Scan 108
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1published to commemorate the centenary of Dittersdorf's death (Leipzig, 1899). C. F. P.
3BIBLIOGRAPHY
4Autobiography of Dittersdorf (see above). Trans. English by A. D. Coleridge. (London, 1896.)
5Arnold: Karl von Dittersdorf (founded on the Autobiography). (Erfurt, 1810.)
6K. Krebs: Dittersdorfiana (with thematic catalogue). (Berlin, 1900.)
7L. Riedinger: Ditterdorf als Opernkomponist. (1914.)
9DIVERTIMENTO (Fr. divertissement), a term employed for various pieces of music.
101. In Mozart it designates a piece closely akin to a Serenade or Cassation, usually in six or seven movements—though sometimes only four, and once as many as ten; indifferently for trio or quartet of strings, wind alone, or wind and strings mixed. Köchel's Catalogue contains no less than twenty-two of such Divertimenti.
112. A pot-pourri or arrangement of the airs of an opera or other piece for orchestra or piano.
12DIVERTISSEMENT, a kind of short ballet, such as Taglioni's 'Divertissement silésien,' sometimes mixed with songs. Also a pot-pourri or piece on given themes, such as Schubert's 'Divertissement à la Hongroise.' Also a French term for an entr'acte (see ACT-TUNE).
13DIVIDED STOPS. Organ stops arranged to draw in two portions, as Stopped Diapason Treble, and Stopped Diapason Bass, the latter having a compass of about an octave from the lowest note, which octave frequently has to do duty as the bass of another stop of short compass, as for a Dulciana down to tenor C only.
15T. E.
17DIVISI (Ital., 'divided'), an expression often met with in the string parts of orchestral scores, meaning that the body of players hitherto playing in unison is to be divided into two or more parts, the number of parts being specified if more than two, or else the parts are written on separate staves, it being obvious that the use of the term is a space-saving device. The abbreviation 'unis' is often used to show where the division ceases (see ABBREVIATIONS).
19N. C. G.
21DIVISIONS, in the musical nomenclature of the 17th and 18th centuries, were rapid passages—slow notes divided into quick ones—as naturally takes place in variations on a theme or ground. Hence the word can be applied to quick consecutive passages like the long semi-quaver runs in Handel's bravura songs, such as 'Rejoice greatly,' 'Let the bright Seraphim,' etc.
22DIVISION VIOL, see Simpson, Christopher.
24DIVITIS (De Ryche, Le Riche), Antonius (Antoine), a French or Flemish composer, first mentioned as De Ryche in the account-books of the college of St. Donatius, Bruges, June 13, 1501; he went to Zeeland in 1504, and entered the service of Philippe le Bel in 1505. Later on he was a colleague of Mouton as singer in the chapel of Louis XII. (d. 1515). The following is a list of his works at present known:
251. A 4-part mass, 'Gaude Barbara' (MS.), in the library at Cambray.
262. A 6-part Credo (MS.) and a Salve Regina a 5 in the Royal Library at Munich.
273. A mass, 'Quem dicunt homines' (of which Ambros gives a description in his History of Music), in MS. in the Sistine Chapel, and in the 15th book of the collection by Pierre Attalgnant of Paris.
284. A motet, 'Gloria laus,' in the 10th book of the collection of ancient motets by Pierre Attalgnant (Paris, 1530), who has also, in his collection of Magnificats (Paris, 1534), included one by Divitis.
295. A motet, 'Ipsolatorum consolator,' in 4 parts, in the 1st book of the 'Motetti della corona' (Petrucci, Venice, 1514).
306. Many motets for 3 voices in the collection 'Trium vocum cantiones centum D' published by Petrucc (Nuremberg, 1540).
317. A setting of the words 'Ista est speciosa,' in the collection 'Bicinia Gallica, Latina, Germanica, etc.,' published by Rhaw (Wittenberg).
328. Two chansons, under the name Le Riche, in the collection 'des plus excellentes chansons' published by Nicolas Duchemin in 1551.
339. A motet and a chanson are at Bologna in a MS. dated 1518.
3410. A vocal work in the B.M. Add. MSS. 19,583. (See Q.-L.)
36J. R. S. B.
38D'IVRY, see IVRY, D'.
40DIXON, WILLIAM (b. ? London, c. 1760; d. there, 1825), composer, writer, teacher and music-engraver; lived partly in London, partly in Liverpool, where he was apparently connected with All Saints' Church. He composed 'Psalmodia Christiana,' a collection of sacred music (1790); 'Euphonia,' 62 psalm and hymn tunes in 4 parts for All Saints' Church, Liverpool; Moralities, or verses on music, friendship, avarice, etc.; services, anthems, glees; also some numbers in Arnold's collection of hymn tunes. He also wrote an Introduction to Singing (1795). E. v. d. s.
41DJAMILLEH, opéra-comique in one act; words by Louis Gallet, music by George Bizet. Produced, Opéra-Comique, Paris, May 22, 1872; Covent Garden, June 13, 1893.
42DLABAC, BOHUMIL JAN (b. Cerhenice, July 17, 1758; d. there, Jan. 4, 1820), librarian and choirmaster of the Premonstratensian convent of Strahov, Prague. He was the author of Allgem. historisches Künstlerlexikon für Böhmen, etc. (Prague, 1815-1818, 3 vols.); Versuch eines Verzeichnisses der vorzüglicheren Tonkünstler, etc. (in Rigger's Statistik von Böhmen)—two exact and valuable works.
43DO, the syllable used in Italy and England in sol-faing instead of UT. It is said by Fétis to have been the invention of G. B. Doni. It is mentioned in the Musico pratico of Bononcini (1673), where it is said to be employed 'per esser più resonante.'
44DOBLHOF-DIER, KARL L. B. A. von (b. Vienna, July 13, 1762; d. there, 1836), an amateur and popular composer; a pupil of A. Salieri. Kiesewetter inherited his library, containing his own compositions, a great part of which is now in the library of the Musikfreunde, Vienna. His compositions were printed at his own expense and never came into the market. They consisted of masses and other church music, sacred and secular songs in parts and for solo voices, etc. (See list in Q.-L.)
45DOCHE, JOSEPH-DENIS (b. Paris, Aug. 22, 1766; d. Soissons, July 1825), was a choir-boy
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