Scan 118
Groves Dictionary Of Music And Musicians,vol.2, 1906
26 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1place. In 1816 he was singing at the Valle Theatre in Rome.
3Rossini wrote for him the part of Torvaldo, in which he distinguished himself. At the carnival of the next year he sang at the Scala in Milan, and was engaged for two seasons. From thence he went to Venice and Naples, returning to Milan, where 'Elisa e Claudio' was written for him by Mercadante. He was very successful in 1822 at Vienna, and obtained an engagement at Paris for 1824. There he remained, at the Théâtre Italien, until the spring of 1831. As early as 1822 efforts had been made, unsuccessfully, to get him engaged at the King's Theatre in London. At length, in 1828, he was announced; but did not actually come until 1829—making his first visit to England at the same time with Mendelssohn. When he did appear, Lord Mount-Edgcumbe thought him 'a tenor, with a powerful voice, which he did not modulate well.' He was re-engaged in 1832 and 1833. In 1834 his place was taken by Rubini. Returning to Italy, he sang at various theatres, and in 1841 at Verona and Vienna. About the end of that year he retired to Bologna. He was an associate member of the Accademia Filarmonica at Bologna, and of that of Santa Cecilia at Rome. He published a set of 'Esercizi giornalieri, basati sull'esperienza di molti anni' (Milan).
5J. M.
7DOPPEL FLÖTE, an open organ-stop of 8-foot pitch, the pipes of which have two mouths; also a stop having two rank of pipes.
9DOPPER, CORNELIS (b. Stadskanaal, near Groningen, Feb. 7, 1870), a Dutch composer.
11He studied 1887–90 at the Conservatorium at Leipzig; he was for some years an operatic conductor in Holland and in America, and in 1908 he became assistant conductor to Mengelberg at the Concertgebouw in Amsterdam. Dopper has composed seven symphonies and numerous other orchestral works; especially 'Ciacona Gothica,' first performed in 1920, a work which made his name known outside his own country. He has also written several operas and choral works. He is among the most typical of present-day Dutch composers. His work has signs of genuine Dutch nationality. Even the titles of some of his symphonies point to this: the second is called 'Rembrandt'; the sixth 'De Amsterdamsche'; the seventh 'Zuiderzee-Symphonie.' Dopper's masterly and individual orchestration is admirable. This is also noteworthy in various very clever arrangements of works by classical masters.
13R. M.
15DOPPIO (Ital., 'double'); canone doppio, 'double canon'; doppio movimento, 'double the speed of the preceding'; pedale doppio, 'two parts in the pedals' (organ music), etc.
17DOPPIO PEDALE, a term used in organ-pedalling to signify the simultaneous use of both feet. It is often loosely applied to the playing of the pedals in octaves, a device used to eke out the poor resources of a deficient supply of stops. It is sometimes used to make a pedal-melody predominate over a full organ (as in Reger's chorale-prelude 'Vom Himmel hoch'); but the free use of the two feet simultaneously is of great artistic value. It is no new device, having been used by Franz Tunder (1614–67), a predecessor of Buxtehude at Lübeck. Both Buxtehude and J. S. Bach made great use of this device, the latter particularly in the chorale-preludes 'Aus tiefer Noth' and 'An Wasserflüssen Babylon.' Unless playing very loudly, only 8-foot tone should be used. Otto Olsson (b. 1879), of Stockholm, has written a fine study for doppio pedale in his 'Sestotto.' Lemmens ('Lauda Syon'; 16-8-4 ft.), Guilmant (1st sonata; 16-8-4 ft.), Vierne (3rd symphony; 4 ft. only), Bonnot ('Rhapsodie catalane'; 16-8-4 ft.) and Dupré (Prelude in G minor; swell to pedal, no pedal-stops) have secured triple-pedalling by the simultaneous use of the heel and toe of one foot; and some of the American composers have even written 4-note chords for the pedals.
19A. E.-H.
21DOPPLER, (1) ALBERT FRANZ (b. Lemberg, Oct. 16, 1821; d. Baden, near Vienna, July 27, 1883), a distinguished flautist and dramatic composer. His first teacher was his father, who later on went as oboist to Warsaw and then to Vienna. He made his début at Vienna, and, after several concert tours with his younger brother Karl, joined the orchestra of the Pest theatre as first flute; here, in 1847, his first opera, 'Benjowski,' was given, and had a considerable success. In 1858 he left Pest for Vienna, where he became first flute and assistant conductor of the ballet at the court opera, afterwards rising to the position of chief conductor. In 1865 he was appointed professor of the flute in the Conservatorium. His works include the operas 'Benjowski,' 'Ilka,' 'Afanasia,' 'Wanda,' 'Salvator Rosa,' 'Die beiden Husaren,' 'Judith' and (in conjunction with his brother and Erkel) 'Erzébeth,' the comic ballet 'Margot,' produced at Berlin in 1891, and several overtures, concertos for the flute, etc.
23His brother, (2) KARL (b. Lemberg, Sept. 12, 1825; d. Stuttgart, Mar. 10, 1900), early acquired remarkable proficiency on the flute under his father and brother. Whilst still quite young, he undertook long concert tours, often with his brother, and appeared with great success in Brussels, Paris and London. He then became conductor at the National Theatre in Pest; and from 1865–98 was Hofkapellmeister in Stuttgart. He wrote several Hungarian operas, of which 'The Grenadiers' Camp' and 'The Son of the Desert' are the best known, and also ballets and flute music.
25Karl's son, (3) ARPAD (b. Pest, June 5,
The computer misreads some letters and numbers. Where a name matters to you, read the scan.