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Scan 67
Cyclopedia of music and musicians, 1888
8 lines. Read by computer on 11 September 2026. Printed page 37. See the scan on archive.org.
1O EWIGES
3litzki at Fürstenwalde and the pianoforte from a schoolmaster, and made many youthful attempts at composition. On returning to Berlin he studied composition under Böhmer, the pianoforte and singing under Dreschke, and clarinet under Tanne; then entered the Academy of Arts, where he was the pupil of Rungenhagen, G. A. Schneider, and A. W. Bach, and settled in Berlin as a teacher. His music is sentimental, brilliant, easy, and exceedingly popular. He had many imitators, including his son Max. Works: Symphonies, masses, quartets, motets, fugues, and about 400 pianoforte pieces.—Mendel; Fétis; do., Supplément, ii. 284.
5O EWIGES FEUER, O URSPRUNG DER LIEBE, Cantata Festo Pentecostes, for soli and chorus, with accompaniment of three trumpets, drums, two oboes (two flutes), strings complete, and continuo, by Johann Sebastian Bach (Bachgesellschaft, No. 34); published, with additional accompaniments by Robert Franz, in full and pianoforte score (Breslau, Leuckart).—Spitta, ii. 557.
7OFFENBACH, JACQUES, born in Cologne, June 21, 1819, died in Paris, Oct. 5, 1880. The son of a Jewish cantor, he went early to Paris, and studied the violoncello a year at the Conservatoire under Vaslin; then played in the orchestra of the Opéra Comique, and wrote music to parodies on La Fontaine's poems. After appearing as violoncellist in concerts with little success, he was appointed chef d'orchestre at the Théâtre Français, where his composition of the Chanson de Fortunio in Alfred de Musset's "Chandelier" was well received. He used every means of keeping his name before the public, and at last, in 1855, had a theatre of his own, the Bouffes Parisiens, which was situated at first in the Salle Lacazes of the Champs Élysées, and soon removed to the Théâtre Comte in the Passage Choiseul, where many of his most popular productions were brought out. In 1866 he gave up this theatre, and had his works performed at different houses; in 1872 he took the Théâtre de la Gaîté, but resigned it to Vizentini in 1876, and then made an unsuccessful American tour, which he described in his "Notes d'un musicien en voyage" (Paris, 1877). On his return home he devoted himself to composition, and suffered much from the gout. His numerous works have enjoyed an immense popularity. He was the founder of that species of operetta known as opéra-bouffe, and, although he has had many imitators, none of them have equalled him in comic verve or fertility of melodic invention. Indeed, he has been the only writer of opéra-bouffe to whom the term "man of genius" can properly be applied. Works—Operettas: Les alcôves, Paris, 1847; Marietta, Cologne, 1849; Pepito, Paris, 1853; Oyayaye, Entrez, messieurs, mesdames, Une nuit blanche, Les deux aveugles, Le rêve d'une nuit d'été, Le violoneux, Madame Papillon, Périnette, Ba-Ta-Clan, 1855; Un postillon en gage, Tromb-al-Cazar, La rose de Saint-Flour, Les dragées du baptême, Le soixante-six, Le financier et le savetier, La bonne d'enfants, 1856; Les trois baisers du diable, Croquefer ou le dernier des paladins, Dragonette, Vent du soir ou l'horrible festin, Une demoiselle en loterie, Le mariage aux lanternes, Les deux pêcheurs, Les petits prodiges (with Jonas), 1857; Mesdames de la Halle, La chatte métamorphosée en femme, Orphée aux enfers, 1858; Un mari à la porte, Les vivandières de la grande armée, Geneviève de Brabant, 1859; Le Carnaval des revues, Daphnis et Chloé, Barkouf, Le papillon, ballet, 1860; La Chanson de Fortunio, Le pont des soupirs, Monsieur Choufleury restera chez lui (with M. de Saint-Rémy—Duc de Morny), Apothicaire et perruquier, Le roman comique,
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