title is due to the finale, which opens with a passage à la Cornemuse, recalling a bear-dance.
[ G. ]
OURY, Madame (née, Anna Caroline de BELLEVILLE). This once-celebrated pianiste, the daughter of a French nobleman, director of the opera in Munich, was born at Landshut in Bavaria, Jan. 24, 1806 [App. p.737 "1808"], and spent the first ten years of her life at Augsburg with her parents, studying with the cathedral organist, on whose recommendation she was taken to Vienna in 1816, and placed under the direction of Czerny for four years, during which time she was introduced to Beethoven, and heard him improvise on the piano. She appeared on two occasions in Vienna, on one of which (Madame Catalani's farewell concert) she played a Hummel concerto with orchestra. In 1820 she returned to her parents at Munich, and played there with great success. The next year was spent in Paris, where she was well received. She resumed her studies with Andreas Streicher in Vienna in 1829, after which she made a professional tour to Warsaw, Berlin, etc. In 1831 she came to London, and made her début at her Majesty's theatre at Paganini's concert in July. Her own concert took place in August, and in October she married M. Oury the violinist, with whom she then proceeded to make a long tour to Russia, where they remained two years, to the principal cities of Germany, Austria, and Holland, settling at length in Paris for two years and a half. In April 1839 they returned to England, which from that time became their home. Until 1846 Madame Oury divided her time between London and Brighton, being particularly successful at the latter place. From that time she devoted herself entirely to composition, and during the twenty years that followed published no less than 180 pieces, principally of the class known as 'drawing-room' music. In 1866 she retired from all artistic pursuits, and continued to live near London.
The following is Schumann's criticism of her playing: 'Anna de Belleville and Clara [Wieck]. They should not be compared. They are different mistresses of different schools. The playing of the Belleville is technically the finer of the two; Clara's is more impassioned. The tone of the Belleville flatters, but does not penetrate the ear; that of Clara reaches the heart. Anna is a poetess; Clara is poetry itself. (Music and Musicians, p. 68.) Mme. Oury died at Munich on July 22, 1880.
[ J. A. F. M. ]
OUSELEY, the Rev. Sir Frederick Arthur Gore, Bart., son of the Rt. Hon. Sir Gore Ouseley, Bart., the eminent Orientalist, and Ambassador at the courts of Persia and St. Petersburg, was born in London Aug. 12, 1825, and from early childhood evinced great talent for music, and an extraordinarily accurate ear. His skill in playing and extemporising was very unusual, and at the age of eight he composed an opera, 'L'Isola disabitata.' In 1844 Sir Frederick succeeded his father, and was educated at Christ Church, Oxford, at which University he graduated B.A. in 1846, and M.A. in 1849. In that year he was ordained, and until 1851 held a curacy at St. Paul's, Knightsbridge. In 1850 he took the degree of Mus. Bac. at Oxford, his 'exercise' being a cantata, 'The Lord is the true God,' and in 1854 took the higher grade of Mus. Doc., for which his oratorio 'St. Polycarp' was composed and performed. Upon the death of Sir Henry R. Bishop in 1855, Sir Frederick was elected to the Professorship of Music at Oxford, an office which he has held ever since with honour and esteem. The same year he was ordained priest and appointed Precentor of Hereford Cathedral. In 1856 he was admitted to the ad eundem degrees of Mus. Bac. and Mus. Doc. at Durham, and became vicar of St. Michael's, Tenbury, as well as warden of St. Michael's College there for the education of boys in music and general knowledge, of which establishment he is the principal munificent founder and maintainer. The daily choral service in the beautiful church of St. Michael's, which Sir Frederick erected adjoining his college, is served by the masters and boys. His library has been already noticed (p. 423a).
As a practical and theoretical musician and composer, Sir Frederick occupies a high place. He is skilled both as pianist and organist. In extemporaneous performance on the organ, especially in fugue-playing and in contrapuntal treatment of a given theme, he is at the present time and in this country perhaps unsurpassed. His two excellent treatises, published in the Oxford Clarendon Press Series, on 'Harmony,' and on 'Counterpoint and Fugue' are standard works. His treatise on 'Form and General Composition,' in the same series, is also a valuable contribution to musical literature.
As composer Sir Frederick is known chiefly by his works for the Church. In these he has adhered closely to the traditions of the Anglican school. He has composed 11 services, one of which, in 8 parts, is still in MS., and another, recently written, has orchestral accompaniments. He has also published upwards of 70 anthems, and has edited the sacred works of Orlando Gibbons. His compositions for organ include a set of 6, one of 7, and one of 18, preludes and fugues, also 6 preludes, 3 andantes, and 2 sonatas. He has also written some dozen glees and part-songs, several solo songs with P.F. accompaniment,