Books › Grove's Dictionary of Music and Musicians, 1927 › scan 82
Scan 82
Grove's Dictionary of Music and Musicians, 1927
31 lines. Read by computer on 11 September 2026. Printed page 46. See the scan on archive.org.
1His Wagnerian parts, beginning with 'Lohengrin' (King), 1891, up to Gurnemanz in 'Parsifal,' 1914, attained a high artistic level. His creations of Wotan and Hans Sachs remain very striking interpretations. He has sung in Russia, England, Belgium, Holland, Portugal. His voice, of exceptional compass and tone, the authority of his acting, a firm declamation and ampleness of style, combined with an innate understanding of dramatic music, have made him one of the most remarkable operatic singers of his day.
3BIBL.—Nouvelle Revue, Sept. 15, 1920; H. de Curzon, Croquis d'artistes: J. F. Delmas.
5M. L. P.
7DELMAS, MARIE JEAN BAPTISTE, called Marc Delmas (b. St. Quentin, Aisne, Mar. 28, 1885), composer, pupil of the Paris Conservatoire, was rewarded with the Grand Prix de Rome in 1919. His production consists of chamber music, PF. pieces, a lyric legend, 'Anne Marie,' 'Les Deux Routes' (symphonic poem), a lyric drama, 'Iriam,' etc. M. L. P.
9DELMOTTE, HENRI FLORENT (b. Mons, 1799; d. there, Mar. 9, 1836), librarian of the public library at Mons, and author of Notice biographique sur Roland Delattre, etc. (Valenciennes, 1836). This work was translated into German by Dehn. The authenticity of the chronicler Vinchant, from whom Delmotte took the chief part of his facts, has been contested since his death. At the time of his death Delmotte was collecting materials for the life of Philippe de Mons.
11M. C. C.
13DEMACHI, GIUSEPPE (b. Alessandria della Paglia, Piedmont, early 18th cent.), was violinist in the court chapel, Turin, c. 1740; and at Geneva, 1771. On his MS. symphony in E flat he calls himself maître de concert of the Princess of Nassau-Weilburg. He composed symphonies, violin concertos and sonatas, six orchestra quartets (Welcker), concertini for 3 violins and violoncello; trio sonatas for 2 violins and bass, etc. (Q.-L.)
15DEMANTIUS, JOHANN CHRISTOPH (b. Reichenberg, Dec. 15, 1567; d. Freiberg, Saxony, Apr. 20, 1643), German cantor and composer. He was an instructor at the St. Lorenz Academy in 1592, was living at Leipzig from 1594–95, and was cantor at Zittau in 1597, until in 1604 he was engaged in a similar capacity at Freiberg. He was a prolific composer, and was the author of several treatises on music and singing. Publications of his compositions between 1595 and 1650, besides the usual sets of motets, Magnificats, Te Deums, Introits, Psalms, etc., include a 6-part St. John Passion, several sets of Polish and German dances and galliards, with and without words, arranged for 4 and 5 voices—but some also for instruments, a set of German madrigals and canzonets with a 6-part Villanelle, funeral songs and epithalamiums, and a Tympanum Militare (a collection of 21 Songs of Triumph and Battle for 5, 6, 8 and 10 v.). (See Q.-L.) J. Mk.
17DÉMAR, JOHANN SEBASTIAN (b. Gauaschach, Bavaria, June 29, 1763; d. Orleans, c. 1832), pupil of Fr. X. Richter, Strassburg, organist at Weissenburg. He visited Vienna; went to Italy; to Paris, c. 1788; then to Orleans, where about 1806 he became director of the Grand Concert d'Amateurs, and music publisher. He composed concertos for various instruments, quartets, trios, duets, sonatas, etc., as well as tutors for sundry instruments.
19E. v. d. s.
21DEMEUR, ANNE ARSÈNE (née CHARTON) (b. Sanjon, Charente Inférieure, Mar. 5, 1824 1), a soprano opera singer, who was taught music by Bizot of Bordeaux, and in 1842 made her début there as Lucia.
23She sang next at Toulouse, and in 1846 at Brussels. On July 18 in the same year she made a successful début at Drury Lane as Madeleine in 'Le Postillon,' and later sang with great success as Angèle ('Domino noir') with Couderc, the original Horace. On Sept. 4, 1847, she married M. Demeur the flautist. 2 In 1849–50 she was first female singer of Mitchell's French Company at St. James's Theatre, and became highly popular in various light parts, many of which were then new to England. She sang at the Philharmonic Concert of Mar. 18, 1850; in 1852 she appeared in Italian at Her Majesty's on July 27, as Amina; and on Aug. 5, in the Duke of Saxe-Coburg-Gotha's 'Casilda.' Mme. Charton-Demeur having sung with little success in 1849 and 1853 at the Opéra-Comique, adopted the Italian stage, and won both fame and fortune in St. Petersburg, Vienna, in North and South America, and in Paris at the Italiens as Desdemona in 1862. On Aug. 9 of that year she played the heroine on the production of Berlioz's 'Béatrice et Bénédict' so much to the composer's satisfaction that he requested her to play Dido in 'Les Troyens à Carthage,' produced at the Lyrique, Nov. 4, 1863. Berlioz has commemorated in his Memoirs her great beauty, her passionate acting and singing as Dido, although she had not sufficient voice wholly to realise his ideal heroine. On the conclusion of the run of the opera she sang at Madrid, but afterwards returned to the Lyrique. For many years Mme. Charton lived in retirement, but occasionally appeared at concerts, viz. at the Berlioz Festival at the Paris Opéra, with Nilsson in the 'duo-nocturne' from 'Béatrice et Bénédict,' Mar. 22, 1870; and finally sang at the Pasdeloup Concerts in 1879 on the production of 'La Prise de Troie' by the same composer.
25A. C.
27DEMI-SEMI-QUAVER (Fr. triple croche; Ger. Zweiunddreissigstel—whence the American
291 Pougain.
302 Demeur, Jules Antoine (b. Hodimont-lez-Verviers, Sept. 23, 1814), studied the flute at the Brussels Conservatoire from Lahore—subsequently learnt the Boehm flute from Dorus at Paris; from 1842–47 was first flautist at the Brussels Opera, and as such played at Drury Lane in 1846; he relinquished that post to accompany his wife on all her engagements.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.