DAVIDSBÜNDLER. An imaginary association of Schumann and his friends, banded together against old-fashioned pedantry and stupidity in music, like David and his men against the Philistines. The personages of this association rejoiced in the names of Florestan, Eusebius, Raro, Chiara, Serpentinus, Jonathan, Jeanquirit, etc., and their displays took place in the pages of the Neue Zeitschrift für Musik, Schumann's periodical. It was Schumann's half humorous, half melancholy way of expressing his opinions. He himself, in the preface to his Gesammelte Schriften (Leipzig, 1854), speaks of it as 'an alliance which was more than secret, since it existed only in the brain of its founder.' The Davidsbündler did not confine themselves to literary feats; their names are to be found in Schumann's compositions also. Florestan and Eusebius not only figure in the Carneval (op. 9), but the Grande Sonate, No. 1 (op. 11), was originally published with their names, and so was the set of pieces entitled 'Davidsbündler' (op. 6). The most humorous of all these utterances is the 'Marche des Davidsbündler contre les Philistins,' which winds up the Carneval, and in which the antiquated 'Grosvatertanz' is gradually surrounded and crushed by the strains of the new allies.
of his own. His position among cello-players is high. His tone is expressive, his intonation certain, especially in the higher registers, and his execution extraordinary, and there is great individuality in his style. He has composed much both for the cello and piano. [App. p.819 "Date of death, Feb. 26, 1889."]
[ G. ]
[ W. H. H. ]
DAVY, John, was born in the parish of Upton Helion, near Exeter, in 1765. From his earliest infancy he discovered a remarkable propensity for music. After many other manifestations of his inclination, he was, when about six years of age, detected as the purloiner of from twenty to thirty horse-shoes from a neighbouring smithy. From these he had selected as many as formed a complete octave, and, having suspended them in an upper room, was amusing himself by imitating upon them the chimes of the neighbouring church of Crediton. By the advice of the Rev. Mr. Eastcott, he was articled to Jackson of Exeter. Some years afterwards Davy came to London, and obtained employment in the orchestra of one of the theatres and as a teacher. His ability for composition soon became known, and he was engaged to supply music for several dramatic pieces. After upwards of twenty years of such employment his frame gave way under the pressure of infirmities rather than of age, and he gradually sank until he died, in May's Buildings, St. Martin's Lane, Feb. 22, 1824. He was buried in St. Martin's churchyard on Feb. 28 following. Davy composed the music for the following dramatic pieces:—'What a Blunder!' 1800; 'Perouse' (with J. Moorehead), 1801; 'The Brazen Mask' (with Mountain), 1802; 'The Cabinet' (with Braham and others), 1802; 'The Caffres' (with others), 1802; 'Red Roy,' 1803; 'The Miller's Maid,' 1804; 'Harlequin Quicksilver,' 1804; 'Thirty Thousand' (with Braham and Reeve), 1805; 'Spanish Dollars,' 1805; 'Harlequin's Magnet,' 1805; 'The Blind Boy, 1808; 'The Farmer's Wife' (with others), 1814; 'Rob Roy Macgregor,' 1818; 'Woman's Will, a Riddle,' 1820. Also an overture and other music for Shakspere's 'Tempest,' performed in conjunction with the songs of Purcell, Arne, and Linley.Many of Davy's songs gained great popularity. 'Just like love,' 'May we ne'er want a friend,' and 'The Death of the Smuggler,' have perhaps passed out of remembrance, but 'The Bay of Biscay' retains, and in all probability will long retain, its place in the public favour.
[ W. H. H. ]