'Cours complet d'harmonie et de haute composition' of Fenaroli; 'Transcriptions et Réalisations d'œuvres anciennes'; 'Curiosités Musicales' (Didot, 1873), on certain peculiarities in the works of the great masters, and 'L'art du Chef d'Orchestre' (Didot, 1878). On the death of George Hainl (1873) Deldevez was appointed first leader to the 'Académie' and to the 'Sociéte des Concerts.' In October 1873 he was chosen to direct the class for instrumental performance, instituted at the Conservatoire at the instance of Ambroise Thomas, and hitherto most successful. He retired from the Opera July i, 1877. Deldevez is a Chevalier of the Legion of Honour.
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DELICATI, Margherita, an Italian soprano engaged at the King's Theatre with her husband in 1789. They played principally in opera buffa. She sang with Marches! in Tarchi's 'Disertore,' and they both took part in 'La Cosa rara' and 'La Villana riconosciuta.' Delicati also played a small part in Paisiello's 'Barbiere di Siviglia.' Their subsequent history is unknown.
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DELMOTTE, Henri Florent, born at Mons 1799, died there 1836, librarian of the public library at Mons, and author of 'Notice biographique sur Roland Delattre, etc.' (Valenciennes 1836). This work was translated into German by Dehn. The authenticity of the chronicler Vinchant, from whom Delmotte took the chief part of his facts, has been contested Bince his death. (See Lasso.) At the time of his death Delmotte was collecting materials for the life of Philippe de Mons.
DEMANTIUS, Christoph, composer, born at Reichenberg 1567; was cantor at Zittau about 1596, and in 1607 at Freyberg in Saxony where he died 1643. His works (for list see Fétis) comprise songs sacred and secular, dances, and threnodies, or funeral laments, besides two elementary works, 'Isagoge artis musicae' etc. (Nuremberg 1605, 12th edition Freyberg 1671) and 'Forma musices, gründlicher … Bericht der Singekunst' (Budissin 1592). Four 8-part motets are printed in the Florilegium Portense, and a short 'Domine ad adjuvandum,' à 4, in Proske's 'Musica Divina'—Lib. Vesperarum.
DEMI-SEMI-QUAVER, the half of a semi-quaver; in other words, a note the value or duration of which is the quarter of a quaver and the eighth part of a crotchet. In French 'triple croche'; in Italian 'semi-bis-croma.' It is shown by
, or, when joined, by
, and its rest by
DEMOPHON, tragédie lyrique, in 3 acts; words by Marmontel; music by Cherubini, his first opera in Paris; produced at the Académie royale Dec. 5, 1788.
DENEFVE, Jules, violoncellist and composer, born at Chimay 1814, entered the Brussels Conservatoire in 1833. He studied the violoncello under Platel and Demunck; became professor of the violoncello at the Ecole de Musique, and first violoncello at the theatre, and at the Société des Concerts at Mona. Within a few years he became director of the Ecole, conductor of the Société des Concerts, and founder and conductor (1841) of the Roland de Lattre choral society. He composed three operas for the Mons theatre; a number of choruses for men's voices; several cantatas (one for the erection of a statue to Orlando Lasso in 1858); a Requiem, and various orchestral pieces. Denefve is a member of the 'Société des beaux arts et de littérature' of Ghent, and honorary member of the most important choral societies in Belgium and the north of France.
DÉPART, CHANT DU. This national air was composed by Méhul to some fine lines by Marie Joseph Chenier, for the concert celebrating the fourth anniversary of the taking of the Bastille (July 14, 1794). Chénier was in hiding at the house of Sarrette when he wrote the words, and the original edition, by order of the National Convention, states merely 'Paroles de …; musique de Méhul.' Of all the French patriotic songs this is the only one actually written during the Terror. The first verse is as follows:—
The opening phrase is spirited and sonorous; the modulation in the middle recalls perhaps involuntarily that in the Marseillaise; while the end foreshadows too definitely the melodies of the Empire. Apart from its merit as music, the air is appropriate to Chénier's words, and produces an almost overwhelming effect when sung by a multitude.
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