Scan 98
Groves Dictionary Of Music And Musicians,vol.2, 1906
62 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1stück,' op. 31, and a concerto in C minor, op. 32, for piano and orchestra; a 'Concertstück,' op. 33, for violin and orchestra; besides some interesting chamber works, songs, and very numerous pianoforte solos, as well as a collection of 'Clavecinistes français.'
3G. F.
5DIEPENBROCK, ALPHONS (b. Amsterdam, 1862; d. there, 1921), a Dutch composer, originally a philologist, and musically self taught. He first became known as a composer by a liturgical Mass, which was followed (1900) by his chief work, a Te Deum for united choir, solo voices and orchestra. Besides songs (some with orchestra), Diepenbrock composed music for several plays; Verhage's 'Marsyas'; Vondel's 'Gysbrecht van Amstel'; Aristophanes' 'Birds'; Goethe's 'Faust.' He was originally under Wagner's influence, but later turned more towards the modern French impressionism. His music is poetic and full of phantasy, but lacks strong concentration. He holds a representative place as a spiritual leader of the younger generation of Dutch composers. A complete edition of his works is in preparation. His essays on musical aesthetics appeared after his death under the title 'Ommegangen.'
7R. M.
9DIEREN, BERNARD VAN (b. Holland, Dec. 27, 1884), composer, was educated with a view to a scientific career, and became assistant in a research laboratory. His youthful artistic interests were chiefly literary, though he was skilled in drawing, musical studies being confined to the violin, which he learnt to play in early youth. Having had little opportunity of hearing good music, he did not begin to compose until he was nearly twenty years of age, when he wrote a series of immature works which have not been preserved. They were followed by a period of serious study of composition as well as of musical history and literature. In 1909 van Dieren settled in London, for some years acting as correspondent to Continental newspapers and periodicals. His earliest preserved works date mainly from 1912, which year was spent in study in various German musical centres.
11The style of van Dieren's earlier works is nearly always distinguished by great polyphonic complexity gained by the independent development of melody. Contrapuntal devices are largely employed in conjunction with a scheme of harmony that is both modern and individual, and, while allowing the composer a wide scope, demands a strictly logical treatment. In the later works the harmonic basis becomes gradually simpler, while the workmanship is concentrated in a still higher degree upon organic unity and balance of form.
13For a long time van Dieren was a solitary figure in modern music. Lately, however, greater curiosity in his work has been shown: the Universal Edition in Vienna and more especially the Oxford University Press have acquired a number of MSS. for publication and performances are growing less rare. Among the outstanding first performances are the following:
15Opp. 9 and 12 at Cecil Gray's concert, Wigmore Hall, London, 1917; op. 18 at a 'Sackbut' Concert in London, 1920; Introduction to op. 15 at a Promenade Concert, Queen's Hall, 1921; op. 22 by the British Music Society, Apr. 1, 1925, and (1st public performance) at E. J. Moeran's concert, Wigmore Hall, June 6, 1925; op. 21 at Gerald Cooper's concert, Aeolian Hall, Nov. 6, 1925; op. 13 by the British Music Society, Dec. 1, 1925; opp. 17, 20 and a scene from op. 14, at a whole concert devoted to van Dieren's work, Wigmore Hall, Dec. 14, 1925; op. 9 was also heard in Berlin in 1923 at a concert given by the International Composers' Guild; and op. 18 at the second Donaueschingen Musical Festival in 1922.
17The following is a list of his principal works:
19Op.
201. Elegy for orchestra and violoncello obbligato.
212. Heine's Belzusar for chorus and orchestra.
223. Beatrice Cenci. Orchestral Epilogue to Shelley's The Cenci
234. Six Sketches for PF. (Universal Edition, Vienna).
244a. Toccata for PF.
255. Sonata for violin solo.
266. String Quartet No. 1, for 2 violins, viola and violoncello.
277. Treatise on Fugue, with 3 Fughette for PF.
287a. Sketch for a Treatise on Harmony on a polyphonic basis
298a. 15 Songs on poems by Heine and Goethe.
308b. 6 Songs on poems by Verlaine, Charles d'Orléans, Ronsard and Boileau.
318c. Lyric Scene (Williers de l'Isle Adam).
329. Overture for chamber orchestra (16 solo instruments).
3310. Unaccompanied Choral Works: Ave Maria (4 parts), Ave Maria (5 parts), Deus meus (4 parts).
3411. Symphony for orchestra, 5 solo voices and mixed choir on texts by Chinese poets.
3512. Diafonia in 5 parts for chamber orchestra (17 solo instruments and baritone solo) on 3 Shakespeare sonnets.
3613. Serenade for small orchestra.
3714. The Tailor, opera buffa in 3 acts with chamber orchestra. Text by Robert Nichols.
3815. 'Les Propos des Beuvaux,' for chorus and orchestra, on Rabelais' Gargantua, chapter v.
3916. 2 Songs for baritone and string quartet: (a) Song from Shelley's The Cenci; (b) Our Three Ladies of Sorrow (de Quincey).
4017. 2 Poems for recitation with string quartet: (a) Recueillement (Baudelaire); (b) Ballade pour prier Notre Dame (Villon).
4118. String Quartet No. 2, for 2 violins, viola and violoncello.
4219. Symphony for orchestra in 3 movements (ciaccona, sarabande, gaillarde).
4320. String Quartet No. 3, for 2 violins, viola and violoncello.
4421. Fayre eies (Edmund Spenser) for baritone and chamber orchestra.
4522. String Quartet No. 4, for 2 violins, viola and double bass.
4623. 6 Songs on poems of Victor Hugo.
4724. String Quartet No. 5, for violin, viola, violoncello and double bass.
4812. Variations on an original theme for PF.
4920. Netherlands melodies for PF.
50Sonatina for violin and PF.
513 Études for violin solo.
53E. B.
55DIES, ALBERT CHRISTOPH (b. Hanover, 1755; d. Vienna, Dec. 28, 1822), wrote Biographische Nachrichten von Joseph Haydn, biographical notes from Haydn's own communications, 1810 (with portrait and musical examples).
57E. v. d. s.
59DIES IRAE, the Sequence sung in Masses for the Dead.
61The truth of the tradition which ascribes the poetry to Thomas de Celano, the friend, disciple and biographer of St. Francis of Assisi, seems to be established beyond all controversy. It is not properly a liturgical Sequence in form, but a poem to which a tune has been adapted. It is not known when it first became so used, and many years seem to have elapsed before its use became general. It is very rarely found, in early MS. Missals, either in England, France, or Germany, and is wanting in many dating as late as the close of the 15th century, or the beginning of the 16th. It is doubtful, indeed, whether its use was recognised in all countries, until its insertion in the Tridentine Missale Romanum rendered it a matter of obligation
The computer misreads some letters and numbers. Where a name matters to you, read the scan.