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Scan 242
Baker's biographical dictionary of musicians, 1919
20 lines. Read by computer on 4 September 2026. Printed page 221. See the scan on archive.org.
1at the Brussels Cons. in 1885; second cond. at the Th. de la Monnaie, Brussels, since 1890; successor, in 1912, of Tinell as director of Brussels Cons.—Works: 4 operas, Son Excellence ma femme (1884), La Revanche de Sganarelle (1886), Edénie (Antwerp, 1912), and Mazeppa (not perf.); also the 1-act ballet Smylis (Brussels, 1891), the mimo-drama Le Mort (Brussels, 1894), a symphonic poem Atala, etc.
3Ducange. See CANGE, DU.
5Ducasse, Jean. See ROGER-DUCASSE.
7Ducis, Benoît [Benedictus Ducis], distinguished composer of the 16th century, probably b. near Constance circa 1480; d. Schalkstetten, n. Ulm, 1544. Org. at Notre-Dame, Antwerp, 1514–16, and 'Prince de la gilde' in the brotherhood of St. Luke; org. and chm. at the Chapel Royal in London, 1516–18. After that he seems to have lived in Vienna, and to have joined the Reformation; in 1535 he was app. pastor in Schalkstetten, after an application for a similar position in Ulm (made in 1732 under the name 'Benedict Duch') had been refused. Fétis' long list of D.'s works is unreliable since Barclay Squire (in 'Smbd. Int. M. G.' XIII, 2 [Jan., 1912]) has brought conclusive evidence that a considerable number of these works must be attributed to Benedictus Appenzelders (q. v.).—Cf. Friedrich Spitta's study in 'Monatschrift für Gottesdienst und Kirchliche Kunst' (Jan.-March, 1913).
9Ducroquet. See DAUBLAINE.
11Dufau [dü-foh'], Jenny, lyr. and coloratura soprano; b. Rothau, Alsace. Pupil of Etelka Gerster in Berlin from 1901–5; studied subsequently for short periods with Mme. Marchesi, P. Vidal, A. Selva and G. Benvenuti; début at Weimar, 1906, as La Reine in Les Huguenots; member of Grand Ducal Th. there until 1908; then, until 1910, star appearances in Ancona, Genoa, Milan, Bologna, Bucharest and Athens; 1910–11 at R. Opera, Berlin; since 1911 member of Chicago Opera Co., of which she is one of the most distinguished artists; created the rôle of the Fairy in the Amer. première of Massenet's Cendrillon (1911); among her favorite rôles are Rosina, Violetta, Lucia, Gilda, Philine, Marguerite, Manon, Lakmé, etc. Her voice is light, of pleasing quality, and especially well adapted to coloratura parts; it has a range of 2 1/2 octaves.
13Dufay, Guillaume, famous French contrapuntist; b. circa 1400; d. Cambrai, Nov. 27, 1474, being the most recent in the distinguished triad Dunstable-Binchois-Dufay. In 1428 he became a chorister in the Papal Chapel, and in 1437 entered the service of Philippe le Bon, Duke of Burgundy; he took holy orders in Paris, lived seven years in Savoy, and finally became a canon at Cambrai. According to Adam of Fulda, D. made many changes in notation; he is the reputed inventor of white (open) notes. Fr. X. Haberl (in the 4th book of the 'Vschr. f. M. W.' 1885) gives a list of 150 comps. found in the libraries of Rome, Bologna, and Trieste, incl. masses (finished and fragmentary), motets, a magnificat, other church-music, French chansons, etc. Other MSS. are in the libraries at Paris, Brussels, Cambrai, and Munich.—Cf. F. X. Haberl, Wilhelm Du Fay, in 'Bausteine für Musikgeschichte' (1885); Ch. van den Borren, G. D. Son importance historique (Liège, 1909).
15Dufranne [dü-frähn'], Hector, dramatic baritone; b. Belgium. Début as Valentine in Faust, at La Monnaie, Brussels, Sept. 9, 1896; next season at Cov. Garden; from 1899 member of Op.-Comique; 1908 at Hammerstein's Manhattan Op. House, N. Y.; 1910–13 member Chicago Op. Co.; has created principal baritone rôles in Pelléas et Mélisande, La Carmelita (Hahn), Monna Vanna (Février), Grisélidis, Messidor (Bruneau), etc.; has sung in Carmen, Samson et Dalila, Lakmé, Roméo et Juliette, Manon, l'Attaque du Moulin, Tannhäuser, Lohengrin, Rheingold, Aida, Hérodiade, Iphigénie en Tauride (Gluck), Figaro, etc.
17Dugazon [dü-gäh-zöhn'], Louise-Rosalie (née Lefèvre), b. Berlin, 1753; went to Paris in 1761, and d. there Sept. 22, 1821. Although not a trained vocalist, the grace and charm of her singing and acting in 'comédies à ariettes' (comedy-operas, operettas, etc.) aroused the utmost enthusiasm at her very début as Pauline in Grétry's Sylvain (July 30, 1774, Comédie-Italienne). Among her principal rôles were those of Babet (in Blaise et Babet), Justine (Alexis et Justine); her impersonations were so animated and original, even when advancing years obliged her to sing 'older' parts, that rôles of this description have ever since been distinguished as 'Jeunes Dugazon,' and 'Mères Dugazon.' She retired finally in 1806.
19Dug'gan, Joseph Francis, pianist and comp.; b. Dublin, July 10, 1817; d. (?). He was accompt. of the recitatives in Italian Opera, New York, and cond. of John Wilson's English opera-troupe, and of German opera; taught in Phila., Baltimore, and Washington; was principal of and prof. in the Phila. Mus. Inst., 1841. From 1844–5 he taught in Paris; lived in Edinburgh and London, and became prof. of singing in the Guildhall School of Music.—He wrote 2 successful operas, Pierre (London, 1853) and Léonie (London, 1854), and 3 others (MS.); 2 symphonies, 6 string-quartets, numerous pf.-pieces; also publ. The
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