Scan 52
Grove's Dictionary of Music and Musicians, American Supplement, 1928
42 lines. Read by computer on 11 September 2026. Printed page 40. See the scan on archive.org.
1maker in the Hooks' factory, in 1869 started a separate business with Willcox and others (becoming sole owner in 1884) and was in partnership with Votey in 1901–08. He was the inventor or first successful user of many mechanical features, such as improved electric action, movable console, etc.
3*Inten, Ferdinand von (Saxony, 1848–1918, New York), after study at Leipzig, came to New York in 1868 as concert-pianist and ensemble-player. In chamber-concerts he was associated with Thomas and Damrosch, exerting a significant influence. He was also a fine teacher.
5*Jehin-Prume, François (Belgium, 1839–1899, Montreal), highly trained as a violinist at Liège and Brussels, began European tours in 1855 and from 1863 appeared frequently not only in the United States and Canada, but in Cuba and Mexico. In 1887–96 he was teacher and organizer of chamber-music in Montreal. He wrote two violin-concertos, violin-pieces and songs. Ysaÿe was at one time his pupil.
7Kellogg, Clara Louise (Sumterville, S. C., 1842–1916, New Hartford, Conn.), the brilliant operatic and concert-soprano, was educated in New York, made her début there in 1861 and in London in 1867, continuing active in England and America for about twenty-five years. See Vol. ii. 563, and art.
9*Kunkel, Charles (Palatinate, 1840– ? ), and *Kunkel, Jacob (1846–1882, St. Louis), were brought to America in 1848, studied with their father, Thalberg and Gottschalk, and excelled in duet-playing. From 1868 they were publishers and dealers in St. Louis.
11Lavallée, Calixa (Verchères, Que., 1842–1891, Boston), a precocious pianist and composer, was educated in Paris, where he remained many years, started a conservatory in Quebec, and about 1880 removed to Boston. See art.
13Leavitt, W. J. D. (Boston, 1841– ? ) after European study, from 1865 taught at Oneida, N. Y., and from 1870 taught in Boston, becoming organist at the Music Hall in 1875 and giving many recitals. He wrote the opera 'Mercedes,' several operettas, an organ-sonata and organ-pieces, etc.
15*Leckner, Max (b. Prussia, 1842), well trained as a musician, came to America in 1860 and finally settled in Indianapolis, where for more than a half-century he has been a notable artistic force.
17*Levy, Jules (b. 1840), appeared in England in 1860 as solo cornettist, came to New York in 1864, 1868 and 1875, joining Gilmore.
19*Liebling, Emil (Silesia, 1851–1914, Chicago), educated at Berlin, came to America in 1867, teaching first in Kentucky, but, after study abroad in 1871–72, at Chicago, where he was honored as pianist, composer, and writer. See art. His brother Max Liebling (b. Silesia, 1845), also a noted concert-pianist, settled in New York.
21*Listemann, Bernhard (Thuringia, 1841–1917, Chicago), having won distinction as violinist in Germany, came to America in 1867 as a superior teacher, virtuoso and conductor at Boston, New York and Chicago. See art. His brother Fritz Listemann (Thuringia, 1839–1909, Boston), came with him and was almost equally prominent.
23Main, Hubert Platt (b. Ridgefield, Conn., 1839), early interested in church-music and a tune-writer from 1855, after some years of clerical and editorial work in New York, in 1867 entered the employ of Bradbury, continued with his successors, Biglow & Main (his father, Sylvester Main, being the junior partner), and has since been identified with that firm. He has written much vocal music, secular and sacred, has edited many hymn-books, and is an expert on hymnody. See Hall, Gospel Song and Hymn Writers, pp. 140–6.
25Marston, George W. (Sandwich, Mass., 1840–1901, Sandwich), pupil of Tufts, with some foreign study, was from 1860 organist in Portland, Me., becoming noted for his choir and as composer of sacred music, including the cantata 'David,' songs and part-songs.
27*Marzo, Eduardo (b. Italy, 1852), came to New York as accompanist for various artists in 1867, was pianist in concert-companies, organist and fertile composer of church-music, songs, part-songs, operettas, etc., and editor of many works. See art.
29Mathews, William Smith Babcock (New London, N. H., 1837–1912, Denver), began teaching in 1860 in the South, but in 1867 removed to Chicago, where he was active as teacher, editor and author. See art.
31*Maylath, Heinrich (Austria, 1827–1883, New York), concert-pianist, came to New York in 1867 and made a fine reputation as player, teacher and composer for the piano.
33*Messiter, Arthur Henry (England, 1834–1916, New York), in 1866–97 was organist of Trinity Church, New York, and historian in 1907 of its music.
35*Mischka, Joseph (b. Bohemia, 1846), brought up in Buffalo, has long been active there as organist and choral conductor.
37Mollenhauer, Emil (b. Brooklyn, 1855), now the honored conductor of the Handel and Haydn Society of Boston, appeared as a boy-violinist in 1864 and played with Thomas and Damrosch from 1872. See art.
39Morgan, John Paul (Oberlin, O., 1841–1879, Oakland, Cal.), an organist before 1860 in Mt. Vernon, O., studied in New York and at Leipzig, in 1865 established the Oberlin Conservatory, in 1866–73 was organist and choral conductor in New York, but was forced to give up activity by ill-health, which, however, did not prevent further work in Oakland and San Francisco. Besides being a fine player he composed with ability.
41*Napoleão, Arthur (b. Portugal, 1843), a precocious pianist from 1849, appearing at Lisbon, London, Berlin and Paris, in 1857–61 visited South America, the West Indies and the United States, and, after further con-
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