the chord of the 6th and 3rd on the second note of any key. The changed combination which must follow them in order to relieve the sense of pain they produce is called the resolution. For the various kinds of discords and their resolutions see HARMONY. [C.H.H.P.]

DISSOLUTO PUNITO, IL, OSSIA IL DON GIOVANNI. The full title of Mozart's opera, so well known by the latter half of its name. [See DON GIOVANNI.]

DISSONANCE is any combination of notes which on being sounded together produces BEATS; that is, an alternate strengthening and weakening of the sound, arising from the opposition of the vibrations of either their prime tones, or their harmonics or their combination tones, which causes a painful sensation to the ear. [C.H.H.P.] DITAL HARP, or chromatic harp-lute, one of the numerous attempts made about the beginning of this century to improve or replace

the guitar. Edward Light appears to have invented this form of stringed instrument about (c.)

the year 1798. The harp-lute had originally twelve catgut strings

but this notation was a major sixth higher in pitch than the actual sounds. In 1816 the same Edward Light took out a patent for an improvement in this instrument, which he now denominated the British harp-lute.' The patent was for the application of certain pieces of mechanism called 'ditals' or 'thumb-keys,' in distinction from 'pedals' or 'foot-keys'; each dital producing by pressure the depression of a stop-ring or eye to draw the string down upon a fret and thus shorten its effective length, and render the pitch more acute. The most complete instrument of this construction he named the 'Dital harp.' In this each string has a 'dital' to raise it a semitone at pleasure. [A. J. H.]

DITTERSDORF, KARL DITTERS VON-whose original name was DITTERS-distinguished violinist, and prolific composer in all branches of music, but specially esteemed for his German national operas; born at Vienna, Nov. 2, 1739. He soon outstripped his early teachers on the violin, König and Ziegler (not Zügler, as he calls him in his biography). Ziegler worked his pupil in the orchestra at St. Stephen's, and also in that of the Schottenkirche. Here Ditters was noticed by his chiefs, and on their recommendation was received into the private band of the Prince von Hildburghausen, who, being himself a man of high cultivation, looked after the general education of his young page (a lad of 11), and had him instructed in composition by BONNO, the court-composer, in the violin by Trani, and in foreign languages, fencing, dancing, and riding. The formation of his taste was much assisted by hearing Vittoria Tesi, who sang regularly at the Prince's concerts, and he soon formed an intimacy with Gluck and Haydn. When the Prince dismissed his band in 1759 he procured a place for Ditters in the Empress's opera, but wishing to see the world he started in 1761 with Gluck on a professional tour in Italy, where his playing was much admired. Meantime the famous Lolli had been performing in Vienna with great success, but Dittersdorf on his return vanquished him; the general verdict was 'Each has marvellous execution, but Ditters also speaks to the heart.' His intimacy with Haydn was of service to them both. 'Whenever we heard,' says he, 'a new piece, we went through it carefully together, doing justice to all that was good, and criticising what was bad in it'-an impartial course seldom pursued by young composers. In the early part of 1764 he went with Gluck and Guadagni to Frankfort for the election and coronation (April 3) of the Archduke Joseph as King of the Romans. He played twice at court with brilliant success, but his expectations were not otherwise fulfilled, and on his return to Vienna the rudeness of Count Wenzel Spork, the then manager of the theatre, made him gladly accept

Gg

2. A Pot-pourri or arrangement of the airs of an opera or other piece for orchestra or piano.

DIVERTISSEMENT. A kind of short ballet, such as Taglioni's 'Divertissement Silesien,' sometimes mixed with songs. Also a pot-pourri or piece on given motifs, such as Schubert's 'Divertissement à l'hongroise.' Also the French term for an entr'acte. The term is no longer used.

DIVISION VIOLIN, THE, the title of a work which, during the latter part of the 17th century and for some time afterwards, was the favourite vade-mecum of amateur violinists. It was the successor of 'The Division Violist' of Christopher Simpson, first published in 1659. Both works consist of divisions, or variations, upon a given theme or subject, denominated the 'ground.' The earlier work contains instructions for performing such divisions extempore, but the later one is confined to divisions already composed. These are often upon popular song-tunes or other well-known subjects. The first edition of 'The Division Violin' appeared in 1684, en. graved on copper plates, and a second part a few years later. Both parts went through several editions, the contents of which varied, but were always derived from the best composers of the day, amongst whom were Henry and Daniel Purcell, Davis Mell, John Banister, Solomon, John, and Henry Eccles, G. B. Draghi, Jeremiah Clark, etc. Some pieces by Corelli are included in some of the later editions. [W. H. H.] DIVISIONS, in the musical nomenclature of the 17th and 18th centuries, were rapid passages-slow notes divided into quick ones-as naturally takes place in variations on a theme or ground. Hence the word can be applied to quick consecutive passages like the long semiquaver runs in Handel's bravura songs, as :—

angel trumpets blow

etc.

DIVITIS, ANTONIUS, or ANTOINE LE RICHE, a French composer, and colleague of Mouton as singer in the chapel of Louis XII, who reigned from 1498 to 1515. The following is a list of his works at present known :-(1) A 4-part mass, Gaude Barbara' (MS.), in the library at Cambray. (2) A 6-part Credo (MS.) in the Royal Library at Munich. (3) A mass, Quem dicunt homines' (of which Ambros gives a description in his history of music), in the 15th book of the collection by Pierre Attaignant of Paris. (4) A motet, Gloria laus,' in the 10th book of the collection of ancient motets by Pierre Attaignant (Paris 1530) who has also, in his collection of Magnificats (Paris, 1534), included one by Divitis. (5) A motet, Desolatorum consolator,' in 4 parts, in the 1st book of the 'Motetti della corona' (Petrucci, Venice 1514). (6) Many motets for 3 voices in the collection "Trium

vocum cantiones centum D' published by Petreius (Nuremberg 1540). (7) A setting of the words Ista est speciosa,' in the collection Bicinia Gallica, Latina, Germanica, etc.,' published by Rhaw (Wittenberg). (8) Two chansons, under the name Le Riche, in the collection 'des plus excellentes chansons' published by Nicolas Duchemin in 1551. [J.R.S.B.]

DLABACZ, GOTTFRIED JOHANN, librarian and choir-master of the Premonstratensian convent of Strahov, Prague; born July 17, 1758, died Feb. 4, 1820. Author of Allgem. historisches Künstlerlexikon für Böhmen,' etc. (Prague 181518, 3 vols.); Versuch eines Verzeichniss der vorzuglichsten Tonkünstler,' etc. (in Rigger's Statistik von Böhmen)-two exact and valuable works.

DO. The syllable used in Italy and England in solfaing instead of UT. It is said by Fétis to have been the invention of G. B. Doni, a learned Della Cruscan and writer on the music of the ancients, who died 1669. It is mentioned in the 'Musico pratico' of Bononcini (1673), where it is said to be employed 'per essere più resonante.'

DOCTOR OF MUSIC. The superior degree in music conferred by the English Universities, the inferior one being that of Bachelor. These degrees can be traced as far back as the 15th century: an outline of their history and of the history of musical study at the Universities has been given under the title BACHELOR. In the ordinary course the degree of Bachelor of Music must at Oxford and Cambridge precede that of Doctor by a period of five years; but by special leave of the University the degrees may be taken together, and the honorary degree of Doctor of Music has occasionally been conferred on musicians of distinction who had not graduated Bachelors. At Dublin no interval of time is necessary, and the degrees may in all cases be taken on the same day, other conditions being fulfilled. Among Oxford Doctors of Music the following are the best known names:- John Marbeck, 1550; John Bull, 1586; W. Heather (founder of the Professorship), 1622; Arne, 1759; Burney, 1769; Callcott, 1785; Crotch, 1799; S. Wesley, 1839; Bishop, 1854. Haydn received an honorary degree on his visit to Oxford in 1791, when his Symphony in G, thence called the Oxford Symphony, was performed. The same distinction is said to have been offered to Handel in 1733, when his 'Esther' was performed at Commemoration, and to have been refused by him with characteristic humour. Cambridge owns the following names:-Greene, 1730; Boyce, 1749; Randall, 1756; Nares, 1757; Cooke, 1775; Walmisley, 1848; Sterndale Bennett, 1856; Macfarren, 1875; Sullivan, 1876; Joachim, 1877.

During the last century there was no examination for either degree; it was sufficient for the candidate to present an 'exercise,' or composition, to be performed in the Music School. Stricter regulations have been now established, with the view of giving a more genuine character to these degrees; and the following rules are in force. G ga

At Oxford the candidate for a degree of Mus. Doc. must compose and send in to the Professor a vocal composition secular or sacred, containing real eight-part harmony and good eight-part fugal counterpoint, with accompaniments for a full orchestra, of such a length as to occupy from forty to sixty minutes in performance. The exercise having been approved by the Professor, an examination follows, embracing the following subjects-Harmony; Eight-part counterpoint; Canon, Imitation, etc. in eight parts; Fugue; Form in composition; Instrumentation; Musical History; A critical knowledge of the scores of the standard works of the great composers; and so much of the science of Acoustics as relates to the theory of Harmony. After duly passing this examination (which is entirely in writing) the candidate must have his exercise publicly performed in Oxford, with complete band and chorus at his own expense; and must deposit the MS. full-score in the Library of the Music School. The fees on taking this degree amount to about £20. The regulations at Cambridge and Dublin are almost identical with those of Oxford, and the amount of the fees much the same. Degrees in music are not conferred by the University of London.

An anomalous power of creating a Doctor of Music by diploma still vests in the Archbishop of Canterbury. The only regulation existing in connection with this strange prerogative is that the person for whose benefit it is exercised shall pay £63 in fees. [C. A. F.]

DÖHLER, THEODOR, of a Jewish family, born April 20, 1814, at Naples; died Feb. 21, 1856, at Florence; an accomplished pianist, and composer of 'salon' music-a vendor of the sort of ware for which the epithet 'elegant' seems to have been invented. His Fantasias, i. e. operatic tunes embroidered with arpeggios; his Variations de concert,' or 'de salon-similar tunes not necessarily operatic, but bedizened with the same cheap embroidery; his "Transcriptions'nondescript tunes bespangled after the selfsame fashion; his 'Nocturnes'-sentimental eau sucrée,

made up of a tearful tune for the right hand propped upon undulating platitudes for the left, in D flat; his 'Etudes,' also 'de salon' or 'de concert' -some small piece of digital gymnastics with little sound and less sense,-are one and all of the same calibre, reprehensible from an artistic point of view, and lacking even that quaintness or eccentricity which might ultimately claim a nook in some collection of musical bric-a-brac. Döhler was an infant phenomenon, and as such the pupil of Benedict, then resident at Naples. In 1829 he was sent to Vienna, and became Carl Czerny's pupil. From Vienna, where he remained till 34, he went to Naples, Paris, and London-then travelled in Holland, Denmark, Poland, and Russia-as a successful fashionable virtuoso. He died of a disease of the spinal marrow which troubled him for the last nine years of his life. His works, if works they can be called, reach as far as opus 75. [E. D.] DOLBY, CHARLOTTE. Sce SAINTON, MA

DAME.

DOLCE, i.e. sweetly; a sign usually accompanied by piano, softly-p dol., and implying that a sweet melodious feeling is to be put into the phrase. Beethoven (op. 59, no. 1) has mƒ e dolce; and Schumann begins the Finale of his Eb Symphony with ƒ dolce, which is difficult to realise.

DOMINANT is the name now given to the 5th note of the scale of any key counting upwards. Thus G is the dominant in the key of C, F in that of Bb, and F in that of B. It is so called because the key of a passage cannot be distinguished for certain unless some chord in it has this note for root; for which reason also it is called in German Der herrschende Ton.' The dominant plays a most important part in cadences, in which it is indispensable that the key should be strongly marked; and it is therefore the point of rest in the imperfect cadence or half close, and the point of departure to the tonic in the perfect cadence or full close. [MODES.]

It also marks the division of the scale into two

parts; as in fugues, in which if a subject

commences with the tonic its answer commences with the dominant, and vice versa. In the sonata form it used to be almost invariable for the second subject to be in the key of the dominant, except when the movement was in a minor key, in which case it was optional for that part of the movement to be in the relative major. In lighter and simpler kinds of composition the harmonic basis of the music often alternates chiefly between tonic and dominant, and even in the most elaborate and deeply thought works the same tendency is apparent, though the ideas may be on so extended a scale as to make the alternation less obvious. [C.H.H.P.]

DOMINO NOIR, LE. Opéra comique in 3 acts, words by Scribe, music by Auber; produced Dec. 2, 1837. Translated by Chorley and produced in English (an earlier attempt had failed) Feb. 20, 1861, at Covent Garden.

DON CARLOS. (1) An opera seria in 3 acts, words by Tarantini, music by Costa; produced at (2) Grand opera in 5 acts, words by Demery Her Majesty's Theatre, London, June 20, 1844. and Du Locle, music by Verdi; produced at the Grand Opéra, Paris, March 11, 1867, and in London, at Her Majesty's Theatre, June 4 of

the same year.

DON GIOVANNI-or, full title, Il dissoluto punito, ossia il Don Giovanni-opera buffa in 2 acts; words by Da Ponte; music by Mozart. Produced at Prague Oct. 29, 1787 (the overture written the night before); at Vienna May 7, 1788, with 3 extra pieces, 'In quali,' 'Mi tradi,' 'Dalla sua pace'; in London, King's Theatre, April 12, 1817. Autograph in possession of

Mme. Viardot Garcia.

DON PASQUALE, opera buffa in 3 acts; music by Donizetti. Produced Jan. 4, 1843, at the Italiens, Paris; in London, Her Majesty's Theatre, June 30, 1843.

DON QUIXOTE, a comic opera in 2 acts; words by G. Macfarren, music by G. A. Macfarren; produced at Drury Lane, Feb. 3, 1846.

DONIZETTI, GAETANO, was born at Bergamo, Nov. 29, 1797, six years after Rossini; and though he began his career at a very early age, he never achieved any important success until after Rossini had ceased to compose. Having completed his studies at the Conservatorio of Naples, under Mayer, he produced at Vienna, in 1818, his first opera Enrico di Borgogna,' which was rapidly followed by Il Falegname di Livonia' (Mantua, 1819). His 'Zoraïde di Granata,' brought out immediately after 'Il Falegname' at Rome, procured for the young imitator of Rossini exemption from the conscription, and the honour of being carried in triumph and crowned at the Capitol. The first work however by Donizetti which crossed the mountains and the seas and gained the ear of all Europe, was Anna Bolena,' given for the first time at Milan in 1830. This opera, which was long regarded as its composer's masterpiece, was written for Pasta and Rubini. It was in Anna Bolena' too, as the impersonator of Henry VIII, that Lablache made his first great success at our 'King's Theatre,' as the Haymarket opera house was called until the close of the past reign. The graceful and melodious 'Elisir d'Amore' was composed for 'Milan in 1832.' 'Lucia di Lammermoor,' perhaps the most popular of all Donizetti's works, was written for Naples in 1835, the part of Edgardo having been composed expressly for Duprez, that of Lucia for Persiani. The lively little operetta called 'Il Campanello di Notte was produced under very interesting circumstances, to save a Neapolitan manager and his company from ruin. If you would only give us something new our fortunes would be made,' said one of the singers. Donizetti declared they should have an operetta from his pen within a week. But where was he to get a libretto? He determined himself to supply that first necessity of the operatic composer; and, recollecting a vaudeville which he had seen some years before at Paris, called 'La Sonnette de Nuit,' took that for his subject, re-arranged the little piece in operatic form, and forthwith set it to music. It is said that in nine days the libretto was written, the music composed, the parts learned, the opera performed and the theatre saved.' Donizetti seems to have possessed considerable literary facility. He designed and wrote the last acts both of the Lucia' and of 'La Favorita'; and he himself translated into Italian the libretto of Betly' and 'La Fille du Régiment.' Donizetti had visited Paris in 1835, when he produced, at the Théâtre des Italiens, his 'Marino Faliero.' Five years later another of his works was brought out at the same establishment. This was 'Lucrezia Borgia' (composed for Milan in 1834); of which the 'run' was cut short by Victor Hugo, who, as author of the tragedy on which the libretto is founded, forbad the representations. 'Lucrezia Borgia' became, at the Italian Opera of Paris, 'La Rinegata' - the Italians of Alexander the Sixth's Court being changed into Turks. 'Lucrezia' may be ranked with Lucia' and 'La Favorita' among the most successful of Donizetti's operas. Lucia' contains some of the most

beautiful melodies in the sentimental style that its composer has ever produced; it contains too a concerted finale which is well designed and admirably dramatic. The favour with which Lucrezia Borgia' is everywhere received may be explained partly by the merit of the music, which, if not of a very high order, is always singable and tuneful-partly by the interest of the story, partly also by the manner in which the interest is divided between four principal characters, so that the cast must always include four leading singers, each of whom is well provided for by the composer. But of the great dramatic situation, in which a voluptuous drinking song is contrasted with a funeral chant, not so much has been made as might have been expected. The musical effect, however, would naturally be more striking in the drama than in the opera; since in the former singing is heard only in this one scene, whereas in the latter it is heard throughout the opera. 'Lucrezia Borgia' may be said to mark the distance half way between the style of Rossini, imitated by Donizetti for so many years, and that of Verdi which he in some measure anticipated: thus portions of Maria di Rohan' (1843) might almost have been written by the composer of Rigoletto.' In 1840 Donizetti revisited Paris, where he produced successively I Martiri' (which as 'Poliuto' had been forbidden at Naples by the censorship); 'La Fille du Régiment, composed for the Opéra Comique, and afterwards brought out in the form of an Italian opera, with added recitatives; and 'La Favorite,' represented at the Académie. Jenny Lind, Sontag, Patti, Albani, have all appeared with great success in 'La Figlia del Reggimento.' But when La Fille du Régiment' was first brought out, with Madame Thillon in the chief part, it produced comparatively but little effect. 'La Favorite,' on the other hand, met from the first with the most decided success. It is based on a very dramatic subject (borrowed from a French drama, 'Le Comte de Commingues'), and many of the scenes have been treated by the composer in a highly dramatic spirit. For a long time, however, it failed to please Italian audiences. In London its success dates from the time at which Grisi and Mario undertook the two principal parts. The fourth and concluding act of this opera is worth all the rest, and is probably the most dramatic act Donizetti ever wrote. With the exception of the cavatina Ange si pur,' taken from an unproduced work, Le Duc d'Albe,' and the slow movement of the duet, which was added at the rehearsals, the whole of this fine act was composed in from three to four hours. Leaving Paris, Donizetti visited Rome, Milan, and Vienna, at which last city he brought out Linda di Chamouni,' and contributed a Miserere and Ave Maria to the Hofkapelle, written in strict style, and much relished by the German critics. Then, coming back to Paris, he wrote (1843) 'Don Pasquale' for the Théâtre Italien, and 'Dom Sebastien' for the Académie. 'Dom Sebastien' has been described as 'a funeral in five acts,' and the mournful drama to which the music