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Grove's Dictionary of music and musicians : American supplement : being the sixth volume of the complete work online

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'Within my Heart,' 'The Wandering

Knight,' 'Sleep, Little Darling,'

'Haste, O Beloved.'

'Night,' 'Alone,' 'With Thee,' 'Forget-
Shakespeare Songs 'O Mistress Mine,'

'Take, O take those lips away,'

'Fairy Lullaby.'

'Anita,' 'Thy Beauty,' 'Forgotten.'
Burns Songs 'Dearie,' 'Scottish Cra-
dle-Song,' 'O were my love yon lilac

fair,' 'Far Awa',' 'My Lassie.'
Browning Songs 'The year's at the

spring,' 'Ah, love, but a day,' 'I

send my heart up to thee."
'Come, ah, come,' 'Good-Morning,'

'Good-Night,' 'Canzonetta.'
'Silent Love,' 'We Three,' 'June,' 'For

my Love.'

Aria, ' Jephtha's Daughter.'
'Autumn-Song,' 'Go not too far,'

'I know not how to find the spring,'

'Shena Van.'

'When soul is joined to soul.'
Mother-Songs 'Baby,' 'Hush, baby

'A Prelude,' 'O Sweet Content,' 'An

Old Love-Story.'

'An Old Prayer,' 'Flowers and Fate.'
'With Grianny,' 'The Children's Thanks,'

'Separation,' 'The Lotos-Isles.'





op. 75 Children's Songs 'The Candy-Lion,'
'A Thanksgiving Fable,' 'Dolladine,'
'The Prayer of a Tired Child.'

77 '!,' 'Wind o' the Westland.'

79 'Meadow-Larks,' 'A Night-Song at

Amalfi,' 'In Blossom-Time.'
10 Duets 'A Canadian Boat-Song,' 'The

Night Sea,' 'Sea-Songs.'
61 Duet, 'Give me not love.'
Men's voices :

op. 19 'Ecstasy.'
Women's Voices :

op. 9 'Little Brown Bee.'
31 Flower-Songs 'Over hill, over dale,'
'Come unto these yellow sands,'
'Through the house give glimmering
57 'Only a Song,' 'One Summer Day.'

'An Indian Lullaby.'
82 ' Dusk in June.'

Mixed Voices :

op. 42 'A Song of Welcome.'

49 'A Song of Liberty.'

52 'A Hymn of Freedom' ('My country,

'tis of thee').
74 ' Panama Hymn.'

op. 7 ' Praise the Lord, all ye nations.'

8 ' Nunc Dimittis,' ' Peace I leave with you,'

'With Prayer and Supplication.'
24 'Bethlehem' (Christmas).
27 'Alleluia! Christ is risen ' (Easter).
33 'Teach me Thy way.'
38 'Peace on Earth' (Christmas).

50 Motet a cappella, 'Help us, O God.'
63 Service in A.

74 'All hail the power of Jesus' name'

(Panama Hymn arranged).
76 'Thou knowest, Lord.'

78 Four Canticles.
Concerted Works

op. 5 Mass in E-flat.

16 'The Minstrel and the King' (men's


17 Festival Jubilate.

30 'The Rose of Avontown' (women's


46 Wedding Cantata, 'Sylvania.'
59 'The Sea-Fairies' (women's voices).
66 'The Chambered Nautilus' (women's

voices) .
In Manuscript

op. 70 Suite for two pianos, 'Iverniana.'

80 Variations for flute with string-quartet.

Tyrolean Valse-Fantaisie.

See Goetschius, Mrs. H. H. A. Beach, 1906,
Hughes, Contemporary American Composers,
pp. 425-32, and Elson, Hist, of American
Music, pp. 294-305. [ R.7 ]

BEACH, JOHN PARSONS (Oct. 11, 1877,
Gloversville, N. Y.), is a graduate of the New
England Conservatory in Boston and a pupil
of Johns, Chadwick, and Loeffler. He went
to the Northwestern Conservatory in Minne-
apolis in 1900 as teacher of piano, and also taught
in the University of Minnesota. In 1904-07
he was teaching in New Orleans, and then
returned to Boston for three years. In 1910
he went to Paris, studying composition with
Gedalge and piano with Bauer. For several

years he has spent the summers at Asolo, Italy,
and during the war was engaged in activities
on the Italian front. His published works
include, for piano, an Intermezzo, a Rhapsody,
'New Orleans Miniatures,' 'A Garden Fancy'
and 'Monologue' ; and the songs, 'A Woman's
Last Word,' 'Autumn Song,' "Twas in a world
of living leaves,' 'A Song of the Lilac,' 'The
Kings,' 'In a Gondola,' 'Take, O take those
lips away,' etc. Unpublished are 'The
Asolani,' three pieces for string-quartet, wood-
quartet and harp; 'Naive Landscapes,' four
pieces for piano, flute, oboe and clarinet ; and
'Pippa's Holiday,' a theater-scene for soprano
and orchestra, from the Introduction to
Browning's 'Pippa Passes' (1915-16, Theatre
R6jane, Paris) and 'Jornida and Jornidel,' a
short opera in two scenes from Grimm's fairy-
tale. [ R.8 ]


BEATON, ISABELLA (May 20, 1870,
Grinnell, la.), having graduated from the Iowa
Conservatory at Grinnell in 1890, in 1894-99
was in Berlin, studying piano and composition
with Moszkowski and composition with Boise.
In 1898 she won a teacher's certificate in
singing, declamation and Italian from the
Ziska School of Opera and Oratorio in Paris.
In 1899-1910 she taught piano, history and
composition in the Cleveland School of Music,
meanwhile taking courses in languages,
history and acoustics at Western Reserve
University, leading to the degrees of Ph.B.
and M.A. In 1910 she established the Beaton
School of Music, and for five seasons played
a recital-course of twenty programs. Her
compositions include a Scherzo for orchestra
(Schneekliid, Paris), played under Paur, Van
der Stucken and others; a string-quartet in
A minor (Schneeklud) ; a string-quartet in
C ; ten fugues for piano ; a setting of Keats'
' Eve of St. Agnes ' ; an Ave Maria for con-
tralto and orchestra; a piano-sonata in G
minor; piano-pieces and songs. [ R.8 ]

1856, Cleveland, O.), after a general education
in Cleveland, studied in Leipzig in 1879-82
under . Schradieck and Hermann (violin), A.
Richter (theory), Paul (history), Reinecke and
Jadassohn (composition). His d6but as vio-
linist was at the Gewandhaus in May, 1882.
On his return to Cleveland he organized the
Schubert String Quartet. In 1889-90 he was
conductor of the Detroit Symphony Orchestra,
and in 1901-1912 directed orchestral concerts
in Cleveland. He has also conducted the
Pilgrim Orchestral Club (1904-10), the
Elyria Orchestra (1905-07), and has made
many appearances as guest-conductor of his
own compositions. The latter include the
overtures to 'Romeo and Juliet,' 'Lara'




(1886, Boston Symphony Orchestra) and
'SkirnismaT (1887, Thomas Orchestra, Chi-
cago) ; a string-sextet (1888, Indianapolis) ;
a 'Moorish Serenade' for orchestra (1889,
Philadelphia) ; a Scherzo in A (1890, Thomas
Orchestra, Detroit) ; 'A Kiss of Joy' (1900,
Cleveland Orchestra, and 1904, St. Louis
Exposition) ; 'Aus meinem Leben,' a tone-
poem for orchestra ; ' The Sea at Evening' and
'Wie schon bist du,' for voice and orchestra;
the cantata 'Deukalion'; a Scherzo in F
(1896, Thomas Orchestra, Cleveland) ; a
string-sextet in D minor ; and a string-quartet
in C minor. See Hughes, Contemporary Amer-
ican Composers, pp. 406-11. [ R.7 ]

BECKEL, JAMES COX (1811- ? ). See
Register, 3.

BECKER, RENfi LOUIS (Nov. 7, 1882,
Bischheim, Alsace), studied organ with Adolph
Gessner, piano with Fritz Blumer and com-
position with Carl Somborn. He came to
America in 1904 and settled in St. Louis,
where he soon won distinction in recital-work
and composition, and as organist. He is now
organist at St. Peter and St. Paul's Cathedral
in Alton, 111. His organ-sonatas, especially
op. 40, and the Cantilene in E-flat, rank high
and are frequently heard at recitals, while
some of his choral pieces have place on im-
portant church-music programs. His princi-
pal published works include the following :


op. 15 Five Miniatures.
19 Valse in A-flat.
22 Gavotte and Toccatella.

10 Melodious Studies and 'Scenes from

24 'Carnival Sketches.'

'A String of Merry Strains.'
Six Children's Dances.

op. 1 'Marche Nuptiale,' 'Marche Pontificale,'
'Marche Triomphale,' 'Chant dea
'Lullaby,' 'Summer Idyll,' 'R6verie,'

'Meditation,' ' Canzonetta.'
31 Toccata in D.
40,42,43 Three Sonatas.
41 Cantilena.

*L6gende,' 'Chanson Matinale,' 'Chanson

du Soir,' ' Cantil&ie' in E-flat.
'Chanson sans Paroles.'

Mass in honor of St. Barbara.
Mass 'Salvator Noster.'

Mass in honor of St. Catherine (women's voices).
'Terra Tremuit' (Easter offertory).
' Laetentur Coeli ' (Christmas offertory) .
'Tui sunt Coeli' (Christmas offertory).
In Manuscript
Organ-Suite in B-flat.
Organ-Sonatas in E-flat and B minor.
Organ- Variations in C minor.
Several Masses and other church-music. [ R.9 ]

BEEBE, CAROLYN. See Register, 9.
JBEECHAM, THOMAS (April 29, 1879,
Liverpool, England), was educated at Rossall

School, Fleetwood, where he had lessons in
harmony from Sweeting, followed by some
study with Roberts at Oxford. In 1899 he
organized an amateur orchestra at Huyton,
a suburb of Liverpool, and soon displayed
talent as conductor. In 1902 he was con-
ductor with Kelson Truman's traveling opera-
company, and the next year worked upon three
operas (unpublished). His first important
appearance as conductor in London was in
1905. The next year he founded the New
Symphony Orchestra, from which he resigned
in 1908 and organized the Beecham Sym-
phony Orchestra. In 1910 he leased Covent
Garden, and began a series of operatic per-
formances which rapidly gained in popularity.
Delius' 'Romeo and Juliet in the Village,'
Smythe's ' The Wreckers ' and Strauss ' ' Elek-
tra' were early presented. Stanford's ' Shamus
O'Brien' and 'The Critic,' Holbrooke's
'Dylan,' Liza Lehmann'a 'Everyman,' and
many other novelties were produced later. In
1915 he became conductor of the Philharmonic
Society. His success in conducting both opera
and symphony has made him conspicuous in
English music. He was knighted in 1916. See
'Musical Times,' October, 1910.

BEEL, SIGMUND (b.^ 1863). See Reg-
ister, 6.

St. Louis, was founded in 1871 by a group of
public-spirited citizens. In 1872 it passed
into the control of August Waldauer, the
violinist, and Hermann Lavitsky (d. 1874).
The former long remained at its head and
developed it into efficiency. Since 1902 the
directors have been the brothers Epstein.

CLUB, THE, of Boston, was organized in 1873
by Charles N. Allen, the violinist, and Wulf
Fries, the 'cellist, at first with Gustave Dann-
reuther and H. Heindl. For more than
twenty years it continued under some similar
name and with changing personnel, exemplify-
ing a worthy standard of ensemble-playing.

cago, organized in 1873, was the first im-
portant choral society (mixed voices) in
that city after the Apollo Club (male voices).
Its conductor was Carl Wolfsohn, the pianist,
who was drawn from Philadelphia for the pur-
pose. Among the works introduced were
Beethoven's Mass in C and Choral Fantasia,
Bruch's 'Odysseus,' Hofmann's 'Fair Melu-
sina,' etc. In 1884 it ceased to exist, being
overshadowed by later enterprises.

New York, was founded in 1861 by Henry
Behning, a German piano-maker who had
had fine training, and since his death has been
carried on successfully by his two sons. Its
total output has been over 50,000 instruments.




THE, of New York, was founded in 1881 by
Henry and Edward Behr. William J. Behr,
the son of the former, is now its president.
Their pianos have won high awards at the
Expositions at New Orleans in 1885, at Mel-
bourne in 1889 and at Chicago in 1893. The
total number made is over 50,000.

BEHRENT, JOHN. See Register, 1.

1768). See Register, 1.

BELCHER, SUPPLY (1751-1836). See

BELKNAP, DANIEL (1771-1815). See

1873, St. Alban's, England). See article in
Vol. v. 612-63. Since 1912 he has been prin-
cipal of the South African College of Music in
Cape Town. His recent larger works are a set
of Symphonic Variations in G (1917, Cape
Town Orchestra), a 2nd Symphony, in A (1918,
ibid.), and a 3rd Symphony, in F, written in
1918-19. See 'Musical Times/ May-July,

28, 1882, Fulton, Mo.), secured his general
education at Westminster College in Missouri
and the University of Denver. He then went
to Paris, studying piano with Philipp and
organ and composition with Widor. Since
1907 he has been director of the School of Fine
Arts in Chicora College for Women at Colum-
bia, S. C. He has interested himself in the
advancement of modern French music in the
South, and has presented for the first time in
America many of the more important works by
d'Indy, Widor, Debussy, Magnard, Labey,
Roussel, de SevSrac, de Breville, Chausson
and others. He is an authorized represen-
tative of Philipp 's method. His compositions
include a piano-concerto, a violin-sonata, a
piano-sonata, a piano-quintet and choral
works. He has also written numerous maga-
zine articles. In 1907 he was made Mus. D.
by Grayson College (Tex.). His wife is an
accomplished singer and since 1907 has also
taught at Chicora College. He comes of a dis-
tinguished line of German musicians. [ R.9 ]

ion C., Neb.)

BENBOW, WILLIAM (b. 1865). See Reg-
ister, 6.

BENDIX, MAX (Mar. 28, 1866, Detroit,
Mich.), having appeared in public as violinist
at eight, before he was twenty gained or-
chestral experience under conductors like
Thomas, Van der Stucken and Seidl. His
training as soloist was chiefly with Jacobsohn.
In 1886 he was concertmaster at the Metro-
politan Opera House and also concertmaster
and assistant-conductor of the Thomas Or-

chestra, remaining with the latter ten years,
during which he was assistant and successor
to Thomas at the Columbian Exposition at
Chicago in 1893. Concertizing alone or with
the Bendix Quartet occupied the years 1897-
1903. He conducted the orchestra at the
World's Fair at St. Louis in 1904. The next
season he was concertmaster for the Wagnerian
performances at the Metropolitan Opera
House in New York. He was concertmaster
and conductor at the Manhattan Opera
House there in 1906; concertized in this
country and in Europe for two years; and
conducted again at the Metropolitan in
1909-10. Then came four years as conductor
of light opera. In 1915 he was conductor of
the Exposition Orchestra at the Panama-
Pacific Exposition at San Francisco. Since
then he has devoted himself to teaching in
New York. His compositions include a violin-
concerto; 'Pavlowa,' a valse-caprice for or-
chestra ; a theme and variations for 'cello and
orchestra; 'The Sisters,' a ballad for soprano
and orchestra; music for the play 'Experi-
ence ' ; and a number of songs. [ R.7 ]

BENDIX, OTTO (1845-1904). See Regis-
ter, 7.

Sao Paulo, Brazil), having been for some
years a specialist in theory, is now professor
of harmony and composition in the Con-
servatorio Drammatico e Musical at Sao
Paulo. His compositions include a four-
movement suite for orchestra, 'Mariage de
Pierrot et Pierrette'; 'Tramonto,' an 'essai
lyrique ' ; and a number of graceful pieces for
piano. He has written a Traite d'Harmonie,
2 vols., and a Thtorie Musicale. [ R.9 ]


BENHAM, VICTOR (Apr. 12, 1871,
Brooklyn, N. Y.), in 1877 appeared in public
as singer and in 1880 as pianist with the
Thomas Orchestra in New York. He toured
as a child-pianist with Patti, Gerster, Wilhelmj
and other artists. In 1882 he was first heard
in London, playing at the Crystal Palace
concerts under Manns and on Monday Popular
Concert programs with Joachim, Piatti and
others. By this tune he had composed in
various forms. In 1885 he played a Fantaisie
for piano and orchestra at the Lamoureux
Concerts in Paris. There he studied at the
Conservatory under Marmontel, receiving a
first prize in 1886. After European tours he
returned to America, where he spent the years
1890-1900. During 1900-04 he was again in
London, and then for eight years in Detroit,
teaching, composing and lecturing on various
art-subjects. In 1912 he returned to Europe,
playing in Germany, Austria, Hungary, Italy,
France and England. Since 1914 he has lived




in England, active as teacher and critic. His
compositions include two symphonies, two
piano-concertos, a violin-concerto, five string-
quartets, a piano-quintet, many piano-pieces
and songs. [ R.7 ]

BOOKS, 1799.

BENSON, HARRY (b. 1848). See Regis-
ter, 6.

1855). See'Register, 8.

BENTLEY, JOHN. See Register, 2.

(Sept. 12, 1859, Lenox, O.), has been largely
identified with Knox College in Illinois.
Graduating from Oberlin Conservatory in
1883, he studied piano with Sherwood and
Perry in America and with Zwintscher and
Kullak in Germany, and voice with Delle
Sedie and Escalais in Paris and Randegger in
London. In 1883-85 he was music-director
in the Institute at South New Lyme, O.
Since 1885 he has been director of the Knox
Conservatory in Galesburg, 111., teacher of
voice there since 1898 and conductor of the
Galesburg Musical Union since 1899. He is
also conductor of the Choral Union at
Kewanee, 111. Two of his songs are published
and about twenty-five others are in manu-
script. [ R.7 ]

BERGE, WILLIAM (d. 1883). See Regis-
ter, 4.

BERGER, RUDOLF (1874-1915). See Reg-
ister, 9.

BERGER, WILHELM (Aug. 9, 1861, Bos-
ton : Jan. 16, 1911, Meiningen, Germany).
See article in Vol. i. 308. He taught piano at
the Klindworth-Scharwenka Conservatory in
Berlin in 1888-1903 and then succeeded Fritz
Steinbach as director of the Meiningen Or-
chestra. He was Royal Prussian Professor
and member of the Royal Academy of Arts.
To the list of works add a Symphony in B
minor, op. 80; Variations and Fugue for or-
chestra, op. 97; three Ballades for baritone
and orchestra; 'Der Totentanz,' op. 86, for
mixed chorus and large orchestra; many
songs, choruses, and piano-pieces. [ R.7 ]

BERGH, ARTHUR (Mar. 24, 1882, St.
Paul), began violin-study at five, and received
his entire training in America. In 1903 he
came to New York, for five years was violinist
in the New York Symphony Society, and then
was in the orchestra of the Metropolitan Opera
House. He taught violin, harmony and com-
position at the New York Institute of Music
and conducted the Municipal Concerts in
1911-14. He has lectured on American mu-
sic and is secretary of the American Music
Society. His melodramatic music to Poe's
'Raven,' op. 20, was first produced in 1909,
with orchestra under his direction and with

Bispham as reader. A second melodrama,
also with orchestra, is on Browning's 'Pied
Piper of Hamelin,' op. 23. He has also a
symphonic choral for orchestra and chorus,
'The Unnamed City'; a romantic opera,
'Niorada'; two overtures; a Festival March
for orchestra; 'The Night Rider,' a song with
orchestra; piano- and violin-pieces and some
thirty songs. [ R.9 ]

BERGMANN, B. See Register, 2.

BERGMANN, KARL (1821-1876). See
Vol. i. 308-9, and Register, 4.

BERGNER, FREDERIC (1827- ? ). See
Register, 4.

See Register, 8.

BERKENHEAD, JOHN L. See Register, 2.

BER MUSIC, THE, held at Pittsfield, Mass.,
were established in 1918 by Mrs. Frederick
S. Coolidge of New York, whose summer-
home at Pittsfield provides an ideal place for
them. The first Festival occurred on Sept. 16-
18, 1918, the participants being the Berkshire
String Quartet, the Elshuco Trio, the Longy
Club and the Letz Quartet. The five programs
included Loeillet's Sonata for flute, oboe and
piano, Mozart's Quartet in G (Kochel, 387),
Quintet (Kochel, 516) and Quintet for piano
and wood-wind, Beethoven's Quartets in E-flat,
opp. 74 and 127, Schubert's Trio in B-flat, op.
99, no. 1, Brahms' Sextet in B-flat, op. 18, and
Trio in C minor, op. 101. Thuille's Quintet, op.
20, Reiser's Quartet in E minor, Tanieiev's
Quartet in B-flat, op. 19, larecki's Quartet
(prize composition), Ravel's Trio in A minor,
d'Indy's ' Chanson et Danses,' op. 50, Pierne's
' Pastorale Variee,' op. 30, and Caplet's ' Suite
Persane.' The second Festival occurred on
Sept. 25-27, 1919, the participants being the
Berkshire String Quartet, the Flonzaley
Quartet, and many individual artists, includ-
ing Harold Bauer, the pianist, Gustav Lan-
genus and Ugo Savolini from the New York
Chamber Music Society, and several singers.
The five programs included Mozart's Quartet in
B-flat (Kochel, 458), Beethoven's Quartets in
A minor and F, opp. 132 and 135, and Septet
in E-flat, op. 20, Brahms' Trio in D, op. 40,
Saint-Sag ns ' Quartet in G, op. 153 (first time
in America), Dvorak's Quartet in E-flat, op. 51,
Elgar's Quartet in E minor, op. 83 (first time
in America), Mason's Pastorale in D, op.
8, Sowerby's Trio in E minor (first time),
Bloch's Suite for viola and piano (prize com-
position), Rebecca Clarke's Sonata for viola
and piano, and a variety of vocal selections
for soli or quartet with chamber-accompani-
ment. A prize of $ 1000 is offered annually for
the best chamber- work submitted, the winners
being Tadeusz larecki in 1918, Ernest Bloch
in 1919 and Francesco Malipiero in 1920.



is the name adopted for the Kortschak Quartet
of Chicago as reorganized in 1917 under the
patronage of Mrs. Frederick ! S. Coolidge of
New York in connection with the Berkshire
Festivals (see above). It consists of Hugo
Kortschak and Sergei Kotlarsky, violins, Clar-
ence Evans, viola (in place of George Dasch),
and Emmeran Stoeber, 'cello. It is understood
that after the Festival of 1920 the Quartet is to
be discontinued.

J BERNERS, Lord [Gerald Hugh Tyrwhitt]
(Sept. 18, 1883, London, England), received
his musical training in Dresden and London,
entered the British diplomatic service in 1909
and since 1912 has been attached to the
British Embassy at Rome. He succeeded as
Baron Berners in 1918. His first published
works were three funeral-marches for piano,
the first for a statesman, the second for a
canary, the third for a rich aunt. Then
followed 'Fragments Psychologiques ' and the
miniature tone-poem 'Le Poisson d'Or' and
'Valses Bourgeoises,' all for piano. For
orchestra are two sets of three pieces each,
the first including 'Chinoiserie,' 'Valse Senti-
mentale' and 'Kasatchok'; the second, a
'Fantaisie Espagnole,' including a Prelude,
Fandango and March. The latter set was
played at the London Promenade Concerts in
1919. Lord Berners' work is said to be in-
fluenced by his association with his friends
Casella and Stravinsky.

1864, Schwerin, Germany), studied composition
in 1883-87 with Rheinberger in Munich and
in 1887-88 with Faiszt in Stuttgart. In 1889
he became director of the Philharmonic
Society in Libau, Russia, and in 1892 came to
America as professor of composition and piano
in the College of Fine Arts of Syracuse Uni-
versity, succeeding Goetschius. He is director
of the Ladies' Chorus of the College and choir-
director at the Fourth Presbyterian Church.
The degrees of Mus.M. and Mus.D. were con-
ferred upon him by the University in 1903
and 1912. He won the prize offered by the
Philadelphia Manuscript Society for a quintet
for piano and strings, a gold medal in the
Clemson anthem-competition for 1912 and
first prize for a part-song for mixed voices in
the 'Etude' competition. His works for
orchestra have been performed abroad as well
as here. Tertius Noble, at St. Thomas'
Church in New York, gave the initial perform-
ance of his cantata 'The Seven Last Words
of Christ.' His violin-sonata in F received
special recognition from Joachim, and his
piano-compositions were valued by William
Mason. He has been a most industrious
composer, long lists of his works being found
in the catalogues of leading publishers. They

include 73 piano-pieces, 36 songs, 7 vocal
duets, 13 part-songs and 11 anthems for
women's voices, 106 anthems for mixed voices,
19 anthems for men's voices, 10 cantatas, 3
secular part-songs for mixed voices, two
sonatas for violin and piano and two Romances
for 'cello and piano. His unpublished com-
positions are the prize piano-quintet, a piano-
trio, a dramatic overture (played by the Court
Opera Orchestra in Schwerin, and by the New
York Symphony Society in Pittsburgh, Chicago
and Syracuse) and an overture, 'Walthari'
(played at the Syracuse Festival by the New
York Symphony Society and by the American
Symphony Orchestra in Chicago). [ R.8 ]

BETHANY COLLEGE, Lindsborg, Kan.,
has become a notable center for the musical
enthusiasm of Swedish Lutherans. Its first
class was graduated in 1891, and from that

Online LibraryGeorge GroveGrove's Dictionary of music and musicians : American supplement : being the sixth volume of the complete work → online text (page 26 of 85)