Scan 34
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1He was choir organist of the cathedral from 1865. In 1872, without ever having been a pupil of a music school, he competed for the Concours de Rome. He became afterwards, at the Paris Conservatoire, the pupil of François Bazin for composition and of César Franck for the organ; he obtained, 1878, two first prizes for fugue and the organ, followed by an honorary mention at the Concours de Rome. The following year he became the organist-in-chief of the great organ of the church of St. Eustache, which had been reconstructed and enlarged by Mercklin. He took part in the opening of this magnificent instrument, Mar. 21, 1879, in company with César Franck, Théodore Dubois, Alexander Guilmant, Eugène Gigout. Dallier passed 26 happy years as organist of St. Eustache and left it in 1905 to go to La Madeleine in succession to Gabriel Fauré, when the latter became director of the Conservatoire. The old organist of St. Eustache is a virtuoso both of the organ and the piano. As an improviser on the organ he is very interesting; he possesses in a high degree the gift of imagination and a sense of the picturesque. He has written numerous pieces for the organ (published by Alphonse Leduc and H. Lemoigne). Amongst others must be mentioned a 'Messe nuptiale,' '6 Préludes pour la Toussaint,' '5 Offertoires à la Vierge.' Among the last named is one entitled 'O Clemens! O Pia!' which is full of mystic feeling. Dallier is also the author of a great number of piano pieces and songs. Chamber music is represented in his work by a trio in C minor, a string quartet in G minor, and a quintet for piano and strings. Mention must also be made of four pieces for the Concours de Conservatoire for different instruments, and of a symphony in F (op. 50), played at the Colonne Concerts (published by Jobert). Since 1908 Henri Dallier has been professor of harmony at the Conservatoire.
3BIBL.—PAUL LOCARD, Les Maîtres contemporains de l'orgue. (Paris, 1901.)
5F. RL.
7D'ALMAINE & CO., see GOULDING & Co.
9DALMORÈS, CHARLES (b. Nancy, Dec. 31, 1871), operatic tenor. He studied at the Conservatoires of Nancy, Lyons and Paris; also opera under Prof. Emerich at Berlin. During his vocal training he became an excellent horn-player, and was at first refused admission to the Paris Conservatoire on the ground that he was 'too good a musician to waste his time in becoming a mediocre singer.' In 1894 he was appointed horn professor at the Lyons Conservatoire. His voice, however, gradually developed into a powerful organ of fine quality, and his operatic début at Rouen in 1899 was highly successful. After several seasons at the Brussels Monnaie, he made his first appearance at Covent Garden in 1904, creating an excellent impression in 'Faust' and as Jean in Massenet's 'Salomé.' His lator parts here included Julien in 'Louise, Don Josè in 'Carmen,' and Pedro in Laparra's 'La Habanera'; but he found scope for an even larger repertory in America, where he made his début at the Manhattan Opera House in 1908 and subsequently joined the Chicago Opera Company. He was a good singer, a capable actor, and a thoroughly reliable artist.
11BIBL.—International Who's Who in Music; NORTHCOTT, Covent Garden and the Royal Opera.
13H. K.
15D'ALQUEN, see ALQUEN, D'.
17DAL SEGNO—'from the sign.' (See DA CAPO.)
19D'ALVIMARE, see ALVIMARE, D'.
21DAMAN (DAMON), WILLIAM (d. circa 1590/91), one of the musicians to Queen Elizabeth. He was born at Liège, and was brought over to England between 1561 and 1564 by Thomas Sackville, Lord Brockhurst, who throughout his life entertained musicians 'the most curious which anywhere he could have.'1 He harmonised for the use of a friend the psalm tunes then in common use, to the number of 79. His friend, in 1579, published them under the following title:
23'The Psalms of David in English Meter with Notes of foure partes set unto them by Guililmo Damon, for John Bull, to the use of the godly Christians for recreating themselves in stede of fond and unseemly Ballades. At London, Printed by John Daye. Cum privilegio.'
25John Bull is called in the preface 'Citizen and Goldsmith of London.' This work seems to have been but ill received, and Daman set himself to work to reharmonise the tunes. The new work was published in 1591 with the title of:
27'The second Booke of the Musicke of M. William Damon, late one of her maiesties Musitians; containing all the tunes of David's Psalms, as they are ordinarily sung in the Church; most excellently by him composed into 4 partes. In which sett the Tenor singeth the Church tune. Published for the recreation of such as delight in Musicke: By W. Swayne Gent. Printed by T. Este, the assigné of W. Byrd, 1591.'
29The work is in two parts, the second being entitled:
31'The second Booke of the Musicke of M. William Damon, late one of her maiesties Musitians; containing all the Tunes of David's Psalms, as they are ordinarily sung in the Church; most excellently by him composed into four parts. In which sett the highest part singeth the Church tune. Published for the recreation of such as delight in Musicke: By W. Swayne Gent. Printed by T. Este, the assigné of W. Byrd. 1591.'
33Daman was certainly dead before Mar. 23, 1593, as is proved by a document in Rymer's Fœdera, vol. iii. p. 117 (quoted in The Musician, June 30, 1897). In the British Museum there is an arrangement of a motet, 'Spem in alium' (Add. MSS. 31,992/55b), and also another of a 3-part madrigal, 'Ut re mi fa sol la' (Add. MSS. 29,246/31), each with a lute accompaniment by him. The following anthem and motets by Daman are also preserved:
35'Confitebor tibi Domine.' Ch. Ch. 979-83.
36'Miserere nostri Domine' (a 5) (printed in Arkwright's 'Old English Edition'). Add. MSS. 29,372-7; Add. MSS. 5054/25b (score).
37'O Heavenly God.' Add. MSS. 29,372-7.
38'Omnis caro gramen sit.' Ch. Ch. 979-83.
40In the Christ Church partbooks there are two
421 See certain extracts from the Huguenot Society's publications, and notes thereupon by G. E. P. Arkwright, printed in The Musical Antiquary, Jan. 1912, July 1912, Jan. 1913.
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