Scan 110
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1in the present Dictionary in dealing with the later modal systems. The want of an unvarying method of nomenclature is much to be regretted; but it no way affects the essence of the question, for, since the publication of the Dodecachordon, no one has ever seriously attempted to dispute the dictum of Glareanus, that for polyphonic music twelve modes are available, and twelve only, for practical purposes. These twelve have found pretty nearly equal favour among the great masters of the polyphonic school.¹
3The Dodecachordon enters minutely into the peculiar characteristics of each of the twelve modes, and gives examples of the treatment of each, selected from the works of the best masters of the early polyphonic school. The amount of information it contains is so valuable and exhaustive, that it is doubtful whether a student of the present day could ever succeed in thoroughly mastering the subject without its assistance.
5The text, comprised in 470 closely printed folio pages, is illustrated by 89 compositions, for 2, 3 and 4 voices, with and without words, printed in separate parts, and accompanied by directions for deciphering the enigmatical canons, etc., by the following composers: Antonio Brumel (4 compositions); Nicolaus Craen (1); Sixt Dietrich (5); Antonius Fevin (1); Adam de Fulda (1); Damianus à Goes, Lusitanus (1); Heinrich Isaac (5); Josquinus Pratensis (Josquin des Prés) (25); Listenius (1); Adam Luyr Aquisgranensis (1); Gregor Meyer (10); Joannes Mouton (4); Jac. Obrecht (3); Johannes Okenheim (3); De Orto (1); Pertus Platensis (Pierre de la Rue) (3); Richafort (1); Gerardus à Salice Flandri (1); Lutvichus Senflius (3); Andr. Sylvanus (1); Thomas Tzamen (1); Jo. Vannius (Wannenmacher) (1); Vaqueras (1); Antonius à Vinea (1); Paulus Wuest (1); Anonymous (9).
7The first edition of the ΔΩΔΕΚΑΧΟΡΔΟΝ was printed at Basle in 1547. A second edition, entitled De musices divisione ac definitione, but with the same headings to the chapters, is believed to have been printed at the same place in 1549. A small volume, entitled Musicae epitome, sive compendium, ex Glareani Dodecachordo, by J. Wonnegger, was published at Basle in 1557, and reprinted in 1559. The original work is now very scarce and costly, though, happily, less so than the Syntagma of Praetorius, or the Musica getuscht und ausgezogen of Sebastian Virdung. Copies of the edition of 1547 will be found at the British Museum and the R.C.M.; and the British Museum also possesses the first edition of Wonnegger's Epitome. W. S. R.; recast by W. H. F.
9DÖHLER, THEODOR (b. Naples, Apr. 20, 1814; d. Florence, Feb. 21, 1856), an accomplished pianist of Jewish family, and a composer of 'salon' music. Döhler was an infant phenomenon, and as such the pupil of Benedict, then resident at Naples. In 1829 he was sent to Vienna, and became Carl Czerny's pupil. From Vienna, where he remained till 1834, he went to Naples, Paris and London—then travelled in Holland, Denmark, Poland and Russia—as a successful fashionable virtuoso. He was raised to noble rank by the influence of his patron, the Duke of Lucca, and enabled to marry a Russian princess in 1846; he gave up public playing about that time, and lived successively in Moscow, Paris and (from 1848) Florence. An opera by him, 'Tancreda,' was performed at Florence in 1880. (Riemann.) His works reach as far as op. 75. E. D.
11DÖRFFEL, ALFRED (b. Waldenburg, Saxony, Jan. 24, 1821; d. Leipzig, Feb. 1905), received his first musical education from the organist Joh. Trube. In 1835 he went to Leipzig, where he received instruction from Karl Kloss, G. W. Fink, C. G. Müller, Mendelssohn and Schumann.
13In 1837 he made a successful appearance as a pianist, and soon afterwards attained to a high position as a musical critic. In the Neue Zeitschrift für Musik he wrote some reviews of Schumann's works, which anticipated the verdict of posterity, although they did not correspond with contemporary opinion concerning that master's greatness. His criticism of 'Genoveva' gave the composer great pleasure. From 1865–81 he contributed to the Leipzige Nachrichten, and in 1860 was appointed custodian of the musical department of the town library. In the following year he established a music lending library together with a music-selling business, in both of which he was succeeded in 1885 by his son, Balduin. This business afterwards became the basis of the lending library of the Peters firm. He undertook much work for the firm of Breitkopf & Härtel, whose critical editions of the classics, and especially that of Beethoven, were chiefly corrected by him. For the edition of Peters he edited the pianoforte works of Schumann, and other compositions, and several of the Bach-Gesellschaft volumes have been issued under his direction. In 1887 he edited the St. Luke Passion for the first-named firm. To the literature of music he contributed an edition of Berlioz's treatise on Instrumentation, the second edition of Schumann's Gesammelte Schriften, and published an invaluable history of the Gewandhaus concerts from 1781–1881 (Festschrift zur hundertjährigen Jubelfeier, etc., Leipzig, 1884), in recognition of which the University of Leipzig conferred upon him an honorary Doctorate in 1885. H. B.
15DOGNAZZI, FRANCESCO, a 15th-16th century musician, in the service of seven Dukes of Mantua Monferrata from c. 1603 onward. In 1619–20 he followed Orlando Sante as maestro
17¹ Consult, on this point, Baini's Life of Palestrina (Memorie, etc.), tom. ii. p. 81.
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