Scan 49
Grove's Dictionary of Music and Musicians Volume 2, 1927
20 lines. Read by computer on 11 September 2026. Printed page 11. See the scan on archive.org.
1DANIEL
3DANIEL, HERMANN ADALBERT (b. Cöthen, near Dessau, 1812), a theologian, professor in the University of Halle. His Thesaurus Hymnologicus (5 vols., Löschke, Leipzig) is a valuable work on the history of early church music and collection of hymns. M. C. C.
5DANIEL, JEAN (called Maître Mitou, Miltou, Mihtou). In 1518 he was organist at Notre-Dame, Nantes; in 1520-30 vicar and organist at St. Maurice, Angers (which is also mentioned as his birthplace). He was famous for his Noëls, of which he wrote both words and music. They are still sung by the people of Brittany. One of the two books of Noëls which he wrote was republished in 1874. He also wrote a book of sacred songs, and some sacred songs in 4 parts are contained in French collective volumes. E. v. d. s.
7DANIEL (DANYEL), JOHN (c. 1565-1630), lutenist and song-writer. He was brother of Samuel Daniel the poet, and son of John Daniel, a music-master who, according to Fuller, lived near Taunton and was 'a man of harmonious mind.' Samuel (b. 1562) was apparently the elder of the two brothers. John succeeded Samuel as inspector of the children of the Queen's revels, and in Dec. 1625 he was a member of the royal company of musicians for the lutes. He was sole executor of the poet's will (P.C.C., 12, Soame) in 1619, and brought out an edition of his poetical works in 1623, dedicating them to Prince Charles. John took the B.Mus. degree at Christ Church, Oxford, on July 14, 1604. In 1606 he published a set of 20 songs under the title of 'Songs for the Lute Viol and Voice: Composed by I. Danyel, Batchelor in Musicke.' They were dedicated 'to Mris Anne Grene…daughter of Sr William Grene of Milton, Knight.' The first 18 are for solo voice with accompaniment of lute and bass viol; the next 2 are for 4 voices and treble and bass lutes, and the final number is a lute-piece entitled 'Mrs Anne Grene her leaves bee greene.' Some of the songs are of greater length than was usual at the period; and in some instances two or three consecutive numbers form a single composition, as in the case of Dowland's 'Time's eldest son.' 'Can doleful notes,' Nos. 13 and 14 of the set, is treated with chromatic harmonies of an interesting character, but by this date several composers were treading the new paths which had first been explored some years earlier by Weelkes, Dowland and Farnaby. (See ENGLISH SCHOOL OF LUTENIST SONG-WRITERS.) E. H. F.
9DANKERTS (DANCKERTS), GHISELIN, a native of Tholen in Zeeland, and a singer in the Papal Chapel from 1538-65, when he was pensioned.
11An 8-part motet of his composition, 'Laetamini in Domino,' is included in Uhlard's 'Concentus octo…vocum' (Augsburg, 1545), and a 6-part motet, 'Tua est potentia,' in the 'Selectissimae cantiones ultra centum' (Augsburg, 1540). Also two books of madrigals for 4, 5 and 6 voices are said to have been published by Gardano (Venice, 1559), and two madrigals, 'Fedel quel sempre fui' and 'Scarpella si vedra,' are contained in the collection first published in 1555 by Barrè of Rome (see Vogel, Bibl. der ged. weltl. Vocalmusik Italiens). Dankerts was one of those who adhered strictly to the old Netherland school, and remained uninfluenced by the new art that had grown up around them. He gained great celebrity as judge in the dispute between two ecclesiastical musicians, Vicentino and Lusitano, upon the nature of the scales on which the music of their time was constructed. Dankerts was obliged to defend his verdict against Vicentino, in a learned and exhaustive treatise on the matter in dispute, the original MS. of which is preserved in the Vallicellian library at Rome. A full account of this controversy is given by Hawkins. J. R. S. B.
13DANNELEY, JOHN FELTHAM (b. Oakingham, Berkshire, 1786; d. London, 1836), was the second son of a lay-clerk of St. George's Chapel, Windsor. He studied under Samuel Webbe, Charles Knyvett, Woelfl and Charles Neate.
15He established himself at Ipswich as a teacher of music, and became organist of the church of St. Mary of the Tower in that town. In 1816 he visited Paris, and studied under Antoine Reicha. Danneley published in 1820, Elementary Principles of Thorough-bass, etc.; in 1825, An Encyclopædia or Dictionary of Music; and in 1826, A Musical Grammar. W. H. H.
17DANNREUTHER, EDWARD GEORGE (b. Strassburg, Nov. 4, 1844; d. Hastings, Feb. 12, 1905). When 5 years old he was taken to Cincinnati, U.S.A., where he learned music from F. L. Ritter. In 1859 he entered the Conservatorium at Leipzig and remained there till 1863, under Moscheles, Hauptmann and Richter.
19From Leipzig he removed to London, and became one of the most prominent musicians of the metropolis, well known as a pianoforte player and teacher, littérateur and lecturer, and a strong supporter of progress in music. He was especially known as the friend and champion of Wagner. Perhaps his greatest service to English music was the personal friendship and encouragement, as well as the actual teaching, which he gave to Parry (q.v.). His first public appearance in England was at the Crystal Palace, Apr. 11, 1863, when he played Chopin's F minor concerto (for the first time in its entirety in England). He founded the Wagner Society in 1872, and conducted its two series of concerts in 1873 and 1874. He was also a warm promoter of the Wagner Festival in 1877, translated his Music of the Future (Schott, 1872) and others of the prose works,
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