Page:A Dictionary of Music and Musicians vol 4.djvu/23

E for the same occasion; 'Romeo and Juliet,' a fantasie for orchestra; four Norwegian rhapsodies; arrangements of some Norwegian, Swedish and Icelandic ballads for orchestra; and his chef-d'œuvre, a symphony in B♭. In 1874 his labours found some appreciation from his countrymen in the shape of an annuity granted by the Storthing, and several decorations conferred on him by the king. After five years of hard work, he was enabled once more to proceed abroad. In 1877 he revisited Leipzig, and conducted a new work at the Gewandhaus; went thence to Munich, and eventually to Rome, where he spent the winter. In 1878 he visited London for the first time, and there met Sarasate, who assisted him in the performance of his quartet, quintet, and octet. From London he went to Paris, where he stayed until 1880, during which time his works were several times performed—as also at Angers, where the post of conductor was offered him by the Musical Association. But Svendsen, true to his resolution to return home, refused this lucrative appointment, and in the autumn of that year we again find him in his old post as conductor of the Musical Association in Christiania, in which capacity he has since acted. During the last few years he has produced only some minor compositions, besides arranging for orchestra several studies by foreign composers. [App. p.797 "Add that in 1888 he visited England, conducting his Symphony in D at the Philharmonic Concert of May 31, as well as the last concert of the season on June 16."]

Svendsen's music is all of very high character, remarkable for strong individuality, conciseness, and the absence of anything national or Scandinavian; as well as for an elaborate finish strictly in harmony with the traditions of the great masters. Of these there is, however, only one whose influence can be traced in his compositions, namely Beethoven. He is one of the most cosmopolitan composers of the age.

His printed works are as follow:—

Op.	1.	String quartet, in A minor.
	2.	Songs for men's voices.
	3.	Octet for strings in A minor.
	4.	Symphony in D.
	5.	String quintet in C.
	6.	Concerto for violin and orch. in A.
	7.	Do. for cello and orch. in D minor.
	8.	Overture in C to Björnson's drama of 'Sigurd Slembe.'
	9.	Carnaval à Paris, for orch.
	10.	Funeral march for Charles XV.
	11.	Zorahayde, legend for orch.
	12.	Polonaise for orch.
	13.	Coronation march for Oscar II.
	14.	Marriage Cantata, for chor. and orch.
	15.	Symphony no. 2 in B♭.
	16.	Carnaval des artistes Norvégiens.
	17.	Rhapsodie Norvégienne no. 1, for orch.
	18.	Overture to Romeo and Juliet.
	19.	Rhapsodie Norvégienne no. 2.
	20.	Scandinavian airs arranged for string quartet.
	21, 22. Rhapsodies Norvégiennes nos. 3, 4.
	23.	Five songs, French and German, for voice and PF.
	24.	Four do., French and Norwegian, do.
	25.	Romance by Popper, arranged for cello and PF.
	26.	Romance for violin and orch. in G.

[ C.S. ]

SVENDSEN, Oluf, a distinguished flute-player, born in Christiania April 19, 1832. He learnt the rudiments of playing from his father, a musician; when 12 years old played the flute in small orchestras; and at 14 was engaged as first flute in the Christiania theatre. In 1851 he went to Copenhagen, and took lessons from Nils Petersen, then a flute-player there. In 1853 he entered the Conservatoire at Brussels, where he studied for two years, after which he was engaged by Jullien for his Concerts in London. In September, 1856, he joined the Band of the Crystal Palace, Sydenham, where he remained till the end of 1858. In 1861 Svendsen was appointed first flute in the Queen's private band, and the same year joined the Philharmonic orchestra. He was ten years in the orchestra at Her Majesty's Theatre; and since 1867 has been professor of his instrument at the Royal Academy of Music. He is well known as a solo-player throughout Belgium, Norway, Sweden, Denmark, and France. [App. p.797 "Add date of death, May 15, 1888."]

[ G. ]

SWEELINCK or SWELINCK,^[1] Jan Pieterszoon, the greatest of Dutch organists, was born of a Deventer family in the summer of 1562. His father, 'Mr. Pieter,' was organist of the Old Church at Amsterdam, which place disputes with Deventer the honour of having given the son birth.^[2] Of Sweelinck's boyhood we know nothing, except that he was taught by Jacob Buyck (Buchius) the pastor of the Old Church. There is a tradition that he was sent to Venice to study music under Zarlino and Gabrieli; but with this is connected a mistake of old standing, which places his birth in 1540, 22 years too early.^[3] Now, as we know that he was in Holland from 1577, at latest, onwards, it becomes barely credible that the lad of 15 could have followed the instruction of the Venetian masters to any important extent; and it is likely that the whole story is based upon the close study which his works prove him to have devoted to those of 'the apostle of musical ^[4] science,' whose 'Istituzioni harmoniche' he translated.^[5] Some time between 1577 and 1581 Sweelinck was appointed to the organistship previously held by his father (who died in 1573); and this post he filled until his death, Oct. 16, 1621. For a generation he was the glory of Amsterdam. When he played the organ there, says a contemporary, 'there was a wonderful concourse every day; every one was proud to have known, seen, heard the ^[6]man.' And when he died it was the greatest of Dutch poets, Vondel, who wrote his epitaph, and surnamed him 'Phoenix of Music.' He must also have been a distinguished figure in the society of Amsterdam, then in its

1. Of the seven or more ways in which the name is spelled, these two have the warrant of the musician's own signature. The Germans of the time seem to have naturalised him as Schweling; in Amsterdam he was known as plain Jan Pietersz.
2. Deventer is consistently mentioned by Sweelinck's later biographers; but the Amsterdam claim has the support of the official entry of his marriage there in 1590, in which his birthplace is not stated. The omission was the rule when the person was a native of the city. Else documentary evidence is equally wanting on both sides.
3. The correction of this and the rest of the mistakes which confuse every single date in Sweelinck's life is due to the essay of F. H. J. Tiedeman, 'J. P. Sweelinck, een bio-bibliografische Schets,' published by the Vereeniging voor Nederlandsche Muziekgeschiedenis (Amsterdam, 1876), which supersedes a shorter sketch published by the same writer as an introduction to the 'Regina Cœli' in 1869. Both are based upon a biography, which remains in MS. in the possession of the Vereeniging, by Robert Eitner, who has done good service by rescuing the works of Sweelinck from the obscurity of the Graue Kloster at Berlin.
4. So Zarlino is entitled by his modern biographer, F. Caffi, 'Della Vita e delle Opere del Prete G. Zarlino' (Venice 1836). Neither here nor in the chapters on Zarlino and Andrea Gabrieli contained in his 'Storia della Musica Sacra,' vol. i. p. 129 etc. (Venice 1854), does Caffi take any notice of the Dutch scholar. Nor have I been able to discover any trace of his residence at Venice in the MS. collections of S. Marco.
5. MS. at Hamburg, formerly belonging to the great organist Reincke.
6. Sweertius, in Tiedeman, p. 16. Sweelinck's portrait at Darmstadt gives his strong irregular features a kindly expression, with a touch of sadness in them. It is reproduced in photograph by Mr. Tiedeman.