Page:A Dictionary of Music and Musicians vol 4.djvu/634

From Wikisource
Jump to: navigation, search
This page has been proofread, but needs to be validated.
618
DUBOIS.
DORSET GARDEN THEATRE.

Draghi, Feb. 1673-4; Shadwell's 'Libertine,' with Purcell's music, 1676; Dr. Davenant's 'Circe,' with Banister's music, 1677; Shadwell's alteration of Shakspere's 'Timon of Athens,' with Purcel's music, 1678; and Lee's 'Œdipus' and 'Theodosius,' both with Purcel's music, in 1679 and 1680 respectively. In 1682 the King's and Duke's companies were united, and generally performed at Drury Lane; but operas and other pieces requiring a large space for stage effects were still occasionally brought out at Dorset Garden, amongst them Dryden's 'Albion and Albanius,' with Grabu's music, 1685; and Powell and Verbruggen's 'Brutus and Alba,' with Daniel Purcell's music, in 1697. In 1699 the house was let to William Joy, a strong Kentish man styled 'The English Samson,' and for exhibitions of conjuring, fencing, and even prize-fighting. It was again opened for the performance of plays in 1703, and finally closed in Oct. 1706. After the demolition of the theatre the site was successively occupied as a timber yard, by the New River Company's offices, and the City Gas Works. An engraving showing the river front of the theatre was prefixed to Elkanah Settle's 'Empress of Morocco,' 1673, another, by Sutton Nicholls, was published in 1710, and a third in the Gentleman's Magazine, July, 1 814.

[ W. H. H. ]

DOT. It should be added that Handel and Bach, and other composers of the early part of the 18th century, were accustomed to use a convention which often misleads modern students. In 6-8 or 12-8 time, where groups of dotted quavers followed by semiquavers occur in combination with triplets, they are to be regarded as equivalent to crotchets and quavers. Thus the passage { \override Score.TimeSignature #'stencil = ##f \time 6/8 \relative c'' << { c8.[ c16] c8 } \\ { \override TupletNumber #'stencil = ##f \times 2/3 { c,[ e g] } c, } >> } is played { \override Score.TimeSignature #'stencil = ##f \time 6/8 \relative c'' << { c4 c8 c } \\ { c, e g c, } >> } not with the semiquaver sounded after the third note of the triplet, as it would be if the phrase occurred in more modern music.

[ M. ]

DOTZAUER, J. J. F. Line 3 of article, for Jan. read June. Line 6 from bottom for 9 read 6.

DOUBLE BASS. Line 14, add that the notes sound an octave lower than they are written. In the musical example, the first note of (b) should be E. (Corrected in late editions.) Omit foot-note 1.

DOWLAND, John. Line 5 from bottom of page, for 1602 read 1603. The following anagram on his name is given by Camden at the end of his 'Remaines':—

             Joannes Doulandus.
             Annos ludendo hausi.

DRAGHI, G. B. P. 461 b, l. 15, for composed read published; the opera was performed in 1673.

DRAGONETTI, Domenico. The date of birth should probably be altered to April 7, 1763.

DREAM OF ST. JEROME. A piece of pianoforte music attributed to Beethoven, and published by Cramer & Beale. It consists of the third of Beethoven's six sacred songs (op. 48) transcribed for the PF., and followed by an arrangement of the Welch air 'Merch Megan,' also for the piano. The piece derived its existence from the demand created by the mention of 'Beethoven's Dream of St. Jerome' in Thackeray's 'Philip,' that again being a mistake for 'St. Jerome's Love,' a poem adapted by Thomas Moore, in his 'Sacred Songs,' to the melody of the theme of the opening movement of Beethoven's Sonata, op. 26. The story is told in The Times of June 16 and 28, 1886.

[ G. ]

DRECHSLER, Karl. Add date of death, Dec. 1, 1873.

DROUET, L. F. P. Add day of death, Sept. 30.

DRUM. P. 464 b, for second line after first musical example read Meyerbeer uses four drums, G, C, D, and E. P. 465 b, l. 5 from bottom, add that Pieranzovini wrote a concerto for the drums.

DRURY LANE. Line 12 from end of article, for 1869 read 1870.

DUBOIS, Clément François Théodore, born at Rosney (Marne), Aug. 24, 1837, came to Paris at an early age, and entered upon a brilliant course of study at the Conservatoire, where he gained successively first prizes for harmony, fugue, and organ, and finally, in 1861, under Ambroise Thomas, the Prix de Rome. On his return from Italy in 1866 he devoted himself to teaching, and was appointed maître de chapelle of Ste. Clotilde, where, on Good Friday, 1867, he produced an important and carefully written work, 'Les Sept Paroles du Christ,' afterwards performed at the Concerts Populaires in 1870. It has since been given in other churches on Good Friday, and parts of it have been performed at the Concerts du Conservatoire. Being unable to force an entrance into the great musical theatres, he contented himself with producing, at the Athénée, a pleasing little work, 'La Guzla de l'Emir' (April 30, 1873). In 1878 he carried off, together with B. Godard, the prize at the Concours Musical instituted by the city of Paris, and his 'Paradis perdu' was performed, first at the public expense (Nov. 27, 1878), and again on the two following Sundays at the Concerts du Châtelet. His other dramatic works for the stage are, 'Le Pain bis' (Opéra-Comique, Feb. 26, 1879); 'La Farandole,' ballet (Opéra, Dec. 14, 1883); and 'Aben-Hamet,' a grand opera (Théâtre Italien de la place du Châtelet, Dec. 16, 1884). The above are his chief works, but Dubois is a fertile composer, and has produced many important compositions at various concerts, not to mention his numerous pieces for piano, his single songs, and his church and chamber music. We may refer to his 'Divertissement' and 'Pièces d'Orchestre' (Concert national, April 6 and Dec. 14, 1873), a 'Suite d'Orchestre' (Do. Feb. 8, 1874), 'Scènes Sym-