Scan 77
Stokes Encyclopedia Of Music And Musicians, 1908
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1Pohl, Prof. Philipp Ruefer, Theodor Schönberger, Prof. Alfred Sormann, August Spanuth, Prof. E. E. Taubert, T. W. Otto Voss, Michael von Zadora; Violin, Prof. Gustav Hollaender, Theodore Spiering, Alfred Wittenberg, Willy Nicking, Walter Rampelmann, Max Grünberg, William Kritch, Fräulein Clara Schwartz; Viola, Walter Rampelmann; 'Cello, Joseph Malkin, Eugen Sandow, Erich Hollaender; Duoblebass, Herr Kämmling; Organ, Bernhard Irgang; Harmonium, Carl Kaempf; Harp, Franz Poenitz; Harp chromatic, Cantelon; Flute, Otto Roessler; Oboe, F. Bundfuss; Clarinet, Carl Rausch; Bassoon, Herr Koehler; Horn, Adolf Littmann; Trumpet, Herr Koenigsberg; Conducting, Prof. Arno Kleffel; Composition, Score playing, Instrumentation, Wilhelm Klatte, Prof. Arno Kleffel, Prof. Philipp Ruefer, Prof. E. E. Taubert, Leo Portnoff, Arthur Willner; Harmony, Counterpoint, Canon and Fugue, Wilhelm Klatte, Arthur Willner; Theory, Harmony in English, William Kritch; Theory, Harmony in Russian, Leo Portnoff; Nicolaus Rothmühl, Leader of the opera-school; Dramatic School, Prof. Leo Friedrich; Arthur Willmer, Director of administration.
3Berlioz (Hector) developed the resources of the orchestra so largely as to deserve the title "Father of modern orchestration"; was first to employ large masses of musicians and singers in the production of big tonal effects; prepared the way for the so-called "Music of the Future" by elaborating and exemplifying in his own operas the theories of his favourite master, Gluck, regarding the relation of music and the drama; composed the operas "BENVENUTO CELLINI," "La DAMNATION DE FAUST," the symphony "Harold en Italie," which have finally ranked him with the greatest of French composers, but failed to secure recognition in France during his life, save as a writer of music criticism and "feuilletons." The son of a country physician of La Côte St. André, Grenoble, Berlioz was sent to the Paris medical school to qualify himself for his father's profession. As a boy he had studied Catel's "Harmony," had learned to play the flageolet somewhat badly, the guitar tolerably well, and had found delight in Gluck's "Orfeo," but was unable to obtain a systematic musical training. He detested medicine, loved music, and neglected his work for the library of the Paris Conservatoire. Determined to devote his life to music, his parents were equally determined he should commit no such folly, and they cut off his allowance. But in 1823 he was a student at the Conservatoire, and there he worked during seven years, always in poverty, rarely on good terms with his teachers, except Lesueur, supporting himself by such expedients as singing in a theatre chorus, and acquiring a large and larger contempt of the prevailing style in music, of which the director of the Conservatoire, Cherubini, was the leader. Before entering the Conservatoire he had received lessons of Lesueur which enabled him to compose a mass for St. Roch's Church, and in his years of study he composed a "Fantasia on Shakespeare's Tempest," "Les Francs-juges," and "Waverly" overtures, and "Eight Scenes from Faust." In 1830, to his great surprise, he secured the prix de Rome with the cantata "La Mort de Sardanapale." In Italy he sighed for Paris, and after an 18 months' sojourn, the ministry permitted him to return home. "La Captive," a song, a revision of his "Symphony Fantastique" and sketches of the "Corsair" and "King Lear" overtures were worked out in Italy, but brought neither fame nor money on his return. In 1833 he married the Irish actress Henrietta Smithson, who had been playing Shakespearian rôles at the Odéon, and, failing to earn a livelihood in music, took to journalism. "Harold in Italie," "Symphonie Funèbre et Triomphale," "Romeo et Juliette," his requiem on the death of Napoleon, and "Benvenuto Cellini," his opera, were all produced during this period of hack work, from which he was released by the princely benevolence of Paganini, who gave him 20,000 francs. Then the gov-
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