Books › Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920 › scan 144
Scan 144
Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920
56 lines. Read by computer on 9 September 2026, twice; the two readings disagreed in places. Printed page 128. See the scan on archive.org.
1(1886, Boston Symphony Orchestra) and 'Skirnismal' (1887, Thomas Orchestra, Chicago); a string-sextet (1888, Indianapolis); a 'Moorish Serenade' for orchestra (1889, Philadelphia); a Scherzo in A (1890, Thomas Orchestra, Detroit); 'A Kiss of Joy' (1900, Cleveland Orchestra, and 1904, St. Louis Exposition); 'Aus meinem Leben,' a tone-poem for orchestra; 'The Sea at Evening' and 'Wie schön bist du,' for voice and orchestra; the cantata 'Deukalion'; a Scherzo in F (1896, Thomas Orchestra, Cleveland); a string-sextet in D minor; and a string-quartet in C minor. See Hughes, Contemporary American Composers, pp. 406–11. [R.7]
3BECKEL, JAMES COX (1811–?). See Register, 3.
5BECKER, RENÉ LOUIS (Nov. 7, 1882, Bischheim, Alsace), studied organ with Adolph Gessner, piano with Fritz Blumer and composition with Carl Somborn. He came to America in 1904 and settled in St. Louis, where he soon won distinction in recital-work and composition, and as organist. He is now organist at St. Peter and St. Paul's Cathedral in Alton, Ill. His organ-sonatas, especially op. 40, and the Cantilène in E-flat, rank high and are frequently heard at recitals, while some of his choral pieces have place on important church-music programs. His principal published works include the following:
7Piano — one of two readings
8Piano— one of two readings
9op. 15 Five Miniatures.
1019 Valse in A-flat.
1122 Gavotte and Toccatella.
1210 Melodious Studies and 'Scenes from Childhood.'
1324 'Carnival Sketches.'
14'A String of Merry Strains.'
15Six Children's Dances.
17Organ — one of two readings
18Organ— one of two readings
19op. 1 'Marche Nuptiale,' 'Marche Pontificale,' 'Marche Triomphale,' 'Chant des Seraphim.'
20'Lullaby,' 'Summer Idyll,' 'Réverie,' 'Méditation,' 'Canzonetta.'
2131 Toccata in D.
2240, 42, 43 Three Sonatas.
2341 Cantilena.
24'Légende,' 'Chanson Matinale,' 'Chanson du Soir,' 'Cantilène' in E-flat.
25'Chanson sans Paroles.'
27Church-Music — one of two readings
28Church-Music— one of two readings
29Mass in honor of St. Barbara.
30Mass 'Salvator Noster.'
31Mass in honor of St. Catherine (women's voices).
32'Terra Tremuit' (Easter offertory).
33'Lætentur Coeli' (Christmas offertory).
34'Tui sunt Coeli' (Christmas offertory).
36In Manuscript — one of two readings
37In Manuscript— one of two readings
38Organ-Suite in B-flat.
39Organ-Sonatas in E-flat and B minor.
40Organ-Variations in C minor.
41Several Masses and other church-music. [R.9]
43BEEBE, CAROLYN. See Register, 9.
45†BEECHAM, THOMAS (April 29, 1879, Liverpool, England), was educated at Rossall School, Fleetwood, where he had lessons in harmony from Sweeting, followed by some study with Roberts at Oxford. In 1899 he organized an amateur orchestra at Huyton, a suburb of Liverpool, and soon displayed talent as conductor. In 1902 he was conductor with Kelson Truman's traveling opera-company, and the next year worked upon three operas (unpublished). His first important appearance as conductor in London was in 1905. The next year he founded the New Symphony Orchestra, from which he resigned in 1908 and organized the Beecham Symphony Orchestra. In 1910 he leased Covent Garden, and began a series of operatic performances which rapidly gained in popularity. Delius' 'Romeo and Juliet in the Village,' Smythe's 'The Wreckers' and Strauss' 'Elektra' were early presented. Stanford's 'Shamus O'Brien' and 'The Critic,' Holbrooke's 'Dylan,' Liza Lehmann's 'Everyman,' and many other novelties were produced later. In 1915 he became conductor of the Philharmonic Society. His success in conducting both opera and symphony has made him conspicuous in English music. He was knighted in 1916. See 'Musical Times,' October, 1910.
47BEEL, SIGMUND (b. 1863). See Register, 6.
49BEETHOVEN CONSERVATORY, THE, St. Louis, was founded in 1871 by a group of public-spirited citizens. In 1872 it passed into the control of August Waldauer, the violinist, and Hermann Lavitsky (d. 1874). The former long remained at its head and developed it into efficiency. Since 1902 the directors have been the brothers Epstein.
51BEETHOVEN QUARTET (or QUINTET) CLUB, THE, of Boston, was organized in 1873 by Charles N. Allen, the violinist, and Wulf Fries, the 'cellist, at first with Gustave Dannreuther and H. Heindl. For more than twenty years it continued under some similar name and with changing personnel, exemplifying a worthy standard of ensemble-playing.
53BEETHOVEN SOCIETY, THE, of Chicago, organized in 1873, was the first important choral society (mixed voices) in that city after the Apollo Club (male voices). Its conductor was Carl Wolfsohn, the pianist, who was drawn from Philadelphia for the purpose. Among the works introduced were Beethoven's Mass in C and Choral Fantasia, Bruch's 'Odysseus,' Hofmann's 'Fair Melusina,' etc. In 1884 it ceased to exist, being overshadowed by later enterprises.
55BEHNING PIANO COMPANY, THE, of New York, was founded in 1861 by Henry Behning, a German piano-maker who had had fine training, and since his death has been carried on successfully by his two sons. Its total output has been over 50,000 instruments.
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