John Denison Champlin.

Cyclopedia of music and musicians (Volume 2) online

. (page 90 of 93)
Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 90 of 93)
Font size
QR-code for this ebook

In 1G16 his salary was raised to five hun-
dred ducats. His time was chiefly employ-
ed in writing church music and in drilling
the choir ; but in 1624 he wrote a dramatic
interlude, II combattimento di Tancredi e
Clorinda, for some festivities at the palace
of Girolamo Moceuigo. This led him back
to dramatic composition, which was the
real bent of his genius ; his popularity as a
composer had become immense. In 10315,
however, he was admitted to the priesthood,
and he appears to have written nothing
more of importance until 1639, when his
L' Adone was brought out with unbounded
success at the Teatro di San Cassiano.
From this year until 1642 he continued to
write operas with unvarying success. In
1643 he died. He is buried in the Chiesa
dei Frari in a chapel on the
north of the choir. Monte-
verde was not only the first
really great composer of op-
era, but has been rightly es-
teemed the father of all mod-
ern music. He was the first to use the
chord of the dominant 7th as a free dis-
cord, thus preparing the way for the discov-
ery of the modern tonal system. In his
first opera, Arianua, he adopted the stile
rappreseutativo of Caccini anil Peri, and af-
terwards developed it further both in the
directions of periodic melody and of dra-
matic recitative. He increased the orches-
tra, and was the first to employ the tre-

molo of stringed instruments. His greatest
pupil was Francesco Cavalli. Published
works : Canzonette a 3 voci (Venice, Ama-
dino, 1584) ; do., lib. i. (ib., 1587) ; do., lib.
ii. (ib., 1593) ; do., lib. iii. (ib., 1594) ; do.,
lib. iv. (ib., 1597) ; do., lib. v. (ib, 1599 and
1604) ; Madrigali, lib. i.-v. (Antwerp, Pha-
lesius, 1615) ; Orfeo, opera, Mantua, 1607
(ib, 1G09 and 1G15) ; Scherzi a 3 voci (Ven-
ice, G. C. Monteverde, 1G09) ; Madrigali a 5
voci, lib. vi. (Venice, 1614) ; do, lib. vii. (ib,
1G19) ; do, lib. viii. (ib, 1638) ; 3 volumes
of Church Music. Unpublished: Arianna,
opera written for wedding of Francesco di
Gonzaga and Margherita, Infanta of Savoy,
Mantua, 1G07 ; II hallo delle ingrate, myth-
ological spectacle, Mantua, 1608 ; Requiem
for Cosimo II. de' Medici, Venice, May 25,
16'21 ; II combattimento di Tancredi e Clo-
riuda, written for Domenico Moceuigo, Ven-
ice, 1624 ; 5 dramatic intermezzi on episodes
from the stories of Bradamante and of Dido,
written for the court of Parma, Parma,
1627 ; II Rosajo fiorito, cantata for the birth-
day of Vito Morosini, son of the governor of
Rovigo, Rovigo, 1629 ; 1'romrjjine rapita,
opera, for wedding of Lorenzo Giustiniani
and Giustiuiana Mocenigo, Venice, 1630 ;
Mass for Thanksgiving service after the
Plague, Venice, Nov. 28, 1631 ; L' A,/,,n,;
opera, Venice, 1639 ; Le nozze di Enea con
Laviuia, Venice, 1641 ; II rilunw d' Ulisse

in patria, Venice, 1641 (MS. copy in Vienna
Library) ; Selva morale e spirituale, writ-
ten 1641 (MS. copy in collection of Leo-
pold I, Vienna Library) ; L' incoronazione
di Poppea, Venice, 1642. Ambros, iv. 353.

MONTEZUMA, romantic opera in three
acts, text music by Frederic Grant Gleason,
in MS. Selections have been given.

Paris in 1803, died there, Feb. 13, 1856.



Pupil at the Paris Conservatoire of Fi'tis
and Bertou ; obtained the first prize for
composition in 1830, and with a govern-
ment pension resided in Rome and Naples
and travelled in Germany. Works : La
chatte metamorphosee en femme, ballet,
1837 ; Polichiuelle, opera, 1839 ; La jeu-
uesse de Charles-Quint, do., 1841 ; Saiute-
COcile, do., 1844 ; La charbonniere, do.,
1845 ; L'ombre d'Argentiue, do., 1853 ; Deu-
calion et Pyrrha, do., 1855 ; Pianoforte
pieces. FtHis.

MONTI, GAETANO, born at Fusiguano,
near lYrrara, about 1750, died iu Naples
after 1816. He studied music iu Naples,
then lived successively iu Milan and Paris,
and in 1790 returned to Naples as maestro
di cappella. Iu 1800 he resided in Rome,
in 1809 in Milan, and in 1816 settled in
Naples. Works Operas: La coutadina
accorta, given in Dresden, 1782 ; Lo stu-
dente, Naples, 1784 ; Le douue veudicate,
ib., 1784. Fi'tis; Schilling.

MONZA, CARLO, born iu Milan in 1744,
died there, August, 1801. Dramatic and
church composer, pupil of Fioroni, under
whose guidance he became one of the most
learned musicians of Italy. In the latter
part of the 18th century he was maestro di
cappella at the Cathedral of Milan, and the
Tratro dclla Scala. Works Operas: Tc-
mistocle, given in Milan, 1766 ; Nitteti, Ven-
ice, 1776 ; C'ajo Mario, ib., 1777 ; Ifigenia in
Tauride, Milan, 17S4 ; Erofile, Turin, ITsi; ;
Masses ; Motets, and other church music ;
6 quartets and trios for strings ; 6 sona-
tas for pianoforte and violin. Fetis ; Men-

born in Seville, early part of 16th century,
died (?). Nothing is known of his life
except that he entered the Papal Choir at
Rome under Paul III. He was the greatest
of the Spanish musicians in Rome at the pe-
riod immediately preceding Palestrina. He
was evidently well drilled in the Netherland-
ish school of counterpoint, but showed in
his music a Spanish fire and spirituality

which entitle him to be ranked with the
great composers of the Roman school. He
wrote 110 secular
music, composiug
mainly for the Papal
Choir, which sang
several of his com-
positions annually
for more than three
centuries. His por-
trait in Ad ami's
Osservazioui per ben
regolare il coro della
Capp. Pontif. (Rome, Rossi, 1711) is copied
in Hawkins. Works : Liber I. Missarum
quatuor vocum (Paris, Nicolas Duchemiu,
n. d. ; 2d ed., Ley den, Jacques Moderue,
1546) ; Magnificat octo touorum cum qua-
tuor vocibus, liber primus (Rome, 1541 ;
other eds., Venice, Gardane, 1542, 1547) ;
Motettro 4 vocum, Lib. I. and H. (Venice,
1543, 1546) ; Motetti a 5 voci (ib., 1543) ;
Lib. H. Missarum cum quatuor et quinque
vocibus (Rome, 1544 ; Venice, 1544, 1563 ;
Lyons, 1552) ; Lamentazioui a quattro, cin-
que e sei voci (Venice, Antonio Gardano,
1564) ; Misspe quatuor, cum quatuor voci-
bus (ib., Alessaudro Gardauo, 1580) ; Mo-
tets and masses in many collections pub-
lished in Italy ; Lanieutabatur Jacob (MS.),
sung in the Sixtiue Chapel on the fourth
Sunday in Lent. Ambros, iii.

Mannheim in 1777, died in Munich, Oct. 7,
1 s25. He was the second of four brothers
who attained great celebrity in Munich for
their playing of Haydn's quartets. He
entered the court baud in 1792. Works : 2
symphonies ; Mass ; Symphonie coucertante
for two violins ; 2 string quartets ; Leyous
inethodiques for violin, and other violin
music. Fctis ; Riemann ; Schilling ; do.,
Supplement, 312 ; Mendel.

in Marseilles, Nov. 26, 1809, still living,
1889 (?). Dramatic composer, self-taught,
went to Paris iu 1836, and lived there as a
composer and a writer of musical articles.



In 1850 lie returned to Marseilles, where he
was director of the Conservatoire in 1852-
73, aud in 1877 settled again in Paris. Le-
gion of Honour in I860. He has excelled
chiefly in chamber music. Works : Music
to Autran's La fille d'Eschyle, Paris, 1848 ;
L'etoile du marin, ballet, ib., 1850 ; Le
jugenient de Dieu, opera, Marseilles, 1800 ;
2 symphonies ; Trio for pianoforte and
strings ; 5 string quartets ; Quintets ; Over-
tures, cantatas, and other music ; GO songs.
Fetis, Supplement, ii. 238 ; Riemanu ;
Mendel, Erganz., 288.

MORETTI, GIOVANNI, born in Naples
in 1807, died at Ceglie, near Naples, Octo-
ber, 1884. Dramatic and church composer,
pupil at the Naples Couservatorio of P.
Casella and G. Elia. He was maestro di
cappclla at the Teatro di San Carlo in Na-
ples, and in 1829-57 wrote 22 operas.
Works Operas : II tenente e il colouello,
given at Pavia, 1830 ; La famiglia Indiana,
II prigioniero calabrieno, Naples, Teatro
Nuovo, 1831 ; L' ossesso immagiuario, ib.,
1836 ; I due forzati, ib., 1842 ; L' Adeliua,
ib., 184C ; L' arrivo del nepote, ib., 1850 ;
Requiem ; 12 masses ; Litanies, and other
church music. Mendel ; Riemann.

born in Gloucester,
England, April 9,
1822, still living, in
New York, 1889.
Organ 1st, articled
pupil of John
Arnott, organist of
Gloucester Cathe-
dral, under whom
he studied organ,
pianoforte, instru-
mentation, counterpoint, and composition ;
assistant organist of Gloucester Cathedral in
1834-44, then organist of Christ Church,
Gloucester, and St. James's Church, Chel-
tenham, and in 1848-53 of South Hackney
Parish Church, St. Olave's, Southwark, and
of Harmonia Union, Exeter Hall. In 1853
he removed to New York, where he was

organist of St. Thomas's, 1854-55, Grace
Church, 1855-G8, St. Ann's (Roman Catho-
lic), 18G8-G9, St. Stephen's (do.), 1809-70,
Tabernacle (Brooklyn), 1870-82, and the
Dutch Reformed Church (Madison Avenue
and Twenty-ninth Street), 1886-88. Works :
Morning service, St. Paul's Cathedral, Lon-
don, 1842 ; Anthem for quartet, chorus, and
orchestra, London Sacred Harmonic So-
ciety, Dec. 22, 1851 ; Music for organ and
pianoforte ; Songs, ballads, etc., in all 97

MORGEN, DER (The Morning), cantata
for male voices and orchestra, by Anton
Rubinstein, op. 74. Published by Seuff
(Leipsic, 1868).

SIGEM SCHEIN. See Me inter singer von

MORGENLIED, song for mixed chorus,
with orchestra, by Raft', op. 18Ga, on the
words " Sieh wie der Halm erwacht." Pub-
lished by Siegel (Leipsic, 1874-79).

MORI, FRANK, born in England in
1820, died at Chamaut (Oise), France,
Aug. 2, 1873. Vocal composer, teacher
of singing, and member of the Vocal Asso-
ciation of the Music Society of London.
Works : The River Sprite, operetta, given
in London, Coveut Garden, 1865 ; Fridolin,
cantata ; Songs ; Vocal exercises. FiHis,
Supplement, ii. 241.

Perugia, June 14, 1784, died at Inuspruck,
Oct. 28, 1841. Dramatic and church com-
poser, pupil of Caruso and Mazzetti in his
native town, of Ziugarelli at Loreto, and of
Padre Mattei in Bologna. He became Ka-
pellmeister of the Italian opera in Dresden
for a year in 1810, and was engaged for life
in 1811. From time to time he visited
Italy, and in 1816 he was elected a member
of the Academy at Florence. The hundredth
anniversary of his birth was celebrated at
Perugia on Nov. 10, 1884, postponed from
-June 14 on account of the cholera. Works
Operas : II poeta spiantato, o il poeta in
campagua, Florence, 1807 ; II ritratto, os-



sia la forza de 1' astrazione, Veroua, 1807 ;
Corradiuo, Parma, 1808 ; Paride ed Euone,
Leghorn, 1808 ; Oreste, Parma, 1808 ; Ei-
naldo d' Asti, ib., 1809 ; La principessa per
ripiego, II Simoncino, Eonie, 1809 ; Le av-
veuture di una giornata, Milan, 1809 ; Le
Danaidi, Rome, 1810 ; Eaoul de Crcqui,
Dresden, 1811 ; La capriceiosa pentita, II
barbiere di Siviglia, ib., 181G ; Boadicea,
Naples, 1818 ; Gianni di Parigi, Milan,
1818 ; Donna Aurora, ib., 1821 ; Tebaldo e
Isolina, Venice, 1822 ; La gioventu di Eu-
rico V., Dresden, 1823 ; Ilda d' Aveuello,
Venice, 1824 ; II disperato per eccesso di
buon cuore, written in Dresden in 1826 ; I
Saraceni in Sicilia, Venice, 1828 ; II Colom-
bo, Genoa, 1828 ; H rinnegato, Dresden,
1832 ; Francesca da Eimini (unfinished) ;
Introduction to Laurina alia corte. Many
cantatas 011 special oc-
casious. Oratorios : La
P a s s i o u e ; Isacco ; La
morte d' Abele. Ten masses ; Psalms ; Ves-
pers ; Miserere ; Motets ; 3G Italian songs ;
Organ sonatas ; Instrumental pieces. Fetis ;
do., Supplement, ii. 242 ; Eiemanu ; Men-
del ; Schilling ; do., Supplement, 313 ; Athe-
meurn (1884), ii. 668.

MOELEV, THOMAS, born in England
about middle of 16th century, died in 1004.
Pupil of Byrd, took his degree at Oxford in
1588 ; was organist of St. Paul's, London,
ill 1591 ; became Gentleman of the Chapel
1 loyal in 1592, and later epistler and gos-
peller. Works : Canzonets, or Little Short
Songs to three Voyces (1593, other eds.,
1606 and 1651) ; Madrigalls to foure Voyces
(1.-.94, 2d ed., 1600); The First Booke of
Ballets to five Voyces (1595, another ed.,
1600) ; The First Book of Canzonets to Two
Voyces (1595), containing also 7 Fantasies ;
Canzonets, or Little Short Aers to five and
sixe voices (1597) ; The First Booke of
Aires or Little Short Songes to sing and
play to the Lute with the Base-Viol (1600) ;
Service in D minor ; Evening Service in G
minor ; Burial Service ; Preces ; 4 anthems ;
Psalms and responses ; De profuudis ; Mo-

' tet ; A Plaine and Easie Introduction to
Practicall Musicke (1597) ; 5 sets of lessons
for Queen Elizabeth's Virginal Book ; Mad-
rigals in collections. He edited Canzonets
or Little Short Songs to Foure Voyces, se-
lected out of the best approved Italian
authors (1598) ; Madrigals to five voyces
selected out of the best approved Italian
authors (1598) ; The Triumphes of Oriana
(1601) ; The First Booke of Consort Les-
sons (1599). Barrett, English Church Com-
posers, 49 ; Hawkins, Hist., iii. 334 ; Bur-
ney, Hist., iii. 99 ; Grove ; Eiemanu ; Fctis ;
Gerber ; Hitter, Music in England, 38 ; Har-
monicon (1826), 209.

MOELEY, WILLIAM, English composer
of the 18th century, died Oct. 29, 1731.
He was graduated at Oxford in 1713 ; be-
came Gentleman of Chapel Eoyal iu 1715.
Works : Songs ; Chant in D minor. Grove.

WELLESLEY, Earl of, born tit Dangan,
Ireland, July 19, 1735, died at Kensington,
May 22, 1781. He learned the violin, or-
gan, and composition, with little assistance ;
received the degree of Mus. Doc. and an
election to the faculty from the University
of Dublin. In 1758 he succeeded his father
as Baron Morniugton, and in 1760 he was
created Viscount Wellesley and Earl of
Mornington. Of his sous, Eichard was
Marquis Wellesley ; Arthur, Duke of Wel-
lington ; and Henry, Lord Cowley. Works :
Chant in E ; Glees and madrigals, composed
by the Earl of Mornington, edited by Sir
H. E. Bishop (London, 1846). Of his glees
many are well known, as : Here in cool grot ;
As it fell upon a day ; Beneath this rural
shade ; By greenwood tree ; Hail, hallowed
fane ; Gently hear me, charming maid, etc.
Grove ; Eiemann ; Mendel, Ergiiuz., 289 ;
Harmouicon (1830), 1.

Ballo in Maschera.

MOES ET VITA (Death and Life), sacred
trilogy in three parts with prologue, text in
Latin, from the Bible and Roman Catholic
liturgy, music by Gounod, first performed

at the Birmingham (England) Festival, Aug.
20, 1885, under the direction of Haus Rich-
ter. The solo singers were Mme Albani
(S.), Mme Patey (A.), Mr. Lloyd (T.), and
Mr. Sautley (B.). The words were ar-
ranged by the composer, who dedicated the
work to Pope Leo XIII. It is a sequel to
the Redemption, from which it differs in be-
ing less fragmentary. The style is modern,
there is little contrapuntal writing, and the
Leitmotiv is frequently used. The har-
monies are peculiar and often overstrained.
Part I., Mora, begins with a Prologus, and
contains a setting of the Requiem Mass ;
Part II., Judicium, opens with two orches-
tral movements entitled Somnus Mortu-
orum, and Tubas ad Ultimum ; Part III.,
Vita, has for a motto, " Ccelum novum nova
terra." The work was first sung in Amer-
ica in St. Louis by the Choral Society, Oct.
30, 1885; and by the Brooklyn Philhar-
monic Society, Feb. 5, 1886. Published
by Novello, Ewer & Co. (London, 1885).
Athemeum (1885), ii. 121, 281 ; Academy
(1885), ii. 126 ; Neue Zeitschr. (1886), 509 ;
Krehbiel, Review (1885-86), 13G ; Upton,
Standard Oratorios, 106.

OSE, LA, opera-biblique ill three acts, text
by Guillard, music by Lesueur, first repre-
sented at the Acadi'mie lloyale de Musique,
Paris, March 17, 1809, with elaborate mise
en scene. Clement et Larousse, 464 ; La-
jarte, ii. 68.

lermo in 1750, died (?). Early entered the
Conservatorio de' Figliuoli Dispersi as pupil
of Muratori ; later went to Naples, and took
lessons of Piccinni. At the age of twenty
he produced his first opera, and about the
end of 1785 went to London, where he ap-
pears to have settled permanently, since he
is not found again in Italy, and his sou was
a London music teacher in 1809. Works
Operas: Troja distrutta, Rome, 1770;
Didoue abbaudonata, Naples, 1771 ; Le
astuzie amorose, Venice, 1775 ; Don Gual-
terio in civetta, 1776 ; Ezio, Milan, 1777 ;

Annidii, 1778 ; Troja distrutta, with new
music, Milan, 1778 ; Alessandro nell' Indie,
1779 ; II barone di Lago Nero, Florence,
1780 ; Antigone, Rome, 1782 ; La fata
benefica, Varese, 1784 ; Semiramide, Milan,
1785 ; L' infanta supposta, Modena, 1785.
The cantata, II giuramcnto ; 14 canzonets ;
18 Italian catches and glees for three voices ;
6 sextets. Futis ; Mendel ; Gerber ; Schil-

MOSCA, GIUSEPPE, born in Naples in
1772, died in Messina, Sept, 14, 1839.
Dramatic composer, pupil of Fenaroli at the
Conservatorio de Loreto ; in 1803-9 became
accompanist at the Theatre Italieu in Paris ;
was maestro di cappella at the theatre in
Palermo in 1817-21 ; resided in Milan a
short time, but returned to Sicily in 1823
as musical director of the theatre in Mes-
sina, Works Operas : Silvia e Nardone,
Rome, about 1791 ; Chi si conteuta gode,
Naples ; La vedova scaltra, Rome ; II fol-
letto, Naples ; I matrimonii liberi, Milan,
1798; Ifigenia in Aulide, Venice, 1799;
L' apparenza inganna, ib., id. ; Armida, Flor-
ence, id. ; Le gare fra Limella e Velaficco ;
La Gastalda, Venice ; II sediceute tilosofo,
Milan, 1801 ; La Giuevra di Scozzia, I ciar-
latani, Tomiri regiua d' Egitto, Turin ; La
fortunata combinazione, Milan, 1802 ; Chi
vuol troppo veder, diventa cieco, ib., 1803 ;
II ritorno inaspettato, L' impostura, Paris ;
Con amore non si scherza, I preteudt-nti
delusi, Milan, 1811 ; Romilda, Parma ; I tre
mariti, Rome ; II finto Stanislao, Venice ;
Amore ed armi, Naples ; Le bestie in uonu'ui,
Milan, 1812 ; La diligenza, Naples ; La gaz-
zetta ; Carlotta ed Eurico ; Don Gregorio
in imbarazzo ; Avviso al publico, Milan,
1814 ; II fanatico per 1'Olauda, Bologna,
1814 ; II disperato per eccesso di buon
cuore, Naples, 1816 ; II Federico Secoudo,
Palermo; La gioveutu d' Enrico V., ib.;
Attila in Aquilea, ib.; II Marcotondo, ossia
1' impostore, ib.; L' amore e 1' armi, Flor-
ence, 1819 ; II filosofo, Vicenza, 1819 ; La
sciocca per astuzia, Milan, 1821 ; Emira, re-
gina d' Egitto, ib., id. ; La dama locandiera,



ib., 1822 ; La vedova misteriosa, Turin, 1823 ;
La poetessa errante, Naples, 1823 ; L' abbate
dell' Epce, ib., 1826. Fetis ; do., Supple-
ment, ii. 244 ; Schilling ; Larousse.

MOSCHELES, IGXAZ, born in Prague,
May 30, 1794, died
in Leipsie, March 10,
1870. The son of a
Jewish merchant, his
musical instruction
began under obscure
musicians, named
Znhradka and Zozal-
sky, but in 1804 Lis
talent attracted the
notice of Diouys "We-
ber, director of the Prague Conservatory,
who lirought him up on the pianoforte works
of Bach, Handel, and, more especially, of
Mozart and dementi. His progress both on
the pianoforte and in composition was so as-
tonishing that in 1808 he played a concerto
of his own in public. In 1806, on his fa-
ther's death, he was sent to Vienna to seek
his own livelihood as pianist and teacher,
and also to study counterpoint under Al-
brechtsberger, and composition under Sa-
lieri. Here he soon became a favourite in
the best musical circles, and in 1S1 1 he
was commissioned by Artarin to prepare
the pianoforte score of Beethoven's Fidelio,
under the composer's supervision. His
warm intimacy with Beethoven, which
1 until the latter's death, dates from
about this period. At this time also sprang
up an eager, but wholly friendly rivalry be-
tween him and Meyerbeer, who was mak-
ing a considerable stir in Vienna as a pian-
ist. Moscheles soon struck out into new
paths, and became virtually the founder of
a new school of pianoforte playing, less by
the brilliancy of his execution and the new
technical difficulties he conquered than by
the variety of qualities of tone he drew
from the instrument by previously un-
known modifications of touch. It was he
more than anyone else who brought the art
of pianoforte playing to the condition in

which Thalberg and Liszt found it. In
1S1G Moscheles began his professional trips
through Germany, exciting everywhere the
greatest admiration. In 1821 he went to
Paris, and next year to London. In 1824
he gave Mendelssohn pianoforte lessons at
Berlin, and in 1826, after marrying Char-
lotte Embden at Hamburg, he returned
again to London to settle there permanent-
ly. In 1832 he was elected one of the di-
rectors of the Philharmonic Society, and in
1845 succeeded Sir Henry Bishop (de-
ceased) as its regular conductor. In 1S46
he went to Leipsie, having accepted Men-
delssohn's offer of the post of first professor

Tomb of Moscheles, Leipsie.

of the pianoforte at the Conservatorium,
the world-wide renown of which was in no
small degree owing to him. He remained
in Leipsie the rest of his days. As a com-
poser Moscheles ranks among the first
after the great geniuses. His concerto in
(i minor, op. 60; the concerto pathetique,



op. 93 ; the Homra.ige a Hsendel, for two
pianofortes, op. 92, the Gharakteristische
Studien, op. 95, anil, above all, the world-
famous 24 Etudes, op. 70, are ranked
among the undoubted classics of the piano-
forte. As a pianist he was especially noted
for his improvisations, and for the exactness
with which he adapted his style of perform-
ance to the music he was playing. To hear
him play in turn Bach, Mozart, and Beet-
hoven was like hearing three distinct pi-
anists. This adaptive side of his talent
showed itself also in composition ; few men
have had such a faculty of imitating the
styles of other writers. There seems, how-
ever, to have been a curious defect in his
rhythmic sense ; he never could play two
simultaneous incommensurable rhythms
with any degree of independence.

Works I. Orchestral : Symphony No. 1,
in C, op. 81 (Leipsic, Kistner) ; Overture to
Jeanne d'Arc, op. 91 (ib.).

II. Concertos, etc., with orchestra : Con-
cert de socic'ti.' 1 , for pianoforte and small
orchestra, op. 45 ; Concerto No. 2, in E-
flat, for pianoforte arid orchestra, op. 56 ;
Concerto No. 3, in G minor, for do., op. CO ;
Concerto No. 4, for do., op. 64 ; Concerto
No. 5, in C, for do., op. 87 ; Concerto fau-
tastique, No. G, for do., op. 90 ; Concerto
pathetique, No. 7, for do., op. 93 ; Concerto
pastoral, No. 8, for do. , op. 90 ; La marche
d' Alexandra, varie, for do., op. 32 ; Souve-
nirs d'Irlaude, grande fautaisie for do., op.
69 ; Aukliinge aus Schottlaud, Fautasie for
do., op. 75 ; Fautaisie sur des airs des
bardes Ocossais, for do., op. 80 ; Souvenirs
de Danemark, fautaisie for do., op. 83 ;
FranzOsisches Rondo for pianoforte and
violin coucertauti, with small orchestra, op.

III. For pianoforte with other instru-
ments : Grand septuor, for pianoforte, vio-
lin, viola, clarinet, horn, 'cello, and double-
bass, op. 88 ; Grand sextuor, for pianoforte,
violin, flute, 2 horns, and 'cello, op. 35 ;
Graudes variations sur une melodic uatio-
ualc autrichieuue, for pianoforte, 2 violins,

viola, 'cello, and double-bass, op. 42 ; Grand
rondeau brillaut, for do., op. 43 ; Fantasie,
Variationen und Finale fiber das bohmische
Volkslied " To gsau Kdue," for pianoforte,
violin, clarinet and 'cello, op. 46 ; Intro-
duction et variations coucertautes, for piano-
forte, violin, and 'cello, op. 17 ; Grand trio,
for do., op. 84 ; Grande senate coucertaute,
for pianoforte and flute, op. 44 ; Sonate
concertante, for do. (or violin), op. 79 ;
Other works for pianoforte and violin (or
flute), op. 21, 30, 37, 59, 78, 82 C. ; For pi-
anoforte and horn, op. 63, 138 ; For piano-
forte and guitar, op. 20 ; Sonata for piano-
forte and 'cello, op. 121 ; Duo coucertant
for do. (or bassoon), op. 34 ; Melodisch-
contrapunktische Studien, 10 preludes from
J. S. Bach's Wohltemperirtes Clavier, with
'cello obligate, op. 137.

IV. For pianoforte : Sonatina, op. 4 ; So-
natas, op. 22, 27 (caracturistique), 41, 49
(melaucholique) ; Studies, op. 70, 95, 107,
111, 126 ; Variations (mostly on operatic
themes), op. 1, 2, 5-7, 15, 23, 29, 39, 50,
128, 139 ; Miscellaneous, in various forms,
op. 3, 8, 9, 11-14, 18, 19, 24-26, 28, 38, 40,
51-55, 57, 58, 01, 62, 65-68, 71-74, 82a,
85-87a, 89, 94, 98-101, 103-106, 108-110,
113, 118, 120, 122-124, 127, 129, 133-135,

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 90 of 93)