Bow & Bridge Violin and bow makers, as the old books printed them

Scan 120

He Biographical Dictionary Of Musicians, 1939

26 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.

1M.; won bronze, silver, and gold medals, and the Evill prize for declamatory Engl. singing; 3 years with Carl Rosa Opera-troupe; most prominent in oratorio; after 1893 often sang in U. S. (2) David Frangcon, Bethesda, Carnarvonshire, Dec. 11, 1860—Hampstead, April 5, 1918; barytone; M. A. Oxford; pupil of Shakespeare; début Manchester, 1890; sang with Carl Rosa Opera Co., then oratorio; toured U. S. (3) Fanny, Guernsey, July 27, 1861—London, Sept. 1, 1934; eminent pianist; pupil of Reinecke, Paul and Jadassohn, Leipzig Cons.; later of Frau Schumann and Dr. Scholz; début Crystal Palace, London, 1885; toured in England, Germany and Italy. (4) Sir Henry Walford, b. Oswestry, 1869—Wrington, March 11, 1941; pupil of Sir Walter Parratt; 1898, organist of the Temple Church; 1898, Mus. Doc., Cantab.; 1895, prof. of cpt. R. C. M.; knighted 1922; 1923, national mus. dir. for Wales; 1934 made Master of King's Music (vice Elgar). C. 2 symphonies, many notable oratorios and other choral works; 2 string quartets, 3 violin sonatas, part-songs, etc.
3Da'vis, John David, Edgbaston, Oct. 22, 1869—June 21, 1926; pupil Raff and Brussels Cons.; 1889, teacher at Birmingham; c. opera "The Cossacks" (Antwerp, 1903), also symph. variations (London, 1905), symph. ballade "The Cenci"; symph. poem "The Maid of Astolat"; chamber music; prize "Coronation March" (1902), etc.
5Da'vison, (1) Arabella. Vide GODDARD. (2) J. W., London, 1813—Margate, 1885; pianist, critic and composer.
7Da'vy, (1) Richard, Engl., comp. 16th century. (2) John, Upton-Helion, Exeter, 1763—London, 1824; violinist.
9Day, Charles Russell, Horstead, Norfolk, 1860—killed Feb. 18, 1900, in the battle of Paardeberg; major in British army and writer of books on musical instruments.
11Dayas (di'-äs), W. Humphries, b. New York, Sept. 12, 1863—Manchester, May 3, 1903; pupil of S. Jackson, Warren, S. B. Mills and Joseffy; organist of various churches; then studied with Kullak, Haupt, Erlich, Urban, and Liszt; made concert-tour 1888; 1890 pf.-teacher Helsingfors Cons.; in Düsseldorf (1894), Wiesbaden Cons., and Cologne Cons.; c. organ and piano sonatas, etc.
13De Ahna (dä-ä'-nä), (1) H. K. Hermann, Vienna, 1835—Berlin, 1892; violinist, teacher and composer. His sister (2) Eleonore, Vienna, 1838—Berlin, 1865; mezzo-soprano.
15De Angelis (dä än'-jä-lës), Girolamo, Civita Vecchia, Jan. 1, 1858—Calolzio, Feb. 9, 1935; pupil of Bazzini, Milan Cons.; 1881, prof. there of vln. and vla.; 1879-97, solo violinist at La Scala; 1897 teacher Royal Irish Acad. of Music, Dublin; c. (text and music) "L'Innocente" (Novi Ligure, 1896).
17Debain (dü-bän), Alex. Fran., Paris, 1809—Dec. 3, 1877; 1834 made pianos and organs in Paris; inv. the harmonium 1840, also "antiphonel" and "harmonichorde"; improved the accordion.
19Debefve (dü-büv'), Jules, b. Liége, Jan. 16, 1863; pianist; pupil and later teacher at the Cons.; c. opera, rhapsody for orch., etc.; d. Paris, 1932.
21Debillemont (dü-bë'-yü-môn), J. Jacques, Dijon, 1824—Paris, 1879; dram. composer.
23De Boeck (dë-book), Auguste, Merchtem, Belgium, May 9, 1865—Merchtem, Belgium, Oct. 9, 1937; organist, son of an organist; pupil of Brussels Cons., later a teacher there; c. symph., Rhapsodie Dahomienne for orch., organ music, etc.
25Debussy (dü-bü'-së), Claude Achille, St. Germain-en-Laye, Aug. 22, 1862—Paris, March 26, 1918; one of the most important composers of recent times, and the instigator of the entire "modern" movement in music; already acknowledged to be a classic, D. has had a profound influence on creative musicians of every country. He came from a family of tradespeople with no musical background. At 11 he entered the Paris Cons. where he won several prizes for piano and studied with Massenet, winning the Prix de Rome with his cantata, "L'Enfant Prodigue." During his sojourn in Italy, his originality began to assert itself, so much so that his orch. suite, "Printemps," shocked the conservatives by its harmonic audacities; he also c. a work for two women soloists and female chorus, "La Demoiselle Élue," at this time. Returning to Paris, he was attracted

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