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(probably 1st half of 16th cent.), an English church composer whose 4- part motet ' Hie dies, quam fecit dominum ' is in the British Museum (Add. MSS. 17,802-5). There is also a score of this, but arranged in 3 parts (Add. MSS. 29,382-5). j. M

(b. end of 15th cent. ; d. Rome, 1558), a Spanish singer and composer, who was in the Papal Choir under a succession of popes from 1507 until 1539. The Vatican archives contain a motet, ' Paradisi porta ' (5 v .), and a Magnificat in the 6th tone. In secular music, he was the author of two chansons included in the ' Canzoni nove ' of Andrea Antiquo di Montona, Rome, 1510, now in the University Library at Basic. J . B. t .

(b. Hamburg, Apr. 8, 1819; d. Vienna, Dec. 31, 1875), pianist and composer, made his first appearance when 12, and shortly after went on long professional tours. Returning to Hamburg in 1837 he studied composition under Carl Krebs. On a visit to Leipzig in 1838 he made the acquaintance of Mendelssohn, whose influence affected him greatly, and started him in instrumental compositions on an extended scale. In the following year he went to Paris, and was kindly received by Chopin and Auber, where he remained for some time working hard. In 1841 he was appointed Kapellmeister at Gratz, where he started a music business in 1858, taught, and otherwise exercised his profession. From 1872 until his death he resided in Vienna. His compositions comprise four pianoforte sonatas, of which those in B minor, Bb and D minor were much esteemed ; twelve 4 Chansons d'amour ' for p ian o ; fu g u e s ; fantasias ; solo and partsongs, etc. Haslinger of Vienna and Schott of Mayence wrere his publishers. His sister (2) K a t in k a (b. 1822) was favourably known as an opera singer in Germany and Italy. m . c . c .

(b. Vienna, June 13, 1766 ; d. there, Mar. I I ,2 1807), a distinguished pianist and composer. His theoretical studies were slight, but his first opera, ' La Marchande de modes ' (Leopoldstadt, 1787), is said to have pleased Gluck so much that he advised the young composer to devote himself seriously to music. His friendship with Mozart was also of great service to him. His melodrama ' Pyramus and Thisbe ' was produced at the court theatre in 1794, on his return from his first professional tour ; but he soon undertook another in Germany, in company with Mozart's widow and Lange the singer. In 1796 he was appointed Kapellmeister at St. Petersburg, where he remained for five years greatly esteemed. On his return to Vienna he produced at the court theatre (May 1801) a romantic opera, ' Die Konigin der schwarzen Inseln,' which was, however, only a 1 Baptized Ju ly 11. (Riemann.) ? Mar. 15, according to Becker. partial success. In 1803 he went again to Russia, and in 1806 travelled to all the principal towns of Germany, where the brilliance and fire of his playing were universally acknowledged. He returned to Vienna and died there suddenly. His compositions were long favourites. The following are among the most remarkable : Five symphonies, dated 1783, 1784 and 1785, in MS. in the library of th e Gesellschaft der Mu.sikfreunde a t Vienna ; * Grand S o n a ta / op. 27, dedicated to C he rubini; * Gr. Sonate car&ctlristique ' in F minor, op. 12, dedicated to Haydn (Peters) ; * Variations ru r un theme russe,' for Violoncello obbl., op. 17 ; three lian o fo r te Trios, op. 8, dedicated to Grand-Duke Pawlowitsch ; Trio for Pianoforte, Clarinet and Violoncello, op. 30 (Kflhnel) ; Pianoforte Quartet in C major, op. 18, dedicated to Maria Theresa ; ditto in G minor, op. 25 (Vienna) ; Clavier Quintet, op. 78 (Vienna) ; Sestet for Plano, Strings, Clarinet and Horn, in E flat, op. 47 ; Pianoforte Concertos in C m ajor, op. 32, and Eb major, op. 40 (Ktihnel) ; and three String Quartets, op. 13, dedicated to Emperor A lexander I. (Vienna. Mollo). He also published many smaller pianoforte pieces for two and four hands, and six Lieder, op. 4 (Hamburg) ; a wedding c an ta ta with orchestral accompaniment, ' I.a gloria d ' Imeneo,' op. 11. also arranged for pianoforte ; and a Symphony in I) minor (Breitkopf 4 Hftrtel). He left in M8. symphonies, serenades, concertos for one and two pianofortes, several pieces of chamber music, and unpublished operas, besides the three already mentioned. (See list of works still ex ta n t in Q.-L.) Though he has now entirely vanished from the concert-room, Eberl must in his day have been a very considerable person. It is well known that several of his pianoforte works were long published (and popular) as Mozart's-viz. the fine Sonata in C minor (finally published with his own name as op. 1 by Artaria); Variations on the theme ' Zu Steffen sprach *; Variations on * Freundin sanfter Herzenstriebe ' ; and on ' Andantino von D ittersdorf.'3 His symphony in would actually appear to have been played in the same programme with Beethoven's ' Eroica ' 4 ; and the two are contrasted by the reviewer to the distinct disadvantage of the latter ! c. f . p . B ib l .-F r a n z E w e n s , Anion Eb tr lt Leben und Eompositionsn. Cologne Dissertation, 1923.

(b. Budapest, May 8, 1873), an eminent pianist, made her first appearance as a child of 6 at Vienna, and travelled in Russia, Germany, Denmark, Sweden, Norway, etc., until she was 10 years old, study ing during part of that time, and until 1885, at the Vienna Conservatorium with Professor Hans Schmitt. She studied a t Frankfort with Madame Schumann for four years, and after playing to Rubinstein, Liszt and many other musical notabilities, her career as a mature artist began in 1890, when she played at one of the Giirzenich Concerts at Cologne ; the Leipzig Gewandhaus and the Richter Concerts in Vienna followed n e x t ; and on Jan. 12, 1891, she made her first appearance in England a t a Monday Popular Concert, playing Schumann's ' Etudes symphoniques,' and in Beethoven's sonata in A for piano and violoncello with Piatti. Her success was emphatic, and until her marriage with Carl Derenburg in 1902 she was one of the most highly esteemed of all the pianists that came regularly before the London public. Since then her public appearances have been rare. M.

comic opera in 2 acts, libretto by Captain Basil Hood, music partly by Sullivan, completed after his death by Edward German. Produced Savoy Theatre, Apr. 27, 1901.

a much-esteemed composer of Milan at the end of the 17th century. Like Marcello and Astorga he was of noble birth, and Cardinal Benedetto Erba seems to have been his brother. In 1692 he was maestro di cappella of the church of S . Francesco in Milan (see F. Vigoni's Sacre armonie, 1692, which contains music by him). The title of Don, given him by Quadrio, and that of * Rd, ' mentioned below, show that he was in holy orders. In 1694 he took part with Valtellina in the composition of the opera ' Arion,' and in 1695 with Besozzi and Battestini in ' Antemio.' But Erba's interest to us lies in the fact that he is not improbably the composer of a Magnificat for two choirs, from which Handel borrowed more or less closely for several pieces in the second part of ' Israel in Egypt.' A complete copy of this work, entitled ' Magnificat. Del Rd Sgr. Erba,' is in the R.C.M., and a partial one (ending in the middle sheet), in Handel's writing, without title or date, in the Roy. Lib., B.M. Opinions are divided as to whether it is an original composition of Handel's Italian time (1707-10), or of Erba. In favour of the former were Schoelcher and Macfarren (preface to ' Israel in Egypt ' for the Sacred Harmonic Society). It is obvious that but for the existence of the MS. by Handel the question would never have been raised. The whole evidence was examined at great length and pains by Chrysander (Handel, i. 168-78), whose conclusion is strongly in favour of its being that * Dr. Oscar Paul, Oeschichte des Claviers, Leipzig, 1868. of Erba. He showa that the date of Handel's MS. is probably 1735-40 (' Israel ' was 1738); that it has marks of being a copy and not an original composition ; that the paper is not Italian, but the same as that used for his English works ; and that the style of the music differs materially from Handel's style, whether early or late. In addition it might be urged that it is extremely improbable that in a copy of a work of Handel's his powerful name would be displaced on the title in favour of the insignificant one of Erba. Chrysander published the Magnificat as the first of the ' Supplemente ' to his edition of Handel. Since then the researches of Percy Robinson, embodied in his book Handel and his Orbit, have added fresh matter to this discussion. Robinson has found that Erba and Urio (q.v.) are names of places in the neighbourhood of Milan (Erba is between Como and Lecco), and on this discovery founds the theory that the MSS. which bear these names are the composition of Handel himself, dating from the Italian period. In this respect Robinson's book is of importance to the student. For the list of numbers borrowed in ' Israel,' see Sedley Taylor, The Indebtedness of Handel (Cambridge, 1906). s. G.

(b. St. Petersburg, Feb. 1, 1850; d. there, Aug. 18, 1914), Russian pianist, was educated at the Conservatorium of St. Petersburg, principally under the care of Theodor Leschetizky. After attaining considerable reputation in her own country she undertook a concert tour in 1874, appearing in London a t the New Philharmonic concert of May 16, in Chopin's E minor concerto, a t recitals of her own, and elsewhere. She made her debut in Paris in the same concerto in 1875 at one of the Concerts Populaires, and afterwards at a chamber concert given by Wieniawski and Davidov. In 1876 she went to America, where her success was very marked. From 1880-92 she was the wife of Leschetizky. M.

(b. Schwechat, near Vienna, Feb. 8, 1765 ; d. Vienna, July 24,1846), took lessons (1777-79) from Albrechtsberger. In 1793 the master gave the pupil a testimonial in which he places Eybler as second only to Mozart (Q.-L.). Both Haydn (1787) and Mozart (1790) testified to his ability as a composer and his fitness for the post of K apellmeister. Eybler nursed Mozart during his last illness, and after his death it was to him that the widow at once committed the task of completing the Requiem. He accepted the charge in a letter dated Dec. 21, 1791, and began the work, but soon gave it up. He was appointed choirmaster to a church in the suburbs in 1792, and in 1794 to the Schotten monastery in Vienna itself. About this time his first work, three string quartets, dedicated in Italian to Haydn, was published by Traeg. In 1804hewas appointed vice-Kapellmeister, in 1810 musicmaster to the imperial children, and, on Salieri's retirementin 1824,chief Kapellmeister. In 1834 he was ennobled by the Emperor, whose meetings for quartet practice he had regularly attended. A year before he had been obliged to give up the exercise of his profession owing to a paralytic stroke while conducting Mozart's Requiem. His opera ' L'Epee enehantee ' was performed at the Leopoldstadt Theatre in Vienna in 1790, and some other operas are in * Franklin Taylor o n * E xtempore playing * In former editions of this Dictionary. the possession of the Gesellschaft der Musikfreunde. For the ' Tonkiinstler-Societat,' of which he was many years president, he wrote the cantata ' Die Hirten bei der Krippe ' (1794); and for the Emperor ' Die vier letzten Dinge,' an oratorio first performed at court (1810) and afterwards by the Tonkiinstler-Societat. His printed works - chamber music, pieces for pianoforte and other instruments, vocal music, and several symphonies-were favourites in their day, but his church music is of greater value. His best work is the 1 Requiem in C minor.' Haslinger published the Requiem, seven masses, two Te Deums, thirteen offertoriums, graduates, and Vespers, of which some are still in use. c. F. P.

(b. Augsburg, c. 1735 ; d. Paris, Aug. 1809), lived in Paris from 1758. He was a great pianist who was placed by many (Burney, Baron Grimm, etc.), above Schobert who was his rival. Schubart speaks about his brilliance, powe* and endurance; he was able to play several concertos and sonatas one after another without tiring, which very few could do at that time (1784). He composed also a number of sonatas and variations, and was, moreover, the first miniature painter of his time. e . v. d. s.