leipzig and Berlin; then turned to music; 1888-90, pupil of Berlin R. High School of Music. Nursery songs, op. 15; Heitere Kinderlieder, op. 23; 5 serious songs, op. 14: Storm Songs, op. 20; 6 songs and hymns, op. 26; pt. pieces (2 short pre- ludes and fugues, op. 22); 4 pf pieces, op. 24. Operas: Die Willis (1895); Marienkind (Child of Mary) (words by compr.; Halle, 1905): 3-act opera, Salas y Gomez.-A. E. WITKOWSKI when occasion demands. Local artists are in- corporated in programmes at provincial stations, and well-known London concert and operatic artists, under contract with the Co., also visit these stations. A number of musical institutions, etc., were antagonistic to broadcasting on its advent; but practically all these have now realised the new invention's capability of assist. ing rather than harming the cause of music throughout the country. The B.N.O.C. was the first organisation to throw its lot in with Broad. casting, and on 8 Jan. 1923 the opera, The Magic Flule, was transmitted from Covent Garden. This, perhaps, was the first occasion in the world on which an actual performance of an opera was broadcast from the theatre. Nearly every orchestra of repute throughout the country has broadcast, including the London Symphony, R. Philharmonic, R. Albert Hall, and symphony orchestras (municipal, etc.) at Birmingham, Bournemouth, Manchester and Glasgow. WIRELESS BROADCASTING OF MUSIC. The invention of the thermionic valve made wireless telephony possible. The two- electrode valve, invented by Dr. Fleming, was followed by the three-electrode. By means of this discovery, sound-modulations can be im- posed upon a "carrier" wave which conducts them through the ether to be picked up by any receiver which can reverse the process. The Marconi Co. experimented at Chelmsford early in 1920, giving demonstrations and concerts. In July 1920, the ship Victorian, crossing to Canada, bearing many representatives of the Empire Press Union, experimented with gramophone records; ships within 800 miles heard them. Broadcasting music as a form of public enter- tainment began in Feb. 1921, when the Writtle Station held regular Tuesday evening concerts under P. P. Eckersley. In May 1922, the Marconi Co. opened the London station 2LO with the same object; but difficulties prevented the establishment of regular concerts. The British Broadcasting Co., Ltd., officially commenced operations 11 Nov. 1922, and was incorporated under the Companies Act, 15 Dec. 1922. The objects for which the Company was formed may be seen in the Memorandum and Articles of Association. The Managing Dir. of the Co. is Mr. J. C. W. Reith. There are 8 main transmit- ting stations of the company-London, Cardiff, Bournemouth, Birmingham, Manchester, New- castle, Glasgow and Aberdeen. In 1924, 4 relay stations (i.e. those which depend to a great extent on the main stations for their programmes) were in existence; there will be 10 eventually. The musical section of the programmes is under the control of Mr. Percy Pitt (Controller of Music) and Mr. L. Stanton Jefferies (Dir. of Music), who are responsible for all the musical activities of the Co. throughout the coun- try. The musical directors at the various stations are: London, Mr. Dan Godfrey, jun.; Bourne- mouth, Mr. W. A. Featherstone; Cardiff, Mr. Warwick Braithwaite; Birmingham, Mr. Joseph Lewis; Manchester, Mr. Tom Morrison; New- castle, Mr. William A. Crosse; while the musical section of the programmes at Glasgow and Aber- deen are controlled by Mr. Herbert A. Car- ruthers (station dir.) and Miss Nancy Lee re- spectively. Each station possesses its own per- manent orchestra (15 to 24 players), augmented Being a public institution, the programmes of the Co. are necessarily democratic, but musical enthusiasts are specially catered for on certain regular evenings throughout the week at all stations (chamber-concerts, opera, etc.). A more detailed account of the organisation may be found in Broadcasting from Within by C. A. Lewis (Newnes, 1924).-L. 8. J. WITHERS, Herbert. Eng. cellist; b. London, 31 March, 1880. Stud. at R.A.M. under White- house; then under Hugo Becker at Frankfort Cons. Début, May 1897, Old St. James's Hall; first to play Becker's cello concerto in England. (Crystal Palace); was a member of Willy Hess Quartet; afterwards of Kruse Quartet; in 1908, toured Far East and India; solo cellist of Beecham orchestra.-E.-H. WITKOWSKI, G. M. (real name Martin). French composer; b. Mostaganem in 1867. Became a composer rather late in life. First a cavalry officer, passionately fond of music. After writing, by instinct, several compositions he felt the need of a sound tech- nique and, for 4 years, worked under Vincent d'Indy (1894-7). Then he settled in Lyons, where he founded a choral society and the Société des Grands Concerts, which he still directs at the present time. His first important compositions were a quintet (1898), a quartet (1902, Durand), a sonata for piano and violin (1907), and two symphonies (1901, 1911). These works, solidly constructed, are rather cold and rigi form Since the war, he has perceptibly developed. The Poème de la Maison (Rouart, 1920), a kind of vast secular oratorio (solo voices, chorus and orchestra), is a powerful work, full of deep feeling. Mon lac (1921), for pianoforte and orchestra, likewise displays qualities of the highest order. His contra- puntal style shows great boldness and occasion- ally this classicist is linked in his works to the most modern composers. As Vincent d'Indy, Witkowski's lyricism is purposely de- scriptive, and the pages where he evokes nature 533

WOHLFAHRT WOLF-FERRARI columns he attacked Brahms. In 1887 his first songs were published. In 1887 he began his Hymnus (soli, chorus and orchestra). It was finished in 1889 and first performed at Mannheim in 1891. In 1888 he left the town and removed to an old village, Perchtoldsdorf, near Vienna. There he wrote his 53 Mörike songs (44 of them composed in 3 months), finished the Eichen- dorff cycle and began the Goethe cycle of 37 songs (written between Dec. 1888 and 12 Feb, 1889). In the autumn of 1889 he commenced the Spanisches-Liederbuch (44 songs composed between 28 Oct. 1889, and 27 April, 1890), and then the Gottfried Keller songs. In these years his fame began rapidly to increase, especially in Germany. In 1895 he composed in a few months comic opera, Der Corregidor, libretto by Rosa Mayreder after Pedro de Alarcón's novel, The Three-cornered Hat. This opera had no success at the theatre, in spite of its exquisite music, partly owing to the too rich scoring, partly to the Wagnerian tastes of the public, who preferred a dramatic to a lyric style. A second opera, Manuel Venegas (libretto by Hoernes), which Wolf wrote in 1897, is unfinished, on account of a brain disease culminating in insanity. The peculiarity of Wolf's songs, which form the chief part of his works, consists in the independence of the piano-part, which, however, never overloads the voice. His rhythmical form is very remarkable. Cycles of songs to poems by Mörike, Goethe, Keller, Heyse (Spanisches-Liederbuch, Michelangelo); str. itet, D (1879-80); Italian Serenade for small ; opera, Corregidor. His mi. orch, or str. 4tet (1893-94);. by R. Batka and H. Werner in 1911. Consult biographies: E. Decsey, 4 vols. (1903-6); in 1 vol. (1919); Ernest Newman (London, 1907, Methuen; in Ger. by H. v. Hase, Leipzig, publ. as Hugo Wolf Soc. Vienna (1898-9). A list of his works is publ. by Paul Müller (Leipzig, 1907).-EG. W. A series of essays on H. Gesammelte Aufsatze über II. W. by the or death by appropriate harmonies, are not the least affecting of his scores.-II. P. WOHLFAHRT, Frank. Ger. compr. b. Bre- men, 15 April, 1894. Stud. at Vogt Cons. Hamburg, compn. under Max Löwen, pf. under Conrad Hanns. 1913 at Stern's Cons. Berlin; continued studies for a year under Wilhelm Klatte (compn.) and Bruno Eisner (pf.); comp. 2 pf. sonatas and a book of songs. 1916-7, arr. several composition evenings at Davos, Ragaz and Berne; 1919, stud. again under Ernst Kurth, Berne; 1920, returned to Berlin and completed str. 4tet in E ma. A second str. 4tet was perf. Donaueschingen, 1923. W. is also a lyrical and dramatic poet.-A. E. WOHLFART, Karl. Swedish compr. and teacher; b. Södra Vi, 19 Nov. 1874. Stud. at R. Cons. Stockholm; then compn. under J. Lindegren, E. Ellberg and W. Stenhammar; pf. under Rich. Andersson; 1901, teacher at Anders- son's pf. school; 1905-6, stud. in Berlin under Barth and Pfitzner. From 1913, dir. of his own pf. school in Stockholm. Pt. pieces; songs; Romance, vn. and pf. op. 6 (publ. Abr. Lundqvist). In ms.: Swedish thapsody, orch. (1903); pf. and orch. (1901)te, orch. (1902); concert piece, and pf. (1902); pf. sonata (1906), etc. The Technique of the Piano (Lundqvist).-P. V. overture (1904); sonata, vn. WOLANEK, Jan Paweł. Polish violinist; b. Warsaw, 1895. Pupil of his father, Rudolf (prof. of vn. Warsaw Cons.); then of Boucewicz, of Rosé in Vienna and lastly of Ševčík. He worked as vn. teacher in Cracow Cons. and Lemberg Cons. In 1920, went to N. America where, having completed his studies with Kneisel, he gives numerous concerts. Lives in New York.-ZD. J. WOLF, Bodo. Ger. compr. b. Frankfort-o-M., 19 Oct. 1888. Pupil of uncle, Julius W. (pf.) and of Hugo Reichenberger (score-playing); 1907-10, stud. under Friedrich Klose and Felix Mottl, Munich; 1911, Ph.D. (thesis on Heinrich Valentin Beck: a Forgotten Master of Music); 1920, music dir. and teacher of compn. at Saar- brücken. WOLF, Johannes. Ger. writer on music; b. Berlin, 17 April, 1869. 1888-92, stud. Germanic and mus. science (Spitta) in Berlin: 1889, prac- tical music at R. High School; 1893, graduated at Leipzig; 1902, univ. lecturer in music at Ber- lin Univ.; 1908, prof.; 1922, made hon. prof.-in- ordinary. 1907, teacher of mus. history at R. Inst. for Church Music; 1915, librarian and dir. of Music Coll. at Prussian State Library. de Pareja (I.M.G., 1901); 1901): Rudolph Ahle's New ed. of "Musica practica" of Bartolomeo Ramis Selected Songs, (D.d.T. V, Heinrich Secular Works' (D.T.O. XIV, I, and XVI, 1); Georg Rhau, New German Sacred Songs (1544) (D.d.2. XXXIV) History of Mensural Notation from 1250 to 1460, taken from theoretical and practical sources (3 parts, Breitkopf, 1905); Handbook of Leipzig, 1913; Vol. II, Science of 10, Wolf ed. (with Oskar Fleischer) the quarterly journal of I.M.G.; pro also coll, of 1919). 1899- a com- Obrecht; plete ed. of works of Jakob Dutch songs of xvI century (Soc. for North Dutch Mus. History). 1922, Musical Tables for teaching science of notation (ed. for Bückeburg Insts.).-A. E. Musical Epilogue to Shakespeare's Othello, orch. op. 4: Totenfahrt, full orch. op. 6; overture in D. orch. choral- prelude, Praise the Lord, organ, horns, tpts. and drums, op. 18; Variations, pf. and vn., op. 25; Pf. Sketches, op. 11, 3 sacred female choruses, 4-v. unace, op. 15; str. 4tet, E ma. op. 16; songs.-A. E. WOLF, Hugo. Austrian compr.; b. Windisch- gräz, 13 March, 1860; d. Vienna, 22 Feb. 1903. One of the most important of all song-composers. His musical talent developed early and was culti- vated in his home. He attended the Gymnasium at Graz, and in 1870 began a regular musical education. From 1871-3, was educated in the monastery of Benedictines of St. Paul. 1874- 1875, studied at Marburg. In 1875-7, at Vienna Conservatoire, whence he was dismissed through a quarrel with the director, Josef Hellmesberger. Then studied music and literature by himself. His chief inspiration was the performance of Tannhäuser in 1875. His most important work of this period is the overture Penthesilea (1883). In 1884-7 he was music critic of a fashionable Vienna newspaper, the Salonblatt, in whose WOLF-FERRARI, Ermanno. Italian opera compr. b. Venice, 12 Jan. 1876. Stud. at Munich under Rheinberger. From childhood he showed very remarkable mus. aptitude, attracting the attention of teachers and lovers of music. In 1902 was elected dir, of the Liceo Benedetto Mar- 534

WOLFF cello in his native city, which post he occupied until 1912. During that period he promoted in that Liceo perf. of Ital. operas of the XVIII century, and gave especial attention to the teaching of choral singing. Has comp. various operas: Cenerentola (Venice, 1900); Le donne curiose (Munich, 1903); I quattro rusteghi (Munich, 1906); Il Segreto di Susanna (Munich, 1909); I Gioielli della Madonna (Berlin, 1911); Amore medico (Dresden, 1913). Some of these operas have had a notable success; in the comic ones he has effected a successful fusion of the Ital. xvIII century type with a modern technique. Also comp. an oratorio La Sula- mite (Venice, 1899; publ. Milan, Fantuzzi); a Canticle on Dante's La Vita Nuova (Munich, 1903), and some instr. concert- and chamber- music (Rahter). Consult Luigi Torchi, W. F. in Rivista Musicale Italiana, 1903, p. 597.-D. A. WOLFF, Johannes. Dutch violinist; b. The Hague, 12 May, 1863. Stud. at Dresden and Paris (with a King's scholarship); appeared at Pasdeloup concerts, Paris; toured the Continent; frequently in England; taught for some years at the Guildhall School of Music; many decorations.-E.-H. WOLFFHEIM, Werner Joachim. Ger. music researcher; b. Berlin, 1 Aug, 1877. Stud. law at Munich and Berlin; also mus. science (Sandberger, Fleischer) till 1898; graduated at Leipzig LL.D.; barrister, 1899; from 1906, devoted entirely to study of mus. science; stud. 3 years in Berlin under Kretzschmar, J. Wolf and O. Fleischer; theory under Wilhelm Klatte. W. lives in Berlin and possesses a valuable musical library. Many studies, friends; ed. (wispecially on J. S. Bach's circle of Miscellanea Bio-bibliographica.-A. E. H. Springer and Max Schneider) WOLFRUM, Philipp. Ger. compr. and condr. b. Schwarzenbach-on-Wald (Upper Franconia), 17 Dec. 1854; d. Samaden, 8 May, 1919. Stud. at Altdorf and Munich R. School of Music (Rheinberger, Wüllner, Bärmann); 1878-84, music-master at Bamberg Training College; subsequently Univ. mus. condr. and orgt. at Heidelberg. Cond. Bach Soc., establ. by him 1885, at same time as Acad. Choral Soc., also Baden Church Choirs Fest. and Protestant Church Choral Union; 1901, Ph.D. Leipzig Univ.; 1894, Univ. condr.; 1898, prof. of mus. science; 1907, gen. mus. dir.; 1914, Geheimer Hofrat; 1910, Heidelberg Univ. bestowed on him title of Th.D. h.c. W. was the champion of Liszt and Strauss; also of Max Reger as an experimenter in concert reform. Organ works: Sonatas, B flat mi. op. 1: E ma. op. 10; F ma. op. 15; 57 organ preludes for Hymn- book of Baden; 2 books Organ Preludes on Church Melodies, op. 25, 27; chamber-music: cello sonata, op. 6; trio, op. 24 (with vla.); pf. 5tet, op. 21; str. 4tet, A ma. op 13; overture, Kriegerische WOLSTENHOLME Livonia, 8 Sept. 1880. Educated at Petrograd; stud. natural science (1899-1903) at Dorpat, Leipzig and Munich Univs.; from 1901, music at Leipzig Cons.; 1902-5, private pupil of Max Reger (theory) at Munich and Martin Krause (pf.). 1911-12, theatre condr. at Strasburg Stadt- theater; 1912-13, cond. newly establ. opera season at Kottbus Stadttheater; 1917-18 at Stockholm; now in Berlin; since 1922, critie for Die Zeit. Halle- (Klopstock); Weihnachtsmysterium (Xmas Mystery) (1899, also at Hereford Fest. 1903); songs; part-songs (op. 2, mixed chorus, op. 12, male chorus, and Protestant Church Choir, mixed chorus); pf. pieces. Wrote J. S. Bach (1906, 2 parts: Part I, 2nd ed. 1910, Breitkopf; Russ. by Braudo, 1912).-A. E. WOLFURT, Kurt von. Compr. b. Lettin, Songs (Madrigal Verlag, Berlin); choral works: Rhapsody from Faust (Munich, 1909): Ifymn of Mosea (Jena, 1913); Klagelied, mixed chorus, orch. organ; Hymne, male chorus and orch.; Orch. Adagio Ilymn to Night: Song of the Sea, orch.; songs for 4 solo vs.; a comle opera.-A. E. WOLLE, John Frederick. Amer, orgt. choral condr. b. Bethlehem, Pa., U.S.A., 4 April, 1863. Stud. organ in Philadelphia under Dr. David Wood, 1883-4; under Rheinberger in Munich, 1884-5. Orgt. of Moravian Church, Bethlehem, Pa. (1885), and also at the Packer Memorial Ch., Lehigh Univ. (1887); 1902, orgt. First Presbyterian Ch., Allentown, Pa.; 1905, head of music department at Univ. of Cali- fornia and orgt. of First Congregational Ch., Berkeley, Cal. (1907-9). Has achieved notable successes as a choral condr.; 1882, organised Choral Union, Bethlehem, Pa., devoted ex- clusively to perf. of Bach (1885-92). In 1898, his Moravian Church Choir formed nucleus of now famous Bach Choir of Bethlehem, Pa., which since 1900 has given annual Bach fests. on large scale. To W. belongs credit of 1st com- plete perf. in America of St. John Passion (5 June, 1888), B mi. Mass (27 March, 1900) and other Bach works. Received Mus. Doc. from Mo- ravian Coll. and Theological Seminary. Consult Raymond Walters, The Bethlehem Bach Choir (Houghton Mifflin, 1918, 2nd ed. 1922).-J. M. WOLLGANDT, Edgar. German violinist; b. Wiesbaden, 18 July, 1880. Stud. at Wiesbaden Cons.; then for 3 years under H. Hermann, Frankfort-o-M.; 1900, member of R. Orch. Hanover; 1903, Konzertmeister of Leipzig Gewandhaus Orch.; leader of Gewandhaus Quartet (Wollgandt, Karl Hermann, Karl Wolschke, Julius Klengel). W. is Arthur Nikisch's son-in-law.-A. E. WOLSTENHOLME, William. Eng. compr. and orgt. b. Blackburn, 24 Feb. 1865. Trained at Coll. for the Blind, Worcester, and privately; orgt. King's Weigh House Congregational Ch. London, 1902; All Saints', Norfolk Square, 1904. Has made a remarkable contribution to organ literature, his sonata in F mi. being amongst finest written for the organ. The bulk of his organ music is publ. by Lengnick. Orch.: Phantasy (Lengnick); Intermezzo (id.); Allegretto (Novello); str. 4tet (Laudy); sonatas, vn. and pf. (Lengnick); Polonaise, vn. and pf. (Novello); 6 lyrical pieces, vn. and pf. (Laudyl aces, cello or vla. and pt. (Novello); pf. pieces Rogers; Bosworth); organ works (Novello; Lengnick; Rogers; Ashdown; Stainer & Bell; Bosworth); songs (Leng- nick); 6 national folk-songs (Cary); part-songs: mixed vs. (Lengnick: Rogers); female vs. (Novello; Rogers). In ms.: works for orch.; for str. orch.; for vla. and orch.; for military band; pf. 5tet; wind Stet; str. 4tet; Intermezzo trio, 3 cellos (1922); 535

WOLZOGEN pleces for vn. and pf.; for vn. and organ; songs. -E-H. WOLZOGEN, Hans Paul, Baron of W. and Neuhaus. Ger. author; b. Potsdam, 13 Nov. 1848. 1868-71, stud. comparative philology and mythology in Berlin; resided then at Potsdam till 1877, when Wagner attracted him to Bayreuth, where he wrote Bayreuth Pages (Bay- reuther Blätter). and Nibelung Myths in Legend and Literature (1876); Thematic Guides to Music of "Nibelung Ring" (1876); Drama at Bayreuth (1876, 5th ed. 1881); Wagner's Tragedy Wagner's Siegfried (1879): Parsifal (21st ed. 1914); The Language of Wagner's Poetry (1877, 2nd ed. 1861); Richard Wagner's Tristan and Isolde (1880); What is Style? What does Wagner want ? (1881); Our Times and Our Art (1881): The Religion of Compassion (1882): Wagner's Heroes explained (2nd ed. 1886); Wagneriana (1888): R. Wagner and the Animal World: also Biography (1890, 3rd ed. 1910): of My Life (under Wagner's of Work and Mission name], publ. in North American Review, 1879); Memoirs of R. Wagner (1883, Reclam); Idealising the Theatre (1885); Great Masters of German Music (Bach, Beethoven, Mozart, Weber) (1897); Richard Wagner's Writings on State, Art and Religion from 1864 to 1881 (1902, 3rd ed. 1914); Richard Wagner on "Flying Dutchman" (1901, 2nd ed. 1914); Wagner Breviary (1904, in R. Strauss's coll. Music); Musico-dramatic R. and Richard Parallels (1906).reuth (ib. 1904); E. T. A. Hoffmann (1906); R. Wagner (1905, in Remer's Die Dichtung); R. "Mastersingers,"" Tristan and agner, Plans for the "and" Parsifal" (1907); and Church (1913); E. T. A. Hoffmann, (1922 in coll. Music); stage version of Hoffmandine (1922).-A. E. the German WOOD, Charles. Irish compr. b. Armagh, 15 June, 1866. Stud. compn. there under Dr. T. O. Marks, the orgt. of Cath.; went to R.C.M. London, 1883; stud. compn. under Sir C. V. Stanford and pf. under Franklin Taylor; took Morley Prize for compn.; appointed prof. of har- mony, R.C.M., in 1888; settled in Cambridge; assistant condr. of Cantbridge Univ. Mus. Soc. until 1894; was elected fellow of Gonville and Caius Coll. In 1897, Univ. lecturer in harmony and cpt. Took Mus. Doc. Cantab. 1894. All his music is characterised by great originality of treatment. No compr. of modern times has been so successful in the treatment of Irish folk- tunes. His book of Irish Folk-songs is deservedly popular on account of the able arr. of the melodies. The symph. variations on Patrick Sarsfield (Beecham Concerts, London, 1907) show his power of creating what may be called the Irish atmosphere in music. Some of his works show the influence of the Eng. school- his setting of Swinburne's Ode on Music (perf. opening of new building of R.C.M. London, 1894), and his Dirge for Two Veterans (Leeds Fest. 1901). LL.D. h.c. Leeds Univ. (1904). Pro- fessor of Music, Cambridge University, 1924. Ode Symph. variations, Patrick Sarsfield, orch.: to West Wind, t. solo, chorus, orch. (Novello): Milton's On Time: Swinburne's Ode, cantata; Dirge for Two Veterans, (Boosey); Song of the Tempest, solo, chorus, orch. (Hovingham, 1902); Ballad of Dundee (Leeds, to Euripides Iphigenipides Ion (Cambridge, 1890); in Tauris (ib. 1894); Irish Folk-songs (1897); str. 4tets; many part-songs and solo songs (Ethiopia saluting the Colours).-W. ST. to WOOD and Preston Choral Soc.; orgt. Blackpool Parish Ch. from 1918. Choral adjudicator; lecturer under Liverpool Univ. Extension Board. WOOD, Frederic Herbert. Eng. orgt. and compr. b. India, 10 June, 1880. Stud. in Eng- land privately; Mus. Doc. Dunelm. 1913; orgt. and condr. Blackburn, Chatburn, and Clitheroe, 536 Ballad of Semmerwater, female vs. (1910): Lacrima Musarum, double chorus and orch.; part-songs: male vs., Sacramentum Supremum (Stainer & Bell, 1920: test-plece for Leicester Mus. Fest. 1920) mixed vs., The Spirit of Spring (Novello, 1922; test-pleco for Leicester Fest. 1923); 10 orch. varia- tions on My Love's an Arbutus (ms.); vn. concerto in G (ms.), 1920; orch, suite, Simon de Montfort (ms.), 1921; organ sulte, Scenes in Kent (ms.), 1923.-E.-H. WOOD, Haydn. Eng. violinist and compr. b. Slaithwaite, Huddersfield. Stud. at R.C.M. for 6 years under Arbós; then under César Thomson in Brussels. Made his début at a child at Douglas, Isle of Man (Mendelssohn's concerto). Toured with Albani. Orch. Sulte (R.C.M. Patron's Concert); Set of Variations; Suite de Ballet; pf. concerto; String Fantasy (Cobbett Prize: Novello); numerous success- ful songs and solos.-E.-II. WOOD, Sir Henry Joseph. English orchestral and choral conductor; b. London, 3 March, 1869. Gave organ recitals at Fisheries, Inventions and other exhibitions. 1883-9; condr. Rousby Grand Opera Co. 1889; Marie Roze concert tour, 1890; Carl Rosa Opera Co. 1891; Crotty and Burns Opera Co. 1892; Lago's Ital. Opera season 1893 (Tchaikovsky's Onégin, Lohengrin, Oberon, etc.); Avenue Theatre, The Lady Slavey, 1894; Q.H. Promenade concerts from 1895; Q.H. Symphony concerts from 1897; Q.H. Choral Soc. 1897; Q.H. Sunday orch. concerts from 1897; Wagner Fest. concerts, Albert Hall, 1901; Queen's Hall Orch. Saturday Symphony concerts, Crystal Palace, 1901-2; condr. Q.H. Orch. from 1905; R. Albert Hall Sunday afternoon orch. concerts; London Philh. concerts, 1908; "Shakespeare's England " Earl's Court historical concerts, 1912; Parsifal pictures, London Coliseum, 1913. Sir Henry Wood has done more for orchestral work and for spreading the taste for orchestral music in England than any other man. He raised orchestral playing to a consistently high level, unattained before. This he secured partly by means of founding a stable and permanent orch- estra, by securing an adequate number of re- hearsals, and by really tuning his orchestra, for his ear is unusually true and unfailing. He established the precedent for sectional rehearsals (brass, wood, str.), insisted on unanimity of bowing and introduced the French style of double-bass bowing. In 1923 he took the orches- tral class at R.A.M. and kept them for a whole term on the Oberon overture, interchanging every part amongst the strings and amongst the wind-players. This thoroughness is charac- teristic of him; at Liverpool in 1922 he post- poned Bach's B mi. Mass till 1923, when it was given after about 50 rehearsals. His adoption of low Continental pitch (A=435 at 59 degrees Fahr.) in 1895 at Queen's Hall was an immense advantage. In 1912, he introduced women into the Queen's Hall Orchestra, with excellent results. Though naturally centred in London, he has spread his good influence personally as well as subjectively through the whole country. He

WOODALL founded the Nottingham City Orch. (1899); conducted the Wolverhampton Fest. Choral Soc. 1900; made provincial tours with the Queen's Hall Orch. 1904-5; conducted the Birm- ingham Symphony concerts, 1907; Sheffield Mus Fests. 1902-5-8-11 (also lecturing on wood-wind and choral singing); Westmorland Mus. Festa (Kendal), 1904-6-8-10-12; Norwich Fests. 1908-11; Cardiff Orch. Concerts, 1911-12-13; Gentlemen's Concerts, Manchester, 1910-11-12; Birmingham Fest. 1912; Brand Lane Concerts, Manchester, from 1912; Birmingham Fest. Choral Soc. 1919; Sheffield Amateur Mus. Soc. 1920; Leicester Philh. Soc. 1922; Hull Philh. Soc. 1923. Internationally his importance is equally great. His co-operation with the leading con- tinental conductors (Lamoureux, Ysaye, Nikisch, Chevillard), especially in the London Mus. Fests. 1899, etc., has had lasting effects. In 1921 he shared with Nikisch and Pierné the conductor- ship of the Zurich Musical Festival. To Wood, British people owe most of their knowledge of the symphonic works of the Russian (Tchaikovsky, Scriabin, etc.), modern German (Strauss, Schönberg, etc.) and French schools (Debussy, Ravel, etc.). No less a debt do British composers owe to him; between 1895 and 1919 over 200 British works were produced, many for the first time. In the choral way, too, he has done remarkable work, and he is respon- sible for the tuition of numberless singers now before the public. He was knighted in 1911. Manchester Univ. bestowed an hon. Mus. Doc. on him, 24 May, 1924, and the R.C.M. an hon. Fellowship in April of the same year. Consult Rosa Newmarch, H. J. W. (J. Lane, 1904), and her Quarter of a Century of Promenade Concerts (Baines & Scarbrook, 1920).-E.-H. WOODALL, Doris. Eng. operatic contr. singer. Stud. at R.A.M. London; later under Frau Alken-Minor (Court singer at Schwerin), where she made her début as Nancy in Flotow's Martha; 3 years' engagement at R. Opera in Neustrelitz; joined Carl Rosa Co. in 1905; gave her first. lieder-recital 22 May, 1912, in Bechstein Hall, London; 19 years with Carl Rosa Co.; 1923, prof. of operatic art, Glasgow Atheneum.-E.-H. WOODFORDE-FINDEN, Amy. Eng. song compr. b. Valparaiso, Chile, where her father, Arthur Ward, was consul; d. London, 13 March, 1919. Stud. privately under Adolph Schoesser, Winter and Amy Horrocks. Compr. of many songs (best-known, O Flower of all the World.) Is ver successful with her atmosphere in such songs as the Indian Love Lyrics.-E.-H. WOODHOUSE, Charles. Eng. violinist; b. London, 1879. Member of London Symphony Orch.; principal first violinist Queen's Hall Orch. from 1920; formerly of R. Opera Orch. and of Saunders Quartet; member of Grimson Quartet; then Reed Quartet; Saunders Quartet; now Charles Woodhouse Quartet.-E.-H. WOTQUENNE Dec. 1877. Stud. under Dr. Swinnerton Heap there; at Dresden Cons under Tyson-Wolff (pf.), Dracseke (compn.); in Vienna under Leschetizky. Now teaches in London, where he has establ a Pianoforte School. The Artis at Plano (W. Reeves); Creative Technique (Kegan Paul, 1921)-E-IL WOODS, Francis Cunningham. Eng. compr. and condr. b. London, 29 Aug. 1862 Stud. National Training School (now R.C.M.) under Sullivan, Stainer, Bridge and Cowen. Orgt. Brasenose Coll. Oxford, 1883-6; Exeter Coll 1886-95; condr. Finsbury Choral Association, 1897-1901; music-master and orgt. Highgate School, London, from 1896. Cantatas: King Harold: A Greyport Legend; Old May Day; Incidental mude to The Tempesd; Suite in F. small orch.; anthems, etc. (mostly Novello)- E-H. WOOF, Rowsby. Eng. violinist; b. Ironbridge, Salop, 18 Jan. 1883. Stud. R.A.M. London; professor there, 1909. Va. pleces (J. Williams; Cary; Anglo-Fr. Co.): Scherzo, pf. (Cary); book, Violin-Playing (E. Arnold). -E-H. WOOLLETT, Henry. Fr. compr. and teacher; b. Le Havre, 1864. In spite of his British name, he is French. His work, abundant and facile, recommends itself by its honesty without pre- tentiousness, principally in his many songs. He is less happy in works of musicology, e.g. the too elementary Histoire de la Musique.-A. C. WORMALD, Lillie. Eng. s. singer; b. Man- chester. Stud. there under Mme. Sherrington and Mme. Fillunger; début at Hallé concert, Man- chester; 1st appearance in London 1905; for some years, a prof. at R. Manchester Coll of Music; sings at concerts and in opera (Susanna in Figaro; Woglinde in The Ring, etc.)-E.-H. WORMSER, André. Fr. compr. b. Paris, 1 Nov. 1851. Pupil, Paris Cons. (Bazin, Mar- montel); Priz de Rome, 1875. Mostly stage works: Adèle de Ponthieu, 1887; Rivoli (Paris, 1896); Le Fils Perdu (The Prodigal Son), opera without words (Paris, 1890; London; Berlin, 1903). Concert overture; orch. pieces; pf. pieces.-A. C. WOSS, Josef Venantius von. Austrian theorist and compr. b. Cattaro (Illyria), 13 June, 1863. Stud. till 1882 at Vienna Cons. under Franz Krenn. Lived 1886-9 in Weisskirchen, Moravia, teaching music; then returned to Vienna. Now mus. ed. of Univ. Ed. publ. house, and teacher. Cond. concerts of the Hietzinger Musikverein and was teacher at the Seminar der Votivkirche. Well-known as a church-compr. and author of pf. arr. of Mahler's symphonies. Publ. a fine analysis of Mahler's Lied von der Erde and many theoretical works. His secular music is very conservative. 7 masses; Requiem; motets; 2 Te Deums (orch. and chorus); Sacred Song (1910); Trostgesang (Song of Consolation), 1916; symphonies; overtures (Sakun- tala, 1901); operas: Lenzluge (The Illusions of Spring). perf. 1905, Elberfeld; Flariennes Abenteuer (perf. 1910, Breslau); chamber-music; male chorus; songs. A manual on Modulation (Univ. Ed. 1921).-P. P. WOODHOUSE, George. Eng. pianist and author; b. Cradley Heath, near Birmingham, 16 WOTQUENNE, Alfred. Belgian musicologist; b. Lobbes, Hainault, 25 Jan. 1867. Librarian of 537

WOUTERS Brussels Cons. 1894-1918. Author of remarkable works of mus. bibliography: Catalogue of the Brussels Cons., 4 vols, and supple- ment (opera libretti and Italian oratorios), publ. Brussels, 1898-1902, (Brussels, 1902, Schepens); Themaldassare (aluppi works of C. Ph. E. Bach (1905, Breitkopf); Zeno, Catalogue of Metastasio and Goldoni: index of vocal numbers con- tained in their dramatic works (1905, Breitkopf); bibliographic study on Luigi Rossi (Brussels, 1909, Coosemans).-C. V. B. WOUTERS, François Adolphe. Belgian compr. b. Brussels, 28 May, 1849. Stud. at Brussels Cons. 1861-70; pupil of A. Dupont (pf.) and Mailly (organ). Stud. compn. under Fétis. Orgt. church of Finistère; came back to the Cons, in 1871; regular prof. 1893; retired 1920. Member of commission for publ. of old Belgian mus. works. Numerous eds. of classical works under title of Repertoire of the Brussels Conservatoire (Brussels, Schott; Katto, etc.). Wrote much sacred music (some under pseudonym of Don Adolfo); also choral male-v. works; sonata, vn. and pf.-E. C. WOYRSCH, Felix. Ger. compr. b. Troppau, Silesia, 8 Oct. 1860. Educated at Dresden and Hamburg; in music self-taught. 1894, condr. of Altona Church choir; 1895, of Altona Acad. of Singing; 1895-1903, orgt. of Church of Peace; 1903, of St. John's Ch.; 1903, condr. of Symph. Concerts, Altona; 1901, prof.; 1917, member of Berlin Academy. Symph. prologue to Dante's Divina Commedia, op. 40; 2 symphonies (C mi. op. 52 [Kahnt, Leipzig); C ma. op. 60): 3 Böcklin-Phantasien, orch. op. 53; overture to Hamlet, op. 56; vn. concerto; str. 4tets: A mi. op. 55; 'C mi. op. 63; E flat ma. op. 64; pf. trio, E mí. op. 58; operas: Curé of Meudon (Hamburg, 1886); Woman's Strife (1890); Vikings' Journey (Nuremberg, 1896); ballads: Edward, barit. and orch. op. 12; Birth of Jesus, soli, chorus, orch. op. 18; Passion Oratorio, soli, orch. organ, op. 45; When Christ was on Earth, soli, chorus, orch., organ, op. 60; Sapphic Ode to Aphrodite, s., female chorus, orch.; Dance of Death, mystery, soli, chorus, orch. organ, op. 51; German Militia, soli, male chorus, orch. op. 32; The Vandal's Departure, male chorus, orch. op. 31: Ode to Death, male chorus, orch. op. 57; ballad, Beautiful Sigrid Smiles, op. 54; songs: op. 2; Persian Songs, op. 6; Spanish book of songs, op. 9; Rat-catcher's Song, op. 16; male choruses (Reaper Death, op. 4); mixed choruses (3 books, arr. of old national songs); female choruses, op. 34; 10 choral-preludes, organ, op. 59; Passacaglia on Dies Irae, organ, op. 62; pf. pieces (Theme with variations; Impromptus; Improvisation, Metamorphoses). Publ. 3 books of Schütz's Choral Works for Practical Use.-A. E. WYZEWA W. brought the 1st perf. of Rhinegold and Valkyrie to Munich; 1870, 1st R. condr.; 1875, prof.; Ph.D. Munich, h.c.; 1877, left Munich for Dresden; till 1882 was Rietz's successor as R. Court condr. and dir. at Cons.; 1884, suc- ceeded Ferdinand Hiller as head of Cons, and of Gürzenich Concerts, Cologne. Choral work, soli and orch, Henry the Fowler St. Cecilia, 3 soli and orch. op. 13; WÜLLNER, Franz. Ger. condr. and compr. b. Münster, Westphalia, 28 Jan. 1832; d. Braun- fels-on-Lahn, 7 Sept. 1902. Pupil of C. Arnold, Anton Schindler and F. Fessler; 1850-1 in Berlin with Dehn, Rungenhagen and Grell. Years of travel (1852-4) were spent at Frank- fort-o-M., Brussels, Cologne, Bremen, Hanover, Leipzig; 1854, settled at Munich; 1856, pf. teacher at Cons.; 1858, municipal mus. dir. at Aix-la-Chapelle; 1861, R. mus. dir.; 1864, cond. (with Rietz) 45th Lower-Rhine Fest.; 1864, condr. of Hofkapelle (church choir), Munich; 1867, condr. of choral classes of R. School of Music (wrote well-known Choral Exercises of Munich School of Music); 1869, succeeded H. v. Bülow as condr. of R. Opera; of Acad. Concerts, and as inspector at Cons. for practical music. masses; (1864): Fets: Miserere, double chorus, op. 26; Psalm CXXV, with orch., op. 40; Stabat Mater, double chorus, op. 45; chamber musie: vn. sonatas, D mi. op. 6, and cello, op. 39; songs; chorai ma, op. trio, D op. songs: pf. pieces.-A. E. Variations, WÜLLNER, Ludwig. Ger. barit. singer; b. Münster, Westphalia, 19 Aug. 1858. Son of Franz Wüllner; stud. Germanics at Munich, Berlin, Strasburg; graduated Ph.D.; 1884-7, Univ. teacher at Münster Acad.; stud. singing at Cologne Cons.; condr. of church choir; 1889, actor at Meiningen; 1895, toured as reciter; 1896, as singer; lately again reciter.-A. E. WURST, Richard. Compr. b. Berlin, 22 Feb. 1824; d. Berlin, 9 Oct. 1881. Stud. with Rungen- hagen at Acad., vn. with Hubert Ries, later with David, Leipzig; compn. with Mendelssohn; 1845-6 student-journeys to Leipzig, Frankfort- o-M., Brussels and Paris; then settled in Berlin; 1856, R. mus. dir.; 1874, prof.; 1877, member of Acad. of Art; for several years teacher of compn. at Kullak's Cons.; 1874-5, ed. Neue Berliner Musikzeitung (Bote & Bock). 7 operas (The Scarlet Cloak; Vineta; The Star of Turan; An Artist's Journey: Faublas; 4-ing- fo-hi; Oficers of the Empress); lyric cantata, The Water-Nymph; 3 symphonies (2nd, op. 21, príze at Cologne, 1849); overtures; orch. Serenade, op. 55: Fairy Tales, orch. op. 40: Variations, orch. op. 50; Intermezzo, orch. op. 53; str. 4tets op, 33, i-iii; vn. concerto; Concert Aria, etc.-A. E. Writer WYZEWA (Wyzewski), Téodor de. on music; b. Kalusik (Russian Poland), 1862. Came to France when 7; remained there until his death at the age of 55 (8 April, 1917). His talents as a writer, together with his wide culture, a perfect knowledge of seven languages and especially his keen and curious intellect, made of him one of the most remarkable critics of his time. In 1885, he founded (with Édouard Dujardin) La Revue Wagnérienne in which life, literature and art were considered from the point of view of the Wagnerian cult. In addition. to books for popularising music-particularly Beethoven et Wagner (Perrin, 1898), in which he draws masterly portraits of Beethoven in his decline and Schubert at his début-he devoted his life to the study of Mozart and his con- temporaries. With G. de Saint-Foix (q.v.) he published a work of great importance on Mozart (2 vols. Perrin, 1912), especially, emphasising the different influences under which Mozart came in his youth. He was also the first to call attention to the high merit of Muzio Clementi, of whom he published 20 sonatas, with a critical biography (Paris, 1916, Senart). Wyzewa was a man of letters who was also a great artist, and for this reason, he acted as an inspiration. to all those with whom he came in contact.-II. P. 538

Y YGOUW, Opol. Pseudonym of Paul Gouvy, compr. b. Paris, 1891. Of advanced tendencies. Symph. poem: 2 ballets; str. 4tet; cello sonata; sonata for 2 fl.; 2 sonatas, pf. and vn.; songs.-A. C. YON, Pietro. Ital. orgt. and compr. b. Settimo Vittone (Turin), 1886. Stud. at Ivrea, Milan, Turin; R. Liceo Mus. di Santa Cecilia, Rome, under Renzi (organ), Bustini and Sgambati (pf.), De Sanctis (compn.); then went to America; 1917, orgt. and choirmaster at church of San Francesco Saverio, New York. 1921, appointed hon. orgt. of the Cappella Giulia of St. Peter's, Rome. A capable and successful recitalist. Organ works; sacred music (Fischer; Schirmer; Ricordi).-D. A. YOUNG, (Alexander Bell) Filson. Irish compr. critic and writer; b. Ballyeaston, Ireland, 5 June, 1876. Articled pupil of Dr. Kendrick Pyne at Manchester Cath. and at R. Manchester Coll. of Music. Wrote mus. criticism for Manchester Guardian, 1898-1901; and from 1909-11 in the Saturday Review, which he edited until 1924. One of the most delightful writers on music. 5 Meredith songs; 2 Eng. songs (Forsyth); Prelude and fugue, & fat, for organ (Breitkopf); Introduction and fugue in G mi. (id.); 8-v motet, From Harmony to Harmony (id.); an orch. version of Schumann's Fugue on B.A.C.H. No. 1, with Intro- he Wagner Stories (id. 1907); More Mastersingers .Books: Mastersingers (Grant Richards, 1901); (id. 1911); Opera Stories (id. 1912).-E.-H. critical work in Melbourne, 1918-23; founded. Community Singing Movement in Australia; organised Music Week Fest. in Melbourne, 1921, 1922; Children's Concert League Choral Asso- ciation and Orch. League, Melbourne. Lectures and writes on music.-E.-II. YOVANOVITCH, Milan. See BRATZA. YSAYE, Eugène. Belgian violinist; b. Liège, 13 July, 1858. From age of 4, taught by his father (violinist and orch. condr.). Stud. Liège Cons. under Léonard; had advice from Vieux- temps and Wieniawski. 4 years in Berlin, as 1st vn. in Bilse's Orch.; then virtuoso in Paris; later, for 8 years, vn. prof. Brussels Cons.; re- signed in order to tour abroad. Took refuge in England during 1914-18 war; went to U.S.A. in 1916; condr. of Cincinnati Symph. Orch. 1917. Returned to Belgium, 1922, and resumed Con- certs Ysaye (founded 1895, replaced by chamber- music concerts in 1924). Inheritor of the great tradition, still thoroughly imbued with the romanticism of Vieuxtemps, he refines and idealises it more and more and realises, in his playing, the most perfect union of fullness of sound, immateriality, intensity and expressive gradation of feeling. His activity has likewise been considerable in chamber-music and orch. music with advanced tendencies. The str. quartet which he founded with Mathieu Crick- boom, Léon Van Hout and Joseph Jacob, and his association with Pugno for perf. of sonatas, have played a role which may be styled historic. So, too, his symphony concerts in Brussels have been hospitable to all novelties and have shown. a spirit truly liberal and full of vitality. Vn. and orch.: Poème élégiaque; Chant d'Hiver; Extase; Divertiment Eril, etc.-C. V. B. for cello and orch., Méditation; YOUNG, Alfred C. Scottish singer; b. Edin- burgh, 1870; d. there, 21 April, 1921. One of best-known singing-teachers in Scotland for over 25 years. Stud. under Sir Charles Santley and David Frangcon-Davies. His influence as a teacher is wide and lasting in the ranks of the rising generation of Northern vocalists.-W. S. sing gen YOUNG, Dalhousie. Eng. pianist, compr. b. Gurdaspur (Punjab), India, 23 Nov. 1866; d. Brighton, 13 June, 1921. Stud. pf. under Les- chetizky. His playing was marked by a won- derful tone, delicacy of thought and subtlety of rhythm. As compr. best known by his songs (Bredon Hill and other songs from A Shropshire Lad). Much of his best work is still unpubl. Orch.: Christmas Hymn; Suite (both perf. Bourne- mouth under Dan Godfrey); gesture-plays: Prince Pierrot: Pierrot on Toast (Laurence Housman): Robe Margaret Morrisced at Court Theatre, London, by to Sir by Netta Syrett (perf. St. James's Theatre, London); cantata, The Blessed Damozel, s. and t. so . soli, chorus and orch. (Novello); songs; pf. pieces.-C. L. YOUNG, Gibson. Australian organiser and writer on music; b. Bendigo, Australia, 1888. Stud. at Manchester, R.C.M. (vn. under Brod- sky, singing under Andrews, teaching under Carroll); founded Children's Concert Soc. Man- chester, 1917; Newcastle-on-Tyne C.C.S. 1918; str. orch. YSAYE, Théo. Belgian pianist, compr. b. Ver- viers, 2 March, 1865; d. Côte d'Azur, 24 March, 1918. Brother of Eugène. Stud. at Liège Cons.; in Berlin under Kullak; compn. in Paris (from 1885). Pf. prof. at Geneva Cons. in 1889; but soon resigned, and toured as soloist. Settled in Brussels where he helped to organise the Ysaye Concerts. His pf. concerto in E flat, op. 9, was given at Q.H. London, under Sir Henry Wood, with De Greef at the pf. 29 Sept. 1921. His delicate and distinguished talent easily assimilated the ideals of the Fr. school, and of musical Impressionism. It is this which gives his symph. work that fine and delicate atmo- sphere often lacking in Belgian music. Symphony; symph, poems: Les Abeilles, op. 17 (Breitkopf); La Forêt et l'Oiseau, op. 18 (id.); Le Cygne; 2 pf. concertos; Fantaisie on Walloon songs, orch.; Requiem; 5tet, pf. and str., etc.-C. V. B. 539

ZADEIKAS, V. See LITHUANIAN MUSIC. ZÁGON, Géza Vilmos. Hungarian compr. b. Budapest, 30 Oct. 1889. Fell in action 1918. -B. B. ZAGWIJN, Henri. Dutch compr. b. Nieuwer- Amstel (N. Holland), 17 July, 1878. Chiefly self-taught; founded 1918 (with Sem Dresden) Soc. of Modern Dutch Composers (now defunct); 1916, teacher (compn.) Music School at Rotter- dam, where he still lives. Der Zauberlehrling (1908), soli, chorus, orch, and organ (Breitkopf), 1st perf. Amsterdam, 9 Jan. 1914; Fantasie, (1903), perf. Amsterdam, Concertgebouw Orch., 24 April, 1904; 2 overtures, Wijdingsnacht (Invitation Night), 1918, and Opstanding (Resur- rection), 1919, perf. Amsterdam, Mengelberg (ms.); Suite for wind instrs, and pf. (1913), perf. Concert- gebouw Sextet; trio for pf. vn. and cello (1915); str. 4tet (1918); Nocturne for wind instrs., celesta and harp (1918); pf. works: Van de Daggetyden (The Hours of the Day) 1915 (Amsterdam, Nieuwe Muziek- (id)) Klankschetsen (Sketches in Sonority), 1918 Suite fantasthmique), 1921 (id.); works for Tuphon, Danse recitation and orch.: Jephtha (Joost van den Von- del), 1919; The Ballad of Reading Gaol (Oscar Wilde), 1920; numerous songs with pf. (Dutch, Ger, and Fr. words), (Amsterdam, Nieuwe Muz.; Rotterdam, Van Esso, 1907-22); also a brochure, Modern More- ments in Music (Rotterdam, Tydstroom). Con- sult Dutch reviews Caecilia (15 Feb. 1914) and De Hofstad (5 Jan. 1918).-W. P. ZAMACOIS, J. Contemporary Span. compr. of the modern school; author of symph. poem Los Ojos Verdes, which gained a prize at Gran Casino competition (San Sebastian), 1920, and was perf. by Orquesta Sinfónica, Madrid (March 1922), and Orquesta Sinfónica, Barcelona. -P. G. M. ZAMBA or Zamacueca. See SOUTH AMER. DANCES. ZAMRZLA, Rudolf. Czechoslovak composer; b. Rokycany, 1869. Pupil of Skuherský at Organ School, Prague. For a long time condr. of an orch. in Russia; from 1902 condr. National Theatre in Prague. Wedding Night (opera), Samson (opera), both perf. Prague; symphony, C mi., soli, chorus, orch. and organ; symph. poem, Bacchus.-V. ST. ZANDONAI, Riccardo. Italian composer; b. Sacco (Trentino), 28 May, 1883. Pupil of Mas- cagni at the Liceo at Pesaro; diploma in 1902. Is one of the most esteemed of contemporary Ital. comprs. First access with the opera, Il grillo del focolare (Turin, 1908); followed by Conchita, from the novel La Femme et le Pantin of Pierre Louys (Milan, 1911); Melenis, on a Roman subject (Milan, 1912); Francesca da Rimini, on Gabriele d'Annunzio's tragedy (Turin, 1914); La via della finestra, comic opera (Pesaro, 1919); Giulietta e Romeo (Rome, 1922). Has also written a Requiem for solo vs., perf. at the Pantheon in Rome, 1916; Primavera in Val di Sole, and Patria lontana, Z suites of symph. impressions; also a vn. con- Consult certo, and many songs (Ricordi). Alessandro Benedetti, R. Z., in the review, L'Italia che scrive, Rome, 1919.-D. A. On re- ZANELLA, Amilcare. Italian composer and pianist; b. Monticelli d'Ongina (Piacenza), 26 Sept. 1873. Stud. at the Parma Cons.; di- ploma, 1891. After having conducted the band in his native city, and starting his career as a pianist and orch. condr. he went to S. America, where he remained for several years. turning to Italy he continued his activity as a pianist, compr. and condr., organising, in the last-mentioned capacity, some important perf. and revivals, particularly of Rossini's works. His opera Aura was perf. with success at Pesaro in 1907. Has also written symph. music (2) symphonies, symph. poem in 4 parts entitled Vita and many other works); instr. chamber- music (trio, 4tet, 5tet, nonet, sonatas); songs; pf. music, etc. (Ricordi, Carisch, Schmidl and Pizzi). Since 1905, has been dir. of the Liceo Mus. Rossini at Pesaro, whither he went from the Cons. at Parma, which he had directed since 1903. He is a very well known pianist and composer.-D. A. ZARZUELA. Name given in Spain to mus. comedies or plays in which the dialogue alter- nates with mus. numbers. They are classified as Género Grande or Zarzuela Grande, when in 2 or more acts; Género Chico (Petit Genre) when in . act. Founding their opinion on the existence of dialogue in the original version of certain operas by Mozart and Weber, among other classics, some consider the Zarzuela Grande as the real ópera española (Spanish opera) (see CHAPI). Others, showing a stricter judgment, declare it to be the type from which the national opera could be evolved. From a practical point of view, the discussion is of no consequence, since the title Opera, as it is understood nowa- days, could hardly be given to any of the count- less zarzuelas which constitute the most char- acteristic form of mus. expression of a period (1850-80) in which the standard of mus. tech- nique in Spain was at its worst. The Zarzuela Grande is similar in scope to the Ital. operetta (opera semi-seria) or the Fr. opéra-comique, the influence of both being present in the majority of cases. The works belonging to Género Chico can be described as mus. "curtain raisers." This type, of genuine Span. creation, lends itself to the highest artistic treatment, but is used, with rare exceptions, as a pretext for professional degradation on the part of performers and authors, a national disgrace which the famous playwrights, the brothers Quintero, strove to minimise through the influence of their wit and 540

ZBOIŃSKA-RUSZKOWSKA literary art. The origin of the Género Chico may be traced to the Tonadillas, and even the Eglogas and Loas of an older period. One-act plays to finish or begin the evening programme have been always customary in Spain. In its actual form and development, the Género Chico is the direct outcome of a box-office device-the institution of the teatro por hora (theatre by the hour) so much in vogue for the last 30 years. This system consists of making an evening pro- gramme of 4 different 1-act plays, allowing the public to book for 1, 2 or more, independent of their order in the programme, the theatre being cleared or the tickets revised after each piece. Nothing has proved so profitable to impresarios, authors and comprs., and so detri- mental to the cause of art and the education of the public taste. The use of the word zarzuela as title of a play with music, originated in the XVII cen- tury entertainments celebrated the Real Palacio de la Zarzuela, near Madrid, for the amusement of Philip IV's Court, at which the Eglogas, Loas, Tonadas, Bailetes and the Come- dias Armónicas of the period were performed. These Royal entertainments became famous and known as Fiestas de la Zarzuela, a contracted form of Fiestas del Palacio de la Zarzuela. The Palace was situated in La Zarzuela, a place near Madrid, so called from the abundance of bramble (Span. zarza) in its vicinity, from which the Royal Palace took its name. In 1629, Calderón de la Barca wrote El Jardín Falerina, Fiesta de Zarzuela, with music by José Peyró. The Span. lyric theatre can claim an ancestry still older in the poet-musician Juan del Encina (xv) century).-P. G. M. ZBOIŃSKA-RUSZKOWSKA, Helena. Polish soprano singer; b. Lemberg, 1878. From 1900-3, sang at Lemberg Opera; 1904-6 at Warsaw; then Vienna, Madrid, Buenos Ayres, Palermo. In 1913, sang Aida 12 times at La Scala, Milan, during the Verdi fests. In 1916-18 she sang at Prague (Národní Divadlo), and since 1919 she has sung at Warsaw State Opera.- ZD. J. ZEISLER, Fanny Bloomfield. Amer. pianist; b. Bielitz, Austria, 16 July, 1863. Went to Chicago in early childhood, where she stud. pf. under Ziehn and Wolfsohn; 1878-83, pupil of Lesche- tizky in Vienna; 1883-93, many Amer. concerts, and after that, Germany (1893-5), Germany, Austria, France (1902), Germany, England, France (1912). One of the most successful Amer. pianists.-O. K. ZEITLIN, Lef Moiseievitch. Russ. violinist; b. 14 March (n.s.), 1881. Pupil of L. Auer, Petro- grad Cons. (1901). From then till 1910, orch. player in Colonne Orch. Paris, and member of Zeitlin Str. Quartet. In 1910, leading vn. of Zimin Opera House, Moscow; then of Kusse- vitsky's orch.; prof. of music school of Moscow Philh. Soc. and now of Moscow Cons, and chair- man of Conductor-less Orch. Moscow, from 1922. -V. B. ZENGER ZELEŃSKI, Wladyslaw (phon. Jelenski). Polish composer; b. Grodkowice, Galicia, 6 July, 1837; d. Cracow, 23 Jan. 1921. From 1883-1921, was director of Cracow Conserva- toire. In all his works Zeleński remained a follower of the classical and Romantic masters. He continued composing literally till the last day of his life. Several hours before his death he finished a vigorous march for Polish soldiers. Operas: Konrad Wallenrod (after Mickiewicz); Goplana (1896) Landter Stowacki 1900; Stara Bain Balladyna; Janek (libretto (libretto after Kraszewski by Alex. Bandrowski). 2 symphonies; concerto for pf. and orch. op. 60; several orch, overtures and symph. compns.; many chamber-works (including 2 sonatas for pf. op. 6 and 20); 2 vn. sonatas, on. 30 and 67 trio, op. 20; 2 4teta (op. 28 and 42). His 80 songs are among the best Pollsh songs of the XIX century.-ZD. J. ZELINKA, Jan. Czechoslovak compr. b. Prague, 1893. Overture to a Renaissance comedy, orch.; pf. 4tet; 1-act opera, Dceruška hostinského (The Feuilletons); songs; choruses.-V. ST. Daughter); vn. sonata; pf. cycles (Burkeeper's ZEMLINSKY, Alexander von. Austrian compr. b. Vienna, 4 Oct. 1872. Stud. at Vienna Cons. He the representative compr. for that synthesis of Wagnerian and Brahmsian elements which is felt in so many of the Viennese school, even in the earlier works of Schönberg. Started as condr. at Volksoper, Vienna, where he inaugurated a brilli- ant epoch; 1908, at Vienna Hofoper; 1909, Mannheim; then again at Vienna Volksoper. Now chief condr. Prague Opera. 3 symphonies (3rd, Lyric, 1st perf. Prague 6 June 1924); a symph. poem Die Seejungfrau; chamber- music (his 2nd str. quartet in 1 movement shows great qualities). opera, Sarema (perf. Munich, 1897), took Luitpold Prize; the 2nd, Es war einmal, had great suc- cess in Vienna, 1900; Kleider machen Leute, 1910; The Dwarf (libretto after Oscar Wilde), 1921; then The Birthday of the Infanta (Cologne). Brother-in-law of A. Schönberg and teacher of E. W. Korngold.-EG. W. His first ZENATELLO, Giovanni. Ital. tenor, one of the most esteemed lyric and dramatic singers. of the present day; b. Verona, 22 Feb. 1876. Début at the Mercadante, Naples, in Cavalleria Rusticana. He has sung in the principal Euro- pean and Amer. opera houses. His repertoire extends from Cavalleria Rusticana, Andrea Chénier, Carmen to Lucia. Created tenor rôles in Figlia di Jorio (Franchetti), Siberia (Giordano), Madama Butterfly (Puccini), Gloria (Cilea).-D. A. ZENGER, Max. Ger. compr. b. Munich, 2 Feb. 1837; d. 16 Nov. 1911. Self-taught musician; 1860, condr. at Regensburg (Ratis- bon); 1869, condr. R. Opera House, Munich; 1872, Court mus. condr. at Carlsruhe; 1878-85, condr. of Oratorio Soc. of Singakademie; teacher at Königliche Musikschule. Wrote History of the Munich Opera, 1923 (Theodor Kroyer). Oratorio Cain (Byron, 1867); Festival March, orch. ; over 100 songs; part-songs; duet-sonata for pf.; 2 str. and pf.; Konzertstücke, sonata for horn (or cello) vns. clars. cello and orch.; Konzertstücke, harps, vns. horns and small orch.; Festival Overture; Old Greek Song-plays (solo and chorus); operas: The Foscari (Munich, 1863); 541

ZEPLER Ruy Blas (Mannholm, 1868); Wieland the Smith (Munich, 1880; rev. Munich, 1894); Eros and Psyche (Munich, 1901); music to both parts of . Goethe's Faust; ballet-music: Venus and Adonis; Les Plaisirs de l'Ile Enchantée (both comp. 1881, for Ludwig II); an idyll, The Girl of the Forest, soll, female chorus and pt. (op. 11); 2 symphonies (Tragic); overture, op. 42.-A. E. ZEPLER, Bogumil. Ger. compr. b. Breslau, 6 May, 1858; d. Krummhübel, 17 Aug. 1918. First a doctor of medecine; then stud. music under Heinrich Urban in Berlin. Vienna, 1905); Comic operas: The Marriage-Market at Hira (Berlin, 1892); The Count of Letorières (Hamburg, 1899); Monsieur Bonaparte (Leipzig, 1911); dramatic 1-act play, Night (Berne, 1900); operettas: Diogenes (Berlin, 1902); The Baths of Lucca (Berlin, 1905); The Fortress of Love (Berlín, 1905); The Shoe pinches the Prince (Prince Blondel, me 2 ballet-suites, orch.; songs.-A. E. ZETTERQVIST, Lars J. Swedish violinist; b. Tveta (Värmland), 25 March, 1860. Stud. R. Cons. Stockholm 1875-8 (under Fr. Book) then under Léonard (Paris) and Sivori 1878-80. Attached to the R. Chapel 1882; leader there, 1886-1914, and then in Concert Soc. from 1915. Teacher at R. Cons. Stockholm from 1903, prof. 1914. Condr. of many military bands 1885-1911. Member R.A.M. Stockholm, 1892.-P. V. ZICH, Otakar. Czech compr. b. Králové Městec, 1879. First grammar-school master; then Univ. teacher of aesthetics, Prague; now Univ. prof. at Brno. Much occupied with collection of national songs, their analysis and publication (Chodské písně). His opera Vina (The Crime), based on the realistic text of Jaroslav Hilbert, taken from modern life with- out any alteration, excited much attention. First perf. National Theatre, Prague, 1922. Wrote numerous criticisms and aesthetic treatises on musical appreciation (The Apperception of Music, in Czech). Polka jede (Polka Drives); Osudná svatba (The Faleful Wedding), both chorus and orch.; songs (words by Jan Neruda) and opera Malířský nápad (A Painter's Downfall).-V. ST. ZIEHRER, Carl Michael. Austrian compr. b. Vienna, 2 May, 1843; d. there 14 Nov. 1922. Formerly condr. of military band; then dir. of Court Ball music. Famous for his Viennese waltzes. Continued and finished the line of Vienna dance-comprs.: Strauss (father and son) and Lanner. About 1880, toured with his own orch. in Russia, England, America. Died in indigent circumstances. Operettas: Wiener Blut; Der Landstreicher (1900); Der Schatzmeister; Fesche Geister; Die drei Wünsche; Das dumme Herz (1914); and 17 others. 600 waltzes, polkas and marches.-P. P. ZILCHER, Hermann. Ger. compr. b. Frank- fort-o-M., 18 Aug. 1881. Son of Paul Zilcher; pupil of father (pf.) and at Hoch's Cons. Frank- fort-o-M. (Kwast, Scholz and Knorr); 1901, won Mozart Prize for compn.; went to Berlin; took concert-parties to America, Spain and Scandinavia (with Petschnikof, v. Vecsey, etc.); 1905, teacher at Hoch's Cons.; 1908, prof., first pf., then compn., at Munich Acad. of Music. 1920, Dir. of Cons. of Music, Würzburg. As compr., he takes a half Brahms and half Neo-Romantic and Impressionist direction. Songs, chiefly in cycles: Dehmel set, s. and t. op. 25; Hölderlin set, t. and orch.; 4 War Songs, ZIMMER op. 30; Gesang zu zweien in der Nacht, op, 31; Serenade and Morning Song, barit, and orch.; Dance 8. vn. and pf.; 15 short songs; a German Polk-Song Play, solo 4tet and pf. op. 32; Song of Solomon, contr. barit. str. 4tet and pf. op. 38; Hymnus for v. and pf. op 17: To My Land, prelude, orch. and choir ad lib. op. pf. pleces; vn. sonata, op. 16; pf. 5tet, op. 42; Symphonietta, op. 1; suite, orch. op. 4; 2 symphonies (A, op. 17; F ml. op. 23); concerto for 2 vns, op. vn. concerto, op. 11; uitamentation, vns, and German 48; orch. 15; collo concerto, op. 21; orch. op. 22; pf. concerto op. 20; Night and Morning, 2 pfs. orch. and drums, op. 24; choral work, Rein- hart, 27, a large choral work in 3 parts (Strasburg, 1913); a dream-play, Fitzebutze (Dehmel, pantomime with songs, op. 19, Mannheim, 1903); incidental music, Shakespeare's As You Like It and The Winter's Tale, Doctor Iron-Beard, op. 45 op. 39: mus. comedy, Hans Oppenheim, H. Z. (Mannheim, 1922). (Munich, 1921).-A. E. ZILCHER, Paul. Ger. compr. b. Frankfort- o-M., 9 July, 1855. Son of Carl Zilcher; pupil of J. Schoch and J. C. Hauff. Founder of the Parlow-Zilcher School of Pf. at Offenbach-o-M. Wrote easy pf. pieces and chamber-music for teaching.-A. E. ŽILEVIČIUS, Juozas. Lithuanian compr. and condr. b. Žemaitia in 1891. Stud. under Kykus- kas and Sasnauskas, at same time acting as orgt. to Prince Oginski at Plunge. In 1911, stud. under Lipowski at Warsaw Mus. Inst., and pri- vately under Surzynski. 1914, he removed to Petrograd and in 1915 entered the Cons. there. Attended the Archæological Inst. for 2 years. In 1918, stud. at Inst. of Art History. 1919, secre- tary to faculty of pedagogic theory at Vitebsk Cons. Was dir. of mus. training and choir- instructor of Vitebsk district (Vitebsk, Minsk, Mohilev, Smolensk). Returned to Lithuania in 1920 and organised the theatre, and took active. part in creation of school of drama, opera and music. The abnormal strain brought on partial deafness. He transferred to Ministry of Educa- tion and abandoned compn. for teaching and writing. His chief works are a symphony, based on popular themes; an Elegy; and a set of varia- tions on the popular song Seriau žirgeli (I have fed my Steed). Gunde mane bernu želis (The Young Swain tempted me) is an air from K. Puida's operetta Raseiniu Magde (The Magdalen of Raseniai); Mociute ŝirdele (Mother darling ) is a trio, etc.-H. R. ZIMBALIST, Efrem. Russ. violinist; b. Rostof on the Don, Russia, 9 April, 1889. Stud. first under his father; then, 1901-7, at Petrograd Cons, under Auer. Début in Berlin, 7 Nov. 1907, with Brahms's concerto. On 9 Dec. 1907, played in London for 1st time with Landon Ronald's London Symphony Orch.; 1st heard in America with Boston Symphony Orch., 27 Oct. 1911. Married (15 June, 1914) in London the Amer. operatic and concert-soprano, Alma Gluck, at whose recitals he has frequently acted as pf. accompanist. His mus. comedy, Honeydew, was 1st perf. New Haven, Conn., 30 Aug. 1920, and met with success. Suite in the Old Form, vn. and pf. (Schott, 1911); 3 Slavic Dances, vn. and pf. (id.).-0. K. ZIMMER, Albert Jacques. Belgian violinist; b. Liège, 5 Jan. 1874. Stud. at Liège Cons.; 542

ZIMMERMANN pupil of Eugène Ysaye (1893) at Brussels Cons. Started the Zimmer Quartet in 1896, to-day one of chief str. quartets in world. It is composed of MM. Ghigo, Barsen and Gaillard, besides Zim- mer. In 1905 he started J. S. Bach Soc., which gave Bach concerts in Brussels up to outbreak of war in 1914. Prof. of vn. and chamber-music at Ghent Cons. until appointed to Brussels Cons. in succession to César Thomson.-C. V. B. *** ZIMMERMANN, Louis. Dutch violinist; b. Groningen, 19 July, 1873. Studied under Poortman, Hans Sitt and Eugène Ysaye; 1896-99, soloist at Darmstadt; 1899-1904, soloist Concertgebouw Orchestra, Amsterdam; on 6 Dec. 1902, visited London to play in 1st Eng. perf. of Strauss's Ein Heldenleben, when the compr. conducted; 1904, prof. at R.A.M. Lon- don; 1911, returned to Amsterdam; since 1911, 1st soloist Concertgebouw Orchestra. ations: vn. and orch.; str. 4tet; smaller pleces for vn. and pf.; songs.-W. P. ZINCKE, Hans Friedrich August. Real name of Hans Sommer (q.v.). ZITEH, Otakar. Czech compr. writer; b. Prague, 1892. Stud. at Cons, and Univ. both in Prague and Vienna (Novák, Adler, Graedener). Wrote articles and criticisms for periodicals (Hudební Revue; Lidové noviny); paid special attention to questions of dramaturgical tech- nique in opera (Modern Opera, in Czech, Hudební Matice); since 1921 operatic producer at National Theatre, Brno; at same time teacher at Brno Conservatoire. Operas: Vznešené srdce (The Exalted Heart), 1918; Pád Petra Králence (Fall of Peter Kralenec), 1921, Song collections: Melancholická pout (1917); Z rojny (From the War), 1918; U nás (With Us) (Hudební Matice).-V. ST. ZLICA. Professional name of Alice Everaerts, Belgian pianist; b. Brussels, 25 July, 1876. Stud. at Brussels Cons. under Gurickx, at Leipzig under Reinecke. Author of educ. works and children's pf. pieces; also school-play, Labyrinthe musical.-E. C. ZUELLI chorus, soll and orch. (Cologne, 1891). The New World (prize compn. at Singers' Fest. at Cleveland, U.S.A., 1893); King Sigurd's Bride Voyage (Leipzig. 1895); The S he Seafarers (1896); Heroes' Requiem (1895) Review (1901); Boniface (1903); Babylon, op. 145 (1922), all for chorus and orch.; 4 symphontes; orch. episodes, 4 Summer Trip, op. 16: Forest Phantasy, orch. (New York, 1894): Serenade, str. orch, and fls. op. 95; 5 str. Itets; songs; choruses for male voices.-A. E. ZOELLNER, Richard. Compr.; b. Metz, 16 March, 1896. Son of Heinrich Zoellner; stud. music under Franz Rau, Munich, and Paul Graener. Lives at Berchtesgaden; is a talented i musician of modern style. Musiken for orch.: Ode Chambechamber-orch.: Variations on original to Love, theme, full orch.; songs; 2 sacred pleces, for 4tet.; str. 4tet; Stet, clar, and strings.-A. E. ZOLOTAREF, Vassily Andreievitch (accent 4th syll.). Russ, compr. b. Taganrog (govt. of Don Cossacks), 23 Feb./7 March, 1873; choir-boy at Court Chapel, Petrograd, 1883-92; stud, under Balakiref; then pupil of Rimsky-Korsakof at Petrograd Cons. (1898-1900); Rubinstein Prize (1200 roubles) for cantata Paradise and the Peri; prof. Moscow Cons.; after the revolution settled. at Krasnodar (formerly Ekaterinodar), govt. Kuban Cossacks, Caucasus. Symphony, op. 8; overture, The Country Frast, op. 4: Hebrew Rhapsody, orch. op. 7; Overture fantaisie, orch, op. 22; str. 5tet, D ml. op. 19; str. 4tet I, D, op. 5; II, A, op. 6; III, D, op. 25; IV, B. pf. 4tet, D, op. op. 28; pf. sonata, (Mostly Belaief.)-V. B. flat mi. op. 33:, , op. 10:13; pf. trio, E mi. songs; pf. pleces, etc. ZOELLNER, Heinrich. Ger. compr. b. Leipzig, 4 July, 1854. 1875-7, stud. at Leipzig Cons. (Reinecke, Jadassohn, Richter, Wenzel). 1878, mus. dir. at Dorpat Univ.; 1885, condr. of Men's Choral Soc. Cologne (touring a concert-party through Italy, 1889); also teacher at Cologne Cons.; 1890, went to New York as condr. of Ger. Singing Club there. Called back to Leipzig as mus. dir. of the Univ. 1898; teacher of compn. at Cons. there 1902; 1903, mus. ed. of Leipziger Tageblatt. Gained title of Prof. in 1905; 1906, cancelled his Leipzig engagements; 1907, joined Stern's Cons. Berlin. 1908, went to Antwerp to conduct the Flemish Opera there. Now lives at Freiburg (Breisgau). ZORKA, Joran. Serbian violinist, chamber- music player, teacher; b. Belgrade, 23 April, 1881. Stud. at Moscow Cons. under Hrimaly. Since 1920, has been dir. of State School of Music, Belgrade.-T. F. D. ZRNO, Felix. Czechoslovak compr. b. 1890. Pupil of Vit. Novák. Vocal compns.; male choruses: All Souls' Day: Sárka; The Tower; The Eternal Song. (E. Stary; Hudební Matice, Prague.)-V. ST. ZSOLT, Nándor. Hungarian violinist and compr. b. Esztergom, 1887. Stud. vn. under Jenő Hubay, compn. under Hans Koessler, at R. High School for Music, Budapest. His pf. 5tet was awarded Budapest Lipótvárosi Kaszinó Prize. This, his pf. Toccata, his Satyr et Dryade and Enchaînée for pf. and vn. are publ. by Augener; his Libellule by Mathot, Paris. He was a member of the Queen's Hall Orch. London for several years. Since 1920 he has been teacher of vn. at R. High School for Music, Budapest.-B. B. ZUCCARINI, Oscar. Ital. violinist; b. Rome, 19 Feb. 1888. Stud. with success at the R. Liceo Mus. di Santa Cecilia, under Ettore Pinelli. Is an estimable concert artist; has played as solo violinist with the orch. at Riga and Kief (cond. by Schnéevoigt), and has given successful concerts at the Augusteo. Since 1913 has occupied the position of 1st violinist in the Augusteo orch. Took part in the Trio Romano and the Quintetto Cristiani. Now 1st violinist of the new Quartetto di Roma (see CHAMBER- MUSIC PLAYERS).-D. A. Operas: Frithjof (1884, Antwerp, 1910); The Faust (Munich, 1887); Matteo Falcone (1-act opera, perf. New York, 1894); At Sedan (Leipzig, 1895); The Attack (Leipzig, 1895); The Wooden Sword (Cassel, 1897); The Sunken Bell (Berlin, 1899); The King of the Shooters (1903); Gipsies (Stuttgart, 1912); cantata, Battle of the Huns (Leipzig, 1880); oratorio, Luther (1883); Columbus male, chorus, soll, and orch. (Leipzig, 1886); Hymn of Love, mixed 543 ZUELLI, Guglielmo. Ital. compr. b. Reggio Emilia, 22 Oct. 1859. After a hard time when

ZUMPE Another young, he succeeded in gaining admittance to the Liceo Mus. at Bologna, where he stud. compn. under Busi and Mancinelli; diploma, 1882. Whilst carrying on his profession of teacher and orch. condr. in 1883 he won the Sonzogno Competition with his 1-act opera La fata del Nord, successfully perf. at the Manzoni Theatre in Milan, 1884 (Ricordi). opera, in 4 acts, Il Profeta del Korasan, won the Baruzzi competition in Bologna. After travelling for some years in various cities as teacher and condr., was appointed prof. of cpt. and compn. at Cons. at Palermo in 1892, of which he after- wards became dir. Now directs the Cons. at Also comp. 2 symphonies, a 4tet, and many other vocal and instr. works of concert and chamber-music (publ. partly by Ricordi).-D. A. Parma. ZUMPE, Hermann. Ger. condr. b. Tauben- heim (Oberlausitz, Saxony), 9 April, 1850; d. Munich, 4 Sept. 1903. First a general teacher; then stud. music with A. Tottmann; engaged by Wagner at Bayreuth (1873-6) to assist him in finishing off the Nibelungen scores. After that, cond. at theatres at Salzburg, Würzburg, Magde- burg, Frankfort-o-M. and Hamburg, 1884-6. Condr. at Court Theatre, Stuttgart, 1891; condr. of Kaim Concerts, Munich, 1895; condr. at Court Theatre, Schwerin, 1897; gen. condr. R. Opera House, Munich, 1900. Songs; overture to Wallenstein's Death; fairy- opera, Anahra (Berlin, 1881); romantic comic opera, The Bewitched Princess (ms.); operettass) Polish (Hamburg, 1886); Karin (Hamburg, Household (Hamburg, 1889; Berlin, 1891). A 3-act. after his death, finished by Rössler and pert, at Schwerin in 1907; a second 3-act opera, The Spectre of Horodin, was perf. at Hamburg in 1910.-A. E. ZURRÓN, Vicente. Contemporary Span compr. His pf. 4tet in D took the prize at first competition of Sociedad Filarmónica, Madrid. ZWEYGBERG Zarzuelas (1-act): Bodas Reales; El Cazador de Milanos (Sociedad de Autores Españoles, Madrid). -P. G. M. ZUSCHNEID, Karl. Compr. b. Oberglogau, Silesia, 29 May, 1854. Pupil at Stuttgart Cons. under Lebert, Stark, Pruckner and Faisst; 1879-89, condr. of Mus. Soc. at Göttingen; then condr. of Mus. Soc. at Minden; 1897- 1907, cond. Soller Mus. Soc. and Men's Choral Soc. Erfurt. In 1907, dir. of High School of Music, Mannheim. Prof. 1914; retired in 1917. Now residing at Bad-Homburg. For male choruses, soli and orch.: IIermann der Befreier: A Spring Trip: A Singer's Prayer; for mixed chorus, soll and orch. Beneath the Stars; The Zollern and the Kingdom; Germany's Awakening: A Christmas Anthem; unaco. male chorus: Psalm XXIX (op. 40), Festival Hymn (op. 63); unacc. mixed chorus, op. 23, 25 and 39 (sacred); pf. pieces; Variations and Improvisations, str. orch.; vn. concerto; pt. tutor; Guide to Pf. Teaching; about 300 part-songs (New Song Treasures).-A. E. ZWEERS, Bernard. Dutch compr. b. Amster. dam, 18 May, 1854. Started music when very young; 1881, stud. under Jadassohn, Leipzig; 1890-1922, teacher (compn.) at Amsterdam Cons. Most of the modern Dutch comprs. have studied under him. 3 symphonies (No. III. Mijn Vaderland) (publ. Noske. The Hague); choral works; songs (publ. Alsbach, Amstel sterdam); stage-music to Gijsbrecht van ZWEYGBERG, Lennart von. Finnish cellist; b. Jyväskylä, 25 Dec. 1874. Stud. in Orch. School at Helsingfors under Schnéevoigt; in Cons. at Sondershausen under Schröder; later under Jacob in Brussels and Hugo Becker in Frankfort. He then joined Philh. Orch. at Hel- singfors (1900-1); travelled as soloist in Fin- land, Russia and Germany; later became teacher at Crefeld Cons. (1903-9) in which year he settled as a teacher at Minusio (Ticino), Switzerland, occasionally touring as concert- player in England, France, Italy, Germany, Sweden, Norway, and Finland.-T. H. P PRINTED BY THE TEMPLE PRESS AT LETCHWORTII IN GREAT BRITAIN