Archive | D

(b. Strassburg, Nov. 4, 1844; d. Hastings, Feb. 12, 1905). When 5 years old he was taken to Cincinnati, U.S.A., where he learned music from F. L. Ritter. In 1859 he entered the Conservatorium at Leipzig and remained there till 1863, under Moscheles, Hauptmann and Richter. From Leipzig he removed to London, and became one of the most prominent musicians of the metropolis, well known as a pianoforte player and teacher, litterateur and lecturer, and a strong supporter of progress in music. He was especially known as the friend and champion of Wagner. Perhaps his greatest service to English music was the personal friendship and encouragement, as well as the actual teaching, which he gave to P arry (q.v.). His first public appearance in England was at the Crystal Palace, Apr. 11, 1863, when he played Chopin's F minor concerto (for the first time in its entirety in England). He founded the Wagner Society in 1872, and conducted its two series of concerts in 1873 and 1874. He was also a warm promoter of the Wagner Festival in 1877, translated his Music of the Future (Schott, 1872) and others of the prose works, such as On Conducting, Beethoven, etc., and received Wagner in his house during his stay in London. An interesting set of papers on Wagner and the Reform of the Opera in the Monthly Musical Record of 1872 was republished in 1904. He was the first to play the concertos of Grieg in A minor, Liszt in A and Tchaikovsky in B flat minor (Crystal Palace, 1874 and 1876). He was appointed professor of the pianoforte in the R.C.M. in 1895. But whileDannreuther was an eamestapostle of the new school, he was no less zealous for the old, as is proved by the range of the programmes of his well-known chamber concerts, given a t his house in Orme Square, Bayswater, from 1874-93, his own able interpretations of Bach and Beethoven, his lectures on Bach, Mozart, Beethoven, Chopin, Schumann and Wagner a t the Royal Institution, and his article on Beethoven in Macmillan's Magazine (July 1876). His treatise on Musical Ornamentation (one of Novello's primers) is the standard work on the subject. He was a valued contributor to the earlier editions of this Dictionary, and the author of vol. vi. of the Oxford History of Music (The Romantic Period) published posthumously. Dannreuther's published compositions consist of two sets of songs and one of duets.

(b. 1860; d. 1900), an authority on Indian music. He was the only son of the Rev. Russell Day, rector of Horstead, Norwich; was educated at Cheam and Eton, and in 1880 joined the 3rd Royal Lancashire Militia. In 1882 he was gazetted to the first battalion of the Oxfordshire Light Infantry, and soon afterwards was ordered to India, where he became profoundly learned in Oriental music, being instructed entirely by native musicians. The result of his studies was The Music and Musical Instruments of Southern India and the Deccan, published in 1891. He drew up the very valuable catalogue of the musical instruments exhibited at the Military Exhibition in Chelsea in 1890 (published by Eyre & Spottiswoode). He took an active part in founding and promoting the cause of the short-lived Wind Instrument Chamber Music S o c ie ty ; he served on the English committee of the musical exhibition in Vienna (1892), and was invited to form one of a committee of advice for the Paris Exhibition of 1900. He was gazetted major in 1899. He was mortally wounded in the South African war, in the attack upon Cronje at Paardeberg, Feb. 18, 1900, while helping a wounded man. An interesting obituary notice, by the late A. J. Hipkins, appeared iA Mus. T. Apr. 1900. His collection of Indian musical instruments (including a fine vina) and his Indian MSS. are now in the South Kensington Museum, m . DAY, J ohn (b. Dunwich, Suffolk, 1522; d. London, July 23, 1584-Q.-L.), one of the earliest of English musical typographers, began printing about 1547 in Holborn, a little above the Conduit. He afterwards dwelt 'over Aldersgate beneath Saint Martyns ' (i.e. in the upper room over the gate itself), and subsequently had a shop in St. Paul's Churchyard. He used the motto 'Arise, for it is Day,' which was probably intended as a reference to the introduction of the reformed religion as well as a punning allusion to his own name. On Mar. 25, 1553, he obtained a licence to print A Catechism in English with an A B C thereunto annexed, and also the works of John Poynet, Bishop of Winchester, and Thomas Beacon, Professor of Divinity. He subsequently procured a patent to be granted to him and his son Richard for printing the Psalms, etc. He was the printer of Foxe's Acts and Monuments. In 1582 he was Master of the Stationers' Company. He died July 23, 1584. The musical works printed by Day were : 1560. ' C ertaine notes set forth In foure and three p a r ts to be song a t the morning. Communion and evening praier, very necessary for the < hurch of Christe to be frequented and used : & u nto them added divers godly praiers & Psalmes in the like forme to the honor & praise of God.' Imprinted a t London over Aldersgate b eneath S. Martins by Jo h n Day, 1560. Cum gra tia & privilegio Regie Maiestatis. A medius partbook of this edition is in the British Museum (K.7.e 7). and a bassus partbook is in th e Bodl. Lib.. O. (Douce B 248). This was reprinted in 1565, with a fresh title-page containing an engraved po r tra it of th e printer and his initials a t the bottom, u nder the new title * Morning and Evenyng prayer and Communion, set forthe in foure partes, to be song in Churches, both for men and children, wyth dyvers other godly praiers & Anthems, of sundry mens doyngea. Imprinted . . .. ' Psalmes of D avid in Englishe Metre by Thomas Sternehold, and others . . . ' (see P s a l t e r ). 1562. ' The whole booke of Psalms collected in t ) Englysh Meter . . . ' (see P s a l t e r ). 1563. ' The whole psalmes in foure partes . . . ' (see P s a l t e r ) . 1567 (or 8). ' The whole Psalter transla ted into English metre . . (see P s a l t e r ). 1579. * T he Psalmes of David . . . ' (see P s a l t e r ). w. li. ii. ; rev. J. mk.

(b. Rio, Mar. 19, 1806; d. Aug. 1893), a violinist of Franco- Brazilian origin. As a youth he made public appearances on the Continent with extraordinary success, but ultimately gave way to habits of dissipation. w. w. c.

a word used in two somewhat different senses ; on the one hand of a whole movement, in a sense analogous to its use with reference to an organism ; and on the other of a subject or phrase, with reference to the manner in which its conspicuous features of rhythm or melody are employed by reiteration, variation, or any other devices which the genius or ingenuity of the composer suggests, with ' the object of showing the various elements of interest it contains. The term is very apt and legitimate when used in the above senses, which are in reality the complements of one another; for the development of a movement is rightly the development of the ideas contained in its subjects ; otherwise in instrumental music neither purpose nor unity of design could be perceived. I t must, however, be borne in mind that the mere statement of a transformed version of a subject is not development. A thing is not necessarily developed when it is merely changed, but it is so generally when the progressive steps between the original and its final condition can be clearly followed. The most perfect types of development are to be found in Beethoven's works, with whom not seldom the greater part of a movement is the constant unfolding and opening out cf all the latent possibilities of some simple rhythmic figure. Reference may be made to the first movement of the symphony in C minor ; the scherzo of the ninth symp h on y ; the allegro con brio of the sonata in C minor, op. I l l ; the last movement of the sonata in F, op. 10, No. 2 ; and the last movement of the sonata in A, op. 101. C. h . h . p.

(b. Rotherhithe, c. 1765; d. London, Mar. 29, 1827), a singer, the son of a master-tailor. His father, an Irish Roman Catholic, placed him when a boy in the choir of the Sardinian ambassador's chapel in Duke Street, Lincoln's Inn Fields, where his fine voice attracted the attention of Samuel Webbe, then organist there, who undertook to instruct him. He wished to be sent to Douay to be educated for the priesthood, but eventually decided on i Digitoriums are occasionally made of greater compass, -with black an d white keys, the ordinary digitorium having only white key*;. adopting the profession of music, and articled himself to Thomas Linley for seven years. In 1874 Dignum made his first appearance at Drury Lane Theatre as Young Meadows in ' Love in a Village,' and, although his figure was somewhat unsuited to the part, the beauty of his voice and his judicious singing secured him a favourable reception. He next appeared as the hero in Michael Arne's ' Cymon,' and fully established himself in public favour. In 1787, on the removal of Charles Bannister to the Royalty Theatre, Dignum succeeded to a cast of characters better suited to his person and voice. In 1790 he gained much credit by his performance of Crop the miller, in Storace's ' No Song No Supper,' of which he was the original representative. After singing at the theatres, at Vauxhall Gardens and at concerts for several years, he retired in easy circumstances. Dignum composed several ballads. He published, in 1810, a volume of songs, duets and glees, composed and adapted by himself, to which an engraved portrait of him is prefixed. w. H. H.

(b. Portugal, c. 1600), a guitar-player, brought up in Spain, and attached for a time to the suite of Philip IV. In 1640 he published (at Naples) a book of tablature entitled ' Nuevo modo de cifra para taner guitarra con variedad y perfeccion ' (Bibl. N a c . , Madrid). His real name is said to have been Diaz de Velasco. j . b. t .

th e n am e of a n agrement of th o F r e n c h school. (See Ornament s .) e . bl .

(b. Nebra a/d Unstrut, Oct. 16, 1533), was teacher at the Magdeburg ' gymnasium ' (college), 1559 ; cantor, 1563 ; deacon at St. Nicolas at Zerbst, 1577, where he married for the second time (Riemann). Eitner questions the latter date, as Dressier still calls himself cantor at Magdeburg in 1580. He was a church composer of great merit, a long list of whose sacred and secular compositions appears in Q.-L. Seventeen of his motets have been republished by Eitner.

(b. Villers l'Eveque, near Liege, c. 1610 ; d. Paris, May 8, 1684), was a choir-boy a t Maestricht, but returned to Liege, where he entered the priesthood. From 1639- 1684 he was organist at St. Paul's, Paris, and in 1665 director of the court chapel, Paris, and canon of Maestricht Cathedral. H e composed 5 * Messes royales en plain chant,' 5 books of 2*4-part motets with instruments (1652-86), 2-part motets edited by Philidor l'aisne (1690); cantica sacra 2, 3, 4 v. ; Airs a 4 parts, etc. ; 3 books of meslanges (chansons, motets, Magnificats, preludes for organ and for viols, and serenades). (For titles of biographies, see Riemann and Q.-L.) e. v . d. s.

(leader), an early term for the first subject in a fugue-that which leads ; the answer being the comes or companion.