Scan 40
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1Many modern composers have introduced bona fide national dance tunes into their instrumental works, as Beethoven did with Russian tunes in the Rasoumowsky quartets. Some go farther, as may be seen by the example of Schubert, Brahms and Dvořák and others of note. For they accept, as invaluable accessories to their art, rhythmic and characteristic traits drawn from the dances of Hungarians, Scandinavians, Bohemians, Slavs and Celts of various nationalities; and subjects which appear in movements of sonatas and symphonies by famous composers are sometimes little more than figures taken from national dance tunes slightly disguised to adapt them to the style of the composer.
3The connexion of music with gesture is a question too special and intricate to be entered on in detail. But it may be pointed out that a considerable quantity of the expressive material of music is manifestly representative of, or corresponding to, expressive gestures. The branch of dancing which consisted of such expressive gestures was one of the greatest importance, but it has almost entirely ceased to hold place among modern civilised nations. In music the traces of it are still to be met with, both in the finest examples of sarabandes and also, more subtly, in some of the most expressive passages of the greatest masters. C. H. H. P.
5DANCKERTS, SEE DANKERTS.
7DANCLA, JEAN CHARLES (b. Bagnères-de-Bigorre, Dec. 19, 1817; d. Tunis, Nov. 8, 1907), violinist, teacher and composer, was the last representative of the old French school of violin-playing.
9He received instruction from Baillot at the Paris Conservatoire (1828), and ultimately became himself a professor at that institution (1857). He was successful as a soloist in the Société des Concerts and elsewhere, and his Quartet Soirées, in which he was assisted by his younger brothers, JEAN PIERRE LEOPOLD (1822–95), violinist, and ARNAUD-PHILIPPE (1819–82), violoncellist, enjoyed considerable vogue. As a composer he was equally successful, gaining many prizes, among them the Prix Chartier, shared with Madame Farrenc, and given for the composition of a piece of chamber music which should be the 'nearest approach to classic masterpieces.' Yet it cannot be said that the more ambitious among the 150 works (circa) which he published are of enduring value. His gift was rather that of writing bright and graceful music and of writing it well for his instrument, his minor compositions for violin being very popular. His Études were of considerable value to teachers, especially those bearing the title 'Accentuation et ponctuation de l'archet.'
11He was the author of the following literary works: Les Compositeurs chefs d'orchestre (1873); Miscellanées musicales (1876); Notes et souvenirs (1893, 1898, with catalogue of his works).
13M. L. P.
15DANDO, JOSEPH HAYDON BOURNE (b. Somers Town, May 11, 1806; d. Godalming, May 9, 1894), violinist. At an early age he studied the violin under his uncle, Gaetano Brandi.
17In 1819 he became a pupil of Mori, with whom he continued about seven years. In 1831 he was admitted a member of the Philharmonic orchestra. For many years he filled the post of leader of the bands of the 'Classical Harmonists' and Choral Harmonists' Societies (both long extinct), whose concerts were given in the City. Dando was the first to introduce public performances of instrumental quartets. It is true that in the earlier days of the Philharmonic Society a quartet occasionally formed part of the programme, but no concerts consisting exclusively of quartets had before been given in London. The occasion on which the experiment was first tried was a benefit concert got up by Dando at the Horns Tavern, Doctors' Commons, Sept. 23, 1835. The programme was entirely composed of quartets, trios, etc. Dando then formed a party consisting of Henry Blagrove, Henry Gattie, Charles Lucas and himself, to give regular series of quartet concerts, and they began their enterprise on Mar. 17, 1836, at the Hanover Square Rooms. They continued their performances annually until 1842, when Blagrove seceded from the party, upon which Dando assumed the first violin, the viola being placed in the hands of John Loder. Thus constituted they removed to Crosby Hall, where they continued until the deaths of Gattie and Loder in 1853 broke up the party. Dando occupied a prominent position in all the best orchestras until 1875. He held the post of music-master to the Charterhouse School from 1875 until within a short time of his death. He was buried in Highgate Cemetery.
19W. H. H.
21DANDRIEU, JEAN-FRANCOIS (b. Paris, c. 1684; d. there, Jan. 16, 1740), priest and organist at St. Merry and at St. Barthélemy; in 1724 a member of the French Chapel Royal. He was a famous clavecinist and apparently a violinist also. He composed 3 books of harpsichord pieces, 1 book of organ pieces, 1 book of violin sonatas, 1 of trios for 2 violins and bass; 1 book of Noëls (2 editions); 'Les caractères de la guerre, ou suite de symphonies,' etc.; also a book of instructions for the harpsichord accompaniment (Principes de l'accompagnement du clavecin), which appeared in 3 editions. Many of his harpsichord pieces have appeared in modern editions.
23E. V. d. s.
25D'ANGECOURT, see ANGECOURT, D'.
26D'ANGELI, see ANGELI, D'.
27D'ANGLEBERT, see ANGLEBERT, D'.
28DANICAN, see PHILIDOR.
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