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Groves Dictionary Of Music And Musicians,vol.2, 1906
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11857), studied at the Stuttgart Conservatorium, where for some time he gave piano lessons, until he went to New York in 1880 to be piano teacher in the Grand Conservatorium. In 1883 he returned to his old position in Stuttgart, and since 1889 has been chorus-master at the Court Theatre. Besides piano music, songs, etc., he has composed an opera, 'Viel Lärm um Nichts,' and a 'Fest-Ouvertüre,' suite in B♭, scherzo, and a theme and variations, all for full orchestra.
3H. B.
5DORATI DI GRANAIOLA, NICOLÒ (b. Castle of Granaiola, Lucca, c. 1513; d. Lucca, 1593), was appointed trombone-player to the town chapel at Lucca, Dec. 27, 1543, and maestro di cappella, Feb. 9, 1557, which position he still held in 1579. He composed 6 books of madrigals, also motets and songs. (For list see Q.-L.; Riemann.)
7E. v. d. s.
9DORIAN (DORIC), see Modes, Ecclesiastical.
11DORN, HEINRICH LUDWIG EGMONT (b. Königsberg, Prussia, Nov. 14, 1804; d. Berlin, Jan. 10, 1892), composer, teacher and conductor, went through the curriculum of the Königsberg University, and after visiting Dresden (where he made Weber's acquaintance) and other towns of Germany, fixed himself at Berlin in 1824 or 1825. He set seriously to work at music under Zelter, Klein and L. Berger, mixing in the abundant intellectual and musical life which at that time distinguished Berlin, when Rahel, Heine, Mendelssohn, Klingemann, Marx, Spontini, Devrient, Moschelos, Reissiger, and many more, were among the elements of society. With Spontini and Marx he was very intimate, and lost no opportunity of defending the former with his pen. At Berlin he brought out an opera, 'Die Rolandsknappen' (1826), with success. He was successively teacher at Frankfort and Königsberg; in 1829 he went to Leipzig in the same capacity, and remained there till 1832, when he took Krebs's place at Hamburg. At Leipzig he taught counterpoint to Schumann. After leaving Leipzig, his next engagements were at the theatres of Hamburg and Riga, in the latter place succeeding Wagner. At Riga he remained till 1843, when he was called to succeed C. Kreutzer at Cologne. During the five years of his residence there he was fully occupied, directing the festivals of 1844 and 1847, founding the Rheinische Musikschule (1845), and busying himself much about music, in addition to the duties of his post and much teaching. In 1849 he succeeded O. Nicolai as conductor of the Royal Opera in Berlin, in conjunction with Taubert. This post he retained till the end of 1868, when he was pensioned off in favour of Eckert, and became a 'Königlicher Professor.' He subsequently occupied himself in teaching and writing, in both which capacities he had a great reputation in Berlin. Dorn was of the Conservative party, and a bitter opponent of Wagner. He was musical editor of the Post, and wrote also in the Gartenlaube and the Hausfreund. His account of his career, Aus meinem Leben (Berlin, 1870, 3 vols.) and Ostracismus (ib. 1874), are among his more valuable books. His compositions embrace ten operas, the names of which are as follows:
13Die Rolandsknappen, Berlin, 1826; Die Bettlerin, Königsberg, 1828; Amors Macht (ballet), Leipzig, 1830; Abu Kara, Leipzig, 1831; Der Schöffe von Paris, Riga, 1838; Das Barmen von England, Riga, 1842; Die Nibelungen, Berlin, 1854; Ein Tag in Russland, 1866; Der Botenläufer von Pirna, 1865; Gewitter bei Sonnenschein, 1869.
15There are also many cantatas, a Requiem (1851), symphonies and other orchestral works, among which the most important is 'Siegesfestklänge'; many pianoforte pieces, songs, etc.
17As a conductor he was one of the first of his day, with every quality of intelligence, energy, tact and industry to fill that difficult position.
19F. G.
21DORNEL, LOUIS ANTOINE (d. Paris, c. 1755), organist and composer. In 1706 he won, in competition with Rameau, the position of organist to the church of Sainte Madeleine en la Cité; he was afterwards for many years chief organist at Sainte-Geneviève. Dornel was regarded by his contemporaries as a master of the organ and of the harpsichord. An honest executant, he has left numerous compositions, religious and secular, psalms, motets, harpsichord pieces (1731), a book of 'symphonies en trio' (1709), a book of sonatas for violin alone, and suites for flute with bass (1711), of good technical workmanship, but no more.
23BIBL.—LA LAURENCIE, L'École française de violon, i. (1922), pp. 180-91.
25M. P.
27DORSET GARDEN THEATRE. This house was erected upon the garden of a mansion belonging to the Earl of Dorset, situate upon the bank of the Thames at the bottom of Salisbury Court, Fleet Street. Sir William (then Mr.) Davenant had obtained a patent for its erection in 1639 and another in 1662, but from various causes the building was not erected in his lifetime. His widow, however, built the theatre from the designs of Sir Christopher Wren; and the Duke's company, removing from Lincoln's Inn Fields, opened it Nov. 19, 1671. It became celebrated for the production of pieces of which music and spectacle were the most prominent features, amongst which the most conspicuous were:
29Davenant's adaptation of Shakespeare's 'Macbeth,' with Lock's music, 1672; Shadwell's adaptation of Shakespeare's 'Tempest,' with music by Lock, Humfrey and others, 1673; Shadwell's 'Psyche,' with music by Lock and Draghi, Feb. 1673-74; Dr. Davenant's 'Circe,' with Banister's music, 1677; and Lee's 'Theodosius,' with Purcell's music, in 1680.
31In 1682 the King's and Duke's companies were united, and generally performed at Drury Lane; but operas and other pieces requiring a large space for stage effects were still occasionally brought out at Dorset Garden, amongst them:
33Dryden's 'Albion and Albanius,' with Grabu's music, 1685; 'The Fool's Preferment,' with Purcell's music, 1688; 'Dioclesian,' with Purcell's music, 1690; 'King Arthur,' with Purcell's music, 1691; 'The Fairy Queen,' with Purcell's music, 1692; 'Epsom Wells' and 'The Female Virtuosos,' with Purcell's music, 1693; 'Don Quixote,' parts 1 and 2, 1694; and Powell and Verbruggen's 'Brutus and Alba,' with Daniel Purcell's music, in 1697.
35In 1699 the house was let to William Joy,
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