Scan 378
The American history and encyclopedia of music, 1908
15 lines. Read by computer on 11 September 2026. Printed page 345. See the scan on archive.org.
1Spontini
2strongest figure in French grand opera between Gluck and the romantic movement of 1830. He combined in his character both small and great qualities. He was generous to those poorer than himself, but to the world in general showed a jealous, spiteful nature; was conceited and biased and arrogant in the extreme. He entertained the most intense animosity toward Meyerbeer, whom he considered a mere intriguer and interloper. On the other hand he had the keenest admiration for the works of Mozart and Handel.
4Spry, Walter. 1868-
5American musician; an excellent pianist, organist and composer. He was born in Chicago, of English parents, and from early childhood showed unusual talent for music. He received his early training from some of the best local instructors, among them Clarence Eddy. Mr. Spry pursued his advanced studies in Europe with Professor Leschetizky, Vienna, also at the Royal High School of Music in Berlin with Professor Rudorff in piano, and with Professor Bargiel in composition. Later he studied orchestration with Professor Rousseau in Paris. Mr. Spry has made extensive concert tours in this country, and fills an important place as an educator, being director of The Walter Spry Piano School, Chicago.
7Squire, William Henry. 1871-
8Distinguished English cellist and composer; born at Ross, Herefordshire. He was a pupil of his father, an amateur violinist and made his debut at the age of seven. He won a scholarship at the Royal College of Music, which was extended for a second period of three years, when he was enabled to study with Edward Powell and Sir Hubert Parry. His real debut occurred in 1891, when he appeared at the Albeniz concerts at St. James' Hall, London. Squire has been heard at various London concerts since then, notably at concerts of British chamber-music in Queen's Hall in 1894, and at Crystal Palace in 1895, in which year he was appointed principal cello-player at the Royal Italian Opera at Covent Garden. He was elected an associate of the Royal College of Music in 1889. He has composed a cello-concerto; a serenade; pastorale; gavotte; tarantelle; four sets of pieces described as easy exercises for the cello; also violin-music; pieces for piano; songs and music for the mandolin. He has in manuscript two operettas.
10Stade (shtä'-dě), Friedrich Wilhelm. 1817-1902.
11Organist and composer; born at Halle. After studying with Friedrich Schneider at Dessau, he was conductor of Beethmann's Dramatic Company at Halle and Dessau until he became music director at Jena University, from which institution he received the degree of Doctor of Philosophy. He became conductor and Court organist at Altenburg in 1860, and held this position until 1891. He has made excellent arrangements of Bach's and Handel's sonatas and of Die Lieder und Spruche aus der letzten Zeit des Minnegesangs; and composed Vor Jena, a song popular with students; Easter and Christmas cantatas; fest-overture; seven books of organ-pieces; a violin sonata; music to Orestes by Rossman; eight Characterstücke; a suite and Kindersonate for four hands; overture to Schiller's Braut von Messina; psalms, and other organ and piano-music.
13Stadler (shtät'-lěr), Maximilian. 1748-1833.
14Organist, composer and priest; born at Melk, Lower Austria. When ten years old he became a chorister at the monastery of Lilienfeld, gaining his musical education there and at the Jesuit College at Vienna. He entered the Benedictine Abbey at Melk in 1766 and took orders in 1772, becoming professor of theology three years later. In 1786 Emperor Joseph appointed him Abbot of Lilienfeld, and in 1789 of Kremismünster. After living at various places he returned to Vienna, where he died. He was the friend of Handel and Mozart, and at the request of Mozart's widow put that master's musical affairs in order, copying the original score of the Requiem, and writing two pamphlets in defense of it against Gottfried Weber. As an excellent contrapuntist and an authority on the history of music, his compositions have a solidness and value of their own. Among them may be mentioned: Music to a tragedy by Collins entitled Polyxena; funeral cantata;
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