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John Ewer & Co. were in trade as ' importers of foreign music ' at 1 Bow Church Yard, Cheapside, in or before the year 1824. The firm afterwards became Ewer & Johanning at the same place, with another address at Tichbourne Street, Piccadilly. In 1848 they were a t 72 Newgate Street, in 1853 their address was 390 Oxford Street, and in 1865, 87 Regent Street, where William Witt is advertised as 1 sole proprietor.' They held copyright of some of Mendelssohn's work, and did an important business. In 1867 they became incorporated into the house of Novello, Ewer & Co., and removed to 1 Berners Street. (See N ove llo.) f . k.

(b. Mar. 25, 1770 ; d. Berlin, Sept. 9, 1836), son of a teacher of English at Cassel, was a man evidently of great ability, but as evidently of little morale, taking any post that offered, and keeping none ; doing any work that turned up to keep body and soul together, and at length dying in great poverty. He was in Schwerin in 1793, and at Strelitz in 1797. Some of his arrangements have survived, but his compositions-four operas, cantatas, symphonies, overtures, dance music, windinstrument ditto, and, in short, pieces of every size and form-have all disappeared from the musical repertory with the exception of a little drinking-song, ' Wir sind die Konige der Welt,' which has hit the true popular vein. G . His arrangement of Weber's clarinet quintet (op. 34) as a piano sonata called forth a vigorous protest from the composer in the A .M.Z . of Dec. 11, 1816. Ebers wrote an impudent rejoinder in the next number of the paper. Grove printed translations of both in former editions of this Dictionary. c.

(b. Mannheim, Feb. 9, 1740 ; d. Potsdam, early in 1777), a distinguished bassoon and oboe player. At a concert in Frankfort-on-Main, Feb. 28, 1771, he calls himself Ducal Konzertmeister of Pfalzzweibriicken. He left that position secretly (in 1770) and went to Paris, where he published symphonies, etc. ; thence to London, where he appeared with great success as bassoon-player in 1773 ; thence he went to Potsdam as member of the chapel of the Crown Prince (afterwards Frederick William II.). His symphonies are among the better works of the younger Mannheim school. (For list of works, which include concertos, chamber I mu s ic , e tc ., see Q .-L . ; see a lso D.D.T . vii. 2 ; viii. 2.) e . v. d. s.

a title gratuitously bestowed on Beethoven's PF. Concerto in Ew (op. 73).

(b. Miletine, Nov. 7, 1811; d. Prague, Nov. 21, 1870), a famous Czech poet, author of a popular ' Garland ' of National ballads, from whose works compatriot musicians have drawn largely for their subject-matter. Dvofak's setting of his ' Svatebni Kosile '-- literally 1 The Wedding Shift ' (or chemise), but toned down in a decorous Victorian translation to ' The Spectre's Bride '-is well known to us. Quite unfamiliar in this country is Vit. Novak's more modern version of Erben's ballad (op. 48). Dvofak also borrowed from the ' Garland ' for the literary basis of his Orchestral Ballads (opp. 107-110). Bendl utilised the greater part of the ballad ' Stedry Den ' (Christmas Eve) for one of his best choruses. Fibich used the same material for a melodrama, and also the ballad ' Vodni'k ' (The Water-sprite). R . N .

(18th cent.), a Spanish composer, and author of a great number of T o nadillas (q.v.) in the second half of the 18th century, the MSS. of which are preserved in the Bibl. Municipal, Madrid. One of his earliest works is a zarzuela (comic opera), * Los portentosos efectos de la naturaleza,' written in collaboration with ' Sr. Escarlati,' i.e. Scarlatti, nephew of Domenico. Pedrell (Teatro Lirico) prints extracts from various tonadiUas dating from 1779-87. J . B. T.

(b. Potsdam, Dec. 7, 1820; d. Berlin, Oct. 14, 1879), violinist, pianist, composer and conductor, owed his education to the poet F. Forster of Berlin, who had him taught by Greulich, H. Ries and Rungenhagen. By the age of 10 he had completed an opera, ' Das Fischermadchen,* by 13 an oratorio, ' Ruth.' In 1839 he became a pupil of Mendelssohn at Leipzig. His oratorio ' Judith ' was performed by the Sing- Akademie in Berlin in 1841, and in the following year the King of Prussia sent him to Italy for two years. On his return he composed an opera, * Wilhelm von Oranien,' which was successfully performed in Berlin (1846) and at the Hague (1848). In 1851 he became accompanist to the Italian theatre in Paris, then accompanied Sontag on her tour in the United States, returning to Paris in 1852 as conductor of the Italian Opera. In 1853 he was called to Vienna to take the direction of the court opera, a post which he filled with great distinction, and in 1860 he went to Stuttgart as Kapellmeister in Kiicken's place. This, too, he threw up in 1867; but in 1869 he was suddenly appointed to the head directorship at Berlin in place of Dorn, who was pensioned to make way for him. Eckert was a far better conductor than composer. He left three operas, much church music, a symphony, a trio, many pieces of smaller dimensions, including songs and a violoncello concerto. M. c. c. .

(d. Oct. 29, 1714), was educated as a chorister in Lincoln Cathedral. His voice changing to a fine counter-tenor he became a member of the choir of Durham Cathedral. About the beginning of the 18th century he came to London, and was engaged as a singer at the theatre. On Aug. 2, 1702, he was swornin as a gentleman of the Chapel Royal, a place being created expressly for him. He also obtained the appointments of vicar-choral of St. Paul's Cathedral and lay vicar of Westminster Abbey. Weldon, in the preface to the first book of his ' Divine Harmony ' (six solo anthems composed expressly for Elford), and Dr. Croft, in the preface to his ' Musica sacra,' speak in high terms of Elford's voice and singing. w. h . h .

This comprehensive edition of the solosongs with lute accompanimentof John Dowland and his contemporaries was undertaken by Dr. E. H. F e l l o w e s (q.v.), and began to be published by Winthrop Rogers in 1920. After the first eleven volumes had appeared the publication was transferred to Stainer & Bell, Dr. Fellowes remaining sole editor. The edition has now been arranged in two series, the first of which was completed in 1924. In the first series each song is printed in two versions : (1) In its original form and key, together with the lute tablature and an ex ac tly literal translation of the tablature retaining the original barring. (2) With the lute accompaniment adapted for use on a modern pianoforte with the addition of expression and tempo marks and occasional transposition. In this version the words of stanzas subsequent to the first are fitted to the music. In the second series only one version is or will be given. The original key is retained and an exactly literal translation of the tablature is printed as the only accompaniment. As in the original editions, the first verse alone is set out, with the music, the complete poem being printed a t the foot of the page. The original barring is not always followed, but the method of free barring is retained by the editor. Some suggestions as to tempo and expression are inserted. Neither series includes the arrangements for four voices published as alternative versions in the original books. The contents are as follows : F IR ST BERIES J o h n D o w l a n d . F i r s t B o o k e o f S o n g e s o r A y r e s . 1 5 9 7 . 2 v o l* . S e c o n d B o o k e o f S o n g s o r A y r e s . 1 6 0 0 . 2 v o l s . T h i r d B o o k e o f S o n g s o r A v r e s . 1 6 0 3 . 2 v o l s . A P i l g r im e 's S o l a c e ( 1 6 1 2 , 2 v o l s . ) , i n c l u d i n g (v o l . 2 ) T h r e e S o n g s p u b l i s h e d In R o b e r t Dowland's 4 A Musicall B an q u e t.' 1 6 1 0 . T h o m a s F o r d . Bongs In Musicke of Bundrie KIndes. 1607. 1 vol. F r a n c i s P il k in q t o n . F ir s t Booke of Songs o r Ayres. 1 6 0 5 . 2 vols. P h i l i p R o s s e t e r and T h o m a s C am p i a n . A Booke of Ayres. 1601. The first half by Thomas Campian, 2 vola. ; th e second half by Philip Rosseter, 2 vols. SECOND SERIES Thomas C a m p ia n . F ir s t Booke of Ayres (undated). Second Booke of Ayres (undated). Third Fou r th " " .. R o b e r t J o n e s . F ir s t Booke of Bonges and Ayres. 1600. Second Booke of Songea and Ayres. 1601. Ultimatum Vale, or Third Booke. 1608. A Musicall Drcame, or Fo urth Booke. 1609. The Muses Gardin for Delights, or the Fif th Booke. 1610. J o h n A t t e t . F i r s t B o o k e o f A y r e s . 1 6 2 2 . J o h n B a r t l e t t . A B o o k e o f Ayres. 1 6 0 6 . M ic h a e l C a v e n d i s h . A i r s . 1 5 9 8 . W il l ia m C o r k in e . Ayres. 1 6 1 0 . Second Booke of Ayres. 1612. J o h n D a n y e l . S o n g s . 1 6 0 6 . A l f o n s o F e r r a b o s c o (the younger). Ayres. 1609. T h om a s G r e a v e s . The Songs in Songes of Sundrie Kindes. 1604. T o b ia s H u m e . The Songs in Musicall H umors (1608), and Poeticall Musicke (1607). c

(b. Briinn, Moravia, May 6, 1814 ; d. Nice, Oct. 8, 1865), celebrated violin-player. As a pupil of the Vienna Conservatorium he had Bohm for his master on the violin, and studied counterpoint and composition under Seyfried. He afterwards received instruction from Mayseder, and soon achieved great proficiency on his instrument. When 16 he made his first tour and played with much success at Munich, Stuttgart and Frankfort. At that time Paganini was travelling in Germany, and Ernst, greatly fascinated by this extraordinary artist, followed him from town to town in order to become familiar with the peculiarities of his style and technique. Towards the end of 1832 he went to Paris, and lived there for six years, studying and repeatedly playing in public. Between 1838 and 1844 he travelled over a great part of Europe, meeting everywhere with enormous success. On his appearing in Leipzig, Schumann greeted him with one of those genial criticisms which are so characteristic of him.1 He first appeared in London, on July 18, 1843, in the Hanover Square Rooms ; on Apr. 15, 1844, he played for the first time at the Philharmonic, after which he regularly came to London for the season and settled there in 1855. H e played in Dublin in 1851 and 1855. After some years, however, his health began to fail, and he had to give up playing in public. He died after a painful and protracted illness. Ernst's playing was distinguished by great boldness in the execution of technical difficulties of the most hazardous character. At the same time his cantabile was full of deep feeling, and his tone had a peculiar charm. The warm impulsive nature of the man was reflected in his fiery passionate style. But it must not be supposed that he was a mere virtuoso. Ernst was a thorough musician, and although critics have found fault with his reading of classical music, on the other hand very competent judges have pronounced him an excellent quartet-player. As a composer he started with salon pieces and brilliant fantasias, which have not much intrinsic merit, but are extremely effective and well written for the instrument, and mostly very difficult. The ' filegie,' which had a long run of popularity, is perhaps the best specimen of the first, the fantasias on airs from Rossini's ' Otello,' and on Hungarian airs, of the second kind. The concerto in F sharp minor (op. 23) is a composition of no mean order, equally distinguished by the nobility of its ideas and its skilful treatment of the orchestra. That it is seldom heard is due to its enormous technical difficulties, which even Ernst himself did not always succeed in mastering. The best-known among his compositions for the violin are : Deux nocturnes, op. 1 ; fil^gie, op. 10 ; F anta s ia on airs from Rossini's ' Otello,' op. 11 ; Concertino in D, op. 12 ; Polonaise de Concert, op. 17 ; Variations on Dutch airs, op. 18 ; Introduction, 1 Qesammelte Schriften, Jan . 14, 1840. caprice, and finale, on airs from * II pira ta ,' op. 10; Rondo Papageno, op. 30 : Fantasia on * Le Proph^te,' op. '24 ; Hungarian airs, op. 22 ; Concerto p a th ltiq u e in Ffl minor, op. 23. In conjunction with S. Heller he wrote a number of very pretty duets for piano and violin, which were published under the title of ' Pensees fugitives.' He also published an imitation of Paganini's once famous ' Carnaval de Venise.' He | wrote two string quartets, in B? and A. The latter of these was his last work, and was played under Joachim's lead at the Monday Popular Concerts, June 6, 1864. P. d .