Scan 104
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1two of them, 'Ut queant laxis (1mo tuono)' and 'Magnificat (5to tuono) nelli tasti naturali,' were reprinted by Ritter.1
3In Zacconi's Prattica di musica, Parte II. lib. 3, Venetia, 1622, p. 240 (B.M.) are also to be found musical examples taken from Il Transilvano, ii. lib. 2 and 3. C. Krebs reprints 3 toccate and one ricercare,2 and mentions the two toccate, 'di salto buono' and 'di salto cattivo,' as being in Bernhard Schmid's Tabulaturbuch. The following references to Diruta may also be found of interest: Bononcini of Modena3 mentions 'li già dimostrati dodici tuoni il che si conferma ancora con l' autorità del . . . Diruta nel Transilvano'; Costanzo Antegnati of Brescia says4: 'Lodo l' opera del Reverendo P. Diruta, nomata il Transilvano, che insegna à portar bene la mano nel suonare,' etc.; Andrea Banchieri5 says his object is not to teach organists to play brilliantly, for that is already done in Il Transilvano 'del sufficientissimo Diruta.'6 Diruta's system of ornamentation is carefully analysed in Dannreuther's treatise on Ornamentation; a ricercare and two toccate for the organ are in vol. iii. of Torchi's Arte musicale in Italia. C. S.
5DIS, the German term for D§, and also, according to a curious former Viennese custom, for Eb. The Eroica symphony was announced at Clement's concert in Vienna, Apr. 7, 1805 (its first performance), and at Meier's concert, 1808, as 'in Dis.' (See D.)
7DISCANT, see DESCANT.
9DISCORD is a combination of notes which produces a certain restless craving in the mind for some further combination upon which it can rest with satisfaction.
11Discords comprise such chords as contain notes which are next to each other in alphabetical order, and such as have augmented or diminished intervals, with the exception in the latter case of the chord of the sixth and third on the second note of any key. The changed combination which must follow them in order to relieve the sense of pain they produce is called the resolution. For the various kinds of discords and their resolutions see HARMONY.
13C. H. H. P.
15DISSOLUTO PUNITO, IL, OSSIA IL DON GIOVANNI. (See DON GIOVANNI.)
17DISSONANCE is any combination of notes which, on being sounded together, produces BEATS; that is, an alternate strengthening and weakening of the sound, arising from the opposition of the vibrations of either their prime tones, their harmonics or their combination tones, which causes a painful sensation to the ear. (See CONSONANCE) C. H. H. P.
19DISTLER, JOHANN GEORG (b Vienna, 1760; d. there, 1798). With Pleyel and Neukomm, he was one of Haydn's pupils, and, according to Wasielewski (Die Violine), his favourite. In 1781 he entered, as violinist, the court chapel at Stuttgart, of which he became the leader in 1790. Soon afterwards he developed melancholia, which caused him to return, in 1796, to his parental home, where he died. His compositions consisted of 18 string quartets, 6 string quintets, a violin concerto, a flute concerto, and several other works which have disappeared.
21E. v. d. s.
23DITAL HARP, see HARP LUTE.
25DITSON, OLIVER & CO., the oldest music-publishing firm in the United States. Its headquarters are in Boston, Massachusetts, where its founder, Oliver Ditson, was born Oct. 20, 1811. He died Dec. 21, 1888. The firm of Parker & Ditson was formed in 1832. In 1857, when John C. Haynes joined it, its style was changed to Oliver Ditson & Co. In 1867 the New York branch was established and put in charge of Ditson's eldest son, CHARLES H. In 1875 another son, J. EDWARD, was made the head of the Philadelphia branch, then established. Another branch has existed in Chicago since 1864, under the name of Lyon & Healy.
27R. A.
29DITTERSDORF, KARL DITTERS VON (original name DITTERS) (b. Vienna, Nov. 2, 1739; d. Oct. 24, 1799), was a distinguished violinist, and prolific composer in all branches of music, but specially esteemed for his German national operas.
31He soon outstripped his early teachers on the violin, König and Ziegler (not Zügler, as he calls him in his biography). Ziegler worked his pupil in the orchestra at St. Stephen's, and also in that of the Schottenkirche. Here Ditters was noticed by his chiefs, and on their recommendation was received into the private band of the Prince von Hildburghausen, who, being himself a man of high cultivation, looked after the general education of his young page (a lad of 11), and had him instructed in composition by Bonno, the court composer, in the violin by Trani, and in foreign languages, fencing, dancing and riding. When the Prince dismissed his band in 1759 he procured a place for Ditters in the Empress's opera, but wishing to see the world he started in 1761 with Gluck on a professional tour in Italy, where his playing was much admired. Meantime the famous Lolli had been performing in Vienna with great success, but Dittersdorf on his return vanquished him; the general verdict was 'Each has marvellous execution, but Ditters also speaks to the heart.' His intimacy with Haydn was of service to them both. 'Whenever we heard,' says he, 'a new piece, we went through it carefully together, doing justice to all that was good, and criticising what was bad in it.' In the early part of 1764 he went with Gluck and Guadagni
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