Scan 821
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1SIMMS, (1) JOHN (b. Stourbridge, Worcs., 1744; d. 1824), organist and violinist, founder of a family of organists. He devoted much time to the construction and improvement of various musical instruments, and was one of the early makers of the 'upright harpsichord.' His eight sons held organistships in Birmingham, Stourbridge and the neighbourhood. The most noted of these were (2) BISHOP, organist of St. Philip's Church (now the Cathedral), 1790–1830, and St. Mary's Chapel, Birmingham. He played at the Commemoration Service held at St. Philip's after the Battle of Waterloo; (3) JAMES, organist of Bromsgrove and Chaddesley; (4) EDWARD, organist of Ashburn and Oakover; (5) JESSE, organist of Handsworth Old Church; (6) SAMUEL, organist of St. Thomas's Church, Stourbridge, for fifty-four years; (7) HENRY, also organist at Stourbridge. (8) HENRY, second son of Jesse (5), succeeded Bishop at St. Philip's and held the post for forty years. (9) EDWARD (b. 1800; d. 1892), organist, pianist and teacher, eldest son of Jesse (5), was organist at St. Michael's Church, Coventry, for fifty-eight years and conductor of the Coventry Choral Union, studied under Kalkbrenner in London whilst still a boy, and at the age of 13 was appointed organist at Wombourne, near Wolverhampton. George Eliot was one of his pupils. (10) SAMUEL (b. 1835; d. 1885), son of Samuel (6), succeeded his father as organist at St. Thomas's Church, Stourbridge, remaining there for twenty-six years. He then became organist and choirmaster at St. Cyprian's Church, Hay Mills, Birmingham, until his death five years later. His son, (11) SAMUEL, succeeded him (1885). The Birmingham Glee Union singers were connected with St. Cyprian's; and the choir furnished some of the most noted local singers at the Birmingham Musical Festivals. (12) FRANCIS HENRY (b. Stourbridge, 1853; d. New Orleans, U.S.A., 1901), grandson of Henry (7), was a pupil of Dr. Arnold. In 1875 he gained in open competition the organistship of All Saints Church, Ryde, I.W. He remained there for fourteen years, and founded and conducted the Ryde Philharmonic Society, which is still (1926) in existence. In 1889 he went to New Orleans to train and introduce the first boy-choir in that city. This was in connexion with St. Paul's Episcopal Church, where he was organist and choirmaster until his death. He was director of music at the H. Sophie Newcomb Memorial College (Tulane University).
3SIMON, ANTON YULIYEVICH (b. France, 1851), composer, received his musical education at the Paris Conservatoire and migrated to Moscow in 1871, where he became conductor to the Théâtre Bouffe. He was appointed professor of the pianoforte to the school of the Philharmonic Society in 1891, and a year or two later he was made superintendent of the orchestras of the imperial theatres in Moscow and musical director of the Alexandrovsky Institute. The following is a summary of his principal works:
5A. OPERATIC
6'Rolla' (op. 40, Moscow, 1892); 'The Song of Love Triumphant' (op. 46, libretto from Tourgeniev by N. Wilde, Moscow, 1889); 'The Fishers' (op. 51, libretto from Victor Hugo by N. Wilde, Moscow, 1900); 'The Stars' (ballet in 5 acts, Moscow, 1902); 'Living Flowers' (op. 58, ballet in 1 act); 'Esmeralda' (mimodrama in 4 acts, Moscow, 1902).
8B. ORCHESTRAL
9Overture (op. 13); suite (op. 29); 'Danse Bayadère' (op. 34) overture-fantasia on Malo-Russian themes (op. 35); symphonic poems, 'The Midnight Review' and 'La Pêchereuse' (opp 36 and 44); triumphal overture on 3 Russian themes, composed for the unveiling of the monument to Alexander II., Moscow (op. 54).
11C. INSTRUMENTAL AND CHAMBER MUSIC
12Pianoforte concerto (op. 19); clarinet concerto (op. 30); fantasia for violoncello (op. 42); 2 pianoforte trios (opp. 16 and 25); string quartet (op. 24); quartet for 2 cornets-a-piston and alto and tenor trombones (op. 23); 22 ensemble pieces for wind instruments (op. 26), 4 septets, 4 sextets; 6 quintets; 8 quartets.
13A considerable number of pieces for one and two pianos; pieces for violin and pianoforte, including the popular 'Berceuse' (op. 28); a Mass (op. 22); three female choruses (op. 83); and upwards of 80 songs.
15R. N.
17SIMONE BOCCANEGRA, opera in 3 acts, with prologue; libretto by Piave, music by Verdi. Produced Fenice Theatre, Venice, Mar. 12, 1857; remodelled and rescored, with a fresh libretto by Boito, and reproduced La Scala, Milan, Mar. 24, 1881.
19G.
21SIMONETTI, ACHILLE (b. Turin, June 12, 1859), violinist and composer. In early youth he studied the violin under Gamba, and composition under Pedrotti, late principal of Rossini's Conservatorio in Pesaro. Later, proceeding to Genoa, he placed himself in the hands of Camillo Sivori, who took great interest in him, and whose clear-cut style and Italian temperament are reflected in his playing. After some successful appearances in Marseilles and Lyons he went to Paris to receive further tuition from Charles Dancla (violin), and Massenet (counterpoint), passed four winters at Nice, and then visited England to fulfil an engagement to tour with the Marie Roze Company and B. Schönberger the pianist. He settled in London and became well known as soloist and member of the LONDON TRIO (q.v.), whilst he occasionally visited Vienna and other continental cities. Besides a series of graceful soli for the violin, which have achieved considerable popularity, he wrote two sonatas for violin and pianoforte and two string quartets.
23W. W. C.
25SIMONS-CANDEILLE, see CANDEILLE (2).
27SIMOUTRE, NICOLAS EUGÈNE (b. Mirecourt, Apr. 19, 1839), a French violin-maker, the patentee of certain inventions by which he claimed to improve the tone of violins and instruments of that class—either of defective or feeble timbre. The son of a luthier, he was first the pupil of his father, then of Darche in Paris and lastly of Roth in Strassburg. He began work as an independent maker at Basle in 1859, and there published in 1883 his brochure entitled Aux amateurs du violon. In 1886 a second brochure—Un Progrès en
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