Scan 767
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
20 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Auseful little Dictionary of Fiddlers, by A. Mason Clarke, was published by W. Reeves in 1895, and a curious work in dictionary form, on The Organ, written and published by John Watson Warman, was begun in 1898. It is only fitting that brief mention should be made of the first edition of Sir George Grove's Dictionary of Music and Musicians, of which the first part appeared in 1878, and the last, with the appendix, in 1889. The Biographical Dictionary of Musicians by James D. Brown (Paisley, 1886) was the forerunner of his excellent British Musical Biography, written in collaboration with Stephen S. Stratton and published in 1897. David Baptie's Musicians of all Times, 1889, is less trustworthy.]
3An excellent work for its date and its intention is the Complete Encyclopaedia of Music by John W. Moore (Boston, U.S.A., 1852), a large 8vo volume of 1000 pages, constructed on a popular basis, which would be more valuable if it were corrected and modified to date. [The Cyclopaedia of Music and Musicians, edited by John Denison Champlin, Junior, and William F. Apthorp, (New York, 1889-91) is contained in three handsome volumes, and is well arranged; the Biographical Dictionary of Musicians by Theodore Baker, Ph.D. (New York, 1900) is of distinct value in regard to American musicians, but the author's reliance on Riemann's Lexikon is perhaps rather too complete.]
5DIDO AND ÆNEAS. Opera in three acts, written by Nahum Tate, music by Henry Purcell. The actual date of the first performance of the work, at the boarding-school of one Josias Priest at Chelsea, has not yet been established: Hawkins takes it to have been written and played when Purcell was only nineteen years of age, i.e. in 1677; Dr. Cummings, in his edition of the work for the Purcell Society, prefers the date 1680, as that was the first year of Priest's occupation of the Chelsea premises. Mr. W. Barclay Squire has lately shown that the date must be between 1688 and 1690. (See PURCELL.) The music was occasionally performed at the Ancient Concerts, and elsewhere; a stage-revival of it was given by the pupils of the Royal College of Music, at the Lyceum Theatre, Nov. 21, 1895, in connection with the Purcell bicentenary celebrations. The Purcell Operatic Society celebrated its inauguration by a revival of the opera at the Hampstead Conservatoire on May 18, 1900, and subsequently produced it at the Coronet Theatre, March 25, 1901.
7DIÉMER, LOUIS, French pianist, born in Paris, Feb. 14, 1843, studied at the Conservatoire under Marmontel, Bazin, and Ambroise Thomas, winning the first piano prize at the age of thirteen and that for fugue three years afterwards. In 1888 he succeeded Marmontel as professor of one of the higher pianoforte classes at the same institution. He was well known in France and elsewhere as a pianist of rare accomplishment before the Paris Exhibition of 1889, at which he won especial fame in the compositions of the harpsichord masters of the past. A consequence of this was the creation of the 'Société des instruments anciens' which, with his help, has appeared often in London with great success. He established also a triennial competition for those among the male piano students of the Conservatoire who have obtained the first prize during the previous ten years. Diémer has published a number of compositions, of which the following are the most important:—a 'Concertstück' op. 31, and a concerto in C minor op. 32, for piano and orchestra; a 'Concertstück' op. 33, for violin and orchestra; besides some interesting chamber works, songs, and very numerous pianoforte solos, as well as a collection of 'Clavecinistes français.'
9G. F.
11DIES IRÆ (Prosa de Mortuis. Prosa de Die Judicii. Sequentia in Commemoratione Defunctorum. 'Ω δργής ἐκεῖν' ἡμέρα). The Sequence, or Prose, appointed, in the Roman Missal to be sung, between the Epistle and Gospel—that is to say, immediately after the Gradual and Tractus—in Masses for the Dead.
13The truth of the tradition which ascribes the poetry to Thomas de Celano, the friend, disciple, and biographer, of S. Francis of Assisi, seems to be established beyond all controversy. Thomas was admitted to the Order of the Friars Minor soon after its formation; enjoyed the privilege of the closest intimacy with its saintly founder; and is proved, by clear internal evidence, to have written his 'Vita Sancti Francisci' between Oct. 4, 1226, on which day the death of the Saint took place, and May 25, 1230—the date of the translation of his relics. This well-established fact materially strengthens the tradition that the 'Dies iræ' was written not very many years after the beginning of the 13th century; and effectually disposes of the date given by some modern hymnologists, who, though attributing the sequence to Thomas de Celano, assert that it was composed circa 1150. Bartholomaeus Pisanus (ob. 1401) says that it was written by Frater Thomas, who came from Celanum; and that it was sung in Masses for the Dead. But, many years seem to have elapsed before its use became general. It is very rarely found, in early MS. Missals, either in England, France, or Germany; and is wanting in many dating as late as the close of the 15th century, or the beginning of the 16th. It is doubtful, indeed, whether its use was recognised in all countries, until its insertion in the Missale Romanum rendered it a matter of obligation. one of two readings
14The truth of the tradition which ascribes the poetry to Thomas de Celano, the friend, disciple, and biographer, of S. Francis of Assisi, seems to be established beyond all controversy. Thomas was admitted to the Order of the Friars Minor soon after its formation; enjoyed the privilege of the closest intimacy with its saintly founder; and is proved, by clear internal evidence, to have written his 'Vita Sancti Francisci' between Oct. 4, 1226, on which day the death of the Saint took place, and May 25, 1230—the date of the translation of his relics. This well-established fact materially strengthens the tradition that the 'Dies irae' was written not very many years after the beginning of the 13th century; and effectually disposes of the date given by some modern hymnologists, who, though attributing the sequence to Thomas de Celano, assert that it was composed circa 1150. Bartholomaeus Pisanus (ob. 1401) says that it was written by Frater Thomas, who came from Celanum; and that it was sung in Masses for the Dead. But, many years seem to have elapsed before its use became general. It is very rarely found, in early MS. Missals, either in England, France, or Germany; and is wanting in many dating as late as the close of the 15th century, or the beginning of the 16th. It is doubtful, indeed, whether its use was recognised in all countries, until its insertion in the Missale Romanum rendered it a matter of obligation. one of two readings
16As an example of the grandest form of mediæval Latin poetry—the rhymed prose1 which here attains its highest point of perfection—the 'Dies iræ' stands unrivalled. Not even the 'Stabat Mater' of Jacobus de Benedictis, written one of two readings
17As an example of the grandest form of mediæval Latin poetry—the rhymed prose1 which here attains its highest point of perfection—the 'Dies irae' stands unrivalled. Not even the 'Stabat Mater' of Jacobus de Benedictis, written one of two readings
191 See SEQUENCE.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.