Open main menu

Page:A Dictionary of Music and Musicians vol 1.djvu/506

This page has been proofread, but needs to be validated.

maitre.' The Trio in D (op. 70) and the Sonata in E (op. 90) were also pieces of hers; and her playing of the Largo in the former and the 2nd movement in the latter are spoken of by Schindler as marvels of expression in different directions (i. 241). In 1820 she was still in Vienna, and we have another report of her from W. E. Müller, of Bremen,[1] who met her at the house of Gaymüller, with four other ladies, all good players, but whom, in his opinion, she far surpassed, not so much in execution as in her rendering of the intention and character of the music, and in fancy and expression. Between these two dates she had had lessons from Beethoven, and had become very intimate with him. He visited the Ertmanns in the evenings, and she would play to him, while he made himself thoroughly at home.[2] 'Meine liebe werthe Dorothea Cäcilia' is the beginning of the only letter from him to her yet published, in which he conveys to her the dedication of the noble and imaginative Sonata in A, op. 101, which bears her name. During the Ertmanns' stay in Vienna she lost a child. Beethoven at first discontinued his visits, but at length asked her to call on him, and saying 'we will talk in music,' played to her for more than an hour, 'in which he said everything; and at length even gave me comfort.'[3]

It was the happy lot of Mme. von Ertmann, after having been thus intimate with one great composer, to make the acquaintance of another. Rather more than four years after Beethoven's death the regiment moved from Vienna to Milan, and General Ertmann became commandant; and there, in July 1831, she received a visit from Mendelssohn, then on his return from Rome. The account may be read in Mendelssohn's own delightful language in his 'Reisebriefe.'[4] She played him the C♯ minor Fantasia and the Sonata in D minor (op. 31, no. 2), and his verdict is quite in accordance with those we have already heard. 'She plays the Beethoven things very beautifully, although it is so long since she studied them: true, she often forces the expression a little, now retarding, and then again hurrying; but certain pieces she plays splendidly, and I think I have learnt something from her.'

In 1844 Mme. Ertmann was again living in Vienna, where Moscheles met her, and induced her to play him the C♯ minor Fantasia (ii. 123). She died there in 1848, about 70 years old.

[ G. ]

ESCUDIER, Marie, born June 29, 1819, and Léon; born Sept. 17, 1821, at Castelnaudary, two brothers famous as littérateurs on music. They were the founders of 'La France musicale' (1838), a weekly musical periodical, and joint authors of 'Études biographiques sur les chanteurs coutemporains' (Paris, Tessier, 1840); 'Rossini sa vie et ses œuvres' (Paris 1854); and 'Vie .... des cantatrices célèbres,' etc. (Paris 1856), which contains a life of Paganini. Their 'Dictionnaire de musique' (5th ed., 1872) is a compact but very unequal work, many articles in which are admirable, while others can be of no interest to any one. [App. p.629 "Marie died April 17, 1880 and Léon June 22, 1881"]

[ M. C. C. ]

ESLAVA, Miguel Hilarion, distinguished Spanish musician, born Oct. 21, 1807, near Pampeluna, where he was cathedral chorister. In 1824 he was appointed violinist in the cathedral at Pampeluna, and in 1828 chapel-master of that at Ossuna. Here he was ordained deacon, and took priest's orders when chapel-master at the metropolitan church of Seville (1832). In 1841 he produced at Cadiz his first opera, 'Il Solitario,' speedily followed by 'La Tregua di Ptolemaide' and 'Pedro el Cruél,' which were successfully performed in several Spanish towns. In 1844 he was appointed chapel-master to Queen Isabella. He has composed over 140 pieces of church music, including masses, motets, psalms, etc. The work by which he will live is his 'Lira sacro-hispaña' (Madrid, Salazar, 1869, 10 vols.), a collection of Spanish church music of the 16th–19th centuries, with biographical sketches of the composers. Some of his organ music appears in another collection, his 'Museo organico español' (Madrid). His 'Metodo de Solfeo' (1846) has been adopted throughout Spain. His 'Escuela de armonia y composicion,' in 3 parts, harmony, composition, and melody, the fruits of many years' labour, appeared at Madrid in 1861 (2nd ed.). He also edited the 'Gaceta musical de Madrid,' a periodical of considerable interest. Eslava died July 23, 1878.

The following are the contents of the 'Lira sacro-hispaña':—

VOL. I (16th cent.).
Ramos, Ave Regina. à 4 voces.
   Do. Magnificat. 4.
Anon, Domine Jesu. 4.
Fevin, A. Sanctus. 4.
   Do. Benedictus. 3.
   Do. Agnus. 4.
   Do. Do. 5.
   Do. Ascendens Christus. 6.
Pefialosa. F. Sancta Mater. 4.
   Do. Tribularer si nescirem. 4.
   Do. In passione positus. 4.
   Do. Memorare, piissima. 4.
   Do. Versa est in luctum. 4.
   Do. Precor te, Domine. 4.
Ribera, B. Magnificat. 4.
   Do. Virgo prudentissima. 5.
   Do. Rex autem David. 5.
Torrentes, A. De, Magnificat. 4.
   Do. Hortus conclusus. 4.
   Do. Inter vestibulum. 4.
   Do. Exaudiat Dominus. 4.
Morales, Ch. Emendemus. 5.
   Do. O vos omnes. 4.
   Do. Verbum iniquum. 5.
   Do. O crux ave. 5.
   Do. Lamentabatur Jacob. 5.
   Do. Kyrie; Christe; Gloria. 4.
Escobedo, B. Immutemur. 4.
   Do. Exurge. 4.
   Do. Erravi sicut ovis. 4.
Fernandez, P. Dispersit, dedit. 4.
   Do. Heu mihi Domine. 4.
Bernal, A. Ave sanctissimum.
Robledo, M. Domine Jesu. 4.
   Do. Regem cui omnis. 4.
   Do. Magna opera. 4 & 5.
   Do. Sumens illud ave. 4.

VOL. I, Pt. 2 (16th cent.).
Victoria, J. L. de. Mass, 'Ave maris stella.' 4 solo.
   Do. Vere languores.
   Do. O Domine.
   Do. Jesu dulcis memoria.
   Do. O quam gloriosum.
   Do. Laudate.
   Do. Requiem mass, 'el canto llano.'
Guerrero, F. Passio sec. Matthæum. 2, 4, 5, 6.
   Do. Do. sec. Joannem. 4 & 5.
   Do. Ave Virgo. 5.
   Do. Trahe me post. 5.
   Do. Mass, 'Simile est regnum.' 4.
Navarro, J. M. Lauda Jerusalem. 4.
   Do. In exitu Israel. 4.
   Do. Magnificat 1mi toni. 4.
   Do. Do. 2di toni. 4.
   Do. Do. 8vi toni. 4.
Castello, D. del, Quis enim cognovit. 6.
   Do. O altitudo. 5.
Las Infantas, F. de. Victimae Paschali. 6.
Camargo, M. G. Defensor almæ Hispaniæ. 5.
Ortiz, D. Pereat dies. 6.
Periañez, P. Maria virgo. 6.

VOL. II (17th cent).
Comes, J. B. Hodie nobis. 12.
Lobo, A. Versa est. 6.
   Do. Credo quod Redemptor. 4.
   Do. Vivo ego. 4.
   Do. Ave Maria. 8.
Heredis, A. de, Magnificat (super 8 tonos). 4.
Tafalla, P. Qut Lazarum. 5 & 3.
Romero, M. Libera me. 3.
Veana, M. Villanelco Asturiano. 6.
Vivenco, 8. O Domine. 5.
Vargas, U. de, Magnificat. 3.
Baban, G. Voce mea, 8.
Juarez, A. Vulnerasti cor meum.
   Do. Dum sacrum pignus.
Caseda, D. Mass. 8.

VOL. II. Pt. 2 (17th cent.).
Pontac, D. Mass, 'In exitu Israel.' 4.
Patino, C. Mass, 'In devotione.' 3.
Salazar, G. Hei mihi. 4 (soli).
   Do. O Rex gloriae. 8, col organo.
   Do. Quæ est ista. 6 Do.
   Do. Vidi speciosam. 6 Do.
   Do. Sancta Maria. 5 Do.
   Do. Nativitas tua. 6 Do.
   Do. Mater Dei. 5 Do.

  1. Nohl, 'Beethoven nach den Schilderungen seiner Zeitgenossen,' 1877, p. 138.
  2. Mendelssohn's Letters, July 14, 1831.
  3. Ibid.
  4. Ibid.