BALTZELL'S
DICTIONARY OF
MUSICIANS
THE LIBRARY
OF
THE UNIVERSITY OF CALIFORNIA
LOS ANGELES
IN MEMORY OF MRS. VIRGINIA B. SPORER
BALTZELL'S DICTIONARY OF MUSICIANS
CONTAINING CONCISE BIOGRAPHICAL SKETCHES OF MUSICIANS OF THE PAST AND PRESENT WITH THE PRONUNCIATION OF FOREIGN NAMES
BY
W. J. BALTZELL
BOSTON OLIVER DITSON COMPANY
NEW YORK CHICAGO
CHAS. H. DITSON & Co. LYON & HBALY
Copyright MCMXI by Oliver Dltson Company
EDITOR'S NOTE
THE present work has been prepared in response to many inquiries and a frequently expressed need for a concise dictionary in one volume, compact in size and moderate in price, that shall include biographical sketches of eminent musicians and persons connected with musical work, past and present, with special attention to Americans.
No attempt has been made to present lengthy sketches of the great masters, as there is abundant material in the larger diction- aries and the many biographies now on the market. The aim has been rather to gather data about musicians, especially contem- poraries, who are not mentioned in the books previously published. This material has been taken from magazine and newspaper articles, clippings from various sources and from available works of reference. When possible, data have been secured direct from the subjects of the sketches. These latter have been made as concise as possible, yet sufficiently comprehensive to show the main facts in a musician's career, those which contributed toward musical development, such as early environment, education (both literary and musical), various fields of professional activity, com- positions, literary works, etc.
The Editor and the Publisher are greatly indebted to Miss Marguerite Barton, of Boston, who rendered valuable assistance in gathering the material upon which the sketches were based and in preparing the first draft of the manuscript.
Care has been exercised to include only authenticated dates. When the available material did not agree the Editor has chosen the date most inherently probable. In the case of Russian com- posers, when possible, dates have been made to conform with the calendar as used by Western Europe, instead of the " old style " followed in Russia.
It will be esteemed a favor if readers will call our attention to positive errors. With the best intentions in preparing the original manuscript, and the utmost care in proof-reading, errors may have been made.
THE EDITOR.
BOSTON, MASS., November, 1910.
NOTES ON PRONUNCIATION OF NAMES OF FRENCH COMPOSERS
RULES FOR PRONUNCIATION
VOWELS
a as in fat. i as in pine.
a as in fate. o as in not.
a as in father. 6 as in note,
a as in fair. 6 as in move,
e as in met. 6 as in or.
e as in mete. *6
e" as in err. ii like u in quip, almost whistled; i as in in. German vi.
* 6 has a rounder sound than the 6 in or, and is followed by the French nasal n.
CONSONANTS
g as in gap. z as in zoo.
fi like first n in onion. r is usually trilled in French, except
s as in see. at the end of some words.
An accent (d') after a consonant in French names indicates that this is to be sounded.
The preceding phonetic table gives the approximate sounds of the French letters as nearly as the English language will permit. It is impossible to reproduce the exact shades and differences of vowel sounds, or of the nasal sounds, of the French language. They can be learned only from a competent, native instructor; and, even so, great care must be exercised in the choice of a teacher, — that he be not a provincial, but one who is a native of Tours or of Paris.
The chief peculiarity of French pronunciation, as opposed to English, is the absolute absence of any stress or emphasis upon any syllable of a word. The less emphasis (or accent, as it is termed in French) used, and the more evenly the syllables are pronounced (all of even length, and weight, and pitch) the purer the pronun- ciation. It is for this reason that the purest French is that spoken in the towns of Tours, Chinon, Loches, Amboise, and a few others, in the old province of la Touraine, now known as the department of Indre-et-Loire. There the language is spoken by everyone with- out the least syllabic emphasis and without any drawling.
While in other respects the language as spoken in Paris by the educated classes is excellent, yet the Parisians have a tendency to drawl their words somewhat. However, since Paris society
2042033
sets the style in speech, as in all other things French, so Parisian French is considered to be super-excellent.
Apart from their other peculiarities of accent, Americans and English are readily recognized by their sing-song, inordinate drawling way of speaking. This is well exemplified by the word "Trocade'ro," pronounced (English) Trocade'ro, while in French it is Tro-ca-da-ro — all the syllables of even pitch and equal length, without any emphasis.
The syllables, therefore, of all these names should flow rapidly from one to the other, without any syllabic stress whatever, and without dwelling upon any final syllables.
In the case of the phonetics (6-a) for ois, oil, they must be pronounced smoothly like one composite vowel (wah).
As a general rule final consonants are never pronounced (except the letters c, f, I) save in some names of foreign origin. When a final s is preceded by an e it is sounded, as well as the final s in names from the Catalan, Basque, and Spanish. "Gil Bias," for example, the Parisian newspaper, is pronounced zhil'- blas' — both the I and the s being sounded, because of Spanish origin.
Formerly II was pronounced as in William. This is no longer the custom, and the sound of y is given to II; Ih (Paladilhe) takes the same sound.
J, ge, and gi, have the sound of zh. Gn is like n in onion. S, between two vowels, is pronounced like z. Ch has always the sound of sh, save in some words of foreign origin.
Difficult sounds to acquire are the so-called nasal combinations of an, am, en, em, in, im, ain, aim, on, om, un. From following- printed phonetics many have treated these as guttural sounds and pronounced them as ang, ong, etc., while others have gone to another extreme and placed them in the nose. As a matter of fact they are semi-nasals; that is, the letter n is not plainly pro- nounced, but it is sketched, as it were, by projecting it towards the upper pharynx, or towards the nasal cavities (but not in them), in the same way that the covered or head tones are correctly pro- duced in singing. In like combinations the letter m is treated in the same way and has the same sound as the letter n.
Finally, too much attention cannot be given to the practice of speaking on the lips, with the lips, and with a forward forma- tion for att the syllables. It is only by observing this recommen- dation that a fluent, pretty, and accurate accent can be obtained. It is the only way to acquire the letter u, that most difficult vowel for English speakers — by the forward, whistling position of the lips.
ARTHUR DE GUICHARD.
NOTES ON PRONUNCIATION OF NAMES OF RUSSIAN COMPOSERS
(Including other Slavonic Nationalities)
As a rule the emphasis lies upon the penult; for example, David'off . Exception is made when the first syllable (or syllables) has a definite meaning as in Glazounoff, where glaz means "the eye."
Another exception is when the final syllable "off" does not indicate the genitive, like the French "de," but is part and parcel of the name itself; for example Rachman'inoff, from rachmannyi, meaning "heavy, awkward"; or Reb'ikoff, from rebyonok, "a child."
In many names ending in "eff " or "ev" the pronunciation is not that of the English short "e," but about that of "off"; for example: Alabieff is pronounced A-la-byoff, three syllables; Soloviev is Sol-o-vyoff; but Taneiev is Tan-e-yeff.
The ending " vitch," " witsch," means "the son of," if it occurs, as it always does, in a man's forename or Christian name; it is then not emphasized. In a family name, however, the emphasis changes from the antepenult to the penult; for example, Gabrilov'- ich, Gregorov'ich.
The i in a diphthong (ia, ie), has the force of y; for example, Liadov is pronounced Lya'doff ; Liapounoff becomes Lya'pounoff ; Taneiev, Tane'yeff; Scriabine, Skrya'bin.
CONSTANTIN VON STERNBERG.
op. Opera
orch. Orchestra
org. Organ
orgt. Organist
gt. Pianoforte
hilh. Philharmonic
pst. Pianist
qt. Quartet
Roy. Royal
sch. School
Soc. Society
sop. Soprano symph. Symphony, Symphonic
th. Theatre
Univ. University
via. Viola
vln. Violin
vlt. Violinist
|
Accomp. |
Accompaniment |
|
b. |
Born |
|
bar. |
Baritone |
|
Cath. |
Cathedral |
|
capellm |
Capellmeister |
|
ch. |
Church |
|
Coll. |
College |
|
comp. |
Composed |
|
compr condr. |
Composer Conductor |
|
Cons. |
Conservatory |
|
d. |
Died |
|
dir. |
Director |
|
dram |
Dramatic |
|
instr. |
Instrument |
|
harm. |
Harmony |
|
mue. |
Music |
|
Mus. B. |
Bachelor of Music |
|
Mus. Doc. |
Doctor of Music |
|
Op. |
Opus |
BALTZELL'S DICTIONARY OF MUSICIANS
ABBEY
Abbey, John, org. builder, b. Whilton, Eng., Dec. 22, 1785; d. Versailles, Feb. 19, 1859. Trained under Davis and Russell; went to France at invi- tation of S6b. Erard; improved French organs by English mechan- ism; among many orgs. built first in Paris Ope'ra. Left sons E. and J. in same business.
Abbott, Emma, dram. sop. b. Chicago, Dec. 9, 1850; d. Salt Lake City, Jan. 5, 1891. After early struggles as concert singer and guitar player, was assisted by Clara Louise Kellogg; studied under Erani in N. Y., San Giovanni and Delle Sedie in Europe; d6but, London, May, 1876; Ameri- can d<§but, N. Y, Feb., 1877; won great success in Europe and America.
Abeille (ab-a-ye1), Johann Christian Ludwig, pst., orgt., condr., compr. b. Bayreuth, Ger., Feb. 20, 1761; d. Stuttgart, Mar. 2, 1838. Composed 2 operas, harpsichord and chamber music, and school songs.
Abel (ii-bel), Karl Friedrich, last viola da gamba player, compr. b. Co then, Ger., 1725; d. London, June 20, 1787. Trained by father, Christian Ferdinand (at court of Co then, 1720- 1737) and at the Thomasschule, Leipzig, by J. S. Bach; lived in Lon- don after 1759; gave concerts there with J. C. Bach; composed concertos, sonatas, etc., and works (many un- published) for viola da gamba. J. B. Cramer a pupil.
Abel, Ludwig, vlt., compr., condr. b. Eckartsberge, Thuringia, Jan. 14, 1835; d. Neu-Pasing, near Munich, Aug. 13, 1895. Pupil of Ferd. David; leader of Munich orch.; teacher at Royal School of Music; composed violin method, studies, etc.
ACKTE
Abert (a-bert), Johann Joseph, compr. b. Kochowitz, Bohemia, Sept. 21, 1832. Educated as chorister at Gastdorf, at Leipa monastery, pupil at Prague Cons, under Kittl and Tomaczek; member of Stuttgart court band, 1852-1888; composed symph., symph. poem Columbus, 4 operas, songs, etc. Son Hermann mus. historian.
Abranyi (a-bran'-ye), Kernel, compr., writer, b. Szent Gyorgz Abranyi, Hungary, Oct. 15, 1822; d. Bu- dapest, Dec. 20, 1903. Pupil of Chopin and Kalkbrenner; founded first Hungarian music journal 1860; prof, at Nat. Mus. Acad., Pesth; promoter of national music; com- posed songs, choruses, etc., in na- tional vein. Son Emil (b. 1880), composer.
Abt (abt), Franz, compr. b. Eilenburg, Ger., Dec. 22, 1819; d. Wiesbaden, Mar. 31, 1885. Son of a clergyman, studied music instead of theology, at the Thomasschule, Leipzig, and at Leip. Univ.; capellmeister at Bern- burg, Zurich, and Brunswick, 1841- 1882; visited America, conducted choral society concerts, 1872; retired 1882. Composed over 500 works, forgotten pf. pieces, 7 secular can- tatas, innumerable songs and part- songs, distinguished for melodic facility rather than depth. Some songs, as Wenn die Schwalben heim- warts ziehn, are so popular that they have become veritable folk-songs. Son Alfred (1855-1888) conductor.
Ackte (ak-ta/), Aino, dram. sop. b. Helsingfors, Finland, Apr. 23, 1876. Mother, Emmy Stromer, popular opera singer, and father, condr. and teacher, first trained her; she studied under Duvernoy, Paris Cons., 1894- 1897, winning 3 prizes; d6but Oct.
ADAM
1897, at Paris Ope"ra; member Paris Ope"ra, and 1904 of Metropolitan, N. Y.
Adam (ad-on), Adolphe Charles, opera compr. b. Paris, July 24, 1803; d. there, May 3, 1856. Studied at Paris Cons, under Boieldieu; founded Theatre National; was ruined by Revolution of '48; succeeded father (Louis) as teacher Paris Cons. 1848; composed graceful ballets and 53 sparkling light operas; Le postilion de Longjumeau (1836) still widely popular; Le brasseur de Preston and Leroi d'Yvetot deserve revival; published essays. Souvenirs d'un mu- sicien, and Dernier s souvenirs.
Adam (ad-on), Louis, pf. teacher, b. Miittersholtz, Alsace, Dec. 3, 1758; d. Paris, Apr. 8, 1848. Taught himself harp, vln., and composition; formed own pf. style from study of German masters; taught pf. Paris Cons. 1797-1842, Kalkbrenner and Harold among pupils; published pf. music and method.
Adam de la Halle [or Hale], (ad-on de"- la-al'), trouvere. b. Arras, abt. 1240; d. Naples, 1287. His works, chan- sons, etc., of great historical value, especially Le jeu de Robin et de Marion, an early forerunner of comic opera.
Adamowski (a-dam-of'-ski), Josef, 'cel- list, b. Warsaw, Poland, 1862. Pupil of Fitzenhagen and Tchaikov- ski (in comp.); member of Bost. Symph. Orch. 1889-1907. His wife, Antoinette Szumowska (tsu-mof- ska), pst. b. Lublin, Poland, Feb. 22, 1868. Pupil of Strubel, Michal- ovski in Poland, and of Paderewski in Paris; first Boston appearance 1895; successful concert-player, es- pecially delicate and sympathetic. Timothee, vlt. b. Warsaw,- Mar. 24, 1858. Studied Warsaw Cons, and Paris Cons, under Massart; success- ful concerts in Europe and America; member Bost. Symph. Orch. 1895- 1907; condr. of popular summer concerts; leader of Adamowski Quar- tet (varying members) and of A. Trio (with his brother Josef and the latter's wife).
Adams, Charles R., dram. ten. b. Charlestown, Mass., 1848; d. W.
AGRICOLA
Harwich, Mass., July 3, 1900. Pupil of Barbieri; sang in opera in Berlin, Vienna, London, and N. Y.; after 1879 taught in Boston.
Adams, Stephen, see Maybrick, Michael.
Adams, Thomas, orgt., compr. b. Lon- don, Sept. 5, 1785; d. there, Sept. 15, 1858. Pupil of Busby, superintend- ent of Apollonicon Concerts, orgt. at several churches; composed vol- untaries, fugues, etc., and anthems.
Adler (ad'-ler), Guido, writer. b. Eibenschiitz, Moravia, Nov. 1, 1855. Educated Vienna Cons, under Bruck- ner and Dessoff; teacher at Vienna Univ. and Prague; founder, with others, of Vierteljahrschriftfur Musik- wissenschaft, 1884; editor of Denk- maler der Tonkunst in Oesterreich.
Adler, Vincent, pst., compr. b. Raab, Hungary, Apr. 3, 1826; d. Geneva, Jan. 4, 1871. Studied with his father and with Erkel in Vienna and Paris; prof, at Geneva Cons. 1865; composed pf. music.
Aegidius (e-jid'-ius), Johannes, theor- ist. Spanish Franciscan friar about 1270; wrote Ars musica.
Agazzari (a-gat-za'-re), Agostino, com- pr. b. Siena, Dec. 2, 1578; d. there, Apr. 10, 1640. Influenced by Viadana; composed masses, motets, etc., one of first to give instructions about execution of figured basses.
Agostini (a-gos-te-ne), Paolo, compr. b. Valerano, 1593; d. Rome, Sept., 1629. Pupil of Nanino; among first to employ large numbers of voices in divided choirs; composed ch. mus. which combines marvelous contra- puntal skill with real beauty.
Agramonte (a-gra-mon'-te), Emilio, condr., singing teacher, b. Puerto Principe, Cuba, Nov. 28, 1844. Studied in Spain and Paris, singing with Roger, Selva and Delle Sedie; teaching and conducting choral societies in N. Y. since 1868.
Agricola (a-gri'-co-la), JohannFriedrich, orgt., writer, b. Dobitz, Saxony, Jan. 4, 1720; d. Berlin, Dec. 1, 1774. Studied under J. S. Bach; court composer to Frederick the Great; successor of Graun as director of
AGRICOLA
ALDRICH
Royal Chapel; wrote music of no lasting value, and critical works of some historical interest.
Agricola, Martin, theorist, b. Sorau, Saxony, 1486; d. Magdeburg, June 10, 1556. Music teacher and cantor at Magdeburg; wrote many treatises of great value to history of instru- ments and notation.
Agujari (a-go-ya'-re), Lucrezia (16- cra-tsi-a), sop., known as La Bastar- della. b. Ferrara, 1743; d. Parma, May 18, 1783. Pupil of Lambertini; d6but Florence 1764; extraordinary success throughout Italy, owing to wonderful range (up to C in altis- simo) .
Ahna (a'-na), Heinrich Karl Hermann de, vlt. b. Vienna, June 22, 1835; d. Berlin, Nov. 1, 1892. Pupil of Mayseder and Mildner; d£but Vien- na, 1847; leader Berlin Royal Orch., 1868; teacher Royal High School for Music; member Joachim Quartet. Sister Eleonore, dram, mezzo sop. (1838-1865).
Alabieff (a-la-byof), Alexander Alexan- drovitch, corner, b. Moscow, Aug. 16, 1787; d. there, 1852. Composed • many songs in melodious, popular style, of which The Nightingale is especially well known.
A. L., see Lehmann, Amelia.
Alard (al'-ar'), Jean Delphine, vlt., compr. b. Bayonne, Mar. 8, 1815; d. Paris, Feb. 22, 1888. Pupil of Habeneck at Paris Cons.; teacher there 1843-1875, Sarasate among pupils; leader royal orch.; published vln. method, Etudes, concertos, etc. for vln.; edited Les MaUres Classigues de Violon.
Albani (al-ba-ne), [pseud, of Mile. Marie Louise Cecile Emma Lajeu- nesse], dram. sop. b. Chambly, Canada, Nov. 1, 1850. Daughter of a harp professor, she was taught singing at convent, and sang in cathedral choir in Albany, N. Y. Studied with Duprez in Paris and with Lamperti m Milan; de"but Messina 1870; first London appear- ance 1872. Has sung with great success in opera throughout Europe and in U. S., in a repertory which varies from Lucia, to Isolde; is an especial favorite in London and
England, where she has sung in many oratorios, at festival concerts.
Albert (d'al'-bar), Eugen Francis Charles d', pst., compr. b. Glasgow, Apr. 10, 1864. Son of Charles Louis Napoleon d'Albert (1809-1886), com- poser of dance music and teacher of dancing. Eugen at first father's pupil; elected to scholarship at Nat. Training School, London, studied there under Pauer, Prout, Stainer and Sullivan; early compositions produced at concerts; having won Mendelssohn Scholarship, went to Vienna, studied with Richter, and Liszt at Weimar; married Teresa Carreno, and after divorce, 1895, singer Hermine Fink; now having repudiated all English antecedents, lives in Germany, except for occa- sional successful concert tours. Dis- tinguished as pianist by great breadth and nobility of style, es- pecially in interpreting Beethoven; as composer, fluent and earnest, but lacking in marked individuality; composed symphony, 2 pf. concertos, chamber music and 9 operas.
Alberti, Domenico, compr., voc., pst. b. Venice, 171-, d. 1740. Pupil of Lotti; won fame as a singer and harpsichord player, and wrote a number of operas in the prevailing style and sonatas which were popular with dilettanti. He is credited with the invention of the so-called Alberti bass, an accompaniment figure much in use in his time and later.
Albrechtsberger, Johann Georg, orgt., teacher, b. Klosterneuberg, Austria, Feb. 3, 1736; d. Vienna, Mar. 7, 1809. Studied under Emmerling; court orgt. Vienna, 1772; had dis- tinguished career as teacher; among his pupils were Beethoven, Hummel, Weigl, and Seyfried. Very few com- positions are printed but his theo- retical work Grundliche Anweisung zur Komposition, 1790, is widely known.
Aldrich, Henry, compr. b. Westmin- ster, 1647; d. Oxford, Dec. 14, 1710. Scholar, architect, dean of Christ Church, collected large mus. library, wrote theoretical works, composed many anthems and services, as well as glees and catches.
ALDRICH
Aldrich, Richard, author, musical critic. b. Providence, R. I., July 31, 1863. His father a gifted musical ama- teur; showed aptitude for music as a boy; educated at Providence High School and Harvard College, gradu- ated 1885; studied music there with Prof. J. K. Paine; 1888-89 in Europe for study, giving much atten- tion to music; entered journalism, Providence Journal, 1885, acting as musical critic; 1889 in Washington, D. C., private secretary to U. S. Senator Dixon, music critic for. Washington Star; in 1891 joined the staff of New York Tribune and, with other work, acted as assistant to H. E. Krehbiel until Oct. 1902, when he became regular musical critic for the Times, a position he still fills (1910); translated Lilli Lehmann's Meine Gesangskunst (English title How To Sing); wrote A Guide to Parsifal, a Guide to the Ring of the Nibelung; contributor to various magazines.
Alembert (al'-on-bar'), Jean le Rond d', theorist, b. Paris, Nov. 16, 1717; d. there, Oct. 29, 1783. Wrote works on mus. theory according to Ra- meau, investigations in acoustics, history of mus., and mus. articles in his monumental Dictionnaire Ency- dopedique, 1751-72.
Alfven (alf'-ven), Hugo, vlt., compr. b. Stockholm, 1872. Pupil at Stock- holm Cons.; under government aid, studied with Ce"sar Thomson, at Brussels. Composed 2 symphonies, choral works, songs, etc.
Alkan (al'-kon), [pseud, of Charles Henri Valentin Morhange], pst., compr. b. Paris, Nov. 30, 1813; d. there, Mar. 29, 1888. Pupil at Paris Cons, of Zimmermann 1819-1830, winning many prizes; pf. teacher in Paris after 1833. Published 2 con- certos, several sonatas and other pf. pieces, among them eludes of amaz- ing technical difficulty.
Allegri (al-la'-gre), Gregorio, compr. b. Rome, 1584; d. there, Feb. 18, 1652. Pupil of Nanini, member of Papal Choir, composed Miserere in 9 parts, which was performed annually at Sistine Chapel, (written down from memory by Mozart in 1770).
ALYPIOS
Allen, Charles N., vlt. b. York, Eng., 1837; d. Boston, April 7, 1903. Studied under Saenger in Paris; first vlt. Paris Grand Ope>a; in Boston after 1871; organized Beethoven Club; joined Mendelssohn Quin- tet, 1877; member of Philharmonic Orch. Bost., of Harvard Mus. Ass'n, Boston Symph. Orch. H. K. Hadley among pupils.
Allitsen, Frances, compr. Gained schol- arship at Guildhall School of Mus., studied there under Gadsby, win- ning prize for orchestral composi- tion; d6but as concert singer, Lon- don, 1882; since failure of voice has composed exclusively; published many charming songs, of great vari- ety of subjects.
Almenrader (al-men-ra'-der), Karl, bas- soon virtuoso, b. Ronsdorf, near Diisseldorf, Oct. 3, 1786; d. Bie- brich, Sept. 14, 1843. Self-taught; prof, at Cologne Mus. Sch.; mem- ber of orchestras at Frankfort and Biebrich; made improvements in his instrument, wrote treatise on it and method and mus. for it.
Alpheraky (al-fe-ra'-ky), Achilles N., compr. b. Charkov, 1846. Com- posed charming pf. mus., mazurkas and characteristic oriental pieces, and more than a hundred songs.
Alvarez (al'-va-reth), [pseud, of Albert Raymond Gourron], dram, tenor, b. Bordeaux, France. After military service as bandmaster, studied, at 22, with A. de Martini in Paris; debut in Paris, 1892; first London appearance, 1893; first American appearance, Boston, Feb. 7, 1899; later at Paris Ope'ra, where he has created many roles.
Alvary (al-va'-ry), Max [pseud, of M. A. Aschenbach], dram, tenor, b. Diissel- dorf, May 3, 1858; d. Datenberg, Thuringia, Nov. 7, 1898. Son of celebrated painter; pupil of Stock- hausen; d6but, Weimar, 1881; great success, especially in Wagner roles; member Metropolitan Opera, N. Y. 1884-1889, 1891.
Alypios (a-lip'-ios), Greek writer, about 360 A. D. Chief source of informa- tion about vocal and instrumental notation of Greek scales.
AMATI
Amati (a-ma'-ti), celebrated family of violin-makers, founders of Cremona School. As a whole, their violins mark advance on the Brescia School in beauty of shape and delicacy of tone. Andrea (abt. 1530- Apr. 10, 1611), eldest, pupil of Brescia mak- ers, originated improvements on their work; very few of his violins are extant; they are small, graceful, clear in tone but not strong. His brother Nicolo (fl. 1568-1635) made basses chiefly. .Andrea's sons, An- tonio (1550-1638) and Geronimo (1551-1635), improved on their fa- ther's work; Geronimo especially seems to have designed his violins with particular care for geometrical accuracy and graceful beauty; they are sometimes larger than his father's and have a similarly sweet tone. His son, Nicolo, b. Sept. 3, 1596; d. Aug. 12, 1684, most famous even in his own day, increased still further the grace of outline and added the needed power and intensity of tone; he made, also, some violins on a larger model (known as grand Amatis) and beautiful tenors and 'cellos. Though his son Geronimo (1649-1740) was an inferior maker, Nicole's work was carried on to perfection by his pupils Andrea Guarnerius and Antonio Stradivarius.
Ambros (am'-bros), August Wilhelm, historian, b. Mauth, near Prague, Nov. 17, 1816; d. Vienna, June 28, 1876. Nephew of Kiesewetter; stud- ied law and entered government ser- vice; wrote pamphlet on aesthetics and history of music from begin- nings to time of Palestrina, a remark- ably accurate and authoritative work, unfortunately unfinished at his death; prof. Prague and Vienna Cons.; composed some music.
Ambrose, Saint, b. Treves, 333; d. Milan, Apr. 4, 397. Bishop of Milan from 374; arranged revised mode of singing service for Milan Cathedral about 384; had much influence in development of orderly ritual in Western Church; introduced antiph- onal singing and established a plain- chant, which cannot now easily be distinguished from Gregorian; wrote many beautiful rhythmical hymns, but not the Te Deum to which his name is often attached.
ANSCHttTZ
Amiot (a'-mi-6), writer, b. Toulon, 1718; d. Pekin, 1794. Jesuit priest, missionary to China. Translated and wrote works on Chinese music.
Anderton, Thomas, compr. b. Bir- mingham, Apr. 15, 1836; d. Edg- baston, Sept. 18, 1903. Teacher of mus.; conducted singing classes and orchestral concerts; 1874 became editor of paper, gave mus. lectures, wrote cantatas, John Gilpin's Ride, Wreck of the Hesperus, etc., and
. songs.
Anerio (a-na'-rio), Felice (fe-le'-che), compr. b. Rome, abt. 1560; d. there, abt. 1630. Pupil of Nanini; suc- ceeded Palestrina as compr. to Papal Chapel, 1594; composed masses, motets, madrigals, etc.
Anger, Joseph Humfrey, orgt., compr. b. Ashbury, Eng., 1862. Mus. train- ing under private teachers; Mus. Bac. Oxford 1889; orgt. Bristol, 1891 at Ludlow, and musicmaster in King Edward VI School there; 1893 head of theory dept. Toronto Cons., orgt. Ch. of the Ascension; works include Psalm 96, madrigals, pf . pieces; auth- or of Treatise on Harmony.
Anglebert (ongle'-bar'), Jean Baptiste Henri d', clavecinist, compr. b. abt. 1628; d. Paris, Apr. 23, 1691. Pupil of Champion; chamber musician to Louis XIV; 1689 published Pieces de Clavecin, collection of contempo- rary airs for harpsichord and org., with preface which gives valuable in- formation about playing ornaments of the time.
Animuccia (a-ni-mo-che'-a), Giovanni, compr. b. Florence, abt. 1500; d. Rome, 1571. Pupil of Goudimel; predecessor of Palestrina at the Vati- can and also in the movement to- ward greater clearness in music ; from Laudi, hymns of praise which he composed for Oratorio of St. Philip Neri, modern oratorio takes its name, and A. gets title " Father of Oratorio."
Anschiitz (an'-shiitz), Karl, condr. b. Koblenz, Feb., 1815; d. New York, Dec. 30, 1870. Son of Johann Andreas (1772-1856, pst., condr., compr.); pupil of Friedr. Schneider; director of school founded by father;
ANSORGE
ARENS
conducted in London and New York where he made an attempt at Ger- man opera in 1862.
Ansorge (an'-sor-ge), Konrad Eduard Reinhold, pst. b. Buchwald, Silesia, Oct. 15, 1862. Pupil at Leip. Cons.; of Liszt, 1885; many successful tours in Eastern Europe and Amer- ica; teacher in Klindworth-Schar- wenka Cons, in Berlin; comp. pf. pieces.
Antipov (an-te-poff'), Constantino, com- pr. b. Jan. 18, 1859.
Aprile (a-pre-le), Giuseppe, contralto, b. Bisceglia, Apulia, Oct. 29, 1738; d. Martina, 1814. Pupil of Avos; sang in principal theatres of Germany and Italy after 1763; taught singing in Naples, Cimarosa among pupils; composed songs, and a method, with solfeggi, still valued.
Apthorp, William Foster, critic, b. Boston, Mass., Oct. 24, 1848. Pupil of J. K. Paine at Harvard, and of B. J. Lang; taught pf. and harmony; wrote dramatic and mus. criticisms for several magazines and papers, especially Boston Transcript (1881- 1903); edited program-books of Bost. Symph. Orch. 1892-1903; pub- lished essays, translations, etc.; removed to Europe 1903. He con- tributed much by pleasant and witty writings to the development of mus. interest and mus. culture in Boston. Wrote Hector Berlioz, Autobiography and Musical Grotesques, Musicians and Music Lovers, By the Way, The Opera, Past and Present, etc.
Aptommas, John, harpist, b. Brid^- end, Eng., 1826. Thomas, his brother, also harpist, b. Bridgend, 1829; in N. Y. 1851-56. Both remarkable players and teachers; composed for harp; wrote history of the harp.
Arban (ar'-bon), Joseph Jean Baptist e Laurent, cornet player, b. Lyons, Feb. 28, 1825; d. Paris, Apr. 9, 1889. Teacher at Paris Cons. 1869- 1874; inventor of several wind instruments; wrote method and arrangements.
Arbuckle, Matthew, cornet player, b. 1828; d. New York, May 23, 1883. Came to America about 1853; leader
of military bands in Troy and Wor- cester; went to front with 24th Mass.; asst. of P. S. Gilmore in concerts and in Peace Jubilee; band- master in N. Y.
Arcadelt, Jacob, compr. b. Nether- lands, abt. 1514; d. Paris, between 1570 and 1575. One of the Nether- land musicians who taught in Italy; singingmaster at St. Peter's, 1539; member of Papal Choir, 1540-1549; went to Paris with Duke of Guise, 1555; published while in Italy five books of madrigals on which fame chiefly rests; in Paris composed masses and church music; well- known Ave Maria attributed to him, probably not correctly.
Archer, Frederick, orgt., condr. b. Oxford, England, June 16, 1838; d. Pittsburg, Oct. 22, 1901. Taught by his father; also student in London and Leipzig; concert orgt. and con- ductor in London; orgt. Brooklyn, 1881, and N. Y.; founded and edited Key- Note, 1885; conductor of Bost. Oratorio Society 1887; founder of Pittsburg Orch. and con- ductor, 1896-1898. Excellent orgt., composed method, works for org., songs, etc.; by innumerable concerts did much to popularize good music, both for organ alone and for orch.
Archytas (ar-ke'-tas), mathematician, fl. Tarentum, abt. 400-365 B. C. Dis- ciple of Pythagoras, probably first to fix ratio of the third; extant writings only fragmentary.
Arditi (ar-de'-ti), Luigi, impresario, b. Crescentino, Piedmont, Italy, July 16, 1822; d. Brighton, England, May 1, 1903. Studied at Milan Cons.; at first violin player; com- posed overture and opera, 1841, 1842; debut as director of opera, 1843; went to Havana, 1846; brought Havana Opera Co. in 1847-50 to N. Y. and other Am. cities, con- tributing much to early growth of interest in opera; after 1858, con- ducted in London and toured with many companies in many capitals. Composed vocal and pf. pieces; II Bacio, waltz-song, universally known.
Arens (ar-enz), Franz Xavier, condr. b. Neef, Prussia, Oct. 28, 1856. Came to America at 11 as immigrant; in midst of hard work studied mus.
ARENSKY
ARNE
with his father and Singenberger in Milwaukee; then with Rhein- berger, Wiillner, and others in Ger- many; conducted in Cleveland and Indianapolis; vocal teacher in N. Y. since 1896; founded (1900) People's Symph. Concerts, a successful at- tempt to give good orch. concerts, with simple instruction, at low rates.
Arensky (a-re"n-ski), Anton Stepano- vitch, compr. b. Novgorod, July 30, 1862; d. Terioki, Finland, Feb. 25, 1906. Son of a physician; pupil of Johannsen and Rimsky-Korsakov at St. Petersburg Cons.; prof, of harmony and comp. Imperial Cons. Moscow 1883; member of Council of Synodal School of Church Mus.; conductor, succeeding Balakirev, of Imperial Court Choir, 1895-1901; instructor at St. Petersburg Cons. Composed 3 operas, cantatas, songs, 2 symphonies, chamber music (pf. trio especially well-known). Supe- riority appears chiefly in chamber mus. and songs; operatic style is said to be a compromise between declamatory and melodic; church mus. rather florid; often made effective use of folk-tunes.
Ariosti (a-ri-os'-te), Attilio, compr. b. Bologna, 1660; d. there, abt. 1740. Composed opefa Dafne, 1686, at Venice; conducted court theatre, Berlin; went to London, 1716; wrote Muzio Scevola with Bononcini and Handel; outshone by Handel, was honorably dismissed from Italian opera, 1727, and withdrew to Italy. Composed 15 operas, 2 oratorios, and possibly volume of cantatas.
Aristides (ar-is-ti-des), Quintilianus, writer, fl. Greece, abt. A. D. 160. One of most satisfactory writers on Greek music; author of treatise in three books in which the theory of the Aristoxenean School is presented in detail.
Aristox'enos, writer, b. Tarentum, abt. 354 B. C. To him we owe almost entirely our knowledge of ancient Greek music. He came in con- tact with Socrates, was pupil of Xenophilus, the Pythagorean, and of Aristotle. "His services to music consisted in, firstly, the accurate de- termination of the scope of musical science lest it should on the one hand
degenerate into empiricism or on the other hand lose itself in mathe- matical physics; and, secondly, in the application to all the questions and problems of music of a deeper and truer conception of the ultimate nature of music itself. By these two discoveries he accomplished a revolution in the philosophy of the art." (H. S. Macran. The Harmon- ics of A., Oxford, 1902.)
Armes, Philip, orgt. b. Norwich, Aug. 15, 1836; d. Durham, Feb. 10, 1908. Son of a singer, chorister at Norwich and Rochester Cathedrals; asst. orgt. at latter under J. L. Hopkins; orgt. at Chichester and Durham; introd. mus. at Univ. of Durham and was professor there; composed 3 oratorios, services, etc.
Armstrong, Nellie, see Melba.
Armstrong, William Dawson, teacher, compr. b. Alton, 111.. Feb. 11, 1868. Studied under Clarence Eddy, G. M. Garrett, Chas. Kunkel, E. R. Kroeger, and others; has held vari- ous positions as orgt. and teacher in St. Louis and Alton; composed a large number of works in nearly all forms, orchestra works in MS., and 2 operas, The Specter Bride- groom (presented in St. Louis) and Claudia.
Arnaud (ar-no), Abbe Francois, theor- ist, b. Aubignan, July 27, 1721; d. Paris, Dec. 2, 1784. Wrote essays on various subjects, ardently sup- ported Gluck in partisan war about his reforms.
Arne (arn), Thomas Augustine, compr. b. London, Mar. 12, 1710; d. there, Mar. 5, 1778. Learned to play harpsichord and vln. by secret prac- tise; having gained father's consent, he began open career by setting to mus. Addison's Rosamund; married Cecilia Young, favorite opera singer, 1736; set to music Comus, As You Like It, Tempest, adapted for English use Metastasio's Artaserse; composed and arranged in all music for about 50 pieces. Chiefly distin- guished for many charming songs, notably the Shakespearean lyrics and Rule Britannia (the Finale of Alfred, 1740). His sister, Susanna Maria, afterwards Mrs. Gibber, was a
ARNOLD
ATTENHOFER
famous actress. His son, Michael (1741-1786), was also a composer of dramatic music and songs.
Arnold, Samuel, compr. b. London, Aug. 10, 1740; d. there, Oct. 22, 1802. Educated as chorister under Gates and Nares; remarkable early talent for composition; wrote about 40 operas, oratorios, etc.; most impor- tant work editing Cathedral Music, collection of services by English composers.
Arnoldson, Sigrid (seegree), dram. sop. b. Stockholm, Mar. 20, 1863. Daugh- ter of Oscar A. tenor (1843-1881); pupil of M. Strakosch; de"but, 1886, Moscow; prima donna in St. Peters- burg, London (as successor of Patti, 1888), Paris, Budapest, and the Netherlands, New York, 1893; then in Paris.
Artchibousheff (ar-chib'-oo-shoff), Nich- olas Vassilievitch, pst., compr. b. Tsarskoye-Selo, Mar. 7, 1858. Law- yer as well as musician; studied with Soloviev and Rimsky-Korsakov.
Arthur, Alfred, singing teacher, b. Pittsburg, Oct. 8, 1844. Pupil in Mus. School, Boston, of Baker, Arbuckle, etc., at Bost. Cons, of Eichberg; choirmaster, conductor of Vocal Society, director of school of music in Cleveland; composed 3 operas, vocal studies, etc.
Artot (ar'-to), Marguerite Josephine Desiree Montagney, dram. sop. b. Paris, July 31, 1835; d. Berlin, Apr. 3, 1907. Daughter of Jean Desire Montagney (Sept. 23, 1803-Mar. 25, 1887), who was also called Artot, as were his brother, Alexandre (1815- 1845), and their father, Maurice (1772-1829), all musicians. Mar- guerite was pupil of Mme. Viardot- Garcia; concert d^but Brussels, 1857; opera de"but, Paris, 1858, where she was engaged at Meyerbeer's request; toured as star throughout Europe, especially successful in Italian opera. Her voice from mezzo soprano be- came after persistent practise of high enough register for the great soprano parts.
Asancheyski (az-an-choff'-ski), Michael Paulovitch von, compr. b. Moscow, 1838; d. there, Jan. 24, 1881. Studied
composition at Leipzig under Haupt- mann and Richter and piano at Rome with Liszt; lived in Paris, 1866-70; director 1871-76 St. Peters- burg Cons, to which he gave valu- able library; retired 1876; published sonata for pf. and 'cello, trio, etc.
Ascher (ash'-er), Joseph, compr. b. Groningen, Holland, June 24, 1829; d. London, June 4, 1869. Pupil of Moscheles; court pianist to Empress Eugenie; fashionable pianist and composer of drawing-room pieces which were extremely popular, es- pecially song Alice, Where Art Thou ?
Ashton, Algernon Bennet Langton, pst, compr. b. Durham, Eng., Dec. 9, 1859. Pupil 1875-79 at Leipzig Cons, of Jadassohn and Reinecke and at Frankfort, 1880-81, of Raff; prof. Royal Coll. Mus., London, 1885; has written mus. of almost every kind.
Asioli (a-se'-6-li), Bonifacio, compr. b. Correggio, Aug. 30, 1769; d. there, May 18, 1832. Of inconceivable precocity in composition; took les- sons of Morigi at Parma; lived in various Italian cities; prof, of coun- terpoint and censor at new Milan Cons. 1808; composed 7 operas, masses, songs, symph., etc.; wrote also several remarkably accurate and clear text-books on harmony and counterpoint. Biog. by Conti.
Astorga (as-tor'-ga), Emanuele, Baron d', compr. b. Palermo, Dec. 11, 1681; d. Prague, Aug. 21, 1736. Son of insurgent Sicilian nobleman who was executed in 1701; pupil of F. . Scarlatti and further trained in music, by the assistance of a powerful patroness, at monastery in Astorga, Spain, whence he obtained title; led a life of romantic adventure in courts of Parma, Vienna, and Spain; com- posed opera Dafne, famous Stabat Mater for 4 voices, and many beau- tiful cantatas.
Attenhofer (a-ten-ho'-fer), Karl, teacher, condr. b. Wettingen, Switzerland, May 5, 1837. Pupil of D. Elster, and of Richter and others, at Leipzig Cons.; condr. of various choral unions; composer of choral music, songs, etc.
ATTWOOD
AVISON
Attwood, Thomas, compr. b. London, Nov. 23, 1765; d. Chelsea, Mar. 24, 1838. Chorister under Nares and Ayrton; studied in Italy (by assist- ance from George IV, then Prince of Wales) under Cinque and Latilla and in Vienna under Mozart; orgt. at St. Paul's and Chapel Royal; orig- inal member Philharm. Soc.; friend of Mendelssohn. Composed music for 21 plays, famous church music, numerous popular songs and glees.
Auber (6-bar'), Daniel Frangois Esprit,
compr. b. Caen, Jan. 29, 1782; d. Paris, May 12, 1871. Son of a painter who had gone into trade after the Revolution, he refused to follow any line but that of his talent. His first dramatic music, resetting of Julie, attracted attention of Cher- ubini who assisted his further de- velopment. First opera to gain public performance was Le Sejour d' Amour, 1813, but success was first won by La Bergere Chatelaine, J820. Increasing skill in clever treatment of light comic opera style is shown in series ending with Le Mafon, 1825. With first grand opera La Muette de Portici (Masaniello), 1825, he at- tained greatest height; in this work, says Apthorp, he brought all the brisk, nimble dash of his style to bear on a tragic subject. He outdid himself, showing unwonted dramatic fire, picturesqueness in orchestra- tion, skilful handling of choral masses. The old forms are there, but managed with dramatic ap- positeness. This opera, with Ros- sini's William Tell and Meyerbeer's Robert le Diable, changed the r£per- toire of the Paris Ope>a; the produc- tion in Brussels was the signal for revolutionary riots which ended in separation of Holland and Belgium. Most popular opera at home and abroad was Fra Diavolo, 1830. For many years A. composed about one opera a year, most frequently to libretti by Scribe, sustaining his powers at a remarkable level of graceful tunefulness and polish. He succeeded to Gossec's chair in the Academy, 1835; followed Cherubini as director of Cons. 1842.
Audran (6-dron), Edmond, compr. b. Lyons, April 11, 1842; d. Tierceville,
Aug. 17, 1901. Son of Marius Pierre, operatic tenor and song composer (1816-1887); pupil at Ecole Nieder- meyer, Paris, with prize for com- position; orgt. at Marseilles, 1861; composed a mass, motet and songs, but is known as composer of many successful examples of ope>a-bouffe, 37 in all, of which the best known to Americans are Olivette and La Mas- cotte; Le Grand Mogol, Les Noces d' Olivette, La Cigale et la Fourrni, Miss Helyett, and La Poupee were especially popular both in French and English versions.
Auer (ou'-er), Leopold, vlt. b. Veszprim, Hungary, May 28, 1845. Pupil at the Prague and Vienna Cons.; of Joa- chim, 1863-65; conductor in Dussel- dorf and Hamburg 1863-67; since 1868 at St. Petersburg as solo vio- linist to the court, prof, at Cons, and occasional conductor of Im- perial Mus. Assn. Exceptionally fine violinist, with noble style and extended repertoire; teacher of Mis- cha Elman; Tchaikovski's concerto dedicated to him.
Augustine, Saint, writer, b. Tagaste, Numidia, Nov. 13, 354; d. Hippo, Algeria, Aug. 28, 430. Bishop of Hippo, one of the fathers of the Latin Church, friend of St. Ambrose. His writings give valuable informa- tion about the condition of music in the early church and especially about Ambrosian chant; his work en- titled De Musica treats of rhythms only.
Aulin (ou-lin), TorJ vlt. b. Stockholm, Sept. 10, 1866. Pupil of Emile Sauret and Ph. Scharwenka in Berlin; since 1889 concertmaster Royal Opera, Stockholm; founded famous Aulin Quartet, 1887; distinguished virtuoso.
Aus der Ohe (ous'-der-o-e), Addle, pst. Father professor in Hanover Univ.; pupil under Kullak at age of 7 by advice of Von Billow; played with orch. in Berlin at age of 10; pupil of Liszt from 12 to 19; American d£but, 1886. Successful career as concert pianist of unusual strength and power.
Avison, Charles, compr., writer, b. New- castle-upon-Tyne,1710; d. there, May 9, 1770. Pupil of Geminiani, organist
AYLWARD
BACH
in Newcastle, 1736; composer of instrumental music, concertos and sonatas; author of Essay on Musical Expression, 1752, pamphlet which was strongly and successfully assailed by W. Hayes; edited Marcello's Psalms with English words. Mentioned in Browning's Parleyings.
Aylward (al'ward), Theodore, compr. b. about 1730; d. London, Feb. 27, 1801. Organist in London; prof, in Gresham College, 1771; asst. director of Handel Commemoration, 1784. Composed g^ees and catches very popular in his day, and some unpub- lished church music.
Bach (bak). Distinguished family of musicians bearing this name were descended from Hans Bach who lived at Wechmar about 1561; his son, Veit (d. 1619), was fond of music and Veit's son, Hans (b. about 1580; d. Dec. 26, 1626), was a professional musician, the real founder of the family. The sons of Hans settled in different towns, Johannes (1604- 73) in Erfurt, Heinrich (1615-92) in Arnstadt, and Christoph (1613- 61) at first in Erfurt, and later in Arnstadt. Almost all the members of the family were musicians; even those who at first turned to law or some other study end.ed their lives in musical service; some were vio- linists, more were organists, two at least, Johann Michael (1648-1694) and his nephew, Johann Nikolaus (1669-1753), experimented in instru- ment making and made improve- ments in pianoforte construction; almost all of them were, to a greater or less extent, composers. In private life the family seems to have been characterized by devotion to a high standard of moral purity and quiet dignity — an attitude maintained with remarkable consistency. This mood found most frequent expres- sion in the composition of church music of a lofty elevation and of organ and piano music of conspicu- ous clearness and intellectual inge- nuity. For detailed accounts of all the Bachs, see Philipp Spitta's Johann Sebastian Bach, 3 vols.; Grove's Dictionary, Vol. I; Eitner's Quellen- Lexikon. The most noted will be mentioned here in alphabetical order.
Bach, Johann Christian. There were two of this name of whom the earlier (1640-1692) was the son of Johannes in Erfurt. The later, b. Leipzig, 1735; d. London, Jan. 1, 1782, was
known as the Milanese or English Bach. He was eleventh son of Joh. Sebastian; after his father's death he lived with brother Karl Philipp Emanuel in Berlin, studying piano playing and composition. He went to Milan, became pupil of Martini and was organist at the Cathedral there 1760-1762; in Italy he com- posed sacred music and some operas. In 1762 he went to London, where he gave subscription concerts in partnership with Abel, 1765-1782; married Cecilia Grassi, the singer; composed several successful operas in light Italian style, and elegant, brilliant pianoforte works.
Bach, Johann Christoph. There were several of this name: One (1645- 1693) was son of Christoph and twin brother of Joh. Ambrosius, a violinist, who devoted himself with his uncle Heinrich to church music at Arnstadt. Another (1671-1721) was a brother of Joh. Sebastian, a
Sjpil of Pachelbel, and organist at hrdruf. Another (1685-1735) was the son of Joh. Aegidius (1645-1717) of Erfurt, both directors of the town music. The most famous, b. Arnstadt, Dec. 8, 1642; d. Eisenach, Mar. 31, 1703, was the son of Heinrich of Arnstadt and uncle of Joh. Sebastian. He was the greatest of the older generation, one of the most famous organ players and contrapuntists of his day, and was highly regarded as an individual by all; as a composer he was neglected by contemporaries outside of his family, but he is now considered of great importance for his individuality in solving problems, his high sense of form, and depth of expression. There are extant of his some instrumental works and 9 motets.
BACH
BACH
Bach, Johann Sebastian, b. Eisenach, Mar. 21 (or 22), 1685; d. Leipzig, July 28, 1750. Grandson of Chris- toph who was town musician to Count Schwarzburg and prominent in town music at Arnstadt; son of Job. Ambrosius (1645-1695), violin- ist, who settled in Eisenach in 1671, and of Elizabeth Lammerhirt of Erfurt. At the age of ten, both parents having died, Seb. went to Ohrdruf where he lived and studied with his brother Johann Christoph; this elder brother is reputed to have been harsh, denying to the eager youth access to a volume of music, and taking away from him a copy which he had made in secret by moonlight. After the death of this brother Seb. went on his own responsibility to Liineberg where he became a chorister and received free instruction in other branches; he paid great attention to the work of the organist Bohm and walked often to Hamburg to hear Reinken; he also walked to Celle where he had an opportunity to hear French music in the royal chapel. By similar persistence and application he in- creased his skill on the violin and pianoforte, as well as in composition. After a few months at Weimar, he became organist at Arnstadt in 1703. In 1705, having walked to Ltibeck to meet Buxtehude, he overstayed his leave of absence in his enthusi- asm, until the church authorities at Arnstadt were angry. Further ap- pointments followed: in 1707 he was organist at Miihlhausen; in 1708 court organist at Weimar, in 1714 concertmeister there; in au- tumn vacations he made many professional tours to other cities, Kassel, Halle, and Dresden (where he challenged the French organist Marchand who, at the last moment, refused to meet him); in 1717 he was made capellmeister and director of chamber music to Prince Leopold of Co then; in 1723 he succeeded Kuhnau as cantor at the Thomas- schule, Leipzig, and became organist at two principal churches there, without entirely severing his con- nection with Cothen. He remained at Leipzig 27 years, with frequent visits to Dresden and a memor- able one to Potsdam at the request
of Frederick the Great, whom he amazed by his skill in improvising. He became blind in 1749. His char- acter was like that of his family in general, one of conspicuous upright- ness, cheerful simplicity and marked singleness of purpose. He married twice: first, in 1707, his cousin Maria Barbara Bach, daughter of Johann Michael; and secondly, in 1721, Anna Magdalene Wulken. His home life was always happy and he took pleasure and satisfaction in the edu- cation of his 13 children and the (frequently musical) pleasures of his domestic circle. Beside his own sons he had many distinguished pupils among whom were Krebs, Agricola, Kirnberger, Marpurg and Vogler. Always eager to embrace every opportunity of hearing great contemporaries (he twice journeyed to Halle in vain attempts to meet Handel), he was in every way inde- fatigably industrious. Before 1717 he was chiefly occupied in writing organ music; during the time at Cothen he composed instrumental music, concertos, suites, etc. and the Wohltemperirtes Clavier, 1722, 1724; the Inventions and Sym- phonies for clavier, 1723; in the Leipzig period he wrote almost all of the more than 200 extant church cantatas. The St. John Passion was performed in 1724, the Matthew in 1729, the B minor Mass between 1732 and 1738. All of his music commands admiration by the dis- play of masterly contrapuntal skill, by the fertility and dexterity of his methods; but his is more than the skill of the juggler, in that he really combines the different parts into an organic whole which has a definite meaning of its own. By the " con- stant application of matchless tech- nic to the highest artistic ends," he is able to find the " right word for every occasion," so that he completely satisfies ' people of the most dissimilar tastes. The skill of all his successors rests on knowledge of his works, and their charm is still inexhaustible. Historically also his music is of vast importance; he settled the dispute between the old church modes and the modern har- monic scales; his works represent
BACH
BAERMANN
a fusion of both systems, but the modern one predominates. More- over he required " equal tempera- ment " for instruments with fixed intonation, and had a great influ- ence on the technic of piano playing by introducing a new system of fingering. He was appreciated by his contemporaries as an organist only; it was not until 1829 that Mendelssohn drew general attention to his compositions. The Bach- Gesellschaft, founded in 1850 by Schumann, Jahn, and others, issued a definitive edition of his complete works in 146 volumes.
Bach, Karl Philipp Emanuel. b. Wei- mar, Mar. 8, 1714; d. Hamburg, (Sept.) Dec. 14, 1788. Called the Berlin or Hamburg Bach, son of Joh. Sebastian. Studied law at Frank- fort and Leipzig Universities, but abandoned it for music in which he had been thoroughly instructed by his father. He entered the service of Frederick the Great in 1738, and continued therein until 1767 when he succeeded Telemann as director of church in Hamburg. He was one of the most brilliant composers of a period which prized brilliance more than profundity. His instru- mental music is especially valuable because it shows the origin of the modern forms which Haydn and Mozart were to bring to perfection. He composed a great number of works in almost every form.
Bach, Wilhelm Friedemann. b. Wei- mar, Nov. 22, 1710; d. Berlin, July 1, 1784. The eldest and ap- parently the most talented son of Joh. Sebastian, trained by his father and, in violin playing, by Graun. He distinguished himself in mathe- matics at Leipzig Univ. and held posts as organist and musical director at Dresden and Halle. In 1764 he was dismissed from his post because of his dissolute habits and died in want. He was a brilliant organ- player, a profound theoretician, a famous improviser, a skilful and fluent composer and at the same time the one black sheep of his race. Most of his compositions exist in manuscript only. (See, especially, Eitner's Lexikon.)
Bache, Francis Edward, compr. b. Edgbaston, Birmingham, Sept. 14, 1833; d. there, Aug. 24, 1858. Showed unquestionable talent as a child; studied under Bennett and in Leipzig under Hauptmann and Plaidy. Composed before untimely death 2 operas, concerto, trio, etc. His brother, Walter, pst. b. Edg- baston, Birmingham, June 19, 1842; d. London, Mar. 26, 1888. Studied piano and theory with Stimpson and with Plaidy, Moscheles, Reinecke, and Richter. Pupil in Rome, after 1862, of Liszt of whom he became ardent disciple and whose works he largely introduced to English public. Prof, of pf. at Royal Acad. Mus.
Bachmann (bak'-man), Georges, compr. b. about 1848; d. Paris, Dec. (?) 1894. Composed many light pf. pieces.
Backer- Grbndahl (bak'-er-gren-dal'), Agathe Ursula, pst., compr. b. Hol- mestrand, Norway, Dec. 1, 1847; d. Christiania, Aug., 1907. Pupil of Kjerulf and Lindemann, of Kullak, Von Biilow, and, later, of Liszt; married 1875 O. A. Grondahl, of Christiania (b. 1847), singing teach- er; has toured successfully in Scan- dinavia, London, and Paris. Com- posed charming songs, pf . pieces, etc.
Backhaus (bak-hous), Wilhelm, pst. b. Leipzig, Mar. 26, 1884. Pupil of A. Reckendorf at Leipzig Cons, and of d' Albert; won Rubinstein Prize for pf. playing, 1905; prof, of pf. at Manchester (Eng.) Royal Coll. of Music; remarkably popular with London audiences, but German critics say that his amazing technical ability is not used for artistic ends.
Badarczevska (ba-dar-chef'-shka), Tek- la, compr. b. Warsaw, 1838; d. there, 1862. Composed " salon " pf. works, popular in their day, now practically forgotten, except La Priere d'une merge (The Maiden's Prayer).
Baermann (bar'-man), Carl, pst. b. Munich, July 9, 1839. Grandson of Heinrich Joseph (1784-1847), friend of Weber and Mendelssohn, and son of Karl (1820-1885), both clarinet players of distinction; studied under Lachner and Liszt; d6but at 15; teacher in Royal Mus. Sch. in Munich; came to America in 1881;
BAI
BALAKIREV
has attained high rank as teacher in Boston, among pupils being C. H. Morse, Mrs H. H. A. Beach and F. S. Converse; his few published works, mostly for pf., are worthy expressions of his sound, conserva- tive spirit.
Bai [or Baj], (ba'-i), Tommaso, com- pr. b. Crevalcuore, about 1650; d. Rome, Dec. 22, 1714. Tenor singer and maestro in Vatican choir; fol- lower of Palestrina; composed Mis- erere sung alternately with those of Allegri and Baini in Holy Week.
Bailey, Lilian, see Henschel, Mrs. Georg.
Bailey, Marie Louise, pst. b. Nashville, Oct. 24, 1876. Studied 1889 with C. Reinecke in Leipzig Cons., win- ning scholarship; later with Leschet- izky; de"but at Gewandhaus 1893; played with Damrosch orch., and toured successfully in U. S. and Canada; at present in Vienna.
Baillot (ba-yo), Pierre Marie Fran$ois de Sales, vlt. b. Passy, Oct. 1, 1771; d. Paris, Sept. 15, 1842. Remark- able early talent; first instruction from Italian Polidori; in 1780 pupil of Sainte-Marie, who insisted on severe taste and exactness; in 1783 studied under Pollani; 1791 through influence of Viotti became first violin - at Th. Feydeau, Paris; 1791-1795 seems to have neglected music for small government appointment; pro- fessor at new Cons. 1795; after further study with Catel, Reicha and Cherubini, he made tour to Russia and later others to England, Holland, Switzerland and Italy; in 1821 leader of orch. at Grand OpeYa; 1825 solo player in royal band. He had many distinguished pupils, notably Habeneck, Mazas, the two Danclas, etc. Composed many works, chiefly very difficult vln. pieces, preludes, quartets, etc.; his chief works are L'art du Violon (1834) and Methode de Violon, pub- lished jointly with Rode and Kreut- zer, still standards.
Baini (bae-ni), Giuseppe, compr., writer, b. Rome, Oct. 21, 1775; d. there, May 21, 1844. Pupil of his uncle Lorenzo, and of Jannaconi whom he succeeded 1817 as maestro of St. Peter's; composed Miserere sung in
turn with those of Allegri and Bai at Sistine Chapel. He lived entirely in spirit of 16th century music and his chief work is life and criticism of the works of Palestrina (1828), not wholly accurate by standards of modern scholarship.
Baker, Benjamin Franklin, teacher, b. Wenham, Mass., July 16, 1811; d. Boston, Mar. 11, 1889. Sang in churches in Salem, Portland, and Boston; 1841 succeeded Lowell Mason as teacher of music in public schools; was vice-president Handel and Haydn Society; established Boston Music School; edited Boston MusicalJournal; composed cantatas, part-songs, etc.
Balakirev (ba-la'-ke-reff), Mili Alexei- evitch, compr., pst. b. Novgorod, (Dec. 31, 1836, O. S.) Jan. 2, 1837; d. St. Petersburg, June 24, 1910. Early youth passed in the country, where Oulibishev,_ author of Life of Mozart, instructed him in music; went at age of 20 to St. Petersburg where he met Glinka, and the younger composers, Cui, Mous- sorgski, Borodin and others. B. became the peculiarly influential center of a small group, some of whom were older than he in years, to whom he gave instruction in analysis of older masters and counsel in appreciation of the new — espe- cially Schumann, Liszt, and Berlioz. He also exerted a great influence toward " national " music, by col- lecting folk-songs and by urging use of characteristic rhythms and ideas. In 1863 B. founded a free school of music; before retirement in 1872 he was director Russian Musical Society, and director of singers at Imperial Chapel. His own works are few in number; the principal ones are symph. poems Thamar and Russia, overture and music to King Lear, symph. in C major, two series of songs, and pf. pieces nearly all of which demand the ability of a virtuoso — most not- able being the fantasia Islamey. " His romances are distinguished by pure and large melodies, by elegant accompaniments, often by passion and great interest." [Cui.] " He is an orchestral magician; he suc- ceeds, by harmonious wedding of
BALATKA
BANTOCK
timbres, in giving changing and sur- prising color to sound. He excels in the descriptive poem, the instru- mental tale." [Bruneau.] Though he has written nothing for the stage, his most remarkable compositions are those with a definite program, as the symph. poems and Lear.
Balatka, Hans, condr. b. Hoffnungs- thal, Moravia, March 5, 1827; d. Chicago, Apr. 17, 1899. Pupil of Sechter and Proch at Vienna; came to America 1849; founded and con- ducted Milwaukee Musikverein, conductor of Chicago Philh. Soc. 1860, and various societies in Mil- waukee, St. Louis and Chicago; dis- tinguished among pioneers of music in the West.
Baldwin, Samuel Atkinson, orgt., compr. b. Lake City, Minn., Jan. 25, 1862. At 12 moved to St. Paul where he was orgt.at 15; studied in Europe 1880-84 (with one year at home) at Dresden Cons, with G. Merkel, Nicode', Risch- bieter, and Wullner; orgt. Chicago 1885-89; orgt. dir. of choral ass'n, St. Paul 1889-95; orgt. in New York 1895, in Brooklyn since 1902; head of dept. of mus. in Coll. of City of N. Y., 1907, where he gives semi- weekly recitals; compositions include songs, anthems, 18th Psalm for voices and orch., cantata Triumph of Love, concert overtures, suite for orch., and symphony.
Balfe, Michael William, compr. b. Dublin, May 15, 1808; d. Rowney Abbey, Hertfordshire, Oct. 20, 1870. Son of William (died 1823), a danc- ing master; he first learned to play the violin for dancing as a pupil of Meadows and O'Rourke (Rooke); articled pupil of C. E. Horn in London; played in theatre band; went to Italy 1825 where he studied with Paer and Federici; in Paris Rossini engaged him as baritone in Italian opera and he sang in London and Paris with success until about 1833; after 1835, he composed operas, managed, and conducted them in London, Paris, and Berlin; retired to country 1864. First dramatic composition was ballet La Perouse 1827; first English opera Siege of Rochelle 1835; his suc- cesses thereafter were almost con- tinuous; he wrote about 30 operas, j
the one most widely known to-day being The Bohemian Girl, first pro- duced 1843. Macfarren (quoted in Grove) says B. possessed quick- ness of ear, readiness of memory, executive facility, fluent invention, remarkable and experienced com- mand of orchestra, and, on the other hand, want of conscientiousness; that in his music, however, " the element which makes it evanescent is that which also makes it popular."
Banister, John, vlt. b. London, 1630; d. there, Oct. 3, 1679. Taught rudi- ments by his father, sent to France by Charles II; leader of the King's band 1662; first musician to estab- lish successful concerts in London, holding them at his own house every afternoon 1672-1678. Composed mu- sic to " Circe," songs, and lessons for violin. Son John (1677-1735) distinguished violinist in days of first Italian operas. Henry Charles (1831-1897) successful teacher of harmony and instructive writer.
Banti-Giorgi (ban'-ti-ge-or'-gi), Brigida, dram. sop. b. Crema, Lombardy, 1758; d. Bologne, Feb. 18, 1806. Discovered singing in street cafe", she was engaged for Paris Ope"ra, where she made d6but; 1799-1802 made great success in London; Sac- chini, Piozzi, Abel all tried to teach her in vain; she remained to the last a natural singer, learning parts by ear, but singing them with great effect; favorite in England 1789- 1798, when succeeded by Mrs. Billington. (See article by C. Lozzi, Rivista Musicale Italiana, 1904.)
Bantock, Granville, compr. b. London, Aug. 7, 1868. Pupil of F. Corder at Royal Acad. of Music 1889 winning Macfarren Scholarship; while still a student he had works performed; editor of New Quarterly Music Review 1893-96; tour of the world as conductor of Gaiety Th. Com- pany 1894-95; conductor of various companies and orchestras, in New Brighton, near Liverpool, where he effected great improvements, at Ant- werp and Birmingham; principal Sch. of Mus. Birmingham and Mid- land Institute since 1900; succeeded Edward Elgar as professor in Bir- mingham University 1908; has al- ways shown himself hospitable to
BARBIERI
BARNETT
work of young composers, and to those of British composers. His own compositions, cantatas, large choral works, symphonic poems, pf. pieces, etc. are usually of marked oriental coloring (often dealing with Eastern subjects) and of romantic tone; he combines a remarkably sure orches- tral technic with subtlety of feel- ing for tone, color and great poetic sensibility (Newman); he prefers the looser forms of program music.
Barbieri (bar-bi-a'-ri), Francesco Asen- jo, compr. b. Madrid, Aug. 3, 1823; d. there, Feb. 17, 1894. Pupil Madrid Cons., clarinetist in theatre orch., chprusleader at opera; secretary and chief director of society for encourag- ing the Zarzuela, the distinctly na- tional Spanish type of operetta, of which he wrote 75; edited coll. of 15th century songs; critic and teacher at cons., promoter of good concerts.
Bardi, Giovanni, Count of Vernio. b. 1534; d. 1612. Patron of music in Florence in 16th century, at whose house took place the earliest per- formances of opera; may have writ- ten words for some.
Bargiel (bar'-gel), Woldemar, compr. b. Berlin, Oct. 3, 1828; d. there, Feb. 23, 1897. Son of Adolf (died 1841) teacher of music and of di- vorced wife of Fr. Wieck, so he was Clara Schumann's step-brother; trained by parents and at Leipzig Cons, by Hauptmann, Moscheles, Gade, etc.; teacher at Cologne; director 1865 of society for promoting music at Antwerp; teacher at Berlin Hochschule 1875. CarefuJ if not romantically inspired composer of the school of Schumann; works in- clude pf. pieces, orchestral works, and choral works, especially settings of 13th and 23d Psalms.
Barnard, Charlotte Alington [known as Claribel], song compr. b. Dec. 23. 1830; d. Dover, Jan. 30, 1869. Taught by Holmes; married Chas. C. Barnard, 1854; composed over 100 popular songs — Five o'clock in the morning, I cannot sing the old songs, etc.
Barnard, D'Auvergne, compr. b. Isling- ton, London, Apr. 24, 1867. Though not of musical parents, early showed
gifts as choir boy in Temple Church; trained there by E. J. Hopkins; self-taught as pianoforte player, gained many appointments as ac- companist; began composition at 19; soon after became widely known as compr. of songs Bid Me to Love and Plains of Peace; under various pseudonyms has written over 100 songs and 200 pianoforte pieces; of dance music under name " Clo- thilde," most popular perhaps is waltz Whisper and I shall hear.
Barnby, Sir Joseph, compr. b. York, Aug. 12, 1838; d. London, Jan. 28, 1896. Son of Thomas, organ- ist; himself organist and choir- master at age of 12; entered Royal Acad. of Mus. 1854; organist at several London churches; director of Barnby's Choir, inaugurated by Novello 1867-1872; conducted daily concerts also for Novello 1874-^75; conductor London Mus. Society 1878-86; precentor at Eton 1875- 92; principal Guildhall School 1892; conductor Royal Choral Society. Wrote very large number of hymn tunes, services, part-songs, etc., more or less uninspired; chiefly of im- portance for introducing works of Bach and Gounod into England; he also conducted first performance of Parsifal 1884. Gained widest reputation as a choral leader, and maintained his high standard every- where by force of character and per- sonality. " Of his music sweetness rather than strength is its salient characteristic. Technically it is masterly. ... He will be known as the composer of the most popular part-song ever written, Sweet and Low ." (Monthly Mus. Record 1896.)
Barnett, John, compr. b. Bedford, Eng., July 1, 1802; d. near Chelten- ham, Apr. 17, 1890. Of Prussian- Hungarian parentage. Son of Ber- nard Beer, watchmaker, second cousin to Meyerbeer; showed marked ability as singer as child; articled at 11 to S. J. Arnold; de'but on stage 1813; taught also by Horn and Price; from 1825-1831 com- posed several musical farces, best of which was The Pet of the Petticoats; 1834 published collection of songs; produced successive operas, The Mountain Sylph 1834 first English
BARRETT
BATTISHILL
opera in style of Weber, extremely successful, Farinelli 1839, etc.; taught singing after 1841. His nephew John Francis, compr. b. London, Oct. 16, 1837. Studied Royal Acad. Mus. winning scholar- ship twice; de"but 1853; studied with Moscheles, Plaidy, and Haupt- mann at Leipzig Cons.; played at Gewandhaus 1860. Composed suc- cessful cantatas, The Ancient Mari- ner 1870 and many others for English festivals, also symph., pf. pieces, etc.; published Musical Reminis- cences and Impressions 1908 (?).
Barrett, William Alexander, writer, b. Hackney, England, Oct. 15, 1836; d. London (?), Oct. 17, 1891. Chor- ister and organist; writer on church music; author of Life of Balfe; joint editor with Stainer of Diet, of Mus. Terms; editor of Monthly Mus. Record and of Mus. Times for 1887.
Barri, Odoardo, see Edward Slater.
Barth (bart),KarlHeinrich, pst., teacher. b. Pillau, Prussia, July 12, 1847. Pupil of father, of Steinmann and of Von Biilow, Tausig, etc.; teacher at Stern Cons., Berlin, 1868, and . at Royal High School 1871. Ad- mired in solo concerts in Germany and England and also in trio con- certs with De Ahna and Hausmann.
Bartlett, Homer Newton, compr. b. Ol- ive, N. Y., Dec. 28, 1845. Precocious talent; pupil of S. B. Mills, Braun, Jacobsen, etc.; organist at various • N. Y. churches ; has composed a great many songs and pf . pieces, a cantata, sextet, etc. His work is always skil- ful, often brilliant (especially in or- chestration) ; at its best, as in A Love Song, I Hear the Brooklet's Murmur, etc., it is original, rich, and sincere; best known work for piano, Polka di Concert.
Bartlett, James Carroll, compr., tenor, b. Harmony, Maine, June 14, 1850. Entered N. E. Cons. 1869 where he studied singing under O'Neill, pf . and theory under Stephen Emery; later a pupil of Guilmette and Shakespeare ; 1875-76 went on first professional tour with Camilla Urso; was musical director for Edwin Booth and Bar- rett; singer and teacher in Boston; orgt. at Worcester; composer of graceful, singable songs.
Basil, Saint, b. Cesarea, 329; d. there, 379. Bishop in Cappadocia; said to have introduced congregational singing and antiphons which Am- brose learned from him.
Bassani (bas-sa-ne), Giovanni Battista, vlt., compr. b. Padua, about 1657; d. Ferrara, 1716. Pupil of Castro- villari; maestro at Bologna Cathe- dral; distinguished violinist, teacher of Corelli; composer of 6 operas, sonatas, suites, etc.
Bassford, William Kipp, pst., orgt. b. New York, April 23, 1839; d. 1902. Pupil of S. Jackson; successful con- cert tours as pianist; organist, com- poser and teacher in N. Y.
Bassi (bas-se), Luigi, dram, baritone, b. Pesaro, 1766; d. Dresden, 1825. In Prague 1784-1806, and again, after stay in Vienna, in 1814; director of Dresden Opera under Weber; B. was singer for whom Mozart wrote Don Giovanni.
Bateson, Thomas, compr. b. England, about 1575; d. Dublin (?), Mar. or April, 1629 (30) . Organist at Chester Cathedral 1599 and after 1608 of Trinity Cathedral in Dublin; re- ceived mus. degree from Trinity College late in life, being the first mus. graduate there. His fame rests on two sets pf madrigals for 3, 4, 5, and 6 voices, which give him a high place among Elizabethan composers.
Batiste (ba-test), Antoine Edouard, orgt. b. Paris, Mar. 28, 1820; d. there, Nov. 9, 1876. Son of a come- dian, page in chapel of Chas. X; after 1830 went to Cons, where he won four first and four second prizes and in 1840 the 2d Prix de Rome as Hal6vy's pupil; appointed deputy teacher at Cons, while still a student; held many classes; also orgt. at St. Nicolas des Champs and notably at St. Eustache 1854-1876. Educa- tional works, introd. to solfeggio method, etc., of great value; organ compositions, once popular, are not now so highly rated.
Battishill, Jonathan, compr. b. Lon- don, May, 1738; d. Islington, Dec. 10, 1801. Chorister under W. Sav- age and his articled pupil; assistant of Dr. Boyce at Chapel Royal;
BATTMANN
BEACH
harpsichord player at Covent Gar- den, married Miss Davies, singer; with M. Arne composed Almena; later when organist in different churches, composed several anthems and many favorite catches and songs.
Battmann (bat'-man), Jacques-Louis, orgt. b. Maasmunster, Alsace, Aug. 25, 1818; d. Dijon, July 7, 1886. Qrgt. at Belfort and Vesoul; wrote method and works for harmonium, works for piano, and treatise on harmony.
Bauer (bou'-er), Harold, pst. b. Lon- don, Apr. 28, 1873. Son of an Eng- lish mother and German father, he first studied vln. with his father and Pollitzer; de'but as vlt. London, 1883; after successful tours for 9 years, settled in Paris, 1892, where by persistent application with some instruction from Paderewski he gained extraordinary technical abil- ity as pianist; in 1893-94 he toured Russia and since then has continued remarkably successful throughout Europe and America (including South America); his first appear- ance in America was witn the Boston Symph. Orch. Dec. 1, 1900.
Baumbach (bourn '-bak), Adolph, compr. b. Germany, 1830 (?); d. Chicago, 1880. Piano pieces and a collection of quartets for church choir.
Baumf elder (boum'-f elder), Friedrich, pst. b. Dresden, May 28, 1836. Pupil of Otto and Joh. Schneider, and at Leipzig Cons, of Moscheles, Hauptmann, etc.; composer of brilliant salon music; director at Schumann Smgakademie in Dresden.
Bausch (boush), Ludwig Christian August, vln.-maker. b. Naumburg, Jan. 15, 1805; d. Leipzig, May 26, 1871. Maker and repairer of violins, especially famed for his bows, in Dresden, Dessau, Wiesbaden, and Leipzig. Sons Ludwig (182971871) at first in N. Y. then in Leipzig and Otto (1841-1874) continued busi- ness, now owned by A. Paulus at Markneuki rchen .
Bayer (by-er), Josef, vlt., compr. b. Vienna, Mar. 6, 1852. Educated at Realschule, Handelsakademie, and Vienna Cons.; capellmeister at
Vienna Opera; has composed a great deal of dance music and several operettas and opera-ballets.
Bazzini (bat-ze'-ne), Antonio, vlt., compr. b. Brescia, March 11, 1818; d. Milan, Feb. 10, 1897. Pupil of Camisoni; played in principal towns of Italy, France and Spain; lived in Germany 1841-45; 1873 prof, of comp. at Milan Cons.; director 1882. Composed opera Turandot, sacred cantatas, symph., overtures, Saul and King Lear, and vln. pieces. Works show graceful Italian spirit deepened by German influence.
Beach, Amy Marcy Cheney (Mrs. H. H. A.), compr. b. Henniker, N. H., Sept. 5, 1867. She inherits musical ability from her mother's family and mathematical accuracy from her father's; has the gift of absolute pitch; from early childhood was remarkably precocious in memory for tunes and interest in them. Lessons on the piano began with her mother at the age of six and were continued at eight in Boston under E. Perabo, J. W. Hill, and C. Baermann; she studied harmony with Prof. Hill in 1881-82, and studied counterpoint, fugue, and instrumentation by herself, making her own translations of Gevaert and Berlioz. First public appearance in Boston 1883; played with Bost. Symph. Orch. Mar. 28, 1885; since marriage with Dr. H. H. A. Beach 1885 she has played only rarely in public. She began to compose as a mere child; her first large work was a mass in E flat 1892; then followed Eilende Wolken, a scene from Schil- ler's " Mary Stuart "; Festival Ju- bilate for chorus and orchestra, for the dedication of the Woman's Build- ing at the Chicago World's Fair, 1893; the Gaelic symphony 1896; a violin sonata 1896; there are also many pf. compositions and songs. Goetschius says " the salient char- acteristics of Mrs. Beach's style [are] strong, passionate conception and powerful emotional impulse tem- pered and controlled by never- failing command of the means of expression, hand in hand with an exquisite sense of melodic and rhyth- mic beauty." In larger works her technical skill often leads to an
BEAUMARCHAIS
BEETHOVEN
overweight of elaborate detail; she is at her best in the smaller forms (songs and pf. pieces) where her delicate sense of melody finds charm- ing and sincere expression.
Beaumarchais (bo-mar-sha) , Pierre-Au- gustin-Caron de, librettist, b. Paris, Jan. 24, 1732; d. there, May 19, 1799. Dramatist from whose plays were drawn libretti for Mozart's Marri- age of Figaro and Rossini's Barber of Seville.
Beaumont (bo-mon), Paul, compr. b. Mayence, Jan. 13, 1853. Son of flute- player in orchestra; showed early inclination for music; entered at 14 office of B. Schott's Sons, publish- ers, who assisted him in his educa- tion and have published many of his works; compositions largely for piano, many of them for young players.
Beck, Johann Heinrich, vlt. b. Cleve- land, Sept. 12, 1856. Studied at Leipzig Cons., violin, and composi- tion with Reinecke and Jadassohn; after return to Cleveland estab- lished violin school and works in large forms, overtures to Lara and to Romeo and Juliet, music-drama SalammbS, etc., all unpublished, per- formances of which from Ms. have excited great admiration.
Becker, Albert Ernst Anton, compr. b. Quedlinburg, June 13, 1834; d. Berlin, Jan. 10, 1899. Pupil at Quedlinburg of Bonicke and in Berlin of Dehn; teacher of comp. at Scharwenka Cons.; composed many works for orch. with vln. and with org., songs (Friihlingszeit), and especially symph., grand mass, and oratorio Selig aus Gnade, and a Reformations-Cantata.
Becker, Hugo, 'cellist, b. Strassburg, Feb. 13, 1864. Son of Jean (1833- 1884) eminent violinist; pupil of father, and on 'cello of Grutzmacher, De Swert and Piatti; first appear- ance Leipzig; solo 'cellist in Frank- fort opera 1884-*86, and teacher in Cons, there when not engaged on numerous and successful tours as soloist and as member of Frankfort Quartet led by H. Heermann; first appeared in Boston, Jan. 12, 1901,
with Bost. Symph. Orch. Playing is described as of " classic nobility." [Riemann.]
Bedford, Herbert, see Lehmann, Liza.
Beer, Jakob Liebmann, see Meyerbeer, Giacomo.
Beethoven (ba'-to-ven), Ludwig van, compr. b. Bonn, Dec. 16, 1770 (gave date himself as 1772); d. Vienna, Mar. 26, 1827. Grandson of Ludwig, bass singer and capellmeister in electoral band; son of Johann, tenor singer, and of Maria Magdalene Laym (nee Keverich). B. was edu- cated in common schools until age of 14, after which he received nc regular instruction; about 1780 a friend, Zambona, taught him Latin, French, and Italian, and helped him in other branches. His musical edu- cation was more thorough; at first his father taught him violin and piano playing with great strictness and severity; after 1779 he was the pupil of Pfeiffer, music director and oboist; he learned to play the organ from Van den Eeden and from his successor Neefe. In 1782 B. became Neefe's deputy as organist; in 1783 cembalist for rehearsals of the opera orchestra; in 1784 assist- ant organist; and in 1788 he also played 2d viola in orchestra of theatre and at church under Reicha's leadership. In 1787 he went to Vienna and excited much interest as a pianist; Mozart, hearing him, foretold that he would have a great future. About 1790 his home life became very miserable because of the death of his mother and the bad habits of his father; he had made, however, some good friends, notably Count Waldstem, who gave him early encouragement, and the refined and cultured family of Von Breunings. In 1792 the elector sent Beethoven to Vienna for study. Dissatisfied with instruction he re- ceived from Haydn, the impatient Beethoven took lessons from Schenk at the same time, without Haydn's knowledge. He also took regular lessons in counterpoint, etc. from Albrechtsberger, whose strict for- malism disapproved of the student's originality; he also received " hints " on vocal style from Salieri and on
BEETHOVEN
BELICZAY
quartet writing from Aloys Forster. In 1795 he first played in public in Vienna, and until the end of his life he lived there, with occasional trips to other cities and frequent excursions to the country. Events are not many in his later years; after about 1800 he was increasingly troubled by deafness which became, about 1816, so bad that his playing and conducting were most un- pleasant. After 1818 he was the guardian of his brother's son, an apparently worthless youth whose incapacity, wildness, and ingratitude caused his uncle serious distress of mind. His first years in Vienna were prosperous, but after about 1810 his affairs did not go so well, though he was never, it seems, as near actual want as some of his expressions have led biographers to think. Beethoven was short, thick- set, and very strong. He was unceremonious in manner, often brusque and rude, easily irritated by real or fancied slights and often boisterous over his own practical jokes. He seems to have been unpopular with his fellow-musicians, but he made good friends among the members of the Vienna aristocracy, who bore with his strange ways. As a player, he was chiefly remark- able for the fertility of his ideas in improvisation and for depth of ex- pression. He was an indefatigable worker and his many note books (one of which he had always with him) bear witness to the number of his ideas and to their slow and pains- taking development.
Beethoven's works have been divided by Von Lenz into three periods, according to their style, not according to strict chronology. The first period, extending roughly to 1800, includes the works which are like those of his teachers and contemporaries, — the earlier string quartets, piano sonatas, etc. The second period, up to about 1815, was the freest and fullest; the works here include the third to the eighth symphonies, Fidelia, Eg- mont, Prometheus, pf. concertos in G and E flat, vln. concerto, the great- est sonatas, etc. During this period B. was unhampered by illness and family cares and his originality and
powers of execution had full play. Fidelia, first produced in 1805, was practically rewritten for its per- formance in 1806 and again for 1814. The third period includes the ninth symph., the Missa Solemnis, the great string quartets, etc.; this is a period of struggle in his life, and, in his music, of loftiness and eleva- tion which at times seem almost too great to be contained. The notable characteristics of his music as a whole are inexhaustible originality of musical idea, and power of mighty expression coincident with a regard for the existing sonata form. To his contemporaries B. was a daring innovator because of the freedom of his modulations and his habit of fusing into one whole the different parts of a movement or a work, and of introducing new material in unusual places, and, moreover, be- cause he regarded music preemi- nently as a vehicle of expression rather than as an exhibition of skill. To his successors, however, he belongs to the " classic " age, because although he filled the con- ventional forms more deeply than any other with noble thought, he still did so with constant regard to the form.- He represents the great- est achievement on both sides, con- sideration for purity of form, and expression of high thought.
Behnke (ban'-ke), Emil, teacher, b. Stettin, 1836; d. Ostende, Sept. 17, 1892. Lived in London; taught and wrote about voice training and voice production, wrote Mechanism a/the Human Voice (1880) and other books.
Behr (bar), Franz, compr. b. Liib- theen, Mecklenburg, July 22, 1837. Under pseudo. William Cooper, Charles Morley, Francesco d'Orso, has published many popular and instructive pf. pieces.
Behrend (bar'-end), Arthur Henry, b. Danzig, Oct. 2, 1853. Composer of songs.
Beliczay (be-li'-chay), Julius von, com- pr. b. Komorn, Hungary, Aug. 10, 1835; d. Pesth, Apr. 30, 1893. Originally an engineer; studied with Joachim, Hoffmann and Krenn;
BELLERMANN
BENDIX
taught mus. theory at Acad. of Mus. Pesth. Composed mass, symph., string quartets, etc.
Be Hermann, Johann Friedrich, writer. b. Erfurt, Mar. 8, 1795; d. Berlin, Feb. 4, 1874. Wrote works explan- atory of theory and practise of music among the Greeks. His son, Johann Gotfried Heinrich, compr. b. Berlin, Mar. 10, 1832; d. Potsdam, Apr. 10, 1903. Pupil of Grell and at the Royal Inst. of Church Mus.; teacher of singing; prof, of mus. at Berlin Univ. Composed many vocal works and wrote theoretical and historical works and articles.
Bellini (bel-le'-ni), Vincenzo, opera- compr. b. Catania, Sicily, Nov. 1, 1801; d. Puteaux, near Paris, Sept. 23, 1835. [Many authorities give these dates as Nov. 3 and Sept. 24, respectively.] Son of organist, who gave him first lessons; sent by nobleman to Naples Cons.; his first opera produced 1825 while still a student; 1826 Bianco, e Fernando, written on commission, had success at Naples and II Pirata in 1827 excited enthusiasm at Milan and all over Europe — a result partly due to singing of Rubini for whom tefior part was composed. After La Stran- iera and Zaira, a flat failure, in 1829, his version of Romeo and Juliet, / Capuletti ed i Montecchi (1830) was followed by his masterpieces La Sonnambula and Norma in 1831. The former is the work most fre- quently heard nowadays; the part of Amina has been a favorite with debutantes; the simplicity of the plot and the extreme tunefulness of the music are the qualities most praised. In 1833 B. went to London and to Paris where he received assist- ance and advice from Rossini; he produced there in 1834 / Puritani. He was an eager and hard worker. Pougin says: " His complete igno- rance of theoretical rules and of the resources which a clever musician may gain from them, his almost absolute lack of knowledge of form and his naive and still almost affected disdain for it, were the very reasons for his creating for himself a special form, which, although awkward and lacking in movement and variety, was essentially personal." The
modern auditor, however, is not compensated for the monotonous lack of ingenuity in his orchestration by the tender sweetness of his melo- dies, though singers of the Italian School will long delight in his arias.
Bemberg (ban-bar') , Herman, compr. b. Paris, Mar. 29, 1861. Son of consul from Argentine Republic; pupil at Paris Cons, of Dubois and Massenet; has written songs, a cantata, comic opera Le Baiser de Suzon and opera Elaine, produced London 1892 and N. Y. 1894.
Benda, Georg, compr. b. Jungbunz- lau, Bohemia, June 30, 1722; d. Kostritz, Nov. 6, 1795. Son of Hans Georg; pupil of father and of brother Franz (1709-1814) violinist and com- poser; 2d violin in royal band in Berlin; capellmeister to Duke of Gotha; traveled to Italy, Paris, and Vienna. Composed church and instrumental music, 5 operas, and 4 melodramas, (i.e., plays where spoken words are accompanied by music). Rousseau may have in- vented the form but B. brought it to success. Other brothers Johann (1713-1752) and Joseph (1724-1804) both violinists; son Friedrich Lud- wig (1746-1792), composer.
Bendall, Wilfred Ellington, compr. b. London, Apr. 22, 1850. Pupil of Lucas and Silas, and at Leipzig Cons.; now living as teacher and composer in London; has written 'operettas, songs, etc.
Bendel, Franz, pst., compr. b. Schon- linde, Bohemia, Mar. 23, 1833; d. Berlin, July 3, 187*4. Pupil of Proksch and of Liszt for five years; visited America as pst. for Peace Jubilee; teacher in Berlin. Com- posed pf. pieces, concerto, trio, etudes, etc.
Bendix, Max, vlt. b. Detroit, Mar. 28, 1866. Pupil of Jacobsohn, but after 15 his own master; left family and supported himself by odd jobs at theatres and concerts in Philadel- phia; in Damrosch orch., N. Y.. 1887; concertmeister of Germania Orch.; concertmeister for Thomas 1886-1896; organized Max Bendix Quartet; since 1896 teaching and solo playing in New York; Chicago 1909.
BENDEX
BENNETT
Bendix, Otto, pf. teacher, b. Copen- hagen, July 26, 1845; d. San Fran- cisco, March 1, 1904. Pupil of Ree, Gade, Kullak, and Liszt. After 1880, settled in Boston, taught at N. E. Cons.; founded Cons, in San Francisco. His brother Victor Emanuel, pst., compr. b. Copen- hagen, May 17, 1851. Pupil of Gade; teaching pf. in Copenhagen, and conducting choral society. Com- posed pf. pieces, and 3 symphonies.
Bendl, Karl [Karel], compr. b. Prague, April 16, 1838; d. there, Sept. 20, 1897. Pupil of Blazok and Pitsch at Organists' School; chorusmaster in opera at Amsterdam, 1864; con- ductor of choral soc. Composed 5 operas, choruses, pf. music all tending to expression of Czech senti- ments; with Smetana and Dvorak he gained recognition for the Czech in art.
Benedict, Sir Julius, compr. b. Stutt- gart, Nov. 27, 1804; d. London, June 5, 1885. Son of Jewish banker; pupil of Abeille, then of Hummel, pupil and proteg6 of Weber 1821- 1824; conductor at Vienna 1823 and at Naples; after visiting Paris, settled in London 1835; conducted there operas, concerts, and festivals; came to America with Jenny Lind in 1850; knighted 1871. Com- posed in almost all forms, successful operas, especially Brides of Venice 1843 and Crusaders 1846, sym- phony, cantatas, pf. pieces, etc. Walker (History of Music in Eng- land) says " works of Balfe . . . and Benedict are all far more worthy of name of opera than any work of Bishop and his contemporaries."
Benevoli (ben-e-vo'-li), Orazio, compr. b. Rome, 1602; d. there, June 17,1672. Pupil of Ugolini (some say of Nanini) ; resided in Vienna 1643-45; maestro di cappella at various churches and finally 1646 at Vatican. Composed great deal of church music, chiefly remarkable for skill and ingenuity in managing a great many parts; for example, a mass and hymn in 56 parts (vocal and instrumental), and a mass for 48 voices in 12 choirs.
Bennet, John, compr. b. Lancashire (?) 16th century. [1570-1615.] His madrigals are included in famous
English collections from 1599-1614; admiration of posterity for his charming work has not made it possible to discover any details of his life.
Bennet, Theodore, see Ritter, Theo- dore.
Bennett, George John, compr. b. Andover, Hants, Eng., May 5, 1863. Studied at Royal Acad. of Mus. under G. A. Macfarren and others and in Germany under Kiel, Barth, Rheinberger, and Bussmeyer. Teacher at Royal Acad., organist at several places, now at Lincoln Cathedral; conductor Lincoln Festi- vals. Composed serenade, overtures, trio, pf. pieces, etc.
Bennett, Joseph, writer, b. Berkeley, Gloucestershire, England, Nov. 29, 1831. Organist at Westminster Chapel, etc.; author of many Eng- lish libretti; wrote analyses for programs of Philh. Soc., Monday and Saturday Popular Concerts 1885-1903; edited Concordia; has contributed to various journals, written several books (History of Leeds Festival, etc.); now music critic on London Daily Telegraph.
Bennett, Sir William Sterndale, compr. b. Sheffield, Apr. 13, 1816; d. London, Feb. 1, 1875. Son of Robert, organist at Sheffield and composer; grandson of John, lay clerk at Cambridge, where B. lived after father's death in 1819; member of King's College Chapel Choir 1824; pupil at Royal Acad. of Mus. of Lucas, Crotch, Holmes, and Cipri- ani Potter; played concerto of his own at Acad. concert at age of 17; in 1836 in response to invitation from Mendelssohn whom his playing had interested and by the financial aid of the firm of Broadwood he went to Leipzig for a year; there he met both Schumann and Mendels- sohn; 1849 founded Bach Soc.; 1856-1866 conductor of Philh. Soc.; 1856 prof, of mus. at Cambridge; 1866 principal of Royal Acad.; 1871 knighted. Composed pf. music (3 concertos, caprice for pf. and orch., sonata, studies, etc.) of a character remarkably consistent with the gen- ius of the instrument; cantata The May Queen and oratorio The Woman
BENOIST
BERINGER
of Samaria, songs, anthems, etc. — on the whole very little for one of his ability. " The character of all his art [was] that of high finish of form and grace of expression, not without deep feeling at times, but marked in general rather by a calm and placid beauty, and appealing to the fancy, the sentiment, and the intellect, rather than to the more passionate emotions." [Grove.]
Benoist (b6-n6-a), Francois, orgt. b. Nantes, Sept. 10, 1794; d. Paris, May 6, 1878. Pupil of Paris Cons. 1811-1815; Grand prix de Rome 1815; orgt. at Chapel Royal; prof, of organ at Cons.; 1819-1872, chefdu chant at Ope"ra; pensioned 1872. Wrote 2 operas, ballets, organ works.
Benoit (be'-no-a), Pierre-Leonard-Leo- pold, compr. b. Harlebecke, Bel- gium, Aug. 17, 1834; d. Antwerp, Mar. 8, 1901. Studied at Brussels Cons, under Fe'tis; wrote opera and music to melodramas; theatre- condr. 1856; won government grant 1857; after study in Germany conducted at Paris; after 1867 director Antwerp Cons. He wrote many songs and pf. pieces and many large choral works, Lucifer and De Oorlog (War) being perhaps best known. His scores are large, sometimes majestic through mere weight; their real grandeur and impressiveness is sometimes marred by B's " blind nationalism," his desire to free himself from all out- side influence; he worked for many years to establish a school of Flemish composers, although there seem to be few distinctive traits.
Berber, Felix, vlt. b. Jena, Mar. 11, 1871. Pupil at Dresden Cons, and pf Brodsky at Leipzig Cons.; 1889 in London; 1891-96 concertmaster at Magdeburg, 1898-1902 at Ge- wandhaus, Leipzig; 1904 teacher in Royal Acad. in Munich.
Berens (ba'-rens), Hermann, pst. b. Hamburg, Apr. 7, 1826; d. Stock- holm, May 9, 1880. Pupil of 'father Karl, flutist (1801-1857), of Reis- siger, and Czerny; went to Stock- holm 1847; founded Quartet Soirees, conducted at court and theatres, taught comp. at Academy. Com- posed opera, overtures, chamber
music and songs. His technical work, Neueste Schule der Geldu- figkeit, Op. 61, is much used.
Berger, Francesco, pst. b. London, June 10, 1835. Pupil of L. Ricci, Lickl, Hauptmann and Plaidy; prof, of pf. at Guildhall School and Royal Acad.; director and secretary of Philh. Composed one opera, masses, part-songs, and First steps at piano- forte.
Berger, Ludwig, pf. -teacher, b. Berlin, Apr. 18, 1777; d. there, Feb. 16, 1839. Pupil for harmony of Giirr- lich, for pf. of Clementi with whom he traveled to St. Petersburg, to Stockholm and London 1815; in- fluenced by Field; taught in Berlin, after 1815, among others Taubert, Henselt, Fanny and Felix Mendels- sohn, wrote pf. studies of value and considerable music of various kinds.
Berger, Wilhelm, compr. b. Boston, Mass., Aug. 9, 1861. Of German parentage he left America when only a year old; studied 1878-82 in Berlin Hochschule with Kiel; lived in Berlin as teacher; 1903 capellm. at Meiningen and composer, chiefly of choral works and chamber music, popular Lieder.
Bergmann, Karl, condr. b. Ebers- bach, Saxony, 1821; d. New York, Aug. 16, 1876. Pupil of Zimmer- mann and Hesse. Came to America 1850 with Germania Orch., which he later conducted till 1854; also con- ducted Handel and Haydn 1852- 54; and Philh. Orch., N. Y. 1855- 1876 (1855-66 alternately with Eis- feld), and Germ, chorus " Arion." Introduced much important music to America; Theodore Thomas's tastes and talents developed under B's influence (Krehbiel, in Grove).
Bergonzi (bar-gon-tsi), Carlo, vln.- raaker at Cremona, about 1716-55; best pupil of Stradivari, whose models he imitated; especially dis- tinguished as a 'cello-maker. Son Michel Angelo, nephews Niccolo and Carlo all makers of no importance.
Beringer (ba-ran-zha), Oscar, pst. b. Fiirtwangen, July 14, 1844. Pupil until 19 of elder sister, then at Leipzig Cons, of Plaidy, Moscheles, and Reinecke, and at Berlin of
B£RIOT
BERLIOZ
Tausig and Weitzmann. Teacher of pf. playing in Berlin and London, since 1894 at Royal Academy, published some pf. music and very valuable technical exercises, also Recollections (1908). Brother Robert (b. 1841) also pst., and lecturer.
Beriot (ba-ri-6), Charles Auguste de, vU. b. Louvain, Feb. 20, 1802; d. Brussels, Apr. 8, 1870. Pupil of his guardian, Tiby, a provincial teacher; precocious public performance of Viotti concerto at age of 9; went to Paris, 1821, and studied " under advice of " Viotti and Baillot; brilliant success in Paris, Brussels, and London until 1830; concert tour for five years throughout Europe with Malibran, who became his wife in 1836. After her sudden death the same year, he retired until 1840. In 1842 refused offer of professorship at Paris Cons., and accepted one in 1843 at Brussels Cons., which he kept until failure of eyesight in 1852; became totally blind in 1858. Violinist of the modern French-Belgian school, of brilliant technic and facility. Compositions, once very popular (seven concertos, various duos bril- lants for pf. and vln., etc.) are pleas- antly melodious, but superficial in style; he wrote also a method and exercises. Vieuxtemps one of his pupils. Son Charles (b. 1833) pst.
Berlioz (bar-li-6z') , Louis Hector, com- pr. b. La Cote St. Andre, near Grenoble, Dec. 11, 1803; d. Paris, Mar. 8, 1869. Son of a country doctor, forbidden to think of music as a career, he received almost no training; had studied Catel's Har- mony and learned to play flageolet before coming to Paris in 1822 as medical student. Despite violent opposition from his parents, who finally stopped his allowance, he gave up medicine for music, and, after some lessons with Lesueur, he was admitted to Paris Cons, in 1823. There he combined personal dislike for the director, Cherubini, with the romanticist's deep scorn for con- ventional methods and academic theories. After a continuous strug- gle for seven years against opposi- tion from every side added to extreme poverty (he supported
himself at one time by singing in the chorus of a theatre), his heroic per- sistence was rewarded when, in 1830, his cantata La mort de Sardanapale won him the Prix de Rome. During eighteen months' stay abroad, he composed Sym- phonie fantastique, Lelio, La captive, and planned the overtures to Lear and Le Corsair. He married in 1833 Henrietta Smithson, an Irish actress, whose career was soon after ended by an accident; and B. had another seven years of struggle gaining liveli- hood for self and family by writing criticisms and musical essays. In scant spare time he composed Harold en Italic, Symphonic funebre, Romeo et Juliette, opera of Ben- venuto Cellini, the Requiem, and several songs.
After separation from his wife, having by this time begun to receive some money for his works, he trav- eled in Germany, Russia, and Eng- land— appreciated everywhere but in Paris. The works of this period are Le traite d' instrumentation, La damnation de Faust, and Tristia. His Te Deum for the exhibition 1855 at last aroused some recognition from Paris, and in 1856 B. was elected to the Academy; in 1859 made librarian of Cons. He married singer Martin Recio, but end of his life, despite success of opera Beatrice et Benedict, was lonely and sad; Les Troyens, 1863, which he considered his mas- terpiece, had only a short run.
His critical writings are still of value for sound judgment and strik- ing expression; Memoir -es is one of. the great autobiographies. His inter- est in literature revealed by the titles of his works is shown, too, by his preoccupation with the intellectual meaning, the idea to be expressed by the music. He is chiefly remark- able, however, for the great rich- ness and variety of his orchestral " color " effects. Philip Hale says (Modern French Songs): "He was the inventor, the creator of the modern orchestra, and there is nothing in the history of music more remarkable than the courage, the audacity, the imagination of this man, who was without marked melodic gift, without a thorough technical education, and without
BERNACCHI
BIBER
practical mastery of any one im- portant instrument. He shaped the future of orchestral expression."
Bernacchi (ber-nak'-ki), Antonio, sing- er, b. Bologna, about 1690; d. there, Mar. 1756. Pupil of Pistocchi; gained fame in Italy; sang in Lon- don 1717 and returned " esteemed best singer in Italy " 1729; revived the custom of adorning singing with roulades, thus openly sacrificing expression to technical execution; after about 1730 taught in Italy, among others, Raff, Mancini, and Guarducci.
Bernard (bar-nar'), [Jean] Emile [Au- guste], compr. b. Marseilles, Nov. 28, 1843; d. Paris, Sept. 11, 1902. Pupil at Paris Cons, of Marmontel, Reber, and Benoist, winning prizes for pf ., counterpoint, and org. Organ- ist at Notre-Dame des champs. Serious, meditative composer of works in various forms, suite for violin and piano, Divertissement for wind instruments, etc.
Bernard!, Francesco, see Senesino.
Bernhard der Deutsche [or Bernardino], orgt. at St. Mark's, Venice,. 1419-45; reputed inventor of organ pedals, but since evidence has shown that pedal organ existed in Frankfort in 1418, B's credit is limited to having introduced them in Italy.
Bertini (ber-te'-ni), Henri- Jerome, pst., compr. b. London, Oct. 28, 1798; d. Meylan, near Grenoble, Oct. 1, 1876. Taken to Paris in infancy, taught by father, and brother Benoit Auguste (b. 1780; date of death un- known) pupil of Clementi; played in public at 12; repeated successful tours from Paris to Germany and Eng- land until retiring in 1859. Many compositions distinguished from su- perficiality then in vogue ; chief work of value his technical studies.
Berwald, William Henry, compr., teacher. b. Schwerin-Mecklenburg, Dec., 1864. Studied at Munich and Stuttgart under Rheinberger and Faisst; conducted orch. in Russia for two years; came to U. S. 1892; profes- sor pf. and theory at Syracuse Univ. Has published pf. pieces, songs, part- songs and anthems.
Besson (bes'-son), Gustave Auguste, instr .-maker :. b. Paris, 1820; d. there, 1875. Early in 1838 began series of inventions improving valves, bore, etc., of wind instruments; greatest invention, 1859, Prototype System, by which perfection of tone is secured for bass instruments by the mechanical process of construction.
Best, William Thomas, orgt. b. Car- lisle, Eng., Aug. 13, 1826; d. Liver- pool, May 10, 1897. Son pf solicitor, pupil of cathedral organist Young; abandoned original intention of becoming civil engineer in 1840 and devoted himself to study of organ. Various appointments in and near Liverpool; after about 1860 was much in demand as solo player, at London Monday Popular Concerts, at Albert Hall, at Handel Festivals, etc.; went to Sydney, Australia, 1890; retired 1894. Remembered as brilliant solo player, who early insisted on Bach and older masters; wrote org. mus., Art of Organ Play- ing; edited many classics for org.
Bettini, see Trebelli.
Bevan, Frederick Charles, orgt. b. London, July 3, 1856. Pupil of Willing and Hoyte; several church appointments; after studying sing- ing with Schira, Deacon, and Walker, became 1877 gentleman of Chapel Royal; composed several popular songs.
Bevignani (bev-in-yan'-e) , Enrico, con- dr. b. Naples, Sept. 29, 1841. Pupil in composition of Albanese and Lillo; produced successful opera Caterina Bloom, 1863; conductor in London since 1864, at Co vent Garden since 1870; also in Russia and at Metropolitan, N. Y.
Beyer (bl'-er), Ferdinand, compr. b. Querfurt, July 25, 1800; d. May- ence, May 14, 1863. Composer of easy pf . music of the sort apparently which pleases the young person by facile tunefulness, without any real idea; many opera transcriptions.
Biber (be'-bar), Heinrich Johann Franz von, vlt., compr. b. Warten- burg, Bohemia, Aug. 12, 1644; d. Salzburg, May 3, 1704. Ennobled by Emperor Leopold, 1690; also in service of Archbishop of Salzburg;
BIEDERMANN
BISHOP
apparently skilful performer, judg- ing by technical difficulty of his writings, and a composer of more artistic and deeper feeling than any German contemporary.
Biedermann (be'-der-man), Edward Julius, orgt. b. Milwaukee, Nov. 8, 1849. Son of A. Julius who taught him; after study in Germany has held various appointments in N. Y. and has taught there.
Biehl (bel), Albert, compr., teacher, b. Rudolstadt, Germany, Aug. 16, 1833. Has published songs, pf. pieces, and especially valuable technical exer- cises.
Billema (bil-la-ma), Carlo, pst., compr. b. Naples about 1822, and his brother Raffaele (1820-1874) both brilliant psts. and composers of salon music.
Billings, William, compr. b. Boston, Oct. 7, 1746; d. there, Sept. 29, 1800. Apprentice to a tanner, with slight general education and no musical training, he was led from his work by genuine enthusiasm for music; published in 1770 New England Psalm Singer and in 1778 Singing Master's Assistant, both works of some influence in fostering an early interest in original music; it is said that he introduced use of pitch-pipe and that he first used violoncello in church in N. E. Elson says: " One can forgive Billings his hundreds of errors of harmonic construction because of his devotion to his chosen art and to his country."
Billington, Elizabeth [Weichsel], dram, sop. b. London, about 1768; d. Venice, Aug. 25, 1818. First taught by father, clarinet player, and later by Joh. Chr. Bach; appeared in concerts as child; in 1784 married James Billington, double-bass play- er; dramatic dSbut in Dublin; 1st appearance in London, 1786; sang there, except for two seasons in Italy, until 1817 when she retired. Though a poor actress, her personal beauty and wonderful voice with range of 3 octaves brought her great success.
Binchois (ban-sho-a), Egidius [or Gilles de Binch], compr. b. Binche, near Mons, about 1400; d. Lille, 1460.
At first a soldier, then in holy orders where he rose to some prominence. Known as a composer of secular songs, usually in 3 parts, of the school of Dufay.
Bird, Arthur, pst., compr. b. Cam- bridge, Mass., July 23, 1856. Pupil of Haupt, Loeschhorn and Rohde, Berlin, 1875-77; orgt. and teacher at Halifax, N. S. 1877-81; pupil of H. Urban 1881, and of Liszt 1885-86; successful concert 1886, in Berlin where, with exception of one visit to America, he has since lived; won Paderewski Prize 1901.. Works in- clude symph., 3 orchestral suites, an opera Daphne, pf. pieces, etc.
Bischoff (bish'-of), Hans, pst., teacher. b. Berlin, Feb. 17, 1852; d. Nieder- schonhausen, near Berlin, June 12, 1889. Pupil of Kullak and Wuerst; teacher at Kullak and Stern Cons.; conductor Monday concerts of Sing- akademie; edited works by Kullak, compositions by Bach, etc.
Bischoff (bish-off), J. W., orgt., compr. b. Chicago, 1850; d. Washington, D. C., June 2, 1909. Blind from infancy; educated at Wisconsin Institute for the Blind, and at Fond du Lac; musical talent, inherited from accom- plished father, trained by W. W. Ludden and Carlo Bassini for sing- ing and Creswold of London for org. ; orgt. at 1st Cong, church in Wash- ington, D. C., from 1875; especially successful as teacher of singing; composed about 150 songs, piano pieces and anthems.
Bishop, Sir Henry Rowley, compr. b. London, Nov. 18, 1786; d. there, Apr. 30, 1855. Pupil of Bianchi; early talent for writing; first con- spicuous success Circassian Bride 1809; compr. and director at Co vent Garden, King's Theatre, V.auxhall; conductor Philharmonic Society; professor at Edinburgh and Oxford. Composed or arranged about 125 works, including abridgments of Rossini and others, music for Shakes- peare's plays. Also famous for glees and songs, whether single or in larger works, notably Home, Sweet Home in Clari (1823). Wife Anna (1814- 1884), daughter of singingmaster Riviere, appeared as singer in London; eloped with harpist Bochsa
BISPHAM
BLAZE
1839 and toured almost all the rest of her life in America and remote lands.
Bispham, David Scull, singer. b. Philadelphia, Jan. 5, 1857. At first an amateur, singing in private per- formances at church, and local oratorios; studied with Vannuccini, Lamperti and Shakespeare 1886- 1889; delmt London 1891; after 1897 member of opera companies in London and New York; has sung all the leading baritone roles; and has been very successful, too, in giving concerts of an individual artistic quality; distinguished as a singer who is also an excellent actor.
Bitter, Karl Hermann, writer. b. Schwedt-on-Oder, Feb. 27, 1813; d. Berlin, Sept. 12, 1885. Studied law and finance at Berlin and Bonn Univ., held various official positions culminating in that of Minister of Finance 1879-1882. Many literary works, biographies of the Bachs, studies on Mozart, Gluck, Handel, etc.
Bizet (be-za), Georges [real name Alexandre Cesar Leopold], compr. b. Paris, Oct. 25, 1838; d. Bougival, near Paris, June 3, 1875. Pupil at Paris Cons. 1848-1857, piano with Marmontel, harmony with Zimmer- mann, composition with Halevy; won Prix de Rome 1857; wrote various operas, Vasco di Gama (not performed), Les pecheurs de perles (1863), LajoKe fille de Perth (1867), Djamileh (1872), none of which was a great success. In orchestral music — overture to Patrie, incidental music to Daudet's L'Arlesienne and suites formed from it, the suites Roma and Jeux d'enfants — he was more successful at the time, and the popularity of these works and of his too few songs has increased. With Carmen, produced Mar. 3, 1875, he reached greatest height; opera was not at first successful, but frequent statement that Bizet's death was due to its failure seems to be a senti- mental exaggeration. His music is essentially dramatic in its sharpness of outline, sense of contrast, and in the definite appropriateness of char- acterizing phrases. He was thor- oughly modern in his appreciation of tone values and orchestral color and in his technical skill.
Blake, Charles Dupee, orgt., compr. b. Walpole, Mass., Sept. 13, 1847. Pupil of J. C. D. Parker, J. K. Paine, and others; orgt. at Bromfield St. and Union Ch. Boston; composed pf. music, songs, opera, etc.
Blanc (blon), Claude [called Claudius], compr. b. Lyons, March 20, 1854; d. there, June 13, 1900. Pupil of Duprato, Bazin, and Massenet at the Paris Conservatory; 1st har- mony and accomp. prize 1875; 2d Grand prix de Rome, 1877; director School of Music, Marseilles, 1887- 89; chorusmaster Paris Opera; com- posed operatic works and songs.
Blangini (blan-je'-ne), Giuseppe Marco Maria Felice, singer, teacher, b. Turin, Nov. 18, 1781; d. Paris, Dec. 1841. Choir boy at Turin Cathedral 1789; pupil of Ottani; precocious 'cellist and composer; at Paris 1799 became fashionable teacher; pro- duced operas in Paris, Munich and Kassel; chapelmaster to Princess Borghese, music director to King Jerome ; height of demand as teacher in Paris after 1814; prof, at Cons.; lost prestige after 1830. Wrote 30 operas, 174 romances, etc., and auto- biography, Souvenirs (1834).
Blass (bias), Robert, dram. bass. Pupil pf Stockhausen at Frankfort; debut in Lohengrin at Weimar; sang at Bremen, London, 1899, Dresden 1900, and New York 1900.
Blauvelt, Lillian Evans, sop. b. New York, March 16, 1873. Played vio- lin in public at age of eight; at fifteen became pupil of Bouhy in N. Y. Cons.; after 1889 sang in concerts in France, Belgium, and with conspicuous success in Russia; dramatic d6but Brussels 1891; sang in concerts with increasing success in U. S., Italy, and England where she first appeared in drama in 1903; married W. F. Pendleton 1899; she has a pure, clear voice, which she uses intelligently.
Blaze (blaz), Frangois Henri Joseph [called Castil-Blaze], writer, b. Cav- aillon, Dec. 1, 1784; d. Paris, Dec. 11; 1857. Taught by his father; went to Paris to study law, became pupil at Cons, but gave up practise of law for musical criticism in 1820;
BLECH
BLUMENFELD
beside influential contemporary com- ment as critic for the Journal des debate and the periodicals, he wrote several books mostly relating to the history of the opera and attendant arts in France, translated words of many German operas, arranged con- siderable music and composed 3 operas and smaller pieces of no great distinction.
Blech (blek), Leo, compr. b. Aix-la- Chapelle, Apr. 21, 1871. After try- ing a business career, studied music for one year at Hochschule in Berlin under Rudorff and Bargiel; con- ductor at Aix Theatre 1893-96, with lessons from Humperdinck in vaca- tion; 1899-1908 capellm. at Prague; achieved European fame in 1902 by one-act opera Das war Ich; has also written symph. poems, choruses, etc. and 4 or 5 operas.
Blind Tom [Thomas Greene Bethune], musical phenomenon, b. near Co- lumbia, Georgia, about 1849; d. Hoboken, N. J., June 17, 1908. Parents slaves of James N. Bethune,
" whose name he took; blind and idiotic from birth, about 1860 he displayed remarkable powers . of playing and improvising on the piano; he is said to have repeated difficult music after one hearing and to have supplied secondo parts to new airs; gave many concerts and exhibitions.
Bliss, Philip Paul, compr. b. Clearfield Co., Pa., July 9, 1838; d. Ashtabula, O., Dec. 29, 1876. Few advantages of schooling, worked on farms and lumber camps; after three seasons at Genesee Normal Acad. of Music under Perkins and Zundel, he became music teacher; held conventions with G. F. Root in Chicago and the West after 1865; after 1874 associated with D. F. Moody as evangelist; wrote a great many stirring revival hymns, Pull for the Shore, Hold the Fort, etc.
Blockx (bloks'), Jan, compr. b. Ant- werp, Jan. 25, 1851. Pupil of Callaerts and Benolt in Flemish Mus. Sch. and of Brassin; also studied at Leipz. Cons.; in 1886 he became teacher of harmony at Antwerp Cons, and in 1902 director; also director of Cercle artistique
and other musical societies; has composed Flemish songs, chamber music, etc. but is chiefly known for a series of successful operas, Milenka, Princesse d'auberge, Thiel Uylen- spiegel, and La fiancee de la mer which have gained for him a wider and wider circle of admirers. He is one of the promoters of Flemish " national " music, but his own works are liberally modern.
Bloomfield-Zeisler (zis'-ler), Fanny, pst. b. Bielitz, Silesia, July 16, 1866. Parents moved to Chicago 1868; taught by Ziehn and Wolfsohn and appeared in public 1876; Mme. Essipoff having heard her play advised her to go to Leschetizky, with whom she studied 1878-1883; married Sigmund Zeisler 1885; since 1883 she has played constantly at concerts in all parts of U. S., with frequent tours in England and Germany; her virile force, highly developed technic, and musicianly comprehension have made her tours invariably successful.
Blow, John, compr. b. N. Colling- ham, Nottinghamshire, 1648; d. Westminster, Oct. 1, 1708. One of first set of choristers at Chapel Royal at its reestablishment 1660; while a chorister studied under Hingeston and Chr. Gibbons and composed anthems; orgt. at West- minster Abbey 1669-1680 when he gave up post to Purcell, possibly voluntarily; resumed it 1695-1708; master of children and orgt. at Chapel Royal 1674; held other appointments (see Grove); prolific composer of more than 100 anthems, many for special occasions; pub- lished (1700) collections of airs for harpsichord and Amphion Anglicus, collection of songs, etc., a masque (1687) and fourteen services. His fame has been overshadowed by that of his pupil, H. Purcell, and much of his music has not been printed.
Blumenfeld (blo-men-felt), Felix Mikh- ailovitch, pst. b. Kovalevska, Rus- sia, Apr. 23, 1863. Studied 1881-85 at St. Petersburg Cons, under Stein; taught there since 1885, prof. 1895; since 1898 director St. Petersburg Opera; distinguished performer,
BLUMENSCHEIN
BOELLMANN
compr. of songs, and music for pf. and pf . and orchestra, which, though skilful and touched by national feel- ing, is said to be lacking in variety and personality. Brother Sigismund (b. Dec. 27, 1852) also pst. and compr. of pf. music.
Blumenschein, William Leonard, compr. b. Brensbach, near Darmstadt, Dec. 16, 1849. Father vlt. in orch. and compr. of dance music, mother excellent singer; family moved to Pittsburg, Pa., 1851; B. sang in choir and concerts, studied vln., guitar, cabinet org., and pf.; at Leipzig Cons. 1869-72, pf. and theory under Paul, Richter, and Reinecke, directing under Ferd David; taught pf. and singing in Pittsburg with success; now orgt. and condr. of Philharmonic Society in Dayton, O.; has conducted vari- ous societies, and was chorusmas- ter of Cincinnati Festivals under Thomas 1891-96; has composed chiefly in smaller forms, pf. pieces, songs, and protestant ch. music, with considerable success.
Boccherini (bok-ke-re'-ne), Luigi, com- pr. b. Lucca, Feb. 19, 1743; d. Madrid, May 28, 1805. Taught by father and Abbe' Vannucci; played 'cello in theatre orch.; became famous as player and compr. from early travels with vlt. Manfredi in Italy and southern France; after great success in Paris 1768, went to Madrid and became compr. to Infanta; 1787-97 compr. to Fr. Wilhelm II of Prussia; at his death B., having fallen from favor, in Spain where he lived in increasing poverty (except for a short period under patronage of Lucien Bona- parte) until his death. B. composed 467 instrumental works, mostly for two or more instruments, and some vocal works; chiefly remarkable as a contemp. of Haydn with whose chamber music B's bears compari- son in charming simplicity and facile melody, though it lacks force and sense of contrast. His Minuet is well known.
Bochsa (bok'-sa), Robert Nicolas Charles, harpist, compr. b. Mont- m6dy, Aug. 9, 1789; d. Sydney, Jan. 6, 1856. Son of Carl (d. Paris, 1821),
oboe player and music seller; pupil of father on flute and clarinet; ap- peared in public at 7, opera per- formed before he was 16; pupil at Paris Cons, of Catel and Mehul, and on the harp of Nadermann and Marin whose instructions he soon outgrew, as he " revolutionized " harp playing; harpist to Napoleon and to Louis XVIII; fled from France before charge of forgery, gave lessons in London, to Parish- Alvars, Chatterton, etc.; prof, of harp and secretary Roy. Acad. of Mus. from which post he was dismissed; managed annual concerts in London ; eloped 1839 with Anna Bishop; extensive tours in Europe and America. Prolific composer, chiefly of works for harp of transient popularity.
Bock, see Schroder-Devrient.
Bocquillon (bok-i-yon), see Wilhem, G. L.
Boehm (bem), Joseph, vlt. b. Pesth, Mar. 4, 1795; d. Vienna, Mar. 28, 1876. Pupil of father and of Rode; played in Vienna, toured Italy; prof, at Vienna Cons. 1819-1848; mem- ber imperial band 1821-1868; chiefly famous as teacher of Ernst, Hellmes- berger, L. Straus, Joachim, and Auer.
Boehm, Theobald, flute player, b. Munich, Apr. 9, 1794; d. there, Nov. 25, 1881. Court musician at Vienna and composer of works for his instrument; chiefly famous for inventions in construction of flutes and other wind instruments; his system increases mechanism and alters tone of flute, but makes its accurate range wider and its tones more even.
Boekelman (be'-kel-man) , Bernardus, pst. b. Utrecht, Holland, June 9, 1838. Pupil of his father, and at Leipzig Cons, of Moscheles, Richter and Hauptmann, and at Berlin of Weitzmann and Von Billow; since 1866 teaching in New York, and at Farmington, Conn. Composed for •
gf. and edited analytical edition of ach, printed in several colors, which is very valuable.
Boellmann (bo-el-man') , Leon, orgt., compr. b. Ensisheim, Alsace, Sept. 25, 1862; d. Paris, Oct. 11, 1897.
BOETHIUS
Pupil of Gigout at Niedermeyer School; orgt. at Ch. of St. Vincent de Paul; remarkable org. player; composed music in almost every form, all graceful, clear, pure in style; best known single comp. Variations symph. for 'cello and orch.
Boethius, Anicius Manilas Torquatus Severinus, writer, b. Rome, about 475; d. there (?), 524. Counsellor of Theodoric, ' executed for treason; philosopher and mathematician ; wrote treatise De Musica on Greek music, chief source of information during Middle Ages.
Bohlmann (bol'-man), Theodor Hein- rich Friedrich, pst. b. Osterwieck am Harz, June 23, 1865. Studied with Barth, Klindworth, d'Albert, and Moszkowski; successful concert tours in Germany; prof, at Cin- cinnati Cons, after Sept. 1890.
Bohm (bom), Carl, pst., compr. b. Berlin, Sept. 11, 1844. Pupil of H. Bischoff, Mmes. Reissmann, and Geyer. Composer of salon music; living in Berlin.
Boieldieu (bo-a-el'-di-^), Francois Adri- en, compr. b. Rouen. Dec. 15, 1775; d. Jarcy, Oct. 8, 1834. Son of an unhappy marriage between an archbishop's secretary and a milliner; taught exclusively by Broche, orgt. at cathedral, pupil of Martini, whose brutal treatment caused his pupil to run away to Paris; after being brought back B. composed opera to words by his father, produced in Rouen, and several successful songs; operatic career in Paris began with Les deux lettres 1796; after great success of Le calife de Bagdad 1800, and of some chamber music, B. was ' made prof, of pf. at Paris Cons. 1800; as a result of a jest from Cher- ubini about his " undeserved " suc- cess, he submitted to instruction from Me"hul and probably from Cherubini, the marked results of which appeared in Ma tante aurore 1803; possibly as result of unhappy marriage with the dancer Mafleuroy, B. spent 8 years in Russia, as conductor of Italian opera; returned to Paris 1811, brought out Jean de Paris 1812 and La dame blanche, his master- piece, 1825. He had been prof, of comp. at Paris Cons, since 1820;
BOITO
retired in 1828, but failure of Les deux nuits 1828 and temporary cessation of pension due to change in government forced him to resume teaching 1834. One of greatest French comprs. of ope'ra comique; especially in later period, his char- acteristic touches, poetic grace, and freshness of melody are such that Elson calls him " a French Mozart." Son by second wife, Adrien Louis Victor (Nov. 3, 1815-July 9, 1883), pupil of father, composer of several successful comic operas, mass, etc.
Boise (bois), Otis Bardwell, orgt. b. Oberlin, O., Aug. 13, 1845. Edu- cated at public schools of Cleveland ; orgt. at 14; pupil in Leipzig of Hauptmann, Richter, and others, and in Berlin of Kullak; later advised by Liszt, orgt. in Cleveland, and N. Y.; teacher in N. Y. and from 1888 to 1902 in Berlin; Brock- way and Huss among pupils; now prof, in Peabody Conservatory, Baltimore; composed orch. works, harmony method, and author of The Masters of Miisic.
Boi'to (bo-e-to'), Arrigo, compr. b. Padua, Feb. 24, 1842. Son of an Italian painter and a Polish mother, brother of an architect and critic; studied at Milan Cons, under Maz- zucato with so little success at first that he narrowly escaped dismissal; composed with Faccio very successful cantata, of which the score is lost; apparently for lack of initiative self-confidence B. gave Jip music for critical and literary work in Paris and Milan until 1868 when the managers of La Scala offered to produce his Mefistofele. The work was hastily completed and its pro- duction was the occasion of an almost riotous demonstration; the work is undoubtedly original and has moments of tremendous force; it differs from Gounod's Faust in that it includes both parts of Goethe's poem, and its great length is not justified by intensity of sustained interest or by technical mastery of effects. In a revised form the opera had considerable success at Bologna and Milan in 1875. It is said that Boi'to has completed two other operas, Nerone and Orestiade, neither of which has ever been performed;
BONAWITZ
BORDOGNI
the greatest admiration is expressed by those who have heard portions of the works, but their characteristics are wrapped in a curious mystery. B., under anagram Tobia Gorrio, has published charming poems and has written several admirable librettos — notably those of Verdi's Othello and Falstaff.
Bonawitz (vitz), Johann Heinrich, compr. b. Durkheim-on-Rhine, Dec. 4,1839. Pupil at Li6ge Cons.; after sojourn in America gave concerts in London and Paris 1861-66; con- ducted Popular Symphony Concerts in N. Y. 1872-73, and after failure of that undertaking gave concerts with some success throughout U. S. Produced two operas in Philadel- phia 1873, 1874, and since 1876 has lived in Europe.
Bonci, Alessandro, operatic tenor, b. Casena, Italy, 1874?. Educated in the Rossini Conservatory at Pesaro, under Pedrotti and Felice Coen; in three years he was called to the position of solo tenor in the church of Santa Maria, in Loreto, one of the most prominent churches in Italy with an exceptionally high musical standard; after six years of hard work he com- pleted his studies and became the leading tenor at the Royal Theatre in Parma; from this place he went to a theatre in Milan and finally to the famous La Scala Theatre in the same city. His European tours in- cluded all the leading cities; he also won great success at Buenos Ayres, and later at the Manhattan and Metropolitan Opera House, New York. In the season of 1910-1911 he made a concert tour of the United States.
Bononcini (bp-non-che-ne), [Buonon- cini], Giovanni Battista, opera compr. Son of G. M. Bononcini (1640-167.8) church compr. b. Modena, 1660, date and place of death uncertain, probably Venice in 1750; pupil of nis father and Colonna, and Buoni ('cello); 1690 at Vienna as court 'cellist; Rome 1694 producing his first opera; at Vienna 1699-1703; Berlin 1703-<)5; again at Vienna and various Italian cities; in London as rival to Handel 1716-1731; falling into the hands of an alchemist he
was swindled out of his fortune and never recovered his once high posi- tion; lived at Vienna and Venice until his death. He is credited with 22 operas, a number of church works, madrigals and divertimenti.
Bontempi, Giovanni Andrea Angelini, compr. b. Perugia, about 1630; d. Bruso, July 1, 1705. Adopted name B. from his godfather; artificial soprano, asst. capellmeister to Hein- rich Schiitz in Dresden; 1690 back to Perugia; wrote 3 operas, 2 theoret- ical works and a history of music.
Booth, Josiah, org., compr. b. Cov- entry, March 27, 1852. Studied at Coventry and Oxford and at Roy. Acad. Mus. London, under Brinley Richards and Macfarren; org. at Banbury 1867, orgt. at Crouch End 1877.
Boott, Francis, compr. b. Boston, June 24, 1813; d. Cambridge, Mar. 1, 1904. Attended school in Waltham; grad. Harvard 1831; never in active business; lived abroad after 1847; studied comp. with Picchianti in Florence; composed, under name Telford, mass, Miserere, songs ( Here's a Health to King Charles, etc.).
Borch, Gaston, compr., 'cellist. b. Guines, France, March 8, 1871. Father prominent in mining and en- gineering affairs; received instruction in languages, and in music under Massenet, in Paris, and under Grieg in Norway; conductor of the Phil- harmonic Society of Christiania and of the Musikverein, Bergen; came to the United States and is now (1910) a member of the faculty of the Pennsylvania College of Music, Philadelphia; compositions include three operas, symphony, piano con- certo, orchestral works, piano pieces, songs and choruses, about 150 num- bers in all.
Bordese (bor-da'-ze), Luigi, compr. b. Naples, 1815; d. Paris, Mar. 17, 1886. Studied at Naples Cons.; failed as dramatic composer; after 1850 taught singing and composed innumerable songs, vocalises, wrote 2 methods.
Bordogni (bor-don'-yi), Giulio Marco, singer, b. Gazzaniga, 1788; d. Paris July 31, 1856. Pupil of Mayr;
BORDONI
BORWICK
d6but at Milan 1813; singer in Paris 1819-33; teacher at Cons. 1819-24, 1830-56, Sontag among pupils; published vocalises, etc.
Bordoni, Faustina, see Hasse, F.
Borodin (bo-ro-din') , Alexander Por- phyrievitch, compr. b. St. Peters- burg, Nov. 12, 1834; d. there, Feb. 27, 1887. Illegitimate son of Prince of Imeretia; brought up with every advantage; student of medicine and science; army surgeon; professor of chemistry, founder of School of Medicine for women and lecturer there. In 1862 B., then merely an amateur, became one of the circle influenced by Balakirev; in 1877 visited Lis/t and described him vividly in letters afterwards pub- lished. He began to compose his 1st symph. in the same year that he met Balakirev and before his untimely death he had composed a second symph., part of a third, 2
?uartets, a suite, the symph. poem n the Steppes of Central Asia, several songs and an opera Prince Igor, finished after his death by Rimsky- Korsakov and Glazounov. His best- known works are the symph. poem and the quartets. His songs are full of national feeling; in his oper- atic work, however, he did not follow his " school " in their extreme fondness for recitative.
Borowski, Felix, compr. b. Mar. 10, 1872, at Burton, Eng. Father, a Polish nobleman who fled to England during the Polish rebellion, was his first teacher on the piano and violin; after a general education at private schools in London and Tunbridge Wells he began the study of the violin with Jacques Rosenthal and later with Adolf Pollitzer in London, musical theory with Dr. Charles W. Pearce; in 1888 he went to the Cologne Conservatory (Germany), where he studied theory and com- position with Gustave Jensen, violin with Georg Japha and piano with Ernst Heuser; on his return to England he was first a violin teacher at Aberdeen, and during this time brought out his first published com- positions, the mazurkas in C major and C minor; in 1894 he located in London devoting his time principally
to composition, the most striking v/ork of the period being A Rus- sian Sonata which attracted the attention of Grieg. In 1897 he ac- cepted the position of professor of composition in the Chicago Musical College, and has resided in that city up to the present time (1910); in addition to the composition classes he taught violin for several years and has conducted the classes in history of music. He has been Chicago critic for the N. Y. Musical Courier, of the Chicago Evening Post and is now (1910) connected with the Record- Her old, and at one time prepared the program notes for the Theodore Thomas Orchestra. Com- positions cover various branches: Marche Triomphale and two suites for orchestra, and two pieces for string orchestra; Suite in E minor, two sonatas, and small pieces for the organ; for the piano, a Russian Sonata, seven Preludes and more than 60 smaller works; for violin, a number of pieces of which Adora- tion is the best known; six songs; a concerto for piano and orchestra in D minor and a string quartet in A minor are still in manuscript.
Bortnianski (bort-nyan'-ski), Dimitri Stepanovitch, compr. b. Gloukoff, 1752; d. St. Petersburg. Sept. 25 (9ct. 8), 1825. Studied with Galup- pi and followed him to Italy by aid of Empress Catherine; composed operas in Italy; but on return to Russia in 1779 became director of the choir in St. Petersburg (which became " imperial choir " in 1796), for wh. he composed 45 psalms and a mass; he first reduced Russian church music to system, and made his choirs famous by care in select- ing remarkable voices and training them to great skill.
Berwick, W. Leonard, pst. b. Wal- thamstow, Essex, Feb. 26, 1868. Son of Alfred, amateur 'cellist and friend of many musicians; first lessons at age of 5; later pupil of Bird and Clara Schumann; d£but Frankfort 1889; since then popular in London concerts (some with P. Greene); he is said to be espe- cially great as a player of Liszt and Saint-Saens.
BOSSI
BRADBURY
Bossi, Enrico Marco, orgt., compr. b. Salo, Apr. 25, 1861. Son of orgt.; studied at Liceo Musicale, Bologna, and at Milan Cons, under Pon- chielli and Fumagalli; orgt. at Como, teacher at Naples; teacher, director, and conductor at Venice, 1902 director of Liceo Musicale; made early attempts at dramatic composition, but boldness and sever- ity of his style is better shown in numerous cantatas, org. pieces, and oratorio Le Paradiso Perduto. He is considered the most proficient performer on the organ in Italy.
Bottesini (bot-tes-se'-ne), Giovanni, double-bass player, compr. b. Crema, Dec. 24, 1823; d. Parma, July 7, 1889. Son of clarinet player; singer in choir; entered Milan Cons, at age of 11, studied harmony and comp. with Basili and Vaccai, d. bass with Rossi; traveled with Arditi; member of orch. at Havana many years; conductor at Paris, 1855-57, in London 1871, and -at numerous other places (conducted 1st performance of Aida at Cairo). Composed 6 operas, an oratorio, quartets; had marvelous skill as a virtuoso.
Boucher (bo-sha), Alexandra Jean, vlt. b. Paris, Apr. 11, 1778; d. there, Dec. 29, 1861. Appeared at court at age of 6, and at concerts at 8; 1787- 1805, solo vlt, to Charles IV of Spain; later gave concerts through- out Europe; successful both because of his really fluent playing and because of his cheap methods of advertisement; he called himself " L'Alexandre des violons."
Bouhy (bo-e), Jacques, Joseph Andre, singer, teacher, b. Pepinster, Bel- gium, June 18, 1848. Pupil at Li6ge and Paris Cons.; d6but at Paris 1870; created many impor- tant parts, among them Escamillo in Carmen; 1885-89 head of N. Y. Cons.; returned to stage 1890 but is now (1910) teaching in Paris.
Bourgault-Ducoudray (bdr'-go-dii-ko- dra), Louis Albert, compr. b. Nantes, Feb. 2, 1840; d. Vernouillet, July 4, 1910. Finished legal studies 1859; entered Cons., as pupil of A. Thomas; won Prix de Rome in comp. 1862; has written 3 operas (Thamara. Paris
1891), orchestral pieces, Stabat Mater, etc.; chief work has been study of early primitive music and revival of it; has published collection of Greek folk-lore and written about it; lecturer on history of music at Cons, since 1878.
Bouval (bo-val'), Jules Henri, compr., orgt. b. Toulouse, June 9, 1867; pupil of Dubois and Massenet at the Paris Conservatory; 1st prize for harmony 1889, honorable mention for Prix de Rome 1893; organist of St. Pierre de Chaillot; composer of dramatic works, ballets and songs.
Bovy, C. S., see Lysberg, C. S.
Bowman, Edward Morris, orgt., theorist. b. Barnard, Vt., July 18, 1848. Pupil of Wm. Mason and J. P. Morgan; orgt. in St. Louis; studied in Berlin with Bendel, Rohde, Haupi, and Weitzmann and in Paris with Batiste; again in St. Louis, with period of study in England; founder of Amer. Coll. of Musicians; orgt. in N. Y., professor at Vassar 1891- 1895; condr. of various choirs in N. Y. and Brooklyn; has translated and prepared for English use Weitz- mann's Manual of Music Theory.
Boyce, William, orgt., compr. b. Lon- don, Feb. 7, 1710; d. Kensington, Feb. 7, 1779. Chorister at St. Paul's; articled pupil of M. Greene, later pupil of Pepusch; held various org. appointments in London; com- posed many fine anthems, serenatas and odes; increasingly deaf from early years, after 1769 he devoted himself to editing Cathedral Music, collection of services by English masters.
Brackett, Frank H., compr. b. Fall River, Mass., Apr. 8, 1859; studied at Harvard University under John K. Paine, and under John W. Tufts; commenced professional work as singer, organist, and composer in 1881, filling positions as organist in Boston, Somerville, Dorchester, and other suburbs; compositions num- ber about 300, including piano pieces, songs and anthems; lives at Ash- mont, a suburb of Boston.
Bradbury, William Batchelder, compr. b. York, Me., Oct. 6, 1816; d. Mont- clair, N. J., Jan. 7, 1868. Pupil of
BRAGA
S. Hill, L. Mason, and at Leipzig of Hauptmann and Moscheles. Taught, wrote, conducted conventions, made pianos, composed 2 cantatas, edited collections of music which (The Key- note, The Jubilee, etc.) were enor- mously popular.
Braga (bra-ga), Gaetano, 'cellist, b. Giulianova, June 9, 1829; d. Milan, Nov., 1907. Pupil of Ciandelli for 'cello, Mercadante for comp. at Naples Cons.; lived and played in many capitals; friend of Rossini and others but died in poverty; composed 3 unsuccessful operas, a method, and several smaller pieces, of which Angel's Serenade most popular. " He wrote with much intelligence but more feeling."
Braham, John, tenor, b. London, 1774; d. there, Feb. 17, 1856. Son of poor Jews (real name probably Abraham) ; pupil of Leoni; d6but 1787; later pupil of Rauzzini, second d6but 1796; after period of success on the Conti- nent, he enjoyed career of great popularity in England 1801-1826; composed several operas and wrote parts for himself in many others; lost fortune in speculations; many songs still popular, as Death of Nel- son; toured America 1840.
Brahms (brams), Johannes, compr. b. Hamburg, May 7, 1833; d. Vienna, Apr. 3, 1897. Son of Johann Jacob (1806-72), oontrabassist at Ham- burg theatre, he studied with his father and Cossel until he was ten, then with Marxsen pianoforte and some theory. He appeared in public in 1849, at a concert of Wachtel's and at one of his own. Touring through North Germany with Rem- enyi in 1853 he met Joachim who introduced him to Liszt and Schu- mann, both of whom greeted him enthusiastically, S. in a famous article Neue Bahnen (New Paths). From 1854-1858 B. was court con- ductor at Lippe-Detmold, then he returned to Hamburg where he stayed except for occasional concert trips until 1860 when he went to Winterthur. In 1862 he moved finally to Vienna; he conducted at the Singakademie for one season and at the Gesellschaft der Musikfreunde for three, 1872-75; the rest of his life
BRAHMS
with some holiday trips and increas- ingly rare public appearances was taken up by composition.
The early accounts of his playing describe it as fluent and brilliant, but later, perhaps from lack of care, it became incoherent and blurred. Schumann's enthusiasm for his early pf. pieces was not shared by all, and there was much discussion about them and about the first pf . con- certo, which B. brought out himself in Leipzig in 1859. The early chamber music, two orchestral sere- nades (1860), the German Requiem (1865, and with added movements 1868), Variations on a theme by Haydn made his name familiar to audiences, so that his first sym- phony (not produced until 1876) was awaited with great eagerness. Its appearance caused a renewal of discussion; B. was accused of imi- tating Beethoven, and praised for continuing the master's work. He was also used, with some injustice, to support the cause of absolute music against the ardent Wagner- ites. His later orchestral works, Akademische and Tragische over- tures, the 3 other symphonies, 3 other concertos, later chamber music have placed him beyond question among the great masters. His songs once declared " un vocal " are uni- versally recognized as expressing the soul of the poetry. Present discus- sion of him is between those who complain of lack of color, of the appreciation of the sensuous quali- ties of music, a dry formalism and those who exalt the intellectual con- tent, the purity of form, originality of scheme, and technical skill. His admirers find broad and deep emo- tional feeling, an impersonal passion subordinated to a lofty sense of form. To Hadow, Brahms fulfils the desire for " a composer who while he maintains and develops the harmonic traditions of the Romantic School shall even more devote him- self to the restoration and evolution of musical structure, who shall take up the classical form where Bee- thoven left it .... and raise it to a fuller organization." So Hun- eker calls him " the greatest con- trapuntist after Bach, the greatest architectonist after Beethoven."
BRAMBACH
BREWER
Brambach (bram-bak), Kaspar Joseph, compr. b. Bonn, July 14, 1833; d. there, June 20, 1902. Studied under A. Zur Nieden and Ferd. Hiller and at Cologne Cons., where later he taught; director and teacher at Bonn. Composed secular cantatas Fruhlingshymnus, Prometheus, etc., pf. concerto, and chamber music.
Brandeis (bran-dls), Frederick, pst., compr. b. Vienna, July 5, 1835 (or 1832?); d. New York, 1899. Pupil of J. Fischhof, Czerny, Rufi- natscha, and of Meyerhofer in N. Y.; debut N. Y. 1851; toured as pst., various positions as orgt. Several comp. for orch. and chamber music.
Brandt (brandt), Marianne [pseud, of Marie Bischof], dram, contralto, b. Vienna, Sept. 12, 1842. Pupil of Frau Marschner at Vienna Cons, and of Viardot-Garcia in Paris; de"but Graz 1867; Berlin 1868-86; sang Kundry in Parsifal 1882, alter- nating with Materna; 1886-1890, N. Y.; now teaching in Vienna. At her best during Berlin period, com- pass of voice so extensive that she sang both soprano and contralto parts.
Brassin (bras-san), Louis, pst., compr. b. Aix-la-Chapelle, June 24, 1840; d. St. Petersburg, May 17, 1884. Son of baritone, who changed name from De Brassine, nephew of Drouet, flute player; pupil at Leipzig Cons, of Moscheles; teacher 1866 at Stern Cons, in Berlin, at Brussels Cons. 1869-78, and at St. Petersburg Cons. 1878-84. Appeared early in public, and made tours with brothers Leopold (1843-1890) pst. and Ger- hard (b. 1844) vlt. Louis composed Ecolemoderne du piano, pf. eludes, transcriptions, 2 operas, etc.
Braun, Mrs. A., see Brema, Marie.
Bree (bra), Jean Bernard van, vlt., compr. b. Amsterdam, Jan. 29, 1801; d. there, Feb. 14, 1857. Pupil of Bertelmann; orch. player at Am- sterdam; founded " Cecilia " 1840; director of music-school ; composed 3 operas, masses, cantatas, chamber music.
Breitaer (brit-ner), Ludovic, pst. b. Trieste, Mar. 22, 1855. Studied at Milan Cons, and with Rubinstein
and Liszt; composed music to Wilhelm Meister, song cycles, etc.; established and conducted Phil- harmonic Society in Paris; visited America in 1900. Went to Berlin 1909 to teach in the Stern Cons.
Brema (bra-ma), Marie [pseud, of Minnie Fehrmann], dram, mezzo sop. b. Liverpool, Feb. 28, 1856. Father of German origin, mother from Virginia; early taste for music not cultivated until after marriage to A. Braun 1874; after study with Henschel, d6but at Monday Pop. Concert 1891 under name of Bremer; dram. de"but same year; first appeared at Bayreuth 1894; since then has sung Wagnerian roles with success in Eng., America, and Paris ; has created parts in many operas and oratorios, chiefly at English festivals where her rich voice has made her a great favorite.
Breslaur (bres-lowr), Emil, teacher, b. Kottbus, May 26, 1836; d. Berlin, July 27, 1899. Studied at Stern Cons.; teacher at Kullak's Acad.; founder and director of Piano- Teachers' Seminary; editor of Kla- vierlehrer, and author of several important books on pf. playing and pf. literature.
Breval (bra-val'), Lucienne [pseud, of Bertha Agnes Lisette Schilling], dram, sop. b. Berlin, Nov. 4, 1869. Pupil of Warat, Obin, Giraudet at Paris Cons., where she took first prize for opera 1890; de"but 1892, Paris Ope"ra, where she has since sung, except for season at Ope"ra Comique in 1901; in America 1900, 1902.
Breville (bra-vil'), Pierre Onfroy de, compr., condr. b. Feb. 21, 1861. Pupil at the Paris Conservatory and of C6sar Franck; studied for the bar and a diplomatic career; music critic Mercure de France 1898-1901; teacher at Schola Cantorum; com- positions include orchestral and choral works, masses, motets, songs, piano and organ pieces.
Brewer, John Hyatt, orgt., compr. b. Brooklyn, Jan. 18, 1856. Boy soprano in several churches, pupil Navarro (harm.) and Buck and others (org.); various positions as orgt. in N. Y.; active member of
BRIDGE
BRONSART
many musical societies; has con- ducted several choral societies; teaches singing, org., and theory. Has composed church and organ music, glees, songs, and choral works, suite for orchestra (Ms.).
Bridge, Sir John Frederick, compr. b. Oldbury, near Birmingham, Dec. 5, 1844. Chorister in Rochester Cathe- dral, where his father became lay clerk in 1850, articled to John Hopkins, orgt.; held various org. appointments at Windsor (where he was pupil of J. Goss), at Manchester, and finally at Westminster Abbey as deputy 1875 and in full 1882; in consequence of this office he had charge of the music for Queen Victoria's jubilee 1887 and King Edward's coronation 1902. He took degree Mus. Doc. at Oxford 1874; was knighted 1897 and has received many honorary titles. He taught at Owens College while in Man- chester, is Gresham Prof., prof, at Univ. of London, examiner in sev- eral colleges. Composed oratorios, anthems, etc., collected " Abbey Chants," wrote Primer of Counter- point, etc. " His works show the vivacity of his mercurial tempera- ment." [Grove.] His brother, Joseph Cox B., orgt. b. Rochester, Aug. 16, 1853. Pupil of Hopkins, and pupil and assistant of brother at Manchester; Mus. Doc. Oxford 1885; since 1877 orgt. at Chester Cathedral; prof. mus. Durham Univ. 1908; revived Chester Fes- tivals, founded Chester Mus. Soc. Composed festival cantatas, sym- phony, pf. music, songs, and part- songs.
Brink, Jules ten, compr. b. Amster- dam, Nov. 4, 1838; d. Paris, Feb. 6, 1889. Pupil of Dupont in Brussels, Richter in Leipzig; director Lyons 1860-68, after that in Paris; wrote symphonic poems, one-act opera, etc.
Brisson (bris'-son), Frederic, pst. b. Angouleme. Dec. 25, 1821; d. Orleans, June or July, 1900. Pupil of Garandet; an elegant pianist,- a distinguished performer on har- monium, for which he wrote much; published, beside operetta and organ method, more than 150 slight pf. pieces.
Bristow, George Frederick, compr. b. Brooklyn, Dec. 19, 1825; d. New York, Dec. 13, 1898. Studied in London with Macfarren; condr. Harm. Soc., Mendelssohn Union, orgt. in several churches, head of mus. dept. N. Y. public schools, original member and condr. of N. Y. Philharmonic. Composed opera Rip Van Winkle 1855, a cantata Niag- ara, and symphonies, quartets, etc. Made an early stand for American music.
Brirton, Thomas, amateur, b. Higham Ferrers, or Wellingborough, North- ampton, about 1651; d. London, Sept. 27, 1714. Known as " Musical Small-coal Man," because he dealt in coal; 1678 established weekly concerts over his shop and a musical club for practise, both frequented by aristocratic and famous people, Handel, Pepusch, etc. Also known in book collecting circles.
Brockway, Howard A., compr., pst. b. Brooklyn, Nov. 22, 1870. Studied pf. with Kortheuer and in Berlin 1890-1895 with Earth and O. B. Boise; conducted concert of own works Berlin, 1895; teaching in New York, and Peabody Conserva- tory, Baltimore. Equipped by un- usually thorough training, he has composed early in difficult forms, symph., symph. ballad, romanza for vln. and orch., etc. Sylvan Suite for orch. best known.
Brodsky, Adolf, vlt. b. Taganrog, Russia, Mar. 21, 1851. Studied at Vienna Cons. 1862-63 with J. Hell- mesberger, of whose quartet he became a member; studied also with Laub in Moscow, where he taught at Cons.; condr. at Kieff 1879; taught at Leipzig Cons. 1882-83, in N. Y. 1891-94, in Berlin 1894, at Manches- ter Royal Coll. pf Mus., of which he became director in 1895.
Broekhoven (bre'k-ho-fen), John A., teacher, theorist, b. Beek, Holland, in 1852. Prof, pf harmony and coun- terpoint at Cincinnati Coll. of Music; has written text-books, Suite cr6ole for orch., overture Columbia, etc.
Bronsart, Hans von [really B. von Schellendorf], condr. b. Berlin, Feb. 11, 1830. Studied at Berlin
BROSCHI
BRUMEL
Univ., lessons in theory from Dehn, piano with Kullak and Liszt; con- ducted " Euterpe " Leipzig; " Gesell- schaft der Musikfreunde " Berlin; is "Hofmusikintendant" Berlin; comp. opera Der Corsdr, symph., well- known pf. concerto. His wife Inge- borg (nee Starck) pst., compr. b. St. Petersburg, Aug. 24, 1840. Pupil of Henselt and Liszt; first concert at 12; married Hans von B. 1862; composed 3 operas, pf. music in all forms. Broschi (bros-ke), Carlo, see Farinelli.
Broustet (bro-sta), Edouard, pst. b. Toulouse, Apr. 29, 1836. Studied with Stamaty, Litolff, and Ravina; after tours to St. Petersburg, Spain, and Portugal, settled in Toulouse where he has composed pf. concerto, chamber music, pf. pieces.
Brown, Obadiah Bruen, teacher, b. Washington, D. C., July 2, 1829; d. Maiden, Mass., Mar. 5, 1901. Pupil in Boston of Zerrahn, Parker, David Paine; in Leipzig of Lobe and Plaidy; teacher in several Mass. state normal schools, orgt. in Bos- ton; director of music, public schools, Maiden; edited several collections for school use, composed choruses, anthems, etc.
Bruch (briik). Max, compr. b. Cologne, Jan. 6, 1838. Mother (nee Almen- rader), a singer, guided his education; first lessons in theory from Breiden- stein at Bonn; having gained four- year scholarship at Frankfort-on- Main, studied under Hiller, Rein- ecke, and Breuning; taught and brought out first operetta at Cologne; produced opera Loreley on libretto written for Mendelssohn at Mann- heim 1863; has held various posi- tions as director at Coblenz, of Stern
• Singing Soc. Berlin, of Liverpool Har- monic Society, of Orchesterverein at Breslau; married singer Emma Tuc- zek 1881; came to America 1883, brought out Arminius at Boston by Cecilia Society. Has composed several cantatas of epic nature, Odysseus, Arminius, AchUleus, Frithjof; his Fair Ellen a favorite with choral societies; songs; 3 vln. concertos, of which the 1st, in G, is very popular; pieces for 'cello (nota- bly Kol Nidrei a Hebrew melody).
His music is marked by clearness and purity of melodic idea and unusual skill in combinations of vocal and orchestral masses.
Bruckner (brok-ner), Anton, orgt., compr. b. Ansfelden, Austria, Sept. 4, 1824; d. Vienna, Oct. 11, 1896. Earliest lessons from father, a village school-master; while orgt. at Linz Cathedral after 1855 he studied in Vienna with Sechter and Kitzler; 1867 orgt. in Vienna and prof, at Cons., 1875 lecturer at Univ.; 1869 and 1871 played in France and England as org. virtuoso. His compositions include a string quartet, 3 grand masses, a Te Deum, 8 symphonies, and 3 movements of a 9th. He lived, even in the capital, the simple life of a villager, dis- tressed by the violent hostility which his works aroused, but never permitting this to move his earnest persistence. He was a devoted adherent of Wagner's theories and in his symphonies he aimed to apply them to absolute music. Much of the hostility which he encountered was due to the fact that he was regarded probably against his wish as the symphonist selected by the Wagnerites to oppose Brahms. Viewed apart from their contemporary critical quarrel, his music appears as a somewhat uneven combination of passages showing power, nobility, and imagination with passages of tedious length and heavy and pedantic dryness.
Briill (briil), Ignaz, pst., compr. b. Prossnitz, Moravia, Nov. 7, 1846; d. Vienna, Sept. 17, 1907. Pupil of Epstein, Rufinatscha, and Dessoff; successful concerts in Vienna and other cities, notably in London in 1878; teaching in Vienna after 1872; opera Das goldene Kreuz, Berlin 1875, had wide success in other cities; has composed 9 other operas, a symph., an overture, 3 concertos, etc.
Brume! (bru-mel'), Anton, compr. b. about 1480; d. about 1520. Pupil of Okeghem; lived at courts of Dukes of Sora and Ferrara; com- posed at least 15 masses, motets, and other sacred music; said by contemporaries to have excelled by
BRUNEAU
BULL
industry rather than genius; wrote a comp. in 8 parts, each in different church mode.
Bruneau (brii-no), [Louis Charles Bon- aventure], Alfred, compr. b. Paris, Mar. 3, 1857. Of musical parents; studied at Paris Cons, 'cello with Franchomme, comp. with Massenet; critic for Gil Bias and Figaro; conductor Op4ra Comique 1903. Has composed overture, 3 choral symphonies, 2 collections of songs, and a Requiem mass beside the 5 operas which are his chief works. Of these Le reve, L'Attaque du mou- lin, Messidor and L' Ouragan are on texts either written by Zola or based on his works, the last two being in prose. Music at first was considered very difficult and harsh, because of effort made at accurate delineation of characters, which is strikingly suc- cessful; each work has a characterized and influential setting, like the storm in L' Ouragan, which gives atmos- pheric unity. Has published also 3 volumes of acute musical criticism.
Brunner (broo-ner), Christian Trau- gott, orgt., condr. b. Briinlos, Erzge- birg, Dec. 12, 1792; d. Chemnitz, Apr. 14, 1874. Organist and con- ductor of choral societies; composed instructive pf. pieces, variations, etc.
Bucalossi (boo-ca-los'-si) , Ernest, compr. Composed from early years; pupil at Royal Acad. Mus.; in 1881 succeeded his father as conductor at London theatre; conductor with traveling company; compr. of popular dance music, notably La Gitana waltz.
Buck, Dudley, orgt., compr. b. Hart- ford, Conn., Mar. 10, 1839; d. Oct. 6, 1909, at Orange, N. J. Pupil of Babcock, at Leipzig Cons, of Plaidy, Moscheles, Hauptmann, and Rietz, at Dresden of Schneider, and at Paris; organ appointments in Hart- ford, Chicago, Boston (where his recitals as orgt. of Music Hall Ass'n had great influence), and in N. Y.; asst. cOndr. of Thomas Concerts, N. Y.; director of Apollo Club; retired from all but theoretical and comp. work 1902. Composed ora- torios Golden Legend, Light of Asia, cantatas Legend of Don Munio, Cen- tennial Meditation of Columbia (for Exposition 1876), several excellent
short sacred cantatas, songs, anthems, org. pieces. His music shows skill, intelligence, freedom from pedantry, and much of the elements of popu- larity. Has had wide influence in extending respect for American music and in training younger men, Chad- wick, Gleason, Eddy, Neidlinger being his pupils.
Buhlig, Richard, pst. b. Chicago, 1880 of German parents. Went to Vienna 1887 as pupil of Leschetizsky. D6but 1900, London 1905, in the U. S. 1907. Thoughtful and serious artist, of unusual executive ability.
Bull, John, orgt., compr. b. Somerset- shire, about 1563; d. Antwerp, Mar. 12 (13?), 1628. Pupil of Blitheman; orgt. at Hereford Cathedral and 1591 of Chapel Royal; Mus. Doc. Oxford 1592; Gresham Prof, of Mus. 1597; in service of Prince Henry 1611 although Roman Cath- olic; 1613 left England without leave under questionable circumstances, and in 1617 became orgt. at Ant- werp Cath. Comp. anthems and music for org. or virginal " unequal in character, and generally more ingenious than beautiful." So brill- iant a performer that he has been called " the Liszt of his age."
Bull, Ole Borneman, vU. b. Bergen, Feb. 5, 1810; d. Lyso, near Bergen, Aug. 17, 1880. Father, physician, who disapproved of musical career, but uncle and other members of family eager amateurs; lessons from Paulsen and Lundborg, but mainly self-taught; abandoned study of theology at Univ. of Christiania to conduct mus. society there; at Paris 1831, by hearing Paganini inspired to great efforts, which with poverty brought on illness; 1832 he reappeared in public and thereafter had great success in Europe and especially in the U. S.; 1848 founded national theatre in Bergen; 1870 again in U. S., where he married a second time, and where he lost a considerable fortune in an attempt to found a colony for his poor countrymen. Technical skill was fairly amazing and gave adequate expression to the patriotic spirit of the North in his compositions, which were the only ones he played.
BULLARD
BURMEISTER
Bullard, Frederic Field, compr. b. Boston, Mass., Sept. 21, 1864; d. there, June 24, 1904. Gave up study of chemistry; studied 4 years with Rheinberger in Munich; taught in Boston after 1892; published many expressive songs, anthems and vig- orous part-songs, some of which, Stein Song, etc., are very popular.
Billow (bii-lo), Hans [Guido]von, pst., condr. b. Dresden, Jan. 8, 1830; d. Cairo, Feb. 12, 1894. Taught pf. and harmony at 9 by Wieck and Eberwein; studied law at Leipzig Univ., counterpoint with Haupt- mann; adopted Wagner's radical theories after performance of Lohen- grin at Weimar; followed him to exile and learned conducting from him; pupil of Liszt at Weimar; first tour 1853 in Germany and Austria; held various appointments as teacher (Stern Cons. 1855, etc.); court pst., and condr. in several places, notably Meiningen, where he brought the orch. to height of excellence 1880-85; married 1857 Cosima Liszt (later the wife of Wagner) from whom he separated 1869; married actress Marie Schan- zer 1882; gave 139 concerts in America 1875-76. His wonderful power of intellectual analysis of music not only appeared in his finished playing but is preserved in his admirable critical editions, as those of Beethoven's sonatas and such pianoforte arrangements as that of Tristan and Isolde. His phenomenal memory enabled him to do justice to the largest possible repertoire; he also set the fashion of conducting without score. His playing seems to have been a tri- umph of careful analytical prepara- tion combined with an apparently spontaneous emotional expression.
Bungert, August, compr. b. Miilheim- on-Ruhr, Mar. 14, 1846. Pupil of Kufferath and at Cologne Cons.; music director at Kreuznach; fur- ther studies in counterpoint with Kiel in Berlin 1873-81; living in Italy since 1882. Has written pf. quartet which took prize in Flor- ence 1878, comic opera produced Leipzig 1884, etc.; his great \vorks are two dramatic cycles not yet
completed based on the Iliad and the Odyssey, after Wagnerian models; Odysseus Heimkehr, first part pro- duced 1896, excited considerable comment.
Buonamici (bu-o'-na-me'-che), Giusep- pe, pst. b. Florence, Mar. 19, 1846. First taught by uncle Ceccherini; by Von Billow and Rheinberger at Munich Cons. 1868-70; teacher there 1870-73; conductor of choral soc. in Florence, and founder of trio society and teacher there; his great- est work is editing of Beethoven sonatas and composition of technical studies based on difficulties in Beethoven. Son Carlo, b. Florence, June 20, 1875. Pupil of mother and father, and of Van Zeil at Wiirzburg; came to Boston 1896, as teacher and concert pianist ; 1908, with Felix Fox, founded Fox-Buonamici School.
Buranello, see Galuppi.
Burdett, George Albert, orgt. b. Boston, June 17, 1856, Trained under J. W. Hill, and Paine at Harvard where he was graduated with ' ' highest musical honors" in 1881; studied in Germany under Haupt in Berlin and at Han- over; since 1895 orgt. at Central Ch., Boston; founder of Am. Guild of Orgts., first dean N. E. Chapter; published anthems, organ music, and pf. pieces.
Burgmuller (bu rg-mii Her), Johann Friedrich Franz, compr. b. Regens- burg, 1806; d. Beaulieu, France, Feb. 13, 1874. Composer of pf. music mainly for young people and useful early studies Brother Norbert (1810 -1836), composer of great promise but immature achievement.
Burgstaller, Alois, dram, tenor, b. Holz- kirchen, Sept. 27, 1871. Pupil of Kniese; Bayreuth 1894-1901; Metro- politan, N. Y., 1902-08, first Parsifal in N. Y. 1904.
Bunneister (bur-ml-ster), Richard, com- pr., pst. b. Hamburg, Dec. 7, 1860. Studied with Liszt in • Weimar, Budapest or Rome 1880^1883; teach- er in Hamburg Cons; director of pf. at Peabody Conservatory, Balti- more, 1885-1897; then in New York, now in Europe; a brilliant pianist and compr. of skill; has written symph. poem, etc., re-scored
BURMESTER
BUSSLER
Chopin's F minor concerto, added orch. part to Liszt's Concerto Pathe- tique, etc.
Burmester, Willy, vlt. b. Hamburg, Mar. 16, 1869. First pupil of father, later of Joachim; brilliant player of virtuoso class; made debut when a child; has toured since 1886; in 1890 conductor at Sondershausen ; greater success on the Continent than in England or America.
Burnand, A. B., see Strelezski, Anton.
Burney, Charles, writer, b. Shrews- bury, Apr. 12, 1726; d. Chelsea, Apr. 12, 1814. Pupil on org. of Baker and Arne; orgt. at various provincial stations; Mus. Doc. Ox- ford 1769, F. R. S. 1773; composed music for few dramas, sonatas, can- tatas, etc., adapted The Cunning Man from Rousseau's Devin du village. Chief works are Present State of Music in France and Italy, Present State of Music in Germany, the Netherlands, etc., which are accounts of his own tours, and his General History of Music, in 4 volumes, 1776-89, which contains much information and reflects ad- mirably the 18th century point of view.
Burrowes, John Freckleton, writer, b. London, Apr. 23, 1787; d. there, Mar. 31, 1852. Pupil of Horsley; for 40 years orgt. in London; com- posed forgotten instrumental music; wrote much used Piano Primer.
Burton, Frederick Russell, compr. b. Jonesville, Mich., Feb. 23, 1861; d. Sept. 30, 1909, Lake Hopatcong, N. J. Graduated at Harvard 1882; organizer and condr. of Choral Society at Yonkers, N. Y.; mus. crit. N. Y. Sun; composer of Hiawatha, dramatic cantata based on actual Indian themes, as result of special study.
Busby, Thomas, writer. b. West- minster, Dec., 1755; d. London, May 28, 1838. Pupil of Knyvett and Battishill; orgt. at Newington. Composed oratorio The Prophecy on Pope's Messiah and music for other odes and some plays; wrote several musical articles and essays, Dictionary of Music, History of
Music (compiled from Hawkins and Burney), and 3 volumes of Concert- room and Orchestra Anecdotes, of much interest about contemporaries.
Busch (bush), Carl, compr. b. Bjerre, Denmark, Mar. 29, 1862. Studied at Cons., vln. with Tofte, comp. with Hartmann and Gade; played in orch. and studied in Paris under Godard and Gounod; settled in Kansas City 1889; established Phil- harmonic Orch. there; composed works for orchestra, symphonic rhapsody, symphony, vln. music, the dramatic cantatas League of the Alps, King Olaf, and songs.
Busnois (bii-no-a), Antoine, compr. b. Picardy, France; d. Bruges, Nov. 6, 1492. Pupil of Okeghem, musi- cian in service of Charles the Bold; cited as authority by contemporary theorists; 2 magnificats, a mass, and some secular songs are extant.
Busoni (bu-zo'-ni), Ferruccio (fer-ru- chi-o) Benvenuto, pst., compr. b. Empoli, near Florence, Apr. 1, 1866. Father played clarinet, mother (Anna Weiss) pianist gave him first les- sons; d6but Vienna. at age of 9, studied there with Hans Schmitt and in Graz with Remy (Meyer); at 17 so successful in Italy that a medal was struck in his honor by Florence and he was elected a member of Accademia Filarmonica at Bologna; 1886 Leipzig; teaching Helsingfors 1888; at Moscow 1890, after taking Rubinstein prize; at Boston, Mass. 1891-93; in 1894 located in Berlin; 1908-1909 at Vienna, with occa- sional tours; about 1905 established Orchestral Evenings with new and seldom heard works which he conducts.
Bussler, Ludwig, theorist, b. Berlin, Nov. 26, 1838; d. there, Jan. 18, 1901. Son of Robert, painter, author, and statesman, grandson of Karl, singer; choir boy under Von Hertzberg; taught theory by Dehn and Grell, instrumentation by Wie- precht, teacher of theory at Berlin. Theatre conductor there; musical critic for National Zeitung. Has written many useful books on har- mony and composition, several of which have been translated into English.
BUTT
CADY
Butt, Clara, contralto, b. Southwick, near Brighton, Eng., Feb. 1, 1873. Pupil of Rootham at Bristol; 1889 of J. H. Blower at Royal Coll. of Mus., where she gained scholarship; de"but London 1892; studied with Bouhy at Paris 1895; voice of great depth and beauty and commanding stage presence have made her much in demand for festivals and concerts; many compositions written for her, among them Elgar's Sea Pictures. Married, 1900, R. Kennerley-Rum- ford, baritone, b. London, Sept. 2, 1870. Pupil of Henschel, Beume, and Sbriglia; d6but London 1893; known as fine, really artistic singer.
Butter field, James Austin, compr. b. Hertfordshire, Eng., May 18, 1837; d. Chicago, July 6, 1891. Taught by father, a 'cellist, learned to play vln. before 10; sang in Harm. Soc. of town, where he studied mus. of Handel's and other oratorios; at 15 deputy leader of orch.; parent's refusal to allow him to follow music drove him to U. S., where he settled in Chicago at 19; taught vln. and singing; induced parents to emigrate; pub- lished journal in Indianapolis; taught in Chicago 1867-80, conducted Chi- cago Jubilee 1873; 1880 director of Norwich (Conn.) School of Vocal Art; 1888 returned to Chicago; composed many popular songs (When You and I were Young, Maggie, etc.), conven- tion singing books, cantatas, notably the spectacular Belshazzar.
Buxtehude (bux-te-hii-da), Dietrich, orgt., compr. b. Helsingor, Denmark, 1637; d. Lubeck, May 9, 1707. Father Johann, orgt. died 1674, may have been his teacher; 1668 became orgt. at Marienkirche, Lubeck, and held the post until his death; 1673 organized Abendmusiken, concerts on Sunday afternoons in Advent of concerted pieces for chorus and orchestra and organ works. These concerts were deservedly famous and widely influential (Bach walked 50 miles to hear them). As composer, he is important for having developed purely instrumental music, even before Bach, in his organ works and clavier pieces. Many of the clavier pieces are lost; two vols. of organ works published by Spitta; also wrote a large number of vocal works.
Byrd, William, compr. b. London, Eng., 1542 or 1543; d. there, July 4, 1623. Said to have been pupil of Tallis; orgt. at Lincoln Cathedral about 1563; shared post of orgt. at Chapel Royal with Tallis; and these two also held patent for selling and publishing music; held his position and estates, by singular favor, although he and his family, as Catholics, were in constant danger of prosecution. Composed madri- gals, masses, and services for the Catholic ritual as well as a collection of music for the virginal, published in the Fitz William Virginal book and in Lady Nevill's work.
Cabezon, Felix Antonio de, orgt., harp- sichord player, b. Madrid, Mar. 30, 1510; d. there, May 24, 1566. Blind from birth, yet eminent per- former; chamber musician to Philip II; arranged works of other men for his instruments; edition of his works by Pedrell include ricercari, motets, exercises, chiefly for organ.
Caccini (ka-che'-ni), Giulio [known as Giulio Romano], compr. b. Rome, about 1550; d. Florence, Dec., 1618. Pupil of Scipione della Palla in singing and lute playing; served Duke of Tuscany as singer after 1578; followed Galilei in composing
for single voice; then composed solos in recitative form, performed with great success in houses of Bardi and Corsi in Florence; then, after some detached dramatic scenes, col- laborated with Peri in producing the first real opera, Euridice, 1600; in treatise Le Nuove Musiche C. ex- plains theory of recitative on which was based the new form of which he was, though not the inventor, an early supporter.
Cady, Calvin Brainard, teacher, b. Barry, 111., June 21, 1851. His father was a pioneer minister in the West, so that the boy's early education
CADMAN
was in the old-fashioned country singing school and convention choruses; graduated from Oberlin (Ohio) Conservatory of Music, 1872; went to Leipzig and studied with Plaidy, Paul, Richter, and Papperitz; taught music in public schools of Oberlin 1870; teacher of piano and harmony, Oberlin Conservatory, 1874; prof, of music, University of Michigan, 1880-88; in charge of work with children and teachers, Chicago Conservatory of Music, 1888-1894; lives in Boston, head of School of Music Education, and also lectures on musical pedagogy at Institute of Musical Art, New York and Teachers' College, Co- lumbia University. Author of a course in Music Education, in three volumes, and Student's Reference Work; was a charter member of the Music Teachers' National Associa- tion, founded in 1876. The main object of his professional labor is " to establish music as a genuinely educational subject and to bring out its correlation with other major subjects of study."
Cadman, Charles Wakefield, compr. b. Johnstown, Pa., Dec. 24, 1881; moved to Pittsburg 1884; musical education under Pittsburg teachers, Walker, Steiner, Oehmler and Von Kunits, with advice and criticism from Emil Paur; first published compositions, semi-popular style, in 1898; became interested in the music of the American Indians and spent considerable time among them, securing material for use in com- position and in a lecture recital American Indian Music Talk; organ- ist East Liberty Presbyterian Church and musical critic of Pittsburg Dis- patch; contributor to musical peri- odicals; published works include The Vision of Sir Launfal, male voices, Four American Indian Songs, song cycles The Morning of the Year, Sayonara, Three Moods for orchestra, organ pieces, songs, part-songs and piano pieces; lives in Pittsburg.
Caffarelli (kaf-fa-rel'-li), [pseud, of Gae- tano Majorano], singer. b. Bari, Naples, Apr. 16, 1703; d. Santo Dorato, near Naples, Feb. 1, 1783 [Eitner; others give Nov. 30, 1783]. Son of peasants, adopted name C.
CALLCOTT
in gratitude to Caffaro or Cafaro, who first aided him; studied five years with Porpora; debut Rome 1724, followed by brilliant success in Italy and Paris; appearances in London 1737-38 seem to have been disappointing; purchased dukedom and title of Santo Dorato; rival of Farinelli whom some say he excelled in slow airs and chromatic scales; many stories are told of his ridiculous vanity and presumptuous pride.
Caldara (kal-da'-ra), Antonio, compr. b. Venice, about 1670; d. Vienna, Dec. 28, 1736. Chorister at St. Mark's; pupil of Legrenzi; held various posts in Italy and Spain before becoming vice-capellmeister in Vienna under Fux; composed dignified church music, showing florid tendency of times; very pro- lific, having written 36 oratorios, 66 operas, besides smaller works.
Caldicott, Alfred James, compr. b. Worcester, Eng., Nov. 26, 1842; d. near Gloucester, Oct. 24, 1897. Chorister Worcester Cath., articled pupil of Done; studied at Leipzig Cons, under Moscheles, Hauptmann, etc.; orgt. in Worcester, teacher of harmony at Royal Coll., and director at Albert Hall and theatres in London; composed cantatas (Widow of Nain 1881), operettas, part-songs.
Caletti-Bruni, see Cavalli, Francesco.
Calkin, John Baptiste, orgt., compr. b. London, Mar. 16, 1827; d. Apr. 15, 1905. Pupil of father James C.; orgt. and precentor in several churches; teacher at Guildhall School of Music; composed anthems, glees, etc.
Callaerts (kal'-lar-ts') , Joseph [Jacques], orgt. b. Antwerp, Aug. 22, 1838; d. there, Mar. 3, 1901. Pupil of Lem- mens at Brussels Cons.; orgt. at Jesuit College 1851-56; later of cathedral at Antwerp and teacher of org. at music school; composed comic opera, sym- phony, cantata, masses, etc.
Callcott, John Wall, compr. b. Ken- sington, Nov. 20, 1766; d. Bristol, May 15, 1821. Son of builder, first intended to be surgeon; learned music from observation and ac- quaintance with Henry Whitney, orgt. at Kensington, Arnold, Cooke and Sale, without receiving any
CALV£
CAMPANINI
regular instruction; member of orch. of Academy of Ancient Music; com- posed for Catch Club in 1789, win- ning all four prizes offered by them; studied instrumental music under Haydn 1791; Mus. Doc. Oxford 1800; began a dictionary, published Musi- cal Grammar 1806; mind failed 1807; chief works glees. His son William Hutchins C. (1807-1882) also compr., chiefly of anthems, and his grandson William Robert Stuart C. (1852-1886) orgt. of great promise.
Calve (kal-va), Emma, dram. sop. b. Aveyron, 1864 [1866?]. Real name de Roquer; daughter of simple peas- ants; educated at convent in Mont- pellier; left at 15, renouncing relig- ious aspirations to help support family; after study in Paris under Puget's direction, made concert debut at charity concert, Nice, 1881, in place of Cruvelli; debut Brussels 1882; after year's study with Marchesi made Paris de"but at Th. Italien, Dec. 16, 1884; sang at Ope>a Comique 1884-86 and in Milan without great success; after more study in Paris with Mme. Laborde, created Santuzza in Cav- alleria Rusticana 1890, returned to Opera Comique, singing her great part, Carmen, first in 1892; ap- peared in London and New York 1893, toured Russia and Spain 1894-95; created parts in La Navar- raise 1894 and Sapho 1897; not only singer of wide and well-founded popularity, but actress of unusual originality, as is shown in Carmen and Marguerite.
Cambert (kon'-bar'), Robert, compr. b. Paris, 1628; d. London, 1677. Pupil of Chambonnieres; orgt. at St. Honore", intendant of music to Anne of Austria; composed La pastorale, first French opera after Italian fashion, 1659; when Perrin received letters patent for establish- ing national opera in 1669 Cambert was associated with him; comppsed Pomone 1671, and other works; after 32 years, driven from France by intrigues of Lully, he became master of music to Chas. II of England.
Camp, John Spencer, orgt., compr. b. Middletown, Conn., Jan. 30, 1858. Graduated Wesley an Univ. 1878;
studied mus. with Parsons, Shelley, Buck and Dvorak; dir. Hartford (Conn.) Philh. Orch.; orgt. and choirmaster 1st Cong. Ch., Hartford; founder Guild of Organists; com- posed cantatas, orch. works, string qt., pf. and organ pieces, songs, anthems and services.
Campagnoli (kam-pan-yo-li), Barto- lomeo, vU. b. Cento, Sept. 10, 1751; d. Neustrelitz, Nov. 6, 1827. Pupil of Dall' Ocha, Guastarobba, and Nardini; led various bands in Italy, finally conductor at Gewand- haus, Leipzig, 1797-1815; gave suc- cessful concerts in Italy; friend of Cherubini.
Campana (kam-pa'-na), Fabio, compr., singing teacher, b. Leghorn, Jan. 14, 1819; d. London, Feb. 2, 1882. Educated at the Liceo in Bologna; produced several unsuccessful operas; settled in London about 1850; taught singing there and produced operas Almina 1860 and Esmeralda 1869 which seem to have been successful more because of the casts than the music.
Campanari (kam-pa-na'-ri), Giuseppe, dram, baritone, b. Veneto, Italy, 1859. First a 'cellist in orch. at La Scala, Milan, and in Boston Symph. Orch. until 1893, when he definitely became opera singer; member of Hinrichs Opera Co., of Metropolitan after 1899; successful in many concerts; now living in New York. His brother, Leandro, vlt. b. Rovigo, Oct. 20, 1857. Studied at Milan Cons.; after European tours, made American d6but with Bost. Symph. Orch. 1881; teaching and playing as member of orch. in Boston until 1887; teacher in Cincinnati College of Music 1890-97; director and concert-conductor at Milan; has written text-books and songs.
Campanini (kam-pa-ne'-ni), Italo, dram . tenor, b. Parma, June 29, 1846. d. Vigatto, near Parma, Nov. 22, 1896. Studied at school of Griffini, and at Cons, of Parma; debut, 1869, Odessa; after study with Lamperti, won success at production of Lohen- grin at Florence 1871; sang in London 1872-1882; toured America, lived several years in New York.
CAMPRA
CARL
Campra (kon-pra), Andre, opera compr. b. Aix, Dec. 4, 1660; d. Versailles, July 29, 1744. Pupil of Guillaume Poitevin; master of music Toulon Cathedral 1680, at Aries 1681, at Toulouse, 1683-1694; thence he went to Paris, filling several church appointments, leaving to begin a secular career as opera com- poser; conductor Royal Orchestra 1722; he wrote 18 works for the stage, a number of cantatas and motets.
Cannabich, Christian, vlt., condr. b. Mannheim, 1731; d. Frankfort, Feb. 22, 1798. Son of Matthias, flute player; pupil of Stamitz and in Italy of Jommelli; leader of orch. at Munich 1765; condr. at Mann- heim 1775; by bringing this orch. to then unequalled height of exactness he raised standard of expressive power; friend and admirer of Mozart; successful teacher; compr. of some popular symphonies and quartets.
Cantor, Otto, compr. b. Kreuznach, Prussia, 1857. Pupil of Lux, Mann- stadt, and Rupp; living in London; compr. vocal music.
Capocci (ka-pot'-chi), Gaetano, orgt. b. Rome, Oct. 16, 1811; d. there, Jan. 11, 1898. Pupil of Sante Pascoli, Fioravanti, and Cianciarelli; orgt. at S. Maria Maggiore, and, after 1855, director at the Lateran; published large amount of facile, conventional church music. His son Filippo, also orgt. b. Rome, May 11, 1840. Learned org. and harmony from father whom he succeeded at the Lateran 1875; under influence of Guilmant developed technique to degree which has won him fame; compositions, original, and modern in idea, consist of organ works and an oratorio.
Capoul (ka-pol), Joseph Amedee Vic- tor, dram, tenor, b. Toulouse, Feb. 27, 1839. Pupil at Paris Cons, of R£vial, and Mocker under whom gained 1st prize in light opera; d6but 1861 at Ope>a Comique, where he stayed until 1872; sang in Eng- land 1871-75, and Am. 1879-80; prof, of operatic singing in Nat'l Cons. N. Y.; now stage director at Paris Ope>a.
Caracciolo (ka-ra-chi-6'-lo) , Luigi Maria, compr., teacher, b. Andria, Bari, Aug. 1, 1847; d. London, July 22, 1887. Pupil of Cesi, Conti, and Mercadante at Naples Cons. ; teacher in Dublin 1878-1881, and London; comp. opera and many popular songs ( Un Sogno fu!, etc.).
Carestini (ka-res-te'-ni), Giovanni [call- ed Cusanino], singer, b. Monte Filatrano, Ancona, about 1705; d. there, 1760. At age of 12, Cusani family at Milan became patrons, hence his stage name; debut Rome 1721; sang at various places in Italy until 1733, when he made English d6but. Engaged by Handel from 1735 when he left England to retirement in 1758; sang with brill- iant success at Venice, Berlin, St. Petersburg, etc. Voice at first soprano, became strong, deep con- tralto of wide range.
Carey, Henry, compr. b. about 1690; d. London, Oct. 4, 1743. Reputed son of Marquis of Halifax; mostly self-taught, though he had lessons from Linnert, Roseingrave, and Geminiani; taught and wrote music for farces, and also words to some for which Lampe wrote music — chiefly burlesques and ballad operas; claim that he wrote God save the King has never been proved or disproved; his greatest work is charming, original ballad, Sally in our Alley.
Carissimi (ka-ris'-se-me), Giacomo, com-*, pr. b. Marino, near Rome, about 1604; d. Rome, Jan. 12, 1674. Maestro at Assisi 1624—28, and at S. Apollinare, Rome, 1628-1674; among his pupils were A. Scarlatti, Kerll, Bernnard, M. A. Charpentier; though many of his works are lost, it is known that he contributed largely to the development of recitative with a more expressive and varied accompaniment than that of his predecessors; his cantatas show that he transferred to church music the pathetic emotional style of dramatic music; his fluent melo- dies are among the earliest examples of characteristic Italian song.
Carl, William Crane, orgt. b. Bloom- field, N. J., Mar. 2, 1865. Pupil of S. P. Warren, Mme. Schiller (pf.)
CARMICHAEL
GARY
and Guilmant; orgt. in N. J. and N. Y.; founder of Am. Guild of Orgts.; successful concert player; compiled collection of org. mus.
Carmichael, Mary Grant, pst., compr. b. Birkenhead, Eng. Studied under O. Beringer, W. Bache, Hartvigspn, and Prout; excellent accompanist; composed many songs, The Stream song-cycle, Snow Queen operetta; translated Ehrlich's Celebrated Pian- ists and other works.
Caron (ka-ron), Rose [Lucile, nee Meuniez], dram. sop. b. Monerville, France, Nov. 17, 1857. Married before entering Paris Cons, in 1880; studied there until 1882, taking minor prizes, also with Sasse in Brussels; d£but Brussels 1882; from then to 1900 sung there and in Paris; 1902 prof, of singing at Cons.
Carr, Frank Osmond, compr. b. York- shire about 1857. Mus. Doc. Oxford 1891; composed farces and success- ful comic operas Morocco Bound 1893, His Excellency 1894 (book by W. S. Gilbert).
Carre (kar-ra), Albert, director, b. Strassburg, June 22, 1852. Studied at Strassburg Lycee; actor in Paris; director of several Paris theatres, finally 1898 of Opera Comique, where he has brought forth a dis- tinguished series of new and im- portant operas.
Carrefio (kar-ra'-nyo), Teresa, pst. b. Caracas, Venezuela, Dec. 22, 1853. Father, Minister of Finance, her first teacher; afterward studied with L. Gottschalk in New York, with G. Mathias in Paris, and with Rubinstein; after d6but and tour at age of 9, gave concerts until about 1875 when she went on the stage; on tours with opera com- panies, she played, sang, and, at one time, conducted; resumed work as concert pst. 1889; married E. Sauret 1872, G. Tagliapietra 1892, E. d' Albert 1895, and A. Tagliapietra 1902; composed Venezuelan national anthem, string quartet and piano pieces; known as a strong, virile performer, with masterly technic; E. A. MacDowell her pupil. Daugh- ter Teresita Carrefio Tagliapietra, also pst., debut 1906.
Carrodus, John Tiplady, vlt. b. Braith- waite, Yorkshire, Jan. 20, 1836; d. London, July 13, 1895. Father violin player and leader of amateur society; C. for 6 years pupil of Molique; member, for many years leader, of Coven t Garden orch.; also leader of Philharmonic Orch.; leader, with Wilhelmj, at Wagner Festival 1877; excellent teacher, at National Train- ing School for Mus., etc.; recitals in England and S. Africa; pioneer of classical mus. in Eng.
Carulli (ka-rul'-le) , Ferdinando, guitar player, b. Naples, Feb. 10, 1770; d. Paris, Feb., 1841. Self-taught, he worked out modern methods of guitar playing, and attained remark- able technic; lived in Paris after 1808, teaching, playing; composed more than 300 pieces, and method.
Caru'so (ka-ru-zo), Enrico, dram, tenor. b. Naples, Feb. 25, 1873. Son of a mechanic, and brought up to father's trade; as choir boy pupil of Vergine, and later of Lamperti and Concone; after singing at Caserta, made Naples debut 1896; began career, Milan, 1898; success- ful seasons at St. Petersburg, Buenos Ayres, Milan, and Monte Carlo followed; first appearance London and New York 1903; though not distinguished as an actor, C. has a powerful and rich voice, especially suited for brilliant performance of Italian opera, both old and new.
Carvalho (kar-va-lo), [really Carvaille], Arthur Leon, opera manager, b. Port Louis, He de France, Jan. 18, 1825; d. Paris, Dec. 29, 1897. Educated at Paris Cons.; played small parts at Ope>a Comique, manager of other theatres and of Ope>a Comique from 1876 to time of fire in 1887, after which he was tried and condemned to prison but acquitted on appeal and reinstated 1891 . Married in 1853 Marie Caroline Felix-Miolan, dram. sop. b. Mar- seilles, Dec. 31, 1827; d. Puys, July 10, 1895. Entered Paris Cons. 1839, first prize in 1847; d£but 1850; favor- ite at Op6ra Comique from 1872-75, 1879-85; at Opera 1875-79.
Gary, Annie Louise, contralto. b. Wayne, Me., Oct. 22, 1842. Studied after 1859 with Wetherbee and
CASALS
CAVALIERI
Wheeler in Boston and with Corsi in Milan; de"but Copenhagen 1867, sang in Scandinavia 2 years, study- ing in vacations with Viardot- Garcia; after further study in Paris with Strakosch and Bottesini, came to U. S. for 3 years in 1870; extreme- ly popular in opera and concerts in America, in London, and St. Peters- burg; married C. M. Raymond and retired 1882; now living (1910) in Norwalk, Conn.
Casals (ka-zal'), Pablo, 'cellist, b. Veudrell, Catalonia, Spain, Dec. 30, 1876. Pupil of father on ore.; studied pf., vln., and clarinet; 'cello with Jose" Garcia in 1887; on pension from the queen, studied at Madrid with Jesus de Monasterio and Tomds Breton; prof, of 'cello at Barcelona Univ.; founded chamber music society there; member Paris OpeYa Orch. 1895-98; de"but as soloist 1898; member of Lamoureux Orch. 1900; concert tours in Europe, U. S. 1901 and 1903, and S. America; published symphonic poems, works for org. and 'cello.
Castil-Blaze, see Blaze, F. H. J.
Castle, William, opera tenor, b. Eng., Dec. 22, 1836; d. Chicago, March 31, 1909; studied in N. Y., London and Milan; de" but 1858; in concert 1861; retired from stage 1891; director of opera dept. Chicago Musical College; best known for his work in Maritana, Bohemian Girl, Fra Diavolo, II Trovatore and The Hugue- nots.
Castrucci (kas-tru'-chi), Pietro, vlt. b. Rome, 1689; d. Dublin, Mar. 7, 1752 [according to records quoted Mits. Times, Oct., 1904; others give Rome, 1769]. Pupil of Corelli; came to London 1715; leader of Handel's opera orch. 1718; invented and played on violetta marina, like viola d'amore; composed vln. con- certos and sonatas; forced out of place by Handel, who wrote a concerto with a second part so difficult that Clegg's execution mor- tified C.; died in great want.
Catalani (ka-ta-la'-ni), Alfredo, compr. b. Lucca, June 19, 1854; d. Milan, Aug. 7, 1893. Early composed for church; studied at Paris Cons, and
at Milan; composed 5 operas (Dejanire and La Watty especially successful), symph. poem Ero e Leandro.
Catalani, Angelica, dram. sop. b. Sinigaglia, May 10, 1780; d. Paris, June 12, 1849. Taught at convent of Santa Lucia at Gubbio; d6but at Venice 1795; sang with success at Milan and other Italian cities, at Lisbon 1804, where she married Valabregue; tremendous popular success in London 1806-1813; man- aged Theatre Italien in Paris 1814- 1817, with neither artistic nor financial success; until retirement 1827 sang in concerts throughout Europe; voice was of extraordinary strength and range, she excelled in chromatic scales and bravura pas- sages, and was accused of lack of expressiveness and over-ornamen- tation; earned large sums of money, which she scattered in charity and extravagant living.
Catel (ka-tel'), Charles Simon, compr. b. L'Aigle, Orne, France, June 10, 1773; d. Paris, Nov. 29, 1830. Studied under Sacchini, Gobert, and Gossec in Ecole Royale, which be- came Paris Cons.; accompanist and teacher there; accomp. at Opera 1790; prof, of harmony at Cons, when founded 1795, inspector 1810-14; wrote military music for Garde Nationale, of which he was director, and pieces for Revolutionary occa- sions; wrote 11 operas 1802-1819, Les bayaderes best known, none especially successful; treatise on harmony, for some time standard.
Cavaille-Coll (ka-va-ya-kol'), Aristide, org. builder, b. Montpellier, Feb. 2, 1811; d. Paris, Oct. 13, 1899. Son. of Dom. Hyacinthe [1771-1862] also org. builder; came to Paris 1833; built orgs. at St. Denis, St. Sulpice, Madeleine, and other fa- mous churches in France, Holland, etc.; invented improvements and wrote some articles.
Cavalieri (ka-val-i-a'-ri), Emilio del, compr. b. Rome, about 1550; d. Florence, Mar. 11, 1602. Inspector of arts under Fernando de Medici; one of earliest to support music for voice with harmonic instrumental accomp., stilo rappresentivo, and to
CAVALLI
CHADWICK
use figured bass; his Rappresenta- zione di Anima e di Corpo, 1660, regarded as first oratorio; contrib- uted largely to development of opera; wrote 4 operas.
Cavalli (ka-val-li), Pietro Francesco, compr. b. Cremo, Venice, 1599 or 1600; d. Venice, Jan. 14, 1676. Real name Caletti-Bruni, Cavalli name of patron; singer at St. Mark's under Monteverde; organist there; wrote many operas (27 extant), of greater expressive and rhythmic force than those of Monte- verde; orgt. of merit and compr. of valued church music.
Cecilia, Saint, martyred Rome, about 229. Despite religious vows com- pelled to marry Valerianus, she converted him and his brother to Christianity; all three put to death; church built on site of her house about 821; though early writers make no mention of her musical skill, C. has been patron saint of art since very early in 16th century; celebrations of her day, Nov. 22 (in Normandy by Puys, or contests, in England by specially written odes, in France by newly composed masses), have called forth much famous music.
Cederstrom, see Patti, Adelina.
Cellier (sel-ia), Alfred, compr., condr. b. Hackney, London, Dec. 1, 1844; d. London, Dec. 28, 1891. Son of a French teacher, chorister under Helmore; orgt. at 2 churches; condr. at Belfast, Manchester, and London (Opera Comique 1877-79 and Prom- enade Concerts, with Sullivan, 1878- 79); wrote several operas, greatest successes Dorthy 1886, and The Mountebanks; lived in America and Australia, London after 1887.
Cesi (cha-ze), Beniamino, pst. b. Naples, Nov. 6, 1845; d. 1907. Studied at Naples Conservatory under Mercadante and Pappalardo; private lessons from Thalberg; prof, there after 1866; concerts in Italy, France, Egypt; wrote pf. pieces, songs, method, unpublished opera.
Cesti (chas'-ti), Marc Antonio, compr. b. Florence, 1620; d. Venice, 1669. Pupil of Carissimi; maestro di
capella, Florence, 1646; member of Papal Choir 1660; vice-capellmeis- ter Vienna 1666. Though an eccle- siastic, some say a Franciscan, wrote several operas of which it has been said that he improved the monoton- ous style of operas by introducing adapted church music; best known operas are La Dori and II porno d'oro.
Chabrier (sha-bri-a), Alexis Emmanuel, compr. b. Ambert, Jan. 18, 1841; d. Paris, Sept. 13, 1894. While studying and practising law studied pf. with Wolff and harmony with Hignard, but was mostly self- taught; devoted himself to music after 1879; chorusmaster under Lamoureux 1884-85; wrote 2 suc- cessful operettas, 2 operas, Gwendo- line 1886 and Le.roi malgre lui 1887, one unfinished opera Briseis 1899, pf. pieces, and widely known orch. rhapsody Espana; during last years brain was diseased; ardent admirer of Beethoven and Wagner, whose works he helped introduce into France; his own music shows skill in orchestration and strong, original sense of rhythm and color, at times leading to extravagance and at other times to beauty and delicacy.
Chadwick, George Wnitefield, compr. b. Lowell, Mass., Nov. 13, 1854. His family, though of musical tastes, did not encourage adopting music as a profession, and his studies with his brother, Dudley Buck, Geo. Whit- ing, and Eugene Thayer were carried on coincidently with public school education and office work up to 1876, when he became head of musical department of Olivet Col- lege, Mich. In one year he saved enough to go to Leipzig where he studied at Cons, with Reinecke and Jadassohn and in 1879 with Rhein- berger at Munich. In 1880 came to Boston, taught composition at N. E. Cons., of which he became director in 1897; conducted Boston Orch. Club, Springfield Festivals, Worcester Festivals; orgt. Second Church. As a teacher C. had great influence, among his pupils having been H. W. Parker, Wallace Good- rich, H. K. Hadley, etc.; he has written a text-book on harmony, and as director has introduced in the N. E. Cons, the high standards
CHAMBERLAIN
CHARPENTIER
and something approaching the " atmosphere " of foreign schools. As a composer he has been most versatile; in the larger forms his comic opera Tabasco (1894) was widely successful, the lyric drama Judith, given as an oratorio 1901, with its graphic orchestration is his most ambitious work, but his over- tures, string quartets, esp. E minor, and F. symph. most widely known and most admired of his instrumental works. One of the most celebrated American composers, C. gives typ- ical expression to the qualities of American music in the deliberate- ness, learning, and wide variety of his work.
Chamberlain, Houston Stewart, writer. b. Portsmouth, Eng., Sept. 9, 1855. Son of naval officer, educated in France and at Cheltenham; student of natural science and philosophy at German univ.; living in Vienna since 1881; admirer of Germanic civilization, and of Wagner, he has written articles in several languages, and studies of principle in Das Drama R. Wagners and Richard Wagner 1897. Married a daughter of Wagner.
ChambonniSres (shon-bon-ni-ar'), Jacques Champion de, harpsichord player, b. about 1600; d. 1670. Father Jacques and grandfather Antoine distinguished orgts.; C. first harpsichord player to Louis XIV; Anglebert and elder Couper- ins his pupils; playing excelled in delicacy of touch; compositions praised for correctness of style, ele- gance of melody, and appropriate- ness of ornaments.
Chaminade (sham-i-nad') , Cecile [Louise Stephanie], pst., compr. b. Paris, Aug. 8, 1861. Pupil of Le- couppey, Savart, Marsick, and God- ard. Since d£but at 18 she has won distinction as virtuoso in France and England; her compositions include Callirhoe (ballet-symph.), Les Amazones ( symph. lyrique), popular Concertstuck for pf. and orch., and many agreeable songs and pf.
Eieces (Scarf Dance, etc.) which show er charming talent better than larger works; made tour of U. S. as pst. 1908.
Chanot (sha-no), Francois, vln.-maker. b. Mirecourt, 1787; d. Brest, 1823. Son of vln.-maker, entered army as engineer; during temporary retire- ment, made vln. of a new model shaped like guitar, without sound- post, based on theory that fiber of wood should be kept as long as possible to increase vibratory power; mstr. was pronounced by Institut de France 1817 not inferior to most famous vlns., but decision not sup- ported by quality of other vlns. on same model made by C's brother Georges (1801-18), skilful vln.-maker. G's wife, nee Florentine Demoliens, also vln.-maker, assisted him in his work.
Chapman, William Rogers, condr. b. Hanover, Mass., Aug. 4, 1855. Educated in N. Y.; after trip to Europe in 1875 orgt. there and for 10 years teacher of vocal mus. in public, schools; conductor Apollo and Rubinstein Clubs and of an- nual Maine festival, where his force as choral condr. is shown.
Chappell, William, editor, b. London, Nov. 20, 1809; d. there, Aug. 20, 1888. Son of Samuel, who founded firm of Chappell and Co. 1812; Wm. inherited share in business 1834; projected 1840 and encouraged Mu- sical Antiquarian Society; edited Dowland's songs, and Collection of National English Airs, with hist, accounts of songs, very valuable for Shakesperean and earlier songs; some inaccuracies about Scotch songs removed in later editions under other titles Popular music of the olden time, etc.
Chapuis (sha-pti-i), Auguste Paul Jean Baptiste, compr. b. Dampierre-sur- Salon, Apr. 20, 1858. Pupil of Dubois, Massenet, Ce"sar Franck at Paris Cons., where he took several prizes; orgt. at St. Roch, Paris; teacher of harm, at Cons, since 1894, inspector of mus. in Paris schools since 1895; composed opera Enguer- rande, not very successful.
Charpentier (shar-pan-ti-a), Gustave, compr. b. Dieuze, Lorraine, June 25, 1860. Worked as factory assist- ant; after success at Lille Cons studied at Paris Cons. 1881-87 under Massart (violin), Pessard (harmony),
CHAUSSON
CHEVILLARD
and MasseiMst; won Grand prix de Rome 1887 with scene lyrique Didon. Orch. suite Impressions d'ltalie became popular for daintily pict- uresque orchestrations; La vie du poete, symph. drama for orch. soli and chorus, struck the note of protest, later given more full expres- sion in Louise, roman musical (said to be first of a trilogy), produced at OpeYa Comique 1900, widely else- where on the continent and in N. Y. 1908; the opera is musically skil- fully composed, of marked original- ity, and freedom from conventional models; it is also remarkable for its libretto, in which C. himself has expressed his socialistic interest in the working girl as an individual and his enthusiasm for Montmartre; music is skilful, vivid, and, like his theories, effective, but not deeply original or convincing.
Chausson (shos-son), Ernest, compr. b. Paris, 1855; d. Limay, June 12, 1899. Pupil of Massenet at Paris Cons, and of Ce"sar Franck; secre- tary of Socie'te' Nationale de Mus- ique; composed Le Roi Arthus, opera, 1903, 2 smaller dramatic works, several songs, 3 symph.
Eems, of which Viviane is best own, a string quartet, etc. Broad- minded admirer of works of Wagner and of contemporaries; mood of his music is that of an " affectionate, dreamy sensitiveness," not weak but seeming self -consciousness.
Cherubini (ker-u-be'-ne), Maria Luigi Carlo Zenobi Salvatore, compr. b. Florence, Sept. 14, 1760; d. Paris, Mar. 15, 1842. > Taught by his father, cembalist in theatre, by B. and A. Felice, Bizarri, and Castrucci, then sent to Milan by Duke (after- wards Emperor) Leopold to study with Sarti, from whom he gained thorough proficiency in part-writing after manner of Italian contra- puntists. Between 1780-1784 he composed 8 operas gaining consider- able renown in Italy; 1784-86 he was in England, for one year com- poser to the King. After another year in Italy, he settled in Paris in 1788; his first French opera Demo- phoon was not very successful, but it foreshadows his later work. From 1789-92 he conducted the
" Bouffons," Italian opera estab- lished in Paris by the Queen's hair- dresser, Leonard; and in 1791 pro- duced Lodoiska, whose rich ensem- bles and striking harmonic effects made great impression. Up to 1804 he composed his most popular operas Medee 1797, Les deux journees 1800, Anacreon 1803. Summoned to Vienna 1805, he met Beethoven, but, embittered by failure of his plans, returned to France, where after 1809 he composed chiefly sacred music. He had been ap- pointed inspector when the Cons, was founded in 1795, but gained no higher honors owing to Napoleon's dislike of him; after the restoration he gained honor and wealth and in 1822 became director of the Cons.; resigned 1842. As teacher and au- thor of Counterpoint and Fugue, C. influenced Auber, Halevy, Carafa, etc.; the qualities of his music — chaste learning, lofty and pure spirit — which kept his dramatic music from exerting a wide influ- ence are the very qualities which make his church music admirable.
Chevalier (she-val'-ya), Albert Onesime Britannicus Gwathveoyd Louis, singer, b. Notting Hill, London, Mar. 21, 1862. D6but as comedian 1877, toured with Kendals and Hare; private entertainer; since 1891 mu- sic-hall performer of great popularity in England, provinces, and America; specialty coster songs, many of which are composed by brother Auguste, under pseudonym Charles Ingle.
Cheve (she-va), Emile Joseph Maurice, teacher, b. Douarnenez, Finistere, 1804; d. Paris, Aug. 26, 1864. Physician; married Nanine, sister of Aime' Paris, and with her wrote numerous pamphlets in support of Galin-Paris-Chev6 system of mus. instruction and sight reading, by which numbers are used to represent the notes of the scale; bitterly attacked Conservatoire professors for opposing the system.
Chevillard (she'-ve-yar'), Paul Alex- andre Camille, compr. b. Paris, Oct. 14, 1859. Son of Pierre Alexandre Frangois (1811-1877), famous 'cellist, teacher at Paris Cons., founder of
CHLADNI
CHOPIN
Soci6t6 des derniers quatuors de Beethoven; pf. pupil at Cons, of Mathias, chiefly self-taught in com- position; assistant and successor 1899 of Lamoureux as director of concerts; has composed 2 symph. poems, some songs, and chamber music remarkable for its dignity and personal charm.
Chladni (klad'-ne), Ernst Florens Fried- rich, physicist, b. Wittenberg, Nov. 30, 1756; d. Breslau, Apr. 3, 1827. Student of law and medicine at Leipzig, abandoned them for phys- ics, especially acoustics; discovered tone-figures, made by vibrations in sand scattered on glass, and made other discoveries relating to acoustic properties of buildings, classifica- tion of instruments, etc.; also invented clavicylinder, in which sound was produced by friction on glass, much praised by Napoleon but of no musical importance.
Chopin (sho-pan), Frederic Francois, compr. b. Zelazowa Wola, near Warsaw, Feb. 22, 1810 [some auth. give Mar. 1, 1809]; d. Paris, Oct. 17, 1849. His mother was a Pole, but his father was a native of Nancy, France, who having failed in business and retired from the army, taught French at several schools, and at a boarding-school of his own, where his son received his rather slight general education. He had thorough musical instruc- tion from Adalbert Zywny, and, while at the Warsaw Lyceum, from Joseph Eisner. In 1818 he won much praise by playing a Gyrowetz concerto in public; in 1825 he pub- lished the rondo Op. 1; in 1829 gave a successful concert in Vienna, and in 1830, after three farewell concerts in Warsaw, he had a not very suc- cessful tour across Europe, arriving in Paris early in 1832. He soon formed many friends among literary and musical circles, such as Balzac, Heine, Liszt, Cherubini, Bellini, Meyerbeer, etc. Up to 1835 he gave infrequent recitals, which seem to have declined in popularity. As a performer he was at his best only in his own music, and from the contradictory reports of contem- poraries emerges an impression that his playing was remarkable i
for quality of touch and tone, smoothness and delicacy, rather than force; his use of tempo rubato, strongly condemned by some as a sentimental exaggeration, was evi- dently a technical device well con- trolled and may have been one source of the haunting charm of his performance. C. visited Germany again in 1835-36, when he met Mendelssohn and Schumann, and in 1837 and again at the time of the Revolution of '48 he visited and played in England, returning to Paris about a year before his death. Throughout his life C. was beloved by many women, the most famous of them being the novelist George Sand (Mme. Dudevant); his inti- macy with her lasted from 1837-47; in her Hiver a Majorque, Histoire de ma vie and Lucrezia Floriani (where one of the characters repre- sents Chopin), and in many works of and about the period, the details may be read. From about 1837 C. was troubled with the pulmonary disease of which he finally died; much evidence has been produced to refute the once current idea that he was always a neurotic invalid; but the frequency of such contem- porary remarks as Berlioz's " II se mourait toute sa vie " prevents us from thinking of him as actually robust.
His works are practically all for the pianoforte. A posthumous vol- ume of 17 Polish songs, mostly arrangements of old tunes, is his only vocal music; one pf. trio Op. 8, a polonaise Op. 3, sonata Op. 65, and duet for pf. and 'cello represent chamber music, and even here Franchomme rearranged probably the 'cello parts. In the two con- certos for pf. and orch., Op. 11 in E minor and Op. 21 in F minor, the orchestration is so thin that later composers and editors have rewritten it. But in his own field of solo piano music, between 1833-47, he effected a real and permanent revolution, and it is interesting to note that this accomplishment was deliberate and self-conscious, and moreover recog- nized by his contemporaries. Schu- mann's review of Op. 2 in 1831,-with the phrase "Hats off, gentlemen! a genius! " started the vogue in
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Germany, and in Paris admiration for him and his music was decidedly deeper than mere fashion. His music shows thorough knowledge of construction, and inexhaustible orig- inality; its content is romantic in its restlessness, its lack of conven- tionality, its predisposition toward despair; it is intensely personal, not because it voices C's particular feelings, but because it expresses the intimate moods of individual hearers.
Chorley, Henry Fothergill, critic, b. Blackley Hurst, Lancashire, Dec. 15, 1808; d. London, Feb. 16, 1872. Wrote some novels, plays, and literary reviews; translated libretti, and wrote those of Amber Witch, Kenilworth, etc.; on staff of the Athenaeum 1830-1871 wrote mus. criticisms and other papers; also wrote books Modem German Music, etc. Though not a trained musi- cian, and often prejudiced, notably against Schumann and in favor of Mendelssohn, works reflect inter- estingly intelligent contemporary attitudes; Autobiography and Let- ters published.
Choron (sho-ron), Alexandra Etienne, theorist, b. Caen, Oct. 21, 1772; d. Paris, June 29, 1834. Student of languages and mathematics, applied himself with great earnestness to mus. theory; music publisher 1805; director Grand Opera, 1816-17; founded and directed 1824-1830 Institution royale de musique, clas- sique et religieuse, where many famous musicians, Dietsch, Duprez, Rosine, Holz, etc., were trained; had influence also on Fe"tis, Kastner, etc.; wrote books on mus. theory and education, dictionary of musicians, translated Albrechtsberger's treatise.
Chouquet (sho-ka'), Adolphe Gustave, writer, b. .Havre, Apr. 16, 1819; d. Paris, Jan. 30, 1886. From 1840-60 teaching in New York; after 1871 keeper of museum at Paris Cons., of which he published catalogue; beside contributions to French mus. papers, wrote valuable Histoire general de la musique dramatique en France 1873.
Chretien (kra'-ti-an), Hedwige Louise Marie, compr. b. Compiegne, France, July 5, 1859. As pupil of Guiraud
and Lenepveu, took prizes at Paris Cons, in solfeggio, harmony, coun- terpoint, composition, and piano; rehearser of solfeggio at Cons.; mar- ried P. Gennaro 1887; has com- posed chamber music, mus. for wind instrs., pf., and songs.
Chrysander (kris-an'-der), Carl Franz Friedrich, historian, b. Liibtheen, Mecklenburg, July 8, 1826; d. Bergedorf, Sept. 3, 1901. Ph. D. University of Rostock; devoted most of his life to study of Handel, whose works he edited with con- summate accuracy and wisdom for the Handel Gesellschaft, working quite alone after 1860; biog. of Handel remains unfinished; part editor of Vierteljahrsschrift fur musikwissenschaft with Adler and Spitta; contributed to Allgemeine Zeitung articles extolling Handel above all musicians, protesting against re-editing, and opposing modern tendencies in music.
Chwatal (kva-tal), Franz Xaver, compr. b. Rumburg, Bohemia, June 19, 1808; d. Soplbad (Elmen), June 24, 1879. Music teacher at Merseburg and Magdeburg; wrote 2 pf. meth- ods and more than 200 pf. pieces. Brother, Joseph (b. 1811), organ maker in Merseburg, made several valuable improvements in mechanism of org.
Cilea (chi-la-a), Francesco, compr. b. Palmi, Calabria, 1867. Despite opposition of father entered Cons, at 14, where won gold medal for orch. suite; began early to write operas; L ' Arlesiana 1897 and Adri- enne Lecouvreur, Milan 1902, New York 1907, especially successful; resigned prof, harmony at Royal Inst. Florence 1905.
Cimarosa (chim-a-ro'-za) , Domenico, compr. b. Aversa, Naples, Dec. 17, 1749; d. Venice, Jan. 11, 1801. Son of poor people (his father was a mason) he received education in charity school of Minorites and at Cons. Santa Maria di Loreto, where he studied under Manna, Sacchini, and Piccini. After his first opera was produced in 1772, he lived alter- nately in Rome and Naples, his works growing in popularity until he rivaled Paisiello; after 3 years
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as court composer in St. Petersburg, he went as court capellmeister in 1792 to Vienna, where he pro- duced his masterpiece II matri- monio segreto. Returning to Naples, he was banished for sympathizing with the Revolution in 1799. Though his operas are said to be of purest Italian vein of melody without monotony, and with deli- cacy of humor surpassed by none but Mozart, only Matrimonio se- greto among 66 has survived.
Cipollone (chip-o-lo-ne), Alfonso, com- pr. b. Fara S. Martino (Chieti), Nov. 25, 1843. Pupil of Ruta at Naples; teaching at Teramo; has composed songs, chamber music, and pieces for pf.
Claassen (Idas-sen), Arthur, condr. b. Stargard, Prussia, Feb. 19, 1859. Studied at music school in Weimar under Miiller-Hartung, A. W. Gott- schalg, and B. Sulze; attracted interest of Liszt 1878; condr. at Gottingen and Magdeburg; condr. Brooklyn, N. Y., Arion and other societies, established Claassen Mu- sical Institute for classical music only; has composed choruses, orch., and chamber music.
Claribel, sec Mrs. C. C. Barnard.
Clark, Rev. Frederick Scotson, orgt. b. London, Nov. 16, 1840; d. there, July 5, 1883. Taught by his mother and by Sergent in Paris; orgt. in London at 14; studied with E. J. Hopkins and at Royal Academy with Bennett, Goss, and others; founded London Organ Sch.; after taking .orders he studied abroad, returning to London 1875; skilful player on org. and harmonium; versatile compr. for both instruments.
Clarke, Hugh Archibald, compr. b. near Toronto, Aug. 15, 1839. Pupil of father James Patton C. (1808-1877, prof, of music in the University of Upper Canada, and a Mus. Doc. Oxford, orgt.). Moved to Philadel- phia 1859; orgt. in several churches; conducted The Abt Singing Society; prof, of music Univ. of Penn. since 1875; W. W. Gilchrist among pupils; composed music to Aristophanes' Acharnians, and to Euripides' Iphi- genia in Tauris, an oratorio Jerusa- lem, pf. pieces, etc.; has written
text-books on harmony and counter- point, Music and the Comrade Arts and Highways and Byways of Music; as lecturer and educator his mature scholarship has been widely felt.
Clarke, Jeremiah, orgt. b. London (?) before 1669; d. there, Dec. 1, 1709. Chorister under Blow; orgt. at Win- chester College, St. Paul's Cathedral, joint orgt. at Chapel Royal; com- posed several anthems, the original music to Dryden's Alexander's Feast, now lost, music to several plays, cantatas, and songs; remembered because of original psalm-tunes and anthems.
Clarke, John Whitfeld [afterwards known as Clarke- Whitfeld], compr. b. Gloucester, Dec. 13, 1770; d. Holmer, near Hereford, Feb. 22, 1836. Pupil of Ph. Hayes; orgt. at Ludlow, Dublin, Armagh, Cam- bridge; prof, at Cambridge; com- posed services, anthems, an oratorio, etc.; first arranged Handel's ora- torios for voice and pf.; edited Beauties of Handel, Beauties of Purcell, and many others.
Clarke, William Horatio, orgt. b. New- ton, Mass., Mar. 8, 1840. Educated at Dedham; orgt. there, and in Boston at Berkeley St. Church and Tremont Temple 1878-87; superin- tendent of schools in Dayton, O.; after 1887 gave private lessons; retired from professional life 1892; written works on <