Books › Baker's biographical dictionary of musicians, 1919 › scan 963
Scan 963
Baker's biographical dictionary of musicians, 1919
8 lines. Read by computer on 4 September 2026. Printed page 943. See the scan on archive.org.
1Teyte, Maggie [changed original spelling, Tate, at time of début to insure correct pronunciation in France], lyric soprano; born Wolverhampton, April 17, 1889. Began her mus. studies at the R. C. M. in London; 1903–7, pupil of Jean de Reszké in Paris; début as Zerlina at Monte Carlo (Feb., 1907); 1908–10, at the Opéra-Comique; 1910–11, with Beecham Opera Co. in London; 1911–14, member of Chicago Opera Co., making her American début at Philadelphia as Cherubino (Nozze di Figaro; Nov. 4, 1911). At her second appearance she created the rôle of Cendrillon at the Amer. première of Massenet’s opera (Phila., Nov. 6, 1911); 1914–5, concert-tour of the U. S.; 1915–17, member of the Boston Natl. Grand Opera Co. During the summer of 1914 she sang with the Boston Opera Co. in Paris, and later toured England with Kubelik. On Oct. 6, 1909, she married Eugène Plumon, a lawyer in Paris, from whom she was div. Nov. 12, 1915. Her voice is warm and sympathetic, and of surprising volume considering her diminutive physique; her graceful figure lends additional charm to her fine impersonations of youthful characters. Her favorite rôles are Mimi (La Bohème) and Mélisande.
3Thadewaldt [tah’dě-wähl’t], Hermann, b. Bodenhagen, Pomerania, April 8, 1827; d. Berlin, Feb. 11, 1909. From 1850–51, bandmaster at Düsseldorf; 1853–5, cond. at Dieppe; 1857–69, cond. of his own orch. at Berlin, and in 1871 of the concerts at the Zoölogical Gardens. In 1872 he founded the ‘Allgemeiner Deutscher Musikerverband,’ of which he was the first Pres., and to whose interests he devoted his entire time until his death. Publ. a symph. poem, Das Rätsel der Sphinx; Im Walde for orch.; Meermusik for str.-orch.; Herbstlied for str.-quintet; etc.
5Thalberg [tahl’bäryh], Marcian, pianist; b. Odessa, Nov. 26, 1877. Pupil at Leipzig Cons. (1894–6, and 1897–9) of Weidenbach and Reinecke (pf.) and Jadassohn (theory), graduating with honors. Having taught for some time in England, he returned to Leipzig in 1901, studying for one year with A. Reisenauer; settled in Paris in 1902, where he made his headquarters till 1913; début there (Salle Érard) on Jan. 21, 1903; at first he confined his appearances (in recitals and with orch.) to France, but after 1906 he made extended tours of Germany, Switzerland, England and Russia; since Sept., 1913, he has been principal pf.-instructor at the Cincinnati Cons. (master-class), and has been heard as soloist in the U. S.
7Thal’berg, Sigismund, renowned piano-virtuoso and composer; born Geneva, Jan. 7, 1812; d. Naples, April 27, 1871. The natural son of Prince Moritz Dietrichstein and the Baroness von Wetzlar, his father took charge of his education at Vienna, from 1822. Hummel and Sechter were nominally his teachers; but he himself gives the credit for his pianistic training to Mittag, the 1st bassoonist in the Vienna Court Opera. At 14 he already had success in private circles; in 1828 his first three works (Fantaisie and variations on Euryanthe; do. on a Scotch theme; Impromptu on Le Siège de Corinthe) appeared, followed in 1830 by the pf.-concerto in F minor, op. 5. In 1830 he also made a concert-tour through Southern Germany, winning great applause. In 1834 he was app. court pianist at Vienna; in 1835 he excited intense enthusiasm in Paris, and continued his triumphs through Belgium, England, Holland, and Russia. In 1843 he married Mme. Boucher, the daughter of Luigi Lablache, in Paris; in 1845 he undertook a tournée in Spain; in 1851 his first operatic venture, Florinda, failed completely in London, and a second, Cristina di Svezia, met a similar fate in Vienna, 1855; he then set out on a tour through Brazil (1855) and the United States (1856), retiring in 1858 to his villa at Posilippo, near Naples. In 1862 he revisited Paris and London; made a second Brazilian tour in 1863; and in 1864 withdrew permanently to Posilippo.—T. was an executant of the highest rank, unexcelled as an interpreter of salon-music, with a complete command of tone-effect, and a wonderful legato, eliciting from Liszt the remark, ‘Thalberg is the only artist who can play the violin on the keyboard.’ His technical specialty, since widely imitated, was to play a central melody with the thumb of either hand, surrounding it with brilliant arpeggios and arabesques [see POLLINI, FRANCESCO]. He was the leader of the Vienna school of brilliant piano-playing, the glittering superficiality of which has succumbed to modern Romanticism.—Published works: Op. 5, Gran concerto f. pf.; op. 7, divertissement; op. 15, 19, Caprices; op. 16, 21, 28, 6 Nocturnes; op. 31, Scherzo; op. 32, Andante; op. 35, Grand nocturne; op. 35bis, Étrennes aux jeunes pianistes; op. 36, 6 pieces (La Cadence, a study, is No. 1); op. 38, Romance et étude; op. 41, 2 Romances sans paroles; op. 45, Thème orig. et étude; Op. 47, Grandes valses brillantes; op. 55, Le Départ, varié en forme d’étude; op. 57, 10 morceaux (école préparatoire); op. 56, Grande sonate; op. 59, Marche funèbre variée; op. 60, Barcarolle; op. 62, Valse mélodique; op. 64, Les Capricieuses; op. 65, Tarentelle; op. 69, pf.-trio in A; Souvenir de Pest; etc. Among many brilliant transcriptions and fantasias are op. 20 (Huguenots), op. 33 (Moïse), op. 66 (L’elisir d’amore), etc.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.