Books › A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900 › scan 588
Scan 588
A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900
6 lines. Read by computer on 3 September 2026. Printed page 576. See the scan on archive.org.
1edited Purcell's King Arthur; translated libretti of Mozart's Requiem, Graun's Death of Jesus, Haydn's Seasons, Spohr's Last Judgment and Fall of Babylon.
3Taylor, Franklin, pianist and teacher; b. Birmingham, Engl., Feb. 5, 1843. Pupil of C. Flavell (pf.) and T. Bedsmore (org.); also 1859-61 of Plaidy, Moscheles, Richter, Hauptmann, and Papperitz at Leipzig Cons. Returning to London via Paris in 1862, he settled there as a highly successful concert-pianist and teacher; 1876-82, prof. at the Nat. Training School, and since 1883 at the R. C. M., then ceasing to play in public; 1891-3, a director of the Philharm. He is on the Assoc. Board of the R. A. M. and the R. C. M. for local examinations; and is President of the Acad. for the Higher Development of Pf.-playing.—Works: "Primer of Pf.-playing" (1877); "Pf. Tutor," "Technique and Expression in Pf.-playing" (1897); numerous articles in Grove's Dict.; transl. E. F. Richter's works on Harmony, Counterpoint, and Canon and Fugue.
5Tchaikovsky, Peter Iljitch, the most distinguished representative of the modern Russian school of composition, and one of the most original, powerful and fertile of modern composers, was born on Christmas Day, 1840, in Wotkinsk, in the Government of Wiätka. He died Nov. 6, 1893, at St. Petersburg, of cholera. Like many others who have reached the highest places in music, he was not intended for such a career, but was put to the study of law, and entered the government civil service. Soon after Rubinstein founded the St. Petersburg Conservatory in 1862, young Tchaikovsky entered it as a student. The intention thus shown of devoting himself to the art was confirmed in 1866, when he became an instructor of harmony in the Conservatory. He retained the post till 1877. After that time he devoted himself entirely to composition, with results that have ever since wrought steadily to enhance his fame. His life was the uneventful one of a thoughtful and serious devotee of art; it was passed partly in St. Petersburg, partly in Italy, partly in Switzerland. In the spring of 1891 he visited New York for the dedication of the new Carnegie Music Hall, and then gave New York musicians and music-lovers a taste of his vigor, power, and infectious enthusiasm as a conductor of his own compositions. In 1893 the Univ. of Cambridge conferred on him the degree of Mus. Doc. honoris causa. Tchaikovsky was a zealous cultivator of national spirit and color in music. His own is full of Russian characteristics. He has frequently used native folk-music as thematic material, but, more than this, his music shows the strange and violent contrasts of mood characteristic of the race; now full of a wild and barbarous energy and fiery intensity; now of an almost maiden tenderness and ingenuousness; now of a black and hopeless melancholy. His highest qualities are shown in his orchestral works, particularly his symphonies, symphonic poems, suites, and overtures, of which the orchestration is of the richest modern cast. His numerous operas, mostly on Russian subjects, are little known outside of his native land; but a casual inspection of their scores shows that he was no follower of Wagner, and constructed them closely after old-time models. His songs have a characteristic and poignant melancholy. His first pianoforte-concerto is one of the best-known and most effective modern works of its class, and his solo pianoforte-compositions, though chiefly written in the vein of salon-music, bear the hall-mark of his melodic freshness and originality of harmonic treatment.—Works: The Russian operas The Voyevode (Moscow, 1869), Opritchnnyk (St. P., 1874), Vakula, the Smith (St. P., 1876), Jevgenje Onegin (St. P., 1879; Hamburg, as Eugen Onegin, 1892); The Maid of Orleans (1881); Mazeppa (1882); Tcharavitchki (1886); Tcharodjeika [The Sorceress] (1887); Pique-Dame (1890); Jolanthe (1893); the lyric drama Snegorutchka [Snowdrop; Ger. Schneewittchen]; 3 ballets, Le lac des cygnes (op. 20), La Belle au bois dormant (1890), and Le Casse-noisette (op. 71);—a Coronation Cantata f. soli, ch., and orch.; 2 masses (op. 41, 52);—6 symphonies (op. 13, G min.; op. 17, C; op. 29, D; op. 36, F min.; op. 64, E min.; op. 74, B min.); 7 symphonic poems ("The Tempest," op. 18; "Francesca da Rimini," op. 32; "Manfred," op. 58; "Romeo and Juliet" [fantasy-overture]; "Hamlet," op. 67; "Fatum," op. 77; "Le Voyevode," op. 78 [symphonic ballade]);—4 orch.1 suites, op. 43, 53, 55, and 61 ("Mozartiana");—"1812, Ouverture solennelle" (op. 49), "Ouverture triomphale" on the Danish nat.l hymn (op. 15); overture to the drama l'Orage (op. 76); "Marche slave" (op. 31); Coronation March (1883); Serenade f. string-orch., op. 48; 3 pf.-concertos (op. 23, 44, 75); a pf.-fantasia w. orch. (op. 56); violin-concerto (op. 35); Capriccio f. 'cello w. orch. (op. 62); string-sextet "Souvenir de Florence," f. 2 violins, 2 violas, 2 'celli (op. 70); 3 string-quartets (op. 11, 22, 30); a pf.-trio (op. 50); variations f. 'cello and pf. (op. 33); pieces f. violin and pf. (op. 26, 34); many pf.-pieces ("Souvenir de Hapsal," 3 numbers, op. 2; Romance, op. 5; 3 morceaux, op. 9; 2 morceaux, op. 10; 6 morceaux, op. 19; sonata, op. 37; "The Seasons," 12 charact. pieces, op. 37a; "Kinder-Album," 24 numbers, op. 39; 12 morceaux, op. 40; 6 do., op. 51; 18 do., op. 72); also 6 duets, and Russian songs. He publ. a "Treatise on Harmony," and translations of Gevaert's "Traité
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