Books › Baker S Biographical Dictionary Of Musicians, 1900 › scan 426
Scan 426
Baker S Biographical Dictionary Of Musicians, 1900
10 lines. Read by computer on 12 September 2026. Printed page 404. See the scan on archive.org.
1melbände der Internationalen Musik-Gesellschaft,' Jan., 1912) brought conclusive evidence that a considerable number of these works must be attributed to Benedictus Appenzeller (q.v.). Two works by Ducis were published in facsimile by M. Nijhoff (The Hague, 1925); 10 sacred motets were reprinted in the 'Denkmäler deutscher Tonkunst,' vol. XXXIV (ed. by Joh. Wolf).—Cf. F. Spitta, Benedictus Ducis, in 'Monatsschrift für Gottesdienst und Kirchliche Kunst' (Jan.-March, 1913); also Charles Van den Borren, Benedictus de Opitiis, in 'Musica sacra' (Sept., 1927); D. Bartha, Benedictus Ducis und Appenzeller (Wolfenbüttel, 1930).
3Ducloux, Walter, conductor; b. Kriens, Switzerland, April 17, 1913. He studied at the Univ. of Munich (1932-35) and at the Academy of Music in Vienna (1935-37); was assistant to Toscanini at the Lucerne Festivals (1938-39); came to America and conducted opera in New York (1940-42); became bandleader in the U. S. Army (1943-46). He returned to Europe as opera conductor in Prague and Brno (1946-48); then settled in New York (1949) as music director of 'Voice of America' broadcasts. In 1953 he was appointed head of the opera department of the School of Music at the Univ. of Southern California.
5Ducroquet. See Daublaine.
7Dufau (dü-foh'), Jenny, soprano, b. Rothau, Alsace, July 18, 1878; d. Pau, France, Aug. 29, 1924. Pupil of Etelka Gerster in Berlin (1901-5); studied subsequently with Mme. Marchesi, P. Vidal, A. Selva, and G. Benvenuti; sang at Berlin Opera (1910-11); from 1911, member of Chicago Opera Co., of which she was one of the most distinguished artists; later, appeared in vaudeville.
9Dufay (dü-fäh-ē; in 3 syllables), Guillaume, chief representative of the Burgundian school, and famed particularly for his 3-part chansons and his Masses; b. probably at Hainault, c. 1400; d. Cambrai, Nov. 27, 1474. He was a choir-boy at the Cathedral of Cambrai, where he received an excellent training; his teachers were Loqueville and Grenon. He was in Rimini and Pesaro (1419-26); then returned to Cambrai, where he was chapel master (1426-28); then member of the Papal Chapel in Rome (1428-33); in the service of the Duke of Savoy (1433); again in Cambrai (1434); entered again the Papal Chapel (1435-37; not in Rome, however, but in Florence and Bologna); was again in Savoy (1438-44); studied jurisprudence at the Univ. of Turin, obtaining the degree 'Baccalarius in decretis' (c. 1445). In 1445 he settled at Cambrai, holding the important position of canon at the cathedrals of Cambrai and Mons. Under these fortunate circumstances, which enabled him to live in comfort, he spent the rest of his life, greatly esteemed by both the Church authorities and musicians; he was described by Compère as "the moon of all music, and the light of all singers." Dufay wrote music in almost every form practiced in his time, and was successful in each. Haberl gives a list of 150 works by Dufay, found in the libraries of Rome, Bologna, and Trieste; these include Masses, motets, a Magnificat, other church music, and a number of French chansons, in which Dufay excelled. Other MSS are in the libraries at Paris, Brussels, Florence, Venice, Oxford, Modena, Cambrai, and Munich.—Reprints: 19 of the 50 pieces in J. Stainer's Dufay and his Contemporaries (London, 1898); a hymn, Kyrie, and chanson in Schering's Geschichte der Musik in Beispielen (nos. 38-40); 12 sacred and secular pieces, edited by H. Besseler, in Blume's Das Chorwerk (Heft 19); hymns in 3 and 4 parts, edited by R. Gerber, ib. (Heft 49); 4 selections in Davison and Apel, 'Harvard Anthology of Music,' vol. I; many pieces in the 'Denkmäler der Tonkunst in Österreich' (vols. VII, XI, 1, XIX, 1, XXVII, 1, XXXI, and XL).—Bibl.: F. X. Haberl, Wilhelm du Fay, in 'Bausteine für Musikgeschichte,' Vol. I (Leipzig, 1885); H. Besseler, Studien zur Musik des Mittelalters, in 'Archiv für Musikwissenschaft' (June, 1925); Charles Van den Borren, Guillaume Dufay; son importance dans l'évolution de la musique au XV siècle (Brussels, 1926); K. Geiringer, Dufay's 'Gloria ad modum tubae', in 'Zeitschrift für Musikwissenschaft' (Jan., 1927); K. Dèzes, Das Dufay zugeschriebene 'Salve Regina' eine deutsche Komposition, in 'Zeitschrift für Musikwissenschaft' (Feb., 1928); H. Besseler, Die Musik des Mittelalters und der Renaissance, in Bücken's 'Handbuch der Musikwissenschaft' series (1931-34); Charles Van den Borren, Guillaume Dufay, Light of the 15th Century, in the 'Mus. Quarterly' (July, 1935); H. Besseler, Neue Dokumente zum Leben und Schaffen Dufays, in 'Archiv für Musikwissenschaft' (Sept. 1952); D. Plamenac, An Unknown Composition by Dufay?, in the 'Mus. Quarterly' (April, 1954); see also chap. 2 in Gustave Reese, Music in the Renaissance (N. Y., 1954). H. Besseler's article in 'Die Musik in Geschichte und Gegenwart' incorporates new documentary discoveries on Dufay's life (many of them made by Besseler himself). Publication
The computer misreads some letters and numbers. Where a name matters to you, read the scan.