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Scan 149
Grove's dictionary of music and musicians, 1927
12 lines. Read by computer on 16 September 2026. Printed page 135. See the scan on archive.org.
1members of the student-body and faculty and the best amateurs of the community. The first concert was given in May, 1919, and inaugurated a new musical activity in the institution. His published compositions are the prize-chorus 'I know the way of the wild blush-rose,' for mixed voices; the anthems 'Hark the sound of holy voices' (Summy), 'As it began to dawn' (Novello), 'There were shepherds' (Schirmer), Easter and Christmas Carols (Schirmer, Ditson), 'Sing, O daughter of Zion,' for voice and piano (Summy), and several violin-pieces (Ditson, and Carl Fischer). Still in ms. are a Concert-Overture and Fantaisie for large orchestra, a String-Quartet in G, a Serenade for strings and flute, a Nocturne for 'cello and piano, and a Fugue for two choirs on 'Ein' feste Burg,' Hebraic music for chorus and organ, detached choruses, and further pieces for violin and piano. [R.8]
3BODANZKY, ARTUR (Dec. 16, 1877, Vienna, Austria), was a pupil of Grün, Grädener and J. N. Fuchs at the Vienna Conservatory. He became a violinist in the orchestra of the Imperial Opera in 1896. His first engagement as conductor was in 1900 at Budweis in Bohemia, going thence to the Carl-Theater in Vienna. He conducted a season of light opera in Petrograd in 1901. In 1902 he returned to the Vienna Opera as assistant to Mahler. Two years later he was in Paris conducting the first French performance of 'Fledermaus' ('La Chauve-Souri'). Returning to Vienna, he became conductor at the Theater an der Wien. For nearly three seasons from 1906 he was director at the Royal Opera in Prague and also conductor of the Philharmonic Concerts there. In 1909 he became director of the Grand-Ducal Theater at Mannheim, where he also conducted the Philharmonic and Oratorio Society concerts. At the same time he made frequent visits as guest-conductor to London, Milan, Rome, Petrograd, Moscow, Brussels, Cologne, Vienna, Munich and other prominent centers. In 1914 he conducted the first performance of 'Parsifal' in England. In 1915 he came to the Metropolitan Opera House in New York. His most conspicuous single achievement there is his new version of Weber's 'Oberon,' the score and orchestral parts of which he reedited. In the spring of 1919 he made his début in New York as a symphonic conductor, leading the New Symphony Orchestra. He has continued in this post through the courtesy of the management of the Opera. [R.10]
5BOEKELMAN, BERNARDUS (June 9, 1838, Utrecht, Holland), had his first musical studies with his father, Anton J. Boekelman, who was a chorus-director and organist. He studied at the Leipzig Conservatory in 1857-60 under Moscheles, Richter and Hauptmann, and in 1862-64 was a private pupil of von Bülow, Kiel and Weitzmann. He migrated to Mexico during Maximilian's régime, but in 1866 settled in New York. The same year he toured with Carl Formes and Jehin-Prume under the management of Strakosch. With R. Richter, violinist, and E. Schenck, 'cellist, he founded the New York Trio Club, and played at the first performance in New York of Tchaikovsky's Trio, op. 50, Scharwenka's Concerto in B minor and Liszt's 'Danse Macabre.' In 1883-97 he was music-director at Miss Porter's School in Farmington, Conn., and since 1897 has been in the same position at Mrs. Dow's School at Briarcliff, N. Y., as well as teaching privately in New York. His published works include a Festival March, op. 1, for piano, four hands (also for band, string-orchestra and two pianos); a Romance, op. 2, for violin or 'cello and piano; a 'Ballabile,' op. 3, for piano or string-orchestra; a Concert Polonaise, op. 4, for piano (also for two pianos, eight hands, string-orchestra "military band); 'Valse de la Reine,' op. 5, fo. piano; 'À Cheval,' op. 6, for piano; 'In der Einsamkeit,' op. 7, for string-orchestra; 'Sehnsucht,' op. 8, for piano; three songs for high voice, op. 9; 'Gondoliera,' op. 10, for violin and piano; 'Romance,' op. 11, for piano; six thumb-studies, op. 12, for piano; 'Tête-à-Tête,' op. 13, a piano-waltz; and three octave-studies for piano, op. 14. His analytical editions of sixteen fugues from Bach's 'Well-Tempered Clavichord' and 'Inventions' have had a wide circulation. In these the themes are printed in colors and rhombic notes, to facilitate the study of contrapuntal style. The fundamental harmony is printed separately for a second piano or the organ. [R.5]
7BOEPPLER, WILLIAM (Feb. 21, 1863, Pferdsfeld, Germany), secured his university education at Leipzig and Bonn. In music he was trained by Gisbert Enzian in Kreuznach, Reinecke, Fiedler and Langer in Leipzig, and Arnold Mendelssohn in Bonn. His first teaching in America was at Milwaukee in 1894. In 1895 he organized there the A Cappella Chorus, in 1899 the Wisconsin Conservatory, and in 1902 the Milwaukee Symphony Orchestra. In 1895 he was musical editor of the Milwaukee 'Herald', in 1896-97 of the 'Germania.' Since 1904 he has also been active in Chicago, conducting the Singverein, the Germania Club, the Turner-Männerchor, and the male chorus of the First National Bank. Among his pupils are numerous singers of prominence. [R.8]
9BOGERT, WALTER LAWRENCE (b. 1864). See Register, 8.
11BOHANAN, GEORGE SMILEY (b. 1869). See COLLEGES, 3 (West Virginia Wesleyan C.).
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