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Grove's Dictionary of Music and Musicians, 1928
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11891), father of the Conservatory or class system of musical instruction in America. His family being in humble circumstances it became necessary to put him to work at the early age of 8; but his thirst for knowledge was so great, that he soon became a laborious student at the East Greenwich seminary. At the age of 15 he became clerk in a music store in Providence, and thus had opportunities for study which he did not fail to improve. At the age of 17 he opened a music store in Fall River, where he also taught music in the public schools and formed classes in piano, voice and organ. This was in 1851, and was really the beginning of the class system, which has since been so largely developed. He afterwards removed to Newport, and continued his work as organist and choirmaster of Old Trinity Church there, and as director of the local choral society. In 1859 he founded a Musical Institute at East Greenwich, where he had an opportunity of carrying out his ideas regarding class-teaching under more favourable auspices than before.
3In 1863 he visited Europe, in order to gain information regarding the methods employed in France, Germany and Italy in conservatory teaching. He took this opportunity of studying with many eminent masters, amongst others August Haupt, of Berlin. On his return to America he removed to Providence, and established the 'Providence Conservatory of Music,' which had great success. In 1867 he extended his work by founding 'The New England Conservatory of Music,' in BOSTON (q.v.) and continued for a time to keep both schools in operation. He drew round him the most eminent teachers in Boston, and placed a good musical education within the reach of the poorest students. In 1869 his executive and organising abilities were made use of by the projectors of the great 'Peace Jubilee,' and there is no doubt that the success of that enterprise was largely due to his efforts. During the same year the degree of Doctor of Music was conferred upon him by Wesleyan University. From the foundation of Boston University he was Dean of the College of Music attached thereto. But his greatest work was the establishment of the great Conservatory just mentioned, from which have graduated thousands of pupils, filling honourable positions as teachers, pianists, organists and vocalists, and proving themselves able musicians.
5TOURNEMIRE, CHARLES ARNOULD (b. Bordeaux, Jan. 22, 1870), studied at the Paris Conservatoire, where he gained first organ prize in 1891; he afterwards studied with Vincent d'Indy. He succeeded César Franck as organist of Sainte-Clotilde (1898) soon after completing his education. He is professor of a chamber-music class at the Conservatoire. He has written chamber music, a symphony, songs and pieces for piano and organ. 'Le Sang de la Sirène,' for chorus, soli and orchestra, gained the Prix de la Ville de Paris, and was performed at the Théâtre Municipal de la Gaîté on Nov. 17, 1904. The work was also given at Toulouse, Leyden and The Hague. A lyric tragedy in seven scenes, 'Nittetis,' has not yet been performed. Tournemire has given many organ recitals—in Berlin, Amsterdam, The Hague, Marseilles, Turin, Liège, etc.
7His principal works are:
9Organ.—Opp. 2, 3, 10, 16, 19, interlude, scherzetto, adagio, toccata; op. 24, 'Ite Missa est'; 'Pièces symphoniques,' various pieces, versets, Noëls, entrées, offertoires, etc.; triple Choral (op. 41).
10Songs.—A collection containing 'Sept Mélodies,' 'Solitude' (1923).
11Chamber Music.—PF. quartet, PF. trio, etc.; 'Sagesse,' vln. and PF., etc.
12Dramatic Works.—'Les Dieux sont morts' (Paris, 1923), lyric drama in 2 acts; words by E. Berteaux; first performed, Opéra, Mar. 19, 1924.
14G. F.; addns. M. L. P.
16TOURS, BERTHOLD (b. Rotterdam, Dec. 17, 1838; d. London, Mar. 11, 1897). His early instruction was derived from his father, Barthélemy Tours (1797–1864), who was organist of the St. Laurence church, and from Verhulst. He afterwards studied at the Conservatoires of Brussels and Leipzig and then accompanied Prince George Galitzin to Russia, and remained there for two years. From 1861 he resided in London, writing, teaching and playing the violin in the band of the Royal Italian Opera, and other good orchestras. He was appointed organist of the Swiss Church, Holborn, 1862, and in 1878 he became musical adviser and editor to Novello, and in that capacity arranged several important works from the orchestral scores, such as Beethoven's Mass in C, four of Schubert's Masses, 'Elijah,' Gounod's 'Redemption,' etc. etc., besides writing the 'Primer of the Violin' in the series of that firm. His compositions are numerous. He wrote for the piano and other instruments, and a large number of songs, some of which were very popular. But his best work is to be found in his hymn tunes, anthems and services for the Anglican Church.
18TOURTE, FRANÇOIS (b. Paris, 1747; d. there, Apr. 1835), the most famous of violin bow-makers. His father and elder brother were bow-makers also; and the reputation which attaches to the family name is not due to François alone. To François Tourte's father is generally attributed the substitution of the screw for the crémaillère. Xavier Tourte, the elder brother, known in France as 'Tourte l'aîné,' was also an excellent workman: tradition says that the brothers started business in partnership, François making the sticks, and Xavier the nuts and fittings. They quarrelled and dissolved partnership, and each then set up for himself, Xavier reproducing as well as he could the improvements in the stick which had been introduced by François. The latter has been called the Stradivari of the bow: and there is some truth in this; for as Stradivari finally settled the model and fittings of the
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