Scan 111
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1DOHNÁNYI
3dicappella and was still in that position in 1643. He composed 'Il I. lib. de varij concerti a 1 ed a 2 voci . . . ' (1614); 'Musiche varie da camera a 5'; some motets, etc. (See Q.-L.)
5DOHNÁNYI, ERNST von (b. Pressburg, Hungary, July 27, 1877), a distinguished composer and pianist, was at first taught music by his father, the professor of mathematics in the Gymnasium there, where he received his general education; in 1885 he began pianoforte lessons with Carl Forstner, organist of the cathedral of Pressburg, and later on studied harmony with him, remaining under his musical supervision until 1894, when he entered the Royal Hungarian Academy of Music, in Budapest, as a pupil of Stephan Thomán for piano, and of Hans Koessler for composition.
7While he was still at Pressburg he made several experiments in the larger forms of composition, writing a string sextet, and 3 string quartets, besides pianoforte sonatas, songs, etc. At Budapest a symphony in F was rewarded with the King's prize, and performed in 1897. In July and August of that year he had some lessons from Eugen d'Albert, being already a pianist of high attainment; on his first appearances, in Berlin, Oct. 1, 1897, and at Vienna a little later, he was recognised as an artist of the highest rank. Not only is his technical accomplishment extraordinarily complete, but the breadth of his phrasing, his command of tone-gradation, and the exquisite beauty of his tone, are such as to satisfy the most exacting lover of classical and modern music, and in both an intensely poetical nature is revealed. He played in the principal cities of Germany, Austria and Hungary, before his first appearance in England, which took place at a Richter concert in the Queen's Hall in Beethoven's G major concerto, on Oct. 24, 1898. He made a rapid and permanent success within a very short time, and first visited the United States in 1899. His tours there have been frequent and successful. He became professor of the pianoforte at the Berlin Hochschule in 1908, and director of the Conservatoire of Budapest in 1919.
9As a composer Dohnányi first founded his high reputation on works for the pianoforte and concerted chamber music. His quintet in C minor (op. 1), given in Budapest in 1895, showed at once his feeling for classical forms, and the influence of Brahms on his manner of dealing with sonata form is evident through his early works, including the beautiful and now popular sonata for violin and pianoforte (op. 21). From the first, however, there was originality, and a vivacious wit was always ready to relieve the severer forms, sonata, variations or passacaglia, in which he worked. Alike in the Humoresken in form of a suite (op. 17), some numbers of the 'Winterreigen' for pianoforte (op. 13), and more recently the brilliant 'Variations on a nursery song' ('Ah vous dirai-je, Maman'), these qualities appear. Latterly Dohnányi has extended his activities to dramatic music, and two comparatively small works, 'Der Schleier der Pierrette' (ballet) and 'Tante Simona' (one-act opera), both produced at Dresden, 1910 and 1912 respectively, proved to be precursors of a more important opera. In 'The Tower of Voivod,' based on an Hungaro-Szekler folk-ballad, produced with success at Budapest (Mar. 18, 1922), Dohnányi asserted his nationality. While it was remarked that his music did not draw very extensively on the national folk-song as revived by such composers as Kodály and Bartók, in fact that it was written in his own style, it was felt to be an example of that national romanticism which produced the characteristic operas of the surrounding Slavonic nations in the 19th century. As such it appeared highly significant considering the new independence of Hungary.
11The following is a list of Dohnányi's chief instrumental works:
13ORCHESTRA
14Symphony in F. (1897.)
15Pianoforte Concerto in E minor (op. 5).
16Symphony in D minor (op. 9).
17Concertstück, v'cl. and orch. (op. 12).
18Suite for orchestra, F# minor (op. 19).
19Violin Concerto in D.
20Variations on a Nursery Song, PF. and orch. (op. 25).
22CHAMBER MUSIC
23Quintet in C minor, PF. and strings (op. 1).
24String Quartet in A minor (op. 7).
25Sonata in B flat minor for v'cl. and PF. (op. 8).
26Serenade in C for vln., vla. and v'cl. (op. 10).
27String Quartet in D flat (op. 15): do. in A minor (op. 33).
28Sonata in C# minor for vln. and PF. (op. 21).
30PIANOFORTE
31Four Pieces (Clavierstücke) (op. 2).
32Waltzes (four hands) (op. 3).
33Variations in G (op. 4).
34Passacaglia (op. 6).
35Four Rhapsodies (op. 11).
36Winterreigen, 10 Bagatelles (op. 13).
37Humoresken in form of a Suite (op. 17).
38Three Pieces (Clavierstücke) (op. 23).
39Songs include 6 poems by Victor Heindl (op. 14).
41M. and c.
42DOISI DE VELASCO, NICOLAS (b. Portugal, c. 1600), a guitar-player, brought up in Spain, and attached for a time to the suite of Philip IV. In 1640 he published (at Naples) a book of tablature entitled 'Nuevo modo de cifra para tañer guitarra con variedad y perfeccion' (Bibl. Nac., Madrid). His real name is said to have been Diaz de Velasco.
44J. B. T.
45DOKTOR FAUST, see FAUST (5).
46DOLBY, see SAINTON-DOLBY.
47DOLCE, sweetly; a sign usually accompanied by piano, softly—p. dol., and implying that a sweet melodious feeling is to be put into the phrase. Beethoven (string quartet, op. 59, No. 1) has mf e dolce; and Schumann begins the Finale of his Eb Symphony with f dolce.
49DOLCIAN (DOLCINO, DOUCAIN, DULCIAN), also known as ALTO FAGOTTO, an obsolete instrument of conical bore of the bassoon type and an octave higher in pitch. The later TENOROON was thus intermediate.
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