He was choir organist of the cathedral from 1865. In 1872, without ever having been a pupil of a music school, he competed for the Concours de Rome. He became afterwards, a t the Paris Conservatoire, the pupil of F r a n c is Bazin for composition and of Cesar Franck for the organ ; he obtained, 1878, two first prizes for fugue and the organ, followed by an honorary mention at the Concours de Rome. The following year he became the organist-in-chief of the great organ of the church of St. Eustache, which had been reconstructed and enlarged by Mercklin. He took part in the opening of this magnificent instrument, Mar. 21, 1879, in company with Cesar Franck, Theodore Dubois, Alexander Guilmant, Eugene Gigout. Dallier passed 26 happy years as organist of St. Eustache and left it in 1905 to go to La Madeleine in succession to Gabriel Faure, when the latter became director of the Conservatoire. The old organist of St. Eustache is a virtuoso both of the organ and the piano. As an improviser on the organ he is very interesting ; he possesses in a high degree the gift of imagination and a sense of the picturesque. He has written numerous pieces for the organ (published by Alphonse Leduc and H. Lemoigne). Amongst others must be mentioned a 4 Messe nuptiale,' 4 6 Preludes pour la Toussaint,' 4 5 Offertoires a la Vierge.' Among the last named is one entitled 4 O Clemens ! 0 Pia ! ' which is full of mystic feeling. Dallier is also the author of a great number of piano pieces and songs. Chamber music is represented in his work by a trio in C minor, a string quartet in G minor, and a quintet for piano and strings. Mention must also be made of four pieces for the Concours de Conservatoire for different instruments, and of a symphony in F (op. 50), played at the Colonne Concerts (published by Jobert). Since 1908 Henri Dallier has been professor of harmony at the Conservatoire. B i b l . - P a u l L o c a r d , L e t M d i t r e s c o n tem p o r a in s d e V o rg u e . ( P a r i s , 1901.) je L #
(fc.Wilderslowe, near Derby, 1847), was educated at University College, Oxford. He studied music under Sir George Macfarren, whose only daughter he married ; was appointed a professor at the R.A.M. in 1879, and subsequently examiner for the Local Examinations in connexion therewith. In 1882 he was appointed a professor at the Guildhall School of Music D a v e n p o r t 's bo o k o n h a rm o n y h a s bee.i wide ly used. H i s c omp o s i t io n s in c lu d e : Symphonies, No. 1 in D minor (1st prize a t th e Alexandra Palace Competition 1876), No. *2 in C ; overture ' Twelfth Night,' Viard- Louis Concerts, 1871) ; Prelude and Fugue for Orchestra, Crystal ' Palace, Nov. 1, 1871); six pieces for piano and violoncello, some of j which were given a t the P opula r Concert, Nov. *24, 1879 ; four | pieces for same ; a Trio in B b, Popular Concerts, Jan . 31, 1881, and again in 188*2. His books were : Elements of M usic (1884), Elements of Harmony and Counterpoint (1886), an d Guide fo r Pianoforte Students (with Percy Baker, 1891). ^ ^
(b. Altona, Feb. 25, 1799 ; d. Berlin, Apr. 12, 1858), musical writer. He made diligent researches on various subjects connected with music both in Germany | and Italy, which he utilised in Marx's Berliner | Musilczeitung and other periodicals. In 1842, ! on the recommendation of Meyerbeer, he was appointed librarian of the musical portion of the Royal Library at Berlin. He was given the title of Konigl. Professor in 1849. He catalogued the entire musical library, and added to it a number of valuable works scattered through- I out Prussia, especially Polchau's collection, containing, besides m any interesting theoretical and historical works, an invaluable series of original MSS. of the Bach family. Dehn scored no fewer than 500 motets of Orlando Lasso, | and copied for the press an enormous number of works by J. S. Bach. He it was who first i published Bach's 6 concertos for various instruments (Peters, 1850) ; the concertos for 1, 2 and 3 claviers ; and the 2 comic cantatas. Dehn also published a collection of vocal compositions in 4, 5, 6, 8 and 10 parts, called ' Sammlung alterer Musik aus dem XVI. und XVII. Jahrh.' He succeeded Gottfried Weber ? in the editorship of the musical periodical 1 Caecilia (1842-48). He had re-edited Marpurg's | treatise on Fugue (Leipzig, 1858), had trans- I lated Delmotte's work on Orlando Lasso, under , the title Biographische Notiz iiber Roland de Lattref and was preparing a larger work on the | same subject, from valuable materials collected ! with great labour, when he died. Among his | many distinguished pupils were Glinka, Kullak, A. Rubinstein and F. Kiel. Among his friends were Kiesewetter and Fetis, for the latter of whom he collected materials equal to two volumes of his Biographie universelle. His I theoretical works were Theoretische-praktische Harmonielehre (Berlin, 1840 ; 2nd edition Leipzig, 1858) ; Analyse dreier Fugen . . . J. S . Bach's . . . und Bononcini's, etc. (Leipzig, 1858), and Lehre vom Kontrapunkt (Schneider, 1859). The latter, published after his death by his pup 1 Scholz (2nd edition, 1883) contains examples and analyses of canon and fugue by Orlando Lasso, Marcello, Palestrina, etc. Dehn was a good practical musician and violoncellist. M. c . C.
(17th cent.), an English church composer, some of whose music still exists in MS. There is a Short Service by him, including Te Deum, Benedictus, Kyrie and Creed, in the Cathedral Library a t Durham ; also a Jubilate, Kyrie and Creed, and a Latin Benedicite at Peterhousc, Cambridge. J . m k. DERUYTS, J ean J acques (b. Liege, 1790; d. there, Apr. 11, 1871), maitre de cliapelle at several churches at Liege, and composer of church music. He . " ^?teacher of Cesar Franck. E. v. d. s.
opera in 4 acts, founded on Celtic legends. Written by the 9th Duke of Argyll (then Marquis of Lome) ; music by Hamish MacCunn (op. 34). Produced, Co vent Garden (Royal Carl Rosa Co.), Oct. 23, 1897.
is any combination of notes which, on being sounded together, produces B eats ; that is, an alternate strengthening and weakening of the sound, arising from the opposition of the vibrations of either their prime tones, their harmonics or their combination tones, which causes a painful sensation to the ear. (See Consonance ) c. tt. it. p .
(b. Florence, c. 1593; d. 1647), studied Greek, rhetoric, poetry and philosophy at Bologna and Rome. He received the degree of Doctor from the university of Pisa, and was chosen to accompany Cardinal Corsini to Paris in 1621, where he became acquainted with Mersenne and other literary persons. On returning to Florence in 1622, he entered the service of Cardinal Barberini, and went with him to Rome, where he became secretary to the Papal College, afterwards accompanying the cardinal to Paris, Madrid, and back to Rome. Doni made good use of the opportunities that came in his way on these journeys, to acquire an exhaustive knowledge of ancient music ; among other things he invented, or reconstructed, a double lyre, which, in honour of his patron, he called ' Lyra Barberina,' or * Amphichord.' After the death of his brother he returned to Florence about 1640, when he married and settled down as professor in the university there. In 1635 | his valuable treatise on the ancient Greek music, Compendio del trattato de' generi e de* modi della musica, was published a t R om e ; j and, as it was an abstract of a larger work, it ! was completed by the publication of Annotazioni sopra il compendio, etc., in 1640. Another book, De praestantia musicae veteris, appeared at Florence in 1647, and as late as 1763 his description of the ' Lyra Barberina * was published at Florence. Some other treatises are still in existence in a MS. in the library of Sta. Cecilia in Rome, and a few fragmentary works are mentioned in Q.-L. M.
(b. Dunkerque, Nov. 3, 1780 ; d. Battignolles, near Paris, Jan. 8, 1864), studied at the Paris Conservatoire where, in 1800, he was entrusted with a class for elementary singing. In 1S05 he gained the Prix de Rome for composition. In 1812 he became assistant teacher of harmony, for which he obtained the full professorship in 1816 and was pensioned in 1842. He composed several operas - comiques for the Theatre Feydeau, chamber music (trios and sonatas for various instruments), a pianoforte concerto, etc., and some books on harmony on the lines of Catel's method : Traite d'harmonie ; Traite d'accotnpagnement; Principes d'harmonie. e . v. d. s.
(b. Bordeaux, Apr. 18,1875), composer, studied composition in the class of Gabriel Faure at the Paris Conservatoire, obtaining the second Grand Prix de Romo in 1902, with the cantata ' A lcyone.' Since 1909 he has been inspector of singing-teaching i:i the City of Paris schools. His first compositions date from 1895. A ' Petite Suite ' for piano (4 hands), 1897, orchestrated afterwards, was played a t the Societe Nationale, Mar. 5,1898. Two quartets, one for piano and strings in G minor (1899-1912), the other for strings only in D minor (1900-09) --the latter dedicated to G. Faure-show what might be expected from him in the domain of chamber-music. He did not, however, follow them up but turned in another direction with the two following works : ' Au Jardin de Marguerite,' a symphonic poem for mixed and double chorus and orchestra(1901-05) (Durand, 1912), performed at the Societe Nationale, Apr. 18, 1913 ; ' Orphee,' a mimodrama (Durand, 1913), first performed in its concert form at the Siloti Concerts in St. Petersburg (Jan. 31, 1914; Paris Opera, June 11, 1926). This last is an ingenious combination of pantomime, ! choreography and music. The libretti of both works are by the composer. ' Orphee ' remains his outstanding contribution to stage music. Subsequently he has composed for orchestra alone, ' Suite fran<;aise ' (Durand, 1909), ' Prelude d'un ballet' (Durand, 1910), ' Nocturne de printemps ' (Durand, 1919), ' fipithalame,' a symphonic poem (1923), and ' Poeme symphonique sur le nom de F au r e ' (1923), has combined the voices with the orchestra in 'Sarabande,'a symphonic poem (Durand, 1911), and used the harp as an obbligato instrument in ' Variations plaisantes sur un theme grave ' for orchestra, performed a t the Concerts- Lamoureux, Jan. 24, 1909. His vocal music includes 3 m o te ts ; choruses: ' Aux premieres clartes de l'aube,' ' Le joli jeu du furet ' (English translations), ' Sur quelques vers de Virgile,' ' Madrigal sur des vers de Moliere ' (1925); and a few songs. He has also written pieces for pianoforte and violin, pianoforte and violoncello; ' Pastorale ' for organ (1909), e t c .; also didactic works such as Ecole de la dictee, Piano exercices (2 books). A diligent student of J. S. Bach, his tendency towards polyphonic writing and contrapuntal combinations, interwoven with massive harmonic effects, finds free vent in his piano compositions, which are of considerable difficulty. He composed 6 Preludes in 1907, and since 1914 his contribution to pianoforte literature has been greatly increased : ' Variations sur un choral,' 6 fitudes, ' Esquisses,' ' Rythmes,' ' Sonorites,' 2 Arabesques, 3 Barcarolles, etc. His style, founded on the tradition of G. Faure, has gradually evolved to a more elaborate manner, in which his innate sensibility and elegance are nevertheless always manifest. His work is that of a sincere musician, careful of form, whose free imagination neither rejects systematically the classic discipline nor loses sight of the natural inclination, common to his contemporaries, towards harmonic innovations. B i b l .- L a u r e n t C ' e i l l i e r , Roger-Ducaute ; Le tnusicien, Va-uvre (Paris, 1920); A . C ' c k u r o y , La Musique francaise moderne (Paris, 2nd ed., 1924); The Chesterian, Jan . 1924 ; A l f r e d J . S w a n , Roger- Dueasse. M> L> P>
(b. Dec. 6, 1806; d. Passy, Sept. 23, 1896), tenor singer, was the 13th of the 22 children of a Paris perfumer. His first appearance was in 1820 as a boy treble in the incidental music to Athalie, composed by Fetis, and produced at the Comedie-Fran9aise. Having completed his studies under Choron at the Conservatoire, he made his debut (Dec. 1825) as tenor a t the Odeon, where Castil-Blaze was producing his translations of the favourite operas of Rossini and Weber. His success was not great, and when the theatre closed in 1828 he went to Italy. At first he attracted little attention ; but having altered his style and adopted the 1 voix sombree ' he became speedily popular, and by his creation of the part of Edgardo in ' Lucia di Lammermoor ' (Naples, 1835) placed himself a t the head of the French dramatic singers of his time. He was engaged for the Opera in Paris, and made his first appearance (Apr. 17, 1837) in ' Guillaume Tell.* During the eight years he remained at this theatre he created the principal tenor parts in * Guido e t Ginevra,' ' Benvenuto Cellini,' ' Le Lac des fees,' ' Les Martyrs,' ' La Favorite,' ' La Reine de Chypre,' 4 Charles V II,' ' Dom Sebastien,' ' Otello,' ' Lucie ' and ' Jerusalem * (a translation of 41 Lombardi '), as well as playing the parts created by Nourrit in 4 La Muette,' ' Robert,' * La Juive,' ' Les Huguenots ' and ' Stradella.' His physical appearance was against him, and he had a propensity to over-gesticulation ; but in spite of these defects he made his way as a tragedian, and was frantically applauded for his excellent declamation and the smoothness of his ' canto spianato.' His two most serious faults were said to be the abuse of the notes ' sombrees,' so prematurely wearing to the voice, and a habit of dragging the time. Duprez was professor of singing at the Conservatoire from 1842-50, and in 1853 founded an ficole speciale de chant, which still exists, and has turned out many dramatic singers. He composed an oratorio, ' The Last Judgment,' a Requiem, and other sacred works, romances, chamber music, two masses, and eight operas, of which the best are ' Joanita ' (1848), ' La Lettre au bon Dieu ' (1851) and ' Jeanne d'Arc * (1857), though none of the eight have any originality. He also published L'Art du chant (1845) and La Melodic (1873), two Methods which deserve to be better known. His Souvenirs d'un chanteur (1888) and Recreations de mon grand age are very interesting. G. c.