Ralph built the organ for St. George's Chapel, Windsor, at the Restoration, as well as those at Rugby, Hackney, and Lynn Regis. The Windsor organ is still preserved at St. Peter's-in-the-East, St. Alban's. He died while making the organ at Greenwich Church, begun by him in Feb. 1672. James White, his partner, finished it 1673.
George lived in Purple Lane in 1672, and in 1686 added a 'chaire organ' to Harris's instrument in Hereford Cathedral.
DAL SEGNO, 'from the sign,' or al Segno, 'to the sign'; the 'sign' being a 
, probably a capital S. 'Da capo al Segno ' is the full direction, as at the end of the second part of 'Consider, fond shepherd' in 'Acis,' the being in bar 2 of the first part.
DAMASCENE, Alexander, a foreigner, of probably Italian extraction, but French birth, who, on June 26 [App. p.605 "July 22"], 1682, obtained letters of denization in England, was an alto singer. On August 30, 91 [App. p.605 "Dec. 6, 1690"], Damascene was sworn in as a gentleman extraordinary of the Chapel Royal, and on the death of Henry Purcell in 95 was advanced to a full place. He died July 14, 1719. Damascene was a prolific song writer, and many of his compositions may be found in the following collections, viz. 'Choice Ayres and Songs,' 1676–84; 'The Theatre of Musick,' 1685–87; ' Vinculum Societatis,' 1687–91; 'The Banquet of Musick,' 1688–92; 'Comes Amoris,' 1687–94; 'The Gentleman's Journal,' 1692–94.
DAME BLANCHE, LA. Opera comique in 3 acts, founded on Scott's 'Monastery'; libretto by Scribe, music by Boieldieu; produced at the Opera Comique Dec. 10, 1825; played at the same theatre for the 1000th time on Dec. 16, 62. Produced in English as 'The White Maid' at Covent Garden Jan. 2, 1827.
DAMON, WILLIAM, one of the musicians to Queen Elizabeth, harmonised for the use of a friend the psalm tunes then in common use, to the number of about forty. His friend, in 1579, published them under the following title:—'¶ The Psalmes of David in English Meter with Notes of foure partes set unto them by Guilielmo Damon, for John Bull [who is called in the preface, 'Citezen and Goldsmith of London '], to the use of the godly Christians for recreatyng themselves in stede of fond and unseemly Ballades. At London, Printed by John Daye. Cum privilegio.' This work seems to have been but ill received, and Damon set himself to work to reharmonise the tunes. The new work was published in 1591 with the title of '¶ The former Booke of the Musicke of M. William Damon, late one of her Majesties Musitions, containing all the tunes of David's Psalms, as they are ordinarily soung in the Church: most excellently by him composed into 4 partes. In which sett the Tenor singeth the Church tune. Published for the recreation of such as delight in Musicke by W. Swayne, Gent. Printed by T. Este, the assigne of W. Byrd, 1591.' The work is in two parts, the second being entitled '¶ The second Booke of the Musicke of M. William Damon, containing all the Tunes of David's Psalms, differing from the former in respect that the highest part singeth the Church tune.'
DAMOREAU, Laure Cinthie Montalant, born at Paris Feb. 6, 1801, was admitted into a vocal class at the Conservatoire Nov. 28, 1808. She made quick progress, and soon began to study the piano. In 1814 she left the piano-class to enter that of vocalisation. She began her career by giving some concerts which were not successful. Engaged at the Théâtre Italien in second parts at the age of 18, Mlle. Cinti, as she now called herself, made her first appearance as Cherubino in 'Le Nozze.' She played the part with great charm and grace, but her time was not yet come. It was not till 1821 that she attempted principal parts. In 22 she was engaged by Ebers for the London opera, at a salary of £500. She was young and pretty, her manners pleasing and elegant, and her acting correct and unaffected, if not forcible; but her voice was not strong enough for the size of the theatre, and she created little sensation. She returned to Paris, where she soon began to take a higher place; her salary was raised, and the arrival of Rossini was a fortunate event for her. She made her début at the Grand Opéra Feb. 24, 1826, in 'Fernand Cortez,' and her success was complete. Rossini wrote for her the principal female parts in the 'Siege de Corinthe' and 'Moise,' which contributed to her reputation. In consequence, however, of some misunderstanding with the management, Cinti quitted the theatre abruptly in 27, and went to Brussels, where she excited the greatest enthusiasm. Concessions having been made she returned to Paris; but, before leaving Brussels, was married to Damoreau, an unsuccessful actor. This union was not happy. Returned to Paris she resumed her career, singing in 'La Muette de Portici,' 'Le Comte Ory,' 'Robert le Diable,' and 'Le Serment,' in each more excellent than before. In 29 she took part, with Sontag and Malibran, in the 'Matrimonio Segreto.' Never was there a more brilliant combination; nor did Cinti suffer by comparison. Fétis boldly declares that she now became one of the best singers the world has known. In 32 she came over with a French company, and sang at Covent Garden in Meyerbeer's 'Robert le Diable.' Her engagement was not renewed in 1835, and she was gladly welcomed at the Opéra Comique, where Auber wrote for her such works as the 'Domino noir,' 'L'Ambassadrice,' and 'Zanetta.' Cinti retired from the stage in 1843, sang again in London in that year, then at the Hague, at Ghent in 1845, at St. Petersburg, at Brussels in 1846, and made a tour in the United States with the violinist Artot [App. p.605 "1843"]. In 1834 she had been appointed professor of singing at the Conservatoire in Paris; this place she resigned in 1856, and retired to Chantilly, and died in 1863.
Mme. Cinti published an 'Album de romances,' and a few separate pieces. She wrote also a 'Méthode de chant,' dedicated to her pupils.
