Scan 46
Groves Dictionary Of Music And Musicians,vol.2, 1906
32 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.
1Bar. He found in the Advocates' Library at Edinburgh a MS. collection of music, written between 1614 and 1620, and known as the Skone Manuscript. It consists of 114 English and Scottish ballad, song and dance tunes written in tablature. This manuscript Dauney deciphered and published in 1838 in a 4to vol. under the title of 'Ancient Scottish Melodies from a manuscript of the reign of James VI.' He accompanied it with a long and ably written Dissertation illustrative of the History of the Music of Scotland, and some interesting documents. The work is valuable as showing the (probably) earliest versions of such tunes as 'The Flowers of the Forest,' 'John Anderson my jo,' 'Adieu, Dundee,' etc. Shortly after 1838 Dauney quitted Scotland for Demerara, where he became Solicitor-General for British Guiana.
2(no line here) one of two readings
4W. H. H. one of two readings
6DAUPRAT, LOUIS FRANÇOIS (b. Paris, May 24, 1781; d. there, July 16, 1868), composer and famous horn-player. He entered the Conservatoire, and studied the horn under Kenn. He then joined the band of the Garde Nationale and later that of the Garde des Consuls, whom he accompanied on their Italian campaign in 1800. On his return to France he studied harmony and composition under Catel and Gossec at the Conservatoire, until, in 1806, he became principal horn-player at the Bordeaux theatre. In 1808 he succeeded his master Kenn at the Paris Opéra, and became chamber musician to Napoleon in 1811 and to Louis XVIII. in 1816. He was also appointed teacher of his instrument at the Conservatoire in this year, and held the post until 1842; he had already retired from the Opéra in 1831.
8He published a Method for the Horn which was a standard work for some time. He is chiefly remarkable as a composer for his own instrument. Such published compositions include 5 concertos for the horn, pieces for 2, 3, 4 and 6 horns, sonatas for horn and piano, 3 quintets for horn and string quartet, and music for other combinations. His horn trios, quartets and sextets were also published, together with prefatory instructions as to their performance. (See Fétis.)
10(no line here) one of two readings
11J. M. one of two readings
13DAUSSOIGNE-MÉHUL, LOUIS JOSEPH (b. Givet, Ardennes, June 10, 1790; d. Liège, Mar. 10, 1875), nephew and foster-son of Méhul; gained the Prix de Rome, 1809; produced some operas with moderate success; and was from 1827–62 director of Liège Conservatoire, which he raised to an institution of European fame.
14(no line here) one of two readings
16E. v. d. s. one of two readings
18DAUVERGNE, ANTOINE (b. Moulins, Bourbonnais, Oct. 3, 1713¹; d. Lyons, Feb. 12, 1797), violinist and composer. He was probably instructed by his father, Jacques Dauvergne, 'player of instruments' and first violinist at the Concert du Moulins. According to La Borde (Essai sur la musique ancienne et moderne), Antoine Dauvergne became leader of the band at the Concert of Clermont-Ferrand. This is not absolutely proved, but his stay there is certified. In 1739 he went to Paris, was admitted to the Musique de la Chambre the same year, and to the Opéra orchestra in 1744. From 1739–52 his compositions were only instrumental: 'Divertimenti a tre,' violin sonatas with a bass (opp. 1, 2, 1739), two sets of 'Concerts de symphonies' (opp. 3, 4, 1751). His music is deeply influenced by that of Locatelli and other Italians; it also reflects certain characteristics of the so-called school of Mannheim, then known in Paris. As a dramatic composer he claims our attention with 'Les Amours de Tempé,' a ballet (Opéra, 1752), and a certain number of operas, of which some are arrangements of older works by Colasse, Campra, etc., and others original ones (see Fétis, Q.-L.). His greatest success was unquestionably the production of 'Les Trocqueurs,' interlude in 1 act, words by Vadé (Opéra-Comique, July 30, 1753). The historic importance of this piece lies in the fact that it was one of the first French works conceived in the form of the Italian intermezzo, with musical recitative instead of the usual spoken dialogue. Dauvergne had become one of the directors of the Concert Spirituel (1762), and he composed a series of motets the greater part of which was performed there. Already in charge of two important posts in the royal music, he was composer to the King and master of his chamber music (1755). Dauvergne became Surintendant (Dec. 25, 1764), and finally three times manager of the Opéra, from 1770–90. He was the last director of the Royal Opera, where Gluck's works were revealed to the French public.
20BIBL.—L. DE LA LAURENCIE, Deux imitateurs français des bouffons; Ravelot et Dauvergne (L'Année musicale, 1912). L'École française de violon, de Lully à Viotti, ii. 1923.
22DAUXCOUSTEAUX, see AUXCOUSTEAUX. one of two readings
23M. I. P. one of two readings
25D'AUXCOUSTEAUX, sco AUXCOUTEAUX. one of two readings
27DAVAUX, JEAN BAPTISTE (b. St.-André, Isère, c. 1737; d. Paris, Feb. 22, 1822), went to Paris c. 1760, and composed symphonies in the new style of the Mannheim school. His numerous symphonies, concertos, quartets, duets, etc., were published in Paris, London and Amsterdam. Two operas were performed in Paris: 'Théodore' in 1785, 'Cécilia' in 1876. He invented a metronome. (Q.-L.; Fétis.)
29DAVENPORT, FRANCIS WILLIAM (b. Wilderslowe, near Derby, 1847), was educated at University College, Oxford. He studied music under Sir George Macfarren, whose only daughter he married; was appointed a professor at the R.A.M. in 1879, and subsequently examiner for the Local Examinations in connexion therewith. In 1882 he was appointed a professor at the Guildhall School of Music.
31¹ Date verified by birth certificate.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.