Page:A Dictionary of Music and Musicians vol 1.djvu/507

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ESLAVA.
495
ESTE.

Ortelli, Lamentatio. 12.
Montemayor, F. de, Requiem mass. 8.
Duron, S. O vos omnes. 4.

VOL. III (18th cent).
Bravo. J. de T. M. Parce mihi. 8.
Dudoso, Dan, dan, don, don. 6.
Rabasia, P. Audlie. universi. 12.
Valls. F. Tola pulchra. 5.
Cabrera, F. V. Kyrie and Gloria. 8.
Boldan, J. F. Sepulto Domine. 4.
Ranjuan. N. Spiritus meus. 8.
Paez, J. Jesu Redemptor. 4.
Muelax, D. O vos omnes. 8.
   Do. Ductus est Jesus. 4.
   Do. Dicebat Jesus. 4.
   Do. Erunt signa. 4.
   Do. Cum audisset Joannes. 4.
   Do. Vox clamantis, 8.
Caseda, J. de, Kyrie and Gloria. 4.
Literes, A. Vos sæculorum judicea. 4.
   Do. Sunt quos fatus. 4.
Julia, B. Dilexi quoniam. 4.
Fuentes, P. Beatus vir. 10.
Soler, F. A. Introito and offertoria de difuntos. 8.
Anon. Ecce sacerdos, 5.

VOL. III, Pt. 2 (18th cent.).
Nebra, J. de, Requiem mass. 8 (strings).
Ripa, A. Mass. 8 (strings and trumpets)
   Do. Stabat Mater (6 verses). 8 (organ).
Lidon. J. Ave maris stella. 4 and 8.

VOL. IV (19th cent).
Garcia, F. J. Lamentation. 8 (orch.).
   Do. Do. 7 (orch.).
Aranaz, P. Ad te levavi. 4 (solos).
   Do. Laudate. 6 (viol. and trumpets).
Doyague. M. Miserere. 4 (wind).
Secanilla, F. Defensor almas Hispanæ. 5.
   Do. Pange lingua. 7.
Prieto, J. Salve regina. 4 (str., trump., organ).
Cuellar, R. Lauda Sion. 5.
Montesinos, A. Sancta et Immaculata Virginitas. 8.
Pons, J. Letrida, 'O Madre.' 8.
Cabo, F. J. Memento Domine. 7.

VOL. IV. Pt 2 (19th cent.).
Kalava, H. Te Deum. 4.
   Do. O sacrum convivium. 4.
   Do. Bone Pastor. 4.
   Do. O salutaris hostia. 8.
   Do. Requiem mass. 8 (orch.).
   Do. Parce mihi. 8.
   Do. Tedet animam. 8.
   Do. Libera me. 8.

VOL. V (19th cent).
Ledesma, N. Stabat mater (12 verses). 8.
Andrevi. Fr. Nunc dimittis. 4.
   Do. Salve Regina. 6 (orch.).
Ledesma, M. R. Principes persecuti. 4 (orch.).
Bros, J. Benedlctus. 4 (orch.).

VOL. V. Pt 2 (19th cent).
Perez y Alvarez, J. Salve Regina. 8.
   Do. O Salutaris. Bar. solo.
Nuqalde, C. J. Bone pastor. Bass solo.
   Do. O salutaris. 3.
Meton. V. O quoniam suavis. 4.
   Do. Ecce panis. 5.
   Do. O salutaris. 5.
Olleta, D. Salve Regina. 5.
Garcia, M. Ave maris Stella. 4.
Pradanos, H. O quam suavis. 4.
Caballero, M. F. Ave maris Stella. 4.
Calonora, R. O. Lauda Sion. 1.
   Do. Vere languores. 4.

APPENDIX.
Secanilla, F. Hymn. Scripta sunt. 8, 3, 8, 4, 8.
Doyague, M. Magnificat 8.
Duron, S. Fragments.

[ M. C. C. ]

ESSER, Heinrich, born at Mannheim 1818, appointed concert-meister 1838, and then musical director in the court-theatre at Mannheim; was for some years conductor of the 'Liedertafel' at Mayence, and in 1847 succeeded O. Nicolai as Capellmeister of the Imperial Opera, Vienna, where he was honoured as an artist and beloved as a man. In November 1869, shortly after becoming art-member of the board of direction of the Opera, he was compelled by ill-health to resign, and retired on a considerable pension to Salzburg, where he died June 3, 1872. The Emperor honoured his memory by granting an annuity to his widow and two young children. Esser's character was elevated, refined, and singularly free from pretension, and his compositions bear the same stamp, especially his melodious and thoughtful 4-part songs for men's voices. As a conductor he was admirable—conscientious, indefatigable, and in thorough sympathy with his orchestra, by whom he was adored. Wagner showed his appreciation by entrusting him with the arrangement of his 'Meistersinger' for the piano. Esser was the first to discern the merit of Hans Richter, whom, while a member of his band, he recommended to Wagner as a copyist and arranger, and who ultimately justified the choice by succeeding Esser at the Opera in May 1875.

As a composer Esser was industrious and successful. His works contain scarcely a commonplace thought, and much earnest feeling, well and naturally expressed. The stage was not his forte, and though three of his operas were produced—'Silas' (Mannheim, 1839), 'Riquiqui' (Aix-la-Chapelle, 43), and 'Die beiden Prinzen' (Munich, 44)—they have not kept the boards. His compositions for the voice are numerous and beautiful—some 40 books of Lieder, 2 of duets, 4 of choruses for men's voices, and 2 for mixed ditto, etc.—and these are still great favourites. His symphonies (Op. 44, 79) and Suites (Op. 70, 75), and orchestral arrangements of Bach's organ works (Passacaglia, Toccata in F), performed by the Philharmonic Society in Vienna, are published by Schott, and a string-quartet (Op. 5) by Simrock.

[ C. F. P. ]

ESTE, EAST, or EASTE (as he variously spelled his name), Michael, Mus. Bac., is conjectured to have been a son of Thomas Este, the noted music printer. He first appeared in print as a composer, in 'The Triumphes of Oriana,' 1601, to which he contributed the madrigal, 'Hence, stars, too dim of light.' In 1604 he published a set of Madrigals, which was followed in 1606 by a second set, the preface to which is dated 'From Ely House in Holborne,' whence it may be inferred that he was then a retainer of Lady Hatton, the widow of Sir Christopher Hatton. In 1610 he published a third set of Madrigals. Between that date and 1618, when he published a set of Madrigals, Anthems &c., and a set of three-part songs, he had obtained his bachelor's degree and become Master of the Choristers of Lichfield Cathedral. In 1624 he published a set of Anthems, from the dedication of which to 'John Williams, Bishop of Lincoln and Keeper of the Great Seal,' we learn that that prelate some time before, on hearing one of Este's motets, had voluntarily settled an annuity on its composer, personally a stranger to him. Este's last publication was a set of Duos and Fancies for Viols, which appeared in 1638, and was many years afterwards re-issued by John Playford with a new undated title-page. One of the 3-part madrigals in Este's second set, 'How merrily we live,' retained its popularity down to our days.

[ W. H. H. ]

ESTE, EST, or EAST (as the name was variously spelled), Thomas, was (having regard to the number of works printed by him) one of the most important of our early music typographers and publishers. He was probably born in the earlier part of the latter half of the 16th century. [App. p.629 "he was engaged in printing as early as 1576."] The first work printed by him with which we are acquainted was Byrd's 'Psalmes, Sonets and Songs of sadnes and pietie,' which appeared in 1588, he then 'dwelling by Paules Wharf,' and describing himself as 'the Assigne of W. Byrd '; i. e. assignee of the patent granted to the latter for the sole printing of music and ruled music paper. In the following year Este removed to Aldersgate Street, where he published at the sign of the Black Horse. In 1592 he edited 'The Whole Book of Psalms, with their wonted tunes, in four parts.' The composers employed by him to harmonise the tunes were some of the most eminent men of the day, being ten in number, viz: Richard Alison, E. Blancks, Michael Cavendish, William Cobbold, John Dowland, John