Scan 126
Groves Dictionary Of Music And Musicians,vol.2, 1906
27 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1writing; in these the conventional square-set design is almost entirely abandoned, while the independent importance of the lute accompaniment is developed in a manner that was brought to perfection two centuries later by Schubert. In this connexion the accompaniment of 'Sorrow stay' is an astonishing piece of work when it is realised that nothing of the kind had previously been attempted and that the resources of the lute are so very limited. 'I saw my lady weep' and the famous 'Lachrimae' ('Flow, my tears') are superb songs. These three songs have no alternative arrangement for four voices. The third and fourth books contain examples both of the simple and straightforward design of song which relies almost entirely on beauty of melody and phrasing, and also of the freer and more elaborate type with an important accompaniment. In the third book is the exquisite 'Weep you no more, sad fountains,' and the scarcely less beautiful 'Flow not so fast, ye fountains.' In the fourth book there are three songs in which the accompaniment is written for a treble and bass viol in addition to the lute; the treble viol part is wholly independent of the lute as regards melodic material. The most remarkable of these three songs is 'In silent night' in which the harmonic treatment is very daring and original.
3The three songs published by his son Robert are of very unconventional character, and some of the harmonic effects are startling even to modern ears. Enough has been said to show that Dowland was not only the greatest of the English lutenist school, but that he stands among, perhaps, the first half-dozen of the world's song-writers. E. H. F.
5(2) ROBERT (b. circa 1586; d. 1641), son of the foregoing, lutenist, was born before his father left England (1598) to settle in Denmark. His godfather was Sir Robert Sidney, and during his father's absence he was educated at the partial cost of Sir Thomas Monson, to whom he dedicated his first work 'Varietie of Lute Lessons,' which appeared in 1610. In the same year he edited
7'A Muscill Banquet: Furnished with varietie of delicious Ayres, collected out of the best Authors in English, French, Spanish and Italian,'
9dedicated to his godfather. On Apr. 26, 1626, he was appointed one of the lutenists to Charles I., in the place of his father, with 20d. a day wages, and £16:2:6 for livery, payment to begin 'from the death of his said father' (see above). On Oct. 11 of the same year he obtained a licence to be married at St. Faith's to Jane Smalley; at this time he was living in the parish of St. Anne's, Blackfriars. His name is said to occur in a list of Musicians for the Waytes in 1641, in which year he died, his place as 'musician for the lutes and voices' being filled on Dec. 1 by John Mercure. A lute-piece by Robert Dowland was printed in Fuhrmann's 'Testudo Gallo-Germanica' (Nuremberg, 1615). W. B. S.
11DOYAGÜE, MANUEL J. (b. Salamanca, 1755; d. there, 1842), a Spanish church musician, the son of a silversmith, who was successively a choir-boy in the cathedral, maestro de capilla (1789), and professor of music at the University—the last to hold that appointment, which was suppressed after his death. In 1817 he conducted a Te Deum in Madrid for the Queen's confinement, and in 1831 became maestro honorario at the Conservatoire. His works include:
133 Magnificats, 9 Lamentations, 3 Misereres, Masses and Vespers (MSS. Capilla Real, Madrid, and 4 works in the Bibl. Municipal, Madrid (Bubri collection). Eslava printed a Hymn to Santiago for 5 voices; the MS. of a Magnificat for 8 voices was buried with him.
15J. B. T.
17DRAESEKE, FELIX, AUGUST BERNHARD (b. Coburg, Oct. 7, 1835; d. Feb. 26, 1913), a gifted and highly cultivated, though somewhat eccentric, composer and writer upon musical subjects, disciple of Liszt at Weimar, and one of that circle of musicians who were known as 'die neudeutsche Schule,' and amongst whom were Hans von Bülow, Peter Cornelius, Carl Klindworth and Carl Tausig. Draeseke was at first a pupil of the Leipzig Conservatorium, and on leaving Weimar settled at Dresden, and subsequently at Lausanne, as teacher of the pianoforte and harmony, from 1864–74, with one year's intermission, when, in 1868, Von Bülow called him to Munich as a master of the new Conservatorium. After residing some time at Geneva, he settled in Dresden in 1876, and in 1884 succeeded Wüllner as teacher of composition in the Conservatorium. He received the title of professor in 1892 and of Hofrat in 1898. Draeseke published a number of pianoforte pieces, remarkable for harmonic and rhythmic subtleties; 'Fantasiestücke in Walzerform,' op. 3; 'Deux valse de concert,' op. 4; a fine Sonata in E major, op. 6; several pieces for piano and violoncello; some vocal compositions. He wrote the libretto for his first opera. Of his literary labours, the elaborate analysis of Liszt's 'Poèmes symphoniques' in Brendel's Anregungen, and the essay on Peter Cornelius, in Die neue Zeitschrift für Musik, as well as the treatises, Anweisung zum künstgerechten Modulieren (1876), Beseitigung des Tritonus, and Der gebundene Styl (1903) are valuable. His compositions include:
19Four symphonies, opp. 12, 25 and 40, and one in E minor (1912); a serenade, op. 49, overtures 'Das Leben ein Traum,' 'Penthesilea,' and 'Jubelouverture,' concertos for violin, violoncello and piano; 3 string quartets, a string quintet, a Requiem, Adventlied, and the Easter scene from Faust, a trilogy of oratorios, 'Christus,' as well as the operas 'Gudrun' (1884) and 'Herrat' (1892). E. D.
21DRAG, the name given to a certain kind of stroke used in the side-drum. (See DRUM (3).)
23DRAGHI, (1) ANTONIO (b. Ferrara, 1635; d. Vienna, Jan. 18, 1700 1), Kapellmeister to the court of Vienna. In 1674 he was invited to
251 Various mistakes have been made about the year of his death. Walther's Lexicon speaks of him as alive in 1703, and Fétis, followed by most modern biographers, says he went back to Ferrara and died there in 1707; but all doubts are set at rest by the register of deaths in Vienna. one of two readings
261 Various mistakes have been made about the year of his death. Walther's Lexicon speaks of him as alive in 1708, and Fétis, followed by most modern biographers, says he went back to Ferrara and died there in 1707; but all doubts are set at rest by the register of deaths in Vienna. one of two readings
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