Books › The New Encyclopedia of Music and Musicians, 1924 › scan 670
Scan 670
The New Encyclopedia of Music and Musicians, 1924
20 lines. Read by computer on 10 September 2026. Printed page 630. See the scan on archive.org.
1festival cantatas, a Te Deum, motets, and especially a long series of capital choruses and part-songs for men's voices (including several cycles), fine songs and good piano-pieces. Memoir by Scheumann, 1904. G.
3Otto, Georg (?1544–1619). 16th C. G.
5Otto, Jakob August (Gotha, 1762–1830, Weimar). Saxon violin-maker, in court-service at Weimar, author of a work on the mechanical construction of stringed instruments (1817 and later revisions and translations). G.
7Otto, Stephan (?1594–?). 17th C. G.
9Otto, Valerius. 17th C.
11Otto-Alvsleben, Melitta (Dresden, 1842–1893, do.). Saxon operatic soprano, pupil of Thiele, from 1860 appearing at the Dresden Opera in coloratura rôles and also in concert, from 1873 a favorite in England, in 1875–76 at Hamburg and in 1877–83 again at Dresden (visiting America in 1879 to sing at the Cincinnati Festival). In 1866 she married the customs-official Max Otto of Dresden. G.
13Oudin Eugène Espérance (New York, 1858–1894, London). French-American baritone, originally a practicing lawyer, but from 1886 appearing in light opera in New York and in 1891 in London (première of Sullivan's Ivanhoe), but making his best English success in song-recitals, though in 1893–94 he made a fine impression in grand opera in Russia. His sudden death cut short a career of much promise. G.
15Oudrid y Segura, Cristóbal (Badajoz, 1829–1877, Madrid). Spanish composer, from 1850 writing over 30 zarzuelas (some with Barbieri, Gaztambide, Rogel, Caballero, etc.), from 1867 chorusmaster at the Italian Opera in Madrid and from 1872 conductor at the Zarzuela or Oriente Theaters.
17Oulibichev [Ulýbýshev], Alexander Dimitrievitch d' (Dresden, 1794–1858, n. Nijni Novgorod). Russian-Saxon diplomat and Mozart enthusiast. Author of a significant life of Mozart (3 vols. 1844, 2d German ed. 1859), which contained remarks as to Beethoven's later works that were severely attacked by Lenz, leading to a further work by Oulibichev, Beethoven, ses Critiques et ses Glossateurs, 1857, which was still more condemned. G.
19Ouseley, Frederick Arthur Gore (London, 1825–1889, Hereford). Eminent English clergyman, organist, theorist and composer, educated at Oxford University (M. A. 1849, Mus.D. 1854), from 1856 vicar at Tenbury and warden of the new St. Michael's College there, to the development of which he gave lavishly of both energy and means. From 1855 he held the posts of professor of music at Oxford (following Bishop) and also of precentor at Hereford Cathedral. He was noted as teacher of strict composition and as organist, excelling in extemporization. Author of three fine text-books on harmony (1868, 3d ed. 1883), counterpoint and fugue (1868, 2d ed. 1884) and form, etc. (1875, 2d ed. 1886) with many articles in Grove's Dictionary, 1st ed. (1880–89) and collections of services (1853), of chants (1872, with E. G. Monk), etc. Wrote the oratorios The Martyrdom of St. Polycarp, 1854, and Hagar, 1873, 11 services, nearly 90 anthems, 2 organ-sonatas, over 30 preludes and fugues, many other organ-pieces, a string-sextet, 2 string-quartets, a piano-quartet, 2 piano-trios, other piano-pieces, many part-songs, glees, songs, etc., besides an edition of O. Gibbons' works. Mus.D. of Durham and Cambridge Univs. (1856, '62) and LL.D. of Cambridge and Edinburgh (1883, '85). His title as baronet descended to him from his father, who was British ambassador in Persia and Russia. He collected a notable library, which he left to St. Michael's College. Memoirs by Havergal, 1889, and Joyce, 1896, and see article on St. Michael's in Musical Times, 1900. G.
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