Page:A Dictionary of Music and Musicians vol 3.djvu/211

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RUCKERS.

��form.

�Date.

�Dimeniiani.

�General Description.

�Present Owner.

�Source of inform- ation.

� � �ft. in. ft. in.

� � � �Bent aide.

�1636

� �2 keyboards not original ; 5 oct. ; black naturals ;

�. . . Dijon. France.

�E.Vander Straeten,

� � � �stops and legs like Tasking ; beautifully

� � � � � �painted. Inscribed as No. SO. with date.

� � �Beat side.

�1640

�60 by 2 3

�1 original keyboard ; 4 oct., etc., C D ; white

�Hiss Twining, Dial

�A. J. Hipklna.

� � � �naturals. Inscribed ANDREAS BDKERS, 1640 ;

�House, Twickenham.

� � � � �and inside top MUSIOA LAETITIAB COMES ME-

� � � � � �DIC1NA DOLORUM ; inside flap CONCORDIA MUSIS

� � � � � �AMIGA. 2 stops ; BoseNo. 6 ; case patt. paper.

� � �Obloot.

�1644

�5 8 tor 1 8

�1 keyboard ; 4 oct., C C. Inscribed ANDKBAS

�M. Victor Mahlllon.

�V. Mahlllon,

� � � �BUCKBRS, ANNO 1644.

�Brussels.

� �Bent side.

�1651

�6 8 by 8

�2 keyboards not original ; nearly 6 oct.. O P.

�South Kensington Mu-

�A. J. Ilipklnfc

� � � �lowest G J wanting ; white naturals. Inscribed

�seum (gift, as having

� � � � �as No. 30. with date, and Sic TRANSIT GLORIA

�been Handel's, of

� � � � �MUNDI. MusiCA DONUJI DEI. and formerly

�Messrs. Broadwood).

� � � � �ACTA VIRUM FROBANT. Concert of monkeys

� � � � � �on the belly, one conducting. Rose No. 6.

� � �Oblon.

�Un-

�2 7 by 1 Si

�1 original keyboard placed In the middle ; 4 Oct.,

�M. Rc'glbo, Renalx.

�A. IWgibo.

� �dated

� �C C ; white naturals. Rose No. 6.

� � �Bent tide.

� �76 by 2 7

�8 keyboards ; the lower 4 oct., etc., B C, the

�Musee du Stoen. Ant-

�V. Mahilloo,

� � � �upper 3j{ oct., E ; only one key, a white

�werp.

� � � � �natural, left ; 3 stops ; no name or rose, but

� � � � � �style of work of A. B. Inscribed OMNI38PIRITU3

� � � � � �LADDET DOMINUM CONCORDIA RES PARVAE

� � � � � �CRESCUNT DISCORDIA MAXIMAE DILABCNTUR.

� � �Bent side.

� �78 by 2 11

�2 keyboards, not original ; 6 oct., F F ; black

�Le Baron de Goer. Cha-

�V. Mahlllon.

� �

� �naturals ; inscribed as No. SO ; date of renova-

�teau de Yelu, Fas de

� � � � �tion. 1758, marked on a jack ; fine paintings.

�Calais, France.

� �r*ui

� �SO hv 1 R

�1 keyboard ; 4| oct., C F ; white naturals ; in-

� �V. Mahlllon.

�Uulong.

�o oy i o

�scribed as No. SO.

� � �Bent side.

�...

�66 by 2 8

�2 keyboards ; 4$ oct., B-F ; white naturals ; name and rose wanting ; attributed to A. R.

�M. Snoeck, Renalz.

�0. Meerens,

� � � �by the work.

� � �Oblong.

� �38 by 1 4

�1 keyboard 3$ oct., E-C. Rose No. 6.

�M. Snoeck, Renabc.

�0. Snoeck.

��IV. ANDRIES RUCKERS DE JONGE (the Younger).

��Bent side.

Bent side. Bent side. Oblong.

Oblong.

��1G56 1659

��5 4$ by 2 2.J 5 10 by 2 4 49 by 1 8$

��I Un- I S 7 by 1

dated

��Case painted in blue camaleu In rococo style ;

attribution to the younger A. R. from the late

date. 1 original keyboard ; 4 oct.,C C ; white naturals ;

painting inside top. Rose No. 7. 1 original keyboard ; 4oct.,C C ; white naturals.

Rose No. 7. 1 original keyboard to the left ; 4 oct., etc., D-E ;

white naturals. Rose No. 7.

V. CHRISTOFEL RUCKERS.

1 original keyboard to the right ; 4 oct.. E-E, I M. Begibo. Renalz. without the highest D| ; white naturals ; Rose I No. 8 ; soundboard and top renewed.

��M. Lavlgne'e (from the Chateau de Ferceau, pres Cosne).

M. Regibo, Renalx.

M. Ri'gibo, Renalx. M. Rogibo. Renaix.

��S. Blondel.

A. Regibo, A. Regibo. A. Regibo.

A. Rdgibo.

��RUDERSDORFF, HERMINE, born Dec. 12, $22, at Ivanowsky in the Ukraine, where her father, Joseph Rudersdorff, a distinguished violinist (afterwards of Hamburg), was then engaged. She learned singing at Paris from Bordogni, and at Milan from de Micherout, also master of Clara Novello, Catherine Hayes, etc. She first appeared in Germany in concerts, and sang the principal soprano music, on production of Mendelssohn's ' Lobgesang ' at Leipzig, June 5, 1840. The next year she appeared on the stage at Carlsruhe with great success, and then at Frankfort where in 1844 8ne marr ied Dr. Kuchenmeister, a professor of mathematics, and at Breslau. Her parts consisted of Agatha, Reiza, Valentine, Isabella, Elvira (Puritani), etc. From 1852 to 54 she sang at the Friedrich- Wilhelmstadt Theatre, Berlin, with great success, in light French operas of Adam, Auber, Boiel- dieu, Harold, and Thomas, as Juliet (Bellini), and in new German operas, such as Bertalda in Lortzing's ' Undine, etc., besides playing at Aix- la-Chapelle, Cologne and Dantzic. On May 23, 54, she first appeared in England in German opera at Drury Lane, as Donna Anna, and was fairly well received in that and her subsequent parts of Constance in Mozart's ' Entfiihrung,'

��[A.J.H.]

Agatha, Fidelio, and Margaret of Valois, and in English as Elvira in ' Masaniello.' She took up her residence in England for several years, only occa- sionally visiting Germany for concerts and festi- vals. She sang at the Royal Italian Opera in J855, also from 1861 to 65, as Donnas Anna and Elvira, Jemmy, Bertha, Natalia (L'Etoile du Nord), etc. ; and in English at St. James's Theatre for a few nights in Loder's opera, ' Raymond and Agnes.' But it was as a concert singer that she was best appreciated, her very powerful voice (not always pleasing), combined with admirable powers of declamation and cer- tainty of execution, and thorough musicianship having enabled her to take high rank as a singer of oratorio. Conspicuous may be mentioned, her rendering of the opening soprano recitatives in the ' Messiah ' and of the air following, ' Rejoice greatly,' and of the final air and chorus in the ' Israel,' especially at the Handel Festivals, when her voice would tell out with wonderful effect against the powerful band and choir. In concerts, whatever she undertook she always showed herself a thorough artist, being devoted to her art, in which she worked with untiring industry. This she proved by her revival of Mozart's fine scenas ' Ahi lo previdi ' and ' Misera dove son,' and of

�� �