Scan 536
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1musiciens de la Renaissance française.' 'Ma Mère bêlât! mariez-moy', 'O Salutaris Hostia' (Paris, Sénart). Ch. Bordes: (1) Trois chansons du 15e siècle à 3 voix'; 'Il me fait mal de vous voir languir' (Paris, Rouart et Lerolle). (2) 'Anthologie des maîtres religieux primitifs' (Paris, Bureau d'édition de la Schola Cantorum): 'O Salutaris Hostia.'
3RÜBEZAHL, opera in 2 acts; words by J. G. Rhode; music by Weber, q.v. G.
5RÜCKKAUF, ANTON (b. Prague, Mar. 13, 1855; d. Schloss Alt-Erlaa, Sept. 19, 1903), was a pupil of Proksch, and studied at the same time at the Prague Organ School. He taught for a time at Proksch's Institute till he went, at the expense of the state, to further his studies in Vienna, where, advised by Brahms, he learnt counterpoint with Nottebohm, and with Navratil when Nottebohm died. His connexion with Gustav Walter, whose permanent accompanist he was, had a great influence over his development as a composer of songs. His compositions are of various sorts, including songs, 'Balladen,' settings to five Minnelieder of Walter con der Vogelweide, gipsy songs, duets, choral songs with PF. accompaniment and also a cappella, besides a violin sonata (op. 7), a PF. quintet (op. 13), some piano solos and duets, and an opera, 'Die Rosenthalerin,' which was produced at Dresden in 1897, and attracted a considerable amount of attention.
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9RUEDA, see SONG, subsection SPAIN (3).
11RÜHLING, (1) HANS (b. Borna, Saxony, c. mid. 16th cent.), from 1572–75 organist at Geithain, Saxony; organist at Dobeln, c. 1572; and from c. 1582 at Groitzsch, near Leipzig. He wrote 'Tabulaturbuch auf Orgeln und Instrument,' etc. (1583), containing 86 German and Latin sacred songs, arranged in organ tablature, with names of the original composers.
13His son, (2) SAMUEL (b. Groitzsch, c. 1586; d. Dresden, June 1626), was cantor at the Pauliner church, Leipzig, and from Sept. 17, 1612, at the 'Kreuzkirche,' Dresden; also poet laureate and Archdean. He composed motets, 8, 9 v., which remained in MS.
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17RÜHLMANN, FRANS (b. Brussels, Jan. 11, 1868), conductor. He was a pupil at the Brussels Conservatoire, and took part in the orchestra of the Théâtre de la Monnaie for seven years. After conducting at Rouen, Liège, Antwerp, Brussels, etc., he was engaged at the Opéra-Comique, 1st place of Büsser, and conducted for the first time ('Carmen'), Sept. 6, 1905. He succeeded Luigini (d. July 29, 1906) as principal conductor, and has been conductor of the Paris Opéra since 1914. He is also principal conductor at the Concerts Colonne, and has conducted the popular concerts at Antwerp since 1920.
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21RUFFO, VINCENZO, a member of a noble Veronese family, who flourished as a composer in the 16th century. His name is included by Bani in his list of the 'good musicians' of his fourth epoch. Unless a fifth-part Magnificat, stated to have been published at Venice in 1539 and to exist at Lüneburg, be a genuine work, his first publication would seem to be a book of motets dated 1542, where he is described as 'musico' (i.e. castrato) in the service of the Marchese Alfonso d'Avalli. In 1554 he became maestro di cappella at the cathedral of Verona, and in 1563 was appointed to a similar post at the cathedral of Milan. In 1574–79 he was at Pistoia in the same capacity, and in 1580 we find him again at Milan. His last publication, a book of masses, dated 1592, contains no mention of any official post, and it is argued that he therefore held none in his latest years. The other masses appeared in 1557, 1574 and 1580; motets in 1542, 1555 and 1583; settings of the Magnificat in 1578, and psalms a 5 in 1574. His madrigals were published in 1545, 1554, 1555, 1556 and 1560. The psalms and a Mass were written for his patron Saint Carlo Borromeo in accordance with the decrees of the Council of Trent. An Adoramus is printed by Lück, and a madrigal, 'See from his ocean bed,' edited by Oliphant, is in Hullah's Part Music. Torchi, in his 'Arte musicale in Italia,' vol. i., gives two movements from masses, a motet and two madrigals. The libraries of Ch. Ch. and the R.C.M. contain specimens of his works in MS., and for others the article in Q.-L. and an interesting monograph by Luigi Torri in R.M.I. iii. 635, and iv. 233, should be consulted.
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25RUGGI, FRANCESCO (b. Naples, Oct. 21, 1767; d. there, Jan. 23, 1845), was a pupil of Fenaroli at Conservatorio S. Maria di Loreto; in 1795 deputy maestro di cappella of Naples; in 1825 successor of Tritto as professor of counterpoint and composition at the Conservatorio of S. Pietro a Majella, where Bellini and Carafa were among his pupils. He composed 5 operas, an oratorio, numerous masses and other church and secular music (Q.-L.; Mendel; Riemann).
27RUGGIERI, the name of a celebrated family of violin-makers, who flourished at Cremona and Brescia. The eldest was (1) FRANCESCA, commonly known as 'Ruggieri il Per' (the father), whose instruments date from 1668–1720 or thereabouts; (2) GIOVANNI BAPTISTA (1700–25), and (3) Pietro (1700–20), who form the second generation of the family, were probably his sons; Giovanni Baptista (2) (called 'il buono'), who was indisputably the best maker in the family, claims to have been a pupil of Nicolo Amati. Besides these, we hear of (4) Guido and (5) Vincenzo, both of Cremona, early in the 18th century. The instruments of the Ruggieri, though differing widely among themselves, bear a general resemblance to those of the Amati family.
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