Scan 85
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1treated with a superimposed counterpoint sung by the trebles of the choir. This is of course the actual arrangement of Tallis's 'Festal Responses,' but in practice congregations as a rule sing the treble descant of these responses instead of the tenor melody. Among other modern composers, Sydney Nicholson of Westminster Abbey has produced a descant setting of Merbecke's Communion Service, has used the form in his cantata 'The Saviour of the World,' and in his Solemn Te Deum written for the Peace celebrations in 1918—for the revival of descant was partly instigated by a desire to vary the unison singing of war-time choirs. The new method of treatment has also been applied to secular singing; but it is in the department of hymn-singing that it has taken the deepest root. Some of the principal recent publications are:
3HYMNS.—A Collection of Fauxbourdons and Descants, by Riley (Mowbray, 1910). The Tenor Tune Book, by six composers (Faith Press, 1917, 3rd edn. 1924). A Book of Descants, by Alan Gray ('Cambridge University Press, 1920). The Descant Hymns Tune Book, by G. Shaw (Novello, 1925). Single hymns by Martin Shaw and C. Hylton Stewart ('urwen).
5CHANTS.—Sets of Canticles, XIV. Ancient Fauxbourdons (Plain-song and Mediaeval Music Society), F. Burgess and S. Royle Shore (Novello), Anselm Hughes and E. W. Goldsmith (Faith Press). H. R. Norton (Faith Press). Also The Fa-burden Chant-book, by G. Sceats and F. Burgess (Novello), and Psalms and Chants with Descants, by Alan Gray (Novello). See further the Service Books of the Gregorian Association from 1915 onwards.
7SONG-BOOKS.—The Montgomeryshire Song-Book, and the Shropshire Song-Book, by Nicholas Gatty and Alan Gray (Stainer and Bell). National Songs with Descants, by Geoffrey Shaw (Novello).
9A. H.
11DESCARTES, RENÉ (b. La Haye, Touraine, Mar. 31, 1596; d. Stockholm, Feb. 11, 1650), the great philosopher who wrote Compendium musicae (1650), one of the most remarkable books on music of its time; translated into English by Lord Wm. Brounker and published anonymously in 1653. A French edition by Nic. Poisson appeared in 1668; also in Descartes's letters are many passages dealing with music. (Riemann; Q.-L.)
13DÉSERTEUR, LE, musical drama in 3 acts, words by Sedaine, music by Monsigny; produced, Théâtre des Italiens, Mar. 6, 1769, and revived, Opéra-Comique, Oct. 30, 1843.
15DESMARETS, HENRI (b. Paris, c. 1659; d. Lunéville, Sept. 7, 1741), was brought up at the court of Louis XIV. His first compositions were sacred, and were made public under the name of Goupillier.
17His first opera, 'Didon,' in 5 acts, was performed Sept. 11, 1693. It was followed by 'Circé' (1694), 'Théagène et Chariclée' and 'Les Amours de Momus' (1695), 'Vénus et Adonis' (1697), 'Les Fêtes galantes' (1698), and additions to 'L'Europe galante' (1699). About this time he got into trouble in consequence of a secret marriage with the daughter of a dignitary at Senlis, and had to escape to Spain, where he became, in 1700, 'Surintendant' to Philip V. In 1704 his 'Iphigénie en Tauride,' with sundry additions by Campra, was given in Paris. In 1708 he settled in Lorraine as director of Duke Leopold's music.
19At Nancy and Lunéville some of his 'divertissements' were performed, notably 'Le Temple d'Astrée,' 1709. For the marriage of Princess Elizabeth Thérèse with the King of Sardinia (Mar. 1737) he composed a motet and a Te Deum. His own marriage was sanctioned by Parliament in 1722. In that year his 'Renaud, ou la Suite d'Armide' was performed in Paris. M.; addns. M. L. P.
21DES PRÉS, see Josquin.
23DESQUESNES, JEAN (b. Mons or St. Ghilain), became a prebendary of Tournay, June 31, 1581. He is mentioned (1630) in accounts of Duke Ernest, Governor of the Netherlands. He wrote 2 books of madrigals a 5 v., published in 1594 and 1603 (Q.-L.).
25DESSAUER, JOSEF (b. Prague, May 1798; d. Mödling, near Vionna, July 8, 1876), was a pupil of Tomaczek and Dionys Weber, became a successful and prolific writer of songs, string quartets, pianoforte pieces, etc., and wrote the operas 'Lidwina' (1836), 'Ein Besuch in St. Cyr' (1838), 'Paquita' (1851), 'Domingo' (1860) and 'Oberon' (not performed). His song 'Lockung' was for many years a favourite in England. (Riemann.)
27DESSOFF, FELIX OTTO (b. Leipzig, Jan. 14, 1835; d. Frankfort, Oct. 28, 1891), was a pupil of the Conservatorium there, studying with Moscheles, Hauptmann and Rietz. He was conductor in the theatres of various small towns between 1854 and 1860, was appointed in the latter year conductor of the court opera in Vienna, and had a position there in the Conservatorium of the Gesellschaft der Musikfreunde, and as director of the Philharmonic Concerts. In 1875 he became conductor at Carlsruhe, being succeeded in Vienna by Richter. In 1881 he was appointed first conductor at the opera at Frankfort. He published some chamber music, etc. (Riemann.)
29DESTINNOVA (DESTINN), EMMY (née Krttl) (b. Prague, Feb. 26, 1878), noted dramatic soprano, received instruction at Prague in violin-playing from Lachner and singing from Fr. Marie Loewe-Destinn, whose latter name she adopted 'from gratitude for her artistic progress' (Monthly Musical Record). In Aug. 1898 she made her début, with great success, at the New Royal Opera-House, Berlin (formerly Kroll's), as Santuzza and sang there in the 400th performance of 'Tannhäuser' (first performed there Jan. 7, 1856). In September she made her débuts at the Royal Opera as Santuzza, Valentine and Mignon; became a great favourite, and remained there until 1908. In 1901, and again in 1906, she was very successful as Diemut in 'Feuersnot,' and as the heroine in 'Salomé,' on the production of Richard Strauss's operas in Berlin. In 1901, on leave of absence, she sang at the Colonne Concerts, Paris, and as Senta at Bayreuth. On May 2, 1904, she made her début at Covent Garden,
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