DICTIONARY OF MUSIC AND MUSICIANS THE MACMILLAN COMPANY NEW YORK BOSTON CHICAGO DALLAS ATLANTA - SAN FRANCISCO MACMILLAN & CO., LIMITED LONDON BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, LTD. TORONTO GROVE'S V DICTIONARY OF MUSIC AND MUSICIANS AMERICAN SUPPLEMENT BEING THE SIXTH VOLUME OF THE COMPLETE WORK WALDO SELDEN PRATT EDITOR CHARLES N. BOYD ASSOCIATE EDITOR Nefo gorfc THE MACMILLAN COMPANY 1920 All rights reserved v, COPYRIGHT, J920, BY THE MACMILLAN COMPANY. Set up and electrotyped. Published November, 1920. ** ' Norinootr J. S. Gushing Co. Berwick & Smith Co. Norwood, Mass., U.S.A. PREFACE THE project of this volume, when proposed by The Macmillan Company to the Editor whom they had selected, was finally taken up by him only with great hesita- tion, not because an American Supplement to the existing five volumes of Grove's famous Dictionary of Music and Musicians was not most desirable, but because of the inherent difficulties in the problem of making it satisfactory. After prolonged consultation the working-plan adopted was recognized as not so much a 'counsel of perfection' as a frank adjustment of ideals to what was practical within the limits of time, space and scope proposed. In view of the fact that a work of this sort is essentially historical, an unusual arrangement of the material was at length devised as useful in this particular case. The volume is laid out in two distinct divisions, the one interlocking more or less with the other. ^ The first division consists of a compact/ Historical Introduction, surveying the unique environment of music in America and certain peculiarities in its development, combined period by period with a^Chronological Register^indicating those workers who seem representative of the spirit and effort of the successive stages of progress. ^The second division, which is much larger, consists^of specific descrip- tive articles about leading individuals, organizations, institutions and interests, arranged in tfre customary alphabetical order. In this division, also^a great number of the names, mentioned elsewhere are catalogued for ease of reference. It is believed that this twofold presentation, though involving some duplication, has definite advantages. The Introduction is not in any sense a formal history of American music as such, yet it provides a sketch of the historic framework, of both external circumstances and of internal tendencies, upon which alone such a history can properly be modeled. In connection with this the Register affords opportunity for brief reference to some 1700 persons, representing a variety of interests, some of whom have not often been remembered or even catalogued. The descriptive articles in the main body of the Dictionary then take up about 700 of these persons for more particular fteatmeat, often with extensive lists of their works, and also give a vast amount of information about numerous enterprises of a general or corporate nature. The aim throughout the entire volume is to present as many facts as possible hi the clearest manner, so as to make them accessible for reference, but to avoid the expression of critical opinions except in general terms or in quoted form. v V vi PREFACE The Editor and the Associate Editor wish to express their great obligation to the host of correspondents who have courteously supplied both material and encourage- ment. They can only regret that certain lines of inquiry, though somewhat earnestly pursued, proved surprisingly fruitless, so that many topics marked for inclusion, at last had to be treated superficially or omitted altogether. Throughout the volume the words 'America' and * American' are 6ft en used of the United States and Canada taken together. Canadian musicians are here counted with those of the United States, not only because no other course was seemly hi an American extension of a work originally published in Great Britain, but also because the cordial fraternity in musical art on this side of the ocean has always disregarded the political frontier that stretches across the continent. To a very limited extent, furthermore, it has been possible to include some representative names from Central and South America. In the Register all who were born outside of the United States and Canada, whether in Europe or in other parts of the Americas, are designated by a special sign. Inasmuch as the latest edition of Grove's Dictionary was issued ten to fifteen years ago, the publishers desired that this volume should include continuations of those articles that relate to the more conspicuous foreign musicians, as well as notices of some that for any reason were previously omitted. Accordingly, in the Dictionary proper will be found statements regarding more than a hundred musicians who are entirely outside the American field. All these articles are indicated by a special sign. Every work of this class rests largely upon its predecessors in the same field, as well as upon other literary sources. This particular volume would have been almost impossible to prepare except for the several historical studies that have appeared regarding American music and musicians, and especially without the invaluable material gathered in works like Who's Who in Music (1918) and Baker's Dictionary of Musicians (3rd edition, 1919). To the authors and editors of all of these the most hearty acknowledgment of constant indebtedness is due.* * Books that have been specially utilized include Jones, Handbook of American Music and Musicians (1886), Mathews, Hundred Years of Music in America (1889), Ritter, Music in America (3rd ed., 1893), Elson, History of American Music (2nd ed., 1915), The Art of Music, Vol. iv (1916), The American History and Ency- clopedia of Music, Vol. on American Music (1910), articles on 'Music' in The International Year-Book (1907-19), Hughes, American Composers (revised ed., 1915), Sonneck, Early Concert-Life in America (1907) and Early Opera in America (1915), Krehbiel, Chapters of Opera (1911) and More Chapters of Opera (1917), Upton, Musical Memories (1918), etc. LIST OF ILLUSTRATIONS PAGE MRS. H. H. A. BEACH 126 DUDLEY BUCK . 146 CHARLES WAKEFIELD CADMAN . . . 150 JONAS CHICKERING 160 LEOPOLD DAMROSCH 180 ARTHUR FOOTE 206 HENRY KIMBALL HADLEY 230 RAFAEL JOSEFFY 258 EDGAR STILLMAN KELLEY 260 HENRY EDWARD KREHBIEL 264 CHARLES MARTIN LOEFFLER 272 WILLIAM MASON 286 LILLIAN NORDICA 312 MAUD POWELL 330 OSCAR G. SONNECK 364 BERNHARD ZIEHN 410 In previous volumes of the Dictionary will be found also portraits of MME. ALBANI, GEORGE W. CHADWICK, CLARA LOUISE KELLOGG, the KNEISEL QUARTET, EDWARD A. MAcD DWELL. CHRISTINE NILSSON, JOHN K. PAINE, HORATIO W. PARKER, ANTON SEIDL, MARCELLA SEMBRICH, ALEXANDER W. THAYER, THEODORE THOMAS and CARL ZERRAHN. vii HISTORICAL INTRODUCTION AND CHRONOLOGICAL REGISTER INTRODUCTION AND REGISTER PAGE THE CENTURY OF SETTLEMENT 3 THE COLONIAL CENTURY ...... 5 REGISTER, SEC. 1. 1700-1775 . . . . . 7 REGISTER, SEC. 2. 1775-1800 9 THE ERA OF NATIONAL EXPANSION .... 12 REGISTER, SEC. 3. 1800-1840 16 REGISTER, SEC. 4. 1840-1860 . . . . .21 THE PERIOD AFTER THE CIVIL WAR .... 30 REGISTER, SEC. 5. 1860-1870 .... 37 REGISTER, SEC. 6. 1870-1880 43 THE TRANSITION ABOUT 1880 ..... 51 REGISTER, SEC. 7. 1880-1890 53 REGISTER, SEC. 8. 1890-1900 66 THE OPENING OF THE 20TH CENTURY .... 80 REGISTER, SEC. 9. 1900-1910 88 REGISTER, SEC. 10. 1910-1920 100 NOTE. The cross-reference 'See art.' indicates that a more extended notice will be found in the body of the Dictionary. The larger cities of the United States and Canada are regularly entered without naming the states in which they lie. Persons born outside of the United States or Canada are indicated by *. HISTORICAL INTRODUCTION WITH CHRONOLOGICAL REGISTER OF NAMES The history of music in America is decidedly peculiar in many of its aspects, owing to the unusual way in which civilization and culture have here been estab- lished. Although permanent settlements in North America multiplied from about 1600 and the independent existence of the United States is counted from 1776, musical life remained quite immature, or at most provincial, until after 1800. After the middle of the 19th century, however, when an extensive and vital connection with the progressive artistic culture of Europe began to be effected, the rapidity, variety and vigor of the ensuing advance were altogether phenomenal. Developments that have taken centuries were then crowded into decades and elaborate enterprises often took shape without the gradual preparation that might have been expected. In view of this, a compact statement is here presented of some of the historic conditions within which American musical progress has come to pass and of its more salient features from period to period. With this is combined at each suc- cessive stage a REGISTER of the persons who seem to have been representative and influential, taking them in groups by the time when they entered upon pro- fessional activity. It is believed that this method of presentation will illuminate the whole evolution and be a guide to placing various matters in due sequence and relation. THE CENTURY OF SETTLEMENT After being casually and vaguely known for perhaps five hundred years, America was formally ' discovered' in 1492 by Colombo, a Genoese navigator sent out by the court of Spain. The name 'America' was conferred upon it, as has been picturesquely remarked, ' by an obscure German professor in a French college after another Italian [Amerigo Vespucci] in the service of Portugal/ ' The New World/ as it was generally known which, by the way, did not originally include North America was at first simply an object for romantic and greedy exploitation. The incursions and conquests of Spain produced noth- ing permanent except a nominal domination over Mexico (from 1520) and the Pacific Coast, with a precarious foothold upon the peninsula of Florida, where St. Augustine was founded in 1565. The effective occupation of the coast of North America was the later task of the 17th century, and was wrought out by other nations. 3 4 HISTORICAL INTRODUCTION In 1607 Jamestown (Va.) was settled by about a hundred adventurers from England, establishing an area of Cavalier sympathies which ultimately acquired the popular name of 'The Old Dominion' under Charles II. At the same time, far to the north, French traders and missionaries began at Quebec (1608) and Montreal (1611) to lay down the long chain of frontier posts that finally stretched westward to the Great Lakes and thence southward down the Mississippi Valley to New Orleans (1718). In 1613 the Dutch located themselves at the mouth of the Hudson River, where New York now is, retaining control of its valley and of some territory east and west of it until ousted by the English in 1664. In 1620 Plym- outh (Mass.) was founded by a party of about a hundred English folk (Separat- ists or Independents), commonly called ' The Pilgrims/ because their migration to America, like their earlier one to Holland, was to escape from the oppressive autocracy of the Church of England. In 1628-30 the much stronger settlements at Salem, Cambridge and Boston (Mass.), not many miles away, were begun by perhaps a thousand Puritans, members of the English Church who desired reform in its practice and spirit, though at first without meaning to leave it. These Massachusetts settlements were consolidated under one government in 1692. In 1632 English Roman Catholics established themselves at Baltimore (Md.). In 1638 a few Swedes were pioneers in the region that later came to be called Dela- ware. In 1636-38 groups breaking away from Massachusetts effected the settle- ment first of Providence (R. I.) and then of Hartford and New Haven (Conn.), the last two being consolidated in 1662. In 1670-80 similar branch-colonies from Virginia pushed southward into North and South Carolina. In 1681 came the unique and influential Quaker settlement of Philadelphia (Pa.). It was not till 1733 that the series of primary establishments was completed by the founding of Savannah (Ga.), originally intended to be a refuge for English prisoners for debt or conscience, but early utilized also by refugees from intolerance in southern Ger- many. To all these centers, with their outlying dependencies, a gradually increas- ing stream of additional colonists came from year to year. Out of the several grants, patents or charters from the English Crown with which most of these settlements began were developed the distinct administrations of them as colonies. These were the autonomous units known later as 'The Thirteen Original States' (New Hampshire, Massachusetts, Rhode Island, Con- necticut, New York, New Jersey, Pennsylvania, Delaware, Maryland, Virginia, North Carolina, South Carolina, Georgia), the federation of which in 1781-88 constituted the United States. J The pioneer conditions of the whole 17th century were manifestly unconducive to artistic life. Even at its close the total population may not have exceeded 275,000 (including many negro slaves), sparsely distributed over almost a thou- sand miles of coastland a distance about equal to that from London to Budapest. Large towns were almost wanting. Even Boston in 1700 had less than 7000 inhabitants. The several colonies were as yet not bound together by much community of interest or sentiment, and their social habits differed greatly. THE COLONIAL CENTURY 5 What records there are of this early period are strikingly deficient in references to music or instruments. In the North there was a tendency to treat the art as ' worldly ' and hence objectionable, so that even church-singing became curiously degenerate because unsupported by general knowledge. In the South there was probably much more freedom of thought and practice, though exact data are wanting. It seems that at first none of the colonists possessed any special taste or aptitude in the musical field. THE COLONIAL CENTURY During the 18th century the total population grew at the rate of about one- third in every decade, so that in 1750 it amounted to nearly 1,250,000 and in 1800 to over 5,300,000, of which, however, about one-sixth were slaves. More than 90 per cent were farmers. The occupied territory lay close to the Atlantic coast, until late in the century nowhere reaching inland more than 150 miles. Military outposts were planted here and there at more distant points, but, even allowing for these, the total area effectively taken up by the English colonies can hardly have exceeded 250,000 square miles. By 1800 a few cities had attained considerable size, especially Philadelphia (69,400 inhabitants), New York (60,500), Baltimore (26,500), Boston (25,000) and Charleston (20,500), with Salem, New Orleans, Providence, Norfolk, Newport, Newburyport, Richmond, Nantucket ( !), Albany, Hartford and Portsmouth completing the list of large towns down to 5000 inhabitants. In the middle of the century (1754-63) occurred the struggle with the aggres- sive French interests in Canada, assisted by a strong Indian alliance. The issue of this contest settled the critical point that not only Canada, but the entire basin of the Mississippi, was thenceforth to come under English influence. It also broke the power of the dangerous Indian confederacies. Close upon this followed the controversies with England that culminated in the War of Independence (1775-83), by which for the first time all the colonies were drawn into virtual union as a na- tion. This war, however, naturally led to a prolonged period of discussion and internal readjustment. Except in the cities and large towns, conditions were still not specially favorable for much cultural advance. On the whole, social thought and customs were strongly dominated by English influences. The sense of an independent destiny awoke only late in the period, when also appeared a new sensitiveness to ideas from France, due in part to sympathy received in the American Revolution and given in the French Revolu- tion. Although there was as yet no great influx of immigration from Europe and no habit of foreign travel, commerce with England was steady and enterprising, so that not only commodities, but social ideas and practices, were rather promptly communicated, at least to the main ports of entry. In these latter centers wealth and leisure had increased enough to create a demand for something more than small diversions. It is not strange, therefore, that such musical entertainments as were popular in England concerts and operas of the ballad or song type should have 6 HISTORICAL INTRODUCTION become more and more frequent. The performers were almost wholly visiting artists from abroad, at first from England, but after 1790 from France as well. Many of these remained for a series of years and some of them permanently. Not a few represented a high degree of knowledge and taste, as measured by the standards of the day. So far as these artists became known they undoubtedly exerted a positive and stimulating artistic influence. In certain instances we know that they started definite currents of native effort. Side by side with this exotic influence, especially in New England, ran a movement for the improvement of congregational singing in churches which had some importance and which continued far into the 19th century. The absolute artistic results were slight, but the awakening of social interest through 'singing-schools' under peripatetic leaders and through the multiplication of song-manuals foreshadowed more significant undertakings later. (See article on Tune-Books.) Musical instruments slowly became noticeable among the articles of importa- tion and sale, implying an increasing interest in them and some ability to use them. This developing interest led also to the first steps in commercial manufacture, giving promise of the remarkable energy that was displayed in the early 19th century in making pianos, organs and some stringed instruments. Associations for the promotion and practice of music were formed here and there, indicating an instinctive desire to make it a substantial factor in social life. The only native-born musician of distinction was Francis Hopkinson. But the line of contributors to ' psalmody ' was well established before 1800. In the two sections of the CHRONOLOGICAL REGISTER that are here inserted will be found references to many details, personal and otherwise, which do not lend themselves readily to summary statement. The chief purpose of these lists, it should be remembered, is to record a fairly large number of persons who are known to have had some importance in the total development, to group them according to the time when their professional work seems to have begun, and in each case to indicate in a few words the place and character of their activities. It is fully recognized that such lists must be tentative and provisional. Our information regarding the 18th century is fragmentary, in spite of Sonneck's invaluable researches. His two books, Concert-Life and Early Opera, refer by name to nearly 500 musicians of greater or less degree, of whom about one-fourth appeared prior to the Revolution and the remainder in the two decades after it. The majority of them were only visitors and exercised their talents only in those few centers where music had acquired a fashion- able vogue. It is not yet clear how deep and lasting was their artistic impress. Their total repertory was extensive, including more than 200 operas and other musical plays, a great variety of popular songs, usually of the English ballad type, and a notable array of instrumental works by the composers who were most admired before the time when Mozart began to be recognized. From the point of view of permanent culture, it is likely that the standards uncon- sciously established by the instrumentalists, either by public performance or through teaching of pupils, were specially important. 1 : 1700-1775] CHRONOLOGICAL REGISTER CHRONOLOGICAL REGISTER 1. Before the Revolution, 1700-1775 NOTE . Throughout the Register the persons named are entered under the period when they apparently began professional activity, even though this activity continued and increased later. Those foreign-born are entered accord- ing to the dates of arrival in America, and are designated by a * before their names. Such names are often given in their common angli- cized form. All those who are separately treated in the body of the Dictionary are entered briefly in the Register in their proper chronological place, with the cross-reference ' See art.' For ease of consultation, the dates of birth and death are uniformly printed together, with the place of birth preceding and the place of death following. *Behrent, John, either a German or a Swede, in 1775 made in Philadelphia what appears to have been the first American piano. See Spil- lane, American Pianoforte, p. 76. *Beissel, Johann Conrad (Palatinate, 1690- 1768, Ephrata, Pa.), was an odd, but gifted, mystic who in 1720 came to Germantown, Pa., and in 1735 founded a communistic fraternity at Ephrata (about 50 miles west of Philadel- phia), which flourished till about 1800. He was a well-trained violinist. Some of his poems made up the first German book issued in Amer- ica (1730, printed by Franklin). This book was followed by a curious series of reprints of Ger- man hymn-books and new collections, edited by various hands and published mainly at German- town or Ephrata (at least 30 GesangbUcher and similar works before 1800). *Biferi, Nicholas, a Neapolitan harpsichord- ist, in 1775 gave concerts in New York, havmg opened a- school for music and dancing in 1774. Sonneck (Concert- Life, p. 175) queries whether he may be the same as Francesco Biferi (b. 1739?), who in 1770 issued an in- struction-book at Paris. Billings, William (Boston, 1746-1800, Bos- ton) , was one of the earliest leaders of singing- schools and an ambitious, but crude, tune-com- poser. See Tune-Books and art. Brattle, Thomas (d. 1713, Boston), a promi- nent Boston merchant who imported an organ which he bequeathed to the Brattle Square Church, but whicn, there refused, went to King's Chapel. In 1756 it was taken to New- buryport, and in 1836 to St. John's in Ports- mouth, N. H., where it still is. See Brooks, Olden-Time Music, p. 49, Sonneck, Concert-Life, p. 9, and ' New Music Review,' May, 1902. *Bremner, James (d. 1780, Philadelphia), a relative of Robert Bremner, the Edinburgh music-publisher, came to Philadelphia in 1763, opened a music-school, was Hopkinson's teacher, played the organ at Christ Church, and did much to promote good music. See Sonneck, Concert-Life, pp. 66-70, and Hopkin- son and Lyon. Bromfield, Edward, Jr. (Boston, 1723-1746, Boston), graduated from Harvard in 1742 and is said soon after to have partially constructed an organ. See Brooks, p. 32. *Dipper, Thomas (d. 1763?, Jamaica), an Englishman who in 1756-62 was organist at King's Chapel, Boston. *Douglass, David (d. 1786?, Jamaica), a capable English singer, actor and manager, who came to New York in 1758, succeeded Hallam as head of the American Company (marrying his widow), and gave plays and operas North and South till 1775, when he left for Jamaica. See Sonneck, Early Opera, pp. 26-52. *Enstone, Edward, an Englishman, who from 1714 was organist at King's Chapel, Boston, taught music and dancing and sold various instruments. Flagg, Josiah (Boston, 1738-1794, Boston), issued a tune-book in 1764 (engraved by Paul Revere), gave concerts in 1769-71 and organ- ized a military band. See Sonneck, Concert- Life, pp. 261-4, and Tune-Books. Franklin, Benjamin (Boston, 1706-1790, Philadelphia). See Vol. ii. 103-4, 297-8, and art. *Gualdo, Giovanni, an Italian who in 1767 came to Philadelphia as wine-dealer and music- teacher, and in 1769-71 gave concerts, includ- ing instrumental works of his own (not extant). See Sonneck, Concert-Life, pp. 70-4. *Hallam, a family of English actors and singers who were active in America from 1753, when Lewis Hallam (d. 1755, Jamaica) came as manager of the London Company. His widow married Douglass, who directed the troupe in 1758-74 under the names American Company and Old American Company. Among the singers after 1759 were Lewis Hallam, Jr. (1741-1808) and his sister, both competent artists. The former returned as manager in 1784, and was more or less asso- ciated with Henry and Hodgkinson (see sec. 2). See Sonneck, Early Opera and Concert-Life. *Harman, Catharine Maria (d. 1773), a granddaughter of Colley Gibber, was a light- opera singer in the American Company from 1759, as was also her husband. *Harrison, Thomas, an Englishman who was organist of Trinity Church, New York, probably in 1753-64, and also gave concerts in 1769-70. *Hesselius, Gustavus, a Swedish organ- maker, who made spinets and virginals in Philadelphia as early as 1742 apparently the first in America. Hopkinson, Francis (Philadelphia, 1737- 1791, Philadelphia), the distinguished lawyer and publicist, who was also the first American composer (from 1759). See art. 8 CHRONOLOGICAL REGISTER [1 : 1700-1775 *Jacobi, John Owen, an organist brought from England in 1736 by Trinity Church, Newport, R. I., to play the organ given in 1733 by Bishop Berkeley. Johnston, Thomas (d. 1768?), in 1752 made an organ for Christ Church, Boston, and in 1754 one for St. Peter's, Salem. The latter in 1819 went to St. Michael's, Marblehead, and finally to Hook & Hastings, the organ-builders. See Brooks, pp. 50, 65-6. *Juhan [Joan], James, a Frenchman who was in Boston in 1768-70 and in Charleston in 1771 as teacher of French, music and dan- cing, besides tuning, repairing and making in- struments. In 1783 he exhibited at Phila- delphia his ' great North American Forte Piano.' Alexander Juhan (see sec. 2) was probably his son. See Sonneck, Concert-Life, pp. 123-4, 264-5. *Klemm, Johann Gottlob (Saxony, 1690- 1762, Bethlehem, Pa.), an organ-maker who came to Philadelphia in 1736 and worked in New York in 1745-57. About 1740 he made the first American organ for Trinity Church, New York. See Sonneck, Concert-Life, p. 169, and references there. *Knoetchel, John Ernest (d. 1769), was organist of Trinity Church, Newport, R. I., and probably the father of another there in 1774. Lyon, James (Newark, 1735-1794, Machias, Me.), a contemporary of Hopkinson, wrote a graduation-ode at Princeton in 1759, and issued the tune-book Urania in 1761, containing some original pieces. See Sonneck, Hopkinson and Lyon, and Tune-Books. *Morris, Owen (1719-1809), an English actor-singer in Hallam's Company from 1759 and again after the Revolution. In 1792 he and his wife joined Wignell. *Pachelbel, Charles Theodore, a German in Boston who in 1733 helped erect the organ in Trinity Church, Newport, became organist there, and in 1736-37 gave concerts in New York and Charleston. See Sonneck, Concert- Life, pp. 13, 158, 317. *Pelham, Peter, Jr. (b. England, 1721), the son of an engraver and teacher in Boston and musically trained from boyhood (probably in England), set out as music-teacher in Boston in 1743. In 1768 he was harpsichordist for an operatic troupe in Virginia. *Propert, David, at first a music-teacher in New York, moved to Boston in 1770 and from 1771 was organist at Trinity Church. He organized concerts in 1773-74 and was still active in 1789. *Rice, John, an Englishman, from 1744 was organist at Trinity Church, New York, and from 1753 at Trinity Church, Boston. See Sonneck, Concert-Life, pp. 159, 169, 254. *Selby, William (England, 1738-1798, Bos- ton), from 1771 an influential player and com- poser in Boston. See art. *Storer, Maria (d. 1795, Philadelphia), a talented English actress and singer, in 1768 came to New York with Hallam and had great popularity till 1794. In 1787 she married the singer and manager John Henry (d. 1795). Her sister Fanny was also a favorite. See Sonneck, Early Opera and Concert-Life. *Tuckey, William (England, 1708-1781, Philadelphia), from 1753 organist of Trinity Church, New York, and an enterprising pro- moter of musical interest. See art. *Valton, Peter, from 1764 organist at St. Philip's, Charleston, and for some years a prom- inent teacher, concert-giver and dealer in in- struments, besides writing a set of harpsichord- sonatas. See Sonneck, Concert-Life, pp. 15-6, 21. *Wainwright, Miss, an excellent English actress-singer (probably a pupil of Dr. Arne) who appeared in Charleston and New York in 1765-69. *Woolls, Stephen (d. 1799), another fine English stage-singer (also one of Arne's pupils) who appeared frequently before and after the Revolution. See Sonneck, Early Opera and Concert- Life. *Yarnold, Benjamin, organist in Charleston, from 1753 at St. Philip's and from 1764 at St. Mary's. *Zimmerman, Matthias, of Philadelphia, in 1737 bequeathed an organ that he himself had made. This seems to antedate the one made by Klemm (see above), but the record is not quite clear. See Spillane, p. 47. Sonneck has found presumable references to plays in 1703 at Charleston and New York (Tony Aston), in 1718 at Williamsburg, Va., and in 1749 at Philadelphia, besides a possible concert in 1733 at New York. The earliest musical entertainments for which definite data are now at hand at various places are as fol- lows: 1731 Boston at Pelham's Great Room. 1732 Charleston by John Salter. 1736 New York by C. T. Pachelbel. 1744 Bethlehem by the Collegium Musi- cum. 1 1750 Philadelphia by the Kean-Murray Company. 1751 Williamsburg by the Kean-Murray Company. 1752 Annapolis by the Kean-Murray Company. 1761 Newport by the Douglass (Hallam) Company. 1762 Providence by the Douglass (Hal- lam) Company. 1766 Savannah by John Stevens, Jr. 1774 Princeton by Hoar, of New York. lAt the famous Moravian settlement at Bethle- hem, Pa., in 1741, under the lead of Count Zinzendorf (1700-1760), singing and instruments were early prominent. In 1744 a society for cultivating music was formed, led by Rev. J. C. Pyrlaeus and later by J. E. Westmann, which was the forerunner of the present Bach Choir. The first spinet was imported in 1744, a small organ set up by Klemm in 1746 and a larger one in 1751, and trombones were introduced in 1754. See Walters, Bethlehem Bach Choir, pp. 9 ft. 2: 1775-1800] CHRONOLOGICAL REGISTER 9 pianist, i 7nfi_i < 2. After the Revolution, 1775-1800 Adgate, Andrew (d. 1793, Philadelphia), from 1784 was a promoter of psalmody in Philadelphia and in 1787 founded the Uranian Academy. See art. and Tune-Books. *Albrecht, Charles, in 1789 a piano-maker in Philadelphia, succeeded in 1825 by Christian F. L. Albrecht (son?), who in 1842 sold out to Blasius & Son. *Arnold, Mrs., an English singer, prominent in concerts and plays from 1796. She married a Mr. Tubbs in that year. *Bentley, John, an English harpsichordist, in 178385 managed concert-series in Phila- delphia, and from 1785 led the orchestra of the Old American Company in New York and else- where. In 1785 he ' selected and composed ' music for three pantomimes, including ' The {Touchstone.' *Bergmann, B., a violinist who in 1792 came | from England to New York, appearing as solo- ist and in quartet, and was later heard at i Boston and Charleston, where in 1795 he drafted accompaniments for Storace's ' The Doctor and the Apothecary.' Berkenhead, John L., a blind organist and , in 1795 gave concerts in Boston and in 1796-1804 was organist at Trinity Church, Newport. *Boullay, Louis, a French violinist who from 1793 appeared often, especially in New York and Philadelphia. *Broadhurst, Miss, a brilliant English so- prano, from 1794 was a leading artist in the Wignell-Reinagle Company, though then not yet twenty. *Brown, William, from 1783 a prominent flutist at various places. In Philadelphia he [was associated with Reinagle, and in 1785 organized concerts in New York. In 1787 he dedicated three rondos to Hopkinson. See Sonneck, Concert-Life, p. 185, etc. *Capron, Henri, a French 'cellist (pupil of Gavinies) who had played in Paris since 1768, from 1786 was active in Philadelphia, New York and elsewhere. He figured also as singer, guitarist, teacher and composer. See Sonneck, Concert-Life, especially as to his quarrel with Brown. *Carr, Benjamin (England, 1769-1831, Phil- adelphia), from 1793 conspicuous in Philadel- phia as singer, pianist, organist and composer. See art. Crehore, Benjamin (d. 1819, Milton, Mass.), became widely known from 1785 as maker of 'cellos and basses at Milton. In 1792 he also made improved harpsichords and towards 1800 pianos as well. He taught Osborn and the Babcocks (see sec. 3). See Spillane, pp. 50-6. *Darley, William, an English singer, promi- nent in the Wignell-Reinagle Company from 1793 and in concerts. His wife and son also were singers. *Demarque, a French 'cellist, and his wife, a singer, were active from 1793. He also played the violin, compiled pantomimes and wrote for the 'cello. *D'Hemard, Mme., a French refugee who, though an amateur, was from 1795 a popular harpist. *Douvillier, M. and Mme., French opera- singers who from 1793 appeared in leading roles in Boston and Charleston. *Dubois, a French clarinettist, active from 1795. He also sang in opera and composed. *Foucard, another French clarinettist, ap- peared from 1793. 'Francis, William (England, 1763-1827) and his wife from 1794 were useful members of the Wignell-Reinagle Company. They were specially good as dancers and pantomimists. *Gehot, Jean (b. Belgium, 1756?), a compe- tent violinist, known in Europe since 1780, who in 1792 came to Philadelphia. He was a fertile composer, among his works being an overture in twelve movements 'expressive of a voyage from England to America ' ! See Sonneck, Concert-Life, pp. 191, 230-1, etc. *Gilfert, George, from 1786 a music-dealer in New York and publisher of a ' Musical Magazine,' besides being in 1789-91 head of the Musical Society and playing the viola some- what at concerts. *Gillingham, George, a superior English violinist (in the band at the Handel Commemo- ration of 1784) who from 1794 for over thirty years was a leading player in Philadelphia and New York. See Sonneck, Concert-Life, p. 54, etc., and note concert in Boston in 1836 by three Misses Gillingham, Brooks, p. 176. *Graupner, Johann Christian Gottlieb (Han- over, 1767-1836, Boston), an experienced oboist, who in 1792 came to America, in 1795 appeared in Charleston and from 1797 was in- fluential in Boston. See art. *Hewitt, James (England, 1770-1827, New York), in 1792 came to New York, where he was long an important violinist, composer and publisher. See art. *Hodgkinson, John (England, 1767-1805, Washington), and his wife (nee Brett) from 1792 were popular and influential singers in New York. See art. Holden, Oliver (Shirley, Mass., 1765-1834?, Charlestown, Mass.), a carpenter who by 1792 took up music-teaching and compiling tunes (see Tune-Books) with much success. His organ is in the Old State House at Boston (see cut in Fisher, Music in Old Boston, pp. 13-4). Holyoke, Samuel Adams (Boxford, Mass., 1762-1820, Concord, N. H. 1 ), studied at Dart- mouth and became a teacher of psalmody (see Tune-Books), from about 1800 living in Salem, where in 1805 he led an Instrumental Club and in 1808-09 gave choral concerts. *Jackson, George K. (England, 1745-1823, Boston) , having been a choir-boy in the Chapel Royal and also teacher and author of harmony text-books, in 1796 came to Norfolk and taught 1 Dates from Nason, Gazetteer of Massachusetts, 1876, p. 120. 10 CHRONOLOGICAL REGISTER [2: 1775-1800 successively there and in Alexandria, Balti- more, Philadelphia and New York, settling in 1812 in Boston as organist in turn at Brattle Street, King's, Trinity and St. John's. He promoted choral concerts and published some church-music. See Tune-Books. *Juhan (Joan), Alexander, a French violin- ist (perhaps sen of James Juhan named in sec. 1) who was an able concert-player in Philadel- phia from 1783 or '86. *Kenna, J., and his wife, English actor- singers who from 1788 gave plays in the South and at Philadelphia with a troupe for a time known as the New Americans. Law, Andrew (Cheshire, Conn., 1748-1821, Cheshire) , one of the pioneers in psalmody and from 1778 indefatigable as teacher and com- piler. See Tune-Books. *Mallet, Francis, a Frenchman who probably came to America in 1777. After varied con- certizing he settled in Boston not later than 1793. He was singer, organist, player on other instruments, teacher and publisher. Two daughters became well-known musicians at Salem. See Sonneck, Concert-Life, p. 291, etc., and Brooks, pp. 165-7, 226, 248, etc. *Marshall, Mr. and Mrs., able and popular English singers and actors who appeared variously from 1793. Marshall returned to England in 1801, and his wife later became Mrs. Wilmoth. *Moller, John Christopher, presumably a German (works of J. C. Moller are listed by Eitner), from 1790 was active at New York and Philadelphia as pianist, organist, violist and harmonica-player. His daughter was also singer and pianist. *Oldmixon, Mrs., nee George (England, 1768- ?, Philadelphia), a highly gifted soprano who, after brilliant success in England, some- what in rivalry with Mrs. Billington, came to America in 1793 as the leading artist of the period. She finally settled in Philadelphia, opening a girls' school. Her husband, whom she married about 1790, was Sir John Old- mixon, well known in London smart society. *Pelissier, Victor, a French hornist who from 1792 was not only popular as player, but skillful in composing and arranging accompa- niments or incidental music for at least 18 plays in New York, mostly in 1794-96. See Sonneck, ' Early American Operas,' /. M . G. Sammelbde. 6. 475. *Petit, a French violinist who from 1793 played much in concert in both the North and the South. *Phile, Philip, a violinist who from 1784 was often heard in New York and Philadelphia. He may have composed ' The President's March ' in 1789 to which in 1798 ' Hail, Colum- bia ' was fitted by Joseph Hopkinson (1770- 1842). See Sonneck, Reports on ' Hail, Colum- bia, 1 'Yankee Doodle,' etc., and Elson, Ameri- can Music, pp. 14753. *Pownall, Mrs. (d. 1796, Charleston), a superior English actress and singer (earlier known as Mrs. Wrighten see Vol. v. 570 . and a Vauxhall favorite from about 1770), in 1792 came to Boston and at once became popu- lar there and elsewhere. See Sonneck, Con- cert-Life, p. 36, etc. *Priest, William, an English bassoonist and trumpeter who from 1793 was heard in concert and opera. He published Travels in the United States, 1793-97, London, 1802. See Sonneck, Concert-Life, p. 156, etc., and Early Opera, the latter showing him still active in 1799. *Rausch, Frederick, from 1793 a pianist in New York, and in 1799 vice-president of the St. Cecilia Society. Read, Daniel (Rehoboth, Mass., 1757-1836, New Haven), by trade a comb-maker or ivory- worker, was from 1785 an industrious contrib- utor to psalmody. See Tune-Books. *Reinagle, Alexander (England, 1756-1809, Baltimore), from 1786 the leading musician of Philadelphia, as well as prominent in New York. See Vol. iv. 57, and art. *Salhnent, George Edward, a flutist much in evidence in New York concerts in 1791-1800. *Schaffer [Scheffer], Francis C., from 1796 a ' clarinettist in Boston. He also claimed to have invented the ' spiccato,' the nature of which is not clear. *Schetky, George (d. 1831, Philadelphia), a Scot, nephew of Reinagle, who in 1787 came to Philadelphia and, but for short visits to Eng- land, remained identified with musical inter- ests there. He was a good 'cellist, singer and arranger. He was intimate with Carr and J. C. Taws, and joined with them in starting the Musical Fund Society in 1820. See Madeira, Music in Philadelphia. *Stone, a flutist, oboist and clarinettist who flourished in Boston from 1793. *Sully, Mrs., an English pianist often heard from 1794. She and her husband and daugh- ter were also actor-singers. Swan, Timothy (Worcester, Mass., 1758- 1842,Northfield, Mass.), began teaching psalm- ody about 1775 and from 1785 published tune- collections (see Tune-Books). Elson, Amer- ican Music, p. 22, places his birth in 1757 at Suffield, Conn. *Taws, Charles (d. 1833?, Philadelphia), a Scottish piano-maker who in 1786 came to New York and in 1788 went to Philadelphia, where he began making pianos before 1795, was associated with Reinagle and, with his sons, held in much esteem. See Spillane, pp. 78-80. Taylor, Raynor (England, 1747-1825, Phila- delphia), a gifted singer, organist and com- poser, from 1793 influential in Philadelphia. See art. Thomas, Isaiah (Boston, 1749-1831, Worces- ter), early noted as printer, editor and pub- lisher, first at Boston and from 1775 at Worces- ter. In 1785 he advertised music-printing from type (see Fisher, Music in Old Boston, p. 14), and in 1786 issued the successful Worcester Collection (see Tune-Books). From 2: 1775-1800] CHRONOLOGICAL REGISTER 11 1770 he was proprietor of ' The Massachusetts Spy ' and other periodicals, a leading publisher and also author of a History of Printing, 1810. He founded and endowed the noted American Antiquarian Society of Worcester. *Tyler, a good English actor and singer, popular from 1793. *Van Hagen, Peter Albrecht (d. 1800?, New York), a Dutch violinist, pianist and manager who in 1774 came to Charleston and was later in Philadelphia and New York. See art. *Van Vleck, Jacob, was noted as organist and composer among the Moravians at Bethle- hem, Pa., from about 1780. See Walters, p. 12. *West, J., an actor-singer who, after thirty yean' experience in England, from about 1790 wa with Bignall in the Virginia Company of Comedians. In 1792 he built a notable theater at Charleston. His wife was also a singer. *Westray, the Misses (three), versatile English stage-singers who first appeared at the new Haymarket Theater in Boston in 1796. *Wignell, Thomas (d. 1803), a brilliant Eng- lish actor and singer who from 1785 was with the Old American Company and from 1792, after much success in New York, joined Rei- nagle in Philadelphia in starting the famous Chestnut Street Theater (opened in 1794) and in giving plays and concerts there and in New York, Baltimore and Washington. See Son- neck, Early Opera. * Wolff, A., a clarinettist widely known from 1786, especially in concert. * Young, William, an English flutist who appeared in Philadelphia in 1787. Continuing the list given in sec. 1, note that the earliest concerts or operas thus far identi- fied in several other places are as follows : 1783 Salem by the Massachusetts Band. 1783 Portsmouth by an artillery band. 1785 Albany by an operatic troupe. 1786 Richmond by the American Com- pany. 1791 New Orleans by French comedians from San Domingo. 1791 New London by Mrs. Solomon's troupe. 1793 Alexandria by ' an unfortunate emi- grant.' 1793 Norfolk by the West-Bignall troupe. 1794 Hartford by the American Com- pany. 1795 Petersburg by Mrs. Sully and Mrs. Pick. 1796 Portland by Mrs. Tubbs (Arnold). 1797 Newark by the] West-Bignall troupe. 1798 Trenton and New Brunswick by D. Salter. Organizations for promoting or performing music doubtless became somewhat common before 1800, though many were short-lived and of shadowy influence. Below is a list of names and dates, mostly collated from Sonneck, Concert-Life : 1744 Collegium Musicum, Bethlehem. 1759 Orpheus Club, Philadelphia. 1762 + St. Coecilia (sic) Society, Charles- ton. 1772 Orphseus Society, Charleston. 1773-4 Harmonic Society, New York. 1782 Aretinian Society, Boston. 1784 + Uranian Society, Philadelphia. 1785-9? Musical Society, Boston. 1786+ Musical Society, Stoughton, Mass. 1786 Society for Promoting Vocal Music, New York. 1788-94 Musical Society (sacred), New York. 1789 Independent Musical Society, Boston. 1791 Amateur Society, Charleston. 1791-9 St. Cecilia Society, New York. 1793 St. Caecilia Society, Newport. ? 1793-8? ' Uranian Society, New York. 1794 Harmonic Society, Charleston. 1795-1800? Columbian Anacreontic Society, New York. 1795 Society of the Sons of Apollo, Boston. 1796-9 Harmonical Society, New York. 1797 Essex Musical Association, New- buryport. 1797? Musical Society, Concord, N.H. 1798-9 Polyhymnian Society, New York. 1799 + Philharmonic Society, New York. 1799 Musical Society, Baltimore. 1799 Philharmonic Society, Boston. 1800+ Euterpean Society, New York. No doubt, many of these were merely tran- sient social clubs, but they are nevertheless signs of the time. Probably there were many more, some of them, like the noted Stoughton Society, growing out of ' singing-schools.' Ritter (Music in America, ch. vii) empha- sizes an ' Apollo Society ' as ' foremost ' among early New York societies, but his data are not identifiable. 12 HISTORICAL INTRODUCTION THE ERA OF NATIONAL EXPANSION The development of the United States during the first two-thirds of the 19th century is much too complicated to be summarized in a sketch like the present. But among the enormous changes in the body politic, social and intellectual, between 1800 and the Civil War a few major points require mention. Although the United States assumed the form of a nation at the time of the Revolution, a truly 'national' feeling and spirit were hardly attained until after the second war with England in 1812-14. That a knitting together of the elements of the confederation then took place cannot be denied. And yet the interests of different sections remained so diverse and their views of internal policy so opposed that many of their relations continued difficult. Indeed, the period culminated in the strenuous and exhausting Civil War of 1861-65. Along with these divisive influences, however, ran movements that were constructive in the highest degree. Until after 1770 the population had been mainly limited to what is now called the Atlantic Division of the country the section east of the long Appalachian Range. But from thence on settlers began to cross the hills in force into the East Central Division the section west of the Appalachians and east of the Mississippi. The march of this expansion is registered by the dates at which nine new 'Territories' were successively recognized in this region. 1 All these were admitted to equality with the original thirteen as 'States' before 1848. Soon after 1800, by the Louisiana Purchase in 1803 and then by cessions from Spain and Mexico, the door was opened wide into the West Central Division the section west of the Mississippi, but east of the Rocky Mountains. Into this soon poured a veritable flood of migration, which did not pause until presently it had pressed on through the Mountain Division that lay beyond the Great Plains and reached the Pacific Division beyond the mountains. Thus within the space of a few decades the national domain was extended clear across the continent. 2 The process thus sketched increased the area of the United States at least sixfold, so that it included more than 3,000,000 square miles or nearly as much as the whole of Europe. 3 The penetration of this vast domain by settlers proceeded without much system and very unequally. But the rapidity of occupation and its total bulk, even before the Civil War, are nevertheless extremely impressive. In 1800 the Atlantic Division held not less than 93 per cent of the whole population. In 1860 this Division contained only about 51 per cent, while the East Central had 35 per cent and the West Central over 12 per cent. Yet, since the total had 1 Kentucky, 1792 ; Tennessee, 1796 ; Mississippi, 1798 ; Indiana, 1800 ; Ohio, 1803 ; Michigan, 1806 ; Illinois, 1809 ; Alabama, 1817 ; Wisconsin, 1836. 2 In the West Central Division governments were organized as follows : Louisiana, 1804 ; Missouri, 1812 ; Arkansas, 1819 ; Iowa, 1838 ; Texas, 1848 ; Minnesota, 1849 ; Kansas and Nebraska, 1854 ; the Dakotas, 1861 ; Oklahoma (consisting largely of the previous unorganized Indian Territory), 1890. Intthe Mountain Division the dates were these : New Mexico and Utah, 1850 ; Colorado and Nevada, 1861 ; Arizona and Idaho, 1863 ; Montana, 1864 ; Wyoming, 1868. Owing to various circumstances the enrollment in the Pacific Division somewhat antedated that further east: Oregon, 1848; California, 1850; Washington, 1853. Meanwhile, the number in the Atlantic Division was increased as follows : Vermont, 1791 ; Maine, 1820 ; Florida, 1822 ; West Virginia, 1862. None of these except Florida represented new territory. Thus before 1870 the Union had come to include 48 actual or potential 'States.' 3 Roughly stated, the area-proportions of the five great Divisions are aa follows : Atlantic, 14% ; East Central, 15% ; West Central, 32% ; Mountain, 28% ; Pacific, 11%. THE ERA OF NATIONAL EXPANSION 13 meantime grown to over 31,000,000, the East in 1860 had 16,000,000 inhabitants, more than three times its size in 1800. The large absolute increase and the startling changes in distribution could not fail greatly to affect every aspect of social culture. The entire country suffered from being in a state of flux, though, on the other hand, in every section the period was instinct with energy and pro- phetic aspiration. A conspicuous feature of the time was the setting in of a great stream of immi- gration from abroad, in part occasioned by the political unrest in Europe between 1830 and 1850. The incoming tide of people not only helped to swell the total population, often determining the character of new settlements in the West, but within it were hundreds of educated and able individuals who were destined to be dynamic in the formation of the later national culture. For the first time America began to feel the force of the best qualities of German civilization, not simply as it was transferred hither by incoming immigrants, but also as more and more it was apprehended at its source by outgoing students and visitors. 1 Another feature of the period that was artistically weighty and potential was the multiplication of cities and their striking advance in relative importance. In 1800 the Census officially recognized only six 'cities/ which contained but 4 per cent of the whole population. In 1860 there were one hundred and forty, containing 16 per cent (or over 5,000,000 in all). At the head of the list in 1860 remained New York (with its neighbors Brooklyn and Newark), Philadelphia (quadrupled in 1854 by taking in many suburbs), Baltimore and Boston. But the shift in the general center of population is shown by the fact that high on the list are many new names, such as Pittsburgh and Cincinnati (from 1820), Buffalo and Louisville (from 1830), St. Louis (from 1840), Chicago and San Francisco (from 1850), with Cleveland, Detroit and Milwaukee soon following. The de- velopment of the Mississippi is indicated by the rise of New Orleans (from 1820) to a place among the leaders. For various reasons the big cities from the first were strongholds of foreign settlement, so that the leadership in social and intellectual matters which cities always exercise was in this case particularly affected by the stimulus to artistic knowledge and achievement that was felt from abroad. It is needless to dilate upon the fact that the period was remarkable for the rapid advance in industrial and commercial enterprise, leading to the accumula- tion of a striking total of wealth. The drift of population to the West was pri- marily to open up agricultural resources. But equally significant were the quests for coal and oil in Pennsylvania and for metals and lumber in the Northwest and on the Pacific Slope. The invention and rapid adoption of labor-saving machin- ery for farming operations wrought a phenomenal economic revolution, since by the end of the period two-fifths of the population had become able to provide food for the remaining three-fifths. This is but a single illustration of a transformation that was taking place in all directions. Water-transportation for inland commerce 1 In the decade 1830-40 the total immigration was about 600,000, in 1840-50 about 1,700,000, in 1850-60 nearly 2,600,000. In 1850 one person in every ten in the United States was foreign-born, and in 1860 one in every eight. In 1860 there were more than 4,000,000 who were foreign-born, and of these 1,278,000 had come from Germany. 14 HISTORICAL INTRODUCTION assumed large proportions upon the Ohio and Mississippi Rivers, through the Great Lakes and by means of the Erie Canal (opened in 1825). Between 1830 and 1850 some 9000 miles of railroad were opened, and before 1860 not less than 21,600 miles were added. These lines of communication made feasible a wholly new social interchange, quite aside from their bearing upon economic develop- ment. It was in this period that original impetus in the fields of science, letters and several forms of fine art first became notable. Systematic popular education was undertaken with extraordinary zest, not only through a system of public schools supported by local taxation, but more and more through institutions of higher edu- cation privately endowed or else founded by religious organizations. Newspapers and magazines multiplied, and both the number and the variety of published books were rapidly extended. Native fiction and poetry, besides literature of an educa- tional or technical character, broke forth with energy and originality. Even painting and sculpture began to be cultivated with strength and independence. The taste for the drama grew more general and more discriminating. In short, this stirring period, especially in the quarter-century before 1860, was marked by a dis- play of manifold mental vigor that was akin to its physical and economic enter- prise. Whether or not the immediate products had enduring importance, the field of cultural activity was certainly brought fully into view and its wide appeal to human interest in some part perceived. It is not strange, therefore, that in this period musical life should have become more abundant and significant. The number of professional musicians, both visiting performers and resident teachers, decidedly increased, the most important influence naturally still being exerted by those coming from abroad. Church- music, concert-undertakings, operatic performances of a kind, ensemble instru- mental music all these lines of public enterprise, though on a small scale as yet, gave promise of future attainment. And any thoughtful examination of accessible lists of musical workers makes plain that the subtle, but powerful, leaven of private instruction was now beginning to work here and there, not as yet producing re- sults that can readily be catalogued, but still undoubtedly raising the standards of popular appreciation, discrimination and aspiration. The time had not come for widespread skill in performance, for familiar acquaintance with the trend of musi- cal affairs in any large sense, or for creative freedom in the upper ranges of com- position, except among some of the incoming foreigners. But the basic importance of the period as a whole with reference to the future is obvious. Until about 1850 individual persons are as a rule not so conspicuous in the history as certain general advances in diffused interest. Two lines of activity were brought over from the preceding period, namely, (a) the cultivation of 'psalmody/ primarily in New England, but soon extending southward and west- ward, resulting frequently in the stimulus of more advanced choral music, of a craving for discipline in solo-singing, and of interest in class-instruction in the rudiments of composition ; and (6) repeated efforts, mostly without continuity or wise planning, to provide ambitious operatic and concert-performances, not seldom THE ERA OF NATIONAL EXPANSION 15 making important impressions through the passing vogue of talented vocalists or through the drawing of trained instrumentalists into permanent residence. A third point in the development from soon after 1800 was the founding in several centers of energetic instrument-manufacture, especially the making of pianos, with a large consequent effect on popular interest through the extensive sale and use of the products. Part of this was simply a phase of the general awakening to mechanical pursuits. But the rapid expansion of trade in pianos not to mention other instruments implies that a considerable demand for them existed or was impending, and the display of original ingenuity in novel construc- tion often preceding similar advances abroad bespeaks something more than a mere desire for profits. In the single year 1829 it has been estimated that 2500 pianos were made, valued at $750,000. In 1850 there were over 200 estab- lishments at work upon musical instruments, the value of the annual product being nearly $2, 600,000. l Progress was greatly stimulated by competitive exhibitions held in Philadelphia from 1824 by the Franklin Institute and in New York from 1830 by the Mechanics' Institute. 2 It is to be noted that, whereas in the later 18th century foreign influences in music came almost wholly from England or France, after perhaps 1810 the impress of Germany began to be notable in certain cities, like Baltimore,^ Philadelphia and New York. It is said that in New York as late as 1835 there still remained a decided prejudice in piano-making against German workmen, which was overcome only with some difficulty. But ten years later in such trade-circles the German element had become highly respected. 3 A parallel transition was even more evident among executive musicians. After 1840 able German players and leaders began to arrive in increasing numbers, and wherever they settled they became centers of fruitful influence. And from that date American students began to go to Germany for training, especially after the Leipzig Conservatory entered the field. Significant events were the advent of the so-called Germania Orchestra in 1848 and the formation of the Mendelssohn Quintette Club in 1849. Even more significant in its way was the arrival in 1845 of the boy Theodore Thomas. The most striking organizations of the period were the Handel and Haydn Society of Boston, founded in 1815, the Musical Fund Society of Philadelphia, founded in 1820, and the New York Philharmonic Society, founded in 1842, representing more or less different lines of interest, but all making for substantial progress. From time to time ambitious opera-houses were erected, of which probably the most famous was the Academy of Music in New York, opened in 1854. Almost equally notable was the Boston Music Hall, erected in 1852, in which just at the end of the period (1863) was set up the first elaborate concert- organ in the country (made by Walcker of Ludwigsburg). New Orleans had a series of opera-houses from 1808, the latest and finest being opened in 1859. 1 See Bishop, History of the Arts and Industries of the United States, 1864, pp. 339, 486. * Regarding piano-making in America important books of reference are Spillane, History of the American Pianoforte, New York, 1890, and Dolge, Pianos and their Makers, 2 vols., Covina, Cal., 1911-13, together with Hipkins, History of the Pianoforte, London, 1896, and hig article in Vol. iii. 716-32 of this Dictionary. See Spillane, pp. 186-8, 16 CHRONOLOGICAL REGISTER [3: 1800-1840 There is as yet a marked default in detailed information about the individ- uals and organizations that probably exerted a formative influence in many places during the early decades of the 19th century. Until work like that done by Sonneck for the 18th century has been undertaken the data will re- main fragmentary and disconnected. But, happily, it is possible to give some hint of the striking advance of the mechanical and commercial sides of musical life, especially as evidenced by the founding of businesses that were more than transiently important. Accordingly to these considerable attention is here paid, especially in sec. 3. In sec. 4, also, it is possible to emphasize many of the incoming foreigners who were invaluable in awakening artistic thought and ambition. Yet, at best, the time before the Civil War remains relatively defec- tive in presentation, except as imagination and conjecture fill in its manifest gaps of definite fact. CHRONOLOGICAL REGISTER 3. The Early 19th Century, 1800-1840 Adams, F. W. (Montpelier, Vt., 1787-1859), a violin-maker after about 1805 who made about 140 instruments, marked by much excellence of tone. Appleton, Thomas, from about 1810 a noted organ-maker in Boston who learned his trade with W. M. Goodrich, from 1813 was partner of Babcock the piano-maker, and from 1820 was successively associated with Ebenezer Good- rich, Corri and the elder Warren (father of S. P. Warren). Among his many organs was one for the Handel and Haydn Society. *Arquier, Joseph (France, 1763-1816, France), a 'cellist and composer of operas who conducted a French opera-troupe in New Orleans in 1800-04. *Austin, Mrs., an accomplished English opera-singer who from 1829 did much to make popular certain works of Rossini, Boieldieu and Weber. Babcock, Alpheus, an ingenious and success- ful piano-maker, trained by Crehore, who in 1810 opened a shop in Boston with his brother Lewis Babcock (d. 1817), was for a time asso- ciated with Appleton and the Hayts (firm dis- solved in 1815, see Brooks, Olden-Time Music, p. 270) and from 1822 with Mackay, who supplied capital. In 1829 he moved to Phila- delphia and was associated with Klemm (probably the son of the organ-builder in sec. 2 above). His pianos won prizes repeatedly from 1824. In 1825 he patented a solid metal plate which was the first successful application of the principle later universally adopted. See Spillane, Hist, of the American Pianoforte, pp. 85-7, 120-3, etc. Bacon, George (d. 1856, New York), joined Dubois and Chambers, the Boston piano- makers, in 1836. About 1841 the firm became Bacon & Raven, and in 1856 Francis Bacon took his father's place in Raven & Bacon, con- tinuing the business now carried on by the Bacon Piano Company of New York. Baker, Benjamin Franklin (Wenham, Mass., 1811-1889, Boston), from 1831 singer, teacher, editor, author and composer, first at Salem and from 1837 in Boston. See art. and Tune- Books. Beckel, James Cox (b. Philadelphia, 1811), of German parentage, from 1824 assisted his father as organist and from 1829 for more than fifty years held posts in various Philadelphia churches, composing several cantatas, an organ-method, etc. Blake, George E. (Philadelphia, 1775-1871, Philadelphia), the son of an earlier music- dealer, began music-publishing in 1802 and became a leader in musical affairs. He was an original member of the Musical Fund Society in 1820, and from 1824 active at exhibitions of the Franklin Institute. See Tune-Books. *Boucher, A., a good 'cellist who came to New York in 1833 with Rivafinoli's opera- troupe and was long prominent. He collabo- rated with Schlesinger in 1837 and was con- cerned in the establishment of the Philharmonic Society in 1842. Bourne, William (d. 1885, Boston), began making pianos in Dayton, O., in 1837, soon moved to Cincinnati and in 1842 to Boston, where in 1846, after being foreman at Chicker- ing's, he established the firm now known as the Wm. Bourne & Son Piano Co., his son Charles E. Bourne coming into it in 1863. Bradbury, William Batchelder (York, Me., 1816-1868, Montclair, N. J.), from 1834 or- ganist in Boston and soon a teacher under Mason, and from 1840 teacher, editor, com- poser and also piano-maker in New York. See art. and Tune-Books. Brainard, Silas (Lempster, N. H., 1814-1871, Cleveland), set up a music-store in Cleveland in 1836 and in 1845 began publishing, thus establishing the firm later known as S. Brain- ard's Sons (Charles S. and Henry M.) *Bristow, William Richard (England, 1803- 1867, New York), came to New York about 1824 and was long a leading teacher and con- ductor. See Bristow, George F. (sec. 4). Brown, Bartholomew, from about 1800 a teacher in Boston, was one of the editors of the significant Bridgewater Collection in 1802 (see Tune-Books) and in 1832-38 conductor of the Handel and Haydn Society. 3 : 1800-1840] CHRONOLOGICAL REGISTER 17 *Caradori-Allan, Maria Caterina (Italy, 1800-1865, England), a gifted and distinguished concert- and opera-singer in England, who from 1837 made a marked success in New York, Philadelphia, etc. See Vol. i. 461-2. Chickering, Jonas (New Ipswich, N. H., 1798-1853, Boston), came to Boston in 1818 and in 1823 established the piano-making busi- ness which speedily became famous. See art. *Clark, John, came from England about 1830 and joined William Nunns, the piano-maker of New York. See Nunns below. Cross, Benjamin (Philadelphia, 1786-1857, Philadelphia), a graduate of the University of Pennsylvania and pupil of Carr and Taylor, was one of the founders and conductors of the Musical Fund Society from 1820, and as singer and teacher was highly influential. See Ma- deira, Music in Philadelphia. *Da Ponte, Lorenzo (Italy, 1749-1838, New York), the librettist of two of Mozart's operas, was from 1805 teacher and promoter of opera in New York. See Vol. iii. 789-90, and art. *Davis, John, came to New Orleans from San Domingo with an operatic troupe in 1811, and in 1813 built the Theatre d'Orleans, where opera was regularly given with exceptional artistic perfection for forty years. Pierre Davis succeeded his father as manager. *De Begnis, Giuseppe (Italy, 1793-1849, New York?), a gifted opera-singer, specially strong in buffo parts, who came to New York in 1838 and appeared with the Seguins. See Vol. i. 277-8. Ditson, Oliver (Boston, 1811-1888, Boston), the famous music-publisher, became a clerk in a music-store in 1823 and in 1835 began business for himself. See art. *Dubois, William, was a good piano-maker in New York, from 1821 associated with Stodart and later with Bacon and Warriner. See Spillane, pp. 108, 150, etc. Dunham, J. B. (New Hampshire, 1799-1873, New York), originally a cabinet-maker in the South, from 1834 worked for Nunns in New York and from 1836 was partner of Adam Stodart in piano-making, succeeding to Os- born's business. From 1849 the firm name was J. B. Dunham & Co., and from 1867 Dunham & Sons. Though not an inventor, he was in- fluential in popularizing the overstrung scale. *Dyhrenfurth, Julius, a German violinist who came to America after 1830, gave concerts with Joseph Hermanns, a pianist, in the upper Ohio Valley and in New Orleans and the South, in 1841-47 was in Germany and then set- tled in Chicago. With other German musi- cians, he formed an orchestra which in 1850 gave eight concerts as the Philharmonic Society. See Upton, Musical Memories, pp. 253-9, etc. *Firth, John (England, 1789-1864, New York), was in 1815 a maker of wood- wind in- struments in New York, deriving his skill from Edward Riley (also English, at work in New York by 1812), whose daughter he married. In 1821 or '24 the firm of Firth & Hall was formed, dealing in both small instruments and music, and from 1830 adding piano-making and music-publishing. S. B. Pond joined the firm in 1832 and W. A. Pond in 1847. Firth parted from them in 1863, and, with his son Thaddeus established the publishing business which in 1867 was bought by Ditson and made the nucleus of his New York branch. *Garcia, Manuel del Popolo Vicente (Spain, 1775-1832, France), the distinguished singer, composer and conductor, brought an opera- troupe to New York in 1825, introducing Italian opera in a series of 79 performances. Among the singers were his wife, his son Manuel (1805-1906), later the great singing-master, and especially his daughter Maria Felicita (1808-36), later known as Malibran (from the French merchant whom she married in New York in 1826), whose singing made a deep im- pression. Of his troupe, Crivelli and Angrisani were otherwise the ablest members. See Vols. ii. 143-4, iii. 33-5, Ritter, Music in America, chap, x., and Krehbiel, Chapters of Opera, pp. 25-30. *Geib, John and Adam, piano-makers who appeared in New York in 1802, were sons of John Geib, one of the Germans who from 1760 established piano-making in England and the inventor of the ' hopper ' (1786). John prob- ably died before 1809, but Adam and two of John's sons, John, Jr. (from 1815) and Wil- liam (from 1821), long continued prominent. From about 1830 Geib & Walker were piano- makers, importers and music-publishers of note. [In Brown, Diet, of Musicians, is also a reference to a George Geib (New York, 1780- ?) , piano-teacher in New York and author of an instruction-book in 1819.] Gilbert, Timothy, with his brother Lemanuel Gilbert, was trained in piano-making by Osborn of Boston before 1820, and began business in 1829, promptly establishing a reputation for ingenious ability, especially in improving the action of uprights (1841) and squares (1847). In 1847 he brought out an ' organ-piano,' based on a patent of Obed Coleman (1844). His brother was less gifted and successful. Both continued active till about 1870. *Gilles, P., a 'cellist in Philadelphia, promi- nent in the organization and leadership of the Musical Fund Society from 1820. Goodrich, William M. (Templeton, Mass., 1777-1833?), was the first important American organ-builder, during almost thirty years from 1805 nearly monopolizing the business in Boston. From about 1822 he also made pianos. He trained Elias Hook. His brother Eben- ezer Goodrich succeeded him, though without equal distinction. Gould, Nathaniel Duren (Chelmsford, Mass., 1781-1864, Boston), from about 1800 an ac- tive teacher of singing-schools (also penman- ship), claiming to have had 50,000 pupils before 1843. From 1819 his headquarters was Boston. His Church Music in America, 1853, has curious interest. See Tune-Books. 18 CHRONOLOGICAL REGISTER [3 : 1800-1840 Hastings, Thomas (Litchfield, Conn., 1787- 1872, New York), from 1816 conspicuous as leader, compiler, composer and author in the field of psalmody, from 1823 at Utica and from 1832 in New York. See Tune-Books. *Hawkins, John Isaac, an English civil engi- neer who, while living in Philadelphia, devised, made and for a short time put upon the market a notable cottage-piano, having many features not practically developed till later. This piano was patented both in America and in England in 1800. See Spillane, pp. 80-3, etc., Hipkins, Hist, of the Pianoforte, p. Ill, and cut in Dolge, Pianos and their Makers, p. 53. "Hayter, A. U. (England, 1799-1873, Boston), having been cathedral-organist at Salisbury and Hereford, came to New York in 1835, was for a short time at Grace Church and from 1838 at Trinity Church, Boston, and in 1838-^9 organist of the Handel and Haydn Society. *Heinrich, Anton Philipp (Bohemia, 1781- 1861, New York), a singular character in Ken- tucky who began composing by instinct in 1818, from 1827 was in London, studying and composing, in 1834 visited Germany and Austria, then came to New York, where he was much in evidence as an ' American ' com- poser, but with ephemeral success. See Baker, Diet, of Musicians, 1918, pp. 1087-8, and note in ' Musical Quarterly,' April, 1920, p. 249. Hewitt, Miss S., was organist of the Handel and Haydn Society, Boston, in 1820-29. Hews, George (1806-1873), from about 1830 was tenor soloist, teacher, organist and piano- maker in Boston. He was prominent in the Handel and Haydn Society. Hill, Ureli Corelli (New York, 1802?-1875, New York), early active in New York as violinist, from 1831 was conductor of the Sacred Music Society (in that year giving ' The Mes- siah ' with orchestra), from 1836 studied with Spohr at Cassel, in 1842 organized and was the first conductor of the Philharmonic Society, and attempted to start regular chamber-con- certs. After 1850 he wandered from place to place, engaging in ill-starred business ventures, and finally committed suicide. Though not a strong musician, he was historically important. See Ritter, Music in America, pp. 266-7, and Krehbiel, Philharmonic Society of New York. *Hiskey was a good German piano-maker in Baltimore from before 1820 till about 1845. His pianos were widely popular in the South and to the West. *Hodges, Edward (England, 1796-1867, England), came to Toronto as organist in 1838 and to New York in 1839, from 1846 being at Trinity Church, and returned to England in 1863. See Vol. ii. 414, and art. Holt, Benjamin (1774-1861), besides com- piling church music (see Tune-Books), was one of the founders and early conductors of the Handel and Haydn Society from 1815. Hook, Elias (1805-1881), with his brother George G. Hook (1807-1880), the former hav- ing been trained by Goodrich, began making organs at Salem in 1827, removed to Boston in 1832 and became recognized as leaders in the industry. From 1855 Francis H. Hastings (1836-1916) was associated with them, the firm name becoming Hook & Hastings in 1865. *Horn, Charles Edward (England, 1786- 1849, Boston), from 1809 actor-singer and com- poser of operettas, came to New York in 1832-33 and brought out English operas until diverted by illness into teaching and music-publishing. After being in England in 1843-47, in 1848 he became conductor of the Handel and Haydn Society in Boston. See Vol. ii. 433-4. *Hupfeld, Charles P., a competent German violinist, who from about 1815 joined Carr and Taylor in Philadelphia in promoting cham- ber- and orchestral music. He was one of the founders and early conductors of the Musical Fund Society.' See Madeira. *Jackson, Samuel P. (England, 1818-1885, Brooklyn), son of an organ-maker who came to New York in 1825, was from 1830 organist at St. Clement's, from 1842 at St. Bartholomew's and from 1861 at other leading churches. Be- sides being an excellent teacher, he published much organ-music, anthems, etc., and for nearly thirty years was proof-reader for the publisher Schirmer. *Jardine, John, an English piano-maker in New York from 1832 who made ' overstrung ' pianos as early as 1833. His brother George Jar dine (1801- .? ), a highly trained organ- maker, came to New York in 1837 and soon founded the successful firm from 1860 known as Jardine & Son. *Jarvis, Charles, an English pianist and teacher who was prominent in Philadelphia from about 1835. He published a successful instruction-book in 1852. *Knabe, William (Prussia, 1803-1864, Balti- more), a trained piano-maker, came to Balti- more in 1833, worked under the talented Henry Hartye, formed a partnership with Henry Gaehle in 1839 which continued till 1854, and then proceeded alone. Before 1860 he had become known as one of the best makers in the country. After the War the business was finely continued by his two sons, William (d. 1889) and Ernest (d. 1894), and handed on to grandsons. In 1908 it was merged into the American Piano Co. See Dolge, pp. 282-6. *Lindeman, William (Saxony, 1795-1875, New York), came to New York in 1834 and soon developed a notable piano-making busi- ness which still continues. Lindeman was in- strumental in overcoming the strong prejudice in New York against German workmen. The ' cycloid ' piano patented in 1860 by his son Henry Lindeman (b. 1838) presaged the later small or ' baby ' grands. *Loud, Thomas (d. 1834, New York), an English piano-maker who patented an upright in 1802, was the head of a notable family of makers. He came to New York about 1816. Meanwhile his son Thomas Loud, Jr. had settled in Philadelphia, in 1812 as pianist and 3 : 1800-1840] CHRONOLOGICAL REGISTER 19 piano-maker, soon becoming prominent in all musical enterprises. With three brothers he constituted the energetic firm of Loud Brothers in 1824, which was broken up in 1837. Thomas C. Loud (b. Philadelphia, 1812), however, up- held the family reputation till about 1855. The Louds, besides being strong inventively, were important promoters of the industry. Lucas, George W. (b. Glastonbury, Conn., 1800), from 1816 for over thirty years was ac- tive as a teacher of singing-schools, in 1820-35 at Northampton, Mass., later at Troy, N. Y., and farther west, and in Canada. Mackay, John (d. 1841, at sea), a Boston ship-merchant, became in 1822 the financial supporter of Babcock in piano-making and in 1829 of Chickering. Mason, Lowell (Medfield, Mass., 1792-1872, Orange, N. J.), the distinguished teacher, or- ganizer and tune-composer, was choir-leader in 1808 at Medfield and 1812-27 at Savannah. His Boston activity began in 1827. See Vol. iii. 74, art. and Tune-Books. *McPhail, A. M. (d. 1902, Omaha), came to Boston from New Brunswick and began piano- making in 1837, after training from Gilbert. He remained in high repute till his retirement in 1891. Meneely, Andrew (West Troy, N. Y., 1801- 1851, West Troy), in 1826 founded a famous bell-founding business in West Troy (now Watervliet), continued by his sons and now by his grandson. *Meyer, Conrad (d. 1881, Philadelphia) , a gifted Hessian piano-maker who came to Balti- more in 1819 and to Philadelphia in 1829. He is noted for making in 1833 one of the earliest pianos with a full iron plate and for general ex- cellence of work, maintained for a half-century. Mitchell, Nahum (Bridgewater, Mass., 1769- 1853, Bridgewater), collaborated with Brown on the Bridgewater Collection in 1802. See Tune-Books. *Montressor, a French opera-singer, brought a good troupe to New York in 1832 and gave thirty-five performances in Italian. With him were the soprano Pedrotti and the bass Fornasari. He was strongly supported by Da Ponte, but the enterprise was financially disastrous. It was useful, however, in bringing several orchestral players to America. See Krehbiel, Chapters of Opera, pp. 17-19. *Nunns, Robert and William, English piano- makers, came to New York in 1821 and worked together till 1833, when Robert combined with John Clark as Nunns, Clark & Co., continuing till 1858, and William proceeded, at first alone and in 1839-40 with the Fischers. The Nunns pianos were highly esteemed for about forty years. The brothers were the first in America to use the French ' rocker ' action, the excel- lent scale of Sackmeister (1827) and Kreter's application of felt to hammers ( 1 85 1 ) . William Nunns was the teacher of William Steinway. Oliver, Henry Kemble (Beverly, Mass., 1800-1885, Boston), sang as a boy in Boston, graduated from Dartmouth in 1818, was active as teacher at Salem, starting choral societies in 1823 and '26, and from 1844 at Lawrence. He was mayor of Lawrence in 1859 and of Salem later, and was State Treasurer in 1861- 65. See Tune-Books. Osborn, John (d. 1835, New York), a pupil of Crehore, was a piano-maker in Boston from 1815, soon becoming known as ' the best in the country,' went to Albany in 1829 and settled in New York in 1830. Erecting a large factory in 1834 led to derangement and suicide. He was the teacher of Chickering. See Spill- ane, 56-7, 156-7, etc. Perkins, Orson (Hartland, Vt., 1802-1882, TaftsviUe, Vt.), from 1822 for about forty years useful as a leader of choirs and singing- schools. He was the father of several sons later active (see sec. 5). Perry, Emory (b. Holliston, Mass., 1799), from 1821 noted as tenor-singer and teacher at Worcester. He is said to have had 20,000 pupils in his singing-classes. *Phillips, Thomas (Wales, 1774-1841, Eng- land), a fine tenor, visited New York as an opera-singer in 1816 with Incledon (see Vol. ii. 463-4) and again in 1823. He also appeared in concerts and lectured in Boston. Pond, Sylvanus Billings (near Worcester, Mass., 1792-1871, New York), a piano-maker at Albany before 1820, moved to New York in 1832 and joined the Firth brothers (see above), beginning the business from 1863 known as Wm. A. Pond & Co. He wrote and compiled tune-music, especially for Sunday-schools. Porter, William S., in 1834 published at Boston a Musical Cyclopedia of over 400 pages which was prepared under the supervision of Lowell Mason. Prescott, Abraham (b. Deerfield, N. H., 1789), was probably the best-known of early makers of 'cellos and basses. He started in 1809 at his birthplace, but in 1833 went to Concord, N. H., where he worked till 1845, engaging in organ-making as well from 1836. Many later workers were trained in his shop. See Violinist's Guide, 1916, p. 16. *Prevost, Eugene Prosper (France, 1809- 1872, New Orleans), a popular singing-teacher, opera-conductor and composer at New Orleans from 1838 to 1862. See Vol. iii. 812. *Rivafinoli, an Italian singer and manager who in 1833-34, with Da Ponte, attempted a season of Italian opera, including sixty-eight performances in New York and fifteen in Phil- adelphia. His singers were fairly good and the orchestra decidedly so. But the venture was a failure pecuniarily, the deficit being nearly $30,000. The New York series was given in the first opera-house to be erected in the city, built at the instigation of Da Ponte. See Ritter, Music in America, chap, x., and Kreh- biel, Chapters of Opera, pp. 19-22. *RusseU, Henry (England, 1812-1900, Eng- land), famous for his descriptive songs, was in Canada from 1833 and then (till 1841) or- 20 CHRONOLOGICAL REGISTER [3 : 1800-1840 ganist at Rochester or traveling. See Vol. iv. 194-5, and Madeira, pp. 131-7. *Scharfenberg, William (Hesse, 1819-1895, Quogue, N. Y.), pianist (pupil of Hummel) and violinist under Spohr, came to New York in 1838 and was long prominent as teacher and concertist. He was active in the Philharmonic Society and for many years was reader and editor for Schirmer. *Schlesinger, Daniel (Hamburg, 1799-1838, New York) , pupil of Ferdinand Ries and Mosch- eles in England, came to New York in 1836, taught and gave a few concerts, besides being chosen to lead the Concordia, giving promise of fine influence. *Schmitz, Adolph, a musician from Diissel- dorf, was brought to Philadelphia in 1826 as teacher by the Musical Fund Society. He long continued to be useful artistically. *Schomacker [Schumacher], Johann Heinrich (Schleswig-Holstein, 1800-1875, Philadelphia), after training as piano-maker in Vienna and activity in Bavaria, in 1837 came to Philadel- phia and, after a short partnership with Wil- liam Bossert, in 1842 started the Schomacker Piano Co., which soon acquired the excellent reputation still maintained. Its later develop- ment was largely in the hands of H. W. Gray (b. Ephrata, Pa., 1830) and the founder's son Henry C. Schomacker (b. Philadelphia, 1840). *Seguin, Arthur Edward Sheldon (England, 1809-1852, New York) , and his wife Ann Seguin, nee Childe (England, 1814-1888, New York), bass- and soprano-singers of ability, came to New York in 1838 and were active there and elsewhere till after 1850, Mrs. Seguin continu- ing as a teacher. See Vol. iv. 408. *Stewart, James, a Scottish piano-maker, came to Baltimore in 1812, moved to Boston in 1820 and, after a short association with Osborn, became Chickering's first partner in 1823. In 1826 he returned to London, and from 1827 for more than thirty-five years was con- nected with the Collards. Through him many American ideas were conveyed into English practice. SeeSpillane, pp. 30-1, 42-3, 57-8, etc., and also Vol. iii. 731-2. *Stodart, Robert, another Scottish piano- maker, probably the grandnephew of the well- known English pioneer of the same name, came to New York in 1819 and in 1820-35? worked with Dubois, building up a fine reputa- tion. In 1836 the firm of Stodart, Worcester & Dunham was formed, in which an Adam Stodart figures (nephew of Robert). From about 1850 for twenty years the firm was highly regarded. On the original Stodart see Vols. iv. 700 and iii. 722-31. "Taylor, Samuel Priestley (England, 1779- 1875?, Brooklyn), from 1806 was organist and teacher in New York and Brooklyn and, ex- cept for a sojourn in Boston in 1819-26, con- tinued active there until after the Civil War. *Timm, Henry Christian (Hamburg, 1811- 1892, New York) , a competent pianist, came to New York in 1835 and there and elsewhere gave concerts, served as organist, joined in chamber- music and taught. He was often drawn into operatic work as conductor or chorus-master. In 1847-64 he was president of the Philhar- monic Society. He wrote a grand mass, tran- scriptions for two pianos, part-songs, etc. "Traetta, Filippo (Italy, 1777-1854, Phila- delphia), came to Boston in 1799, soon removed to New York, toured with opera-troupes, lived for a time in Virginia, and settled in Phila- delphia in 1822. See art. *Wainwright, Jonathan Mayhew (England, 1792-1854, New York), coming to America as a boy, graduated at Harvard in 1812 and was tutor there in 1815-17, was Episcopal minister from 1818, chiefly in New York, where from 1837 he was at St. John's and in 1852-54 Bishop of New York. See Tune-Books. Warren, Samuel Russel (d. 1882, Montreal), born in Rhode Island, was an organ-maker with Appleton in Boston about 1830, went to Montreal in 1837, becoming a leader in the in- dustry in Canada. (See S. P. Warren, sec. 5.) *Webb, George James (England, 1803-1887, Orange, N. J.), came to Boston in 1830 as or- ganist, singing-teacher and colaborer with Mason. He removed to Orange in 1870 and taught in New York. See art. and Tune-Books. Webb, Thomas Smith (d. 1819), long promi- nent in Rhode Island as a Freemason and in- terested in developing lodge-music, was one of the founders of the Handel and Haydn Society of Boston in 1815 and for two years its conductor. White, John (Abington, Mass., 1785-1865, Barre, Mass.) , was a pioneer American violin- maker, beginning in 1802. In 1806 he removed to Barre. His sons, Ira J. White (Barre, 1813- 1895) and Asa Warren White (Barre, 1826- 1893), continued the family tradition with success. See Violinist's Guide, 1916, p. 18. Willard, Benjamin W., originally a maker of clocks, began making 'cellos and basses at Lan- caster, Mass., about 1805 and by 1810 had produced about sixty instruments. Winchester, Amasa, was conductor of the Handel and Haydn Society in Boston in 1819-26. *Wise, John J., from 1829 till after 1850 a leading piano-maker in Baltimore, instituted several useful features in action, stringing and sound-boards. From about 1860 the business was continued by his sons. *Wood, Mary Anne, nee Paton (Scotland 1802-1864, England), a brilliant and charming soprano, with her husband Joseph Wood, a good tenor, appeared from 1833 in New York and other cities with striking success. See Vol. iii. 653-4. *Zeuner, Charles (Saxony, 1795-1857, Phil- adelphia, suicide), came to Boston in 1824, where he was organist at Park Street Church and in 1830-37 for the Handel and Haydn Society, besides being a leader in other artistic enterprises. In 1854 he went to Philadelphia as organist. Besides much church-music, he composed an oratorio, ' The Feast of Taber- nacles ' (1832). See Tune-Books. 4 : 1840-1860] CHRONOLOGICAL REGISTER 21 In a survey such as this the decades before and after 1850 cannot well be separated, although combining them makes a period that is somewhat un- wieldy. At this time the attention to 'psalmody/ though absolutely greater in amount, became relatively much less significant. After 1850 it tended to change in character and to divide into two lines of effort, which diverged more and more (see Tune-Books). The salient note of the time was the increased contact in musical matters between America and Europe. From 1840 American students began to go abroad for training, especially to Germany. And from even before that date, as previously stated, the tide of immigration from Europe, especially from Germany and Austria, began to be impressive. From about 1850 American audiences had the chance to hear visiting art- ists of ability and magnetic power, besides several good visiting orchestras. Their concerts in many cases aroused remarkable enthusiasm, tended to spread a knowledge of standard musical works and of executive skill, and did much to stimulate efforts for individual and local improvement. Although the number of names plainly worthy of mention now becomes considerable, it is certain that the number should be larger. A list like this must confine itself to such data as are now accessible. Further investigation should add to this material. 4. The Middle of the 19th Century 1840-1860 a Becket, Thomas (Philadelphia, 1843-1918, Philadelphia) , a pupil of his father and Engelke, appeared as pianist in 1850 and at intervals later, but made a specialty of accompanying leading artists. He became a favorite teacher and for almost half a century taught at Girard College. He was also valued as an editorial adviser. Adams, Charles R. (Charlestown, Mass., 1834-1900, West Harwich, Mass.), a concert- tenor from 1856, from 1861 also an operatic singer in Europe, and from 1877 conspicuous in Boston. See art. Aiken, Charles (Goffstown, N. H., 1818- 1882, Cincinnati), graduated from Dartmouth in 1838, studied under Lowell Mason and from 1844 was music-director and teacher- trainer in the Cincinnati public schools, pro- ducing extraordinary results (as shown in festivals from 1873). Aiken, Henry M. (b. 1824?), a bass in Bos- ton from about 1842 who continued active in church-music and oratorio for fifteen years. *Albrecht, H. F. (d. 1875, at sea), a Meck- lenburger (with the Germania Orchestra in 1848), noted as collector of a remarkable musical library finally sold to J. W. Drexel of Philadelphia. He was greatly interested in the communistic ideas of Cabet, and about 1850 joined the latter's colony at Nauvoo, 111., moving to Philadelphia about 1856. See Hitter, Music in America, chap. xvii. Allen, Benjamin D wight (Sturbridge, Mass., 1831-1914, Wellesley, Mass.), from 1845 was identified with Worcester, Mass., as teacher and organist, from 1894 was professor at Beloit College, in 1902-05 was organist in New York, and then retired. See art. Allen, George N. (1812-1877, Cincinnati), early a pupil of Lowell Mason and a graduate of Oberlin in 1838, becoming musical instruc- tor there and in 1841-64 professor of sacred music. He organized a chorus and orchestra, and prepared the way for the Oberlin Con- servatory in 1865. In 1844 he compiled a hymn- book, including original tunes and even hymns. In 1848-77 he also taught geology. *Anschiitz, Karl (Rhine Prov., 1815-1870, New York), son of a well-known musician of Coblenz, after being head of his father's school there and conductor and teacher in London, came to New York in 1857 as director for Strakosch. In 1862 he made an early and creditable attempt to establish German opera, and in 1860-62 led the Arion Society. *Appy, Henri (b. Holland, 1828), who had had concert-experience in Holland, came to America in 1851, toured with Mme. Bis- caccianti and Jenny Lind, and became a teacher and conductor in Rochester, N. Y. *Arbuckle, Matthew (Scotland, 1828-1883, New York), came to America in 1853, was long associated with Gilmore and became a well-known cornettist. He wrote a cornet- method. *Arditi, Luigi (Italy, 1822-1903, England), from before 1840 noted in Italy as violinist, composer and conductor, from 1846 was opera- conductor for Marty in Havana and from 1847 in New York, returning often during the next forty-five years. See Vol. i. 102-3. *Balatka, Hans (Moravia, 1827-1899, Chi- cago), well trained in Vienna and choral con- ductor there, came to Milwaukee in 1849, founded and conducted the Musikverein in 1851-60, when he moved to Chicago to lead the Philharmonic Society and the Musical Union. In subsequent years he directed other organizations in Chicago and Milwaukee, 22 CHRONOLOGICAL REGISTER [4 : 1840-1860 toured in 1870 with Mme. Pappenheim, and composed a cantata, many choruses, some songs and orchestral fantasias, etc. Barnabee, Henry Clay (Portsmouth, N. H., 1833-1917, Boston), about 1854 became popu- lar as singer and comedian, continuing active for over fifty years. Before 1870 he organized companies to give light opera, from 1879 was with the Boston Ideal Opera Company, and in 1887, with Karl, organized The Bostonians, in all these enterprises being strikingly successful. He published My Wanderings, 1913. Bassford, William Kipp (New York, 1839- 1902, New York), from about 1855 was prominent in New York as pianist, teacher and composer. See art. Battell, Robbins (Norfolk, Conn., 1819- 1895, Norfolk), graduated from Yale in 1839 and became prominent in business and civic life. For years (till 1851) he led an enterpris- ing choral society and from 1875 instituted vari- ous musical undertakings in or near Norfolk. In 1854-90 he and his brother endowed the professorship of music at Yale one of many large benefactions. The Litchfield County Choral Union was founded in his memory in 1899 by his son-in-law, Carl Stoeckel. *Berge, William (d. 1883, New York), came to New York in 1846 and became favorably known as pianist and writer of arrangements and transcriptions. *Bergmann, Karl (Saxony, 1821-1876, New York), came to America in 1850, joined the Germania Orchestra, was a leading conductor in Boston and from 1855 in New York, and was also a competent 'cellist. See Vol. i. 308-9. *Bergner, Frederic (Baden, 1827- ? , New York), came to New York in 1849, and was leading 'cellist in the Philharmonic Society for over forty years, besides playing in the Eisfeld and Mason-Thomas quartets. Bethune, Thomas G. [' Blind Tom '] (Co- lumbia, Ga., 1849-1908, Hoboken, N. J.), a negro, blind and half-witted, who yet evinced from 1858 singular gifts as player and im- proviser on the piano in concerts at many places. *Biedermann, August Julius (Saxony, 1825- 1907, New York), came to America in 1848, settled in Milwaukee as piano-teacher and composer, and from 1859 worked in New York. Biscaccianti, Eliza, n6e Ostinelli (Boston, 1825- ?), daughter of an Italian violinist of Boston, after studying in Italy, appeared there in opera in 1847 and also in America, extend- ing her tours to California in 1853-4. She ultimately settled in Rome. *Bishop, Anna, nee Riviere (England, 1814- 1884, New York), the noted soprano, from 1847 appeared in America for some years and at intervals later. See Vol. i. 330-1, 345 (under Bochsa). Blodgett, Benjamin Colman (b. Boston, 1838), from 1850 was organist in or near Boston, from 1858 studied at Leipzig, and from 1861 was at Park Street Church, Boston. From 1865 he taught in Pittsfield, Mass., and in 1878-1903 was professor at Smith College, was then organist at Stanford University, and in 1906 retired to Seattle. See art. *Boudousquie was the projector of the New Orleans Opera House in 1859 and its manager for some years, continuing the high standard previously established by Davis. *Brandeis, Frederic (Austria, 1835-1899, New York), arriving in New York in 1849, from 1851 became a valued pianist, organist, conductor and composer. See art. *Brignoli, Pasqualino (d. 1884, New York), an Italian tenor who first appeared in New York in 1855 and was thenceforward extremely popular in opera. Though rather stiff as an actor, his voice and method made him famous. See Upton, Musical Memories, pp. 121-5, etc. *Brinkerhoff, Clara M., nee Rolph (England, before 1830- ? ), came to America as a child, was carefully trained in singing and first ap- peared in New York about 1845. For more than forty years she was prominent in concert and oratorio and as a teacher. After 1861 she concertized in Europe. Bristow, George Frederick (Brooklyn, 1825- 1898, New York), even before 1840 known aa violinist, and later conspicuous as organist, conductor and composer. See art. *Bull, Ole Bornemann (Norway, 1810-1880, Norway), the celebrated violinist, from 1843 made several visits to America, and in 1852 projected a Norwegian colony in Pennsylvania. See Vol. i. 418-20, and art. Campbell, Francis Joseph (Winchester, Tenn., 1832-1914, England), educated at the school for the blind in Nashville, became musical instructor there in 1850 and at Perkins Institute in Boston, studied in Germany, and from 1871 developed a notable enterprise in London that became the Royal Normal Col- lege for the Blind at Upper Norwood. In 1886 and '88 he made tours with pupils in America. He was knighted in 1909, and was an Officier de I'Acad&tnie. *Cappa, Carlo Alberto (b. Sardinia, 1834), from 1858 was a noted band-master and trom- bonist in New York. *Carter, Henry (England, 1837- ? ) from 1854 was organist at Quebec Cathedral, from 1864 in Boston and Providence and from 1873 at Trinity Church, New York, in 1880-83 taught in Cincinnati and was then again in Brooklyn and New York. See art. *Castle, William (England, 1836-1909, Chicago), from 1858 till about 1890 was a well- known operatic and concert-tenor, and later teacher in Chicago. Christy, Edwin T., from about 1844 one of the best-known promoters of negro ' minstrel ' entertainments. *Clarke, James Peyton (Scotland, 1808- 1877, Toronto), previously organist in Edin- burgh, came to Canada in 1835, settling in 1840 at Toronto, where from 1845 he was in- structor in the University, organist of the 4: 1840-1860] CHRONOLOGICAL REGISTER 23 Cathedral and leader of choral societies. Mus. D. of Toronto University in 1856. Clarke, William Horatio (Newton, Mass., 1840-1913, Reading, Mass.), organist from 1856, after foreign study, went in 1871 to Dayton, O., as public-school supervisor and thence as organist to Indianapolis. In 1878 87 he was organist in Boston. See art. Coleman, Obed M. (Barnstable, Mass., 1817-1845), a pioneer in improving the accor- dion, in 1844 patented an ' aeolian attachment ' (set of reeds) for pianos, which was first popu- larized by Gilbert in 1847. Cornell, John Henry (New York, 1828- 1894, New York), from 1848 was an important organist, teacher, theorist and composer in New York. See art. Cross, Michael Hurley (Philadelphia, 1833- 1897, Philadelphia), from 1848 noted as or- ganist and conductor, mostly in Philadelphia. See art. *Crouch, Frederick William Nicholls (Eng- land, 1808-1896, Portland, Me.), 'cellist and singer, came to New York in 1849 with Ma- retzek, and worked in Portland, Philadelphia, Washington, Richmond and Baltimore as singer and teacher. He wrote many popular songs and two operas. See Vol. i. 641-2. Cutler, Henry Stephen (Boston, 1825-1902, Boston), after training in Germany in 1844-46, from 1852 was organist at the Church of the Advent, Boston, in 1858-65 at Trinity Church, New York, and then in Brooklyn, Providence, Philadelphia and Troy. Mus.D. of Columbia University in 1864. Banks, Hart Pease (New Haven, 1834- 1903, Philadelphia), a church-singer before 1850, especially in Chicago, where he also took up writing hymn-tunes and popular songs. Some of the latter had wide circula- tion. He also wrote anthems and an operetta. Davis, George H. (d. 1879, Boston), was partner of the Hallets in Boston from 1843, contributing much to the success of the Hallet & Davis pianos. Decker, Myron A. (Manchester, N. Y., 1823-1901, New York), early trained as piano- maker in Albany, opened a factory there in 1856, achieved decided success and in 1859 removed to New York. After some vicissi- tudes, in 1875 the firm of Decker & Son was formed by including Frank C. Decker, who is head of the present business. Deems, James Monroe (Baltimore, 1818- 1901, Baltimore), early showed ability in band-music, from 1839 studied 'cello under Dotzauer in Dresden, taught and played in Baltimore, in 1849-58 was music-instructor at the University of Virginia, went abroad again, from 1861 was in the Civil War (becoming Brigadier-General) , and then resumed musical work in Baltimore. He wrote an opera, a comic operetta and the oratorio ' Nebuchadnezzar.' See Mathews, Hundred Years, pp. 298-300. Doane, William Howard (Preston, Conn., 1832-1915, Cincinnati), was all his life engaged in making wood-working machinery, but was also musically active. He studied under B. F. Baker in Boston and other teachers, and from 1862 became one of the best of the many writers of ' Gospel hymns.' He made a con- siderable collection of instruments. Mus. D. of Denison University in 1875. *Dohn, Adolph W., a Chicago business-man who in 1858-65 was conductor of the Men- delssohn Society and in 1872-74 the first permanent conductor of the Apollo Club. See Upton, Musical Memories. *Dresel, Otto (Rhine Prov., 1826-1890, Beverly, Mass.), came to New York in 1848 as concert-pianist and settled in Boston in 1852. See art. Dwight, John Sullivan (Boston, 1813-1893, Boston), founder and editor of a notable ' Journal of Music,' 1852-81. See Vol. i. 759, and art. *Eberhard, Ernst (Hanover, 1839-1910?, New York), came to New York before 1860, was organist in various churches, conducted choral societies and orchestral concerts, and in 1876 established the Grand Conservatory. He prepared several instruction-books. *Eichberg, Julius (Rhine Prov., 1824-1893, Boston), came to New York in 1856 and from 1859 was conductor and eminent educator in Boston. See Vol. i. 770, and art. *Eisfeld, Theodor (Brunswick, 1816-1882, Hesse), violinist and conductor, was influen- tial in New York in 1848-66, returning then to Wiesbaden. See art. Emerick, Albert G. (Philadelphia, 1817- ? , Philadelphia), who had been organist since 1832, in 1841 compiled a successful col- lection of people's songs and later was corre- spondent for musical papers. From 1850 he man- aged high-class concert-series in Philadelphia. Emerson, Luther Orlando (Parsonsfield, Me., 1820-1915, Hyde Park, Mass.), one of the most facile of the later ' psalmody ' com- posers, active from about 1840 at Salem, Boston and Greenfield, Mass., with various tune-books from 1853 (see Tune-books). He was in request as conductor of ' conventions.' Mus.D. of Findlay College in 1891. See Hall, Gospel Song and Hymn Writers, pp. 449. Emmett, Daniel Decatur (Mt. Vernon, O., 1818-1904, Mt. Vernon), from 1843 was fore- most in developing ' negro minstrel ' troupes, with New York as a center. In 1859, while with Bryant, he wrote the song 'Dixie.' See art. Everett, L. C. (1818-1867) and Everett, Asa Brooks (1828-1875), two Virginians who studied music in Boston (the younger also four years at Leipzig), organized a system of normal instruction at Richmond in the '50s which had results analogous to Mason's in the North. In 1861 they had fifty teachers of singing-schools representing them and using their publications. See Hall, pp. 96-100. Fairlamb, James Remington (Philadelphia, 1838-1908, New York), from 1852 organist in Philadelphia, in 1859-61 studied at Paris 24 CHRONOLOGICAL REGISTER [4 : 1840-1860 and Florence, then consul at Zurich, continu- ing musical culture in many ways, in 1865-72 mostly in Washington as organist, and then organist and teacher in New York. He wrote many songs, choral and church works, and the operas ' Valerie ' (privately given in Wash- ington), ' Treasured Tokens ' (Phila.), ' Love's Stratagem ' and ' The Interrupted Marriage.' *Fischer, John U. (b. Italy, 1816) and Fischer, Charles S. (b. Italy, 1818), learned piano-making in Naples from their father and grandfather (of Austrian descent) , came to New York in 1839 and in 1840 succeeded to part of the Nunns' business, which they developed into artistic and commercial success. In 1873 John returned to Italy and Charles was then joined by his four sons. Fischer, William Gustavus (Baltimore, 1835-1912, Philadelphia), a book-binder in Philadelphia, developed capacity as music- teacher and leader of choruses, in 1858-68 was instructor at Girard College (preceding a Becket) about 1868 became a prosperous piano-dealer (retired in 1898), was prominent as leader of Welsh choral societies (Penn Bi- centenary, 1881), and as composer of ' Gospel hymns.' See Hall, pp. 130-2. *Formes, Karl Johann (Rhine Prov., 1816- 1889, San Francisco), who had been since 1842 a noted operatic bass in Europe, from 1857 at intervals for twenty years was often heard in America, finally settling as teacher in San Francisco. See Vol. ii. 88, and art. Foster, Stephen Collins (Pittsburgh, 1826- 1864, New York), a spontaneous writer of popular songs in Pittsburgh till 1860, then in New York. See Vol. ii. 90-1, and art. *Fries, Wulf (Holstein, 1825-1902, Rox- bury, Mass.), who had been 'cellist in Nor- way, came to Boston with his brother August Fries (b. 1822) in 1847, long continuing promi- nent as a player. See art. Fry, William Henry (Philadelphia, 1813- 1864, W. Indies), a journalist in New York and from 1845 composer of operas, orchestral pieces, cantatas and songs. See art. *Gabler, Ernest (d. 1883, New York), a Silesian piano-maker, came to New York in 1851 and in 1854 established a firm that still continues. *Gemiinder, August Martin Ludwig (Wiir- temberg, 1814-1895, New York), gifted violin- maker, trained by Vuillaume, came to Spring- field, Mass., in 1846, and was joined by his equally able brother, Georg Gemiinder (1816- 1899). Later they worked in Boston and New York, establishing a notable business, still continued by descendants. See art. *Gilmore, Patrick Sarsfield (Ireland, 1829- 1892, St. Louis), a band-master who came to Canada about 1845, went to Salem in 1849 and thence to Boston, organizing a famous band that traveled widely. See Vol. ii. 169, and Upton, Musical Memories, pp. 194206. *Goldbeck, Robert (Prussia, 1839-1908, St. Louis), early noted as pianist, from 1857 was in New York, from 1868 in Chicago, from 1873 in St. Louis, from 1880 again in New York, etc., becoming famous as player, teacher, con- ductor and composer. See art. Gottschalk, Louis Moreau (New Orleans, 1829-1869, Brazil), the original and talented pianist, trained in Paris, where he made his debut in 1844, who from 1853 gave concerts throughout the United States. See Vol. ii. 205, and art. Guiraud, Ernest (New Orleans, 1837-1892, France), produced his first opera in New Orleans in 1852, but was later wholly identi- fied with Paris, from 1876 as professor in the Conservatoire. See Vol. ii. 259, and art. *Hagen, Theodor (Hamburg, 1823-1871, New York), came to New York in 1854, edited ' The Musical Gazette,' later called ' The Musical Review and Gazette,' and was a useful journalist and critic. While still in Germany he wrote articles for the ' Neue Zeitschrift,' Civilisation und Musik, 1845, and Musikalische Novellen, 1848. *Haines, Napoleon J. (England, 1824-1900, New York) , and his brother Francis W. Haines (1822-1887, New York), came to New York as boys, from 1839 worked at piano-making under A. H. Gale, in 1851 opened their own factory and rapidly gained a solid reputation. They kept abreast of all improvements and were among the first (about 1870) to foresee the popularity of the upright. N. J. Haines was a foremost financier during the Civil War and afterward. The Haines piano-business is now part of the American Piano Company. Hamlin, Emmons (d. 1881, Boston), a work- man in Prince's melodeon-factory in Buffalo, in 1847 made discoveries in adjusting the reeds then used which greatly improved their tone. In 1854 he joined Henry Mason of Boston in the firm of Mason & Hamlin. Haynes, John C. (Brighton, Mass., 1830- 1907, Boston), became a clerk for Ditson in 1845, was admitted to the firm in 1857, and in 1889, after Ditson's death, was made presi- dent. Hays, William Shakespeare (Louisville, 1837-1907, Louisville), began to write popular songs in 1853 and gradually became widely known. In later life he was on the staff of the Louisville ' Courier-Journal.' Hazleton, Henry (b. New York, 1816), was an apprentice in Dubois & Stodart's piano- making shop in New York from 1831, began business at Albany in 1838, moved to New York in 1841, and in 1849, with his brothers Frederick Hazleton and later John Hazleton, established the firm of Hazleton Brothers, whose excellent reputation has been kept up by their descendants. *Healy, Patrick Joseph (Ireland, 1840-1905, Chicago), brought to Boston as a boy and employed in music-stores, developed such ability that in 1864 Ditson sent him, with George W. Lyon, to Chicago to establish a branch house. Lyon & Healy soon ranked 4: 1840-1860] CHRONOLOGICAL REGISTER 25 among the leading music-dealers of the coun- try, specializing in the production of instru- ments of many kinds, including harps, violins, pianos and organs. See Dolge, Pianos and their Makers, pp. 350-4. *Heintzmann, Theodore A. (Prussia, 1817- 1899, Toronto), an experienced piano-maker, came to New York in 1850, went to Buffalo in 1853 and in 1860 to Toronto, becoming the pioneer manufacturer in Canada. *Held, Ernst Carl Eberhardt (Saxony, 1823- 1913?, Syracuse), originally a mining-engineer in Prussia, joined in the revolution of 1848 and then migrated to America, and from 1849 was teacher, composer and writer in Syracuse. Mus.D. of Syracuse University in 1903. *Hoffman, Richard (England, 1831-1909, Mt. Kisco, N. Y.) , came to New York in 1847 and became a leading pianist and composer for the piano. See Vol. ii. 414-5, and art. *Hohnstock, Carl (Brunswick, 1828-1889, Brunswick), from 1848 till 1860 was promi- nent in Philadelphia as pianist and teacher. His sister Adelaide Hohnstock (d. 1856) was associated with him. *Holmes, Edward (England, 1797-1859, America), author of works on Mozart and Purcell, etc., came to America in 1849 and worked as editor and critic. Hopkins, Edward Jerome (Burlington, Vt., 1836-1898, Athenia, N. J.), from 1846 a self- | taught organist, composer, lecturer and organi- zer, from 1856 with headquarters at New York. See art. *Hiilskamp, Gustav Heinrich, a German piano-maker who worked in Troy from 1850 and in New York from 1866, introducing many improvements in construction, including strik- ing experiments with ' symmetrical ' grands. *Huss, George John (Bavaria, 1828-1904, New York), from 1848 was organist and piano-teacher in or near New York, with some compositions. Jarvis, Charles H. (Philadelphia, 1837- 1895, Philadelphia), began as a child-pianist in 1844 and developed into a competent and influential artist. See art. *Keller, Matthias (Wiirtemberg, 1813-1875, Boston), a band-master and violinist who came to Philadelphia in 1846, was later con- ductor in New York and finally went to Bos- ton, where his ' American Hymn ' was brought out in 1869. Kemp, Robert [' Father Kemp '] (Wellfleet, Mass., 1820-1897, Boston), a shoe-dealer in Boston, started in 1854 giving ' old-folks' concerts ' of early American music. See auto- biography, 1868. Kimball, William Wallace (Maine, 1828- 1904, Chicago), after clerical and commercial experience in the East, began dealing in pianos and organs at Chicago in 1857, rapidly becoming prominent, took up reed-organ- making in 1881, piano-making in 1887 and organ-making soon after, developing one of the strongest establishments in the country. *Klauser, Karl (Russia [Swiss parents], 1823- 1905, Farmington, Conn.), from 1850 piano- teacher, arranger and editor in New York, and in 1856-83 teacher in Farmington, Conn. He edited Famous Composers, 1891 (with Thomas and Paine) , and Half-Hours with the Best Com- posers, 1894. *Kotzschmar, Hermann (Prussia, 1829- 1909, Portland, Me.), came to America in 1848 and from 1849 was active in Portland as organ- ist, teacher, conductor and composer. See art. *Kreissmann, August (Saxony, 1823-1879, Saxony), active in Boston from 1849 to 1876 as singer, teacher and leader of the Orpheus Club. *Krell, Albert (Germany, 1833-1900, Cin- cinnati), of a family of instrument-makers, came to America in 1848 and was known at Cincinnati as an expert violin-maker. In 1889, with his sons, he started a piano-factory. Lang, Benjamin Johnson (Salem, 1837-1909, Boston), from 1852 eminent as organist and conductor in Boston. See Vol. ii. 631-2, and art. Ludden, William (b. Williamsburg, Mass., 1823), a pupil of Mason and Webb, from 1840 taught in Pittsfield, Mass., from 1842 in Wil- liston Seminary at Easthampton, was organist and conductor in New Haven while at Yale College, in 1853-4 studied singing in Paris, taught at New Haven and from 1862 at Chicago, removing in 1870 to Savannah as music-dealer. He compiled a Pronouncing Musical Dictionary (terms), 1875. Madeira, Louis Cephas, identified from 1843 with the Musical Fund Society of Philadel- phia till its dissolution in 1858, first as manager and then as secretary, supplied data for Annals of Music in Philadelphia and History of the Musical Fund Society, 1820-58, 1896 (edited by P. H. Goepp). *Maretzek, Max (Moravia, 1821-1897, Staten Island, N. Y.), an experienced violinist and opera-conductor, brought to New York in 1848 by Fry, from 1849 till 1878 was the indefatigable and usually clever manager of a variety of operatic ventures in New York, Havana and Mexico, introducing many noted singers. He wrote two operas, ' Hamlet ' (1843) and ' Sleepy Hollow ' (1879), orchestral music, etc., besides the autobiographic Crochets and Quavers, 1855, and Sharps and Flats, 1890. Mason, Daniel Gregory (Savannah, 1820- 1869, Europe), son of Lowell Mason, with his brother Lowell was engaged in music-pub- lishing in Boston from 1853. Mason, Henry (Boston, 1831-1890, Boston), son of Lowell Mason, in 1854 with Emmons Hamlin founded the Mason & Hamlin firm of reed-organ-makers, to which in 1869 was added his brother Lowell. Before this, in 1861, they had begun making the improved ' cabinet organ.' In 1882 the firm began to make pianos of the highest quality. Mason, Lowell, Jr. (Westboro, Mass., 1823- 1885, Orange, N. J.), son of Lowell Mason, was from 1853 associated with his brother Daniel Gregory in the publishing-firm of Mason 26 CHRONOLOGICAL REGISTER [4 : 1840-1860 Brothers, but, after the latter's death, joined his other brother in the Mason & Hamlin firm. Mason, Luther Whiting (Turner, Me., 1828- 1896, Buckfield, Me.), from 1853 music-super- visor in Louisville, in 1865 moved to Boston, in 1879-82 was employed by the Japanese government, and later went abroad. See art. Mason, William (Boston, 1829-1908, New York), son of Lowell Mason, made his debut as pianist at Boston in 1846, studied in Germany, appeared in America in 1854 and settled in New York as eminent player and teacher. See Vol. iii. 74, and art. *Mathushek, Frederick (Baden, 1814-1891, New York), highly trained as piano-maker at Worms and with Pape in Paris, came to New York in 1849, was first associated with Dun- ham, from 1852 alone, from 1857 with Spencer B. Driggs, from 1866 at New Haven as head of the Mathushek Piano Co., and from 1871 in New York again. He is said to have devised a successful ' overstrung ' scale in 1850, and soon after invented a machine for hammer- covering. He had uncommon delicacy of ear and planned small instruments with remark- able breadth of tone. See Dolge, pp. 321-5. *Matzka, George (b. Coburg, 1825), came to New York in 1852 and was long identified with the Philharmonic Society, acting as con- ductor for a time in 1876. He wrote several overtures, two string-quartets, a violin-sonata, choruses and songs. *Merz, Karl (Hesse, 1836-1890, Wooster, O.), came to Philadelphia in 1854, from 1861 taught at Oxford, O., and in 1882 became professor in Wooster University. See art. *Meyer, Julius Eduard (Altenburg, 1822- 1899, Brooklyn), an accomplished singing- teacher, trained at Leipzig, settled in Brooklyn in 1852 and was active there for over forty years, though twice invited back to Leipzig. Millard, Harrison (Boston, 1830-1895, Boston), a singer from boyhood, studied in Italy in 1851-54, taught in Boston and from 1856 in New York, served as lieutenant in the Civil War, and was employed in the New York Custom House for many years. He wrote an opera, ' Deborah,' a grand mass and other church-music, many adaptations of foreign songs and about 350 original songs. Miller, Henry F. (Providence, 1825-1884, Wakefield, Mass.), had a good musical edu- cation, early became an organist, besides showing mechanical genius and learning the trade of watch-making, in 1850 took up piano- making with Brown & Allen in Boston, in 1858 with Emerson, and in 1863 in his own Com- pany, which soon became famous. At his death the business was continued by five sons. *Mills, Sebastian Bach (England, 1838- 1898, Germany), came to New York in 1856 as a visiting pianist, and was so warmly re- ceived that he remained as player, teacher and composer. See Vol. iii. 210, and art. *Mollenhauer, Eduard (Saxony, 1827-1914, Owatonna, Minn.), and his brother Friedrich Mollenhauer (1818-1885), expert violinists, came to New York in 1853 with Jullien and remained as valued soloists, orchestral players and teachers. Another brother, Heinrich Mollenhauer (1825-1889), 'cellist, followed in 1856 and established a school in Brooklyn, still carried on by his sons. Moore, John Weeks (Andover, N. H., 1807- 1887, Boston), began as printer and editor of country newspapers in Maine, New Hamp- shire and Vermont, settling finally in Man- chester, N. H. From before 1840 he displayed interest in musical subjects, writing or editing a variety of manuals and collections, partly in periodical form. His chief works were The Musician's Lexicon, 1845-46, and a Complete Encyclopaedia of Music, 1854, and Appendix, 1875, an ambitious production for the time. *Morgan, George Washbourne (England, 1822-1892, Tacoma, Wash.), came to New York in 1853 and served as organist in a series of churches. See art. *Mosenthal, Joseph (Hesse, 1834-1896, New York), a gifted violinist, came to New York in 1853 and was long prominent as ensemble-player, organist, conductor and composer. See art. *Muller, Carl Christian (Meiningen, 1831- 1914, New York), came to New York in 1854, worked in a piano-factory and led Barnum's orchestra, and from 1879 was harmony-teacher in the College of Music. See art. *Neuendorff, Adolf (Hamburg, 1843-1897, New York) , was brought to New York in 1855 and from 1859 was active as pianist, violinist, conductor, manager and composer. See art. *Nuno, James (Spain, 1824-1908, Buffalo), after study in Italy, in 1851 came to Cuba as bandmaster, and went thence to Mexico, touring in the United States from 1856. In 1869 he settled in Buffalo. See art. Paillard, M. J. (Switzerland, ? -1868, Switzerland), in 1850 started the New York branch of the famous Swiss manufacture of music-boxes, long continued by others of the family. Palmer, Horatio Richmond (Sherburne, N. Y., 1834-1907, Yonkers, N. Y.), from 1852 active in ' conventions,' popular choruses and school-instruction, from 1881 led the Church Choral Union in New York and from 1887 was dean of the Chautauqua Institution. See art. Parker, James Cutler Dunn (Boston, 1828- 1916, Boston), originally a law-student, stud- ied at Leipzig and in 1854 settled in Boston as organist, conductor, teacher, theorist and composer. See art. Perkins, Charles Callahan (Boston, 1823- 1886, Windsor, Vt.), graduated from Harvard in 1843, went to Italy to study painting, later to Paris, where he became equally interested in music. In 1849-51 and 1854-57 he was in Boston, organizing musical activities and com- posing, in 1850 being at the head of the Handel and Haydn Society and in 1852 the chief con- tributor to the erection of the well-known Music Hall. After prolonged residence in Europe, 4 : 1840-1860] CHRONOLOGICAL REGISTER 27 in 1869 he returned to Boston as critic and patron of fine art in general. Phelps, Ellsworth C. (b. Middletown, Conn., 1827), organist from 1846 at New London, Syracuse and New York, and from 1857 in Brooklyn, engaging also in public-school music and composing two symphonies, four symphonic poems, concert-overtures, two comic operas, the cantata ' David,' an ex- tended choral ' Elegie,' Psalm 145, etc. *Phillipps, Adelaide (England, 1833-1882, Bohemia), was brought up in Boston, from 1842 appeared there as a dancer, but, after training in Italy, from 1855 became famous as concert- and operatic contralto. See Vol. iii. 709-10. Phillips, Philip (near Chautauqua, N. Y., 1834-1895, Delaware, O.), from 1853 noted as a leader of singing-schools, from 1860 was a music-dealer and publisher in Cincinnati, removing in 1867 to New York, where he pub- lished many popular song-books, mostly sacred. His tenor voice made him famous and from 1868 he conducted ' song-services ' in all parts of the world. See Hall, pp. 118-23. Poole, Henry Ward (Salem, Mass., 1825- ? ), brother of William F. Poole, the libra- rian, while a student at Yale in 1842 became absorbed in problems of musical acoustics, especially those of temperament. In 1849 at Newburyport he made an enharmonic organ, described in 1850 in the ' American Jour- nal of Science,' thus coming into touch with foreign investigators, so that his work is re- peatedly quoted (as in Ellis' Helmholtz). He also made studies in the theory of chords. His business as mining-engineer took him to Mexico in 1856, where he settled. See Mathews, Hundred Years, pp. 341-6. *Pychowski, Jan Nepomucene (Bohemia, 1818-1900, Hoboken, N. J.), a pianist and teacher in New York and Hoboken from 1850. He was a good composer of chamber- and piano-music. Richardson, Nathan (-Reading, Mass., 1827- 1859, France), pupil of Moscheles, Dreyschock and others, compiled a piano-method in 1859 which had much vogue for many years. *Richings, Caroline, nee Bernard (England, 1827-1882, Richmond, Va.), brought to Amer- ica as a child, appeared as pianist at Phila- delphia in 1847 and in opera in 1852, remaining a favorite singer till about 1870, and then taught at Baltimore and Richmond. *Ritter, Frederic Louis (Alsace, 1834-1891, Belgium), came to Cincinnati in 1856 as con- ductor and to New York in 1861, becoming from 1867 professor at Vassar College and well known as composer and author. See Vol. iv. 109, and art. *Rive, Caroline, nee Staub (France, 1822- 1882, New York), pupil of Garcia in singing and a good pianist, came to New Orleans about 1850 and taught successfully there and from 1854 at Cincinnati. Root, George Frederick (Sheffield, Mass., 1820-1895, Bailey's Island, Me.), from about 1840 with Mason and Webb at Boston, was organist and teacher in New York from 1844, studied a year in Paris, became a music- publisher in Chicago in 1859 (business sold in 1871 to the John Church Co., Cincinnati), and wrote many songs and other vocal music. See Vol. iv. 138-9, art. and Tune-Books. *Rudolphsen, John Frederick (Hamburg, 1827- ? , Cincinnati), came as violinist with Gungl in 1849, appeared as opera-singer in 1853, from 1862 taught in Boston and from 1879 in the Cincinnati College of Music. *Ryan, Thomas (Ireland, 1827-1903, New Bedford, Mass.), came to Boston in 1844, from 1849 for forty years played viola and clarinet in the Mendelssohn Quintette Club. See his Recollections of an Old Musician, 1899. Ryder, Thomas Philander (Cohasset, Mass., 1836-1887, Somerville, Mass.), from 1856 organist at Hyannis, later at Tremont Temple, Boston, and a popular teacher, conductor and composer. *Schillmg, Gustav (Hanover, 1803-1881, Nebraska), who from 1830 had been head of the Stopel Music School in Stuttgart and a prolific writer on theory and aesthetics, -came to New York in 1857, in 1859 went to Canada, from 1871 was in Burlington, la., and thence moved to Nebraska. For a list of his publi- cations (all in Europe) see Baker, Dictionary of Musicians, p. 826. *Schirmer, Gustav (Saxony, 1829-1893, Thuringia), came as a boy to New York in 1837, was clerk in a music-store, from 1854 man- ager for the publisher Breusing, and from 1861 his successor, building up a business of inter- national fame. See Vol. iv. 265-6. *Schuberth, Julius (Saxony, 1804-1875, Saxony), founder of a publishing-house at Hamburg in 1826, opened a branch in New York in 1850, to which later he gave much personal attention. In 1867 he started the ' New-Yorker Musikzeitung.' *Schultze, Wilhelm Heinrich (Hanover, 1828-1888, Syracuse), came to America in 1848 with the Germania Orchestra, from 1858 was leader of the Mendelssohn Quintette Club, and from 1877 professor at Syracuse University. Mus.D. there in 1877. Sharland, John B. (Halifax, 1837-1909, Bos- ton) , was early in Chickering's piano-factory, but turned to piano-playing and conducting, led many choral societies in or near Boston, and from about 1870 was music-supervisor in the schools. He compiled song-books from 1865. Southard, Lucien H. (Sharon, Vt., 1827- 1881, Augusta, Ga.), studied in Boston, from 1851 was music-supervisor there, taught in Norfolk, Va., in 1860-61 was organist at Hartford, Conn., served in the Civil War, in 1865-68 and 1871-75 taught in Boston, and in 1868-71 was head of the Peabody Con- servatory in Baltimore. See art. *Steck, George (Hesse, 1829-1897, New York), an expert piano-maker, trained by Scheel at Paris, came to New York in 1853 28 CHRONOLOGICAL REGISTER [4 : 1840-1860 and in 1857 established the firm that long continued in high repute (absorbed in 1904 into the JEolian Company). He was espe- cially gifted in scale-designing. *Steinbrecher, Frederic W. (b. Prussia, 1818), in 1843-44 a pupil of Chopin, came to Cincinnati in 1848 as pianist, teacher and composer. *Steinert, Morris (Bavaria, 1831-1912, New Haven, Conn.), came to America about 1854, played in orchestras, and about 1865 became a music-dealer in New Haven and a collector of keyboard-instruments. See art. *Steinway, Henry Engelhardt (Harz, 1797- 1871, New York), an established maker of organs and pianos at Seesen since 1820, came to New York in 1851 with three sons (another preceded him in 1849), and in 1853 organized the firm since famous throughout the world. See Vols. iii. 729-32, iv. 691-2. *Stieff, Charles M. (Wiirtemberg, 1805- 1862, Baltimore), came to Baltimore in 1831, at first as teacher of languages, but from 1842 as importer of pianos. In 1852 he went to Europe to examine methods in piano-making, and then, with two sons and Jacob Gross (b. 1819), who had had long experience before coming to America in 1848, inaugurated the business that has had an honorable record in the hands of his descendants. *Stoeckel, Gustav Jakob (Bavaria, 1819- 1907, Norfolk, Conn.), came to America in 1847 and in 1855-96 was instructor and pro- fessor of music at Yale College. *Strakosch, Maurice (Galicia, 1825-1887, France), from 1845 worked in New York as pianist and teacher, and from 1857 as man- ager, succeeded by his brother Max Strakosch (1834-1892). See Vol. iv. 713, and art. Thayer, Alexander Wheelock (Natick, Mass., 1817-1897, Austria), graduated from Harvard in 1843 and assistant-librarian there, from 1849 was almost continuously in Europe, from 1865 as consul at Trieste, where he pro- duced a monumental biography of Beethoven. See Vol. v. 79-80, and art. "Thomas, John Rogers (Wales, 1829-1896, New York), in 1849 came to New York, in 1852 sang with the Seguins and other artists, and wrote many popular songs, an operetta, church-music, etc. Thomas, Theodore (East Friesland, 1835- 1905, Chicago), came to New York as a boy in 1845, soon found employment as violinist, touring from 1851, and from 1864 was con- spicuous as a phenomenal organizer and con- ductor of orchestras, living in Cincinnati in 1878-80 and moving to Chicago in 1891. See Vol. v. 88, and art. *Torrington, Frederick Herbert (England, 1837-1917, Toronto), came to Montreal in 1856 as organist and violinist, from 1869 was in Boston, and from 1873 was organist, con- ductor, etc., in Toronto. See art. Tourjee, Eben (Warwick, R. I., 1834-1891, Boston), from about 1851 teacher at Fall River, in 1859 started a music-school at East Greenwich, R. I., and, after a sojourn in Europe for study of methods, founded larger schools at Providence and in 1867 at Boston. See Vol. v. 134, and art. Tuckerman, Samuel Parkman (Boston, 1819-1890, Newport, R. I.), organist in Boston in 1840-49 and 1853-56, and from 1864 at Trinity Church, New York. See Vol. v. 173-4, and Tune-Books. Tufts, John Wheeler (Dover, N. H., 1825- 1908, Camden, Me.), from 1846 studied at Frankfort and Leipzig, from 1848 was organist and conductor at Bangor, Me., and later at Portland, and from about 1880 at Boston, where he was efficient in promoting public- school music, besides being for fifteen years organist at King's Chapel. *Urso, Camilla (France, 1842-1902, New York), a child-prodigy as violinist, appeared in America in 1852-55 and again after 1862, when she acquired world-wide celebrity. She settled in New York in 1895. See art. Warner, James F., published translations of Gottfried Weber's Generalbasslehre and Theorie der Tonsetzkunst, 1841-42, and a Dictionary of Musical Terms, 1842. Warren, George William (Albany, 1828- 1902, New York), was organist at Albany from 1846, in Brooklyn from 1860, and from 1870 at St. Thomas', New York. See art. *Watson, Henry C. (England, 1818-1875, New York), musically well-educated, came to New York in 1841 and began a notable editorial career, both as critic for several papers and as founder in 1843 of the ' Musical Chronicle ' (in 1847 transformed into ' The American Musical Times'), from 1855 as the first editor of Leslie's ' Illustrated Newspaper,' and in 1863 as founder of ' The American Art Jour- nal.' He helped establish the Philharmonic Society and other organizations, and for thirty years remained conspicuous in promoting musical progress. See Mathews, Hundred Years, pp. 377-80, and Dolge, pp. 415-6. *Weber, Albert (Bavaria, 1828-1879, New York), came to New York in 1845, took up piano-making with Holder and Van Winkle and about 1852 opened his own shop, gradually developing from about 1860 the solid repu- tation of his instruments. He was a specialist in tone-quality. The Weber business is now part of the ^Eolian Company. *Wels, Charles (Bohemia, 1825-1906, New York), pupil of Tomaschek and from 1847 Polish court-musician, came to New York as pianist, organist and teacher in 1849. He wrote an orchestral suite and overture, five masses, a piano-concerto, many facile piano- pieces, part-songs and songs. White, Edward L., besides other publications of an educational character, made a translation of Friedrich Schneider's Harmonie und Tonsetz- kunst (about 1850). See also Tune-Books. White, Henry Kirk (d. 1907, Meriden, Conn.), from 1845 a maker of instruments in 4 : 1840-1860] CHRONOLOGICAL REGISTER 29 Connecticut, from 1853 at Washington, N. J., and from about 1860 in Philadelphia, was called in 1865 to the Estey factory at Brattleboro, Vt., and in 1877 joined H. C. Wilcox at Meri- den, Conn., founding the firm of Wilcox & White, makers of reed-organs. His three sons all distinguished themselves in develop- ing the industry. See Dolge, pp. 367-70. Whiting, George Elbridge (b. Holliston, Mass., 1842), an organist from 1855, from 1858 was Buck's successor at Hartford, and since 1862 has been mostly identified with churches in Boston, and an eminent teacher. See Vol. v. 517-8, and art. Whitney, Myron William (Ashby, Mass., 1836-1910, Sandwich, Mass.), after study in England and Italy, in 1858 began a notable career as operatic and concert-bass in Boston. See art. Willcox, John Henry (Savannah, 1827-1875, Boston), graduated from Trinity College (Hartford) in 1849, settled as organist in Boston and was noted as a talented player and as expert in organ-construction, as well as writer of Catholic church-music. *Williams, Victor (b. Sweden, 1816), from about 1840 was a well-known teacher in Cincinnati, for more than twenty years in public-school work. Willis, Richard Storrs (Boston, 1819-1900, Detroit), graduated from Yale in 1841, studied in Germany and settled in New York as a literary worker, editing ' The Musical Times ' and ' The Musical World,' writing and compil- ing vocal music, especially Church Chorals, 1850, and writing also the practical hand- book Our Church Music, 1855. Wilson, Henry (Greenfield, Mass., 1828- 1878, Hartford, Conn.), studied in Boston and Leipzig, from about 1850 was organist at Greenfield, in Springfield in 1854, and from 1855 at Hartford, becoming widely known as player, choir-master and composer of church- music. See art. *Wolfsohn, Carl (Hesse, 1834-1907, New Jersey), already known in the Rhine Valley For purposes of reference, a few notes may be added about the establishment of opera-houses in New Orleans and New York before 1860. During the whole 19th century New Orleans maintained a fairly continuous and often bril- liant operatic activity. The first French troupe appeared there in 1791. In 1808 the Theatre St. Philippe was opened (not used for opera after 1820), in 1813 the Theatre d'Orleans (burnt in 1817), in 1818 the same rebuilt (burnt again in 1866), and in 1859 the New Orleans Opera House (burnt in 1919). The works given were mostly French, but opera in English occurred as pianist, came to Philadelphia in 1854, from 1856 was associated with Thomas in chamber- concerts there and on tour, organized the Beethoven Society in 1869, removed to Chicago in 1873 and organized a similar society there, continued till 1884. See art. *Wollenhaupt, Hermann Adolf (Saxony, 1827-1863, New York), came to New York in 1845 as concert-pianist and teacher of brilliance and popular power. In 1855 he made a European tour. He composed about 100 piano-pieces in a fluent and clever style. Wood, David Duffield (Pittsburgh, 1838- 1910, Philadelphia), trained in Philadelphia in the Institute for the Blind, was instructor there from 1853 and from 1864 also organist at St. Stephen's, becoming noted as player, teacher and composer. See art. Woodman, Jonathan Call (Newburyport, Mass., 1813-1894, Brooklyn), about 1840 associated with Mason in Boston and an oratorio-singer, was later in various church positions in New York and Brooklyn, besides teaching after 1880 in Rutgers Institute and Packer Institute. Work, Henry Clay (Middletown, Conn., 1832-1884, Hartford), a printer by trade and a self-taught song-writer, caught the popular ear before 1855, when he moved to Chicago. He wrote many stirring war-songs after 1861 and temperance-songs later. *Zerrahn, Carl (Mecklenburg, 1826-1909, Milton, Mass.), came to Boston with the Germania Orchestra in 1848, and from 1854 till 1895 was famous as conductor of the Handel and Haydn Society, besides other similar activities. See Vol. v. 595, and art. *Zundel, John (Wurtemberg, 1815-1882, Wiirtemberg), trained as violinist under Mo- lique and as organist under Rinck, after being organist at St. Petersburg from 1840, came to New York in 1847 and for thirty years was a well-known organist, in 1850-55, 1858-65 and 1867-78 at Plymouth Church, Brooklyn. He wrote instruction-books, collections of volun- taries, a Te Deum and a Treatise on Harmony. in 1817. After the Civil War New Orleans troupes occasionally visited the North, going especially to Chicago and New York. The first real opera-house in New York was opened in 1833 (after 1835 the National Theater), Palmo's Italian Opera House in 1844 (from 1848 Burton's Theater), the Astor Place Opera House in 1847 (given up in 1852 and later the Mercantile Library), and the Academy of Music in 1854. From 1849 the New York operatic world was the scene of managerial rivalries between Maretzek, the Strakosch brothers and Ullmann. 30 HISTORICAL INTRODUCTION THE PERIOD AFTER THE CIVIL WAR The Civil War was a national event of the first magnitude. While it lasted, and for some years afterward, social life was much disorganized and cultural pur- suits suffered a check. The struggle accentuated the differences between North and South that had been previously visible. It was the North that had ex- perienced the more vigorous development of physical resources, the principal in- fluence of copious immigration, and, in consequence, the greater broadening of social and intellectual interests. So, after the War, while for a time the South was prostrated, the North was soon ready to resume powerful advance. By 1890, however, the South had so far recovered that it began to take its due place in progress. During the half -century between 1860 and 1910 the total population grew from about 31,500,000 to about 92,000,000 that is, was practically tripled. Of the net gain, the North as a whole secured thirty-five millions, the South eighteen, and the Far West seven and a half. There was a steady shift in balance to the west, so that the percentage of population east of the Mississippi fell from 86 to 70. During the fifty years not less than 23,000,000 immigrants arrived, the rate rising after 1905 to more than a million per year. In the opening decade of the 20th century immigration supplied more than half of the total increase. For the fifty years it amounted to almost 37 per cent of that increase. Such figures are eloquent as to the factor of transition and instability in social conditions so far as affected by changes in population. The derivation of the newcomers was no longer chiefly English or Teutonic, but for a time Scandinavian, and then Italian, Hungarian, and Slav. The drift toward the city became more pronounced than ever. Whereas in 1800 only one out of twenty-five was a city-dweller, and in 1850 only one in eight, in 1900 the ratio had become one in three. This increased concentration tended powerfully to intensify the mental life of the nation. In this particular case the city-ward drift had a peculiar relation to the total culture one but slightly evident earlier, and one not easily matched elsewhere in the world. Be- cause the total area of the country is so great, the large cities are generally far apart and consequently tend to have strong individuality, as well as decided in- fluence over the sections dependent on them. Nothing quite like this is found in any single European country. And with this dissociation by mere distance there is a healthy rivalry between them and between the several states or sections which they represent. Much of the rapidity, variety, and virility of the develop- ment in recent decades is due to this geographic peculiarity in the American situation. No succinct statement of the immense economic activity of the period is here possible. Every phase of agriculture, mining, manufacture, and internal com- merce made enormous gains. As to the general economic result it is enough to recall that in 1850 the total 'wealth' of the country (the fair value of real and THE PERIOD AFTER THE CIVIL WAR 31 personal property) was estimated at somewhat over seven billions, but that in 1910 this was estimated at about one hundred and thirty billions or about $1400 per person. It was during the latter part of the 19th century that the use of inventions like the telephone and the electric railroad became so general as really to transform the practical conditions of life and thought. All these factors of material progress and many more had direct bearings upon the artistic progress of the period. Here is the place to remark that during this period occurred the expansion of the great Dominion of Canada, which was formed in 1867 out of the then existent provinces of Lower Canada or Quebec and Upper Canada or Ontario, with New Brunswick and Nova Scotia. In the next fifteen years this area was augmented by the administrative inclusion of the whole vast territory westward to the Pacific and northward as well. British Columbia, on the west coast, was admitted in 1871, and the great Northwest Territories (Manitoba, Assiniboia, Saskatchewan, Alberta, Keewatin, Athabasca, Mackenzie and Yukon) were systematically developed so that since 1905 they have all been counted as constituent provinces. The total area of the Dominion is larger than that of the United States proper, so that it is much the largest division of the British Empire. But, owing to the rigorous climate in many parts of it and to the recency of its decided advance, its population is on the whole small between eight and nine millions. On- tario, however, in the center, has had a commercial, social and artistic unfolding similar to that of the neighboring United States, though, as is natural, emphati- cally dependent upon England. Since the setting up of the unified Dominion its cultural advance has been quite as remarkable as that of the United States, though the bulk of it is necessarily less. The population is prevailingly British in origin except in the Province of Quebec and eastern Ontario, where the French have always been numerous ; but western Ontario, Manitoba and even the provinces beyond have received many of other nationalities by immigration from near-by portions of the United States. The large cities are Montreal, Toronto, Winnipeg, Vancouver, Ottawa, Hamilton and Quebec. Among the forces that explain the extraordinary progress of music after 1865 in both the United States and Canada a large place must be given to the indirect influence of organized education. In the United States the educational purpose of the colonial settlers declared itself early in the founding of 'colleges/ At least thirty of these which still flourish were established before 1800, representing every State from Maine to South Carolina and Tennessee except one. The process of college-founding went on with growing momentum throughout the 19th cen- tury, spreading a network of institutions over nearly the whole country, until now they number over 600, of which about 140 are for men, 110 for women and the rest for both sexes. They naturally differ widely in grade and scope. Some 32 HISTORICAL INTRODUCTION are really 'academies' or detached 'high schools.' Others are members of true university systems. Most of them represent types that are more or less peculiar to America. A closely related movement after 1800 was the development of 'public schools,' distributed according to need and maintained by taxes laid upon the communities served. The total system, although analogous to that of some other countries, has always had strong individuality, especially in its expression of the spirit of democracy. During the 19th century it had a prodigious expan- sion and gradually acquired somewhat standardized methods of grading and classi- fication, with the addition of the kindergarten and other primary forms at the bottom and of 'high schools' at the top, besides many 'normal schools' and ' teachers' colleges ' for the preparation of the teaching-force. Most of the ' state universities' belong technically to this general class, being free civic establishments, but some of them originated as 'colleges.' They aim to provide specialized opportunities in many distinct fields of knowledge. Organized education has also become highly developed in many other direc- tions, especially in preparation for various occupations, like law, medicine, theology, engineering, mining, agriculture, etc. Private schools for the youth of both sexes, too, have become increasingly common. Still other lines of effort might be specified. No exact appraisal is possible of the reaction of this manifold activity upon that form of culture which demands artistic expression. The one normally stands to the other in some relation of cause and effect. All ' education ' does not issue in artistic aspiration. But such aspiration does not attain general popular significance except where there is a wide educational basis. In both the 'college' and the 'school' systems of America artistic topics were long almost ignored. And yet every step in the development of these systems helped to prepare the way for the rational pursuit of artistic topics. It was not until after the Civil War that the study and cultivation of music began definitely to show the results of the previous activities in general education. As musical enterprises took shape their educational connections were evident. It was in this period that instructors and professors of music began to become common in colleges and universities, that instruction in music in public schools began to be widely and permanently adopted, that responsible music-schools began to be founded, that the occupation of music-teaching began to be recognized as a 'profession,' that regular concert- and opera-series began to be established, that choral societies and orchestras began to be organized in such a way as to continue, that influential musical periodicals and books began to multi- ply, and thus that the whole social and intellectual status of musical art began to acquire general significance. With this came, of course, a great unfolding of artistic power in performance, composition and technical appreciation. Cer- tainly any consideration of the sudden outburst of musical interest which is implied, for instance, in the appended lists of musical workers appearing between 1860 and 1900 must take into account its relation to the preceding advance in THE PERIOD AFTER THE CIVIL WAR 33 popular 'education/ even though baffled when it attempts to describe the opera- tion of all the factors with precision. The important point to be borne in mind is that there has always been a pe- culiar zeal in America for the development of education democratically not created by the general government, but locally or corporately sustained, and not for any class, but for the whole people. When at length this zeal began to take hold of the problem of musical education, it moved with surprising celerity and enterprise not always, perhaps, with the utmost wisdom as neasured by the thought of a half-century later, but at least with striking vigor and practical result. In seeking to analyze the forces that came into play after the Civil War the first place belongs to the private teachers. At the beginning of the period a majority of the best of these were doubtless of foreign birth. But by 1900, though foreigners were absolutely more numerous, they were relatively much less in evidence. No statistics are available, but it is clear that the total number of American teachers increased prodigiously between 1865 and 1900, and their geographical distribution became extensive. It goes without saying, also, that in this period there was great improvement in their average equipment and ar- tistic outlook. Music-teaching became, as it had not been earlier, a recognized educational occupation, and began to give tokens of the ideality and aspiration that mark a true 'profession.' One sign of awakening self -consciousness was the starting of teachers' associations (from about 1875), both national and local. More and more it was seen that for good teaching good preparation is requisite. Every teacher who was finely equipped tended to create a widening circle of followers. Competition operated to stimulate the able and to eliminate the feeble. Whatever gains there were in general pedagogical practice gradually made their way into the field of musical pedagogy as a specialty. Teaching music certainly became steadily more systematic and rational rather than spasmodic and in- tuitional. Text-books and 'methods' were published in increasing numbers, and discussion of teaching-praxis grew animated and thoughtful. Gradually about the army of teachers grew up a great clientage of pupils, attracted, no doubt, by a variety of considerations, but more and more subjected to what- ever of information, sympathy and inspiration there was in the teaching-body. It is impossible to adduce exact evidence in detail, but no one can compare the musical situation in 1865 and that in 1900 without realizing in some degree that an enormous pervasive force of personal influence had been exerted in transforming the one into the other. One of the chief means of recruiting the ranks of teachers are music-schools. At the opening of this period such schools were almost unknown. At its end they were scattered rather freely throughout the country. The most influential pioneers were the Oberlin Conservatory and the New England Conservatory in Boston, founded in 1865 and 1867 respectively. The former soon became the forerunner of the institutional or collegiate type (though not technically so at first), as the latter was of the independent or detached type. The former also D 34 HISTORICAL INTRODUCTION represented the class of those in small towns where general education is a con- trolling interest, while the latter represented the class of those in large cities, where many collateral advantages are available. It was the second type that was first strongly developed. As instances it is enough to refer to the Cincinnati Conservatory (1867), the Chicago Musical College (1867), the Peabody Conser- vatory in Baltimore (1868), the Philadelphia Musical Academy (1869), the Cleve- land Conservatory (1871), the Detroit Conservatory (1874), the College of Music in Cincinnati (1878), the New York College of Music (1878), the Cleveland School of Music (1884), the National Conservatory in New York (1885), the Chicago Conservatory (1885), the Northwestern Conservatory in Minneapolis (1885), the American Conservatory in Chicago (1886) and the Toronto Conservatory (1886). No extensive musical work was common in colleges or universities till later. And yet it is to be remembered that there had been musical instructors at Oberlin College since 1838, at the University of Toronto since 1845, and at both Yale College and the University of Virginia since 1849, and that after 1860 such significant appointments were made as those of J. K. Paine at Harvard College in 1862, F. L. Ritter at Vassar College in 1867, J. C. Fillmore at Ripon College in 1868, M. W. Chase at Hillsdale College in 1869, Thomas a Becket at Girard College in 1870, Max Piutti at Wells College in 1874, H. A. Clarke at the Uni- versity of Pennsylvania, F. A. Parker at the University of Wisconsin and Willard Kimball at Grinnell College in 1875, G. W. Chadwick at Olivet College in 1876, W. H. Schultze at Syracuse University and R. A. Heritage at Valparaiso Univer- sity in 1877, B. C. Blodgett at Smith College in 1878, C. B. Cady at the Uni- versity of Michigan and Louis Lisser at Mills College in 1880, W. A. Chalfant at Drury College in 1881, Karl Merz at Wooster University in 1882, J. W. Hill at Wellesley College and J. H. Howe at DePauw University in 1884, W. F. Bent- ley at Knox College in 1885 and C. H. Farnsworth at the University of Colorado in 1888. In the large majority of cases the instruction thus initiated led to the formation of strong and flourishing departments or schools of music. From the first the collegiate and the independent types of institution have been distinct, but each has rendered substantial service to the total progress. During this period the attitude toward music in the public schools changed from comparative apathy to decided interest and even considerable sustained endeavor. By 1900 the children in many places were learning something of song as they did of other subjects, and the function of music-supervisor was beginning to assume dignity in pedagogical discussion. Many manuals of instruction had been published, and there was almost amusing contention over methods. These powerful influences were greatly stimulated and broadened by those of another class, equally educational in real value, but operating through the ave- nue of public performance rather than that of personal instruction. One of these was the steady formation of choral societies of varying degrees of importance, working out somewhat freely into clubs for the study of secular as well as sacred music, of glees and part-songs as well as oratorios. There is no roster of these associations available. Some lasted but a few years, like many of THE PERIOD AFTER THE CIVIL WAR 35 their predecessors. Some grew into established institutions, especially in the large cities and in connection with some colleges, exerting a cumulative cultural influence upon singers and communities indirectly, also, providing fields for the artistic ability of vocal soloists and presently of orchestras. In the one year 1873 the Oratorio Society in New York, the Apollo Club in Chicago and the Cincinnati Festival Association were founded three diverse enterprises, each highly influential in its way. A score of other societies might be named that were started before 1890 in different places and that have continued effective. Another potent force was the formation of orchestras and of ensemble-groups. Here the virile ardor of Theodore Thomas was a leading factor. In 1864 he or- ganized Symphony Soirees in New York and in 1869 made his first concert-tour a practice continued till 1878. As examples of other significant efforts may be named the Philharmonic Society of Chicago (1860-68), the orchestra of the Harvard Musical Association (1865-82), which prepared the way for the Boston | Symphony Orchestra (1881), and the Symphony Society of New York (1878). | Although ensemble-groups kept springing up from time to time, none can be said to have exerted a truly national influence until the formation in 1886 of the Kneisel Quartet. It is plain that the stimulus supplied by the steadily increas- ing number of concerts in various places from 1870 onward by bands of highly- trained artists was of utmost importance in lifting the level of knowledge, appre- ciation and desire among a multitude of hearers. Such concerts, with those by competent soloists, whether resident or visiting, effected a vast amount of edu- cation by demonstration. The analogous influence of operatic performances is necessarily more fitful and irregular, except when nucleated by the erection of permanent buildings intended for them. From 1870 onward, just as at intervals for a century before, American audiences had varied chances to hear opera of different kinds given by visiting troupes. But the establishment of opera as a fixed element of popular culture was specially promoted by the existence of such buildings as the Theatre d'Orleans in New Orleans (1813-66) and the Academy of Music in New York (erected in 1854 and used for opera till 1886), which prepared the way for the Metropolitan Opera House in 1883, and also by the opening in Chicago of the Crosby Opera House in 1865, which, though destroyed in the great fire of 1871, in the same way prepared for the Auditorium in 1889. Even where such build- ings were not at hand various opera-companies appeared as visiting troupes in theaters with more and more regularity, so that before 1900 a long list of works had been brought before an extensive clientage of hearers. The holding of ' festivals ' was also a feature of the period. To a slight degree these recall the ' conventions ' of an earlier time, but their artistic level was much higher. The so-called 'Peace Jubilees' at Boston in 1869 and 1872, organized under Gilmore, were monster affairs, too big to be satisfactory, and yet not with- out a considerable stimulating value upon popular interest. Much more im- portant were the choral festivals at intervals arranged by permanent organiza- tions. The first of these was inaugurated in 1865 by the Handel and Haydn 36 HISTORICAL INTRODUCTION Society of Boston in celebration of its fiftieth anniversary and continued triennially thereafter. About the same time began the annual festivals at the neighbor- ing city of Worcester. In Cincinnati, growing out of interest aroused by gather- ings held for many years by German singing-clubs, a festival was held in 1873 under Thomas, followed by the formation of a Festival Association to maintain a biennial series. In 1881 Damrosch organized a festival in New York with the Oratorio and Symphony Societies as the nucleus of the forces. In 1882 and 1884 Thomas held festivals in Chicago. The musical features of the Columbian Ex- position at Chicago in 1893, of which Thomas was general director, amounted to a prolonged festival, lasting over three months. These conspicuous illustra- tions of the festival idea led to many less ambitious undertakings, so that by 1900 clusters of choral and instrumental concerts, usually held once a year, had be- come fairly numerous. As a rule, all these enterprises have proved decidedly effective as educational forces, though there is an obvious difficulty in holding them to any consistent artistic policy. Among smaller factors in the development after the Civil War reference should be made to church-music. This type of musical effort has always presented much more variety in America than in other countries, since there is no state church and no one communion holds the primacy. The differences between different parts of the country also affect usages, as do those between urban and rural communities. Yet the very number of distinct 'denominations/ many of them large and finely organized, and even their marked differences of liturgical ten- dency, have on the whole broadened the field of musical opportunity. It is striking how many of the musicians just after the Civil War were organists or church-singers. In this period in the older parts of the country the ideals of sacred music underwent a marked change from those of the 'psalmody' period. Choir-music was more emphasized than congregational singing, and organ-play- ing for accompaniment or alone became more conspicuous. Whatever may have been the result devotionally, the practical effect on popular interest in music was useful. In studying the total progress of the time this factor cannot be ignored. Place must also be made for the rise of musical literature in the hands of critics, editors and authors, and of collections of musical books. Musical peri- odicals were by no means new to America in 1865 D wight's * Journal of Music,' which began in 1852, went on till 1881, not to speak of many less or earlier under- takings but they now began to grow more numerous and to exert more in- fluence. The daily newspapers were quick to magnify the criticism or, better, the reporting of important concerts and operas, at least in the larger centers. It is significant that Hassard joined the staff of the New York 'Tribune' in 1866, setting a pattern that several others imitated or bettered soon afterward. By about 1880 the issue of books upon musical subjects had begun to make some show in the total annual output. Data concerning private libraries are not ac- cessible, but it is worth noting that the New York Public Library contains the Drexel Collection, presented in 1888 to the Lenox Library, but catalogued in 1869-71 ; that the Newberry Library in Chicago began systematic acquisitions THE PERIOD AFTER THE CIVIL WAR 37 in 1888 ; that in 1894 the Boston Public Library received the Brown Collection ; and that the Music Division of the Library of Congress in Washington was defi- nitely constituted in 1897. In this connection, also, it should be recalled that the nucleus of the Brown Collection of Instruments, now in the Metropolitan Museum of Art in New York, was formed in 1884-89. All these undertakings imply an advancement of intellectual interest in music of which there were only rare and small indications prior to the Civil War. It is instructive to observe how the decades after 1860 gradually bring into view musicians of American birth who presently gained real and permanent dis- tinction as either performers, composers or conductors. That these represent on the whole a much higher standard and spirit than those of earlier periods is obvious. Most of them secured extended discipline abroad, usually in Germany. Their number, the variety of their interests and the scope of their professional influence rapidly increases, so that even before 1900 the phrase 'the American school' became perhaps prematurely frequent. Of those first appearing after 1860 the most conspicuous were Buck and Paine ; of those after 1870, Chad wick, Foote, Gilchrist, and Gleason ; of those after 1880, Mrs. Beach, Kelley, MacDowell and Parker ; and of those after 1890, Converse, Gilbert, Hadley and Oldberg. Six of them have now died, but none of them before 1900. Much of the most creative work of all these dates from after that time. It is not therefore the bulk or the absolutely original quality of American composition before 1900 that arrests attention except the remarkable work of MacDowell but the fresh, ambitious, thoughtful and confident spirit that animates it. It all gives token of that striking animation and expansion in musical art which is the impressive characteristic of the period as a whole. With reference to this and other features of the time a survey of the four chronological groups of names below is full of suggestion. CHRONOLOGICAL REGISTER 5. The Civil War Decade, 1860-1870 *Agramonte, Emilio (Cuba, 1844- ? ), trained in Spain (first as a lawyer) and France (pupil of Marmontel), came to New York in 1869, and was a skillful choral conductor and teacher of singing. He sought to extend the range of choral repertoire, to promote in- terest in American composers, and to advance the giving of opera in English. He composed somewhat, but without publishing. Albani [Marie Emma Lajeunesse] (b. near Montreal, 1852) began singing in Albany in 1864, studied in Paris and Milan, made her debut in opera in 1870, and continued active till 1906. See Vol. i. 59, and art. Allen, Heman (St. Alban's, Vt., 1836- ? ), finely educated in Philadelphia (from 1845 his father was professor in the University) and at Leipzig, was from 1862 a noted violinist, pianist and teacher in Philadelphia and from 1867 in Chicago, where till 1881 he was organist at the R. C. Cathedral. He was specially interested in Gregorian music. See Mathews, Hundred Years, pp. 300-2. Allen, William Francis (Northboro, Mass., 1830-1889), in 1867-89 professor of ancient languages at the University of Wisconsin, was the compiler (with Charles P. Ware and Lucy McK. Garrison) of the first and largest book upon Negro music, Slave-Songs of the United States, 1867. *Andres, Henry George (France, 1838- ? ), after fine training at Paris, came to Cincinnati in 1860 and became a leader in developing musical taste by recitals and teach- ing. After about 1880 he was head of the piano-department at the College of Music. *Arnold, Richard (Prussia, 1845-1918, New York), lived in New York as a boy, but studied in Leipzig, returning as superior violinist in 1867. See art. 38 CHRONOLOGICAL REGISTER [5: 1860-1870 Arthur, Alfred (Pittsburgh, 1844-1918, Lakewood, O.), educated at Boston, settled in 1871 at Cleveland as teacher, conductor and founder in 1885 of the Cleveland School of Music. See art. Auerbach, Nannette, nee Falk, a superior German pianist, in 1868-81 was teacher and concert-player in Baltimore, from 1871 at the Peabody Conservatory. See art. Baker, Theodore (b. New York, 1851), about 1865 was organist at Concord, Mass., lived in Germany in 1874-90, and has since worked in New York as editor, translator and author. See art. Bartlett, Homer Newton (b. Olive, N. Y., 1846-1920, Hoboken, N. J.), from about 1860 an important organist and composer in New York. See art. Bartlett, Maro Loomis (b. Brownhelm, O. f 1847), trained at Oberlin, conducted choral societies at Meadville, Pa., and Newark, N. J., engaged in public-school work in Newark and New York, with some concert-singing, and in 1880 moved to Chicago and thence to Des Moines, becoming head of the Musical College. Mus.D. of Drake University in 1889. *Baur, Clara (Wiirtemberg, ? -1912, Cincin- nati), founded the Cincinnati Conservatory in 1867. Biddle, Horace Peters (Logan, O., 1811- 1900), by profession a lawyer (finally in the Supreme Court of Indiana), published a book on The Musical Scale, Cincinnati, 1860, be- sides other essays on musical topics. Bliss, Philip Paul (Clearfield Co., Pa., 1838-1876, Ashtabula, O., killed in accident), early a ' singing-school ' teacher, from about 1864 was employed by Root in Chicago and before 1870 became an evangelistic singer, in 1874 joining Maj. D. W. Whittle and travel- ing widely in the Central States. He was a pioneer in the ' Gospel hymn ' movement, a fertile composer of both hymns and tunes, and (with Sankey) edited Nos. 1-2 of the Gospel Hymn series, 1875-6. He had a re- markable voice and great magnetism, and hearing him led Moody to use solo-singing in his meetings. *Boekelman, Bernardus (b. Holland, 1838), since 1866 has been prominent in New York as pianist, teacher and editor. See art. Boise, Otis Bardwell (Oberlin, O., 1844-1912, Baltimore), after study at Leipzig and Berlin, from 1865 taught in Cleveland, from 1878 in New York, from 1888 in Berlin and from 1901 at the Peabody Conservatory, Baltimore. See art. *Bonawitz, Johann Heinrich (Rhine Prov., 1839-1917, England), studied at Liege and New York (1852-61), toured as pianist and taught at Wiesbaden, Paris and London, in 1872-76 gave concerts and operas in New York and Philadelphia, then going to London. See art. Bowman, Edward Morris (Barnard, Vt., 1848-1913, Brooklyn), from 1867 organist at St. Louis, with intervals abroad, from 1887 in Newark, from 1891 at Vassar College, and from 1895 in Brooklyn and New York. See art.. Buck, Dudley (Hartford, Conn., 1839-1909, Orange, N. J.), after study in Germany and France, was from 1862 organist at Hartford, from 1867 in Chicago, from 1872 in Boston, and from 1875 in Brooklyn. See Vol. i. 413-4, and art. Candidus, William (Philadelphia, 1845 - ? ), originally a piano-maker with the Steinways, became an opera-tenor in New York, went abroad for study and became well known in Germany and England, after 1880 making several visits to America to sing at festivals. *Carrefio, Maria Teresa (Venezuela, 1853- 1917, New York), began as a child-pianist in New York in 1862, was mostly abroad until 1875, and was then identified with New York. See Vol. i. 474, and art. Cary, Annie Louise (b. Wayne, Me., 1842), a church-singer in Boston from about 1860, spent several years in Europe, where she appeared in opera from 1867, came to New York in 1870 and for about fifteen years was a favorite alto, there and abroad, especially in concert. In. 1882 she married Charles C. M. Raymond, a New York banker, and lives at Norwalk, Conn. See Vol. i. 476. Chase, Melville Warren (b. Minot, Me., 1842), graduated from Bates College and trained in Boston, since 1869 has been professor in Hillsdale College, Mich. *Christiani, Adolf Friedrich (Hesse, 1836- 1885, Elizabeth, N. J.), after a few years in London, came to America in the Civil War period and taught in Poughkeepsie, Pittsburgh, Cincinnati, New York and (from 1880) Elizabeth, where he conducted a school. He is known by his Principles of Expression in Pianoforte-Playing, 1886 (also in German). Clarke, Hugh Archibald (b. near Toronto, 1839), pupil of his father, James P. Clarke (see sec. 4), came to Philadelphia about 1860, became an honored organist and conductor, and since 1875 has been professor in the University of Pennsylvania. See art. Cole, Belle (Chautauqua, N. Y., 1845-1905, England), from about 1865 active as concert- contralto, living from 1888 in England, but making extensive tours throughout the world. Colson, William Brewster (b. Rochester, 1846), has been organist and teacher for more than fifty years, since 1878 in Cleveland, giving many recitals there and elsewhere. Converse, Charles Crozat (Warren, Mass., 1832-1918, Highwood, N. J.), after study at Leipzig and also preparing for the legal pro- fession, practiced law in Erie, Pa., for some years, but engaged more and more in musical work. See art. *Dolge, Alfred (b. Saxony, 1848), came to New York in 1866, worked in a piano-factory, in 1871 started a hammer-felting shop in Brooklyn, in 1874 removed to Dolgeville, 5: 1860-1870] CHRONOLOGICAL REGISTER N. Y., adding the making of soundboards, inventing many new processes and machines and winning international recognition, and since 1903 has been located at Covina, Cal. (near Los Angeles). He has published Pianos and their Makers, 2 vols., 1911-13, giving invaluable data about American piano-making. Emery, Stephen Albert (Paris, Me., 1841- 1891, Boston), after study in Leipzig and Dresden, from 1864 taught in Portland and from 1867 in Boston. See art. *Errani, Achille (Italy, 1823-1897, New York), pupil of Vaccai and for fifteen years a noted operatic tenor in Europe, came to America in 1860, sang in the United States, Cuba and Mexico, and settled in 1864 in New York as a leading teacher of singing. Estey, Jacob (Hinsdale, N. H., 1814-1890, Brattleboro, Vt.), by trade a plumber, from 1850 invested his savings in a melodeon- making shop at Brattleboro, losing all by fire in 1857. In 1858 he took up the business himself, in 1860 secured Levi K. Fuller (1841- 1896) as helper, and, with him and his own son Julius Estey (1845-1902), formed the Estey Organ Company, which had remarkable success, becoming the parent of many later con- cerns. In 1885 the Company added piano- making and in 1901 the making of pipe-organs. See Dolge, Pianos and their Makers, pp. 364-6. *Falk, Louis (b. Germany, 1848) , brought up in Pittsburgh and Rochester, where he was already organist in 1859, went to Chicago in 1861 as organist. In 1865-69 he studied at Homburg and Leipzig, returning to be a noted church- and concert-player and chief organ- teacher in the Chicago Musical College. Fillmore, John Comfort (Franklin, Conn., 1843-1898, Franklin), graduated from Oberlin College, studied at Leipzig, in 1867-68 was head of the Oberlin Conservatory, in 1868-78 at Ripon College, from 1878 at Milwaukee, and from 1895 at Pomona College, becoming sig- nificant as theorist from 1883. See art. *Florio, Caryl [William James Rob John] (b. England, 1843), came to New York in youth, from before 1865 became known as singer and organist, and later as conductor, composer and critic at many different places. See art. Franko, Sam (b. New Orleans, 1857), a precocious violinist, studying at Breslau and Berlin, and appearing there in 1867 and in New York in 1869. Since then, except for sojourns abroad, he has been active in concerts and teaching, mainly in New York. See art. *Gilbert, Walter Bond (England, 1829-1910, England), after extensive and distinguished service in England as organist and composer, in 1869-99 was organist of Trinity Chapel, New York. See art. *Glover, William Henry (England", 1819- 1875, New York), long known in England as violinist, singer and composer of operas, orchestral and piano-pieces, songs, etc., and also as critic, lived from 1863 in New York. See Vol. i. 183. *Gomes, Antonio Carlos (Brazil, 1839-1806, Brazil), after study in Milan, from 1861 be- came increasingly famous as an opera-writer, producing ten or more works in Italy and Brazil. In 1876 he contributed a hymn, ' II Saluto del Brasile,' for the Centennial Expo- sition, and in 1892 a cantata, ' Colombo,' for the Columbus Festival. See Vol. ii. 200. Gottschalk, L. Gaston (New Orleans, 1847- ? ) , brother of the noted pianist (see sec. 4) , after study at Paris, was concert-singer through- out the United States, studied further in Italy, and for many years was active in opera in many European capitals, visiting America occasionally. From 1886 for a few years he taught in the Chicago Musical College. Hahn, Jacob H. (Philadelphia, 1847-1902, Detroit), was early trained in Chicago, where he became organist, teacher and concert- manager from before 1865. After study at Leipzig, from 1872 he taught in Detroit, founding the Detroit Conservatory in 1874 and soon bringing it to striking success. Hassard, John Rose Green (New York, 1836- 1888, New York), graduated from St. John's College, Fordham, developed into an expert journalist in New York, and from 1866 was on the staff of the ' Tribune,' serving as its chief musical critic and evincing ability and force as a writer, especially in advocacy of Wagner. He was Krehbiel's predecessor. Hauk, Minnie (b. New York, 1852), pupil of Errani, began her career as operatic soprano in 1866 in Brooklyn, appearing often in America for thirty years. See Vol. ii. 341-2, and art. *Hess, Willy (b. Baden, 1859), the dis- tinguished violinist, now remembered as concertmaster of the Boston Symphony Or- chestra in 1904-10, lived in America as a boy, appearing with the Thomas Orchestra in 1868-72. See Vol. ii. 390, and art. Hill, Junius Welch (b. Hingham, Mass., 1840), after studying at Leipzig, from 1863 was organist in Boston, in 1884-97 at Wellesley College, then taught in Boston, and has lived lately in Los Angeles. See art. *Hodges, Faustina Hasse (d. 1896, New York), and Hodges, John Sebastian Bach (England, 1830-1915, Baltimore), children of Edward Hodges (see sec. 3), both became active as organists and composers in the Civil War period. See Vol. ii. 414, and art. Howard, George Henry (Norton, Mass., 1843-1917, Boston), studied in Boston and began teaching there in 1864, in 1869-70 studied in Leipzig and Berlin, and then taught again in Boston, London, Olivet, Mich., and from 1882 Boston again, where in 1891 he started a school for teachers. Howe, Elias (Framingham, Mass.. 1820- 1895, Boston), was founder in 1865 of *a well- known firm in Boston dealing in fine violins, etc. He was one of the earliest (from 1871) to make collections of rare instruments. Hutchings, George S. (Salem, Mass., 1835- 1913, Boston), trained in Boston as an organ- 40 CHRONOLOGICAL REGISTER [5 : 1860-1870 maker in the Hooks' factory, in 1869 started a separate business with Willcox and others (becoming sole owner in 1884) and was in partnership with Votey in 1901-08. He was the inventor or first successful user of many mechanical features, such as improved electric action, movable console, etc. *Inten, Ferdinand von (Saxony, 1848-1918, New York), after study at Leipzig, came to New York in 1868 as concert-pianist and ensemble-player. In chamber-concerts he was associated with Thomas and Damrosch, exerting a significant influence. He was also a fine teacher. *Jehin-Prume, Francois (Belgium, 1839- 1899, Montreal), highly trained as a violinist at Liege and Brussels, began European tours in 1855 and from 1863 appeared frequently not only in the United States and Canada, but in Cuba and Mexico. In 1887-96 he was teacher and organizer of chamber-music in Montreal. He wrote two violin-concertos, violin-pieces and songs. Ysaye was at one time his pupil. Kellogg, Clara Louise (Sumterville, S. C., 1842-1916, New Hartford, Conn.), the brilliant operatic and concert-soprano, was educated in New York, made her debut there in 1861 and in London in 1867, continuing active in England and America for about twenty-five years. See Vol. ii. 563, and art. *Kunkel, Charles (Palatinate, 1840- ? ), andjKunkel, Jacob (1846-1882, St. Louis), were brought to America in 1848, studied with their father, Thalberg and Gottschalk, and excelled in duet-playing. From 1868 they were publishers and dealers in St. Louis. Lavallee, Calixa (Vercheres, Que., 1842-1891, Boston), a precocious pianist and composer, was educated in Paris, where he remained many years, started a conservatory in Quebec, and about 1880 removed to Boston. See art. Leavitt, W. J. D. (Boston, 1841- ? ) after European study, from 1865 taught at Oneida, N. Y., and from 1870 taught in Boston, becoming organist at the Music Hall in 1875 and giving many recitals. He wrote the opera ' Mer- cedes,' several operettas, an organ-sonata and organ-pieces, etc. *Leckner, Max (b. Prussia, 1842), well trained as a musician, came to America in 1860 and finally settled in Indianapolis, where for more than a half-century he has been a notable artistic force. *Levy, Jules (b. 1840), appeared in England in 1860 as solo cornettist, came to New York in 1864, 1868 and 1875, joining Gilmore. *Liebling, Emil (Silesia, 1851-1914, Chicago), educated at Berlin, came to America in 1867, teaching first in Kentucky, but, after study abroad In 1871-72, at Chicago, where he was honored as pianist, composer, and writer. See art. His brother Max Liebling (b. Silesia, 1845), also a noted concert-pianist, settled in New York, *Listemann, Bernhard (Thuringia, 1841- 1917, Chicago), having won distinction aa violinist in Germany, came to America in 1867 as a superior teacher, virtuoso and conductor at Boston, New York and Chicago. See art. His brother Fritz Listemann (Thuringia, 1839-1909, Boston), came with him and was almost equally prominent. Main, Hubert Platt (b. Ridgefield, Conn., 1839), early interested in church-music and a tune-writer from 1855, after some years of clerical and editorial work in New York, in 1867 entered the employ of Bradbury, con- tinued with his successors, Biglow & Main (his father, Sylvester Main, being the junior partner), and has since been identified with that firm. He has written much vocal music, secular and sacred, has edited many hymn- books, and is an expert on hymnody. See Hall, Gospel Song and Hymn Writers, pp. 140-6. Marston, George W. (Sandwich, Mass., 1840-1901, Sandwich), pupil of Tufts, with some foreign study, was from 1860 organist in Portland, Me., becoming noted for his choir and as composer of sacred music, includ- ing the cantata ' David,' songs and part-songs. *Marzo, Eduardo (b. Italy, 1852), came to New York as accompanist for various artists in 1867, was pianist in concert-companies, organist and fertile composer of church-music, songs, part-songs, operettas, etc., and editor of many works. See art. Mathews, William Smith Babcock (New London, N. H., 1837-1912, Denver), began teaching in 1860 in the South, but in 1867 re- moved to Chicago, where he was active as teacher, editor and author. See art. *Maylath, Heinrich (Austria, 1827-1883, New York) , concert-pianist, came to New York in 1867 and made a fine reputation as player, teacher and composer for the piano. *Messiter, Arthur Henry (England, 1834- 1916, New York), in 1866-97 was organist of Trinity Church, New York, and historian in 1907 of its music. *Mischka, Joseph (b. Bohemia, 1846), brought up in Buffalo, has long been active there as organist and choral conductor. Mollenhauer, Emil (b. Brooklyn, 1855), now the honored conductor of the Handel and Haydn Society of Boston, appeared as a boy- violinist in 1864 and played with Thomas and Damrosch from 1872. See art. Morgan, John Paul (Oberlin, O., 1841-1879, Oakland, Cal.), an organist before 1860 in Mt. Vernon, O., studied in New York and at Leipzig, in 1865 established the Oberlin Conservatory, in 1866-73 was organist and choral conductor in New York, but was forced to give up activity by ill-health, which, how- ever, did not prevent further work in Oakland and San Francisco. Besides being a fine player he composed with ability. *Napoleao, Arthur (b. Portugal, 1843), a precocious pianist from 1849, appearing at Lisbon, London, Berlin and Paris, in 1857-61 visited South America, the West Indies and the United States, and, after further con- 5: 1860-1870] CHRONOLOGICAL REGISTER 41 certizing in Europe, became in 1868 a music- dealer in Rio de Janeiro, publishing some piano- pieces and occasionally serving as conductor. *Orth, John (b. Bavaria, 1850), brought as a child to America, was organist in early youth, studied in Boston and abroad, resumed teaching in Boston in 1875, becoming known as pianist, lecturer, composer and author. See art. Paine, John Knowles (Portland, Me., 1839- 1906, Cambridge, Mass.), having studied with Kotzschmar and at Berlin, from 1862 was instructor and from 1875 professor at Harvard and eminent as organist and versatile composer. See Vol. iii. 596-7, and art. Parker, Fletcher Andrew (b. Lodi, O., 1842), trained at Boston and later at Stuttgart, in 1868-73 taught in Bloomington, 111., in 1874 in London, and since 1875 has been identified with the University of Wisconsin as instructor and professor (emeritus since 1907), besides conducting the Madison Choral Union in 1890-1905. He has exercised a wide and fruitful influence throughout Wisconsin. > - Pattison, John Nelson (Niagara Falls, N. Y., 1845-1905, New York), having studied at Berlin in 1859-61 and with Henselt in 1862, became favorably known as a pianist in Berlin, Paris, etc., and toured with Thalberg in Italy, from about 1870 traveled extensively in America with various artists, gave a striking series of recitals at the Centennial Exposition in 1876, and made his home in New York. He wrote a symphony, ' Niagara', for orchestra and band, a concert-overture, a piano-concerto or fantasia, and many piano-pieces. *Pearce, Stephen Austen (England, 1836- 1900, Jersey City), visited America in 1864 and from 1872 was teacher, organist and critic in New York. See art. Pease, Alfred Humphries (Cleveland, 1838- 1882, St. Louis), though without musical opportunities in youth, after six years' study in Germany from about 1865 was active throughout the United States as a popular pianist. He wrote a piano-concerto (1875) and some other works for orchestra, many transcriptions for four hands, and many songs. Penfield, Smith Newell (Oberlin, O., 1837- 1920, New York), after study at New York, Leipzig and Paris, from about 1869 taught in Rochester, then in Savannah, and from 1882 in New York. See art. *Perabo, Johann Ernst (b. Hesse, 1845), brought to America in childhood, taught by his father and at Leipzig later, from 1865, after a year of concertizing, settled as concert- pianist and teacher in Boston. See art. Perkins, Henry Southwick (Stockbridge, Vt., 1833-1914, Chicago), son of Orson Perkins (see sec. 3), trained in Boston, from 1861 taught in Chicago, often conducting ' con- ventions ' in various places, from 1867 was in Iowa City, in the State University two years, and director of the Academy of Music five years, from 1870 at Leavenworth, Kan., for five years conducting a summer-school, and after 1872 made his home in Chicago, where in 1891 he established the National College of Music, continuing at its head till his death. He was one of the organizers of the Music Teachers' National Association in 1876, and energetically active in its affairs. He com- piled about thirty song-books. Perkins, Julius Edson (Stockbridge, Vt., 1845-1875, England), brother of the above, studied in Boston, Paris and Italy, appeared as operatic bass in 1868 in Italy and in 1874 in England, and in that year, with his wife, n6e Marie Roze, made a visit to America. Though but thirty at death, he had already gained high repute in opera and oratorio. Perkins, William Oscar (Stockbridge, Vt., 1831-1902, Boston), elder brother of the two preceding, after study in London and Milan, settled in Boston as teacher and leader of ' conventions.' He was editor of some forty song-books, sacred and secular. Petersilea, Carlyle (Boston, 1844-1903, near Los Angeles), was carefully instructed by his father and at Leipzig. After touring in Germany as pianist, from 1866 he taught in Boston, establishing in 1871 his own Academy, joined the New England Conservatory in 1886 and removed to California in 1892. He was gifted as performer and teacher. Presser, Theodore (b. Pittsburgh, 1848), began teaching in Ohio in 1869, later spending two years in foreign study. In 1883 he started publishing * The Etude ' at Lynch- burg, Va., which he transferred in 1884 to Philadelphia, rapidly building up there an extensive publishing business. See art. *Remmertz, Franz (Rhine Prov., 1845 - ? ) came to New York in 1869 and for many years was much in request as a concert-bass of the ' robust ' order. Rice, Fenelon B. (Greensburg, O., 1841- 1901, Oberlin), studied in Boston and Leipzig, in 1863-67 was music-director at Hillsdale College in Michigan, and from 1871 was head of the Oberlin Conservatory. See art. *Ronconi, Giorgio (Italy, 1810-1890, Spain), son of Domenico Ronconi of Milan and Munich, came to New York in 1867 and for several years was a respected singing-teacher. Root, Frederick Woodman (Boston, 1846- 1916, Chicago), was organist in Chicago from 1863, and, after foreign study in 1869-70, became a leading teacher of singing there. See Vol. iv. 139, and art. *Rosewald, Julie, nee Eichberg (b. Hesse, 1850), came to America in 1866, married I. H. Rosewald, a violinist and conductor, and ap- peared successfully in concert, then studied at Frankfort, returning to America with Abt. In 1875-84 she sang in opera both here and abroad, and then removed to San Francisco. *Schmidt, Arthur P. (b. Schleswig, 1846), came to Boston in 1866 as clerk for Russell & Co., and since 1876 has been a prominent music-publisher, issuing a large number of works by American composers. 42 CHRONOLOGICAL REGISTER [5: 1860-1870 *Seiler, Emma (Bavaria, 1821- ? ) pupil of Wieck and Helmholtz and an experienced investigator of the voice, came to Philadelphia in 1866 as vocal teacher. She published Altes und Neues iiber die Ausbildung des Gesangorgans, 1861, The Voice in Singing, 1869, and The Voice in Speaking, 1875. Her observations gave her wide reputation among scientists. Seward, Theodore Frelinghuysen (Florida, N. Y., 1835-1902, Orange, N. J.), self-educated except for courses in the Mason-Root Normal Institute, was an organist and teacher in New London, Conn., and in Rochester before 1860, went to New York in 1862, which remained his headquarters for editorial and literary work, though from about 1870 he was music- supervisor at Orange, N. J., and also director for the ' Jubilee Singers ' of Fisk University in tours at home and abroad. While visiting England in 1869 he was impressed with the Tonic Sol-Fa system of teaching and became its advocate and representative in America. He published many song-books for schools and from 1864 edited ' The Musical Pioneer ', from 1867 ' The Musical Gazette,' from 1881 ' The Tonic Sol-Fa Advocate,' and from 1886 ' Musical Reform.' Shepard, Thomas Griffin (Madison, Conn., 1848-1905, Brooklyn), pupil of G. W. and J. P. Morgan, was organist in New Haven from 1865 and for different periods conductor of choral societies, besides critical writing. He published the comic opera ' Pennikeese,' a Christmas cantata, and much choir-music. *Singer, Otto (Saxony, 1833-1894, New York), after teaching in Leipzig and Dresden, from 1867 was pianist and teacher in New York, removing in 1873 to Cincinnati. See art. Smith, Dexter (Peabody, Mass., 1839-1909, Boston) , from 1865 was editor in Boston of sev- eral musical periodicals, chief of which was Ditson's ' Monthly Musical Record,' started in 1878. He was also a facile writer of verse. Squier, J. B. (Ohio, 1838-1912, Boston), after the Civil War noted as one of the best American violin-makers, with headquarters at Boston. See Violinist's Guide (1916), p. 39- Stanley, Albert Augustus (b. Manville, R. I., 1851), studied at Providence and Leipzig, from 1876 was organist at Providence, and since 1888 has been professor and conductor at the University of Michigan. See art. Sterling, Antoinette ( Sterling ville, N. Y.J 1850-1904, England), appeared in concert in 1868, studied in Germany and England, be- coming an eminent contralto. She lived mainly in England. See Vol. iv. 693-4. Thayer, Whitney Eugene (Mendon, Mass., 1838-1889, Burlington, Vt.), from 1862 was organist in Boston, studied in Germany in 18656, and was then engaged in touring, conducting and editing. From 1881 he waa organist in New York. See art. Thorns, William M. (New York, 1852-1913, New York), was connected with Watson's ' American Art Journal ' from 1867, becoming editor in 1875. In 1870-71 he edited a musical daily, ' The Journal of the Day,' and in 1873-74 ' The Musical Monthly,' and pub- lished an extensive work, The World of Art, 1877-78, largely concerned with musicians. He was constantly active as musical critic. Tracy, James Madison (b. Bath, N. H., 1839), after study at Leipzig and Weimar, from 1861 taught in Rochester, from 1866 in Boston, for many years in the New England Conservatory, then at Des Moines, and is now at Denver, where he founded the Liszt School of Music. He has published a book on Har- mony, Three Years of Student-Life in Germany, and two musical novels. Tremaine, William B. (1868-1907, New York), took up piano-making in 1868, became from 1878 one of the leading promoters of auto- matic organs and pianos, forming companies that led to the present ^Eolian Company, of which H. B. Tremaine (b. Brooklyn, 1866), is president. See Dolge, pp. 327-33. Upton, George Putnam (Roxbury, Mass., 1835-1919, Chicago), graduated from Brown University in 1854, entered editorial work in 1855, and from 1861 was in Chicago, becoming a conspicuous critic and author. See art. Veazie, George Augustus (Boston, 1835- 1915, Chelsea, Mass.), in 1869-1903 was music- supervisor in the Chelsea schools, promoting improved methods, besides in 1888-1902 teaching in the New England Conservatory. Walter, George William (New York, 1851- 1911, Washington), a precocious organist, studied with Paine and S. P. Warren, and moved from New York to Washington in 1869, where he established a reputation for unusual skill in improvisation, registration, etc., besides gathering an exceptional library. Mus.D. of Columbian University in 1892. Warren, Samuel Prowse (Montreal, 1841- 1915, New York), son of S. R. Warren (see sec. 3), after study in Germany, was from 1866 a distinguished organist in New York, in 1868-94 at Grace Church, and from 1895 at East Orange, N. J. See art. Weil, Oscar (b. Columbia Co., N. Y., 1840), after study at Leipzig and Paris, served gal- lantly in the Civil War, removed to San Fran- cisco in 1868 and has been largely occupied with composition and criticism. Besides piano- pieces and songs, he wrote the operas ' Suzette ' and ' The War-Time Wedding ' and three operettas. *Welte, Emil (b. Baden, 1841), son of Michael Welte, maker of automatic organs at Vbehrenbach, came to New York in 1865 to set up a branch of the business. He in- vented improvements in the use of paper-rolls. Wheeler, Lyman Warren (Swampscott, Mass., 1837-1900, Columbus) , after experience as leader of ' conventions/ studied extensively in England and Italy, appearing as concert and operatic tenor, and from 1863 was in Boston as soloist and teacher, from 1870 in the New England Conservatory. 6: 1870-1880] CHRONOLOGICAL REGISTER 43 Whitney, Samuel Brenton (Woodstock, Vt., 1842-1914, Brattleboro, Vt.), began organ- playing in 1855, studied with Paine, after short engagements elsewhere, was from 1871 at the Church of the Advent, Boston, celebrated as player and choir-trainer. See art. Wilkins, Herve D. (Italy, N. Y., 1848-1913, Rochester), organist at Auburn, N. Y., from 1866, graduated at the University of Rochester, studied in Berlin, and was then well known in Rochester as church- and concert-organist. *Woolf, Benjamin Edward (England, 1836- 1901, Boston), brought to America as a child, studied in New York, served as theater- conductor in Boston, Philadelphia and New Orleans, and from 1870 was musical critic for various Boston papers. He wrote several comic operas, such as ' Westward, Ho ! ' (1894), an overture to ' A Comedy of Errors,' and considerable orchestral and chamber-music. *Zeckwer, Richard (b. Prussia, 1850), trained as pianist at Leipzig, came to Philadel- phia in 1869 as organist and teacher in the Musical Academy, becoming head of the latter in 1876. See art. *Ziegfeld, Florenz (b. Oldenburg, 1841), came first to New York in 1856, moving in 1863 to Chicago, where in 1867 he opened the first of the series of schools of which the present Musical College is the successor. Of this he is now president-emeritus. *Ziehn, Bernhard (Thuringia, 1845-1912, Chicago), came to Chicago in 1868 as teacher in the Lutheran Seminary, and after 1871 turned to general instruction, becoming emi- nent as a theorist. See art. *Zielinski, Jaroslaw de (b. Galicia, 1847), came to America in 1864', served in the Civil War, from 1865 was concert-pianist and teacher in New York, later in Grand Rapids, Mich., and Detroit, from 1888 in Buffalo, and since 1910 in Los Angeles, where he founded a Trio Club and is head of a music-school. Besides being an accomplished player, he has composed effectively for the piano and written articles on Russian and Polish music. 6. The Decade after the Civil War 1870-1880 Abbott, Emma (Chicago, 1850-1891, Salt Lake City), at first self-trained, but from 1870 studying in New York, Milan and Paris, became known as an effective soprano in con- cert and opera. See art. *Adamowski, Timothee (b. Poland, 1858), came to America in 1879, at first as traveling violinist, but from 1884 located at Boston. See art. Aiken, Walter H. (b. Cincinnati, 1856), son of Charles Aiken (see sec. 4), followed his father in 1879 in the Cincinnati schools, becoming superintendent in 1900. Alden, John Carver (b. Boston, 1852), studied in Boston and Leipzig, and has taught in the New England Conservatory, in South Carolina and lately near Boston. See art. *Allen, Charles N. (England, 1837-1903, Boston), in 1871 came to Boston as violinist in ensemble-groups and teacher. See art. Allen, Nathan Hale (b. Marion, Mass., 1848), after study at Berlin, from 1870 organist at Hartford, Conn., and in 1906-11 at Wor- cester, is now teaching in Hartford. See art. Andrews, George Whitfield (b. Wayne, O. f 1861), trained at Oberlin, Leipzig, Munich and Paris, began as organist in 1877 and since 1882 has been identified with Oberlin as emi- nent player, conductor and teacher. See art. Andrews, J. Warren (b. Lynn, Mass., 1860), an organist since 1872, located from 1879 at Newport, then at Cambridge and Minne- apolis, and since 1898 in New York. See art. Apthorp, William Foster (Boston, 1848- 1913, Switzerland), graduated from Harvard in 1869, taught for years in Boston, but was best known as critic and author. See art. Aronson, Rudolph (New York, 1856-1919, New York), studied in Berlin and Paris, re- turning to New York as promoter of popular concerts after the model of Johann Strauss. He projected the Metropolitan Concert Hall and the Casino, and composed considerable orchestral music. He published Theatrical and Musical Memoirs, 1913. \ Baldwin, Samuel Atkinson (b. Lake City, Minn., 1862), organist from 1877, studied extensively abroad, was in Chicago from 1885, in St. Paul and Minneapolis from 1889, and has been an eminent recitalist in New York since 1895. See art. Bartlett, James Carroll (b. Harmony, Me., 1850), trained as tenor in Boston and London, in 1875-76 toured with Camilla Urso, later with the actors Booth and Barrett, and has been organist, teacher and song-composer in Boston and Worcester. Batchelder, John C. (b. Topsham, Vt., 1852), after four years' study at Berlin, has been an able organist in Detroit, teacher in the Detroit Conservatory and recitalist elsewhere. Beel, Sigmund (b. California, 1863), a boy- violinist at Oakland in 1872, studied in Berlin and Brussels, toured extensively in England and on the Continent, and recently has been concertmaster of the Los Angeles Orchestra, but lives now in San Francisco. Benbow, William (b. Columbus, O., 1865), graduated from Ohio State University, after study in Philadelphia and England, has served as organist at various places, chiefly Colum- bus, Reading, Pa., and (since 1913) Buffalo. *Benson, Harry (b. England, 1848), came to America in youth and was partly trained in Boston, where he has taught in the New Eng- land Conservatory and since 1891 in the Train- ing School for Music. He has also been or- ganist, choral conductor and a Tonic Sol-Fa advocate. *Bidez, L. Aloys (b. Belgium, 1847), taught in America from 1876 till 1904, when he re- turned to Belgium. He has composed an operetta, a, piano-concerto, an orchestral 44 CHRONOLOGICAL REGISTER [6: 1870-1880 monody, etc., and is the author of The Art of Fingering (1877). Biedermann, Edward Julius (b. Milwaukee, 1849), son of A. J. Biedermann (see sec. 4), after study in Germany, since 1864 has been organist in New York, chiefly at St. Mary's. He has composed masses and other vocal music. Mus.D. of Beaver College in 1906. Bird, Arthur (b. Cambridge, Mass., 1856), studied in Berlin, from 1877 was organist and teacher in Nova Scotia and since 1881 has lived in Berlin as composer. See Vol. i. 328-9, and art. Bischoff, John W. (Chicago, 1850-1909, Washington), trained at the Wisconsin Insti- tute for the Blind and in London, from 1875 was organist, singing-teacher and song-writer at Washington. *Blumenschein, William Leonard (Germany, 1849-1916, Dayton, O.), brought to Pitts- burgh in childhood, studied at Leipzig, from 1876 was choral conductor in Portsmouth, O., from 1881 of the Dayton Philharmonic Society and organist, and in 1891-96 chorus-master of the Cincinnati Festivals. He published over 100 effective works for piano and voice. Boott, Francis (Boston, 1813-1904, Boston), graduated from Harvard in 1831, lived in Italy until about 1875, then returning to Cam- bridge. Though nominally an amateur, he composed a Grand Mass, a Te Deum, a Miserere a cappella, a cantata, ' The Song of Zechariah,' anthems, sacred and secular songs, and several string-quartets. He left $10,000 to establish a prize at Harvard for the best 4-part vocal work written by a Harvard man. *Brandt, Hermann (Hamburg, 1842- ? ), a pupil of David and from 1868 concert- master in Prague, came to New York in 1873 as concertmaster in the Thomas Orchestra and later in the Philharmonic Society. *Bretherick, Henry (b. England, 1849), came to America in youth, receiving part of his training here, and has been organist from 1872 in Jacksonville, 111., from 1885 in Quincy, 111., and since 1895 in San Francisco. Brewer, John Hyatt (b. Brooklyn, 1856), since 1871 has been active and successful in Brooklyn as organist and conductor. See art- Cady, Calvin Brainerd (b. Barry, HI., 1851), educated at Oberlin and Leipzig, from 1874 taught at Oberlin, from 1880 at the University of Michigan, moving thence to Chicago, Boston, New York and Portland, Ore. See art. *Campanini, Italo (Italy, 1846-1896, Italy), operatic tenor, came to America first in 1873 and from about 1880 lived in New York, with frequent sojourns elsewhere. For a time his popularity was supreme. See Vol. i. 450, and Krehbiel, Chapters of Opera, pp. 81-2, etc. *Capoul, Joseph Ame'dee Victor (b. France, 1839), already an established opera-tenor, made the first of several visits to America in 1873. In 1892-97 he taught at the National Conservatory in New York. See Vol. i. 460-1, and art. Chadwick, George Whitefield (b. Lowell, Mass., 1854), studied at Boston, Leipzig and Munich, in 1876-77 taught at Olivet College and since 1880 has been identified with Boston as organist, teacher and from 1897 director of the New England Conservatory, and eminent composer. See Vol. i. 494-5, and art. Chaffin, Lucien Gates (b. Worcester, 1846), graduated from Brown University in 1867, for a time gave himself to educational work in Southboro, Mass., Buffalo and Hobart College, but also qualified as a concert-organist and critic. Since 1884 he has been in New York, furthering the Manuscript Society, the People's Symphony Concerts, etc. His compositions include Psalm 23, a cantata, ' Holy Night,' anthems, many organ-pieces, songs, etc. Chapman, William Rogers (b. Hanover, Mass., 1855), has been choral conductor since 1876, founding the Apollo and Rubinstein Clubs in New York and since 1903 having charge of the annual Maine Festivals at Port- land and Bangor. Chittenden, Kate Sara (b. Hamilton, Ont., 1856), began teaching before 1880 at Hell- muth College, London, Ont., coming thence to New York to be organist and director of large music-schools. See art. Clark, Melville (b. Oneida Co., N. Y., ? ), began as an organ-maker at Oakland, Cal., in 1875, removing in 1880 to Chicago, where from 1894 he turned to making pianos. He was one of the first (1901) to develop the player-piano, the extended paper-roll and de- vices for recording actual performance, holding numerous important patents. Cogswell, Hamlin Elisha (b. Silverlake, Pa., 1852), began as band-leader and choirmaster at Scranton in 1876 and later at Elmira. Since 1890 he has been prominent in public- school music, especially in Pennsylvania State Normal Schools and since 1915 at Washington. Cole, Samuel Winkley (b. Meriden, N. H., 1848), began teaching at Portsmouth, N. H., in 1877, since 1882 has been influential in public-school music in Boston, teaching in the New England Conservatory, conducting the People's Choral Union, and publishing several text-books on sight-singing. *Conried, Heinrich (Austria, 1855-1909, Austria), in 1877-1908 director or manager of operatic and theatrical enterprises, mostly in New York, the last five years at the Metro- politan Opera House. See art. Corey, Newton John (b. Hillsdale, Mich., 1861), began organ-playing before 1880, studied at Boston, and since 1891 has been organist at Detroit, with much lecturing upon music with varied illustration and writing for musical papers. He has been manager of the Detroit Orchestral Association. Mus.D. of Hillsdale College in 1910. Crane, Julia Ettie (b. Potsdam, N. Y., 1855), since 1877 prominent in public-school music, first at Shippensburg, Pa., and since 1884 at Potsdam, N. Y., where her Normal Institute 6: 1870-1880] CHRONOLOGICAL REGISTER 45 has become notable for training teachers and supervisors. She is the author of a Manual for Teachers of School Music. *Damrosch, Leopold (Prussian Poland, 1832-1885, New York), the distinguished violinist, conductor and composer, came to New York in 1871 as leader of the Arion Society, later of the Oratorio and Symphony Societies, and finally of German opera. See Vol. i. 656, and art. Dana, William Henry (Warren, O., 1846- 1916, Warren), after study at Berlin, estab- lished a Musical Institute at Warren, O., which has remained successful ever since. He was the author of text-books on Harmony (1873, '84), Orchestration and Band-Instru- mentation (1875, '76). Dannreuther, Gustav (b. Cincinnati, 1853), was trained in Berlin and worked first at London, returned to America in 1877 and has been prominent at Boston, Buffalo and New York as violinist and teacher. He is the brother of Edward George Dannreuther (1844- 1905), for whom see Vol. i. 661-2. See art. Davis, Jessie, nee Bartlett (b. Morris, 111., 1860-1905, Crown Point, Ind.), after study in Chicago and New York, from 1879 was con- tralto in light opera and from 1888 with the Bostonians. Dickinson, Edward (b. West Springfield, Mass., 1853), graduated from Amherst College in 1876, studied at Boston and Berlin, from 1872 was organist at Springfield, Mass., from 1879 at Elmira, N. Y., and since 1893 has been professor at the Oberlin Conservatory and distinguished as an author. See art. *Doenhoff, Helene von, nee Spuller (b. Hungary, 1861), came to America in 1874 and developed into a favorite operatic contralto, associated with many strong companies and in 1893 organizing her own. Recently she has taught in New York. Doerner, Armin W. (b. Marietta, O., 1851), after study at Berlin, Stuttgart and Paris, appeared as pianist at Cincinnati in 1877, in 1878-97 was teacher in the College of Music there and later head of his own school, and in 1905 established a school at Denver. Dressier, Louis Raphael (b. New York, 1861), has been an organist in New York since 1877, for many years at All Souls', be- sides being choral conductor, accompanist and on the editorial staff of C. H. Ditson & Co. *Dulcken, Ferdinand Quentin (England, 1837-1902, New York), son of Luise Dulcken (see Vol. i. 740) , was developed as a pianist at Leipzig, then professor at the Warsaw Con- servatory and for a time at Paris, besides tour- ing widely. In 1876 he came to America, touring with eminent artists, and settled in New York, where he taught in the National Conservatory. His works included the opera ' Wieslav,' a mass, cantatas, piano-pieces, etc. Dunham, Henry Morton (b. Brockton, Mass., 1853), trained in Boston, has been organist since 1873, first at Brockton and from 1883 in Boston, besides since 1878 teaching in the New England Conservatory. See art. Eddy, Hiram Clarence (b. Greenfield, Mass., 1851), after study at home and in Berlin, from 1874 was church- and concert-organist in Chicago, with extensive tours in America and abroad. See Vol. i. 768, and art. Eddy, Sara, nee Hershey (b. Lancaster Co., Pa., 1852), after study at Berlin, Milan and London, was singer and teacher in New York from 1871, then in Pittsburgh and from 1875 in Chicago, where, with Mathews, she established a strong school, a leading teacher be- ing Clarence Eddy, whom she married in 1879. Elson, Louis Charles (Boston, 1848-1920, Boston), trained in Boston and Leipzig, waa prominent in Boston from 1876 as critic, editor, lecturer and author, besides teaching from 1881 in the New England Conservatory. See art. *Ende, Amelia von, n6e Kremper (b. Po- land, 1856), came in youth to America, studied in Milwaukee, Chicago and also Warsaw, haa been a pianist and teacher since 1874, first at Milwaukee, from 1879 in Chicago, and from 1897 in New York. She has been correspond- ent of musical papers in America and Europe, has written a monograph on New York (Berlin, 1909), and has composed songs and piano- pieces. In 1876 she married Heinrich von Ende. *Fanciulli, Francesco (Italy, 1853-1915, New York), trained at Florence and opera- conductor there, came to New York as organist and teacher in 1876, in 1893 followed Sousa as leader of the Marine Band in Washington, and from 1898 was leader of bands in New York. He wrote the operas ' Gabriele de Montgomery,' ' Priscilla ' and ' Melinche,' and two comic operettas. Farnsworth, Charles Hubert (b. Turkey, 1859, of American parents), studied mostly at Worcester, from 1876 was organist and teacher there, from 1888 professor in the University of Colorado, and since 1901 at Teachers College in New York. See art. Fay, Amy (b. Bayou Goula, Miss., 1844), after extended study in Berlin and Weimar, appeared as concert-pianist in 1876 in New York and toured widely for a time, and settled in New York as lecturer and recitalist, specializ- ing as teacher of the Deppe method of instruc- tion. She is best known as the author of Music-Study in Germany, 1881 (20th ed., 1912, and also in French and German). Fisher, Edward (Jamaica, Vt., 1848-1913, Toronto), trained in Boston, from 1875 taught in Ottawa and from 1879 in Toronto, where in 1886 he established the Toronto Conservatory, which he developed as director with remark- able success. See art. Flagler, Isaac Van Vleck (Albany, 1848- 1909, Auburn, N. Y.), trained as organist at Albany and Paris, after brief service at Pough- keepsie and Albany, was eight years in Chicago, removing before 1880 to Auburn. In 1879-84 he was instructor at Syracuse University, 46 CHRONOLOGICAL REGISTER [6: 1870-1880 later at Cornell University and at the Utica Conservatory. For twenty years he gave recitals and lectures at Chautauqua. He edited collections of organ-music, choir-music and hymns, and wrote some organ-pieces. Tloersheim, Otto (Rhine Prov., 1853-1917, Switzerland) , came to New York in 1875 and in 1880-94 was editor of ' The Musical Courier,' returning then to Berlin. Foerster, Adolph .Martin (b. Pittsburgh, 1854), after training at Leipzig, since 1876 has been a teacher of singing and piano at Pitts- burgh and a fertile composer. See art. Foote, Arthur William (b. Salem, Mass., 1853), graduated from Harvard in 1874, was trained in Boston, and has been an eminent piano-teacher there since 1876, organist of the First Unitarian Church in 1878-1910, and a noted pianist and composer. See Vol. ii. 71, and art. Franko, Nahan (b. New Orleans, 1861), educated in Berlin, as boy-violinist toured with Patti in 1869, came to New York about 1875 to play in the Metropolitan Orchestra, becoming concertmaster in 1883 and con- ductor in 1905-07, and then organized his own orchestra for private occasions. *Franosch, Adolph (Rhine Prov., 1830- 1880, New York), an opera-bass of experience, came to New York in 1870 and sang there and on tour for ten years. Furlong, Atherton Bernard (b. Greenwood, Me., 1849), after study in Boston and abroad, from 1870 was concert-tenor in Boston, from 1872 in Brooklyn, from 1880 in England, France and Germany with oratorio societies, and since 1888 has been head of the College of Vocal Art, Toronto. He has composed songs, published a novel and poems, and exhibited animal and landscape paintings. *Fursch-Madi, Emmy (France, 1847-1894, Warrenville, N. J.), well known in Europe as a notable operatic soprano, first cante to New York in 1874 and for twenty years was fre- quently heard there as well as abroad. She was a broad and conscientious artist, exerting a strong and inspiring influence. *Gantvoort, Arnold Johann (b. Holland, 1857), came to America in 1876, taught in various colleges in Kentucky and Ohio, and from 1894 was head of public-school work in the Cincinnati College of Music, becoming its manager in 1901-19. He has published Familiar Talks on the History of Music, 1913, and a series of readers for public-school use. Gilchrist, William Wallace (Jersey City, 1846-1916, Easton, Pa.), after a year at Cincin- nati, was from 1873 identified with Philadelphia as organist, conductor and gifted composer. See art. Gleason, Frederick Grant (Middletown, Conn., 1848-1903, Chicago), trained chiefly at Leipzig, Berlin and London, was organist from 1875 at Hartford, Conn., removing in 1877 to Chicago and becoming prominent as teacher, composer and critic. See Vol. ii. 177, and art. His wife, Grace Gleason, nee Hiltz (b. 1854? ), was a superior soprano. *Goepfart, Christian Heinrich (Saxony, 1835-1890, Baltimore), previously organist at Weimar, was from 1873 active in Baltimore as organist and conductor of choral societies. Goetschius, Percy (b. Paterson, N. J., 1853), was trained at Stuttgart, where from 1876 he was teacher and critic, from 1890 was pro- fessor at Syracuse University, from 1892 organist and teacher in Boston, and since 1905 has taught at the Institute of Musical Art, New York. See art. Goodrich, Alfred John (Chilo, O., 1847- 1920, France), began teaching harmony about 1870 in New York, from 1876 at Fort Wayne, Ind., Chicago, Abingdon, Va., and St. Louis, besides living in 1909-15 in Paris. See art. '*Grau, Maurice (Moravia, 1849-1907, France), brought up as a child in New York, in 1872-1903 was a foremost manager of con- certs and opera. See art. Grout, Charles Henry (b. Worcester, 1854), trained in Boston and Berlin, has been or- ganist in Worcester since 1873, both in Cen- tral Church and for the annual Festivals. Hale, Philip (b. 'Norwich, Vt., 1854), graduated from Yale in 1876 (also qualified as lawyer), was from 1879 organist in Albany, Troy and Roxbury, Mass., with study at Ber- lin, Munich and Paris, and since 1889 has been a distinguished critic in Boston. See art. *Hamerik, Asger (b. Denmark, 1843), a gifted composer, was in 1871-1898 director of the Peabody Conservatory in Baltimore and conductor of the Peabody Orchestra, returning then to Copenhagen. See Vol. ii. 277-8, and art. Hanchett, Henry Granger (Syracuse, 1853- 1918, Siasconset, Mass.), trained as both pianist and physician, made his debut in con- cert in 1879 in New York, where he was long active as teacher and lecturer, from 1907 in Washington and from 1913 at Brenau College in Georgia. See art. Hastreiter, Helene (b. Louisville, 1858), began as choir-singer in 1870 at Chicago, and after careful study developed into a competent operatic contralto, reappearing in Chicago in 1883. She was then prominent in Italy and at Paris. See Vol. ii. 341, and art. Hattstaedt, John James (b. Monroe, Mich., 1851), after study in Boston and in Germany, began teaching in 1872 at Detroit and St. Louis, was from 1875 in the Chicago Musical College, and in 1886 founded the American Conservatory. Hawley, Charles Beach (Brookfield, Mass., 1858-1915, Redbank, N. J.), was trained in New York, where from 1876 he was favorably known as bass-soloist, organist and song-com- poser. In 1885 he joined Herbert W. Greene in establishing the Metropolitan Conservatory. Heath, Wilbur F. (Corinth, yt., 1843-1915, Danville, 111.), a band-master in the Civil War, studied in Boston, from about 1870 entered public-school work in Iowa, from 1873 was 6: 1870-1880] CHRONOLOGICAL REGISTER 47 music-supervisor at Fort Wayne, Ind., Osh- kosh, Wis., and Ottawa, 111. He was active in the Music Teachers' National Association. Heckscher, Celeste DuLongpre, nee Massey (b. Philadephia, 1860) , began composing when only a child, studied in Philadelphia and mar- ried there. See art. *Heinrich, Max (Saxony, 1853-1916, New York) , came to Philadelphia in 1873 as singer and teacher, from 1876 taught in Alabama, from 1882 in New York, from 1888 in London, from 1894 in Chicago, from 1903 in Boston, and from 1910 again in New York, everywhere noted as a baritone of fine ability. See art. *Hennig, Rudolph (Germany, 1845- ? , a graduate at Leipzig, was in 1872-79 leading 'cellist in the Thomas Orchestra and later in the Mendelssohn Quintette Club. In 1869 he was one of the founders of the Philadelphia Musical Academy. Henschel, Lillian June, n6e Bailey (Colum- bus, O., 1860-1901, England), trained in Bos- ton, made her debut as soprano in 1876, then studied further in Paris and London, married Georg Henschel in 1881 and was much associated with him in concerts. Hensel, Octavia [Mrs. G. A. Fonda] (1837- 1897), published The Life and Letters of L. M. Gottschalk, Boston, 1870, and other books. Heritage, Richard Abraham (b. Mont- pelier, O., 1853), studied in Chicago, from 1877 was dean of the music-school of Valparaiso University, from 1895 at Willamette Uni- versity in Oregon, and since 1905 head of the Musical College at Spokane, Wash. He is known as bass-soloist and choral conductor. *Herman, Reinhold Ludwig (b. Prussia, 1849) , singer, pianist and composer, in 1871-78 worked in New York, and, after being head of the Stern Conservatory in Berlin, from 1881 was again in New York, where from 1884 he conducted the Liedertafel and from 1887 was instructor in music at Union Theological Seminary, removing in 1898 to Boston as leader of the Handel and Haydn Society, and in 1900 returning to Berlin. For list of works, see Baker, Diet, of Musicians, p. 389. Heyman, Henry (b. Oakland, Cal., 1855), studied at Leipzig, from 1877 was violinist in San Francisco, with tours on the Pacific Coast and to Hawaii, and has been influential in promoting orchestral and chamber-con- certs. See art. *Hille, Gustav (b. Saxony, 1851), a good violinist, came to America in 1879 to join the Mendelssohn Quintette Club, from 1880 taught at the Philadelphia Musical Academy, in 1899, with Leefson, established a separate school, and in 1910 returned to Germany. For works, see Baker, Diet, of Musicians, p. 400. *Hinrichs, Gustav (b. Mecklenburg, 1850), was from 1870 teacher and conductor in San Francisco, in 1885-86 assistant of Thomas in the American Opera Company, for ten years manager and conductor of his own organiza- tion, with headquarters at Philadelphia, in 1899-1906 conductor at Columbia University, and in 1903-08 at the Metropolitan Opera House. He directed the first American per- formance of ' Cavalleria ' (1891), ' I Pagliacci ' (1893) and ' Manon Lescaut ' (1894). He composed two operas, ' Die vierjahrige Posten ' (1877) and ' Onti-Ora ' (1891), a symphonic suite, and some vocal works. Holden, Albert James (Boston, 1841-1916, Longmeadow, Mass.), from about 1870 was organist in prominent New York churches, composer of much church-music, and compiler of collections of choral music. *Holst, Edvard (Denmark, 1843-1899, New York), came to New York about 1874, chiefly as dancer and play-writer, but also brought out much comedy-music, including the operetta ' Our Flats ' (1897), band-music, songs, etc. *Horsley, Charles Edward (England, 1822- 1876, New York), the competent English organist, composer and critic, spent his last years in New York. See Vol. ii. 435-6. *Jacobsohn, Simon E. (Russia, 1839-1902, Chicago), having studied at Riga and Leipzig and served as concertmaster at Bremen from 1860, took the same post under Thomas in 1872, from 1878 was violin-teacher in the Cincinnati College of Music and later in the Chicago Musical College. Jordan, Jules (b. Willimantic, Conn., 1850), trained as concert-tenor in Boston, London and Paris, has worked since 1870 in Providence, where he is eminent as teacher, conductor and vocal composer. See art. *Joseffy, Raphael (Hungary, 1852-1915, New York), already noted as a remarkable pianist, came to New York in 1879, immedi- ately becoming a foremost figure. See Vol. ii. 545-6, and art. *Jung, J. B. (b. Switzerland, 1848), a Roman Catholic priest, trained at Coire, came to America in 1870, settling first in Ohio, and was active in the American branch of the Cacilien- verein, started in 1873 by Singenberger. *Karl, Tom (Ireland, 1846-1916, Roches- ter), a favorite operatic tenor, came to Amer- ica in 1871 with Parepa-Rosa, turned soon to light opera, from 1887 joined Barnabee in the Bostonians, contributing much to their success, and retired in 1896, teaching for some years in New York, later in Rochester. Kimball, Willard (b. Columbus, O., 1854), studied at Oberlin and Leipzig, in 1875 estab- lished what is now the School of Music at Grinnell College in Iowa, remaining its direc- tor till 1894, when he founded the University School of Music at Lincoln, Neb., of which he is still the head. He has also been organist, conductor and lecturer, and in 1898 was Director of Music at the Omaha Exposition. Klauser, Julius (New York. 1854-1907, Milwaukee), son of Karl Klauser (see sec. 4) and trained by him and at Leipzig, from 1874 was a teacher at Milwaukee. He published an able treatise on Harmony, The Septonate, 1890, and The Nature of Music, 1909. 48 CHRONOLOGICAL REGISTER [6: 1870-1880 "Klein, Bruno Oscar (Hanover, 1858-1911, New York), trained by his father and at Munich, came to America in 1878 as concert- pianist, and from 1884 was teacher, organist and composer in New York. See art. *Koelling, Adolph (Hamburg, 1840- ? ), brother and pupil of Karl W. P. Koelling and otherwise trained at Hamburg, came to America in 1872, and, after teaching at Poughkeepsie, became head of the theory-de- partment of the Chicago Musical College. "Kofler, Leo (Tyrol, 1837-1908, New Or- leans), from 1877 was organist of St. Paul's Chapel in New York and vocal teacher. He published The Art of Breathing, 1889 (also in German, 1897) a thoughtful handbook. *Korbay, Francis Alexander (Hungary, 1846-1913, England), operatic tenor and con- cert-pianist, came to America in 1871, touring as player and then teaching in New York until 1894, when he removed to London. See Vol. ii. 595, and art. Krehbiel, Henry Edward (b. Ann Arbor, Mich., 1854), after studying law at Cincinnati, was musical critic there from 1874, removing in 1880 to New York, where he is distinguished as critic, lecturer, author and editor. See Vol. ii. 599, and art. Lanier, Sidney (Macon, Ga., 1842-1881, Lynn, N. C.), the gifted Southern poet, from 1873 was flutist in the Peabody Orchestra, Bal- timore, and lecturer at Johns Hopkins Univer- sity. See art. Levett, David Maurice (New York, 1844- 1914, New York), trained at Leipzig, from 1876 taught in New Brunswick, N. J., Jacksonville, 111., and Chicago, settling in New York in 1885, after 1900 teaching in the College of Music. In 1898-1900 he was in the faculty of the Stern Conservatory in Berlin. He composed the symphonic poems ' Harlequinade ' and ' Memories,' a Romance and Serenade for violin and piano, etc. Lichtenberg, Leopold (b. San Francisco, 1861), a precocious violinist, touring with Wieniawski in 1873, then studied at Brussels with him, toured in America and abroad, was in the Boston Symphony Orchestra and from 1899 head of the violin-department of the National Conservatory in New York. Since 1904 he has played in the Margulies Trio. See art. *Lisser, Louis (b. Pomerania, 1850), after study at Berlin and tours in Prussia as pianist, came to San Francisco in 1879, and since 1880 has been Dean of Music in Mills College, Oak- land (now emeritus). He has been active in many musical organizations. Lorenz, Edmund Simon (b. Stark Co., O., 1854), graduated from Otterbein University and Yale Divinity School and continued theo- logical study at Leipzig, from 1885 was pastor in Dayton, O., and in 1887-88 president of Lebanon Valley College in Pennsylvania, but in 1890 turned to publishing and established his now extensive business at Dayton. Since 1875 he has edited many books for choirs, con- gregations and Sunday-schools, and a manual on Practical Church Music, 1909. See Hall, Gospel Song and Hymn Writers, pp. 318-22. Lutkin, Peter Christian (b. Thompsonville, Wis., 1858), trained in Chicago, Berlin, Paris and Vienna, organist and teacher in Chicago from 1872, and since 1891 at Northwestern University, Evanston (dean from 1897) , choral conductor, composer and author. See art. Macdougall, Hamilton Crawford (b. War- wick, R. I., 1858), studied in Boston and Lon- don, from 1874 was organist in Providence and later in Boston, and since 1900 has been pro- fessor at Wellesley College. See art. *Manoly, Ludwig Emanuel (b. Hungary, 1855), came to America in 1876 as double- bassist in the Thomas Orchestra and has since been a noted player and teacher in New York. *Mapleson, James Henry (England, 1829- 1901, England), a versatile impresario, con- ducted opera seasons in New York at the Academy of Music in 1878-86 and again in 1896-97, introducing many important singers, but maintaining no consistent artistic standard. See Vol. iii. 44. *Maurel, Victor (b. France, 1848), the dis- tinguished operatic baritone, visited America in 1874, and again in 1894-95, and in 1909-10 was a teacher in New York. See Vol. iii. 94, and Baker, Diet, of Musicians, p. 592. McCoy, William J. (b. Crestline, O., 1848), studied in New York and Leipzig, began pro- ducing orchestral works in 1872 in Germany, and settled in San Francisco as composer and author. See art. Mees, Arthur (b. Columbus, O., 1850), trained at Berlin, began teaching in the Cin- cinnati College of Music, and since 1880 has been a versatile and accomplished conductor as well as a forceful critic and writer. See art. Morgan, Maud (b. New York, 1864), daugh- ter and pupil of George W. Morgan (see sec. 4), appeared as harpist in 1875, and, after study in London, became a favorite concert-per- former in New York. Morse, Charles Henry (b. Bradford, Mass., 1853), trained in Boston, from 1873 taught there and at Wellesley College, in 1885 estab- lished the Northwestern Conservatory at Minneapolis, from 1891 was organist in Brook- lyn, and since 1901 has been professor at Dartmouth College. See art. His brother, Frank Eugene Morse (b. 1856), has long been a prominent teacher of singing in Wellesley and Boston. Myer, Edmund John (b. York Springs, Pa., 1846), eminent as vocal teacher and expert since 1877, chiefly at New York. See art. *Nicholl, Horace Wadham (b. England, 1848), came to Pittsburgh in 1871 as organist, removing in 1878 to New York, where he has been notable as player, teacher, composer and writer. See Vol. iii. 372, and art. *NUsson, Christine (b. Sweden, 1843), the great operatic soprano, first appeared in 6: 1870-1880] CHRONOLOGICAL REGISTER 49 America in 1870 and was heard at intervals thereafter till her retirement in 1891. See Vol. iii. 380-1, and art. Nordica, Lillian [Lillian Norton] (Farm- ington, Me., 1859-1914, Java), made her d6but as soprano at Boston in 1876, opening a career of brilliant success in America and abroad which continued till her death. See Vol. iii. 389-90, and art. Osgood, Emma Aline (Boston, 1849-1911, Philadelphia), appeared as soprano in Boston in 1873, studied later in London and became a favorite in concert and oratorio there and from 1878 in America. See art. Osgood, George Laurie (b. Chelsea, Mass., 1844), graduated from Harvard in 1866, studied in Germany and Italy, from 1872 was famous in Boston as singer, teacher, conductor, composer and author, and since 1903 has lived abroad. See art. Otis, Philo Adams (b. Berlin Heights, O., 1846), graduated from Western Reserve Col- lege in 1868, though occupied in business, has long been musically prominent in Chicago, and has composed considerable church music. See Baker, Diet, of Musicians, p. 669. Paine, Richmond Peck (b. New Bedford, Mass., 1858), organist from 1872 at New Bed- ford, from 1878 in Hartford, Meriden and New Britain, Conn., becoming also notable as choral leader, and in 1905-15 conducted the Litchfield County Choral Union. See art. Parsons, Albert Ross (b. Sandusky, O., 1847), studied in New York, Leipzig and Ber- lin, and since 1872 has been a leading teacher of piano in New York, with considerable literary work. See art. Patton, Willard (b. Milford, Me., 1853), trained as tenor in Boston, began concert-sing- ing in 1877, and since 1883 has been identified with Minneapolis as teacher, conductor, com- poser and organizer. In 1886-89 he taught at Hamline University, and in 1890 started the Philharmonic Club, conducting it till 1894. His works include the operettas ' The Gallant Garroter' (1882) and 'La Fianza ' (1889), the oratorio ' Isaiah,' the opera 'Pocahontas ' (1911), a symphonic fantasy, 'The Spirit of '61 ' (1915), and other patriotic works, such as ' The Star of Empire ' (1900), ' Footstones of a Nation ' (1906), and ' Usona ' (1918). *Piutti, Max (Saxony, 1852-1885, Jackson, Mich.), came to America in 1874, and till 1883 was instructor at Wells College. He left unfinished a work on The Folk-Songs of the Nations. Pratt, Silas Gamaliel (Addison, Vt., 1846- 1916, Pittsburgh), trained in Chicago and Berlin, founded the Apollo Club in Chicago in 1872 and till 1888 was active as teacher, pianist and composer there, in 1888-1902 was in New York, and from 1906 in Pittsburgh. See art. Pratt, Waldo Selden (b. Philadelphia, 1857), organist from about 1875, since 1882 has been professor in the Hartford Theological Seminary E and in 1905-20 lecturer at the Institute of Musical Art in New York. See Baker, Diet, of Musicians, pp. 721-2. Ritter, Fanny, nee Raymond (Philadelphia, 1840-1890, Poughkeepsie), wife of Frederic L. Ritter (see sec. 4), published Woman as a Musician, 1877, and Some Famous Songs, 1878, and translated Ehlert's Briefe uber Musik, 1877, and Schumann's Gesammelte Schriften, 2 vols., 1878-80. Rive-King, Julie (b. Cincinnati, 1857), daughter of Caroline Rive (see sec. 4), after study in New York and Germany, began her career as concert-pianist in 1874-75 in Leipzig and New York, becoming a favorite in the Middle West and Canada. She is now teaching at the Bush Conservatory, Chicago. See art. Robyn, Alfred George (b. St. Louis, 1860), has been known as organist and pianist since 1876. He has written a symphony, the symphonic poem ' Pompeii,' a piano-concerto and other chamber-music, a mass, three sacred cantatas, and many light operas. *Rogers, Clara Kathleen, nee Barnett (b. England, 1844), studied at Leipzig, Berlin and Milan, made her debut as operatic soprano at Turin in 1863, came to America in 1871 with Parepa-Rosa, and since 1873 has lived in Boston (marrying Henry M. Rogers in 1878), since 1902 on the staff of the New England Conservatory. She has published many songs, some piano-pieces, a violin- sonata, The Philosophy of Singing, 1893, My Voice and I, 1910, English Diction in Song and Speech, 1912, The Voice in Speech, 1915, and Memories of a Musical Career, 1920. Her stage-name was ' Clara Doria.' Roosevelt, Hilbourne Lewis (New York, 1848-1885, New York) , from 1872 was a gifted and original organ-maker in New York, a pioneer in novel voicing and electric action. Till 1893 the business was finely maintained by his brother, Frank H. Roosevelt (1861-93). See art. *Rosenbecker, Adolph (Hesse, 1851-1919, San Francisco), well-trained as a violinist, came to New York late in 1869, till 1877 played under Thomas, and then settled in Chicago as teacher and conductor. *Rudersdorff, Hermine (Russia, 1822-1882, Boston), the noted operatic soprano, after a long career in Europe, in 1870 came to Boston as concert-singer and effective teacher. Sec Vol. iv. 189. Russell, Louis Arthur (b. Newark, N. J., 1854), trained in New York and London, since 1878 has been organist, teacher, conductor and composer in Newark. He has been active in promoting popular interest, especially in organ- izing and conducting the Schubert (Oratorio) Society since 1878 and the Symphony Orchestra since 1894. He has written for piano and voice, the cantata ' A Pastoral Rhapsody,' and church-music, besides many pedagogical works, especially upon singing. See Who's Who in Music, 1918, p. 545. 50 CHRONOLOGICAL REGISTER [6: 1870-1880 Salter, Mary Elizabeth, nee Turner (b. Peoria, 111., 1856), studied in Burlington, Ia. f Boston and New York, was from 1874 for twenty years church- and concert-soprano in New York and has since been active as song- composer. See art. Salter, Sumner (b. Burlington, la., 1856), graduated from Amherst College in 1877, was trained in Boston, and since 1878 has been a teacher and organist in Boston, New York and elsewhere, since 1905 at Williams College. He has published songs and church-music, besides work as editor and writer. See art. Sanford, Samuel Simons (Bridgeport, Conn., 1849-1910, New York), trained in New York, under Rubinstein and in Paris, became a remarkable pianist and occasionally appeared in concert, though not widely known until 1894, when he joined the Yale School of Music. Sankey, Ira David (Edinburg, Pa., 1840- 1908, Brooklyn), though known as singer before 1860, did not take up evangelistic sing- ing till 1871, when he joined D. L. Moody, until 1899 touring with him throughout the United States and Great Britain. He wrote many hymn-tunes and songs of popular character, published in Sacred Songs and Solos, 1873, Gospel Hymns, Nos. 1-6, 1875-91, Winnowed Songs, 1890, etc. He wrote My Life and the Story of the Gospel Hymns, 1906. *Scharwenka, Franz Xaver (b. Prussian Poland, 1850), the brilliant pianist and peda- gogue, toured in America in 1874-80, con- ducted a conservatory in New York in 1891- 98, and came again in 1910-14. Otherwise he has been associated with Berlin. See Vol. iv. 249 and art. *Schnecker, Peter August (Hesse-Darm- stadt, 1850-1903, New York), arrived in New York in 1865, studied there and later at Leipzig, and from 1872 was organist of the West Presbyterian Church. He composed much church-music and edited collections of organ-pieces. Schoenefeld, Henry (b. Milwaukee, 1857), began orchestral playing in 1873, was trained as concert-pianist at Leipzig and Weimar, from 1879 was teacher and conductor at Chicago, and since 1904 has been conductor and composer at Los Angeles. See art. Shelley, Harry Rowe (b. New Haven, Conn., 1858), studied first at New Haven, where he began as organist in 1872, later removing to Brooklyn and New York, and becoming noted as player, composer and editor. See art. Sherwood, William Hall (Lyons, N. Y., 1854-1911, Chicago), studied in New York and Germany, from 1876 appeared as fine concert-pianist, settling successively in Boston, New York and (from 1889) Chicago, where in 1897 he founded the Sherwood Piano School. See art. *Singenberger, Johannes B. (b. Switzerland, 1848), highly trained in Jesuit colleges and at Munich, came to America in 1873 to teach in St. Francis' Academy, Milwaukee, and to represent the Gregorian revival promoted since 1865 by F. X. Witt of Landshut (1834- 1888). In 1874 he organized a branch of the Cacilienverein and started the periodical ' Cecilia.' He has written 20 masses and other ritual-music. Smith, Gerrit (Hagerstown, Md., 1859-1912, Darien, Conn.), a graduate of Hobart College, studied in New York, Stuttgart and Berlin, was organist in college, at Buffalo and Albany and from 1885 in New York, where from 1898 he was professor in Union Theological Semi- nary. See art. Sousa, John Philip (b. Washington, 1854), began leading theater-orchestras about 1870, was violinist under Offenbach in 1876, in 1880-92 led the U. S. Marine Band, and since has won international fame with his own band. See Vol. iv. 628, and art. Strong, George Templeton (b. New York, 1856), early an oboist, from 1879 studied and lived in Germany, in 1891-92 taught in Boston, and has since lived in Switzerland as composer. See Vol. iv. 728-9, and art. *Tamaro, Josef (Spain, 1824-1902, New York), a pupil of Lamperti, from 1876 was a singing-teacher in New York. Thayer, Arthur Wilder (b. Dedham, Mass., 1857) , trained in Boston, was choral conductor from before 1880 and in 1882-88 music-super- visor at Dedham and Milton, and since 1888 has been organist at Newton, Mass., compos- ing church-music, songs and piano-pieces. Thursby, Emma Cecelia (b. Brooklyn, 1854), trained as soprano in New York, Boston and Milan, sang in America in 1875 and frequently after 1879, besides tours all over the world. See Vol. v. 99, and art. Toedt, Theodore J. (b. New York, 1853), studied in New York, from about 1873 became known as an^ artistic concert-tenor, and since 1895, becoming blind, has been a teacher in New York. His wife, Ella A. Toedt, nee Earle, is an accomplished soprano and teacher. *Tomlins, William Lawrence (b. England, 1844), came to New York in 1870, from 1875 till 1910 was located at Chicago as conductor and director of public-school music. See art. Trowbridge, John Eliot (b. Newton, Mass., 1845-1912, Newton), studied at Northampton and Wellesley, Mass., and about 1870 became organist and composer in Boston and from 1881 at Newton. He wrote the oratorio ' Em- manuel,' a mass and other church-music, the cantata ' The Heroes of '76,' part-songs and songs. . Tubbs, Frank Herbert (b. Brighton, Mass., 1853), trained in Boston, London and Milan, became choir-master and vocal teacher in New York, founding the Vocal Institute and writing upon the voice. For some years he has been engaged in business. Tucker, Hiram G. (b. Cambridge, Mass., 1851), studied at Boston, becoming a concert- pianist and organist there, later conductor of 6: 1870-1880] CHRONOLOGICAL REGISTER 51 choral and chamber-concerts. Since 1878 he has taught at Wheaton College, Norton, Mass. Turner, Alfred Dudley (St. Albans, Vt., 1854-1888, St. Albans), trained at the New England Conservatory in Boston, where he became a valued piano-teacher. His pub- lished works include chamber-music, piano- pieces and a Method of Octave-Playing. Valleria, Alwina [Mrs. R. H. P. Hutchinson] (b. Baltimore, 1848), studied in England, becoming a striking operatic soprano from 1871. Though living in England and active in Europe, in 1879-86 she appeared often in America. See Vol. v. 211-2. Van Cleve, John Smith (b. Maysville, Ky., 1851), studied in Columbus, Boston and Cincin- nati, from 1872 taught at the Institute for the Blind in Columbus, from 1875 at Janesville, Wis., in 1879-97 was teacher, lecturer and critic at Cincinnati, removed thence to Chicago, later to Troy, and in 1913 to New York. See art. Van Zandt, Marie (New York, 1861-1919, France), trained as opera-soprano in Milan, made her debut at Turin in 1879, sang in Paris, London, and throughout Europe, in 1891-92 was at the Metropolitan Opera House, in 1896 returned to Paris, and retired in 1898. See Vol. v. 585-6, and art. *Vogrich, Max Wilhelm Karl (Transylvania, 1852-1916, New York), already noted as pianist and composer, came first to New York in 1878, returned in 1886-1902, and again from 1914. See art. Webb, Frank Rush (b. Covington, Ind., 1851), studied in Boston and Indianapolis, becoming organist in 1873, from 1876 at Lima, O., from 1883 at Staunton, Va., where he was music-director in the school now known as Stuart Hall, and since 1910 has been critic in Baltimore. He has written band-music, piano- pieces, and vocal music. *Weiss, Carl Thomas (b. Bavaria, 1844), trained in Munich, since 1870 has been organist in Roman Catholic churches in New Orleans, besides conducting singing-societies and teach- ing in convent-schools. He has written arti- cles connected with the Cacilia movement. *Werrenrath, George (Denmark, 1838-1898, Brooklyn), an experienced operatic tenor, came to New York in 1876, becoming widely recognized as an accomplished singer, especially in concert. He was one of the first to give series of song-recitals. Wild, Harrison Major (b. Hoboken, N. J. f 1861), trained at Leipzig and Chicago, since 1876 has been organist in Chicago and since 1895 distinguished choral conductor. See art. Woodman, Raymond Huntington (b. Brook- lyn, 1861), son of J. C. Woodman (see sec. 4), trained in Brooklyn and Paris, has been organist since 1875, from 1880 at the First Presbyterian Church, Brooklyn, and since 1894 professor at Packer Institute. See art. *Zeisler, Fannie, n6e Bloomfield (b. Austrian Silesia, 1863), came to Chicago as a child, was first trained there, appearing as pianist in 1876, then studied in Vienna, and since 1883 has been famous on both sides of the Atlantic. See Vol. i. 341, and art. No one who studies the details of musical activity in America as suggested, for example, in the lists of persons here given, or as otherwise brought together can miss the fact that from 1880 onward there was a noteworthy awakening of artistic interest and effort in all directions. The number of significant foreign musicians who now become residents is at least twice that in any preceding decade, and the number of those native-born increases in almost the same proportion. Part of this merely statistical appearance may be due to the lack before about 1880 of systematic effort to make record of the lives and work of musicians. But the fact remains impressive after all allowances. Certain events, already mentioned, were specially important. One was the founding in 1881 of the Boston Symphony Orchestra, destined to become an edu- cational force felt throughout the country. Another was the fruitage of the many years of faithful planting of taste and aptitude on the part of the veteran Theodore Thomas. Another was the establishment in New York in 1884-85 of German opera under Leopold Damrosch on a scale and with a popular appeal that were unprecedented. Another was the extension of series of classical concerts in many places, gradually opening the minds of widening circles of hearers to the wealth of sterling musical literature. Another was the coming to bear of the influence of the earlier conservatories through their graduates, who now begin tc become centers of stimulus as private teachers. In connection with all these, as ir 52 HISTORICAL INTRODUCTION arousing proper interest in the ability of native composers and performers, the increase of rational criticism and discussion in periodicals and books played no small part. Quite apart from these specific factors in progress, it may be that much of the sudden access of momentum musically was due to diffused influences permeating the whole social fabric. The strain of the Civil War time was passing away, and a new era of consolidated advance in things economic, political and educational was setting in. The observer of musical progress notes the reaction of all this in his own field. Doubtless observers in other fields would note it similarly in theirs. Here is an appropriate point to refer to the influence of national and inter- national expositions. Those held in Europe prior to 1880 had no relation to the advance of music in America except as they stimulated makers of instruments chiefly pianos to compete for recognition. But those held in the United States from 1876 onward not only gave a similar industrial impetus, but usually exalted elaborate musical features into prominence and thus contributed positively to popular education. The first of the larger American expositions was the Centennial, held at Phila- delphia in 1876. Aside from some general exercises and frequent piano- and organ-recitals, its main importance to music was in the display and competition of instruments. The second was the Columbian, held at Chicago in 1893. Here the musical provisions were extraordinarily profuse and generally superior, largely due to the imagination, energy and authority of Theodore Thomas, and the impress upon popular thought was correspondingly significant. The third was the Louisiana Purchase, held at St. Louis in 1904, at which the effort was made to emulate the musical elaboration of its Chicago predecessor, though without achieving quite the same practical success. Meanwhile a host of lesser expositions were brought to pass among them the California Mid-Winter at San Francisco in 1894, the Trans-Mississippi at Omaha in 1898, and the Pan-American at Buffalo in 1901 all taking pains to magnify music in a greater or less degree. To these may be added though outside the period here under review those at James- town in 1907, at Portland and Seattle in 1905 and 1909, and, still more important, the Panama celebrations at San Diego and San Francisco in 1915-16. The cultural reaction of these numerous and often immense undertakings is beyond question. In the domain of the fine arts they tended to arouse interest and elevate taste in regard to architecture, painting, sculpture and music by means of manifold demonstrations of a more or less monumental kind. In analyzing the lists of names that follow, attention should be given not only to the wider range from which both the foreign-born and the native-born oome, but also to the wider range geographically and occupationally to which they go. If the facts could be depicted graphically, it would appear that both derivations and destinations now begin to spread out like the unfolding leaves of a fan. 7: 1880-1890] CHRONOLOGICAL REGISTER 53 CHRONOLOGICAL REGISTER 7. The Decade of Artistic Awakening 1880-1890 Abbey, Henry Eugene (Akron, O., 1846- 1896, New York), who had been a jeweler and later owner and manager of theaters, in 1883-84 leased the Metropolitan Opera House in New York at its opening, provided a brilliant troupe and a fair Italian repertory, but with a net loss of perhaps $500,000. Recouping himself at Chicago in 1889-91, with Schoeffel and Grau in 1891-92 and 1894-97 he undertook the Metropolitan again, this time with more success, but died in the effort. *Adamowski, Joseph (b. Poland, 1862), an expert 'cellist, joined the Boston Symphony Orchestra in 1889, and since 1903 has taught at the New England Conservatory. See art. Adams, Mrs. Crosby, nee Juliette Graves (b. Niagara Falls, N. Y., 1858), from about 1880 organist and teacher in Leroy, N. Y., Buffalo and Kansas City, from 1892 in Chicago, and since 1913 at Montreat, N. C. She has specialized in teaching children and training teachers, has composed and edited pedagogical music, and has written Chapters from a Musical Life, 1903, and What the Piano Writings of MacDowell Mean to the Piano-Student, 1913. Aldrich, Perley Dunn (b. Blackstone, Mass., 1863), studied at Boston, London and Paris, in 1885-87 taught at the University of Kansas, from 1889 at the Utica Conservatory, from 1891 at Rochester, and since 1903 in Phila- delphia. See art. Ambrose, Paul (b. Hamilton, Ont., 1868), trained mostly in New York, was organist there in 1886-1917, and since 1904 has been music-director in the State Normal School at Trenton, N. J. See art. *Archer, Frederick (England, 1838-1901, Pittsburgh), who had been organist and con- ductor in London, in 1881 came as organist to Brooklyn and New York, from 1885 editing ' The Keynote,' from 1887 conducted the Boston Oratorio Society, and in 1896-98 led the Pittsburgh Orchestra. See Vol. i. 101-2, and art. *Arens, Franz Xavier (b. Rhine Prov., 1856), brought up in Milwaukee, but trained mostly in Germany, from 1885 was conductor in Cleveland, in 1890-92 concertized in Europe, and since 1900 has given high-class popular concerts in New York. See art. *Ashmall, William E. (b. England, 1860), for many years organist in New York, Brooklyn and (since 1912) Newark, N. J., and head of a music-school in Arlington, N. J., has played much in concert and edited ' The Or- ganist's Journal ' and many organ-collections. *Austin, John Turnell (b. England, 1869), came to Detroit in 1889 as organ-maker, soon became noted as the inventor of 'the universal wind-chest,' and in 1899 organized the Austin Organ Company at Hartford, Conn., of which he is president, ably assisted by his brother, Basil George Austin (b. 1874), who joined him in 1893. Ayres, Eugene Edmond (Russellville, Ky., 1859-1920, Philadelphia) , instructor in Greek from 1879 in various colleges and from 1903 pro- fessor at Crozer Theological Seminary (Chester, Pa.), was expert in music from youth. He published a brief Handbook of Musical History, 1882, and Counterpoint and Canon, 1886, was on the staff of 'The Etude' in 1888-93, and was musical editor of the notable Baptist hymnal Sursum Corda, 1898. *Baermann, Carl, Jr. (Bavaria, 1839-1913, Newton, Mass.), pianist and composer, came to Boston in 1881, becoming at once a lead- ing artist and teacher. See Vol. i. 162, and art. Baier, Victor (b. New York, 1861), has been organist at Trinity Church, New York, since 1884 (assistant till 1897), and active in the A. G. O. (warden in 1920). Bassett, Franklin (Wheeling, W. Va., 1852- 1915, Pasadena, CaL), finely trained at Leip- zig, from 1877 was pianist in Cleveland, and from 1882, with Heydler (see below), directed the Cleveland Conservatory. See art. Beach, Amy Marcy, nee Cheney [Mrs. H. H. A.] (b. Henniker, N. H., 1867), trained in Boston, from 1883 appeared as concert- pianist, and soon became eminent in composi- tion. See Vol. i. 210, and art. Beck, Johann Heinrich (b. Cleveland, 1856), trained at Leipzig, settled in 1882 in Cleveland as violinist, founded the Schubert Quartet, from 1886 conducted his own works in many cities, and in 1901-12 led the Cleveland Symphony Orchestra and other organizations. See art. Bendix, Max (b. Detroit, 1866), studied in New York, Cincinnati and Berlin, was concert- master at the Metropolitan Opera House in 1886 and 1905, also under Thomas in 1886-96, and since 1906 has been conductor in New York, Chicago, London, etc. See art. *Bendix, Otto (Denmark, 1845-1904, San Francisco), who had been piano-teacher and oboist in Copenhagen, came in 1880 to Boston as teacher in the New England Conservatory, and from 1895 directed a school in San Francisco. Benham, Victor (b. Brooklyn, 1871), a boy- pianist from 1880, first in New York, in 1882 in London and in 1885 in Paris, and then toured the Continent. Except in 1890-1900 and 1904-12, he has lived abroad as virtuoso, teacher and writer. See art. Bentley, William Frederick (b. Lenox, O., 1859), graduated from Oberlin College in 1883, studied at Chicago, Leipzig, Berlin, Paris and London, taught at New Lyme, O., and since 1885 has been head of the Knox Conservatory, 54 CHRONOLOGICAL REGISTER [7: 1880-1890 Galesburg, 111., and since 1899 conductor of the Musical Union. See art. Berger, Wilhelm (Boston, 1861-1911, Sax- ony), brought up in Germany, became a strong piano-teacher, conductor and composer, and spent his whole life abroad. See Vol. i. 308, and art. Binder, Fritz (b. Baltimore, 1873), brought up in Germany and appearing widely as a prodigy from 1880, studied at Cologne, de- veloping as pianist and choral leader, from 1896 was conductor at Solingen (near Cologne), and since 1901 has been head of the Singaka- demie at Danzig. *Blanck, Hubert de (b. Holland, 1856), in 1880 toured South America as pianist, in 1881-82 taught in New York, and in 1883 went to Havana, establishing in 1885 what is now the Conservatorio Nacional. See art. *Bonvin, Ludwig (b. Switzerland, 1850), trained as a Jesuit priest, came to Canisius College, Buffalo, in 1887 as music-director, and has been much engaged upon historical studies and composition. See art. *Bott, Jean Joseph (Hesse, 1826-1895, New York), well known as violinist and composer at Meiningen and Hanover, from 1885 lived in New York. Brooks, Henry Mason, of Salem, Mass., from 1886 published a series of studies of old New England life, chiefly gathered from newspapers, including Olden-Time Music, 1888. *Browne, John Lewis (b. England, 1866), finished training as organist in New York, from 1888 played in Chicago, from 1892 at San Francisco, also leading symphony-concerts, from 1899 at Atlanta, in 1908-10 at Philadel- phia, and since 1912 at Chicago. See art. *Bruenner, Leopold (b. Bavaria, 1869), finished his education in Minneapolis, where from 1886 he taught, in 1889 became organist and teacher in St. Paul, and in 1910 organized the Choral Art Society, largely devoted to a cappella music. He has composed a grand mass (1895), songs, etc. *Brune, Adolf Gerhard (b. Hanover, 1870), in 1889 came to Peoria, 111., as organist, from 1894 studied at Chicago, in 1898 becoming a useful teacher at the Musical College, with much composition. See art. Bryant, Gilmore Ward (b. Bethel, Vt., 1859), trained in Boston and New York, has taught since 1885 in various schools in the South, especially the Southern Conservatory, Dur- ham, N. C., which he founded in 1898 and has since directed. Burdett, George Albert (b. Boston, 1856), graduated from Harvard in 1881, studied in Boston, Hanover and Berlin, settled in Boston as church-organist, chiefly at the New Old South Church. Besides being a gifted player and choir-director, he has composed church- music, songs and piano-pieces, and written for periodicals. Burleigh, Henry Thacker (b. Erie, Pa., 1866), was a church-singer before 1890, iu 1892 won a scholarship and studied in the National Conservatory, New York, taught there two years, since 1894 has been baritone at St. George's and since 1899 also at Temple Emanu-El, and has sung in concert both in America and Europe. He has written striking songs, has arranged Negro religious melodies, , and in 1917 received a prize for conspicuous achievement as representing the Negro race. *Burmeister, Richard (b. Hamburg, 1860), was director of the Peabody Conservatory, Baltimore, in 1885-97, and of the Scharwenka Conservatory, New York, in 1897-99. Since 1903 he has worked at Dresden and Berlin. See art. Burr, Willard, Jr. (b. Ravenna, O., 1852), trained at Oberlin and Berlin, since about 1880 has been an industrious composer in Boston, his works including string-quartets, piano-trios, a violin-sonata, many piano- pieces, songs and considerable church-music. Burton, Frederick Russell (Jonesville, Mich., 1861-1909, Lake Hopatcong, N. J.), graduated from Harvard in 1882, went into journalism and also became a leading exponent of the music of the Indians, making extensive in- vestigations, publishing articles and books, and composing upon Indian themes. See art. Busch, Carl (b. Denmark, 1862), in 1887 came to Kansas City, where he has been increasingly active as conductor and composer, since 1912 leading the Symphony Orchestra. See art. Camp, John Spencer (b. Middletown, Conn., 1858), graduated from Wesley an University in 1878, studied in New York, since 1882 has been prominent in Hartford, Conn., as organist in leading churches, in 1902-11 conductor of the Philharmonic Orchestra, and a composer in several forms. See art. *Campanari, Giuseppe (b. Italy, 1858), in 1884 joined the Boston Symphony Orchestra as 'cellist, but since 1893 has been a noted oper- atic baritone, mostly in New York. See art. *Campanari, Leandro (b. Italy, 1857), appeared in Boston as violinist in 1881, becom- ing teacher in the New England Conservatory and organizing a Quartet, in 1887-90 was in Europe, from 1890 taught at the Cincinnati Conservatory, in 1897-1905 was director at La Scala, Milan, in 1906-07 was substitute- conductor at the Metropolitan Opera House and of the Philadelphia Symphony Orchestra, and since 1907 has taught in San Francisco. He has published instruction-books and songs. *Campanini, Cleofonte (Italy, 1860-1919, Chicago), appeared in 1883 as assistant- conductor at the Metropolitan Opera House, again in 1887, from 1906 at the Manhattan Opera House, and from 1910 with the Chicago Opera Company. See art. His wife, Eva Campanini, nee Tetrazzini (b. Italy, 1864), noted as stage-soprano since 1883, is a singer in the Chicago Company. Carl, William Crane (b. Bloomfield, N. J., 1865), studied in New York and Paris, from 7: 1880-1890] CHRONOLOGICAL REGISTER 55 1882 was organist at Newark, and since 1892 at the First Presbyterian Church, New York, and also since 1899 director of the Guilmant Organ School, which he founded. See art. *Carnegie, Andrew (Scotland, 1837-1919, Lenox, Mass.), the iron-manufacturer and philanthropist, began his extensive gifts to musical enterprises before 1890. See art. Cawley, Edgar Moore (b. Pyrmont, O., 1871), trained at Cincinnati and later at Leipzig, from 1887 taught at the Cincinnati Conservatory, and in 1897 established the Indianapolis Conservatory, of which he is now manager. Chace, Frank Wilbur (b. Providence, R. I., 1868), studied in Boston and New York, began as organist in 1883, holding positions in Mobile, Nashville and Seattle, appearing also as recitalist and conductor, and since about 1910 has been music-director at Willamette University, Salem, Ore. Champlin, John Denison (Stonington, Conn., 1834-1915, New York), was from 1873 to 1912 editor of many books of reference, including a Cyclopedia of Music and Musicians, 3 vols., 1888-90 (with W. F. Apthorp), carefully executed along its chosen lines. *Chapek, Joseph Horymir (b. Bohemia, 1860), came in 1883 to Milwaukee as violinist, organized a Quintet Club and a Quartet Club in 1885, was concertmaster in the Bach Symphony Orchestra in 1885-88, and since 1888 has worked at Chicago, teaching in various schools, playing in the Thomas Orchestra, and since 1910 directing his own Music School. y He represents the method of his teacher Sevcik. Chase, Mary Wood (b. Brooklyn, 1868), trained as pianist at Boston and Berlin, began public appearances in 1886 in Boston, in 1894-96 assisted Raif at Berlin, concertized extensively for some years, and since 1906 has been head of her own school for advanced piano-playing in Chicago. See art. *Claassen, Arthur (Prussia, 1859-1920, San Francisco), already known as conductor and composer, came in 1884 as leader of the Arion Society in Brooklyn, later of the New York Liederkranz and of various festivals, and from 1910 was conductor and organizer of many enterprises at San Antonio, Tex. For list of works, see Baker, Diet, of Musicians, p. 161. Clarke, Herbert Lincoln (b. Woburn, Mass., 1867), son of Wm. H. Clarke (see sec. 4), developed early as cornettist, first at Toronto, then under Gilmore, Herbert, and Sousa (till 1918 the latter's assistant), and has toured the world. Clippinger, David A. (b. Ohio, 1860), studied at Fort Wayne, Ind., Boston, Chicago, Berlin and London, from 1885 taught at Fort Wayne, and since 1887 has been a leading teacher of singing in Chicago. See art. Clough-Leighter, Henry (b. Washington, 1874), trained at Toronto, in 1888 became organist at Washington, from 1899 at Provi- dence, and since 1901 at Boston, with much editorial work. See art. Combs, Gilbert Raynolds (b. Philadelphia, 1863), began musical activity in Philadel- phia before 1880. In 1885 he established the Broad Street Conservatory, of which he is director. See art. Commery, Stephen (b. Cleveland, 1862), trained at Cincinnati, has been a piano-teacher in Cleveland since 1885, founding the West Side Musical College in 1901 and directing it since. Coppet, Edward J. de (New York, 1855- 1916, New York), a New York banker and broker who from 1886, besides assisting in- dividual artists, maintained choice chamber- music at his residence, and in 1902 established the famous Flonzaley Quartet. See art. Cottlow, Augusta (b. Shelbyville, 111., 1878), gave a piano-recital as early as 1885, studied in Chicago, and appeared often from 1888, but since 1896 has mostly lived abroad. See art. Curtis, Henry Holbrook (New York, 1856- 1920, New York), from 1880 specialist in laryngology and vocal hygiene, and author of Voice-Building and Tone-Placing, 1894. Cutter, Benjamin (Woburn, Mass., 1857- 1910, Boston), trained in Boston and Stuttgart, was from 1882 teacher at the New England Conservatory, violinist, composer and author. See art. *Damrosch, Frank Heino (b. Silesia, 1859), son of Leopold Damrosch (see sec. 6), studied in New York, from 1882 was conductor and supervisor in Denver, from 1885 chorus- master at the Metropolitan Opera House, New York, also head of important choral enter- prises, and since 1905 director of the Institute of Musical Art. See Vol. i. 656-7, and art. *Damrosch, Walter Johannes (b. Silesia, 1862), brother of the foregoing, trained in New York and Germany, in 1885 succeeded his father in New York as conductor, in 1894-1900 directed the Damrosch Opera Company, in 1900-02 was conductor at the Metropolitan Opera House, etc., besides much composition. See Vol. i. 657, and art. Dann, Hollis Ellsworth (b. Canton, Pa., 1861), has taught in Ithaca, N. Y., since 1887, at first in the public schools and since 1906 as professor in Cornell University. See art. *Davis, David (b. Wales, 1855), since 1880 has been prominent at Cincinnati as church- singer, choral conductor and promoter of Welsh singing-societies. Davis, John Herbert (b. Lexington, Mass., 1860), after extended study in Boston and London, was organist at Phillips Academy, Andover, Mass., in 1884-86 teacher at the Illinois Woman's 'College in Jacksonville, in 1886-99 director of the Illinois Conservatory there, and since. 1899 music-director at Ran- dolph-Macon Woman's College, Lynchburg, Va. Dayas, William Humphries (New York, 1864-1903, England), studied in New York, was organist there for some years, went to Germany, becoming concert-pianist, and 56 CHRONOLOGICAL REGISTER [7: 1880-1890 toured with Senkrah in 1888. After 1890 he lived mostly abroad, at Helsingfors, Diisseldorf , Wiesbaden, Cologne, and from 1896 at Man- chester, England. See art. De Koven, Henry Louis Reginald (Middle- town, Conn., 1859-1920, Chicago), brought up in England, studied there and on the Continent, from 1887 was highly successful as composer of light opera, from 1889 also music-critic, mostly in New York, and a prolific song-composer. See art. Dennee, Charles Frederick (b. Oswego, N. Y., 1863), educated at the New England Conservatory in Boston, since 1883 has been a leading piano-teacher in that institution, and until 1897, when disabled by accident, also a successful concert-player. See art. Dickinson, Clarence (b. La Fayette, Ind., 1873), trained at Chicago, Berlin and Paris, appeared in concert in 1885 as pianist, and has been organist and conductor since 1890, chiefly in Chicago and New York. See art. Donley, William Henry (b. New Haven, Conn., 1863), after study at Boston and Lon- don, began his long career as concert-organist in 1882, becoming also an expert on organ- construction. Lately he has been conductor in Seattle. See art. Douglas, Charles Winfred (b. Oswego, N. Y., 1867) , trained at Syracuse and Denver, from 1889 was organist at Syracuse and sing- ing-teacher in Syracuse University one year, from 1894 at Denver, from 1907 canon pre- ceptor at the Fond du Lac Cathedral, and since 1910 living at Peekskill, N. Y. See art. *Douillet, Pierre (b. Russia, 1861), came to America as pianist before 1890, taught in New York, from 1897 at the College of the Pacific, San Jose, Cal., and since 1913 in his own school in San Francisco. He has pub- lished piano-pieces and a piano-concerto. Douty, Nicholas (b. Philadelphia, 1870), trained in Philadelphia, London and Paris, from 1887 was organist in Philadelphia, and since about 1895 has been eminent as concert- tenor throughout the country, specializing in the music of Bach. See art. Eames, Emma Hayden (b. China, 1865, of American parents), studied in Boston and Paris, made her d6but at Paris in 1889 and at New York in 1891, and continued famous as an operatic soprano for twenty years. See Vol. i. 761, and art. *Edwards, Julian (England, 1855-1910, Yonkers, N. Y.), from 1888 lived at Yonkers, mainly occupied with composition. Of his operas, the more serious are ' Corinne ' (1880), 'Victorian' (1883), ' Elfinella,' 'King Rene's Daughter' (1893), 'The Patriot' (1907), and the lighter, 'Jupiter' (1892), 'Friend Fritz ' (1893), ' Brian Boru ' (1893), ' Goddess of Truth' (1896), ' Madeleine ' (1902), ' Dolly Varden ' (1902) ; also the cantatas ' The Redeemer,' ' Lazarus,' ' Mary Magdalen,' ' The Lord of Light and Love,' and the song- collection Sunlight and Shadow. Egbert, William Grant (b. Danby, N. Y., 1869), a precocious violinist, appearing first in 1877, studied at Syracuse and Prague, where for three years he was concertmaster of the Sevcik String Orchestra, in 1892 founded the Ithaca Conservatory, of which he has been director in 1892-1903 and since 1917. Epstein, Marcus Isaac (b. Mobile, Ala., 1855) and Epstein, Abraham Isaac (b. Mobile, 1857), brothers, educated at Leipzig, early made a reputation for two-piano playing, and since 1902 have conducted the Beethoven Conservatory at St. Louis. *Faelten, Carl (b. Thuringia, 1846), an experienced piano-teacher, came to the Pea- body Conservatory, Baltimore, in 1882, re- moved to the New England Conservatory, Boston, in 1885, becoming its head in 1890, and since 1897 has directed his own Pianoforte School with much success. See art. His brother, Reinhold Faelten (b. 1856), has been associated with him in all these undertakings. Fairclough, George Herbert (b. Hamilton, Ont., 1869), educated at Toronto and Berlin, has been organist since 1882, from 1900 at St. Paul, where he has also been teacher of piano in Macalester Conservatory since 1904. Fairclough, William Erving (b. near Barrie, Ont., 1859), brother of the foregoing, trained in London, from 1885 was organist in England, from 1887 in Montreal, and since 1890 in Toronto, where he also teaches in the College of Music and is examiner for the University. *Federlein, Gottlieb Heinrich (b. Bavaria, 1835), from about 1880 organist and vocal teacher in New York, now living at the Presser Home in Philadelphia. He has published a vocal method and essays on Wagner's ' Ring.' Finck, Henry Theophilus (b. Bethel, Mo., 1854), graduated from Harvard in 1876, studied there and in Munich, has been since 1881 musical critic for the ' Evening Post ' in New York and a voluminous author. See art. *Fique, Karl (b. near Bremen, 1867), since 1887 has been organist, pianist, conductor and lecturer in Brooklyn. He has composed the comic operas ' Papa Priesewitz ' (1898) and ' Der falsche Mufti ' (1901), a string-quartet, some choral works, etc. *Fischer, Emil (Brunswick, 1838-1914, Hamburg), the distinguished operatic bass, sang at the Metropolitan Opera House in 1885- 91, and in 1895 and '97. He decided to re- main permanently as singing-teacher. See art. Fisher, William Arms (b. San Francisco, 1861), studied in Oakland, New York and London, taught at the National Conservatory, New York, and since 1897 has been editor for the Ditson Company in Boston. See art. *Foley, Allan James [Signer Foli] (Ireland, 1835-1899, England), a notable operatic bass, was widely known in America from about 1880. See Vol. ii. 70. *Fremstad, Olive Nayan (b. Sweden c. 1870), was brought as a child to Minneapolis, from about 1886 was a church-singer, from 7: 1880-1890] CHRONOLOGICAL REGISTER 57 1890 taught the piano in New York, studied in Berlin, from 1896 was a leading stage- soprano in Germany, and since 1903 has been even more famous in America. See art. *Freund, John Christian (b. England, 1848), since 1871 in editorial work in New York, about 1885 turned to music-journalism, largely on the side of the music-trades, and since 1898 has published ' Musical America.' See art. Gale, Walter C. (b. Cambridge, Mass., 1871), graduated from the College of the City of New York in 1891, began as organist in New York in 1887 and has been continuously in service since, from 1905 at the Broadway Tabernacle. See art. *Gariel, Edoardo (b. Monterey, Mex., 1860), trained in Paris, since 1887 has been in govern- ment employ, from 1887 at Saltillo, and since 1900 in Mexico City. See art. *Geibel, Adam (b. Baden, 1855), brought to America as a child, studied in Philadelphia, and since 1885 has been active as organist, conductor and publisher (from 1897). He has written sacred cantatas, etc. He is one of the striking examples of a blind musician. *Gericke, Wilhelm (b. Styria, 1845), coming from Vienna, in 1884-89 and 1898-1906 was conductor of the Boston Symphony Orchestra, since then in retirement at Vienna. See Vol. ii. 159, and art. *Godowsky, Leopold (b. Russian Poland, 1870), the distinguished pianist, visited Amer- ica in 1884-85 and again in 1890-91, from 1892 taught in Philadelphia and from 1894 in Chicago, leaving for Berlin in 1900, and since 1914 has made his headquarters at New York or in the West. See Vol. ii. 194, and art. *Gomes de Aranjo, Joao (b. Brazil, 1849), trained as dramatic composer at Rio de Ja- neiro and in Italy, produced the opera ' Car- mosina ' in 1887 at Milan, followed by several others, and has also written symphonies and other orchestral works. Since 1905 he has taught in the Conservatory at Sao Paulo. Goodrich, John Wallace (b. Newton, Mass., 1871), studied in Boston and later in Munich and Paris, was organist in Newton from 1886, and since 1897 has been teacher and from 1907 dean at the New England Conservatory in Boston, as well as organist in prominent churches and with the Boston Symphony Orchestra, and choral conductor. See art. *Gorno, Albino (b. Italy, ? ), after acting as Patti's accompanist in 1881-82, joined the faculty of the Cincinnati College of Music, where he still is. See art. Gow, George Coleman (b. Ayer, Mass., 1860), graduated from Brown University in 1884, studied at Pittsfield and Worcester, Mass., later also at Berlin, from 1889 taught at Smith College, and since 1895 has been pro- fessor at Vassar College. See art. Greene, Herbert Wilber (b. Holyoke, Mass., 1851), trained in New York, London and Paris, in 1885, with Charles B. Hawley (see sec. 6), founded the Metropolitan College of Music in New York, and in 1900 started the Summer School of Singing at Brookfield Center, Conn., which he still directs. Besides his gifts as a singing-teacher, he has shown much ability as an organizer, and has been president of the Clef Club in New York in 1895-6, of the Music Teachers' National Asso- ciation in 1897-8, and of the National Asso- ciation of Teachers of Singing in 1909-10. He has also been on the staff of ' The Etude ' and ' The Musician,' and edited The Standard Graded Course of Singing, 4 vols. His wife, *Caia Greene, n6e Aarup (b. Denmark, 1864), a fine pianist, educated at Copenhagen and Paris, came to America about 1887. Griswold, Gertrude (New York, 1861-1912, England), studied in Paris, made a brilliant debut as operatic soprano there in 1881 and later was further successful in England, in 1887 singing with Patti in New York. *Hackh, Otto Christoph (Wurtemberg, 1852- 1917, Brooklyn), an able concert-pianist, in 1880-89 taught in the Grand Conservatory, New York, in 1891-95 lived abroad, and from 1895 was again teacher and composer in New York. His piano-works and songs are nu- merous, effective and popular. *Hahn, Reynaldo (b. Venezuela, 1874), was taken as a child to Paris, where he was edu- cated and has remained as an opera-composer. For list of works see Baker, Diet, of Musicians, p. 353 ; also see Vol. ii. 271. Hale, Edward Danforth (b. Aquebogue, N. Y., 1859), graduated from Williams College in 1880, studied at the New England Con- servatory, taught there from 1885, and since 1905 has been dean of the School of Music in Colorado College. Hall, Jay Rollin (b. Brighton, O., 1860), trained at Oberlin, Leipzig, and later Berlin, from 1884 was head of the music-school in the Illinois Wesley an University, from 1892 teacher in the Oberlin Conservatory, and since 1898 has been organist at Cleveland. *Hall, Walter Henry (b. England, 1862), arriving in 1883, from 1884 was organist in Germantown, Pa., from 1890 in Albany, and in 1896-1913 at St. James', New York, being also from 1889 conductor of choral societies in Brooklyn and New York, and since 1909 professor in Columbia University. See art. Hamilton, Clarence Grant (b. Providence, 1865), graduated from Brown University in 1888, studied in Boston and London, from 1889 was organist in Providence, and since 1904 has been professor at Wellesley College, as well as organist and author. See art. *Hammerstein, Oscar (Prussia, 1847-1919, New York), came to New York as a cigar- maker, from 1888 was noted as a daring pro- moter of theatrical and operatic enterprises, among which was the Manhattan Opera House, opened in 1906, and the Philadelphia Opera House, opened in 1908. See art. Hammond, William Churchill (b. Rookville, Conn., 1860), studied in Hartford and New 58 CHRONOLOGICAL REGISTER [7 : 1880-1890 York, was organist in Connecticut, and since 1885 has been at Holyoke, Mass., becoming widely known as a superior concert-player. From 1890 he also taught at Smith College, and since 1900 has been professor at Mount Holyoke College. See art. *Harris, Charles L. M. (b. England, 1863), educated at Toronto, from about 1886 was identified with Hamilton, Ont., as organist, conductor and teacher, and is now organist at Port Huron, Mich. Harris, William Victor (b. New York, 1869), studied in New York and since 1889 has been organist, conductor and composer there, from 1902 leading the St. Cecilia Club. See art. *Harriss, Charles Albert Edwin (b. England, 1862), since 1883 has been organist, conductor and composer at Montreal, recently returning to England. See art. *Hartmann, Arthur Martinus (b. Hungary, 1881), was taken as a child to Philadelphia, studied there and in Boston, appeared as early as 1887 as child- violinist, developing into a finished virtuoso. See art. Hayden, Philip Cady (b. Brantford, Ont., 1854), educated at Oberlin, has been music- supervisor at Quincy, 111., in 1888-1900, and also at Keokuk, la., since 1892. Since 1900 he has edited ' School Music,' devoted to the in- terests of public-school workers, and has been prominent in various teachers' associations. Hedden, Warren Rosecrans (b. New York, 1861), trained in New York, has been church- and concert-organist there and elsewhere, be- sides activity in the A. G. O. See art. Henderson, William James (b. Newark, N. J., 1855), in journalistic work since 1883, since 1887 has been a leading musical critic in New York, first on ' The Times ' and later on 1 The Sun,' and also a brilliant lecturer and author. See art. Henry, Hugh Thomas (b. Philadelphia, 1862), a highly trained Roman Catholic priest, has since 1889 been professor in Overbrook Seminary in Philadelphia, emphasizing the subject of church-music. In 1905-09 he edited ' Church-Music,' and has written for other journals, including ' The Musical Quarterly.' *Henschel, Isidor Georg (b. Silesia, 1850), the eminent baritone, was in 1881-84 conductor of the Boston Symphony Orchestra, having previously toured as singer. In 1905-08 he taught in New York. See Vol. ii. 381-2, and art. *Herbert, Victor (b. Ireland, 1859), the well- known 'cellist, came to New York in 1886 as leading player in several orchestras, conductor and composer, remaining there except in 1898- 1904, -when he led the Pittsburgh Orchestra. See Vol. ii. 384, and art. His wife, Therese Herbert, n6e Forster, earlier an opera-singer in Vienna, appeared in New York from 1887. *Herrmann, Eduard (b. Germany, 1850), since 1871 concert-violinist, came to New York in 1881, organized a Quartet and later a Trio of importance, and has been a useful teacher. He has written much violin- and chamber-music, including a concerto, quartet, quintet and sextet, a violin-method, songs, etc. Heydler, Charles (b. Cleveland, 1861), has been known as 'cellist in chamber-ensembles in Detroit, Buffalo and Cleveland for many years, and since 1885 has been head of the Cleveland Conservatory. Higginson, Henry Lee (New York, 1834- 1919, Boston), a wealthy Boston banker, in 1881 founded the famous Boston Symphony Orchestra, which he continued to control until 1918. See art. *Hofmann, Josef Casimir (b. Galicia, 1876), gave over fifty concerts in America in 1887-88, and since 1898 has been immensely popular, spending much time in residence. See Vol. ii. 417, and art. Holman-Black, Charles (b. Philadelphia, ? ), trained in New York and Paris, since about 1880 has been widely known as an oper- atic singer, appearing in America from 1888 for some years, but mostly in England and France. He lives in Paris. Hood, Helen (b. Chelsea, Mass., 1863), studied in Boston and Berlin, and is notable in the Boston circle as a gifted composer of songs. See art. *Hopekirk, Helen (b. Scotland, 1856), already a successful pianist, toured in America in 1883-85 and in 1891-92, and since 1897 has lived in Boston as player, teacher and com- poser. See art. *Houseley, Henry (b. England, 1851), having been organist in England, came to America in 1888, and settled in Denver as cathedral-organ- ist, choral conductor and composer. See art. Howland, William (b. Worcester, Mass., 1871), studied in New York and London, in 1889 began to be favorably known as a concert- and operatic bass, from 1895 was active in New York, Worcester and Boston, from 1900 taught in the University of Michigan, and since 1914 has taught in Detroit. Humiston, William Henry (b. Marietta, O., 1869), studied in Chicago and New York, from 1889 was organist in or near Chicago, from 1896 at East Orange, N. J., and in 1906- 09 at Rye, N. Y. In 1909-12 he conducted operatic troupes, and since 1912 has been connected with the New York Philharmonic Society, from 1916 as assistant-conductor. See art. Huneker, James Gibbons (b. Philadelphia, 1860), after study in Philadelphia, New York and Paris, from 1881 taught at the National Conservatory in New York, and since 1891 has become conspicuous as a brilliant critic and author. See art. Huss, Henry Holden (b. Newark, N. J., 1862), son of George J. Huss (see sec. 4), trained in New York and Munich, has been since 1885 a leading pianist, teacher and com- poser in New York. See art. *Hyllested, August (b. Sweden, 1858, of Danish parents), after notable early tours as 7 : 1880-1890] CHRONOLOGICAL REGISTER 59 pianist abroad, in 1885 toured in America, from 1886 was assistant-director of the Chicago Mu- sical College, from 1891 taught in the Gottschalk Lyric School, in 1894-97 concertized in Europe, and then returned to Chicago. See art. *Januschowsky, Georgine von [Frau Adolf Neuendorff] (Austria, 1859 T-19 14, New York), a gifted operatic soprano, sang successfully in New York in 1880-91 and in 1893-95 in Vienna. Johns, Clayton (b. Newcastle, Del., 1857), at first educated as an architect, studied music at Boston and Berlin, and since 1884 has made his headquarters at Boston as concert-pianist, teacher, composer and author. See art. *Johnstone, Arthur Edward (b. England, 1860), brought to New York as a boy and educated there, has devoted himself to sys- tematizing piano-methods and manuals for public-school music, especially as editor for the American Book Company. See art. Johnstone-Bishop, Mrs. Genevra (b. Van Wert, O., 1864), trained as a dramatic soprano at Oberlin, London and Paris, made her debut in 1889, toured extensively in England and America, and haa lately taught in Chicago. Jones, F. O., in 1886 published a notable Handbook of American Music and Musicians, compiled with care and intelligence. Juch, Emma Antonia Joanna (b. Austria, 1865, of American parents), trained in New York, appeared there in concert in 1882 and in opera in 1883, and until her retirement about 1895 was a favorite soprano. See art. *Kaun, Hugo (b. Prussia, 1863), the dis- tinguished composer, was teacher and con- ductor at Milwaukee in 1887-1902. See art. Kelley, Edgar Stillman (b. Sparta, Wis., 1857), studied at Chicago and Stuttgart, from 1880 was organist in Oakland and San Fran- cisco, from 1886 lectured in New York, from 1902 taught in Berlin, and since 1910 has been theory-teacher, composer and author at Cin- cinnati. See Vol. ii. 562-3, and art. Kelly, Thomas James (b. Ireland, 1870), in 1889-1916 was organist at Omaha, singing- teacher, conductor and critic, having charge of the music at the Exposition there in 1898, conducting festivals in 1911-15 and leading the Mendelssohn Choir. Since 1916 he has taught in Chicago, specializing in recitals of Irish music and community-singing. Kelso, Hugh Alexander, Jr. (b. Charleston, 111., 1862), trained at Chicago, from 1885 concert-pianist at New York, has been since 1893 head of the School of Musical and Drama- tic Art in Chicago. See art. *Kneisel, Franz (b. Rumania, 1865, of German parents), came to the Boston Sym- phony Orchestra as concertmaster in 1885, remaining till 1903, and since 1905 has taught at the Institute of Musical Art, New York. In 1886 he founded the famous Kneisel Quartet (dissolved in 1917). See Vol. ii. 589, and art. Kobbe, Gustav (New York, 1857-1918, Bay Shore, N. Y.), trained at Wiesbaden and New York, a graduate of Columbia (arts, 1877, law, 1879), was for over thirty years a facile writer on musical subjects. See art. *Kreisler, Fritz (b. Austria, 1875), the gifted violinist, first toured in America in 1889, came again in 1900, and often since. See Vol. ii. 599-600, and art. Kroeger, Ernest Richard (b. St. Louis, 1862), studied at St. Louis, and since 1883 has been active there as organist, pianist, teacher, conductor and composer, also as concert-pianist and lecturer elsewhere. See art. *Kronold, Hans (b. Poland, 1872), appeared in New York as 'cellist in 1886, played with the Symphony Society in 1893-97, and has taught many years at the New York College of Music. See art. *Kiizdo, Victor (b. Hungary, 1869), visited America as concert-violinist in 1884, and, after study in London, returned in 1887, settling as player and teacher in New York. He has published several works for violin. Lachmund, Carl Valentine (b. Booneville, Mo., 1857), trained at Wiesbaden and Berlin and under Liszt, appeared as pianist in Amer- ica in 1880 and '87, from 1891 has taught in New York, and in 1896-1908 conducted the Women's String Orchestra, which he organ- ized. See art. *Lahee, Henry Charles (b. England, 1856), came to Boston about 1883, in 1891-99 was secretary of the New England Conservatory, and since then has conducted a musicians' agency. He has published a series of popular historical handbooks singers, 1898, violin- ists, 1899, pianists, 1900, the opera in America, 1901, organists, 1902, opera-singers, 1912. L'Allemand, Pauline, nee Ellhasser (b. Syracuse, 1862?), educated at Dresden and Paris, appeared with the American Opera Company in New York in 1886 as a brilliant operatic soprano. *Lambert, Alexander (b. Poland, 1862), came to New York in 1880 as a visiting pianist, returned in 1884, in 1887-1905 was director of the College of Music, and has continued since as teacher. See art. *Lankow, Anna (Rhine Prov., 1850-1908, Rhine Prov.), since 1870 a noted singer, came to New York in 1885, first as concert-singer, later as teacher. She published Die Wissen- schaft des Kunstgesangs, 1899, 4th ed., 1905. *Leefson, Maurits (b. Holland, 1861), came as concert-pianist in 1887 to Philadelphia, where he taught for some years in the Musical Academy, and in 1899 joined Gustav Hille (see sec. 6) in the Leefson-Hille Conservatory, which he still conducts. Lehmann, George (b. New York, 1865), trained at Leipzig and Berlin, since 1883 has been violinist, teacher, conductor and writer, from 1886 at Cleveland, from 1889 abroad, from 1893 in New York, from 1907 in Berlin, and since 1916 again in New York. See art. *Lehmann, Lilli (b. Bavaria, 1848), a famous stage-soprano since. 1865, came to America in 60 CHRONOLOGICAL REGISTER [7 : 1880-1890 1885-89, returning in 1891-92. See Vol. ii. 667. "Lewing, Adele (b. Hanover, 1866), a Leipzig graduate in 1885, taught in Chicago and Boston and became known as concert- pianist, in 1893-96 studied in Vienna, and since 1897 has been player and composer in New York. See art. Lilienthal, Abraham Wolf (b. New York, 1859), studied in New York, from about 1880 was violinist under Damrosch and Thomas, in 1891-93 played viola in the New York String Quartet, and has taught composition as well as string-instruments. He has written a violin-sonata (1911), a trio, two quartets, a quintet, a sextet, dances and transcriptions for orchestra, and songs. Listemann, Paul (b. Boston, 1871), son of Bernhard Listemann (see sec. 5), highly trained as a violinist, from 1888 toured with his father and uncle, in 1890-95 studied at Leipzig and Berlin, in 1895-97 was concertmas- ter at Pittsburgh and New York, then toured with the Redpath Concert Company, and since 1903 has taught in New York and played at the Metropolitan Opera House. Locke, Flora Elbertine, nee Huie (b. Wilson, N. Y., 1866), studied at Boston, New York and Leipzig, has taught in Buffalo since be- fore 1890, from 1904 devoting herself to per- fecting methods for teaching children, and publishing The Foundation of Music in Rhymes and Songs, 1908, '16. *Loeffler, Charles Martin Tornov (b. Alsace, 1861), came as an experienced violinist to the Boston Symphony Orchestra in 1883, and after twenty years' service devoted himself to composition. See Vol. ii. 763, and art. *Lorenz, Julius (b. Hanover, 1862), came as a visiting pianist in 1887-88 with Senkrah, in 1895-1911 was conductor of the Arion Society, New York, and other societies, and then returned to Glogau, Silesia. For works, see Baker, Diet, of Musicians, p. 550. Lucas, Clarence (b. Niagara, Ont., 1866), trained at Montreal and Paris, from 1889 taught theory at Toronto and was conductor also at Hamilton, from 1891 was in the Utica Conservatory, and since 1893 has lived in London as composer, editor and critic, also in New York. See Vol. ii. 776, and art. Luckstone, Isidore (b. Baltimore, 1861), early associated as musician with Jefferson the actor, in 1883-84 was accompanist for Urso, in 1884-91 for Remenyion his world-tour, then with other artists till 1897, when he settled in New York. *Lund, John Reinhold (b. Hamburg, 1859), in 1884 came as assistant-conductor to Dam- rosch, continuing with the German Opera Company, from 1887 led the Buffalo Orchestra and Orpheus Society, from 1903 toured as conductor of Herbert's operas, and since 1914 has been in Buffalo again. See art. Lussan, Zelie de [Mme. Fronani] (b. New York, 1863), trained as an operatic soprano by her mother, was heard in concert in 1879, from 1885 was with the Boston Ideal Opera Company, from 1889 with the Carl Rosa Company, in 1894-95 at the Metropolitan Opera House (also in 1900-01) , from 1895 was popular at London, Paris and Madrid, but re- tired after her marriage in 1907. Lynes, Frank (Cambridge, Mass., 1858- 1913), trained in Boston and Leipzig, from 1885 was organist in Boston. He composed chamber-music, piano-pieces, part-songs and songs. *Maas, Louis Philipp Otto (Hesse, 1852- 1889, Boston), having taught since 1875 at the Leipzig Conservatory, from 1880 was pianist, teacher and composer in Boston. See art. MacDowell, Edward Alexander (New York, 1861-1908, New York), studied in New York, Paris, Wiesbaden and Frankfort, from 1882 taught at Wiesbaden, from 1888 lived in Boston as concert-pianist and gifted composer, from 1896 was professor at Columbia Univer- sity, after 1902 suffered from ill-health, retir- ing in 1904. See Vol. iii. 4-6, and art. *Macfarlane, William Charles (b. England, 1870), trained in New York, from 1885 was organist there, in 1912-19 municipal organist at Portland, and now in New York, See art. *Mahr, Emil (Hesse, 1851-1914, Boston), who had been violinist at Bayreuth and under Richter and Henschel in London, from 1887 was a valued instructor at the New England Conservatory in Boston. Manchester, Arthur Livingston (b. Bass River, N. J., 1862), educated in Philadelphia, began organ-playing in 1875, from 1882 taught in schools at Beaver, Pa., Clarion, Pa., and from 1886 in Abingdon, Va., from 1893 was editor of ' The Etude ' and from 1896 of ' The Musician,' from 1904 dean of music at Converse College in South Carolina, from 1913 at Southwestern University in Texas, and since 1918 at Hardin College in Missouri. See art. *Mannes, David (b. New York, 1866), trained in New York, Berlin and Brussels, early played in New York in theater-or- chestras, from 1891 was in the Symphony So- ciety, becoming concertmaster in 1898, and since 1902 has led the Symphony Club and taught in the Music School Settlement and other schools. See art. His wife, Clara Mannes, nee Damrosch (b. Silesia, 1869), daughter of Leopold Damrosch (see sec. 6), is an accomplished pianist, has taught since 1889, and has joined him since 1898 in recitals. Marcosson, Sol (b. Louisville, 1869), trained mostly in Berlin, appeared as boy-violinist in 1877$toured extensively abroad and in Amer- ica, from 1892 was first violin in the Men- delssohn Quintette Club of Boston, from 1893 in the Philharmonic Club of New York, from 1895 concertmaster in the Cleveland Sym- phony Orchestra, from 1896 in the Chicago Orchestra, has taught much at Chautauqua and Lake Erie College, and now conducts a music-school in Cleveland. 7: 1880-1890] CHRONOLOGICAL REGISTER 61 *Margulies, Adele (b. Austria, 1863), made her debut as pianist in 1881 at New York, since 1887 has been teacher at the National Conservatory, in 1890-92 started a Trio, which was reorganized in 1904 and has become famous. See art. Mason, Henry Lowell (b. Boston, 1864), son of Henry Mason (see sec. 4), entered the employ of Mason & Hamlin, Boston, in 1888, becoming head of the firm in 1906. Since 1915 he has been president of the Cecilia Society. He has written The Modern Artistic Pianoforte, 1901, The History and Development of the American Cabinet Organ, 1901, and Opera- Stories, 1911, and is preparing an authoritative biography of his grandfather, Lowell Mason. *Mattioli, Lino (b. Italy, 1853), came to New York in 1884 as 'cellist, and since 1885 has been singing-teacher at the Cincinnati College of Music. He has written for piano, 'cello and voice. Maxson, Frederick (b. Beverly, N. J., 1862), trained in Philadelphia and Paris, since 1884 has been organist in Philadelphia, teaching since 1906 at the Leefson-Hille Conservatory and also appearing in recital. See art. *Meltzer, Charles Henry (b. England, 1852), since 1888 has been critic, librettist and trans- lator of opera-texts in New York. See art. Miller, Dayton Clarence (b. Strongsville, O., 1866), since 1890 professor of physics at the Case School of Applied Science, Cleveland, has published Boehm on the Flute and Flute- Playing, 1908, and The Science of Musical Sounds, 1916, besides many articles. He has much extended the science of musical acoustics. Miller, Frank E. (b. Hartford, Conn., 1859), graduated from Trinity College in 1881 and was trained as a physician, becoming known as a specialist in laryngology. See art. *Mohr, Hermann (near Hamburg, 1830- 1896, Philadelphia) , who had taught in Berlin since 1850, from 1886 was in the Philadelphia Musical Academy. He wrote the cantata ' Bergmannsgruss,' male choruses and songs. Mollenhauer, Louis (b. Brooklyn, 1863), son of Heinrich Mollenhauer (see sec. 4), was trained as violinist by his uncle, toured for some years in quintet-parties, in 1889 suc- ceeded his father in his Brooklyn school, and since 1891 has been head of his own school. *Monestel, Alexander (b. Costa Rica, 1865), studied at Brussels, from 1884 was organist at the Costa Rica Cathedral and professor in the Seminary, from 1902 organist in Brussels, and since 1909 organist in Brooklyn. He has written fourteen masses, an oratorio, ' The Seven Last Words,' and instrumental music. Moore, Homer, from 1887 was a singer in opera and oratorio in New York. In recent years he has been singer, teacher and critic for the ' Republic ' in St. Louis, where his opera ' Louis XIV ' was given in 1917. Other operas are ' The Fall of Rome ' and the trilogy (text and music) ' The New World,' ' The Pilgrims,' ' The Puritans.' *Morgan, Tali Esen (b. Wales, 1858), came to Scranton, Pa., in 1876 and was engaged for some years in journalism, from 1887 took up festival-work with Walter Damrosch and Seidl, first in New York and soon at Ocean Grove, N. J., where he has conducted summer gatherings of singers and organists. Morrison, Charles Walthall (b. Covington, Ky., 1856), trained at Oberlin, Leipzig and Berlin, since 1880 has been in the faculty of the Oberlin Conservatory, in 1902 becoming its efficient director. Morse, George Francis (b. Brooklyn, ? ), educated in Brooklyn and New York, from 1887 was organist at Nyack, N. Y., and in 1890- 1915 in Brooklyn. He has written ensemble- works for organ and other instruments. Morsell, Herndon (b. Alexandria, Va., 1858), trained in Washington, Milan and Florence, early appeared as concert- and oper- atic tenor, and for many years has been singer and choral conductor in Washington. *Musin, Ovide (b. Belgium, 1854), notable as violinist since 1870, came to New York in 1883 and toured extensively until 1892, from 1897 was located at Liege, but visited New York steadily until 1908, when he established a school there. See Vol. iii. 342, and art. His wife, nee Annie Louise Hodges (b. 1856), a competent soprano, has joined him in tours. *Neupert, Edmund (Norway, 1842-1888, New York) , well known as pianist and teacher at Berlin, Copenhagen and Moscow, from 1882 was prominent in New York. See art. Nevada, Emma [real name Wixom] (b. near Nevada City, Cal., 1862), studied for the stage in Vienna, from 1880 won European fame as a soprano, appeared in New York from 1884, and after some years settled in Paris. See Vol. iii. 365, and art. Nevin, Ethelbert Woodbridge (Edgeworth, Pa., 1862-1901, New Haven, Conn.), studied at Pittsburgh, New York, Boston, Dresden and Berlin, spent a short life at various places, devoting himself to composing songs of un- usual poetic quality. See Vol. iii. 366, and art. His older relative, George Balch Nevin (b. Shippensburg, Pa., 1859), is also a song-com- poser. *Nikisch, Artur (b. Hungary, 1855), famous as violinist and conductor, in 1889-93 was leader of the Boston Symphony Orchestra, and in 1912 returned with the London Symphony Orchestra. See Vol. iii. 379-80, and art. Nikita [Louisa Margaret Nicholson] (b. Philadelphia, 1872), after early training in Washington, sang in a traveling opera-troupe, became a facile coloratura-soprano, studied in Paris, won renown in Germany, and in 1894 became a leading singer at the Opera at Paris. Norris, Homer Albert (Wayne, Me., 1860- 1920, New York) , studied at Boston and Paris, from before 1890 was organist at Lewiston and Portland, Me., from 1892 at Boston, and in 1904-13 at St. George's, New York, becoming known as composer and author. See art. 62 CHRONOLOGICAL REGISTER [7: 1880-1890 Noyes, Edward Hibbard (b. London, Ont., 1867), studied as pianist in Chicago, Berlin and Vienna, in 1885-87 was organist in and near Boston, in 1890-95 toured in Europe, and since 1895 has been an efficient teacher in Boston and Hartford, with some ensemble- playing. See art. O'Brien, Mary Eliza (b. Limerick, Me., 1859), highly trained as a pianist in Portland, Florence, Frankfort and Vienna, from 1883 for several years appeared in Boston and else- where with success, but finally devoted her- self to teaching. Oesterle, Otto (St. Louis, 1861-1894, Darien, Conn.), from about 1880 was "an accomplished flutist in leading New York orchestras, also teaching in the National Conservatory. Orth, Lizette E., nee Blood (d. 1913, Boston), from 1883 wife of John Orth (see art.), wrote piano-pieces, songs, operettas, etc., for children. O'Shea, John Augustine (b. Milford, Mass., 1864), trained in Boston, since about 1887 has been concert-organist there and lately also supervisor in the public schools. See art. Page, Nathaniel Clifford (b. San Francisco, 1866), brought out his first opera in 1889, and, besides much composition, since 1905 has been in editorial work in Boston and New York. See art. Parker, George Albert (b. Kewanee, 111., 1856), studied at Chicago, Stuttgart, Berlin and Paris, since 1882 has taught in the School of Music at Syracuse University, becoming its head in 1888 and Dean of Fine Arts in 1906. He is an accomplished pianist and organist. Mus.D. of Syracuse University in 1893. Parker, Horatio William (b. Auburndale, Mass., 1863-1919, Cedarhurst, N. Y.), trained in Boston and Munich, from 1885 taught at Garden City, N. Y., from 1888 was organist at New York, in 1893-1901 at Trinity Church, Boston, and from 1894 was head of the Yale School of Music. See Vol. iii. 622-3, and art. Parkhurst, Howard Elmore (Ashland, Mass., 1848-1916, Lavallette, N. J.), for many years organist in New York, published a System of Harmony, 1908, an organ-method, 1911, The Church Organist, 1913, The Beginnings of the World's Music, 1914, and Rambles in Music- Land, 1914, besides books on birds and plants. He also composed somewhat in large forms. Pasmore, Henry Bickford (b. Jackson, Wis., 1857), studied in San Francisco, Leipzig and London, since 1885 has been organist, teacher and composer in San Francisco. See art. Perry, Edward Baxter (b. Haverhill, Mass., 1855), blind from infancy, studied in Boston and in Germany, in 1881-83 taught in the Oberliri Conservatory, and since then has devoted himself mostly to giving piano-recitals in all parts of the country. See art. Porter, Frank Addison (b. Dixmont, Me., 1859), trained at Boston and Leipzig, since 1884 has been piano-teacher at the New Eng- land Conservatory and since 1892 also director of normal work in piano. He has published instruction-books and composed a sonata and other piano-music. Powell, Maud [Mrs. H. Godfrey Turner] (Peru, 111., 1868-1920, Uniontown, Pa.), having studied at Chicago, Leipzig, Berlin and Paris, from 1885 was universally known as a violinist of the first rank. See Vol. iii. 802, and art. Pratt, John Harraden (b. Freeport, Me., 1848), trained in Portland, Oakland and Leipzig, has been organist, teacher and com- poser in or about San Francisco since about 1885. See art. *Preyer, Carl Adolph (b. Baden, 1863), came to America in 1884, in 1889-91 taught at Baker University in Kansas, and since 1893 has been professor at the University of Kansas, becoming in 1915 associate dean of the School of Fine Arts. See art. *Protheroe, Daniel (b. Wales, 1866), from 1886 conducted a Welsh choral society at Scranton, Pa., from 1894 was in Milwaukee aa baritone and teacher, and since 1904 has also been conductor in Chicago. See art. Randolph, Harold (b. Richmond, Va., 1861), studied at Baltimore, from 1885 became promi- nent there as organist and notable concert- pianist, and since 1898 has been head of the Peabody Conservatory. See art. Reuss, Eduard (New York, 1851-1911, Saxony), studied at Gottingen, Weimar and Paris, from 1880 taught at Karlsruhe, from 1896 at Wiesbaden (head of the Conservatory from 1899), and from 1902 was professor at the Dresden Conservatory. He visited Amer- ica in 1902-03 with his wife, who is a noted operatic singer. He published a notable biography of Liszt in 1898 and a work on Liszt's songs in 1906, besides many articles. Rivarde, Serge Achille (b. New York, 1865), studied at New York and Paris, in 1881-84 appeared as violinist in New York, in 1886-91 was concertmaster under Lamoureux at Paris, and since 1899 has taught in the London Royal College. See Vol. iv. 110. Rogers, James Hotchkiss (b. Fair Haven, Conn., 1857), studied in Chicago, Berlin and Paris, began teaching in 1882 at Burlington, la., and since 1883 has been organist and composer at Cleveland. See art. *Rosenfeld, Maurice Bernard (b. Austria, 1867), came to America as a boy, studied at Chicago, from 1888 taught piano there, since 1907 has been critic and editor, and since 1916 head of his own school. See art. *Rotoli, Augusto (Italy, 1847-1904, Boston), from 1885 taught at the New England Con- servatory, Boston. While maestro in Italy he wrote a mass and a psalm for the funeral of Victor Emmanuel in 1878. *Ruifrok, Henri Willem Johan (b. Holland, 1862), from 1889 was music-director at Valparaiso University in Indiana, from 1892 at the Gottschalk Lyric School, Chicago, from 1895 at the Musical College, Des Moines, from 1904 head of his own school there, and since 1915 professor at Drake University. 7: 1880-1890] CHRONOLOGICAL REGISTER 63 Russell, Ella [Countess di Rhigini] (b. Cleveland, 1864), studied at Paris and Milan, and since 1882 has been a celebrated operatic soprano on the Continent and especially in England. See art. Russell, Lillian [Helen Louise Leonard, now Mrs. Alexander P. Moore] (b. Clinton, la., 1861), educated in Chicago, from about 1880 was long a favorite stage-soprano in light opera and vaudeville. Saenger, Gustav (b. New York, 1865), from about 1885 violinist and theater-conductor, has since 1897 been editor for Carl Fischer. See art. Saenger, Oscar (b. Brooklyn, 1868) trained in New York, has taught singing there since 1889, and was for a time also an effective stage-baritone. See art. Sanderson, Sibyl (Sacramento, Cal., 1865- 1903, France), trained as an operatic soprano at San Francisco and Paris, was from 1888 noted at Paris, chiefly in connection with Massenet's works, appearing in America in 1895 and '98. See art. *Santelmann, William Henry (b. Hanover, 1863), trained at Leipzig, from 1887 played in the U. S. Marine Band, from 1895 con- ducted a theater-orchestra, and since 1898 has led the Marine Band. See art. *Sapio, Romualdo (b. Sicily, 1858), from before 1890 was concert-conductor for Patti, Albani and Nordica, from 1892 taught singing at the National Conservatory, New York, and has been otherwise active. *Scheve, Edward Benjamin (b. Westphalia, 1865), from 1888 organist and teacher at Rochester, from 1892 was concert-organist and head of his own school at Chicago, and since 1906 professor at Grinnell College in Iowa. See art. *Schiller, Madeline [Mrs. Marcus E. Ben- nett] (England, 1850?-1911, New York), after success as concert-pianist in England and Australia, lived for some years in Boston, then toured abroad, and after 1895 was a prominent teacher in New York. Schirmer, Gustave (New York, 1864-1907, Boston), and Schirmer, Rudolph Ernest (New York, 1859-1919, Santa Barbara, Cal.), sons of Gustav Schirmer (see sec. 4), became partners in then: father's publishing-business in New York in 1885, making it one of the great music-houses of the world. See art. *Schlesinger, Sebastian Benson (Hamburg, 1837-1917, France), studied in Boston, where later for years he waa German Consul, and, though assuming to be but an amateur, com- posed many graceful songs and piano-pieces. *Schneider, Hans (b. Posen, 1863), came to Providence in 1887 as choral and orchestral conductor, establishing a piano-school in 1904, which he still conducts. He has specialized in the psychology of piano-playing, writing many articles for periodicals. Schoen, Isaac Leopold (b. St. Louis, 1858), trained at St. Louis, New York and Berlin, since 1887 has been prominent as violinist at St. Louis, in orchestral and chamber-organizations, and now teaches in the Kroeger School of Music. *Schradieck, Henry (Hamburg, 1846-1918, New York), in 1883-89 was violin-teacher at the Cincinnati College of Music, from 1898 taught in Philadelphia at the Broad Street Conservatory, and from 1912 was at the Insti- tute of Applied Music in New York. See Vol. iv. 274, and art. *Schuecker, Heinrich (Austria, 1867-1913, Boston), in 1885 came as harpist in the Boston Symphony Orchestra and teacher at the New England Conservatory. In 1893 he formed a Trio (violin, 'cello and harp) with Jacques Hoffmann and Karl Barth. *Schulz, Leo (b. Posen, 1865), a superior 'cellist, from 1889 in the Boston Symphony Orchestra and the New England Conservatory, since 1890 has been in the New York Phil- harmonic Society, and in 1904-15 in the Margulies Trio. See art. Sealy, Frank Linwood (b. Madison, N. J., 1858), organist and conductor for many years at Newark, N. J., has also been efficient as organist for the New York Oratorio Society. *Seeboeck, William Charles Ernest (Austria, 1859-1907, Chicago), trained as pianist at Vienna and Petrograd, from 1881 was player, teacher and composer in Chicago. See art. *Seidl, Anton (Hungary, 1850-1898, New York), the eminent Wagner interpreter, in 1885-91 and from 1895 was conductor at the Metropolitan Opera House in New York, from 1891 also conductor of the Philharmonic Society. See Vol. iv. 408, and art. *Sembrich, Marcella [Praxede Marcelline Kochanska] (b. Galicia, 1858), an operatic and concert-singer of the first rank, appeared in New York in 1883-84, and in 1898-1909 sang at the Metropolitan Opera House. See Vol. iv. 409-10, and art. Senkrah [Arma Leoretta Hoffmann, n6e Harkness] (New York, 1864-1900, Saxony), educated at Leipzig, Brussels and Paris, from 1882 became celebrated as a violinist on the Continent. Shackley, Frederick ttewell (b. Laconia, N. H., 1868), trained in Boston, from 1885 was organist at Lewiston, Me., and since 1892 in Boston. He has written valuable church- music and organ-pieces and transcriptions. Shepard, Frank Hartson (Bethel, Conn., 1863-1913, Orange, N. J.), trained in Boston, from 1881 was organist at various places, in 1886-90 was in Leipzig studying, and from 1888 organist at the English Chapel, and in 1891, with his wife Annie Agnes Shepard, nee Boll (b. New York, 1859), established a piano-school at Orange, N. J., which she continues. They have published several in- struction-books, of which the most noted is Harmony Simplified (many editions) . Sinsheimer, Bernard (b. New York, 1870), trained as violinist at Paris and Berlin, from 1886 appeared as soloist in New York, and since 1902 has led his own Quartet with notable enterprise. 64 CHRONOLOGICAL REGISTER [7 : 1880-1890 Smith, Ella May, n6e Dunning (b. Uhrichs- ville, O., 1860), since about 1880 has been active as teacher, organist and critic, chiefly in Col- umbus, and prominent in music-club enter- prises. Smith, Wilson George (b. Elyria, O., 1855), studied at Cincinnati and Berlin, and since 1882 has been a prominent teacher and com- poser at Cleveland. See art. Spalding, Walter Raymond (b. North- ampton, Mass., 1865), graduated at Harvard in 1887, in 1887-91 was instructor in languages at St. Mark's School, Southboro, Mass., from 1891 studied in Paris and Munich, and since 1895 has been in the music-faculty of Harvard University. See art. *Spicker, Max (Prussia, 1858-1912, New York), from 1882 conducted the Beethoven Mannerchor in New York, from 1888 was head of the Brooklyn Conservatory, and from 1895 taught at the National Conservatory and waa reader for the Schirmer firm. See art. Stair, Patty (b. Cleveland, 1869), trained in Cleveland, since 1889 has taught in the Cleve- land Conservatory, besides able work as or- ganist and composer. See art. Stanton, Edmund C., is notable as the effective manager of German opera at the Metropolitan Opera House, New York, in 1885-91, succeeding Leopold Damrosch. Sterling, Winthrop Smith (b. Cincinnati, 1859), was educated at Cincinnati, Leipzig and London, began as organist in London, later in Cincinnati, from 1887 taught in the College of Music there, and in 1903 founded the Metropolitan College. See art. *Sternberg, Constantin Ivanovitch, Edler von (b. Russia, 1852), an experienced pianist, conductor and composer, from 1880 concertized in America, from 1886 taught in Atlanta, and since 1890 has been head of his own school in Philadelphia. See art. Stevenson, Edward Irenaeus Prime (b. Madison, N. J., 1868), from 1881 a frequent writer on musical subjects in ' The Inde- pendent ' and from 1895 also in ' Harper's Weekly.' Among his numerous books on many subjects are Some Men, and Women, and Music, and two musical novels. *Stevenson, Frederick (b. England, 1845), for many years singing-teacher in London, in 1883 was organist and conductor at Denver, and since 1894 has been organist, conductor and composer in California. See art. *Stewart, Humphrey John (b. England, 1856), from 1886 was organist in San Francisco, in 1901-02 at Boston, from 1903 again at San Francisco, and since 1915 at San Diego. See art-. Stocker, Stella, nee Prince (b. Jacksonville, 111., 1858), graduated from the University of Michigan in 1880, was trained at Jacksonville and abroad, after teaching in the Middle West, has devoted herself to Indian music, upon which she has lectured widely, and to composition. See art. *Stoeving, Carl Heinrich Paul (b. Saxony, 1861), toured in America as concert- violinist in 1884 and 1892, from 1898 was professor at the Guildhall School in London, and since 1914 has taught in New York and New Haven. See art. Surette, Thomas Whitney (b. Concord, Mass., 1862), trained in Boston, from 1883 was organist at Concord, in 1893-94 taught at Pottstown, Pa., in 1895-96 was organist in Baltimore, and since 1895 has been lecturer on musical subjects, as well as composer and author. See art. *Sutro, Florence Edith, nee Clinton [Mrs. Theodore Sutro] (England, 1865-1906, New York), from 1888 known as pianist and song- composer, from 1898 was founder of the National Federation of Musical Clubs. She published Women in Music, 1899. *Svecenski, Louis (b. Croatia, 1862), was in 1885-1903 violinist in the Boston Symphony Orchestra, in 1885-1917 violist in the Kneisel Quartet, and is now teaching in New York. He has published viola-studies. Tapper, Thomas (b. Canton, Mass., 1864), after study at home and abroad, since before 1890 has been a forceful teacher and writer upon music-pedagogy, from 1905 at the Institute of Musical Art in New York. See art. His wife, *Bertha Tapper, n6e Feiring (Norway, 1859-1915, New York), studied at Leipzig and Vienna, came to America in 1881, from 1889 was piano-teacher at the New Eng- land Conservatory in Boston, and from 1905 at the Institute of Musical Art in New York. She published piano-pieces and songs and edited many of Grieg's piano-works. Thunder, Henry Gordon (b. Philadelphia, 1865), trained in Philadelphia, since 1881 has been a prominent organist there, also since 1897 conductor of the Choral Society and in 1897-1900 of his own Symphony Orchestra. He has written several cantatas, a mass, and is at work upon an opera. Thurber, Jeannette, nee Meyer, wife of a prominent New York merchant, in 1885 founded the National Conservatory there, which has had a notable history under eminent directors. In 1885 she was also the promoter of the American Opera Company. Tirindelli, Pier Adolfo (b. Italy, 1858), since about 1885 has been violin-teacher at the Cincinnati Conservatory and for thirty years conductor of the Conservatory Orchestra. He has written a violin-concerto and other violin-works, the operas ' Athenaide ' and ' Blanc et Noir,' cantatas, etc. *Tonning, Gerard (b. Norway, 1860), from 1887 was conductor at Duluth, Minn., and since 1905 has lived at Seattle as composer. He has written the opera ' Leif Erikson ' (1910), two operettas and a musical panto- mime, a piano-trio, chamber-music, piano- pieces and songs. Truette, Everett Ellsworth (b. Rockland, Mass., 1861), graduated from Boston Uni- 7: 1880-1890] CHRONOLOGICAL REGISTER 65 versity in 1883, studied in Berlin, Paris and England, since 1885 has been a notable organist in Boston and vicinity, from 1897 at the Eliot Church, Newton, besides giving recitals else- where. See art. *Van Broekhoven, John A. (b. Holland, 1856), in 1889-99 was teacher at the Cin- cinnati College of Music and conductor of symphony-concerts, played viola under Thomas at various occasions, and since 1905 has lived in New York as teacher. He has written the short opera ' A Colonial Wedding ' (1905), the opera ' Camaralzaman,' a ' Creole Suite,' the ' Columbia ' overture, a string- quartet, etc., besides The Tone-Producing Functions of the Vocal Organs, 1905, The True Method of Tone-Production, 1908, a book on Harmony, etc. Van der Stucken, Frank Valentin (b. Fred- ericksburg, Tex., 1858), trained at Antwerp and Leipzig, after travels, work at Breslau and further study, from 1884 was conductor in New York, from 1895 at Cincinnati, continuing at intervals though residing abroad in 1908-17. See Vol. v. 217, and art. *Venth, Carl (b. Rhine Prov., 1860), in 1880 came as violinist to New York, from 1884 playing at the Metropolitan Opera House, from 1888 directed a school in Brooklyn and from 1889 led the Brooklyn Symphony Or- chestra, from 1907 was conductor of the St. Paul Orchestra, going thence in 1908 to similar positions in Dallas and later Fort Worth, Tex. See art. *Vere, Clementine Duchfcne de [Mme. Sapio] (b. France, ? ), from about 1880 for nearly twenty years was a favorite operatic and concert-soprano in New York. See art. Vilim, Joseph Alois (b. Chicago, 1861), studied at Prague, since 1884 has been violinist and teacher in Chicago, first in the Musical College, from 1887 in the American Con- servatory, and since 1899 as head of his own school. He has also been active in establish- ing ensemble-groups. See art. Vogt, Augustus Stephen (b. Washington, Ont., 1861), trained at Boston and Leipzig, from 1888 taught at the Toronto College of Music, and from 1892 at the Toronto Con- servatory, becoming its head in 1913. From 1888 he was also organist and in 1894 founded the famous Mendelssohn Choir, which he conducted until 1917. See art. Warren, Richard Henry (b. Albany, 1859), son of George W. Warren (see sec. 4) and trained by him, has been an organist in New York since 1880, and the founder in 1886 of the Church Choral Society, which he led till 1895 and in 1903-07. Weld, Arthur Cyril Gordon (b. Jamaica Plain, Mass., 1862), trained in Dresden, Berlin and Munich, became known as orchestral composer from 1885, from 1890 was critic for the Boston ' Post.' See Champlin and Apthorp, Cyclope- dia of Music, iii. 623, and art. Whelpley, Benjamin Lincoln (b. Eastport, Me., 1864), studied in Boston and Paris, since 1886 has been known in Boston as pianist and organist. He has written an orchestral In- termezzo, Preludes for violin, 'cello and organ, Bongs, piano-pieces, choruses, etc. White, John (West Springfield, Mass., 1855- 1902, Hesse), studied at Hartford and Berlin, from 1880 was organist in New York, studied in Munich, in 1887-96 was again in New York, and then removed to Munich. See art. Whiting, Arthur Battelle (b. Cambridge, Mass., 1861), studied in Boston and Munich, was concert-pianist in Boston from 1880 and in New York since 1895, devoting himself much to lecturing and to bringing out 18th- century keyboard-music. See art. * Williams, Alberto (b. Argentina, 1862), trained at Buenos Aires and Paris, since 1889 has been conductor of symphony-concerts at Buenos Aires, established and now directs the Conservatorio there, since 1903 with numerous branches in all parts of the Republic. He has composed several symphonies and other orchestral music, many piano-pieces, etc., and has written on theory. See art. Wilson, George H., of Boston, from 1883 for ten years issued a useful Musical Year-Book of the United States, in 1893-94 with C. B. Cady. Wiske, C. Mortimer (b. Bennington, Vt., 1853), after study at Troy and early work as organist, in 1882 became Thomas' assistant as chorus-conductor at New York, was later leader of the Chorus Society there, and since 1902 has had charge of festivals at Paterson and Newark, N. J. *Wodell, Frederick William (b. England, 1859), since before 1890 has been prominent, first at Rochester, of recent years at Boston, as baritone, choral conductor and composer. He has written a light opera, the cantata 4 The American Flag ' (1915), part-songs and anthems, Choir and Chorus Conducting, 1908, and How to Sing by Note, 1915. See art. Wolle, John Frederick (b. Bethlehem, Pa., 1863), studied at Philadelphia and Munich, from 1881 was organist in Philadelphia, from 1885 organist at Bethlehem, from 1905 pro- fessor at the University of California, and since 1911 has been at Bethlehem again, conducting the festivals of the Bach Choir. See art. Wood, Mary, nee Knight [now Mrs. Alfred B. Mason] (Easthampton, Mass., 1859), edu- cated in Boston and New York, has long been a song-composer of distinction. *Wrightson, Sydney Lloyd (b. England, 1869), came to America in 1889, in 1904 founded the College of Music in Washington, remaining its head till 1914, and has been choral conductor there. As singer he has appeared with many orchestras. *Zach, Max Wilhelm (b. Galicia, 1864), in 1886-1907 was violist in the Boston Sym- phony Orchestra, in 1887-97 member of the Adamowski Quartet, and since 1907 has conducted the St. Louis Symphony Orchestra. 66 CHRONOLOGICAL REGISTER [8: 1890-1900 Zech, Frederick (b. Philadelphia, 1858), studied in San Francisco and Berlin, taught at Berlin from 1880, and since 1882 has been piano-teacher and conductor at San Francisco, and a prolific composer. *Ziegler, Anna Elizabeth, nee Koelling (b. Hamburg, 1867), was educated in New York, early became known as pianist and singer, was director of the Berlin Conservatory there and now is head of the Ziegler Insti- tute of Normal Singing. Zoellner, Joseph (b. Brooklyn, 1862), trained mostly in New York and Dresden, from 1882 was violinist and teacher in (Brook- lyn, from 1903 in Stockton, Cal., in 1907-12 played and taught in Brussels, there forming with two sons and a daughter the Zoellner Quartet, which since 1912 has toured the United States. In this he plays viola. 8. The Closing Decade of the 19th Century Abott, Bessie Pickens (Riverdale, N. Y., 1878-1919, New York), studied in New York and later in Paris, from 1894 appeared as soprano in light opera, and from 1901 in grand opera, until 1906 in Paris and then in the United States, besides concert-tours in many countries. In 1912 she married T. W. Story. Adams, Suzanne (b. Cambridge, Mass., 1873), was trained as soprano in Paris, from 1894 appearing in opera there, from 1897 at Nice and since 1898 at London. She sang in New York in 1899 and was at the Metropolitan Opera House in 1902. See art. Aldrich, Richard (b. Providence, 1863), graduated from Harvard in 1885, entered journalistic work, first in Providence, from 1889 in Washington, where he began musical criticism. Since 1891 he has been critic in New York, till 1902 on the ' Tribune ' and then on the ' Times.' See art. Aller, George Henry (b. Shiremanstown, Pa., 1871), trained as singer at Doane College in Nebraska, Chicago, Berlin and Paris, since 1893 has taught in Nebraska, from 1914 as music-director at Doane College, developing notable interest in vocal music. * Anger, Joseph Humphrey (England, 1862- 1913, Toronto), after experience in England, was from 1893 theory-professor at the To- ronto Conservatory, notable also as organist, conductor and author. See art. Armstrong, William Dawson (b. Alton, 111., 1868), trained in St. Louis and Chicago, from 1890 was organist at Alton and in 1896-1908 at St. Louis, and since 1908 has been head of his own school in Alton. He has written the opera ' The Spectre Bridegroom ' (1899), an orchestral suite and an overture, vocal and instrumental pieces, etc. See biography by W. F. Norton, 1916. Arnold [-Strothotte], Maurice (b. St. Louis, 1865), studied at Cincinnati, Berlin, Cologne and Breslau, taught in St. Louis, from 1894 was instructor in composition in the National Conservatory in New York, where he still lives. He has twice gone abroad as con- ductor or performer. For list of works, see Baker, Diet, of Musicians, p. 28, and Hughes, Contemporary American Composers, pp. 135-9. Ashton, Joseph Nickerson (b. Salem, Mass., 1868), graduated from Brown University in 1891, taught there from 1895 and also in Boston, in 1898-1904 being associate-professor in the University. Since 1905 he has been organist at Brookline. See art. Atherton, Percy Lee (b. Boston, 1871), graduated from Harvard in 1893, studied in Munich, Berlin, Rome and Paris, has been known as composer since 1890, at first of comic operas, later of orchestral and vocal works. See art. Avery, Stanley R. (b. Yonkers, N. Y., 1879), trained in New York and Berlin as organist, from 1896 worked at Yonkers and since 1910 at Minneapolis. See art. Baldwin, Ralph Lyman (b. Easthampton, Mass., 1872), musically educated in Boston, from about 1895 was organist in Easthampton and Northampton, and since 1904 in Hart- ford, Conn., where he is also supervisor and choral conductor. See art. Baltzell, Winton James (b. Shiremanstown, Pa., 1864), graduated from Lebanon Valley College in 1884, studied in Philadelphia, Boston and London, taught in Reading, Pa., in 1897-99 and 1900-07 edited ' The Etude,' in 1907-18 ' The Musician,' and has since been in literary work in New York. See art. Barbour, Florence, nee Newell (b. Providence, 1867), gained her training in America, and has won success as concert-pianist and com- poser, chiefly of piano-works and songs. See art. *Barford, Vernon West (b. England, 1876), came as organist in 1895 to Qu'Appelle, Que., and since 1900 has been organist and con- ductor at Edmonton, Alberta. Bartholomew, Edward Fry (b. Sunbury, Pa., 1846), trained as a Lutheran minister, professor at Augustana College since 1888, has published The Relation of Psychology to Music, 1899, 1903, Rational Musical Pedagogy, 1905, and many magazine articles, and edited The Musical Profession, 1905. Beach, John Parsons (b. Gloversville, N. Y., 1877), studied in Boston and Minneapolis, taught in both cities and from 1904 in New Orleans, went abroad in 1910 and has lived in Paris and Italy as composer. See art. Beaton, Isabella (b. Grinnell, la., 1870), after study at Grinnell, Berlin and Paris, since 1899 has worked at Cleveland as pianist, composer and teacher, first at the Cleveland School of Music and from 1910 in her own school. See art. Benson, Louis FitzGerald (b. Philadelphia, 1855), both lawyer and clergyman by pro- fession, since 1894 has been hymnal-editor for the Presbyterian Church and has become a foremost hymnologist. His chief publication 8: 1890-1900] CHRONOLOGICAL REGISTER 67 as editor is The Hymnal, 1895, 1911, and as author The English Hymn, 1915. For full list, see Who's Who in America. Bergquist, John Victor (b. St. Peter, Minn., 1877), studied at St. Peter, Minneapolis, Berlin and Paris, from 1895 was organist in Lutheran churches in Minnesota, with recitals in Minneapolis in 1903-12 and elsewhere, in 1905-08 taught at Gustavus Adolphus College, and since 1912 has been music-director at Augustana College, Rock Island, 111. He has written the oratorio 'Golgotha' (1906), a Christmas cantata, a Reformation cantata (1917), three organ-sonatas, etc. *Berwald, William Henry (b. Mecklenburg, 1864), since 1892 has been professor at Syra- cuse University and active as conductor and fertile composer. See art. Bispham, David Scull (b. Philadelphia, 1857), a singer from youth, took up careful study in Milan and London in 1886, appearing as operatic baritone from 1891 in London and from 1896 in America. Latterly he has been heard chiefly in concert. See Vol. i. 333, and art. Blass, Robert (b. New York, 1867), studied in New York, Leipzig and Frankfort, made his debut as operatic bass at Weimar in 1895, sang in Germany, and since 1900 mostly at the Metropolitan Opera House in New York. Blauvelt, Lillian Evans (b. Brooklyn, 1874), was trained as operatic soprano at New York and Paris, making her debut at Brussels in 1893. She has appeared widely in both Amer- ica and Europe. See Vol. i. 338-9, and art. *Bochau, Charles Henry (b. Holstein, 1870); brought to America as a boy, studied in Balti- more, and since 1897 has taught singing in the Peabody Conservatory, besides work as con- ductor and composer. See art. *Boeppler, William (b. Germany, 1863), came to Milwaukee in 1894, started the Wis- consin Conservatory in 1899 and the Symphony Orchestra in 1902, and since 1904 has also been active in Chicago. See art. Bogert, Walter Lawrence (b. Flushing, N. Y., 1864), graduated from Columbia in 1888 and trained as a lawyer, was also broadly educated in music in New York, where since 1898 he has been teacher, lecturer, conductor and writer, especially on vocal art. Bellinger, Samuel (b. Fort Smith, Ark., 1871) trained mostly at Leipzig, taught in the Conservatory there in 1893-95 and was organist of the American Church, from 1896 was at Fort Smith, from 1898 in San Fran- cisco, and since 1907 in St. Louis, directing his own school. See art. *Borowski, Felix (b. England, 1872), son of a Polish musician, studied extensively in London and Cologne, from 1892 taught in Aberdeen and London, in 1897 came to the Chicago Musical College as teacher of com- position, and since 1916 has been president there. He is distinguished as composer and critic as well. See art. Bo wen, George Oscar (b. Castle Creek, N. Y., 1873), from about 1895 was prominent as music-supervisor at Stamford, Conn., Northampton, Mass., Homer and Yonkers, N. Y., and in 1917-20 was Municipal Director of Music in Flint, Mich., conducting various enterprises for popular musical culture, going thence to the University of Michigan. Boyd, Charles N. (b. Pleasant Unity, Pa., 1875), since 1894 has been organist in Pitts- burgh, from 1903 also instructor at the Western Theological Seminary, and from 1915 a di- rector of the Pittsburgh Musical Institute. See Baker, Diet, of Musicians, p. 1078. Breil, Joseph Carl (b. Pittsburgh, 1870), studied in Leipzig and Milan, in 1891-92 was tenor in the Juch Opera Company, from 1892 singer at St. Paul's, Pittsburgh, from 1897 theater-conductor there and on tour, and since 1909 has written much for plays and especially photo-plays, besides comic operas. His ' The Legend ' was produced in 1919 at the Metro- politan Opera House. Brockway, Howard A. (b. Brooklyn, 1870), trained at Berlin, from 1895 taught in New York, from 1903 in Baltimore, and since 1910 again in New York. Besides much com- position, he has made important studies of Kentucky folk-tunes. See art. *Broome, William Edward (b. England, 1868), in 1893 came to America as conductor of a visiting Welsh chorus, from 1894 was organist in Montreal, and since 1905 in Toronto, where he is also conductor of the Oratorio Society. See art. *Bruening, Hans (b. Prussia, 1868), after extended tours in Europe as concert-pianist, in 1899 founded the Wisconsin College of Music at Milwaukee, of which he is director. Buck, Dudley, Jr. (b. Hartford, Conn., 1869), son of the organist (see sec. 5), studied singing at Florence, Frankfort, Paris and London, appearing in opera and concert from 1895 in England and from 1899 in America. Since 1902 he has taught in New York. Bullard, Frederick Field (Boston, 1864- 1904, Boston), after study at Munich, from 1892 was teacher and popular vocal composer in Boston. See art. Burrowes, Katharine (b. Kingston, Ont., ? ), trained in Detroit and Berlin, since 1895 has taught in Detroit, at the Conserva- tory and since 1903 in her own Piano School, specializing in work for children. See art. Butler, Harold Lancaster (b. Silver City, Ida., 1874), studied in Chicago and Paris, from 1895 taught singing at Valparaiso University and from 1900 was director of the music-department there, from 1904 at Syracuse University, and since 1915 has been dean of Fine Arts in the University of Kansas. *Cadek, Joseph Ottokar (b. Bohemia, 1868), from about 1890 appeared as violinist in the United States, and since 1895 has taught in Chattanooga, Tenn., where he established a school in 1904. 68 CHRONOLOGICAL REGISTER [8 : 1890-1900 Carter, Ernest Trow (b. Orange, N. J., 1866), trained in New York and Berlin, from 1892 taught in Nordhoff, Cal., in 1897-98 was organist of the American Church in Berlin, in 1899-1901 was organist and lecturer at Princeton University, and has since been conductor and composer in New York. He has written the opera comique ' The Blonde Donna,' a symphonic suite, a string-quartet, and many songs and anthems. *Caruso, Enrico (b. Italy, 1873), the great operatic tenor, appeared in South America in 1899-1903, and in New York since 1903. See Vol. v. 622, and art. Clark, Charles William (b. Van Wert, O., 1865), trained as concert-baritone in Chicago and London, since 1897 has been widely heard in America and Europe, besides teaching in the Bush Conservatory, Chicago. *Clemens, Charles Edwin (b. England, 1858), came to Cleveland in 1896 as organist, and since 1899 has been lecturer or professor at Western Reserve University. See art. Coerne, Louis Adolphe (b. Newark, 1870), studied at Harvard and in Boston and Munich, from 1894 was conductor in Buffalo, from 1897 in Columbus, in 1899-02 and again in 1905-07 lived in Europe, in 1903-04 was professor at Smith College, in 1907-09 music- director in Troy, N. Y., from 1900 professor at Olivet College in Michigan, from 1910 at the University of Wisconsin, and since 1915 at Connecticut College. See art. Cole, Rossetter Gleason (b. Clyde, Mich., 1866), graduated from the University of Michigan in 1888, studied there and in Berlin, from 1892 was professor at Ripon College, from 1894 at Grinnell College, from 1907 at the University of Wisconsin, and since 1909 is teacher and composer in Chicago. See art. Converse, Frederick Shepherd (b. Newton, Mass., 1871), graduated from Harvard in 1893, was trained in Boston and Munich, from 1899 taught at the New England Conservatory and at Harvard until 1907, since then being engaged upon composition. See art. Cooke, James Francis (b. Bay City, Mich., 1875), studied in New York and Wurzburg, began teaching before 1890 in New York and was organist and choral conductor in Brooklyn, engaged in much literary work, and since 1907 has been editor of ' The Etude ' in Philadel- phia, from 1917 also president of the Presser Foundation. See art. Coombs, Charles Whitney (b. Bucksport, Me., 1859), after study in Stuttgart, Dresden and England, being in 1887-91 organist of the American Church at Dresden, since 1892 has been organist in New York. Se art. Copp, Evelyn Ashton, nee Fletcher (b. Woodstock, Ont., 1872), after study in Canada, England, Berlin and Paris, began teaching in 1894 in Canada, evolved special methods of kindergarten and primary instruction, and since 1897 has taught in Boston, at first in the New England Conservatory. Dana, Lynn Boardman (b. Middleport, N. Y., 1875), son of William H. Dana (see sec. 6), since 1916 has been head of Dana's Musical Institute in Warren, O. Since 1904 he has also taught at Chautauqua and directed the annual festivals at Lockport, N. Y. See art. DeLamarter, Eric (b. Lansing, Mich., 1880), studied in Chicago and Paris, from about 1898 was organist in Chicago, in 1904-05 taught at Olivet College, in 1909-10 at the Chicago Musical College, since 1906 has been organist in Chicago, since 1908 music-critic, and since 1911 choral and orchestral conductor. See art. Demarest, Clifford (b. Tenafly, N. J., 1874), trained in or near New York, from about 1895 was organist at Tenafly, and since 1900 in New York. See art. *D6thier, Gaston Marie (b. Belgium, 1875), in 1894 came to New York as organist at St. Francis Xavier's, and since 1907 has taught at the Institute of Musical Art, besides concert- playing. See art. *Dippel, Johann Andreas (b. Hesse, 1866), the operatic tenor and impresario, first ap- peared in New York in 1890-91, toured in 1892, from 1898 was at the Metropolitan Opera House, becoming in 1908 its executive head, from 1910 managed the Chicago-Philadelphia Opera Company, and since 1913 has directed his own company in light opera. See art. Doenhoff, Albert von (b. Louisville, 1880), son of Helene von Doenhoff (see sec. 6) , studied at Cincinnati and New York, in 1899-1907 taught at the National Conservatory in New York, and since 1905 has been frequently heard as concert-pianist there and elsewhere. Drake, Earl R. (Aurora, 111., 1865-1916, Chicago), trained as violinist at Chicago, Cincinnati and Berlin, in 1893-97 taught in the Gottschalk Lyric School, Chicago, directed his own Quartet, making many concert- tours, and from 1900 conducted his own school. He wrote the operas ' The Blind Girl of Castel-Cuille ' (1914) and ' The Mite and the Mighty ' (1915), several orchestral and many violin-pieces, etc. *Dunkley, Ferdinand Luis (b. England, 1869), came to Albany, N. Y., in 1893 as teacher, from 1899 was in Asheville, N. C., as teacher and conductor, from 1901 was organist in New Orleans, from 1909 in Van- couver, and since 1912 in Seattle. See art. *Dvorak, Antonin (Bohemia, 1841-1904, Bohemia), the distinguished composer, spent the years 1892-95 as artistic director of the National Conservatory in New York. See Vol. i. 765-9, and art. Dykema, Peter William (b. Grand Rapids, Mich., 1873), graduated (in law) from the University of Michigan in 1895, combined musical study with public-school teaching in Aurora, 111., Indianapolis and New York (from 1901), and since 1913 has been professor at the University of Wisconsin. See art. Eames, Henry Purmort (b. Chicago, 1872), graduated from Cornell College (Iowa), 8: 1890-1900] CHRONOLOGICAL REGISTER studied in Chicago, from 1894 traveled as accompanist and pianist in America and abroad, from 1898 taught in Lincoln, Neb., in 1911-12 in Omaha, and since 1912 at the Cosmopolitan School in Chicago. See art. Earhart, Will (b. Franklin, O., 1871), after working in public-school music at Franklin and Greenville, O., from 1900 was supervisor at Richmond, Ind., and since 1912 has been music-superintendent in Pittsburgh. See art. *Ebann, William Benedict (b. Bremen, 1873), came to America in youth, studied at Cincinnati and Berlin, from 1896 appeared as 'cellist and composer, in 1897-98 taught at the Cincinnati College of Music, and since 1898 in New York, from 1907 at the German Con- servatory. For list of works, see Who's Who in Music. *Elsenheimer, Nicholas J. (b. Hesse, 1866), in 1890 came to Cincinnati as teacher in the College of Music, organist and concert-pianist, and since 1907 has taught in the Cranberry Piano School. For list of works, see Baker, Diet, of Musicians, pp. 237-8. Elson, Arthur B. (b. Boston, 1873), son of Louis C. Elson (see sec. 6), graduated from Harvard in 1895, trained there and in Boston, besides teaching and some composition, since 1901 has written various useful books. See art. Ende, Herwegh von (Milwaukee, 1877-1919, New York), son of Amelia von Ende (see sec. 6), studied in Chicago and Berlin, began teaching in Chicago in 1893, appeared widely as violinist, from 1903 taught at the American Institute of Applied Music in New York, and from 1910 directed his own school there. He organized the Von Ende Quartet in 1907 (with Modest Altschuler), and was one of a Trio with Rybner and Altschuler. He married the daughter of Remenyi, the Hun- garian violinist. *Enna, Emil (b. Denmark, 1877), nephew of the composer August Enna, came to America in 1897, has toured as concert- pianist, and now lives in Portland, Ore. He has made a specialty of Scandinavian music. He has composed the opera ' The Dawn of the West ' (1915), a piano-sonata, the song-cycle ' Legends of Seaside ' (1916), etc. Erb, John Lawrence (b. near Reading, Pa., 1877), began as organist in 1892-94 at Potts- town, Pa., studied in. New York, where he was organist and teacher, in 1905 became director at Wooster University in Ohio, and since 1914 has been at the University of Illinois. See art. Farwell, Arthur (b. St. Paul, 1872), gradu- ated from the Institute of Technology, Boston, studied music there and in Paris, from 1899 taught at Cornell University, from 1901 carried on the Wa-Wan Press, made studies of Indian music in the Far West, and since 1909 has worked in New York. See art. Fay, Charles Norman (b. Burlington, Vt., 1848), from 1877 banker and capitalist in Chicago, in 1890 secured the guaranty of $50,000 by which the Chicago Orchestral Association attracted Theodore Thomas to remove from New York to Chicago. *Ferrata, Giuseppe (b. Italy, 1865), after experience in Italy as concert-pianist, in 1892 came to America, teaching first at Beaver College, Beaver, Pa., and since about 1910 at Newcomb College, New Orleans. See art. Fischer, Carlo (b. Washington, 1872), studied in Washington and Frankfort, was 'cellist in European orchestras, appeared from 1899 in America and joined the Pittsburgh Orchestra, from 1903 was with the Cincinnati Orchestra, and since 1906 has been with the Minneapolis Orchestra as player, assistant- manager and program-editor. In 1906 he organized the Minneapolis String Quartet. Fletcher, Alice Cunningham (b. Boston, 1845), whose life has been given to anthropo- logical study, especially as concerns the North American Indians, began publishing upon In- dian music in 1893. See art. Forsyth, Wesley Octavius (b. near Toronto, 1863) , trained in Toronto, Leipzig and Vienna, since 1892 has been teacher and pianist in Toronto, part of the time as director of the Metropolitan School of Music. See art. Foster, Fay (b. Leavenworth, Kan., ? ), trained in Chicago and later abroad, besides early work as teacher, pianist and organist, since 1911 has been known as composer of songs and choruses in New York. See art. *Fox, Felix (b. Silesia, 1876), brought to America when a child, studied in Boston, New York, Leipzig and Paris, and since 1897 has been pianist and teacher in Boston, in 1898 founding the Fox-Buonamici School. See art. Freer, Eleanor, nee Everest (b. Philadelphia, 1864), trained in Philadelphia and Paris, has devoted herself chiefly to song-writing, pub- lishing from 1902, but known earlier. See art. *Frey, Adolph (b. Bavaria, 1865), has been piano-teacher at Syracuse University since 1893, in 1905-06 acting-dean of the College of Fine Arts. He has written vocal and instrumental pieces, and the music for the Latin play ' Trinummus,' 1895. Mus.D. of Syracuse University in 1914. *Friedheim, Arthur (b. Russia, 1859, of Ger- man parents) , the eminent pianist and conduc- tor, toured in America in 1891-95, taught in Chicago in 1900-01, from 1910 was often heard in America, and since 1914 has lived in New York, See Vol. ii. 110, and art. Fry, Henry S. (b. Pottstown, Pa., 1875), since before 1900 has been organist in or near Philadelphia, becoming noted as recitalist and church -composer. See art. Fullerton, Charles Alexander (b. Man- chester, N. H., 1861), trained chiefly in Chicago, from 1890 was superintendent of schools in Iowa, and since 1897 has been teacher and conductor at the Iowa State Teachers College at Cedar Falls. He is a prominent authority upon public-school music. *Gadski, Johanna Emilia Agnes (b. Pome- rania, 1872), the famous Wagnerian soprano, 70 CHRONOLOGICAL REGISTER [8: 1890-1900 from 1895 till 1917' was constantly engaged in America. See art. *Gale, Clement Rowland (b. England, 1862), an experienced organist, since 1890 has been organist in New York, for many years also teaching in the General Theological Seminary and the Guilmant Organ School. See art. Gales, Weston (b. Elizabeth, N. J., 1877), graduated from Yale in 1898, studied there and in New York, from 1899 was organist in or near New York, from 1908 in Boston, in 1913 conducted orchestral concerts in Europe, and in 1914-18 was the first conductor of the Detroit Symphony Orchestra. See art. *Gallico, Paolo (b. Trieste, 1868), since 1892 has been concert-pianist and teacher in New York. See art. *Gandell, Shirley Mark Kerr (b. England, 1866), since 1895 has taught in America, from 1897 in Chicago, with the Balatka School from 1899, the Sherwood School from 1901, and the Cosmopolitan School since 1908. Gaul, Harvey Bartlett (b. New York, 1881), studied first in New York, later in England and Paris, from 1898 was organist in New York, in Paris, in Cleveland, and since in Pittsburgh. See art. Gaynor, Jessie Lovel, nee Smith (b. St. Louis, 1863), after study in Boston and Chicago, devoted herself to developing methods of teaching children. She has taught in Chi- cago, Nashville and St. Joseph, Mo., and for some years in St. Louis. See art. *Genss, Hermann (b. East Prussia, 1856), in 1899 came as teacher to the Irving Institute, San Francisco, and since 1905 has been di- rector there. He has written the opera ' Hunold der Spielmann ' (1914), orchestral and chamber-music, songs, etc. Gilbert, Henry Franklin Belknap (b. Somer- ville, Mass., 1868), studied in Boston, from 1893 was variously employed there and in Paris, in 1901 joined Farwell in founding the Wa-Wan Press, and is living at Cambridge as composer. See art. Gilman, Benjamin Ives (b. New York, 1852), who since 1893 has been secretary of the Boston Museum of Fine Arts, has made original investigations in the music of the American Indians, publishing Zuni Melodies, 1891, and Hopi Melodies, 1908. *Giorza, Paolo (Italy, 1838-1914, Seattle), known in Italy since 1853 as composer of ballets, from about 1890 taught in New York and lived later in London, San Francisco and Seattle (from 1906). For list of works, see Baker, Diet, of Musicians, p. 311. *Glasson, T. Bath (b. England, ? ), edu- cated in New York, from 1892 taught at Pratt Institute, Brooklyn, from 1895 in Michigan, and since 1900 has been organist and conductor in Brooklyn, publishing peda- gogical works and some vocal music. Glen, Irving Mackey (b. Brooklyn, 1871), graduated from the University of Oregon in 1894 and then student of English at Johns Hopkins, from 1896 was professor of languages in Oregon, but also kept up musical studies, in 1901 becoming dean of music in the Uni- versity of Oregon and since 1911 professor in the University of Washington (dean of Fine Arts since 1915). He is a concert-baritone, and since 1903 has conducted various festivals. Goepp, Philip Henry (b. New York, 1864), graduated from Harvard in 1884 (also trained as a lawyer), studied music in college, New York and Philadelphia, and since 1891 has been organist, teacher, composer and author in Philadelphia. See art. Gogorza, Emilio Edoardo de (b. Brooklyn, 1874) , was educated in Spain, France, England and finally New York, where since 1897 he has been a popular concert-baritone. In 1911 he married the soprano Emma Eames (see sec. 7) . Goldmark, Rubin (b. New York, 1872), nephew of the composer Karl Goldmark, studied in New York and Vienna, from 1891 taught at the National Conservatory in New York, from 1894 was director at Colorado College, and since 1902 has been teacher, composer and recitalist in New York. See art. Grant-Schaefer, George Alfred (b. Wil- liamstown, Ont., 1872), studied in Montreal, Chicago and London, from 1896 was organist in Chicago, and since 1908 has been vocal teacher at Northwestern University, compos- ing songs and piano-pieces. *Gray, Herbert Willard (b. England, 1868), since 1894 has been American representative of Novello, and from 1906 head of the H. W. Gray Co. in New York, publishers of ' The New Music Review ' and of high-class musical literature. Grimm, Carl William (b. Dayton, 1863), studied in Chicago and Leipzig, and since 1893 has been teacher in Cincinnati and author of many instruction-books. See art. *Gruenberg, Eugene (b. Galicia. 1854), after long experience as violinist at Leipzig, in 1891 joined the Boston Symphony Or- chestra, in 1893-96 also taught at the Boston Conservatory, and since 1899 at the New England Conservatory. He has composed a symphony, the ballet ' Tanzbilder ' (both given at Leipzig), a violin-sonata, a ' Suite im antiken Stil ' and other violin-works, and published works on violin-playing (1897, 1901). Gunn, Glenn Dillard (b. Topeka, Kan., 1874), studied in Topeka and Leipzig, from 1896 was concert-pianist in Germany, and since 1900 has been teacher, pianist, critic and conductor in Chicago. See art. Hackett, Karleton Spalding (b. Brookline, Mass., 1867), graduated from Harvard in 1891, studied in Florence, Munich and London, has worked in Chicago since 1893 as concert- singer, teacher at Northwestern University and the American Conservatory, lecturer and critic. See art. Hadley, Henry Kimball (b. Somerville, Mass., 1871), trained in Boston and Vienna, appeared as composer in 1895, from that year 8: 1890-1900] CHRONOLOGICAL REGISTER 71 taught at Garden City, N. Y., in 1904-09 conducted and composed in Germany, led the Seattle Orchestra from 1909 and the San Francisco Orchestra from 1911, and since 1915 has lived in New York. See art. Haesche, William Edwin (b. New Haven, Conn., 1867), trained in Boston and New Haven, since 1897 has been violinist and from 1902 conductor in New Haven. See art. Hahn, Carl (b. Indianapolis, 1874), studied in Cincinnati, from about 1895 was 'cellist there, from 1900 orchestral and choral con- ductor in San Antonio, and since 1913 con- ductor in New York of the Arion (till 1918) and Mozart Societies and in Brooklyn. *Hall, William John (b. England, 1867), came to America as tenor in the Boston Lyric Opera Company, taught in Rock Island, 111., and Cedar Rapids, la., was conductor at St. Paul and organist at Davenport, la., and latterly has been located at St. Louis. See art. *Ham, Albert (b. England, 1858), since 1897 has been a prominent organist, conductor and composer in Toronto. See art. *Hambourg, Mark (b. Russia, 1879), the noted pianist, has made American tours in 1899-1900, 1902-03, 1907-08 and 1915-16. Hamlin, George John (b. Elgin, 111., 1868), a concert-tenor since about 1895, in 1904-06 sang in Europe, and since 1911 has been active in opera and concert in America. See art. *Hein, Karl (b. Schleswig, 1864), having been a 'cellist in Hamburg, from 1891 taught in the German Conservatory, New York, and since 1900, with August Fraemcke, has been its director. Since 1906 they have also con- ducted the New York College of Music. He has published vocal text-books. Heinroth, Charles (b. New York, 1874), studied in New York and Munich, from 1893 was organist in Brooklyn and New York, teaching also at the National Conservatory, and since 1907 has been organist at the Carnegie Institute, Pittsburgh. See art. *Herzog, Sigmund (b. Hungary, 1868), trained as pianist at Vienna, in 1890-94 taught at the German Conservatory in New York, and has since been teacher and ensemble- player. He has edited useful instruction-books and been active in musicians' associations. *Hesselberg, Edouard Gregory (b. Russia, 1870), came to America in 1892, from 1895 taught at Ithaca, N. Y., from 1896 at Denver, from 1900 at Macon, Ga., from 1905 at Nash- ville, Tenn., and since 1912 at Toronto. He has written two orchestral suites, piano- and violin-pieces, etc., and was a contributor to The Art of Music, 1916. Heyman, Katherine Ruth Willoughby (b. Sacramento, Cal., ? ), trained as concert- pianist in both America and Europe, from 1899 toured in the United States, from 1905 was widely heard in Europe, and in 1916 returned to America again. See art. Hill, Edward Burlingame (b. Cambridge, Mass., 1872), graduated from Harvard in 1894, studied there and in Boston, and since 1908 has taught at Harvard, with fine critical work and able composition. See art. Hinckley, Allen Carter (b. Gloucester, Mass., 1877), graduate of the University of Pennsylvania, trained in Philadelphia and New York, after some teaching and conduct- ing, sang from 1901 with the Bostonians, from 1903 in opera in Germany and England, and since 1908 has been prominent in America in opera and concert. Hinshaw, William Wade (b. Union, la., 1867), graduated from Valparaiso University in 1888, studied there and in Chicago, began teaching in 1891, from 1895 was dean at Valparaiso, and since 1899 has been active in the operatic field. See art. Hissem-DeMoss, Mary (b. California, Ky., 1871), having studied at Cincinnati and New York, since 1899 has been a favorite church- and oratorio singer in New York. *Holmberg, Gustaf Fredrik (b. Sweden, 1872), came to America in 1891, graduated in 1899 from Bethany College in Kansas, becoming teacher of violin. Since 1903 he has taught at the University of Oklahoma, in 1909 becoming dean of Fine Arts. See art. *Holmes, Henry (England, 1839-1905, San Francisco), the violinist and composer, from 1894 lived in California. See Vol. ii. 421-2. Homer, Louise Dilworth, nee Beatty (b. Pittsburgh, 1872?), trained as contralto in Philadelphia, Boston and Paris, in 1894 a church-singer in Boston, went to Paris in 1896 with her husband (see below), from 1898 appeared in opera in France and England, from 1900 in New York, and has since been eminent in opera and concert. See art. Homer, Sidney (b. Boston, 1864), studied in Boston, Leipzig and Munich, from 1890 taught in Boston, in 1895 married Louise Beatty (see above), and since 1900 has lived in New York, chiefly as song-composer. See art. Hopkins, Harry Patterson (b. Baltimore, 1873), trained at Baltimore and Prague, since 1899 has been organist in Baltimore and teacher in Washington. He has written two over- tures, two suites, the orchestral fantasy ' The Dreamer,' the chorus ' A Tragedy,' a piano- quintet, piano-pieces and many songs. Hughes, Rupert (b. Lancaster, Mo., 1872), graduated from Adelbert College in 1892, has published songs since 1892, and has been a notable author and critic since 1898, including much outside the field of music. See art. Hugo, John Adam (b. Bridgeport, Conn., 1873), trained at Stuttgart, from 1899 taught in Baltimore, and since 1906 in Bridgeport. He has written the operas ' The Hero of Byzanz ' and ' The Temple Dancer,' a sym- phony, two piano-concertos, a piano-trio, etc. Hyde, Arthur Sewall (Bath, Me., 1875-1920, New York), graduated at Harvard in 1896, was then organist at Immanuel Church in Boston, and from 1905 at St. Bartholomew's in New York, becoming noted as player and choir- 72 CHRONOLOGICAL REGISTER [8: 1890-1900 trainer. He was captain in the war and died from after-effects of being gassed at Cantigny. Jackson, Leonora (b. Boston, 1879), studied in Berlin, appeared as concert-violinist in Germany and other European countries, receiving many distinctions, and from 1900 was for a time active in the United States. Jepson, Harry Benjamin (b. New Haven, Conn., 1870), trained at New Haven and Paris, since 1896 has been instructor in the Yale School of Music and university-organist, as well as concert-organist elsewhere. See art. * Jonas, Alberto (b. Spain, 1868), from 1894 chief piano-teacher at the University of Michigan, from 1898 was head of a school in Detroit, besides making tours as player, in 1904-14 worked in Berlin, and since 1914 has taught in New York. See art. * Jordan, Mary (b. Wales, 1879), early brought to America, studied in Seattle, San Francisco and New York, was a church- singer from about 1892 in Brooklyn and New York and soon in concert as well. In 1911-14 she was contralto in the Boston Opera Com- pany. In 1919 she married C.C. Cresson. Kaufmann, Maurice (b. New York, 1876), studied violin in Newark, Frankfort and Brussels, early became a concert-player, was concertmaster in the Russian and Volpe Orchestras in New York, now in the People's Orchestra, and member of various ensemble- groups, including since 1907 his own Quartet. Keller, Walter (b. Chicago, 1873), trained in Chicago and Leipzig, from 1899 taught at Northwestern University, from 1906 at the Sherwood School in Chicago, of which he became director in 1911, and in 1903-18 was organist at St. Vincent's. See art. *Kinder, Ralph (b. England, 1876), came to America when a boy, studied in Providence and England, from 1898 was organist in Providence, and since 1899 in Philadelphia. He has played extensively elsewhere, conducts three choral societies, directs his own organ- school, and has written many effective organ- pieces, choruses, anthems, songs, etc. Kinkeldey, Otto (b. New York, 1878), graduated from the College of the City of New York in 1898, studied there and in Berlin, from 1898 was organist in New York, from 1903 at the American Church in Berlin, in 1909-14 professor at the University of Breslau, and since 1915 head of the music-division in the New York Public Library. See art. *Klee, Eugen (b. Bavaria, 1869), in 1894 came to Philadelphia as organist and con- ductor of the Sangerbund and other German singing-societies, from 1914 was leader of the Brooklyn Arion, and since 1917 of the New York Liederkranz. *Klengel, Paul K. (b. Saxony, 1854), conductor and since 1908 professor at Leipzig, in 1898-1902 was leader of the Liederkranz in New York. *Koemmenich, Louis (b. Rhine Prov., 1866), came to Brooklyn in 1890 to lead the Sanger- bund, and since then has directed important choral societies in New York and Philadelphia. See art. Kohler, Franz (Clinton, la., 1877-1918, Erie, Pa.), trained as violinist at Weimar and Berlin, from 1898 was in the Pittsburgh Orchestra and the Mendelssohn Trio, from 1911 taught at Oberlin Conservatory, and since 1913 has been conductor of the Sym- phony Orchestra at Erie, Pa. *Korn, Clara Anna, n6e Gerlach (b. Prussia, 1866), brought to America as a child, studied in New York, in 1893-98 taught in the National Conservatory there, and since then in other schools and privately. See art. Kraft, Edwin Arthur (b. New Haven, Conn., 1883), trained at New Haven and Paris, from 1898 was organist in New Haven, in 1901- 03 in Brooklyn, from 1905 at Wheeling, W. Va., from 1907 at Trinity Cathedral, Cleve- land, from 1914 city-organist at Atlanta, and since 1916 again at Cleveland. See art. Kraft, William Jacob (b. New Haven, Conn., 1872), brother of the above, studied at New Haven, where from 1891 he was organist, from 1909 was in public-school work in New York, and since 1912 has been associate professor at Teachers College there. See art. *Krauss, Arnold (b. Rumania, 1866), con- cert-violinist, since 1897 has lived in Los Angeles as player and teacher, lately being concertmaster of the Symphony Orchestra. *Kunits, Luigi von (b. Austria, 1870), from 1893 taught in Chicago, from 1896 was concert- master of the Pittsburgh Orchestra, in 1910-12 taught in Vienna, and since 1912 has been on the staff of the Canadian Academy of Music in Toronto. See art. Kursteiner, Jean Paul (b. Catskill, N. Y., 1864), since 1893 has been instructor at the Ogontz School in Philadelphia and in 1896- 1906 also at the Baldwin School, Bryn Mawr. Since 1906 he has also taught in New York, publishing Essays on Expert Aid to Artistic Piano-Playing. La Flesche, Francis (b. Omaha Reservation, Neb., I860?), while employed in the Bureau of Indian Affairs in Washington, collaborated with Alice C. Fletcher (see above) in A Study of Omaha Music, 1893, besides writing often for scientific journals. Lang, Henry Albert (b. New Orleans, 1854), after study at Stuttgart and Karlsruhe and much experience as pianist, returned to America in 1890, and since 1891 has been a noted teacher and composer in Philadelphia. See art. Lang, Margaret Ruthven (b. Boston, 1867), daughter of B. J. Lang (see sec. 4), was trained in Boston and Munich, and since about 1890 has been mainly occupied with composition in Boston. See Vol. ii. 632, and art. Lehmann, Friedrich J. (b. Cleveland, 1866), studied at Oberlin and Leipzig, since 1902 has been professor of theory in the Oberlin Con- servatory. He has published handbooks on harmony and counterpoint. 8: 1890-1900] CHRONOLOGICAL REGISTER 73 *Le Sueur, Peter (b. Isle of Jersey, 1871), from 1895 organist, teacher and conductor at St. John's, N. F., since 1905 has held similar positions at Erie, Pa., from 1913 at the head of the Erie Conservatory. Lewis, Leo Rich (b. South Woodstock, Vt., 1865), graduated from Tufts College in 1887, studied in Munich, and since 1892 has been instructor at Tufts, at first in French, since 1895 in music. See art. Lichtenstein, Victor (b. St. Louis, 1872), trained as violinist at Leipzig and Brussels, has played in concert since 1895, long conduct- ing the Young People's String Orchestra in St. Louis, leading the Lichtenstein Quartet, teaching and acting as lecturer and critic. Liebling, Leonard (b. New York, 1874), nephew of Emil Liebling (see sec. 5), graduated from the College of the City of New York, studied at Berlin, since 1899 has been critic and librettist in New York, with ' The Musical Courier ' from 1902 and its editor from 1914. See art. Limbert, Frank L. (b. New York, 1866), has lived in Germany since boyhood, studying at Frankfort, Munich, Berlin and Strassburg, and becoming teacher and conductor at Frank- fort, Dlisseldorf and (since 1906) Hanau. For list of works, see Who's Who in Music. Listemann, Franz (b. New York, 1873), son of Bernhard Listemann (see sec. 5), trained as 'cellist at Boston, Leipzig and Berlin, in 1896-97 played in the Pittsburgh Orchestra, and then went to New York as teacher, soloist and member of chamber-music groups. Lockwood, Albert Lewis (b. Troy, N. Y., 1871), studied the piano at Albany, Leipzig, Vienna and Florence, appeared in concert in 1895-96 in Paris and London and in 1896 in New York, toured extensively at home and abroad, and since 1900 has been influential as professor at the University of Michigan. *Longy, Georges (b. France, 1868), after many years' experience as oboist at Paris, in 1898 joined the Boston Symphony Orchestra. In 1900 he founded the Longy Club. See art. Loomis, Harvey Worthington (b. Brooklyn, 1865), after study in New York, since about 1895 has been engaged upon composition, largely in the field of light opera. See art. Loud, John Hermann (b. Weymouth, Mass., 1873) , trained in Boston, Berlin, Paris and Eng- land, has been concert-organist since 1895, also at churches in Springfield, Mass., from 1896, in or near Boston since 1900. He has written organ-music, piano-pieces, anthems, etc. Lovewell, Samuel Harrison (b. Wellesley, Mass., 1865), studied in Boston, from 1891 was organist at Easton, Pa., from 1893 at Georgetown, Ky., from 1896 at Columbia, S. C., from 1898 director at Whitman College, Walla Walla, Wash., from 1906 director of the Quincy (111.) Conservatory, in 1911-12 organist at Jenkintown, Pa., and since 1917 at Taunton, Mass. He has long been editor for C. W. Thompson & Co., Boston. See art. *Malcherek, Karl August (b. Hesse, 1873), from 1899 violinist in the Thomas Orchestra in Chicago, since 1902 has been player and teacher in Pittsburgh, till 1910 in the Pitts- burgh Orchestra and since 1913 in the faculty of the Carnegie Institute of Technology. Manney, Charles Fonteyn (b. Brooklyn, 1872), trained in Boston, since 1898 has been on the editorial staff of the Ditson Company, conductor and composer, chiefly of vocal music. See art. Manning, Edward Betts (b. St. John, N. B., 1874), after studying law in St. John, took up music in New York, later also in Berlin and Paris, from 1897 taught in New York, from 1905 at Oberlin College, from 1908 was music- supervisor in New York, and since 1915 has been instructor in Columbia University. He has written a piano-trio and some other works. Marshall, John Patton (b. Rockport, Mass., 1877), trained in Boston, from 1896 was organ- ist there, and since 1902 has been professor in Boston University. See art. Matlack, Henry William (b. Steubenville, O., 1875), studied at Oberlin, from 1897 was instructor there, in 1901-03 and since 1908 has been teacher of organ and theory at Grin- nell College, besides engagements as organist in Ohio and Iowa. *Mattfeld, Marie, a German operatic mezzo- soprano, since 1896 almost steadily engaged with American opera-troupes, from 1905 at the Metropolitan Opera House, New York. *Matthews, Harry Alexander (b. England, 1879), since 1899 organist and composer in Philadelphia, is best known for several canta- tas, sacred and secular. See art. *Matthews, John Sebastian (b. England, 1870), brother of the preceding, from 1891 organist in Philadelphia, from 1901 at Morris- town, N. J., and since 1916 at Providence. He also has written cantatas, etc. See art. McClellan, John Jasper (b. Payson, Utah, 1874), studied mostly at the University of Michigan, where from 1893 he was organist and conductor, from 1896 taught at Salt Lake City and Provo, Utah, and since 1901 has been professor at the University of Utah and organist at the Tabernacle in Salt Lake City. In 1908 he started the Salt Lake Symphony Orchestra and in 1911 the Utah Conservatory. McConathy, Osbourne (b. Pittspoint, Ky., 1875), trained in Louisville and Boston, since about 1895 has been successful in public- school work, first at Louisville, then at Chelsea, Mass., and latterly on the staff of Northwestern University, Evanston, 111. He has also served as choral conductor and edited many text- books for school-singing. McCutchan, Robert Guy (b. Mountayr, Ia. f 1877), graduated from Park College in Mis- souri in 1898, began teaching in 1899, from 1904 taught at Baker University in Kansas, in 1910-11 studied in Europe, and since 1911 has been dean of music at DePauw University in Indiana. See art. 74 CHRONOLOGICAL REGISTER [8: 1890-1900 McWhood, Leonard Beecher (b. Brooklyn, 1870), graduated from Columbia in 1893, took graduate courses in music and other subjects, in 1897-1910 taught there, also at Vassar College in 1902-07, in 1907-1916 at Drew Theological Seminary, also at Washington in 1910-13 and in the Newark High School in 1913-18, and since 1918 has been music- director at Dartmouth College. See art. Mead, Olive (b. Cambridge, Mass., 1874), trained as violinist in Boston, has appeared in concert from 1898 and in 1904 formed a well- known Quartet. See art. *Middelschulte, Wilhelm (b. Westphalia, 1863), after having been organist in Berlin, came to Chicago in 1891, where he has been eminent as player and composer. See art. *Miersch, Karl Alexander Johannes (Saxony, 1865-1916, Cincinnati), an expert violinist, joined the Boston Symphony Or- chestra in 1892, in 1894-1902 was teaching in Athens or touring, returned to America and from 1910 was professor in the Cincinnati College of Music. *Miersch, Paul Friedrich Theodor (b. Sax- ony, 1868), brother of the preceding and a fine 'cellist, came to New York in 1892, from 1893 playing in the Symphony Society and since 1898 at the Metropolitan Opera House. He has written 'cello-concertos, an ' Indian Rhap- sody ' for orchestra, chamber-music and songs. Miller, Russell King (b. Philadelphia, 1871), trained in Philadelphia and New York, since about 1895 has been noted as organist, teacher and composer in Philadelphia. See art. *Mills, Charles Henry (b. England, 1873), in 1892-93 toured in America as pianist, in 1907-08 taught theory at Syracuse University, from 1908 was professor at the University of Illinois, and since 1914 has been professor at the University of Wisconsin. See art. Mueller, Frederick William (b. Sandusky, O., 1863), studied at Oberlin and Leipzig, from 1891 taught at Knox College, from 1902 was director of the Tarkio Conservatory in Missouri, from 1913 vice-president of Tarkio College, in 1915-16 head of the Northwestern Conservatory, Minneapolis, and since 1916 is director of the Twin City Conservatory there. Neidlinger, William Harold (b. Brooklyn, 1863), trained in New York and London, from 1890 was organist and conductor in Brooklyn, from 1896 taught in London and Paris, from 1898 was an effective singing-teacher in Chicago, specialized in child-psychology and songs for children, and established a school for subnormal children at East Orange, N. J. Besides the comic operas ' Ulysses ' (1901) and ' Sweet Anne Page ' (1903) , and the cantata ' Prayer, Promise and Praise,' he has written many songs, including (from 1900) several favorite sets for children. *Nepomuceno, Alberto (b. Ceard, Brazil, 1864), for many years has been head of the Institute Nacional de Musica in Rio de Janeiro. He is a composer of importance and collector of Brazilian folk-songs. See Who's Who in Music, 1918. Nevin, Arthur Finley (b. Edgeworth, Pa., 1871), brother of Ethelbert W. Nevin (see sec. 7), studied in Boston and Berlin, from 1897 taught in Pittsburgh, in 1903-04 traveled much in the West to study Indian music and legends, in 1910-11 went abroad, then lived at Charlottesville, Va., composing and in 1914 15 conducted at Peterboro, N. H. Since 1915 he has been professor at the University of Kansas. See art. Nielsen, Alice (b. Nashville, Tenn., 1876), trained as operatic soprano in San Francisco, from 1893 sang in light opera, in 1896-98 was with the Bostonians, from 1901 studied in Rome and from 1903 appeared in grand opera as well, since 1906 being connected with various companies in America. In 1892 she married Benjamin Nentwig, organist in Kansas City. *Novacek, Ottokar Eugen (Hungary, 1866-1900, New York), an accomplished violinist and composer, joined the Boston Symphony Orchestra in 1891 and in 1892-99 played in New York. See Vol. iii. 410, and art. Noyes, Edith Rowena (b. Cambridge, Mass., 1875), studied in Boston and since 1895 haa been pianist and teacher there, with European tours in 1899 and 1909, besides considerable composition. See art. *Oberhoffer, Emil (b. Bavaria, 1867), came to America about 1895, from 1897 was con- ductor in St. Paul, and since 1901 in Min- neapolis, where since 1903 he has led the Minneapolis Symphony Orchestra. See art. Getting, William H. (b. Pittsburgh, 1875), trained at Pittsburgh and Berlin, has been a prominent organist and teacher in Pittsburgh since 1897. See art. Oldberg, Arne (b. Youngstown, O., 1874), studied at Chicago, Vienna and Munich, and since 1899 has been professor at Northwestern University and a notable composer. See art. Orem, Preston Ware (b. Philadelphia, ? ), trained in Philadelphia, has been teacher and organist there, and since 1900 editor for the Presser Company. See art. O' Sullivan, Denis (San Francisco, 1868- 1908, Columbus, O.), trained in San Francisco, Florence, London, and Paris, from 1895 was a popular concert- and opera-bass in England and from 1897 in America. See Vol. iii. 571-2. *Otterstrb'm, Thorvald (b. Denmark, 1868), since 1892 has worked as a thoughtful com- poser in Chicago. See art. *0wst, Wilberfoss George (b. England, 1861), since 1893 has been organist in Balti- more, and since 1903 also teacher at the College of Music in Washington, and in 1897-1910 at the Maryland College of Music. He has written the cantata ' The Message of the Winds,' the melodrama ' The White Ship,' church-music and other vocal music. *Pache, Joseph (b. Silesia, 1861), came to America in 1891, for a time was conductor in or near New York, and since 1894 has con- 8: 1890-1900] CHRONOLOGICAL REGISTER 75 ducted the Oratorio Society in Baltimore and other societies. See art. Padelford, Frederick Morgan (b. Haverhill, Mass., 1875), since 1901 professor of English in the University of Washington, while fellow at Yale University published Old English Musical Terms, Bonn, 1899, an exhaustive study from Anglo-Saxon sources, with glossary. *Paderewski, Ignace Jan (b. Russian Po- land, 1860), the great pianist, was a frequent visitor in America from 1891 till 1915, when he forsook the concert-stage for the leadership of the new Polish Republic. See Vol. iii. 587-8, and art. Palliser, Esther (b. Philadelphia, 1872), trained as operatic soprano in Paris, from 1890 appeared in France and England and from about 1895 also in America. She lives in London. *Panizza, Ettore (b. Argentina, 1875), studied at Milan, began operatic conducting at Rome in 1899, in 1907-13 was engaged for Italian operas in London, and since 1916 has been conductor at La Scala, Milan. He has written the operas ' II Fidanzato del Mare ' (1897), ' Medio Evo Latino' (1900) and 'Aurora' (1908), and edited a translation of Berlioz' Instrumentation, 3 vols., 1913. *Pasternack, Josef Alexander (b. Poland, 1881), came to America in 1895, from 1900 played viola at the Metropolitan Opera House, from 1910 conducted Sunday concerts there, in 1913-14 was conductor for the Century Opera Co., and since 19 14 has directed summer opera at Ravinia Park, Chicago. *Paur, Emil (b. Bukovina, 1855), the dis- tinguished violinist and conductor, in 1893-98 was conductor of the Boston Symphony Orchestra, in 1898-1902 of the New York Philharmonic Society and in 1899-1900 at the Metropolitan Opera House as well, in 1904-10 led the Pittsburgh Symphony Or- chestra, and then returned to Berlin. In 1899-1902 he directed the National Conserva- tory in New York. See Vol. iii. 658, and art. Penny, George Barlow (b. Haverstraw, N. Y., 1861), trained in New York and Chicago, from 1890 was dean of Fine Arts in the University of Kansas, from 1903 dean at Washburn College, Topeka, also in 1903-07 city-organist, in 1905-09 director of the Fine Arts Institute and leader of the Oratorio Society, and since 1911 has been in Rochester as^head of the Rochester Conservatory, organist and professor at Rochester University and Theological Seminary. Perkins, David Walton (b. Rome, N. Y., 1847), studied in New York and Berlin, established the Sherwood School in Chicago in 1897, continuing as its head till 1901, and since 1907 lias been president of the Musical College there, besides work as critic. He has published Piano- Technique, piano-pieces and songs, and edited vocal collections. *Peters, Richard Harry (b. England, 1867), was organist and conductor in Canada from about 1890, for ten years led festivals at Spar- tanburg, S. C., which he first organized, and since about 1910 has been organist in Balti- more, besides conducting a choral society in York, Pa. He has written pieces for organ, piano and voice, the cantata ' St. Cecilia's Day ' and the oratorio ' Elisha.' Mus.D. of Toronto University in 1892. Quarles, James Thomas (b. St. Louis, 1877), studied in St. Louis, becoming organist there in 1893, soon establishing himself as an accomplished concert-player and conductor. Since 1913 he has been organist at Cornell University. See art. Rains, Leon (b. New York, 1870), trained at New York and Paris, has been well known as operatic bass since 1897, from 1899 chiefly in connection with the Dresden Court Opera. Ralston, Fanny Marion (b. St. Louis, 1875), trained in St. Louis and Boston, has been teacher and composer since 1896 at St. Louis, in girls' schools in Virginia and Missouri, from 1908 music-director at Rockford College in Illinois, and recently at Wellesley College. She has written for the piano with ability. Raymond, George Lansing (b. Chicago, 1839), in 1893-1905 professor of aesthetics at Princeton University, ] has published a striking series of books upon the nature and relations of the fine arts, including Rhythm and Harmony in Poetry and Music, 1895, which, with parts of other writings, displays an original and profound grasp of musical philosophy. Read, Angelo McCallum (b. near St. Catherine's, Ont., 1854), trained at Leipzig and Vienna, since 1894 has been teacher, con- ductor and composer at Buffalo. See art. Redman, Harry Newton (b. Mt. Carmel, 111., 1869), studied in Boston, and since 1897 has been harmony-teacher at the New England Conservatory. He has written two string- quartets, two violin-sonatas, piano-pieces, songs, etc. Reed, Frank LeFevre (b. Richmond, Ind., 1871), trained at Ithaca, Cincinnati and New York, after teaching at Fremont, Neb., and at Ithaca, from 1906 was at the Pennsylvania College of Music, Meadville, Pa., and since 1913 has been professor at the University of Texas, also conducting the municipal chorus and orchestra of Austin. He has written orchestral pieces for pageants held at Austin, Tex., and Auburn, N. Y., respectively. *Remy, Alfred (b. Rhine Prov., 1870), came to New York in youth, graduated from the College of the City of New York in 1890, later pursuing musical studies, from 1895 was teacher and critic, and since 1901 has done much editorial work of superior quality. See art. Renwick, Llewellyn Laraway (b. Ann Arbor, Mich., 1876), studied at Ann Arbor and Paris, from 1898 was organist and teacher at Ann Arbor, from 1903 organist of the American Church in Paris, and since 1906 has taught at the Detroit Conservatory. 76 CHRONOLOGICAL REGISTER [8: 1890-1900 Reynolds, Walter Guernsey (b. Tioga, Pa., 1873), studied at Mansfield, Pa., and in Paris, began teaching in 1890, from 1893 was organist at St. Paul, in 1897-99 at Chippewa Falls, Wis., from 1901 director at Doane College in Nebraska, from 1905 organist at Tacoma, also from 1906 professor at Whitworth College and choral conductor, and since 1912 has been organist in Seattle. He has written vocal and organ-music. Riemenschneider, Albert (b. Berea, O., 1878), trained at Vienna and Paris, since 1898 has been head of the music-department of Baldwin-Wallace College in Berea and also organist and conductor in Cleveland, besides touring as concert-organist. Robinson, Franklin Whitman (b. New York, 1875) , graduated from the College of the City of New York, studied music in New York and became organist there. Since 1908 he has taught at the Institute of Musical Art, de- veloping a novel system of ear-training, be- sides in 1904-17 being organist in Philadelphia. See art. *Roeder, Martin (Prussia, 1851-1895, Bos- ton) , the noted conductor and composer, from 1892 taught singing at the New England Con- servatory in Boston. See Baker, Diet, of Musicians, p. 776. Rogers, Francis (b. Roxbury, Mass., 1870), graduated from Harvard in 1891, studied in Boston, New York, Florence and Paris, and since 1898 has been a popular concert-baritone, occasionally appearing in opera. He has pub- lished Some Famous Singers of the 19th Cen- tury, 1915. He lives in New York. Royer, Clarence DeVaux (b. Lancaster, Pa., 1874-1919, Lancaster), trained as violinist in Philadelphia, Berlin and Brussels, in 1897 made his debut in Paris, toured extensively on the Continent and then in the United States, has taught in Canada, at Raleigh, N. C., Ithaca, N. Y., and since 1910 at the New York School of Music and Art. See art. *Saar, Louis Victor Franz (b. Holland, 1868), from 1894 was accompanist at the Metropoli- tan Opera House in New York, from 1896 theory-teacher at the National Conservatory, from 1898 at the College of Music, besides much work as critic and composer, from 1906 at the Cincinnati College of Music, and since 1917 at the Chicago Musical College. See art. *Sabin, Wallace Arthur (b. England, 1869), after much experience as organist in England, since 1894 has been a prominent player at San Francisco. See art. Salmon, Alvah Glover (Southold, N. Y., 1868-1917, Boston), trained as pianist in Boston, New York, Germany and Russia, from about 1895 toured in the United States, specializing in Russian music. Sanderson, Lillian (b. Sheboygan, Wis., 1867), studied mainly at Frankfort, from 1890 appeared as concert-soprano throughout Europe, in 1899 married the painter Richard Muller in Dresden and has since lived there. *Sansone, Errico (b. Italy, 1859), after long experience in Italy as violinist, conductor and composer, about 1890 came to Chicago, taught at the Chicago Conservatory and the Balatka Academy, was for a time concert- master of the St. Paul Orchestra, and has played much in chamber-ensembles. See art. *Saslavsky, Alexander (b. Russia, 1876), in 1893 toured in Canada as violinist, joined the New York Symphony Orchestra, becoming concertmaster in 1903, was active in 1904 in the formation of the Russian Symphony Orchestra, since 1907 has led his own Quartet, and has toured extensively. See art. Savage, Henry Wilson (b. Boston, I860?), a successful real-estate dealer in Boston, since about 1895 has been notable as the efficient promoter of enterprises for giving opera in English throughout the United States. See art. *Scharwenka, Ludwig Philipp (Posen, 1847- 1918, Prussia), the distinguished composer, in 1891-92 was associated with his brother (see sec. 6) in the latter's Conservatory in New York. See Vol. iv. 248-9, and art. *Scheel, Fritz (Liibeck, 1852-1907, Phila- delphia), from 1869 conductor in Germany, in 1893-94 was orchestral conductor in Chicago, in 1895-98 in San Francisco, and then in Philadelphia, after 1900 being leader of the Philadelphia Orchestra. See art. Schenuit, Alfons William (b. Pittsburgh, 1864), studied in Baltimore and Philadelphia, and since 1892 has been organist of the Balti- more Cathedral and from 1897 founder and director of the Maryland College of Music. *Schoettle, Gustav (b. Wurtemberg, 1877), from 1894 taught in Kansas City and directed choral societies, from 1910 was professor at the State University of Iowa, in 1914-16 organized and led the Des Moines Orchestra, in 1916-17 taught at Mitchell, S. D., and since 1917 has been director of the Northwestern Conservatory at Minneapolis. Schofield, Robert LeRoy (b. Northfield, Minn., 1876), trained at Minneapolis, Phila- delphia, New York and Paris, from 1891 taught in Minnesota, from 1901 at the Stetson University in Florida, from 1903 in Phila- delphia, from 1906 at Whitman College, and since 1911 has been organist and director at Seattle and Tacoma. *Schroeder, Alwin (b. Saxony, 1855), the eminent 'cellist, joined the Boston Symphony Orchestra and the Kneisel Quartet in 1891, in 1907-08 was in Frankfort, in 1910-12 in the Hess-Schroeder Quartet, and since 1915 in the Margulies Trio and the Boston String Quartet. See art. *Schuecker, Edmund (Austria, 1860-1911, Rhine Prov.), the superior harpist, brother of Heinrich Schuecker (see sec. 7), in 1891-1900 played in the Thomas Orchestra in Chicago, in 1903-04 in the Pittsburgh Orchestra, in 1904-09 in the Philadelphia Orchestra, and in 1909-10 at the Metropolitan Opera House. See Baker, Diet, of Musicians, pp. 846-7. 8: 1890-1900] CHRONOLOGICAL REGISTER 77 *Schumann-Heink, Ernestine, nee Rossler (b. Bohemia, 1861), the famous operatic soprano, since 1898 has been almost con- tinuously active on the stage and in concert in America. See Vol. iv. 383-4, and art. Schwartz, George Foss (b. Cincinnati, 1872), graduated from Wooster University in 1895, studied at Cincinnati, Boston and Leipzig, from 1895 taught in New York, California and Ohio, and since 1902 has been at the Uni- versity of Illinois. He has written church- music and instruction-books in harmony. *Scotti, Antonio (b. Italy, 1866), the eminent opera-baritone, since 1899 has sung regularly at the Metropolitan Opera House. From 1890 he had previously been heard in South America. See Vol. v. 666, and art. *Seashore, Carl Emil (b. Sweden, 1866), graduated from Gustavus Adolphus College in 1891, took graduate study at Yale Uni- versity (from 1895 assistant in the psycholog- ical laboratory), and since 1897 has been at the State University of Iowa, becoming dean of the Graduate College in 1908. See art. Semmann, Liborius (b. Graf ton, Wis., 1873), studied in Milwaukee, and since 1896 has taught there, from 1899 in the Wisconsin Conservatory and since 1911 in Marquette University, where he is dean of music. He has been active in music-teachers' associations and in 1915 founded an association of presidents of such bodies. *Severn, Edmund (b. England, 1862), brought to America as a child, trained in Boston and Berlin, from 1890 was violinist in Hartford, Conn., and Springfield, Mass., also conductor of choral societies in Westfield and Warren, Mass., and since 1897 has been teacher and composer in New York. See art. Sewall, Maud Gilchrist (b. Urbana, O., 1872), trained as violinist abroad, self-taught in or- gan and theory, since 1896 has been organist in Washington, giving many lecture-recitals. Shapleigh, Bertram (b. Boston, 1871), studied in Boston, not confining himself to music, in 1898-1915 lived in England, engaged in composition and critical work, and now lives in New York. See art. Shepherd, Arthur (b. Paris, Ida., 1880), studied in Boston, from 1897 was teacher and conductor in Salt Lake City, and since 1908 has been in the faculty of the New England Conservatory in Boston. See art. Singleton, Esther (b. Baltimore, ? ), has published a variety of popular handbooks in many fields, including A Guide to the Opera, 1899, 1909, The Orchestra and its Instruments, 1917, translations from Lavignac under the titles The Music-Dramas of Richard Wagner, 1898, and Musical Education, 1903, and wrote on American music for Lavignac's Encyclo- pedic de la Musique, 1915. Skilton, Charles Sanford (b. Northampton, Mass., 1868), graduated from Yale in 1889, studied in New York and Berlin, from 1893 was teacher and conductor at Salem, N. C., from 1897 at the State Normal School, Tren- ton, N. J., and since 1903 has been professor at the University of Kansas, until 1915 being dean of the School of Fine Arts. See art. Sleeper, Henry Dike (b. Patten, Me., 1865), studied mainly in Boston, from 1891 taught at Beloit College, in 1894-95 at Georgetown, Ky., from 1895 at the University of Wisconsin, and since 1898 has been professor at Smith College (director from 1904) . See art. Sohn, Joseph (b. New York, 1867), gradu- ated from the College of the City of New York, studied at Berlin, has been long a writer on musical subjects in New York and piano- teacher at the Metropolitan College of Music. He has published Robert Schumann, 1896, Lessons of the Opera, 1903, Music in America and Abroad, 1904, Joseph Joachim, 1904, Opera in New York, 1907, The Mission of Richard Wagner, 1910, besides many articles. Sonneck, Oscar George Theodore (b. Jersey City, 1873), received his whole educa- tion in Germany, studying music at Munich and Frankfort, began research-work in Ger- many and Italy, from 1902 was head of the Music Division of the Library of Congress, becoming famous as a musicologist, and since 1917 has been with the Schirmer publishing- house in New York, editing 'The Musical Quarterly' from 1915. See art. Spargur, John Mitchell (b. Cincinnati, 1879), a violinist from boyhood, from 1894 was con- ductor for the Ben Greet Players, from 1901 played in the New York Philharmonic and Russian Orchestras, and in 1911 founded the Philharmonic Orchestra at Seattle. Speaks, Oley (b. Canal Winchester, O., 1876), trained in New York, since 1898 has been known there as a church- and concert-bar- itone and composer of effective songs. Spencer, Allen Hervey (b. Fairhaven, Vt., 1870), studied in Rochester and Chicago and since 1892 has taught at the American Con- servatory in Chicago, appearing extensively as concert-pianist. See art. *Spielter, Hermann (b. Bremen, 1860) from 1894 was conductor of the Beethoven Mannerchor in New York, in 1897-1911 theory-teacher at the College of Music, and since 1915 at the Von Ende School. He has written the operetta Die Rajahsbraut (1910), many cantatas and choruses, instrumental works, etc. For list, see Baker, Diet, of Musicians, p. 894. Spiering, Theodore (b. St. Louis, 1871), trained as violinist in St. Louis, Cincinnati and Berlin, in 1892-96 played in the Thomas Orchestra in Chicago, in 1893-1905 toured with his own Quartet, in 1898-1905 taught at the Chicago Conservatory, his own school and the Chicago Musical College, in 1906-09 and 1911-14 was teaching and touring in Europe, in 1909-11 was concertmaster of the New York Philharmonic Society and its conductor in 1911 (taking Mahler's place), and since 1914 has taught in New York. See art. 78 CHRONOLOGICAL REGISTER [8: 1890-1900 Spross, Charles Gilbert (b. Poughkeepsie, N. Y., 1874), studied at Poughkeepsie and New York, has been organist since 1891 in Poughkeepsie, Paterson, N. J., and New York, and is an eminent accompanist. See art. Spry, Walter (b. Chicago, 1868), trained at Chicago, Vienna, Berlin and Paris, from 1897 was director of the Quincy (111.) Conservatory, from 1900 editor of Summy's ' Music Review,' in 1905-17 head of his own school in Chicago, and is now teacher in the Columbia School there. See art. *Stahlberg, Frederick (b. Prussia, 1877), the violinist, in 1899 joined the Pittsburgh Or- chestra, and since 1908 has been in the New York Philharmonic Society, from 1912 as- sistant-conductor. He has written an opera, two symphonies, several orchestral suites, etc. *Stasny, Karl Richard (b. Hesse, 1855), after much experience as pianist and teacher, since 1891 has been on the staff of the New England Conservatory in Boston. Stebbins, George Waring (b. East Carlton, N. Y., 1869), trained in Brooklyn, New York, Paris and London, since 1893 has been organist, conductor and teacher in Brooklyn. See art. *Steindel, Bruno (b. Saxony, 1866), having been 'cellist in Berlin, in 1892-1918 was first 'cellist in the Chicago Orchestra. *Stock, Frederick A. [Friedrich Wilhelm August] (b. Rhine Prov., 1872), since 1895 has been in the Chicago Orchestra, first as violinist, from 1901 as assistant to Thomas, and since 1905 his successor as conductor. See Vol. iv. 698, and art. Stoeckel, Carl (b. New Haven, Conn., 1858), son of G. J. Stoeckel (see sec. 4), since 1899 has been patron of the festivals at Nor- folk, Conn., of the Litchfield County Choral Union. Strong, Susan (b. Brooklyn, 1875?), trained as opera-soprano in New York and London, in 1895-96 appeared abroad, from 1896 in New York, and since 1900 has sung in London. *Strube, Gustav (b. Anhalt, 1867), in 1890 joined the Boston Symphony Orchestra as violinist, acting also as conductor there and in Worcester, and since 1913 has taught com- position at the Peabody Conservatory in Baltimore and since 1916 has conducted the Baltimore Orchestra. See art. Sutro, Rose Laura (b. Baltimore, 1870) and Sutro, Ottilie (b. Baltimore 1872), trained as pianists in Baltimore and Berlin, since 1893 have been noted for two-piano performances, first in Germany and England, from 1894 in America, and in 1910-15 in Europe again. See Baker, Diet, of Musicians, p. 929. Swift, Samuel (Newark, N. J., 1873-1914, New York), graduated from the University of Pennsylvania in 1894, from 1891 was organist in Wilmington, Del., and from 1894 critic and editor in New York. See art. *Szumowska, Antoinette (b. Poland, 1868), the concert-pianist, first appeared in Boston and New York in 1895, in 1896 married Josef Adamowski (see sec. 7) and with him and his brother (see sec. 6) formed the Adamowski Trio, with headquarters in Boston. See art. Talbot, Howard [last name originally Mun- kittrick] (b. Yonkers, N. Y., 1865), has lived in England since childhood, developing from 1894 into a successful composer of comic operettas. For list see Baker, Diet, of Mu- sicians, p. 931. *Theodorini, Helena (b. Rumania, 1862), the operatic soprano, was visiting artist in Buenos Aires and Rio de Janeiro before 1900, about 1910 settled in the former as teacher, and since 1916 has lived in New York. Thompson, John Winter (b. Leland, Mich., 1867), trained at Oberlin and Leipzig, since 1890 has been teacher of organ and theory at Knox College, Galesburg, 111. He has pub- lished anthems and organ-pieces. Mus. D. of Knox College in 1909. *Towers, John (b. England, 1836), from 1890 was organist and teacher in Indianapolis, from 1892 at the Utica Conservatory, from about 1895 in New York, from 1904 at the Forest Park University and the Kroeger School in St. Louis, and since 1915 has been in Philadelphia. He has published a cata- logue of 28,000 operas (1910). "Troostwyk, Isidore (b. Holland, 1862), an expert violinist, came to America in 1890, and since 1895 has taught in the Yale School of Music, becoming concertmaster of the New Haven Orchestra and in 1907 founder of the New Haven String Orchestra. See art. Turner, Arthur Henry (b. Meriden, Conn., 1873), trained as baritone and organist in New York and Paris, has been organist in Meriden and from 1900 in Springfield, Mass., also con- ducting choral clubs, giving recitals and com- posing songs. Tyler, Abram Ray (b. Brooklyn, 1868), trained in New York, from about 1895 was organist there and in Brooklyn, from 1902 was professor at Beloit College in Wisconsin, and since 1911 has been organist at Detroit. He has played often in recital and has written a piano-trio, a violin-sonata, anthems and other choral music. *Valle Riestra, Jose (b. Peru, 1859), trained mainly in London and Paris, has become notable as a composer seeking to preserve themes from Aztec music. Since 1909 he has been professor in the Academia Nacional de Musica in Lima. He has written the operas 'Ollanta' (1901), ' Atahualpa,' 'Las Rosas de Jamaica," a requiem, pieces for orchestra, choruses and songs. Van Dresser, Marcia (b. Memphis, Tenn., 1880), studied in Chicago and later in Munich and Paris, from 1898 sang in light opera and in minor parts in grand opera, from 1904 studied abroad, from 1907 appeared as soprano in many German cities, and since 1914 has been active again in America. Van Hoose, Ellison (b. Murfreesboro, Tenn., 1869), trained as operatic tenor at New York, 8: 1800-1900] CHRONOLOGICAL REGISTER 79 Paris, Rome and London, has appeared widely in America and Europe since 1897. See art. Virgil, Almon Kincaid, of New York, in 1892 first patented his Practice Clavier, which was widely adopted in America and England as a means of manual training. See Vol. ii. 266. *Volpe, Arnold (b. Russia, 1869), came to New York in 1898, where in 1902 he organized the Young Men's Symphony Orchestra, and since 1910 has led other valuable organiza- tions. See art. Walker, Edyth (b. Hopewell, N. Y., 1870), studied mostly at Dresden, first appeared as operatic contralto in 1895 at Vienna, singing at the Hofoper for several years, from 1903 was at the Metropolitan Opera House in New York, from 1906 sang chiefly at Berlin and Hamburg, and since 1912 at Munich. Ward, Frank Edwin (b. Wysox, Pa., 1872), studied in Washington and New York, from 1891 was organist at Washington, in 1900-05 at Rye, N. Y., in 1902-13 at Columbia Uni- versity, and since 1906 at Holy Trinity, New York. See art. Watt, Charles E. (b. Lima, O., ? ), studied in Chicago, in 1894 founded the Chicago Piano College and in 1908 the periodical ' Music News,' of which he is proprietor and editor. *Weidig, Adolf (b. Hamburg, 1867), in 1892 came as violinist in the Chicago Symphony Orchestra and viola in the Spiering Quartet. Since 1898 he has been one of the managers of the American Conservatory and a fertile composer. See art. *Weisbach, Harry (b. Russia, 1886), brought to New York as a child, played in public in 1896, studied in New York, Brussels and Berlin, toured in Europe and America, and since 1912 has been concertmaster of the Chicago Symphony Orchestra. *Wetzler, Hermann Hans (b. Hesse, 1870), came to New York in 1892, from 1897 was organist of Trinity Church, from 1902 gave orchestral concerts, and since 1905 has been conductor and composer in Germany. See art. Whitmer, Thomas Carl (b. Altoona, Pa. r 1873), studied in Philadelphia and New York, in 1898-99 was organist at Harrisburg, from 1899 taught at Stephens College in Missouri, from 1909 at the College for Women in Pitts- burgh, from 1916 at the Pittsburgh Musical Institute, and since 1919 privately. See art. Whittlesey, Walter R. (b. Hartford, Conn., 1861), from the opening of the new building of the Library of Congress in 1897 had charge of organizing the Music Division, after 1902 was Sonneck's assistant, and since 1917 has been acting as his successor. They collabo- rated on The First Editions of Stephen C. Foster, 1915, and he has also written Music in the South, 1860-69, and Negro Music, not yet published. Williams, Harry Evan (Mineral Ridge, O., 1867-1918, Akron, O.), studied in Cleveland, from 1891 appeared as concert-tenor, and speedily became famous. See art. Witherspoon, Herbert (b. Buffalo, 1873), graduated from Yale in 1895, studied there and later in New York, Paris, London and Berlin, has been noted since 1897 as a concert- bass and since 1898 also in opera, in 1908-16 at the Metropolitan Opera House. *Wrightson, Herbert James (b. England, 1869), came to Chicago in 1897 as teacher and critic, in 1908-09 taught at the Philadelphia Musical Academy, and in 1911-14 at the Sher- wood Music School in Chicago. He has written four organ-sonatas, an organ-concerto, a violin-sonata, piano-pieces, songs, etc. York, Francis Lodowick (b. Ontonagon, Mich., 1861), graduated from the University of Michigan' in 1882, studied music there, at Detroit and in Paris, from 1892 taught at the University of Michigan, from 1896 at the State Normal School, Ypsilanti, and since 1902 has been head of the Detroit Conservatory and organist. See art. Zahm, John Augustine (b. New Lexington, O., 1851), a member of the Order of the Holy Cross (designated to scientific studies), while professor of physics at the University of Notre Dame published Sound and Music, 1892, a notably clear and comprehensive handbook of musical acoustics. For other works, see Who's Who in America. Zay, William Henri (b. Findlay, O., 1869), studied at Cleveland and later at London, from 1890 taught singing at Cleveland, from 1895 was in London as voice-specialist, and since 1917 has been in New York. He has published The Practical Psychology of Voice and of Life, 1918, and has written many songs. Zeckwer, Camille (b. Philadelphia, 1875), son of Richard Zeckwer (see sec. 6), studied in Philadelphia, New York and Berlin, and since before 1900 has been a noted pianist, teacher and composer in Philadelphia. See art. 80 HISTORICAL INTRODUCTION THE OPENING OF THE TWENTIETH CENTURY It may seem that there is no evident reasok for breaking into two parts the half-century between the end of the Civil War in 1865 and the outbreak of the World War in 1914. During this half-century the United States and Canada moved forward continuously along lines of development that did not essentially change except in momentum and acceleration. Because of this apparent con- tinuity certain statements in earlier paragraphs were allowed to range across the hypothetical line dividing the 19th from the 20th century. But, on the other hand, especially as concerns the United States, the two recent decades are distinct as a historical period. The date 1900 stands out as a convenient landmark for a significant alteration in the world-relations of both the United States and Canada an alteration that brought with it important shifts of internal life and consciousness. From the Civil War onward was a time of national consolidation on an unexampled scale in both countries. After 1900 this became transformed into a time of international outlook and adjustment, also unexampled and as yet of somewhat unpredictable results. Regarding this a few illustrative points may well be cited. On the commercial side it is enough to note that in 1900 for the first time the annual foreign trade of the United States crossed the two-billion mark. In 1910 it was over three billions, in 1913 over four, and in 1919 over ten. The average volume of exports in the twenty years since 1900 has been more than seven times what it was in the twenty years before 1900. Not only has the volume thus ex- panded, but the character of this vast international commerce has become infinitely diversified and its geographical scope has been extended into all corners of the earth. Thus America has recently become linked by the cords of trade, as never before, with all lands and peoples. On the diplomatic side, also, the years just before and after 1900 set the United States into relations with other nations that were unprecedented. In 1898 occurred the brief, but momentous, contest with Spain, leading to the acquisi- tion of the Philippines and Porto Rico and indirectly to that of the Hawaiian Islands. In 1896 had begun the spectacular exploitation of Alaska, and in 1904 the cutting of the Panama Canal was undertaken in earnest (opened to trade in 1914). In 1900-01 came the Boxer Uprising in China and in 1904-05 the Russo- Japanese War, in the progress and settlement of both of which the United States was forced to bear a part. These events, with their political involutions, though mostly located in the region of the Pacific Ocean, really served to push the United States into intimate and vital connection with world-politics and world-tend- encies. a connection that rapidly became closer until crowned in 1917 by its impassioned union with the Allies in their struggle against German imperialism. Thus the opening decades of the 20th century widened the horizon and altered the perspective of America's thought and sentiment beyond anything previously experienced. That all this is to have profound reactions upon its future culture cannot be doubted. THE OPENING OF THE TWENTIETH CENTURY 81 Another aspect of international relationship is suggested by the statistics of immigration. In 1900 the United States proper had a population of about 79 millions, in 1910 about 92 millions, and in 1920 presumably about 105 millions an increase per decade of about 15 per cent. Of this increase immigration supplied a larger proportion than ever before. In 1903-14 the inflow was at the rate of almost a million per year. Seven-eighths of the 14J millions of aliens received in 1900-19 came from eight countries Italy and Austria-Hungary, each nearly 22 per cent ; Russia, 18 per cent ; Great Britain, over 9 per cent ; Canada, about 5 per cent ; Scandinavia, 5 per cent ; Germany, 3^- per cent ; and Greece, about 2-| per cent. The balance of derivation is thus in sharp contrast with all earlier records, the proportion from Italy, Austria and Russia being unexampled. This fact with many lesser points that cannot here be enumerated indicates that America's internationalization since 1900 was not only in external relations, but in internal elements. Its foreign-born population was larger than ever, and the derivation of that population was indefinitely more diversified. It is true that this portentous fact has seemed to many depressing, especially since they feel that just when American society was gaining a wider and nobler vision over the world at large its lower strata were being made heavy and inert, if nothing worse, by the influx of multitudes who were ignorant and clannish, uninspired by anything but greed. In the 19th century it is known that the United States was greatly enriched by the flood of immigration, but this has seemed to some not to be the case with the new flood with which the 20th century began. Acknowledging all the difficulties of assimilation that now exist, however, it is a fair question whether in the long run America is not to be infinitely enriched again by the fresh racial elements that are being poured into its composite life. Particularly is this likely on the side of its imaginative and artistic culture, since the new strains of sentiment and tradition are undoubtedly intensely strong and eager. There are already signs that this recent impulse is to have musical consequences. Here is the appropriate place to remark upon an intricate problem in all Ameri- can history, particularly in its cultural history, namely, the part played by those who are Americans only by migration and adoption. In the field of music it is evident that since about 1840 all progress has been affected often dominated by the influence of those who were foreigners by birth and training. This factor in the historic equation is in America much greater than in any other musical country. It has always been natural for America to welcome the foreigner, whether visitor or settler. When native musicians were few and inexperienced, the coming of seasoned artists from abroad was in every way fruitful. So many of them proved teachers and leaders of power that a tradition formed itself that the places of most distinction, the ranks of organizations like orchestras and opera- companies, and, of course, the items upon standard programs for performance, should all be given to them. Inspection of the lists given in the middle sections of the Chronological Register accompanying this Introduction suggests ample reason why this tradition should have become established. Later sections of the Register indicate how the proportion and importance of native musicians have 82 HISTORICAL INTRODUCTION steadily increased. In view of this advance the persistence of the old tradition in favor of music and musicians from overseas has since 1900 become increasingly unfortunate. It needs to be remembered, however, that alien-born musicians are not all of one class. Some of them, no doubt, are mere visitors even when they prolong their stay for several years transient exploiters of this among many fields of professional e"clat and profit. Again, some settle permanently, and even acquire technical citizenship, without really losing their exotic quality especially in the larger cities so that, though they are in America, they are not properly of it. But the larger number in their transplanting become so firmly rooted and acclimated that they are not essentially diverse from many native-born musicians who have had training abroad. They must be counted as in a sense true Ameri- cans, just as the settlers of the 18th century were. Many of them at the time of their coming are either older than their immediate American associates or have had experience of more breadth and intensity. Hence, so far as they are artists of a 'picked' class, it is not strange that they step into prominence. In every period the inclusion of such forces in the totality of American musical life is all to the good, even though they add to the complexity of its cosmopolitan character. Since before 1850 American students have tended to seek much of their pro- fessional training in Europe. Thus the American response to the opening of the Leipzig Conservatory was notably hearty, as later to the beckoning of other Ger- man schools. Still later Paris, London, Vienna and certain Italian cities were also sought. Thus grew up a tradition of the necessity of foreign study if one were to be a master. The force of this has now been much diminished, owing to the obvious excellence of educational advantages at home. At least, it no longer works hardship. But while it lasted, like the other tradition about the superiority of foreign-born artists, it played its part in keeping the standards and trend of music in America singularly cosmopolitan not strictly indigenous, but com- piled from many sources. Here comes in a question that has been more urgent since 1900 than before the question as to an American 'type' or 'school' of composition. The question is by no means new, but its serious discussion is comparatively recent. The claim has been pressed that here, as in many other countries, a ' national ' type should rest upon something in the nature of folk-music. Among several possible illustrations of such music two have been specially considered. On the one hand, the songs of the Negroes of the South have been empha- sized. Thoughtful attention to these began at the time of the Civil War and es- pecially about 1870, when the original 'Jubilee Singers' were heard at home and abroad. Of course, the picturesque sentiment in such melodies had been felt long before and artistically used, as, for example, by Foster as early as 1845. But in 1885 Negro themes were put to orchestral use by Chadwick and in 1894 more ostentatiously by Dvorak. Since then the latent richness of this vein of melodic and rhythmic ore has been diligently searched out by many composers, with results most interesting and often impressive. THE OPENING OF THE TWENTIETH CENTURY 83 On the other hand, the songs of the Indians of the West have also been em- phasized. Attention to these was first called by the original study of Theodore Baker in 1882 a study which in part inspired the drafting of MacDowell's * Indian Suite' some ten years later. Since 1901 the value of this source has been valiantly upheld by a circle of enthusiasts led by Arthur Farwell. The result is that this vein, too, has been worked with great ability and increasing tangible re- sults. It has the obvious advantage of bringing into view not only tonal patterns, but the literary or dramatic quality inherent in Indian fantasy and legend. Highly characteristic and fascinating as both of these sources undoubtedly are, neither of them is fully expressive of America as a whole, of its cosmopolitan deri- vation, its kaleidoscopic history, or its essentially unique national spirit. Hence there has been more and more an instinctive search for musical means to embody impressions from the physical environment of American life, from the reaction upon the imagination of its historic epochs, from reflections over the motives and traits of its characteristic spiritual nature. It is not unlikely that this last holds special promise for the future. The notes in earlier parts of this Introduction about the growth of cities should now be extended to the time after 1900. Final data from the census of 1920 are not yet available, but the salient facts are clear from the pre- liminary reports that have been made. In 1900 there were in the United States 36 cities with 100,000 inhabitants or more; in 1910 there were 50 such ; and in 1920 there were about 70, with a total estimated population of about 30 millions. It will be useful to name about fifty of them, arranged by sections and with their estimated size in 1920 stated in round thousands : EASTERN STATES CENTRAL STATES Boston, Mass 748 (000) Chicago, 111 2701 (000) Providence, R. I. . . . 238 Detroit, Mich 994 Worcester, Mass. ... 180 Cleveland, 797 New Haven, Conn. . . 163 St. Louis, Mo 773 Bridgeport, Conn. . . 143 Milwaukee, Wis. . . . 457 Hartford, Conn. .... 138 Cincinnati, 401 Springfield, Mass. . . 129 Minneapolis, Minn. . . 380 Kansas City, Mo. . . . 324 Indianapolis, Ind. . . . 314 MIDDLE STATES Toledo O 243 -_ __ , -_ _- /*/-* A O1GQO) Vx * * ^O New York, NY.. . . 5621 Columbus, 237 Philadelphm Pa. . . . 1823 Q p aul Mmn | 235 Baltimore Md. ... 734 Akron, 208 Pittsburgh, Pa. ... 588 Davton O 153 Buffalo N.Y . 507 gSSsSU. Mich. ! .' m Newa^J : : I 4H 8 Youngatown, O. ... 132 Jersey City, N. J. . . 298 WESTERN STATES Rochester, N. Y. . . . 296 Denver, Colo 256 Syracuse, N. Y. . . . 172 Omaha, Neb 192 Scranton, Pa 138 San Antonio, Tex. . . . 161 Paterson, N. J. ... 136 Dallas, Tex 159 Houston, Tex 140 Salt Lake City, Utah . . 130 SOUTHERN STATES New Orleans, La. . . . 387 PACIFIC STATES Louisville, Ky. . . . 235 Los Angeles, Cal. . . . 577 Atlanta, Ga 201 San Francisco, Cal. . . 508 Birmingham, Ala. . . 178 Seattle, Wash 316 Richmond, Va. ... 172 Portland, Ore 258 Memphis, Term. ... 162 Oakland, Cal 216 84 HISTORICAL INTRODUCTION It is not practicable to go into detail as to the ways in which most of these cities are serving as musical centers. Perhaps half of them have more or less permanent orchestras and at least three-quarters of them somewhat competent choral societies. Though but a few as yet have operatic perform- ances, a large majority enjoy regular concert-seasons of some significance. Nearly all boast one or more strong music-schools, and all doubtless con- tain some or many superior teachers. Comparatively few of them fail to provide in their public libraries for the demands of those who would cultivate themselves in musical knowledge through books. The opening of the 20th century brought a striking quickening of effort in the presentation of opera. The Metropolitan Opera House in New York remained the conspicuous center, with the Auditorium in Chicago a good second. From 1900 several efforts were made to establish opera in English through traveling troupes the chief being those of Savage and of the Aborns efforts that have since been continued at intervals and in different forms, though constantly tending to veer off into the more lucrative field of light opera. Much more im- portant was the spectacular undertaking of Hammerstein in 1906 at his Man- hattan Opera House in New York (with branch-efforts in Philadelphia, leading to his Philadelphia Opera House in 1908) to dispute the leadership of the Metro- politan. This competition led in 1908 to the transfer of the Metropolitan to the capable hands of Gatti-Casazza, its present manager, to the erection of the Boston Opera House in 1909 and a determined effort to link New York and Boston operatically, and in 1910 to the restriction of the Hammerstein interest by the Metropolitan. This last step was immediately followed by the formation of the strong and enterprising Chicago Opera Association, which has ever since been foremost as a friendly competitor with the Metropolitan. In 1913-15 an energetic effort was made in New York to set up a fresh center at the Century Opera House. The number of permanent orchestras was rapidly increased. The dates in some cases are not easy to fix precisely, since tentative experiments often preceded positive establishment, but it may be noted that Archer and Herbert began as conductors at Pittsburgh even before 1900, that Scheel was at Philadelphia from 1900, Oberhoffer at Minneapolis from 1903, Altschuler and his Russian Symphony Orchestra at New York from 1904, Zach at St. Louis from 1907, Rothwell at St. Paul from 1908, Stokowski at Cincinnati in 1909 (reorganization), Hadley at Seattle in 1909 and at San Francisco in 1911, Busch at Kansas City from 1910, Gales at Detroit in 1914, Gunn and the American Orchestra at Chicago from 1915, Strube at Baltimore from 1916, etc. These are but varied samples of a movement that now reaches more or less over the whole country. In 1911 the cause of orchestral music was furthered by a princely bequest to the Philharmonic Society of New York, in 1914 by an analogous gift to the New York Symphony Society and in 1915 by another to the Cincinnati Symphony Orchestra these endow- ments following the example already set in Boston and Chicago. The larger orchestras now usually make extended tours each season, so that their influence is spread over a wide area. Most of them also engage, in whole or in part, in a multiplicity of 'festival' undertakings. THE OPENING OF THE TWENTIETH CENTURY 85 The cultivation of chamber-music has grown apace since the Kneisel Quartet led the way in 1886. Among its early successors was the Spiering Quartet of Chi- cago (1893-1905). In 1900 was organized the Longy Club of Boston (wind-in- struments), to which was added in 1910 the parallel Barrere Ensemble of New York. In 1903 it was an American banker who joined the list of great patrons by founding the Flonzaley Quartet, which forthwith became internationally signifi- cant. Among many other organizations of the period may be named the Olive Mead Quartet and the Margulies Trio, both launched in New York in 1904. Among recent additions are the Philharmonic Ensemble of New York (1913), the Kortschak Quartet of Chicago (1915, transformed in 1916 into the Berkshire), the Letz Quartet of New York (1917), etc. In the choral field there has been a steady, though not rapid, multiplication of societies. Perhaps the most striking are those devoted to the production of com- paratively unusual works. The Musical Art Society of New York, which was founded as early as 1893, initiated an interest in historical programs, especially in a cappella form, that has spread to several other cities. Somewhat akin is the Schola Cantorum of New York, which followed in 1908. Two Canadian societies, the Mendelssohn Choir of Toronto (from 1894) and the Elgar Choir of Hamilton (from 1904), have acquired much more than a local reputation through tours in the United States. German, Scandinavian, Welsh and other national choruses have aroused enthusiasm in various parts of the country. To the list of annual festivals there are two striking additions, though very dissimilar in character, namely, that of the Bach Choir at Bethlehem, Pa. (since 1898) and that of the Litchfield County Choral Union at Norfolk, Conn, (since 1902). The Worcester (Mass.) festivals have maintained their position of importance. Among others those at Ann Arbor, Mich., and Evanston, 111., may be named as representative of many that are associated with large educational institutions. Those at Peterboro, N. H., and at Lockport, N. Y., may be cited as specimens of still other classes. After 1900, even more than during the decade before, the influx of visiting artists of every kind from abroad was notable for amount and quality. After 1910, and especially as the cloud of impending war arose, this influx increased, bringing many who probably will remain permanently. In a single year the number of immigrants who are classed as 'musicians' has risen as high as 350. Thus the factor of internationality in American music is at present on the increase. No proper summary can here be made of the advance of technical music- education. The recent period has seen the steady strengthening of the older institutions and the addition of many new ones. Many of those that are com- paratively unpretentious serve a useful purpose for their own circle and region. Some command a clientage from the whole country and even from foreign countries. The Institute of Musical Art in New York, founded in 1905, is perhaps unique in the size of its initial endowment and its policy of administration. In most of the leading conservatories great changes of scope and method have taken place. Almost all of them now provide extensively for the pursuit of dramatic music, for experience in ensemble-playing, for discipline in applied pedagogy, 86 HISTORICAL INTRODUCTION and for other branches not easily accessible in private instruction. All maintain ample demonstrative courses of concerts and recitals. To this recent period belongs the advance of the music-departments in colleges and universities into marked importance. The origin of many of them was far back in an earlier time, but their development on broad lines has mostly come since 1900. The 'state universities as a class, with the colleges for women, have be- come notable for their attention to music as an element in or adjunct to general education. They, like the music-schools generally, have also magnified the pur- suit of music as an occupational preparation. In the public schools music- instruction has not only become much more customary in cities and larger towns, but has been greatly improved in quality, scope and status. Its administration by highly trained supervisors has made it more professional in character. In many cases school-choruses and school-orchestras have reached a remarkable pitch of artistic excellence. Urgent efforts are being put forth to link up private musical study by pupils with their school program and standing by means of some system of credits. The importance of all this is shown by the attention to it given by bodies like the National Education Association and a governmental depart- ment like the Bureau of Education. Musical periodicals have not so much increased in number as gained in dignity, circulation and influence. A capital event in this field was the founding in 1915 of ' The Musical Quarterly/ which is plainly on a much higher level than anything previously attempted in America. In the field of church-music the most influential organization is the American Guild of Organists, founded in 1896, which works through a system of examina- tions to measure and attest the ability of players, and by means of local chapters and frequent services aims to develop and guide enthusiasm. There is also an energetic National Association of Organists, founded in 1908. A singular feature of the period is the prodigious expansion of mechanical ap- pliances for reproducing music. Experiments in this direction were originally made in Europe and somewhat in America long before 1900, but the exploitation of such appliances on a large scale is mostly confined to the last twenty-five years. It is in America that they have been best perfected and most extensively adopted. Their popularity has aroused much discussion. On one hand it is naturally said that they do not usually represent musical effects accurately or adequately, es- pecially in correct intonation, delicacy of nuance and the subtle ptersonal magnetism of the living performer. Yet, on the other hand, it is evident that for many users, especially those of limited opportunity or of uncritical habit of listening, they supply a real means of entrance into the world of musical literature. They have proved of value as adjuncts to technical music-teaching in some forms and stages. The balance between their good and bad possibilities must be struck according to circumstances. It is true that the eagerness for large sales has led many manu- facturers of records, like some publishers of printed music, to flood the market with inferior and even obnoxious material and to stimulate its purchase. Yet remarkably fine records of important works, vocal and instrumental, have been THE OPENING OF THE TWENTIETH CENTURY 87 prepared and their number increases. For those who are minded to use mechani- cal means with discretion and educational design an extensive repertory is avail- able and for its actual presentation all kinds of reproducers are now obtainable in remarkable perfection. This commercial evolution, then, with its hold upon popular attention, must be counted as an important factor in the present situation. Slightly related to this is the extraordinary development of music as an adjunct to moving-picture theaters. In the larger of these organs of both power and delicacy are now common, and the use of them is becoming a specialty among or- gan-players. In a few cases there is also an orchestra of superior quality. It is not yet clear how great an influence this rather sudden development is to have, or along what lines. It is mostly since 1900 that the American-born composer, along with the American-born concert-performer, may be said to have begun to come into his heritage. In recent years works by both the older and the younger groups of composers have begun to be given as never before by orchestras, choral societies, chamber-ensembles, vocal and instrumental soloists, and even the great opera- companies. Recitalists and teachers are giving far more attention to American works, and several publishers are specializing in them. Thus at length the musical public is becoming aware of much that lies ready at its hand. In all this progress the adopted American, also, is receiving his share of recognition. Almost the only direct result of the World War as regards musical matters has been the access of emphasis upon that which represents America and American sentiment. At the same time, however, it must be confessed that the social conditions issuing from the war period are so complicated that it is harder than ever to say precisely what is distinctively 'American. 1 With every succeeding decade compact gen- eralizations as to the national qualities, tendencies and destinies become more difficult and hazardous. Among the younger composers a few names begin to stand out in succession to those named at an earlier point, names like D. G. Mason, Carpenter, Schelling, Campbell-Tipton, D. S. Smith, Fairchild, Cadman, Powell, Clapp and Sowerby. But whether or not these are typical is a question for time and critical judgment to answer. The purpose of this Introduction is not to describe the history of Ameri- can composition or appraise the works or style of even its chief representatives, but simply to indicate the conditions surrounding that evolution and some of the social connections of musical effort. Almost every page of this volume offers data as to the variety and abundance of production, especially during the last half- century. The critical sifting of these data it is perhaps not yet time to attempt. There seems not to be any book that devotes itself to the topics that have been here emphasized the material and social setting or environment of musical and other artistic progress. Yet in the larger histories and in many similar discussions passages or chapters might perhaps be cited to some ad- vantage. Instead of attempting this, however, the following brief list of compact manuals of the history as a whole may be set down : Epochs of American History, 3 vols. ; Farrand, The Development of the United States, 1918; Elson, Sidelights on American History, 2 vols., 1899-1900; Sparks, The Men who Made the Nation, 1900; Muzzey, American History, 1911. 88 CHRONOLOGICAL REGISTER [9 : 1900-1910 CHRONOLOGICAL REGISTER 9. The Opening of the 20th Century 1900-1910 Aborn, Milton (b. Marysville, Cal., 1864), and his brother Sargent Aborn (b. Boston, 1866), active since 1885 as theatrical players or managers, from 1902 managed the Aborn Opera Company, giving opera in English at low prices, and in 1913-15 made a decided success with the Century Opera House in New York. *Alda, Frances [Frances Davis] (b. New Zealand, 1883), having appeared from 1904 as operatic soprano in Europe and South America, since 1908 has been a favorite at the Metropolitan Opera House in New York. In 1910 she married the manager Gatti- Casazza. See art. Aldrich, Mariska (b. Boston, 1881), studied in Paris and London, made her debut as dra- matic soprano in 1908 in New York, and since 1909 has been (except in 1914 at Berlin) at the Metropolitan Opera House. Since 1917 she has been Mrs. W. E. S. Davis. *Altschuler, Modest (b. Russia, 1873), an expert 'cellist, in 1903 organized the Russian Symphony Orchestra, of which he has since been conductor. See art. *Amato, Pasquale (b. Italy, 1878) , the well- known operatic baritone, since 1908 has been at the Metropolitan Opera House. See art. Anderson, Arthur Olaf (b. Newport, R. I., 1880), trained in Boston, Paris, Berlin and Rome, in 1905 began theory-teaching in Berlin, and since 1908 has taught at the American Conservatory in Chicago. See art. *Ara, Ugo (b. Italy, 1876), from 1903 was violist in the Flonzaley Quartet until recalled to Italy by the World War in 1917, his place being taken by Louis Bailly. *d'Archambeau, Ivan (b. Belgium, 1879), since 1903 has been 'cellist in the Flonzaley Quartet. *Arimondi, Vittorio (b. Italy, ? ), the operatic bass, from 1906 sang at the Manhattan Opera House in New York, and since 1910 has been with the Chicago Opera Company. *Audsley, George Ashdown (b. Scotland, 1838), since 1892 an architect in New York, from 1905 has published sumptuous treatises on organ-building. See art. Ayres, Frederic (b. Binghamton, N. Y., 1876), studied in New York and Boston, and since 1901, with some teaching and lecturing, has been engaged on composition, living in Colorado Springs. See art. Barnes, Edward Shippen (b. Seabright, N. J., 1887), studied at the Yale School of Music, from 1909 was assistant University organist, and, after study in Paris, from 1911 was organ- ist in New York, joining the Naval Reserve in 1918-19. See art. Barnhart, Harry Homer (b. 1874), trained as baritone and choral leader in London and Florence, has been successful in organizing and leading large enterprises in community-sing- ing, notably at Rochester and New York. *Barrere, Georges (b. France, 1876), from 1895 a well-known flutist in Paris, since 1905 has been in the New York Symphony Society and teaching at the Institute of Musical Art, besides founding ensemble-groups. See art. *Bauer, Harold (b. England, 1873), from 1893 a distinguished concert-pianist in Europe, since 1900 has been repeatedly and enthusi- astically heard in America. See art. *Becker, Rene Louis (b. Alsace, 1882), from 1904 was teacher and from 1908 organist in St. Louis, from 1912 in Belleville, 111., and since 1915 in Alton, 111. See art. *Beebe, Carolyn (b. Westfield, N. J., ? ), studied piano and ensemble-playing in New York and abroad, made her debut in Berlin in 1903, in 1905-19 taught at the Institute of Musical Art in New York, and since 1914 has been head of the New York Chamber^Music Society. Bellamann, Heinrich Hauer (b. Fulton, Mo., 1882), studied in Paris, and since 1907 has taught at Chicora College for Women, Columbia, S. C., becoming dean of the music- department. See art. *Benedictis, Savino di (b. Brazil, 1883), theorist and composer, has for several years been professor in the Conservatory at Sao Paulo. See art. *Berger, Rudolf (Moravia, 1874-1915, New York), having sung for ten years in Germany as dramatic baritone, in 1907-08 studied in New York, his voice changing to tenor, and in 1914-15 sang at the Metropolitan Opera House. In 1913 he married the soprano Marie Rappold (see below). Bergh, Arthur (b. St. Paul, 1882), from 1903 was violinist in the Symphony Society in New York and at the Metropolitan Opera House, and in 1911-14 conducted municipal concerts. See art. *Betti, Adolf o (b. Italy, 1875), since 1903 has been first violin in the Flonzaley Quartet. Biggs, Richard Keys (b. Glendale, O., 1886), trained in Cincinnati and London, since 1908 has been organist in Cincinnati, Detroit, Cleve- land and Brooklyn, with much recital-playing. Bingham, Walter Van Dyke (b. Swan Lake, Ia. f 1880), graduated from Beloit College in 1901, from 1908 was instructor in psychology in Columbia University, from 1910 professor at Dartmouth College, and since 1915 has been at the Carnegie Institute of Technology, Pittsburgh. He has written articles (' Psy- chological Review ') upon physiological psy- chology in relation to music, and Studies in Melody, 1910. Birge, Edward Bailey (b. Florence, Mass., 1868), graduated from Brown University in 1891, studied music in Providence and New 9: 1900-1910] CHRONOLOGICAL REGISTER 89 Haven, since 1901 has been director of music in the Indianapolis public schools, since 1908 also superintendent of the American Institute of Normal Methods and since 1910 conductor of the People's Chorus. He has written a concert-overture (1904), a children's cantata, and much school-music. Bliss, Philip Paul (b. Chicago, 1872), son of P. P. Bliss (see sec. 5), graduated from Princeton in 1894, was trained as organist in Philadelphia and Paris, from 1900 taught at Owego, N. Y., and since 1904 has been in editorial work in Cincinnati. See art. *Blum, Elias (b. Hungary, 1881), came to Boston as a boy, studied there and at Weimar, from 1905 was organist and tenor in Boston, from 1909 music-director at Whitman College, Walla Walla, Wash., and since 1917 has taught at Grinnell College in Iowa. See art. Bond, Carrie, nee Jacobs (b. Janesville, Wis., 1862), since 1903 has been noted as poet- composer in Chicago of many very popular songs, published at the Bond Shop (Carrie Jacobs-Bond & Son) . Bornschein, Franz Carl (b. Baltimore, 1879), studied in Baltimore, and since 1905 has been teacher and conductor in the Peabody Con- servatory there and also leader of choral socie- ties elsewhere. See art. Braham, Herbert J. (b. Brooklyn, 1885), trained in London and Leipzig, from 1905 was with the Savage Opera Company, and since 1907 has been conductor of the Brooklyn Symphony Orchestra, the Brooklyn Orchestral Society and other organizations. He has written two light operas. Branscombe, Gena (b. Picton, Ont., 1881), studied at Chicago and later at Berlin, from 1900 taught at the Chicago Musical College, in 1907-09 at Whitman College in Walla Walla, and since 1910 (as Mrs. John F. Tenney) has lived in New York as composer. See art. *Bressler-Gianoli, Clotilde (Switzerland, 1875-1912, Switzerland), a brilliant stage- soprano, sang with the San Carlo Opera Company in New Orleans and New York from 1906, at the Metropolitan Opera House in 1909-10, and with the Philadelphia-Chicago Opera Company from 1910. Brosky, Frank J. (b. Pittsburgh, 1883), studied at Leipzig and Prague, appeared as concert-violinist at Prague in 1904, played in orchestras there, in Leipzig and Pittsburgh, and since 1910 has had a school in Pittsburgh. *Brounoff, Platon G. (b. Russia, 1863), since 1892 has been lecturer (mainly on Rus- sian music) and conductor in New York. See art. *Buchhalter, Simon (b. Russia, 1881), since 1905 has made tours as pianist in America, in 1907 taught at the Wichita College of Music, and since 1913 has lived at Chicago. He has written the opera ' A Lovers' Knot ' (1916), the oratorio ' A Drama of Exile,' a setting of Psalm 142, a symphonic overture, piano-pieces and songs. *Buehrer, Geoffrey Carl (b. Switzerland, 1878) trained at Paris and New York, from 1900 was organist and teacher at San Jose, Cal., from 1906 organist at Stanford University, from 1913 in New York, and since 1916 in Baltimore, where he is head of the Associa- tion School of Music. He arranged and con- ducted a musical Passion-Play at Santa Clara three seasons, led the first festival at Stanford University, and has written a string-quartet on the Flight into Egypt, the cantata ' As it Began to Dawn,' etc. Buhlig, Richard (b. Chicago, 1880), studied in Chicago and Vienna, from 1901 toured in Europe as concert-pianist, visiting America in 1907-08, in 1916 came to New York, and since 1918 has taught at the Institute of Musical Art. Buhrman, Thomas Scott Godfrey (b. Waynesboro, Pa., 1887), studied in New York, and since 1909 has been known as an expert concert-organist, specializing in the works of Bach, and as writer on organ-subjects. *Buonamici, Carlo (b. Italy, 1875), besides appearing as concert-pianist, since 1908 has been associated with Felix Fox in the Fox- Buonamici School in Boston. Burleigh, Cecil (b. Wyoming, N. Y., 1885), studied mainly in Berlin and Chicago, from 1907 toured as violinist, from 1909 taught in Denver, from 1911 at Morningside College in Sioux City, and in 1914-19 at the University of Montana. See art. Burlin, Natalie, nee Curtis (b. New York, ? ), studied in New York and several European cities, and since 1905 has published important collections of Indian and Negro songs. See art. Burnham, Thuel (b. Vinton, la., 1884), appeared as a child-pianist from 1890, studied in New York and Vienna, from 1900 toured in England and from 1904 on the Continent, and since 1915 in the United States. *Butcher, Frank Charles (b. England, 1882), from 1898 organist in England, from 1908 taught at the Hoosac School, Hoosick, N. Y., and since 1916 has been organist at St. Stephen's, Pittsfield, Mass. He has written church-music and songs. Cadman, Charles Wakefield (b. Johnstown, Pa., 1881), studied in Pittsburgh, where he was critic, organist and conductor, and since 1906 has specialized in the study of Indian music and its use in highly original composi- tion, from 1910 living in Los Angeles. See art. Calzin, Alfred Lucien (b. Marine City, Mich., 1885), studied in Brussels and Berlin, in 1907-08 toured in Europe as pianist, from 1908 in America, from 1912 taught in Chicago, and since 1916 has been at the Northwestern Conservatory, Minneapolis. He has written and edited music for the piano. Campbell-Tipton, Louis (b. Chicago, 1877), studied mainly in Leipzig, in 1900-01 taught in Chicago, and has since lived in Paris as teacher and composer. See art. 90 CHRONOLOGICAL REGISTER [9: 1900-1910 *Cantu, Agostinho (b. Italy, 1879), for several years has been piano-teacher in the Conservatory of the Capital at Sao Paulo, Brazil. He has written for string-ensemble, besides piano-pieces and songs. Carey, Bruce Anderson (b. Hamilton, Ont., 1877), trained at Hamilton, London, Florence and Munich, since 1904 has been conductor of the famous Elgar Choir of Hamilton. Carpenter, John Alden (b. Park Ridge, 111., 1876), graduated from Harvard in 1897, studied music there and later in Chicago, where he has been active in commercial life, but also fertile in composition. See art. *Carrillo, Julian (b. Mexico, 1875), trained in Mexico City, Leipzig and Ghent, in 1906-07 toured in Mexico as pianist, and from 1907 was connected with the Conservatorio Nacional in Mexico City, becoming its head in 1913, but removing in 1915 to New York. He has composed the operas ' Mathilda' and ' Ossian,' two symphonies, two orchestral suites, a piano- quintet, a string-quartet and sextet, two masses and a Requiem, and published Dis- cursos aobre la Musica, 1913, and Tratado Sintttico de Harmonia, 1913, '15, besides other theoretical works in manuscript. "Casals, Pablo (b. Spain, 1876), the eminent 'cellist, since 1901 has made successful tours in the United States and South America. In 1914 he married the singer Susan Metcalfe. See art. Case, Anna (b. Clinton, N. J., 1889), trained in New York, made her debut as operatic soprano there in 1909, till 1916 sang at the Metropolitan Opera House, turning then to concert-work. See art. *Cavalieri, Lina (b. Italy, 1874), the dramatic soprano, in 1906-07 sang at the Metropolitan Opera House, in 1907-08 at the Manhattan Opera House, and in 1915-16 with the Chicago Opera Company. In 1913 she married the tenor Lucien Muratore (see sec. 10). See art. *Charlier, Marcel (b. Belgium, ? ), hav- ing been opera-conductor in London, from 1906 was assistant-conductor (for French operas) at the Manhattan Opera House, and since 1910 has held a similar position with the Chicago Opera Company. Cheatham, Kitty [Katharine Smiley C.] (b. Nashville, Tenn., ? ), a mezzo-soprano, now living in New York, who has specialized in Negro folk-songs and songs of childhood, giving many recitals in America and abroad. She has published two song-collections. Cisneros, Eleonora de, nee Broadfoot (b. New York, 1880), studied in New York and later in Paris, first appeared as opera- soprano in New York in 1900, in 1901-06 sang in European capitals, and since 1906 has been mainly engaged in America, from 1910 with the Chicago Opera Company. See art. Clapp, Philip Greeley (b. Boston, 1888), graduated from Harvard in 1908, studied there and in Stuttgart, from 1911 taught at Harvard and near Boston, from 1915 was music-director at Dartmouth College, and since 1919 has been professor at the State University of Iowa. See art. Class, Franklin Morris (b. New York, 1881), graduated from Harvard in 1903 and from 1907 a practicing physician, since 1903 has been known as composer and writer. See art. Clemens, Clara (b. Elmira, N. Y., 1871?), daughter of ' Mark Twain,' studied in Hart- ford, Conn., Berlin and Vienna, and since 1906 has appeared in Europe and America as con- cert-contralto. In 1909 she married the pianist and conductor Gabrilovitch. See art. "Clement, Edmond (b. France, 1867), the noted opera-tenor of the Opera-Comique, in 1909-10 sang at the Metropolitan Opera House in New York, and in 1911-13 with the Boston Opera Company. Colburn, George (b. Colton, N. Y., 1878), trained in Chicago, from 1902 taught in the American Conservatory there, besides some conducting after 1913, and since 1915 has been municipal music-director at Winona, Minn. He has composed incidental orchestral music and ' masques,' the symphonic poem ' Spring's Conquest ' (1913), a piano-trio (1909), and a piano-quartet (1915). *Courboin, Charles Marie (b. Belgium, 1886), already noted as a gifted organist, since 1904 has been organist at Oswego, N. Y., and at Syracuse, with stated work also at Springfield, Mass., and in Philadelphia, and many recitals elsewhere. See art. Cowles, Walter Ruel (b. New Haven, Conn., 1881), graduated from Yale in 1906, was trained there and later in Paris, from 1907 taught in Newport, R. I., and since 1911 has been piano-instructor in the Yale School of Music and church-organist. He has written a piano-concerto (1907), a piano-trio (1916), a violin-sonata (1914), music for the Yale Pageant of 1916, etc. Craft, Marcella (b. Indianapolis, 1880), stud- ied in Boston and Milan, from 1902 appeared as operatic soprano at Morbegno and other Italian cities, from 1907 sang at Mainz, Kiel and Munich, and since 1914 in America. See art. Cunningham, Claude (b. Manchester, Va., 1880), studied in New York and Paris, made his debut as concert-baritone in 1903 with Patti on her last American tour, and has since sung with success in oratorio and concert throughout the United States and also in Germany (1908). He has published The World- Spirit and Other Essays, 1916. Curry, Arthur Mansfield (b. 'Chelsea, Mass., 1866), a pupil of Kneisel and MacDowell, became known as composer about 1900, in 1914 taught in Berlin and later at the New England Conservatory in Boston. See art. *Dalmores, Charles (b. France, 1871), an experienced stage-tenor, in 1906-10 sang at the Manhattan Opera House in New York, and since 1910 has been with the Chicago Opera Company. See art. 9: 1900-1910] CHRONOLOGICAL REGISTER 91 *Destinn, Emmy [original name Kittl] (b. Bohemia, 1878), the brilliant operatic soprano, since 1908 has been in the Metro- politan Opera House forces, though retaining her home in Prague. Besides being a gifted actress and singer, she is also novelist and poet. See Baker, Diet, of Musicians, p. 205. *DethierJ Edouard (b. Belgium, 1885), brother of Gaston M. Dethier (see sec. 8), since 1906 has toured extensively in America as concert-violinist and has also taught at the Institute of Musical Art in New York. Dett, R. Nathaniel (b. Drummondville, Que., 1882), trained at Oberlin and New York, first appeared as pianist in 1908, from 1909 was music-director at Lane College in Tennessee, from 1912 at Lincoln Institute in Missouri, and since 1913 at Hampton Institute in Virginia. See art. *Diggle, Roland (b. England, 1885), from 1908 was organist in Canada, from 1911 in Quincy, 111., and since 1914 in Los Angeles, with concert-tours. He has written string- quartets, organ-sonatas, an orchestral ' Fairy Suite,' church-music, piano-pieces and songs. *Dolmetsch, Arnold (b. France, 1858), the expert upon old instruments and their music, in 1902-09 lived in the United States as recitalist, lecturer, and maker of spinets, etc., at the Chickering factory in Boston. Donalda, Pauline [original name Lightstone] (b. Montreal, 1884), trained in Montreal and Paris, in 1904 made her debut as operatic soprano at Nice, appeared at Brussels and London, in 1906-07 sang at the Manhattan Opera House, and has since been mainly engaged at the Opera-Comique in Paris. In 1906 she married the French tenor Seveilhac. Downes, Edwin Olin (b. Evanston, 111., 1886), studied in Boston, and since 1907 has been music-critic on the ' Post ' there, with much lecturing and literary work, and also teaching at Chautauqua in 1913-14. See art. *Drangosch, Ernesto (b. Argentina, 1882), studied at Berlin, toured as pianist, and since 1905 has been head of the Conservatorio in Buenos Aires. *Dufranne, Hector (b. France, ? ), well known in France and England as an opera- tenor, from 1908 sang at the Manhattan Opera House in New York, and since 1910 has been with the Chicago Opera Company, but retains his residence in France. Dunn, James Philip (b. New York, 1884), graduated from the College of the City of New York in 1903, studied music at Columbia University, and has been organist in New York and Jersey City. See art. Durst, Sidney C. (b. Hamilton, O., 1870), trained at Cincinnati and Munich, since about 1903 has taught in Cincinnati, at first at the College of Music, later at the Metropolitan College, besides serving more or less as ac- companist and organist at the May Festivals. He has composed an orchestral suite, cantatas and other vocal music. Edvina, Marie Louise Lucienne, nee Martin (b. Montreal, ? ), studied in Paris, made her debut as operatic soprano in 1908 in London, where she has since sung regularly, and in 1911-13 was with the Boston Opera Company, and since 1915 with the Chicago Opera Com- pany. In 1901 she married Hon. Cecil Ed- wards (whence her stage-name). Edwards, John Harrington (Acton, Mass., 1834-1918?, Seattle), a retired Presbyterian clergyman, then of Brooklyn, published God and Music, 1903, arguing that the being and nature of God are especially exhibited in the facts of tone and the tonal art a novel application of the argument from design. Egg, Arthur Henry (b. Montreal, 1891), studied in Montreal and later in London, in 1909-10 was organist in Montreal, from 1910 in a suburb of London, and since 1913 at Christ Church Cathedral, Montreal. See art. *Elman, Mischa (b. Russia, 1892), the em- inent violinist, since 1908 has made frequent tours in the United States with striking success. See Vol. v. 634, and art. *Evans, Edwin (b. Wales, 1876), educated in Philadelphia, since 1907 has been an effective concert-baritone in oratorio and song-recital, besides teaching in Philadelphia. Evans, Frederick Vance (b. Des Moines, la., 1883), trained in Iowa and Wisconsin, from about 1905 concert-bass and teacher in Des Moines music-schools, and since 1913 has been dean of music at Lawrence College, Appleton, Wis. *Ezerman, D. Hendrik (b. Holland, 1880), since 1901 has been concert-pianist in Phila- delphia, and for some years head of the Philadelphia Conservatory. *Fabri, Ludwig Schmitt (b. Bavaria, 1874), after experience in Germany as opera-tenor and conductor, for several years has been active in Philadelphia, conducting his own Opera School. Fairchild, Blair (b. Belmont, Mass., 1877), studied at Harvard and in Florence, from 1901 was in diplomatic service at Constantinople and Teheran, and since 1905 has lived in Paris, occupied with composition. See art. Farnam, W. Lynnwood (b. Sutton, Que., 1885), trained mostly in London, from 1904 was organist in Montreal, after 1908 at Christ Church Cathedral, in 1913-18 at Emmanuel Church, Boston, and from 1919 in New York. See art. Farrar, Geraldine (b. Melrose, Mass., 1882), studied in Boston, New York, Washington and Paris, was heard in concert in 1895, but made her d6but as opera-soprano in 1901 at Berlin, resulting in immediate engagements there and elsewhere. Since 1906 she has been at the Metropolitan Opera House. See art. Fay, Maude (b. San Francisco, 1883), trained at San Francisco and Dresden, in 1906-15 was soprano at the Hofoper in Munich, besides appearing often elsewhere. Her home is in San Francisco. 92 CHRONOLOGICAL REGISTER [9: 1900-1910 Federlein, Gottfried Heinrich (b. New York, 1883), son of Gottlieb H. Federlein (see sec. 7), studied in New York, and since 1907 has been organist there, giving recitals elsewhere. He has written considerable church-music. *Fiedler, August Max (b. Saxony, 1859), the distinguished pianist and conductor, in 1908-12 was conductor of the Boston Sym- phony Orchestra, returning then to Berlin. *Flodin, Karl (b. Finland, 1858, of German parents), since 1907 has lived as composer and author at Buenos Aires, giving special atten- tion to Finnish music. See art. *Floridia, Pietro (b. Sicily, 1860), came to America in 1904, in 1906-08 taught at the Cincinnati College of Music, and since then has lived in New York as composer and from 1913 conductor of the Italian Symphony Orchestra. See art. Fornia-Labey, Rita, nee Newman (b. San Francisco, 1878), studied in San Francisco and Paris, appeared first as opera-soprano in Germany, from 1906 sang with the Savage Opera Company, and since 1908 has been at the Metropolitan Opera House. See art. Fradkin, Fredric (b. Troy, N. Y., 1892), studied violin in New York and Paris, from 1909 was concertmaster at Bordeaux and Monte Carlo, in 1911 appeared in New York, was then again abroad, from 1914 was con- certmaster in New York, and in 1918-19 with the Boston Symphony Orchestra. See art. *Fraemcke, August (b. Hamburg, 1870), since 1900 has been associated with Karl Hein (see sec. 8) in the management of the German Conservatory in New York and also since 1906 of the New York College of Music. *Friml, Charles Rudolf (b. Bohemia, 1881), accompanied the violinist Kubelik on his Ameri- can tour in 1901 and again in 1906, since then living in New York as composer. See art. Fry singer, J. Frank (b. Hanover, Pa., 1878), studied in Baltimore, New York, Philadelphia and London, began organ-playing when a boy, from 1909 was organist at York, Pa., and also music-director at Hood College, Frederick, Md., from 1911 organist in Lincoln, Neb., and teacher at the University School of Music, and since 1918 has taught at Augus- tana College in Illinois. See art. Fullerton, Robert (b. Dundalk, Ont., 1867), brother of C. A. Fullerton (see sec. 8), trained at Cedar Falls, la., Oberlin, New York, Boston and Florence, in 1901-05 and 1907-11 was vocal teacher at the State Teachers College, Cedar Falls, and since 1914 has been in Minneapolis, from 1916 as head of the Twin City Conservatory. *Gabrilovitch, Ossip Salomonovitch (b. Rus- sia, 1878), an eminent pianist since 1896, from 1900 made repeated tours in the United States, in 1917-18 conducted orchestral concerts in New York, and since 1918 has been conductor of the Detroit Orchestra. See art. *Ganz, Rudolph (b. Switzerland, 1877), the noted pianist, from 1900 taught in the Chicago Musical College, and since 1905 has toured extensively in America and Europe. See art. *Garden, Mary (b. Scotland, 1877), spent her childhood and early youth in the United States, studied for the opera-stage in Paris, making her debut in 1900, returned to sing at the Manhattan Opera House in New York in 1907, and since 1910 has been with the Chicago Opera Company. See art. *Gatti-Casazza, Giulio (b. Italy, 1869), after much experience as impresario in Italy, since 1908 has been the able manager of the Metro- politan Opera House in New York. See art. *Gay, Maria (b. Spain, 1879), the operatic contralto, came to the Metropolitan Opera House in New York in 1908, from 1910 was with the Boston Opera Company, and in 1913-14 was also in the Chicago Opera Com- pany. See art. *Gebhard, Heinrich (b. Rhine Prov., 1878), brought to Boston as a boy, studied there and in Vienna, appeared as concert-pianist in 1900, and has since lived in Boston as a favorite player and teacher. See art. Geer, E. Harold (b. Tabor, la., 1886), grad- uated from Doane College in 1906, studied at Tabor, Oberlin and later Paris, from 1907 taught at Lake Erie College in Ohio, and was also organist in Cleveland, from 1909 was at Albion College in Michigan, in 1911-13 in Paris, from 1913 organist at Fall River, Mass., and since 1916 has been assistant-professor at Vassar College." See art. Gehrkens, Karl Wilson (b. Kelleys Island, O., 1882), graduated from Oberlin College in 1905, studied music there, from 1905 was supervisor in the local high school, and since 1907 has been professor in the Conservatory, specializing in public-school music. See art. *Gerville-Reache, Jeanne (France, 1882- 1915, New York), from 1907 was contralto at the Manhattan Opera House, in 1911-12 with the Chicago Opera Company, and in 1913-14 with the (Canadian) National Grand Opera Company. She also appeared in song-recitals. In 1908 she married G. Gibier-Rabeaud. Gideon, Henry (b. Louisville, Ky., 1877), studied at Harvard and in Paris, and since 1908 has been organist and conductor at Boston, with lecturing, writing and composi- tion. See art. *Gilibert, Charles (France, 1866-1910, New York), a noted opera-baritone at Brussels for many years, won much favor at the Metro- politan Opera House in 1900-03 and at the Manhattan Opera House in 1906-10. He was also gifted as song-interpreter. Oilman, Lawrence (b. Flushing, N. Y., 1878), in journalistic work since 1896, from 1901 was music-critic for ' Harper's Weekly,' and since 1913 has written for ' The North American Review,' besides publishing many valuable books. See art. *Gluck, Alma (b. Rumania, 1886), brought to New York as a child, studied there and later in Berlin, in 1909-12 was highly success- 9: 1900-1910] CHRONOLOGICAL REGISTER 93 ful as soprano at the Metropolitan Opera House, and since then has been engaged in concert- work. In 1914 she married the violin- ist Zimbalist (see sec. 10). See art. *Goldblatt, Maurice Henry (b. Russia, 1883), came to America when a boy, studied in St. Louis, Milwaukee and Chicago, since 1909 has taught violin at the Chicago Musical College, besides being concertmaster of the Philharmonic Orchestra, etc. He has written for the violin, 'cello and orchestra. *Goodrich, Frederick William (b. England, 1867), after much experience in England, since 1904 has been prominent as organist in Port- land, Ore., from 1907 at St. Mary's Cathe- dral. He has written church-music, edited the Oregon Catholic Hymnal, 1912, a List of Approved Church Music, 1912, and articles on Catholic music. *Goritz, Otto (b. Prussia, 1873), the opera- baritone, from 1903 made a fine impression in Wagnerian r61es at the Metropolitan Opera House, but in 1917 became involved in hostile political activity. See Baker, Diet, of Mu- sicians, pp. 324-5. Grasse, Edwin (b. New York, 1884), studied in New York and Brussels, appeared as violinist in Berlin in 1902 and since 1903 has been much heard in concert in New York and elsewhere. See art. Griffes, Charles Tomlinson (b. Elmira, N. Y., 1884-1920, New York), 'studied in El- mira and Berlin, taught for a time in Berlin, and from 1907 was teacher and composer in New York. See art. Grimm, Carl Hugo (b. Zanesville, O., 1890), son of Carl W. Grimm (see sec. 8), trained in Cincinnati, has since 1905 been teacher and organist there. See art. Griswold, Putnam (Minneapolis, 1875-1914, New York), after study at London, Paris, Frankfort and Berlin, made his debut as opera- bass in London in 1901, in 1904-05 was with the Savage Opera Company, from 1906 sang in Berlin, and from 1911 was at the Metro- politan Opera House in New York, especially excelling in Wagner's works. See art. *Guttman-Rice, Melanie (b. Austria, 1873), in 1904-07 taught in the Metropolitan School of Opera in New York, and since 1905 at the Master School of Music, Brooklyn, becoming its head in 1913. *Hagemann, Richard (b. Holland, 1882), having been conductor at Amsterdam, in 1906-07 toured in America with Yvette Guilbert and Macmillen, and since 1907 has been one of the conductors at the Metro- politan Opera House, as well as since 1916 in the summer at Ravinia Park, Chicago, and in 1918 for the Society of American Singers. *Haile, Eugen (b. Wiirtemberg, 1873), the violinist and composer, in 1903-05 conducted the Scranton Mannerchor, and since 1907 has lived mostly in New York, much hampered after 1912 by ill-health. He has written the opera * Viola d'Amore ' Q912), music for 'The Happy Ending' (1916), and over a hundred fine songs. *Hammer, Heinrich Albert Eduard (b. Thuringia, 1862), for many years conductor in Europe, since 1908 has been active in Washing- ton, founding and conducting the Washington Symphony Orchestra and choral societies. He has written an opera, the oratorio ' St. George,' a symphony, three ' Indian Rhapsodies ' for orchestra, the ode ' Columbia Triumphant in Peace ' (1915), etc. *Harker, F. Flaxington (b. Scotland, 1876), in 1901-04 and 1907-14 was organist at Bilt- more, N. C., in 1904-07 in New York, and since 1914 in Richmond, where he is also choral conductor. See art. Harris, George, Jr. (b. Andover, Mass., 1884), graduated from Amherst College in 1906, studied in Boston and Paris, and since 1909 has been active as concert-tenor, from 1916 also teaching in the Mannes School in New York. Henry, Harold (b. Neodesha, Kan., 1884), trained at Lawrence, Kan., Berlin and Paris, appeared as pianist in Berlin in 1904, and since 1906 has toured the United States and Canada with notable success. His home is in Chicago. Bering, John Norris (b. Baltimore, 1886), studied in Baltimore, and since 1901 has been organist there, except in 1909-10, when he was in New Orleans. He has appeared often in recitals, has taught in several institutions and is on the staff of the daily ' Star.' See art. *Hertz, Alfred (b. Hesse, 1872), in 1902-15 was distinguished conductor at the Metro- politan Opera House in New York, especially of Wagner's works, and since 1915 has led the San Francisco Orchestra. See art. *Hope- Jones, Robert (England, 1859-1914, Rochester), an expert electrician and organ- maker, from 1903 worked with the Austins at Hartford, Conn., from 1905 with Skinner at Boston, and from 1907 in his own company at Elmira and later North Tonawanda, N. Y. See art. *Horner, Ralph Joseph (b. England, 1848), after long English experience, from 1906 toured the United States as conductor of light opera, and since 1909 has been at Winnipeg as director of the Academy of Music and (till 1912) con- ductor of the Oratorio Society. See art. Howard, Kathleen (b. Clifton, Ont., ? ), after study in New York and Paris, from 1907 sang as stage-contralto in Metz, Darmstadt and elsewhere, in 1913-15 was with the Century Opera Company in New York and since 1916 at the Metropolitan Opera House. See art. *Huberdeau, Gustavo (b. France, 1878?), from 1908 was a favorite bass at the Man- hattan Opera House, and since 1910 has been with the Chicago Opera Company. Hughes, Edwin (b. Washington, 1884), trained in New York and Vienna, in 1909 was Leschetizky's assistant, in 1910-12 appeared in America as concert-pianist, in 1912-16 94 CHRONOLOGICAL REGISTER [9: 1900-1910 lived in Munich, with much concert-work, and since 1916 has been in New York, from 1918 teaching at the Institute of Musical Art. See art. "Hutcheson, Ernest (b. Australia, 1871), well known as concert-pianist since 1890, from 1900 taught at the Peabody Conservatory in Baltimore, in 1912-14 was teaching and tour- ing in Europe, and since 1914 has lived in New York. See art. Ide, Chester Edward (b. Springfield, 111., 1878), trained in London, for many years worked at Springfield, and since 1916 has taught at the Music School Settlement in New York. See art. "Jacchia, Agide (b. Italy, 1875), in 1902 visited the United States as conductor with Mascagni, and since 1907 has been conductor of various operatic enterprises in different parts of America. See art. James, Philip (b. New York, 1890), studied in New York, from about 1905 was organist there and in Jersey City, in 1908 gave re- citals in London and Paris, and has since been occupied with conducting and com- position. See art. Jordan, Eben Dyer (Boston, 1857-1916, Boston), from 1880 in the firm of Jordan, Marsh & Co., in Boston, in 1902 was a large donor to the New England Conservatory's new buildings, including the auditorium ' Jor- dan Hall,' and in 1909 was a leading promoter of the Boston Opera House. *Jbrn, Karl (b. Russia, 1876), the operatic tenor, has sung at the Metropolitan Opera House in New York since 1908 and also at Buenos Aires since 1913. *Kahn, Otto Hermann (b. Baden, 1867), engaged in banking in New York since 1893 (from 1897 in Kuhn, Loeb & Co.), since about 1900 has been eminent as patron and promoter of important musical interests. See art. *K6fer, Paul (b. France, 1875), an ex- cellent 'cellist, in 1908-13 was leading player in the New York Symphony Society, in 1913, with Barrere and Salzedo, formed the Trio de Lutece, and has played much in concert as well as teaching. *Kelbe, Theodore (b. Brunswick, 1862), a violinist of experience in Germany, from 1901 was concertmaster of the Milwaukee Symphony Orchestra, and since 1904 has conducted the Sangerbund des Nordwestens, giving large festivals at various centers, and since 1910 has taught at the Schenuit Con- servatory in Milwaukee. *Klein, Hermann (b. England, 1856), who had been music-critic in England from 1877, publishing annual Musical Notes,' 1886-89, was vocal teacher in New York in 1901-09, then returning to London, publishing Thirty Years of Musical Life in London, 1903, and Unmusical New York, 1909. Klein, Karl (b. New York, 1884), son of B. O. Klein (see sec. 6), studied in New York, Leipzig, Brussels and London, from 1905 was concert-violinist in Europe, from 1907 toured in America, and in 191112 was concert- master of the Russian Symphony Orchestra. *Kolar, Victor (b. Hungary, 1888, of Bo- hemian parents), came to America in 1904 as concert-violinist, from 1905 played in the Pittsburgh Orchestra, and since 1907 in the New York Symphony Society, becoming assistant-conductor in 1915. See art. Kraus, Adrienne, nee Osborne [Eisbein] (b. Buffalo, 1873), trained in Germany as operatic contralto, in 1899 married the eminent Wagnerian tenor Felix von Kraus, and, after wide tours, settled in Munich, singing Wag- nerian roles exclusively. *Kriens, Christiaan Pieter Wilhelm (b. Hol- land, 1881), favorably known as violinist since 1895, in 1906-07 conducted the French Opera Company in New Orleans, in 1907 came to New York, where in 1911 he formed a Quartet and in 1912 a Symphony Club. See art. LaForge, Frank (b. Rockford, 111., 1879), studied in Chicago and Vienna, and since 1904 has been eminent as accompanist and com- poser of songs and piano-pieces. See art. Lambord, Benjamin (Portland, Me., 1879- 1915, Lake Hopatcong, N. Y.), studied in Boston, New York and abroad, from 1904 was organist at Kingsbridge, N. Y., and in 1912 organized a choral society which in 1914 became the Modern Music Society. See art. *Langenus, Gustav (b. Belgium, 1883), for about ten years has been leading clarinettist in the New York Symphony Society and in- structor at the Institute of Musical Art. In 1915, with Carolyn Beebe, he organized the Chamber Music Society and was its conductor one season, and in 1916 conducted municipal band-concerts. He has written instruction- books for the clarinet. Lanham, McCall (b. Weatherford, Tex., 1877), trained in New York and Paris, since 1901 has appeared widely as concert-baritone, especially as song-interpreter, and since 1902 has taught at the American Institute of Ap- plied Music in New York. LaRoss, Earle Douglass (b. Easton, Pa., 1887), studied in New York, from 1906 ap- peared as concert-pianist, and since 1914 has conducted the Easton Symphony Orchestra. *Laucella, Nicola (b. Italy, 1882), came to New York in boyhood and studied there, from 1903 was flutist in the Pittsburgh Or- chestra, and since 1906 in the New York Phil- harmonic Society. He has written a string- quartet, several orchestral poems or sketches, and the opera ' Mochana.' *Lemare, Edwin Henry (b. England, 1865), the distinguished organist, in 1902-05 was organist at the Carnegie Institute in Pitts- burgh, in 1915 gave many recitals at the Panama Exposition in San Francisco, and since 1917 has been city organist there. See Vol. ii. 673, and art. Lemont, Cedric Wilmot (b. Fredericton, N. B., 1879), studied in ^Boston, from 1904 was or- 9: 1900-1910] CHRONOLOGICAL REGISTER 95 ganist and teacher in Fredericton, and since 1906 has been teacher and a director in the Chicago Institute of Music, composing for piano and violin, church-music and songs. *Lerner, Tina (b. Russia, 1890), a gifted pianist, toured in the United States in 1908- 10 and repeatedly since 1912. In 1915 she married the violinist Vladimir Shavitch in San Francisco. See art. *Letz, Hans (b. Baden, 1887), from 1908 appeared often as concert-violinist, from 1911 was concertmaster of the Chicago Symphony Orchestra, from 1914 second violin in the Kneisel Quartet, and since 1917 has been head of his own Quartet. Levy, Heniot (b. Poland, 1879), since 1905 has been concert-pianist in Chicago, teaching also in the American Conservatory. See art. Locke, Arthur Ware (b. Cambridge, Mass., 1883), graduated from Harvard in 1905, studied in Boston, in 1909-10 was instructor in Brown University, in 1910-11 piano-teacher at Washburn College in Kansas, from 1911 assistant-professor at the University of Wis- consin, and since 1915 at Smith College. Lockwood, Samuel Pierson (b. Troy, N. Y., 1879), brother of A. L. Lockwood (see sec. 8), graduated from Columbia in 1902, and since 1907 has been violin-teacher at the University of Michigan and conductor of the Symphony Orchestra there. Loeb, James (b. New York, 1867), for a time a member of the New York banking firm of Kuhn, Loeb & Co., in 1905 gave $500,000 for the establishment of the Institute of Musical Art, and later was chief donor of the Musical Building at Harvard University. Luring, Harold Amasa (b. Portland, Me., 1879), trained in Boston and New York, since about 1905 has been a student of and lecturer upon Indian music, having spent seven years on reservations collecting data. He is also director of music at Olivet College in Michigan. He has transcribed Indian melodies. Loth, Louis Leslie (b. Richmond, Va., 1888), studied in New York and Berlin, since 1908 has appeared as concert-pianist, chiefly in Germany, where he was assistant-teacher to Jonas prior to 1914, when he returned to Richmond. He has written two symphonies, much chamber-music, piano-pieces and songs. *Maclennan, Florence Gertrude, nee Easton (b. England, 1884), came as a child to Toronto, studied in London, Paris and Berlin, made her debut as operatic soprano in London in 1903, married the tenor Francis Maclennan in 1904, and has since appeared extensively with him in America and Europe. See art. Maclennan, Francis (b. Bay City, Mich., 1879), trained in New York, London and Berlin, appeared as operatic tenor in London in 1902, from 1904 was with the Savage Opera Company, from 1907 sang at the Royal Opera, Berlin, from 1913 at Hamburg, and in 1915-17 with the Chicago Opera Company. He married Florence Easton (see above). See art. Macmillen, Francis (b. Marietta, O., 1885), trained in Chicago, Brussels and Petrograd, made a brilliant debut as violinist at Brussels in 1903, at London the same year and in New York in 1906, and has since made repeated tours in America and Europe. See art. *MahIer, Gustav (Bohemia, 1860-1911, Austria), the eminent composer and con- ductor, from 1907 was conductor at the Metropolitan Opera House, and from 1909 of the Philharmonic Society, resigning for ill-health in 1911. See Vol. iii. 27-8, and art. Maitland, Rollo Francis (b. near Liberty,. Pa., 1884), trained in Philadelphia, since 1901 has been organist there, lately giving much atten- tion to music for photoplays, with critical work and composition. Marcel, Lucille [name originally Wasself] (b. New York, 1887?), trained as operatic so- prano in New York, Berlin and Paris, ap- peared first at Vienna in 1908, married the conductor and composer Felix Weingartner k in 1913, and has since sung under his direction. In 1912 she visited America. *Marks, James Christopher (b. Ireland, 1863), from 1902 was organist in Pittsburgh, and since 1904 has been at the Church of the Heavenly Rest in New York. He has written the cantata ' Victory Divine ' and many anthems and services. Mus. D. of the Grand Conseratory, New York, in 1908. Martens, Frederick Herman (b. New York, 1874), studied in New York, and since 1907 has been librettist and author there. See art. Martin, Riccardo [originally Hugh Whitfield Martin] (b. Hopkinsville, Ky., 1881), trained at New York and Paris, appeared as operatic tenor in 1904 at Nantes, in 1905 at Verona and in 1906 at New Orleans, from 1907 sang at the Metropolitan Opera House, with en- gagements also in Europe, and in 1916-17 was with the Boston Opera Company. See art. Maryott, Harold Burnham (b. Lonsdale, R. I., 1878), graduated from Brown University in 1900, studied in Chicago, and since 1902 has been head of public-school work at the Chicago Musical College. He has published the text-book Musical Essentials, 1907. Mason, Daniel Gregory (b. Brookline, Mass., 1873), son of Henry Mason (see sec. 4), graduated from Harvard in 1895, studied in Boston and Paris, and since 1902 has been a prominent author, lecturer and composer in New York, latterly also professor at Columbia University. See art. *Maubourg[-Goffaux], Jeanne (b. Belgium, 1875), from 1909 was one of the sopranos at the Metropolitan Opera House, and since 1914 has taught in New York. Maxwell, Leon Ryder (b. Medford, Mass., 1883), graduated from Tufts College in 1904, studied there and in Boston, from 1905 was supervisor in schools near Boston, studied abroad, and since 1909 has been professor and from 1910 head of the music-department in Newcomb College in New Orleans, See art, 96 CHRONOLOGICAL REGISTER [9: 1900-1910 *McCormack, John (b. Ireland, 1884), the eminent tenor, in 1909-10 sang at the Man- hattan Opera House, in 1910-11 with the Boston Opera Company, in 1912-13 with the Chicago Opera Company, and has since been heard in concert. See Vol. v. 652, and art. *Melis, Carmen (b. Sardinia, 1885), was from 1909 a soprano at the Manhattan Opera House, from 1911 with the Boston Opera Company, and since 1913 at the Paris Opera or the Metropolitan Opera House. *Meyer, Max Friedrich (b. Prussia, 1873), since 1900 professor of psychology at the University of Missouri, has been specially interested in problems of musical theory, and has written articles upon musical acoustics, instruments, etc. Michalek, Bohumil (b. Chicago, 1885), studied mainly in Brussels and Prague, from 1906 was concertmaster at the Prague Opera and also assistant to Sevcik, and since 1908 has been head of his own Master School for Violinists in Chicago. Middleton, Arthur D. (b. Logan, la., 1880), studied at Simpson College in Iowa, beginning vocal teaching and concert-work as baritone while still a student, in 1905-06 taught at the Des Moines Musical College, in 1906-11 at the Chicago Musical College, and since 1914 has sung at the Metropolitan Opera House. Miessner, W. Otto (b. Huntingburg, Ind., 1880), trained in Cincinnati, from 1900 was music-supervisor at Booneville, Ind., from 1904 at Connersville, Ind., from 1910 at Oak Park, 111., and since 1914 has been music- director at the State Normal School in Mil- waukee. See art. Miller, Horace Alden (b. Rockford, 111., 1872), graduated from Cornell College in Iowa in 1896, studied at Oberlin and later in Munich and Berlin, since 1905 has been in- structor at Cornell College, besides making special studies of Indian music and composing on Indian themes. See art. Montani, Nicola Aloysius (b. Utica, N.Y., 1880), studied in Rome and with Mocquereau (Isle of Wight) , and since 1907 has been organist in Philadelphia. In 1914 he organized the Society of St. Gregory to promote Gregorian music in the Roman Catholic Church, and a Catholic Choral Club, besides editing ' The Catholic Choir-master.' He has written two masses, a Stabat Mater, motets, etc. Moog, Wilson Townsend (b. Baltimore, 1881), graduated from St. Lawrence University in 1902, studied at New Haven and Boston, from 1904 was organist in Boston, in 1907-08 taught at Westminster College in Pennsyl- vania, and since 1906 has been professor at Smith College. He has composed an overture (1916), and works for organ, piano and voice. Moore, Mary, nee Carr, in 1912 produced at Seattle the grand opera ' Narcissa ' with success. She has also written songs. Morse, Charles Frederic (b. Mishawaka, Ind., 1881), trained at Ann Arbor, Detroit and Paris, from 1902 was music-director at the State Normal School, California, Pa., from 1907 organist in Pittsburgh, and since 1909 at Detroit, where he teaches in the Institute of Musical Art and conducts the Orpheus and Madrigal Clubs. *Muck, Karl'(b. Hesse, 1859), the celebrated conductor, was conductor of the Boston Symphony Orchestra in 1906-08 and in 1912-18, when he was interned as an enemy alien, and in 1919 returned to Germany. See Vol. iii. 314, and art. *Mukle, May Henrietta (b. England, 1880), since 1900 has toured as concert-' cellist in the United States and Canada, and joined with Maud Powell and her own sister in the Maud Powell Trio. See art. *Narodny, Ivan (b. Russia, 1874), since about 1905 has written upon Russian music in New York and also upon dancing. He published Echoes of Myself, 1909, and con- tributed to The Art of Music, 1914-17. His wife, Maria Narodny, nee Mieler (b. Russia, 1888), is a concert-soprano, specializing in Russian and Finnish music. Newcomb, Ethel (b. Whitney Point, N. Y., 1879), trained at Vienna, making her debut there as concert-pianist in 1903 and in London in 1904, from 1904 assisted Leschetizky, and since 1908 has appeared in America and Ger- many as an effective soloist and ensemble- player. *Noack, Sylvain (b. Holland, 1881), in 1908 joined the Boston Symphony Orchestra as second concertmaster, in 1915 formed the Boston Quartet, and since 1919 has been concertmaster of the Los Angeles Philharmonic Orchestra. See art. Norden, N. Lindsay (b. Philadelphia, 1887), graduated from Columbia in 1909, from 1905 was choirmaster in Brooklyn and from 1909 organist there, and since 1917 has been organist and conductor in Philadelphia. He is active in promoting Russian church music. See art. Osborn-Hannah, Jane (b. Chicago, 1880?), studied at Cincinnati and Berlin, made her debut as operatic soprano at Leipzig in 1904, continued singing in Germany and England, both in opera and in concert, in 1910 appeared at the Metropolitan Opera House, and has since been with the Chicago Opera Company. Parker, Henry Taylor (b. Boston, 1867), from 1892 was in active journalistic work, and since 1905 has been musical and dramatic critic of the Boston ' Transcript,' besides writing somewhat for magazines. Parkinson, Elizabeth [' Parkina '] (b. Mis- souri, 1882) , studied in Kansas City and Paris, from 1902 was soprano at the Opera-Comique in Paris, in 1904-07 in London, with a striking tour in Australia in 1905, and has since been a favorite concert-singer in England. Parlow, Kathleen (b. Calgary, Alberta, 1890), studied violin in San Francisco, London and Petrograd, and from 1905 appeared in Europe and since 1910 also in America. See art. 9: 1900-1910] CHRONOLOGICAL REGISTER 97 *Pedrell, Carlos (b. Uruguay, 1878), studied in Montevideo, Madrid and Paris, since 1906 has been teacher, composer and organizer at Buenos Aires. See art. *Perrin, Harry Crane (b. England, 1865), after many years' experience as organist in England, since 1908 has been professor in McGill University in Montreal. See art. Persinger, Louis (b. Rochester, 111., 1887), studied; as violinist at Leipzig, and later at Brussels and Paris, appeared first in 1904 abroad and in America, in 1908 was concert- master at La Monnaie, Brussels, in 1914-15 of the Berlin Philharmonic, and in 1915-17 of the San Francisco Symphony Orchestra, and has made many tours throughout the United States and Europe. *Phillips, Harold Dockray (b. England, ? ), from 1903 was organist in Toronto, and since 1906 has taught organ and history in the Peabody Conservatory in Baltimore, be- sides activity as organist and critic. See art. Pilzer, Maximilian (b. New York, 1890), studied violin in Berlin and appeared there in 1904. From 1904 he was concertmaster of the Russian Symphony and People's Orchestras in New York, in 1914-17 of the Philharmonic Society, and has since been in concert-work. *Pirani, Eugenic di (b. Italy, 1852), known in Europe from 1870 as pianist, teacher and critic, in 1904-14 was associated with Mrs. A. W. Powell (see below) in directing the Musical Institute in Brooklyn. See art. *Pochon, Alfred (b. Switzerland, 1878), since 1903 has been second violin in the Flon- zaley Quartet. *Polacco, Giorgio (b. Italy, 1875), an emi- nent conductor, in 1906 visited Mexico and San Francisco, in 1911-12 was with the Savage Opera Company, and since 1912 has been with the Metropolitan Opera House in New York and also at Covent Garden in London. See art. Powell, Alma Webster, nee Hall (b. Chicago, 1874), studied in New York and Berlin, ap- peared as operatic soprano at Berlin in 1901, in 1904 joined E. di Pirani (see above) in managing the Musical Institute in Brooklyn. See art. Powell, John (b. Richmond, Va., 1882), graduated from the University of Virginia in 1901, studied in Vienna, appeared there as concert-pianist in 1907, and since 1912 has been heard in America. As composer he is specially interested in Negro and American themes. See art. *Rachmaninov, Sergei Vassilievitch (b. Rus- sia, 1873), the distinguished pianist and com- poser, came to America in 1909-10, and since the war has lived much in New York. See art. Rappold, Marie, nee Winterroth (b. Brook- lyn, 1880?), studied in New York, and since 1905 has been with the Metropolitan Opera House as a leading soprano. See art. Rich, Thaddeus (b. Indianapolis, 1885), grad- uated at the Leipzig Conservatory in 1900, with further study at Berlin, was violinist in the Gewandhaus Orchestra and later concertmaster at the Opera des Westens, Berlin, and returned to America in 1905. Since 1906 he has been concertmaster of the Philadelphia Orchestra. He is also music-director at Temple University. See art. *Richardson, Alfred Madeley (b. England, 1868), who since 1897 had been a prominent organist in London, from 1909 was organist in Baltimore, and since 1912 has been theory- teacher at the Institute of Musical Art, New York. See art. Rider-Kelsey, Corinne (b. near Buffalo, 1879), trained at Oberlin, Chicago and New York, appeared in oratorio in 1904 and (in London) in opera in 1908, and has since been a popular concert-soprano. She has given notable duet-recitals with Cunningham, the baritone (see above). Rio, Anita (b. Alameda, Cal., 1880), studied in San Francisco and New York, made her debut as soprano in oratorio in 1901 and in opera in 1909 (in London) , sang and studied in Italy, and since 1914 has been successful in America, especially in concert. She mar- ried J. Armour Galloway of New York. *Rittmeister, Heinrich (b. Bremen, 1881), has been successively concertmaster of the Minneapolis Symphony Orchestra, the Russian Symphony Orchestra in New York, and now of the Kansas City Symphony Orchestra. Robeson, Lila P. (b. Cleveland, 1880), graduated from Western Reserve University in 1902, studied in Cleveland and New York, was at first contralto in church and concert, and since 1911 also in opera, with the Aborn Opera Company and from 1912 at the Metro- politan Opera House. *Rothwell, Walter Henry (b. England, 1872), an experienced conductor, from 1904 was with the Savage Opera Company, from 1908 led the St. Paul Symphony Orchestra, from 1915 waa teacher and municipal conductor in New York, and since 1919 has led the Los Angeles Philharmonic Orchestra. See art. *Rybner, Peter Martin Cornelius (b. Den- mark, 1855), noted as pianist and conductor, in 1904-19 was professor at Columbia Uni- versity. See art. *Saerchinger, Cesar (b. Rhine Prov., 1884), studied partly in New York, where since 1906 he has been an industrious editor and valuable writer on musical subjects. See art. *Safonov, Vassily Ilyitch (Caucasus, 1852- 1918, Caucasus), well known as pianist, teacher and conductor since 1880, in 1904-09 con- ducted the New York Philharmonic Society and was head of the National Conservatory, then returning to Petrograd. See Vol. v. 626, and art. Saltzman-Stevens, Minnie (b. Bloomington, 111., 1885?), first sang in Chicago churches, studied in Paris, made her debut as operatic soprano in 1909 in London, sang in various European capitals, and in 1911-14 was with the CHRONOLOGICAL REGISTER ' [9: 1900-1910 Chicago Opera Company. In 1905 she mar- ried A. N. Stevens of Bloomington. See art. Samaroff, Olga, nee Hickenlooper (b. San Antonio, Tex., 1882), studied at Philadelphia, Baltimore, Paris and Berlin, from 1905 began to tour the United States as concert-pianist, appearing also in Europe in 1908-09, in 1912- 14 was interrupted by ill-health, but then resumed activity. In 1911 she married the conductor Stokowski (see below). See art. *Sampaix, Leon (b. Belgium, 1878), from 1900 was piano-teacher at the Peabody Con- servatory in Baltimore, from 1904 at the Liege Conservatory, from 1910 in his own school in Indianapolis, then at Ithaca, N. Y., and is now head of the Toledo Conservatory. Schelling, Ernest Henry (b. Belvidere, N. J., 1876), studied extensively in Europe, from 1903 appeared as concert-pianist there, in South America and from 1905 in the United States, making his home until 1914 in Switzer- land. See art. *Schindler, Kurt (b. Prussia, 1882), from 1905 was assistant-conductor at the Metro- politan Opera House in New York, and since 1907 has been reader for Schirmer and since 1908 also conductor of the Schola Cantorum (originally the MacDowell Chorus). See art. Schnabel-Tollefsen, Augusta (b. Boise, Ida., 1885), studied in Europe, where she was known as a child-prodigy, toured in the United States in 1900-01, studied further in New York, and since 1906 has been prominent as pianist, especially in the Tollefsen Trio, led by her husband, Carl Tollefsen (see below) . Schneider, Edward Faber (b. Omaha, Neb., 1872), studied at San Jose, San Francisco, New York and Berlin, and since about 1900 has been teacher and composer in San Francisco and dean of music at Mills College. He has written for the Bohemian Club the dramas ' The Triumph of Bohemia ' (1907) and ' Apollo ' (1915), the symphony ' In Autumn Time ' (1913), and effective shorter works. *Schuecker, Joseph E. (b. Saxony, 1886), son of Edmund Schuecker (see sec. 8), in 1904-05 and 1908-09 harpist in the Pittsburgh Orchestra, from 1909 was in the Philadelphia Orchestra, from 1911 with the Savage Opera Company, and since 1914 has taught at the Carnegie Institute of Technology, Pittsburgh. Schwab, Charles M. (b. Williamsburg, Pa., 1862), the head of the Bethlehem (Pa.) Steel Works, in 1905 became guarantor of the Lehigh Valley Symphony Orchestra, and since 1911 has been the munificent supporter of the Beth- lehem Bach Choir. Scott, Henri Guest (b. Coatesville, Pa., 1876), trained in Philadelphia and New York, from about 1900 appeared as concert-bass, in 1909-10 sang at the Manhattan Opera House, in 1910-11 in Rome, from 1911 with the Chicago Opera Company, and since 1915 at the Metropolitan again. See art. 1- Shattuck, Arthur (b. Neenah, Wis., 1881), studied at Vienna, frc-m 1902 became known as a striking pianist, making extended tours from Paris as center and visited the United States in 1911-12 and since 1915. See art. Silber, Sidney (b. Waupun, Wis., 1881), trained in Berlin and Vienna, since 1905 has been concert-pianist both in Europe and America, and latterly has taught in the Uni- versity School of Music, Lincoln, Neb. He has lectured and written many articles on musical subjects. Simpson, George Elliott (b. Orange, N. J. t 1876), studied in New York, Kansas City and Leipzig, from 1903 taught in Kansas City, from 1907 at Baylor Female College, Belton, Tex., from 1912 at the Polytechnic College in Fort Worth and later in the Texas Christian University there. He has written two sym- phonies, four overtures, three suites, etc. *Skovgaard, Axel (b. Denmark, 1875), after tours in Scandinavian countries, since 1903 has been an industrious concert-violinist in the United States and Canada. Smith, David Stanley (b. Toledo, O., 1877), graduated from Yale in 1900, studied music there and in Munich and Paris, since 1903 has been at the Yale School of Music, and from 1920 its dean, with work also as organist, conductor and lecturer elsewhere. See art. Smith, Thomas Max (b. New York, 1874), graduated from Yale in 1898 and from Colum- bia Law School in 1901, studied in New York, New Haven and Dresden, from 1903 was music-critic of the New York ' Press,' and since 1916 of the ' American.' He was on the advisory board of The Art of Music, 1914-17. Spalding, Albert (b. Chicago, 1888), trained as violinist in Florence and Paris, from 1905 was eminent as soloist in Europe and since 1908 has been equally so in America. See art. *Spencer, Vernon (b. England, 1875), from 1903 taught piano at the Nebraska Wesley an University, from 1908 in Berlin, and since 1911 has been teacher, concert-pianist and lecturer in Los Angeles. Besides other literary work, he edits ' The Music-Student.' Stockhoff, Walter William (b. St. Louis, 1887), self-taught, has been teacher and com- poser in St. Louis since 1904. .See art. *Stojowski, Sigismund Denis Antoine (b. Poland, 1870) , well 'known in Paris as pianist and composer since about 1890, from 1905 taught at the Institute of Musical Art in New York, with concert-work elsewhere and some trips to Europe, from 1911 at the Von Ende School, and since 1917 privately. See art. *Stokowski; Leopold Anton Stanislaw (b. England, 1882, of Polish parents), from 1905 was organist in New York, in 1908 conducted orchestral concerts in London, from 1909 was conductor of the Cincinnati Orchestra, and since 1912 of the Philadelphia Orchestra. In 1911 he married the pianist Olga Samaroff (see above). See art. Strickland, Lily Teresa (b. Anderson, S. C., 1887), studied at Converse College in South 9 : 1900-1910] CHRONOLOGICAL REGISTER 99 Carolina and in New York, in 1907-10 was organist at Anderson, and since 1911, when she married Courtney Anderson, has lived in New York. She has written three operas, a symphonic suite on Negro themes, and published about 75 songs. *Sturani, Giuseppe (b. Italy, ? ), from .about 1905 was operatic conductor in Buenos Aires and Rio de Janeiro, from 1908 at the Manhattan Opera House, from 1910 at the Metropolitan Opera House, and since 1912 with the Chicago Opera Company. Swarthout, Max van Lewen (b. Pawpaw, 111., 1880), studied at Chicago and Leipzig, from 1905 was music-director at the Oxford College for Women in Ohio, from 1911 taught at the Illinois Woman's College in Jackson- ville, and since 1914 has been music-director at the James Millikin University. Taylor, David Clark (New York, 1871- 1918, New York), graduated from the College of the City of New York, studied there, and from 1908 published several valuable works on singing. See art. *Tetrazzini, Luisa (b. Italy, 1874), the celebrated operatic soprano, having been heard in South America and Mexico, in 1904 appeared at San Francisco, in 1905-06 was again in South America, in 190810 was at the Manhattan Opera House, in New York, then toured extensively, in 1913-14 was with the Chicago Opera Company. See art. Thatcher, Howard Rutledge (b. Baltimore, 1878), studied in Baltimore, and since 1902 has been organist there, also teaching at the Peabody Conservatory and the Maryland College for Women at Lutherville. He has written a concert-overture (1906), a string- quartet, synagogue-music, etc. *Thibaud, Jacques (b. France, 1880), the eminent violinist, since 1903 has made several tours of the United States. See Vol. v. 83, and art. *Tollefsen, Carl Henry (b. England, 1882), came to America in boyhood, studied in New York, in 1908-10 was violinist in the Symphony Society, in 1909 organized the Tollefsen Trio, has taught in the National Conservatory, and now teaches in Brooklyn. In 1907 he married Augusta Schnabel (see above). See art. *Toscanini, Arturo (b. Italy, 1867), the noted operatic conductor, in 1908-15 was famous as conductor at the Metropolitan Opera House in New York, then returning to Italy. See art. Tramonti, Enrico (b. Sicily, 1876), since 1902 has been leading harpist of the Chicago Symphony Orchestra. *Unschuld, Marie von (b. Moravia, 1881), since 1904 has been head of her own school in Washington, besides lecturing elsewhere. See art. Van Vechten, Carl (b. Cedar Rapids, la., 1880), graduated from the University of Chicago in 1903, and has since been critic and author in New York. See art. *Vigna, Arturo (b. Italy, ? ), was con- ductor at the Metropolitan Opera House in New York in 1903-07. Waller, Frank Laird (b. St. Paul, ? ), a graduate of the University of Wisconsin, began as teacher and opera-singer in 1908, and in 1909-15 was coach and accompanist with the Boston Opera Company and in 1917-18 with the Chicago Opera Company. Ware, Harriet (b. Waupun, Wis., 1877), having studied in New York, Paris and Berlin, from 1906 lived in New York as composer, and lately has made her home at Garden City. In 1913 she married H. M. Krumbhaar of New Orleans. See art. *Warnke, Heinrich (b. Holstein, 1871), an experienced 'cellist, since 1905 has played in the Boston Symphony Orchestra, and in 1905-07 was a member of the Boston Sym- phony Quartet. Wead, Charles Kasson (b. Malone, N. Y., 1848), since 1892 an examiner in the Patent Office in Washington, has been a diligent student of musical acoustics, publishing Con- tributions to the History of Musical Scales, 1900 (U. S. Nat. Museum Report), which embodies original investigations upon instruments, be- sides many articles in scientific journals. Wells, Howard (b. Rockford, 111.), studied in Chicago, from about 1900 appeared there as concert-pianist, from 1907 studied in Vienna and from 1908 was one of Leschetizky's assistants, part of the time living in Berlin and also touring, and since 1914 has taught in Chicago. See art. Werrenrath, Reinald (b. Brooklyn, 1883), son of George Werrenrath (see sec. 6), grad- uated from New York University in 1905, from 1907 has been a favorite concert-baritone, and since 1919 has also sung at the Metropolitan Opera House. See art. Weyman, Wesley (b. Boston, 1877), grad- uated from Harvard in 1898, studied there and in New York, from 1901 appeared as concert-pianist, in 1905-08 taught at the In- stitute of Musical Art, in 1909-14 studied and toured in Europe, and has since taught in New York and Boston, with' much literary work. See art. *Wheeldon, Herbert Arthur (b. England, 1864), from 1882 organist in England, in 1907-13 was organist of the Metropolitan Church in Toronto, and in 1908-15 examiner in music at Toronto University. See art. White, Carolina (b. Boston, 1886), studied in Boston and Naples, made her debut as operatic soprano in 1908, sang in Italy, in 1910-14 was with the Chicago Opera Company, and has since been heard in concert or light opera. See art. Whitehill, Clarence Eugene (b. Marengo, la., 1871), studied mainly at Paris, appeared as operatic baritone in 1899 in Brussels, and since 1900 has sung in American and European opera-houses, in 1911-15 with the Chicago Opera Company and in 1909-11 and since 1916 at the Metropolitan Opera House. See art. 100 CHRONOLOGICAL REGISTER [10: 1910-1920 Whithorne [Whittern], Emerson (b. Cleve- land, 1884), trained in Cleveland, Vienna and Berlin, from 1907 was teacher and writer in London, and since 1915 has been executive editor for the Art Publication Society of St. Louis. His compositions include a ' Japanese Suite ' for orchestra, two symphonic poems, two string-quartets (' Three Greek Im- pressions,' 1914) and a ' Quartettino Orientale ' (1916), a song-cycle for quartet, ' Songs of Sappho ' (1913), with piano-works and songs. Wickham, Florence (b. Beaver, Pa., 1882), trained in Philadelphia and Berlin, has ap- peared widely as operatic contralto since 1902, at first in Europe, in 1904-05 and 1909-12 in the United States. In 1911 she married Eberhard L. Lueder of New York. See art. *Willeke, Willem (b. Holland, 1878), from 1896 solo 'cellist at Riga, Diisseldorf, London and Vienna, in 1907-17 was Schroeder's suc- cessor as 'cellist in the Kneisel Quartet, and has since taught and concertized in New York. Wilson, Mortimer (b. Chariton, la., 1876), studied in Chicago, from 1901 taught at the University of Nebraska, in 1907-10 studied and taught in Leipzig, in 1911-15 was con- ductor of the Atlanta Symphony Orchestra, and in 1916-18 taught at Brenau College in Georgia. See art. Wood, Carl Paige (b. Taunton, Mass., 1885), graduated from Harvard in 1906, studied there and in Boston, Berlin and Paris, from 1906 was music-director at Denison University in Ohio, in 1915-16 organist at Vassar College, and since 1916 music-director at Carleton College in Minnesota. He has written choral works and songs, and won the Boott Prize at Harvard in 1915. *Wrangell, Ludvig Heinrich (b. Norway, 1872), after some years as concert- violinist and teacher in Norway, from 1908 taught in the Wisconsin Conservatory in Milwaukee, and since 1913 has had his own school there. He has written violin-pieces, a violin-method, etc. *Yon, Pietro Alessandro (b. Italy, 1886), since 1907 has been organist at St. Francis Xavier's in New York, and is eminent as recitalist and composer. See art. Zeuch, William Edward (b. Chicago, 1878), a graduate of Northwestern University, stud- ied music] there and in Paris, where he was organist of the English Church. For some years he has lived in Boston as concert- organist, member of the Skinner Organ Co., and from 1917 organist at the South Church (Unitarian) . Zucca [Zukermann], Mana (b. New York, 1891), Appeared in 1899 as a precocious pianist, studied in New York, London, Berlin and Paris, toured throughout Europe as pianist, and since 1914 has sung much in light opera, in both America and Europe. She has written the ' fugato humoresque ' ' Nerves,' for orchestra (Russian Symphony and Philharmonic Or- chestras) , many songs and instrumental pieces. 10. The Decade of the World War Althouse, Paul Shearer (b. Reading, Pa., 1889), studied in New York, and since 1913, when he appeared as tenor at the Metropolitan Opera House, has been prominent in both opera and concert. He assisted at the first performances of ' Boris Godunov,' ' Made- leine ' and ' Madame Sans-G6ne.' *Ariani, Adriano (b. Italy, 1877), a pianist, conductor and composer of Italian reputation, has lately lived in New York. See Who's Who in Music, 1918, p. 1. *Auer, Leopold (b. Hungary, 1845), the great violinist and teacher^ came to America early in 1918 and settled in New York. See Vol. i. 130, and art. *Bachmann, Alberto Abraham (b. Switzer- land, 1875), an experienced violinist and writer on violin-topics, made a tour of the United States in 1916, and has since lived in New York. *Baklanov, George (b. Russia, 1882), who had been baritone at the Imperial Opera in Petrograd, sang for a time with the Boston Opera Company, and from 1917 with the Chicago Opera Company. Ballantine, Edward (b. Oberlin, O., 1886), studied in Boston and Berlin, from 1912 was teacher of theory at Harvard University, and from 1918 was an enlisted musician in the Army. See art. *Barraja, Enrico (b. Italy, 1885), has been pianist and teacher in Boston since 1911. He has written an opera, two chamber-suites, many songs and short instrumental pieces. *Barrientos, Maria (b. Spain, 1885), from 1899 widely known in Europe and also South America as a brilliant coloratura-soprano, since 1916 has sung at the Metropolitan Opera House, especially in Italian works. See art. Bar stow, Vera (b. Celina, O., 1893), studied at Pittsburgh and Vienna, and since 1912 has been recognized as a superior concert- violinist. *Bimboni, Alberto (b. Italy, 1882), in 1911- 12 was conductor for the Savage Opera Com- pany, in 1913-14 for the Century Opera Company, and in 1915 at the Havana Opera House. *Bloch, Ernest (b. Switzerland, 1880), the eminent Jewish composer, came to America in 1916, at first associated with Maud Allan, the dancer, taught for two years at the Mannes School of Music in New York, and has had marked success as composer. See art. *Bodanzky, Artur (b. Austria, 1877), the famous operatic conductor, came to the Metropolitan Opera House in 1915, and since 1919 has also been leader of the New Sym- phony Orchestra. See art. *Bori, Lucrezia (b. Spain, 1888), after visit- ing Argentina as operatic soprano, since 1913 has sung at the Metropolitan Opera House. *Bosetti, Joseph (b. Italy, 1886), priest and doctor in the Roman Catholic Church and 10: 1910-1920] CHRONOLOGICAL 101 a trained organist, since 1913 has been choir- master in the Denver Cathedral, where he has not only developed liturgical music, but organized forces for giving operas and oratorios. *Botta, Luca (Italy, 1882-1917, New York), the opera-tenor, from 1912 sang with the Pacific Coast Opera Company, and from 1914 at the Metropolitan Opera House, as well as in South America. His repertoire included most of the later Italian works. *Boyle, George Frederick (b. Australia, 1886), having toured as concert-pianist since about 1900 in Australia and Europe, since 1910 has taught at the Peabody Conservatory in Baltimore. See art. Braslau, Sophie (b. New York, ? ), stud- ied in New York, and since 1913 has been contralto at the Metropolitan Opera House, besides singing much in concert elsewhere. Brown, Eddy (b. Chicago, 1895), trained as violinist in Chicago, Budapest and Petrograd, from 1910 concertized in Europe, and since 1916 has been heard in America. See art. Chalmers, Thomas Hardie (b. New York, 1884), studied in New York and Florence, appeared as operatic baritone in 1911 in Italy, in 1911-12 sang with the Savage Opera Com- pany, from 1913 with the Century Opera Company, from 1915 with the Boston Opera Company, and since 1917 at the Metropolitan Opera House. *Cherniavsky, Jan (b. Russia, 1892), Leo (b. 1890) and Michael (b. 1893), brothers, are respectively pianist, violinist and 'cellist in the Cherniavsky Trio, which from 1916-17 made many successful appearances in the United States and Canada. Clark, Melville Antone (b. Syracuse, 1883), nephew of Melville Clark (see sec. 6), since 1910 has made improvements in harps and harp-playing, perfecting a small, portable harp of considerable artistic value. *Claussen, Julia, nee Ohlson (b. Sweden, 1879), known in Sweden since 1903 as an able operatic mezzo-soprano, from 1913 sang with the Chicago Opera Company, and since 1917 at the Metropolitan Opera House, besides extensive concert-tours. Clifton, Chalmers (b. Jackson, Miss., 1889), graduated from Harvard in 1912, studied there and in Paris, and since 1914 has been known as conductor, composer and critic, mostly in or near Boston. See art. Crist, Bainbridge (b. Lawrenceburg, Ind., 1883), brought up in Washington, became a practicing lawyer, then studied music in London and Berlin, and since 1914 has been teacher and composer in Boston. See art. Curtis, Vera (b. Stratford, Conn., 1880), studied in Boston and New York, from about 1910 was church-soprano in New York, and since 1912 has sung at the Metropolitan Opera House. In 1912 she toured with the Russian Symphony Orchestra. "Dambois, Maurice Felix (b. Belgium, 1889), noted as a superior 'cellist since 1901, in 1917 came to America with Ysay'e, making his head- quarters in New York. *Darby, W. Dermot (b. Ireland, 1885), trained in England and New York, secretary of the Modern Music Society in 1916, was one of the editors of The Art of Music, 1914-17. *DeLuca, Giuseppe (b. Italy, 1876), for twenty years a leading operatic baritone in Italy, appeared at the Metropolitan Opera House from 1915, participating in the initial performance of ' Goyescas ' in 1916. Dow, Martha Cora (d. 1915, Cincinnati), bequeathed $700,000 as an endowment for the Cincinnati Symphony Orchestra. *Dufau, Jenny (b. Alsace, ? ), since 1911 has been lyric soprano in the Chicago Opera Company. In that year she sang in the premiere of ' Cendrillon.' *Dworzak, Zdenko von (b. Moravia, 1875), educated as physician, now practicing in Denver, is also a trained musician. He has written a symphonic poem, an overture, two suites, two string-quartets, songs, etc., besides medical essays upon the voice. Eastman, George (b. Waterville, N. Y., 1854), of the Eastman Kodak Co., in 1919 gave $3,500,000 for the establishment in Roches- ter of the Eastman Music School, adding $ 1,000,000 more in 1920. See art. *Epstein, Richard (Austria, 1869-1919, New York) , after having taught in the Vienna Conservatory and for ten years in London, came to New York in 1914, making a fine impression as pianist, especially as accompanist and ensemble-player. *Ferrari-Fontana, Edoardo (b. Italy, 1878), after a phenomenal leap into prominence as operatic tenor in 1910, appeared in Buenos Aires in 1912, joined the Boston Opera Com- pany in 1913, and since 1914 has sung at the Metropolitan Opera House. In 1912 he married the soprano Margarete Matzenauer. Flagler, Harry Harkness (b. Cleveland, 1870), a wealthy New York capitalist, in 1914 became the liberal patron and guarantor of the Symphony Society. *Forsyth, Cecil (b. England, 1870), known in England as conductor of light opera, composer and author, since 1914 has lived in New York. See art. *Frederiksen, Frederik Christian (b. Nor- way, 1869), an experienced violinist, con- ductor and teacher, in 1915 organized the Scandinavian Orchestra in Chicago. He is violin-teacher in several conservatories in Chicago and Milwaukee. *Fricker, Herbert Austin (b. England, 1868), from 1884 organist in England and from 1900 conductor at Leeds, since 1917 has been conductor of the Mendelssohn Choir in Toronto and organist at the Metropolitan Church. He has published considerable church-music. *Friedberg, Carl Rudolf Hermann (b. Hesse, 1872), noted as pianist in Germany since 1892, toured in America in 1914, and in 1916-17 102 CRR0N.O,LOGIGAL REGISTER [10: 1910-1920 taught at the Institute of Musical Art in New York. *Galli-Curci, Amelita (b. Italy, 1889), the coloratura-soprano, since 1916 has been con- spicuous in the Chicago Opera Company and also a successful concert-singer. See art. Garrison, Mabel (b. Baltimore, ? ), trained in Baltimore and New York, from 1912 was lyric soprano in the Aborn Opera Company, and since 1914 has sung at the Metropolitan Opera House. Gillette, James Robert (b. Roseboom, N. Y., 1886), studied at Syracuse University, and since 1914 has been concert-organist and teacher in Macon, Ga. He has written the cantata ' The Light Everlasting ' and several organ-pieces. *Giorni, Aurelio (b. Italy, 1895), since 1915 has made effective tours in the United States as concert-pianist. Gittelson, Frank (b. Philadelphia, 1896), studied in Philadelphia, New York and Berlin, made his d6but as violinist at Berlin in 1913, toured in Germany and England, since 1914 has been heard extensively in America, from 1919 teaching at the Peabody Conservatory in Baltimore. See art. *Grainger, Percy Aldridge (b. Australia, 1882), the highly original pianist and com- poser, has been repeatedly heard in America since 1915. See Vol. v. 643, and art. *Grassi, Antonio de' (b. Italy, 1880), after prominent appearances as violinist in Europe from 1905, since 1915 has taught in Berkeley, Cal., organizing a Trio with Vladimir Shavitch and Stanislaus Bern as pianist and 'cellist. *Grolle, Johan Hendrik (b. Holland, ? ), a well-trained violinist, since about 1910 has been active in promoting popular education through schools like the Philadelphia Settle- ment Music School, of which he is director. *Guffl, Luigi (b. Italy, 1859), from 1896 pianist in the famous Societa del Quintetto in Rome, since 1916 has been soloist and teacher in Chicago. Hagan, Helen Eugenia (b. New Haven, Conn., 1893), studied in New Haven and Paris, and since 1912 has been organist and concert-pianist in New Haven. She has written considerable music for piano. Hall, Leland (b. Maiden, Mass., 1883), studied at Harvard and in Paris, from 1910 taught music-history at the University of Wisconsin, in 1913-14 lectured at Columbia University and wrote program-notes for the Symphony Society, and was one of the editors of The Art of Music, 1914-17. *Hambourg, Boris (b. Russia, 1884), the distinguished 'cellist, brother of Mark Ham- bourg (see sec. 8), since 1910 has toured in America, in 1911-16, with his father and brother (see below), directed the Hambourg Conservatory in Toronto, and since 1916 has lived in New York. See art. *Hambourg, Jan (b. Russia, 1882), brother of the foregoing and a striking violinist, collaborated with him in Toronto, and since 1916 has also lived in New York. *Hambourg, Michael (Russia, 1856-1916, Toronto) , father of the above and a good piano- teacher, from 1911 was associated with his sons in their Toronto school. Hanson, Howard Harold (b. Wahoo, Neb., 1896), trained at Luther College in Nebraska, New York and Evanston, 111., in 1913 was critic and coach in Kansas City, in 1915-16 taught at Northwestern University, and since 1916 has been theory-teacher at the College of the Pacific, San Jose, becoming dean in 1919. He has written two symphonic poems, a Sym- phonic Rhapsody, a piano-concerto, a piano- quintet, a piano-sonata and pieces, and songs, besides articles on musical science. *Harmati, Sandor (b. Hungary, 1892), who had been violinist and conductor in Budapest, came to New York in 1914, and since 1917 has been second violin in the Letz Quartet. *Heifetz, Jascha (b. Russia, 1901), the precocious violinist, having been heard from 1910 in Europe, since 1917 has toured in the United States. See art. *Heinecke, Paul (b. Saxony, 1885), since 1910 has been head of the New York branch of Breitkopf & Hartel in Leipzig, and of the independent corporation formed in 1917 to take over the American business. "Hernpel, Frieda (b. Saxony, 1885), the distinguished operatic soprano, since 1912 has sung at the Metropolitan Opera House with brilliant success. In 1918 she married William B. Kahn. See art. *Herbst, Gottfried (b. Thuringia, 1887), from 1902 violinist and conductor in central Germany, since 1912 has been violin-teacher and concert-player at the State College, Pullman, Wash. *Holy, Alfred (b. Portugal, 1866), the famous harpist, since 1913 has been a member of the Boston Symphony Orchestra. See art. Horvath, Cecile, nee Ayres (b. Boston, 1889), daughter of Eugene E. Ayres (see sec. 7), studied in Philadelphia, New York and Berlin, and since 1910 has been concert-pianist both abroad and in America. Her husband, Zoltan de Horvath (b. Chicago, 1886), is pianist and teacher in Philadelphia. *Ingram, Frances (b. England, 1888), was educated in Brooklyn and New York, first appeared as operatic contralto at Philadelphia in 1911, and has since sung with the Chicago Opera Company, except in 1913-14 with the Montreal Opera Company and in 1914-15 on concert-tours. In 1913 she married Karl G. MacVitty of Chicago. Kernochan, Marshall Rutgers (b. New York, 1880), studied in New York and Frankfort, since 1910 has worked in or near New York as composer. *Kihl, Viggo Richard (b. Denmark, 1882), concert-pianist since 1901 in Copenhagen and London, since 1913 has been in the faculty of the Toronto Conservatory. 10: 1910-1920] CHRONOLOGICAL REGISTER 103 *Kilenyi, Edward (b. Hungary, 1884), studied at Columbia, and since about 1912 has been a frequent writer upon musical subjects, with some composition. See art. *Kindler, Hans (b. Holland, 1892), since 1914 has been 'cellist in the Philadelphia Orchestra. *Knoch, Ernst (b. Baden, 1876), having had wide experience since 1898 in operatic con- ducting, especially of Wagner's works, in 1914 joined the Century Opera Company, and in 1916 was conductor at Ravinia Park, Chicago, and then of the Interstate Opera Company, Cleveland. Kramer, Arthur Walter (b. New York, 1890), graduated from the College of the City of New York in 1910, and has since then been on the staff of ' Musical America ' and a prolific composer and writer. See art. *Kreiner, Edward (b. Poland, 1890), after playing for some time in the New York Sym- phony Society, since 1917 has been violist in the Letz Quartet. *Kunwald, Ernst (b. Austria, 1868), who had been eminent as conductor in Europe from 1895, in 1912-17 directed the Cincinnati Symphony Orchestra, resigning for political reasons. *Kurt, Melanie (b. Austria, 1880), who had been concert-pianist from 1897 and eminent operatic soprano from 1902, in 1915-17 was a leading artist at the Metropolitan Opera House. In 1910 she married Prof. Deri in Berlin. Lament, Forrest (b. Springfield, Mass., 1889), after study at home and abroad, made his debut as operatic tenor in Rome, toured in Italy, the West Indies and South America, and since 1917 has sung with the Chicago Opera Company. Langdon, William Chauncy (b. Italy, 1871, of American parents), a New York lawyer, since about 1910 has been the arranger and librettist of many ' pageants ' and similar mu- sico-dramatic undertakings Thetford, Vt., 1911, St. Johnsbury, Vt., 1912, Meriden.N. H., 1913, Darien, Conn., 1913, Cape Cod, Mass., 1914, Austin, Tex., 1915, Bloomington, Indian- apolis and Cory don, Ind., 1916, Amherst, Mass., 1917, University of Illinois, 1918, etc. *Lange, Daniel de (Holland, 1841-1918, Point Loma, Cal.), from 1895 director of the Amsterdam Conservatory, resigned in 1913 and came to America. See Vol. ii. 633. *Lester, Thomas William (b. England, 1889), was brought to America in boyhood, studied in Chicago, from 1911 was active as critic and writer, and since 1912 has also been organist and concert-accompanist. He has written chamber-, piano- and organ-suites, a string- quartet, a violin-sonata, several cantatas, etc. *Levitzki, Mischa (b. Russia, 1898), came to New York as a boy, continued there and in Berlin studies begun in Warsaw, made his de- but as concert-pianist in 1912, toured in Europe and since 1916 has been active in New York. Lindquest, Albert Charles (b- Chicago, 1892), studied at Chicago, Ann Arbor and New York, since 1914 has been a successful concert- tenor with many orchestras and choral societies, living in New York. *Lorenzo, Leonardo de (b. Italy, 1875), known in Europe since 1897 as a superior flutist, from 1910 played with the New York Philharmonic Society, from 1912 with the Symphony Society, and since 1914 with the Minneapolis Orchestra. He has written a flute-method and many studies. *Maas, Gerald Christopher (b. Baden, 1888), an expert 'cellist since 1908, first appeared as soloist in America in 1916, and since 1917 has been in the Letz Quartet. Maas, Marguerite Wilson (b. Baltimore, 1888), studied in Baltimore and Berlin, appeared as concert-pianist in Berlin in 1914, then in Baltimore and vicinity, in 1915-16 taught at the Skidmore School, Saratoga Springs, N. Y., and now lives near Baltimore. She has written a piano-sonata and other pieces, several songs, etc. Macbeth, Florence (b. Mankato, Minn., 1891), trained in St. Paul, Pittsburgh and abroad, made her d6but as operatic soprano in 1913 at Darmstadt, with other European appearances, and since 1914 has sung with the Chicago Opera Company. *Maguenat, Alfred (b. France, ? , of Swiss parents), a baritone known in Italy, France and England from 1907, since 1916 has sung with the Chicago Opera Company. *Maitland, Robert Gillies (b. England, 1875), from 1896 prominent in England, Germany and the Low Countries as concert- baritone and expert in lyric interpretation, since 1914 has taught in New York and con- certized more or less. *Mansfield, Orlando Augustine (b. England, 1863), from 1885 an experienced organist in England, from 1912 taught at Wilson College in Pennsylvania, and since 1918 at Brenau College in Georgia. See art. *Marcoux, Vanni (b. Italy, 1879), an operatic baritone favorably known in France and England since 1899, joined the Chicago Opera Company in 1912. *Martinelli, Giovanni (b. Italy, 1885), the able dramatic tenor, since 1913 has. been with the Metropolitan Opera Company, besides singing regularly in London and in 1916 in Buenos Aires. *Martucci, Paolo (b. Italy, 1885), son of the notable pianist, conductor and composer Giuseppe Martucci, from 1911 taught piano at the Cincinnati Conservatory, and since 1913 has been concert-player and teacher in New York. Mason, Edith Barnes (b. St. Louis, 1892), trained as stage-soprano in New York, Boston, Philadelphia and Paris, in 1912 sang with the Boston Opera Company, in 1913-15 at Nice, Marseilles and Paris, and since 1915 at the Metropolitan Opera House. 104 CHRONOLOGICAL REGISTER [10: 1910-1920 *Matzenauer, Margarete (b. Hungary, 1881), the celebrated operatic singer, originally a contralto, but since 1911, when she came to the Metropolitan Opera House, turning to soprano parts. In 1902-11 she was the wife of Ernst Preuse of Munich and in 1912-17 of the tenor Ferrari-Fontana (see above). See Baker, Diet, of Musicians, p. 591. *Megerlin, Alfred (b. Belgium, 1880), from 1894 an able violinist in Belgium, came to America in 1914 and since 1917 has been concertmaster of the New York Philharmonic Society. Milligan, Harold Vincent (b. Astoria, Ore., 1888) , studied in New York, where since about 1910 he has been organist, besides tours as concert-player. See art. Moderwell, Hiram Kelly (b. Fort Wayne, Ind., 1888), graduated from Harvard in 1912, and since 1913 has been critic and author in New York. He contributed to The Art of Music, 1914-17, and wrote The Theatre of To- Day, 1914. *Monteux, Pierre (b. France, 1875), the distinguished conductor, in 1916 conducted the Russian Ballet in New York, in 1917 led municipal concerts there, from 1917 was engaged at the Metropolitan Opera House, and since 1919 has led the Boston Symphony Orchestra. See art. *Muratore, Lucien (b. France, 1878), the operatic tenor, since 1913 has been with the Chicago Opera Company, in 1917 also singing at Buenos Aires. In 1913 he married the soprano Lina Cavalieri (see sec. 9). See art. *Muzio, Claudia (b. Italy, 1892), known in Italy as dramatic soprano from 1912, and having also sung in Paris, London, Cuba and South America, since 1916 has been at the Metropolitan Opera House. *Nachez, Tivadar (b. Hungary, 1859), for thirty years a noted concert- violinist and com- poser, from 1889 working in London, since 1916 has lived at Santa Barbara, Cal. For works, see Baker, Diet, of Musicians, p. 639. *Noble, Thomas Tertius (b. England, 1867), the celebrated organist, since 1913 has been at St. Thomas' in New York, besides concert- tours elsewhere. See Vol. v. 655, and art. *Novaes, Guiomar (b. Brazil, 1895) , studied at Sao Paulo and Paris, from 1911 became known in Europe and South America as a highly gifted pianist, and since 1915 has been widely heard in the United States. See art. *Ober, Margarete (b. Prussia, 1885), the eminent mezzo-soprano, since 1913 has been a leading singer at the Metropolitan Opera House, until 1916 also singing at Berlin. In 1910 she married Arthur Arndt. See art. *Ornstein, Leo (b. Russia, 1895), studied in Petrograd and New York, made his debut as pianist in 1911 in the latter city, and has lived there as player and unusual composer. See art. *Perini, Flora (b. Italy, 1887), since 1910 has been a noted operatic mezzo-soprano at the chief South American capitals, and also since 1915 at the Metropolitan Opera House. She is the wife of Amleto Polattri. *Pfitzner, Walther (b. Saxony, 1882), since 1896 concert-pianist in Germany, from 1915 has been teacher at Bethany College, Linds- borg., Kan., choral conductor and concert-ac- companist. *Pulitzer, Joseph (Hungary, 1847-1911, Charleston, S. C.), the eminent journalist, from 1883 proprietor of the New York 'World,' by his will left $500,000 to the New York Philharmonic Society. See art. *Rabaud, Henri Benjamin (b. France, 1873), the distinguished conductor and composer, in 1918-19 was conductor of the Boston Symphony Orchestra, returning to become director of the Paris Conservatory. *Raisa, Rosa (b. Poland, 1893), since 1914 has been one of the foremost sopranos in the Chicago Opera Company, besides many appear- ances in South America. Rice, William Gorham (b. Albany, N. Y., 1856), who has held various offices in Albany in politics and business, has published The Carillons of Belgium and Holland, 1914, The Carillon in Literature, 1915, and various articles upon campanology. *Riley, Herbejrt (b. Brazil, 1888), educated in Germany and appearing there as 'cellist from 1909, in 1911-12 toured in the West of the United States and settled in San Francisco as soloist, ensemble-player and teacher. He has been associated with Saslavsky (see sec. 8) in annual quartet-concerts. *Roentgen, Engelbert (b. Holland, 1886), a skillful 'cellist, son of Julius Roentgen (see Vol. iv. 119), since 1916 has played in the New York Symphony Society and also taught at the Mannes Music School. *Rosen, Max (b. Rumania, 1900), was brought to New York in infancy, studied there and (as proteg6 of Coppet) in Europe, made his debut as violinist at Dresden in 1915, with tours in Germany and Scandinavia, and since 1918 has appeared with success in America. *Rothier, Leon (b. France, 1874), whose record as dramatic bass began in 1899, came to the Metropolitan Opera House in 1910. Since 1916 he has also taught at the Volpe Institute of Music. *Rybner, Dagmar de Corval (b. Baden, 1890), daughter of Cornelius Rybner (see sec. 9), studied in Baden, Switzerland and New York, and since 1912 has been concert-pianist and composer in New York. See art. *Sainton, Joseph (b. England, 1878), who from 1908 had been in charge of municipal concerts at Brighton, from 1912 was con- ductor for the Aborn Opera Company, and since 1915 has led municipal concerts in Minneapolis. *Salzedo, Carlos (b. France, 1885), an able harpist, since 1913 has been with the Trio de Lutece, with Barrere and Kefer (see sec. 9 for 10 : 1910-1920] CHRONOLOGICAL REGISTER 105 both). He has written for the harp and for other instruments, and a treatise upon the harp. *Sandby, Herman (b. Denmark, 1881), from 1900 a notable 'cellist in Europe, from 1912 played in the Philadelphia Orchestra and taught in the Broad Street Conservatory, and since 1916 has concertized from New York as headquarters. See art. Schminke, Oscar Eberhard (b. New York, 1881), after having been a practicing dentist in New York for some years, from about 1911 has devoted himself to composition. See art. Search, Frederick Preston (b. Pueblo, Colo., 1889), trained in Boston, Cincinnati and Leipzig, from 1912 has been concert-'cellist, in 1915-16 with the American Symphony Or- chestra in Chicago, in 1916-17 with the Chicago Opera Company, and has since directed summer plays in California. See art. Seeger, Charles Louis, Jr. (b. Mexico City, 1886), graduated from Harvard in 1908, in 1910-11 was assistant-conductor of opera at Cologne, and since 1912 has been professor in the University of California. See art. Seydel, Irma (b. Boston, 1896) , daughter and pupil of a player in the Boston Symphony Or- chestra, since 1913 has been concert-violinist in America and Germany. See art. *Smith, Leo (b. England, 1881), an ex- perienced 'cellist, since 1911 has taught at the Toronto Conservatory, besides writing articles for periodicals. *Sorrentino, Umberto (b. Italy, 1889), since 1910 has toured as concert-tenor or operatic star in the West Indies, Mexico, the United States and Canada. Sowerby, Leo (b. Grand Rapids, Mich., 1895), studied in Chicago, and since 1913 has been composer there, besides teaching in the American Conservatory and some work as critic. See art. Spaeth, Sigmund (b. Philadelphia, 1885), graduated from Haverford College in 1906, from 1910 taught in Asheville, N. C., and since 1912 has been engaged in editorial or critical work in New York. See art. Spelman, Timothy Mather (b. Brooklyn, 1891), graduated from Harvard in 1913, studied there and in New York and Munich, and since 1914 has been composer in New York, his works including an opera, an orchestral suite, a melodrama and a pantomime, besides songs, etc. Spencer, Eleanor (b. Chicago, 1890), studied in Chicago, New York, Paris and Vienna, from 1910 appeared in England, Germany and Hol- land as concert-pianist, and since 1913 has been regularly heard in America. See art. *Stefano, Salvatore di (b. Sardinia, 1887), since 1913 has toured in the United States as concert-harpist. Stoessel, Albert Frederic (b. St. Louis, 1894), studied in St. Louis and Berlin, where he made his debut as violinist and was a member of the Hess Quartet, and since 1915 has toured in America. See art. *Stransky, Josef (b. Bohemia, 1874), the distinguished conductor, since 1911 has led the New York Philharmonic Society. See art. *Talbot, Thomas R. (b. Ireland, 1884), since 1913 has been organist in Minneapolis, in- terested in promoting improvement in Roman Catholic music along strict lines. He has organized a Cecilian Society for this purpose. Taylor, Joseph Deems (b. New York, 1885), graduated at New York University in 1906, and has since been in editorial work, from 1910 also composing various choral and orchestral works, etc. See art- *Teyte [Tate], Maggie (b. England, 1889), since 1911 has sung regularly in America as both concert- and opera-soprano, in 1911-14 with the Chicago Opera Company, in 1914-17 with the Boston Opera Company. See art. *Thalberg, Marcian (b. Russia, 1877), from 1902 a prominent concert-pianist at Paris and elsewhere in Europe, since 1913 has been teacher of advanced pupils at the Cincinnati Conservatory. *Tourret, Andre (b. France, 1882), noted as violinist in Paris from 1896, both in the Colonne Orchestra and in ensemble-playing, from 1913 lived in New York, with some tours, returning lately to Belgium. *Treharne, Bryceson (b. Wales, 1879), after ten years of teaching in Australia and further experience in Europe, since 1916 has been composer in New York. See art. Trunk, Richard (b. Baden, 1879), conductor and teacher in Germany from 1896, since 1912 has led the Arion Society in New York and since 1913 also the Arion Society in Newark. Uhe, Arthur Emil (b. Chicago, 1892), studied at Chicago and Brussels, first appeared as violinist at Brussels in 1912, toured in Norway, Switzerland and England, and since 1914 has been teacher and orchestral con- ductor at Bethany College in Kansas. He has written a violin-concerto and other works for violin and piano. Van Gordon, Cyrena [name originally Po- cock] (b. Camden, O., 1893), trained at Cin- cinnati, where she appeared as contralto in a pageant in 1912, since 1913 has been prom- inent in the Chicago Opera Company, besides some concert-singing. In 1912 she married Dr. Shirley B. Munns of Chicago. *Van Vliet, Cornelius (b. Holland, 1886), noted 'cellist in European orchestras from about 1900, came to Chicago in 1911, from 1912 played with the Minneapolis Orchestra, and since 1919 has concertized from New York as center. See art. *Vecsei, Desider Josef (b. Hungary, 1882), concert-pianist in Europe from 1907, since 1915 has toured in the United States. *Vigneti, Georges (b. France, 1882), who had appeared widely as violinist in France and on a world-tour, since 1911 has taught in New York and played in trio with Arthur Whiting and Georges Barrere. 106 CHRONOLOGICAL REGISTER [10: 1910-1920 *Vix, Genevieve (b. France, 1887), from 1910 lyric soprano at Madrid and Buenos Aires, in 1917-18 appeared with the Chicago Opera Company. In 1918 she married the Russian banker Cyril Narishkin in New York. *Volavy, Marguerite (b. Moravia, 1886), from 1902 known as concert-pianist throughout Europe, since 1914 has played in America. At her New York debut in 1915 with the Russian Symphony Orchestra she introduced a new concerto by Bortkiewicz. Ware, Helen (b. Woodbury, N. J., 1887), studied at Philadelphia, Vienna and Budapest, and since 1912 has toured Europe and America as concert-violinist, specializing in Hungarian and Slav music. See art. *Warnery, Edmond (b. France, 1876, of Swiss parents), originally a baritone, now a tenor, since 1910 has sung with the Chicago Opera Company with sustained success. *Weil, Hermann (b. Germany, 1878), the Wagnerian baritone, since 1911 has appeared at the Metropolitan Opera House and in concert. He has published songs. *Witek, Anton (b. Bohemia, 1872), long eminent as concertmaster and ensemble- player in Berlin, in 191018 was concertmaster of the Boston Symphony Orchestra, besides continuing, with his wife, *Vita Witek, nee Frlese (b. Denmark, 1868), and Joseph Malkin, the Witek-Malkin Trio (formed in 1902 at Berlin) and teaching in New York. See art. *Ysaye, Eugene (b. Belgium, 1858), since 1880 famous as a great violinist and also able conductor, since 1918 has been conductor of the Cincinnati Festivals and Symphony Or- chestra. See Vol. v. 580-2, and art. *Zbinden, Theodore (b. Alsace, 1877), graduated from the University of Michigan in 1899, with degrees later in both music and medicine, from 1912 taught in Toledo, but since 1918 has been a practicing physician. He has written a violin-sonata, the cantata 1 The Chambered Nautilus,' etc. *Zimbalisl, Efrem (b. Russia, 1889), the distinguished violinist, settled in America in 1911 and has played extensively and with great success. In 1914 he married the soprano Alma Gluck (see sec. 9). See Vol. v. 596, and art. The several sections of the RBQISTBB refer to about 1700 persons, of whom over 900 are native- born and nearly 800 are foreign-born. It is interesting to observe how the derivation of these classes changes from period to period. For convenience, those native-born may be grouped in six regions, namely, a. New England ; 6. Middle States ; c. Southern States (Va. to Tex.) ; d. Central States (Ohio to Kan.) ; e. West- ern States ; /. Canada, West Indies, Mexico and South America. Still more roughly, those foreign-born may be grouped in four classes, namely, o. Great Britain, Holland and Scandinavia ; 6. Germany, Bohemia and Austria ; c. Latin Countries (including Belgium and Switzerland) ; d. Slavic and Other Countries. The statistics work out (as far as birthplaces are' known or probable) as follows : NATIVE-BORN NAMES a. b. c. d. e. /. NAMES a. 6. c. d. 18th cent. 1800-40 . 15 50 80% 75 20% 21 2% 2% 100 60 70% 54 15% 24 15% 22 1840-60 . 80 60 23 12 3% 2 95 24 67 9 1860-70 . 70 44 30 4 12 10 45 22 64 14 1870-80 . 120 36 28 4 29 2% 1 60 25 46 15 14% 1880-90 . 175 28 38 5 20 2 7 115 33 48 10 9 1890-1900 195 21 38 4 29 3 5 95 32 49 10 9 1900-10 . 150 15 32 6 34 4 9 115 27 22 37 14 1910-20 . 50 10 38 2 38 6 6 105 27 18 36 19 905 32% 32% 5% 23% 3% 5% 780 35% 37% 20% 8% FOREIQN-BOBN If existing dictionaries be collated, it will be found that the trend of percentages does not vary much from the above, although the total number of names included is much larger about 2700 native-born and about 1000 foreign-born. PERSONAL AND DESCRIPTIVE ARTICLES AND ALPHABETICAL INDEX NOTE. The few abbreviations used are mostly self-explanatory. Marks like ' [ R.7 ] ' at the end of biographies indicate where the names are entered in the Chronological Register. Several Associations are often referred to by initials, as ' M.T. N. A.' for Music Teachers' National Association, ' A. G. O.' for American Guild of Organists, ' N. A. O.' for National Association of Or- ganists, ' R. A. M.' for Royal Academy of Music, ' R. C. M.' for Royal College of Music, 'R. C. O.' for Royal College of Organists, and 'I. M. G.' for Interna- tionale Musik-Gesellschaft. In some cross-references ' C.' stands for College and ' U.' for University. Articles relating to those who are outside the American field are marked by*. ABBEY, HENRY EUGENE (1846-1896). See Register, 7. ABBOTT, EMMA (Dec. 9, 1850, Chicago : Jan. 5, 1891, Salt Lake City), attained success as a stage-soprano by hard work and perti- nacity. During her youth in Peoria, 111., she had few advantages, and her voice was neither large nor sympathetic. In 1870, however, aided by Miss Kellogg, she became a leading church-singer in New York and had lessons from Errani. Her advance was so marked that in 1872 friends enabled her to study at Milan under Sangiovanni and then at Paris under Mme. Marchesi, Wartel and Delle Sedie. Her operatic debut at Covent Garden in 1876 and in New York in 1877 in 'La Fille du Regiment' was followed by a tour in Great Britain under Mapleson's direction. From 1878 she pursued an active career in America, mostly as the head of her own operatic troupe, which was managed by Eugene Wetherell of New York, whom she married in 1878. She appeared in standard Italian works and English operettas, but in Chicago she is credited with bringing out such works as Gounod's ' Mireille ' and Masse's ' Paul et Virginie. ' For a time she almost rivaled Miss Kellogg in popularity, and she and her husband (who died in 1888) be- came wealthy. [ R.6 ] A BECKET, THOMAS (1843-1918). See Register, 4. ABORN, MILTON (b. 1864) and SAR- GENT (b. 1866) . See Register, 9. ABORN OPERA COMPANY, THE, was an operatic troupe organized in 1902 by the brothers Aborn for producing lighter operas in English, which continued for several years in different parts of the country with consider- able success. ABOTT, BESSIE PICKENS (1878-1919). See Register, 8. ACADEMY OF MUSIC, THE, of Boston, was an association, formed in 1833 under the lead of Lowell Mason, which established a music-school, promoted the recognition of music in the public schools and the holding of 'conventions' in many places, organized a chorus and an orchestra, and arranged public lectures on musical topics. After 1847 its functions were taken over by other agencies. In 1838 the Academy chorus of about 200 gave Romberg's ' Song of the Bell,' Neu- komm's ' David ' and Zeuner's ' Feast of Taber- nacles,' the latter perhaps the first American oratorio. In 1840-41 Beethoven's 1st and 5th Symphonies were played by the orchestra. See L. C. Elson, History of American Music, pp. 52, 78-80, and Ritter, Music in America, chap. adi. ACADEMY OF MUSIC, THE, of New York. See Vol. i. 12, Krehbiel, Chapters of Op- era, and article by Saerchinger in ' The Musi- cal Quarterly,' January, 1920, pp. 84-5. As an operatic headquarters it ceased to be im- portant in 1897. ACADEMY OF MUSIC, THE, of Phila- delphia, was a theater and opera-house, erected in 1857, which long served as a center for opera-performances and concerts, like its New York predecessor. ADAMOWSKA, MME. See SZUMOWSKA. ADAMOWSKI, JOSEPH (July 4, 1862, Warsaw, Poland), in 1871-77 was a 'cello- student with Kontski and Goebelt at the War- saw Conservatory. He then went to the Moscow Conservatory and studied 'cello with Fitzenhagen, composition with Tchaikovsky and piano with Pabst. Meanwhile he also entered the University and graduated. In 1883 he began concert-tours in Poland and Germany, and in 1885-87 was professor of 'cello and ensemble-playing at the Conserva- tory of Cracow. Coming to America in 1889, he played in the Boston Symphony Orchestra till 1907, and also in the Adamowski Quartet and Adamowski Trio. He has been pro- fessor in the New England Conservatory since 1903. He is one of the founders and directors of the Boston Symphony Orchestra pension- fund. In 1896 he married the pianist Antoi- nette Szumowska. [ R.7 ] ADAMOWSKI, TIMOTHEE (Mar. 24, 1858, Warsaw, Poland), having studied at the Warsaw Conservatory with Kontski and Roguski and in Paris with Massart, came to the United States in 1879 as a violin- virtuoso. He toured with Clara Louise Kellogg, Emma Thursby and Max Strakosch, and finally with a company of his own. In 1884-1908 he was a member of the Boston Symphony Orchestra, resigning to become teacher of the advanced violin-classes at the New England Conserva- tory. In 1890-94 he conducted popular con- certs in the summer. As soloist he has appeared in Paris with the Colonne Orchestra, in London with the Philharmonic Society under Nikisch, and in Warsaw with the opera orchestra. He has composed, for violin and piano, 'Novelette,' 'Air de Ballet,' 'Bar- carolle,' 'Mouvement de Valse' and 'Ber- ceuse.' [ R.6 ] ADAMOWSKI QUARTET, THE, was formed at Boston in 1888 with Timothee Adamowski as leader, E. Fiedler as second, D. Kuntz as violist and Giuseppe Campanari as 'cellist. In 1890 it was reconstituted with A. Moldauer, Max Zach and Joseph Adamow- ski in the place of the last three. 109 110 ADAMOWSKI TRIO AIKEN ADAMOWSKI TRIO, THE, was formed at Boston in 1896 with Mme. Adamowska as pianist, Timothee and Joseph Adamowski as violinist and 'cellist. ADAMS, CHARLES R. (1834, Charlestown, Mass. : July 3, 1900, West Harwich, Mass.), had for early teachers Edwin Bruce and Mme. Arnault. In 1856 he was the tenor in 'The Creation' with the Handel and Haydn Society, and for the next five years sang in concert and oratorio. In 1861, with his teacher Mulder and Mme. Febbri-Mulder, he appeared in concert and opera in the West Indies and in Holland. Called to Vienna, he learned his part in 'La Sonnambula' in three days, with successful result. After a tour in Russia he was engaged for three years at Budapest, but cut this short to accept a similar offer from the Royal Opera in Berlin. With an interim of one year, he was principal tenor at the Imperial Opera at Vienna in 1867-76. He sang also at Madrid, London, and Milan. Early in 1877 he returned to America, and sang in German opera in 1877-78, including the first American performances of 'Rienzi.' From 1879 he lived in Boston, where he was extremely successful as a teacher. His most effective roles were Lohengrin, Tannhauser, Raoul, Masaniello, Rienzi, Manrico, Vasco da Gama and Don Jose. J. S. Dwight in 1877 said that 'his was the robust kind of tenor, of large compass, evenly developed, under complete control and intrinsically very sweet in quality. He sang superbly, in a large, frank, masterly, dramatic style, each tone fraught with meaning and intention.' [ R.4 ] ADAMS, MBS. CROSBY, nee Graves (b. 1858). See Register, 7. ADAMS, F. W, (1787-1859). See Regis- ter, 3. ADAMS, SUZANNE (1873, Cambridge, Mass.) , early went abroad for study, becoming a pupil of Bouhy in Paris. In 1894 her debut was made as Juliette at the Paris Opera where she sang for three years, followed by one season at Nice. In 1898 she was engaged by Grau at Covent Garden, and appeared there each year until 1906. In 1898 she made her American debut in Chicago, and at the Metro- politan Opera House in 1899. She married the English 'cellist Leo Stern in 1898, toured the United States with him in 1902-03 and on his death in 1904 retired from the stage for a year. She has been a favorite singer at Buckingham Palace and has frequently appeared in oratorio in England, where she has made her home since 1903. Her favorite operatic r61es are Juliette, Marguerite, Euri- dice, Gilda, Micaela, Zerlina, Cherubino and Donna Elvira. [ R.8 ] ADDINGTON, STEPHEN. See TUNE- BOOKS, 1807. ADES, LUCIUS. See COLLEGES, 3 (Friends U., Kan.). ADGATE, ANDREW (d. 1793, Phila-' delphia), in 1784 founded in Philadelphia an Institution for the Encouragement of Church Music, and the next year established a Free School for Spreading the Knowledge of Vocal Music, which developed in 1787 into the Uranian Academy. Among the managers of the latter were many prominent citizens, like Hopkinson and Dr. Rush. From before 1785 Adgate promoted choral concerts at intervals, with programs including not only music by Billings, Lyon, Tuckey and others, but also the 'Hallelujah' from 'The Messiah.' On May 4, 1786, he gave a concert at the Re- formed German Church with a chorus of 230 and an orchestra of 50. His programs and plans (often excellent) are detailed in Sonneck, Early Concert-Life in America, pp. 103-20. He died in the epidemic of yellow fever in 1793, but the Uranian Academy seems to have continued till after 1800. For his publica- tions, see TUNE-BOOKS, 1785. [ R.2 ] ^OLIAN CHOIR, THE, of Brooklyn, N. Y., is a select chorus of forty-five voices organized in 1912 by N. Lindsay Norden for the culti- vation and promotion of Russian a cappella church-music. He prepared for it English adaptations of over ninety Russian composi- tions that were previously inaccessible, includ- ing many that are extended and elaborate, sometimes in eight-part and even ten-part form. The publication of these works, illus- trated by the recitals which the Choir gave in or about New York, aroused a widespread interest in the Russian style. See articles by Norden in the M. T. N. A. Proceedings, 1915, and 'The Musical Quarterly,' April, 1918. JEOLIAN COMPANY, THE, of New York, has long been famous for making automatic instruments like the ^Eolian and the Pianola. It is part of the complex corporation known as the ^Eolian, Weber Piano and Pianola Co. (capital, $10,000,000), which also has absorbed the Weber Piano Co., Steck & Co., the Wheel- ock Piano Co., the Stroud Piano Co., the Vocalion Organ Co., the Votey Organ Co., the Orchestrelle Co. of Great Britain, the Choralion Co. of Germany and Austria, etc. This combination of interests is one of the largest instrument-makers in the world. The central office is at 29-33 West 42nd St., and in its building is ^Eolian Hall, which is one of the fine concert-halls in New York. The president of the Company is H. B. Tremaine. AGRAMONTE, EMILIO (1844- ? ). See Register, 5. AIKEN, CHARLES (1818-1882). See Register, 4. AIKEN, HENRY M. (1824?- ? ). See Register, 4. AIKEN ALLEN 111 AIKEN, WALTER H. (b. 1856). See Reg- ister, 6. AIKIN, J. B. See TUNE-BOOKS, 1847. AITKEN, JOHN. See TUNE-BOOKS, 1787. AKER, J. HARRY. See COLLEGES, 3 (Cen- tral C., Ark.). ALBANI, EMMA. See* article in Vol. i. 59. The correct birth-year is 1852. She retired from active work in 1906 and in 1911 made her farewell appearance at a concert in Albert Hall, London. See her autobiography, Emma Albani, Forty Years of Song, 1911, and H. S. Edwards, The Prima Donna, 1888. [ R.5 ] ALBEE, AMOS (1772- ? ). See TUNE- BOOKS, 1805. ALBRECHT, CHARLES. See Register, 2. ALBRECHT, H. F. (d. 1875). See Reg- ister, 4. ALDA, FRANCES [name originally Davis] (May 31, 1883, Christchurch, New Zealand), received her general education in Melbourne, Australia. She studied singing in Paris with Mme. Marchesi, and in 1904 made her debut at the Opera-Comique as Manon. She then sang at Brussels, London, Milan, Warsaw and Buenos Aires. In 1908 she made her first appearance at the Metropolitan Opera House as Gilda in 'Rigoletto,' and has since sung there regularly. In 1910 she married Giulio Gatti-Casazza, the manager of the Metro- politan. She has created soprano r61es in Gilson's 'Princesse Rayon de Soleil,' Messager's 'Madame Chrysan theme,' Puccini's 4 Le Villi,' Damrosch's 'Cyrano de Bergerac' and Her- bert's 'Madeleine,' and in American produc- tions of Borodin's 'Prince Igor,' Zandonai's 'Francesca da Rimini' and Rabaud's 'Marouf.' In addition to these works her repertoire in- cludes the r61es of Mimi, Desdemona, Mar- guerite (in 'Faust'), Juliette, Traviata, Aida, Manon Lescaut (Puccini) and Margherita (in ' Mefistofele ') . She is also an esteemed concert-singer. [ R.9 J ALDEN, JOHN CARVER (Sept. 11, 1852, Boston), studied piano with Faelten in Boston and in Leipzig was a pupil of Paul, Plaidy and Papperitz. In 1880 he began teaching in Boston as an associate of Faelten in the New England Conservatory. He taught for a period in New York, then for some years at Converse College, Spartanburg, S. C., and more recently at the Quincy Mansion School, Wollaston, Mass. Besides being highly esteemed as a piano-teacher, ,he has composed a piano-con- certo in G minor, piano-pieces and technical studies, songs like 'Du bist wie eine Blume,' and anthems. [ R.6 ] ALDRICH, A. See TUNE-BOOKS, 1859. ALDRICH, MARISKA (b. 1883) . See Reg- ister, 9. ALDRICH, PERLEY DUNN (Nov. 6, 1863, Blackstone, Mass.), was trained at the New England Conservatory in Boston, study- ing in 1883-86 with Emery, Maas and Whiting. In 1892 he went to London for three years of vocal study with Shakespeare and then pro- ceeded to Paris for lessons with Trabadello. He taught at the University of Kansas in 1885-87, at the Tremont School of Music, Boston, in 1888, at the Utica Conservatory in 1889-91, privately at Rochester in 1891- 1903, and since 1903 in Philadelphia. During the summers of 1903, '04 and '08 he was assist- ant to Sbriglia in Paris. He has given many song-recitals with unique programs, and has composed the cantatas 'La Belle Dame sans Merci,' for male voices (1895) and 'The Sleeping Wood-Nymph' (1896), and about 25 songs. He is the author of Vocal Economy, 1895, and has been a frequent contributor to musical magazines. [ R.7 ] ALDRICH, RICHARD (July 31, 1863, Providence, R. I.), was educated at the Provi- dence High School and Harvard College, where he graduated in 1885. He studied music with Paine, but upon graduation en- gaged in newspaper-work on the Providence 'Journal.' In 1888-89 he studied in Germany, giving much attention to music. In 1889-91 he was in Washington as private secretary to Senator Dixon, with some critical work on the ' Evening Star. ' In 1891-1902 he held various positions on the New York ' Tribune, ' such as assistant literary editor and Sunday editor, besides helping with musical criticism under Krehbiel. In October, 1902, he became music-editor of the New York ' Times,' contin- uing until December, 1917, when he resigned to enter military work in Washington. He was commissioned captain in the National Army (as it was then) and later became cap- tain in the United States Army, attached to the Intelligence Division of the General Staff. In 1919 he returned to his place on the ' Tunes.' His writings on musical subjects, in news- papers and books, are highly valued for their sanity and clarity. He has published a Guide to Parsifal, 1904, a Guide to the Ring of the Nibelung, 1905, and a translation of Lilli Lehmann's Meine Gesangskunst or How to sing, 1902, '14. He joined with Krehbiel in con- tributing American articles to the revised edition of this Dictionary in 1904-10. [ R.8 ] ALEXANDER, LLOYD L. See COLLEGES, 3 (Hanover C., Ind.). ALLEN, BENJAMIN DWIGHT (Feb. 16, 1831, Sturbridge, Mass. : Mar. 4, 1914, Wellesley, Mass.), was educated in Worcester, where he lived almost sixty years. From 1845 he was teacher and organist there, from 1857 for thirty-seven years at the Union Congrega- tional Church. In 1858 he was one of the founders of the association which later estab- lished the Worcester Festivals, and was always 112 ALLEN AMATO active in it as accompanist, organist, associate- conductor and on the directorate. In 1871- 76 he also taught at the New England Con- servatory in Boston, and gave some lectures at Boston University. After 1876 he often lectured elsewhere. From 1894 he was head of the music-department of Beloit College in Wisconsin, and in 1902-05 was organist in New York both at the Manhattan Congre- gational Church and at Teachers College, retiring in 1905 to Wellesley, Mass., to busy himself with composition. About a score of his songs and anthems have been published, but many others remain in manuscript. He was a thorough and scrupulous teacher, and counted among his pupils the heads of music- departments in at least six colleges. He was a member of the Harvard Musical Association and a founder of the A. G. O. [ R.4 ] ALLEN, CHARLES N. (1837, York, Eng- land : Apr. 7, 1903, Boston), gained his mastery of the violin under Saenger at Paris, and for some years was in the orchestra at the Opera. In 1871 he came to Boston, where for thirty years he was a foremost player and teacher. In 1873 he organized the Beethoven Quintette Club, in 1877 joined the Mendelssohn Quintette Club, and later was a member of the Boston Symphony Orchestra. Among his pupils was Henry K. Hadley. Besides being a superior musician, he was a man of great culture and charm. [ R.6 ] ALLEN, EDWIN L. See COLLEGES, 3 (Mt. Union C., Ohio). ALLEN, FRANCIS D. See TUNE-BOOKS, 1818. ALLEN, GEORGE N. U812-1877). See Register, 4. ALLEN, HEMAN (1836- ? ). See Regis- ter, 5. ALLEN, NATHAN HALE (Apr. 14, 1848, Marion, Mass.), after schooling in Provi- dence and at Phillips (Andover) Academy, in 1868 went to Germany. In Berlin he was a pupil of Grell in singing and of Haupt in organ-playing, and later studied instrumenta- tion with Van der Stucken in New York. From about 1870 he was organist in Hartford, Conn., in 1883-1906 at the Center Congrega- tional Church. Five years were then spent at Piedmont Church in Worcester, and in 1915 he returned to Hartford. He has taught many prominent organists and has been active as concert-organist and chorus-con- ductor. .He has composed many songs, part- songs, organ- and piano-pieces, a collection of 40 liturgical responses and two sacred cantatas. Many of his fifty published anthems have been widely used. Among the compositions as yet unpublished are a number of organ-pieces, in- cluding a 'Piece Symphonique' and a 'Sym- phonic Fantasia'; a 'Concertante' for organ and piano ; ' In Memoriam ' for organ, piano and strings ; pieces for piano, violin and 'cello ; and numerous vocal compositions, including the cantata ' The Apotheosis of St. Dorothy.' He has several printed addresses on musical subjects, and has devoted much time to inves- tigating the musical history of New England. He is one of the founders of the A. G. O., an original member of the New York Manu- script Society, and has repeatedly served as associate-conductor of the Litchfield Festival Chorus. With Leonard W. Bacon he edited The Hymns of Martin Luther, 1883. [ R.6 ] ALLEN, WARREN DWIGHT (b. 1885). See COLLEGES, 3 (C. of the Pacific, Cal.). ALLEN, WILLIAM FRANCIS (1830- 1889). See Register, 5. ALLER, GEORGE HENRY (b. 1871). See Register, 8. ALTHOUSE, PAUL SHEARER (b. 1889). See Register, 10. ALTSCHULER, MODEST (Feb. 15, 1873, Mogilev, Russia), was at first a violin-student, but soon changed to the 'cello, which he studied in 1884-86 with Gobelt at the Warsaw Conservatory. His first public appearance, at thirteen, was with the conservatory orches- tra under the direction of Zarzycki. Gradu- ating with honors, he won a scholarship at the Moscow Conservatory, where he studied 'cello with Fitzenhagen and Von Glen and com- position with Arensky, Tanieiev and Safonov. On graduating in 1890 he was awarded a silver medal. He toured Europe with the Moscow Trio, and finally came to New York as 'cellist and teacher. In 1903 he organized the Russian Symphony Orchestra, of which he has since been conductor. Its first concert was on Jan. 7, 1904, in New York. Since that time the Orchestra has visited most of the cities in the United States, making three trans-continental tours before 1914. He has orchestrated several modern Russian works, including the Tchaikovsky piano-trio. [ R.9 ] AMATO, PASQUALE (Mar. 21, 1878, Naples, Italy), after graduating from the Institute Tecnico Domenico, studied at the Naples Conservatory in 1896-99 and made his debut as Germont in 'La Traviata' at the Teatro Bellini in 1900. He then made the round of the leading theaters of Italy, and sang in Prague, Munich, Dresden, Leipzig, Berlin, Budapest, Vienna, Brussels and Paris. In 1908 he came to the Metropolitan Opera House in New York, continuing to the present. He has sung two seasons in London and six in Buenos Aires, and is regarded as one of the leading operatic baritones of the day. His favorite r61es are in ' I Pagliacci,' ' II Trovatore, 1 'Un Ballo in Maschera,' 'Prince Igor,' Napo- leon in 'Madame Sans-Gene,' Amfortas in 'Parsifal' and the Toreador in 'Carmen.' AMBROSE AM. GUILD OF ORGANISTS 113 He has created the parts of King Hadraot (in 'Armida'), Carlo Worms (in 'Germania'), Jack Ranee (in 'The Girl of the Golden West') and Golaud (in 'Pelleas et Melisande'). Equally popular as a concert-singer, he has appeared with the Boston, Philadelphia and Chicago Symphony Orchestras and the New York Philharmonic Society. He is a popular 'festival-artist' and has made many concert- tours. [ R.9 ] AMBROSE, PAUL (Oct. 11, 1868, Hamil- ton, Ont.) , was the son of the composer Robert S. Ambrose. His general education was in the public schools of Hamilton and at the Colle- giate Institute. He studied piano there with his father, and in New York with Parsons and Miss Chittenden, composition with Klein and orchestration with Buck. He was organist at the Madison Avenue (M. E.) Church in 1886-1890, organist at St. James' (M. E.) Church in 1890-1917, and since 1917 at the First Presbyterian Church in Trenton, N. J. He has taught and lectured on music-history at several schools," including the Institute of Applied Music in New York, and since 1904 has been director of music at the State Normal School at Trenton. He has composed songs, choruses, piano- and organ-pieces. [ R.7 ] 'AMERICA' is the title usually applied either to the patriotic hymn beginning 'My country, 'tis of thee' or to the tune associated with it. The hymn is by Rev. Samuel Francis Smith, D. D. (1808-1895), a distinguished Baptist clergyman, professor, editor and hymnist. The tune is the same as that of the English 'God save the King,' which has also been adopted into German and Danish use. Dr. Smith wrote the verses early in 1832, while still a theological student at Andover Seminary, to fit the music as found in a German song-book referred to him by Lowell Mason. They were probably first sung publicly under Mason's direction at a children's celebration at Park Street Church in Boston on July 4, 1832, and they soon became popular and were included in standard hymn-books from Smith and Stow's Psalmist (1843) onwards. See Bun-age, Baptist Hymn-Writers, pp. 329-34, Julian, Diet, of Hymnology, under 'Smith' and 'God save the King,' and many other books on hymnody, and also Vol. ii. 188-91, of this Dictionary, Sonneck, Report on ' The Star Spangled Banner, 1 etc., pp. 73-8, 158-60, and many books on popular and national airs. 'AMERICAN ART JOURNAL, THE,' established in New York in 1863, for many years gave much attention to musical subjects. See Watson, H. C., in Register, 4, and Thorns, W. M., in Register, 5. AMERICAN COLLEGE OF MUSICIANS, THE, was organized in 1884 by Edward M. I Bowman under the general auspices of the Music Teachers' National Association. It was modeled upon the College of Organists in England, and was intended to be exclusively an agency for examination and certification as to professional proficiency. The branches included were piano, organ, voice, violin, theory and, later, public-school teaching, and grades of attainment were marked by grant- ing the use of the terms 'associate,' 'fellow' or 'master.' About 1895 the Board of Regents of the State of New York empowered the College to grant the degrees of Mus.B. and Mus.D. The organization began with about 140 charter-members, including a fine repre- sentation of foremost musicians. The presi- dent from 1884 was Mr. Bowman, who was succeeded in 1893 by A. R. Parsons. For ten years or more the system of examinations was maintained upon a high plane, and the total number of candidates was about 235, of whom about half were approved, mostly as 'associates.' But after 1895, apparently for mechanical and financial reasons, the organ- ization became inoperative. In 1910 Mr. Bowman urged the revival of its work, but without practical result. See Mathews, Hun- dred Years of Music, pp. 539-41, and a paper by Bowman in M . T. N. A. Proceedings, 1912, pp. 145-56. AMERICAN CONSERVATORY OF MU- SIC, THE, of Chicago, was organized in 1886 and incorporated in 1887. The founder was John J. Hattstaedt, who has remained its director since 1894, assisted by Karleton Hackett and Adolf Weidig. Its aim is 'to offer the best instruction in all branches of music and dramatic art by teachers of broad education thoroughly in sympathy with Amer- ican life and its needs.' The number of teachers is about 100, and the number of students over 2200 annually. There are over 1400 graduates, of whom about 275 received the degree of Mus.B. In addition to all the lines of usual instruction fine opportunities are given for choral and orchestral experience, for operatic and dramatic training, for musical pedagogy in all its applications, etc. AMERICAN FEDERATION OF MUSI- CIANS, THE, founded in 1895, aims to pro- mote the interests of musicians employed in orchestras, bands and the like. It has about 750 local unions in the United States and Canada, with a total membership of about 85,000, the president being J. N. Weber, 110- 112 W. 40th St., New York. AMERICAN GUILD OF ORGANISTS, THE, See Vol. i. 77, and add that in 1919 the Guild had over 23 chapters in the United States and Canada, and a total membership of 1925, of whom 150 now rank as 'fellows.' The honorary presidents have been from 1896 114 AM. INST. OF APPLIED MUSIC ANDERSON Dudley Buck, from 1899 Gerrit Smith, from 1902 S. P. Warren, from 1906 H. W. Parker, and in 1909-12 Arthur Foote; in 1912 the office was discontinued. The wardens have been successively Gerrit Smith, Sumner Salter, W. H. Hall, R. H. Woodman, S. A. Baldwin, J. H. Brewer, W. R. Hedden, Frank Wright, J. W. Andrews, Clifford Demarest and Victor Baier. The Clemson anthem-prize has been won by W. C. Macfarlane, S. N. Pen- field, H. J.Stewart, J. S. Ford, W. Y. Webbe, Mark Andrews, Herbert Sanders and William Berwald. The general office is at 29 Vesey Street, New York. AMERICAN INSTITUTE OF APPLIED MUSIC, THE, in New York, was incorpo- rated in 1900 to continue the work of the Metropolitan College of Music and other schools. Kate S. Chittenden, founder of the Synthetic Piano School in 1887 and on the staff of the College from 1892, has been the efficient dean from the first. In its regular curriculum the Institute aims at systematic thoroughness, with much emphasis upon pedagogical method, largely with reference to those expecting to teach. The enrolment averages about 350 per year. More than 1000 teachers have received certificates. The Institute is located at 212 West 59th Street. AMERICAN OPERA COMPANY, THE, was an enterprise organized in 1885 under the lead of Mrs. Jeannette Thurber of New York for the giving of opera in English with extreme artistic perfection and, so far as practicable, with American artists, not only in New York, but in several other cities. Theodore Thomas was secured as musical director, and no pains were spared in recruiting the orchestra, the staff of soloists and the chorus. The Academy of Music was tastefully renovated for the New York season, which opened on Jan. 4, 1886, and ran to sixty-six performances, with a later tour to Boston, Philadelphia, Baltimore, Washington, Chicago, etc. The repertoire included 'Orpheus,' 'The Magic Flute,' 'Martha,' 'The Merry Wives,' 'The Flying Dutchman,' ' Lohengrin,' Masse's 'The Mar- riage of Jeannette,' ' The Taming of the Shrew' and 'LakmeV The venture proved over- ambitious and its financial foundation in- sufficient, and in 1887 it was abandoned and was succeeded by a new organization, called the National Opera Company. See Mrs. Thomas, Memoirs of Theodore Thomas, pp. 279-96, and Krehbiel, Chapters of Opera, pp. 139-44. ' AMERICAN ORGAN. The English name for the type of reed-organ developed in the United States from about 1850-60. See Vol. i. 77-8, and pamphlet by Henry L. Mason, The History and Development of the American Cabinet Organ, n. d. AMERICAN PIANO COMPANY, THE, of New York, was formed in 1908, with a capital of $12,000,000, to unite the interests of Chickering & Sons, Knabe & Co., Haines Brothers, Marshall & Wendell and several other firms. It has not only carried forward the established business of all of these, but developed with marked success the player- pianos and similar devices connected with them. The name 'Ampico' is applied to the most perfect of these latter, which has excep- tional facility in recording and reproducing tone-colors and nuances. Its inventor was Charles D. Stoddard, and it was first publicly shown in 1916. 'AMERICAN SYMPHONY.' A name often given to Dvorak's Symphony No. 5, in E minor, 'From the New World,' produced in New York in 1893. AMERICAN SYMPHONY ORCHESTRA, THE, of Chicago, was founded in 1915 by Glenn Dillard Gunn, who has remained its conductor. Its object is to present American compositions exclusively. Among the im- portant works thus far brought forward are the following : H. K. Hadley : Dramatic Overture, ' Herod.' Eric DeLamarter: 'Alice in Wonderland' Suite; 1 Overture to a Comedy.' J. A. Carpenter : ' Gitangili,' songs for soprano and orchestra (texts by Tagore). Leo Sowerby : ' Homage to English Country-Folk.' settings of three folk-songs; Symphonic Poem, ' The Sorrows of Midath ' ; Concerto for violin and orchestra; 'Marching-Song,' for strings and piano. Clarence Loomis : Concerto for piano and orchestra ; Fantasy for piano and orchestra. R. G. Cole : Symphonic Prelude, ' King Robert of Sicily.' Arthur Dunham : Overture, ' In Autumn.' George Colburn : ' Montezuma ' Suite ; ' The Song of the Drum,' for chorus and orchestra. Clarence Burley : Concerto for violin and orchestra. C. W. Cadman : ' Indian ' Suite. Roland Leach : Overture, ' Legend.' Herbert Butler : Ballade. ANDERSON, ARTHUR OLAF (Jan. 30, 1880, Newport, R. I.), was a pupil of Norris in Boston, of Guilmant, Guiraud and d'Indy in Paris, of Dura in Berlin, and of Sgambati in Rome. In 1905-08 he taught theory in Berlin. In 1908 he came to Chicago and joined the faculty of the American Conserva- tory, with which he is still connected. He has composed an orchestral suite, 'The Brook' ; other music for large and small orchestra ; suites for piano, organ and violin ; two sonatas for piano; twelve fugues; an 'Ave Maria,' for soprano and orchestra; two song-cycles, 'Pilgrimage to Kevlaar' and 'The Child's Garden of Verses ' ; fifty songs and various choruses. [ R.9 J ANDERSON APOLLO CLUB 115 ANDERSON, JOHANNA. See COLLEGES, 3^(11. of Omaha, Neb.). ANDERSON, [O. WALDEMAR. See COL- LEGES, 3 (Gustavus Adolphus C., Minn.). ANDERSON, STYLES R. See COLLEGES, 3 (Simmons C., Tex.). ANDRES, HENRY GEORGE (1838- ? ). See Register, 5. ANDREWS. See TUNE-BOOKS, 1800. ANDREWS, GEORGE WHITFIELD (Jan. 19, 1861, Wayne, O.), has been associated with Oberlin, O., for almost his entire life. He began the study of piano there at six, organ at nine (with F. B. Rice) and at twelve made his first public appearance, playing a Bach Prel- ude and Fugue. For a time before 1879 he was organist of the First Church of Oberlin, and then played and taught two years at Meadville, Pa., and one year at Toledo. In 1882 he became organist of the Second Church in Oberlin, a position he still holds. Since 1882, also, he has been connected with the Musical Union, first as organist and since 1900 as conductor. In 1886 he began teaching at the Conservatory, and since 1892 has been professor of organ, composition and orchestra tion. He graduated from the Conservatory in 1879 in organ, piano, violin and theory, and studied in Leipzig with Papperitz (organ) and Jadassohn (theory, composition and piano) , in Munich with Rheinberger (organ, composi- tion and orchestration, 1885-6), and in Paris with Guilmant (organ and composition) and d'Indy (composition and orchestration, 1898- 99). He was made Mus.D. by Oberlin College in 1903. His interest has centered in the duties connected with his work as teacher and conductor, and he has been highly successful in both fields, besides appearing as organ- recitalist in all parts of the country, including the great Expositions. He was a founder of the A. G. O. and is now dean of the Northern Ohio Chapter. His published organ-composi- tions are a March in C Minor and 'Poco Agitato' (Schirmer), Serenade No. 1 and 'Aria* (Ashmall), Serenade No. 2 and 'Con Grazia' (J. Fischer & Bro.), and Fugue in A minor (Leduc, Paris). The Church Co. publishes three sacred songs for baritone. Still in manuscript are a Suite in C for orches- tra (played at Oberlin by the Chicago Sym- phony Orchestra), six organ-sonatas, four suites for organ, a Theme and Variations, many separate pieces for organ, a piano-trio, 'Morning' for piano, a Magnificat for soprano and piano, and a Processional and Recessional for chorus. [ R.6 ] ANDREWS, J. WARREN (Apr. 6, 1860, Lynn, Mass.), was organist at Swampscott, Mass., when but twelve. At sixteen he went to the First Baptist Church of Lynn, Mass., and also played at the Boston Street Methodist Church. In 1879 he was engaged by Old Trinity Church at Newport, R. I., where he remained nine years. Then followed a three- year sojourn at the Pilgrim Church in Cam- bridge and seven years at the Plymouth Church in Minneapolis. In 1898 he removed to the Church of the Divine Paternity in New York, where he still remains. He was a founder of the A. G. O., its warden in 1913-16 and a member of the council for many years. He has also held official positions in the N. A. O. In 1895 he established a school for organists and singers in Minneapolis, and has continued as teacher in New York. Many well-known church-musicians have been among his pupils. His published works are few, but he has organ- pieces, anthems, Te Deums and Canticles that may sometime be published. [ R.6 ] ANGER, JOSEPH HUMPHREY (June 3, 1862, Berkshire, England : June 11, 1913, Toronto), had his first appointment as organist at Frenchay, near Bristol, and while there (1888) he won the gold medal offered by the Bath Philharmonic Society for a setting of Psalm 96 for voices and orchestra. Later he matriculated at Oxford, proceeding as Mus.B. in 1889. He became assistant-master of Surrey County School, Cranleigh, and then organist at Ludlow. In 1893 he was appointed professor of harmony and theory at the Toronto Conservatory, a position he re- tained until his death. He was also examiner in music at the University of Toronto, presi- dent of the Clef Club, conductor of the Phil- harmonic Society, dean of the Ontario chapter of the A. G. O., and organist at St. Andrew's Presbyterian Church and later at the Central Methodist Church. He received the degree of Mus.D. from the University in 1902 in appreciation of his services toward the advance- ment of musical education in Canada, particu- larly in Toronto. He was the author of a text-book on harmony, Form in Music, and a pamphlet on The Modern Enharmonic Scale, 1907, which have had wide use. His madrigal 'Bonnie Belle' won the London Madrigal Society's prize in 1890. [ R.8 ] ANSCHUTZ, KARL (1815-1870). See Reg- ister, 4. 'ANTONIO.' A lyric opera by Silas G. Pratt, written about 1870 while studying at Munich and Berlin. Selections were per- formed at Chicago in 1874 under Balatka, and in March, 1887, a rewritten version under the title 'Lucille' was given entire at the Colum- bian Theatre there. ' APOLLO.' No. 13 of the ' Grove-Plays ' of the San Francisco Bohemian Club, produced in 1915. The text is by Frank Pixley and the music by Edward F. Schneider. APOLLO CLUB, THE, of Boston, was founded in 1871 and incorporated in 1873, its 116 APOLLO CLUB APTHORP nucleus being the earlier Chickering Club. It has had a singularly unbroken history along the lines originally planned. It aims to main- tain a male chorus of superior singers for the study and performance of part-songs and concerted works for an audience limited to singers and subscribers. The active members now number about 80, and the associate mem- bers 500. From 1871 till his resignation in 1901 the conductor was B. J. Lang, who made the Club famous. He was followed by Emil Mollenhauer, who has continued the same brilliant record. The Club Rooms are at 3 Joy Street. Four concerts are given annu- ally, the total number being about 250, with eminent soloists, vocal and instrumental, and often a full orchestra as well. In the list of works with orchestra given in Boston for the first time have been Mendelssohn's 'Antigone' and 'CEdipus in Colonos,' Killer's 'Easter Morning,' Brambach's 'Columbus,' Bruch's 'Roman Song of Triumph,' Paine's 'CEdipus Tyrannus' and 'Summons to Love,' Brahms' 'Rinaldo,' Whiting's 'March of the Monks of Bangor,' 'Free Lances' and 'Henry of Navarre,' Foote's 'Farewell of Hiawatha,' and Nicode's 'The Sea' several of these having been written for the Club. Many part-songs by American composers have been prominent on the programs. See Vol. i. 369, and article in 'The New England Magazine,' April, 1910, by Ethel Syford. APOLLO CLUB, THE, of Brooklyn. See Vol. iii. 367. APOLLO CLUB, THE, of Cincinnati, was organized in 1882 and under the leadership of B. W. Foley attained a position of marked importance. APOLLO CLUB, THE, of St. Louis, was founded in 1893. Its conductor till 1910 was Alfred G. Robyn and since that time Charles Galloway. It is a male chorus, limited to eighty voices. As a rule, three concerts are given annually to subscribers and guests. APOLLO MALE CHORUS, THE, of Pitts- burgh, was organized in 1904 by Rinehart Mayer, who has been its conductor since then. APOLLO MUSICAL CLUB, THE, of Chicago, was organized in 1872 the year after the Great Fire through the efforts of Silas G. Pratt and George P. Upton, and its first concert was given in January, 1873. Originally planned as a male chorus after the model of the Apollo Club of Boston, in 1875 it was expanded into a mixed chorus, so as to undertake works of the largest dimensions. Its early conductors were A. W. Dohn (1872- 74) and Karl Bergstein (1874-75), but the establishment of the Club as a highly signifi- cant artistic force was due to the leadership of William L. Tomlins (1875-98) and since 1898 that of Harrison M. Wild, who has brought the standard of quality, balance and interpreta- tion to the highest point. The chorus now numbers about 250 singers. The usual num- ber of concerts annually is five, and the total number since the beginning is over 200. The Club's repertoire includes all the stand- ard oratorios and similar large works. 'The Messiah ' has been given more than fifty times. In the list are Bach's St. Matthew Passion, Mass in B minor and Magnificat, Handel's 'Judas Maccabseus,' Mozart's Requiem Mass, Schumann's Missa Sacra, Berlioz' Requiem and Te Deum, Verdi's Requiem, Brahms' Requiem, Bruch's 'Frithjof,' Dvorak's Stabat Mater, Massenet's 'Mary Magdalene' and 'Eve,' Grieg's 'Olaf Trygvason,' Elgar's 'Light of Life,' 'Apostles' and 'Caractacus,' Pierne's 'Children's Crusade,' Parker's 'St. Christopher' and 'Hora Novissima,' Georg Schumann's 'Ruth,' Schmitt's 49th Psalm, Wolf -Ferrari's 'New Life,' etc. First perform- ances in America include Elgar's 'Dream of Gerontius' (1903), Busch's 'King Olaf (1903), Woyrsch's 'Dance of Death' (1911), and Cowen's 'The Veil' (1915). APPLETON, THOMAS. See Register, 3. APPY, HENRI'(1828- ? ). See Register, 4. APTHORP, WILLIAM FOSTER (Oct. 24, 1848, Boston : Feb. 19, 1913, Vevey, Switzer- land), was long the most influential critic in Boston. In 1856-60 he attended schools in Dresden, Berlin and Rome. He graduated from Harvard in 1869. Six years earlier he had begun piano, harmony and counterpoint with Paine and piano-study was continued under Lang. During his last year at Harvard he was conductor of the Pierian Sodality. He taught piano and harmony at the National College of Music in Boston in 1872-73, and for thirteen years was with the New England Conservatory, teaching piano and various branches of theory. In 1872 Ho wells, then editor of 'The Atlantic Monthly,' engaged him as musical editor. In 1876 he undertook musical criticism for the 'Sunday Courier' and two years later both musical and dramatic criticism for the 'Traveller.' In 1881 he be- came music-critic on the ' Evening Transcript,' soon assuming also the dramatic work. Both positions he held until 1903, when he gave up actual work. His remaining years were spent chiefly in Switzerland. In addition to his critical writing, which included many contribu- tions to magazine and periodical literature, he taught aesthetics and musical history for some years in the College of Music of Boston University, and gave courses of lectures at the Lowell Institute in Boston and at the Peabody Institute in Baltimore. From 1892 to 1901 he edited the program-books for the Boston Sym- ARA ARNOLD 117 phony Orchestra concerts. His published vol- umes are Musicians and Music-Lovers, 1894, By the Way, 2 vols., 1898, The Opera, Past and Present, 1901, and these translations: Hector Berlioz Selections from his Letters and Writings, 1879, Jacques D amour, etc., from Zola, 1895. He was also critical editor (with Champlin) of Scribner's Cyclopedia of Music and Musicians, 3 vols., 1888-90. [ R.6 ] ARA, UGO (b. 1876). See Register, 9. ARBUCKLE, MATTHEW (1828-1883). See Register, 4. ARCHAMBEAU, IVAN D' (b. 1879). See Register, 9. ARCHER, FREDERICK (June 16, 1838, Oxford, England : Oct. 22, 1901, Pittsburgh). See article in Vol. i. 101. His work in Pitts- burgh began with the opening of the Carnegie Library and Music Hall on Nov. 7, 1895, when the first free organ-recital was given. The series of Pittsburgh Orchestra concerts began on Feb. 27, 1896, and his engagement as con- ductor expired on Jan. 28, 1898. The Satur- day evening and Sunday afternoon free organ- recitals were continued till his death. He was also organist at the Church of the Ascension in Pittsburgh and musical examiner for the University of Toronto. [ R.7 ] 'ARCHERS, THE,' An opera by Benja- min Carr, first given in April, 1796, at the John Street Theater in New York, there at least twice repeated, and in Boston in 1797. The libretto was by William Dunlap (1766- 1839), the painter and play-writer, and is based on the story of William Tell. Of the music the only fragments known are a Rondo from the overture and the song 'Why, hunt- ress, why ? ' See Sonneck, ' Early American Operas,' in I.M. G. Sammelbde. 6. 465-73, and Early Opera in America, pp. 98-100. ARDITI, LUIGI (1822-1903). See Vol. i. 102-3, and Register, 4. ARENS, FRANZ XAVIER (Oct. 28, 1856, Neef, Germany), came to America when a child, and was educated at the Normal College at St. Francis, Wis. He studied music with his father, Clemens Arens, with John Singenberger in Milwaukee, and in Germany with Rheinberger, Abel, Wiillner, Janssen and Hey. He has been professor in Canisius College at Buffalo, conductor of the Cleveland Philharmonic Society and Gesang- verein (1885-88), and president of the Metro- politan School of Music in Indianapolis. In 1890-92 he gave concerts of music by Ameri- cans in Vienna and the principal cities of Ger- many. Since 1896 he has been located in New York as vooal teacher and from 1900 as founder and musical director of the People's Symphony Concerts, the object of which is to provide good music at low prices. He has composed a Sym- phonic Fantasia for orchestra, a canon and fugue for organ, choral works with orchestra, and many songs and choruses. [ R.7 ] JARENSKY, ANTON STEPANOVITCH (July 31, 1861, Novgorod, Russia : Feb. 26, 1906, Tarioki, Finland). See article in Vol. i. 103, and add to the list of compositions the ballades 'The Diver,' op. 61, for solo, chorus and orchestra, and ' The Wolves,' op. 59, for bass with orchestra, a violin-concerto in A minor, op. 54, a fourth suite, op. 62, for piano duet, and numerous smaller instrumental pieces. ARIANI, ADRIANO (b. 1877). See Regis- ter, 10. ARIMONDI, VITTORIO. See Register, 9. ARION CLUB, THE, of Providence, a mixed chorus of about 200 voices, has a high reputation for artistic excellence. Started in 1880, it has given three or four concerts annually since that time, the conductor from the first being Jules Jordan. Besides giving standard'oratorios regularly and modern works like Elgar's 'Gerontius,' 'Caractacus,' 'King Olaf,' Pierne's 'Children's Crusade,' Parker's 'Hora Novissima' and Chad wick's 'Phoenix Expirans,' the club has given a number of operas in concert-form, such as 'Faust,' 'Romeo et Juliette,' 'Aida,' ' Tannhauser ' and 'Lohengrin,' all first times thus in America. ARION MUSICAL CLUB, THE, of Mil- waukee, has long been foremost in the pro- duction of choral works of large dimensions. Its most famous conductors have been William L. Tomh'ns in 1879-88 and Daniel Protheroe since 1899. ARION SOCIETY, THE, of New York, was founded in 1854 as a rival male chorus to the older Liederkranz. Its conductors have been Bergmannin 1859-60 and 1867-71, Anschiitz in 1860-62, Ritter in 1862-67, Leopold Damrosch in 1871-84, Van der Stucken in 1884-94 (tour to Europe with the Society in 1892), Lorenz in 1895-1913, and Carl Hahn in 1913-18. See Vol. iii. 369-70. ARMSTRONG, JOHN. See TUNE-BOOKS, 1816. ARMSTRONG, WILLIAM DAWSON (b. 1868). See Register, 8. ARNOLD, MB., MRS. and Miss. See Reg- ister, 2. ARNOLD [-STROTHOTTE], MAURICE (b. 1865). See Register, 8. ARNOLD, RICHARD (Jan. 10, 1845, Eilenburg, Prussia : June 21, 1918, New York), was brought to America in 1853 and attended schools in Buffalo, Memphis and Columbus. By his twelfth year he had conducted theater- orchestras in Memphis and Columbus. From 1864 he was a pupil of Ferdinand David at Leipzig, where he remained three years. Returning to New York, he played in the orchestra at Niblo's Garden for a time, and then became a first violinist under Thomas in 118 ARONSON ATWELL 1869-76. In 1878-91 he was solo violinist in the New York Philharmonic Club. In 1877 he entered the New York Philharmonic Society, and in 1880-1909 was its concert- master, playing under a long list of celebrated conductors. In 1897 he organized the Richard Arnold String Sextet. The last years of his life were spent in New York as teacher and player. [ R.5 ] ARONSON, RUDOLPH (1856-1919). See Register, 6. ARQUIER, JOSEPH (1763-1816). See Register, 3. ARTHUR, ALFRED (Oct. 8, 1844, Pitts- burgh : Nov. 20, 1918, Lakewood, O.), had his early schooling in Ashland, O., then studied in Boston^ with Baker, Howard and Arbuckle, and graduated at the Boston Music School in 1869. He also studied harmony and com- position with Eichberg at the New England Conservatory. In 1869-71 he was tenor at the Church of the Advent in Boston, and then moved to Cleveland, where he remained until his death. In 1871-78 he was tenor-soloist at the Second Baptist Church, in 1878-90 con- ductor of the Sacred Music Society of the Pil- grim Church, in 1878-90 conductor of the Bach Society of the Woodland Avenue Church, in 1873-1902 conductor of the Cleveland Vocal Society. From 1885 he was founder and director of the Cleveland School of Music, and his last years were given entirely to it. He composed three operas (MS.) , ' The Water- Carrier' (1875), 'The Roundheads and Cava- liers' (1878) and 'Adaline' (1879); songs and church-music. He published Progressive Vo- cal Studies, 1887, Album of Vocal Studies, 1888, Technical Exercises for Soprano or Tenor (Schmidt), 74 Lessons in Voice-Training (Pres- eer), 40 Vocal Art-Studies for Soprano and Elementary Theory of Music (not yet out) [R.5] ASHM ALL, WILLIAM E. (b. 1860). See Register, 7. ASHTON, JOSEPH NICKERSON (Sept. 7, 1868, Salem, Mass.), secured his A.B. from Brown University in 1891 and his A.M. from Harvard in 1893. He began to teach in Boston in 1895 and the same year became instructor in musical theory and history at Brown University and in 1898-1904 was associate-professor there. In 1907-08 he was acting-professor of music at Wellesley College. Since 1907 he has been music-director at Abbot Academy, Andover, Mass., and in 1908-12 was also director and organist at Phillips Academy there. In 1905 he succeeded Goetschius as organist of the First Parish Church in Brookline, Mass. He has devoted much time and attention to music as a college- study and to church-music. He edited a Hymn Book for Schools and Colleges, 1913, and has published The History of the Salem Athenaeum, Salem, Mass., 1810-1910. He is a trustee of this latter institution. [ R.8 ] ASPLUND, JOHN (d. 1807). See TUNE- BOOKS, 1793. ASSOCIATION OF PRESIDENTS AND PAST PRESIDENTS OF STATE AND NATIONAL MUSIC TEACHERS' ASSO- CIATIONS, THE, was organized in 1916 under the lead of Liborius Semmann of Mil- waukee. Its object is to promote united action to standardize instruction, to publish a joint periodical for the several associations, to advocate music as a major subject in public schools, with credit for outside work in praxis, to work for a National School of Music, etc. It has published five annual reports, in the third of which are requirements for certificates as 'licentiate,' 'associate' and 'fellow.' The president for 1919-20 is David A. Clippinger of Chicago, and the secretary Arthur L. Man- chester of Mexico, Mo. ASTOR PLACE OPERA" HOUSE, THE, erected in 1847, was the first suitable opera- house in New York. In 1847-48 it was managed by Sanquirico and Salvatore Patti (father of the singer), in 1848^9 by Edward R. Fry (brother of W. H. Fry, the composer), and after 1848 by Maretzek. It was sup- ported by a subscription for five years, but competition was so strong that in 1852 it was given up. The building became the Mer- cantile Library. See Krehbiel, Chapters of Opera, pp. 14-5, 45ff., and article by Saerch- inger in ' The Musical Quarterly,' January, 1920,~pp. 88-9. ATHERTON, PERCY LEE (Sept. 25, 1871, Boston), was graduated from Harvard in 1893 with honors in music, and then pro- ceeded to the Munich Conservatory, where he spent two years under Rheinberger and Thuille. In 1896 he studied with Boise in Berlin, in 1900 with Sgambati in Rome and later with Widor in Paris. He has composed the comic opera 'The Heir Apparent,' text by Alfred Raymond (1888-90) ; 'The Maharaja,' an Oriental opera comique, text by Raymond (1897-1900) ; a comic opera as yet unnrmed (1918-19); the symphonic poem 'Noon in the Forest' and several orchestral sketches; two sonatas, a suite, and smaller pieces for violin and piano ; a suite for flute and piano ; many piano-pieces ; choruses, part-songs, song- cycles and about 100 solo songs. [ R.8 ] 'ATONEMENT OF PAN, THE.' No. 10 of [the 'Grove-Plays' of the San Francisco Bohemian Club, produced in 1912. The text is by Joseph D. Redding and the music by Henry K. Hadley. The title-role was taken by Bispham. ATWELL, THOMAS H. See TUNE-BOOKS, 1794. AUDITORIUM AUTOMATIC APPLIANCES 119 AUDITORIUM, THE, in Chicago, is a complex building, including an opera-house, a hotel and numerous offices. Its erection was due to an association formed in 1886, of which Ferdinand W. Peck, a public-spirited man of wealth, was president. The building was dedicated on Dec. 9, 1889, with ceremonies that included Dubois' 'Fantaisie Triomphale,' La Tombelle's 'Fantaisie de Concert,' Glea- son's 'Festival Ode,' several oratorio choruses and songs by Patti. The opera-house is one of the largest (over 4000 seats) and best- equipped in the world. From the first, espe- cially under the efficient management of Milward Adams (till 1910), it has been fa- mous as the headquarters 'not only for opera- seasons, but for every variety of superior concert. AUDITORIUM, THE, in Milwaukee, is an extensive building for exhibition and concert purposes, erected in 1909. The main hall has a seating capacity of 10,000, and there are six other halls. The Auditorium Orchestra of 45-50 players was organized in 1909 to give popular symphony concerts on Sunday after- noons. Until 1913 there were various con- ductors and the enterprise was supported by popular subscription. Since 1913 the con- ductor has been Hermann A. Zeitz, and the city has appropriated about $4000 annually to cover deficits in receipts. The average number of concerts is sixteen each season. AUDSLEY, GEORGE ASHDOWN (Sept. 6, 1838, Elgin, Scotland), was educated as an architect and followed that profession in Elgin until 1856. He then moved to Liver- pool and became noted by designing many important public and private buildings. Since 1892 he has worked in the United States, add- ing to his reputation as architect, decorator and author. As early as 1865 he became interested in organs and organ-construction, the first result being the construction, by him- self, of a house-organ of his own. This in- strument, unique in specification and arrange- ment, earned the approval of Saint-Saens, Hollins and others, and recitals were given upon it by distinguished players. In 1886-88 he published a series of articles on organ- making in 'The English Mechanic and World of Science,' and later gave a course of lectures, advocating flexibility and expression in all the divisions, manual or pedal, of the instru- ment. His large work is The Art of Organ- Building, 2 vols., 1905, and he has added The Organ of the Twentieth Century, 1919, a manual of ' the science and art of tonal-appoint- ment and divisional-apportionment with com- pound expression, and a treatise on Organ Stops, 1920. The scheme of the large organ at the Louisiana Purchase Exposition at St. Louis, 1904, was made by him. He is author and joint-author of over twenty works on architecture, art and industry. [ R.9 ] AUER, LEOPOLD (June 7, 1845, Veszprem, Hungary) . See article in Vol. i. 130. In May, 1917, he went to Norway for a vacation, but could not return to Petrograd because of chaotic political and social conditions. He decided to visit America, and reached New York in February, 1918. After giving recitals in New York, Boston, Philadelphia and Chicago, he located in New York, where he has since taught privately. He has lately revised and edited many old and new violin-works, composed new cadenzas to numerous concertos and made many transcriptions (being pub- lished by Carl Fischer). Among his many successful pupils may be named Elman, Zim- balist, Kathleen Parlow, Eddy Brown, Heifetz, Seidel and Rosen. [ R.10 ] AUERBACH, NANNETTE, nee Falk (about 1838, Danzig, Germany), came with her husband to Baltimore in 1867 and on Jan. 18, 1868, appeared as pianist at a Peabody Concert. Her striking ability led to her engagement as teacher at the Peabody Con- servatory in 1871, where she continued until 1881, highly regarded by her pupils (among whom was Harold Randolph, the present head of the Conservatory) and frequently heard in public. As indicating the solidity of her equipment, it is said that she had at instant command not only all the Beethoven Sonatas, but the whole of the 'Well-Tempered Clavichord,' the latter in any key. It is said that she was still living in 1917. [ R.5 ] 'AURORA.' An opera by Ettore Panizza, produced in 1908 at Buenos Aires. AUSTIN, MRS. See Register, 3. AUSTIN, JOHN TURNELL (b. 1869) and BASIL GEORGE (b. 1874). See below and Register, 7. AUSTIN, T. MERRILL. See COLLEGES, 3 (Monmouth C., 111.). AUSTIN ORGAN COMPANY, THE, of Hartford, Conn., was organized in 1899 to make instruments under the patents of John T. Austin and Basil G. Austin. Chief among these is the 'Universal Wind-Chest,' which is described in Vol. iii. 553^1 (and see i. 291), but to this have been added many other novel and ingenious mechanical devices. The Com- pany has an extensive factory, equipped with the most modern appliances. They have made about 900 organs, including one five-manual (Medinah Temple, Chicago) and over 60 four- manual. AUTOMATIC APPLIANCES. The ref- erence in Vol. i. 135-6, to the development of mechanical music-making would need to be greatly extended if completeness of statement were here possible. The number of devices that have been worked out by American 120 AUTOPIANO COMPANY AZORA! inventors is not only large, but constantly growing. Some general points about the tendency of invention are set down under PLAYER-PIANO and PHONOGRAPH. AUTOPIANO COMPANY, THE, of New York, began business in 1904 and was incor- porated in 1905 (capital, $1,000,000). It was one of the first firms to devise and put upon the market a successful player-piano (as distinct from a piano-player), and its business has in- creased so that it now claims to have the largest factory in the world solely devoted to making player-pianos. This building is on the Hudson River between 51st and 52d Streets. The firm has made over 70,000 instruments and ten million rolls. AVERY, STANLEY R. (Dec. 14, 1879, Yonkers, N. Y.), studied organ in New York with Heinroth and Macfarlane, composition and orchestration with MacDowell and choir- training with Stubbs, and in Berlin he con- tinued organ with Grunicke and composition with Pfitzner. In 1896-1910 he was organist at St. Andrew's in Yonkers, and has since been at St. Mark's in Minneapolis, where the vesper services are musically important. He has regularly given cantatas and oratorios, and plans are being made for annual festivals by the combined choirs of the city. He is presi- dent of the Civic Music League, director of music at the Northrop Collegiate School, organist for the Sunday evening services at the Auditorium and conductor of civic pageants. His published works include a Te Deum in E-flat (congregational) (Summy), an Evening Service in D-flat, 'Shout the Glad Tidings' (Schirmer), 'In Loud, Exalted Strain,' 'How Sweet the Name' (Presser) and other anthems, carols and choruses ; many songs, such as 'Song of the Timber-Trail' (Ditson), 'Two Love-Songs' (Schirmer), 'I love thee still' (Presser), etc.; the operetta 'The Merry Mexican' (Schirmer) ; a Scherzo in G for organ (Summy) ; a Scherzo in G minor for violin (Ditson) ; and several piano-pieces. He has also the one-act opera 'The Quartet,' the comic opera 'Katrina,' incidental music to Josephine Peabody's 'The Piper,' two musical comedies, the overture 'The Taming of the Shrew,' the orchestral scherzo 'A Joyous Prelude,' and one or two chamber-works. [R.8] AYRES, CECILE. See HORVATH. AYRES, EUGENE EDMOND (1859-1920). See Register, 7. AYRES, FREDERIC (Mar. 17, 1876, Binghamton, N. Y.), had his general educa- tion in Binghamton and at Cornell University. In 1897-1901 he studied composition with Kelley, but spent part of 1899 with Foote in Boston. For some years he has made his home in Colorado Springs, and has taught theory and composition, lectured and written articles on musical subjects. His composi- tions include the overture 'From the Plains,' op. 14 ; a string-quartet, op. 16 ; a sonata for violin and piano, op. 15 ; two trios for piano, violin and 'cello, opp. 13 (Stahl) and 17; two piano-fugues, op. 9 (Stahl), 'The Open Road,' op. 11, 'The Voice of the City,' op. 12, and ' Moonlight,' op. 12, all for piano ; the song- cycle 'The Seeonee Wolves,' op. 10 (Schirmer) ; a 'Book of Mother Goose Melodies,' op. 7 ; and songs, opp. 2-6 (Stahl, Schirmer). [ R.9 ] 'AZARA.' An opera in three acts by John K. Paine, completed about 1900, but not per- formed except in concert-form (1906). The libretto, by the composer, is based on the old French romance of Aucassin and Nicolette. It was published in Germany in 1906 with German translation by Carl Pflueger. 'AZORA, DAUGHTER OF MONTE- ZUMA.' A three-act opera by Henry K. Hadley, produced by the Chicago Opera Com- pany on Dec. 26, 1917, under the direction of the composer. B BABCOCK, ALPHEUS and LEWIS (d. 1817). See Register, 3. BABCOCK, S. See TUNE-BOOKS, 1795. BACHMANN, ALBERTO ABRAHAM (b. 1875). See Register, 10. BACON, GEORGE (d. 1856). See Regis- ter, 3. BACON PIANO COMPANY, THE, of New York, makers of uprights, grands and player-pianos, have had a long history. In 1789 John Jacob Astor, dealer in furs, began importing pianos from England, simply to make his trading reciprocal. In 1802 this importing business passed to John and Michael Paff and then to William Dubois. In 1821 the later was joined by Robert Stodard (see Register, 3), and they began manufacturing. In 1836 the firm was reorganized as Dubois, Bacon & Chambers, George Bacon having come in. In 1841 it became Bacon & Raven, and in 1856 Raven & Bacon, including Francis Bacon, who was George Bacon's son. The present president is W. P. H. Bacon, who rep- resents still another generation. BAERMANN, CARL, JR. (July 9, 1839, Munich, Germany : Jan. 17, 1913, Newton, Mass.). See article in Vol. i. 162. He held the title of Royal Prof essor]]from the king of Bava- ria. His work in Boston from 1881 earned him the greatest esteem. Among his best-known pupils are Mrs. Beach and F. S. Converse. A series of twelve piano-studies are pub- lished by Andr6 of Offenbach; other piano- pieces, including a suite, are in manuscript. A festival-march for orchestra has been played in Munich. See Elson, Hist, of American Music, pp. 287-9. [ R.7 ] BAIER, VICTOR (b. 1861). See Register, 7. BAILEY, ARCHIBOLD A. See STATE UNIVERSITIES (Iowa State C.). BAILEY, DANIEL (1725?-1799). See TUNE-BOOKS, 1764. BAILEY, HERBERT MEAD (b. 1886). See COLLEGES, 3 (Huron C., S. D.). BAIRD, T. D. See TUNE-BOOKS, 1816. BAKER, BENJAMIN FRANKLIN (July 16, 1811, Wenham, Mass. : March 11, 1889, Boston), succeeded Mason as teacher of music in the Boston public schools in 1841- 47, having been for ten years a singer or director in church-choirs in Salem and Boston. He was also active in 'convention' work. He was vice-president of the Handel and Haydn Society in 1841-47, and soloist at numerous concerts. In 1851 he founded the Boston Music School, becoming principal and head of the vocal department. At the dissolution of this school in 1868 he retired from active musical work. He wrote three cantatas, 'The Storm King,' 'The Burning Ship' and 'Camillus, the Roman Conqueror," and other vocal composi- tions. He compiled several volumes of glees and anthems, was author of Thorough-Bass and Harmony, 1870, and edited the ' Boston Musical Journal.' See TUNE-BOOKS, 1842. [ R.3 ] BAKER, E. H. See TUNE-BOOKS, 1846. BAKER, THEODORE (June 3, 1851, New York), was educated in New York and in or near Boston, early serving as organist in Concord, Mass. After a short business experi- ence, in 1871-2 he journeyed across the conti- nent to Olympia, Wash., looking for a suitable opening for a career. Not finding this, in 1874 he went to Germany for study, first under Oscar Paul at Leipzig and from 1878 at the University there, receiving the degree of Ph.D. in 1881. His thesis (title below) was based upon investigations made in 1880 among the Seneca Indians of New York State, when he was initiated into the tribe and given remarkable facilities for observing tribal songs and dances, supplemented by further researches at the Indian Training School at Carlisle, Pa., and extended reading in the literature of early exploration and settlement. This thesis was the first thoroughgoing study of Indian music and marked an e'poch in both matter and method. Shown by Gilbert to MacDowell after 1890, it provided the latter with suggestions for his 'Indian Suite.' Baker lived in Germany until 1890. Since 1892 he has been with the firm of G. Schirmer in New York as literary editor. Besides putting the stamp of his culture upon thousands of its publications, he has translated many works of importance and edited two masterly dictionaries. His works include Ueber die Musik der nord- amerikanischen Wilden, 1882, Dictionary of Musical Terms, 1895 (18th ed., 1918), Pronouncing Pocket- Manual of Musical Terms, 1905, Biographical Dic- tionary of Musicians, 1900, supplement, 1905 (3rd ed. 1919), The Musician's Calendar and Birthday- Book, 1915-17. Translations: O. Paul, Manual of Harmony, 1885, L. Bussler, Elements of Notation and Harmony, 1890, Elementary Harmony, 1891, J. C. Lobe, Catechism of Composition, 1891, A. Kullak, The Esthetics of Pianoforte-Playing, 1892, S.^Jadas- sohn, Manual of Harmony, 1893, C. F. Weitzmann, History of Pianoforte-Playing, 1893, F. Kullak, Beethoven's Piano- Playing, 1901, M. Bree, The Groundwork of the Leschetizky Method, 1902, S. \Jadassohn, Manual of Single, Double and Quadru- ple Counterpoint, 1902, G. B. Lamperti, The Tech- nics of Bel Canto, 1905, M. Loewengard, Harmony Modernized, 1910, F. Busoni, A New Esthetic of Music, 1911, E. F. Richter, Manual of Harmony, 1912, V.vd'Indy, Beethoven, 1913, P. Bona, Com- plete Method for Rhythmical Articulation, O. Klau- well, On Musical Execution. With two exceptions all the above were published by Schirmer. Among translated articles, mention should be made of many prepared for 'The Musical Quarterly.' [ R.5 ] 121 122 BAKLANOV BALTIMORE SYMPHONY BAKLANOV, GEORGE (b. 1882). See Register, 10. JBALAKIREV, MILY ALEXEIEVITCH (Jan. 2, 1837, Nishni Novgorod, Russia : May 28, 1910, Petrograd). Add to article in Vol. i. 168-9, that his last works include a second symphony, in D minor (1909), and a piano- concerto. See Montagu-Nathan, Hist, of Rus- sian Music, pp. 63-73, and other works on Russian music. BALATKA, HANS (1827-1899)r~ See Reg- ister, 4. BALDWIN, RALPH LYMAN (Mar. 27, 1872, Easthampton, Mass.), although first preparing as organist and composer, has also become a leader in public-school music, active in promoting higher standards of teach- ing and musical material and in obtaining credit for music-work in high schools. He graduated from Williston Seminary in 1890 and studied in Boston with Chadwick, Emery, Heindl and Elson. After being organist in Easthampton and Northampton, Mass., in 1904 he became musical director at the Fourth Congregational Church in Hartford and in 1917 moved to the Immanuel Congregational Church there. He was music-supervisor in Northampton in 1899-1904 and has since held a similar position in Hartford. He directed the Vocal Club of Northampton in 1894-1904, and since 1906 the Choral Club of Hartford. Since 1900 he has been one of the proprietors of the Institute of Music Pedagogy at North- ampton (summer-school) , where he has trained a great number of supervisors. His organ- sonata, op. 10 (Schirmer) and his 'Burlesca e Melodia' (Schmidt) are popular on recital- programs, and he has published anthems and songs (Schmidt, Boston Music Co.) The light opera ' Wanita ' has had amateur performances. Choruses for men's voices are still in manu- script. For school use he has published Pro- gressive Melodies, Progressive Songs, and a series of ten pamphlets of Standard Song Classics (Ginn). [ R.8 ] BALDWIN, SAMUEL ATKINSON (Jan. 25, 1862, Lake City, Minn.), at fifteen was organist of the House of Hope Presbyterian Church in St. Paul. In 1884 he graduated from the Dresden Conservatory, where his teachers were Merkel for organ, Wiillner for composition and directing, Rieschbieter for harmony and counterpoint and Nicod6 for piano. In 1886-89 he was organist at Plym- outh Church in Chicago. He was then in St. Paul and Minneapolis as organist and con- ductor, founding choral societies in both cities. Coming to New York in 1895, he was organist at the Chapel of the Intercession till 1902 and then at Holy Trinity in Brooklyn till 1911. In 1907 he was appointed to the new chair of music at the College of the City of New York. Here he instituted the Sunday and Wednesday afternoon organ-recitals which have become notable. About 700 of these recitals have been given, including toward 1000 different works of every school of organ-composition. The annual attendance has averaged about 70,000. He is a founder and fellow of the A. G. O. and was one of the ten Americans to play at the Columbian Exposition in Chicago in 1893. He also gave recitals at the St. Louis Exposi- tion in 1904 and at San Francisco in 1915. His published compositions are songs, anthems and church-services. His unpublished works are mostly in larger forms, including a string- quartet; a piano- trio; the 18th Psalm and 'The Triumph of Love' for solo voices, chorus and orchestra; two concert-overtures, 'A Journey in Norway' and 'Frithjof and Ingeborg ' ; a symphony in C minor ; and an orchestral suite, 'A Summer Idyl.' [ R.6 ] BALDWIN COMPANY, THE, of Cin- cinnati, organized in 1862, is the corporation that controls the Baldwin, Ellington, Howard, Hamilton and Monarch pianos. The Baldwin piano was awarded the Grand Prix at the Paris Exposition of 1900 and a similar prize at the St. Louis Exposition in 1904. The Baldwin type of player-piano is known as the ' Manualo.' BALLANTINE, EDWARD (Aug. 8, 1886, Oberlin, O.), secured his general education at Springfield, Mass., and at Harvard, where he was a special student in 1903-07. Mean- while he studied piano with Mary Regal, Edward Noyes and Mme. Hopekirk, and com- position with Spalding and Converse. In 1907-09 he continued piano with Schnabel and Ganz in Berlin and composition with Riifer. From 1912 he was instructor in theory at Harvard. In 1918 he enlisted as musician and was assigned as saxophone-player to the 1st Regt. Band at Vancouver Barracks, Wash., with the rank of sergeant. His song 'Retro- spect' came out in the 'Harvard Musical Review,' April, 1913, and his piano-piece 'Morning' in December, 1913. His Prelude to 'The Delectable Forest' (Hagedorn) was first performed at the MacDowell Festival, Peter- boro, N. H., in 1914; the Boston Symphony Orchestra played his symphonic poem 'The Eve of Saint Agnes' in January, 1917. These works are still in manuscript, as are more incidental pieces for Hagedorn's fairy-play for small orchestra and chorus of women's voices; the tone-poem 'The Awakening of the Woods'; an 'Overture to the Piper'; songs ; and pieces for piano, violin and piano, and 'cello and piano. [ R.10 ] BALTIMORE SYMPHONY ORCHES- TRA, THE, was established in 1916 by the municipality and is carried on by it. Its con- ductor is Gustav Strube. The number af players is 65, and seven concerts are usually BALTZELL BARNES 123 given each year. Its repertory includes all standard symphonies and similar high- class orchestral works. BALTZELL, WINTON JAMES (Dec. 18, 1864, Shiremanstown, Pa.), was the son of Rev. Isaiah Baltzell (1832-93), who from 1859 edited many collections of evangelistic and Sunday-school hymns and tunes. He was educated in Harrisburg, Pa., and at Leba- non Valley College at Annville, Pa., graduat- ing in 1884. His early training in music, in- cluding elementary harmony, was largely self-directed. In 1886-88 he was proof- reader in the United Brethren Publishing House at Dayton, O., and studied with local teachers. In 1888-89, at the New England Con- servatory, he came under Emery (harmony), Elson (theory), Mahr (violin) and Arthur Thayer (singing). He taught singing and harmony at Fredericksburg College (Pa.), harmony at Lebanon Valley College, and in 1889 privately at Lebanon, Pa. In 1890 he was in London, where Packer and Shakespeare were his teachers in singing, Bridge in com- position and Lowden in organ. For three years he taught privately at Reading, Pa., and at Albright College, Myerstown, Pa., and pursued composition with Clarke at the Uni- versity of Pennsylvania, where he was made Mus.B. in 1896. He was assistant-editor of 'The Etude' in 1897-99, teacher of history and theory at the Ohio Wesleyan University, Delaware, O., in 1899-1900; editor of 'The Etude' in 1900-07, editor of 'The Musician' in 1907-18, and since 1919 secretary of the National Academy of Music in New York, and associate-editor of the University Course of Music-Study. He is author of A Complete History of Music, 1905, and a Biographical Dictionary of Musicians, 1910, supplement, 1914. His published compositions include songs, part-songs and anthems. In manu- script are works in large form for orchestra, for chamber-ensemble and for chorus, [ R.8 ] BANJO. See Vol. i. 179-180, and add ref- erences to Stanley, Catalogue of the Stearns Collection, p. 166-7, and note in The Art of Music, iv. 296. J BANTOCK, GRANVILLE (Aug. 7, 1868, London, England). See article in Vol. i. 181. To the list of works add the tone-poems ' The Pierrot of the Minute' (1908), ' Dante and Bea- trice' (1911) and 'The Hebridean Symphony' (1916) ; the choral symphony 'Atalanta in Calydon' (1912) and 'The Vanity of Vanities' (1914), a choral symphony a cappella; 'Omar Khayyam' (1906-07); 'Sea-Wanderers' (1907); 'Overture to a Greek Tragedy' (1911); the ballet 'The Enchanted Garden' (1916); the choral suite 'A Pageant of Human Life'; 'Ferishtah's Fancies,' thirteen lyrics for tenor and orchestra ; music to ' Elektra ' ; many choruses for men's, women's and mixed voices ; three ' Dramatic Dances ' for orchestra ; and 'Scenes from the Scottish Highlands' for orchestra. He is engaged upon a ' Celtic Folk- Opera ' (with Mrs. Kennedy Fraser), an opera, a 'Pagan Symphony' and a Ballet. In an article in 'The Musical Quarterly,' July, 1918, Antcliffe calls him 'the arch-experimentalist among British composers,' and claims that he 'has introduced the world of art, and par- ticularly of British art, to new phases and new inspirations over which he has planted the British flag of his own mueic and that of his disciples.' Since 1908, in addition to his other duties, he has been professor of music at the University of Birmingham. See Anderton, Granvitte Bantock, London, 1915. BARBOUR, FLORENCE, nee Newell (Aug. 4, 1867, Providence, R. I.), pursued her study of piano and composition entirely in America. She has made frequent appearances as solo-pianist and in ensemble. She has written the words as well as the music of many of her songs, and personally draws and designs the cover-pages. Among her published com- positions for piano are two suites, 'Venice' and 'A Day in Arcady,' seven 'Forest- Sketches,' five 'Nature-Pieces,' six 'Melodic Etudes,' and numerous detached pieces. Her songs make a long list. There are also anthems, choruses for women's voices and a 'Reverie' for strings and piano. 'Child-Land in Song and Rhythm ' is published in two books. Her most recent works are 'Three Rossetti Lyrics,' a piano-suite, 'All in a Garden Fair,' a set of piano-studies, and new groups of songs. [ R.8 ] BARFORD, VERNON WEST (b. 1876). See Register, 8. BARNABEE, HENRY CLAY (1833-1917). See Register, 4. BARNES, EDWARD SHIPPEN (Sept. 14, 1887, Seabright, N. J.), began organ-study with Van Dyck at the Lawrenceville School, then studied composition at the Yale School of Music with Parker and organ with Jepson. After graduating at Yale in 1910 he continued his studies under d'Indy, Decaux and Vierne at the Schola Cantorum in Paris. Since 1911 he has been organist in New York, at first at the Chapel of the Incarnation and from 1912 at the Rutgers Presbyterian Church. In 1918-19 he was in the Naval Reserve. He has composed and published much for the organ, piano, and voice, with two church-cantatas and many anthems. His chief works include an organ 'Symphonie,' op. 18; two organ-suites, opp. 23 and 26 ; a ' Fantasia ' for organ and chorus, op. 27; and the sacred cantatas 'The Comforter' and 'Remember now thy Creator.' He is author of Bach for Beginners (Boston Music Co.) and A Method of Organ-Playing (in press). [ R.9 ] 124 BARNHART BASSETT BARNHART, HARRY HORNER (b. 1874). See Register, 9. BARRAJA, ENRICO (b. 1885). See Regis- ter, 10. BARRERE, GEORGES (Oct. 31, 1876, Bordeaux, France), studied flute in 1889-95 at the Paris Conservatory with Altes and Taffanel, harmony with Schwarz, Pugno and Grand j any, winning a first prize in flute- playing. From 1897 he was solo flutist at the Colonne Concerts and the Opera. He also taught at the Schola Cantorum, and in 1895 founded La Societe Moderne d'lnstru- ments a Vent, which brought out over 100 new compositions. Coming to America in 1905, he joined the New York Symphony Society and became teacher at the Institute of Musical Art. In 1910 he founded the Barrere Ensemble (wind-instruments), in 1913 the Trio de Lutece (flute, harp and 'cello) and in 1914 the Little Symphony (ordinarily three violins, viola, 'cello, bass, flute, oboe, clarinet, horn, bassoon and tympani). As soloist and director he has become well known throughout the country and has introduced many interest- ing works. He is an Officer of the French Academy. He has written a ' Nocturne ' for flute and piano and the song ' Chanson d'Automne ' (both Schirmer) and has edited an Arioso by Bach for flute and piano and Altes' 26 Fjtudes for flute. [ R.9 } BARRERE ENSEMBLE, THE. See pre- ceding article. BARRIENTOS, MARIA (Mar. 10, 1885, Barcelona, Spain), graduated from the Barce- lona Conservatory at twelve, having studied piano, violin and composition. She won medals for violin-playing when only eleven, and composed and conducted a symphony at twelve. At fourteen, after lessons with Bennet, she made her debut as soprano at the Teatro de las Novedades in 'L'Africaine. ' Within a year she also appeared in Milan as Lakme. She was engaged at La Scala, and sang at principal theaters in Italy, Russia, France, England, Germany, Austria and South America till 1913. She then retired for three years, but was engaged for the Metropolitan Opera House in New York, making her first appearance as Lucia in 1916, and has since sung there. Her repertoire includes 'I Puri- tani,' 'La Sonnambula,' 'II Barbiere di Siviglia,' 'Lucia,' 'Don Pasquale,' 'L'Elisir d'Amore,' 'La Traviata,' 'Rigoletto,' 'Les Pecheurs de Perles,' .'Linda,' 'Dinorah,' 'Lakme,' 'Mignon,' 'Hamlet' and 'Martha.' [ R.10 ] BARROWS, FRANK ELIOT. See COL- LEGES, 3 (Simpson C., Iowa). BARSTOW, VERA (b. 1893). See Regis- ter, 10. BARTHOLOMEW, EDWARD FRY (b. 1846). See Register, 8. BARTLETT, HOMER NEWTON (Dec. 28, 1846, Olive, N. Y. : Apr. 3, 1920, Hoboken, N. J.). was descended from Josiah Bartlett, a signer of the Declaration of Independence and the first governor of New Hampshire. After general training at the Ellenville Academy and under tutors in New York, from 1861 he studied piano with S. B. Mills and Emil Guyon, organ and composition with Max Braun and O. F. Jacobsen. As early as 1855 he played in public and in 1856 began to com- pose. From about 1860 he was organist in New York, his longest service being in the Madison Avenue Baptist Church, where he remained nearly thirty-five years. He was a founder of the A. G. O. and served terms as president of the N. A. O. and vice-president of the New York Manuscript Society, be- sides other posts of honor. Not long ago the Fraternity of American Musicians celebrated the fiftieth anniversary of his wedding with a banquet, and in 1918, when the Hunt Memorial Hall was dedicated in Ellenville, N. Y., a Bartlett program was given, with his violin- concerto as the chief item, played by Miss Gunn and the composer. From the long list of his compositions nearly 250 in number may be mentioned the 3-act opera 'La Valliere' (1887) and the operetta 'Magic Hours'; the symphonic poem 'Apollo,' based upon the Iliad, the Concerto in G and Ballade for violin and orchestra, the ' Legende ' for orchestra ; 'Khamsin,' a concert-aria for tenor and orchestra (rewritten in 1908) ; Toccata in E, Suite in C, 'Festival Hymn,' 'De Profundis,' and 'Meditation Serieuse,' all for organ; three piano-ballades, 'Gavotte Concertante,' ' Barcarolle ' and some 6tudes ; besides many anthems, songs, etc. Several of his piano-pieces are based on Japanese themes. See Hughes, Contemporary American Composers, pp. 31723, and The Art of Music, 4. 383-4. [ R.5 ] BARTLETT, JAMES CARROLL (b. 1850). See Register, 6. BARTLETT, MARO LOOMIS (1847- 1919). See Register, 5. BASSETT, FRANKLIN (Apr. 7, 1852, Wheeling, W. Va. : Mar. 7, 1915, Pasadena, Cal.) , studied at Leipzig under Reinecke, Plaidy and Jadassohn. While there an attack of pianist's neuritis destroyed his hopes of a con- cert career and set him searching for a technical system less dangerous to the hand than those in use. In 1877 he established himself in Cleveland and from 1882 was one of the direc- tors of the Cleveland Conservatory and organist of the First Methodist Church. His mode of instruction aroused general interest and he soon had many brilliant piano-pupils whose devotion to his personality and prin- ciples was a remarkable tribute. He was con- sidered the first exponent in Ohio of a modern BASSFORD 'BAY PSALM-BOOK 125 system of piano-technique. His physical misfortune restricted his concert-work as pianist to, chamber-music. Here also he proved a pioneer and, with the aid of local string-players, gave first performances in Cleveland of the quartets and quintets of Schumann, Brahms and others. He was a founder of the A. G. O., and, besides his first position, 'was organist at the Plymouth Con- gregational and St. Paul's Episcopal Churches. He was the first to give series of organ-recitals in Cleveland. [ R.7 ] BASSFORD, WILLIAM KIPP (April 23, 1839, New York : Dec. 22, 1902, New York) , having studied under Samuel Jackson, was a successful pianist at an early age and for a time made extensive concert-tours. Dislike of travel caused him to settle in New York as organist and teacher of many noted pupils. His last organ-position was at Calvary Church, East Orange, N. J. His compositions include the two-act opera 'Cassilda', a mass in E-flat, church-music, many songs and piano-pieces of the salon type. He was engaged by Mme. Wallace to complete Wallace's unfinished opera 'Estrella' (see Vol. v. 425). [ R.4 ] BATCHELDER, JOHN C. (b. 1852). See Register, 6. JBATH, HUBERT (Nov. 6, 1883, Barn- staple, England). See article in Vol. v. 611. He conducted opera for the Thomas Quinlan Company on its world-tour in 1912-13, and has since conducted in London, where he has charge of the opera-class at the Guildhall School of Music and is musical adviser to the Lon- don County Council. To the list of works add 'Two Sea-Sketches' (1909) and an 'African Suite' for orchestra (1915) ; the cantatas 'The Jackdaw of Rheims' (1911), 'Look at the Clock' (1911) and 'The Wake of O'Connor' (1914) ; and numerous songs and instrumental pieces. BATTELL, ROBBINS (1819-1895). See Register, 4, and LITCHFIELD COUNTY CHORAL UNION. 'BATTLE-HYMN OF THE REPUBLIC, THE.' The title of a poem by Julia Ward Howe (1819-1910), beginning 'Mine eyes have seen the glory of the coming of the Lord,' writ- ten in 1861 in Washington in order to supply better words for a march-song popular among the Union troops. The music is supposed to have originated in South Carolina possibly a Negro melody. The original words began 'Say, brothers, will you meet us.' See Elson, Hist, of American Music, pp. 156-61. BAUER, A. O. See COLLEGES, 2 (Win- throp C., S. C.). BAUER, HAROLD (Apr. 28, 1873, New Maiden, near London, England), began his career as a violinist. He studied with Pollitzer, at nine played in public, and for several years gave concerts with his two sisters. In 1892 he gave up the violin for the piano. He had some lessons from Paderewski, but is largely self-taught. He made his debut as pianist in Paris in 1893 and a tour of Russia followed. He has given recitals and played with orches- tras in the leading cities of Europe, includ- ing Spain and Sweden, and in South America, and has made many tours in the United States. His first appearance in the latter was with the Boston Symphony Orchestra on Dec. 1, 1900, playing Brahms' Concerto in D minor. He is distinguished as an ensemble-player, and has participated with the leading organizations and soloists in innumerable performances of classic and modern music. As soloist his repertoire is almost unlimited. His unhack- neyed programs present the entire range of piano-music, and he plays works for the harp- sichord with the same enjoyment and success as works by the most modern composers. He has been especially active in the presentation of Brahms, Schumann and Franck. Some of his views on piano-playing and music are set forth in the Introduction he contributed to The Art of Music, Vol. vii. As teacher he has influenced many players of the younger generation, and in recent years he has edited and revised some valuable piano-music. He was the prime mover in organizing the Bee- thoven Association, which began its perform- ances of rarely-given chamber-music by Beethoven in the fall of 1919 at ^Eolian Hall in New York. The distinguished artists who assist in these programs contribute their serv- ices, and the proceeds are to be devoted at first to the publishing of Krehbiel's translation of Thayer's Beethoven and later to the relief of needy musicians. [ R.9 ] BAUR, CLARA (d. 1912). See Register, 5. tBAX, ARNOLD E. TREVOR (Nov. 8, 1883, London, England.) See article in Vol. v. 612. To the list of works add the sym- phonic poems 'Into the Twilight' (1908), 'In the Fairy Hills' (1909) and 'Christmas Eve on the Mountains' (1911) ; 'Three Pieces' for orchestra (1912) ; the choruses with orchestra 'Fatherland' (1907) and 'The Enchanted Sum- mer' (1909) ; the two-act ballet 'King Kojata' (1911); the 'Festival Overture' (1909); two string-quartets, a piano-trio and a sonata for violin and piano ; piano-pieces and songs. 'BAY PSALM-BOOK, THE.' The com- mon name for the metrical version of the Psalms prepared by Revs. Mather, Weld and Eliot for the churches of the colony of Mas- sachusetts Bay and published in 1640, being the first book (in the proper sense) printed in the colonies. It had extensive use not only in America, but in England, and passed through numerous editions (27th in 1762). Of the first edition only eight copies are known, but it has been reprinted in facsimile 126 BEACH (1862). Not until the 9th edition, 1698, was music added and then only 12-14 tunes. See TUNE-BOOKS and numerous books upon the history of hymnody. Elson, Hist, of American Music, pp. 6-7, gives three pages in facsimile, and Fisher, Old Music in Boston, p. 4, reproduces two tunes. BEACH, AMY MARCY, nee Cheney (Sept. 5, 1867, Henniker, N. H.). See article in Vol. i. 210. She has been an active concert-pianist since 1885, appearing with the Boston Sym- phony Orchestra and other orchestras, as well as with the Kneisel Quartet and similar or- ganizations. In 1888, playing with the Boston Orchestra, she added an original cadenza to Beethoven's C minor Concerto. Her first compositions were a group of songs in 1884. Her first work in large form was the Mass in E-flat, given by the Handel and Haydn So- ciety in 1892. Her Scena and Aria from Schiller's 'Maria Stuart' was first sung by Mrs. Alves with the New York Symphony Society in 1892. In 1893 she was asked to provide a Festival Jubilate for the opening of the Columbian Exposition at Chicago ; in 1898 also a 'Song of Welcome' for the Trans- Mississippi Exposition at Omaha ; and in 1915 a 'Panama Hymn' for the Panama-Pacific Exposition at San Francisco. Her 'Gaelic' Symphony was first given from manuscript by the Boston Orchestra in 1896, and has become frequent on the programs of other orchestras. Her Concerto in C-sharp minor she brought out in 1900 with the Boston Orchestra, and she has since played it often both in America and abroad. After the death of her husband in 1910 she spent four years in Europe, where she was heard in many cities, notably Rome, Munich, Dresden, Hamburg, Leipzig and Berlin. Her 'Gaelic' Symphony was per- formed in Hamburg and Leipzig, and her piano-quintet and violin-sonata also won recognition. In recent years her songs, church-music and piano-works have received favorable attention. The full list of her works is as follows : Piano op. 3 Cadenza for Beethoven's C minor Con- certo. 4 Valse-Caprice. 6 Ballade in D-flat. 15 Four Sketches 'In Autumn,' 'Phan- toms,' 'Dreaming,' 'Fireflies.' 22 Bal Masque ; Waltz. 25 Children's Carnival 'Promenade,' 'Columbine,' 'Pantalon,' 'Pierrot and Pierrette,' 'Secrets,' 'Harlequin.' 28 'Barcarolle,' 'Menuet Italien,' 'Danse des Fleurs.' 36 Children's Album Minuet, Gavotte, Waltz, March, Polka. Transcription of Richard Strauss' 'Ser- enade.' 54 ' Scottish Legend, ' ' Gavotte Fantastique. ' 60 Variations on Balkan Themes. op. 64 65 81 47 45 67 Violin op. 23 34 40 55 Orchestra op. 23 Songs op. 1 2 11 12 BEACH. Eskimo Pieces ' Arctic Night,' ' Returning Winter,' 'Exiles,' 'With Dog-Teams.' Suite Francaise, 'Les R6ves de Colum- bine" 'La Fee de la Fontaine,' 'Le Prince Gracieux,' 'Valse Amoureuse, 'Sous les Etoiles,' ' Danse d'Arlequin.' ' Prelude and Fugue. Six Duets, 'Summer Dreams.' Concerto in C-sharp minor, with or- chestra. Quintet in F-sharp minor, with string- quartet. Romance. Sonata in A minor. 'La Captive' (G-string), 'Berceuse," Ma- zurka.' Invocation. 'Gaelic' Symphony in E minor. 'With Violets,' 'The Four Brothers,' 'Jeune Fille et Jeune Fleur,' 'Ariette.' 'Twilight,' 'When Far from Her,' 'Em- press of Night.' ' Dark is the Night,' ' The Western Wind,' 'The Blackbird.' 'Wilt thou be my dearie?' 'Ye banks and braes of bonnie Doon,' 'My luve is like a red, red rose.' 'A Hymn of Trust.' 'The Summer Wind,' 'The Secret,' 'Sweetheart, sigh no more,' 'The Thrush.' Scena and Aria, 'Wandering Clouds,' from Schiller's ' Maria Stuart.' 'For me the jasmine-buds unfold,' 'Ecstasy,' 'Golden Gates.' Villanelle, 'Across the World.' 'Chanson d'Amour,' 'Exstase,' 'Elle et Moi.' 'My Star,' 'Just for This,' 'Spring,' 'Wouldn't that be queer?' 'Within my Heart,' 'The Wandering Knight,' 'Sleep, Little Darling,' 'Haste, O Beloved.' 'Night,' 'Alone,' 'With Thee,' 'Forget- me-not.' Shakespeare Songs 'O Mistress Mine,' 'Take, O take those lips away,' 'Fairy Lullaby.' 'Anita,' 'Thy Beauty,' 'Forgotten.' Burns Songs 'Dearie,' 'Scottish Cra- dle-Song,' 'O were my love yon lilac fair,' 'Far Awa',' 'My Lassie.' Browning Songs 'The year's at the spring,' 'Ah, love, but a day,' 'I send my heart up to thee." 'Come, ah, come,' 'Good-Morning,' 'Good-Night,' 'Canzonetta.' 'Silent Love,' 'We Three,' 'June,' 'For my Love.' Aria, ' Jephtha's Daughter.' 'Autumn-Song,' 'Go not too far,' 'I know not how to find the spring,' 'Shena Van.' 'When soul is joined to soul.' 'After.' Mother-Songs 'Baby,' 'Hush, baby dear.' 'A Prelude,' 'O Sweet Content,' 'An Old Love-Story.' 'An Old Prayer,' 'Flowers and Fate.' 'With Grianny,' 'The Children's Thanks,' 'Separation,' 'The Lotos-Isles.' MRS. H. H. A. BEACH BEACH BECK 127 op. 75 Children's Songs 'The Candy-Lion,' 'A Thanksgiving Fable,' 'Dolladine,' 'The Prayer of a Tired Child.' 77 '!,' 'Wind o' the Westland.' 79 'Meadow-Larks,' 'A Night-Song at Amalfi,' 'In Blossom-Time.' 10 Duets 'A Canadian Boat-Song,' 'The Night Sea,' 'Sea-Songs.' 61 Duet, 'Give me not love.' Part-Songs Men's voices : op. 19 'Ecstasy.' Women's Voices : op. 9 'Little Brown Bee.' 31 Flower-Songs 'Over hill, over dale,' 'Come unto these yellow sands,' 'Through the house give glimmering light.' 57 'Only a Song,' 'One Summer Day.' 'An Indian Lullaby.' 82 ' Dusk in June.' Mixed Voices : op. 42 'A Song of Welcome.' 49 'A Song of Liberty.' 52 'A Hymn of Freedom' ('My country, 'tis of thee'). 74 ' Panama Hymn.' Anthems op. 7 ' Praise the Lord, all ye nations.' 8 ' Nunc Dimittis,' ' Peace I leave with you,' 'With Prayer and Supplication.' 24 'Bethlehem' (Christmas). 27 'Alleluia! Christ is risen ' (Easter). 33 'Teach me Thy way.' 38 'Peace on Earth' (Christmas). 50 Motet a cappella, 'Help us, O God.' 63 Service in A. 74 'All hail the power of Jesus' name' (Panama Hymn arranged). 76 'Thou knowest, Lord.' 78 Four Canticles. Concerted Works op. 5 Mass in E-flat. 16 'The Minstrel and the King' (men's voices). 17 Festival Jubilate. 30 'The Rose of Avontown' (women's voices). 46 Wedding Cantata, 'Sylvania.' 59 'The Sea-Fairies' (women's voices). 66 'The Chambered Nautilus' (women's voices) . In Manuscript op. 70 Suite for two pianos, 'Iverniana.' 80 Variations for flute with string-quartet. Tyrolean Valse-Fantaisie. See Goetschius, Mrs. H. H. A. Beach, 1906, Hughes, Contemporary American Composers, pp. 425-32, and Elson, Hist, of American Music, pp. 294-305. [ R.7 ] BEACH, JOHN PARSONS (Oct. 11, 1877, Gloversville, N. Y.), is a graduate of the New England Conservatory in Boston and a pupil of Johns, Chadwick, and Loeffler. He went to the Northwestern Conservatory in Minne- apolis in 1900 as teacher of piano, and also taught in the University of Minnesota. In 1904-07 he was teaching in New Orleans, and then returned to Boston for three years. In 1910 he went to Paris, studying composition with Gedalge and piano with Bauer. For several years he has spent the summers at Asolo, Italy, and during the war was engaged in activities on the Italian front. His published works include, for piano, an Intermezzo, a Rhapsody, 'New Orleans Miniatures,' 'A Garden Fancy' and 'Monologue' ; and the songs, 'A Woman's Last Word,' 'Autumn Song,' "Twas in a world of living leaves,' 'A Song of the Lilac,' 'The Kings,' 'In a Gondola,' 'Take, O take those lips away,' etc. Unpublished are 'The Asolani,' three pieces for string-quartet, wood- quartet and harp; 'Naive Landscapes,' four pieces for piano, flute, oboe and clarinet ; and 'Pippa's Holiday,' a theater-scene for soprano and orchestra, from the Introduction to Browning's 'Pippa Passes' (1915-16, Theatre R6jane, Paris) and 'Jornida and Jornidel,' a short opera in two scenes from Grimm's fairy- tale. [ R.8 ] BEALE, FREDERIC FLEMING (b. 1876). See STATE UNIVERSITIES (Ida., Wash.). BEATON, ISABELLA (May 20, 1870, Grinnell, la.), having graduated from the Iowa Conservatory at Grinnell in 1890, in 1894-99 was in Berlin, studying piano and composition with Moszkowski and composition with Boise. In 1898 she won a teacher's certificate in singing, declamation and Italian from the Ziska School of Opera and Oratorio in Paris. In 1899-1910 she taught piano, history and composition in the Cleveland School of Music, meanwhile taking courses in languages, history and acoustics at Western Reserve University, leading to the degrees of Ph.B. and M.A. In 1910 she established the Beaton School of Music, and for five seasons played a recital-course of twenty programs. Her compositions include a Scherzo for orchestra (Schneekliid, Paris), played under Paur, Van der Stucken and others; a string-quartet in A minor (Schneeklud) ; a string-quartet in C ; ten fugues for piano ; a setting of Keats' ' Eve of St. Agnes ' ; an Ave Maria for con- tralto and orchestra; a piano-sonata in G minor; piano-pieces and songs. [ R.8 ] BECK, JOHANN HEINRICH (Sept. 12, 1856, Cleveland, O.), after a general education in Cleveland, studied in Leipzig in 1879-82 under . Schradieck and Hermann (violin), A. Richter (theory), Paul (history), Reinecke and Jadassohn (composition). His d6but as vio- linist was at the Gewandhaus in May, 1882. On his return to Cleveland he organized the Schubert String Quartet. In 1889-90 he was conductor of the Detroit Symphony Orchestra, and in 1901-1912 directed orchestral concerts in Cleveland. He has also conducted the Pilgrim Orchestral Club (1904-10), the Elyria Orchestra (1905-07), and has made many appearances as guest-conductor of his own compositions. The latter include the overtures to 'Romeo and Juliet,' 'Lara' 128 BECKEL BEHNING PIANO COMPANY (1886, Boston Symphony Orchestra) and 'SkirnismaT (1887, Thomas Orchestra, Chi- cago) ; a string-sextet (1888, Indianapolis) ; a 'Moorish Serenade' for orchestra (1889, Philadelphia) ; a Scherzo in A (1890, Thomas Orchestra, Detroit) ; 'A Kiss of Joy' (1900, Cleveland Orchestra, and 1904, St. Louis Exposition) ; 'Aus meinem Leben,' a tone- poem for orchestra ; ' The Sea at Evening' and 'Wie schon bist du,' for voice and orchestra; the cantata 'Deukalion'; a Scherzo in F (1896, Thomas Orchestra, Cleveland) ; a string-sextet in D minor ; and a string-quartet in C minor. See Hughes, Contemporary Amer- ican Composers, pp. 406-11. [ R.7 ] BECKEL, JAMES COX (1811- ? ). See Register, 3. BECKER, RENfi LOUIS (Nov. 7, 1882, Bischheim, Alsace), studied organ with Adolph Gessner, piano with Fritz Blumer and com- position with Carl Somborn. He came to America in 1904 and settled in St. Louis, where he soon won distinction in recital-work and composition, and as organist. He is now organist at St. Peter and St. Paul's Cathedral in Alton, 111. His organ-sonatas, especially op. 40, and the Cantilene in E-flat, rank high and are frequently heard at recitals, while some of his choral pieces have place on im- portant church-music programs. His princi- pal published works include the following : Piano op. 15 Five Miniatures. 19 Valse in A-flat. 22 Gavotte and Toccatella. 10 Melodious Studies and 'Scenes from Childhood.' 24 'Carnival Sketches.' 'A String of Merry Strains.' Six Children's Dances. Organ op. 1 'Marche Nuptiale,' 'Marche Pontificale,' 'Marche Triomphale,' 'Chant dea Seraphim.' 'Lullaby,' 'Summer Idyll,' 'R6verie,' 'Meditation,' ' Canzonetta.' 31 Toccata in D. 40,42,43 Three Sonatas. 41 Cantilena. *L6gende,' 'Chanson Matinale,' 'Chanson du Soir,' ' Cantil&ie' in E-flat. 'Chanson sans Paroles.' Church-Music Mass in honor of St. Barbara. Mass 'Salvator Noster.' Mass in honor of St. Catherine (women's voices). 'Terra Tremuit' (Easter offertory). ' Laetentur Coeli ' (Christmas offertory) . 'Tui sunt Coeli' (Christmas offertory). In Manuscript Organ-Suite in B-flat. Organ-Sonatas in E-flat and B minor. Organ- Variations in C minor. Several Masses and other church-music. [ R.9 ] BEEBE, CAROLYN. See Register, 9. JBEECHAM, THOMAS (April 29, 1879, Liverpool, England), was educated at Rossall School, Fleetwood, where he had lessons in harmony from Sweeting, followed by some study with Roberts at Oxford. In 1899 he organized an amateur orchestra at Huyton, a suburb of Liverpool, and soon displayed talent as conductor. In 1902 he was con- ductor with Kelson Truman's traveling opera- company, and the next year worked upon three operas (unpublished). His first important appearance as conductor in London was in 1905. The next year he founded the New Symphony Orchestra, from which he resigned in 1908 and organized the Beecham Sym- phony Orchestra. In 1910 he leased Covent Garden, and began a series of operatic per- formances which rapidly gained in popularity. Delius' 'Romeo and Juliet in the Village,' Smythe's ' The Wreckers ' and Strauss ' ' Elek- tra' were early presented. Stanford's ' Shamus O'Brien' and 'The Critic,' Holbrooke's 'Dylan,' Liza Lehmann'a 'Everyman,' and many other novelties were produced later. In 1915 he became conductor of the Philharmonic Society. His success in conducting both opera and symphony has made him conspicuous in English music. He was knighted in 1916. See 'Musical Times,' October, 1910. BEEL, SIGMUND (b.^ 1863). See Reg- ister, 6. BEETHOVEN CONSERVATORY, THE, St. Louis, was founded in 1871 by a group of public-spirited citizens. In 1872 it passed into the control of August Waldauer, the violinist, and Hermann Lavitsky (d. 1874). The former long remained at its head and developed it into efficiency. Since 1902 the directors have been the brothers Epstein. BEETHOVEN QUARTET (or QUINTET) CLUB, THE, of Boston, was organized in 1873 by Charles N. Allen, the violinist, and Wulf Fries, the 'cellist, at first with Gustave Dann- reuther and H. Heindl. For more than twenty years it continued under some similar name and with changing personnel, exemplify- ing a worthy standard of ensemble-playing. BEETHOVEN SOCIETY, THE, of Chi- cago, organized in 1873, was the first im- portant choral society (mixed voices) in that city after the Apollo Club (male voices). Its conductor was Carl Wolfsohn, the pianist, who was drawn from Philadelphia for the pur- pose. Among the works introduced were Beethoven's Mass in C and Choral Fantasia, Bruch's 'Odysseus,' Hofmann's 'Fair Melu- sina,' etc. In 1884 it ceased to exist, being overshadowed by later enterprises. BEHNING PIANO COMPANY, THE, of New York, was founded in 1861 by Henry Behning, a German piano-maker who had had fine training, and since his death has been carried on successfully by his two sons. Its total output has been over 50,000 instruments. BEHR BROTHERS PIANO CO. BENHAM 129 BEHR BROTHERS PIANO COMPANY, THE, of New York, was founded in 1881 by Henry and Edward Behr. William J. Behr, the son of the former, is now its president. Their pianos have won high awards at the Expositions at New Orleans in 1885, at Mel- bourne in 1889 and at Chicago in 1893. The total number made is over 50,000. BEHRENT, JOHN. See Register, 1. BEISSEL, JOHANN CONRAD (1690- 1768). See Register, 1. BELCHER, SUPPLY (1751-1836). See TUNE-BOOKS, 1794. BELKNAP, DANIEL (1771-1815). See TUNE-BOOKS, 1797. JBELL, WILLIAM HENRY (Aug. 20, 1873, St. Alban's, England). See article in Vol. v. 612-63. Since 1912 he has been prin- cipal of the South African College of Music in Cape Town. His recent larger works are a set of Symphonic Variations in G (1917, Cape Town Orchestra), a 2nd Symphony, in A (1918, ibid.), and a 3rd Symphony, in F, written in 1918-19. See 'Musical Times/ May-July, 1920, BELLAMANN, HEINRICH HAUER (Apr. 28, 1882, Fulton, Mo.), secured his general education at Westminster College in Missouri and the University of Denver. He then went to Paris, studying piano with Philipp and organ and composition with Widor. Since 1907 he has been director of the School of Fine Arts in Chicora College for Women at Colum- bia, S. C. He has interested himself in the advancement of modern French music in the South, and has presented for the first time in America many of the more important works by d'Indy, Widor, Debussy, Magnard, Labey, Roussel, de SevSrac, de Breville, Chausson and others. He is an authorized represen- tative of Philipp 's method. His compositions include a piano-concerto, a violin-sonata, a piano-sonata, a piano-quintet and choral works. He has also written numerous maga- zine articles. In 1907 he was made Mus. D. by Grayson College (Tex.). His wife is an accomplished singer and since 1907 has also taught at Chicora College. He comes of a dis- tinguished line of German musicians. [ R.9 ] BELTZ, OLIVER S. See COLLEGES, 3 (Un- ion C., Neb.) BENBOW, WILLIAM (b. 1865). See Reg- ister, 6. BENDIX, MAX (Mar. 28, 1866, Detroit, Mich.), having appeared in public as violinist at eight, before he was twenty gained or- chestral experience under conductors like Thomas, Van der Stucken and Seidl. His training as soloist was chiefly with Jacobsohn. In 1886 he was concertmaster at the Metro- politan Opera House and also concertmaster and assistant-conductor of the Thomas Or- chestra, remaining with the latter ten years, during which he was assistant and successor to Thomas at the Columbian Exposition at Chicago in 1893. Concertizing alone or with the Bendix Quartet occupied the years 1897- 1903. He conducted the orchestra at the World's Fair at St. Louis in 1904. The next season he was concertmaster for the Wagnerian performances at the Metropolitan Opera House in New York. He was concertmaster and conductor at the Manhattan Opera House there in 1906; concertized in this country and in Europe for two years; and conducted again at the Metropolitan in 1909-10. Then came four years as conductor of light opera. In 1915 he was conductor of the Exposition Orchestra at the Panama- Pacific Exposition at San Francisco. Since then he has devoted himself to teaching in New York. His compositions include a violin- concerto; 'Pavlowa,' a valse-caprice for or- chestra ; a theme and variations for 'cello and orchestra; 'The Sisters,' a ballad for soprano and orchestra; music for the play 'Experi- ence ' ; and a number of songs. [ R.7 ] BENDIX, OTTO (1845-1904). See Regis- ter, 7. BENEDICTIS, SAVING DI (Jan. 20, 1883, Sao Paulo, Brazil), having been for some years a specialist in theory, is now professor of harmony and composition in the Con- servatorio Drammatico e Musical at Sao Paulo. His compositions include a four- movement suite for orchestra, 'Mariage de Pierrot et Pierrette'; 'Tramonto,' an 'essai lyrique ' ; and a number of graceful pieces for piano. He has written a Traite d'Harmonie, 2 vols., and a Thtorie Musicale. [ R.9 ] BENHAM, ASAHEL. See TUNE-BOOKS, 1790. BENHAM, VICTOR (Apr. 12, 1871, Brooklyn, N. Y.), in 1877 appeared in public as singer and in 1880 as pianist with the Thomas Orchestra in New York. He toured as a child-pianist with Patti, Gerster, Wilhelmj and other artists. In 1882 he was first heard in London, playing at the Crystal Palace concerts under Manns and on Monday Popular Concert programs with Joachim, Piatti and others. By this tune he had composed in various forms. In 1885 he played a Fantaisie for piano and orchestra at the Lamoureux Concerts in Paris. There he studied at the Conservatory under Marmontel, receiving a first prize in 1886. After European tours he returned to America, where he spent the years 1890-1900. During 1900-04 he was again in London, and then for eight years in Detroit, teaching, composing and lecturing on various art-subjects. In 1912 he returned to Europe, playing in Germany, Austria, Hungary, Italy, France and England. Since 1914 he has lived 130 BENJAMIN BERKSHIRE FESTIVALS in England, active as teacher and critic. His compositions include two symphonies, two piano-concertos, a violin-concerto, five string- quartets, a piano-quintet, many piano-pieces and songs. [ R.7 ] BENJAMIN, JONATHAN. See TUNE- BOOKS, 1799. BENSON, HARRY (b. 1848). See Regis- ter, 6. BENSON, LOUIS FITZGERALD (b. 1855). See'Register, 8. BENTLEY, JOHN. See Register, 2. BENTLEY, WILLIAM FREDERICK (Sept. 12, 1859, Lenox, O.), has been largely identified with Knox College in Illinois. Graduating from Oberlin Conservatory in 1883, he studied piano with Sherwood and Perry in America and with Zwintscher and Kullak in Germany, and voice with Delle Sedie and Escalais in Paris and Randegger in London. In 1883-85 he was music-director in the Institute at South New Lyme, O. Since 1885 he has been director of the Knox Conservatory in Galesburg, 111., teacher of voice there since 1898 and conductor of the Galesburg Musical Union since 1899. He is also conductor of the Choral Union at Kewanee, 111. Two of his songs are published and about twenty-five others are in manu- script. [ R.7 ] BERGE, WILLIAM (d. 1883). See Regis- ter, 4. BERGER, RUDOLF (1874-1915). See Reg- ister, 9. BERGER, WILHELM (Aug. 9, 1861, Bos- ton : Jan. 16, 1911, Meiningen, Germany). See article in Vol. i. 308. He taught piano at the Klindworth-Scharwenka Conservatory in Berlin in 1888-1903 and then succeeded Fritz Steinbach as director of the Meiningen Or- chestra. He was Royal Prussian Professor and member of the Royal Academy of Arts. To the list of works add a Symphony in B minor, op. 80; Variations and Fugue for or- chestra, op. 97; three Ballades for baritone and orchestra; 'Der Totentanz,' op. 86, for mixed chorus and large orchestra; many songs, choruses, and piano-pieces. [ R.7 ] BERGH, ARTHUR (Mar. 24, 1882, St. Paul), began violin-study at five, and received his entire training in America. In 1903 he came to New York, for five years was violinist in the New York Symphony Society, and then was in the orchestra of the Metropolitan Opera House. He taught violin, harmony and com- position at the New York Institute of Music and conducted the Municipal Concerts in 1911-14. He has lectured on American mu- sic and is secretary of the American Music Society. His melodramatic music to Poe's 'Raven,' op. 20, was first produced in 1909, with orchestra under his direction and with Bispham as reader. A second melodrama, also with orchestra, is on Browning's 'Pied Piper of Hamelin,' op. 23. He has also a symphonic choral for orchestra and chorus, 'The Unnamed City'; a romantic opera, 'Niorada'; two overtures; a Festival March for orchestra; 'The Night Rider,' a song with orchestra; piano- and violin-pieces and some thirty songs. [ R.9 ] BERGMANN, B. See Register, 2. BERGMANN, KARL (1821-1876). See Vol. i. 308-9, and Register, 4. BERGNER, FREDERIC (1827- ? ). See Register, 4. BERGQUIST, JOHN VICTOR (b. 1877). See Register, 8. BERKENHEAD, JOHN L. See Register, 2. BERKSHIRE FESTIVALS OF CHAM- BER MUSIC, THE, held at Pittsfield, Mass., were established in 1918 by Mrs. Frederick S. Coolidge of New York, whose summer- home at Pittsfield provides an ideal place for them. The first Festival occurred on Sept. 16- 18, 1918, the participants being the Berkshire String Quartet, the Elshuco Trio, the Longy Club and the Letz Quartet. The five programs included Loeillet's Sonata for flute, oboe and piano, Mozart's Quartet in G (Kochel, 387), Quintet (Kochel, 516) and Quintet for piano and wood-wind, Beethoven's Quartets in E-flat, opp. 74 and 127, Schubert's Trio in B-flat, op. 99, no. 1, Brahms' Sextet in B-flat, op. 18, and Trio in C minor, op. 101. Thuille's Quintet, op. 20, Reiser's Quartet in E minor, Tanieiev's Quartet in B-flat, op. 19, larecki's Quartet (prize composition), Ravel's Trio in A minor, d'Indy's ' Chanson et Danses,' op. 50, Pierne's ' Pastorale Variee,' op. 30, and Caplet's ' Suite Persane.' The second Festival occurred on Sept. 25-27, 1919, the participants being the Berkshire String Quartet, the Flonzaley Quartet, and many individual artists, includ- ing Harold Bauer, the pianist, Gustav Lan- genus and Ugo Savolini from the New York Chamber Music Society, and several singers. The five programs included Mozart's Quartet in B-flat (Kochel, 458), Beethoven's Quartets in A minor and F, opp. 132 and 135, and Septet in E-flat, op. 20, Brahms' Trio in D, op. 40, Saint-Sag ns ' Quartet in G, op. 153 (first time in America), Dvorak's Quartet in E-flat, op. 51, Elgar's Quartet in E minor, op. 83 (first time in America), Mason's Pastorale in D, op. 8, Sowerby's Trio in E minor (first time), Bloch's Suite for viola and piano (prize com- position), Rebecca Clarke's Sonata for viola and piano, and a variety of vocal selections for soli or quartet with chamber-accompani- ment. A prize of $ 1000 is offered annually for the best chamber- work submitted, the winners being Tadeusz larecki in 1918, Ernest Bloch in 1919 and Francesco Malipiero in 1920. BERKSHIRE QUARTET BETHLEHEM BACH CHOIR 131 BERKSHIRE STRING QUARTET, THE, is the name adopted for the Kortschak Quartet of Chicago as reorganized in 1917 under the patronage of Mrs. Frederick ! S. Coolidge of New York in connection with the Berkshire Festivals (see above). It consists of Hugo Kortschak and Sergei Kotlarsky, violins, Clar- ence Evans, viola (in place of George Dasch), and Emmeran Stoeber, 'cello. It is understood that after the Festival of 1920 the Quartet is to be discontinued. J BERNERS, Lord [Gerald Hugh Tyrwhitt] (Sept. 18, 1883, London, England), received his musical training in Dresden and London, entered the British diplomatic service in 1909 and since 1912 has been attached to the British Embassy at Rome. He succeeded as Baron Berners in 1918. His first published works were three funeral-marches for piano, the first for a statesman, the second for a canary, the third for a rich aunt. Then followed 'Fragments Psychologiques ' and the miniature tone-poem 'Le Poisson d'Or' and 'Valses Bourgeoises,' all for piano. For orchestra are two sets of three pieces each, the first including 'Chinoiserie,' 'Valse Senti- mentale' and 'Kasatchok'; the second, a 'Fantaisie Espagnole,' including a Prelude, Fandango and March. The latter set was played at the London Promenade Concerts in 1919. Lord Berners' work is said to be in- fluenced by his association with his friends Casella and Stravinsky. BERWALD, WILLIAM HENRY (Dec. 26, 1864, Schwerin, Germany), studied composition in 1883-87 with Rheinberger in Munich and in 1887-88 with Faiszt in Stuttgart. In 1889 he became director of the Philharmonic Society in Libau, Russia, and in 1892 came to America as professor of composition and piano in the College of Fine Arts of Syracuse Uni- versity, succeeding Goetschius. He is director of the Ladies' Chorus of the College and choir- director at the Fourth Presbyterian Church. The degrees of Mus.M. and Mus.D. were con- ferred upon him by the University in 1903 and 1912. He won the prize offered by the Philadelphia Manuscript Society for a quintet for piano and strings, a gold medal in the Clemson anthem-competition for 1912 and first prize for a part-song for mixed voices in the 'Etude' competition. His works for orchestra have been performed abroad as well as here. Tertius Noble, at St. Thomas' Church in New York, gave the initial perform- ance of his cantata 'The Seven Last Words of Christ.' His violin-sonata in F received special recognition from Joachim, and his piano-compositions were valued by William Mason. He has been a most industrious composer, long lists of his works being found in the catalogues of leading publishers. They include 73 piano-pieces, 36 songs, 7 vocal duets, 13 part-songs and 11 anthems for women's voices, 106 anthems for mixed voices, 19 anthems for men's voices, 10 cantatas, 3 secular part-songs for mixed voices, two sonatas for violin and piano and two Romances for 'cello and piano. His unpublished com- positions are the prize piano-quintet, a piano- trio, a dramatic overture (played by the Court Opera Orchestra in Schwerin, and by the New York Symphony Society in Pittsburgh, Chicago and Syracuse) and an overture, 'Walthari' (played at the Syracuse Festival by the New York Symphony Society and by the American Symphony Orchestra in Chicago). [ R.8 ] BETHANY COLLEGE, Lindsborg, Kan., has become a notable center for the musical enthusiasm of Swedish Lutherans. Its first class was graduated in 1891, and from that time music has been a conspicuous element in its entire life. Besides elaborate opportunities for individual instruction, including many instruments, there are two large choruses, two orchestras, two bands and several glee-clubs. For nearly thirty years a May Festival of sev- eral days has been held that has become famous. The director is Hagbard Erase, with 14 other instructors. BETHLEHEM BACH CHOIR, THE, of Bethlehem, Pa., was organized in its present form in 1900 through the efforts of Mrs. Ruth Porter Doster and under the inspiration of J. Fred Wolle, at that tune organist of the Moravian Church. After 1905 it was sus- pended, owing to Dr. Wolle's removal to Cali- fornia, but resumed in 1912, this time with generous assistance from Charles M. Schwab. Dr. Wolle has been conductor throughout. Up to 1920 fifteen Bach Festivals have been held, those before 1905 in the Moravian Church and those since 1912 at Lehigh University in South Bethlehem. The Festivals now regularly occupy two days, but in the past they have once covered six and once were distributed in three groups of three each. The programs have varied much in part, but the B minor Mass has been sung at every Festival. The St. Matthew Passion has been given three times, the St. John Passion twice, the Christmas Oratorio (complete) four tunes and the Magnificat four times. Some forty cantatas have been produced, about one- quarter of them more than once, and many detached chorales. The Second and Third Brandenburg Concertos and the Suites in B minor and D have been played. In the early years the chorus was small, even under 100, but has lately been increased to about 250. Originally the orchestra was made up of local players, many of them amateurs, but since 1012 members of the Philadelphia Orchestra have been utilized. Altogether about 700 132 BETHUNE BIRD of the people of Bethlehem and vicinity have been members of the chorus. The audiences have been phenomenal not simply for size, but for their representative quality, including professional musicians from all over the country and many others. In more than one respect, therefore, these Festivals are unique and extraordinary. They have been carried on with infinite industry and devotion, and their artistic quality has been universally acknowledged. Back of the present Bach Choir lies much history. One of the first acts of the founders of the Moravian settlement at Bethlehem in 1742 was to hold a Singstunde, and from 1744 a Collegium Musi cum was steadily maintained, credited with very early performances of parts of several oratorios. In 1820 this was re- placed by the Philharmonic Society, which was an oratorio society of more constant character. In 1882 the young Wolle organized the Beth- lehem Choral Union, which lasted ten years and gave the St. Matthew Passion in 1892. See Walters, The Bethlehem Bach Choir, 1918. BETHUNE, THOMAS G. (18497-1908). See Register, 4. BETTI, ADOLFO (b. 1875). See Register, 9. BEUTEL, CARL. See COLLEGES, 3 (Ne- braska Wesley an U.). 'BIANCA.' An opera by Henry K. Had- ley, awarded the $1000 prize offered by W. W. Hinshaw in 1917, was first produced on Oct. 18, 1918, by the Society of American Singers in New York under the composer's direction. BIDDLE, HORACE PETERS (1811-1900). See Register, 5. BIDEZ, L. ALOYS (b. 1847). See Regis- ter, 6. BIEDERMANN, AUGUST JULIUS (1825- 1907). See Register, 4. BIEDERMANN, EDWARD JULIUS (b. 1849). See Register, 6. BIFERI, NICHOLAS. See Register, 1. BIGELOW, WILLIAM PINGRY (b. 1867). See COLLEGES, 1 (Amherst C., Mass.). BIGGS, RICHARD KEYS (b. 1886). See Register, 9. BIGLOW & MAIN, of New York, is the publishing-firm organized in 1868 by Lucius H. Biglow (1833-1907) and Sylvester Main (1817-73), primarily to take over the publi- cation of W. B. Bradbury's books. Almost im- mediately they began the issue of the series known as the 'Gospel Hymns' of Moody and Sankey. From that time they became the chief publishers of popular hymns and tunes of this class by a great variety of editors. Hubert P. Main (see Register, 5), the well- known hymnologist, has been connected with the firm since its foundation and is now its treasurer. As a hint of the magnitude of the business it is enough to recall that in 1886 no less than 18,000,000 copies of popular hymn- books had been sold. When interest in Tonic Sol-Fa arose Biglow & Main became its princi- pal representatives in America. They have issued some English choir-music of high quality. BILES, ETHEL. See COLLEGES, 3 (Cotner C., Neb.). BILLINGS, WILLIAM (Oct. 7, 1746, Boston : Sept. 29, 1800, Boston), often erroneously called 'the first American com- poser,' was an uneducated man of humble origin, by trade a tanner, who had an ir- repressible enthusiasm for developing popular singing. He was somewhat grotesque in personal appearance, unconventional in ex- pression and far from technically expert in music. But his zeal was contagious and the freshness of his tunes caught popular at- tention. His first efforts came when the New England churches were beginning to use hymns by Watts and others in addition to the traditional versified Psalms, and the rhyth- mical swing and curious 'fuguing' effects of his tunes corresponded to the independent feeling of the time. 1 His later work, after the Revolutionary War, often gave voice to the patriotic fervor of that period. His name appears in 1764 in connection with the sale of concert-tickets. His series of six books began in 1770 (see list under TUNE-BOOKS) , con- tinuing till 1794. In 1774 he seems to have conducted a singing-class at Stoughton, which became the germ of the Stoughton Musical Society in 1786. It is probable that he taught many similar classes. Selections from his works, mostly 'anthems,' have been noted in concert-programs in Boston in 1782, '87 and '96, and in Philadelphia in 1786-88. A few of his tunes, such as 'Chester' (for which he provided patriotic words), continued in use for some time, though steadily replaced by the better productions of later writers. It is supposed that he first introduced, or at least made popular, the use of the pitch-pipe and also of the 'cello or double-bass for accompani- ment. See Ritter, Music in America, chap, iii (needlessly caustic), Mathews, Hundred Years of Music, pp. 25-9, Elson, Hist, of American Music, pp. 12-9, etc. [ R.I ] BIMBONI, ALBERTO (b. 1882). See Reg- ister, 10. BINDER, FRITZ (b. 1873) . See Register, 7. BINGHAM, WALTER VAN DYKE (b- 1880). See Register, 9. BINTLIFF, ELIZABETH, nee Battle. See COLLEGES, 3 (RiponC., Wis., Olivet C., Mich.). BIRD, ARTHUR (July 23, 1856, Cam- bridge, Mass.). To the works listed in Vol. i. 328-9 may be added a set of 'Oriental Scenes' 1 There are interesting analogies between this outbreak of popular tunes in America in 1770 and the rise of Methodist singing in England about 1740. BIRGE BLISS 133 for organ. The comic opera 'Daphne' was given in New York in 1897. [ R.6 ] BIRGE, EDWARD BAILEY (b. 1868). See Register, 9. BIRMINGHAM CONSERVATORY, THE, Birmingham, Ala., was founded in 1895 by Benjamin Guckenberger, who remained in charge till 1902, when he was succeeded by Edna Gockel and (from 1903) her husband, William Gussen. The institution is affiliated with the chain of schools of the Sherwood Music School in Chicago. BISCACCIANTI, ELIZA, nee Ostinelli (1825- ? ). See Register, 4. BISCHOFF, JOHN W. (1850-1909). See Register, 6. BISHOP, ANNA (1814-1884). See Vol. i. 330-1, and Register, 4. BISPHAM, DAVID SCULL (Jan. 5, 1857, Philadelphia). See article in Vol. i. 333. Add to the list of works which he has introduced in America and England the following : Liza Lehmann's 'Persian Garden' and her ro- mantic opera 'The Vicar of Wakefield' (Lon- don, Nov. 12, 1906) ; Schilling's 'Witch's Song,' Cole's 'King Robert of Sicily,' Bergh's setting of 'The Raven' and many other pieces for recitation. He has constantly championed the use of English versions wherever prac- ticable, and has made a specialty of song- cycles in English, such as Beethoven's 'To a Distant Beloved,' Schubert's 'Songs of the Mill' and 'Winter Journey,' and Schumann's 'The Poet's Love.' He has been foremost in reviving the art of declamation to music, and is noted for his performance of Sophocles' 'Antigone' with Mendelssohn's music and of Byron's 'Manfred' with Schumann's music. His operatic repertory includes over fifty parts, and he has sung in more than a hundred oratorios and cantatas his Elijah being particularly famous. Of songs of all schools he has sung at least 1500. His powers as an actor are universally recognized, but it is as a singer in opera and concert that he is most widely known. He has edited two volumes of songs under the title of Bispham's Albums, and has published A Quaker Singer's Recollec- tions, 1920. [ R.8 ] BISSELL, T. See TUNE-BOOKS, 1846. BLACK, LOUIS. See STATE UNIVERSITIES (W. Va.). BLAKE, GEORGE E. (1775-1871). See Register, 3, and TUNE-BOOKS, 1810. BLAKESLEE, SAMUEL H. See COL- LEGES, 3 (Ohio Wesleyan U.). BLANCHARD, AMOS. See TUNE-BOOKS, 1807. BLANCK, HUBERT DE (June 11, 1856, Utrecht, Holland), was a pupil of Dupuy in composition at the Liege Conservatory, and of Ledent in piano, and won a scholarship from the Belgian government. At seventeen he toured Russia, Sweden and Germany as pianist, and then conducted at the El Dorado Theater in Warsaw. In 1880 he visited South America with the violinist Dengremont, in 1881 taught piano at the New York College of Music and in 1883 settled in Havana. Two years later he established the first conservatory there. He was imprisoned for revolutionary activity in 1896 and banished by order of General Weyler. On the establishment of order he returned and reopened the school as the Conservatorio Nacional. It is now a large institution, with branches in the leading cities of Cuba. He has composed piano- pieces and songs. [ R.7 ] BLASS, ROBERT (b. 1867). See Register, 8. BLAUVELT, LILLIAN EVANS (Mar. 16, 1874, Brooklyn, N. Y.). See article in Vol. i. 338-9. Until 1914 she made annual tours in Europe and America. In 1902 she sang the Coronation Ode by special command at Albert Hall in London and received a medal from Edward VII. In 1905 she sang in Russia and macle a tour of Europe in 1908-09. In 1906-07 she starred in the comic opera 'The Rose of Alhambra.' She received the Order of St. Cecilia at Rome in 1901. [ R.8 ] 'BLIND GIRL OF CASTEL-CUILLE, THE.' A three-act opera, with ballet, by Earl R. Drake, produced in 1914 in Chicago. 'BLIND TOM.' See BETHUNE, THOMAS G. BLISS, CHARLES MERIT (b. 1866). See COLLEGES, 3 (Phillips U., Okla.). BLISS, PHILIP PAUL (1838-1876). See Register, 5. BLISS, PHILIP PAUL, JR. (Nov. 25, 1872, Chicago), was the son of the noted writer of 'Gospel hymns' and was educated for the ministry. He graduated from Princeton in 1894. His musical education was under Clarke and Zeckwer in Philadelphia, and in Paris in 1896-98 he studied organ with Guil- mant and composition with Massenet. In 1900-04 he was organist, director and teacher of public-school music at Owego, N. Y. In 1904 he went to Cincinnati, as musical editor for the John Church Co., and in 1911 took a similar position with the Willis Music Co., where he is still engaged. He has composed about 200 instructive piano-pieces, many operettas (both words and music), sacred and secular cantatas, choruses, about 100 songs, duets and five song-cycles (two published), a piano-suite, a book on pedal-study, a graded course for piano, 4 vols., solos for organ, violin and 'cello, a comic opera (unpublished), etc. He has also increased the r6pertoire of four-, six- and eight-hand music for one and two pianos and for two violins and piano, and of musical recitations with piano. [ R.9 ] 134 BLOCK BOCHAU BLOCH, ERNEST (July 24, 1880, Geneva, Switzerland) , was a pupil at Geneva of Jaques- Dalcroze in 1894-96, at Brussels of Ysaye and Rasse in 1896-99, and at Frankfort of Ivan Knorr in 1899-1900. He spent time in Paris and Munich before returning to Geneva in 1904. He conducted concerts in Lausanne and Neuchatel in 1909-10, and occasionally acted as guest-conductor of his own works. In 1911-15 he lectured at the Geneva Conserv- atory. Since 1916 he has lived in the United States, for two years teaching composition at the Mannes School of Music in New York. His compositions are the symphonic poem ' Vivre et Aimer ' (1900); Symphony in C-sharp minor (1901-03); ' Hiver-Printemps ' (1904- 05, Schirmer); 'Poemes d'Automne' (1906, Schirmer) ; 'Macbeth,' drame lyrique (1904- 10), given at the Opera-Comique in 1910-11 (Astruc-Enoch) , and ' Historiettes au Cre- puscule' (Demets). Works inspired by Jewish themes are '3 Poemes Juifs' (1913, Schirmer) ; Psalms 137, 114 and 22 for voice and orchestra (1911-14, Schirmer); 'Schelomo,' a rhapsody for 'cello and orchestra (1916, Schirmer). 'Israel,' a symphony for orchestra ancl voices, was begun in 1914 ; the Jewish opera ' Jezabel,' piano-pieces and other works are still in an incomplete stage. The string-quartet in B has been played in America by the Flonzaley Quartet. A suite for viola and orchestra (or piano) is in MS. He has conducted perform- ances of his orchestral works in Boston, New York, Philadelphia and Chicago, and they have also been given in Minneapolis, St. Paul, St. Louis and San Francisco. The symphony in C- eharp minor has been pronounced by Romain Rolland ' one of the most important works of the modern school.' In 1919 he won the prize in the Coolidge (Berkshire) competition for his Suite for viola and piano. [ R.10 ] BLODGETT, BENJAMIN COLMAN (Boston, Mar. 12, 1838), from 1847 studied piano with James Hooton of Boston and organ with W. R. Babcock. He became organist of the Essex Street Church in 1850 and in 1853 went to the Eliot Church in Newton, where he remained five years. Then followed a period of three years at Leipzig. In 1861 he returned to Boston and was active as teacher, concert-pianist and organist of the Park Street Church. He became music- master at the Maplewood Institute in Pitts- field, Mass., in 1865, and this led to the estab- lishment in 1870 of a separate music-school under his direction. In 1878 he became professor of music at Smith College in North- ampton, and there soon established the Smith College School of Music, of which he was prin- cipal until 1903. A year later he became or- ganist and choir-director at Lei and Stanford University in California. Here he gave many organ-recitals until the destruction of the chapel by the earthquake of April, 1906. Ill- ness in his family caused his retirement from public life in 1914, and he has since lived in Seattle. He has made numerous trips to Europe, appearing as pianist several times in London and Leipzig, and making the acquaint- ance of many distinguished musicians (Liszt at Weimar in 1860, Wagner at Bayreuth in 1876 and 1882). As a musical educator he exercised influence for almost half a century. Comparatively little of his attention has been given to composition, but he has published a set of Etudes for advanced piano-students, op. 20, a cantata, 'The Prodigal Son,' op. 31 (1895), piano-pieces and church-music. Un- published works in larger form are the oratorio 'Job' (Smith College Commencement, 1889, revised 1890), an overture, concert-pieces for orchestra and a string-quartet. [ R.4 ] BLUM, ELIAS (Feb. 22, 1881, Isaacfalln, Hungary), was brought to Boston in 1891, and there received his general education, studying piano with Kelterborn and composition with Goetschius. After four years' study at the Grand-Ducal School in Weimar (organ, piano, voice, composition and conducting) he re- turned to Boston and was active for a time as singer and organist. In 1909 he went to Walla Walla, Wash., as music-director at Whitman College. In 1917 he removed to Grinnell College in Iowa. His published compositions are a Passacaglia and Scherzo for organ, a Capriccio for piano, songs, choruses and anthems. A number of works are still in manuscript, among them a piano- trio in G minor. [ R.9 ] BLUMENSCHEIN, WILLIAM LEON- ARD (1849-1916). See Register, 6. BOCHAU, CHARLES HENRY (July 7, 1870, Holstein, Germany), was brought to America as a boy. He had no opportunity for serious musical study until 1892, when he entered the Peabody Conservatory in Balti- more, studying harmony and composition with Hamerik, Kahmer and Boise, and piano with Burmeister. After graduation in 1899 he also studied voice with Heimendahl. In 1897 he was appointed on the staff of the Con- servatory, where he is now in the vocal depart- ment. Since 1905 he has also had charge of music at the Maryland School for the Blind. The Kimball Prize of the Chicago Madrigal Club was awarded to him in 1908. In 1910- 14 he was choir-master of the Madison Avenue Synagogue and devoted much time to the arrangement and development of Jewish music. He became director of the Arion Singing Society in 1913, succeeding David Melamet, and has recently been appointed conductor of the new Johns Hopkins Uni- versity Orchestra (60 players), consisting of BODANZKY BOHANAN 135 members of the student-body and faculty and the best amateurs of the community. The first concert was given in May, 1919, and inaugurated a new musical activity in the institution. His published compositions are the prize- chorus 'I know the way of the wild blush-rose,' for] mixed voices; the anthems 'Hark the sound of holy voices' (Summy), 'As it began to dawn' (Novello), 'There were shepherds' (Schirmer), Easter and Christmas Carols (Schirmer, Ditson), 'Sing, O daughter of Zion,' for voice and piano (Summy), and several violin-pieces (Ditson, and Carl Fischer) . Still in MS. are a Concert-Overture and Fan- taisie for large orchestra, a String-Quartet in G, a Serenade for strings and flute, a Nocturne for 'cello and piano, and a Fugue for two choirs on 'Ein' feste Burg,' Hebraic music for chorus and organ, detached choruses, and further pieces for violin and piano. [ R.8 ] BODANZKY, ARTTJR (Dec. 16, 1877, Vienna, Austria), was a pupil of Griin, Gradener and J. N. Fuchs at the Vienna Con- servatory. He became a violinist in the orchestra of the Imperial Opera in 1896. His first engagement as conductor was in 1900 at Budweis in Bohemia, going thence to the Carl-Theater in Vienna. He conducted a season of light opera in Petrograd in 1901. In 1902 he returned to the Vienna Opera as assistant to Mahler. Two years later he was in Paris conducting the first French perform- ance of 'Fledermaus' ('La Chauve-Souri'). Returning to Vienna, he became conductor at the Theater an der Wien. For nearly three seasons from 1906 he was director at the Royal Opera in Prague and also conductor of the Philharmonic Concerts there. In 1909 he became director of the Grand-Ducal Theater at Mannheim, where he also conducted the Phil- harmonic and Oratorio Society concerts. At the same time he made frequent visits as guest-conductor to London, Milan, Rome, Petrograd, Moscow, Brussels, Cologne, Vienna, Munich and other prominent centers. In 1914 he conducted the first performance of 'Parsifal' in England. In 1915 he came to the Metropolitan Opera House in New York. His most conspicuous single achievement there is his new version of Weber's 'Oberon,' the score and orchestral parts of which he reedited. In the spring of 1919 he made his debut in New York as a symphonic conductor, leading the New Symphony Orchestra. He has con- tinued in this post through the courtesy of the management of the Opera. [ R.10 ] BOEKELMAN, BERNARDUS (June 9, 1838, Utrecht, Holland), had his first musical studies with his father, Anton J. Boekelman, who was a chorus-director and organist. He studied at the Leipzig Conservatory in 1857- 60 under Moscheles, Richter and Hauptmann, and in 1862-64 was a private pupil of von Billow, Kiel and Weitzmann. He migrated to Mexico during Maximilian's regime, but in 1866 settled in New York. The same year he toured with Carl Formes and Jehin-Prume under the management of Strakosch. With R. Richter, violinist, and E. Schenck, 'cellist, he founded the New York Trio Club, and played at the first performance in New York of Tchaikovsky's Trio, op. 50, Scharwenka's Concerto in B minor and Liszt's 'Danse Ma- cabre.' In 1883-97 he was music-director at Miss Porter's School in Farmington, Conn., and since 1897 has been in the same position at Mrs. Dow's School at Briarcliff, N. Y., as well as teaching privately in New York. His published works include a Festival March, op. 1, for piano, four hands (also for band, string-orchestra and two pianos) ; a Romance, op. 2, for violin or 'cello and piano; a 'Balla- bile,' op. 3, for piano or string-orchestra; a Concert Polonaise, op. 4, for piano (also for two pianos, eight hands, string-orchestra or military band) ; 'Valse de la Reine,' op. 5, for piano; 'A Cheval,' op. 6, for piano; 'In der Einsamkit,' op. 7, for string-orchestra; 'Sehnsucht,' op. 8, for piano; three songs for high voice, op. 9; 'Gondoliera,' op. 10, for violin and piano; 'Romance,' op. 11, for piano j six thumb-studies, op. 12, for piano; 'T6te-a-Tete,' op. 13, a piano-waltz; and three octave-studies for piano, op. 14. His analytical editions of sixteen fugues from Bach's 'Well-Tempered Clavichord' and 'In- ventions' have had a wide circulation. In these the themes are printed in colors and rhombic notes, to facilitate the study of con- trapuntal style. The fundamental harmony is printed separately for a second piano or the organ. [ R.5 I BOEPPLER, WILLIAM (Feb. 21, 1863, Pferdsfeld, Germany), secured his university education at Leipzig and Bonn. In music he was trained by Gisbert Enzian in Kreuznach, Reinecke, Fiedler and Langer in Leipzig, and Arnold Mendelssohn in Bonn. His first teaching in America was at Milwaukee in 1894. In 1895 he organized there the A Cappella Chorus, in 1899 the Wisconsin Con- servatory, and in 1902 the Milwaukee Sym- phony Orchestra. In 1895 he was musical editor of the Milwaukee 'Herald', in 1896-97 of the 'Germania.' Since 1904 he has also been active in Chicago, conducting the Sing- verein, the Germania Club, the Turner-Man- nerchor, and the male chorus of the First National Bank. Among his pupils are numer- ous singers of prominence. [ R.8 ] BOGERT, WALTER LAWRENCE (b. 1864). See Register, 8. BOHANAN, GEORGE SMILEY (b. 1869). See COLLEGES, 3 (West Virginia Wesleyan C.). 136 BOHEMIAN CLUB BOISE BOHEMIAN CLUB, THE, of San Francisco, has become famous for maintaining unique open-air performances for its members and their guests in which literary, dramatic and musical elements are mingled in varying proportions. The initial experiment was made in 1878, leading to a series of 'Mid- summer High Jinks' that continued from 1879 to 1901. The programs for these were at first miscellaneous, but tended after 1890 to be- come unified upon some plan proposed by the leader or 'sire' for the year, resulting often in a continuous play or drama. From 1880 the exercises regularly culminated in a symbolic ceremony called 'The Cremation of Care,' and until about 1910 the thought underlying this dominated other exercises. Of late years, however, this ceremony has been transferred to the opening of the celebration. Since 1902 the principal event has been the presentation of a 'Grove-Play,' which has become increasingly significant artistically. In these 'plays,' as in the earlier 'Jinks,' music has figured largely, either in melodrama or in fairly complete operatic form, enlisting the genius of many composers and inter- preters. From almost the first the 'revels' have been held in the impressive redwood forests of Sonoma County to the northwest of San Francisco. They are now domiciled at 'The Grove,' a tract of over 800 acres on the Russian River near Guerneville. Here the Club holds a two weeks' encampment in August. The theater or arena at its center now has (1920) a 3-manual open-air organ re- sembling that successfully installed at San Diego in 1915. Among the earlier productions which approximated the later musico-dramatic type were 'The Sermon of the Myriad Leaves' (1892), 'The Sacrifice in the Forest' (1893) and 'The Enigma of Life' (1901). The list of 'Grove-Plays' is as follows : 1902 'The Man in the Forest,' text by C. K. Field, music by Joseph D. Redding. 1903 ' Montezuma,' text by L. A. Robertson, music by Humphrey J. Stewart. 1904 'The Hamadryads,' text by Will Irwin, music by W. J. McCoy. 1905 'The Quest of the Gorgon,' text by N. J. Tharp, music by Theodor J. Vogt. 1906 'The Owl and Care,' text by C. K. Field, music by H. J. Stewart. Not strictly a Grove-Play. 1907 'The Triumph of Bohemia,' text by George Sterling, music by Edward F. Schneider. 1908 'The Sons of Baldur,' text by Herman Scheffauer, music by Arthur Weiss. 1909 "'St. Patrick of Tara,' text by H. M. Stephens, music by Wallace A. Sabin. 1910 'The Cave-Man,' text by C. K. Field, music by W. J. McCoy. 1911 'The Green Knight," text by Porter Garnett, music by Edward G. Stricklen. 1912 'The Atonement of Pan,' text by J. D. Redding, music by Henry K. Hadley. 1913 'The Fall of Ug,' text by Rufus Steele, music by Herman Perlet. 1914 'Nec-Natoma,' text by J. W. Shiels, musio by Uda Waldrop. 1915 'Apollo,' text by Frank Pixley, music by Edward F. Schneider. 1916 'Gold,' text by F. S. Myrtle, music by Humphrey J. Stewart. 1917 'The Land of Happiness,' text by C. T. Crocker, music by Joseph D. Redding. 1918 'The Twilight of the Kings,' text by R. M. Hotaling, music by Wallace A. Sabin. 1919 'Life,' text by H. L. Wilson, music by Domenico Brescia. 1920 ' The Ilya of Muron,' text by C. C. Dobie, music by Ulderico Marcelli. In 1918 there were published in a limited edition three volumes of Grove-Plays of the Bohemian Club, with a thoughtful Introduction by the editor, Porter Garnett, the well-known dramatic critic and author. Many of the plays are preceded by special introductions by the authors of the words, and in most cases notes are given of the principal themes employed in the musical settings. Articles upon the work of the Club have been written by Jesse L. Williams in 'Collier's Magazine' (Sept. 7, 1907), by Arthur Farwell in 'Musical America' (Oct. 16, 1909) and by Percy Mackaye in The Civic Theatre (1912). See also an appreciative notice in The Art of Music, iv. 396-9. 1 BOHEMIANS, THE, of New York, is a fraternal union of musicians, started in 1907, of which Rubin Goldmark was president in 1907-10 and Franz Kneisel since 1910. BOISE, OTIS BARDWELL (Aug. 13, 1844, Oberlin, O. : Dec. 2, 1912, Baltimore), while attending school in Cleveland began to play the organ in church when but fourteen. In 1861 he went to Leipzig, studying with Hauptmann, Richter and Moscheles for three years and then continued at Berlin with Kullak. In 1865 he returned to Cleve- land and for five years was teacher and organist there. Then followed six years in New York, teaching composition in the New York Conservatory and serving as organist at the Fifth Avenue Presbyterian Church. In 1877 he went to Europe again as student and composer and enjoyed the advice and assist- ance of Liszt. In 1878-88 he was in New York, for three years in music and for seven years in other business. Then for thirteen years he was in Berlin, gaining a fine reputa- tion as teacher of theory. He returned to America in 1901, becoming teacher of theory and composition at the Peabody Conservatory in Baltimore and music-critic of the ,'News,' holding both positions until his death. Among his well-known pupils are Huss, Brockway, Hutcheson, Arthur Nevin and Atherton. His 1 The data for the above summary were supplied by the courtesy of Mr. Henry Bretherick of San Francisco. BOITO BONVIN 137 compositions included both orchestral and other works. His Harmony Made Practical, 1900, has had wide acceptance and he also wrote Music and its Masters, 1901. [ R.5 ] J BOITO, ARRIGO (Feb. 24, 1842, Padua, Italy : June 10, 1918, Milan). See article in Vol. i. 353-8. To the last he was busy over his opera 'Nero,' whispering 'Nerone e finito' just before his death. In March, 1912, he was made Senator of the Kingdom. BOLLINGER, SAMUEL (Sept. 22, 1871, Fort Smith, Ark.), was the son of a musician and early played the piano in his father's trio. His first piano-lessons were with Emil Winkler ; later he studied at Leipzig with Reinecke, Zwintscher, Schreck and Quasdorf. He won a scholarship at the Conservatory, taught there, and was organist of the American Church in 1893-5. In 1896 he founded the Bellinger Conservatory at Fort Smith, Ark., but two years later removed to San Francisco. Eight years were spent there and one in Chicago before starting the Bellinger Piano School in St. Louis in 1907. He has performed pro- grams of his own compositions, besides lectur- ing on symphonies. His works include 'The Sphinx,' a fantaisie-suite for orchestra in five scenes 'Slumber-Song,' 'The Awakening,' 'The Riddle,' 'Theban Festival,' 'Death-Song of the Sphinx' (prize from the St. Louis Art League, 1916), op. 18. 'Pompilia and Caponsacchi,' a dramatic overture, based on Browning's ' Ring and the Book,' op. 3. Waltzes for orchestra, op. 9. Petite Senate, for violin, op. 2. Sonate quasi une Fantaisie, for violin, op. 9. Romanza, for violin, op. 6 (Breitkopf). Caprice, for violin, op. 11. Songs: 'Fancy' and 'Wilt thou weep? ' op. 16 (Schirmer) ; 'Youth and Love' and 'A Confession,' op. 12. Piano-pieces : Scherzo, Mazurka and Romanza Lamentosa, op. 1 (Crude, Leipzig) ; ' Danse Melan- colique' (F. A. Mills, New York); ' Chopinesques ' : op. 4, including Prelude ('At Sea'), Nocturne and Impromptu (Schirmer) ; op. 5, including Idylle, Barcarolle and Humoresque (Breitkopf), and op. 7, including 'Danse Caprice' and 'Danse Humor- istique* (Breitkopf); 'Lament,' op. 8, no. 1 (Breit- kopf) ; Tone-Poem, op. 8, no. 2 (Schirmer) ; fetegie' and 'Impromptu Fantastique,' op. 15 (Shattiger, St. Louis) ; Symphonic Prelude, a concert- study, op. 10; op. 20, including 'Trudging' and Ro- mance; op. 21, 'American Dance.' Fantaisie Romantique, for organ, op. 17. [ R.8 ] BONAWITZ, JOHANN HEINRICH (Dec. 4, 1839, Diirkheim, Germany : Aug. 15, 1917, London), was of Polish origin. He studied at the Liege Conservatory, and was brought to America in 1852. At twenty-two he re- turned to Europe and made several concert- tours as pianist with Joachim. He also taught in Wiesbaden, Paris and London. In 1872-73 he organized popular symphony-concerts in New York, but these failed from lack of popular appreciation. His piano-recitals on a tour in 1873 were more successful. In Philadelphia he produced two operas, 'The Bride of Messina' (1874) and 'Ostrolenka' (1875). In 1876 he removed to Vienna, and his last thirty years were spent in London. Here he founded the Mozart Society, which gave annual series of concerts largely devoted to Mozart's music. Excerpts from his opera 'Napoleon' were given in concert-form in London in 1911. His works included the above operas and also 'Diogenes' (1870) and 'Irma' (1885, London), a Requiem, a Stabat Mater, a piano-quintet, a string-quartet, a trio, many piano-pieces and songs. [ R.5 ] BOND, CARRIE, nee Jacobs (b. 1862). See Register, 9. BONVIN, LUDWIG (Feb. 17, 1850, Siders, Switzerland), after completing his college course in Sion in 1870, studied medicine in Vienna and law in Sion, but entered the Jesuit Order in 1874 in Holland. There and in England for several years he held positions as organist. He was ordained priest in Liverpool in 1885. Since 1887 he has been at Canisius College in Buffalo, as head of the college music-department till 1907, director of the choir in 1887-95 and 1897-1905, and of the orchestra in 1888-1907. As a musician he is chiefly self-taught. Though once en- gaged about equally in secular and ecclesi- astical music, he has lately worked to improve the music and text of Catholic English hym- nology and to restore the original rhythmic values in Gregorian chant. He has published several hymn-books, among which 'Hosanna' is most notable. Taking up the work of A. Dechevreus and Gietmann, he has also pub- lished many historical, scientific and controver- sial essays in various languages and issued several practical rhythmizations of the Vatican melodies. His compositions are as follows : 'A Christmas- Night Dream,' op. 10, for string- orchestra (Siegel) also, as op. 80, for violin, 'cello and reed-organ (Coppenroth) . Three ' Tone-Pictures,' op. 12, for orchestra (Breit- kopf). Ballade, op. 25, for orchestra (Breitkopf) also for violin, 'cello and piano. 'Festival Procession,' op. 25, for orchestra (Breit- kopf) also in chamber-arrangements. 'Reminiscences,' op. 31, for orchestra (Breitkopf) , also for violin, 'cello and piano , or violin and piano. Symphony in G minor, op. 67 (Breitkopf). Two Symphonic Movements, op. 71 (Breitkopf). 'Suppressed Sadness at the Joyous Feast,' op. 12a, for 2 violins, 'cello, reed-organ and piano (Coppen- roth). Andante Cantabile, op. 77, for violin, 'cello, reed- organ and piano (Coppenroth) also for organ (Leuckart). Romanza, op. 19, for violin with orchestra or piano (Breitkopf). Melody, op. 56, for violin and piano (Breitkopf) , or for string-quartet (Leuckart). Three 'Tone-Poems,' op. 8, for organ (Leuckart). Accompaniments for the Kyriale Parvum, the hymnals 'Hosanna' and 'Cantemus Domino,' and 138 BOOTT three Gregorian Masses (Coppenroth, Herder and Breitkopf respectively). 'O World, Full of Sunny Delight,' op. 20, for chorus, soli and orchestra (Breitkopf). 'Wittekind,' op. 28, ballad for men's chorus, soli and orchestra (Breitkopf). 'In the Summer Night,' op. 39, for chorus, baritone and orchestra (Breitkopf). 'Faring Minstrels,' op. 43, for men's chorus (Siegel) also in German version. 'Song of the Spinning- Wheel,' op. 48, for women's chorus and piano (Hug). 'Morn on the Northern Coast,' op. 50, for chorus, baritone and orchestra (Breitkopf). 'Brittany,' op. 60, for chorus, baritone and or- chestra (Breitkopf). 'Springtime,' op. 73, for soprano and alto with orchestra (Breitkopf). Masses: Cordis Jesu, op. 6, three arrangements (Capra, J. Fischer). St. Canisius, op. 26 (Boessnecker). Marise Virginis, op. 49 (Schwann). St. Csecilia, op. 63 (Breitkopf). 'Te Christe Supplices,' op. 83 (Capra). St. Ignatius, op. 84 (Coppenroth). Gregoriana, op. 88 (Feuchtinger). Immaculate Conception, op. 114 (in 'Cecilia,' 1915). Gregorian (eight), including Requiem (Breitkopf, Coppenroth). Psalm 103, op. 68, for chorus, soprano and or- chestra, German and English text (Breitkopf). Many other works for the Catholic service, in- cluding Vespers, Litanies, Offertories, Hymns, etc. Many songs, sacred and secular. He has been a frequent contributor to musical journals in Europe and America, especially upon liturgical music. [ R.7 ] BOOTT, FRANCIS (1813-1904). See Reg- ister, 6. JBORDES, CHARLES (May 12, 1863, Vouvray-sur-Loire, France : Nov. 8, 1909, near Toulon). See article in Vol. i. 362. In 1905 he was compelled by a nervous break- down to leave the Schola Cantorum, but in the same year founded the Schola de Mont- pellier. His opera 'Les Trois Vagues' was not quite complete at his death. For orchestra he composed the overture 'Errege Juan' and 'Danses Bearnaises,' for piano and orchestra a 'Rhapsodic Basque,' for trumpet and or- chestra, a 'Divertissement,' for flute and string-quartet, and a 'Suite Basque.' To these should be added pieces for piano and organ and choruses. He collaborated with Saint- Saens on the new French edition of Rameau's works. See article in Musiciens FranQais d'Aujourd'hui, 2nd ed., 1911. BORI , LUCREZIA (b. 1888) . See Register, 10. . BORNSCHEIN, FRANZ CARL (Feb. 10, 1879, Baltimore), had his first musical instruc- tion from his father, Theodore W. Born- schein, and then entered the Peabody Con- servatory in 1896 as violin-student under Van Husteyn and of theory and composition under Hamerik, Kahmer and Boise. He BOROWSKI gained a prize for his String-Quartet in D in 1900 and received his diploma in 1902, giving a program of original works which included the prize string-quartet, groups of songs and a concerto in G minor for violin, played by him- self. In 1905 he became violin-instructor and conductor of student-orchestras at the Con- servatory' In 1906 his setting of Cunning- ham's 'A Wet Sheet and a Flowing Sea' was awarded the prize offered by Kimball through the Chicago Madrigal Club. In 1912, in the competition of the Mendelssohn Club of Cleve- land, he won part of the divided first prize for a setting of Hugo's 'The Dj inns' for orchestra, mixed chorus and baritone solo. In 1915 his cantata 'Onowa,' for mixed voices, soprano and orchestra, was awarded the first prize ($500) by the Tri-City Music Festival Associa- tion of New Jersey. His published works include a violin-concerto, groups of violin- compositions, choruses, cantatas with orchestra, piano-pieces and songs. His material in manuscript includes orchestral works in large forms, like the symphonic suite 'The Phantom Canoe,' the symphonic ballad 'Louisiana,' the symphonic poems 'The Rime of the Ancient Mariner' and 'A Hero's Espousal.' Other works are a Sextet for flute and strings, a Quintet in B minor for piano and strings, pieces for violin, songs and numerous choral works. He was music-critic on the Baltimore 'Evening Sun' for several years. In 1913 he became correspondent for 'Musical America.' He has contributed to leading periodicals, made editorial revisions and enlargements of standard violin-works, and supplied pedagogi- cal material for his instrument in the Ditson Edition. In 1915 he became director of the orchestras at the Baltimore Music School Settlement and in 1916 organized a choral society at Smithsburg, Md. In 1918 he took charge of the Women's Chorus of the Myrtle Club in Baltimore, and was also appointed choir- director at the First Unitarian Church. [ R.9 ] BOROWSKI, FELIX (Mar. 10, 1872, Bur- ton, England), came of distinguished Pol- ish stock. His father gave him his [early instruction on the piano and the violin. His mother was English, a pupil of Sterndale Bennett. She too had a large part in his training. During his school-days at London and at Tunbridge Wells he studied the violin with Jacques Rosenthal, a pupil of Leonard. He gained much from the constant practice of chamber-music at home. In 1887 he went to the Cologne Conservatory, taking violin with Japha, piano with Ernst Heuser and com- position with Gustav Jensen. In London from 1889 he had violin-lessons from Pollitzer and counterpoint with Pearce. In 1892 he became violin-teacher at a school in Aberdeen, but the school soon failed and he returned to BOSETTI BOSTON SINGERS' SOCIETY 139 London. In 1896 he produced his 'Russian Sonata,' which won strong commendation from Grieg, as also from Leschetizky, Sauer, Rosen- thai and others. Its success led to a call to join the faculty of the Chicago Musical Col- lege as teacher of composition, beginning in August, 1897. Here he also taught the violin and lectured on music-history. Recently (April, 1916) he has succeeded to the presidency of the College. In 1905 he also was Chicago correspondent of the ' Musical Courier,' from 1906 critic for the Chicago 'Evening Post,' and in 1909-18 for the ' Record-Herald.' Since 1908 he has been the maker of the program- books for the Chicago Symphony Orchestra. His chief compositions are 'Marche Triomphale,' in D minor, for orchestra (1899, Chicago). Concerto for piano and orchestra (1914, Chicago). 'Eugene Onegin,' symphonic poem. 'Crepuscule' and 'Serenade,' for string-orchestra (1914, Ravinia Park). 'Allegro de Concert,' for organ and orchestra (1915, Chicago). 'Valse Pathetique,' for orchestra (1915, Chicago). 'Elegie Symphonique,' for orchestra (1917, Chicago). 'Trois Peintures' 'Portrait d'une Jeune Fille,' 'Le Jardin de Nuit,' 'La F6te' (1918, Chicago). String-Quartet in A minor, dedicated to Grieg. 'Boudour,' a pantomime-ballet (1920, Chicago). Two Organ-Sonatas, in A minor and C. Suite in E minor, for organ. Many piano-pieces, largely in small forms (over 60 published), but including the 'Russian Sonata' and a set of Seven Preludes. Many shorter violin-pieces, of which the best- known is 'Adoration.' Motet for 6-part chorus, organ and 'cello. About 20 songs. [ R.8 ] BOSETTI, JOSEPH (b. 1886). See Regis- ter, 10. JBOSSI, MARCO ENRICO (Apr. 25, 1861, Said, Italy). See article in Vol. i. 366-7. In 1912 he resigned from the directorship of the Liceo Musicale at Bologna and has since lived at Como. Among his later works are a Suite for orchestra, op. 126, 'Intermezzi Goldoniani,' for string-orchestra, op. 127, and 'Giovanna d'Arco,' for soli, chorus and orchestra. See list of works in Baker, Diet, of Musicians, pp. 105-6. BOSTON ACADEMY OF MUSIC. See ACADEMY OF Music, Boston. BOSTON CONSERVATORY OF MUSIC, THE, was founded in 1867 by Julius Eichberg, the eminent violinist, who continued at its head till his death in 1893. For many years it was one of the leading schools of the country, and before 1886 is said to have educated some 15,000 pupils. In violin-instruction it was especially eminent. As with its competitor, the New England Conservatory (also founded in 1867), much teaching was for a long time done in small groups instead of individually. After Eichberg's death the Conservatory was for a time continued with success by Herman P. Chelius. BOSTON IDEAL OPERA COMPANY, THE, was the name used from 1879 by a troupe of light-opera singers, the best of whom later (1887) formed the more famous com- pany known as ' The Bostonians.' ' The Ideals' were first assembled by Miss Ober for the production of ' Pinafore.' Leading singers were Barnabee and Karl. BOSTON MUSIC CO., THE, was started in 1885 by Gustave Schirmer, the son of the founder of the Schirmer house in New York, and conducted by him till 1891, when he re- turned to New York to succeed his father and the Boston house became a branch of that in New York. The Company has always main- tained a considerable amount of independent publishing and has put forth much music by American composers. BOSTON MUSIC SCHOOL, THE, was one of the early attempts to establish an institution in several departments. Prepara- tion for it was begun by Benjamin F. Baker in 1847, when the Academy of Music, started by Mason in 1833, came to an end. The School was incorporated in 1851 and opened with a considerable faculty. Baker remained at its head until 1868, when the enterprise was given up. BOSTON OPERA COMPANY, THE, was organized in 1908 on lines similar to those of the Metropolitan in New York and in such affiliation with it as to admit of more or less exchange of artists, especially for German works. A superb new opera-house was built and in November, 1909, the first season opened with 'La Gioconda. ' To increase the supply of singers, the Boston Opera School was started, with an arrangement for 'd6bu- tante-nights' at intervals for the appear- ance of promising aspirants. In 1910 first American performances were given of De- bussy's 'L'Enfant Prodigue,' Laparra's 'Ha- banera' and Rachmaninov's 'The Miser- Knight,' in 1911 of Converse's 'The Sacrifice,' and in 1913 of Bizet's 'Djamileh,' Aubert's ' La Foret Bleue ' and Fevrier's ' Monna Vanna.' The number of performances each season was about 90. The outbreak of the war in 1914 led to the canceling of the next season, and in May, 1915, the enterprise went into bank- ruptcy. Many of its singers and most of its property were secured by Max Rabinoff , who for two years longer made tours with what was called the Boston National Opera Com- pany, at first with remarkable success, espe- cially in the fine presentation of ballets. But in 1917 this, too, became bankrupt. BOSTON SINGERS' SOCIETY, THE. See BOYLSTON CLUB, 140 BOSTON SINGING CLUB BOUGHTON BOSTON SINGING CLUB, THE. See Vol. i. 369. BOSTON STRING QUARTET, THE, was a chamber-group maintained in 1915-19 by players in the Boston Symphony Orchestra. It consisted of Syivain Noack and Otto Rath, violins, Emil Ferir, viola, and Alwin Schroeder, 'cello. BOSTON SYMPHONY ORCHESTRA, THE. See Vol. iv. 800-1. The supreme excellence of the Orchestra has been steadily maintained and its commanding influence widened and intensified. The character of the programs and of their interpretation has naturally varied somewhat with changing conductors, but the liberal and catholic policy of attention to the whole range of orchestral literature has been constant. Dr. Muck's first incumbency as conductor, on leave from Berlin, covered the seasons of 1906-08. From 1908 to 1912 he was followed by Max Fiedler. In 1912 Muck returned as permanent con- ductor, but in March, 1918, he was arrested as an enemy alien and in 1919 was sent out of the country. The conductor for 1918-19 was the French composer Henri Rabaud, and since 1919 Pierre Monteux (who had also led some performances in 1918 before Rabaud's arrival). In" 1918 Witek resigned as concertmaster and was followed for one season by Fredric Fradkin, whose appointment was notable in view of his American birth. The stress connected with the removal of Muck in 1918 led to a reorganization of the management of the Orchestra, Major Higginson retiring from active direction, though without ceasing his hearty support, and the control passed into the hands of a strong Board of Directors. In 1919 Major Higginson died. It is com- monly understood that his endowment of the Orchestra amounts to about $1,000,000. Since 1901 the program-books of the concerts have been prepared by Philip Hale. They form an extraordinary library of historical and critical information, set forth with force and much literary dexterity. See Howe, The Boston Symphony Orchestra, 1914. BOSTONIANS, THE, were a troupe formed in 1887 for the giving of light opera. Its leaders were Henry C. Barnabee, Tom Karl and W. H. Macdonald, and the company derived many of its members and its initial prestige from the previous Boston Ideal Opera Company. The latter troupe had set a fine standard for artistic finish and the new com- pany carried it still higher. The organization continued for about twenty-five years with re- markable success, bringing out a long list of graceful or comic works and introducing a not- able succession of effective singers. See Barna- bee, My Wanderings, and also the r6sum6 of works and singers in The Art of Music, iv. 175-7. BOTT, JEAN JOSEPH (1826-1895). See Register, 7. BOTTA, LUCA (1882-1917). See Register, 10. BOUCHER, A. See Register, 3. BOUSDOUSQUIE. See Register, 4. % BOUGHTON, RUTLAND (1878, Eng- land), was a pupil of Stanford at the Royal College of Music, where he studied in 1900-01. In 1904-11 he taught singing at the Birming- ham School of Music. When the World War broke out he tried to enlist, but was declined at first for physical reasons. In the belief that artistic effort had value for quickening national spirit, he started in August, 1914, a series of musico-dramatic festivals at Glaston- bury in Somerset, aiming at first only to bring out a cycle of music-dramas on Arthurian subjects by the late Reginald R. Buckley and himself. In spite of some checks and inter- ruptions, the enterprise has gone on and ex- panded until now it has enthusiastic support from a large circle of musical and literary people and there is prospect of the erection of a special theater for the plays. Up to 1919 there had been 79 performances, of which 47 were operatic. Five were premieres of dramas by English composers. Boughton'a compositions include the following: Stage-works 'The Immortal Hour,' choral drama, libretto by Fiona MacLeod. 'The Birth of Arthur,' choral drama, libretto by Buckley; and 'The Round Table,' choral drama, libretto by Buckley these forming the cycle 'Arthur of Britain.' 'Bethlehem,' based on the Coventry Nativity- Play. 'The Death of Columbine,' opera-ballet in one act, text by Bostock. 'Dawn at Agincourt,' dramatic scene, text from Shakespeare. 'The Moon-Maiden,' choral ballet. 'The Death-Dance of Graine,' ballet. ' Snow- White,' ballet, scenario by Margaret Morris. Choral works with orchestra 'Sir Galahad,' choral march, text from Tenny- son. 'The Skeleton in Armor,' symphonic poem, text from Longfellow. 'The Invincible Armada,' symphonic poem, text from Schiller-Lytton. 'Midnight,' symphonic poem, text by Edward Carpenter. 'A Song of Liberty,' text by Helen Bantock. Choral works unaccompanied Five sets of Choral Variations on English Folk- Songs (Reeves). 'The City,' motet, text by Henry Bryan Binns. Chamber and orchestral works 'The Chapel of Lyonesse,' for piano, string- quartet and three solo voices, text by William Morris. 'A Celtic Prelude,' for piano, violin and 'cello. 'March of the British,' for orchestra (Reeves). Three Folk-Dances for strings (Curwen). Also several smaller choral works. BOULLAY BOYLSTON CLUB 141 See article by Herbert Antcliffe in 'The Musical Quarterly,' January, 1918. BOULLAY, LOUIS. See Register, 2. BOURNE, WILLIAM (d. 1885). See Reg- ister, 3. BO WEN, GEORGE OSCAR (b. 1873). See Register, 8. J BO WEN, YORK (Feb. 22, 1884, London). See article in Vol. v. 618-9. Further works are: Two Symphonies (the latter produced by the New Orchestra in London, Feb. 1, 1912). 'Tasso,' symphonic poem. Concert-Overture. Suite in D minor, for violin and piano. Two viola-sonatas, in C minor and F (Cobbett Prize). Phantasy-Trio, for violin, 'cello and piano. Quartet, for four violas. Phantasy-Septet, for clarinet, horn, string-quartet and piano (one movement). String-Quartet in D minor, op. 41 (two movements). 'Poem,' for solo viola, harp and organ. Three Suites and 'Suite Mignonne,' for piano. BOWMAN, EDWARD MORRIS (July 18, 1848, Barnard, Vt. : Aug. 27, 1913, Brooklyn), was a graduate of St. Lawrence University, Canton, N. Y. He came to New York in 1866 for a year's study with William Mason (piano) and J. P. Morgan (organ and theory). In 1867 he went to St. Louis, where for three years he was organist at the Union Methodist Church and for two at the Second Presbyterian Church. In 1872-74 he was in Berlin under Bendel in piano, Haupt and Rohde in organ and Weitzmann in composi- tion, twice going to Paris in summer for organ- lessons with Batiste. Returning to St. Louis, he resumed his place at the Second Presby- terian Church, taught piano and organ, and in 1877 published an English version of Weitz- mann's Manual of Musical Theory, which was based on his own notes of Weitzmann's teach- ing (from this a German version was made). For a time in 1881 he was with Guilmant in Paris and also worked in London with Mac- farren, J. F. Bridge and Turpin. He was the first American to become an associate of the Royal College of Organists. Save for this year abroad he was organist at the Second Baptist Church in St. Louis from 1877 to 1887. In 1883 he was president of the M. T. N. A. (also in '84, '93, '94 and 1905). In 1884 he was the organizer and till 1893 president of the American College of Musicians, which did much to raise standards of teaching. In 1887-94 he was organist at the Peddie Memorial Baptist Church in Newark, in 1895-1906 at the Baptist Temple in Brooklyn (with a noted choir of 200) and from 1906 at Calvary Baptist Church in New York (also with large choir and orchestra). While at Newark (1891-95) he also served as music- professor at Vassar College in Poughkeepsie, following Ritter. In 1896 he was a founder of the A. G. O. He was not only a superior organist, but had marked ability as a teacher. His forceful personality impressed itself upon music-education in many ways. [ R.5 ] BOYD, CHARLES N. (b. 1875). See Reg- ister, 8. BOYLE, GEORGE FREDERICK (June 29, 1886, Sydney, Australia), was the son of music-teachers, began piano-lessons at five and made his first public appearance in Sydney at seven. He undertook concert-tours as pianist at fourteen, continuing thus in Australia, Tasmania and New Zealand for five years. He then went to Berlin and studied for a tune with Busoni. His first recital-program in Berlin (March, 1908) included MacDowelTs 'Keltic' Sonata (first time there). He con- certized in Holland from October, 1906, and in London from June, 1908, being associated in Holland with Emma Nevada and in Great Britain with Pauline Donalda and Maud Allan. In 1908 he played at the reception to the King and Queen of Spain, and in 1910 appeared with the Queen's Hall Orchestra under Wood. In 1910 he came to America as teacher of piano at the Peabody Conservatory in Baltimore. While thus busy with teaching he has found opportunity to give recitals not only in Baltimore, but in New York, Boston and other cities. He has made several tours in the South. His compositions include Concerto in D minor, for piano and orchestra (Schirmer), given at the Worcester Festival of 1911, in New York in 1912 and elsewhere, with Hutcheson as pianist, as well as in England and Australia. Symphonic Fantasie, for orchestra, given by St. Louis Orchestra in 1916 and New York Sym- phony Society in 1918. Concerto for 'cello and orchestra, given by Phila- delphia Orchestra in 1918 with Kindler as 'cellist. Sonata for 'cello and piano, given in London in 1909 with Jacques Renard as 'cellist. Sonata in B, for piano, given in Baltimore in 1916 by composer. 'The Pied Piper of Hamelin,' cantata for tenor, baritone, contralto, chorus and orchestra (Chappell). 'Don Ramiro,' dramatic cantata (text from Heine) for soprano, tenor, bass, chorus and orchestra. 'Slumber-Song,' for orchestra, given by American Orchestra, Chicago, in 1915. 'Aubade,' for orchestra, given by St. Louis Or- chestra in 1916. Andante Lamentoso for string-quartet. Many shorter piano-pieces and songs, some pub- lished by Schirmer, Novello, Carl Fischer, etc. [ R.10 ] BOYLSTON CLUB, THE, of Boston, was organized in 1873 as a choral society of about 200 voices. In 1875-93 it was led by George L. Osgood and speedily achieved a fine reputa- tion for artistic efficiency in interpreting secular works. After 1890 it was known as the Boston Singers' Society. 142 BRADBURY BRESSLER-GIANOLI BRADBURY, WILLIAM BATCHELDER (Oct. 6, 1816, York, Me. : Jan. 7, 1868, Montclair, N. J.), from 1830 had lessons on the piano and organ in Boston from Sumner Hill and Lowell Mason and attended the latter's singing-classes. From 1834 he served as church-organist. In 1836 Mason sent him to Machias, Me., to lead a class and later to St. John's, N. B. In 1840 he was organist in Brooklyn, and from 1841 at the Baptist Tabernacle in New York, where and in other churches he organized popular singing-classes. These latter led to annual 'festivals,' held at the Broadway Tabernacle, and hastened the recognition of music in the public schools. In 1841 he published his first book, The Young Choir, assisted by Hastings, with whom in 1844-51 he collaborated upon four others of more importance. In 1847-49 he was in Eng- land and Germany, studying at Leipzig with Hauptmann, Moscheles, Ernst Wenzel and Bohme, besides investigating methods of popular instruction. After his return to New York he was active in classes and ' conventions ' and in editing song-books, sacred and secular. In 1854, with his brother E. G. Bradbury, he went into the business of piano-making with success. Altogether, he was author or editor of about sixty collections of popular music. Among these, The Jubilee (1858) had a sale of over 200,000 copies, and Fresh Laurels and the 'Golden' series had even greater popu- larity. Of his two Sunday-school cantatas, 'Daniel' (1853) and 'Esther' (1856), the lat- ter for many years had an enormous vogue. Many of his simple, but melodious tunes are still in wide use. See TUNE-BOOKS, 1841, and under Hastings; also Hall, Gospel Song and Hymn Writers, pp. 23-7. [ R.3 ] BRADBURY PIANO CO., THE, of New York, is the present name of the business established in 1854 by E. G. and W. B. Brad- bury. Its development on modern lines was due to the skill and enterprise of F. G. Smith, who in 1861 helped perfect the 'Bradbury' piano and in 1867 became W. B. Bradbury's successor as head of the firm. It has been continued under F. G. Smith, 2nd, and F. G. Smith, 3rd. Since 1917 William Knabe, 3rd (b. 1872), has been general manager. BRADFORD, SAMUEL F. See TUNE- BOOKS, 1830. BRAHAM, HERBERT J. (b. 1885). See Register, 9. BRAINARD, SILAS (1814-1871). See Reg- ister, 3. - BRAINARD'S SONS & CO., of Cleveland, is the publishing-house founded in 1836 by Silas Brainard and taken over in 1871 by his sons Charles S. and Henry M. Brainard. In 1876 the firm erected a large building of its own. They also have a house in Chicago. BRANDEIS, FREDERIC (July 5, 1835, Vienna, Austria : May 14, 1899, New York), was early a pupil of Czerny and Fischhof (piano) and of Rufinatscha (composition). He was brought to America at fourteen and studied with Meyerhofer in New York, making his debut as pianist in New York in 1851. He toured with concert-companies, like that of Wallace, but finally settled in New York as teacher and composer. He was organist of the (R. C.) Cathedral in Brooklyn and of one of the large New York synagogues. His larger works, though performed, are un- published (see list in Baker, Diet, of Musicians, p. 113). [ R.4 ] BRANDT, HERMANN (b. 1842). See Register, 6. BRANSCOMBE, GENA (Nov. 4, 1881, Picton, Ont.), is descended from a family that settled in New York in 1640. She was a pupil at the Chicago Musical College in 1897, studying piano with Ziegfeld and Friedheim and composition with Borowski. On graduat- ing in 1899 she won a medal for composition. A further year of piano-study with Hans von Schiller brought another medal and appoint- ment in the faculty of the College, which she held for seven years. In 1904 she studied piano with Ganz, and in 1905 composition, especially song- writing, with Von Fielitz. In 1907-09 she was piano-teacher at the Whitman Conservatory in Walla Walla, Wash. Going to Berlin in 1909 she resumed work under Ganz, with composition under Hum- perdinck. In 1910 she married John Ferguson Tenney of New York and has since lived there. Her songs have been widely sung. About seventy are published (Schirmer, Ditson, Schmidt), and the following have won special favor: 'The Morning Wind,' 'I bring you heartsease,' 'Krishna,' 'Hail, ye tyme of holie-dayes,' 'Dear little hut by the rice- fields,' 'There's a woman like a dewdrop,' 'Three Mystic Ships,' 'Boot and Saddle,' 'Dear is my inlaid sword,' and 'Just in the hush.' She has also four cycles for solo voice, many part-songs for women's or mixed voices and piano- and violin-pieces. A 'Fes- tival Prelude' for orchestra was composed for the MacDowell Festival at Peterboro, N. H., in 1914. [ R.9 ] ERASE, HAGBARD (b. 1877). See COL- LEGES, 3 (Bethany C., Kan.). BRASLAU, SOPHIE. See Register, 10. BRATTLE, THOMAS (d. 1713). See Reg- ister, 1. BREIL, JOSEPH CARL (b. 1870). See Register, 8. BREMNER, JAMES (d. 1780). See Regis- ter, 1. BRESSLER-GIANOLI, CLOTILDE (1875- 1912). See Register, 9. BRETHERICK BROCKWAY 143 BRETHERICK, HENRY (b. 1849). See Register, 6. BREWER, JOHN HYATT (Jan. 18, 1856, Brooklyn), for seven years from 1864 was boy- soprano in various Brooklyn and New York churches, meanwhile taking lessons on the piano and the organ. From 1871 he was organist for two years at the City Park Chapel in Brooklyn, for four at the Church of the Messiah (P. E.) , for four at the Clinton Avenue Church (Congregational), and finally, since 1881, at the Lafayette Avenue Church (Presby- terian). Besides general teaching and some recital-work, he has been active as conductor, having been leader of the Cecilia Society, the Flatbush Glee Club, the Hoadley Amateur Orchestra, and especially the Apollo Club (all in Brooklyn). He was one of the original members of the Apollo Club in 1877 and during the twenty-five years of Buck's leadership its only accompanist. When Buck retired in 1903 he became his successor, con- tinuing ever since. He was a charter-member of the music-section of the Brooklyn Institute, its secretary from the first and since 1906 one of its fellows. He was a founder of the A. G. O., fellow since 1902 and in 1905-08 warden. In 1914 he was made Mus.D. by New York University. In his youth he was for ten years (1878-88) a pupil of Buck in composi- tion. The influence of his teacher may doubt- less be seen in the following list of works : String-Quartet in D minor. Suite in G minor, for orchestra Prelude, Bar- carolle, Intermezzo, Peasants' Dance and Finale (1891). 'April Winds,' a fantasie for orchestra. 'Valse Caprice' and 'Romanza,' for string-quintet and flute. 'A Springtime Sketch,' a scherzo for string-quartet. 'An April Song,' a cantilena for string-quartet. ' ReVerie,' for organ, harp, 'cello and violin (Gray). 'Forest Song' and 'Dance of the Gnomes,' sketches for 'cello and piano. 'The Lady of the Lake,' for organ, piano and 'cello (1891, Mason & Hamlin prize). 'Up with the Flag ! ' (1894, Brooklyn City prize). 'Lord of the Dunderberg,' cantata for men's voices and orchestra (1905, Schubert Glee Club prize). 'Bedouin Love-Song,' a cappella chorus for mixed voices (Chicago Madrigal Club prize, 1906). The total number of his compositions is about 200. [ R.6 ] 'BRIDE OF MESSINA, THE.' An opera by J. H. Bonawitz, brought out at Philadel- phia in 1874. ABRIDGE, FRANK (Feb. 26, 1879, Brighton, England). See article in Vol. v. 619. In 1910-11 he conducted the Brema opera-season at the Savoy Theatre and in 1913 the Beecham season at Covent Garden. Additional works are a 'Dance-Rhapsody' for orchestra (1909, Liverpool Festival), the orchestral suite 'The Sea' (1912), a 'Dance Poem' for orchestra (1914, Philharmonic) and notable extensions of his chamber-music list. BRIGNOLI, PASQUALINO (d. 1884). See Register, 4. BRINKERHOFF, CLARA M., nee Rolph. See Register, 4. BRISTOW, GEORGE FREDERICK (Dec. 19, 1825, Brooklyn : Dec. 13, 1898, New York), at eleven was playing the violin at the Olympic Theatre in New York. From 1842 for over thirty years he was a first violinist in the New York Philharmonic Society, He was conductor of the Harmonic Society in 1851-62, a church-organist and from 1854 until his death a visiting-teacher in the New York public schools. W. J. Henderson has described him as 'a most earnest man, filled with a real love for his art, and self-sacrificing in labor for its benefit' and as 'one of the earliest of the long-suffering band of American composers, who will be remembered always as one who strove to push American music into artistic prominence.' His chief work was the opera 'Rip Van Winkle,' performed in New York on Sept. 27, 1850, and again in 1870. An overture was played by the Philharmonic Society on Jan. 9, 1847, his second symphony on Mar. 1, 1856, his third symphony on Mar. 26, 1859, and his 'Arcadian' symphony on Feb. 14, 1874. He also wrote two oratorios, 'Praise to God' (1860) and 'Daniel' (1867); two cantatas, 'The Great Republic' (1880) and ' Niagara ' ; an unfinished opera, ' Colum- bus ' ; two symphonies besides those noted above ; two string-quartets ; and many smaller works. [ R.4 ] BRISTOW, WILLIAM RICHARD (1803- 1867). See Register, 3. BROADHURST, Miss (1775?- ? ). See Register, 2. BROCKWAY, HOWARD A. (Nov. 22, 1870, Brooklyn), after beginning the piano with Kortheuer, from 1890 spent five years at Berlin with Earth (piano) and Boise (com- position). In February, 1895, he gave a concert there which included, besides piano- solos, his Symphony in D and his violin- sonata, making the impression of unusual maturity. From 1895 he worked in New York as pianist and teacher and in 1903-10 was in the faculty of the Peabody Conservatory in Baltimore, then returning to New York. In 1910 he was the judge of the Earl Grey Com- petition at Toronto. Later he joined Lorraine Wyman in collecting the folk-songs of the Kentucky highlands, published as Lonesome Tunes, 1916 (Gray). His works include the following : Symphony in D, op. 12 (1895), given by Boston Symphony Orchestra in 1907. Ballade in G minor, op. 11, for orchestra (1895). Setter zino for orchestra. 144 BROMFIELD BROUNOFF 'Sylvan Suite,' op. 19, for orchestra 'Mid- summer Idyl,' 'Will o' the Wisps,' 'Dance of the Sylphs,' 'Evening Song,' 'Midnight,' 'At Day- break,' given by Boston Symphony Orchestra in 1903. Sonata in G minor, op. 9, for violin and piano (1895). Cavatina and Romanza, for violin and orchestra (1895). Suite in E minor, for 'cello and orchestra (or piano). Variations on an original theme, for piano. ' Charakterstucke,' 'Phantasiestiicke,' 'Moods,' 'Serenade' and many sets of pieces for piano. 'Sir Oluf,' cantata for mixed chorus and orchestra. 'Des S angers Fluch' and two others, for 8-part chorus a cappella. Suite for 'cello and piano, op. 35. Quintet for strings and piano, op. 36. Concerto for piano, op. 37. See appreciations in Hughes, Contemporary American Composers, pp. 298-304, and The Art of Music, iv. 382-3. [ R.8 ] BROMFIELD, EDWARD, JR. (1723- 1746). See Register, 1. BROOKFIELD SUMMER SCHOOL OF SINGING, THE, Brookfield Center, Conn., was founded in 1900 by Herbert W. Greene, who has continued at its head ever since. The enterprise has developed into a significant colony of musical workers and students. BROOKLYN ORATORIO SOCIETY, THE, was organized in 1893 by Walter Henry Hall, who has remained its conductor to the present time. Adopting a high standard from the first, it speedily secured recognition. During the first twenty years two concerts were given annually in the Academy of Music, the only adequate concert-hall in the city. When this was burnt, for the season of 1904- 05 the concerts were transferred to Carnegie Hall in New York, but later resumed in the superior new Academy of Music in Brooklyn. The Society in its early days was much aided by the interest of Howard W. Connelly, who had been secretary of Thomas' Brooklyn choral society, and by the adoption of its con- certs into the system of entertainments under the Brooklyn Institute of Arts and Sciences. In 1912 Mr. Hall became professor at Columbia, and the Society was made one of the two sections in the University Chorus, assisting there on festival occasions, but with entire freedom for its own local concerts. Besides the more usual oratorios, the Society has to its credit Handel's 'Samson' and 'Acis and Galatea,' Bach's St. Matthew Passion, Liszt's 'St. Elizabeth,' the second perform- ance in America of Henschel's Requiem (Metropolitan Opera House), Elgar's 'Black Knight' and 'Banner of St. George,' and the first performances in America of Elgar's 'King Olaf,' 'The Music-Makers,' 'Spirit of England' and Harty's 'Mystic Trumpeter.' Two Brooklyn composers have also been repre- sented, Buck by 'The Light of Asia' and 'The Golden Legend,' and Shelley by his ' Vexilla Regis.' BROOKLYN PHILHARMONIC SOCI- ETY, TOE. See Vol. iv. 801. BROOKS, HENRY MASON. See Regis- ter, 7. BROOME, WILLIAM EDWARD (1868, Manchester, England), had^his early training from Roland Rogers of Bangor Cathedral ; in theory he is largely self-taught. He was assistant-organist of Bangor Cathedral and of St. Mary's at Bangor in 1883-90. He conducted the Penrhyn Male Chorus, which visited the Chicago Eisteddfod in 1893, and gave many organ-recitals in the United States and Canada. He located first in Brockville, Ont., moved to Montreal in 1894, and in 1905 to Toronto, where in 1907 he succeeded Vogt at the Jarvis Baptist Church. In 1910 he organized the Toronto Oratorio Society, which has given important works with the assistance of the New York Philharmonic, Russian Symphony and Toronto Symphony Orchestras. He holds the degree of Mus.D. (by examination) from Toronto University. He has officiated as judge in the choral con- tests at the Chicago, Buffalo and St. Louis Expositions and in many other cities. He has published about 100 works (chiefly Schirmer, Ditson, Boston Music Co., Schmidt). These include the short cantata 'A Hymn of Trust,' for tenor solo, chorus and orchestra (Schirmer) ; the dramatic chorus 'Sea-Song,' with orchestra (Ditson) ; many anthems and a series of Opening Sentences from the Psalms. He was the recipient in Wales of eight national prizes for composition, the most important being for the opera 'The Siege of Cardiff Castle,' when Bridge, Parry and Mackenzie were the judges. [ R.8 ] BROSKY, FRANK J. (b. 1883). See Reg- ister, 9. BROUNOFF, PLATON G. (May, 1863, Elizabethgrad, Russia), had his musical educa- tion at the Musical Institute in Warsaw and the Imperial Conservatory at Petrograd, Rubinstein and Rimsky-Korsakov being among his teachers. In 1891 he came to America and in 1892 settled in New York as teacher, singer and lecturer. He has lectured on Russian music and kindred topics for the Board of Education in New York and many other cities, taught operatic classes at the Institute of Musical Art and been lecturer on art and supervisor at the Modern Arts Forum. He has written the Indian opera, 'Ramona'; the oratorio ' The Glory of God' ; a music- drama, ' Xilona' ; four symphonies ' Russian Revolution,' 'Return of the Jews to Palestine,' ' Carnival in Rome ' and ' Titanic ' ; four suites for piano and two for violin; the overture 'Russia'; and numerous songs. He is the BROWN BROWNE 145 author of The Ten Commandments of Piano- Practice. [ R.9 ] BROWN, ALLING. See TUNE-BOOKS, 1823. BROWN, BARTHOLOMEW. See Regis- ter, 3, and TUNE-BOOKS. 1802. BROWN, EDDY (July 15, 1895, Chicago), whose father was an Austrian Pole and his mother a Russian, began violin-study at an early age and continued with Hubay in Buda- pest, receiving the artists' diploma from the Royal Conservatory when only twelve. He then went to Petrograd and studied with Auer. In 1910 he made a sensational debut in Berlin, and appearances with many European orches- tras followed, under conductors like Nikisch, Mengelberg, Safonov and Steinbach. Since 1916 he has toured in America, playing with all the large orchestras and appearing in every important city. He has composed much for violin and piano, besides many songs, and has made numerous arrangements for violin. A musical comedy, finished in 1919, is prom- ised an early New York production. [ R.10 ] BROWN, WILLIAM. See Register, 2. BROWN COLLECTION OF MUSICAL INSTRUMENTS, THE, at the Metropolitan Museum of Art in New York, one of the largest in the world, was gathered mainly by Mary E. (Adams) Brown (d. 1917), wife of John Crosby Brown, who for many years was at the head of the banking-firm of Brown Brothers. In 1884 Mrs. Brown, having procured a few Italian instruments for decorative purposes, became interested in their historic and scientific value and became a zealous collector. In 1889 she offered the 275 specimens that she then had to the Metropolitan Museum, re- taining the right to increase and supervise the Collection during her lifetime. This offer was accepted, and a small but interesting group of instruments, mostly given by Joseph Drexel, was combined with her donation. The growth of the Collection from that time was rapid and so wisely directed that it soon became one of the remarkable features in the Museum. In 1893 adequate rooms for its display were assigned in the new north wing, the number of items then being about 700. In 1899 this number had increased to over 2000, in 1906 to over 3500, and is now about 3700. In its present arrangement, the Collection offers opportunity for study in three ways : (a) ethnographically, by countries or races; (&) historically, by periods or stages; (c) systematically or analytically, by classes and types. In each series, where actual specimens of importance are not available, they are represented by reproductions or photographs. Great pains is taken to facilitate intelligent study by explanatory labels, diagrams and other illustrations, collateral information and book-references. A notable extension of the Collection is the series of engraved, etched or lithographed portraits of composers, per- formers and writers numbering nearly 1000 specimens which has developed from initial gifts by Thatcher M. Adams in 1899 and Mrs. Charles B. Foote soon after. The manufacture of many leading modern instruments is illus- trated by analytic models of parts in process of formation. Because of its comprehensive- ness and system the Collection is not only valuable for musical history, but also signifi- cant for the ethnologist, the student of social manners and implements, and inquirers about matters so diverse as the arts of decoration and the science of acoustics. Because of it3 size, and especially because displayed with unparalleled clearness and convenience, it has but one or two rivals anywhere. Though exceedingly rich in other directions, the Collection is noted for its rare specimens of keyboard-instruments. Chief among these is the Cristofori piano of 1720, the earliest of the two known examples of his own handiwork. The elegant double spinet of Grovellus (1600) is one of but three known instances of this peculiar type. Of harpsichords there are two fine specimens with two banks, from the 17th and the 18th centuries respectively, and one with three banks, made by Sodi in 1779. Curious and historic is the claviorganum (harpsichord and organ combined), originally made in 1712 for the Elector of Hanover, but its harpsichord division remodeled into a piano, which was once in Carl Engel's famous collection. In 1911 the Museum received from Bernardus Boekelman a Ruckers virginal of 1622 and a Pasquino Querci spinet. BROWN MUSICAL LIBRARY, THE ALLEN A., in the Boston Public Library, was presented in 1894 by Allen A. Brown, a Boston business-man. It then contained about 7000 volumes. By further gifts from Mr. Brown and others and by purchases it was increased to about 11,000 in 1910, and is now reckoned at about 15,000. It is rich in many different directions in scores of every sort, instru- mental and vocal, in standard critical editions of the complete works of great composers, in historical, theoretical and critical works about music, in unique collections of pro- grams, etc. The collection is located in a separate section of the Library, and is for reference only. See Vol. ii. 717, and paper by H. G. Wadlin, the librarian, in M. T. N. A. Proceedings, 1910, pp. 192-200. BROWNE, JOHN LEWIS (May 18, 1866, London), the son of an English organist, was brought to America in 1873 and studied with S. P. Warren and Archer. In 1888-92 he was organist of the Holy Name Cathedral in Chicago, in 1892-98 at San Francisco, in 1899- 146 BROWNLEE BUCK 1907 at Atlanta, in 1908-10 at Wanamaker's in Philadelphia, and since 1912 at St. Patrick's Church in Chicago and also theory-teacher at the Metropolitan Conservatory. In 1901 he was soloist at the Royal Academy of St. Cecilia in Rome, and appeared at the World's Fairs at St. Louis in 1904 and at Jamestown in 1907. In Philadelphia he gave over 500 concerts and has been heard in recital in most of the larger cities. He designed the great organ in the Medinah Temple in Chicago, at its opening playing Borowski's 'Allegro de Concert' for organ and orchestra for the first time, the composer conducting. At Atlanta he conducted the Symphony Orchestra and the Atlanta Festival for three years. In 1914 he was elected to the Royal Philharmonic Acad- emy in Rome, and in 1916-19 was dean of the Illinois Chapter of the A. G. O. He has written the opera 'La Corsicana' (New York, 1903), a Missa Solemnis (1913), the motet 'Ecce Sacerdos Magnus' (Paulist Choristers at the Vatican, 1912), and more than sixty lesser pieces, vocal and instrumental. In manuscript are a suite for orchestra, a 'Romanza' for orchestra and an organ-sonata. He was made Mus.D. by the Grand Conser- vatory, New York, in 1902. [ R.7 ] BROWNLEE, CORNELIA. See COLLEGES, 3(Shurtleff C., 111.). BROWNSON, OLIVER. See TUNE-BOOKS, 1783. tBRUCH, MAX (Jan. 6, 1838, Cologne, Germany). See article in Vol. i. 407-8. 1 He retired from active participation in musical affairs in 1910. His later compositions include 'Szene der Marfa,' op. 80, for mezzo-soprano and orchestra, text from Schiller. Osterkantate, op. 81, for soprano, chorus, or- chestra and organ. 'Das Wessobrunner Gebet,' op. 82 (arranged from op. 19), for mixed chorus, orchestra and organ. Eight Trios, op. 83, for piano, violin and 'cello (or three clarinets). Konzertstuck, op. 84, for violin and orchestra (Norfolk Festival, 1911). Romanza in F, op. 85, for violin and orchestra. Six songs, op. 86, for mixed chorus. 'Die Macht des Gesanges,' op. 87, for baritone, chorus, orchestra and organ, text from Schiller. Concerto, op. 88, for two pianos and orchestra. Heldenfeier,' op. 89, for chorus and orchestra. Also male-chorus arrangements of Welsh and Scotch folk-songs, and the male choruses 'Dem Kaiser' and 'Vom Rhein.' BRUENING, HANS (b. 1868). See Reg- ister, 8. BRUENNER, LEOPOLD (b. 1869). See Register,- 7. BRUNDAGE, RUTH. See COLLEGES/ 3 (Wilmington C., Ohio). 1 The statement in Vol. v. 620, that 'he died in Vienna, Sept. 17, 1907,' should have been entered under the name of Ignaz Briill, BRUNE, ADOLF GERHARD (June 21, 1870, Baccum, Germany), first studied with his father. From 1887 he took the regular course at the Teachers' Seminary in Osna- briick, and in addition kept up studies in piano, violin and clarinet. In 1889-94 he was organist at Peoria, 111. Since 1894 he has been in Chicago, from 1898 to 1917 as teacher of piano and theory at the Chicago Musical College. At the start of his Chicago career he worked with Liebling and he also had advice from Ziehn in composition. Concert-playing was given up in favor of teaching and com- posing. His list of compositions now extends to op. 76. The Ballade in E minor for piano, op. 2, and the Ballade in F, op. 11, are published by Leuckart, while Schott & Sons have published the Sonata in D minor for piano and violin, which has been praised for harmonic richness and contrapuntal skill. The string-quartet, op. 5, has been played by the Spiering,Philadelphia and Flonzaley Quartets, and movements from the string- quartets, opp. 26 and 38, by the Chicago and Kneisel Quartets. The ' Lied des Singschwans, ' a symphonic poem for large orchestra, has been given by the Chicago Orchestra under Stock; 'Ein Dammerungsbild ' was intro- duced by Kunwald and the Cincinnati Orches- tra in 1917; and the 'Overture to a Drama' was brought forward by Stock. Many of his songs, organ-pieces and choral works have been heard in public, though not yet published. A fuller list of works is given in Baker, Diet, of Musicians, p. 124. [ R.7 ] BRUNER, MINNIE C., nee Brown (b. 1864). See COLLEGES, 3 (Franklin C., Ind.). BRYANT, ANNA G. See COLLEGES, 3 (Lombard C., 111.). BRYANT, GILMORE WARD (b. 1859). See Register, 7. BUCHHALTER, SIMON (b. 1881). See Register, 9. BUCK, DUDLEY (Mar. 10, 1839, Hart- ford, Conn. : Oct. 6, 1909, Orange, N. J.). See article in Vol. i. 413^4. Buck's career, becoming established just when and as it did, exerted an important formative impression on American development. He had solid mu- sicianship as organist and composer, com- bined with the wisdom and tact required to win and hold popular appreciation. Much of his early work as organ-recitalist was educational in much the same way as that of Thomas when on his early or- chestral tours. For a long time he exerted a profound influence upon choir-music, espe- cially as the American exaltation of the quartet- choir fell in with his own predilections. In this field what he set out to do was extraor- dinarily well done. Regarding his choral works it is fair to point out his fine sympathy DUDLEY BUCK BUCK BtJRLEIGH 147 with his texts and the versatility with which he secured expression. He was the direct in- spiration of many pupils, but he was also an indirect educator of the public taste. [ R.5 ] BUCK, DUDLEY, Js. (b. 1869). See Register, 8. JBUCK, PERCY CARTER (Mar. 25, 1871, West Ham, England). See article in Vol. v. 620. Besides the positions at Har- row and Dublin there mentioned, which he still holds, he has been president of the Royal College of Organists and of the Union of Graduates in Music. He has published Ten Years of University Music at Oxford, 1894 (with Mee and Woods), Unfigured Har- mony, 1911, The Organ: a Complete Method, other instruction-books and The Oxford Song Book. BUEHRER, GEOFFREY CARL (b. 1878). See Register, 9. BUHLIG, RICHARD (b. 1880). See Reg- ister, 9. BUHRMANN, THOMAS SCOTT GOD- FREY (b. 1887). See Register, 9. BULL, OLE BORNEMANN (Feb. 5, 1810, Bergen, Norway : Aug. 17, 1880, Lysoen, near Bergen). See article in Vol. i. 418-9. His first concert in America was on Nov. 23, 1843. The first tour included Havana as well as the eastern United States. It lasted nearly two years, the concerts numbered over 200 and the receipts were about $400,000. His second trip was in 1852, and it was then that he made the ill-fated purchase of the tract in Pennsyl- vania which he named Oleana, hoping 'to found a New Norway, consecrated to freedom, baptized in independence, and protected by the mighty flag of the Union.' On this trip he went to California, via Panama, and his fellow-travelers were Adelina Patti and Maurice Strakosch. For about two months early in 1855 he was lessee of the Academy of Music in New York, and offered a prize of $1000 for 'a grand opera by an American com- poser on an American subject.' After the collapse of the colony-scheme and the ensuing litigation he returned to Bergen in the autumn of 1857. In 1867 came his third trip, in which the first concert was in Chicago. In 1868 he married Sara Chapman Thorp in Wisconsin. [She wrote his biography, Ole Bull A Memoir, 1883, and died on Jan. 18, 1911, at Cambridge, Mass.] After spending the sum- mer of 1872 in Norway, in the autumn he re- turned for the fourth tune. This trip was but one year in duration. His last tour was in 1879-80, with Emma Thursby. See biography by Vik, Bergen, 1890. [ R.4 ] BULL, WILLIAM (1762-1842). See TUNE- BOOKS, 1813. BULLARD, FREDERICK FIELD (Sept. 21, 1864, Boston : June 24, 1904, Boston), was first a student of chemistry at the Massachusetts Institute of Technology, but left to study music with Rheinberger at Munich in 1888-92. Returning to Boston, he lived there as teacher of harmony and counterpoint and composer. Of his forty published songs the best-known are 'In the Greenwood,' 'A June Lullaby,' 'From Dreams of Thee,' 'At Daybreak,' 'Hymn of Pan,' 'On the Way,' 'The Sword of Ferrara,' 'The Singer,' 'The Hermit' and 'The Stein Song.' He also published church-music, choruses for men's voices and edited song-collections. See Hughes, Contemporary American Com- posers, pp. 351-7. [ R.8 ] BULLOCK, ARTEMAS ERWIN. See COLLEGES, 3 (Ellsworth C., Iowa). BULLOCK,^WILLIAM. See TUNE-BOOKS, 1854. BUONAMICI, CARLO (b. 1875). See Reg- ister, 9. BURDETT," GEORGE ALBERT (b. 1856). See^Register, 7. BUREAU OF EDUCATION, THE, which is a division of the Interior Department of the National Government, has shown its interest in the promotion of music in public institutions by the issue of Bulletins on 'The Study of Music in Public Schools,' 1886, 'Music- Education in the United States,' by Arthur L. Manchester, 1908, and ' Music in the Public Schools,' by Will Earhart, 1914. Another, on the Music-Libraries^ of the country, is al- most ready. 1 BURLEIGH, CECIL (Apr. 17, 1885, Wyo- ming, N. Y.), after preliminary violin- study with L. E. Hersey in Bloomington, 111., in 1903-05 was in Berlin, studying violin with Witek and composition with Leichtentritt. Two years were then spent in Chicago, where his teachers were Sauret and Herrmann for violin and Borowski for composition. Then came two years of concert-work and two of violin-teaching at the Western Institute of Music and Dramatic Art in Denver. He taught violin and theory at Morningside College in Sioux City, la., in 1911-14, and at the State University at Missoula, Mont., in 1914-19. In the summer of 1919 he was with Auer and in the autumn located in New York as player and teacher. His interest in composition began about 1901, but was not specially manifest until about 1910. Since then he has been diligent and his works have met with unusual success. His violin-concerto in E minor (prize for a violin-concerto by an American, Chicago, 1916) he played with the American Symphony Orchestra in Chicago on Mar. 2, 1916, and later with the Minneap- olis, Milwaukee and other Orchestras, besides being brought forward by Maud Powell. The 'Song of the Brook' has been much used by 148 BURLEIGH BURROWES Galli-Curci, and 'What does little Birdie say' by McCormack. The 'Ascension' sonata has been played by David and Clara Mannes and others. His list of works is as follows : Two Fancies, op. 5, for piano (Summy). Eight Characteristic Pieces, op. 6, for violin and piano (Wood). 'The Letter,' a song, op. 8 (Pond). 'Coasting,' op. 9, for piano (Presser). 'Childhood Fancies,' op. 10, for piano (Schirmer). Four Rocky Mountain Sketches, op. 11 (Schirmer). 'Scherzando Fantastique', op. 12 (Carl Fischer). Four Prairie Sketches, op. 13 (Schirmer). Five Sketches, op. 14 (Schirmer). 'Snow-Bound,' a Winter Idyl, op. 15, after Whittier (Schirmer). Six Winter-Evening Tales, op. 16 (Schirmer). Five Tone-Poems, op. 17 (Schirmer). Twelve Short Poems, op. 18 (Ditson). Eight Concert-Studies, op. 19, for violin and piano. 'Skeleton Dance,' op. 20, for violin and piano (Schirmer). Four Small Concert-Pieces, op. 21 (Schirmer). Sonata, 'The Ascension,' op. 22, for violin and piano (Schirmer). Six 'Nature Studies,' op. 23, for violin and piano (Fischer). Five Characteristic Pieces, op. 24 (Ditson). Concerto in E minor, op. 25, for violin and or- chestra (Summy). Three Pieces, op. 26, for piano (Ditson). 'Sonnets of Autumn,' op. 27, seven piano-pieces (Ditson). 'Fairyland Cycle,' op. 28, five songs. Sonata, on the Life of St. Paul, op. 29, for violin and piano (Schirmer). Six Pictures, op. 30 (Fischer). Six Fancies, op. 31, for violin and piano (Boston Music Co.). Five Songs, op. 32 (Ditson). Seven Songs, op. 33 (Fischer). Fantastic Suite, 'Jack and the Bean-stalk,' op. 35, for violin and piano. Plantation Sketches, op. 36, for violin and piano (Fischer). 'To a River,' op. 37, song (Schirmer). Four Fancies, op. 38 (Schirmer). 'Evangeline,' op. 41, a tone-poem for full or- chestra, after Longfellow. Three Mountain Pictures, op. 42, for full orchestra. Second Concerto, op. 43, for violin and orchestra or piano (Fischer). 'Nature's Voices,' op. 44, four pieces for violin and piano. Two Songs, op. 45, from Lowell (Schirmer). Two Songs, op. 46 (Church). Three Songs, op. 47 (Ditson). 'Songs of Nature,' op. 49 (Church). Seven Idyls in Song, op. 50. [ R.9 ] BURLEIGH, HENRY THACKER (b. 1866). See Register, 7. BURLIN, NATALIE, nee Curtis, is a niece of George William Curtis. She was born in- New York and studied in the Na- tional Conservatory there with Friedheim, as well as in Berlin, Paris, Bonn andBayreuth. She has made extensive original studies of the music, lore and pictorial art of the American Indians, and of music among the Negroes of America and among the Ndaus and Zulus in Africa. She has published Songs of Ancient America, 1905, The Indian's Book (200 songs from 18 tribes), 1907, Negro Folk-Songs, 4 vols., 1918, and African Folk-Songs. She has also lectured often and written many articles for magazines. In 1917 she married the painter Paul Burlin. [ .R.9 ] BURMEISTER, RICHARD (Dec. 7, 1860, Hamburg, Germany), had the privilege of study and association with Liszt in 1880-83 at Weimar, Rome and Budapest. Till 1885 he traveled in Europe as pianist, and then came to America as chief piano-instructor in the Peabody Conservatory in Baltimore. His twelve years' work there was broken in 1893 by a concert-tour in Europe. In 1897 he became director of the Scharwenka Con- servatory in New York. Since 1903 he has taught abroad, till 1906 in the Dresden Con- servatory and since 1907 in the Klindworth- Scharwenka Conservatory in Berlin. His compositions are a piano-cbncerto in D minor, op. 1 ; a symphonic fantasy, ' Die Jagd nach dem Gluck, ' op. 2 ; Cadenza to Chopin's F minor Concerto, op. 3 ; three songs, op. 4 ; Capriccio for piano, op. 5; a setting of Tenny- son's 'The Sisters,' for alto with orchestra; a Romanza for violin and orchestra ; and piano- transcriptions of songs. He has rescored Chopin's Concerto in F minor and arranged an orchestral accompaniment for Liszt's 'Pathetic' Concerto. [ R.7 ] BURNHAM, THUEL (b. 1884). See Reg- ister, 9. BURR, WILLARD, JK. (b. 1852). See Register, 7. BURROWES, KATHARINE (Kingston, Ont.), has devoted herself to improving teaching-methods for children. In her first teaching in Detroit she made a specialty of the primary grades. After six years' study with Batchelder, in '1895 she entered the faculty of the Detroit Conservatory. Later she studied for a time with Klindworth in Berlin. In 1903 she founded the Burrowes Piano School. Her copyrighted Course of Music-Study involves the use of songs, stories, games, charts and mechanical devices, be- sides printed music and the piano. It has been gradually developed to produce an all- round musical education for children. She has provided many other aids for teaching primary music and has composed much music for children. She has published The Burrowes Course of Music-Study for Beginners (kinder- garten and primary), 1895, Manual for Teachers, 1901, The Note-Gatherers, 1903, Musical Puz- zle-Stories, 1905, New Manual for Teachers 1910, Tales of the Great Composers, 1911, New Musical Note-Gatherers, 1915, and The New Success Music-Method, 1917. She has also con- tributed to musical magazines. [ R.8 1 BURTON BUTLER 149 BURTON, FREDERICK RUSSELL (Feb. 23, 1861, Jonesville, Mich. : Sept. 30, 1909, Lake Hopatcong, N. J.), was graduated from Harvard in 1882 summa cum laude and with highest honors in music. While there he wrote music for 'Hiawatha,' a favorite legend with him from childhood. This setting, no- table as one of the first attempts to use In- dian themes, was sung at a glee-club concert in 1882, completed as a dramatic cantata and published in 1898. He undertook an intimate study of Indian music in Canada and the United States, spending much of his tune and means, and living among the Indians for long periods. In 1903 he published Songs of the Ojibway Indians, later expanded into the masterly treatise American Primitive Music (containing 28 Ojibway songs) and pub- lished in 1909, just after his death. In 1896 he organized and conducted a choral society at Yonkers, N. Y. For some years he wrote musical criticisms for the New York 'Sun.' Other compositions are 'The Legend of Sleepy Hollow' (1900), an 'Inauguration Ode' (1901) for the second inauguration of Presi- dent McKinley, and various songs and choruses. He also wrote the novels The Song and the Singer, Her Wedding Interlude, Shifting Sands, and Strongheart. [ R.7 ] BUSCH, CARL (Mar. 29, 1862, Bjerre, Denmark), first entered the University of Copenhagen as a law-student, but the appeal of music soon led to study with Olavesen, Krugel and Langgaard and then to taking violin with Tofte at the Conservatory, piano with Bondesen and theory with Hartmann and Gade. During a three years' course he played under Gade in the Musical Society, Svendsen in the Philharmonic and Dahl in the Tivoli Orchestra. By way of Brussels, in 1886 he went to Paris, playing and studying under Godard. In 1887 he came to Kansas City, where for over thirty years he has con- ferred prestige upon the city by many useful undertakings. He formed the Orchestral Society and conducted it for five years, and its successor, the Philharmonic, which em- phasized Scandinavian works in a long series of Sunday concerts. Several festivals were under his direction. Since 1912 he has led the Symphony Orchestra, and is active in choral and church-music. As guest-conductor he has given his own works with various American orchestras, and also in Leipzig, Dresden and Copenhagen. He is a naturalized citizen here, but was knighted in 1912 by the Danish gov- ernment in recognition of his services to Scan- dinavian music. As composer he has become widely known. His list of works includes 'The Passing of Arthur,' a symphonic prologue after Tennyson (Breitkopf). 'Minnehaha's Vision,' a symphonic poem (Ditson). 'Elegy,' for string-orchestra (Breitkopf). Cantatas : 'The League of the Alps' (Ditson). 'KingOlaf (Ditson). 'Paul Revere's Ride' (Ditson). 'A Song of Spring' (Ditson). ' The Four Winds ' (Gray) prize at Philadelphia. 'The American Flag* (Gray). 'May,' for children's voices and orchestra (Gray) prize at Evanston Festival. 'The Brown Heather,' for men's chorus and or- chestra (Gray). 'The Voice of Spring' (Luckhardt & Belder). 'America' (Boston Music Co.) prize at New Jersey Tri-City Festival. ' Quivera ' prize at Topeka Festival. 'The Song of a Star' prize from Brooklyn Arion. 'Alexander's Feast,' for men's chorus prize at Pittsburgh. 'Ode to Breckinridge' prize at Lexington, Ky. 'Denmark's Day.' 'The Fourth of July.' 'Ode to France.' About 20 choruses and anthems, and over 40 songs and many violin-pieces (above publishers). Symphony in C. String-Quartet. Two Suites for orchestra. 'When the Heart is Young' and 'The Day is Done ' prizes from the Chicago Madrigal Club. Busch is a Longfellow enthusiast and has set many of his poems. He has also delved much into Negro and Indian music, as shown by themes in his suites, songs and other works. [ R-7 ] BUSHNELL, J. See TUNE-BOOKS, 1807. BUTCHER, FRANK CHARLES (b.1882). See Register, 9. BUTLER, HAROLD LANCASTER (b. 1874). See Register, 8. c CABLE COMPANY, THE, of Chicago, includes the piano-making enterprises pre- viously carried on under the names Cable, Conover, Kingsbury and Wellington. Its capital is over $6,000,000, and it occupies its own building on Wabash Avenue and Jackson Boulevard. Its special automatic device is known as the ' Carola Inner-Player.' CADEK, JOSEPH OTTOKAR (b. 1868). See Register, 8. CADMAN, CHARLES WAKEFIELD (Dec. 24, 1881, Johnstown, Pa.), acquired his musical education entirely in Pittsburgh, with Edwin Walker, Leo Oehmler, W. K. Steiner and Luigi von Kunits. In 1904-10 Paur gave him valuable assistance. Aside from composition, he was engaged in piano-teaching, writing criticisms for the 'Dispatch' and as organist at the East Liberty Presbyterian Church till 1910, when he removed to Los Angeles, where he has been busy with com- posing and lecture-recitals. His well-known interest in the music of the American Indians dates from 1906, when he first came to know the ethnological studies of Miss Fletcher and La Flesche. The results of his early ex- periments were embodied in four 'American Indian Songs,' op. 45 (1908), of which 'The Land of the Sky-blue Water' was made popular by Nordica. He spent the summer of 1909 on the Omaha and Winnebago Reser- vations with La Flesche, gathering material by phonograph-records and otherwise. An immediate result was the 'American Indian Music-Talk,' which he has given often in America, as well as in Paris and London in 1910. In recent years the Indian mezzo- soprano Princess Tsianina Redfeather has acted as his vocal illustrator. The culmina- tion of his use of Indian themes is found in the three-act opera 'The Land of Misty Water' (or 'Daoma'), begun in Pittsburgh in 1909 and finished in Colorado in 1912, libretto by La Flesche and Mrs. Eberhart; the opera ' Shanewis ' (or ' The Robin-Woman ') , libretto by Mrs. Eberhart ; and the ' Thunder- bird' orchestral suite, based on Blackfeet Indian melodies. The last has been played by the Russian, Kansas City and Los Angeles Orchestras, and is to be published by Boosey. His first opera has not yet been performed, but 'Shanewis' was given five times at the Metropolitan Opera House in 1918 and three tunes in 1919. Of it Finck said in the 'Eve- ning Post,' 'At last the Metropolitan has a novelty of American origin which is worth preserving for future seasons' ; Henderson in the 'Sun,' ' He has shown greater command in the technic of opera than any of his pre- 150 decessors at this opera-house'; and Chase in the 'Times,' 'A more concise, telling series of incidents has not been seen nor heard in grand opera.' His theories about using Indian themes are thus stated in an article in 'The Musical Quarterly,' July, 1915 : 'Only one-fifth of all Indian thematic material ia valuable in the hands of a composer is suitable for harmonic investment. It becomes necessary to choose an Indian song or chant that is attractive in its simplicity, one that will stand alone by virtue of its inherent melodic line, and is fairly good in sym- metry; otherwise the idealizer is confronted with a formidable problem. When found, these themes are pure gold. And they exist, certain critics to the contrary notwithstanding.' The catalogue of his published compositions and arrangements (1919) forms a 30-page booklet. It lists 77 secular and 6 sacred songs ; the song-cycles ' Four American Indian Songs,' op. 45, 'From Wigwam and Tepee,' op. 57, four songs on tribal melodies, and 'Idyls of the South Sea,' op. 55; the Japanese Romance 'Sayonara,' op. 49; 'Three Songs to Odysseus,' op. 50; the song-cycle 'The Morning of the Year,' op. 46, for four solo voices; the cantata for male voices, 'The Vision of Sir Launf al ' ; and many part-songs for men's, women's or mixed voices. There is a long list of piano-pieces ; several cycles for piano, including the 'Idealized Indian Themes,' op. 54; and many original com- positions and arrangements for organ, violin and piano, etc. The outstanding instrumental compositions are the Sonata in A, op. 58, for piano, and the Trio in D, op. 56, for violin, 'cello and piano (both White-Smith). Of the latter The Art of Music says : ' The leading characteristics are melodic spontaneity and freshness of musical impulse. Everywhere are buoyancy, directness of expression, motion, but little of thematic involution or harmonic or formal sophistication. It is the trio of a lyrist; from the standpoint of modern chamber-music it might be called naive, but the strength, sincerity and beauty of its melodies claim, and sometimes compel, one's attention.' In manuscript (1919) is the one- act opera 'The Garden of Mystery,' libretto by Mrs. Eberhart, based on Hawthorne's story of ' Rappaccini's Daughter.' [ R.9 ] CADY, CALVIN BRAINERD (June 21, 1851, Barry, 111.), had his first training at Oberlin, where he also taught in the public schools in 1871-72. In 1872-74 he was at the Leipzig Conservatory, where his teachers were Richter, Papperitz and Paul. Returning to Oberlin, he taught harmony and piano at the Conservatory in 1874-79. His ambition was to see music given recognition in college H*&* % CHARLES WAKEFIELD CABMAN CAHOON CAMPANINI 151 education. So in 1880 he gladly accepted a call to the University of Michigan, where, perhaps for the first time, music became eligible as a major subject for the A.B. and A.M. degrees. To lead up to such courses, music was also made a major in the Ann Arbor high school, then a special preparatory school for the University, and thus this high school was about twenty-five years in advance of the present widespread movement. A careful study of the work done by his students convinced him that it raised problems about the primal education of the child. This led to his present work, carried on under the name 'Music-Education,' with the motto from D'Israeli, 'Music teaches most exquisitely the art of development.' The Music-Edu- cation School in Portland, Ore., was founded in 1913, and has steadily grown in numbers and influence. In it music is only one of the subjects, of equal value with, but no more than any other subject. In 1888-94 he taught in the Chicago Conservatory, and in 1892-94 was editor of 'The Music Review.' In 1901-07 he was in Boston as private teacher ; in 1907-10 he lectured in the music-extension department of Teachers College (Columbia University) in New York; in 1908-13 he was lecturer on pedagogy in the Institute of Musical Art there. For many years he has conducted summer nor- mal courses in the larger cities of the country. He is author of Music Education, 3 vols., 1902-07, and articles in the Encyclopedia of Education and magazines. [ R.6 ] CAHOON, HELEN TOUTS. See COL- LEGES, 3 (Texas Christian U.). CAIN, LLEWELLYN B. (b. 1867). See COLLEGES, 3 (Whitman C., Wash.). CALZIN, ALFRED LUCIEN (b. 1885). See Register, 9. CAMP, JOHN SPENCER (Jan. 30, 1858, Middletown, Conn.) , graduated from Wesleyan University in 1878 and took a post-graduate year in Latin, besides some law-study. His training in piano and harmony was with E. A. Parsons in New Haven, in organ with Shelley, Buck and S. P. Warren, and in theory and composition with Buck and Dvorak. His chief engagements as organist have been in 1882- 1906 at the Park Congregational Church in Hartford and at the First (Congregational) Church there in 1906-18. In 1902-11 he was conductor of the Hartford Philharmonic Orchestra (50 players), bringing out both standard and new works of importance, and retiring because of ill-health. He was one of the founders of the A. G. O. in 1896 and served for several years on its Council. He has given many organ-recitals and musical lectures. From 1890 he was active in the Connecticut Music Teachers' Association and was its president in 1898. For many years he has been treasurer of the Austin Organ Company in Hartford. He has pub- lished the cantatas 'The Morning Star' (Christmas), 'The Prince of Peace' (Christ- mas) and 'The Prince of Life' (Easter); 'The Song of the Winds,' for soli, chorus and orchestra; 'God is our Refuge' (Psalm 46), for soli, chorus and orchestra; anthems, songs and piano-pieces. He has also an overture, 'Der Zeitgeist'; a 'Pilgrim' Suite for orchestra, in three movements, based on Bunyan's allegory ; a string-quartet in G ; 'Chant d' Amour' and 'Spring-Song' for or- chestra; a Romanza and Serenade for violin, 'cello and piano ; a Romanza-Fantasia for 'cello and small orchestra; and a small suite for violin and piano. [ R.7 ] CAMPANARI, GIUSEPPE (Nov. 17, 1858, Venice, Italy), having been first trained as a 'cellist, was for some years in the orchestra at La Scala in Milan. His first engagement in America in 1884 was as 'cellist in the Boston Symphony Orchestra. In 1888-90 he also played in the Adamowski Quartet. He had been studying singing meanwhile, and in 1893 made his d6but as leading baritone of Hinrichs' Opera Company in New York. He sang Tonio in the first American performance of 'I Pagli- acci ' during his first season, and proved equally successful in both opera and concert. From 1895 for three seasons he was engaged at the Metropolitan Opera House. Since then he has devoted himself largely to concert-work and teaching. [ R.7 ] CAMPANARI, LEANDRO (b. 1857). See Register, 7. CAMPANINI, CLEOFONTE (Sept. 1. 1860, Parma, Italy : Dec. 19, 1919, Chicago), in 1870-78 studied violin with Ferrarini in Parma and later with Bazzini in Milan. In 1883 he made his debut at Parma as conductor in 'Carmen,' and the same year was assistant- conductor to Vianesi at the Metropolitan Opera House in New York. In 1887 he returned to the Metropolitan to conduct the first American performance of 'Otello.' He conducted at Covent Garden in London in 1900-12, at La Scala in Milan in 1903-06, and at San Carlo in Naples for one year. He also made extensive tours in Spain, Portugal and South America. In 1906 he was engaged by Hammerstein as conductor and artistic di- rector of the Manhattan Opera House in New York, where he remained until differences of opinion led to his resignation in 1909. At that time De Koven, writing in the New York 'World' of his popularity and influence, said, 'Campanini is one of the best operatic conductors that we have ever had in New York. His authority, his wide artistic sym- pathies, his untiring energy and faithful care in the study and rehearsal and rare interpre- 152 CAMPANINI GARDEN tative grasp of a composer's meaning, as well as his absolute control of his orchestra in all the varying shades of orchestral expression stamp him as a conductor of the very first rank.' In 1910, when the Chicago Opera Company was organized, he became principal conductor and in 1913 general director, a position held till his death. He produced the following works for the first time in America : Massenet's 'Thais,' 'Le Jongleur de Notre- Dame,' 'Griselidis,' 'Sapho,' 'Herodiade,' 'Cendrillon,' 'Cleopatre' and 'Marie Made- leine'; Debussy's 'Pelleas et Melisande'; Charpentier's ' Louise ' ; Wolf-Ferrari's ' I Giojelli della Madonna' and 'II Segreto di Suzanna ' ; Parelli's ' I Dispettosi Amanti ' ; Goldmark's 'The Cricket on the Hearth'; Camille Erlanger's 'Aphrodite'; Frederic d'Erlanger's 'Noel'; Kienzl's 'Ranz des Vaches'; Franchetti's 'Cristoforo Colombo'; Gnecchi's ' Cassandra ' ; Nougues' ' Quo Vadis?'; Herbert's 'Natoma'; Blockx' ' Princesse d'Auberge ' ; Saint-Saens" Dejanire'; Buchhalter's 'A Lovers' Knot' ; and Guns- bourg's ' Le Vieil Aigle.' His sudden death was due to pneumonia. His wife, Eva (b. 1864), the sister of Louisa Tetrazzini, was a favorite operatic soprano, but has not been active in recent years. [ R.7 ] CAMPANINI, ITALO (1846-1896). See Vol. i. 450, and Register, 6. CAMPBELL, CHARLES DIVEN (b.1877). See STATE UNIVERSITIES (Ind.). CAMPBELL, FRANCIS JOSEPH (1834- 1914). See Register, 4. CAMPBELL, WILLIAM WILSON (b. 1871) . See COLLEGES, 3 (Westminster C., Pa., Trinity U., Tex.). CAMPBELL-TIPTON, LOUIS (Nov. 21, 1877, Chicago), began music spontaneously as a child, and at fifteen was already publishing simple songs. In 1896 he entered the Leipzig Conservatory, where he studied theory with Schreck and had help from Reinecke the latter finding him rather an intractable and independent pupil. After three years he re- turned to America and remained two years. Since 1901 he has resided in Paris, where his piano-works and songs have been frequently heard. Though he has specialized in these directions, he has in manuscript two operas, orchestral works, etc., of which the titles are not yet available. He thinks that 'the pros- pect is not so hopeless as formerly of getting a production for American works of this calibre,' and adds that he has 'never been fond enough of work to be ready to sacrifice time and energy for the completion of a large work, where I have seen no hope of its ever being made known.' His published works include, for violin and piano, a 'Suite Pastorale' (Leuckart), a 'Romanza Appassionata ' (Con- solidated Music Co.), and a 'Lament' (Schir- mer) ; for piano, a 'Sonata Heroic' (Schirmer), the suite 'The Four Seasons' (Leuckart), two 'Legends' (Schirmer), two Preludes, two Bagatelles, a 'Nocturnale' and a 'Matinale' (Leuckart) ; and about thirty songs, including 'Three Shadows,' 'A Spirit-Flower,' 'Four Sea-Lyrics,' 'A Fool's Soliloquy,' 'Love's Jes- ter,' 'Rhapsodie,' 'Invocation,' 'All the words that I gather,' 'The Opium-Smoker,' 'Mem- ory, ' ' Love's Logic, ' ' Homeward ' (Schirmer) ; 'Elegy,' 'At the Tomb' (Boston Music Co.); 'Hymn to the Night' (Gray); Seven Tone- Poems, 'Thou art my All,' 'Serenade,' 'If I were a King' (Consolidated Music Co.). [R.9 ] I CANADIAN ACADEMY OF MUSIC, THE, of Toronto, was established] in 1911. With it in 1918 was amalgamated the Toronto College of Music, which since 1888 had been under the leadership of the late F. H. Torring- ton. Thus was formed an institution of excel- lent quality, which not only serves a large clientele in Toronto, but has examination-cen- ters throughout the Dominion. CANADIAN GUILD OF ORGANISTS, THE, founded in 1909, is an organization upon the same lines as the American Guild of Organists. The president since the beginning has been Albert Ham of Toronto. CANDIDUS, WILLIAM (b. 1845). See Register, 5. 'CANTERBURY'PILGRIMS.STHE.' An opera by Reginald De Koven, first given at the Metropolitan Opera House on Mar. 8, 1917, under Bodanzky's direction. The libretto is by Percy Mackaye, It was five times repeated in 1917. CANTU, AGOSTINHO (b. 1879). See Register, 9. CAPEN, SAMUEL. See TUNE-BOOKS, 1805. CAPOUL, JOSEPH AMFJDF.E VICTOR (Feb. 27, 1839, Toulouse, France). See arti- cle in Vol. i. 460. He first came to America in 1873 as a member of the Strakosch troupe which included Nilsson, Miss Gary, Cam- panini and Maurel. In 1879-80 he toured the country with the French Opera Bouffe Com- pany. In 1892 he was engaged as professor of operatic singing at the National Con- servatory in New York. In 1897 he became stage-manager at the Op6ra in Paris. Since his retirement from this post he has lived near Toulouse and is reported to be writing his memoirs. [ R.6 ] CAPPA, CARLO ALBERTO (b. 1834). See Register, 4. CAPRON, HENRI. See Register, 2. CARADORI-ALLAN, MARIA CATE- RINA (1800-1865). See Register, 3. GARDEN, ALLEN D. See TUNE-BOOKS, 1827. CAREY CARPENTER 153 CAREY, BRUCE ANDERSON (b. 1877). See Register, 9. CARL, WILLIAM CRANE (Mar. 2, 1865, Bloomfield, N. J.), was first trained on the piano by his sister and by Madeline Schiller. His study of organ and theory was under S. P. Warren in New York and Guilmant in Paris. In 1882-90 he was organist of the First Presbyterian Church in Newark, and since 1892 has been' organist at the First Presby- terian Church in New York. Here he has produced many important oratorios and has given over 150 recitals, the programs being devoted mostly to French, English, Italian and American works. Many compositions have been specially written for these recitals by leading composers. In 1899 he founded the Guilmant Organ School, where he is still director and chief organ-teacher. This school has a roll of over 100 full graduates, many holding prominent positions. He was one of the founders of the A. G. O. and has always been prominent in its affairs. New York University made him Mus.D. in 1911. The French Government in 1909 had already given him the title of Officier de 1'Instruction Publique. He was largely influential in arranging the American tours of Guilmant and Bonnet. He himself has toured extensively and inaugurated many important organs. The record includes recitals in both Europe and America and as soloist with the leading orchestras, solo engagements at the World's Expositions for several years, and even a series in the Klondike, Alaska. Among the works which he has edited are Master-Pieces for the Organ, Thirty Postludes, Novelties for the Organ, 2 vols., Ecclesice Organum, Festival Music, 5 vols., Master- Studies for the Organ, and a Historical Album of Organ Music. [ R.7 ] CARNAL, JAMES EDWARD (b. 1870). See COLLEGES, 3 (Kansas Wesleyan U.). CARNEGIE, ANDREW (Nov. 25, 1837, Dunfermline, Scotland : Aug. 11, 1919, Lenox, Mass.). Among the many interests of this remarkable man music was not the least. He had unusually quick and delicate hearing, as is shown by his being one of the first to take telegraphic messages by ear. This led to his promotion while yet a boy to be assistant to Thomas A. Scott, the head of the Western Division of the Pennsylvania Railroad. He always delighted in 'the con- cord of sweet sounds,' and often quoted the oriental exclamation, 'O music, sacred tongue of God, I hear thee calling, and I come.' To him listening to an organ as played by a master was a devotional experience, and hence he found pleasure in helping congregations to acquire instruments that might enrich their worship. One of the first gifts he made in early manhood, when his prosperity began, was an organ for the little church in Alle- gheny where his relatives and friends attended. The total number of churches thus aided was 7689, of which 4092 were in the United States (1351 in Pennsylvania alone), 2119 in England, 1005 in Scotland, 219 in Ireland, 32 in Wales and the remainder in the British Colonies all over the world. The aggregate expended by him in this way was about $6,250,000. He was also responsible for the installation of concert- organs in many places, among the earliest be- ing those in the assembly-halls of the libraries which he built in Pittsburgh and adjoining towns. He provided for the perennial giv- ing of recitals twice a week in Pittsburgh, both at the Library on the North Side (for- merly Allegheny) and at the Carnegie In- stitute, making them 'free to the people.' This unique provision took effect in Allegheny in 1889 and in Pittsburgh in 1895. He became a member of the Oratorio Society of New York in 1885 and was its president for thirty years (1888-1918). He was also a member and president of the Philharmonic Society there in 1901-09. His interest in the Oratorio Society resulted in 1891 in the erection of Carnegie Music Hall at Seventh Avenue and Fifty-Sixth Street, which became at once a chief center of musical art in the metropolis. He was the friend of many musicians, and in quiet and un- ostentatious ways aided some of them to secure recognition and success. His home in New York and his country-houses in Scotland and the United States were all provided with noble organs, and he employed the most capable organists to play on them. The Trust which he created for the United Kingdom, having its seat at Dunfermline, has displayed sedulous care for musical education, and in 1916 announced a plan under which it agrees to publish important new musical works, at the same time guaran- teeing the copyright to the composer. This has already resulted in the publication of a number of musical compositions of merit. 1 [ R.7 ] CARNEGIE INSTITUTE, THE, of Pitts- burgh, erected by Andrew Carnegie in 1895, besides being the center for many other edu- cational facilities and undertakings, includes a large concert-hall where free organ-recitals are given twice a week. The official organists have been Frederick Archer (1895-1901), Edwin H. Lemare (1902-05) and Charles Heinroth (since 1907). The orga'n, built bfr the Skinner Company in 1918, has four manuals and 115 stops. CARPENTER, JOHN ALDEN (Feb. 28, 1876, Park Ridge, 111.), has won a notable 1 For the data for this article special thanks are due to Dr. William J. Holland, Director of the Carnegie Institute in Pittsburgh. 154 CARR CARSE place among American composers through his fortunate, straightforward and untrammeled faculty of musical expression, prompted by technical fluency and skill and marked by unusual charm and refinement. His mother, a distinguished amateur singer, gave him his first lessons, and Miss Fay and Seeboeck were his next teachers. In 1897 he graduated from Harvard University, having taken all the musi- cal courses available. For a short time he studied with Elgar, and in 1908-12 was under Ziehn in Chicago. Despite all this musical ac- tivity, since 1897 he has primarily engaged in the mill, railway and vessel supply-business of George B. Carpenter & Co., and since 1909 has been its vice-president. His first published work in larger form was the sonata for violin and piano (1913). An orchestral s\iite, 'Ad- ventures in a Perambulator' (1915), has been played by the Chicago and New York Sym- phony Orchestras. The Concertino for piano and orchestra, written in 1915, was published in 1919. His Symphony No. 1, written in 1916-17 and played at the Norfolk Festival of 1917, has not yet been published. Among his songs, made familiar by leading singers, are the song-cycles 'Gitanjali' (poems by Tagore), 'Improving Songs for Anxious Children' (poems, music and pictures by John and Rue Carpenter), 'Water-colors,' four Chinese tone-poems, as well as twenty-four detached songs. From the latter may be singled for special mention ' Go, Lovely Rose,' 'A Cradle-Song,' 'The Green River,' 'Les Silhouettes' and 'Chanson d'Automne.' Only four piano-compositions have yet appeared in print. [ R.9 ] CARR, BENJAMIN (1769, England : May 24, 1831, Philadelphia), came to America in 1793. He had had excellent advantages, among them experience in the enterprise known as 'The Antient Concerts' under Joah Bates. He established the first music-store in Phila- delphia, with a branch in New York from 1794 (later sold to James Hewitt), and from 1794 for more than thirty years was noted as a ballad- and ope'ra-singer, pianist, organist, conductor and composer, chiefly in Philadelphia. In 1820 he was a leader in the organization of the Musical Fund Society there and was one of its early conductors. The Society erected a tablet to his memory in St. Peter's Church and his portrait, by Barley, was the first of its collection (reproduced in Sonneck, Early Opera, p. 102). Besides many other works, all marked by taste and facility, in 1796 he brought out in New York the opera 'The Archers,' libretto by William Dunlap, which was repeated at least twice there and also in Boston. Of this work only two fragments are known (see Sonneck, Early Opera, pp. 98-100). About 1800 he edited a 'Musical Journal,' and from 1805 published several collections of sacred music (see TUNE-BOOKS), as well as theoretical text-books. His sound musicianship and his practical versatility made him highly influential. See note in I. M. S. Sammelbde. 6. 466, many references in Sonneck, Concert-Life and Early Opera, Ma- deira, Music in Philadelphia, etc. [ R.2 ] CARRENO, MARIA TERESA (Dec. 22, 1853, Caracas, Venezuela : June 12, 1917, New York). See article in Vol. i. 474. Her d6but as pianist occurred at the instance of Gottschalk at Irving Hall in New York on Nov. 7, 1862, leading to a series of six concerts from Nov. 25 to Dec. 22, the last in the Academy of Music before an audience of 4000. A longer series followed in Boston, where she played with orchestra. She toured England and the Continent in 1865-74, and it was at Edinburgh on May 24, 1872, that she sang the part of the Queen in ' Les Hugue- nots.' On her return to America in 1875 she studied singing with Mme. Rudersdorff in Boston, and began an operatic career which lasted untiT!882. During the winter of 1875- 76 she gave occasional piano-lessons to Mac- Dowell, prior to his departure for Paris. His second piano-concerto is dedicated to her, and she, the first other than himself to play his works in public, was an ardent propa- gandist for his music. After 1882 she appeared widely as concert-pianist, but her greatest fame dates from her European trip of 1889-90. She was four times married in 1872 to the violinist Sauret, in 1875(?) to the baritone Giovanni Tagliapietra, in 1892 to the pianist d'Albert, and in 1902 to Arturo Tagliapietra. Two children by the second marriage have become musically noted. Her last recital was in Havana on Mar. 21, 1917. Her 'compo- sitions were written in early life. The best known is the waltz 'Mi Teresita.' There are also Etudes and concert-pieces for the piano, a string-quartet, and a 'Petite Danse Tsigane ' for orchestra about 40 in all. The Venezuelan Hymn she composed is not the national anthem, but a festival hymn for the centenary of Bolivar (1883). [ R.5 ] CARRILLO, JULIAN (b. 1875). See Reg- ister, 9. CARROLL, JAMES P. See TUNE-BOOKS, 1820. J CARSE,- ADAM [formerly A. von Ahn] (May 19, 1878, Newcastle-on-Tyne, England). See article in Vol. v. 622. Add to the list of compositions Symphony No. 2, in G minor (1909, Newcastle Festival) ; Variations in A, for orchestra (1911, London, Queen's Hall) ; 'Norwegian Fantasia,' for violin and orchestra (Williams); 'Fritiof,' grand opera in three acts (1915) ; Miniature Suite, for string- orchestra (Augener) ; Miniature Suite for CARTER CASAVANT FRfiRES 155 orchestra (1917, France) ; Sonata for violin and piano, in C minor (1919, Augener) ; and Variations on a theme in A minor for piano- duet (1919, Williams). He has also written a Summary of the Elements of Music and Practical Hints on Orchestration (both Augener) . The list of his published piano- and violin- pieces, songs, and educational works makes a considerable catalogue. He was in active service in France as a private in the infantry in 1917-19. CARTER, ERNEST TROW (b. 1866). See Register, 8. CARTER, HENRY (Mar. 6, 1837, London, England : ? ), of a family of organists, had early training from his father, Pauer, Goss and Steggall in England and from Haupt, Kiel and Hiller in Germany. He began church- playing at nine and at seventeen went to Canada, where from 1854 he was organist at the Quebec (English) Cathedral and founded the first Canadian oratorio society. In 1864 he removed to Boston to become one of the regular players on the new organ in Music Hall, as well as organist at the Church of the Advent and later at St. Stephen's in Provi- dence. In 1873-80 he was organist at Trinity Church in New York, where he gave weekly recitals. In 1880-83 he taught in the College of Music in Cincinnati, but in 1883 returned to be organist at Plymouth Church in Brooklyn and later at the Collegiate Church (48th Street) in New York. He became widely known as an effective recitalist. His works included two string-quartets, an anthem for soli, chorus and orchestra, other church- music, part-songs and songs. His brother, William Carter (b. 1838), well-known in Eng- land as player and choral conductor, exchanged work with him at Quebec in 1859 and then led the largest Handel festival that had been held in Canada. Another brother, George Carter (b. 1835), in 1861-70 was organist at the Montreal Cathedral and in 1865-67 gave many organ-recitals in the United States, returning to London later. [ R.4 ] CARUSO, ENRICO (Feb. 25, 1873, Naples, Italy) . See article in Vol. v. 622. He first ap- peared in 1894 at the Teatro Nuovo in Naples in 'L'Amico Francesco.' A year later he sang at the Fondo there in ' La Traviata,' ' La Favorita' and 'La Gioconda.' In 1898 he made a sensa- tion at the Teatro Lirico in Milan as Marcello in Leoncavallo's ' La Boheme,' and engagements at Genoa, Petrograd and Buenos Aires quickly followed. His first appearance at La Scala was in 1901, and his fame as one of the greatest tenors of this generation was then established. His New York debut was at the Metropolitan Opera House on Nov. 23, 1903, in 'Rigoletto,' as in London the year before. Since then he has been regularly at the Metropolitan, and on Mar. 21, 1919, celebrated his twenty- fifth anniversary as an opera-singer there with a gala performance, illuminated addresses and many gifts from associates and admirers. He had then sung 549 times in New York. He has created the leading tenor-roles in 'Fedora' (1898), 'Le Maschere' (1901), 'Ad- riana Lecouvreur,' 'Gennania,' 'Madama But- terfly' (1904) and 'La Fanciulla del West' (1910). His repertoire of over fifty operas in- cludes, besides those mentioned, (in Italian) 'Aida,' 'L'Africaine,' 'La Sonnambula,' 'Les Huguenots,' 'Cavalleria Rusticana,' 'I Pagli- acci,' 'L'Amore dei Tre Re,' 'Un Ballo in Mas- chera,' 'Lodoletta,' 'Marta,' 'L'Elisird'Amore,' 'Manon Lescaut,' 'Lucia di Lammermoor,' 'II Trovatore,' 'Don Giovanni,' 'Iris,' 'Lucrezia Borgia,' 'Tosca' and 'LaForza del Destine'; (in French) 'Les Pecheurs de Perles,' 'Armide,' 'Faust,' 'Julien,' 'Le Prophete,' 'Carmen,' 'Samson et Dalila' and 'Manon.' [ R.8 ] GARY, ANNIE LOUISE [Mrs. Charles M. Raymond] (b. 1842). Se Vol. i. 476, and Register, 5. CASALS, PABLO (Dec. 30, 1876, Vendrell, Spain), was first taught by his father, an organist, on the piano, the flute and the violin. At twelve he took up the 'cello with Jose Garcia, and after two years won a first prize at the Barcelona Conservatory. Meanwhile he had studied composition with Rodereda. Under the Queen's patronage in 1894-96 he was a pupil of Tomas Breton in composition at Madrid, and also assisted in the chamber- music class of Jesus de Monasterio. He was solo 'cellist at the Paris Opera in 1895-98 and made concert-tours of Western Europe. His professional d6but was at the Concerts Lamoureux in 1898, and he first appeared in London the same year. Since 1901 he has made repeated trips to America and his suc- cess, both as soloist and in ensemble, has been phenomenal. He married the American singer Susan Metcalfe in 1914. He is a Cheva- lier of the Legion d'Honneur, and received a gold medal from the Royal Philharmonic Society of London in 1912. His compositions are a symphonic poem, 'La Vision de Fray Martin,' for orchestra, organ, soli and chorus ; a symphonic poem for orchestra (1902) ; a Miserere; pieces for orchestra, 'cello and piano, violin and piano, etc. [ R.9 ] CASAVANT FRERES, organ-makers at St. Hyacinthe, Que., started in business in 1879. The two partners, J. C. Casavant (b. 1855) and Samuel Casavant (b. 1850), were sons of Joseph Casavant, who worked as organ-maker at St. Hyacinthe in 1845-66, but was forced to stop by ill-health. The older son had had training under the Abbeys at Versailles. In 1882 they began using the adjustable combination-pedal invented by 156 CASE CECILIA SOCIETY Duval of Montreal, which waa also employed by Roosevelt in New York after 1889. From 1885 they added a crescendo-pedal moving the stop-knobs. This novelty Archer called 'a triumph of ingenuity.' From 1891 they developed the form of electric action which they still use. They have built about 825 organs, including 175 with three manuals and about 70 with four notable examples being at Notre Dame, Montreal, St. Paul's and the University, Toronto, Emmanuel, Boston, First Baptist, Syracuse, and Sinai Temple, Chicago. CASE, ANNA (Oct. 29, 1889, Clinton, N. J.), was educated entirely in the United States, having but one teacher, Mme. Ohr- strom-Renard of New York. Her debut in 1909 was at the New Theatre in New York as the Dutch Boy in 'Werther.' In 1909-16 she was a member of the Metropolitan Opera Company. In first American performances she created the roles of Sophie in ' Der Rosen- kavalier' (1913) and Feodor in 'Boris Godu- nov' (1912), singing also Olympia in 'Tales of Hoffmann,' Mimi in 'La Boheme' and Micaela in 'Carmen.' Since 1916 she has devoted her entire time to concerts and recitals throughout the United States and Canada, and has gained a reputation as a foremost recital-singer. She has composed the songs 'Our America' (Church) and 'The Robin's Song' (Flammer). [ R.9 ] CASTLE, WILLIAM (1836-1909). See Register, 4. CASTLE SQUARE OPERA COMPANY, THE, organized in Boston about 1895 by Henry W. Savage, took its name from the Castle Square Theatre, which he owned. The primary object was to give light opera in English, but it essayed some larger works, and its success led in 1900 to more ambitious undertakings under the name of the Henry W. Savage Opera Company. CAVALIERI, LINA (Dec. 25, 1874, Rome, Italy), is said to have risen into fame as an operatic soprano from singing at caf6-con- certs. She studied with Mme. Mariani-Masi in Paris, and made her d6but as Nedda in 'I Pagliacci' at Lisbon in December, 1900. She sang in Naples, Palermo, Florence, Milan, Paris, Warsaw, Petrograd and Moscow. In 1906-07 she was at the Metropolitan Opera House in New York, in 1908-09 at the Man- hattan Opera House, and in 1915-16 with the Chicago Opera Company. She has appeared in 'Faust,' 'La Boheme,' 'La Traviata,' 'Manon,' 'Fedora,' 'Rigoletto,' 'Manon Les- caut' and 'Adriana Lecouvreur.' She married the tenor Lucien Muratore in 1913. [ R.9 ] 'CAVE-MAN, THE.' The eighth of the ' Grove-Plays ' of [the Bohemian Club of San Francisco, produced in 1910. The text was written by Charles K. Field, the scenes being laid in a sequoia forest 'about 50,000 years ago,' and the music was composed by William J. McCoy. CAWLEY, EDGAR MOORE (b. 1871). See Register, 7. CECILIA SOCIETY, THE, of Boston. See note in Vol. i. 369. B. J. Lang resigned in 1907, having been conductor for thirty years and given the Society an enviable reputation for breadth of policy and efficiency of performance. The succeeding conductors have been Wallace Goodrich in 1907-10, Max Fiedler in 1910-11, Arthur Mees and Henry Gideon in 1911-15, Chalmers Clifton in 1915- 17 and Arthur Shepherd since 1917. As a rule, the Society gives three concerts annually, which are now open to the public as well as to subscribers, and during the period 1891-1910 the series was repeated at low prices for wage- earners. Its relation to the Boston Symphony Orchestra has always been close, and in 1910-11 the two arranged a season in conjunction. It has often had the assistance of other choral organizations, and has served on numerous civic and other occasions of importance, as, for example, at the final concert in the old Music Hall and the dedication of Symphony Hall in 1900. Among guest-conductors have been Bruch in 1882, Parker in 1889, Dvorak in 1892, Henschel in 1902 and Colonne in 1904. The list of distinguished soloists is long and varied. Though originally formed to cultivate a cappella singing, especially of smaller secular works, the repertory has included many works of the first mag- nitude, like Beethoven's Missa Solennis (1897), Bach's Mass in B minor (1901), Tinel's 'St. Francis' (1893), Elgar's 'The Dream of Gerontius' (1904) and Wolf-Ferrari's 'La Vita Nuova' (1909). Nearly 150 works, large and small, have been sung for the first time in Boston. Among the absolute premie'rea are Mendelssohn's 'Athalie' with the Racine text (1887), Chadwick's 'The Pilgrim's Hymn' (1891), Henschel's Requiem (1902) and Paine's 'Azara' in concert-form (1907). First times in America include Foote's 'The Wreck of the Hesperus' (1888), Berlioz' 'The Fifth of May' (1891), Perosi's 'The Trans- figuration' (1899), Coleridge-Taylor's 'Hiawatha's Departure' (1900), Massenet's 'The Promised Land' (1902), Charpentier's 'The Poet's Life' (1905), d'Indy's 'St. Mary Magdalene' (1906) and 'The Song of the Bell' (1916) and Florent Schmitt's Psalm 46 (1913). Second times in America include Berlioz* Requiem (1882), Dvorak's Requiem (1892), Ban- tock's 'Omar Khayyam' (1910) and Elgar's 'The Music-Makers' (1913), besides the works of Tinel, Bach and Wolf-Ferrari named above. See W. C. Hill, History of the Cecilia Society, 1874-1917. CECILIA SOCIETY, THE, of Charleston, S. C., appears to have been the earliest musical organization in America. It was founded in 1762 as an exclusive social club, and was so maintained until after 1800. Its 'Rules,' as adopted in 1773, were published in 1774 (re- CECILIA SOCIETY CHAD WICK 157 printed in Sonneck, Concert-Life, pp. 16-18). They provide for four meetings annually, the chief being on Nov. 22, St. Cecilia's Day. The programs included vocal and instrumental numbers either by members of the Society or by visiting artists the latter ultimately sometimes drawn from a distance, as from Boston. From the first the Society proved a constant stimulus artistically and was the principal reason for the notable musical activity of Charleston before and after 1800. [Until about 1790 the name was written 'Ccecilia.'] CECILIA SOCIETY, THE, of Cincinnati, was organized in 1856 by Frederic L. Ritter and conducted by him till 1861. Starting as a choral society, it soon undertook orchestral work as well, and thus exercised a valuable influence in promoting musical interest. See Ritter, Music in America, chap. xxi. CECILIENVEREIN, DER ALLGEMIE- NE DEUTSCHE, founded by Franz X. Witt of Ratisbon in 1867, is represented in America by the St. Cecilia Society, organized in 1873 by John B. Singenberger of Mil- waukee, who since 1874 has conducted its journal ' Cecilia.' CENTURY OPERA COMPANY, THE, was organized in 1913 at the instigation of the City Club of New York, with a guaranty from a group of public-spirited men, largely those also interested in the Metropolitan Opera House, the leader being Otto H. Kahn. Its design was to give performances at popular prices and in English as far as possible. The managers were the brothers Aborn, and the Century Theater was secured and enlarged. The conductors in 1913-14 were Alfred Szendrei and Carlo Nicosia, in 1914-15 Agide Jacchia and Ernst Knoch. In spite of much enthusiasm at first and worthy effort through- out, the enterprise had to be abandoned early in 1915, after an unsuccessful series of per- formances in Chicago. See The Art of Music, 4. 155-7. CHACE, FRANK WILBUR (b. 1868). See Register, 7. CHADWICK, GEORGE M. See STATE UNIVERSITIES (Colo.). CHADWICK, GEORGE WHITEFIELD (Nov. 13, 1854, Lowell, Mass.). See article in Vol. i. 494-5. His organ-playing began at fifteen. Attempts at composition followed soon, while he was still at school. Despite this attention to music he finished his course at the Lawrence Academy and seemed likely to go into business. But in 1872 he took up theory with Buck and organ with Whiting at the New England Conservatory. This preceded his study with Eugene Thayer. By this time he had written two overtures for small orchestra and some piano-trios. While at Leipzig in 1877-79 he had two string- quartets performed, as well as the 'Rip van Winkle' overture. The latter was given also in Dresden and three times in Boston in 1879- 80. After settling in Boston in 1880 he was often in request as conductor for choral and orchestral organizations. Notable engage- ments were for the Springfield Festivals in 1889-99 and the Worcester Festivals in 1897-1901. He has also served as guest- conductor with all the larger orchestras throughout the country. At the New Eng- land Conservatory, where he has been director since 1897, besides raising the standards in other departments, he has impressed himself especially upon the work in composition and in ensemble-playing. From his orchestra of 80 many players have gone into orchestras elsewhere, some of them becoming conductors. He was made A.M. by Yale in 1897 and LL.D. by Tufts College in 1905. In the list of compositions note that the Symphony in C, No. 1, was first given by the Harvard Musical Association on Feb. 23, 1882, and that the Symphony in F, No. 3, was played by the Boston Symphony Or- chestra on Oct. 20, 1894. The Quartet in C, No. 2, dates from 1879, not 1897. The Sinfonietta was first given in Jordan Hall, Boston, by an orchestra of players from the Symphony Orchestra, under the composer's direction, on Nov. 21, 1904, and on the same program were the 'Symphonic Sketches' (1896), the 3rd Symphony, the ballad 'Lochinvar,' for baritone and orchestra (1897), and several songs. 'Judith,' his most ambitious choral work, was produced at Worcester on Sept. 28, 1901. The symphonic poem 'Cleopatra' was played by the Chicago Orchestra in 1905. The symphonic poem 'Aphrodite' was written for the Norfolk Festival in June, 1912. The symphonic poem 'Angel of Death,' based on the famous group by the sculptor Daniel C. French, was given by the Symphony Society of New York at the memorial concert for Theodore Roosevelt in 1919. His 'Suite Symphonic' in E-flat received the first prize from the American Federation of Musical Clubs and was per- formed by the Philadelphia Orchestra in March, 1917. From 1917 dates the symphonic ballade 'Tarn o' Shanter.' 'Noel,' a Christmas pastoral for chorus, soli and orchestra, was written for the Norfolk Festival in June, 1908. Other vocal works are 'Aghadoe,' a ballade for contralto and orchestra, 'Love's Sacrifice,' a pastoral opera in one act (1915), 'Land of our Hearts,' a patriotic hymn for chorus and orchestra (given by the Boston Symphony Orchestra in September, 1918), and incidental music to 'Everywoman,' the play by Walter Brown, produced in New York on Feb. 21, 158 CHAFFEE CHASE 1911. In manuscript there is a tragic opera, 'The Padrone,' in two parts. Concerning his work Edward Burlingame Hill has said: "His chief attributes are fluency and beauty of melodic inventiveness, mastery of part-writing, a logical and coherent grasp of form. His harmonic structure is solid, yet he always manages to obtain effects that are romantic, poetic or dramatic in color without resorting to the devices of ultra- modern eccentricity. His instrumentation is brilliant and resourceful without employing either a gigantic orchestra or semi-obsolete instruments ; he does not disregard the natural limitations of the orchestral player's technique in order to invent new combinations. His contrapuntal dexterity is remarkable in an age that delights in contrapuntal tours de force. His command of the sonata and symphonic forms and his spontaneity of expression in them is striking, yet he has shown most convincingly in the overture ' Melpomene ' that he can depart from the strict letter of the poem and justify the result. His most salient characteristics as an artist are the sincerity and depth of his artistic purposes, an uncompromising honesty which will permit nothing vague or inconsistent to stand, and a sense of balance and wholesome moderation. He invariably lays a firm con- structive foundation in his composition in larger forms, in order that he may be free to elaborate detail as he pleases." [ R. 6 ] CHAFFEE, EDMUND WALTER (b. 1862). See COLLEGES, 3 (Valparaiso U., Ind.). CHAFFIN, LUCIEN GATES (b. 1846). See Register, 6. CHALFANT, WILLIAM ADDISON (b. 1854). See Register, 6. CHALMERS, THOMAS HARDIE (b. 1884). See Register, 10. CHAMBER MUSIC. Much of the in- strumental music performed in various places during the late 18th century and the early 19th was virtually of the 'chamber' class, though usually with chance combinations of instruments and players. Doubtless in some cases this led to rather more definite groups, such as that of the Hupfelds, Gilles and Schetky in Philadelphia about 1815. In New York, when German musicians began to multiply after 1840, sundry ensemble- groups were formed, as by Pirsson about 1848, under the lead of Saroni's 'Musical Times' -in 1849, and, more fruitfully, by Eisfeld from 1851 and by William Mason and Thomas in 1855-66. In Boston the famous Mendelssohn Quintette Club was founded in 1849 by the Fries brothers, and for many years continued by its extensive travels and its popularity to foster interest in instru- mental part-music. Similar pioneer work was done in Chicago in 1860-61 by the Briggs House Concerts, followed in 1863-64 by Balatka's Classical Chamber Concerts. CHAMPLIN, JOHN DENISON (1834- 1915). See Register, 7. CHAPEK, JOSEPH HORYMIR (b. 1860). See Register, 7. CHAPIN, NATHAN. See TUNE-BOOKS, 1810. CHAPMAN, FRANK THOMAS. See COL- LEGES, 3 (Pacific U., Ore.). CHAPMAN, JAMES W. See STATE UNI- VERSITIES (Fla.). CHAPMAN, WILLIAM ROGERS (b. 1855). See Register, 6. CHAPPELL, W. L. See TUNE-BOOKS, 1831. CHARACTER-NOTES. From the begin- ning of pedagogical effort in America on behalf of popular singing, experiments were made in devising novel ways of printing what was to be sung. The chief of these were based upon the principle, now exemplified in the Tonic Sol-fa system, that what is presented to the eye shall recall some tone-conception with which the ear is familiar, and do this by something more than merely relative position on a staff. Tufts' experiment in the early 18th century was short-lived, and that of Law about 1800 was equally transient, though made known to many more users. But Law's idea of varying the shape of the note-heads so as to indicate tone-relations has had considerable influence. From about 1825-30 collections of tunes began to be frequent, especially in Ohio and Virginia, in which the music is printed on a staff exactly as in ordinary notation, but with a system of note-heads that indicates the scale-degree intended do, A, re, *>, mi, * t fa, *>, sol, &, la, D , ti, ^. Many popular teachers and leaders evidently believed that the use of these 'character- notes' or 'shaped notes' facilitated practical singing. Thousands of books in this notation have been put into circulation, and the types required to print them are recognized by first- class music-typographers. But the system has never made its way generally, and is now dying out. f^T m * Change of key. CHARLIER, MARCEL. See Register, 9. CHASE, MARY WOOD (Jan. 21, 1868, Brooklyn), was the daughter of a professor in Cornell University, a mining engineer and later a banker. From her mother, who had a fine soprano voice, she had her first in- CHASE CHICAGO MUSICAL UNION 159 struction. After a year with George B. Penny, at sixteen she entered the New Eng- land Conservatory in Boston, taking piano and harmony with Sarah E. Newman, voice with F. E. Morse and O'Neill, and theory with Apthorp. Her debut in 1886 was at Music Hall. After four years of study with Raif in Berlin (becoming his assistant), she re- turned to America and made several tours as pianist. She appeared with the Thomas Orchestra in Chicago in 1902, giving the Sinding concerto its first performance in America. In recent years she has devoted herself mostly to the development of teaching- methods. To this end she founded at Chicago in 1906 the Mary Wood Chase School of Musical Arts (incorporated 1912), with a faculty especially trained to teach her methods. In 1912 a summer-school was added at Ep- worth, Mich. She has the reputation of hav- ing trained many fine pianists and successful teachers. In 1910 was published her Natural Laws in Piano-Technic. (Ditson). She has in preparation works on the philosophy of interpretation and on modern educational methods. She has contributed articles to 'Music,' 'The Etude,' and 'The Musician,' and has written many compositions in smaller forms which remain unpublished. [ R.7 ] CHASE, MELVILLE WARREN (b. 1842). See Register, 5. CHASE COMPANY, THE A. B., of Nor- walk, O., was incorporated in 1875, originally for the making of reed-organs of high grade. In 1885 piano-making was added, and speedily attained significant success, as attested, for example, by high awards at the Columbian Exposition in 1893. The Chase pianos are distinguished for excellence of tone and for beauty of external form. The player-device .used in them is known as the 'Artistano.' CHAUTAUQUA INSTITUTION, THE, is the extensive organization that has been developed from the Sunday School Assembly first held at Chautauqua Lake in western New York in 1874. The popularity of the initial efforts led to rapid extensions, both in the direction of summer-school courses and in reading- and correspondence-courses, cover- ing many kinds of subjects. Among these has been special provision for musical instruction and leadership. The musical directors have been William F. Sherwin in 1874, Charles C. Case in 1875-86, Horatio R. Palmer in 1887- 1901, Alfred Hallam in 1902-19 and William C. Bridgman from 1920. The advantages include many courses of instruction by well- known teachers, classes in singing and or- chestral playing, and numerous recitals and concerts. In 1912 a Music Studio was erected in memory of the pianist William H. Sher- wood. CHEATHAM, KATHARINE SMILEY [Kitty Cheatham]. See Register, 9. CHERNIAVSKY, JAN (b. 1892), LEO (b. 1890), and MISCHEL (b. 1893). See Reg- ister, 10. CHICAGO CONSERVATORY OF DRA- MATIC AND MUSICAL ART, THE, was founded in 1885 by Samuel Kayzer, who had previously been dramatic instructor in the Hershey School. Since 1907 the president has been Walton Perkins. CHICAGO MADRIGAL CLUB, THE, was organized in 1900 by D. A. Clippinger, who has been its only conductor. It is composed of 60 singers, all chosen by examination as soloists. Two regular concerts are given each season, with several extras usually, so that the total number up to the present is about 150. The Club is supported wholly by its sale of season- tickets. In 1903 the W. W. Kimball Co. estab- lished an endowment yielding $100 annually, to be used as a prize for the best madrigal sub- mitted for competition. Nearly 900 composi- tions have been thus submitted, including many notable works as prize-winners. About 50 com- positions have also been written for the Club by various American composers. CHICAGO MUSICAL COLLEGE, THE, was founded in 1867 by Florenz Ziegfeld, becoming incorporated in 1877. He re- mained its active head for nearly fifty years, and is now president emeritus. With him since 1905-06 have been associated Felix Borowski and Carl D. Kinsey, who are now president and vice-president respectively. The teaching-staff numbers over 100 and the annual enrolment over 4000. During its history more than 90,000 students have pursued courses, of whom nearly 3500 were graduated. The degree of Mus.B. has been given to about 150, that of Mus.M. to about 100, and that of Mus.D. to 12. The College occupies its own building at 624 South Michigan Avenue, where it has extraordinary conveniences. Its faculty has always been notable for ability, and from time to time it has been augmented by a system of guest- instructors. CHICAGO MUSICAL UNION, THE, though not the first choral society in Chicago, was one of .the first to exercise a positive influence. It was organized in 1857 and con- tinued in efficient operation till 1865. Its first conductor was C. M. Cady, later as- sociated with George F. Root in the firm of Root & Cady. He was followed in 1860 by A. L. Coe and in 1863 by Hans Balatka. The Union undertook both sacred and secular works. It gave 'The Creation' in 1857 and 'Elijah' in 1860, some of its oratorio concerts being made memorable by the assistance of Charles R. Adams and Christine Nilsson. 160 CHICAGO NORTH SHORE CHICAGO SYMPHONY ORCHESTRA In 1864 it bought out Lortzing's 'Czar und Zimmermann ' in English, arranged by Balatka, which had five performances. See Upton, Musical Memories, pp. 130, 271-4. CHICAGO NORTH SHORE FESTIVAL ASSOCIATION, THE, of Evanston, 111., or- ganized in 1908, consolidates work previously undertaken by the Musical Clubs of Evanston and Ravenswood, 111., and the School of Music in Northwestern University. Its object is to present annually a series of superior concerts. . usually five in number, of which three are given to choral music. At present the Festival chorus numbers about 600 voices, but at times is augmented to 1100. There is also a chil- dren's chorus of 1500, drawn from the public schools. The concerts are given in the Gymnasium of Northwestern University, which seats 5000. Their artistic excellence has attracted wide attention and brought fame to the conductor, Dean P. C. Lutkin, to the University and to Evanston. Among the novelties brought forward have been Bantock's 'Omar Khayyam,' Harty's 'The Mystic Trumpeter,' Pierne's 'St. Francis of Assisi ' and Smith's ' Rhapsody of St. Bernard ' (1918) . In addition, works by Elgar, Coleridge- Taylor, Bath and Clutsam that are compara- tively unknown have been brought out. See notice in 'The New Music Review,' July, 1910. CHICAGO ORCHESTRAL ASSOCIA- TION, THE, organized in 1891, is the cor- porate name of the trustees of the Chicago (formerly Thomas) Symphony Orchestra and the owners of Orchestra Hall on Michigan Avenue, built in 1904. See Vol. iv. 801-3. CHIC AGO- PHILADELPHIA OPERA COMPANY, THE, or the Chicago Opera Association, was formed in 1910 chiefly from the forces previously drawn together by Hammerstein for his ventures in New York and Philadelphia. Its manager in 1910-13 was Andreas Dippel, with Cleofonte Cam- panini as chief conductor. After 1913 the latter was manager till 1915, when, the original organization having become bankrupt, a new one was formed with the same name, Cam- panini remaining as artistic director, with Bernhard Ulrich as business manager. Until his death in 1919 Campanini was the most influential factor in the enterprise, which he brought to a high pitch of artistic perfection. In 1920 he was succeeded as artistic director by Gino Marinuzzi. Except for a break in 1914-15 due to the World War, regular seasons have been presented in both Chicago and Philadelphia, and since 1918 in New York as well. The Company has also given per- formances after the regular season in other places. The list of novelties includes, in 1911, Herbert's 'Natoma,' Wolf-Ferrari's ' II Segreto di Susanna,' Nougues' 'Quo Vadis?' and Massenet's ' Cendrillon ' ; in 1912, Wolf-Fer- rari's 'I Giojelli della Madonna,' Parelli's 'A Lovers' Quarrel' and Goldmark's 'The Cricket on the Hearth' ; in 1913, d'Erlanger's 'Noel,' Zandonai's 'Conchita,' Kienzl's 4 Der Kuhreigen,' Massenet's 'Don Quichotte' and Franchetti's 'Cristoforo Colombo'; in 1914, Gnecchi's 'Cassandra'; in 1916, Massenet's ' Cleopatre ' and Buchhalter's 'A Lovers' Knot' ; in 1917, Mascagni's 'Isabeau' and Hadley's 'Azora'; in 1918, Nevin's 'A Daughter of the Forest' and Lazzari's 'Le Sauteriot'; and in 1919, Fevrier's ' Gismonda,' Catalani's ' Loreley,' Leroux' ' Le Chemineau ' and Monte- mezzi's ' La Nave,' besides Borowski's ' Bou- dour ' and Carpenter's ' The Birthday of the Infanta' (ballets). CHICAGO SYMPHONY ORCHESTRA, THE. For the early history, see Vols. iv. 801-3 and v. 88. After the death of Theodore Thomas in 1905 the conductorship passed to Frederick A. Stock, who had been his assistant. Though at that time a young man for so responsible a position, the new conductor speedily established himself with both players and public. The personnel and discipline have been steadily improved and the repertoire kept fully abreast of the times. In recent years the Orchestra has toured extensively. About 75 con- certs are given annually in Chicago and about 25 elsewhere. The usual number of players is about 90. Since 1912 the concertmaster has been Harry Weisbach. In 1915 Mrs. Elizabeth Sprague Coolidge gave $100,000 as a pension- fund. In 1916 she gave a like amount (later increased by other gifts to $237,500) to con- stitute the Albert and Nancy Sprague Memorial Fund. In 1918-19, when Mr. Stock's leader- ship was temporarily intermitted (because he had not then acquired full American citizen- ship), the concerts were directed by Eric DeLamarter and various visiting conductors. From the excellent program-books prepared by Felix Borowski it appears that the total repertoire of the Orchestra since 1891 comprises works by over 300 composers and covering the entire field of sym- phonic and concerted literature. In this list are the names of about fifty composers who are Americans or associated with America, represented by about 150 works, including the following: Paine's 2nd Symphony and 'The Tempest'; Gleason's 'Edris' and 'Song of Life'; Vogrich's Violin Concerto; Foote's Tema con Variazioni, 'Cello-Concerto and Suites, opp. 36 and 63; Chadwick's 3rd Symphony, Overtures 'Melpomene' and 'Euterpe,' Suite Symphonique, 'Cleopatra,' 'Aphrodite' and 'Tarn O'Shanter' ; Foerster's Suite, 'Cyrano de Bergerac' ; Schoenfeld's Pastoral Symphony; Shelley's 'Fran- cesca da Rimini ' ; Van der Stucken's ' William Ratcliff,' 'Pax Triumphans' and Suite, 'The Tem- pest'; Herbert's 2nd 'Cello-Concerto ; Paderewski's 1st Symphony; Seeboeck's Piano-Concerto; Loef- fler's 'Mort de Tintagiles,' 'Villanelle du Diable' and ' A Pagan Poem ' ; MacDowell's 1st and 2nd Piano-Concertos, 'Lancelot and Elaine' and 1st and 2nd Suites; Arthur Whiting's Fantasy, op. U; JONAS CH1CKERING CHICKERING CHITTENDEN 161 Kaun's three Symphonies, 'Minnehaha,' 'Hiawatha' ; etc. ; Middelschulte's Organ-Concerto and Pas- sacaglia; Parker's Overture, 'Count Robert of Paris,' 'Northern Ballad' and Organ-Concerto; Cole's Symphonic Prelude; Lucas' Overture, 'Mac- beth'; Mrs. Beach's 'Gaelic* Symphony and Piano- Concerto; Strube's Comedy Overture, 'Puck'; Weidig's 'Semiramis' and Symphonic Suite; Otter- etroem's 'Negro' Suites; Skilton's 'Two Indian Dances'; Converse's 'Festival of Pan,' 'Endymion's Narrative,' 'Mystic Trumpeter' and 'Ormazd'; Hadley's 2nd, 3rd and 4th Symphonies, 'Salome' and ' Culprit Fay ' ; Rubin Goldmark's ' Samson ' ; Borowski's 'E16gie Symphonique' and 'Peintures'; Stock's Symphony in C minor, Symphonic Variations, 'Eines Menschenleben,' Overture, 'Life's Spring- tide,' etc.; Oldberg's 2nd Symphony, Festival and Dramatic Overtures, Symphonic Organ-Variations, etc.; Carpenter's 1st Symphony and 'Perambulator' Suite ; Schelling's Symphonic Legend and Fantastic Suite; D. S. Smith's Symphony and Overture, 'Prince Hal'; DeLamarter's Symphony; John Powell's Violin-Concerto; Ballantine's 'Eve of St. Agnes'; and Boyle's Piano-Concerto. CHICKERING, JONAS (Apr. 5, 1798, New Ipswich, N. H. : Dec. 8, 1853, Boston), was trained as a cabinet-maker. In 1818 he became an apprentice of John Osborn, the able Boston piano-maker, who had been a pupil of Benjamin Crehore of Milton. In 1823 James Stewart, a Scotchman who had come from Baltimore in 1820 to work with Osborn, induced Chickering to join him in the new firm of Stewart & Chickering. Stewart went back to England in 1826. In 1829 John Mackay, who had gained wealth as a ship- captain and who had been the financial backer of Alpheus Babcock, the inventor, joined Chickering, the firm name being Chickering & Mackay. This partnership was highly successful, since Mackay brought considerable capital and was a vigorous promoter on the commercial side, while Chickering devoted himself to technical improvement. They were pioneers in developing the upright type of instrument. In 1837 Chickering applied for a patent for a full metal plate for squares, but the application was held up on a techni- cality till 1840. In 1843 his full metal plate for grands was patented, together with a device for casting the agraffes in the plate. In 1853, at the time of his death, he was work- ing upon a metal plate that should provide for overstringing. After 1841, when Mackay died, Chickering proceeded alone until he could take his three sons into the business. Besides becoming famous for his inventions and for the notable excellence of his instru- ments, he was active in various musical undertakings in Boston. He sang in the choir of the Park Street Church and in the chorus of the Handel and Haydn Society, of which from 1834 he was vice-president. 1 For 1 A humorous compliment to his personal qualities was embodied on one occasion in the toast, ' Jonas Chickering grand, square, and upright ! ' various points about his inventive work, see Vols. i. 514 and iii. 728-32. [ R.3 ] CHICKERING & SONS, of Boston, is the name of the piano-making firm founded in 1823 by Jonas Chickering and enlarged by the admission of his sons Thomas E. Chicker- ing (1824-1871), Charles Frank Chickering (1827-1891) and George H. Chickering (1830- 1896) . Of these the second, C. Frank Chicker- ing, especially inherited his father's genius as inventor and designer, in token of which he received the decoration of the Legion d'Honneur in 1867, at the same tune that the firm won first prize at the Paris Exposition. In 1852 the firm's entire stock in trade was destroyed by fire, the loss being estimated at a quarter-million. Despite this calamity, the business quickly recovered its leading position. Since 1908 it has been absorbed into the American Piano Company. CHILD, EBENEZER. See TUNE-BOOKS, 1804. CHITTENDEN, KATE SARA (April 17, 1856, Hamilton, Ont.), is descended from an old Connecticut family. She early began piano-study with an aunt, continuing with Jules Fossier and Lucy H. Clinton. She was educated at Hellmuth College, London, Ont., receiving the Dufferin medal for art in 1873, and began to teach there at seventeen. In 1876 she came to New York, where she has since been constantly engaged as a teacher. In 1879 she became organist at Calvary Baptist Church, where she remained for twenty-seven years. In 1890 she was elected head of the piano-department at the Catherine Aiken School in Stamford, Conn., retaining the position until the school was given up in 1914. In 1892 she was the first woman to lecture under the New York Board of Edu- cation, giving, with the assistance of C. Judson Bushnell, baritone, the first lectures on music, and this work has been continued until recently. Her connection with Vassar College dates from 1898. In 1899 she became head of the piano-department, and since practical music was recognized as an elective in 1918 she has. been assistant-professor. In 1890 she became associated with Albert Ross Parsons in the preparation of The Synthetic Method. The first part only was issued, as subsequently it was deemed advisable that the material belonging to each party be published separately, in sheet form. She joined the staff of the (then) Metropolitan Conservatory in 1892. This was later re- organized as The American Institute of Ap- plied Music. In the Institute she is now vice-president and dean of the faculty as well as president of the trustees of the Metro- politan College. She has taught over 3000 piano-pupils, and has specialized in the train- 162 'CHOIR MAGAZINE; CILfiA ing of teachers. Technical works for the piano and some tunes for children represent her compositions. She has written for musical magazines and is active in state and national music-teachers' organizations. [ R. 6 ] 'CHOIR AND CHORAL MAGAZINE, THE.' See Vol. iii. 689. 'CHOIR JOURNAL, THE.' See Vol. iii. 689. CHORAL ART CHOIR, THE, of New Haven, Conn., was organized in 1918 by George C. Stock. It is a mixed chorus of 60 selected voices for the performance of the best part-songs and cantatas. The conductor is David Stanley Smith. Two concerts are given annually. CHORAL ART SOCIETY, THE, of Bos- ton. See Vol. i. 369. Wallace Goodrich con- tinued as conductor till 1907, when he be- came leader of the Cecilia. CHORAL CLUB, THE, of Hartford, Conn., a superior male chorus of 70-80 voices, was founded in 1907. It gives two concerts each year, besides occasional performances in near- by cities. Its conductor from the beginning has been Ralph L. Baldwin. In addition to a large number of part-songs, about twenty- five longer works in cantata-form have been given. American compositions have always been numerous and conspicuous, among them Foote's 'The Farewell of Minnehaha,' Par- ker's 'The Norseman's Raid' and 'The Leap of Roushan Beg,' Protheroe's 'The Nun of Nidaros,' Strube's 'Hymn to Eros,' Baldwin's 'Hymn before Action,' Cadman's 'The Vision of Sir Launfal' and Barling's 'The Death of Minnehaha' (first time, conducted by the composer) . CHORAL SOCIETIES. The first impetus in the direction of choral music in America was given by the 'singing-schools' that sprang up in New England from the middle of the 18th century. From one of these 'schools' came in 1786 the Musical Society of Stoughton, Mass., which though apparently not the first of its kind, was the only one that has endured (see list at end of Register, 2). The organization in 1815 of the Handel and Haydn Society of Boston marked the solid beginning of permanent societies. To this followed in 1820 the Musical Fund Society of Philadelphia and in 1823 the Sacred Music Society of New York. Various influences combined to foster numerous experiments of the same general sort during the next half- century i especially in the East. After 1850 interest in choral undertakings began to manifest itself in Cincinnati, Chicago and Milwaukee, often stimulated by the large proportion of Germans in the population. After about 1870 the multiplication of choral societies of dignified ambition and persistent energy set in with notable results. They have now become so numerous that no ade- quate catalogue of them is practicable. 1 'CHOROPHONE' is the trade-name of a small pipe-organ devised by the Austin Organ Company of Hartford, Conn., to supply the needs of churches that cannot afford expensive instruments. By ingenious extensions and duplexing of a few stops much variety, flexi- bility and sonority are obtained. There are two manuals and pedal, controlled from a standard console. CHRISTIANI, ADOLF FRIEDRICH (1836-1885). See Register, 5. CHRISTIANSEN, F. MELIUS. See COL- LEGES, 3 (St. Olaf C., Minn.). CHRISTY, EDWIN T. See Register, 4. CHURCH COMPANY, THE JOHN, of Cincinnati, was founded in 1854 by John Church as a music-publishing business, to which was added dealing in all kinds of musical merchandise. After the Chicago fire of 1871 this Company acquired the business formerly carried on in Chicago by Root & Cady. From about 1875 it shared with Biglow & Main of New York the publication of the 'Gospel Hymns' series. It has also given much attention to music for both instrumental and vocal instruction, and of late years has put forth many works of still higher class. Since about 1908 piano-making has been added, and the Company is now the owner of the Everett and Harvard pianos as well. CHURCH CHORAL SOCIETY, THE, of New York. See Vol. iii. 367-8, and add that Mr. Warren continued as leader till 1907. [A society of the same name was formed in 1852 by Edward Hodges, the organist of Trinity Church, and under its auspices choral services were first held in that church.] 'CHURCH MUSIC.' See Vol. iii. 688, and add that Rev. Hugh T. Henry continued as editor till 1909. CHURCH MUSIC ASSOCIATION, THE, of New York, was formed in 1868 through the efforts of George T. Strong, with Dr. James Pech, then organist of St. John's Chapel, as conductor, succeeded soon by Charles E. Horsley. Although an exclusive, social enter- prise and by no means limited to sacred music, it perhaps prepared for the foundation in 1873 of the Oratorio Society. JCILEA, FRANCESCO (July 23, 1866, Palmi, Italy). See article in Vol. v. 624. His 'Poema Sinfonico,' for solo, chorus and orchestra, was given at Genoa in 1913. In i In Who's Who in Music, 1918, a list of over 400 is given, which, however, is far from complete. It is interesting to note that in this imperfect list there are over 100 societies more or less of the 'oratorio' class, located in over 30 States, besides perhaps 15 in Canada. CINCINNATI CONSERVATORY CLAPP 163 1908 he was made an Officer of the Order of the Crown of Italy. He was director of the Conservatory at Palermo in 1913-16, and since 1916 has been director of the Conservatory at Naples. CINCINNATI CONSERVATORY OF MUSIC, THE, was started in 1867 by Clara Baur, who continued in charge till her death in 1912, being then succeeded by her niece Bertha Baur. Its original plan was more or less modeled after that of the Stuttgart Con- servatory. Emphasis has always been laid upon general education in connection with special musical training, both by requiring at least high-school preparation from all who seek to graduate, by providing some literary advantages in the Conservatory, and by urging all looking forward to a musical career to take a general college course besides their Con- servatory course. Since its beginning the Conservatory has maintained a summer- school, which has contributed much to its success. The instruction is arranged in five grades Juvenile, Preparatory, Normal, Artist and Master. The faculty numbers about 75. The usual enrollment is from 1200 to 1500. A noteworthy feature is the Student Orchestra, which for more than thirty years has been led by Pier A. Tirindelli. The department of opera is also strongly empha- sized. In 1918 a performance of Laparra's 'La Habanera' was given to the satisfaction of the composer, who was present. Since 1902 the institution has occupied spacious grounds on Highland Avenue with four principal buildings finely adapted to its use. CINCINNATI FESTIVALS. See Vol. i. 537-8. The long-extended leadership of Thomas continued till 1904, when he was followed till 1912 by Frank Van der Stucken, in 1914 and 1916 by Ernst Kunwald, and in 1918 by Eugene Ysaye. In 1906 Elgar also conducted four of his own works. The record of principal choral works is as follows : 1904. Bach, Mass in B minor; Elgar, 'The Dream of Gerontius ' ; Beethoven, Missa Solemnis. 1906. Elgar, 'The Apostles,' 'The Dream of Gerontius'; Brahms, Requiem; Bach, 'Actus Tragicus'; Beethoven's 'Choral' Symphony. 1908. Bach, St. Matthew Passion; Piern6, 'The Children's Crusade.' 1910. Handel, 'Judas Maccabseus'; Beethoven, Missa Solemnis; Berlioz, 'Les Troyens.' 1912. Mendelssohn, 'Elijah'; Berlioz, Requiem; Franck, 'Les Beatitudes'; Wolf-Ferrari, 'La Vita Nuova.' 1914. Bach, Mass in B minor; Beethoven, 'Choral' Symphony; Berlioz, 'The Damnation of Faust'; Verdi, Requiem. 1916. Beethoven, Missa Solemnis; Mendelssohn, 'St. Paul'; Pierne, 'The Children's Crusade.' 1918. Bach, St. Matthew Passion; Haydn, 'The Creation' ; Kelley, 'Pilgrim's Progress.' CINCINNATI SYMPHONY ORCHES- TRA, THE. See Vol. iv. 803. In December, 1909, after a two years' interval, the Orchestra was reorganized with a competent force of 70 players under Leopold Stokowski, who rapidly brought it to notable efficiency. On his resignation in 1912 Ernest Kunwald, formerly of the Berlin Philharmonic, succeeded as conductor. In 1913 the players were in- creased to 85, in 1914 the regular season lengthened from twenty-four to thirty-two concerts, and in 1915 the Orchestra became permanently endowed by the bequest of $ 700,000 in the will of Martha Cora Dow. In 1917 Kunwald offered to resign in the fall, but was persuaded to go on. In December, however, he was arrested as an enemy alien and his resignation was then accepted. In 1918 various guest-conductors appeared, in- cluding Walter Rothwell, Victor Herbert, Henry Hadley, Ossip Gabrilovitch and Eugene Ysaye. In May of that year the latter was appointed permanent conductor. CISNEROS, ELEONORA DE, nee Broad- foot (Nov. 1, 1880, New York), made her debut as Rossweise in 'Die Walkiire' at the Metropolitan Opera House in 1900. She was then a pupil of Mme. Murio-Celli, but had not been abroad. On Fjdouard de Reszke's advice she now went to Paris and Italy to study with his brother Jean, Maurel, Traba- dello and Lombardi. Her success as stage- soprano was immediate, so that since 1902 she has sung, often for successive seasons, in all the leading European opera-houses and in Cuba, Brazil and Australia besides. In 1906- 08 she was a principal artist at the Manhattan Opera House in New York, leaving for Milan to create the role of Clytemnestra in Strauss' 'Elektra.' In 1909 she took the part of Eboli at the revival of Verdi's 'Don Carlos.' In 1910 she sang in 'Aida' at the inaugural performance of the Chicago Opera Company, with which she has since been identified. Her last European engagement was at the Champs Elys6es in Paris in 1914, when she sang ' Tristan und Isolde' in German. In 1915-16 she was with the Havana Opera Company. She has also sung in concert in Honolulu and in Australia and New Zealand. In 1907 she married Count Francesco de Cisneros. [ R.9 ] CLAASSEN, ARTHUR (1859-1920). See Register, 7. CLAPP, PHILIP GREELEY (Aug. 4, 1888, Boston), began lessons at six with an aunt, Mrs. Mary C. A. James. Later he studied piano and theory with J. P. Marshall and violin with Jacques Hoffman. He pre- pared for college at the Roxbury Latin School, and at Harvard completed the course in three years, receiving his A.B. in 1908 magna cum laude. A large part of his course consisted of work in composition, orchestration, etc., offered in the musical department, chiefly 164 CLARK CLARKE under Spalding. He remained for a fourth year, receiving the degree of A.M. with highest final honors in music in 1909. He also won the Boott Prize in 1907 for a con- certed vocal composition. For two years he was conductor of the Pierian Sodality, and was elected chorister by the class of 1909. In 1909-11 he studied in Europe as Sheldon Fellow of the University, emphasizing com- position in Stuttgart with Schillings and the esthetics of music at the British Museum. In 1911 he received the degree of Ph.D. from Harvard, presenting original compositions and a thesis on ' Modern Tendencies in Musical Form.' In 1911-12 he was assistant in music at Harvard ; in 1912-14 instructor in music at the Middlesex School in Concord, Mass. ; in 1914-15 acting director of the School of Music in Gloucester, Mass. In 1915-19 he was director of music at Dartmouth College, with leave of absence for service as band- leader with the 73rd Artillery, A. E. F., in France. In 1919 he became professor of music at the State University of Iowa in Iowa City. Since 1909 he has been a frequent contributor to the Boston 'Evening Transcript' on various musical subjects. In 1913 he conducted the Cincinnati Symphony Orchestra for two weeks in an emergency caused by Kunwald's illness. His compositions include the tone-poem 'Norge,' for orchestra and piano, written for the centennial of the Pierian Sodality in 1908 (also Boston Symphony Orchestra, 1909) ; a string-quartet in C minor (1909, not yet performed) ; the tone-poem 'A Song of Youth,' for orchestra (privately given in Stuttgart in 1910 by the Court Orchestra, the composer conducting) ; Symphony in E minor (1911, revised 1913, given in 1914 by the Boston Symphony Orchestra, the com- poser conducting); a 'Dramatic Poem,' for trombone and orchestra (1912, written to show the capacity of the Sax 7-valve trombone played by Modest Alloo, given in New York by M. Alloo and the Pierian Sodality, the composer conducting) ; the orchestral prel- ude 'In Summer' (1913, given in 1914 by the St. Louis Symphony Orchestra) ; Symphony in E-flat (1916, given in 1917 by the Boston Symphony Orchestra, the composer con- ducting) ; stage-music foV the Pageant of the Massachusetts Agricultural College (1917, given in 1920) ; Symphony in A (1918-19) ; and several songs and part-songs, a few with orchestral accompaniment. [ R.9 ] CLARK, CHARLES WILLIAM (b. 1865). See Register, 8. CLARK, JOHN. See Register, 3. CLARK, MELVILLE (d. 1918). See Reg- ister, 6. CLARK, MELVILLE ANTONE (b. 1883). See Register, 10. CLARK COMPANY, THE MELVILLE, of Chicago, was organized in 1900 to utilize the various patents of Melville Clark. Besides making pianos, including a small grand of novel design, the firm specializes in player-pianos, us- ing devices under the trade-name of 'Apollo.' CLARKE, HERBERT LINCOLN (b. 1867). See Register, 7. CLARKE, HUGH ARCHIBALD (Aug. 15, 1839, near Toronto, Ont.), was the son of the Canadian organist James P. Clarke, who was his only teacher. He came to Philadelphia in 1859, served as organist in several churches (till 1897), and for some years conducted the Abt Male Chorus. In 1875 he became professor in the University of Pennsylvania, teaching harmony, counterpoint, orchestration and musical form, and this position he still holds. In 1886 the University conferred on him the degree of Mus.D., after the perform- ance of his overture and choruses for Aris- tophanes' 'Acharnians.' He has also written music for Euripides' ' Iphigenia in Tauris,' the oratorio 'Jerusalem' (Philadelphia, 1891), a piano-quartet and several sonatas for violin and piano. Of his many songs a few are pub- lished. His treatises on Harmony and Counterpoint have been largely used. He is also the author of The Scratch Club, 1888, a Dictionary of Musical Terms, 1896, Music and the Comrade Arts, 1899, and Highways and Byways of Music, 1901. As an educator and lecturer he has exerted a wide and salutary influence. The late Dr. Gilchrist was one of his pupils. [ R.5 ] CLARKE, JAMES PEYTON (1808-1877). See Register, 4. CLARKE, WILLIAM HORATIO (Mar. 8, 1840, Newton, Mass. : Dec. 11, 1913, Reading, Mass.), at sixteen became organist at Dedham, Mass., and three years later at Berkeley Temple in Boston, teaching also in the Perkins Institute for the Blind. In 1871 he became music-superintendent in the schools of Dayton, O., later removing to Indianapolis as organist and organ-builder. In 1878-87 he was organist at Tremont Temple in Boston. After retiring in 1887 he was much sought as consulting-expert in organ-building. In 1890 he erected on his estate at Reading a music-chapel, 'Clarigold Hall,' which contained a four-manual organ of 100 stops. Illness prevented his plan for establishing there a school for organ-instruc- tion. He wrote An Outline of the Structure of the Pipe-Organ, 1877, The Organist's Ret- rospect, 1896, and Standard Organ-Building, 1913, and besides several non-musical books, prepared instruction-books for piano, organ and voice, and composed organ-pieces and church-music. Three sons took up musical careers, Herbert L. Clarke (b. 1867) becoming CLASS CLIFTON 165 a widely-known cornet-virtuoso and band- master. [ R.4 ] CLASS, FRANKLIN MORRIS (May 2, 1881, New York), graduated from Harvard in 1903 (cum laude in music) and as M.D. from Columbia in 1907, then becoming an attending physician at Bellevue Hospital in New York. At Harvard he studied under Paine. He has composed three volumes of piano-music; five 'Intermezzi,' op. 6; five 'Vignettes,' op. 7 (Ditson) ; five 'Pieces for Piano ' (Church) ; and some 30 songs (Schir- mer, Ditson, Breitkopf). His operetta 'Hasty Pudding' was performed at Harvard in 1903. Unpublished are a string-quartet, various pieces for piano, violin, 'cello and flute, and some motets. [ R.9 ] CLAUSSEN, JULIA (b. 1879). See Reg- ister, 10. CLEMENS, CHARLES EDWIN (Mar. 12, 1858, Devonport, England), had his first ap- pointment as organist when only eleven. He studied under local teachers, with occasional lessons from cathedral organists, and became active as pianist, organist and viola-player. Going to London, he entered the Royal College of Music, studying piano with Pauer. On Grove's advice he finally made the organ his chief study, his teachers being Weekes, Martin and Bridge. From 1889 he taught organ and harmony at the Klindworth Conservatory in Berlin and was organist of the Royal Chapel (English). From 1896 he was organist at St. Paul's in Cleveland. In 1899 he began lecturing on music-history at Western Reserve University, and soon was appointed organist and professor. Since 1911 he has been organist at the Euclid Avenue Presbyterian Church. The University made him Mus. D. in 1916. His Modern Progressive Pedal- Technique, 2 vols., 1894 (Breitkopf), and The Modern School for the Organ, 1903 (Schirmer), are both popular works. A treatise on Harmony is still unpublished, though used in classes at the University. [ R.8 ] CLEMENS, CLARA (1871?, Elmira, N. Y.), the daughter of 'Mark Twain', spent her childhood in Hartford, Conn. She was allowed to take lessons on the piano when she was six years old. Later she studied with Moszkowski and also Leschetizky. Meantime her voice was discovered and she began to prepare herself for concert-singing, abandoning the piano. In 1904 she made her d6but in Florence, where her voice was likened to Scalchi's, but her career was then interrupted by several years of illness. In 1909 she married the Russian pianist Gabrilovitch, and in 1912 resumed singing in Germany and appeared often in the principal cities. Since 1914 she has been in America, touring extensively and giving recitals both alone and with her husband. Her voice is a mezzocontralto, with a range of over two octaves. [ R.9 ] CLEMENT, EDMOND (b. 1867). See Register, 9. 'CLEOPATRA'S NIGHT.' A two-act opera by Henry K. Hadley, the libretto by Mrs. Alice Leal PoUock (after Gauthier). It was first given at the Metropolitan Opera House on Jan. 31, 1920. CLEVELAND CONSERVATORY OF MUSIC, THE, was founded in 1881. Its di- rectors have been Franklin Bassett from 1882 to 1915 and Charles Heydler since 1885. For a time from 1888 it was affiliated with Western Reserve University as a music-department. CLEVELAND SCHOOL OF MUSIC, THE, was started in 1885 by Alfred Arthur, who remained at its head till his death in 1918. CLEVELAND SYMPHONY ORCHES- TRA, THE, was organized in 1918 under the auspices of the Musical Arts Association, in which Mrs. Adella P. Hughes is the moving spirit. The aim is two- fold, to provide superior concerts for patrons and to serve the whole community through so-called ' popular ' per- formances. Under the skillful leadership of Nikolai Sokoloff both purposes have been strikingly achieved. There are about 15 sym- phony concerts and at least' 45 others, besides many outside of Cleveland. The larger con- certs are given in the New Masonic Hall, erected in 1919. The number of players ranges from 75 to 85. From 1920 Arthur Shepherd is to be assistant-conductor. The concertmas- ter is Louis Edlin. The enterprise is in part supported by a considerable maintenance-fund, secured by annual subscription. As a part of its plan of popular education, some fifteen of the players give instruction^ n their instruments in the public-school system. Besides gradually pushing its way into the general symphonic repertory, the Orchestra has already given special attention to American composition, including Beck's Overture to 'Lara,' Griffes' ' Shojo,' Herbert's 'American Fantasy,' Hill's ' Stevensoniana,' Hopekirk's ' Sundown,' two movements from Kelley's 'Aladdin' Suite, Loeffler's 'Pagan Poem,' MacDo well's 'Indian Suite,' Rogers' 'The Name of France,' Skilton's 'Two Indian Dances,' W. G. Smith's 'Autumn Suite' and two pictures of Whithorne's, ' The Night ' and ' The Rain.' Several choral works have been given with the Oberlin Musical Union and the Mendelssohn choir of Pittsburgh. Earlier orchestras in Cleveland were those led by George Lehmann in 1886-89 and by Johann H. Beck from 1899. CLIFTON, ARTHUR. See TUNE-BOOKS, 1819. CLIFTON, CHALMERS (Apr. 30, 1889, Jackson, Miss.), studied at the Cincinnati 166 CLIPPINGER CLOUGH & WARREN Conservatory in 1903-08, graduating with distinction in 1907. He then entered Harvard and in 1912 graduated summa cum laude, with highest honors in music. He conducted the first MacDowell Festival at Peterboro, N. H., in 1910. As Sheldon Fellow of Harvard in 1912-14 he was a pupil in Paris of d'Indy and Gedalge. A few months spent in Russia in 1913 also made a deep impression upon him. Returning to America in July, 1914, he con- ducted the first performance of E. B. Hill's pantomime, 'Pan and the Star,' at the Mac- Dowell Festival in Peterboro in August, and other performances in Boston and Cincinnati in 1914-15. He composed and conducted music for the Lexington (Mass.) Pageant in June, 1915, commemorating one hundred and forty ye&rs of American Independence. In 1915-17 he followed Mees and Gideon as con- ductor of the Cecilia Society of Boston, during which time he conducted the first performance in America of d'Indy's 'Chant de la Cloche.' At the outbreak of the war, after several attempts to enter the service, he went to Paris as one of the Harvard representatives in the American University Union, was com- missioned 2nd Lieutenant (Infantry) in March and was attached to the Intelligence Section under Col. Cabot Ward. He was promoted 1st Lieutenant in February, 1919, and hon- orably discharged in May. He conducted a concert of American music with the Societe des Concerts at the Conservatoire on May 20, 1919, the program including works by Converse, MacDowell and Gilbert. His com- positions are two sonatas for piano ; ' The Poppy,' a poem for tenor and orchestra ; music for 'A Pageant of Lexington'; and songs. He has written articles for the Bos- ton 'Transcript' and notes on Massenet, Saint-Saens and 'Solo' in The Art of Music. ( R.10 ] CLIPPINGER, DAVID A. (Sept. 2, 1860, O.), began to teach singing-schools when only a lad of sixteen. He attended the North- western Ohio Normal University and the Fort Wayne (Ind.) Conservatory. His vocal study was with Lyman Wheeler in Boston, F. W. Root in Chicago, Hey in Berlin, and Shake- speare and Behnke in London. Later he coached with Randegger, Henschel and Van Bos. He also studied theory with Eugene Thayer in New York and Gleason in Chicago. For two years he taught at Fort Wayne, but in 1887 removed to Chicago, where he has since been a leading teacher of singing, con- ductor and author. He has written The Development of the Singing-Voice, Systematic Voice-Training, The Head-Voice and Other Problems, The Elements of Voice-Culture Studio Notes Nos. 1, 2, and 3, besides many articles on vocal topics. For four years he was editor of the 'Western Musical Herald,' and at present he is associate-editor of 'The Musical Monitor.' In 1900 he organized the Chicago Madrigal Club, which has not only won renown by its performances, but stimulated composition by an annual prize of $100 for the most acceptable madrigal. In addition, he conducts the Carson, Pirie, Scott & Co. chorus (175 voices), the Swift & Co. Male Chorus (75 voices), the Swift & Co. Female Chorus (100 voices) and the Berwyn Choral Society. He is active in both State and National Music Teachers' Asso- ciations. [ R.7 ] CLOUGH-LEIGHTER.i HENRY (May 13, 1874, Washington), began his general educa- tion at the Columbian University in Wash- ington, where he held a scholarship at thirteen, but gave it up for music. He had been chorister at St. John's, and, after taking up the organ with G. W. Walter, from 1888 was organ- ist at various churches in Washington, includ- ing Epiphany in 1892-99. Meanwhile he waa pursuing theoretical study with Edward Kimball, Henry Zander and Dr. Anger of Toronto. In 1899-1900 he was organist at Grace Church in Providence, in 1900-01 at Christ Church there and also music-supervisor in Westerly, R. I., and teacher at the Howe School in Boston, and since 1901 has been in editorial work in Boston, in 1901-08 with the Ditson Company and from 1908 with the Boston Music Company. Since 1901 he has also been organist at Milton, Mass. His published works include five cantatas with organ or orchestra; a lyric suite, 'The Day of Beauty,' for solo, piano and string-quartet; the symphonic ballad 'Lasca,' for tenor and orchestra; the Victorian ode 'Recessional,' for chorus and orchestra ; the symphonic ode 'The Christ of the Andes,' for chorus and orchestra, op. 64 ; many song-cycles ; over 100 songs, and a like number of choral works. He has made many transcriptions for organ, particularly of modern works, and has edited a great number of musical, technical and pedagogical works. He has newly edited and revised Anger's Treatise on Harmony. ( R.7 ] CLOUGH & WARREN COMPANY, THE, of Detroit, started in 1850 as Simmons & Clough and gradually built up a fine repu- tation as makers of reed-organs, particularly from 1870, when the firm was reorganized under its present name. They applied ' qualifying tubes ' in connection with the reeds, securing an unusual fullness of tone. Adding the making of pipe-organs, from 1889 they were interested in developing the Austin 'universal wind-chest.' Since 1900 they have * Also Clough-Leiter. The ' Clough ' was added at his birth to perpetuate a family surname. COERNB COERNE 167 turned to making pianos, player-pianos and 4 Manophone ' phonographs. COERNE, LOUIS ADOLPHE (Feb. 27, 1870, Newark, N. J.)> whose father was of Dutch and Swedish derivation, was early educated in Germany and France, graduated from the Boston Latin School in 1888, and attended Harvard University in 1888-90, studying harmony and composition with Paine and violin with Kneisel. From 1890 he attended the Royal Academy at Munich, where he took organ and composition with Rheinberger, violin and conducting with Abel, and graduated with highest honors in 1893. Returning to Boston, he conducted his sym- phonic poem 'Hiawatha' with the Boston Symphony Orchestra in 1894, and was called to Buffalo, where in 1894-97 he was musical director of the Vocal Society, the Liedertafel and at the Church of the Messiah. In 1897- 99 he was in Columbus as musical director at Trinity Church, and of the Arion Club and the Mannerchor. In 1899-1902 he was again abroad, composing and publishing; he also completed and edited Rheinberger's posthumous Mass in A minor. Returning in 1902, he had charge of the music-depart- ment at Harvard in the summer session of 1903, was associate-professor at Smith College in 1903-04, and in 1904-05 was engaged in research- work in New York and at Harvard, writing The Evolution of Modern Orchestration (1908), and receiving for it a Ph.D. from Harvard the first bestowal of that degree for special work in music. In 1905-07 he again lived and traveled abroad, and was present at five renderings of his opera 'Zenobia' at Bremen under the direction of Pollak, this being the first performance in Europe of a grand opera by a native of the United States. In 1907-09 he was engaged as musical director at Troy, N. Y., and in 1909-10 was director of the conservatory at Olivet College, where he received the degree of Mus.D. He then became professor and director of the School of Music at the University of Wisconsin, being also organist at the Congregational Church and leader of the Mannerchor. In 19 1 5 he became professor at the Connecticut College for Women in New London. His compositions number over 500, of which over 300 have been published. They include Fantasy in A, op. 5, for orchestra. Concerto-Overture in D, op. 7, for orchestra. Suite in D minor, op. 10, for strings (1892, Stuttgart). Concerto in E, op. 12, for organ, strings, horns, and harp (1892, Munich, also Columbian Exposition, 1893, Buffalo, 1895). Ballet, 'Evadne,' op. 15 (extracts, Boston Sym- phony Orchestra, 1894). Symphonic Poem, 'Hiawatha,' op. 18 (1893, Mu- nich and Chicago, also Cambridge, Mass., Boston Symphony Orchestra, 1894). String-Quartet in C minor, op. 19. Jubilee March in E-flat, op. 20, for military band (1893, Columbian Exposition and New York, also Buffalo, 1895, Columbus, 1898). Overture, op. 36, for orchestra. Tone- Picture, op. 39, for orchestra. 'A Woman of Marblehead, 1 opera in two acts, op. 40 (extracts, Buffalo Symphony Orchestra, 1897). 'Beloved America,' patriotic hymn, op. 41, for male chorus and orchestra (1896, Buffalo). Festival Cantata, op. 45, for soli, chorus and or- chestra. Festival Morning and Communion Services in A, opp. 46-47. Concert-Piece in E, op. 48, for piano (1910, Madi- son, Wis.). 'Talitha Cumi ', sacred cantata, op. 50, or soli, chorus, organ, strings and harp. 'Romantic' Violin-Concerto in G minor, op. 51, with orchestra. Mass in D minor, op. 53, for six voices a cappella, organ ad libitum (Leuckart). Tone-Poem, op. 59, for orchestra. 'Swedish' Sonata in A minor, op. 60, for violin and piano (1904, Colorado Springs, also Stuttgart, 1906, Madison, Wis., 1910, New London, 1916) (Hofmeister). Three Trios in Canon, op. 62, for violin, 'cello and piano (Bosworth). Concertino in D, op. 63, for violin and piano (Bosworth). Three Trios, op. 64, for violin, 'cello and piano (Andre"). 'Zenobia,' opera in three acts, op. 66 (1905-06, Bremen, also extracts, Minneapolis Orchestra, 1914, Chicago and St. Louis Orchestras, 1915) (Seemann). 'Sakuntala,' a melodrama, op. 67 (1904, Smith College, also Albany, N. Y., 1914). 'The Maiden Queen,' operetta, op. 69. Dedication Ode, op. 82, for orchestra (opening of Connecticut College, 1915). Incidental Music to 'The Trojan Women' of Euripides, op. 113 (1917, Connecticut College). ' Until the Day Break,' sacred cantata, op. 124, for soli, chorus and piano or orchestra (Ditson). 'A Song of Victory,' patriotic cantata, op. 125, for soli, chorus and piano or orchestra (Ditson). 'On Mountain-Crests,' op. 127, for orchestra. 'Skipper Ireson's Ride,' cantata, op. 131, for baritone, chorus and piano or orchestra (Ditson). 'The Landing of the Pilgrims,' cantata, op. 135, for baritone, chorus and piano or orchestra (Ditson). Trio, op. 139, for flute, 'cello and harp. 'The Man of Galilee,' cantata, op. 141, for soli, chorus and organ (Schirmer). Many Songs, mostly secular, some in ' cycles,' opp. 1, 4, 13-4, 21, 23, 27-30, 34, 42-3, 49, 55, 57-8, 68, 72-3, 76-81, 84, 91, 94, 96, 98, 104, 106, 108, 110, 112, 116, 119, 123, 128, 130, 140, 148 (Thompson, Ditson, Bosworth, Breitkopf, Grueninger, Schuberth, Summy, Presser, Boston Music Co., Flammer, Schirmer). Anthems, opp. 6, 25, 33, 38 (tunes), 44, 52, 70, 88, 92, 95, 97, 102, 122, 126, 132 (Thompson, Ditson, Summy, Schirmer, Boston Music Co., Presser). Choruses and Part-Songs, opp. 9, 11, 22, 31, 35, 56, 71, 83, 100, 118, 133-4, 138 (Breitkopf, Schmidt, Summy, Ditson, Presser). Piano-Pieces and Studies, opp. 3, 8, 17, 32, 54, 74, 85-7, 89-90, 93, 99, 101, 103, 105, 107, 111, 114, 117. 120-1, 129, 136-7, 142-5, 147 (Thompson, Ditson, Siegel, Summy, Flammer, Schirmer, Boston Music Co., Presser). Organ-Pieces, opp. 2, 16, 24, 26, 37, 109 (Thompson, Ditson, Millet, Schirmer). Violin-Pieces, opp. 61, 65, 75, 1036, 146 (Siegel, Summy, Schirmer). [ R.8 j 168 COGSWELL COLERIDGE-TAYLOR COGSWELL, HAMLIN ELISHA (b. 1852). See Register, 6. COLBURN, GEORGE (b. 1878). See Reg- ister, 9. COLE, BELLE (1845-1905). See Register, 5. COLE, ISAAC P. See TUNE-BOOKS, 1815. COLE, JOHN (1774-1855). See TUNE- BOOKS, 1800. COLE, ROSSETTER GLEASON (Feb. 5, 1866, Clyde, Mich.), was educated at Ann Arbor, Mich., graduating from the University of Michigan in 1888. While in college he took all the courses in theory under C. B. Cady. At his graduation the University Musical Society performed his lyric cantata 'The Passing of Summer,' composed during his senior year. For two years he taught English and Latin in high-schools. While in Berlin in 1890-92 he won a scholarship in the Konigliche Meisterschule under Bruch. Here Van Eycken was also his teacher in counter- point and composition, Kogel in conducting and Middelschulte in organ. In 1892-94 he was professor at Ripon College in Wisconsin. In 1894-1901 he was at Grinnell College in Iowa, and in 1907-09 at the University of Wisconsin. In 1901-07 and since 1909 he has lived in Chicago as composer, lecturer, teacher of composition and theory, and musical writer. Since 1908 he has been in charge of the music-courses at the summer-session of Columbia University in New York. In 1902 and 1909-10 he was president of the M. T. N. A. and in 1912-14 dean of the Illi- nois Chapter of the A. G. O. He has given much time to composition. His 'Symphonic Prelude,' op. 28, was played by the Chicago Orchestra in 1915 and has since been repeated several times, and his overture 'Pioneer (1818-1918),' op. 35, was played by the same orchestra on Mar. 14-15, 1919, the composer conducting. 'The Passing of Summer' (1888) was later revised and published as op. 14. A cantata, 'The Broken Troth,' for women's voices, soli and orchestra, was performed by the Chicago Teachers' Chorus in 1917. Three reci- tations with musical settings are 'Hiawatha's Wooing,' op. 20, (published 1904), 'King Robert of Sicily' (1906) and 'Pierrot Wounded,' op. 33 (1917). 'King Robert' was first given at a Cincinnati Orchestra concert in 1911, and Bispham, to whom it is dedicated, has used it over 500 times. For the tercentenary anni- versary in 1920 of the settlement of Plymouth he wrote the cantata 'The Rock of Liberty' (Schmidt). For organ are the 'Fantaisie Symphonique,' op. 28 (1912, arranged from the 'Symphonic Prelude'), 'Rhapsody,' op. 30, 'Marche Celeste,' op. 6 (1896), 'Andante Religiose,' op. 10, 'Meditation,' op. 29 (1914), and the two pieces of op. 34, 'A Song of Con- solation' and 'A Song of Gratitude' (1919). The Ballad, op. 25, for 'cello and orchestra, was performed by Carlo Fischer and the Minneapolis Orchestra in 1909. For piano there is an effective 'Legend,' op. 31 (1916), and for piano and violin a sonata in D, op. 8. His published compositions number about 85, of which 35 are songs, 15 piano-pieces, 8 organ-pieces and the rest for chorus, violin, 'cello and orchestra. Of the songs the best known are 'If and 'What can you do?' from a set of eight children's songs, op. 7 (1897) ; 'Auf Wiedersehen,' 'A Kiss and a Tear' and 'When love is in her eyes,' op. 12 (1898); 'My true love hath my heart' and 'Absence,' op. 17 (1903); 'Unnumbered,' op. 18 (1904); 'When thou art nigh,' op. 23 (1906); and 'Your lad and my lad' (1918). He prepared Vol. vi. of The Art of Music, on Church and Choral Music, 1917. [ R.8 ] COLE, SAMUEL WINKLEY (b. 1848). See Register, 6. COLEMAN, OBED M. (1817-1845). See Register, 4. J COLERIDGE-TAYLOR, SAMUEL (Aug. 15, 1875, London : Sept. 1, 1912, Thorton Heath). See article in Vol. v. 32-3. His last year was spent as a member of the faculty of the Guildhall School of Music in London. In 1904 and 1906 he made visits to America, and conducted concerts of his music in many cities. To the list of works should be added op. 60 24 Negro Melodies, transcribed for piano. 62 Music to 'Nero.' 63 Symphonic Variations on an African Air (1906, Philharmonic Society, London). 64 Scenes de Ballet, for piano. 65 'Endymion's Dream,' Rhapsody for so- prano and tenor, women's chorus and orchestra. 66 'Forest Scenes,' for piano. 67 Three Part-Songs. 68 'Bon-bon' Suite, for baritone, chorus and orchestra (1909, Brighton Musical Festi- val). 69 'Sea-Drift,' Rhapsody for chorus a cap- pella. 70 Music to ' Faust.' 71 Valse Suite, for piano. 72 'Thelma,' grand opera in three acts. 73 Ballade in C minor, for violin and piano. 73o (?) Four Part-Songs for men's voices. 74 'Scenes from an Imaginary Ballet,' for piano. 75 'Bamboula,' Rhapsodic Dance for or- chestra (1910, Norfolk, Conn., Festi- val). 76 'A Tale of Old Japan,' cantata. 77 'Petite Suite de Concert,' for orchestra. 78 Three Impromptus, for organ. 79 Incidental music to 'Othello.' 80 Concerto in G minor, for violin and orchestra (1911, Norfolk Festival). 81 'Waiting' and 'Red o' the Dawn,' songs with orchestra (MS). 82 'Hiawatha,' ballet in five scenes, for or- chestra (MS). COLLEGE OF MUSIC COLLEGES 169 Without opus-number. Incidental music to 'The Forest of Wild Thyme.' Eight Part-Songs. Two Impromptus, for piano. Slow movement on a Negro Melody, for violin. Two accompaniments to the poems 'Clown and Columbine' and 'St. Agnes' Eve.' Two Song- Albums. Some fifteen songs. Sir Hubert Parry said of him: 'It was the very simplicity and unconsciousness of his character which caused the racial motives and impulses to be revealed so clearly. He had no occasion to conceal them ; and the niche which he made for himself in musical history derives its individuality from the frankness with which he revealed the qualities which were the inevitable outcome of an ex- ceptional and interesting combination of in- fluences. ' ('Musical Times,' October, 1912.) See M. Byron, A Day with Coleridge-Tay- lor, 1912 ; Anon., Golden Hours with Coleridge- Taylor, 1913; and W. C. B. Sayers, Coleridge- Taylor, His Life and Letters, 1915. COLLEGE OF MUSIC OF CINCINNATI, THE, was founded in 1878 through the enthusiasm of George Ward Nichols and developed through the progressive liberality of Reuben R. Springer, to whom it owes its endowment and much of its equipment. Theodore Thomas was director in 1878-80, but resigned because of disagreement with Nichols as to administrative policy. Nichols was succeeded as president in 1885 by Peter Rudolph Neff, who continued till 1894. In 1894-99 Frank Van der Stucken was director, and in 1899-1920 Arnold J. Gantvoort was general manager. From the first the College has had close relations with the Festival Association. The faculty numbers about 25, including many names of national reputation. The total number of students since the begin- ning has been about 30,000, and the annual enrolment is about 700. There have been about 500 full graduates, besides perhaps 1400 receiving certificates. The College has its own buildings, which contain unusually commodious concert-halls. COLLEGES, MUSIC IN. The American 'college' was originally an adaptation to colonial conditions of a type of institution for higher education that was prevalent in Eng- land. The pioneer settlers were alive to the importance of training intellectual and moral leaders. Of the colleges now existing 2 date from before 1700, about 25 from before 1800, and about 35 from before 1835. Though technically organized in somewhat different forms, these really exemplified a single type. They were for men only, especially of the upper social classes, were designed to prepare for 'the learned professions,' especially the ministry, and offered a fixed four years' cur- riculum leading to the degree of A.B. After about 1835 the number of these in- stitutions increased rapidly, but the original type was either much modified or replaced by new types. Colleges for men gradually altered the balance of the curriculum, so aa to make a more democratic appeal and prepare for varied careers, and tended to allow increas- ing freedom in the choice of studies. The new types included colleges for women only, those for both sexes, the composite 'state universities,' and a variety of special or occupational schools. A few of the earlier colleges had had something of a true 'uni- versity' ideal, and others adopted it, though without dropping or minimizing their 'academic' or 'collegiate' departments. In general, except in the case of the 'state uni- versities' and a few others, all colleges are private corporations and with few exceptions are affiliated with some religious denomination, either by origin or by present administration. After about 1835, in consequence of the rapid expansion of the country, great differences of policy and standard became common in different sections. Much of this inequality still persists, though with a tendency toward a degree of uniformity through competition or mutual agreement. The number of institutions counted in this general class by the United States Bureau of Education is now over 600. Of these, those for men number only about 60 (almost wholly in the East), those for women about 90 (chiefly in the East and South), and those for both men and women at least 350, includ- ing the 'state universities' as a class. The balance are special institutions not important for consideration here. Music as a topic for study had no place in the older curriculum. It did not appear until differentiation set in, and even then for a long time only sporadically. It is still unusual in colleges for men, except where they have expanded into universities. But in almost every divergent type it has been emphasized in colleges for women,' in those for men and women, in state and most other universities, and even in some specializing colleges. The growth of this recognition has become so extensive that some summary statements about it are demanded here, although the amount and intricacy of the data at hand defy satis- factory presentation in any brief form. 1 In the topics that may be offered for entrance to many colleges, 'music' is often included, but credit is confined to certain lines of theory or information rather than expertness in per- In preparing this article far more material was collected than it has proved possible to use. 170 COLLEGES COLLEGES formance. This brings the colleges into rela- tion with those high schools that offer musical courses. Within college systems two distinct policies are in evidence. The first makes music a 'chair' or 'department' like other subjects, with a professor who is a member of the general faculty. The second sets music apart in a distinct 'school' or 'conservatory,' with its own faculty and curriculum, either directly controlled by the college authorities or bound up with the system by some form of affiliation. In a few cases under this second class music is grouped with drawing, painting, sculpture, architecture or other expressional arts in a 'school of fine art.' Under the first type access to music-courses is usually limited to those fully matriculated in the college, and the courses that are magnified are those that are readily coordinated with other courses in science, history and literature, though there is an increasing tendency to allow credit for courses in musical praxis as well. Credit in music counts (within some limitations) toward the A.B. degree. Under the second type music-courses are usually open to students not otherwise matriculated, so that the institution becomes a public music-school (though usually with requirements for admis- sion equivalent to those in the college proper) . To college-students credit is given toward an A.B., and in some cases this degree may be taken with music as a 'major.' The topics most universally credited are harmony, appreciation and history, though the exact method of credit varies much. Work in praxis is also being credited more and more, though with much natural restriction. For non-collegiate students full music-courses usually cover at least four years, with latitude as to emphasis upon an instrument or the voice, leading generally to the degree of Mus. B. Less strenuous courses lead to a diploma of graduation, a teacher's certificate (usually for three years' work) or a public-school certificate (usually for two years' work). In all such cases the student is required to follow a somewhat extensive curriculum, including some subjects not musical. But many schools also admit special students for limited courses of their own choosing. Topics that are taken in class, especially if for college credit, are generally not subject to fees, but individual lessons are as a rule charged for at rates that vary widely in different institutions. The use of rooms and instruments for practice also involves extra expense to the student. This pecuniary factor places much music-study on a different footing from other studies. On the other hand, most institutions that emphasize music take over into their general budget a large portion of the 'overhead' charges of the department or school. In general, theory-courses include rudi- mentary training, appreciation (usually with considerable demonstration), harmony (syn- thetic and analytic), form, composition (often extending to fugue and orchestration), history (usually lectures and demonstration combined), pedagogical methods (especially for public-school work, but also for individual teaching), and sometimes acoustics, aesthetics and the relation of fine art to culture. The praxis-courses usually include piano, organ, violin and voice, and sometimes a variety of other instruments. In most cases there are one or more choruses (often large oratorio- societies), a choir and one or two glee-clubs. Orchestras and bands are becoming increas- ingly common. Many institutions have at least one large organ. Several have musical libraries of importance. Wherever music is emphasized a separate building is provided, including a large recital-hall, often with an elaborate equipment of practice-rooms, etc. Extended and varied opportunities are quite generally offered in the way of frequent recitals and concerts, either by members of the staff or by visiting artists and organizations. In many cases there is an annual 'festival.' Thus even institutions remote from musical centers are able to supply a certain amount of musical demonstration and experience. The pedagogical consequences of bringing music-courses into close connection with those in other subjects are obvious. They are forced to become definite and systematic, so as to be stated with precision and be subject to periodic examination. This is evidently bringing to pass a notable degree of stand- ardization. Emphasis is naturally laid upon securing teachers whose training and quality are comparable with that in the rest of the faculty-body. There is a marked tendency to exalt the relation of music as a discipline to general culture rather than to treat it as merely a means for securing a livelihood. Whatever pervasive influence for culture exists in the institution as a whole reacts on all who pursue music, even as special students. Even those who rank as only music-students are often required to take some literary or other studies. It is impracticable to give details, except in a few conspicuous cases, about the scope, organization and facilities of the music-depart- ments or schools in each institution. But the following register, with its occasional notes, will have some utility. In each case the head of the department is named (the director, dean, professor or chief instructor), with the total number in the music-faculty and the names of previous heads who have COLLEGES COLLEGES 171 had long or notable service. The institutions are given in geographical order by states, but alphabetically by places within the states. I. COLLEGES FOR MEN Bowdoin College, Brunswick, Me. Edward H. Wass. Dartmouth College, Hanover, N. H. Leonard B. McWhood (from 1918). Charles H. Morse, 1901-16 and emeritus ; Philip G. Clapp, 1916-18. Amherst College, Amherst, Mass. William P. Bigelow (from 1894). Harvard University, Cambridge, Mass. Walter R. Spalding (from 1903) +4. John K. Paine, 1862-1906. Williams College, Williamstown, Mass. Sumner Salter (from 1905). Yale University, New Haven, Conn. David Stanley Smith (from 1920) +11. Gustav J. Stoeckel, 1854-96, Horatio Parker, 1894-1919. Colgate University, Hamilton, N. Y. William H. Hoerrner (from 1912) +1. College of the City of New York, New York City. Samuel A. Baldwin (from 1907). Princeton University, Princeton, N. J. George A. Rusaell (from 1917). Seton Hall College, South Orange, N. J. Francis C. Schreiner. Catholic University of America, Washington, D. C. Abel L. Gabert. University of Notre Dame, Notre Dame, Ind. Charles Marshall +4. Marquette University, Milwaukee, Wis. Liborius Semmann (from 1911) +35. See art. DePaul University, Chicago, 111. Walter Keller (from 1912). 2. COLLEGES FOB WOMEN Girls' schools were occasionally undertaken in New England from about 1810. After 1837 more significant 'seminaries' began to be established, including Mount Holyoke in Massachusetts, many in the South, and some in Ohio and Illinois, but only two or three offering anything like a 'college' curriculum. After the Civil War the number increased and the standard was rapidly raised. There was no music-instruction till about 1860, but it has now become almost universal (with Sim- mons, Bryn Mawr and Goucher as striking ex- ceptions) . As a rule, these music-departments are well organized and decidedly effective. Radcliffe College, Cambridge, Mass. Walter R. Spalding (from 1903), with some op- portunities at Harvard University. Smith College, Northampton, Mass. Henry Dike Sleeper (from 1903) +23. Benjamin C. Blodgett, 1878-1903, Louis A. Coerne, 1903-04. Wheaton College, Wheaton, Mass. Hiram G. Tucker (from 1878) +1. Mount Holyoke College, South Hadley, Mass. William C. Hammond (from 1900) +10. Wellesley College, Wellesley, Mass. Hamilton, C. Macdougall (from 1900) +10. Charles H. Morse, 1875-84, Junius W. Hill, 1884-97. Connecticut College, New London, Conn. Louis A. Coerne (from 1915) +3. Wells College, Aurora, N. Y. Emil K. Winkler (from 1894) +5. Elmira College, Elmira, N. Y. George M. McKnight (from 1894) +7. Max Pi- utti, 1874-83, Edward Dickinson, 1883-92. Barnard College, New York City. Some courses open at both Columbia University and the Institute of Musical Art. Hunter College, New York City. Henry T. Fleck +7. Vassar College, Poughkeepsie, N. Y. George C. Gow (from 1895) +8. Frederic L. Ritter, 1867-91, Edward M. Bowman, 1891- 95. Skidmore School of Arts, Saratoga Springs, N. Y. A. Stanley Osborn (from 1917) +3. Beaver College, Beaver, Pa. M. Ellery Reed (from 1918) + 6. Moravian Seminary, Bethlehem, Pa. T. Edgar Shields + 3. Wilson College, Chambersburg, Pa. Rudolph Wertime (from 1917) +3. Orlando A. Mansfield, 1912-17. Irving-College, Mechanicsburg, Pa. Harry C. Harper, 1903-18. Pennsylvania College for Women, Pittsburgh, Pa. Walter Wild (till 1920) +4. T. Carl Whitmer, 1909-16. Hood College, Frederick, Md. Henry W. Pearson (from 1916) +5. Maryland College for Women, Lutherville, Md. Howard R. Thatcher (from 1906) +5. Sullins College, Bristol, Va. Carl Fallberg (from 1917) +8. Rollins College, Hollins, Va. Erich Rath (from 1907) +6. J. A. E. Winkler, 1852-62, H. L. Pauli, 1873-92. Randolph-Macon Woman's College, Lynchburg, Va. John H. Davis (from 1899) +7. Sweet Briar College, Sweet Briar, Va. Helen F. Young +5. Queen's College, Charlotte, N. C. J. R. Niniss +4. Greensboro College for Women, Greensboro, N. C. ' Conrad Lahser (from 1914) +6. Meredith College, Raleigh, N. C. Charlotte Ruegger (from 1915) +9. Salem College, Winston-Salem, N. C. H. A. Shirley (from 1896) +13. Chicora College, Columbia, S. C. Heinrich H. Bellamann (from 1907) +9. Coker College, Hartsville, S. C. Carl J. Tolman (from 1908) +7. Festivals since 1911. Winthrop College, Rock Hill, S. C. Henry D. Guelich (from 1914) +12. A. O. Bauer, 1902-14. Converse College, Spartanburg, S. C. Edmon Morris (from 1913) +6. Arthur L. Man- chester, 1904-13. Festivals since 1895. Agnes Scott College, Decatur, Ga. Christian W. Dieckmann (from 1918) +3. Joseph Maclean, 1893-1918. Bessie Tifft College, Forsyth, Ga. William P. Twaddell (from 1920) +10. Brenau College, Gainesville, Ga. Otto W. G. Pfefferkorn + 11. August Geiger, 1903-10. Wesleyan College, Macon, Ga. Joseph Maerz (from 1914) +11. Florida State College for Women, Tallahassee, Fla. Ella S. Opperman (from 1911) +7. Oxford College for Women, Oxford, O. Clem A. Towner (from 1914) +4. Karl Merz, 1861-82, Max V. Swarthout, 1905-11. 172 COLLEGES COLLEGES Western College for Women, Oxford, O. Alice A. Porter (from 1901) +6. Edgar S. Kelley, associated from 1910. Lake Erie College, Painesville, O. Henry T. Wade +3. Milwaukee-Downer College, Milwaukee, Wis. Claudia W. McPheeters (from 1895) +7. John C. Fillmore, 1878-84. Illinois Woman's College, Jacksonville, 111. Henry V. Stearns +11. Rockford College, Rockford, 111. Laura G. Short (from 1918). F. Marion Ralston, 1909-18. Hamilton College, Lexington, Ky. Isabel Mets (from 1914) + 3. Tennessee College, Murfreesboro, Tenn. Stanley Levey (from 1918) +4. Judson College, Marion, Ala. Edward L. Powers (from 1900) +7. Woman's College of Alabama, Montgomery, Ala. Edward B. Perry (from 1917) +5. Belhaven College, Jackson, Miss. Mary Wharton +5. College of St. Catharine, St. Paul, Minn. S. Scion ti +11. College of St. Teresa, Winona, Minn. Glenn D. Gunn, Horace G. Seaton, William Mc- Phail, Ancella M. Fox. Central College, Lexington, Mo. Delano F. Conrad (from 1897) + 4. Hardin College, Mexico, Mo. Arthur L. Manchester (from 1918). Central College, Conway, Ark. J. Harry Aker +6. H. Sophie Newcomb College, New Orleans, La. Leon R. Maxwell (from 1909) +13. Baylor Female College, Belton, Tex. T. S. Lovette +6. Colorado Woman's College, Denver, Colo. Josephine S. White (from 1911) +3. Mills College, Mills College, Cal. Edward F. Schneider + 10. Louis Lisser, 1880- 1900 and emeritus. 3. COLLEGES FOR MEN AND WOMEN Coeducation in colleges first appeared in 1833 at Oberlin and from 1850 steadily became more common, especially in the State Uni- versities as they were founded and in other institutions in the Interior and the West. (For the State Universities, see article.) As a class, colleges of this order tend to provide musical instruction, often in an extended and impressive way. They are often notably successful in arousing enthusiasm for choral music of different grades. While the. cultural ideal is usually emphasized, occupational preparation is also provided for, especially as regards teaching. Bates College, Lewiston, Me. Edwin L. Goss. Colby College, Waterville, Me. Alice H. White. Middlebury College, Middlebury, Vt. Lewis J. Hathaway. Boston University, Boston, Mass. John P. Marshall (from 1903) +8 lecturers. After the founding of the New England Conservatory in 1867 Boston University was loosely affiliated with it, offering advanced work in composition. Tufts College, Tufts College, Mass. Leo R. Lewis (from 1895). Brown University, Providence, R. I. Edwin E. Wilde (from 1914). Alfred College, Alfred, N. Y. Ray W. Wingate (from 1912). Adelphi College, Brooklyn, N. Y. William A. Thayer +1. Hobart College, Geneva, N. Y. William L. Wood. Cornell University, Ithaca, N. Y. Hollis E. Dann (from 1906). Columbia University, New York City. Daniel Gregory Mason (from 1910) +3. Edward A. MacDowell, 1896-1904, Cornelius Rybner, 1904-19. In Teachers College, Charles H. Farns- worth (from 1900). New York University, New York. Thomas Tapper (from 1908) and William L. Wright (from 1914). Syracuse University, Syracuse, N. Y. George A. Parker (from 1882) +20. Upsala College, Kenilworth, N. J. Oscar M. Magnusson. Lebanon Valley College, Annville, Pa. E. Edwin Sheldon +5. Geneva College, Beaver Falls, Pa. Frances E. Waddel +4. Ursinus College, Collegeville, Pa. John M. Jolls +2. Thiel College, Greenville, Pa. Stanley J. Seiple +4. Grove City College, Grove City, Pa. Hermann Poehlmann +3. Juniata College, Huntingdon, Pa. Edythe M. Ring +2. Bucknell University, Lewisburg, Pa. Paul G. Stolz +7. Westminster College, New Wilmington, Pa. Per Nielsen +6. William W. Campbell, 1906-19. Temple University, Philadelphia, Pa. Thaddeus Rich +13. University of Pittsburgh, Pittsburgh, Pa. Will Earhart (from 1919) +2. Susquehanna University, Selinsgrove, Pa. Rudolph J. Meyer +2. Blue Ridge College, New Windsor, Md. William Z. Fletcher +4. Western Maryland College, Westminster, Md. Maude E. Gesner +3. Bridgewater College, Bridgewater, Va. Charles W. Roller (from 1905) +3. George B. Holsinger, 1882-98. Bethany College, Bethany, W. Va. Jean C. Moos (from 1899) +2. West Virginia Wesleyan College, Buckhannon, W. Va. George S. Bohanan (from 1916) +3. Elon College, Elon, N. C. Ava L. B. Dodge +4. Atlantic Christian College, Wilson, N. C. Ivy M. Smith +3. Piedmont College, Demorest, Ga. S. P. Spencer +2. J. B. Stetson University, DeLand, Fla. Paul R. Geddes +4. Rollins College, Winter Park, Fla. Susan H Dyer +7. .Ohio Northern University, Ada, O. Frederic T. Killeen (from 1916) +2. Mount Union College, Alliance, O. Edwin L. Allen (from 1917) +5. Ohio University, Athens, O. Alexander S. Thompson (from 1913) +9. Baldwin- Wallace College, Berea, O. Albert Riemenschneider (from 1898) +9. COLLEGES COLLEGES 173 Bluffton College, Bluffton, O. Gustav A. Lehmann +8. Cedarvilla College, Cedarville, O. Florence Russell (from 1918) +1. Western Reserve University, Cleveland, O. Charles E. Clemens (from 1899) +1. Defiance College, Defiance, O. Flossie E. Whitney (from 1916) +3. Ohio Wesleyan University, Delaware, O. Horace Whitehouse (from 1918) +8. Samuel H. Blakeslee, 1884-96, Charles M. Jacobus, 1901- 18. Music-courses since 1854. Findlay College, Findlay, O. Royal D. Hughes (from 1916) +3. Denison University, Granyille, O. Karl H. Eschman (from 1913) +7. Otto Eng- werson, 1894-1904, Carl P. Wood, 1906-13. Musical instruction began about 1840. Festi- vals since 1905. Hiram College, Hiram, O. T. Morgan Phillips +2. Muskingum College, New Concord, O. Edward H. Freeman (from 1914) +2. Oberlin College, Oberlin, O. Charles W. Morrison (from 1902) +35. George N. Allen, 1837-64, Fenelon B. Rice, 1869-1901. Rio Grande College, Rio Grande, O. Edna V. Starr. Wittenberg College, Springfield, O. Miriam H. Weaver +4. Heidelberg University, Tiffin, O. Frank W. Gilles +6. Otterbein College, Westerville, O. Glenn G. Grabill +4. Wilmington College, Wilmington, O. Ruth Brundage +1. College of Wooster, Wooster, O. Neille O. Rowe (from 1914) +6. Karl Merz, 1882-90, J. Lawrence Erb, 1905-13. Adrian College, Adrian, Mich. Harrison D. LeBaron (from 1919) +2. Albion College, Albion, Mich. Harlan J. Cozine +4. Alma College, Alma, Mich. Clifford F. RoyeY +3. Hillsdale College, Hillsdale, Mich. Melville W. Chase (from 1869) +3. Hope College, Holland, Mich. Oscar Cress +2. Olivet College, Olivet, Mich. Elsie Duffield (from 1920) + 3. Elizabeth B. Bint- liff, 1893-1909. Earlham College, Earlham, Ind. Samuel B. Garton +2. Franklin College, Franklin, Ind. Minnie B. Bruner (from 1898) +1. Goshen College, Goshen, Ind. Amos S. Ebersole (from 1915) +4. DePauw University, Greencastle, Ind. Robert G. McCutchan (from 1911) +11. James H. Howe, 1884-94, Belle A. Mansfield, 1894- 1911. Hanover College, Hanover, Ind. Lloyd L. Alexander. Indiana Central University, Indianapolis, Ind. Marged E. Jones +1. Taylor University, Upland, Ind. A. Verne Westlake +6. Valparaiso University, Valparaiso, Ind. Edmund W. Chaffee (from 1899) +9. Henri W. J. Ruifrok, 1889-95, William W.Hinshaw, 1895-99. Vincennes University, Vincennes, Ind. Joyce H. Hetley +2. Lawrence College, Appleton, Wis. Frederick V. Evans +14. Beloit College, Beloit, Wis. Max Miranda (from 1919). B. D.Allen, 1894- 1902, Abram R. Tyler, 1902-11. Ripon College, Ripon, Wis. Elizabeth B. Bintliff (from 1909) +5. John C. Fillmore, 1868-77, Rossetter G. Cole, 1892- 94. Carroll College, Waukesha, Wis. Clarence E. Shepard +2. Hedding College, Abingdon, 111. Mrs. Henry Lee Gash (from 1919) +3. Shurtleff College, Alton, III. Cornelia Brownlee (from 1918). Illinois Wesleyan University, Bloomington, 111. Edward Y. Mason (from 1919) +6. Henry P. Eames, 1913-19. Carthage College, Carthage, 111. Ann Dvorsky (from 1914) +4. University of Chicago, Chicago, 111. Robert W. Stevens (from 1911). James Millikin University, Decatur, III. Max V. Swarthout (from 1914) +18. Hermann H. Kaeuper, 1903-14. Eureka College, Eureka, III. F. J. Sucher (from 1918) +4. Northwestern University, Evanston, 111. Peter C. Lutkin (from 1897) +33. Knox College, Galesburg, 111. William F. Bentley (from 1885) +9. Festivals since 1900. Lombard College, Galesburg, 111. Anna G. Bryant (from 1912) +4. Greenville College, Greenville, HI. Louwillie Kessler +4. Illinois College, Jacksonville, 111. William E. Kritch +10. Lake Forest College, Lake Forest, 111. Henry P. Eames +5. Lincoln College, Lincoln, 111. Herbert O. Merry +3. Monmouth College, Monmouth, 111. T. Merrill Austin +5. Northwestern College, Naperville, III. J. Francis Maguire +3. Augustana College, Rock Island, 111. J. Victor Bergquist (from 1912). Wheaton College, Wheaton, 111. Mabel A. Rippe +2. Berea College, Berea, Ky. Ralph Rigby (from 1905) +3. Georgetown College, Georgetown, Ky Bertram C. Henry +3. Asbury College, Wilmore, Ky. Edwin A. Gowen (from 1917) +4. Kentucky Wesleyan College, Winchester, Ky. Anna C. Goff +1. Cumberland University, Lebanon, Tenn. W. H. A. Moore +1. Fisk University, Nashville, Tenn. Jennie A. Robinson +6. Carleton College, Northfield, Minn. Edward Strong (from 1912) +5. St. Olaf College, Northfield, Minn. F. Melius Christiansen +10. Hamline University, St. Paul, Minn. John A. Jaeger +3. Macalester College, St. Paul, Minn. Harry Phillips (from 1896) +15. Gustavus Adolphus College, St. Peter, Minn. O. Waldemar Anderson +3. Coe College, Cedar Rapids, la. Earle G. Killeen (from 1910) +7. Des Moines College, Des Moines, la. Edith M. Usry (from 1912) +2. Maro L. Bartlett , 1885-1919. 174 COLLEGES COLLEGES Drake University, Des Moines, la. Holmes Cowper (from 1909) +16. Parsons College, Fairfield, la. Charles W. Mountain +4. Upper Iowa University, Fayette, la. Charles D. Neff (from 1900) +4. Grinnell College, Grinnell, la. George L. Pierce (from 1907) +12. Willard Kim- ball, 1875-94, Rossetter G. Cole, 1894-1901. Festivals since 1912. Simpson College, Indianola, la. Frank E. Barrows (from 1895) +5. Ellsworth College, Iowa Falls, la. Artemas E. Bullock (from 1894) +4. Iowa Wesleyan College, Mt. Pleasant, la. Elmer K. Gannett (from 1918) +2. A. Rommel, 1878-1918. Cornell College, Mt. Vernon, la. Frank H. Shaw (from 1915) +6. Penn College, Oskaloosa, la. Charles L. Griffith +4. Morningside College, Sioux Falls, la. Paul MacCollin +5. Buena Vista College, Storm Lake, la. Fred W. Mimberley (from 1914) +1. Tabor College, Tabor, la. Ralph W. Soule +2. Missouri Wesleyan College, Cameron, Mo. Joseph E. Layton (from 1907) +3. Culver-Stockton College, Canton, Mo. Robert E. Crossland (from 1919) +1. Missouri Valley College, Marshall, Mo. Claude L. Fichthorn +2. Edgar S. Place, 1890- 1912. Drury College, Springfield, Mo. T. Stanley Skinner (from 1917) +2. William A. Chalfant, 1881-1914. Tarkio College, Tarkio, Mo. Claude C. Pinney (from 1913) +3. Henderson-Brown College, Arkadelphia, Ark. Frederick Harwood +5. Ouachita College, Arkadelphia, Ark. Livingston H. Mitchell +4. Arkansas Cumberland College, Clarksville, Ark. Virgia Poynor +3. Fargo College, Fargo, N. D. Albert J. Stephens (from 1908) +10. Jamestown College, Jamestown, N. D. Harry D. Jackson (from 1918) +2. Huron College, Huron, S. D. Herbert M. Bailey (from 1916) +6. Dakota Wesleyan University, Mitchell, S. D. George H. Miller (from 1915) +3. Yankton College, Yankton, S. D. Lee N. Dailey (from 1904) +7. Cotner College, Bethany, Neb. Ethel Biles +7. Union College, College View, Neb. Oliver S. Beltz (from 1915) +3. Doane College, Crete, Neb. George H. Aller (from 1914) +5. Midland College, Fremont, Neb. Charles K. Nicholas (from 1919) +3. William Davies, 1906-19. Grand Island College, Grand Island, Neb. Jane-L. Finder +6. Hastings College, Hastings, Neb. Hayes M. Fuhr (from 1912) +2. University of Omaha, Neb. Johanna Anderson. Nebraska Wesleyan Univ., University Place, Neb. Carl Beutel (from 1917) +7. Baker University, Baldwin City, Kan. Marvin D. Geere (from 1912) +4. Robert G. Mc- Cutchan, 1904-10. College of Emporia, Emporia, Kan. Daniel A. Hirschler (from 1914) +2. Kansas City University, Kansas City, Kan. Ada L. Harrington. Bethany College, Lindsborg, Kan. Hagbard Erase +14. Festivals since 1900. Ottawa University, Ottawa, Kan. Paul R. Utt (from 1917) +3. Kansas Wesleyan University, Salina, Kan. Ernest L. Cox (from 1917) +4. James E. Carnal, 1903-13. Sterling College, Sterling, Kan. Clyde E. Matson +2. Washburn College, Topeka, Kan. Horace Whitehouse +7. Fairmount College, Wichita, Kan. Frank A. Power +5. Friends University, Wichita, Kan. Lucius Ades +3. Southwestern College, Winfield, Kan. Elvis C. Marshall (from 1911) +3. Phillips University, East Enid, Okla. Charles M. Bliss +6. Kingfisher College, Kingfisher, Okla. Frederick Drake +3. Henry Kendall College, Tulsa, Okla. John K. Weaver (from 1909) +4. Simmons College, Abilene, Tex. Styles R. Anderson +6. Howard Payne College, Brownwood, Tex. Henry E. Meyer (from 1918) +3. Southern Methodist University, Dallas, Tex. Harold von Mickwitz (from 1916) +6. Texas Christian University, Fort Worth, Tex. Helen F. Cahoon +3. Southwestern University, Georgetown, Tex. Frederick W. Kraft (from 1914) +3. Baylor University, Waco, Tex. Rudolf Hoffmann +8. Colorado College, Colorado Springs, Colo. Edward D. Hale (from 1905) +6. Rubin Gold- mark, 1894-1901. College of Idaho, Caldwell, Ida. Frederick F. Beale (from 1912) +2. Whitworth College, Spokane, Wash. Thomas Moss. College of Puget Sound, Tacoma, Wash. Robert L. Schofield (from 1912) +6. Whitman College, Walla Walla, Wash. Llewellyn B. Cain +3. Samuel H. Lovewell, 1898-1906. Pacific University, Forest Grove, Ore. Frank T. Chapman (from 1914) +5. McMinnville College, McMinnville, Ore. Carrie C. Potter (from 1904) +3. Pacific College, Newberg, Ore. Alexander Hull (from 1908) +1. Willamette University, Salem, Ore. John R. Sites (from 1918) +4. Pomona College, Claremont, Cal. Ralph H. Lyman (from 1917) +5. University of Redlands, Redlands, Cal. Charles H. Marsh (from 1919) +4. Pacific Union College, St. Helena, Cal. Noah E. Paulin +2. College of the Pacific, San JosS, Cal. Howard H. Hanson (from 1919) +12. Pierre Douillet, 1897-1913. Leland Stanford University, Stanford University, Cal. Lewis H. Eaton (from 1913). Whittier College, University Park, Cal. Howard L. Hockett +1. For much further information, see Rose Yont, Status and Value of Music in Education, 1916. COLLEGE ENTRANCE BOARD COMBS CONSERVATORY 175 COLLEGE ENTRANCE EXAMINA- TION BOARD, THE, is an association of about 35 colleges in the East for arranging and holding uniform entrance-examinations in various subjects. The system has been so successful that its standards have been widely adopted throughout the country. The present requirement in music is confined to harmony and the test is wholly in writing. The candidate must show (1) The ability to harmonize, in four vocal parts, simple melodies of not fewer than eight measures, in soprano or in bass these melodies will require a knowledge of triads and inversions, in the major and minor modes; and of modulation, transient or complete, to nearly-related keys. (2) Analytical knowledge of ninth-chords, all non-harmonic tones, and altered chords (including augmented chords). The student is expected to have a full knowledge of the rudiments of music, scales, intervals, and staff- notation, including the terms and expression-marks in common use. Credit for passing is counted as 'one unit' towards entrance a 'unit' representing 'a year's study in a secondary school.' The total number of 'units' required for entrance is usually fifteen. ' COLONIAL WEDDING, A.' A one-act opera by John A. Van Broekhoven, brought out at Cincinnati in 1905. COLSON, WILLIAM BREWSTER (b. 1846). See Register, 5. COLUMBIA UNIVERSITY, New York, established a Department of Music in 1896, when a fund for the purpose was given by Mrs. E. Mary Ludlow in memory of her son Robert Center. In 1906 this was trans- formed into a School of Music, including courses in the University proper and in Teachers College. The purpose is 'to teach music historically and aesthetically as an ele- ment of liberal culture, to teach it scientifically and practically with a view to training mu- sicians who shall be competent to teach and to compose, and to provide practical training in orchestral and choral music.' Most of the courses in praxis are given in Teachers Col- lege, while the University proper emphasizes history, theory and form, but also maintains a chorus and orchestra. Edward MacDowell was professor in 1896-1904, and Cornelius Rybner in 1904-19. Among the associate professors have been Leonard B. McWhood in 1897-1910, Charles H. Farnsworth since 1900 (Teachers College), Daniel Gregory Mason since 1910 and Walter Henry Hall since 1913. The School has a fine library of scores and books about music. The Mosenthal Fellowship, awarded biennially, and the Cutting Fellowships and the Pulitzer Scholarship, awarded annually, afford oppor- tunity for advanced study. COLUMBIAN ANACREONTIC SOCI- ETY, THE, of New York, probably formed in 1795, was modeled after the Anacreontic Society of London (see Vol. i. 79-80), though less aristocratic. It fostered attention to glees and part-songs, and may have been the first in America to attempt melodrama. The president till 1799 was John Hodgkinson. See Sonneck, Concert-Life, pp. 204-7. COMBS, GILBERT RAYNOLDS (Jan. 5, 1863, Philadelphia), from his fifteenth to his twenty-second year was actively engaged in playing the organ, piano and 'cello, teaching piano and violin, and directing orchestras, operatic companies and choruses. By these early activities he was prepared for his later work as founder, in 1885, of a large con- servatory (see article below). For twelve years he was organist at the Immanuel Presbyterian Church, later musical director at the South Broad Street Baptist Church and for six years organist at the Tenth Presby- terian Church. As composer he is best known by his piano-pieces, but he has written in all forms. The 'Erato' for piano, dedicated to Godowsky, the 'Romance,' op. 17, ' Norwegian Dance,' 'Autumn' and 'Wind of Memory' are all well known. His 'Reverie,' op. 7, for vio- lin and piano, was dedicated to and often played by Schradieck. His Scotch and Irish songs, and many instructive pieces for piano and violin, have been much used. His Science of Piano-Playing and Introductory Steps to the Science of Piano-Playing are published in loose-leaf ledger form. His 'Dramatic Symphony' was first performed in 1908. His Ritualistic Music for the 32nd Degree A. A. S. R., for men's voices and organ, was written for the Philadelphia Consistory and first presented in 1917. The orchestral set- ting for 'Sheherazade,' an oriental drama, was given at the Metropolitan Opera House, Philadelphia, in May, 1918. He is a member of local and national musical organizations, one of the founders and twice president of the Sinfonia, and a member of all Masonic organizations. [ R.7 ] COMBS BROAD STREET CONSER- VATORY OF MUSIC, THE, was founded in 1885 by Gilbert R. Combs, who has remained at its head ever since. Its teaching-force numbers about 80. The number of pupils is over 2300, and the total since foundation about 42,000, including about 200 full graduates. The Conservatory is highly or- ganized for efficiency and offers a wide range of opportunity for instruction from elementary to advanced grades. Its students have certain privileges at the University of Pennsylvania. Two orchestras are maintained, one of 85 members, the other of 60. The Conservatory occupies five buildings on South Broad Street. 176 COMER CONVERSE COMER, THOMAS. See TUNE-BOOKS, 1841. COMMERY, STEPHEN (b. 1862). See Register, 7. COMMONWEALTH SCHOOL OF MU- SIC, THE, is the name of a summer-school at Boothbay Harbor, Me., started in 1913 by Clarence G. Hamilton and directed by him, with three other teachers. Courses are offered in piano, violin, harmony, analysis and public- school supervision, with emphasis on teachers' needs. The sessions occupy three weeks. CONRAD, DELANO FRANZ (b. 1861). See COLLEGES, 2 (Central C., Mo.). CONRIED, HEINRICH (Sept. 13, 1855, Bielitz, Austria : Apr. 26, 1909, Meran, Tyrol), was first an actor at the Burg-Theater in Vienna and with traveling troupes. In 1877 he directed the Bremen Stadt-Theater, and in 1878 became manager of the Germania Theater in New York. Later he managed the Thalia, and, with Aronson, produced light opera at the Casino. In 1892 he took charge of the Irving Place Theater, making it the leading German theater in the country. After Grau's retirement, in 1903, he became manager of the Metropolitan Opera House and organizer of the Conried Opera Company. Signal events in his regime were the first American production of 'Parsifal' on Dec. 24, 1903, which Frau "Wagner tried in vain to prevent by injunction, and the single render- ing of Strauss' 'Salome' on Jan. 22, 1907, which was at once withdrawn by the directors. In the San Francisco fire of 1906 his com- pany suffered large losses. During his last two years at the Metropolitan he was broken in health, and in 1908 resigned. [ R.6 ] CONSERVATORY NACIONAL DE MU- SICA, EL, of Mexico City, was founded in 1868 and is a constituent part of the Uni- versidad Nacional. The directors have been Agustin Caballero in 1868-76, Antonio Bal- deras in 1877-82, Alfredo Bablot in 1882-88, Jos6 Rivas in 1889-1906, Gustavo E. Campa in 1907-08 and 1909-13, Carlos J. Meneses in 1908-09, Julian Carrillo in 1913-14, Rafael J. Tello in 1914-15, Jose R. Munoz in 1915-17, and Eduardo Gariel since 1917. The faculty includes 35 instructors in all theoretical and practical branches, with considerable emphasis on dramatic music. The number of pupils varies from about 400 to over 800, the total since foundation being about 28,000, of whom about half graduated. The institution is sup- ported by a subsidy from Mexico City. CONVENTIONS, MUSICAL. Gatherings under this name were a natural development of the 'singing-school,' but less narrowly local and capable of more varied expansion. Such occasional assemblies were held in New Hamp- shire in 1829-31 under the direction of Henry E. Moore. In 1834 the Boston Academy of Music started a normal class for singing- school teachers which in 1836 became a ' con- vention' by adding discussions by the mem- bers and in 1840 adopted the name of 'The National Musical Convention' (later changed to ' American ') . At one time this enter- prise was split by the adherents of Mason and Webb respectively. These two, with Hastings, Bradbury, Root, Woodbury, Baker and Emerson, were active promoters of the 'convention' idea, not only in New England, but in the West and South, and they were followed by a host of other leaders. The methods naturally varied greatly, but usually combined in some way elementary and normal instruction, with practice in choral singing of a popular sort. The program occupied three or four days, with three sessions per day. Though at first no emphasis was placed upon concertizing except a closing ' ex- hibition ' more or less demonstration by teachers in attendance and even recitals by outside artists were not uncommon later. In spite of their brief and casual character, and though often dominated by commercial interests, the many 'conventions' held from about 1845 for twenty-five years or more undoubtedly exerted a beneficial influence. Their effort to provide some rudimentary training for adults probably contributed to the later recognition of such work for public- school children. Their encouragement of voluntary combination or affiliation led di- rectly to the formation (from 1876) of Music Teachers' Associations in many states and of the National Association most of these bodies still retaining the name 'convention' for their annual meetings. Their pedagogical purpose was presently expanded and made more efficient by what were called 'Normal Institutes,' which were summer-schools lasting three weeks or more, such as Root started in New York in 1852. Thus they promoted interest in the founding of permanent music- schools. From them, also, may have come part of the impulse to the holding of 'festivals' or groups of concerts, either occasionally (as the Peace Jubilees of 1869 and 1872) or regularly (as at Worcester and elsewhere). That the movement as a whole had value and significance is attested both by the number of earnest men who sought careers as 'conven- tion-leaders' and by the fact that many later teachers and performers gained their first musical inspiration from these leaders. CONVERSE, CHARLES CROZAT (Oct. 7, 1832, Warren, Mass. : Oct. 18, 1918, Highwood, N. J.), was musically trained in Germany, where in 1855-59 he studied theory and composition with Richter, Hauptmann and Plaidy at Leipzig. On his return he CONVERSE COOKE 177 entered the Albany Law School, graduating in 1861. From 1875 he was in law practice at Erie, Pa., and also a partner in the Bur- dette Organ Company. His last years were spent at Highwood, N. J. He composed an 'American Concert Overture ' (1869), based on 'Hail, Columbia'; a ' Festouvertiire ' (1870); six German songs (Leipzig, 1856) ; and an American national hymn, 'God for us' (1887). He left in manuscript two symphonies, two oratorios, several overtures, string-quartets and quintets. Of his hymn-tunes, 'What a Friend we have in Jesus ' has had wide use. In 1895 he received the degree of LL.D. from Ruth- erford College. He was an inventor as well as lawyer and musician, and endeavored to establish the use of the pronoun 'thon.' He used the pen-name 'Karl Redan.' [ R.5 ] CONVERSE, FREDERICK SHEPHERD (Jan. 5, 1871, Newton, Mass.), graduated from Harvard in 1893 with highest honors in music under Paine, and his Sonata for violin and piano was then performed. For two years he studied piano with Baermann and com- position with Chadwick, and then went to Munich for work under Rheinberger at the Royal Academy. On his graduation in 1898 his Symphony in D minor had its first per- formance. In 1899-1901 he taught harmony at the New England Conservatory in Boston, in 1901-04 was teacher of composition at Harvard, and in 1904-07 was assistant- professor there. Since 1907 he has devoted himself to composition. The list of his works is as follows : Sonata, op. 1, for violin and piano. Suite, op. 2, for piano. Quartet, op. 3, for strings. Waltzes, op. 4, for piano, 4-hands. 'Walzer Poetici,' op. 5, for piano, 4-hands. Concert-Overture, 'Youth,' op. 6 (1897, Munich). Symphony in D minor, op. 7 (1898, Munich).. Festival March, op. 8, for orchestra. Romance, 'Festival of Pan,' op. 9, for orchestra (1900, Boston Symphony Orchestra). Romance, 'Endymion's Narrative,' op. 10, for orchestra (1903, Boston Orchestra). Two Poems, 'Night' and 'Day,' op. 11, for piano and orchestra. Ballad, 'La belle dame sans merci,' op. 12, for baritone and orchestra (1902). Concerto, op. 13, for violin and piano. Three Love-Songs, op. 14. Concert-Overture, 'Euphrosyne,' op. 15. Two Songs, op. 16, for soprano. Quartet, op. 17, for strings (1904, Kneisel Quartet, Brooklyn) . Orchestral Fantasy, 'The Mystic Trumpeter,' op. 19, after poem by Whitman (1905, Philadel- phia Orchestra). Songs, 'Adieu' and 'Silent Noon,' op. 20. Romantic Opera, 'The Pipe of Desire,' op. 21, in one act (1906, Boston, also 1910, Metropolitan Opera House). 'Laudate Dominum,' op. 22, for men's voices, trombones and organ. Overture, entr'actes and incidental music for N Mackaye's 'Jeanne d'Arc,' op. 23 (1906, Phila- delphia) . Dramatic Poem, 'Job,' op. 24, for soli, chorus and orchestra (1907, Worcester Festival, and 1908, Hamburg). Serenade, op. 25, for soprano, tenor, men's chorus, flute, harp and strings. 'Hagar in the Desert,' op. 26, dramatic narrative for low voice and orchestra (written for Mme. Schumann- Heink and sung by her at Hamburg, 1908). Symphonic Poem, 'Ormazd' (1912, St. Louis and Boston Orchestras). 'The Sacrifice,' opera in three acts, text by the composer (1911, Boston Opera Company). Music for the Masque of St. Louis (1914, St. Louis). 'The Peace-Pipe,' cantata (1916). Symphonic Poem, 'Ave atque Vale' (1917, Boston Orchestra). [Of the above, opp. 3, 6, 7, 8, 13, 18 are still in manuscript.] 'The Pipe of Desire' has the distinction of being the first work by an American com- poser to be performed at the Metropolitan Opera House. [ R.8 ] COOKE, JAMES FRANCIS (Nov. 14, 1875, Bay City, Mich.), was educated in the New York schools and with private teachers. He studied music there with W. H. Hall, Woodman, Eberhard and Medorn, and with Meyer-Olbersleben and Hermann Ritter at the Royal Conservatory in Wiirzburg. Be- ginning at thirteen, he continued teaching piano in New York for over twenty years, developing original ideas based upon psycho- logical experiments, some of which have had wide acceptance. He was also for some years organist in Brooklyn churches, conductor of choral clubs and vocal teacher. With his wife, nee Betsey Ella Beckwith, as singer, he has given many recitals and lectures on musical history and interpretation. He has written extensively for musical periodicals for three years was correspondent for the 'Neue Zeitschrift fur Musik' and the 'Musik- alisches Wochenblatt,' and in 1901-05 pub- lished notes of extensive investigations of the conservatory-systems of Europe. Since 1907 he has been editor of 'The Etude' in Phila- delphia. The results of conferences with great living pianists he collected under the title Great Pianists upon Piano-Play ing, 1913. He has also published The Standard History of Music, 1910, Mastering the Scales and Arpeggios, 1913, Musi- cal Playlets, 1917, and Music-Masters Old and New. Some of his piano-pieces and songs have had large circulation. He has also composed works of more serious character as yet unpub- lished. He was president of the Philadelphia Music Teachers' Association in 1911-18, of the Writeabout Club in 1915-16, of the Philadel- phia Drama League since 1917, and of the Presser Foundation since 1917. He was made Mus.D. by the Ohio Northern University in 1919. He has written constituent schools. Its work is arranged under ! four heads : Preparatory Department (for children), Grade-school Course, in eight grades ' (as in a public school), Academic Course, i usually requiring two years after completing the Grade-School Course, leading either to a Teacher's Certificate or to a Diploma, and Collegiate Course of two years, leading to a Mus.B. or to an Artist's Diploma. Unusually full opportunities are provided for mastery of band and orchestral instruments and for operatic experience (two works given annually in complete detail). The faculty numbers about 35. Liborius Semmann has been its only director. MARSH, CHARLES HOWARD. See COL- LEGES, 3 (U. of Redlands, Cal.). MARSHALL, MR. and MRS. See Register, 2. MARSHALL, CHARLES. See COLLEGES, 1 (U. of Notre Dame, Ind.). MARSHALL, ELVIS COLLETT (b. 1865). See COLLEGES, 3 (Southwestern C., Kan.). MARSHALL, JOHN PATTON (Jan. 9, 1877, Rockport, Mass.), from 1895 studied in Boston with Lang, Chadwick, MacDowell, Norris and Goodrich. In 1896-1905 he was organist at St. John's and since 1909 has been at the First (Unitarian) Church. In 1902-12 he taught at the Middlesex School in Concord, Mass., and since 1902 has been head of the music-department in Boston University. Since 1909 he has also been organist of the Boston Symphony Orchestra. In 1908-11 he lectured at the Harvard Summer School and since 1911 has been on the staff of the Massachusetts University Extension. He is also on the ad- visory board of the Boston public schools. He has published a Syllabus of the History of Music, 1906, and a Syllabus of Music-Apprecia- tion, 1911, and has written piano-pieces and songs. During the war he was much engaged in promoting music in training-camps. [ R.8 ] MARSHALL, LEONARD. See TUNE- BOOKS, 1849. MARSTON, GEORGE W. (1840-1901). See Register, 5. JMARTEAU, HENRI (Mar. 31, 1874, Rheims, France). See article in Vol. iii. 65. His American tours were in 1892, '93, '94, '98 and 1906. In 1908 he resigned at the Geneva Conservatory to succeed Joachim at the Berlin Hochschule. As reserve-officer of the French army he was interned at the outbreak of the war. After his connection with the Hoch- schule was terminated on Oct. 1, 1915, he was allowed to leave the detention-camp, but com- pelled to remain in Germany. After the war he returned to Geneva. To the list of works add a concerto for violin (in suite-form), op. 15 ; a concerto for 'cello, op. 7 ; string-quartets in D-flat, op. 5, and D, op. 9 ; a string-trio in F, op. 12; a quintet for clarinet and strings, op. 13 ; 8 songs with string-quartet, op. 10 ; and smaller instrumental pieces. MARTENS, FREDERICK HERMAN (July 6, 1874, New York), is a grandnephew of Karl P. Gradener, the Hamburg composer. He was trained under private tutors, especially in history and languages, and studied theory with Spicker, piano with H. C. Timm and Wil- liam Barber in New York. Since 1907 he hjas been constantly active in literary work, con- tributing articles to leading musical journals, including the London 'Musical Record,' writ- ing texts for operettas and cantatas and verses for songs, and translating texts in various Ian- 284 MARTIN MASCAGNI guages. He is librettist of Page's 'The Con- test of the Nations' and 'Old Plantation-Days,' Macfarlane's 'Little Almond- Eyes,' 'Swords and Scissors' and 'America First,' Lester's 'The Frog- Prince,' 'Ballad of the Golden Sun,' 'Thyre the Fair,' etc., Dunn's 'The Phantom- Drum, ' Bornschein's 'Zorah,' 'Onowa' and 'The Maypole of Merrymount,' James' 'Spring in Vienna,' etc. His verses have been set as songs by Cadman, Spross, Kramer, Speaks, Ornstein, Yamada and others. In 1914-17 he was one of the contributing editors of The Art of Music. He has also published Leo Orn- stein: the Man, his Ideas, his Work, 1917, and Violin-Mastery, 1918. [ R.9 ] MARTIN, AUBREY WILLIS (b. 1879). See STATE UNIVERSITIES (Miami U., Ohio). J MARTIN, GEORGE CLEMENT (Sept. 11, 1844, Lambourn, England : Feb. 23, 1916, London.) See article in Vol. iii. 65. He remained organist at St. Paul's till his death. A tablet commemorating his forty-two years' distinguished service was unveiled in the crypt on Oct. 31, 1917. In 1912 Oxford University conferred an honorary Mus.D. upon him. A full list of his works is given in ' The Musical Times,' April, 1916. It includes 20 services (complete or partial) , 22 anthems (both services and anthems often with orchestra), 21 hymn- tunes, 5 carols, a collection of 84 tunes and carols, some secular songs and part-songs, editions of church-music by other composers, and the manual The Art of Training Choir- Boys. MARTIN, RICCARDO [Christian name originally Hugh Whitfield] (Nov. 18, 1881, Hopkinsville, Ky.), encountered strong family opposition to musical aspirations, but began violin in Nashville, harmony with Irrgang in Berlin and singing with Carelli in Naples, and in 1896-1900 was under MacDowell in com- position in New York. From this period date several songs (Ditson, Schirmer, Hamelle), men's choruses (Schirmer) and some choral and orchestral works. In 1901 he was enabled by H. H. Flagler to study for the opera-stage in Paris under Sbriglia, M. and Mme. Escalaiis and Jean de Reszke, developing into an effec- tive tenor. His debut as Faust was in 1904 at Nantes (the manager then affixing a stage-name that he has felt obliged to retain). He also sang in Verona and Milan in 1905-06, and in 1906 appeared in New Orleans and toured with the Henry Russell company. In 1907-15 he was regularly engaged at the Metropolitan Opera House, appearing first in 'Mefistofele' and later creating (for that stage) the tenor roles in 'La Wally,' 'The Pipe of Desire,' 'Mona' and 'Cyrano de Bergerac,' and in Philadelphia with the Chicago Opera Company in 'The Cricket on the Hearth.' In 1910-11 he also sang at Covent Garden in London, appearing first in 'Madama Butterfly,' and in 1910 was at the Teatro Arbeu in Mexico City. In 1916- 17 he toured with the Boston Grand Opera Company. His favorite roles are Enzo (in 'La Gioconda'), Manrico, Rodolfo, Avito (in ' L'Amore dei Tre R& ') , Cavaradossi and Pink- erton. He was the first American to sing the latter at the Metropolitan and at Covent Gar- den. [ R.9 ] MARTINELLI, GIOVANNI (b. 1885). See Register, 10. MARTUCCI, PAOLO (b. 1885). See Reg- ister, 10. MARYOTT, HAROLD BURNHAM (b. 1878). See Register, 9. MARZO, EDUARDO (Nov. 29, 1852, Na- ples, Italy), came to America in 1867 as a boy-pianist, having then studied with Nacci- arone and Miceli, but went back for composi- tion-lessons under Pappalardo. From 1869 he traveled widely as musical director for troupes and accompanist for soloists, being associated with Carlotta Patti, Mario, Miss Gary, lima de Murska, Sauret, Tietjens, Sa- rasate and many others. Since 1878 he has worked in New York as vocal teacher, or- ganist and composer. At present he is or- ganist at the Church of the Holy Name and teaches in colleges at Mount St. Vincent and in New Rochelle. Since 1884 he has received distinguished decorations, royal and ecclesias- tical, from Italy. In 1896 he was a founder of the A. G. O. His published works include 9 masses, 4 vespers, 40 songs and anthems for the Roman Catholic service ; 3 Te Deums, 40 anthems and 35 solos for the Protestant service ; a sacred cantata for chorus and or- chestra ; 6 operettas and cantatas for women's vofces ; about 40 part-songs for women's voices and about 40 secular songs. He has also edited many masses and motets (Schirmer, Ditson), several collections of Italian folk-songs, and The Art of Vocalization, 24 vols. In manu- script he has a setting of the Penitential Psalms, an orchestral prelude, preludes and fugues for string-quartet, etc. On Nov. 17, 1917, his friends gave him a banquet at the Waldorf- Astoria in celebration of his fiftieth year of activity in America. [ R.5 ] J MASCAGNI, PIETRO (Dec. 7, 1863, Leghorn, Italy). See article in Vol. iii. 71-2. In 1902 he made a brief and singularly ill- advised visit to the United States, conducting two or three of his works (including 'Iris') in New York, Boston, etc. In 1911 he made a trip to South America, which was more fortu- nate. To the list of operas add ' Isabeau ' (191 1 , Buenos Aires, 1917, Chicago), 'Parisina' (1913, Milan), 'Lodoletta' (1917, Rome, 1918, New York), and one or two lesser works. He has written a 'Rapsodia Satanica'^to accompany a cinema-film (1917, the Augusteo, Rome). See MASON MASON 285 biographies by Monaldi, 1899, Marvin, 1904, Bastianelli, 1910, and Pompei, 1912. MASON, DANIEL GREGORY (1820- 1869). See Register, 4. MASON, DANIEL GREGORY (Nov. 20, 1873, Brookline, Mass.), is a son of Henry Mason (see below) and grandson of Lowell Mason. He graduated from Harvard in 1895. His teachers in music at various times were Johns, Ethelbert Nevin, Paine, Arthur Whiting, Chadwick and Goetschius in Boston or New York and d'Indy in Paris. Since about 1900 he has been increasingly prominent in New York as a skillful teacher, lecturer, critic and author, besides much notable composition. After lec- turing at the Normal College in New York, for the American University Extension Society and at Teachers College, since 1910 he has been on the staff of Columbia University as assistant- or associate-professor. His activity as lecturer has extended to many other institutions, like the Brooklyn Academy of Arts and Sciences, the Institute of Musical Art, the American Institute of Applied Music, Smith College in Massachusetts, etc. For the Board of Educa- tion he has given over 250 popular lectures. His compositions are as follows : 'Birthday Waltzes,' op. 1, for piano. 'Elegy,' op. 2, for piano (Metzler). Romance and Impromptu, op. 3, for piano (Church). Four Songs, op. 4, for soprano, texts by Mary L. Mason (Church). Sonata in G minor, op. 5, for violin and piano (Schirmer). Variations on 'Yankee Doodle,' in the styles of various composers (Breitkopf). Quartet in A, op. 7, for piano and strings (Schirmer). Pastorale, op. 8, for piano, violin and clarinet (Mathot). 'Country-Pictures,' op. 9, for piano (Breitkopf). Passacaglia and Fugue, op. 10, for organ (Gray). Symphony in C minor, op. 11 (1916, Philadelphia Orchestra) . Music for 'The Pageant of Cape Cod,' op. 12 (1914, Bourne, Mass.). Two Pieces for violin and piano, op. 13. Sonata, op. 14, for clarinet and piano. 'Love-Songs,' op. 15, a cycle for soprano, texts by Mary L. Mason (Schirmer). Impromptu and Ballade, op. 16, for piano (Im- promptu, Ditson). Intermezzo, op. 17, for string-quartet (1918, Flonzaley Quartet). 'Russians,' op. 18, song-cycle for baritone and orchestra, texts by Witter Bynner. Quartet on Negro themes, op. 19, for strings. He has also been a prolific and forceful author, his books including From Grieg to Brahms, 1902, Beethoven and his Forerunners, 1904, The Ro- mantic Composers, 1906, The Appreciation of Music (with T. W. Surette) 1907, The Orches- tral Instruments and What They Do, 1908, A Guide to Music, 1909 (two editions), A Neg- lected Sense in Piano-Playing, 1912, Great Mod- ern Composers (with Mary L. Mason), 1916, Short Studies of Great Masterpieces, 1918, and Contemporary Composers, 1918. His most con- spicuous editorial work was The Art of Music, 14 vols. 1914-17, of which he was editor-in- chief. [ R.9 ] MASON, EDITH BARNES (b. 1892). See Register, 10. MASON, EDWARD YOUNG (b. 1871). See COLLEGES, 3 (Illinois Wesleyan U. and Ohio WesleyanU.). MASON, HENRY (1831-1890). See Reg- ister, 4. MASON, HENRY LOWELL (b. 1864). See Register, 7. MASON, LOWELL (Jan. 8, 1792, Medfield, Mass. : Aug. 11, 1872, Orange, N. J.). See article in Vol. iii. 74. During his life in Sa- vannah he was active first in the Independent Presbyterian Church and in 1827 a founder of the First Presbyterian Church.* In 1818 he and F. L. Abel, who taught him harmony, be- gan making a collection of choral music, which he took to Boston in search of a publisher. It was partly due to the interest of G. K. Jack- son that the work was finally taken up by the Handel and Haydn Society. Their failure to give Mason credit as compiler is surprising. The net proceeds of the venture were about $12,000 for the Society and the same for Mason a fortunate wind-fall for both parties. The book's prestige and the fame of his choir in Savannah led to his being called in 1827 to be choir-master for three Boston churches. Of these the chief was that in Bowdoin Street, where Dr. Lyman Beecher was pastor, and here Mason soon concentrated his efforts as organist. In 1827-32 he was president and conductor of the Handel and Haydn Society, which he brought to a new standard of efficiency, though without undertaking any new work of signal importance. His interest in Pestalozzi was aroused by books brought in 1829 from Europe by W. C. Woodbridge, who joined him in the effort to prove by classes the value of the system for the public schools. The Academy of Music, or- ganized in 1833 (under the chairmanship of Samuel Eliot, mayor of the city, father of President Eliot of Harvard) , was an immediate success (1500 pupils the first year), so that G. J. Webb was soon called in as assistant. The issue of Mason's Manual for Instruction, 1834, with its emphasis upon 'the thing before the sign,' led at once to the formation of normal classes and these, under the leadership of Ma- son and Webb, in turn started the movement for musical 'conventions' which soon spread beyond New England into New York, Ohio 1 At that time the distinction between 'Congrega- tional ' and ' Presbyterian ' in the naming of churches was only just establishing itself. The Independent Church was originally the former rather than the latter. 2S6 MASON MASON and further west. It was not till 1837 that the authorities yielded to the pressure to in- troduce music into the public schools, and even then made no appropriation for it, so that the first year Mason not only served without salary, but supplied all books and materials. He remained in charge till 1841, being succeeded by B. F. Baker. During his trip abroad in 1837 he heard the first English performance of Mendelssohn's 'St. Paul' at Birmingham, a rendering of ' Fidelio ' in English (with Schroe- der-Devrient) and innumerable concerts. At Zurich he visited Pestalozzi, Nageli and others. On his second European trip, in 1853-54, he remained about eighteen months. He was now recognized as an authority and lectured frequently on congregational singing and music- education. His Letters, 1853, belong to this trip. See also ACADEMY OP Music (Boston), CONVENTIONS, and PUBLIC SCHOOLS. After 1854 he lived at Orange, N. J., where his third son, William Mason, was then teach- ing. He had accumulated a considerable li- brary, increased in 1852 by the purchase of the collection of the famous organist Rinck. After his death the library was given by the family to Yale University. His degree of Mus.D. was not absolutely the first in America (see DEGREES), but certainly the first of distinction. His remarkable power as leader and organizer was due to a variety of characteristics. He had keenness of intellect, patience of investi- gation and ability to marshal and impart in- formation. His enthusiasm was ardent in everything pertaining to the application of music as an art to popular education and to the exercises of social religion. He was eminently magnetic as a leader or teacher of classes and choirs, but strict in discipline and always serious in purpose. His instinct was that of a true educator, whose object lies outside himself, rather than of the self-conscious artist. He deliberately confined himself to those forms of effort that he believed most important and promising for the conditions of the period. Even so, he was somewhat ahead of the age. Yet so pervasive was his influence that he lived to the verge of a new period, when much that he did was lightly esteemed because rudimen- tary. See the more or less senseless treatment of the subject in Ritter, Music in America. There is no adequate biography as yet, but one is being completed by his grandson, Henry L. Mason, of Boston, who has kindly supplied many details for this notice. He was a fertile composer of hymn-tunes and arranged many from various sources. Those that continued popular longest are usually known by the following names : 'Anvern' 'Azmon* 'Bethany' 'Boylston' 'Cowper' 'Danvers' 'Dort' 'Downs' 'Ernan' ' Fountain ' 'Haddam' ' Hamburg ' 'Harwell' 'Hebron' 'Henley' ' Hermon ' 'Inverness' ' Laban ' 'Litchfield' ' Malvern ' 'Meribah' 'Migdol' 'Missionary Hymn' 'Naomi' 'Olivet' 'Olmutz' 'Olney' 1 Rockingham ' 'Sabbath' 'To-Day' * Uxbridge ' Ward' Watchman ' 'Wesley' Work-Song' 'Zebulon' 'Zerah' It is not always realized that the technical form of these, especially in their original rhyth- mic disposition, presents some historic in- terest apart from their deliberate simplicity. For titles of his books in this field see TUNE- BOOKS and HYMN-BOOKS. He was the pioneer in song-books for juvenile use, both sacred and secular, including many devised specially for public schools. The full list of these should be on record : The Juvenile Psalmist, 1829 believed by him the first book with music for Sunday-Schools, The Juvenile Lyre, 1830 the first American school song-book, The Juvenile Singing-School, 1835, Sabbath- School Songs, 1836, The Sabbath-School Harp, 1837, The Juvenile Songster, 1837 (London), Juvenile Music for Sunday-Schools, 1839, The Boston School Song- Book, 1840, Little Songs for Little Singers, 1840, The American Sabbath-School Singing-Book, 1843, Song- Book of the School-Room, 1845, The Primary School Song-Book, 1846, The Normal Singer, 1856, The Song-Garden, 3 parts, 1864-65 with the Manual for Instruction of the Boston Academy in the Elements of Vocal Music, 1834. To these may be added the part-song collections, The Odeon, 1837, The Boston Glee-Book, 1838, The Lyrist, 1838, The Gentlemen's Glee-Book, 1841, 21 Madrigals, Glees and Part-Songs, 1843, The Vocalist, 1844, The Glee-Hive, 1851. At one point material was incorporated in the periodical 'The Musical Library,' 1834-35 (with Webb). [ R.3 ] MASON, LOWELL, JR. (1823-1885). See Register, 4. MASON, LUTHER WHITING (Apr. 3, 1828, Turner, Me. : July 14, 1896, Buck- field, Me.) , was not related to the Lowell Mason family. Though mainly self-taught in music, he got his school-education by teaching it. He was all his life engaged in public-school music, from 1853 in Louisville, then in Cincinnati, where he first perfected his system, from 1864 in Boston, at first devoting himself to supplying the lack of instruction in the primary grades, in 1879-82 in Japan as governmental super- visor, 1 and then in Boston again. With George A. Veazie, Jr., he published a series of manuals as The National Music-Course, making a trip to Germany in connection with it and securing such approval from the Leipzig Conservatory that a German translation was issued. [ R.4 ] MASON, TIMOTHY B. See TUNE-BOOKS, 1834. 1 It is said that his system was speedily introduced into 30,000 Japanese schools. This unfamiliar style of music led to the term ' Mason-song ' for Western music generally. DR. WILLIAM MASON MASON MATHEWS 287 MASON, WILLIAM (Jan. 24, 1829, Bos- ton : July 14, 1908, New York). See article in Vol. iii. 74. His early studies were with Henry Schmidt in Boston. By 1846 he played at Harvard Musical Association concerts in piano-trios by Beethoven, Reissiger and May- seder. After being at Leipzig he spent a year with Dreyschock at Prague. In 1853 he played Weber's 'Concertstiick' in London with the Harmonic Union under Benedict. In 1854-55 he toured the United States as pianist and then settled in New York. His desire to introduce Brahms' Trio, op. 8, led to the Mason-Thomas Soirees. His piano-works numbered about 40, including 'Amitie pour Moi,' op. 4, 'Silver Spring,' op. 6, Ballade in B, op. 12, 'Monody,' op. 13, the mazurka-caprice 'Spring-Dawn,' op. 20, 'Reverie Poetique,' op. 24, Berceuse, op. 34, Serenata, op. 39, Scherzo, op. 41, and 'Capriccio Fantastico,' op. 50. He published (with E. S. Hadley) a Method for the Piano, 1867, a System for Beginners, 1871, Pianoforte- Technics, 1878, and, most important of all, Touch and Technic, op. 44. For many years he was counted the foremost teacher in the country. [ R.4 ] MASON & HAMLIN COMPANY, THE, of Boston, was founded in 1854 by Henry Mason (son of Lowell Mason) and Emmons Hamlin, the latter having been in the employ of Prince & Co. of Buffalo. The business at first was the making of the form of reed-organ known as the melodeon, and the output began with about 450 instruments a year. But Hamlin brought with him his method of im- proving tone by twisting the reeds, and other improvements were rapidly made, so that the capacity of the factory was greatly increased and the quality improved. In 1861 what was called the 'cabinet organ' was first put on the market, often with several sets of reeds or 'stops.' This has been developed to a high pitch of perfection and has received numerous awards for excellence. In 1882 the Company began also to make pianos and since 1900 have introduced notable features, especially in the method of stringing and tuning. In 1869 Lowell Mason, Jr., became president, con- tinuing till his death in 1885. The present president is Henry Lowell Mason, son of the founder. MASON BROTHERS', of Boston, was a publishing firm formed in 1855 by Daniel Greg- ory Mason and Lowell Mason, Jr. (sons of Lowell Mason), largely to take over the issue of their father's books. They continued until 1869, when D. G. Mason died and Lowell Mason joined his brother Henry in the Mason & Hamlin Co. MASON-THOMAS SOIREES, THE, in New York, were chamber-music recitals begun in 1855 and continued till 1868. The original players were William Mason, piano, Theodore Thomas, first violin, Joseph Mosenthal, second violin, George Matzka, viola, and Carl Berg- mann, 'cello. The latter was succeeded after a year by Brannes and he in turn by Frederic Bergner. Otherwise the quintet remained in- tact. These recitals were notable for the num- ber of chamber- works introduced to America, as well as for the high standard of interpreta- tion and performance. t MASSENET, JULES &MILE FR^D^RIC (May 12, 1842, Montaud, France : Aug. 13, 1912, Paris). See article in Vol. iii. 87-8. 4 Ariane' was produced in 1906 (Paris) , ' Th6rese in 1907 (Monte Carlo), 'Bacchus' in 1909 (Paris), 'Don Quichotte' in 1910 (Monte Carlo), 'Roma' in 1912 (Monte Carlo), ' Panurge' in 1913 (Paris) and 'Cleopatre' in 1914 (Monte Carlo), the last two posthumously. Still an- other work, 'Amadis,' remains unperformed. His Souvenirs d'un Musicien, 1912, were com- pleted by Leroux. For bibliography see Baker, Diet, of Musicians, p. 588. MATHEWS, WILLIAM SMITH BAB- COCK (May 8, 1837, New London, N. H. : Apr. 1, 1912, Denver, Colo.), began music- study at ten, was organist at thirteen and teacher at Appleton Academy, Mt. Vernon, N. H., at fifteen. After study at Lowell and Boston, in 1860-63 he taught at the Wesleyan Female College in Macon, Ga., and then at Greensboro, S. C., Marion, Ala., Aurora, 111., finally locating in Chicago in 1867. Here until 1893 he was organist at the Centenary (M. E.) Church, then and later a very active teacher and writer, and was influential in advancing musical standards in the Middle West. In 1910 he moved to Denver, hoping to profit by the change of climate, and spent his last years in literary and editorial work. He contributed to 'Dwight's Journal of Music' in 1866-72, edited 'The Musical Independent' in 1868-72 and in 1878-86 was music-critic for the Chicago 'Herald,' 'Record' and 'Tribune' successively. He established the monthly magazine ' Music ' in 1891 and continued editor until 1902, when it was merged with 'The Philharmonic' and passed out of his hands. His books were Out- lines of Music-Form, 1867, The Emerson Organ- Method, 1870 (with L. O. Emerson), How to Understand Music, 2 vols., 1880, 1888, One Hundred Years of Music in America, 1889, Primer of Musical Forms, 1890, Popular History of Music, 1891, Dictionary of Musical Terms, 1896 (with Emil Liebling), Music, its Ideals and Methods, 1897, The Masters and their Music, 1898, and The Great in Music, 3 vols., 1900-03. He collaborated with William Mason in his Touch and Technic and Funda- mental Piano-Technics. He edited collections of Schumann, Chopin, etc., and was concerned with many pedagogical publications, the last 288 MATHUSHEK McCORMACK of which was The Progressive Series. His mind was ready and fertile, acute and often fresh in point of view, but much of his literary work was over-hasty. [ R.5 ] MATHUSHEK, FREDERICK (1814- 1891). See Register, 4. MATLACK, HENRY WILLIAM (b. 1875). See Register, 8. MATSON, CLYDE E. See COLLEGES, 3 (Sterling C., Kan.). MATTFELD, MARIE. See Register, 8. MATTHEWS, HARRY ALEXANDER (Mar. 26, 1879, Cheltenham, England), was trained by his father (see next article) and came to Philadelphia in 1899. He has been organist at the Second Presbyterian, St. Luke's and Epiphany Churches. His works number about 200, including the cantatas 'Life Ever- lasting,' ' The Conversion,' ' The^Story of Christ- mas,' 'The Triumph of the Cross,' 'The City of God' (1917, Luther Quadricentennial) , 'The Slave's Dream,' 'The Lake of the Dismal Swamp' and 'The Song of the Silent Land,' and many popular anthems, songs, duets, piano- and organ-pieces. [ R.8 ] MATTHEWS, JOHN SEBASTIAN (Dec. 11, 1870, Cheltenham, England), was the son of John Alexander Matthews, for over 45 years conductor of the Cheltenham Festivals. Like his brother (see above), he was first trained by his father and also by G. B. Arnold at Winchester, assisting the latter as organist at the Cathedral for three years. He has been organist in America since 1891 at St. Mar- tin's in the Fields in Philadelphia, at St. Mary's in Burlington, N. J., at St. Stephen's in Boston, from 1901 at St. Peter's in Morris- town, N. J., and since 1916 at Grace Church in Providence. He has written the cantatas 'The Paschal Victor' (1913), 'The Eve of Grace' (1914) and 'The Way of Life' (1919), many effective anthems, like 'There's a Wide- ness in God's Mercy,' 'Shepherd, with Thy Tenderest Love,' 'I Sought the Lord,' 'When wilt Thou save the people ' and ' The Twilight- Carol,' about 20 Christmas-carols, songs, part- songs and organ-pieces. He has also in manu- script the comic opera ' Narragansett Pier.' [ R.8 ] MATTIOLI, LINO (b. 1853). See Regis- ter, 7. MATZENAUER, MARGARETS (b. 1881). See Register, 10. MATZKA, GEORGE (1825- ? ). See Register, 4. MAUBOURG [-GOFFAUX] JEANNE (b. 1875). See Register, 9. MAUREL, VICTOR (b. 1848). See Regis- ter, 6. MAXIM, ABRAHAM (1773-1829). See TUNE-BOOKS, 1808. MAXSON, FREDERICK (June 13, 1862, Beverly, N. J.), was first a pupil of D. D. Wood, the blind organist in Philadelphia, and later of Guilmant. From 1884 he was organist at the Central Congregational Church in Philadelphia and since 1902 at the First Bap- tist Church. Besides being a successful organ- teacher, privately and at the Leefson-IIille Conservatory, he has been much in request as recitalist in Philadelphia and throughout the East. He is an associate of the R. C. O., fel- low of the A. G. O., and head of the examiners of the American Organ-Players' Club. His works include organ-pieces like the Romance in C (Gray), Festive March in E-flat (Gray), Madrigal in G and 'A Spring-Time Fantasy' (White-Smith), Grand Chorus in D (Weekes) and Finale in B-flat (Church), various piano- pieces (Presser, Schirmer, North, White-Smith) , a choral service, anthems and sacred solos (Boner, Ditson, Gray, White-Smith). He has also unpublished a 'Liberty Fantasia' and a Festive March for organ. [ R.7 ] MAXWELL, LEON RYDER (Sept. 15, 1883, Medford, Mass.), graduated at Tufts College in 1904, studying music there and in Boston. In 1905-08 he was music-supervisor in various towns near Boston, and then went to study composition with Beer-Walbrunn and voice with Hess in Munich, continuing the latter with Braggiotti in Florence and Dubulle in Paris. Since 1909 he has taught in Newcomb College in New Orleans, becoming head of its music-school in 1910. He has given many song-recitals as baritone, lectured more or less, written magazine-articles and prepared the program-notes for the New Orleans Phil- harmonic Society and Symphony Orchestra. Since 1912 he has conducted the University Chorus, in 1913-15 was president of the Louisi- ana Music Teachers' Association, in 1917-19 was vice-president of the M. T. N. A., etc. His compositions for voice, piano and organ, and for string-quartet and orchestra, are as yet unpub- lished. He was co-editor with Leo R. Lewis of The Assembly Praise Book, 1910. [ R.9 ] MAY, HIRAM. See TUNE-BOOKS, 1840. MAYLATH, HEINRICH (1827-1883). See Register, 5. McCLELLAN, JOHN JASPER (b. 1874). See Register, 8. McCONATHY, OSBOURNE (b. 1875). See Register, 8. McCORMACK, JOHN (June 14, 1884, Athlone, Ireland). See article in Vol. v. 652. His American debut was at the Manhattan Opera House in New York, on Nov. 10, 1909, in 'La Traviata.' In 1910-11 he sang with the Boston Opera Company and in 1912-13 with the Chicago Opera Company. Since then he has devoted himself mainly to concert- work, in which he has had phenomenal success. His operatic repertoire includes the tenor roles McCOY McWHOOD 289 in 'Madama Butterfly,' 'La Boheme,' 'Faust,' 'Cavalleria Rusticana,' 'Don Giovanni,' 'La Traviata,' 'Rigoletto,' 'Lakme,' 'La Fille du Regiment ' and ' Tosca. ' He became an Amer- ican citizen in 1917. Holy Cross College made him Litt.D. in 1917. [ R.9 ] McCOY, WILLIAM J. (Mar. 15, 1848, Crestline, O.), was a pupil of William Mason, Reinecke and Hauptmann. For years he has been identified with the musical life of San Francisco. For the Bohemian Club there he has written the music for the 'Grove-Plays' 'The Hamadryads' (1904) and 'The Cave- Man' (1910), besides the unpublished opera 'Egypt' (1914). From the first of these the Prelude, Dance and 'The Naiads' Idyl' have often been given separately by various orches- tras, and from the second 'The Song of the Flint' and 'The Dance of the Fireflies' are issued in piano-arrangement (Sherman, Clay & Co.). He has published many orchestral pieces and the overture 'Yosemite' (Bellman & Thumer), and has also a Symphony in F (1872, Leipzig). Among his chamber-works are an uncompleted violin-concerto, an Intro- duction and Valse Concertante for flute and orchestra, a sonata for violin and piano, and a Romance for saxophone and piano (Carl Fischer) . He has a Mass in D minor for chorus and orchestra, an Ave Verum for men's chorus, solo and organ, 'Kol Nidrei' for cantor, con- tralto, chorus, orchestra and organ, and con- siderable other church-music. His published songs are also numerous (Ditson, Schirmer, Schuberth, Church, etc.). He is the author of Cumulative Harmony. [ R.6 ] McCUTCHAN, ROBERT GUY (Sept. 13, 1877, Mountayr, la.), graduated from Park College in 1898 and took a Mus.B. at Simpson College in 1904. In 1899-1901 he was teach- ing and concertizing, and in 1904 organized the music-department of Baker University in Kansas, remaining till 1910. After a year of study in France and Germany (while in Berlin directing the choir of the American Church), in 1911 he became dean of the School of Mu- sic at DePauw University in Greencastle, Ind. Since 19 16 he has been president of the Indiana Music Teachers' Association and in 1920 be- came secretary of the M. T. N. A. Since 1917, under the State Council for Defense, he has been active in promoting community-singing (in the summer of 1918 he made about 165 speeches), with encouraging results. In view of this work and his interest in music in col- leges he is preparing a work on Music as a Social Force. [ R.8 ] t M'EWEN, JOHN BLACKWOOD (Apr. 13, 1868, Hawick, Scotland). See article in Vol. iii. 6-7. His works to 1919 include the following : Symphony in F minor. Symphony in A minor, 'Solway' Symphony in C-sharp minor. 'Three Border-Ballads' 'Coronach,' 'The De- mon Lover,' 'Grey Galloway' for orchestra (Anglo-French Music Co.). Two Overtures 'Comedy,' 'Tragedy.' Suite in E for orchestra. Ballet-Suite for orchestra. Highland Dances for string-orchestra. Concerto for viola and orchestra. String-quartets No. 1, in G, No. 2, in C minor, No. 3, in G minor, No. 4, in A, No. 5, in F minor, No. 6, in F, No. 7, in E-flat, No. 8, in A minor (Novello), No. 11, in C minor (Ricordi), No. 13, 'Biscay,' in A (Anglo-French Co.), No. 14 'Threnody,' in E-flat (Anglo-French Co.). Two Studies for string-quartet. 'Nugse,' seven Bagatelles for string-quartet (Hawkes). Phantasie-Quintet in E minor, for two violins, viola and two 'cellos. Sonatas for violin and piano No. 1, in E-flat, No. 2, in F minor (Anglo-French Co.), No. 3, in G, No. 4, in A (Anglo-French Co.). Six Highland Dances for violin and piano (Novello) . Sonata in E minor, for piano (Novello). Four Sketches for piano (Ricordi). Suite, 'Vignettes from La Cote d'Argent,' for piano (Anglo-French Co.). Sonatina in G, for piano (Anglo-French Co.). ' A Scene from Hellas,' for soprano and women's chorus. ' The Last Chantey,' for chorus. ' Hymn on the Nativity,' for soprano and chorus. Opera Cornique, 'The Royal Rebel.' Recitation-music for the melodrama ' The Game- keeper.' Accompaniment for ' Graih my Mree', for string- quartet, piano and drums. Music for ' Romney's Remorse.' Various songs and part-songs (Novello, Augener, Stainer, Anglo-French Co.). His published books are A Text-Book of Har- mony and Counterpoint, The Elements of Music, A Primer of Harmony, Exercises on Phrasing in Pianoforte-Playing, The Thought in Music (an enquiry into the principles of musical rhythm, phrasing and expression), The Prin- ciples of Phrasing and Articulation in Music and The Foundations of Musical ^Esthetics. McGILL UNIVERSITY, Montreal, has maintained since 1904 a Conservatorium of Music which in 1908 was fully incorporated into the University system under Harry C. Perrin as director and first University professor. The teaching-staff numbers about 25. Local examinations for certificates are held in about fifty places in the Dominion. MCKNIGHT, GEORGE MORGAN (b. 1866). See COLLEGES, 2 (Elmira C., N. Y.). McPHAIL, A. M. (d. 1902). See Register, 3. McPHEETERS, CLAUDIA. See COL- LEGES, 2 (Milwaukee-Downer C., Wis.). McWHOOD, LEONARD BEECHER (Dec. 5, 1870, Brooklyn), had his early education in Newark, graduated from Columbia Uni- versity in 1893 and continued till 1898 as graduate-student and fellow in psychology, studying under MacDowell. From 1897 he assisted the latter and in 1904-10 was adjunct- 290 MEAD MENDELSSOHN CHOIR professor. He also taught in 1902-07 at Vassar College, in 1907-16 at Drew Theological Seminary in Madison, N. J., in 1910-13 at the National Park Seminary in Washington, in 1913-18 at the Newark High School, and since 19 18 has been professor at Dartmouth College. He has been active in furthering music as a collegiate study, and has lectured and written often on the subject. He has conducted choruses, orchestras and operatic performances. His works include three cantatas (one with orchestra), a light opera, many songs and in- strumental pieces. [ R.8 ] MEAD, OLIVE (Nov. 22, 1874, Cambridge, Mass.), began violin-study at seven, her teach- ers being Eichberg and Kneisel. She ap- peared as soloist in 1898 with the Boston Sym- phony Orchestra, and has since played with all the leading orchestras. In 1904 she organ- ized the Olive Mead Quartet, including Eliza- beth Houghton, Gladys North and Lillian Lit- tlehales this personnel continuing except that Vera Fonaroff has taken Miss Houghton's place. The Quartet has had great success throughout the East, and Miss Mead is also popular as a soloist. [ R.8 ] MEES, ARTHUR (Feb. 13, 1850, Colum- bus) , when but a lad was organist in his father's church and, after taking up instrumental study, began anthem-writing. In 1870 he graduated from Concordia College in Indiana and went to Cincinnati as teacher of piano and theory in the Wesleyan Female College, organist in a succession of churches and conductor of singing- societies. In 1873 Thomas was impressed with his work as accompanist at choral rehearsals, so that he was made organist at the first May Festival. In 1873-76 he was in Berlin, on Rubinstein's advice taking piano with Kullak, theory with Weitzmann and score-reading and conducting with Dorn. On his return to Cin- cinnati in 1880 he was trainer of the Festival Chorus, teacher of harmony at the new Col- lege of Music and organist for the Festivals. In 1886 he went to New York as assistant-con- ductor under Thomas of the National Opera Company. When this disbanded he directed the Orpheus Club in New York, the Albany Festivals and other choral organizations. In 1896-98 he moved to Chicago to assist in the direction of the Thomas Orchestra there and the chorus associated with it. Returning to New York, he then added the conducting of the Mendelssohn Glee Club (1898-1904), the Worcester Festivals, the Cecilia Society of Boston, the Bridgeport Oratorio Society and (from 1900) was associated with Paine in the Norfolk Festivals, in 1916 becoming his successor. During this extremely varied and significant career he has directed many first performances for America, as of Bantock's 'Omar Khayyam,' Pierne's 'St. Francis,' Grainger's 'Marching-Song of Democracy,' Parker's 'The Dream of Mary,' Chadwick's 'Land of our Hearts,' Coleridge-Taylor's post- humous 'Orchestral Rhapsody,' Reger's 'The Nuns' (Worcester), Stanford's Piano-Concerto and Grainger's Suite 'In a Nutshell' (Nor- folk). He has published Daily Studies for the Piano, Choirs and Choral Music, 1901, and edited important program-books for the New York Philharmonic Society (1887-96), the Chicago Symphony Orchestra (1896-98) and the Worcester Festivals. In 1901 Alfred Uni- versity made him Mus.D. [ R.6 ] MEGERLIN, ALFRED (b. 1880). See Register, 10. J MELBA, MME. (May 19, 1861, near Mel- bourne, Australia). See article in Vol. iii. 104-5. In 1897-98 she was with the Dam- rosch Opera Company, in 1907 sang a few times at the Manhattan Opera House, in 1910 at the Metropolitan Opera House and in 1917 with the Chicago Opera Company. Since 1918 she has taught in Melbourne. See biography by Murphy, 1909. MELIS, CARMEN (b. 1885). See Regis- ter, 9. 'MELODEON.' The name usually used at first for the American form of reed- organ. MELTZER, CHARLES HENRY (1852, London, England), was musically trained in London and Paris, and became foreign corre- spondent for the Chicago 'Tribune' and the New York ' Herald. ' He came to New York in 1888 and was dramatic critic for the ' Herald,' 'World,' 'American,' and ' Cosmopolitan Maga- zine.' In 1903-07 he was assistant to Grau and Conried at the Metropolitan Opera House. Besides many plays which have been successful on the stage, he has written several opera- librettos, such as 'The Garden of Allah,' 'The Sunken Bell' and 'Cophetua,' and prepared many singing-versions from the French, Ger- man and Italian, as of Monteverde's 'Orfeo,' ' Les Contes d'Hoffmann,' 'Les Dragons de Vil- lars,' 'Die Walkiire,' 'Das Rheingold' and 'Die Konigskinder.' He has been a strong advo- cate of opera in English, of a National Con- servatory and of a National Opera House. [ R-7 ] MENDELSSOHN CHOIR, THE, of To- ronto, was founded in 1894 by Augustus S. Vogt, who developed it to an extraordinary pitch of proficiency and remained conductor till 1917. He was succeeded by Herbert A. Fricker. Its singers are chosen by rigid tests year after year and its rehearsals carried out with the precision of an orchestra, and the re- sult is a perfection of tone-quality, of accuracy, of elasticity, shading and artistic expressive- ness unsurpassed in America perhaps any- where. In Toronto the Choir gives usually an MENDELSSOHN CLUB MERZ 291 annual festival of five performances, and it has repeatedly made tours in the United States, notably in 1912. Its repertoire includes al- most everything of importance in choral music a cappella or with orchestra. MENDELSSOHN CLUB, THE CHICAGO, was organized in 1894 with Frederick W. Root as first conductor. Since 1895 its director has been Harrison M. Wild. The usual number of singers is about 70. Three regular concerts are given annually and three for charitable objects, making a total since organization of over 150. The repertory includes more than 500 works, with emphasis upon the finest part- songs, but including some works with orchestra, like Mendelssohn's music for 'Antigone,' Da- vid's 'Le Desert, 1 Reinecke's Festival Over- ture, op. 218, Wagner's 'Das Liebesmahl,' Brahms' Rhapsodic, Bruch's 'Frithjof,' Buck's 'Voyage of Columbus,' Zollner's 'Young Sieg- fried ' and Harling's ' Before the Dawn. ' Many shorter works have been written especially for the Club. Some of the larger American compositions are Buck's 'Paul Revere's Ride' and 'Chorus of Spirits and Hours,' Foote's 'Farewell of Hiawatha,' Parker's Ode for Commencement-Day, 'The Leap of Roushan Beg' and 'Spirit of Beauty,' Cadman's 'The Vision of Sir Launfal,' and Harling's 'The Two Angels' and 'Death of Minnehaha.' MENDELSSOHN CLUB, THE, of Phila- delphia, was formed in 1874 by William W. Gilchrist out of his choir at St. Clement's and properly organized in 1876 as a glee-club of 16 voices. In 1879 the chorus was made mixed and the size increased to 30 singers. At tunes the membership has been as high as 150, and at present is about 100. Gilchrist continued as conductor till 1915, when ill-health forced a leave of absence. After his death at the end of 1916 N. Lindsay Norden became con- ductor. For a few years from 1889 the Club maintained its own orchestra, and it has re- peatedly sung with the Philadelphia Symphony Orchestra. Thus in 1904, '07 and '14 it assisted in giving Beethoven's 9th Symphony and in 1916 in several performances of Mahler's 8th Symphony. In 1909, with other clubs, it celebrated the Mendelssohn Centenary. One of its most striking concerts was the giving of Henschel's Requiem in 1906. Mr. Norden has introduced many a cappella Russian works, hitherto unknown outside of Russia. MENDELSSOHN GLEE CLUB, THE, of New York. See article in Vol. iii. 370. Frank Damrosch continued as conductor till 1909, being succeeded in 1909-13 by Clarence Dick- inson, in 1913-19 by Louis Koemmenich and since 1919 by Nelson P. Coffin. MENDELSSOHN QUINTETTE CLUB, THE, of Boston, was the first artistic chamber- music group in America. It was organized in 1849, with August Fries as leader, Gerloff (second violin), Thomas Ryan (viola or clari- net), Edward Lehmann (flute or viola) and Wulf Fries ('cello). Francis Riha soon re- placed Gerloff. In 1858-77 William Schultze was leader, with Carl Meisel as second and Edward M. Heindl as flute. Ryan and Wulf Fries continued in the Club till its dissolution about 1895. The organization became well known throughout the country and for nearly fifty years exerted an invaluable influence, pre- paring the way for several later groups. MENDELSSOHN SOCIETY, THE, of Chicago, was an early choral society, main- tained in 1858-65 under the leadership of Adolph W. Dohn. MENEELY, ANDREW (1801-1851). See Register, 3. MENEELY & CO., of West Troy (now Watervliet), N. Y., for nearly a century have conducted a bell-founding business of national importance. The business was started in 1826 by Andrew Meneely, who in 1851 was suc- ceeded by his sons Edwin A. Meneely (1829- 1887) and George R. Meneely (1831-1915). In 1874 the present firm-name was adopted and in 1880 the present president, Andrew H. Meneely (b. 1853), came in. This famous factory has supplied a large number of the finest chimes in the country, as well as sets of bells for organs. They, with other manu- facturers who have followed them, have in- troduced refinements and additions to Euro- pean practice that have made American bells artistically notable. MERRILL, ABRAHAM DOW (1796- 1878). See TUNE-BOOKS, 1834. MERRILL, WINFRED B. See STATE UNIVERSITIES (Ind.). MERRY, HERBERT ORAL. See COL- LEGES, 3 (Lincoln C., 111.). MERZ, KARL (Sept. 19, 1836, Bensheim, Germany : Jan. 30, 1890, Wooster, O.), early learned the violin and organ from his father, becoming organist at eleven. In 1854 he came to Philadelphia, through Bonawitz got employment in theater-orchestras, for a year was organist in the Sixth Presbyterian Church and tried critical writing. In 1856-59 he taught at a school near Lancaster, was then two years in the South, and on the outbreak of the Civil War in 1861 became music-director at Oxford Female College in Ohio, where he remained till 1882. From 1868 he contributed to 'Brainard's Musical World' and from 1873 was its editor, making a decided impression by his thoughtful articles. From 1882 he was head of the music-department of Wooster University at Wooster, O. He wrote a piano- trio, a piano-sonata in C minor, many piano- pieces and songs, the operettas ' The Last Will and Testament' (1877, Oxford), 'Katie Dean' 292 MESSAGER METROPOLITAN OPERA HOUSE (1882, Oxford) and 'The Runaway Flirt' (pub- lished in 1868) , and various choruses, quartets and organ-pieces. He published Methods for the reed-organ and piano, and Elements of Harmony and Composition, 1881. His collected essays appeared as Music and Culture, 1890. His fine library became the basis of the musical collection in the Carnegie Institute of Pitts- burgh. [ R.4 ] J MESSAGER, ANDRE CHARLES PROS- PER (Dec. 30, 1853, Montlucon, France). See article in Vol. iii. 183. He left Covent Garden in 1907. In 1908-14 he was director and chef d'orchestre at the Grand-Opera in Paris, in 1908 succeeded Marty as conductor of the Con- certs du Conservatoire and in 1918 brought this orchestra for 50 concerts in the United States and Canada under the auspices of the French government. On his return he retired from active conducting. To the list of works add the operas 'Fortunio' (1907, Paris, Opera- Comique), and 'Beatrice' (1914, Monte Carlo). MESSITER, ARTHUR HENRY (1834- 1916). See Register, 5. METCALFE, SAMUEL L. (1798-1856). See TUNE-BOOKS, 1817. METROPOLITAN CONSERVATORY OF MUSIC, THE, of New York, was established in 1886 by Charles B. Hawley and Herbert W. Greene, at first chiefly as a school of singing. Its scope was soon broadened, and in 1891 it was incorporated under the Board of Regents as the Metropolitan College of Music. Its faculty included S. P. Warren, H. R. Shelley, A. R. Parsons and others of high standing. In 1900 it was reorganized as the American Insti- tute of Applied Music. METROPOLITAN OPERA HOUSE, THE, in New York. See Vol. iii. 469-71. Conried's administration continued till February, 1908, when, after months of ill-health, he resigned. He was succeeded by Giulio Gatti-Casazza, who for ten years had been manager of La Scala in Milan, and his efficient, intelligent and on the whole sufficiently enterprising adminis- tration has continued ever since the longest and most successful in the history of the institu- tion. With him for two years was associated Andreas Dippel, who in 1910 joined the Phila- delphia-Chicago Company. In 1906-10 occurred the exciting competition between the Metropolitan and the Manhattan Opera Houses, which served to arouse much public attention and to stimulate managerial ambition on both sides. The directors of the Metropolitan finally bought off Hammerstein's interest and bound him not to produce grand opera in New York for ten years. In 1910 they fostered the formation of the Boston Opera Company and from that time extended their activities to Philadelphia and Baltimore. But in 1910 was also formed the Philadelphia- Chicago Grand Opera Company, which in the end came to be a strong rival, though not at once active in the New York field. Mean- while in New York the Metropolitan promoted a new enterprise in 190911 at the New Theater for the production of works better suited to a smaller house. A similar secondary effort was made in 1913-15 in the Century Opera Com- pany. The outbreak of the World War in 1914 affected the Metropolitan in two ways. Large numbers of artists became available through temporary or permanent migration from Eu- rope. And ultimately the entry of the United States into the contest led to the ejection of many German singers from the personnel and the removal of German works from the reper- tory. The general consequence was to alter the balance of performances in favor of French, Italian and other works. But the war did not interfere seriously with the continuity or significance of the successive seasons. 8 The catalogue of new works in the repertory is as follows : 1908-09 D'Albert, 'Tiefland' (Nov. 23), Puccini, 'Le Villi' (Dec. 17), Catalan!, 'La Wally' (Jan. 6), Smetana, 'The Bartered Bride' (Feb. 19). 1909-10 Franchetti, 'Germania' (Jan. 22), Bru- neau, 'L'Attaque du Moulin' (Feb. 8), Tchai- kovsky, 'Pique Dame" (Mar. 5), Converse, 'The Pipe of Desire' (Mar. 18). 1910-11 Gluck, 'Armide' (Nov. 14), Puccini, 'La Fanciulla del West' (Dec. 10), Humper- dinck, 'Die Konigskinder ' (Dec. 28), Dukas, 'Ariane et Barbe-Bleue' (Mar. 29). 1911-12 Thuille, 'Lobetanz' (Nov. 17), Wolf- Ferrari, 'Le Donne Curiose' (Jan. 3), Blech, 'Versiegelt' (Jan. 20), Parker, 'Mona' (Mar. 4). 1912-13 Damrosch, 'Cyrano de Bergerac' (Feb. 27), Mussorgsky, 'Boris Godunov' (Mar. 19). 1913-14 Strauss, 'Der Rosenkavalier ' (Dec. 9), Montemezzi, 'L'Amore dei Tre Re' (Jan. 14), Herbert, 'Madeleine' (Jan. 24), Charpentier, 'Jul- ien' (Jan. 27), Wolf-Ferrari, 'L'Amore Medico' (Mar. 25). 914-15 Giordano, 'Madame Sans-Gfine' (Jan. 25), Leoni, 'L'Oracolo' (Feb. 4), Mascagni, 'Iris' (Apr. 1). 1915-16 Borodin, 'Prince Igor' (Dec. 30), Gra- nados, 'Goyescas' (Jan. 28), Goetz, 'The Tam- ing of the Shrew' (Mar. 15). 1916-17 Bizet, 'Les Pecheurs de Perles' (Nov. 13), Gluck, 'Iphigenie en Tauride' (Nov. 25), Polacco, 'Francesca da Rimini' (Dec. 22), De Koven, 'The Canterbury Pilgrims' (Mar. 8). 1917-18 Rabaud, 'Marouf (Dec. i9), Liszt, 'St. Elizabeth' (Jan. 3), Mascagni, 'Lodoletta' (Jan. 12), Rimsky-Korsakov, 'Le Coq d'Or' (Mar. 6), Cadman, 'Shanewis' (Mar. 23), Gilbert, 'Dance in Place Congo' (Mar. 23). 1918-19 Verdi, 'La Forza del Destino' (Nov. 15), Puccini, 'II Tabarro,' 'Suor Angelica,' 'Gianni Schicchi' (Dec. 14), Weber, 'Oberon' in English (Dec. 28), Ricci, 'Crispino e la Co- mare' (Jan. 18), Leroux, 'La Reine Fiammette' (Jan. 24), Gounod, 'Mireille' (Feb. 28), Breil, 'The Legend,' Hugo, 'The Temple Dancer' (Mar. 12). METROPOLITAN OPERA HOUSE 293 1919-20 Rossini, 'L'ltaliana in Algeri' (Dec. 5), Wolff, 'L'Oiseau Bleu' (Dec. 27), Leoncavallo, 'Zaza' (Jan. 16), Hadley, 'Cleopatra's Night' (Jan. 31), Tchaikovsky, 'Eugene Onegin' (Mar. 24). The conspicuous conductors have been Al- fred Hertz in 1902-15, Arturo Toscanini in 1908-15, Giorgio Polacco since 1912 and Artur Bodansky since 1915. For details about the many singers see Krehbiel, More Chapters of Opera, 1919, and the excellent articles on 'Music' in The New International Year-Book, 1907 ff. Krehbiel's book also supplies a wealth of historical and critical comment. Upon this and its predecessor, Chapters of Opera, 1908, this article is largely based. Below is a tabular resume of the perform- ances (in the regular seasons) at the Metropoli- tan since its foundation : \ STANTON ABBEY- GRAU GBAU I 00 00 00 00 00 05 ! a * U5 CO N- C5 Oi Oi O5 CO * 1C 0 CO CO 05 -H GO 00 00 00 00 O> Oi 4. ^ . 332.. . . .7.4. 4 Smareglia Vasall von Szigeth Spontini Cortez 4 . . . 4 . . . 1 .... Weber Freischiitz . . . 4 . . . 2 . . 3 4 322. 7374 2 .1.16 2 ... 2 .6341 Mancinelli Ero e Leandro Mascagni Cavalleria . . L'Amico Fritz Massenet Le Cid . . . 2 . .32. Werther . 1 . 4 . . . 4 . Nicolai Merry Wives 1 Paderewski Manru 3 Puccini Bohe'me ..5.2 3 4 Tosca . .... . 2 Saint-Saens Samson et Dalila Smyth Der Wald .... . 1 T . . . . . 2 CONRIED GATTI-CASAZZA g US CD t- 00 050-..OOOSO 1 1 1 i 1 1 J 2 Si I| " " ~ ~ * Mussorgsky Boris Godunov 46664643 . . . .72... . . . 4 632 3 Rimsky-Korsakov Coq d'Or 657 Saint-Saens Samson et Dalila 55455 6142 Tchaikovsky Pique-Dame .4 Eugene Onegin 4 Thuille Lobetanz . . .5 Weber Freischutz . 1 5 . . 6 5 Wolf-Ferrari Dpnne Curiose ...... 5 3 Amore Medico 4 Segreto di Susanna . . 4 3 Wolff Oiseau Bleu g METS, ISABEL. See COLLEGES, 2 (Ham- ilton C., Ky.). MEYER, CONRAD (d. 1881). See Regis- ter, 3. MEYER, HENRY EDWIN. See COL- LEGES, 3 (Howard Payne C., Tex.). MEYER, JULIUS EDUARD (1822-1899). See Register, 4. MEYER, MAX FRIEDRICH (b. 1873). See Register, 9. MEYER, RUDOLPH J. See COLLEGES, 3 (Susquehanna U., Pa.). MICHALEK, BOHUMIL (b. 1885). See Register, 9. MICKWITZ, PAUL HAROLD VON (b. 1859). See COLLEGES, 3 (Southern Method- ist U., Tex.). MIDDELSCHULTE, WILHELM (Apr. 3, 1863, Werne, Germany), was trained at the Institute for Church Music in Berlin under Haupt, Loeschhorn, Alsleben, Commer and Schroder, and in 1888-91 was organist at the Lukas-Kirche. In 1891 he came to Chicago as organist at the Cathedral of the Holy Name, remaining four years. At this time he studied theory with Ziehn. In 1894-1918 he was or- ganist of the Thomas (Chicago) Orchestra. In 1899-1919 he was organist at St. James' (R. C.), and also teacher of organ and theory in the Wisconsin Conservatory in Milwaukee. With the Chicago Orchestra under Thomas or Stock he has played works like the Handel Concertos in G and F, the Rheinberger Con- certos in F and G minor, the Guilmant Con- certo in D minor, Klose's Fantasia and Double Fugue, and Borowski's 'Allegro de Concert,' besides, for the first time in America, the Liszt- Kaun Fantasia and Fugue on 'Ad nos ad salu- tarem undam,' Oldberg's Concerto in F, Widor's Symphonia Sacra and 'Salvam fac populum tuum,' the Bach-Busoni ' Fantasia Contrappun- tistica' (dedicated to him and arranged by him and Stock), his own Concerto in A minor and arrangement of Bach's Chaconne. These performances, with numerous recitals in America and Europe, give him high rank among living organists. He has published a Passacaglia in D minor, Canons and Fugue on 'Vater unser,' Toccata on 'Ein feste Burg,' Concerto in A minor, Meditation on 'Alle Menschen mussen sterben,' Canonical Fantasia on B-A-C-H and a cadenza to Handel's 4th Concerto, besides transcriptions of the Bach Chaconne, the Bach-Busoni Fantasia and parts of Wolf-Ferrari's 'I Giojelli della Ma- donna.' Unpublished are a Chaconne in E minor, arrangements of Bach's Chromatic Fantasia and Fugue and of the ' Musikalisches Opfer,' etc. [ R.8 ] MIDDLETON, ARTHUR D. (b. 1880). See Register, 9. MIERSCH, KARL ALEXANDER JO- HANNES (1865-1916). See Register, 8. MIERSCH, PAUL FRIEDRICH THEO- DOR (b. 1868). See Register, 8. MIESSNER, W. OTTO (May 26, 1880, Huntingburg, Ind.), after a high-school edu- cation, in 1900 gained a certificate from the College of Music in Cincinnati. In 1900-04 he was music-supervisor at Booneville, Ind., in 1904-09 at Connersville, Ind., and in 1910- 14 at Oak Park, 111. In 1909-10 he studied with Kelley. Since 1914 he has been music- director at the State Normal School in Mil- waukee. He has written the cantatas 'The Queen of May,' op. 1 (Willis), and 'Christus,' op. 3 ; a Festival Overture, op. 5, for orchestra ; a 'Liberty March,' op. 6, for orchestra; inci- MILLARD MILLS 297 dental orchestral music for 'As You Like It' and 'The Tempest,' opp. 7, 8 ; ' Miniature Op- erettas, 1 op. 9 (Am. Music Co.) ; Sonata in E minor, op. 10, for piano (Am. Music Co.) ; besides songs and piano-pieces. He has also published The Motif-Method of Music-Read- ing and The Place of Music in Education, and collaborated in The Progressive Music Series. [ R.9 ] MILLARD, CLEMENT. See TUNE-BOOKS, 1810. MILLARD, HARRISON (1830-1895). See Register, 4. MILLER, DAYTON CLARENCE (b. 1866). See Register, 7. MILLER, FRANK E. (Apr. 12, 1859, Hartford, Conn.), graduated from Trinity Col- lege in 1881 and from the College of Physicians and Surgeons in New York, settling there as laryngologist. He has been a diligent in- vestigator, practitioner and writer in this field, not only inventing many novel instruments pertaining to the throat and the ear and treat- ing numerous famous singers, but evolving an original general theory of vocal art-science under the term ' kinaesthesia ' (rhythmic vibra- tion and its perception and coordination) . He has published The Voice, 1910, Vocal Art- Science, 1917, and a great number of articles in scientific periodicals. [ R.7 ] MILLER, GEORGE HAROLD. See COL- LEGES, 3 (Dakota Wesleyan U., S. D.). MILLER, HENRY F. (1825-1884). See Register, 4. MILLER & SONS PIANO COMPANY, THE HENRY F., of Boston, was founded in 1863 by Henry F. Miller and since 1884 has been conducted by his five sons, Edwin C. Miller being now president. Their pianos have always maintained a high technical ex- cellence. They have recently introduced a remarkably small grand. Their type of player- piano is known as the ' Play erf orte. ' MILLER, HORACE ALDEN (July 4, 1872, Rockford, 111.), after studying in Cornell Col- lege in Iowa, went to the Oberlin Conservatory, gaming a Mus.B. in 1904. He then returned to Cornell College to teach organ and theory, continuing till now save for a year of study in Munich and Berlin. His interest in Indian music is shown by the works, 'Melodic Views of Indian Life' (Summy), 'From the Forest' (Ojibway songs) ; 'Arapaho Ghost-Dance,' a Romance in A-flat (Musicians' Pub. Co., Los Angeles) ; ' In the Linden Cradle ' and ' For the Golden Harvest' (Willis) ; 'Indian Legend' and 'Indian Idyl,' for organ (Novello) ; and four Indian Themes, for piano, and 'The Moon Cycle,' six songs for high voice (Breitkopf) . Un- published are several songs, piano- and organ- pieces and the orchestral ' From the Wickiup ' and ' The Indian Flute. ' The latter have been played by the Chicago Symphony Orchestra and the Russian Symphony Orchestra. [ R.9 ] MILLER, RUSSELL KING (May 10, 1871, Philadelphia), studied piano with Von Stern- berg in Philadelphia, organ with S. P. Warren and composition with Klein in New York. After short engagements in different churches, since 1901 he has been organist at Temple Keneseth Israel, and since 1909 also music- director at the Pennsylvania School for the Blind. He appeared in recital at the Buffalo and St. Louis Expositions. His organ-works (all J. Fischer) include a 'Scherzo Sympho- nique' (1895), Nocturne and Epilogue (1897), Festival March (1903, A. G. O. prize), Con- cert-Overture (1909), Festival Postlude, Im- promptu and Cortege (1904), Elegy (1905), 'Chanson Pastorale' (1907) and Berceuse and Serenade (1908), besides anthems, songs and piano-pieces. [ R.8 ] MILLIGAN, HAROLD VINCENT (Oct. 31, 1888, Astoria, Ore.), from 1908 was in New York studying organ with Carl, theory and composition with C. R. Gale, Johnstone and Noble. He was then organist for five years at the Rutgers Presbyterian Church, two years at Plymouth Church in Brooklyn, and now at both the Fifth Avenue Baptist Church and the West End Synagogue. He is a fellow of the A. G. O. and in 1914-16 was its general secre- tary. He has thrice been across the continent on recital-tours. He has written many songs, organ-pieces, choral works, sacred and secular, and two operettas (Schirmer, Schmidt), be- sides incidental music to plays. He is editor of The First American Composer and Colonial Love-Lyrics (both Schmidt) , author of a biog- raphy of Stephen C. Foster, 1920, staff -writer for 'The Diapason,' 'The New Music Review' and 'The Woman's Home Companion,' and otherwise active as a writer. [ R.10 ] MILLS, CHARLES HENRY (Jan. 29, 1873, Nottingham, England), was trained at the Guildhall School of Music in London, took lessons from Prout, Niecks and Peace and in 1904 won a Mus.B. from the University of Edinburgh. In 1892-93 he visited America as a pianist. From 1894 he was organist at various places in Great Britain in 1898-1900 conducting the Aberdeen Operatic Society, in 1900 becoming city-organist at Aberdeen and in 1906-07 being borough-organist at Sal- ford. In 1907-08 he taught theory at Syra- cuse University, in 1908-14 was head of the music-department at the University of Illinois, and since 1914 has held a similar position at the University of Wisconsin. He is a fellow of the R. C. O. and the A. G. O., an associate of the R. C. M. and in 1911 was made Mus.D. by McGill University. He has written a Con- cert-Overture (Minneapolis Orchestra), inci- dental music to a Shakespearean masque and MILLS MOLLENHAUBR to Aristophanes' 'Clouds' (both given at Madi- son, Wis.), the cantatas with orchestra 'Ode to St. Cecilia' (Schirmer) and 'The Wreck of the Hesperus' (Birchard), and various other vocal works, sacred and secular. [ R.8 ] MILLS, SEBASTIAN BACH (Mar. 13, 1838, Cirencester, England : Dec. 21, 1898, Wiesbaden, Germany) . See article in Vol. iii. 210. For many years he was foremost in in- troducing works not previously heard in New York Moscheles' G minor Concerto and Chopin's Fantasia in 1860, Chopin's F minor Concerto in 1861, Killer's F-sharp minor Con- certo in 1863, the Weber-Liszt Polonaise in 1864, Mozart's posthumous Concerto in C in 1865, Liszt's E-flat Concerto in 1867, Reinecke's F-sharp minor Concerto in 1872 (first time in America), von Bronsart's Concerto and Raff's Suite, op. 200, for piano and orchestra, in 1877. His own most popular works were 'Recollec- tions of Home,' 1st Tarantelle, 'Fairy Fingers,' 2nd Barcarolle and 'The Murmuring Fountain.' I R.4 ] MIMBERLEY, FRED W. See COLLEGES, 3 (Buena Vista C., Iowa). MINNEAPOLIS SYMPHONY ORCHES- TRA, THE, dates from 1903, when the Phil- harmonic Club (choral) felt the need of a per- manent orchestra. Emil Oberhoffer, the leader of the Club, became the conductor of the new organization and has remained its efficient head ever since. The financial affairs have been ably managed, stability being secured by a guarantee-fund, now of $75,000 annually, pledged in five-year periods. In 1904 a beau- tiful Auditorium was provided by the North- western National Life Insurance Co. At first the number of players was about 50, but is now usually 80. The cpncertmasters have been Franz Danz (1903-08), F. A. Korb (1908- 09), Richard Czerwonky (1909-18) and Guy H. Woodard (from 1918). Carlo Fischer, lead- ing 'cellist in 1906-11, since 1911 has been pro- gram-editor. For three years 20 concerts were given annually, for the next eight 150 and since then about 175, making a total of over 2300. In Minneapolis the regular series in- cludes 40, with 12 in St. Paul ; the remainder are extras or on tour. In its home-concerts the Orchestra has built up a fine repertoire. Out of perhaps 300 important works by 75 composers from Haydn to Stravinsky the fol- lowing may be mentioned : Beethoven, Triple Concerto for piano, violin and 'cello ; Brahms, Double Concerto for violin and 'cello; Borodin, 2nd Symphony; Guilmant, Sym- phony for organ and orchestra; Chausson, Sym- phony and Symphonic Poem, 'Viviane'; Ropartz, 4th Symphony; Glazunov, 6th Symphony; Aulin, 3rd Violin Concerto; Kalinnikov, 1st Symphony; Georg Schumann, Overture, 'Liebesfriihling' ; Mac- Cunn, Overture, 'Land of Mountain and Flood'; Hinton, Piano Concerto; Rabaud, 2nd Symphony; Rachmaninov, 'Die Toteninsel' ; Ravel, Suite, 'La M6re 1'Oye'; Scheinpflug, Overture to a Shake- speare Comedy; Enesco, Rumanian Rhapsodies, Nos. 1 and 2. In addition, about 35 American com- posers have been represented, including the following works: Avery, Scherzo, 'A Joyous Prelude'; Mrs. Beach, 'Gaelic' Symphony, Piano Concerto ; Bonvin, 'Festival Procession'; Busch, 'The Passing of King Arthur," 'Minnehaha's Vision,' 'A Chippewa Vision,' |Sequentahre,' etc.; Carpenter, Suite, 'Adventures in a Perambulator'; Chadwick, Suite Symphonique, 'Tarn O'Shanter,' Symphonic Sketches, 'Lochinvar,' etc. ; Cole, Symphonic Prelude, 'Cello Ballade ; Converse, 'Endymion's Narrative'; Damrosch, Prel- ude to Act II of -'Cyrano'; Foote, String Suite in E, Character Pieces after the 'Rubaiyat' ; Hadley, 'The Culprit Fay,' 3rd and 4th Symphonies, Over- ture, 'In Bohemia'; Herbert, Suite Romantique, 'Woodland Fancies,' Prelude to Act III of 'Natorna,' etc.; Kelley, 2nd Symphony, 'Aladdin'; Kolar, Suite, 'Americana'; Kroeger, 'Lalla Rookh'; Mac- Dowell, 'Lancelot and Elaine,' 1st and 'Indian' Suites, etc.; Oldberg, Overture, 'Paolo and Fran- cesca'; Saar, 'Gondoliere,' 'Chanson d' Amour '; Smith, Overture, ' Prince Hal ' ; Stock, Symphonic Waltz; Strube, Comedy Overture, 'Puck'; Weidig, Symphonic Suite, Three Episodes, etc. First performances in America or absolutely (marked *) include these: Alfven, 3rd Symphony, 'Drapa,' Polonaise, 'Festspiel'; Aulin, Swedish Dances; Bleyle, ' Flagellantenzug ' ; Delius, 'Dance Rhap- sody'; Dohnanyi, Suite, op. 19; Hinton, 2nd Symphony; Oberhoffer, ^Overture Romantique, *March, 'Americana'; Pauly, Piano Concerto ; Pitt, Serenade for small orchestra ; Sibelius, Suite, ' Sctoes Historiques,' 1st Violin Serenade ; Skilton, *Two In- dian Dances ; Stenhammar, ' Midvinter ' ; Strauss, Festival Prelude; Smith, Suite, 'Impressions.' MIRANDA, MAX. See COLLEGES, 3 (Be- loitC., Wis.). MISCHKA, JOSEPH (b. 1846). See Regis- ter, 5. MITCHELL, LIVINGSTON HARVEY. See COLLEGES, 3 (Ouachita C., Ark.). MITCHELL, NAHUM (1769-1853). See Register, 3, and TUNE-BOOKS, 1810. MODERWELL, HIRAM KELLY (b. 1888). See Register, 10. MODERN MUSIC SOCIETY, THE, of New York, was formed in 1913-14 to give both choral and orchestral works by recent com- posers, especially Americans. Its nucleus was the Lambord Choral Society, founded in 1912 by Benjamin Lambord. MOHR, HERMANN (1830-1896). See Register, 7. MOLLENHAUER, EDUARD (1827-1914). See Register, 4. MOLLENHAUER, EMIL (Aug. 4, 1855, Brooklyn), the son of Friedrich Mollenhauer, the violinist, early evinced ability on his father's instrument. At nine he made his d6but at Niblo's Garden, at fourteen played in the or- chestra at Booth's Theatre and at seventeen joined the Thomas Orchestra. Until 1884 he was also a member of the New York and Brook- lyn Philharmonic Societies and for a time of the Symphony Society. He then removed to MOLLENHAUER MORRIS 299 Boston and in 1885-88 was in the Boston Sym- phony Orchestra, which he left to conduct the Germania (later the Boston Festival) Orches- tra and also (till 1903) the Municipal Concerts. With the Festival Orchestra he not only toured extensively with a long list of soloists, vocal and instrumental, of the first order, but also par- ticipated in numerous choral festivals in differ- ent places. In 1899 he succeeded Lang as conductor of the Handel and Haydn Society, which he thoroughly reorganized. Since 1900 he has also led the Apollo Club and a number of choral societies besides, as in Brookline, Lynn, Salem and Newburyport. He con- ducted the Boston Symphony Orchestra at the St. Louis and San Francisco Expositions in 1904 and '15. His varied experience, technical skill and fine musicianship have given him great influence. [ R.5 ] MOLLENHAUER, FRIEDRICH (1818- 1885). See Register, 4. MOLLENHAUER, HEINRICH (1825- 1889). See Register, 4. MOLLENHAUER, LOUIS (b. 1863). See Register, 7. MOLLER, JOHN CHRISTOPHER. See Register, 2. ' MONA.' An opera in three acts by Hora- tio Parker, awarded the prize of $10,000 offered in 1909 by the Metropolitan Opera Company, produced on Mar. 4, 1912, and thrice repeated. The text is by Brian Hooker and develops a story in the time of the conquest of Britain by the Romans. See Krehbiel, More Chapters of Opera, pp. 255-65. MONESTEL, ALEXANDER (b. 1865). See Register, 7. MONTANI, NICOLA ALOYSIUS (b. 1880). See Register, 9. MONTEUX, PIERRE (Apr. 4, 1875, Paris, France), was trained at the Paris Conserva- tory, studying solfeggio and harmony with Lavignac, counterpoint and fugue with Len- epveu and violin with Berthelier. From 1894 he conducted concerts in Paris, founding a series at the Casino de Paris to bring out ex- amples of ultra-modern French music. He has conducted at the Theatre des Champs- filysees, the Chatalet and the Odeon in Paris, at Covent Garden and Drury Lane in London, and in Berlin, Vienna and Budapest. In 1916 he came to New York as conductor of the Rus- sian Ballet and also led the concerts of the Civic Orchestral Society during the summer of 1917. In 1917-19 he conducted at the Met- ropolitan Opera House. In the fall of 1918 he took charge of the first concerts of the Bos- ton Symphony Orchestra, pending the arrival of Rabaud, and in 1919 was elected to follow him as permanent conductor. He has directed first performances of Stravinsky's 'Le Rossig- nol ' (opera) , ' Petrouchka ' and ' Le Sacre du Prin temps' (ballets), Debussy's ' Jeux' (ballet), Ravel's 'Daphnis et Chloe' (ballet) and Roger- Ducasse' 'Le Joli Jeu du Furet' (orchestral scherzo). [ R.10 ] 'MONTEZUMA.' An opera in three acts by Frederick G. Gleason (text and music), of which only extracts have been performed. 'MONTEZUMA.' No. 2 of the 'Grove- Plays' of the San Francisco Bohemian Club, produced in 1903. The music is by Humphrey J. Stewart and the text by Louis A. Robertson. The scene is laid in Mexico in 1520. MONTRESSOR. See Register, 3. MOOG, WILSON TOWNSEND (b. 1881). See Register, 9. MOORE, HENRY EATON (1803-1841). See TUNE-BOOKS, 1832. MOORE, HOMER. See Register, 7. MOORE, JOHN WEEKS (1807-1887). See Register, 4, and TUNE-BOOKS, 1849. MOORE, MARY, nee Carr. See Register, 9. MOORE, W. H. A. See, COLLEGES 3 (Cum- berland U., Tenn.). MOORS, HEZEKIAH. See TUNE-BOOKS, 1809. MOOS, JEAN CARRODI. See COLLEGES, 3 (Bethany C., W. Va.). MORGAN, GEORGE WASHBOURNE (Apr. 9, 1822, Gloucester, England : July, 1892, Tacoma, Wash.), was an articled pupil of Amott (organist of Gloucester Cathedral) and began playing regularly at twelve, first in Gloucester and then in London, where he also appeared in concert. About 1845 he became leader of the Philharmonic Society in Glouces- ter, in which he had sung as a boy, and was a competitor for the post of organist at Worces- ter Cathedral. Coming to New York in 1853, he was organist at St. Thomas' in 1854-55, Grace Church in 1855-68, St. Ann's (R. C.) in 1868-69, St. Stephen's (R. C.) in 1869-70, Brooklyn Tabernacle (Talmadge's) in 1870-82 and the Madison Avenue Collegiate (Ref. Dutch) Church in 1886-88. He gave a recital in Boston in 1859 and was the first player on the organ in Music Hall in 1863. He also played at the Centennial Exposition in Phila- delphia in 1876. His brilliance as a performer made him popular, so that he did much to arouse enthusiasm for organ-music. He wrote a Morning Service, anthems (some with or- chestra), organ-pieces, songs, etc. [ R.4 ] MORGAN, JOHN PAUL (1841-1879). See Register, 5. MORGAN, MAUD (b. 1864). See Regis- ter, 6. MORGAN, TALI ESEN (b. 1858). See Register, 7. MORRIS, EDMON. See COLLEGES, 2 (Converse C., S. C.). MORRIS, OWEN (1719-1809). See Regis- ter, 1. 300 MORRISON MUCK MORRISON, CHARLES WALTHALL (b. 1856). See Register, 7. MORSE, CHARLES FREDERIC (b. 1881). See Register, 9. MORSE, CHARLES HENRY (Jan. 5, 1853, Bradford Mass.), graduated in 1870 from the Haverhill (Mass.) High School and in 1873 from the New England Conservatory in Boston, studying piano with J. C. D. Parker, Perabo and Baermann, organ with Whiting and Paine, theory with Emery and conducting with Zerrahn. He at once began teaching piano and organ in the Conservatory, but con- tinued study at Boston University, where in 1876 he won probably the first Mus.B. given in the United States. Meanwhile he was organist at Tremont Temple, the Union and the Central Congregational Churches. In 1875-84 he was the first music-director at Wellesley College. In 1885-91 he was founder and director of the Northwestern Conservatory at Minneapolis, following the lines of the New England Conservatory and gaining immediate success, and was also organist in St. Paul and Minneapolis. In 1891-99 he was organist at Plymouth Church in Brooklyn and active in the Brooklyn Institute of Arts and Sciences. From 1901 he was the first professor of music at Dartmouth College, becoming emeritus in 1918. He has been a trustee of the New Eng- land Conservatory, in 1894-96 was president of the New York Music Teachers' Association, in 1896 a founder of the A. G. O. and member of its council, etc. He was one of the first to play Guilmant's works and to produce choral works of Gounod in the United States. He has edited The Contemporary Organist (Schir- mer), two volumes of The Church-Organist and The Junior Church-Organist (White-Smith), March- Album for Organ (Schirmer), Short and Easy Anthems (Ditson) , The Plymouth Hymnal, 1893 (with Lyman Abbott) , Songs for the Chapel (men's voices), The Wellesley Collection (women's voices) and many separate vocal and organ-arrangements, besides publishing an- thems and organ-pieces of his own (Schirmer, Schmidt). [ R.6 ] MORSE, FRANK EUGENE (b. 1856). See Register, 6. MORSE, GEORGE FRANCIS. See Reg- ister, 7. MORSELL, HERNDON (b. 1858). See Register, 7. MOSENTHAL, JOSEPH (Nov. 30, 1834, Kassel, Germany : Jan. 6, 1896, New York) , was trained by his father, Spohr, Bott, Kraus- haar and others, and for four years played second violin under Spohr. In 1853 he mi- grated to New York, where in 1855-68 he was a member of the Mason-Thomas Quintet and in 1860-87 organist of Calvary Church, besides being forty years among the first violins of the Philharmonic Society. From 1867 he was also leader of the Mendelssohn Glee Club, his life closing nearly thirty years later at a rehearsal. He wrote anthems, sacred songs, many fine part-songs for men's voices, such as ' Thana- topsis,' 'Blest Pair of Sirens,' 'The Music of the Sea,' and numerous secular songs. I R-4 ] MOSS, THOMAS. See COLLEGES, 3 (Whit- worth C., Wash.). 4 MOTTL, FELIX (Aug. 24, 1856, Vienna, Austria : July 2, 1911, Munich, Germany). See article in Vol. iii. 277-8. While at Karls- ruhe he gave the first complete rendering of Berlioz' 'LesTroyens' (1890), and the dates of the production of 'Fiirst und Sanger,' the string-quartet in F-sharp minor and 'Pan im Busch' are 1893, '98 and 1900 respectively. While in New York in 1903-04 he conducted various Wagnerian operas and an orchestral concert, but did not actually conduct 'Parsi- fal' (though he directed rehearsals) because of the opposition of the Wagner family. Be- sides his extraordinary power as conductor he was extremely able as editor. His second revised version of Cornelius' 'Der Barbier von Bagdad' has become standard. He edited all the early overtures of Wagner and published a complete edition of his stage-works (1914). He was twice married, both times to opera- singers. MOUNTAIN, CHARLES WESLEY. See COLLEGES, 3 (Parsons C., Iowa). MOZART CLUB, THE, of Pittsburgh, was organized in 1878 and incorporated in 1886. Its only conductor for forty years was James P. McCollum. Gradually expanding from a small circle of singers to a large chorus, and from 1886 giving programs only with orchestra or a cappella, the Club covered a large reper- toire, including the larger sacred and secular works and a variety of lesser cantatas, etc., the orchestras assisting including those of Pittsburgh, Boston, Chicago and St. Paul. Almost all the leading soloists of the country appeared with it. The Club also pursued the policy of developing soloists within its own ranks or from Pittsburgh. Its work was greatly aided by the financial support of many public-spirited citizens. MUCK, KARL (Oct. 22, 1859, Darmstadt, Germany). See article in Vol. iii. 314-5. His first term as conductor of the Boston Sym- phony Orchestra in 1906-08 was on leave of absence from Berlin, and on his return thither he was made General-Musikdirector. In 1912 he resigned to conduct the Boston Orchestra permanently, made a profound impression for several years, but in March, 1918, was arrested as an enemy alien, interned for more than a year and excluded from the country in August, 1919. [ R.9 ] MUENSCHER MUSIC SCHOOL SETTLEMENTS 301 MUENSCHER, JOSEPH. See TUNE- BOOKS, 1839. MUKLE, MAY HENRIETTA (May 14, 1880, London, England) , made her first appear- ance as 'cellist at nine and at seventeen gave a recital in London. She studied there with Hambleton and later with Pezze at the Royal Academy of Music. As soloist or in chamber- music groups she has toured Europe, America (several times), Australia (1903), South Africa (1905), Canada (twice), and in 1918 played in the first chamber-music recitals in Honolulu. In 1908 she traveled with the Maud Powell Trio, in which her sister, Anne Mukle, was pianist. She has also appeared often with symphony orchestras in Europe and America. 'The Hamadryad' and 'The Light Wind,' two fan- cies for 'cello and piano, are her only published works, but she has songs and small pieces for different instruments in manuscript. [ R.9 ] MULLER, CARL CHRISTIAN (July 3, 1831, Saxe-Meiningen, Germany : June 4, 1914, New York), having been taught piano by F. W. and Heinrich Pfeifer, harmony by Zollner and organ by Butzert, came to New York in 1854. For a time he worked in a piano- factory, then entered the orchestra at Barnum's Museum and presently became its leader. In 1879-95 he taught harmony at the New York College of Music, and later was associated with the Grand Conservatory, the New York Conservatory and other schools. He published three organ-sonatas, a string-quartet, a sonata for violin and piano, choruses, and many pieces for piano and organ, and left also a symphony, an orchestral suite, an overture, an ' Idyl ' for orchestra, a setting of Schiller's ' Die Kraniche des Ibicus' for soli, chorus and orchestra, and a 'Romanza' for horn, harp and orchestra- He translated Sechter's Grundsatze der musik- alischen Composition as Fundamental Harmony, 1871 (9 later eds.), and added tables for pri- mary instruction, modulation, chord-succession and harmonization. [ R.4 ] MULLER, FREDERICK WILLIAM (b. 1863). See Register, 8. MURATORE, LUCIEN (1878, Marseilles, France), graduated in 1897 with a first prize from the Marseilles Conservatory, having studied bassoon as well as singing. He first appeared as an actor with Rejane and also Bernhardt. After three years in the army he prepared for lyric opera at the Paris Conserva- tory and made his debut at the Opera-Comique in 1902, creating the tenor-r61e in Hahn's 'La Carmelite' and also in 1903 that in Missa's 'La Muguette.' In 1905 he appeared at the Grand-Opera as Rinaldo in 'Armide.' At the Opera he created roles in Massenet's 'Ariane' I (1906), 'Bacchus' (1909) and 'Roma' (1912), I Fevrier's ' Monna Vanna ' (1909) and Hue's ' Le 1 Miracle' (1910) ; also at the first giving in that place of Strauss' 'Salome' (1910), Gior- dano's 'Siberia' (1911) and Saint-Saens' 'De- janire' (1911). In 1913 he came to America to join the Chicago Opera Company, with which he is still connected, though he returned to France for military duty in 1915. He mar- ried the soprano Lina Cavalieri in 1913. Dur- ing the summer of 1917 he was engaged at the Teatro Colon in Buenos Aires. [ R.10 ] 'MUSIC.' A monthly magazine founded by W. S. B. Mathews in 1891 at Chicago. He continued editor till December, 1902, after which the magazine was merged in 'The Phil- harmonic.' Although put together somewhat hastily and varying considerably in quality, this was the only journal devoted wholly or mainly to contributed articles until the appear- ance of 'The Musical Quarterly' in 1915. Many of its essays and studies were decidedly able. And it served to call attention to the dignity of the literary and scholarly treatment of musical subjects. See note in Vol. iii. 688. MUSIC HALL. A building erected in Bos- ton in 1852 to provide a suitable place for large choral and orchestral concerts. With a seat- ing capacity of about 3000 and its central loca- tion (off Tremont and Winter Streets), it im- mediately became a notable headquarters for good music. In 1863, after vexatious delays and unexpected expenses, a concert-organ, made by Walcker of Ludwigsburg, Wiirtem- berg, was introduced, being the first really large instrument in the United States. The organ was dedicated on Nov. 2, 1863, the per- formers being Lang, G. W. Morgan, Paine, Thayer, Tuckerman and Willcox an extra- ordinary list for the time. For twenty years recitals were steadily given both by permanent organists and by visitors. In 1884 the organ was bought for the New England Conservatory, but proved unwieldy there and was finally broken up in 1897. Its advent was of great importance for American organ-building, since its tone-qualities were excellent and varied, though its action was sluggish and its construc- tion in many respects clumsy. For a cut of the organ, see Elson, History of American Music, p. 262. 'MUSIC NEWS.' A weekly periodical founded in 1908 by Charles E. Watt in Chicago and since edited and published by him. MUSIC SCHOOL SETTLEMENTS are music-schools planted in the poorer neighbor- hoods of many cities for the purpose of pro- viding opportunity for artistic culture, es- pecially among the foreign population. They have been notably successful in New York, Boston, Philadelphia and several cities in the West, becoming centers of culture and often developing singers and players of ability. The New York School was started in 1894 and owes its conspicuous expansion mainly to its later 302 MUSIC SUPERVISORS' CONF. M. T. N. A. directors Thomas Tapper in 1907-09, David Mannes in 1910-15 and Arthur Farwell since 1915. The number of pupils is about 1000 annually, and there are about 80 instructors. A notable feature is the maintenance of four orchestras, aggregating about 200 players. Besides owning many instruments, this school has an extensive library. MUSIC SUPERVISORS' NATIONAL CONFERENCE, THE, was organized in 1907 to promote discussion and cooperation among those engaged in progressive musical work in public schools, especially supervisors. Its growth was rapid and it has become one of the notable influences in raising the standard of equipment among public-school teachers of music, in securing proper recognition for their work in general, in defining methods of credit for music-study both within and without the school-curriculum, in improving the connection between school and college work in music, in advancing the study of instruments and the formation of orchestras as well as singing and in promoting interest in community-music. The present number of members is about 1500. The annual meeting is held in the spring, and the proceedings are published. The president for 1920 is Hollis E. Dann, of Cornell Univer- sity, and the secretary, Elizabeth Pratt, St. Louis, Mo. MUSIC TEACHERS' NATIONAL ASSO- CIATION, THE, was organized in 1876 at Delaware, O., by Theodore Presser and a small circle of earnest teachers in Ohio and neighbor- ing states. With rare exceptions it has held an- nual meetings, with three days' sessions, that of 1919 being counted the forty-first. 1 Its origi- nal purpose was ' mutual improvement by inter- change of ideas, to broaden the culture of music, and to cultivate fraternal feeling.' At present this is defined as ' the advancement of musical knowledge and education.' The founders, most of whom were connected with 'Normal Institutes' (teachers' summer-schools), had specially in mind the needs of scattered private teachers, and emphasized social contact, discus- sion of practical problems and the elevation of popular conceptions regarding musical work. The size of the Association and its geographical range have varied greatly. Altogether, its mem- bership has probably included over 10,000 per- i Delaware, O., 1876; Chautauqua, N. Y., 1878: Cincinnati, O., 1879, 1899, 1913; Buffalo, N. Y., 1880, 1915; Albany, N. Y., 1881; Chicago, 111, 1882/1888 (1893), 1920; Providence, R. I., 1883; Cleveland, O., 1884, 1892; New York City, 1885, 1897, 1898, 1905, 1907, 1916; Boston, Mass., 1886, 1910; Indianapolis, Ind., 1887; Philadelphia, Pa., 1889,1919; Detroit, Mich., 1890; Saratoga Springs, N. Y., 1894; St. Louis, Mo., 1895, 1904, 1918; Den- ver, Colo., 1896; Des Moines, la., 1900; Put-in-Bay, O., 1901, 1902; Asheville, N. C., 1903; Oberlin, O., 1906; Washington, D. C., 1908; Evanston, 111., 1909 ; Ann Arbor, Mich., 1911 ; Poughkeepsie, N. Y., 1912; Pittsburgh, Pa., 1914; New Orleans, La., 1917. sons, the average per year being now about 400. It has regularly aimed to publish each year an Annual Report in some form. These volumes, though varying much in character, are invalu- able records of the progress of ideas. 1 The presi- dents have been Eben Tourjee (1876), James A. Butterfield (1878), Rudolf de Roode (1879), Fenelon B. Rice (1880-81), Arthur Mees (1882), Edward M. Bowman (1883-84, 1893-94, 1905), Smith N. Penfield (1885), Albert A. Stanley (1886), CalLxa Lavallee (1887), Max Leckner (1888), Wilbur F. Heath (1889), Albert R. Parsons (1890), Jacob H. Hahn (1891), N. Coe Stewart (1895), Ernest R. Kroeger (1896), Herbert W. Greene (1897-98), Arnold J. Gant- voort (1899-1900), Arthur L. Manchester (1901-02), Rossetter G. Cole (1903, 1909-10), Waldo S. Pratt (1906-08), Peter C. Lutkin (1911, 1920), George C. Gow (1912), Charles H. Farnsworth (1913-14), J. Lawrence Erb (1915-17), Charles N. Boyd (1918-19). Of the many secretaries, H. S. Perkins was longest in office (1888-98), and notably efficient. Be- sides other general officers, for long periods there have been extensive lists of State vice- presidents. The Association was incorporated in 1887 under the laws of Indiana. Its con- stitution has been remodeled at intervals, the present form being that adopted in 1906. The emphasis of the Association's discussions and effort has always been upon the problems and details of practical music-teaching, in- cluding raising the level of teachers and sug- gesting improved methods of teaching. Much attention has been given to questions about music in the public schools, in colleges and universities, and in community welfare. Every aspect of genuine musicianship in its practical applications has been somewhat considered. For many years, also, special effort was made to improve the recognition of American com- position, including many recitals of American works and even the offering of prizes for such works. Through permanent committees on various subjects considerable general influence has been exerted. The Association early advocated interna- tional copyright for music, and also the adop- tion of 'international' pitch. It fostered the formation of a large number of State Associa- tions, and has been cordial in relation to many other associations, even when they tended to deplete its own ranks. In 1883 it was directly 1 No Reports apparently in 1877, 1879, 1891, 1893 (see 1894), 1898, 1905 (see 1906). From 1900 to 1905 the Association issued a periodical, The Messenger (quarterly, then bimonthly), ably edited by Arthur L. Manchester, which contained much more than the records of meetings. Since 1906 the Proceedings, under the title of Studies in Musical Education, History and ^Esthetics, have been issued in handsome bound form (index to first ten volumes in 1915). It is unfortunate that complete files of the publica- tions before 1900 are extremely rare. MUSICAL ALLIANCE OF AMERICA MUSICAL QUARTERLY' 303 concerned in the setting up of the American College of Musicians the'forerunner of several later efforts at 'standardization' which, in spite of an excellent purpose and plan, did not have permanence. Various other enterprises might be named which expressed the practical energy that has usually characterized the Asso- ciation's policy. 1 MUSICAL ALLIANCE OF AMERICA, THE, was started in 1917 by John C. Freund of New York. Its special purposes are to advance the recognition of music as vital to national, civic and domestic life, to extend the study of music in the public schools, to magnify the importance of music by American com- posers and especially to urge the establishment of a National Conservatory. The movement has secured the interest of a large number of musicians of every class. ' MUSICAL AMERICA, ' of New York. A weekly periodical established by John C. Freund in 1898 and since edited by him. After a break in publication, since 1905 it has been conducted on an enlarged scale as a record of manifold professional activities. MUSICAL ART SOCIETY, THE, of New York. See article in Vol. iii. 335. The strik- ing record of achievement of this society con- tinues without break under the enterprising leadership of Frank Damrosch. MUSICAL ASSOCIATION OF SAN FRANCISCO, THE. See SAN FRANCISCO SYMPHONY ORCHESTRA. 'MUSICAL COURIER, THE,' of New York. See note in Vol. iii. 689. MUSICAL FUND HALL. A music-hall erected in 1824 for the Musical Fund Society of Philadelphia (see below) and used for its concerts and many others for more than thirty years. Its original plan was made by William Strickland and acoustically it was very suc- cessful. It was also so arranged as to be self- supporting from the rental of offices and studios. In 1847 it was elongated and re- arranged, so as to accommodate 1500. See cut and notes in Madeira, Annals of Music in Philadelphia. MUSICAL FUND SOCIETY, THE, of Boston, was formed in 1847 by Thomas Comer on the lines of the Philadelphia Society, but only for orchestral concerts. It never reached a high plane of excellence in programs or per- formance, though improved in later years under G. J. Webb as conductor, and was dis- continued in 1855. MUSICAL FUND SOCIETY, THE, of New York, was, like the Boston Society, in- 1 The detailed history of the Association is to be followed in its annual Reports or Proceedings. In 1893 H. S. Perkins issued a Historical Handbook, which is at least singular in style, and similar retro- spects are found in the Reports for 1888 and 1893 ftnd in the Proceedings for 1908, 1909, 1911 and 19J4. tended to provide orchestral concerts. It was formed about 1828 and continued till after 1840, forming a bridge between the old and the new Philharmonic Societies. MUSICAL FUND SOCIETY, THE, of Philadelphia, was founded in 1820 by a group of professional and amateur musicians who had met informally for several years to prac- tice chamber-music. Leading spirits in the enterprise were Taylor, Carr, Hupfeld, Gilles, Cross and Schetky. The name arose from the fact that one of the objects was to establish a fund for the relief of needy musicians. The other was to give concerts of a high class, choral and orchestral. The first concert was given on Apr. 24, 1821. In 1824 Musical Fund Hall was built (see above). In 1825 an Academy of Fine Arts was projected, somewhat in connec- tion with the University of Pennsylvania, but this educational effort ceased in 1832. The Society continued for almost forty years, serv- ing as a center for the best musical interests of the city. In 1858 it was given up. Besides a goodly list of oratorios, symphonies and over- tures, it introduced many eminent soloists, either in its regular concerts or under its patron- age, such as Malibran, Ole Bull, Vieuxtemps, Herz, Jenny Lind and Sontag. See Madeira, Annals of Music in Philadelphia and History of the Musical Fund Society, 1896 (edited by P. H. Goepp). On May 4, 1920, a musical masque representing a 'Jenny Lind Concert in 1850' was given to commemorate the cen- tenary of the Society. MUSICAL GLASSES. See HARMONICA. MUSICAL INSTRUMENTS, COLLEC- TIONS OF. See article in Vol. iii. 336-8, and articles in this volume on the BROWN COL- LECTION in New York and the STEARNS COL- LECTION in Ann Arbor. 'MUSICAL LEADER, THE.' See note in Vol. iii. 689. ' MUSICAL MONITOR, THE.' A monthly periodical issued since 1912 as the official organ of the National Federation of Musical Clubs. The editor is Mrs. David Allen Campbell. 'MUSICAL OBSERVER, THE.' A monthly periodical published since 1904 by Carl Fischer, New York. Its 'editor from the beginning has been Gustav Saenger. MUSICAL QUARTERLY, THE,' issued since 1915 by G. Schirmer, New York City, was the fruit of a long-standing desire on the part of Rudolph E. Schirmer to establish a musical periodical in English of the highest quality and of cosmopolitan scope. Its notable success from the start was insured by securing O. G. Sonneck (then of the Library of Con- gress) as editor. His energy, knowledge, tact and skill, with the disinterested liberality of the publishers, have combined to make the magazine uniquely significant- Thes dominant 304 'MUSICAL QUARTERLY' MUSICAL SOCIETY purpose has been to stimulate the literary treat- ment of musical topics, historical, critical and practical. The original plan was to draw from foreign writers as freely as from American. The outbreak of the World War just before issues began naturally interfered with this somewhat, although the 150 articles in the first four volumes were about equally divided between Europe and America. All articles are in English, and some are accompanied by excellent illustrations. The English contributors have been (to 1919) Herbert Antcliffe (3), Rutland Bough ton (2), Ananda Coomaraswamy, Frederick Corder (4), A. Redgrave Cripps, Edward J. Dent (3), Edward R. Dibdin, Edwin Evans, W. H. Grattan Flood (2), J. A. Fuller- Maitland (4), Reginald Gatty (2), Percy Grainger, W. H. Hadow, Clement A. Harris (2), Ernest Hart, Arthur Hinton, A. Eaglefield Hull, Frank Kidson (3), W. J. Lawrence (4), M. Montagu-Nathan, John Palmer, D. C. Parker (4), C. Hubert H. Parry, John F. Runciman (2), Percy A. Scholes, Cyril Scott (3), Edward Speyer (2), W. Barclay Squire (4), C. Villiers Stanford (2), R. A. Streatfeild, Francis Toye (2). C. Stanley Wise. The French and Italians include Michel Brenet, R. D. Chennevidre, Henri de Curzon (2), Guido A. Fano, Amed6e Gastoue, Gabriel Grovlez, Jean Hur6, G. Jean-Aubry (2), L. de La Laurencie, J. G. Prod'homme (7), Charles Quef, Camille Saint-Saens, Julien Tiersot (3), Fausto Torrefranca. The Germans, Austrians and others are Oscar Bie, Elizabeth Foerster-Nietzsche, Viktor von Herzfeld, Edgar Istel (3), Hans Kleemann, Hugo Leichtentritt (2), Wilhelm Peterson-Berger, Egon Wellesz. The articles by Americans are as follows : George W. Andrews, 'Music as an Expression of Religious Feeling' ; Winton J. Baltzell, 'The American College Man in Music"; Phillips Barry, 'Greek Music' Ludwig Bonvin, 'On Syrian Liturgical Chant' Ernest Bruncken, 'The Philosophy of Copyright' Charles L. Buchanan, ' Ornstein and Modern Music, 'The Unvanquishable Tchaikovsky'; J. N. Burk, 'The Fetish of Virtuosity,' 'The Democratic Ideal in Music' ; Natalie C. Burlin, 'The Classic Dance of Japan,' 'Black Singers and Players,' 'Negro Music at Birth'; Charles W. Cadman, 'The Idealization of Indian Music'; Sheldon Cheney, 'The Book- Plates of Musicians and Music-Lovers'; Philip G. Clapp, 'Sebastian Bach, Modernist'; D. A. Clip- pinger, 'Scientific Voice-Training'; T. P. Currier, 'Edward MacDowell as I Knew Him' ; J. C. Deagan, ' A-440 Pitch Adopted'; Frances Densmore, 'The Study of Indian Music ' ; Olin Downes, 'An American Composer' (Henry F. Gilbert); Arthur Elson, 'Literary Errors about Music,' 'Sound and its Uses' ; Louis C. Elson, 'Acoustics'; Carl Engel, 'De Gusti- bus,' 'Music we shall Never Hear,' 'The Miraculous Appeal of Mediocrity ' ; J. Lawrence Erb, ' Music in the American University,' 'Music in the Education of the Common Man'; Charles H. Farnsworth, 'The Judgment of Paris'; Harold Flammer, 'Ad- vertising as a Fine Art'; Harvey B. Gaul, ' Bonne t- Bossi-Karg-Elert'; Sophie P. Gibling, 'Problems of Musical Criticism'; 'Types of Musical Listening'; Henry F. Gilbert, 'The American Composer,' 'The Survival of Music,' 'Folk-Music in Art Music,' ' Originality' ; Lawrence Gilman, 'Taste in Music' ; Philip Gordon, 'Franz Grillparzer ' ; George C. Gow, 'Rhythm, the Life of Music' ; John C. Griggs, 'The Influence of Comedy upon Operatic Forms ' ; Eugene Gruenberg, 'Stage-Fright'; Henry J. Harris, 'The Occupation of Musician in the United States ' ; Arthur Hartmann, 'The Czimbalom'; W. J. Henderson, 'The Function of Musical Criticism,' 'A Note on Floridity'; H. T. Henry, 'Music Reform in the Catholic Church,' ' Choir-Boys in Catholic Churches,' ' Wanted, a Historico-Musical Clearing-House' ; Edward B. Hill, 'Vincent d'Indy'; Edwin Hughes, 'Musical Memory in Piano Playing,' 'Joseffy's Contribution to Piano Technic,' 'Liszt as a Lieder Composer'; James Huneker, 'The Classic Chopin'; Lewis M. Isaacs, 'A Friend of Dr. Johnson' ; Edward Kilenyi, ' The Theory of Hungarian Music ' ; Henry E. Krehbiel, 'Alexander Thayer and his Life of Bee- thoven'; Ernst C. Krohn, 'The Bibliography of Music'; Frank Lester, 'Kluckhorn's Chord'; Arthur W. Locke, ' Note on Hoffmann's Kreisleriana' ; Orlando A. Mansfield, 'Anomalies in Orchestral Accompaniments to Church Music,' ' Characteristics and Peculiarities of Mendelssohn's Organ Sonatas,' 'W. T. Best,' 'The Minuet in Handel's Messiah,' 'Musical Discrepancies'; Frederick H. Martens, 'The Attitude of the Dancer toward Music,' 'The Modern Russian Pianoforte Sonata ' ; Daniel G. Mason, 'A Study of Strauss,' 'Edward J. de Coppet,' ' A Study of Elgar,' ' Folk-Song and American-Music ' ; W. S. B. Mathews, 'Strength, Beauty and Satis- faction in Music'; Brander Matthews, 'The Con- vention of the Music-Drama'; Josephine McGill, 'Following Music in a Mountain Land,' 'Old Ballad Burthens'; E. W. Morphy, 'Violin Teaching and the Organization of Civic Orchestras'; Arthur Nevin, 'Two Summers with the Blackfeet Indians'; N. Lindsay Norden, 'The Boy-Choir Fad,' 'A Plea for Pure Church Music,' 'The Russian Liturgy and its Music"; Clara T. Nichols, 'Music in our Public Schools'; Katherine S. Oliver, 'On Friendship'; Waldo S. Pratt, 'On Behalf of Musicology'; William G. Rice, 'Tower Music of Belgium and Holland'; Francis Rogers, 'America's First Grand Opera Season,' 'Memories of Ethelbert Nevin,' 'The Male Soprano'; James F. Rogers, 'A Song of Rags,' ' Music as Medicine ' ; Frederick W. Root, ' Imagina- tion and Fact in Voice Culture ' ; Cornelius Riibner, 'Niels W. Gade'; Algernon St. John-Brenon, 'Giu- seppe Verdi ' ; Herbert Sanders, ' Counterpoint Rev- olutionized' ; E. Sapir, 'Representative Music'; Carl E. Seashore, 'The Measurement of Musical Talent,' 'The Sense of Rhythm as a Musical Talent' ; Herbert F. Small, 'On Opera'; C. Alphonso Smith, 'Ballads Surviving in the United States'; O. G. Sonneck, 'Liszt's Huldigungs Marsch and Weimar'a Volkslied,' 'Guillaume Lekeu,' 'Rudolph E. Schirmer'; Sigmund Spaeth, 'Translating to Music'; Walter R. Spalding, 'The War in its Relation to Amer- ican Music ' ; Constantin von Sternberg, ' Singing or Music,' 'On Plagiarism'; G.Edward Stubbs, 'Secula- rization of Sacred Music,' 'Why we have Male Choirs in Churches ' ; David C. Taylor, ' Voice Culture, Past and Present'; Carl Van Vechten, 'Shall we Realize Wagner's Ideals?' 'Notes on Gluck's Armide,' 'De Senectute Cantorum,' 'The Relative Difficulties of Depicting Heaven and Hell in Music ' ; Eva A. Vescelius, 'Music and Health'; Helen Ware, 'The American-Hungarian Folk-Song'; Wesley Weyman, 'The Science of Pianoforte Technique'; T. Carl Whitmer, 'A Post-Impressionistic View of Beetho- ven,' 'The Energy of American Crowd Music" ; Her- bert J. Wrightson, 'The Secret of Technique'; Jaroslaw de Zielinski, ' Russian Hunting Music.' MUSICAL SOCIETY, THE, of Boston, apparently founded in 1785 and continuing till 1789, is important because probably directed by William Selby and because it carried through 'MUSICIAN, THE' MYER 305 a performance of extracts from Handel's works in January, 1786, which seems to have stimu- lated similar efforts elsewhere. See Sonneck, Concert-Life, pp. 275-82. MUSICIAN, THE.' See article in Vol. iii. 688-9. Mr. Tapper ceased to be editor in 1907 and was succeeded by W. J. Baltzell, who continued till 1918, when the magazine passed from the Ditson Company to the Henderson Publications, Inc., New York. MUSIKVEREIN, DER, of Milwaukee, was founded in 1847, giving its first concert in May, 1850. Its conductor till 1860 was Hans Balatka. Combining choral and orches- tral efforts and being supported by a large Ger- man constituency, it stands out as one of the leading early factors in the development of musical interest in the Interior. For list of works performed up to 1880, see Ritter, Music in America, chap. xxi. The present conductor is Hermann A. Zeitz. MUSIN, OVIDE (Sept. 22, 1854, Nandrin, Belgium). See article in Vol. iii. 342. His first American appearance was in 1883 with the New York Symphony Society under Leo- pold Damrosch. With the Philharmonic So- ciety under Thomas he played the Godard con- certo for the first time in America. Form- ing his own concert-troupe, he made many tours in the United States, in 1892 journeyed to Australia, New Zealand and Mexico, and in 1896 visited Japan, China and Manila. In 1908 he established a violin-school in New York. His decorations are many Officier de 1'Ordre de Leopold in Belgium, Commandeur de 1'Ordre du Nisham Iftikar and Officier de 1'Academie in France, member of the Ordre du Merite in Holland, Officier de 1'Ordre de Bolivar in Venezuela, etc. His violin-works (with or- chestra or piano) include two Caprices, Valse de Concert, Mazurka de Concert, 'Extase,' Valse Lente, Berceuse, 'Mazurka Elegante' and 'Lullaby and Prayer.' He has made nu- merous transcriptions, as of Bach's Chaconne, Viotti's 22nd Concerto, Handel's Sonata in A, Tartini's 'Trillo del Diavolo' and Variations on a Corelli Gavotte (all Carl Fischer) ; a Prelude by Campagnoli, Pergolese's 'Canzonet Napolitaine,' Paganini's Romance in B minor, Radoux' 'Words from the Heart,' and many others in his own Repertoire du Virtuose. He has combined his own studies with those of Leonard in The Belgian School of the Violin, 4 vols., 1916, besides issuing many separate exercises and studies. His wife, nee Annie Louise Hodges (b. 1856, Oshkosh, Wis.), is an accomplished soprano and has joined him in his many concert-tours. [ R.7 ] MUZIO, CLAUDIA (b. 1892). See Regis- ter, 10. MYER, EDMUND JOHN (Jan. 21, 1846, York Springs, Pa.) after general education in Wyoming Seminary and Dickinson College in Pennsylvania, studied music in Philadelphia and New York. In 1878 he settled in the latter city, where he has since been active as a singer and teacher of singing. He founded the National Summer School of Music at Lake Chautauqua and Round Lake, N. Y., and has also taught summer-classes in Seattle, Wash. He is author of Truths of Importance to Vo- calists, 1883, The Voice from a Practical Stand- point, 1886, Voice-Training Exercises, 1888, Vocal Reinforcement, 1891, Position and Action in Singing, 1897, The Renaissance of the Vocal Art, 1902, The Vocal Instructor, 1913, and A Revelation to the Vocal World, 1917. [ R.6 ] N NACHEZ, TIVADAR (b. 1859). See Reg- ister, 10. NAGEL, FRANK (b. 1870). See COL- LEGES, 3 (Highland Park C., Iowa). NAPOLEAO, ARTHUR (b. 1843). See Register, 5. t NAPRAVNIK, EDUARD FRANTS- OVITCH (Aug. 24, 1839, near Koniggratz, Bohemia : Nov. 10, 1916, Petrograd, Rus- sia). See article in Vol. iii. 352-3. There are Russian biographies by Weymarn, 1888, and Findeisen, 1898. NARODNY, IVAN (b. 1874) and MARIA, nee Mieler (b. 1888). See Register, 9. NASH, W. See TUNE-BOOKS, 1836. NATIONAL CONSERVATORY OF MU- SIC OF AMERICA, THE, of New York and Washington, was founded in 1885 by Mrs. Jeannette M. Thurber and holds charters both from New York State (1885) and from Congress (1891), as to this latter being unique. Until about 1915 tuition was free, being pro- vided by funds supplied by Mrs. Thurber and other supporters. The average number of pupils per year has been about 600. It has been specially successful in helping students of foreign birth and certain special classes, like the blind and those of Negro blood. At first vocal music was emphasized, with much attention to solfeggio, after the model of the Paris Conservatory, but all instrumental and theoretical branches were soon added. The list of distinguished teachers who have served for a longer or shorter time is long and imposing. Among the general directors have been Jacques Bouhy in 1885-89, Antonin Dvorak in 1892-95, Emil Paur in 1899-1902 and Wassily Safonov in 1906-09, and on the staff have been names like Mme. Fursch-Madi (1885-94), B. O. Klein (1887-92), Adele Margulies (since 188T), Joseffy (1888-96), Huneker (1888-98), Finck (since 1888), S. P. Warren, Victor Herbert, Anton Seidl, Frank Van der Stucken, Leo Schulz (since 1890), Leopold Lichtenberg (since 1899), Max Spicker (1895-1912) and many others. Humperdinck was invited to become director in 1913 and accepted, but was not released at Berlin. From time to time the Con- servatory has offered prizes for composition among the winners being Henry Schoene- feld with his 'Rural Symphony' (1892), Joshua Phippen of Boston with a piano- concerto, F. F. Bullard with a suite for strings, Horatio Parker with his cantata ' The Dream- King and his Love,' and G. W. Chadwick with a symphony. Marguerite Merington also took a prize for the opera-libretto 'Daphne.' Special attention has been given to the de- velopment of the Conservatory orchestra and its operatic classes. It was while director that Dvorak wrote his 'New World' Symphony, the title being suggested by Mrs. Thurber. NATIONAL ASSOCIATION OF OR- GANISTS, THE, was organized in 1908 by Tali Esen Morgan as an outgrowth of gather- ings promoted by him at Ocean Grove, N. J. Its first seven conventions (till 1914) were held at Ocean Grove. In 1915-17 they were at Springfield, Mass., in 1918 at Portland, Me., in 1919 at Pittsburgh and in 1920 at New York. The presidents have been Will C. Macfarlane in 1908-09, Mark Andrews in 1909-10, Homer N. Bartlett in 1910-11, Clarence Eddy in 1911-12, J. Christopher Marks in 1912-14, Arthur S. Brook in 1914- 17, Frederick Schlieder in 1917-20 and now Henry S. Fry. The object of the Association is fraternal rather than academic. In a variety of ways it has served to arouse en- thusiasm among its members and to advance the interests of organ-music as a specialty. The present membership is over 1000. Its official organ was at first ' The Musical World,' in 1915-19 'The Console,' which was wholly devoted to its affairs and well edited by M. M. Hansford, and now 'The Diapason.' Since 1912 the secretary has been Walter N. Waters, 24 W. 60th St., New York. NATIONAL EDUCATIONAL ASSOCIA- TION, THE, since about 1880 has regularly given attention to questions relating to music, especially in the public schools, and has long maintained a Music Section for this purpose. Its Annual Proceedings have therefore included a large number of important papers on the sub- ject. The president of the Section for 1920 is W. Otto Miessner of the Milwaukee State Normal School and the secretary Sarah B. Callinan, William Penn High School, Philadel- phia. NATIONAL FEDERATION OF MUSI- CAL CLUBS, THE, was founded in 1898 by Mrs. Theodore Sutro of New York. It has now grown to vast proportions, knitting together musicians and music-lovers throughout the country, and instigating activity of various sorts, from the development of the small local circle to the holding of great biennial assemblages in different places. Eleven such conventions have been held, the latest in 1919 at Peterboro, N. H., in connection with the MacDowell Memorial Colony there. The Federation publishes 'The Musical Monitor' as its official organ, the editor being Mrs. David A. Campbell. The president NATIONAL OPERA COMPANY NEUENDORFF 307 i8 Mra. F. A. Seiberling, of Akron, O., and the secretary Mrs. John F. Lyons, Fort Worth, Tex. The entire country is divided into dis- tricts, each with its own officers, so that a large amount of local enthusiasm is stimulated. In connection with its biennial gatherings, as well as on a smaller scale in other ways, the Association aims to foster musical pro- duction by offering various prizes, often of large amount. NATIONAL OPERA COMPANY, THE, was the name adopted by the American Opera C ompany for the season of 1 886-87 . Theodore Thomas continued as conductor, assisted by Gustav Hinrichs and Arthur Mees. The most notable event was the first American rendering of Rubinstein's 'Nero' (in English) on Mar. 14, 1887, at the Metropolitan Opera House. Masse's 'Galatea' was also given in Brooklyn on Dec. 30, 1886, and Delibes' ballet 'Coppelia' at the Metropolitan in March. The company spent most of its time on tour, winding up disastrously at San Francisco, though with two or three performances on the way back to New York. 'NATOMA.' A three-act opera by Victor Herbert on a text by Joseph D. Redding. It was foreshadowed in an announcement by Hammerstein as early as 1907, was sub- mitted to Gatti-Casazza at the Metropolitan Opera House and partially tested in rehearsal, and was finally produced by the Chicago- Philadelphia Company at Philadelphia on Feb. 25, 1911, and repeated by the same Company at the Metropolitan on Feb. 28. The story is laid in Southern California during the Spanish domination and involves some Indian elements. 'NEC-NATOMA.' No. 12 of the 'Grove- Plays' of the San Francisco Bohemian Club, produced in 1914. The music is by Uda Waldrpp and the text by J. Wilson Shields, the scene being long ago in the redwood forest. NEFF, CHARLES DANIEL (b. 1867). See COLLEGES, 3 (Upper Iowa U.). NEGRO MUSIC. See article in Vol. iii. 359-62. The bibliography is open to con- siderable extension, certainly so as to include Krehbiel, Afro-American Folk-Songs, 1914, Mrs. Curtis-Burlin, Negro Songs, 2 vols., 1918, with her articles in 'The Musical Quarterly,' January and October, 1919, and the summaries in The Art of Music, iv. pp. 284-311, and in The American History and Encyclopedia of Music, volume on 'American Music,' pp. 47-70. A striking article on 'Musical Culture in Negro Schools and Colleges,' by Mrs. Lydia H. Hamlin, is in the M. T.N.A. Proceedings, 1916, pp. 144-55. This latter calls attention to the way in which the Negro's innate capacity for song is being turned to practical account in present-day education. Interesting instances of strong artistic development among colored students in music-schools in many parts of the country might be cited. R. Nathaniel Dett, music- director at Hampton Institute, has notable distinction as composer and Harry T. Bur- leigh has made a mark as singer and song- writer. These are but conspicuous examples. In 1912 David Mannes started in New York a Music School Settlement for Colored People. In 1919 began the issue of a monthly periodical in Philadelphia, 'The Master-Musician,' de- voted to the interests of Negro musicians. Analogous to what was noted Binder INDIAN Music is the increasing tendency among American composers to utilize Negro themes or at least the spirit and topics of Negro music. Chad wick in his 2nd Symphony (1885) was perhaps the first significant ex- ample. Dvorak's 'New World' Symphony (1893) doubtless exerted more influence, especially because expressing a strong con- viction on the composer's part as to the value of this neglected source. Gilbert early began the series of works that includes the 'Negro Episode,' the ' Americanesque ' (1903), the 'Comedy-Overture' (1911), the 'Negro Rhap- sody' (1913) and 'The Dance in Place Congo' (1918). Humiston's 'Southern Fantasie' came out in 1906, and Powell's 'Sonata Virginianesque,' his suite 'In the South' and various lesser works were not much later. Innumerable cases might be cited of the use of Negro material in songs, as by Farwell, Ayres, Burleigh, Cook and others, besides the composers already named. With reference to the extension of music- education it is not impossible that in the future the various colleges for Negroes will become able to magnify technical training so as to produce decided results. At present only two or three of these colleges emphasize music, notably Fisk University at Nashville, Hampton Institute in Virginia and Tuskegee Institute in Alabama. NEIDLINGER, WILLIAM HAROLD (b. 1863). See Register, 8. NEPOMUCENO, ALBERTO (b. 1864). See Register, 8. NEUENDORFF, ADOLF (June 13, 1843, Hamburg, Germany : Dec. 4, 1897, New York), came to New York when a boy of twelve, studied violin with Weinlich and Matzka and piano with Schilling, at sixteen began playing the violin at the Stadt Theatre and at seventeen appeared as pianist. In 1861 he toured Brazil as violinist, on his return took up theory with Anschiitz and in 1864 succeeded him as conductor of German opera in Milwaukee. In 1867-71 he was music-director of the new Stadt Theatre in New York, where he gave 40 light operas, 308 NEUPERT NEVIN and in the last season, with a troupe specially brought from Europe, a long list of German works, including the first American produc- tion of 'Lohengrin' (Apr. 15, 1871). In 1872 he joined Carl Rosa and Wachtel in giving a notable season of Italian opera at the Academy of Music, and for two years managed the Germania Theatre. In 1875 he gave German opera at the Academy, with Wachtel again and Mme. Pappenheim. At this time he was also leading a choral society and serv- ing as church-organist. In 1876 he con- ducted Beethoven concerts and attended the opening of Wagner's opera-house at Bayreuth as correspondent of the ' Staats-Zeitung.' In 1877 he led the Wagner Festival at the Academy, including the first American pre- sentation of 'Die Walkiire' (Apr. 3). In 1878 he was conductor of the Philharmonic Society. The failure of the Germania Theatre in 1883 ruined him financially and he moved to Boston, but served as conductor in various connections, such as in 1887-88 with Josef Hofmann, in 1889-91 with the Emma Juch Company and in 1892 giving English opera in New York. In 1893-95 he was in Vienna, where his wife, Mme. Januschowsky, was prima donna at the Opera. From 1896 he was music-director at Temple Emanu-El in New York and in 1897 followed Seidl as con- ductor of the Metropolitan Orchestra. He composed two symphonies (1878, '80), the comic operas 'The Rat-Charmer of Hame- lin' (1880), 'Don Quixote' (1882), 'Prince Woodruff' (1887) and 'The Minstrel' (1892), several overtures, cantatas, choruses and songs. [ R.4 ] NEUPERT, EDMUND (Apr. 1, 1842, Christiania, Norway : June 22, 1888, New York), had his first training from his father. From 1858 he studied in Berlin with Kullak and Kiel, becoming teacher in the former's Academy and associate of the latter in the Stern Conservatory. From 1868 he was leading piano-teacher at the Copenhagen Conservatory and in 1880-81 was assistant and for a short time successor of Nicholas Rubinstein #t the Moscow Conservatory. After 1882 he was in New York, where his concert-playing made a deep impression ' a sweep, power and breadth truly gorgeous and overwhelming,' said one critic. His com- positions were almost wholly salon-pieces, etudes and exercises, including a Piano-School (1880), Concert-etudes, op. 17, Octave-Stud- ies, op. 18, Studies in Style, opp. 19-20, Poeti- cal fitudes, opp. 25, 51, etc. [ R.7 ] NEVADA, EMMA [name originally Wixom] (1862, Alpha, Gal.). See article in Vol. iii. 365-6. In 1884-85 she was a member of Mapleson's troupe and as such sang not only in New York and San Francisco, but at the Grand Opera Festival in Chicago in May, 1885, and again in 1889. Since then she has been heard only in Europe. [ R.7 ] NEVIN, ARTHUR FINLEY (Apr. 27, 1871, Edgeworth, Pa.), after a partial course at the University of Pittsburgh, in 1891-93 studied in Boston at the New England Con- servatory, taking piano with Otto Bendix, voice with Nobbs and theory with Goetschius, followed by four years in Berlin, studying piano with Klindworth and Jedliczka and com- position with Boise and Humperdinck. In 1897-1910 he lived at Edgeworth engaged with teaching and composition, except that in 1903-04, having become deeply interested in Indian music, he lived among the Blackfeet Indians of Montana, noting their music and legends. This gave the basis for his opera 'Poia,' later composed at Edgeworth, and for many lectures, beginning with one in 1907 in the White House in Washington at President Roosevelt's invitation. On Apr. 23, 1910, 'Poia' was given at the Royal Opera in Berlin under Muck the first American opera to be accepted by such a house after prepara- tion under the composer's direction. In 1911-14 he lived at Charlottesville, Va., busy with composition, and in 1914-15 was engaged in conducting in connection with the Mac- Dowell Association's work at Peterboro, N. H. Since 1915 he has been head of the choral and extension-work of the University of Kansas, involving the oversight of 35 com- munity-choruses. In 1917-18 he had leave of absence to direct music at Camp Grant in Illinois, where he drilled 41,000 soldiers in singing, led a massed band of 240 and oc- casionally had a chorus of 35,000 at one time. His works include, besides 'Poia' (published by Fiirstner), the one-act opera 'A Daughter of the Forest' (1918, Chicago, published by Church), the masque 'A Night in Yaddo- Land,' the cantatas 'The Djinns,' with ac- companiment for two pianos (divided prize from the Mendelssohn Club of Cleveland), and 'Roland,' a 'Miniature Suite' in five movements for orchestra, two other orchestral suites 'Lorna Doone' and 'Love-Dreams,' a string-quartet in D minor, 'At the Spring* for string-orchestra, a piano-trio in C, 'Baka- wali Dances' for orchestra (written for Ruth St. Denis), three piano-suites and other piano- pieces, about 25 songs and several choral works. See his article on his Indian experiences in 'The Musical Quarterly,' April, 1916. [ R.8 ] NEVIN, ETHELBERT WOODBRIDGE (Nov. 25, 1862, Edgeworth, Pa. : Feb. 17, 1901, New Haven, Conn.). See article in Vol. iii. 366. Interest in his music does not diminish, and Elson's calling 'The Rosary' 'the most famous American song' appears justified. It was first sung by Francis Rogers, NEVIN NEW ENGLAND CONS. 309 accompanied by the composer, at a concert in Madison Square Garden Concert Hall in New York on Feb. 15, 1898. The panto- mime 'Lady Floriane's Dream' was produced in New York the same year. To the list of works add the song-cycle 'Captive Memories,' (1900, New York) and his only choral work, ' The Quest.' After his death the orchestration of the latter was completed by Horatio Parker. See Thompson, The Life of Ethelbert Nevin, 1913, and article by Francis Rogers in 'The Musical Quarterly,' July, 1917. [ R.7 ] NEVIN, GEORGE BALCH (b. 1859). See Register, 7. NEVIUS, J. W. See TUNE-BOOKS, 1817. NEW ENGLAND CONSERVATORY OF MUSIC, THE, of Boston, was established in .1867 by Eben Tourjee, then in charge of a successful school in Providence. With him for a time was associated Robert Gold- beck, and the original faculty included Lang, Perabo, Emery, Zerrahn, Tuckerman and George E. Whiting. The conservatory was first located in rooms in the Music Hall Build- ing, with easy access to the best concerts and to the great organ. In 1870 the first class of thirteen was graduated, and the Con- servatory was incorporated with the provision that all profits from operation should be devoted exclusively to the interests of the institution. The director's activity in the Peace Jubilees of 1868 and 1872 undoubtedly helped progress. The faculty was steadily enlarged and strengthened, by 1875 including every important Boston musician, and the student-body increased rapidly, up to 1878 totaling over 14,000, coming from all parts of the United States and Canada. An early emphasis was given to public-school music, for which in 1874 a summer-school was opened at East Greenwich, R. I. When Luther W. Mason went to Japan in 1879-82 to introduce American methods, it was as a member of the Conservatory staff. In 1882 the large St. James Hotel on Frank- lin Square was bought to provide better teach- ing facilities and a suitable dormitory for women-students. Here the Tourjees, husband and wife, created a genuine home for the pupils. In May of that year the thousandth Conser- vatory concert was given. But the financing of the big enterprise was difficult. Devices like providing some non-musical instruction were tried, and aid was sought, unsuccessfully, from the State. This burden hastened the director's death in 1891. He was followed in 1891 by Carl Faelten, who was in turn succeeded in 1897 by George W. Chadwick, the present director. The latter at once proceeded to organize the institution upon strictly musical lines, to strengthen the faculty by adding younger teachers who had had modern intensive training, and to lift the standard generally to that of the best European schools. Among the strong ac- cessions were Helen Hopekirk, Carl Baermann, and Wallace Goodrich, who in 1907 became dean of the faculty. Plans were also de- veloped for a new building, largely on the initiative and with the help of Eben D. Jordan, later president and munificent benefactor. In 1902 the Conservatory removed to its present building on Huntington Avenue, close to the new Symphony Hall and various literary and educational centers. This build- ing, designed by Wheelwright and Haven, is a model of convenience and taste with ample offices and public rooms, a large audi- torium (called Jordan Hall after the donor), a second auditorium, seating about 400, over fifty class-rooms, a library and museum, a music-store and printing-offices, etc. The business-manager is Ralph L. Flanders, whose efficient policy for over fifteen years has led to the practical extinction of the debt of over half a million inherited from earlier years. The average number of students annually is above 3000 and the total registration since foundation over 100,000. The faculty of over seventy-five members includes teachers and soloists of national reputation. The regular courses, leading to a diploma in any one of the principal branches, are designed to prepare for a professional career as artist or teacher. Special students are also ad- mitted, with full privileges as to lectures and recitals. Emphasis is placed upon the organ- department, the dramatic department, public- school music, the orchestra and the various ensemble-classes. The orchestra, numbering about seventy-five, is a complete symphonic organization, has rehearsals twice a week under the director or dean, gives several concerts with classical and modern programs, and assists in sundry Conservatory functions, including accompaniment of advanced stu- dents. It has supplied players for many of the leading orchestras of the country. Since 1905 the Conservatory has had relations with Har- vard University whereby students of either can pursue certain studies with credit in the other. The library of almost 5000 volumes is strong in complete editions, cathedral music, choral, orchestral and chamber- works, and in books of general reference. The museum of instruments contains interesting specimens from Oriental and Asiatic countries. Women-students are provided for in a series of residences near by, under Conservatory management, with ac- commodation for about 200. The Conservatory is supported by receipts from tuition and from invested funds, the latter largely coming by bequest from Eben D. Jordan and Mrs. Robert Dawson Evans. 310 NEW HAVEN ORCHESTRA NEWMAN Reference is made on pp. 33-4 to the unique eminence of the Conservatory in the history of American musical education. It was the first large music-school, and has always occupied a position of noble leadership and beneficent influence. NEW HAVEN SYMPHONY ORCHES- TRA, THE, was organized in 1896 more or less as an adjunct to the Yale School of Music. Until 1919 the conductor was Horatio Parker. In 1907 Isidore Troostwyk, the con- certmaster, started the New Haven String Orchestra, which he has since conducted. Among first performances by this latter are Kriens' 'In Holland' Suite (1912) and a suite by Troostwyk (1914). 'NEW MUSIC REVIEW, THE.' See note in Vol. iii. 689. The first number of ' The Church Music Review' appeared in December, 1901. The 'Review' has occupied a place by itself for acute editorials, able contributed articles,, useful summaries of leading events, the management of church music and for many years official records of the A. G. O. NEW ORLEANS FRENCH OPERA TROUPE, THE, is the name most often used for various companies playing in New Orleans at intervals from about 1800 and often making considerable tours in the North. Most of these were troupes brought from Paris. NEW ORLEANS OPERA HOUSE, THE, or The New French Opera House, was built by BoudousquiS in 1859 and remained the home of brilliant productions until 1919, when it was destroyed by fire. Among works given here for the first time in America are Gounod's 'La Reine de Saba' and 'Le Tribut de Zamora,' Bizet's 'L'Arlesienne,' Massenet's 'Herodiade,' 'Esclarmonde,' 'Werther,' 'Cen- drillon' and 'Don Quichotte,' Salvayre's ' Rich- ard III,' Saint-Saens' ' Samson et Dalila,' Lalo's 'Le Roi d'Ys,' Reyer's 'Salammbo,' Cilea's 'Adrienne Lecouvreur,' Giordano's 'Siberia' and Leroux' 'Le Chemineau.' The influence of the traditions of this House has been espe- cially felt in Chicago and New York. See The Art of Music, iv. pp. 162-5. NEW THEATRE, THE, in New York, was erected in 1909 primarily to provide a place for spoken drama. In 1909-10, however, it was the scene of a supplementary season of 40 performances by the forces of the Metro- politan Opera House, the works being lighter than those there given. In 1913-15 it was again used for opera under the name of The Century Theater (see CENTURY OPERA COM- PANY). NEW YORK CHAMBER MUSIC SO- CIETY, THE, was formed in 1914 by Carolyn Beebe and Gustave Langenus. At first they shared the direction, but soon Miss Beebe became sole conductor. The aim has been to assemble a strong body of expert players of both string- and wood-instruments, to develop an ensemble like that of a string-quartet, and to build up a large and significant reper- toire. The Society has had much success. In 1919 it was incorporated, and now controls the exclusive services of its players. The members are Miss Beebe, pianist and di- rector, Pierre Henrotte and Scipione Guidi, violins, Samuel Lifschey, viola, Paul Kefer, 'cello, Emil Mix, double-bass, Gustave Lan- genus, clarinet, William Kincaid, flute, Henri de Busscher, oboe, Ugo Savolini, bassoon, and Joseph Franzl, horn. All the members are American-born or naturalized citizens. The Society has introduced the following works : (1917) Dubois' 'Deux Pieces en forme canonique' ; d'Indy's Trio in B-flat, op. 29; Goepfart's Quartet in F, op. 98 ; Huss' Four Intermezzi ; Sekles' Serenade in B-flat, op. 6 ; Mason's Scherzo-Caprice, op. 14a ; Tovey's Variations on a theme of Gluck, op. 28 ; Hol- brooke's Nocturne, 'Fairyland,' op. 57, no. 1 ; Hure's Quintet in D; (1918) Dubois' Quintet in F and Dixtuor in D ; Juon's Divertimento in F, op. 51 ; Taylor's Suite, 'Through the Looking-Glass,' op. 12 ; Goossens' Suite in C, op. 6 ; (1919) Ries' Octet in A-flat, op. 128; Pirani's 'Gavotte Rococo' and 'Whirlwind' Scherzo; Tovey's Trio in D minor, op. 14; Goossens' Suite, ' Impressions of a Holiday,' op. 7; (1920) Lefebvre's Quintet in A; Griffes' Suite, op. 5 ; Sowerby's Quintet in D minor ; Jun- gen's Trio in F-sharp, op. 30. Several of these were written for the Society, and other special works are in prospect. NEW YORK COLLEGE OF MUSIC, THE, was founded in 1878. In 1887-1905 the di- rector was Alexander Lambert, who was succeeded by Carl Hein and August Fraemcke. NEW YORK SACRED MUSIC SOCIETY, THE, was a choral society formed in 1823 on the basis of the choir of Zion Church. In 1831 it gave 'The Messiah' the first com- plete performance in New York and in 1838 the first American rendering of 'St. Paul,' both conducted by U. C. Hill. In 1849 it was replaced by the Harmonic Society. NEW YORK TRIO CLUB, THE, was founded about 1867 by Bernardus Boekelman and directed by him as pianist till 1888. The other members were R. Richter, violinist, and Emil Schenck, 'cellist. In 1919 a New York Trio was formed with Clarence Adler, pianist, Scipione Guidi, violinist, and Cornelius Van Vliet, 'cellist. NEWCOMB, ETHEL (b. 1879). See Reg- ister, 9. NEWHALL, JAMES. See TUNE-BOOKS, 1802. | NEWMAN, ERNEST (Nov. 30, 1868, Liverpool, England), was originally meant to enter Civil Service work in India, but was diverted by ill-health into business in Liver- NICHOLAS NORDEN 311 pool, taking up writing as an avocation. In 1903-05, however, he taught music in the Midland Institute at Birmingham, and since 1905 has been music-critic, in 1905-06 for the Manchester 'Guardian,' in 1906-19 for the Birmingham 'Post' and since 1919 for the London 'Observer.' His extensive knowledge and incisive style have made him eminent as a writer. He has published Gluck and the Opera, 1895, A Study of Wagner, 1899, Wagner, 1904, Musical Studies, 1905, Elgar, 1906, Hugo Wolf, 1907, Richard Strauss, 1908, Wagner as Man andt Artist, 1914, and A Musical Motley, 1919, besides translating Weingartner's Ueber das Dirigieren, Schweitzer's /. S. Bach, and most of the Wagner opera-texts in the Breit- kopf & Hartel edition. He has also edited The New Library of Music and Fifty Songs of Hugo Wolf, and was a contributor to The Art of Music, 1914-17. NICHOLAS, CHARLES K. See COL- LEGES, 3 (Midland C., Neb.). NICHOLL, HORACE WADHAM (Mar. 17, 1848, Tipton, England). See article in Vol. iii. 372. From 1883 he was long a reader for Schirmer. In 1888-95 he taught harmony and ensemble-playing with Boekelman at Farmington, Conn. He has published 12 Grand Preludes ^and Fugues for piano (ex- traordinary for contrapuntal dexterity), an organ-sonata in A minor, op. 42, a piano- concerto in D minor, op. 10, a 'cello-sonata, op. 13, a violin-sonata, op. 21, etc. He has also issued a Text-Book on Harmony. [ R.6 ] NIELSEN, ALICE (b. 1876). See Regis- ter, 8. NIELSEN, PER. See COLLEGES, 3 (West- minster C., Pa.). NIKISCH, ARTUR (Oct. 12, 1855, Szent- Miklos, Hungary). See article in Vol. iii. 379-80. In 1912 he made a tour of the United States with the London Symphony Orchestra (85 players), giving 27 concerts during April, beginning in New York and in- cluding Chicago, Kansas City, St. Louis, Buffalo, Toronto, Ottawa, Montreal and New York again, all with notable success. See biographies by Pfohl, 1900, and Lipaiev, 1904. [ R.7 ] NIKITA [Louise Margaret Nicholson] (b. 1872). See Register, 7. NILSSON, CHRISTINE (Aug. 20, 1843, near Wexio, Sweden). See article in Vol. iii. 380-1. In August, 1916, a national tribute was given her by testimonial performances in the opera-houses and theaters, a public reception and the presentation of a medal on her birthday. [ R.6 ] NINISS, J. R. See COLLEGES, 2 (Queen's C., N. C.). NOACK, SYLVAIN (Aug. 21, 1881, Rot- terdam, Holland), at first aimed to be a pianist, but took up the violin with Spoor and continued with Elderling at the Amster- dam Conservatory in 1898-1900, winning first prize at graduation. In 1900-03 he played in the Concertgebouw Orchestra and in 1903- 05 taught in the Conservatory and was second in the Conservatory Quartet. In 1905-06 he was in Rotterdam and in 1906-08 concert- master of the City Orchestra in Aix-la-Chapelle and leader of a quartet. From 1908 he was second concertmaster of the Boston Symphony Orchestra, appearing in 1909 as soloist in Saint-Saens' B minor Concerto and repeatedly later. In 1915, with Roth, FSrir and Schroeder, he formed the Boston String Quartet. In 1919 he removed to Los Angeles to become concertmaster of the Philharmonic Orchestra. [ R.9 ] NOBLE, THOMAS TERTIUS (May 5, 1867, Bath, England). See article in Vol. v. 655. After fifteen years at York Minster, in 1913 he resigned to become organist at St. Thomas' in New York. Besides his duties there he has been often heard in recital else- where, making an extended tour in 1913 and playing at the Panama-Pacific Exposition in 1915. Columbia University made him an honorary A.M. in 1918. His list of works includes, besides those mentioned : Anthems a cappella 'But now thus saith the Lord,' 'Go to dark Gethsemane,' 'A Christmas Pastorale,' 'Come, Creator Spirit blest,' 'Come, O Thou Traveler unknown,' 'Fierce was the wild billow,' 'Grieve not the Holy Spirit of God,' 'Hail, gladdening light,' 'I will lay me down in peace,' 'Jesu, the very thought of Thee,' 'Let all the world,' 'O hearken thou unto the voice,' ' O Thou to whom all creatures bow' (8-part), 'O Wisdom, Spirit of the living God,' ' Rejoice to-day with one ac- cord,' 'The Saints of God,' 'The Soul Trium- phant,' 'The souls of the righteous.' Anthems with accompaniment 'Glory to God in the highest,' 'Go not far from me' (from Zingarelli), 'Lord, we pray Thee* (from Haydn), 'A Prayer of Thanksgiving' (from Kremser), 'The Risen Christ,' 'When 1 consider Thy heavens,' 'Zadok the Priest' (from Handel). 3 Processionals, 12 Christmas Carols, 2 Vesper Hymns. Organ-Works 'An Elizabethan Idyll,' 'Intermezzo in A-flat,' 'Melancolique,' 'Nachspiel,' 3 Short Pieces (Reverie, Elegy, Finale), Toccata and Fugue in F minor, Triumphal March, Solemn March in E minor, Theme and Variations in D-flat, and arrangements of Pleyel's Adagio in B-flat, Camidge's Concerto in G minor, Corelli's Suite in F, and of two Hebrew melodies. Orchestral and Chamber-Works Morris-Dance for orchestra. Suite for violin and orchestra. Several pieces for violin and piano. Several sacred and secular songs and part-songs. [ R.10 ] NORDEN, N. LINDSAY (Apr. 24, 1887, Philadelphia), studied in New York with 312 NORDICA NOVACEK Spicker, Weld and F. W. Robinson, graduated from Columbia University in 1909 and studied further with Rybner, gaining a Mus.B. in 1911. In 1904-05 he was organist at St. Bartholo- mew's Chapel and while in the University was assistant at the Chapel there. In 1906-15 he served at St. Mary's and in 1915-17 at All Saints', both in Brooklyn, and developed from 1912 the jEolian Choir there for the study and presentation of Russian music, giving about thirty recitals and bringing out over 80 works, some of them unperformed outside of Russia. Since 1916 he has been conductor of the Mendelssohn Club in Philadelphia, succeeding Gilchrist, and since 1917 organist at the Second Presbyterian Church there and at St. Paul's in Ogontz, besides teaching at the Episcopal Academy. In addition to his exten- sive editing of Russian works, he has published anthems and other service-music, and has writ- ten the overture 'King Melville,' a setting of ' Thanatopsis ' for soli, chorus and orchestra, etc. He has contributed many articles on church-music to periodicals. [ R.9 ] NORDICA [Norton], LILLIAN (May 12, 1859, Farmington, Me. : May 10, 1914, Batavia, Java). See article in Vol. iii. 389-90, and note in Vol. v. 655. She first appeared in opera in America in 1883 at New York under Mapleson as Marguerite. She was at the Metropolitan Opera House in 1888-90 and. 1891-92, and first appeared there as Isolde in 1895. She took the same role at the Grand-Opera in Paris in 1910. In 1910-11 she sang with the Boston Opera Company and fn 1911 made a concert- tour as well. Her last concert-trip was to Australia, begin- ning a world-tour, and her last concert was at Melbourne in December, 1913. [ R.6 ] NORFOLK (CONN.) FESTIVALS. See LITCHFIELD COUNTY CHORAL UNION. NORMAL INSTITUTES. The name ap- plied to summer-schools for teachers, such as began to be common just before the Civil War. The first example is said to have been that held by Root, Hastings and Bradbury in 1852 in New York. Emphasis was usually laid on vocal music and on elementary theory, with more or less instrumental demonstration through recitals. Though loosely conceived and dependent on the ability of particular leaders, these Institutes doubtless served a useful purpose. They foreshadowed such well-organized and established enterprises as the Chautauqua Institution, the summer- schools of various universities and certain detached schools for teachers that are now in operation. See CONVENTIONS. NORMAL SCHOOLS. See STATE NOR- MAL SCHOOLS. NORRIS, HOMER ALBERT (Oct. 4, 1860, Wayne, Me. : Aug. 14, 1920, New York), was first taught by Marston in Portland, studied with Turner, Emery and Chadwick at the New England Conservatory in Boston, and then spent four years in Paris with Guilmant, Dubois, Godard and Gigout. His early posi- tions as organist were in Lewis ton and Port- land, Me., and in 1892-1904 he was at the Rug- gles Street Church in Boston and in 1904-13 at St. George's in New York. He devoted himself largely to promulgating French ideas in compo- sition and was one of the first to emphasize these in America, publishing Practical Harmony on a French Basis, 1896, and The Art of Counter- point, 1899, besides numerous articles in lead- ing periodicals. His compositions include the oratorio 'St. John the Baptist,' the cantata 'Nain,' a setting of Whitman's 'The Flight of the Eagle,' for soprano, tenor and baritone (1905), about 60 songs, including 'Twilight, 1 'Peace' and the popular 'Rock-a-bye, Baby,' and pieces for organ and piano. [ R.7 ] NORTH AMERICAN MUSIC FESTI- VALS, THE, are gatherings organized in 1916 by A. A. Van de Mark and held annually in Lockport, N. Y. The programs include papers and discussions upon varied topics of practical interest, with extended performances of music, vocal and instrumental, by American compos- ers and interpreters. Several prizes are offered for works specially written in competition. NORTHWESTERN CONSERVATORY OF MUSIC, THE, of Minneapolis, was founded in 1885 by Charles H. Morse and directed by him till 1891 after the model of the New England Conservatory. NORTHWESTERN UNIVERSITY, Ev- anston, 111. (Methodist), has had a School of Music since 1873, though at first not organically related to its total system. Since 1891, how- ever, under the care of Peter C. Lutkin (dean from 1897) it has been not only in full stand- ing among the constituent schools of the Uni- versity, but more and more notable for the breadth of its instruction and the influence of its work. The faculty numbers about 35, and the students about 900 (including preparatory courses and summer-school). Special atten- tion is given to ensemble- work, vocal and instrumental, and to public-school methods. The A Cappella Choir is a noted institution, as also the Musical Club and the Symphony Orchestra. See under CHICAGO NORTH SHORE FESTIVALS. NORTON, SETH (d. 1818). See TUNE- BOOKS, 1816. NORTON, WILLIAM WELLINGTON (b. 1881). See STATE UNIVERSITIES (N.D.). 'NOTRE DAME DE PARIS.' An opera by William H. Fry, produced in April, 1864, at Philadelphia. NOVACEK, OTTOKAR EUGEN (May 13, 1866, Fehertemplom, Hungary : Feb. MME. LILLIAN NORDICA Copyright by Aime Dupont NOVAE'S NUNO 313 3, 1900, New York). See article in Vol. iii. 410. After 1893 he lived for a time in Berlin, but returned to New York to play in the Metropolitan Opera House orchestra. Brod- sky played his violin-suite in Leipzig as early as 1894. Busoni's performance of the piano- concerto was with the Berlin Philharmonic Orchestra in 1896. [ R.8 ] NOVAE'S, GUIOMAR (Feb. 28, 1895, Sao Joao da Boa" Vista, Brazil), began study at seven in Sao Paulo and appeared there as pianist at nine. Her promise was such that the Brazilian government assigned her a subsidy and in 1909 she entered the Paris Conservatory as first among nearly 400 applicants. After two years with Philipp in 1911 she graduated with a first prize, made her formal debut and entered upon a long tour on the Continent, in England, and in South America. In November, 1915, she first played in New York and has since been repeatedly heard there and elsewhere with enthusiasm. Finck said of her in the 'Even- ing Post ' at one time, ' More inspired playing has never been heard in JSolian Hall, and ^Eolian Hall audiences have heard all the fore- most pianists of the time.' [ R.10 ] NOYES, EDITH ROWENA (Mar. 26, 1875, Cambridge, Mass.), in 1891-96 was a pupil of MacDowell in Boston and of Chad- wick, and has since worked there as pianist, teacher, and composer. Her more important works are the operetta 'Last Summer' (1898, Lowell), a violin-sonata in F-sharp minor, op. 70, on Indian themes, a piano-trio, op. 73, and the pageant-opera 'Waushakum' (1917, Framingham, Mass.), besides many piano- pieces, songs, and anthems. In 1909 she married Roy G. Greene. [ R.8 ] NOYES, EDWARD HIBBARD (Mar. 23, 1867, London, Ont.), first studied with Mr. and Mrs. W. H. Sherwood in Boston and in 1885-87 was organist there. Between 1887 and 1895 he studied with Barth in Berlin, was for a year court-pianist to Prince de Levin in Russia, studied further with Mme. Essipov- Leschetizky in Vienna and made a tour in Norway and Sweden with the violinist Fred- eriksen. Since 1895 he has taught in Boston and also at the Hartford (Conn.) School of Music, becoming noted through many able pupils. In 1899-1901 he played in several series of trio-recitals with Troostwyk, with Leo Schulz, the 'cellist, with the Kneisel Quartet, etc. He has published a few songs (Thompson). [ R.7 ] NUNNS, ROBERT and WILLIAM. See Register, 3. NUNO, JAMES (Sept. 8, 1824, San Juan de las Abadesas, Spain : July 17, 1908, Buf- falo), was a choir-boy at the Barcelona Ca- thedral, studied composition with Merca- dante in Italy and led small orchestras in Barcelona for some years. In 1851 he became band-master in the army and was sent to Cuba to establish band-music there. About 1853 Santa Anna made him general band-inspector in Mexico and he soon became one of the two directors of the new National Conservatory in Mexico City, besides composing the present Mexican national hymn. In 1856 he managed tours in the United States for singers from the Italian opera, served as conductor with Thai- berg and presently led both Italian and French opera at Havana, being also associated with Gottschalk. In 1863-69 he led opera-troupes not only in Cuba, but in the United States, Mexico and Central America, with singers like Sontag, Grisi, Mario/ Malibran, Kellogg and Patti, and in 1864 assisted as conductor at the welcome to Maximilian. After 1870 he lived at Buffalo, teaching singing and conducting various societies, serving as organist at different churches there and in Rochester, and composing about 50 church- works. In 1904, on invitation from President Diaz, he was the guest of honor at the fiftieth anniversary of the writing of his National Hymn (first given on Sept. 15-16, 1854) and received a remarkable ovation. [ R.4 ] o OBER, MARGARETE (Apr. 15, 1885, Berlin, Germany), studied singing with Stolz- enberg in Berlin in 1903-05 and later with Arthur Arndt, whom she married in 1910. Her debut as stage-soprano was in 1906 at Frankfort in the role of Azucena. In 1906-07 her success at the Stettin Stadt-Theater was so pronounced that she was called to the Ber- lin Royal Opera. She created the title-role there in Massenet's 'Therese' in 1908 and that of Nenahu in Nevin's 'Poia' in 1910. In 1913 she was engaged for the Metropolitan Opera House, appearing on Nov. 21 as Ortrud. She has since remained there, until 1916 returning to Germany for the summers. Her repertoire includes the roles of Brangane, Ortrud, Fricka, Waltraute, Erda, Klytem- nestra (in 'Iphigenia en Aulide'), Eglantine (in 'Euryanthe'), Fides, Dalila, Azucena, Amneris, Laura (in 'La Gioconda'), Marina (in ' Boris Godunov'), the Witch (in 'Hansel und Gretel'), Octavian (in 'Der Rosen- kavalier') and Katharina (in 'Der Wider- spenstigenZahmung'). [ R.10 ] OBERHOFFER, EMIL (Aug. 10, 1867, Mu- nich, Germany), as a boy took up violin and organ with his father, in youth had ad- vice from Kistler in piano and composition, and later studied piano with Philipp in Paris. Coming to America, after a brief stay in New York, in 1897 he located in St. Paul as con- ductor of the Apollo Club and from .1901 of the Minneapolis Philharmonic Club. This latter work led in 1903 to the organization of the Minneapolis Symphony Orchestra, which he has since directed with such ability that it has become one of the leading orchestras of the country. He has also been for a time organist at the Church of the Redeemer in Minneapolis and is on the music-staff of the University of Minnesota. [ R.8 ] OBERLIN COLLEGE, Oberlin, O. (Con- gregational), began to provide music-teaching as early as 1837, when George N. Allen, then a student, was designated as instructor in sacred music. He continued as such after graduating in 1839 and in 1841 was made professor, remaining in service till 1864. Two of his pupils, John P. Morgan and George W. Steele, in 1865 organized a Conservatory, which at first was only affiliated with the College in a general way. In 1867 Morgan withdrew and from 1869 the administration was taken up by Fenelon B. Rice, who re- mained in charge till his death in 1901, steadily building up the efficiency of the department in every direction. In 1884, by the gift of Lucien C. Warner and wife of New York, the superior Warner Hall was built, which was later much extended by the addition of a fine concert-hall and further facilities. This hall seats about 1000, and there are two large lecture-rooms, 25 studios, an ample library and about 120 practice-rooms. The organ- equipment is unusually elaborate, including a large concert-organ, 2 for teaching and 21 for practice. In 1910 the Rice Memorial Hall was added to the plant, with almost as much opportunity for practice as in Warner Hall. Since 1901 the director has been Charles W. Morrison, who has effectively continued the energetic policy of earlier years. The faculty now numbers about 35 and the work of the Conservatory is so interlocked with that of the College that practically the whole student-body of 1500 comes under its influence. Mu'sic counts as a regular elective in the course for A. B. and post-graduate work may be taken leading to a Mus.B. (over 300 su,ch degrees conferred). The usual number of pupils annually enrolled is over 600. Among the notable features of the cur- riculum are the emphasis upon organ, theory and history and the stimulus to choral music through the Oberlin Musical Union. OBERLIN MUSICAL UNION, THE, is a choral society antedating the Oberlin Con- servatory, though vitally related to it. Started in 1860, its first ten years were largely given to the performance of miscellaneous programs under various leaders, including C. H. Church- ill, G. W. Steele, J. P. Morgan and J. C. Fillmore of Oberlin and some visiting con- ductors on certain occasions, such as E. M. Foote, B. F. Baker, and J. G. Barnett. In 1871-1900 Fenelon B. Rice was permanent conductor and since 1900 George W. Andrews. Since 1871 not much besides complete works has been given. The chorus usually numbers about 200 and three concerts are now given annually (nearly 200 since organization). A few performances have also been given in Cleveland with the Pittsburgh or Chicago Orchestras. 'The Messiah' was early taken up and in 1880-1903 was sung twice each year. 'Elijah' has been given about 15 times, 'St. Paul,' 5; Bach's Christmas Oratorio, 1; Beethoven's 9th Symphony, 2; his Missa Solemnis, 1 ; Brahms' Requiem, 2 ; Verdi's Requiem, 4 ; Bruch's 'Odysseus,' 4 ; Franck's 'Les Beatitudes,' 5; G. Schumann's 'Ruth,' 2 ; Saint-Saens' 'Samson et Dalila,' 8; Elgar's 'Dream of Gerontius,' 3; Wolf-Ferrari's 'La Vita Nuova,' 2; Pierne's 'The Children's Crusade,' 2 ; concert performances of Wagner's 'Tannhauser,' 'Lohengrin,' and 'Parsifal,' 314 O'BRION O'NEILL 315 etc. Several of these were the first renderings in the Middle West. O'BRION, MARY ELIZA (b. 1859). See Register, 7. ODELL & CO., J. H. & C. S., a well-known firm of organ-builders in New York, was founded in 1859 by John H. Odell (1830-99) and Caleb S. Odell (1827-93), two brothers who had been in the employ of Ferris & Stewart. Their first modest factory was at 165 Seventh Ave., and the first organ of importance made was in 1863 for the South Baptist Church (opening recital by G. W. Morgan and Mme. Parepa-Rosa) . In 1866 they patented a system of pneumatic piston-knobs for control- ling combinations which proved so succcessful that increased business compelled them to seek larger facilities at 407-9 West 42nd St. The plant here was more than doubled in 1873, and is now finely equipped. In 1898 the firm patented its ' Vacuo-Exhaust' system, a simple and efficient type of tubular action. In 1914 was introduced a valuable electro- magnetic action that was a decided improve- ment over the electro-pneumatic system previously used. Altogether the firm has built about 620 instruments, of which 6 are 4-manual and 60 3-manual. Among the former are those in Temple Emanu-El, New York City (1903) and St. Joseph's, Albany, N. Y. (1913). The direction of the business has remained with the Odell family, sons of both founders succeeding in 1893, and two grandsons of C. S. Odell following in 1911. 'CEDIPUS TYRANNUS.' A setting of Sophocles' play by John K. Paine, written for performance at Harvard University in 1881. This was the first of its kind in America and is counted one of Paine's strongest works. ! OESTERLE, OTTO (1861-1894). See Reg- ister, 7. GETTING, WILLIAM H. (Oct. 14, 1875, Pittsburgh), studied with his father, who for 25 years was organist at the First German Evangelical Church in Pittsburgh, and other local teachers, followed by two years in Berlin, continuing organ under Reimann and Egidi, piano under Hutcheson and composition under Boise. At the same time he taught the English class in harmony at the Klindworth- Scharwenka Conservatory. Since 1901 he has been organist and teacher in Pittsburgh, accompanist of the Apollo Club, in 1905-07 organ-recitalist at the Carnegie Institute, and i since 1915 one of the directors of the Pittsburgh | Musical Institute. At present he is organist at ; the Sixth United Presbyterian Church. He has | written an overture, an orchestral Romanza (Pittsburgh Festival Orchestra), an organ- sonata, a Prelude and Fugue in E minor for organ (Gray), piano-pieces, several anthems (Church, Kranz), songs, etc. [ R.8 ] 'OLD FOLKS' CONCERTS' was the name given in 1854 to entertainments conducted in Boston by Robert Kemp (1820-97), a dealer in shoes, who sought to keep alive the old-fashioned 'psalmody' for its homely quaintness. Since then the term has been indiscriminately applied to any rendering of similar music, often presented grotesquely and even in caricature. 'Father' Kemp published an Autobiography in 1868. OLDBERG, ARNE (July 12, 1874, Youngs- town, O.), was the son of a noted authority on pharmacy and from 1884 was educated in Chicago, where he had his early training in music, supplemented by study of the piano with Leschetizky in Vienna and of composition with Rheinberger in Munich. Since 1899 he has been head of the piano-department at Northwestern University in Evanston, HI. He has won distinction especially as com- poser of orchestral works, which have been brought out not only at the North Shore Festivals, but by the Chicago, Philadelphia, Minneapolis and other orchestras. His chamber-works, also, have secured a wide hearing. His compositions include Sym- phonies in F minor, op. 23, and C minor, op. 34 (both taking prizes in national com- petitions), the overtures 'Paolo and Fran- cesca,' op. 21 (1908, Chicago Orchestra), and 'Festival' (1909, North Shore Festival, 1910, Chicago Orchestra), the orchestral fantasy 'At Night,' op. 38 (1916, Chicago Orchestra), 12 Variations, op. 19, for orchestra and organ (1912, Chicago Orchestra, 1913, North Shore Festival), a Rhapsody, op. 36 (1915, Chicago Orchestra, etc.), a concerto for horn, op. 20, an organ-concerto, op. 35 (1914, Chicago Orchestra), a piano-concerto, op. 17, a string- quartet in C minor, op. 15, two quintets, opp. 16, 24, for piano and strings and one in E-flat, op. 18, for piano and wood-wind, a piano- suite, op. 8, a piano-sonata, op. 28, Thematic Variations for piano, op. 25, a 'Legend,' op. 26, three 'Miniatures,' an 'Arabesque,' op. 31, an 'Improvisation,' op, 32, a 'Russian Prelude,' op. 33, and many smaller works. [ R.8 ] OLDMIXON, MRS., nee George (1768- ? ). See Register, 2. OLIVER, HENRY KEMBLE (1800-1885). See Register, 3, and TUNE-BOOKS, 1848. OLMSTED, TIMOTHY. See TUNE- BOOKS, 1805. 'OMANO.' An opera by L. H. Southard, based on Beckwith's 'Vathek,' twice given in concert-form in Boston in 1858. J O'NEILL, NORMAN (Mar. 14, 1875, London, England). See article in Vol. v, 656. Recent works include the following: 'Overture Humoresque,' for orchestra. 1 Hornpipe* for orchestra. vSti-ing-Quartet (Schott). 316 ONTI-ORA' ORCHESTRAS Incidental music for 'Freedom' (1918, New York), Dunsany's 'The Gods of the Mountain' (2 dances also for piano separately) and 'The Golden Doom,' Malleson's 'Paddy Pools,' 'Maurice's Own Idea' and 'Michael' (these three for string-quartet), the school-play 'Hia- watha' (Routledge), and Russian Songs for Tolstoi's 'Reparation' (piano, Ascherberg). 'The Swinburne Ballet,' for chorus and orchestra. The choruses 'Noel' (Stainer) and 'Lullaby' (Ar- nold). Songs 'The Eagles of England' (Elkin), 'The Warrior-Lover' (Schott), 'All for Me' and 'I Love you Dearly' (Boosey). 'Carillon,' for piano (Ascherberg). Three Old English Pieces, for piano (Schott). Four Songs without Words, for piano (Anglo- French Co.). ' In the Branches,' for piano (Anglo-French Co.) 'ONTI-ORA.' An opera in three acts by Gustav Hinrichs, produced in June, 1891, in Philadelphia. OPERA IN THE UNITED STATES. See article in Vol. iii. 466-72. Many additional details are given under METROPOLITAN OPERA HOUSE, MANHATTAN OPERA HOUSE, CHICAGO- PHILADELPHIA OPERA COMPANY, BOSTON OP- ERA COMPANY, etc. See Krehbiel, Chapters of Opera, 3rd ed., 1911, and More Chapters of Opera, 1919, The Art of Music, iv. chap. vii. and The International Year-Book, 1907- . OPPERMAN, ELLA SCOBLE. See COL- LEGES, 2 (Florida State C. for Women). ORATORIO SOCIETY OF BALTIMORE, THE, was founded in 1882 by Otto Sutro. Its first conductor was Fritz Finke (1882-94), followed by Joseph Pache, who is still in office. The chorus numbers 300-350 singers, and two or three concerts are given each year, partly supported by a body of patrons. The Society devotes itself to oratorio music of the highest class, including at least thirty works of large dimensions and representing all periods from Bach and Handel down to the present. Notable initial performances have been those of Hamerik's 'Symphonie Chorale' and 'Christian Trilogy,' Bruch's 'Moses' and Nowowiejski's ' Quo Vadis.' ORATORIO SOCIETY, THE, of Newark, N. J. (formerly called the Schubert Vocal Society), was organized in 1878 by Louis Arthur Russell, who has been its conductor ever since. Originally formed to cultivate part-songs and cantatas, after a few years it added the larger field of oratorio left vacant by the disbanding of the Harmonic Society. Membership is limited to 125 singers. The regular series includes three performances, often with 'popular' concerts besides, and the Society has repeatedly cooperated efficiently in charitable undertakings, so that the total number of concerts has been towards 150. In 1894 Mr. Russell organized the Newark Symphony Orchestra, primarily to assist at the concerts of the Oratorio Society, but also to give occasional instrumental perform- ances. Besides a large variety of cantatas and lighter works, the Society has given the standard oratorios, sacred and secular, and many operas or parts of operas in concert-form. American works include Buck's 'Hymn to Music' and 'Light of Asia,' Chadwick's 'Lovely Rosabel,' Russell's 'Pastoral Rhap- sody,' Parker's 'King Trojan,' 'Harold Har- fagar' and 'A Star-Song,' and Hadley's 'In Music's Praise.' ORATORIO SOCIETY, THE, of New York. See article in Vol. iii. 370-1. Frank Damrosch continued as conductor till 1912 and in 1912-17 was succeeded by Louis Koemmenich and in 1917 by Walter Damrosch. Among the more striking accomplishment* of the Society in recent years were perform- ances in 1907 of Wolf-Ferrari's 'La Vita Nuova,' in 1911 of Franck's 'Les Beatitudes,' Saint-Saens' 150th Psalm and Grell's Missa Solemnis, in 1913 of Taubmann's 'Eine deutsche Messe' and Georg Schumann's 'Ruth,' in 1914 of Beethoven's Missa Solem- nis, in 1915 of Bossi's 'Giovanna d'Arco,' etc. In April, 1920, the Society united in a festival with the Symphony Society (as previously in 1881) at which, among other works, Kelley's 'Pilgrim's Progress' was sung. ORATORIO SOCIETY, THE, of Toronto, was founded in 1912. Its conductor is Edward Broome. The chorus numbers 200 or more. There are at least two concerts annually, often with the assistance of visiting orchestras, such as the Russian Symphony, the New York Philharmonic or the Cincinnati Symphony. The Society has given the only performance in Canada of Gardiner's 'News from Whydah' and Broome's ' Hymn of Trust.' ORCHESTRAS. Aggregations of instru- ments were common in the various musical undertakings of the 18th century, as Sonneck's records abundantly show (see especially his Concert-Life'), supplying overtures, symphonies and the accompaniments for operas and choral works of some magnitude. But these were not permanent in membership or under any steady rehearsal. The first important steps toward permanent orchestras were taken by the Musical Fund Society of Philadelphia from 1820 and the Philharmonic Society of New York from 1842. Stimulus to orchestral interest came notably from the tours of the Germania Orchestra in 1848-54, as from the visits of Gungl in 1849 and Jullien in 1853. During the whole decade before the Civil War the popular taste for instrumental en- sembles was also much advanced in certain places by chamber-concerts. Every attempt to give opera on a large scale served to indicate orchestral possibilities. The establishing of 'symphony soirees' in New York by Theodore OREM ORGAN 317 Thomas in 1864 led soon to his epoch-making concert-tours (1869-78). After 1870 genuine symphony orchestras began gradually to mul- tiply. Specially significant was the starting of the Cincinnati Festivals in 1873, of the New York Symphony Society in 1878, and of the Boston Symphony Orchestra in 1881. In almost all the larger cities and in not a few smaller ones as well -there are now orchestral societies of importance. It has recently been said that twelve or fifteen of these are so far highly organized as to hold daily rehearsals. Besides giving series of concerts annually in their home-cities, most of the larger orchestras extend their influence by prolonged tours. OREM, PRESTON WARE, born in Phil- adelphia, was educated at the Eastburn Academy and the University of Pennsylvania, and studied organ and theory with Clarke and piano with Jarvis and others. In 1889- 95 he was organist at St. Paul's Pro-Cathedral in Los Angeles. He then returned to Phila- delphia, taught one year at the Philadelphia Conservatory, and in 1896-1905 was on the staff of the Combs Conservatory. Since 1900 he has been editor and critic for the Presser Company and also conductor of the Presser Choral Society. In 1901-10 he was organist at the Walnut Street Presbyterian Church. His published works include a Romance for violin and orchestra, an 'American Indian Rhapsody' for piano (also for orchestra), many songs, piano-pieces, etc., besides ar- rangements and transcriptions. Unpublished works are a piano-quartet and quintet and a Ballet Suite for orchestra. He is author of a Harmony-Book for Beginners, which has had an enormous circulation. [ R.8 ] ORGAN. See general article in Vol. iii. 513-62, with some references to American facts. During the past thirty or forty years there has been an extraordinary growth in the United States and Canada in everything pertaining to organ-making, organ-playing and the popularization of organ-music. No adequate summary of all this can here be made. But certain remarks may be set down. The same mechanical ingenuity and business enterprise that have made American piano- making eminent have been applied in the making of pipe-organs, though the two indus- tries are so different that the facts in the latter field are not as obvious. Probably the improvements in organ-making are actually more varied and at least equally striking. The installation of the German organ in the Boston Music Hall in 1863 stimulated advance in a general way. About 1870 the experi- \ ments of Hilbourne L. Roosevelt in both voicing and mechanism were speedily followed by others. Competition soon became keen to offer effective solutions of problems in pneumatic and electric action, in augmented, stabilized and graded wind-supply, in pro- gressive and refined stop-specification, voicing and pipe-disposition, in the planning and in- ternal adjustments of consoles, leading to unprecedented facilities for registration, etc. Along with these essential improvements, which have come into general use since about 1900, have gone others less tangible, especially in shop-efficiency, expertness in erecting and enterprise in developing a market. The extraordinary extension of the industry in the United States is also partly due to circum- stances that are peculiar, such as the rapid building up of new communities, their geo- graphical dispersion (encouraging the found- ing of organ-factories at many separate points), and the multiplicity of religious denominations and the number of churches relative to the population. There are per- haps 100 establishments, employing 2500-3000 workers. The annual output is probably over 2000 instruments, among which the proportion of those with three or four manuals has lately increased decidedly. Within the last three decades organ-playing as a specialty has made remarkable advances. Every large conservatory and music-school provides elaborately for its study. The American and Canadian Guilds of Organists have done much to foster a high grade of technical skill and a serious professional purpose, while the National Association of Organists has stimulated zeal and ambition. Many periodicals devote much space to organ- interests, and several organ-journals have been started. Series of free organ-recitals are now extremely common, and many large cities provide municipal concerts. Recitalists make tours like pianists and violinists. Special re- cent developments are the frequent installa- tion of large instruments in hotels, in fraternal lodges, and in theaters and places where photo- plays are given. Organ-music, then, has be- come in many places one of the commonest and most popular forms oi concert-music. The re- action of this upon organ-composition has al- ready become noticeable. Leading journals are ' The Diapason,' published in Chicago, and ' The American Organist,' published in New York. In the 'New Music Review,' February, 1910, is a valuable summary by Charles A. Radzinsky of the history of organ-making in New York City during the 19th century. Special tribute is paid to the genius of Henry Erben (d. 1884), who started in 1820 with Thomas Hall (d. 1877), but from 1824 proceeded alone, becoming one of the best-known makers in the country. He made nearly 150 organs for New York alone, the most famous being that in Trinity Church (1846). His business passed to his leading workman, Louis C. Harrison, later of Bloomfield, N. J. Meanwhile Hall in 1824 formed the firm of Hall fe Lebagh, which about 1865 became Hall, Lebagh & Kemp. In their shop H. L. Roosevelt 318 ORNSTEIN OSGOOD had his first training. Another series was founded about 1840 by Richard M. Ferris and the brothers Levi U. and William Stewart, in whose employ were the Odells and Midmer. Morgan Davis, who had been a piano-maker from about 1800, and his son, William H. Davis (d. 1888), also began in 1840, followed by two later generations. Thomas and Wiliam Rob John became notable after 1850. Among their organs was that in the South (Reformed) Church, said to have been the first in America with an independent pedal-division (7 stops), the; first pneumatic action and the first Vox Humana (im- ported from France by U. C. Burnap). The Rob- Johns became voicers for the Odells. In 1853-75 many instruments were made upon German lines by Francis Xavier Engelfried, whose two sons became voicers for Roosevelt. Reuben Midmer (d. 1895), who was trained both under Hall & Lebagh and under the Stewarts, set up for himself in 1860 and in 1888 was succeeded by his son. This firm now has its factory at Merrick, L. I., and its office in Brooklyn. It is noteworthy that many of the above pioneers in the industry were English by birth (except Engel- fried). The work of the Jardines, the Odells and the Roose- velts is referred to in separate articles. ORNSTEIN, LEO (Dec. 11, 1895, Kremen- chug, Russia), began studies at the Petrograd Conservatory which from 1906 were con- tinued at the Institute of Musical Art in New York, Mrs. Thomas Tapper being his piano- teacher. His debut as pianist was made in New York early in 1911, and he has since toured the country as soloist and recitalist. He has also played with distinction in London, Paris and Christiania. His compositions have aroused much discussion. He has been re- ported as saying : 'What are discords? I cannot tell. Somewhere there is a law of harmony. Where it is, what it is, I cannot tell, only I know that under certain con- ditions and at certain times I hear it, I get color- impressions, if you wish. If some of the tones are gray, somber, violent, is that my fault? Does this prove that because the human ear has been trained to certain combinations of sound only those sounds are true harmony? It is not so to me nor do I care whether the usage of musical form so considers it or not. In a word, I am not concerned with form or with standards of any nature.' His publications to date include piano-pieces, songs and a sonata for violin and piano (Carl Fischer, Schott). See biography by F. H. Martens, 1917, and article by Charles L. Buchanan in 'The Musical Quarterly,' April, 1918.- [ R.10 ] ORPHEUS CLUB, THE, of Springfield, Mass., was founded by Amos Whiting in 1873 for the cultivation of music for men's voices. Its conductors have been Louis Coenen (1874-79), George W. Sumner (1879- 90), E. Cutter, Jr. (1890-94), Horatio W. Parker (1894-95) and John J. Bishop (since 1895). Until 1908 the average number of singers was about 40, but since then has risen to about 150. Till 1890 there were four concerts annually, till 1900 three, till 1905 two, and lately but one. The total number has been about 135. Among the longer works given are Grieg's 'Landerkennung,' Buck's 'King Olaf's Christmas' and 'Paul Revere's Ride,' Paine's 'Phcebus, arise!' Whiting's 'March of the Monks of Bangor,' Foote's 'Farewell of Hiawatha' and Baldwin's 'Hymn before Action.' ORTH, JOHN (Dec. 2, 1850, near Ann- weiler, Bavaria), was brought to Taunton, Mass., when an infant and there gained a public-school education. He became a church- organist at twelve and in 1866-70 studied and taught in Boston. Five years in Germany followed, under Kullak, Lebert, Pruckner, Deppe and Liszt for piano, and Faiszt, Weitz- mann, Kiel and Ph. Scharwenka for theory and composition. Since 1875 he has been located in Boston as pianist and teacher. His lecture-recitals on 'With Liszt in Weimar' have made him well known as a Liszt au- thority. He has published a number of piano-pieces and done much editorial work. He has also devoted time and attention to humanitarian and reform projects. In 1883 he married his pupil Lizette E. Blood (d. Sept. 14, 1913, Boston), who composed many teaching-pieces for piano, songs and operettas Under the name L. E. Orth. [ R.5 ] OSBORN, A. STANLEY. See COLLEGES, 2 (Skidmore Sch., N. Y.). OSBORN, JOHN (d. 1835). See Register, 3. OSBORN-HANNAH, JANE (b. 1880?). See Register, 9. OSGOOD, EMMA ALINE (1849, Boston : Nov. 8, 1911, Philadelphia), came of old New England stock. In her youth she sang at the Old South Church in Boston and was early successful in oratorio with sing- ers, like Miss Gary, Whitney, Fessenden and Babcock and under conductors like Zerrahn and Thomas. In 1873 she toured . with the Mendelssohn Quintette Club. In 1875, after study with Randegger in London, she appeared at the Crystal Palace under Manns, so bril- liantly that she at once entered on an English popularity that lasted for fifteen years, in- cluding engagements under all the leading conductors and at first performances of works like Liszt's 'St. Elizabeth' and Sullivan's 'The Light of the World,' besides being twice called to sing before Queen Victoria. Her early visits to America were in 1878, '80 and from '81, singing repeatedly at the Cincinnati and other Festivals, and establishing herself as a favorite. Her voice was high, but rich in quality, her enunciation finished, and her interpretation peculiarly sympathetic and effective. After giving up stage-work she married E. Milton Dexter of Philadelphia and became a noted teacher there. Nicholas Douty is one of her pupils. [ R.6 ] OSGOOD OWST 319 OSGOOD, GEORGE LAURIE (Apr. 4, 1844, Chelsea, Mass.), as a child was gifted with an acute sense of pitch and had musical advantages from the start. In 1866 he graduated with honors from Harvard Uni- versity, having taken organ and composition under Paine and had three years' service as leader of the college orchestra and glee-club. Going then to Berlin, he spent three years studying composition under Haupt and singing under Sieber, besides forming an intimacy with Franz at Halle. Then followed two more years developing his tenor voice under Francesco Lamperti in Milan. In 1871, beginning at Vienna, he made a concert-tour of Germany, interpreting German lieder and old Italian songs, and in 1872 Thomas engaged him for a season's tour in America with his orchestra. In 1872 he settled in Boston and for thirty years took a leading part in all its musical affairs. He taught many successful singers, gave annual series of chamber-concerts and directed many choral societies. When made director of the Boylston Club in 1875 he reorganized the society completely and changed it from a men's to a mixed chorus. Later it was known as the Boston Singers' Society and was famous for excellent programs and brilliant performances. For it he edited The Boylston Collection (Ditson), which is still widely used, and also translated the texts of many choral works and songs. Since 1903 he has lived abroad, lately at Godalming, England. His compositions are songs, anthems and unaccompanied choral pieces. His Guide in the Art of Singing has had several editions, and a new work, Mind and Melody, is nearly ready for the press. [ R.6 ] O'SHEA, JOHN AUGUSTINE (Oct. 15, 1864, Milford, Mass.), after public-school training in 1885 graduated from the New England Conservatory in Boston and in 1887 from the music-department of Boston Uni- versity. He is now music-director in the Boston public schools and organist at St. Cecilia's. He is a member of the A. G. O. and the N. A. O., and has given many in- augural organ-recitals throughout the country. He played at the Buffalo Exposition in 1901 and the St. Louis Exposition in 1904, at the latter being on the international jury of awards in the music-section. His com- positions include a string-quartet (medal at Boston University), trios for piano, violin and 'cello ; a Mass in F and a Mass in honor of St. Cecilia ; a Barcarolle, 'Venetian Nights,' for piano; the operetta 'Mother Goose'; the comic opera 'The Mirrors of Thule' ; and many songs. [ R.7 ] 'OSTROLENKA.' An opera by Johann H. Bonawitz, produced in 1875 in Philadelphia. O'SULLIVAN, DENIS (1868-1908). See Vol. iii. 571-2, and Register, 8. ' OTHO VISCONTI.' A romantic opera in three acts by Frederick G. Gleason, who also wrote the libretto. The overture was played at the Gewandhaus in Leipzig in 1892 and by Thomas in Chicago. The work as a whole was given in the College Theatre in Chicago on June 4, 1907. OTIS, PHILO ADAMS (b. 1846). See Reg- ister, 6. OTTAWA CHORAL SOCIETY, THE, of Ottawa, Ont., was founded in 1897 by J. Edgar Birch, who has been its only conductor. Besides several of the standard oratorios, it has given many shorter works, including the first performance in America of Coleridge- Taylor's 'Hiawatha's Wedding-Feast,' Mac- kenzie's 'The Dream of Jubal' (conducted by the composer), etc. OTTERSTROM, THORVALD (July 17, 1868, Copenhagen, Denmark), studied first in Copenhagen and then with Sophie Menter at Petrograd. In 1892 he came to Chicago, where he has since been diligent as teacher and composer. His piano-works have had frequent performances in America and abroad, many of them introduced by Mrs. Zeisler and by Ganz, and the Chicago Orchestra has given several of his orchestral works. He has published a quintet for piano and strings, 24 preludes and fugues for piano, 7 concert- studies for piano, 'The Spinning- Wheel* for piano, and about 30 songs. He has also written an orchestral ' Canon, Choral and Fugue,' an 'American Negro' Suite, a violin- sonata in G minor, a 'cello-sonata in C minor, 11 canons and a fugue on a theme by Grieg for piano, 11 symmetric double crab-canons for piano, the collection of piano-pieces 'Shifting Moods,' 43 Negro slave-songs harmonized for chorus, 'Musical Pictures of Chippewa Indian Life,' and a series of 27 tribal songs arranged for piano with scenario by Alice Gerstenberg. [ R.8 ] OWST, WILBERFOSS GEORGE (b. 1861). See Register, 8. PACHE, JOSEPH (June 1, 1861, Friedland- bei-Waldenburg, Germany), studied at the Munich Conservatory in 1879-83, pursued piano with Klind worth in Berlin in 1883-85 and composition with Bruch in Breslau in 1885-86, besides having lessons from Barth (piano) and Hey (singing). Coming to New York in 1891, he taught for a year at the New York College of Music, and conducted choruses in New York, Newark and Trenton, N. J. In 1894 he went to Baltimore as conductor of the Baltimore Oratorio Society, a post which he still holds. He founded the Women's Philhar- monic chorus in Baltimore, and for seven years conducted the York (Pa.) Oratorio Society. He has composed songs and choruses. [ R.8 ] PACHELBEL, CHARLES THEODORE. See Register, 1. PACKARD, J. B. See TUNE-BOOKS, 1842. PADELFORD, FREDERICK MORGAN (b. 1875). See Register, 8. PADEREWSKI, IGNACE JAN (Nov. 6, 1860, Kurilovka, Russian Poland). See article in Vol. iii. 587-8. His first appearance in America was at Carnegie Hall in New York on Nov. 17, 1891, and during the six months following he played in 117 concerts. On his second American tour (1892-93) he gave 67 concerts in 26 cities. These visits were followed by others in 1895-96, 1900-01, 1901-02, 1907-08, 1913-14, and a final series of 30 recitals beginning in 1915-16. In August, 1915, he played at the San Francisco Exposition for the Polish Victims' Relief Fund, his first professional appearance as pianist after the war began. He presently gave up music for notable efforts in behalf of Poland. In addition to raising large sums of money, in 1917 he offered the United States an army of 100,000 Poles and 50 trained officers. As soon as conditions permitted he went to Poland, accompanied by his friend Ernest Schelling, the pianist. He was there elected premier on Jan. 26, 1919, and a month later the Allied Council at Paris recognized the Polish Republic under his leadership. He relinquished his office in 1920, but has continued politically influential. His opera 'Manru,' produced at Dresden in 1901, was given at the Metropolitan Opera House in New York on Feb. 14, 1902. His symphony in B minor, op. 24, composed in 1904-08, was brought out by the Boston Symphony Orchestra on Feb. 13, 1909, Max Fiedler conducting. The three movements are in commemoration of Poland, and the third movement refers to the Polish uprising of 1863-64. It is said that he has deferred completing a fourth movement until his country is free. Other works are a Sonata in E-flat minor, op. 21, and Variations and Fugue, op. 23, both for piano. His second opera, 'Sakuntala,' text by Catulle Mendes, has not yet been produced. See biographies by Finck, 1895, Mossig (Leipzig) and Bau- ghan, 1907, besides numerous accounts in magazines and general treatises. In addition to his estate at Merges, Switzerland, he owns two others near Paso Robles, Cal. [ R.8 ] PAGE, NATHANIEL CLIFFORD (Oct. 26, 1866, San Francisco), inherited musical aptitude from his mother, a poetess of some note and an amateur musician. At fourteen the cornet attracted his attention, later giving way to the French horn. But even earlier he had essayed composition and the writing of libretti. The study of hafmony was taken up under local teachers, but in orchestration he has been entirely self-taught, gaining experience by playing in and directing or- chestras. His light opera, 'The First Lieu- tenant,' was successfully produced at the old Tivoli Opera House in San Francisco in May, 1889. Seeking a wider field, he came to New York in 1895, and in 1896 directed his Petite Suite, 'Village Scenes,' for the Manuscript Society in Chickering Hall. In 1899 he was called to London to conduct his incidental music to 'The Moonlight Blossom' at the Prince of Wales Theatre. This and incidental music to 'A Japanese Nightin- gale' (produced in 1903 at Daly's Theatre, New York) were based on real Japanese themes. He has studied and worked in various branches of Oriental music Japanese, Chi- nese, Arabian, etc. After composing and di- recting musical comedies, in 1905 he joined the editorial staff of the Ditson Company in Boston, but in 1910 returned to New York to devote his time to composition. His later works include the operas and cantatas 'The Contest of the Nations' (1913), 'Alice in Wonderland,' 'Old Plantation-Days' and 'Lord Howe's Masquerade,' 'A Mood of Spring' for piano, and numerous songs. He has revised and edited Home-Songs, Irish Songs, Stephen C. Foster Songs, Panseron's A B C of Music, and several hundred pieces in sheet-form. Unpublished are 'The First Lieutenant,' 'Carlotta,' 'Villiers,' 'Zorahda,' 'The President' and several musical comedies; incidental music to ' The Cat and the Cherub,' 'The Ghetto,' 'The Moonlight Blossom,' 'A Japanese Nightingale,' 'Joan of the Sword- Hand' ; the orchestral 'Dream Suite,' 'Village Scenes,' 'Fantasie Symphonique on a Short Theme,' 'Romance' and 'Chop Suey' (Chi- nese Htimoresque) ; and many songs. [ R.7 ] PAGEANTS PARKER 321 PAGEANTS, HISTORICAL. The de- velopment of symbolic celebrations in England from 1905 under the lead of Gilbert Parker inspired numerous efforts of a somewhat similar kind in America. The most active worker has been William Langdon, seconded by Arthur Farwell. Since 1908 hardly a year has been without some significant undertaking in which local history is commemorated through a dramatic spectacle with the aid of poetry and music. (For a list of Langdon's productions, see Register, 10.) All the great Expositions have included features of this general sort, and many civic functions have been elaborate. There has been a tendency, especially in Langdon's work, to emphasize the merely spectacular elements less and to mold the poetic and musical into better unity. This has been specially notable in some celebrations held at large educational institutions. See The Art of Music, iv. pp. 226-9. PAILLARD, M. J. (d. 1868). See Register, 4. PAILLARD COMPANY, THE M. J., of New York, was the American representative of the noted makers of music-boxes in Ste.-Croix, Switzerland (founded in 1814). The New York house was established in 1850 by M. J. Paillard, a grandson of the original founder, at first as Paillard & Martin. Its business was greatly developed by his nephew and son. See Jones, Handbook of American Music, p. 126. PAINE, DAVID. See TUNE-BOOKS, 1839. PAINE, JOHN KNOWLES (Jan. 9, 1839, Portland, Me. : Apr. 25, 1906, Cambridge, Mass.). See Vol. iii. 596-7. Add to list of works the string-quartet, op. 5 ; the piano- trio, op. 22 ; the sonata for violin and piano, op. 24 ; the Larghetto and Scherzo, op. 32, for 'cello and piano ; and the ' Duo Con- certante' in A, op. 33, for violin, 'cello and orchestra ; besides many piano-pieces, varia- tions and fantasias for organ, and vocal works. His lectures were posthumously edited by Albert A. Howard as The History of Music to the Death of Schubert, 1907. [ R.5 ] PAINE, RICHMOND PECK (Mar. 24, 1858, New Bedford, Mass.), began as a choir- boy and by 1872 was a regular organist. He had thorough training in technique and com- position from N. H. Allen, then organist in New Bedford, and began recital-playing about 1876. In 1878 he succeeded Henry Wilson as organist at Christ Church in Hartford, Conn., from 1880 occupied the leading position at Meriden, and from 1885 a similar post at New Britain, where he remained twenty years. Thus was satisfied his original ambition of winning eminence as a church- and concert- organist. From 1883 he was associated with W. S. Pratt at Hartford in developing an oratorio society, succeeding to the leadership there in 1892 and continuing ten years with great success. As early as 1885, however, he had begun similar work elsewhere, which gradually extended until he had led superior choral performances in many places in Con- necticut, such as Winsted, Middletown, New Britain, Southington, Wallingford and Wil- limantic, and in Pittsfield, Mass., often managing festivals with combined choirs. In 1905 he was called to conduct the exten- sive choral enterprise of Carl Stoeckel at Nor- folk, Conn, (see LITCHFIELD COUNTY CHORAL UNION), where he continued with increasing renown until 1915. Since his retirement he has lived at Norfolk. He is highly gifted as an executive musician, with a notable genius for choral leadership. His long experience, infalli- ble taste and high ideals have given him an enviable influence and reputation. It is unfortunate that he has not chosen to express himself in composition. [ R.6 ] PALFREY, WARWICK. See TUNE-BOOKS, 1802. PALLISER, ESTHER (b. 1872). See Reg- ister, 8. PALMER, HORATIO RICHMOND (Apr. 26, 1834, Sherburne, N. Y. : Nov. 15, 1907, Yonkers, N. Y.), was brought up in a musical family and became organist at seventeen. He studied at the Rushford Academy of Music in New York, becoming director in 1857, and also in Berlin and Florence. In 1861 he settled in Chicago, where he established the magazine 'Concordia' in 1866, and published The Song- Queen, 1867 (over 200,000 sold) and The Song- King, 1871 (also an enormous sale) . In 1874 he removed to New York, and in 1881 took charge of the Church Choral Union. This organi- zation, for the improvement of church-music, grew to over 4000 singers in its third season. In 1887 he became Dean of the School of Music at Chautauqua, N. Y., continuing until 1891. He was made Mus.D. by the (old) University of Chicago in 1880 and by Alfred University in 1881. Of his many choral collections, besides those named above, The Song-Herald and Concert-Choruses were specially successful. He wrote a Theory of Music, 1876, a Manual for Teachers (public- school music), etc. [ R.4 ] PALMER, JAMES W. See TUNE-BOOKS, 1832. PANIZZA, ETTORE (b. 1875). See Regis- ter, 8. PARKER, FLETCHER ANDREW (b. 1842). See Register, 5, and STATE UNIVERSI- TIES (Wis.). PARKER, GEORGE ALBERT (b. 1856). See Register, 7, and COLLEGES, 3 (Syracuse U., N. Y.). 322 PARKER PARSONS PARKER, HENRY TAYLOR (b. 1867). See Register, 9. PARKER, HORATIO WILLIAM (Sept. 15, 1863, Auburndale, Mass. : Dec. 18, 1919, Cedarhurst, N. Y.). See article in Vol. iii. 622-3. He remained at the head of the Yale School of Music till his death, but gave up conducting the New Haven Symphony Or- chestra in 1919. In both positions he was succeeded by David Stanley Smith. For some time his health had not been good, but his death was due to a sudden illness while on the way to the South. The list of works should be extended to include op. 62 'Crepuscule,' for mezzo-soprano and or- chestra. 63 'The Shepherd's Vision.' 64 Ballad, ' King Gorm the Grim,' for chorus and orchestra. 65 Sonata in E-flat, for organ. 66 Songs for high schools. 67-8 Nine Organ-Pieces. 69 'The Norsemen's Raid,' for men's chorus and orchestra. 70 Seven Songs. 71 Opera, 'Mona/ libretto by Brian Hooker (prize of $10,000 from the Metropolitan Opera House, given there Mar. 14, 1912). 72 'Collegiate' Overture. 73 Cantata, 'A Song of the Times.' 74 Seven 'Greek Pastoral Scenes,' for so- prano, alto, women's chorus, oboe, harp and strings. 75 Ballad, 'The Leap of Roushan Beg,' for tenor, men's chorus and orchestra. 76 Songs (not published). 77 Opera, 'Fairyland,' libretto by Brian Hooker (prize of $10,000 from the Na- tional Federation of Women's Clubs, given at Los Angeles, July 1, 1915). 78 Books of public-school music. 79 Oratorio, 'Morven and the Grail.' 80 Masque, 'Cupid and Psyche,' for 50th anniversary of the Yale Art School, June, 1916. 81 Music for the Yale Pageant, October, 1916. 82 Cantata, 'The Dream of Mary,' for soli, chorus and orchestra (1918, Norfolk Festival). 83 'Red Cross Hymn,' for contralto and orchestra. 84 ' A. D. 1919,' for soprano and chorus. He also published Music and Public Enter- tainment, 1911. [ R.7 ] PARKER, JAMES CUTLER DUNN (June 2, 1828, Boston : Nov. 27, 1916, Brookline, Mass.), studied law in Boston for three years after graduating from Harvard in 1848. Then his preference for music led him to go in 1851 to Leipzig, where he spent three years, studying piano with Moscheles and Plaidy, harmony with Richter and Rietz. Returning in 1854, he was active in Boston for over half a century, retiring in 1912. In 1864-91 he was organist at Trinity Church, organist of the Handel and Haydn Society, in 1871-97 teacher of piano, organ and har- mony at the New England Conservatory, and for a time at Boston University. As Elson remarks, ' the pupils graduated during his long era of activity would form a good-sized regi- ment.' Among them are Arthur Whiting, A. D. Turner, H. M. Dunham, C. H. Morse and H. C. Macdougall. His works included the 'Redemption Hymn' (1877), for soli, chorus and orchestra ; a secular cantata, ' The Blind King'; the cantata 'St. John'; the oratorio ' The Life of Man ' ; church-music ; and piano- pieces. [ R.4 ] PARKHURST, HOWARD ELMORE (1848-1916). See Register, 7. PARKINSON, ELIZABETH ['Parkina'] (b. 1882). See Register, 9. PARLOW, KATHLEEN (Sept. 20, 1890, Calgary, Alberta), was taken as a child to San Francisco, where she had violin-lessons with her cousin, Mr. Conrad, and later with Henry Holmes. Her first public performance there was at the age of six. On March 23, 1905, she gave her first recital at Bechstein Hall in London, later appeared with the London Symphony Orchestra, and was also bidden to play before the Queen. She studied with Auer in Petrograd in 1906-07, and subse- quently played in Russia, Scandinavia, Ger- many, Holland and Belgium. Her first ap- pearance on her return to America was late in 1910, when she played the Tchaikovsky con- certo with the Russian Symphony Orchestra. She has since made several tours, appearing with the principal orchestras. [ R.10 ] t PARRY, CHARLES HUBERT HAST- INGS (Feb. 27, 1848, Bournemouth, England : Oct. 7, 1918, Rustington, near Little- hampton, England). See articles in Vol. iii. 624-7 and v. 657. Mention should be made of his late works, 'A Hymn to the Nativity' (1912, Hereford), the English 'Te Deum' (1913, Gloucester), and a 5th Symphony, in B minor. He published Style in Musical Art, 1911, and wrote the introduction to The Art of Music, 1914. During the war much of his time and energy was devoted to the Council for the Relief of the Professional Classes, and other charities. His funeral was at St. Paul's on Oct. 16, 1918. In the language of Hadow, 'There was no side of musical life in England which was not the better and nobler because he had lived.' PARSONS, ALBERT ROSS (Sept. 16, 1847, Sandusky, O.), was musically pre- cocious, playing the organ in public at nine and about 1860 being a regular organist in Indianapolis. From 1863 he began serious study with Ritter in New York, and in 1867-69 was under Moscheles, Wenzel, Reinecke, Papperitz and Richter at Leipzig, and in 1870-72 with Tausig, Kullak and Weitzmann at Berlin. Since 1872 he has been one of the best-known piano-teachers in New York. PASMORE PEABODY CONSERVATORY 323 For four years he was organist at Holy Trinity and for nine at the Fifth Avenue Presbyterian Church. In 1890 he was president of the M. T. N. A. and in 1893-1903 of the American College of Musicians. From 1885 he was head of the piano-department in the Metropolitan College of Music, continuing later with the American Institute of Applied Music. He was an early advocate of Wagner in America, translating his Beethoven (1870) and writing Parsifal, or the Finding of Christ through Art, 1893. He has also translated Lessmann's Liszt, published The Science of Piano-Practice, 1893, edited in English the Kullak edition of Chopin and the Hollander edition of Schu- mann, and written much on archaeology and genealogy as well as music. He has com- posed songs and piano-pieces. [ R.6 ] PASMORE, HENRY BICKFORD (June 27, 1857, Jackson, Wis.), after studying organ and theory in San Francisco with J. P. Morgan and singing with S. J. Morgan, went abroad in 1882. In Leipzig he took composition with Jadassohn and Reinecke, singing with Frau Unger-Haupt, and in London singing with Shakespeare and Cummings. Returning to San Francisco, he became organist at St. John's and teacher of voice and composition at the University of the Pacific in San Jos6. He has composed an overture, 'Miles Standish,' a 'Conclave March,' and the tone-poem 'Gloria California,' two operas, a Mass in B-flat, smaller choral works with orchestra, numerous songs and part-songs. He assisted in translating Jadassohn's Harmonielehre. His three daughters, Mary, Suzanne and Dorothy, constitute the Pasmore Trio, which has given many recitals in the West. [ R.7 ] PASTERNACK, JOSEF ALEXANDER (b. 1881). See Register, 8'. J PATTI, ADELINA (Feb. 10, 1843, Ma- drid, Spain : Sept. 27, 1919, Craig-y-Nos, Wales). See article in Vol. iii. 654-5. PATTISON, JOHN NELSON (1845-1905). See Register, 5. PATTON, WILLARD (May 26, 1853, Milford, Me.), early studied with his father and other local teachers, and with Buck, Bassini, Errani and Kohlmann, appearing as tenor from 1871 and leading a choral society in Bangor from 1875. His first operetta, 'The Gallant Garroter,' was pro- duced in 1882. Since 1883 he has taught in Minneapolis, where for some years he had charge of the music-department of Hamline University, founded and led the Philharmonic Club for four years, and was president of the local teachers' association and its examiner. His oratorio, 'Isaiah' (Ditson), was brought out in 1895 and often given since. He has also published the cantatas 'The Call of Spring' (Lloyd), 'Summer' (Fischer), both for women's voices, and the festival 'Usona' (Lloyd), anthems and sacred quartets (Moli- neaux, Dyer), male quartets (Gordon), and several series of songs (Lloyd, Nonpareil Ed.). He has also produced the light opera 'La Fianza' (1888), the opera 'Pocahontas,' the musical epic 'The Star of Empire,' the concert- ode 'Foot-stones of a Nation,' the symphonic fantasia 'The Spirit of '61,' the cantata 'The Atonement,' a Festival Te Deum in D-flat, a 'Tennyson Cycle' (eight songs from 'The Princess'), etc. [ R.6 ] PAULI, H. L. See COLLEGES, 2 (Hollins C., Va.). PAULIN, NOAH E. See COLLEGES, 3 (Pacific Union C., Cal.). PAUR, EMIL (Aug. 29, 1855, Czernowitz, Bukovina). See article in Vol. iii. 658. In 1899 and 1900 he conducted Wagner operas at the Metropolitan Opera House. His con- nection with the National Conservatory ran till 1902. In 1904-10 he was conductor of the Pittsburgh Symphony Orchestra, then returning again to Europe. In 1912-13 he was head of the Opera at Berlin, where he has since lived. His symphony 'In der Natur' (Leuckart) was first given by the Pittsburgh Orchestra in 1909, and at the same concert he played Brahms' piano-concerto in B-flat. He has also composed a string-quartet, a violin-concerto, a sonata for violin and piano, and piano-pieces. [ R.8 ] PEABODY CONCERTS. See Vol. iii. 660, and next article. PEABODY CONSERVATORY, THE, of Baltimore, is a constituent part of the Peabody Institute, founded by George Peabody in 1857, which also includes a great Library and a fine Art Museum. The enterprise did not become actual till after the Civil War, and the Conservatory was not opened till 1868. Its directors have been Lucien H. Southard in 1868-71, Asger Hamerik in 1871-98, and Harold Randolph since 1898. Part of the Conservatory system is the maintenance of the Peabody Orchestra, of which its director is conductor. Hamerik raised these concerts into artistic importance, and Randolph has been signally successful in developing the efficiency of the Conservatory proper. The faculty numbers over 75. The number of pupils is more than 1700 annually, and about 11,500 since the beginning. Instruction is given in every branch of musical art, with some language-courses besides. Since about 1900 a distinct preparatory department has been in operation, of which May G. Evans has been superintendent. There are three student- orchestras, with over 100 members, and choruses with over 200 members. The opera- class presents several operas each year. The Conservatory has an arrangement with the 324 PEACE JUBILEES PENFIELD Johns Hopkins University whereby candidates for the B.S. degree in the latter may pursue certain courses in the former. It also offers courses which are counted for credit in the Baltimore public schools. Students in the Conservatory have the chance of attending over 250 recitals and concerts each year, including 20 artist-recitals and about 15 organ-recitals. The library contains nearly 2500 volumes, and the institution owns many instruments, including 5 organs and a full set of orchestral instruments. It occupies a large part of the Institute Building on Monu- ment Square and also three annex-houses. PEACE JUBILEES, THE, were large popular festivals planned and directed by the band-master P. S. Gilmore and held in Boston. The first, in 1869, was meant to celebrate the return of peace after the Civil War. There was an orchestra of 1000 and a chorus of 10,000, with many other sensational features. The second, in 1872, based on the idea of 'world peace,' was still more unwieldy and spectacular in design. The first was effective in arousing genuine popular en- thusiasm, but the second was much less significant, though more pretentious. In 1873 Gilmore held another Jubilee at Chicago in celebration of its rebuilding after the fire of 1871. See Gilmore, History of the National Peace Jubilee and Great Musical Festival, 1877, Upton, Musical Memories, pp. 194-205, etc. PEARCE, STEPHEN AUSTEN (Nov. 7, 1836, London, England : Apr. 9, 1900, Jer- sey City, N. J.), after study with J. L. Hop- kins, graduated Mus.B. at Oxford in 1859 and Mus.D. in 1864. He held organ-ap- pointments at London churches, visited the United States and Canada in 1864, and returned to London to give recitals at the Hanover Square Rooms and elsewhere. In 1872 he came to New York, where he was long active as organist, lecturer and writer. His organ-positions were at St. Andrews', St. George's, St. Stephen's (R.C.), Zion, Ascension, Fifth Avenue Collegiate (Ref. Dutch), and at the First Presbyterian Church in Jersey City. He taught vocal music at Columbia College, harmony and composition at the New York College of Music, lectured at the "General Theological Seminary in New York, at the Peabody Institute and Johns Hopkins University in Baltimore, and gave lectures and recitals in many other cities. From 1874 he was musical editor of the New York 'Evening Post,' and contributed to 'The Musical Courier,' the Encyclopaedia Americana and various periodicals. He edited a Dic- tionary of Musical Terms in 21 Languages, piano-music, and much church-music. He composed the three-act children's opera 'La Belle Americaine,' the oratorio 'Celestial Visions,' the cantata 'The Psalm of Praise,' an overture, an 'Allegro Agitato' (Thomas Orchestra), songs and pieces for piano and organ. [ R.5 ] PEARSON, HENRY WARD (b. 1878). See COLLEGES, 2 (Hood C., Md.). PEASE, ALFRED HUMPHRIES (1838- 1882). See Register, 5. PECK, DANIEL L. See TUNE-BOOKS, 1810. PEDRELL, CARLOS (Oct. 16, 1878, Mi- nas, Uruguay), a nephew of the Spanish com- poser and musicologist Felipe Pedrell, be- gan studies in Montevideo, continuing with his uncle in 1898-1900, and then entering the Schola Cantorum in Paris, where his masters were Pierre de Breville and d'Indy. Since 1906 he has been located in Buenos Aires, where he is inspector of music in the schools, lecturer at the University of Tucuman, and advisor for the Consejo Nacional de Edu- caci<5n on the national hymn, folk-songs, and musical policies generally. In 1915 he founded the Sociedad Nacional de Musica, including a group of composers. His opera ' Ardid de Amor' was given six times in Buenos Aires in 1917. A second opera is 'Cuento de Abril.' Symphonic works are 'Une Nuit de Scheherazade' (1908), 'Danza y Cancion de Aixa' (1910), 'En el Estrado de Beatriz' (1910), 'Fantasia Argentina' (1910) and 'Ouverture Catalane' (1912). These have been repeatedly performed, especially in the series at the Colon under Andre Messager in 1916. He has also composed about 60 songs (26 published), many with orchestral accompaniment, four choruses with orchestra, and three a cappella, besides publishing over 50 transcriptions and adaptations for school- use. His wife, Suzanne S. de Pedrell (b. Sept. 15, 1892, Meing-sur-Loire, France), a pupil of Madame Giraudin in Paris, has won distinction in song-recitals. [ R.9 ] $ PEDRELL, FELIPE (Feb. 19, 1841, Tortosa, Spain). See article in Vol. iii. 668-9. In 1911 his seventieth birthday was cele- brated by the publication of a series of 'Escritos heortasticos' by musical scholars of different countries. For many details about his compositions and his remarkable historical studies, see Baker, Diet, of Mu- sicians, p. 690. PELHAM, PETER, JR. (1721- ? ). See Register, 1. PELISSIER, VICTOR. See Register, 2. PENFIELD, SMITH NEWELL (Apr. 4, 1837, Oberlin, O. : Jan. 7, 1920, New York), after graduating from Oberlin College in 1858, studied in New York with James Flint, in Leipzig with Moscheles, Papperitz, Rei- necke, Plaidy, Richter and Hauptmann, graduating from the Conservatory in 1869, PENNY PERRY 325 and in Paris with Delioux. He first taught in Rochester, and then went to Savannah, where he established the Conservatory and the Mozart Clu.b. From 1882 he was in New York, where for many years he was organist at the Broadway Tabernacle, gave many organ-recitals, conducted choral societies and started the Arion Conservatory in Brooklyn. In 1885 he was president of the M. T. N. A. and in 1888-90 of the New York State Associa- tion. In 1885 New York University made him Mus.D. His works included Psalm 18, for soli, chorus and orchestra, an overture, a string-quintet, pieces for piano and organ, choruses and songs. [ R.5 ] PENNY, GEORGE BARLOW (b. 1861). See Register, 8, and STATE UNIVERSITIES (Kan.). PEOPLE'S CHORAL UNION, THE, of New York. See Vol. iii. 371. PEOPLE'S SYMPHONY ORCHESTRA, THE, of New York. See Vol. iv. 805. PERABO, JOHANN ERNST (Nov. 14, 1845, Wiesbaden, Germany), began music with his father at five. In 1852 the family came to America and he had violin- and piano- lessons from several teachers. He entered the Leipzig Conservatory in 1862, studying piano with Moscheles and Richter, theory and composition with Hauptmann, Papperitz and Reinecke, and took the Helbig prize in 1865. After a year of teaching in New York and some recital-giving, since 1866 he has lived in Boston, becoming noted for his excellent playing of Beethoven. He has made a specialty of concert-transcriptions, including the first movement of Rubinstein's ' Ocean ' and Schubert's 'Unfinished' Symphonies, of parts of ' Fidelio ' and of some Loewe ballads. Mrs. Beach is one of his many pupils. Among his compositions for piano are ' Moment Musical,' op. 1 ; Scherzo, op. 2 ; Prelude, op. 3 ; Waltz, op. 4; Three Studies, op. 9; 'Pens6es,' op. 11 ; and Prelude, Romance and Toccatina, op. 19. [ R.5 ] PERINI, FLORA (b. 1887). See Register, 10. PERIODICALS, MUSICAL. See Vol. iii. 687-9, and JOURNALISM. PERKINS, CHARLES CALLAHAN (1823- 1886). See Register, 4. PERKINS, DAVID WALTON (b. 1847). See Register, 8. PERKINS, HENRY SOUTHWICK (1833- 1914). See Register, 5. PERKINS, JULIUS EDSON (1845-1875). See Register, 5. PERKINS, ORSON (1802-1882). See Reg- ister, 3. PERKINS, WILLIAM OSCAR (1831- 1902). See Register, 5, and TUNE-BOOKS, 1859. tPEROSI, LORENZO (Dec. 23, 1872, Tortona, Italy). See article in Vol. v. 658. His recent oratorios are 'Transitus Animse' (1907), 'In Patris Memoriam' (1910) .and 'Giorni di Tribulazione ' (1916). He has 'also composed two symphonic poems, 'Dovrei non Piangere ' and ' La Festa del Villaggio ; ' concertos for piano and violin ; a sonata for violin ; a suite for piano-trio ; and many smaller vocal and instrumental works. PERRIN, HARRY CRANE (Aug. 19, 1865, Wellingborough, England), was educated at Trinity College in Dublin, receiving Mus.B. in 1890, F.R.C.O. in 1892, Mus.D. in 1901, his teachers having been Stewart, Pearce and Bates. From 1886 he was in succession or- ganist at St. Columba's College, at St. John's Church in Lowestoft, and at St. Michael's in Coventry, where he also conducted the Musical Society. In 1898 he became organist at Canterbury Cathedral and conductor of the Canterbury Musical Society. Since 1908 he has been professor and director at the McGill University Conservatorium in Mon- treal, which owes its fine organization and influence to his leadership. He has com- posed orchestral music, cantatas, songs and church-music. [ R.9 ] PERRIN, HENRY FOOTE. See STATE UNIVERSITIES (N. M.). PERRY, EDWARD BAXTER (Feb. 14, 1855, Haverhill, Mass.), has been sightless since infancy, but has nevertheless achieved re- markable success as student, artist and teacher. After having graduated from the public schools of Medford in 1871, he studied piano with J. W. Hill in Boston, besides specializing in English literature. In 1875 he went abroad for further general and musical education at Berlin and Stuttgart. His piano-study was with Kullak, Pruckner and Clara Schumann, and in 1878 he was with Liszt at Weimar in the summer. Besides playing somewhat in public, he kept up diligent literary, historical and philosophical studies. In 1881-83 he taught at Oberlin College, and in 1883-85 he was again in Europe. Since 1885 he has been chiefly occupied with numerous and varied lecture-recitals in all parts of the country. Up to 1917 he had thus appeared more than 3300 times. In 1897-98 he engaged in concer- tizing in Europe. Since 1917 he has been di- rector of music and dean of fine arts at the Woman's College in Montgomery, Ala. He has written Descriptive Analysis of Piano-Works and Stories of Standard Teaching-Pieces, with perhaps 300 articles for magazines. Best known among his piano-pieces are a Reverie, a Nocturne, an Impromptu, a 'Mazurka Caprice' and 'Why?' (Schmidt), 'Autumn Reverie,' 'The Portent,' '^Eolienne' and 'The Ballade of Last Island' (Presser), with several 326 PERRY PHILHARMONIC SOCIETY studies. His most important unpublished work is the 'Melusine' Suite, founded on a legend in the family of Prince Lusignan. This led the latter to confer on him the title of 'Chevalier de Melusine' (1898). In his works, as in his explanatory lectures, he exalts poetic significance more than technical structure. [ R.7 ] PERRY, EMORY (1799 - ? ). See Reg- ister, 3. PERSINGER, LOUIS (Feb. 11, 1887, Rochester, 111.), spent his early years in Oklahoma and Colorado, where he had some lessons on violin and piano. In 1900, aided by the late W. S. Stratton, he began serious study in Leipzig, having violin under Becker, and piano, theory and conducting under Nikisch, and graduated from the Conservatory with the highest honors in 1904. Nikisch called him 'one of the most talented pupils' they had ever had. After a year of concert- work in America, he had two years at Brussels under Ysaye. In 1907 he was concertmaster of the Opera Orchestra there at its Vauxhall concerts, and in 1908 of the Bliithner Or- chestra in Berlin. Returning then to America, he taught for a few months in Winnipeg, but in 1909-11 concertized in Germany, Austria and Denmark with such success that in 1912-13 he made a brilliant tour in the United States, appearing with all the leading orchestras from New York to San Francisco. Another season of concerts in Europe was followed in 1914-15 by service as concertmaster for the Philhar- monic Orchestra in Berlin. Since 1915 he has been concertmaster and assistant-con- ductor of the San Francisco Orchestra, director of the Chamber Music Society and leader of the Community Music School Orchestra. In 1913 he married the pianist Angela Gianelli. [ R.9 ] PETERBORO (N.H.) FESTIVALS. See MACDOWELL MEMORIAL ASSOCIATION. PETERS, ABSALOM (1793-1869). See TUNE-BOOKS, 1823. PETERS, RICHARD HARRY (b. 1867). See Register, 8. PETERSILEA, CARLYLE (1844-1903). See Register, 5. PETIT. See Register, -2. PFEFFERKORN, OTTO W. G. See COL- LEGES, 2 (Brenau C., Ga.). JPFITZNER, HANS ERICH (May 5, 1869, Moscow, Russia). See article in Vol. iii. 696-7. He taught at the Stern Conserva- tory until 1907, and was conductor at the Theater des Westens in 1903-07. In 1907-08 he was conductor of the Kaim Orchestra in Munich, and then went to Strassburg as director of the conservatory and of municipal music, becoming in 1910 also conductor at the Opera, His latest opera is 'Palestrina' (1919, Berlin). Other works are incidental music to Kleist's 'Kathchen von Heilbronn,' op. 17, and to Von Stach's ' Christelf lein, op. 20; the eight-part a cappella chorus 'Columbus,' op. 16; a piano-trio in F, op. 8; a string-quartet in D, op. 13; and a piano- quintet in C, op. 23. His essays Vom musika- lischen Drama were published in 1915. PFITZNER, WALTHER (b. 1882). See Register, 10. PHELPS, ELLSWORTH C. (1827- ? ). See Register, 4. PHILADELPHIA MUSICAL ACADEMY, THE, was founded in 1870 by John F. Himmel- bach, who remained its director till 1876, when he was succeeded by Richard Zeckwer. In 1915 the latter was joined in the manage- ment by his son, Camille Zeckwer, and since 1917 the latter has been director with Fred- erick E. Hahn and Charlton L. Murphy. The Academy has had notable success. The faculty includes over 50 teachers, and the student-enrolment is about 800 in the main school, besides three branches in different parts of the city. The total number enrolled since the beginning is over 26,000. In 1917 the Academy was combined with the Hahn Conservatory. It has arrangements with other schools for special advantages in language-study and in dramatic art. PHILADELPHIA SYMPHONY OR- CHESTRA, THE. See article in Vol. iv. 805-6. Karl Pohlig continued as conductor until 1912, when he was succeeded by Leopold Stokowski, previously of Cincinnati. Under the latter the Orchestra has added laurels to its fine reputation. Since 1908 the num- ber of players has been 80 or more. Popular concerts were added to the regular series in 1915, and in 1916 a movement started for a large permanent fund. Since 1914 the Or- chestra has regularly played in New York, now giving five concerts there each year. Among the new works brought out have been Pohlig's Symphonic Poem, 'Per Aspera ad Astra' (1908), Volbach's Symphony in B minor (1910), Rabaud's 2nd Symphony (1913), Schonberg's 'Kammersymphonie' (1915), Sandby's Concerto in D, for 'cello (1916), Zeckwer's Symphonic Poem, 'Sohrab and Rustum' (1916), Mahler's 8th Symphony, with large choral forces (1916, three times and in New York), Elgar's music to Cammaerts' 'Le Drapeau Beige' (1918), Gardner's Sym- phonic Poem, 'New Russia' (1919), and Hadley's Concert-Overture, 'Othello' (1919). PHILHARMONIC SOCIETY, THE, of Boston, is the name of more than one organi- zation. One is mentioned as early as 1799. Another is said to have been started by Graupner in 1910, continuing till 1824. This may have been in some way connected with PHILHARMONIC SOCIETY PHONOGRAPH 327 the first. In 1879 an orchestra was established by Bernhard Listemann, which in 1881 was continued under a society of guarantors. Listemann was succeeded by Maas and in 1881 by Zerrahn. PHILHARMONIC SOCIETY, THE, of Brooklyn. See article in Vol. iv. 801. PHILHARMONIC SOCIETY, THE, of Chicago, was formed in 1860 and did useful pioneer work under Hans Balatka until 1867, introducing eight of the Beethoven sym- phonies, two each of Mozart's and Gade's, one of Mendelssohn's, etc. PHILHARMONIC SOCIETY, THE, of New York. See article in Vol. iv. 803-5. Safonov continued as conductor till 1909, succeeded by Gustav Mahler in 1909-11, who wrought a thorough change in discipline, bringing the orchestra to the highest state of finish. His illness and death led to the employment of Theodore Spiering as sub- stitute in 1911. Since 1911 the regular leader has been Josef Stransky, who has greatly commended himself. The size of the band under Safonov was 125, but was reduced to 100 under Mahler. In 1912 the Society received a bequest of $1,000,000 from the late Joseph Pulitzer. In 1917 it celebrated its 75th anniversary with extended festival performances, and $110,000 was contributed toward a building-fund. Leopold Kramer was concertmaster in 1913-17 and Alfred Megerlin since 1917. Out of many new works produced may be mentioned Mahler's 1st and 5th Symphonies (1909, '11), Bizet's 'Roma' Suite (1911), Weingartner's 3rd Symphony and 'Merry Overture' (1911, '12), Korngold's 'Overture to a Play' (1912), Ritter's 'Olaf's Wedding-Dance' (1912), Reger's 'Romantic' and 'Ballet' Suites (1913), Ropartz' 4th Symphony and 'La Chasse du Prince Arthur' (1914), Bloch's 1st Symphony (1918), Wilson's Suite 'From my Youth' (1918), Rogers' 'To the Fallen,' Dvorak's 3rd Symphony, and Schmitt's 'Rhapsodie Viennoise' (all 1919). An early society of this name was formed in 1800 by the union of the St. Cecilia and Harmonical Societies. How long it continued is not clear. PHILE, PHILIP. See Register, 2. t PHILIPP, ISIDOR (Sept. 2, 1863, Buda- pest, Hungary). See article in Vol. iii. 705. His educational works for piano are highly es- teemed and widely used. They include Exer- cises Journaliers, Problemes Techniques, Ecole d' Octaves, La Gamme Chromatique, Etudes Techniques, etc. He has also composed many piano-pieces and some orchestral music, and has continued his valued arrangements and editions of the classics. He is Chevalier of the Legion d'Honneur and Officier d'Instruction Publique. PHILLIPPS, ADELAIDE (1833-1882). See Vol. iii. 709-10, and Register, 4. PHILLIPS, HAROLD DOCKRAY, born at Oxford, England, had early training at Peterborough Cathedral, and at sixteen was organist at St. Andrew's (Kensington) in London. Later he was musical scholar and organist at Caius College in Cambridge, where he became Mus.B. and A.M. He then played at the Duchess of Albany's church at Esher in Surrey and at St. Andrews (Holborn) in London, becoming also fellow of the R. C. O. In 1903 he came to Toronto as organist at St. Paul's, and thence went in 1906 to Baltimore to be head of the organ-department and lecturer on music-history at the Peabody Conservatory, where he gave annual series of recitals. From 1914 he was organist at the First Church (Scientist) and critic on the 'News.' In 1914 he was chosen to repre- sent the German school of organ-music at a recital in New York arranged by the A. G. O. In 1920 he removed to New York. He has written an organ-sonata in D minor (Stainer & Bell), a symphony in C minor, two cantatas, a string-quartet in A-flat, and two piano-trios, in E and D"-flat. [ R.9 ] PHILLIPS, HARRY (b. 1864). See COL- LEGES, 3 (Macalester C., Minn.). PHILLIPS, PHILIP (1834-1895). See Register, 4. PHILLIPS, THOMAS (1774-1841). See Register, 3. PHILLIPS, T. MORGAN. See COLLEGES, 3 (Hiram C., Ohio). PHONOGRAPH. Edison's invention by this name (1876) was the first to both record and reproduce complex sounds mechanically. Its primary purpose was to transmit speech- sounds. But it was speedily extended by Edison and others to every sort of musical effect. Especially since 1900 and through the persistent ingenuity of American inventors, this general type of mechanical reproducer has become artistically significant. The process differs from that of the player-piano in that no actual musical instrument is em- ployed in reproduction and that the user has little expressional control. The 'records' employed are ordinarily disks of hard rubber, on the face of which inden- tations corresponding to the vibrations of the original effect are made by a stylus connected with a sensitive receiver. These records, mounted on a revolving spindle propelled by a motor, are traversed by a 'needle' of some special material (wood, fibre or a jewel) that is connected with a delicate ' diaphragm ' like that of the telephone, which is thus thrown into vibrations like those of the original receiver. These vibrations, conducted through a 'tone- arm,' are made sonorous by passing out through 328 PHYLLIS 1 PILZER a resonant projector of some form. Intensity is controlled by shutters or doors, and some modification of tone-quality is usually possible. But changes of speed affect the total pitch. Although much employed for coarse effects, instruments of this class have also been applied with extraordinary success to recording su- perior vocal and instrumental performances, both solo and in ensemble. The best of these achievements are invaluable as historic records and for demonstrative purposes. Some of the trade-names used are these : 'jEolian-Vocalion,' J3olian Co., New York. 'Bush & Lane,' Bush & Lane Piano Co., Holland, Mich. 'Cremona,' Cremona Phonograph Co., New York, 'Duleitone,' Dulcitone Phonograph Co., South Haven, Mich. 'Edison,' Thos. A. Edison, Inc., Orange, N. J. 'Grafonola,' Columbia Graphophone Mfg. Co., New York. 'Kreiterphone,' Kreiter Mfg. Co., Milwaukee. 'Lauzon,' Michigan Phonograph Co., Grand Rapids, Mich. 'Magnola,' Magnola Talking Machine Co., Chicago. Mandel,' Mandel Mfg. Co., Chicago. 'Manophone,' Manophone Corp., Adrian, Mich. 'Natural Voice,' Natural Voice Phonograph Co., Oneida, N. Y. 'Paramount,' Paramount Talking Machine Co., Port Washington, Wis. Pathe 7 ,' Pathe Freres Phonograph Co., Brooklyn. 'Starr,' Starr Piano Co., Richmond, Ind. 'True-Tone,' Cameron Phonograph Co., New York. 'Victrola,' Victor Talking Machine Co., Camden, N. J. 'Violaphone,' Gretsch Mfg. Co., Brooklyn. ' PHYLLIS.' A romantic opera by Richard Henry Warren, produced in New York in 1900. PIANOFORTE. See article in Vol. iii. 716-32, especially notes regarding American contributions to the instrument on pp. 726-30. Spillane (History of the American Pianoforte, 1890) seems to have shown that in many small details American makers were even earlier or more ingenious than is there in- dicated. The intimate relation between Eng- land and America led to a prompt interchange of mechanical ideas as well as of actual work- men, so that the two countries cannot be regarded apart. In the earlier sections of the REGISTER notes are given as to Behrenti Hesselius, Albrecht, Crehore, Taws, Van Hagen, the Babcocks, Bacon, Bourne, Chickering, Clark, Dubois, Dunham, Firth, the Geibs, the Gilberts, Hawkins, Hiskey, Knabe, Lindeman, the Louds, Mackay, Meyer, the Nunnses, Os- born, Schomacker, Stewart, Stodart, Wise, etc. all of whom worked at least as early as 1840. The attention given to piano-making in America before 1850 is both a symptom and a cause of musical interest. After 1850 Amer- ican pianos began to acquire something of the international prominence that they now have, one of the striking factors being the enter- prise of Stein way after 1853. The enormous expansion of the industry of piano-making is shown by the fact that over 300 establishments are now in operation (not counting those merely occupied in making parts and fittings), employing towards 30,000 workmen. The census of 1910 placed the annual output at that time at about 375,000 instruments, of which nearly 9000 were grands. The value of this annual output was put at about $60,000,000. It is not likely that the number of separate concerns has much in- creased, but the amount of production is cer- tainly greater. See Am. History and Encyclo- pedia of Music, ' American Music,' pp. 314-26. Since 1900 the whole field of piano-making has been greatly modified by the multiplication of automatic devices for playing, chiefly those contained within the instrument (see PLAYER- PIANO). These have now been adopted by practically all makers, with numerous special points of interest in each case. This in- novation has greatly extended the range of the market for pianos. Whether or not it has affected the character of their artistic use remains an open question. The me- chanical difficulties of introducing 'playing' attachments have been so well overcome that they no longer need take away from an in- strument's essentially artistic quality. Details regarding many leading piano-makers are given in separate articles. PIERCE, GEORGE LEAVITT (b. 1874). See COLLEGES, 3 (Grinnell C., Iowa). PILCHER'S SONS, HENRY, of Louisville, Ky., is an organ-making business that has had a long history. Henry Pilcher, Sr. (d. 1880), began making organs in London in 1820. In 1832 he came to New York and for many years was associated with Henry Erben. His son, Henry Pilcher, Jr. (1828-91), after training in New York, about 1850 established himself in St. Louis, in 1861 moved to Chicago, and, after the great fire of 1871, went to Louisville, making a fine record for conscientious work in each city. Since 1884 the firm, now carried on by Robert E. and William E. Pilcher, has developed a large, fully-equipped factory. One of its largest four-manual organs is in the First Presbyterian Church of Atlanta. 'PILGRIM'S PROGRESS.' A 'musical mystery' for soli, chorus, organ and orchestra, by Edgar Stillman Kelley, on a text by Mrs. Elizabeth Hodgkinson. It was first produced at the Cincinnati May Festival in 1918, and repeated in New York in 1920 at the festival of the Oratorio and Symphony Societies. PILLSBURY, AMOS. See TUNE-BOOKS, 1799. PILZER, MAXIMILIAN (b. 1890). See Register, 9. PINNEY PLAYER-PIANO 329 PINNEY, CLAUDE CHARLES. See COLLEGES, 3 (Tarkio C., Mo.). 'PIPE OF DESIRE, THE.' An opera in one act by Frederick S. Converse, first produced in Boston in 1906 and at the Metro- politan Opera House in New York in 1910. PIRANI, EUGENIO DI (Sept. 8, 1852, Ferrara, Italy), was the son of a teacher of languages in Berlin. His general education was in Venice and much of his musical training at the Rossini Conservatory in Bologna. He also studied piano with Kullak at Berlin and composition with Kiel. In 1873-83 he taught in the Kullak Academy and toured as pianist on the Continent and in England. He had an important part in the Cristofori Commemoration in Florence, became a member of several Academies and received numerous decorations. In 1888 he was head of the German committee for the International Music Exhibition at Bologna. In 1898-1901 he was critic for the 'Kleines Journal' in Berlin. In 1901-06 he toured in both Europe and America with the soprano Alma Webster Powell, with whom in 1904 he founded a Musical Institute in Brooklyn which they still direct. He became an American citizen in 1916. He has written the operas 'Das Hexenlied' (1902, Prague) and 'Black Blood' (1904) ; a 'Scene Veneziane,' op. 44, for piano and orchestra (1892) ; the symphonic poems 'Fete au Chateau,' op. 43 (1901), 'Woodland' and 'Belshazzar' ; 'Airs Bohemiens,' op. 35, for orchestra ; and many lesser instrumental and vocal works. His High-School of Piano- Playing, 1908 (4th ed., 1918), includes 6tudes that have been highly praised. [ R.9 ] tPITT, PERCY (Jan. 4, 1870, London, England). See article in Vol. iii. 759. In 1906 he became an assistant-conductor at Covent Garden, and in 1907 principal con- ductor and general artistic adviser, following Messager. His symphony in G minor was played at the Birmingham Festival of 1906. Other recent compositions are an 'English Rhapsody' for orchestra, based on folk-songs, the ballet-pantomime 'Sakura,' a Serenade for i orchestra, and 'Anactoria,' a symphonic poem for viola and orchestra. PITTS, F. E. See TUNE-BOOKS, 1859. PITTSBURGH MUSICAL INSTITUTE, THE, was organized in 1915 under the joint direction of Frank Milton Hunter, William H. Getting, Dallmeyer Russell and Charles N. Boyd, Mr. Hunter retiring in 1919. Start- ing with an enrolment of about 400, it has now nearly trebled that number. There are about 25 teachers. The Institute has an arrangement for exchanging credits with the University of Pittsburgh. PITTSBURGH SYMPHONY ORCHES- TRA, THE. See article in Vol. iv. 806-7. Emil Paur continued as conductor until 1910. In 1907 the Orchestra made an extensive tour in conjunction with the Mendelssohn Choir of Toronto. In 1908 the number of players was increased to 80, and Edward Tak secured as concertmaster. In 1910 difficulties arose about the guarantee-fund, resulting in the disbanding of the organization. In 1909 Paur brought out his 'In der Natur' Symphony. PIUTTI, MAX (1852-1885). See Register, 6. PLAYER-PIANO. See article on Auto- matic Appliances in Vol. i. 133-8. American inventors have been remarkably energetic and successful in perfecting devices to operate pianos mechanically, so that these are now in use throughout the world. The earlier effort was to make 'piano-players' instruments apart from the piano itself. These were soon steadily replaced by mechanisms enclosed within the piano-case whence the name 'player-piano.' The essential principles of the two types are similar. The motive power is pneumatic, secured through an exhaust- bellows operated either by the feet or by an electric motor. This propels the 'music-roll' (a paper-strip perforated with slots for the notes of a particular piece and often for variations in tempo or force) and actuates the mechanical units affecting the action of the hammers. The number of units was at first 44, then 6'5 or 72, and is now usually 88, corresponding to the full compass of the key- board. Each unit connects by a tube with an opening in the 'tracker-bar,' over which the music-roll passes, and is put in action only when a slot in the roll matches with the open- ing. The tempo is set or varied by controlling the movement of the roll, but the force of the hammer-blow is governed by special arrange- ments associated with the operative units. These 'expression-devices' are directed either by levers controlled by the player's hands or automatically through the roll. The tendency is for each piano-maker to develop his own type of 'player,' all aiming to secure extreme rapidity, certainty, delicacy and noiselessness of action. The eager com- petition between inventors has lifted the whole enterprise into artistic importance. Many companies have been organized to make 'player-actions' that can be installed in various makes of pianos. Such actions are also being widely applied to pipe-organs, even of the largest class, as well as to orchestrions. Below is a list of some of the trade-names by which * player-mechanisms' are known, with the firms using them : 'Air-o-Player,' National Piano Co., Boston. 'Amphion,' Amphion Piano-Player Co., Syracuse. 'Ampico,' American Piano Co., New York. 'Angelus,' Wilcox & White Co., Meriden, Conn. 330 POCHON POWELL 'Apollo,' Melville Clark Piano Co., Chicago. 'Artistano,' A. B. Chase Co., Norwalk, O. 'Artone,' Ahlstrom Piano Co., Jamestown, N. Y. 'Autola,' Horace Waters & Co., New York. 'Autopiano,' Autopiano Co., New York. 'Autopneumatic,' Autopneumatic Action Co., New York. 'Autotone,' Hardman, Peck & Co., New York, 'Carola Inner-Player,' Cable Co., Chicago. 'Cecilian,' Farrand Co., Detroit. 'Claviola,' Claviola Co., New York. 'Combinola,' Geo. P. Bent Co., Chicago. 'Concertone,' Mansfield Piano Co., New York. 'Electrelle,' American Piano Co., New York. 'Euphona,' Cable Co., Chicago. 'Exceltone,' Chase-Hackley Piano Co., Muskegon, Mich. 'Harmonola,' Price & Teeple, Chicago. 'Humena,' Lauter Co., Newark, N. J. 'Manualo,' Baldwin Co., Cincinnati. 'Master,' Winter & Co., New York. 'Melodigrand,' Melodigrand Co., New York. 'Modello,' Baldwin Co., Cincinnati. Musicale,' Mansfield Piano Co., New York. 'Oktavec,' Laffargue Co., New York. 'Pianino,' Wurlitzer Co., New York. 'Pianista,' Autopiano Co., New York. 'Pianola,' ^Eolian Co., New York. 'Playotone,' Autopiano Co., New York. 'Primatone,' Foster- Armstrong Co., East Roches- ter, N. Y. 'Simplex,' Simplex Player-Action Co., Worcester, 'Sterlitone,' Sterling Co., Derby, Conn. 'Symphonola,' Price & Teeple, Chicago. 'Tel-Electric,' 'Telektra,' Tel-Electric Co., Pitts- field, Mass. 'Troubadour,' Haddorff Piano Co., Rockford, 111. 'Virtuolo,' Hallet & Davis Co., Boston. 'Wondertone,' Lindenberg & Co., Columbus, O.- In addition, there are numerous types that are known simply by the name of the firms using them. For details of construction, see William Braid White, The Player-Piano Up to Date, 1914, and Harrison Louis Van Atta, The Piano and Player-Piano, 1914. POCHON, ALFRED (b. 1878). See Regis- ter, 9. POEHLMANN, HERMANN. See COL- LEGES, 3 (Grove City C., Pa.). POLACCO, GIORGIO (Apr. 12, 1875, Venice, Italy), as a boy studied in Petrograd, continuing under Coccon at the Liceo Marcello in Milan, where he later graduated from the Verdi Conservatory. He at once began a career as operatic conductor, first in London, for a few years in Milan and Rome and for several more at Buenos Aires and Rio de Janeiro. He also was guest-conductor at Lisbon, Warsaw, Petrograd and Mexico City. In 1906 he appeared at San Francisco, and in 1911-12, at Puccini's request, he had charge of Savage's productions of his 'Girl of the Golden West:' From 1912 he was one of the valued leaders at the Metropolitan Opera House in New York. In 1915 he replaced Toscanini at the latter's breakdown in health, and then succeeded as chief conductor. Since 1918 he has been with the Chicago Opera Company. His repertoire includes more than 150 operas Italian, French, Russian and Wagnerian. He has often been chosen to bring out new Italian works, as, for example, Mascagni's 'L'Amico Fritz' in 1891. [ R.9 ] POMMER, WILLIAM HENRY (b. 1851). See STATE UNIVERSITIES (Mo.). POND, SYLVANUS BILLINGS (1792- 1871). See Register, 3, and TUNE-BOOKS, 1841. POND, WILLIAM A., & COMPANY, is the firm-name assumed in 1867 for the business of piano-making and dealing in music and instruments originally established in 1821 by John Firth and William Hall. In 1832 they were joined by S. B. Pond, previously of Albany, who continued till 1850, when his son, William A. Pond (d. 1885), came in, ultimately succeeded by William A. Pond, Jr. The making of pianos early ceased to be a feature of the business, but publishing and dealing in musical merchandise of all sorts have been conspicuous. POOL, DAVID. See TUNE-BOOKS, 1813. POOLE, HENRY WARD (1825- ? ). See Register, 4. PORTER, ALICE A. See COLLEGES, 2 (Western College, Ohio). PORTER, FRANK ADDISON (b. 1859). See Register, 7. PORTER, WILLIAM S. See Register, 3. POTTER, CARRIE CASLER. See COL- LEGES, 3 (McMinnville C., Ore.). POWELL, ALMA WEBSTER, nee Hall (Nov. 20, 1874, Chicago), after early experience as soprano, from 1901 studied with Pirani in Berlin, making her debut there in ' II Barbiere di Siviglia' and taking the part of Renata at the first performance of Pirani' s 'Hexenlied' in 1902 at Prague. She toured with him in Europe and America till 1906, but also in 1904 joined him in establishing a Musical Institute in Brooklyn which they still continue. Mean- while she took courses with Rybner at Colum- bia University, where she gained a Mus. B. in 1910, M.A. in 1911, and Ph.D. in 1914 (the last in political science). Since 1914 she has given her chief attention to lecture-recitals, especially in colleges and universities. She is author of an Advanced School of Vocal Art, 1911. [ R.9 ] POWELL, JOHN (Sept. 6, 1882, Rich- mond, Va.), having graduated from the University of Virginia in 1901, first studied the piano with his sister, Mrs. Brockenbrough, and F. C. Hahr. In 1902-07 he continued with Leschetizky in Vienna and in 1904-07 took composition under Navratil. He first appeared as pianist with the Tonkiinstler Orchestra in November, 1907, and then for several years toured widely in Germany, France and England. In 1912 he appeared MAUD POWELL POWELL PRATT 331 at Richmond and in 1913 in New York. Since then he has been heard throughout the country, often with the principal orchestras, always with notable success. His com- positions bid fair to attract as much attention as his playing, especially as he has made striking and effective use of Negro themes and other folk-song material. The list in- cludes 'Sonata Virginesque,' op. 7, for violin and piano 'In the Quarters,' 'In the Woods,' 'At the Big House' (1908, Vienna). Concerto in B minor, op. 13, for piano and orchestra. 'Senate Psychologique,' op. 15, for piano (1912, London). Suite, 'In the South,' op. 16, for piano 'Hum- ming-Birds,' 'Negro Elegy,' 'Pioneer Dance.' Three Songs, op. 18. String-Quartet, op. 19 (1910, Sev&k Quartet, London). Variations and Double Fugue, op. 20, for piano (on a theme by Hahr). 'Senate Noble,' op. 21, for piano. Suite, 'At the Fair,' op. 22, for piano. Concerto in E, op. 23, for violin and orchestra (1912, Zimbalist, New York). 'Sonata Teutonica,' op. 24, for piano (1914, Moiseivitch, London). Sonata for violin and piano (1919, Zimbalist and the composer, New York). [ R.9] POWELL, MAUD (Aug. 22, 1868, Peru, 111. : Jan. 8, 1920, Uniontown, Pa.). See article in Vol. iii. 802. The works with or- chestral accompaniment which she introduced in America include Saint-Saens' Concerto No. 2, in C, Tchaikovsky's Concerto, Dvorak's Concerto, Huss' Concerto, Shelley's Concerto, Arensky's Concerto, Rimsky-Korsakov's 'Fan- tasie de Concert,' Lalo's Concerto in F minor and 'Concerto Russe,' Sibelius' Concerto in D minor, Coleridge-Taylor's Concerto and Bruch's Concert-Stuck. She has also brought forward many works by Foote, Mrs. Beach, Herbert, Saar, Kramer, Bergh, Tirindelli, Bur- leigh, Grace White, Hartmann and Cadman. Violin-arrangements or transcriptions by her are published by Ditson, Schirmer, Breitkopf, Carl Fischer and Schuberth. From 1905 she made annual concert-tours in America. A recent phase of her work was giving recitals in soldiers' camps throughout the coun- try. This disclosed a gratifying preference on the part of the men for a better class of music than had at first been prescribed. Her death was extremely sudden, due to illness while on tour. [ R.7 ] POWER, FRANK A. See COLLEGES, 3 (Fairmount C., Kan.). POWERS, EDWARD LEESON (b. 1872). See COLLEGES, 2 (Judson C., Ala.). POWNALL, MRS. (d. 1796). See Register, 2. POYNER, VIRGIA. See COLLEGES, 3 (Arkansas Cumberland C.). PRATT, JOHN HARRADEN (Nov. 20, 1848, Freeport, Me.), was first trained in Portland, Me., by G. W. Marston in piano, organ and harmony. In 1873 he went to California, continuing in counterpoint and composition with J. P. Morgan. Still later, at Leipzig, after taking piano with Wenzel, Coccius and Zwintscher, and theory with Ja- dassohn, Alfred Richter and Paul, he graduated from the Conservatory in 1881. Returning then to the Pacific Coast, he taught theory at Mills College for a time and at the King Conservatory in San Jose, and has been organist at the Church of St. Mary the Virgin (P. E.) and .the First Jewish Synagogue in San Francisco, besides serving many years at the Old People's Home and for Masonic bodies. He became a fellow of the A. G. O. in 1888, and in 1915 dean of the Northern California Chapter, as well as president of the Musicians' Club in San Francisco in 1902-03 and 1910-13. He has written a piano- trio in G, church-music and songs. [ R.7 ] PRATT, SILAS GAMALIEL (Aug. 4, 1846, Addison, Vt. : Oct. 30, 1916, Pitts- burgh), was brought up in Chicago, where he was early a clerk in music-stores and began training himself in music. In 1868, going to Berlin, he took piano under Bendel and Kullak, and theory and composition under Wiierst and Kiel. Injury to his wrists checked his ambitions for a pianistic career and led him to emphasize composition. His orchestral 'Magdalene's Lament' (in one movement) and the lyric opera 'Antonio' date from this early time. In 1871 he became organist at the Church of the Messiah in Chicago, and in 1872 he was active in organizing the Apollo Club. In 1875-77 he was again in Germany, studying piano with Liszt and score-reading with Dorn. His 'Centennial' Overture was given on July 4, 1876, in Berlin under his direction and later at the Crystal Palace in London. In 1878 he gave symphony-concerts in Chicago, and in 1882 his opera 'Zenobia' was there brought out, In 1885 he produced his 'Prodigal Son' symphony and selections from 'Zenobia' at the Crystal Palace. In 1887 the opera 'Antonio* (revised as 'Lucille') was given in Chicago. In 1888-1902 he taught in New York, and in 1906 established an Institute in Pittsburgh. His other operas were 'The Triumph of Columbus,' in five acts (1892, New York) and 'Ollanta,' in six acts, the libretto by himself. He also wrote a 'Lincoln' Symphony, the symphonic poems ' Sandalphon ' and ' A Tragedy of the Deep ' (on the 'Titanic' disaster), two suites, a 'Reverie' and other orchestral works, the cantata 'The Last Inca,' many choruses, songs, etc. He was author of Lincoln in Story, 1901, and The Pianist's Mental Velocity, 1903. [ R.6 ] PRATT, WALDO SELDEN (b. 1857). See Register, 6. 332 PRESCOTT PROTHEROE PRESCOTT, ABRAHAM (1789- ?). See Register, 3. PRESSER, THEODORE (July 3, 1848, Pittsburgh), was an early student at the New England Conservatory in Boston, studying there with Emery, Whiting, Parker, Hill and Lang, and later at the Leipzig Conservatory. He first taught at the Ohio Wesleyan Uni- versity, at Xenia College in Ohio and at Hollins Institute in Virginia. In 1876 he was the leader in the group that founded the M.T.N.A. at Delaware, O. While in Vir- ginia he started 'The Etude,' which in 1884 he moved to Philadelphia and which 'there speedily grew to an immense circulation. He also rapidly built up an extensive music- business, which is now one of the largest in the country. In 1906 he established the Presser Home for Retired Music-Teachers, which is now part of the extensive Presser Foundation (see following articles). He has written some piano-studies and other teaching- material, and has translated musical text- books. [ R.5 ] PRESSER FOUNDATION, THE, of Phil- adelphia, was created in 1916 by Theodore Presser to care for various philanthropic en- terprises in which he had long been inter- ested. Its field comprises at present the man- agement of the Presser Home (see below), the giving of scholarships to needy musical students and the help of deserving musicians in special emergencies. Scholarships are now offered in over 75 institutions, scattered through 27 States, about one-eighth being in the Middle States, one-quarter in the South and the remainder in the Interior or the West. Most of the institutions are colleges, but a few are of university grade. Candidates are selected by the officers of the college in each case. The relief work is designed to aid those whose need and worthiness are fully established. The whole purpose of the Foundation, then, is to minister to the welfare of music-teachers as a class, both beginners and veterans. The present funds of the Foundation amount to more than $1,000,000. The president is James Francis Cooke. PRESSER HOME FOR RETIRED MU- SIC-TEACHERS, THE, of Philadelphia, is a unique enterprise in America, founded in 1906 by Theodore Presser. Its only parallel is the Verdi Casa di Riposa in Milan. Under certain conditions, including the payment of $200, musicians without regard to creed or nationality, men or women, who are sixty-five years old and have taught music in the United States for not less than twenty-five years, can be admitted. Up to 1919 there had been 53 admissions, 11 men and 42 women, represent- ing 21 States and also Canada. Several have here come to the end of their days in peace. The~Home is now established in a superbly ap- pointed building in Germantown. Its capacity is about 65. PROVOST, EUGENE PROSPER (1809- 1872). See Register, 3. PREYER, CARL ADOLPH (July 28, 1863, Pforzheim, Germany), gave his first piano-recital at thirteen. He studied at the Stuttgart Conservatory, then with Navratil in Vienna and with Urban and Barth in Berlin. In 1884 he came to America. In 1889-91 he was music-director at Baker University in Kansas, and since 1893 has been professor of piano and composition in the University of Kansas, becoming in 1915 associate-dean of Fine Arts. As pianist he has appeared with leading orchestras. His piano-works include a Theme with Variations, op. 32, a 'Nor- wegian Dance,' Canzonetta and 'Serenade Espagnole,' op. 40, a Toccata and 'Dialogue without Words,' op. 36, a Sonata, op. 33, a Scherzo in B-flat minor, 'Brook-Nymphs/ the fantasie-pieces 'Consolation,' 'The Ballet- Dancer' and 'Combat,' and numerous and varied Etudes, opp. 30, 35, 43-45, besides a number of songs. Unpublished are two so- natas for piano and violin (A minor and F)J a sonata in F minor for piano, a piano-quintet in A minor, and lesser works for piano. [ R.7 ] PRIEST, WILLIAM. See Register, 2. PRINCE, GEORGE A., & COMPANY, of Buffalo, was formed about 1840 to make melodeons, soon becoming leaders in the trade. Prince made decided improvements, and in 1847 Hamlin, then one of his workmen, made the discovery that led to the later reed-organ. After having made about 75,000 instruments of both the old and new types, in 1875 the firm got into financial difficulties and was dis- solved. PROPERT, DAVID. See Register, 1. PROTHEROE, DANIEL (Nov. 24, 1866, Ystradgyniais, Wales), attended the Normal College in Swansea, early became a com- petitor in eisteddfods, and organized his first choral society at sixteen. Coming to Scranton, Pa., in 1886, he there started the Cymrodorion Musical Society (250 voices). In 1894 he moved to Milwaukee, where in 1899 he be- came conductor of the Arion Male Chorus. Since 1904 he has been increasingly active also in Chicago, where he makes his home. He is music-director at the Central Church, at the Loring Institute and at the Chicago Training College, besides teaching at the Sherwood Music School and leading more than one choral society. His talent as chorus- conductor has led to his being several times one of the chief judges at the National Eis- teddfod in Wales, as well as in competitions in America. In 1890 he became Mus.B. of Toronto University and in 1905 Mus.D. of PSALMODY PUBLIC SCHOOLS 333 the Grand Conservatory in New York. He has written the symphonic poem 'In the Cambrian Hills,' two string-quartets, the cantatas 'St. Peter,' 'A Song of Hope,' 'The Story of Bethlehem,' 'Lady Fair' (these for chorus and orchestra), 'Eastertide,' 'At the Cross,' and 'Children in Heaven' (allegorical, for children), a Mass in F, nu- merous choruses, such as ' The Nun of Nidaros ' and 'Britons' (both for men's voices with orchestra), anthems and songs. He compiled the Hymnal for the Welsh Presbyterian Church and four books of ritual-music for the Scottish Rite, and has prepared courses on harmony and chorus-conducting. [ R,7 ] PSALMODY. See TUNE-BOOKS. PUBLIC SCHOOLS, MUSIC IN THE. What is now known as 'the public school system' of the United States is only about a century old. Its establishment and the working out of its details were processes that occupied much time and engaged the efforts of many workers during the last decades of the 18th and the early part of the 19th cen- turies. From the earliest days, however, the colonists had been alive to the importance of general education, as is shown by the found- ing of 'colleges' and some 'academies,' as well as by less permanent undertakings on the part of single communities and of certain churches. As a rule, the instruction of young children was almost wholly left to parents and homes, just as it was in England at the same period. But somewhat before 1800, and much more just after it, a movement set in to arouse local communities to the need of elementary and secondary education of a more uniform and general character. This was analogous to movements in Europe, though perhaps not directly connected with them. A difficulty in American conditions was the strong instinct for local autonomy, which long prevented a desirable consoli- dation of effort over large areas, such as whole States. New England was on the whole ahead of other sections, but the Middle States soon joined in the movement. 1 At intervals in the 18th century the im- portance of musical training for the young was recognized. Thomas Symmes urged it as early as 1720 in connection with his plea for singing by note. As fast as 'singing-schools' sprang up they appealed to boys and girls quite as much as to their elders though they did not often include little children. In 1753 William Tuckey began classes for 1 New York had a State Superintendent of Schools in 1812-21, and again after 1854. Massachusetts had a State Board of Education from 1837. These were the pioneers in consolidated administration. The Federal Government was favorable to system- atic public education from soon after the Revolution, but its influence was confined to grants of public lands for school-use. 'singing-scholars' in the rooms of Trinity Church in New York. Adgate's enterprises in Philadelphia from 1784 were in part di- rected toward the culture of children. These are samples of efforts put forth here and there by individuals. It was not until the idea of a general plan of popular education under civic control began to shape itself that the training of children in song was extensively undertaken. It was William C. Woodbridge (1795-1845), from 1831 editor of a series of Annals of Edu- cation, who supplied the impetus for positive advance. He had personally investigated music-teaching in schools as it was developing in Europe, especially in Switzerland and Germany. He became convinced of the superiority of the Pestalozzian method, and brought back text-books and other material, some of which he translated. As Wood- bridge was a teacher in Hartford, the first trials took place there as early as 1830 under Elam Ives, but of these no record is accessible. In that year Woodbridge lectured in Boston on 'Vocal Music as a Branch of Common Education,' illustrations being given by children trained by Lowell Mason. The latter was but slowly won to accept the principles enunciated by Pestalozzi, but finally adopted them in full. These principles were thus stated : 1.' To teach sounds before, signs to make the child sing before he learns the written notes or their 2. To lead him to observe, by hearing and imitating sounds, their resemblances and differences, their agreeable and disagreeable effect, instead of explaining these things to him in short, to make him active instead of passive in learning. 3. In teaching but one thing at a time rhythm, melody, expression are taught and practiced sepa- rately before the child is called to the difficult task of attending to all at once. 4. In making them practice each step of each of these divisions, until they are master of it, before passing to the next. 5. The giving the principles and theory after practice, and as an induction from it. 6. The analyzing and practicing the elements of articulate sound in order to apply them to music. 7. Another peculiarity, which is not, however, essential to the system, is that the names of the notes correspond to those employed in instrumental music, and are derived from the letters, with variations for flats and sharps a method whose utility ia questioned by some, but which is deemed very important by others. 1 In January, 1833, the Boston Academy of Music was started by Mason at Wood- bridge's suggestion and with the help of George J. Webb. In 1834 Mason issued his famous Manual, explaining the principles and methods 1 In later years these principles were largely disregarded or forgotten, but it is interesting to note that the so-called modern 'observation' method rests upon the first, second and fifth of them. 334 PUBLIC SCHOOLS PUBLIC SCHOOLS to be used in the Academy's singing-classes for children and youth. Samuel A. Eliot, the president of the Academy, was then on the city School-Committee (mayor in 1837-39) and was heartily sympathetic with the move- ment to introduce music into the public schools. In 1836, thanks to the efforts of these advocates, a memorial to this effect was laid before the committee, but without result.HA second attempt in 1837 secured the committee's approval, but without their providing funds for the arrangement. Mason agreed to teach for a year without salary, and in October, 1837, began work in the Hawes School in South Boston. His success was so obvious that in August, 1838, the committee gave its official endorsement, putting Mason in charge of music in all the schools, with A. N. Johnson, G. F. Root, A. J. Drake and J. A. Johnson as assistants. In 1841 Mason resigned to devote himself to 'conventions' and B. F. Baker succeeded him. A general committee on music was first appointed in 1857. Music was not taught in the primary grades at first, but was added in 1864 by L. W. Mason. In 1868 H. E. Holt took charge of the lower grammar grades, in 1869 Eichberg became the first supervisor, and in 1872 music was carried into all the high schools thus making the system complete. In February, 1836, the trustees of the schools in New York took up the question of music, but decided to leave it to the boards of the several schools, stipulating that it must not involve expense or interfere with other studies. In 1840, '43 and '47 motions to bring music in were disapproved. In 1853 it was intro- duced, but without system. No definite plan for it was issued till 1879, and, according to Frank Damrosch, it was not really estab- lished till 1898. In 1858 the Boston School Committee made an inquiry as to the introduction of music in other cities, the dates secured being these Boston, 1838; Buffalo, 1843; Pittsburgh, 1844; Cincinnati, 1846 (1844?); Chicago, 1848 ; Cleveland, 1851 ; San Francisco, 1851 ; St. Louis, 1852. The first teacher in Buffalo was Mr. Hazeltine ; in Pittsburgh, L. P. Lincoln ; and in Cincinnati, Charles Aiken (succeeded in 1879 by his son, W. H. Aiken, who is still in service). 1 Among later examples mention may be made of New Haven, Conn., where Benjamin Jepson began teaching in seven schools in January, 1865, at first only in the upper grades. Jepson published, at his own expense, what appears to have been 1 See paper by Frances M. Dickey on ' The Early History of Public School Music in the United States,' M.T.N.A. Proceedings, 1913, where numerous de- tails are given. The singing in Cincinnati early be- came famous, and since 1873 school-choruses have often taken part in the biennial Festivals. the first Music-Reader. 1 He remained in charge over forty-five years. In 1884-85 the Bureau of Education re- ported that music was taught in the public schools of 247 towns and cities, with some 90 special teachers. Twenty years later, in a Bulletin of the Bureau (Music- Education in the United States, 1908), the compiler, Arthur L. Manchester, said : 'Teachers in public schools are steadily seeking to improve both the matter and the method of their phase of music-education, rectifying inaccuracies of grading and bridging over the chasm between elementary and advanced grades. The cultivation of music in its foundational aspects and as part of . the life of the people is being given intelligent con-., sideration. Pedagogic principles as a basis for further development are being given attention, and the trend is strongly toward efficiency, coordination and cooperation'; adding, however, that 'among the defects in our present scheme of music-education there exists one of very serious character, namely, a lack of systematic, wisely-planned, and thoroughly carried-out foundational training.' In 1914, in introducing another Bulletin of the Bureau (Music in the Public Schools, compiled by Will Earhart), Commissioner Claxton said : 'That music plays an important part in the life of a people and should therefore have an important place in the system of education in any State or nation has been understood by the foremost educators for three thousand years. Among a practical, industrial and commercial people, like ourselves, good music is necessary not only for enjoyment and recreation, but also for inspiration and for salvation from death in the din and dust of trade ; and this music should be democratic in the truest and best sense. This it can never be until it becomes an integral part of the education given in the schools of all grades, as it is in the schools of some other countries. It is through an increasingly clear understanding of this fact that music, not recognized in the course of study of our earliest public schools, has, within the last twenty-five or thirty years, been introduced to some extent into the schools of most progressive cities and of many towns, villages, and country com- munities, though by many it is still considered un- essential and a fad. Sooner or later we shall not only recognize the culture value of music, we shall also begin to understand that, after the beginnings of reading, writing, arithmetic and geometry, music has greater practical value than any other subject taught in the schools.' From this report, presenting a detailed account of conditions throughout the country, some salient facts may be noted. In grades below the high school 622 towns and cities require music, and 59 do not all but four of the 622 having graded courses. St. Louis has 700 pianos to 2194 school-rooms ; Cincin- nati, 250 pianos to 1000 rooms. In the vast majority of schools the music-teaching is done by grade-teachers under the guidance of a supervisor, but, unfortunately, few schools 1 In 1875 a choral society composed of 333 graduates from these schools gave 'The Creation,' 'The Messiah' and 'Elijah' under Jepson's direction. PUBLIC SCHOOLS PUBLIC SCHOOLS 335 require thorough preparation for this work. In 631 high schools 189 (30%) have no music except assembly-singing; 442 (70%) have some music other than assembly-singing. 238 high schools reported orchestras, with a total membership of 4181 players ; in about one-third of the schools credit is given for orchestra-playing. Musical history or ap- preciation, or both, find place in 73 high schools, with a student-enrolment of 7587. Harmony is taught to 705 students in 39 systems; sight-singing and elementary theory in 58 schools, with 14,434 students. In 10 States music is required in the grades; in 37 States music is not required, but more or less adequate provision is made for music-teaching below high school grades. Five States require music in high schools (Arizona, Indiana, Iowa, Louisiana and Washington) ; 42 do not require it, but in these the development of high-school music is frequently equal to that in the others. 17 States require ex- aminations for special teachers or super- visors; only 34 State institutions out of 87 make provision for training supervisors. The result is that supervisors are trained elsewhere privately as musicians, or if in normal schools, as teachers rather than musicians. While this report suffers from the usual failure of many persons to respond, fully or in part, to even an important ques- tionnaire, it is of great valute as showing average conditions, and the details of the report have been most carefully worked out. In 1916 an elaborate and exhaustive thesis was prepared by Rose Yont of the University of Nebraska, and published as Status and Value of Music in Education. 1 This thesis deals with music in the public schools, normal schools, state universities and colleges, edu- cational extension, and general education ; it also contains a valuable bibliographical list. The author finds the number of music-super- visors to be 1343 (in 1913), of whom about 20% are men. The investigation, covering the entire country, 'showed great interest [among school authorities], emphatic approval of the subject as a school study, and a strong desire to learn the results of this investigation.' The Pacific States all present the feverish activity which characterizes most of the North Central States. Progressive school officers and educational leaders who favor broad culture have pushed the subject to the front very rapidly. California probably leads the States of the Union, in her uniform, de- liberately planned and systematic presentation of the subject. The conditions in 1913 presented a remarkable and gratifying growth, except in the Southern States, as compared with similar data secured by Miss Yont in 1 The Woodruff Press, Lincoln, Neb., 353 pp. 1907. There is a chapter on credit for private music-lessons outside of school, with interest- ing statistics and the conclusion that the people 'are more ready for the innovation than school authorities, who fear to take so radical a step.' A careful estimate places the sum paid in Nebraska for private music- lessons annually at about $ 1,000,000, while the State paid out only $36,182 for musical instruction. 'This would indicate that the schools are not supplying public demands in the teaching of this subject, while further- more it shows enormous financial waste. The same amount judiciously spent in the schools would be more than adequate to supply all the children with proper musical training.' Realizing the need of more uniformity of system and requirements, in music as in other subjects, the National Education Association in 1912 appointed a Commission on the Re- organization of Secondary Education. The committee on music under this included thirteen workers of national reputation, with Will Earhart as chairman and Osbourne McConathy as head of a subcommittee on course of study. In the preliminary state- ments issued in 1913 occur sentences like these : 'In common with the other arts and literature, and perhaps in a higher degree, music tends to develop finer subjective life in the individual.' 'A course in music that does not promise to adjust the learner in sympathetic response to the best music is lacking in its proper quality, whatever marks of efficiency it may show.' 'Failure to bring the graduates of public schools into sympathetic relation with the mature musical intelligence and interests of their various com- munities is due not so much to shortcomings in the work of the grades as to neglect or sad misdirection of the work in high schools.' ' If we would have an adult public interested in and appreciative of the great music of the masters, we must have general instruction in advanced phases of musical study.' 'To the high schools properly v belongs the task of articulating the music in the grades with the enlightened musical understanding and interest of the community.' The report of this committee, as published in a further Bulletin of the Bureau of Edu- cation in 1917, deals in detail with methods and results in ensemble-singing, chorus- practice, musical appreciation, harmony, counterpoint, orchestra-ensemble, credit for study under outside teachers, etc., with suggestions as to administration. To those not familiar with what is now being actually done in not a few high schools, or who suppose that all public school work in music has remained as it was fifty years ago, this report will be exceedingly interesting. Until recently high-school graduates were not able to use music as a credit for college- entrance. In the Proceedings of the Music Supervisors' National Conference for 1919 336 PUCCINI PYCHOWSKI is a report on this subject by Osbourne Mc- Conathy, Edward B. Birge and Karl W. Gehrkens, representing respectively the Super- visors' Conference, the N. E. A., and the M. T. N. A. Through a questionnaire sent out by the Bureau of Education they ascertained that, out of 412 colleges replying, 191 allowed some entrance-credit for music 80 giving one unit out of 15 or 16, and 111 two or more units. Furthermore, out of the 412 colleges, 238 give credit toward the A.B. degree for courses in music. The committee concludes that entrance-credit will be granted more and more. The rapidity and permanence of the movement will depend upon the quality of the work done in the secondary schools. The marked improvement in public school music since about 1900 has been due to the combination of many causes, especially the advance of public opinion as reflected by school authorities and the zeal and wisdom of many teachers in the school systems. As a single index of the growth in interest it may be noted that at the first meeting of the Supervisors' Conference in 1911 the member- ship was 84, whereas in 1919 it was 700. The number of institutions normal schools, colleges, universities and conservatories now offering more or less elaborate courses of training for public-school teaching is impres- sively large, implying both a demand and a purpose. Hence large expectations for future development seem to be justified. Besides the literature referred to, especially the Bulletins of the Bureau of Education and Miss Yont's elaborate study, reference should be made to the various volumes of the Pro- ceedings of the M. T. N. A., the N. E. A., the Supervisors' Conference (National and Eastern), the successive volumes of 'School Music,' 'The Journal of Education,' and several musical periodicals, etc. t PUCCINI, GIACOMO (Dec. 28, 1858, Lucca, Italy). See article in Vol. iii. 847-8, and note in v. 660. Additional operas are 'La Fanciulla del West' (Dec. 10, 1910, New York), 'La Rondine' (1917, Monte Carlo), and the short 'II Tabarro,' 'Suor Angelica' and 'Gianni Schicchi' (Dec. 14, 1918, New York). 'Madama Butterfly' was first sung in New York on Nov. 12, 1906, by the Savage Opera Company (in English) and at ths Metropolitan Opera House on Feb. 11, 1907. On the latter occasion and at the premiere of 'La Fanciulla del West' the composer was present. All of his operas except 'Edgar' and 'La Rondine' have been repeatedly given in America with eminent success. For bibli- ography on Puccini, see Baker, Diet, of Mu- sicians, p. 728. PULITZER, JOSEPH (Apr. 10, 1847, Budapest, Hungary : Oct. 29, 1911, on board his yacht at Charleston, S. C.), arrived in America in 1864, penniless and unable to speak English. He served for a year in the Civil War as a cavalry private. From 1865 he was variously employed at St. Louis, where from 1867 he was a reporter for the ' Westliche Post,' becoming in 1871 managing-editor and part-owner. In 1879 he combined two St. Louis papers into the 'Post-Dispatch,' and in 1883 became owner of the New York ' World.' In 1887, in the full tide of journalistic success, his health failed and total blindness began to come on. In 1903 he founded the School of Journalism at Columbia University with an initial gift of $1,000,000. At his death he signalized his lifelong enthusiasm for music by bequeathing $500,000 to the Philharmonic Society of New York, with the stipulation that his favorite composers, Beethoven, Wagner and Liszt, should be frequently repre- sented on its programs. [ R.10 ] PULLER, S. D. See TUNE-BOOKS, 1825. 'PURITANIA.' An opera by Edgar Still- man Kelley, to a text by C. M. S. McLellan, written in New York and produced in Boston on June 9, 1892. PUTNAM, CLARENCE SIMEON. See STATE UNIVERSITIES (N.D. Agric. C.). PYCHOWSKI, JAN NEPOMUCENE (1818-1900). See Register, 4. Q QUARLES, JAMES THOMAS (Nov. 7, 1877, St. Louis), was trained by Galloway (pi- ano and organ), Vieh and Ehling (piano) and Kroeger (theory), and entered upon a career of great activity as organist. At sixteen he served the Cook Avenue Presbyterian Church, and in 1897, on graduating from the high school, went to the Central Congregational, in 1898 to the West Presbyterian, giving his first recitals, and in 1900 to the Lindell Avenue Methodist, where for thirteen years he gave monthly recitals. In 1903 he appeared at the Louisiana Purchase Exposition, and also became teacher at Lindenwood College, where he was later dean of Fine Arts. In 1905 he was made music-director at the Cathedral of the Scottish Rite, and in 1907 at Moolah Temple, organizing a band of singers which traveled widely to participate in conclaves. In 1906 he was studying in Paris under Widor. In 1907 he became organist of the St. Louis Symphony Or- chestra, and also founded the Choral Art Society, which took up works like Brahms' Requiem, Dvorak's Stabat Mater, Schu- mann's 'Paradise and the Peri,' etc. In 1912 he made an extensive recital-tour in the East, and in 1913 became university-organist at Cornell University, being made assistant- professor in 1916. He has given there about 200 educational recitals, presenting almost all the masterpieces of organ-literature. He has played at the Panama-Pacific Exposition, at the first convention of the A. G. O., with the Boston and Chicago Orchestras, and in many other notable relations. He has written a considerable number of songs, anthems and short organ-works, most of which are unpub- lished. [ R.8 ] 'QUEST OF THE GORGON, THE.' No. 4 of the 'Grove-Plays' of the California Bohemian Club, the text by Newton J. Tharp and the music by Theodore J. Vogt. It was produced in 1905. 227 R t RABAUD, HENRI BENJAMIN (Oct. 10, 1873, Paris, France). He was a pupil of Mas- senet at the Paris Conservatory, where he won the Prix de Rome in 1894. He made his debut as conductor at the Opera in 1908, in 1914 was made principal conductor and in 1915 be- came leader of the Conservatory Orchestra. In 1918-19 he followed Muck as conductor of the Boston Symphony Orchestra, resigning to return to Paris as successor to Faure in the directorship of the Conservatory. His operas include 'La Fille de Roland' (1904, Opera- Comique), 'Marouf, Savetier du Caire' (1914, Opera-Comique) , and music for French versions of ' The Merchant of Venice ' and ' Antony and Cleopatra' (1916-17, Theatre Antoine) ; two symphonies, in D minor and E minor (1895, '99) ; the symphonic poem ' La Procession Noc- turne' (1899) ; ' Divertissement sur les Chansons Russes' (1901) ; 'Eglogue' (1902) ; the prize- cantata 'Daphne' (1894); the oratorio 'Job' (1900), with a lyric poem on the same subject for baritone and orchestra (1905) ; Psalm 4 for soli, chorus and orchestra (1901) ; 'Hymne a la France Eternelle,' from Hugo (1916) ; a string-quartet, and an andante and scherzo for flute, violin and piano. His 'Marouf was introduced at the Metropolitan Opera House on Dec. 19, 1917. RACHMANINOV, SERGEI VASSILIE- VITCH (Apr. 2, 1873, Onega, Russia). See article in Vol. iv. 11-2. His grandfather, an excellent pianist, was one of John Field's pupils. He had his first lessons from Anna Ornadtskaia, and at Petrograd studied under Demiansky and Cross, going thence to Moscow at the suggestion of Siloti, his cousin. His opera 'Aleko' was his final exercise there, winning a medal, 1893. For four years he was mainly busy with composition, as well as in 1899-1904. In 1897-98 he was private opera-conductor for Mamontov in Moscow. In 1904-06 he directed the Moscow Opera. In 1906-08 he lived in Dresden, composing and touring as pianist. In 190S-1J. he was vice-president of the Russian Music Society, and in. 1,909-10 made his first American tour as pianist. In 1912-13 he led symphony concerts at Moscow. In 1917 he left Russia, and late in 1918 settled in New York. To the list of works should be added the one-act operas 'The Miser Knight' (1900, Moscow, 1910, Boston) and 'Francesca da Rimini' (1906, Moscow) ; Symphony No. 2, op. 27 (1906, '07).; Symphony No. 3, 'The Bells,' op. 35 (1912); the symphonic poem 'The Island of Death,' after Bocklin, op. 29 (1907- 08) ; the 3rd and 4th Piano-Concertos, opp. 30 and 40 (1909, '17) ; a piano-sonata in D minor, op. 28 ; two sets of Preludes for piano, opp. 23 and 32; eight 'Etudes-Tableaux' (concert-studies) for piano, op. 39 ; three sets of songs, opp. 21, 26, 34; 12 anthems on early church themes ; a setting of the Liturgy of St. Chrysostom (1910, Moscow Synodal Choir). See Montagu-Nathan, Contemporary Russian Composers, 1917, and 'The Etude,' October, 1919. [ R.9 ] 'RAG-TIME.' See note in Vol. iv. 16. The term is now not at all confined to music of Negro origin or suggestion. RAINS, LEON (b. 1870). See Register, 8. RAISA, ROSA (b. 1893). See Register, 10. RALSTON, FANNY MARION (b. 1875). See Register, 3, and COLLEGES, 2 (Rockford C., 111.). RANDOLPH, HAROLD (Oct. 31, 1861, Richmond, Va.), studied at the Peabody Conservatory in Baltimore, chiefly under Mme. Falk-Auerbach and Faelten for piano and Hamerik for composition. He first appeared as pianist with the Peabody Sym- phony Orchestra in 1885, being perhaps the first player both American-born and American- trained to receive general recognition. He has been soloist with all the leading orchestras and chamber-ensembles, and with Ernest Hutcheson has given many recitals for two pianos. In 1885-90 he was organist at the Baltimore (R.C.) Cathedral, and in 1890- 96 at Emmanuel (P.E.) Church. He early began to teach at the Peabody Conservatory, and in 1898 succeeded Hamerik as director. His administration has been marked by remarkable energy and success. Among other undertakings, he has organized a Bach Choir, which has given Bach's St. Matthew Passion, Beethoven's Missa Solemnis and much a cappella music. [ R.7 ] RAPPOLD, MARIE (1880?, Brooklyn), was trained by Saenger and early sang in church and concert. A chance hearing by Conried led to her appearing at the Metro- politan Opera House as Sulamith in 'Die Konigin von Saba' in 1905. Her success was immediate, and she has since sung at the Metropolitan almost every season, taking roles like Aida, Desdemona, Marguerite (in 'Faust'), Eurydice, Venus, Elizabeth, Micaela, Inez, Elsa and the Princess (in 'Lobetanz'). In 1906 she separated from her husband so as to continue her stage-work, and in 1913 married the tenor Rudolf Berger. [ R.9 ] RATH, ERICH. See COLLEGES, 2 (Hol- lins C., Va.). RAUSCH, FREDERICK. See Register, 2. t RAVEL, MAURICE (Mar. 7, 1875, Ci- boure, France). See article in Vol. v. 660-1 33K RAYMOND REINAGLE During the war he spent two years at the front. To the list of works add the ballets 'Daphnis et Chloe,' 'La Mere 1'Oye' (after a piano-suite of five 'pieces enfantines') and 'Adelaide' (after his 'Valses Nobles'); a 'Serenade Grotesque,' a Menuet on the name of Haydn, 'Valses Nobles et Sentimentales,' a Prelude, and the Suite, 'Le Tombeau de Couperin ' all for piano ; the songs ' Ballade de la Reine Morte d'Aimer,' 'Un Grand Sommeil Noir,' 'Si Morne,' 'Manteau de Fleurs,' 'Trois Poemes' from Mallarme, for voice, piano, flutes, clarinets and strings, and 'Vocalise en forme d'Habanera'; and piano- transcriptions of Debussy's Nocturnes and 'L'Apres-midi d'un Faune.' See Jean-Aubry, French Music of To-day, 1919. RAYMOND, GEORGE LANSING (b. 1839). See Register, 8. READ, ANGELO McCALLUM (May 22, 1854, near St. Catherines, Ont.), had his general education at the Collegiate Institute in St. Catherines and early musical training in the Unitedotates. He spent five years at Leipzig under Reinecke, Richter, Jadas- sohn, Maas and Papperitz, with one year in Vienna for Leschetizky methods. He ap- peared as organist, composer and conductor at Leipzig in 1883. Making his home at Buffalo since 1894, he has conducted choral societies there, at St. Catherines and at Hornell, N. Y., besides acting as guest-conductor elsewhere. He is music-director at Ridley College in St. Catherines and at d'Youville College in Buffalo. He has written the dramatic cantata 'David's Lament,' op. 15, for soli, chorus, orchestra and organ (1903, St. Catherines Festival) (Schirmer) ; 'A Song of the Nativity,' op. 12, for tenor, women's quartet, chorus and organ (Schirmer) ; the Lenten cantata 'It is Finished,' op. 17 (Gray) ; 'O Salutaris Hostia,' for voice, violin and organ (1893, St. Ann's, Vienna) ; 'Ave Verum Corpus,' in canon-form a cappella (twice given at Leipzig) ; the 'Oriska Waltz,' op. 4, originally for piano, but also for orchestra ; many piano-pieces, songs, choruses and anthems. He has unpublished an oratorio, a Mass in B-flat, several over- tures, etc. He is an expert botanist, and has written articles on both musical and botanical subjects. [ R.8 ] READ, DANIEL (1757-1836). See Reg- ister, 2, and TUNE-BOOKS, 1785. READ, JOEL (1753- ? ) . See TUNE-BOOKS, 1808. REDMAN, HARRY NEWTON (b. 1869). See Register, 8. REED, EPHRAIM. See TUNE-BOOKS, 1820. REED, FRANK LEFEVRE (b. 1871). See Register, 8, and STATE UNIVERSITIES (Tex.). REED, M. ELLERY. See COLLEGES, 3 (Beaver C., Pa.). REED-ORGAN. American ingenuity has been peculiarly productive in developing the possibilities of the 'harmonium' or that form of organ which employs only small free reeds as tone-producers. The first experiments were made before 1820. At least as early as 1845 the French system of forcing the air out through the reeds was replaced by the distinctively American system of drawing it in by suction. The bellows, however, at first was single and the air-pressure fluctuating. The name 'melodeon' was early adopted (popularly corrupted into 'melodium'), and the form used resembled a small square piano. There were usually only one or two sets of reeds, and the tone-quality was monotonous. About 1850 Emmons Hamlin, then working for George A. Prince & Co., of Buffalo, dis- covered that twisting and bending the tongues of the reeds produced decided improvement in their tone, not only in power, but in variety of quality. In 1854 he joined Henry Mason in forming the Mason & Hamlin Co., of Boston, who speedily became the pioneers in developing instruments of unexampled breadth of effect. They put forth the 'organ- harmonium' in 1855 and the 'cabinet organ' in 1861 the latter deriving its name from the fact that the case extended to the floor. The use of a double bellows greatly improved the air-supply, and variations in loudness were secured either by an 'automatic bellows' or a 'knee-swell' that controlled a lid on the box inclosing the reeds. From that time improvements were rapid, so that cabinet organs became artistically and commercially important. They were often made with many sets of reeds, differently voiced, with two keyboards, with a pedal-keyboard, etc. Other manufacturers took up the business on a large scale, and the use of reed-organs in homes, churches, lodges and similar assembly-places became widespread. See H. L. Mason, History and Development of theAmerican Cabinet Organ, A peculiar early variety was the 'lap-organ' or 'rocking-melodeon,' developed before 1850, especially in New Hampshire, in which the bellows rested on the player's knees and was worked by pressing with one or both arms, while the reeds were controlled by a keyboard more or less like that of an accordion. The ' vocalion,' introduced about 1890, uses pressure instead of suction and has large reeds with special air-chambers attached. See articles in Vols. i. 77-8, ii. 302-5, and v. 360-1. REINAGLE, ALEXANDER (1756, Ports- mouth, England : Sept. 21, 1809, Balti- more). See note in Vol. iv. 57. He was a pupil of Raynor Taylor. He came to New 340 REMMERTZ RICHARDSON York in 1786, soon moved to Philadelphia, where he remained except for the year 1788-89 spent in New York. He promptly became a leader in all musical affairs, being an ex- cellent pianist, singer, conductor, composer and operatic manager. With Thomas Wig- nell, in 1793 he formed a stock-company in Philadelphia, erected the New Theatre on Chestnut Street, which was opened early in 1794, and was pianist in the orchestra. Both plays and operas were given here for many years. Of the quality of his musicianship there is evidence in a few sonatas that are in the Library of Congress. He wrote new accompaniments and sometimes an overture for the musical plays that were brought from England. In 1795 for some reason he pro- vided new music for 'The Sicilian Romance,' which had previously been given in England with music by William Reeves. In 1796 he furnished an overture, songs, choruses and recitatives for the pantomime 'The Witches of the Rock.' See Sonneck, Early Concert- Life, Early Opera (portrait on p. 118 and interior of the Chestnut Street Theatre at p. 113), and 'Early American Operas' in /. M. G. Sammelbde, 6. 465, 486-9. [ R.2 ] REMMERTZ, FRANZ (1845?- ? ). See Register, 5. REMY, ALFRED (Mar. 16, 1870, Elber- feld, Germany), was brought to New York in 1882, attended the public schools and graduated from the College of the City of New York in 1890. He pursued post-graduate studies in Germanic philology and literature at Columbia University, where he was made A.M. in 1905. In 1890-96 he studied piano and theory with Klein and part of this time violin with Charles Palm. In 1895-97 he was music-critic for ' Vogue ' and ' The Looker- On,' and taught harmony at the International Conservatory, and in 1896-98 lectured on music-history at the College of Music. Since 1901 he has been on the staff of the Inter- national Encyclopaedia, writing many articles on musical subjects and since 1907 preparing extremely valuable summaries of musical events for the International Year-Book. In 1906-15 he was extension-lecturer at Columbia, and since 1897 has also been instructor in languages in several institutions. In 1915 he undertook the editing of the 3rd edition of Baker's Dictionary of Musicians, 1919. In 1902 he married Egbertina Wilterdink, a fine pianist, with whom he has given lecture-recitals, chiefly on Wagner. His compositions, all writ- ten before 1896, include an opera, 'Hjordis,' based on Ibsen's 'Vikings of Helgoland,' an In- termezzo for orchestra, ' Elfenreigen ' for strings, several vocal and some piano-pieces. [ R.8 ] RENWICK, LLEWELLYN LARAWAY (b. 1876). See Register, 8. REUSS, EDUARD (1851-1911). See Reg- ister, 7. REYNOLDS, WALTER GUERNSEY (b. 1873). See Register, 8. RICE, FENELON B. (Jan. 2, 1841, Greena- burg, O. : Oct. 6, 1901, Oberlin, O.), from about 1861 studied in Boston under Tufts, B. F. Baker and Edwin Bruce. In 1863-67 he was in charge of the music-department of Hillsdale College in Michigan, and then went to Leipzig for two years with Papperitz, Moscheles, Richter and Plaidy. From 1871 till his death he was director of the Oberlin Conservatory, creating the faculty and the ideals that raised it into national importance. He was gifted in organization and in peda- gogical foresight, as well as in a fine idealism of mind and spirit. In 1880-81 he was presi- dent of the M.T.N.A. Hillsdale College made him Mus.D. in 1882. [ R.6 ] RICE, JOHN. See Register, 1. RICE, WILLIAM GORHAM (b. 1856). See Register, 10. RICH, THADDEUS (Mar. 21, 1885, Indian- apolis) , after training from his father and other local teachers in 1897-1900 studied at the Leip- zig Conservatory under Hilf. In 1901-02 he played in the Gewandhaus Orchestra under Nikisch, and then worked under Joachim in Ber- lin for two years. In 1903-05 he was concert- master at the Opera des Westens there, with some concertizing, and then returned to Amer- ica. Since 1906 he has been concertmaster of the Philadelphia Orchestra. In addition to some appearances in concert, he has been ac- tive in presenting chamber-works, and is dean of the music-department of Temple University, which made him Mus.D. in 1913. [ R.9 ] RICHARDSON, ALFRED MADELEY (June 1, 1868, Southend-on-Sea, England), though the son of a Congregational minister, was educated at Keble College, Oxford, where he gained a scholarship in 1885 and became B.A. in 1889, M.A. in 1890, Mus.B. in 1888 and Mus.D. in 1897. He was also president of the University Musical Club and of Keble College Musical Society, and in 1889 took the Phillpotts Theological Prize. From 1889 he was organist in Worcester, in 1891-92 in Lon- don, in 1892-97 in Scarborough, and from 1897 at St. Saviour's in South wark (London), which in 1905 became the cathedral of a new diocese. Here he developed choir-services of great beauty and dignity, including a unique treatment of the Psalms and a cappella Pal- estrina music. From 1905 he was in much request as lecturer before Church Congresses and elsewhere, and as judge at Eisteddfodau and other contests. He also gave organ- recitals and led various choral societies. In 1909 he was induced to come to America, first as organist at St. Paul's in Baltimore RICHARDSON ROBBINS 341 and since 1912 as instructor in theory at the Institute of Musical Art in New York. He has written many organ-pieces, anthems and part-songs, edited Communion Services by Tallis and Merbecke, and published Choir- Training, 1897, Church Music for the Clergy, 1902, The Psalms, their Structure and Musical Rendering, 1903, The Southwark Psalter, 1904, Modern Organ- Accompaniment, 1907, Extem- pore-Playing, The Choir-Trainer's Art, 1914 and The Southwark Canticles, 1918. [ R.9 ] RICHARDSON, NATHAN (1827-1859). See Register, 4. RICHINGS, CAROLINE [Mrs. Bernard] (1827-1882). See Register, 4. RIDER-KELSEY, CORINNE (b. 1879). See Register, 9. t RIEMANN, KARL WILHELM JULIUS HUGO (July 18, 1849, Grossmehlra, Ger- many : July 11, 1919, Leipzig). See article in Vol. iv. 95-6. His original publications from 1900 include Vademecum der Phrasierung, 1900 (2nd ed., 1911), Die Elemente der musikal- ischen Aesthetik, 1900, Epochen und Heroen der Musikgeschichte, 1900, Geschichte der Musik seit Beethoven, 1901, Handbuch der Musik- geschichte, 5 parts, 1901, '05, '07, '11, '13 (musical examples, 1912), Grosse Komposi- tionslehre, 3 vols., 1902, '03, '13, System der Musikalischen Rhythmik und Metrik, 1903, Grundriss der Musikunssenschaft, 1908 (2nd ed., 1915), Kleines Handbuch der Musikgeschichte, 1908 (2nded., 1915), Die byzantinische Noten- schrift im 10.-15. Jahrhundert, 2 vols., 1909, '15, and Kompendium der Notenschriftkunde, 1910, besides many introductions, analyses and detached articles. The 8th edition of his Musiklexikon was issued in 1916. Altogether, he stands out as the most commanding figure in the fields of research to which he devoted himself. RIEMENSCHNEIDER, ALBERT (b. 1878). See Register, 8, and COLLEGES, 3 (Baldwin-Wallace C., Ohio). RIGBY, RALPH. See COLLEGES, 3 (Berea C., Ky.). RILEY, E. See TUNE-BOOKS, 1817. RILEY, HERBERT (b. 1888). See Reg- ister, 10. t RIMSKY-KORSAKOV, NICHOLAI AN- DREIEVITCH (Mar. 18, 1844, Tikhvin, Russia : June 21, 1908, Liubensk, near Petrograd). See article in Vol. iv. 102-5, and note in Vol. v. 661. In 1907 he con- ducted the Russian music-festival in Paris, and was made a corresponding member of the Academie. To the list of works add the opera 'Le Coq d'Or' (1910, Moscow, 1918, New York), a string-sextet and a quintet for piano, flute, clarinet, horn and bassoon. He published The History of my Musical Life, 1909, Collected Musical Essays and Sketches, 1911, and The Foundations of Instrumentation, 2 vols., 1913 (French translation by Calvo- coressi, 1914). See biography by Montagu- Nathan, 1917, and his History of Russian Music and Newmarch's The Russian Opera, both 1915. RING, EDYTHE M. See COLLEGES, 3 (Juniata C., Pa.). RIO, ANITA (b. 1880). See Register, 9. RIPPE, MABEL A. See COLLEGES, 3 (Wheaton C., 111.). 'RIP VAN WINKLE.' Operas on this theme have been produced by George F. Bristow in 1855, by Jules Jordan in 1898 (published), and by Reginald De Koven in 1920. The last was his final work, produced in Chicago just before his death and in New York just afterward. RITTER, FANNY, nee Raymond (1840- 1890). See Register, 6. RITTER, FREDERIC LOUIS (June 22, 1834, Strassburg, Alsace : July 22, 1891, Antwerp, Belgium). See article in Vol. iv. 109. Although his Music in America (1883) was in many ways useful, especially in calling attention to a neglected subject, yet he was quite unfitted by sympathy to treat it ade- quately, so that many of his statements are open to dispute. To his publications should be added his appendix to The Realm of Tones, 1883, with biographies of American mu- sicians, Music in Relation to Intellectual Life, 1891, and Musical Dictation. [ R.4 ] RITTMEISTER, HEINRICH (b. 1881). See Register, 9. RIVAFINOLI. See Register, 3. RIVARDE, SERGE ACHILLE (b. 1865). See Vol. iv. 110, and Register, 7. RIVE, CAROLINE, nee Staub (1822-1882). See Register, 4. RIVE-KING, JULIE (Oct. 31, 1857, Cincinnati), began piano-lessons with her mother and played in public at eight. In 1866-72 she studied in New York with Mason and Mills, and in 1872 went to Reinecke in Leipzig. There she made her debut in 1874, playing Beethoven's 3rd Concerto. After some study with Liszt, she appeared in 1875 with the New York Philharmonic Society. She has since given over 4000 concerts anrticle in Vol. iv. 263. Since 1908 he has been general music- director at Stuttgart, and received the title' von ' in 1912. To the list of works add the music- drama 'Mona Lisa,' op. 31 (1915), 'Dem Ver- klarten,' op. 21, for baritone, chorus and orches- tra, 'Glockenlieder,' op. 22, for solo voice and orchestra, 'Hochzeitsglocken,' op. 26, for bari- tone, chorus and orchestra, the melodrama 'Jung Olaf,' op. 28, a violin-concerto in A minor, op. 25, and a string-quartet. SCHINDLER, KURT (Feb. 17, 1882, Berlin, Germany), studied piano with Zieler, Gernsheim, L. C. Wolf and Ansorge, and com- position with Bussler and Thuille. He also took courses in philosophy, psychology and literary and artistic history at the Uni- versities "i Berlin and Munich, especially with Friedlander, Woelfflin, Stumpff and SCHINDLER SCHIRMER 353 Erich Schmidt, meanwhile continuing with music. In 1902 he became conductor of the Stuttgart Opera, and in 1903 at the Municipal Theater in Wiirzburg, besides assisting Mottl and Zumpe at the Munich summer-festivals and Strauss in the winter at Berlin. In 1905 Conried brought him to the Metropolitan Opera House as assistant-conductor to Hertz and (1907-08) to Mahler. In 1907 he became reader and critic for G. Schirmer, except an interval in 1919-20. In 1909 he founded the MacDowell Chorus, which, with the House Music Society, in 1910 began concert-giving. In 1912 this became the Schola Cantorum, which he has made one of the significant insti- tutions of New York. Since 1912 he has also been choir-director at Temple Emanu-El. In 1913 he was in charge of a gala-concert arranged by the Institute Francais des Fjtats-Unis for the French ambassador, illustrative of the music of the various French provinces. He began publishing songs about 1900, about 25 before coming to America and the same number since. In recent years he has been much engaged with choral works, mostly based on the extensive folk-song material that he has collected. In his research-work he has the advantage of knowing many languages, in- cluding Russian and Spanish. He has edited five collections of Russian music, two of Spanish, one of Finnish student-songs, etc., besides reproducing many single illustrations from other national treasuries. He has made most of the translations, with Deems Taylor as collaborator. Among his many works are the following : 'Dance and Devotion,' op. 4, four songs from Gustav Falke. Five Songs, op. 5, from Hartleben, Busse, Holty and Brentano. "Trois M61odies de Paul Verlaine,' op. 7. 'Old Swiss Lays,' op. 9, from Gottfried Keller. Three Songs from Keats, op. 11. 'Three Sonnets of Mediaeval Italy,' op. 14, trans- lated by Rossetti. Three English Songs, op. 15, from Wilde, Swin- burne and Meredith. ' Vasilissa the Fair' or 'The Prince and the Maiden,' for chorus. 'A Miracle of St. Raymond,' op. 18, after Movera, for 12-part chorus a cappella. 'A Miracle of the Virgin Mary,' op. 19, after a Spanish canticle, for 8-part chorus a cappella or 4-part with organ. 'The Virgin's Plaint,' op. 20, from the Mystery of Ehc, after Pedrell, for solo, chorus and harp. These, with many others from different sources, some of them variously arranged either for chorus or for solo, are mostly pub- lished by Schirmer (some Ditson or Gray). His collections include A Century of Russian Song from Glinka to Rachm a n :/, 1911, Masters of Russian Song, 2 vt.'ib , 1917, A Cappella Choruses from the R\ I : ''.*" Liturgy, 1913-17, Sixty Russian FaMc-Scngi-.,- 3 vols., 1918-19, Songs of the Russian People, 1915, Ten Student-Songs of Finland, 1915, Six Old French Christmas Carols, 1908, The Development of Opera (illustrative selections from various periods), 1912, Old Spanish Sacred Motets, 1918, Modern Spanish Choral Works, 1918. He has also written articles on Mussorgsky and Schonberg, and numerous valuable intro- ductions to his collections. [ R.9 ] SCHIRMER, GUSTAV (1829-1893). See Vol. iv. 265, and Register, 4 (also following articles). SCHIRMER, GUSTAVE (1864-1907). See Register, 7 (also below). SCHIRMER, RUDOLPH ERNEST (July 22, 1859, New York: Aug. 20, 1919, Santa Barbara, Cal.), the eldest son of Gustav Schirmer, was early educated in New York and Weimar, and graduated from Princeton University in 1880 and from Columbia Law School in 1884. At his father's death in 1893 he became president of the firm of G. Schirmer. Besides being more and more intimately concerned in the large business of this house, he was active in many other ways. He was a director in both the Oratorio and the Sym- phony Societies, a trustee of the Institute of Musical Art, and a donor of libraries to the latter, to Princeton University and to the city of Santa Barbara. With his younger brother, Gustave, he was not only instru- mental in vastly extending the publishing- business in which they were both engaged, but in fostering whatever made for the ex- tension of musical culture of the highest kind. [ R.7 ] SCHIRMER, G., INC., is the corporate name of the great publishing-firm in New York established, as told in Vol. iv. 265-6, by Gustav Schirmer and developed by his two sons. The total number of its publi- cations is now about 30,000, of which perhaps 22,000 are piano-pieces, songs or) part-songs. The Library of Musical Classics is approaching a total of 1500. A Scholastic Series (all originally published by the firm) was started in 1918. Two series of orchestral publications are also issued. The number of large piano- scores of operas and oratorios, and of full scores of chamber- and orchestral works, is constantly growing. In the Golden Treasury of Music are numerous collections, instru- mental and vocal, many of which are unique in their way. American composers exten- sively represented include Mrs. Beach, Hadley, Goldmark, Campbell-Tipton, Burleigh, Her- bert, De Koven, Coerne, Mason, John Powell, D. S. Smith, Rogers, Woodman, Schindler, Marzo, Sousa, Coombs, Vogrich, Friml, H. A. and J. S. Matthews, Strube, Speaks, and a host of others. Works by foreign composers are also numerous. Theoretical and historical 354 SCHLESINGER SCHOLA CANTORUM treatises of importance have often been put forth, such as Goetschius' several text-books, Baker's Dictionary of Musicians, Sonneck's Early Opera in America, etc. Since 1915 'The Musical Quarterly,' a monthly of the highest class, has been added. The present headquarters is at 3 East 43rd Street, in a building specially erected in 1909. The engraving, printing and binding department is located in Long Island City one of the finest music-making plants in the world, with a staff of 275 workers. Since 1891 the Boston Music Co. has been a branch of the business. A London branch was maintained in 1913-17, then becoming Winthrop Rogers, Ltd. SCHLESINGER, DANIEL (1799-1838). See Register, 3. SCHLESINGER, SEBASTIAN BENSON (1837-1917). See Register, 7. SCHMIDT, ARTHUR P. (b. 1846). See Register, 5. SCHMIDT, ARTHUR P., of Boston, is a music-publishing business established in 1876. It now has branches in New York and Leipzig. Besides an extensive general catalogue, the firm has made a specialty of the work of American composers, in both small and large forms. Among its notable publications for orchestra are Mrs. Beach's 'Gaelic' Sym- phony, Chadwick's 2nd and 3rd Symphonies, Foote's 'Francesca da Rimini' and Suites in D minor and E, Hadley's .'Four Seasons' Sympjhony, MacDowell's 'Lamia' and Suite in A, Paine's 2nd Symphony and '(Edipus Tyrannus,' and Stojowski's Violin-Concerto ; much chamber-music by these composers and others ; and a notable list of cantatas and similar choral works of considerable dimensions. The catalogue of songs and piano-pieces is extensive and representative. In attention to this field Schmidt was one of the first and has always maintained promi- nence and importance. The Boston head- quarters is at 120 Boylston St. SCHMINKE, OSCAR EBERHARD (Dec. 12, 1881, New York), took a partial course at the College of the City of New York and graduated from the College of Dentistry in 1903. In 1910 he gave up his practice as dentist for composition. He had had training in piano and organ from Spielter and D6thier, with some lessons in theory from Spicker, but is largely self-taught. For the organ he has published an effective 'Marche Russe,' a 'March of the Toys,' an 'Elegy in the form of a March,' a Pastorale, Festal Postlude, etc., and several songs, among them 'A million little diamonds.' He also has settings of Tagore poems (one with orchestra), a Scherzo for piano, a 'Poeme Exotique,' a 'Fantasy on Oriental Themes' and other works for organ, and various choruses and songs. [ R.10 ] SCHMITZ, ADOLPH. See Register, 3. SCHNABEL-TOLLEFSEN, AUGUSTA (b. 1885). See Register, 9. SCHNECKER, PETER] AUGUST (1850- 1903). See Register, 6. SCHNEIDER, EDWARD FABER (b. 1872). See Register, 9. SCHNEIDER, HANS (b. 1863). See Reg- ister, 7. SCHOEBEL, OSCAR MELCHIOR (b. 1850). See COLLEGES, 3 (Campbell C., Kan.). SCHOEN, ISAAC LEOPOLD (b. 1858). See Register, 7. SCHOENEFELD, HENRY (Oct. 4, 1857, Milwaukee), first studied with his father, a 'cellist, and his brother, one of Joachim's pupils. From 1875 he had three years at Leipzig, with one at Weimar under Lassen. In 1879 he settled in Chicago as teacher and conductor, being connected with the Chicago Musical College and the Columbia School of Music, and leading the Germania Mannerchor and other societies. Since 1904 he has been at Los Angeles, where he conducts the Ger- mania Turnverein and the Woman's Sym- phony Orchestra. His compositions include an opera on an Indian subject; a dramatic scene, 'The Three Indians,' for bass, men's chorus and orchestra; the 'Rural' Symphony in G minor (National Conservatory prize, 1892); the 'Springtime' Symphony (Seidl Orchestra) ; the ' Festival ' and ' In the Sunny South' Overtures; two 'American Rhap- sodies' for orchestra; many works for small orchestra, such as two 'Indian Legends,' a 'Menuet Caracteristique,' the nocturne 'California,' a 'Suite Characteristic' (Summy), and many pieces for strings ; a violin-concerto, a Sonata in G minor for violin and piano (Simrock), which won the Marteau prize in 1899; a 'cello-sonata, op. 70; a piano-con- certo; an 'Air' for the G-string, with or- chestra ; several pieces for violin and for 'cello ; and many piano-pieces, songs, choruses and various transcriptions. Many of these shorter works are published by Heffelfinger, Summy, Presser, Schmidt, Church, Luck- hardt, etc. [ R.6 ] SCHOETTLE, GUSTAV (b. 1877). See Register, 8. SCHOFIELD, ROBERT LE ROY (b. 1876). See Register, 8. SCHOLA CANTORUM, THE, of New York, which began in 1909 as the MacDowell Chorus (fostered by the MacDowell Club) and had notable success as such, especially in conjunction with the Philharmonic Society under Mahler, in 1912 adopted its present name and has since steadily maintained its position as a foremost exponent of a cappella singing. Its only conductor has been Kurt Schindler, to whose indefatigable enthusiasm, SCHOLES SCHROEDER 355 with his striking ability in bringing to light works quite out of the line of ordinary render- ing, its success has been mainly due. The chorus in recent years has averaged 150-200 singers, selected carefully for vocal skill and willingness to give time for thorough practice. Besides giving many more extended works that are rarely heard, the chorus has made a specialty of the folk-songs of many nations. Its concerts have always had high individu- ality, supplying an element in the season of the metropolis that is unique as well as charm- ing. Among the works in its repertoire the following may be noted, most of them not before given in New York or America : With orchestra Chabrier's 'Briseis' (1911), 'Ode to Music' (1911) and 'Epithalame de Gwendoline'; Liszt's 'St. Elizabeth' (1911) and Finale to the 'Dante' Sym- phony; Debussy's 'Le Martyre de St.-Sebastien' (1912) and 'Les Sirenes' (1910); a chorus from Busoni's 'Turandot'; Brahms' 'Gesang aus Fingal' ; Rimsky-Korsakov's ' Christmas Eve ' ; Mussorgsky's 'Joshua' (1911); choruses from Borodin's 'Prince Igor'; Saint-Saens' 'La Nuit'; Beethoven's 9th Symphony (1913); Verdi's Stabat Mater (1914); choruses from Purcell's 'King Arthur* and 'Dido and ^Eneas'; Zandonai's 'Padre Nostro'; Cole- ridge-Taylor's 'The Slave Singing at Midnight'; Gardiner's 'News from Whydah'; and Grainger'a 'Father and Daughter.' With piano Tiersot's 'Two Canadian Folk-Songs'; Mus- sorgsky's 'Cradle-Song'; Franck's 'La Vierge a la Creche'; Wolf's 'Der Feuerreiter' ; d'Indy's 'Sur la Mer'; Charpentier's 'Chant du Muletier' and 'Serenade a Watteau'; Stojowski's 'Springtime' Cantata; Fairchild's 'A Bible Lyric'; and Suk'a 'Seven Slavonic Folk-Songs.' A cappetta A great variety of old English Madrigals and Carols, Welsh Fighting-Songs, Russian Anthems and Folk- Songs, Finnish Student-Songs, French Folk-Songs and Madrigals of the Renaissance, Catalonian Folk- Songs and Christmas Songs, Negro Songs, etc.; also Strauss' 'Der Abend' (16-part) ; Bantock's Choral Ode from 'Atalanta in Calydon' (20-part) ; Bourgeault-Ducoudray 's ' Ronde Br6tonne ' ; etc. t SCHOLES, PERCY A. (1877, Leeds, Eng- land), has given himself almost wholly to educational interests. In 1900-01 and '03 he was music-master at Kent College in Canterbury, in 1901-03 at Kingswood College in South Africa and from 1904 for a time teacher in the Leeds Municipal School of Music, and inspector for the Board of Edu- cation in London. He has long served as extension-lecturer for Oxford, London and Manchester Universities. He founded the Home Music-Study Union and since 1908 has been the energetic editor of its organ, 'The Music-Student,' which has included many articles of general importance, and also 'Youth and Music,' for children. He has published Everyman and his Music, 1917, An Introduction to British Music, 1918, and A Listener's Guide to Music, 1919, and has a work on Purcell that is almost ready. He has also written extensively for periodicals. Besides holding a degree from Oxford, he is an associate of the R. C. M., on innumerable committees connected with musical enter- prises, and president of the Union that regards music in the large 'public schools' like Eton, Harrow and the like. During the Great War he was extremely active as lecturer under the War Office and Y. M. C. A. and as organizer of musical activities in camps both in England and on the Continent. In 1915 he visited America at the invitation of the M. T. N. A. and inspected manifold musical enterprises, besides lecturing at many colleges. SCHOMACKER [Schumacher], JOHANN HEINRICH (1800-1875). See Register, 3. 'SCHOOL MUSIC MONTHLY, THE.' See note in Vol. iii. 689. It is now known as 'School Music.' It has made its place not only by supplying general news and other material regarding public-school music, but by its faithful reports of the music-section of the National Education Association, the Supervisors' National Conference, the M. T. N. A., and other bodies dealing with this branch of musical education. There are now but five issues per year. SCHOOL-MUSIC. See PUBLIC SCHOOLS. SCHRADIECK, HENRY (Apr. 29, 1846, Hamburg, Germany : Mar. 25, 1918, Brooklyn). See article in Vol. iv. 274. He was head of the violin-department of the College of Music in Cincinnati in 1883-89. In 1894-98 he held a similar position in the National Conservatory in New York, going thence to the Broad Street Conservatory in Philadelphia. After 1912 he was also con- nected with the American Institute of Applied Music in New York. [ R.7 ] SCHREINER, FRANCIS C. See COL- LEGES, 1 (Seton Hall C., N. J.). SCHROEDER, ALWIN (June 15, 1855, Neuhaldensleben, Germany), was early a piano-pupil of his father and J. B. Andre, but later studied violin with De Ahna in Berlin and theory with Tappert. With his three brothers the Schroeder Quartet was formed in 1871-72, he taking the viola. Self-taught on the 'cello, he became first 'cellist in Liebig'a Orchestra in 1875, and five years later joined the Gewandhaus Orchestra in Leipzig. Here he taught in the Conservatory and played in the Petri Quartet. In 1891 he came to Boston, becoming solo 'cellist in the Boston Symphony Orchestra and a member of the Kneisel Quartet. With the rest of the Quartet he resigned from the Orchestra in 1903 and removed to New York. He con- tinued with the Quartet until the spring of 1907, when he returned to Germany. In Frankfort-am-Main he was for one year solo 356 SCHUBERTH SCHWEITZER 'cellist of the Museum Orchestra and teacher in the Hoch Conservatory, but in 1908 he returned to Boston and joined the Hess- Schroeder Quartet. After two years this organization was disbanded, and he resumed (till 1912) his former place in the Symphony Orchestra. In 1915 he joined the Margulies Trio (New York) and the Boston String Quartet. As both soloist and ensemble-player he is held in the highest estimation. He has published Etudes de Violoncelle, Technische Studien, and Neue Tonleiter-Studien, and has edited Kammermusikstudien, 3 vols., and Klassiches Album, 2 vols. [ R.8 ] SCHUBERTH, JULIUS FERDINAND GEORG (1804-1875). See Register, 4. SCHUBERTH, J., & CO. See article in Vol. iv. 335. SCHUECKER, EDMUND (1860-1911). See Register, 8. SCHUECKER, HEINRICH (1867-1913). See Register, 7. SCHUECKER, JOSEPH E. (b. 1886). See Register, 9. SCHULTZE, WILHELM HEINRICH (1828-1888). See Register, 4. SCHULZ, LEO (Mar. 28, 1865, Posen, Germany), played in public on the 'cello when only five. He studied at the Berlin Hoch- schule and made his mature debut in 1876. In 1885 he became principal 'cellist in the Philharmonic Orchestra, and in 1886-89 held the same position atthe Gewandhaus in Leipzig. Coming then to America, he was for one year in the Boston Symphony Orchestra, but in 1890 began his long connection with the New York Philharmonic Society, unbroken save for the years 1906-08, when he played with the Symphony Society. For many years he taught at the National Conservatory and conducted its orchestra, and in 1904-15 he was a member of the Margulies Trio. For thirty years he has been much in request as soloist. He has written three string-quartets, a string-quintet, a piano-trio, a 'cello-concerto and other 'cello-pieces, a cantata and some songs. He has also edited several collections for his instrument. [ R.7 ] SCHUMANN-HEINK, ERNESTINE, nee Rossler (June 15, 1861, Lieben, near Prague, Bohemia). See article in Vol. iv. 383-4. Her father was an army officer. From her Italian mother she learned many operatic airs as a child, and at eleven sang in the choir of the Ursuline convent at Prague. Her first real lessons were in 1874, from Marietta von Leclair of Graz, where in 1876 she was alto- soloist in Beethoven's 9th Symphony with the Academischer Gesangverein. At Dresden she studied with Aloysia Krebs-Michalesi and Franz Wiillner, and made her operatic d6but in 1878. Her first appearance at Berlin was at Kroll's in 1887. In 1896-1906 (except 1904) she sang at all the performances of the 'Ring' at Bayreuth as Erda, First Norn or Waltraute. In 1898 she was engaged at the Berlin Opera, with leave to sing in the winters in New York. In America she was first heard as Ortrud on Nov. 7, 1898, in Chicago, and on Jan. 9, 1899, at the Metropolitan in New York. Her signal success led her to purchase release from her Berlin contract. In 1903-04 she made her first extended concert-tour in America, and the next year was everywhere heard in Edwards' 'Love's Lottery.' In 1908-09 she sang in opera and concert in the chief cities of Europe, in 1909 creating the role of Clytemnestra in Strauss' 'Elektra' at Dresden. She retired from the Metropolitan in 1904, but has occasionally sung there, at the Manhattan or with the Chicago Opera Company. Her activity has been mainly transferred to the concert-stage, with a hundred or more song-recitals annually and frequent engagements with leading orchestras. Her operatic r6pertoire includes about 150 roles, from Wagnerian drama to light opera. She was the wife of Ernst Heink in 1882-92, of the actor Paul Schumann in 1893-1904, and of William Rapp, Jr., of Chicago in 1905-14. In 1905 she became an American citizen. [ R.8 ] SCHWAB, CHARLES M. (b. 1862). See Register, 9. SCHWARTZ, GEORGE FOSS (b. 1872). See Register, 8. t SCHWEITZER, ALBERT (Jan. 4, 1875, Kaysersberg, Alsace), is distinguished in theology, medicine and music. His university studies were at Strassburg, Paris and Berlin. In 1902 he began teaching at Strassburg, but turned aside to prepare for work as medi- cal missionary in Equatorial Africa. There, nominally under the Mission Evangelique of France, he was stationed at Lambaren6 on the Ogow6 River. During the war he was interned as a German subject, but has lately returned to France. His chief theological books are Die Religionsphilosophie Immanuel Kants, 1899, and Das Messianitdts- und Leidens- geheimniss eine Skizze des Lebens Jesu, 1901 (in English as The Quest of the Historical Jesus') a specially significant work. Throughout his life he has been a musical student, beginning with organ-lessons in Miilhausen and Strassburg, and from 1893 with Widor in Paris. From 1896 he was organist for Bach concerts at Strassburg, from 1906 was organist for the Bach Society in Paris, and in 1909 was chairman of the organ-making conference at the I. M. G. Congress in Vienna. He has published Jean- Sebastien Bach, le Musicien-Poete, 1905 (English translation, enlarged, by Ernest SCIONTI SEARCH 357 Newman, 2 vols., 1911), which is an extraor- dinarily valuable work, Deutsche und fran- zosische Orgelhaukunst und Orgelkunst, 1906, and, as editor with Widor, of the complete organ-works of Bach (Schirmer). See article on 'Schweitzer as Missionary' in 'The Hibbert Journal,' July, 1914. SCIONTI, S. See COLLEGES, 2 (C. of St. Catharine, Minn.). SCOTT, CARLYLE (b. 1873). See STATE UNIVERSITIES (Minn.). t SCOTT, CYRIL MEIR (Sept. 27, 1879, Oxton, England). See article in Vol. iv. 390. After three years at Frankfort, he located himself at Liverpool, chiefly occupied with composition. He has also done much literary work, and has lectured on occult philosophy. His larger works are as follows : Symphony No. 1 (given at Darmstadt, now destroyed). Symphony No 2 (given by Wood), later rewritten as 'Three Orchestral Dances' (Birmingham, conducted by composer). 'Heroic' Suite, for orchestra (given by Richter at Manchester, later withdrawn). Overture to 'Pell6as et M61isande' (Frankfort). Overture to 'Princess Maleine,' with chorus (Vienna), later revised. 'Christmas' Overture, with 'Nativity Hymn' for chorus (performance at Vienna stopped by the war). 'Ballad of Fair Helen of Kirkconnel,' for baritone and orchestra. Two Passacaglias on Irish Themes, for orchestra (given by Beecham). Piano-Concerto (given by Beecham at English Festival) (Augener). Aubade for orchestra (Darmstadt, Dresden, Berlin), later revised. Rhapsody for orchestra. Opera, 'The Alchemist.' 'La Belle Dame sans Merci,' for soprano, baritone and orchestra. Piano-Quartet, op. 16 (Boosey). String-Quartets, opp. 28 and 31. Piano-Quintet, op. 57. Piano-Sextet, op. 26. Piano-Trio early work, now withdrawn. 'Tallahassee' Suite, for violin and piano (Schott). 'Handelian Rhapsody,' for piano (Elkin, edited by Grainger). Piano-Sonata, op. 66 (Elkin). 'Pastoral Suite' for piano (Elkin). He has also written a large number of piano- pieces and songs, illustrating the versatility of his mind and his peculiar power of imagi- native expression. He has published seven volumes of poems and The Philosophy of Modernism (in connection with music), 1917. See biography by Hull, 1918, besides many articles in musical periodicals. SCOTT, HENRI GUEST (Apr. 8, 1876, Coatesville, Pa.), studied in Philadelphia and under Saenger in New York. His first work as bass was in church, concert and oratorio. In 1909-10 he appeared at the Manhattan Opera House, his first performance being as Ramphis in 'Aida.' The next season he was at the Teatro Adriano in Rome. In 1912-14 he was a leading artist for the Chicago Opera Company, and since 1915 has been with the Metropolitan Opera House in New York. He is recognized as a basso of exceptional gift. His favorite roles are Mephisto, Escamillo, Leporello, Basilio, the King (in 'Lohengrin' and 'Tristan'), Plunkett, Dr. Miracle and Lothario. He is also noted as an oarsman. [ R.9 ] SCOTTI, ANTONIO (Jan. 25, 1866, Na- ples, Italy). See article in Vol. v. 666. His first American appearance was as Don Giovanni on Dec. 27, 1899, at the Metro- politan Opera House in New York. He has remained there ever since, but has also sung often at Covent Garden in London. In 1919- 20 he toured extensively with his own com- pany. To the list of roles add Belcore, Fal- staff, Germont, Ashton, Marcel, Escamillo, Comte de Nevers and Valentin. [ R.8 ] JSCRIABIN, ALEXANDER NIKOLAI- EVITCH (Jan. 10, 1872, Moscow, Russia : Apr. 14, 1915, Moscow). See article in Vol. iv. 402-3. He began extemporizing on the piano at five, and early showed a remark- able musical memory. After leaving Moscow he lived for a time in Switzerland and two years in Brussels. He visited America in 1907, and first went to London in 1914. His works since 1903 are as follows : Sonatas: No. 4, op. 30, in F-sharp; No. 5, op. 53; No. 6, op. 62; No. 7, op. 64; No. 8, op. 66; No. 9, op. 68; No. 10, op. 70. Preludes : opp. 31, 33, 35, 37, 39, 48, 67, 74. 'Poems': opp. 32, 34 ('Tragique'), 36 ('Satan- ique'), 41, 44, 54 ('de ,1'Extase'), 61 ('Noc- turne'), 63 ('Masque,' 'Etrangete'), 69, 71, 72 ('Versla Flamme'). Waltzes : opp. 38, 47. Mazurkas: op. 40. Etudes : opp. 42, 65, and also in Pieces. Symphony No. 3, 'The Divine Poem,' in C, op. 43. 'PrometheV ('Poeme de feu'), op. 60, first given, with color-keyboard, by Altschuler and the Russian Symphony Orchestra, Mar. 20, 1915, New York). Pieces, etc. ; opp. 45, 46, 49, 51, 52, 56, 57, 58, 59, 73. See biography by Hull, 1916, and resum6 and bibliography in Baker, Diet, of Musicians , p. 881. SEALY, FRANK LIN WOOD (b. 1858). See Register, 7. SEARCH, FREDERICK PRESTON (July 22, 1889, Pueblo, Colo.), from 1901 was trained as a 'cellist in Jena, by Joseph Adamowski in Boston, Mattioli and Rugovoy in Cincinnati and Klengel in Leipzig, also taking theory with Schreck and Roger and orchestration with Hofmann and Sitt. In 1910-12 he was in the Gewandhaus Orchestra under Nikisch. In 1908-11 he was Leipzig correspondent for 'Music News' in Chicago. In 1912-15 he 358 SEASHORE SEIDL gave concerts in America, appearing in New York in 1914. For a time he conducted summer-plays in California. In 1915-16 he led the 'cellos in the American Symphony Orchestra in Chicago, and in 1916-17 was in the orchestra of the Chicago Opera Company. In 1915-16 he was assistant-editor of 'The Violinist/ and in 1917 conducted at the per- formance of 'The Crisis.' Early in 1918 he enlisted as musician in the Navy and was appointed band-master. His works include four string-quartets, a string-sextet, two so- natas for 'cello and piano, a Festival Over- ture (1915, San Francisco Exposition, under Bendix), a 'Romantic Symphony' in D, and several shorter works, including 20 songs, besides incidental music for Heron's 'Monte- zuma,' Rice's 'Yolanda of Cyprus' and Hilliard and Heron's 'Tusitala,' and an 'Aztec Dance,' for string-quartet or orchestra. [ R.10 ] SEASHORE, CARL EMIL (Jan. 28, 1866, Morlunda, Sweden), brought up in America, graduated at Gustavus Adolphus College in 1891 and took a Ph.D. at Yale in 1895, where he continued as teacher of psychology and philosophy till 1902. Since 1902 he has been at the State University of Iowa, becoming dean of the Graduate College in 1908. Early trained in music, he has given increasing at- tention to problems of musical psychology, conducting extensive experiments of various kinds, especially for ascertaining degrees of musical talent. He classifies the latter under these heads : Sensitivity, Action, Memory and Imagination, 'Intellect and Feeling. For each of these both quantitative and quali- tative tests have been devised, leading to the making for a given case of a 'talent-chart.' Special apparatus employed includes in- ventions like the audiometer, the tonoscope, the spark-chronoscope, a serial-action ap- paratus and a chronograph. Some tests have been made into phonograph-form for school-use. The purpose throughout has been not only scientific, but also to give help in choosing a musical vocation and in over- coming technical difficulties. He has pub- lished The Psychology of Musical Talent, 1917, and a long series of articles in various peri- odicals, like 'The Musical Quarterly,' 'The Etude,' and the Proceedings of the M. T. N. A., 1913, '15, and as monographs in the University of Iowa Studies in Psychology. [ R.8 ] SEATTLE SYMPHONY ORCHESTRA, THE, was founded in 1907. Its conductor till 1909 was Michael Kegrize, followed by Henry K. Hadley in 1909-11. In 1911 its place was taken by the new Philharmonic Orchestra, led by John Spargur, which in 1919 secured a guaranty for three years that will enable it to resume concerts of the first order. SEEBOECK, WILLIAM CHARLES ERNEST (Aug. 21, 1859, Vienna, Austria : 1907, Chicago), after early instruction from his mother, a pupil of Marchesi, began piano-study at ten with Graedener, going on later with Epstein and Grill, and taking theory with Nottebohm. Meanwhile he had collegiate education at the Theresianum. In 1875 he studied with Brahms, and in 1877-79 was in Petrograd, with Rubinstein for adviser. In 1881 he settled in Chicago as pianist, teacher and composer. For a time he taught harmony at the Chicago Musical College and was organist at the Jefferson Park Presby- terian Church. His published compositions are mostly songs and piano-pieces, but he left also two operas, 'The Gladiators' and 'The Missing Link,' a piano-quintet, two concertos and two sonatas for piano, variations for two pianos, 27 concert-eludes for piano, and over 200 songs. [ R.7 ] SEEGER, CHARLES LOUIS, JB. (Dec. 14, 1886, Mexico City), graduated from Harvard in 1908, having specialized in music. In 1910-11 he volunteered as conductor at the Cologne Opera. Since 1912 he has been professor of music at the University of Cali- fornia. Recently he has made special studies in musicology and musicological methods. He has composed two masques for orchestra, 'Dedra' (1914) and 'The Queen's Masque' (1915), and an overture for full orchestra after Yeats' 'Shadowy Waters.' He has also composed chamber-music, a violin-sonata and about 25 songs (some Schirmer). With E. G. Stricklen he has published Outline of a Course in Harmonic Structure and Musical Invention, 1913, and Harmonic Structure and Elementary Composition, 1916. [ R.10 ] SEGUIN, ARTHUR EDWARD SHEL- DON (1809-1852) and ANN, nee Childe (1814-1888). See Vol. iv. 408, and Register, 3. SEIDL, ANTON (May 7, 1850, Pest, Hungary : Mar. 28, 1898, New York). See article in Vol. iv. 408. He was brought to America, after the death of Leopold Dam- rosch, to conduct German opera at the Metro- politan Opera House, and made his debut with 'Lohengrin' on Nov. 23, 1885. During his career at the Metropolitan he conducted the first performance in America of ' Die Meister- singer' (Jan. 4, 1886), 'Tristan und Isolde' (Dec. 1, 1886), 'Siegfried' (Nov. 9, 1887), 'Die Gotterdammerung' (Jan. 25, 1888), 'Das Rheingold' (.Jan. 4, 1889), and the 'Ring,' complete (Mar. 4-11, 1889). Except in 1892- 95, when German opera was temporarily eclipsed, he conducted at the Metropolitan till his death. In 1891, also, he succeeded Thomas as conductor of the New York Phil- harmonic Society, a position also retained to the end. He introduced many works by SEILER SEWALL 359 modern composers, and conducted the pre- miere of Dvorak's 'New World' Symphony in 1893. See Krehbiel, Anton Seidl, 1898, and An- ton Seidl, Memorial by His Friends, 1899. [R.7 ] SEILER, EMMA (1821- ? ). See Regis- ter, 5. SEIPLE, STANLEY J. See COLLEGES, 3 (ThielC., Pa.). SELBY, WILLIAM (1738, England : 1798, Boston), came to Boston about 1771. He had been an organist in England since 1767 and was also an excellent harpsichordist. In 1774 he became organist at Trinity Church in Newport, R. I., but by Easter, 1777, was established at King's Chapel in Boston, where he apparently remained till his death. Besides conducting a shop for the sale of groceries and liquor, he was much in evidence as player, teacher and concert-manager, from about 1782 also as composer. At some of his concerts extracts from Handel's oratorios were sung by the Musical Society, of which he was promoter, if not conductor. His programs show remarkable knowledge and enterprise. His own works included songs, anthems and instrumental pieces, among them Voluntaries or Fugues for organ or harpsi- chord, a Concerto for organ or harpsichord 'with instrumental parts,' a Sonata for two violins and 'cellos, etc. See Sonneck, Concert- Life in America, with his remark that 'Boston's musical history during the last thirty years of the 18th century may be said to have centered in the personality of this interesting and am- bitious musician.' [ R.I ] SEMBRICH, MARCELLA (Feb. 15, 1858, Wisniewczyk, Galicia). See article in Vol. iv. 409-10. Her first American appearance was as Lucia at the Metropolitan Opera House on Oct. 24, 1883. At Abbey's benefit at the end of the season she played a violin-concerto of De Beriot, with a Chopin nocturne and then an aria from 'La Sonnambula' for encores, besides taking the violin-obbligato in the Bach-Gounod 'Ave Maria,' sung by Nilsson. In 1897 she came again for a concert- tour, and sang at the Metropolitan for the next two seasons and, after another season of concerts, from 1901 till her retirement in 1909. At her farewell (Feb. 6, 1909) she appeared in three of her famous roles, Norina in 'Don Pasquale,' Rosina in the 'Barbiere* and Susanna in 'Figaro's Hochzeit' the last in German, Mahler conducting. Among the many tributes were a string of pearls bought by popular subscription and presented by Mayor Low, and a punch-bowl from the directors (who made her the first honorary member of the Opera House Company), and there was a ball at the Savoy and a dinner from the musicians of the city. A day ou two later she left for London and a concert- trip in Russia, returning from which in 1910 she bade farewell to the stage in Berlin, Frank- fort and other German cities. In 1910-11 she was still active in concert and song-recitals on both sides of the ocean, settling in Lausanne and Nice. When the war broke out she was in Switzerland. In October, 1914, she re- sumed song-recitals in New York, but her work as head of the American Polish Relief so exhausted her that at the opening of 1917 she permanently retired. She had just begun a series of historical recitals that had been planned to be her closing public act. Her husband died in May, 1917. She makes her home at present in New York. Of her emi- nence as a song-singer Henderson has said: 'The depth of expression attained by her in her wonderful song-recitals is due to a com- bination of perfect tone with musical in- telligence. Bigger tone, more brilliancy of style, are demanded in opera, but in the interpretation of the song complete revelation of the poetic and musical content of the work is the absolute requirement. This Mme. Sembrich has been able to supply.' [ R.7 ] SEMMANN, LIBORIUS (b. 1873). See Register, 8. SENKRAH [Anna Leoretta Hoffmann, nee Harkness] (1864-1900). See Register, 7. SEVERN, EDMUND (Dec. 10, 1862, Not- tingham, England), had his training as vio- linist in America, studying with his father, Franz Milcke and Bernhard Listemann, and taking singing with George Sweet, piano with T. Oelschleger and composition with Chad- wick. In 1888-90 he was in Berlin under Wirth for violin and Ph. Scharwenka fop composition. He began teaching at Hart- ford, Conn., and Springfield, Mass., and for some years led chamber-groups and conducted choral societies. He moved to New York in 1897, where in 1907-14 he gave lectures for the Board of Education, but has lately con- fined himself to teaching and composition. His published works include a concerto, four suites and about 25 pieces for violin and piano, a suite for two violins and piano, the concert- waltz 'La Brunette' and a 'Gavotte Moderne' for orchestra, about 20 songs, pieces for 'cello and for piano, 36 teaching-pieces for violin and The Grun Modern Method for Violin. He has also two string-quartets, a violin-sonata, a piano-trio, an 'Oriental' Suite for violin and piano, the cantata ' Jephtha's Daughter,' and, for orchestra, a Festival Overture, a Polonaise in D, the symphonic poems 'Lance- lot and Elaine' and 'Life, Death, Reunion* and a fantasy on 'The Tempest.' Most of these last have been publicly performed. [ R.8] SEWALL, MAUD GILGHRIST (b. 1872). See Register, 8. 360 SEWARD SHATTUCK SEWARD, THEODORE FRELING- HUYSEN (1835-1902). See Register, 5. SEYDEL, IRMA (Sept. 27, 1896, Boston), the daughter of a violinist in the Boston Symphony Orchestra, was trained by him, Strube, Loeffler and Maquarre in Boston. When but nine she twice appeared with a group of players from the Orchestra, and at thirteen played as solo-violinist with the Giirzenich Orchestra in Cologne, once under Steinbach. Between 1912 and 1918 she ap- peared seven times with the Boston Sym- phony Orchestra, and also had engagements with many other leading symphony orches- tras and in various German cities. [ R.10 ] SEYMOUR, LEWIS and THADDEUS. See TUNE-BOOKS, 1804. tSGAMBATI, GIOVANNI (May 18, 1843, Rome, Italy : Dec. 14, 1914, Rome). See article in Vol. iv. 431-3. For a bibliography, see Baker, Diet, of Musicians, p. 869. SHACKLEY, FREDERICK NEWELL (b. 1868). See Register, 7. 'SHANEWIS.' An opera by Charles W. Cadman, produced at the Metropolitan Opera House on Mar. 23, 1918. The text is by Mrs. Nellie R. Eberhard. SHAPLEIGH, BERTRAM (Jan. 15, 1871, Boston), early took up piano and 'cello along with other studies, and had lessons in composition from Whiting, Chadwick and MacDowell. At first he was engaged upon literature, but also took a medical degree and lectured on art-topics. His interest in the music of the Orient led to his concentrating upon musical work. In 1898 he built a house in Kent, England, and cultivated a considerable estate. In 1915, however, the house was burnt, including his large library and valuable scores, etc., and he returned to America. His published works include the orchestral suite 'Ramayana,' op. 45, based upon five episodes in the Hindu epic (over 60 performances in the first two years) ; the orchestral suite 'Gur Amir,' op. 51, being four visions from the tomb of Tamerlane; the tone-poem ' Mirage,' op. 57, for chorus and orchestra ; a setting of Poe's ' The Raven,' op. 50, for chorus and orchestra (1908, Middles- brough Festival) ; ' The Dance of the Der- vishes,' op. 53 (Wolverhampton Festival) ; the 8-part choral works 'The Fir-Tree and the Brook' (a>appella), op. 54, 'The Tale of the Dismal Swamp,' op. 55, and ' Vedic Hymn,' op. 56 (all London Choral Society) ; the cycle for solo and small chorus, 'Romance of the Year,' op. 53 ; more than 100 songs, many of which are on Oriental themes; and many pieces for violin or 'cello and piano, or for piano alone. Unpublished are two sym- phonies, in B minor and A, opp. 62, 68; a Symphonic Prelude, op. 61 ; three ' Con- solations,' op. 64, for orchestra; a 'Poem,' op. 65, for 'cello and orchestra; a string- quartet in G, op. 70 ; a piano-trio in E minor, op. 70 ; a Grand Mass in D, and various other settings for the Catholic service; a cantata based on the Song of Solomon ; and five one-act operas and two grand operas. His wife, n6e Mabelle Carpenter, has supplied texts for many of his works. For some years he was musical adviser for Breitkopf & Hartel, and also edited 'The Concert-Program Ex- change.' He has published two volumes of poetry and many articles on art-topics. [ R.8 ] SHARLAND, JOHN B. (1837-1909). See Register, 4. t SHARP, CECIL JAMES (Nov. 22, 1859, London, England), after graduating from Cambridge in 1882, spent nine years in Ade- laide, till 1889 as associate to the Chief Justice of South Australia, then as conductor of the Philharmonic Society and organist at the Cathedral. Since returning to England in 1892 he has been mainly occupied with music. In 1896-1905 he was principal of the Hamp- stead Conservatory in London, and since 1911 has been director of the English Folk- Dance Society and The Stratford-on-Avon School of Folk-Song and Dance. He has devoted himself to collecting and investigating folk-music, and in the pursuit of the subject has visited America. His English Folk-Songs from the Southern Appalachians (collected in part by Olive Dame Campbell), 1917, contains nearly 500 songs, ballads and tunes from this region. He is also author of English Folk-Song Some Conclusions, 1907, Folk- Dancing in Schools, 1913, and Folk-Singing in Schools, 1914. He has edited a Book of British Song, 1902, Folk-Songs from Somerset (with C. L. Marson), 5 series, 1904-09, English Folk-Songs for Schools (with S. Baring-Gould, 1906, Country-Dance Tunes (with G. Butter- worth), 8 parts, 1906-16 (including The Country-Dance Book, separately in 1906), The Morris Book (with George Butterworth and Herbert Macllwaine), 5 parts, 1907-13 (in- cluding A History of Morris Dancing, 1907, rewritten, 1912), English Folk-Carols, 1911, The Sword-Dances of Northern England, 3 parts, 1911, English Chanteys, 1914, A Mid- summer-Night's Dream (songs, dances and incidental music), 1914, 100 English Folk- Songs, 1916, Folk-Songs, Chanteys and Singing- Games (with C. H. Farnsworth), A Collection of Selected Folk-Songs (with R. V. Williams), 1918. SHATTUCK, ARTHUR (Apr. 19, 1881, Neenah, Wis.), began piano-study with his mother and had seven years with Leschetizky before 1902. In 1901 he appeared as pianist with the Philharmonic Orchestra at Copen- hagen. Until 1911 he lived in Paris, but made many concert-tours throughout Europe SHAW SHORT 361 and even to Egypt in the East and to Iceland in the West. In 1911-12 he toured in America, appearing in New York with the Symphony Society. In 1912-15 he was again in Europe. Since then he has concertized in the United States, often with leading orchestras. In March, 1917, he was soloist with the San Francisco Orchestra under Hertz. [ R.9 ] SHAW, FRANK HOLCOMB. See COL- LEGES, 3 (Cornell C., Iowa). SHAW, OLIVER (1779-1848). See TUNE- BOOKS, 1808. SHELDON, E. EDWIN. See COLLEGES, 3i (Lebanon Valley C., Pa.). SHELLEY, HARRY ROWE (June 2, 1858, New Haven, Conn.), began organ- playing at the Center Church in New Haven when but fourteen, and studied with Stoeckel at Yale College and later with'Buck, Vogrich and Dvorak in New York. In 1878-81 and 1887-99 he was organist at the Church of the Pilgrims in Brooklyn, and in 1881-87 at Plymouth Church there. Since 1899 he has been at the Fifth Avenue Baptist Church in New York, and also on the teaching-staff of the Metropolitan College of Music and the American Institute of Applied Music. He has written two symphonies (No. 1, in E-flat, 1897, New York) ; a violin-concerto (1891) ; a 'Santa Glaus' Overture; the orchestral suite 'Souvenir de Baden-Baden' (published for piano, 4 hands) ; the cantatas 'The Inher- itance Divine,' 'Vexilla Regis' (1894, New York), 'Death and Life' and 'Lochinvar's Ride ' (1915, New York) ; a Fantasia for piano and orchestra ; many pieces for piano and for organ ; and numerous songs and anthems, many of the latter extremely effective. He has made many organ- transcriptions, and issued the collections The Modern Organist and Gems for the Organ. [ R.6 ] SHEPARD, ANNIE AGNES, nee Boll (b. 1859). See Register, 7. SHEPARD, CLARENCE E. See COL- LEGEs,!3 (Carroll C., Wis.). SHEPARD, FRANK HARTSON (1863- 1913). See Register, 7. SHEPARD, THOMAS GRIFFIN (1848- 1905). See Register, 5. SHEPHERD, ARTHUR (Feb. 19, 1880, Paris, Ida.), in 1892-94 studied at the New England Conservatory in Boston with Dennee and Faelten (piano) and Goetschius and Chad- wick (composition). From 1897 he taught in Salt Lake City, led a theater-orchestra and also the Symphony Orchestra. Since 1908 he has taught harmony and counter- point at the New England Conservatory. For three seasons he conducted the Musical Art Society, and in 1917 became conductor of the Cecilia Society, succeeding Clifton. His compositions include an 'Ouverture Joy- euse,' op. 3 (Paderewski prize, 1902, given by the New York Symphony Society, 1905) ; two other overtures, 'The Festival of Youth' (1915, St. Louis Orchestra) and 'The Nup- tials of Attila'; an orchestral suite, op. 5; a Humoreske for piano and orchestra; a Sonata in F minor, op. 4, for piano (Nat. Federation of Musical Clubs prize, 1909) (Boston Music Co.) ; 'Song of the Sea- Wind,' for women's voices and orchestra; 'The City of the Sea,' for baritone, chorus and orchestra, poem by Carman (1913, Chicago) (Schirmer) ; the motet ' The Lord has brought again Zion' (Ditson) ; the part-song for women's voices 'He came all so still' (Schmidt) ; and some piano-pieces and songs (Wa-Wan Press). [ R.8 ] SHERWOOD, WILLIAM HALL (Jan. 31, 1854, Lyons, N. Y. : Jan. 7, 1911, Chicago), was the son of Rev. L. H. Sherwood, the founder of the Lyons Musical Academy. He played frequently in public from his ninth year. In 1866-71 he taught in his father's school and secured a g^' al education. After some lessons from W. am Mason in 1871 he went to Berlin, where ne studied piano with Kullak and theory with Weitzmann. He later took composition with Doppler, piano with Deppe, counterpoint and composition with Richter, and finally piano with Liszt at Weimar. He gave successful concerts in Berlin and Hamburg, and returned to America in 1876. Concerts in New York, Boston, Philadelphia (including the Centennial Ex- hibition, with the Thomas Orchestra), Cincin- nati and Chicago soon established his repu- tation as a virtuoso. He settled in Boston as a member of the New England Conservatory faculty, and numbered Arthur Whiting and Clayton Johns among his pupils. After a few years he forsook Boston for New York, and from 1889 made his home in Chicago. For eight years he was head of the piano- department of the Chicago Conservatory, but in 1897 withdrew to establish the Sher- wood Piano School. A brilliant and popular pianist, he played with all the leading or- chestras and gave recitals in every part of the United States and Canada. His services as a teacher were in great demand. Not strongly tempted by composition, he is represented only by a group of piano-pieces, a 'Scherzo Caprice,' op. 9, two suites, opp. 5 and 14, two sets of 'Gypsy Dances,' opp. 10 and 40, a 'Scherzo Symphonique,' an 'Allegro Patetico' and 'Medea.' [ R.6 ] SHIELDS, T. EDGAR. See COLLEGES, 2 (Moravian C., Pa.). SHIRLEY, H. A. (b. 1865). See COLLEGES, 2 (Salem C., N. C.). SHORT, LAURA GRANT. See COLLEGES, 2 (Rockford C., 111.). 362 SHUMWAY SKILTON SHUMWAY, NEHEMIAH. See TUNE- BOOKS, 1793. J SIBELIUS, JEAN (Dec. 8, 1865, Tavas- tehus, Finland). See article in Vol. iv. 447-8. His annual grant of 3000 marks from the Finnish Government ran from 1897 to 1907. In 1900 he toured in Scandinavia, Germany, France and Belgium with the Helsingfors Philharmonic Orchestra, conducting his own works. In 1914 he came to America to pro- duce his symphonic poem 'Daughters of the Ocean' at the Norfolk Festival, and was then made Mus.D. by Yale University. To the list of works add the following : op. 19 Melodrama, 'The Wood-Nymph.' 25 Suite in E-flat, for orchestra. 35, 50, 57, 60, 61 Songs. 42 Romanze in C, for strings. 58, 67, 68 Piano-Pieces. 48 Choral Ballad, ' Die gefangene Konigin.' 52 Symphony No. 3, in C. 64 Suite for small orchestra, from music to 'Svanehvit.' 55 Symphonic Poem, 'Nachtlicher Ritt und Sonnenaufgang.' 56 String-Quartet in D minor, 'Voces In- timse.' 59 Funeral March, 'In Memoriam,' for or- chestra. 62 Canzonetta for strings, and 'Valse Roman- tique,' for small orchestra. 63 Symphony No. 4, in A minor. 64 Symphonic Poem, 'Der Barde.' 69 Two Serenades for violin and orchestra. 70 Symphonic Poem, 'Luonnotar,' with so- prano solo. 71 Pantomime, 'Scaramouche,' in two acts. 72 Symphonic Poem, 'Daughters of the Ocean' (1914, Norfolk Festival). Also, the first Finnish opera, 'The Maid in the Tower' (1896, Helsingfors) ; Symphony No. 5 (1916) ; 'The Old Man,' for baritone and men's chorus; Overtures in E and A minor; a string-quintet in G minor; two string-quartets, in A minor and B-flat ; variations in E-flat minor for string-quartet ; and a string-trio in A. SILBER, SIDNEY (b. 1881) . See Register, 9. SILBY, REGINALD MILLS (b. 1884). See COLLEGES, 1 (Catholic U., D. C.). SIMPSON, GEORGE ELLIOTT (b. 1876). See Register, 9. SINFONIA FRATERNITY OF AMER- ICA, THE, was founded in 1898 by Ossian E. Mills to unite music-students in conserva- tories in a society of mutual benefit. It now has twelve chapters in various parts of the country, including several hundred members. The president since 1915 is F. Otis Drayton and the national headquarters is at the New England Conservatory in Boston. SINGENBERGER, JOHN B. (b. 1848). See Register, 6. SINGER, JACOB. See STATE UNIVER- SITIES (Neb.). SINGER, OTTO (July 26, 1833, Sora, Germany : Jan. 3, 1894, New York), after general education at the Kreuzschule in Dresden, in 1851-55 was at the Leipzig Conservatory with Richter, Moscheles and Hauptmann. He then taught in Leipzig for four years, and during this period a sym- phony and other of his works were played at the Gewandhaus. Next he went to Weimar (studying with Liszt), to Dresden, and in 1867 to New York. Here he taught in the Mason and Thomas Conservatory until its dissolution in 1873. At one of the Thomas concerts in 1869 he played his piano-concerto. In 1873 he went to Cincinnati as assistant- director to Thomas and continued there till 1893, teaching piano and theory from 1880 in the College of Music. For the Festival of 1876 he wrote the cantata ' The Landing of the Pilgrim Fathers,' and for the^opening of Music Hall in 1878 the 'Festival Ode.' A successful chorus-leader, he trained the Festival chorus for some years, and directed several festivals of the North American Sangerbund. His 'Symphonic Fantasia' was performed by the Boston Symphony Orchestra under Gericke. Other works were an Andante and Variations for two pianos, a piano-sonata, a violin-sonata and piano-pieces. [ R.5 ] 'SINGING-SCHOOLS.' Popular classes for teaching the rudiments of music and practicing hymn-tunes arose in New England before 1750 in consequence of the movement to introduce singing by note in the churches. They soon became common, not simply for the sake of the musical instruction, but as a form of social gathering. During the last half of the century they were much promoted by itinerant singing-masters who gradually produced a long list of tune-books for them (see TUNE-BOOKS). This general movement continued far into the 19th century and spread to the South and the West. In many cases it led to the holding of musical 'conventions,' and to a small degree influenced the establish- ment of music in the public schools and even of permanent music-schools. See Ritter, Music in America, chaps, ii-iv., Elson, Hist, of American Music, chaps, i-ii., Gould, Church Music in America, etc. The Musical Society of Stoughton, Mass., founded in 1786 and still existing, grew out of a local 'singing- school,' conducted from 1774 by Billings. SINGLETON, ESTHER. See Register, 8. SINSHEIMER, BERNARD (b. 1870). See Register, 7. SITES, JOHN R. See COLLEGES, 3 (Wil- lamette U., Ore.). SKILTON, CHARLES SANFORD (Aug. 16, 1868, Northampton, Mass.), was educated at the Northampton High School and Yale, graduating in 1889. In that year he wrote music for the choral odes of 'Electra' for performance in Greek at Smith College. SKINNER SMITH 363 After teaching languages in Newburgh, N. Y. t in 1891 he went to Berlin for study with Bargiel, Boise and Heintz. In 1893-96 he was music-master at Salem Academy in North Carolina. He then studied further in New York with Buck and Shelley. In 1897 his violin-sonata in G minor was given a prize by the M. T. N. A. and performed by Dora Becker. In 1897-1903 he taught piano and theory at the State Normal School in Trenton, N. J., and then went to the University of Kansas at Lawrence, where he has been professor ever since. For twelve years he was also dean of Fine Arts, and he has been active as organizer and conductor. He is a fellow of the A. G. O. and has been dean of the Kansas Chapter, and is prominent in several teachers' associations, besides giving lectures and recitals. The fact that Haskell Institute, a government school for Indians, is near Lawrence led to his studying and collecting Indian music. In 1916 his 'Two Indian Dances,' originally written for a student- opera, were arranged for string-quartet and widely introduced by the Zoellner Quartet. As scored for orchestra they were also taken up by various orchestras, including the Queen's Hall Orchestra of London. In an organ-fantasy and sonata (1916) he has made some use of the whole-tone scale, and in his cantata 'The Witch's Daughter' (1917) he has given a serious musical treatment of the Salem Witchcraft, employing various modern devices. Besides the works named above he has a 'cello-sonata (1893), the cantata 'The Ballad of Carmilhan,' a Theme and Variations in E minor, for piano (1904), a Melody in B-flat, for organ (1913), besides other organ-pieces, 'Three Indian Scenes,' for string-quartet (1918), and 'Three Indian Sketches,' for piano (1919, Carl Fischer). He has also written a number of songs and choruses. His 'Witch's Daughter' was given in 1919 by the Pageant Choral Society and the Symphony Orchestra of St. Louis. [ R.8 ] SKINNER, ERNEST M., & COMPANY, of Boston, was organized in 1901 to employ the skill and genius of Ernest M. Skinner in organ-making. Under this or similar names it has continued to produce a highly significant series of instruments, many of the largest size, for important churches and institutions throughout the country, making a fine reputation for original and distinctive voicing, as well as for first-class construction. They have recently put forth an 'Orchestrator' which is adapted to the use of music-rolls with special success. SKINNER, THOMAS. See TUNE-BOOKS, 1800. SKINNER, T. STANLEY. See COL- LEGES, 3 (Drury C., Mo.). SKOVGAARD, AXEL (b. 1875). See Register, 9. SLAVE-SONGS. See NEGRO Music. SLEEPER, HENRY DIKE (Oct. 9, 1865, Patten, Me.), had his general education at the Worcester Academy and Harvard College, and graduated from the Hartford Theological Seminary in 1891, with some post-graduate study. He took harmony and composition with B. D. Allen and Paine, organ with Ham- mond and Eddy, and singing with E. N. Anderson, F. W. Root and George Thorpe (London). After teaching at Beloit College in 1892-94, at Georgetown College in Ken- tucky in 1894-95, and at the University of Wisconsin in 1895-98, he went to Smith College in Massachusetts, where in 1904 he became head of the music-department, which under his hand has attained large proportions. He has also been church-organist in Worcester, Mass., Madison, Wis., and Hartford, Conn., and is a fellow of the A. G. O. He has always been efficient in promoting church-music, speaking and writing much on its behalf. In advancing the cause of academic credit for music-study he has also been increasingly active. He has written an orchestral Lar- ghetto (given in popular concerts of the Boston Symphony Orchestra), an organ-suite in F minor, a choral 'Carmen Saeculare* (1904, Smith College), part-songs and songs, and haa edited (in part) The Common Order Choir- Book, 1903, and the College Edition of Hymns of Worship and Service, 1909. While in college he edited Songs of Harvard, 1886, which waa the first distinctively Harvard collection. [ R.8 ] 'SLEEPY HOLLOW.' A three-act opera by Max Maretzek, produced in 1879 at the Academy of Music in New York. SMITH, DAVID STANLEY (July 6, 1877, Toledo, O.), had academic training at the Toledo High School and Yale University, where he graduated in 1900, having had coursea in composition with Parker. His first work in large form was an Overture in E-flat, op. 1, which was played at a students' concert in 1898. On graduating, his 'Ode for Com- mencement-Day,' op. 4, was given with baritone, men's chorus and orchestra. After a year at Yale'as a post-graduate, he spent a year or more in London, Munich and Paris. In 1903 he received a Mus.B. from Yale, submitting as thesis a Prelude, Choral and Fugue for organ and orchestra, op. 10. In 1903 he began as instructor in the Yale School of Music, becoming assistant-professor in 1909, full professor in 1916, and in 1920 succeeding Parker as head of the School. In 1912 he had taken Parker's place as teacher and conductor of both the Symphony Or- chestra and. the Oratorio Society. In 1914 364 SMITH SMITH COLLEGE he gave lectures on music-history at the summer-session of the University of Cali- fornia. For many years he was also organist in New Haven churches, retiring in 1916, and since 1918 he has led the Choral Art Club. Pie is a fellow of the A. G. O., a member of the National Institute of Arts and Letters, and in 1918 Northwestern University made him Mus.D. The list of his more important com- positions is as follows : 'Ouverture Joyeuse,' op. 11 (1904, Boston and New Haven). Trio in G, op. 16 (Adamowski Trio, Boston and New Haven, and 1914, Berkeley, Cal.). 'Allegro Giocoso,' op. 17 (New Haven). Quartet No. 1, in E minor, op. 19 (1912, Kneisel Quartet, Boston and elsewhere) (parts, Schirmer). Symphonic Ballad, op. 24, for orchestra (St. Louis Orchestra and New Haven). 'The Fallen Star,' op. 26, for chorus and orchestra (Paderewski prize, 1909). Symphony No. 1, in F minor, op. 28 (1912, Chicago Orchestra). 'The Djinns,' op. 30, for baritone, chorus and orchestra. Overture, 'Prince Hal,' op. 31 (1912, New Haven, 1914, New York Symphony Society, and else- where) . An American opera in two acts, op. 36, text by Lee Wilson Dodd. Quartet No. 2, in A, op. 37 (1915, Kneisel Quartet, 1918, Flonzaley Quartet), lately revised as op. 376. 'Rhapsody of St. Bernard' [' Jesu, dulcis memoria'], op. 38, for soli, chorus, semichorus and orchestra (1918, Chicago North Shore Festival). 'Impressions,' op. 40, four pieces for orchestra. Symphony No. 2, in D, op. 42 (1918, Norfolk Festival, and New York Philharmonic Society). Other works are several groups of songs, such as opp. 15, 18 and 39 ; many anthems and part- songs, such as ' Pan,' op. 32, with oboe obbligato ; a 'Tragic Prelude,' op. 41, for violin and piano; a Fantasy for piano and orchestra, op. 43 ; and a 'Sonata Pastorale,' op. 44, for oboe and piano. [R.9] SMITH, DE LOSS. See STATE UNIVER- SITIES (Mont.). SMITH, DEXTER (1839-1909). See Register, 5. SMITH, ELLA MAY, nee Dunning (b. 1860). See Register, 7. SMITH, GERRIT (Dec. 11, 1859, Hagers- town, Md. : July 21, 1912, Darien, Conn.), studied at Hobart College, where he was for two years organist, going thence to Stuttgart to pursue music and architecture. From 1877 he studied organ with S. P. Warren and Eugene Thayer in New York, and piano with Sherwood, and, after a short term as organist in Buffalo, in 1880 was in Berlin under Haupt and Rohde. From 1885 till his death he was organist of the South (Reformed Dutch) Church in New York, where his choir and organ-recitals became noted. He also taught theory at the Master School in Brooklyn and for many years was music-director at Union Theological Seminary. He was a. founder of both the Manuscript Society and the A. G. O., first president of the one and first warden of the other, and active in music- teachers' associations. His chief work was the cantata 'King David,' but he also wrote various anthems, songs, piano-pieces, etc., and edited 25 Song-Vignettes for children. [ R.6 ] SMITH, IVY MAY. See COLLEGES, 3 (Atlantic Christian C., N. C.). SMITH, LEO (b. 1881). See Register, 10. SMITH, THOMAS MAX (b. 1874). See Register, 9. SMITH, WILLIAM. See TUNE-BOOKS, 1798 and 1809. SMITH, WILSON GEORGE (Aug. 19, 1855, Elyria, O.), from 1876 studied with Singer in Cincinnati and from 1880 with Moszkowski, Raif, the Scharwenkas, Kullak and Kiel in Berlin. Since 1882 he has been teacher and composer in Cleveland, from 1902 acting also as critic for the 'Press.' His compositions extend to op. 115, including some hundreds of pieces. He has been specially successful with technical works like 'Five-Minute Studies,' op. 53, 'Chromatic Studies,' op. 69, 'Thematic Octave-Studies,' op. 68, 'Transposition-Studies,' op. 70 (all Church), and 'Eight-Measure Studies,' 'Scale- Studies,' 'Preparatory Studies' (all Presser). Many of his songs have place in concert- programs, and he has been active in arranging and editing. Recent piano-works are ' Autumn Sketches,' op. 103, 'At the Bal Masque' (Fox), and 'Pictures of Child-Life' (Schirmer). I R-7 ] SMITH COLLEGE, Northampton, Mass., though not belonging to the older group of women's colleges, has for some years been the largest of them. For that reason, and because emphasis upon music as an essential in general education was given from its foundation in 1875, it may be taken as an advanced type of its class. The development of its musical department has been almost wholly under the lead of two instructors, Benjamin C. Blodgett (1878-1903) and Henry Dike Sleeper (instruc- tor from 1898, professor since 1904). The faculty numbers about 25. About 450 students take music-courses, those in praxis including piano, voice, organ, violin, harp, 'cello and one or two wind-instruments, while those in theory include all grades of com- position, a variety of courses in appreciation and analysis, and extensive work in music- history. The students in theory-courses largely predominate. Since the College offers so large a public within itself, demonstrative music in the form of recitals and concerts has been developed to an extraordinary degree, including many symphonic and chamber-concerts, besides numerous solo reci- O. G. SONNECK SMYTH SOUSA 365 tals. Work in music is credited for admission to the College, and towards graduation, just as other subjects. In praxis-courses two lessons per week with five hours of practice is counted for two hours' credit. In choosing her subjects of study a student may make music her 'major' or one of her 'minors.' Graduate-study in music is also encouraged. The choir of about 125 and the orchestra of 40 are important forms of ensemble- work. There is a considerable music-library, both of books about music and of musical literature, and the department owns many orchestral instruments, besides a harpsichord, a clavi- chord, a pianola, victrolas, etc. There are two buildings devoted to music-instruction. Be- sides 55 pianos, there are 4 organs, two of them of large size. J SMYTH, ETHEL MAY (Apr. 23, 1858, London, England). See article in Vol. iv. 490-1. The four songs with orchestra were brought out at Queen's Hall in 1907 and often repeated in England, Paris and Germany, as also the chorus 'The Spirits of the Wood.' 'The Wreckers' was given in English in 1909, at the Afternoon Theater, in 1910 at Covent Garden, and in 1911 under Beecham. The two overtures to it are often given. In 1910 she was made Mus.D. by Durham University. Her latest opera, 'The Boatswain's Mate,' in two acts, on her own text (from Jacobs' story), and 'The Wreckers' were to have been given in Frankfort and Munich respectively in 1915, but were postponed by the war till 1920. She was a prominent suffrage agitator in 1911 and was imprisoned for two months in consequence. 'The March of the Women' and other suffrage-music date from this time. During the war she was in radio-work in France. SNYDER, WILLIAM B. See TUNE- BOOKS, 1831. SOCIETY FOR THE PUBLICATION OF AMERICAN MUSIC, THE, was organized in New York in 1919 for the issue of meritori- ous works and their distribution among its members and others. Its publishing-fund is derived from annual and life members. The selection of works is by a committee of eminent experts. At first attention will be given to chamber-music. The president is John Alden Carpenter and the secretary William B. Tuthill, 185 Madison Avenue. SOHN, JOSEPH (b. 1867) . See Register, 8. SONNECK, OSCAR GEORGE THEO- DORE (Oct. 6, 1873, Jersey City,.N. J.), was educated in Germany at the Frankfort Gym- nasium and Heidelberg and Munich Uni- versities (1893-97). He studied music-history with Sandberger, composition with M. E. Sachs, conducting at the Sondershausen Conservatory (1898), piano with Kwast and instrumentation with Knorr. In 1899 he was in Italy, then returning to America. In 1902-17 he was in charge of the Music- Division of the Library of Congress in Wash- ington, where he transformed what had been a mere accumulation of copyright-material into one of the great music-libraries of the world, extending it in several special directions to extraordinary proportions! Since 1917 he has been with the house of G. Schirmer in New York, for whom since 1915 he has edited 'The Musical Quarterly.' His pub- lished compositions are several sets of highly original songs. But he is best known for his many and valuable books upon topics in musical history and criticism. These began as far back as 1897, when he issued a Protest gegen den Symbolismus in der Musik, but the main series is as follows : Classification of Music and Literature of Music, 1904 (revised, 1917), Francis Hopkinson and James Lyon, 1905, Bibliography of Early Secular American Music, 1905, Early Concert-Life in America, 1907, Historical Report on 'The Star-Spangled Banner,' 'America,' 'Hail Columbia' and 1 Yankee Doodle,' 1909, Critical History of ' The Star-Spangled Banner,' 1914, Catalogue of Opera-Librettos Printed before 1800, 2 vols., 1914, Early Opera in America, 1915, Catalogue of First Editions of Edward MacDowell, 1917, Catalogue of First Editions of Stephen C. Foster, 1917, and Suum Cuique (essays), 1916. To the I. M. G. Sammelbande he contributed important studies, among them 'Francis Hopkinson, the First American Composer* (5. 119) and 'Early American Operas' (6. 428). He has also published two volumes of poetry, Seufzer, 1895, and Eine Todtenmesse, 1898. Besides his remarkable skill in investigation and the marshaling and presentation of his- torical data, he has shown notable enterprise and practical wisdom in promoting musical progress in numerous ways as, for example, in the recent formation of the Society for the Publication of American Music and in further- ing the issue of Krehbiel's long-delayed translation of Thayer's Beethoven. [ R.8 ] 'SONS OF BALDUR, THE.' No. 6 of the 'Grove-Plays' of the San Francisco Bo- hemian Club, produced in 1908. The text is by Herman Scheffauer and the music by Arthur Weiss. SORRENTINO, UMBERTO (b. 1889). See Register, 10. SOULE, RALPH W. See COLLEGES, 3 (Tabor C., Iowa). SOUSA, JOHN PHILIP (Nov. 6, 1854, Washington). See article in Vol. iv. 628. His father was Portuguese and his mother Bavarian, and both came to America in the early '40s, the former as a refugee because of revolutionary activity, the latter as a visitor. 366 SOUTHARD SPAETH They were married in Brooklyn, but soon moved to Washington. The son studied in 1864-67 with John Esputa, taking mostly violin, but also band-instruments, and from 1867, while playing in the Marine Band and in civilian orchestras, took up theory and composition with G. F. Benkert. From 1B72 he led the orchestra at the Theatre Comique and played violin at Ford's Opera House. From 1JS74 he was leader or player in the Milton-Noble Comedy Company and in Morgan's Living Pictures Company. In 1876 he was under Offenbach in Philadelphia, writing for him the 'International Congress' fantasy (July 4, 1876). In 1876-79 he played at the Chestnut Street Theatre under Hassler and at the Arch Street Theatre under Zimmer- man. He then became conductor of the Church Choir Company, writing for it his first comic opera, 'The Smugglers,' and of Mackey's Comedy Company, for which he wrote 'Our Flirtations.' After being in the Marine Band in 1880-92, he formed the Sousa Band, giving the first concert at Plain- field, N. J., on Sept. 26, 1892. With this he has made annual tours through the United States and Canada, besides four tours in Europe and one round the world. The Band has played at almost all the great Expositions, besides long engagements at various places. Its leader acquired the soubriquet of ' March King' in 1885 from a foreign journal. He has also been decorated by numerous crowned heads, academies and societies. In 1917 he became lieutenant in the Naval Reserve. His com- positions make a long list, including 10 comic operas, 8 'suites,' the scenic 'Sheridan's Ride' and the symphonic 'Chariot-Race,' almost 100 marches, about 20 dances, about 50 songs, and several arrangements. [ R.6 ] SOUTHARD, LUCIEN H. (Feb. 4, 1827, Sharon, Vt. : Jan. 10, 1881, Augusta, Ga.), studied for a time at Trinity College in Hart- ford, whence, though expected to follow his father as physician, in 1846 he went to Boston in quest of music. In 1851-58 he was general supervisor there in the public schools. In 1858-60 he was in Norfolk, Va., leaving be- cause of Northern sympathies. For a year he played an organ in Hartford, but enlisted in the Civil War and served in the Army of the Potomac as cavalry captain. He took part in many battles, was wounded early in 1865 and was then honorably discharged and returned to Boston. In 1868, when the Peabody Institute in Baltimore established its Conservatory, he was made its first director and the organizer of its orchestra, laying foundations on which from 1871 Hamerik built with more experience and brilliance. From 1871 he lived once more in Boston, moving in 1875 to Augusta. Between 1850 and 1870 he was steadily active in composition. He was notably successful with glees, church- music and organ-pieces. About 1855 he completed the opera 'The Scarlet Letter,' parts of which were sung at a 'convention' in that year. The score of this, loaned by his wife in New York, was lost. In January, 1858, another opera, 'Omano' (based on Beckford's ' Vathek,' Italian text by Manetta), was twice given in Boston in concert-form, with Lang as pianist and Adams as tenor. The score of this remained in his wife's hands. His publications included Collection of Organ Voluntaries, 1849. School Chimes, 1851; Union Glee Book, 1852; Haydn Collection of Church Music, 1851 ; Clas- sical Chorus Book, 1853 all edited with B. F. Baker The Boquet, 1855, edited with G. W. Pratt; Vol. iii. of The Boston Melodeon, with E. H. Baker (first vols. by E. L. White, 1850) ; Lyra Catholica (masses, hymns and motets), 1866, with J. H. Willcox ; The Offering, 1866. A Course in Harmony, 320 pp., 1855. Morning and Evening, 1865, for quartet-choirs. Two masses (1867). The Standard Singing School, 1868, a vocal method based on Garcia. 'Ave Maria' (1867?), Te Deum and Jubilate (1868), and the motets 'As the hart pants,' 'My heart doth find' and 'Praise waiteth for Thee' (1872). [ R.4 ] SOUTHGATE, CHARLES. See TUNE- BOOKS, 1800. SO WERE Y, LEO (May 1, 1895, Grand Rapids, Mich.), had all his formal training in Chicago under A. O. Anderson. He has taught theory at the American Conservatory, been organist at the South Congregational Church and served as critic for the 'Inter- Ocean.' In 1917 he enlisted in the Army and was made band-master of the Field Artillery, with rank of 2nd lieutenant. He first came into notice as composer through his violin- concerto in 1913 (ail-American concert, Chicago Symphony Orchestra under Gunn). His works include the overture 'Comes Autumn-Time' (1918, New York Symphony Society) (Boston Music Co.) ; the orchestral suite 'Set of Four' (1918, Chicago Symphony Orchestra) ; the orchestral sketch 'The Sor- row of Mydath'; the orchestral 'Rhapsody on British Folk-Tunes' ; a Serenade for strings (Berkshire Quartet) ; a piano-concerto and a 'cello concerto ; sonatas for two violins and 'cello, for violin alone, for violin and piano, for piano and for organ ; two suites for violin and piano ; three chorale-preludes for organ ; choruses a cappella; etc. [ R.10 ] SPAETH, SIGMUND (Apr. 10, 1885, Philadelphia) , the son of parents both of whom had written or edited Lutheran church music, graduated from Haverford College in 1905 1 Data for this notice were supplied by Mr. N. H. Allen, of Hartford. SPALDING SPICKER 367 and in 1910 took a Ph. D. at Princeton Uni- versity, his thesis being on Milton's Knowledge of Music (published 1914). In Philadelphia he studied piano and violin, and at Princeton led the university choir, glee-club and orchestra. In 1910-12 he taught in Asheville, N. C., and has since lived in New York. In 1913 he was music-critic for 'Life,' in 1914-18 for the 'Mail,' and since 1919 for the 'Times,' besides writing for the Boston 'Transcript.' He has contributed many articles to maga- zines, prepared program-notes and made a specialty of translations of song-texts and opera-librettos. [ R.10 ] SPALDING, ALBERT (Aug. 15, 1888, Chicago), had early training on the violin in Italy, graduating from the Bologna Conser- vatory in 1902, besides later study of com- position. In 1905, having continued violin under Lefort in Paris, he made his concert- debut there, followed by many tours through- out Europe. He first appeared in America in 1908, with the New York Symphony Society. In 1917-19 he served in the Army as artillery observation-officer in France and Italy. Besides his eminence as a player, he has written two violin-concertos; a sonata for violin and piano ; a suite for violin and piano (Carl Fischer) ; 'Etchings' (theme, variations and improvisation) , for violin and piano ; Theme and "Variations for orchestra; four ' Serious Pieces ' for piano ; many violin-pieces (Schirmer, Hansen), including the popular 'Alabama'; and songs (Ditson). [ R.9 ] SPALDING, WALTER RAYMOND (May 22, 1865, Northampton, Mass.), the son of a clergyman, early became a choir-boy. At eleven he served more or less as organist, and soon took up study with S. B. Whitney and W. A. Locke (piano). From 1879 he was organist in his father's church. He graduated at Harvard in 1887, with honors in music, having taken various courses with Paine. A year of post-graduate study brought him an A.M. in music. As yet, however, he was equally interested in the classics and modern languages. In 1888-92 he taught languages at St. Mark's School in Southboro, Mass., but also had charge of the music there and in the village church. In 1892-95 he was in Paris with Guilmant and Widor and in Munich under Rheinberger and Thuille. In 1895 he became instructor in music at Harvard till 1900, also serving as organist at Christ Church in Cambridge and at Emmanuel Church in Boston. In 1903 he became assistant-pro- fessor at the University and in 1906 succeeded Paine as head of the music-division. Since 1895 he has also been music-instructor at Radcliffe College. He has been active in various committees for the promotion of music, including that on Army and Navy Camp-Music during the war. He has pub- lished Tonal Counterpoint, 1904, and (with Arthur Foote) Modern Harmony, 1905, both widely used as text-books. To these is now added Music, an Art and a Language, 1920, a striking study in the field of appreciation. [R.7] SPARGUR, JOHN MITCHELL (b. 1879). See Register, 8. SPEAKS, OLEY (b. 1876) . See Register, 8. 'SPECTRE BRIDEGROOM. THE.' An opera by William D. Armstrong, produced in St. Louis in 1899. SPELMAN, TIMOTHY MATHER (b. 1891). See Register, 10. SPENCER, ALLEN HERVEY (Oct. 30, 1870, Fairhaven, Vt.), studied piano in New York and Chicago with Sherwood and theory with Lutkin. Since 1892 he has been in the faculty of the American Conservatory in Chicago, and has given hundreds of piano- recitals in Chicago and elsewhere. His r6pertoire is comprehensive and his ability as interpreter unquestioned. He has pub- lished Forty Lessons to a Teacher and con- tributed many articles on piano-study to periodicals. [ R.8 ] SPENCER, ELEANOR (Nov. 30, 1890, Chicago), began public appearances as pianist at ten and then studied with Mason in New York, Bauer in Paris and Leschetizky in Vienna. In 1910 she gave her first recital in London. She has appeared with such or- chestras as the Berlin Philharmonic, the Dresden Gewerbehaus, the Amsterdam Con- certgebouw, the London Symphony, the Queen's Hall, the Brighton and the New York Philharmonic. Her first recital in America was in New York in 1913. Her tours have traversed Germany, Holland, England and the United States. [ R.10 ] SPENCER, S. P. See COLLEGES, 3 (Pied- mont C., Ga.). SPENCER, VERNON (b. 1875). See Reg- ister, 9. SPICKER, MAX (Aug. 16, 1858, Konigs- berg, Germany : Oct. 15, 1912, New York), after training from Louis Kohler and Robert Schwalm, in 1877-79 studied at the Leipzig Conservatory with Reinecke, Wenzel, Paul and Richter, and then for three years conducted theater-orchestras in various Ger- man cities. In 1882 he came to New York as conductor of the Beethoven Mannerchor. In 1888-95 he was director of the Brooklyn Conservatory, and in 1895 became teacher of harmony and counterpoint at the National Conservatory. In 1898-1910 he was also choir-master at Temple Emanu-El. For many years he was connected with the firm of G. Schirmer as reader, editing numerous works (among them 'The Messiah'). He composed 368 SPIELTER SPRY a suite for orchestra;] incidental music to Schiller's ' Demetrius ' ; the cantata ' Der Pilot,' for baritone, men's chorus and or- chestra; choruses, church-music and songs. He edited an Anthology of Sacred Song, 4 vols., an Operatic Anthology, 3 vols., Aus oiler Herren Lander (folk-songs arranged for men's chorus) ; and Synagogical Service, 2 vols. [ R.7 ] SPIELTER, HERMANN (b. 1860). See Register, 8. SPIERING, THEODORE (Sept. 5, 1871, St. Louis), began violin-study with his father, Ernst Spiering. In 1886-88 he was with Schradieck in Cincinnati, followed by four years with Joachim at the Berlin Hochschule. On his return he became a member of the Thomas Orchestra in Chicago, making his d6but as soloist in February, 1893, with the Schumann 'Phantasie.' He left the Or- chestra in 1896, having three years previously organized the Spiering Quartet. In twelve seasons (1893-1905) this Quartet gave 400 concerts in the United States and Canada, introducing many new works. His pedagogic work in Chicago included association with Godowsky at the Chicago Conservatory in 1898-99, the direction of the Spiering Violin School in 1899-1902, and associate director- ship of the Chicago Musical College in 1902-05. Meanwhile he had been active as conductor, with appearances in Chicago, the Spiering Orchestra, and a May Festival tour in 1902. In 1905 he removed to Berlin, making his d6but in 1906 with the Philharmonic Or- chestra and spending three years largely as soloist, with tours in Germany, England and Holland. For one season he was chief violin-instructor at the Stern Conservatory. In 1909 he returned to New York as concert- master of the Philharmonic Society under Mahler. In the spring of 1911 he substituted during Mahler's illness, conducting 17 concerts. In 1911-14 he again resided in Berlin, con- certizing in Germany, Denmark and Swit- zerland, and conducting a series of sym- phony concerts (1912-14) with the Ber- lin Philharmonic and Bliithner Orchestras. Novelties produced at these concerts were symphonies by Dukas and Paul Graner, suites" by Dohnanyi, Casella and Reger, Kaun's overture 'Am Rhein,' Hadley's 'Cul- prit Fay,' and important works by Hausegger, von Reznicek, Delius and others. He was also musical adviser for the 'Neue Freie Volksbiihne.' Since 1914 he has lived in New York, giving concerts, teaching, and editing violin-works for Carl Fischer. His published works are Five Songs, op. 1 ; six Artist Studies for violin, op. 4, and five 'Im- pressions' for piano, op. 5. Violin-caprices, a scherzo for string-quartet and songs are still unpublished, as is also a treatise on violin-study. [ R.8 ] SPRAGUE, ADELBERT WELLS (b. 1881). See STATE UNIVERSITIES (Me.). SPRINGFIELD MUSIC FESTIVAL AS- SOCIATION, THE, of Springfield, Mass., was started in 1889 as the Hampden County Musical Association, the conductor till 1899 being George W. Chadwick. Another effort under C. S. Cornell led to festival under- takings in 1901 and '02. In 1903 the present Association was organized with John J. Bishop as conductor, with increasingly success- ful festivals ever since. The chorus averages about 350. Besides the standard oratorios, there have been given works like Bruch's 'Arminius, 1 Chadwick's 'Phoenix Expirans,' Franck's 'The Beatitudes,' Parker's 'Hora Novissima,' Verdi's 'Aida' and Requiem, and Wolf-Ferrari's La Vita Nuova.' SPROSS, CHARLES GILBERT (Jan. 6', 1874, Poughkeepsie, N. Y.), as a youth studied piano in Poughkeepsie with Adolph Kuehn and composition with Helen J. Andrus, continuing with Xaver Scharwenka and Emil Gramm, and adding composition with Lachmund. At seventeen he was organist at St. Paul's in Poughkeepsie. Later he played for eight years at the Second Presby- terian Church in Paterson, N. J., and five years at the Rutgers Presbyterian Church in New York. Since 1913 he has been or- ganist of the First Presbyterian Church in Poughkeepsie. As pianist and organist he has appeared in concert throughout the country. His services as accompanist have been much in demand, and he has toured with Mmes. Hempel, Garden, Destinn, Gadski, Gluck, Case, Jomelli, Homer, Fremstad, Melba, Schumann-Heink and Nielsen, also with Ysaye, Gerardy and Amato. His published works include three cantatas, 'The Word of God,' 'The Glory of the Resurrection' and 'Christmas Dawn'; many anthems and part-songs; a few piano- and violin-pieces; and over 100 songs, many of them extensively sung. [ R.8 ] SPRY, WALTER (Feb. 27, 1868, Chicago), had early training in Chicago with Regina Watson (piano) and Eddy (organ), and later in Vienna with Leschetizky, in Berlin with Rudorff and in Paris with Rousseau. In 1897-1900 he was director of the Quincy (111.) Conservatory, in 1903 t -^5 was Sherwood's assistant, in 1900-03 also edited 'The Music Review' for Summy, and in 1905-17 conducted his own Piano School in Chicago. He is now one of the leading piano-teachers at the Columbia School of Music there. In 1918 he celebrated the twenty-fifth anniversary of his first appearance in Chicago as pianist. He has been soloist with the Chicago and SQUIER STATE ASSOCIATIONS 369 St. Louis Orchestras. He has written an over- ture, a string-quartet, piano-pieces, choruses and songs. [ R.8 ] SQUIER, J. B. (1838-1912). See Register, 5. t SQUIRE, WILLIAM BARCLAY (Oct. 16, 1855, London). See article in Vol. v. 667. His Catalogue of Old Printed Music [1487-1800] in the British Museum, 2 vols., 1912, is perhaps his chief work, though his other books and articles are all significant. He has repeatedly contributed to 'The Musical Quarterly.' STAHLBERG, FREDERICK (b. 1877). See Register, 8. STAIR, PATTY (Nov. 12, 1869, Cleveland), was a pupil of Franklin Bassett. Since 1889 she has taught in the Cleveland Conservatory and from 1892 also in the University School, where and in various churches she has been organist. In 1914 she was the first woman in Ohio to become a fellow of the A. G. O. For some years she has been active as conductor of Women's Club choruses. She has become known as the composer of many effective songs, part-songs and choruses, and has also written a three-act light opera, an operetta, an Intermezzo for orchestra, some organ- and piano-pieces, etc. [ R.7 ] STANBRIDGE, J. H. C. See TUNE- BOOKS, 1844. J STANFORD, CHARLES VILLIERS (Sept. 30, 1852, Dublin, Ireland). See articles in Vols. iv. 671-4, and v. 667. To the lists of works may be added the 7th Symphony, op. 124 ; a piano-concerto in C minor, op. 126 ; a string-quartet, op. 122 ; a piano-quartet, op. 132 ; a clarinet-sonata, op. 129 ; an organ- sonata; the operas 'The Critic' (from Sheri- dan) (1916) and 'The Traveling Companion'; incidental music to Parker's 'Drake' (1912); and the cantatas 'Fairy Day' (1913) and 'Merlin and the Gleam' (1920). He has also published Studies and Manners, 1908, Musical Composition, 1911, Pages from an Unwritten Diary, 1914, and (with Cecil Forsyth) a History of Music, 1916. STANLEY, ALBERT AUGUSTUS (May 25, 1851, Manville, R. I.), at sixteen was already holding a responsible post as organist in Providence. In 1871-75 he studied in Leipzig under Papperitz, Reinecke, Richter and Wenzel. During the last year he was Richter's assistant and also occasional organist at the Nikolai- i Urche. After a year of teach- ing at the Ohio Wesleyan College, in 1876-88 he was organist at Grace Church in Providence. Since 1888 he has been professor at the Uni- versity of Michigan and from 1893 conductor of the May Festivals. In 1891-92 he was secretary of the M. T. N. A. and in 1893 president ; was a founder of the College of Musicians, of the A, G. O. and of the Manu- script Society ; in]1899 was appointed American representative of the I. M. G. and in 1906-12 president of its American Section, and is an active member of the Musical Association of Great Britain. In 1889 the University of Michigan made him A. M. and in 1916 North- western University made him Mus.D. Be- sides his energetic development of the Uni- versity School of Music, he has had charge of the Stearns Collection of Musical Instruments, given to the University in 1898, and of this he has published an exhaustive and scholarly Catalogue, 1918 (2nd edition in preparation). His compositions include a Symphony in F, an orchestral Scherzo in D, the symphonic poem 'Attis,' a Suite in E for violin and piano, a Canon and Fugue in E minor for piano, the choral and orchestral works 'City of Freedom,' 'A Psalm of Victory,' 'Chorus Triumphalis,' 'Laus Deo' and 'Consecration Hymn,' and incidental music to Mackaye's 'Sapho and Phaon,' to Euripides' ' Alcestis' and ' Mensechmi' the last three employing Greek motives and modes, and all with special accompaniment simulating ancient instru- mentation. All these have been given on various civic or academic]occasions. They are now published as Greek Themes in Modern Musical Settings, 1920, being Vols. xv. and xvi. of the Humanistic Series of University of Mich- igan Studies. [ R.5 ] STANTON, EDMOND C. See Register, 7. STARR, EDNA V. See COLLEGES, 3 (Rio Grande C., Ohio). 'STAR-SPANGLED BANNER, THE.' See article in Vol. iv. 674-5, and also Sonneck, Report on 'The Star-Spangled Banner,' etc., 1909, and its enlarged reissue separately, 1914. STASNY, KARL RICHARD (b. 1855). See Register, 8. STATE MUSIC TEACHERS' ASSO- CIATIONS began to be formed in 1876, many of them (after 1886) through the efforts of the Music Teachers' National Association. Some of them have been short-lived, but the majority continue and are extremely serviceable in bringing teachers into fellowship, in up- holding professional standards and in advanc- ing interest in American music and musicians. At times the National and the State organi- zations have been knit together in some formal way, but practical considerations prevent close official union. In recent years the State Associations have given increasing at- tention to problems of 'standardization' or the fixing of rules and tests for professional recognition. In several cases systems of examination and certification have been set up. The heads of all Teachers' Associations are banded together in an Association of Presidents and Past-Presidents. In 1893 H. 8. Perkins stated that the 370 STATE NORMAL SCHOOLS STATE UNIVERSITIES earliest State Associations were those in Ohio (1876), Texas (1885), Illinois, Michigan, Kan- sas, Kentucky, Rhode Island, Alabama (1886), Indiana, Colorado (1887), New York (1889), Connecticut and New Hampshire (1890) . l The latest list of these Associations, with their presidents, is as follows : 2 Arkansas, H. D. Tovey, Fayetteville ; California, Mrs. Sofia N. Newstadt, 52 Hamilton Place, Oakland ; Connecticut, Mariette N. Fitch, 48 Union St., Rock- ville; Illinois, C. E. Sindlinger, Streator; Indiana, Ralph Sloane, Richmond; Iowa, Henry Matlack, Grinnell; Kansas, Frank A. Beach, Normal School, Emporia; Kentucky, Anna C. Goff, Lexington; Louisiana, Florence Huberwald, 2024 Coliseum St., New Orleans; Michigan, Francis L. York, 1013 Woodward Ave., Detroit; Minnesota, George H. Fairclough, Pittsburgh Bldg., St. Paul; Mississippi, Mrs. E. H. Hart, Meridian; Missouri, Herbert Krumme, Moss Bldg., St. Joseph; New York, Frederick H. Haywood, Carnegie Hall, New York City; Nebraska, Henry C. Cox, 3320 Dewey Ave., Omaha; North Carolina, Mrs. Crosby Adams, Montreat ; North Dakota, Mrs. Amy Simpson, Minot ; Ohio, Katherine Bruot, 70 N. Prospect St., Akron; Oklahoma, Mrs. Mary E. Wharton-Hunt, Still- water; Oregon, John C. Monteith, 525 Patten Rd., Portland; Texas, E. Clyde Whitlock, 1100 Hurley Ave., Fort Worth; Vermont, Lewis J. Hathaway, Middlebury; Washington, Herbert Kimbrough; Pullman; Wisconsin, Charles H. Mills, Madison. STATE NORMAL SCHOOLS, MUSIC IN. In every State but one there are Normal Schools to train teachers for public-school work. The number in each State depends upon various considerations besides its size. 3 The total number in the whole country is about 180. In all these, with but trifling exceptions, some musical instruction is pro- vided, but the amount and scope of it varies greatly. Many Schools are large (600-1000 students), while others are too small to have diversified curricula. On the whole, there is a difference between the East and the West. In New England, New York and the Southern States the number of music-instructors is rarely more than two or three, but in Indiana, Pa., there are 9, in Milwaukee 10, in Emporia, Kan., 13, in Mansfield, Pa., Valley City, N. D., and Greeley, Colo., 7, etc. Simi- larly, in the East and South the instruction is planned chiefly with reference to the training of the ordinary grade-teacher who teaches many other subjects than music, while in the West generally it provides also for the much more intensive training of supervisors. In many cases the western Schools are really music-schools, some of them open to other students besides those preparing for public- i Hist, of the M.T.N.A., pp. 87-8. *M.T.N.A. Proceedings, 1919, p. 237. s For example, Pennsylvania has 13, New York 10, Massachusetts, Wisconsin and Alabama 9 each, West Virginia and North Carolina 8 each, Virginia 7, Maine, Oklahoma and California 6 each, Illinois and Missouri 5 each, etc. school teaching. Instruction in piano and violin (sometimes also organ) is rather common. Harmony is sometimes taught, and occasionally counterpoint and even orchestration. The number of pianos is sometimes notably large Indiana, Pa., 38, Kutztown, Pa., 23, Mansfield, Pa., 20, Valley City, N. D., 20, Emporia, Kan., 19, Milwaukee, Bowling Green, Ky., Aberdeen, S. D., and Greeley, Colo., each 16, etc. Phonographs are nearly universal, some institutions having as many as ten. In a fair proportion of cases there is something of a musical library. Besides the State Normal Schools there are other agencies for the special education of teachers. New York, Iowa and Colorado have State Teachers' Colleges, and many State Uni- versities and other such complex institutions have Schools or Colleges of Education that aim at similar results. As a rule, however, music is not magnified in any of these, though students often have access to musical opportunities in- directly. Exceptional emphasis upon music is found in Teachers College in Columbia Univer- sity, New York. STATE UNIVERSITIES, MUSIC IN. The growth of the demand for 'public schools' in the early 19th century led naturally toward the development of 'state universities' as the culminating element in a system of free civic education. It is true that many 'col- leges' founded before 1800 rested upon grants of public money and had been more or less governed by public authority. Some of them bore names as 'universities' of the States in which they were located. But the tendency of the 'college' system was to depend upon private or denominational endowment and to accent a single course of study, subject to fees for tuition. Beginning with the Uni- versity of Michigan, founded in 1837, a new type rapidly became common, providing free tuition in many different lines and managed by boards of trustees responsible to the States as such. This new type naturally became characteristic of those sections of the country that were developed in the period of national expansion preceding the Civil War. Mean- while, in the older sections, some of the 'colleges' were much enlarged in scope, so that several of them fulfilled for their re- spective States much of the function of a ' state university.' l As public interest in music advanced, and the vocational opportunities connected with it became important, it was natural that gradually around or within the 'state uni- versities' music-schools should spring up. 1 Notable instances are Harvard (1636) in Mas- sachusetts, Yale (1701) in Connecticut, Princeton (1746) in New Jersey, Columbia (1745) in New York, Brown (1764) in Rhode Island, Dartmouth (1769) in New Hampshire, Bowdoin (1794) in Maine, etc. STATE UNIVERSITIES STATE UNIVERSITIES 371 In many cases these were at first independent enterprises that were ultimately adopted into the university. In others they were started as departments like those in medicine, law, engineering, agriculture and the like. Recently such schools have often been com- bined with other departments into Schools or Colleges of Fine Arts. Although now generally reckoned as full members of the circle of departments, such Schools, owing to their use of individual rather than class methods in praxis-topics, have stood by themselves in requiring considerable tuition- fees, and there has been much hesitation about granting credit for work in praxis. Work in theory and history, however, has generally been credited, and often work of an ensemble-character, as in choruses or orchestras. There are now nearly 100 institutions of higher education under State control. But about half of these are special in character, devoted to technology, industrial arts, mining, agriculture, etc. Some of the Agricultural Colleges have taken on a general and complex character, and a few of them have given special attention to music. These are therefore included in the present summary. But the State Teachers' Colleges are more naturally grouped with the State Normal Schools, as the State Women's Colleges are with Colleges for Women in general. In order to give some hint of the historical sequence, the institutions in the following condensed r6sum6 are ar- ranged more or less chronologically. All the statements made in the article upon COLLEGES as to the general scope of in- struction apply here, but with a few slight differences of emphasis. There is a somewhat greater prominence given to theoretical studies in several institutions, and some give no credit for praxis. In many of the institutions the aggregation of students is so large that choral and orchestral concerts command special attention, stimulating interest in organizations within the institution and making it possible to support visiting organizations. In many cases there is great attention given to military bands, notably at the University of Illinois. In most of the larger institutions the School of Music has separate buildings, often of importance, with large auditorium, organ, etc. Several of them have significant music- libraries. The Universities of Michigan, Wisconsin, Illinois, Kansas, and Oklahoma stand out as those which have pushed music-departments into decided eminence. Several others, like Pennsylvania, Indiana, California and Colo- rado, have given prominence to thorough work in theory. The total number of students in the State institutions where music is recognized is considerably over 100,000 each year, counting all departments. No doubt a fair proportion of this large number is affected in some way by the general activities of the School of Music, especially as these extend to public concerts. But in most cases the number of those actually taking serious courses in music is still extremely small. Two reasons for this are, first, that in the institutional system music is counted as belonging to the 'col- legiate* or undergraduate division (hence not appealing to those in professional, tech- nological or graduate divisions), and, second, that there are special fees required. 1 It is likely, however, that gradually the practical influence of music in university-life will decidedly increase. Thus far music has been emphasized chiefly for its use as an element of general culture or as a vocation. In a few cases steps have been taken to disclose its possibilities as a distinct object of scientific, historical and philosophical investigation. In the following summary the same plan of statement is used as that in the article upon COLLEGES. Founded before 1837 University of Pennsylvania, Philadelphia. Hugh A. Clarke (from 1875). No praxis. Ohio University, Athens. See COLLEGES. Miami University, Oxford, O. Aubrey W. Martin (from 1914) +2. University of Alabama, University. Robert Lawrence (from 1917). [No music-courses at the Universities of Vermont, Maryland, Virginia, North Carolina, South Carolina and Georgia.] Founded before 1861 University of Michigan, Ann Arbor. Albert A. Stanley (from 1888) +25. Calvin B. Cady, 1880-88. Indiana University, Bloomington. Winfred B. Merrill (from 1919) +3. No credit for praxis. Charles D. Campbell, 1906-19. University of Missouri, Columbia. William H. Pommer (from 1907) +1. No praxis. State University of Iowa, Iowa City. Philip G. Clapp (from 1919) +8. University of Wisconsin, Madison. Charles H. Mills (from 1914) +10. Fletcher A. Parker, 1880-1907, Rossetter G. Cole, 1907-09, Louis A. Coerne, 1910-14. University of Minnesota, Minneapolis. Carlyle Scott (from 1904) +7. Emil Oberhoffer, 1902-04. Louisiana State University, Baton Rouge. F. T. Guilbeau (from 1918). University of California, Berkeley. Charles L. Seeger (from 1912) +4. No credit for praxis. J. Frederick Wolle, 1905-11. University of Washington, Pullman. Irving M. Glen (from 1914) +7. [No music-courses at the University of Mississippi]. Founded before 1880 University of Nevada, Reno. Maude A. Denny (from 1913). No praxis. 1 It is to be noted that recently the University of Illinois has inaugurated a plan whereby tuition in music shall be as free as that in any other subject. 372 STEARNS STEBBINS University of Kentucky, Lexington. Carl A. Lampert. No praxis. University of Wyoming, Laramie. Albert Lukken (from 1915) +6. University of Illinois, Urbana. J. Lawrence Erb (from 1914) +10. Frederick Lawrence, 1901-08, Charles H. Mills, 1908-14. West Virginia University, Morgantown. Louis Black +8. No credit for praxis. University of Utah, Salt Lake City. Thomas Giles +6. No praxis. University of Maine, Orono. Adelbert W. Sprague (from 1916). University of Nebraska, Lincoln. Jacob Singer +1. No praxis, but courses credited under outside teachers. Ohio State University, Columbus. No music-courses except in summer-school William W. Campbell (from 1912). University of Arkansas, Fayetteville. Henry D. Tovey (from 1908) +4. University of Kansas, Lawrence. Harold L. Butler (from 1915) +4. George B. Penny, 1890-1903, Charles S. Skilton, 1903-15. University of Oregon, Eugene. John J. Landsbury (from 1917) +11. Irving M. Glen, 1901-11, Ralph H. Lyman, 1913-17. University of Colorado, Boulder. George M. Chadwick. No praxis. Charlea H. Farnsworth, 1888-1900. Founded before 1905 University of Texas, Austin. Frank L. Reed (from 1913) +4. No credit for praxis. University of North Dakota, University. William W. Norton (from 1910) +3. No praxis, but courses credited under outside teachers. University of South Dakota, Vermilion. Harry C. Harper (from 1918) +6. E. W. Gra- bill, 1900-17. University of Arizona, Tucson. Ida W. Douglass. No credit for praxis. University of Idaho, Moscow. Eugene E. Storer (from 1911) +3. University of New Mexico, Albuquerque. Henry F. Perrin (from 1918). University of Oklahoma, Norman. Fredrik Holmberg (from 1908) +12. Henry Gue- lich, 1903-08. State University of Montana, Missoula. DeLoss Smith +5. University of Florida, Gainesville. James W. Chapman. State Colleges Iowa State College, Amea. Archibold A. Bailey (from 1916) +2. Pennsylvania State College, State College. Clarence C. Robinson +1. Kansas State Agricultural College, Manhattan. Arthur E. Westbrook (from 1913) +8. Olof VaHey, 1904-13. North Dakota Agricultural College, Fargo. Clarence S. Putnam +1. No theory. Montana State College, Bozeman. Aaron H. Currier (from 1915) +4. Oklahoma Agricultural College, Stillwater. Bohumil Makovsky (from 1915) +6. See various references in articles on COLLEGES and PUBLIC SCHOOLS. STEARNS, HENRY V. See COLLEGES, 2 (Illinois Woman's C.). STEARNS COLLECTION OF MUSICAL INSTRUMENTS, THE, at the University of Michigan, Ann Arbor, was gathered by Frederick Stearns (1831-1907), a chemist of Detroit and the founder and for many years head of an extensive pharmaceutical busi- ness there. The making of this collection was a special enthusiasm with him from 1881 to 1897, though it was not the only line of research to which he devoted effort and generous expenditure. As with his other collections, Mr. Stearns sought to make this permanently useful by giving it to a public institution. In 1898 it was offered to the University and at once accepted. The donor continued to add to it and provided funds for its study and proper presentation. The Collection contains over 1400 speci- mens, so selected as to give a fairly com- prehensive view of the whole subject of instrument-making, both in its intricate ethnological variety and in its historical evo- lution as regards the" implements of civilized music. It has been minutely sifted, classified and described by Albert A. Stanley, Director of the University School of Music, and in 1918 he published under the University imprint a monumental Catalogue of it, which not only brings its contents within the easy ken of intelligent students, but at the same time sets up a standard of scientific classification and nomenclature for the subject in general. This volume of 260 pages has elaborate indexes and frequent critical and historical notes of unusual interest. The arrangement adopted is analytic or systematic rather than geographic or his- torical. Five classes are distinguished, ac- cording as sound-production arises (a) from a solid body, like plates, bells, gongs, bars, rods or tongues, (6) from a stretched mem- brane,~as in the various drums and tambour- ines, (e) from a confined air-column, as in the flutes, oboes, trumpets, etc., (d) from a stretched string, as in harps, dulcimers, zithers, lutes and viols, or (e) from either strings, air-columns or reeds controlled or actuated from a keyboard. STEBBINS, GEORGE WARING (June 16, 1869, near Albion, N. Y.), was the son of the singing evangelist, George C. Stebbins. He studied in Brooklyn with H. E. Browne and Woodman (organ), F. F. Powers (voice) and Shelley (composition), with further work in Paris under Sbriglia and Guilmant, and in London under Henschel. Since 1893 he has been organist in Brooklyn at the Emmanuel Baptist Church in 1894-99 and since 1902, and at Plymouth Church in 1899-1902. He was a founder of the A. G. O. and has appeared often as recitalist. Since 1910 he has also taught singing at the New York Teachers' Training Institute, and from 1913 has con- STECK STERNBERG 373 ducted the Singers' Club in New York and from 1916 the Long Island Musical Art Society. He has published many organ-pieces, anthems, choruses and songs. [ R.8 ] STECK, GEORGE (1829-1897). See Reg- ister, 4. STECK, GEORGE, & CO., New York, is a piano-making business established in 1857 by George Steck. They secured high awards at the Vienna and Philadelphia Expositions of 1873 and 1876. The business is now a branch of the JEolian Company. Besides the New York factory there is another at Gotha, Germany. STEERE, J. W., & SON ORGAN CO., THE, Springfield, Mass., was established in 1867, originally as Steere & Turner. In recent years, especially since Henry F. Van Wart came in 1911 as superintendent, they have produced many instruments of large size and notable excellence, among them those in Woolsey Hall at Yale University, in the Municipal Auditorium in Springfield, in the Piedmont Church in Worcester, and in the First Church, Scientist, in Kansas City. STEFANO, SALVATORE DE (b. 1887). See Register, 10. STEINBRECHER, FREDERIC W. (1818- ? ). See Register, 4. STEINDEL, BRUNO (b. 1866). See Reg- ister, 8. STEINER, LEWIS HENRY (1827- ? ). See TUNE-BOOKS, 1859. STEINERT, MORRIS (Mar. 9, 1831, Scheinfeld, Germany : Jan. 21, 1912, New Haven, Conn.), as a boy, while apprenticed to an optician, had lessons on the harpsichord from the village cantor and on the guitar from a chimney-sweep. Soon he began composing for orchestra, incidentally learning to play the 'cello. As vender of optical goods he traveled in Switzerland, Germany and Russia, and as dealer in hops visited France. About 1854 he came to America. In New York he joined Maretzek's opera-orchestra as 'cellist (Thomas being then one of the first violins), then traveled with a minstrel-troupe, and for a time worked in Savannah as clerk in a music-store and organist. The outbreak of the Civil War in 1861 led him to return to the North, where he finally settled in New Haven, at first on a salary of $100 per year. He taught, organized an orchestra, opened a music-store, and built up a prosperous business as dealer in pianos. He invented a form known as the 'Steinertone,' and more and more became interested in collecting rare and historic instruments. His collection of about 500 pieces he presented to Yale University in 1900, and endowed a prize in the School of Music in 1906, besides three scholarships. He was one of the founders in 1892 of the New Haven Symphony Orchestra. In 1892 his collection was exhibited at the Vienna Ex- position and in 1893 at the Columbian Ex- position in Chicago. A handbook of it was published as The M. Steinert Collection of Keyed and Stringed Instruments, 1893. His name is also perpetuated in the piano-making firm M. Steinert's Sons & Co., of Boston. [R.4] STEINWAY, HENRY ENGELHARDT (1797-1871). See Vol. iv. 691, and Register, 4. STEINWAY & SONS, New York. See article in Vol. iv. 691-2, and references in Vol. iii. 729-32. Charles H. Steinway died in New York on Oct. 30, 1919. STEPHENS, ALBERT JAMES (b. 1878). See COLLEGES, 3 (Fargo C., N. D.). STERLING, ANTOINETTE (Jan. 23, 1850, Sterlingsville, N. Y. : Jan. 9, 1904, Hampstead, England). See article in Vol. iv. 693-4. During her residence in America in 1871-73 she was for a time soloist in Henry Ward Beecher's church in Brooklyn. Some songs written for and first sung by her became very popular, among them Sullivan's 'Lost Chord' (first sung at a Boosey Ballad concert, London, Jan. 31, 1877), Cowen's 'The Better Land,' Molloy's 'Darby and Joan' and Barn- by's 'When the tide comes in.' [ R.5 ] STERLING, WINTHROP SMITH (Nov. 28, 1859, Cincinnati), graduated from the Cincinnati College of Music as gold medalist in 1883, and spent the next four years at the Leipzig Conservatory under Reinecke, Jadas- sohn and Zwintscher. He also studied there with R. Hoffman (composition) and Frau Unger-Haupt (voice), and in London with Turpin (organ), Shakespeare and Behnke (voice). In 1887-1903 he taught singing and composition at the Cincinnati College of Music, and was head of the organ-department. In 1903 he founded the Metropolitan CoUege of Music, of which he is now dean. He has been organist in London and Cincinnati, gave organ-recitals at the Chicago, Buffalo and St. Louis World's Fairs and elsewhere, and has lectured on problems of singing and musical education. He has written a suite and an overture for orchestra, church-music, organ- and piano-pieces and songs. [ R.7 ] STERNBERG, CONSTANTIN IVANO- VITCH, Edler von (July 9, 1852, Petrograd, Russia), when a boy, on Liszt's recommen- dation, became a pupil of Moscheles, Coccius and Richter at the Leipzig Conservatory. Later he studied with Kullak in Berlin, and made his debut as pianist there in 1875, with encouragement from Rubinstein. He also served as chorus-master at the Stadt-Theater and as conductor at Bruhl's, at Wiirzburg and Kissingen in the summers, and at the court- opera in Neu-Strelitz. In 1875-77 he was 374 STEVENS STOCK court-pianist at Schwerin and head of the Academy Music School. In 1875 and '77 he had lessons from Liszt. In 1877-78 he toured with the singer Mme. Desiree Artot through Europe, Russia, Siberia, Asia Minor and Egypt. In 1880 he came to America on a concert-tour, and for six years after, at first alone, then with Wilhelmj and Minnie Hauk. In 1886 he became a citizen and settled first in Atlanta, removing in 1890 to Philadelphia, where he established the Sternberg School of Music, which he still directs. Most of his more than 100 works are for the piano. Many of them have been often played by Hofmann, Godowsky, Mme. Bloomfield-Zeisler and others. The 'Humoresque,' op. 26, the five Concert-Eludes, the 'Impromptu' and 'Caprice Hyppique' (Peters), the 'Nuit Arabe,' 'En Boheme' and the three ' Preludes,' op. 106, he regards as most characteristic. He has also written six piano-trios, and many choral works and songs. Besides frequent articles in magazines, he has published The Ethics and Esthetics of Piano-Playing, 1917. [ R.7 ] STEVENS, ROBERT W. See COLLEGES, 3 (U. of Chicago, 111.). STEVENSON, EDWARD IREN^EUS (b. 1868). See Register, 7. STEVENSON, FREDERICK (Sept. 16, 1845, Newark, England), graduated at St. John's College in Sussex in 1866. In 1867-74 he was organist in Forest Hill and in 1874-82 in Blackheath, pursuing composition with Macfarren and J. F. Bridge and composing many works, including 'Cyrus,' besides con- ducting choral societies and teaching at the Blackheath Conservatory. In 1883 he became precentor at St. John's Cathedral in Denver, where, with Walter E. Hall, he developed choir-services of special excellence. Later he was at St. Mark's and the Synagogue, directed the Denver Conservatory and led the Concert Choir. From 1894 he was in Los Angeles as organist, conductor and composer. In 1905-18 he was specially engaged there and in Santa Barbara in developing his conception of modern harmony, and since 1918 has resumed teaching at Los Angeles. He has composed a large number of sacred solos with organ accompaniment (or other instruments), various anthems and part-songs, and the choral works 'Easter Eve and Morn,' 'Om- nipotence,' 'Christmas Bells,' 'The Angel Gabriel,' etc. (Ditson, Church). He has also written somewhat for orchestra and chamber- instruments. [ R.7 ] STEWART, HUMPHREY JOHN (May 22, 1856, London, England), began at eleven as chorister and organist. He played in various London churches until 1886, when he came to San Francisco as organist of the Church of the Advent, going later to Trinity Church and the First Unitarian Church. In 1901, after giving recitals at the Buffalo Exposition, he went to Trinity Church in Boston, but after two years returned to San Francisco, this time at St. Dominic's. In 1915 he became official organist of the Ex- position at San Diego, and still continues playing daily on the open-air organ at Balboa Park. It is interesting that the annual series of 250 to 300 recitals on this instrument, the first outdoor organ in the world, have been interrupted less than thirty times in five years by unfavorable weather. In 1919 the programs included 2270 selections from 385 composers. These recitals have established his reputation as a player of great ability and wide sympathy. As conductor he has been identified with vari- ous choral and orchestral organizations, notably the Handel and Haydn Choral Society of San Francisco. His oratorio 'The Nativity' (1888, Church) has had performances through- out the country. A romantic opera, 'Bluff King Hal' (1889), and two comic operas, 'His Majesty' (1890) and 'The Conspirators' (1900), have been performed, and he has also written the music for three of the 'Grove- Plays' of San Francisco Bohemian Club, 'Montezuma' (1903), 'The Cremation of Care' (1906), and 'Gold' (1916). He has composed the orchestral suites 'Montezuma' (1903) and 'Scenes in California' (1906), three masses, incidental music to several plays, songs, choruses, piano-, organ- and violin- music. The gold medal of the A. G. O. was awarded in 1899 for his anthem 'I beheld, and lo !' ; and in 1907 he won prizes from the Chicago Madrigal Club and the Pittsburgh Male Chorus for other choral works. He is a founder of the A. G. O., an honorary life- member of the Bohemian Club, and has been or is president of several musical organizations. In 1898 the University of the Pacific made him Mus.D. [ R.7 ] STEWART, JAMES. See Register, 3. STICKNEY, JOHN (1744-1827). See TUNE-BOOKS, 1774. STIEFF, CHARLES M. (1805-1862). See Register, 4. STIEFF, CHARLES M., is the firm-name of the piano-making business established in Baltimore by Charles M. Stieff in 1842 and steadily developed by his son, Frederick P. Stieff and two grandsons. Since before 1890 Herman Keuchen has been their chief designer, and his skill has done much to forward their reputation as leading makers. STOCK, FREDERICK AUGUST [Fried- rich Wilhelm August] (Nov. 11, 1872, Julich, Germany), had early training from his father f a well-known band-master and composer of military music. In 1886-90 he studied at the STOCKER STOEVING 375 Cologne Conservatory under Wiilmer, Japha, Humperdinck, Gustav Jensen and Gustav Hollander, becoming proficient in violin and composition. On his graduation with highest honors he was chosen from over fifty com- petitors as a first violinist in the famous Municipal Orchestra. In 1895, having met Thomas in Cologne, he came to the Chicago Orchestra. In 1901-05 he was assistant- conductor and in 1905 Thomas' successor. In 1918-19 he was temporarily withdrawn, awaiting completion of his American citizen- ship. In 1920 he added to his duties the care of the Civic Music Student Orchestra. His compositions include : Symphony No. 1, in C minor (1910). Symphony No. 2, in E-flat (1915, not yet given). Symphonic Variations, in B minor (1904). Symphonic Poem, 'Life,' in E-flat, in memory of Theodore Thomas (1905). Overture, 'Life's Springtide,' in A (1912, given in 1913). Overture, 'To a Romantic Comedy,' in D (1917, given in 1918). Overture, 'Nature,' in D (not yet given). Four Symphonic Sketches, 'The Seasons' (1911, given in 1912, Berlin). Symphonic Waltz in D (1907, given at Winona Lake). Improvisation and Wedding Music (1907, Pitts- burgh). Concerto in D minor, for violin (1915, Norfolk Festival, Zimbalist). Festival March and 'Hymn to Liberty,' for 20th anniversary of the Chicago Orchestra (1910). March and 'Hymn to Democracy,' in E-flat (1919). Quartet in C minor, op. 6, for strings. Quintet in B-flat minor, op. 8, for strings. Sextet in F, op. 3, for strings. Also songs, violin- and piano-pieces, and many orchestral arrangements. [ R.8 ] STOCKER, STELLA, nee Prince (Apr. 3, 1858, Jacksonville, HI.), graduated at the University of Michigan, spent a year at Wellesley College and was later at the Sor- bonne in Paris. She began music at the Jacksonville Conservatory, studied piano with Frau, Gliemann in Dresden and Xaver Scharwenka in Berlin, singing with Sbriglia in Paris (1910-13), and counterpoint and composition with Klein in New York. Being much attracted by the music of the Indians, she has lived among them, becoming a member of one of the O jib way tribes, with the name 4 O - mes - qua - wi - gi - shi - go - que ' (' Red - Sky- Lady'). In her compositions Indian melodies appear without change, especially in the choruses of her plays. She has lectured on Indian music and legends in America and abroad. 'Sieur du Lhut,' a play in four acts, and 'The Marvels of Manabush,' an Indian pantomime in three acts, make liberal use of Indian themes. Earlier and more conventional works are the operettas 4 Beulah, Queen of Hearts,' 4 Ganymede* and 4 Raoul,' besides pieces for piano. She is an active member of the New York and Chicago Manuscript Societies. [ R.7 ] STOCKHOFF, WALTER WILLIAM (Nov. 12, 1887, St. Louis), who is entirely self- taught in music, has been teaching in St. Louis since 1904. His published works in- clude, for the piano, a Sonata, 'in contem- plation of the Nations at War'; 'In the Mountains,' a set of seven impressions; a Lullaby; and twelve 'Quodlibets' (all Breit- kopf) ; and also three piano-trios. He has in manuscript works for orchestra, piano and voice, and further chamber-music. His writ- ing has been thus highly praised by Busoni : 4 In the hands of an intelligent virtuoso, a sympathetic interpreter, the seven 'Im- pressions' will create a rich, brilliant and most fascinating effect.' [ R.9 ] STODART, ROBERT. See Register, 3. STOECKEL, CARL (b. 1858). See Reg- ister, 8. STOECKEL, GUSTAV JACOB (1819- 1907). See Register, 4. STOESSEL, ALBERT FREDERIC (Oct. il, 1894, St. Louis), after preliminary edu- cation in St. Louis, became a pupil of Hess and Wirth at the Berlin Hochschule. His d6but as violinist was made there with the Bliithner Orchestra, and in America with the St. Louis Orchestra in 1915. In Berlin he was a member of the Willy Hess String- Quartet and was associated with leading artists in concert-work. After service in the U. S. Army he resumed concert-work in 1919. He has composed a string-quartet in D (1914, Berlin), a string-quintet in C minor (1915, Amsterdam), violin-pieces, and songs. [ R.10 ] STOEVING, CARL HEINRICH PAUL (May 7, 1861, Leipzig, Germany), after general training at the Gymnasium, had three years at the Leipzig Conservatory, with Schradieck as his chief teacher, followed by work with Leonard in Paris. In 1881-82 he taught violin at the Konigsberg Con- servatory, and in 1882-83 was concertmaster of a symphony-orchestra in Hamburg. After a concert-tour in Russia and Scandinavia, in 1884 he came to the United States and toured extensively, part of the time with the Mendelssohn Quintette Club. From 1896 he was in London, at first largely in concert- work, but from 1898 as teacher at the Guild- hall School of Music and from 1907 at the Trinity School of Music. His The Art of Violin-Bowing, 1902, went to many editions in both English and German and made him known as an authority. He then added The Story of the Violin, 1905, an ingenious blending of history and romance that has become a classic, and, more recently, Elements of Violin-Playing and a Key to Sevcik's Works, 376 STOJOWSKI 1914. He has also written stories and novel- ettes, with the violin as center of interest, for English and American magazines (also in book-form in German). In 1914 he re- turned to America, dividing his time as teacher between New York and the New Haven School of Music, of which he was director in 1914-18. He has published ' Lyric Pieces,' op. 1, ' Summer Idyls,' op. 2, 'At the Fountain,' op. 4, an Album-Leaf and Concert-Etude, op. 6, and a 'Danish Dance,' op. 8, all for violin and piano. He has also written a string-quartet, four pieces for string-orchestra, a violin-concerto in one movement, a Capriccio for four violins, a prize Romance for violin and orchestra, two song-cycles,] etc. In manuscript he also has further literary works. [ R.7 ] STOJOWSKI, SIGISMOND DENIS AN- TOINE (Apr. 8, 1870, Strzelce, Poland), the son of a Polish noble, had his early education in the Cracow Lyceum and : under Zelenski at the Conservatory, graduating in 1887. As a child he played in the salon of Princess Czatoryska, once a pupil of Chopin, and in 1883 appeared with orchestra, playing Beet- hoven's C minor concerto with an original cadenza. In 1887-89 he studied at the Sorbonne in Paris and at the Conservatory under Diemer, Dubois and Delibes, graduating in 1889 with honors in piano and counterpoint, and then continuing under the guidance of Gorski and Paderewski. In 1891 he gave a concert in the Salle Erard with the Colonne Orchestra with an original program, in- cluding his piano-concerto in F-sharp minor and an orchestral Ballade. An orchestral suite from this period which attracted Tchai- kovsky's interest was later given by Von Biilow in Hamburg and by Hall6 in Man- chester. After some years of life in Paris, with many concert- tours, in 1905-11 he was head of the piano-department of the In- stitute of Musical Art in New York and in 1911-17 at the Von Ende School, often return- ing to Europe for concerts notably in 1913, when he gave his 2nd Concerto in London with Nikisch. He has played often with leading orchestras in America, and in 1912 gave a notable series of historical concerts in New York. During the war and since he has been specially active on behalf of Poland. As a teacher he is the authorized exponent of Paderewski's methods, and counts among his pupils players like Novaes, Levitzky, Arthur Loesser and Elenore Altman. In 1918 he married his former pupil, Luisa Morales-Machedo of Lima. His compositions include (all for piano except as noted) Two 'Pensees Musicales,' op. 1 (Schott). Deux Caprices, op. 2 (Augener). Concerto in F-sharp minor, op. 3, for piano and orchestra (Augener). STOKOWSKI Trois Intermedes, op. 4 (Schott). Quatre Morceaux, op. 5 (Schott). Variations and Fugue, op. 6, for string-quartet. Cantata, 'Le Printemps,' after Horace, op. 7, for chorus and orchestra (Novello, given at Buckingham Palace). Three Piano-Pieces, op. 8 (Schott). Suite in E-flat, op. 9, for orchestra (Schott). 'Deux Orientales,' op. 10 (Schott). Five Songs, poems by Asnyk, op. 11 (Schott). 1 'Danses Humoresques,' op. 12 (Augener). Sonata in G, op. 13, for violin and piano (Schott). Three Piano-Pieces, op. 15 (Schott). Deux Caprices, op. 16 (Schott). Sonata in A, op. 18, for 'cello and piano (Schott). 'Cinq Miniatures,' op. 19 (Heugel). Romanza, op. 20, for violin and orchestra (Peters). Symphony in D minor, op. 21 (Peters, also for piano, four hands). Concerto in G minor, op. 22, for violin and or- chestra (Schmidt). Symphonic Rhapsody, op. 23, for piano and or- chestra (Peters). Five 'Polish Idyls,' op. 24 (Peters). Five 'Romantic Pieces,' op. 25 (Peters). Four Piano-Pieces, op. 26 (Peters). Fantaisie, op. 27, for trombone and piano (1905, for Paris Conservatory competition) (Evette). Deux Mazurkas, op. 28 (Schmidt). ' Aus Sturm und Stille,' op. 29, six pieces (Peters). 'Trois Esquisses,' op. 30 (Schmidt). Concerto in D, op. 31, for 'cello and orchestra (Heugel). Concerto Prologue, Scherzo, Variations, op. 32, for piano and orchestra (Heugel). Six Songs, poems by Tetmajer, op. 33 (Heugel). Trois Etudes de Concert, op. 35 (Heugel). Four 'Poemes d'Ete,' op. 36 (Schirmer). Sonata in E, op. 37, for violin and piano (Heugel). Fantaisie, op. 38 (Heugel). Five 'Aspirations,' op. 39 (Heugel). 'A Prayer for Poland,' op. 40, for chorus, organ and orchestra (Schirmer). Other piano-pieces and songa, without opus-no. (Schott, Heugel). Among unpublished works are an unfinished 2nd Symphony, a Ballade and Scherzo for orchestra, a Concerto in F minor for piano, a piano-quintet (unfinished), etc. [ R.9 ] STOKOWSKI, LEOPOLD ANTON STAN- ISLAW (Apr. 18, 1882, London, Eng- land), was of Polish parentage. His early education was in England, France and Ger- many, and included violin, piano and organ. In 1905-08 he was organist at St. Bartholo- mew's in New York. After a year in Europe as guest-conductor, in 1909-12 he was con- ductor of the Cincinnati Orchestra, going thence in 1912 to be leader of the Philadelphia Orchestra. He holds a Mus.B. from Oxford and a Mus.D. from the University of Penn- sylvania (1917). In 1911 he married the pianist Olga Samaroff. Among large works introduced by him in America are Mahler's 8th Symphony and his cycle 'Das Lied von der Erde,' Rabaud's 2nd Symphony and Schonberg's 'Chamber Symphony.' He has also been active in bringing out works by American composers (see PHILADELPHIA OR- STOLZ STRUBE 377 CHESTRA). His rise into prominence as an or- chestral conductor of the first class has been extremely striking. [ R.9 ] STOLZ, PAUL G. See COLLEGES, 3 (Buck- nell U., Pa.). STONE, JOSEPH. See Register, 2, and TUNE-BOOKS, 1793. STOKER, EUGENE HAMILTON. See STATE UNIVERSITIES (Ida.). STORER, MARIA ;(d. 1795). See Regis- ter, 1. STOUGHTON MUSICAL SOCIETY, THE, of Stoughton, Mass., was organized in 1786 as a men's chorus. It grew out of a singing-school conducted by Billings. Though not the first musical organization in the United States, it occupies a unique place because of its unbroken history to the present as an active choral society. It is now a large mixed chorus. It issued the Stoughton Collection, 1828, and another compilation under similar name in 1878, the latter valuable because preserving old pieces of 'psalmody.' STRAKOSCH, MAURICE (1825, Lem- berg, Galicia : Oct. 9, 1887, Paris). See article in Vol. iv. 713. In January, 1857, he managed his first season of Italian- opera in New York. In 1859 he took his company to Chicago for a series of performances. He wrote the operas ' Sardanapalus ' and 'Giovanna di Napoli ' (given in New York) , some piano-pieces and the books Souvenirs d'un Impresario, 1887, and Ten Commandments of Music for the Per- fection of the Voice, 1896. [ R.4 ] STRAKOSCH, MAX (1834-1892). See note in Vol. iv. 713, and Register, 4. STRANSKY, JOSEF (Sept. 9, 1874, Hupo- lec, Bohemia), was 'originally trained in medicine at the universities of Prague, Vienna and Leipzig, but also studied music under Lostak, Fibich and Dvorak in Prague and with Fuchs and Bruckner in Vienna. After his graduation in 1896 he turned to a musical career. In 1898-1900 he was con- ductor at the German National-Theater in Prague and in 1900-09 at the Hamburg Opera, with many engagements elsewhere in opera and concert. In 1909-10 he led the Bliithner Orchestra in Berlin and was chief conductor of the Wagner Concerts at the New Opera. In 1910-11 he was in charge of symphony- concerts in Dresden, besides further activity as guest-conductor. In 1911 he became Mahler's successor as conductor of the New York Philharmonic Society, where he intro- duced important reforms in the orchestra. He has written two operas ('Der General' often given in Hamburg), a Symphonic Suite (given in Dresden and Berlin), various songs (Schuberth, Simrock), and arrangements of Berlioz' 'Beatrice et Benedict' and of Gluck's 'Paride ed Elena.' [ R.10 ] t STRAUSS, RICHARD (June 11, 1864, Munich, Germany). See article in Vol. iv. 717-20, and note in v. 668. His further operas are 'Der Rosenkavalier' (1911, Dresden, 1913, New York), 'Ariadne auf Naxos' (1912, Stuttgart, and, revised, 1916, Berlin) and 'Die Frau ohne Schatten' (1919, Vienna), besides the ballet ' Josef s-Legende ' (1914, Paris). He has also produced the elaborate 'Alpensymphonie' (1915, Berlin, 1916, Phila- delphia, Cincinnati, New York). The latter is a fresh illustration of his technical mastery. See bibliography in Baker, Diet, of Musicians, pp. 921-2. STRICKLAND, LILY TERESA (b. 1887). See Register, 9. STRONG, EDWARD (b. 1870). See COL- LEGES, 3 (Carleton C., Minn.). STRONG, GEORGE TEMPLETON (May 26, 1856, New York). See article in Vol. iv. 728-9. His Symphony 'In the Mountains' was given in New York on Nov. 24, 1887, and the 'Sintram' Symphony on Apr. 12, 1892. The following works should be added : 4 March en' ' Gestrebt, ' ' Gewonnen, ' ' Geschei- tert," op. 12, for violin and orchestra. Tonstiick for English horn and organ. 4 Knights and Naiads,' for soli, chorus and or- chestra. Symphonic Idyl, 'An der Nixenquelle,' for two pianos. Symphony No. 3, 'An der See.' Four Pieces 'At Sunset,' 'Peasants' Battle- March, 'In the Old Forest,' 'The Awakening of the Forest-Spirits,' for orchestra. His humorous trio for violins and viola, 'A Village Music-Director,' was first given in America by the Flonzaley Quartet in 1917. [ R.6 ] STRONG, SUSAN (b. 1875?). See. Reg- ister, 8. STRUBE, GUSTAV (Mar. 3, 1867, Bal- lenstedt, Germany), had his first lessons from his father, and entered the Leipzig Con- servatory in 1884, studying violin with Brod- sky and Herrmann, piano with Reckendorf, and harmony and composition with Jadassohn and Reinecke. In 1890 he came as a first violinist to the Boston Symphony Orchestra, continuing till 1913. During this period he wrote three overtures, two symphonies, two violin-concertos, a string-quartet, two sym- phonic poems with viola obbligato, a 'cello- concerto, a Rhapsody for orchestra, a cantata for men's chorus and orchestra, a Rhapsody for chorus and orchestra, and many violin- pieces. For twelve years he was one of the conductors of the Popular Concerts, and for six years led the orchestral numbers at the Worcester Festivals. Since 1913 he has taught harmony, counterpoint and com- position at the Peabody Conservatory in Baltimore, and since 1916 he has been con- 378 STUDEBAKER HALL SZUMOWSKA ductor of the Baltimore Symphony Or- chestra. Important pieces since 1913 are Variations for orchestra, the three-act Ameri- can opera 'Ramona,' a sonata for violin and piano, a violin-concerto, a sonata for viola and piano, and two symphonic poems for orchestra. [ R.8 ] STUDEBAKER .HALL, in Chicago, in the Fine Arts Building, was opened in 1895. It has always been a headquarters for concerts and from 1899 was long used for opera in English and other opera-performances. See Upton, Musical Memories, pp. 312-6. STURANI, GIUSEPPE. See Register, 9. SUCKER, F. J. See COLLEGES, 3( Eureka C., 111.). SULLY, MRS. See Register, 2. SURETTE, THOMAS WHITNEY (Sept. 7, 1862, Concord, Mass.), graduated from Harvard in 1891, studying piano with Foote and theory with Paine. In 1883-93 he was organist at Concord, in 1893-94 music-master at the Hill School in Pottstown, Pa., and in 1895-96 organist at Christ Church in Balti- more. From 1895 he took up lecturing on music both under the American Society for the Extension of University Teaching and (since 1909) also on the extension-staff of Oxford University. His activity in this field has been extensive in America and England, and he has prepared useful syllabi of music-history. He has also published The Appreciation of Music, 1907, with D. G. Ma- son, The Development of Symphonic Music, 1915, Music and Life, 1917, and many articles. His compositions include the operetta 'Pris- cilla, or the Pilgrim's Proxy,' the dramatic ballad 'The Eve of St. Agnes,' for soli, chorus and orchestra (1898), the romantic opera 'Cascabel' (1899), anthems and instrumental pieces. [ R.7 ] SUTRO, FLORENCE EDITH, n6e Clinton (1865-1906). See Register, 7. SUTRO, ROSE LAURA |(b. 1870) and OT- TILIE (b. 1872). See Register, 8. SVECENSKI, LOUIS (b. 1862). See Reg- ister, 7. J SVENDSEN, JOHAN SEVERIN (Sept. 30, 1840, Christiania, Sweden : June 14, 1911, Copenhagen, Denmark). See article in VoL iv. 758-9. From 1896 he also conducted at the Royal Theater in Copenhagen. In 1908 he retired from active service. SWAN, TIMOTHY (1758-1842). See Reg- ister, 2, and TUNE-BOOKS, 1785. SWARTHOUT, MAX VAN LEWEN (b. 1880). See Register, 9. SWEENEY, GEORGE C. See TUNE- BOOKS, 1810. SWEETSER, JOSEPH EMERSON (1825- 1873). See TUNE-BOOKS, 1849. SWEETZER, BENJAMIN, JR. See TUNE- BOOKS, 1839. SWIFT, SAMUEL (Jan. 19, 1873, Newark, N. J. : July 21, 1914, New York), gradu- ated from the University of Pennsylvania in 1894, having also studied at the Philadelphia Musical Academy and been organist in 1891-93 at churches in Wilmington, Del. In 1894-1907 he was critic for the New York 'Evening Mail,' in 1900 going abroad as correspondent. In 1907-09 he was on the staff of the 'Tribune' and from 1909 on that of the 'Sun.' He was one of the founders of the New Music Society and a member of the MacDowell Club and other organizations. [ R.8 ] SYMPHONY HALL, in Boston, was built in 1899, especially to provide a headquarters for the Boston Symphony Orchestra. One of its leading founders was Maj. Henry L. Higginson, the patron of the orchestra. See cut in Vol. i. 368. SYMPHONY SOCIETY OF NEW YORK, THE. See article in Vol. iv. 805. In 1914 Henry H. Flagler assumed responsibility for the financial support of the orchestra. In 1920 Mr. Damrosch took the orchestra to Europe for a tour of several weeks in France, Italy, the Low Countries and England. Among the novelties introduced have been Elgar's 2nd Symphony (1911), Sibelius' 4th Symphony, Fanelli's 'Tableaux Symphoniques' and Elgar's 'Falstaff' (1913), Kolar's Sym- phonic Suite and Ravel's 'Daphnis et Chloe' (1914), Delius' 'Summer Night on the River' and 'On Hearing the First Cuckoo,' and Damrosch's music for 'Iphigenia in Aulis,' 'Medea' and 'Electra' (1915, the last three repeated in 1918), and Griff es' 'Poem' for flute and orchestra (1919). In several seasons about 1910 series of Beethoven concerts were a feature. In 1908 a new-found Trio of his for harpsichord, flute and bassoon was brought out. SZUMOWSKA, ANTOINETTE (Feb. 22, 1868, Lublin, Poland), had her general edu- cation in Warsaw and studied piano with Strobl and Michalowski there. In 1890-95 she was with Paderewski in Paris. In 1891 she appeared at the Salle Erard, in 1892 many times in England, and in 1893 toured again there and in Russia and Poland. In 1895 she came to America, playing with the Boston Symphony, New York Symphony and Thomas Orchestras. In 1896 she married the 'cellist Joseph Adamowski, and, with him and his brother, formed the Adamowski Trio. During the war she devoted herself largely to work as president of the Friends of Poland. [ R.8 ] TALBOT, HOWARD (b. 1865). See Reg- ister, 8. TALBOT, THOMAS R. (b. 1884) . See Reg- ister, 10. TAMARO, JOSEF (1824-1902). See Reg- ister, 6. t TANIEIEV, SERGEI IVANOVITCH (Nov. 25, 1856, Govt. of Vladimir, Russia : June 18, 1915, Moscow). See article in Vol. v. 17. In 1889-1906 he was professor of counterpoint and composition at the Moscow Conservatory, and his fine library was be- queathed to that institution. Among his famous pupils are Scriabin and Rachmaninov. To the list of works should be added a 'Suite de Concert,' op. 28, for violin and orches- tra; two string-quintets, op. 14 in G and op. 16 in C ; a string-quartet in B-flat, op. 19 ; a piano-quartet in E, op. 20 ; two string- trios, op. 21 in D and op. 31 in E-flat ; a piano- trio in D, op. 22; a prelude and fugue in G-sharp minor, op. 29, for two pianos ; about 40 songs and a number of choruses. See Montagu-Nathan, Contemporary Russian Com- posers, 1917. TAPPER, BERTHA, nee Feiring (1859- 1915). See Register, 7. TAPPER, THOMAS (Jan. 28, 1864, Can- ton, Mass.), gained his general education in history, literature and languages through pri- vate tutors. He studied music at the Peter- silea Academy in Boston, continuing it with art-subjects in Europe. For some years he taught theory and composition in Boston. He edited 'The Musical Record and Review' in 1903-04 and 'The Musician' in 1904-07. Since 1905 he has been lecturer at the Institute of Musical Art in New York, in 1907-09 was director of the Music School Settlement, and since 1908 has been music- director at New York University. In 1911 he was made Litt.D. by Bates College. In 1895 he 'married the able Norwegian pianist Bertha Feiring. He has been a frequent contributor to musical and literary magazines, and has published many books. Those directly relating to music include Chats with Music-Students, 1890, The Music-Life, 1892, Music-Talks with Children, 1896, Pictures from the Lives of the Great Composers, 1899, The Child's Music-World, 1896, First Studies in Music-Biography, 1900, Education of the Music- Teacher, Essentials in Music-History, 1914 (with Percy Goetschius), and many text- books for elementary and advanced music- study, such as The Melodic Music-Course, 28 vols., with charts (with F. H. Ripley), a series on Music-Theory, 6 vols., and The Modern Graded Piano -Course, 19 vols., besides a few translations. He also has in preparation a number of further manuals on music-history, appreciation and theory. Besides specializing in musical education, he has recently given great attention to the subject of community- music, on which he has a book in view. Out- side of music, he has published much in general literature and in the field of commercial efficiency. [ R.7 ] TAWS, CHARLES (d. 1833) . See Register, 2. TAYLOR, DAVID CLARK (Nov. 11, 1871, New York : Dec. 7, 1918, New York), graduated from the College of the City of New York in 1890, and studied music with O. W. Wilkinson, Alfred Remy and others. He was long connected with The Macmillan Company. He published The Psychology of Singing, 1908 (in German, 1910), New Light upon the Old Italian Method, 1916, Self-Help for Singers, 1914 (in German, 1914) and The Melodic Method in School Music, 1917. He had charge of the department of Vocal Music in The Art of Music, 1914-17, and wrote many articles upon topics related to singing. [ R.9 ] TAYLOR, JOSEPH DEEMS (Dec. 22, 1885, New York) , was educated at the Ethical Cul- ture School and graduated from New York Uni- versity in 1906. He studied composition with Oscar Coon. Besides his work as composer, in 1916-17 he was war-correspond- ent for the (Sunday) 'Tribune' and since 1917 has been associate-editor of 'Collier's Weekly.' In 1919 he lectured in Denver on music-history and appreciation. His works include a symphonic poem, 'The Siren Song,' op. 2 (Nat. Federation of Musical Clubs prize, 1913), 'The Chambered Nautilus,' op. 7, for chorus and orchestra (1915, Schola Cantorum) (Ditson), the cantata 'The Highwayman,' op. 8, for chorus and orchestra (1914, Peter- boro Festival) (Ditson), the song-cycle 'The City of Joy,' op. 9 (Ditson), the suite 'Through the Looking-Glass,' op. 12, for strings, wind and piano, 'Six Lyrics of James Stephens,' op. 13 (J. Fischer), Seven Tran- scriptions of Armenian Folk-Songs, op. 14 (J. Fischer). He has also edited the Schumann Club Series, arrangements for women's voices, 60 nos., 1919 (J. Fischer) and joined Schindler in translating many Russian and Alsatian folk-songs, beside other translations of Russian, French, German and Italian songs. [ R.10 ] TAYLOR, RAYNOR (1747, England : 1825, Philadelphia), like G. K. Jackson, who was nearly of the same age, had his first school- ing as a boy in the Chapel Royal. In this ca- pacity he is said to have assisted at Handel's funeral in 1759 and to have lost his hat in the 380 TAYLOR THAYER great man's grave. From about 1765 for some years he was organist at Chelmsford, not far from London. His success as a ballad-writer and his natural bent for the stage then led to his becoming music-director for one of the London theaters. Somewhere before 1785 he was the teacherjof Reinagle, who was eleven years younger. In 1792 he came to Baltimore, gave some concerts there and at Annapolis, where for a time he was organist at St. Anne's, but in 1793 betook himself to Philadelphia. Here for thirty years he was the Nestor of the fine circle to which Reinagle, Carr and Schetky belonged. For most of this period he was organist at St. Peter's. In 1820 he was one of the founders of the Musical Fund Society and honored in its councils. As a player he was famous for improvisation. He was also a clever stage-singer, with a gift for the comic and burlesque. He composed both vocal and instrumental works, but nothing remains except some unimportant songs. In 1796 he gave a program, half of which was made up of his own compositions. In 1799 he and Reinagle prepared a 'Monody' over the death of Washington which made a deep impression. The titles of several plays by him or for which he wrote accompaniments are given by Sonneck (Concert-Life, pp. 42, 47,140, 144-5, and in 'Early American Op- eras,' I. M. G. Sammelbde. 6. 458, 486, 488). See also Madeira, passim. [ R.2 ] TAYLOR, SAMUEL PRIESTLEY (1779- 1875?). See Register, 3. TAYLOR, VIRGIL CORYDON (1817- ? ). See TUNE-BOOKS, 1846. TECHNICON, THE. See note in Vol. ii. 266. The inventor, J. Brotherhood, was a Canadian. For some time he was in New York, seeking to promote the use of his ap- paratus, which he patented in many countries in 1885. His ideas as to the importance of training the extensor muscles as well as the flexors were sound, and the apparatus was well designed. For a time it was manufac- tured at Brattleboro, Vt. 'TEMPLE OF MINERVA, THE.' An 'oratorio' or, rather, an allegorical operetta in two scenes by Francis Hopkinson, given in Philadelphia in 1781 at an entertainment tendered by the French Minister to Gen. Washington. Only the libretto is extant. See Sonneck, Francis Hopkinson, and I.M. G. Sammelbde. 5. 148-51. 'TEMPLE-DANCER, THE.' A one-act opera by John Adam Hugo, produced at the Metropolitan Opera House on Mar. 12, 1919. TERRIL, ISRAEL. See TUNE-BOOKS, 1806. } TERRY, RICHARD RUNCIMAN (1865, Ellington, England). See article in Vol. v. 668. Besides going forward with his work in recovering early Catholic music in England, in 1911 he was extension-lecturer for Oxford University, in 1911-12 head of the Union of Music-Directors of Secondary Schools, in 1913 lecturer at Birmingham University and in 1915- 17 examiner for Dublin and Birmingham Uni- versities. He has written five masses, a Requiem and many motets, and has edited sev- eral collections of old English motets and The Official Catholic Hymnal for England, with a book on Catholic Church-Music. See article in ' Musical Opinion,' January, 1920. JTETRAZZINI, LUISA (1874, Florence, Italy). See article in Vol. v. 668. In 1904 she sang as Gilda in 'Rigoletto' in San Fran- cisco, and then went to Mexico and South America. Though announced at the Metro- politan Opera House for 1905-06 and at the Manhattan for 1906-07, she failed to appear in either case. But after her London debut in 1907 she came to New York, appearing at the Manhattan as Violetta in 'La Traviata' on Jan. 15, 1908, continuing there till its closing in 1910. She then made concert-tours, sang at times with the Chicago and Boston Opera Companies and revisited England. In 1913- 14 she was with the Chicago Opera Company, and made a tour in 1919-20. TEYTE, MAGGIE (Apr. 17, 1889, Wolver- hampton, England), after general education at St. Joseph's Convent in Wolverhampton, studied at the Royal College of Music in London, and in 1903-07 with Jean de Reszke in Paris. Her debut was at Monte Carlo in 1907, as Zerlina. During the next two seasons she sang at the Opera-Comique in Paris, appearing first as M61isande in 'Pell6as et Melisande.' In 1910-11 she sang in London, and from 1911-14 was with the Chicago Opera Company, making her American debut as Cherubino in ' Le Nozze di Figaro ' on Nov. 4, 1911, in Philadelphia. Her first appear- ance in New York was in a song-recital on Nov. 16, when she was praised for her rendering of French songs. In 1915-17 she was with the Boston National Grand Opera Company. She has made concert-tours in America and England, singing with leading orchestras and in recital. Her favorite roles are Melisande and Mimi. [ R.10 ] THALBERG, MARCIAN (b. 1877). See Register, 10. THATCHER, HOWARD RUTLEDGE (b. 1878). See Register, 9. THAYER, ALEXANDER WHEELOCK (Oct. 23, 1817, South Natick, Mass. : July 15, 1897, Trieste, Austria). See article in Vol. v. 79-80. The story of Thayer and his Life of Beethoven is told by H. E. Krehbiel in 'The Musical Quarterly' for October, 1917. The manuscript for the English edition by Krehbiel has been ready since 1914, but THAYER TIMM 381 publication has been deferred because of war conditions. Volumes ii. and iii. of the orig- inal, as revised by Riemann, were pub- lished in 1910-11. With the German edition complete, Krehbiel began the English version, and by the omission of unnecessary material expects to bring it within three volumes of about 500 pages each. Several plans are being made: (1920) to facilitate the issue of the long- awaited book. [ R.4 ] THAYER, ARTHUR WILDER (b. 1857). See Register, 6. THAYER, WHITNEY EUGENE (Dec. 11, 1838, Mendon, Mass. : June 27, 1889, Burlington, Vt.), although beginning music- study rather early, did not pursue it seriously till he came under John K. Paine's influence and with him was chosen to play at the opening of the organ in Boston Music Hall on Nov. 2, 1863. Two years later he went to Berlin, taking organ and counterpoint with Haupt and composition with Wieprecht. On his return to Boston he was organist successively at the Arlington Street, Hollis Street, Old First Unitarian and New England Churches, and at Harvard Church in Brookline. In 1881-86 he was organist at the Fifth Avenue Presbyterian Church, in New York. After a year at Holy Trinity in Harlem, he gave up church-playing and devoted himself to teach- ing and composition. He gave many organ- recitals in America and abroad, beginning a long series in Boston in 1868. An enthusiast for the improvement of church-music, he gave many lectures, edited 'The Organist's Journal and Review' and 'The Choir Journal and Review,' and conducted the Boston Choral Union and the New England Church-Music Association. Among his pupils were Edward Fisher, Chadwick, J. W. Andrews, Sumner Salter, Gerrit Smith and W. C. Gale. He received the degree of Mus.D. from Oxford University. Among his compositions are a Festival Cantata for soli, eight-part chorus and orchestra, a Mass in E-flat, a fugue for organ, five organ-sonatas, organ-variations (two performers) "on the Russian National Hymn ; many detached organ-pieces ; songs and part-songs ; and a School of Organ-Playing, 5 parts. His private organ-studio in Boston, opened in 1875, was one of the first of its kind in the country. [ R.5 ] THAYER, WILLIAM ARMOUR (b. 1874). See COLLEGES, 3 (Adelphi C., N. Y.). THEODORINI, HELENA (b. 1862). See Register, 8. THIBAUD, JACQUES (Sept. 27, 1880, Bordeaux, France). See article in Vol. v. 83. His first visit to America was in 1903, and he has repeatedly come again, appearing with leading orchestras and in ensemble, especially in conjunction with Harold Bauer. [ R.9 ] THOMAS, ISAIAH (1749-1831). See Reg- ister, 2, and TUNE-BOOKS, 1786. THOMAS, JOHN ROGERS (1829-1896). See Register, 4. THOMAS, THEODORE (Oct. 11, 1835, Esens, Germany : Jan. 4, 1905, Chicago). See article in Vol. v. 88, with many additional data in iv. 801-3. Upton, Theodore Thomas, a Musical Autobiography, 2 vols., 1905, is a notable memorial. The second volume gives concert-programs from 1855 (the Mason- Thomas Soirees) to 1905 (the Chicago Or- chestra series). There is also a long list of the works which he introduced in America. Rose Fay Thomas, Memories of Theodore Thomas, 1911, also sheds much light upon his character and career. The original title of the Chicago Orchestra was resumed in 1913. [ R.4 ] THOMAS ORCHESTRA, THE. See Vol. iv. 801-3, and references in preceding article. THOMPSON, ALEXANDER STEWART (b. 1859). See COLLEGES, 3 (Ohio U.). THOMPSON, JOHN WINTER (b. 1867). See Register, 8. THOMS, WILLIAM M. (1852-1913). See Register, 5. J THOMSON, CESAR (Mar. 18, 1857, Liege, Belgium). See article in Vol. v. 89. He visited America in 1894-95. Since 1914 he has been teacher of violin at the Paris Conservatory. He has edited collections of early Italian violin-music, has composed a Fantaisie on Hungarian themes for violin and is author of a violin-method (1913). THOMSON, SAMUEL. See TUNE-BOOKS, 1810. THUNDER, HENRY GORDON b. (1865). See Register, 7. THURBER, JEANNETTE, nee Meyer. See Register, 7. THURSBY, EMMA CECELIA (Feb. 21, 1854, Brooklyn, N. Y.). See article in Vol. v. 99. Her first public appearance was at Bedford Church in Brooklyn, with Gilmore's Band. After a successful tour she then became soloist at the Broadway Tabernacle in New York at a salary of $3000. Later tours and her trip to Europe in 1878 were under the management of Maurice Strakosch. In 1896 she began her career in New York as teacher of singing. She is at work upon an auto- biography, which is to include a study of her method of voice-development. [ R.6 ] JTIERSOT, JEAN BAPTISTE ELISEE JULIEN (July 5, 1857, Bourg-en-Bresse, France). See article in Vol. v. 103-4. Since 1909 he has been chief librarian of the Paris Conservatory, succeeding Weckerlin. To the list of works add J. J. Rousseau, 1912 (in Mattres de la Musigue). TIMM, HENRY CHRISTIAN (1811- 1892). See Register, 3. 382 TINEL TORRINGTON } TINEL, EDGAR (Mar. 27, 1854, Sinay, Belgium : Oct. 28, 1912, Brussels). See article in Vol. v. 112. From 1909 he was director of the Brussels Conservatory. His sacred opera 'Katharina' was produced in 1909 at Brussels. TIRINDELLI, PIER ADOLFO (b. 1858). See Register, 7. TOEDT, THEODORE J. (b. 1853). See Register, 6. TOLLEFSEN, CARL HENRY (Aug. 15, 1882, Hull, England), after early education in the Brooklyn public schools, studied violin in New York with Lichtenberg, Kneisel and Schradieck and theory and composition with Goetschius and Goldmark, graduating from the Institute of Musical Art in 1908. For two years he was a first violin in the Sym- phony Society. He has taught in the National Conservatory, and is now head of the violin- department of both the Berkeley Institute and St. Francis Xavier Academy in Brooklyn. His wife, nee Augusta Schnabel, was trained as pianist by Katha Widmann in Frankfort, and by Gallico and Godowsky in New York, making her debut in 1906 with the Symphony Society, and later appearing with the Phil- harmonic Society, the Scandinavian Symphony Orchestra (of which her husband is leader) and the Kneisel Quartet. In 1909 the Tollefsen Trio was formed, in which Michael Penha is 'cellist, with Mr. and Mrs. Tollefsen as violinist and pianist respectively. The Trio has toured in almost all parts of the United States. [ R.9 ] TOLMAN, CARL JEAN (b. 1875). See COLLEGES, 2 (Coker C., S. C.). TOMLINS, J. See TUNE-BOOKS, 1810. TOMLINS, WILLIAM LAWRENCE (Feb. 4, 1844, London, England), as a choir-boy was a pupil of Macfarren and Silas. He became one of the managers of the London Tonic Sol-fa College in 1864. In 1870 he came to America, in 1875 located in Chicago and became director of the Apollo Club, then a men's chorus of sixty voices. He was in- strumental in the change of the Club into a mixed chorus of ultimately 400 voices, and under his direction many excellent per- formances were given. His connection with the Club ceased in 1898. In 1883 he began organizing classes of school-children for chorus singing, and made a specialty of this work and of training teachers of school-music. In 1903 he established at Chicago the National Training School for School Music Teachers, and was engaged by the Chicago Board of Education as musical instructor for teachers in the grade schools. He returned to London in 1910. He is author of Children's Songs and How to Sing Them, 1885. [ R.6 ] TONNING, GERARD (b. 1860). See Reg- ister, 7. TORONTO CONSERVATORY OF MU- SIC, THE, was founded by Edward Fisher in 1886 and opened in 1887, being the first of its class in Canada. Dr. Fisher re- mained its efficient head until his death in 1913, and was then succeeded by Augustus S. Vogt. The institution was successful from the start, and has gone on expanding till it now is the largest music-school in the British Empire. Including its preparatory depart- ment, its faculty numbers 150 members. Since 1916 its enrollment has run considerably over 3000, not counting a still larger number who take examinations under its auspices elsewhere in Canada. In 1897 it bought a large tract of land near Queen's Park, where a series of buildings have been erected, in- cluding a recital-hall and a dormitory for women. From 1896 till 1918 it was so related to the University of Toronto that the degrees of Mus. B. and Mus. D. were accessible under the latter's strict system. The departments of instruction comprise the voice and all standard instruments, elocution, artistic danc- ing, kindergarten methods, tuning, and four foreign languages. The work in piano, organ and theory has always been notably strong. Special attention is given to the teaching of young children, and to training teachers for them. But facilities are ample for attaining advanced musicianship and virtuoso expe- rience. Various forms of certificate and diploma, in both teachers' and artists' courses, with many scholarships and prizes, are pro- vided. The equipment includes 110 pianos, 3 organs (that in the hall having three manuals and 41 stops), some orchestral instruments and a library of 650 volumes. The student orchestra numbers 50. The Conservatory maintains twelve branches in Toronto. Since 1898 it has also provided standardized local examinations in several subjects at an in- creasing number of other places outside. This system has lately been extended so as to apply to students in schools and colleges who cannot work so intensively as others. In 1919 over 100 centers for such examinations were listed, besides 25 schools, mostly in Ontario, but as far as Quebec on the east and Vancouver on the west. Nearly 4000 pupils apply for these examinations annually. 'TORQUIL.' An opera by Charles A. E. Harriss, produced in Montreal in 1896. TORRINGTON, FREDERICK HER- BERT (Oct. 20, 1837, Dudley, England : Nov. 20, 1917, Toronto, Ont.), was an articled pupil of James Fitzgerald at Kidderminster, studying piano, organ and theory. His first appointment as organist was at St. Anne's in Bewdley. In 1856 he came to Canada, and in 1857-69 was organist of St. James Street (M. E.) Church in Montreal, where he TOSCANINI TOVEY 383 built up a reputation as organ-recitalist, violinist and conductor. At the Boston Peace Jubilee in 1869 he was leader of the Canadian Orchestra. For four years he remained in Boston as organist at King's Chapel, teacher in the New England Con- servatory, violinist and conductor of choral societies. In 1873 he went to Toronto as organist at the Metropolitan Methodist Church (a position he held for 34 years) and conductor of the Toronto Philharmonic Society. In 1886 he arranged the first local festival, presenting 'Israel in Egypt,' 'Mors et Vita' and other large works. In 1888 he founded the Toronto College of Music, now affiliated with the University of Toronto. As principal of this school, and in many other ways, he aided in the introduction and popularization of good music in Canada. In 1892 he became president of the Canadian Society of Musicians. In 1903 he was as- sociated with A. C. Mackenzie as conductor of a notable festival. The University of Toronto conferred upon him the honorary degree of Mus.D. His compositions included organ-pieces, services, songs and choruses. [ R-4 ] TOSCANINI, ARTURO (Mar. 25, 1867. Parma, Italy), was educated in the Musical Academy of Parma (now Conservatory), studying 'cello with Carini and theory with Ferrari and Dacci. Obtaining the first prize for 'cello at graduation, he played in orchestras, and in 1886 finally drifted to Rio de Janeiro. The incompetence of a conductor led to his unexpected debut in this capacity on the second night of his engagement. On his return to Italy he again played in orchestras, but was soon engaged as conductor at the Teatro Regio in Turin. He then conducted successively at Treviso, Bologna, Genoa and La Scala in Milan in 1898. In 1898 he came to the Metropolitan Opera House in New York, as chief conductor. Resigning in April, 1915, he returned to Italy, and during the war lent his energies to the musical en- couragement of patriotism and the relief of distressed musicians. In 1916-18 he gave series of operatic and open-air performances at the Dal Verne Theater, the Arena and the Verdi Conservatory in Milan, which yielded large sums for worthy causes. For his leader- ship of an army-band at Monte Santo he was awarded a silver medal. In the summer of 1919 he conducted festival performances, including several of Beethoven's 9th Sym- phony, at Turin and Milan. During his years at the Metropolitan he conducted Italian, German, French and Russian operas, all with impressive success. He introduced in America Puccini's 'Le Villi' (1908), Cata- lani's 'La Wally' (1909), Franchetti's 'Ger- mamV (1910), Gluck's 'Armide* (1910), Dukas' 'Ariane et Barbe-bleu' (1911), Wolf- Ferrari's ' Le 'Donne Curiose' (1912), Mussorg- sky's 'Boris Godunov' (1913), Wolf-Ferrari's 'L'Amore Medico' (1914) and Montemezzi's 'L'Amore dei Tre Re' (1914). He also conducted there the premieres of Puccini's 'La Fanciulla del West' (Dec. 10, 1910) and Giordano's 'Madame Sans-Gene' (Jan. 25, 1915). He conducted nothing but opera in New York with the exception of two notable concerts in April, 1913, when he twice gave Wagner's 'Faust' Overture, Strauss' 'Till Eulenspiegel' and the 9th Symphony. In Italy he has been equally prominent as sym- phonic and operatic conductor. His near- sightedness has led to reliance upon a mar- velous musical memory, and he conducts the most complicated scores without book. [R.9 ] J TOSTI, FRANCESCO PAOLO (Apr. 9, 1846, Ortona, Italy : Dec. 3, 1916, Rome). See article in Vol. v. 131-2. After 1913 he lived in Rome. TOURJEE, EBEN (June 1, 1834, War- wick, R. I. : Apr. 12, 1891, Boston). See article in Vol. v. 134. Without being highly trained as a musician, his ability and en- thusiasm as organizer made him influential and valuable, especially in establishing the New England Conservatory. In 1879 he recommended L. W. Mason as head of music- work in the schools of Japan and helped form the plans. In 1876 he was the first president of the M. T. N. A. He was one of the musical editors of the Methodist Hymnal of 1878. For a time he was managing-editor of ' The Musical Herald.' His degree of Mus.D. was from Wesley an University. [ R.4 ] TOURRET, ANDRE (b. 1882). See Reg- ister, 10. J TOVEY, DONALD FRANCIS (July 17, 1875, Eton, England). See article in Vol. v. 137. He studied for several years with Parry, and gratefully acknowledges his indebtedness for his advice and assistance. In 1914 he succeeded Niecks at the University of Edin- burgh, and in 1916 organized the Reid Or- chestra, giving university-students the chance to play with professionals. The result is the now well-established series of orchestral concerts. To the list of works add the follow- ing : Symphony in D, op. 32 (1913, Aix-la-Chapelle, 1915, London). 'Sonata Eroica,' in C, for violin alone (Schott). Sonata in D, for 'cello alone (Schott). Sonata in G, for two 'cellos. Trio in D, for piano, violin and 'cello (Schott). Variations on a theme from Gluck, for flute and string-quartet (Schott). Opera, 'The Bride of Dionysus,' in three acts, text by R. C. Trevelyan (Longmans, 1913). 384 TOVEY TRUNK He contributed over forty articles on musical subjects to the llth edition of the Encyclo- paedia, Britannica. TOVEY, HENRY D. See STATE UNI- VERSITIES (Ark.). TOWERS, JOHN (b. 1836). See Register, 8. TOWNER, CLEM A. (b. 1883). See COL- LEGES, 2 (Oxford C., Ohio). TRACY, JAMES MADISON (b. 1839). See Register, 5. TRAETTA, FILIPPO (Jan. 8, 1777, Ven- ice, Italy : Jan. 9, 1854, Philadelphia), was the son of the composer Tommaso Traetta (see Vol. v. 139-40) . He studied with Fenaroli and Perillo at Venice and with Piccinni at Naples. Imprisoned for political reasons, he escaped from Italy and settled in Boston in 1799. After sojourns in New York and Vir- ginia, in 1822 he located at Philadelphia as singing-teacher, and a year later established the American Conservatorio. He composed the oratorios 'Jerusalem in Affliction' (1828) and 'Daughter of Zion' (1829); the opera 4 The Venetian Maskers ' ; the cantatas ' The Christian's Joy,' ' Prophecy,' ' The Nativity ' and 'The Day of Rest'; a 'Washington's Dead- March ' ; and published Vocal Exercises, Rudi- ments of the Art of Singing and An Introduction to the Art and Science of Music. [ R.3 ] TRAMONTI, ENRICO (b. 1876) . See Reg- ister, 9. 'TREASURED TOKENS.' An opera in two acts by J. Remington Fairlamb, given at the Chestnut Street Theatre in Philadelphia before 1870. TREHARNE, BRYCESON (May 30, 1879, Merthyr Tydvil, Wales), held the Erard scholarship at the Royal College of Music in London, where he was a pupil of Stanford, Parry, Walford Davies, Dannreuther, Pauer and Franklin Taylor. In 1900-01 he taught at the University of Wales in Aberystwyth, and then spent ten years at the University of Adelaide, South Australia. In 1908-11 he was director of the Repertory Theatre at Adelaide, where he not only managed many modern plays but also composed much in- cidental music. In 1911 he came to Paris, and later lived in Milan, Berlin and Munich. Interned at Ruhleben when the war broke out, he found opportunity to write many songs, some orchestral music and part of an opera. When released in 1916 he came from England to America, since 1917 making his home in New York. Of his 200 songs or more some 40 are now published, including 'The Night,' 'The Huguenot,' 'Jeannette,' 'The Fair Cir- cassian,' 'Invocation,' 'A Farewell,' 'The Aftermath,' 'Dreams,' 'Love's Tribute,' 'The Song of France,' 'Renunciation' and 'A Lover's Prayer.' He has besides the two cantatas for women's voices 'A Song of Spring' and 'England, my Mother,' orchestral music and two operas. [ R.10 ] TREMAINE, WILLIAM B. (1840-1907). See Register, 5. TRIO DE LUTECE, THE, of New York, was formed hi 1913, consisting of Georges Barrere, flute, Paul Kefer, 'cello, Carlos Salzedo, harp. ' TRIUMPH OF BOHEMIA, THE.' No. 5 of the 'Grove-Plays' of the San Francisco Bohemian Club, produced in 1907. The text is by George Sterling and the music by Edward F. Schneider. The scene is laid in the redwood forest on a midsummer-night. 'TRIUMPH OF COLUMBUS, THE.' An opera in five acts by Silas G. Pratt, produced in concert-form at the Quadricentennial Columbus Celebration in New York in 1892. TROOSTWYK, ISIDORE (July 3, 1862, Zwolle, Holland), was a pupil of Joachim at the Berlin Hochschule, where he graduated in 1881. After tours in Holland in 1881 and in Germany with Anton Schott the next year, from 1883 he taught violin at the Musiek- School van Toonkunst in Amsterdam and was concertmaster of the Orkest-Vereeniging, changing in 1888 to a similar post in the Concertgebouw. In 1890 he came to America, in 1895 becoming head of the violin- department of the Yale Music School and in 1902 assistant-professor there. He is concert- master of the New Haven Symphony Or- chestra and the founder and conductor of the New Haven String Orchestra. [ R.8 ] TROWBRIDGE, JOHN ELIOT (1845- 1912). See Register, 6. TRUETTE, EVERETT ELLSWORTH (Mar. 14, 1861, Rockland, Mass.), had his general education at Phillips (Andover) Academy and the Massachusetts Institute of Technology. In 1881 he graduated from the New England Conservatory and was given a Mus.B. by Boston University in 1883. He then had two years of organ-study with Haupt in Berlin, Guilmant in Paris and Best in London and Liverpool. Since 1885 he has been organist and teacher in Boston, from 1897 at the Eliot Church in Newton, where he has given more than 110 cantatas with soloists and chorus. He was a founder of the A. G. O. and is now dean of the New England Chapter. He has given over 400 recitals throughout the country and has trained many players of prominence. He has edited several collections, including Schmidt's Standard Organ Collection, 2 vols., and Bach Pedal-Etudes, and has composed an organ-suite, op. 29, 'Five Organ-Pieces for the Church Service,' op. 31, and many anthems and organ-pieces. He is also author of Organ Registration, 1919. [ R.7 ] TRUNK, RICHARD (b. 1879). See Reg- ister, 10. TUBES TUNE-BOOKS 385 TUBES, FRANK HERBERT (b. 1853). See Register, 6. TUCKER, HIRAM G. (b. 1851). See Reg- ister, 6. TUCKERMAN, SAMUEL PARKMAN (1819-1890). See Register, 4, and TUNE- BOOKS, 1840. TUCKEY, WILLIAM (1708, Somerset- shire, England : Sept. 14, 1781, Philadel- phia), apparently came to New York before 1753. In March, 1754, he announced himself as a 'singing-master,' claiming to have been a vicar-choral at Bristol Cathedral and parish- clerk there, and offering to ' amend the singing in publick congregations' and to 'set to musick any piece on any subject.' He taught charity-scholars at Trinity Church and in the '60s arranged special church-music with or- chestra. Probably he has the credit of the first performance in America of the overture and sixteen numbers from 'The Messiah,' which took place on Jan. 16, 1770 at Mr. Burns' New Room. In 1771 he solicited subscriptions for the publication of various works. It is not clear how he was later occupied. He was buried in the grounds of Christ Church in Philadelphia. See Sonneck, Concert-Life, pp. 176-81. [R.I ] TUFTS, JOHN (1689-1750). See TTJNE- BOOKS, 1721?. TUFTS, JOHN WHEELER (1825-1908). See Register, 4. TUNE-BOOKS. Throughout the 17th cen- tury, and in many places till long after 1800, the words of congregational song in the churches of the Colonies were exclusively metrical versions of the Psalms. What we now call 'hymns' verses not aiming to metricize the prose of the Scripture, but freely and originally composed were first made popular in England from 1706 by Isaac Watts and still more abundantly from 1740 by the Wesleys. Watts' hymns began to be reprinted in America about 1740, though doubtless imported earlier. After 1750 hymns were gradually adopted by many churches, though without displacing the Psalms. The music required for both Psalms and hymns was in general form the same melodies in distinct phrases adapted to the rhythm and meter of the few customary verse-types. Until nearly the end of tKe 18th century the only rhythm used in the American churches was iambic, except for a slight infusion of anapaests in a few cases. Trochaic rhythm seems to have been unrealized, as it was in England until Charles Wesley revealed its stirring possibilities. The prevailing stanza was of four lines, though sometimes six or eight. 1 1 By far the most frequent formula of syllables for the lines was 8-6-8-6 the old 'ballad-meter' which hence came to be called 'Common Meter.' Melodies thus formed were known as 'Psalm-Tunes,' because originally used for the Psalms. Out of this came the general term 'Psalmody' for the total body of tunes, for the practice or custom of singing and also in time for the books that served as manuals. 1 Until after 1750 the tunes used were entirely derived from English sources, and most of them were of English origin. Yet it is to be noted that the music brought to Plymouth and Salem was that contained in Ainsworth's Psalter (1612), which was compiled in Am- sterdam and included much that differed from the less varied and vigorous forms later brought to Boston and presumably to all other places outside of New England, which was derived from the musical editions of Stern- hold and Hopkins' Psalter of 1562 or later. 2 Though these books provided a considerable body of good melodies, the actual practice of singing everywhere degenerated or became almost obsolete during the 17th century, owing to the scarcity of books with music and the growing inability to use musical notation. When the so-called 'Bay Psalm Book,' originally compiled in 1640, came to have tunes added in 1690, their number was small and their variety slight. About 1720, perhaps earlier, a few ministers began to agitate for the restoration of singing on a systematic basis. The ensuing con- troversy between 'singing by rote' and 'sing- ing by note' lasted more than a decade, but was finally settled in favor of the latter. This led soon to the setting up of 'singing-schools,' the appearance of itinerant 'singing- teachers,' and finally to a demand for tune-books (manuals of instruction, combined with a selection of actual tunes). 3 The extensive movement thus inaugurated centered first in New England, especially Massachusetts and Connecticut, but spread to New York and Pennsylvania, and ulti- mately to the West and South. The churches most affected were those called Congregational or Presbyterian, but in most cases the move- ment had a general community influence. At the time of the Revolution and the rise of national feeling it was linked up with secular Variants were 8-8-8-8 or 'Long Meter,' 6-6-8-6 or 'Short Meter,' and, rarely, 6-6-6-6-4-4-4-4 or 'Hal- lelujah Meter.' In certain usages, too, 10-10-10-10 or 'Tens' was not infrequent. 1 This term has persisted long after Psalmody proper was in some degree displaced by Hymnody. With reference to the music that accompanied both one might wish that there were warrant for some fresh term like 'Tunody.' * It is unfortunate that the musical richness of Ainsworth has not been more generally recognized. It contained 39 tunes, many of which have decided value, as they certainly have surprising vivacity. 1 An excellent summary of this period is given in Curwen, Worship-Music, 1st series, under 'New England Psalmody." 386 TUNE-BOOKS TUNE-BOOKS singing of the patriotic type. It did not confine itself to 'tunes,' but expanded to 'anthems' and 'odes.' Though the technical art displayed by editors and presently com- posers was often crude and faulty, the move- ment did much to spread skill in singing, to awaken popular interest in music and to pre- pare the way for more artistic enterprises. In many communities the old 'Psalmody' occupied somewhat the place of folk-song. Tunes were at first printed from engraved plates. The first use of music-type was in 1767, and soon became common, though not very satisfactory till after 1800. The subjoined bibliography indicates some- thing of the enormous extent of the early tune- book literature. It is largely condensed and rearranged from Metcalf , American Psalmody, 1917, which in turn was an extension of James Warrington, Short Titles of Books . . of Psalmody, 1898, but includes matter from other sources. Some lesser titles and many details about edi- tions, etc., are omitted. The chronological se- quence is suggested by arranging the compilers according to the date when they entered the field.i The reform in singing was set on foot by two books: John Tufts (1689-1750), minister at Newbury- port, Introduction to the Art of Singing, 1721 (also '26- '44), with a peculiar letter-notation, M, F, S, L (for mi, fa, sol, Id), on the staff in- stead of notes. Thomas Walter (1696-1725), minister at Rox- bury, Grounds and Rules of Music, 1721 (also '23-'64). Both of these derived their tunes from Playford. From 1760 James Lyon (1735-94), Presbyterian minister in Philadelphia in 1764 and then in Nova Scotia and Maine : Urania, Phila. 1762 (also '67, 73). See Sonneck, Hopkinson and Lyon, 1905. Tunes in Three Parts, Phila. 1763, printed by An- thony Armbruster (d. 1796). Psalm Tunes for Christ and St. Peter's Churches, Phila. 1763. Josiah Flagg (71738-94), pioneer in Boston in sa- cred and secular music : Collection of Best Psalm Tunes, 1764 (engraved by Paul Revere) ; Col- . lection of Tansur's and Other Anthems, 1766 both Boston. See Sonneck, Concert-Life, p. 261. Psalms of David for the Dutch Reformed Church, New York, 1767. William Billings (1746-1800), an eccentric and illit- erate tanner, with a contagious zeal for pro- moting social song through popular instruction and his own energetic, but unschooled, efforts at composition : New England Psalm Singer, 1770 ; Singing Master's Assistant, 1778 (also '79, '81) ; Music in Miniature, 1779 ; Psalm Singer's Amusement, 1781 ; Suffolk Harmony, 1786 ; Continental Harmony, 1794 all Boston. All but 11 tunes were original. Andrew Law (1748-1821), self-taught singing- teacher of Cheshire, Conn., who traveled widely 1 No attempt is made to include the German hymnody of Pennsylvania, which was wholly un- connected with that of the English Colonies. (as far as Baltimore) : Select Number of Plain Tunes, Boston, 1767 (and to '75); Select Har- mony, 1778 (also to '92) ; Collection of Best Tunes and Anthems, 1779 (and to '82) ; Musical Primer, New Haven, 1780 (and to 1812), and Supple- ment, 1811; Collection of Hymn Tunes, 1782 (and to '92) ; Rudiments of Music, 1783 (and to '93) ; Christian Harmony, 2 vols., 1794 (and to 1805) ; Musical Magazine, 6 nos. 1792-1801 (combined, 1805) ; Art of Singing, 2 vols. 1794- 96 (and to 1810) ; Harmonic Companion, Phila. 1807 (and to '19) ; Art of Playing the Organ, 1809 (also '19) all first at Cheshire except as noted. Besides his great activity as author and compiler, Law was noted for advocating setting the melody in the soprano instead of tenor, and for experi- ments with ' character-notes ' (notes with heads varying according to their scale-relation), at first (about 1800) with but four varieties, later with seven, and at first posited as if upon a staff, but without staff-lines a curious device to empha- size scale-relations while avoiding typographical difficulties. Essex Harmony, Newburyport, 1770, printed or compiled by Bailey, Part II, Salem, 1802. John Stickney (1744-1827) : Gentleman's and Lady's Musical Companion, Newburyport, 1774 (and to '83). Elias Mann (1750-1825), singing-teacher at North- ampton, Mass. : Northampton Collection, 1778 (and to 1802) ; Massachusetts Collection, Boston, 1807. See also Albee below. From 1780 Simeon Jocelyn (1746-1823) : Collection of Favorite Psalm Tunes, 1780 (also '87) ; Chorister's Com- panion, New Haven, 1782, with Amos Doolittle (and to '92), and Parts II-III, 1790+ ; Federal Harmony, Boston, 1793. Oliver Brownson: Select Harmony, New Haven, 1783 (also '91) ; New Collection of Sacred Har- mony, Simsbury, 1797. Daniel Read (1757-1836), comb-maker and singing- teacher at New Haven : American Singing Book, New Haven, 1785 (and to '93) and Supplement, 1787; Musical Magazine, Vol. I, New Haven, 1786-7 ; Introduction to Psalmody, New Haven, 1790; Columbian Harmonist, Nos. 1-4, New Haven, 1793-1810 (No. 1 also to 1810) and Sup- plement; American Musical Miscellany, North- ampton, 1798 ; New Haven Collection, Dedham, 1818. Timothy Swan (1758-1842), singing-teacher in Massachusetts and Vermont : Federal Harmony, 1785 (and to '92) ; Songster's Assistant, Suffield, 1800; New England Harmony, Northampton, 1801 ; Songster's Museum, Northampton, 1803. Worcester Collection, Worcester, 1786, printed by Isaiah Thomas (1749-1831), the author of a notable History of Printing, 1810 (reprinted 1874). Tunes Suited to Psalms and Hymns of the Book of Common Prayer, Phila. 1786. Andrew Adgate (d. 1793), an enterprising promoter of popular music in Philadelphia through classes and concerts under the name of 'The Uranian So- ciety' or 'Academy' (from 1784) ; Lessons for the Uranian Society and Uranian Instructions, 1785- 7; Select Psalms and Hymns, 1787; Rudiments of Music. 1788 (and to 1803) ; Selection of Sacred Harmony, 1788 (and to 1803 or later, edited by Husband). See Sonneck, Concert-Life, p. 103 ff . Chauncey Langdon (1764-1830) : Beauties of Psalmody, New Haven, 1786. John Aitken : Litanies and Vesper Hymns and An- thems, Phila. 1787 (also '91). TUNE-BOOKS TUNE-BOOKS 387 Gamut or Scale of Music, Hartford, 1788 (and to 1818). John Hubbard (1750-1810): Harmonia Selecta, Worcester, 1789. Jacob French (b. 1754): New American Melody, 1789 ; Psalmodist's Companion, 1793 ; Harmony of Harmony, Northampton, 1802. From 1790 Asahel Benham : Federal Harmony, New Haven, 1790 (and to '95) ; Social Harmony, Walling- ford, 1798 (also '99). Thomas Lee, Jr. : Sacred Harmony, Boston, 1790. William Young: Selection of Sacred Harmony, Phila. 1790 (also '94). D. Russ: Uranian Harmony, Phila. 1791. Samuel A. Holyoke (1762-1820), singing-teacher in eastern Massachusetts and New Hampshire: Harmonia Americana, Boston, 1791 ; Massachu- setts Compiler, Boston, 1795, with Holden below and Hans Gram ; Columbian Repository, Exeter, 1800 or '02; Occasional Music, Exeter, 1802; Christian Harmonist, Salem, 1804 ; Instrumental Assistant, 2 vols. ?1800-7; Vocal Companion, Exeter, 1807 ; etc. See also Kimball below. Oliver Holden (1765-1834?), carpenter, bookseller and singing-teacher at Charlestown, Mass. : American Harmony, 1792 ; Union Harmony, 2 vols. 1793 ; Charlestown Collection, 1803 ; Plain Psalmody, 1800 all Boston. See also Holyoke above. Baltimore Collection of Sacred Music, Balto. 1792. Nehemiah Shumway: American Harmony, Phila. 1793 (also 1801). Jacob Kimball (1761-1826), lawyer and then sing- ing-teacher in Massachusetts: Rural Harmony, Exeter, 1793; Essex Harmony, Exeter, 1800, with Holyoke. Joseph Stone and Abraham Wood (1752-1804): Columbian Harmony, 1793. John Asplund (d. 1807) : New Collection, Balto. 1793. Supply Belcher (1751-1836) : Harmony of Maine, Boston, 1794. Thomas H. Atwell : New York (and Vermont) Col- lection of Sacred Harmony, 1794 (and to 1805). S. Babcock : Middlesex Harmony, Watertown, 1795 (also 1803). B. Dearborn : Vocal Instructor, 1796. Daniel Belknap (1771-1815) : Harmonist's Com- panion, Boston, 1797; Evangelical Harmony, 1800 ; Middlesex Collection, 1802 (also '08) ; Vil- lage Compilation, Boston, 1806; Middlesex Song- ster, 1809?. D. Wright : American Musical Miscellany, 1798. Truman S. Wetmore (1774-1861) of Winchester, Conn.: Republican Harmony, 1798 (MS). Village Harmony, Exeter, 1798 (and often to 1821). William Little and William Smith : Easy Instructor, Albany, 1798 (and often to 1831). Amos Pillsbury: United States Sacred Harmony, Boston, 1799. Jonathan Benjamin: Harmonia Caelestis, North- ampton, 1799. Solomon Howe: Worshipper's Assistant, North- ampton, 1799 ; Farmer's Evening Entertainment t Northampton, 1804 ; Divine Hymns, Greenwich, 1805. From 1800 Andrews: Plain Psalmody, 1800. Charles Southgate : Harmonia Sacra, 1800 (also '18?). Merit N. Woodruff : Devotional Harmony, 1800 (en- graved). Modern Collection of Sacred Music, Boston, 1800. Elijah Griswold : Connecticut Harmony, 1800, with Thomas Skinner ; Hartford Collection, Hartford, 1807, with Stephen Jenks below. Stephen Jenks (1772-1856), of Connecticut and Ohio : New England Harmonist, New Haven, 1800 (also '03) ; American Compiler, No. 1, North- ampton, 1803, with Griswold above ; Delights of Harmony, New Haven, 1804= Norfolk Compiler, Dedham, 1805 ; Royal Harmony of Zion, Ded- ham, 1810 = Union Compiler, 1818 ; Zion' 8 Harp, New York, 1824. John Cole (1774-1855) : Episcopalian Harmony, 1800 (also '11) ; Collection of Anthems, n. d. ; Col- lection of Psalm Tunes, Boston, 1803 ; Beauties of Psalmody, 1805 (also '27) ; Divine Harmonist, 1808; Ecclesiastical Harmony, 1810; Ministrel Songs, 1812 ; Devotional Harmony, 1814 ; Songs of Zion, 1818 ; Seraph, 1821 (and to '27) ; Sacred Melodies, Nos. 1-3, 1828 ; Union Harmony, 1829 (character-notes) ; Laudate Dominum, 1842 (also '47) all but one at Baltimore. Uri K. Hill : Vermont Harmony, Northampton, 1801 ; Sacred Minstrel, Boston, 1806 ; Handelian Repository, New York, 1814 ; Solfeggio Americano, New York, 1820. Warwick Palfrey (1787-1838) : Evangelical Psalm- odist, Salem, 1802. Elisha West : Musical Concert, Northampton, 1802. Bartholomew Brown, teacher in Boston, in 1832- 38 conductor of the Handel and Haydn Society : Bridgewater Collection, Boston, 1802 (and often to 1839, after 1810 = Templi Carmtno?), with Holt and Mitchell below; Columbian and European Harmony, 1802-4. Abraham Maxim (1773-1829) : Oriental Harmony, Exeter, 1802; Northern Harmony, Hallowell?, 1804? (and to '16). Abijah Forbush: Psalmodist's Assistant, Boston, 1803 (also '06). James Newhall : Vocal Harmony, Northampton, 1803. Benjamin Holt (1774-1861) : New England Sacred Harmony, Boston, 1803. See also Brown above. Walter Janes (1779-1827) : Massachusetts Har- mony, Boston, 1803 ; Harmonic Minstrelsy, Ded- ham, 1807. Lewis and Thaddeus Seymour : Musical Instructor, 1803? ; New York Selection of Sacred Music, New York, 1809 (and to '16), with Lewis Edson (1748-1820). William Cooper: Original Sacred Music, Boston, 1803? ; Beauties of Church Music, Boston, 1804. See also Sweeney below. Ebenezer Child: Sacred Musician, Boston, 1804. Jeremiah Ingalls (1764-1828) : Christian Harmony, Exeter, 1805. Charles Robbins: Columbian Harmony or Maine Collection, Exeter, 1805. Rufus Frost : Medford Harmony, Boston, 1805. Samuel Capen : Norfolk Harmony, Boston, 1805. Salem Collection of Classical Sacred Music, Salem, 1805. Timothy Olmsted : Musical Olio, Northampton, 1805 (also '11). Israel Terril: Vocal Harmony, No. 1, New Haven, 1805?. Amos Albee (b. 1772) : Norfolk Collection, Ded- ham, 1805 ; Columbian Sacred Harmonist, Ded- ham, 1808, with Mann above and Shaw below. Benjamin Carr (1769-1831), a versatile singer and organist in Philadelphia : Masses, Vespers and Litanies, 1805 ; Lessons in Vocal Music, Balto. 1811?; Collection of Chants, Phila. 1816; Choris- ter, Phila. 1820. First Church Collection of Sacred Music, Boston, 1806 (also '15). 388 TUNE-BOOKS TUNE-BOOKS Peter Erban (1769-1861) : Selection of Psalm and Hymn Tunes, New York, 1806. Suffolk Collection of Church Music, Boston, 1807. J. Bushnell: Musical Synopsis, Northampton, 1807. Middlesex Collection, Boston, 1807 (also to '11). John Husband (?1753-1809?) : Collection of Hymns and Psalms, Lancaster, Pa. 1807. See also Adgate above. J. Evans: David's Companion, New York, 1807 (and to '10). Amos Blanchard : Newburyport Collection, Exeter, 1807 ; American Musical Primer, Exeter, 1808. Jonathan Huntington (1771-1838) : Apollo Har- mony, Northampton, 1807; Classical Music, Boston, 1812. Charles Woodward : Ecclesice Harmonia, Phila. 1807 ? (also '09) ; Sacred Music in Miniature, Phila. 1812. Stephen Addington: Sacred Music, Phila. 1807?; Valuable Selection of Psalm and Hymn Tunes, Phila. 1808. Zedekiah Sanger (1748-1820), minister from 1776 at Duxbury, Mass., from 1788 at South Bridge- water : Meridian Harmony, Dedham, 1808. George Hough : Modern Harmony, 1808. Trinity Church Hymns, Boston, 1808. Joel Read (b. 1753) : New England Selection, Bos- ton, 1808 (also '12). Henry S. Keating : Key to Harmony, Balto. 1808. Samuel Willard (1776-1859), minister at Deerfield, Mass., from 1807, and author of several hymn- books: Deerfield Collection, Northampton, 1808? (also '18) ; Regular Hymns with Musical Direc- tions, 1823?. Daniel L. Peck : Musical Medley, Dedham, 1808 : Selection of Sacred Music, Phila. 1810. Oliver Shaw (1779-1848), a blind singer and sing- ing-teacher : Columbian Sacred Harmonist, Ded- ham, 1808, with Albee and Mann; Providence Selection, Dedham, 1815 = MeZodio Sacra, Provi- dence, 1819; Social and Sacred Melodist, Provi- dence, 1845. Hezekiah MOOTS: Province Harmony, Boston, 1809. Azariah Fobes: Delaware Harmony, Phila. 1809. Maryland Selection, Balto. 1809, published by Gillet, Wheeler & Co. Joel Harmon (1773-1833) : Columbian Sacred Min- strel, Northampton, 1809 ; Musical Primer, Har- risburg, 1814 ?. William Smith : Churchman's Choral Companion, New York, 1809 ; Chants for Public Worship, 1814. Perhaps also see Little above. From 1810 Collection of Sacred Music for West Church, Boston, 1810. J. Tomlins: Sacred Music, No. 1, Boston, 1810. George C. Sweeney: Sacred Music, Boston, 1810, with Cooper above. Samuel Thomson : Columbian Harmony, Dedham, 1810. Nathan Chapin and Joseph L. Dickerson : Musical Instructor, Phila. 1810. George E. Blake (1775-1871): Vocal Harmony, Phila. 1810. John Wyeth (1770-1858): Repository of Sacred Music, Harrisburg, 1810 (and to '34) and Part II, 1813 (also '20). Clement Millard: United States Harmony, 1810?. Nahum Mitchell (1769-1853), at one time member of Congress and also Circuit Judge in Massa- chusetts: LXXX Psalm and Hymn Tunes or Brattle Street Collection, Boston, 1810. See also Brown and Holt above. Benjamin Leslie: Concert Harmony, Salem, 1811. Hollis Street Collection of Psalm and Hymn Tunes, Boston, 1811. Francis C. Schaffer: Hymns Set to Music, Boston, 1811. James Hewitt: Harmonia Sacra, Boston, 1812. 'An American': Columbian Harp, Northampton, 1812. Eli Roberts: Hartford Collection, New London, 1812. Evangelical Songster, Newburyport, 1812. Selection of Psalm Tunes /or ... the Protestant Episcopal Church in the State of New York, 1812?. Emanuel Kent: David's Harp, Balto. 1812 (and later). Josiah Holbrook : American and European Har- mony, 1813, with David Pool. Solomon Warriner (1778-1860): Springfield Collec- tion, Springfield, 1813. See also Hastings below. Japhet C. Washburn : Parish Harmony or Fairfax Collection, 1813?; Temple Harmony, 1818? (also '21?). Freeman Lewis (1780-1859) : Beauties of Harmony, 1813? (also '16). William Bull (1762-1842) : Music Adapted to Lan- guage, 1813?. Portsmouth Collection of Sacred Music, Exeter, 1814. John Hubbard : Volume of Sacred Music, Newbury- port, 1814. Select Harmony, Boston, 1815 (also '17), being Part IV of Samuel Worcester's Christian Psalmody (collection of psalms and hymns). Edward Hartwell : Chorister's Companion, Exeter, 1815. Isaac P. Cole: Third Presbyterian Church Collec- tion, Phila. 1815; Pocket Edition of Psalm and Hymn Tunes, New York, 1834 (and to '39). John Armstrong : Pittsburg Selection of Psalm Tunes, Pittsburg, 1816. Timothy Flint (1780-1840), minister at Lunenburg, Mass., till 1815 and then missionary "in the West : Columbian Harmonist, Cincinnati, 1816 (charac- ter-notes). T. D. Baird: Science of Praise, Zanesville, O., 1816. George K. Jackson (1745-1823), an organist from England who was active in several Boston churches: Choice Collection of Chants, Boston, 1816 ; Choral Companion, Boston, 1817. Earlier works in England. It was Jackson's approval that secured the publication of Lowell Mason's first collection under the auspices of the Handel and Haydn Society. J. Eckhard: Choral Book, Boston, 1816. Thomas Hastings (1787-1872), the chief pioneer in developing choral singing and instruction in New York State, first at Utica and from 1832 in New York City : Musica Sacra or Springfield and Utica Collections Combined, Utica, 1816 (and often to '38), with Warriner above and Seth Norton (d. 1818) ; Musical Reader, Utica, 1817 (also '19) ; Spiritual Songs for Social Worship, Utica, 1831, with Mason below ; Union Minstrel, Phila. 1834 ; Musical Miscellany, 2 vols. (from his 'Musical Magazine'), New York, 1836; Manhattan Col- lection, New York, 1836 ; Sacred Lyre, New York, 1840 ; Psalmodist, New York, 1844, with Brad- bury below (also the next three) ; Choralist, New York, 1847 ; Mendelssohn Collection, New York, 1849 ; Psalmista, New York, 1851 ; Selah, New York, 1856, with his son Thomas S. Hastings (1827-1911) ; Church Melodies, New York, 1859, with the same. Hastings was besides an indus- trious and fairly able writer of hymns (see Julian, Diet, of Hymnology and Benson, The English Hymn), which appeared first in Spiritual Songs, TUNE-BOOKS TUNE-BOOKS 389 1831, in The Mother's Hymn Book, 1834, in The Christian Psalmist, 1836, in Devotional Hymns and Religious Poems, 1850, etc. He also pub- lished a Dissertation on Musical Taste, 1822 (also '53) ; History of Forty Choirs, 1854 ; Sacred Praise, New York, 1856. He wag Mason's spe- cial coadjutor in the movement for improving church music, sharing in the latter's high ideals, though with less technical equipment. Ezekiel Goodale (b. 1780) : HaUowell Collection, Hallowell, Me. 1817 (also '19). Collection of Sacred Music for Churches which Sing without a Choir, New York, 1817?. J. W. Nevius : New Brunswick Collection, New Brunswick, N. J., 1817 (and to '40), with Corne- lius Vanderventer and John Frazee. Samuel L. Metcalfe (1798-1856), professor of Chemistry in Transylvania University, Lexing- ton, Ky. : Kentucky Harmonist, 1817? (and to '26). E. Riley: Sacred Melodies, 1817?. Samuel Dyer (1785-1835) : New Selection of Sacred Music, Balto. 1817 (and to '28 or later) ; Selec- tion of Anthems, Balto. 1817 (and to '51, then edited by his son, Samuel O. Dyer) ; Philadel- phia Selection of Sacred Music, New York, 1828. I. Gerhart and J. F. Eyer : Choral Harmonie, 1818 (also '22). New Haven Collection, Dedham, 1818. Francis D. Allen: New York Selection of Sacred Music, 1818 (and to '33) : Selection of Sacred Music for the Dutch Reformed Church, New York, 1818?. Old Colony Collection, 2 vols., Boston, 1818-19? (also '23). Valuable Collection of Sacred Music, Exeter, 1818. Jonathan Mayhew Wainwright (1792-1854), Epis- copal minister of English birth, but graduated at Harvard, from 1819 settled in New York : Set of Chants, Boston.1819 ; Music of the Church, New York, 1828 (also '50) ; Psalmodia Evangelica, 1838. Arthur Clifton: Original Psalm Tunes, Balto. 1819. James M. Winchell (1791-1820), Baptist minister in Boston from 1814, and compiler of an edition of Watts' hymns : Sacred Harmony, Boston, 1819. From 1820 James P. Carroll: Songs of Z ion, 1820?. Henry Little : Wesleyan Harmony, Hallowell, Me. 1820 (also '21). Ephraim Reed: Musical Monitor, Ithaca, N. Y. 1820 (and to '27). Wesleyan Selection of the John Street Church, New York, 1820. Methodist Harmonist, New York, 1821 (also '28). C. C. Abbott : Young Convert's Pocket Companion, Boston, 1822. Lowell Mason (1792-1872): Boston Handel and Haydn Society Collection of Church Music, 2 vols., Boston, 1822 (and often later) ; Lyra Sacra, 1832 ; Choir or Union Collection, 1833 ; Boston Academy's Collection, 3rd ed., 1835; Occasional Psalmody, 1837; Songs of Asaph, 1838; Seraph, 1838 ; Boston Anthem Book, 1839 ; Modern Psalm- ist, 1839 ; Carmina Sacra, 1841 ; Boston Academy Collection of Choruses, 1844; Psaltery, 1845; National Psalmist, 1848 ; Cantica Laudis, 1850 ; Boston Chorus Book, 1851 ; New Carmina Sacra, 1852 his most successful book ; Home Book of Psalmody, 1852 ; Hallelujah, 1854 ; besides about 15 books for children and perhaps half as many collections of secular glees and part-songs. Sev- eral of the above were edited jointly with George J. Webb below ; see also Hastings above. As to the significance of Mason and his colleagues, see statement at the close of this article, HYMN- BOOKS, and individual article. Nathaniel D. Gould (1781-1864), singing-teacher in Massachusetts and New Hampshire, teacher of penmanship, and author of an interesting, but slender History of Church Music in America, Boston, 1853: Social Harmony, Boston, 1822; National Church Harmony, Boston, 1832 ; Sacred Minstrel, 1840. Absalom Peters (1793-1869): Sacred Music, 1823. Ailing Brown : Gamut, New Haven, 1823 ; Musical Cabinet or New Haven Collection, New Haven, 1824 (also '30). Massachusetts Collection, Greenfield, 1823. Thomas Loud [Jr.] : Psalmist, Phila. 1824. S. D. Puller: Small Collection of Sacred Music, Harrisburg, 1825. Allen D. Garden : Missouri Harmony, 1827 (char- acter-notes). Stoughton Collection, 1828, issued by the Musical Society of Stoughton, Mass. Elam Ives, Jr. (1802-64) : American Psalmody, Hartford, 1829 (also '30), with Deodatus Button. From 1830 Samuel F. Bradford : Music of the Church, Phila. 3rd ed. 1830. Psalmist or Chorister's Companion, Boston, 1831. Joshua Leavitt (1794-1873), lawyer in New York and later editor of ' The Evangelist ' and ' The In- dependent': Christian Lyre, New York, 1831, and Supplement, which introduced the practice of printing the hymns in full in conjunction with the tunes. See HYMN-BOOKS. William B. Snyder and W. L. Chappell : Western Lyre, 1831 (character-notes). Henry E. Moore (1803-41) : New Hampshire Col- lection, Concord, 1832 (andj later) and Supple- ment, 1834; Choir ; Collection of Anthems, Choruses and Set Pieces ; Northern Harp. Christian Psalmody, printed by Barrett & Coleman, N. H. 1832. Abner Jones : Melodies of the Church, New York, 1832 ; Temple Melodies, New York, 1840. Charles Zeuner (1795-1857), a Saxon who came to Boston in 1824, was organist of the Handel and Haydn Society in 1830-37 and of Park Street Church, and from 1854 organist in Philadelphia : American Harp, Boston, 1832 ; Ancient Lyre, Boston, 1842?. James W. Palmer : Western Harmonia Companion, 1832 (character-notes). Abraham Dow Merrill (1796-1878): Wesleyan Harp, Boston, 1834, with W. C. Brown ; Vestry Harp, 1845. Robert Willis : Lexington Cabinet, Lexington, Ky. 1834 (character-notes). Timothy B. Mason: Ohio Sacred Harp, 1834 (at first in character-notes) ; Sacred Harp or Eclectic Harmony, Vol. i, 18th ed. Boston, 1836. Thomas Whittemore (1800-61), from 1820 Uni- versalist minister at Milford, Mass., and Cam- bridge, later prominent in business and political life and author of many religious books : Songs of Zion, 1836; Gospel Harmonist, 1841; as well as juvenile collections. W. Nash : Sacred Harmony, 1836. Occasional Psalm and Hymn Tunes, Boston, 1838. Joseph Muenscher: Church Choir, Columbus O. 1839. Benjamin Sweetzer, Jr. : Cumberland Collection of Church Music, 1839. David Paine : Portland Sacred Music Society's Col- lection of Church Music, Portland, Me. 1839. 390 TUNE-BOOKS TUNE-BOOKS George Kingsley (1811-84) : Harp of David, New York, 183-? ; Sacred Choir, 1839 ; Sacred Har- monist; Templi Carmina, Northampton, 1853; besides several juvenile books. From 1840 George J. Webb (1803-87), an Englishman who became organist of the Old South Church in Boston in 1830 and coworker with Mason in various enterprises, including the foundation of the Boston Academy in 1833 and the editing of 'The Musical Library' in 1835-36, was con- ductor of the Handel and Haydn Society in 1840-43 and an influential teacher till 1870, when he removed to Orange, N. J. and taught in New York for some years: Massachusetts Collection of Psalmody, Boston, 1840 ; Cantica Ecclesiastica, Boston, 1859 ; besides several juvenile text-books and collections. See also Lowell Mason above. Ancient Harmony Revived, Boston, 1840 (and to '56). Hiram May: Harp, Perry, Me., 1840?. J. H. Hickok : Social Lyrist, Harrisburg, 1840. Thomas Comer, who founded the Musical Fund Society in Boston in 1847 : Boston Musical In- stitute's Collection of Church Music, 1841. Sylvanus Billings Pond (1792-1871), at first an in- strument-maker at Albany, from 1832 in New York, entering the business later known as Wm. A. Pond & Co. : United States Psalmody, New York, 1841. Asa Fitz and E. R. Dearborn: Vestry Singing Book, Boston and New York, 1841. Fitz issued many other books for school-use. J. B. Packard and W. S. Hubbard: Songs of Canaan, Boston, 1842. Benjamin F. Baker (1811-89), early prominent as a church singer and leader in Salem, Portland and Boston, in 1841 Mason's successor in the Boston public schools : Boston Musical Education Society's Collection, Boston, 1842, with Woodbury below ; Choral, Boston, 1845, also with Woodbury; Haydn Collection of Church Music, 1850, with L. H. Southard; Melodia Sacra, 1852, with Johnson and Osgood below. Isaac B. Woodbury (1819-58), from 1839 member of a traveling glee-club in New England and later, after some study abroad in 1851, teacher and editor in New York of 'The Musical Review' (from 1850) and 'The Musical Pioneer' (see Baker above) : Anthem Dulcimer, New York, 1850 ; Liber Musicus, 1851 ; Cythera ; New Lute of Zion ; besides many secular collections. H. W. Day: David's Harp, 1842; Numeral Har- mony, 1846 ; One-Line Psalmist, 1849 these two in a numeral notation. Chants and Anthems for the Church of the Messiah, New York, 1843. Ureli C. Hill (71802-75), a New York violinist (pupil of Spohr) and founder of the Philharmonic Society in 1842 : New York Sacred Music Society's Collection of Church Music, 1843. William B. Bradbury (1816-68), an organist in Boston from 1834 and from 1840 teaching, com- posing and editing in New York (see Hastings above and Hamilton below) : Shawm, 1853, with Root below ; Jubilee, 1858 ; etc. Edward Hamilton : Songs of Sacred Praise or American Collection, Boston, 1845, with Bradbury above: J. H. C. Stanbridge and W. H. W. Darley : Cantus Ecclesice, Phila. 1844. Edward L. White: Modern Harp, Boston, 1846, with John E. Gould (1822-75) ; Harmonia Sacra, Boston, 1851, also with Gould. He also edited two vols. of 'The Boston Melodeon,' 1850, a third being added, by L. H, Southard and E. H. Baker, T. Bissell : Boston Sacred Harmony, 1846. Virgil C. Taylor (b. 1817) : Sacred Minstrel or American Church Music Book, New York, 1846; Choral Anthems, Boston, 1850. J. B. Aikin : Church Minstrel, Phila. 1847 (char- acter-notes). Henry K. Oliver (1800-85), a writer upon the making and use of mathematical instruments and a musical amateur in Boston and Salem : National Lyre, with Tuckerman below and S. A. Bancroft; Collection of Church Music, 1860; Original Hymn Tunes, 1875. Samuel P. Tuckerman (1819-90), organist in Bos- ton from 1840 (studying in England in 1849-53) to 1856, after which he lived abroad for many years : Episcopal Harp, 184- ? ; Cathedral Chants, 1858; Trinity Collection of Church Music, New York, 1864. See also Oliver above. George F. Root (1820-95), in 1839-44 A. N. John- son's partner in Boston and closely associated with Mason and Webb, removing in 1845 to New York and to Chicago in 1860 : Collection of Church Music, New York, 1849, with Joseph E. Sweetser (1825-73); Diapason, 1860; besides a large number of secular cantatas, instruction-books, songs and cantatas. See also Bradbury above. Daniel H. Mansfield (b. 1810) : American Vocalist, Boston, 1849. Artemas N. Johnson (b. 1817), a music-dealer in Boston, choir-leader and organist, editor of 'The Musical Gazette' and 'The Musical Journal': Bay State Collection, Boston, 1849, with Josiah Osgood and S. Hill ; Handel Collection of Church Music, 1854 ; besides books on Harmony (1844, '54) and juvenile collections. Leonard Marshall : Antiquarian, 1849 ; Harpsi- chord or Union Collection, 1852, with E. N. Stone. Augustus D. Fillmore (b. 1823), Christian minister in Ohio: Universal Musician; Christian Psalm- ist both probably before 1850. John W. Moore (1807-87), editor in Vermont and New Hampshire, and author of an Encyclopaedia of Music (1854) : Sacred Minstrel, before 1850. From 1850 Richard S. Willis (1819-1900), brother of the poet N. P. Willis, editor and author in New York : Church Chorals, New York, 1850. In 1855 he published Our Church Music, a discussion for pastors and people. Joseph Funk, a music-publisher at Dayton, Va. : Genuine Church Music, 1848? (as Harmonia Sacra, '50). Henry W. Greatorex (1811-58), an English organist at Hartford, later in New York: Collection of Psalm and Hymn Tunes, Chants, Anthems and Sentences, Boston, 1851. William Bullock: Songs of the Church, Halifax, N. S., 1854. John Zundel (1815-82), a German organist, at Plymouth Church in Brooklyn in 1850-78: Psalmody, New York, 1855. William H. Walter (b. 1825), organist at Newark, New York and Washington : Selection of Psalms, 1857; Manual of Church Music, 1860. F. E. Pitts, minister at Nashville, Term. : Zion's Harp, Louisville, before 1859. Lewis H. Steiner (b. 1827), physician in Baltimore: Cantate Domino, Boston, 1859, with Henry Schiving. C. Warren : Missouri Harmony, Cincinnati, prob- ably before 1860. A. Aldrich : Sacred Lyre, Boston, 1859. Among those whose works began before 1860, but continued much later, are especially: TUNE-BOOKS TUNE-BOOKS 391 Luther O. Emerson (1820-1915) : Romberg Collec- tion, Boston, 1853; etc. William O. Perkins (1831-1902) : Choral Harmony, 1859; etc. The total amount of original music in these books is considerable and includes 'anthems' as well as 'tunes' in many cases. Most of it has the interest of being indigenous, since practically all the compilers and contributors were native Americans and had no ambition except to serve an actual musical situation as they knew it. Detailed discussion of the styles exemplified cannot be attempted here. They are perhaps more varied than is usually realized, with some interesting analogies to similar work elsewhere. As to harmony, they keep mainly to a small selection of chords, without much inversion or modification. Modulation is wanting or extremely limited. A curious impulse toward 'fuguing 1 or a kind of counterpoint, which Billings and a few others indulged, did not long continue. As to melody, some good specimens of diatonic procedure occur, the interest lying in the solidity of the chord- succession. But the prevailing tendency is toward the free skips and arpeggiations of secular song. The rather numerous rhythmic and metric patterns imply the same relationship. As compared with the complexity and studied art of the English part-song or glee tunes that were plentifully introduced after the Civil War, these old tunes certainly lack richness. But they are almost always singable, and some of them have no small individuality. As illustrating the persistence of the type, and also suggesting an easy means of reference to it, it may be noted that in Hatfield's Church Hymn Book (1872) a large and carefully edited book out of about 450 tunes at least 175 are taken from this older Psalmody. Among the specimens thus preserved are Billings' 'Jordan' (1781) though not his better-known ' Chester ' Edson's ' Bridgewater ' and 'Lenox' (1782), Holyoke's 'Arnheim' (1785), Daniel Read's 'Lisbon' and 'Windham' (1785), Holden's 'Coronation' (1793), Swan's 'China' (1800), Ingalls' 'Northfield' (1805), John Cole'a 'Geneva' (1805), Mitchell's 'Pilesgrove' (1812), Norton's 'Devonshire' (1818), more than 20 by Hastings, including 'Retreat' (1822), 'Rock of Ages' and 'Zion' (1830), 'New Haven' (1833), 'Rhine' (1836), 'Arcadia' (1839), and 'Peniel' (1850), nearly 45 of Lowell Mason's original tunes, including 'Missionary Hymn' (1824), 'Hebron,' 'Laban,' 'Litchfield,' 'Rockingham,' 'Uxbridge' and 'Wesley' (1830), 'Olivet' (1831), 'Boylston' (1832), 'Sabbath' (1834), 'Admah' (1835), 'Ariel' and 'Naomi' (1836), 'Zerah' (1837), 'Gerar' and 'Meribah' (1839), 'Har- well' and 'Migdol' (1840), 'Ernan' (1850), 'Henley' (1854) and 'Bethany' (1859), besides many of his arrangements, Gardiner's 'Dedham' (1830), N. D. Gould's 'Woodland' (1832), Oliver's 'Federal Street' (1832) and 'Merton' (1843), Zeuner's 'Missionary Chant' and 'Telemann' (1832) and 'Oaksville' (1839), Pond's 'Armenia' (1835), Webb's 'Webb' (1837), Kingsley's 'Heber,' 'Tappan' and 'Ware' (1838) and 'Southport' (1863), nearly 20 by Brad- bury, including 'Brown' (1840), 'Braden,' 'Rest' and 'Zephyr' (1844), 'Woodworth' (1849), 'Aletta' (1856) and 'Even Me' (1862), Ives' 'Beulah' (1846), Woodbury's 'Edmeston' (1848) and 'Siloam' (1850), Taylor's 'Louvan' and 'Solitude' (1849), J. E. Gould's 'Bera' (1849), Greatorex's 'Bemerton' and 'Leighton' (1849), Sweetser's 'Octavius' and 'Rose Hill' (1849), Zundel's 'Lebanon' (1855), Root's 'Shining Shore' (1859), etc. In addition, there are many tunes by composers who did not edit books, such as 'Kentucky' and 'Rockbridge' (1822) by Aaron Chapin, 'Expostulation' (1830) by Josiah Hopkins (1786-1862), 'Holley' (1835) by George Hews (1806-73), 'Martyn' by Simeon B. Marsh (1836), 'State Street' (1844) by Jonathan C. Wood- man (1813-94), 'Wimborne' by Whittaker (1849), 'Maitland' (1850) by George N. Allen (1812-77), 'Rathbun' (1851) by Ithamar Conkey (1815-67), 'Solitude' by L. T. Downes (1851), 'Stockwell' (1851) by Darius E. Jones (1815-81), etc. The list of books might be much prolonged, since the issue of tune-books continued plentifully beyond the time of the Civil War. The latter part of it, as here extended to about 1860, is doubtless incomplete, especially after about 1825, and perhaps somewhat inaccurate, since the data are not as well brought together as for the earlier time. What is here set down, however, makes an impressive showing of a persistent line of musical effort for more than a century. The total number of books included is nearly 375 /by about 200 compilers whose names are known. The editions of the earlier books were relatively small, so that as business ventures they could hardly have been remunerative, while their influence was local and temporary. But of Mason's various works it is said that over a million copies were sold, which implies wide distribution and a settled demand. 1 With the advent of Mason and Hastings, or at least from about 1830, the old Psalmody plainly entered upon a second stage. The original instinctive efforts toward popular training in the rudiments of singing, toward what is now called 'community music,' and toward the discipline and enrichment of church- services these all remained in force. But now the leading spirits were men of better technical training, of more independent station and of broader outlook. From Mason on- ward many of them had considerable study in Europe. Many of them, too, secured honorable place as private teachers and certainly were in contact with other phases of musical progress besides that represented in their tune-books. Mason came just when the public school was first establishing itself as an institution. He was so much interested that in 1832 he gave up the leadership of the Handel and Haydn Society to become what would now be called 'music-supervisor' for the public schools of 1 See ' Jour, of Education,' Sept. 1857, and Allibone, Diet, of Authors, 392 TUNE-BOOKS TYRWHITT Boston. Before 1840, besides attracting in- quirers and students to Boston, he began to exert influence elsewhere, either by conducting classes himself or by encouraging the holding of 'musical conventions' to stir up popular interest and help in training teachers thus starting a movement that continued for many decades and is to-day represented by the Chautauqua Institution and numerous 'summer schools.' His own direct impress was felt as far west as Cincinnati and as far south as Philadelphia and Baltimore. That Mason was the pioneer in the present immense expansion of public-school music throughout the country is obvious. In some sense he was also an instigator for the growth of systematic musical instruction in other ways. From the itinerant 'singing-teacher' of the time of Billings to the modern 'music-school' seems like passing between things essentially discrete. Yet in the work of Mason and his colleagues they were historically connected. Mason's great enthusiasm was for choral singing. He himself organized and led large choirs in Boston and elsewhere. It is clear that he proposed thus to lift and direct popular standards. But it proved that this emphasis actually led very soon to a separation of interest between choir and congregation, especially as about 1850 musical leaders began to be more and more those of foreign birth, with no sympathy with the traditions of the old Psalmody. In time the distinction thus fostered between the 'artistic' and the 'popular' was greatly accentuated by the replacement of the chorus-choir by the quartet or similar small force of trained singers. In time, also, the distinction worked itself out in the development of a new type of church- hymnal, with words and music combined. The movement in this direction, which began soon after 1830 (see HYMN-BOOKS), came to have two diverse branches. One of these grew into the dignified and artistic hymnals of the present day in which^ surely Mason would have rejoiced. The other veered off into the music of the choirless assembly the Sunday-school, the camp-meeting and the revivalist's campaign whence arose the go-called 'Gospel hymns,' in countless myriads and of uncertain essential quality. It is curious that two branches from the same original stalk of primitive Psalmody should bear such dissimilar fruits in the half-century since the Civil War and be arrayed in so much hostility to each other as they are. And it is unfortunate that after 1860 the types of 'popular' sacred song which most obviously were derived from the traditional Psalmody should not have been more affected by the general advance in musical culture and taste in other fields. The consequence has been that musicians who have reacted against the vapid and merely noisy forms of this later type have been led to underestimate the historic significance of the earlier Psalmody, much of which was at least sincere and dignified. TURNER, ALFRED DUDLEY (1854- 1888). See Register, 6. TURNER, ARTHUR HENRY (b. 1873). See Register, 8. TWADDELL, WILLIAM POWELL (b. 1879). See COLLEGES, 2 (Tifft C., Ga.). 'TWILIGHT OF THE KINGS, THE.' A 'masque of democracy,' No. 16 of the 'Grove-Plays' of the San Francisco Bohemian Club, produced in 1918. The text is by Richard M. Hotaling and the music by Wallace A. Sabin. TYLER. See Register, 2. TYLER, ABRAM RAY (Dec. 24, 1868, Brooklyn), was trained as pianist and organist in Brooklyn and New York by Buck, Mason, Bowman and Rybner, and for several years was organist in New York. In 1902-11 he was music-director at Beloit College in Wis- consin, continuing afterward as lecturer, and since 1916 has been organist at Temple Beth-El in Detroit. He has given many organ-recitals in different places, as at the Pan- American Exposition in Buffalo in 1901. For a time he was secretary of the A. G. O., and has been dean of the Michigan Chapter. He has published a violin-sonata, a piano- trio, music for Protestant and Jewish services, and settings of Greek plays. [ R.8 ] TYRWHITT, GERALD HUGH. See BERNEKS. u UHE, ARTHUR EMIL (b. 1892). See Register, 10. 'UNCLE TOM.' An opera by Caryl Florio, produced in Philadelphia in 1882. UNIVERSITIES, MUSIC IN. See COL- LEGES and STATE UNIVERSITIES. UNIVERSITY MUSICAL SOCIETY, THE, of the University of Michigan, at Ann Arbor, was first organized in 1879 under the lead of Calvin B. Cady, then acting-professor. Membership was limited to the trustees, faculty and graduates of the University, and the general purpose was to promote music as a part of its educational system. In 1888 it was incorporated, with power to establish and maintain a School of Music, an orchestra, a chorus and an annual series of high-class concerts. All these purposes have been brilliantly realized. The University School of Music was founded in 1889, when Albert A. Stanley became pro- fessor. Reorganized in 1891 on its present basis, its relation to the whole life of the institution has been remarkably intimate. There are now about 30 in the faculty, and the annual enrolment runs over 500, coming from the whole United States and several foreign countries. The number of pupils since the first is nearly 8000. The School has a com- modious building, erected in 1892 and much enlarged and completely modernized in 1917. The equipment is ample and excellent. The University Symphony Orchestra, with an average membership of 50 or more, gives several concerts each season before large audiences. The programs include a wide range of standard instrumental literature. The University Choral Union began in 1879 and since 1893 has had an average membership of about 300. Its repertoire includes all the leading sacred and secular works, some not previously given in America. Since 1893 a May Festival has been held, consisting usually of six concerts, with the most eminent soloists and a large orchestra, such as the Chicago Orchestra. Five ' pre-f estival ' con- certs are also given with visiting artists. In the Festival series about 2000 works have been given, including about 75 important choral works. Ten of the best orchestras and over 300 famous soloists have assisted. In ad- dition, about 1200 concerts or recitals of sig- nificance have been given under the auspices of the School of Music, covering most of the range of ensemble and solo music. All con- certs, except those of the Choral Union and at the Festival, are free. It is estimated that about 40,000 persons have sung in the chorus for periods of a year to three years. UNSCHULD, MARIE VON (May 17, 1881, Olmiitz, Austria), studied piano at the Vienna Conservatory and later with Leschetizky and Stavenhagen, violin with Dont, and counter- point and composition with Gradener. After appearing in Vienna as pianist and in various cities in Europe and America, in 1904 she established the Von Unschuld University of Music in Washington. She has lectured at several institutions, and is author of The Hand of the Pianist, 1901, and Supplement, 1906, The Scale-Practice, 3 vols., 1910, The Von Unschuld Method of Pianoforte-Playing and Teaching, 1911, The Graded Course, 1912, Art of and Means for Pianoforte-Instruction, 1915, and Handbook of General Musical Knowledge, 1915. In 1907 she married Henry Lazard of Newport, R. I. [ R.9 ] UPTON, GEORGE PUTNAM (Oct. 25, 1835, Roxbury, Mass. : May 20, 1919, Chicago), was educated at the Roxbury Latin School and Brown University, graduating in 1854. From 1855 for more than sixty years he lived in Chicago as an active journal- ist. At first he was on the staff of the ' Native Citizen,' then of the 'Evening Journal,' and from 1860 of the 'Tribune.' During the Civil War he was an active war-correspondent. He early established himself as musical critic. He heard the earliest important operatic and orchestral performances in Chicago, and wrote the first newspaper criticisms that appeared there. In 1872 he was one of the founders of the Apollo Club and its first president. He was a zealous supporter of Theodore Thomas in all his enterprises, both before and after his going to Chicago. He was a member of numerous writers' associations. His numerous books were marked by great pains as to accuracy, a genial and broad-minded spirit and much felicity of expression. They include Letters of Peregrine Pickle (musical and literary), 1869, Woman in Music, 1880, Standard Operas, 1886 (many editions, en- larged), Standard Oratorios, 1887, Standard Cantatas, 1888, Standard Symphonies, 1889, Musical Pastels, 1902, Standard Light Operas, 1902, Theodore Thomas, an Autobiography, 2 vols., 1905, Life of Remenyi, 1906, Standard Concert-Guide, 1908 (revised, 1918), Standard Concert-Repertory, 1909, Standard Musical Biographies, 1910, In Music-Land, 1913, The Song, 1914. He also translated Nohl's bi- ographies of Haydn, Beethoven, Wagner and Liszt, Max Miiller's Memories and Theodor Storm's Immensee. His autobiographic Musi- cal Memories, 1908, contains much valu- able information, presented with much charm. [R.51 393 94 URANIAN SOCIETY UTT URANIAN SOCIETY, THE, of Phila- delphia, was the formal outgrowth of an effort in 1784 by Andrew Adgate to establish classes for instruction in psalmody. The Society took shape in 1785 as a body of subscribers 1 to establish a Free School for the spreading of the knowledge of vocal music.' From the outset occasional concerts were given in the hall of the University of Pennsylvania. In 1787 the name Uranian Academy was adopted and Adgate was called president. At that time the number of pupils to be received was set at 300, with three places of instruction. Among the trustees and patrons were Dr. Benjamin Rush and Francis Hopkinson. Data about the Academy after 1790 are want- ing. Adgate died in 1793, but traces of the name 'Uranian' are found until after 1800. In 1793-97, perhaps longer, a Uranian Musical Society existed in New York. See Sonneck, Concert-Life, pp. 103-18, 203. URSO, CAMILLA (June 13, 1842, Nantes, France : Jan. 20, 1902, New York), was the daughter of an orchestral player. She began to study the violin in her sixth year, and at nine became a pupil of Massart at the Paris Conservatory. In 1852 she came to America as a child-performer, playing in concerts with Sontag and Alboni. After three years her parents settled in Nashville, Tenn., and for seven years she devoted herself to violin- practice. In 1862 she took up concert-work again, appearing first in New York at a Phil- harmonic concert. Thereafter for thirty years she made constant tours in America and Europe with great success. She visited Aus- tralia in 1879 and 1894, and South Africa in 1895. The last years of her life were spent in New York. See an interesting reference to her in Upton, Musical Memories, pp. 70-1. [ R.4 ] UTT, PAUL RALPH (b. 1882). See COLLEGES, 3 (Ottawa U., Kan.). 'VALERIE.' A four-act opera by J. Remington Fairlamb, produced by an amateur troupe in Washington about 1870. VALLERIA, ALWINA (b. 1848). See Register, 6. VALLE-RIESTRA, JOSE (b. 1859). See Register, 8. VALLEY, OLOF. See STATE UNIVER- SITIES (Kansas State C.). VALTON, PETER. See Register, 1. VAN BROEKHOVEN, JOHN A. (b. 1856). See Register, 7. VAN CLEVE, JOHN SMITH (Oct. 30, 1851, Maysville, Ky.), lost his sight in early childhood and had his schooling at the Ohio Institute for the Blind, where he had piano- lessons from H. J. Nothnagel. He went to the Woodward High School in Cincinnati, Ohio Wesleyan University and Boston Uni- versity. In Cincinnati he studied with W. Steinbrecher, and in Boston with Lang and Apthorp. He taught at the Ohio Institute for the Blind in 1872-75, at Janesville, Wis., in 1875-79, and then moved to Cincinnati, where he taught piano and theory, lectured on-^music and literature at the College of Music and Conservatory of Music, and was music-critic, first for the 'Commercial' and after 1883 for the ' News- Journal.' He gave many lecture-recitals, and was much in de- mand as teacher. In 1897 he removed to Chicago, later to Troy, N. Y., and in 1913 to New York. He received the degree and Ph.D. from Twin Valley College in 1892. He has published a 'Gavotte Humoresque* for piano, lectures, poems and many miscellaneous articles. As a writer, he has decided gifts of presentation and diction. [ R.6 ] VAN DER STUCKEN, FRANK VALEN- TIN (Oct. 15, 1858, Fredericksburg, Tex.). See article in Vol. v. 217. He studied theory and composition with Benott and violin with Emile Wambach in Brussels in 1866-76. From this period date a Gloria for chorus and orchestra, a Te Deum for soli, chorus and orchestra, and a 'Festmarsch' for orchestra. He spent the years 1876-78 at Leipzig, re- ceiving aid from Reinecke, Grieg and Langer. His first concert in America was on Apr. 4, 1884, at Steinway Hall in New York. Besides his work with the Arion Society he became active as an orchestral conductor, and was the first to present orchestral programs entirely by American composers. On July 12, 1889, he gave such a program at the Paris Ex- position. In 1892 he conducted the concerts on the European tour of the Arion Society. He was in demand as festival-conductor, and officiated thus at Indianapolis in 1887, New- ark in 1891 and New York in 1894. In 1895-1907 he was conductor of the Cincinnati Symphony Orchestra, and till 1903 also di- rector of the College of Music. He conducted the Cincinnati May Festivals in 1906-12, the Wagner Festival at Antwerp in 1913, the Festival of Dramatic Music there in 1914, and has given many orchestral programs of his own music in America and abroad. For the last ten years he has made his home in Europe, coming to America only upon occasion. In 1919 he conducted orchestral works in Copenhagen. Additional orchestral works are a suite, 'Festzug,' 'Pagina d'Amore,' 'Idylle,' 'Rigaudon,' the festival-march 'Louisiana,' a waltz for strings, a ' Festival Hymn ' for men's chorus and orchestra, etc. His 'Tempest* music was first given at Breslau in 1862, the 'William Ratcliff ' prologue at Weimar in 1883, and the 'Pax Triumphans' at the Brooklyn Festival of 1900. [ R.7 ] VAN DRESSER, MARCIA (b. 1880). See Register, 8. JVAN DYCK, ERNEST MARIE HU- BERT (Apr. 2, 1861, Antwerp, Belgium). See article in Vol. v. 217. Since 1906 he has been professor of singing at the Antwerp and Brussels Conservatories. His American debut was as Tannhauser in 1898 at the Metropolitan Opera House, where he continued to sing regularly till 1902. VAN GORDON, CYRENA [name originally Pocock] (b. 1893). See Register, 10. VAN HAGEN, PETER ALBRECHT (d. 1800?, New York), in 1774 appeared in Charleston as teacher of organ, piano, stringed instruments and composition. In 1789 he was located as teacher and player in New York, assisted in concerts by his wife and son. In 1796 the family moved to Boston, where father and son played in theater-orchestras, were church-organists and managed a music- store. The father is probably the son of Peter Albrecht Van Hagen, who was a pupil of Geminiani, violinist and organist at Rotterdam. If so, he was himself a pupil of Honauer in Paris. See Sonneck, Concert-Life, especially p. 23, and I. M. G. Sammelbde. 6. 478. VAN HOOSE, ELLISON (Aug. 18, 1869, Murfreesboro, Tenn.), after first lessons from his mother, studied in New York for five years with Perry Averill and Isadore Luck- stone, then with Fidele Koenig and Jean de Reszke in Paris, Sir Henry Wood and Franco Navora in London and Antonio Cotogni in Rome. He sang tenor in New York church- choirs until 1897, when he was engaged by the Damrosch-Ellis Opera Co., and made his debut in Philadelphia as Tannhauser. During 395 396 VAN VECHTEN VERE the two following seasons he continued with the same company, and appeared in orchestral concerts in London and elsewhere in England- In 1899-1900 he was at the Mayence Opera, and for the next ten years sang variously in concert, opera and oratorio. In 1903-05 he made two American tours with Mme. Melba, and in 1906-07 with Mme. Sembrich. In 1911-12 he sang with the Chicago Opera Company, and has since specialized in oratorio and concert-work. With the New York Oratorio Society he participated in the Ameri- can premiere of Elgar's 'Dream of Gerontius' on Dec. 6, 1903. [ R.8 ] VAN VECHTEN, CARL (June 17, 1880, Cedar Rapids, la.), graduating from the University of Chicago in 1903, and has de- voted himself to writing on musical and allied subjects. His books are Music after the Great War, 1915, Music and Bad Manners, 1916, Interpreters and Interpretations, 1917, The Merry-Go-Round, 1918 and The Music of Spain, 1919. He has championed the cause of the moderns in music. He was one of the first in America to write of Stravinsky, Orn- stein and Satie. He has devoted several essays to modern stage-decoration, with particular emphasis on the work of Adolphe Appia. His Music of Spain is the only book on the subject in English. He was assistant musical editor of the New York 'Times' for four years, edited the program-notes for the Symphony Society in 1910-11, contributed the musical biographical notes to the revised edition of the Century Dictionary, and was Paris correspondent for the 'Times' in 1908-09 and dramatic critic for the 'Press' in 1913-14 [B.9] VAN VLECK, JACOB. See Register, 2. VAN VLIET, CORNELIUS (Sept. 1, 1886, Rotterdam, Holland), began violin and piano at six, but at nine changed to the 'cello and at twelve was heard in concert. He studied with Eberle in Rotterdam and Mossel in Amsterdam, and joined the Concertgebouw Orchestra under Mengelberg. Thence in 1903 he went as leading 'cellist to the Leipzig Philharmonic and the Prague Philharmonic, followed by solo-engagements in Helsingfors, Munich (1905) and Vienna (1908) under Weingartner. In Helsingfors he also taught chamber-music in the Conservatory. In 1911-12 he concertized in America and then joined the Minneapolis Symphony Orchestra and the Minneapolis Trio. Since 1919 he has been located in New York, chiefly occupied with concert- work. He is 'cellist in the New York Trio. [ R.10 ] VAN ZANDT, MARIE (Oct. 8, 1861, 1 New York : Dec. 31, 1919, Cannes, France). 1 ' 1858 ' in Who's Who in America, 1901-12, but ' I860' in International Year-Book, 1919. See article in Vol. v. 585-6. In 1898 she married Professor Tcherinov of the Moscow Imperial Academy and retired from the stage. Delibes wrote ' Lakm6 ' for her, but her greatest success was as Mignon. [ R.6 ] VEAZIE, GEORGE AUGUSTUS (1835- 1915). See Register, 5. VECSEI, DESIDER JOSEF (b. 1882). See Register, 10. VENTH, CARL (Feb. 16, 1860, Cologne, Germany), was a pupil of Hiller, Japha, Jensen and Klauwell at the Cologne Conserv- atory, and of Wieniawski and Dupont at the Brussels Conservatory, graduating from the latter in 1877 and making his debut as violinist with the Utrecht Symphony Orchestra in 1878. He then became concertmaster of the Flemish Opera in Brussels, and the next year held a similar position at the Opera-Comique in Paris. He came to America in 1880 and from 1884 was concertmaster at the Metro- politan Opera House. In 1888 he established the Venth College of Music in Brooklyn, where he also conducted the Brooklyn Sym- phony Orchestra and choral societies. Moving to Texas in 1908, he became head of the violin- department in the Kidd-Key College and conducted the Dallas Symphony Orchestra. At present he is dean of fine arts in the Texas Woman's College at Fort Worth, conductor of the Fort Worth Symphony Orchestra and divisional band-superintendent at Camp Bowie. He has published the comic opera 'Fair Betty'; the cantatas 'The Resur- rection,' 'Myth- Voices,' 'From Olden Times' and ' The Quest of Beauty ' ; the piano-suite 'Frithjof and Ingeborg,' and many piano- pieces ; about twenty-five pieces for violin ; and a considerable group of songs. Two operas and a cantata are in manuscript, as also several orchestral works, two string- quartets, a piano-trio and sonata, two violin- concertos and three sonatas for piano and violin. [ R.7 ] VERE, CLEMENTINE DUCHENE DE, was born at Paris. She studied there and with Mme. Albertini-BaucardS at Florence, where at sixteen she made her debut as Marguerite de Valois in 'Les Huguenots.' She then sang in Italy, France, Spain, Mexico, Germany, England and Australia, meeting with equal success in opera and concert. She sang Marguerite in Berlioz' 'Damnation de Faust' in New York in 1896, and in 1897 joined the Metropolitan Opera House Company. Later she made several tours of England with the Moody-Manners Opera Company. Since 1914 she has lived in New York as singer and teacher. In 1892 she married Romualdo Sapio, the conductor. Her repertoire in- cludes Violetta, Gilda, Micaela, Marguerite de Valois, the Infanta (in 'Le Cid'), Mar- VIARDOT-GARCIA VOGRICH guerite (in 'Faust') Ophelia, Alda, Rachel, Elsa, Lucia and Dinorah. [ R.7 ] t VIARDOT-GARCIA, MICHELLE FER- DINANDE PAULINE (July 18, 1821, Paris, France : May 18, 1910, Paris). See article in Vol. v. 267-8. There are biographies by La Mara, 1882, and Torrigi, 1901, and collections of letters by Kaminski, 1907, and in 'The Musical Quarterly,' July, 1915, Jan- uary, 1916. JVIDAL, PAUL ANTONIN (June 16, 1863, Toulouse, France). See article in Vol. v. 271. Since 1906 he has been chief conductor at the Opera-Comique. To the list of works add the operas 'La Reine Fiammette' (1898) and 'Ramses' (1908), the operetta 'Le Mariage d'Yvette' (1893), the pantomimes 'Columbine Abandonnee' (1888), and 'LaReverance'(1890), the lyric fantasy 'Eros' (1892), incidental music to Haraucourt's 'Juan de Manara' and to Pigeon's 'Amour dans lea Enfers,' and the orchestral suite 'Les Mysteres d'Eleusis.' 'VIERJAHRIGE POSTEN, DER.' An opera by Gustav Hinrichs, produced in San Francisco in 1877. J VIERNE, LOUIS VICTOR JULES (Oct. 8, 1870, Poitiers, France), in 1888-94 was a pupil at the Paris Conservatory of Franck and Widor. At graduation he won the first organ- prize and became Widor's assistant at St.- Sulpice. Since 1900 he has been organist at Notre-Dame. He is professor at the Schola Cantorum and Officier de 1' Instruction Publique. He has given recitals with great success in France, Holland, England, Switzer- land and Spain, and a visit to America is in prospect. His works include the following: 'Ave Maria,' op. 1, for soprano and organ. Pr6lude in F-sharp minor, op. 2, for organ. Allegretto and 'Prelude FunSbre,' op. 3, for organ. "Tantum ergo,' op. 4, for chorus and orchestra. 'Le Soir' and 'Legende,' op. 5, for viola or 'cello and piano. Largo and Canzonetta, op. 6, for oboe and piano. Communion, op. 7, for organ. String-Quartet in D minor, op. 12. Symphony No. 1, in D minor, op. 14, for organ (1899, Peregally & Parvy). 'Ave verum,' op. 15, for contralto and organ. Messe Solennelle in C-sharp minor, op. 16, for chorus and orchestra. 'Suite Bourgignonne,' op. 17, for piano (seven movements also for orchestra). Trois Airs de Ballet, op. 18, for piano. Symphony No. 2, in E minor, op. 20, for organ (Peregally). Legend, 'Praxinoe, Princesse d'Egypte,' op. 22, for soli, women's voices and orchestra. Sonata in G minor, op. 23, for violin and piano. Symphony in A minor, op. 24. Rapsodie, op. 25, for harp. Sonata in B minor, op. 27, for 'cello and piano. Symphony No. 3, in F-sharp minor, op. 28, for organ (1912, Durand). Messe Basse (1913, Library of Catholic Art). '24 Pieces en style libre,' op. 31, for organ (1915, Durand). Symphony No. 4, in G minor, op. 32, for organ (1918, Schirmer). 12 Preludes, op. 33, for piano. 2 Nocturnes, in A minor and E, op. 35, for piano. Poem, 'PsycheV op. 36, for voice and orchestra. Poem, 'Les Djinns,' op. 37, for voice and orchestra. Poem, 'Eros,' op. 38, for voice and orchestra. 'Les Cloches,' op. 41, for piano. 2 Nocturnes, in D-flat and C-sharp minor, op. 42, for piano. Songs, opp. 8, 10, 11, 13, 26, 29 and 40. VIGNA, ARTURO. See Register, 9. VIGNETI, GEORGES (b. 1882). See Reg- ister, 10. VILIM, JOSEPH ALOIS (Jan. 18, 1861, Chicago), studied violin in Chicago and in Prague, graduating at the Prague Conserva- tory in 1883. In 1884-87 he was teacher of violin at the Chicago Musical College, in 1887-99 director of the violin-department at the American Conservatory and in 1894-96 a first violin in the Thomas Orchestra. In 1899 he founded the Vilim American Violin School (which he directed till 1918), and organized the Dvorak Quintet, the Beethoven String Quartet and the Vilim Home Trio ^with his sons Richard and Mark). He now has a violin-studio at Coronado, Cal. He is author of Violin-Technique Guide and Seven Days' Exercises for the Advanced Violinist. A book on How to Practice Paganini and Difficult Compositions is nearing completion. [ R.7 ] 'VINTAGE, THE,' or 'Sterne's Maria.' An opera in two acts by Victor Pelissier, the text by William Dunlap, produced in New York, on Jan. 14, 1799. See Sonneck, article in /. M. G. Sammelbde. 6. 482. 'VIOLINIST, THE,' of Chicago, is a monthly periodical established in 1900. Its editor till 1906 was Ray G. Edwards and since 1908 has been Ada E. Taylor. A Violinist's Guide was first issued in 1916, giving useful in- formation about violin-makers. VIRGIL PRACTICE CLAVIER. See ar- ticle in Vol. ii. 266. VIX, GENE VIE VE (b. 1887). See Reg- ister, 10. VOCALION. See article in Vol. v. 360-1. VOGRICH, MAX WILHELM KARL (Jan. 24, 1852, Szeben, Austria : June 10, 1916, New York), began piano-study at five and played in public at seven. In 1866-69 he was at the Leipzig Conservatory, taking piano with Moscheles, Wenzel and Reinecke, and theory and composition with Hauptmann, Richter and Reinecke. In 1870- 78 he traveled as pianist throughout Europe and also in Mexico and South America. In 1878 he came to New York, gave recitals there and toured the country with Wilhelmj. In 1882-86 he lived in Australia, then in New York till 1902, in Weimar till 1908, in London 398 VOGT VOLPE till 1914 and again in New York. The latter part of his life was given to composition and to work as adviser to G. Schirmer. The list of his works includes the operas 'Vanda' (1875, Florence), 'King Arthur' (1893, Leip- zig) and 'Der Buddha' (1904, Weimar), all to his own librettos; incidental music to Wildenbruch's 'Die Lieder des Euripides' (Weimar) ; the dramatic scene 'The Highland Widow'; the oratorio 'The Captivity' (1891, Metropolitan Opera House) ; the cantatas 'The Diver' and 'The Young King and the Shepherdess'; a Missa Solemnis; two sym- phonies, in E minor and A minor ; an Andante and Intermezzo for violin and orchestra ; a concerto in E minor for piano ; ' Memento Mori' for violin and orchestra (1912, Berlin) ; a violin-concerto, 'E pur si muove' (dedicated to Elman and played by him, 1913, Berlin, and 1917, New York) ; many pieces for piano, violin and piano ; songs and choruses. [R.6 ] VOGT, AUGUSTUS STEPHEN (Aug. 14, 1861, Washington, Ont.), in 1881-82 studied at the New England Conservatory in Boston with Emery, Buckingham and Dunham, and in 1885-88 at the Leipzig Conservatory under Reinecke, Rehberg, Ruthardt, Papperitz and Jadassohn. In 1888-92 he was teacher of piano at the Toronto College of Music, going in 1892 to the Toronto Conservatory, where since 1913 he has been director. Under his administration this has become the largest and best-equipped school of music in the Dominion and one of the foremost in America. -In 1894 he founded the Mendelssohn Choir, continuing as conductor till 1917 and making it one of the finest choral bodies in the world. In 1907 the University of Toronto gave him the honorary degree of Mus.D. In 1888- 1906 he was organist at the Jarvis Street Baptist Church. He has written several a cappella choruses and a book on Modern Pianoforte-Technic, 1900. [ R.7 ] VOLAVY, MARGUERITE (b. 1886). See Register, 10. t VOLBACH, FRITZ (Dec. 17, 1861, Wip- perfilrth, near Cologne, Germany). See article in Vol. v. 376. He continued at Mayence until 1907, when he became music-director and professor at Tubingen. In 1899 he secured a Ph.D. with a thesis upon Die Praxis der Handel- Auffilhrung. In 1900 he was in charge of a musical celebration at Mayence of the quinquecentenary of Gutenberg's birth. He is equally celebrated as instrumentalist, conductor and composer. Additional works are a Symphony in B minor, op. 33, the comedy-opera 'Die Kunst zu lieben,' op. 34 (1910, Diisseldorf), 'Konig Laurins Rosen- garten,' op. 38, for baritone, men's chorus and orchestra, and incidental music to the tragedy 'Konig Tulga.' For list of books, see Baker, Diet, of Musicians, p. 991. VOLPE, ARNOLD (July 9, 1869, Kovno, Russia), in 1884-87 studied violin at the Warsaw Musical Institute with Isidor Lotto and in 1887-91 at the Petrograd Conservatory with Auer, followed by work in theory and composition in 1893-97 with Solo vie v. In 1898 he came to New York, where in 1902 he founded the Young Men's Symphony Orchestra and in 1904 the Volpe Symphony Orchestra. In 1910 he also undertook the direction of the orchestra of the Brooklyn Institute, and in 1910-14 and 1919 conducted series of municipal concerts in New York. In 1916 he established his own music-school. [ R.8 ] w WADDEL, FRANCES E. See COLLEGES, 3 (Geneva C., Pa.). WADE, HENRY T. See COLLEGES, 2 (Lake Erie C., Ohio). WAIN WRIGHT, Miss. See Register, 1. WAINWRIGHT, JONATHAN MAYHEW (1792-1854). See Register, 3, and TUNE- BOOKS, 1819. WALKER, EDYTH (b. 1870). See Reg- ister, 8. t WALLACE, WILLIAM (July 3, 1860, Greenock, Scotland). See article in Vol. v. 424-5. His 'The Passing of Beatrice' was the first symphonic poem by a British composer. In 1899 he became Bantock's assistant in conducting daily concerts at Brighton, and later, in the latter's absence, - edited ' The New Quarterly Musical Review' for about half its existence. He prepared the analytical program for the concert in London on Dec. 15, 1896, which called attention to many new British composers. He has been active as secretary of the Society of British Com- posers and honorary secretary of the Phil- harmonic Society. In 1911 he was one of the composers chosen for orchestral repre- sentation at the Congress of the I. M. G., and also at the Festival of British Music in 1915. During the war he was in service as ophthalmologist. In the list of compositions note that the date of the cantata ' The Massacre of the Macpherson' is 1899 and that of the song-cycle 'Lords of the Sea' is 1901, and that a large number of works are published by Schott, Bayley & Ferguson, Stainer & Bell, Cramer, Ricordi, Boosey, etc. 'The Outlaw' was performed in 1913. He has made many translations of texts, as of Berlioz' 'The Damnation of Faust,' Missa's 'Muguette,' Strauss' 'Feuersnot,' Leroux' 'Le Chemineau' (Richepin's text), Delius' 'A Mass of Life,' cantatas by Weingartner and Krug-Waldsee, and many songs by Sibelius and Weingartner. He is author of a mystery-play, The Divine Surrender, 1895, The Musical Faculty, 1914, besides numerous articles. WALLER, FRANK LAIRD. See Register, 9. WALTER, GEORGE WILLIAM (1851- 1911). See Register, 5. WALTER, THOMAS (1696-1725). See TUNE-BOOKS, 1721. WALTER, WILLIAM HENRY (1825- ? ). See TUNE-BOOKS, 1848. WARD, FRANK EDWIN (Oct. 7, 1872, Wysox, Pa.), in 1892-97 studied in New York with Spanuth (piano), J. P. Lawrence (organ and theory), Pearce (theory) and Macfarlane (organ), and in 1898-1903 was under MacDowell at Columbia University, winning the Mosenthal fellowship. In 1902-13 he was organist at the University, and also in 1900-05 at Rye, N. Y., since 1902 at Temple Israel and since 1906 at Holy Trinity. Since 1909 he has had charge of theory-classes at Columbia. His works include Sonata No. 1, in E minor, op. 1, for violin and piano. Magnificat and Nunc Dimittis in E-flat, op. 2. Sonata No. 2, in G, op. 9, for violin and piano. Rhapsodie in F minor, op. 10, for violin (or 'cello) and piano. 'Rhapsodie Boheme,' op. 12, for two pianos. Scherzo, 'Peter Pan,' op. 13, for orchestra. Magnificat and Nunc Dimittis in F, op. 14. Sonata No. 1, in F minor, op. 15, for organ. Quartet in F minor, op. 18, for piano and strings. Lenten Cantata, 'The Saviour of the World,' op. 20, for soli, chorus and orchestra. Quartet in C minor, op. 22, for strings (Nat. Federation of Musical Clubs prize, 1917). Christmas Cantata, 'The Divine Birth,' op. 23, for soli, chorus and organ. Communion Service in A-flat, op. 24. Symphony No. 1, 'Shakespearean Moods,' op. 25. Solemn Mass in G minor, op. 29. 'An Ocean Rhapsody,' op. 31, for orchestra (also for violin, 'cello, harp and organ). Quartet in G minor, for strings. Trio for piano, violin and 'cello. Sonata No. 2, in D minor, for organ. Also about 30 anthems ; many songs, opp. 4, 6, 7, 27, 30 ; part-songs, opp. 8, 11, 21 ; organ-pieces, opp. 16, 17, 19, 26, 33, 35; piano-pieces, opp. 3, 5, 28, 34 ; etc. [ R.8 ] WARE, HARRIET (Aug. 26, 1877, Wau- pun, Wis.)t after graduating from Pillsbury Academy in Minnesota, studied piano with William Mason in New York. Vocal work with Mme. La Grange in Paris followed, and com- position with Sigismond Stojowski there, and with Kaun in Berlin. Her published compo- sitions are the cantata 'Sir Oluf,' for women's voices, soprano and baritone solos and or- chestra; 'Undine,' a lyric tone-poem (words by Edwin Markham) ; 'The Cross,' for voice and piano or orchestra (words by Mark- ham) ; 'A Day in Arcady,' song-cycle for two voices; many songs and piano-pieces. The most important work in manuscript is a piano-concerto. She has made many appearances as composer-pianist. [ R.9 ] WARE, HELEN (Sept. 9, 1887, Woodbury, N. J.), began the violin with Frederic Hahn in Philadelphia, and at the University there studied harmony and counterpoint with Clarke. She then spent two years under Sevcik at Pisek and Vienna, and two with Hubay at Budapest. Making her debut in recital at Budapest in 1912, she was the first American violinist to tour in Hungary. The bent of her interest is shown by the booklet 399 400 WARNER WEBB Poetry and Power of Hungarian and Slav Music, and by many articles on this subject in musical journals. Besides much European experience, she has twice toured throughout America. Lately she has given more time to composition than to concerts. Her works for violin and piano include 'Hungarian Camp-Songs' (Presser), a 'Hungarian Love- Song' (Presser), the Hungarian phantasy 'Cinka Panna' (Carl Fischer), the cradle- song 'Gentle Shadows' (Witmark), a 'Caprice Genett' and other transcriptions (C. Fischer, Schirmer), besides many songs. [ R.10 ] WARNER, JAMES F. See Register, 4. WARNERY, EDMOND (b. 1876). See Register, 10. WARNKE, HEINRICH (b. 1871). See Register, 9. WARREN, C. See TUNE-BOOKS, 1855. WARREN, GEORGE WILLIAM (Aug. 17, 1828, Albany, N. Y. : Mar. 17, 1902, New York), had his general education at Racine University, but. was self-taught in music. In 1846-58 he was organist at St. Peter's in Albany, and for two years at St. Paul's. In 1860 he came to Brooklyn and for ten years was at Holy Trinity. From 1870 until his death he was organist at St. Thomas's in New York. He composed much church- music and some piano-pieces, and edited Warren's Hymns and Tunes, as sung at St. Thomas's Church, 1888. [ R.4 ] WARREN, RICHARD HENRY (Sept. 17, 1859, Albany, N. Y.), the son and pupil of the preceding, in 1880-86 was organist at All Souls' in New York, in 1886-1905 at St. Bartholomew's and since 1907 at the Church of the Ascension. In 1886-95 he was con- ductor of the Church Choral Society, which he founded, and brought out with it many impor- tant choral works, including some not before heard in America (Parker's 'Hora Novissima* was written for it). In 1905 he gave summer- concerts of orchestral music at St. Nicholas Garden. His works include several operettas (1880-1899), the romantic opera 'Phyllis' (1900, New York), some works for orchestra, a string-quartet, much church-music and songs. [ R.7 ] WARREN, SAMUEL PROWSE (Feb. 18, 1841, Montreal, Que. : Oct. 7, 1915, New York), the son of the organ-maker S. R. Warren (see below), began organ-study at eleven, and early played at St. Stephen's Chapel in Montreal and at the American Church. In 1861-64 he was in Berlin, taking piano with Gustav Schumann, organ and theory with Haupt and instrumentation with Wieprecht. After two years again in Mon- treal, in 1866-68 he was organist at All Souls' in New York, whence in 1868 he moved to Grace Church, continuing, save for two years at Trinity (1874-76), till 1894 and becoming one of the foremost church-musicians in the country. In 1880-88 he also conducted the New York Vocal Union. As a concert- player he was held in universal esteem, giving hundreds of recitals in New York alone. He was a founder of the A. G. O., and the teacher of many notable organists. His standards were of the highest and he was able to transmit them to his pupils. He composed much church-music, vocal and instrumental, part- songs and piano-pieces, and made a long series of fine organ-transcriptions of orchestral works. He had a remarkable musical library. [R.5] WARREN, SAMUEL RUSSEL (d. 1882). See Register, 3. WARRINER, SOLOMON (1778-1860). See TUNE-BOOKS, 1813. p>WASHBURN, JAPHET COOMBS. See TUNE-BOOKS, 1813. WASS, EDWARD HAMES (b. 1874). See COLLEGES, 1 (Bowdoin C., Me.). WATSON, HENRY C. (1818-1875). See Register, 4. WATT, CHARLES E. See Register, 8. WA-WAN PRESS, THE, was a publishing enterprise set on foot by Arthur Farwell in 1901 at Newton Center, Mass. Its stated object was 1 primarily to publish the most progressive and significant compositions by American com- posers, wholly upon considerations of artistic merit ; and secondarily to give due attention to the development of the various forms of primitive folk-songs in America.' For a series of years it energetically fulfilled both of these objects, issuing a variety of works, some of them of large dimensions, by about forty Amer- ican composers, including a striking number of settings or idealizations of Indian and Negro materials. It was one of the most influential factors in stimulating interest in types of work that had previously not received proper atten- tion. The good-will of the enterprise has re- cently been transferred to G. Schirmer, Inc., in New York. WEAD, CHARLES KASSON (b. 1848). See Register, 9. WEAVER, JOHN KNOWLES (b. 1868). See COLLEGES, 3 (Kendall C., Okla.). WEAVER, MIRIAM H. See COLLEGES, 3 (Wittenberg C., Ohio). WEBB, FRANK RUSH (b. 1851). See Register, 6. WEBB, GEORGE JAMES (June 24, 1803, near Salisbury, England : Oct. 7, 1887, Orange, N. J.), after study with Alexander Lucas in Salisbury, became organist at Fal- mouth, but in 1830 resigned to come to Boston. There he was organist at the Old South Church and soon became an intimate associate of Lowell Mason in various musical projects. WEBB WELD 401 He was his assistant in teaching children's classes and they together founded the Boston Academy of Music in 1833. He was not only an excellent singing-teacher, but a good conductor. He was influential in furthering choral music of a high class and before 1855 was efficient in directing the Musical Fund Society's orchestra. In 1870 he removed to Orange, N. J M but continued to teach in New York till his retirement in 1885. For his publications, see TUNE-BOOKS (partly under Mason). He composed some anthems, part- songs and songs. 1 WEBB, THOMAS SMITH (d. 1819). See Register, 3. WEBER, ALBERT (1828-1879). See Register, 4. WEBER PIANO COMPANY, THE, of New York, is the present name of the business established in 1852 by Albert Weber and from 1879 carried forward by Albert Weber, Jr. From about 1870 its instruments became generally recognized as having a special beauty of tone, as well as mechanical finish, so that they received many awards in com- petitions. Since 1903 the Company has formed part of the ^Eolian, Weber Piano & Pianola Co. The annual output of this division is about 5000 instruments. WEIDIG, ADOLF (Nov. 28, 1867, Ham- burg, Germany), was the son of an orchestral player and was educated in the Hamburg schooli, studying music also in the Con- servatory under Riemann, Von Bernuth and Bargheer. Later he graduated at the Munich Conservatory in 1891, having worked with Rheinberger and Abel. In 1888 he won the Mozart prize at Frankfort with a string- quartet. In 1892 he came to Chicago, becom- ing one of the first violins in the Thomas Orchestra and playing viola in the Spiering Quartet. Since 1893 he has been connected with the American Conservatory, teaching violin and theory, and from 1898 one of its directors. He has exerted a wide and whole- some influence as teacher, and has often appeared as orchestral conductor both in America and in Europe, often of his own compositions. He has written a symphony in C minor, a symphonic suite in three move- ments, the tone-poem 'Semiramis,' three overtures, a suite for string-orchestra, three string-quartets (D minor, A and C minor), a string-quintet, and published a Capriccio and 'Three Episodes' for orchestra (Schott), a string-quartet in C (Schott), a piano-trio (Augener),asuiteforviolin>nd piano (Schott), threej' Morceaux de Salon' for violin and piano (Schott), a Serenade for strings (Summy), an 1 The well-known tune bearing his name, however, is adapted from the secular aong ' Tis d.a.wn, the lark is singing.' 'Italian' suite for violin and piano, the song- cycle 'The Buccaneer,' 10 a cappella choruses, and a large number of lesser pieces for violin and piano or for piano, besides about 25 songs. (Ditson, Carl Fischer, Silver, Burdett & Co., etc.). [ R.8 ] WEIL, HERMANN (b. 1878). See Reg- ister, 10. WEIL, OSCAR (b. 1839). See Register, 5. t WEINGARTNER, PAUL FELIX, Edler von Miinzberg (June 2, 1863, Zara, Dalmatia). See article in Vol. v. 488. He resigned as conductor at the Vienna Opera in 1910, but continued as symphony-conductor. In 1912- 14 he was capellmeister at the Hamburg Stadt-Theater, and from 1914 was court- director at Darmstadt. Besides extensive tours as conductor in the whole of Europe except Russia, he has visited the United States several times, in 1905 leading four concerts for the New York Philharmonic Society, in 1906 making a tour with the Symphony Society, and in 1912 and '13 appearing as conductor of opera with the Boston Opera Company. His first wife was Marie Juillerat, the second the Baroness Feodora von Dreifus, and the third, from 1913, the operatic soprano Lucille Marcel. To the list of works add the operas 'Kain und Abel' (1914, Darmstadt) and 'Die Dame Kobold' (1916, Darmstadt), incidental music to Voss' ' Fruhlingsmarchen- spiel' and Weiser's version of 'Faust' (both 1908, Weimar), Symphony No. 3, in E, op. 49, a quintet for clarinet, strings and piano, op. 50, and various songs and men's choruses. For a full list of his books and of critical writing about him, see Baker, Diet, of Musicians, p. 1022. WEISBACH, HARRY (b. 1886). See Reg- ister, 8. WEISS, CARL THOMAS (b. 1844). See Register, 6. WELD, ARTHUR CYRIL GORDON (Mar. 4, 1862, Jamaica Plain, Mass. Oct. 11, 1914, near West Point, N. Y.), after early piano-lessons, in 1879-87 studied com- position and orchestration at Dresden with Becker, Foerster and Von Comiar-Fiedlitz, at Berlin with Neumann and at Munich with Rheinberger, Abel and Levi, graduating from the Munich Conservatory with honors. While at Munich he wrote several large works that were there performed, including a string- quartet in C (1885, one movement given by the Kneisel Quartet, 1890), a Romanza for small orchestra (1886, also Boston, 1887), an Andante and Scherzo for septet (1886) and the orchestral suite 'Italia' (1887, also at Worcester Festival, 1888, and by the Boston Symphony Orchestra, 1890). Other works of this period are a ' Benedictus Dominus Israel' for soli, double quartet, chorus and 402 WELLS WHEELDON orchestra, an 'Ode in Time of Peace' for double quartet and organ (1890, Boston), four Madrigals (1890) and many songs of which several are published (Schmidt) . After a time he went to Milwaukee, where he was dramatic critic and conductor of an orchestra. Later he came to New York, where he conducted the first productions of the comedy ' Florodora ' and became general director for the H. W. Savage Company. In 1913 he went to London to conduct performances of 'Adele.' He was intimate with the actor James K. Hackett, and in 1914 took charge of the musical features in his plays. He wrote several light operas, inci- dental music for various plays and many songs. He died suddenly while driving his automobile. [R.7 J WELLS, HOWARD, who was born at Rockford, 111., after four years of piano-study in Chicago with Godowsky and two with Mrs. Zeisler, appeared six times as soloist with the Thomas Orchestra, besides being heard frequently in recitals. In 1907 he went to Vienna for study with Leschetizky, with whom he was associated seven yearg. In 1908 he became one of his assistants and after moving to Berlin continued to take pupils from Berlin to Vienna. He lived in Berlin five years, concertizing in various musical centers and appearing with promi- nent orchestras. At the outbreak of the war he returned to Chicago and established himself as teacher. He has published Ears, Brain and Fingers, & text-book for pianists and teachers, 1914. [ R.9 ] WELS, CHARLES (1825-1906). See Reg- ister, 4. WELTE, EMIL (b. 1841). See Register, 5. WERRENRATH, GEORGE (1838-1898). See Register, 6. WERRENRATH, REINALD (Aug. 7, 1883, Brooklyn), the son of the tenor George Werrenrath (see above), besides early violin- training, had vocal lessons from his father. His general education was in the Brooklyn public schools and at New York University, where he graduated in 1905. His later studies were with Dufft, Mees, Stephens and Maurel, the last preparing him for operatic work. His first important engagement was at the Worcester Festival of 1907. He has since sung throughout the country, appearing with all the leading orchestras and at various festivals. His operatic debut as baritone was at the Metropolitan Opera House in 1919 in 'I Pagliacci' and as Valentine in 'Faust.' In 1912-16 he organized and conducted the University Heights Choral Society. He has written the men's choruses 'The Cavalier's Song' and 'Siesta' (Schirmer) and edited The New Arion, for men's voices, and two volumes of Scandinavian oongs (both Ditaon). [ R.9 ] WERTIME, RUDOLPH. See COLLEGES, 2 (Wilson C., Pa.). WEST, ELISHA. See TUNE-BOOKS, 1802. WEST, J. See Register, 2. WESTBROOK, ARTHUR E. See STATE UNIVERSITIES (Kansas State C.). WESTLAKE, A. VERNE. See COLLEGES, 3 (Taylor U., Ind.). WESTRAY, the MISSES. See Register, 2. WETMORE, TRUMAN S. (1774-1861). See TUNE-BOOKS, 1798. WETZLER, HERMANN HANS (Sept. 8, 1870, Frankfort-am-Main, Germany), in 1885-92 studied at the Hoch Conservatory in Frankfort, his teachers being Frau Schumann (piano), Heermann (violin), Scholz (com- position), Knorr (counterpoint) and Humper- dinck (score-reading). He then came to New York and in 1897-1901 was organist at Trinity Church. In 1902 he gave orchestral concerts at Carnegie Hall, leading to the Wetzler Symphony series in 1903 (Richard Strauss directed four programs of his own works in February and March, 1904). Returning to Germany, he has since been conductor at the city-theaters of Hamburg in 1905-08, Elberfeld in 1905-09, Riga in 1909-13, Halle in 1913-15, Liibeck in 1915-19, and Cologne since 1919. He has also led symphony- concerts in Petrograd, Berlin and other cities. He has written the symphonic poem ' Engels- konzert,' a concert-overture, Easter music for wind-instruments and organ, etc. [ R.8 ] WEYMAN, WESLEY (July 6, 1877, Boston), is of old Colonial ancestry. His early education was directed toward languages and literature, and he graduated from Harvard in 1898, having taken theory-courses under Paine. In 1898-1901 he was one of the latest pupils of William Mason in New York, where he began giving recitals in 1901. In 1905-08 he taught at the Institute of Musical Art, and in 1909-13 he had further studies with Leschetizky and Godowsky in Vienna, with Moszkowski in Paris, with Mathay and Bowen in London, and with Safonov at various places. From 1912 he appeared as recitalist in London and made tours in Ger- many and Scandinavia. In 1914 he returned to New York and Boston, occupied largely with teaching and literary work. He is an expert in New England genealogy, and has published histories of the Standish and Ramsdell families. [ R.9 ] WHARTON, MARY. See COLLEGES, 2 (Belhaven C., Miss.). WHEELDON, HERBERT ARTHUR (June 6, 1864, Derby, England), was trained as organist by Crow in Ripon, Turpin and Pearce in London. He became a fellow of the R. C. O. in 1889 and took his Mus.B. at Canterbury in 1890. In 1882-85 he played WHEELER WHITING 403 at Ripon, in 1889-90 at Eastbourne, in 1891-93 at Ipswich and in 1897-1907 in London, from 1896 at St. Saviour's in Upper Chelsea. In 1907-13 he was organist at the Metropolitan Church in Toronto and in 1908-15 examiner in music for Toronto University. In 1911-13 he gave over 500 daily recitals, covering a large repertoire of classic and modern organ- music. Through his efforts, after his resigna- tion the position of organist in this church was endowed and the organist must hold a degree from one of the leading English universities and engage to give 25 recitals annually. He has published Evening Services in A and B-flat (Novello) and many organ- pieces ^Novello, Rogers, Gray, White-Smith). [ R.9 ] WHEELER, LYMAN WARREN (1837- 1900). See Register, 5. WHELPLEY, BENJAMIN LINCOLN (b. 1864). See Register, 7. WHITE, ALICE H. See COLLEGES, 3 (Colby C., Me.). WHITE, CAROLINA [Carolyn] (Dec. '23, 1883, Dorchester, Mass.), was trained as concert-soprano by Weldon Hunt in Boston, where she began appearances in 1905. In 1907 she studied in Naples with Sebastian and Paolo Longone, assistant-director at San Carlo (whom she married in 1910). Her debut in opera was at San Carlo as Gutrune in 'Die Gotterdammerung ' in 1908. During the next two years she sang in 'Aida,' 'Mefis- tofele,' 'Tosca,' 'Manon Lescaut,' 'Madama Butterfly,' 'La Gioconda' and 'Iris' at Venice, Rome, Milan and Lucerne. In 1910-14 she was with the Chicago Opera Company, appear- ing first as Santuzza. In 1911 she sang the role of Countess in the first American per- formance of 'II Segreto di Susanna' and that of Maliella in that of ' I Giojelli della Madonna' in 1912. In 1915-17 she was heard in concert and has since sung in light opera. [ R.9 ] WHITE, EDWARD L. See Register, 4, and TUNE-BOOKS, 1846. WHITE, HENRY KIRK (d. 1907). See Register, 4. WHITE,. JOHN (1785-1865). See Regis- ter, 3. WHITE, JOHN (Mar. 12, 1855, West Springfield, Mass. : July 18, 1902, Bad- Nauheim, Germany), in 1861-63 studied organ with Buck and then went to Berlin for organ and counterpoint with Haupt. In 1880-83 he was organist at St. Francis Xavier's in New York, and again went to Germany, this time to study composition with Rhein- berger in Munich. In 1887-96 he was organist at the Church of the Ascension in New York. The rest of his life was spent in Munich. He was an accomplished player, gave many recitals both in America and in Germany, and some of the best American organists were among his pupils. He composed the ora- torio 'Alpha and Omega,' a Missa Solemnis, a Requiem, a Te Deum, and other church- music. He also edited many organ-pieces. [ R.7 ] WHITE, JOSEPHINE, nee Sumption (b. 1879). See COLLEGES, 2 (Colorado Woman's C.). WHITEHILL, CLARENCE EUGENE (Nov. 5, 1871, Marengo, la.), originally was in business in Chicago, but incidentally studied voice with L. A. Phelps and sang in church-choirs. Mme. Melba and Campanari induced him to prepare for the stage. He went to Paris, studied with Sbriglia and Giraudet, and made his debut as Friar Lawrence in ' Rom6o et Juliette ' at La Monnaie in Brussels in 1899. In 1900 he sang at the Opera-Comique in Paris, and also appeared as leading baritone with the H. W. Savage English Opera Company at the Metropolitan Opera House in New York, singing seventeen r61es in a short season. Returning to Ger- many, he studied with Stockhausen at Frank- fort and had the advice of Frau Wagner at Bayreuth for Wagnerian parts. He filled engagements at Liibeck, Elberfeld and Cologne (1903-08). In 1909-11 he was at the Metro- politan Opera House in New York, first appearing as Amfortas. In 1911-15 he was with the Chicago Opera Company and in 1916 returned to the Metropolitan. He has sung at Bayreuth three seasons, at Covent Garden five and at Munich two. His greatest success has been made in Wagnerian roles. [ R.9 ] WHITEHOUSE, HORACE. See COL- LEGES, 3 (Ohio Wesleyan U.). WHITHORNE [Whittern], EMERSON (b. 1884). See Register, 9. WHITING, ARTHUR BATTELLE (June 20, 1861, Cambridge, Mass.), is a nephew of George E. Whiting, the Boston organist. He studied piano with Sherwood at the New England Conservatory, and harmony, counter- point and composition with Maas and Chad- wick. At the Munich Conservatory in 1883-85 he was in the classes of Rheinberger, Bussmayer and Abel. During 1885-95 he lived in Boston, where he composed a concert- overture (1885, Boston Symphony Orchestra), a suite for strings and horns, a' Concerto in D minor and a Fantasy in B-flat minor for piano and orchestra. These latter he has played with various large orchestras. Since 1895 he has lived in New York, composing many anthems, other vocal works and piano-pieces (Schirmer), making transcriptions of the toccatas and suites of Bach and Handel for piano, and preparing Damper-Pedal Studies, 2 vols. Since 1907 he has been largely oc- 404 WHITING WHITNEY cupied with giving concerts of chamber- music at Harvard, Yale and Princeton Universities, designed with a definite edu- cational purpose. He has also become an authoritative exponent of music for obsolete instruments, and from 1911 has given il- lustrative programs upon the harpsichord, often with other artists in ensemble. [ R.7 ] WHITING, GEORGE ELBRIDGE (Sept. 14, 1842, Holliston, Mass.). See article in Vol. v. 517-8. He gave up his work at the New England Conservatory in 1897 and at the Church of the Immaculate Conception in 1910, having been organist at the latter for about thirty years. To the list of works should be added the choral march 'Our Country,' for chorus and orchestra (1909, inauguration of President Taft), four concert- etudes for organ (Presser), many other organ- pieces (Novello, Ditson), various collections of organ-studies, etc., a Grand Sonata in A minor for organ, 20 Preludes and Postludes for advanced performers, 2 vols., the can- tata 'The Tale of the Viking,' from Long- fellow (Schirmer) , three masses on plain-chant melodies, in B-flat and F, two sets of vespers and offertories for the Catholic service, and many other ritual settings, services for the Episcopal Church, anthems, part-songs and songs, besides new organ-accompaniments for several works, including Rossini's Stabat Mater. [ R.4 ] WHITMER, THOMAS CARL (June 24, 1873, Altoona, Pa.), after graduating from Franklin and Marshall College, studied in Philadelphia and New York with Gilchrist, Jarvis and S. P. Warren. In 1899-1909 he was music-director at Stephens College in Missouri, in 1909-16 at the Pennsylvania College for Women in Pittsburgh, and in 1916-19 taught at the Pittsburgh Musical Institute. Since 1916 he has been organist at the Sixth Presbyterian Church in Pitts- burgh. His work as composer has but gradually come to be known (see appreciation in The Art of Music, iv. 428-30). It includes six music-dramas or 'Mysteries' 'The Creation,' 'The Covenant,' 'The Nativity,' 'The Temptation,' 'Mary Magdalene,' 'The Passion ' for full orchestra (text by com- poser) , with an explanatory essay ' Concerning a National Spiritual Drama ' ; a ' Syrian Ballet' in four movements, for orchestra, (1918, Pittsburgh and Philadelphia); an 'Elegiac Rhapsody' for low voice, chorus and orchestra ; Psalm 84, for alto, chorus, violin, harp and organ (Pittsburgh); an 'Athenian' sonata in D minor, for violin and piano (given many times); three 'Character-Moods' and a ' Meditation ' for piano and strings ; music for the Pittsburgh Centennial Pageant in 1916, including a notable 'Hymn to America' ; the men's choruses ' The Keepers ' (a cappella) and 'The Song of a City' (Willis, given in Pittsburgh and New York) ; a setting of Tennyson's 'Strong Son of God,' for baritone, unison chorus and organ, and other anthems; a long list of songs, many with orchestral accompaniment; a 'Poem of Youth' in two movements, for piano and orchestra (1914, M. T. N. A. meeting) ; and a number of organ-pieces. He has written Considerations on Music, The Way of My Mind, 1918, and the texts for his ' Mysteries' and for 'Symbolisms,' the latter a series of six dramas that he has set for reader and piano, besides words for other works. He has also contributed note- worthy articles to various journals. [ R.8 ] WHITNEY, FLOSSIE EMELINE. See COLLEGES, 3 (Defiance C., Ohio). WHITNEY, MYRON WILLIAM (Sept. 5, 1836, Ashby, Mass. : Sept. 19, 1910, Sandwich, Mass.), came to Boston in 1852, and soon began to study singing with E. H. Frost. His first appearance as an oratorio- bass was in a Christmas performance of 'The Messiah' at Tremont Temple in 1858. He sang in concerts and oratorios for the next ten years, and then studied in Florence under Vannucini and in London under Randegger. After his return to Boston he was recalled to England for a season of concerts and festivals, but from 1876 his activities were confined to America. He was the only soloist at the open- ing of the Centennial Exposition in Philadel- phia in 1876. He made two tours with the Thomas Orchestra, and he was one of the bassos in the American Opera Company in 1886-87. He sang with the Handel and Haydn Society of Boston, the New York Oratorio Society, at the Cincinnati Festivals of 1873, '75, '78 and '80, and at a long list of other festivals and oratorio-performances through- out the country. With the Boston Ideal Opera Company from 1879 he was the leading basso, and for many years was successfully identified with light opera. In 1890 he retired from the concert-stage. [ R.4 ] WHITNEY, SAMUEL BRENTON (June 4, 1842, Woodstock, Vt. : Aug. 3, 1914, Brattleboro, Vt.), was trained as organist by local teachers, by Charles Wels in New York, and chiefly by Paine in Boston. In 1871 he became organist at the Church of the Advent in Boston, where he established a choral service of rare excellence and wide renown. He was a leader in the establish- ment of the Massachusetts Diocesan Choir Guild in 1876, and was its choir-master for many years. His Communion Service in G was composed for his 25th anniversary at the Church of the Advent (1896) and the Magnificat and Nunc Dimittis in E-flat for the 35th (1906). In 1908 he resigned, but WHITTEMORE WILLIAMS 405 continued as director emeritus. An excellent organist, he gave many recitals in his earlier years, and was noted for his Bach playing and for improvisations. He was professor of organ-playing and lecturer at the Boston University and the New England Con- servatory, and at the latter taught classes in church-music. He directed many choir and choral festivals throughout New England. His compositions included a piano-trio, music for piano and organ, church-services, anthems and hymn-tunes. He was a founder of the A. G. O., and an examiner in the American College of Musicians. [ R.5 ] WHITTEMORE, THOMAS (1800-1861). See TUNE-BOOKS, 1836. WHITTLESEY, WALTER R. (b. 1861). See Register, 8. WICKHAM, FLORENCE PAULINE (1882, Beaver, Pa.), was trained as an operatic contralto by Alice Groff in Philadelphia and then in Berlin by Emmerich and Frau Mallinger. In 1902 she made her debut at Wiesbaden in 'Le Prophete.' In 1904-05 she toured in America with the H. W. Savage Company, singing Kundry in 'Parsifal.' After a year, when she was guest at the Theater des Westens in Berlin, in 1906-09 she was engaged at the Opera at Schwerin, also singing in 1907 at Covent Garden and in 1908 in Berlin. In 1909-12 she was with the Metro- politan Opera House in New York. Her repertoire of 45 operas includes the roles of Amneris, Kundry, Ortrud, Fricke, Wal- traute, Brangane, Magdalena, Laura (in 'La Gioconda'), Emilia (in 'Otello'), Orfeo and Adriano (in 'Rienzi'). In 1911 she married Eberhard L. Lueder of New York. [ R.9 ] JWIDOR, CHARLES MARIE (Feb. 22, 1845, Lyons, France). See article in Vol. v. 518-9. In 1910 he succeeded Lenepveu as member of the Institut and in 1913 became secretary. He is also Chevalier in the Legion d'Honneur. Add to the list of works, besides the eight organ-' symphonies' in opp. 13 and 42, the 'Symphonic Romane' and the 'Sym- phonie Gothique,' a string-quartet in A minor, op. 66, a 2nd violin-sonata, op. 79, a Choral and Variations for harp and orchestra, and a 3rd orchestral Symphony, in F minor, with organ. He is author of Technique de I'Orchestre Moderne, 1904 (2nd ed., 1906, and in German and English), and of an essay on Greek Music in relation to Gregorian (1895), and has edited UOrgue Moderne and (with Schweitzer) a monumental edition of Bach's works (Schirmer) . Biographies have appeared by Reynaud, 1900, and Rupp, 1912. WIGNELL, THOMAS (d. 1803). See Reg- ister, 2. WILCOX & WHITE COMPANY, THE, of Meriden, Conn., is the successor of the Wilcox & White Organ Co., which was formed in 1876 to compete with the Estey Organ Co. in making reed-organs, the original founders being H. C. Wilcox and J. H. and H. K. White. Prior to 1908 they made about 50,000 organs. The present company was formed in 1897. They have made a specialty of the 'Angelus,' a player-attachment brought out in 1895, and have developed a large business in player-pianos and in music-rolls. Their 'orchestral' piano has a set of reeds included. WILD, HARRISON MAJOR (Mar. 6, 1861, Hoboken, N. J.), had most of his musical education in Chicago under Liebling, Cres- wold and Eddy, but in 1878-79 also studied in Leipzig with Zwintscher, Rust and Richter. Since 1876 he has been almost continuously an organist in Chicago, playing at the Church of the Ascension five years, at Unity Church thirteen and since 1895 at Grace Church, where he has made the services specially notable. He has also won a fine reputation as choral conductor, since 1898 leading the Apollo Musical Club, since 1902 the Mendels- sohn Club (men's voices), and since 1905 the Mendelssohn Club of Rockford. With the first two of these he has introduced a long list of important works, performed with great perfection. He is also active as an organ- recitalist, and has been dean of the Western Chapter of the A. G. O. [ R.6 ] WILD, WALTER. See COLLEGES, 2 (Penn- sylvania C. for Women). WILDE, EDWIN ERNEST (b. 1887). See COLLEGES, 3 (Brown U., R. L). WILKINS, HERVE D. (1848-1913). See Register, 5. WILLARD, BENJAMIN W. See Regis- ter, 3. WILLARD, SAMUEL (1776-1859). See TUNE-BOOKS, 1813. WILLCOX, JOHN HENRY (1827-1875). See Register, 4. WILLEKE, WILLEM (b. 1878). See Reg- ister, 9. WILLIAMS, ALBERTO (Nov. 23, 1862, Buenos Aires, Argentina), while at the Buenoa Aires Conservatory secured governmental as- sistance for study in Paris, where his teachers were Mathias and De Beriot in piano, Durand in harmony, and Guiraud, Godard and Franck in composition. After his return in 1899 he conducted symphony-concerts, and in 1903 founded the Conservatorio de Miisica de Buenos Aires, which has grown to a school of over 1200 pupils, with branches in the principal cities of the Argentine Republic. In 1900 he gave a concert of his works with the Philharmonic Orchestra in Berlin. He has composed three symphonies, three suites, two overtures and a march for orchestra; three sonatas for violin and piano ; a sonata 406 WILLIAMS WITEK for 'cello and piano ; a piano-trio ; many songs and piano-pieces. He has published works on theory and also five volumes of poems. [ R.7 ] WILLIAMS, HARRY EVAN (Sept. 7, 1867, Mineral Ridge, O. : May 24, 1918, Akron, O.), was a mine- and steel-mill worker in his early years, and he sang in an octet- club which attained considerable local repu- tation. For four years he studied with Mme. Louise von Feilitsch in Cleveland, and made his first appearance as tenor in 1891 at Galion, O., though his real debut was at the Worcester Festival of 1896. In New York he then became a pupil of Ffrancon Davies, Ben Da- vies, Mrs. Topping-Brown, John Dennis Me- han and James Sauvage. Dissatisfied with his work, he retired for a period in 1904, but reappeared with great success in the later years of his life. He was soloist at nearly all the principal festivals of the country, including about 15 appearances at Worcester. He gave perhaps 1000 song-recitals, after 1900 exclusively in English; and was equally successful in song and oratorio. [ R.8 ] WILLIAMS, VICTOR (1816- ? ). See Register, 4. WILLIS, RICHARD STORRS (1819- 1900). See Register, 4, and TUNE-BOOKS, 1850. WILLIS, ROBERT. See TUNE-BOOKS, 1834. WILSON, GEORGE H. See Register, 7. WILSON, HENRY (Dec. 2, 1828, Green- field, Mass. : Jan. 8, 1878, Hartford, Conn.), was musically inclined from childhood, but was forced to learn the printer's trade for support. Diligence in this latter enabled him to study music in Boston from about 1848, though double labor undermined his health. About 1850 he became teacher and organist at St. James' in Greenfield, removing in 1854 for a few months to Springfield. A chance meeting with Alexander W. Thayer led to their going to Europe together and a lifelong friendship. A year's study in Leipzig followed, during which he wrote entertaining letters for the Springfield 'Re- publican.' From 1855 for twenty-two years he was organist at Christ Church in Hartford, going for. a short time afterward to Park Church. The peculiar impress of his per- sonality and gifts was shown by the tributes after his death, including addresses by Charles Dudley Warner, Bishop Williams and Rev. N. J. Burton, and many letters, among them those of J. G. Holland and Dudley Buck. These appreciations were gathered into a small memorial in 1878. He was preeminently a church-musician, throwing a notable emotion into whatever he wrote or rendered. His compositions were almost wholly for church use. They lacked solidity and balance, but for a time were extremely popular and effective. [ R-4 ] WILSON, MORTIMER (Aug. 6, 1876, Chariton, la.), in 1894-1900 studied in Chicago with Jacobsohn, Gleason and Middelschulte. In 1901-07 he taught theory in the University School of Music at Lincoln, Neb., and then had three years in Leipzig, at first studying with Sitt and Reger and then teaching. From 1911 he was at the Atlanta Conservatory and conductor of the Symphony Orchestra, and in 1916-18 taught at Brenau College in Gainesville, Ga. He is now consulting-editor for the National Academy of Music in New York. He has written The Rhetoric of Music, 1907. His published works include 'From My Youth,' op. 5, 8 miniatures for violin, 'cello and piano ; sonatas in D and E, opp. 14, 16, for violin and piano ; 7 organ-preludes, op. 7; the piano-suites 'In Georgia,' op. 25, 'Suite Rustica,' op. 44a and 'By the Wayside,' op. 44&; 'Suwannee Sketches,' op. 39, for violin and piano ; nursery-songs and piano- pieces. Unpublished are five symphonies, a 'Country-Wedding' orchestral suite, violin- quartets, a suite, trio and sonata for violin and piano, an organ-sonata, the piano-suite 'In Imagery,' and a book of songs. Some of his works have been given by symphony- orchestras in Chicago, Atlanta, Leipzig and Prague, by the Sittig Trio in New York, etc. [ R.9 ] WINCHELL, JAMES MANNING (1791- 1820). See TUNE-BOOKS, 1819. WINCHESTER, AMASA. See Register, 3. WINGATE, RAY W. See COLLEGES, 3 (Alfred U., N.Y.). WINKLER, EMIL KARL (b. 1860). See COLLEGES, 2 (Wells C., N. Y.). WINKLER, J. A. E. See COLLEGES, 2 (Hollins C., Va.). WISE, JOHN J. See Register, 3. WISKE, C. MORTIMER (b. 1853). See Register, 7. WITEK, ANTON (Jan. 7, 1872, Saaz, Austria), in 1883-89 was a pupil of Bennewitz at the Prague Conservatory. In 1894 he became concertmaster of the Philharmonic Orchestra in Berlin, and also began tours with the Danish pianist Vita Gerhardt (whom he later married). In 1903, with her and Joseph Malkin, he formed the Philharmonic Trio. In 1905 he made a sensation by playing in one evening concertos by Beethoven, Pa- ganini and Brahms, in 1907 brought out in Berlin the newly-discovered concerto in A by Mozart, and in 1909 also the long-lost concerto in C by Haydn. In 1910 he became concertmaster of the Boston Symphony Orchestra, making his first appearance as soloist on Oct. 29 with the Beethoven concerto. WITHERSPOON In 1914, when Malkin also joined the or- chestra, the former trio-group was revived as the Witek-Malkin Trio. In 1918 he re- signed from the Orchestra. [ R.10 ] WITHERSPOON, HERBERT (b. 1873). See Register, 8. WODELL, FREDERICK WILLIAM (Dec. 17, 1859, London, England), gained his gen- eral education in public schools in England and the United States, studying piano with E. T. Manning, Ferdinand Dewey and Ada P. Emery, voice chiefly with F. W. Root and Shakespeare, and composition with Manning and Norris. He has had wide experience as singer, and for many years conducted the People's Choral Union in Boston (400 voices), giving two oratorio-concerts annually. He has made a specialty of teaching singing to classes of both adults and children, and has often lectured upon the methods used. He has published Choir and Chorus Conducting, 1908 (new ed., 1919), and How to Sing by Note, 1915. He has also written a two-act light opera, 'The Court of Love' (1912, Boston); the cantata ' The Gift of Love,' from ' Endym- ion,' for soprano and women's chorus (1919, Brookline) ; the cantata ' The American Flag,' for tenor, baritone, men's chorus and piano or orchestra (1915, Boston) (Thompson) ; and many anthems, part-songs and songs (various publishers). [ R.7 ] t WOLF-FERRARI, ERMANNO (Jan. 12, 1876, Venice, Italy). See article in Vol. v. 558. The list of works should be extended as follows : Operas: 'I Quattro Rusteghi' (1906, Munich, in German). 'I Giojelli della Madonna' (1911, Berlin, in German, 1912, Chicago, in Italian). L'Amore Medico' (1913, Dresden, in German, 1914, New York, in Italian). Mystery, 'Talitta Cumi,' or 'Die Tochter des Jairus,' op. 3, for soli, chorus and orchestra. Sonata in G minor, op. 1, for violin. Piano-Trio in D, op. 5. Piano-Quintet in D-flat, op. 6. Piano-Trio in F-sharp, op. 7. 4 Kammersymphonie ' in B-flat, op. 8. Sonata in A minor, op. 10, for violin. 'Rispetti,' opp. 11-12. Impromptus for piano, op. 13. Three Piano-Pieces, op. 14. His dramatic works have been brought out in Germany because of his inability to agree with the Italian house that controls publication in Italy. When he came to America in 1912 to superintend the production of 'I Giojelli della Madonna' he had never heard any of his works given in Italian. His name unites those of his German father, the distinguished painter August Wolf, and of his Italian mother. WOLFF, A. See Register, 2. WOLFSOHN, CARL (Dec. 14, 1834, Alzey, Germany : 1907, N. J.), was a pupil of WOLLE 407 Aloys Schmitt at Frankfort, where he made his debut as pianist in 1848. He then studied with Lachner, made concert-tours and lived for two years in London before coming to America in 1854. He located in Philadelphia as pianist, orchestral conductor and teacher, and for about twenty years gave series of chamber-music concerts. In 1863 he under- took recitals embodying the entire series of Beethoven sonatas, which were given twice in Philadelphia and twice in New York with notable success. Later he presented the complete piano-works of Schumann and of Chopin in similar series of recitals. In 1873 he moved to Chicago, and to his other activities added the direction of the Beethoven Society, a choral organization. He was widely known as a teacher of piano, was one of the early champions of Wagner in America, and did much to raise the standards of chamber- music both in Philadelphia and in Chicago. Among his many pupils Mme. Bloomfield- Zeisler is perhaps the most widely known. [ R.4 ] WOLLE, JOHN FREDERICK (Apr. 4, 1863, Bethlehem, Pa.), comes of a long line of musical ancestors and had his first lessons from a sister and a cousin. In 1879 he gradu- ated at the Moravian Parochial School, having specialized in music, and began teaching in Bethlehem. In 1881-84 he was organist at Trinity Church there and had organ-lessons from Wood in Philadelphia. In 1884-85 he studied with Rheinberger in Munich, returning to be organist for twenty years at the Moravian Church. Before going to Germany he had organized choral societies in Bethlehem and Easton, and the former, after giving standard oratorios, he led to concentrate upon Bach's music. With it in 1888 he gave the first complete rendering in America of the St. John Passion, and in 1892 he gave also the St. Matthew Passion. After a period of inactivity, in 1898 work was resumed, and in 1900 the B minor Mass was given. In 1887-1905 he was organist at the Packer Memorial Church at Lehigh University. In 1904 the Moravian College made him Mus. D. (also the University of Pennsylvania in 1919). In 1905-11 he was professor at the University of California, where he organized a chorus of 300, conducted symphony-concerts and directed performances of Greek dramas. Besides being in 1907-09 organist at the First Congregational Church in Berkeley, he assembled a Bach Choir of 125, which gave the St. Matthew Passion and the Mass in 1909-10. Returning to Bethlehem in 1911, he resumed the notable administration of the Bach Choir (see article), was organist at the Salem Lutheran Church and conducted choral societies in Harrisburg, York and 408 WOLLENHAUPT WYETH Lancaster. He was a founder of the A. G. O., and has appeared as soloist not only at the Chicago and the St. Louis Expositions, but often elsewhere. He has made organ-tran- scriptions from Bach and Wagner and com- posed for chorus and orchestra, but of his original works none are published. See Walters, Bethlehem Bach Choir, 1918. [ R.7 ] WOLLENHAUPT, HERMANN ADOLF (1827-1863). See Register, 4. WOOD, ABRAHAM (1752-1804). See TUNE-BOOKS, 1793. WOOD, CARL PAIGE (b. 1885). See Register, 9. WOOD, DAVID DUFFIELD (Mar. 2, 1838, near Pittsburgh : Mar. 27, 1910, Philadelphia), lost his sight by accident in childhood and at five went to the Philadelphia School for the Blind, where he was an apt pupil in music and mathematics. In 1853 he became assistant-teacher in music and in 1887 director. He there conducted remark- ably successful performances of standard ora- torios and of Bach cantatas. In 1864 he became organist at St. Stephen's, remaining exactly 46 years (last service two days before his death). For about 25 years he also played at the evening services at the Baptist Temple, where he often brought out oratorios. He was a superior player and one of the first to specialize in Bach in America. Many of his pupils became prominent. His com- positions were mostly for the church and were sung at St. Stephen's from manuscript. In 1911 the H. W. Gray Co. began publishing a series of his anthems. [ R.4 ] JWOOD, HENRY JOSEPH (Mar. 3, 1870, London, England). See article in Vol. v. 560-1. He visited America in 1904. In 1911 he was knighted. In 1918 the conductor- ship of the Boston Symphony Orchestra, in succession to Muck, was offered him, but was 'declined. WOOD, MARY, nee Knight (b. 1859). See Register, 7. WOOD, MARY ANNE, nee Paton (1802- 1864). See Vol. iii. 653-4, and Register, 3. WOOD, WILLIAM L. See COLLEGES, 3 (Hobart C., N. Y.). WOODBURY, ISAAC BAKER (1819- 1858). -See TUNE-BOOKS, 1839. WOODMAN, JONATHAN CALL (1813- 1894). See Register, 4. WOODMAN, RAYMOND HUNTING- TON (Jan. 18, 1861, Brooklyn), was the son and pupil of J. C. Woodman. In 1881-85 he also studied composition and orchestration under Buck and later organ under Franck in Paris. In 1880, after a year with a church in Norwich, Conn., he became organist at the First Presbyterian Church in Brooklyn, where he has recently celebrated his fortieth anniversary. He has also taught at Packer Institute and the Master School of Music. In 1894-97 he edited a church-music depart- ment for the New York 'Evangelist.' He is a founder and fellow of the A. G. O., and has done much brilliant recital-work. He is also fellow of the Brooklyn Institute of Arts and Sciences, and head of its music-section. His published songs, anthems, cantatas and pieces for organ or piano number about 125. Of unpublished works the more important are an 'Ode to Music,' for baritone, chorus and orchestra, a 'Reverie' for string-orchestra, harp and organ, and a four-movement organ- suite. [ R.6 ] WOODRUFF, MERIT N. See TUNE- BOOKS, 1800. WOODWARD, CHARLES. See TUNE- BOOKS, 1800. WOOLF, BENJAMIN EDWARD (1836- 1901). See Register, 5. WOOLLS, STEPHEN (d. 1799). See Reg- ister, 1. WORCESTER, SAMUEL (1770-1821). See TUNE-BOOKS, 1815. WORCESTER MUSICAL FESTIVALS. See article in Vol. v. 562-3. The series has continued without break except in 1918, when the festival was canceled on account of the influenza epidemic. The chief conductor until 1919 was Mees, assisted in 1909-1915 by Gustav Strube. The new conductor is Nelson P. Coffin. The major works to be added to the list are Liszt's Missa Solemnis (1909), Bantock's 'Omar Khayyam' (1910), Reger's 'The Nuns' (1911), Georg Schumann's 'Ruth' (1912), Pierne's 'St. Francis of Assisi' (1913), Wolf-Ferrari's 'La Vita Nuova' (1914), Beethoven's Choral Fantasia (1915), Parker's 'Red Cross Hymn,' Grainger's ' Marching-Song of Democracy' and Hadley's 'Ode to Music' (all 1917). In 1919 a program of works by a variety of American composers was presented. WORK, HENRY CLAY (1832-1884). See Register, 4. WORLEY, CHANDLER. See STATE UNI- VERSITIES (Miss.). WRANGELL, LUDWIG HEINRICH (b. 1872). See Register, 9. WRIGHT, D. See TUNE-BOOKS, 1798. WRIGHT, WILLIAM LYNDON. See COLLEGES, 3 (New York U.) WRIGHTSON, HERBERT JAMES (b. 1869). See Register, 8. WRIGHTSON, SYDNEY LLOYD (b. 1869). See Register, 7. WYETH, JOHN (1770-1858). See TUNE- BOOKS, 1810. 'YANKEE DOODLE.' See article in Vol. v. 574-7, and the exhaustive study in Son- neck, Report on ' The Star-Spangled Banner,' 'Hail, Columbia,' 'America' and 'Yankee Doodle,' 1909. YARNOLD, BENJAMIN. See Regis- ter, 1. YON, PIETRO ALESSANDRO (Aug. 8, 1886, Settimo Vittone, Italy) , after study as a child with Burbatti, the cathedral-organist at Ivrea, entered the Milan Conservatory as pupil of Fumagalli. He won a scholarship for pianists at the Turin Conservatory in 1901, and spent three years there under Venezia (piano), Remondi (organ) and Bolzoni (composition). In 1904 he went to the Academy of St. Cecilia in Rome, where his teachers were Renzi (organ), Bustini and Sgambati (piano), and De Sanctis (theory). He graduated in 1905 with honors in each department, the first prize-medal of the Academy and a special medal from the Italian Minister of Public Instruction. For two years he was substitute-organist at the Vatican and the Royal Church of Rome. In 1907 he became organist at St. Francis Xavier's in New York. There and through extensive tours as virtuoso he has earned a great and well-deserved reputation. Among his many works (Ricordi, J. Fischer, Schirmer) are the following : Sonata No. 1, for organ. 'Sonata Cromatica,' for organ. Toccata for organ. Two Concert-Studies for organ. 'Christmas in Sicily,' 'Pastorale Sorrentina,' 'Elegia,' 'Gesti Bambino,' all for organ. Ten Divertimenti for organ. Six Masses and about ten Motets. Several piano-pieces and songs. [ R.9 ] YORK, FRANCIS LODOWICK (Mar. 9, 1861, Ontonagon, Mich.), had his general education in the Ann Arbor High School and the University of Michigan, graduating in 1882. While there he studied with Cady, and later continued in Detroit with Batchelder and in Paris with Guilmant (1892, '98). From 1888 he has been advocate of school-credits for music, first at Ann Arbor and lately in Detroit. In 1892-96 he taught at the Uni- versity School of Music in Ann Arbor, and in 1896-1902 at the State Normal School in Ypsilanti. Since 1902 he has been the ex- ceedingly efficient head of the Detroit Con- servatory and organist at the Central Methodist Church. He has always been a strong supporter of American music, especially interested in the works of MacDowell. He was organ-recitalist at the Buffalo and St. Louis Expositions of 1901 and 1904, and has played often elsewhere. His 'Spring-Song' for organ, several transcriptions and some church-music have been published (Schirmer). A comic opera, 'The Inca' and further organ- pieces are in manuscript. He has also written Harmony Simplified, 5th ed., 1900, and Counterpoint Simplified, 1907. In 1905 he prepared for the French government a report upon American music-schools. He is one of the editors of the Schirmer Library, and has written many articles for periodicals. He has always been prominent in the M. T. N. A. and in the Michigan Association. [ R.8 ] YOUNG, HELEN F. See COLLEGES, 2 (Sweet Briar C., Va.). YOUNG, WILLIAM. See Register, 2, and TUNE-BOOKS, 1790. YOUNG PEOPLE'S SYMPHONY CON- CERTS. See Vol. iv. 805. YSAYE, EUGENE (July 16, 1858, Liege, Belgium). See article in Vol. v. 580-2. In 1898 he declined an invitation to succeed Seidl as conductor of the New York Phil- harmonic Society. In 1918, as guest-con- ductor, he directed the Cincinnati Festival and other concerts, and was later appointed permanent conductor of the Symphony Orches- tra. [ R.10 ] 409 ZACH, MAX WILHELM (b. 1864). See Register, 7. ZAHM, JOHN AUGUSTINE (b. 1851). See Register, 8. ZAY, WILLIAM HENRI (b. 1869). See Register, 8. ZBINDEN, THEODORE (b. 1877). See Register, 10. ZECH, FREDERICK (May 10, 1858, Philadelphia), began piano-study in San Francisco with Heckmanns and Schumacher, continuing in 1877-82 in Leipzig with Kullak, Breslaur and Neumann (composition). He also taught for two years in Kullak's Academy. Since 1882 he has been teacher of advanced piano-pupils in San Francisco, at intervals also conducting symphony-concerts. He has written the operas 'La Paloma' and 'Wakin- yon ' ; symphonies in B minor, C minor, F minor and C ; the symphonic poems ' The Eve of St. Agnes' (1898), 'Lamia' (1902), 'The Raven' (1902) and 'The Wreck of the Hesperus' (1909); four piano-concertos; a violin-concerto ; a 'cello-concerto ; a piano- quintet ; two string-quartets ; a piano-trio ; three violin-sonatas ; a flute-sonata ; and two clarinet-sonatas. All those for orchestra have been given in San Francisco, and the first two symphonic poems also in Germany. [ R.7 ] ZECKWER, CAMILLE (June 26, 1875, Philadelphia), the son of Richard Zeckwer (see below) , was trained in the Philadelphia Musical Academy, graduating in 1893. He further studied composition with Dvorak in New York in 1893-95 and with Ph. Scharwenka in Berlin, where he also took violin with Zajic. He soon engaged in teaching in the Philadelphia Academy, of which he is now director with Frederick E. Hahn. Besides being a pianist of fine ability, he has given much attention to composition. His works include the symphonic poem 'Sohrab and Rustum,' op. 30 (1915, Philadelphia Orchestra) ; a piano- concerto in E minor, op. 8 (1899, Philadelphia Orchestra, also 1904, '14); the cantata 'The New Day,' op. 24 (Cleveland Mendelssohn Club prize, 1914); the three-act opera 'Jane and Janetta,' op. 20 ; a suite for violin and piano, op. 1; a 'Swedish Fantasy,' op. 6, for violin and orchestra ; a piano-trio, op. 3 ; a string-quartet, op. 4 ; a piano-quartet, op. 9 ; a piano-quintet in E minor, op. 5 ; two violin-sonatas, opp. 2, 7; a 'Serenade Melan- colique,' op. 27, for violin, 'cello and piano ; and various piano-pieces, songs and choruses [ R.8 ] ZECKWER, RICHARD (Apr. 30, 1850, Stendal, Germany), was educated at the Stendal Gymnasium, Leipzig University and Leipzig Conservatory, his music-masters being Papperitz, Richter, Reinecke, Paul and Hauptmann. In 1869 he came to Philadel- phia, making his first appearance as pianist at the Academy of Music on Dec. 1. A few months later he began to teach at the Phila- delphia Musical Academy, recently opened. In 1876 he became its director and continued over forty years in fruitful service, resigning in 1917, when the Academy was merged with the Hahn Conservatory. In 1870-77 he was organist at St. Vincent de Paul (R. C.) Church in Germantown, and of the Philadelphia Cathedral in 1877-80. He has lectured on acoustics at the Franklin Institute and the Academy of Natural Science, and has pub- lished the pamphlet A Scientific Investigation of Legato-Touch, 1902, the result of original investigations. He has written two over- tures, 'The Bride of Messina' and 'Festival,' a string-quartet, a violin-sonata, four piano- sonatas, many songs and piano-pieces (Ditson, Presser). [ R.6 ] ZEISLER, FANNIE, nee Bloomfield (July 16, 1863, Bielitz, Austria). See article in Vol. i. 341. The birth-year is correct as here given. She is a cousin of the pianist Moritz Rosen thai and a sister of Maurice Bloomfield, professor of Sanscrit at Johns Hopkins Uni- versity. In recent years she has been kept back from great activity by ill-health, but is now resuming concert-work as of old. [ R.6 ] 'ZENOBIA.' An opera in four acts by Silas G. Pratt, produced in concert-form in Chicago in 1882 and on the stage in March, 1883. The libretto, by the composer, is based upon a romance of William Ware. Another opera on the same subject, in three acts, is by Louis Adolphe Coerne. It was several times given in Bremen in 1905-06, and instrumental numbers have been played in America. ZERRAHN, CARL (July 28, 1826, Mai- chow, Germany : Dec. 29, 1909, Milton, Mass.). See article in Vol. v. 595. His first lessons, at twelve, were with Friedrich Weber in Rostock, and later he studied in Hanover and Berlin. In the Germania Orchestra he played first flute, thus having part in the important influence of that organ- ization. In 1855-63 he conducted one of the several orchestras in Boston known by the name Philharmonic, and was practically the only leader of the concerts of the Harvard Musical Association in 1865-82. Besides his work as conductor of the Handel and Haydn Society and of the Worcester Festivals, he was for many years in charge of the Salem Oratorio Society arid other smaller organiza- 410 BERNHARD ZIEHN ZEUCH ZUNDEL 411 tions. At the second Peace Jubilee (1872) he led the chorus of 20,000. He was also a teacher of singing, harmony and composition at the New England Conservatory. In all these ways he left a significant impress upon the development of American choral music. [ R-4 ] ZEUCH, WILLIAM EDWARD (b. 1878). See Register, 9. ZEUNER, CHARLES [Heinrich Christoph] (1795-1857). See Register, 3, and TUNE- BOOKS, 1832. ZIEGFELD, FLORENZ (b. 1841). See Register, 5. ZIEGLER, ANNA ELIZABETH, nee Koelling (b. 1867). See Register, 7. ZIEHN, BERNHARD (Jan. 20, 1845, Erfurt, Germany : Sept. 8, 1912, Chicago), was not at first specially trained in music. He studied at the teachers' seminary in Erfurt and taught three years at Miihlhausen. In 1868-70 he taught higher mathematics, German and music-theory at the German Lutheran School in Chicago. After 1871 he concentrated wholly upon the investigation of the theory of music and the teaching of it. This led to a series of monumental books, including System der Uebungen fur Klavier- spieler, 1881, Lehrgang fur den ersten Kla- vierunterricht, 1881, developing the idea of 'symmetrical inversion' of material, Harmo- nic- und Modulationslehre, 1888 (2nd ed., 1909, in English, 1907), which was his chief work, Five- and Six-Part Harmonies, How to Use Them, 1911, and Canonical Studies, a New Technic of Composition, 1912 (English and German). He also wrote a treatise on the execution of ornaments in classical works (Hamburg, 1883), contributed an elaborate discussion of the ecclesiastical modes to 'Die Musik,' and wrote many other articles for German periodicals. An article on poison- ivy in the vicinity of Chicago was commended by the U. S. Department of Agriculture. Two comments on his Harmonielehre may be quoted : (Hugo Kaun) In this book 'one finds thousands of illustrations embracing the entire literature of music. His knowledge in this respect was unique. But aside from these it is above all his own harmonic combinations that make this work so valuable. He did not write his book by utilizing existing material ; he himself was a pathfinder. In all the modern works there is scarcely a harmonic combination that he did not point out as early as 1888.' (Busoni) 'Over the beautiful lines of the Gothic fugue Ziehn paints in the colors of a great and new harmony, the harmony that arises from the appli- cation of a relentless logic to the problems of voice- leading, that achieves absolute independence for each voice, yet at their meeting-points permits most original harmonies to develop. He is a theoretician who points to the possibilities of undiscovered lands a prophet through logic. As a master of harmony he stands alone.' He solved the uncompleted last work of Bach, a fugue of which Bach gave the first, second and part of the third out of four themes (see Schweitzer, Bach, i. 424). On Ziehn's basis Busoni wrote out the ' Fantasia Contrap- puntistica' as a series of seven fugues, of which three are variations of others. This was for piano, and Middelschulte has arranged it for organ, and he and Stock also made an orchestral transcription. Among his famous pupils may be named Mrs. Zeisler, Mrs. Middelschulte, Regina Wat- son, Grace Chadbourne and Eleanor Freer, with Kaun, Carpenter, Bradley, Deis, Arthur Dunham, Gunn, Otto Wulf and Middel- schulte. [ R.5 ] ZIELINSKI, JAROSLAW DE (b. 1847). See Register, 5. ZIMBALIST, EFREM (Apr. 9, 1889, Rostov-on-the-Don, Russia). See article in Vol. v. 596. His Berlin d6but was in 1907, when he played the Brahms concerto with extraordinary impression. His first English appearance the same year was followed by immediate engagements under Nikisch and Richter. Within a year he was equally recognized in France and Russia. He was the first after Joachim to appear at the Ge- wandhaus on New Year's Day, as the latter had done for fifty years. He first came to America in 1911, playing the Glazunov A minor concerto with the Boston Symphony Orchestra on Oct. 27. This visit led to permanent settlement and to numerous later appearances with orchestra and in recital. He has composed a set of 'Slavonic Dances' for violin and orchestra, a 'Suite in the. Style' for violin and piano, and 1914 he married the soprano [ R.10 ] ZIMMERMANN, MATTHL ister, 1. ZOELLNER, JQSKPH (b. l! ister, 7. | ZUCCA, MANAW. 1891). See Register, 9. ZUNDEL, JOHN (1815-1882). See Reg- ister, 4, and TUNE-BOOKS, 1855. Reg- See Reg- The names in the foregoing pages that fall outside the American field are as follows : ARENSKT FARJEON LAVIGNAC SANTLEY BALAKIREV FAURE LENEPVEU SAPELNIKOV BANTOCK FRISKIN LEONCAVALLO SAURET BATH GARDINER LEROUX SCHILLINGS : BAX GILSON LIADOV SCHOLES BEECHAM GLAZUNOV LIAPUNOV SCHWEITZER BELL GLIERE MACCUNN SCOTT, CYRIL BERNEKS GOOSSENS MACKENZIE SCRIABIN BOITO GRANADOS MACPHERSON SGAMBATI BORDES GRECHANIKOV MAGNARD SHARP Bosai GREENE MARTEAU SIBELIUS BOTJGHTON GRIEG MARTIN, G. C. SMYTH BOWEN GUILMANT MASCAGNI SQUIRE BRIDGE, J. F. HABERL MASSENET STRAUSS BRUCH HARCOUBT, D M'EWEN SVENDSEN BUCK, P. C. HARTY MELBA TANIEIEV CARSE HARWOOD MESSAGER TERRY CILEA HINTON MOTTL TETRAZZINI COLERIDGE-TAYLOR HOLBROOKE NAPRAVNIK THOMSON COWEN HOLLINS NEWMAN TIERSOT Cm HOLST, VON O'NEILL TlNEL DALE HUBAY PARRY TOSTI DAVEY HUBER PATTI TOVEY DAVIES HULL PEDRELL VAN DYCK DEBUSSY HURLSTONB PEROSI VIARDOT-GARCIA DELIUS INDY, D' PFITZNER VlDAL DUBOIS IPPOLITOV-IVANOV PHILIPP VlERNE DUKAS IRELAND PITT VOLBACH DUNHILL JOACHIM PUCCINI WALLACE ELGAR JUON RABAUD WEINGARTNER ENNA KARG-ELERT RAVEL WlDOR ERLANGER, C. KASTALSKY RlEMANN WOLF-FERKARI ERLANOER, F. d* KLINDWORTH RlMSKY-KORSAKOV WOOD, H. J. EXPERT KONIUS SAINT-SAENS Printed in the United States of America. 412 U.C. BERKELEY LIBRARIES DATE DUE Music Library University of California at Berkeley II I Illlll li iiiiiii